DB 1981 08

THE SOUND ENGINEERING MAGAZINE AUGUST 1981
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Manufacturers of high fidel ty components.
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Circle 10 an Reader Service Card

z
Publisher
Larry Zide
Editor
John M. Woram
Associate Editor
Mark B. Waldstein
Advertising Production & Layout
Kathy Lee
Classified Advertising
Carol Vitelli THE SOUND ENGINEERING MAGAZINE
AUGUST 1981 VOLUME 15, NO. 8
Book Sales
Lydia Calogrides
Circulation Manager
Eloise Beach
Art Director
Bob Laurie DEPARTMENTS
Graphics
K & S Graphics
LETTERS CALENDAR EDITORIAL CLASSIFIED
Typography 6 8 26 66
Spartan Phototype Co.
DIGITAL AUDIO Barry Blesser
sales offices 10
Roy McDonald Associates, Inc.
Dallas, Texas 75237 SOUND WITH IMAGES Len Feldman
First Continental Bank Bldg.
16
5801 Marvin D. Love Freeway
Suite 303
(214) 941-4461 THEORY AND PRACTICE Norman H. Crowhurst
Denver, Colorado Area 20
Englewood, Colorado 80112
14 Inverness Dr. East
Bldg. 1- Penthouse NEW PRODUCTS AND SERVICES
(303) 771-8181 56
Houston, Texas 77036
6901 Corporate Drive NEW LITERATURE
Suite 210 65
(713) 988-5005
Los Angeles Area
Glendale, California 91204 PEOPLE, PLACES, HAPPENINGS
424 West Colorado Street 68
Suite 201
(213) 244-8176
Portland Area FEATURES
Hillsboro, Oregon 97123
510 South First TIME- ALIGNED LOUDSPEAKERS REVISITED Dean Austin
P.O. Box 696
(503) 640 -2011 27
San Francisco Area
Emeryville, California 94608 DIGITAL FILTERS IN Sidney L. Silver
265 Baybridge Office Plaza AUDIO SIGNAL PROCESSING
5801 Christie Avenue 30
(415) 653-2122
Sagamore Publishing Co.. Inc. MEASURING LOUDSPEAKER DRIVER W. J. J. Hoge
New York
Plainview, NY 11803 PARAMETERS
1120 Old Country Rd. 43
(516) 433 -6530
A db APPLICATION NOTE:
COMPUTING LOUDSPEAKER PARAMETERS
48
ACHIEVING DEPTH PERCEPTION Bob Katz

A13(1 I I Ill: COVER
IN RECORDING
Unveiled at last Map's AES Conven- 52
tion, The .I BL 4430 and 4435 Bi- Radial
Studio Monitor bring constant coverage
technology to studio monitor design. db. the Sound I nginecrutg Magazine 1155] 001 -'1451 is published month), hs Sagainorc Publishing Company. Inc. ntlre<on-
I 1
tentseops right 1981 b Sagmnorc l'ubh.hing to..I1220Old Counts Road. Plains icx.I.1.. \.1 ISO ?. I el ephonc1516)4.136530.
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As shown by the compiled polar re-

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d h o published for those Ind], iduals and t inns in prolessional audio- recording. broadcast. audio -, úual. sound ref nl of ceunent. con-
sponse curves, the monitors provide flat sultant..,deo recording. Idm sound. etc. Application should he made on the subscription )unir in the rear of each osoe. Subscrip-
tion. are SI SAN/ per scar 1521:10 per sear outside .5. Possessions: S16.00 per scar Canada) in .S. tond.. Single copies are SI.95
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Index of
MODEL 3012-R
Letters Advertisers
Agfa -Gevaert 33
Ampex Cover ll, 50, 51
Auditronics 23
Audy Cover IV
BGW 35 -38
Bose 9
dbx 18
Dolby 20
Electro -Voice 19
Hewlett- Packard 11
UTILIZING DIGITAL AUDIO JBL 15

IN COMMERCIALS Lexicon 7
To THE EDITOR: Microtran 57

I was quite pleased to read about what Mike Shop 10
is "believed to be the first network spot Neutrik 8

to utilize digital audio" (db, May 1981
"People, Places ¡Happenings ").
- Pentagon
Pioneer
22
31
It reminded me of my first digitally Polyline 24
recorded commercial for 3M Corporate Pro Audio Systems 12
on September 12, 1979. at The Record Quad -Eight 14
Plant in L.A. The commercial entitled Sennheiser 16
"The First Time" spotlighted singer Sescom 24

Laura Brannigan during a recording Shure Cover Il
session utilizing 3M equipment, and SME 6
further points out the constant innova- Sound Technology 25
tions pioneered by 3M. Standard Tape Lab 29
After appearing on network TV during Studer Revox 49
the Kissinger specials. The NBC Evening Teac 17
News and several other shows, the com- Telex 13
mercials were contenders for the "Clio" 3M 21
awards. TOA 40. 41

It is certainly anticipated that if digital
is to be utilized in commercials, manu-
facturers of TV sets join the ranks
of those of us in the audio field who
strive for better, cleaner and more
positive marriage of this audio -visual
system. We are now seeing this progress
Manufacture of the Model 3012 Series 11 manifest itself somewhat in the motion
12" 116" US nomenclature) precision pick- picture field.
up arm ended in 1972. In response to many FRED WEINBERG
requests to re- introduce it for professional President
and hi -fi applications we have produced the
Fred Weinberg Productions. Inc.
Model 3012 -R. It is basically similar to its
classic predecessor but with important
refinements including:
Thin walled stainless steel tone -arm. REVIEWING THIRD ALTERNATIVES
New design lateral balance system. TO THE EDITOR:
Extra rigid low mass shell with double Crowhurst's discussion (June 1981) of
draw -in pins. possible "third alternatives" to some of
Fine adjustment longitudinal and lateral
the issues in the field of hearing are most
balance for cartridges weighing from
1} 26 grams or plug -in heads up to 33+
-
appropriate. Many arguments do tend to Coming
grams.
Geometry optimised for 12" records.
become polarized to two opposing
dogmas because of the attitude of some
Next
Distortion caused by lateral tracking error
is at least 25% less than is possible with a 9"
alleged scientists to the effect that, "If I
grant that your view is partly right, then
Month
arm and its effective mass of 14 grams I must have been partly wrong, and that In September. as the NRBA holds its
makes is particularly suitable for the many cannot be." The sooner such childish annual convention (see ad on page 63),
medium and low compliance cartridges now behavior can be gotten rid of, the better we once again look in on broadcast audio.
on the market. it will be for all of us (but don't hold If you've always wondered how to mike
The S2 -R shell supplied with it is another
your breath). a P.O.P. test, Mel Sprinkle's application
SME 'first' in heavy gauge aluminium with
I must point out, though, that neither note tells all. We'll also show two ap-
pin -up and pin -down bayonet for positive
locking. The sockets of all SME arms of the "third alternatives" mentioned by proaches to broadcast console designs
employing detachable shells are double Crowhurst is new. In regard to the ques- as well as two approaches to signal proc-
slotted and therefore compatible with this tion of whether perfect pitch is innate or essing. In one, W PLJ chief engineer Rob-
design. acquired, Otto Abraham suggested 80 ert Deitsch describes an in -house design
Full details will be sent on request. years ago that we may all be born with using off the shelf compression and
Write to Dept 1864 the ability to recognize specific fre- crossovers. In the other, we present part
SME Limited, Steyning, Sussex, BN4 3GY, quencies, but that it is simply trained out two of Nigel Branwell'sessay on dynamic
m England of us (or at least it atrophies from disuse) processing.
Circle 14 on Reader Service Card
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xicon
because of the emphasis on relative pitch half that they were off. The noise pattern just because they like gunfire, chain saws,
that characterizes musical performance. was exactly the same for both groups, but or power mowers -or even I I5-dBA
The weight of present evidence supports there was no way that the subjects could classical music.
this alternative view more and more discover this. The "bad noise' group
W. DIXON WARD
strongly. (i.e., those for whom the noise indicated
Professor
The other "third alternative," leading that they were off target) showed 18 dB of
to the hypothesis that loud wanted auditory fatigue, while the "good noise" University of Minnesota
music produces less damage to the ear group showed only 10 dB. So perhaps
than loud urtnanted music, is also not there is something to the notion that rock
REFERENCES
new, although perhaps not as ancient as music is more hazardous to those who
Abraham's theory about perfect pitch. don't like it, even though most of us con- Abraham, O. Das absolute Tonbewusstsein.
In 1968. Hormann had subjects perform sider the idea somewhat preposterous. Sammelbde, int. Musikges. 3, -86 (1901).
1
a tracking task in which feedback was strongly advise against uncritical extra- Hormann, H. Larm -psychologisch betrach-
provided to the subject, not visually, but polation of this principle, however, until tet. Bild d. Wissenschaft 6, 785 -794 (1968).
rather by means of a 95 -phon noise. In extensive corroboration of Hormann's
half of the subjects, the noise indicated results appears. That is, I hope that none
that they were on target, in the other of db's readers throw away their earplugs
Calendar
SEPTEMBER
25 The Society of Broadcast Engi-
neers 9th Annual Central New
York Regional Convention. Syra-
cuse Hilton Inn. For more infor-
mation contact: Convention Chair-
man Hugh Cleland, WCNY TV/
FM. Liverpool, NY 13088. Tel:
(315) 457 -0040.
OCTOBER
7 -9 Natural Stereo Techniques for
Recording Music Workshop. Uni-
versity of Wisconsin at Eau Claire.
For more information contact:
Burton Spangler. Audio Coordi-
nator. Media Development Cen-
ter, UW -Eau Claire. WI 54701.
Tel: (715) 836-2651.
13 -15 The 11th Conference of the West-
ern Educational Society for Tele-
communications. Harrah's, Reno.
Nevada. For more information
contact: Dr. Donald Price. Media
Production Services. California
State University, Los Angeles,
CA 90032. Tel: (213) 224-3396.
25 -30 The 123rd SMPTE Technical
Conference Exhibit. Century
70
aaaa ha,o /?/>,9s Plaza Hotel, Los Angeles. For
more info contact: SMPTE. 862
eO
Scarsdale Ave.. Scarsdale. NY
c,,s;
o 10583. Tel: (914) 472 -6606
ioc NOVEMBER
c r/as
12 -15 Billboard Magazine's 3rd Annual
`/saroSao International Video Entertain-
ment /Music Conference. Beverly
y0Gr6 9fpr°fss ho Hills Hilton. Los Angeles. For
more information contact: Bill-
Ua6P s0aa/
, ,0, %ct0,ost
iato /jjP board Magazines Conference Bu-
042,6. v t reau, 9000 Sunset Blvd., Los An-
geles. CA 90069. Tel: (213) 273-
of0aa,jaaSpa/a/7e 7040.
25 -27 Prosound '81 Professional Sound
Equipment Exhibition. West Cen-
tre Hotel. London. For more in-
formation contact: Batiste Exhibi-
tions & Promotions. Pembroke
House. Campsbourne Road, Lon-
eo a Neutnk AG. Liechtenstein ç Neulrik. 1980 don N8. Tel: 01 -340 3291.
Visit a Bose® Professional Products Dealer
and listen to the Bose 802.
Bose Corporation, Dept. SE

The Mountain
Framingham, MA 01701
Please send me a copy of the Bose Professional
Products Catalog and a complete dealer list.
Name:
Address:_
City
State Zip:
Tel. (
:red by patent rights issued and /or pending.

Better sound through research.
)pyright 1981 Bose Corporation
BARRY BLESSER
Digital Audio
We usually think of the digital repre- teen neighboring samples rather than the actual audio value (ref-
is 1.1, since 0.0
sentation of an audio signal as a numeric value of any single sample. With such a erence) plus 1.1 is just receiver
1.1; the
value, in digits, which represents an transformation, the audio voltages in determines the second audio value by
audio signal amplitude in volts. There is a FIGURE would be represented by digital
1 taking the second difference (1.5) and
one -to -one correspondence between words corresponding to the difference adding it to the first derived value (of
these domains, which we might describe values given in the figure. 1.1, to get 2.6); the third difference of
as being an instantaneous, free form If we transmit the differences instead -0.4 is added to the second derived value
transformation. This seems complex, but of the actual values, the receiver can still of 2.6 to get 2.2, and so on. Thus we see
restated, it just means that each audio determine the original audio values. For that the difference values are used to
sample is independent and contains all discussion purposes, assume that the determine the actual values.
of the information necessary to deter- transmitter knows that the first (refer- However, notice that although the
mine the digital word. The reciprocal is ence) audio voltage is always 0.0. The peak -to -peak audio range is 4.4, the
also true. The only restrictions on the first difference of 1.1 is transmitted and peak -to -peak difference range is only
transformation are a well-defined maxi- therefore the receiver knows that the first 2.9 (1.4 maximum and -1.5 minimum).
mum for the digital peak, and a well - Note that the dynamic range of the dif-
defined minimum corresponding to a ference is smaller than the actual signal's
single quantization level. The adjective Figure 1. If the digital system specifies the dynamic range. This suggests that the
"instantaneous" means that there is no difference between ad¡acent samples, it difference signal will require less bits to
memory in the system. Each sample does may be possible to transmit a digital signal transmit without losing any information.
its own thing, without being influenced with a smaller dynamic range. This form of encoding is called difference
by any other sample. encoding. If we connect an ordinary A / D
We can, however, dream up other for- converter to the difference signal, we
mats where one of these assumptions is create a technique called Differential
not true. Consider a system in which the I! 1 I 15
1
0.4 ) 11 ) I.J Pulse Code Modulation (DPCM) in-
digital word specifies the difference be- stead of the simple Pulse Code Modula-
tion (PCM).
PRE- AND DE- EMPHASIS

The New Mike Shop This should remind you of the familiar
audio technique of pre- and de- emphasis
as used in tape recorders and records.
MORE THAN MIKES ...BY.MAIL The encoded signal is a pre- filtered sig-
nal which is like the actual input signal
except that the spectrum is changed. A
t Backed by service before differencing operation is like the pre-
filter since the derivative operation is just
and after you buy a filter whose magnitude response is pro-
portional to frequency. In fact, the dif-
ferencing operation can be created by a
Dear simple differentiator made up of a ca-
pacitor and operational amplifier.
Shop: The analysis of such a system is very
much like that of a tape recorder. If
everything is designed properly, there
Please are organizing

organ . is no effect on the signal since the pre -
and de- emphasis cancel. Only the noise is
ease send g a studio affected since it is added after the pre -
Gain the foMowing .a emphasis and is therefore only subject to
Brain Gr. de- emphasis. In digital audio, the noise is
BEL Noise Brush itereS. the quantization error. Such a system

produces a white -noise spectrum which
Prime Reduction,
Re is filtered by an integrator. The integra-
B Scamp tor is the reverse of the differentiator.
Clearly, there are many variations of a
Time' a Tangent Console,

amp .Rack, pre- and de- emphasis filter other than
'B, differentiating and integrating.

This kind of filter is especially inter-
the mike shop

PO Box 366C Elmont, NY 11003 (516) 437-7925 Telex: 221522 OMNI
esting since it can be created digitally as
well as by analog methods. In FIGURE 2,
two versions of the differential PCM sys-
tem are shown. The top version is the
classical version with the A/D converter
Circle /3 on Reader Service Card
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Circle 33 on Reader Servire ( urd
small. Consider a 50 kHz sampling fre-
quency having a 20 µsec. interval be-
tween samples. With a 100 Hz signal, the
IAI
dynamic range of the difference signal is
more than 40 dB below the actual signal.
A 100 Hz sine wave does not change
D ,' 1r,
value very quickly. If the transmission
word has 10 bits, then the audio signal
can correspond to 20 bits. In other words,
,.,
fewer bits are required to transmit a large
signal. One can even get more dynamic
Figure 2. Two versions of a differential range from a 20 Hz signal, since the
PCM system.
derivatives are 5 times smaller. Higher
frequencies do not do so well; and very
after the pre- emphasis differentiator. Ac- From an audio point of view, this form high frequencies do much worse than
tually, a difference filter is shown rather of pre- and de- emphasis is not particu- simple PCM.
than a differentiator even though they larly interesting; however, FIGURE 2B FIGURE 3 shows some of the properties
are equivalent. At the subtractor, a de- shows a more interesting implementa- of these systems. With analog pre -
layed signal is subtracted from the main tion. In this example, the differencing emphasis, the noise spectrum is shaped
signal. This means that the result is the operation is performed after the A; D like a f curve labelled A in the figure.
I
difference between the present value and converter. The subtraction is also per- This increases the noise at low frequen-
the delayed value. When the delay is formed digitally. Thus, the pre- empha- cies (where the gain becomes very large)
equal to the sampling period, the signal sis and de- emphasis are both performed but decreases the noise at high frequen-
at the Ai D is equivalent to that which digitally, with no source of noise between cies. The digital difference encoding (B)
would be obtained by subtracting the them. There is complete cancellation. does not change the noise with frequency.
difference of two samples. At the receiver Therefore, the quantization noise now If one were to compute the noise power
side, a summing unit is used to create the passes through the system unchanged under the two curves, one would find
restored signal. Assume that its output since it passes through both filters. Pre- that they are the same. We have merely
is the present value of the audio signal. viously the noise was introduced after the traded one form of noise for another.
If the input is the difference, then the sum pre -emphasis. This is called a lossless The same curves may be used to illus-
of the difference and the present value transform, since the digital pre- and de- trate the clipping level for ordinary PCM
gives the next value. This process repeats. emphasis transmits the difference signal and our DPCM. At low frequencies,
You can use the table of numbers as an without any loss of information. The curve A shows that the DPCM is much
example to demonstrate that the recon- interesting property of difference encod- better than the PCM (curve B), but at
struction really works. ing is that peaks signal can become very high frequencies it is worse. Again, the
area under the two curves is the same
when viewed on a linear frequency scale.
These are only a few examples of how
the information in a digital audio sys-
I. ON LINE
tem can be transformed to allow the ca-
pacity of the system to be changed in one
area by giving up performance in another.
OVER SAMPLING
Z. ON BUDCET Another variation of these systems can

be created by increasing the sampling fre-
quency to a much higher value, e.g. 500
kHz instead of 50 kHz. In this case. all
3. ON TIME Three good reasons

audio signals may be considered as rela-
tively low frequencies. The higher sam-
pling rate means that the audio signal can
not change value very much in between
samples. At 500 kHz, the time between
samples is only 2 psec. In this short inter-
to skip the big guys val, all differences are extremely small.
This decreases the transmitted dynamic
and buy from range data to a very small value. Hence,
only a few bits are required to represent
Pro Audio Systems. the signal. This allows us to trade off the
number of words per second (increased)
for orders call: Figure 3. The same curves may be used to

1- 800 -426 -6600 compare analog (A) to digital (B) noise,
or, DPCM (A) to PCM (B) clipping level.
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for the number of bits per word (de- digital word since zero must use up either
creased). Of course, we require con- one of the positive values or one of the
verters to work at a much higher rate, but negative values. For ordinary PCM we Jf
the problem of anti -aliasing filters is do not notice this because there are so
made trivial since the sampling frequency many levels but there is in fact one more
is so high. negative value than positive value. Delta 1
The limiting case of such a system hap- modulation gives up the zero value since t 001 It
pens when the differences become so we need both a positive and a negative
small that the digital word reduces to one value.)
Figure 4. Block diagram for a delta
bit. This degenerate form of DPCM is FIGURE 4 shows how one would build modulation system.
called Delta Modulation. At each sam- a digital delta modulation system. The
ple, the difference is merely represented audio signal is used to create the one -bit
as higher or lower. Consider that this one word represented as x in the figure. This
bit represents the information +LSB or value is either +I or -1. The delay and
-LSB. (We cannot represent zero change summing network is just the simple inte-
since this would require more than one grator which we discussed before. The
bit. There is an inherent assymetry in the last value of y is added to the present x to
Figure 5. A simple low -pass filter will

smooth out the delta modulation system's
output (Y) to create a good representation
of the audio input signal.
create the next value y. They is compared

to the audio input. If the audio is larger
than y, the comparitor adds a +I differ-
ence in the integrator; if the audio is
smaller, it adds a -l. Since the integrator
in the encoder is identical to the integra-
tor in the decoder, the value of y' will be
the same as the value of y.
Since the value of y (or y) is being up-
dated continuously, it will tend to track
the audio signal. FIGURE 5 illustrates the
process. At ti, the value of t' is less than
the audio, so the comparitor adds 1. The
resulting value of y at 12 becomes larger
than the audio, so the comparitor sub-
tracts I. At 13, the comparitor adds I. At
14, y is again lower than the audio, so it
adds I again. The curve y will follow the
audio even though there are small steps.
The Only 14 Hz Digital The rough quality can be ignored since

a simple lowpass filter will smooth it out
to create a good representation of the
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EMT 251. About the same as the control can be patched up to 200 LSB.
Lexicon 224. Compare System 5 feet through a normal audio This is perhaps the most simple Aj D
with either of them. You'll see it's trunk line. System 5 is the only
the most advanced digital elec- one that gives you the option of converter possible since the digitization
tronic reverb system available, automated reverb addressable can be realized by a simple one -bit com-
with a dynamic range of 103 dB; from a tape or disk for reverb paritor costing 59 cents and there is essen-
a signal -to -noise of 83 dB; total changes on cue. tially no anti -alias filtering required since
THD of less than And, if System 5 is too much sys-
and a real
0.02%; tem for your needs, Quad- Eight, the sampling frequency is extremely high.
frequency re- the pioneer in digital reverb, Alas, however, there is no free lunch. In
sponse in excess has other reverb the next article we will discuss all the
of 14 kHz. systems to meet ways in which you can get indigestion
System 5 has your needs and
four individual re- budget, with from using a delta modulation system.
verb programs, four pre- prices as low as And as a finale, we will discuss various
sets. 16 equalization settings $1000. Call us di- forms of digestive aids. This form of en-
and the microprocessor control rect, now, to audi- coding justifies some considerations be-
which combine to give you infi- tion System 5 or any
Quad -Eight reverb cause of the extremely low cost.
nitely more settings than you'll
(213) 764 -1516 (In the meantime, for more on delta
Quad -Eight Electronics modulation, see "Digitizing Audio with
11929 Vose Street, North Hollywood, CA 91605 Delta Modulation" in the April, 1979
ç 1981 Quad -Eight Electronics issue of db -Ed.)
This is not the only
Büd 6
+iN!MT
e( z++r
Clsr - . 'T-'T- . - .
reason to
9_i1b'[i-:T-Tt._
. .
buyJ BL's
-
vOc r30 rrR ON RX r5

2.350.rORN/232140RPTOR
Zr
2. 1917
RrMS
.- lOdB
10
=a
.3
i111111 _LI
new 2441
I'rreymdi.:n/Jitgnencr response sJa t_t/rizr!
441 ore rr JR/, 3.5() bon/. compression driver.
As you can see from this frequency published in the Journal of the Audio driver, ask your JBI, professional
response curve, the new j131. 2441 Engineering Society,' this surround products dealer about the 2441. It'll
delivers impressive levels of perfor- is both stronger and more flexible deliver a lot more than just an
mance. From extended bandwidth to than conventional designs.This per- impressive frequency response.
high sensitivity and smooth, peak -free mits the diaphragm to combine all I. Patent Applied For
response. the traditional reliability and power
2 Journal of the Audio Engineering Society.
But as important as these perfor- capacity benefits of its aluminum 1980 October. Volume 28 Number 10. Reprints
mance parameters arc, they're only construction with the extended fre- available upon request.
part of the story. Using the latest laser quency response of more exotic metals.
holography and computer analysis It also maintains consistent diaphragm James B. Lansing Sound, Inc.
techniques, JBI. engineers have devel- control throughout the driver's 8500 Balboa Boulevard,
oped a unique diaphragm design that usable frequency range to eliminate Northridge, California 91329 U.S.A.
allows the 2441 to match its outstand- uncontrolled response peaks.
ing response with unprecedented Additionally, each 2441 is built
reliability and power capacitc.That to JBI:s exacting standards. The
means you get exceptionally high magnetic assembly is machined from
performance without the trade -offs rugged cast iron and steel. Extremely
found in previous driver designs. tight machining tolerances and hand
The secret behind this increased tolerance matching maintain unit
performance lies in the diaphragms to unit consistency. And finally, each
three-dimensional, diamond- pattern 2441 is individually tested to ensure
surround.' As outlined in a paper that it meets published specifications.
So before you buy any
compression
Specifications
lure .throat in nun _ in
1)iamrtcr
Nominal Ingred:met. lo
Power Capacity 7111% rontinuou. program
Scmitivitc 11 watt. III dli SI'i. Ion ask of a JB1
I timed - 341411° radial hurnl
Praqurucy Range i1N1 Ilz to IS k11z
Voice Coil )i:unrnr

I IINI nun 4 in
JR/,i diamond suspen-
\l:ucrial sion r/iap/UUKrn combiner
Voice Coil itdge,mund aluminum ribbon
per/Or/mince with re/M-
Phty Drn.ity Ls 'l' 1'smug gau..1
in/if v.
Professional
Products
JBL Division
Canada Through Goi MaFelmg Mntreal Ouciar.
Circle 18 on Rea( er
i Sound WithLEN FELDMAN
Images
Sights & Sounds
Another Summer CES has come and Those who subscribe to this argument type of non -standardization.
gone and, as usual, everyone 1 come in insist that the same player should be able A second argument in favor of the
contact with after this semi -annual event to handle both video discs and digital C -DAD has to do with its format and its
poses the same question: "What did you audio discs. physical configuration. To begin with.
see hear that was new and different?" Countering these arguments are the the Philips -Sony C-DAD is an optical -
In terms of product. very little! In terms co- inventors and co-developers of the laser tracking system. Thus. there is no
of trends. a great deal. Let's take a look C-DAD, Philips of Holland and Sony contact between the "pick -up" (in this
at the most important product displayed Corporation of Japan who, a couple of case, a semi -conductor laser) and the
at CES and see how it is likely to affect days before SCES, held a press confer- surface of the disc. That fact. plus the
both audio and video in the years ahead. ence in New York in which they revealed small size of the disc, suggests the possi-
The product is 12 centimeters in diameter details concerning the small digital audio bility of a new program source for car
and has been dubbed the C -DAD, or disc and their marketing plans for it. Their stereo systems which would not be
Compact Digital Audio Disc. presentations also highlighted several practical with larger discs or with discs
The small disc is a dedicated audio good reasons for favoring a dedicated that require physical contact between
disc, designed strictly for audio informa- audio disc. Not the least important of pickup and disc surface. such as the small
tion storage, and not as an offshoot of a these was a reminder that the world grooved digital audio disc developed
video disc system. Therein lies the employs three popular TV broadcast by Telefunken and now considered to
controversy between two growing camps. systems (NTSC. PAL and SECAM) and be out of the running.
There are those who maintain that the that if an audio digital disc were to be It is interesting to note that the three
consumer of the mid -eighties (that's
regardless of which format ultimately

-
when digital audio is likely to take off
tied to a video disc system, there would
then have to be three versions of each
digital audio disc -an inventory situa-
digital disc systems which have thus far
been proposed for audio applications
parallel the three types of video disc
dominates the scene) is not about to buy tion somewhat reminiscent of the short - systems which are either being offered
yet another turntable for video discs lived days of quadraphonic sound whose for sale now or will be offered in the
and a separate player for digital audio. demise is often attributed to that very very near future. The small, optical -
laser Sony -Philips system, of course.
uses the same pickup principle as the
Magnavox; MCA, Pioneer "Laservi-
sion" disc which has been available to
consumers for some time. The groove -
type disc developed by Telefunken of
NO OVERLOAD. West Germany, while not identical in
concept to the RCA Selectavision video
NO MATTER WHERE disc, does require a stylus riding in a

spiral groove. And, finally, the groove -
YOU USE I. less capacitance- pickup disc proposed

by JVC is completely analogous to that
company's video disc proposal which is
known as the VHD system (the audio
version is called AHD. for Audio High
In- studio or on- location Density).
from a whisper to the
roar of a full -blown rock CHARACTERISTICS OF
concert, nothing can THE COMPACT DIGITAL DISC
overload our MD 421. Digital quantization format for the
Nothing. C -DAD is I6 -bit linear, per channel and
a sampling rate of 44.1 kHz is used
high enough to insure ruler-flat response
out to 20 kHz. Its error correction
scheme is capable of correcting drop-outs
of as long as 3,548 bits, which corre-
sponds to about 2.4 millimeters of linear
travel of the optical pickup relative to
the spinning disc. Incidentally, C -DAD
revolves at a variable rate--approxi-
mately 200 rpm near the outer circum-
ference and about 500 rpm at the inner-
SENNHEISER
ELECTRONIC CORPORATION
most point (50 millimeters from the
center of the disc). Play is from inner
st 37th Street. New York, NY 10018 circumference to outside and rotation is
(212) 239 -0190 counterclockwise. Playing time of the
Manufacturing Plant BissentlortlHannover. West Germany
1980. Sennheiser Electronic Corporation (N.Y.) disc is 60 minutes per side, in stereo.
and it would be possible to record four
Buy this 8-track system now
and get $1200 worth of options

free.
We've put together an two Model 301 input
8 -track system that's hard modules, one Model
to beat, then thrown in your 304 talkback module
favorite options to make it and one VSK -88 variable
hard to resist. speed kit -the options
The system starts with you'd most likely want to
the new TASCAM M -15SL fkoi buy anyway. For $1200.
mixing console. It's not But if you purchase the sys-
only extraordinarily flexible tem by September 30,1981,
to work with, but flexible they're yours free
enough to grow from So ask your TASCAM
8x8x8to24x8x 16 dealer about our M -15SL
within the same chassis. and 80 -8 package right
Add to that our 80 -8 away. Or you can wait
recorder/reproducer, the L-, until the offer is over.
u
new standard of the It's your option.
industry. More pros have
chosen it than any other TASCAM
Production Products
TEAC
SER EIS
8 -track machine ever built.

Now the free stuff. Offer limited to current Inventories Installation is required for
the V5K-88 Proof of purchase and claims for promotional merchandise
must be postmarked before October 10. 1981
With this system comes 1981 TEAC Corporation of America. 7733 Telegraph Road Montebello. CA 90640
V
Circle 28 on Reader Service ('ard
instantaneous amplitudes of the wave- INTRODUCTION
form that has been recorded. A semi- AND TRANSITION
conductor laser beam picks up the From what I was able to learn about
pattern of pits and flats using a concen- marketing plans for the C -DAD. we in
trated light beam which is many times the United States are not likely to see
thinner than a human hair. Scanning is at players until early 1983. Both Sony and
a rate of around 4.3 million bits per Philips plan to introduce players in their
second. With no physical contact own domestic markets (Philips in
between the laser pickup and the disc. Europe. Sony in Japan) in the fall of
there is no record wear. even with 1982. and these introductions will be
repeated playings. accompanied by the introduction of a
In addition to encoded audio informa- wide variety of software (by Polygram
Prototype digital disc players by Sony tion. it is possible to record a great deal in Europe. CBS, Sony in Japan. and
(left) and Philips, exhibited at recently held of non -audio data onto the disc. For possibly other record companies who will
Summer CES in Chicago. Disc itself has example, in demonstrations that wit-
about 1 /6th the area of conventional
1
climb aboard the C -DAD bandwagon
nessed at SCES. the selection number. in the interim). In view of the long delay
LP disc shown behind it, but plays
for one full hour per side. remaining playing time and the like before we see these new discs and players
were all displayed on a screen, as picked offered for sale, why did Sony and
up and decoded from the demonstration Philips choose this time to announce
channels of information on a side with discs themselves. Future discs might well and demonstrate this remarkably supe-
playing time cut in half. It is also possible contain song titles and much more. rior audio technology:' Most experts
to "sandwich" two active sides together depending upon how sophisticated and agree that the early announcement was
to form a double -sided disc, but present how costly the disc players are made. designed to forestall any further debate
indications are that the software com- As for the audio performance of the about "which system" should become the
panies who have already opted for the disc itself, we have already noted that world standard. At SCES. Marantz
system will probably offer one -sided frequency response extends from 20 Hz surprised visitors with their own proto-
discs, initially at least. to 20 kHz. Signal-to-noise and dynamic type digital disc player. Additional
An hour -long C -DAD recording range are both better than 90 dB. Stereo companies have announced in favor of
would contain up to six billion bits of separation is also in excess of 90 dB. the Compact DAD. including Matsu-
information in the form of tiny "pits" while harmonic distortion. referred to shita Electric (whose familiar brand
along a helical track. Each pit is about peak signal level. is less than 0.05 percent. names include Panasonic, Technics and
0.6 microns in width and about 0.2 There is no measurable wow- and -flutter. Quasar). a surprising development when
microns deep. These pits, and the flat since rotational speed is synchronized one recalls the corporate interrelation-
areas between them, represent the "I s- with a clock generator inside the player ship between Matsushita and JVC. the
and "Os" of the required binary language and is itself governed by information inventors of the competing AHI) VHD
encoding which in turn represent the contained in the track of the disc. Capacitance Pickup system. Still. there is
always a certain amount of risk involved
in announcing a radical new technolog-
ical breakthrough well ahead of its
commercial introduction. Some main-
use of carts makes tape noise
FIGHTIncreased
tain that the recording industry. already
reduction more critical than ever in your suffering from a downturn. will be hurt
ftghttostaycompetitive .WithdbxTypeII
C LEAN Noise Reduction,to you
further by the publicity garnered for the
have an affordable ff new digital discs. as uninformed con-
get u're quality sound sumers reduce purchases of conventional
AND 1AII'u11ì «hether

vhe yoti re into classical
music or drive -time rock. Our
anle,
software in anticipation of the new discs
and players.
260 *
new Model 941 offers tw o
the new Model 92 two channels
Combine them for simultaneous encode decode. Get up to 16
of encod
of decode.
chnes Those recording studios that have
amassed digital tape masters will prob-
ably find themselves in a fortunate
position since the digital tape masters
channels in one 51/4" high rack mount frame. Broadcast noise they are now using to produce "audio-
reduction is the latest addition to the dbx 900 Series modular phile" type discs will also serve to create
signal processors. All interchangeable, all compatible. See your the true digital disc catalogs of the future.
dbx Pro dealer, or write for complete technical information. Those studios with vast libraries of
'Manufacturer',, suggested retail price. Model 941. Model 942. $270. analog master tapes may find little or no
use for them when the world "goes
db « db.
digital" in a few years. But as for the
fears about the obsolescence of the con-
ventional vinyl disc,
if Ì 1 think that such
fears are over -exaggerated. The digital
E O disc will make its way into homes
slowly, I feel. and the analog LP discs
which have been sold by the billions are
not about to be discarded overnight, or
even over a span of ten or more years.
Model 941 Encoder and d del 942 Decoder I'm not saying that they will never be-
come collectors' items -only that it's a
dbx, Incorporated. Professional Products Division, bit early to discard our collections of
71 Chapel St., Newton, Mass. 02195 U.S.A.
Tel. (617) 964 -3210. Telex: 92 -2522. Distributed in
Canada by BSR (Canada) Ltd., Rexdale, Ontario. dbx a
I2 -inch LPs before we see which way
the digital disc is really going to go
and how soon it's going to get there.

Electro -Voice EVM'" Series loudspeakers I I
represent the ultimate in maximum efficiency,

low- frequency speaker design. Years of expe-
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in a series of loudspeakers that are ideally
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quality musical instrument and sound rein-
forcement systems. -
Series II speakers incorporate many unique

and innovative refinements that result in a loud-
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All EVM's are conservatively rated at 200 continuous
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substantially more stringent than the more common con-
tinuous or "RMS" sine wave test, because it provides
not only a 200 -watt long -term stress (heat) but also
duplicates mechanically demanding short duration pro-
gram peaks of up to 800 watts which can destroy speaker
cones and suspension parts.
EVM's are the ideal speaker for vented and horn -type
enclosures.They are also featured in Electro- Voice's
TL line of optimally- vented low- frequency systems.TL
enclosure builder's plans are also available for custom
construction, and each EVM data sheet contains the
Thiele /Small parameters which allow you to predict
the large and small signal performance in vented boxes.
For these and other reasons, not the least of which is
an unmatched record of reliability, EVM's have been
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EVM -by Electro-Voice.
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Circle . 'ice-Card
NORMAN H CROWHURST
4441lheory & Practice
Dimensions and Progress

When you're climbing a mountain, and quanti/e their observations on elec- current electricity? One would think so,
don't have a map or a trail to follow, it tricity and magnetism. but finding out in what way required
helps to find a spot where you can see There were forces which provided some kind of breakthrough: progress in
how you have gotten as far as you have, the first means of quantizing the phe- knowledge.
as a basis for determining how to proceed nomena. Bodies with electrical charges Measurements were made to find out
higher. So, pursuing the line we started attracted or repelled one another: that how charges of static electricity behaved,
in our previous column on the impor- was force. Bodies that were magnetized how magnetism behaved, and how
tance of basics, let us see how the whole also attracted or repelled one another. current electricity was related to magnet-
business got started, from "sea level" so And by this time, experimenters had ism. Both electrical charges and mag-
to speak. found that electrical currents interacted netized bodies exhibited forces, one
For centuries, long before anyone in a way similar to the current in a toward another, dependent on the
thought about telephones, microphones, magnetic field. magnitude of both; doubling either one
or even the telegraph, observers noted So we had what was called "static doubled the force. Without two charges,
that electrical phenomena were of two electricity," with properties somewhat or two magnetized bodies, there was no
major forms: electricity and magnetism. similar, but apparently unrelated, to force; one charge, or one magnetized
Much earlier, men like Sir Isaac Newton magnetism, and "current electricity," body, produced no force.
had quantized mechanical things like which was quite different from magnet- Now, Newton had put dimensions on
mass and force. But it was a long time ism, but apparently related to it in some force. Force is measured as mass multi-
before experimenters found a way to way. But, was static electricity related to plied by the acceleration the force will
Dolby Noise Reduction

is in use everyday, everywhere.
Wherever you or your tapes go -for recording, mixdown or disc
-
cutting it is almost certain Dolby noise reduction will be
-
there to do its job ensuring reduced hiss, crosstalk and
print-through in your recordings.
You can rely on

the Dolby system.
DO Dolby 731 Sansome Street

San Francisco CA 94111
346 Clapham Road
London SW9
Telephone (415) 392 -0300 Telephone 01 -720 1111
Dolby Laboratories Inc Telex 919109
Dolby and the double -D symbol are
Telex 34409
trade marks of Dolby Laboratories
N
When he was only 16, Mick built a amount of work. It took a little while to get
studio in his basement, which later became out of that. So had to give away a lot of time
I
PCI Recording of Rochester, New York. In to prove it"

1971, he met another Rochester resident
named Chuck Mangione. The two have ON HONESTY
worked together ever since. Mick spent a "I don't like second -guessing. mean,
I
year at Act One Studios in Buffalo, then 'Yes, well, will the public like this? Will they
returned to PCI, before his association with love this ?' cant tell. And think that really
I I
Mangione brought him to L.A. in 1975. Since few producers really can tell in advance if
then, he's been an independent engineer, the public is going to love the record or not.
working with people like Peter Mclan, Cher Ithink the best thing you can do from
and Lani Hall. everybody's standpoint-artist, producer,
musicians -make an honest record that
ON GEOGRAPHY everybody involved with loves"
The difference used to be that there
were different players, different producers, ON SPECIAL EFFECTS
different artists recording in different cities. "I really haven't heard anything new
The records out of New York were a little for quite a while. think that was mostly all
I
more hard -hitting, energetic kind of records. explored by George Martin and the Beatles
The records that came out of L.A. were a in the '60s. Now, it's refinements on that,
little smoother. Stylistically, there was a putting different things together, you know.
difference. Now, they're moving around, Idon't think that have heard a new effect
I
recording different parts of albums in in years -a new specific sound"

different places. can't tell anymore. Half the
I
time, see a lot of the people know from

I I
ON TAPE
rhythm sections in New York out here. And "3M's new formulations came out first,
when 've been in New York, 've seen a
I I
usually. As a matter of fact, know that,
I
lot of friends from out here there. So you can because 206 came out before 406 did. 250
very easily be fooled into thinking something came out before 456 did. 3M's been a leader
is done where it isn't:' with new formulations on tape.... think 3M
I
is ahead. The difference in audio is minimal.

ON STEREOTYPING The difference in durability is great. After
"The first year I was here, had to work I several hundred passes through the
on a lot of demos for people for practically machine, 250 still has more oxide left on it,
nothing to demonstrate that I could record which is a big advantage. I'm not plugging
something else besides what Chuck did, the tape to get the ad. really am using it,
I
because that would give me a very limited finding it more rugged. That's my main point:'
SCOTCH 250 RECORDING TAPE
WHEN YOU LISTEN FOR A LIVING.
"Scotch" is a registered trademark of 3M. Magnetic A/V Products.Division
Circle 22 on Reader .S
produce in that amount of mass. (Mass is force, due to two charges or magnets
a scientific word for weight, but differ- acting on one another, the measure of
This publication ent in that weight depends on gravity,
whereas mass is a measure of the amount
the combined effect of the charges is L' x
MLT, or ML' r'.
is available of matter upon which gravity acts, to Next, since that is the effect of two such
manifest itself as weight.) charges or magnets, and is proportional
in microform. Thus, one pound of weight is a mea- to the product of them, we take the
sure of force, as well as of weight, be- square root of that expression to arrive
cause it represents the force that would at what each charge, or each magnet,
accelerate one pound, at the rate gravity contributes to the overall force. That
would make it fall, if free to do so, which way, if there is only one charge, or only
is an acceleration of approximately 32 one magnet, there is no force, because it
feet -per- second -per- second. Accelera- is something multiplied by nothing. So
tion is the rate of change of velocity. the dimension of a charge, or of a
Velocity is measured as distance-per- magnet's strength, is M -L''T-'.
unit time: feet -per- second, or miles -per- The early experimenters found out
hour. Therefore, acceleration is the rate that current is a rate of change of charge,
at which those feet -per- second, or miles - or a charge in motion, and that currents
per -hour, are changing; per second, per interacting produce forces like mag-
minute, or in whatever unit of time you netism. This leads us into two definitions
University Microfilms choose. of current, according to which phenom-
International So, acceleration has the dimensions enon we use to measure it.
of distance divided by time squared. In the first case (a rate of change of
This may be written as L/ f, or if you charge), we simply divide charge by time,
300 North Zeeb Road prefer, LT'. Now force is measured as making the dimension for current
Dept. P R. mass (M), times the acceleration which M' 'L' T'. In the case of magnetism,
Ann Arbor, Mi. 48106 that force will produce in that mass, or. the force produced in a magnetic field is
U.S.A. force = MLT'' proportional to the length of current -
As we said, such force between carrying wire exposed to the field. There-
30 -32 Mortimer Street charged or magnetized bodies is only fore, current has a reciprocal dimension
Dept. P.R. present when both of them are charged of length, for the length of current- carry-
London WIN 7RA or magnetized. And another observation ing wire in the stated field. So using this
England shows that the force is inversely propor- definition for current, its dimension is
tional to the square of the distance
separating the charges, or the magnets. So we have two dimensional defini-
Taking this into account, given a known tions for current. Now, if a wire carrying
a current is moved in a magnetic field, a
voltage is produced. This means that if
we use the elctromagnetic definition for
current, and multiply that by a velocity,
L\ T, or LT ', we have the electro-
magnetic definition for voltage, which
thus is M "L "T'.
Now, in terms of static electricity,
when the distance between two charges
is changed, the voltage and the force
change, being proportional to distance.
Cassette or So the electrostatic definition of voltage
Open Reel is M' = L, which reduces to
M "L "T '.
Duplicating Now we get to something more
System familiar to audio folks: resistance or
impedance, the dimensions for which are
voltage divided by current. Using the
electromagnetic definitions for each, the
dimensions for a resistance or impedance
PENTAGON'S TOUGHEST CUSTOMER... come down to L, T, or a velocity. And
using the static definitions, the definition
THE FBI SELECTED THE 1100 for resistance or impedance comes down
After careful evaluation of the capabili- Expands to produce 4500 (30 to T. L, or the reciprocal of a velocity.
ties and performance of the 1100 Series minute) cassette or reel copies per
duplicating system, the FBI chose it over day. So far, we've talked about dimension
all competition. In the past three years -length. mass, time -without regard
tney have added to operating units and to units. The time used in experiments
purchased several additional combina-
tion reel and cassette master systems. has always been the second. Length can
Law enforcement agencies can easily
duplicate "Nagra SN Master Tapes" on
optional 1100 systems.
1) PENTAGON° be measured in various units. but the
scientific unit is the meter. One of the
difficulties in measurement was the fact
Some great features: Lighted push button con - World Headquarters that voltages in static electricity experi-
trols End-of -tape sensing Synchronous drive 4751 North Olcott
Die-cast "Stabilign" head mounts Track
ments could be millions of times as big
Chicago, ILL 60656
select Automatic rewind on masters Auto- (312) 867-9200
as those in current electricity, while
matic cue Accutrack metering Exclusive currents in the latter could be millions
patented braking system Individual channel Toll Free 1- 800 -621 -3867
controls Designed to protect master tapes. Tlx 25 -3058 of times as big as those in static elec-
N tricity. That was why it was so difficult
!V
P
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combines recording studio quality
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- 1. ' -
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nel 2. developed this . in o . mixing broadcast or post -production, our Auditronics 720
console to give us all the EQ, reverb and signal processing need does everything we want it to do, and does it very
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For example, our Auditronics 720 preamp design is the lates Auditronics broadcast consoles, circle reader service
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720 has the flexibility to do all the necessary mixing signal
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Circle 19 on Reader Senice Card
to interrelate the effects. the re- radiated wave cancels the original
By the time very careful experimenta- wave. But in front of it, the returning,
tion had enabled quantizing to be re- radiated wave, will be in phase with
performed with both methods of mea- the arriving wave, a quarter wavelength
surement, it was found that the same nearer the source so that a receiving di-
resistance or impedance, measured in pole placed there will receive twice as
meter -gram-second units, had a value in much signal as the direct wave brings.
static terms that had to be multiplied by Synchronous reflectors occur in sound
9 times 10" to arrive at its value in devices such as organ pipes. Sound trav-
electromagnetic terms. Now, since one els along pipes and, before the invention
has the dimensions of a velocity, and the of the telephone, this effect was used in
other the dimensions of the reciprocal the speaking tube. An organ pipe is a sort
of a velocity, that ratio must be the of speaking tube with either an open or
square of a velocity, making the velocity closed end. When an arriving wave en-
3 times 10" meters per second. counters an open end, the velocity of the
Experiments in astronomy had already air particular doubles and the sound
established that light travels at a little pressure virtually disappears, resulting
over 186,000 miles per second, which is in a wave reflected back along the pipe.
very close to 300,000,000 meters per When the arriving wave encounters a
second. Could it be that light was a form closed end, velocity is totally obstructed,
of electromagnetic waves, and that other so the pressure doubles up to compensate
waves of the same form could be gener- for the enforced zero velocity, and again
ated by electromagnetic means? That was a wave is reflected back along the pipe.
what prompted experiments by Hertz, With the open pipe end there is a pres-
Marconi and others that eventually led sure null at the open end, and at half-wave
to the invention of radio. intervals, of whatever frequency builds
Further experiments, in the course of up in the pipe, back along the pipe. With
time, led to the development of polarized the closed end, there is a pressure null at a
waves, synchronous reflectors using quarter-wave distance from the end, and
Send For Your Free then at half-wave intervals back from
Copy Of Our Catalog dipoles, waveguides of various types, and
so forth: a whole new technology. The that.
SESCOM, INC.
5E5
COM P.,r46,a91 saM perwar
002)364-0993
(800) 631-3157
new technology is based on an under-
standing of electromagnetic waves in
Pipes will sustain a family of fre-
quencies, having wavelengths that are,
i L, vqY Bad. NaVi
i i 1 TVA 910-397-6996
LuVy. NV 89101 U.51. space, rather than on electricity and in the case of the open -ended pipe, a
magnetism in conducting, insulating and multiple of twice the length of the pipe.
Circle 29 on Reader Service Card magnetic substances. In the case of the closed pipe, the family
Electromagnetic radiation is one form, of frequencies sustained will be such that
4k.idio
for
Ta p
professionals
1 consisting of two interacting elements
of the wave, one electric, one magnetic,
each in directions mutually at right
angles to the direction in which the wave
is propagating. These are called transverse
the pipe is always an odd number of
quarter-wavelengths long.
Notice somewhat of a similarity be-
tween electromagnetic waves and acous-
tic waves. Electromagnetic waves have
waves. Acoustic waves, responsible for two mutually self-sustaining elements:
transmitting sound, are longitudinal. the electric and the magnetic. Acoustic
That is, the air particles vibrate back and waves similarly have pressure and
forth along the same direction that the particle velocity, or movement. In elec-
wave propagates in, rather than at right tromagnetic waves, the elements "move"
angles to it. mutually at right angles to the direction
But both forms of radiation are waves, of propagation. In acoustic waves, the
aren't they? They can transmit over fluctuation occurs along the direction
distances that are relatively large (in of propagation.
terms of the dimensions used for each) The electric and magnetic fields that
because of mutually- sustaining proper- make up those waves have a direction at
ties that depend on their oscillatory right angles to the direction in which they
nature: the fact that they have charac- are mutually propagated. On the other
REEL TO REEL TAPE teristic frequencies. They don't work in hand, the pressure in an acoustic wave
Ampex, 3M. All grades. steady (dc) state, only when the quanti- can only fluctuate, at a given point: it
On reels or hubs. ties that vary, do so at some appropriate has no direction, although the fluctua-
CASSETTES, C- 10 -C -90 frequency. So, although electromagnetic tion can move in a direction. The particle
With Agfa, TDK tape. waves are transverse, and acoustic waves velocity has a direction in which individ-
are longitudinal, there should be some ual particles move, at a given instant and
LEADER & SPLICING TAPE correspondences between them, shouldn't place, as well as a direction in which that
EMPTY REELS & BOXES there? component of the wave travels.
All widths, sizes. In fact there are quite a few, if we will When the wave is truly longitudinal,
take the trouble to recognize them. For which is the natural state for acoustic
Competitive! electromagnetic waves, an electric dipole waves, the particle velocity is back and
Shipped from Stock! serves as a reflector because it "shorts forth along the direction of propagation.
out" the electric component, doubling But this is not always true, and the fact
Ask for our recording supplies catalog
up the magnetic component. This means that acoustic waves are more complex
Poly Corp. 312/298-5300 it re- radiates a wave in exactly opposite than simply longitudinal, accounts for
233 Rand Rd. Des Plaines, IL 60016 phase to the one causing those short- many of the effects used in acoustics
15 circuit currents. Behind the dipole (from that audio people need to be aware of.
N the direction in which the wave arrives), We will continue this next month.
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Editortal
PEAKING OF CONVENTIONS (as in last month's help raise the technical standards of the papers; with one
editiorial), it seemed for a time as though SPARS less convention each year, session chairmen may be more
(the Society of Professional Audio Recording selective in choosing papers.)
Studios) was ready to take up any possible slack But the industry has other needs besides getting its
in the convention circuit. For just as the AES announced quota of technical papers. There's a lot of high -tech-
its convention- cutback program, SPARS began pub- nology out there that needs to be presented to the work-
licizing its Conference '81, to be held in Nashville, ing studio engineer. It doesn't have to be spoon -fed.
Tennessee (about time someone woke up and discovered but neither can many of us digest the technical content
Music City, USA). A SPARS press release noted that found in some of the more -advanced work.
"Exhibitors will have the opportunity to 'openly sell' Here's where SPARS (and db!) can come in handy. Via
...to recording studio owners." "road shows" (and feature articles), the technology can
It occurred to some observers (or at least it did to us) be presented in a format that makes it accessible to the
that an aggressive SPARS "selling show" could really working audio pro'. It might not be as much fun as
gain a foothold among manufacturers. Given the right watching (or reading about) a recording studio "heavy-
conditions. a selling show geared specifically towards weight" describing his life behind the big board. but. if
the industry's "big spenders" could prove almost irresist- you're trying to cope with an increasingly-complex
ible to manufacturers. industry, what would you rather have from us- amuse-
But just as these words are coming off the typewriter, ment or education? Here at db, we're betting you'd
along comes word that SPARS has cancelled its 1981 choose the latter.
convention. in response to "... growing industry -wide In this month's issue, John Hoge's feature article is a
opinion that the industry is 'over- conventioned.- Well, typical example of what we mean. There's probably
so much for our editorial on the timeliness of a selling more math here than many readers want to see (or so our
show. typesetter assures us). Yet it's not of a kind that will
As an alternative, SPARS now plans a series of -road present an impossible roadblock to any serious reader.
shows." At press time, details are still sketchy, but if our How many of you will lightly skim through the article
suspicions are correct, it could be that SPARS is having and then rush out to design your own speaker system?
its own troubles trying to cope with the realities of the Probably very few. But. how many will take the time to
industry today. wade through the equations and come out with a better
It's easy enough to blame all of this on the sad eco- understanding of your own studio's system?
nomic state of the nation, the plight of the recording We hope that's where most of you are at today. And
industry, and various other malevolent forces that cannot we'll even bet that many of you would go so far as to
be traced back to our own doorsteps. But we also suspect support a "road show" that brings today's technology a
that even in the healthiest of times, we do not need an little closer to home. Although we'd like to think that
endless sequence of conventions, punctuated by road db contains everything you really need to know (come
shows and panel discussions in which blue- ribbon panels to think of it, that's what the publisher tells our adver-
of experts sit around all night saying nothing in particular. tisers), in our more realistic moments we remember the
Maybe a tight economy will force all of us -the AES, value of attending all those conventions (and a few "road
SPARS, and even (gasp!) db -into a more -critical shows ") over the past many years. We suspect that a
evaluation of the real needs of our industry. strong "selling show" coupled with a sequence of intense
We'd like to think that here at db we have all the workshops at the studio -operator level would meet with
answers, but as it turns out, were having trouble enough wide industry support. What do you think?
trying to figure out what the questions are. P.S. After a brief absence, our "Sound With Images"
For example, on the subject of "road shows," just what column is back this month, with noted columnist Len
does the industry really want? Or, should we ask, just Feldman presiding. Len will keep us up -to-date on what's
what does the industry really need? (It might not be the going on these days, as more and more image makers
same thing.) discover the creative potential of high-quality audio.
The AES does an admirable job of presenting technical However, we'll continue to remember that we're nor a
papers at its own road shows. We'd suspect the industry video magazine. In other words, Len's column will
neither wants nor needs more of the same from others. remain "SOUND With Images," not "IMAGES! (with
(As an aside, the AES' convention cutback may even sound)."
DEAN AUSTIN
Time-Aligned
Loudspeakers Revisited
The ceramic magnet comes of age in professional monitor systems.
ACK IN THE -DARK AGES" (about four years ago), before all- ceramic system. It is well known that Alnico magnets are
we had come to accept double -digit inflation and the subject to self-demagnetization when driven at very high
prime rate as a fact of daily life, there appeared a small levels of current through the voice coil (what ?... in a recording
dark cloud on the horizon, known in the loudspeaker studio?), whereas ceramic magnets are not so adversely affected
world as a "scarcity of cobalt for making Alnico magnets.° by high drive levels.
Without going into the political; economic reasons behind this As soon as engineering prototypes of the new custom -
scarcity, it actually did exist, and as a result the price of Alnico designed ceramic -magnet duplex loudspeaker were delivered.
magnets was increasing at a rate that probably eclipsed even the fun began. The design objectives for our new model
the price rise of crude oil. Of course. we had seen the production 813A were the same as those for the original 813 project:
of consumer loudspeakers with ceramic magnets increasing I. flat frequency response (40 Hz to 16 kHz).
steadily for about two decades, but in the field of professional 2. improved efficiency.
studio monitors, the conversion and subsequent acceptance is 3. optimum damping.
much more recent. 4. low distortion.
5. time -alignment® of low- and high -frequency drivers.
A CERAMIC -MAGNET DUPLEX LOUDSPEAKER
In the final design of the 813A, it was again possible to meet
At t REI, one of the earliest changes that occurred in the all of these objectives. In fact. system efficiency is almost
design of our 813 studio monitor system was made when the 11/2 dB better in the piston band than the 813: another bonus
manufacturer of the auxiliary woofer (UREI 800W) sent us provided by the ceramic magnets on the drivers.
engineering prototypes of ceramic units for comparison with As it turned out, most of the design effort was required to
the Alnico magnet versions which were used for our initial meet the first objective, with particular attention to that portion
production runs. After evaluating several samples of a ceramic- of the spectrum in the crossover region. (The development
magnet replacement loudspeaker, and working towards of the 813 enclosure, design considerations for the low and
improved sensitivity, a new ceramic- magnet 800W was lower -mid frequency system response. and details of the time -
procured that was completely interchangeable with the original alignment technique were covered in the author's "Time-
version. But knowing that it would not be nearly so simple to
Aligned Loudspeaker Systems" in the March. 1979 issue of
change our Altec 604-8G duplex loudspeaker to ceramic
db - Editor.) "Time- align" and its derivatives are registered
magnets, we sincerely hoped that it would be manufactured
trademarks of, and licensed by. E. M. Long Associates and the
forever. use of this terminology is licensed to U R El for use in connection
Eventually, the cobalt situation became so tenuous that with its products.
Altec informed us that a new ceramic- magnet duplex loud-
The tight bass sound has become one of the trademarks of the
speaker was indeed under development and a timetable should
800 -series monitors. In the on -going 813A project, it was
be established for converting our 800 -family of monitor
possible to effect some significant improvement in the damping
systems. There was at least one positive aspect to the use of an
at the low frequencies when measured by the tone -burst
method. The correlation between tone -burst testing and
subjective listening tests is most remarkable. The physical and
mechanical changes required by the redesign, to accommodate
the pancake- shaped ceramic magnet, produced some advan-
tages through serendipity, but, conversely, created the need for
other complementary modifictions in order to maintain
smooth power response through the crossover region.
!)earl Austin is the president of facilities & planning. The power response of the ceramic low -frequency driver is
United Recording Corp. indeed smoother in the 500 Hz to 1000 Hz region than the IU
v
i
IIII iiii
I I
II
I
/o"
On Off Off On Off
Figure 1. A tone burst at 2.3 kHz propagated through a Figure 2. The same tone burst. after modifications were
horn with no buffer. made to the horn.
original Alnico unit. However, the throat length and the tone burst at 2.3 kHz. propagated through a horn with no
diameter of the throat were considerably less than in the "buffer" at the transition boundary into the air. The burst is on
original 604-8G version. This required lengthening the horn for eight cycles and then off for eight, and the "ringing" which
and increasing the mouth area without producing a greater takes place when the burst is shut off is very evident. Also,
"shadow" effect, caused by the increased size of the high- there is a delay effect which causes the burst to build up
frequency horn. gradually over the entire eight cycles. reaching a steady -state
When it became apparent that most of the system engineering condition just as the burst is shut off again. As previously
would be directed at the frequency spectrum above 1000 Hz, mentioned, work had been under way, before the change in
it was obvious that tests would be speeded up considerably by duplex loudspeakers occurred. to devise some kind of a
working in a small anechoic chamber instead of the "free- space" "diffraction buffer" which would reduce these transient distor-
test tower used for the 813 project. Not having an anechoic tions. This buffer would ideally be composed of a material with
chamber at hand, consideration was given to constructing one. an optimized absorption coefficient. thus providing an
At the May. 1980 Audio Engineering Society Convention in "acoustic buffer" to match the reflective horn walls to the
Los Angeles. UREI demonstrated the 800 -series monitors absorptive air. Measurement and experimentation with various
in one of the hotel rooms. In an effort to make the room sound materials led to the conclusion that a material with the proper
something like a typical control room. Alpha Audio made absorption coefficients and optimum shape, would effect
available to us some sheets of their new Sonex sound absorbing substantial improvement in performance. Since the horn
acoustic panels. The absorption of this material is very close to length needed to be increased slightly, the diffraction buffer
100 percent in the audio frequency range above 1000 Hz. could accomplish both tasks with one piece of material. Con-
So. for a loudspeaker test facility, a small chamber was considerable previous testing had established that a tear -drop
structed by hanging 4 -inch thick Sonex panels in a cubical shape worked well, so it was only necessary to determine the
framework and cutting a circular hole in one side to admit the optimum dimension to properly load the high frequency driver
test speaker, which was supported on a stand outside the down to the desired crossover frequency, and provide the
"chamber.- The test microphone was hung at a distance of one desired buffering effect. Since the horn mouth is of two dis-
meter from the speaker and we were in business. similar materials, the increase in length required is not directly
proportional to the crossover frequency change, but was
THERAPY FOR SOUND WAVES TRAUMA determined by measurement.
It is an inescapable physical phenomenon that, with a short As a result of testing up to this point, and from a study of
horn loading a high -frequency driver, such as is the case for all available literature, it was believed that some transient distor-
duplex loudspeakers with crossovers in the 1500 -to -2000 Hz tion is introduced in a rectangular horn by multiple reflections
region, the transition which takes place at the end of the horn along the junctions between its horizontal and vertical walls.
can be a traumatic experience for sound waves. The high- One solution to this would be the use of a circular horn. But
frequency audio waves travel through the throat of the driver
after leaving the diaphragm, then propagate out through the Figure 4. The modified horn, showing the diffraction
horn, whose boundaries are almost 100 percent reflective. buffer, absorption material and slot configuration.
Then, they are suddenly dumped into the air. FIGURE I shows a
Corner
Diffraction absorption
Figure 3. Amplitude- versus -frequency response of the buffer material
plastic horn.
With
modifications\
Without
modification, _
CO
N
t. 'lc
l'rcquen.)
s , -,+z;--C-.
speaker there is some "shadowing" of the sound waves radiated
near the center of the low frequency cone by the horn which is
concentrically mounted in front of the woofer cone. When the
horn is kept small enough, the effect is minimal, but with the
new 800H buffer-diffracted horn, the shadow became apparent.
Although the nondirectionality of low -frequency sounds makes
it difficult to detect any blockage of the sound waves, phase
differences occurring as the waves are diffracted around the
horn do affect the frequency and power response.
The solution was to cut some holes in the horn to let the
mid -frequency energy through. Considerable experimentation
was required to optimize this slot configuration, but the mid -
frequency response was restored to a flatness that defied
detecting any "shadow effect" by cutting four slots in the horn
as shown in FIGURE 4. The slots are approximately I cm-
by-4 cm in size and are spaced well away from the vertical axis
of the horn throat. By elongating the slots to a 4:1 aspect ratio,
with the narrow side perpendicular to the direction of travel
of the high frequency wave fronts, there was no measure
degradation of the high -frequency response of the horn.
Sufficient energy is radiated through the slots to eliminate
the shadow created by the increased size of the high -frequency
horn, which had resulted in the previously measured perturba-
tions.
The development of the high -frequency horn (patent applied
for) was the work of M. T. Putnam and the network for the 8I3A
was the responsibility of Mr. Dennis Fink. The design of the
8I3A is an excellent example of producing a synergistic solution
to a problem created by a change in design requirements, which
in this case was precipitated by the necessity to change to a
ceramic- magnet duplex loudspeaker. With the exception of the
necessary network changes, most of the work was done with
Figure 5. The completed UREI time -align 813A studio the high -frequency section of the system. Therefore, it was a
monitor system. The slots in the horn eliminate shadow relatively simple job to redesign the other members of the
effects caused by the horn's presence. 800- monitor family, the 81 I A small system, and the 8I5A dual -
auxiliary- woofer system.
in a control room environment. a rectangular horn with an

aspect ratio of about 2.5:1 gives much better concentration of
the energy where it is needed.
SYNERGY
I I of the synergy that often occurs
ere again came the benefit
GetAligned
Stay Aligned
when an engineering project attacks several aspects of an
overall design effort at once. In designing the high-frequency
driver for their new duplex loudspeaker, Altec found it neces-
sary to reduce the throat diameter to approximately seven -
eighths of an inch. Although the flange supplied was still
designed to mate with the custom UREI 800H horn, an imped-
with precisionSTL
ance mismatch occurred in the throat which created phase
shifts and consequently amplitude variations in the upper
magnetic test tapes
high -frequency response. The solution to these last two These dependable tapes are used by
problems was found by forming a piece of foam material to broadcasters, recording studios, equip-
fit inside the horn on its short vertical walls. Most of the surface ment manufacturers, governments and
of the material was covered with a highly reflective plastic
membrane, the rigidity and mass of which is sufficient to
educators throughout the world. Widest
provide a solid boundary at high frequencies. This did not variety...Alignment, Sweep, Pink Noise,
reduce the efficiency of the system, but the edges of the material Level Set, Azimuth and Flutter /Speed.
at the junctures of the walls in the horn absorb the corner Available on reels, in cartridges and in
reflections, eliminating that source of transient distortion, as cassettes Also, the Standard Tape
.
verified by our measurements. FIGURE 2 shows the result of a Manual & the Magnetic Tape Reproducer
tone burst applied to the high frequency section after all of
the above described modifications were made to the horn.
Calibrator.
FIGURE 3 shows an amplitude response plot of the high fre-
Phone for fast delivery or free cata log.
quency section with and without the modifications to the basic
plastic horn.
THE SHADOW APPEARS

Although we had benefited greatly from all of the pieces of
the puzzle falling into place up to this point, of course there
had to be some compensating difficulty created somewhere
§T1
STANDARD TAPE LABORATORY, INC.
along the line. Sure enough, it was found when the diffraction 26120 EDEN LANDING ROAD i. HAYWARD CAL if ()RNA 9,1545 ,4151186.3545
buffer was installed on the horn and a composite axial response L
of the duplex speaker was plotted. In any duplex -type loud-
Circle 2/ on Reader Service ('aril
SIDNEY L. SILVER
Digital Filters
in Audio Signal Processing
A guide to the practical aspects of digital filtering.
HE PRESENT TIME. the full impact of digital filtering they do analog types. Secondly. they can easily be designed
A TT
has not yet been felt by the audio industry. This has
been due. mainly. to the high implementation cost
and system complexity which, until recently, have
severely limited the application of digital filter techniques in
studio operations. However. recent advances in large -scale
with a frequency response closer to the ideal; that is, uniform
passband response and infinite attenuation in the stopband.
It is also possible to achieve extremely high Q values and steep
cut -off rates (even at very low frequencies) that are difficult
or even impossible to attain with conventional filters. With
integration have made it possible to implement digital filter digital filters, there is virtually no limit to the signal -to -noise
systems with just a few components, so that systems that ratios that can be realized. All that is required is to increase the
once required numerous circuit boards can now be easily resolution of data bits at the filter input. There are also no
constructed with a small number of ICs. Also, power con- impedance- matching problems and no insertion losses.
sumption has been drastically reduced in the new designs, and Probably the most important feature is their great flexibility.
many of the elements of the filter can now be placed on a For example, they can be easily modified by simple program
single LSI chip. changes, so that one filter unit provides many functions.
Digital filtering permits the efficient processing of analog Furthermore, using multiplexer techniques, digital filters can
data by transforming that data into a digital format before be time-shared with a substantial number of independent
extracting meaningful information from the pulse stream. inputs, yielding an even more useful channel -bandwidth
Although these filters are characterized differently from their capability.
analog counterparts. they are often required to perform Unfortunately, most of the available literature on digital
identical operations. In either case, circuit components in the filters treats the subject primarily in mathematical terms,
system function in such a way as to modify the frequency often based on idealized components. In this article, however,
composition of an audio signal in a predetermined manner. we shall restrict ourselves to the practical aspects of digital
However. for every problem encountered in the design of an filtering, and discuss its use as a signal- processing element
analog filter, there is an equivalent one in the digital case. In in audio work.
analog, or continuous filtering for example, frequency stabilite
depends upon the accuracy and matching of passive com- BASIC FILTER STRUCTURE
ponents. In digital processing, it depends mainly on the W hat is a digital filter? As yet, there is no universal agreement
accuracy of the sampling frequency. Other error sources that on a precise definition of the term. For our purposes, however,
must be dealt with in digital units are quantization noise it can be defined as a process or device which operates on a
arising from analog-to- digital conversion, and aliasing distor- coded sequence of binary digits produced by sampling a band -
tion caused by signal frequencies higher than half the sampling limited audio signal in time, and quantizing that signal in
frequency. amplitude, so as to produce a new sequence with altered
One may therefore ask: What are the advantages of using
digital filters in the audio field? And what properties do digital
filters have that make them superior in performance to equiva- Figure 1. Basic circuit of a simple first -order digital filter.
lent analog units? First of all, digital filters arc insensitive to
parameter drift; changes in temperature. voltage, and com-
ponent values do not adversely affect digital elements the way
Input o -O o Output
Delay
Sidney L. Si/ver is on the supervisory staff of the
Telecommunications Section of the United Nations.
where he is in charge of sound and recording.
Experience previously unattainable
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Discover the best sounding 12"
mid- frequency loudspeaker available.
Listen...and experience the TM -1201
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The Fulfillment Of especially designed for mid - frequency
applications, with a usable range of
Pure Mid-Frequency 200 to 3000 Hz. Ultra -low distortion,

smooth extended frequency response
and high power handling establish the
Performance Has TM -1201 as a hallmark in the
evolution of sound.
Yet To Evolve. Evolutionary in itself, with a lighter,

more rigid material than currently
used in the field, the polymer graphite
cone has true pistonic motion
throughout its specified range, with
none of the peaks and valleys
associated with cone break -up or
doubling. In addition, a high power 4"
voice coil with edgewound copper
conductors better utilizes the flux
within the magnetic gap to increase
acoustic conversion efficiency. A
corrugated cloth surround, for extreme
linearity in high power applications,
and a rugged 6 -spoke die -cast
aluminum frame assures both durable
and reliable performance.
Conquer the peaks and valleys of
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the TM -1201.
Until Now.
The evolution of sound

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ittoyi Audio
Technical
Devices
A division of U.S. Pioneer Electronics Corp
142 Redneck Ave., Moonachie, N.J. 07074
(201) 4408234 Telex: 133484 PIONERUSA MOON
Detailed specifications and performance

data available upon request.
frequency content. After the pulse stream is processed, the Input Output
filtered output may be left in its digital form for further
processing by a digital computer, or converted back into its
analog form. according to application.
To introduce the concept of digital filtering, let us consider
the simple first -order filter (6 dB, octave-slope) shown in
Ct
FIGURE I. Here the basic building blocks are an adder, a delay
line. and a multiplier. Note that there are none of the passive D I.t
components (resistors, capacitors, or coils) associated with
conventional analog filters. It can be seen that the filter output
is fed to the delay line whose output, in turn, is applied to
the multiplier. At the adder, the multiplier output is combined
with the input. In this operation, the multiplier and adder
comprise the arithmetic unit, or numerical calculator of the C4
filter. The delay unit, usually in the form of a shift register or
RAM (random- access memory), compares the data sampled CI C2 Ca C4
at a particular instant with the data sampled previously.
The delay length is equivalent to one sampling interval, and
we assume that the addition and multiplication operations
are instantaneous. Since feedback is used in its implementation,
the output of the filter is effectively derived from the present
Figure 2. A second -order recursive filter with a 12 dB -per-
input values and from past values of the input. In this process, octave slope. C1-C4 represent a set of filter coefficients.
data is extracted sequentially from the delay element and
passed to the multiplier which provides the scaling factor,
or filter coefficient, that determines the frequency response.
The scaling factor represents a digital number which, once
selected, defines the fixed characteristics of the filter.
The output of a digital filter may be expressed by a difference
equation which defines the output data value, y(nT), as a
function of the present input data value, x(nT), and any prior
input and output values. For a first-order filter, the general
equation is:
y(NT) = x(nT) + Cy(nT -T)
where n is the number of sampling intervals at a given time, T
is the period of sampling, and C is the scaling factor, or filter Output
coefficient.
MAJOR FILTER TYPES

There are many ways of designating digital filters, but all of
them fall into three main categories- recursive, transversal,
and lattice. Recursive filters, which will be discussed first, use
feedback in such a way that the filtered output is always an
explicit function of past and present input values. These units
are referred to in the literature as 11F (infinite impulse response
filters).
FIGURE 2 shows a second -order recursive filter comprising
two adders and four multipliers, with two shift registers serving
as the delay elements. These components provide sufficient C4
flexibility, so that by appropriate choice of scaling factors, the ('i C± C3 C4

filtering action can be made equivalent to virtually any cor-
responding analog type. Here the set of filter coefficients,
C, through C4 , are entered into a ROM (read -only memory),
and fed sequentially to their respective multipliers. By merely
Figure 3. A third -order recursive filter is derived by

placing a first -order and a second -order section in parallel.
Figure 4. Implementation of a fourth -order transversal
filter.
Random access in mory
HI ui o-- Delay I Delay Delay Delay
C± C4 Cs
r) Output
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Output The lattice type digital filter (FIGURE 5) is a relatively new
o
form which offers a compromise between recursive and
transversal units. It has greater stability than the recursive
filter, but requires less hardware than the transversal type.
However, it generally operates with larger coefficient sizes,
making it more difficult to program than the other configura-
tions. The full potential of lattice filters in audio applications
has vet to he explored.
TIME -VARYING FILTERS

In applications where more than one filter function is needed
in a short interval, it is sometimes required to manually vary the
frequency characteristics with time. Such filters are being used
in speech recognition experiments, where one can synthesize
Figure 5. A second -order lattice type digital filter. speech with different voice inflections by merely changing the
coefficients in the filter program. To operate a digital filter in a
time -variable mode, the scaling factors are made adjustable in
such a way as to control the filter parameters over the desired
changing these scaling factors, any of the classic filter functions range of frequencies and bandwidths. A second -order recursive
(Butterworth, Chebyshev, Bessell, elliptic, etc., in various filter of this type is depicted in FIGURE 6. The coefficients
modes of highpass, lowpass, bandpass, and bandstop) may be CI. and Cib together with C2. and C2b control the center
realized from the same filter unit. Also, by assembling any frequency, while C2, and C2b alone affect the bandwidth,
number of first -order and second -order filter sections in series, without shifting the center frequency. Using this approach,
parallel, or a combination of both, it is possible to synthesize a more complex filters can be assembled by increasing the
wide variety of higher-order filter functions. As an example. number of stages, so that the controlling parameters sweep
FIGURE 3 shows how a third -order filter can be implemented through a wider range.
by putting a first -order section and a second -order section in
parallel. ADAPTIVE FILTERS
In the transversal filter configuration. the output data values In situations where audio signals are obscured in a noisy
at any given instant depend upon the input values at that time environment, it is possible to extract those signals from the
and on the number of past inputs. Since there are no feedback noise in an adaptive manner, and hence optimize the signal -to-
elements employed, past inputs do not enter into the response. noise ratio. To accomplish this, the filter coefficients are
Transversal filters generate a finite impulse response and are continuously adjusted by an adaptation processor, enabling
therefore also termed FIR filters. FIGURE 4 illustrates a typical the filter to automatically track the noisy signals.
example of a fourth -order transversal filter requiring only a FIGURE 7 shows a commercially available adaptive digital
single adder and five multipliers, with a RAM (random- access filter system designed for application in voice intelligibility
memory) as the delay element. Clearly, the structure resembles enhancement where it is necessary to wring out correlated
that of a tapped delay line, each tap representing a fixed delay at noises. spectral distortion. acoustic resonances, reverberations,
uniform intervals related to the sampling time. and other signal convolutions. The 5 MHz filter speed of the
In operation, the filter produces a weighted running average instrument permits the use of filter sizes of, say 445th order
of incoming data values. Each data value is successively multi- at 5.0 kHz and 700th order at 3.0 kHz bandwidth, with still
plied by an appropriate filter coefficient stored in a ROM, and higher orders of filtering at narrower bandwidths. Using a
digitally summed in an adder at the output. This sequence large transversal filter, the device estimates the noise com-
continues for each sampling cycle as each data value advances ponents and subtracts them from the audio signals. The noise -
in position along the delay line memory. The tapped delay reduced audio is then circulated through the system to con-
weights are adjusted to give the sequential values in the impulse tinuously adjust the filter coefficients for maximum noise
response that corresponds to the desired frequency response. cancellation. Where undesirable periodic signals are present,
An important advantage of transversal filters is their uncon- such as tones, the transversal filter acts as a spectral line
ditional stability, which means they are virtually immune to enhancer. For some stationary noises, such as music masking a
environment changes. One limitation is that a large number of voice, the tracking speed is adjusted for a fast convergence
delay elements are needed to obtain steep cutoff rates. rate; and for less- stationary noises, such as reverberation, a
Figure 6. Cascade realization of a time -varying digital

filter.
Input o Output
Cta
Delay
titi
CM CM CM C25
Adjustable
filter coefficients
Circle 36 on Reader Service Card -
Tannoy: A single source for the
single-point sound source.
be easily separated sound "wooden" or "telephone like :'
The Tannoy Dual Concentric: by the ear. With class- Tannoy Loudspeakers provide the
Two drivers on one axis. ical music the bass closeness to reality which gives that
should be a fine re- very satisfying illusion of the original
u cone continues me production of the "live" performance.
enoonental curve of
HF horn keeping the
natural sound of the Clarity and response on the high
resonant frequencies
Outside the oassband
instruments. end. The snap of a snare drum, the sound
With contemporary of an acoustic guitar, string sections, an
Phase compensating
multiple throat tor rock, a loudspeaker operatic soprano, or the crash of a
extended and smooth
HF response
should easily handle cymbal, these will tell you if the high
the accentuated frequency response is providing the
Aluminum voice cOl
conductor for low
bass without distortion. absolute clarity essential for good
dynamic mass and
Superb HF response
In Tannoy Loudspeak- treble quality.
ers, these capabilities Voice sibilant should be clear but
are apparent. You not over emphasized, the infinite
can separate the flexibility of the female voice is a
drummer from the revealing test for any loudspeaker, and
bass player and the Tannoy Loudspeakers pass this test
Behind the grill of most Tannoy tubas from the cellos. faultlessly
Loudspeakers is not the usual collection Midrange: The "live" factor This is The English know. Some of the best
of separate tweeters and bass units. more difficult for comparative evalua- recording studios in the world are in
Instead you'll see what appears to be tion as most loudspeakers offer accept- England, and in the U.K.. Tannoy is one
one speaker only, but which, in fact able qualities in this tonal range. of the most popular, if not the most
is two speakers in one. Choose a solo instrumental record professional loudspeaker.
Therein lies the Tannoy Dual Con- and try not to listen to the melody which Call 800- 421 -1274. We'll tell you
centric principle. Single point sound. may distract, concentrate on purity of where you can listen to a full line of
This unique method of placing a high sound, a closeness to the actual Tannoy studio monitors. And discover
frequency compression driver within instrument. what the English have known for over
and behind a direct radiator bass unit Close your eyes. Vocals should not fifty years.
provides superb natural sound, low
coloration and phase coherence for
proper stereo imaging and high
sensitivity.
A bass that's deep but not ''thick:' m.,....
SUPER®110t.tde
Individual bass notes should be deep
and rich, but not "thick:' They should Model X05000 Time Compensated Electronic Crossover
BGW: Technology and engineering
in a world of whistles and bells.
to open and disconnect the amplifier strength, rigidity and RFI immunity.
from the loudspeaker load. Two, large, convenient front panel
Due to the high energy associated mounted handles make moving easy.
with this type of potentially disastrous (By the way, because of our unusually
failure, conventional relay circuitry strict standards, we are forced to make
was found unacceptable and this new most of our metal parts ourselves. And
system, based on magnetic arc- inter- that's fine with us.)
rupting physics was developed. Circuitry: Sophistication at the heart
The largest SOA in the industry. Our of the system. We use large -geometry,
BGW 250 series uses three times as many full- complementary circuitry. Full. Not
output devices as the competition. And "quasi" like a lot of our competitors still
since output devices are the single use. Full costs a little more. But the result
most important factor in determining is much better high frequency response
the lifespan of an amplifier. expect ours with much less distortion.
to last three times as long. It's a tradeoff we'll gladly make.
In our 750 series, we use a heavy - Thanks,BillboardThanks,America
How do you become the world duty rear -mounted two -speed industrial According to the Billboard magazine
leader in power amps in five years or fan to move large volumes of air in from U.S. Equipment Brand Usage Survey,
less? That's easy: the back, over the internal circuitry between 1977 and 1980, of the top
Make it first. Imagine. Invent. Create. and up through exhaust ports. three amplifier manufacturers, only
You end up with things like fully modular This unique thermostatic cooling BGW showed an increase in market
construction, fool -proof speaker pro- system, combined with 24 large- share. Specifically, a 25% gain in studio
tection, and one -piece construction. geometry output devices, give BGW usage, making BGW the fastest
Give it more. More features. Like the largest SOA, or Safe Operating Area. growing power amplifier source in the
precision stepped thick film input in the industry today. United States today
attenuators, front panel mounted mag- Two handles and one piece of steel. That's what happens
netic circuit breaker /power switch. and Instead of aluminum or plastic, the T when you make it right.
multi -colored. state-of- the -art LED chassis of all BGW amps are
display circuitry. constructed of welded
Make it last. Use welded steel instead steel for maximum
of screws. (They unscrew) Don't over-
stress the product. It'll live longer. And
keep it simple. We make it modular.
So servicing is that much easier.
If you like what we're saying, you'll
love what you see. Test a BGW for your-
self. Or, read on.
The DC Arc Interrupter: Still the best
speaker protection you can buy. When
harmful d.c. voltage is present at the
amplifiers output, a sensing circuit
triggers a fast-acting, heavy-duty relay
Look at the Numbers:
SENSITIVITY
TANNOY DISPERSION
MAXIMUM WATT METER
1 1 INCLUDED ANGLE RECOMMENDED ENCLOSURE ENCLOSURE
OUTPUT LEVEL ANECHORC FREQUENCY(1) @ -6dB POINT AMPLIFIER CROSSOVER DIMENSIONS INTERNAL
MODEL DRIVE UNIT (PEAK) 4TT STERADIANS RESPONSE @ 10 KHZ POWER @ 8 OHMS FREQUENCY H XW X D VOLUME
SRM 10B 10" Dual Concentric 109dBSPL(115dB) 90dB 55Hz-20kHz 90 degrees conical 50 Watts 1 2 kHz 206X138 35 Liters
X 104" 1 2Cubic Feet
SRM 12B 12" Dual Concentric 112dBSPL(117dB) 92dB 55Hz -20kHz 90 degrees conical 100 Watts 1 2kHz 23 X 15.7 46 5 Liters.
X 108" 1 6 Cubic Feet
M 1000 15" High Sensitivity 114dB 94dB 50Hz -20kHz 90 degrees conical 200 Watts 1 OkHz 40 5 X 28 4 230 Liters.
Dual Concentric X 17" 8 Cubic Feet
M 3000 15" Wide Bandwidth 112dB SPL (119dB) 92dB 40Hz -20kHz 90 degrees conical 150 -200 Watts t kHz 40 5 X 28 4 230 Liters.
Dual Concentric X 17" 8 Cubic Feet
DREAD-
NOUGHT
1.15" Special
Dual Concentric
2 -15" Woofers
121dBSPL(126) 96dB
'-
30Hz -20kHz
-3dB
90 degrees conical 750 Watts
Low Frequency
500 Watts
250Hz
2 OkHz
35 X 52.4
X 23 2. 14 2
15° Baffle
400 Liters
(15 Cubic Feet)
40 Liters
Mid Frequency Slope (1 5 Cubic Feet)
250 Watts
High Frequency Sealed Cavity
(1) Frequency Response measured in 1/3 octave bands at any power up to Rated Continuous Power with response within ± 4d8
BGW
DC ARC CALIBRATED LOSS OF
an
POWER FEATURES MAGNETIC FULL INTERRUPTOR PRECISION FEEDBACK TRI COLORED
TOTAL POWER' OUTPUT MODULAR CIRCUIT COMPLEMENTARY SPEAKER FAN STEPPED CLIP LED VU METER
MODEL DESCRIPTION OUTPUT EACH CHANNEL CONSTRUCTION BREAKER CIRCUITRY PROTECTION COOLED ATTENUATOR INDICATOR WITH CLIP LIGHT
75 Professional 75 25 Watts Yes No Yes No No No No No

Power Amplifier
150 Professional 150 50 Watts Yes Yes Yes No No Yes Yes 5%850 %LED's
Power Amphfier
250D /E Professional 400 100 Watts Yes Yes Yes Yes No Yes Yes (250D) Yes (250E)
Power Amplifier
600 Professional 800 175 Watts Yes No Yes No No No Yes No

Power Amplifier
750B/C Professional 900 225 Watts Yes Yes Yes Yes Yes Yes Yes (750C) Yes (750B)
PowerAmphher
1250 Professional 1200 400 Watts Yes Yes Yes Yes Yes Yes No Yes
Power Amplifier
320B Commercial 100 Watts /Ch Yes Yes Yes No No Yes Yes No
Power Amplifier @ 70 volts
620 Commercial 200 Watts/Ch Yes Yes Yes No No Yes Yes No

Power Amplifier @ 70 volts
'TOTAL POWER OUTPUT

The total power output is the actual power Output as measured during our final test at the factory
Test conditions mono operation 8 ohm load kHz @ 0 1% Total Harmonic Distortion Line voltage maintained at
1
120 volts RMS 60Hz This power is equivalent to the sum of both channels when driving 4 ohm loads in the stereo mode
BGW The exclusive importer /distributor

for Tannoy products in the United States.
BGW/TANNOY
13130 S. Yukon Ave Hawthorne, CA 90250; Telex: 66-4494, Phone: (213) 973-8090
FILTER SIZE INPUT KU
w"" . I
w
DIGITAL AUDIO CORPORATION Ny
0 lat
DAC 1024 t
OUTPUT ROIIOff MfIfR SWITCH
"MAIN MIS 1 AV OUI lYl POtl

\
I n,,ss NwwA J MID .Y
Figure 7. An adaptive digital filter system used for noise

cancellation and voice intelligibility enhancement.
slower rate is selected. There is also a dual -channel mode of applied serially to the filter input. The bit rate would be in-
operation utilizing two separate audio inputs, one consisting creased by a factor of three, and the shift register containing
of the audio signals accompanied by the noise, and the other the signal samples would be three times the length of the delay
a reference input of the noise alone. In this way, differences line for a single input. Thus, for each channel, every third
of phase, amplitude, and spectral shape are taken into account sample is effectively processed by the arithmetic unit. The
in the enhancement process. arithmetic unit, in turn, performs the same multiply -add
calculation as the single-input case, but operates three times
faster. At the output, the digital pulse stream emerges in the
MULTIPLEXING SCHEMES same interleaved order as the input, and is thus easily separated
If the input data rate (sampling rate times the number of bits by the de- multiplexer.
per sample) is well below the speed limitation of the digital Another type of multiplexing operates on a single-input
circuitry, a digital filter can be multiplexed to utilize the signal to effect a number of different subfilter forms. In this
circuitry more efficiently. Specifically, if the time intervals arrangment, the digital pulse stream is made to pass through
between samples is used to generate the next output, and if the multiplex system more than once, to produce higher orders
enough time exists between samples for the system logic to of filter complexity. As an example, let us consider the imple-
repeat these operations, the filter can be time -shared among mentation of a 16th -order filter in cascade form using the
numerous input signals. In FIGURE 8, for example, suppose multiplexed second -order recursive filter shown in FIGURE 9.
that one filter unit is employed to equalize the inputs of three Here, the combining of eight separate filters into one multi-
independent audio sources. Initially, the sampled input pulses plexed unit requires that the bit rate in the filter be increased
are interleaved by the multiplexer, sample by sample, and by a factor of eight, and the shift register delay lengths also
Figure 8. The transversal filter uses a multiplexing

arrangement for time- sharing three independent inputs.
Every third signal sample is processed by the filter, with
S1 representing the sample of input 1.
Delay line memory
¿ 2 Nfultiplexer SI 52 S3 SI S2 S3 SI S2 S3 SI
C
1k I!! r, lii plexer -o2

-Q3 O
ca
m
-Circle 36 on Reader Service Card
BUILD a QUALITY
SOUND SYSTEM ON
A lETTER FOUNDATION.
STARTING SEPTEMBER 1,
THE NEW TOA 900 SERIES
PA AMPLIFIERS.
LOOKS REAL EXPENSIVE,
DOESN'T IT?
The facts of the matter are, the
new TOA 900 Series is 3 to 11%e
less money than the same reliable
900 Series you've depended on over
the years! We simply improved their
performance. And, quite obviously, The rear view. Simple, uncluttered. Everything you need to get the job done faster atd easier
their looks. The new 900's are def-
initely affordable, just like before. maximum flexibility and versatility. or worse yet, after you leave the
And the TOA dedication to quality All of our main outputs are 25 & 70 scene. The line features an assort-
with the highest reliability hasn't volts, transformer coupled, bal- ment of 15 different full -range appli-
changed either. anced. And some models feature cations plug-in modules: no wiring
IF YOU DON'T KNOW transformerless direct outs. All or fumbling for connectors. Just
ABOUT US. models (except the mini 901) feature order XLR's, phone jacks, RCA's, 3
You should. We've been delivering illuminated VU meters. All our mix- screw or 4 pin connectors on most
the solid -state 900's for nearly a ers have full bass and treble tone everything we have from Mic Pre -
decade. You'll find TOA PA products equalization, too. amps to Tone Signal Generators.
in churches, schools, hotels, thea- SO, WHAT ABOUT THE There's even the capability on our 6
ters, night clubs, convention halls SPEC'S? input models to have 2 exclusive
and auditoriums. They're working Frequency Response is 20 to 20, line output modules. Three of the
day -in, day -out in shopping centers, ±1.0 dB; THD is always less than a input modules also feature optional
department stores, recreation facil- tenth of one percent at rated output muting. From input to output, a new
ities, stadiums, industrial plants and (0.1 %)!; signal -to-noise is as great as 900 will get you into a tight job
offices. For paging, announcements, 108 dB and with gain at maximum, easier, and out faster. Much faster.
background music and broadcasting, not less than 82 dB!; and, Output The new 900 Series-they're the
a TOA PA System is being relied Regulation at 1 kHz is typically 1.0 proven way for you to build a quality
upon at the very heart of almost any dB (transformer output) and even sound system on a better foundation.
communications need. less, 0.5 dB direct. Improved. And Call us at (415) 588-2538. We'll
THERE'S A SPECIFIC 900 definitely ahead. be happy to send the spec's and
FOR YOUR JOB. OUR BIGGEST TECHNICAL show you the new and improved
Select from four MIXER/ ADVANTAGES. versions of the old, reliable,
POWER amplifiers with two to six With a TOA you never have to and affordable.
inputs and power from 10 to 120 worry about overload or short cir- PA Standards.
watts RMS. There's the M900 cuits. Because of unique circuitry,
MIXER /AMPLIFIER with six in we don't require a complicated pro-
and three models of Power Amps tective circuit to protect our gear
with 60,120 and 240 watts RMS from accidents and mismatched con-
capability. A total of eight different nections that can happen during your
models for installation-
Proven in the States.
Choose lrom 15 assorted solid- state, plug -in input modules. ibu r only tool is a screwdriver, so pack -up
e TOA TOA Electronics. Inc.
11123 Grmdcic\c
s. San h anc isio.
(415) 5$8 -233$
Ihn,
l.\ 9.110i
your soldering iron. lèlrs: 331 -332
Input - In nn
multiplexer
Delay
Output
multiplexer
-o Output
D la
C'J
(l
(1 ('+ ('a
1111 ROM
Figure 9. Multiplexing scheme where the output is

repeatedly fed back to the input to effect higher orders of
filtering.
be increased accordingly. The filter coefficients are supplied convenient in a multiplex operation to maintain fixed scaling
from the ROM which cycles the eight data values for each factors, but operate at a reduced sampling rate. If. for example.
multiplication during every sampling interval. The data values the sampling frequency is halved, the center frequency of a
are routed in and out of the filter by the input and output bandpass filter will shift one octave lower in frequency while
multiplexers. which are also controlled by the ROM. maintaining the same relative bandwidth. Of course, each time
During the first number of bits of each sampling interval, the the sampling frequency is lowered, it must be accompanied
input samples are processed by the arithmetic unit of the first by a low -pass filter action to correspondingly reduce the
subfilter in the cascade form. This processing takes essentially high- frequency cutoff of the sampled pulses. This procedure
one- eighth of the basic sampling period to complete. By delay- is necessary in order to prevent the introduction of aliasing
ing the resulting output one-eighth of the sampling period. distortion into the system. One application where this concept
the data values can be fed back via the multiplexer arrangement is utilized is the implementation of octave-band filter sets in
to become the new input to the filter during the second number digital frequency analyzers.
of bits of the sampling interval. This feedback process is Multiplexed digital filters have found application as phase -
repeated with the filter coefficients of the ROM changed shifting devices in modifying the tonal and spectral character-
each time to correspond to the appropriate subfilter in the istics of electronic musical signals. To provide the filter with
cascade form. The eighth, or last, output during each sampling dynamically variable properties, the coefficients are usually
interval is the desired 16th -order filter output. stored in a small special-purpose computer. and any one of a
When low frequency filters must be realized. the require- number of filter- sweeping programs can be selected by an
ments for coefficient precision are increased, so that it may be appropriate control function.
W. J. J. HOGE
Measuring Loudspeaker
Driver Parameters
IT you've survived Mike Math I & II, here's some math from
the other end of the signal path.
QUI I E OFTEN. a commercially built loudspeaker
system will not fill a particular need in a particular MAP

situation. When this happens, it is time to design a
custom system. Loudspeaker design used to be more CAR CAP
of a black art than a science. But now, modern network syn-
thesis techniques may be applied to the design of the loud- RAr
speaker, whether it be a direct radiator [ I, 2, 3] or a horn -loaded
unit [4, 5, 6]. RAii RAP
Before attempting to design a loudspeaker system using an
existing driver, one must know the values of the driver param-
eters which influence system performance. Unfortunately, SOURCE DRIVER ENCLOSURE
most manufacturers still do not provide such data on their
units. In this article, we will briefly review the theory of loud-
speaker synthesis, examine the equivalent circuit of a loud- Figure 1. The acoustical equivalent circuit of a direct -
speaker, and the theory of driver small -signal parameter
radiator loudspeaker.
measurement. This theory will be presented in (I hope) a
straightforward manner; no great math skills are required.
Mixed with the theory will be some worked examples describ-
ing how to make the measurements without having to use half In FIGURE I, the circuit elements are defined as follows:
the H -P or B & K catalogs worth of equipment. So get out your
Pr equivalent pressure source of the electrical energy
snow shovels (or manure forks), and here we go.
source,
A REVIEW OF SOME THEORY Re acoustic equivalent source output resistance,
R:u acoustic equivalent of the voice coil resistance,
Novak [7] presented an equivalent circuit fora loudspeaker,
RAS acoustic resistance of the driver suspension losses,
which Thiele [ I] uses as the basis for the application of modern
MAS acoustic mass of the driver diaphragm including air
network synthesis techniques to direct -radiator loudspeakers.
load,
FIGURE I gives a general low -frequency acoustical equivalent
CAS acoustic compliance of the driver suspension,
circuit of a direct -radiator loudspeaker. In the figure, each
CAB acoustic compliance of the air in the enclosure,
electrical circuit element represents a specific acoustical
RAR acoustic resistance caused by the enclosure's
property of the loudspeaker and its enclosure.
absorption losses,
R..51 acoustic resistance caused by enclosure leaks,
MAP acoustic mass of the passive radiator port,
CAP acoustic compliance of the passive radiator suspen-
sion, and
H: J. J. Hoge is a research aml development engineer RAP acoustic resistance of the port or passive radiator
lin' Harrison Srslems. .\'u.dreille. Ti.
`' losses. A
LEGI SU:
® stol "I'"
(l,.illator
ES(
Figure 3. A simple test for driver resonance.

Figure 2. Section view of a loudspeaker motor.
Thiele noted that the circuit resembles a fourth -order, some drivers, variations of + 100 -50 percent are not un-
high -pass filter. and he derived relationships among the common. The voice coil's inductance and resistance cause
circuit elements for several different response shapes. His the high frequency response to roll off (they amount to a
Table I allows us to design a system by specifying the ratios single -pole filter). The corner frequency varies with the large -
between: the system's half-power ( -3 dB) frequency and the signal inductance variation and this causes amplitude modula-
driver's resonance frequency (f .A), the half-power frequency tion of the higher frequencies. The effective small -signal
and the enclosure's resonance frequency (/ii /x), and the inductance, Le, gives an indication of the frequency region
acoustic compliance of the driver suspension and the com- where this problem may occur. It may also be used to estimate
pliance of the air in the enclosure (J'As/.:,x). An additional interaction of the driver and the crossover. The voice coil
item, the total quality factor of the driver (Os) must also resistance, RE, is also necessary before beginning to design
be specified. the crossover.
The compliance, CAB, is a function of the volume of the So far, we have found that the following small -signal driver
enclosure and the effective area of the driver diaphragm. parameters are required in order to design a loudspeaker:
Therefore,
fsn driver resonance frequency in free air,
CAS C'.ux = VAS, VII (1)
compliance equivalent volume,
VAS
where VAS the volume of air which has the same com- driver quality factor considering electrical losses
()ES
pliance as the driver suspension. and only (2).
I.x the volume of the enclosure. QMS driver quality factor considering mechanical losses
The other low- frequency small-signal performance specifica- only,
tion is efficiency. The half-space efficiency of a driver is given Qrs total driver quality factor (3).
by LE effective voice coil inductance, and
4a" Rr voice coil resistance.
fsn VAS
= (2)
c' QES
How can we measure them?
where no the driver's half -space efficiency, The measurement of Lr and RE is a trivial matter. A bridge
c the speed of sound, in meters -per-second, and capable of good resolution and accuracy can be used to read
f'rs the quality factor of the driver, considering these data directly from the driver's input terminals. Likewise,
electrical losses only. the determination offs is not difficult. An oscillator. voltmeter.
To determine the total quality factor of the driver, we must and resistor can be used. as in FIGURE 3. The voltmeter reading
consider mechanical losses as well. Thus. will peak at the resonance frequency.
SQMS Vns may be derived from the mechanical compliance of the
Q. = (3) suspension. Csu. We may attempt to measure this directly by
Qxs + Qas
placing the driver on its back (with the cone facing upward and
where Os the total quality factor of the driver, and the cone axis vertical) and putting a known mass on the cone.
Qscs the quality factor of the driver, considering Although the measured displacement of the cone might be used
mechanical losses only. to compute the compliance, this technique ignores the effect
At high frequencies, the voice coil inductance begins to of the mass of the moving system. This mass causes a downward
effect system performance. However, voice coil inductance force on the suspension which biases it off center, since the
is not constant with frequency. Consider the loudspeaker suspension of a loudspeaker is not necessarily linear. This is
motor of FIGURE 2. The voice coil rides around the center core. particularly true in high -compliance drivers, which generally
Part of the core is saturated with flux from the magnetic field, have high -mass cones. In these cases, the cone mass results in a
but part of it is not. As the voice coil moves in and out, a biasing force which can drive the suspension far enough off-
greater or lesser number of turns in the coil surround the center to destroy the value of the measurement. There must
v unsaturated section, and the inductance of the coil varies. In be a better way.
Consider the low-frequency electrical equivalent circuits where MAD is the acoustic mass of the diaphragm and voice
of a driver in free air, and of a closed -box loudspeaker with coil. MAI is the acoustic mass of the air load on the front of the
a lossless enclosure, as shown in FIGURE 4. diaphragm, and MAH is the acoustic mass of the air load on
the back of the diaphragm when mounted on the enclosure.
From Beranek,
0.23
M.s, = (8)
a
and
BH p,
MAH - Tra
(9)
where a is the effective radius of the diaphragm. p, is the

density of air, and BH is "Beranek's B" (a fudge factor dependent
on the ratio of the effective area of the diaphragm to the area
of the side of the enclosure on which it is mounted).
B
We may now calculate CA, by rewriting equation (6) or (7).
We may then find VA, by
Figure 4. Electrical equivalent of a driver in free air (A). :s = pu(`C:s,
1 (10)
The addition of LCEB makes the circuit the equivalent of a The quality factors Qi,, Q,, and Qss may be determined
closed -box speaker in a lossless enclosure (B). from terminal impedance data taken on the driver in free air.
Consider FIGURE 5, a plot of the magnitude of the voice coil
impedance as a function of frequency. The resonance fre-
quency, AA is located where the impedance is maximum. The
ratio of the magnitude of the voice coil impedance /,cl at J
I
to the DC resistance RE is defined as

The circuit elements in FIGURE 4 are defined as follows:
IZvclm,x
Eg open circuit output potential of the source,
source output resistance,
10 - Re
f
Rg
R,: voice coil resistance, The two frequencies /i and are found where
Cw, electrical capacitance caused by the driver mass IZ'vcl = RE\/i,). Then, from circuit theory we know that
including air loads,
RI, electrical resistance caused by the driver suspension
losses,
(12)
L r, electrical inductance caused by the driver suspension
compliance, and
L r.H electrical inductance caused by the compliance of the Qr., = (13)
air in the enclosure.
We can determine the value of L 1, and thus of 6'A, by and
measuring the resonance frequency of the driver in free air and ./SA
then on a lossless test box and performing some calculations. (14)
At first glance it may seem that the lower effective inductance (< -Ji) sr,>
is the only difference between the two circuits. However, this We now know the sort of raw data which we need and how
is not true. C:w., is the capacitance resulting from the moving it should be processed to yield the proper parameters. Let us
mass including air loads. As Beranek [8] points out, one effect examine several methods of taking the data and calculating the
of the test box is to increase the air load above that in free air. results.
We must account for this variation. Let us define
Glu s, electrical capacitance in free air, and TEST METHODS
Cm, ,. electrical capacitance mounted on an enclosure. The first method we will examine is suitable for use with
Now the two resonance frequencies are given by limited equipment or for quick checks of the appropriate driver
parameters. After measuring R. and Le, the driver is connected
J \:\ _ (4) to a test set such as shown in FIGURE 3. With the oscillator
2a(Csmsi LcES)" output adjusted for a maximum output current on the order of
and IO mA, the resonance frequency of the driver (AO is measured.
(Note: The dial calibration of most oscillators is not sufficiently
good at low frequencies. A counter may be useful.) Compute
! _ (5)
by
LcE, I Zvc l m,x
2a rC'so-,- 1-""
/-4.1.11 + Ltli, ) IZvcI max - 4E,,-Eve
R, (IS)
where _/A is the resonance frequency of the driver in free air where Eve is the voice coil potential, Er is the source output
and /i is the resonance frequency of the driver mounted on
,
potential, and R, is the series resistance between the source
the test box. Equations (4) and (5) may be rewritten in the and the driver. ru is given by equation (II). Next find the two
forms frequencies, Ji and Ji, where IZ,,I = REVZ. Equations (12),
(13), and (14) give the values of QMS. QES, and Q',.
JSA = The driver is now mounted on a test box. Remember the test
[C:\, (Mw + (6)
27r box is supposed to be lossless. The only aperture in the test box
and should be the one to which the driver is mounted, and the driver
should be tightly gasketed. Any leaks may cause trouble with
(7)
- C'AH CAs
1
the measurement. This includes leaks in the driver caused by
vented or porous dust caps. Also, the box must not contain any
2rr (MA + MA, + MAH) damping material which would cause absorption losses. Mea-
CAR + CAS
T sure the new resonance frequency /c, and Z',cI max. Now,
I
find the two frequencies f, (<f r) and (> fcT) where Zvcl = f I
RENiTc. (rc = IZ(rlmax) /RE. Small [2] defines the electrical

quality factor for fcr as
Fcr rc
Q'c, - U2' -ft') (rc - I)
(16)
Ri + Ris ro
Bydoing some algebra on several of the previous equations we
may show that
fCTQECT
I4S = VR (17)
fSQES i)
Worked example 1: Given the following instrument readings,
find Qsts. QFs, Qrs. VAS and no.
Frequency Counter (Hz) Voltmeter (V) Measured in
/sA 35 0.29 EvcI max
I free air
1; 21 0.13 free air Ri
fi: 59 0.13 free air
./c1 79 0.281E( max lossless test box
I
/'i 62 0.13 lossless test box

fsa
J': 100 0.13 lossless test box Log f
RF is 5.651, R, is I00011, and E is 10V in all cases, and hi is Figure 5. Driver voice coil impedance magnitude, as a
0.040 m'. function of frequency (lossless closed box).
From equation (15),
1,1 max = (0.29) (1000) - 30í2.

1
(10 0.29) -
From equation (11),
ro = 30 5.6 = 5.4, and therefore,
Zvc = RF. ru = 30\/ 5.4 = 13E1.
I
1
Thus,1 Evc1 at fi and f2 should be 0.I3V, which checks with

the data. From equations (12), (13) and (14),
(35) (5.4)'' =
Qsts = 2.1
(59 - 21)
2.
= 0.48
Qts (5.4
1
- 1)
Q's- (59 -21) (5.4)L2 =0.40
fe
Again, using equations (15) and (I1), Log f
(1000)
Z\ (.I max = (0.28) = 2952
6. Magnitude of voice coil terminal impedance as a
1
(10 - 0.28) Figure

function of frequency (vented box).
rc= 29,5.6 =5.2p
1
Z'u = 1
= 5.6, 5.2 = 1311.
The fact that IZbcl max is somewhat lower than IZvrl max
indicates a box loss; however, this magnitude of difference is
typical of this measurement method. Remember, the answers
are approximations. Figure 7. An improved test setup.
Using equation (16), we find that
(79) (5.2)' (1.. iuoscope
Qa:ci = (100 -62) (5.2- I) - I.1. Counter
\ H
From equation (17) we find that
QAS = 0.040 (79) (1.1) 1 - 0.17 m'.

(35) (0.48)
Finally, equation (2) may be used to find
V V \1
47r' (35)' (0.17) o I
'lo (345)' (0.48) Oscillator RK

Evc
100052
Thiele suggests an improved method for making these 11y p.
measurements if it becomes impossible to seal the loudspeaker
to the test box. A vent is added to the box. Now the magnitude
of the terminal impedance plot as a function of frequency looks
like FIGURE 7. Using the test set of FIGURE 3 we find; the lower
impedance peak frequency (f.), the upper impedance peak fre-
quency (lit). and the resonance frequency of the enclosure (fi).
Special care is needed in readingfs because the curve has a flat
bottom. An oscilloscope may be added, as shown in FIGURE 7. CMS - VAS
(22)
f
Lissajous figures will make , fH, and fP easier to detect as the
phase angle goes through zero degrees at each of these points.
pc'SD'
We may compute the quality factors
From these readings we may find the value of the resonance 1
(23)
frequency of the driver, f H, with the added air mass caused by QMS =
27rfsCMSRMs
being mounted on the test box.
and
Jsx = (18) 27rJSMMSEE
dL QES - (B4'
(24)
We may find VAS by
Qrs may be found using equation (3).
VAS =
NO (19) Ashley and Swan also use a magnitude and phase angle
fH f. reading of the terminal impedance at a frequency above the
Worked Example 2: The driver tested in example I is now second resonance in free air to determine the effective voice
rechecked using a vented test box. Given the following instru- coil inductance LE. At high frequencies where the motional
ment readings, find QMS, Qss, Qrs, VAS, and no. impedance is trivial, we can model the terminal impedance as a
Frequency Counter (Hz) Voltmeter (V) Measured in series connection of LE and RE.
IsA 35 0.29 free air ZxsinBx
LE =
f 21 0.13 free air 27rx
h 59 0.13 free air
f. 13 vented test box
LARGE SIGNAL PARAMETERS
fP 33 vented test box
Jii 81 vented test box So far, we have ignored large -signal parameters which relate
to power handling and distortion. This is because little work
RE is5.6f2, Re is I000í2, and ER is 10 V in all cases. VP is 0.040 m'.
has been done to measure parameters such as the maximum
From the methods used in example 1, we find
diaphragm displacement, X
,.. Ashley proposes measuring
QMS = 2.1 the maximum potential which can be applied at fsA and still
Qs = 0.48 maintain linear operation, and, from this, calculating X,,,,..
Qs = 0.40. He determines the limit by observing non -linearities in the
Using equation (19), Lissajous figure on the oscilloscope. This method, in the
VAS - -
0.040[(81)2 (33)2] [(33)2_(l3)21 author's opinion, depends too much on the operator's judg-
ment. However, the author has been using it for approximate
(81)2 (13)2
results. This is an area where more work is needed.
VAS = 0.18 m'.
The reference efficiency is found with equation (2). However, SOURCES OF ERROR
we will use fm rather thanJsA. This is because the air load when In several years of manual data taking, the largest single
operating on the test box more closely represents actual condi- source of error in these tests was boredom -induced operator
tions in normal use than does the load in free air. Thus, from error. The errors included reading the instruments improperly
equation (18), and poorly sealing the driver to the test box. Other errors re-
sulted from neglecting the effects of such things as atmospheric
(81) (13)
lsx =
33
- 32 Hz pressure. This was discovered when data taken in Colorado
(altitude 1800 m) and Tennessee (altitude 180 m) on the same
driver were radically different. Attention to detail is required.
47r' (32) (0.18)
no =
(345)' 0.48 CONCLUSION
Driver parameter information is important to a systems
r)o = 0.012 (or 1.2 percent). designer. Using the simple, though tedious, methods outlined
In both examples the calculation of QMS, QES, and Qs de- above, one can find the parameters of the drivers he must work
pends on a single set of data. Ashley and Swan [9] suggest a with. This is an important step in designing a new system or
method which uses both magnitude and phase angle data on analyzing an existing one.
the terminal impedanceatf, (<fsA)andf (>jsA)to compute the
values of the mechanical resistance of the suspension RMS and
the electromagnetic coupling coefficient, B/. The values com- REFERENCES
puted for the two sets of data are averaged and the mean values I. A. N. Thiele, "Loudspeakers in Vented Boxes," Proc. IRE (Aus-
used to compute the quality factors. Ashley and Swan use a tralia). vol. 22, pp. 487 -508 (Aug. 1961). [reprinted in Jour. of The
test set not unlike FIGURE 7; the oscilloscope is used to make Audio Engineering Society. vol. 19. no. 5. 6 (May. June 1971)]
the phase angle measurements. The author prefers to use a 2. R. H. Small. Direct- Radiator Electrodynamic Loudspeaker Sys-
vector voltmeter or a gain /phase meter. Minor errors in reading tems. Ph. D Thesis. Univ. of Sydney, 1972.
the Lissajous figure on the oscilloscope can cause 5 percent (or 3. J. E. Benson, "Theory and Design of Loudspeaker Enclosures: Part
more) error in the final computations. RMS and B/ are found by 3- Introduction to Synthesis of Vented Systems," AW A Tech. Rey.,
vol 14, pp. 369 -484.
4. R. H. Small, "Suitability of Low -Frequency Drivers for Horn -
RMS =
[ I - U'x/isA)2] (ZXCOSBX - RE) (20)
Loaded Loudspeaker Systems." AES Pre -print No. 1251.
5. D. B. Keele, Jr.. "Low -Frequency Horn Design Using Thiele /Small
27rfxCMsZxsinBx
Driver Parameters," AES Pre -print No. 1250.
6. W. J. J. Hoge, "State -Variable Analysis of Horn Loudspeakers,"
B/ =
[(%x/fsA)- - I] [ YxREcosBx - 1]
RMSRE
bz presented at the 57th Convention of the Audio Engineering Society,
Los Angeles, 1977.
2 JxCMS YxsinBx (21)
7. J. F. Novak, "Performance of Enclosures for Low -Resonance
High -Compliance Loudspeakers," IRE Trans. Audio. vol. AU -7,
where Jx is the test frequency, Yx is the magnitude of the voice pp. 5 -13 (Jan. -Feb. 1959).
coil terminal admittance at fx, Zx is the magnitude of the voice 8. L. L. Beranek, Acoustics, McGraw -Hill, New York. 1954.
coil terminal impedance at ix, and Ox is the phase angle of the 9. J. R. Ashley and M. D. Swan, "Improved Measurement of Loud-
voice coil terminal impedance at fx. speaker Parameters," AES Pre-print No. 803. J
4 Appikation Notes
Computing Loudspeaker Parameters
THE BASIC COMPUTER program printed here will unnecessary calculations in between. VAS ( =VA) is now
quickly calculate the values found in the author's calculated in line 590 (Hoge's equation 19) instead of
worked examples I and 2. in line 520 (equation 17). Next, FsB is calculated and
Lines 30 through 200 allow the operator to printed, and the program returns to line 530 to print l',,
input the various known values. The TAB instructions and finally, calculate the driver's half-space efficiency in
merely organize the inputted values to more -or-less con- line 550, where the value of 9.6139E-7 merely represents
form to the layout within the article. From line 210 on, 47r- c', as required in equation 2.
each three -line sequence of instructions calculates a Wherever possible, the program variables closely
value, prints its identifying symbol (or a reasonable fac- match the author's style. Thus, in line 190, the original
simile) and then prints the value just calculated. E(; is printed out as E(G). However, to keep the use of
In Hoge's worked example 2, E \(- is not used. There- parentheses within reason (just look at 490 or 590!), E(G)
fore, at line 150. the operator would input a zero. Now, at becomes EG in the actual calculating instructions.
line 390, the program branches to line 590, skipping the
10 HOME
20 Dim °(22)
30 'F(SA) _
";FS
40 -F(1) _ " ;F(1)
50 "(2) _ ";F(2)
-
CCU ;FC
8: _ ='(1) TM ';F(11)
90 a.P "F'(2) TM ";F(22)
100 VTAB 1
110 HTAB 20
120 INPUT "E(VC) _ " ;E1
130 VTAB 5
140 HTAB 20
150 INPUT "E'(VC)= ";E2
160 VTAB 10
170 INPUT "R(E) - " ;RE
180 INPUT "R(G) ' " ;RG
190 INPUT "E(G) - ;EG
200 INPUT "V(B) - " ;VB
210 ZX = EI "RG /(EG - El)
220 PRINT "Z(VC) _
230 PRINT TAB(15)ZX ,
240 RO = ZX /RE
250 PRINT "RO - ";
260 PRINT TAB(15)RO
270 XZ = RE "SQR(RO)
280 PRINT "Z(F) - ";
290 PRINT TAB(15)XZ
300 QM = FS''SQR(RO) /(F(2) - F(1))
310 PRINT "Q(MS) _
320 PRINT TAB(15)QM
330 QE = QM /(RO - I)
340 PRINT "Q(ES) _
350 PR!`JT T45(15)QE
_
= .2) - F(1)) "SQR(RO))
33: -
.)QT
39: _ - --MEN 590
40: _
- = 82)
410 -
420 PRINT TAB(15)Zr

430 RC . ZY /RE
440 PRINT "RC -
450 PRINT TAB(15)RC

460 YZ = RE"SQR(RC)
470 PRINT "Z'(F) _
480 PRINT TAB(15)YZ
490 QC = PC SQR(RC) /((F(22) - F(11)) "(RC - 1))
500 PRINT "Q(ECT)= "
510 PRINT TAB(15)QC
520 VA = VB "(FC°QC /(FS "QE) - 1)
530 PRINT "V(AS) _

540 PRINT TAB(15)VA
550 H = 9.6139E- 7IFS3 "VA /QE
560 PRINT "H
572 PRINT TABC15)H
580 END
590 VA = vs"CF(22)2 - F(11)'2) "(F(11).2 - FC'2)/(F(22)'2"FC'2)

600 F5 F(22)"FC /F(I1)
=
610 PRINT "F(5B) _
620 PRINT TAB(15)FS
630 GOTO 530
Td:
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Circle 3/ on Reader Service Card
BOB KATZ
Achieving Depth
Perception
in Recording
Achieving accurate depth perception takes a working
knowledge of acoustic principles and the principles of diffusion
plus a good ear.
-
THE RECORDING ENGINEER should be both an artist and Part One: The Perception of Depth
a scientist about his work. When he makes a new
recording which he perceives as "better "(more pleasur-
able) than a previous recording, he should ask himself At first thought, it may seem that depth perception is simply
whr:' Perhaps the reason for the "better" recording was a a matter of the ratio of direct to reverberant sound in a record-
changed microphone distance from the sound source. The ing. On the contrary, it is a much more involved acoustic
engineer should then try to consider whether the proximity process. Our binaural hearing apparatus is largely responsible
effect, the Fletcher- Munson effect, or some other documented for the perception of depth. But recording engineers were
acoustic principle entered into his "better" recording. Then, concerned with achieving depth even in the days of monophonic
of course, he will take a tape measure and carefully measure the sound. In the monophonic days. in general, halls for orchestral
distance of the mikes from the source in order to duplicate the recording were much deader than those of today. The dead
sound next time. Of course not! (I had to say that for fear that acoustic characteristics of Studio 8H at NBC are clearly
many of you would take the previous statement seriously.) A audible on the early Toscanini NBC Symphony recordings.
more realistic approach is to quantify his findings as best he That same studio is used today in television, and its short
can and then internalize them so he can continue with the black reverberation time can be heard on TV's Saturday Night Live.
art known as Recording Engineering. at least until the boom microphone moves out to considerable
This article will show how several well -known acoustic prin- distance from the performers. when the apparent reverberation
ciples, including the Haas effect, and the principles of diffusion, increases. Hey, come to think of it, TV is monophonic sound.
can aid us in the task of achieving accurate depth perception isn't it? (At least today, in the U.S.)
in our artistic recordings. Remember, however, that the ear is Why is it that monophonic recording and dead rooms seem
the ultimate judge of all recording quality; no matter how to go well together? The answer is involved in two principles
much we try to quantify, there will remain some mystery over that work hand in hand: I) The masking principle and 2) The
why one recording gives us pleasure, and another does not. Haas effect.
THE MASKING PRINCIPLE

The masking principle says that a louder sound will tend
to cover (mask) a softer sound. especially if the two sounds
lie in the same frequency range. If these two sounds happen to
be the direct sound from a musical instrument and the rever-
beration from that instrument, then the initial reverberation
Boh Katz is a freelance recording engineer working can appear to be covered by the direct sound. When the direct
c(NJ outof NYC. sound ceases, the reverberant hangover is finally perceived.
In real rooms (as opposed to rooms reproduced over is reduced. This is another tool which the recording engineer
speakers), our two ears sense the reverberation as coming uses to change distance. An interesting experiment is to alter
diffusely from all around us, and the direct sound as having a a treble control while playing back a good orchestral recording.
distinct single location. Thus, in real rooms, the masking Notice how the apparent front -to-back depth of the orchestra
effect is somewhat reduced by the ears' ability to sense direction. changes considerably as you manipulate the high frequencies.
In monophonic reproduction, the reverberation is re-
produced from the same source speaker as the direct sound,
and so we may perceive the room as deader than it really is, Part Two: Recording Techniques to
because of the masking effect. Furthermore, if we choose a
recording hall that is very live, then the reverberation will
Achieve Front -To -Back Depth
tend to intrude on our perception of the direct sound, since MINIMALIST TECHNIQUES
both will be reproduced from the same location -the single In the December 1979 db, Bruce Bartlett's "Stereo Micro-
speaker.
phone Technique" is a compendium of minimalist microphone
This is the ultimate explanation for the incompatibility of
techniques. All of the methods described (from coincident
many stereophonic recordings with monophonic reproduction.
pair to widely- spaced pair or trio) are applicable to this dis-
The larger amount of reverberation tolerable in stereo becomes
cussion of front -to-back depth. Later, I will make a few observa-
less acceptable in mono due to the masking effect.
tions on how the choice of a particular minimalist technique
affects the perception of depth.
THE HAAS EFFECT...
Referring to FIGURE I, a musical group is shown in a hall
The Haas effect says that, in general, echos occurring within cross section. Various microphone positions are indicated
approximately 40 milliseconds of the direct sound become by letters A -F.
fused with the direct sound. We say that the echo becomes Microphones A are located very close to the front of the
"one" with the direct sound, and only a loudness enhancement orchestra. As a result, the ratio of A's distance from the back
occurs. compared to the front is very large. (The back is about ten times
A corollary to the Haas effect says that fusion (and loudness the distance of the front in this picture.) Consequently, the
enhancement) will occur even if the closely -timed echo comes front of the orchestra will be much louder in comparison to
from a different direction than the original source. However, the rear. The rear instruments, at least because of extreme
the brain will continue to recognize (binaurally) the location level differences, will seem farther back, and front -to-back
of the original sound as the proper direction of the source. The depth will be exaggerated. There is much to be said. however,
Haas effect allows nearby echos (up to approximately 40 ms. in favor of mike position A, since the conductor usually stands
delay) to enhance an original sound without confusing its there, and he purposely places the softer instruments (strings)
directionality. in the front, and the louder (brass and percussion) in the back,
somewhat compensating for the level discrepancy due to
,..AND ITS RELATIONSHIP TO REAL ROOMS location. Also, the radiation characteristics of the horns of
We may say that these shorter echos which occur in a natural trumpets and trombones help them to overcome distance.
environment (from nearby walls and floor) are correlated with These instruments frequently sound closer than other instru-
the original sound, as they have a direct relationship. The ments located at the same physical distance from the microphone.
longer reverberation is uncorre /ared; it is what we call the The other contribution to front -to -back depth is the larger
ambience of a room. Most deader recording studios have little ratio of reflected to direct sound for the back instruments.
or no ambient field, and the very deadest studios have only a few Relative reverberation contributes to the sense of front -to-
perceptible early reflections to support and enhance the original back depth at mike position A or any other position.
sound. The farther back we move into the hall. the smaller the ratio
In a good stereo recording, the early correlated room of back -to-front distance becomes and the softer the front of
reflections are captured with their correct placement; they the orchestra sounds compared to the level of the back. At
support the original sound, help us locate the sound source as to position B, the brass and percussion are only two times the
distance and do not interfere with left -right orientation. The distance from the mikes that the strings are. This (according to
later uncorrelated reflections, which we call reverberation. theory) makes the back of the orchestra 6 dB down compared
naturally contribute to the perception of distance. but because to the front. Acoustics of the hall greatly change any decibel
they are uncorrelated with the original source the reverberation number quoted, since the more reverberant the hall, the less
does not help us locate the original source in space. This fact severe the level changes as we move farther back.
explains why the multitrack mixing engineer discovers that For example, in position C, the microphones are positioned
adding artificial reverberation to a dry, single-miked instru- beyond the critical distance! in the hall. As soon as we pass the
ment may deteriorate the sense of location of that instrument. critical distance, further changes in level of front orchestra
If the recording engineer uses stereophonic miking techniques compared to back become much less apparent to us. If the
and a liver room instead, capturing early reflections on two front of the orchestra seems too loud to us at position B,
tracks of the multitrack. the remix engineer will have an easier moving to C will not solve the problem. At position C we will
time adding artificial reverberation convincingly. probably hear about the same front -to -back relationship as at
position B, except the entire orchestra will seem more distant
A BRIEF SUMMARY and move overall room reverberation will he heard.
In short: Depth is perceived binaurally. Monophonic
reproduction provides a very limited sense of depth perception THE DIMENSION OF HEIGHT
due to the masking effect. Early reflections (up to 40 ms. delay) The dimension of height allows us to change the front -to-
carry most of the distance and location information in a stereo- back perspective practically independently of the reverberation
phonic recording. Later, diffused reflections are the reverbera- perceived. At position D, there will be no front -to -back depth
tion; they give information about the size of the room and some perceived, since the mikes are directly over the center of the
information about the distance of the source, yet do not help us orchestra, equidistant from front or back. Position E is the
discern its direction. same distance from the orchestra as position A, but being much
higher, the relative back -to -front ratio is much less. At E we
AIR ABSORPTION may find the ideal depth perspective and a good level balance
Before we leave this topic there is one last contributor between the front and rear instruments. If even less front -to-
to the sense of distance in a natural acoustic environment, back depth is desired. then F may be the solution, although
and that is the absorption qualities of air. As the distance to a with more overall reverberation and at a greater distance. Or we
sound source increases, the apparent high frequency response can try a position higher than E, with less reverb.
their directional pattern, or even a different hall than the one
he shouldn't have chosen in the first place.
t iF
/ \ Assuming the added ambience consists of reverberation,
/ \ which is uncorrelated with the direct source, then theoretically
an artificial reverberation chamber should accomplish similar
% results to those obtained with ambience microphones. The
answer is a qualified yes, assuming the artificial reverberation
chamber sounds good and, consonant with the sound of the
h1-,hhhhl,
RF \R [ROSE Cr i ical
original recording hall.
diaancc What happens to the depth and distance picture of the
orchestra as the ambience is added? In general. the front -to-
back depth of the orchestra remains the same or increases
A hail cross section showing various microphone minimally, but the apparent overall distance increases as more
positions. reverberation is mixed in. The change in depth may not be
linear for the whole orchestra since the instruments with more
dominant high frequencies may seem to remain closer even with
added reverberation.
DIRECTIVITY OF MUSICAL INSTRUMENTS
Frequently the higher up we move in the hall, the more high
frequencies we perceive, especially from the strings. This is
because the high frequencies of many instruments (particularly
Part Three:
violins and violas) radiate upward rather than forward. The The Influence of Hall Characteristics on
high frequency factor adds more complexity to the problem. Recorded Front -To -Back Depth
since it has been noted that treble response affects the apparent
distance of a source. Note that when the mike moves past the LIVE HALLS
critical distance in the hall, a listener may not hear significant In general. the more reverberant the hall, the farther back the
changes in high frequency response when height is changed. rear of the orchestra will seem, given a fixed microphone
The recording engineer should be aware of how all the above distance. I am intimately familiar with one problem hall whose
factors affect the depth picture so he can make an intelligent reverberation is much greater in the upper bass frequency
decision as to which mike position to try next. Or else he will region, particularly around 150 to 300 Hz.
find himself in the position of the 100 monkeys seated at 100 A string quartet usually places the cello in the back. Since
typewriters. Sooner or later they will manage to type all the that instrument is very rich in the upper bass region, in this
works of Shakespeare....Similarly, sooner or later, left hall the cello always sounds farther away from the mikes than
entirely up to chance. any recording engineer will find that the second violin, which is located at his right. Strangely
ideal mike position. Hopefully, you will know it when you've enough, a concert -goer in this hall does not notice the extra
found it. sonic distance because his strong visual sense locates the cello
easily and does not allow him to notice an incongruity. When
ADDING AMBIENCE...AND OTHER UGLY THINGS he closes his eyes. however, the astute listener notices that, yes.
(or) THROWING THE MINIMALIST OUT THE WINDOW the cello sounds farther back than it looks!
The engineer producer often desires a sense of warmth, It is therefore rather difficult to get a proper depth picture
ambience. or even distance which is not being achieved by the with microphones in this problem hall. Depth seems to increase
mike position. although the position is ideal for relative front - almost logarithmically when low frequency instruments are
to -back orchestral balance and depth. In this case, moving the placed only a few feet away from the mikes. It is especially
mikes back into the reverberant field cannot be the solution. difficult to record a piano quintet there because the low end
Another case for increased ambience is when the hall itself is not of the piano excites the room so much as to make it seem too
the best hall for recording. In either case. trucking the entire distant and hard to locate spatially. The problem is aggravated
ensemble to another hall may be tempting. but is not always especially when the piano is on half -stick, cutting down the
the most practical solution. high frequency definition of the instrument.
Here. the engineer may decide to put up additional mikes to The miking solution I choose for this problem is a corn-
capture the hall ambience. If he has read his Burroughs and promise: close mike the piano, and mix this with a panning
countless others on the evils of acoustic phase cancellation, position that is the same as the piano's virtual image arriving
he knows that adding more mikes is a sin. (This is of course from the main pair of front mikes. I can only add a small
why churches make the most ideal recording venues The portion of this close mike before the apparent level of the piano
confessional is near enough to save the recording engineer a is taken above the balance a listener would hear in the hall.
long trip which would otherwise pull him away from his main The close mike does help to solidify the image and locate the
job of sinning.) piano somewhat. It gives the listener a little more direct sound
The fact is that acoustic phase cancellation does not occur on which to focus. More on multi -mike techniques shortly.
when the extra mikes are placed purely in the reverberant field.
for the reverberant field is uncorrelated with the direct sound. VERY DEAD ROOMS
The problem, of course. is knowing where the reverberant field What happens when minimalist techniques are applied to
is located. Proper application of Burroughs' 3 -to -I rule will recording ensembles in dead studios? Not much. My observa-
minimize acoustic phase cancellation. So will careful listening. tions are that the purist coincident pair and other two -mike
The ambience mikes should be far enough back in the hall. techniques which generally sound superior to me are not so
and the hall must be reverberant enough so that when these obviously superior in a dead studio. A recent experiment was
mikes are mixed into the program, no deterioration in fre- made with a horn overdub (sax and brass section) on multi-
quency response is heard, just an added warmth and increased track tape. The experiment took place at the facilities of the
reverberation character. If the ambience mikes are all the way Institute of Audio Research, New York City, where I teach a
back in the hall and a deterioration of frequency response is recording course. Students at I.A.R. do have a bit more time
-
heard, then the hall is too dead because the so-called rever-
beration actually contains correlated reflections which cause
to experiment with "exotic" miking choices than they would
in the speedy outside world. I suggested that they try listening
acoustic phase cancellation, also known as a comb filter effect. to a coincident pair placed so as to pick up a natural image
The engineer should instead cancel using the ambience mikes, of the horns. It seemed to us that in this dead room there were
til and either try moving his main mikes further back, changing no significant differences between the sound ofthis"minimalist"
pair, and six "multiple-mono" close up mikes! The close mikes during the performance. We've all heard recordings made with
were, of course, carefully equalized, leveled and panned from this disconcerting practice. To me, they make the soloist sound
left to right. This was certainly a surprising discovery to me like he must be on roller skates because his distance changes
and it points out the importance of good hall acoustics on a at the whim of the recording engineer producer!
musical sound.
Normally, it would seem that close multiple miking kills all WHAT ABOUT DELAY MIXING?
sense of depth, and it generally does. But in the dead room. At first thought, adding a delay to the close mike seems
the more -distantly -placed coincident pair did not pick up a attractive. While this delay will synchronize the direct sound
significant number of room reflections to provide a reasonable of that instrument with the direct sound of that instrument
or even pleasing depth feeling. When the horns were monitored arriving at the front mikes, the single delay line cannot effec-
and mixed with the other tracks on the multitrack, the rhythm tively simulate the other delays of the multiple early room
section effectively masked whatever room ambience that reflections surrounding the soloist. The multiple early reflec-
might have been perceived through the coincident pair. The tions arrive at the distant mikes and contribute to direction
differences between the two miking techniques then sounded and depth. They do not arrive at the close mike with significant
insignificant to me. In fact, while this conclusion may sound amplitude compared to the direct sound entering the close
like heresy to some people out there, I even found that the mike. Therefore, while delay mixing may help.it is not a panacea.
balance control flexibility provided by the multiple close mikes
made them the superior choice in this room. STEREO MIKING A SOLOIST
When the close solo mikes area properly placed stereo pairand
THE LEFT -TO -RIGHT PICTURE the hall is not too dead, the depth image will seem more natural
Bartlett reports that the further apart the microphone pair, than one obtained with a single solo mike. However, the advan-
the wider the stereo image of the ensemble. Instruments near tages of stereo miking a soloist decrease in recordings made in
the sides tend to pull more left or right. Center instruments tend dead rooms, for reasons mentioned earlier. (Blame it all on the
to get wider and more diffuse in their image picture, harder to Haas effect. He's very dead anyway.)
locate or focus spatially.
The technical reasons for this effect are tied in to the Haas INFLUENCE OF THE CONTROL ROOM ENVIRONMENT
effect for delays of under approximately 5 ms. vs. significantly ON THE DEPTH PICTURE
longer delays. With very short delays between two spatially This is the last topic. Many engineers may at this point say,
located surfaces, the left-to -right image location becomes "what is this matter of depth? l've never noticed it in my control
ambiguous. Fusion does not occur. A listener can experiment room. "! But chances are, if you' e continued to read this far.you
with this effect by mistuning the azimuth on a two -track have noticed a degree of depth perception in your recordings
machine and playing a mono tape over a well- focused stereo and want to know how to make them sound "better." (That
speaker system. When the azimuth is correct, the center image word "better" has inspired more fights in the audio industry
should be tight and defined. When the azimuth is mistuned, the than I care to admit. Unfortunately. this article will be no
center image should get wider and acoustically out of focus. exception.)
Similar problems can (and do) occur with the mike -to -mike In my opinion, there are now more good speakers available
time delays always present in spaced -pair techniques. for home stereo use that are capable of producing an accurate
depth image than are found in today's so- called "state- of -the-
THE FRONT -TO -BACK PICTURE art" recording studios! But that situation is rapidly changing.
I have found that when the left-to -right picture is getting
In control rooms of the past, the acoustic design engineer's
wider (due to an increase in intermike distance), the depth decisions for efficiency, high power handling, flat frequency
picture also appears to increase, especially in the center. This response, wide bandwidth across the console width, and other
is probably due to the extra wide and diffuse center image.
speaker attributes, have been made at the expense of a tight
For example, the front line of a chorus will no longer seem center image and accurate depth and focus. I believe that this
straight. Instead, it appears to be on an arc bowing away from trend is changing considerably with the recent advent of the
the listener in the middle. If soloists are placed at the left and LEDE'" control room and phase-coherent speaker systems.
right sides of this chorus instead of in the middle, a rather Before you book your next studio gig, play a well -recorded
pleasant and workable artificial depth effect will occur. You orchestral tape that you are familiar with (in the control room).
should not overrule spaced -pair techniques on the basis of If you find the flutes and clarinets sound like they are four feet
theory alone. In fact, two well-known practitioners of the wide and nowhere in space, then I suggest you book another
spaced mike technique (Bob Fine, who used three equally - studio. Happy listening, and happy depth perception!
spaced omnidirectionals, and David Hancock, who uses two
figure -8 mikes spaced a few feet apart) have produced orches-
tral recordings which in my opinion equal the best ever made
in terms of their imaging, depth and focusing accuracy.
FOOTNOTE
MULTIPLE MIKING TECHNIQUES
"Critical Distance- is a term used in Sound Reinforcement work:
I have described how multiple close mikes destroy the depth Ibelieve it was first popularized or coined by Don Davis. It refers to the
picture: in general I stand behind that statement. But soloists point in the hall where the direct and reverberant sound areal equal level.
do exist in orchestras, and for many reasons, they are not
always positioned in front of the group. The engineer should
make an effort to relocate the soloist closer to the front micro-
phones when looking for a natural depth picture. But when the
soloist cannot be moved, plays too softly, or when hall acoustics BIBLIOGRAPHY
make him sound too far back, then a close mike or mikes must I. Bartlett. Bruce: "Stereo Microphone technique." db. December 1979.
be used. 2.Burroughs, Lou: "Microphones: Design and Application.- Saga-
Check for frequency response problems when the close mike more Publishing. 1974.
3. Madsen, E. Roerbaek: "Extraction of Ambiance Information from
is mixed in. As noted before, the live hall is more forgiving and,
Ordinary Recordings." Journal of the Audio Engineering Society,
if little or no acoustic phase cancellation occurs, the close mike 1970 October. Contains an excellent explanation of the Haas effect
can be used. The close mike (not surprisingly) will appear to as well as a description of a four -speaker ambiance extraction system
bring the solo instrument closer to the listener. If this practice that must be heard to be believed. (It is excellent).
is not overdone, the effect is not a problem as long as musical 4. Davis, et al: various recent publications on the LEDE concept
balance is maintained, and the close mike levels are not changed and on 'IDS from db and RE. P magazines. Vt
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craft Public Address Audio Adapter Kit. Noise of -110 dB; THD of 0.05%. 20 Hz
giving the audio technician the four most to 20 kHz, at +20 dBm output; Fre-
commonly needed PA connector, adapt- quency Response of ±0.25 dB, 20 Hz to
ers in one package. Included are a 3 -pin 20 kHz, and a slew rate of 9V per milli-
male Q -G to 3-contact male threaded - second. Crosstalk from one channel to
coupling microphone connector; a 3 -pin the other channel is -80 dB at 20 kilo-
male Q -G to 4- contact female threaded - hertz. The 5008 will drive a 600 ohm
coupling microphone connector. and a output, resistive. The Model 5008
3 -pin male Q -G to 4 -pin male threaded - package may be used in a wide variety of
coupling microphone connector. These applications by simple external addition
adapters are designed to mate with all of resistors or interconnections. Some
Switchcraft 3 -pin male Q -G connectors typical applications include: dual bridging
and similar types. On the other end, they or matching differential inputs in a single
mate with Amphenol 3- or 4-contact male ended outputs with gains to 14 dB and
or female threaded -coupling microphone inverting summing amplifiers.
connectors. Mir: Modular Audio Products
M r: Switchcraft. Inc. Price: $52.00
Circle 50 on Reader Service Card Circle 52 on Reader Service Card
20,000 copies in print
Fourth big printing of the

definitive manual of recording technology!
John Woram has filled a gaping hole in the audio litera-
ture. This is a very fine book ... I recommend it highly.
-High Fidelity. And the Journal of the Audio Engineering
Society said. A very useful guide for anyone seriously
concerned with the magnetic recording of sound."
So widely read ...
so much in demand ...
that we've had
to go into a fourth printing of this all- encompassing guide to
every important aspect of recording technology. An indis-
pensable guide with something in it for everybody
to learn, it is the audio industry's first complete
8 clearly- defined sections handbook on the subject. It is a clear, practical,
18 information -packed chapters and often witty approach to understanding what
makes a recording studio work. In covering all
I. The Basics V. Noise and Noise Reduction
aspects, Woram, editor of db Magazine. has pro-
I he Decibel Noise and Noise Reduction vided an excellent basics section. as well as more
Sound Principles in -depth explanations of common situations and
II. Transducers: Microphones Studio Noise Reduction Systems problems encountered by the professional engineer.
and Loudspeakers VI. Recording Consoles
Microphone Design The Modern Recording It's a "must" for every working professional ... for
Microphone Technique Studio Console every student ... for every audio enthusiast.
Loudspeakers r
VII. Recording Techniques
III. Signal Processing Devices The Recording Session
SAGAMORE PUBLISHING COMPANY, INC.
Echo and Reverberation The Mixdown Session 1120 Old Country Road. Plainview. N.Y. 11803
Equalizers
Compressors. Limiters and VIII. Appendices Yes! Please send copies of THE RECORDING
Table of Logarithms STUDIO HANDBOOK. $37.50. On'15 -day approval.
Expanders
Flanging and Phasing Power. Voltage. Ratios and
Decibels Name
IV. Magnetic Recording Frequency. Period and Address
Tape and Tape Recorder Wavelength of Sound
Fundamentals Conversion Factors City /State /Zip
Magnetic Recording Tape NAB Standard
The Tape Recorder Total payment enclosed $
Bibliography
(In N.Y.S. add appropriate sales tax)
Glossary
Please charge my Master Charge
BankAmericard /Visa
Use the coupon to order your Account # Exp date
copies today at 537.50 each. Signature
And there's a 15 -day (charges not valid unless signed)
money -back guarantee. Outside U.S.A. add $2.00 for postage.
Checks must be in U.S. funds drawn on a U.S. bank.
MOSFET AUDIO SWITCHER GRAPHIC EQUALIZERS
The MAP Model 4088 MOSFET
Audio Switcher provides for individual
remote double throw switching of eight
line level inputs. A small jumper plug
changes input- output and interconnec-
tions of the two sections. The card may
be used as a Pan -Direct switcher with
On-Off for two stereo outputs, or as an The 165IA active graphic equalizer is
On-Off switcher for a monaural input to a single channel equalizer with 10 mini-
eight outputs directly or through 20K mum phase shift, active band rejection
ohm summing resistors, or as a Pre-Post- filter sections. Center detented slide
Off switch for four mono inputs. A MAP controls provide ±12 dB boost cut at
Model 5008 BTA module in the input I.S.O. preferred 1- octave frequencies
circuit serves as a buffer amplifier to (31.5 -16 kHz). The 1652A is a stereo
insure isolation and nonloading of the graphic equalizer with the same features
inputs, and provides up to 14 dB of gain as the 165IA for each of two channels.
to make up for fader setting loss when Both the 165IA and í652A incorporate a
the card is used as a channel routing continuously variable high-pass filter
switcher in console applications. The with 18 dB octave roll -off, and a user -
switching logic is TTL compatible with selectable low -pass filter with 6 dB roll -
permissible switching voltages from off at 12.5 kHz. The I653A is a fourth -
+4.5 volts to +15 volts. generation EQ device that delivers 3- 1
Mfr: Modular Audio Products octave accuracy across a wide range of

Circle 56 on Reader Service Card industrial and professional applications.
29 minimum phase shift, active band
rejection filter sections use center de-
tented slide controls to provide ±12 dB
PRO MICROPHONE STANDS boost, cut. Continuously variable high -
The Omni Series angulated micro- pass and low-pass filters provide roll -off
phone stands are available in floor model at 18 dB octave from off position to 20
for the stand -up performer, lectern through 160 Hz (high -pass). and from
height for table -top use, and with off position to 5 kHz through 20 kHz
optional horizontal boom extension. (lowpass). Filters in all units are parallel
They depart from the single -position summed so that failure of one section will
right angle stands, and are supplied in not affect remaining filter section
a glare -free chrome finish. In addition operation.
to the traditional 90 degrees setting, the Mir: Abet. Lansing
Omni Series is equipped with an adjust- Circle 59 on Reader Service Card
able fulcrum offering the advantage of
controlled microphone -proximity, and
the option of 75 or 105 degree angular
tube positioning. Omni Series stands
and boom extensions are equipped with
the standard 5/8-in. number 27 thread
suitable for all U.S. microphone holders
and accessories.
Mfr: Atlas Sound
Circle 57 on Reader Service Card PATCHBAY
POLYPHONIC SEQUENCER
The DSX Digital Polyphonic Se-
quencer has a three thousand note The Model Patch -32 is a patchbay
memory, expandable to a six thousand designed for interconnection of un-
note capacity. With features such as balanced audio devices. The rear panel
editing, overdubbing. sixteen voice of the Patch -32 accepts up to 32 un-
capability, and the ability to merge balanced audio signals via 1/4-in. phone
sequences in any order, the DSX allows jacks (or optional RCA jacks), and
control of composition previously un- routes them to 32 1/4-in. front panel
available in an inexpensive sequencer. jacks. For user convenience, the front
Other features include eight indepen- panel, top row jacks are normalized to
dently controlled control voltage outputs the front panel bottom row jacks such
and eight gate outputs, each with user that automatic connections between two
selectable positive- or negative -going devices can be made without a patchcord
outputs. Real -time programming, as well between upper and lower rows. All the
as a single step mode, and synchroniza- jacks in the Patch -32 are isolated from
tion to tape for multi- tracking are other the Patch -32's chassis to prevent possible
important capabilities. ground loops between devices.
Mfr: Oberheim Electronics Mfr: Svnzetrix. Inc.
Price: $1,700.00 Price: $149.00
Circle 58 on Reader Service Card Circle 60 on Reader Service Card
Is your ad in the magazine with the largest circulation?
db is the 1
Is your ad in the magazine whose authors are the leaders

in their field?
db is the 1
Isyour ad reaching more of the decision makers in the

broadcast and recording markets?
db is the 1
Is your ad being seen every month?
db is the 1
Your ad can be in the

number 1 magazine db
For moreinformation write or call us at:
1120 Old Country Rd, Plainview, N.Y. 11803 (516) 433.6530
MICROCOMPOSER GRAPHIC EQUALIZER
The MC-4 MicroComposer is a com-
puter specially designed for writing and
performing musical compositions. Up to
four pairs of voices can be programmed
from either a synthesizer keyboard .
##°ttt°441411114400
4i#ttttttiWdWf ftttf 7
'
and or the MC-4's own calculator style
keyboard. Performances can include The DN30¡ 30 dual- channel I, 3 octave
programmed pitch, rhythm, programmed graphic equalizer has two completely
dynamics, programmed tempo and discrete channels, with 30 bands of con-
more. Many advanced functions are
trol each, centered on standard I.S.O.
available including syncing to tape for frequencies. The range control is switch -
building multitrack performances of an IIIIIIIIIIIIIIIIIIIIIIIIIIII
able for each channel, ±6 dB or ±I2 dB.
complexity. The composition/ perform- In addition, each channel contains a
Roland
ance data in the MC-4 memory can be
ww Cortv-k.. 30 Hz. 18 dB/ octave subsonic filter,
stored and retrieved for later use with .-, '0o 1s
MC -4 switchable in or out. The DN30/ 30
the self- contained tape memory interface
incorporates an earth -lift switch and a
or through the optional MTR -I00 system- bypass facility for power inter-
Digital Data Cassette recorder, which Y. Y C ruptions. The equalizer can also be
includes automated search for specific .I
fitted with internal active crossover

iv ¡:::;
: ;+riY.d
-rr +
data tracks and exceptionally fast, circuit cards in either a bi-amp or tri-
reliable data storage and retrieval. The irww-i amp configuration. Slope and center
MC-4 is available with up to 48K byte of frequency are user selectable.
RAM memory for the musicians use, Mir: Klark - Teknik Electronics Inc.
allowing up to 11.500 notes of composi- Price: $1,450.00
tion performance at one time. The
,'
MC-4 also includes I6K byte of ROM,
an internal program that is specially
designed to offer nearly limitless musical
flexibility and functional options.
Mir: Roland Corp US
Price: $3,295.00
ANALOG BARGRAPH
The APM 20 is a new solid state analog
bargraph indicator featuring a 3 -in..
20 element bargraph. APM meters
provide a low cost, reliable alternative
to mechanical meters and are available in
many standard voltmeter and ammeter
ranges. Options include offset span,
COMPRESSOR- LIMITER
differential input, reduced response time
and either single or dual setpoint con-
trols. Meters meet ANSI 39.1 shock,
temperature and humidity requirements.
Display brightness is controllable with
an external potentiometer.
The Model 663CL Compressor -Lim-
Mir: Bowman /ALI Inc. iter is a compact, rack -mounting device
Price: $60.00 with a self-contained power supply. Plug-
Circle 63 on Reader Service Card in PC motherboard construction allows
the entire electronics section to be
removed, serviced, or replaced from the
front. The front panel controls of the
STEREO, CONNECTOR MULT
663CL include: compression threshold;
AND INTERFACE BOX
output level; VU meter switchable to
The CM B-2 functions as an interface output or compression, and a power on-
adapter box, signal multing box, signal off switch/ circuit breaker. Input and
switching box, and as a troubleshooting output are 600 ohms, transformer
aid. Completely passive in design, the coupled, balanced, floating, and capable
CM B-2 accommodates male and female of handling up to +27 dBm level before
XLR, Phone (TRS), BNC, Banana and clipping. Compression is 20 dB maxi-
Terminal Strip connections. Through use mum, with a ratio of approximately 2.5
of switch selection, the connectors can to I. The compression control circuits
be isolated into a maximum of four sec- are accessible externally, allowing two
tions or they can function as one con- or more units to be interconnected for
tinuous, twenty six connector, three stereo or multi- channel operation.
conductor mult. Mir: Pro Tech Audio
Mir: Westlake Audio Price: $495.00
N Circle 64 on Reader Service Card Circle 66 on Reader Service Card
co
NRBA '81
HERE ARE THE DATES:
September 13 -16
HERE IS THE PLACE
Fountainebleau Hilton -Miami Beach
The biggest and best NRBA will be held in the beautiful

Fountainebleau Hilton Hotel from September 13th through
the 16th inclusive. Rooms at this famous hotel are still
available ranging from $55 -65 per night single or double.
Contact the NRBA directly as soon as possible for rooms.
We will also send convention registration information and,

if you wish, ask for information on the Fountainebleau's
post- Convention vacation package. There will be, also by
request, an NRBA post- Convention trip to the Bahamas.Ask for
this information at the same time you request hotel accommo-
dations.
WRITE TO:
NATIONAL RADIO BROADCASTERS ASSOCIATION

1705 DeSales Street, N.W., Suite 500
Washington D.C. 20036
Phone:(202)466 -2030 or (202)466 -5540
THIRD OCTAVE EQUALIZER
The basic architecture of the TO-I
third octave equalizer is a single mono
unit. The front panel contains all of the
operating controls and indicators. There
are 27 band controls. each calibrated for
12 dB boost and cut. The band centers
occur on ISO standard frequencies
running from 40 Hz through 16,000 Hz.
Located to the left of the sliders are a
clipping indicator, a rotary gain control
and an EQ in out switch. The EQ in out
switch determines whether the equaliza-
tion circuitry is active. The gain control
has a control range from "off *to +6 dB of
flat gain. The gain setting is unaffected
by the EQ ins out switch position. On the
rear panel are the input and output
connectors that allow the TO -I to inter-
face with a variety of sound systems. The
TO -I provides both balanced and un-
balanced inputs as well as outputs. The
Special binders TO -I is equipped with an active filter
now available. network called a GIC (Generalized
Impedance Converter) using operational
All you regular db readers who,
ICs. The GIC circuitry works by simu-
smartly enough, keep all your lating an RLC bandpass filter.
back issues, can now get our Nor. Cernin -fega
special binders to hold a whole Price: 5600.00
year's worth of db magazines in Circle 53 on Reader Service Card
neat order. No more torn -off
covers, loose pages, mixed -up
sequence. Twelve copies, Jan- 16 -TRACK CONSOLE
uary to December, can be main- The M -I6. a new I6 -track console. can
tained in proper order and good be configured with 16 or 24 input posi-
condition, so you can easily tions. There are eight main program
refer to any issue you need, any mixing busses with submaster faders,
time, with no trouble. eight main board outputs. two independ-
ent stereo mixing busses, four auxiliary
They look great, too! mixing busses and 16 meters switchable
to read buss or external source. The
Made of fine quality royal blue M -I6 has stereo solo in -place for input,
vinyl, with a clear plastic pocket monitor and effects returns. All inputs
have pre- fader- listen capability. During
on the spine for indexing infor-
remix, the solo logic permits instant
mation, they make a handsome comparisons between effects send
looking addition to your pro- receive. The M -I6 also features 4 -band,
fessional bookshelf. 8 -knob parametric (sweep type) equal-
izers that may be switch bypassed. and
Just $7.95 each, available in three filters (two high -pass, one lowpass).
North America only. (Payable Faders are conductive plastic with a
in U.S. currency drawn on U.S. 100 mm throw.
Mfr: TEAC Corporation
banks.) Price: $12.900.00
r Circle 54 on Reader Service Card
Sagamore Publishing Co., Inc.
1120 Old Country Road
Plainview. NY 11803
AIR CONDENSER MICROPHONES
YES! Please send db binders
@ $7.95 each. plus applicable sales "The Alternative" is a cost effective
tax. Total amount enclosed $ precision air condenser microphone
family for OSHA and other ANSI Type!
Name acoustic measurement and monitoring
applications. The ACO Pacific 7012
Company (free field 1 -in.) and the 7013 (pressure
response 1 -in.) are direct replacements
Address
for the Bruel and Kjaer 4133 and 4134
City
respectively.
M¡r: ACO Pacific, Inc.
State /Zip Price: $450.00
co L Circle 55 on Reader Service Card
New Literature
CABLE ASSEMBLY GUIDE requirements. Mfr: Belden Corp., Inter- MICROPHONE BROCHURE
connect Systems Operation, 105 Wolf- Gotham Audio Corporation has
A new 28 -page illustrated catalog
pack Rd., Gastonia, N.('. 28052.
and specification guide from Belden announced the availability of a new
Corp.'s Interconnect Systems Operation brochure for Neumann fet 80 Condenser
describes design -it- yourself molded Microphones. This six page, four color
cable assemblies for interfacing data brochure features the complete line of
systems, peripherals. instrumentation. FREE SMPTE CATALOG microphones including the new KMR
and controls. Among the shielded and I he 1981 catalog of SMPTE publica-
82 Shotgun. USM 69 Stereo micro-
unshielded standard product lines phone and the U 89 with its revolutionary
tions has recently been published by the
covered are 9- and 37- position RS-449: new capsule design. Descriptions of each
Society of Motion Picture and Television
15- and 50- position RS -422A and RS- Engineers (SMPTE). The new free microphone as well as complete technical
423A; 25- position RS -232C; and 24- specifications are included. Also featured
catalog features descriptions of SMPTE
position IEEE 488 G PI B. Also described are Gotham's special products including
publications including the newly-pub-
are Series 10 and 20 finger phone plug lished book Television Technology in colored windscreens, the N 80 power
assemblies for instrumentation and supply and colored cables. Mfr: Gotham
the 80.s. Other books that are described
control circuits; Series 50 miniature and Audio Corporation, 741 Washington St.,
are the three -volume series Digital
subminiature phone plug assemblies for
audio connection in miniaturized instru-
-
Video Volumes 1, 2, & 3. Several books
in the motion -picture field are listed
New York, NY 10014.
ment, automation, and control systems; including the best -selling Motion - Picture
ANALOG PANEL
and Series 60 phono plug assemblies for Projection and Theatre Presentation
METERS BULLETIN
instrumentation and audio control appli- Manual and the classic Special Effects Bowmar's new analog panel meters
cations. The design -it- yourself format M Motion Pictures: Some Methods. or expressly designed for high visibility and
of the catalog enables specifiers to select Producing Mechanical Special Efi cts. readability are described in a bulletin
from a wide variety of component Mfr: SMPTE, 862 Scarsdale Ave., available from Bowmar. All available
configurations, including 100- percent Scarsdale, NY 10583. models are described along with speci-
shielded designs, to construct an assem- fications and outline drawings. Mfr:
bly that combines electrical and mechan- Bowmar /ALI Inc., 531 Main Street,
ical features to meet specific application Acton, Ma. 01720.
University Microfilms
International
Please send additional information
for.
(name of publication)
Name _
Institution
Street 300 North Zeeb Road 30 -32 Mortimer Street
Dept. PR.
-
Dept. PR.
City Ann Arbor, Mi. 48106 London WIN 7RA
State Zip- -- USA. England
4V- Classified
Closing date is the fifteenth of the second month preceding the date of issue.
Send copies to: Classified Ad Dept.
db THE SOUND ENGINEERING MAGAZINE
1120 Old Country Road. Plainview, New York 11803
Minimum order accepted: $25.00

Rates: $1.00 a word
Boxed :ids: $40.00 per column inch
db Box Number: $8.50 for wording "Dept. XX.' etc.
Plus $1.50 to cover postage
Frequency Discounts: 6 times, 15%; 12 times, 30%
ALL CLASSIFIED .ADS MUST BE PREPAID.
FOR SALE
SCULLY MODEL 100 -16 TRACK S/N 200. REMANUFACTURED ORIGINAL equip- TASCAM, BGW, JBL, EV, Nikko, Tech-
One owner since new, plenty of spare ment capstan motors for all Ampex and nics, Onkyo, Hafler. Audio Research,
parts, mint condition. $12,500.00, includes Scully direct drive recorders, priced at Conrad Johnson, dbx, etc. P. K. Audio,
full remote control. Contact Bob or $250., available for immediate delivery 4773 Convention, Baton Rouge, LA 70806.
Bubba, (512) 690 -8888. from VIF International, PO Box 1555, (504) 924 -1001.
Mtn. View, CA 94042, phone (408) 739-9740.
REELS AND BOXES 5" and 7" large and 101 RECORDING SECRETS MOST EN-
small hubs, heavy duty white boxes. GINEERS WON'T TELL, $7.95 Tune-
DISC CUTTING SYSTEM, Westrex 26 tronlcs, P.O. Box 55, Edgewater, N.J.
W -M Sales, 1118 Dula Circle, Duncanville,
head rest of system stereo, Scully Lathe 2 07020.
Texas 75116 (214) 296 -2773.
track Ampex, Limiter, Eqs., Altec /Mc-
Intosh Monitors, priced to sell. Sound -
FOR SALE: EMT 250 Digital Reverb Unit, wave, 50 W. 57 St., N.Y.C. 10019 (212) ORBAN. All products in stock. FOR IM-
mint condition. $17,500. RPM Sound Stu- 582 -6320. MEDIATE DELIVERY. UAR Professional
dios, 12 E. 12th St., New York, NY 10003. Systems, 8535 Fairhaven, San Antonio,
(212) 242 -2100. TX 78229. 512 -690 -8888.
AGFA MASTERTAPE AND CASSETTES.
Super prices. Example: '/" x 2400' bulk AMPEX, OTARI, SCULLY -In stock, all
AMPEX SPARE PARTS; technical support; = 9.82 and C -60 for $.86 (case quantities) major professional lines; top dollar trade -
updating kits, for discontinued pro- send for wholesale price list. Solid Sound, ins; write or call for prices. Professional
fessional audio models; available from Inc., Box 7611, Ann Arbor, Mich. 48107 Audio Video Corporation, 384 Grand
VIF International, Box 1555, Mountain (313) 662 -0667. Street, Paterson, New Jersey 07505. (201)
View, Ca. 94042. (408) 739 -9740. 523 -3333.
TECHNICS, BGW, EVENTIDE, AKG, ELECTRO -VOICE SENTRY Studio Moni- THE LIBRARY...Sound effects recorded
Scully, and many more IN STOCK. FOR tors, Otari Recorders, dbx Systems, AB in STEREO using Dolby throughout. Over
IMMEDIATE DELIVERY: UAR Profes- Systems Amplifiers, Harmon /Kardon hi /fi 350 effects on ten discs. $100.00. Write
sional Systems, 8535 Fairhaven, San products. Best prices- immediate ship- The Library, P.O. Box 18145, Denver,
Antonio, TX 78229. (512) 690 -8888. ment. East: (305) 462 -1976, West: (213) Colo. 80218.
243 -1168.
FREE CATALOG & AUDIO APPLICATIONS ACOUSTIC TEST INSTRUMENTS

CONSOLES USE TO ADJUST EDUAUEERS. OPTIMIZE
KITS & WIRED SPEAKER PLACEMENT. ETC.
AMPLIFIERS FOR SALE: PENTAGON SR-4250 -12 reel [-empire Test Set 5399
M IC., EO, ACN,LINE,
TA PE, DISC, POWER master /one (1) reel slave duplicator with Calibrated SouM Loes Meter
FractmraI Octave Pink
$169
OSCILLATORS
AUDIO, TAPE BIAS
electronics. -track configuration. Less Noise Generator
Handbook on Acoustic Testing
$299
$6
POWER SUPPLIES than 2 years old. Good condition. Make
1033 N. SYCAMORE AVE. Free braco NALL ENGINEERING Dept Ea
LOS ANGELES, CA. 9003E offer. Contact: Mikie Baker, P.O. Box P 0 Boa 506. MamaahlN. NJ 05536
(213) 934 -3566 11011 64 7-037 7

400329, Dallas, TX 75240, (214) 233 -2900.
AKG BX20 reverberation and C414 micro-
RECORD PLANT L.A. phones. FOR IMMEDIATE DELIVERY.
STUDIO "C" CONSOLE FOR SALE PROFESSIONAL AUDIO EQUIPMENT
UAR Professional Systems, 8535 Fair-
Available late August 1981 haven, San Antonio, TX 78229. 512- Shop for pro audio from N.Y.'s leader,
690 -8888. no matter where you live! Use the Har-
1976 Custom Automated Processes
40 In -16 Buss, 32 track monitor.
vey Pro Hot -Line. (800) 223 -2642
4 echo sends, 8 echo returns, 4 stereo LIKE NEW CONDITION 351 -2 Ampex - (except NY, AK, & HI) Expert advice,
Inovonics recorder, Soundcraftsmen broadest selection such as: Otani,
cues. Wired for automation on main
Graphic EQ SG -2205 Master Room & l EXR, Ampex, Tascam and more. Write
faders and 2 echo sends. $65,000.00 I I I l
Allison 64 channel 65k automation Echo Unit. Virtue Recording (215) 763- or call for price or product info:
package for above: $10,000.00. (213) 2825. Harvey Professional Products Division
653-0240. 2 W. 45th Street
TELEX 300 SERIES, mono master reel to New York, NY 10036
six slave cassettes, tape duplicator, (212) 921 -5920
$2,200. Danco, 929 Gist Avenue, Silver
LEXICON, dbx, & UREI. Most items for im-
Spring, Maryland, 20910, (301) 585 -8844.
mediate delivery. UAR Professional Sys-
tems, 8535 Fairhaven, San Antonio, TX
78229. (512) 690 -8888. CROWN SX -724 in case with extra half LEXICON 224 Digital Reverberation. FOR
track head block assy., $1250. Revox B -77, IMMEDIATE DELIVERY. UAR Profes-
new in box, $1250. (214) 783 -8498. sional Systems, 8535 Fairhaven, San An-
FOR SALE: STEREO SELA MIXER 2880 St tonio, TX 78229, 512- 690 -8888.
8x2 fully equipped, equalization, peak
meters. Call Ed or Phil (212) 777 -5580. MICROPHONES BY UPS. Quicker. You II
save more with us. All popular models for
AMPEX, OTARI & SCULLY recorders in immediate delivery. UAR Professional EMPLOYMENT
stock for immediate delivery; new and Systems. (512) 690 -8888.
rebuilt, RCI, 8550 2nd Ave., Silver Springs, ENGINEER /ENGINEER ASSISTANT
MD 20910. Write for complete product list. TASCAM MODEL 5, like new, full war- seeking full time permanent work. 4 years
ranty, $1,100.00. Two Electro -Voice audio, 2 years video, and maintenance
BLANK AUDIO AND VIDEO CASSETTES RE -15's, $150.00 each, RE -20's, $300.00 experience. Equipment to offer. Call
direct from manufacturer, below whole- each. N.A.B., Box 7, Ottawa, IL 61350. (205) 263 -6353.
sale, any length cassettes: 4 different
qualities to choose from. Bulk and reel
mastertape -from '/. -inch to 2-inch. Cas- JFET TUBE REPLACEMENTS for first
playback stages in most Ampex Profes- POSITION WANTED: Hard working,
sette duplication also available. Brochure. experienced, looking for Asst. Engineer-
Andol Audio Products, Inc., Dept. db, sional audio tape recorders /reproducers
ing work in recording and sound reinforce-
42 -12 14th Ave., Brooklyn, NY 11219. Toll available from VIF International, Box
1555, Mountain View, CA 94042. (408)
ment, old and new classical music, jazz,
free 1- 800 -221 -6578, ext. 1, NY residents theatre. John (212) 724 -5893.
(212) 435 -7322. 739 -9740.
SERVICES
r rum-rows ENGINEEI?ING
MAGNETIC HEAD relapping -24 hour
service. Replacement heads for profes-
sional recorders. IEM, 350 N. Eric Drive,
Palatine, IL 60067. (312) 358 -4622.
CUTTERHEAD REPAIR SERVICE for all

models Westrex, HAECO, Grampian.
MAN,AGEI? Modifications done on Westrex. Quick
turnaround. New and used cutterheads
for sale. Send for free brochure: Inter-
Are you a Senior Project Engineer who is ready to move into a management
position? national Cutterhead Repair, 194 Kings Ct.,
Teaneck, N.J. 07666. (201) 837.1289.
Beltone, one of the most respected manufacturers of quality electronics, offers
to the engineer with a strong background in audio analog circuit design and
product development an opportunity to head a department of 5 professionals.
Your responsibilities will include working with other R & D Division managers, ACOUSTIC CONSULTATION- Special-
new product development and their introduction into production. izing in studios, control rooms, discos.
Qualified personnel, reasonable rates.
We offer an excellent starting salary and comprehensive benefits, including Acoustilog, Bruel & Kjaer, HP, Tektronix,
tuition refund and profit sharing. To arrange a confidential interview, please
send your detailed resume, complete with salary history and requirements, to:
!vie, equipment calibrated on premises.
Reverberation timer and RTA rentals.
BY
Bob Riefke Acoustilog, 19 Mercer Street, New York,
NY 10013 (212) 925 -1365.
JBL AND GAUSS

ELECTRONICS CORP, SPEAKER WARRANTY CENTER
4201 W. Victoria
L Chicago, IL 60646 Fast emergency service. Speaker re-

coning and repair. Compression driver
An Equal Opportunity Employer m/f diaphragms for immediate shipment.
NEWCOME SOUND, 4684 Indianola
Avenue, Columbus, OH 43214. (614)
268 -5605.
d)
V
k/Places/HappenIngs
Maxell Corporation of America, Sam Borgerson has been appointed Trutone Records Disk Mastering
60 Oxford Drive, Moonachie. NJ, a advertising and public relations manager Labs has announced the expansion and
manufacturer of high quality magnetic of Studer /Revox America, according to complete renovation of their disk
media, and Harris Corporation, Broad- an announcement made by the com- mastering labs and offices located just
cast Product Div., Quincy. 1L, a major pany's president, Bruno Hochstrasser. outside of New York City, at 163 Terrace
manufacturer of equipment for the radio Borgerson will direct all advertising and Street, Haworth, N.J. Construction is
and television industry, have become related activities from the firm's principal underway for two new mastering rooms.
sustaining members of the Society of office in Nashville. Borgerson is already The unique architectural, acoustical
Motion Picture and Television Engineers known to many in the recording industry design concept was developed and
(SMPTE). By joining the SMPTE. through his byline articles in several created by the team of Maurice Wasser-
Maxell and Harris join more than 190 professional trade magazines. He has man /Al Fierstein. The main cutting
sustaining member companies and more previous experience as a concert sound room will be equipped with their newly
than 9,000 individual members in the mixer, retail hi -fi salesman, and advertis- acquired Neumann VMS -70 lathe,
motion picture and television industries. ing copywriter. In 1977 -78, he served as a SX -74 head, SAL -74 rack and Neumann
The SMPTE is well known for its work Sales Coordinator in the Revox Sales mastering console. The second room will
in standardization, the publication of Department. be equipped with the Scully /Westrex
the monthly SMPTE Journal and the Charles P. Coovert has been appointed
system featuring the new Capps Genera-
sponsorship of technical conferences
general manager of the audio products
tion II computer and lathe control.
and equipment exhibits.
group of the Ampex Audio -Video Sys-
tems Division. The announcement was Dr. Harry F. Olson, retired vice presi-
Fanfare Audio Enterprises, Inc., the
made by Donald V. Kleffman, vice -
dent, RCA Laboratories, has been
touring sound and production company. president- general manager of the divi- awarded the Gold Medal of the Acous-
have announced several major develop-
sion. Coovert will be responsible for tical Society of America. The citation
ments. Fanfare opened a new branch
the development, manufacturing and
states. "For his innovative and lasting
location in Orlando, Florida on July I. contributions in acoustic transducers,
marketing of all Ampex audio products
1981 and is expanding its services over sound-reproduction, electronic music
in his new position. He succeeds Lee
a wide range of fields. In addition to and speech synthesis and his service to
Cochran, who resigned.
major tour rentals. Fanfare now has the Society." Besides this latest honor.
Coovert was most recently senior
available P.A. systems for rent out of its Dr. Olson has received many awards
product manager in the video recorder
new Orlando location, in addition to its from several scientific and engineering
group of AVSD. He was previously
Jackson. Michigan base. Other new areas societies. Dr. Olson has written eleven
operational systems manager in the
include an expanded sales program. books and holds more than 100 patents
controller's department for the division
custom installations and convention in acoustics and sound reproduction.
and inventory manager for the Inter-
services. According to Martin Preece, He is a past President of the Acoustical
national division. Coovert was associated
president, Fanfare's new space efficient Society of America and the Audio
with Precision Instruments in Palo Alto,
four-way all -in -one cabinet will be ready Engineering Society and a member of
California, before joining Ampex in
for touring in late August. the National Academy of Sciences.
1971.
John Stachowiak, veteran recording Audio -Video Resources, San Fran- Describing it as. "One of the largest
engineer and specialist in the cutting of cisco. CA, celebrated its announcement single orders ever received by our Inter-
master disks, has recently opened of new expansion plans with a cham- national Division," Altec Lansing
Disk Master Studio. Disk Master is the pagne Open House, which was attended announced it will supply components for
only studio in the United States equipped by representatives of the Bay Area video. all major public address systems in the
with all the components of the newest audio, and advertising industry. A.V.R., New King Khaled International Airport.
disk mastering system made by Neumann, with newly remodeled facilities, includ- Under construction at the Saudi Arabian
the world- renowned producer of micro- ing a new 24 track audio sweetening capital of Riyadh. the multi -billion
phones and other top -quality equipment. facility, opened its doors for voice -overs dollar facility will utilize Altec and
Stachowiak has 15 years of professional and mix- downs. Audio -Video Resources University Sound products for a system
experience as a recording engineer, also announced the formation of a new including 11.000 speakers and producing
including six years specializing in disk division -AVR Productions, which is 85,000 watts of audio output. As Altec
mastering, which began during his four - capable of video and audio production Professional Sound Contractors for the
and-a- half-year employment as a staff from conception to final dub. AVR massive project. Acromedia Corpora-
engineer at Sound Recorders Studio Productions is already at work on tion, Culver City. CA. was awarded the
in Hollywood. As a free -lance engineer. projects for Ford Motor Company and contract, subsequently presenting the
Stachowiak has been associated with Natomas. Recent additions to the staff order to Altec Lansing officials at the
several Los Angeles -area studios, in- of Audio -Video Resources have been company's Anaheim, CA. headquarters.
cluding The Record Plant. Crystal. Rich Poggioli from C.C.R. and United
Allen Zentz, and Filmwa s -Heider Nations Television in New York. as video Larry Weston, president of Edcor.
(also. Heider, San Francisco). and with facilities manager. and Jayne Morris Irvine. CA. announced the appointment
Columbia Studios in London. Artists tor from WNEW -TV, as the chief video of James E. Morrison to vice president.
whom he has mastered disks include the editor. The most recent addition has marketing. Jim Morrison had previously
Beatles. Kenny Rogers, Neil Diamond, been Jim ('assedy, who joins AVR as served as vice president of sales for Altec
Richard Harris, Herb Alpert and Judy video engineer from United Artists, Corporation and sales manager for
m
co Collins. in New York. University Sound.
Stuol °_ (bel , _
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Studios. Studio
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Columbia
Criteria Recors
Cybertechnicb Studios
MASTERS OF TIDE STUDIO.

There's as much magic in the mixing board as there is professional recording tape. They've earned a place in
in the keyboard. the ranks of the world's most successful recorded
That's why, when we award the Ampex Golden albums and singles'.
Reel, it goes to both the recording artist and the Along with the Award, we also present $1,000 to a
recording studio. Together they provide the magic that charitable organization. Since we started the Golden
turns a reel of recording tape into an outstanding Reel Awards three years ago, there have been over 200
creative achievement. recipients, and more than $200,000 donated on their behalf.
The Ampex Golden Reel Award honors those Congratulations to all of them. The masters on
achievements that were mastered on Ampex both sides of the microphone.
AMPEX
Ampex Corporation, Magnetic Tape DMsibrr!401 &ooédv6e9; ReFiaudod City, California 94063, (415) 367 -3889.
'RIAA Certified Gold
Of all the mixer manufacturers in the industry, why is Audy the only one to offer a full two year warranty? Simple.
We can back it up.
We can state unequivocably that the Audy Series 2000 will obey whatever commands your performance requirements dictate.
Because Audy is more than a manufacturer. We're our own toughest customer. A professional concert sound company for top
artists throughout North America, Audy conceived and designed the Series 2000 for one simple reason: no other mixer
was good enough.
And thousands of concerts later, we're still convinced that the Series 2000 is the master of its class.
The Audy Series 2000 and Series 2000M monitor consoles. Command and they will obey. We guarantee it.
GUARANTEED TO OBE1
INSTRUMENTS
Fora /ne, full color brochure, unite Audy Instruments, Inc, P.O. Bñx2054, 35 Congress Street. Shetland Industrial Pa rk. Sa lem. MA 01970. (617) 744.532


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THE SOUND ENGINEERING MAGAZINE AUGUST 1981

Shure B others Inc. 222 Hartrey Ave .. Evanston. IL 60204

In Canada: A. C. Sim-nonds & Sons Limited

Circle 10 an Reader Service Card

ACHIEVING DEPTH PERCEPTION Bob Katz

As shown by the compiled polar re-

UTILIZING DIGITAL AUDIO JBL 15

To THE EDITOR: Microtran 57

is "believed to be the first network spot Neutrik 8

on September 12, 1979. at The Record Quad -Eight 14

Plant in L.A. The commercial entitled Sennheiser 16

"The First Time" spotlighted singer Sescom 24

News and several other shows, the com- Telex 13

mercials were contenders for the "Clio" 3M 21

awards. TOA 40. 41

superb audio -processing instrument

Bose Corporation, Dept. SE

:red by patent rights issued and /or pending.

PRE- AND DE- EMPHASIS

Please are organizing

Brain Gr. de- emphasis. In digital audio, the noise is

BEL Noise Brush itereS. the quantization error. Such a system

Time' a Tangent Console,

'B, differentiating and integrating.

the mike shop

Now hear this

HP's 8903A now makes audio testing

Z. ON BUDCET Another variation of these systems can

3. ON TIME Three good reasons

for orders call: Figure 3. The same curves may be used to

11057 8th Avenue N . Seattle, Washington 98125 (206) 3 67- 6800

Circle 20 on Reader Service Card

Quality products for the audio professional

TELEX COMMUNICATIONS, INC.

Europe 22. rue de la Légron- d'Honneur, 93200 Sc. Denis. France

Circle 23 on Reader Service Card

Figure 5. A simple low -pass filter will

create the next value y. They is compared

The Only 14 Hz Digital The rough quality can be ignored since

Reverb Under $10,000!

vOc r30 rrR ON RX r5

Voice Coil )i:unrnr

regardless of which format ultimately

NO MATTER WHERE disc, does require a stylus riding in a

YOU USE I. less capacitance- pickup disc proposed

and get $1200 worth of options

8 -track machine ever built.

AND 1AII'u11ì «hether

Circle 32 on Reader Service Card

represent the ultimate in maximum efficiency,

Series II speakers incorporate many unique

4441lheory & Practice

Dimensions and Progress

Dolby Noise Reduction

You can rely on

DO Dolby 731 Sansome Street

PCI Recording of Rochester, New York. In to prove it"

recording different parts of albums in in years -a new specific sound"

time, see a lot of the people know from