1983 t

AND BROADCAST ENGINEERING

 --
When you're used ~

---' --- is...

You would choose Soundcraft too. That's what

producer/songwriter Pete Ba||oMeto|6 us.
team flown in from the States, a Lexicon reverb unit - and
a Soundcraft 2400 console with the new Series 760
And 6ecednin|
certainly i used best. After recording multitrack.
VVest|okoStudios, LA, and oarhu studios both sides "Once you're used to the best there is, you'll never want
ofthe Atlantic, Pete Bellotte chose Soundcraft for his to compromise. And that's why chose Soundcraft."
I

personal studio in Surrey, England.

"I needed the absolute freedom of a studio at home
but also wanted the same high quality was used to, so
I I

could produce moshartopeovvithoutod6itiono|

overdubbing at a late
-
I
Soundcraft
The Producer choice
"I had use Soundcraft consoles before in the States, Soundcraft Electronics Limited, 5-8 Great Sutto
and was told by my engineers how good the 'sound' of
I
London, E[lV00t England. Tel: 0-25l363 .Te|ex:21198.
Soundcraft desks really was. So the choice was simple. Soundcraft El 1517 20th.
"My only gui6e|ineo in selecting the equipment were Santa Monica, California 9O4O4. Tel: (2l3)Á53459l. Telex: 664V23.
space and quality. That's why spent fortune getting the
I
Soun6craft Canada Inc. l444 Hymus Blvd. DDRVA
accoustics just right, having Westlake monitors fitted by a Quebec Canada H9P 1J6. Tel: (514) 685 1610 Telex: 05 822582.
 EDITORIAL
Editor:
Richard Elen
Deputy Editor:
Keith Spencer -Allen
Production Editor:
Ann Horan
studio sound AND BROADCAST ENGINEERING
Production Assistant:
Linda Fieldhouse
Consultant:
Hugh Ford
Secretary:
CONTENTS
Carrie Love
E iitorial Correct and incorrect approaches to CD label information? Mislabelled
and why? 5

ADVERTISEMENTS Diary Magnetic Media Symposium -AEG partial name change people- -
Group Exec Manager: Datatronix marketing- Designer correction -Agencies- Address changes 32
Phil Guy New products Strategic Sound ATR channels -EXR Exciters -Bel DDL -Klark Teknik
Assistant Manager: mics- Surrey Stabilizers-
Martin Miles Series 300 -Beyer and Schoeps boundary
Sales: -Milab mics -Sescom distribution amplifier-Textlite -High powered
Linda Gubby Hill amplifier 34
Secretary:
Audrey Slatford Letters Pirating -VAT warning -Death at Broadcasting House 38

Production: Studiofile Starr Recording, Philadelphia -TAM Studio, North London 48

Jacky Thompson Barry Fox's piercing gaze reveals further goings -on in the audio industry 70
Business

PUBLISHER
Paul Messenger FEATURES
Ambisonic mixing Richard Elen imparts experience gained from early ambisonic mixing
Editorial and advertising
-- an introductionsessions 40
offices:
Eden -the birth The story of a leading British independent studio by Pippa Lewis 54
LINK HOUSE, DINGWALL
AVENUE, CROYDON CR9 of a studio
2TA, GREAT BRITAIN
Phone: 01 -686 2599 The AlphaSyntauri Low cost digital synthesis in a practical form examined by Paul D
International: + 44 1 686 digital synthesiserLehrman 68
2599
Telex: 947709 Industrial Gerard Paul Hodgkinson discusses its role in the field of sound
Link House Publ cations rsychology 72
PLC 1983 engineering
All rights reserved

IA LINK HOUSE
PUBLICATION
PRODUCT REFERENCE
Multitrack mixing
onsoles 60

SEPTEMBER 1983
VOLUME 25
NUMBER 9
REVIEWS
Otani MX5050B2 A user appreciation by Keith Spencer-Allen 74
Cover: Solid State Logic console
at Advision London A user appreciation by Richard Elen 78
Soundcraft 2400
multitrack console

Photography Norman Hodson 'nd cutting room /cassette duplication at TAM New console from Hill Audio shown at APRS
3
 Signal Processors by O&M

CYNaw.C M..,wNCi C00i010I3,0011

.00
aa00 000
aso
100

RA=YAIMETRIC F_:.UALi2ER

.
410 Q..N 4J-

w.,
YON L=41===1=LÌ -,_
_ - _:_

OAPS. wimp ammarleaw 11/1100E1. 674A n . n on R ;

526A Dynamic Sibilance 672A/674 Equalisers
Parametric Equaliser
622B
Controller A parametric EQ with graphic
An exceptionally versatile EQ
Clean, inaudible de- essing of controls, including variable high which has become the standard in
vocals with consistent action and low -pass filters usable as an studios, broadcast and road shows.
regardless of levels electronic crossover (mono or
stereo)

orlan
Orban Associates Inc
European Master Distributor

Scenic Sounds Equipment Limited

97 -99 Dean Street London W1V 5RA Telephone: 01-734 2812/3/4/5 Telex 27 939 SCENIC G

Belgium Trans European Music (Bruxelles) Finland Studiotec (Espoo) France 3M France SA, Mincom Div (Paris)
Germany Estemac (Hamburg) Greece Audiolab Hellas (Athens) Holland Cadac Holland (Hilversum) Italy Audio Products International (Milano)
Norway LydRommet (Oslo)Spain M. Llewellyn -Jones (Madrid) Sweden Tal & Ton (Gothenburg) Switzerland Audio Bauer AG (Zurich)
 EDITORIAL

studio
sound
AND BROADCAST CD's Watergate deliberate misleading of the public. Please
ENGINEERING A lot of people noticed my comments in the May copy us in on your letters to the
editorial on the subject of Compact Disc Advertising Standards Authority. The
labelling, and the item from APRS published in answer to the question 'When is an
July. In essence, we -and the APRS, for that analogue recording actually digital ?' is
matter -were and are worried about the lack of 'When it has been digitally mastered and
STUDIO SOUND is published on released on a PolyGram label'. Of course,
the second Friday of the information on CDs as far as the origin of the
preceding month. The magazine recording is concerned. Barry Fox gives an you and know full well that all CDs are
I

is available on a rigidly excellent example of a cock -up on the Decca digitally mastered -they would have quite
controlled requested basis only
to qualified personnel (see back
page for terms) or for an annual
John Maya!! CD, in which the label and the box
have different information, in this month's -
a lot of problems if they weren't. But Joe
Public doesn't know this yet -so we can
mislead him. would call that at least
Business column. I

cost of £12.00 UK, $40 US Now, Dr Benjamin Bernfeld of Harmonia slightly unsound, ethically speaking. But
surface mail, $75 US airmail, then, am not a record company. And
Mundi Acustica GmbH in Freiburg, West I

£17.50 overseas surface mail or

£32.50 overseas airmail to non -
Germany -an organisation responsible for some there are other things too, when we come
remarkable digital recordings, and not noted for to the booklet or cover card...)
qualifying readers or where
more than two copies are LLddite tendencies -has sent us some rather
required in a studio or small interesting (not to mention disturbing) extracts "5.10 Only the text 'Digitally Mastered' should
organisation. All subscription from the PolyGram Group Compact Disc be used. Translations in other languages
enquiries, including changes of Standard UGT-293/00, dated 1983- 02-01. This (such as French) are not required." (Well,
address (which should be in document, we presume, is used by PolyGram we know that the French are very
writing and preferably including a'd its associated record companies in the protective of their beautiful tongue. But it
an old address label or at least seems a little unfair to discriminate
the 7 -digit label code) should be p' duction of label and inlay card copy for CD
made to the Subscription re ease. It contains some remarkable rules laid against them. If was working for
I

d:wn for the guidance of, we imagine, label PolyGram- something of which have no
-I
I
Department, Link House,
Dingwall Avenue, Croydon CR9 managers and their staff, and goes some way to conceivable chance, now would regard
2TA, Great Britain. explain why, at the London press launch for this as a bad marketing decision. After
Studio Sound and Broadcast Compact Disc, PolyGram people were having gone to all the trouble of
Engineering incorporates Sound remarkably reticent about my comments on the concealing the analogue nature of a large
International and Beat labelling of recordings. number of my recordings, now tell the
I

Instrumental. poor French consumer of their spurious

Section 3 of the 'Standard' defines the kind of
US mailing agents. Expediters
descriptions you are obliged to give for different digicality in incomprehensible -or might
of the Printed Word Ltd, 527
Madison Avenue Suite 1217, types of recording. The italics are Dr Bernfeld's: they say reprehensible ? -English, so they
New York, NY 10022. Controlled may not know they've been fooled. If you
Circulation postage paid at New "3.8 Digital Recording want to tell 'untruths', surely you should
York, NY. If the Compact Disc has been recorded tell them in at least three languages ?)
Total average net circulation of digitally, the term, 'Digital Recording' has "5.11 Digital Mastering: only the text 'Digitally
14,307 per issue during 1982. to be mentioned." (Fair enough: Mastered' should be used" (Decca have
UK: 5,865. Overseas: 8,442. (ABC presumably 'digital' means 'all stages of their real problem here, guess).
I

audited) "Translations in other languages (such as

Printed in England the recording process are digital', typically
digital classical recordings straight to French) are not required." (PolyGram
PCM 1610 stereo.) obviously have something against the
A YIYMfO OF TMf
.lOIMI OF
UOi
CI.<Uu(10.1
Now for the good bits:
country next door. Why didn't they say
'such as German or Dutch' ?)
"On analogue recording it is not allowed
to mention 'Analogue Recording' " (! ?! I will be most intrigued to see what the APRS
Here speaks a Marketing Department! If it have to say about all this. They obviously have
is really an analogue recording, you some good ideas on the subject which are not
mustn't say so -it might hurt your sales. unlike our own. Unfortunately, they are not very
So if you can't call it analogue when it is, involved with record companies. APRS member
what do you say? Aha! What you say is studios could well carefully label their tapes
covered next...) 'Analogue recording' or whatever, when they go
off to be mastered. But then, if a PolyGram
"39 Analogue Recording company is involved, they will simply ignore the
If the Compact Disc has been recorded fact and plaster your lovely 30 in /s V2 in stereo
analogically" (good word, that: remember master (copied on to U -Matic to be mastered for
it to impress your friends...), "the term CD) with the words 'digitally mastered', and the
'Digitally Mastered' must be used." (Well, poor consumer will merely hear the hiss and
well. So Decca presumably got their think that the PolyGram group record company
knuckles rapped for producing the only concerned can't make CDs very well (the more
non -Nimbus CD which admits that its observant consumer will simply think that the
source is 'Digitally mastered from an factory can't make CDs very well -in both
original analogue recording', which is cases, they get their just deserts). To the
what it said on the box. For what it said smaller independent labels, may recommend a
I

on the label, you'll have to see Barry's facility in Wales, which comes on- stream in a
column. This is a very nasty bit of few month's time...? Richard Elen

5
 Turnkey's
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Monitor Superplate
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We stock a wide success of the
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Begin the assault on your ears with your choice of the resulted m a new
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Budget Otari
In a land where
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success, Otari's 5050 Instant Acoustics ?
series two track is Illsonic panels are acclaimed as
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popular mastering way to control room response.
machine for the They are sculpted from the
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Take a closer look material ever produced.
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Call us and find out more for yourself about these Acoustics Cookbook.
new Otari's from Turnkey, the new source. It Works!

A new era in Gating. The Drawmer dual gate offers precise, full control
over difficult signals. It allows sophisticated sidechain patching and a new
range of techniques to be developed. Also ask about the compressor.
Controlled Microphone Omission
The 122 deck is Tascam rather than TEAC
brand. There are no microphone inputs,
and it's features are normally associated
A delay that's been worth the wait. Now MXR turn the tables on their with open reel. Three heads, front panel
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The full range of time shift and warp effects, with the smoothness of control and optional dbx. The first cassette deck
that's the hallmark of these American pioneers. It's the most delay for the that's specifically designed for studio
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STAK RAK
It's an ingenious Excitement
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It's designed for fixed aural excitement can brighten and tighten stereo sound.
or mobile use with a
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you construct a custom These are the hottest summer products.Allrepresented by Turnkey.
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LONDON NW9 TEL

01- 202 4366 rnkey

Our new Premises mean a better service for you. Live demonstration area all
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-
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Tascam 4 track systems
systems 38 - the sensational
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has shattered price
J barriers. Yet
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electronics, and
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Special Offer
new Tascam
Only
ITA -from
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with Item dB30
noise reduction. 8 channels of
A variety of small systems for the simultaneous NR giving 30dB
cost conscious, from the M244 Portastudio, improvement in sig /ncise ratio.
complete on its own; or the latest Tascam
34 4 channel reel- to-reel now available in
a package with the new PEP 800 8 x 4 mixer.
£1750 Complete
This mixer has the comprehensive facilities
of larger mixers costing twice the price. ITAM /TRIDENT
Total Package Price only £985.
16 track system

A...,.aw URI ....

This brand new package
The world's smallest
8 track. Available also as a complete system, brings 16 track recording
with the 350 Mixer. NEW LOW PRICES. to those with an 8 track
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The New Sensation from a one inch 16 track and
Fostex X -15 Tracker features 3 speeds [inc. 30
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with built-in mixer. Trident VFM is a fully
'

The musical note book modular 20 x 8 x 16

you can use anywhere. console with 20 inputs and fUl 16 track
Dolby noise reduction, monitoring. Special Offer [subject to stocks]:
treble and bass Ea, punch -
in /out, and lots more for only £260. £6350 Complete
 r1 Feigate Mews, Studland
e ource.
Fi Street, London W6 9JT.
Tel: 01-748 9009. Telex: 21879
STUDIO 9-157E1775 MULTITRACK
OTARI /ITAM MIXERS
8 track system ITAM Sigma
\\°\.\\

,
SIGMA -the
new multitrack
The ultimate compact 8 track
studio. Otari's advanced Mklll -8
recorder, with microprocessor
competition-
console that outclasses the
in price, features
and performance. Facilities include:
controlled transport. built -in Full modular construction, full 16 track
oscillator, and full function remote. monitoring, 8 busses + stereo buss
The Mkll1-8 can be interfaced to video + 4 aux busses, programmable muting,
synchronizers for "aLdio sweetening" work. autosolo, LED bargraph metering with
The entirely new tam 2 -4 -8 is a professional switchable VU /PPM characteristics, PFL
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the 8 tape returns are additionally normalled 4 -band EQ mid-bands sweepable, hi and lo
to the line inputs on 8 of the 12 input channels. pass filters, flexible talk -back system,
Autolocator Now Available electronically balanced mio. inputs with
switchable phantom power, phase
SPEC/AL OFFERS reverse and pad.

D & R signal 16 -8 -16: £3,960

With Audiofad faders: £4,360
Any 4
processing Stand: £155
of the
following
SECOND HAND
modules, EQUIPMENT
complete The following equipment has been taken in
with power part exchange, and has been overhauled in
supply and
our workshops.
:abinet: MCI JH114 24TR £12,000
parametric STUDER 480 MKII 16TR £9,500
EQ, noise gate, £1,150
TASCAM 80-8
compressor/ TASCAM 3440 £400
li iiiter, stereo limiter,
OTARI MX5050B 2TR £855
compander, stereo disc
amp, high -low pass filter. Only £295 OTARI MKIII -8 8TR
PENTAGON CASSETTE duplicator
£2,400
Alternatively, buy any 4 D & R modules at our normal STEREO £625
professional price, and get a 19 inch rack FREE! [Please phone for latest details]
ITFL The One Source
ITA -
CASSETTE HIRE
OUPLICAiION
We have been installing and servicing
the
duplicating equipment for 10 years,
and have built up considerable
complete Central
expertise for small or large systems.
Whether you need to copy 100
London facility
Week 3 days Dail
cassettes per week, or 50,000, we TAPE RECORDERS
Fostex A8 8 -track '/4 '.
s
L
{ J
d
[ l£i
can give you the back -up you need. Fostex Multitracker 35 20 10
Tascam Portastudio 244 35 20 10

PENTAGON Revox B77 Stereo

Otani MX50508 Stereo
Tascam 4 -track
Tascam 38 8 -track Y2
40
60
50
25
40
30
15
20
20
90 50 30
Otari Mk .111-8 8- track'/z" 110 60 40
'tam 8 -track 1" 150 80 50
tam 16 -track 1" 200 120 75
Otani MTR90 24 -track 2" 600 400 150
MIXERS
Teac Model 2A 6 x 4 20 10 -
Tascam Model 30 8 x 4 40 25 10
Fostex 350 8 x 4 35 20 10
!tam Stereo 8 8 x 2 45 25 15
Seck 10 x 4 25 15 10
Seck 16 x 8 75 40 25
Location 8 x 2 portable 60 40 20
Item 14 x 4 8 -track monitor 100 60 35
CASSETTE DUPLICATORS
Small in- cassette copiers, Otani DP4050C2 cassette
mono or stereo. 16 times master 150 80 40
Otani DP4050 OCF reel
duplicating speed. Prices from master 300 200 80
around £500.
VARIOUS

OTARI .
GBS Reverb
Quad 405 amp
DBX noise reduction 2 -track
Dolby C N.R. 4 -track
20
20
20
10
10
10
20 10
Fostex Digital Delay 20 10
Fostex Graphic EQ 20 10
Stereo compressor (various] 20 10
r Roland Drumatix
Roland Space Echo
20
30
10
20 10
Roland Rhythm Composer
TR808 50 30
Subject to our standard conditions of hire. Prices exc. VAT
Only a small selection shown here. Please phone for any requirement.

TAPE ACCESSORIESf
Highest quality and
reliability from the world's
leading manufacturer. Cassette or reel
master. DP4050C2 is expandable to max.
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DP2700. An
automatic loader
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Will wind any length Always available
precisely. One big stocks of tape and accessories.
operator can run up Your Central London source for: AMPEX tape,
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Reliable and Auratone speakers, Signal processors, etc. etc.
attractively priced. Open an Account & order by phone! Daily deliveries.

New address: ITA, 1 Felgate Mews, Studland St.

London W6 9JT. Tel: 01 -748 9009. Telex: 21879
 Low Prices on THE MULTITRACK
Ampex Tape nnsTcRPiccc
Single Carton
[E] (C)
Carton
qty OTARI MTR90-II
406
406
406
7 inch
'/4 101/2 HUB Bulk pack
Y4 10'1 NAB spool
-
3.95
8.40
3.50
5.30
7.95
10
10
10
406'1 101/2 NAB 15.50 14.50 7
406 1 inch NAB 25.45 24.25 5
406 2 inch 101/2 52.90 49.50 2
407 7 inch [LP] 5.25 4.75 10
407 1/4 101/2 NAB 11.95 11 .45 10
456 7 inch
456'/4 10Y3 HUB Bulk pack
4561/4 10Ye NAB spool
-
5.65
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9.90
10
10
10
456 Yz 101 NAB 18.95 18.00 7
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456 2 inch 101/2 NAB 62.50 59.50 2
456 2 inch 14 NAB 144.00 140.00 2
457
457
7 inch
3
[LP]
101/2 HUB Bulk pack -
6.95 6.60
12.25
10
10

O TnRI 2 nCKs
NEW
MX5050B211
2 track

Otari's latest
features -
compact 2 track
microprocessor
controlled
transport, LED
The new series MTR90 -
of tape recorder technology.
the pinnacle
tape timer, Now available in 8 track 1 inch, 16 or
active balanced 24 track 2 inch versions. Optimal Tape
input /output Guidance System, with pinchroller -less
for better transient response, 3 tape PLL capstan, two '/BHP DC reel motors,
speeds, ref. flux indicator. Now in stock. and integral tape guidance headblock
assembly governed by Otari's proven
MTR 12 -2 microprocessor controlled servo system.
2 track Transformerless /O, adjustable record
I

phase compensation, spot erase, tilting

deckplate for easy access, 14 inch reel
An additional model capacity.
the MTR range-
in
MTR1 2-2 2 track I.T.A. is pleased to add to its list of
Master Recorder, latest Otari users: -
featuring 12 inch
spools for extra BBC Radio -5 units of MTR90 are now
playing time. Available in use at Cardiff, Manchester and
in 2 track 1/4 inch, Bristol.
2 track '/2 inch and
4 track 1/2 inch Limehouse Productions -the new £10
formats. million TV studios in Dockland will use
two MTR90 24 tracks for Video
applications.

New address: ITA, 1 Felgate Mews, Studland St.

London W6 aeJT. Tel: 01 -748 9009. Telex: 21879
 SUCCESS IS GOOD TIMING

Timing is our speciality, so it won't take a

second to tell you that we have a unique range
of tape timing products. The Spin -Time add -on
timers, the CM50 autolocator, and now a
synchroniser with a number 1 feature:
simplicity!
Applied Microsystems
60 Baker Street, Weybridge, Surrey KT13 8AL.
r Weybridge (0932) 54778
Telex 8952022 CTYTEL

THE NEW DL221 COMPRESSOR- LIMITER

FOR DETAILS CALL:

DRAWMER MARKETING & SALES

01 -943 1368
12 STUDIO SOUND, SEPTEMBER 1983
TOTAL SEPARATION AND
PERFECT TIMING.
These are the innovative features that place the synchronizing stereo audio programs with video
microprocessor- controlled Studer A810 way ahead tape recorders, but it is also ideal for a variety of
in the science and art of analogue recording. other applications: film audio editing,
The A810 incorporates a specially-developed TV- simulcast, broadcast automation systems,
time code system, utilizing a new combination AN system control, and slow -speed logging.
head arrangement to input SMPTE code data on a And the A810 offers a host of other advanced
0.35mm wide central track between the audio features including: fully -programmable functions; a
channels on a'/a" tape.Two'combi- heads' are revolutionary memory system for electronic
employed, on either side of the audio record and alignment parameters and different tape
reproduce heads. One head contains the t me formulations; quartz- referenced capstan speed
code reproduce gap and the audio erase gap; the control with +/- readout; and many other
other has the time code erase gap and time code monitoring and control options.
record gap. Because the heads are totally Just write or 'phone for full technical details.
separate, audio/code crosstalk rejection is better
than 90dB. Studer A810. A quantum leap.
An integral digital delay automatically
compensates for the problem of audio/code time
offset -at all speeds. During recording and
playback, this delay holds the time signal until it is
in exact synchronization with the audio output.
Tapes can be spliced in the normal way without
fear of removing SMPTE data.
Not only does this novel A81,0 time code system
eliminate the need fora multi -track recorder when CH -8105 Regensdorf Telephone (01)840 29 60

STUDER REVOX AMERICA INC Nashville Telephone (615) 254-5651

STUDER REVOX SARL Paris Telephone 533 5858
STU DER REVOX CANADA LTD Toronto Telephone (416) 423-2831

FW.O. Bauch Limited

49 Theobald Street, Boreham Wood, Hertfordshire WD6 4RZ
Telephone 01 -953 0091, Telex 27502
 MOWS - N.G.4. QUAD NOISE GATE

This noise gate features four constructed in a one rack unit case.
individual channels, so you have more For the not so technically minded, it
versatility. means it's one hell of a noise gate.
For the technically minded, it also And it's available now from sole
features Variable Threshold, Release, distributors Kelsey Acoustics Ltd. For
Attack, and Depth controls utilising the
latest in Voltage controlled amplifier
- further details, please contact Richard
Vickers on 01 -727 1046/
technology. 01-727 0780.
Not forgetting the XLR/Barrier Strip OF
INI
A
option, balanced Mic/Line and Key inputs,
and a unique Mono Sum output all - 41A mAil"
28 Powis Zèrrace London W11 1JH.

STL Offers The Most

Complete Selection
Stellavox SP 8
Recorder Of Test Tapes Available Anywhere

If you are looking for precision test tapes, look no further.

STL can serve all your needs with 2 ", 1", and 150 mil
The tapes for frequency alignment, level set, azimuth set, flutter
& speed test, sweep frequency tests and pink noise analysis.

lightweig t portable with Available on reels, in cartridges or cassettes. Also available

is the Standard Tape Manual and the Magnetic Tape Repro-
ducer Calibrator.

heavyweight features. Write or phone for fast delivery or free catalog.

* 4.9 kg Total operational weight.
* EBU SMPTETime- codegeneratorversionavailable.
* Universal option includes mono neo-pilot compatible, mono synchrotone and
stereo synchrotone.
* Optional plug-in 50 60 Hz synchronizer.
* Very low power consumption (90 -110 mA).
*
*
6 Simultaneous inputs: 2 e mike; 2 x variable line; 2 x fixed line.
Passive big reel adaptor allows up to 12" spools to be used, including NAB.
T O!
SWITZERLAND O STANDARD TAPE LABORATORY, INC.
SaAV \..//
2068 Hauterive-Ne,
itzerl and.Te1:038 33 42 33.
Telex:35 380.
IUK Distributors: FUTURE FILM DEVELOPMENTS, 36 38 Lexington St., London W R 3HR I 1
2E120 EDEN LANDING ROAD a 5. HAYWARD, CALIFORNIA 94545 141 51 786 -3546

1/England. Tel 01.437 1892 3. Telex: 21624 ALOFFD G. Cables: Allotrope- London WI.

14 STUDIO SOUND, AUGUST 1983

 THE MORE -AFFORDABLE 94fá
From the makers of the world's iintegral amplifiers, the EMT 948 For further information contact
finest broadcast turntables comes has a new shock -absorbing system F.W.O. Bauch Limited.
the EMT 948, a direct drive unit and pick-up illumination.
that embodies the proven circuitry Available for use with a standard
and reliability of the EMT 950 in a 47k-ohm cartridge, the EMT 948 is
compact format. an integrated system ready to drop
Featuring almost instant start straight into a desk -top. The EMT
(0.02 secs), stop and reverse cue; 948 brings excellence within
EMT FRANZ GmbH
motor-driven tone -arm lift and greater affordability. Postfach 1520. D -7630 rahr.Tel. 07825 -1011. Telex. 7543319. Franz D.

EW.O Bauch Limited

49 Theobald Street. BOreham Wood. Hertfordshire WD6 4RZ
1elephcr le 01-953 009' Telex 27502
 It's only limit is your imagination

Bel BD60 Digital Delay Line Feedback control with phase invert switch and
feedback select switch (main or all)
2 secs maximum delay @ 16kHz bandwidth
Output mix control with phase invert and dry
4 secs maximum delay @ 8kHz bandwidth (x2 defeat switches
delay)

bEl
4 outputs with delay mix controls
3 operating & setting of delay modes
Manual via up /down keypad switches
:

Oscillator : via speed/depth controls (depth

greater than 10:1) marketing
Envelope via threshold/decay controls
: 2nd Floor, 29 Guildford Street,
Infinite (non- deteriorating) repeat switch- LED Luton, Beds LU12NQ
indicated Tel: Luton (0582) 452495 TLX : 825488

HEEMIX
How to make simultaneous broadcast and multitrack recordings.
PROFESSIONALLY.

24 -48
INPUT CHANNELS
8 SUBGROUPS,
8 DC GROUPS
MONO AND STEREO
6 1

AUX.OUTPUTS
4 -BAND CHANNEL EQUALIZER
BASS /TREBLE FILTER
OPTIONAL COMPRESSOR /EXPANDER /GATE
OPTO-DIGITAL FADER MODULES IN ALL CHANNELS
COMPUTER- CONTROLLED SWITCHING /LEVEL CONTROL
PREWIRED FOR AUTOMATIC MIXDOWN
OPTIONAL TELEPHONE UNITS

TDRES'EEM
P.O.Box 10-N-1344 Haslum Norway Tel.: (02) 53 39 75 Telex: 19121 seem n

16 STUDIO SOUND, SEPTEMBER 1983

 The Imme
Builders.
The PCM series of Lexicon digital delay
systems has revolutionised the creation of
studios. Effects include automatic double
tracking, flanging, slap echo, infinite
musical tempos, comprehensive foot
pedal control for live performance, and a
dramatic sounds on stage with studio repeat, doppler pitch shift and many numeric display that tells you the exact
precision, enabling live performers and others. Virtually distortion free over the delay time at any instant.
recording artists to explore new entire power bandwidth, the PCM41 is Lexicon PCM Series. The cornerstone
dimensions of musical expression. easy to understand and simple to for improved performance.
Both systems expand the horizons for operate. The only modest feature is
digital audio processing, drawing on the its price!
Lexicon technology which is the first The stunning repertoire of the PCM42
choice of world -class recording studios
and entertainers.
The compact, cost-effective PCM41
puts full professional quality within the
has all the functions you need from a high
quality delay line, enhanced by Real Time
over-dubbing of musical, vocal or
instrumental phrases. With a device that
xÎcon
International: Gotham Export Corporation
reach of almost all entertainers and small lets you lock delay times precisely top New York, NY 10014 TLC: 129269

FW.O. Bauch Limited

49 Theobald Street, Boreham Wood. Hertfordshre WD6 4RZ
Telephone 01- 953 0091, Telex 27502
 QUESTION: Which range of studio
monitors, apart from the new
Tannoy SRM Series with
SyncSource, M provides a
single point sound source for
all monitoring applications?

ANSWER:

The New SRM Series with

SyncSourceTM A range of time
compensated single point sound
source monitors from:
Tannoy Monitors are available from:
Audio Services, Stockport 06632 2442
Elliott Bros., London WI 01 -380 0511
HHB London NW 10 01 -961 3295
ITA London NW1 01 -724 2497
Don Larking Luton 0582 27195
Music Labs, London NW1 01 -388 5392
Sigma Sound, Nottingham 0602 783306
Michael Stevens & Ptns., Bromley 01 -464 4157
'WNW
Bringing Music Back to Life
Turnkey, London NW9 01 -202 4366
and in the USA & Canada: Tannoy Crown, Tannoy Ltd., 21 Canterbury Grove,
97 Victoria Street N, Kitchener, Ontario, Canada West Norwood, London SE27 OPW
N2H 5C1. Telephone (519) 745 1158 Telex 069 55328 Telephone 01 -670 1131 Telex 291065

18 STUDIO SOUND, AUGUST 1983

 VALLEY PEOPLE
PEOPLE VALLEY PEOPLE VALLEY INC.
PEOPLE 141.0,4 Tn.. USA

m !
NI ton,
t

ROAD INSTRUMENT PREEN.' uiM HEM, NN ENCAMP \ 1NBRUNII

/
Ow out
MAXI kepex II GAIN BR UN, 1E

Recording studios, radio and QLZ Quad Mic Preamp removing excess cymbal ring or
television production suites, video The low impedance unit for performing electronic musical effects.
and A/V facilities and serious transparent, distortion -free
musician /composers have recording as well as on- the -air or Gain Brain II
discovered that Valley People live performances. Each of the four Widely adjustable limiter/com-
equipment improves productivity, inputs is adjustable from 20dB to pressor and ducker, specially
offers ease of operation, requires 60dB of gain. designed for production work.
little or no maintenance and Major advantages include `natural'
provides excellent signal quality. Maxi -Q Equaliser quality of sound, flatness of VU
Standing alone they offer unrivalled Provides maximum flexibility: the and improved low frequency
processing power and versatility: seven octave range on each of the performance.
used together by the creative three frequency bands gives a six Five superior products. Each
engineer/producer, they increase octave overlap. Ideally suited to amazing. All unbeatable.
variety and control dramatically. pre-conditioning of signals when
used in-line with the Kepex II and
QHZ Quad Preamp Gain Brain II.
Provides all the equipment below
with instant access to the full range Kepex II Expander /Gate
of high impedance sources, such Spectacular performance in noise
Valley People Inc., Nashville, Tenn 37204
as electronic musical instruments, gating, reduction and elimination is
International distribution by
microphones and even hi -fi kit. The complemented by its creative Gotham Export Corporation, New York.
clarity of audio is unsurpassed. value in `loosening' drum effects, Telephone (212) 741.7411

FWRO. Bauch Limited

49 Theobald Street, Boreham Wood, Hertfordshire WD6 4RZ
Telephone 01 -953 0091, Telex 27502
1 s
 AUDIO CONNECTORS
Key Technology for your audio connectors. 3 pin male and
female lockable sockets with gold -plated connection pins.
Panel or rear mounting. P.C.B. vertical and horizontal
electronics mounting also solder terminals are available, attractively
designed from tough nylon which makes them very durable
and inexpensive. A 3 pin plug will also be available late '83.

Please contact Les Hamilton at:

KEY TECHNOLOGY LTD

15 Roche Way, Rochford, Essex
Tel: 0702 547252 or Telex: 995239

HIGH QUALITY
CASSETTE DUPLICATION
AND SPECIALISED LENGTH
12x4 BLANK CASSETTES

AUDIO
CROSSPOINT AQhalinQ 19udia
Leeholme Audio Services Ltd., 350 -4 Leabridge Road, Layton, London, E10
Telephone 01 -556 4748

SYSTEM
The ACS AUDIO CROSSPOINT SYSTEM is
a 12 x 4 audio switcher built into a 1U x 19"
Thy E;iEI Suscl
case, designed for applications requiring
only a limited number of crosspoints. SNIaSummer sale offers
It can be operated in mono or stereo
configurations, and two units can be
linked together to double the capacity.
A &H16x18MOD111 £1,500
to clear space
for stocka
Each unit uses a dedicated micro- A & H 12/2 Series 21 £445
processor which can be controlled in a Soundcraft 800 22 x 8 x 16 /jackbay £4,950 .

variety of ways, including simple Soundcraft Series 1s 12/2 £1,450

push- button selection. Track Tech 24 x 16 x 24 £2,900
Technical specifications:
Cutec PA 902 2 x 90W £100
Master Room Reverb MR111 £549
electronically balanced input . .

electronically balanced output (with transformer option) DBX 150 £175

max. output level 22dBm into 300f t
4
PCM 41 Delay £690
distortion 0,1% at 20dBm MXR Delay 11 £753
crosstalk better than 100dB
signal to noise
MXR Pitch Shift Doubler £342
. . .

better than 90dB

Klark Teknik DN 34 £490
3 x Revox B77 H S £495
Otari C2 Cassette Copier £1,623
Goldline 1/3 Oct Analyzer M30. £720
Eventide Harmoniser H910 £900 . . . .

Echoplate 11 £950
Teac 122 cassetted deck . £250 . . .

1 x Revox A700 £499

Revox B710 Cassette £549
electronics All prices plus VAT etc..

vliegwezenlaan,
b -1730 Zellik
BELGIUM
phone: 32/465 29 17
TELEX: 63.033 vvl
6

ftrnkey
01 -202 4366
Brent View Road, London NW9
20 STUDIO SOUND, SEPTEMBER 1983
 The RMX 16, now more
than ever the unbeatable
gguetillTirtr1P4141ki
digital reverberator and
=.44111'141'
effects system. Full 18kHz
bandwidth with an ever
increasing number of
free programs. Optional
4 alltitlitsit-ltii
intelligent remote with
up to 99 user
programmable memories
and bar code reader for
easy pram update.
i
i You can spend less or
you can spend more, but

i you can't buy better.

Take the first step to
success yourself by
booking a demonstration

i now.

England: Advanced Music Systems Australia

cononno
A.M.S. (Ind) Pt) Lld.., Sydney Fran Lirare Eqpt Paris

C
Tel. (0282) 36943 Switzerland ABQ "omit W. Germany Dams GmbH Berlin
US..4 Harris Sound (Los Angeles) Norway Pro Technic A/S Oslo Italy Professional Eqpt Milan
Tel. (213) 469 3500 Canada Octopus Audio Toronto Denmark SLT Copenhagen

1 Audio L. Design (North West)

Tel. (206) 275 5009
Trident (North East)
Japan
Spain
Hong Kong
Continental Far East It ... Tokyo
Singleton Productions.. Bar :elms
Audio Consulters Kowloon
Holland
Sweden
New Zealand
Audio Script
Soundtrade
Vides
Loosdrecht
Solna
Auckland
Tel. (203) 357 8337

"....another outstanding achievement."

"M"Series

Audio Equipment of Distinction UK. Agents

Elliott Bros Ltd
Unit 7h, Worton Hall, Worton Road, 9 Warren Street
Isleworth, Middlesex TW7 6E12 London W1P 5PA
Telephone: 01 8470363 Telephone: 01 380 0511
22 STUDIO SOUND, SEPTEMBER 1983
 BUZ

MIC-1 VEM -1 LHD1 LHD2 OPA -1 MAG -1 MC4 MBC -1

I VIRTUAL 610 OHM IINE DRIVER GENERAL PHONO MOVING COIL VU METER
MICROPHONE
FOR SMALL PURPOSE AMP PREAMP HEAD AMP BUFFER

. PRE AMP EARTH MITER IINE DRIVER WTEN GAIN

CARD -RANGE

rvirliie .I
100K LESS
INPUT
UNBAL USE
THAN 22K 22K 40K 41K 100 10K
IMPEDANCE TRANSFORMER
25 OHM MIN
)OHMS) WITH 000
OHM MIES
USE USE
MAXIMS* SE HI Z USE 22K MOVING MOVING
MIC OH
MIXING 1ßK 10K 1JK lOK
flSPECIFICATIONS
ECOMNENDED MT MAGNET COIL
SOURCE RESISTANCE TRANSFORMER RESISTORS CARTRIDGE CARTRIDGE
A
3K6
100 100 70 70 100 100 100
OUTPUT TO SUIT
OHMS OHMS OHMS OHMS OHMS OHMS OHMS
IMPEDANCE VU

The PEP ervice is expanding fast. In 5VRMS 5VRMS

addition to our highly successful range of MAX 0/P

LEVEL(1KHZI
6VRMS 6VRMS INTO INTO
B00 OHM
6VRMS E SVRMS 5VRMS 3V RM5

small ca s and modules, we now offer

600 OHM

l0 50116 O0B ß4B 10d13 0 m 3h16 -40áB 30dß 0to 1046

complet - mixing desks and auxilliary
D

SET BY `0118 `02óB 'D54B SET BY AT 1KHZ SET BY

GAIN
EXT RES PRESET
equipm nt ex stock. EXT RES

-
PLES Budget mixer 8 into 4 POLARI-Y
NON
INV
INV
NON
NV
INV
NON
INV
NON
NV
NON
INV
INV

with 8 t ack monitor £250 + VAT; FREQUENCY 20 K/4 05óB 0548 0548 0518 0.5ÁB RIBA -0.5ÁB 0.5i1ß

Budget fixer 10 into 4 with 8 track monitor RESPONSE

REF 1 KHZ 20 He 0.241 0 5B 0 2116 0 SEER
CURVE
0 5dB 0 2B 0 SUB

and co prehensive EQ £475 + VAT;

0 51B

LESS THAN LESS THAN LESS THAN LESS THAN LESS THAN LESS THAN
12 into 4 de luxe console £1400 + VAT;
TOTAL 3 Vans LESS THAN LESS THAN
HARMONIC 005% 004% 004% DOB% 005% 005% 008% 0.5%

Timetra k multi -tracker with echo and DISTOR -ION 1 KI4 TE 2048 1600 OHM/ 1600 OHMI

-90
compre ensive facilities x3 50 +VAT I25dBm 90 -110 95 105 115
REF
NOISE
USING 413m ,IBm 41m 4ßm 2r1, V.rns INMZ Bm t1Bm
REFERRED TO /PI
In- Lin recording console 20 in 20 out
I
AT THE P
MT

Ir,
1

£2900 VAT, and there are lots more. POWER

CONSUMPTION 1OmA 6mA I6mA 12mÁ 10mA 10mA 20mA 5mA

Why not telephone

ormation.
f call in for
1`24V SUPPLY)

PH VS CAL
DIMENSIONS
mm
L
W
H
115
75
18
75
15
0 60
75
IB
30
75
18
85
75
15
130
75
18
160
75
25
50
15
15

P.E.P. your one stop audio supplier

For details of the complete PEP range contact our sales department.

Progressive Electronic Products Ltd 83 Leonard Street London EUR 4RB Telephone 01 -729 5411
23
 Yamaha
Step Inside

With a reputation secured in high quality sound smoked glass meter panel and padded arm rest. So inside or
reinforcement equipment, Yamaha need no introduction to the out, when you're talking Yamaha RM Mixers, you're talking
professional recording industry. Now, with the new RM Series quality.
of recording mixers, Yamaha take another step inside the world
of the professional recording studio.
The RM1608 has been built with eight and sixteen -track
recording in mind, as well as being ideal for use in audio-
visual, video and film production. Its 16 input channels feature,
amongst other things, a 3-band parametric EQ enabling three
overlapping frequency bands to be boosted or cut by 15dB; a
12dB per octave high pass filter switch; twin independent echo
send controls, and a gain control giving variable sensitivity over
a 40dB range to match virtually any mic /line signal.
The RM1608 also features an 8 Program mixing buss
console, each buss switchable for Output A or B; a talkback
module, and a built -in patch bay that puts the most often
patched circuit points up front for easy access. Rear panel
patching, and feature all possible applications including effects
connections cater for balanced microphone inputs.
All this and more contribute to a professional interior that's
matched with a plush exterior furnished with rosewood trim,

Please send furtner details about Yamaha's RM1608

and RM804 Mixers.

YAMAHA Name

Address
Leading the ut mkt to play.
Yamaha Musical Instruments, Mount Avenue, Bletchley, Milton Keynes, Yamaha Musical Instruments, Mount Avenue, Bletchley, Milton Keynes,
Bucks, MK1 1JE. Tel: 109081 71771. 24 hour Ansaphone: 10908) 649222 Bucks, MK1 1JE. TeL 109081 71771. 24 hour Ansaphone: (09081 649222

SS /9/83
Schjumberger's
Know-blow
Turnkey installations
(studios - broadcasting centres)
studio
O.B. Vans
professional sound
broadcasting
television
etc...

Switching grid matrices

Talkback systems
Master F 462
tape recorders
F 500 tape recorders
UPS 5000 sound
mixing desks
UPS 6000 sound
mixing consoles

,-
',
o
tetÀjl
f ,
t
e,
AlIhr. ormwow e iner itMi-

ENERTEC DEPARTEMENT AUDIO-PROFESSIONNEL

ENERTEC 1 rue Nieuport B.P. 54
78140 Velizy-Villacoublay Cedex France
Schlumberger TEL. (3) 946.96.50 TELEX ENERSON 697439 F
U.K. REPRESENTATIVES : CROW OF READING LTD. P.O. Box 36 - READING RG1 2NB - Berkshire - Tél 10734) 59.50.25 - Tx 84-7056

25
 KEYBOARD HIRE WELCOMES YOU
TO THE WORLD OF DIGITAL MUSIC

OUR DIGITAL EQUIPMENT

111/PE

all

FAIRLIGHT CMI
WAVETERM

SYNCLAVIER II PLUS VT100 EMULATOR

Linn Drums & all Studio Keyboards also available.

OUR DIGITAL PEOPLE

Gary Moberley Adrian Cook Keith Miller

Fairlight CMI Programmer PPG Waveterm Programmer Synclavier Programmer

KEYBOARD HIRE LTD

176 Barnsbury Road
London N1 01 -607 8797/8
THE Hi- Tech Hire Co.
26 STUDIO SOUND, SEPTEMBER 1983
Jkst grab it and go. THE LOCATION MIXER was Doing a live remote? THE LOCATION MIXER What's in THE LOCATION MIXER for film
designed to travel. If there's no AC at your location, is perfect. All four mix busses (2 main, 2 AUX) people? Plenty! No more battery or power supply
ne problem. You've got the battery pack right in the drive a 600ohm bine to 20dBm (with balanced Xfmr hassles for your T power mics. Just flip a :witch. And
lorkeble cover. No need to bother with batteries or option) giving both mono /stereo and back up there's a low -cut filter ahead of the mic. wrnsformer
power supplies for your mics. THE LOCATION MIXER feeds at the same time. And the ability to solo pre or to keep wind and boom movement from saturating
powers them ell - 12 -48V. phantom, and even post fader with the channel on or off makes set -up your tape. This filter is independent of the EQ section.
Tpower is provided and trouble shooting a bad cable or mic. easy. The EQ itseN has sweepable mid, detented pots for

You can set up everything from a single resetability and can be totally bypassed with the EQ
mono mix, to c stereo mix to an eight channel direct in /out switch. Need a quick talk -back sysrem for
feedfor your multitrack. You can even set up all three your boor man ?Just use the pre fade Ai* bus on an
mix deeds at o.ice! unused mic_ input, and he can hear his me.., cues,
You've got the flexibility to insert and your closed- circuit directions -
effects to individual channels. And %ris own custom mix!

yeu`J appreciate the convenience of For reliability and quick positive

the tape refurr fo the monitor section. switch indication, we've used self-
An instate.. easy way to check your indicating colour-coded push button
tape, or the output of an outboard compressor. switches,ihet- along with colour -coded /nabs keep -
all channels, audio you inforned of control status at a glance.
Wine Mic/Line switches on
For your next location job,
fad fideo sound people con monitor multitrack
- just press a button. get a LOCQfiON
piay,.acks wit3oef patching
MIXER acrd you're
Nulitrockmixdowa in the field? Absolutely.
ready ferarrything.
hid with no compromise in quality because
you feed line inputs directly-
r
IDT podded Aown through the mic.
rearm. You', love the ability r
k edit electronically through
the flexible Salo system
aid :hannef
It coo be a great 'zR sr
time saves

Just unlock it, pen the cover and you'll find the most versatile 8- input mixer you ever uncovered.
r.

Compare feai'itres, compare performance, compare price. You'll choose THE LOCATION MIXER.

AT £975.00 CAN YOU AFFORD NOT TO?

For your free colour brochure contact sole UK distributor, PROGRESSIVE ELECTRONIC PRODUCTS LIMITED, 83 Leonard Street, London EC2 01729 5411
or see your

nearest dealer -London: ITA, 7 Harewuod Avenue, London NW1 01 -724 2497 CHRISTIAN SOUND SERVICES, 43 Linden Gardens, Enfield, Middlesex 01.363 2337
1

Kent: MICHAEL STEVENS ft PARTNERS, The Homesdales Centre, 216.218 Holmesdale Road. Bromley, Kent 01464 4157 Manchester: WIGWAM ACOUSTICS, St Annes
House, Rycroft Avenue, Heywood, Greater Manchester 0706 68766 Scotland: GAB STUDIO SERVICES, 20 Hawkhill Avenue, Ayr, Scotland 0292 267400
Holland. SELECTRONIC BV, Zijdelriji, 1422 By Vithoom, Postbus 509 1420 CA France. ROG AUDIO PRODUCTS, BP 108 -60 Avenue Foch, 29230 Landivisou
Switzerland: EMM STUDI], hn Neumattli 27, CH 4145 Gempen, Nr. Basel USA: AUDIO FORCE INC, 147 West 24th Street, NY10011.
Manufactured in the UK by OXGLADE LIMITED.
 ,. «....,.,o. .4...,...7::,mi:.'.Y.. I§Ii'icWli,i.4.à&.44u.Nat.,0. _y..xrò.. «eAiro_k;ti- -...y&'C

REMARKABLE AS IT SOUNDS
The C -ducer is a flexible contact microphone -a totally new concept in audio technology.
.... .
Designed to overcome many of the traditional problems encountered in conventional open miking of acoustic instruments, it is now
enjoying acceptance by many critical users in the professional audio field.
Here's why ... The C -ducer produces the real tonal character and dynamics of acoustic keyboards, stringed acoustic instruments
and drums by direct contact. 'Spillage' from neighbouring sources and the effect of room acoustics are kept to an absolute minimum.
Add to this a specification ensuring top performance (10 Hz to 100 kHz bandwidth) and a range of phantom -powerd studio -
compatible pre-amps with balanced 600 Ohm outputs, and it is really not so remarkable that our customers include ..
d Studios; Toto; Dire Straits; BBC TV & Radio; Sydney Opera House; The National Theatre; PRT Studios; Landsdowne Studios; Olympic Studios; German, Swiss,
LWT; Sky; Thames TV.

Cr ape Develop e ts, 73y 7 rshot, Hamp he Gill Y. Telep :. t dere + . ,

on Studio SA, en 35
°lgium, Jean -J.' q =es Pr a: 1rí.1 47 25; Seth -nds, -dial Audio Products, Acts'.' RL, Avignon 90) .
16
Australia, R H C11nrdngha e Spain, C.',.-. a, Madrid 446 43 12; Japan, Hib SA, C -Tape D
Inc, (312) 8850066.

NEW R U D I O A N D D E S I G N gUVINS
L O S EQUIPMENT
A4 size STUDIO SOUND binders are now s
L X U U T Is ALwAYs
available (each holds 12 copies).
Keep your copies of STUDIO SOUND in sruaa I
E v BOOMERANG U
A PUZZLE
smart black binders with the title in gold scum N A D A D
block letters on the spine. Tay us
At only f3.50 each A K G 8 N T C L I FOR A
including inland and overseas postage
and packing. Send your order with
N SOUNDS R I O SOLUTION
cheque or postal order to: Modern Book- D S T R S C A
binders Ltd., Chadwick Street, Blackburn,
Lancs BB2 4AG (state clearly your name H H SCAMP F E A ouNOs
and address and the relevant magazine
title).
E M I T C
A L T E C P T Jersey St
OVERSEAS
INTERNATIONAL
READERS MUST SEND
MONEY ORDER T T 061236 02.74 L Manchester
(Limited number of o d l M 4 6.113
size binders available). H M L E X I C O N M X R
LINK HOUSE GROUP

ULTRA LIGHTWEIGHT
CARBON FIBRE MICROPHONE BOOM
WITH OR WITHOUT PREAMPLIFIER
Boom extends from 1.4m to 4.2m. Power 48V/12V and many other Rs 200
Weight9 kg. Preamplifier length features. Max. Gain 72 dB
34m. Tough and noiseless in use, Bandwidth ± 0.1 dB 50 -15 khz Max Output 3.5 V.RMS From
ideal for location and studio use. ± 0.5 dB 20 -20 khz Supply Voltage: 12 Optical & Textile Ltd
Specially designed preamplifier Harmonic Distortion
includes Peak Level Meter, Control 100 -10 khz 0.01%
-
Supply 12-30V 22 -26 Victoria Road
from Recorder or Battery New Barnet
of Level, Nagra Start /Stop 20 -20 khz 0.3% Herts, EN4 9PH
Monitoring facilities, Phantom S/N i.e. 10mV 84 dB a Weighted £192 to £640 Tel: 01 -441 2199

28 STUDIO SOUND, SEPTEMBER 1983

 both of which
Well, you were
are considerably less expensive
half right, but only calf.
than the overseas competition.
Lp until now the T-ident Now available as an extremely attractive
TSR Multitrack Recorder has package with the new Trident Series 80B
somehow managed to keep or Series 70 mixing consoles. These
a low profile. We've decided it's time to put complete Trident packages are available
a stop to that and let it blow its own trumpet. only from Don Larking Audio Sales and
The Trident TSR Professional Multitrack they are just waiting foryou to come and
Machine speaks for itself. try them out in our studio at Luton.
Supplied with full Remote control and Call us today on Luton (0582) 450066.
autolocator, this fully professional machine 29 Guildford Street, Luton, Beds.
is available in 16 ard 24 track versions,

audio sales
 Microphones engineered to suit
the most exacting professional standards

\'
Crafted in Japan

Toa's RD series of professional

microphones should prove fine enough
to satisfy the most discriminating ear.
and fumes. To minimize unwanted
noise. breath and pop filters are
provided on all models, and the mics
r Please send me your
Professional Microphone Catalogue
Strict attention to quality and research are all adaptable either for hand -held
into a wide range of varying acoustic use or use on a mic stand.
needs and environments have allowed And behind ail this is Toa's assurance Name
us to produce a line of microphones of quality - the guarantee of crystal
tailored to every kind or circumstance. clear sound, wherever you are
The series offers a choice between Address
unidirectional and omnidirectional TOA ELECTRONICS LTD.,
microphones. and for outside use all Castle Street. Ongar. Essex
are equipped with windscreens and Tel (02771 364333
offer a high resistance to shock, noise Telex 995554

Drummers,
Keyboard Players, For those who only need a
Handclapping Vocalists? Q. Lock Synchroniser
occasionally

...wedo
have a he
service a: good
This particular development has rates, and with a
generated much interest. You may also like complete range of

f-
to know more about all the other ways we interfaces.
work with radio for stage and
communications.
U.K. Distribution- Service and Hire.
í.. AUDIO KINETICS (UK) LIMITED
Enetic Cestre Tt e Dbald Street
Ihrehamwood Hertfordshire WD 4PJ
Hardware House (Sound) Ltd. England Tel. 0 -953 8118
AUDIO KINETICS telex 399951 (leintek C)
1 -7 Britannia Row, London N1 8QH. A
Tel: 01 -226 7940 (Hardware (House

30 STUDIO SOUND, SEPTEMBER 1983

 EELA AUDiO products designed for the future
frame
Pick a
- Totalsuit
S100 Series flexibility
your exact
size to
S191 Series
into channel mixer fit standard
A 6 2
Modular Mixing Consoles
series consists of
to a of
S200 Series
This a wide range
needs. The S100 series uses 4- channel 19 " rack mount. Extremely suitable for modules which may be easily configured
modules with either mono mic /line video and film dubbing suites. fora number of applications. The
inputs or stereo high level inputs and can Features simplest a 4 into 1 mixer ideal for film
be configured from 4 into 2 up to 20 into Mic/line input selection. dubbing. The most complex a 32 into 8
4. As with other EELA mixers features Phantom powering. group broadcast /recording console.
and options include: phantom power, B.S Peak indicator /limiter on outputs.
ppm's, fader switches, PFL, balanced ins Built -in talkback mic.
and outs. Line -up oscillator(1kHz & 10kHz).

In al MI ,,.. .

es No

Features
105mm audio facers; mono mic /line input
module; stereo high level input module;
VCA Compressor/limiter; telephone
"::'1_4'"Ai< hybrid, tape remote, patch module.

EELA AUDIO PRODUCTS including:

telephone hybrids, phantom and desk
541 ENG Minimixer PSU's, phase meters, test sets, /unction
A 4 into 1 portable mixer ideal for use with radio, TV and film crews. Including and stage boxes and high quality mic
powerpack the S41 weighs only 5Ib and has such features as: Mic/line inputs, and multi -pair cable are available in
phantom power, PFL, 1kHz oscillator, conductive plastic faders. It will run for 8 to 10 the UK and USA only through
hours on it's 2 x 7nicad cells. Dimensions 246 x 162 x 72mm. Audio + Design.

Audio +Design
Audio + Design Marketing Audio + Design Recording, Inc. Hondsruglaan 83a eel a
16 North Street, Reading
RG1 7DA, England.
PO Box 786, Bremerton,
WA 98310, USA.
5628DB Eindhoven, Holland.
Tel: 040.424455 audio
Tel: Reading(0734)53411 Tel: (206) 275 5009 Telex: 59281 bolle nl
Telex: 848722 ADR UK Telex: 152426 ADR USA

maimfor Complete Cassette Production

ASONA offers a complete program of

tape duplication and winding systems.
The ASONA loop -bin, a high-speed
master tape reproducer, feeds and
controls up to 40 slave recorders.
Long -life ferrite heads provide flat fre-
quency response and high dynamic
range.
ASONA
Available for 16 1 anc 32 1 duplica-
: :
High -Speed
tion ratios for a variety of tape formats. Loop -Bin
Robust construction, with a minimum
of moving parts. The loop- bin /slave
system employs neither ü

Low maintenance requirements, low compressed air nor

personnel costs

We can tailor a cassette production system to your needs.

Write or call for a proposal.
ASONA is manufactured in West Germany by AUVIS ASONA KG, Stollbergstraße 7, D -8000 Munich 22
Tel.: (0)89- 225057, Telex: 522084 AUVIS D

31
 diary
Magnetic media People
symposium FIG.1 The professional audio products
Honolulu was the venue for the PERPENDICULAR .V. LONGITUDINAL RECORDING division of Sony Corporation of
Symposium on Magnetic Media THICKNESS America has appointed two new
Manufacturing Methods for three HIGH DEMAG sales managers. Michael Faulkner
FIELDS will cover the eastern region and
days during May. This unique occa- LOW DEMAG
FIELDS AID Graeme Goodall, the southern
sion was attended by 311 delegates
from widespread locations such as OPPOSE +I region. Both will have responsibility
India, Argentina and South Africa for the complete professional
with most coming from the United
States and Japan and many from
Europe. LONG?
4_1
SHORT A
products line including Sony digital,
the MCI range, wireless mic systems,
etc.
The symposium comprised 31 lec- LONG SHORT T
tures the majority of which are Datatronix changes
documented in a 770 page hard LONGITUDINAL RECORDING PERPENDICULAR RECORDING marketing
bound book plus a 100 page supple- Datatronix Inc, manufacturer of
ment. Unfortunately these publica- about three times the potential bit passed to an electron beam pro- API consoles, has announced that
tions are not available to anyone packing density of longitudinal cessor which irradiates the coating the marketing of its audio and
who did not attend, but limited addi- recording. About 150,000 b /in may with high energy electrons effecting broadcast products will now be
tional copies can be sold to be anticipated for particulate media the almost instantaneous cure of the handled direct from its manufac-
delegates. or 200,000 b /in for thin film media. coating. turing facilities in the greater
On the first day all delegates at- In the field of magnetic materials The electron beam irradiator Washington, DC metropolitan area.
tended sessions in the large Molokai much of the discussion related to works rather like a cathode ray tube Previously they used a system of
room at the Waikiki Sheraton. The magnetic coatings suitable for where the screen is replaced by an distributors but the company feels
first presentation was a useful perpendicular recording. Variations electron transparent window and the that this move will improve the
tutorial on Basic Magnetics by Dr of the currently used ferric and normal 30 kV or so EHT is upped to service offered. Two agents will
James Lemke of Eastman chrome oxides may be used but Mr between 150 kV and 300 kV. The however be retained; Studio
Technology Inc. This was followed Fujiwara of the Toshiba Recording electron beam may either scan the Consultants in New York and
by seven papers on Magnetic Laboratory described a new barium width of the coated web or special Nissho Iwai in Tokyo. Other foreign
Materials covering such areas as ferrite medium which takes the form electron guns giving a curtain beam agents are being sought at present.
plated coatings, sputtered coatings of hexagonal platelets of 0.08 pm may be used. Datatronix Inc, 2100 Reston
and evaporated films. diameter. This is but a brief note of the Avenue, Reston, VA 22091. Tel:
Much of the technology described This medium has many advan- aspects of the symposium which (703) 620 -5300.
does not apply directly to analogue tages over metallic coatings as it related to the audio business. Pro-
audio recording as much emphasis does not corrode, has stable temp- gress in the magnetic recording Agencies
was directed at vertical recording us- erature characteristics of coercivity industry is extremely rapid with the CTAB have announced a new
ing perpendicularly oriented and magnetisation and furthermore areal density (b /in') of digital distributor for the Milab range of
coatings which are eminently can be coated using existing tech- recording increasing one hundred- microphones in the USA. They are
suitable for very high density digital niques as opposed to sputtering or fold about every 10 years. Camera Mart Inc, 245 West 54th
recording. evaporation. Hugh Ford Street, New York, NY 10019. Tel:
In conventional longitudinal Turning to coating methods Mat- (212) 757 -6977. Telex: 12078.
recording a tape is made from sushita have for some time been pro- AEG partial name change Elliott Brothers, London have
acicular (needle-shaped) particles ducing their Angrom evaporated One of the companies that formed been approved as main agents for
which are aligned during coating film microcassette tape. A version of part of the AEG -Telefunken group HH Electronic MOSFET and TPA
along the length of the tape (for this tape with a 0.1 pm coating is now has recently changed its name and is amplifiers.
audio tapes). As the recording head under way for the new 8 mm now a separate organisation. ANT The Gotham Export Corporation
magnetises the tape in this direction videocassette system. Dr Sugaya of Nachrichtentechnik GmbH, as it will has opened a European sales office
the orientation process increases the Matsushita presented data on this now be known, manufactures a in Zurich, Switzerland. Gotham
available output by making the par- new product claiming a far better product line that includes Telcom C4 Europe AG will be responsible for
ticles easier to magnetise. head life when compared with noise reduction systems; Telmos 800 the Swiss market and as a liaison and
Unfortunately at short wave- coated metal pigment tapes. Fur- sound reinforcement systems; sound back -up service facility for all
lengths (high frequencies) the adja- thermore the evaporated tape gives mixing consoles for broadcast use; V Gotham European marketing. The
cent particles are magnetised north/ negligible change in output with run- 600 series mic, line and distribution office will be managed by Franz
south and south /north causing self ning times up to 100 hours resulting amplifiers, filters and faders; Telkos Ammann. Further details from
demagnetisation which results in a from the lack of shedding and an ex- microprocessor controlled audio Gotham Export Corporation, 741
loss at short wavelengths. In digital cellent still frame performance up to switching systems; wireless paging Washington Street, New York, NY
recording this leads to pattern sen- two hours. systems etc. 10014, USA. Tel: (212) 741 -7411.
sitivity such that not only the output With the exception of the Mat- The full address is ANT Nachrich-
level but also the timing of the sushita evaporated tape all current tentechnik GmbH, Fachbereich Addresses
replayed waveform varies with the tapes are coated using a solvent Elektroakustik, Lindener Strasse 15, Selco Products Co, have changed
pattern of digits being recorded. system which is dried in a heated D -3340 Wolfenbüttel, West Ger- their telephone number and their
With perpendicular recording the tunnel after coating. This results in many. Tel: (05331) 83-0. Telex: new details should be Selco Products
vertically oriented particles do not large and relatively slow tape 95651. Co, 7580 Stage Road, Buena Park,
exhibit demagnetisation character- coaters. CA 90621, USA. Tel: (213)
istics at short wavelengths as the Radiation curable coatings are us- Designer correction 921 -0681. Selco distribute Sifam
adjacent acicular bar magnets are ed in other industries and there are In the Designers and Consultants products and Sifam have asked us to
aligned N -S and S -N as shown in Fig interesting possibilities for coating service guide an unfortunate error point out that the Selco telephone
1. The arrangement actually gives an magnetic materials as the process is crept into two entries during one of number given in their advertisement
output which increases with shorten- fast and easy to control. The entire the final printing stages. The correct in our August issue was incorrect
ing wavelength. thickness of the coating can be address for Perception Inc should be and should have been the number
When using perpendicular record- 'cured' in milliseconds without the 1537 Cerro Gordo Street, Los listed above.
ing, conventional heads cannot be generation of any heat which could Angeles, CA 90026, USA. Tel: (213) The hire company, Paul Farrah
used and the design of suitable heads deform the polyester base film. 660 -9351 and that of Plan Audio, Sound has moved to larger premises
is at an early stage, however when This coating method requires a 27b Bell Street, Reigate, Surrey. Tel: and their new address is Paul Farrah
using particulate recording media (as radiation curable binder system to 03727 41822. We apologise for any Sound, Unit 7, St Georges Industrial
opposed to thin film media) perpen- be coated using conventional inconvenience that this may have Estate, Richmond Road, Ham, Sur-
dicular recording should achieve methods. The coated web is then caused. rey.
32 STUDIO SOUND, SEPTEMBER 1983
Now available
for hire.
Off...
.. .
.---i,
.. ...... .. ..
...... ,,
MK
.. .
-
MO ..
..
.
.
...... .
..
. .
.
SONY
,.i

,..-.,
l., ins

..--..
. ..
. . .....
. . . . v.

PCM1610 DIGITAL AUDIO PROCESSORS

5850D/A U -MATIC RECORDERS

DAE1100 DIGITAL AUDIO EDITOR

PCMF1 DIGITAL AUDIO PROCESSORS

SLF1 BETAMAX RECORDERS

And of course, EMT 245, Lexicon Super Prime

Ti: rile +Prime Time, Eventide H910 +H949,
dbx Compressor /Limiters, Ivie Analysers, PZM
Microphones, Amcron Amplifiers, Monitors,
Recording Packages, etc, etc. Phone now for details.

HHB Hire & Sales, Unit F New Crescent Works, Nicoll Road, London NW10 9AX.
Telephone: 01- 9613295. Telex: 923393.

33
 new products
Milab new models
Milab, the Swedish microphone across the frequency band of 30 Hz
company, have several new and to 15 kHz. The line level version is
changed models available. The now available to special order only.
DC96B is a condenser mic using the Milab have also announced two
Milab large rectangular dual live application mics. The BM-73
diaphragm capsule. A newly replaces the DC-73 and is designed
designed amplifier has brought a for handheld use and has features
significant reduction in noise and an such as an easily replaceable front
improvement in dynamic range. The grille in the event of damage. It is a
price of the mic has been kept down condenser type with features
by the offering of variable pattern including low handling noise,
and attenuator features as options. presence boost, and switchable
The mic design is physically slim and proximity filter. The P -14 is a low
is finished in a non -reflective black. cost dynamic mic for road use with
The LC25, first made available as emphasis on handheld and vocal
a line output mic, is now also applications. As well as standard
available with a normal mic output versions of the mic, Milab are also
level for conventional use. The offering versions customised to
problem with the line level version requirements such as with different
was that the input circuitry on some types of switch, balanced or Cementation Muffelite
consoles prevented the full potential unbalanced etc. DUO PLEXX
of the mic being realised, Creative Trade CTAB AB,
particularly at the HF end of the Knutsgaten 6, S-26500 Astorp,
response. There was the further Sweden.
problem of trying to derive the 48 V UK: Audio Video Marketing Ltd,
phantom power from the line input Unit 21, Royal Industrial Estate,
which is not a facility offered by Jarrow, Tyne & Wear, NE32 9XX.
many desks. The mic level version is Tel: 0632 893092.
still transformerless and has a USA: Camera Mart Inc, 245 West Milab DC96B
claimed response of less than 54th Street, New York, NY 10019.
1% THD at an SPL of 130 dB Tel: (212) 757 6977. Telex: 12078.

Sescom ADA-2 level of +30 dBm. Other specifica-

Sescom has introduced an 8- output tions include max input: + 18 dBV;
distribution amplifier in a single -
CMR: 87 dB at 1 kHz; gain: + 30 Visual talkback anyone? etc. The unit can be remote
unit, 19 in rack mount enclosure. to 0 dB; distortion at max rated Textlite UK have announced a controlled from another room; it is
The ADA -2 has eight individual line output: 0.2% at 20 Hz, 0.04% at development of their MM300 possible to change instantly between
amplifiers and front panel input 50 Hz, 0.002010 at 1 kHz; noise: moving message display unit known messages; interfacing to consoles for
selection between two buffered 101 dB below rated output; as the MM300E. It will display any automatic operation is also possible.
15 k52 transformer balanced bandwidth: 60 kHz at -3 dB; one of up to 16 messages at the flick Textlite say that the 17 in long
bridging inputs. Also accessible frequency response: ±1 dB 20 Hz to of a switch. These messages are display is legible up to 60 ft. The
from the front panel are gain 20 kHz. specified by the user and then stored display weighs less than 3 lbs and so
adjustments for each of the line Sescom Inc, 1111 Las Vegas permanently in a plug -in Text- can easily be fixed almost anywhere.
amplifiers. Output is 600 52 Boulevard North, Las Vegas, NV module. Each of the 16 messages can Textlite UK Ltd, Concord House,
transformer balanced with output 89101, USA. Tel: (702) 384 -0993. be up to 128 characters long or Concord, Washington, Tyne &
divisions of that with eight messages Wear, UK. Tel: 0632 478585. Telex:
High powered Hill heating. This will trigger a of 256 characters long, four of 512 537227.
Hill Audio showed the first of three protection relay that isolates the
new additions to their range of offending channel from the power
power amplifiers at the recent APRS supply and gives front panel Sidelines
exhibition. Intended principally for indication of the problem. The relay There are a large number of Meech Static Eliminators Ltd,
live applications, the DX 2000 is may be reset by a front panel switch. products that don't immediately 146/150 Clapham Manor Street,
probably the biggest production Each channel offers male and suggest themselves as studio items London SW4 6DA. Tel: 01-622
amplifier currently available. The female XLR -type sockets and /s in but can have very real applications 4555.
output power rating is quoted as in jacks, all unbalanced with each in this sort of environment. One
excess of 550 W RMS continuous channel having independent gain such item is Croxtine, an anti -static Cementation Muffelite have
per channel into 4 S2 over 20 kHz controls. Output connectors are four liquid used for treatment of carpets. announced a lightweight, one piece
bandwidth or in a bridged mono sets of 4 mm binding posts on 3/4 in Meech Static Eliminators recently isolator to help reduce structure -
mode, 2,000 W RMS continuous spacing. treated a carpet in a major London borne noise induced by electric
into 4 52. Provisional specification: distor- studio where the carpets were cooling fans. Known as the DUO-
For an amplifier of its power tion < 0.003% THD 1 kHz at causing people walking across them PLEXX, it is designed for use with
rating it is fairly compact with 19 in 500 W into 4 S2; < 0.05% THD to become charged and then they 3% in and 41/2 in tube axial cooling
rack mount format and a height of 20 kHz bandwidth within rated discharged when touching the fans and is claimed to reduce noise
3U. Internal layout is such that each power; < 0.01% IMD SMPTE console etc, with the possibility of levels from 3 to 16 dB, dependent on
channel is either side of a centrally 60 Hz /7 kHz 4:1 0.1 W to 500 W clicks being produced. Meech the type of fan, housing and cabinet
situated power supply. Each channel into 4 52; frequency response apparently were able to eliminate structure. Made from light, high
has a thermostatically controlled ±0.1 dB, 20 Hz to 20 kHz; damping this problem by spraying Croxtine in strength, impact- resistant plastic, it
cooling fan that forces air through factor > 2,000, 20 Hz to 1 kHz and a concentrated form onto the carpets incorporates a diaphragm element
the channel electronics and expels it > 500, 1 kHz to 20 kHz; slew rate which will then keep them static free and is operative over the tempera-
at the front panel. The amplifier 20 V /Ns and rise time 3µs. for several months before needing ture range - 30 to + 50 °C as well as
doesn't have any replaceable fuses Hill Audio Ltd, Hollingbourne retreatment. The treatment provides being flame retardent and a good
and there are no protection devices House, Hollingbourne, Maidstone, a conductive film which allows the electrical insulator.
in the audio path of the power amp Kent. Tel: 062-780 555. charges to leak away as well, as Cementation Muffelite Ltd,
although there is sensing for serious USA: Hill Audio Inc, 231 Marquis preventing them from forming. For Hersham Way, Walton -on-Thames,
overload, short- circuit, overload, Court, Lilburn, GA 30247. Tel: more minor applications, Croxtine is Surrey KT12 3PQ. Tel: Walton-on-
component malfunction and over- (404) 932 -3193. Telex 293 827 HLAD. also available in aerosol cans. Thames 24122. 36I
34 STUDIO SOUND, SEPTEMBER 1983
 An amazingly versa
fully programmable
Digìtal Drum Computer...
The KKR Drum Computer. With a full complement
of features and functions, it rivals the performance
of a high-cost system -at
an affordable price. And
it's simple to use.
12 real drum sounds, digitally recorded in memory: Kick, snare, rim
shot, ton-s 1, 2 & 3, hi -hat open and closed, crash cymbal, claps, block,
and bell Individual level controls and outputs for all voices Capacity:
100 patterns of up to 99 beats each, 100 songs 2000 drum beat
memory Seven accuracy levels from1 /8 notes to 1/32 triplets
Infinitely variable time signatures Tempo adjustable from 40 to
250 beats per minute Built -in click track (metronome) Four shift
levels for human feel Pre -panned stereo outputs External trigger
for all voices plus accent Tape /sync interface Memory -tape
interface External tempo capability External voice expansion
Exclusive MXR one -year
full warranty MXR Innovations, Wallace Way,
1

Hitchin, Herts. England SG4 OSE

Please send me information on the MXR
Drum Computer.

...the musician /engineers

MXR Innovations, (Europe)
1 Wallace W 3y, Hitchen. Herts.

England SC4 OSE

Phone 0462 31513

Copyright 1983 MXR Innovations. Inc.

 new products
Strategic Sound ATR100 solute polarity, unbalanced line out-
replacement channels put capability without level change,
Strategic Sound Inc have announced class A output operation, balanced
a new transformerless input /output voltage supply shutdown and power
board replacement for the Ampex on /off mute circuit. Improved
ATR -100 tape machine. They claim specifications include variable input
that by very closely matching a tran- sensitivity of10 to +40 dBm, in-
sistor pair with 0.1% resistors they put CMRR greater than 70 dB
have achieved a very low noise with 10 Hz to 1 kHz, with input clip level
maximum common mode rejection of greater than 26 dB above
ratios. operating level. Frequency response
The output uses OP-37 precision is ±0.1 dB 10 Hz to 20 kHz with a
op-amps in conjunction with VMOS bandwidth at ±1 dB of 5 Hz to
and ring emitter transistors for 100 kHz; output noise better than
minimum distortion. They further 90 dB below operating level A
claim that by using only the best weighted; low distortion of less than
precision components they have 0.01010 10 Hzto20 kHzat ±24 dBm
eliminated the need for four internal with a 600 t load; and an input to
DC offset and calibration adjust- output system slew rate better than
ments. 20 V /µs.
Other features include trans - Strategic Sound Inc, PO Box 3148,
formerless coupling with correct ab- Redwood City, CA 94064, USA.

New excitement from EXR UK: Turnkey, Brent View Road, invert switches feedback send and this fieldis Schoeps with a fitting for
The EXR Corporation have London NW9 7EL. Tel: 01 -202 delay output, provision for external their Colette Series in the form of a
announced a `fourth generation' 4366. Telex: 25769. VCO control and an infinite hold metal plate about 8 in square with
Exciter known as the Model EXIV. mode. the transducer sited about two- thirds
The design maintains all the Bel digital delay Bel Electronics, 29 Guildford Street, of the way across a diagonal and
desirable features of the EXIII but Bel Electronics have a new addition Luton, Bedfordshire LU 1 2NQ. Tel: almost flush mounted. A standard
with several additions. One such is a to their established range of delay 0582 452495. Telex: 825488. preamp fitting plugs into the plate
completely new enhancement line /flangers in the form of the from the opposite corner to the
process that affects the bass and BD-60 digital delay line. It offers up More Boundary transducer. This attachment is
lower -mid frequencies when in the to 2 s of delay with 16 kHz Recording news known as the BLM 3 and
`A' process mode. bandwidth and in a x2 mode, up to Two more manufacturers have information on this unit is also in
New features include sweepable 4 s with a 8 kHz bandwidth. The shown versions of boundary recor- short supply although this will soon
frequency centre point control, precise delay time is indicated on an ding mics but in these cases be rectified.
process noise gate with threshold LED display with control by information on the units is still
and release controls, adjustable up/down pushbutton switches. As limited. Beyer Dynamic showed a
limiter to prevent HF splash, 0 dB well as the output at the maximum unit known as the MPC 50 at the Surrey stabilizer
and 20 dB switchable XLR -type delay time set, there are three other Eindhoven AES for the first time Surrey Electronics have announced
inputs, and a peak level switch which outputs equally spaced at lesser and it easily wins the prize for the new versions of their Stabilizer 4
gives narrow band enhancement in delay times. The levels of these four prettiest unit so far. It is made from frequency shifters for howlround
the L position or wide band in the H outputs may be individually set on wood (the version of the exhibition reduction. These units provide a
position. The EXIV is a single 19 in the front panel controls. It is further looked like Rosewood with a light frequency shift that is variable
rack mount unit. possible to add regeneration selected varnish) in the form of a thick between 1 and 10 Hz. The already
EXR have also announced a from either the main delay or the (approx in) slab with angled edges.
1 established mono version has been
`psychoacoustic footpedal' for use auxiliary delays. The transducer is positioned exactly redesigned slightly. A stereo version
by musicians known as the EXR As with other Bel delay units, in the centre just below the surface is now also available where the
Projector Model SPII!. This there are facilities for the delay time level of the wood. The mic can be frequency increase or decrease may
contains many of the rack mount to be manually set or either envelope powered by a 9 V battery or be selected independently for those
unit's features but in a very low price following or controlled by the standard 12 -48 V phantom power. occasions where this may be
format. internal oscillator. Envelope settings Other information is a little hard to preferable.
EXR Corporation, 11523 Dexter - include variable threshold and decay come by at present although we hope Surrey Electronics, The Forge,
Pinckney Road, Pinckney, MI while the oscillator controls are to carry more details soon. Lucks Green, Cranleigh, Surrey GU
48169, USA. Tel: (313) 878 -9445. depth and speed. There are phase The other manufacturer to enter 6 7BG, UK. Tel: 0483 275997.

Klark-Teknik Series 300 bands at ISO recommended the same number of bands and the and the same number of channels,
Over the last year there have been a frequency centres from 25 Hz to same centre frequencies. The faders although each band has attenuating
lot of new products coming out of 20 kHz. Cut and boost is controlled are 30 mm types and it is possible to controls only of up to 15 dB for
Klark -Teknik and some of the by 45 mm oil- damped faders each select the range of cut and boost to applications in sound contract
familiar items have been replaced with a range of ±12 dB and a centre be ±6 dB or ±12 dB. Other features installations primarily.
and slowly withdrawn. Although detent position. It also incorporates include input level control, a 30 Hz The old range has not disappeared
they make many products these days adjustable high and low cut shelving LF filter and an overload indicator. completely. The latest version of the
it is for their graphic equalisers that filters with the high cut being The basic series functions of original DN27, the DN27A is still
they are perhaps still best known and selectable 6 or 12 dB and the low cut electronic input balancing and available and will continue to be for
it is this area that they have now fixed at 12 dB. Other features automatic failsafe are standard. some time. It is interesting to note
updated with a completely new include electronic input balancing as The DN 332 is a dual channel that the DN 360 A- octave 30-band
range. standard (output optional), a 2/3- octave graphic with 16 faders per 2- channel unit is the same size as the
The Series 300 comprises four failsafe feature that automatically channel -45 mm types as the DN27A for over twice the facilities
separate units all using a Klark- connects the inputs direct to the channels are placed side by side and also weighs nearly 5 lbs less.
Teknik proprietry microelectronic outputs in the event of a power rather than piggy back as with the Klark -Teknik Research Ltd,
active filter circuit together with the supply failure, input level control DN 360. Each channel has Coppice Trading Estate,
application of thick film technology and a bypass switch. Transformer independent input level controls and Kidderminster, DY11 7HJ, UK. Tel:
which they claim should increase balancing and a Perspex security 30 Hz LF filters as well as the other (0562) 741515. Telex: 339821.
reliability. cover are options. Series 300 features mentioned. USA: Klark -Teknik Electronics Inc,
The DN 300 is a /3- octave single The DN 360 is similar to the DN The final unit is the DN 301. This 262a Eastern Parkway, Farming-
channel graphic equaliser with 30 300 but contains two channels with has all the features of the DN 300 dale, NY 11735. Tel: (516) 249 -3660.
36 STUDIO SOUND, SEPTEMBER 1983
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 letter,
Pirating
Dear Sir, In your article 'Cassette Machines for
the Studio' (March issue) you touched upon an
interesting point when you suggested giving
cassettes, rather than masters, to the yet -to -pay
customer.
Just afew weeks ago, we received a contract to
re- record good quality cassettes made in the
States for cutting on to disc-so perhaps a really
good cassette recorder can be more expensive
than at first thought.
And please do not forget that many pirate
recordings are made on cassette machines, some
under a mixing desk and some even in the
audience!
Yours faithfully, Andrew von Gamm, Eifel -
Audio, Am Markt 14, 5522 Speicher, West
Germany.

VAT warning
Dear Sir, I am writing to draw your attention to a
rather odd VAT anomaly we have just dis-
covered. We have recently had a Swiss band
recording in the studio. We assumed that in the the editing block. (I'll not belabour the point Studio BA (sub -basement) is constructed
normal way VAT would be reclaimable on this further, Grandmothers and egg- sucking and all reasonably like the actual studio, with a small
project on export. To our considerable surprise, that!) The 'CAT' splicer is too short to incor- stage complete with 'tabs', but the décor is not
we found out at the last minute that the part of porate this reference mark so the modification quite correct, and the audience chairs were in
the bill related to studio charges was classified by shown was carried out using easily available fact fixed tip -up type, not the movable ones seen
the VAT office as 'entertainment services', and materials. in the film. Similarly the drama studios are
therefore the VAT was not reclaimable on Using 18 gauge aluminium cut to the shape of correct in general principle though not in
leaving the country. the base -plate, 61/4 x21/4 in approx fixed to the for
detail example, the doors to the studios
We have made several phone calls seeking top face of the base with adhesive, ensures a flat have catches on them!
advice on this matter from the APRS, the Export clean surface with sufficient clearance for the The 'dramatic control panel' looks accurate
Intelligence Service, Export Times (apparently offcuts of tape and an extension to the base to enough, and indeed the whole business of
defunct), and finally I encountered at least a support the piece of hardwood. This piece of multiple studio drama is well illustrated. The
helpful attitude from the Swiss Desk at the wood is 41/s x21/4 in approx with the left hand reason why the Blattnerphone is not shown is
Export Licensing Branch of the Department of end cut to fit the 45° angle of the right hand tape presumably because there was only one, it was
Trade. Pending any further information from cutter. If the thickness of this platform' is made bolted to the floor, and the camera could not
this source, it would appear that there is nothing to be '/ in the top face will lie level with the have been got into the same room with it!
to be done about this situation. lowest point in the machined groove the tape Comparison of the film with the photos in the
1 do not see this as being a very satisfactory rests in. The overall thickness of the 18 gauge book Broadcasting House, published by the BBC
way of encouraging export sales in our industry. 'ali' plus '/ in of wood being very close to this in 1932, will show up various discrepancies. (This
Obviously this is rather a special case because the ideal height so as not to crease the tape when laid
majority of foreign clients will either be paying in position. All that is necessary now is to mark
book is fascinating -it has photos of most of the
studios, the control room, and various technical
through their British -based record company, or the reference point (equal to the offset distance areas and offices, and gives detailed maps of
will be from EEC countries (where we are of course) to the right of the cutter position to every floor. Imagine any broadcasting organisa-
assuming VAT can be reclaimed). suit your machine(s). The hardwood surface can tion publishing such a book now! -it is practi-
However, we have now had two clients in this then be varnished and two stick -on feet (RS cally a saboteur's handbook).
category this week and no doubt will be getting Components type 543 -333) added to the under- The novel on which the film was based, written
quite a few more in the near future since the side of the extension aluminium piece will pro- by Val Gielgud (who plays the drama producer in
clients are happy and hopefully will send their vide a level surface of the same height as the the film in a manner which suggests that he-
friends. original padded base. Gielgud-must have been impossible to work
If
anyone has any information on this problem I have 'modded' two CATS this way, both with) and 'Holt Marvell' lie Eric Maschwitz),
area, we would be delighted to hear from them functioning perfectly. was published by Rich and Cowan in 1934;
and would like to throw the matter open to Yours faithfully, Mike McMillan, Mike Sounds second-hand copies can still be seen occasionally,
general comment. (Reading), 98 Anderson Avenue, Earley, although prospective readers should be warned
Yours faithfully, Moira Sheen, Phoenix Reading, Berkshire RG6 111ß. that it is rather stodgy going.
Recording Studios, 4 -5 Christopher Place, The film has already been shown on television
Chalton Street, London NW1 1JF. -September 3rd, 1982, BBC 2; of course it
Death at Broadcasting House departs from the novel in a number of ways,
Dear Sir, In his article about the film Death at particularly the denouement. In the novel, the
CAT modification Broadcasting House (Studio Sound, July, page villain makes his way to the roof, engages in a
Dear Sir, I thought the enclosed photograph and 102) Barry Fox has allowed his enthusiasm to shooting match with the detective, is shot in the
a brief explanation of the modification to this over -ride his judgement; the film was wrist and falls to his death ... 'a hundred and
splicing system might be of interest to Studio unfortunately not shot in BH. h would have twelve feet sheer to the pavement below'. In the
Sound readers, should you be able to find space been extremely difficult to obtain sensible shots film he rushes into a small room and presumably
to include them. of the real rooms and studios without using a flings himself across some terminals, as there is a
in common with many other engineers, I find very wide-angle lens, quite apart from the flash and lots of smoke, all the lights flicker, and
that using a chinagraph pencil on recording tape impracticabilities of operating a bulky sound he is fatally electrocuted. This room (I was
to mark edit points is not only a little on the camera and lighting equipment in the building assured by an engineer who worked at BH in the
clumsy side, but takes time and is undesirable to (not to mention tying up two floors for several 1930s) would have been unlikely to have caused
boot. For these reasons I prefer to use a particu- weeks). such a fatal result. It contained the 50 V supply.
lar point to the right of the replay head (in this In fact, the interiors are shot in the film studio, Yours faithfully, Roger Wilmut, freelance
instance, the right -most tape guide on my usual and are sets. They are quite convincing, although author, c/o Methuen London Ltd, 11 New
editing machine) marking this offset distance on not entirely accurate. The 'Vaudeville Studio', Fetter Lane, London EC4.

38 STUDIO SOUND, SEPTEMBER 1983

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IN

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but especially also its
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aligning.
You have to be able to rely .n a tape whose
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BASF's SPR 50 LH gives yo this surety.
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 Ambisonic mixing
- an introduction
Richard Elen

CRUCHFIELD Manor is situ- British -developed Ambisonic surround -sound

The soundfield continuously through
ated on the A330 between 360 °. The panpots can be switched
Ascot and Maidenhead in Berkshire,
a few miles from Bracknell, and is
a `surround' effect in use today -
system is not the only technique capable of producing
modern develop-
ments in SO technology have found application in the
to come before or after the rotate
control and there are two external
an impressive building once owned B- Format inputs -one pre- rotate
by the Cadburys. Adjacent to the film and video fields. However, Ambisonics is capable and one post -which may be used to
Manor is a small building, once the of excellent results, although until recently there has chain these or similar modules
blacksmith's forge for the stables been little available in the way of mixdown equipment together. The rotate control may
next door, which the present owner, to make mass -market multitrack- derived record also be switched out altogether. The
composer /arranger and musician releases possible, and this has restricted the appeal single B- Format output may be
Keith Mansfield, has converted into of the system (although there are currently over 150 taken to a 4-track recorder, or to an
a 24 -track studio which is jointly albums recorded Ambisonically with the Calrec encoder to produce a UHJ
owned by him and top recording Soundfield microphone and similar systems) and this 2-channel- encoder master tape
engineer John Timperley. Principal which can be cut to disc or broadcast
recording equipment consists of
has held back the sale of decoders. All that is about to in the usual way.
Soundcraft 2400 24/24 console and change, however: a new range of equipment designed
Unfortunately, sin /cos pots are
24 -track recorder, and B67 stereo by Dr Geoff Barton of the Ambisonic Technology very expensive, and in addition the
machine. Centre in Reading, and manufactured by Audio and pan- rotate unit requires individual
Now that the equipment exists, to Design Recording is about to be released. The mono inputs to be fed from the
produce Ambisonic mixdowns from prototypes of these devices have been installed in a desk -this could make the console
multitrack and the fact that the studio at nearby Cruchfield Manor in Berkshire, patchfield rather a mess -so other
Ambisonic Technology Centre is making this the world's first Ambisonic recording methods of localisation had to be
`down the road' (10 miles away in facility with found. One such is the 'converter'
Reading) made Cruchfield an ideal
multitrack capabilities. Richard Elen
unit, which enables the console
location for experiments with the often uses the studio and has been evaluating the panpots to be used for localisation,
new prototypes. equipment with the help of Geoff Barton, and offers thus freeing the pan- rotate unit for
The primary requirement for some observations and techniques which should be dynamic panning effects, or where a
mixing multitrack material into useful in developing Ambisonic mixing for both the higher degree of localisation control
Ambisonics is that the tracks on tape surround -sound and stereo environments. is required. The production versions
can be localised individually into of the pan- rotate unit will be 2 U,
their required positions in the Cruchfield Manor high and will include a `radius
soundfield image. This requires, vector' control for each panpot.
quite simply, the Ambisonic These controls are used with the
analogue of the common panpot. panpots to determine the distance of
The simplest way of achieving this is the source from the centre of the
to build a unit based around a 360° image, so the angle can be set with
potentiometer with a sine /cosine the panpot and the apparent
law, allowing one to localise a signal distance away can be adjusted with
source within the soundfield and the radius vector control, which is a
giving a B- Format output. B- Format 270° pot with a switch at the end of
is the standard format for the track, varying the distance from
Ambisonic signals: it consists of `normal' (switch position),
four signals in its complete form, corresponding to the periphery of
these being labelled X, W, Y and Z, the field, through `zero' (centre) to
where W is effectively mono, X 'minus', thereby allowing panning
represents front -back, Y left -right across a diameter of the soundfield.
and Z up-down. As we are only The two controls can be used
considering horizontal surround - together, of course, to produce
sound (without height information 'spiralling' effects between the
as in full `periphony') in this periphery of the field and the centre.
instance, we can dispense with the Z
signal, although the circuitry is Converter
easily modified to cope with it. The The converter unit is another 1 U
present prototype 'pan- rotate' unit rack -mount device with no controls
is a lU rack -mount device with eight at all other than a power switch.
continuously- rotatable sin /cos pan - Inside are two independent
pots plus a `rotate' control which B- Format groups with separate
can be used to rotate the entire ouputs, each group having five
40 STUDIO SOUND, SEPTEMBER 1983
inputs. These are designated LF, Decoding and monitoring bypass -normal stereo on the front avoid the image forming slightly
RF, RB, LB and ES and are Having covered the units used for pair of speakers -when the power is disconcertingly over your head! But
designed to be fed from four console Ambisonic localisation -all of removed. A further pushbutton then again, the same is true with
groups plus an echo send (post- which were designed to allow a compensates the signal if the normal stereo monitoring. The
fader). The echo send level supplies conventional stereo multitrack desk speakers are more than 3 m away. decoder controls are then adjusted
the W (mono) reference while the to be used for Ambisonic The speaker feeds were sent to a accordingly.
console group inputs provide level mixdown-we now come to one of pair of HH V-200 MOSFET amps We checked the layout with a
information which is `converted', the vital parts of the system: driving four Keesonic Cubs mounted 2- channel UHJ `walkround' test
with the W signal, into B- Format. decoding, and monitoring the result. on mic stand bases, enabling their recorded with a prototype
Thus any console panpot can be A number of Ambisonic decoders height to be adjusted easily. Ambisonic panpot in 1981. There is
used as an Ambisonic localisation are currently available from any one Keesonic kindly supplied two extra also a `walkround' band on the
control merely by turning up the of half -a-dozen manufacturers, Cubs with threaded baseplates to fit current Hi -Fi Sound test record,
echo send level (which must be the although you won't find many in the standard mic stands. There is no made with a Soundfield mic. These
same level as the main channel ouput shops -yet. We used the top- of-the- disadvantage in using small speakers tests simply consist of a voice calling
at any fader position) and routing to range decoder from Minim, which is for Ambisonics, as long as they are out cardinal points around the
two of the four groups. a tastefully- finished U device with
1 not too directional, particularly at sound field: North (centre front),
The converter unit assumes two the minimum of controls, which HF. East (centre right) and so on, plus
things: first, that you can pan may be rack -mounted with optional the points in between. The cardinal
between odd and even groups: and `ears'. It has a screwdriver preset on Setting up points are in many ways more useful
second, that the panpots have a the left to set up the decoder for the The first part of the setup procedure than the old -style 'quad' labels LF,
`constant power' characteristic. This pieferred speaker layout and is was to position the speakers in RF, etc, as often the speakers will
latter gives you a signal level 3 dB cesigned to drive four speakers sensible places. The easiest way of not be 90° apart, and unlike 'quad',
down in the centre in stereo, and is arranged in any rectangular doing this is to find a practical there is no 'pulling' of the image into
quite a common panpot character- configuration between 2:1 in either rectangular layout in the control the speakers. Thus `North West'
istic (more on this subject later). Fig direction -ie the ratio of the sides of room, position the speakers to point might not be near a speaker at all,
1 shows the way in which the console the rectangle (with the speakers at at the listening position (which is but it will be 45° left of centre front,
panpots are used. If we assume that if all is well. Minor compensations
the four groups are 1, 2, 3 and 4, FRONT
can then be made with the layout
then selecting and 2 allows panning
1
control if needed.
across the front quadrant (LF to In our case, we derived the
RF); selecting 2 and 3 pans across 2- channel send for the UHJ input of
the right quadrant (RF to RB) and so 'NORTH' the decoder from the `alternate
on. The converter unit is thus ideally control -room monitor' outputs of
suited to the task of localising most the Soundcraft 2400, and here we
of the channels in B-Format, LEFT RIGHT 'W' 'E' had our first taste of a problem
especially those which do not need which kept on cropping up during
the dynamic effect capability of the the setup procedure. It is a problem
pan- rotate unit. And the fact that 's that has nothing to do with
there are two such B- Format groups, Ambisonics -it is simply that
both entirely separate, adds to the Soundcraft, aiming for the US as
flexibility of the unit. well as the domestic market, have
REAR decided to wire their XLR
connectors with pin 3 hot. All our
Transcoder Fig Panning with the converter unit. Panning across each 90°
1
gear, of course, right down to the
quadrant is achieved by routing to two of the numbered groups (one
There is a further unit which has odd, one even). Note that while panning across left or right quadrants, HH power amps, is wired with pin 2
localisation applications too, the panpot and signal move in opposite directions hot. This means that precisely
Transcoder. This was one of the first nothing came out when we first tried
Ambisonic units produced for the monitoring, and later the
mixing applications, and the original Ambisonic Transcoder and AD12 Decoder Transcoder. A few minutes work
prototype which we used for mixes with the soldering iron perverted a
at the 1981 Cunard Hi -Fi show was few XLR leads to phase- reverse
based on the UHJ 2- channel encoder mode but the whole exercise was a
made by Calrec to accompany the pain. Having sorted it out, we were
Soundfield microphone. In essence, left with an Ambisonic monitoring
it takes four inputs which cor- system which could be switched out
respond to the four corners of a without disconnecting anything. As
'quad' setup (generally four groups John Timperley uses the Keesonics
again) and `transcodes' them into a as secondary monitoring anyway,
2- channel UHJ- encoded signal. The this was an essential consideration-
unit offers two `soundstages', front indeed one that was designed into
and rear, which may be varied in the whole 'Ambisonic Mastering
width between 0 and 180° at the System' -one should be able to use
front and 0 to 150° at the rear. the studio setup for ordinary stereo
Panning between the front two with the minimum of effort and
groups with the console panpots complexity.
pans across the entire width of the We next decided to set up the
front stage, and so on. The main Transcoder. This has XLRs in and
drawbacks are that the unit cannot out, including the B- Format input
produce a B- Format output, and which uses a 5 -pin XLR wired to an
that it is impossible to localise a agreed standard. All the Ambisonic
sound in certain places (ie at the the corners) can be anywhere up to rather less critical than for stereo, units to date are unbalanced, and
sides between the extremes of the the shorter sides being half the although careful pointing of the here again we were expecting
two soundstages). This rather limits longer sides. This means that most speakers is more necessary if the HF conflicts with the XLR pinouts-
its effectiveness in normal mixing listening rooms can be accommo- dispersion is limited) and then and got them. Luckily the ADR
applications: its primary use would dated. A forward preference' measure the sides of the rectangle Transcoder has links on the PCB to
be to transcode 4- channel `quad' control is also fitted which can be and set the layout control on the allow for curious XLR wiring
tapes into UHJ for Ambisonic used to emphasise the front of the decoder accordingly. It is misleading `standards' -as will production
release. It does, however, have layout if desired. Pushbutton to try to adjust the layout control by units of the other devices -you
application in basic mixing and is a controls then select between ear, especially if you are new to the simply remove the top cover and re-
useful place to bring back echo B- Format decode, UHJ 2- channel system. The speaker height should plug the links. Through all our
returns in a mix to be performed decode and bypass. The latter be adjusted to normal monitoring experiments, this XLR perversity
with the other units if the output is function is accomplished by relays criteria, with the proviso that it is was our only problem. It took
to be UHJ rather than B- Format. which also drop the unit into helpful not to have them too high, to 42
41
 plugs. This caused a rotated signal to Routing the channel to groups 5 and
Ambisonics move from back to front rather than 6 (to give panning across the front
number of consoles currently
available. Some consoles with
several minutes to sort it out every round the circle, and was easy to quadrant) we faded up the channel constant -voltage panpots have a
time it occurred. spot as an error condition. The fact fader, again using speech as a test `compatibility' button which
The Transcoder was provided that there was no localisation to left signal. A non -localised sound switches the panning law to
with XLR -to- Bantam leads which or right immediately pointed to the emerged which couldn't be said to constant -power, and these present
enabled us to patch it into the Y signal being missing, which was have been situated anywhere. no problems either if the `compat'
comprehensive patchfield on the found to be the case. This having Turning up the Aux master level,
1 button is pressed. We do not yet
2400, for test purposes deriving the been rectified, we next tackled the however, caused the sound to start know what the effect would be of
inputs from group insert sends 1 to converter unit. `gathering itself together' at the using a constant -voltage panpot
4, thus bypassing the group faders to We expected problems with the North -East edge of the sound field. through the converter, but we would
ensure the same levels from each converter unit, as it is designed to With the Aux send level at 6 (on a expect a non -linearity of the panning
group. The 2- channel UHJ output take an auxiliary postfade cue send scale to 0 to 10), the signal was law and slight changes of level across
was patched into the mix buss insert as its W source, which must be the accurately localised in the N -E the quadrant, plus changes in the
returns, to enable the main mix same level as the feed to the groups. corner, exactly as it should have precision and quality of localisation.
fader to be used to control the In addition, the unit is designed to been with the desk panpot in the far As it was, however, the Soundcraft
overall level of the UHJ- encoded work with constant -power panpots, right position. This position, panpots exhibited a very smooth
signal to tape. An experimental mix as stated earlier. Soundcraft incidentally, was nowhere near the localisation action which was
was performed, which immediately consoles do not use constant -power speaker: we had a rectangular layout comparable to that experienced in
indicated that the ADR production panpots. They use instead a slightly wider than it was long, and normal stereo. Panning across the
Transcoder was more accurate and compromise between constant- the sound in this instance was at an other quadrants was equally
flexible than the original prototype voltage (6 dB down at the centre in accurate 45° to the listening impressive, one disconcerting (and
we had used back in 1981. unavoidable, unless you can pan
A couple of weeks later we tackled between any pair of groups) factor
the interfacing of the converter and being that panning over the side
pan -rotate units, having used the quadrants, the panpot is moving in
intervening period to order up the opposite direction to the sound!
bantam to 1/4 in jack leads from Familiarity with this slight
Future Film Developments. These idiosyncracy comes pretty rapidly,
were brought down together with though.
some 5 -pin XLR leads to
interconnect the various B- Format Mix configuration
outputs and inputs. We used a Having ascertained that all the units
speech signal from the radio as a were operating correctly, we set up
source, patched into a console the console for a mixdown. This was
channel for testing (speech is very done in the normal way, but with the
useful for checking localisation as it Ambisonic units set up as shown in
contains a narrow range of Fig 2. Thus the `A' group of the
frequencies; we also expect a voice converter box was fed into the post -
to be coming from a particular rotate input of the pan -rotate unit,
direction). The post -fade line out deriving its feeds from console
from the channel was routed into the groups 5 through 8 and Aux 1; the B
pan- rotate unit's number 1 panpot, group of the converter was patched
with the rotate control switched out, into the pre -rotate B- Format input
the B- Format output from the unit of the pan -rotate unit, with its
being patched directly into the signals derived from console groups
B- Format input of the decoder for 9 through 12 and Aux 2 (although
test monitoring purposes. this was not used in fact). The eight
We were immediately struck by pan- rotate inputs were patched
the accuracy of localisation offered direct into channel line outputs as
by the pan- rotate controls, and by and when required later in the mix,
the fact that localisation in and the B- Format output of the pan-
B- Format is somewhat superior to stereo, which gives a good, wide position, rather to the left of the RF rotate unit was fed into the
that achieved via 2-channel UHJ. image) and constant -power (3 dB speaker and a good few feet beyond B-Format input of the Transcoder-
The controls proved easy to use, and down at centre, giving good stereo/ it! We had already noted with the this simply encodes it into 2- channel
the ability to send a sound right mono compatibility). This results in pan-rotate box that the sound field UHJ.
round the room with one control a law which gives about 4.2 dB extended some way beyond the The fact that our Soundcraft only
was fascinating, although some down at the centre in stereo. It is limits of the speaker layout. Turning had 24 input channels led us to some
engineers might find 360° rotation quite easy to modify these panpots the Aux pot beyond 6 and towards rather unusual wiring when it came
on one 360° pot a little coarse to constant -power; you simply add 10 tended to drag the localisation to echo returns. We wanted to use
compared with the conventional resistors across the existing ones in into the room and towards centre- the converter box for primary
panpot, which offers approximately the wiper of each gang of the pot, front. Rotating this control up and localisation, the pan -rotate unit for
60° localisation with a 270° control. the added resistors being of the same down produced a well- defined point dynamic panning and rotate effects,
This soon becomes natural, value (3.3 kg) as the existing ones. (setting 6) at which the sound was and the Transcoder to return two
however, and the highly-accurate However, I did not relish the accurately localised in the desired reverb units -a MicMix spring
one-to -one correspondence of knob thought of persuading John that it position. On checking this later, we system and an EMT Gold Foil -to
position to sound position is very was a good idea to add dozens of found that indeed, this position the UHJ master output, spreading
satisfying. We then experimented extra resistors all over his console! corresponded to zero level with the EMT over the front stage and
with the rotate control, using it to So we decided to try it without respect to the main output. MicMix across the rear, fed from
rotate an entire soundfield derived console modification to see what Then came the bigger test, which Aux 5 and 6 respectively. Normally
from several panned channels happened. Neither did we measure was to evaluate the law of the desk we would have patched the echo
through 360 °. Rotating the entire the aux output to determine at what panpot operating Ambisonically via returns into the monitor panel
soundfield is quite remarkably level we obtained the same level as the converter box. Panning from inputs, which return to the mix buss
disconcerting, although this isn't from the main output. We just right to left, we perceived a very and whose faders can be `swapped'
something one would normally want plugged in. smooth panning law, with the pot with the group faders (which are
to do. Rotating certain elements Setting a panpot to hard right, we covering the front quadrant with a full- length as opposed to the
within the soundfield is more subtle patched the first group of the great deal of accuracy, and no monitor faders, which are small).
and useful. converter lines into group insert discernible changes in level across However, in this configuration, the
It is amazingly easy to spot sends on groups 5 to 8, and derived the quadrant. Thus we did not have mix buss was to carry the 2- channel
localisation faults caused by the ES line from the Aux 1 output on to modify the console: neither UHJ -encoded master signal, rather
incorrect wiring. The first B- Format the patchfield, turning the Aux 1 should mods be needed on consoles than straight stereo, so we couldn't
lead had a fault in it: the Y signal send on the channel to full and the which have this kind of panning law return to there! Instead, we patched
line had come adrift in one of the Aux 1 master level control to O. compromise, which includes a good 44
42 STUDIO SOUND, SEPTEMBER 1983
 Synconfidence.
Shopping for a desk these days can fully automated console. For the
be a chancy business. Limited budgets 24 track user, the popular B36 shown
(

all to often mean limited equipment, here) has 32 input /output modules,
limited performance - and limited 24 track routing and 64 line inputs for
potential for future expansion. It's a remix.
story that many smaller studios know The excellent design and superb
to their cost. sound-handling capabilities of the
Enter the SYNCON Series B -a Series B puts it firmly in the Big League
mixer of unrivalled flexibility. - but with a price tag that explodes the
Designed by AHB to grow with your myth that a quality desk must
studio, but with a minimum upfront necessarily set you back an arm and a
capital outlay. leg!
The in -line modular concept means We can confidently claim that the
that you can start with a basic 16 track SYNCON Series B represents one of
format and, without factory the best value- for-money deals in
modification, expand to a 44 input, today's market.
s'ircor

axB
ALLEN AND HEATH BRENELL LTD

Allen & Heath Brenell (USA) Ltd

69 Ship Street Five Connair Road
Brighton BN1 1AE Orange, CT 0477
Tel. (0273) 24928 Tel. (203) 795 3594
Telex 878235 MBIAHB G Telex 643307
 Ambisonics patched into the mix buss insert monitoring amps to be neatly either in stereo or surround -of
return to allow the master fader to installed, and still leave room on top listener position, very much like a
the first four group outputs into the be used as before, and the Lrix was for the 24 -track remote at a coincident -pair recording (indeed,
Transcoder, returning the reverb sent to the stereo master recorder in reasonable height! Ambisonics is very much like a
units into the group insert returns on the usual way. This had the added Almost immediately a number of `three-dimensional coincident pair',
those groups. This enabled us to use advantage -as the decoder was mixing techniques were evolved to and this is exactly what the
the large group faders to control the patched out of the alternate monitor make best use of the system. One of Soundfield mic is). This means that
echo return levels. We could adjust outputs -of allowing easy replay of the great strengths of Ambisonics is you can wander about in the
the spread of the reverb returns in encoded tapes, just by pressing the that there is a very high degree of listening environment without losing
the sound field with the width stereo replay buttons; plus the compatibility between UHJ, stereo the image. It also means that
controls on the Transcoder (which capability to select bypass on the and mono. Indeed, we feel that the producer and engineer, for example,
affect only the signals applied to the decoder to check stereo and mono compatibility in these respects will hear the same thing. In stereo,
four transcode inputs, and not the compatibility as well as being able toexceeds that of stereo. When an as well as surround, the image is
B-Format input which is merely switch in the main monitors Ambisonic signal is 'collapsed' into more stable, and sources can be
being encoded and mixed at unity instead -with a single button -and stereo -simply by replaying a more 'tightly' localised. For some
gain with the UHJ from the hear the UHJ signal in 'stereo' or 2- channel UHJ signal into two reason yet to be properly explained,
transcode inputs to provide the main 'mono' on the main system. This monitors with no decoder, for the width of a UHJ recording played
output from the unit). This enabled proved to be very useful, and again example-the 'rear' images are in stereo on loudspeakers is wider
us to spread the EMT across up to fulfilled one of the design goals of simply projected on to the front, so than the speakers, and stereo effects
180° at the front and the MicMix the system, that of ensuring that the that they are perceived at the same can be produced which go round the
across up to 150° at the rear. We had system could be returned to normal distance to the side of the stereo room without having the benefit of
previously discovered, in our 1981 stereo use with as little replugging as
sound -stage as they are in surround. an Ambisonic decode system! On
experiments -the first Ambisonic possible -in this case, it was simply Thus a sound positioned, say, headphones the effect is even more
mixes derived from 24-track -that a matter of pressing either bypass on 'South-South -West' in surround will pronounced: instead of the usual
two reverb returns spread across the decoder, or the speaker select end up half -left in stereo. Also, a 'line between the ears' of
front and rear stages like this is very button on the board, to return to signal rotating continuously round conventional panpotted stereo, some
effective: while only mono sends stereo monitoring. the field in surround will simply pan kind of 'brain- decoding' produces
from the channels are used, you can from left to right and back again in the illusion of a sound field, albeit
send echo from a given channel and stereo. less deep (front to back) than
have it return either in the same Mixing techniques Additionally, a UHJ signal Ambisonic speaker- decode.
sector as the source or in the The Ambisonic boxes were placed replayed in stereo has a number of All this means that stereo-mono
opposite sector, just as it is on a table next to the console, where interesting characteristics. First, as compatibility is built into the
sometimes useful in stereo to have a the 24 -track remote is positioned, Ambisonics uses phase and level to Ambisonic system: indeed it is more
signal on the left with its echo on the for easy access to the controls. This localise a source, rather than simply compatible and more flexible than
right, for example. is shortly to be replaced by a rack level as we are used to with ordinary panpotted stereo. And
The UHJ 2- channel mix output cabinet which will enable all the conventional stereo panpots, the those exciting effects will cut on an
from the Transcoder was then Ambisonic boxes plus the extra image is much less dependent- 46 '
Fig 2 Mix configuration with Soundcraft 2400 and ADR Ambisonic units

FROM GROUP NS. SENDS 1

ODD EVEN ODD EVEN I t Gr. 5 -8

ORMATI
.r ODD

-
PAN CONSOLE ROWING A

ES-1
FADER T--EVEN 1 r

AUX 1

- SEND
-OTHER CHANNELS SIMILAR CONVERTER UNIT I[INPUTS
ár. 9 -12
B-FORMAT 2
!SIMILAR] B
FROM
MULTITRACK -2
ES
Z
O
Ñ
CHANNEL LINE OUT
1

ROTATE
PAN SELECT
8
FADER SWITCHING
J

PAN /ROTATE UNIT ROTATE < -FORMAT RECORD

B- B- FORMAT
EMT (AUX5
L FORMAT
MIX
MASTER
(OPTIONAL)
GROUP FADER
Gr. INS.
RETURN
WO
__
GROUP OUT
0
FR()N,
4 -TRACK

e
IB-FORMATIN CONSOLE A/B
MIX INS. RETURN
__© 0REAR
ANSCODE ENCODE I T
/J

__o 113
12 CHANNEL
MASTER
FADER
UHJ
MASTER

J I

MIC 2- -TRACK

--
MIX o AUX 6
B- FORMATI
MONITOR AMPS IN +

j[f
AMBISONIC CONSOLE
MONITORING V-200 DECODER 10 LS
TRANSCODER (MINIM)
UHJ IN
i SELECT
LF V-200

/j RB

MAIN 1.0
MONITOR V -SOU
LS
MAIN
MON. AMP

44 STUDIO SOUND, SEPTEMBER 1983

 C. O?GITA. AUDIO PROCESSOR
Pn P7

SWING SEARCH
'E V E RSE $IOW
fr FORA/PM,

DEOCASSE T TE -RECORDER
SE -2900
M

Quantization 16 bit linear or

14 bit linear (switchable)

the PCM -Fl digital Frequency response:10- 20,000 Hz ± 0.5 dB

Dynamic range mcre than 90 dB 16 bit
mcre than 86 dB 14 bit

audio processor: Harmoniic distortion less than 0.005% 16-bit

Wow & Flutter beneath

less than 0.007% 14 -bit
measurable limits

Available in two versions, PAL or NTSC the PCM Fl can be For serious audio editing and subsequent transfer to disc, the
used in conjunction with any V.C.R. recorder. recorded signal from the PCM Fl can be transferred to the Sony
PCM 100 or PCM 1610 digital audio systems and edited using the
Coupled with the SL.F1 portable Betamax, the PCM Fl provides
DAE 1100 digital audio editor.
a portable digital recording system with phenominal performance.
Any number of subsequent copies car be made with no loss
The Servo control system of the SL.-1 Betamax will allow
of signal quality.
absolute synchronization of the recorded material at all times and
enables subsequent transfers to be made directly to 35 or 16 mm The PCM Fl features a digital to digital dubbing facility.
film or video. Your discerning customer can make V.C.R. copies of studio
For Studio use, interface the PCM Fl with any of the new masters and play them back on their own PCM Fl system and
Type 5 SONY U /Matic recorders. experience exactly the same quality of sound as the original master.
Editing can be performed using a standard U /Matic video For further information or demonstration- please contact
editing facility to an accuracy of ±two frames i.e. 80 ms- P.A.L. Roger Cameron or John Didlock.

U
FELDON AUD
126 Great Portland Street, London WIN 5PH el: 01 -580 4314. Telex: London 28668.
 Ambisonics out/mono -in systems with differing
characteristics.
and 2-channel UHJ is the current
conventional 'release format' for
more console facilities, as available
on many modern boards, even
analogue disc with no trouble, too, Of course, on some material, all Ambisonic recordings whether for more flexibility is possible. VCA
unless they are really loud and bassy
the sources will sound best localised FM broadcast, conventional ana- grouping, for example, would
which means situation normal as around the front of the sound field, logue record release, or Compact enable the various B- Format group
compared with conventional stereo. with only reverb /ambience at the Disc. However, B- Format can later levels to be adjusted easily with a
As much Ambisonic material will rear-this is obviously no problem. be encoded into other forms for single fader -for example, the two
be played back on conventional While rock music sounds impressive transmission, for example '21/2' or B- Format groups in the converter
stereo systems (they may even be coming from all points of the 3-channel UHJ, which can be box could then be balanced
mixed specifically for stereo
compass, multitrack- derived orches- transmitted via FM radio by using independently and used for
applications!) initially, tral material would sound a bit
this phase -quadrature modulation for subgrouping, as could the group of
compatibility must be borne in unusual performed in this way, with the third channel (which may be signals feeding the Transcoder if it is
mind. There are no technical the listener in the middle of the bandwidth-limited, hence the '21/2') in use. As it stands, all the
problems with compatibility, as has orchestra! On such material, it is as has been demonstrated by the Ambisonic units mix at unity gain,
been discussed above; but there are useful to have recorded a set of IBA. Such a system is now permitted and thus need external control for
also creative considerations if the ambience tracks in B- Format on the by the FCC in the USA. Equally, group balancing. Of course, VCA
mix is to sound good in stereo. For multitrack from a Soundfield mic if B- Format can be used to derive groups can also be used normally,
example, newcomers to Ambisonics you have one, although a stereo pair future formats for Compact and this may be a preferable
may find it very tempting to localise
sources in places where you could
never go in stereo -round
the back and sides. It must be
remembered that in stereo, these will
be 'collapsed' on to the front, and
careful positioning is necessary (and
easily practicable) to avoid cluttering
of the stereo image. Impressive
sounds which spread right across the
soundstage from East to West sound
very good Ambisonically, and you Ambisonic UHJ encoder
may like to put several stereo signals
across from E to W -but in stereo
they will all be split left and right
(albeit somewhat beyond the
speakers). Impressive front -back
stereo splits will end up in mono
when replayed conventionally, and
this should also be borne in mind.
This means that care should be taken
in what signals get positioned where. Soundfield control unit
Use the all -round positioning that
Ambisonics offers by all means, but
bear in mind what the relationships
will be in stereo. Just as you choose
what to locate near or far from
centre in stereo, choose in similar
manner when mixing with
Ambisonics. Here the ability to Ambisonic UHJ encoder
check stereo easily (or mono) at the
push of a button proves itself.
We found rapidly that the best
approach when balancing for or two could be routed via the Disc-provision is made in the alternative, controlling the
Ambisonic /stereo compatibility was Transcoder if desired, along with the system for various types of extra individual groups of faders on the
to localise sounds in decode mode reverberation returns. If you have information including 4- channel console irrespective of which
first via the locator unit, later effects returns with routing, or spare release, and subcoding could be used Ambisonic device they are feeding.
choosing which channels were to go channels for them, it is best to to switch a decoder automatically While care needs to be taken in the
to the pan- rotate unit, checking allocate four groups to the when a suitable record is played. setting up of the equipment,
them in stereo on the small speakers Transcoder inputs and route the Thus 2- channel UHJ is fine for now, especially the decoder /monitoring
(which will give a better image) as returns and effects to them, bearing but B- Format will have applications section, this requires no more
and when needed, and then switch to in mind that you can position in the future. In addition, one concern than usual in such areas.
the main monitors to get sounds and returns with the ordinary panpots obvious application for Ambisonics The system has the big advantage
EQ (because, in stereo, little anywhere between the extremes of will be in the audio -visual market: that returning to stereo is
speakers are little again) and to the two soundstages available with here it will be quite possible to use remarkably easy, whether during the
obtain the right stereo balance. You the Transcoder. They can also be B- Format audio tapes on -site, course of an Ambisonic mix, or after
will find, as we did, that a mix routed via the coverter box groups in played back via a decoder in the the session when conventional stereo
balanced in this way-that sounds a more flexible way, and if channels viewing area. Four channels of tape needs to be restored. All those
great in stereo -will also sound are available with normal routing facilitate three channels of B -Form- who have heard or experimented
excellent through the decoder in for effects and reverb returns, at (assuming horizontal- surround with the system to date -including
surround. Consider especially -if localising them in this way may only -hence no Z channel) plus one experienced musicians, engineers
your are using dual reverb systems prove more useful. The idea of the track for slide sync or even and producers -have commented on
like we were-the relationship soundstages on the Transcoder does, timecode. the remarkable compatibility of
between a source and its reverber- however, give a useful impression Ambisonics with stereo and mono,
ation in surround. Here reverbs like with returns from reverberation Summary
the Quantec and the Lexicon - devices, although of course it cannot Ambisonic mixdown involves no
which have four outputs and two be used if a B- Format master is techniques which are either difficult
and the flexibility and ease of use of
the system.
inputs -really come into their own. required. or time-consuming to learn. The
The Quantec especially, with the Generally speaking, it is existing units, which will be NB: Arrangements can be made for
capability to add early reflections to preferable to mix Ambisonically to available shortly, are not expensive demonstrations of the Ambisonic Mastering
System: those who would like such demonstra-
the first two channels (these should B- Format, and store the master on compared with modern outboard tions should contact the Ambisonic Technology
be wrapped across the front stage of 4 -track tape. It can then be encoded gear and add an impressive extra Centre at Reading on (0734) 597083. Many of the
articles published on Ambisonics recently in
the Transcoder) is exceptionally later through an encoder or via the dimension in stereo, let alone Studio Sound and Broadcast Sound have been
effective, and the Lexicon can of B-Format Transcoder input for surround -sound, to even an reprinted as a booklet, available on request from
the Ambisonic Technology Centre, 16 North
course be split to offer two stereo- conventional 2- channel purposes, averagely-equipped studio. With Street, Reading, Berkshire RGI 7DA.

46 STUDIO SOUND, SEPTEMBER 1983

 - -®--_--
®- -®
-
1

__._ ..
5 6
- _ ..- .-: ---
_
7

:
®
NM
9 10 11
5:4 13 14
-a_ 16

17
NMI
®
-
18 19
: -- 20
--- 22 23 24

When you come to choose narrow head block that cuts A80 /VU Mk III and the A800
your new multitrack, deciding the travel distance between won't be easy. But then Studer
on a Studer will probably be the erase and record heads to never have been in the habit
easy. What will be a little 88 millisecs at 30 ips (now of taking the easy way out when
more difficult will be which available as a conversion for it comes to performance.
Studer to take - the new existing A80 /VU models).
A80 /VU Mk III or the new And both are available in
A800.
Both machines are superb
examples of Studer precision.
Both come with the new
several tape width/channel
number configurations.
Whatever your criteria,
choosing between the
STUDER
N TERKY-M NAL
CH -8105 Regendorf Telephone (01) 840 29 60

FW.O. Bauch Limited

49 Theobald Street, Bonham Wood Hertfordshire WD6 4RZ
Telephone 01-953 0091, Telex 27502
ER REVOX AMERICA INC Nashville Telephone (515) 254 -5651 STUDER REVOX SA R L Paris Telephone 533 5858 STUDER REVOX CANADA LTD Toronto Telephone (416) 423 -2831
 rtucliofil¢
Starr Recording, Danny Starobin -"He had grown forward to its first month in black McIntosh amps. Reverb is supplied
Philadelphia tired of it and wanted to move on to ink. (In the fall, the rate went up to by EMT and AKG units, and there
"1 like the idea of a Mom and Pop other things," says David -and his $65, and will probably be $75 by the are various signal benders from Lex-
studio," says David Starobin, father, were ready to sell the place. time you read this.) icon, Eventide, dbx, UREI, Valley
owner, engineer, chief cook and bot- "They put ads in the trades, and Over the years, Starobin, who People and Inovonics. There is also
tle washer of Starr Recording in were showing people around the comes from a musical background, a rack of four Technics cassette
Philadelphia. He's not engaged in place. One day I heard my dad offer has carefully assembled some ex- decks. "I bought them the day after
wistful nostalgia over some lost a very, very cheap price to someone, cellent equipment, and he feels that Christmas," says Starobin, "which
golden age, however -for five years and that's when I decided to do this contributed strongly in bringing is the greatest day of the year for
Starr Recording was a family something. I had spent five years clients in, along with the attractive bargains. At the end of a session,
business, owned and operated by working real hard here, and I wasn't price. Among his 70 microphones, when everybody in the band wants
Starobin, his brother Danny, and his about to lose all that." for example, are two Telefunken copies of the rough and I'm too tired
father. So David bought the studio 251s, two Neumann M49s, two to stand up, I just pop in the casset-
Starr occupies a spacious ground - himself, even though his father did U67s, two U47 tubes and a U47fet, tes and run 'em off. Some studios
floor suite at the bottom of one of not like the idea: "He didn't want two AKG C28s and plenty of other charge a lot for copies and make
three condominium towers on ex- his son to be in a money-losing ven- Neumanns, Sennheisers, RCAs, money off them, but I don't like to
clusive Society Hill, in historic ture for the rest of his life," says Shures, PZMs and Beyers. The MCI do that."
downtown Philadelphia. But despite David. In September, 1981, in a last - JH-416 console, since its modifica- Although Starr Recording has yet
the attractive and convenient loca- ditch effort to turn the studio tion, runs quieter than factory specs, to produce the platinum record that
tion, running Starr was a tough bat- around, he tried a treacherous tack. Starobin claims. There are 11 tube conventional wisdom says it must in
tle from the beginning. The previous First, he lowered the price of studio limiters including LA -2s, 175s, and order to stay in business, it has had a
occupants, Society Hill Sound, time from about $100 per hour to a four rare RCA BA -6As. wide variety of clients pass through.
"were clouded in mystery," says measly 50 bucks. Then he developed He is just as proud of his "People ask me what kind of music
Starobin. "There were a lot of hor- a 3,500 -name mailing list, from keyboard collection, which includes we do here, and I can't answer
ror stories about the place -cheap former clients, record companies, an excellently maintained and oft - them," says Starobin. There have
techniques, sloppy engineers. The the Musicians' Union, students, and praised Yamaha C3 conservatory been rock bands, gospel groups,
reputation worked against us." The engineers and producers all over the grand, a Wurlitzer ivory piano, a 100-voice choirs, string orchestras,
Starobins did an impressive amount map that he culled from Billboard's B3, a Clavinet, and electric pianos advertising agencies with clients like
of work upgrading the facility, not directories and other sources. He and synthesisers from Rhodes, RMI, McDonald's, tracks for radio, film
with all new equipment, but by sent them all a letter, which he ad- ARP and EMS. The studio boasts a and television, including the
"elimating 50 -foot cable runs that mits he designed to look like "a set of Tama drums, which figured Children's Television Workshop's
should have been 12 feet, re -doing pitch for life insurance," which pro- prominently in an ad campaign for Sesame Street and 3 -2 -1 Contact!,
all the grounding, spending $12,000 claimed in big letters: Starr is Clos- that company, as well as in a series and even an aerobic exercise record.
modifying the console, that sort of ing, and it's not fair! For two legal - of instructional tapes that Billy Recently, CBS /WMOT Records ar-
thing." A 3M 24 -track tape machine size pages, Starobin extolled the vir- Cobham recorded here. Starobin has tist Major Harris produced an entire
was brought in (and the tues of the studio and literally plead- maintained a close relationship with album here.
transformers removed) to replace ed for business. Hoshino, Tama's American "Eventually," David Starobin
the old 16- track, along with a new "I justified it in two ways," he distributor, who also handle Ibanez. hopes, "people will be in here
Studer 2- track, and the peripherals says. "First, anyone can go across Thus he has found himself posing because it's Starr Recording, not
rack was expanded considerably. the river to New Jersey or up to New for ads for Tama mic stands, and just because of the rates." He's not
John Storyk was called in to York and book 24 -track time in a de- has quite a bit of equipment from at all sorry that he took the steps he
rebuild the control room ( "It was cent place for $35. Second, we'd Hoshino, including the stands and has: "I think the other studios are
terrible, and it couldn't be corrected been losing money for five years, Ibanez mics and outboard equip- angry as hell," he laughs, "but I've
just with EQ ") and the Starobins and so I figured it was time to make ment. He is particularly pleased with gotten no direct feedback from
made two later modifications. The some." In the letter, he wrote: "I his Ibanez AD -204 guitar multi - them. I encourage clients to check
main room, a healthy 34 x 27 x 131/2 really didn't want this aspect of the effects unit. "It's great," he says, out the other places around town,
feet with two iso booths, was left industry to go the way of the bargain "because the instrumentalist can use and sometimes they come back and
pretty much alone-Starobin con- bin, but I've got no choice. It'll that, so we don't need to tie up our tell me they heard that our console
siders its size and live properties a either save our ass or be our swan Eventide Harmonizer for flanging. was under water or something. I
unique feature in the Philadelphia song!" It's so versatile, sometimes clients don't mind," he grins. "That's the
recording scene, which includes The tactic worked. Within a few end up playing with it for half an nature of competition."
about five other 24 -track houses. months, the room was booked solid, hour." Paul D Lehrman
All of the improvements, and in the spring of 1982, Starobin In the control room are Altec Big Starr Recording, Society Hill
however, didn't help Starr escape was able to raise the rate to $60. By Reds with UREI crossovers, Towers Plaza, 201 St James Place,
the recording- industry doldrums of that summer, the studio was finally JBL L100s and Auratones all Philadelphia, PA 19106, USA. Tel:
the late '70s/early '80s, and in 1981 breaking even, and was looking powered by an array of Crown and (215) 925 -5265.
Control room Studio

48 STUDIO SOUND, SEPTEMBER 1983

 introducing The Compellor, inaudible compression, in-
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You just set The Compellor once and its even film dubbing. What's more, you'll find
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GENIUS

USTRALIA DENMARK ITALY SPAIN

ast Coast Audio Sales, SC Sound, Taastrup M. Casale Bauer, Milan Neotecnica, Madrid
lelbourne FINLAND JAPAN SWEDEN
AUSTRIA Nores Oy, Helsinki Matsuda Trading, Tokyo A B Betoma, Solna
EKG, Vienna
FRANCE NETHERLANDS SWITZERLAND
BELGIUM Redi:ec, Neuilly Sur Marne Audioscript, Loosdrecht Audio Bauer, Zurich
Trans European Music,
GERMANY NEW ZEALAND TAIWAN
ilbeek
AKG, Munich Hawkes Bay Agencies, Linfair Engineering, Taipei
ANADA Napier
GREECE UNITED KINGDOM
anta Electronic Group,
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Toronto
HONG KONG Auvi Private
Audio Consultants, Kowloon

© Aphex Systems Limited o 12340 Saticoy St. o North Hollywood, Ca. 91605 D (213) 765 -2212 o TWX: 910- 321 -5762

49
 The PPG
S undsation
IM'

Axi«i,,L'ji'' IJLumaxi I I
Ala
aft. ,-
lir_

rr
.:..
11111.a1111

PPG is a sound sensation. In produc- It is a combination of the sounds from

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impact. A unique blend of digital and bass, that has been responsible for
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of sounds than ever before possible with musicians. Its versatility together with the
one instrument. facility to expand to a full computer system
This PPG innovation includes 8 at an affordable price makes the PPG the
voices, 24dB /Oct filters, 32 wavetables each new success.
with 64 waveforms, a five octave pressure A synthesiser that's in demand because
sensitive keyboard. It contains an 8 track of its reputation, its amazing sounds, and
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edited after recording and with the use of Call us to make an appointment for a
the highly sophisticated digital front panel, demonstration. The PPG is a soundsation to
the sequence may then be mixed and stored be experienced.
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20 Conduit Place, London W2 Tel 01 -724 2451 for appointment

 studiofile
TAM Studio, North London
TAM Studio is set in suburban
Finchley in a quiet residential road,
within walking distance of the famed
Finchley Central underground
station. Walking up an incline
between two of the houses you find
yourself in one end of a nursery
garden. This is the home of TAM.
Tony Batchelor is an old -style
audio pioneer and certainly someone
who does not believe in taking the
easiest way out of a situation.
Together with his wife Myrtle (hence
TAM -Tony And Myrtle) they run a
disc cutting suite, an 8 -track mobile
and real -time cassette duplication
facility. The operation has evolved
to its present state by a mixture of
chance, design and hard work. The
mixture of facilities is best explained equipped so all their existing gear stereo, D24, D12, D330BT; STC acoustic treatment. There is a door
by the history of Tony himself. was quickly moved in. At this point 4033; Beyer 101, 201; and some very at the rear which can be opened in
Tony used to work for STC in a it included a Philips PRO Stereo obscure types such as a Krundaal summer to allow daylight in with the
variety of positions rising to audio tape machine, two Vortexion tape 'D12 -type' and an Italian made mic room dimensions being retained by
products development manager in 22 machines, one of which was modi- that looks like something STC the use of an inner glass door. The
years of service. In 1972 he decided fied for stereo and used as a back -up would have made and is apparently room is checked very regularly to en-
that now was the time to make a with the other for echo use, a excellent for string bass. sure that the response does not drift.
break or it would be too late. This Grampian Ambiphonic reverb, The trailer itself is exceptionally The lathe is a Scully and is in
point has to be viewed in parallel 'Brahms' speakers and mics from spacious with dimensions of 22 x immaculate condition. Additional
with a hobby that was turning into a AKG, Beyer and STC. A 12/2 7 ft. Because it is a trailer, a lot more equipment includes a Westrex 3D
business. A classically trained modular mixer using ICs and a pair of the internal room is usable. The head, Westrex valve cutting amps,
pianist, he had always been inter- of amplifiers were designed and built decor is basic but functional with the Scully pitch and depth control
ested in sound and met his wife when by Tony. The mobile itself is a interior surfaces being pegboard system, Ortofon treble limiter
they both volunteered to organise a Thompson Touring Caravan and is with insulation materials between STL63I and a custom designed
PA for Coronation celebrations in normally towed by a Land Rover. the board and the trailer fabric. scrolling and pre /post expansion
1953. Together they ran a small The mobile today is equipped with With half of the holes covered, unit. Coming from France the
facility and were always being called a 3M Series 400 8-track which used spectrum analysis of the room control panel has been modified for
upon for local occasions. One such to belong to Apple Studios, an early showed that the response was flat French users and so Tony has had to
job was the regular PA for a number Ampex AG440 with a sync panel, enough not to need EQ on the familiarise himself with marche,
of pubs that featured live jazz in the and two Philips PRO Stereo monitors. arrêt, avance, graveur and décro.
early '60s. Often they would be machines. These Philips machines All round the wall of the mobile is This lathe is also the only one in the
asked to record the set by the band are rather useful for editing as with a shelf at a practical height to UK that is equipped with a reverse
and so they geared up to enable the the tape laced, the brakes release provide plenty of working space. lead screw enabling cutting from the
recording of a feed from the PA when the spools are moved. Also The monitors are mounted on a shelf centre outwards.
mixer. The equipment for this varied they have a slightly wider track at the front of the mobile over the The monitors are Telefunken
but was based around a Ficord port- width that Tony reckons gives an cable locker with a video monitor units that were apparently built to
able tape machine, a Vortexion extra 2 dB signal to noise. mounted between them. The console order only and this pair came from
WVB5 mono tape machine running The original 12/2 desk is still faces forward and the entrance to the cutting room at Apple Studios.
at 71/2 in/s, a home made 4/1 valve operative although it has since been the trailer is at the rear. They are powered by valve ampli-
mixer, three STC ribbon mies and a modified to 4- output. Additional Disc cutting is the service that fiers that are situated within the
Reslo dynamic. All monitoring was mixing facilities are provided by nine TAM is probably best known for. It cabinet and Tony describes the
done off tape. In the years up to channels of Neve mic /line amps with was about 1977 that they were bottom of the cabinet as being full
1966 many famous jazz names were outputs for 8-track use on a separate looking to diversify. Areas looked at of 'large bottles'. The drive units
recorded this way. The next import- panel. This system allows separate included high speed cassette dupli- comprise two 12 in bass units and a
ant occasion was in 1970 when their stereo and 8 -track recordings to be cation and disc cutting and the latter very large number of mid range/
son was playing trumpet in a school made and a further eight channels of won. Near their house was a double tweeter units that plug in and are
production of Noyes Fludde and Neve sends /monitors allows rough garage and part of this was turned arranged in arcs within the cabinet.
they were approached to record the stereo mixes to be made for monit- into a cutting room and a complete Tony describes them as being very
concert. This was completed success- oring use. Tony has a policy of cutting system was bought second good in the HF, giving a dispersed
fully and they were asked to arrange always monitoring off tape just in hand but the deal fell through at the response wherever you are standing
for records to be cut from it. This led case the equipment has become very last minute and they needed a and this he feels is very important
them to investigate that area of disturbed in transit. replacement in a hurry. Through for cutting. The bass end is not so
record production. Against this Other equipment includes Tannoy Trad they found a suitable unit in good however, and they have to be
background, they decided to set up Cheviot monitors with HPDs, Dolby Paris. The details and the problems adjusted with Astronix graphics.
TAM and Tony left STC. 301 unit, Bel noise reduction for the of transporting this equipment are The control desk is built like a
They set up a service offering 8- track, Goldring turntable with covered in Studio Sound (March 1979) tank as are the associated outboard
complete package deals for school SME /Shure combination, Teac as well as transporting it to Watford equipments and finished in EMI
choirs and similar. In 1973 they met A -108 cassette machine for logging, Town Hall for some direct to disc green. It has four channels and takes
two engineers who were assembling a pair of Neve limiter /compressors, sessions for Crystal Clear (Studio its feed from a disc cutting version
a mobile studio equipped with 3M stereo spring reverb and a Great Sound, February 1979). Since then of the Telefunken MIO. There is
16 -track and when it was completed British Spring, the latter cunningly they have actually repeated this provision for EQ on the preview
TAM would sub -contract the mobile mounted at the rear of the mobile in operation for another lathe. For a channels and echo sends. All
such a way that you can jump up while the lathe was actually used in switches are stud type and this
and use De Lane Lea at Wembley
for their disc cutting work. In 1976
they were able to purchase the
and down and not create any noise
the only problem is the door
- the mobile although a permanent
home was preferable.
enables accurate records to be kept
of the settings for future use. The
mobile without the equipment. slamming says Tony. The mic The main cutting room is 12 x faders are quadrant type and are
The mobile had then to be complement includes AKG C33 16 ft and needed a minimum of 52
51
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Truly a magnificent piece of in the '60s for stereo use. The depth S -41104 Goteborg SWEDEN
engineering. control had to be added as pre- Tel: (031) 803620 Telex: 27492
Other control equipment includes viously it had been used for mono
Dolby 301s and Philips valve only. It uses an Ortofon DSS661 FINLAND Oy Helectron Ab
limiters. Metering includes a phase head and moding of the Ortofon Purotie 1 -3 00380 Helsinki 38
meter and a very large light galvan- cutting amps was required for them FINLAND
ometer permanently across the to accept it. Tel: 80558906 Telex: 122849
cutting head. The cassette end of the system is a
DENMARK Sony Danmark A/S
The lack of more sophisticated BIC T3, at first sight an odd choice
outboard equipment in the room is but it has some useful features such Horsvinget 2630 Taastrup
1

explained by Tony's philosophy of as a closed loop capstan, full

DENMARK
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preferring to cut flat. He believes azimuth adjustment, and a fade in
that the producer should do the work from pause facility. HOLLAND Brandsteder Electronics BV
and not the cutting engineer who has It would not be presumptive to Jan van Genstraat 119
enough other problems to watch. believe that in all his work with disc 1171 GKBadhoevedorp
The other half of the old double cutting systems and modifying NETHERLANDS
garage used to be the office but now second hand equipment, Tony has Tel: 2968 81911 Telex: 13132
houses the real time tape duplication become recognised as an authority
facilities. There is a bank of 12 on many aspects of the equipment. WEST GERMANY Sony Broadcast Limited
machines, four Teac CX-310, four He actually acts as a consultant to AUSTRIA Niederlassung Koln
Nakamichi BXI /BX2 and four Ortofon in certain matters. TAM Bleriotstrasse 1 -3 5000 Koln 30
Yamaha TC- 800GL, arranged in have recently announced that after WEST GERMANY
banks of four so that various smaller many requests they will be setting Tel: (221) 5966 410
sized runs can be made simultane- themselves up as disc cutting equip- Telex: 28881626
ously. Noise reduction in the form ment dealers and services will
of dbx 155, Bel BC3 and Dolby B include installation of full systems FRANCE Sony France S.A.
and C, internal and separate are with monitors. 19 -21 Rue Madame de Sanzillon
available. They have found that the They will also be building replica 92110Clichy FRANCE
internal Dolby calibrations on the Neumann valve disc cutting ampli- Tel: 739 3206 Telex: 620674
Teac machines are to a very close fiers with original valve types or CZECHOSLOVAKIA Center Technische
tolerance anyway. Every three their nearest equivalent as well as HUNGARY Handelgesellschaft GmbH
months the machines are pulled out having transformers specially POLAND Wiedner Haupstrasse 98
of the rack in rotation to ensure that would, all to meet a tither surprising RUMANIA 1050 Wien AUSTRIA
0 VU is still 0 VU. demand. Tel: (222) 55 46 06 Telex: 113583
Feed machines for the duplication The new area they are looking at
are a Telefunken MIO for 15/ now is digital recording. Tony has BULGARIA Sony Broadcast Limited
71/2 in /s tapes and an Akai GX- been a member of the APRS digital YUGOSLAVIA Zweigniederlassung Wien
4000D for low speed use. Monit- committee and they did some early Haufgasse 24 1111 Wien AUSTRIA
oring is on Cadac speakers-again experiments with a prototype Sony Tel: (222) 838 601
from Apple, biamped with Audix 1600 unit at Watford Town Hall.
amps. Using the internal adjust- They have recently recorded at the SWITZERLAND Sony Overseas SA
ments it has been possible to flatten Purcell Rooms using the Sony PCM Filiale Verkauf Schweiz
the response within the room Fl unit, and the resulting piano Oberneuhofstrasse 3
without using EQ. recording may well become the first 6340 Baar, SWITZERLAND
Also in this room are another pair PCM-FI mastered recording in the Tel: 42-333 -222 Telex: 865295
of lathes. In one corner sits a pre- UK. Subsequently the Fl has been UNITED KINGDOM Sony Broadcast Limited
war Neumann lathe to which has installed in the mobile and is used in MIDDLE EAST City Wall House
been added a vacuum turntable, an conjunction with a Sony industrial AFRICA Basing View BASINGSTOKE
ex-Decca cutting amplifier modified U-matic with shifted head cross Hants. RG21 2LA UK
to fit a Westrex head. This lathe is points (as described in the article Tel: (0256) 55011 Telex: 858424
used largely for checking heads and Inside the PCM F1, Studio Sound,
experiments such as automatic pitch March 1983) so recordings are com-
control using the office Sinclair patible with those of the BVU type.
Spectrum accounts computer. The Tony has been experimenting with
other lathe forms part of a disc cutting from digital and the
cutting system that TAM have pio- assembly of albums by copy editing
neered-to the best of their know- and this apparently presents no
ledge-cutting from cassette. They problems with the use of the PCM-
find that there is a lot of demand for Fl auto muting feature as long as
good quality cuts from cassette. there are clean break points.
Other cutting rooms, Tony found, TAM Studio, 13a Hamilton Way,
were tending to cut at fixed pitch London N3, UK. Tel: 01- 346 0033. A Division of Sony Corporation of America
52 STUDIO SOUND, SEPTEMBER 1983
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 FDEN Studios is inconspicuously games room has darts and snooker.
tucked away in a quiet corner of There is a sun -trapping patio to relax
Chiswick, its peaceful courtyard ac- on when any sun appears.

n
cess belying the fact that daily, Eden's three directors, Piers Ford -
famous names such as Shakin' Crush, Mike Gardner and Philip
Stevens, Nick Lowe, The Jets, Dave Love have achieved success by stick-

E
Edmunds, and Phil Everly, to name ing together through thick and thin
but a few, may be doing a session for the last 15 years. They faced
there. It is one of the top indepen- many problems over the years in-
dent studios in the country, and is cluding compulsory council pur-
fully equipped with the most up-to- chase of their first studio when they
date equipment. had just about got it together, and
The studio, measuring some subsequent difficulties in finding
32 x 23 ft, is at ground level and and financing new premises. Piers
situated at the back of a spacious takes up the history of the studio.
courtyard with ample parking room. "We actually started off in Mike's
Reception and the lounge area are bedroom in Wimbledon, before we
adjacent to the studio /control room got our premises in Kingston," he
in this part of the building; offices, recalls, "and then just together to

the birth tape copying suite and workshop are

to be found tucked away in other
parts of the extensive premises.
In the studio attention is drawn
immediately to the unusual and very
write and record songs in our spare
time. At the time Mike and I were
working at the BBC, Mike then in-
troduced me to Philip who had also
written some songs, one of which

of a studio modern -looking acoustic ceiling,

made up of geometric panels cleverly
concealing the air conditioning
outlets. Each section of the angled
walls carries a large flat box from
had been recorded by Gerry and the
Pacemakers on an album. That was
pretty exciting in 1965. As Mike had
some recording equipment we decid-
ed to get together and write and
floor to ceiling, each containing record some demos. We converted
three frequencies of bass absorption. Mike's bedroom into a studio,
The discreet brown and cream col- people heard about it, and started
our scheme gives the studio a warm coming there to record their demos.
and comfortable feeling; although it At the time there were only a few
is now into its seventh year it still studios like RG Jones, Tony Pike,
feels fresh and modern. Polished Studio Republic, and a few other in-
parquet flooring at one end provides dependent studios. Demos in those
a live area on an otherwise carpeted days had to be transferred from tape
Pippa Lewis floor. to direct cut acetate disc -it was
Eye contact is maintained between long before cassettes. We got quite a
sound engineer and artists via win- good reaction to our demos -people
dows from the control room on to were impressed with the quality, and
both studio and a floating isolation thought they were done in `real'
booth, with the SSL angled at 90° to studios. We were using Reslo ribbon
the studio to reduce the 'goldfish' mics and a mixer which Mike had
effect. Instruments include a made. Groups kept coming along
Yamaha grand and a Fender there to record and we began to
Rhodes. Mics are by Neumann, think we had something to offer.
AKG, STC, Electro- Voice, Beyer, "The crunch came when Mike's
Calrec, Shure and Crown (PZM). parents very inconsiderately decided
Equipment in the control room to move to Reigate! We thought if
besides the SSL desk with Total we could get premises and convert
Recall includes Studer A800 MkII them into a studio we could hopeful-
and Ampex MM-1200 24 -track (with ly pay the rent by doing demos and
24 -24 copying, 46- track, and in the meantime would carry on
16 -track heads available); 2 -track writing songs and doing our own
Studer A -80, Dolby M24 and 361s thing. We spent the best part of a
for noise reduction and JBL 4350 year looking for premises which end-
monitors with Crown and Quad ed when we found a place in
amps. A large selection of outboard Kingston which had actually been a
equipment is provided, including Congregational Church meeting
Lexicon and EMT digital reverb and hall. It was just a room in the middle
Patio area
stereo plate; AMS digital reverb with of a very odd -shaped building which
delay line and flangers; Eventide had a supermarket downstairs, a flat
Harmonizers and flangers; ADR around one side and backed on to
Panscan; etc. ..the list goes on. the Congregational Church. It was
The tape copying suite, upstairs at about 20 x 16 ft with skylights and
the other end of the courtyard, in- really lent itself well to conversion.
cludes A80 and B67 2 -track It had another couple of rooms as
machines, Dolby 361s, cassette well, and the rent was nominal.
machines, Klark Teknik graphics "Whilst sorting out the base for
and Tannoy Super Red monitors. the studios here, we made our first
Shag pile carpeting covers one wall capital purchase -a Presto disc cut-
for sound treatment. ter with the original 78 RPM turn-
The lounge area which has been table! We had to borrow the money
doubled in size this year contains from our parents to buy it -it cost
television and video (120 cassettes), about £275. This was a good price,
and a video games machine. Kitchen which we only achieved because Phil
facilities and a shower are also and Mike, while having a private
available. The surrounding area is discussion in the studio in Bracknell
well supplied with restaurants, pubs about the cost of it, realised that the
and fast -food shops (and even a owner had switched on an intercom
genuine 'greasy spoon'!). The huge and was evesdropping -an early ex-
54 STUDIO SOUND, SEPTEMBER 1983
ample of bugging! They pretended nights off from their main jobs.
to bemoan the high price saying how Many clients from those days subse-
much we wanted it but it was just quently had big hits including Peter
too dear and we'd have to give it a Skellern and John Kongos. From
miss. Suddenly the owner came back demos it was only a short step to
in and knocked a huge chunk off! It making masters, and one of their
looked like a heap of old junk but irst was with a band called Conclu-
had all the right bits." :ion Is. It was arranged by Harr\
Piers, Mike and Phil did the con- Stoneham and got quite a few pla,
version from church hall to studio in its first week of release and then
themselves, with the aid of a lot of disappeared! "This small success
friends. Rockwool, chicken wire and kept us going, We never drew any
fibre board made up the acoustics; money out and had amassed a bit of
because of the wool dust they had to capital by the time we left Kingston.
work with polythene bags over their "We finally ended up with a
heads. Equipment at the time con- 4 -track Ampex and were charging
sisted of two Revoxes (one with sel- 17.50 an hour in 1972, which in
sync), some mics and stands, Gram- hose days was good value."
pian spring echo, and the pièce de
résistance, Mike's home -made fully On the move Studio area showing roof construction
transistorised mixer, 30- channel (16 Kingston Council had been wanting pressive. Studios like Air, Apple, stage when we had no idea how
out /24 monitoring) with rotary to develop the corner of Eden and Advision and Olympic were around much conversion was all going to
knobs. "The disc cutter was soon L: nion Street, where the studio was by then, but there still weren't a cost. All we knew was that we had
going and we got a contract with a situated, and were threatening com- lot- probably less than half the the premises and a bit of experience
publisher to produce acetates for his pulsory purchase. Ultimately, not number there are now. There were of running the business.
overseas companies, a good bread being able to find suitable alter- very few independents, run as we "It was now time to plan the new
and butter line," recalls Piers. native premises in the time allocated, were, by a small team. In the end we studio. We visited all the acoustic ex-
It soon became clear that they the compulsory purchase came to a decided to carry on. We looked over perts then practising and of all those
were actually in business, and their compensation claim. It was for- the whole of West London; we Ken Shearer was the one we felt we
clients expected a service. "Things tunate that Philip had produced wanted to be closer to the West End could work with. One or two of
escalated very quickly," says Piers, some tracks which they decided to than Kingston. Some of the places them were rather offhand, perhaps
"and the continual effort to improve take a chance on by going to Midem; we rejected have since become sensing a cost-conscious approach
the studio took up more time than tie chance proved a lucky break for studios, and one hears of problems rather than the blank cheque method
songwriting. To finance it we bor- them, because a small American they are having that we foresaw, of acoustic treatment where sound is
rowed a few hundred pounds from record company was really impress- trouble with neighbours, structure - absorbed by empty bank accounts.
parents, who also acted as guaran- ed, and paid a substantial advance borne noise, and so on." "Ken visited the site with
tors, and spent most of the money for an album to be produced. The Mike found their present architects Graham Anthony and
on the second Revox. Philip had contract signed with him was duly premises. They consisted of a yard Peter Wadley and drew up a scheme.
done some accountancy training so presented to Kingston Council; it and a big building at the back of the At first we treated this as a sketch
had a good idea about figures and was pointed out that they couldn't yard which had once been a laundry, plan to form a basis for discussion,
book-keeping and went to see his fulfil the contract without a studio. but was then being used for making then after asking various silly ques-
own bank manager in Wimbledon, Kingston Council accepted this, and big fuel tanks. "It was in a terrible tions we realised just how Ken had
with reasonable cashflow figures. I after long negotiations Eden got mess; the roof was in a state, drains carefully balanced all our re-
think he was impressed that we were substantial compensation agreed. were blocked up and the yard was quirements and selected the exact
being realistic and that we weren't After that they had to decide occupied by an enormous oil tank. It dimensions to create manageable
thinking in terms of making a for- tether to pack up altogether and really had zero going for it, but the acoustics. The final building plan
tune overnight but talking about a ge: on with their own careers or do area for the studio was big without was sent to a quantity surveyor. His
small business dealing in small sums the thing properly. pillars or RSJ's holding the roof up. estimates came back at exactly twice
of money that would pay its "By this time a 16 -track studio Mike convinced us that if we used what we thought we could afford.
way-he gave us an overdraft of was the norm," recalls Piers. "I ac- our imagination we could begin to We talked to the architect again and
1400." tually went to Companies House and see possibilities. We did. The some builders decided that with a
The studio gradually built up went through studios' accounts to premium for the lease exactly used few changes we could get pretty near
steady business. Mike, Phil and see if any of them were making any up all our savings from the previous our figure. Now, whenever anybody
Piers were there on their days and money. The figures seemed im- six years. We put this down at a tells me they're planning a
SSL in control room studio -and I know three people
who have built major studios -I
warn them its going to cost twice
what they think and take twice as
long. It was an ongoing nightmare
and occasionally a farce.
"The date for leaving Kingston
arrived. Mike was quite well on with
building a new desk, which was ex-
actly sized to fit into the old control
room at Kingston. The problem fac-
ing us now was how would we get it
out of the roof space where it was
being built at Kingston? The legs
had to be removable, which meant
lots of extra wiring and plugs. We
managed it in the end with the aid of
specialist removers and it was moved
to a portable hut in the yard at the
new premises for Mike to carry on
working on it. He and a friend of
ours, Chris Glass, put a fantastic
amount of work into it -what
started off as a 4 -track desk,
gradually expanded to a 16- track.
They worked away during the 3 -day
week with cardboard over the win-
56 01.

55
 right questions, looked at the books, if they are equal they assume that the had been. Equipment consisted of

Eden the premises, were very friendly and

things never looked back. Why can't
more bankers take this approach ?"
The merchant bank bought a
room is built square. When we ex-
plained the geometrical flaw in this
thinking the builders were amazed;
they had never heard of a rhombus.
Mike's 28/16 desk, 16 -track
Ampex, 2 -track Leevers -Rich,
Dolbys and an EMT reverb
plate -not much else. In those days
down on our `off' days so no-one quarter share in the company and Unfortunately we couldn't afford a there wasn't much outboard gear
would know we were using. elec- made available a sizable loan, which site foreman to co- ordinate all the around. We did get a steady flow of
tricity -two soldering irons! Eden's own bank matched. trades and supervise the fine detail. bookings from the start, but no big
"Finance was a problem "A major factor in getting the "The main advantages of the names. Most of our clients were in-
again -but it was to be nine months money was the fact that we could premises at Beaumont Road was dependent producers and fairly
after moving to these premises show five years of business ex- that we had sufficient clear space to small production companies
before compensation with Kingston perience, albeit handling small sums, build studio, control room and although we did some work for ma-
Council was finally settled. This was but the books balanced, the business separation booth inside the existing jor record companies. Out of the
in 1973, the time of the first oil crisis had developed and we'd made a pro- structure without having to incor- blue one day we got a booking from
and the 3 -day week -a bad time for fit. As well as this we had sensible porate any of the old building. This the Bay City Rollers -the street was
anybody setting up a new business. cashflow projections for the future. has been a problem with a lot of con- full of screaming girls and we felt the
We had found a backer who was in- By the time we finished our written versions where existing floors or millenium had arrived. It helped a
terested in putting money into the presentation even we were impressed! roofs have had to be used. We are lot, our name was on a good -selling
business; and just as we were about "Ken Shearer's work provided the also lucky in that we have no adjoin- album. We went along for quite a
to set off again for Midem, with basis for everything-with duff ing walls with any private premises few years after that doing very good
artist's impressions in hand, and acoustics you're beaten from the and that it was a single storey business, fully booked, paying off
builders on site, we heard that his start," says Piers. "We are eternally building so we have never had any debts without producing any
money had been frozen in a `fringe' grateful to him. It was before the problems with neighbours and monster hits.
bank! We were out on a limb again, days of Eastlake and off-the -peg structure-borne noise. "Our first successful record was
but decided to go to Midem anyway finishes; the architects designed the "As time went on sure enough by Brotherhood of Man which was a
and phone the architects from there acoustic wall units- `Stonehenge' costs kept rising. Finally, when the big hit in Europe. We also did an
to explain the situation! We asked blocks which contain several reso- estimates came in for fitting the album with Graham Parker and The
them to complete the work they had nant absorbers in each one, to acoustic treatment and finishes for Rumour called Howling Wind which
started with the few thousand we satisfy Ken's acoustic specification. the control room and studio it was well received in the States.
had, without going any further." The ceiling is unique-like an in- brought the final cost very neatly up Another good early contact was
It was quite a few months before verted geometric landscape. It is so to the figure originally quoted by the Dave Robinson of Stiff Records
they did have the money to pay unusual that a photo of the studio quantity surveyor. Of all the trades which led eventually to us doing lots
anybody. "I think that the fact that was printed in Music Week upside- and professions that we used in the of work for Stiff and also people like
we were honest from the start went down! building the only one I was left Elvis Costello, Nick Lowe, Dave
in our favour," Piers reflects. "Anybody planning to have a with any respect for was quantity Edmunds. They were very loyal over
"People were very fair and gave us studio built for them should beware. surveying." many years and made lots of suc-
credit. After Midem I spent any It is specialised work and very few The studio was finally completed cessful records here. This put us on
time, when not working at the BBC, builders have any experience of in 1975, and by that time Mike and the map and from then on we had
going through Yellow Pages phon- acoustics. Only by being on site at 8 Philip were working there full -time. more work than we could always fit
ing financial institutions. We o'clock one morning did I manage to Piers joined them after the first year. in. We were offered a lot of big
discovered that our mistake was in stop the builders putting wooden They went again to Midem now with name acts that we would like to have
wanting to borrow only about bracing struts between the two photos instead of artist's impres- done but couldn't because we were
£20,000. If we'd wanted £20,000,000 frames of the window between the sions. In those days a new studio was fully booked."
they would have been interested! control room and studio! Obviously a novelty and they got a lot of in-
"One day I called a merchant these have to be isolated to stop terest. "Studios were lacking in at- Re- equipping
bank, asked for their Investment sound transmission. Minutes later mosphere then, they were rather In 1980, everything still going well,
Department and went into my stan- they would have been covered up stuffy and utilitarian. Nobody Eden decided to revamp their studio,
dard spiel for about the 50th time, with Rockwool and for years we thought of the artists having to work starting with the multitrack. Choos-
but the reaction was different. 'How would have been wondering why we in there. We built ours with artists in ing the Studer A800 Mk II was fairly
old are the directors ?' was the first had such poor separation between mind -if they liked coming here easy but deciding on a console prov-
question. `Around 28,' I replied. the studio and control room! We they would come back again. We ed more difficult.
'Well, that's the right age -we'll also discovered that it is traditional remembered how people had liked "It was almost as agonising as
come and see you.' Two energetic practice in the building trade to the atmosphere at the demo studio finding new premises," says Piers,
young guys turned up, asked all the measure the diagonals of a room and and we realised how important it "we had to think of the impact it
Workshop would have on our clients, many of
whom loved the old desk and didn't
want to change. Our opinion was
that we could have got many more
years use out of it, but we are in a
competitive business; other studios
were replacing equipment and it was
obvious that it was going to become
harder to get good business. We
looked at a great number of desks.
We were very spoilt because Mike's
desk had features on it in terms of
echo routing and cuts that you
couldn't get on current boards. We
didn't want to spend a lot of money
and have fewer facilities. We had
built uli an excellent reputation and
couldn't let that go downhill.
"In the end we went for Solid
State Logic, nearly the most expen-
sive. We had rejected it originally as
too expensive and gimmicky but
after looking round the market and
having a play with it we changed our
minds. We did our sums and decided
tha if we were going to keep an edge
in a declining business we would
58
56 STUDIO SOUND, SEPTEMBER 1983
 Solid State Logic at BBC Maida Vale 4, London

Technology is no substitute for human experience. The complex demands of broadcast audio
require resourceful technique and specialised skills which take years to acquire. Engineers of this
achievement need and deserve the most advanced, reliable tools available to support their artistry.
Which is one of the reasons that major broadcasters and post-production houses specify Solid State
Logic.
The SSL 4000E Series Master Studio System and the new SSL 6000E Series Stereo Video System
are products of experience. Innovative human engineering provides easy use of the most com-
prehensive software and hardware control systems ever offered to the audio industry. Unique
capabilities such as Total Recall capture inspiration and eliminate drudgery, while the SSL Real
Time System and Events Controller bring practical computer assistance to live broadcast, elec-
tronic dubbing and video post -production.
Write or call for complete details on Solid State Logic -The choice of experience.

Solid State Logic Ltd. Solid State Logic Inc.

Churchfields, Stonesfield
Oxford, England OX7 2P0
Telephone (099 389) 8282
1 Solid State Logic 2633 Fifteenth Street N.W.
Washington, D.C. 20009 USA
Telephone (202) 333-1500
Telex 440519 SSL DC
Telex 837400 SSL OX
(Stonesfield Oxford England
 reset. Another great attraction is There's nothing like re- recording or popular press recently -possibly it

Eden that when people want to remix they endless remixing to kill the magic of
can go back and reset the desk in a record. We do good business
40 min to exactly as they left it in putting a sparkle back into
have to get the desk that in our every way. You can make small ad- economically- recorded multitracks.
was misquoted-that the music
business was 'full of people trying to
rip artists off,' and listing among
these management, record com-
estimation gave us the best facilities justments and remix in a few hours We do all our mixes at 30 in /s on panies and studios. This is unfor-
and was the best desk on the market. rather than a whole day. SSL desks % in tape. I don't think, sound tunate because studios must be the
We had to be prepared for customer are going into lots of studios now quality is the main ingredient of a least 'ripping-off' element in the
resistance; maybe they wouldn't pay and we're proud to have been the successful record but a well run, well whole of the music business. All we
extra money because they didn't first independent commercial studio equipped studio can make a 'major can do is charge a sensible rate to get
want the extra facilities; maybe they to install one. contribution' as they say. a reasonable return on what is an
would feel some magic would be lost "Studios can never feel compla- "It is quite interesting to note how enormous investment in capital and
because of the old board. In the end cent about equipment. In the end recording has changed in the years hope that people like us enough to
we needn't have worried-they fell only the best will do and it's usually since we started. When we started we keep coming back. You can't rip
in love with it. People always ask if the most expensive. We're always were doing 30 -piece orchestras with people off by providing the best ser-
we have had any problems with the looking at new outboard gear, mics strings and brass quite regularly for vice. You can't put pressure on
desk, but they have been tiny (the and speakers. We've auditioned dif- some companies; most records had a them. If they don't want to pay for
faults I mean!). Obviously anything ferent monitors four times in the last big string section, or brass, and we what you are offering they won't
of such complexity has to have its year -it takes a full day and a lot of did lots of those line -ups. It was come. Our own rate reasonably
shakedown period which fortunately lifting -and in the end we still prefer great experience for everybody. Also reflects the cost of gear we have here
in our case was limited to a number our JBL 4350s. Last year we built everybody wanted a great degree of and the fact that people will get
of ICs going down over the first some massive concrete plinths for separation in those days. There was something good for their money.
month. Since then it has been the control room monitors which a great cult for building drum After all it is not just providing the
wonderfully reliable. Any faults that has given us tighter bass reproduc- booths and screening everybody off, studio and the equipment, people
may occur are usually such that they tion. Also we put parquet floors solo artist playing the piano and need to be looked after while they
don't affect the session and can be down in a third of the studio, singing which created separation are in the studio, everything from
covered by redundancy within the something we wouldn't have needed problems; gradually that has all hiring musical instruments to taking
desk. in the 'high- separation' days. changed -we've only done one str- phone messages or even occasionally
"Because of studio commitments "New equipment has to be judged ing session in the last 15 months. doing some shopping for them when
we only had a week for installation. closely for cost effectiveness. Some There is still some brass work being they're stuck in the studio for days
The desk was delivered on a Monday outboard gear really doesn't earn its done. Sessions have got smaller and on end.
and the first session was on the keep and its appeal may be short - have even gone away from loud "It is unfortunate at the moment
following Saturday, which wasn't a lived but clients expect to see current guitars-the staple sound of pop for that there is so little upward move-
desirable state of affairs, but people items in the racks. This is another 25 years -although we have done a ment for young people coming into
were desperate for time and it did reason for charging sensible studio lot of rock'n'roll -type records. The the business. I know from the enor-
cause a bit of nail- biting and some rates. Studios that try to keep a low unfortunate thing for engineers is mous numbers of letters we get that
irritating minor faults; but SSL real- rate find they're caught in a 'poverty that we started off with big sessions it is an area which holds a fascina-
ly backed us up with cars racing to trap' of not attracting good business and lots of natural instruments; tion for people but there is so little
and from Stonesfield- they're very and not making enough profit to gradually this has gone down to movement now it doesn't present
nice people to deal with it. It has move up the market. It's a delicate drums and bass and most overdubs great career prospects. There is a
definitely been worth it for us. balance. The fact that we buy the come from synthesisers and danger that somebody with only
"The Total Recall facility has best equipment is all part and parcel keyboards. People get very little ex- average ability may find his career
been an absolute boon to us because of how we see ourselves in relation perience of miking up natural in- has become static, although he's
we only have one studio. You can do to the music business. Record sales struments and using their ears about only in his early 20s. Unfortunately
a lot of back -to -back recording of are down and record companies mic placing in the way that we had to until you do the job you can't know
ongoing projects and it gives people want value for money; if they are go- do only seven years ago. We had to if you really have a gift for making
total confidence that they can come ing into new projects they want to think and plan out how to lay out records. You have to take advantage
back to the board as they left it. This find the best they can. I hope the studio. Miking up a drum kit is of any chance to work your way up
would not happen if the tape op just everybody will recognise that you about the last practice of the art. from assistant to engineer, and from
produced pieces of paper or a can only get consistently good When rockabilly came in engineers engineer to producer or into studio
polaroid photograph. We've had results from producers and artists in were phoning each other asking how management. It is a crowded profes-
sessions running for a week with one a studio with the best and most pro- to mic a double bass. sion but hopefully talent will out. So
in the daytime and another one at fessional acoustics and equipment. "I was disappointed to hear a very few people have that perfect
night; every evening the desk was Otherwise you are taking a chance. quote made by a girl singer in the combination of electronic
Another view in the control room towards studio area understanding, musical ability and
personality.
"The luckiest thing of all is that
the three of us have been able to get
on with each other and stick together
for 15 years. Being a small team has
made it easy to take decisions
although we each have a different
approach to any problem, but know-
ing each other so well we find it
possible to sit down and hammer out
a decision. Usually if we agree about
it, it will be the right decision. It is
rather like a marriage. We have also
been very fortunate with the people
we have had working with us over
the years. Roger Bechirian started
here as an assistant and is now a suc-
cessful freelance producer. Neill
King and Philip Vinall are our
engineers and Irene Kelly assists.
Freelance producer and engineer
Rod Houison also does a lot of work
for us. Sue Brookes looks after the
office and bookings.".
The road to lasting success is not a
straight one but Eden seem to have
travelled it without succumbing to
the setbacks.
58 STUDIO SOUND, SEPTEMBER 1983
The best gets better!
Inn
successor to the much acclaimed LINN LMl
The playable drum computer featuring:
* Real drum sounds of studio mastering quality stored digitally.
* Crash and ride cymbals, bass, snare, sidestick snare, open and
closed hi hat, cabasa, tambourine, 3 toms, 2 congas. cowbell
and hand claps.
* 49 rhythm patterns - all programmable in real time with
adjusiablE error correction.
* Stereo mixer with volume and pan sliders, plus separate outputs.
* Dynamics, song structure. time signature and human rhythm
feel' are an programmable.
* Drums tunable by front panel controls or control voltage inputs.
Drums may be externally triggered by drum synthesiser pads or
any audio source.
Will sync to tape/sequencerslsynthesisen.
ed to cat..
lowrammed data Is retained-with
.3

Linn Electronics Inc.

Distributed by:

Scenic Sounds Equipment Limited

97 -99 Dean Street, London WI V 5RA Telephone: 01- 734 2812/3/4/5 Telex: 27 939 SCENIC G
 product reference
Multitrack AMEK (UK)
Amek Systems and Controls Ltd, Islington Mill,
BEL (UK)
UK: 29, Guildford Street, Luton, Beds LU1 2NQ.
mixing consoles James Street, Salford M3 5HW. Tel: 061 8346747.
Telex: 668127.
Tel: 0582 452495. Telex: 825488.
UK: Scenic Sounds Equipment Ltd, 97 -99 Dean Multitrack modular console.
ACES (UK) Street, London W1V 5RA. Tel: 01 -734 2812. Telex:
AC Electronic Services, Broadoak, Albrighton, Nr 27939. BIAMP (USA)
Shrewsbury, Shropshire SY4 3AG. Tel: 0939 USA: Amek Consoles Inc, 11540 Ventura Boulevard, Biamp Systems Inc, 9600 SW Barnes Road, Port-
290574. Telex: 337492. Studio City, CA 91604. Tel: (215) 508-9788. land, OR 97225. Tel: (503) 297-1555.
USA: ACES (USA), 244 Lyell Avenue, Rochester,
NY. Tel: (716) 458-5610. Multitrack consoles.
Wide range of consoles from portable to multi-
Range of consoles for up to 24 track use. track including post production versions. CADAC (UK)
Clive Green & Co Ltd, Britannia House, Leagreave
ADM (USA) APSI (USA) Road, Luton, Bedfordshire LU3 1RJ. Tel: 0582
ADM Technology Inc, 16005 Sturgeon, Roseville, Audio Processing Systems Inc, 40 Lansdowne 411513. Telex: 826138.
MI 48066. Tel: (313) 778-8400. Telex: 231114. Street, Cambridge, MA 02139. Tel: (617) 354-1144.
Custom built in-line multitrack consoles.
Broadcast orientated multitrack consoles. Multitrack consoles.
CALREC (UK)
ALICE (UK) AUDIOARTS (USA) Calrec Audio Ltd, Hangingroyd Lane, Hebden
Stancoil Ltd, Alexandra Road, Windsor, Berks. Tel: Audioarts Engineering, 286 Downs Road, Bethany, Bridge, Yorkshire HX7 7DD. Tel: 0422 842159.
07535 51056. Telex: 849323. CT 06525. Tel: (203) 393-0887. Telex: 51311.
USA: Audio & Design Recording Inc, PO Box 786,
Wide range of consoles from portable to multi- Modular consoles of up to 32 channel capacity. Bremerton, WA 98310. Tel: (206) 275 -5009. Telex:
track. Also custom design. 152426.
AUDIO DEVELOPMENTS (UK)
ALLEN & HEATH (UK) Audio Developments, Hall Lane, Walsall Wood, Broadcast orientated consoles with multitrack
Allen & Heath Brenell Ltd, 69 Ship Street, Brighton Walsall, West Midlands WS9 9AU. Tel: 0543 applications.
BN1 1AE, UK. Tel: 0273 24928. Telex: 878235. 375351. Telex: 338212.
USA: Allen & Heath Brenell (USA) Ltd, Five USA: Audio Developments, 1640 Fifth Street, Suite CHILTON (UK)
Connair Road, Orange, CT 06477. Tel: (203) 224, Santa Monica, CA 90401. Magnetic Tapes Ltd, Chilton Works, Garden Road,
795 -3594. Telex: 643307. Richmond, Surrey TW9 4NS. Tel: 01-876 7957.
Mini mixer with four outputs. Telex: 912881.
Wide range of consoles from portable to multi- Canada: Radio Service Inc, 2500 Bates Road,
track. AUDIO HELP (France) Montreal H3S 1A6.
Audio Help, 5 Rue de Solferina, F- 92100, Boulogne,
ALLINGTON (UK) Tel: (1) 609.03.11. Smaller multitrack consoles.
Allington Audio Developments, 14 Lenton Blvd, Multitrack modular console. D & R (Netherlands)
Nottingham, Notts. Tel: 0602 44943. D & R Electronica BV, Chassestraat 26, 1057 JE
Modular multitrack consoles.
AUDITRONICS (USA) Amsterdam. Tel: (020) 183556.
Auditronics Inc, 3750 Old Getwell Road, Memphis, UK: DSN Marketing Ltd, Westmorland Road,
TN 38118. Tel: (901) 362-1350. Telex: 533356. London NW9 9RJ. Tel: 01 -204 7246. Telex: 8954243.
ALTEC (USA)
Altec Corp, 1515 South Manchester Avenue, Ranges of multitrack consoles. Wide range of small and large multitrack
Anaheim, CA 92803. Tel: (714) 774-2900. Telex consoles.
655415. AUDIX (UK)
UK: Rank Strand Sound, PO Box 51, Great West Audix Ltd, Station Road, Wenden, Saffron Walden, DDA (UK)
Road, Brentford, Middlesex TW8 9HR. Tel: 01 -568 Essex CB11 4LG. Tel: 0799 40888. Telex: 817444. DDA Ltd, Unit 7B, Worton Hall Trading Estate,
9222. Telex: 27976. Worton Road, Isleworth, Middlesex TW7 6ER. Tel:
Broadcast orientated console with multitrack 01-847 0363.
Small multitrack consoles. capability. North America: Hein! Electronics Inc, 16 Mary

Allen & Heath Syncon B

60 STUDIO SOUND, SEPTEMBER 1983

 Street, Unit 1, Aurora, Ontario, Canada L4G 3W8.
Tel: (416) 727 -1951.

Compact multitrack consoles.

DYNACORD (West Germany)
Dynacord Electronic GmbH, Sienmensstrasse
41.43, D8440 Strubing. Tel 09421 3101.
USA: Dynacord Electronics, PO Box 26038, Phila-
delphia, PA 19128. Tel: (215) 482-4992.
00101111101011101111
Small multitrack consoles. 110111111111.1110t;f>N
M 11000:
EELA AUDIO (Netherlands)
Pieter Bollen Geluidstechniek BV, Hondsruglaan
83a, NL -5628 DB, Eindhoven. Tel: 040 424455.
Telex: 59281.
UK: Audio & Design Marketing, North Street,
Reading, Berks, RG1 4DA. Tel: 0734 53411. Telex:
\\\ \
,,.\\.\,
111RI>rfi1111Ililti

848722.
USA: Audio & Design Recording Inc, PC Box 786,
Bremerton, WA 98310. Tel: (206) 275-5009. Telex:
152426.
Range of multitrack consoles for range of appli-
cations.
ELEKTROIMPEXIBEAG (Hungary)
Electroimpex, PO Box 296. H -1392 Budapest.
Telex: 225771.
Multitrack console.
ENERTEC (France)
Enertec SA, 1 Rue Nieuport, 78140 Velizy-
Villacoublay, France. Tel: 946.96.50. Telex: 697430.
Wide range of modules for assembly into multi-
track consoles and standard small unit >.
FAIRCHILD (USA)
Fairchild Sound Equipment Corp, 75 Austin Blvd,
Commack, Long Island, NY 11725. Tel: (516)
543.5200.

Small portable multitrack consoles. 62

The sensitive performer

This new 30 -band, ,/3 octave Experience the DN300's
ec _laliser gives truly creative sensitivity in performance, ana
fingertip control of system and you I see why so many top
PE:'formance. tnu- clans and sound engineers
The totally new design choose Klark- Teknik. The Klark -Teknik promise
concept of the DN300 uses
ac'anced solid state technology to
Specification includes: -a bigger investment in
the future with:
Frelueney response ± 0.5dB
acid lasting stability to responsive 20HI -20kHz 1. Greater R&D investment,
equalisation. It features tunable Equ jralent input noise <- 90 IBm with 12% of all company
high and low cut filters, standard Distortion <0.01% THD @ 'kHz personnel directly involved in
electronic input balancing, and Filtetrs MELT" new product development.
LED overload indication. The
ur -que Klark- Teknik automatic The reliability of %IELT microelectranic 2. Consistent attention to
filtcr3 gains a 5-year solid-state parts production economies for
falsafe bypass gives exceptionally
high 'system performance
security.
n arr.Jnty for all Series 300 equalisers professional performance at
'breakthrough' prices.
KLM 1'EKIPK
3. Effective 'Reliability Control'
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i
Fo- full colour 'Series 300 Equalisers broch.u-e contact: British designed, Itritinh mach.

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t e 31 40 50 53 60 100 135 160 3G 360 315 400 500 630 600 6K M36 1602K 3K6 3616 3. ,K 663 66 104 Ix., 106 306

Ma-iufactured by Klark -Teknik Research Limited Klark-Teknik Electronics Inc. Distributed in the UK by Autograph Sales Limited
Coppice Trading Estate, Kidderminster 131,11 i HJ, 262a Eastern Parkway, Farmingdale, Stable 11, British Rail Camden Depot, Chalk Farm Road,
England. Telephone: (05621 741515 Telex: 339821 NY 11735, USA. Telephone: (516) 249.3660 London NW 1 BAH. Telephone: 01 -267 6677
 product reference
Multitrack
mixing consoles
FORMULA SOUND (UK)
Formula Sound Ltd, 3 Waterloo Road, Stockport,
Cheshire. Tel: 061 4803781.
Custom built multitrack consoles.
FOSTEX (Japan)
USA: Fostex Corporation of America, 15431
Blackburn Avenue, Norwalk, CA 90650. Tel: (213)
921 -1112.
UK: Bandive Ltd, Brent View Road, London NW9
7EL. Tel: 01-202 4366.
Compact multitrack mixer.
HARRISON (USA)
Harrison Systems Inc, PO Box 22964, Nashville,
TN 37202. Tel: (615) 834.1184. Telex: 555133.
UK: FWO Bauch Ltd, 49 Theobald Street, Boreham
Wood, Herts WD6 4RZ. Tel: 01.953 0091. Telex:
27502.
Wide range of multitrack consoles for recording
and VPP use.

HELIOS CUSTOM AUDIO (UK) Box 388, Sun Valley, ID 83353. Tel: (801) 377-9044. M -JAY (UK)
Richard Swettenham Associates, 53 Westbury UK: Feldon Audio Ltd, 126 Great Portland Street, M -JayElectronics Ltd, Albion Mills, Church Street,
Avenue, London N22 6BS. Tel: 01-448 2582. London W1N 5PH. Tel: 01 -580 4314. Telex: 28668. Morley, Leeds LS27 8LY. Tel: 0532 524956.
USA: Helios Custom Audio, 13266 Beaver Sylmar,
CA 91342. Tel: (213) 362 -2328. Range of modules for assembly into multitrack Range of multitrack consoles.
consoles.
Custom designed multitrack consoles.
NEOTEK (USA)
HILL (UK) KAJAANI (Finland) Neotek, PO Box 11127, Chicago, IL 60611. Tel:
Kajaani OY Electronics, Nuaskatu 11, SF -87400 (312) 929-6699.
Hill Audio Ltd, Hollingbourne House, Holling- Kajaani. Tel: (86) 37.311. Telex: 33148.
bourne, Kent. Tel: 062780 555.
USA: Hill Audio Inc, 231 Marquis Court, Lilburn, Several ranges of multitrack consoles.
Small and large in-line multitrack consoles.
GA 30247. Tel: (404) 923-3193. Telex: 293827.
NEPTUNE (USA)
MCI /SONY (USA) Neptune Electronics Inc, 934 NE 25th Avenue,
Range of multitrack consoles. MCI (a Division of Sony Corp of America), 1400 W Portland, OR 97232. Tel (503) 232-4445.
Commercial Blvd, Fort Lauderdale, FL 33309. Tel: UK: Court Acoustics (Sales) Ltd, 10 -16 Mercer
ITAM (UK) (305) 491-0825. Telex: 514362. Street, London WC2. Tel: 01 -240 3648.
Industrial Tape Applications, 1-7 Harewood UK: Sony Broadcast Ltd, City Wall House, Basing
Avenue, Marylebone Road, London NW1 6LE. Tel: View, Basingstoke, Hants RG21 2LA. Tel: 0256 Small multitrack console.
01-724 2497. Telex: 21879. 55011. Telex: 858424.
NEUMANN (West Germany)
Multitrack console. Several ranges of multitrack consoles. Georg Neumann GmbH, Charlottenstrasse 3,
D -1000,Berlin 61. Tel: 030 251.4091. Telex: 184595.
INTERFACE (USA) MIDAS (UK) UK: FWO Bauch Ltd, 49 Theobald Street, Boreham
Interface Electronics Inc, 3810 Westheimer, Midas Audio Systems Ltd, 54-56 Stanhope Street, Wood, Herts WD6 4RZ. Tel: 01 -953 0091. Telex
Houston, TX 77026. Tel: (713) 626-1190. London NW1 3EX. Tel: 01-388 7060. 27502.
Canada: Gerr Electro- Acoustics Ltd, 363 Adelaide USA: Gotham Audio Corp, 741 Washington Street,
Range of multitrack consoles. Street East, Toronto, Ontario M5A 1N3. Tel: (416) New York, NY 10014. Tel: (212) 741-7411. Telex:
868 -0528. Telex: 06524385. 129269.
INTERNATIONAL CONSOLES (USA)
Sun Valley Audio /International Consoles Corp, PO Expandable multifunction consoles. 64

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62 STUDIO SOUND, SEPTEMBER 1983

 THE WORLD'S FIRST AND ONLY
AUTOMATIC MICROPHONE SYSTEM-
FROM SHURE.

(Actual size)

Whenever someone At the heart of the AMS are angle - and it compensates. Quickly.
- something to say in sensitive microphones. Speak into any Quietly. Automatically.
ublic, it's often the micro - one of them within its own 120` The rear panel of every
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r creaks their speech. change the surrounding audio conditions terminals that not only give
Clicks. Pops. Crackles. unprecedented flexibility
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Which is why we'd like
IT'S the usual adjustments and
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As a result no other unit
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rrore' ,: MW , 3 -5 Eden 2717 any
 product reference
QUAD/EIGHT (USA) USA: Listec Television Equipment Corp, 30 Cain
Multitrack QuadlEight Electronics, 11929 Vose Street, North
Hollywood, CA 91605. Tel: (213) 764-1516. Telex:
Drive, Plainview, NY 11803. Tel: (516) 694 -8963.
Telex: 640470.
mixing consoles 662446.
Consoles for small multitrack use.
Range of modules for assembly into range of Range of multitrack recording consoles and series
multitrack consoles. of modules for assembly into a variety of formats. SAIT (Belgium)
Sait Electronics SA, 66 Chaussee de Ruisbroek,
NEVE (UK) QUANTUM (USA) B -1190 Bruxelles. Tel: 02- 376.20.30. Telex: 61130.
Neve Electronics International Ltd, Cambridge Quantum Audio Labs Inc, 1909 Riverside Drive, UK: Sait Electronics UK, Wireless House, 31 River
House, Melbourn, Royston SG8 6AU. Tel: 0763 Glendale, CA 91201. Tel: (213) 841 -0970. Road, Barking, Essex IG11 OBX. Tel: 01-594 5642.
60776. Telex: 81381. Telex: 897576.
USA: Rupert Neve Inc, Berkshire Industrial Park, Range of compact multitrack consoles. USA: Sait Inc, 33 Rector Street, New York, NY
Bethel, CT 06801. Tel: (203) 744-6230. Telex: 10006. Tel: (212) 422-6690. Telex: 222411.
969638. RAC (UK)
Rugby Automation Consultants, 220 Alwyn Road, Wide range of consoles and custom design.
Wide range of multitrack consoles. Rugby, Warwicks CB22 7RA. Tel: 0788 810367.
SAJE (France)
PARTRIDGE (UK) Custom manufacture of small consoles. SAJE, 3 rue verte, 95100 Argenteuil. Tel: 961.15.62.
Partridge Electronics Ltd, 56 Fleet Road, Bentleet,
Essex SS7 5JN. RAINDIRK (UK) A wide range ofmultitrack consoles with recording
Raindirk Ltd, 33A Bridge Street, Downham Market, broadcasting and PA applications.
Range of small multitrack mixers. Norfolk. Tel: 03663 82165. Telex: 817737.
PLUS 30 (France) SECK (UK)
Wide range of consoles for recording, video post Bandive Ltd, Brent View Road, London NW9 7EL.
Plus 30, 37 Rue des Annelets, F- 75019, Paris. Tel: production and film work. Also custom design. Tel: 01-202 4366.
(1) 202.21.02.
REBIS (UK) Range of compact multitrack consoles.
Multitrack console system. Rebis Audio, Kinver Street, Stourbridge, West
Midlands DY8 6A. Tel: 0384 71865. SIEMENS (West Germany)
PROGRESSIVE (UK) Siemens AG, D -7500 Karsruhe 21. Tel: 0721
Progressive Electronic Products Ltd, 83 Leonard Custom design and standard models. 595.2428. Telex: 782851.
Street, London EC2A 4RB. Tel: 01-729 5411. UK: Siemens Ltd, Siemens House, Windmill Road,
REDDINGTON (UK) Sunbury -on- Thames, Middlesex TW16 7HS. Tel:
Range of modules for assembly into multitrack Reddington Electronics, Reddings, Kirkby on 09327 85691. Telex: 8951091.
consoles as well as small multitrack assembled Bain, Woodhall Spa, Lincs. Tel: 0526 52950.
units. Wide range of modular multitrack consoles.
Custom multitrack console design.
PROTECH (USA) SOLID STATE LOGIC (UK)
ProTech Audio Corp, Flowerfield Building 1, St RSD (UK) Solid State Logic Ltd, Stonesfield, Oxford. Tel:
James, NY 11780. Tel: (516) 584-5855. Recording Studio Design, Faircharm Trading 099389 8282. Telex: 837400.
Estate, Chaul End Lane, Leag, Luton, Beds. Tel: USA. Musicworks International 2352 Wisconsin
Range of modules for assembly into multitrack 0525 570621. Telex: 825612. Avenue NW, Washington, DC 20007. Tel: (202)
consoles. USA: Studiomaster Inc, 1365C Dynamics, 342-1501. Telex: 23440519.
Anaheim, CA 92806. Tel: (714) 528-4930. Telex:
PYE (UK) 678407. Large multitrack audio and VAPP consoles.
Pye TVT Ltd, PO Box 41, Coldhams Lane,
Cambridge CB1 3JU. Tel: 0223 245115. Telex: Small multitrack consoles.
81103. SOLIDYNE (Argentina)
USA: Central Dynamics Corp, 331 W Northwest RSD (Canada) Solidyne Srl, Tres de Febrero 3254, 1429 Buenos
Highway, Palatine, IL 60067. Tel: (312) 991-4720. Richmond Sound Design Ltd, 1234 W 6th Avenue, Aires, Tel: 701-8622.
Vancouver, British Columbia V6H 1A5. Tel: (604) USA: Intectra, 2349 Charlston Road, Mountain
Portable console. 734-1217. Telex: 0454667. View, CA 94043. Tel: (415) 967-8818. Telex: 345545.

Rebas Omega

64 STUDIO SOUND, SEPTEMBER

 Range of multitrack consoles.

SONETEC (France)
Sonetec, 21 Avenue do Fort, F -92120 Montrouge.
Tel: 654.07.07. Telex: 202347.

Range of modular multitrack consoles.

SONIFEX (UK)
Sonifex Sound Equipment, 15 College Street,
lrthlingborough, Wellingborough, Northants NN9
5TU. Tel: 0933 650700.

Small multitrack console.

SONOSAX (Switzerland)
Sanosax, Route d'Yverdon 27, CH -1028 Prever-
engeslLausanne. Tel: 021. 71 13 13.
Compact multitrack console system.
SOUNDCRAFT (UK)
Soundcraft Electronics Ltd, 5 Great Sutton Street,
London EC1V OBX. Tel: 01.251 3831. Telex: 21198.
USA: Soundcraft Electronics USA, 1517 20th
Street, Santa Monica, CA 90404. Tel: (213)
453 -4591. Telex: 664923.

Range of multitrack consoles for audio and VAPP.

SOUNDTRACS (UK)
Soundout Laboratories Ltd, 91 Ewell Road,
Surbiton, Surrey KT6 6AH. Tel: 01399 3392. Telex:
8951073.
USA: Soundtracs Inc, 262a Eastern Parkway, SPECTRA SONICS (USA) Herts, WD1 4DQ. Tel 0923 34050. Telex: 025859.
Farmingdale, NY 11735. Tel: (516) 249 -3669. Spectra Sonics, 770 Wall Avenue, Ogden, UT Range of compact multitrack consoles.
844041. Tel: (801) 392-7531.
Compact multitrack consoles. UK: (modules and components) Sun Recording STRAND SOUND (UK)
Services, 34 -36 Crown Street, Reading, Berkshire. Rank Strand Sound, PO Box 51, Great West Road,
SOUND WORKSHOP (USA) Tel: 0734 595647. Brentford, Middlesex TW8 9HR. Tel: 01-568 9222.
Sound Workshop Professional Audio Products Telex: 27976.
Inc, 1324 Motor Parkway, Hauppauge, NY 11787. Custom consoles. North America: Strand Century Ltd, 6334 Viscount
Tel: (516) 582 6210.

Several ranges of multitrack consoles.

STAR SOUND DYNAMIX (UK)
UK: MTR Ltd, Ford House, 58 Cross Road, Bushey,
Road, Malton, Ontario, Canada.

Compact multitrack consoles. 66 l

Whether you need to prove To round -off we also enfer

improve system performance the RT6O, an ingeniously
. i u1 auditorium response ... Klark- inexpensive plug -in unit that
T:.,knik's DN60 measures sound co verts the DN60 to a graph ally
1-wels with almost laboratory di layed reverberation anah.ser.
The Klark -Teknik promise
accuracy right across the audio
:gxx:trt .'l'he result is graphically
c isplayed On 30 LED columns
s .ification includes:
F ! . uency response 15Hz ta
-a bigger investment in
the future with:
exactly matching the frequencies 22 lz
In t sensitivity
1. Greater R &D investment,
ct the Series 300 equalisers. with 12% of all company
features of this outstanding Mi ophone, 120 dBspl to 50 dBspl personnel directly involved in
iostr mt include a clear LED Litt , + 20 dBm to -50 dBm new product development.
&splay, three memories, peak hold Pi ` noise output Digitally
ge 'rated. 2. Consistent attention to
Fnx,tion and built -in pink noise
stu rce. production economies for
professional performance at
'breakthrough' prices. HUM TEKlrtlli
3. Effective 'Reliability Control'
during manufacture.
l' rr full colour'UN60 Analysers' bnxihur anlact: British designed, British macle

Manufactured by Klark- Teknik Research mited Klark- Teknik Electronics Inc. Distributed in the UK by Autograph Sales Limited
Ce p ice Trading Estate, Kidderminster 1)Y1 7114, 262a Eastern Parkway, Far gdale, Stable. 11, British Rail Camden Depot, Chalk Farm Road,
Ergland. Telephone: (0564 741515 Telex: )821 NV I 1735, USA. 'l'c lephone: (5161 249 -3661) London NW I BAH. Telephone: 01. 267 6677
 product reference
Multitrack TORE SEEM (Norway)
Tore Seem NS, PO Box 10, N -1344 Haslum. Tel: AUTHORIZED DISTRIBUTORS:
mixing consoles 02.53.39.75. Telex: 19121.
Australia:
Broadcast orientated multitrack consoles. Klarion Enterprises Pty. Limited
STUDER (Switzerland) Regent House, 63 Kingswav
Studer International AG, CH -5430 Wettingen. Tel: TOTAL AUDIO CONCEPTS (UK) South Melbourne. Victoria 32(5
056.2687 35. Telex: 53682. Total Audio Concepts Ltd, Islington Mill, James Phone: 613801
UK: FWO Bauch Ltd, 49 Theobald Street, Boreham Street, Salford M3 5HW. Tel: 061 8346747. Telex: Telex: 34732 KLARI AA
Wood, Herts WD6 4RZ. Tel: 01 -953 0091. Telex: 668127.
27502. Austria:
USA: Studer Revox America Inc, 1425 Elm Hill Compact multitrack consoles. Acousta Electronck
Pike, Nashville, TN 37210. Tel: (615) 254 -5651. Berchtesggadenerstrasse 36
Telex: 554453. A -5020 Salzburg
TRACKTECH (UK) Phone: 06222-46164
Several ranges of multitrack consoles.
Tracktech, 159 Park Road, Kingston- upon- Thames, Telex: 633008 ACOUS A
Surrey, KT2 6BX. Tel: 01-549 9130. Telex: 889294.
Benelux:
TAB (West Germany) Trans European Music N.V.
Tonographie Apparatebau V Willisen GmbH Co, Multitrack consoles.
Koeivijvcrstraat 105
PO Box 130534, Kleine Klotzbahn 27, D -5600 -11) Dilbeek Belgiu)11
Wuppertal 1. Tel : 0202 447452. Telex: 8591742. TRIDENT (UK) 1

Trident Audio Developments Ltd, Shepperton Phone: 02-569-1823

Studio Centre, Studios Road, Shepperton, Telex: 26409 TEMBEL B
Multitrack consoles.
Middlesex TW17 OQD. Tel: 09328 60241. Telex: Canada:
TANGENT (USA) 8813982. GS. Gould Marketing Co., Ltd.
Tangent Systems Inc, 2810 South 24th Street, USA: Trident (USA) Inc 652 Glenbrook Road, 6445 Côte de Liesse
Phoenix, AZ 85034. Tel: (602) 267-0653. Stamford, CT 06906. Tel: (023) 357 -8337. Telex: Montreal, (uehec H4T 1E5
643678. Phone: (514) 3414441
Multitrack consoles. Telex 5824822 GOULDMKTG MTI.
:

Ranges of multitrack consoles. Denmark:

TEAC/TASCAM (Japan) Studie & 1.7'dteknik APS
UK: Harman (Audio) UK Ltd, Mill Street, Slough, TWEED (UK) Helgesvej 9.11, DK-2000 Copenhagen F
SL2 5DD. Tel: 0753 76911. Telex: 849069. Tweed Audio Electronics, Pinnaclehill Industrial Phone: 01341284
USA: Teac Corporation of America 7733 Telegraph Estate, Kelso, Roxburghshire, Scotland TD5 8DW. Telex: 22924 SLT DK
Road, Montebello, CA 90640. Tel: (213) 726 -0303. Tel: 0573 2377. Telex: 727633. Finland:
Telex: 677014. USA: Tweed Audio (USA) Inc, 12 Ilex Drive, Stutiotec KY
Newbury Park, CA 91320. Tel: (805) 499 -4764. Eljaksentie 9
Compact multitrack consoles. Telex: 652337. 00370 Helsinki 37
Phone: 0-556252
TECHNICAL PROJECTS (UK) Broadcast orientated multitrack consoles, and Telex: 125284 STUTE SF
Technical Projects, Rampart House, 63 Victoria custom design.
Street, Windsor, Berks SL4 1EH. Tel: 07535 58154. France:
Telex: 849988. WARD -BECK (Canada) REDITEC
Ward -Beck Systems Ltd, 841 Progress Avenue, Zone Industrielle des Chanoux
62 66 Rue Louis Ampere
Custom multitrack consoles. Scarborough, Ontario M1H 2X4. Tel: (416)
438-6550. Telex: 06525399. 9i533() Neuilly sur Marne
TECNICOBEL (France) USA: Ward -Beck Systems Inc, 6900 E Camelback
Phone: 3(1(10630
Tecnicobel, 8 rue de la Croix -Matre, BP26, F -91122 Road, Suite 1010, Scottsdale, AZ 85251.
Telex: 240779 REDI F
Palaiseau Cedex. Tel: (1) 920.80.39. Telex: 692543. Indonesia:
Broadcast orientated consoles with multitrack PT Kirana Yudha Teknik
Modular multitrack consoles. application. Aromas Bldg., G -2, 4FI.
No. 2, )I. (en. A. Yani, Pulo Mas
TOA (Japan) YAMAHA (Japan) Jakarta
UK: Toa Electric Co Ltd, PO Box 82, Castle Street, USA: Yamaha International Corp, PO Box 6600, 'Phone: 487235-485408
Ongar, Essex. Tel: 0277 364333. Telex: 995554. Buena Park, CA 90620. Tel: (714) 522-9105. Telex: 48120 HASKO IA
USA: Toa Electronics Inc, 1023 Grandview Drive, UK: Yamaha Musical Instruments, Mount Avenue, Italy:
San Francisco, CA 94080. Tel: (415) 588 -2583. Bletchley, Milton Keynes, Bucks. Tel: 0908 71771. Scientel Audio SRI.
Telex: 331332. Via ¡'k -tri 52
PA orientated consoles with multitrack 41100 Modena
Range of consoles with multitrack application. applications. Phone: 059-225608
Iclex: 213687 SCIENT I
New Zealand:
Magnetic Products Limited
Ellice Road
-I X
Glenfleld, Auckland 10
Phone: 444 -6085
Telex: 60835 AVDCOMM NZ
Norway:
Siv. Ing. Benum A, S
Box 2493, Solli, Oslo -2
Phone: (02) 442255
Telex: 17681 BENUM N
Spain:
Fading
Servando Batanero 8
Madrid 17
Phone: 408 -6700, 408 -6808
Telex: 44330 FADI E
Sweden:
Intersonic AB
Vretenborgsvigen 9
Västherga. Haitiersten
PO. Box -t 2 13 ). S -12612 Stockholm
Phone: 08-7+15850
Telex: 11136 INSONIC S
Switzerland:
Audio Bauer AG
CH -8064 Zurich
Bernerstrasse -Nord 182
Haus Atlant
Phone: 01-643230
Telex: 54806 GPEI. CH

66 STUDIO SOUND, SEPTEMBER 1983

THE NEW OTARI MTR -90 SERIES II

::tom hly recommended,' Hugh Ford, Studio Sound, November 1982

"The Otani MTR-90 Series II is a very well-built The complete text of Hugh Ford's review, plus a
machine with the tape transport having many of comprehensive technical brochure and price details
the features of the premier recorders of European are available now. Further, should you desire your
manufacture .. " own "hands -on" review of the MTR -90, ring us
"Both the remote control and autolocator are highly directly at 0753 -38261 and ask for Mick Boggis.
practical with excellent layouts. Full and foolproof From our hands to yours, the new MTR -90 Series II
interlocking is providedfor all functions with clear recorders are engineered like no other tape machine
displays of the machine's status" in the world, with quality you can hear and feel -with
This machine is to be thoroughly recommended, affordability that makes Otani the Technology You
particularly when comparing its price Can Touch.
with the competition." Otani Electric (UK) Ltd., Herschel Industrial
We have refined the fea- Centre, 22 Church Street, Slough SL1 1TI?
tures and extended the per- Berkshire, Tel: 0753 -38261
formance and capabilities Telex: 849453 OTARI G
of the new, second genera- In Germany: Otani Electric,
tion MM-90 by working Deutschland GmbH, Gielen
closely with recording and Strasse 9, 4040 Neuss 1 F.R.
film /video post -production Germany, Tel: 02101 -274011
engineers who demand the Telex: 41 8517691 OTEL D
extra measure of techno- Authorised Dealers:
logy and commitment. The ITA 1 -7 Harewood Avenue,
Series II Mastering Multi- Marylebone Road, London NW1 6 LE
channel machines are the Tel: 01 -724 2497/8 & 01 -724 3768
logical result; microproc- Telex: 21879
essor- controlled recorders TURNKEY
specifically designed to Brent View Road,
easily interface with any London NW9 TEL
Tel: 01 -202 4366 Telex: 25769
SMPTE -based video editing
system, machine controller L 8, 16 & 24 channel versions available with
or synchronizer. Remote Session Controller & Autolocator.
&1It7fl1fl
Technology You Can Touch o 1983 Otani Electric(UK) Ltd.

Otani Corporation, Belmont, California (°í 5) 592 -8311 Telex: 910- 376 -4890, Otani Electric Co., Ltd., Tokyo, Japan (03) 333 -9631 Telex: OTRDENKI J26604.
Otani Singapore Pte., Ltd., 294 -5370 Telex: R5 36935. Otani Electric Deutschland GmbH, Neuss, F.R. Germany 02101- 274011 Telex: 41 8517691 OTEL D.
 UPROAR from the Musicians'
Union over last year's Barry
Manilow concert at the Royal Albert

The alphaSyntauri
Hall notwithstanding, it's going to
be a while before computer synthesis
replaces live musicians altogether.
But computers are becoming an
integral part of the music business,

digital synthesiser
and it's definitely to the advantage
of composers, arrangers, engineers,
producers, studio managers and now
performers, who want to stay ahead
of the game to get comfortable with
the new technology. Besides their Lehrman
`traditional' (if you consider two or
Paul D
three years long enough to establish
a tradition) uses in the studio, like waveforms is done entirely in the screen in several ways using an tion) can be added, using any
accounts management, cataloguing, digital domain, and the Apple's optional pair of game paddles. This waveform already in the machine
automated mixing and of course limited memory, abetted by can be useful if you have a favourite (although a sinewave is most
digital recording, computers are now standard 5 % in floppy disks, is waveform that you would like to practical) and setting the depth and
becoming involved in the actual more than sufficient for the job. reproduce and an oscilloscope to speed either from the computer
creation of the music. Unlike digital recording systems, analyse it on. There are also keyboard or with the game paddles.
The biggest drawback to getting there is no memory- hungry A/D programs for generating, with Furthermore, the entire system
involved with computerised conversion going on; there is only incredible precision, various types of can be set up to detune A -440 to
synthesis is the price: $40,000 and up D/A conversion at the output stage. pulse waves, and for simulating anywhere between 400 and 800 Hz,
for a fully-equipped super-machine The software comes in several (better than any synthesiser I have and if you want to get some seriously
like a Fairlight CMI, a McLeyvier, parts. The basic synthesis software, come across before) the sound - strange sounds, the keyboard can be
or a Synclavier. The good news is known as AlphaPlus, allows for 10 generating and manipulating instructed to divide each octave into
that a goodly number of their 'instruments' to be loaded into capabilities of a Hammond B -3. anywhere from one to 32 notes.
capabilities are now available in a memory at a time, which can then be There's even a program for The software allows the wave-
machine about one -tenth the cost. played on the piano keyboard. (The analysing the harmonic content of forms, envelopes, and instruments
Syntauri Corporation of Los system comes with 'presets', on any pre-existing waveform. to be stored and manipulated in
Altos, California, has for the past floppy disk, of 120 different The envelope parameters for the every conceivable way. Using the
couple of years been making a instruments.) The choice of which two voices that make up each envelope and primary waves of a
sophisticated system for digital instrument is 'live' is handled by the instrument-attack, decay, sustain, supplied instrument called 'Pipe
music synthesis that uses an Apple Organ,' and plugging in a sinewave
computer as a storage and for the percussion voice while
manipulation device. Known as the Modern computer -based sound synthesis is generally offsetting the two voices by an
AlphaSyntauri Computer Music an expensive business, and often only highly octave plus 3/16 of a semitone (ie,
System, it is both a versatile successful musicians and large studios have been 195) gives a very respectable steel
performance instrument and a able to afford it. But now there is a cheaper way -and drum. (That was discovered purely
powerful recording tool. Perhaps by accident.) Within each bank of 10
most exciting, using an option you can do the accounts on the computer when you've instruments, waveforms and
known as Composer's Assistant, the finished composing. Paul D Lehrman describes the envelopes can easily be mixed and
AlphaSyntauri performs a com- Alpha Syntauri music system which interfaces with matched, and other forms can be
poser's age-old dream: it can take the Apple ll micro. brought in from other presets (as
input from a keyboard and print it many as 20 banks can be stored on a
out in musical notation. By itself, single diskette) with a few
the Alpha (as its friends call it) costs number keys (0 to 9) on the and release -are displayed on the keystrokes. You can also split the
about $1,800, and various very use- computer keyboard. An 'ensemble' computer monitor screen as keyboard into as many as eight
ful options add about $900. Add up feature allows several instruments to combinations of two letters and a separate instruments.
the cost of an Apple, a monitor, a be played simultaneously. number, usually from 1 to 255. For While in the 'live,' mode, two foot
couple of disk drives and a dot- Every instrument contains two example, 'PR' is the attack rate of pedals come into play: one is used
matrix graphics printer, and the voices, known as 'primary' and the percussion voice. Typing for sustain (if the envelope
whole system is less than $6,000. 'percussion' (the two voices appear 'PR:255' on the computer keyboard parameters of the voice are set up
The Alpha comes with either a at different audio outputs, giving the gives that voice an immediate, for it) while the other triggers
4- octave or, for a bit more, a system a semblance of stereo) each strong attack, while typing 'PR:40' portamento between played notes.
velocity- sensitive 5- octave Pratt & of which has its own waveform and gives it a delayed, gradual entrance. Also while in the live mode, the
Reed piano-type keyboard that plugs envelope control. Other parameters that can be computer's video screen displays a
directly into one of the slots inside The AlphaPlus system includes adjusted at this stage include setting matrix of flashing bars that show
the Apple. A pair of music - several powerful methods of the pitch of the instrument which notes are being played. Each
synthesiser cards made by Mountain waveform control. Built into the (adjustable in quarter -tones over a note has its own colour, which is of
Computer take up two more slots, software are algorithms for generat- range of better than eight octaves); absolutely no practical use but is lots
and of course the package includes ing standard waves, like sine, adjusting (or turning off) the of fun to watch.
several diskettes of software to run sawtooth, triangle, and square, as velocity-sensing capabilities of the But using the AlphaSyntauri as a
the whole thing. well as a multitude of more complex piano keyboard; enabling repeated live -performance instrument is only
The Mountain cards are what forms. Using a program called attacks from one keyboard stroke; a small part of the story. The
make the sounds; they contain 16 Quickwave, the user can call up any or accessing several special-effects system's recording program, known
logical oscillators (actually one waveform and adjust the relative programs such as amplitude as Metatrak, allows a performance
oscillator with 16 addressable amplitude of its first 16 harmonics, modulation (tremolo), pitch bend, to be recorded, played back, and
control lines that are switched at and then store the result for or 'timbre sweep.' The latter runs even looped (a feature which, for
about 32 kHz) that takes instruc- performance or for further each played note through any or all some strange reason, the system's
tions from the computer to generate modification. Using a somewhat of the various waveforms currently designers have chosen to call 'echo').
analogue wave forms. The analogue slower programe called simply in memory, at a rate adjustable with For example, a 16 -bar bass pattern,
output appears at a pair of female Wave, any four waveforms the game paddles. In addition, the either monophonic or polyphonic,
RCA jacks wired to one of the cards, (standard or custom) and their primary and percussion voices can can be played on the keyboard,
at a level high enough to drive a pair harmonics can be layered on top of be offset in pitch relative to each entered into the computer and saved
of headphones comfortably. (Moun- each other to create a new other in increments of 1/16 of a on a diskette, and can be then played
tain Computer also makes its own waveform, while the video screen semitone, which can give a 'chorus' back, over and over in perfect time,
software for driving the cards; these displays a picture of the combined effect or even ,give each note two while another line -melody, chords,
diskettes come with the Alpha pack- result. A third program, called Draw distinct pitches up to a major 10th or whatever-can be played on top
age, but are not used.) The manipu- Wave, lets you physically draw the (ie, 255 sixteenths of a semitone) of it. The second line can use the
lation and storage of notes and desired waveformes on the monitor apart. Vibrato (frequency modula- same instrument or a different one.
68 STUDIO SOUND, SEPTEMBER 1983
Changing the instrument playing can show up at the computer's new set of instruments the company disadvantage than it might seem, in
either line takes only a couple of cassette output, and with the proper sent me) and another one for that in the `free time' mode faint
keystrokes -the software is only cable can serve as a trigger pulse for crickets, birds, and frogs, using a dotted vertical lines are drawn in at
storing keyboard information the drum machine. The drum preset entitled `Nature'. quarter -note intervals, allowing you
(pitch, duration, and if you choose, machine is programmed in the usual By the end of the first month, I to sketch in the bar lines easily after
velocity of the stroke), not real way, but takes its downbeats from had done a couple of pop tunes I the score is printed out. Finally, the
sounds. the Alpha. wrote some years ago (and at the program only allows you to access
In fact, up to 16 separate If all this seems a little much, take time blew hundreds of dollars in an about 1,000 notes for printing at a
polyphonic tracks, each with its own heart. The designers have made the 8 -track studio making demo tapes time, so if the piece you want to
instrument (actually, with only 10 system very fast and easy to get of), and an electronic improvisation. notate is longer (or denser) than
instruments in memory, there will be going on: even a computer neophyte This last took me a half hour; the that, you have to break it up into
some doubling) can be recorded and can be up and running in a few same thing during my student days smaller chunks. But even with these
overdubbed in perfect synchronisa- minutes, and anyone with multitrack in a traditional electronic -music lab, drawbacks, Composer's Assistant is
tion-all of the previously recorded recording experience can be would have taken me a month. a terrific aid.
voices are in `play' mode while each comfortable with the Metatrak As if all this weren't enough, Of course, there are other
new voice is laid down. The relative program in an afternoon. Of the 120 there's the Composer's Assistant problems with the Alpha that are
volume of each voice is adjustable, preset instruments that come with music -notation software. This latest unavoidable in a machine whose
so that you can `mix' while you are the system, quite a few are junk, but addition to the AlphaSyntauri price tag is so reasonable. For one
recording. The system even goes a sufficient number of them are repertoire is not quite as fast or as thing, it is fairly slow, especially in
multitrack tape recording one better; worthwhile enough to occupy even a elegant as I always dreamt it should responding to instructions from the
if you like, you can add notes to a professional synthesist for quite a be, but it will certainly do for now. computer keyboard-although the
previously recorded track without while. It starts with a pre- recorded note piano-keyboard response is, as it
erasing what's already there. But really getting into the system file, stored using the Metatrak must be, instantaneous. This is
There is a slight problem when and making it work all its wonders program. First it analyses the file, because different parts of the
you get to really complex pieces: takes time. If you're the knob- and then the screen asks you to software are written in different
because the Mountain Computer twiddling type used to Moog or ARP define some parameters: tempo (if languages: the real -time music
synthesiser cards contain only 16 synthesisers, the plug-in-a- number you record using the metronome and instructions are written in assembler
oscillators, two of which are used approach will seem slow and clumsy remember the setting, this becomes language, which is very fast, while
for each instrument, only eight notes for a while. For instance, there is no much easier) key signature, time the storage and design programs are
can actually be sounded at one time. dynamic filtering-`swoop,' if you signature, and resolution of the in BASIC, which is a bit slower. This
The software, however, allows for will -built into the Alpha. To smallest note or rest: eighth, triplet- is unfortunately necessary if the
simultaneous recording of well over achieve the same effect, you set one eighth, or sixteenth. system is to use the Apple computer
100 notes, so during playback a voice to how you want the sound to The computer then analyses and as efficiently as possible. Another
clever feature silences the least - start, and the other to how you displays each bar on the video restriction is the size of the note files
prominent instruments when there would like it to end, and then adjust screen, where text like dynamic, that the Metatrak program can
are more than eight. Even though record -about 3,000 notes, fewer if
you can't hear them, those notes are you are using the velocity-sensing
stored and can be recovered by feature -although a new hardware
playing each track individually. and software option, MetaExtender,
An adjustable metronome, which with 20,000-note capacity, should be
clicks through the Apple's built-in available by the time you read this.
speaker (it doesn't show up at the Mixes in the Metatrak mode are
audio outputs, but does remain in static: the volume levels of each
memory as long as necessary) helps track cannot be changed within the
keep everything together, and each body of a piece, so gradual changes
track has very fast (no relays here!) and fades, while not impossible, are
punch -in /punch -out editing capabi- very tricky. The frequency response
lity. There are no provisions for fast - of the Mountain cards cuts off at
forwarding in record or playback to about 16 kHz. By itself, this is no
get to a desired edit point quickly, as real problem, except that the
well as instant `return -to- zero'. The software, with its huge pitch range,
system lets you change the speed of frequently generates harmonics well
the music when starting record or above that limit. Instead of just
playback and also allows for tempo disappearing, these often send the
changes within the body of a piece, oscillators into aliasing.
which can then be stored and But probably the most important
incorporated into the final mix. t'ie envelope parameters of the two tempo, or chord markings can be feature of its more expensive
For dumping individual tracks or for a smooth, properly timed added, and prints it out on paper, brethren that is missing from the
groups from a Metatrak recording transition. But it's really not as hard using any one of a number of AlphaSyntauri is that it cannot
on to a multitrack analogue machine as it sounds, and after a time, the popular printers. Any one or all of record real sounds and manipulate
(one way of recovering dense amount and precision of control you the recorded tracks can be printed them. To accomplish this requires
orchestrations), there is a `sync -to- have over the waveform and out, the music can be transposed, specialised hardware and software
tape' feature. This is accomplished envelope generators, turn out to be and the program can be told to shift which the company considers
by the computer writing a data word useful indeed. the note attacks slightly to `feasible', but has yet to develop.
called a `synchro -start pulse' on to For example, the first day I got compensate for inaccuracies in Being totally software -based it is
the tape, which is outputted at the the system, I recorded two Bach keyboard technique. easy to add features: the company
Apple's cassette-interface jack. fugues (one voice at a time) and Although the printout from updates the software constantly, and
When the tape is played back for orchestrated them so that each voice Composer's Assistant is eminently the new versions are made available
subsequent passes, the machine sounded on an organ with its own set readable (and usable for copy- to system owners at reasonable cost.
recognises the word and locks up to of stops; in real life, this would have righting purposes), it is not publish- When improvements are made, you
it. (A word of warning here: Apple - demanded five hands on a five - ing quality. It will not `beam' eighth can implement them into your
compatible computers like the manual instrument. The next day I or sixteenth notes; instead each note system as fast as you can load a
Franklin ACE 1000 that lack a fooled around with some of the gets its own flag. If two notes diskette into your drive (and read the
cassette interface cannot use this orchestral- instrument presets provi- pitched a second apart are played new section of the operator's
feature without modification.) ded by the company and tried to simultaneously, it will not shift the manual) and a strong effort is made
In addition, the AlphaSyntauri make them sound more like the real printed position of one of them; to ensure that all new software is
has provisions for interfacing with things. Using these,I re- orchestrated instead it will simply print them on compatible with previous versions,
certain Roland, Linn, or Oberheim the Bach, and also recorded a top of each other. Ties are indicated so that your carefully constructed
drum machines. This feature is movement from a Mendelssohn by straight (not curved) dotted lines, note files will not become obsolete.
particularly useful, as the manual symphony. Going back to the Bach and stems all point in the same As long as there are Apple Com-
admits, in that percussion sounds the following week, I did an direction: up. There are only three puters, there will be AlphaSyntauri
are not among the easiest to produce orchestration for a woodwind available time signatures: 4/4, 3/4, synthesisers. They'll just keep
on the Alpha. The metronome pulse quintet (using modifications of a and `free time'. This is less of a getting better.
69
 business
Digitally mastered All the BBC players are standard Sony and overload distortion. This all detracts from
If someone else doesn't complain to the domestic units. Recently I found out by the binaural effect. But try explaining this to
Advertising Standards Authority about practical experience that these players aren't as someone who has never heard dummy head
Compact Disc marking, then I'm going to. It's tolerant of faulty discs as the Philips or stereo, and thinks dynamic range means loud.
downright misleading for a record company to Marantz units. What's more, not all Sony On May 30th, The Times, the newspaper
describe a Compact Disc sourced from an players behave in the same way. Discs with that supposedly helps you to be better
analogue tape as 'digitally mastered'. How else blemishes bad enough to cause 'groove locking' informed, described holophonics as 'the latest
could a digital Compact Disc be mastered, on a Sony may play straight through on a breakthrough in surround sound'. But, The
other than digitally? First prize for cheek goes Philips or Marantz, with quite tolerable sound Times went on to report that 'those who have
to Decca for its re -issue of a 1966 blues quality. A small blemish, invisible to the naked heard Zuccarelli's trials... were impressed by
recording made by Eric Clapton and John eye, can be more trouble to the player than a the illusion'. Does this mean that the man from
MayalI. Although the paper sleeve note has the large spot blemish that is clearly visible. This is The Times was reporting a 'breakthrough in
decency to acknowledge its analogue source, because the key factor is the length of the surround sound' that he hasn't actually heard?
the disc itself is clearly labelled 'An original blemish, not the width. Mind you in the same article he also reported
digital recording'. Before I complain to the The Sony domestic player has a switch on that 'of the six tracks on a Compact Disc, only
ASA will someone in PolyGram please tell me the rear which puts anti -shock circuitry on or two are being used', and that 'nowadays no
what digital recording system they think Decca off. With anti -shock on, the player is better studio could survive without a 48 -track
was using in 1966, when the rest of the able to cope with what one Sony instruction console'. With such a penetrating
industry was still breaking new ground with book quaintly calls 'a hostile environment', a misunderstanding of the audio business, it is
4 -track analogue. By the way, although this rickety table or springy floor, for instance. The probably marginally better that he concentrates
CD has been slagged off for its poor audio servo loop is tightened and the laser just keeps on writing about what other people think.
quality, to my ears it's nothing more or less on tracking. Akio Morita, boss of Sony, tried CBS finally released the Zuccarelli record at
than a clean replica of what a 1966 recording running his home player round the room on the beginning of July and celebrated the event
of a rock band sounds like, fuzz and all. This top of a vacuum cleaner. Then, with a battery with a press conference. Although I'd been
kind of material sounds better with a bit of power pack and voltage converter, he drove it phoning CBS regularly since May, asking for
analogue masking. The distortion is just too in a car down a bumpy road. With anti -shock updates on the Zuccarelli cut, I didn't hear
much when you strip it bare with a CD on, the Sony player will also cope with some about the press conference until afterwards. "It
transfer. blemishes that defeat it in the off position. But slipped our mind," said CBS. As anyone who
the player copes with surface faults better with has dealt with the CBS press office will well
the anti -shock circuit off because the laser know, that rings true. A hi -fi journalist, who
Anti -digital doesn't focus on them so smartly. And a had been phoning CBS even more often than I,
Some sections of the hi -fi press are currently blemished disc may refuse to play on one Sony also never heard about the press conference
mounting an anti- digital campaign that verges player, but track reasonably well on another, until afterwards.
on hysteria. Compact Discs they will tell you, regardless of switch position. For broadcasters But CBS did rally round with copies of the
sounds terrible, and does awful things to the there's the added confusion that when a Sony record. The sleeve note, written by Zuccarelli
music and listener alike. The 44.1 kHz, I6 -bit player refuses to track a disc, it rejects it and himself, and the press release, which quotes
technology is, according to them, the you may then not be able to play anything past Zuccarelli, are far more interesting than the
provisional wing of the analogue protection the blemish. recording. For instance, the sleeve note baldly
society, nowhere near adequate as an audio All this of course explains why Sony is advises the listener that if sounds are heard
standard for the future. They may be right. developing broadcast players. They are too from the rear, rather than the front:
But why didn't they sound their warnings two bulky to be stolen and, hopefully, won't suffer 'something has gone wrong with your
or three years ago, when the standard was still from the vagaries of the domestic units. Expect equipment, or your headphones or your ears'.
being discussed, rather than now when it's more and more interest from Sony in broadcast There's no mention of the fact that many
fixed? Compact Disc technology. I've recently noticed people can't get a frontal image from binaural
Inevitably, some people reading all this anti patents issuing to the company on broadcast stereo!
digital venom have started to put two and two Cómpact Disc technology. For instance there's Zuccarelli also says that he is "...currently
together to make five. A very senior executive a buffer memory system which enables a disc speaking to a number of companies who would
in the classical division of a British record jockey to cue up to split second accuracy. A like to develop holophonic loudspeakers and
company, was so worried about it all that the packet of digits is stored in memory to fill in headphones" and "...we shall be pleased to
complained to his technical staff about any gaps in the data stream which are created offer our experience in the field of holophony
distortion from his Tannoy Lancaster as the player is switched in. As I said, Compact by issuing a holophonic guarantee certificate
loudspeakers. "1 am sure it has been caused by Disc has arrived. for all the products which we shall be
listening to Compact Disc," he told them. marketing under our registered trademark of
The engineers took the speakers off to the Zuccarelli Labs Ltd ".
lab and came back next day with a paper bag. Holophonics So there you have it, anyone who can't get a
"This seems to be the problem," they told the But has holophonics arrived? The 45 RPM, frontal image from the CBS sound effects
executive. The bag was full of jelly babies, 12 in single of holophonic sound effects record is a potential customer for equipment
plastic spoons and ballpoint pen caps. The promised from CBS was originally scheduled licensed to carry the Zuccarelli trademark. But
executive's young son had been pushing them for release in Britain early in May at a shop what if there's still no frontal image? Will
through a small hole in the speaker grill. Not price of around D. But CBS then admitted there be Zuccarelli ear drops to improve
surprisingly the cones started rattling. that release had been delayed until early June. hearing?
Doubtless we shall now read that high Then they told enquiring callers that release When I met Hugo Zuccarelli and Mike King,
frequency distortion in digital audio upsets had been delayed until late June or early July. they were both at great pains to say that they
young children so much that they are By the time you read this, it should finally be had not sought publicity for what they call
compelled by an unseen force to try to damp it in the shops. Why the delay? By early June holophonics. I was especially interested,
with jelly babies. CBS had tried seven times to cut the Sony therefore, when a familiar voice piped up from
PCM master tape on to disc. The dynamic the audience at a public demonstration of
range of the sound effects was just too wide. Dolby cinema sound staged at the National
CD portability Almost certainly much of the popular Film Theatre recently. "What about new
Compact Disc has really arrived; the BBC has enthusiasm for holophonics has been generated techniques, such as holophonics ?" asked the
now had a player stolen. It was left unattended by people who have heard Zuccarelli's tapes voice from the audience, without identifying
in a studio and promptly disappeared without played direct from a digital source over himself as Hugo Zuccarelli, inventor of what
trace. Now producers who want to use headphones. They have been hearing binaural he calls holophonics.
Compact Disc in their programmes, have to stereo with a dynamic range of 80 or 90 dB. The next day a friend of mine saw
have a player sent over specially from the But as soon as you try to put this on to Zuccarelli's record in his local W H Smith, at
engineers and promise never to let it out of analogue disc, you have to limit and compress £2.99, in the humour section rack alongside a
their sight. drastically or end up with background noise Fawlty Towers LP.
70 STUDIO SOUND, SEPTEMBER 1983
This article discusses the potential role of industrial psychologists in the field of sound engineering. A recent
Studio Sound editorial said that to the vast majority of the British recording industry, the concept of training is
somewhat incomprehensible and unnecessary but there are developments that suggest our tried and trusted
methods of producing engineers may be quite unsuited in many ways for the recording industry of the future.
The author goes further and suggests that such practices are unacceptable now.

Industrial psychology
and its future in sound engineering?

Gerard Paul Hodgkinson

Industrial psychology has been Firstly, the objectives of a par- trainees (4). The trainees and thus the training content may need
defined as 'fitting the man to ticular training programme must be material come together in the train- changing (mod 3).
the job' and 'fitting the job to the defined (1). From this it is then ing programme (5) and the trainees The industrial psychologist, with
man'. The former incorporates possible to develop criterion tests emerge as graduates of this pro- his knowledge of human per-
vocational guidance, personnel (2), ie measures indicative of the ex- gramme (6) (not necessarily, of formance, is able to make significant
selection and occupational training tent to which people have attained course, as university graduates). contributions at each of the stages
and development, whereas the latter these objectives, after training. An They are then judged against the outlined in the above diagram. For
comprises the development of interesting point here is that, ideally, criterion measures, any discrepan- example, analytic procedures have
methods of work, equipment design if the people 'fail' such tests then it is cies causing modifications to be been devised in order to ensure that
and layout and the arrangement of not they that have failed but the made in appropriate components by the content of a training scheme
working conditions and rewards. In system. A third stage is to specify virtue of the feedback loops (7). For closely follows its objectives'. Yet
summary, the role of the industrial what should go into training for example, if one test item was all too often training courses have
psychologist is one of reducing pro- these objectives to be met (3). The repeatedly failed then a new method evolved in a subjective and un-
blems at the interface between next stage involves actually devising of presenting it may be needed. systematic manner. The situation is
people and the jobs they perform. training methods and equipment in Alternatively, the information even worse in the field of sound
This enterprise is gaining added order to present information to the presented may be inadequate and engineering where the majority of
importance as industries develop
ever more complex and sophisticated Fig 1: Ideal training system (after Eckstrand')
equipment placing additional
demands on their operators. In the
field of sound engineering this is
particularly true of mixing consoles. FEEDBACK (7)
Consequently, the increased 1
I
operating demands placed on the I

I I
sound engineer by these devices must TRAINEES
be matched with his abilities, I I

capacities and limitations, if man

(5)
I I
and machine are to function at an I I
optimal level of performance. Here T
industrial psychology has much to
DEFINE DERIVE DESIGN
offer.
TRAINING TRAINING METHODS
-+ TRAINING
OBJECTIVES CONTENT AND TRAINING PROGRAMME
Training (1) (3) MATERIAL (4) (5)
Psychologists are making con-
siderable contributions in the field
of training' . Establishing an ade-
quate training programme is by no DEVELOP
means a simple procedure as Fig 1 CRITERION
shows. Such a flow diagram is MEASURES
characteristic of the systems ap-
(2)
proach, helping us to represent the
process at work and how its parts
interact.

72 STUDIO SOUND, SEPTEMBER 1983

engineers receive no formal training. ing consoles. Certainly, none of the engineer functions as part of a tions, field trials must take place 'on
Skills are handed down by way of main ergonomics journals closed -loop system. the job' in order to ensure the
tradition. This gives rise to the (Ergonomics, Applied Ergonomics In terms of mixing performance, laboratory results are valid.
possibility that many unskilled and Human Factors) contain any this means that no matter how well
behaviour patterns or habits may reference to these devices. developed a console may be from an
unwittingly change hands along the It is of major importance that electronics point of view, unless due Conclusion
way. such research takes place and to this consideration is given to human fac- By now it should be apparent that
The psychologist, however, is able e.nd the author is currently engaged tors, the system will continue to the industry could benefit greatly
to devise 'training regimes' under in an investigation in the Depart- function at a sub -optimal level. Not from the services of industrial
which the trainee receives instruction ment of Psychology at the only should the controls be designed psychologists at a time when higher
in a manner conducive to optimal University of Hulls. and laid out in accordance with an- standards of skill are required from
learning. The project stresses the develop- thropometric data (ie data pertain- the sound engineer in the face of in-
ment and application of general ing to the dimensions of the human creased demands placed on him by
ergonomic principles to mixing con- body) but the coding of controls and the new generation of equipment he
Selection sole design. Many desks currently on the legibility of displays are of equal will soon be expected to operate.
The design and evaluation of recruit- the market are badly designed in importance. What, for example, is The industry will have to develop
ment schemes is one of the oldest terms of human factors. This is poor the earthly use of colour coding improved selection and training pro-
and best known areas of industrial because the level of performance for knobs on PA desks, when so often cedures and devote much greater
pyschology. Because of widespread a given task is determined neither by the operator performs under condi- attention to ergonomic considera-
differences between individuals in the characteristics of the machine tions of extremely low illumination? tions in the design of equipment if its
terms pf the characteristics they alone nor by the isolated features of In any case the assignment of col- objective of increased standards, or
possess, some are better able than the operator. Rather, it is from their ours to specific functions varies indeed the maintenance of present
others to perform a given job. Per- combined functioning as a 'man - widely between different types of standards, is to be realised.
sonnel selection is the process of machine system' that the quality of desk. However, this can only be ac-
choosing from among the applicants performance is derived'. Clearly a more effective coding complished if the industry provides
those who are the most likely to suc- Fig 2 depicts the sound engineer as must be developed. the funding necessary to conduct
ceed at the job by virtue of the fact a component of a 'man- machine There is a wide range of meter badly needed research in each of the
that they possess the required system'. displays currently available on the areas outlined here.
abilities, aptitudes and other In essence the system comprises an market (eg analogue, bargraph and
characteristics necessary for operator who acts as sensor, infor- LEDs) but which type best informs
adequate performance. mation processor and controller the operator of the state of the REFERENCES
A whole range of abilities are re- placed between the controls and system? I. Annett, 1 (1978) 'Training in theory and prac-
tice' in P B Warr (Ed) Psychology ut work
if
quired a trainee is to become a suc-
cisplays of the mixing console. The Such questions cannot be readily Harmondsworth: Penguin.
cessful sound engineer. But precisely aisplays constitute the link from Stammers, R and Patrick, J (1975) The
answered by reference to ergonomics Psychology of training London: Methuen.
what abilities and to what extent a machine to man. A display consists handbooks alone. Many of these 2. Eckstrand, G A (1964) Current status of the
person must possess them is impossi- of anything that conveys informa- technology of training Wright -Patterson,
matters must be addressed em- APB Aerospace Medical Labs, Rep AMRL-
ble to determine a priori. First, a tion to the operator about the state pirically by means of experimental TOR 64 -86.
detailed analysis of the job and its cf the machine. Thus the position of studies. It is here that the industrial 3. Duncan, K D (1974) 'Analytical techniques in
training design' in E Edwards and F P Lees
component tasks must be under- tre console control knobs, the VU psychologist is of particular value (Eds) Thehunts operator in process control
taken. This will give rise to a more meters and the sound coming from since he has received a thorough
London: Taylor and Francis.
4. Popescu, D 'Designing consoles for radio and
precise description of the abilities re- the studio monitors or PA system training in research methods. The TV music production' Studio Sound und
quired in order to perform the job each act as a display to the sound author is currently in the process of Broadcast Engineering November 1978.
Richter, D and Jones, M 'Audio consoles'
successfully. Only then can an ade- engineer. devising a simulation of the task of Studio Sound und Broadcast Engineering
quate selection scheme be devised. Having processed the information mixing console operation, in order January 1978.
Swettenham, R'Evolution of the mixing con-
The psychologist, with his f.Jrnished by the displays the to ensure the precise control of sole' Studio Sound und Broadcast Engineer-
knowledge of test construction and engineer must formulate some form variables whilst addressing these and ing November 1982.
5. Hodgkinson, G P (1983) Ergonomics in the
evaluation is able to formulate pro- of response which he then com- related questions. design of sound mixing consoles Unpublished
cedures that will enable companies municates back via the controls of NISc Thesis, University of Hull.
Following the initial laboratory 6. Singleton, W T (1974) Mun -Machine Systems
to identify from the applicants those the mixing console. In this way the trials under highly controlled condi- Harmondsworth: Penguin.
individuals who possess the
necessary traits and abilities required
by the job. Fig 2: The man.machine model applied to the task of mixing console operation
No amount of training will com-
pensate for a basic lack of aptitude. MAN
A properly developed and tested (SOUND ENGINEER)
selection scheme may reduce the per-
sonnel turnover rate by as much as
80e7o or more. INFORMATION
PROCESSOR

Ergonomics
We turn now to the other side of in-
dustrial pyschology, namely, that of I SENSOR 1 I CONTROLLERI
fitting the job to the man. Whilst the
necessity of an ergonomic approach 4
to the development of mixing con-
soles has been well documented in
Studio Sound ', designers continue
INTERFACE ---
to stress electronic considerations as
the major criterion of system effec-
tiveness. For example, even Steve
Dove's epic series on console design
devoted little more than a handful of f DISPLAYS CON ROLS j
paragraphs to the significance of
human factors. As far as we are MACHINE
aware, there have been no studies
published to date pertaining to the (MIXING CONSOLE)
ergonomic evaluation of sound mix-
73
 HE MX5050B2 is one of the latest additions machine by about 2 % in. The reel clamps headblock and these form the major part of the
T to the MX5050 series of tape machines from
Otani. It is basically a 2 -track on '/ in machine
provided are excellent and fitting an NAB spool
simply involves positioning the reel over the
fixing of the headblock to the chassis. All the
heads are mounted from under the headblock
although there are options that offer different clamp in the right position and then lifting the top plate and have full adjustment facilities for
head configurations such as full -track mono, outer ring of the clamp and then giving a small azimuth, etc, available on hex nuts with very easy
/
DIN version stereo -track and 3/4-track stereo.
The machine falls loosely into the category of
twist leaving the spool very firmly held. Also
supplied with the machine were two plastic shims
access. There are two tape lifters positioned
inside the two heads on either side of the
transportable -type recorders being equipped with for spool height adjustment when using plastic or headblock. These keep the tape clear of the heads
substantial inset handles on the side panels, but metal reels. Under the NAB spool clamps, the in the fast wind and stop modes. A locking lever
permanent installation is also a possibility. platter centre will take standard cine centre to the left of the headblock will prevent the lifters
Designed for vertical and horizontal operation spools. from pulling the tape off the heads when
the MX5050B2 has plastic strip feet on the The tape path is fairly straightforward with the required such as when editing. The wires from
underside and four round rubber feet on the tape leaving the feed spool passing on the inside the heads mount on a single PCB which in turn
back. Used in either postion there is still plenty of a tape tension arm, around a roller with a hard mounts into an edge connector. The two replay
of room for ventilation through the underside rubberised covering and into the headblock. On heads are well screened however there are no
vents and there is plenty of clearance in leaving the headblock the tape passes between head shields. In all the time I was using the
horizontal operation for XGR -type connectors the capstan and the pinchwheel, inside a fixed machine there was no problem from this lack.
placed in the rear sockets of the machine. guide, around the tape tension /transport shut- From the practical user point of view the
All input /output sockets are positioned at the off swinging arm and on to the take -up headblock design, and even the whole transport
rear of the machine with the front panels spool. Tacho pulses for the tape position is very convenient. With a little practice there is
containing all the standard access controls for indicator are derived from the movement of the no problem in lacing the tape with one hand
the electronics on a panel the width of the cabinet roller before the headblock. The purpose of the should you ever have anything better to do with
under the transport controls which are in turn fixed guide after the capstan appears to be to the other. The lack of head shield of course
below the transport deck themselves. The hold the tape between the capstan and the makes editing, or at least the marking of edit
machine is finished in a practical dark grey and pinchwheel (ie not touching either) when tape is points on the tape, much easier. Cleaning is also
black with white inscriptions, the deck and loaded but the transport is at rest. In the play a very easy operation and the complete design
electronics panels have a satin -type finish and the mode it increases the amount of tape that is shows a lot of thought.
side panels are textured. actually in contact with the pinchwheel. Mounted on top of the hinged headblock cover
In the headblock lies the first of a number of is a metal splicing block. This is of the convex
Transport useful features on this machine. The cover is groove type which holds the tape pushed into the
The transport system is of a fairly standard hinged from the rear and when raised reveals groove. It provides 90° and 45° cutting angles.
design using three motors; two 6 -pole induction
motors for the reels and a direct drive DC servo
four heads. Being a / -track stereo machine
there are the standard erase, record and play
Along the top side of the block are three arrows
and these indicate the head position under the
motor for the capstan drive. The machine will heads but with the addition of a 4- track, headblock with the 90° cutting angle aligning
run at tape speeds of 33/4, 71/2 and 15 in /s 2- channel head situated between the erase and with the '/ -track replay head. My first reaction
although only the higher or lower two speeds can record heads for the replay of 2 -track recordings to these marks was, however, that they were
be operative at any one time. Conversion made on a 3/4 in 4 -track machine. This will be referring to the actual positions of the heads with
between the two sets of speeds is done by an most useful in any environment where you may relation to the tape in the splicing block although
internal switch and although I didn't attempt handle a mix of formats. Selection of replay this is not the case. I have a preference for
this, it would appear to be fairly simple. I was heads is operative by a slide switch situated atthe working in front of the heads rather than on the
mainly concerned with the use of the machine for rear of the headblock under the hinged cover. headblock above them when editing. I think this
mastering and copying and so it was left to run at Although this switch is clearly marked for is rather better practice with regard to tape
71/2/15 in /s. function, there is perhaps a case for some front safety although this is of course a matter of
The deck will handle up to 10'/. in NAB reels panel indication of the selected head for replay. personal choice. The integral block would be
which will hang over the top and sides of the There are three fixed guides within the useful for those times when you have to record
74 STUDIO SOUND, SEPTEMBER 1983
 reviews
remotely and realise that you need to edit but point, the display starts to increase in time but illumination of a green LED. All the switches
have left the editing block back at the studio
not the best of times to try and learn to edit with
- with a minus prefix.
The tape transport controls are large push-
mentioned so far have side guards to them and
this obviously reduces the chances of knocking
scissors again. button types with a positive action and a travel of them. To the other side of this panel are the
To the left of the headblock is the tape timer about Vs in. From the left hand side, the power straight transport controls for play, rewind,
giving an elapsed time reading up to a maximum on/off button comes first with the only power on forward wind, stop and record. All the controls
figure of 9 hr 59 min 59 sin a very readable I/2 in indication being the illumination of VU meters have full logic and the transport is very stable
digital display. The reset button to the right of and the two yellow LEDs that will be covered with very little chance of actually making the
the display returns the reading to zero and the later. Next to this comes the speed switch and the transport throw a loop. Removing the mains
memory button to the right will stop the reel size tension switch. The edit button which power in fast wind or play brings the tape gently
transport when the display reads zero in the follows, removes the power from the take -up reel to rest with the lifters remaining out.
rewind mode. The display is `intelligent' in that and is used when dumping tape after editing. There is a varispeed control situated just above
when travelling away from and below the zero Indication of this mode is given by the the headblock. This control will give a range of
+7% of the selected speed on a rotary pot. The
mode is engaged by pulling out the knob which
illuminates a nearby red LED. The varispeed can
be used in both record and replay modes so a
little care should be taken in some circum-
stances- masters recorded at 16'/s in/s are not a
Quad -Eight Net 'it al,rl Cuslun popular commodity. The only criticism I have is
c .nud,, Alh,vl 1111( hak theatre.
the fact that when the varispeed is engaged, it is
umi sal Sit r11( n.
useful to know what the normal speed is so that it
h

becomes easier to move up or down in speed

from that point -either an indent in the pot
travel or some form of marking on the knob cap
and surround. The MX5050B2 unfortunately has
none of these and there is no way of judging the
speed selected on the control. This also makes
repetition of varispeed settings difficult.
Entering the record mode is by pressing the
record button as or after play has been selected.
The record mode can be entered even without the
record ready position being selected. This means
that drop-ins can be made with just one button
the record ready. Although a useful feature, I
-
cannot think that it will be very often used on a
2 -track machine although it certainly would on a
multitrack. Before the record mode is selected,
selection of the record ready button causes the
record LED positioned near the record button,
to flash. When the record mode is entered, the
illumination is continuous.
Electronics
iatï/iiïí iïiin The electronics control panel is below the
transport controls. To the left hand side are two
large dual concentric input level controls, one
each for left and right channels with the centre
knob being for the mic input level and the outer
for line input level. Below the left hand channel
control is a pair of orange latching pushbuttons
and these are the record ready switches for each
channel. The record mode can be entered
'ss without these being selected but no actual
recording takes place until one or both of these

u
are selected (see previous paragraph). When
engaged, a red LED above the switch illuminates
as does the record LED in a flashing mode as
I previously described.
The Iiìeage of the To the right of these buttons is another pair in
w black, labelled `Sep -Rep' with green indicator
248 Component Series LEDs. Selecting one of these, switches the
Q includes the largest and monitor on that channel to the record head to
most sophisticated audio allow sync monitoring should you wish to record
consoles in the world. 248 -
on the other channel in sync. As you can see this
is a proper 2 -track recorder.
a manLfactured console with Metering is with a pair of good sized VU
custom capabilities and an
uncompromised heritage
Quad-Eight quality and
- meters which are well illuminated and easy to
read. Within the meter housing is a peak reading
LED that fires when the standard level is
exceeded by 9 dB. In this case standard level is
experience! 185 nWb /m at 700 Hz and so a reading of 9 dB
over this will be 520 nWb /m. The firing point
Quad /eight electronics may be adjusted.
To the right of the meters is another dual
11929 Vose Street, North Hollywood, California 91605 concentric knob for output level. The left
channel is the outer control and the right, the
Telephone: 213- 764 -L 16 Telex: 662-446 QUADFATHER LSA
76
75
 review/
inner. Just below this knob is a semi -recessed 50 Hz to 15 kHz within ±1 dB at 15 in /s which I full speed and then play, etc, over a complete
slide switch that enables selection of the SRL, consider to be pretty good for a machine of this 10' in reel, then returning to the same counter
standard reference level and this deactivates the price range. The alignment also held despite position revealed an error in tape position of
output level control knobs. In the SRL position, being moved around and the occasional tweak about 4 in-who could ask for more? Fast wind
the output level is determined by the position of was sufficient to hold it in over the space of a was quite fast enough with the speed appearing
the record level switch on the back panel which I month. to reach a maximum and then stabilise at that
will come to later. Indication is provided by a red The record electronics are quiet and the overall speed. This gives a fast wind time of 105 s with
LED. As the switch is recessed there is little performance of the electronics with Ampex 456 Ampex 456 for a 101/2 in reel. With this tape and
chance of entering this mode by accident. was quite satisfactory. Operation at 7'/ in /s was a selection of others, the wind quality could only
Below this are a pair of yellow latching also good although I only use this for copying be described as average but this is a common
pushbuttons for monitor source select-line in or and this it did quite well enough for any problem with machines in this price range.
line out. With the output controls in the normal application.
mode (not SRL) it took a little getting used to to
find the levels set with the output controls were
The transport is reliable and dependable -
there was no trouble over the six weeks that I had
Conclusions
As I began the last section by saying, it is very
the ones displayed upon the meters rather the the machine. It was very quick to start and hard to make judgements about tape machines in
meters being independent and reading a set -off `almost instantaneous' in reaching correct speed at this price bracket as there must be some
tape level. To the left of these switches are all reel positions. There were two minor points compromises somewhere in the machine at that
another pair of switches that select kHz and
1 that were a little annoying -the transport is a price. It really has to be judged as to whether any
10 kHz from the internal test oscillator. These little clanky although this is not unusual for a shortcomings on the machine in comparison to
tones are automatically fed to the line input when machine in this price range. By this I mean that fully fledged studio machines, will be to the great
the switch is selected. when pushing play, the noise of the capstan and detriment of the application and quality of
There then follows a stereo headphone jack, pinchwheel engaging meant that it would be recordings made on it. In the case of the
and alignment controls with holes in the front difficult to record in that same room if instant MX5050B2 I have used this tape machine as 1
panel allowing screwdriver adjustment of presets starts were required-the noise of the start would would any other and have not made any
for record bias, high and low record EQ and be recorded. The second point is that on the test allowances in operation. I have listed all the
record level. machine the capstan made a slight acoustic hum problems I found and I tend to think that when
The only items not covered on the front panel when powered up and this would also make the they are cross referenced to the price of the
so far are the LEDs for the rear panel selectors. recording within the close proximity of the machine there is very little to justifiably criticise.
machine difficult. These of course are only The MX5050B2 has many very good
Rear panel problems if you should have to use the machine features -the second replay head, the switchable
The rear panel contains the usual rear panel within these close conditions and also tend to be levels, the mic attenuation facility, the easy
fittings in this case being IEC mains lead socket, present in other machines of equally well known access to alignment controls, the easy tape
grounding post, a multiway socket for con- brands to greater and lesser degrees. threading and editing, the sensible design
nection of the remote control box, XLR -type The counter accuracy is very good with throughout and the overall `good feel,' etc. In
sockets for line input and line output both being discrepancies of only about 2 s over a complete short a recommendable machine at a good price
balanced, a separate mic input XLR socket also reel in the play mode. If you give the machine a that will find useful applications in a whole host
balanced and below these, four slide switches. very hard time, ie fast wind, reverse direction to of areas. Keith Spencer -Allen
From the left, we begin with the 2- position
output level switch which will set the previously
mentioned SRL output to either the +4 dBm or
10 dBm levels. Next to this is an equalisation
switch to select NAB or IEC operation. The
selected EQ is displayed on the front panel by a
pair of LEDs.
The third switch is for record level selection
and it offers three positions low, medium and
high being referenced to 185, 250 and
320 nWb /m respectively. The handbook gives
further details about relative dB levels and
corresponding test tape reference levels as well as
which tapes are more suited for the different
levels. The selected position is also displayed on
the front panel LEDs. The final switch is the mic
input attenuator. This is a 3- position switch
giving 0 dB attenuation on the 70 dBm
SERIES 4301
minimum input sensitivity, 20 dB attenuation ACTIVE EQUALIZERS
and an off position with mic input shorted to
ground. 116 Octave offers TWICE as much TUNING problems tend to rise in frequency. Models
RESOLUTION as 1/3 Octave. 4310 and 4311 offer 29, 1/6 Octave Bands
Remote control Our 118 Octave Equalizers are COST - from 180 Hz through 4.5 kHz plus 12, 1/3
The supplied remote control CR -705A is not EFFECTIVE HYBRIDS of 116 Octave and Octave bands from 31.5 Hz through 160 Hz
broader bandwidth filters, typically 1/3 and 5000 Hz through 10 kHz.
standard but an optional extra. It is connected to Octave. The DOUBLE RESOLUTION is con- We have a 1/6 Octave equalizer OPTIMIZED
the rear of the tape machine by a captive centrated where you need it the most for FOR SPEECH. The Model 4240 concen-
multiway cable of approximately 14 ft. It is your tuning application. trates DOUBLE RESOLUTION in the
housed in a black box with brushed aluminium Recording Studio Control Rooms and SPEECH INTELLIGIBILITY band with
other Small Volume Rooms tend to have broader bandwidth filters to trim either
top panel and ends. It has four feet underneath more acoustic problems below 1000 Hz side.
and enough bulk to prevent it sliding around than above. Models 4301 and 4303 offer 28, Quick and efficient installation of these
under the weight of the cable. Functions are 1/6 Octave bands from 40 Hz through 900 new equalizers is made possible by the
fairly standard with record, play, stop, rewind, Hz plus 13, 1/3 Octave bands from 1000 Hz MODEL 200 SIGNAL ANALYZER which
through 16 kHz. features inexpensive, field plug -in,
forward wind with a red LED over the record As the volume of rooms increase to Audi- INTERCHANGABLE FILTER SETS.
button. torium or Gymnasium sizes, the acoustic Call or write us for all the details.

In use ONE SIXTH OCTAVE REALTIME ANALYZERS AVAILABLE

It is difficult to know how much to expect from a instruments, & Western Europe
tape machine in the price range of the Otari incorporated Distribution in U.K.
SCENIC SOUNDS EQUIPMENT
MX5050B2. Using Ampex alignment tapes and 698 AUSTIN TEXAS 78767
P.O. Box
the NAB equalisation setting, 1 was able to PHONE AREA 512/892 -0752 97 -99 Dean St., London W1 Tel: 734 -2812
achieve a very flat frequency response from TELEX: 776409. WHITE INST. AUS.

76 STUDIO SOUND, SEPTEMBER 1983

 A Sound Investment for
Video and Broadcasting
* General purpose stereo or * Two large illuminated VU's as standard
monomixer. (PPM's as option) on rear meter
* Fully modular bridge, which houses the
construction.
in
Cue Loudspeaker and
Range of modules for Broadcast 6 digit stopwatch/
Video or Film use. clock (hours -mins-
* Long throw plastic secs).
conductive faders
standard. 110 * Note: stereo
* Sweepable
Mid EQ/
M7 i1 Line
of Phono input
100Hz - 10KHz 1r modules are same
width - 45mm - as
standard. Line /Mic module.
* Adjustable peak l.e.d.
indicator on PPM and VU n-.eters.
* Transportable for mobile
* Three standard frame sizes use, or drop through mounting
12 -18 -24 module widths. for fixed installations.

The Chilton CM2 and CM4 audio mixing console

Magnetic Tapes Ltd, Chilton Works, Garden Road, Richmond, Surrey.
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EVERYTHING WE DO IS JUST THAT LIT -LE BIT BETTER

AKG
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comes to some interesting
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AKG C535 EB .. .
Here's an extract from the conclusion of a glowing report on our
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Musician lab test:-
"I am most impressed by this microphone, my favourite to date.
`

It offers the high performance specification demanded for studio

applications, with the robust and durable construction features
necessary for stage use. The C535 could very well break the long
held monopoly of dynamic microphones in fronting rock bands
and top solo artists on stage."
IY 'd like to see the C535 EB report, and details of I
Apart from a few abbreviations to fit this ad, that's what other AKG microphones.
the man said and if you want to see the full report which I Name
also praises the 'crisp, clean natural sound quality' and
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other superb condenser and dynamic microphones Tel: I
used by the world's top artists, studios and broad- I AKG Acoustics Ltd., 191 The Vale, London W3. Tel: 01 -749 2042 I
cast authorities.
77
 review/

Soundcraft 2400
multitrack
console Richard Elen

The Soundcraft 2400 console and the main (input) channels. Notable features of only can the mic input accept high levels from a
the console include three solo modes (PFL, AFL mic or DI box; it can also accept most line -level
SCM -762 24 -track tape machine inputs, such as synthesisers, directly into the
are available as a package, and `Solo -in- place') two of which are available
on the monitors as well as the main channels, XLR mic socket. This capability is utilised at
providing the studio owner with an basic EQ on the monitor channels, and the Cruchfield by means of a tie-line panel of XLRs
economical method of entering the ability to utilise the monitor panel as an extra 24 on the floor of the control room under the desk
24 -track recording market. The line -level inputs feeding the mix buss during input panel (which is on the rear underside of the
package is proving very popular, mixdown. The 2400 is based around three main console). Lines come in here both from the
and Richard Elen's evaluation of types of module: input; monitor; and master. studio and from a dozen or so lines terminating
the 2400 is based on several The stereo mix buss is independent of the track in XLR and 1/4 in jack sockets on panels on the
months' use of such a system. In busses and normally feeds the monitor speakers rear wall of the studio, where two shelves carry a
common with all our User Reports, as well as the stereo mastering machines. This large number of synthesisers. These can thus be
means that at any point in the recording process plugged into the console directly via XLR
this article concentrates on a monitor mix can be dumped on tape without patchcords between the tie -line box and the
operational matters and does not replugging or reconfiguring the console. A semi - console inputs. We have yet to suffer any
attempt to include objective programmable dual mute system is fitted which problems of excessive level which cannot be
measurements: it is intended as a enables two groups of user -selectable main handled by the mic amp gain structure controls.
guide to people looking for this channels to be muted by pressing one of two Under the mic gain control is a line trim pot
kind of console, and should be master mute buttons. A comprehensive patchbay calibrated from 10 through 0 to +20 dB,
considered along with technical is incorporated in the right -hand side of the controlling the line input gain, this input
information supplied by the console and allows access to most points in the appearing on the patchfield, and normalled to
manufacturer and technical console audio path with the exception of the mic the 24 -track returns for mixing. Beneath the
amps. Insert points are provided in the main mic /line switch is a phase button which acts on
reviews where available. The -a
Soundcraft multitrack machine
has been reviewed by Hugh Ford
channels, the groups and the stereo mix buss.

Input channel
both mic and line inputs useful feature.
--
Beneath the input section is a highpass filter
again with 41- position detented potentiometer
previously, in the January 1982 Fig 1 shOws the layout of the standard input actuated by a pushbutton. The knob cap is
issue of Studio Sound. The module. The majority of functions are actuated orange for easy identification, and the HPF has a
console under evaluation in this by white engraved pushbuttons which are quite 12 dB /octave characteristic variable between 50
article is that installed at Nuptown closely packed in the routing section but are still and 800 Hz. There have been few occasions
Studios, Cruchfield Manor, easy to locate. Due to cost considerations, few of where I have wished for an LPF here in addition,
Berkshire. The system has been in these buttons have LED indicators. and the HPF is very effective for removing hum
The input to the channel is derived either from components in nasty guitar amps, and tidying up
use for about a year. a mic amp or from a line input (normalled to the bass drums (in conjunction with EQ) when no
24 -track returns) and is selected by means of a amount of mic technique, tuning or damping
THE Soundcraft 24-track package is designed pushbutton marked 'LI'. Above this is the mic appears to do the trick.
to offer a cost -effective upgrade or entry to amp control section. At the top is a phantom This brings us to the main equaliser section,
24 -track recording, and is aimed at the budget
conscious smaller studio. The 2400 console is
- power pushbutton which supplies 48 V standard
to the XLR mic input socket. Below this is a
which has four areas of control, in the form of
HF, two mids and LF. A pushbutton selects 8 or
available in a number of forms, with or without 30 dB pad button which operates only on the mic 16 kHz at the HF end, with ±15 dB of control
automation and with different metering input. After this is a gain control, consisting of a available on a centre-detent pot. There are times
options -the model under evaluation is based on 41- detent pot (a type used extensively on this where I have found the 8 kHz setting too low and
a 28 -input frame with 24 -track monitoring and board) which gives a positive and repeatable the 16 kHz too high, and I have wished that the
analogue VU metering with +8 dB LED peak control setting of the input gain between 70 HF end offered 10 kHz instead of 8, but this is a
indication on all tracks plus stereo mix buss. The and 30 dB sensitivity. The detent system is very minor consideration. The 16 kHz
Cruchfield unit is fitted with 24 out of the very useful in defining a specific control capability, on the other hand, is a great idea and
especially good for vocals. The range of control
possible 28 input modules.

Console
position, but the detents do not always
correspond exactly to the marked calibrations
however, the knobs are of the collet type and are
- is good; 15 dB is enough for anybody, and I
have never used all 15 dB at once, in either
The 2400 is a fully- modular recording console of thus easily readjusted if this is the case. The direction, but despite this wide range, the control
the split -group ('European') type in which the combination of mic gain and pad gives a useful is very smooth and subtle nuances of HF EQ are
group faders and monitors are separated from 70 dB range of control which means that not 80
78 STUDIO SOUND, SEPTEMBER 1983
 chalien9
été
elcom ReCOYøes
0ssionaI gital
telcom c4DMdigital
challenges
professional offer
systems to
record' ng
for the same price:range,
Half the dynamic
Servicabilit',
comparable
Similar standardisation
interchang
least
Last but not of natural
tural
telcon quality
sound. analogue
Take (twórack or multi-
(two c4DM
track, addto
track),
and listen
telcon c4DM th
s
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Audio +Design
Marketing OMNI

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Audio E Design Marketing is a division of Audio & Design (Recording) Ltd. Lindener Str. 15 D-3340 Wolfenbüttel
16 Nomi Street, Reading RG1 7DA Tel: Reading (0734) 53411
Telex: S48J!2 Grams SCAMP, READING
Phone (05331 ) 83 -1 Telex 95651 ant d

7g
 FIG. 1
O
.18V
review/
well possible. The sound of this section is very and 2, and 3 and 4, may be switched from post -
clean and crisp in the positive direction, with no fader to prefade with 'pre' buttons. 5 and 6 are
noticeable side -effects, and has a predictable always postfade, but may be placed post -panpot
effect in cut mode. It has a shelving characteristic (for stereo cans or effects) by pressing an STE
s as one would expect.
The mid controls are in the form of a 4I-detent
(stereo) button. All six sends may be activated
(or turned off) with a 'Cues On button'. This all
frequency pot and a centre -detent amplitude represents a very flexible aux send capability.
control, the former with orange cap and the The level controls are all 41-decent pots again,
latter with black for easy recognition, a useful and are calibrated to 10. They feed aux master
1

feature of all the EQ sections on the desk. level knobs on the Master Module, and on that
Similarly, input level controls are red -capped and module there are also useful alternative
aux sends are blue or green. The two mid EQ headphone source selection buttons.
sections have the same characteristics -15 dB The routing matrix consists of 24 group /track
boost or cut over a range of frequencies -the routing pushbuttons in line down the side of the
high -mid offering 600 Hz to 10 kHz and the low - module, plus a 'mix' button which routes the
mid giving 150 Hz to 2.4 kHz. The Q of these signal to the stereo mix /monitor buss. Any
sections is apparently 1.5, giving a useful bell - number of these buttons can be on
curve characteristic which is fine for normal simultaneously. In addition, a centre-detent
applications. 1 tend to belong to the 'get the panpot may be brought into action by pressing a
input sounding right rather than EQ it' school of `pan' button. This enables left /right panning
sound manipulation, so I tend not to use the full across the mix buss as you would expect, plus
capabilities of this equaliser: however, when panning between odd and even groups, with a
need them, they are there and do their job very 'compromise' law midway between constant
well. The mid EQ sections are again very smooth power (3 dB down at centre) and constant
in action and sound and the centre -decent voltage (6 dB down) which gives good stereo
amplitude controls make zeroing the desk after a width plus good stereo/mono compatability.
session very easy. Confronted with all these pushbuttons brings
The LF section is switchable between 60 Hz to light one minor problem with the 2400:
and 120 Hz -a useful combination. Again, a although one can appreciate the cost-
centre-detent ±15 dB control is fitted, with effectiveness of leaving all these buttons without
shelving characteristic. The bass end of the EQ is LED or other indicators, it is unfortunately
enhanced by using it in conjunction with the rather too easy to leave a button pressed without
HPF- perhaps they should have been mounted noticing. Often the results of this are non-
together ergonomically speaking, but this would destructive and easily noticed -for example
play havoc with neat PCB layouts! The track 15's meter waving in time with the snare
combination gives a great deal of flexibility. drum when recording basic tracks -but on other
The EQ section is rounded off with an EQ occasions it could result in inadvertent mixing of
m in /out pushbutton. The equaliser contributes a unwanted signals on to a wanted one. Obviously,
great deal to the overall `sound' of the console. standard -size `Schadow' -style self- indicating
With all amplitude controls set to zero, there is buttons would take up too much room on this
no difference whatever in the position of the EQ module (Trident use them on the Series 80 and
in /out switch: the EQ itself, however, imparts a thus avoid this problem) but I wonder if there are
specific sound to the console. This is not a bad more compact self- indicating switches which
thing at all, but it does mean that the 2400 has a would fit the space without costing as much as
specific sound which you will either like or not. It LEDs next to every routing button. I would like
does not, perhaps, have the smooth 'warmth' of to see indication on the mic /line switch, HPF
a Harrison EQ section, but it lends a tight, in /out, EQ in /out, routing and pan buttons to
commercial sound to the board which is very avoid potential embarrassment. Perhaps
appropriate for modern music. Indeed, the terms Soundcraft should look into this. A cheaper
`tight', 'clean', and 'punchy' rather sum up the solution might be to colour the sides of the
o sound of the 2400 -this can be no bad thing. But existing buttons in a bright, contrasting colour to
there is no doubt that the 2400 is capable of very indicate when they are not pressed. Any
smooth, pleasant sounds when it is required to thoughts, O Soundcraft?
manifest them. Next to the pan button is a solo button and
Next we find the cue sends. There are six of below it, one marked SFE and 'solo safe'. These
them, numbered, surprisingly enough, to 6, 1 control the highly- flexbile solo /PFL/AFL setup
and grouped in colour -coded pairs. Both pairs 1 82

PPM520 PIN DUAL IN LINE HYBRID

Vcc 8.5V -35V at 3mA

Only signal level and meter tolerance presets
required. Mother Board 1, MB1
MB2: Bal input. MB3: Bal input, overload
LED flasher to IBA specification

SURREY ELECTRONICS LTD.

The Forge, Lucks Green, Cranleigh, Surrey
GU6 7BG. Tel. 0483 275 997
O
80 STUDIO SOUND, SEPTEMBER 1983
Eighth A 1_ AKG AS
,.:,.

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UMD SBES
ThEY RË
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An informal Shove
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in Birmingham. Details from:
broadcast sound
Audio & Design
(Recording)
Ltd.,
Audio +Design
16 North Street, Reading, Berks. RG 7DA 1

The AKG
LSM 50's
SMPTE READING CLOCK SMPTE READING CLOCK
These mini -monitors, designed and built to
SMPTE
AKG's exacting engineering standards, can
SYNCHRONISES ANY DRUM COMPUTERS
AND SEQUENZE RS TO SMPTE CODE be used for monitoring, reference and
REMEMBERS START AND CUES comparison, mix down or as extension
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CPU: 1 SMPTE code writer /reader ±1 octave 2 FREE MODUS working on
internal clock or clockinputs (see modules) 3 TEMPO 30 255 BPM, step 1 chalk u p °aa
/\& tie °' e;
4 START TIME setable in hrs /min /sec /frs 5 CUE POINT setable in smpte
6 DROP IN CUE -BOTTON with METRONOME FLASHER for online cue another /,,96,4( any
setting; press and all outputs will be enablec on the next metronome beat
and cue time will be stored! 7 UPDATE for printing and shifting cue point success! /e,C%,eae
MODULES:CLOCK 8 PULSE 0.3 ms -*square 9 VOLTAGE SWING
0 -* *15V 10 cuts neg. voltage 11 first edge high or low 12 enable high or
low 13 patch for the SRC clock delay 14 CLOCK -COUNTER. 4, 6, 8, 12,
16, 24. 32, 48, 64, 96, 128, 192, 256, 384, 512, 768 P eae
DE LAY clock delay -*64 ms ± any frames alows also to sync ahead
1

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81
FIG. 2 o
reviews
on the 2400, and they are used with two buttons unnecessary. They aren't! In fact, both are very
on the Master Module, mono /stereo and SIP useful. If you are used to PPMs but are OK with
('solo-in- place'). Pressing the mono button VUs, the meter LEDs can be treated just like you
moves the solo monitoring point from stereo would a peak- reading meter: they are very
solo /AFL to PFL. Neither affect the signals reliable. The channel peak LED indicates a level
-0. passing through the desk-you just hear the 4 dB below clipping at the post -EQ, pre -fader
/-0
,{(
1
signal. The manual points out, however, that point in the audio path. It stays on long enough
12
IS -15d8 1B 15áB
12
...the signal heard will not necessarily be at the to catch anything which might indicate a
same level as in the mix' -this generally seems to problem with the gain structure after heavy EQ,
mean 'very loud' but that is due to my nasty or whatever, and is almost as good as a meter at
habit of allowing the master fader to creep down that point. It is also quite large and obvious.
during overdubs. The SIP button brings in the These peak LEDs do, however, have a slight
third mode, which as it suggests, mutes all other 'hysteresis' effect: if one comes on and you turn
channels when the solo button on the channel is the input gain down until it goes out, you can
pressed. This does interrupt your stereo output, then turn it up again before it comes on. The
and the manual rightly describes it as a final point where the light doesn't quite come on
'potentially dangerous mode'. However, the will be below the initial level, but above the level
channel `solo safe' button will ensure that you first turned it down to. This may be due to
channels with this button pressed are not muted the circuitry used to hold the LED on after a
by solo -in- place. As a result, you can listen 'in brief peak, and is soon come to terms with.
place' to a sound from a channel, and keep the Finally we come to the audio fader: a
< ? B
3
4 ? 6
echo returns there as well, if you 'solo safe' conductive plastic, long -throw type offering both
B 2 B

9 I
them. This is a very useful function and a a high level of attenuation at infinity and a good
5 5 POST
welcome bell and /or whistle on an otherwise no- scale- expansion in the working area (it says in the
B 2
I
nonsense board. manual) and it does just that. It is as good as any
0 i0
9 1

D 10
Just above the fader are three buttons, 'A', 'B' you will find on other consoles and is almost
CON
UES COUES
NE
and 'Channel On'. The last is obvious and, lo certainly identical!
and behold, it has a little green LED to tell you
SIERÉOE¡ SIERÉr E its status. This is really necessary here, as solo or Group /monitor module
0 1 Q PAN
This module is shown in Fig 2. Each group/
1 1

D
2
programmable muting modes may well
contradict the button position. The A and B monitor module handles two tracks and offers a
LE
buttons are used in conjunction with Master wide degree of flexibility. At the top is a simple,
Mute A and B buttons on the master module. but effective 3 -band equaliser, again with orange
When one is pressed on a number of channels, and black -coded knob caps and EQ button, and
they will be muted -and the 'on' LED will go offers ±15 dB at 12 kHz; ±15 dB at 300 Hz
out-when the appropriate Master Mute button through 5 kHz; and ±15 dB at 60 Hz. This is
is pressed. These are invaluable for bringing in particularly useful when the monitor channels
the brass section at the right time, losing that (via 'monitor in' sockets on the patchbay) are
nasty clang on the drum tracks at the end of the used as extra line inputs during mixdown. As this
number, or dropping out everything except the particular console has only 24 out of a possible
rhythm section in that middle bit where all the 28 input channels fitted, this facility is
Simmons fills with multiple repeats and loud invaluable. Then there are six sends, (the same
echoed handclaps are-and bringing everything six as on the input channels, of course), this time
back in again afterwards, with no unpleasant 1 and 2 being permanently prefade and 3 and 4
bending (or roadies all over the desk). The switchable pre /post, 5 and 6 are always postfade
master mutes are in the middle of the board, too, but may be switched into stereo as before. A
so producers don't get to fiddle with them (watch 'Cues on' button is also fitted.
N1NTLo
oso 0 they don't press A or B on a channel instead of The monitor section itself allows the
solo, though). Two such programmable muting monitoring of either group outputs or tape
systems are just the right number -enough returns. A pan button is permanently in- circuit:
without being too complicated to remember below this is a 'monitor on' button which does
which is which -and are the next best things to just that. Then there is a rather interesting button
VCA groups when you don't have any. called 'CPO' (cues and pan to group). This
Also in this area is a peak LED. When I first removes the pan and aux send controls from the
played with this console, I thought that these
and the +8 dB LEDs on the meters -were a bit
- monitor path. Odd numbered monitors route to
84

STEREO MICROPHONE AMPLIFIER

50 or 200 Ohm balanced microphones to balanced lines

'Variety of low frequency characteristics for improving

the clarity of recordings

'Inputs filtered against radio interference

'Complete boxed unit or double mumetal screened

amplifier module alone

SURREY ELECTRONICS LTD, The Forge, Lucks Green, Cranleigh, Surrey GU6 7BG
Tel. 0483 275997
o
82 STUDIO SOUND, SEPTEMBER 1983
 T ze first consideration
for every senous music listener?
The performance of a address of your nearest Quad
Quad music system is readily authorised dealer, write or
apparent to anybody prepared telephone
to listen.
Quad Electroacoustics Ltd.,
There is no substitute for Huntingdon, Cambs.,
a good demonstration by a
PE18 7DB England.
competent retailer. Telephone: (0480) 52561
To find the name and

QUAD
for the closest approach
lotheoriginalsound
QUAD ,.

83
FIG. 3
O

reviews
the left of the mix and even ones to the right. listen to several at once -just as well, really.
When the 'SUB' button is pressed, the group Above this section is a button which selects
signal is routed direct to the stereo mix, in secondary monitors: this is also invaluable.
addition to its patchbay destination. Odd groups Down the left of the module are the six aux
go left and even ones right in the stereo mix. master pots, each of which has a solo button and
R-
SPKALT
When both CPG and SUB are pressed, however, adjacent red LED indicator. In mono mode,
SOURCE the pan controls enable the groups to be panned these will be heard on the monitors in the centre;
0-
FORCE

across the stereo. This is a neat way of enabling in stereo, odd numbers go left and evens, right.
subgrouping on a mix. It is a very useful function A useful means of checking the headphone or
indeed. It uses none of the precious input effects sends.
channels for returning the groups. Below the monitor source selection buttons is
The `Tape Return' button enables listening off the studio playback level control and switching.
tape or from the group (down or up respectively) This is independent of the talkback lines and has
ON during overdubs and the like. When a tape track an on /off button. Its source is that selected on
is in `ready' on many machines (including the the monitor source selection panel.
Soundcraft) the input signal is routed back Halfway down the module on the right is the
through the machine in all modes but play; thus master control room monitor level control, with
this button must be used in the 'up' (group listen) associated 20 dB `dim' and mono check buttons.
position if you wish to rehearse something prior The mix buss metering is derived from the input
to recording it. When recording, of course, the to the volume control here, and thus any signal
button can be in either position as the tape that is heard on the monitors is also metered on
machine passes line in through on record. I am the main mix buss VUs: whether that source is a
continually forgetting this and wondering why I tape machine, the mix, or a solo selection (the
can't hear anything coming in to the track on latter over -riding the monitor source selection).
replay: I hope other engineers are equally thick Thus aux send levels, for instance, can be
and that I am not alone. (Nothing to do with metered easily.
Soundcraft that -just addled brain!) Beneath this, comprehensive comms facilities
The monitor solo button acts in much the same are marked off for easy location. Three buttons
way as on the input channels: there is no SIP select talkback to Aux l -2, 3 -4 and 5 -6 and may
function, though, and if the SIP master button is be combined if desired. A mic level control with
down, the monitor solo doesn't do anything. adjacent flush-mounted electret insert provides
Fader Reverse is a really useful function. The engineers with chatting facilities. Beneath this
monitor faders are halfway up the board and are are three buttons: Slate; Communication; and
of the short -throw, carbon variety. They work Talkback. Slate routes talkback signal plus a
fine, and are quite smooth, but it is often nice to 30 Hz tone to all the groups, and dims the
have the big, conductive plastic group faders on monitors when pressed. Comm sends the TB
the monitor mix. This button swaps the little signal to the Aux sends selected and dims the
monitor with the big, red -knobbed group faders monitors, while Talkback sends the TB signal to
(which are in the normal place) and enables you the studio playback speakers (independent of
to use the little faders as groups. This suits me their level control) and also dims the monitors.
fine, and my usual first activity in the studio is to The lineup oscillator, bottom left, has two
caiuArnN
CSn60N° 1 press all the `FDR' buttons and send tone to the ranges selected by pushbutton and covering 45 to
groups, lining up the little faders so that all the 900 Hz and 700 Hz to 15 kHz. It may be routed
track meters read zero. They then stay there to groups and/or aux sends and has a level
untouched except on the rare occasions when I control (41- position pot again) and on /off
have a complex balance to record and I need a lot button. It is very stable and exceptionally useful
of throw on the group fader(s) when I will for lining up all parts of the system.
reverse them again. Most of the time, though, I The solo and muting buttons are also
don't even move the group faders and use them comprehensive and have been partially described
as unity -gain mixes. If I'm recording timecode or previously. A comparitively large bulb indicates
MC-4 Microcomposer /LinnDrum data on track that something, somewhere, is soloed, and
24 (ie as far out of the way as possible) I usually adjacent are the mono /stereo solo and SIP
patch the code into group insert return and buttons already covered. Here also are the A and
adjust it with the small fader so as to go through B muting system masters.
as little console as possible. At the bottom of the channel is a standard
The Group Solo button is similar to the high -quality stereo fader which controls the mix
monitor solo, except that it picks up pre or post buss level.
the group fader, and when SUB or SUB and
CPG modes are selected, the solo is in the correct Summary
stereo position. This console is exceptionally flexible, cost -
effective and it sounds very good indeed. Noise
Master Module and headroom characteristics are excellent and
This module (Fig 3) contains all the master level the 2400 is well suited to a wide range of
controls for Aux sends, headphones, monitor - recording activities. The ability to use the
ing...you name it, plus comms facilities and the monitors as extra inputs to the mix buss is an
Ï like and a lineup oscillator. important and useful feature. The separate PSU
At the top are two headphone control knobs is quiet and introduces no untoward sounds
which allow control of either two mono or one either acoustic or electrical, and is well -shielded
stereo headphone drives from the desk according to avoid pickup. At Cruchfield, the monitor amp
to the headphone source selector panel. Sources is just above it and no pickup problems occur.
are selected on pushbuttons: the top, blank one While one might wish for more clear indication
sends from the mix buss, while the others select of the status of some of the pushbuttons on the
the three pairs of aux sends. Next to these 2400, it is likely that such modifications would
buttons are the monitor source selection increase the cost of the board out of all
pushbuttons which allow monitoring of either proportion to their usefulness. Overall, a very
one of three stereo machines (good!) or the mix impressive console which is a pleasure to use.
O buss. The buttons interlock so that you can't

84 STUDIO SOUND, SEPTEMBER 1983

 The DMX 15 -806, now
more than ever the
unbeatable digital audio
processing package.
Dual channels of delay
with stereo de- giitchei
pitch changers and up to
33 secs. of full 18kHz
band width delay.
Unique audio sampling
and bop editing facilit=y
complete with audio
trigger.

You can spend les or you

can spend more, but you
can't buy better. Take
the first step to success
yourself by booking a
demonstration now.

England: Advanced Musk Systems Anatratio A.M.S. (hrti) Pty Ltd Sydney France lazare Eqpt Paris
Tel. (0282) 36943 Switzerland ABQ Lurid' W. Germany Ehnus GmbH _ Berlin
U.S.A. Harris Sound (Lo. Angeles) Norway Pro Technic A..S Oslo Italy Professional Eqpt. _ Milan
Tel. (213) 469 3530 Canada Octopus Audio Toronto Denmark SLT -2openhagen
Audio & Design North West) Japan Continental Far East Inc Tok u Holland Audio Script l.00sdrecht
Tel. (206) 275 5009 Spain Singleton Prodi.ctions.. Barcelona Sweden Soundaade Solna
Trident (North East) Haig Kong Audio Consultants Kowloon New Zealand Video Auckland
Tel. (203) 357 83]7

ROOM AT THE TOP!

NEW PENTHOUSES AVAILABLE FOR IMMEDIATE OCCUPANCY.
Rank Strand Sound's famous MMS I modular mixers are now Typical occupants of the Penthouses
also available in a new `penthouse' version main frame to could include LED meters, oscillators,
echo return inputs. filters, compressor/
house an additional row of modules. limiters and 3 way sub -mix modules.
This extra flexibility enables us to custom -build your
mixer to an even greater degree, combining modules from our
wide range in the ideal To find out more about this well equipped
configuration for y:ur live accommodation, pl=ase complete and
sound or studio application. return the coupon.

Rank Strand Sound

sr»', P.O. box 51, Great West Road,
Brentford, Middlesex TW8 9HR
Tel: 01 -568 9222
Telex: 27976

Please send full detaiLs of tige :.ew Penthouses and other Rank S :rand Sound mixers
NAME
AEMESS

85
 AVA TABLE
OW
I38mmx2l6mm 138mmx216mm
800 pages 702pages
Casebound Casebound
ISBN 0-86296 -016 -9 ISBN 0- 86296.017 -7
ISSN 0261.1910 ISSN 0260 -8537
0251550 net £25$50 net

The Video Yearbook now in its seventh edition continues to The Pro -Audio Yearbook is an annual guide to products
be the most authoritative source book for the video industry and services for engineers and technicians operating in the
as a whole, and has been completely updated and revised. world of professional recording and sound broadcasting
The Video Yearbook is divided into two parts. The first around the world.
covering the complete spectrum of professional video Produced by the publishers of Studio Sound and Broadcast
equipment ranging from airborne video to videotext Sound magazines, the world's leading journals catering for
decoders, together with industry services including recording and broadcast studios, the Pro -Audio Yearbook
information on 400 video studios worldwide and details of crams sixteen years of accumulated expertise and
more than 1,000 video dealers in 70 countries. Where knowledge of this field into one definitive reference source.
applicable all sections are profusely illustrated. The latter
section is a collection of invaluable indexes cross - The 1983/84 edition has been completely revised and
referencing over 8,000 separate entries which place a vast updated. There are now more than 8,000 separate entries
amount of information in an easily accessible format. with over 650 photographs. It also contains over 3,000
company listings of the Pro -audio and related industries
There are over 3,500 companies featured in this edition all throughout the world.
with full address details. This invaluable reference book is Studio Sounds Pro -Audio Yearbook is available now: The
available now. International reference source for recording and broadcast
sound industries.

.
. IN . . .... ...
copies Video Yearbook 1983/84
IN ...
Special Publications Group, Link House Magazines (Croydon) Ltd, Dingwall Avenue, Croydon CR9 2TA, United Kingdom

NMI

il
Please send me Name Address
IPlease send me copies Pro -Audio Yearbook 1983/84
(p £25 + £2p &p each or $50 + $10 airmail delivery
Ienclose a cheque /postal order/International money order
payable to Link House Magazines for the amount (please print)

. Or debit my credit card

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.
Signed
by simply ringing 01 -686 2599, Please allow 28 days delivery in Britain. extra overseas depending on country and
ext 213, quoting credit card No. delivery method.

IN sum ><, NE sum II

CAN YOU AFFORD
NOT TORFFORD
THIS CONSOLE?
The D & R series 8000 Consoles offer
all facilities required of a top -class non -
For further details please contact the manufacturer:
D & R Electronica b.v.
automated multitrack recording console. Chasséstraat 26 -1057 JE Amsterdam
And at a remarkable price. Holland -Tel.... 31.20183556
Telex 18503 dr nl or:
The result of more than ten years of
research and development with a Music Workshopen J.Isler CEM elettronica
special emphasis on cost- effective Stockholm -Sweden Zurich -Switzerland Va rallo -Italy
08- 430288 041 -1- 641444 0321 -95151
design engineering.
A.S.E. Mettler Audio Gorilla studios
Mechelen -Belgium Paris- France Wien- Austria
Incorporating 24 channel routing and 015- 421152 01- 8783641 0222- 930147
available with 24 or more in -line
Studio Spares Alpha records
channels and subsequent 24 + London -U.K. Kirchberg- W.Germany
monitor and effect return inputs, plus 01.485 4908 07354 -7449
the full sized patch bay, these consoles T.C. Electronic Audio service
are fully capable of driving any 16 or Aarhus -Denmark Hamburg-W. Germany
24 track recorder. 045 -6- 244288 040 -2207056

87
SEVEN HEADS ARE
BETTER THAN ONE.

CK 703

CK701 CK 707

CK 704

CK 702 CK 708

With the average compact, more convenient and

condenser micro- considerably more economic than
phone, any professional CK 706 a conventional system, every item
soundman with diverse re- in the MCM Series range is individually
quirements will probably be more last- available for the maximum ease of adaptability.
ingly impressed by its limitations than its But with over fifty years' experience in the refine-
capabilities. ment of audio technology, our standard of design and
Which is why we at BeyerDynamic manufacture has a considerable reputation to maintain.
designed our MCM Series con- Engineered around the most advanced components
denser microphones on a modular within a slim, functional casing, the MCM Series' crys-
principle. tal clear transient response and overall directional flex-
With only one powering module, ibility has established it throughout the country in top
you can interchange any of the studios and broadcasting corporations.
seven microphone capsules to cater Compare the MCM Series to any other system. What-
for every recording requirement ever your recording requirements, BeyerDynamic can
and condition. More put you in the right direction.

b
1 Clair Road, Haywards Heath, Sussex RH 16 3DP Tel: (0444) 451003
 Audio &Video Jackfields ^
00
0
*v0 0 0 0 0 0 o*'0 0 n0 0 "00 0 0 0c'
0
.
ppvvpuov"' vvno"p.
,

for Recording and

Broadcasting
Mosses and Mitchell are reccgnised as being the largest
manufacturer of Jacks and Jackfields ¡n the U.K. 0"4 4 v4 4'0
044 0 4 4*4 4 4 4 V.
We are approved suppliers tc the B.B.C., British Telecom, 444444444444:41444104'4044444*
-

the Pos Office, PyeT.V.r,PyoTelecommunications,

Merda Sound and many other major users.
We have a policy of continued design and technological ~
innovation and are now able b offer miniature type
Jacks and Jackfields which cn be supplied lied with
ONO

wire wrap terminals as an alte rnative to the t* tai

traditional solder terminals.

At our modern factory in Farn lam, Su
are equipped to offer a flexible manufacturing
service geared to meet your individual
specification and delivery requirements. -' ,

`
A/IM
Mosses & Mitchell Limited, Weydon Lane, Farnham, Surrey GU9 8QL
Telephone: Farnham 721236 (STD 0252) Telex: 858820

89
 OUT OF THE BLACKNESS
l
r CAME
/ `7.1 / 1JT .! * Paste braiding to prepare
* 11 High -visibility Colours I
* Tough, fl exible P.V.C. jacket
* Conductive thermo -plastic shielded
* For: Microphones, Data Transmission, etc.

* Available in 1 and 8 pairs,

. 7 j: -Y

UK
CONNECTROMCS WORLD DISTRIBUTORS

- KELSEY
CANTORD
ADAM HALL
TURNKEY
TEL
TEL
\
1016
089422 7171
0702 613292
01.202 4366
TLA

537792
995029
25769

'lJ,L}1 r other configurations to order -

SWEDEN BRINKS 161//600
* Conductive Thermo-plastic Shield HOLLAND -
AMPCO 30-433134 40096
a Fast Preparation Time I WEST GERMANY
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* Fully colour coded SOUTH AFRICA -
ELTRON (0111 293066 69416
high visibility colours JAPAN -
C.F.E. (031 5818451 J2 -2498
* fbr: Studios, Audio, TV, Control etc. . ;1',1!117,11 :!
AUSTRALIA -
A.M.S. 02 371 9009 23976
NEW ZEALAND %DEN - 444-6087 60835
CANADA -
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CONNECTRONICS CORP (2031 324-2%9 643678

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* High flexibility UJtJJ>ii * Conductive Thermo -plastic shielded
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* High Speed Assembly
* Many bright colours
* lix Guitars, keyboards,
/ 3
* For: P.A. Cable Systems ('Snakes')

MULUAAIR
effects, patching etc.
e Aluminium foil-shielded caviar
/ UADFLFil wrapped, melinex taped OTEER PRODUCTSAVAILABLE:

* High-flexibilty soft PVC jacket BINDER (JD SERIES SLR audn connectors
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a Conductive Thermo -plastic Shield Available in many configurations STAGE LINK SYSTEMS able assemblies
* High -speed preparation / 11!191,V,1! 1,6,11,15,19,27,31 and others on request. CUSTOM CABLE ASSEMBLY ask for details

+ Ihr: Audio sends and returns, Hi -Fi, * Ihr: Audio, Data, Control, Switching, AMtES VE TAPES positiomno woes 6 cades
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Installation etc.
UNITED KINGDOM a WORLD EXPORTS
Extra-low capacitance audio cable LIMITED
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Conncfronîcs
CONNECTRONICS
E Conductive Thermo -plastic Shield 20Victoria Road CONNECTRONICS CORPORATION
* High -speed preparation New Barnet Hertfordshire 652 Glrrbrook Road
EN4 OPT England Stamford CT.06906 U.S.A.
For: Audio, Hl -Fi, RIZ Mica, effects Telephone 01- 4493663/4044 Telephone- (203) 324 2889
racks patching etc. / Tele=. 8955127 EGAL G Tele =. 643678

IF YOU ARE NOT ALREADY USING JAMES YORKE

DUPLICATING TAPE HERE ARE SOME GOOD
REASONS WHY YOU SHOULD.
* Sound Perhaps the most important characteristic of tape should be the a
quality of sound it produces. Millions upon millions of cassettes testify
that customers like our tapes -
even the most critical.
* Consistency Duplicators need tape they can run again and again without problems
- tape they know will be the same from batch to batch and from week
to week. James Yorke already have an enviable reputation for this.
* Reliability We actually deliver to customers who order and we have never let a
customer down. Emergencies get emergency treatment and customers
know that if we make a promise it is kept.
* Value Our pricing is keen and we generally expect to be lower than equally
good tapes.
* Confidence The relaxed knowledge that you are using a good tape, at a good price,
from a UK manufacturer who believes that service is important and that
customers should get only the best.
ENQUIRIES HANDLED WITH ENTHUSIASM:
TAPE MARKETING, 13 ELM ROAD
FARINGDON, OXON, ENGLAND
TELEPHONE: 0367 20262 TELEX 858623 *
90 STUDIO SOUND, SEPTEMBER 1983
 We Burn
All Our
Products!
That means they never burn up on you!
IN All Soundtracs mixers are the subject of
a 5 -day `burn in' period before final test (and
All Soundtracs mixers are designed by
qualified engineers with a total commitment
to unique analogue and digital audio design.
there are two before that!) That means they
leave the factory as a proven working unit. -
When you buy Soundtracs y ou will not
buy the cheapest but you will buy the best

- All Soundtracs mixers are built in house

not the subject of low cost `out work'
which is always quality suspect.
value for money on the market.
-
Soundtracs certainly not another
"me too" mixer.

91 Laboratories
ies Ltd
91 EwellRoad, Surbiton,
Surb Surrey KT6 6AH, England
Telephone: 01 -399 8392. Telex: 8953073/SNDOUT /G
America Soundtracs lac. 262a Eastern Parkway Farman&dale Y. 11735. Tel: 516) 249 3669 ent House, 63 Kin sway5 Soit Melbourne3235. Tel: 0361 3801
Australia Klarion Pty., Regent Canada Omnimedia
Cm, poration Ltd.,9651 Cote de Liesse Dorval Quebec H9P 3. Tel: 514 636 9971 Denmark Kinovox A_S Industrivej Sr, 3540 Lynge. Tel: 621876 Finland MS Aidiotron Box 28 SF00421 Felsinki 42. Tel:
563761kí France Ptase Acoustic, 163 -165 Bá Boisson 13 arseilles. Tel: 91-4987 28 Germany Audi Vert rieb- PeterStruvenGmbH,Baraweg45 -B D2JOONorderrei Tel: 040 524 51 51 Greece Bon Studio
13 Tsamadou St., Athans 143. Tel: 3249305 HONG KO ' The Radio People Ltd, 25 Chatham Road South Kowloon. Tel: 3. 690217 11a1 Ital Ctida SRL, Via Ma-molada 17 BIS Sarbolo, Parma. Tel: 0521
699158 Israel Band Ltd., 5 Krinizi 3t. Ramat Gan. Tel: SI178/732044 -
Japan Trichord Corporation, dunsei Building No. 3 IFL88 5 -Come oranonton Mite-o-Ku Tokyo Netherlands Imke Roos,
KLiperbergweg 20, 11011 AG Amsterdam Zab. Tel: 20 95183/ 121 Singapore Lintec Pte. Ltd., Unit 212 Park Lane Shopping, 35 Selegie Road, Singapore0718. tel: 33871183387119 Spain Comercial Lavina
Legalidad 64-66, Barceona 24 Telept one: 9321010 -1 edenOFOElektronik AB, P.O. Box50II58005Linkopinc . Tel: 13110241 Swizerland5tudia M & M, VillaTannheim ,CH50I2Schomewerd. Tel: 64
 MAKING PROFESSIONALISM
9:17 ioncz[ Sound Equirlrntnf
MORE AFFORDABLE

Manufactured to the highest standards, all our products are backed by a full
2 -year warranty and serviced direct from the factory. With specifications that
compare with competitive products, a complete 24 track system can be
purchased for under £11,000 including delivery and installation

MODEL ML24/24 MODEL TR24 MODEL SM24116/2 MODEL TR16

* Input LED PPMS * 24 Track /2" * Input LED PPMS * 16 rack /2"
* 5 Band EQ * 63 dB S/N Ratio * 100mm Faders * 68dB S/N Ratio
* 48v Phantom * 30Hz to 18kHz * Transformer / Ps
I * 30Hz to 20kHz
* Cond. Plastic Faders * Full Remote * 5 Band EQ * Full Remote
* Patchbay * Plug -in Channels * Remote PSU * Plug -in Channels
* Fully Modular * NAB /IEC /AES * Fully Modular * 50% Varispeed
Curve

* NEW PRODUCT * MODEL NR16* DYNAMIC NOISE REDUCTION SYSTEM *

* NEW PRODUCT * MODEL TR2 * 2 TRACK '/2" MASTER RECORDER *
Worldwide Sales and Service
ACES (UK) LTD. AJstria - Ton Studio, A -1070 Wein, Lerchenfelder Gürtel 10. Tel: (0222) 93 85 73
Broadoak France - RDG Audio Prod, 20 Rue St Guerel, 29230 Landivisiau. Tel: (98) 742
68C

Nr. Shrewsbury Germany - TTS Electronic, Dammühlenweg 6270 Idstein. Tel: (06126) 2014
4,
Salop, England Italy - Startek, Via Del Lapidari 4029 Bologna. Tel: (3951) 321063
8,
Tel: (0939) 290574 Switzerland - EMM Studio, Im Neumättli 27, 4145 Gempen BBasel. Tel: (061) 72 89 72
Telex: A.C.ELEC. 337492 USA - Aces (USA), 244 Lyell Ave, Rochester, NY. Tel: (716) 458 5610
 Running up to 32
"We thoroughly tracks of audio
to video, is a key to the
led
recommend J success of London's
leading post
Otani from Turnkey production facility.
Complete Video
Their new audio suite is designed to cope with the
most demanding mixing and syncing requirements.
Precision audio circuitry and tape handling, that
keeps pace with the VTR's.
Otani MTR90 II's are
their multitrack choice.
From Turnkey.
A total service of
supply, design, installation
and backup commitment.
We congratulate
Complete Video on their
new suite and for choosing
Otani from Turnkey.
Call us about Otani or
studio systems and design.
We are building the
next generation of studios.
t
Brent View Road, LONDON NW9 TEL. Telephone; 01 -202 4366 Telex; 25769 (TK BAN G)
93
 FIXED AND ROLLING
RECORDING CONTROL ROOMS
AND STUDIOS -WORLDWIDE.
DESIGN, CONSTRUCTION AND
MONITORING SYSTEMS.

ERSTLAKE AUDIO (UK) LTD

9-1-99 Dean Street. London WWV 5RA

Telephone 01 -262 3198 Telex 2'939 SCENIC G

3200 CONSOLE
32 Channél, 24 Group, Inline...
All singing all dancing?'? well almost!!

54,E0
Raindirk Limited
0 33A Bridge Street Downham Market
µpN
c-1ti Norfolk England Phone 0366382165
Telex. 817737
94 STUDIO SOUND, SEPTEMBER 1983
 THE INDUSTRY'S MOST COMPREHENSIVE
CASSETTE DUPLICATING COMPANY
QUANTITIES 50 - 50,000.WEEKLY CAPACITY 120,000 CASSETTES
I.T.D. FACTORY, FARADAY ROAD, I.T.D. LONDON DEPOT, 16 STUCLEY PLACE,
RABANS LANE, AYLESBURY. HAWLEY CRESCENT, CAMDEN TOWN,
0296 27211 LONDON NW1

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 CLA SSIFIEDS
Advertisements for this section must be pre -paid. The rate is 43p per word, minimum £10.75. Box Nos. £2.50 extra. Semi-display rates on
application. Copy and remittance for advertisements in NOVEMBER issue must reach these offices by 12th SEPTEMBER addressed to: The
Advertisement Manager, Studio Sound, Link House, Dingwall Avenue, Croydon CR9 2TA. Cheques made payable to Link House Publications
(Croydon) Ltd. Note: Advertisement copy must be clearly printed in block capitals or typewritten.
Replies to Box Nos. should be addressed to the Advertisement Manager, Studio Sound, Link House, Dingwall Avenue, Croydon CR9 2TA, and the
Box No. quoted on the outside o4 the envelope. The district after Box No. indicates its locality. SEX DISCRIMINATION ACT 1975: No lob
advertisement which indicates or can reasonably be understood as indicating an intention to discriminate on grounds of sex (e.g. by inviting
applications only from males or on'y from females) may be accepted, unless (1) the job is for the purpose of a private householder or (2) it is in a
business employing less than six persons or (3) it is otherwise excepted from the requirements of the Sex Discrimination Act. A statement must be
made at the time the advertisemer is placed saying which of the exceptions in the Act is considered to apply.
t

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

SPEECH RECORDING
(VOICE OVERS;LANGUAGESIAUDIO VISUALS)
DISC CUTTING EQUIPMENT and systems
bought, sold and installed. Competent engineer- HIGH-SPEED CASSETTE COPYING
ing for any make or type. Tony Batchelor, 13a
Hamilton Way, London, N.3. Telephone 01 -346
SPR OPEN -REEL COPYING
0033. (F) (ANY SPEED ALSO TO BROADCAST SPEC)
CASSETTE DUPLICATING from 38p -1 /hi-
HIGH QUALITY BLANK CASSETTES
1

value for money." -

speed. "SSP were very good quality, the best
Sound International, July
1981. Simon Stable, 46, Westend, Launton,
(C1 C96)

Oxon. Tel. 08692 2831. (H) LABEL S. CARD PRINTING

THE COMPLETE SERVICE. Disc cutting
(masters
cassettes,
and demos), pressings, sleeves,
labels. Fixed and mobile recording
SPEECH -PLUS RECORDINGS LTD
UNIT32, NO19,PAGES WALK, LONDON, SEI 4SB. 01-231 0961
studios. Free brochure. TAM STUDIO,
13a Hamilton Way, London N3. Tel. 0f-346 0033
(F)
PRESSING, CASSETTES of classical quality
promptly manufactured from your master tapes. REVOX, TEAC, UHER, NAGRA... COUNTY RECORDING SERVICE
etc., servicing; repairing; line -up; re- biasing; head, guide For super quality Master Discs, Demo Discs and
Sleeve printing, mailing service. Studio or mobile and brake replacement. Revox varispeed, editing and speed Pressings. Scullylathe with our latest CR 82/01
units for masters. Specify requirements. Sound change modifications. A swift and personal service by
Stereo Cutting System.
News Studios, 18 Blenheim Road, London W4 experienced engineers. Also equipment hire and sales.
Also half speed cutting for that very special disc.
IES. Tel. OI -995 1661. (K) 34 Danbury Street,
RAPER & Islington. Dolby 'A', Dolby 'B' and DBX noise reduction.
London N1 8JU London Rd., Binfield, Bracknell, Berks
WAYMAN 01.3599342 (24 hours) RG12 5BS
Tel. BRACKNELL (0344) 54935
TANNOY SERVICE
We have an extensive stock of Tannoy spares and exchange
units and offer a prompt, efficient service includiig delivery
and collection. We perform B Et K analysis on all units to

Sales & Service

factory set specifications.

Revox &Uherprojectors, open reel and cassette

For all repairs, contact the factory accredited service
agents: Elliott Bros. Ltd. assette
ELLIOTT BROS. (Audio Systems) Ltd., 9 Warren Street,
London W1. Tel. 380 -0511 sound erviced and repaired. Uher
sc.,
e
ecord ers, amplifiers, Revs Tandberg,
Elf, Ferrograph,
Bell & Howell, agents.
approved service alt 255A St. Albans Road,
Watford,
Quality Pressing DIRECT
beautifully copied in stereo
100 C-60 cassettes LTD..
Just £59.50 (plus VAT)
We can copy from 100 to 5,000 high quality cassettes on
PHOTO ACOUSTICS
Herts. Te1:0923.,
32006
Tel. 0
90s 6i0625. from our modem UK plant.
our high speed loop-bin system, load them precisely into top -
class shells. Price includes library case and all -oduction 58 HI h Street,
ewport Panell.
OL15tiC5 Ltd
Singles, E.P. & L.P.'s. !/
work from your /in edited master. Any length -5 to C-
photo ¡/
y
''
Cutting, Processing.
90.NOW ALSO cassettes in GOLD effect finish Ring for
price check. Test Pressing. ¡/
STUDIO REPUBLIC Labels & Sleeves.
47 High Street, Pinner 01- 868 5555
Cassette Duplication.
Minimum Records - 500. 11"
Minimum Cassettes - 250. y'
RING US .
FOR BLANK CASSETTES CASSETTE DUPLICATING
Qualified Staff. ¡/
Sound Advice. ¡/
Cassette and open reel copy ng. EMPTY SPOOLS WHITE TAPE BOXES
Custom wound blank cassettes MARKET LEADERS IN STEREO
LEADER TAPE }" TAPE IN ALL LENGTHS
supplied. Studio available for 8T CARTRIDGE BODIES SPLICING TAPE RECORDS AND TAPES.
voice overs. Dolby facilities. }" NAB REFILLING SER, RAZOR BLADES
Design, artwork and RING 01 -399 2476/7
print services. MEDIATAPE LIMITED
The Courtyard, 152 -154 Ewell Road, Surbiton, Surrey
Sound Communication Fr p s, Fi.-1,f House WeIliny,, 1vaJ.
Dewsbury, Weer Yorkshire WF131aR.
Telephone 0924 451717
WHY NOT PHONE
KT6 6HE, England
AMPEX MAGNETIC TAPE STOCKISTS
US NOW FOR A QUOTE!
I 1,1

01-446 3218
CAN YOU AFFORD NOT TO

CLASSIFIEDS
97
 GATEWAY CASSETTE COPYING FOR SALE-TRADE
Real time cassette copying direct from ''4" or cassette
master tape. All work carried out on Nakamichi machines
to the highest standard.

GATEWAY STUDIO
1A SALCOTT ROAD, LONDON SW11 6DQ
MAIN 3M WOLLENSAK DEALERS TELEPHONE: 01 -223 8901

Meticulous alignment of all machines before sale. REDUCTION UNIT

Excellent servicing facilities. SCS Cassettes C2 -C100
on orders of 100 and over. Stockists for 3M Audio
1111 BINOISE
and Video cassettes. Fast -copying service. Prompt A real alternative to noise gates for controlling
personal attention. noise in low cost effects.
Vale View PI., Claremont Road,
SOUND CASSETTE SERVICES LTD.
P.O. Box 2, Chard, Somerset TA20 1LR. esscam
PR ® TAPE SALES -
DATABASE I

Bath BAI 6QW. Telephone 0225 316102

Tel: 0460 20988 51 Gas Street, Birmingham B1 2JX 021 643 4016
Cassettes C5 upwards, 14", h ", 1" and 2" tape. Spare
spools and boxes. Splicing and leader tape.
Open reel. video and audio tapes. Professional and domes-
tic at discount prices. Large selection of cassettes. Precision
quality.

REVOX SERVICE
SAME -DAY SERVICE A SPECIALITY M Et B RADIO
We have an extensive stock of Revox spares; Studer A62 stereo £500.00
Revox- trained engineers and offer prompt and Ampex AG440C stereo £850.00
efficient service including delivery and collection. Ale records Ampex AG440C mono £300.00
MUSIC SPEECH COMPUTER Neve 36 into 4 groups. Stereo desk £7,000.00
ELLIOTT BROS. LTD. Offers you high quality cassette duplication from to 500
1

units. Studio recording for speech and solo work, including

Ferrograph Studio 8 stereo
E.M.T. 140 Echo Plate
from £500.00
f725.00
9 WARREN STREET, LONDON W1 editing etc. Phone JOHN SCHEFEL today for our Price List.
Tel: 01 -380 0511 jbs records- a division of FILTERBOND LTD CLEARANCE SALE
19 Sadlers Way, Hertford SG14 2DZ. 0992 551188 Studer C37 stereo £220.00
EMI RD4 /4 as new £200.00
Leevers Rich stereo tape deck £125.00
Rogers LS5 Et LS10 monitors pair £90.00
Philips EL3503 tape transport £35.00
Various ex- broadcast desks for sale. Phone for details.
AMPEX HIGH SPEED DUPLICATION, Carriage and VAT extra
Precision -wound cassettes, R / R copying Everything for your next small cassette production 86 Bishopgate Street, Leeds LS1 4BB. 0532 435949
NAB Et CCIR. Duplicating from 1p per minute. Label printing (yellow, blue
or white 4hp pair). Inlay cards: red, blue or yellow, £3.20
RAINHILL TAPE SPECIALISTS per 100. High gloss self-adhesive mini-prints in colour £10
31 ECCLESTON STREET, PRESCOT, MERSEYSIDE per 100. Cassettes wound to any length. For details of our
TELEPHONE: 051 -430 9001 complete services contact:
Audicord Records
59 Mayfield Way, Barwell, Leicester LE98BL Tel: 0455 47298

TAPE DUPLICATING
A. FANTHORPE LTD
ENDLESS CASSETTES for Technics, Sony, Teac, Tannoy, Revox,
INDUSTRY SUPPLIES Beyer, Sennheiser, Shure. Suppliers of
EXACT LENGTH CASSETTES
SELECTA SOUND professional 2 -way radio equipment and radio
18 BALMORAL ROAD microphones. Second -hand audio equipment
GIDEA PARK
ROMFORD. ESSEX bought and sold.
Tel. 04024 -53424 John Smailes for details telephone 0482 223096 or write to
A. Fanthorpe, Hepworth Arcade, Hull,
N. Humberside.
TEAC 244/34/38 discounts and HP and leasing.
Erricks Bradford 309266 (Julian). (X)

STUDIO MONITORING
lye harr raked ,monitoring prohlems with many ,ntdia, v,rh a, C7.1'.
dtajedie, The Mill and Complete l'ideo. If you are not happy with your
patent arrangement, perhap, ut could mire yawn erith romaltunn;.
design nndlor pnrkgge 4,11 tupp/y.
S. J. Court & Associates Ltd
Td. 01 -435 0532 Telex 268279 FOR SALE, PREFERABLY IN ONE LOT with SPECIAL OFFER: PEP 'Portamix' six channel stereo
goodwill (or will split if
necessary), complete portable mixer. Look at these features: integral flight case,
mains /battery operation, balanced microphone inputs, XLR
Scully stereo disc mastering unit, all in first class connectors, three-band EO, stereo limiter, VU meters,
working order. Owner retiring. S.A.E. for auxiliary send, headphone monitoring, impeccable perform-
complete list. County Recording Service, ance. Now only £395.00 inc VAT (was £564.00 inc VAT).
Access /Barclaycard welcomed. Telephone for brochure.
London Road, Binfield, Bracknell, Berks. Tel: MICHAEL STEVENS E PARTNERS. 01-464 4157.
Bracknell 54935. (J)
Complete Studio Design, Installations and Repairs. 24 -hour
service or repair for virtually any make of machine or
desk - depending on availability of parts.
Tape- Recorder servicing and line up. Any make of Recorder.
Very Competitive Prices
Contact Pete or Bob on 0244 881708/
880714/880500 FOR SALE: Ex studio equipment. DBX 160
ABBOT STUDIO- Chester
comp /lim £200. A &D E900RS sweep equaliser
£195. Scamp 501 comp /lim £195. Scamp 5100
dual gate £175. Scamp 504 parametric £225.
Amcron PSA7 amplifier £595. Amcron DC300A
JACKFIELDS etc.
amplifier £350. Pro -Audio PA27 graphic £150. Bantam, '/s ", Video, Pre -Wired and Connec-
A £ Q, TEST TAPES Urei 525 tunable crossover .£445. Tel: (0232)
772491. (J)
torized, to your specification. Also Cable
Assemblies, Patch -Cords and Custom
NOW AVAILABLE FROM: Panels. Complete installations undertaken.
LONDON: Music Labs 01- 3885392
Turnkey 01-2024366 Tel. 01 -464 4967
MIDLANDS: Protape 021 -6434016
PMD Ltd 078968579 BRYANT BROADCAST AND DATA
NORTH: Audio Services 066324244 STUDER J37 track, Soundcraft electronics,
1" 8 COMMUNICATIONS
'/: ", ", 2" formats
1
excellent machine in v.g.c. spare channel & I " Top Floor, 33 London Road, Bromley, Kent
line up tape, sensible offers: Tel: Malcolm BR1 1JG
-The Test Tape of Reliability
Northampton (0604) 403624. (K)

CLASSIFIEDS
98 STUDIO SOUND, SEPTEMBER 1983
 FOR SALE-PRIVATE

SOUNDCRAFT 3B MIXING consul 32 x 24

Sony PCMF1 digital adaptor plus SLF1 VCR available ex- Studio Clearance groups. LED metering PPM /VU. 4 band
stock at competitive prices. The new Soundcraft Series 200
and Series 4008 mixers also available. Telephone for our MCI 440 Mixer, 28 inputs £9,000 equalisers one more than 2400 series. 8 auxiliary
comprehensive list of studio equipment. STUDER A67 in console £1,500 sends. 3 years old. Home studio use only,
MICHAEL STEVENS t3 PARTNERS AKG B X20 reverb £1,150 fabulous desk £10,500.00. 01 -671 3731.
The Holmesdale Centre, 2161218 Homlesdale Road OTARI 5050B 2 track £700.00 Ampex ATR 700
Bromley, Kent. Tel: 01 -464 4157 JBL 4333 monitors £650
AMCRON DC300 amp £450 2 track £500.00. 01 -671 3731.
MARSHALL time modulator 5002 £600 DOLBY 361 four only £380.00 each. 01 -671
NEUMANN U47 and U87 £250 3731.
ROLAND TR808 rhythm £445 ONE INCH master tapes various makes £2.00
STEINWAY GRAND £2,850 each. 01 -671 3731. (K).
N.S.F. Stereo reverb plates complete with remote
and 19" rack mounted control unit £520.00 RACKS, STANDS AND SCREENS ALSO AVAILABLE
Scully 16T 301PS with 8T headblock mint ... £3,700 Ring 01 -385 4630
Stratford -upon -Avon. 0789 765186 FOSTEX A8 eleven months old. Boxed as new.
Very little use. £850 o.n.o. Ring Harlow 0279
417361. (J)
FOR SALE

i
-
* USED MICS BOUGHT Ft SOLD e
Amek 2000 Series Console 20 -16 -16
You have surplus mics? AKG, Calrec Neumann etc
You want TESTED good condition used rocs?
WE CAN ASS /ST IN BOTH AREAS
£3,000 ono.
Prices subject to test, condition, age.
WHITETOWER RECORDS
2 ROCHE GARDENS, BLETCHLEY
B62 Stereo, excellent condition,
£1,000
PEP MIXER
monitoring
-
12 inputs /4 outputs plus 8 track
(expandable to 16/18) PPM's,

-
MILTON KEYNES MK3 6HR TEL: (09081 73969 balanced I /P's & O /P's, C/P faders, 3 band Eq,
Phone for quote, SAE for stock list UTOPIA 01 -586 3434 4 sends, oscillator, phantom powering built in
Revox -
stopwatch and remotes for Teac /Tascam &
In excellent condition, £1550 ono.
Phone Simon 01 -969 3579. (J)
Standard 19" 3' 6" Equipment Racks. Extremely strong in
plastic -coated steel. Self- assemble in complete pack
including trolly wheels, all screws for fitting and mounting
equipment. E85 + VAT per 3' 6" unit
MAGNETIC TAPE /FILM HEADS
"We manufacture to order, ''/. ", h ", 1" and 2" tape heads
Also manufacturing Recorder Racks with editing units and and a wide variety of film heads at very competitive prices.
block price approx E85 dependent on machine, i,s_. Revox, Please specify machine type for an early quotation.
Studer, Tascam. Can also be used as 19" Racking on front
and top panels. Complete self-assembly unit on trol y wheels.
*We also offer a prompt RELAPPING service at standard TASCAM 5 extras £900. Teac 3440 plus DBX
prices.
For further information phone: £795 or £1650 ono. Two U.87's offers. 01 -458
BRANCH & .APPLEBY LTD. 6604. (K)
Pete or Bob on 0244 88170818807141880900 Stonefield Way, Ruislip, Middx. HA4OYL
ABBOT EQUIPMENT -
CHESTER Tel. 01- 8641577

YOU ARE NEVER FAR FROM A I

®s ®
PARTRIDGE 01-354-2955 1348-1339

COMMUNITY Studer 24- 16 -8 -4 -2 track

Otari 24 track
BROADCAST MIXER Sony PCM Digital
0 -lock, Maglink
Dial 03745 3381 or 03745 3256 for full details Sony U -matic VCR +monitors
Headblocks, Dolby, Fairchild
Revox, Teac
SME offer the following items in first class condition, used until recently in our Managing Director's music
room:
UREI graphic equalisers Model 527A £525.00 the pair (list £1378.001

'
UREI room equalisers Model 539 £675.00 the pair (list £1622.001
CROWN VFX 2 electronic filter /crossover £40.00 (list £225.001
dbx 3BX 3-band dynamic range expander with 3BXR remote control £125.00 (list £400.001
Luxman CX1 realtime processed DC stereo head -amp. £75.00 (list £218.001

Sound
7171
Luxman amplifier system comprising C500). A pre-amp and M6000 solid -state power amp 300w per channel
£1250.00 (list £2892.001
Cerwyn Vega 18-inch low frequency driver chassis £30.00 (2 available)
Hilton
SAE amplifier system comprising Mark M stereo pre -amp and Mark 3 CM stereo power -amp 200 watts per
I

channel £75.00
Lexicon Delta T Model 102 digital delay s¡stem 0-80m /s delay £1950.00 the pair (list £5050.001
Studer B62 stereo tape deck £1850.00 (list _3500.001 Specialists in Studio Equipment Hire
A large range of quality stereo cartridges -
details on request
A whole range of digital and analog
All items offered subject to prior sale. List prices are approximate. processing equipment
SME Limited,
Steyning, Sussex. BN4 3GY Phone Andy on 01 -708 0483
Phone: 0903 814321
Telex: 877808 SME G 10 Steedman Street, London SE17

CLASSIFIEDS
99
 STUDIO FACILITIES

8 -TRACK MOBILE RECORDING UNIT

STUDIO DESIGNER
AND CONSULTANTS
I.P.E. design, document, assemble, install and commission
N Neve
In an air- conditionedcustom-built trailer we have combined
the following: MCI 1" 8- track, 10 -8-2 Trimix, two twin -track
broadcast and recording audio systems anywhere in the
world to the highest standards and to clients' exact
AUDIO TURNKEY
tape decks, two dual speed cassette decks, mies by AKG, F1 requirements.
video /digital equipment. Two -way radios, GPO radiophone, Independent Project Engineering Ltd., Melbourn The name of Neve is known world wide
film /video platform. Ail for around E70 per day.
Science Park, Melbourn, Herts. SG8 6EJ. UK as the manufacturer of fine audio
PHONE: ANDREW TOMS Telephone 0763 61596
Daytime: 061 -430 2223. Evenings: 061 -794 9807 consoles, but we have also become
renowned for the supply of complete
audio systems constructed to the same
24 TRACK SOUND( RAFT STUDIO Linndrum high standard as all the company's
etc. Special rates l'or musical people. Tel: KENNETH SHEARER AND ASSOCIATES products.
Marlow (Bucks) 06284 5363. (K)
Consultants in accoustics
We will design and manufacture the
30 years' experience in the custom design of all kinds of
recording and TV studios, remix, dubbing and viewing suites system, procure or interface with third
ATWELL STUDIO for classical sound record- - new and conversions. Down to 25 Hz. party equipment, or tailor fit the
ings, location or studio (Steinway Grand), Tel: 0422 54821 requirements to meet your budget.
demonstration tapes, records or high quality
cassettes. 124 Lower Richmond Road, Putney Pre -fabrication of much of the wiring at
SW15 1LN. Tel. 01- 785 9666. (X) our factory ensures a quick and efficient
We offer a complete service covering design, construction, installation. Our reputation for systems
supply and installation of equipment and commissioning of already includes the ability to complete on
the small sound production studio. We can also offer a or before time.
partial service where appropriate.
Michael Stevens & Partners We look forward to discussing your
The Homesdale Centre, 216-218 Homesdale Road
Bromley, Kent. 01.464 4157.
project.

TELEPHONE:
WANTED
Neumann SX68 or SX74 Stereo Cutting Head MIKE JONES
(0763) 60776 now and ask for
the NEVE SYSTEMS DEPARTMENT.
Contact Sound Supervision Audio Consultant
For independent advice on all your Audio, Tape 0v Service
01- 624 4083 problems, Fast efficient service. NEVE ELECTRONICS
19 Glenloch Road
London NW3 40J INTERNATIONAL LTD.
Tel: 01 -586 5167
24 Hour Answering Service CAMBRIDGE HOUSE
MELBOURN, ROYSTON
HERTFORDSHIRE
STUDIO BUILDING AND ACOUSTIC INSULATION
SE8 8AU
Undertaken. Brickwork, concreting, custom
Residential Weeldy /Fortnlahtly TrainIna Courses In Edinhurah. joinery and cabinet making. Electrical and
Experienced Outside Broadcast Engineer 120yrs with BBC) electronic installation. Experienced
presently operating government appointed and approved full-time
recording training progamme, now offers to interested parties of all
craftsmen. Reasonable rates.
ages a short 'hands on basic training in microphone placement, Ring Recession Recordings, 01 -985 7573.
balancing techniques, recording and editing combined with luxury
B t3 B accommodation. Terms E150 per week VAT. Silver
Sounds Recording Service, Newton House, Newton, Nr. South
Queenslerry, Edinburgh. Tel. 031 -331 3298
SITUATIONS WANTED
STUDIOS -FOR SALE
PUBLICATIONS Self- contained studio
Good communication to City, reception room, PLUGGED IN SOUND RECORDIST (23)
studio (BBC specification), mixer room experienced in 24 and 16 track music studios
)equipment negotiable separately). seeks groovy job. Box. No. 888. c/o Studio
THE RECORDING BOOK THAT'S 8-year lease. Vw,rnrí (J)
ROCKING THE MUSIC INDUSTRY.
Bishop Stortford (0279) 722401
"Practical Techniques for the Recording
Engineer" by Sherman Keene is endorsed by the
Recording Institute of America and the State
Univ. of New York, Colleges, Studio/Schools,
Musicians and our Correspondence Students
around the world. Recommended by reviewers of
the MIX, Re /P, Guitar Player and other top
LUXURY STUDIO - FOR SALE
A superb privately owned residential studio in a desirable area of picturesque
publications. THE BOOK: Hard cover, 380 Tennyson countryside. Luxurious accommodation in a very attractive country
pages, 28 chapters (4 on computer assisted cottage and distinguished guest house set in extensive gardens with views across
mixing), illustrations. $29.75 ($31.69 in Calif.) the surrounding landscape.
+ $2.50 UPS (or surface) shipping (overseas
air mail $16). THE CORRESPONDENCE
Accommodation in the two houses comprises three reception rooms, two dining
COURSE: Private instruction from a world -class rooms, two kitchens, ten bedrooms, two bathrooms, two shower -rooms /w.c.'s.
author /lecturer. Certificate theory course using In addition there is a domestic flat and detached producer's studio /office. Ample
two textbooks, corrected and graded homework, associated outbuildings.
three final exams, unlimited dialog with the Acoustically designed fully equipped 24 -track studio housed within
author via cassette, Basic, Intermediate and sympathetically restored Victorian chapel, recently used to produce master
Advanced levels. Installment plan available.
THE CURRICULUM: for schools only
you need for a very complete course: Teacher's
all - recordings with chart success. Ideally suited to needs of producers, songwriters,
artists, record or production companies. Photos and technical information on
request.
Manual (lesson plans for 24 class modules in two
textbooks, reading and homework assignments,
suggested session content), Student's Workbook,
Final Exams. FOR INFORMATION OR TO
* £190,000 *
ORDER contact: S.K.P. 1626 N. Wilcox No TELEPHONE: LISA ANDERSON 01 -229 6642
E -677 Hollywood, CA 90028, USA. Order by
phone using Visa or Mastercharge by calling TELEX: 22542
(213) 708-2933. (X)

CLASSIFIEDS
100 STUDIO SOUND, SEPTEMBER 1983
 SITUA NS VACANT

Sound Recordist
The Certral Office of Information requires a Sound Recordist in its Visual Media and
Radio Group at Hercules Road, London, SE1.

The successful candidate will join a busy group of sound engineers, servicing
programme and news output. The Division produces programmes and news items
for transmission by radio stations overseas and in the United Kingdom.

He /she must have multi -track and video experience for A.V. production and will be
expecte: to edit tapes and to operate circuit transmission equipment to overseas
radio stations. The ability to work quickly and accurately under pressure is essential.
Some late night and weekend working is involved.

The post is graded Assistant Information Officer. Starting salary will be within the
range of £5796 to £9328 according to age, experience and qualifications. Please send
a postca -d for an application form to Central Office of Information, Atlantic House,
Room 159, Holborn Viaduct, London EC1 2PD, quoting competition number
103/NC ;83. Closing date for returned completed application form is 2 September
1983.

I CLASSIFIED ADVERTISEMENTS ORDER FORM

Please use this coupon for your private sales and wants. Rates 43p per word. Minimum £10.75. Box Nos. £2.50 extra.
To: Studio Sound, Classified Advertisements Dept., Link House, Dingwall Avenue, Croydon CR9 2TA. Please publish
the advertisement below for insertion /s under the heading

Name
Cheque /P.O. enclosed £ made payable to Link
House Publications (Croydon) Ltd.
Address
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CLASSIFIEDS
 AUDIO SERVICES
BEST PRICES --BEST AFTER SALES SERVICE-
PROMPT DELIVERY -PART EXCHANGE WELCOME
INDEX TO ADVERTISERS
TAPE MACHINES (Multitrack) Fostex 3030 Dual 10 band f 142
AHB Syncon M24 24 Track New Roland SEQ 331.31, band mono £175
Product) POA Audio 8 Design E900RS, new £390
Fostex 816 POA Klark- Teknik DN3030, ex- showroom £775
Tascam 38, New 8 s/h from £1395 Cutec GS2200, Dual 15 band with built -in AC Electronic Services 92
Fostex A8, New Et s/h from £895 spec. analyser, new £180
Brenell Mini 8, 1 yr old, vari- speed, Klark -Teknik DN15 Pre -amp graphic £495 Advanced Music Systems 22, 85
auto -locate, full function, remote, AKG 77, 81
home use only, absolutely COMPRESSORS, LIMITERS, Alice (Stancoil) Ltd 21
immaculate £2995 EXPANDERS 8 GATES Allen & Heath/Brenell 43
Tascam 85 -16B, new POA Vesta -fire AL10 spec. analyser £225
Teac 3440, s/h from £495 Audio 8 Design Transdynamic processor AMEK Ltd 71
Tascam 58 (pro h" 8T) s /h £2295 with Mk 3 express limiters POA Aphex Systems Ltd 49
Item 1610 16T, new £4950 Audio 8 Design Easy- Rider, new £325
Applied Microsystems Ltd 12
Tascam 34 new 8 s/h from £695 MXR 136 Dual Limiter, new £389
Drawmer Dual -Gate, Freq-cons, new £249 Audio & Design 31, 79, 81
TAPE MACHINES (Stereo) Audio Et Design Express limiter, Audio Kinetics 30
POA ex -demo £395
Studer 867 Mk II, brand new
£1350 Fostex 3070 Comp/ Lim /Exp £228
Audio Service Co 102
Tascam 52( Pro '/. " Stereo)
Teac 32.28 (NAB or IEC switchable) Drawmer Stereo Comp/ Lim £295
BASF AG 39
New £510
Revox PR99 new Et s/h from £895 TIME PROCESSORS AND EFFECTS Beyer Dynamics 88
Revox B77 new Et s/h from £550 Korg SDD 3000, new £725 Boomerang Sound 28
Cutec CD424 1024 MS £295
MIXERS EXR Exciter, new £295 C -Tape Developments 28
Tascam model 16, Ex- Showroom Eventide H910 £1209 90
£4500 Connectronics
Syncon B all formats, new POA Delta -labs Effectron 1024, new £495
Soundcraft series 2 16/8/2, rebuilt £2900 Drawmer Multitracker, new £395 D &R Electronics 87
Trident VFM 16/4/2, one only, Klark -Teknik DN34, as new £395
ex -demo £795 Roland Phase Shifter, SPH323, new £150 Dearden Davies Assocs Ltd 22
Tascam Model 2A, ex -demo £150 Bel Stereo Flanger, as new £195 Don Larking Audio 16, 29
P.E.P. Location mixer, ex -demo £795 Yamaha E1005 Analogue Delay, Drawmer Marketing & Sales 12
Alice 8285 ex- condition £695 ex -demo £145
Seck 16/8/82, in flight case, s/h £795 Portastudio, Tascam Et Fostex in stock Eardley Electronics 37
Tascam Model 50 (New model in REBIS Rack Et PSU, 2 gates, 2 paras,
stock) POA 2 comps, D- Eus 'The Lot'
1 £650 Eastlake Audio 94
Teac model 3, mint £425 MXR 174 Pitch Shift/ Doubler £389 EMT 15
Trident Fleximix, home use only 12/8/2, BEL Stereo Flanger, ex -demo £295 EMT -Franz 31
immaculate £2500 Eventide H949 inc, De -G, new £2702
Aten 8 Heath System 8 (all formats) Loft Stereo Flanger, new £195 Enertec 25
from £1037 Roland SDE2000, new, ex -demo £420
Tascam M30,s /h £495 MXR 175 Digital 1000Ms, new £420 Feldon Audio 45
Trident Fleximix 16/8/2 in flight case, Ursa Major Space Station £1687 Friend Chip 81
immaculate £2990 Survival Projects, Auto -Pan £395 Future Film Developments Ltd 14
Soundcraft series 4008 POA Lexicon PCM 41, new £695
Vesta -fire SF010 Dual Flanger chorus £195 FWO Bauch Ltd 13, 15, 17, 19, 47, OBC
NOISE REDUCTION HES Electronics 20
Immediate cash paid for modern Dolby's THE NEW FOSTEX MULTITRACKER X15
Dolby 360, s/h with brand new CAT22 £299 inc. VATI! 8 Delivery. Phone in your HW International 63
card £395 Credit Card No. for 24 Hour Delivery. H.H.B. Hire & Sales 33
Tascam DX4D 4 -chan simultaneous 30
new £185
Hardware House
BEL 16 chans, new £850 COMPLETE STUDIO PACKAGES (NEW) Harrison OBC
Syncon M24 with Syncon B 32/24/2
CASSETTE MACHINES
Patchbay Producers Desk, full remote/ I.T.A. 8, 9, 10, 11
£550 locate £30,000 I.T.D. Ltd 96
Teac Cl Mk II with RX8, New
Philips N2537 Rack Mounting pro - Tascam 85 -16B with Tascam M16 Mixer
cassette £145 includes 16 chans DBX noise Kelsey Acoustics Ltd 14
reduction £11,500
Tascam 122 (High Speed), ex -demo £295
Tascam 85-168 with Bel 24/16/2 Mixer Kemble/Yamaha 24
Tascam 124AV, ex-showroom £145 26
Revox 8710, new in box Offers includes 16 chans DBX noise Key Board Hire
reduction £9.950 Key Technology Ltd 20
Tascam 133 (audio visual), mint £350
Tascam 85 -16B with Allen and Heath 1616
Teac A550 RX, new £195
includes 16 chans DBX noise Klark Teknik Research Ltd 61, 65
Tascam 244 Portastudio, mint £495
£7,995
reduction
)tam 1610 with Allen Et Heath 1616 Leeholme Audio Services 20
MONITORS value for money 1" 16 track £5,995 Lexicon 17
JBL full range in stock, new BEST PRICES Tascam 58 with Allen 8 Heath 128
Tannoy full range in stock, new latest pro-spec 8 track £3,395 Magnetic Tapes 77
Tannoy LRM (Pair) exc. con. £395 Tascam 38 with Allen 8 Heath 128 £2,395 Mosses & Mitchell Ltd 89
Auratones £55 Fostex A8 with Allen 8 Heath System 8/164
Ex -demo JBL clearance SALE, amazing £1,895 MXR Innovations 35
deals, new POA
Tannoy Ardens (pair) new in box £450 'ODD BINS' Hi -Fi Optical & Textile Ltd 28
Visionik 'Davids' POA Revox 8750 Mk II Integrated amp, ex- Otari 66, 67
showroom £295
Trio LOlA 8 LO1T Integrated amp with Progressive Elect Products Ltd 23, 27
REVERBERATION separate P.S.U. 8 F.M. Tuner £650
Dynacord DRS 78, Digital Reverb £795 Quad 44 Pre -Amp, new E195 Quad 83
Loads of GREAT BRITISH SPRINGS £185 Revox Turntable 8790, ex- showroom £295
Fostex 3180 Reverb £294 Quad Eight Electronics 75
Accessit Reverb Stereo, new £115
Ursa Major Digital Reverb (3900 SECOND HAND STUDIO PACKAGES Raindirk Ltd 94
Allen 8 Heath 1" 8 track, auto locate/
Vesta -fire rackmount Stereo, new £175
remote, varispeed and Trident Fleximix
Rank Strand Sound 85
Klark-Teknik DN50, new £395 Rebis Audio IBC
POA 12/8/2 absolutely mint lone famous
AMSRMX16 home use owner) £4,500
Tascam 38 with Sock 16/8/2, very good Scenic Sounds 4, 59
POWER AMPS condition £2,350 Solid State Logic Ltd 57
TurnerA500VU, new £495 Tascam 34 with Trident V.F.M. 16/4/2,
H/H 8 Yamaha in stock Best Prices as new £1,550 Sony Broadcast Ltd 52, 53
Turner B302, new £280 Fostex AS with 350 Mixer 8 Meter Soundcraft Electronics IFC
Turner B502, new £440 Bridge £1,295 Soundout Laboratories Ltd 91
Fostex 600 £495
Quad 303 8 405 in stock Best prices MICROPHONES
Standard Tape Laboratory Inc 14
Studer A68 Power Amp, mint £495 Neumann full range, new 8 s/h POA Studer 13, 47
Fostex 300 £345 AKG full range Best Prices Surrey Electronics 80, 82
Amcron full range from stock POA Boom Mic Stands (Beyer Type), each E22
Amcron PZM, mint £195 Syco Systems Ltd 50
D.I. Boxes, Imp. session, ADR from £21
EQUALISATION
Shure full range (quantity discounts)
Tannoy Products 18
Klark -Teknik DN27A (pair as new) £895
Klark- Teknik DN22, stereo, Sennheiser full range POA Toa Electric Co Ltd 30
ex-showroom £425 Beyer Headphones DT100, new Tore Seem 16
Tascam 4 -chan, 4 -band para, new quantities £27
Trident Audio Developments Ltd 95
PE40 £230 AKG C422 Comb, new £795
Turnkey 6, 7, 20, 93
SERVICE DEPARTMENT Valley People 19
Fully equipped with latest technology testing and analysis equipment, all test tapes, spares,
etcetera. Main service agents for: TASCAM FOSTEX, ALLEN 8 HEATH BRENELL, REVOX. White Instruments Ltd 76
Please allow for VAT and DELIVERY for all other prices. Order by telephone -
Quote your
Yorke James Ltd 90
Credit Card number for instant despatch.

AUDIO SERVICES
Phone: 06632 4244 (9.30- 6.30pm Mon-Sat) (Sunday by appt)
Address: Studio House, High Lane Village,
Near Stockport, SK6 8AA
Studio Sound k available without charge to qualified readers: these are directors, managers, executives and key personnel actively engaged in sound recording, broadcasting and cinematograph industries in
any part of the w arid. The Publisher reserves the right to refuse applications considered inappropriate and restrict the number of free copies sent to any one company or organisation. Non -qualifying readers
can buy Sadio Sound at an annual subscription of £14.00. All enquiries to: Subscription Department, Link House Publications PLC, Link House, Dingwall Avenue, Croydon CR9 2TA, Great Britain.
Phone 01 -686 2599. Published by Link House Magazines (Croydon) Limited on behalf of the proprietors, Link House Publications PLC, Robert Rogers House, New Orchard, Poole, Dorset BH15 LU and 1

printed by Lawrence-Allen Ltd., Gloucester Street, Weston -super-Mare, Avon BS23 ITB.
 OMEGA

the last word ...

A multitrac mixing console from Rebis must be special, but the Omega is
more than that.
f =ind out why the last word will be your first choice.

Rebis Audio Ltd, Kinver Street, Stourbridge, West Midlands, DY8 5AB.
Tel: Brierley Hill (0384) 71865. Telex: 335494.
 Once in
a blue moon.
my once in a blue moon advanced technology and deep For details of the range
does a company with an understanding of the music of MR4 and TV4 Harrison Mixing
established track record, reject business. consoles contact:
successful design principles and The major result of this F.W.O. Bauch Limited.
start again from scratch. new concept is a range of mixing
Harrison have. The new 4 series consoles which give the studio
consoles offer a completely Harrison quality and features at
new concept in console design
combining creativity with
a price you associate with lesser
consoles. RE Harrison
FW.O. Bauch Limited
49 T neoba d Street, Borehan Wood, Hertfordshire WD6 4RZ
Telephone 01 -953 0091, Telex 27502