September 2001 I UK £6.00 US S12.

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STUDIO SOUND
POSTPRODUCTION RECORDING BROADCAST www.studio-sound.com

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REVIEWS
Canopus DVStorm SE Plus

canopus tc electronic System 6000 v2

TC Helicon VoicePrism

Mutec Smart Digitals

Steinberg Wavelab

Audio Ltd Envoy

Classic rock: Footage from the Whistle Test vault
Video for audio: The technological backlash IL Audio VP -1

Empty promise: Jackson Browne's classic in surround Mackie M800

Room for improvement: control room monitoring analysis SLS 88R
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The Eastwood Scoring Stage At

Warner Bros.

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The 32:8 film scoring monitor
York
2 315 1111 section delivers the flexibility of 2001
Nominee i
printing a score to upwards of 16
Todd AO tracks for final mixing at the dubbing stage

Los Angeles
1 (1)323 463 4444
Iá Dynamic range that comfortably exceeds the specifications of 24 -bit analogue to digital converters
Bandwidth that extends nearly two octaves beyond a 96kHz digital recorder
Tokyo
Surround -sound monitoring options for sophisticated multi -channel applications
+81 (0)3 5474 1144
No wonder the SL 9000 is the definitive film scoring console
Paris
+33 (0)1 3460 4666

Milan
+39 039 2328 094
Solid State Logic
Toronto
+1 (1)905 655 7792
Singapore
+65 (0)438 2272

International Headquarters: Begbroke, Oxford OX5 1 RU, England

5'842300 F: +44 (0)1865 842118 E: salesc"solid-state-Iogic.com W: www.solid-state-Iogic.com
 SEPTEMBER 2001 Volume 43 Issue 9
CONTENTS POSTPRODUCTION RECORDING BROADCAST

88

ANALYSIS TECHNOLOGY
4 Editorial 66 Modern Monitoring
Ladders and alternative dimensions Using Genelec's database of measurements,
Studio Sound offers an analysis of modem
6 Soundings control room monitoring environments
Breaking news on professional audio,
post and broadcast 84 Dr John
The technical contortions involved in
91 Classifieds building that broadcast essential,
Away from the expense and glamour, the video recorder
essential pro -audio sales and services abound
88 Masterclass
95 Letters Still valves, still classics but definitely obscure:
Yamaha's NS -10M and Dolby's Digital mics to make your mouth water
join incidental music for discussion

95 World Events REVIEWS

The latest dates to add to your pro -audio
event calendar 28 Canopus DVStorm SE Plus
Bringing video working to your computer
96 Stereotypes & Top 10 requires installing the right editing cards,
A new look at audio industry characters like DVStorm
and their listening habits
32 SLS 88R
98 Backchat The definitive loudspeaker review
A new Q&A spot catches industry figures
with their guard down-with Peter Eastty 34 Mackie FR Series M800
its first target The definitive amplifier review

36 tc electronic System 6000 v2

FEATURES Version 2 software adds dramatically to
the surround capabilities of the S6000
POSTPRODUCTION
38 Mutec Smart Digitals
16 Housework Digital glue rarely comes as sticky as
Stylish Stockholm postproduction facility these three units from deepest Germany
brings Pro Tools to bear on sound design
for television commercials 40 TC Helicon VoicePrism
The enterprising Danes raise the stakes in
60 The Old Grey Whistle Test practical voice modelling and processing
Decades of British television rock archive
make a milestone DVD with Jill Sinclair 42 Steinberg Wavelab 3.04
and Abbey Road Interactive Audio editing software takes an
evolutionary step with v3.04
RECORDING
44 Audio Ltd Envoy
22 Rudolfinium Streamlining electronic news gathering
With a history extending from Mahler to means rethinking your mic setup
modern Hollywood, Prague's premier
recording studio continues to make history 46 TL Audio VP -1
A mix of technology and facility make this a
48 Dr Dre channel strip to be reckoned with
Rap pioneer and Grammy winner, Dr Dre is
regarded by the US record business as the
man most likely to shape their future COLUMNISTS
54 Running on Empty 82 Technology
Jackson Browne's unconventional classic Barry Fox reckons that the music
makes a fascinating surround remix in the industry's failure to learn from earlier copy 16
hands of its original engineer, Greg Ladanyi protection bids dooms it to repeat them

BROADCAST 82 Business
Dan Daley argues that surround and
72 Video Focus Internet applications are about to take on
The technology to get audio people into heightened significance in pro -audio
video work is to hand. Beginning with a
history of video editing and following through 83 Delivery
working methodologies to setting up your own Kevin Hilton believes that older
video project room, Studio Sound presents technologies still meet more consumers'
the audio engineer's reply to video's dominance needs than their successors

Visit www.studio-sound.com and www.wnipa.com

for the next issue of What's New in Pro Audio
 SOUNDINGS
CONTRACTS add a Sonic Solutions' DVD Audio Creator demonstration area. Consequently, a typi-

Spain: Madrid's Weekend Productions

Interactive to offer all of the major commercially -available
authoring systems.
cal living room with home entertainment
system has been created for clients to expe-
'Abbey Road is committed to providing rience products in the way consumers will in
remix facility has recently installed a
Sony DMX-R100 digital console as part and reactive clients with an inspirational, creative and
cutting edge experience,' said Samantha
their home environment.
of a studio upgrade. Operated by David UK: After a Warner Home Video survey Harvey, Abbey Road Interactive's creative
Ferrero and Pedro del Moral, the desk
went straight to work on Ricky Martin's
shuwed that 64% of DVD consumers con-
sider special features to be important, Abbey
director. 'We are leaders in our field and, Yamaha takes
with our highly-dedicated and experienced
'She Bangs' and Santana's 'Corazon Road Interactive responded with larger and team, the expansion consolidates Abbey
Espinado' singles and is now tied up better facilities for its DVE, ECD and web Road's position at the forefront of interactive chip technology
with Epic signing Guerana. site services. Against a background of gen- design and production, particularly DVD.' Japan-UK: The Yamaha Corporation has
Sony BPE, Europe. Tel: +44 1256 355011. eral decline in these areas, Abbey Road Further emphasis has been placed on cre- agreed license terms with Cambridge -
Interactive's reported growth has allowed it ating a genuine test environment for based RISC microprocessor specialist
UK: Soho's Rainbow Post Production to almost double its staff and floor area, and altemative systems, rather than a lab -style ARM over the ARM7TDMI microprocessor
has completed building a 5.1 dubbing
core. The agreement will allow Yamaha to
suite and refurbishing its stereo room
incorporate the intellectual aspects of ARM
with the assistance of RT Concepts and
technology into its signal processors and
GAS Electronics. As part of the project,
musical instruments.
the facility has taken two 32 -track DAR
An industry leader in the field of
STORM audio workstations and an
16/32 -bit embedded RISC solutions, ARM
OMR8 recorder-editor, networked using
licences its processors, peripherals and
DAR's Axis AudioServer. The installation
system -on -chip designs to a variety of
will see the STORMs both working in
international electronics concerns includ-
conjunction with new 48-fader
ing Yamaha. 'We first licensed an ARM7
Soundtracs DPC-II digital consoles, one family core in 1996: Yamaha director
replacing an SSL digital desk. Rainbow
Hirokazu Kato confirmed, 'but recent
specialises in long -form broadcast
devices require more processing power
projects, and boasts Horizon Channel 4,
and we believe the industry -leading
LWT and the BBC among its clients.
ARM7TDMI core has the necessary per-
Another new Soho facility, Future Post, formance to provide this extra power. By
has installed an AMS Neve DFC in its
using the core we will be able to deliver
surround mixing theatre, Studio One. A innovative products to the sòund synthe-
Libra Post has been installed in Studio
sis and signal processing markets.'
Three, a 5.1 Dolby mixing studio for
'Yamaha has been developing products
trailers and television. Future Post is with ARM processor technology for the
currently working on feature films from sound processing market since it became
Canada, Holland and Sweden as well as a licensee. This additional agreement further
US: With undertones of Art Kane's famous 1958 gathering of the era's jazz underlines ARM's technology strength and
musicians in Harlem, SSL recently pulled together a group of elite Hollywood relevance to the sound synthesis and sig-
scoring mixers for a historic photo session to celebrate their use of the SL9000j nal processing markets,' added Reynette
console. Assembled on the scoring stage at the former Todd -AO, now Livewire Au. ARM's VP of corporate marketing.
Studios are (left to right): John Richards, Steve Kempster, John Kurlander, Dennis Yamaha, UK. Net: www.arm.com
Sands, Bruce Botnick and Shawn Murphy. Yamaha, Japan. Net: www.yamaha.co.jp

Pm bIs in SLmngmoiu
CONTINUING ITS PIONEERING APPROACH to studio services.
5th want to learn a new desk when the SSL or Neve will do the job'?
We don't have to do any selling on this.
Q: How does this reflect on the established role of the
London's Strongroom has 'repositioned' its Studio 5. moving its commercial programming room?
focus from being one of the facility's established programming The earlier programming rooms made commercial success as
rooms towards being a fully-fledged Pro Tools studio-the fifth feeder rooms to the main studio rooms and they still make a lot of
television drama and documentanes for commercially -available Strongroom studio. The move does not so commercial sense and add a lot of value to the Strongroom. Now
the BBC and independent television. much signal Strongroom's intent to evict clients from its remaining technology is making 'everything' possible in a programming room.
Rainbow Post Production, UK. programming rooms as to 'make better commercial sense of the Q: So how does it relate to serious personal programming suites?
Tel: +44 20 7434 4566. space'. The room is now centred on a 24 -fader ProControl-Edit It's a high-class extension of what most producers have at
Soundtracs, UK. Tel: +44 1372 845600. Pack surface and Pro Tools MIX+ 24 with five farm cards, three home. It's designed in part to bring people back into a
DAR, UK. Tel: +44 1372 742848. 888 interfaces and Prism AD124 and DA1 convertors. Monitoring commercial recording studio.
is via a 5.1 Genelec 1031A setup and Bryston B4 amps driving Q: Who are you expecting to see come in through the doors?
Lebanon: Leading television station NS -10M stereo monitors. Outboard includes a TL Audio valve We want people to be able to write and record, to come in with
MTV is refurbishing seven studios and interface. Avalon's 737vt, tc M3000 and tc FireWorks. With DJ mixers and samplers... the emphasis is on flexibility. The room
equipping for digital audio working. The Strongroom 5 opened just two weeks earlier, the facility's Rob has been open for two weeks and we've already seen people like
update has seen a flood of BSS units Buckler spoke exclusively to Studio Sound about the initiative. Howie B and Neil McLennon, and we have Steps coming ìn soon.
installed including eight DPR -404 Q: Why sacrifice a programming room rather than expand a Q: Where does this leave the Strongroom's philosophy?
compressors. eight DPR -504 noise larger studio? We're going back to the Strongroom's roots in the MIDI
gates. five DPR -402 compressor-peak We've been integrating Pro Tools with big mixing consoles days-the key thing is people both in terms of in-house
limiters. 20 FCS-960 graphic equalisers, but were reticent to take out an existing console, so it made expertise and clients. The message that we want to get across
16 MSR-604 signal distribution systems sense to develop the idea in a room that didn't have to be an is that we're looking at what people are doing now and what they
two MSR-602 power supplies and 25 instant commercial success. We wanted to educate people and will want to do. We're trying to offer the best of everything
AR -133s. offer people access to Pro Tools that they haven't had before including niche roles for the likes of an SSL studio.
BSS, UK. Tel: +44 1707 660667. because Pro Tools isn't going to go away. It's a different This is our 'lab rat', our 'litmus test'. If this goes the right way,
approach than putting a Euphonix in a big room: why would I there's nothing to stop us expanding it and making it bigger.

6 STUDIO SOUND SEPTEMBER 2001

 SOUNDINGS
CONTRACTS
US: Turner Entertainment Networks is
building a network operations centre in
Atlanta, Georgia to accommodate its
TBS Superstation, TNT, TCM, Cartoon
Network and other Turner Entertainment
Network feeds for the US domestic and
Latin and South American markets. At
the new on -air facility will be nine
high -definition Thomson Broadcast Trinix
audio routers ranging in matrix sizes from
96 x 64 up to the full 128 x 128.
Additionally, there will be seven Thomson
Venus2001 digital stereo audio routeing
switchers, two Compact Venus2001
analogue mono audio routing switchers,
and two Venus2001 RS-422 data
routeing switchers. All the routers will be
controlled by a Jupiter Control System
with redundant control electronics and
more than 100 control panels. The facility
is scheduled to begin initial operations
during the second half of 2002. CBS
affiliate KFMB-TV, meanwhile, has opted
for an AMS Neve Libra Live Series II for
a new digital production centre where it
will handle seven hours of daily, live news
Japan: Tokyo's Nihon Kogakuin engineering training facility has installed a 48 -channel Amek 9098i production console programming and promotional production.
in a new studio serving a number of its courses, ranging from concert events, broadcast media, music entertainment, Tumer Entertainment Networks, US.
sound design and audio engineering. Shigenari Numazawa of the Broadcast Media Department commented, 'As this Tel: +1 800 962 4287.
new facility was also going to be used on a commercial basis, we could not afford any downtime. The other factor was Thomson Broadcast, UK.
audio quality; this is a multipurpose facility and not just for tracking and mixing. It is also used as a live TV production Tel: +44 1753 518200.
floor, a movie theatre, a postproduction studio, as well as for general live performances and anything else that may AMS Neve, UK. Tel: +44 1282 457011.
come along. All of this is coupled with the extremely high specifications we set for high -definition video facilities. As a
result, we wanted a console that was a match in terms of high audio specifications and facilities.' The facility also Finland: Finnish Blind library (along
boasts a real-time virtual studio facility for the creation of virtual sets, as used for broadcast on the recently -launched with its French counterpart) has installed
BS Digital Satellite channels. Amek, UK. Tel: +44 161 868 2400. Otari's DAS System for high-speed
conversion of analogue tape archives to
replaced by the apt equipment ran at David French. LuxSonor co-founder, chief digital files. The system was designed for
S Africa renews 768kbit/s giving 15kHz stereo and required and CEO added, 'This combination of peo- the future DAISY blind standard and is
additional tariff for return feeds. The new ple and technologies creates a very capable of automatic phrase and cue
setup will quadruple SABC'a audio capac- compelling' business proposition as our tone detection. Such data will be stored
radio resources ity include return feeds. customers are seeking established ven- in separate, proprietary binary files, ready

South Africa: National broadcaster the dors that can provide complete for later import into DAISY talking books.
South African Broadcast Corporation is entertainment systems.' The DAS System allows simultaneous
deep into the overhaul of its contribution Business The American 'parent' of Orban. CRL, transfer of four audio channels at up to
network. The network, regarded by the has completed the acquisition of Avocet 4x speed. Input signal conversion to
Instruments, designer and manufac-
SABC as production resource and gov-
erned by newly adopted digital interface
highlights turer of high -quality audio receivers and
24 bits, with master sampling frequencies
of 88,2kHz or 96kHz, depending on the
standards, is to conform to a 20kHz band- World: Chip manufacturer Cirrus Logic coders for the television industry. The pur- output format. The converted 24 -bit digital
width, 48kHz sampled audio with a has announced the signing of a 'definitive chase has necessitated the relocation of audio is dithered to 16 -bit wave file format.
maximum 4:1 compression ratio and 384k agreement' to acquire LuxSonor Avocet's operations from Beaverton, Data is delivered via SCSI and external
bandwidth. Key to the overhaul is the instal- Semiconductors, a supplier of DVD video Oregon to CRL's Tempe, Arizona head- PC server to the final mass archive.
lation of 25 apt NXL384A and 21 processors and A -V semiconductor tech- quarters. 'Avocet products solve problems Otari Europe. Tel: +49 2159 50861.
NXL384D codecs that link nine regional nology. In a stock -for-stock transaction with cueing remote talent for live broad-
studios to the Johannesburg centre. agreed by both boards of directors, Cirrus cast and delivering secondary audio UK: Pearson Television Productions has
'The big problem with contribution lines will pay some $65m for the California - programming to other broadcasters for purchased a Cedar DNS1000 dynamic
where studios are linked in real-time is based company in pursuit of its 'Total simulcasts,' said CRL's Jay Brentlinger. noise suppressor specifically to remove
the delay on the line caused by codecs Entertainment' programme focused on 'Avocet also gives CRL entry into anoth- unwanted location noise and clean up
and routeing,' comments SABC principal developing Internet -ready DVD players er rapidly expanding SAP application, dialogue for the TV drama series, The
technician for special projects Paul Kruger. and networked entertainment systems. It alternative language programming. The Bill. The London setting for the filming of
'After testing other systems it was clear also gives Cirrus access to LuxSonor's Avocet line makes a great complement to one of ITV's most successful
that a short -delay codec was needed for branches in Taiwan, Hong Kong and current CRL and Orban Television prod- programmes ensures that the DNS is
this job. Shenzhen (China). ucts.' Avocet product line is designed kept busy supporting both the regular
As you would expect,' adds apt's com- 'The acquisition strengthens our strate- to meet a range of television broadcast cast and a string of celebrities including
mercial director Jon McClintock, 'SABC gic focus on consumer electronics by and data transmission needs. Orban-CRL the likes of Hugh Laurie, Lilly Savage,
did expensive testing on both apt and other expanding our total DVD technology VP -COO Jim Seemiller has appointed Craig Charles and Roger Daltrey.
manufacturers' codecs and then put out and product portfolio, while significantly Kevin Clayborn to the position of Product Pearson, UK. Tel: +44 207 691 6000.
the tender.' extending our reach in Asia and China,' Manager for Avocet products. Cedar Audio, UK. Tel: +44 1,223 881771.
The earlier J.41 circuits now being commented Cirrus president and CEO FMR Audio has handed its distribu-

STUDIO SOUND SEPTEMBER 2001 7

 SOUNDINGS
CONTRACTS embodies evolutionary advances in digital
technology, coupled with the best ana-
logue has to offer,' commented Mark
UK: The first British Calrec Alpha 100
McQuilken from his Austin, Texas base.
has gone to Channel 4's Westminster
HQ as part of a massive redevelopment.
'Both Beth and realised we were far
I

The 52 -fader desk is to be installed at

better at designing than selling-having
a specialist like Brad Lunde handling
124 Facilities, a subsidiary of Channel
the sales element of business just
Four with a client list including BBC TV,
makes sense.'
LWT and OnDigital as well as Channel
'I've been interested in FMR Audio for
Four. Meanwhile, MTV Europe has
several years,' added TAG's Brad Lunde.
purchased a 60 -channel Calrec T-series
'FMR is an important growth company
console as part of a major refurbishment
because they have found ways to make
of its Studio A, joining the Q -series desk
digital and analogue work together at a
already installed in Studio B. Studio A is
price people can afford. The FMR RNC
the largest and busiest of the station's
delivers benchmark performance and
studios, hosting shows, from live music
benchmark pricing. It appeals to a broad
to light entertainment. MTV Europe's
range of users and its capability is way
clients include Carlton Television, Sky
beyond anything we know of anywhere
Television, the Paramount Comedy
near the price. Distributing this product
Channel and Channel 5 as well as
and working with FMR is going to be a lot
MTV's pan-European networks.
of fun.'
Channel 4 Television, UK.
Following Studio Sounds reviews.of
Tel: +44 20 7396 4444.
the MA 2.2 mic amp (Studio Sound, June
MTV Europe. Tel: +44 207 284 7777.
2001) and the SOC 1.1 compressor
Calrec, UK. Tel: +44 1422 842159.
(Studio Sound, July 2001). New Zealand
entrepreneur Buzz Audio (www.buzz
US: Susquehanna Radio Corporation UK: Engineer -producer Greg Walsh reckons to have solved his Surrey audio.co.nz) has secured CE certification
has installed Lucid digital sync studios' acoustic problems with the installation of Tube Trap monitor and distribution through ASAP Europe.
generators and digital signal amplifiers stands and China Cones. Problems of resonance and poor stereo ASAP Europe, UK. Tel +44 207 231 9661.
at its new Atlanta facility. Modern imaging arose with the addition of an active subwoofer to his Genelec Net: www.asapeurope.com
Rocker 99X WNNX-FM and Top 40 close -field monitors in readiness for a project with Miguel Bose; the
Q100 WWWQ-FM now boast an speaker stands brought the required acoustic absorption while the
all -digital signal path with Lucid China Cones stabilised the image. Established for his work with the Barn storming
equipment supplying both stations likes of Chicago, Tina Turner and Heaven 17, Walsh is currently UK: A derelict 16th Century barn in
with master and back-up clocks for nurturing a new female artist called Be. Soundfield Studio (distributor), the Middlesex village of Denham has
digital sync, digital audio amplification UK. Tel: +44 7930 506670. Net: www.soundfield.net become the home of the predictably
and distribution. Each previously had
named Barn Studio. The latest endeavour
its own separate digital facility. tion concerns over to Las Vegas -based Compressor) and brought them close to of Lynx Digital, a 20 -year veteran of
PR&E Digital Airwave consoles serve Transamerica AG, freeing founders of the likes of RCA, Motorola, Lockheed the broadcast postproduction sector,
as the facility's audio hubs, each Mark and Beth McQuilken to continue Martin and BMW. 'The RNC is a serious the new studio offers 'a totally unique
feeding Lucid SRC9624 and AESx4, focusing on the DSP design work that has studio tool that easily competes with com- sound recording and comprehensive
which splits the signal for Omnia produced their RNC (Really Nice pressors that are far more expensive. It editing facility'.
processing an transmission via an
Intraplex T-1.
Susquehanna Radio Corporation, US. -moo Q: Doesn't that create a lot of file exchange?
Tel: +1 214 520 4380. Duran Films opens Yes, but in France the DD1500 is the standard for TV drama
Net: www.lucidaudio.com editing rooms. A lot of TV sound editing is done by the Avid

Switzerland: The DS Dreamsound

new audio facility assistant, and the DD1500 is really easy to use. We don't do
much editing in our System 5 room, so it's just a useful play-
recording studio modified its PARIS -BASED POST OPERATION Duran Films-part of the back device.
DynaudioAcoustic M3 -based stereo Duran -Dubois group alongside Les Auditoriums de Joinville- Q: And when mixing is finished you can transfer to another
monitoring to accommodate 5.1 surround. has opened a new audio facility to partner its 3D animation studios room?
The control room and expanded and to combine both film and TV drama work. Absolutely. We use two Fairlights because they're 24 -track, and
monitoring were designed by Munro Central to the upgrade is the first Euphonix System 5 digital con- we're starting to get a lot of work in 5.1 that uses lots of tracks.
Associates. Owner Markus Zehnder has sole in France, delivered by French distributor 44.1. Duran COO We've added rear -left and rear-right JBL monitors. and a sub, to
already hosted sessions and mixes from Hervé Le Coz spoke to Studio Sound. our Genelec 1038 LCR configuration to create 5.1 in the System
the likes of ex -Nirvana drummer Dave Q: Is the whole place digital now? 5 room.
Grohl and Andreas Vollenweider. Almost. Our longest experience is with digital video and graph- Q: Why is the System 5 suited to film engineers?
DS Dreamsound, Switzerland. ics-we were the first in France to use Quantel computer graphics It's the PEC-Direct monitor controls in the modular panel. We
Tel: +41 55 418 9050. in the mid eighties. We have lots of Pro Tools, and we've had an have configured our System 5 like a film console, so we can have
tc electronic, Denmark. AMS Neve Libra Post for a year. but we still have a CS3000 too. switchable subgroups of dialogue, FX, music, sound design and
Tel: +45 8742 7113. Q: Is Pro Tools the main platform? so on.
No, it depends on the application-editing, mixing, sound gen- Q: You say that France seems quicker than other European
Finland: The Finnish Broadcasting eration and so on. We still use an old AMS Audiofile for fast countries to embrace digital. Why do you think this is?
Company, YLE, has recently purchased editing; there are six Pro Tools systems; three Fairlight systems; I come from a music mixing background, and in the mid
and installed five Waves MaxxStream and around 10 Akai DD1500s. eighties everyone went digital because it really was cheaper-
streaming systems. Q: Is the System 5 intended for specific applications? easy to set up and good technical support. It's almost the same in
Net: www.yle.fi/radiomafia/ Mainly mixing big TV dramas, like Les Miserables with Gerard the film and TV industry in France today. You can interface with the
maxxmafia.asx Depardieu. Playback is normally via a couple of DD1500s. If we edit systems and avoid expensive A -D and D -A convertors. The
Soundata Oy, Finland. need Pro Tools for sound design, for example. we'll bring it into System 5, for example, is operationally the best of both worlds.
Tel: +358-9-4769 3320. the room. And we record onto two Fairlight MFX3Pluses. Duran Films, France. Tel: +33 4529 9999.
1

8 STUDIO SOUND SEPTEMBER 2001

 brute force and intelligence

Acclaimed touch screen worksurface

topology, combined with an incredibly

powerful digital engine.

The result is a console which

simultaneously provides for up to 320 full

audio channels and 124 output busses, all

controlled by one of the most forceful,

yet intelligent automation systems

available.

The new Soundtracs D4.

IBC 2001
See the DPC-11 at
Alfacam Stand OEE 155

For Demonstrations of the NEW D4

during IBC please contact:
James: +44 (0) 1372 845 600

SOUNDTRACS
West Coast Offices: 844 N Seward Street, Hollywood CA 90038 Tel: +1 323 465 0070 Fax: +1 323 465 0080 Email: [email protected]
www.soundtracs.com
East Coast Offices: 2 West 45th Street, Suite 605. New York NY 10036 Tel: +1212 8191289 Fax: +1212 8190376 Email: [email protected]
Head Office: Soundtracs PLC, The Clock House. 4 Dorking Road. Epsom. Surrey. KT18 7LX. England Tel: +44 (01 1372 845 600 Fax: +44 (0) 1372 845 656 Email: [email protected]
 SOUNDINGS
CONTRACTS It offers a large 'beamed' orchestral stu- problems and can offer clients a highly listings site Citipages and music portal
dio area with acoustics by the BBC Design professional, competitively priced, enjoy- Darkerthanblue.
Department containing a new Steinway B able and convenient environment in which
Germany: Frankfurt's Hessischer The company raised £27 million to
grand piano, 12 on and off-line sound and to work.'
Rundfunk radio operation has expanded invest in new media last year, and is likely
video editing suites, DVD authoring and The Barn's advertising effort oppor-
its Telex intercom matrix. Using a fibre- to spend the remaining £5 million it still
mastering, and graphics facilities. The tunistically employs a couple pondering has on Rivals.net.
optic link to add a second matrix to the equipment listing reveals two of the suites the question: 'Have you ever done it in As part of the consolidation process,
existing, three -year-old installation, to be AMS Neve Logic rooms and two to a barn?' Irresistible. Contact emma. internet radio concept Puremix.com-
Hessischer Rundfunk has the first active contain Avid systems with Symphony [email protected] for which a Dalet 5.1 audio streaming
multi -frame system in Germany and is Smoke and Flame digital graphics systems.
celebrating with its new youth -orientated
package was acquired and installed-
'This is the first completely new. has closed.
programme, XXL.
Telex EVI Audio, Germany.
purpose-built facility to go online for quite Chrysalis' Rivals 'We are used to the record business,'
a while,' commented Lynx sales and
Tel: +49 9421 706464.
commented Chrysalis co-founder and
marketing manager Emma Goodall

UK: Total Audio Solution has

'Denham Village is an ideal location with survive net cull chairman Chris Wright, 'where you sign
a lot of musicians-some make it and
Pinewood, Bray, Elstree, Shepperton and Net: Media group Chrysalis is consoli- some don't. There is now a much clear-
complemented itsTArdiS mobile with the various BBC facilities all within easy dating its Internet portfolio on a sports er idea about what kind of new media
TArdiS Two. Build as before around a reach. The rural location also means that website, Rivals.net. This follows losses on ventures are likely to be successful and
we don't suffer from access or parking all of its other web enterprises including which aren't.'

Q: What are your design priorities here?

Fish and beans make healthy All of the above, with an emphasis on 5.1. The speaker place-
ment relative to the engineer's mixing position in these rooms is
diet for Multi -Video Group unrivalled by any other studios in New York.
Q: Is Thirteen/WNET a new broadcaster, or is the Cool Beans
EMMY-WINNING COMPOSER and producer Peter Fish, winner co-operation an upgrade to Thirteen's existing post facilities?
of ASCAP's Most Performed Themes award for the last three Thirteen is the largest public television broadcaster in this
Sony DMX-R 100 digital console and years, has joined forces with Cool Beans Digital Audio in New York. country, with over 50% of all PBS original programming originat-
Tascam DA-78HR recorders, the second Fish's Book It Ltd company is now part of the Multi -Video Group ing there. Check out their website at www.thirteen.org. The Cool
TardiS offers an altemative interior layout which owns Cools Beans, along with several audio-visual pro- Beans co-operation represents their entry into the audio post
and expects to see the addition of an duction and postproduction operations. portion of the production process.
MX-2424 hard -disk recorder for back- As part of the integration, Fish has designed and specified Q: What equipment is in Cool Beans' East Side base? Are
up. plugged directly into the vehicle's a second audio post facility for Cool Beans in conjunction with there likely to be any upgrades here under your stewardship?
AES-EBU patchbay-distribution system. Manhattan -based broadcaster Thirteen/WNET. He spoke to The Cool Beans gear is very current and well thought out, so
Coincidentally, London -based OB Studio Sound. no major upgrades are necessary. The major pieces are as follows:
company CTV has installed a 72 -channel Q: What is Book It Ltd's main operation? three Euphonix System 5 consoles; three Pro Tools 5.1 DAWs;
Calrec S2 into its new 084 vehicle, Book It is my corporation, which has entered into a partnership three tc electronic System 6000s; three Orvilles; three 5.1 envi-
custom -designed for live broadcast of with MultiVideo Group for the purpose of the operation and man- ronments; one Synclavier; three plasma monitors combined with
light entertainment shows. At 40 tonnes agement of Cool Beans Digital Audio-at both the East 42nd St rear screen projection. The rooms are 100% digital once the sig-
and with a surface area of 695ft2, the and the Channel 13 locations. nal enters the into the room.
32 -camera OB4 is the largest OB facility Q: What equipment is going into Thirteen/WNET New York? Q: Given that these developments indicate an aggregation
in Europe. In terms of consoles: two AMS Neve Libras; one ProControl; across the full scope of audio post markets-agency, TV, film
Total Audio Solutions, UK. one Mackie Digital 8 -Buss. DAWs include four 24 -output Pro - are you planning any kind of internet audio facilities?

Tel: +44 1527 880051. Tools 5.1 systems. Signal Processing is tc electronic System I think this is an area we will head to, but it is not our current
CTV UK. Tel: +44 20 8453 8989. 6000, Orville and various vintage gear such as Pultec EQP1-A, number one priority.
Calrec, UK. Tel: +44 1422 842159. La2a. Urei 176 and so on. We also have three Syncleviers.
1
Multi -Video Group, US. Tel: +1 212 986 1577.

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10 STUDIO SOUND SEPTEMBER 2001

 home of post refurnishes with MX -2424
With more than 40 years of servicing some of
the world's greatest movies and some of the
best known television drama series, Anvil
Studios bills itself as "The Home of Post
Production".
Located on the site of the famous Denham
Film Studios, Anvil boasts two fully digital
Dolby" dubbing theatres, now equipped with
three MX -2424 hard disk recorders. Alan
Snelling, Senior Sound Mixer: "The move to
hard disk has been triggered by the ease of
use of the TASCAM machines. Nothing has
changed in terms of pressing buttons and
what we do, it's just going down onto a nicer
format.
"It's instant access sound and the 24 -bit
resolution ties in very nicely with the SSL
Avant" digital consoles. The flexibility of the
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pre -determine how things must be done."

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 SOUNDINGS
CONTRACTS
strongroom
Andorra-France: Mallorca's Das
Inselradio 95,8 FM has employed Klotz endorsement
cable throughout its building and studio. UK: East London's Strongroom Studios
Andorra Radio R/P has installed an has endorsed its multimedia and surround -
entire Klotz audio cabling system, while sound credentials with a string of
across the border, Netia has provided groundbreaking projects.
Radio France Bleu with a complete As dance outfit Groove Armada embark
'audiodigitisation' Radio-Assist system, on an SACD mix, techno duo Orbital have
handling audio from acquisition to just completed a 5.1 mix for DVD-Video-
broadcast through production, planning the visuals for which were developed by
and archiving. Strongroom's multimedia wing Pavement.
Klotz AIS, Germany. Mix engineer Dave Pemberton used
Tel: +49 89 461000 24. Studio 2's Euphonix CS3000 console and
Netia, France. Tel: +33 4 6759 0807. Boxer 5.1 monitoring system while simul-
taneously developing stereo and 5.1 mixes.
Australia: Australia's largest radio 'Most of the sources were electronic,'
network, DMG Radio, has ordered three comments Pemberton, 'many with pre-
more DSP Media P-16 Postations for programmed effects with surround in mind.
installation at its Melboume station. The Any vocal reverbs were usually re-done by
order marks the thirteenth Postation in me with the Lexicon 960, and didn't work
I UK: Soho's Tape Gallery postproduction facility has installed a
use at DMG which owns 61 stations in to picture-they were all done afterwards. Soundtracs DS -3 digital console in its Studio 2 (pictured with engineer
five Australian states including 'The main aim was to get things spin- Richard Bradbury). Having grown from a single -room facility which
Queensland, New South Wales, Victoria, ning round the room and really exciting. opened in 1981, The Tape Gallery now offers five studios, transfer suites,
South Australia and Western Australia. We made an early decision to go surround Avid facilities, access to on-line fx and voice-over libraries and
DMG Radio, Australia. in this room, about five years ago, and it's production and publishing links. The 64 -channel DS -3 is the focus
Tel: +61 418 657 658. really beginning to benefit us now.' of the upgraded Studio 2 and is highly regarded by founder
DSP Media, Australia. Studio 5 has also recently been Lloyd Billing; 'Consoles that sell for three times the price don't come
Tel: +61 2 9714 5400. relaunched at Strongroom as a 5.1 anywhere near the sonic quality of the DS -3,' he commented.
ARX, Australia. Tel: +61 3 9555 7859. ProControl-based room, aimed at bud- The Tape Gallery: +44 20 7439 3325. Soundtracs: +44 1372 845600.
get projects for DVD.
Japan: Three new Tokyo -based studios Strongroom, UK. Tel: +44 207 426 A report in one of Burma's national this, the committee plans to have reporters
have recently ordered DSP Media 5100. newspapers, the English -language spread around the city, reporting on the traf-
systems; Flex Studios has taken a Myanmar Times, says that, unlike the more fic situation via walkie-talkies.
Postation II, Answers Studios and usual highly -formal broadcasts heard on
Hokkaido Bunka Broadcasting have both Burma's radio the country's state radio, the new station's
Currently, Radio Myanmar, the state
broadcaster established in 1946, serves the
taken 16 -track Desktop Systems, while programmes will be geared towards light whole country, with programmes everyday in
Answers has also taken
Vmotion system.
a standalone
alternative entertainment-with both Burmese and
Western music being played.
Burmese and eight ethnic minority languages.
Broadcasting also twice a day in English,
Rex Studios, Japan. Tel: +81 3 5443 5211. Burma: Over US$100,000 worth of broad- The new station, which will broadcast on from 8:30am to 9:15 am, and 1:30pm to
Answers Studios, Japan. casting equipment has been ordered from 99MHz, will be run from Rangoon's City Hall 3pm, it provides national and foreign news,
Tel: +81 3 3266 8011. Singapore by Burma's military government by the capital's City Development Committee. features, and musical programmes, along
Hokkaido Bunka Broadcasting, Japan. in order to kit out a new FM radio station. Apart from local news and entertainment pro- with commercials for entertainment, educa-
Tel: +81 11 214 5200. The station is due to begin broadcasting grammes, the station will, for the first time, tional and business enterprises.
DSP Media, Japan. Tel: +81 3 5723 8181. from the capital, Rangoon, in November. feature on-the-spot traffic reports. To achieve In a country where colour television did not

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 SOUNDINGS
APPOINTMENTS start until June 1980, the move to establish
a new radio station in Rangoon is seen as
bringing the capital, with its 5.5m inhabitants,
Aphex Systems has appointed Keith
more up to date with the outside world.
Jahr to the new position of operations
manager. Jahr brings over 20 years
experience in consumer and MI sales
and management as well as being a
Sondor's new
musician, recording engineer, FCC
license holder and radio talk -show host. super Nova
Klotz Digital Switzerland -UK: British -based Projection
has added Jim
& Display Services has become the first
Armstrong to its sales team as sales
customer for a new Nova 'location' pro-
engineer. He will concentrate on
jector from the Swiss Sondor specialist.
operations within the US market and aid
Co -developed with P&D, the 35mm Nova
in broadcast product design and
projector breaks down into four flightcases
development, market research and
(inset): two housing the projector itself and
technical presentations to broadcast
one each containing the lamp house and
groups. Armstrong has previously
rectifier. Assembly by one persón takes
served with Burk Technology and
approximately 20 minutes. Performing to
Gentner Communications.
the same specification as the Studio Nova
(including 24fps-25fps, x2 projection, x10
Crown Audio has announced Blake
shuttle), the location model can be assem-
Augsburger as president, reporting to
bled by one person in 20 minutes. Its sound
Mark Terry and responsible for
heads are LED analogue and Dolby SR -D.
overseeing and directing the entire
Summertone, UK. Tel: +44 1923
Crown operation. Augsburger has spent
263220.
time with NY's Hipotronics and the

Pro Audio A to Z
World: The first comprehensive and defin-
UK: A new initiative a London's Town House studios offers an intriguing itive listing of all the world's leading audio
alternative to the established Soho -centred postproduction scene. Located manufacturers and distributors-The Pro
somewhere west of Kensington, Town House Vision offers a 'one -stop -shop' Audio A to Z-is to appear as a second vol-
for low -budget television productions. The facility is centred on an extended ume. The 300 -page volume has since
Digidesign ProControl surface including Edit Pack with a Bryston-PMC LB1 become an invaluable source of reference for
surround monitoring system, and includes a Foley area designed with the anybody in the business of professional
assistance of freelance Foley artist John Swanscott (son of Ted SwanscotO audio, particularly for manufacturers seeking
that doubles as an ADR area. Running the facility, Julian MacDonald new distributors and dealers, and vice versa.
commented, 'Some people were frustrated by what they were being offered in Launched in September 2000, and pro-
Soho. Lower -budget projects were being rushed through premium facilities duced by CMP information-publishers of
Swiss Haefely Test as VP in and weren't getting the best service so we decided to offer an affordable Studio Sound, Pro Sound News (Europe,
engineering, operations and world-wide alternative by using Pro Tools.' In discussing its conception, MacDonald Asia, USA), Installation Europe, Systems
sales and marketing. makes a parallel to the sea change experienced by audio recording with the Contractor News and EQ, The Pro Audio
emergence of increasingly affordable technologies. 'Although it was reckoned A to Z brings together key market con-
Soundtracs has announced the to be possible to apply Pro Tools to a setup like this, I believe we were the tacts from a multitude of information
departure of sales and marketing first people to approach Digidesign to build one,' he says. Since opening in sources. The eagerly awaited second
director John Caroll after around 30 January, Town House Vision has hosted The lnbetweeners for Universal edition will be published in September
years with the company. Departing Pictures and was recently busy with Boxed and its all female direction - 2001 and will feature all the new contact
amicably, Caroll is to remain involved in production team. Coming up are projects for the likes of the National details for companies that have re-located,
the annual DAMSTY charity sailing event Geographic and Discovery channels and an animated feature. 'It's a real asset changed their company name or come
while contemplating his future to have EMI behind us,' he continues, 'and it's good for them to be seen to be into existence in the past 12 months.
professional opportunities. pushing things forward. We're looking towards tomorrow's talent and working Contact Jeremy Theobald: jtheobald@
methods. Town House Vision, UK. Tel: +44 20 8932 3200.' CM Pinformation.com

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 FACILITY

HOUSEWORK
Every capital city has a post community with a supporting infrastructure. Zenon Schoepe
goes to Stockholm, where skilled hands make light work of the Housework
PEOPLE passing the front window but it transcends anything you'd find in an Ikea cata- Ingemar Ohlsson, aided by architect Erik von Matern
of Housework's postproduction facility in logue, such as the remarkably underexploited use of and constructor 011e Nilsson, it's a triumph of ingenu-
a plusher side of Stockholm won't quite MDF, in its `natural' unpainted state, as the outer `skin' ity and elegance over the relatively common problem
understand what they see each day on feature surface of the box. It's good enough to have of how to create a studio in an environment that does-
their journey to and from work. A perfectly normal made it into local lifestyle magazines. n't want to be disturbed too much.
nice art deco building with people often standing in 'We didn't want something that looked integrated in The studios stand on insulating blocks made up of a
the window drinking coffee and some sort of large con- to the place, we wanted to make it look as if something composite of wood and stone that isolates aid floats
struction as a backdrop. When you get to actually go had landed in the building,' says Housework's owner the structure above the substantially solid floor of the
inside things aren't immediately much clearer, for stand- Janne Anderson. 'At the same time we didn't want to building. THX approved air conditioning conspires to
ing on the large showroom floor of the old former interfere with the building too much as it has a number create a relaxed and quiet working environment with
chemist's shop is what amounts to an enormous box. In of period touches that are worth preserving. quite remarkable isolation-because you can see most
it are two 5.1 Genelec systems and Pro Tools with `I hate it when people over design a place and then feel of the outside walls of the studio you suspect, quite
ProControl studios complete with adjoining overdub obliged to wear certain types of clothes, that's all too incorrectly, that the structure will be more vulnerable
booths that earns Housework its living predominant- uptight for me. Things need to be calm like you're in a in this respect. It amounts to a wonderfully insulated
ly in commercials. library or a restaurant.' and isolated studio cocoon.
There's more than a smattering of Swedish style here Designed by Sweden's leading acoustic design guru Apart from this Swedish endeavour; Anderson is also
a development partner in an editing company in Santa
Monica where he has a room and office where he tack-
les sound design and general Housework style projects
for American clients. His time is split between LA and
Stockholm, and his company has existed in one form or
another for around 12 years driven always by Anderson's
interest in getting involved with varied work.
'The thing that we do that makes us special is the
people we have and that means we can take on differ-
ent types of job from arranging and conducting a string
quartet, sound design and keyboard music, mixing and
all the types of work that involves combination and col-
laborating between different disciplines,' he says adding
that the rooms are set up for linking and collaboration.
'What feeds me is doing different combinations of work
so that we don't just end up doing the same sort of thing
every day.
`I look for relationships with producers and direc-
tors who are interested in doing cool work,' he says.
Some 70% of work load is for European commercials
for TV and cinema with the remainder attributed to
long form. There is always one longform project going
through at any one time with the facility arranged to
run around the clock if required.
`Going to the US as an arrogant European you tend
to think that we can do things better but you realise
that the Americans are really very good at certain things
and you can learn so much from them,' he continues. `I
try to absorb that and bring it back here and apply it. The
Americans do Foley really well, there's a culture for it and
it's mind blowing. Now everyone that works in my busi-
ness of post sort of dabbles in Foley and we can move
some things around and edit it so it works but it's not the
same as an experienced Foley artist actually moving the
mic to picture when doing clothes sounds to give three
different frequencies of movement. They're used to mix-
ers not having all this editing equipment and the Foley
artist is effectively premixing himself. And the mixers are
good and the whole process is very production line ori-
ented. They tend to have guys who are exceptional in one
particular area of expertise whereas in Europe we have
to be more multiskilled.'
He says there are also significant differences in
approach to film -making across the Atlantic and where -

16 STUDIO SOUND SEPTEMBER 2001

 FACILITY

as the Americans see their work as a business performed the studios we use for print mastering.'
for a client who gets whatever they want, the Eastern Anderson ran 5.1 monitoring in his last facility,
Europeans, on the other hand, regard the process almost however, the previous place ran 11 -IX approved Apogee
completely as art. He says the remaining Europeans monitors and the new build has seen a move over com-
recognise it as art but also understand the importance of pletely to Genelec. 'We talked about the choice of mon-
the business aspect and that they ought to at least try to itors for a long time,' he explains. `I fell in love with
make some money out of it. Genelecs long ago but for a lot of people from old
Housework has been operating from its present site school music mixing find it hard to move up to Genelecs
for three years following its location at two previous because they think they sound too nice and because
sites for Anderson's company. The two main rooms they feel they get lost in the beauty. I believe that a
are identical small 5.1 configurations. 'Much of the good mixer will learn any monitor as long as it's with-
stuff we do here has been print mastered in a larger in professional standards. The trick is learning how
%.
room for level checks and our results translate up to the speakers translate to what you're delivering and I
film and down to TV extremely well if you've got good hear a lot of detail with the Genelecs that doesn't exist
people engineering,' he says. 'And if you want to do in other monitors. For the operator it's a trick and
Housework's owner
flash stuff, sound design and mix movements, we are craft to get a feel for how his work translates to kick-
Janne Anderson
much better equipped to do it here than they are in ing movie theatres or down to TV.'

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STUDIO SOUND SEPTEMBER 2001 17

 FACILITY
The speakers in the rooms are Genelec 1032s on the
LCR and 1031s in the rear with 1092 subs, not the
most enormous models then but, importantly, to the
scale of the room according to Anderson. 'We can
achieve sound pressure levels that feel the equivalent
of a movie theatre-you can do film mixing at 85dB.
It's the high -end spec that we were looking for because
we wanted to be able to do that sort of work. You
can put on a DVD in there and dial up an action
sequence and it really moves air with the big Genelec
subs,' he says. `I've got an identical Genelec set up in
my room in LA but without any of the acoustic treat-
ment and design that we have here. While it sounds
great, I feel good about the enormous difference that money went. You can keep turning up the volume
the design makes to the sound. I really feel I've had my without realising how loud it is getting and there are
money's worth on it, you can see and hear where the just these "little" Genelecs in there.

"The System 6000 not only changes the way I work but speeds the panels up!"

. uLW>.
: .v. or
SYSTEM 6000 'I actually tested the largest Genelecs against the
Ultimate Multichannel Processing Ruda old Apogee system and the main difference was the
aY
[aCqetba. kick from the Apogee horns because they're more like
a PA system,' he continues. `That's good for that
4 mg:. archetypal cinema experience but it hurts your ears.
w A When I go to a Hollywood mixing stage and hear the
4 y: sort of levels they're working at it scares me and I
don't want to do that. I can live without that and the
kick from the horns.'
The difference in dynamics, attitude and the rate of
throughput between Housework's mainstay of com-
. . mercials work and that of longform projects requires
Only the System flexibility but they can be connected. `Commercials can
6000 platform offers a
full range of essential tools be an awful lot of fun and it leads to other stuff,' observes
for your Multi -channel and
Stereo applications. From stunningly
Anderson. 'What often tends to happen is a commercials
real Room Simulations with multiple director gets offered features and their sound guy here
sources and expressively dense Reverbs to
Pitch Shifting, the System 6000 delivers unparalleled gets to make the journey with them.
power, control and integration to your studio.
FILM `If an interesting longform project comes up we look
at it as a team, because everyone has to be involved one
Only the System 6000 and its touch screen remote offer specialized software options. These
include true benchmark standards like Multi -channel MD5.1"', Stereo MD -3'N Multi. Posr way or the other, and decide whether it is something
band Compression and Brickwall Limiting, Backdrop"' Psycho -acoustic Noise Reduction, we think would be fun or that we would want to do.
Engage"' Binaural Processing, Stereo to SI Conversion, the 5.1 Monitor Matrix with 13,), -
Music Once we make that commitment we know that if we run
Management, Multi -channel EQ and much more...
in to problems then we all know that we agreed to it.'
MASTERING
Only the System k000 is fully networkable via Ethernet. Talk about expansion...
Staff co-ordination is less of a problem than it might be
a single
Tw.,;
x...a.m.w
IC EON remote can control up to z56 channels of digital audio, all using industry standard
BROADCAST
because the company is very small and they keep talk-
Ethernet cabling and routing hardware supported by continuous free software updates
5a -Ar rv,
ing to each other so everyone knows what's going on.
on the Internet.

MULTIMEDIA Housework has two main engineers (Magnus

Andersson and Eric Thorsell) plus an assistant with the
'he beanuvng the 5rsrem boca u, a lour engine device connected
to me romo* at eaekSroge studio in Nashville. configuring the
unir s
plan being to progress to four engineers and two assistants
¡or errb óg0Bt0lbn tomb not be eosrer a/bwmg 5 to usen for in the very near future. This expansion coincides with
!
misal wen as 5.I Rime>.
Se, ar rhs print. Ido crol think
,,
I could oil along 0,0604 ir"
gr" _ the creation of two new rooms at the back of the build-
AIEW 4ER5/QN 20
89w FSS,e hee.G.veo
Feer--wr.ea.ee.Nwi.memo
ing-one, a small assistant room for prepping and trans-
E.re./e.,be«.reE.,.e.r tvnwes fers, the other a smaller version of the main rooms with
an identical Pro Tools system but without the acoustic
www. SYSTEM6000. com treatment that differentiates them. The latter will be ded-
icated to longform work to cut some slack for the two
TC ELECTRONIC x/5 DENMARK t
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! .. :e..: e5: Anderson's background is in music, he got into
sequencing early and branched in to music for picture
culminating in Logic Audio before his switch to Pro
Tools with version 4.0. The facility still runs Logic in the
rooms for sequencing despite the presence of five

1 8 STUDIO SOUND SEPTEMBER 2001

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complete CD in a single Disc At Once process. This involves the high speed
tranfer of the programme material to Exabyte tape or hard disk in an
intermediary process that incurs additional cost and may introduce
increased levels of jitter to the detriment of the recording.

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 FACILITY
probably a little cheaper than Soho. Our commercials
hourly rate is £170(UK).'
Long form work is by definition more complicat-
ed in charging structure and Anderson states that it's
important to set ground rules with what can become
interminable projects. 'We don't promise to work on
it endlessly until the client says he's happy basically,'
he says. 'You have to define points at which they can
confirm that we're doing what they want us to do and
they can sign on it. That way in a month's time when
they change their minds we know where we stand.' He
adds that if someone tells you that their job will look
really good on your show reel then you know they
can't pay you.
'One of the things that is handy about being where
we are is that there's an editing company (Stockholm
Postproduction) with three Avids in the basement here
and we collaborate with them on projects,' he contin-
ues. We're networked to them so they can fire us the pic-
ture and we'll sound design for it. It's one of the main
reasons we're in this building and it means that I don't
have to own any video machines as they've got a mas-
sive machine room but I pay them every time I need to
use one. We don't have to invest in new video formats,
we're an audio facility, but we'll layback to the machine
of your choice.
We don't often work together but for the more com-
plicated projects it becomes a bigger deal to be able to
go from the off-line up to an audio room and show
them what's happening.' he continues. 'In those instances
the ability for the picture and sound guys to be able to
talk and discuss the work can make a big difference.
'A lot of people have tried this sort of combined
approach and it's a hard deciding how you collaborate
but it's also about how you are perceived-whether it's
an audio facility with video or a video facility with
audio because they'll get hired by different people.
Clients also want to be able to choose their video and
Mixfarm Pro Tools rigs which are used for the everyday ware we use continuously,' he says, `We're always on the audio people separately. The set up here involves sepa-
commercials and audio work. 'When you're doing com- lookout for something that will do a job bettet Financing rate companies and we work together when it makes
mercials and people come back the next day they want that is not really the issue because Pro Tools is expensive sense, not because we have to,' he concludes.
to hear it exactly as they left it and Pro Tools is very but not if you compáre it to the cost of a Capricorn or A lot of thought and attention has gone in to the
reliable for that,' he claims. 'We have a fibre -channel an SSL desk and it's minuscule in comparison to how making of Housework which exudes all the vibe of a
system and can move things from one studio to anoth- much you spend on building costs.' busy, productive and clearly 'in demand' facility. Pleasant
er. The rooms are completely networked and are as big Projects include work for English, Norwegian, Finnish people in pleasant surroundings and Stockholm's not
and complete as any systems you will find in the world. and the occasional German agencies and production bad either.
I take pride in the fact that we know how to get the companies. `For the English agencies we collaborate
absolute best and most out of our system. We're play- with post houses in Soho (London) and we're not pre- Contact:
ing digital video back from separate computers locked cious about it because it doesn't matter that we're not
to Pro Tools so it's all really fast.' the finishing facility,' explains Anderson. 'We'll accom- Odengatan 106, Box 6339, 102 35 Stockholm, Sweden.
Housework is a beta tester for the Rocket Network Tel: +46 8 50703700.
modate the client and if they're happy maybe they'll
and see enormous potential for running it within a facil- Email: [email protected]
come back. I'm sure other places have their edges as Net: www.housework.se
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 FACILITY

CZECHS Ili THE POST

The magnificent Rudolfinium is the keeper of the flame for orchestral recording in Prague. Hollywood has
taken notice but don't expect to use the President's Office as the lounge just yet, writes Dan Daley
T'S NOT EVERY DAY that you go looking for a Quarter meet, the Rudolfinium comes into view and Soviet Union's hold on the country's already limited
recording studio and find a work of art. That was within a few steps the grand building's size blots out freedoms, to the bloodless Velvet Revolution of 1989,
the case, though, when following the directions to the view of the massive Prague Castle across the river. when playwright Vaclav Havel helped lead the coun-
the Rudolfinium, home of the Czech Philharmonic Built in the 1870s, the Rudolfinium is home to a 1,100 - try towards democracy. The Czech Republic was cre-
Orchestra. 'You can't miss it,' says Elena Suchankova, seat concert hall and home to the Czech Philharmonic, ated three years later.
a jazz singer who has volunteered to act as interlocu- which gave its first performance there on 4th January, Meanwhile, the Rudolfinium remained the vital
tor for a visit to Prague's stateliest musical edifice- 1896, and over the next century has hosted composers, music centre of Prague, continuously occupied by the
which is saying a lot for a city where an entire guest performers and conductors including Mahler Czech Philharmonic, regardless of who was occupy-
Baroque -period museum is devoted to composer and Rachmaninoff. The spear-carrying statuary which ing the rest of the country.
Antonin Dvorak and where tourists are barraged by guard the building's southern entrance have witnessed Directly underneath the stage of the main audito-
leaflets touting multiple performances of Mozart and their share of problems, from Czechoslovakia's birth rium, named for Dvorak, is the Rudolfinium's record-
Chopin works in every church, every night. At the as a nation in the aftermath of World War I to its ing studio, presided over by Oldrich Slezak, who like
height of the season in summer, cellists and violinists unwanted status as a protectorate of the Third Reich many hopeful musicians came to one of Prague's many
race between churches to fit in as many as three per- in the next war (during which the Rudolfinium was conservatories to study music-he plays bass-but
formances a night. appropriated by the Wermacht for office use), to the who caught the recording bug when he started work-
As for the Rudolfinium, you can't miss it. As you bloody Prague Spring of 1968, when Warsaw Pact ing at FHS, a film sound studio there in the seventies.
follow the street that hugs the bend of the Vistula tanks brutally repressed Communist Party chairman Oldrich is heavy -set, with a trimmed reddish beard
River, where Prague's Old Town and Old Jewish Alexander Dubcek's tentative attempts to relax the and owlish round glasses that give him a professorial

22 STUDIO SOUND SEPTEMBER 2001

 FACILITY
look. He has a relentless penchant for small Churchill multichannel capability. Slezak, also a mastering engi- Slezak's favourite microphones for the stage are the
cigars. He is married to one of Prague's leading neer (see sidebar), likes the sound of Sony Direct Neumann TLM170, of which he has 10, and the
chanteuses, Marta Balejova, a beautiful woman and Stream Digital approach. In fact, despite having been Schoeps CMC 5, of which he has numerous varia-
an indication that he gets out of the studio at some brought up on tubes and analogue tape and equip- tions, most of which are the dozen MK4 versions. He
point each day. `I learned about recording large orches- ment, he likes most things digital for classical record- will vary their placement in the hanging taut-wire grid
tras at the film sound studio,' he recalls. 'But ing-the higher the resolution, the better, he says. based on who is performing, but he is able to capture
the real education was here,' refering to the massive Though the studio has a pair of Sony 3348 digital most performances with as few as six microphones
24m x 32m x 14m stage upstairs which holds the 120 - 24 -track decks, Slezak prefers the sound of the two over the stage and a couple more in the rear of the
seat Czech Philharmonic and its 140 -voice choir. 24 -bit Tascam DA -series MDM-type 8 -track digital hall. There are 48 tie lines running between the hall and
The studio exists in its own demimonde beneath recorders he has in a rack to the right of the console. the control room, though some are also used for talk -
the stage. A recording setup of some sort for the 'We have recorded several projects for the Octavia back purposes.
Rudolfinium's stage has existed since the 1950s, when label using DSD and the
Supraphone was the state-owned recording studio Tascam recorders,' Slezak
and classical label (whose catalogue was purchased says, including work for
by Sony in the nineties). The current control room, noted Japanese conductor
though, came about as part of a large renovation of the Tomoyoshi Ezaki. The stu-
entire building in 1992, which restored its many rooms dio, however, does not own
-including one always reserved for the sitting its DSD system; Ezaki rent-
President of the Czech Republic-to their original ed it himself from Sony in
specifications. Not only the sonic majesty of the halls Japan and brought it to the
but the aesthetic magnificence of the entire building Rudolfinium. Other digital
was rescued from a period of deterioration under the equipment in the control
Communists-as Slezak walks through the grand room's racks behind the
entrance hall with its sweeping staircase, he notes with mixing position includes
visible disdain that the previous regime had used it Lexicon's 960L multi-
for a basketball court and gymnasium. This renova- channel digital processor,
tion also resulted in recording capability being allowed as well as a Lexicon 480L,
for in a second, smaller (10m x 24m x 6m) music an Eventide H -3000B
auditorium, Suk's Hall, and in a chamber for small multieffects unit, a tc elec-
Baroque -type ensembles. tronic Finaliser, and a Sony
The 8m x 8m x 3m main control room was SDP -1000 digital compres-
designed by the Prague acoustical firm of Soning, with sor-limiter-EQ, but also a
a typical compression ceiling whose lowest point hov- few key analogue pieces,
ers over a Solid State Logic 4040G console (with Total including an original Urei
Recall) before rising up to allow viewing of the two 1178 compressor. One
television monitors which are connected to remote - other set of analogue equip-
controlled cameras, the visual connection between ment also adorns the control room: two large tropical The Rudolfinium has numerous small practice
the subterranean control room and the stage. The rear plants on either side of the console whose fronds bend rooms, most fitted with Czech -made Petrof pianos
wall is fitted with custom RPG diffusers; the walls are inwards towards the centre of the monitor field, and but three which have vintage Steinways. The small
fabric -covered and handle absorption duties along which are under the constant glare of grow lights. `It's chamber music hall has an AKG 451 setup semi-
with copious amounts of egg -crate -type foam applied nice to have something like that living down here with permanantly in it, but Slezak isn't particularly fond of
to the ceilings and parts of the walls. A pair of large you,' Slezak says fondly of the plants, which he says the room, noting its parallel walls. 'We don't even
B&W Matrix speakers are the main monitors, and he and his two asssistant engineers have kept alive link it to the main control rooms,' he says.
smaller ones have been added to create a relatively and healthy for six years so far. Slezak also has a small mastering studio, next to
new surround monitoring array, the direction that Upstairs, the stage of the Dvorak Hall has a grid of the main control room, used mainly for editing, with
Slezak thinks that classical music will move towards, microphones slung above it, as well as around the a Ramsa DA -7 digital mixer in it. He expects to put
particularly since Sony's SACD format has now added hall's edges, to capture the 4s delay the space generates. a digital audio workstation in the room by year's end.

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STUDIO SOUND SEPTEMBER 2001 23

 FACILITY

ADK Mastering
OLDRICH SLEZAK IS ALSO a mastering of 1.2 million inhabitants, with several dialects
engineer, having learned that craft as he did engi- between them, the music market is not one of
neering, by trial and error and reading the maga- Europe's larger ones.
zines, as well as reading the liner notes on his But barely a decade into a democratic present,
favourite records and noting the mastering engi- ADK's mastering division, opened in 1999, gives
neers. (Bob Ludwig is his personal favourite.) the Czech Republic its third mastering facility,
Aside from his regular gig as the chief of studio at whereas before 1989, there was but one, and it
Prague's Rudolfinium, home of the Czech was state-owned. And business is on the upswing,
Philharmonic Orchestra, Slezak also is a master- a combination of home-grown rock 'n' roll, eth-
ing engineer at a commercial mastering facility, nic music, catalogue remastering and classical and
The Czech Philharmonic accounts for nearly three- ADK Prague, across the Vistula River towards the opera have been ADK's mainstays. The fall of
quarters of the Rudolfinium's studio's work. The rest east side of the city. Communism opened the gates from a single -state-
comes from rentals of the facilities, usually by visiting Slezak works there with a Sonic Solutions owned record company, Supraphone, to a prolif-
orchestras which want to record their own work, but system, with v3 software and an array of digital erating number of entrepreneurial ones and
increasingly from Hollywood film score work. At and analogue outboard gear, listening through acquisitions of existing catalogue material as larg-
$130 (US) per hour for the hall and studio, about half B&K monitors set on either side of a window that er Western labels, such as Sony Music, seek out
that rate for stereo film sound mix time in the control floods the 6m x 8m room with natural light, illu- more international markets. And the Czech
room, and far lower costs for musicians than in minating the widely -spaced RPG diffusers on the Republic is as good as any for that. As Slezak
unionised Hollywood (or for that matter even rear wall. Porous sandstone tiles on the front-end notes, `Since the end of state monopolies, there
Vancouver, Hollywood's main Canadian competitor parts of the side walls, designed by Soning, the has been an explosion of small independent record
for such work), using Eastern European symphonies same acoustical design company which designed labels. As the economy continues to improve,
and halls has become a cost-effective way for the Rudolfinium's control room, are an interesting people go out and buy more records. And people
Hollywood to get lush and organic scores for their combination of a hard and soft -reflective and in this country are transitioning now to the
films. For instance, the television series Young Indiana absorptive surface in a single material. CD from vinyl and cassette tapes, so that's creat-
Jones, which ran in the US in the mid -nineties, had its The studio is part of a larger company, owned ing a demand for CDs and CD -Rs.' (There are
score done by the Warsaw Philharmonic; just after by Jiri Mosner and Petr Pilar, which also does currently three CD manufacturing plants in the
the end of the Communist period in the region, bril- audio tape and CD -R duplication. Combined with Czech Republic.)
liant musicians and equally magnificent acoustical a packaging operation for the discs and tapes, it is But not all of these new labels have either the
spaces were suddenly available for, relatively speaking, the quintessence of small-town multimedia oper- awareness of what mastering is, and -or the money
next to nothing, compared with what the score record- ation. The vast majority of the company's work is for it, even at the 1,200 karounas, the equivalent
ings would cost if done in the US or Western Europe. for domestic Czech record companies and artists, of USD$40 per hour, that ADK charges. 'But we
The Rudolfinium has benefited from this turn of and in a country of about 10 million and a city teach them about it,' says Slezak.
events, and Slezak says the studio's technology and

music studio graphics offline online sound DVD web design

usicn s acousti; it
ve ambience, the perfect Recording Environment.
West London with ample parking. LYNX
post production

24 STUDIO SOUND SEPTEMBER 2001

If you produce, mix, or master audio for DTV or DVDs, the Dolby DP570 will make
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FACILITY
DAT is the main format that comes through Both he and Slezak are excited about the impending
ADK's portals, whether it's for mastering and-or acquisition of several aging Studer A-80 2 -track
duplication. There is a bit of analogue 1/4 -inch, and decks from the dismantled Czechoslovakian state
CD -R is beginning to make some headway as a mix radio operation. Those machines, once refurbished,
format, though even the entry-level professional will work both in the mastering studios and as
burners are still economically out of the reach of the basis of a rental operation that ADK also aims
most Czech musicians. to develop.
The studio has a vintage Revox 7'/4 -inch 2-track The Czechs may have spent a few decades out of
deck, modified for mastering with 1/2 -track and full - the loop during the Cold War. But with their studio
track headstacks. A Sony APR 5003 and a Genex infrastructure reawakening at a time when such a
8500 are two other in-house formats. diverse array of equipment is so widely available at
A second small mastering room across the hall, affordable prices, Slezak is looking forward to the
also with a Sonic Solutions system and an old Lyrec future. As much as he likes the vintage equipment he
2 -track deck, is expected to become a DVD author- grew up with, he says without hesitation, `Digital is
ing suite at some point in the future, says Mosner. the way it's going to be going here.'
the hall's overall level of organisation has reached a
point where he wants to start actively marketing the
facility in that direction, rather than waiting for the
work to come its way. However, just being there has
resulted in several major film score credits for the
Rudolfinium's studio, including the films The People
Let Channel One spice up your sound: Take a hint of valve magic, combine it Versus Larry Flynt, which used Dvorak's Requiem;
Iron Giant, whose score was composed by Michael
with an exquisitely prepared mic/instrument/line amp, a de -esser and a sumptuous Kamen; The Bunker, with Russel Currie's score; and
Cinderella, among others.
The usual procedure has been for US film com-
compressor/limiter with noise gate, and you have all the ingredients for world posers to hire Czech-based producers, letting them
both supervise the recordings and act as the contrac-
class recording. Add a sprinkle of headphone monitoring, garnish with clear tor for the musicians. 'What the Hollywood film peo-
ple are really looking for is not just a less expensive
way to record orchestras, but also the prestige of the
metering and intuitive controls, and serve in stylish 2U rack case. And while you're name,' says Slezak proudly. `I mean, there is some-
thing to be said for being able have the screen credits
say that you recorded Dvorak's Requiem in the same
at it, why not add the optional 24/96 AD/DA converter for dessert? The SPL Channel
hall Dvorak used.'
Like his counterparts in other countries behind the
One is the fast and easy way for any musician to create a musical feast. former Iron Curtain, Slezak has become the jack-of-
all-trades in his fief. He learned microphone technique
and recording principles in the apprenticeship manner,
A great recording takes imagination, good ears and just three letters: and the same seems to be going for marketing of the stu-
dio, which he is also supervising. He has had to wait a
long time to get this facility to where he wanted it; first

Sound Performance Lab, Tel +49 (o) 21 63 - 9 83 4o, Fax +49 (o) 21 63 - 98 34 20.
SQL they waited out the departure of the Communists, then
the inevitable fluctuations in leadership of the
Philharmonic itself, and then through a period of refit-
Detailed information and technical data: www.soundperformancelah.com. ting the orchestra, which desperately needed new instru-
ments, and the renovation of the hall and the rest of the
building. But now he's beginning to get the equipment
he wants and needs to be competitive as the global film
market continues to grow. He expects to shift record-
ing to a random-access hard drive system in the near
future, upping the resolution to 24-96. And finally,
new brochures and a marketing strategy that's still
being refined in his mind, but of which there is no
doubt that it is the next priority.
WM `There's a lot of things that are happening in music
MIGUIM
that this place is perfect for,' he says. 'You can have a

Channel
v.
118
T r-
1.. II I- : 41> wonderful orchestra and a wonderful place to record
them in, and you can do it very effectively. Things
One
have changed in the Czech Republic. We're ready for
f3.7110
the rest of the world now.'
UL YRCAAlPi EE[ SSER ONFRESSOR/E1 fR

Contact:
Rudolfinium Studio, Alsovo nabrezi 12,
110 00 Prague, Czekoslovakia.
Tel: +420 2 24893 283. Fax: +420 2 2317 194.
Net: www.czechphilharmonic.ck
ADK Prague, Makovskeho 1338,
163 00 Prague, Czekoslovakia.
Tel: 420.2.30 22 955. Fax: 420.2.30 22 803.
Net: www.adk-prague.cz

STUDIO SOUND SEPTEMBER 2001

 More Funk
Less Junk
After six years, the time has come
to move on.
Liverpool Road has become a Mecca for
professionals in the audio industry world-
wide, but we will soon offer easier access,
dedicated parking and purpose designed
showrooms and shipping facilities in our
new, funky location.

If nothing else, it gives us the

excuse for another mad summer sale
and the chance to relocate the turtles
Finsbury Park
and the teapot.
From September 1st a new Funky Junk e
will rise from the Pheonix of the old.
Everything will be different but nothing
will change.

Islington Studios is a self

contained mews property just off Seven
Sisters Road heading East (towards
Tottenham) close to Hornsey Road and
Holloway Road.
By car head east along Seven Sisters
Road from Holloway Road. Take the first
right after Hornsey Road junction (the first
main intersection after Holloway Road).
This is Thane Villas. Turn Immediately
right again beside the large warehouse
IMO (Thane Works) and Islington Studios is at
the end.
By tube. Just under a mile from
Finsbury Park (Piccadilly and Victoria lines) ram*

right down Seven Sisters Road and left Holloway Road

down Thane Villas (the last left turning

before the Hornsey Road intersection).
By bus. Loadsabusses go down
"Ir Seven Sisters Road (253, 29 etc)
le "Mr e
Call for a complete list.
11:4IM By horse. Mount from the left and Funky Old Highbury &
Islington
(Victoria Line)
jangle your spurs. Gallop over Beachers
and head East, my son.
By turtle Immediately right after
Liverpool
Road
the yellow pig. Direction of one way system
%To Angel
= Tube station

Funky Junk Ltd

Islington Studios, Thane Works, Thane Villas, London N7:7
T.+44 (0)20 7609 5479 - F.+44(0)20 7609 548 --
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tel: +33 (0)1 47 93 08 88 tel: +39 02 690 16 229 tel: +46 8749 3752
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 REVIEW

Canopus DV Storm SE plus

Integrating digital audio and video editing on a single computer is becoming increasingly affordable
as well as practical. Rob James investigates Canopus' DVStorm video cards

IOCATED IN THE CARINA constellation,

Canopus, pronounced (kuh-NOH-puhs),
is the second brightest star in the sky. It is
J also the name of an American company
responsible for a range of graphics and video edit-
ing cards.
This market used to be divided into (relatively)
low -end analogue and digital capture cards and high -
end multi -stream DSP cards. The most common
format was MJPEG (MotionJPEG) at various levels
of compression for off-line and sub -broadcast on-
line, all the way up to uncompressed. But the last
year or so has seen the emergence of a new, afford-
able breed of cards working in DV or MPEG2
formats and able to cope with two or three simulta-
neous video streams and one or more graphics layers
in real-time (not to mention several audio tracks).
DV uses a fixed -ratio compression scheme whereas
there are various MPEG2 options. However, MPEG2
is really a delivery format and DV is arguably much
better suited to editing. DVStorm is one of this new
generation and uses DV25 as its native format, but
with an unusual twist. DV uses 4:1:1 colour mapping
for PAL and 4:2:0 for NTSC. DVStorm upsamples in
real-time into 4:2:2 and all internal editing is done at
this level. This and the use of YUV colourspace rather
than the more common RGB make for excellent
chroma and luma keying and high -quality filters. ventional analogue video for viewing or recording Digital video filters and effects involve number
DV25 4:2:0 and 4:1:1 should probably be con- and also encodes analogue video into DV. Codecs crunching huge amounts of data which haemor-
sidered sub -broadcast in postproduction work. may be implemented in software using the PC proces- rhages resources in a native processing system. At
However this does not apply to DVStorm. It's up- sor or software and hardware using a codec chip or present levels of processor power, real-time abili-
market sibling DVRexRTPro, comes with analogue chips. Canopus eschews the popular C -Cube ties in a purely native processing systems are severely
component I -O which exploits the full 4:2:2 People DVxpress chip originally designed for MPEG com- limited. With the opposite approach, doing most of
are already using this for full broadcast work. pression applications, since it considers it has the work in proprietary DSP, the feature set is
(Dubbing the output direct to BetaSP or DigiBeta) limitations for DV use. Instead, it uses alternatives ultimately defined by the card which may be rapid-
The primary requirement for DV editing on a PC from Sharp and Sony. ly outmoded.
is a means of getting DV in and out-a FireWire- Divergent design philosophies become more The Canopus way of doing things, with some
IEEE1394 interface. The other essential is a Codec apparent in the approach to real-time working. clever hardware assistance, feels like a good
(Coder -Decoder). This setup converts DV into con- At one extreme we have native processing, doing compromise.
everything in soft- Before editing can begin the material must be cap-
ware and at the tured, either in complete reels or by logging the
other, fixed DSP required shots and batch capturing them. Device con-
processing. Can- trol is the first hurdle. DVStorm clears this with both
opus' approach is of my, slightly `awkward', cameras.
scaleable. DVStorm's Storage is now less of an issue and it is far more
capabilities depend convenient to capture entire reels. This also puts less
partly on the strain on the camera or deck. However, breaking
PC's processor(s) down a reel of perhaps 200 shots is laborious and
and the amount time consuming. Ideally, it would be possible to auto-
of RAM. The matically identify shot changes within Premiere and
graphics card is I have heard rumours of a plug-in that does this.
responsible for Unfortunately I haven't managed to locate it-yet.
video overlays and Storm Navi provides an automatic logging func-
may contribute to tion before capture in order to generate a batch list.
processing transi- This list is used in Storm Video or Storm Edit to digi-
tions. DVStorm's tise the selected clips. Unfortunately, this results in a
real-time abilities lot of thrashing the transport backwards and for-
will increase with wards even where clips are consecutive. It also takes
every PC upgrade. an unnecessarily long time. A scan and capture option

28 STUDIO SOUND SEPTEMBER 2001

 REVIEW
that performs the logging and capture in one real- With a complex project
time pass would be much better. This is exactly how I would still advocate
Matrox' Media Tools batch capture works but, need- rendering before pro-
less to say, this only works with their hardware. ducing a master unless
Once the material is captured, the good news you are especially
begins. Whether you elect to use the relatively sim- impatient.
ple Storm Edit or Premiere, transport functions are When installed in
responsive which makes for natural and fluid editing. a Red Submarine,
The marketing people are making a great deal of twin 1MHz Pentium
capital out of the whizzy effects available in 'real machine with 512kB of
time' with the current generation of video cards. RAM and Matrox
DVStorm has more than its fair share of these-apart twin -head graphics,
from 3D. In fact it probably has more transitions most effects and tran- _J

than any. 3D transitions are supplied by the Canopus sitions happened in

SoftXplode plug-ins and require rendering. However, real-time including
unless your particular genre requires a lot of these multi -layered filters.
there are other factors to consider. Reliability for Leaving aside the
one, picture quality another. Fancy spins and flips more garish transi-
are all very well but not if they come at the cost of fre- tions, effects based
quent crashes or degraded images. on chroma and luma
Commonly used effects such as dissolves, titles key are a particular
and PiP (Picture in Picture) should be processed in strength. For that
real-time. The same applies to filters such as colour Schindler's List effect, _1

and gamma correction. Most rivals do not current- a single colour area in
ly manage this, neither do they provide the an otherwise black and
vectorscope which can be a great help when assess- white picture, DV Storm's chroma key is highly flex- vention. J is backwards sync play, K, stop and L
ing pictures. DVStorm excels by concentrating on ible and convincing. The 'old movie' filter is forwards play. Multiple presses on J and L give 2x
reliability and the essential tools required to pro- surprisingly versatile and ranges from a subtle 'film and 4x forwards and backwards with sound.
duce professional work. For the rare occasions when look' to almost total destruction. Customised keyboards are available from a several
3D transitions are required, waiting for rendering On first acquaintance I was uncomfortable with suppliers with keys suitably coloured and marked
is less important. In any case DV Storm uses a 'ren- Adobe's Premiere but I've learnt to tolerate it. Using specifically for Premiere shortcuts. I found one of
der ahead to RAM' buffer which extends its it on this machine with DVStorm is an altogether dif- these really helpful.
capabilities depending on the amount of physical ferent and far more enjoyable experience. I can edit Completing an entire project within Premiere
RAM available. DVStorm is also the only card in reasonably quickly and effectively, aided by may be sufficient for some purposes. Despite
this class which can play out to DV in real-time. Premiere's implementation of the J, K, L key con - improvements in v6.0, Premiere's audio, while okay

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STUDIO SOUND SEPTEMBER 2001 29

 REVIEW

Fc for simple projects, is inadequate for

complex work.
For off-line editing and sophisti-
Premiere (via a plug-in).
Tiny, affordable dv cameras and the
rapid consumer take up of DVD are
DVStorm. Editing has become plea-
surable with the filters, chroma and
luma key performance all very useable
cated sound, work Premiere has EDL fuellinga revolution. The missing and impressive. The real-time play -
export options including various ingredient, recordable DVD, has out to DV proved to be a `real' time
STUDIO ELECTRONICS flavours of Sony, CMX and GVG plus arrived at last and is dropping in price saver. More to the point, the picture
Premiere generic and OMF. in the same way we experienced with quality was subjectively better than
www.friend-chip.de Attempts at importing a generic CD -R, both hardware and blank the opposition. Whether this is due to
Premiere EDL into Steinberg's Nuendo media. There is one big difference in the chip -set, 4:2:2 processing in YUV
proved fruitless. A cursory glance at
d%C%MA X 16/32 the relevant user group bulletin boards
DVD authoring. MPEG2 video is a
variable rate compression format. For
colour space or a combination of fac-
tors, I don't know but it certainly
reveals I am not the only one experi- optimum results scenes with a lot of helps. DV Storm's other ace in the hole
modular routers encing problems. Whether Premiere
for digital audio signals detail and movement are given more is stability.
or Nuendo is the culprit I nei-
ther know nor care. Hacking
upto 24 bit, 96kHz, AES/EBU the EDL around in a text edi-
S/P DIF coax/optic ADAT, TDIF tor might provide a solution if
converter modules available
I could determine what
any combination of different modules Nuendo objected to, but I had
can be assembled into one matrix hoped I'd left this sort of
thing behind years ago.
each module offers 4 ins and 4 outs My one real criticism
of digital stereo pairs or
of 8 channel "light -pipe"
applies equally to DVStorm's
rivals. There is a lack of
come see us at the choice when it comes to edit-
111 AES ing software -hardware
11
combinations. Adobe
booth 1409 Premiere is bundled with all
the major hardware players
offerings. At least Canopus
adds its own, somewhat basic,
Storm Edit, but to my knowl-
edge this is currently the only
alternative. (Basic in this con-
text means less than ideal for
compositing intensive activities such bandwidth than stills or talking heads. This machine is more than a video
as commercials and pop videos.) Not Encoding MPEG2 for Commercial workstation. I am also running
that there is anything intrinsically DVDs is a multi -pass process with Nuendo and Wavelab for audio. The
wrong with Premiere or Storm Edit manual control over the bandwidth age of proper, fully integrated, audio-
but excellent alternatives exist which on individual shots and other aspects visual workstations is tantalisingly
might better suit some users. For of the process which takes consider- close to reality. If Vegas Video could
example I would love to try using able expertise to do well. MPEG2 take advantage of DVStorm it would
Speed Razor, Fast Purple, Avid encoders at the Storm level currently have already arrived.
DVXpress and especially Vegas Video do not approach the subjective quali-
m
with the added horsepower of ty obtained by a good operator using Contact:
TO
._ Canopus. Even where alternatives can
be used with files captured in the
a multi -pass encoder. That said,
Canopus' example is one of the best. Canopus Corporation, US.
Canopus codec format, the real-time A software -only version is supplied Tel: +1 408 954 4500.
NI Fax: +1 408 954 4504.
performance boost is lost. with the card and there is the option of
The real-time functions provided a daughterboard which is reputed to Net: www.justedit.com
by DVStorm mean greater productiv- Canopus Europe, Germany.
provide a similar standard of encoding
Tel: +49 2602 92170.
ity and less frustration but are only but faster. Fax: +49 2602 921 799.
really integrated into Storm Edit and I had a lot of fun with Canopus'

Card Sharp
DVSTORM HARDWARE consists of come courtesy of SoftXplode. Also graphics slot and, if possible, avoiding
the DVStorm PCI card and the included are Canopus' software MPEG IRQ sharing. Even better if IRQ 9 or
StormBay breakout box which fits into encoder, Boris Graffiti LTD, Sonic above is free. In order to display video on
a half height 51/4 -inch disk space. All Foundry ACID Style and a trial version the computer monitor(s) the graphics
necessary cables are supplied including of SpruceUp. card needs to be capable of supporting
a 4 -pin to 4 -pin IEEE1394 for con- DVStorm was supplied installed and overlay. In this case, DirectDraw. A small
necting a DV camera or deck. working on the Red Submarine PC. For application, Storm Test is supplied to
Software makes up the rest of the the sake of completeness and compari- check this. In the event, I had no prob-
package. The ubiquitous Adobe son with other video solutions, I put it in lems whatsoever with the installation
Premiere in v6.0 guise is the main appli- another machine to check everything I'd and Storm is happily co -existing with
cation. Canopus also provides Storm heard about its relative ease of installa- an RME Hammerfall audio card and
Edit, a more basic editor, Storm Video, tion. Unlike some other systems with Adaptec SCSI card. Unlike all the other
the capture and output component, comparable capabilities Storm proved video workstations I've used, this one
Storm Audio for audio'only capture to be pleasantly co-operative. Canopus seems reluctant to crash. This is not to
Fir ENÓCH/p,, and Storm Navi. Navi is used for scan- recommends picking a PCI slot which say it doesn't happen, they all fall over

i fon/fax: +49 30 404 20 46 ning tapes and scene logging. 3D effects does not share resources with the AGP sooner or later, but it is encouraging.

30 STUDIO SOUND SEPTEMBER 2001

 Ar"

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 REVIEW

SLS S8R 10
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Studio Sound's `bench test' loudspeaker reviews continue -20 30 degrees

with the SLS S8R. Keith Holland reports 45 degrees -j.I

60 degrees
-30
THE SLS S8R IS A 2 -way mid frequency range however. Fig.5 i
passive loudspeaker compris- shows that the directivity in the hori-
... . . .. . -..... .. j...i
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woofer with integral phase controlled with no evidence of mid- 1 1 11111111,11 1 I: I, 1111111111111 I I 1 1 11 :I,III,I,IJ 1

plug and, somewhat unusually in a stu- range narrowing and no lobing below 20 100 1000 10000
dio monitor, a 125mm long ribbon 15kHz. The vertical off-axis respons- Frequency (Hz)
tweeter which radiates through a shal- es are less good however. Fig.6 shows
low, 2 -dimensional horn. The drive that the high -frequency response falls Fig.5: Horizontal Directivity
units are mounted vertically with the rapidly with angle above and below
tweeter beneath the woofer. The cabi- the loudspeaker axis, being 10dB

,
down at 10kHz at 15°.
This is a direct conse- _
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the S8R is shown in

Fig.3 which demon-
strates very good driver
time -alignment with Fig.6: Vertical Directivity
the high frequencies
arriving less than 0.5
milliseconds before the
mid frequencies. Fig.4
shows very little evi-
dence of echoes in the
power cepstrum except
for some low-level
activity after around 0.5
net has external dimensions of 480mm milliseconds. The acoustic source posi-
high by 265mm wide by 290mm deep, tion (Fig.2) is seen to move to just over
and has a rear-facing bass reflex port. 1.5m behind the loudspeaker at low
SLS specify power handling figures of frequencies which is less than many
125W rms and 500W peak (AES), and ported designs, and the waterfall plot
a maximum continuous output of (Fig.7) shows that the low frequencies
110dB at 1m distance per cabinet. Each decay very rapidly, although there is
loudspeaker weighs 11.25kg. some ringing evident at 400-500Hz.
Fig.1 shows the on -axis frequency Overall, the SLS S8R is a com-
response and harmonic distortion for mendable performer. The unusual
the S8R. The response is seen to lie choice of a ribbon tweeter leads, Fig.7: Waterfall
between ±3dB limits from 70Hz to inevitably, to some compromise in the
20kHz with an approximately third - vertical directivity which any potential Contact Methodology
order low -frequency roll -off giving users should bear in mind; these loud-
SLS Loudspeakers, 3119 S Scenic, Studio Sound, April, page 14.
-10dB at around 40Hz. The low - speakers should definitely not be used Springfield, MO 65807, USA. Net: www.studio-sound.com/archive/
frequency harmonic distortion is com- on their sides. Apart from this though, Tel: +1 417 883 4549. apr198/r-tannoy.html
mendably low with all harmonics lying the smooth, flat, extended frequency Fax: +1 417 883 2723.
below -50dB (0.3%) at frequencies response, accurate transient response Email: [email protected]
above 60Hz. There is a peak in sec- and low harmonic distortion should Net: www.slsloudspeakers.com
ond harmonic to -34dB (2%) in the win many friends.

32 STUDIO SOUND SEPTEMBER 2001

 100
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MSD600M Ideal
0
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4-

0 5 10 15 20
[...see what you hear]
Time (ms)
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Fig.3: Step Response Oscilloscope and Multichannel PPM Built-in 18x16 Audio
Matrix Analogue and digital operation VGA output
Spectrum analyser
4

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Ill,ili IlJlln , , ,,,, tek.- U
.
DK -AUDIO A/S Marielundvej 37D DK -2730 Herlev Denmark
2 3 4 Phone: +45 44 85 02 55 Fax: +45 44 85 02 50
Quefrency (ris) e-mail: [email protected] www.dk-audio.com
Fig.4: Power Cepstrum

STUDIO SOUND SEPTEMBER 2001 33

 REVIEW
.
Mackie FR Series M800
Studio Sound's `bench test' amplifier reviews continue with the Mackie
_.
FR Series M800 power amplifier. Paul Miller reports
ACKIE, AS MOST engi- This attenuates the amplifier's LF MACKIE MUUU POWER AMPL IF II H MAX POWER OUT PU IN1U Uohm IEEE and 4ohml

l
I 1 L

neers will already know, response to match the specification of

manufactures a wide a partnering bass speaker. After all, 300
THE QC SUITE © MILLER AUDIO
HESEAf/G/
range of mixing consoles, Mackie argues, there's no point over- 280
mic preamps, active speakers and sub - driving a stage monitor with LF it 260 -
woofers plus, for the last few years, a cannot reproduce.
complimentary range of power ampli- By contrast, a variable high -frequency 240

fiers. Mackie also has a well developed boost attempts to compensate for the 220-
sense of humour, as evidenced by the first -order roll -off beyond 3kHz or so
200-
opening lines to the M800's technical in the power response of a partnering
addendum which begins `...the techni- compression driver -horn speaker. With 180-

cal writer responsible for the M800 +3dB points at 2kHz (black trace), 160-
owner's manual has been slapped silly 4.5kHz (red trace) and 6kHz (blue trace)
140-
with a rolled up newspaper...'. But then this will certainly encourage a `brighter'
Mackie has the reputation for taking sound depending, of course, on the posi- 120-

its products more seriously than itself, tion of the listener. Otherwise, the 100
which is no bad thing in my view. 20 1óo 1uO
maximum +15dB HF boost will place 10800 20000

And the M800 power amp, baby of added stress on the compression driver's
the range though it is, remains a very motor system while not, on the face of Fig.1: Power output vs frequency
serious hunk of hardware. Finish and it, influencing its directivity. I'd use this
build quality are both excellent while facility with caution, particularly as MACKIE FH SERIES M800 POWER AMPLIFIER DYNAMIC VULIAGE PROFILE INIO 8 i and ohm LOADS

the design itself incorporates a variety excessive HF beyond 18kHz or so may Ido j

of features designed to help it interface not be directly audible even while it's -40
THE OC SUITE ()MILLER AUDIO
HESEABC1/
as slickly as possible with the widest cooking the driver. -45

possible range of speaker systems. Fig.4 Other features are more traditional, -50

demonstrates its various HP and LP fil- including balanced (male and female) 55
ters in action, including the variable XLR inputs, unbalanced jack inputs, -60-
2nd -order Bessel low-cut that acts con- Speakon NL4 and 4mm speaker con- -35-
tinuously from 10Hz (off), 35Hz nections plus stereo, mono and bridge 70-
(orange trace) to 170Hz (green trace). mode operation. There's also a switch - -75-
á
80-
20Hz 1kHz 20kHz
85-
Max Continuous Power Output. IN
0 % THD into 85-2 (2 -channel)
1 160W 179W (150W) 170W 90 -

0 1% THD into 40 (2 -channel) 235W 285W (225W) 280W

Response e
OdBW
Balance@ OdBW
-0 6dB
0 0dB
0 0dB
0 0dB
-0 25dB
0 OdB
95-

100 -

Crosstalk ® OdBW -100dB -87dß -65dB 3 2 4 6 8 10 12 14 16 18 20 22 24 26 28 50 12 14 36 1a 40 L:

DYNAMIC OUTPUT IN Vim.

Dynamic Headroom (1HF) +0.8dB (215W)
Maximum Current (IOmsec. 1% THD) 18 4A Fig.2: Dynamic power output
Output Impedance 0.025Q 0 0250 0 0550 MACKIE FR SERIES MOUD POWER AMPLIFIER FREQUENCY RESPONSE L u rn uii.i RI 4a(MOW
(<0.030) I ,

LwO_j lohm i
Damping Factor 320 (>250) 320 145 0 2
THE QC SUITE Q IUER AUDIO -0.11
I6ESEARCH
Balanced Input (Driven Unbalanced) 0.0- -- ----an
Total Harmonic Distortion, 10W/89 0 001% 0 001% (<0.025%) 0 009%
_-._. _ 0.09
Total Harmonic Distortion. 1 W/8Q 0.002% (<0.025%)
Total Harmonic Distortion. 50W/89 0.001% 0.00
Total Harmonic Distortion.150W/89 0.002% 0.6 O W
S/N Ratio (A wtd, re. OdBW) 87.7dB 0.8 0.06
(re. 2/3 power) 106.6dB
1.0 0.05
Residual noise (unwtd) -75.5dBV
4.2 0.04
Total System Gain +28 14dB
4.4 0.03
Input loading 201x2
-1.6 -- -0.02
DC offset +3mV / +4mV
-1.8- ------- -0.01
Senal Number (20E1410468 2.0 -, 0.00
20 100 1000 10080 38000
Retail Pnce E497 12 (inc VAT)
loo 1

Mackie FR Series M800 Specifications (rated specs in red) Fig.3: Distortion vs power output

34 STUDIO SOUND SEPTEMBER 2001

 vocal & instrument

studio condenser

IBM k

On
1 'MC!'" r'h 211J11

stage or in the studio. you want your vocals, your drums and your instruments
to sound awesome, and with Superlux mics you're half way there.
If there's one place where you shouldn't compromise on quality it's in the studio.
i
El

ei
drums & percusssion
Yet this quality has usually come at a price because large diaphragm condenser
studio microphones cost a small fortune. Until Now.

Superlux's CM -series offer large diaphragm condenser microphone solutions with

studio optimized cardioid patterns, and 'super buffered' ultra low noise electronics
in cost effective classic style enclosures.

Then there's the drum mics. Available in three packaged solutions, these mics
really rock.
Compact, yet heavy duty and road ready. Superlux drum mics feature full-sized
diaphragms to deliver fantastically rich, clean and punchy sound reproduction.
31
For vocals and everything else,there's Superlux's great range of dynamic mics
which include quality mics for vocals, speech and instruments.
Whether you need a mic for stage, studio or bedroom, Superlux has the right mic
El
for the job. The right mic for you.
And at the right price.
P,
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Tel: 020 7923 1892 Fax: 020 7241 3644 email: [email protected] www.scvlondon.co.uk
 ...and
their best
.
ti-,.,.
E-...
A;
.tj
: aest2
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taì
y

r
'= .a

gcn
3gtlâ',
P.9tt ti
t,,PlitS a $°;

{PC4PZSPtt

fw~-' Quite simply one of

the finest microphones
in the world. A stunning
combination of classic and
state-of-the-art microphone
technologies. Nine polar patterns, a
seven step high pass filter, and all
the latest technical innovations you'd
expect. The M149 Tube is the
ultimate microphone.

4NN - MICROPH'.

In the short time that the M147 Tube has been available, it has become
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Incorporating the K49 capsule from Neumann's legendary U47 and M49
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To top it all, the M147 Tube is now available at a new unprecedented

The name Neumann has been price. So whatever your budget, be with the best. Give your dealer a call.
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the recognition by the industries Brochure line: 0800 652 5002. Fax: 01494 551 550.
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 REVIEW
HAM( FR SERIES Y600 POWER AMPEJFIER. 6 (PE Ai6 &Jls E URA &GEMA HORMATMI MF Ell
ing slightly at higher frequencies. 2x175W power output, +18.5A current reserve, HP -LP
THE OC SUITE N0.IEAAIWIO
However, as Fig.5 indicates, crossover distortion filter options and impressively consistent performance
IS contributes to a higher treble distortion at low power, across the bulk of its dynamic range. The Mackie M800
10
typically 0.018% at 20kHz/1W/80 (black trace). offers good quality engineering where it counts with a
With increasing power (orange and red traces, respec- high degree of implied reliability and comes heartily
tively), crossover and HF distortion drops back to recommended for studios and bands that are keen not
40
just 0.006%. Combined with a mere -87dB crosstalk to trade quality for a shoestring budget.
IS
(1kHz), low -87.7dB noise (re OdBW) and accurate
20 channel matching, the M800 returns the sort of per- Contact:
-K, formance expected of costlier competition.
Mackie Designs. US.
Indeed, while testing the M800 I had no idea of its
Tel: I 1 425 487 4333. Fax: +1 425 806 6383.
35p
100 1000 10000 .10000
SRP and, to be frank, was surprised at the very gener- Net: www.mackie.com
1.4 ous £500 (UK) ticket. Sure enough, there are beefier 2U, Mackie Designs, UK.
Fig.4: Distortion vs frequency 19 -inch rackmount amplifiers available. But none that Tel: +44 1268 571212. Fax: +44 1920 822410.
t MEMO POWER .. t,0,rw-MoBohm
offer this level of build and finish, with a substantial
MAC[IEFA URN AMFtIEIER EMS 1DR URN FRF QUE NCY,e 1W,

Ii 1

ODm 3 MREER AUDIO

:KECK SUITE
.tYSFIHO/
0016

0016

Lou
0012

0010

0006

0006

0.004
J
0.002-
_-4-

20 100 1000 10000 20000

NI 1

Fig.5: Frequency and output impedance

able limiter, which I'd recommend be used with the

Horn EQ facility, if only to prevent a rash of extend-
ed HF clipping harmonics from finishing off the
tweeter cabinet. Otherwise, the M800 easily meets
its specification (which varies from 2x140W/8S2 to
2x150W/852, depending on which brochure you read)
at -175W and -285W both channels driven into 8S2
and 452, respectively. There's some shortfall at low,
bass frequencies, as Fig.1 indicates, but the M800
still has a respectable power bandwidth.
Under dynamic conditions, this output increases
to 215W, 390W (9.9A), 675W (18.4A) into 852, 4S2
and 2S2 loads but falls to 81W (9.0A) as a function
of Mackie's protection circuitry into very low 1S1
loads. The impressive load tolerance of the M800 is
revealed by profiling its dynamic voltage output
as in Fig.2. The action of its protection circuit is
equally obvious.
The M800 forms part of Mackie's FR or Fast
Recovery series, a legend that refers to the amplifier's
speedy return to normal operation having been
plunged, albeit momentarily, into clipping. Ordinarily,
once power transistors are driven into saturation,
this causes a charge to accumulate in the base of the
device(s) causing it to latch or stick on, slowing the
release from clipping as power levels fall. The M800
includes a proprietary mechanism to drain the excess
charge or, indeed, prevent saturation in the first
instance. Neither does the amplifier run especially
warm, thanks to the combination of three parallel
pairs of MJL21193/94 bipolar devices per channel, all SEE US AT RES NEW YORK B -PRIMES BOOTH No. 622
mounted on a polished, T-section heatpipe that's ven-
tilated via a level -sensitive DC fan.
KONDENSATORMIKROFONE
Negative feedback is employed sparingly and yet
FÜR STUDIO UND MESSTECHNIK
-

the M800 enjoys both low levels of distortion and a

usefully low -0.02552 output impedance from 20Hz-
2kHz. This is reflected by the red trace on Fig.3 along
with the full (8e) frequency response of the amplifi- MICROTECH GEFELL GMBH D-07926 GEFELL TEL. 036649 882-0 FAX 036649 882-`i
er (black trace) showing a -0.6dB drop at 20Hz and
-0.25dB at 20kHz with all HP/LP filters disabled. INTERNET http://www.microtechgefell.com E-mail microtechgefell(u)t-online de
Distortion typically remains <0.002% through bass
and mid -range frequencies up to 150W/852, increas-

STUDIO SOUND SEPTEMBER 2001 35

REVIEW
NEW TECHNOLOGIES
Oxford Pro Tools Plug in
Sony's Oxford team has developed a Pro Tools TDM
tc electronic System 6000 v2
plug-in based on the EQ algorithms used in the OXF-R3
and DMX-R100
The planned improvements to tc's flagship surround processor are well underway in
consoles. Employing the v2 upgrade. Dave Foister takes the first of two tours of the new facilities
48 -bit processing it
offers continuous SIGNAL PROCESSORS MOVE ON constantly, the surround reverb capabilities up to the same level as

s
control of frequency. both in terms of what they can do and what you the stereo ones, and add several new processes beyond the
gain and Q values want them to do, but you don't have to throw palette of the original altogether.
with redithering of your old one away any more when they do. Lower- The extra stuff isn't only in the surround domain.
(I) the plug-in output end boxes might have built-in obsolescence, but the Stereo reverbs for both music and post each acquire an

2
and 'de -cramping' top-end stuff these days is open-ended and easily upgrade - extra bank, making use of the VSS-4 true stereo reverb
OOJ,`,_JCOCD, maths to eliminate able. tc electronic pioneered the software -based algorithms. These do what so few stereo reverbs do:
distortion in the gain mainframe idea with its M5000, and is really putting its place a stereo source convincingly in its stereo reverb
OO CD envelope at higher money where its mouth is with the System 6000. It's field, not by simply following its panned position but

óJ OJ Jó frequencies up to
26kHz. Said to be
the first of a new
little more than a year ago that we looked at the intro-
duction of this multichannel, multi-engined processing
platform, but already there have been several upgraded
by tailoring the early reflections to reinforce the origi-
nal stereo image. This works very well, adding to the
depth of the image in a very natural subtle way, and
range of plug -ins the software versions, not to fix bugs but to add features. makes a significant difference to the reality of the over-
EQ is 5 -band fully With the recent introduction of v2.0 it's time to look in all picture. Input sources can be positioned in several
parametric with high- and low-pass filters with adjustable detail at what's now available. places in the reverberant field, including some adjust-
slopes. An optional George Massenburg Labs 8200 System 6000 was launched as a full-blown 5.1 -capable ment of front -back distance.
emulation is available which is said to reproduce the control processor, and came out of the box with some full sur- But there's a much bigger difference in the provision
ranges and responses of its analogue outboard units. round reverb algorithms and very flexible 5.1 -channel of surround reverbs. The Music Surround bank origi-
Sony, UK. Net: www.sonyplugins.com dynamics processing. The reverbs covered a broad enough nally had only two presets in it, although with the vast
range to meet a lot of needs but couldn't hope to match range of adjustable parameters that was less limiting
Phantom powered active ribbon the huge variety on offer from the existing stereo algo- than it sounds; now it has 43, and the 'film' presets sim-
Royer Labs is introducing the 'world's first' active ribbon rithms, and the mastering fraternity was left waiting ilarly now number 41. Both are divided into presets that
microphones. The microphones are phantom powered expectantly for the multichannel EQ. The pitch and delay use VSS-5.1 Reverb and those that use VSS-5.1 Source,
and address the ribbon microphone concerns of gain bank was empty, although a whole bank of M5000 pre- and the difference is simply in how signals are sent to
and impedance matching. The new models contain head sets provided the effects-but only in stereo. The additions the algorithm and what the intention is. VSS-5.1 Rev
amplifiers (fully balanced, discrete designs using en route to v2 fill in the holes comprehensively, bring accepts a full 5.1 signal, either a complete stem or mix or

STUDIO SOUND SEPTEMBER 2001

 REVIEW
one derived using surround -panned auxes or the onboard and with immediate response. NEW TECHNOLOGIES
5.1 panner, and generates a 5.1 reverb field that does The Film Surround bank also makes increased use of
for the surround -panned locations what VSS-4 does for the VSS-SR algorithm, a novel approach that produces
stereo images. VSS-5.1 Src has just four inputs that will a 2 -channel output signal designed to decode on to ultra -low noise FETs) and are as sensitive as condenser
probably be derived from independent auxes or groups, 4 -channel Dolby SR. Ten presets provide a good range microphones, eliminating the need for ultra high -gain
and their signals can be placed in a full 5.1 reverb field of spaces for this, which should appeal to those involved preamplifiers. The electronics also Impose the optimal
in much the in TV Dolby Surround production. load on the ribbon element, meaning the microphones
same way. EQ across 5.1 channels is now in place. This com- perform consistently regardless of the input
The range prises six channels of 4 -band EQ with choices of characteristics of the following mic preamp. Impedance
is now parametric or shelving bands, with the enormously use- mismatching loads a ribbon improperly, causing loss of
enormous, ful feature of being able to link the main five channels for low-end, body and sensitivity. With the new active
with the matched settings. The LFE channel remains separate in series, this problem is eliminated. In addition, the ribbon
familiar both cases, with its own set of EQ bands, but the facili- element cannot be damaged by phantom power,
palette of ty to apply tc-quality digital EQ across five surround electrical glitches or miswired cables and, due to the
breath- channels is something that mastering and post facilities low -impedance design, the microphones can be used on
takingly desperately need. Combined with the existing multi- extremely long cable runs with minimal signal loss.
convincing channel, multi -band dynamic processing, this turns the The new microphones are based on Royer's current
spaces from System 6000 into a surround Finalizer, and indeed there models and use the same ribbon transducers as found
tiny to vast are presets in the Mastering bank bearing the familiar on the R-121 and SF series microphones.
with lots of name. This in turn gives rise to presets to be used as Royer Labs, US. Tel: +1 818 760 8472.
wacky vari- starting points for DVD mastering, film to video trans-
ations. The fer and general 5.1 mastering applications, all with the Emagic Mac OS X
basic sur- same flexibility and ease of operation as the original Emagic has presented an integrated suite of its
round technology proved itself with the original release, MD5.1 dynamics-multiple freely-assigned sidechains, professional software and hardware products for Mac
and the new algorithms simply confirm the impression ganged controls where required and so on. OS X including Logic Audio 5.0, and drivers for the
and expand greatly on the flexibility. There's more: substantially more, in fact, as new ideas Unitor8 Mkll, AMTS and MT4 MIDI interfaces and the
Both banks of surround reverbs include the 5.1 pan- keep occurring to tc. Algorithms for turning stereo into EMI 216 audio interface. The production suite will support
ning preset, an algorithm that takes up to eight inputs and surround, surround into binaural, and 5.1 to 4 -channel many of Mac OS u#"'
pans each independently into the chosen position in the are all there with a host of other new goodies, but they'll X's new features,
5.1 surround field, not just around the perimeter but have to wait until next time. D such as memory
anywhere within the square. The standard tc Icon remote protection for
controller can do all this by using two faders for X and
Contact: increased system
Y co-ordinates, but it's made much easier with the new tc electronic, Denmark. reliability, the new
SP -1 joystick, an additional small black box that hooks Tel: +45 8742 7000. Fax: +45 8742 7010. graphics engine
up to the control system via MIDI and works smoothly Net: www.tcelectronic.com with transparency

BYTE
Genelec S3OD and 2029B - the two Digital Monitoring Systems
which match the sophistication and performance of the finest digital
studio equipment, combined with an unparallelled ease of use.
When you need a powerful full bandwidth nearfield monitor
from 35 Hz to 50 kHz, then your choice is the S30D,
and for precision closefield monitoring, the 2029B is the one.
With both you have 96 kHz/24 Bit digital interface with
AES/EBU connectors. And analog as well, of course.
Activate yourself and visit our website: www.genelec.com
to learn more about about your digital future.

GENELEC®
ACTIVE MONITORING
www.genelec.corn The Whole Truth And Nothing But The Truth

International enquiries: Genelec Oy,Olvitie 5,FIN-74100, lisalmi, Finland, Phone +358-17-83881, Fax +358-17-812267
In the U.S. please contact Genelec, Inc., 7 Tech Circle, Natick, MA 01760 Phone 508/652-0900, Fax 508/652-0909, Web: www.genelec.com

STUDIO SOUND SEPTEMBER 2001 37

 REVIEW

Mutec Smart Digitals NEW TECHNOLOGIES

and flicker-free performance, real-time window sliding,
and improved memory management.
Away from the glitz of consoles and workstations, unsung heroes fill the `I didn't even know Emagic, Germany. Tel: +49 4101 495 320.

what one of those was, much less needed one' category. Rob James
feels the need Licence free wireless beltpack

.
The first product launched by new company Digital Talkback
UTEC'S SMART DIGITALS series of is the DTB-2001 wireless beltpack system which is based
digital convertors and distributors may on DECT technology. It is said to have the 'massive'
lack the celebrity status of more visible advantage over other systems of being licence exempt in
kit but they aim to carve a solid niche
in a supporting role. ,oAe+ the UK as well as the rest of the EU and many other
territories. The system avoids competing with already
The point at which you discover one of these devices clogged radio frequency networks and over 100 users can
is necessary often comes immediately after considerable use the system in a single location, with no frequency
expenditure on other equipment. Further expense at error rate becomes excessive or the input is lost. management or time-consuming and complex setup
these times is always unwelcome, so that these Mutec Each is 1U -high and just under half -rack width. necessary. It's said to be a case of plug-in and go. Digital
units are competitively priced eases the pain. I had three Optional rack ears extend the width to fit a single mod- audio transmission also enables all packs to be full duplex
of the range for this review; the Smart Clock (digital ule into a rack. A side -by -side frame to accommodate and ensures audio quality. Each beltpack has its own
audio master clock), Distributor ws (wordclock and two units is in development. dedicated base station, and each base station can be
super clock signal distributor), and the Distributor ae Smart Clock has a total of eight BNC outputs; there are integrated with either 4 -wire systems, standard two -wire
(AES-EBU signal distributor). also co -axial and optical (TOSlink) SPDIF and an AES- 'party line' intercom systems or even both at the same time.
Smart Clock generates word clock. It can also generate EBU XLR output on the rear panel. The front panel has Digital Talkback, UK. Tel: +44 2476 617743.
Superclock (wordclock x256) and output both in a a rotary switch to select sampling rate with a Test Mute
number of physical connection formats. With an option- position between each frequency. Rates of 32kHz, dCS 974
al card, Smart Clock will also generate PAL or NTSC 44.1kHz, 48 kHz, 64 kHz, 88.2kHz and 96kHz are sup- dCS has released the dCS 974 real-time sample rate
black and burst video syncs. ported. A slide switch selects the output format of the and format convertor. The 2 -channel unit covers PCM
BNC connections are switched in pairs. The pair of front panel BNCs, word clock, video (if fitted) and super sample rates from 11.025kHz to 192kHz and offers
front panel connections are good for accommodating the clock. All outputs are phase synchronised. PCM to DSD and DSD to PCM conversion. Quad AES
inevitable `guest equip- Generator accuracy is input and output interfaces for 176.4kHz and 192kHz are
ment' involved in most quoted at 1ppm which provided which will be of particular use to users of the
sessions. Format selec- complies with AES 11
o-`-` ,s ,. latest generation SADIE high -resolution DAWs.
tion for the front panel
gma s a
:`:*,;a grade 1. I cannot objec- The DSD-4 feature, also available on the dCS 904
sockets is set by slide SUM SfhiSF TWU
uxwwaos'rcart tively verify this but I have A -DC, packs two channels of DSD into four AES3 data
switch between video, no reason to doubt it. streams, enabling DSD to be recorded onto any digital
word clock and super clock. For the rear mounted ones, Distributor ws also has a total of eight BNC out- recorder offering eight channels of 16 -bit, 44.1 kHz
selection is made using internal switches so a little pre- puts. On the front panel a 4-position slide switch selects storage. The dCS 974 can convert data packed in this
planning will be required to avoid taking the lid off too source format between word -super clock, AES-EBU, format to SDIF2 or SDIF3 for loading into standard DSD
often. The rear BNCs and XLR have an extra option SPDIF and Smart Bus, indicated on four green LEDs.
marked SMART BUS. This is an internal signal that enables Further slide switches select the output format of the
the number of outputs to be expanded by connecting one two front panel BNCs.
or more Distributor ae or Distributor ws units. When Distributor ae has a 4 -position slide switch to select
daisy -chained using the Smart Bus signal, all outputs source format between audio -clock, audio -clock, Smart
are phase synchronised and delay compensated. Once the Bus and test mute. Audio -clock mode accepts and dis-
internal switches are set, operation is simplicity itself. Just tributes AES-EBU audio or blankframe signals.
select the reference sampling rate using the rotary switch. Audio-clock converts an incoming AES-EBU audio sig- recorders or editors and can also convert this data to
Distributor ws may be used as a stand alone word nal to blank frame. PCM at sample rates from 44.1 kHz to 192kHz.
clock distributor or to expand a Smart Clock. However, With Smart Digitals, Mutec has produced a useful Multiple units can be sample synched in PCM or DSD
it is more than a simple distributor. Each pair of outputs range of problem solvers. The internal selection of out- mode for surround sound conversion work.
put format for the rear sockets is slightly irritating but dCS, UK. Tel: +44 1799 531999.
on the plus side this makes you plan the installation
properly. The only real omission on Smart Clock is any Stereo to surround processor
of the pull-up and pull -down options used primarily in Z -Systems' z -K6 K-Surround Processor creates a
sound for picture work. 5.1 -channel output from a conventional stereo source. The
Apart from the units covered here there are three z -K6 creates a dedicated centre output, a 0.1 -channel LFE
can be internally set to provide either word clock, x256 variations of format changer in the Smart Digitals range. output, and derives the surrounds based on the natural
Digidesign Superclock or Sony DSD (Direct Stream These cover TDIF1 to ADAT, TDIF1 to AES-EBU and ambience that already exists in the recording. Nothing
Digital) (word clock x64) output. This considerably AES-EBU to ADAT all with sample -rate conversion and 'artificial' is said to be added and the resulting 5.1 output
enhances its appeal. As with Smart Clock, once the inter- other features. Whether used as a quick fix, or as com- folds down to stereo without compatibility problems.
nal selections are made, operation is simple. When Smart ponents in a major installation, the Smart Digitals are The latest addition to its series of Digital Detangler Port
Bus is used to synchronise to a Smart Clock the supplied well worth bearing in mind. audio routers, the z -128.128r enables studios to
cable should be used to ensure phase accuracy. integrate and reconfigure their digital audio workplace
The Distributor ae is similarly versatile. It will derive and accommodates up to 128 stereo inputs routeing in
an `audio black' sync signal from an AES-EBU stream any combination to a total of 128 outputs. Asynchronous
Mutec GmbH, Germany.
and distribute it or to take an AES-EBU audio source, Tel: +49 30 746 880 0. Fax: +49 746 880 99. sources and destinations can be 24 -bit AES-EBU or
compensate for jitter, level and edge shape, and distrib- Email: [email protected] SPDIF at sampling rates to 192kHz. Crosspoint
ute the result to up to six destinations. Sources anywhere AMIC Ltd, UK. assignments can be selected via a dedicated serial port,
between 32kHz and 108kHz at up to 24 bits are accept- Tel: +44 208 614 2592. Fax: +44 208 614 2613. using the company's dedicated hardware remote or
ed. As with The Distributor ws, the supplied cable should Email: [email protected] networked MacOS and Windows control software.
be employed when using the Smart Bus function. To WaveFrame, US. The z -128.128r is modular in increments of 16x16,
avoid unpleasant surprises, all outputs are muted if the Tel: +1 510 594 9455. Fax: +1 510 654 8370. rear-panel D -sub connectors require breakout cables

38 STUDIO SOUND SEPTEMBER 2001

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aiGITpL
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 REVIEW

TC Helicon VoicePrism NEW TECHNOLOGIES

identical in pin -out to those used by Tascam DA -Series
MDMs units, and Z -Systems supplies pin -out
If Antares' Auto -lune began the voice -processing revolution, VoicePrism designations or prefabricated AES-EBU breakout cables.
Z -Systems, US. Tel: +1 352 371 0990.
is ready to further it. Dave Foister is on song
Sanken CUB -01 boundary mic
EET THE NEW APPROACH to the might be and can offer some big useful effects. Sanken has introduced the miniature CUB -01 unidirectional
voice channel. TC Helicon is an inter- Alternatively, and not for the first time, MIDI can be condenser boundary mic designed for field and studio

1 esting amalgam of Denmark's tc

electronic and Canada's IVL Tech-
nologies that has combined to produce the VoicePrism,
used to control which notes it adds to the lead, and
there are two ways of doing this. One allows each
harmony line to be controlled by a single note on a
recording. It is said to overcome the limitations of previous
boundary microphones and, at just over an inch in diameter,
it is easy to conceal. It features a square -shaped capsule
a new twist to voice treatment that goes way beyond given MIDI channel, so that a split keyboard or a housing the diaphragm which enlarges the effective area of
the standard channel strip concept. sequencer can run the complete BV section, while the the diaphragm while the cardioid pattem minimises
The VoicePrism box is unlike anything else; it's cer- other accepts incoming chords and harmonises to the
tainly not an immediately -identifiable tc front panel, as current chord until it changes. Both these have their
it takes up 2U of space for a relatively small range of con- obvious uses for carefully-planned intricate harmonies,
trols. On the other hand the speed around it and the although the equation between the time taken to work
amusingly helpful graphics show strong tc links, as does out the programming and the time taken to get some-
the overall quality of the signal processing. But it's the body to sing the harmonies needs careful thought.
nature of that processing and the ease with which it's con- Probably the most interesting mode is the automatic
trolled that make the VoicePrism what it is. scale harmonisation, where a nominated key and one
The mundane bits are fairly predictable yet very of six scales (three major, three minor) are used to
well done. The box is basically a single -channel vocal dictate how the unit will behave given any note in the background noise. The CUB -01 is available in black or
processor, so it has a flexible compressor, two freely - input signal. There's also a custom scale function beige and in various configurations.
configurable EQ stages that can be pretty much where you tell it what notes to allow. Sanken, Japan. Tel: +81 35397 7092.
anything you want, and two effects modules that can The proof of a device like this is how easily it can be
add chorus, flanging, various types of delay, or reverb made to do what you want; how readily it will track a Lawo's SAM
to the signal. All of this is very useful no doubt; but it's real vocal and how convincingly it will harmonise. Lawo's Slim Audio Matrix (SAM) is a versatile routeing
the harmonisation facilities that establish this as a Although I still find it a little mind-boggling that this can system for applications where high bandwidth and
high routeing performance are required. Designed for
mid -size to large applications, high packing density
HELICON minimise dimensions and weight with a 512 x 512 router

128
St
is: m..
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i
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fitting in a 19 -inch rack. Matrix modules can be easily
combined for specific projects to keep engineering and
:rara 'Ssx°Vvtilt ams.
vc.ceFr_ . installation simple and an installed system can be easily
expanded. The matrix offers a routeing capacity of up to
2048 mono channels and beyond, a wide choice of -Os, a I

decentralised and scalable audio infrastructure and

specialised vocal processor and open the door to stuff be done at all, I was impressed to find that from a stan- networking/interlinking of several systems. SAM includes
that almost nothing else can do. dard preset given the appropriate scale, VoicePrism a fully or partly redundant design as an option. Numerous
The simple compressor has the necessary flexibility immediately provided superb musical and natural har- monitoring and control mechanisms guarantee dependable
and basic setup to deal effectively with vocals. Threshold, monies to the first voice track I stuck into it, sounding operation and additional alarm contacts and status displays
ratio, attack and release are variable, and gain makeup better than the actual harmonies the singer concerned allow surveillance. All modules are hot-plugable.
is automatic. Gating is simpler still, and both work well had put on during the session. Factors like the actual Lawo, Germany. Tel: +49 72 22 10 02 27.
with vocal tracks with the minimum of fuss. Two effects tuning of each note and the timing of the note starts can
blocks offer a traditional selection of effects: simple cho- be adjusted and randomised for more realistic effect, and Nagisa active monitors
rus and flanging; shortish mono, stereo and ping-pong each voice can not only be adjusted for level and pan Majeel Laboratories has launched the Nagisa Active
delays, in either a flat version or one with the charac- but can have its gender controlled, from deep male up Reference Monitoring System which uses a Floating En-or
teristic HF roll -off of tape -based effects; and a selection to alien. From this it goes without saying that the shift- Cancellation Technique (FECT). Initially there are two
of reverb algorithms available only on the second block. ed voices only sound strange and munchkinised if you different models, the L-Al 0 Pro and the L -A20 Pro, and
The reverbs cover studio, chamber, club, hall and arena want them to; otherwise they're completely natural. both are active with an amplifier output of 100W and
simulations, all with a simple set of four variable para- This is impressive stuff. I was prepared for it to be 150W respectively. An overdrive safety feature protects
meters; not much compared with the modelling tools on temperamental, to be musically compromised, or to the drivers and the amplifier from sudden high -input levels
offer in a top -end reverb, but the quality reflects the give away its presence in some artefact of the sound by shutting down the speakers which can then be
fact that it says tc on the front and compensates for the (a bit like a real singer in fact), but it does none of repowered using an ordinary flashlight. The entire range is
restricted opportunities for adjustment. these things. For straightforward parallel harmoni- magnetically shielded and has balanced XLR inputs with an
But all this is secondary to the main function of sation, the stuff of so much pop vocal arrangement option available for a digital input in the near future.
adding harmonies to a single vocal line. VoicePrism is throughout its history, VoicePrism can almost cer- Majeel Laboratories, Singapore. Tel: + 65 878 0491.
able to generate four harmonised signals in real-time, tainly provide what most backing singers would do
and the processing power of the unit has been pri- naturally, and do it more quickly. And 'it doesn't have Dual role CD -R
marily devoted to making this work fluently and to warm up, never gets a frog in its throat, doesn't Tascam has introduced the CD-RW4U CD-R/RW machine
simply under complete user control. Gone are the care what the headphone mix is like. O which can operate as a standalone or integrated via USB
days of simple fixed pitch shifts, or of one line vague- with a PC or Mac. Convertors are 20-bit and the machine
ly attempting to follow the lead at some Contact: has SPDIF I-0 and an automatic SRC. It has analogue and
semi -appropriate interval of time and pitch-this can tc electronic. Denmark. digital input level controls, recording buffer, Track at Once
do all four, fast and seamlessly, with no less than four Tel: +45 8742 7000. Fax: +45 8742 7010. and Disc at Once modes, synchronised recording and fade
ways of making it do its stuff. tc electronic, US. in and out. A wireless remote is included together with B's
The first is after all the simple fixed shift, although Tel: +1 805 373 1828. Fax: +1 805 379 2648. Record Gold CD writer software for both platforms.
with four available it's less of a waste of time than it Net: www.tcelectronic.com Tascam, UK. Tel: +44 1923 438880.

40 STUDIO SOUND SEPTEMBER 2001

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 REVIEW
NEW TECHNOLOGIES
DCS-88 Cobra Net module
CobraNet licensee Whirlwind has introduced the DCS-88,
Steinberg Wavelab 3.04
an 8 -O digital audio network box with a low power core.
I

Using the CM -1 CobraNet module, the small, brick-shaped The search for the Holy Grail of software editors moves forward
unit features eight analogue inputs and outputs, as well as
a CAT-5 input and output. In combination with the CM -1,
with a discovery in Germany. Rob James files a field report
the DCS-88 features proprietary software, and a front-end NCE IN A WHILE I come across a piece professional manner becomes the work of moments,
developed by Whirlwind. Because of a low power core, of software that `sticks'-an application I not the usual chore.
the unit can be supply power to the CM -1 remotely, with keep going back to when there's a bit of real I don't intend to give a blow-by-blow account of
work to do. Like you, I'm always looking for Wavelab's capabilities but there are a number of inter-
the perfect answer, for something that does everything esting highlights, especially for people unfamiliar with the
I want without loads of features I don't need, is easy to current version. These begin with useful recording options
learn, fast and, of course, rock solid. such as Start on Sound, Stop on Silence and automatic
standard CAT-5 cablroviding up to 34 channels of Coming back from la -la land, one product I keep markers on pauses and silences. Jog and shuttle at up to
digital audio -O, the -1 is designed to be integrated into returning to is Wavelab. It provides a thoroughly capa-
I
4x play speed in either direction. Mouse zones-which
signal processors, amplifiers, and self-powered loudspeakers. ble mono -stereo wave editor, multitrack `montage' split the waveforms into six areas with a different (and
Whirlwind, US. Tel: +1 716 663 8820. editor and comprehensive CD ripping and burning. logical) mouse function in each-reduce the amount of
But then, so do several others. Wavelab's appeal begins
PRODIF A from SEK'D with the interface. This is as intuitive as any and, per-
The PRODIF A is the latest addition to the line of SEK'D haps more important for some, easy to re -learn after
digital audio cards. With one ADAT -O, eight channels of
I a break. For stereo projects not involving picture it
24 -bit can be transferred to and from digital mixers, does almost everything I need, but not too much. I
multitrack -recorders or A-D/D-A convertors. The hardware love the relative simplicity after all the heavyweight, sur-
is prepared for the new ASIO-in hardware feature, which round capable, 24 -bit 96kHz big guns. In some ways,
allows any ASIO-Software to access the card's memory notably metering it is more powerful, yet more acces-
directly. This further reduces CPU -load. This feature will be sible than considerably more expensive offerings. A
available with one of the next driver -updates. halfway decent vectorscope, simultaneous vu and peak
SEK'D, Germany. Tel: +49 7946 776 11. metering with adjustable ballistics and five presets
should give the flavour.
AC/line cable Setting up blank projects for specific purposes
The RPLCO9 is the latest addition to the Reference like CD burning is easy. Once accomplished throw-
Laboratories family of AC/line cable. Used primarily for ing a bunch of tracks onto CD in a thoroughly tr....,,.ra.M.....,. .,,n,_ ,,,.«
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42 STUDIO SOUND SEPTEMBER 2001

 REVIEW
tool changing, often very tedious in other applications. ter section and time-stretch come from Spectral Design
The Info line displays the function accessible in each and Track Marker Support comes from RME, respon- NEW TECHNOLOGIES
position together with any other options available by sible for the excellent Hammerfall card.
double clicking or clicking in conjunction with CTRL, ALT By today's standards Wavelab has comparatively
or SHIFT-A great boon for occasional users and those modest system requirements making it ideally suited
with bad memories. Comprehensive right -click func- to laptop use. Conversely, on my Red Submarine PC it
tions add still more functionality without heading for absolutely flies, even with scrolling track display. This
the drop -down menus or keyboard shortcuts. is part of the secret of its appeal. Responsiveness on a
As an aside, how on earth do Mac users manage fast machine comes very close to that of a `dedicated'
with only one mouse button? It's the one thing that hardware editor but with all the advantages of native active stage monitors and loudspeakers, the cable
drives me mad every time I use one! I know it is possi- processing. The usual strictures apply if using lots of contains balanced signal and power elements in their
ble to add after-market 2 -button rodents but this always power hungry plug-ins but rendering is always an option own jackets within an outer sleeve. Both elements are
seems a bit of a bodge. if things get really out of hand. colour-coded and insulated by PE and PVC. The outer
Each clip can have up to 10 VST effects slots and the Through long and bitter experience I have found jacket is produced from a compound PVC which gives
master section allows up to six VST, Direct-X or one rule always holds good. Never buy v1.00 of any- the RPLCO9 a great deal of flexibility. The cable also has
Wavelab plug -ins to be applied. Vector automation of thing. Wavelab is now on v3.04c and updates are still it's uses in the lighting market because of its 11052 and
level, pan and send levels are just sufficient without arriving at sensible intervals. The recent ones mostly 220V dual compatibility allowing it to support products
adding too much to the complexity. Different colours add support for new CD recorders and address some such as scanners and bulls eyes.
for the rubber bands would be nice. really esoteric bugs. It is rather reassuring to look at Reference labs, Italy. Tel: +39 071 710 8471.
A pencil tool allows for waveform drawing if you get the list of fixes in previous updates. There is no such
really desperate. This is one of those tools which can get thing as bug -free software but when a product becomes TITAN New Version
you out of trouble when all else fails. Strangely, some mature, the incidence should reduce to a tolerable level. Synchro Arts has released version 2.5.1 of its TITAN
of the heavyweight packages do not include it. Wavelab has all the advantages of relative simplici- soundtrack conforming solution. Designed for operation
Wavelab feels all of a piece, with a consistency often ty coupled with considerable power when you really with Pro Tools and AudioVision, TITAN 2.5.1 automatically
absent elsewhere. There are good reasons for this. The need it. Supporting sample rates up to 192kHz and up corrects sync errors that occur when autoconforming
bigger the application the greater the number of people to 32 -bit float, the real delight is the speed at which soundtracks. TITAN adjusts the position of manually or
who have to be involved in programming. Bloated real -world tasks can be completed, even when the user autoconformed audio regions to sync precisely to a work
office suites are perfect examples of this. No matter is not especially familiar with it. If you need a compe- track. The software incorporates Fix Sync, Flash Cutter
how much care is taken project managing the software tent and productive editor-mastering package, Wavelab and Flash Conform facilities. Fix Sync can correct the sync
team there are always annoying discontinuities, things ought to be on the list. of audio that has been delayed by unknown amounts after
which work one way in one screen and then different- passing through signal processing devices. Flash Cutter
ly in another. Wavelab is principally the work of one Contact: instantly reconforms audio in Pro Tools sessions from
man, Phillippe Goutier and I think it shows in the inter- EDLs, to time code or entire sessions according to a
face. Which is not to say elements of the program do not Steinberg Soft & Hardware, Germany. change list. Flash Cutter avoids having to re -cut and
come from other sources. For example, the EQ, mas - Tel: +49 40 210330. Fax: +49 40 21 1598. rename edits manually, in situations when tape is used to

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STUDIO SOUND SEPTEMBER 2001 43

 REVIEW

Audio Ltd Envoy NEW TECHNOLOGIES

transfer audio from any editing system to a Pro Tools
system, and an OMF transfer is not a practical option.
The changing face of ENG teams is promoting a new brief from manufacturers Flash Conform uses an EDL and preloaded sound files to
generate a conformed session in an instant.
of radio microphone systems. Neil Hillman looks to camera for Envoy Synchro Arts, UK. Tel: +44 20 8823 9100.

N. MESSENGER; and the message hensive by anyone's standards-and Audio Ltd's are PC Software ISDN and IP Codec
is certainly loud and clear-if radio micro- reassuringly high in these units. AudioTX Communicator is a Software -only ISDN Audio
phones are currently the biggest market in Once fitted to the camera, high-interisity LED indica- Codec, compatible with CDQ Prima, Telos Zephyr,
audio, sound for camera systems are the
N'VOY, tors on the top of the front face and in between the two Glensound, Dialog, Philips and other well-known models.
fastest in -sector. And if you get past that marketing - SMA antenna connectors, allow the status of the receiv- The software enables live bidirectional audio connections in
speak gobbledegook, it means quite simply that to stay er to be observed even on the brightest of days, with broadcast quality using only a standard sound card and
ahead in the game, manufacturers must turn their powering being taken from the camcorder's own 12V ISDN card in a PC. ISDN operation is MPEG 3, MPEG 2,
attention to new applications for their products. It supply through a Y-corded power and audio lead. The G.722 and G.71 1. Communicator is also able to establish
may also mean that those products are not always plugs are, of course, all different; an HRS colleted plug live audio connections over IP networks-from linking
operated by a soundman. for the power from the camera, a Lemo 6 -pin to con- studios over a standard company LAN -WAN network to
News gathering for some time has devolved to 'cam- nect to the output of the receiver, carrying power in and larger ATM networks and leased lines and even over the
eraman and reporter' audio out, with a male 3 -pin cannon plug taking audio Internet using ADSL, DSL, T1, Cable Modern or other
teams, and by and large into the cameras chosen input. The CXiR can also serve high-speed connection.
for most things covered as a stand alone receiver by employing a 6 -pin Lemo MDO, UK. Tel: +44 121 248 0200.
by news crews it has been adaptor, which can then be used with those cameras that
proven to work. The don't have a dedicated slot for a radio receiver. Aphex 207 mic pre
latest offerings from man- The TXBLUE pocket transmitter is unashamedly Aphex' Model 207 dual -channel tube mic preamp is said
ufacturers with some RMS 2020 -like, with an uncluttered arrangement of to combine the best attributes of tube and solid-state
foresight has seen systems facilities all on the top face: a 6 -pin Lemo topologies. Derived from the Model 107, the new,
designed to integrate socket for the personal microphone to enhanced version is based on the patented Reflected Platé
seamlessly into a cam- plug into, an SMA antenna connector Amplifier (RPA) circuit, and now includes the MicLim peak
corder-the Pastega and the distinctive recessed and perspex- limiter used in Aphex' high -end Model 100 tube preamp.
1

RMD 34 system is a covered slider switch arrangement for Other features include new front -panel design and operator
superb example of this manually changing channels between controls, XLR and'/4-inch I-0 connectors, onboard mixing
type; true diversity, capable of slotting Frequencies 1 or 2-the 32 available between mic and instrument -level inputs, and internal
straight onto the back -plate of any of the channels are selected as power supply. MicLim works on the microphone's output
major camcorders, and a no -compromise, 16 intermodulation-free signal before any amplification takes place.
well engineered package. It is against this back -drop then pairs at the factory; LF Aphex, US. Tel: +1 818 767 2929.
that Audio Ltd enters the picture with its Envoy system. cut in or out and the
Audio Ltd has an enviable reputation within the loca- master on -off. A final ORTF mount for cardioids
tion recording fraternity, built around the success of the rotary switch allows for DPA has added to its range of mic accessories with the
RMS 2020 pocket transmitter systems, considered by the selection of either a addition of the CX04000 mounts for different stereo
many drama recordists to be their first choice. The Envoy 0dB line -input or mic recording techniques using cardioid mics. The CX04000
however will need to appeal to both the technical man- gain sensitivity. These holder is said to be ideal for stereo mounting of DPA's
ager and the multitasking cameraman if it is to gain as controls are however compact cardioid mics, such as types 4021, 4022 and
much ground as the hugely popular 2020 system. merely duplicates of 4023s. It enables the cardioids to be mounted in either a
Audio Ltd's claim is that the Envoy system-com- those accessed by the SwitchiR key fob. coincident XY stereo configuration or a near-coincident
prising the TXBLUE pocket transmitter, the HXiR The attention to detail by Audio Ltd is also apparent ORTF combined time and intensity difference stereo
hand-held stick mic transmitter and the CXiR diversity in the HXiR hand-held transmitter. It uses inter- configuration. It is possible to use the CX04000 in both
receiver-sports a range of features that far exceeds those changeable condenser microphone capsules from the XY and ORTF at the same time (with four microphones) to
of any similar ENG product; certainly there some unique Schoeps Colette range, with a suspension designed in compare the setups, or to
points of interest. collaboration with Rycote to minimise any handling record both stereo
The CXiR is the smallest true diversity receiver in the noise. The transmitter antenna itself has been incorpo- systems and make the
world and is designed to slot into Sony SX, Philips rated into the battery compartment, leaving an overall choice of which one to
LDK120 and Ikegami HLV77 cameras, while all mechan- look of sleekness. The 32 frequencies, spread over a use afterwards. It is even
ical switching has been eliminated by using an infra -red 24MHz bandwidth, are powered through the ether by possible to mount one of
remote control unit, the SwitchiR; a key -fob device akin means of a 1.5V AA battery slotted into the battery the systems facing
to a car's remote locking transmitter, which offers access compartment at the base of the handle, which gives up backwards in order to
to all of the user-settable functions on both the CXiR to 21/2 hours of continuous use. make a compact sun-ound sound microphone setup.
pocket transmitter and the HXiR hand-held mic. With I could at this stage start to describe the specifications The CX04000 is made in black anodised aluminium with
just four buttons, an LCD and a simple menu system, the of the units, but I won't, and it's not through laziness. extremely durable ethyl propylene rubber rings. A thread
SwitchiR gives full control over every parameter that Suffice it to say, if this was a real Envoy-traditionally adaptor is supplied within the holder shaft, allowing
might need changing, setting, viewing or adjusting. someone below the top-ranking ambassador status of attachment to three of the most common international
These are: Audio Frequency-checking and chang- the RMS 2020, but above the Chargé d'affaires status of standard threads.
ing of the 32 switchable UHF channels; Audio Level: most of its rivals-this budget priced sound for camera DPA, Denmark. Tel +45 48 14 28 28.
to change the gain on the HXiR and the output level system will certainly be the one to watch.
on the CXiR; A Low Frequency cut (on -off) on the Three -channel amp
HXiR transmitter; receiver and transmitter battery Contact: Bryston's 6B -ST 3 -channel power amplifier is comprised of
status and the status of the battery in the SwitchiR three completely independent modules packaged into a
unit itself; a battery -check for 6LR61 9V batteries; the Audio Limited, Audio House, Progress Road, Sands, single chassis. Each of the three modular channels is
ability to remotely turn-off the transmitter; an infra -red High Wycombe HP12 4JD, UK.
capable of delivering 250W into 8S2 or 400W into 40 and
disable and finally, a check for the user -identification Tel: +44 1494 511711. Fax: +44 1494 539600.
each module functions independently with its own
and for the serial number of the unit. Pretty compre - Net: www.audioltd.com
electronic circuitry, connections, and independent power

44 STUDIO SOUND SEPTEMBER 2001

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 REVIEW

TL Audio VI'-1 NEW TECHNOLOGIES

supply. The 6B -ST features a 3 -position gain selector for
balanced or single -ended inputs, a polarity switch on each
The ongoing mixing -'n' -matching of channel features, circuit topologies and channel, and a remote 12V power trigger input with a
delayed output feature.
price points brings us the VP -1. Dave Foister reckons it's a milestone PMC, UK. Tel: +44 1707 393002.

F THE CHANNEL STRIP in a box is an oppor- fier in the form of a good old-fashioned optical gain 8400 update
tunity for a company to show off its strengths, circuit. The additional palette of possible characters Version 1.0 software for Orban's OPTIMOD-FM 8400
whose would be most interesting? High on the offered by this choice is typical of the deceptive sim- digital processor adds Purist 2 -band processing,
list would have to be TL Audio, whose quickly - plicity of TL's designs, and is the kind of thing you clock -based automation, PC remote control software,
acquired reputation covers the whole spectrum of only rarely see even on dedicated compressors. A support for Ethernet networking, and improvements in
analogue processing, in particular anything with a hard/soft-knee switch completes the picture, and the the 5 -band processing algorithm. These enhancements
valve in it. Consequently the latest offering in the multi - gain reduction of the compressor alone can be shown come in addition to previous version improvements,
process line, the VP -1, is enough in itself to satisfy the on a standard TL round vu meter. which included passwords to protect the processor from
most ardent valve fan, to heat your studio complex, and The other four valves are in the equaliser-one per unauthorised access, low delay monitoring for presenter
to keep a valve factory in business for some time. band in a circuit that has upper and lower shelving headphones, full implementation of the GPI remote
TL has made no attempt to squeeze its suite bands and two full parametrics. This makes it remi- control, and pilot -tone reference output for RDS/RBDS
of devices into an unnecessarily small box. The VP -1 niscent of TL's full-blown EQ-2, rather than the Ivory generators. The OPTIMOD-FM 8400 has a patent -
is 3U -high EQ with its pending 'multiplex power controller' that makes it
and finished valve input compliant with the ITU 412-7 regulations currently
in the famil- stage and enforced in many European nations.
iar deep solid-state Orban-CRL, US. Tel: +1 510 351 3500.
blue, com- EQ circuits.
plete with The control Sound level monitoring
the obligato- ranges are Developed for the stringent sound level monitoring
ry TL Audio also very laws in Europe, the Argos Sound Leveller and Hera
mesh grille similar to Recorder/Controller combine to make an affordable,
to let the those on the dedicated limiting system. As well as keeping audio levels
heat out. It EQ-2, but under control it also monitors and records events over a
has to be this big because it comprises an unusually just different enough to suggest that this is not the 14 day period. Data is time -stamped and saved to PC
full set of devices, on top of which each device is fully same circuit. The same degree of flexibility and char- creating a log for local inspectors The Argos leveller
featured with no scaling down to make it fit. In fact acteristic sound are there, combining subtlety with a features speed selection, built in Pink Noise Generator,
some have more features on than you would take for healthy ability to put up with some really extreme set- in -line test button, and three connection/detection
granted on a stand alone. The complete chain consists tings without complaining. A final touch of versatility sources-mic (supplied), line or speaker (up to
of a choice of two input preamplifiers, a variable high- is added by a switch that places the EQ before the 1800W/812). A Mode selector switches between normal
pass filter, an expander-gate, a de-esser, a compressor compressor rather than the obvious panel -layout way (automatic) and 'hold' which sustains threshold level
with a choice of behaviours, comprehensive 4-band round. The final processing stage is a simple peak lim- between quiet pauses. -Os are on balanced XLR and
I

EQ, and a peak limiter; it can optionally be rounded iter, featuring nothing beyond a threshold knob and a unbalanced phono. Setting switches for Argos are located
off with a 24-96 digital output. With all the possible light to show it's working, and this works pretty trans- behind a removable plate. When linked, the Hera will
bits in circuit, the signal path contains no less than parently too. record any removal or tampering. Argos will also operate
seven valves-six triodes and a pentode-which should The last bit is the optional digital output, which as an independent standalone limiter.
be enough to satisfy the most ardent fan of the thermion- was not fitted to the review sample although the front - As a standalone unit the Hera can be used as an
ic way of doing things. panel controls are there as standard. These show a accurate db meter and recorder with a cut off device
Two of these are in the input stage alone, although standard choice of four internal sample rates and featuring level warning and power cut off via relays.
there's an alternative if preferred. There are actually two external clock, and word lengths of 16, 20 and 24 Also available from Apex are the high -end PE Series
mic preamps in the VP -1, one valve and the other dis- bits that TL describes as `properly dithered'. An LED paragraphic and GX Series graphic equalisers.
crete solid-state class -A to give a choice between classic meter shows digital output levels and overs indepen- Net: www.apex-audio.be
warmth and neutral clarity. The difference is distinct dently of the analogue vu, and the output appears
and useful, and a shrewd move to broaden the unit's simultaneously in AES-EBU, SPDIF coax and SPDIF Pico programme meter
appeal. The line input and obligatory front -panel instru- optical formats. Murraypro has released the diminutive stereo Pico
ment input use neither of these circuits. Gain is There's more; but it's detail and it's more impor- Programme Meter as its answer to the need for a
switchable in 10dB steps with a ±15 gain trim and tant to say that the VP -1 is everything you'd hope it miniature, high -specification, audio Peak Programme Meter
30dB pad, and a fully-variable high-pass filter runs all might be. These are the circuits and features-and the
the way up to 1kHz. sounds -on which TL Audio has built its reputation,
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all useable simultaneously but independently switch - this all-in -one box. The trademark combination of
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this is followed by a useful de -esser, with variable fre- power is there in spades, and there are many who will
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design. The usual selection of adjustments is provid- Contact: stereo Phase indication, +8 dB peak LEDs and intemal
ed, with the time values typically uncalibrated, and TL Audio. Limited, Audio House, Progress Road, Sands. mains power supply. The meters are illuminated by white
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46 STUDIO SOUND SEPTEMBER 2001

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 INTERVIEW

DON'T FORGET ABOUT DRE

A recent Los Angeles Times survey identified Dr Dre as the man most likely to sell the largest
number of records in the next seven years. Lisa Roy talks to him about what he does best

0 NE RECORD COMPANY EXECUTIVE,

of the 22 who took part in the Los Angeles
Times survey, said that Dre-who won a
Grammy in February for Producer of the
Year-might be the greatest talent in the music busi-
ness right now. Hip -hop is the most dynamic sound in
pop, and he's the king of hip -hop... You work it out.
new single with Eve and Gwen Stefani, and producing
a soundtrack for a major film, The Wash (in which he
also stars with Snoop Dogg).
As I walk into the famed Record One in Studio
City, his production manager Larry Chatman is jug-
gling phone calls but greets me with a warm
smile-Dre is on his way. He invites me into the con-
expert on keys, file into the studio. The activity seems
normal, even mundane, until Dr Dre walks into the
room when the vibe shifts up a level of energy, and
respect to his creative talent is evident to even the
casual observer.
Contrary to media reports that his recording ses-
sions are filled with drugs, alcohol, and gang warfare,
It came as no surprise that catching up with Dr trol room where Dre's Dream Team is already warming all I saw was positive energy, professional vibe, cre-
Dre is a bit of a challenge. After all, he's been busy up. Ensconced in Studio B, engineer Veto (aka ativity, and solid business. After completing a call with
putting final touches on a mix for Eminem's side group, Mauricio Iragorri) is tinkering on the SSL 8000, while his protégé Eminem (aka Marshall Mathers), where he
D12, making beats with Busta Rhymes, working on a Mike Elizondo, bass player, and Scott Storch, the was advising the young rapper on some crucial busi-
ness decisions, Dre turned his attention to the interview
at hand and gave Studio Sound a glimpse at what it's
like to make a record with this talented artist -pro-
ducer-engineer-actor-director.
Dr Dre can be described as many things-a catalyst,
an astute businessman, an innovator-but perhaps
the most interesting description of the man, born 35
years ago as Andre Young, is his description of him-
self as 'a motivator'. `I'm a very good motivator,' he
insists. `I direct well. I'm a person that will spend three
or four hours working on one line of a song to get it
correct. I have to be able to work with artists who
are ready to go through that torture.'
Some of the artists that have signed up for his
unique brand of `torture' are Snoop Dogg, Eminem,
and the hardcore rap band NWA, which Dre found-
ed in the mid eighties with fellow rapper Ice Cube
and signed to Eazy-E's Ruthless Records.
Although he had been rapping and DJing since
growing up in one of LA's roughest neighbourhoods,
Compton, he's surprisingly realistic about where his
truest talents lie-and that's in production. In addition
to being credited with inventing gangsta rap, he's
responsible for creating his own musical style:
G -Funk. This patented, often-imitated style of music
immediately became the defining characteristic of the
entire generation of music. There are few that would
argue that from the introduction of G-Funk, Dre's
sounds and rhythms shaped the future of rap music,
while impacting its history at every turn.
One of the key moments in Dr Dre's career came in
1992, when he founded Death Row Records with his
friend Suge Knight. This became a platform for his
obvious production talents. He released only one solo
record for Death Row, the critically acclaimed, The
Chronic. While the production values behind G -Funk
dominated the hip -hop world for the next four years,
collaborations with stepbrother Warren G and the
immense success of Snoop Dogg's 1993 debut
Doggystyle cemented Dre's name on the list of some
of the most powerful and influential men in the music
industry.
Unfortunately, all of this success did not prevent
the eventual collapse of the record label in 1996 amid
financial difficulties and creative differences-not to
mention a lengthy murder trial for the label's star,
Snoop Doggy Dog.
The businessman in Dr Dre had matured through
all the challenges and obstacles of the eighties and

48 STUDIO SOUND SEPTEMBER 2001

 INTERVIEW
early nineties. His instincts served him well when he
made the decision to bail from Death Row Records
almost a year before its ultimate demise. Eventually,
he formed Aftermath Records and turned his pro-
duction, mixing, and writing energy toward a young
rapper he found in Detroit called Eminem. This col-
laboration not only resulted in Eminem's 1999 debut
record, The Slim Shady LP, and the multi -platinum fol-
low-up The Marshall Mathers LP, but also a Grammy
for their collaboration on 2001's `Forgot About Dre'.
Dre explains, `Forgot About Dre' was actually
Marshall's idea. He said I have an idea for a song, I just
need some music to it. So he sent the chorus to me
and then we went to work on our music. We record-
ed it at Granny's House Studio in Reno, and then we
put the song together in a couple of hours.' The col-
laboration also garnered him a Grammy for Producer
of the Year.
'That was big,' he confides. `I love the fact that I did-
n't have to go on stage and give a thank you speech.
I didn't have anything written down. As it turned out,
when they called my name for Producer of the Year,
I just stood up. That's going to be the perfect ending
to my life story.'
Perhaps he should start preparing his acceptance
speech for next year now because an Engineer of
the Year Grammy is certainly not out of the question
for the technically savvy Dre. He humbly admits
that, although he defers to his engineer of choice,
Veto, on certain things, he himself is the man behind
the board for the majority of the projects he works
on. His roots in recording began in a small studio
in the back of a club in Compton where he used Above: Eminem. Top right: The Slim Shady LP. Right: The Marshall Mathers LP
to DJ.
`I would just come in there during the week and still learning with all the new technology.' I'm going to want it to sound like that during the
just try to create my songs, just messing around, see- Through the years, as any engineer would, Dre mix.' He continues, 'When I want a little more crisp-
ing if I had it. I would play them in the clubs on the has defined his choices in audio gear. He's candid ness out of the mic, I use the 1073 EQ with just a
weekend and I would get good responses, so I just about his love for any and all Solid State Logic con- little high -end. I don't use too much compression;
kept doing it and it became my profession.' He con- soles, as well as the Studer A827. He always uses maybe 4:1 with the outputs set to zero. I usually do my
tinues, `I learned how to engineer basically from that Quantegy 499 tape. His mic of choice is the Sony compression afterwards. I like the compressors on
club. I also learned a lot from this engineer, Donovan, C800G, which is the only mic he ever uses on vocals. the SSL. I usually have the ratio up to about eight or
at Audio Achievements in Torrance. We used to work When recording vocals with the Sony mic, he runs 10 on a lot of things.'
together a lot, and I eventually started working by it through a Neve 1073 mic pre, and then through the Dre, a die-hard fan of analogue recording, is one of
myself on mixes. I wanted it to sound a certain way SSL compressor and a dbx 160, but he admits to very the few producer-engineer's left in the world that have
and I felt nobody was going to be able to dig in my little EQ on the vocal. not jumped on the Pro Tools bandwagon and, true
brain and get the sound out that I wanted except me. Dre explains: `I usually record vocals flat. The only to form, he makes no apologies for that.
Everyday I would learn something new. I'm actually time I EQ when recording is if I know for a fact that `I tried digital a couple of times and I don't really

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STUDIO SOUND SEPTEMBER 2001

49
 INTERVIEW
like it. There's just something about it. For me, it's beats? Engineer Veto explains that there's a laundry
not fast enough just yet. I tried to record into Pro list of toys that make a Dre session complete.
Tools and got one of the best Pro Tools operators 'The brain of the whole thing is the MIDI
down to record the music, and it's just not me. Not sequencer, the Akai MPC3000. We use the Korg
yet,' he concludes. 'We had the Sony 3348 in the stu- Triton keyboard. Usually that's the controller-the
dio, and I tried a couple of songs on it and it didn't give Nord Lead and Korg's MS2000. Lately we've been
me the sound I wanted. The kick drum started sound- trying out the Alesis Andromeda A6. SST actually
ing transparent. It wasn't good.' recommended a Waldorf cue, and we seem to like
When it's time to mix down, Dre makes the unusu- that one as well. They let us try it for a day and we
al choice of mixing straight to DAT, so you can said, "Yes, we'll keep it!" You might also find a nice
imagine that the DAT machine is a key element in array of vintage keyboards on hand, including those
any studio he chooses to work in. Dre's DAT machine by Rhodes, Wurlitzer, Moog, and Roland. But Veto
preference is the Panasonic 3800. says what you won't find in use on a Dre session is a
The question on every young rapper's mind though, lot of outboard gear.
is what gear does Dr Dre turn to make his signature 'We don't use a lot of outboard gear,' Dre concurs.

r -- mis
. r
r_I &
eV

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igita qu aice 1 AK4101

'I doctor the vocal as tar as de-essing and maybe some

low -end EQ for the kicks. We use a lot of EQ on the
Quad Outputs console and all the limiters. Most of it comes out of
192kHz 24 -Bit DIT the SSL and into the quad compressor. I like the sound
of it on the mix bus. That's the SSL quad compressor
in the centre of the console.'
Dr Dre knows his way around the studio and in
and out of a `tool box'. This credits to once having his
own studio, complete with an SSL 4000E -G. 'We did
a lot of Eminem's first record at my home studio.
Actually the first song we did together, "My Name
a
s 192kHz 24 -Bit
Digital Audio
Interface Transeiver
Is", was done there,' remembers Dre. Eventually he
removed the studio from his home and is now vocal
about his love and support of the professional, com-
mercial facility.
`I kind of got tired of having a home studio because
AK4395
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going to work. Plus, sometimes you have to work
with people and there's just some people you don't
want in your house,' he laughs.
Unsurpassed Stereo DAC This love for the commercial recording facility has
120dB dynamic range Dr Dre hanging out on a regular basis at LA record-
24 -Bit Resolution ing hotspots like Larrabee West, Encore, and, of
192kHz Sampling rate course, Record One. 'We mix almost everything
at Larrabee West. I
AK5394
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that's comfortable,
AKM know 1JJ has a lot of space,
JJJJJJJJ and, very important,
all about the has a lounge with a
ins and out of kitchen,' he shares.
Unsurpassed Stereo ADC
digital audio. Most 24 Bit Resolution 'The equipment is
music is either played through or made using 192kHz Sampling rate important, but, to
AKM multi -bit technology. For over 15 years, be honest, I'm still
AKM have been a leading force in the world of working on the same
Delta Sigma ADC/DAC and Codecs. AKM's advanced mixed signal board I worked on
since 1990. The
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digital audio systems. who's pushing the
buttons.'
Dr Dre has just
UK Tel +44 118 979 5777 Fax +44 118 979 7885 finished pushing the
buttons on a new
Belgium + 32 458 3033 Denmark + 45 44 44 6666 France + 33 4687 8336 . Germany +49 89 5164 503
1 project, D12, the
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label, Shady Records.

50 STUDIO SOUND SEPTEMBER 2001

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 INTERVIEW

'D12 is an incredible group,' he enthuses. 'All the into the mix. He explains: `People come up to me on expand his empire by adding two more talents-act-
guys in the group are great musicians. They all have the street and say, "I hear something different every ing and directing-to his already impressive resume.
really crazy personalities, you know, and I love work- time I listen to your record". That's what I like to Dre fans can look forward to a Snoop-Dre reunion
ing with them. I think they're going to be a big group. hear -that's the sprinkles.' with the release of a movie they're currently filming
Eminem is the sixth member in the group.' Even when he's self-producing, he challenges him- together, The Wash. The power duo will also collab-
Also on the horizon for Dr Dre is his first foray self constantly. `I really take a lot of time on each song orate on the soundtrack of this `dramedy'. Dre spills
into surround sound mixing. `I'm going to record and and make sure it's okay-I'm my worst critic. I want another interesting tidbit-he's going to direct a movie
mix my next record in 5.1, so it gives me a whole new to make sure it's right.' within the next year.
world to work with. Hopefully, then people can just During the making of his current release, 2001, 'The first movie I'm doing is called Raincoat. It's all
throw it in their DVD player and have a little blast of Dre would assemble intimate listening parties simply about condoms,' he muses with a grin. Acting is a
entertainment.' to gauge their reactions. `That's the difficult part when true passion that he intends to explore fully in the
One thing that's evident about Dre is that he strives you're producing yourself. I take it home. I listen to future. `I want to do a really big movie and have it
to keep his audience entertained regardless of what he's it. If it works for me, then I play it for different friends come across really good. I want it to have the same
doing. He wants the records he makes to stand out and and family members and hopefully they dig it. So it feeling that my records give people. This movie is
intrigue the fans long after they first listen. He ensures was a big process.' going to be interesting.'
this, he says, by putting what he calls his `sprinkles' The multi -faceted Dre has put plans in place to We would expect nothing less from The Doctor.

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 RECORDING

Greg Ladanyi at Tidal Wave, LA

RUNNING BEYOND EMPTY

An unconventional recording at the time of its release, Jackson Browne's 1977 classic, Running
on Empty, is making news again with its DVD-A remix. Mel Lambert talks to Greg Ladanyi
FOR SINGER -SONGWRITER Jackson those classic tracks. Working at his private LA stu- loaded Nuendo surround sound workstation that han-
Browne, the 1977 live album Running on dio, Tidal Wave Entertainment, the producer-engineer dled unload, assembly and remixing of the 24-96
Empty represented a watershed. Known for- brought in Rob Hill from Steinberg North America to material. This project marked the first time Ladanyi
mally as a creator of haunting, evocative co -engineer the session and oversee the use of a fully - had mixed in 5.1. 'The album is a patchwork of var-
ballads recorded by other artists, Running on Empty ious live performances,' he offers, 'with a loose,
allowed Browne to showcase his own talents, by rough -edged feel. Working in 5.1 brings the listener
creating a sonic tapestry of a barren life on the road. into the total experience of the hotel rooms, the bus
Browne's musical story of a road tour featured not and lounges, putting them inside the music with
only live arena recordings, but also intimate hotel Jackson and the band.'
room and lounge sessions -10 songs of all -new
material. How were the tracks for Running on Empty
For recording and remix engineer Greg Ladanyi, recorded on the road?
the album `marked a pivotal point in my career'. The majority of the live dates were recorded to a
Eventually, he was involved as engineer/co-producer Studer A80 24 -track 2 -inch at 30ips, non -Dolby.
on two of the artist's albums-Hold Out and Normally, we just took a line -level feed from the stage
Lawyers In Love-as well as working later with Los directly to each track, with not much control over
De Abajo, Jaguares, Warren Zevon, Fleetwood Mac, levels. Jackson still owns that same [Studer] machine,
Asia, Don Henley, Toto, and REO Speedwagon. so we went to his private studio, Groove Masters, to
(He won a Grammy for Best Engineered Album f.or transfer the tracks directly into Nuendo at 24-96. We
Toto IV.) had around 150 reels of tape.
This past spring, Ladanyi returned to the 24 -year The concept for the Running on Empty live album
Greg Ladanyi and Rob Hill was that it would be all -new original material-most
old tapes to prepare a 5.1 -channel DVD-Audio mix of

54 STUDIO SOUND SEPTEMBER 2001

 RECORDING
of the songs were being rehearsed the night before.
At the beginning of `Running on Empty', for example,
you can hear Jackson faintly having a conversion with
Danny [Kortchmar, guitar player]. He sings the first
line of the first verse to let him know what was going
on, and then counts 'one, two, three, four' into the
song. You get to hear that on the DVD-A version. It's
very special.
The hotel tracks [notably 'The Road', recorded in
Room #301 at the Cross Keys Inn, Columbia. MA,
plus `Cocaine' and `Shaky Town', recorded in Room
#124 at the Edwardsville, IL, Holiday Inn] were
recorded with the Record Plan truck at 15 ips, non -
Dolby. And `Nothing But Time' [tracked on a
Continental Silver Eagle bus `somewhere in New
Jersey'] was recorded on a Revox 2-track because
there was no room on the bus! It was a simple mix of
Jackson and Danny [Kortchmar] on guitars, and
Craig [Doerge] on Wurlitzer; we overdubbed bass
drum-Russ [Kunkel] playing a cardboard box-
and other percussion after bouncing the two tracks
onto the Studer 24. But the lead vocals and guitars
were all live.
At Groove Masters we used the studio's Neve 8078
console to give us a nice warm sound. We tested the
signal path with and without the Neve and found that
it warmed up vocals and guitar very nicely-added a
little harmonic distortion. We used the Nuendo's
A-D convertors because we didn't have any others
that sampled at 96kHz; but they sound great!

Were there any problems with those vintage

24 -track masters? Above: Greg Ladanyi and Rob Hill. Top right:
No, we just had to re-lube them; no baking of the Tidal Wave in LA. Right: Greg Ladanyi
tapes-it wasn't necessary.

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 RECORDING
Was all track assembly, editing, cert-while for the tracks recorded in
processing and mixing performed hotel rooms [and on the bus] we want-
within Nuendo? ed to duplicate the musicians' positions
Yes. It is a fully live recording. We around the microphone, with the lis-
broke out different elements to give us tener in the centre of room.
around 60 tracks. For example, we In terms of panning positions, we
needed a guitar ride at a certain point, split the room in half horizontally. The
so we just copied that section to a spare front is not just the three [left, centre,
track, processed it and wrote separate right] speakers, but it is now the front
fader moves-it's a different way of and halfway to the middle of the room.
making records. We can produce not just a linear mix
We took some of the longer intros with discrete speakers; now we can
from the master tapes, and used some bring instruments into the room
of it as ambience. The audience was through delays and panning. We now
miked with just two shotguns, so we have a 360° soundfield, with full depth

didn't have too many options. in any direction. We pan elements or

Aside from some outros and little create an ambience to add size or
conversations we picked up from the impact. We can go way back in the
multitrack masters, we followed the front mix and way back in the rear;
original running order and song
lengths. No other songs were added.
they are very separated.
There were creative challenges while
Bass Management
But we have material that is more audi- treating the transitions from song to
ble on 5.1 -channel DVD-A, because
you have more discreet locations. On
song, and even within songs. 'The Road'
begins in a hotel room, then mid-way it
for Surround Sound
`Cocaine', `Shaky Town', 'Rosie' and crossfades to the arena. You can feel
`Nothing But Time', there are conver- the audience come up from underneath
sations amongst the band that you you, as the vocals move to the front It's common knowledge that effective multi -channel monitoring requires
would not hear on the stereo versions, speakers. It's a very dynamic record. accurate reproduction of low -frequency energy. Traditionally, achieving this
without it being really obvious. I don't like vocals just in the centre goal has been difficult. But with the Model 65 from Studio Technologies,
Nuendo's automation is tremen- and band left and right-it ends up bass management is now available in a simple, yet powerful product.
dous-the ability to create parts or sounding odd, like a film mix. The cen-
passages by pasting and copying, set- tre channel is not one of my favourite The Model 65 provides a 5.1 input, along with five main and two sub -
ting and printing EQs and reverbs. speaker positions. It creates an illusion woofer outputs. Using conservative filter design, the all-analog circuitry
All this is more exhausting on an ana- of vocals and drums that makes them redirects bass energy from the main inputs to the desired subwoofer out-
logue console. sound like they have these `spikes' on
puts. While you can use the Model 65 right out of the box, we've made
them that I don't particularly enjoy-
How did you set up the 5.1 -channel it takes away from the track. For certain that you can "tweak" it to meet the needs of your specific applica-
mix? example, on drums I prefer to use my tion. Want to try 10.2? No problem with the Model 65!
Our original idea for the album was overheads as the main pickup, and then
Of course, the Model 65 is directly compatible with Studio Technologies'
to surround the listener with sound and I will open up the mix on the snare and
to make it appear as if you were actu- toms as I need them to make that hit be StudioComm for Surround products, as well as being easily connected
ally inside the experience-which the attack and give presence. Vocals with other surround sources. For more information, call us or check out our
means that the DVD-A can take full that I want to be in the centre are first website.
advantage of 5.1 -channel playback. We in the left and right, and then I open
mixed on Westlake monitors powered up the centre to where it becomes clear
by Hafler amps. The LCR and sur- and it doesn't have those `points'.
rounds are BBSM-5s, while the LFE is STU
an Lc8.1 subwoofer. What signal processing did you use? TECHNOLOGIES
For the live concerts we wanted to INC.
put the listener inside the audience- We had to clean up some buzzes on 5520 West Touhy Avenue, Skokie, IL 60077 U.S.A.
with the band coming from the front the bass track, for example, using tight (847) 676-9177 Fax (847) 982-0747 www.studio-tech.com
speakers, just as they would at the con- EQ notches-you would not hear them

STUDIO SOUND SEPTEMBER 2001 57

 RECORDING
in the stereo mix, but here with six channels you can- You have full control over the reverb pattern, with

TRIAX
not hide them anymore. So we needed to do a little dynamic pan. The delay patterns we created for the
cleaning up. drum fill on `Running on Empty' sound great.
I like to use compression as an `enhancer' of an
overall performance. Particularly on vocals, bass and You honoured the positions the band took on
guitars, where it can bring up the bottom end. I pre- stage?
CONNECTORS fer to use compression rather than have to ride a track
-it sounds more natural if you let the musicians bal-
Yes, but in a live arena the sound becomes a mono
wash in the sound system-the brain sorts out the
ance the track rather than using the faders. directions from visual cues. But we needed to create
We used a lot of Steinberg reverb and ambiences, a definite sense of direction since you are not looking
plus Waves and tc electronic plug -ins. The quantity of at the band. We retained that placement consistently
[all -digital] compressors available on Nuendo is amaz- from track to track. Danny is always over here, Leland
ing. For [the track] `Running on Empty' we had 58 over there-that was very important.
tracks of 24-96 audio running with 16 compressors, But for the live hotel recordings we had the musi-
10 EQs, three reverbs plus a bunch of delays. cians in a circle. During `Shaky Town' the drums come
We used different mix techniques, capturing early out of the rear speakers, because that was the layout
reflections from the recording environment and placed [consults vintage B&W photograph from the date].
them in the mix to add a reality around the audience. Danny is playing acoustic guitar in the front and
The tc electronic and Wave plug-ins gave us a palette Jackson is sitting on the side of the room.We want-
of ambiences. ed to replicate that room layout.
We also used an [outboard] tc M6000 processor. On 'The Road', we start backstage in an intimate
You can select the point of origin for the reverb [in the rehearsal room and then move seamlessly into [The
surround sound environment], and then create sepa- Saratoga Performing Arts Center]. Originally, Jackson
rate early reflections from one position and late is in the front and David Lindley is in the back-so
reflections from another. The M6000's eight buses the audience is enveloped in guitar, sitting between
let us move the reverb sends anywhere into the sound these guys. And then we come to the crossfade, where
field and then, using mixes of early and late reflec- you feel the audience come up from underneath you
tions, control where-and how-the reverb leaves it. and the drum fill takes you into the remainder of the
song. The position of
each musician transi-
tions through the
listener to their respec-
tive locations on-stage
for which we could

NEW not do without the

Nuendo's multichan-
nel panning and the tc
electronic reverb. We
also shifted audience
FROM mics in time to correct
the delay and give

CAN FORD us the ambience we

were after.
For consistency, we
retained the same basic
Triax connectors are suitable reverb patterns with
minor differences
for use with all 8.5mm and when we needed them
as added `flavours'.
11.2mm Triax cables. But each song was
recorded at a different
These types are fully inter- arena, so why make
mateable with other triaxial them all sound the
same?
connectors used commonly in
What made you
broadcast and production choose the Stein-
applications. berg Nuendo for
mixing and processing?
I met with the
CANFORD Steinberg Team last
January at the
NAMM show in
CANFORD AUDIO PLC
Anaheim. Jackson
CROWTHER ROAD was talking about re-
WASHINGTON releasing the album in
NE38 OBW surround sound. I
UK knew about the
tel +44 191 418 1000 Nuendo because Rory
fax +44 191 418 1001 Kaplan from DTS had
[email protected] clued me in. I needed
a full -on 24-96 work -

58 STUDIO SOUND SEPTEMBER 2001

 RECORDING
station-Pro Tools couldn't handle 96, and I'm not
familiar with SADiE. Nuendo has all the connec-
tivity; all the plug-ins. It has powerful editing and all
the surround sound functionality we needed-I did-
n't want to use an external console for any mixing.
Nuendo is very easy to operate. You can change
system parameters and plug-in settings in real-time
while a song is running, and hear what you are chang-
ing-there is no stopping, just like in the analogue
world. And its offers unlimited undo and a history -
process window-you just go back to the beginning
of project, all while Nuendo is running. [Ladanyi
mixed Running on Empty using a dual -Pentium
III-1GHz PC outfitted with 512Mb of RAM. The
configuration included three Nuendo 8-I-0 24 -bit Greg Ladanyi at Tidal Wave, LA
A-D/D-A, and two Nuendo 9652 PCI audio cards
with a full complement of plug -ins.]

Did you prepare a separate stereo mix for the

DVD-Audio?
We made a separate stereo mix rather than letting
[the DVD-A player] do the downmix, because we
found it was a compromise. Balances do not have the
TEC
same relationship if they are mixed by numbers. So we
did a separate balance with virtually identical EQ.
With Nuendo, you can have both the 5.1 and stereo
projects open simultaneously and then A -B between
them.
We compared the original and new stereo mixes,
and they matched pretty well. Which was our inten-
tion. But the running times are slightly different, udio
because some songs were slightly longer on the AudioCube Product Range
DVD-A-but not by a lot. We extended some of the l,Ibe Scalable Up To 64 Channels (With MADI), 24 Bit - Up To 192 kHz
conversations-for instance we added some things Expandable, Open Architecture
on `Nothing But Time'-but nothing dangerous. Seamless Integration Of Mastering, Authoring, Restoration & Editing

What about the LFE channel?

It is my belief that all playback speakers must be QUADRIGA Product Range

able to handle full bandwidth; the subwoofer is there
Automated, Quality Controlled Audio Archival
for embellishments. Not all of the playback audience
BWF Supplement 2
will have the 0.1 channel-I needed to make sure that Sophisticated Security & Background Processing
the mix carries the low energy in the other five speak- Specialized Import Modules For Audio Capturing
ers. Our LFE was fed from a Nuendo auxiliary send
and connected via a 120Hz low-pass filter
I also use the subwoofer as an effect-on a lot of the VP1, Virtual Precision Instruments
endings for this album I will make that last hit come
as a massive push from the subwoofer. It creates the
ube 32 Professional Mastering, Restoration & DVD Authoring Tools

rumble of the loud crowd. 24 Bit/96 kHz, 64/32 Bit Floating Point Precision
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If you could have gone back to 1977 what extras

would you have recorded?
Six to eight mics in the audience for ambience pick-
up. My room miking in the hotel would have been
DVL Media Production Solutions
different. The rooms were pretty small with every- [Abe DVD-Audio Authoring
body sitting opposite one another. I used two overhead Supports Version 1.2 Of The DVD-Audio Standard
mics; I would like to have used probably four bused Watermarking & Encryption
to separate tracks.
For drums, the miking probably would not have C
changed,_ because I like to keep it simple. And we had
to close-mic everything to reduce leakage from the
stage. But one reason the record sounds so good is
4TDR duality Monitoring Systems
Quality Control 91 (;U(l) Media
because we used small amplifiers and kept Curnl,li.ud Willi fledi,nk Standard
the sound on the stage as low as possible. But still Multiple Format Test Report Printout,
letting the band play at a good level so that they
were making a live record and not just playing in a
`live' studio.
Since the stage and monitor levels were not out of Cube Technologies GmbH
control, we could get good vocal, drum and instrument
sounds. We used mono magnetic pickups on the piano email: [email protected] web: www.c_ube',
that we could have replaced, but in general the sound
was tight and realistic. Q

59
STUDIO SOUND SEPTEMBER 2001
 POSTPRODUCTION

OLD GREY WHISTLF, TEST

Having guided a generation of British music lovers through their adolescence, The Old Grey
Whistle Test is back on DVD to accompany their middle age. Kevin Hilton tunes in

Left: The Old Grey Whistle Test 'star -kicker' logo. Middle: Andy Hewitt at
2nd Sense Studios adding commentary for delivery to Abbey Road Interactive

Tt:LEVISION MUSIC SHOWS are notorious- Test screened the promotional film for 'Bat Out of Hell', over -zealous BBC accountant ordered a batch of video
ly difficult to get right; they are usually leading to Meat Loaf and his cohorts appearing live tape to be erased in a mistaken effort to save money.
something very much of their time and do not on the show. Likewise Alice Cooper, Talking Heads That aside, a great deal of phenomenal material sur-
always sustain as time moves on. In Britain, and The Wailers made significant appearances in the vived and modem technology has made it easier to cram
Top of the Pops (TOTP) has beaten the odds and is Whistle Test studio with the trademark `star-kicker' as much of it as possible into a small package.
still on the air, although it is now one of many chart logo as a backdrop. When the BBC marked a previous Prime amongst the BBC's celebrations of Whistle
shows across both analogue and digital channels. TOTP anniversary and chose not to show Lynyrd Skynyrd's Test's 30th anniversary is a 5 -hour, 2 -disc DVD set com-
may be heading towards its 40th year of regular broad- `Freebird' there was an outcry, so strong was the impact prising 45 tracks, interviews with six of the most
cast on the BBC but its influence has waned and it is still of that performance. important artists in rock history, special introductions by
what it has always been, a reflection of what is in the Any attempt to encapsulate the flavour of a pro- the show's key presenters, a `museum' section and an
charts rather than what is truly new and innovative in gramme that ran for 17 years and consequently has a audio commentary by founding producer Mike
modern music. huge and hugely impressive archive of both some of the Appleton. This is supported by The Whistle Test Years,
Which is why the 30th anniversary of The Old Grey most influential and some of the wackiest rock acts of a 6 -part series on BBC Radio 2, and the publication of
Whistle Test is a far more significant event. Radio is the the seventies and early eighties was always going to be The Whispering Years, an autobiography by Bob Harris.
prime medium for hearing new music but unless it was a thankless task. Many would not be satisfied unless a Despite being the presenter most closely identified
someone like Wolfman Jack or John Peel, it is unlikely series of TV programmes or videos was prepared, chron- with the programme, the softly spoken Harris, still
that we remember where we heard something or who icling in minute details the story of contemporary music known as `Whispering Bob' to a generation of British TV
played it. Music on television is different. We are more through the Whistle Test. and radio music fans, was not with the programme from
likely to recall a programme because of the visual impact, This would of course be impossible, for a number of the very beginning. When first broadcast, in September
carrying a particular memory with us through the years. reasons. Economics dictate that while there is a ready- 1971, The Old Grey Whistle Test was fronted by Ian
For music lovers of a certain age, The Old Grey made market for such coverage, it would not be big Whitcomb and Richard Williams. At the time Williams,
Whistle Test provided countless memories and often enough to bringin the returns to justify it. Added to one of the six presenters featured on the DVD, was assis-
broke new and more `difficult' bands in the UK. In that, the show went out live and not everything was tant editor of music paper The Melody Maker and
1977 the BBC was inundated with calls when Whistle recorded. Even if it were, there is the danger that some worked on only the first series of Whistle Test. He went

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60 STUDIO SOUND SEPTEMBER 2001

 POSTPRODUCTION
on to work for many of the `quality' British newspa- years. The idea was to create a mix of the familiar and the title was officially shortened to Whistle Test even
pers and currently writes about sport for The Guardian. the rare, footage that had never been released or that though fans had been calling it that for years)-were
Most of those who watched The Old Grey Whistle hadn't been seen much.' recorded giving reasons for their track selections and
Test-which took its name from the Tin Pan Alley Some of the more familiar tracks almost chose them- generally reminiscing about working on the show.
maxim that if a new song was whistled by one of the old, selves, while Sinclair's task was aided-or maybe even As well as live performances and, where acts either
grey doormen or janitors that worked for the music hindered-by giving six of the show's presenters five couldn't or wouldn't come into the studio, imaginative
publishing companies, then it was sure to be a hit- choices each to include both favourite tracks and those collages of old film clips to accompany album tracks,
would be hard pressed to remember Williams, let alone they considered historically important. 'This gave us Whistle Test was also known for its interviews with
Whitcomb. With his pulse -like voice and genuine enthu- the backbone of the DVD and accounted for several leading artists. Six of these are included on this compi-
siasm for the music, it was the furry -faced Harris who hours of music,' Sinclair says. `I chose another 10 clips, lation: Williams speaking to Elton John and Bernie
became synonymous with `seventies rock and his laid- looking at classics, interesting rare material or just things Taupin and Mick Jagger; Harris interviewing Keith
back intros are as memorable as the music itself. that viewers would be dismayed at if they were omitted.' Richards, Robert Plant, John Lennon and Bruce
Selecting the tracks for a Whistle Test compilation Whistle Test's classic period is arguably the seven- Springsteen. `These are all extraordinary in some way,'
must be a classic best job -worst job scenario, shifting ties, a decade that began with long indulgences and Sinclair observes, `either because the person concerned
through some wonderful material but all the time with concluded with the short pithy sound of rebellion, looks so young or wrecked or is very unguarded in what
the thought that whatever you they're saying.'
choose, someone is going to say 'Yes, Sinclair is of the opinion that
but what about...'. This task was these interviews are very different
entrusted to Jill Sinclair, a highly to the kind of production -line, sani-
experienced music TV producer tised star love -in chats that are
who has a personal history with the common on TV music shows today.
Whistle Test. She joined the show `It was a different time back then,'
in 1977 as a production assistant, she explains. 'An artist could feel
working on it and a number of other free to talk without fearing that a
BBC music programmes for five tabloid newspaper would take what
years. She then developed her own they'd said out of context. Also there
project, Pop Quiz, and worked on were no PR minders, as there are
the weekly music review series Eight today, and consequently the inter-
Days A Week, before joining com- views are very chatty and informal.
mercial TV station Tyne Tees to help We've edited these interviews
launch Channel 4's The Tube (1982- because this is a DVD for music
7), a live show that took TV music lovers. Once you've seen the inter-
to both new heights and depths. views and marvelled at how some of
After working on a variety of the subjects are able to talk and
music shows for the commercial breathe at the same time, you may
sector, Sinclair was asked by the not watch them again but the music
BBC to return to the Corporation to will be played again and again.'
produce the Whistle Test anniver- A common extra on DVD is the
sary DVD. 'They asked partly audio commentary, where those
`Whispering' Bob Harris, as Whistle Test presenter became a rock icon
because I have an emotional attach - involved in a production fill in the
ment to the programme,' she background, explain how some-
explains. `It's been an absolute treat because it was a although the rambling track did not disappear thing was done or just generally reminisce. Mike
chance to re -live my youth and realise what a fantastic completely. `Everybody remembers Lynyrd Skynyrd on Appleton was the founding producer of Whistle Test
time it had been.' Whistle Test,' says Sinclair, 'but they're lucky to be on and remained the guiding light of the show for many
Initially the plan was for only a three hour DVD the DVD really. For every `Freebird' or `Rosalita' we years; his influence has also been felt on numerous other
but this began to disrupt Sinclair's sleep patterns: `I could have fitted in three other tracks. Those two, and BBC TV music programmes. Over three sessions Sinclair
keep waking up at night asking myself how I could Meat Loaf's `Paradise by the Dashboard Light', are over recorded Appleton on DAT, terrified that she wasn't
possibly choose between Alex Harvey and Little Feat or 12 minutes long each and exclude others-but many doing it correctly. However, she did hit the right but-
Emmylou Harris and Bonnie Raitt.' Sinclair persuad- people will think they have to be there.' ton and Appleton provided around two hours of
ed the BBC to increase the running time in an effort to The six presenters-Williams, Harris, Annie material, describing the TV landscape at the time, how
get as much as possible into a single release. 'A few of Nightingale, Mark Ellen, David Hepworth and Andy the show came about and many anecdotes about book-
the clips I looked at seemed very familiar to me,' Sinclair Kershaw (the last three brought in during the mid eight- ing artists. Steely Dan were all set to appear but were
adds, 'but there were others that I hadn't seen for 25 ies in an effort to update the show's appeal, a time when turned away at the gates of TV Centre due to a one -

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STUDIO SOUND FPTEMBER 2001 61

 POSTPRODUCTION
explains. 'I think the live mixes are impressive because
b
I
3at AetNr-i-Jtr(ZSACZ1 there is an element of warts and all, so 1 wanted to pre-
PLAY
OL V4tz:»1
serve that. It's also a testament to the engineers who
worked on the show and their BBC training. In 1971,
CD -A
PLAY FROM YEAR
Edgar Winter came on to play `Frankenstein' and it is
t"ç. t-\2 unlikely that anyone on the team was familiar with the INTERNATIONAL DISTRIBUTORS
PLAY RANDOM band or the track; but it was mixed well by a guy who AUSTRALIA. AUDIO PRODUCTS AUSTRALIA PTY LID
Tel. 617 5502 8229 Fax 617 5502 8229
the previous day was probably working on Blue Peter Contact Michael Guest
AUSTRIA: STUDER AUSTRIA GMBH
(the BBC's long -running live children's programme].' Tel 01 865 1676 Fax 01 865 167699
In situations where a sound -track is in mono, great Contact' Reinhold Neal
BELGIUM: APEX
efforts have been made to reconstruct it in 5.1. This Tel: 089 30 63 13 Fax 089 30 60 16

was considered for Whistle Test but the idea was soon Contact: Rik Hoere
BRAZIL: VISOM BRASIL
Countdown to The Old Grey Whistle Test's rejected. 'We were talking about doing that at the first Tel 021 493 7312 Fax: 021 493 9590
Contact: Carlos De Andrade
30th anniversary celebrations meeting,' says Sarah Layish-Melamed, producer at CANADA: HHB COMMUNICATIONS CANADA LTD
Abbey Road Interactive, where the DVD was authored. Tel: 416 867 9000 Fax: 416 867 1080
Contact: Dave Dysart
day strike. Consequently Whistle Test has no record of 'But we thought that the purists might not appreciate the CZECH REPUBLIC: AUDIOPOLIS
Fagen and Becker. efforts to put the sound in 5.1 and then decided that Tel: 02 3332 2132 Fax: 02 3332 4172
Contact Jan Adam
A central part of the DVD specification is Dolby there was no point.' DENMARK: INTERSTAGE A/S
Digital or DTS 5.1 multichannel sound. Lovers of dig- Not all the performances hosted by Whistle Test in Tel: 39 46 0000 Fax: 39 46 0040
Contact: Finn Juul
ital surround may be sorely disappointed by the Whistle the early years were recorded but those that were, were FINLAND: HEDCOM
Test DVD as it is mono-but this is in keeping with laid to either 2 -inch Quad or 1 -inch video tape. These
Tel: 358 9 6828 4600 Fax: 358 9 6828 4674
Contact: Jarmo Roivas
Sinclair's intention to be as faithful to the original pro- have been archived on either Betacam or D3, thereby FRANCE: MILLE ET UN SONS
Tel: 01 46 67 0210 Fax: 01 47 89 8171
grammes as possible. `It was all mixed live to air,' Sinclair ensuring a good master. 'The quality of 2 -inch was good Contact: Richard Broomfield
GERMANY:FORTUNE
Tel: 0711 39 69 380 Fax: 0711 39 69 385

Artist and song track listing Contact: Stefan Mayer

GREECE: KEM ELECTRONICS
Tel: 01 647 8514 Fax: 01 647 6384

Alice Cooper `Under My Wheels' 1971 Contact: Thimios Kolikotsis

HOLLAND: TM AUDIO HOLLAND BV
Elton John 'Tiny Dancer' 1971 Tel: 030 241 4070 Fax: 030 241 0002
Contact: Peter de Fouw
Curtis Mayfield 'We Gotta Have Peace' 1972 HONG KONG: DIGITAL MEDIA TECHNOLOGY
Randy Newman `Political Science' 1972 Tel: 2 721 0343 Fax: 2 366 6883
Contact: Wilson Choi
Kris Kristofferson & Rita Coolidge 'Help me make it through the Night' 1972 HUNGARY: HELS CO LTD
Bill Withers `Ain't No Sunshine' 1972 Tel: 01 335 0859 Fax: 01 346 0267
Contact: Zoltan Szeles
Focus `Sylvia/Hocus Pocus' 1972 IRELAND: BIG BEAR SOUND LTD
Rory Gallagher `Hands Off' 1973
Tel: 01 662 3411 Fax: 01 668 5253
Contact: Julian Douglas
John Martyn 'May You Never' 1973 ISRAEL: BAND PRO FILM VIDEO INC
Tel: 03 673 1891 Fax: 03 673 1894
The Wailers 'Stir It Up' 1973 Contact: Ofer Menashe
Roxy Music 'Do The Strand' 1973 ITALY: AUDIO EQUIPMENT SRL
Tel: 039 212 221 Fax: 039 214 0011
The Edgar Winter Group `Frankenstein' 1973 Contact: Marco Porro

New York Dolls 'Jet Boy' 1973 MALDIVES: ISLAND ACOUSTIC PTE LTD
Tel: 960 31 0032 Fax: 960 31 8264
Tim Buckley `Dolphins' 1974 Contact: Mohamed Habib
MEXICO: PRO AUDIO DIGITAL
Captain Beefheart 'Upon the My O My' 1974 Tel: 525 531 58 58 Fax: 525 203 00 18

Little Feat 'Rock 'n' Roll Doctor' 1975 Contact: Ingacio Rodriquez Bach
NEW ZEALAND: SOUND TECHNIQUES
Dr Feelgood `Roxette' 1975 Tel: 09 846 3349 Fax: 09 846 3347
Contact: Stephen Buckland
John Lennon `Stand By Me' 1975 NORWAY: LYDROMMET AS
The Sensational Alex Harvey Band 'Give My Compliments to the Chef' 1975 Tel: 47 22 09 1610 Fax: 47 22 09 1611
Contact: Christian Wille
Lynyrd Skynyrd `Freebird' 1975 POLAND: DAVE S.C.
Emmylou Harris `Amarillo' 1976 Tel: 22 826 4912 Fax: 22 826 4912
Contact: Bogdan Wojciechowskl
Bonnie Raitt 'Too Long at the Fair' 1976 PORTUGAL: ELECTROSOUND PORTUGESA
Tel: 01 417 0004 Fax: 01 418 8093
Tom Waits 'Tom Traubert's Blues' 1977 Contact: Carlos Cunha
Otway & Barrett `Really Free' 1977 RUSSIA: A&T TRADE INC
Tel: 295 796 9262 Fax: 095 796 9264
Talking Heads `Psycho Killer' 1978 Contact: Alexei Gorsky
XTC `Statue of Liberty' 1978 SINGAPORE/ASIA: SENNHEISER ELECTRONIC ASIA PTE LTD
Tel: 273 5202 Fax: 273 5038
Blondie (I'm Always Touched By Your) Presence Dear' 1978 Contact: Rick Shen
SOUTH AFRICA: E.M.S.
Val Doonican & Charlie McCoy `Stone Fox Chase' 1978 Tel: 011 482 4470 Fax: 011 726 2552
Meat Loaf `Paradise by the Dashboard Light' 1978 Contact: Mike Shepstone
SPAIN: LEXON
Tom Petty & The Heartbreakers `American Girl' 1978 Tel: 34 93 602 1400 Fax: 34 93 602 1402
Contact: Angela Costa
The Police `Can't Stand Losing You' 1978 SWEDEN: POL TEKNIK AB
Bruce Springsteen `Rosalita' 1979 Tel: 08 449 4440 Fax: 08 88 4533
Contact: Jarmo Masko
Iggy Pop `I'm Bored' 1979 SWITZERLAND: GOTHAM AUDIO SWITZERLAND
Tubeway Army 'Are Friends' Electric?' 1979 Tel: 01 840 0144 Fax: 01 843 1050
Contact: Franz Ammann
The Specials 'A Message to You Rudy' 1979 SYRIA: HAMZEH & PARTNERS CO
The Damned `Smash It Up/I Just Can't Be Happy Today' 1979 Tel: 11 333 3753 Fax: 11
Contact: Khaled Hamzeh
3731573

The Ramones 'Rock 'n' Roll High School' 1980 TAIWAN: DMT TAIWAN LTD
Tel: 02 516 4318 Fax: 02 515 9881
PIL `Careering' 1980 Contact: Honton Sze
The Teardrop Explodes `Reward' 1980 TURKEY: BL MUZIK
Tel: 0216 4111918 Fax: 0216 4113243
U2 `I Will Follow' 1981 Contact: Saris Buyuk
Nine Below Zero `Stone Fox Chase' 1981 USA: HHB COMMUNICATIONS USA INC
Tel: 310 319 1111 Fax: 310 319 1311
Japan `Ghosts' 1982 Contact: David Beesley

Robert Wyatt `Shipbuilding' 1983

REM 'Moon River'/'Pretty Persuasion' 1984
Simply Red `Holding Back The Years' 1985 M b
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www.hhb.co.uk FIRST WE LISTEN

POSTPRODUCTION
but there were accidents in storage and some of the smoothing of the joints was done during a one -day ses-
tapes had creases in them.' This was the case with one sion at 2nd Sense Studios by Andy Hewitt, an ex -BBC
particularly well remembered clip, a very young Talking sound supervisor who works regularly on another
Heads performing `Psycho Killer'. Sinclair was prepared archive music show for the Corporation, TOTP2.
to go with the second track they performed, `Don't All the material for the DVD arrived at 2nd Sense on
Trust the Government', but the preferred song was res- DigiBeta. Sections that required attention were lifted
cued through the DVNR (digital video noise reduction) off and loaded into an Akai DD1500. After the repair
system, which is used to clean up and restore damaged was completed, the section was laid straight back to
video tape. the master DigiBeta. Andy Hewitt explains that this
The minimal audio postproduction done for the was the only way to attend to five hours of material in
DVD was also largely a case of correcting any notice- a single day's booking. `Jill's main concern was that the
able faults or smoothing over inconsistencies. 'Some sound should be authentic to how it was at the time,'
level correction was needed,' says Sinclair, `especially says Hewitt. `It could have been in 5.1 but Jill wanted
when you've got someone as loud and ebullient as Andy a valid piece of documentary history that just happened
Kershaw before cutting to "Whispering" Bob Harris, to be on new technology.'
who then quietly introduces Talking Heads.' This Interactive screen from the DVD
The commentary was also edited at 2nd Sense. 'As
it was recorded by the producer onto DAT in a number

.-
of differing locations, we were matching and compiling

- , - -:-+
r'""'
s
#
--_ ,;..
j^,.
the recordings and making sure that the stóries were
clearly told,' Hewitt explains. The finished commen-
tary was delivered back to Abbey Road as a complete
timecoded DAT. The location material of the presen-

L4.'.
ters also had to be sweetened, as it had been recorded
,,,, - .-- r
4

. i. using radio mics. The recordings were matched through

`}"...+ ^,. +^
+..+! dt.,

.-
.

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t. ¡- the studio's Yamaha 02R console and an ancillary
._
DVMax unit.
"- Hewitt describes the methodology behind the DVD
q .

as fairly traditional. Sinclair assembled and edited the

i
material on tape, creating what is known as a straight, -
- lay. This was done at TV Centre in west London, largely
so that Sinclair had access to the BBC library if she
.- ,....- . needed any additional material. Once this was done,
."

s `

,
...+ '

. r..rnA
a..r' ' ^''::"
meetings were held at Abbey Road with Sarah Layish-
Melamed, designer Mark Taplin and DVD author Kathy
Evans. Taplin took the seventies rock 'n' roll look of
the programme to design the menus, decorating them

CELEBRATING with gaffer tape and wires. Once it was realised that
all the material could not be accommodated on a sin-

A CLASSIC
gle DVD, it was split over two discs (a DVD 9 and a
DVD 5), arranged chronologically, 1971-77 on Disc 1
and 1978-86 on Disc 2.
As well as this straight time -line approach, viewers
When we introduced the innovative 14ti ear1S ly a
can access tracks on a random basis or from the inter-
decade ago, we had achieved our design and engineering
goals of making an affordable, superlative -sounding studio views or the presenter sections. The star -kicker logo is
condenser microphone that would rival the best. Since then, used as the `white rabbit' key, which links from one
your enthusiastic response has established the :V4o33 as piece of footage to another. There is also a text section
a venerable, pro -audio "Classic." giving background on the artists as there are some bands
that many viewers will not be familiar with.
Many of the recording industry's foremost artists,
All the material was encoded: the video as MPEG2
producers and engineers rely on Audio-
Technica's AI4033 for their most critical and, even though it is mono, the audio in Dolby Digital,
recording work. As legendary producer Phil making for a compressed sound -track. This was
Ramone expressed (nearly ten years ago): authored on a Spruce system running on Windows NT.
"The 4033 is incredible. Once put it up, can
I I Kathy Evans says that each authoring system works
never really take it down."
well for different elements; the Spruce is regarded as
To commemorate a decade of brilliant particularly good for subtitles.
sessions, we now give you our AI44)33/Sß Special The various features and different ways of access-
Edition - featuring the same clear, amazing sound of ing the material on this DVD made for a complex
the original. Inside, where it really counts, we haven't authoring process; Sinclair finished the straight -lay in
changed a thing, We've also included a new, improved studio March and the DVD itself was finished by
shock mount and a handsome wooden case.
mid-July. With five hours of video, two hours of audio
used the AI4o33 in a session, isn't it about time
If you haven't
commentary and five hours of subtitles, Sinclair thought
to hear what this mic will do for your best work? Celebrate a that it would take around six months to compile and is
Classic: The A14033/SI.. still surprised at how quickly it came together.
After wading through 200 video cassettes, it became
clear to ill Sinclair that there is much more material
that could be realised; but future compilations depend
audio-technica SPE,
Me Complete Microphone Solution
on the success of this anniversary DVD. 'Once the BBC
understands the value of this archive, there could be
others,' she says. Sinclair is also certain that this DVD
Technica House, Royal London Industrial Estate, Old Lane, Leeds LS11 8AG PLASH STAND H16
will act as an Old Grey Whistle Test for the format
Tel: +44 (0)113 277 1441 Fax: +44 (0)1 13 270 4836
1

email [email protected] www.audio-technica.co.uk

I IBC HALL 9, STAND 500
itself: 'This could be a turning point for a generation, get-
ting them into the technology.'

STUDIO SOUND SEPTEMBER 2001

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 TECHNOLOGY

MODERN MONITORING
Taking advantage of the measurements accumulated by Genelec in the process of setting up
its monitoring systems, Christopher Anet and Aki Makivirta have correlated the
performance of professional control rooms around the world. Here are their findings
HEN SPEAKERS ARE PUT in a room all were all factory calibrated to have precisely the same
sorts of acoustical interactions occur. The response. The only variable in our measurements is the
criteria that define the performance and monitoring room.
quality of a speaker are completely dif- Each impulse response contains the natural propa-
ferent from those defining the acoustical behaviour of a gation delay before the impulse begins. This recorded
room and both must be taken into consideration when section is an indication of the quality of the measurement
setting up speakers. After all, you cannot stop listening (signal-to-noise ratio) and the measurement distance.
to the room effect with its reverberation time and diffuse The listening distance analysis only took into account
reflections, or ignore any large dip in the speaker-room monitors having their acoustical axis directed toward the
response at a specific frequency. The interaction of the listening position, and impulse response measurements
speakers and the room are responsible for the overall recorded in a single position, without moving the micro-
monitoring condition and ultimately determine the qual- phone (250 measurements fulfilled this criteria). The
ity of the recording process. distances estimated in this manner correspond to the
That is why a vital part of Genelec's customer ser- precise actual listening distances.
vice is to provide on -site measurements and worldwide The analysis of the reverberation time RT60 in small
calibration of our large active monitor systems and highly damped rooms is difficult because of sparse room Christopher Anet
over the years Genelec has built a large database from modes and sometimes a systematic decay as in large
this service. To get a detailed picture of current control rooms. Having investigated various methods, a nonlin- An interesting aspect of the monitoring conditions is
room trends and quality, we analysed measurements ear fitting technique by Karjalainen et al was used in the frequency response at the listening position. The
taken between 1997 and 2000 in 30 different countries. both full -band and octave -band. High RT60 is not desir- 'room operational response curve' is defined as the
Focusing on 3 -way systems we took a sample of 164 able in control rooms. Control rooms with very short '/s -octave smoothed magnitude response. The German
control rooms representing large recording studios, RT60 were introduced in the sixties, but most people Surround Sound Forum has proposed an acceptance
postproduction houses, broadcast studios, private find them uncomfortable and tiring when working long window centred at the mean value calculated over the fre-
music composing studios and mobiles. All data analysed hours. With multichannel control rooms, the question quency range 50Hz-16kHz. If the amplitude spread of
were speaker -room responses, after the speakers had of adequate RT60 opens again with direct energy and the distribution is small and stays within this window, it
been calibrated, and the best possible results obtained. localisation cues coming from all directions. indicates that a control room is well designed and that
As monitoring quality is becoming more and monitor integration is excellent whatever the
more critical, when multichannel materials 8 room type, volume and application. As the spread
become widely available and the number of chan- increases, the quality of the monitoring condi-
nels increase, this study reveals that room tions worsens.
acoustics still need improvement particularly in The level aligned magnitude values from all
small rooms. responses were collected. The median, 50% and
Leading organisations have drawn plenty of 90% percentiles of this distribution were then
excellent standards and recommendations on extracted to demonstrate how frequently rooms
professional audio reproduction, but in reality comply with the acceptance window.
compromises often have to be made. The ITU, Both comb filtering effects produced by
EBU, ISO, AES Technical Committee, German boundary reflections and standing wave pressure
Surround Sound Forum and Japanese HDTV minima are displayed as notches in the magni -
Surround Forum have all written extensively on 0 5 tude response. These notches can seriously
0 1 2 3 4
the quality of monitoring conditions. Some of Distance to speaker [m] deteriorate the monitoring conditions. A lot of
the important issues relating to our study include essential music information is placed below
Fig.1: The distribution of listening distances, all speakers
the magnitude response and its accepted deviation 200Hz, and the loss of a specific frequency
including surround (N = 250)
at the listening position; the dynamic range of region there will destroy the musical tonal bal-
the monitoring system, as well as the maximum 8L ance. The notches were analysed for frequencies
room background noise level, the sound isola- between 40Hz and 1kHz (the search frequency
tion between rooms and so on; the idealised band). To identify a notch, a detection level was
speaker layout and positioning for stereo and increased until 10 deepest minimums were
multichannel configuration; the overall tolerance found. The centre frequency and maximum
for the accepted reverberation time across the depth of each notch was recorded. Ideally we
spectrum; and the specifications on SPL and fre- should not have any notches. This is the case in
quency response. many well-designed rooms. However, others
All rooms were measured with a MLSSA display serious notches at low frequencies.
measurement system that uses an MLS sequence Many rooms have non -symmetrical layout,
(16,383 samples, 217ms long, 75kHz sampling which leads to a different response from left and
rate). An impulse response was stored for each right speakers at the listening position. Hence,
0.2 0.4 0.6 0.8
speaker, and the results presented here were RT [s] the overall imaging and placement of sound
RI
extracted from these impulse responses. The sources is compromised and difficult to opti-
measurement procedure or apparatus did not Fig.2: Distribution of full -bandwidth reverberation time mise. The stereo imaging can almost disappear
change, and the monitor loudspeakers installed RT (N = 372) or become unfocused. To assess the similarity

66 STUDIO SOUND SEPTEMBER 2001

 TECHNOLOGY
Channel Stereo LC/R 5 -channels tors range from 1.2m-4.2m. The average listening dis- relative to the 50Hz-16kHz mean of the median of dis-
R=79 R=15 R=8 tance is 2.49m (Fig.1). tributions, are also shown here.
A typical listening distance of a 3 -way main monitor The 50% variation limit is within the proposed
L 2.36 2.66 2.68 in a stereo configuration is 1.5m-2.5m. This is shorter (SSF) limits for frequencies above 130Hz, and the
C 2.66 2.71 than the listening distance for LCR triplets and 90% variations limit for frequencies above 400Hz.
5 -channel surround systems that are about 0.3m longer. This was expected, since at low frequencies a speak-
R 2.39 2.66 2.72
The various standards for stereo and multichannel lis- er frequency response is dominated by the modal
SL 2.70 tening recommend distances is between 2m -3.4m for some, response of the room. Also, as quite a few rooms
SR 2.69 and 3m-6m for others. Our measurements show that the lack good acoustic design at low frequencies, the
practical listening distances are shorter than recommended. spread of the 90% variation limit increases signifi-
Table 1. Mean listening distances of individual cantly below 300Hz. The presence of low-frequency
channels for LR stereo rooms, LCR triplet rooms Reverberation Time notches is displayed as a larger spread of the low
and 5 -channel surround rooms. Distances are in Using the Nonlinear Fitting technique, the mean frequency variation.
metres, and R is the number of rooms reverberation time RT60 is 380ms from 200Hz-4kHz
(Fig.2). -+r- 90% bound
of the magnitude responses of monitors in a room, we As the frequency increases, the RT60 becomes more 0.9 -,- 50% bound
median
compared them, pair -wise, in three groups: the left- controlled in all rooms measured (164 rooms).
right (LR) stereo pairs in a room; the left -centre -right Most rooms show reverberation times that conform
(LCR) triplets compared to the centre channel (front to present standards and recommendations for high - o.r
LCR triplets are found in multichannel rooms using quality monitoring rooms, but there are large differences
typically 2 -way systems as surround speakers. As this related to the use of absorption or diffusion to control 8/5-
study concentrates on 3 -way systems, we did not include the reverberant decay field. Certain rooms show extremely
these surround speakers); and in 5 -channel systems, long reverberation time at low frequencies (larger than
we compared the front monitors (LCR triplets) and the 1s), far beyond acceptable values for a professional con- 0.3.
surround-left/surround-right (SL/SR) pairs separately trol room environment. 0.2-
for clarity of results.
0.1-
Magnitude Response (Fig.3)
Signal -to -Noise Ratio and The overall listening position frequency balance for o
10'
Listening Distance (Table 1) loudspeakers aimed at the listening position (250 Frequency [Hz]
The dynamic range in a measurement was typically speakers) is represented by '/a -octave smoothed fre-
60dB (varying from less than 40dB to over 70dB). This quency response deviations (Fig.4). To obtain these Fig.3: 90% and 50% bound limits and the median
measured dynamic range contains the noise contributions distributions, each frequency response is normalised for reverberation time RT60 in octave bands
of both the measurement apparatus (insignificant here) to the mean level between 50Hz and 16kHz as pro- (N = 372). German Surround Sound Forum limit
and the room. posed by the German Surround Sound Forum (SSF). shown (dotted line) centred at the median of
The listening distances for the studied 3 -way moni- The SSF proposed room operational curve limits, set mean RT60 levels

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STUDIO SOUND SEPTEMBER 2001 67

 TECHNOLOGY

- 90% varlet
50% varlet
median
IT T
Results of magnitude increasingly important role in forming the sound stage.
However, in typical stereo installations the layout is
fairly symmetrical for the left and right speakers, where-
response match as the centre speaker usually has differing radiating
To examine the magnitude response matching after condition from the other two front speakers.
calibration, we studied 105 rooms, out of the 164 rooms,
that had speakers with acoustical axis aimed at the 5 -Channel Surround Setups (Figs. 9-10)
engineer's position. The pair -wise comparison included These use 3 -way speakers for all five audio channels,
243 speakers with eight 5 -channel surround setups so control rooms are fairly large. An LCR triplet in the
(40 speakers), 15 LCR triplets (45 speakers) and 79 LR 5 -channel reproduction system was calibrated to have
stereo pairs (158 speakers). a proper subjective balance during acoustical calibration.
5- This was repeated on the paired SL/SR speakers. The
LR Pairs front channel match was studied separately and not
The level difference of LR pairs in 2 -channel rooms compared with the surround channels.
10 (Fig.7) shows a very good agreement, which confirms
Frequency 1H11
that most stereo rooms have a symmetrical layout, at Loudspeaker Geometry
Fig.4: 1/3 -octave smoothed sound pressure level least above 1kHz. Note that if there was a very strong In many stereo control rooms, monitors are not focused
measured at the listening position (N = 250) for and identical reflection interfering with the direct sound on the listening position, so the engineer is not in the best
speakers aimed at the listening position. from both left and right speakers, the pair matching place to monitor his work. Most standards recommend
50Hz-16kHz mean level normalised to OdB. Also would display a close to 0dB level difference. In other that the speaker axis should be orientated toward the lis-
shown are German Surround Sound Forum words, the figure below does not represent the actual fre- tening position. Some designers advise directing the
proposed limits (dotted line) quency response at listening position (for that see acoustical axis behind the listening position, forcing
magnitude response). monitoring with off -axis response. Even with modern
At higher frequencies, the variations are very well The speakers used in this study have carefully con- constant directivity design approaches, monitor loud-
behaved, and within the proposed limits. However, trolled radiation characteristics at mid and high speakers are typically optimised for on -axis response.
only 5% of rooms show straight response up to 20kHz. frequencies, minimising room effects, and resulting in For surround monitoring there is a significant dis-
The responses generally suffer loss of level above improved in situ pair match. At low frequencies, where 20C'
16kHz, because most control rooms have excessive the room modal response dominates, the spread of the
damping at high frequencies. This also demonstrates distribution increases.
that it is important to precisely aim speakers toward the 115
In addition, we found 50% of systems show a mis-
listening position. match of more than 2dB below 1kHz, which is likely to
affect auditory imaging, localisation ability and proba- º10
Frequency Response Notches below 1kHz bly reduce the sharpness of stereo imaging. Once again,
To demonstrate low -frequency response notches, we lower frequency modal responses are often poorly con- Z 5

studied measurements taken at the listening positions for trolled in studios, and that will lead to mismatch in the
those speakers having their acoustical axis directed above LR pair analysis. Large object such as consoles, 70 -60 -50 -40 -30 -20 -10 C
toward this listening position. tables, large equipment racks and so on, will start to Notch gain ]dB]
Some reflections can be very strong, about the same interfere with frequencies below 1kHz, where the mis- Fig.5: Notch depth for the 10 deepest notches
level as the audio signal itself, hence the median notch match becomes larger. within a frequency band from 40Hz-1kHz. Bin size
depth is 14.2dB, but 30dB notches are not uncommon is 1dB. Median notch depth is 14.2dB (N = 250)
(Fig.5). This is significant and the energy that is totally LCR Triplets
12
missing will seriously alter the reproduction quality of LCR triplets are found as front speakers in multichannel
the monitoring. reproduction rooms using typically 2 -way systems as
In our material the most typical notch frequency is surround speakers. (Fig.8)
100Hz (Fig.6). As this frequency is quite important in the The 90% variation for the LCR triplets increases
music spectrum, it would be important that room design- below 400Hz and above 10kHz. The 50% variation is
ers implement in-depth knowledge of the interaction within a ±3dB window for frequencies above 1kHz
between speakers and room in that frequency region. (except for frequencies above 15kHz), and in a 6dB
Please note that our data contains information about window below that frequency (shown here is the LC
the 10 deepest notches in each impulse response mea- pair match only).
surement, and not all notches. Some, but not all, 400 600 800 100c
Compared to stereo LR pair match, LCR triplets Notch frequency tHz]
notches up to -6dB level are included. Some rooms produce a larger variation because the comparison is
show deeper notches, and the shallower notches come made with the centre speaker. This is valid because in Fig.6: Notch frequency distribution, bin size is
from better rooms. multichannel systems the centre speaker is receiving an 20Hz (N = 250)

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68 STUDIO SOUND SEPTEMBER 2001

 THE WHOLE PICTURE
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 TECHNOLOGY

loe
- median
50% variation
90% variation
wards. Most large rooms have monitors placed
above the listening height, which brings the acousti-
cal axis 0.5-1m above the listening level. This
ing speaker placement, although it is recognised that
large speakers may have to be placed high. The current
recommendation of 1.2m height for the acoustical axis
reduces low order floor reflections and is particularly can lead to floor reflection notches in the 80Hz-120Hz
5-
relevant to flush -mounted speakers with a large frequency region, causing deterioration in the bass fre-
front baffle. quency response.
..,._ .. As for the surround speaker height, some stan- The result of mean RT60 of 380ms is interesting.
dards recommend the same height and vertical tilt However, that single value does not reveal the
for surround and front speakers, while others rec- increase in reverberation time toward low frequen-
ommend only surround speakers to be placed higher. cies caused by insufficient bass trapping and
In our survey surround speakers are frequently improper room geometry. Also, some `professional'
-10 placed higher than front speakers. Very few rooms rooms with almost no acoustic treatment exhibited
have five identical speakers in a surround setup. near constant reverberation time over the whole fre-
10` 10' Surround speakers are typically not of the same quency band. Even if recommendations allow for
Frequency [Hz] type as front speakers. larger RT60 below 200Hz, too many control rooms
Fig.7: 1/3 -octave smoothed sound pressure When standards mention room size, the exact loca- obtain too high RT60 in that region. This indicates
level difference of LR pair in LR stereo tion of the speakers is not defined, although a
systems (N = 79)
crepancy between the recommendations for speaker
minimum distance from neighbouring walls is rec-
ommended and the importance of symmetric
placement emphasised. The recommendation for loe
- median
50% variatior
90% variatior
placement and what actually happens. speakers to be placed at least 1m away from walls
First, the widely accepted configuration for the 3/2 - appears too optimistic. In that case, if the wall behind
surround format places the left and right speakers at the speaker has insufficient absorption, a '/4 -wave-
±30° and the surround speakers at ±100°-120° relative length notch at 86Hz would be generated by the
to the centre speaker. Though the three front speakers reflection off it. This would cause a severe irregu-
are almost always placed according to the suggested larity in the free-standing system bass response. `:.r."w ...
angles, the surround speakers are often placed beyond Increasing the distance would bring down the notch
the 120° from the centre. frequency. Together with the recommendation for
Second, all speakers are supposed to be on the the operational curve to extend down to 50Hz, a -toe
same horizontal plane at the engineer's ear height minimum distance would be 2m. This proves the
(nominally 1.2m), or at maximum 10° inclined above value of flush mounting even for small 2 -way mon-
this level at an equal distance of 2-4m. Some rec- itor systems as providing sufficient absorption to 10` 103 10'
ommendations allow the surround speakers to be remove a wall reflection at low frequencies is difficult Frequency [Hz]
inclined up to 15°. The acoustical axis of the 3 -way and expensive. Fig.8: 1/3 -octave smoothed sound pressure
speakers is rarely at the recommended 1.2m height, Speaker size or front baffle size is also not covered level difference of LC pair in LCR systems
but typically elevated up to 15° and pointing down- in the recommendations about the parameters affect- (N = 15)

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IQ STUDIO SOUND SEPTEMBER 2001

 TECHNOLOGY

-
lam
that there is still a great need to improve the quali- median
ty of monitoring room design. 50% variation
Most of the notches found in our study are pro- 90% variation

duced by low order reflections. Room modal response

begins to domínate below 200Hz where the wave-
length becomes large compared to the size of objects
in the room.
CABLES
The reasons for notches in the frequency response
are typically: first-order floor reflections, often accen- IBC Amsterdam PLASA show London
tuated because of the placement of woofers relative to Stand 9.523 Stand R64
the floor; interaction of the console with the first order Sep 14-18 Sep 09-12
floor reflection; incorrect front wall design (for exam-
ple discontinuities in the front wall, such as
non -flushed windows, large TV screens or cavities); Video digital (SDI)
insufficient front wall bass trapping in soft front wall 103 10°
construction, leading to reflections from the hard wall
Frequency [Hz) +
behind the speaker (this creates an LF notch at the Fig.9: 1/3 -octave smoothed sound pressure Audio digital
frequency corresponding to the 1/4 -wavelength dis- level difference of LC pair in 5 -channel
tance from the speaker's front baffle to the hard front surround systems
wall behind it. This distance can be larger than the Control
depth of the speaker cabinet); with free-standing mon- speaker in the middle -axis of the room. Many instal- +
itors, there is reflection as above from the (front) wall lations have large computer screens, racks, and so Power
behind the monitor; sustained standing waves (the on, placed centrally near the engineer's position. These
notching can be severe and lead to irregularities in
the response at the mix position).
objects create strong reflections causing comb filter-
ing at mid and high frequencies. United: by KLOTZ
Most of these issues could be solved with a better In the case of LCR triplets (with 2 -way speakers
understanding of these phenomena and relevant solutions as surround) we typically have small 5.1 rooms with
applied to the control room design. short listening distances and compromised layout digital video + digital audio + power
The magnitude response of an individual monitor and equipment positioning. The compromise of
CV1/A2/P15
loudspeaker should be flat to within (2dB in anechoic the space and volume is clearly visible in the pair -
conditions using 1/3 -octave smoothing. All monitors match results.
included in this study fulfill this requirement. The directivity control of the waveguide struc- digital video + control + power
In -situ frequency response measured at the engi- tures incorporated in the 3 -way speakers is apparent
neer's position using'/3-octave smoothing should be in measurements of the 5 -channel setups. The pair CV1/58/P15

flat within ±3dB from 50Hz to 16kHz with some match of the LC and RC pairs is very good above
level reduction allowed at high frequencies (AES, 500Hz demonstrating minimal low order reflections 5x digital video + 3x audio
EBU). The 50% distribution limits in stereo rooms at the engineer's position.
remain consistently within ±3dB bounds also at low New approaches to multichannel monitoring room CV5/A3
frequencies. This is clearly the demonstration of a design are needed to produce environments capable
fairly good speaker -room interaction. of accurate reproduction. Better control of directiv-
In multichannel rooms, the 50% distribution lim- ity in the loudspeaker may also decrease problems 5x digital video + 3x audio + power
its indicate a good frequency response control above in poorly designed environments, but will never be a
CV5/A3/P
1kHz but an increasing distribution below this fre- substitute for a carefully designed room. Flush mount-
quency. There are still frequent failures in low ing proves once again a valuable method of decreasing
frequency design of monitoring spaces and the man- low -frequency problems due to reflections off the 8x digital video + 4x audio + power
agement of low order (early) reflections. In nearest walls.
multichannel rooms the number of omni-directional The mismatch in tonal balance and spectrum CV8/A4/S2

low frequency radiators seriously complicate the between the various speakers in multichannel rooms
room design at low frequency. The constraints on seems an increasingly important issue. Each engineer 8x digital video + 4x audio +
speaker placement and angles severely restrict the and room designer should pay the utmost attention to
design of room geometry. this so that the final material translates well outside the
production rooms. CV8/A4C8P
Most large modern control rooms can achieve ade-
quate low -frequency damping with properly designed
acoustic treatment providing very high -quality mon-
itoring spaces. Small control rooms with free-standing
monitor systems, compromised acoustical treatment
10
- median
50% variation
90% variatior CD Info Pool
order your
and strong modal coloration do exhibit large variations free copy
at low frequencies. now!
According to recommendations the magnitude
response difference between front loudspeakers in ane-
choic conditions should be less than 0.5dB within
250Hz-2kHz [AES]. Monitor speakers included in the
present study fulfill this requirement.
The pair match of the stereo pairs and SL/SR pairs
Klotz Audio Interface Systems GmbH
is typically better than that of LCR triplets. One rea-
D-85540 Haar / München
son is that the centre channel is exposed to different Hans-Stiessberger-Str. 2a
radiating conditions than the left and right speakers, Bavaria/GERMANY
and the match is calculated by comparing the left 10 103 10'
Frequency [Hz)
and light speakers to the centre speaker. The left and +49-[0]89-461000-30 Tel
right speakers have very similar and symmetrical Fig.10: '/3 -octave smoothed sound pressure +49-[0]89-461000-51 Fax
'radiation conditions in modern designs. It is difficult level difference of surround LR pair in [email protected] Email
http://www.klotz-ais.corn Web'
to design similar radiating conditions for the centre 5 -channel surround systems

71
STUDIO SOUND SEPTEMBER 2001
 VIDEO FOCUS

A BRIEF HISTORY OF VIDEO EDITING

Video editing has come a long way since its exotic and expensive
origins in the late fifties. Rob James explores the archive
WE ARE CONSTANTLY bombarded by emergence of affordable computers, editing controllers Broadcast on-line machines have never been cheap
sophisticated moving images through rapidly advanced. Insert editing meant shots could be and even the current generation requires considerable
film, TV, computer games and the recorded out of programme order and the gaps filled maintenance, regular head replacement and so on.
Internet. So ubiquitous and familiar in later. An EDL (edit decision list) could be generat- On-line tape editing is an intensive business. Hourly
have they become, it's sometimes difficult to remem- ed and stored for future use. However, one major rates are high which creates budgetary pressure on
ber just how young video editing and compositing is. practical limitation remained, the only way to insert or schedules. While rapid on-line tape or nonlinear edit-
Magnetically recording the necessary bandwidth remove a sequence was to copy the tape from the insert ing is still fine for some applications-news, sport and
defeated engineers for many point onwards or events-a more considered and time-consuming
years after television broad- redo the entire edit. approach is preferable.
casting began. Instead, Copying is undesir- As sub -broadcast helical -scan machines became
'tele-recording', a rather more able for the same much cheaper, off-line editing systems were devel-
sophisticated version of point- reasons as analogue oped. These mimicked the on-line process but the
ing a film camera at a TV audio-degradation. product was an EDL. This was taken to an on-line
screen, was pressed into ser- Digital recording suite and the original material conformed to match
vice for recording and editing formats ameliorated the off-line edit. Some bright spark had the idea of
pictures. In broadcast, tele - the degradation but, applying this process to film editing, saving the cost of
recording persisted even into by the nineties, the work prints. However, linear tape off-line always
the eighties. The resulting film writing was on the seemed cumbersome to film editors used to the
was edited in the convention- wall for purely tape - random-access nature of film.
al manner and a telecine based editing. Ten years or so ago the first, astronomically expen-
machine used for transmission. Everything sive, nonlinear off-line and hybrid on-line editing
The process is still in use but, described so far can systems appeared. At last there was a way of editing
ironically, where film is the dis- be labelled `on-line', and re-editing video or film without copying or phys-
tribution medium. Many making editing deci- ically cutting material. Nonlinear editing kit has taken
effects in current movies are sions on broadcast years to become reliable, let alone affordable.
produced using computers and quality recordings. But, and it is a big but, these systems leverage devel-
location acquisition using
HDTV (high -definition
television) is already being
t« t« ewp.
n3O
,.aa. k',,d tlw
` Ix{ . ka1J3 !4Lual tee
if w n or v+ n «j f - }- *'
w
opments in mainstream
computing. Moore's Law
states, in effect, computers
employed-most notably by double in power every 18
George Lucas for the latest Star Wars opus. months and, so far, this
UNIMILINF
Videotape recording arrived in 1957. Ray Dolby- seems to be holding good.
a name now inextricably linked with audio-was one The practical result is on-
of the Ampex development team behind the first prac- line systems delivering
tical videotape tecorder. This behemoth used 2 -inch
tape and a recording technique known as Quadruplex. 7omman Mims'
r broadcast quality and even
HDTV pictures now cost
The machines were enormous, noisy and required a rim less than a rudimentary off-
high level of engineering support for maintenance, line 10 years ago. Hard -disk
alignment and operation. Editing could only be per- transmission systems and
formed with a razor blade and sticky tape. In order to .#
desktop video are a reality.
cut the tape 'on the frame' (to avoid picture break- twee All Tape is rapidly being rele-
up or worse), the magnetic pattern was `developed' M... gated to an acquisition and
using fine iron filings suspended in solvent or a 'peli - I.Mt archiving medium.
de' which contained fluid and filings between thin,

f
7....
..,.., There are obvious paral-
transparent membranes. This enabled the operator to ,.e., lels with DTP (desktop
see the control track pulses and measure back to where a1_.1 «1.1Il M1«l M M I publishing) and pro -audio.
the gap between frames occurred for the long diago- *Ce >rN O7104.14 7w 1M eoa4a,07W1.4a de,,..yy
Video editing no longer
nal cut. Mechanical editing was costly (in tape) and But there had always been another way. requires heavy engineering infrastructure, controlled
precarious. The first progression from scissors used Film editing, apart from reversal stock used for environments and stratospheric budgets.
two or more play -in machines and a switcher-vision news and current affairs, had always been an `off- Coming right up to date, DV25 (digital video) has
mixer feeding a recorder. Early multi -machine con- line' process. The physical film the editors cut and brought near -broadcast quality to off -the -shelf
trollers used a control track for synchronisation re -cut was and is not the original location film or the personal computers. If higher quality picture is a
although, until the development of time code, the level show print transmitted or seen in the cinema. Key requirement, shoot on something better, off-line using
of editing precision was highly dependent on the skill numbers are printed along the edge of the camera neg- DV and conform the original.
of the operator. ative during manufacture. These are reproduced on Notwithstanding reservations about the ultimate
The next generation of recorders, using a helical the rush or working prints used by the editors. When quality of DV a surprising amount of broadcast pro-
head scan, were also developed by Ampex. Bulk and the edit is finalised the cutting copy is passed to a 'neg gramming is now originated in this format.
stringent environmental requirements were reduced cutter' who faithfully reproduces the `cutting copy' One thing hasn't changed, however: top -class results
but the editing process did not change. In the late six- by editing the original negative. Show prints are gen- still require technical and artistic skills that remain as
ties to early seventies, with the dawn of time code and erated from the cut negative. rare and precious as they ever were.

72 STUDIO SOUND SEPTEMBER 2001

 As radio enters the digital age, Soundcraft deli ers a powerful, flexible

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The new RM1d is available in 6 and 12

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 VIDEO FOCUS

THE VIDEO ARCADE

The decision is made, the market research complete, the business plan looks
viable... you're going into video. Rob James asks the question: now what?
AS WITH ANY NEW ROOM, before pur- plex compositing so it may prove more cost-effective
chasing equipment, the starting point for to use one system for off -lining and another for con-
a video suite is analysing the process, the forming and finishing.
areas you intend to work in, how you will In short -form work-such as commercials and pop
add value and the formats you will need to handle videos-the storage implications are less significant
and produce. even with uncompressed video. However, short-form
The first determinant is whether you are handling projects often use highly sophisticated effects. While
short -form or long -form projects. Long -form video many of these are now available on `modest' systems,
requires a strategy to deal with large amounts of raw there is a price to pay in terms of rendering time-
material. For a 50-minute `film' there may be 10 hours for example, a seriously complex five-minute piece
or more of rushes. Two approaches keep storage man- can literally take hours to render (process the video in
ageable-or at any rate affordable. non -real-time).
The first is to edit 'on paper' to eliminate a lot of This mirrors the position of certain digital audio
material before digitising or edit lower quality, off- processes of a few years ago. Early PC -based and arguments rage about acceptable levels of compression
line pictures which require less storage. In this case, the Mac -based audio workstations either contented them- for different purposes.
product of the creative editing process is an EDL (edit selves with simple EQ and so on, or used additional Uncompressed HD (High Definition) is the most
decision list) that will be used to conform the original DSP boards to produce rapidly -rendered or real-time demanding on all aspects of a system. The huge data
material to match the off-line decisions. In general, effects. Processor power has increased to the point rate mandates SCSI RAID arrays for storage and
long-form projects use relatively few effects and com- where there is now an ongoing argument over whether also requires major processing power or lots of time
proprietary DSP boards are is needed for `crunching' effects. At the opposite
either necessary or desirable. extreme-often referred to in Europe as 'VHS qual-
Exactly the same thing is hap- ity'-storage is not a big issue and processing
pening in video, and similar requirements are reasonable. Perhaps the best com-

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74 STUDIO SOUND SEPTEMBER 2001

 Studios
Photo token at Galaxy

"If the choice is left to me,

I use EMTEC Studio Master 900 maxima. It is such a high-
class analogue tape that I could not find a better one even after
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push up the level. The clarity is phenomenal. The little bit
of noise that does come off the tape is much warmer
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I

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 VIDEO FOCUS
promise for many purposes is DV25 (25Mbit digital positing are involved.
video) This format is now widely used in domestic FireWire (IEE1394) inter-
camcorders but is also used by the professional DV- faces conforming to the OHCI
CAM. The modest data rate and large market make (Open Host Controller
for wide choice and lower costs. Interface) have produced a big
What practical technical discussion would be com- fall in the cost of getting DV
plete without some consideration of standards? video loaded into a PC.
ITU -R 601 is the generally -accepted standard for Within the PC environment
broadcast video. In any case, one issue to watch is things are less straightfor-
colour mapping, usually expressed as 4:2:2, 4:2:0 ward. One might think, quite
and so on. The numbers refer to the sampling fre- reasonably, a DV stream cap-
quency ratios used to digitise luminance and colour tured by one piece of software
difference or RGB signals in component video. A using an OHCI input would
detailed discussion is outside the scope of this arti- be playable by any other. Not
cle but higher sampling ratios are desirable where a so. The AVI files that result
lot of effects (especially chroma keying) and corn - from capturing DV clips are
often specific to one hardware and -or software man-
ufacturer's codec, although conversion software is
becoming available.
A similar problem arises with EDLs as there are
many different types with varying features. The sup-
ported features will be most relevant when off-line
editing with complex effects. If the EDL only sup-
ports simple fades, any complicated (and
The new ADDA 2408 time-consuming) effects will have to be re-created
from scratch.
When conforming in other facilities, make sure the
software produces suitable EDLs-one of the Sony
or CMX types should be fine for simple editing while
an Avid list is currently likely to be the most accept-
able for more complex work.

= Mc FT

J- NkwMtia

__.
:::: 004
If you intend to produce finished product 'in-
house', for broadcast it will probably be required on
some form of videotape. DV is sometimes accepted
but DigiBeta or one of the other `normal' broad-
Data cast formats is the heavyweight (and cost) answer.
MI Mastering for DVD is regarded by many as some-
thing of a `black art'. (Remember the early days of
CD mastering on NTSC U-matics?) As the cost of
recordable DV drives falls this is set to change dra-
matically. If you simply want to produce VHS
24 bit 96 kHz AD/DA converter provides cassettes, mastering on DV tape is more than ade-
quate. For web streaming there are a variety of
features you have never imagined! software solutions.
All PCs (and Macs) have one form of DSP co -
- Same great sound and specifications as the ADDA 2402 processing already installed-the graphics card.
- 8 -channel low noise microphone preamplifier with gain control in 0.5 dB Some manufacturers exploit the graphics card's pro-
steps, +48V, and low cut filter cessing for video. The real choice is between a very
- Built-in 8 -channel digital sub mixer for monitoring in L/R or M/S stereo, high specification PC or a lower spec machine with
(optional D/A outputs for 5.1 monitoring) a proprietary video card. Both approaches have
- A/D and D/D with ±180 degree phase inversion, and variable delay
their adherents and critics. I think it depends on
setting from 0 to 100ms (250 ms optionally) application. For simple cuts -only editing native pro-
- Digital interfaces compatible with AES3, S/PDIF, TDIF, ADAT or ProTools
cessing is perfectly satisfactory. For more
sophisticated work, colour correction and so on,
(more interfaces to come)
extra hardware will eliminate a good deal of ren-
- Easy and accurate remote control via advanced PC or Mac program
dering and thus wasted time and frustration. Since
(MIDI or USB) a lower specification PC may be used the overall
- 8 slots for expansion cards
difference in cost is not great.
And much more! The other big choice is software. The most common
applications suffer the same problems as many audio
- Introduction price EUR 5,498.- + VAT packages, an abundance of whizzy features which are
used once in a blue moon, while basic editing functions
are often clunky and inefficient. Video plug -ins are
just as popular as their audio cousins and like them
vary in utility and cost.

digital Audio Denmark Many of the better editing packages are tied to a
particular manufacturers' hardware. This proprietary
attitude is one sign of an immature market. Some
Digital Audio Denmark a/s. Gregersensvej PO Box 141 DK 2630 Taastrup enterprising company will soon develop an 'open stan-
Tel. (+45) 72 20 35 55 Fax. (+45) 72 20 35 50 dard' for video capable graphics cards that will mean
E-mail: [email protected] Web: http://www.digitalaudio.dk rapid progress with higher sales volumes and prices
falling still further. D

76 STUDIO SOUND SEPTEMBER 2001

 VIDEO FOCUS

THE VIDEO PROJECT ROOM

Observing where and how facilities invest is eternally fascinating as proven by a number of
sound for picture post rooms appearing in recent years. Rob James discovers why

0 NE REASON for the recent mushrooming in

the number of sound for picture post rooms
is the falling price of setting up. Some people
are still spending upwards of £1m (UK) on
a single post room, but thanks to current digital con-
soles and workstations almost anybody can now get in
on the act and many of the new audio rooms have been
wants to. Successful operators in the audio business
know understanding their clients, excellent service and
an attractive working environment are absolutely key.
From what I have seen in some lower-end video editing
facilities I believe they have a long way to go in these
areas. Many resemble offices with rows of worksta-
tions in the same room. Even where there are separate
built by companies previously specialising in picture. rooms these often are Spartan and industrial with little
When videb editing was a linear process, there was a attention paid to clients' creature comforts.
natural progression from finishing the edit to final mix- Many years ago I wrote a report for a small London
ing of the sound, often while further picture enhancement TV production company. The subject: Whether to buy
was going on elsewhere. Nonlinear working has already into sub -broadcast video equipment. One of the con-
changed this. Even when the picture is of off-line quality, clusions supporting investment was the likelihood it
the relatively modest bandwidth required by sound would become almost impossible to sell music record-
means that this is often on-line at the picture edit. As a ings without accompanying pictures.
result, the dividing lines between picture edit and sound It's taken almost 30 years but this is now pretty true.
mix are now less distinct and sometimes all but invisible. MTV on cable or satellite, the success of DVD and MP3
However, editing rooms are rarely if ever built with are symptoms of a large, profitable audience for music
sound as a priority. Even where the room is quiet with pictures which has no desire to pay for music only.
enough, thanks to remote siting of noisy computers A glance down my local high street reveals four video
and other kit, it is unlikely to be ideal. Building rela- which DAWs and CD duplication became readily avail- shops and one last `record' shop which survives on mail
tively modest sound rooms has allowed editing houses able and DVD is almost at this point. order. Even this stocks a large number of DVDs and
to offer a complete and highly-flexible service and given For some years, off-line editing has been potentially, videos. The other multiple retailers have reduced their
a number of benefits to both facility and client-the at least, a `back -bedroom' activity, although cost of CD shelf space to stocking the Top 20 albums and lit-
client doesn't have to traipse about and can negotiate a equipment maintained a degree of exclusivity but this is tle else. The space that used to be occupied by CDs is
fixed cost package for the whole postproduction process no longer the case. More systems capable of sophisticated now given to DVDs, many of which are music titles.
while the facility offers complete packages without hav- finishing work as well as off-line editing are now easily If recorded music's future is inextricably linked with
ing to 'buy in' services. Control over the whole process within reach. For full -on broadcast this means around pictures, who is better placed than sound studios to
avoids the difficulties of moving a project between facil- £150,000 (UK) for a complete room. For less demanding exploit its opportunities? It may be a heretical thought
ities with different standards. markets, with distribution on DVD and web streaming, in this image obsessed age but sound carries most of
Some sound post facilities watched these develop- the cost drops to perhaps a tenth of this. Major broad- the useful information whether pictures are present or
ments with alarm while others (in a position to do so) casters like the BBC in the UK, are buying low -end video not. An interesting number of `talking books' are mere-
allied themselves with suitable partners to offer similar editing systems by the hundred. For now, finishing will ly soundtracks of TV programmes. On the other hand,
package deals or built video editing rooms. Thanks to still be done in `proper' facilities, but for how long? silent films are now rare. The point being that if you
the overall growth in business few have been harmed. If anyone can edit in a bedroom, and broadcasters are can produce good material in sound only, you already
Video editing and finishing equipment has reduced in buying the technology for their own use why should an have many of the skills required to produce audio-visu-
cost to the point where it is an option for almost anyone. audio studio owner be considering a video or audio al material. In any case there is plenty of talent around
This almost exactly mirrors the position with music visual room? to help. Check out your local film school. Far-sighted
recording a few years ago-with all the same implica- Service and environment are two major factors. independent record companies have already bought
tions (see Town House Vision, Soundings p14). I chart Although you can record a best selling record or edit into this idea. Studios that choose to ignore these devel-
the real rise of the small project studio from the point at an award winning film in a bedroom, not everyone opments do so at their peril.

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STUDIO SOUND SEPTEMBER 2001 77

 VIDEO FOCUS

You, ME, AV AND A Pc

Attractive in principle, efficient in operation, setting up a suitable AV PC system may prove
more demanding than it sounds. Rob James compares DIY and specialist assemblies
WHAT DO YOU WANT from a piece of Despite this, some otherwise sane and intelligent Computers with a Canopus Storm editing card.
professional equipment? This question audio and video professionals, myself included, do exactly Within half an hour of arrival the system was assem-
produces a broad consensus of answers. this when it comes to PCs and then bemoan their fate bled and running and I was editing. In fact I did more
Acceptable performance, adherence to when they do not live up to expectations. useful work in the next two days than the preceding
accepted interface standards, compatibility and relia- Why do we do it? Because PCs are `different'. month! The Storm uses the PC processor and graphics
bility are all near the top of the list. Convenience, low Until recently specialist audio and video system inte- card to augment its own DSP. The result, at least on
maintenance, a shallow learning curve and appearance grators were rare. PCs sold in the high street seem like this machine, is responsive editing with an impressive
are also prominent as is cost-effectiveness. commodity items-they seem `safe'. Self building from array of sensible effects, colour correction, chroma key
Contrary to popular belief, PCs are perfectly capable parts holds the glittering allure of lower cost and the and all available in real-time-there was no waiting for
enthusiast's satisfaction in rendering, no lock -ups and no crashes.
doing -it -yourself. My system is also set up for audio with Steinberg's
Over the last 10 years I Nuendo and Wavelab. It runs a ridiculous number of
have bought PCs from high tracks and -or plug -ins with real stability. Taken as a
street shops, by mail order whole this is the most productive PC I've encountered.
from household names and Do the video edit in Storm or Premiere, export an AVI
built at least five from and use it to do the sound tracklay and mix in Nuendo.
scratch. This has been a A dual -use audio and video workstation at very mod-
highly educational experi- est cost is now reality.
ence but if I costed the time Build quality is excellent. Best of all it is almost silent.
and effort properly, the real Red Submarine uses quiet power supplies, special proces-
price is many times the ini- sor fans and hard-disk mounting sleeves to make this the
tial outlay. quietest PC I have ever encountered. There is even a
Now there is a real gasket on the drop down front cover. Subjectively it is
alternative-buy from a quieter than some fan -cooled rackmount reverbs.
specialist supplier of PCs for New and improved PC components are constantly
audio and video. The better appearing so there is little point in detailing the specifics
of meeting these criteria if treated as a professional equip- examples are not just selling boxes but supplying com- of the system. Suffice to say, Red Submarine chose appro-
ment purchase with realistic expectations of performance. plete solutions for specific purposes, often with guaranteed priate and high -quality parts throughout. A years' `pick
To qualify this statement, let's look at the way we performance criteria, number of tracks, simultaneous up' on -site warranty and a `ghost' disk with the complete
select a `conventional' piece of equipment. Brochures video streams... The headline price may be higher but machine configuration are included along with a detailed
are scrutinised, reviews read avidly and often on -site you know who to kick when anything goes wrong. checklist and performance statistics. Not only does this
demonstrations are organised before the decision is After spending a ridiculous amount of time struggling machine look like a professional piece of kit it behaves
finally made. What we do not do is wander into a high with a PC built for video editing from mail ordered like one. Mount it in the rack, wire it up and start work.
street general electrical retailer and throw down the components, I finally decided the time had come to test To help evaluate specifications and for those who
plastic, or mail order bits and get the tool kit out. this theory with a system from Red Submarine still want to do it the hard way the following may help

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 VIDEO FOCUS
avoid the worst pitfalls. Many so-called FireWire drives and some RAID arrays Not to mention adjusting settings to optimise the
Always buy the best quality case and over-specify connected via SCSI actually use EIDE disks. However, machine for AV use.
the power supply. Cases vary from paper thin and badly similarly specified drives from different manufacturers I would like to think I have a certain amount of skill
designed to industrial strength works of art. For audio are not equal. Certain drives perform well in AV appli- at this by now but I'm forced to admit the Red
use in the same room, quiet power supplies are a must. cations but be aware that some drives are quieter than Submarine machine works better and faster than any of
The motherboard is the heart of any PC. Decide on the others. Utility software is available to set up some IBM my efforts. Not because the components are better than
audio and video hardware and software first then choose drives for lowest noise or highest performance. I would use, but because of the outfit's knowledge of
a suitable mobo. The same applies to the graphics card. EIDE RAID controllers are becoming popular. In what works well with what and the myriad esoteric
Many of the audio and video card manufacturers have my experience, performance benefits are marginal but tweaks that can help optimise a system.
compatibility lists of motherboards and graphics cards this does offer potentially greater security and a way of Once working as it should, there remains the question
on their web sites for precisely this reason. connecting more drives. The choice of operating system of maintenance. It is probably tempting providence to say
Until recently conventional wisdom was that Intel will be dictated
processors were the only safe way to go. This is now by applications
demonstrably untrue with many successful AMD and hardware
Athlon-based machines being used for audio and video. you want to run.
The latest dual -processor Athlon systems are looking Where supported
particularly promising. Microsoft
Processor cooling fans vary from cheap, noisy and Windows 2000
inefficient to highly effective and almost silent. Heat Professional is the
kills electronics and can cause all manner of (unex- best option. BeOs
plained) problems-you choose. and Linux are
Memory, RAM, should always be identical. Two arguably more
SIMMs or DIMMs (Single or Dual In -line Memory reliable but very
Modules) from different batches or manufacturers may little audio or
have identical specifications but still cause problems. video software or hardware supports them. The indus- so, but I have machines that have been working perfectly
Given the fall in price it is probably worth paying a lit- trial operating systems used in manufacturing process happily for years with no software or hardware mainte-
tle extra for branded memory with better security control are better still, but even less well supported. nance whatsoever. Surfing the Net and installing games or
features such as buffered, registered ECC if the moth- After assembly the real fun begins. You might- `free' software can be a quick route to trouble on any
erboard supports it. naively-assume that all the necessary software would machine. If it isn't broken don't fix it is a good maxim for
For ultimate performance, SCSI hard -disk drives are be included by the component manufacturers. More PCs. However, frequent backups remain vital and regular

e
still the way to go. They are no longer a mandatory commonly, the next few hours, days or weeks will be disk de -fragmentation is good practice for AV use.
requirement unless you are working with uncompressed spent swapping cards from slot to slot attempting to PCs for professional use can now be purchased with
video, however, as EIDE drives have developed to the find combinations which work, looking for specific dri- confidence. Providing the supplier is carefully chosen, this
point where they are more than adequate for video and vers to make one item work with another and downloading is by far the most cost-effective option. If you still want
audio use, and are considerably more cost-effective. updates to operating system, drivers and applications. to build your own PCs you're in the wrong job! E

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 TECHNOLOGY BUSINESS

A new spin on music production The remix

Building on the music industry's
failure to learn from the Copycode
So error correction fails leaving gaps in the music.
A consumer CD player automatically plays a trick
called interpolation or concealment to bridge these
monkey
copy protection effort, Macrovision is gaps. It looks at the music on either side of the gap As they redefine professional audio
set to repeat the mistakes of the and builds a replacement section. A PC's ROM drive and the audio professional, surround
does the same only when playing music for listen-
SDMI, writes Barry Fox ing. But the PC's ROM drive cannot repair the digital and Internet applications are about
data going to the hard disk, so either the hard to take on new significance,
disk copies nothing, or it records a nasty noisy sound.
HERE WE GO AGAIN. While one side of TTR's patent claims that `occasional error -conceal- writes Dan Daley
the record industry's mouth says the world ment will not audibly degrade the quality of the CD',
needs the better -than -CD quality you get and if the noise is well -tailored `error concealments DIDN'T BUY into the 5.1 surround-music hype,
from DVD-Audio and Super Audio CD, are definitely inaudible when played on an ordinary and despite the fact that, finally, a decent number
the other side is planning to use an anti -copy system CD audio player'. of titles are in the chute for this Christmas, I'm still
which could degrade the sound of music. Of course the Of course this immediately begs the question, what not convinced that there's a huge market for it. What
music industry is hurting from CD -burning and MP3 is an ordinary CD player? And how is TTR so sure that I did have high hopes for; and made the effort to search
ripping and cloning. Of course the message has to get no-one will hear the effect? out examples of, was Internet audio. From the day, about
across that if artists aren't paid they don't make record- Macrovision claims that the changes made to the five years ago, that I sat in Philip Glass' studio in lower
ings. So there will be nothing to copy. But is it really music are not `discernible' and tests prove that Manhattan and watched David Bowie do a live, interac-
the answer to risk compromising the quality of CDs? SafeAudio gave no problems with `99+%' of existing tive webcast performance, I saw this as the next logical
The music industry's Secure Digital Music Initiative CD players. To back this claim, Macrovision says it collaborative step in both the evolution of the recording
has spent nearly three years trying to agree on Phase spent six months playing discs to 1,000 listeners, and studio and the distribution of music.
2 watermark technology that would let people copy unnamed `golden ears' at two of the major record As it turns out, neither 5.1 music nor the deep involve-
CDs onto a PC and portable memory player for per- companies, who could not hear anything nasty. ment of recording studios in Internet audio has yet come
sonal use, but stop them sharing it freely on the Internet Without telling anyone, a major record label sold about on any significant scale. But there's one more rea-
round the world. The SDMI recently gave up because 100,000 music CDs in California to see what hap- son 5.1 music and Internet audio (music or whatever) are
its members could not agree on a technology or strat- pened. `There was no increase in return rate or in the same pot at the moment. It speaks to the entire issue
egy. Now Macrovision, known for video anti -copy complaints' says Macrovision's VP of audio technol- of quality, and that could determine the role of the record-
systems, has announce SafeAudio, a much blunter ogy, Heinz Griesshaber. ing studio in the future of the commercial audio business.
instrument. SafeAudio stops music getting from a CD Macrovision has earned a good reputation over the The way audio sounds on the Internet is a relative
to the PC's hard disk. Clearly worried about adverse years for checking compatibility, so that original videos thing. Compared to a well -made -and -mastered CD
reaction from the audio industry, Macrovision will play properly on most VCRs, DVD players and TVs, through a Bose speaker system, it doesn't sound very
not discuss how it works. Bad mistake... but do not copy. But high -quality audio is a different good; compared to those cheesy little chips in Chinese -
The Macrovision technology is based on work done ball game and the pat -on -head, we -know -best, reas- made greeting cards that play `Happy Birthday' when
by TTR Technologies of Israel. Although TTR has surance on sound quality reminds of the SDMI and you open them, Internet audio does sound good. The ref-
filed several patents, they are well hidden. But, bingo, Verance. The SDMI never would identify the golden erence benchmarks of digital sound are now splayed all
I found the one on a `copy-protected audio compact ears who could not hear the Verance watermark, or over the place. More and more, Internet audio is being dev-
disc'. It tells how the record company will add bursts define the test methods used. This caused Verance and eloped and delivered from wider sources, varying from
of noise to the digital audio signal, by deliberately the SDMI a lot of grief. Now we have Macrovision not recording studios to spare bedrooms. I wonder; though,
giving some of the music code `grossly erroneous val- naming the record companies who tested the system, why more of it hasn't been done and isn't being done in
ues'. Additionally the error-correction codes on the or the golden ears, and not giving details of the test studios? Because since the audio that's going through the
disc, which would normally play mathematical tricks methods either. Internet pipeline isn't all music, and much of it originates
to correct the digital errors, are themselves distorted. Says Steve Harris, editor of Hi-Fi News magazine: from corporate and other non-entertainment sources, the
'You can't blame the record industry lead- need for professional audio techniques and technologies
ers for being obsessed with copy isn't recognised. I mean, speaking from the perspective of
protection. They see their very survival your average, non -engineer bloke, if your idea of quality
threatened. But audiophiles invest thou- is determined by the wide spectrum mentioned above,
sands of pounds in equipment to get the it's understandable that when the boss says we need some
best sound, and the result is wholly new sounds on the web site, you peruse Macworld and

like to see - -
dependent on the quality of the disc. I'd
or rather hear whether
the results really are not discernible on an
see which desktop software is the cheapest. Corporate
IT and marketing departments are not in constant com-
munication. When marketing makes a decision to create
audiophile system. It would be ironic if a new broadcast commercial, it will turn automatically to
quality were worsened in the quest for an outside agency, which will turn to professional studios
copyright security.' as the primary resource. When IT decides the web site
The only way the audio and hi-fi needs refreshing, it assigns whoever is not out at lunch.
fraternity will be reassured that the This lack of awareness of what professional people and
SafeAudio process is not adding anything facilities can bring to a project is about to get another test.
discernible is for respected listeners - Surround music has been the Emperor's New Clothes
engineers to hear a variety of music with for about three years now, generating new 6 -channel
and without the process (blind testing of products and system revisions but little in the way of an
course)-like comparing the taste of economically viable market niche for studios and engi-
water with and without an additive. neers. With the release of what will likely be several
Verdicts from unnamed ears did not hundred titles from AOL Time Warner's and Vivendi -
satisfy on the SDMI-Verance watermark Universal's vaults for Christmas, and the updating of
so there is no reason to suppose it will Sony's SACD format to encompass multichannel audio,
satisfy here. this is likely going to be surround music's best shot at

82 STUDIO SOUND SEPTEMBER 2001

 DELIVERY

Fighting talk
While much attention is lavished on which was developed from the existing DVD-RW system.
Philips is promoting DVD+RW as `2-way' compatible,
new formats and how to gain as it is able to play on existing machines, and is high-
consumers' confidence, it's often older lighting the incompatibility problems of the Pioneer
machine. Philips is leading the DVD+RW Affiance, joined
technology that meets most of their by Dell, Hewlett-Packard, Ricoh, Yamaha and, once
again, Sony. Against them is the fact that the DVD Forum
needs, writes Kevin Hilton does not recognise DVD+RW.
Sony initially hedged its bets by signing up for both
becoming something other than a small audiophile niche. DESPITE THE INCREASINGLY FAST PACE -RW and +RW, in July it announced that it was to intro-
And there are lots of studios out there now that have at which modern technology develops, some duce a DVD recordey based on -RW (and in fact OEMed
implemented some degree of surround monitoring and things never change that much. The general from Pioneer) during September. Even though this and
mixing capability, and a corpus of literature compiled perception is that there is an inexorable shift other machines are beginning to appear on the con-
about how to do it. So many of the pieces are in place. towards optical disc; this is certainly seen in professional sumer market, it is felt that the majority of people will
Here's the problem, and it's too different from what circles but even here, tape is hanging on. Swedish be put off by the high cost as much as the confusion. A
happened to Internet audio. In a word, it's upmixing, the Television recently upgraded its news operation, inte- US market analyst has said that the market needs to
use of a technology box, such as the tc 6000, to create arti- grating nonlinear editors with computer servers, media `coalesce' before consumers begin to understand it.
ficial multichannel mixes. Faux 5.1, as it's being derisively management equipment and a newsroom system. Despite Some within the industry are of the opinion that
called, isn't a joke; record labels have decided that the cost this, its source material is still good old videotape. Philips and Sony have got `greedy' and are trying to take
of actual remixes to create 5.1 music discs correctly is Many productions are still transferred back to tape for a larger slice of what was originally thought would be
prohibitive, and now that there's a way to cheaply cre- transmission despite the proliferation of server-based
ate 5.1 music mixes-à la the way older mono recordings play -out systems, underlining the fact that nonlinear
were `electronically rerecorded for stereo' 25 years ago- technology is not all powerful. Similarly, it was generally
the exigencies of contemporary entertainment business believed that in the consumer market VHS would co-
economics come relentlessly into play. Think about it habit with DVD, providing the low-cost time -shifting
from an A&R guy's point of view: Your industry is tank- recording capability that, until recently, the optical disc
ing, your new megacorporation is trying to cover the costs could not. Re -recordable DVD was considered to be
of massive, global consolidations and merger-acquisitions, problematic and, ultimately, prohibitively expensive.
and the president of your label has directed you to pre- That is all changing now as manufacturers fight to
pare 40 titles in surround to test -market the format. The produce re-recordable DVD machines. While DVD itself
choice: spend between $10,000 and $20,000 per title is based on a standard core specification, three DVD
remixing from discrete tracks in a 5.1 -equipped studio re-recording formats are squaring up for the fight, invit-
with a top engineer, or hire someone with a black box ing unwelcome comparisons with the home video format
who can bring it in for a few hundred dollars a title. Under war between VHS, Betamax and, initially, V2000 dur-
the circumstances, which route do think gets chosen? ing the early eighties.
It's one thing to have a difference of opinion as to DVD-R (recordable) was introduced in 1997 for pro-
whether home recording has had a positive or negative fessional authoring purposes and as such is a write -once
effect on the quality of music. It's a completely subjective technology. DVD-RAM appeared in 1998 and has been
issue. With the proper degree of squint, the same can be used in the corporate and industrial sectors. It is now
applied to audio mastering, long regarded as inviolable being backed for both the professional and consumer
audiophile territory occupying the highest ground in the markets by Hitachi, JVC, Toshiba, Samsung and
business, but in reality a pinnacle woefully too small to Panasonic, which is due to launch a $1000 home recorder 11111111111111111111111111
address all the music seeing the light of discs these days. in October.
But I think it equally reasonable to draw a line some- This will be a straight VHS replacement, recording a small market with defined niches. JVC is concentrat-
where, and upmixing is that line. This could truly reduce on discs holding up to 9.4Gb of data. A second re-record- ing its RAM products in the professional sector and has
music mixing to a back-room operation, no more sophis- able format, designed from the beginning for audio-visual no current plans for consumer machines. It is seen as
ticated than burning a CD -R. This is where the common purposes, is DVD-RW, launched in Japan during particularly suited to pro -audio due to its write and ver-
interests of Internet audio and surround can converge, and November 1999 when Pioneer introduced its DVR-1000. ify function. Working against RAM is its incompatibility
in the process benefit the entire pro -audio industry: In the As well as recognisable video-like machines, Pioneer pro- with RW and that fact that it is not immediately recog-
first instance, a lack of knowledge about what studios are duces DVD-R/RW drives for computers and is joined in nisable as a DVD.
and what they can do was at work; in the second, a lack its support of the format by Apple, Compaq and Sony. Expectation of another format war is mostly likely
of action on the part of the pro -audio community to DVD-R/RW can accommodate DVD-Video Recording spurious. John Bamford, product manager at Pioneer
explain the long-term implications of handing remixes (VR), a new applications format for writing data that GB, is not convinced that RAM versus -RW versus +RW
over to chimps in hopes of squeezing a few more dollars was approved by industry body the DVD Forum last is a re -run of VHS-Betamax. `That hinged on problems
out of physical media. In both cases, the answers are year. This enables a range of multimedia and editing in getting the right software,' he says. `Betamax owners
proactivity and education. The International Recording functions but a major problem is that existing DVD play- caught a cold because the video rental stores did not
Media Association (IRMA), a trade organisation of ers (so-called legacy machines) do not recognise VR discs; stock the format. DVD Video is compatible with every
media manufacturers, had a campaign about two years a firmware upgrade is required for compatibility. machine-the problem only begins if you want to play
ago called Where'd You Hide The Cassettes?' to promote Pioneer released its third generation DVD-RW something you've recorded on a friend's machine.
the analogue cassette format and remind the world that machine, the DVR-7000, in June; and while it had hith- Ultimately it's going to be a luxury toy that may sell
it was far from dead. It would be a useful thing if the erto restricted the format to Japan, it says the DVR-7000 only 10,000 to 15,000 units. Recordable computer dri-
various studio and engineer associations-SPARS, APRS, will be available in other markets `within this fiscal year'. ves is where the real market is.'
GrammyPro and so on-could jointly figure out a way But both Panasonic and Pioneer are being pre-empted by The ease of use, durability and greater capacity of
to let the world know that music has been as good as it Philips, which is due to introduce its DVDR1000 recorder optical disc obviously makes it preferable to videotape
has been because there were professional people and to the general European market this month at an expect- but until the market decides exactly where it is going, it
facilities there to ensure it. The tooting of a collective ed price of around £1,500. is unlikely that people will be throwing out their VCRs
horn is hereby called for. This is the first product of a new format, DVD+RW, or library of VHS tapes quite yet.

STUDIO SOUND SEPTEMBER 2001 83

 DR JOHN'S VIDEO LIBRARY

VIDEO RECORDERS
The video recorder has had a short but spectacular history of less
than 50 years. John Watkinson looks at the principles
DURING WORLD WAR II, the analogue moves along,
audio tape recorder was developed in transverse tracks
Germany. After the war the technology was n
are laid down side <- - PEAKWHITE
made available in products from a variety by side. When the (11,n .'

of countries. One major supplier of machines was geometry was per-

Ampex in the US. The story goes that Bing Crosby was fected, one head
pleased with his audio recorders because recording saved would finish a
him singing his prime time show several times, once for GAMUT OF
track just as the VIDEO
each time zone in the US. He then suggested that it would next head started SIGNAL
be pretty good if it were possible to record television in
the same way. In making that remark, Bing had no idea
about the relative difficulty of video recording in com-
another. One
transverse track
was not long
BLANKING
Ma,)
parison with audio, but he did know what he wanted. enough to hold a
The rest is history. Ampex solved all of the problems
one by one and were able to introduce a monochrome
whole picture, so
the picture was
SYNC. TIP -
>7VV1
video recorder in the mid fifties. One of the biggest prob- built up from
lems was getting enough bandwidth. Audio can get by several segments,
OUTPUT OF
with a mere 20kHz, whereas video requires at least with the head FREQUENCY
4MHz, more for really sharp pictures. Everyone knows switch taking MODULATOR
that speeding up the tape increases the bandwidth, but place during the
to get from 20kHz to 4MHz needs a fearsome speed. horizontal blank- Fig.2: In analogue video recorders the video voltage modulates the frequency
The BBC built an experimental machine called VERA ing period. of a carrier
(vision electronic recording apparatus) that used fixed Unlike audio,
heads and a high linear tape speed. The tape was steel and video signals have a DC component representing the track. There are several possibilities for helical scan. In
the machine had some of the attributes of a bandsaw. average brightness of the picture. Conventional mag- the C -format, the tape wraps almost completely around
Ampex overcame the high tape speed problem by netic recording cannot reproduce DC and is not the drum, making it possible to use a single head. In
using rotating heads as shown in Fig.1. In early machines, suitable for video. Instead a modulation technique the U-format, the tape wraps 180° round the drum and
a headwheel having four heads rotated transversely to had to be developed. Analogue video recorders to this two heads are needed. As the tape and the head are
trace the heads across a 2 -inch wide tape, leading to day use frequency modulation or FM. Fig.2 shows both moving, the track angle is a resultant vector and
the name of Quadruplex. If the tape simultaneously that the video input to be recorded is supplied to a changes with tape speed. if the tape is stopped, the heads
VCO (voltage controlled oscillator), such that defined attempt to repeat the same track, but don't quite man-
levels such as sync tip, blanking and peak white have age it. In VHS, the result is a noise bar in the picture
defined frequencies. In FM, it is easy to record DC where the heads lose signal between tracks. In profes-
because this is represented by a constant frequency. On sional machines, heads were developed which could
replay, the FM signal is fed to a limiter or clipper that deflect up and down the axis of the drum driven by a

iss>1 takes only the centre crossings of the signal and rejects
any amplitude variations.
sawtooth waveform so that entire tracks could be fol-
lowed. Such machines could give broadcast quality

!ír- r
It was found that the non -ideal frequency response pictures from -1 to 3x speed.
of magnetic recording caused distortion of FM record- Fig.3a shows that in azimuth recording, used in rotary
ings, at it was found necessary to develop an accurate head tape drives, the transitions are laid down at an
. equaliser that cancelled out the head response. Noise angle to the track by using a head which is tilted.
(a)
was also a problem because it shifted the position of Machines using azimuth recording must always have
the zero crossings. In FM this is worse at high fre- an even number of heads, so that adjacent tracks can be
quencies because the zero crossings are closer together recorded with opposite azimuth angle. The 2-track types
7 so that the shift is a bigger proportion of the signal are usually referred to as A and B. Fig.3b shows the
rr
period. As a result the noise floor rises with frequen- effect of playing a track with the wrong type of head. The
r'
cy. It was found that a constantly sloping low-pass playback process suffers from an enormous azimuth
filter does not distort an FM signal, but it simply caus- error that serves to attenuate crosstalk due to adjacent
es the demodulator to use more energy from the lower tracks so that no guard bands are required. Since no
sidebands than from the upper. This means that the tape is wasted between the tracks, more efficient use is
noise at high frequencies is reduced. made of the tape.
The Quadruplex format was refined with better tapes Professional machines recorded the PAL or NTSC
and heads and this allowed a wider bandwidth to be composite signal in its entirety using wide bandwidth
recorded. This made it possible to record subcarrier to recording to accommodate the colour subcarrier.
produce colour pictures. The Quadruplex format served However; this was expensive and designers looked for
I) well for many years, but it had the problem that the a way of recording colour pictures with less bandwidth
segmented recording made variable speed or freeze which would allow tape consumption to be reduced
Fig.1: Types of rotary -head recorder. (a) Helical frame almost impossible. Tape cost was also high. for consumer and industrial products. The solution was
scan records long diagonal tracks. (b) Transverse The development of helical scanning (Fig.1) made it the colour -under technique shown in Fig.4. The video
scan records short tracks across the tape possible to fit one complete field onto a single slant bandwidth is split in two by a filter. High frequencies are

84 STUDIO SOUND SEPTEMBER 2001

Inter BEE 2001
International Broadcast Eqi
u p ment Exhibition 2001
November 14-16, 2001 Nippon Cònvention Center(Makuhari Messe)

International Broadcast Equipment Exhibition 4

-----,-...

Catch a glimpse of the future. Za

gyziz

et,
For anyone with interest in the broadcast, video, or audio technology .e
ß
industries, the International Broadcast Equipment Exhibition (Inter BEE) is one
of the most important related events of the year. , ,e
Inter BEE
/1'fOy14162°0
We're expecting a greater turnout than ever before, with more than 500
exhibitors showcasing cutting -edge systems and technologies to an audience of Exhibition Categories
more than 30,000 industry members from around the world. *Audio Equipment *Cameras and Related Equipment
*Recording Equipment
Inter BEE 2001 will also give you access to a range of symposiums, forums, and *Editing and Production Equipment
seminars led by prominent broadcasting, audio, and video software producers, as *Electronic Displays *System Conversion Equipment
well as systems hardware developers. *Output Systems *Relay Systems

Catch a glimpse of the future of broadcast - come to Inter BEE 2001.

Transmission Systems *Lighting Equipment
*Measuring Equipment *Transmission Cables
*Electric Power Units *HDTV Systems
For more information on Inter BEE 2001, contact: *Satellite Broadcasting Systems *Virtual Systems
Japan Electronics Show Association *CG Production Systems *DVD Systems
Sumitomo Shibadaimon Bldg. 2 Gokan, 1-12-16, Shibadaimon, Minato-ku, Tokyo 105-0012, Japan *Multimedia Systems *Software
Fax.: +81-3-5402-7605 E-mail: [email protected] URL: http://bee.jesa.or.jp/ *Multiplex Broadcasting Systems *Others
 DR JOHN'S VIDEO LIBRARY
ßcverse considered to be colour subcarrier and are down con- the signal is sampled at a certain rate and stored. The
Azimuth azimuth
verted to a lower subcarrier frequency and directly

-
record
head
Azimuth
recording
playback samples are read out of the store at twice that rate, and
head
recorded. The rest of the video bandwidth is recorded
la)

Azimuth
I
-- l(U7íl%lÌl(UlU with FM. The FM carrier acts as bias for the reduced fre-
so are compressed into half the time. This solution has
the advantage that if the bandwidth is reduced for econ-
angla a quency subcarrier. omy, the result is just a slight softening of the picture,
Formats such as VHS, Betamax, Hi -8 and U-matic all whereas with composite recording the subcarrier would
employed colour under recording. This was fine for con- be lost.
Playback response
(h) with reveres sumer purposes, but something better was needed for The development of high energy tape led to a gen-
azimuth
ENG (electronic news gathering). In the BetaCam for- eral improvement in analogue video recorder quality.
mat, the recording is not composite, but component. Higher energy means bigger replay signals which
This requires three signals of unequal bandwidth. In reduce the effect of noise. Using metal particle tape,
BetaCam the solution was to use pairs of heads work-
Fig.3: In azimuth recording (a), the head gap is ing in parallel to lay down track pairs on the tape. In one

t!
. _.
SUBCARRIER
tilted. If the track is played with the same head, track the luma signal is recorded, but in the other track LUMA
playback is normal, but the response of the the two colour difference signals are recorded one after CHROMA
reverse azimuth head is attenuated (b) the other using time compression. In time compression INPUT
SPECTRUM

cI
LOW PASS
LUMA

DOWN -
CONVERTED
CHROMA

SPECTRUM
ON
TAPE
DIRECTLY FREQUENTLY MODULATED

New!
RECORDED LUMA
CHROMA

Fig.4: Wider principle used in consumer

analogue VTRs allows colour with reduced
bandwidth for economy

RC -3
ACTIVE REMOTE
BetaCam was transformed into BetaCam SP which
had adequate performance for production purposes
and became very popular.
In all video recorders, the heads turn at high speed and
strike the tape intermittently resulting in shock waves that
travel through the tape. These waves have the effect of
CONTROL varying the head to tape speed resulting in some lines
being slightly shorter or longer than they should be.
www.far-audio.com The phenomenon is known as timebase error. Timebase
error can also occur in portable machines if the atti-
tude of the transport is changed. Whilst most monitors
IBC - Amsterdam 14-18 SEPTEMBER 2001 can display pictures having timebase error without dif-
ficulty, it is difficult to edit and process such signals.
AES - New York 21-24 SEPTEMBER 2001 Consequently professional VTRs are fitted with timebase
correctors which are designed to stabilise the irregular-
Look for your professional distributor : ities in the replay signal.
FAR Head Office - Phone +32 4 2,5,9 74 12 E -mad info@ fsr-audac om
:
The Quadruplex format produced relatively little
BELGIUM ORBIT - Phone + 32 2 503 41 20 E-mail orbilmtsic@skynet-be
: : :
timebase error and this could be corrected using variable
FINLAND PRO CENTER OY - Phone : +358 (9) 660 473 E-mail : writ -1 @procenter: analogue delay lines. These consisted of transmission
lines built with inductors and varactor diodes. By chang-
GERMANY MUSIK PRODUKTIV - Phone +49 (54) 51 90 91 98 E-mail Albrecht.Doenies@musik
:

ing the voltage on the diodes, their capacitance would

HL'NC ARY VEKTOR SYSTEMHOUSE Ltd - Phone : + 36 (1) 262 1022 E-mail koseef@vekkLhu
change and alter the amount of delay. The control
:
:

TAU FUNKY JUNK - Phone ' +39 (02) 69 01 62 29 E-mail paob@ku ky-lurk Om :

voltage was obtained by comparing the video syncs off

POLAND TOMMEX S.C. : - Phone : +48 (22) 853 58 02 E-mail : waldek@ tape with ideally timed ones from a local generator.
RUSSIA STUDITECH . - Phone : + 7 (095) 230 69 30 E-mail : Meth@ With helical scan machines, slow motion would cause
SPAIN PROMOVISA - Phone +34 (91) 456 20 90 E-mail : ínb@pro
: large timebase errors of several lines, and this was beyond
SWITSERLAND PGG CONSULTING - Phone +41 (21) 802 68 15 E-mail :
:
: analogue technology. Digital timebase correctors were
UNITED KINGDOM CLYDE BROADCAST PRODUCTS Ltd Phone :444 (141) 962 7950 E-mail sa
:
:
developed for these machines in which the video is
ASIA EVS HONG -KONG - Phone +852 2914 2501 E-mail : sales@
: :
converted to data a stored in RAM. The readout of the
1tNA & HONG KONG : EVERTOP INTERNATIONALTECHNOLOGY Ltd Phone +852 23 70 :
data can be made at a time corresponding to a refer-
ence signal. If several machines with timebase correctors
JAPAN : FAIRLIGHT JAPAN INC. - Phone + 81 (3) 54 32 45 32 E-ntail sales
. . .co
are supplied with the same reference, it will be possi-
SOUTH AFRICA SOUNDFUSION Ltd - Phone +27 (1 I) 880 52 33 E-mail soundf@gobai
: :

ble freely to cut between the video signals for

VIETNAM BCC - Phone + 848 910 12 05 E-mait
: .
production purposes.

86 STUDIO SOUND SEPTEMBER 2001

Not all audio system suppliers speak your language.

A. A.
L, L,
Q 0,
G, G,

F, 0_ R, M,

D 1313131199
13
13i13
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13 CI 13309
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providing solutions...
 MASTERCLASS

Mic MECHANICS
Following the history and maintenance of yet another batch of classic microphones, Ashley Styles studies some less
well-known types. Essential information for owners and opportunists
AS WELL AS valve microphones, US manu- of the faulty microphone, from that of
facturer Altec has also produced other the reference microphone. Taking into
valve-based equipment, probably being best account of any gain imbalance (adjust-
known for the 436 series of valve compressors. ing for a null, say, at a reference
The microphone type in question here however, is the frequency of 1000Hz). This method
popular 160A, its shape being very similar to a stretched gives an audible indication of the dis-
out Coke bottle. The electronic design is based around crepancies between the faulty and
the 6AU6 pentode, with the majority of the components reference microphone. I find this far
being located within the power supply unit. Indeed, more helpful in diagnosing a fault,
apart from the valve, the only other component within rather then looking at a frequency plot.
the mic body, is a cleverly designed feedback -gain con- Prior to the introduction of semi-
trol capacitor, which uses the brass capsule connector conductor electronics, Cairec, famous
tube as part of that component. It is interesting to see how for its mixing consoles and Soundfield
many microphone designs of this era, used pentode microphone(s), was one of only a few
valves, as opposed to the more popular triode types that high -quality British microphone man-
were to follow. ufacturers. In its early years, Cairec
The type 21B capsule, with a small diameter (approx- manufactured valve microphones, an Reference valve type B&K, together with modified Neumann M50
imately 12mm) diaphragm, is an omni design. This is example being the CM1050 model.
mounted in an ideal position on the end of a long thin It also manufactured valve microphones sold under ambient microphones on drums and so on. The only
pedestal. There are therefore, no local acoustic reflections the brand name Fi -Cord, an example being the real problem, is the susceptibility to dampness and cor-
or shadows to diffuse the sound being picked up by the FC1200 model. rosion of the capsule. Fortunately, access to the
capsule, other than a small collar on the capsule sock- Unfortunately, the smaller Calrec microphones do components within the microphone is very good and
et. Hence, this enables the microphone to capture an not receive the status that they deserve, let us not forget although the capsules are no longer available, they can
uncoloured audio signal. be refurbished.
For specific testing and calibration purposes, I use a The Hiller M59 is a fine miniature cardioid micro-
range of Bruel & Kjaer capsules and an original valve phone manufactured in Hamburg. Being so robust and of
B&K preamplifier together with its associated power sup- physically small size, it was regularly used by the BBC. The
ply. Among my collection I also have an MKD type valve used is the same as that in the very early Neumann
MV101 valve `measurement' microphone. Although M49-the directly -heated cathode, type MSC2. This
marked MKD, I believe this model was manufactured valve is unfortunately no longer in production.
by Neumann Gefell being almost identical to the MV630 The output impedance of the microphone is very high
model. This uses a capsule that looks, and in construction, and so the transient response and HF performance will
is much like that of similar size -type models from the suffer when used with long cables. This is the main prob-
B&K range. As with many calibration -measurement type lem associated with microphones that use a
microphones, use for sound recording is not always Inside and outside view of the Hammond M100 remotely -housed impedance -matching transformer. The
favourable. It depends on the capsule type fitted. AKG C60 is yet another microphone that works on this
The B&K, together with a Neumann M50, which I that the BBC used them on a regular basis for many principle, so to maintain the excellent transient response
have modified to give an extended LF response togeth- years, an excellent recommendation for any product. and HF performance of this microphone, it is advisable
er with reduced self noise, enables me to carry out very Therefore, should they go faulty, then they certainly to use the shortest lead possible between the microphone
accurate testing of a warrant repair. Unfortunately however, the nuvistor- and adaptor, using a longer lead now that the imped-
microphone's perfor- based electronics manufactured by Cairec were ance is down to 5052 or 200e, to reach the power supply.
mance. Fortunately, in encapsulated in a semi -transparent resin. The principle (Modifications are available, for further information,
most circumstances, I of this design was an attempt to help eliminate dampness refer to the Neumann M49 section of the Masterclass
am in a situation that penetrating the electronics, which could have otherwise series in Studio Sound, June 2001.)
enables me to make caused noise problems. It is, therefore, almost impossi- There is a surprising number of microphone manu-
direct AB comparisons ble to service many of these microphones. It all depends factures around the world and the Lomo brand is a fine
between a client's upon the access to the components that are faulty. I example of Russian microphone technology. The com-
microphone and my have, with the owner's consent, carefully cut away resin- pany manufactured many valve models, some of quite
own reference micro- encased electronics to replace defective components or interesting design, it then went on to produce semicon-
phone of the same rebuild the unit completely. The capsules, because of ductor models. A new company-Nevaton-was formed
type. This makes test- the nickel used to make the diaphragm, suffer from the after the decline in production of microphones by Lomo.
ing far more precise same corrosion problems as the early Neumann KM54. One of Lomo's older models, the 19A1 (looking more
and accurate. Discrep- The Hammond M100 is a miniature omni- like an egg or a miniature Neumann M49) is an excel-
ancies in gain are directional microphone with electronics based around a lent performer. Using a miniature plug-in, low-noise
instantly apparent and nuvistor design. Another British microphone, the M100 triode and a substantially large audio transformer, togeth-
comparison of fre- was normally available as a stereo pair with a single er with a large cardioid capsule, the sound quality of
quency response can power supply. this microphone is superb.
be conducted on a can- The M100 is capable of surprisingly good results. I remember a Lomo -type 19A10 coming in to me for
Inside and outside view
of Lomo 19A19
cellation basis- Although they may not be the quietest of models-hav- repair. This was to be a strange microphone and I could
subtracting the output ing an omni pickup pattern-they are quite useful as not quite see the reason for its design complexity. It

88 STUDIO SOUND SEPTEMBER 2001

Putting together the right audio system can be a problem.

f.
4,. .

nCcD

providing solutions...
 MASTERCLASS
Ad Index looks like a very short AKG C12 and offers the equiv- We now see a form of hybrid technology being used
AKM 50 alent of a complete remote polar pattern control. I say again today (in the Neumann M149 for example),
Aphex 5 equivalent, as the microphone uses a large capsule where a valve is used for the impedance conversion
Audio Ltd 41 with both front and rear diaphragms, working against and semiconductor technology being used to generate
Audio Service 31 a common backplate. However, that is where the sim- the balanced audio output feed. Sadly, for the valve
Audio Technica ilarity to conventional designs end. The signals from the purists, hybrids are seen as systems that are not doing
64
A to Z Directory 97
two diaphragms are then handled by two separate pre - justice to what might have been gained through the
Brauner 70
amp -impedance convertors within the microphone use of a using valve -only electronics.
body, and sent out to the power supply. Within the The STC 4108 microphone used a screw on car-
Buzz Audio 14
power supply, through the use of transformers and dioid capsule, with a nickel diaphragm. The capsule
Calrec 51 rotary switches, the two signals are combined by sum- housing, type 107A, used on the 4108, has both a car-
Cedar Audio OBC mation and subtraction to obtain the dioid and omni pattern stamped on it,
C -Lab desired directional characteristic required.
12 with the cardioid stamp being 'high-
Digital Audio Denmark 76 This enables you to have any polar pat- lighted'. It would appear that another
Digidesign 65 tern from omni, fig -8 through to omni capsule was intended to be manu-
Digital Talkback 20 cardioid, in either direction. factured, however, it would seem that
DK Audio A more popular model, the 19A19, is this sadly never became a reality. Are
33
also a fine unit. Similar in shape to an ice- there any omnis out there?
Dolby 25
cream cone, this is an end -firing The connectors used on the 4108, were
DPA Mics 43 microphone using a capsule much akin of the early Cannon type, with the micro-
EAR 68 to that of the AKG C12. Combined with phone connector using the same
Emtec 75 the use of a miniature low -noise triode 6-pin/insert type as that used by AKG on
FAR 58 valve, the microphone is capable of pro- the C12a, C412 and C414 microphones.
Fletcher Electro 77 ducing a very `fat' sound, together with the The audio and mains connectors are also
Focusrite 17 delicacy and low-level detail that you of Cannon manufacture. Great care needs
would expect from a `quiet' AKG C12. Outside and
Friend Chip 30 to be taken of all these connectors, as they
These microphones, together with their inside view of the
Funky Junk 27 are now obsolete.
associated PSUs, are fairly tough. The MKD MV101
Genelec 36/37 It can generally be said that most parts
only weak point would appear to be asso- calibration
Ghielmetti within a power supply can be replaced
70
ciated with some of the connectors. microphone
with modern day equivalents. There are,
Gold Book 94
Sony's best-known old valve micro- of course, components that cannot be
HHB 42,62/63,67,74 phone is the C37a-nothing to do with replaced, these being some types of valve
IBTS 94 the excellent C37 tape machine manu- rectifiers and purpose-built mains trans-
lnterbee 85 factured by Studer. Sony has produced formers-large smoothing chokes.
Junger Audio 61 many other valve microphones in the past Many PSUs were limited to
Klein & Hummel 57 and of course, the more recent C-800, 220V/110V AC working (such as the
Klotz 71
designed as the successor to the C37a. Neumann N52a). In cases such as these,
Lawo
Through the years, the C37a was supe! especially where these units have been
53
seded by its modern semiconductor used for many years on the older British
Lexicon 21
equivalent (C37p). However, as with standard 250V AC mains, the transformer
Lynx Video 24
many items of valve equipment, the orig- will have been working well in excess of
Mackie IBC inal C37 is still a highly respected its design criteria.
Manley 13 microphone and many are still in every- My own Missing Link range of
Marantz 19 day use all around the world. The replacement-upgrade PSUs use a special-
Media Tools 87&89 electronics are based around a 6AU6 pen- ly designed multi -tapped mains
Merging Technologies 39 tode -type valve, adding to the character transformer, 90V through to 250V AC,
Microtech Gefell 35
and sound quality of this unit. The audio Outside and allowing the units to be used in most parts
Mosses Mitchell
matching transformer, together with the inside view of the of he world. The required HT and LT
& 45
EQ control, is housed within the power Altec 160A voltages for the specific microphone type
Mutec 29
supply unit. to be used with that particular model of
Neutrik 31
You must not forget the modern C -800G, with it's power supply are then being controlled -regulated by
Pastega 55 built-in cooling system looking much like a Neumann the PSUs circuitry. The connectors, to the microphone,
Raycom 31 U47Fet with a heat sink protruding from halfway along being either Amphenol-Tuchel or Cannon, again
Richmond Film Services 80 its case. The heat sink, being a part of the cooling sys- depending upon the model of power supply. Both types
Sadie 69 tem that cleverly reduces the running temperature of of connector being readily available.
Sascom 59 the valve enables the microphone to produce lower noise For the sake of safety, I would recommend that any
Sintefex 10 and distortion figures. power supply with the old-type mains connectors, 2 -
Solid State Logic
The STC 4108 (28-LYA), manufactured by wire type-live and neutral with no earth, be changed
IFC
49
Standard Telephones & Cables, is a fine example of to accommodate and earth lead. In such cases, the
Sonifex
the hybrid technology used during the early sixties. audio earth can always be isolated from the mains earth
Soundcraft 73
Because of the low capacitance of condenser-capaci- by a small switch, to help stop or reduce the risk of
Soundtracs g
tor capsules, say 30pF to 150pF, only a valve or FET hum loops.
SPL 26 is suitable for the job of impedance conversion. At Finally, always replace or blank -off any missing or
Steinberg 56 the time of manufacturing the 4108, their were few, damaged `window' on PSUs that allow you see the mains
Studio Spares 81 if any, semiconductor devices that could be used for voltage selection links. This is a simple job and one that
Studio Technologies 57 this purpose. If their were, the STC 4108 would have could possibly save lives.
Tascam 11
probably been a semiconductor model, like it's suc-
tc electronic 18
cessor the STC 4136. Contact:
The impedance conversion, within the 4108, is car-
TL Audio 52 Saturn Sound Recording Services, Keepers Rest,
ried out by the ever-popular Telefunken AC701 valve,
Total Audio Solutions 15 ì Beacon Road, Woodhouse Eaves, Leicestershire, UK.
the signal then passes through to an germanium tran-
Waves 23 Tel: *44 1509 891491
sistor (GEC TK23c) driving the output transformer.

90 STUDIO SOUND SEPTEMBER 2001

 To place an advertisement contact: Wendy Clarke at
United Business Media, Ludgate House, 7th Floor North, 245 Blackfriars Road, London SE1 9UR

CLASSIFIED Tel: +44 (0)20 7579 4723 Fax: +44 (0)20 7579 4011
All Box numbers reply to the above address
: Recruitment £40 per single column centimetre. (Minimum size 5x2).
All other sections £35 (minimum 3cm x 1). Box number £10 extra per insertion. Published monthly

Appointments
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Typically 40-hour week some standby work, audio: lighting and video. Cleaning and checking of equipment, For all the latest updated positions check out our website: www.taylor-phiiiips.co.uk
diagnosing and repairing faults. To apply for this position e-mail or call Julie Kirby quoting job Ref: - TP506/2
Taylor -Phillips, Recruitment Consultants, P O Box 230, Smarden,Ashford, Kent TN27 8ZG
Bench Service Engineer Location: London Salary: £15-20K Tel: +44 (0) 1233 770 867 Fax: +44 (0) 1233 770 176
An established company based in London is looking for an experienced engineer to work on a variety of products.
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 SPONSORED BY:
LETTERS: Focal Press WORLD EVENTS
111FNFIAI 1t1>N)K1 H* -1'11F Al11Nt)
VKt )1 F 111)NAI, ANI) SFIJI)f:N-F
September 15-16
EMAIL YOUR LETTERS TO THE EDITOR:
tgoodyerrc_Pcmpinformation.com
5-7 DVD Update 2001
-on Hotel. Barcelona. Spain.
NAB Radio Contact: Understanding & Solutions.
LETTER OF THE MONTN New Orleans. USA. Tel: +44 582 607744.
1

Tim Goodyer replies 9-12 Email: [email protected]

Net: www.UandS.corn
Critically Ifrir, (cat. r.e J rare Jane it by PLASA
n. UK 16-19
now. Wouldn't we? Instead. somewhere
Broadcast Radio & TV
speaking between the limitations of loudspeaker
technology, the diversity of sound
12-14 Equipment Exhibition
A COUPLE OF COMM l TS occasioned
r sources and the demands of the studio
PALM 2001
by Phil Newell's article on the Yamaha environment we've ended up with the
Nehru Center. Worli. Mumbai, India.
Contact: Exhibitions and Events.
22-25
NS -10M (Studio Sound, August 2001). attitudes and equipment that make mon- SATIS
Tel: +91 22 660 3443.
The small integral speakers in the Neve itoring one of the most vexed topics of Pans. France.
Fax: +91 22 660 4923.
(and other) consoles of the late sixties
were not intended as radio reference mon-
audio conversation.
What hope we will see from Studio
I
Email: [email protected] 28-30
itors, but as PFL and -or reverse talkback Sounds published measurements of the Net: www studio-systems.com CAB
Calgary.Canad
speakers. Many consoles only had one NS -10M along with forthcoming
dual function unit (a source of impotent measurements of the Auratone is any 14-18
fury when a studio performer used reverse coherent evidence of why these designs
IBC November
talkback when the balancer was trying to
listen on PFL!). Some had two dedicated
among so many have commanded such
widespread use. If there is some con-
RAI Convention Centre, 1-3
units but frustratingly it was usually quite sistency in their performance that can be
Amsterdam. Netherlands. Broadcast India
Contact: Exhibitions and Events. World Trade Centre, Mumbai.lndia.
difficult to feed either of them with the mix, equated to their popularity, we may gain
Tel: +44 20 7611 7500. Email: saicomObom2.vsnl.net.in
and impossible to configure them as a a useful insight into speaker design-and
Fax: +44 20 7611 7530. Net: www.saicom.com/broadcastindia
stereo pair. the race to replace the NS -10 will enter
Phil's well -researched article gives us its second leg.
Email: showOibc.org
Net: www.ibc.org
4-11
some fascinating insights into mixers' atti- Depressing conclusion, John? I'm SMPTE
tudes to monitoring but has a depressing betting not. Pasadena. USA.
Now established as a major event
conclusion. Isn't it time our industry
realised that we shouldn't be trying to
for audio professionals in the
exhibition calendar, IBC is bigger
8-12
This month's letter of the Audiovideo
make loudspeakers sound like other loud- by some 11% over last year and Jakarta. Indonesia.
speakers but like the sources which we're
month wins a free copy of again boasts a well subscribed
trying to moni) n' The Art of Voice Acting from dedicated audio hall. Amsterdam 14-15
John L Andrews, Sales & the Focal Press range in September is not to be missed SBES
Marketing Consultant, UK NEC, Birmingham. UK.
Net: www.sbes.com
21-24 15-17
Silence is golden moment that am the only person in the
I AES 111th Convention Interbee International
IAM NOT PARANOID. am not even I country to suffer thus, and one would sup- Jacob K Javit Convention Centre. Tokyo. Japan
pose that other irate viewers have. like New York, USA.
nn(try anymore. Well, perhaps just a lit
tin, what am is troubled by a type of tin-
I
-

myself, written on more than one occasion, Contact: Exhibitions and Events. 23-25
nitus which causes problems with certain to complain to the TV producers. but if so. the Net www aes org Music Live
Birmingham, UK.
(really most) TV programmes. Briefly,
can only hear commentary if it is unac-
I complaints are ignored. For one thing, it sure-
ly must be cheaper to make programmes
29-2 Oct Net www musiclive.co.uk
cornpan!nd by other sounds --'back- without this nuisance, but even the ads carry In The City# 1 O
The Midland Crowne Plaza.
27-30
ground' noise do not greatly care about
I it. Is it simply one more example of how the Radio, TV & Comms
TV. but do like historical documentaries,
I younger generation is obsessed by noise? Manchester. Eng;and Nizhny. Novogorod.
especially archaeological investigations, I was recently stopped by a van driver Contact: Exhibitions and Events.
Net www inthecity co uk
but my enjoyment is invariably ruined by
that irhiquitous 'incidental music'. If only it
who needed directions, bellowing his request
over the full-volume cacophony of his radio.
December
were either or both) After did a couple of silent mouth -workings,
I

October 6-8
Take a typical example: the otherwise he got the message and tumed it down. But ICE India 2001
excellent Allies at War, screened recently how could he have heard my directions over 4-7 Bombay Exhibition Centre,
by BEBC2 To a student of history, the stock the noise? Nordic Sound Mumbai, India.
h,utrutr, rrr.onstrucbons and factual 'now As a former cinema projectionist. under- Email: [email protected]
I
Symposium XX
l can he tol(1' commentary are dramatic

en(xgth, tint someone in 'authority' has decid-

stand the origin of this disease; it was to
paper over the scratchy, hissing gaps in the
Boikesje Mountain Hotel. Norway. 6-8
Contact: Exhibitions and Events. BCS 8 Comms India
ed to Intact more, by allowing some (tement- old deys of sound on film, when the sheer
Email soundsympOnrk.no New Delhi, India.
vrl percussionist to ion loose with n set of novelty made actors gibber 50 to the dozen.
hrargos, simulating-one supposes-gun- and producers were afraid that periods of
Net www.nrk.no/soundsymp
7-8
ti n rind or hombs, This, for me at least, silence, albeit brief. might case their audi- 4-8 Surround 2001
der out the voice -aver end completely ences to (a) fall asleep, (b) become restless, IBTS Exhibition Beverly Hills H, n. USA.
deftrntto the object of the programme (c) hurl missiles at the screen and -or the cin- Milan Trade Fair. Italy. Contact: Exhibitions and Events.
Subtitles? Well, they're all right, I sup onx, staff, or (d) take their custom elsewhere. Tel: +1 800 294 7605 x507.
-

Contact: Exhibitions and Events.

lose. but while I am reading them, l'in miss suppose the last was a viable possibility, Net: www.surroundpro.com
- I
Tel +39 0248 15541 .

mg the Imago Now I don't cr rppoce for one but this is not so with TV So why do it? Fax: +39 0249 80330. Email your event details to
Email, assoexpo assoexpo.com Dawn Boultwood:
I 111t INFl11ì\t.\-l'Il1N ON \I I10l Al Nil I \ Net: www.assoexpo.com
dboultwoodecmpinformation.com
for prompt inclusion in Would Events
\\'\\'\\',1t,c .1 l hl't'y.,.,cotll

STUDIO SOUND ,t.PTEMBER 2001 95

 LETTERS
Surely someone, somewhere in the dusty
corridors of TV planning is capable of under-
The ups and downs tual surround or headphone systems). centre of the production, why shouldn't it
Just as with stereo, the mixer should be in the centre of the room? Most mod-
standing the valid reasons for complaints of
this nature? But then again, perhaps not.
of multichannel check the various likely downmix configura- ern studio setups still relate to a time.
tions to make sure there are no problems. where the control room and the recording
judging by the level of 'entertainment' on I WAS INTERESTED to read Barry's Fox' Furthermore, again just as with stereo, room were strictly divided, and the control
the! piece entitled 'Love Wars' (Studio Sound, attempts to cook up more channels than room had a standard 'console in the mid-
Frank Burns, Blackburn UK May 2001) but he failed to make an impor- were present in the source ('upmixing'), how- dle outboard gear behind the desk' setup.
tant point. BMG's weak argument against ever pleasing over five loudspeakers, will When MIDI started to play a role, they just
Mister Marmelade putting out recordings with surround sound
might have made sense if the only way to
often be unsatisfactory when downmixed put the computer somewhere on the rack
again (remember those pseudo-stereo LPs?) at the back of the control room. Which was
THE RESPONSE have had to the article
I play them was with the five loudspeakers Kenneth Gundry, Dolby still fine, because when it was time to mix,
you ran on me is overwhelming (Studio that the BMG executive's sister and brother- Laboratories, San Francisco most MIDI edits were done anyway and
Sound, July 2001). have received some
I in-law would not tolerate. However, that is didn't play a major role at the mix.
great responses from all over Europe and simply not the case. Just as 2 -channel With digital workstations like Pro Tools
the US. sources can and often are played in mono, Tools of the trade you run into a completely different
The questions reflect an above average so multichannel material can be played JUST READ the article about the SSL-
I
situation. Doing somewhere between
readership (as opposed to EQ mag, with over 2 -channel or even mono systems. Pro Tools Studio in Holland in your May 50%-100% of your mix in the computer.
whom included my email also). was
I
DVD-Audio, and of course, Dolby Digital on 2001 issue of Studio Sound. This is the
I
why is someone sitting at the worst lis-
impressed with the quality of the photos, as DVD-Video, such as drew applause at tening point of the whole control room?
well as the paper-very classy. Billboard Andrew Evans' demonstration, are designed As the processes of songwriting, track-
recently ran one of the same photos, and it to reproduce multichannel material with as ing, editing, mixing, sound design, start to
was hard to tell it was me. With my face many or as few loudspeakers as the listen- melt together, the control room becomes
though, it could well have been intentional! er chooses. How else would a DVD player a part of that which was earlier done in the
Again, thanks, and if can return the with only a 2 -channel output play a movie? In
I
recording room. This also means a new
favour in any way, please call or email. addition, there are other ways to play sur- design for the control room, for working
Dave Pensado, US round sound than via five loudspeakers (vir- on modern style music. Even musicians
who are not involved in the latest trends of
the industry, after working in the studio for
a week, all sit around the Pro Tools screen
rather than at the TV monitor outside the
studio, becoming part of the mixing and
sound design process.
I have a double -screen Pro Tools setup
first time have given feedback to a mag-
I in the middle of my Neve series 51. Not
azine, but there are some reasons why I only is this very rare, the whole Neve frame
wanted to drop you a line. First of all real-
I is custom built and, at least as far as know,
I

ly enjoyed reading the article, because I the only angled Neve frame. On the left
think it reflects totally what's going on right side of the console, the setup goes fluent-
now for producers and studio owners. The ly over into a PC which is used as a data-
same thing happened to me. base for samples and sounds, to transfer
Even three years ago, never thought
I I WAV's into an Akai sampler via the USB
was going to do a session without an ana- bridge, and for the Nord modular editor.
logue 2 -inch. Now. can't imagine doing a
I Behind the desk are the traditional
session without a Pro Tools as the heart of racks of outboard, where one can find a
the studio. Not only does it save you so good combination of standards (Lexicon,
much time, it is also really reliable if one tc, Focusrite, Distressor, Amek, Tube -
knows how to service Apple and Digidesign Tech) rare vintage gear (Altec 436c,
products. sold my 2 -inch, and no-one ever
I
Calrec PQ1061 dbx161, Publison) weird
,

asked to record on it since. and funky stuff (Sebatron, dbx 503, ana-
Another thing is, that the idea of the logue flanger, phaser) and a good selec-
Pro Tools in the centre of the console isn't tion of synth modules (Roland, Akai, E -mu,
that new. With my and many others MAM, Jomox)
thoughts of Pro Tools being the technical Nico Berthold, Germany

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96 STUDIO SOUND SEPTEMBER 2001
óìi-ou -7tii Septernber-2001
 BACKCHAT

PETER EASTTY
The first of a regular new series of informal Studio Sound interviews begins with console
designer Peter Eastty facing an eclectic and irreverent selection of questions
PETER EASTTY has been making tive standards but there's also a lot of stuff, par-
digital audio signal processors for the ticularly inside PCs, which truncates (not dithers)
last 32 years so he reckons he should be the audio signal to ridiculously small internal
it right some time soon. He start-
gettingseven
word lengths, or doesn't interpolate coefficients,
ed with years at Electronic Music Studios or uses on -screen controls with far too little accu-
(EMS) in London creating digital signal proces- racy or other basically silly techniques. It is pos-
sors for the company's in-house studio, used for sible to make transparent, useable processing,
compositions by Stockhausen, Birtwhistle and but it usually takes more silicon and more
Henze. Then came four years at Pierre Boulez' thought than you first believed.
IRCAM (Institut de Recherche et Coordination
Acoustique/Musique) in Paris working on sig- Who is the unsung star of mixing console
nal processor design. design?
A move to Systems Concepts, creators of the That's difficult because mixing consoles are big
Samson Box processor at Stanford University, artefacts and they're generally made by teams.
began four happy years in San Francisco. A But if I have to pick one person it would be the
major change saw him join Solid State Logic in late Colin Sanders, not for designing a console
Oxford where he began the development of an but for designing a team to design a console.
integrated software-hardware approach to real- The best indicator is that most of Colin's team is
time digital signal processing which later became spread all over the industry still doing it.
. the basis for DSP-based products from both
SSL and Sony. After 12 years with Sony, he now What is the unsung triumph of console
divides his time between being chief consultant design?
engineer at Sony Pro -Audio R&D in Oxford The `producer's panel'. Real money for a table!
and a senior director of the company's SACD
team in San Francisco. Ifyou could change one attitude in pro-audio
Peter can sometimes be seen and heard giving papers Which three products have most changed the what would it be?
at AES conferences and is frequently involved in ad hoc pro -audio industry? Okay, this is where I get myself in trouble. It has to
audio discussions in the bars and restaurants where The combination of the multitrack recorder and the be the 'ears versus numbers' battle. On one side we have
audio engineers gather. Among his interests is the in -line console, and not always for the good. Time code- the search for ever `sweeter' sounding equipment instead
study of his two perpetual motion machines, aged it may be a filthy compromise full of ugly gotcha's, but of ever more transparent equipment. I'd like to see engi-
seven and nine. without it audio for video would be a very different neers start from the position of trying to make artefact -
world. The digital -to -analogue convertor, because that's free equipment and then, when they've done that, to
What's the best thing you've designed? what made computer music possible and from there on try to generate a `sweet' effect which the user can con-
the whole of digital audio became inevitable. trol. On the other side is the 'it measures OK, it must
Without doubt the OXF-R3 is the best thing I've sound good' fraternity who completely disbelieve the
worked on. Of course I only `designed' a small part of What is wrong with analogue consoles? abilities of the trained human ear. Experience says any
the underlying technology. The actual console design repeatedly reported audible effect can, in the end, be
as users see it was produced by the team. I guess in a way Not much really. If you keep them small and manu- linked to a measurable attribute of the equipment, but
that's typical of my work in audio. It's nearly all been the ally controlled and test that everything works every day. it might take you six months to find it. So in brief, make
result of teamwork. There's something about engineer- But a big analogue console ends up with a radio antenna it transparent first, then add the effect, listen to the
ing and particularly audio engineering that attracts good several metres long (called a mix bus) running down the equipment and believe what the `golden ears' tell you.
people. length of it. Digital control of analogue is hard-people
My present work in connection with SACD is likely have done it but it isn't easy and it isn't cheap and users What three luxuries would you take to a desert island?
to be my best. I'm involved with teams of engineers in do expect complete automation, not just faders. And
Oxford and San Francisco working together towards how do you make sure that the whole of a big analogue A really big Unix box. The BBC World Service. The
building the best possible audio equipment to make console is actually working? It's so much easier to make Pitt Rivers Museum in Oxford.
recordings for issue on SACD. a transparent, big, automated, reliable, digital console
than a similar analogue one. But you also have to be What was the last CD you bought?
What's the worst thing you've designed? able to make transparent, not just `nice -sounding' con-
vertors and you have to do the processing right with The CD version on Deutsche Grammophon of Berg's
The DACs on my first big digital machine, the Digital enough bits, proper dither, and so on. Lulu conducted by Pierre Boulez from the 1979 record-
Oscillator Bank at the Putney studios of EMS in ing done at IRCAM in Paris. I was working there and
the early seventies. Although the digital circuitry, a What is wrong with digital consoles? I remember with amazement Boulez `conducting' the
64 -oscillator, 3 -voice, additive synthesis machine with segment which involves an off-stage jazz band.
programmable amplitude, frequency, waveform, and The more general question is 'What is wrong with
so on was a real tour de force for its time. The DACs digital processing?' And I'm sorry to say that in some What was wrong and right about it?
were totally crap. A 16 -bit DAC built by adding togeth- cases (not ours of course!) the answer is quite a lot.
er the outputs of a 10 -bit DAC and a 6 -bit DAC does- Basically it all comes down to either not enough silicon How would I know? I'm just an engineer. I have two
n't sound like a good idea, and it wasn't. I know better or not enough knowledge, or both. There are certainly sets of ears, one for work and one for play. I've only
now but at the time I was surprised that it didn't work! digital audio products which are engineered to superla- ever listened to this recording with the play set.

98 STUDIO SOUND SEPTEMBER 2001

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