studio sonn - americanradiohistory.com€¦ · SPEC BRIEFS 1/3 octave or full octave bands 30 fitters on ISO centers 25Hz to 20KHz. Highly selective three pole -pair fitters exceed

studio sonn July 1978 50p

AND BROADCAST ENGINEERING

TEST EQUIPMENT

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London

+11 ot the p R.S. Exhibition Lon

Ire OM SaQUS°nStonB ....

MPS 110

The versatile P.R. System caters for many live media and recorded

sound situations where performance and reliability compromises are not affordable.

Perhaps the most unique aspect ofthe P R. System is the system

concept. Thorough understanding and analysis of our clients'

varied requirements has produced a range of 20 standard modules,

augmented by additional sub- module options. Situations requiring operational simplicity are catered for as

effectively as situations requiring comprehensive facilities. The 24 track console shown above incorporates in -line direct track monitoring with many innovative features and provides a

fine example of P.R. System versatility. With such a system every detail matters. Every control function

is designed to provide optimum response. Every component is

selected to assure consistent high quality performance for many

years. The rugged main frame is modular and offers expansion at

any future time. The Midas P.R. System provides the reliable link between you and

the perfect sound.

TIGRE RUOIG S:JSTErt15 LTD., JEFF MRS. 54-56 STRE1OPF STRUT, EUSTOEI. 101100E1 nun 3EX. Tel 01-388-7060 01-387-7679

1T110RS EUROPE., LOUIS OF POTESTP. 23 PUEt1UE D'RURIL.1200 BRUSSELLS, BELGIUITI, Tel, 322-771.3063 322.734-5974

TIC RS RUOIG GORPORRTIGI"I., BOB SIELGROUE. 730 í11P111 STREET I1IPGRP FALLS, I1EW YORK 14301. US R Tel, 716-282-4100

Er ions GRPIRGR. FRAIIK PImISKERFLGERR ELECTRO-PCOUSTlCS.365 ADELAIDE ST EAST. TOROF1TO Al5B 4R9 OTTARIO. CAIWOA. Tel, 416-868-0528

www.americanradiohistory.com

EDITOR RAY CARTER

ASSISTANT EDITOR MEL LAMBERT

EDITORIAL PRODUCTION DRUSILLA DALRYMPLE

CONSULTANT HUGH FORD

SECRETARY WENDY SMEETH

ADVERTIsem*nT MANAGER MIKE STORMER

PUBLISHER DOUGLAS G. SHUARD

1 THE LINK HOUSE GROUP

Editorial and Advertising Offices: LINK HOUSE, DINGWALL AVENUE, CROYDON CR9 2TA, ENGLAND Telephone: 01.686 2599 Telex: 947709 Telegrams: Aviculture Croydon

Link House Holdings Ltd 1978

STUDIO SOUND is published on the second Friday of the preceding month.

SUBSCRIPTIONS STUDIO SOUND is available at an annual subscrip- tion of £8.20. All enquiries to: Subscription Dept, Link House, 25 West Street, Poole, Dorset BI-115 ILL. Poole (02013) 71171. STUDIO SOUND is also available on a rigidly controlled requested basis to qualified personnel. For terms of control please see back page.

OVERSEAS READERS For overseas readers, outside Europe," who require STUDIO SOUND within days of publication instead of weeks, we have the facility to send the magazine by Accelerated Surface Post (USA only) or Airmail. The Accelerated Surface Post charge is $10 per annum. The Airmail charge is £12(sterling) per annum. If you would like your copies of STUDIO SOUND sent by either of these methods, please write to the Editorial Office at Croydon. On receipt of your remittance all subsequent issues of STUDIO SOUND will be sent to you by ASPIAirmail. All copies to Europe are sent Airmail.

BINDERS Loose -leaf binders for annual volumes of STUDIO SOUND are available from Modern Bookbinders,

' Chadwick Street, Blackburn, Lancashire. Price is £2 (UK and overseas). Please quote the volume number or date when ordering.

ABC ." ... :: a

Total average net circulation of 12111 per issue during 1977. UK 6175, Overseas.' 5936.

studio sound AND BROADCAST ENGINEERING

Bit between the teeth Although you'll have to wait until next month's issue for a full report plus pictures of the Los Angeles AES show, we can report that one or two interesting trends seem to be emerging, both to do with digital technology. The first, possibly more obvious, connection is that digital recording is definitely here to stay, but that a lot of studios face a frustrating year or two before sufficient, reasonably- priced machines make their appearance. Why frustrating? Because, quite simply, once you've heard the quality of a digitally -recorded tape -witnessed by the look of incredulity on the faces of visitors to the Soundstream and JVC stands, this pair having laid on the most convincing of demonstrations -you don't want to have to put up with second best.

OK, so many observers of the current scene- ourselves included -have made more than the passing reference to the fact that digital recording is more a case of `all or nothing'; because once the master tape has been digitised you have to find a cutting room that knows about 16 -bit (or whatever) decoding. It's our guess, however, that the drastic increase in quality will far outweigh the problems of compatibility between analogue and digital recordings.

But, tape machines aside, there is an equally important aspect of digital hardware becoming more and more obvious. In the field of outboard or ancillary gear, the advent of cheap analogue -to- digital converters has given an added impetus to the development of inexpensive digital delay lines. And ones that have a very usable bandwidth and distortion performance even at long delay times. Furthermore, these newly -available units aren't just being marketed simply as delay lines. There were at least two new devices on show at Los Angeles that proved, to this magazine at least, that at long last manufacturers are turning on to the fact that studios need reasonable spec plus usability. By which we mean that the controls look as if they were designed for use by engineers -and not just inveterate knob twiddlers -with front -panel facilities that would normally need half a desk to duplicate.

After all, it's not much use being provided with a six -output delay line with continuously variable delay at each output, if you tie up several channels by simply interfacing it so you have some reasonable degree of control over the final effect. How much better to do the mixing at the delay -line and return the processed signal in mono or stereo. It can be argued that two well -designed ddl /special effects units don't exactly constitute a trend. Nevertheless, if more studios only bought equipment that looks like it was actually put together with an engineer in mind, then the industry would be more creative both technically as well as artistically.

A thought to carry round this year's APRS exhibition, previewed on page 64. See you there.

Farewell This is my last issue of STUDIO SOUND as Editor, so I would like to offer my final thanks to all of you for all your help and encouragement over the last couple of years. It's a privilege to have been part of the recording scene and I really can't imagine a more friendly and rewarding industry in which to work. So good luck and best wishes to all of you, and in particular to my successor. Ray Carter

contents FEATURES SOUND ON STAGE -THE MUSICIAN'S CONTROL Terry Nelson SOUND AT NAB 1978 Peter Granet WAVEPOWER Tony Attwood APRS EXHIBITION 1978, A PREVIEW SURVEY: TEST EQUIPMENT

COLUMNS NEWS LETTERS AGONY WORK

REVIEWS SONY PCM -1 DIGITAL RECORDING SYSTEM Hugh Ford VALLEY PEOPLE TRANS -AMP LZ Hugh Ford TRIDENT CB9109 LOW DISTORTION OSCILLATOR Hugh Ford

56 64 78

36 54 60 90

102

104

JULY 1978 VOLUME 20 NUMBER 7

www.americanradiohistory.com

THE EVEATIDE mODEl 17Á3A1 DIGITAl

DRAY IYSTEfl1 Unequalled versatility and portabili_y :.ambined with studio quality specifications to

provide the optimum solttion to any delay line requirement.

FEATURES The 1745M employs random accesE rr erraries instead of shift registers for maximum

versatility. The standard 1745M offers two independent Jutputs, each providing up to

640 ms delay whici- is continuously variable. Up to 3 additional oLtputs are available.

The modular design o the 1745M allows the later addition of many special features, irc uding:

Pitch Changing, employing circuitry or wide range pi:ch and tempo variation and musical harmonizing

Flanging including manual and automatic flanging with digital versatility. Remote Control both manual and automation compatible.

Other devices available in :he Eventide range include the

HARMONIZER FLANGER OMNIPRESSOR

tVsorrID DIDi1TAL. DlI.AAY P.a.n 174.

PITCH RATIO

Eventide, Instant Ranger, Omnipressor and Harmonizer are trade marks designating the products of

Eventide Clockworks Inc.

U.K. Distr butors

UFeldon Audio Limited '26 Great Po-tland Street, LorcDr ß'1. Telephone 01 -580 4314. Telex: London 28668

4 STUDIO SOUND, JULY 1978

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The lE-30k Audio Analysis System from IVIE

1/3- octave Spectrum Analyzer Full- octave Spectrum Analyzer Precision Sound Level Meter True RMS AC Voltmeter RT60 (Reverberation)* THD (Harmonic Distortion)*

For the first time, a real time analyzer and precision sound level meter have been combined into a portable audio analyzer "system" with features and accuracies rivaling the best laboratory instruments available.

The fully digital IE -30A comes standard with a precision laboratory microphone calibrated in dB -SPL and remoteable up to several hundred feet, a test probe with two precision attenuator settings for calibrated dB}IV measurements (true rms, average or peak), nickel cadmium batteries with charger, and a hard shell, foam lined travel case. 'Using optional accessories

Other features include selectable detector responses, gated mode operation for measurement of reflections and time delay events, dual involatile memories that store or accumulate data that can be recalled to the IE -30A display up to weeks later.

The IE -30A was designed to accommodate an inexpensive new family of optional accessories. The IE -17A measures RT6o (reverberation time) in 1 /3- octave bands up to 99.99 seconds with 10 millisecond resolution. The IE -15A measures total harmonic distortion (THD) to less than .01%. SPEC BRIEFS

1/3 octave or full octave bands 30 fitters on ISO centers 25Hz to 20KHz. Highly selective three pole -pair fitters exceed ANSI S1.11- 1966Class III, B.S. 2475 -t964, DIN 45652. and I EC255 -1966. 1/3 octave display weighted A. C or Flat. LED array 30 x 16. Resolutions of 1, 2 or 3 dB for display ranges up to 45dB. Precision SLM has Fast, Slow, Impulse or Peak responses with A, C or Flat filter weightings. 4 digiti0.1dB resolution readout with display hold mode.

Meets requirements of ANSI S1.4 -1971 TYPE S1A. S1C,BS 4197 -1967 DIN 45633 B1.1, 81.2 (Impulse) IEC 179 -1973. 30 to 149 dB SPL re 20pN/M2. Microphone is omnidirectional condenser Type 1

(Precision). Flat 10Hz to 20KHz. Signal outputs for recorders, oscilloscope displays and voice prints.

IVIE ELECTRONICS, INC. 500 West 1200 South Orem, Utah 84057 U.S.A. (801) 224 -1800 TELEX or TWX 910 -971 -5884 11

Call your nearest 'vie representative for further information: Australia, Melbourne KLARION ENTERPRISES Tel 61 3801 Belgium, Brussels S.E.D. Tel 02-522 70 644

Denmark, Hvidovre S C SOUND APS Tel (01) 47 12 22

Finland, Helsinki MS AUDIOTRON Tel 410688

France, Paris REDITEC Tel 935 97 86

Italy, Milano ROJE TELECOMUNICAZIONI Tel 414.41.41/41/43

Japan, Tokyo ELECTORI CO. Tel (03) 950-6262

Malaysia /Indonesia, Singapore ELECTRONICS & ENGINEERING Tel 75873

Netherlands, Amsterdam SELECTRONIC Tel (02963) 4838/4966

Norway, Oslo MORGENSTIERNE & CO Tel (02) '35 61 10

Spain, Madrid NEOTECNICA Tel 242:0900

Sweden, Stockholm ELFA Tel 80/730 07 00

Taiwan, Taipei ASIA ELECTRIC TRADING CO. Tel 5925545-8

United Kingdom, London FWO BAUCH Tel 01 -953 0091

Venezuela, Caracas ELECTRONICA GRAMOKO Tel 351419

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IMProfessionaI We Will Beat Any Genuine Advertised Price

Europe's LargesF Suppliers of Siudio Ii+fffft+44; itxflufft

EQUALIZERS SOUNDCRAFTSMEN Graphic EQ's. SAE Parametric EQ's. JVC SEA 10 (2 x 5 Band), SEA20 (2 x 7 Band) TECHNICS SH9010 (2 x 5

Band), SH9090 (I x 10 Band) MXR (I x 5 Band), (I x 10

Band), (2 x 10 Band) MM -Pace (2 x Band), SR271 (I x 27 Band)

WOLLENSAK WOLLENSAK /West End Distributors

High Speed Duplicators. £1498 90 +VAT. New 2772A/V gives 2 stereo musicassettes in

under 4 minutes. Call in for a

demonstration.

UHER PORTABLE RECORDERS As used by most Broadcasting Companies. All models in stock plus every accessory available.

ARE

Very low prices, e.g. 40001C £225 + VAT. +SONY+ NAKAMICHI +JVC+ TECHNICS+ TEAC. Portables all Off the Shelf.

REVOX Incredible stocks at ridiculous prices!

MICS OVER 500 ALWAYS IN STOCK!

A77, B77, A700 Off the Shelf. High speed, low speed, vari- pitch ± all accessories! Ring us now for the lowest price.

TAPE AT TRADE PRICES Any quantity - same price ,÷"

tape, 102" reels. AGFA PEM368 Metal £10.06 AGFA PEM368 Plastic £7.79 SCOTCH 207 Metal £9.81 SCOTCH 207 Plastic £8 03 MAXELL UDI80 Metal £8.89 TDK AUDUA LB3600 Met £I I -40 TDK AUDUA L3600M Met £9.50 SONY SLH-I I -I IOOBL Met £10-00 SONY SLH -740B Metal £6.89 REVOX 601 Metal LI I -80 REVOX 601 Plastic £1000 All above prices exclusive of VAT. Also large stocks of 7" & 5" reels.

AKG We carry every model inc. capacitors BEYER Most dynamic+ribbons. CALREC 600 Range. SENNHEISER Large stocks. SONY All models. NAKAMICHI All models. E.V. Selected range. SHURE Very large range. NEUMANN All popular models. +Cables, Transformers, Stands, Connectors & Clips, Windshields, etc.

CANNON XLR'S ANY QUANTITY -SAME PRICE

^'1XLR -3 -I IC £I.39 +VAT

XLR -3 -12C f 1.06 +VAT

XLR -3 -31C £l.85 +VAT

1 XLR -3 -32C £1.06 +VAT

AMPLIFIERS HH S500D, TPA, All stage amplifiers. SAE From 2 x 50 watts to 2 x 400 watts RMS. QUAD 405, 303, 50E usually in stock. JPS A fantastic range of budget studio amps. AMCRON DC 300A, DI50A, D60. Trade prices.

8 TRACKS 2" or I" Both Tascam and Brenell Recorders in stock for immediate delivery. Plus complete range of 8 Track ancillaries.

TEAC -TASCAM CENTRE Britain's Largest Stockists. All Models on demo in our studio 33405 4 CH 2340SX 4 CH 3300SX2T 2 TR 6100 2 TR 7300 2T 2 TR TASCAM 80 -8 8TR

MIXERS The widest range under one roof! From £35- £2500. Mixers in stock: SOUNDCRAFT 16/2, 12/2, 12/4 Series II. H H 16/2, 12/2. MM All models.

TEAC -TASCAM Models I, 2, 3, 5 -I- Accessories. CANARY 10/2, 10/4. HILL 16/2, 10/2. SONY MX8, MX5I0, MX650. Plus ALLEN & HEATH, JVC, UHER, EAGLE, etc.

Plus Echoe's, Phasers, Flangers, Limiters, Noise Reducers, Expanders, Mix -Downs, Mic Stands, Cable Drums, Disco Gear, Chassis Speakers, Studio Monitors, Headphones, Demags, Splicers, etc.

WPRO -AUDIO & DISCO: 146 Charing Cross Road, WC2 01 -836 2372 VIDEO & HI -FI: 114-116 Charing Cross Road, WC2. Hi -Fi 01 -240 3386 Video 01 -240 3066

TAX -FREE EXPORT & EXPRESS MAIL ORDER: REIN House, 10 -12 High Street, Colliers Wood, SW I9. 01 -540 9684 Also at 230 Tottenham Court Road, W.I.

The Professional Everything Slore 6 STUDIO SOUND, JULY 1978

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Audio Established 1948

Largest Stocks lowest Prices!!

& stage Equipmenl EXCLUSIVE FROM REW SAE A superb range of studio electronics from the U.S.A.

POWER AMPLIFIERS PARAMETRIC EQUALIZERS

Prices exclude VAT 2800 Parametric equalizer 2 x 4 Bands £40800 1800 Parametric equalizer 2 x 2 Bands £23900

4000 Electronic crossover, stereo, variable frequency £15500 4100 Digital time delay, stereo £35400 2200 Power amplifier 2 x 100 watts £34600 2400L Power amplifier 2 x 200 watts £57800 2500 Power amplifier 2 x 300 watts £75500 2600 Power amplifier 2 x 400 watts £88700 5000 Impulse noise reduction unit £17600

SOUNDCRAFTSMEN America's Largest Manufacturer of Graphic Equalizers

GRAPHIC EQUALIZERS 2204 2 x IO Bands £199 00 e 2205 2 x 10 Bands, rack mount £22600 2209 2 x 10 Bands, rack mount, 600 ohm balanced in /out XLR £31900

r NEW CLASS H

POWER AMPLIFIER MA5002 2 x 250 watts, meters £39900

Prices exclude VAT

DOKORDER Pro 4" 4 Channel Recorders

140. 15 -I- 72 ips, 104" reels. Full motion sensing logic. Auto rewind -play. Auto -sync switching. Front Panel variable bias. Peak LED's. Eye -level electronics. £698 -I- VAT.

Open 9.30 am -6 pm -6 days a week lust walk in - 95% of advertised

gear available off the shelf

Payment by: Cash, Barclaycard, Access, American Express, Diners, HP (Instant credit possible)

THE LOW PRICE HOT LINE 01 -836 2372

New o pde

5 mat

c y: Centrepoint

NEAREST TUBE STATION REM TOTTENHAM COURT ROAD UNDERGROUND

SOUND INTERNATIONAL forms a link between professional musicmakers and those recording sound. The focus is on news from both sides of the recording fence, providing musicians, studio engineers, and home recordists with a monthly point of reference on the music scene. The magazine reports the international news of people and events and reviews the latest in recording equipment and musical instruments. Also scheduled are regular articles on technique and problem solving together with behind -the- scenes look at events in the big studios and concerts. There is no doubt SOUND INTERNATIONAL is a lively forum in the world of music and recording.

I enclose cheque /International money order, made payable to The Link House Group (Subscriptions) to

the value of

Name

Street

City

County /State

Country /Zip Code

Annual Subscription Rates: UK £8.20, Overseas $25.00 To: Subscription Manager, Sound International, Link House Holding Ltd., Link House, 25 West Street, Poole, Dorset BH151LL SS 7

www.americanradiohistory.com

We do not offer any gimmicks.

Our equipment is designed to last with excellent specification at realistic prices.

Why not find out more about it?

3M UK Ltd., Witley Works, Witley Gardens, Southall, Middlesex. Tel: 01-574-5929/6045

Tweed Audio, Pinnaclehill Industrial Estate, Kelso, Roxburghshire. Tel: (05732) 2983 Telex: 727633

For further information contact nearest office.

1640 Fifth Street, Santa Monica, California 90401 Tel: (213) 451 -0688

INTERNATIONAL BROADCASTING CONVENTION LONDON 25 -29 SEPTEMBER 1978

To be held at the Wembley Conference Centre, London's new major conference venue.

The TECHNICAL SESSIONS will cover new techniques, systems and developments in sound and television broadcasting including:

microprocessors and minicomputers in broadcasting; low- budget broadcasting systems; satellite broadcasting and distribution systems; studio lighting technology; propagation and service planning; transmitters, transposers and aerials; new broadcasting systems (e.g. teletext and traffic information);

sound systems, stereo and quadraphonic;

television cameras, electronic graphics, visual effects and other studio equipment; video and audio recording and storage; lightweight programme equipment; audio and video measurement technology; future possibilities in receiver design.

The EXHIBITION complementing the technical sessions ranks as one of the most important market places in the world for broadcasting equipment and services. Leading world manufacturers will show and demonstrate their latest equipment.

The SOCIAL PROGRAMME during the Convention will include a Reception, Visits and a special Ladies' Programme.

The INTERNATIONAL BROADCASTING CONVENTION is sponsored by the: Electronic Engineering Association - Institution of Electrical Engineers - Institute of Electronics Engineers - Institution of Electronics

and Radio Engineers - Royal Television Society - Society of Motion Picture and Television Engineers.

For FURTHER INFORMATION about IBC '78 please write to the Secretariat, International Broadcasting Convention, IEE, Savoy Place, London, United Kingdom WC2R OBL.

8 STUDIO SOUND, JULY 1978

www.americanradiohistory.com

NEW LEADERS IN FRANCE

Publison Audio Professional Manufacturing COMPRESSOR -LIMITER PUBLISON CL 20 B

Stereo -compressor -limiter with fast photocel -very low noise : - 102dB and low distortion when compression operates : > 0.1%-use fat opa band- width 100 kHz even for + 20 dB- insertions in side -chains- stereo -coupling -display of compression ratio by 11 led- special circuitry to suppress distortion on low frequencies.

HARMONIZER -DELAY LINE DHM 83 with MEMORY MODE

STEREO VOLTAGE CONTROLLED DELAY up to 360 mS for 5 kHz - bandwidth (180 mS for 10 kHz - 120 mS for 15 kHz). HARMONIZER: from - 20 to + I octave- micro -computer operates phase coincidence of successive sequences and suppresses ARTIFACTS precedencly usual in such systems. MEMORY MODE with keyboard remote control, one can play with any memorised sound. TRUE DYNAMIC RANGE: 100 dB by the mean of a 13 bits flying comma D/A converter.

Publison Audio Professional Distributor ANALOG DELAY LINE FLANGER -LOFT 440

At last an analog delay system that gives you the best of two worlds. It has the long delays, greater bandwidth and higher SAN of the better digital units, without digital step error or quantizing noise. Delays are continuously variable from 5 mS right up to 160 mS. The bandwidth is still 18 kHz at 40 mS and a very respectable 6 kHz at 120 mS. A sophisticated noise reduction system preserves dynamic range while lowering noise and avoiding input limitations common to most delay units. The voltage controlled cime- sweepable function combined with the clock mix and regenerate controls provide the potential for an unlimited variety of new and exciting effects. True doubling, stereo synthesizing, slap -back, short echoes, vibrato, resonant pitches, and of course a wide range of flanging, to name a few. can all be derived from the unit.

For further information, contact PETER DEAN - Publison Audio Professional 5- 7 -9 -11, Rue CRESPIN DU GAST -75011 PARIS

Tel: (0- 11 -33 -1) 357 64 08

SEE US ON STAND 43 AT APRS EXHIBITION 9

www.americanradiohistory.com

FEATURES: 27 1/3 octave bands on ISO centers from 40 Hz through 16 kHz. 10 dB boost or cut on continuous control. Equal Q in both boost and cut conditions. Variable high -pass filter from 20 Hz to 160 Hz with 12 dB /octave roll -off. Filter Q optimized for best summation with adjacent bands.

Noise guaranteed to be -90 dBm or better. Sealed Mil -Spec pots. EQ IN/ OUT switch on front panel

PLUS OPTIONAL CROSSOVERS FOR BI- AMPING!

Dual buffered outputs for bi -amp operation. Accessory socket to permit insertion of 12 dB /oct. or 18 dB /oct. low level crossover for bi -amp outputs.

momTOa EQUALIIER!

ALSO: ANALYSERS

MODEL 140 1/3 OCTAVE ANALYSER FOR ROOM ED

MODEL 142A SIGNAL MONITOR MODEL 150 OCTAVE BAND

ANALYSER

instruments, incorporated

P 0 Box 698 AUSTIN TEXAS 78767 PHONE AREA 512/892 -0752

Scenic Sounds Equipment,

97 -99 Dean Street, London W1. Tel: 734 2812

9ei9,un S 11 Nye Ba,eBnaa11a6 1040 B1u.eoes le' 522 7064

A R C SPH1 Boe rr Oecuvoer ,4 200 B,u.vres rei , P, 3061

BeP

IaxeAuaiu APS

47,1e77e, an

0r 0300600ennag,S 1e, 570600

050

fa- S--OfNvox NAGRA 3 AND NAGRA 4

ADD A BIT, AND SOME MORE

WATCH THE COST,

THINK OF WEIGHT ITS ALL INCLUDED

IN THE SP8 !

Total weight with batteries, tape and carrying case - 4.6kg

Includes Pilot, STEREO, MONO,

half or double tracks for further details:

JOHN PAGE LIMITED WESLEY HOUSE, 75, WESLEY AVENUE, LONDON, NW10

01 -961 4181 TELEX: 24224 REF 568

10 STUDIO SOUND, JULY 1978

-TURNER- PROFESSIONAL STEREO POWER AMPLIFIERS

SPECIFICATION Power Output Power Response Distortion Noise Crosstalk

MODEL B 302 -XLR 60W -16, 100W- 8,150W -4ohms !01dß 20Hz- 20kHz, 80W 8ohms <0 005 %at 1kHz, 80W 8ohms >110dB below 100W 8ohms > 9OdB at l kHz,1OOW 8ohms

SPECIFICATION Power Output Power Response Distortion Noise Crosstalk

MODEL B5O2 -XLR 100W -16, 170W -8, 280W-4ohms ±0.1dB 20Hz- 20kHz,150W 8ohms <0.005% at 1kHz, 150W 8ohms >110dB below 170W 8ohms >90dB at IkHz,150W 8ohms

TURNER ELECTRONIC IND LTD ,175 Uabe doo Rood. Hen.vall, London W7 3TH, Groat B. tarn le) 01 5678472

www.americanradiohistory.com

AMPEX ATR 70O

i i i i i i

Distributed by :

OTA . / 1 -7 Harewood Avenue, Marylebone Road, London NW1 i /

Tel: 01- 7242497. Telex: 21879 i 9210C Boulogne (Paris). Tel: 605 3363

FRANCE: Son Professionnel, 29 -31 Avenue André Morize e\''-

J '\' / / a e / /

/ "Q\e P 0 / / www.americanradiohistory.com

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Multitrack Consoles by AMEK

AMEK M2000:the purpose -built multitrack console - mainframe for 28 inputs, with 24 track -reading meters -16 buss outputs and 8 direct assigns.

In -line format with panning between live busses; mic and two line inputs; 4 band equalizer with switched frequencies; 4 auxiliaries; Penny and Giles faders; in -place solo on channel and monitor.

Stereo buss for remix; 4 separately addressable stereo subgroups to remix; eq. to monitor facility; separate studio and control room monitor selection systems; built -in oscillator and talkback systems; 240 pointjackfield; 48V phantom power supply.

Excellent performance specifications.

AM EK M3000: Favourably comparable to any console currently available, the M3000 features VCA faders with DC subgrouping; overall status commands for desk operation; 32 -track monitoring; complete quad mixdown; comprehensive reciprocal -curve 4 -band parametric equalization on all i/o modules; + 24 dBm headroom on the mic amp, and a favourable price.

A computer will be available by Advanced Music Systems using time -lock to tape via SMPTE code and floppy disc store, with access to several mixes.

AMEK M2000: 28 inputs; 16 busses;

8 direct assigns; 24 meters

Contact - UK: Nick Franks and Graham Langley, AMEK SYSTEMS AND CONTROLS LTD. Islington Mill, James Street, Salford, Lancashire M3 5H N. Tel: 061-8346747. Telex: 668127

Or- Australia: Con Psorakis, AUDIO CONTROLS, 22 Finnis Street, North Adelaide, Tel: 08-267-4529 Telex: 88729

Benelux: Luc Ardyns, JUST BORN STUDIOS, Terlindenstraat 76, 1790 Hekelgem, Belgium. Tel: 053.70 50 03

France: Francis Linon, SOCIÉTÉ CYBORG, 72 Ave. Lenine, Gentilly 94250. Tel: 161-657 0812

161. 3661772

Germany: USA: Manfred Brunwey, Brian Cornfield, RECORD STAR STUDIO, EVERYTHING AUDIO, Bernstorffstrasse 123, 7037 Laurel Canyon D -2000 Hamburg 50. Boulevard, Tel: 40-439 7254 North Hollywood,

California 91605, Tel: 213. 982.6200 Telex: 651485

12 STUDIO SOUND, JULY 1978

www.americanradiohistory.com

NO COMPETITION The superb 3.77 is the only choice in compact professional recorders.

/Who says? Hundreds of satisfied professional users- Broadcast authorities, studios, record companies, universities etc etc.

What makes it the best? The 3.77 provides more performance and features for your £ than any other mocel. Like 3 speeds, flat metal facia with excellent editing facilities, 100% variable speed control, logic control with motion sensing, line -up oscillator.

Is it reliable? The 3.77 uses the famous REVOX A77 chassis -there are more A77 recorders in use in studios than any other recorder. The industry depends on it.

How about delivery? As quick as you can dial 01- 724 2497/8.

33/4 +71/2 +15 £575 7'/2 +15 +30 £610 An

1 -7 Harewood Avenue, Marylebone Road, London NW1. Tel: 01 -724 2497. Telex: 21879

www.americanradiohistory.com

PROLINE 2000TC You now have to

choose...

because the choice of audio recorders has just

been increased! It's sound sense to choose the new

Proline 2000 TC now that the choice of Proline Professional audio recorders has been increased to two. Proline Profes- sional have already been acclaimed for their performance and reliability world- wide with the economically priced Proline 1000.And now,from Leevers -Rich, largest and most experienced manufacturers of professional recorders in Britain, comes

poLEEVERS -RICH PROLINE PROFESSIONAL

the Proline 2000 TC with a Twin Vari- speed servo capstan.

The Proline 2000 uses electronics in place of mechanics - on board solid state analogue switches - modular con- struction for easy maintenance, and a

host of other high technology concepts adding up to the most sophisticated recorder in large scale production in Britain today. Have a word with Tony Costello or John Robinson at 01 -874 9054 Leevers- Rich Equipment Ltd 319 Trinity Road London SW18 3SL Telex 923455

14 STUDIO SOUND, JULY 1978

www.americanradiohistory.com

ITAM806 Anew standard in compact multitrack recorders NEW Compact cabinet, with optional console base. NEW tape heads, giving outstanding cross -talk characteristics.

THREE VERSIONS

B channel, half inch tape 4 channel, half inch tape 4 channel, quarter inch tape

3u It -in wide ranging varispeed (I I00`%,). Mcdular electronics.

Logging versions available (down to

15/16 ips)

it a 1 -7 Harewood Avenue, Marylebone Road. London NW 1. Tel: 01 -724 2497 Telex: 21879

miFRANCE: Son Professionnel, 29 -31 Avenue André Morizet, 92100 Boulogne (Paris). Tel: 605 3363

www.americanradiohistory.com

You always perform better with the right equipment

With Neal Ferrograph you get the right equipment for the job, and the best in its class. A good formula for

success, of which von can be assured every time you choose from the fully - integrated range o(specialist

recording and ancillary equipment in the NEAT, FERROGRAPH range.

The NEAL 302. Incorporating a 3 -motor mechanism, controlled by a

full solid state logic system actuated by ultra light touch buttons, this is the machine used by top

recording studios and broadcasting stations, for quality cassette copies and for in - cassette

duplication masters.

Studio 8 A professional studio tale recorder logic controlled for

superb tape handling characteristics, offering a choice of stereo, twin track

and full or half track mono heads, PP %I or Vi' meters, I EC ( CCI R )

or NAB equalisation,console or transportable models.

The Ferrograph Logic 7. A transportable tape recorder of unrivalled facilities; taking all spool sizes up to 27 cm, and providing three speeds, plus positive action push buttons in association with logic circuits ... for fast, safe tape handling under all conditions.

The RIGS 2. Combines in onc°easy to use compact instrument the measurement ofgain, noise, frequency response, input sensitivity, output power, distortion and the parameters relating to recording equipment, such as wow and flutter, crosstalk, drift and erasure. Its range of application can be extended even further by the addition of the Auxiliary Test Unit ATV 1.

Fitt" F E HBO( O( 11H TOTALTAPE TECHNOLOGY

SIMONSIDE WORKS SOUTH SHIELDS TYNE & WEAR NE34 9NX Telephone: SOUTH SHIELDS (0632) 566321 Telex: 537227

16 STUDIO SOUND, JULY 1978

www.americanradiohistory.com

flow - VARISPEED plus CRYSTAl COATROI

4 Industrial 3340SX available with VARISPEED CRYSTAL CONTROL

p, RE

VAR\SPEED OPS A\\V_VI

Industrial 3300SX with VARISPEED CRYSTAL CONTROL

Wide rangeVARISPEED pro- vices 40% speed variation for effects. Crystal control guar- antees capstan motor speed error less than 0.001 " whilst mains locked versions depend on power linefrequencyupto20,, error. DON'T ACCEPT LESS

1 -7 Harewood Avenue, Marylebone Road, London NW1. Tel: 01 -724 2497 Telex: 21879 OlA

www.americanradiohistory.com

See us at Li\LW EME stand 17 -18

Our small mixers aren't cheap

The 828 - /Ccea new baby

...but then our big mixers aren't expensive.

The "Kee Custom Modular

"Ueee 20 input, 20 output, 16 track monitorin (Stancoil Ltd.) console at `Dodgy Demos', Berkshire

38 Alexandra Road, Windsor, England Tel: Windsor (075 35)51056/7 Telex: 849323 a/b Aegis

.-TN

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INSERT

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OSCILLATOR ROUTING BUTTONS UP

TALK-BACK ROUTINS BUTTONS MN MIC BUTTON HOLD ONLY

CAI

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2 3-REMIX>t C H I LT O l\i 18 STUDIO SOUND, JULY 1978

POSI A IX

MON

LEVEL

n REMIX

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REMIX f-d R n REMIX

RETURN

MONITOR

n MOTION

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. I I PHONES

f _JJ CUE

OFFER SO MUCH MORE FOR YOUR BUDGET:

From 10 -2 to 24 -B + 16 Track Monitor Chilton Works, Garden Rd, Richmond, Surrey TW9 4NS Telephone 01- 876 7957

www.americanradiohistory.com

AURATONE

The amazing 5C Super Sound Cube. Only 6" x 6" - but it sounds enormous!

Only £38 per pair.

OTARI DP4050 OCF IN CASSETTE DUPLICATOR Now with 3% + master capability and Ferrite heads. Duplicates 6 cass- ettes each run at 8 times speed. Over 80 stereo C60 per hour. Unquestion- ably the finest in cassette copier avail- able from the world's largest dup- 1 icatormanufacturer.

OTA

ORBAN PARASOUND from USA

Dual channel multispring reverb unit. Each channel features four springs - far smoother than single spring systems. "Twang" and " boing" are virtually eliminated by incorporating a floating threshold limiter. Bass, mid -range EQ and bandwidth controls. The best com- pact reverb unit available.

ITAM 882 New Stereo Mixer, built to a specification not a price! Ultra low noise, -128dB. 8 inputs +8 direct outputs, 2 outputs with VU meters. 2 limiters. XLR mic inputs (balanced). 3 band EQ .l- mid sweep. £395+ VAT

RSD Studio Master 16 4

MIMI INN= .

A really comprehensive budget - priced mixer. 16 inputs, 4 outputs. Pre - fade monitor, multi - band EQ including 3 EQ and 2 sweep controls balanced inputs, XLR connectors, compre- hensive monitoring. £767 I VAT

Also available : 12 <2 model with direct outputs. £385 - VAT

QUAD The new 405 power amplifier is now in stock. 100 watts per channel - simply the best, for £££'s less! Immediate Delivery!

1 -7 Harewood Avenue, Marylebone Road, London NW1. Tel: 01 -724 2497 Telex: 21879

FRANCE: Son Professionnel, 29 -31 Avenue André Morizet, 92100 Boulogne (Paris). Tel: 605 3363

www.americanradiohistory.com

NEW from amcron REAL TIME ANALYSER RTA 2

* 5" CRT Display

* Internal Pink Noise Source

* ' or I octave Display

* Frequency range 20 -20 kHz

* Outputs for X -Y Recorder

* Compatable with any microphone

* Price £1960 ex. VAT

The Amcron RTA2 Real Time Analyser is designed as much for use as a production tool as it is for on -site audio

analysis of Theatres, and Recording Studios. A flight case is available.

POWER AMPLIFIER D75

* New Amcron IOC comparator.

* Balanced XLR input connectors.

* Signal presence indicators.

* Separate Signal /chassis earth.

* 45 watts into 8 ohms per channel.

Price £230 ex. VAT

The Amcron D75 power amplifier replaces the

previous model D60. Employing completely new

type circuitry it offers also many new features, but

without any increase in the price.

Other Amcron Products include:

DC300A 500 watts /channel £550

DI50A 200 watts /channel £350

VFX2A Crossover unit £270

EQ2 Equaliser unit £599

ICI50A Preamplifier £250

IMA Intermodulation Distortion Analyser £610

MACINNES LABORATORIES LIMITED Carlton Park Industrial Estate, Saxmundham, Suffolk. Tel. Sax. 2262/2615

Macinnes France 18 Rue Botzaris, Paris 75019. Tel. 206 60 80

206 83 61

20 STUDIO SOUND, JULY 1978

www.americanradiohistory.com

A REALLY PROFESSIONAL MICROPHONE THE EAGLE PRO M90 MICROPHONE A tough cardioid mike for stage use. Voice or music. Indoors or out. A mike with really good feedback control and an amazing 40 to 16000 Hz frequency response. Three layer windshield. XLR connector. Custom -built clip for stand use. A mike that will never let you down.

That's why the real professionals use it.

EAGLEI Address

Name

riIN IMM

Please send me details of all the Eagle mikes, mixers, stands and other studio equipment.

Phone

EAGLE INTERNATIONAL I

L. Eagle International Precision Centre, Heather Park Drive. Wembley HAO 1SU, Middlesex. Tel: (01) 902 8832 SS1 - N - - - M N

www.americanradiohistory.com

The Music

Laboratory just has to go

Due to rapid expansion of business over the last two years, we have been forced to move to larger premises, which are situated in Central London, making it more convenient for our professional customers.

The hire department will provide excellent hire facilities, with machines ranging from small tape recorders, to the Music Laboratory's complete 8 -track packages.

We are the official Revox Centre (London), and the leading distributors of Revox; which we also service, plus other well -known makes of recording equipment.

In the new premises, the Music Laboratory will hold an extensive range of stock, such as Revox and the complete Teac and Tascam range, which can be demonstrated in our fully- equipped demonstration studio.

For further enquiries please telephone 01 -388 5392 or 01- 3491975.

tiloortrily 74 Eversholt Street, London N.W.1. Telephone 01 -388 5392/3/4/5.

www.americanradiohistory.com

Come and see the new TSM, Fleximix and range of peripheral equipment.

Stands 28 & 29 A.P. R.S. London 21st -23rd June'78 You'll be there if you know what's good for you!

Jigsaw, a leading 8 track studio, chose the incredibly versatile Trident Fleximix for its outstanding performance. Make a record of these Fleximix points :

Fully Modular Total system

flexibility -a module can be placed anywhere in the mainframe.

Expandable at any time from mono to 24 track with no pre- wiring necessary.

Maximum of 10 mixed output groups (8 sub - masters and 2 main left -right masters), plus monitoring facilities up to 24 tracks.

Individual illuminated channel metering and L.E.D. column indicators to P.P.M. specification on sub - master groups.

Complete patchfield facilities including direct channel outputs and pre -fade limiter insertion on input channels and output groups.

Self- contained ;Dower supply system. Each mainframe contains a fully regulated and protected dual power supply which can be used to "slave" another mainframe in the event of failure.

Now available with P. & G., conductive plastic faders. For full details contact :

Trident Audio Developments Ltd., Sales Office, 112 -114 Wardour Street, London, W1 V 3AW. Tel : 01 -734 9901/6. Telex : Tridisc 27782

TRIDENT Crossing the frontiers of sound. Photograph shows Dave and Sue Williams at work in their Jigsaw studios Tel: 0 1- 668 3457

www.americanradiohistory.com

"THE GAUSS HIGH SPEERTAPE DUPLICATING EQUIPMENT

WE PUT TO WORK IN 196815 STILL WORKING, THREE SHIFTS."

"Gauss high speed tape duplicating technology was originally developed right in this department at Capitol in the late 60's. And, the first ten machines ore still in full operation at our Jackson- ville, Illinois facility. In fact, they're work- ing three shifts a day. They're even bet- ter machines thon they were in 1968... because we've continually up- graded them with new innovations from Gauss and our own engineers. To-

day, they're performing at the leading edge of the technology. If they weren't, Capitol would find something better."

At Gauss, we engineer the quality in. Modularly Solid state. That way, as we improve the technology, you can upgrade your equipment. We're engineers building for engineers.

Richard P. Blinn, Director, Studio Operations & Electronic Development

Capitol Records

gt Cetec audio

engineering means

Gouss 10 MHz Bias System assures you lower noise and distortion. Wow /flutter is

less than 0.05% RMS. And that's just the beginning of our engineering story.

Nome your format. 2- track, 4- track,

8- track, cassette, or, reel -to -reel. Gauss

delivers. And, you can change formats in less than 10 minutes. What's more, you can choose berween 32:1 or 64:1

duplicating with the flip of a switch. Here's the acid rest: Ask anyone who

owns a Gauss high speed tope repro- duction system what they think of their system. They'll tell you that Gouss high productivity, highest -quality sound

reproduction and maximum reliability. If those are your criteria, we think you'll choose Gauss.

aus CETEC AUDIO 13035 Saticoy Street North Hollywood. CA 91605 (213) 875 -1900 T W X: 910- 499 -2669

CETEC INTERNATIONAL LTD. 16 Uxbridge Road Ealing. London W5 2ßP England 01- 579 -9145 TLX 935847 Divisions of Cetec Corporation

24 STUDIO SOUND, JULY 1978

www.americanradiohistory.com

HHS500 D

The Perfect PowerAmplifierfor Top Sound Systems....

Since its introduction, the HH S500 -D has become established as one of the world's leading power amplifiers. Many prestigious organisations have confirmed the amplifier's unique performance and dependability under tough operating conditions. The list of users is long and varied but here are a few of interest: Installers - Scenic Sound Limited, in co- operation with Eastlake Studios (for world -wide recording studio use); Martin Audio Limited (P.A. systems builders); Harold Fielding Limited (Theatrical use); International Sound (Italy); Virgin Record Hire; Dolby Laboratories. The London Palladium; The Grosvenor House Hotel, London (S500 -Ds in the main ballroom); Colac P.A. Hire Co. (S500 -Ds on Dr. Hook European tours); The Duane Family (Winners of the Variety Club of Great Britain Award 1977); E.M.I. Publicity Department; Supertramp (U.S.A. and European tours); The Rubettes; Colosseum II; Black Sabbath; Liverpool Express; Simon Townsend Band; Island Records; Gallagher and Lyle; Tangerine Dream; Five Hand Reel; Horslips; The Barron Knights. the Admiralty Surface Weapons Establishment (for hush, hush use!)

POWER CAPABILITY: 500W RMS -2.5 ohms 320W + 320W RMS -4 ohms Stereo 200W + 200W EMS -8 ohms Stereo

900W RMS - 5 ohms Mono 640W RMS - 8 ohms Mono 400W RMS -16 ohms Mono

TECHNOLOGY AND COST Professionals are buying the S500 -D for two reasons - firstly, the superb performance and advanced technology and secondly, the price which is lower than other less advanced amplifiers of similar power rating. HH gives unbeatable performance - the best value for money PERFECT POWER FOR YOUR SOUND SYSTEM r

Please send me full information on the 5500 -D

NAME

ADDRESS

HUH electronic

H. H. Electronic Viking Way, Bar Hill, Cambridge CB3 8EL Telephone: Crafts Hill 10954) 81140 Telex: 817515 HH ELEC G

www.americanradiohistory.com

GelF Lo -Cost Range

16 -32 inputs 3 Band variable EQ

P &G Faders 2 Effect sends 2 Foldbacks 4 Stereo Sub - Masters Mute, P F L., Pan, Patching X LR connectors 0/13 +22db at 600 n THD < 0 -057.

Noise, relative i/p noise < -126db

+ . , - :a .,

ir:*" ,..,,.,*, #,. 0- a , ft w . i i i #/.a. i i. 1,i'.,i,t.l.*i'

:1 :1 .t :i a ' :i :I . ' . .. . .. .. ..

GELF Electronics Limited Unit 5, Mount Avenue, Blelchley, Milton Keynes. MK1 1LS.

Telephone Milton Keynes (0908) 77503

647262

ITC -the first name in cartridge machines ITC's engineers are acutely aware that broadcaster need cartridge machines which are both simplE b use and ruggedly made.That's why the baseplate of every co*ck is

hewn from a half -inch thick slab of toughened aluminium. All sub -assemblies are plugable (not hardy,/ red), thus dismantling and service is rapid and stele. The SP reproduce -only cartridge deck cal a empbyed as

an individual desk -top unit or as twin units n 19 " -ack width.The pressure roller assembly utilises TC's inrcvative air -damped solenoid via a chain and sprocFd linkage for fast,reliable and above all,'quiet'operation

You can order the SP as a mono or stereo nachinE, with single or additional secondary and teriary cue tones, with or without high speed cue (4 times r n.nal 7.3ips).

28 STUDIO SOUND, JULY 1978

By specifying model WP, the reproducer is ready for rapid ap -date to full record facility.

Discover for yoLrseif why ITC have wcr the respect of numerous broaocasting studios on both sides of the Atlantic.

FWD. Bauch 49 Theobald Sti eet. Boreham Wood, Hertfordshire WD6 4RZ.

Telephone:01- 963 0091.

www.americanradiohistory.com

000

SALES LTD. Telephone : Watford 47988

Specialists in Service and Repair of T.R.D. recorders. All parts, motors, etc., available. Collection and delivery: London and Home

Counties. Prices ex- Watford. Delivery extra.

: FOR SALE Ferrograph Mk 6 stereo ... £120

13M M79 16 track, like new ... £10,000 ITA compliment comp /lim £177

I Scully 280 16 track ... ... £5,000 Allen & Heath 16 -8 -16 desk £1,900 I 13M 400 Series 16 track ... ... £5,500 Glen Sound Broadcast monitoring I Ampex MM 1 100 24 track with Unit battery /mains £350

Mellotron FX Console auto locate & varispeed ... £16,000 £1,000

Telefunken I" 4 track valve machine £450 2 BBC LSU 10 Monitors with valve

£220 Telefunken vave stereo ... Telefunken M9 valve stereo £300 Astronic Graphic 9 band (each) ... £40

Audio Developments 20 -4 desk as new £3,500 White Spectrum analyser... £1,400 I Neumann KM74 Mics Rosser 10 -4 Broadcast desk ... £1,800 £75

MCI Custom desk 29 -24 £9,500 Various 19" racks and cabs from £15

MCI JH 114 24TR+ I6HB -{-A /L £17,500 Boom stands new ... £15

Spectrasonics 24 -24 desk £16,000 Revox A77 from £300

MCIJH lO 24 track ... ... £9,500 Radford valve amplifiers type MA15 £25 41

Garrard 401 turntables ... £30 Agfa PEM 468 2" Tape per reel new £35

Klark Teknik Stereo T¡R, SM2 £2,000 Racal Zonal 4 on cores ... ... £2.75

A & D scamp racks & PSU £200 Marconi AXBT Ribbon mic ex

A & D scamp cards for above (each) £135 BBC circa 1945 ... £100

I Tascam 80 -8, DX 8, remote new £2,600 Calrec CM105Oc mics £45

Plessey rec/play cart M/C ... £175 AKG DI 10 mic ... £20

I Trident 40 -24 desk ... ... £17,000 Beyer XIN mic £25 I Neve 20 -16 mixing desk ... £15000 STC 4033 mic £17

Plessey replay only cart M/C £100 Studer A80 16 track £10,000

JBL 4502 monitors (pair) ... £650 MCI 32 in out desk £14,000

AKG C45 I E Mics with CK I £55 Studer J37 8 track valve £2,400

AKG C451 E Mic with CK5 £75 Amity Schroeder 16 track £5,250

2 Cadac Monitors amps £650 Ampex AG440 8 track ... ... £3,600

Schoeps CMC56 Mic 6 months old £295 Ampex MM 1000 8 track Headblock £500

I pair Lockwood type cabs with Scully 8 track Headblock ... £350

Tannoy 15" reds £300 Tandberg I 1 -I P mono full track

Studer A80 MKI 8 track headblock £900 with pilot £275

2 Ampex 351 stereos each £350 Sennheiser MICH804 Gun Mic £100

Now available new Webber, Laboratory Amcron D60 Amplifier ... ... £185 ITA 10 -4 with talk back, multi-

standard test tapes. 4" NAB I5ips £16

core and phantom powering +" NAB I5ips £22 oscillators £525 I" NAB I5ips £82 Sign Electronics low distribution... s 2" NAB I5ips £150 6 hZ -60 kHz ... ... ... £35 i 2" NAB 30ips £160 NEW XLR TYPE CONNECTORS CCIR and other speeds P.O.A. Male in line ... ... £I .00 Manufactured in the United Kingdom

Female in line £I 00 Why pay more! In stock now. WANTED -ALL STUDIO EQUIPMENT Male chassis mounting ... ... 80

All prices are exclusive of VAT Female chassis mounting ... ... LI. 30

149B ST. ALBANS ROAD, WATFORD, HERTS. Tel. WATFORD 47988 Telex 262741 010.1.0000 0001.0000

TRAD

www.americanradiohistory.com

A .>>.N,,

Designed to team up with professional equipment for studio` sound on location Of advanced design and proven performance these are purpose built battery powered portables, of solid 'A"

aluminium with carrying handles. Top quality components, modular construction and stringent quality control ensures the highest degree of reliability For use on location with professional tape recorders -Nagras /Stellavox etc, outdoor broadcast, stage mixing or to supplement studio consoles when added capacity is required. Over 300 in trouble free use world wide.

Avt D Developments Hall Lane, Walsall Wood WALSALL, W. Midlands, WS9 9AU Telephone: Brownhills 5351/2/3 (STD Code 05433) Telex: 338212 Audio

30 STUDIO SOUND, JULY 1978

See the full range of

vcita Developments

Portable professional mixers on stand No.16

_r° Wednesday, 21st June Thursday, 22nd June Friday, 23rd June Connaught Rooms, Great Queen Street, Kingsway London WC2

MINIMIXER AD 007 8 in 4 out. Compressors. MICROMIXER AD 0318 in 2 +1 out +options PICOMIXER AD 045 6 in 2 out PICOMIXER AD 045 Plus

AND NEW! Stereo Compressor Limiter Pro Graphic Programmable Graphic Equaliser

0 3

www.americanradiohistory.com

Reliability in its most compact form

theTELEFUNKEN "magnetophon" 15A Multi-Track:

the complete system

WAK 578 E

Unprecedented flexibility and opera- ting ease. A system approach to all accessories: a micro -processor ba- sed autolocator with 9- position memory and stop timer, remote track selectors and a capstan speed controller with crystal precise digital speed read -out. The TELEFUNKEN M15A multi- track. All in all a totally new generation of master recorders from the inventors of modern tape recording. Up to 32 tracks on 2" tape! 12 1/2" reel diameter capacity. Versions with the TELEFUNKEN "telcom c4" noise reduction system (built -in for up to 24 tracks). Readily upgradable to higher track configu- rations. Crystal locked 7.5/15 or 15/30 ips tape speeds, NAB /CCIR/ AES switchable equalization and clock -timed record /erase functions to permit gap -less, inaudible elec- tronic splicing. It's the recorder for the engineer who wants to pay for performance - not for gadgets: the experienced professional.

Please send me the brochure on -magnetophon 15A Multi -Track -Systems«

Name

Address

Telephone

GOTHAM AUDIO CORPORATION

Hayden Laboratories Ltd. Curchfield Road Chalfont St. Peter, Bucks. SL9 9EW Gerrards Cross 88447 (STD 02813) U.K. 741 Washington Street New York, NY: (212) 741 -7411 1710 N. La Brea Ave., Hollywood, CA: (213) 874 -4444 USA

AEG-TELEFUNKEN Magnetbandgeräte P.O. Box 2154 D -7750 Konstanz W.- Germany

professional tape recorders by AEG -TELEFUNKEN

www.americanradiohistory.com

WHAT'S IN A MICROPHONE STAND?

Into our microphone stands are built years of listening to the comments of engineers and studio technicians and acting on their advice.

You can benefit from all this experience by sending for our new catalogue.

MOBILE STAND MODEL MSW

iv Write or Phone

t0:-

KEITH MONKS (AUDIO) LTD. 26 READING ROAD SOUTH, FLEET, HANTS.

L Telephone: Fleet (02514) 20568/9. Telex 858606

SOLD WORLD -WIDE THROUGH APPOINTED DISTRIBUTORS

32 STUDIO SOUND, JULY 1978

www.americanradiohistory.com

RA200 /ADS 1

Frequency response analysis with a difference

Frequency Response Analyser RA200

The Wayne Kerr RA200ïADS1 is undoubtedly unique It gives fast, accurate frequency response measurements for any audio system - displaying up to five different curves as gain frequency plots on a long - persistance CRT. The basic unit, the RA200, performs all the detector and sweep functions, requires no synchronisation, and will adjust automatically to the incoming frequency. Four Channel Digital Store

The matching display store, the ADS 1, is a fully compatible digital storage unit powered by the 'RA200, and can give continual updating of each curve stored to ensure fast, precise readouts.

lease send me further information on the Wayne Kerr RA200 ADS I .

It incorporates rechargeable batteries to permit stored data to be retained for up to two weeks when the unit is switched off. The RA200 /ADS1

This complete unit provides facilities for displaying the difference between any two stored curves, or comparison of any new input with a stored reference curve. Minor variations from a desired characteristic can be readily amplified, and departures from a linear response clearly shown as deviations from a straight line by use of the store 'invert: Slow- acting pen recorders can also be driven by the unit.

For more details fill in the coupon or contact your nearest distributor:

Wayne Kerr

Name

Company

Address

Tekelec- Airtronic. Cite des Bruyeres. Rue Carle- Vernet, 92310 Sevres. Paris. France. Tel: 027 75 35.

Keithley Instruments GmbH. Heiglhofstrasse 5. 8000 Munchen 70, West Germany, Tel: (089) 7144065. G & P Electronics AG. Bernerstrasse -Nord 182, Ch -8064 Zurich, Switzerland. Tel: (01) 643231. C N Rood BV, PO Box 42, 11 -13 Cort van der Lidenstraat. Rijswijk ZH 2109, Holland, Tel: (70) 99 63 60.

Unitronics SA.Torre de Madrid, Princesa 1,

Piso 12 Oficina 9. Madrid 8. Spain. Tel: 242 5204.

Scandia Metric AB, Fack 171 19. Solna 1,

Banvaktsvagen 20. Sweden. Tel: (08) 820 410.

Tel:

Wilmot Breeden Electronics Limited 442 Bath Road, Slough, Berkshire SL1 6BB England

ss;

www.americanradiohistory.com

Master-Room Reverberation

Units A complete range of superbly natural sounding reverberation devices equally suitable for fixed or portable operation. Master - Room models are in reliable daily use with broadcasters, film dubbing facilities, multi -track music recording studios and P.A. companies. Illustrated :

Master -Room Model MRIII fixed decay time stereo output reverberation unit

U.K. List £934

Sound columns not shown

Master -Room Model CSR23 EQ two independent channel variable decay time reverberation unit with comprehensive reverb return equalisation

U.K. List £1,384

For full details on the MICMIX Master -Room range contact :

Scenic Sounds Equipment, 97 -99 Dean Street, London W1.

Belgium S.E.D., Rue Bara Straat 146, 1070 Bruxelles. Tel: 522 7064

A.R.C. SPRL, Rue Th. Decuyper 134, 1200 Bruxelles. Tel : 771 3063

Denmark Lake Audio APS, Artillerivej 40, DK -2300 Copenhagen S Tel: 570 600

France 3M France SA, Mincom Div., Boulevard de l'Oise, 95000 Cergy Tel: 749 0275

Tel: 734 2812

Holland Pieter Bollen Geluidstechnik, Hastelweg 6, Eindhoven Tel: 512 777

Norway Siv Ing Benum AS, Skovvn 22, Oslo 2. Tel: 565 753

Sweden Tal & Ton Musik & Elektronik AB, Kungsgatan 5, 411 -19 Gothenburg Tel: 130 216

34 STUDIO SOUND, JULY 1978

'music class'

--_---- .

power ampli fiers from JPS

J P S. ASSOCIATES, Belmont House, Steele Road. Park Royal. London NW 10 7AR 01 9611274

Available from:

ENGLAND (South)

PEW Audio Visual 146 Caving Cross Road, London W.C.2 Tel. 01 -240 3064 Contact John Cowan

ENGLAND (Wen)

Severnside Audio & Lighting 29 The Promenade, Gloucester Road. Bristol 667 BTZ. Tel. 0272 -41666 Contact Rave Raytleld

ENGLAND (North) BELGIUM

Atmosphere Lighting & Sound 57 Nelson Street. Aberdeen, Scotland. Tel. 0224 -572905 Conan Keith Mein

Kerhstraat 16, Wlgimeal 3020, Belgium. Tal. 032 16 443377 Contact Leo Maebe

A full frequency range graphic

For JUST (38.85 plus VAT You can tune out all unwanted noises at seven different fre- quencies!

Bring all your recordings, P.A., discos, lead guitar, bass guitar, organ, anything amplified to life at the touch of a slider ! !

No more annoying amplifier noises -just clear, true sound! Frequencies from 60Hzto I0kHz! Cut or boost each frequency by maximum of 15 dB! Hi and lo gain inputs. Powered by just two PP3 bat- teries which last for ages. Or mains powered unit available. E49.95 plus VAT. Trade enquiries welcomed.

equaliser YOU can afford ! !

Try it and you'll buy it -it will change your concept of sound. Condensed Technical Spec Max output: terminated to 6000 - 10 dB> 1.6 volts peak to peak, 2.5 volts R.M.S. Signal to noise ratio: input terminated with 47K resistor. All filters at max. better than -70 dB. Frequency response: All filters at central better than ±2 dB. Filter slope: Better than ±13 dB per octave. Filter ranges: Max. ±15 dB at 60, 180, 480 Hz, I, 2.4, 5

and 10 kHz. To: E.S. ELECTRONICS, 2 Upper Fant Road, Maidstone, Kent.

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Professionals s eak ver hi hl of our micro hones and monitors Ey In microphones and monitors

Electro -Voice leads all the way What Electro -Voice has to offer by way of microphones and monitors sounds really good. The numerous wireless, TV and recording studios using Electro -Voice microphones and monitors show it.

Where only the best is good enough, Electro -Voice is always there. Be it with studio- or soloist -, omnidirectional -, Single -D- cardioid -, variable -D- cardioidmicrophones or monitors speakers. Why not send in the coupon and get detailed particulars? You will immediately realize that every Electro -Voice product is backed up by an outstanding technology, and why professionals always speak so highly of our microphones and monitors.

PRIMARY DISTRIBUTORS: Theatrescene Limited Satur Electrical Sound 8 General 12/13 Henrietta St., 63 Livingstone Rd., 59 Dory Street London WC2. Sheffield. Dublin 2. TeL 01- 240 2116 Tel: 07415 64585 Tel 711222

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!WW1

Strawberry open cutting room

Mention the word `strawberry' to a market stallholder in Strutton Ground, Westminster, and he's likely to quote you a price per punnet. But when you do find the door discreetly labelled Strawberry Mastering (UK) Limited, you can look forward to a feast for the eyes and ears rather than the palate.

The new facility has broken records already, being described as the largest Eastlake mastering room to date. Despite its name, it is

not owned by the Strawberry organisation. `We still think of ourselves as a team -the three Strawberries, North, South and now this -but the main connection is simply the name', remarked Melvyn Abrahams, manager and co- director. The other link is co- director Ric Dixon, also a director of Kennedy Street Artists, who have a stake in Strawberry North.

The mastering suite comprises a reception area (a red illuminated strawberry shines down from the main wall) leading off to kitchen and toilets; a lounge area -where Mel Abrahams' armoury of disc awards are displayed- equipped with a colour tv; and mastering room leading off from the lounge. Luxury offices for Strawberry Mastering and Kennedy Street Artists are under construction.

JBL monitors have been specified in preference to Gauss and Emilar units used in the original Eastlake enclosures, driven by Crown amps via White graphic equalisers. Auxi- liary monitoring is on Auratone units in custom cabinets mounted either side of the cutting desk.

Equipment was specified by cutting consultant Sean Davies with Mel Abrahams, and installed into a custom console by Ian Phillips and Tony co*ckell of Formula Sound (which, by coinci- dence, has its home above Straw- berry North in Stockport). Mel Abrahams, who oversaw the whole design and installation operation, gives full praise to Formula Sound. And looking at the quality of the work it's easy to see why. `They've taken great care on this job', said Abrahams, `and if it weren't for

them putting in such an effort and doing things they didn't have to do, we wouldn't be ready to open yet.'

Abrahams entered the business five years ago as a tea boy at the ill -fated Command Studios, later moving to IBC as a cutting engineer. He is all too familiar with the back -room image of disc cutting

Two sets of stereo Helios equalisa- tion are available, each acting on audio and advance signal paths by ganging. This duplication of eq permits adjustment during cutting without the inter -band panic nor- mally experienced. Also available are Audio & Design Vocal Stres.sors and limiters. `We've got Teletronics limiters as well', said Mel, `which I prefer to use on albums because they "cruise" [sense rms values rather than peak] whereas I'd use Audio & Design on singles for a punchy sound. It doesn't always apply, of course, but that's a gen- eral rule.'

`An important feature', said Sean Davies, `is the facility of switching out equipment not actively employed in the signal path. I don't believe in going through line amps and transformers of equipment not in use, no matter how wonderful they may look in the specifications. So we've incor-

prevalent in many quarters. In Strawberry Mastering he has sought to create a relaxing environment where the cutting engineer is part of a production team, as the record- ing engineer is in a studio. `I like to spend a good deal of time playing tapes through and getting to know the aims of the producers', said Mel. `The test cuts are then con- sidered attempts and soon lead to a prime cut.'

The control console is fitted with remote control of all operational functions for the Neumann VMS 70 lathe, including cutter head temperature, current meters and a linearised grooves -per -inch meter.

36 STUDIO SOUND, JULY 1978

porated a bypass switch panel covering all ancillary equipment in the console.' Bypassed units are identified by a row of green leds.

The Ortofon CPS cutting control unit is to be modified to increase facilities, a simple example of which will be the provision of mono monitoring while cutting in stereo. It may sound daft, but the unit is so designed that when you monitor in mono, like it or not, you are cutting in mono ! Existing facilities include phase reversal, stereo width control (this is also to be modified) and switchable filters to roll -off low bass and top (all the way down to 8 kHz). The cutting head is also

Ortofon, as is the replay pickup which, Mel feels, is more hard - wearing than the Shure Vl5s he has used. Plans are underway to fit a switch to the pickup arm, so that replay is selected automatically on monitors when the arm is cued. A portable microscope has been acquired for precise inspection of cutting head symmetry, an impor- tant factor for accurate cutting. Visual monitoring on the desk is provided by two horizontal light band meters, with red coloured overload sections. Phase indication is two -fold -a centre -zero phase meter and a small crt screen mounted next to monitor faders. The crt effectively presents a picture of what the cutting head is doing in vertical and horizontal directions. An out -of -phase condi- tion would appear as a vertical display on the screen.

`The reason we have the two phase metering systems', said Sean, `is because the moving coil meter, which is according to the German Broadcasting Standard, indicates the phase compatibility as far as listening is concerned. When the meter indicates negative, the effect will sound unpleasant. However, in disc- cutting one is also concerned with instantaneous movements of the stylus which could make tracking difficult. The crt display is instantaneously re- sponding and would indicate con- ditions too fast for the moving coil.'

Either side of the central control area, plumbed into the console, are two Studer A80 tape machines, the 76/38/19 cm /s mastering version to the left, and standard version to the right for copies. `We've done some- thing to the mastering machine which I think is unique in the business', remarked Sean Davies, `although it's so obvious, one wonders why nobody else has done it. We've synchronised the motor to the mains and knocked out the standard servo arrangement. This is sensible because the lathe is also synchronised to the mains. But we've made it switchable, so that copying operations between tape machines are completed under normal servo control.'

A final word from Mel Abra- hams. `We've all had to work hard on getting things right, and spend money on the best equipment available, because to open a mastering suite in London today and attract the respected names in the business, you can't afford to cut corners.'

The address of the new cutting room is 20 Strutton Ground, West- minster, London SW1. Phone: 01- 222 2191.

Richard Dean 38 0.

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The Simply Revolutionary TronsomØm A new and genuinely revolutionary audio and

instrumentation differential amplifier module from Valley People Inc. of Nashville, Tennessee.

Its extremely low noise input circuitry is equally suited for interface with such low impedance devices as microphones, tape heads and phono pickups or for true, balanced, virtual earth summing amplifier applications.

When used to eliminate console microphone input transformers, Transampt "' produces otherwise unrealisable noise performance and turns in subjectively superior audible results.

The technical specifications - briefly Noise - within dB of theoretical limits, when

direct coupled to a 150 S2 microphone (Noise Voltage - .511 V HZ) Bandwidth - .3Hz to .5MHz (a 60dB gain)

Slew Rate - 26V it sec. (Differential output) Distortion - .005% typical, any gain and any input

level (IM or THD) CMRR - Well in excess of 100dB

Size - 32mm x 32mm x 16mm The cost 1 -9 pieces £20 post paid within Europe. Substantial quantity discounts apply.

For full specifications and details of quantity prices, write or call the European Distributors : SCENIC SOUNDS EQUIPMENT,

97 -99 Dean Street, London, W.I. Tel : 01 -734 2812 Tlx : 27939

Transampim is a registered trade mark of Valley People Inc., P.O. Box 40306, Nashville, Tennessee 37204, U.S.A.

Device patents pending

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NEWS

Standard reverb spec The IEC has just published a new specification relating to reverb and time delay equipment for use in recording and sound reinforce- ment. Publication 268:9 provides engineers with a list of character- istics to be specified for artificial reverb gear. It covers such details as frequency response, ambient acoustic noise levels, reverb and delay time, etc.

Further details can be obtained from International Electrotech- nical Commission, 1 Rue de Var- embe, 1211 Geneva 20, Switzer- land. Phone: 340150.

Sony microphones in UK The full range of Sony profession- al microphones are now available in the UK. They range in price from £59 for the cheapest to £495 for model C -47 (no relation) with variable polar diaphragm.

Sony pro microphones are manu- factured with both electret and true capacitor microphone capsules. The company claims that its electret models feature a new fabrication process enabling a reduction of diaphragm thickness. It states that its back -electret mics possess a simi- lar performance to capacitor models. Sony UK Ltd, 134 Regent Street, London WI R 6DJ. Phone: (01) 439 3874.

Neve changes name Rupert Neve & Co Ltd, the sales and marketing company of the Neve group has changed its name to Neve Electronics International Ltd. The company wishes that it

should continue to be known in the business as 'Neve'.

The name change accompanies a slight restructuring of the erstwhile Rupert Neve & Co Ltd to strength- en further the sales organisation of the company. Derek Tilsley becomes managing director; Jonathan Pedre joins the board as marketing direct- or with Les Lewis as sales director. Tore Nordahl, president of the entirely UK -owned Rupert Neve Inc, joins the board to represent the North American marketing sub- sidiaries.

The name change was made for both cosmetic and practical reasons. Rupert Neve, the Neve group founder who has a purely consult- ancy role in the company comment- ed: `I think that it is a conscious decision to de- personalise the com- pany. They wanted something that wasn't personal to myself. They

Tom Hidley- designed mobile for Radio Clyde

The first European -based mobile designed by Tom Hidley of Eastlake (there are about half - a -dozen units in use in the States) is currently under con- struction in Scotland. The mobile is being built for Radio Clyde but will be available for hire by other clients. Comple- tion date is set for early- August.

Around the middle of June the mobile, which measures 10m in length and is almost 4m high, should be completing its first stage of construction at Penman, a Scottish company who are building the basic box structure and the articulated tractor chassis into which the Ford power unit will be dropped. The partially -completed unit will then be taken down to Eastlake's cabinet makers in Oldham for the first stage of internal fitting out. After a period of about three weeks the mobile is due to be moved to Brabury Electronics in Reading who are installing the desk, electronics and wiring. This stage should take between four

and six weeks, after which the mobile will be ready for final internal fitments, possibly with Tom Hidley on hand to give the final seal of approval.

All construction work is being supervised by Tape One, who will be also responsible for the day -to -day running and booking of the Clyde Mobile, as it will probably be known, for the Glasgow -based ilr sta- tion. However, Radio Clyde will use their creation 'occasion- ally'.

Pride of place in the control room will be a MCI JH -400 Series 36 -in /24 -out desk, linked to a Trident Fleximix submixer to give a total of 50 inputs and full monitoring facilities - in effect a combined 50/50/50 configuration. Why so many inputs and outputs? Well, there are plans to install not one, but two MCI JH -16 24 -track machines linked together with one of the new MCI synchro- nisation units. In fact, there are also plans to use the synchro- niser to allow one or more multitrack machine to be hooked up to a vtr for television work. Other tape machines will com-

prise a pair of two -track MCI mastering machines and a four - track for making stereo sound- tracks for television use (stereo plus one track for the SMPTE sync code).

Ancillary gear will include a full rack of Audio & Design Scamp signal -processing mo- dules, plus a pair of Dolby M24 racks. The final decision whether or not to run one or both multitrack without Dolby, or maybe to run them both at 76 cm /s and do away with noise reduction altogether, will be left to the client.

Because of its potential use for music outside broadcasting, a Post Office interface is to be installed with separate ppms, limiters and equalisers to suit IBA /BBC requirements into PO landlines. A Post Office radio telephone covering the whole of the UK -not just one or two regions -is also to be fitted.

Full details of availability and costs can be obtained from Barry Ainsworth or Bill Foster at Tape One, 23 Carburton Street, London WI. Phone: 01 -388 7762.

can't be dependent on the name "Rupert Neve" for ever.'

It was also pointed out that the business name 'Neve' and the com- pany name `Rupert Neve' caused a considerable amount of confusion in things like show catalogue list- ings. There are no issues of com- pany finance involved in the name change, according to Neve sources. The overall company structure

38 STUDIO SOUND, JULY 1978

remains as before with Neve Elec- tronic Holdings being the parent company of the group, which in

turn is owned by the Energy Services Group; this relationship has remained unchanged since 1973.

Company business appears to be on the up and up with a healthy showing in all markets in which Neve competes. To underline this, the company has recently sold

around £350 000 of equipment to Japan. Part of the consignment included a Necam mixdown system destined for CBS -Sony together with three 40 -input desks. Neve Electronics International Ltd, Cambridge House, Melbourn, Roy- ston, Herts, UK. Phone: 0763 -60776. Telex: 81381.

Frank Ogden

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Neve supreme in sound

Tommy Steele chooses Neve for his new Nfova Suite

Why not let Les Lewis meet your console requirements -Tommy Steele did.

Neve

Neve Electronics International Ltd., Cambridge House, Melbourn, Royston, Herts.SG86AU, England. Tel : Royston (0763) 60776.Telex: 81381. Cables NEVE Cambridge.

Rupert Neve Inc., Berkshire Industrial Park, Bethel, Ct. 06801 USA.Tel : (203) 744 6230.Telex: 969638.

Rupert Neve of Canada Ltd., 2721 Rena Road, Malton, Ontario.Tel : 416 677661 1.Telex: 21 06 983502.

Rupert Neve GmbH, D -6100 Darmstadt, Bismarckstrasse, 114. W. Germanv.Tel : 6151 87038.Telex: 419581.

www.americanradiohistory.com

- I -

LYREC of Denmark, one of the world's oldest established manufacturers of professional audio recorders is producing the model TR 532, Multitrack Recorder.

Lyrec TR 532 is a fresh approach to multitrack recorder design. Unique features like track solo, spot erase and vari- speed. The user - oriented remote control unit always conveni- ently by your side; and the optional micro- processor controlled auto locator, memorizing up to 16 positions on the tape. It all adds up to one of the finest multitrack recorders available and only possible by our 30 years of experience.

Lyrec DENMARK

0 Lyrec Manufacturing A /S, Hollandsvej 12, DK -2800 Lyngby Tel. 02 -87 63 22

42 STUDIO SOUND, JULY 1978

www.americanradiohistory.com

READY

SAFE

LINE

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REPRO

SOLO

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DEFEA

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VARI SPEED

The standard remonte control unit, which comes with every recorder, gives the engineer full control of both tape deck and all audiotracks.

Apart from normal tape deck remote, the unit also contains SEARCH to any preset tape position (selected with thumb -wheel switch), tape timer and varispeed control. The tape timer is also used to display actual tape speed without interfering with the timer.

Recording is preselected for each track with the READY button and actual drop in /drop out is effected with the REC button. Drop out can also be done for individual tracks by using the SAFE button.

The output of each audioamplifier can be selected to LINE, SYNC and REPRO. For quick changeover, master buttons is available for simultaneously switching of all tracks.

Tracks selected to SYNC automatically switch to LINE during recording and back to SYNC at drop out.

Each track is also equipped with a SOLO button affecting the output of the recorder only, thus having solo in place.

The SOLO function can also be used to build three groups where the amplifiers of each group can be opened with one button.

UK: Lyrec (UK) Ltd., 17 Erncroft Way, Twickenham, Middx. TWI IDA. Tel. 01-891 2770.

Benelux: SAIT, Ch. de Ruisbroek 66, 1190 Brussels. Tel. 02 376 20 30. Sound Techniques Nederland by, Groenelaantje II, Alkmaar. Tel. 072112944.

France: Soracitel, 161 Boulevard Lefebvre, 75015 Paris. Tel. 01 828 05 64.

Germany, north: Estemac Electronic GmbH, Alter Teichweg 67, D -2000 Hamburg 70, B R D. Tel. 040 61 06 60.

Germany, middle: Studiosound + Music GmbH, Schöne Aussicht 16, D -6000 Frankfurt/M 1, B R D. Tel. 0611 28 49 28.

Germany, south: g.t.c.- Studiotechnic GmbH, Stollbergstrasse 17, D -8000 München 22, B R D. Tel. 089 29 39 40.

Italy: Roje Telecomunicazioni S.p.A., Via Sant'Anatalone 15, 20147 Milano. Tel. 02 415 41 41. Roje Telecomunicazioni S.p.A., Via Di Porta Pinciana 4, 00187 Rome. Tel. 06 400 029.

Norway: Siv.ing. Bjorn Benum A/S, Boks 2493, Solli, Oslo 2. Tel. 02 56 57 53.

Spain: Mike Llewellyn- Jones, Ap. Postal 8 -178, Madrid -8. Tel. 01 637 07 52.

USA: Rupert Neve Inc., Berkshire Industrial Park, Bethel, Connecticut 06801. Tel. (203) 744 6230.

Canada: Rupert Neve of Canada Ltd., 2717 Rena Road, Malton, Ontario. Tel. 416 -677 6611.

Japan: Nissho Electronics Corporation, Konwa Bldg, 12 -22 Tsukiji I Chome, Chuo -Ku, Tokyo. Tel. (03) 544 -8311.

Australia: Rank Industries Australia Pty. Ltd., P.O. Box 632, Chatswood. Tel. 406 5666.

TAPE ROSIT,ON

LOAD FROM

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Lyrec Tape Position Controller, TPC (optional)

The Lyrec TPC is built into the remote control unit. It is built up around four displays and a microprocessor. One display is

used for tape position and displays A, B and keyboard are used for programming the unit for searching different tape positions. By using the KEYBOARD any tape position can be loaded into the displays. Search can be done to three different tape positions and recycling between two positions.

The TPC also contains a memory where sixteen tape positions can be stored, recalled and searched.

The vast possibilities of this unit can hardly be described in words and we are happy to give you a full demonstration.

Lyrec DENMARK

u Lyrec Manufacturing A /S, Hollandsvej 12, DK -2800 Lyngby Tel. 02 -87 63 22

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Sound on stage -the musician's control

Terry Nelson

In the May issue we looked at the sound system in the hands of the engineer -this part of the article will deal with the sound system in the hands of the musicians and the philosophy behind it.

THE basic pa as already discussed fails to meet certain artistic requirements in many cases and when this is so, it is necessary

(in my opinion) to define the objectives and then realise them in terms of hardware. Very often a contradictory situation! One is

beaten at the start if 'normally accepted practice' is taken as the point of departure. As some music teachers say, learn the rules so that you can break them!

One of the main drawbacks of the standard system is that control is

taken out of the hands of the musicians and put in the charge of a

sound engineer. This means that realtime correction in sound or deviations from a rehearsed programme are difficult, due to the fact that the engineer may not be on the same wavelength as the musicians and may try to counteract the desired effect. Thus, the moment we have an engineer in the hall, we also have a communica- tion problem.

Another drawback is the situation of having two sound systems, viz the house pa and the monitor installation. For reasons already mentioned, the musicians may have difficulty in hearing each other properly or find that even a well set up monitor system is inadequate for their needs. For many rock musicians, the concert is a total experience having much in common with opera and ballet in the theatre, ie sophisticated staging effects such as lighting, decor, props, etc, coupled with vocal and instrumental music. The styles may differ but the principle remains the same.

Musicians are often very temperamental animals, and this means that if the sound isn't right or there is a lack of communication and involvement, then the music will suffer. One answer is that a 'true professional' will make do with anything, even a cricket bat with strings -trouble is, it will sound like that too. For my money, the 'true professional' will take the time and trouble to get his or her instrument right in order to share their talents with us and not their frustrations. Accepting the premise that for the rock musician the amplifier is as much a part of his instrument as his guitar, organ, synthesiser or what have you -and that you can only play as well as

your instrument will let you -it follows that the same care taken in selection of an instrument is needed for the amplification. To illustrate this type of set -up where the artist is in touch with the total sound, and is thus able to feel and hear exactly what is going out to the audience, we shall use a system already in use, that of the Grateful Dead. It is itself an example of technology working for artistic ambitions and not vice versa (see fig. 1).

The first thing that springs to mind is the fact that the complete amplification array is behind the performers and that this is one gigantic monitor system and house pa combined. Straightaway we

can see that this solves the stage monitor problem as each musician

can hear exactly what is going out to the audience from himself and his fellow members. The problem of reverberation being created by pick -up from onstage monitors is also eliminated, making for a cleaner and tighter sound. Looking at the setup more closely, the array is made up of 11 independent systems as follows:

1 Vocal 4 Piano 2 Lead Guitar 5 -8 Bass 3 Rhythm guitar 9 -11 Drums

With an amplification setup such as this, the artist is literally bathed in sound, both aurally and physically, and for many musicians this is what rock music is about. In addition, expression is not inhibited by a mixing engineer, and realtime corrections to sound and mood are possible due to the nature of the single system. Aurally, the system gains by each instrument having its one sound source projecting out into the auditorium, thus giving an excellent stereo image with the added benefit of no intermodulation distortion. Above all, this is an installation that sounds musically satisfying - now there's a thought !

As can be imagined, the design and construction of such a system was (and is) not without problems, and for convenience we shall look at each part -or channel -separately. Vocals The main problem to be overcome was that of pick -up from the instrument towers right behind, the microphones tending to pick up more instruments than vocals. This was solved by the use of a differential microphone, which at first was two dynamic micro- phones spaced 6 cm apart, this being the best compromise for good bass and treble response. The two microphones were connected in series opposition (see fig. 2). + +ith the input impedance of the pre- amplifier being considerably higher than the generator impedance of the microphones, allowing each microphone to generate its voltage properly. In this way excellent results were obtained. The microphone has since been much refined using B & K cartridges with Nagra pre -amps, complete with sensitivity control, enabling the performer to control his own volume by varying the polarising voltage; and heaters to prevent condensation. In order to meet situations where the mic outputs needed to be split, ie live recording or broadcasting, the simple series connection was improved to the multiple circuit as shown in fig 3. At the same time provision was made to control remotely the mic sensitivity for people unfamiliar with this type of unit and also to switch out the ambience microphone, converting the unit to omni -directional.

In all, five vocal microphones were used and resistively mixed, the difference between the direct and ambience mics being fed into an ultra low distortion amplifier. This in itself was a compromise as it was felt that, ideally, each vocalist should have his own 46

STUDIO SOUND, JULY 1978

www.americanradiohistory.com

i4' ia

-ap: Tangerire Drain- 3t C3rertry Cataedr3l

Above : Roger Caltrey in full swing.

Right: Frank Zappa Felting Lured .n

www.americanradiohistory.com

SOUND ON STAGE -THE MUSICIAN'S CONTROL independent system! Perhaps in the near future ... ? From the mixer the signal goes to a peak limiter (with high threshold) and then on to a 4 -way active crossover with frequency bands of below 250 Hz, 250 Hz -1 kHz, 1 kHz -4 kHz, 4 kHz and above. Third -octave equalisers were inserted into the two mid -bands and a third equaliser may be used for the tweeters. This was done in preference to the normal method of connecting the graphics between mixer and crossovers. Pink noise was inserted into the two mid -bands and the systems equalised for flat response over four octaves, ie flat for one octave past each two crossover points. Power was provided by 19 Mackintosh stereo (300W /channel) amplifiers, a feature of these amplifiers being the ability to drive into low impedance loads down to 0.5 ohms, thus enabling all speakers to be wired in parallel.

As can be seen from fig. 1, the speaker arrays for the four frequency bands are arranged in columns with the exception of the tweeters. The bass frequencies are handled by a single column of sixteen 15 in (38 cm) speakers in single closed cabinets 26.5 feet high, this forming part of the solid wall of cabinets. The mid -bass is projected by 12 columns of five 12 in (30 cm) speakers and upper mids by 30 columns of four 5 in (12.5 cm) speakers. The treble band by a single row of 30 Electro -Voice T35 horn tweeters, all other cone loudspeakers being JBL. As can be seen, with the exception of the bass column, all the vocal loudspeakers are mounted into a solid, curved array on an arc of 120 degrees. Dispersion of this array when measured was 150 degrees horizontal and 30 degrees vertical at the half power points. Note that the curved array also forms a part of the solid block of cabinets, hence the excellent horizontal coverage. Guitars The lead guitar system is the only one to use open- backed cabinets (the rest of the speakers using sealed cabinets) -partly due to radiation characteristics required and also due to the type of sound that Jerry Garcia prefers. Here again we have a single column of speakers, this time ten twin -12 in (30 cm) cabinets driven by one stereo amp, as for the vocals. As pre -amp, Jerry used to use part of a

FIG. I THE GRATEFUL DEAD EQUIPMENT (HOLLYWOOD BOWL JULY 1974)

Fender Twin Reverb, but more recently has been seen using Mesa Boogie amps, so the final setup may vary from gig to gig.

Bob Weir also had the same speaker /power amp combination with Alembic parametric eq, Orban Parasound reverb and Eventide ddl and phaser. However, the rhythm guitarist has also been using Mesa amps recently, and the new Ibanez analogue flanger /delay unit.

Phil Lesh (bass) has two columns of eighteen single 15 in (38 cm) speakers driven by four Mackintosh 2 x 300W amplifiers with Alembic F -2B pre -amps and other ancillary equipment. Phil also has a custom Alembic bass with separate outputs for each string and, though used mainly in mono, this does give the possibility for the system to be used as four sub -systems on chording effects on the bass to avoid im distortion. Piano Amplification of a grand piano on stage always presents problems and to this end a special pickup using condenser elements was designed by the Dead's engineer, Dan Healy, and built by Countryman Associates (this being the basis, if I'm not mistaken, of the Countryman piano pickup of today). The assembly is

suspended above the piano strings, rather like a normal guitar pickup in reverse. The amplification itself is a scaled -down version of the vocal system and uses eight Mackintosh amplifiers to drive a 3 -band speaker array consisting of one column of sixteen single 15 in (38 cm) cabinets for the bass and a curved assembly built up of thirty -two 12 in (30 cm) and eighty 5 in (12.5 cm) speakers. Noise and hiss problems are taken care of by Burwen dynamic noise filters. Drums Aha ! This is the part that the cynics have been waiting for !

At the time of writing, and from my sources of information, this system is under review and work was in progress on the mixing and distribution systems, as well as on the microphones and pickups being used. However, in the setup illustrated the bass drum mic is

fed to a single column of sixteen single 15 in (38 cm) speakers and the rest of the kit is routed into a stereo mixer feeding two towers to give a stereo image. Each tower is a 3 -way system and consists of five cabinets, each holding two 12 in (30 cm) and six 5 in (12.5 cm) speakers for mediums and topped by twelve T35 tweeters. Power is

provided by ten Mackintosh amps, meaning about 6000W capability

Reproduction of diagrams courtesy dB magazine

FóI

VOCAL FILL PIANO FILL LEAD GUITAR & TOP5DRUMS BASS BASS VOCAL RHYTHM BOAR PIANO FILL BASS TOPS DRUMS PIANO

PIANO FILL 80I.3 VOCALS DRUM LOWS LEAD GUITAR FILL & 601.3 VOCALS

DRUM MIXERS

46 STUDIO SOUND, JULY 1978

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for the drums alone. (Cor, more than our entire pa!) Though this kind of array can be very loud, this is not the purpose

behind it and it is easy to see that the kind of quality that can be obtained is fairly awe- inspiring. Dynamics can be handled without breakup and due to the 'cleanness' of the system forte passages of, say, 110 dB will sound loud and powerful (not to say impressive) compared with mid -range horns pushing out distorted peaks of 125 -130 dB. To quote one manufacturer's ad: 'Loud is beautiful, if it's clean' and for once I must concede that they are right. As for the Dead's system: though I have tried to do my homework and present as much of an up -to -date picture as possible, the array is under constant revision and improvement and some details may already be out of date. However, there is enough here to provide much food for thought and if you have $350000 to invest in your own equipment and integrated stage, maybe this is the pa for you.

When we were discussing the two principal types of pa it was also mentioned that another possibility could be an adaptation of the two; that is amplification through an overall sound system in conjunction with one or more individual system(s) for principal instruments. A recent example of this is Frank Zappa and his band (see photo in Part 1) where Frank has his own elaborate setup and the rest of the musicians are balanced around him. When I saw the group recently Frank appeared to be using a Mesa Boogie amp linked up with several Marshall heads and three custom 4 x 12

(4 x 30, to be consistent with metrication) cabinets, as well as a complete rack cabinet filled with various goodies such as ddls, echoes, eq -you name it, he had it! The foot controls for the rack and additional pedals were all housed in a roadcase at his feet.

The second guitarist had a similar equipment setup, though on a smaller scale, and I had the impression that he was reinforced through the pa. The two keyboardists, percussionist, drummer and bassist were all fed by mics and directs into the main sound system. The two keyboards each had their own on -stage submixer which then went into the stage monitor mixer and main console. The main console, or consoles, were two Sony 16- channel desks which are due for replacement, but up until now have been 100% reliable

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throughout their 18 months on the road. I had quite a chat with Zappa's engineer, Davy Moire, who told me that their system is, hopefully, to be expanded. But as Frank has to do all the financing for the moment, economics are a bit of a problem.

Some engineers may be interested in a technique he uses for drums. These have their own stereo mixer and before going into the main board the submixer goes into an Allison Gain Brain followed by a Kepex, thus giving dynamic limiting on the drums with some noise reduction. As Davy said, 'There are a hell of a lot of open mics up there!' I didn't notice a general overhead pair, however.

All instruments and mics were mixed in mono, with stereo being reserved for drums and special effects. dbx compressors seem to find their way into a lot of pa rigs and this was no exception -a couple of UREI level controllers were there, too. These were all used for vocal mics, eg Terry Bozzio's mic needed compressing and Frank's expanding.

I find that a mixture of independent and overall sound systems is often a very good solution. This does mean that the pa is freed from one or several principal instruments, resulting in less im distortion if only one or two main outputs are being used, while keeping a control on the vocals and 'rhythm section'. This evidently demands a lot of practice and discipline on the part of the performers, but then this could equally apply to most things in life --if it's worth doing, then it's worth doing well.

Before going on to the next part of the article and taking a brief look at how some of the other big boys do it, perhaps one or two little suggestions on how to make existing life easier for musicians and engineers may be in order. Many musicians today use a lot of effects pedals and to make sure your guitarist doesn't spend half his time playing football across the stage running after his phaser (unless he plays with Rod Stewart), get all of those units mounted solidly onto a board or road case. This way they are there when and where you want them. It is interesting to note that an English firm, Electrolabs, has brought out a range of effects pedals that clip together powered from a 'mother' mains supply. Another idea is to have your effects installed into a rack cabinet- especially if you already have one or two items of professional rack mounting equipment -with a multicore going to a foot -controller pedalboard. (Do- it- yourself enthusiasts should check out Craig Anderton's book for Guitar Player Productions, 'Electronic Projects for Musicians', which contains tried and tested circuits for a multitude of effects and is eminently suited for pedal or modular construction.) Another thing is to experiment in making the best use of your equipment. One example could be a guitarist using two amps.

Here there is a possibility to make the most of dynamics by using one stack for rhythm and /or backup lead and then switching in the second by a foot control to provide added depth and 'kick' for solos and high points. (I suspect that this is how Ritchie Blackmore of Rainbow makes use of his two Marshall stacks). This technique also makes it possible to have preprogrammed effects on one amp with the other being 'straight'. This sort of setup can easily be controlled by a pedal unit containing either separate switches or one changeover for amps A and B, and switch for A + B; status leds would also be a good idea. While on the subject of foot controls I will take the opportunity to have a gripe at manufacturers about the quality of some of the footswitches used. In a stage situation one doesn't have time to be gentle, and having a switch fold up in mid -performance is a drag, to say the least ! And the problems don't end there: just try getting a replacement ! For those making up switch controls or custom footboards I would recommend looking around for footswitches used in cars, or industrial foot controls as used with sewing machines, etc. If at first they seem a bit expensive, they more than earn their keep by being tough and reliable (you can even jump on them if that is your thing) with the added bonus of being nice and large, so that your toes won't slip off and miss.

On a final note: if you use a lot of effects, and residual noise starts becoming a problem, a noise -gate is not a bad investment. People like MXR and Electro_ Harmonix make units at a reasonable price -often with the bonus of also being fitted with auxiliary line -driver outputs. (Once again, do- it- yourselfers should check out the February and March issues of 'Guitar Player' for Craig Anderton's 'multi- talented noise -gate'. This really is the one for electronic effects freaks -and your engineer might be interested in it too !)

How the others do it -a look at the concert setups over the past 48

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SOUND ON STAGE -THE MUSICIAN'S CONTROL

year of some of the name groups will explain. To begin with, Yes (for the speaker placement at the Zurich concert see the May issue of STUDIO SOUND). Star of their pa is the 32- channel custom -built desk mixing down to six stereo sub -groups and stereo main outputs, with the luxury of lightbeam meters running alongside the channel faders giving an immediate indication of the mixing situation at a glance. Very nice. The console has been specially designed for the road, folding in half in its own roadcase. The rest of the equipment was a Trident Fleximix for the keyboard submixer, and a neat rack with patchbay containing the dbx compressor /limiters, Kepexes, ddl, Universal Audio compressor and two White +- octave equalisers with analyser. In general the sound was very good -a group like Yes makes for a very demanding mix situation -but once again the distorted guitar tended to cover everything at times. However, that could be just a personal quibble, since to achieve even a passable sound in the Hallenstadion is a major triumph. Next -Jethro Tull. British equipment for a very British group - Audio & Design F760 compressor /limiter and other odds and ends, plus a full -blown Cadac desk. A fantastic concert last year at Basle was marred by the +- second, plus slapback, echo in the indoor sportscentre against which their engineer was forced to compete. (And some artists complain about the Royal Opera House, Covent Garden !) Though I'd rather have seen the long low line of speakers converted to a short high one, and the fact that the amplifiers appeared to be grossly overloading at the end of the concert spoiled things a bit. The overall sound -especially in view of the acoustic conditions -was excellent.

Ian Anderson's flute sound was an object lesson in itself, as were the drums. The vocals were also clear and distinct; and in view of Ian's stage -chat, this is an absolute necessity. If anything, the key- boards tended to be a bit lost at times, but this could easily be put down to the hall acoustics. (This kind of venue well illustrates the need to use the audience as an acoustic absorber as discussed earlier on.)

For Rainbow, Tasco appear to handle the sound on tours and this was certainly the case last year at Winterthur, where they continued to live up to their good reputation. For the Swiss concert the accent seemed to be on reinforcement, the instruments all having substantial stage amplification, apart from the drums, vocals and special effects. In fact it was often difficult to hear the difference between the stage amplifiers and the pa, this being a very difficult test to pass. Arnie (the engineer) was obviously pleased with their new Midas desk and seems to have a good working relationship with the group when it comes to discussing the sound system techniques to be used. He does, however, sometimes have a battle with them, in order to keep the stage volume down a bit!

The Who. For a group with the Who's reputation you would expect a system that is big and loud -and also one that is of high quality. The present 55 kW setup used for the group's large US concerts is the end product of years of experimentation and the combined ideas of Bob Pridden (the Who's engineer) Peter Townshend, Bob Heil (formerly of Heil Sound Hire) and Showco, who now actually supply the equipment. The system itself is 4 -way with 28 800 watts powering 48 folded horns, each containing four JBL KI30 15 in (38 cm) speakers (40 -250 Hz); 10800 watts powering 36 mid -bass horns, each with two K120s (250 -800 Hz); 7 800 watts powering 60 radial medium and long -throw horns (800 -6500 Hz) and 7 200 watts powering a mixture of high- frequency horns and tweeter arrays (6500 -18000 Hz). By the way, all the amps are Amcron DC300As.

Mixing is done through two Showco 30/8 desks aided by the now usual collection of ddls, limiters, graphics and so on. Depending on the material performed, the pa can be set up either in stereo or quad (as for Quadrophenia). While the Showco engineer handles the main mix, Bob Pridden does the on -stage monitor mix on his Mavis desk. There are two monitor systems, both designed by him: one being for prerecorded tapes and with the cabinets forming part of the wall of instrument cabinets, and the second for vocals, etc, which is

fed through back -facing monitors at the front of the stage. The guitar and bass both have substantial amplification and it is worth having a look at it.

Pete Townshend's setup consists of three custom -built HiWatt 100W amps with three 2 x 4 twelve inch (30 cm) stacks, one of the stacks containing JBL speakers to give more punch and brilliance. One of the normal cabinets is miked, as is also one of the JBL cabinets, giving the sound engineer the ability to change the guitar sound by mixing between the two speakers. The bass system is more complex. Here the stereo output from the Alembic bass is routed into two Stramp Professional Series stereo pre- amplifiers, each with comprehensive eq and other facilities. The output from the pre -amps then passes into a Gelf crossover and into one of four Sunn Coliseum 300W amplifiers; or, more exactly, two of the Sunns are used for the bass, one for the mids and uppers and one is used full range. This method of a mixture of bi- amping and full range for bass is one I really like, often smoothing out the bumps sometimes encountered at the crossover frequency.

John's speaker system comprises a pair of Sunn W bins, each with a Vega 18 inch (45 cm) speaker, two standard Sunn 18 inch (45 cm) enclosures, two Sunn 4 x 12s and two Sunn 3 x I2s. Entwistle's aim is to have a system capable of reproducing the high and low notes of his bass with good separation and clarity (he even changes his strings before each concert for maximum brilliance) and so far he has found the flexibility of this setup to meet his needs. Pete and John also have reciprocal extension monitor cabinets in order to hear each other better and to have an exact idea of the guitar or bass sound going out front.

Kansas and Tangerine Dream. I have put these two together only fo: the reason that I saw them both recently at the Hammersmith Odeon, though soundwise as well as musically they were worlds apart. I had begun to think that perhaps as a rock venue the Hammersmith was not quite up to it after the Nugent disaster last year (not the music just the sound) and Kansas didn't do too much to lift my doubts. However, Tangerine Dream showed that good sound was (and is) possible, so carry on Hammersmith!

STUDIO SOUND is not a music critic's magazine but I hope that for once you will bear with me. Kansas were using the familiar type of overall sound system (with the familiar speaker arrangement) and had a lot of instrumentation to get over, viz bass, drums, violin, guitar, keyboards and second keyboards /guitar plus harmony vocals. Musically, they are America's answer to Deep Purple /Yes /Genesis/ King Crimson /Gentle Giant et al and as such have a lot of potential. However, at the London concert the aim seemed to be 'outdo Purple' and the only recourse left to try and get the solos out was boost the 10 kHz and over and hope for the best. Thus we were left with a thundering deep bass and screaming high treble with 'sweet fa' in the middle! Whereas in the passages when things were got together it was a shame that a lack of understanding of dynamics marred some of the music. 'Quiet' passages start off loud and when some 'oomph' is required the only thing left to do is overdrive the power amps /mixer.

Three nights later Tangerine Dream restored faith in modern technology and, even though the music may not be everybody's cup of tea, I think most would have conceded that the sound was first class. Briefly, Tangerine Dream is a German group featuring three keyboardists /synthesists -and also playing guitar and a whole variety of reed instruments -including two large Moog modular synthesisers, Oberheims, ARPs, Mellotrons, Yamaha piano, Korg, etc, etc, and drummer (drums, percussion and percussion synthesisers).

It can be seen that the sound projection of this type of group is

not an easy proposition. As far as I could see, everything went direct to the console, with the exception of a Marshall either miked or ddl'd for the guitar, and came up back on stage through high quality wide range monitors. With the music, opinions may differ on the mix at times as it is not always easy to know the effect required by the group. For example, the guitar was often fairly down in the mix during the several times that it was used, but this may have been the effect wanted -at no time did we hear the pa cracking up. As can be expected, we were treated to very bass sounds right through to very top, with wide dynamics, but there was no trace of peakiness or distortion, just showing that it can be done.

No article on sound systems would be complete without the Pink Floyd and this will certainly be no exception. However, after being well received at Britannia Row (Thanks, Nick and Robbie) and loaded with reams of information, time and space dictate a 'Pink Floyd Special'. See next month's issue.

48 STUDIO SOUND, JULY 1978

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If you aren't thinking about this

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Sound at NAB 1978 Peter Granet

This year's Convention of the National Association of Broadcasters was held at the Las Vegas Conference Centre from April 9 to 12.

IF YOU consider that broadcasting is one huge gamble, then Las Vegas is obviously

an appropriate place for the NAB Convention. If, on the other hand, your opinion is that broadcasting is an oasis of rest and culture in the desert of modern life, then Vegas is equally appropriate. Of course, if you're lucky -and American -you can win yourself enough to open up a whole new string of radio stations, but you're much more likely to lose your whole year's capital budget and come away empty- handed. Nevertheless, one feels that the Mormon Founding Fathers of the city would have looked kindly on such a high- minded activity as the NAB Convention. They might also have approved of another outstanding characteristic of the place -the adequate sufficiency of feminine company, though not perhaps of the way in which it is presented.

The early Mormon settlers were forced to withdraw from their stronghold, largely because the lead bullets which they cast from plentiful deposits of metallic ore proved remarkably ineffective against the marauding Paiute Indians- scarcely surprising when it is realised that the ore proved to be not lead but silver. This is a confusion which does not arise in the minds of the present inhabitants.

It is wise to arrive a day or two before the Convention, in order to find your way about. Friendly attendants will tell you which slot machines are currently paying out well (disregard this advice) and you can track down those bars which will sell you a pink gin for only three times the London price. This process is known as recovering from jet lag, and will enable you to walk through the lobby of your hotel, past the slots offering $250000 jackpots, with scarcely a tremor. And only the slightest queasiness from over- indulgence in the great American gastronomic delights of Giant Hamburgers, and Pancakes with Syrup for breakfast.

But enough of the travelogue. Suffice it to say that Las Vegas is entirely fascinating, and that if only we can arrange to have the IBC in Monaco, the broadcaster's cup will be filled to overflowing.

UK firms were well represented among the exhibitors, and it was encouraging to hear how well most of them were thought of. My

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own interest at the moment being mainly radio, I naturally spent most of my time with those firms making equipment for the radio broadcaster, although there were some very interesting developments in the tv field. But that, as a more prolific writer has said, is Another Story.

A most encouraging discovery was that practically everyone had read John Lumsden's excellent article on cartridge machines, and most of them were taking it very seriously indeed. Only one manufacturer adopted the attitude that what was good enough for America was good enough for the rest- of -the-

Cuerac automated broadcast system

world so what were the `Goddam British worried about for Chrissake', but as this particular firm does not sell in the UK, that may well be sour grapes. Elmo Franklin of ITC is promising something new shortly - maybe even in time for IBC -and Cuemaster are also working along the lines suggested by John Lumsden, although they are determined not to come to market until they have something markedly superior to the present range. Larry Cervone of Spotmaster is another who is taking John's article extremely seriously, and the whole outlook is definitely encouraging.

Telex were showing their MC Series broadcast cart machines with belt drive from a dc servo Hall -effect motor, giving claimed wow and flutter figures of less than 0.12 peak weighted, and speed stable to 0.2%. An interesting point about this machine is that the tapeguides are manufactured of glass - filled Valox, which has memory and will, so it is claimed, return to its original shape if accidentally deformed. A rival manufacturer suggested that the motor was perhaps a little small for the job, but again this is almost certainly sour grapes.

Harris were showing their very reasonably priced Criterion 90, which seems very solidly engineered: claimed wow and flutter of 0.15% DIN, but still using an ac hysteresis motor, which seems a pity in a modern machine.

Two very interesting multi- cartridge machines were on show. ITC had a prototype of their IK machine on the stand, which holds 1024 cartridges in two circular vertical library stacks. Cartridges are removed from their library locations and automatically 52

50 STUDIO SOUND, JULY 1978

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There is a Dolby noise reduction unit for every professional application Professional recording and transmission applications

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Dear Sir, With reference to the review of The Compliment stereo compressor -limiter (October '77 issue) Hugh Ford's criticism of the mains switch construction has been noted; although these switches have been used without problems for several years in other applications, they have since been changed.

In his paragraph `inputs and outputs' there may have been a misprint with respect to the 3:1 maximum limited output level. His fig 7 diagram shows a level of +12 dBm, while the text states +18 dBm. In the same paragraph he states that because there is no buffer amplifier in the bypass mode that this could lead to embarrassment. As

we see it, the unit would be placed between two

units already matched, and provided that the source could drive the input impedance of the Compliment /Gemini Compact, there will be no

problems when operating the bypass switch. In

our view this direct link is useful in the event of failure, since the signal path is not lost.

We were slightly disappointed with the sum- mary in view of the excellent noise (84 dBA ref limit threshold) and distortion performance which is more than comparable to many systems designed for professional use.

On a general point: Hugh Ford is entitled to

his opinion as to when a limiter is not a limiter etc, but it is worth pointing out that respected valve units (eg Fairchild 663 in George Peck - ham's article in the same issue) are used as limiters in disc -cutting. The attack time is around I mS. Most recording mediums are not that critical in terms of clipping odd transients. In fact, of course, tape limiting is widely used in both classical and pop recording since there can be no modulation effects.

The Compliment /Gemini Compact has been designed to perform well on a wide range of musical signals even under extreme compression situations. The transistor limiter has come in for a lot of knocking, not because tightness and grittiness are due to feedback circuitry (as one manufacturer's advertising would have us believe), but because attack times of a few microseconds with tight ratios quickly degrade the signal. There is little doubt that these very fast attack speeds and `brick -wall' ratios have evolved as a commercial response to the user computation 'fastest and tightest must be best', rather than out of usefulness or necessity.

Too often units are bought on specification rather than on an assessment of musical perform- ance. When comparable attack and ratio para-

meters are used, a transistor device of feedback design can equal the quality of performance for which some of the old valve systems are re- nowned. Yours faithfully, Mike Beville, Audio & Design Recording Ltd, Shinfield Road, Reading, UK.

Hugh Ford replies: It would seem most unfor- tunate that these points were not discussed with me at any time, for my original notes on the review measurements have now been destroyed. However, the type of mains switch used does not comply with the requirements of British Standard 415, the intention of which is to lay down a standard to provide safe use of electrical equipment. The statement that `these switches have been used without problems', seems to say that `we've not killed anyone yet.'

Regarding the available output levels, I'm not now able to check these figures, but it's possible that an error has crept into the graphical data.

While I take the point about the bypass mode providing protection in the event of failure, i

stand by my comments about the change in matching conditions between the normal mode and the bypass mode.

i really do not understand the need to com- plain about the review in terms of noise and dis- tortion performance, for i said about noise `The above noise performance is very good ...', and made similar polite remarks about the distortion performance in some detail. So far as the dis- cussion about whether the unit is a true com- pressor, this tends to be an ill- defined area. But I regard a true limiter as a device that does not overshoot, and such devices are necessary to limit the signal applied to, for instance, trans- mitters where over -modulation is disastrous.

For the Flutter you

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Flutter and FIM (frequency inter -modulation) distortion measurement can be made in five ranges from o. i to Io°/, FSD to DIN /ANSI /IEC standards. In addition, three further filters can be selected for a rapid initial analysis of flutter frequencies. Weighted peak and slow speed deviation values are clearly displayed on separate large size meters.

A unique feature is the programmable threshold level option which provides an instant visual indication at three preset levels for simplified quality control and production line testing.

Outputs are provided for use with external filters, graphic recorders or oscilloscopes to further extend the EMT 422's unique capabilities.

54 STUDIO SOUND, JULY 1978

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Professional perfection to produce one-inch eighttrack masters. Otani MX7800 for discriminating recordists.

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Its reliability and durability have been proven through strict testing which stands behind all Otani products de- signed to withstand critical professional applications. For the full story of the so- phisticated machine, get in contact with your nearest Otani distributor.

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Having spent possibly months on the recording and mixing of a single or album, we are not totally disinterested in its commercial success. Without doubt, however, whether a record makes money depends heavily on its being played on daytime radio. if a record company can get the record onto a station's playlist at least the public will get to hear it. And people seem to buy what they hear on the radio. How did the playlist attain such importance?

O NCE upon a time there was a single called Deck of Cards by Wink Martindale (still available as an import from Lightening

Records). The record tells the appallingly sickly story of a soldier who takes a pack of playing cards into a church because, he claims, he uses them as a aide- memoire for communication with the Almighty. Apart from its unmitigated display of bad taste there was nothing particularly special about the record. It was released in December 1959, and was in the charts for just about one week, reaching number 19. Mr Martindale and the record then mercifully sank into oblivion.

The oblivion, however, was not to last. Four years later someone (no one knows who, but whoever it was has a lot to answer for) sent in a request for the record to be played on the BBC's Two -Way Family Favourites, which was broadcast every Sunday as a backdrop to the roast beef and Yorkshire pudding. Immediately a new public interest in the record was aroused, the London record label re- released the record and it at once soared up to number five in the charts, this time staying in the Top 50 for almost five months. Nearly ten years later a similar event occurred when Amazing Grace by the Royal Scots Dragoon Guards Band was issued on an 1p. It was played on the radio, and letters flooded in from listeners anxious to know how they might get a copy.The record company was tipped off and the single stayed in the Top 50 for over six months.

These two incidents reveal the incredible power of radio in influencing record sales. Of course, when Amazing Grace was released there were no commercial radio stations in existence. And back in the days of Deck of Cards the power of the BBC was even greater, for not only did they have a monopoly of legal broadcasting

from within the UK, they also had a policy of playing as little recorded pop music as possible. Thus the impact of anything they did deign to play was enormous.

The main outlets for music at the time were Brian Matthew's 'Saturday Club' which leaned heavily on special guests who were required to re- record their hits in order to satisfy a Musicians' Union agreement (which in turn often meant a final sound vastly inferior to that on the record) and Alan Freeman's 'Pick of the Pops', with its highly structured presentation of new releases, new entries into the Top 20, one 1p track and the Top 10. The net result of this pop starvation was that any record that did get played on the BBC's Light Programme and was not already in the top 20 stood a remarkably fine chance of making it into the charts.

It was this lack of music time, combined with various agreements with the MU, that brought to the fore many second -rate British artists in the early Sixties. The agreements meant that the BBC was unable to play many records by American artists. And so UK record companies jumped at the chance of getting anyone who was British to record a cover version of a US hit, knowing that it would stand a far greater chance of success in the UK than the original through the possibility of its getting air time -despite being of possibly inferior quality to the original version.

Another influential factor was the BBC's censorship of records they considered unsuitable for broadcasting. This led to the banning of some naughty American records which used unacceptable words and phrases like 'for God's sake'. Naturally British record companies were quick to ensure that their cover versions did not contain the offending words, and thus were suitable

56 STUDIO SOUND, JULY 1978

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for transmission. Indeed, any company concerned to make a profit from pop music would have been foolish not to fall in line with the dictates and whims of the BBC.

But the record companies did not simply respond to the wishes of the BBC -thev used the situation to their advantage whenever possible. I well remember, for example, in the Sixties, writing to the BBC and asking if a particular group that had appeared on `Saturday Club' had made a record. A little while later I received a letter from the record company with the details I'd requested. It had also enclosed a dozen stamped postcards to give to my friends so that they might send in requests for this record to be played on future editions of the show. Although the music -on -radio situation is now much more complex this traditional approach lives on, with record companies and fan clubs choosing to concentrate their attentions on one or two local stations rather than influence the massive BBC Radio 1 mailbag.

The first change in the situation that existed up to the early Sixties came with the appearance of British rock groups, who insisted on telling uncomprehending fans that they owed everything, not to Elvis Presley or Bill Haley, but to black American stars the fans had never heard of. For the first time since the War the mainstream record buying public began to realise that there was a pop music beyond that presented by the Beeb. Of course, Radio Luxembourg had been doing its own thing for many years, but perhaps because it relied at this time almost totally on sponsorship from the multinational record companies -or maybe because it always tended to follow the BBC rather than dare to lead the way -its influence in the record sales market remained low.

When people suddenly lose faith in a national institution the results are often quite dramatic. In this case thousands of teenagers suddenly began to feel that the Light Programme had been leading them up the garden path. It was as if the blinkers were suddenly removed and they realised that there were hundreds of interesting records released each year they had missed out on. For many it became a matter of principle not to listen to the Light Programme. Such an attitude, of course, was potentially disastrous for the record industry, which if left without a viable radio outlet was liable to die from suffocation.

The record industry was saved by the advent in the early Sixties of the pirates. Radio Caroline appeared first, quickly followed by Atlanta, City, Scotland and a host of other illicit off -shore radio stations. The pirates brought with them non -stop music, 24 hours a day. What they also brought, but which is often forgotten, was a belief in the strict programming format that has been with us ever since. The best exponent of this technique among the radio ships was Radio London -commonly known in its day as Big L. Throughout the day the station played records in strict rotation - Top 40 followed by a new release, another Top 40 single and then a `revived 45'. Not until John Peel appeared between midnight and 2 am did the format change. The success of Radio London in terms of audience size (and thus advertising revenue) encouraged many others to follow suit. In order to keep ahead of each other stations used to devise their own Top 40. Thus there was no need to wait for the sales of a record to drop before removing it from the charts. Every record had a chance for one week as a new release -if it didn't make it into the charts the following week it was unlikely to be heard of again.

Almost every record company is very reserved about saying anything about its relationships with the pirates. The actual advertising of a new single or album in a way that is now common- place on ilr stations was virtually unheard of. It was noticeable, however, that some of the pirates (particularly the smaller ones) did play the records of certain companies more than one might otherwise have expected. But whatever the attitude of the record companies the pirates did present them with a problem -how to communicate their product to more than a dozen stations rather than just one.

In 1967 most of the pirates were forced off the air by the Marine Offences Act, and the record producers concerned themselves with the best way of dealing with the newly- created BBC Radio I. The new network decided to base its output on the lines of Radio London, which was only natural since most of the London djs (Blackburn, Everett, Peel etc) were signed up by the Beeb. However, instead of the Top 40, Radio 1 adopted a playlist system that included almost all of the Top 20, those records rising up the Top 50, and some recently -released singles that had not yet made the charts but which

the members of the playlist selection committee thought were worthy of air time. Although the phrase, `Number one in our fab 40', took on a new meaning (the Beeb used the British Market Research Bureau charts), the net result of the playlist was similar to Radio London's own Top 40 chart -since in both systems it was possible to include records that people within the stations particularly liked. It is this playlist system combined with oldies and new releases that has subsequently been adopted by virtually every UK commercial radio station, and which still remains the basis of most of Radio l's output.

An interesting result of this development has been the change in attitude of the listeners towards the average daytime output of the music stations. Whereas with the pirates the novelty, illegality and unpredictability (in that things could, and often did, go radically wrong) of the broadcasts kept the audience alert and attentive, Radio 1 and its local commercial rivals have now lapsed into utter predictability. After a few hours of listening to the playlist on any station, with everything going according to plan, the station must become audio wallpaper. A similar situation has existed for many years in the USA. But there audiences can not only choose the texture of the wallpaper by turning into soul, reggae, jazz or of course Top 40 stations, they can also find a few stations whose programming is so outlandish as to be unpredictable in the extreme.

This situation has made the work of record companies quite straightforward in the UK today. Research has clearly shown that if you play a piece of music to a group of people and then ask them to grade the record out of 10, the marks will get higher according to the number of times they have heard the music before. This difference in marking can even appear between the first and second hearing of the record. It is obvious, then, that the best way of getting a record into the charts is either to get it onto the playlists or, failing that, advertise it as often as can be afforded on the commercial stations. A record which makes no stations' playlists and which lacks the backing of a very large advertising budget can be written - off immediately. 58

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WAVEPOWER

It is the job of the a & r department of all singles- oriented companies to keep a close eye on the playlists. The reasoning here is

simple: if record x made it onto some of the lists, then the company's next single (record y) should sound quite like it. Having produced record y the next move is to get it to the ears of the djs

and producers of the radio stations across the country (presuming, of course, that it is the djs and producers of programmes who make

up the playlist committees). This is where the pluggers come in- telephoning and personally visiting the panel members; desperately

trying to convince them that record y is even better than record x;

that it is so good that it will make the charts without air -play; but maybe this station should play it so as not to be left out in the cold when the record takes off, etc etc. Being a plugger for a record company that puts out second and third -rate singles is the most depressing job in the music industry.

By and large the whole procedure is quite straightforward. The

records that producers are looking for must be able to fit into the

current playlist, and need to be up -tempo enough to keep the programme moving along without the dj having to do any hard work.

Very, very rarely one station might slip into the playlist something

totally different, possibly because somebody really liked it and persuaded the rest of the panel to go along with the idea. Or perhaps

because someone in the station is the brother -in -law of the drummer. A week later another station may possibly pick up on the record and

within a week the music press will hail this as the New Sound'. From executive suites in the West End, top record company officials will call their a & r departments demanding to know how many New Sound groups they have on their books. And why isn't Radio Anytown playing their records? It is this sort of process that has resulted in the series of fits and starts that pop music in the UK has been through recently. Every new trend is battered to death until the radio stations start to change the style of their playlists.

Another outcome of the current concept of the playlist is the domination of the airwaves by singles. It is almost unheard of for a

station to put an 1p track in the playlist unless that track is also released as a single. Thus the utterly bizarre situation can arise where djs suddenly start frothing at the mouth over a new-wonderful- great-sensational-just-released-single which has in fact been available on an Ip for months. The latter -day Radio Caroline did make a major stand against this in 1976 -7 by playing only 1p tracks 24 hours a day, and by restraining any tendencies to concentrate on those tracks which had been released as singles. On the rare

occasions that radio stations do allow djs to put 1p tracks into their

programmes the results can be remarkably refreshing -it's as if

someone suddenly came in and changed all your wallpaper, which

makes you notice your walls for the first time in years. Unfortunately, this is just the effect most stations don't want to

achieve, for by and large music on radio is essentially background material. Industrial psychologists have shown that production in a

factory, for example, will increase if the background music is well -

known to the workers and to their general taste. (And we know that

it will be to their taste if they hear the same thing often enough.) On

the other hand, if the background music is not known by the workers,

productivity is liable to drop -presumably because some workers

may stop work and actually listen. The most sad aspect of this emphasis on singles by the stations is

the impact that it has had on Ips. Since there is little hope of pushing

an 1p on the radio, the next best thing is to make the 1p appear to be a

collection of singles. Before the advent of commercial radio in the

UK there was a slight movement away from this idea with Ip tracks

becoming more and more adventurous. In the last year, however,

even well -established progressive artists such as Yes and Roy

Harper have found themselves producing Ips that contain their hit

single. This can be equally annoying for the pop fan who is into

today's singles market, for he or she is quite likely to find the albums

by Top 20 stars containing three, four or even more tracks he has

already bought as singles. All in all the picture of music on radio in the 11K today is

depressing when considered from the point of view of someone who

is interested in the music as music. One only has to look at the

`Dealer Guide to Airplay Action' published each week in `Music

Week' to see the incredible similarity between the output of various

Mebo II-Radio Northsea International RNI

stations. The playlists are not identical but they are very similar. One reason for this is the controlling hand exerted by the IBA, who issue the franchises to the ilr stations, and from whom they rent the transmitters. Thus the IBA is able to issue directives to all stations not to play certain records, and invariably these are universally obeyed.

Nevertheless, from time to time little rays of sunshine do appear in

the gloom. There was, for example, the time in 1974 when London's Capital Radio went out on a limb by playing Sparks' This Town

Ain't Big Enough For Both of Us. It gave the single a high position in their own chart when Radio 1 didn't even have it in their playlist. Eventually the BBC gave in (despite the anxiety of some top officials who were unable to understand a single word on the record)

and the record reached number 2 in the BMRB charts. The mastermind behind this breakthrough was Kenny Everett, who is also remembered for his insistence on playing a tape of the Beatles' Across the Universe at a time when EMI had absolutely no intention of releasing the track at all. On that occasion Kenny once again influenced the course of history and the song was released. But even he sometimes fails -as witnessed by a regular series of plays for Hang on to a Dream by Tim Hardin; despite weeks of eulogizing no reactivation of the record was achieved.

The other major name in breaking the programming rules is the BBC's John Peel, currently to be heard on Radio t between 10 pm and midnight during the week. John consistently plays what he likes and takes little notice of detractors -although he, like

everyone else, is forced to submit to official bans on records (as

with God Save the Queen by the Sex Pistols, removed from the airwaves in Jubilee week because of its unacceptable political standpoint). Currently he likes punk and new wave (with the occasional shot of reggae) and is undoubtedly responsible for the continuing success of one or two artists in these fields. This sort of influence is not new to him. In his early days on Radio 1, when he

operated a Sunday afternoon show, it was his insistence on playing records by such 'underground' artists as Country Joe and the Fish, and Jefferson Airplane, that brought these groups to the attention of the British public -and at the same time brought Peel a far more dedicated following than that accorded to any other di.

There can be no doubt that, together with Kenny Everett, John Peel has offered a serious service to radio listeners by consistently offering an alternative to monolithic playlists. It is slightly strange therefore that the one group Peel's name is associated with more

than any other- Tyrannosaurus Rex -- should now be regarded as a

straightforward teeny bopper group, the sort of group for which

playlists are made. John's support for the group (or in reality for its

leader, the late Marc Bolan) actually ended when they had their

first number 1 hit, but by then his work had been done, as is

witnessed by the 21 chart entries in the UK alone between 1968 and

1976. 60 i 58 STUDIO SOUND, JULY 1978

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Stones' Rolling Studio

A complete recording studio in a van? For Mick Jagger, it is almost a neces- sity. Mick and the Stones can be inspired to produce their next hit anytime, but when they're on tour or on vacation, the best recording studios aren't always around the corner. The Stones rely on their Shure -equipped mobile studio for the unmatched recording perfection they insist upon, for these moments of miidnight inspiration.. Whether in a recording session or on stage, the Stones" SM7, SM58, SM82, SM53 and SM56 microphones are their assurance of consistent quality and natural sound.

Shure ElectrDnics Limited Eccleston Roadl, Maidstone ME15 6AU Telephone: Maidstone (0622) 59881 SHUt=tE

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Microphone windshields & shock mounts

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Telephone: Painswick 813615

At last, a D.I. box to meet the most stringent requirements. Utilising the best matching transformer available. Housed in

factory- finished rugged box, as used in professional recording studios. Frequency Response: 10Hz -20kHz 11 db.

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Custom rolling consoles available

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swivelling castors and easy assembly -supplied as a flat -pack kit.

The Turnkey book includes compre- hensive information about our products and services. Please write or call for your free copy. Teac's 16 page booklet "Are you ready for multi- track ?" is also available on request.

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62 STUDIO SOUND, JULY 1978

Install this new 19" unit from Soundcraft Magnetics and bring the electronics of your multitrack tape machine right up to date.

The unit has 8 plug -in modules with studio line level interfaces, and fully professional specifications.

Line out switched replay, line in and sync. Separate sync line out for foldback or noise gate use.

Remote control unit is standard: compatible tape heads and power supplies are available.

S/N 72dB (Ref. 320 nWb /m A weighted). Get up to date by calling Soundcraft.

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APRS Exhibition 1978, a preview

The 11th annual exhibition of the Association of Professional Recording Studios will be held at its traditional venue,

the Connaught Rooms, Great Queen Street, London WC2, on Wednesday June 21, Thursday June 22 and Friday June 23. Opening hours are from 1000 to 1800 (Wednesday), 0900 to 1800 (Thursday) and 0900 to 1700 (Friday). Some 84 companies will be showing their wares, worth in total over £2 million.

Acoustic Research plan to exhibit the full range of Teac Tascam products, including the `budget' 2340 and 3340 four -track tape machines, plus the new Model 2A mixer which features tone control on all channels. The 80 -8 eight -track on 12.7 mm tape machine; the DX -8 eight- channel dbx noise -reduction unit; Models 3 and 5 8 -in /4 -out mixers; the new 90 -16 I6 -track on 25.4 mm tape machine (on show for the first time in the UK); and (hopefully) the new Model 15 24 -in /8 -out/ 16- monitor desk can also be seen.

Agfa plan to display the latest in their range of 3.81 min bulk cassette tape, professional and `amateur' recording tapes and compact cassette range.

AKG plan to show a selection of equipment, including the new D222 micro- phone that uses the two -way technique found in the D202. The new mic is approximately two -thirds the size of the D202 and features a newly -developed two -way system that can be changed very easily; built -in wind and pop protection; 'uniform and frequency independent cardioid characteristic'; plus a

three -step bass cut switch. Also on show: the new SM2000 portable 6/2 mixer of modular design with universal phantom powering; the new BXIO portable reverb unit, which is said to offer professional specification with two independent channels at a lower price than the well- established BX15 and BX20; and a selection of the company's range of dynamic and capacitor microphones, headphones and stereo pickup cartridges.

Alice will be exhibiting several examples of their `highly successful' new ACM custom modular mixing system, ranging from small production and transfer desks to a 16- input/ 20- output /16 -track monitoring console. Also on display will be Alice's six -month old baby, the 828 portable stereo mixer, and a rack - mounting version of the new ACM 9904 compressor -limiter.

This year Allen & Heath /Brenell will have on display, for the first time, the finished production version of the Syncon 'synergetic' console. The desk is now capable of free routing, plus subgrouping with either 16 or 24 -track (split bussing). The new desk

Alice ACM 20/20116 console installed at Dodgy Demos Studios

boasts an equivalent input noise of -128 dB, which is claimed to make it one of the quietest available. Syncon is available with up to 28 input /output modules, all featuring 16/24 routing, two parametric equalisers, two switchable frequency shelving equalisers and six auxiliaries. The system was designed with quadraphonic recording in mind and features quad monitoring mixdown and subgrouping. The lower range of studio mixers has been enhanced by the introduction of the Series III modular console, known as Mod III. A new output module has been introduced that offers four subgroups, eight echo returns and stereo mastering and metering. This module enables the Mod III to be used as a 'high - quality' sound reinforcement mixer, with a heavy duty flight case and multicore assembly available as accessories. The Brenell Mini -8 eight -track on 25.4 mm tape machine will also be demonstrated complete with its new remote control system, a digital tape counter and varispeed unit.

Allotrope /Future Film Developments: no information received.

Amek will be showing an M2000 Series console offering 28 inputs, 16 busses, eight direct assigns and 24 -track metering. The console, based on the in -line principle, has a remix subgrouping system, 240 -point patchbay and many other 'useful' features. Also on display will be modules from the new M3000 system. This console offers 36 inputs, 24 busses, direct assigns and 32 meters. Inputs have four -band, completely parametric eq, six auxiliaries, quad mixdown, vca faders with dc subgroups (including echo returns) and many other facilities. A computer will be available soon, designed by AMS. The price of the complete system including computer will be about £40 -45 000.

Amity Shroeder will be exhibiting their range of broadcast cartridge /record players, together with their 25.4 and 50.8 mm tape transports. The NAB cartridge machines are claimed to meet or exceed the standard for

66 0.

64 STUDIO SOUND, JULY 1978

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AM 61, South Street, Dorking, Surrey.

With Strawberry you expect the finest in recording technology and Strawberry South in Dorking is

undoubtedly one of the most advanced and sophisticated studios in the world today.

10CC will finish recording their new album there at the end of June.

From 1 July 1978 Strawberry Recording Studios South will be available for commercial bookings

(minimum period of one week)

For bookings please ring the Studio Manager, Tony Spath or Polly Burgess on

0306 -87852/3

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APRS PREVIEW

equipment laid down by the NAB and IBA. Also on display will be the wide -tape transport, which is aimed at companies wishing to build their own multitrack machines; they are claimed to provide an excellent performance and smoothness of tape handling.

Ampex will be showing a selection from its

wide range of tape- related products. The MM -1200 is to be demonstrated in a 24-

track version, with search -to -cue, electronic tape timer, sel -sync and large -reel capacity as standard features. Representing Ampex mastering equipment will be the ATR -100

tape machine, which is available in one, two or four -track configurations, and has many options available including NAB /CCIR switching and a disc- mastering preview accessory. The ATR -100 is to be linked in a

demonstration of the MQS -100 video /audio synchroniser with an 4mpex VPR -1 helical - scan recorder. Also to be seen: 406/407 and Grand Master Series mastering tapes, plus tapes for duplicating cassettes, cartridges and digital recording.

Audio & Design plan to show their complete range of signal -processing equipment, includ- ing the new S24 Time Shape Module adt/ Hanger and S23 auto -pan unit from the rack -mounting Scamp range. Also to be seen: the F760 Compex limiter; F769 Vocal Stressor; F600 broadcast limiter; F300 expan- der gate, S03 and SO4 equalisers from the Scamp range; and the new E950 Paragraphic equaliser.

Audio Developments will be exhibiting their complete range of portable mixers, including the new Pico Plus specially designed for tv and film ob use. The ÁD055 compressor -limiter and other plug -in limiters will also be demonstrated. Centrepiece will be the ADO70 Prographic equaliser which has storage facilities for up to 16 graphs with instant recall to the display -even during recording. A remote station capable of controlling four Prographics is said to further extend the unit's versatility.

Audio- Kinetics will be exhibiting the new XT -24 Intelocator, a microprocessor -based autolocator which is said to `learn' a given tape and transport. The unit has six program- mable aim points and can also display a varispeed reference figure in `ips' (wot, no metric cm /s ?). It will interface with the 3M M79, Studer A80, Ampex MMI200 and MCI JH -16 machines. Recently appointed as UK agents, A -K plans to exhibit the Quad -Eight CPR -16 digital reverberation unit. This is

said to represent a real alternative to the plate with the added advantage of a built -in digital delay and echo programme. Reverb time can be varied from 0.25 to 20s. A module from the new Quad -Eight Coronado console, plus details of the Compumix 3

automation system, will also be on show. Also to be seen: the established range of acoustic screens plus a Mk II version of the Sonapanel system launched at last year's APRS.

Among the items to be exhibited by Audix is a console that has been specially designed to meet BBC Radio requirements. Items from the recently introduced 3500 range of modules can also be seen. Based on a 35 mm pitch,

A new portable mixer from Audio Developments

these modules are said to offer facilities acceptable to both broadcasting and record- ing studios. Comprehensive equalisation and filters plus eight group and six auxiliary output facilities are available. In the smaller mixer field the MXT -1000 transportable will again be on show. Suitable for the smaller studio and outside broadcas, work, this should be of particular interest to local radio stations. Also to be seen: a new graphic equaliser in two versions -type 902 having 11

octave centres and type 908 having 27 i-octave centres.

Avcom Systems: no information received. BASF will be demonstrating the Unisette

cassette system in conjunction with the purpose -built Unimatic machine. Designed for professional broadcasting, especially portable recording and the automation of radio pro- grammes, the machine uses 6.35 mm tape and gives a 20 -30 minute playing time at the tape speed of 9.5 cm /s. Also on display: the SPR5OLH range of tape, TP18LH and LHS cassette tape and a full range of calibration, test tapes and cassettes.

FWO Bauch will be displaying the follow- ing studio equipment: Studer A800 24 -track machine with tape synchronisation system, A8ORC 6.35 mm master recorder, B67 6.35 mm tape machine, 169 portable mixer and A68 power amp; Revox B77, A700 and A77 stereo tape machines, B790 direct -drive turntable, A740 power amplifier and a selection of accessories; Neumann condenser microphones, including a new shot -gun mic, plus disc cutting equipment; EMT model 250 electronic reverb unit, professional turn- tables, four -track logging recorder, compact compressor, limiter, de -esser and noise filter modules and various items of test equipment; Ivie portable spectrum analysers and spl meters; ITC NAB cartridge machines; Urei System 200 response plotting system and Sonipulse acoustic analyser, LA -4 compressor - limiter and LA -5 leveller, UÁ545 parametric equaliser, UA1176 limiter, BL -40 modulimiter, UA527A, 529, 530 and 532 graphic equalisers, and UA565T filter set; Transco disc -recording blanks; MRL test tapes; Lexicon Delta -T 92 and 102 mono and stereo digital delay systems, Model 27 pitch changer and Varispeech 2 time compressor - expander; Allison Kepex and Gain Brain modules; Klein & Hummel parametric equaliser and monitor loudspeakers; Danner faders and microphone stands; and Switch - craft audio connectors. Should be something there to please most visitors.

Beyer: no information received. For the first time Broadcast Audio will be

showing the Spotmaster range of NAB cartridge machines and accessories at APRS. Since taking the Spotmaster distributorship in 1975, the company has sold in excess of 380 cartridge machines to radio, tv stations and studios in the UK, Scandinavia, Ireland, France, Germany, Hong Kong and the Seychelles. Sales are handled from the Isle of Man, but a full technical and engineering service is based in West London.

B & K: copy received after deadline. Cadac will be showing its latest modular

In -Line automation console. Automation data is stored, retrieved and updated through the CARE system on floppy disc. Each input/ output channel features a six -band stepless variable- frequency equaliser switchable to microphone or monitor channels. V -cat faders allow dc ganging to seven subgroup faders, or the seventh may act as gang master with control over all faders. The numerical display on each Penny & Giles fader indicates the selected gang assignment, with channel logic clearly marked. The In -Line console series incorporates music recording, film dubbing, and broadcast variations with extensive customer options.

Calrec: no information received. Cetec: no information received. Dolby will be showing their full range of

noise- reduction equipment, the emphasis being on new applications and on the exchange of experience and views on develop- ments within the industry. Recording studios were the first and are still the major customers for Dolby A noise- reduction circuits. For this market Dolby are showing the M32H, an addition to the M- series multitrack range available with less than 32 modules if required. Film studios are now using Dolby A noise- reduction in the recording, transfer and dubbing stages. The major dubbing studios in Hollywood and London are said to be mainly using model 360 units with their magnetic film recorders, and E2 equalisers with their loudspeakers to achieve a standardised acoustical frequency response. Substantially improved sound quality can now be obtained in cinemas, where Dolby A noise reduction is claimed to make it possible to increase the frequency bandwidth, reduce distortion and keep the noise level down. Over 500 cinemas in the USA, and more than 30 in the UK are already equipped to play Dolby- encoded film soundtracks.

Eardley Electronics will have on display the following products for which they are sole UK agents: a new range of Neutric XLR -type connectors and panel- mounted sockets; the Neutric ATRI portable and completely self -contained unit for frequency and time plots of various acoustic and electronic parameters (for example, frequency response of transducers, amplifiers, tape machines and the measurement of complete audio systems, including room acoustics); the Neutric AD4 delay time unit that provides four constant percentage delay outputs from one input, with a continuously variable delay over a 4:1 range from 12.5 to 200 ms; a range of Preh DIN plugs and sockets as well as faders and stepping potentiometers; and a portable Pentagon cassette copier that uses a

68 0

66 STUDIO SOUND, JULY 1978

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SYNTD VOX 221 The Intelligible Ma(jl/jlE'

20- channel analysis and synthesis

54 dB /octave filters

real time analysis LED read -out

matrix patching

fill -in facility

built -in audio pulse generator

random vif and step modulation

Ifo modulation

56 -way multiconnector for external control and computer applications

19" case

£ 3,000

Syntovox 221 is one of the latest developments in sound effects equipment by Synton Electro- nics, also the creator of the famous 903 Phased Band Filter.

Syntovox 221 is a 20- channel electronic effects vocoder which features a range of fascinating new sound effects for everyone who is involved with music, film, television, radio or theatre.

One of the most distinghuishing qualities of Syntovox 221 is its intelligibility which can be considered as a standard for technical quality in a vocoder.

More than one year of research resulted in a

highly accurate analyzing and synthesizing sys- tem which is the heart of Syntovox 221. An extensive control system was designed to make Syntovox 221 sound more natural than any other vocoder.

For a 60 seconds' demonstration call Syntovox 221. It will speak to you on Synton's special vocoder line: Netherlands /03462 -3432. Night and day. If the line is busy, try again, or write for more details.

synton electronics b.v. HOLLAND

breukelen holland P.0.9. B3 TEL. 03462/3499

www.americanradiohistory.com

APRS PREVIEW

The new DN70 digital time processor can be seen on the Klark -Teknik stand for the first time at an APRS exhibition, together with the established DN36 analogue time processor. Also to be seen: their well -

established range of equalisers, which comprises the DN27, 22 and 15 models.

Lee Engineering will be exhibiting examples of the products for which they are UK agents: the new Scully 250 Series of low -cost broadcast replay -only tape machines; samples of the new Audiopak AA -3 NAB cartridge fitted with a new high- output, lubricated tape; the new IGM Instacart 'instant access' cartridge machine capable of holding up to 48 cartridges, any of which can be replayed instantly; and an Audicord cartridge machine that is claimed to meet or exceed all the new NAB /IEC specifications and offers specific operational advantages over earlier designs; plus the Nortronics range of tape machine and head -care products, and replacement heads.

Highlight of the Leevers -Rich stand will be the Proline 2000TC range of 6.35 mm tape machines, which can be supplied in two console housings- standard and penthouse - with control panels to suit the differing requirements of tv and radio stations and recording studios. Of particular interest should be the radio version with facilities and control panel developed in collaboration with John Lumsden, Chief Engineer at Radio Clyde. This version is already in service at Radio Clyde and also at the IRN parliamentary studios. Complimentary to the 2000TC range is the Proline 1000, which is

available in rack -mount, transportable and console versions and can be supplied with either servo -controlled or direct -drive capstan motors. Features include electronic servo - controlled tape tension, motion sensing logic and modular construction. Also on display: the Han -D -Mag for which Leevers -Rich are now sole UK agents. This is a hand -held unit for demagnetising heads, tape guides etc.

Lennard Developments will be exhibiting, for the first time in the UK, two new wow and flutter meters, Models MEI06 and MEI08, manufactured by Woelke of West Germany. In addition the company will again be showing the Woelke ME201 flutter classification unit for use with all Woelke wow and flutter meters; and the ME401 automatic distortion meter, an automated, direct -reading, third harmonic distortion analyser for alignment of tape machines. Also to be seen (possibly): the Asona model 2004 fully- automatic tape duplicator and winder.

Libra Electronics will be exhibiting their theatre sound control console. This has been New Klark- Teknik DN7O digital time processor

developed primarily for use in theatre and conference /arts centres where live sound reinforcement and the reproduction of music and effects from tape or disc are called for. It is entirely self- contained and a range of additional optional facilities is available to meet the specific requirements of each customer. The prime advantage of the Libra system is claimed to lie in the flexibility of input and output selection; to each plug -in control module can be selected any input and any combination of outputs. This permits a single input to be assigned through any fader to any configuration of outputs. If required a single input may be assigned to several control modules, any of which may be used; thus it is

possible to preset cues on inactive modules without affecting those in use. Maintenance of the Libra system is by straight exchange of control modules or printed- circuit boards, which are so priced as to be within most production budgets and allow the desk to be expanded as funds become available.

Lockwood: copy received after deadline. Lyrec will be exhibiting the TR532

multitrack tape machine, together with the new microprocessor -based TPC tape position controller. The TPC enables searching to three different preset tape positions and recycling between two positions. It can also store 16

different tape positions that can be recalled and searched at the operator's convenience. All machines come complete with a comprehensive remote control unit containing search -function, varispeed with four -digit readout and tape timer. The unit also contains controls for all amplifier functions -for each track a selection can be made between ready, safe, line, sync, repro and solo. Also on display: Lyrec high -speed cassette copying equipment, including a new vertical loop -bin. All slaves are built as twin units for maximum capacity in minimum space.

Macinnes are introducing three new products from Crown /Amcron. Foremost among these should be the RTA2 realtime analyser, which Crown first developed for their own use and which is now being marketed as a 'high- quality' unit of test equipment. The RTA2 has a 12.7 cm crt display and is switchable from i- octave to l- octave ranges. It has an internal pink noise generator and can be used with most professional microphones; the RTA2 can be seen in operation with the EQ2 equaliser. Another new unit is the D75 power amplifier, which replaces the old model D60 but is of the same dimensions. The D75 is fitted with the IOC input /output comparator as well as a

'signal- present' indicator on each channel, which shows when an output signal of at least 0.125W is present. Power output per channel of the D75 is 45W into 4 ohms, and 35W into

t0i8N {f%fliN 7n » 4u In

8 ohms. Also to be seen: the 'well- proven' DC300A and DI50A, and the new Macinnes 18/4 portable mixer.

Maglink: copy received after deadline. Magnetic Tapes plan to show the new

Chilton QM2 range of consoles available in 12 to 24- input /4- out /8 -track monitoring or 16 to 24- input /8- out /l6 -track monitoring formats. Features include standard or parametric .q; full -sweep high and lowpass filters; peak- reading vu meters with led overload; four auxiliary channels; 'off' light; pfl; pushbutton channel assignment; and 48V phantom powering. Peak programme metering on output groups is also available, with provision for built -in compressors in each output that can be routed to inputs. Also on show: the smaller Ml0 /2'broadcast- quality' console.

For the first time MCI will this year have its complete range of equipment on show. This is by courtesy of Red Bus Records who have agreed to let the company exhibit the equipment ordered for their new studios. On display will be the following items: a JH500 Series automated console, JH114 -24 multitrack machine and the new JH110A/8 eight -track based on the JH110 transport. In addition, there will be the JH110M broadcast machine said to be developed especially for European broadcasters, with scissors, marker, monitor speaker /amplifier and new electronics to IBA and EBU specifications. Also to be seen: several mastering machines designed for disc -mastering and time delay; and JH440B series consoles.

Midas: no information received. 3M: copy received after deadline. Mosses & Mitchell: copy received after

deadline. National Panasonic: no information

received. Neal -Ferrograph plan to show the Studio 8

range of mono or stereo tape machines, available in transportable, rack -mounting and console versions. The machines use full logic control in association with a rugged tape transport system to provide 'maximum operational convenience in a design intended for heavy -duty use'. Particular attention has been paid to editing facilities and the requirement for remote control. A recent addition to the Ferrograph range of semi- professional machines is the Logic 7 Series of three -speed machines accepting 27 cm spools. The open -face head block is claimed to give unobstructed access for fast and accurate editing. The series is available in half and quarter -track versions, with or without 10W stereo amplifiers, and with Dolby noise - reduction circuits if required. Also to be seen: the Ferrograph RTS2 audio test set and ATUI auxiliary unit; plus the latest addition to the Neal range of studio cassette machines -the three -motor, logic- controlled model 302.

Neve are to show several new additions to their wide range of standard consoles. The latest addition to the range is the model 8078 40/32 desk, the performance of which can be 'enhanced' at any lime by the addition of Necam computer- assisted mixing system (as a factory or field -fitted option). The 8078 incorporates a separate 32 -track monitor/ mixdown section with horizontal faders and

70 STUDIO SOUND, JULY 1978

www.americanradiohistory.com

three from Telex TELEX /MAGNECORD MC SERIES CARTRIDGE MACHINES incorporate state of the art design to meet the real needs of brcadcasters providing operating convenience and reliable performance at reasonable cost. Four machines to choose frorr, mono replay and record replay and stereo replay and record replay.

Prices from £620

TELEX 300 SERIES DUPLICATORS combine total system flexibility wish the capability of expansion as production.demands increase. Incividual modules can ke intermixed to suit the exact duplicating requirements, open reel to cassette, cassette to cassette, open reel to reel or even cassette to open reel. Systems are available in : -track 2- channel mono or + -track 4- channel stereo.

Prices from £2450

TELEX CASSETTE COPIERS feature ultra simple function controls with reliable high speed operation (30ips mono + 20 ips stereo). Automatic erase, automatic rewind and illuminated track select indicators enable even non -technical personnel to successful', duplicate cassettes. Add -on slave units will expand production to a

total of 5 cassettes per pass. Prices from £560

for further details write to:

Avcom Systems Ltd. P.O. Box 755 Lordon W12 7HS 01 743 2201

www.americanradiohistory.com

APRS PREVIEW

routing to four track outputs. Useful features are said to include separate mic and line inputs equipped with 3/105 equalisation amplifiers, eight of which can be switched for use as reverb returns. Also being exhibited for the first time is the model 8066 20/16 console that features separate mie and line inputs, this time equipped with 31099 or 31102 equalisation amplifiers. A separate 16 -track mixdown section with horizontal faders allows routing via stereo positioning controls to four track outputs. All channels can be routed to two mono and one stereo cue /foldback output, while another two mono auxiliaries are provided on the monitor section. A new suitcase 8/2 mixer, model 5422, suitable for ob van and location work will also be shown.

Penny & Giles will be exhibiting equipment from their range of products, including the 1500 Series linear -motion faders with a wide choice of output functions, switch facilities, single, double, four and eight -track format; the /900 Series long stroke length faders; the 'cost- effective' 1100 Series; and the 900

Series slimline fader with its compact body width of 12.7 mm and stroke length of 65 mm. Also on show: a twin fader providing two separately- operated stereo outputs within a body width of 25 mm; and a joystick quadraphonic pan pot.

Philip Drake: copy received after deadline. Professional Tape Marketing Associates will

be showing a new -style cassette especially designed for in- cassette duplication, studio

Rockwool unlaced acoustic slabs in evidence during the construction of John Wood Studios

and audio- visual applications. The cassette has lubricated pins, flanged rollers and 'hard' windows. Non - jamming with PTFE -type foils, it can be custom made to any required length from CI to C96. Each cassette carries an unconditional 25 -year guarantee against any manufacturing fault and is precisely loaded to within -0/ +6s. Also on show: 'professional - quality' cassettes available in most lengths, and which come complete with side labels, inlay cards and library cases; and a new 'competitively- priced' cassette labelling machine that will label up to 500 cassettes an hour and is said to need no experience to use.

Publison: copy received after deadline. A new range of octave -band spectrum analysers to be shown by Pyral should be of great interest to those who require fast, accurate a/b comparisons of frequency

performance on any disc cutting or tape copying work. Major recording studios in Europe have already installed these analysers. Also on show will be the Pyral range of cassettes, including the new Superferrite. Duplicating -quality cassette tape, including the new high- output Microferric, master lacquer discs, magnetic sound track film and CJ87 studio tape can also be seen.

RAC will have on display a 16/8 mixer destined for a Belgium studio. Servicing is

said to be fairly straightforward, since all circuits are on plug -in cards and replacements of all types are kept in stóck. These cards are also available separately as RAC plug -in Audio Modules. New this year are a range of complete mixer units, including a limiter, disc pre -amplifier and two -channel mie amplifier with phantom powering; further units are under development. Also to be seen: a range of power amplifiers in 50W, 100W, 200W and 50 -}- 50W versions, with optional 100V line facilities.

Racal Zonal will once again be showing their wide range of recording tapes and cassettes for all applications, including music mastering, broadcasting, duplication and speech monitoring. Also on display will be the company's capability of producing cassette shells and components, custom - wound cassettes and private label cassettes.

Radford will be exhibiting its existing range of measuring instruments and amplifiers. Also on show will be four new items: the DMS4 distortion measuring set capable of measuring total harmonic distortion to better

74J

M/IV/nUX

a+3 40.+2 r+ N OdB

-1 .0-2 4+-3 -5 -7 40 -10 #-15 !P -20 N -25

-30 N-35 -410- -40

+21,r' 11 O NIMIF[YX

MEL. $7$

MEG 273 Peak Level Indi-

cator uses a column of green and red LED lamps which ignite alongside a dB scale in

accordance with input signal

levels.

The indicator has no moving parts and its very high sensi- tivity allows it to be used at Test Tape levels and for sys-

tem noise checks. The display is easily readable in multi- channel applications and its

vertical orientation is ergo- nomically suited to the slider movement in mixers.

The circuit has been subject of long -term development and uses only five integrated circuits. The accuracy is

0.1 dB. Max. sensitivity: 60 mV to givé 0 dB. Input Z: 100 kohm unbalanced. Supply: -32 to -50V. Integration time and Decay

to IEC 268 -I0.

MINIFLUX electronics limited Tel: 01 959 5166 8Hale Lane London NW7 3NX England

ATHENS: 815 858 BRUXELLES: (02)- 771.30.63 STOCKHOLM: 08.83 60 00

72 STUDIO SOUND, JULY 1978

STUDIO EQUIPMENT We may

be able

to supply

the equip-

ment that you

require

COMPACT STUDIO MIXERS, FOR MONO OR STEREO. All with comprehensive mixing facilities to suit fixed installa- tions. or mobile situations. Where prestige demands the finest quality sound mixing equipment; for clubs, theatres, colleges and universities, install SONIFEX, and be assured of reliability and perfor- mance.

Also: A wide range of NAB cartridge reproducers covering basic requirements, through to broadcast specification.

Ask for details:

SONIFEX 15 COLLEGE STREET IRTHLINGBOROUGH NORTHANTS. 0933 -650700

www.americanradiohistory.com

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www.americanradiohistory.com

APRS PREVIEW

than 0.0005%; the DMS5 distortion measuring set intended for general purpose use in the studio and which can measure to 0.001% thd; and the TTIO0 and TT50 stereo valve amplifiers. Both measuring sets cover the frequency range 10 -IOOk Hz and feature semi -automatic nulling. The TTI00 and TT50 amplifiers have power outputs of 100W and 50W per channel respectively, and incorporate crossover feedback to provide a performance claimed to be not previously obtainable in valve

amplifiers. Raindirk: copy received after deadline. Rockwool will be exhibiting their range of

tissue -faced and unfaced mineral wool slabs for use in acoustic control. Also on display will be their range of Rockfon acoustic tiles and panels, all of which are said to possess excellent sound absorbtion qualities. Being

made from mineral wool, in addition to their sound absorbent qualities Rockwool products are claimed to provide excellent thermal insulation and, being incombustible, fire -

protection. Roger Squire: no information received. Scenic Sounds Equipment: copy received

after deadline. Shure will be introducing a microphone new

to the UK. The SM81 is a unidirectional condenser microphone designed for most applications in studio recording, radio and television broadcasting and sound reinforcement. It features a wide -range frequency response with cardioid polar pattern, uniform with frequency and symmetrical about axis, plus a selectable low- frequency response providing flat, 6 or 18 dB /octave rolloff, and a 10 dB lockable attenuator. Phantom- powered, the SM8/ will

operate on voltages of 12 -48V dc. A wide

range of other products can also be seen on the company's stand.

Sifam will show its full range of vu and peak programme meters, collet and push -on knobs. Built to the accepted relevant ASA and British standards, the meters are available in a wide range of case styles and scale lengths. In addition to traditional round and rectangular meter cases, the latest low- profile Monitor style will be shown. This is said to be

notable for its front -of- panel, space -saving slimness that adapts well to the needs of studio

The new from

Soundcraft EX4S

crossover

console design. New to the Sifam range this year are push -on knobs and a larger, 38 mm diameter 'short' collet -fixing knob, which is

available in plain forni or as a special cranked version.

Solid State Logic will be demonstrating for the first time in the UK the SL4000 automated consoles and computer mixing system. Each channel includes an 'instrument- quality' compressor- expander and a four -band parametric equaliser with variable 'Q'. Machine remotes are included within each channel, and the 'unique' Supercue logic automatically provides artists with correct foldback resources, even during complex drop -ins. The SL4000 computer mix recognises for the first time, it is claimed - simple commands in English and song or mix

titles without restriction. A 24 -line tv display gives track and title listings and vea fader status as required. The system includes an SMPTE reader -generator and a 'fast learning' ingelligent autolocator.

Soundcraft will be exhibiting their range of sound mixing equipment, which comprises the Series IS portable stereo and four -group mixers and the Series 2 and 3 studio mixers for four to 24 -track recording. The Series 3 is

being exhibited for the first time in the UK. A

console of fully modular construction, Series

3 is said to offer the engineer an ergonomic and attractive console featuring a four -band equaliser (each band sweepable frequency) on each input channel; eight auxiliary busses; auto solo (pre and post -fade stereo): sixteen channel monitor mix into main stereo buss; plus 16 and 24 -track main frame options. Cost of the Series 3 is under £11 000. Also to be exhibited for the first time in the UK is

the new Series IS range of stereo and four - group mixers. The stereo format includes the aluminium carrying case into which the mixer is built, an optional walnut console being available for permanent installation. Three

IO OUTLET DISTRIBUTION AMPLIFIER 2 One floating input, 10 floating outputs at 600 ohms for general studio work or feeding multiple slave pa amplifiers. Electronic input circuit which withstands mains or static voltages on the signal lines. THD, all outputs loaded 600 tt, at ! 12 dBV.7

I K Hz -86d B. 0.005% 30Hz -20KHz -66dB, 0.05% STATIC IMD, 50Hz -7KHz, 4:1 Output + 12dBV.7 -86dB, 0.005% DYNAMIC IMD (DIM 100) Output + I4dBV.7 sine equiv. -66dB, 0.05% The unit meets the IBA 'signal path' specifications and is available as a complete unit or as a set of all parts excluding the case and XLR connectors.

STEREO DISC AMPLIFIER 2 UNMATCHED PERFORMANCE FOR BROADCASTING, DISC MONITORING AND TRANSFER June, page

SURREY ELECTRONICS The Forge, Lucks Green, Cranleigh, Surrey GU6 7BG

Telephone STD 04866 5997

74 STUDIO SOUND, JULY 1978

sizes are available: I2, 16 and 20 -input channels respectively. Series /S -4 is the four - group version being introduced at APRS. Based closely on the format of the stereo Series IS, it is designed with the four -track demo studio in mind, and is presented as a table -top console. In addition, the first in a

projected range of 483 mm rack- mounting professional accessories can be seen. The E"X4S stereo electronic crossover is switchable for two, three or four -way operation, and costs £425.

Soundex plans to show a new free -standing peak programme meter, plus the Series /300 four -channel and Series 6 Mk II six -channel desks. The Series /300 are portable mixers for use with a crossed pair of microphones and two 'spot' mies. The Series 6 Mk /I have break -in send and return facilities and elaborate input switching to allow most of the common signal sources to be matched to the mixer.

Sound International is a new monthly magazine from the people who brought you Studio Sound, aimed primarily at sound engineers and musicians, both professional and semi- professional. The first two issues, dated May and June 1978, will be at the show and give an indication of the diversity and depth of coverage. With the current trend towards smaller studios, it has become obvious that a well -crafted publication is

needed to provide the vital link between the music makers and those recording sound. Sound International provides that link.

Mel Lambert and Mike Stormer will be on hand to tell it like it is about Studio Sound.

Superscope Tape Duplicating: no information received.

Surrey Electronics will be showing a wide range of broadcast -related products, including a high- quality stereo disc amplifier for broadcasting, disc monitoring and transfer applications; a ppm to 1EC268 -10A and BS5428, the drive circuit of which is built under licence from the BBC and Ernest Turner ppm movements with flush- mounting adaptors and illumination kits; a 10- outlet distribution amplifier that is said to meet IBA requirements and is available as a complete boxed unit or as a set of parts excluding the case and all XLR connectors; a frequency shifter (range 1 -10 Hz) for howl reduction in

high -quality public address and foldback systems; a spectrum shifter that frequency shifts between 0.1 and lk Hz for `wierd' special effects on speech or music; a peak deviation meter for monitoring mono or stereo fm stations; and a chart recorder that monitors the output from the peak deviation meter.

Tandberg are exhibiting the by now `well -

established' /OX tape machine, plus a new reel -to -reel deck taking 26.7 cm spools.

www.americanradiohistory.com

setting standards

For the full story contact F.W.O. Bauch Limited. 49 Thecbald Street, Boreham Wood, Herts. WDE 4RZ R OX

www.americanradiohistory.com

APRS PREVIEW

Complimenting the /OX is the TCD 330 three -head stereo cassette deck, which incorporates a source and tape monitoring facility. Also to be seen: various items of domestic gear, including the TR2075 Mk 1/ stereo receiver offering 75W per channel into 8 ohm, and the Studio Monitor loudspeakers which handle 160W 'music' power into an 8 ohm load with a frequency range of 25- 20k Hz.

Tannoy: no information received. Trad will again be showing a

representative range of equipment they have in stock at the time of the APRS exhibition, including an 18 -month old Spectra Sonics 24/24 console. Various other items of ancillary equipment will also be on display, including mies, signal processing gear etc.

Trident will show the new TSM Series of consoles equipped with separate quad and stereo outputs, 32 inputs and four -band parametric equalisation on each input. Also on display will be the modular Fleximix desk, which is expandable from mono to 24 tracks without prewiring, and has a maximum of 10

mixed output groups (eight submaster and two main left /right masters) with monitor on up to 24 tracks. The CB 9076 parametric equaliser /filter, the CB 9109 oscillator and test set (see Review page 104), plus a

stereo compressor -limiter can also be seen.

Turnkey: copy received after deadline. Tweed Audio: no information received. Vitavox will be launching the Oracle, a

high -efficiency, all- horn -loaded monitor transducer. Because of horn -loading of bass

and high -frequency sections, the unit is said to be capable of handling the most severe signal transients, 'giving low distortion natural

Tandberg TCD 330

stereo cassette machine

and lively reproduction over the whole dynamic range'. Maximum achieved output quoted at around I30dBA at Im with full rated input power. Price is around £700. The company will also be showing part of its range of microphones and stands, multicell horns, loudspeakers for studio use and the Thunderbolt horn -loaded speaker system.

The main feature of the Walter Luther exhibit will be the company's range of stands for microphones, loudspeakers and studio lighting applications. This range spans the lightweight Combi Major, a design complete with boom arm and counterweight, to the SHD /1, a heavyweight design capable of supporting the largest of loudspeakers. Inbetween these two extremes are offered the HDI and HD2 multipurpose stands, which can be supplied with a number of accessories enabling them to be used for a variety of

applications. Also featured will be a range of magnetic film and tape.

Webland will be showing the well -known BGW models 250, 500D and 750A power amplifiers, plus a new professional range comprising the 100, 250C, 750B and 750C. There is also a new pre -amplifier with the model 410 (200W power amplifier) for the domestic market. The professional range has been tailored to meet pa, studio and disco requirements, and features include XLR and mono jack plug connectors. Input gain controls have now moved to the front panel with clip indicators. New 'improved' low - noise fans have been incorporated for even greater reliability. As with the old range, crowbar protection continues to be a

prominent safeguard, and modular construction is said to give ease of service for quick turn round time in emergencies.

EXHIBITORS LIST Formula Sound 1126 Neve 47, 48

C E Hammond 66, 67 Penny & Giles 73

Acoustic Research (Teledyne) 93 Harman Audio 86 Philip Drake 97

Agfa -Gevaert 72 Hayden 35 Professional Tape Marketing Associates 104

AKG Acoustics 9, 10, 12, 13 Helios 27 Publison 113

Alice (Stancoil) 17, 18 H/H 82, 83 Pyral 57

Allen & Heath /Brenell 40, 41 ICM Cassette Merchandisers 119 RAC 74

Allotrope /Future Film 19, 20 ITA 75, 76, 77 Racal -Zonal 38, 39

Amek Systems 52, 53 'International Musician' 100 Radford 102

Amity Shroeder 81 Jackson Recording 42 Raindirk 44

Ampex 64, 65 Jacques Levy Professional Rockwool 94

Audio & Design 21, 22 Recording Services 25 Roger Squire 105, 106

Audio Developments 16 James Yorke 89 Scenic Sounds Equipment 43

Audio Kinetics 85 John Page 49 Shure Electronics 49

Audix 58, 59 Keith Monks 90 Sifam 103

Avcom Systems 107, 108 Klark -Teknik 71 Solid State Logic 56

BASF 5 Lee Engineering 99 Soundcraft 36, 37

FWO Bauch 1,2,3 Leevers -Rich 15 Soundex 111

'Beat Instrumental' 50 Lennard Developments 23 'Sound International' 24

Beyer 61, 62 Libra Electronics 27 'Studio Sound' 24

'Billboard' 117 Lockwood 6 Superscope Tape Duplicating 114

Broadcast Audio 115 Lyrec 88 Surrey Electronics 109

B &K 98 Macinnes 14 Tandberg 51

Cadac Calrec

33, 34 30, 31

Maglink Magnetic Tapes

84 63

Tannoy 101

Trad 32

Cetec 80 MCI 7 Trident 28, 29

Dolby Eardley Electronics Electro -Voice

45, 46 118

78, 79

Midas 3M Mosses & Mitchell

8 -11 4

120

Turnkey 112a Tweed Audio 95.

Vitavox 60

EMI Feldon Audio

68 70

National Panasonic Neal -Ferrograph

87 96

Walter Luther 116 Webland 92

76 STUDIO SOUND, JULY 1978

www.americanradiohistory.com

NOW POLYDOR ARTISTS CAN TELL IF THEY STILL

SOUND LIKE THEMSELVES.

Polydor have a machine in their London studios that they use to copy sessions. Then the artist, producer, composer or whoever can take the day's work home and study it before the next session.

The machine is the Tandberg TCD 330 deck. Cassette deck, that is.

Because cassette decks have come of age, and Tandberg make one of the finest you can buy. In many ways it compares well with pro- fessional reel -to -reel equipment -and has advantages of its own as well. Just ask any of Polydor's artists....

SOME OF THE TCD 330's ADVANTAGES Three heads for A/B monitoring. Pro-

fessional peak level record/ playback meters. High -speed wind and rewind (C60 in 45 seconds). Logic touch controls. Simple to oper-

ate azimuth adjustment gives excellent results with a variety of cassette brands.

Frequency range: 20 Hz to 20000 Hz (DIN 45500), 30 Hz to 18000 Hz (± 3 dB) with FM/ MPX disconnected. Harmonic distortion less than 0.3% from the amplifier with 0 dB rec. level, less than 3% from the tape with 0 dB rec. level. Can be used vertically (special feet provided) or horizontally. Remote control facility available.

See and hear the Tandberg TCD 330 for yourself (with a new 10" reel -to -reel recorder) on Stand 51, Empire Room, APRS Exhibition, Connaught Rooms, London WC2, 21 -23 June, or ask us for a leaflet with all details and a complete tech -spec.

TANDBERG Tandberg(UK) Limited, 81KirkstallRoad,Leeds LS31HR.Tel: (0532) 35111

www.americanradiohistory.com

Survey: test equipment Clearly it would be impossible to include full details of all equipment offered by every manufacturer. The following survey comprises an abbreviated directory of currently- available test and calibration hardware on a manufacturer - by- manufacturer basis. Forthcoming surveys include monitor loudspeakers (September), studio ancillaries (October), broadcast and pa mixers (December) and multitrack consoles (January 1979). Manufacturers and agents are invited to submit product details for inclusion to reach the editorial office (address page 3) at least six weeks before the issue publication date (preferably a lot earlier).

ACOUSTILOG Acoustilog Inc, 19 Mercer Street, New NY 10013, USA. Phone: (212) 925 1365.

Products REVERB TIMER

AMBER York, Amber Electro Designs Ltd, Suite 403, 4810 Jean

Talon West, Montreal H4P 2N5, Canada. Phone: (514) 735 4105. Export: Gotham Export Corp, 741 Washington Street, New York, NY 10014, USA. Phone: (212) 741 7411. Telex: 129269. UK: Scenic Sounds Equipment, 97 -99 Dean Street, London W1V 5RA. Phone: 01 -734 2812. Telex: 27939.

ADI Audio Developments International Corp, 644

Emerson Street, Palo Alto, Ca 94301, USA. Phone: (415) 321 3035. Telex: 470464.

Products SPECTRUM ANALYSERS

AEC Audio Engineering Components GmbH, 6053

Obertshausen, Geleitstrasse 11, West Germany. Phone: 08104. 42324.

Products SPECTRUM ANALYSERS AND ACCESSORIES

ALICE Alice Stancoil Ltd, Alexandra Road, Windsor, Berkshire, UK. Phone : Windsor 51056. Telex : 849323.

Products NOISE MEASURING SETS

Products AUDIO TEST SET AND ACCESSORIES SPECTRUM ANALYSERS

B &K Brüel & Kjaer A /S, 18 Naerum Hovedgade, 2850 Naerum, Denmark. Phone: 02- 800500. Telex : 37316. UK: B & K Laboratories Ltd, Cross Lances Road, Hounslow, Middlesex. Phone: 01- 570 7774. Telex: 934150. US: B & K Instruments Inc, 5111 West 164th Street, Cleveland, Ohio 44142. Phone: (216) 267 4800. Telex: 810421.

Products ACOUSTIC STANDING WAVE MEASUREMENT BEAT FREQUENCY OSCILLATORS DISTORTION ANALYSERS FREQUENCY RESPONSE MEASUREMENT IMPULSE RESPONSE TESTING INTERMODULATION DISTORTION ANALYSERS LEVEL RECORDERS MICROPHONE CALIBRATION GEAR

Acoustilog model 232 reverb timer 80

POWER 254 500 SR 2R FR 6R a (20. .! t il 1J/

... .. 50a

4111 seem. 232 REYER6ERATIORTiRER

tEE EM..:- tepe? terpet

10 0

NARROW BAND ANALYSERS NOISE ANALYSERS NOISE GENERATORS OSCILLATORS PHASE METERS PSOPHOMETERS REAL TIME ANALYSERS SINE RANDOM GENERATORS SPECTRUM ANALYSERS TIM AND BIM DISTORTION SYSTEMS VOLTMETERS WOW AND FLUTTER METERS

COURT Court Acoustics, 50 Dennington Park Road, West Hampstead, London NW6. Phone: 01-435 0532. For a full list of overseas agents see March 1978 issue, page 60.

Products SPECTRUM ANALYSERS

CROWN /AMCRON Crown International, Box 1000, Elkhart, Indiana 46514, USA. Phone: (219) 294 5571. Telex: 2942160. UK : Macinnes Laboratories Ltd, Macinnes House, Carlton Park Industrial Estate, Saxmundham, Suffolk IP17 2NL. Phone : 0728 -2262 /2615. Agents in most countries

Products SPECTRUM ANALYSER AND ACCESSORIES

MICROPHONE

78 STUDIO SOUND, JULY 1978

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SURVEY: TEST EQUIPMENT

DANELCO Export: Hammer Trading Co ApS, Dalen 8, DK -3060 Espergaerde, Denmark. Phone: 03- 233826. UK: Telonic Berkley UK, 2 Castle Hill Terrace, Maidenhead, Berks SL6 4JR. Phone: 0628- 28507. Telex: 849131.

Products WATTMETER WOW AND FLUTTER METER

DORAM Doram Electronics Ltd, PO Box TR8, Welling- ton Road Industrial Estate, Wellington Bridge, Leeds LS122UF, UK. Phone: 0532- 452458.

Products LOW- DISTORTION OSCILLATOR MILLIVOLTMETER DISTORTION METER

EMT EMT -Franz VGmbH, D -763 Larh 1, Postfach 1520,

West Germany. Phone: 07825 -512. Telex : 754319. UK: FWO Bauch Ltd,49Theobald Street,Boreham- wood, Herts WD6 4RZ. Phone: 01 -953 0091. Telex: 27502.

US: Gotham Audio Corp, 741 Washington Street, New York, NY 10014.

Phone: (212) 741 7411. Telex: 27502.

Products POLARITY TESTER FLUTTER METER MICRO -IMPEDANCE METER

FARN ELL Farnell Instruments Ltd, Sandbeck Way, Wetherby, Yorkshire, LS22 413H, U.K. Phone: 0937- 63541. Telex : 557294. Agents in most countries.

Products OSCILLATORS FUNCTION GENERATORS MILLIVOLTMETERS MODULATION METERS OSCILLOSCOPES

EMT 328 micro -impedance meter

.460

EMT 422 wow and flutter meter

EMT 424 flutter analyser

Farnell cont'd

SIGNAL GENERATORS SWEEP GENERATORS SYNTHESISED SINE GENERATORS

FERROGRAPH North East Audio Ltd, Simonside Works, Leam Lane, South Shields, Tyne & Wear NE34 9NX, UK. Phone : 0632- 566321. Telex : 537227. US: Hammond Industries, 155 Michael Drive, Syosset, NY 11791, USA. Phone: (516) 364 1900. Telex: 961396.

Products AUDIO TEST SET AND ACCESSORIES 82 0.

Danelco wow and flutter meter

80 STUDIO SOUND, JULY 1978

INTERNATIONAL DEALERS

United Kingdom Audio Kinetics (UK) Ltd., Verulam Road, St. Albans AL3 4DH Tel : (0727) 32191

Austria Acousta Elektronik, Hofhaymerallee 15, A -5020 Salzburg Tel : 06222/46164 Germany Estemac Electronic GmbH, Alter Teichweg 67, 2000 Hamburg 70 Tel : (0 40) 61 06 60

Norway Siv. Ing. Benum & Co., Boks 2493, Solli, Oslo 2 Tel : (02) 56 57 53

France Recording. Electronic. Design., 3 Rue Du Telegraphe, 75020, Paris Tel : 636 73 10

South America Electronica Gramcko, Av. Sanz - Edificio Escar, Local B - Apt. 75442, El Marques, Caracas, Venezuela Tel : 35 43 78

Hong Kong Fee Lun Radio Service, Wai Shun Bldg., 11th Floor, 5 Yuk Yat Street, Tokwawan, Kowloon Tel : 3-656611 Republic of China Linfair Engineering Er Trading, 7/F 7, Jen Ai Road, Sec. 2, Taipei, Taiwan Tel : 3214454-7. Canada Commercial Electronics Ltd., 1305 Burrard Street, Vancouver 1 B.C. Tel: (604) 685 -0301.

New Zealand Magnetic Products Ltd., 108 -110 Jervois Road, Herne Bay, Auckland 2 Tel : 760 -607.

Australia Rank Industries Australia (Pty), Ltd., 12 Barcoo Street, East Roseville, N.S.W. 2069 Tel : 406 5666.

Indonesia P. T. Kirana Yudha Teknik, P.O. Box 71, Jatinegara, Jakarta Tel : 883823.

Japan Electori Co. Ltd., Mondo Bldg., 1 -19 -3 Kamiochiai, Shinjuku -Ku, Tokyo Tel : (03) 950-6266.

Singapore Electronics & Engineering Pte. Ltd., 271 Outram Road, Singapore 3 Tel : 75873.

Philippines Electro- Systems, Corinthian Plaza, Garden Floor, 121 Paseo de Roxas, Legaspi Village, Makati, Metro Manila Tel : 85-99-96 India Magna -Tech Electronic, 273 /4 "Rama Baug ", Deohar Road, Matunga, Bombay Tel : 400 019.

Quad Eight International Quad Eight Electronics 11929 Vose St., No. Hollywood CA91605 (213) 764-1516 Telex : 662 -446

www.americanradiohistory.com

(g-n tr la a iy/ tA& Co rona 40 t a 4 ,24 &i& Corack

wig ComAtunkv III y(atomattiv

grby. ...trtift, &ay Stijrhee,

11,1

Quad/Eight Electronics Quad/Eight International

11929 Vose Street, North Hollywood, California 91605 (213) 764-1516 Telex 662-446

www.americanradiohistory.com

SURVEY: TEST EQUIPMENT

FIDELIPAC Fidelipac Inc, 109 Gaither Drive, Mt Laurel, NJ 08057, USA. Phone: (609) 235 3511.

Products WOW AND FLUTTER METER

FORMULA SOUND Formula Sound Ltd, 3 Waterloo Road, Stock- port, Cheshire. Phone: 061 -480 3781.

Products SPECTRUM ANALYSER AND ACCESSORIES

FLUKE John Fluke Manufacturing Co Inc, PO Box 43210, Mountlake Terrace, WA 98043, USA. Phone: (800) 4260361. UK: Fluke International Corp, Garnett Close, Watford WD2 4TT. Phone: Watford 33066. Telex: 934583.

Agents in most countries.

Products DIGITAL VOLTMETERS DIFFERENTIAL VOLTMETERS FREQUENCY COUNTERS AND TIMERS SIGNAL GENERATORS DATA LOGGERS

HEWLETT -PACKARD Hewlett- Packard Corp, 1501 Page Mill Road, Palo Alto, Ca 94304, USA. Phone: (415) 493 1501. Telex: 348461.

UK agent: Hewlett -Packard Ltd, King Street Lane, Winnersh, Wokingham, Berks RG11 5AR. Phone: 0734- 784774 Telex: 847178.

Agents in most countries.

Products DISTORTION ANALYSERS FOURIER ANALYSERS FUNCTION GENERATORS GROUP DELAY MEASUREMENT NETWORK ANALYSERS OSCILLATORS SIGNAL GENERATORS SPECTRUM ANALYSERS SWEEP GENERATORS WAVE ANALYSERS

INOVONICS Inovonics Inc, 503B Vandell Way, Campbell, Ca 95008, USA. Phone: (408) 374 8300.

Farnell FG3 function generator

Leader LFM -39 wow and flutter meter

Model 010 distortion meter from Lyons Instruments

Products SPECTRUM ANALYSERS AND ACCESSORIES

IVIE !vie Electronics Inc, 500 West 1200 South, Orem, Utah 84057, USA. Phone: (801) 224 1800. Telex: 9715884. UK: FWO Bauch Ltd,49 Theobald Street, Boreham- wood, Herts WD64RZ. Phone: 01 -953 0091. Telex: 27502. Agents in most countries.

Products PORTABLE SPECTRUM ANALYSERS AND ACCESSORIES

Hewlett- Packard 5370A universal time interval counter

LEADER Leader Electronic Corp, 2 -6 -33 Tsunashima Higashi, Kohoku -ku, Yokohama, Japan. UK: C. E. Hammond & Co Ltd, 105 -109 Oyster Lane, Byfleet, Surrey KT14 7LA, UK. Phone: Byfleet 51051. Telex: 262525. US: Leader Electronic Corp, 151 Dupont Street, Plainview, NY 11803, USA. Phone: (516) 822 9300.

Products OSCILLOSCOPES WOW AND FLUTTER METERS AUDIO GENERATORS FREQUENCY RESPONSE ANALYSERS MILLIVOLTMETERS

LEVELL Level! Electronics Ltd, Moxon Street, Barnet, Herts EN5 5SD. Phone: 01- 449 5028.

Products OSCILLATORS MILLIVOLTMETERS AC VOLTMETERS

LYONS Lyons Instruments Ltd, Ware Road, Hoddesdon, Herts EN11 9DX, UK. Phone: Hoddesdon 67161. Telex: 22724.

Products AF SIGNAL GENERATORS DISTORTION METERS FUNCTION GENERATORS MILLIVOLTMETERS NOISE GENERATORS OSCILLATORS Lyons are also UK agents for Elgenco, Helper, Millivac and NF Circuit products.

MARCONI Marconi Instruments Ltd, Longacres, St Albans, Herts AL4 OJN, UK. Phone : 0727 -59292. Telex : 23350.

US : Marconi Electronics Inc, 100 Stonehurst Court, Northvale, NJ 07647.

Phone: (201) 767 7250 Telex: 9919752.

Agents in most countries.

Products DISTORTION ANALYSERS FREQUENCY METERS MODULATION METERS OSCILLATORS SIGNAL GENERATORS SPECTRUM ANALYSERS SWEEP GENERATORS BROADCAST TEST EQUIPMENT

Inovonics model 500 acoustic analyser

82 STUDIO SOUND, JULY 1978

www.americanradiohistory.com

REVOX B77 The new Revox with full logic, easy

editing, varispeed option. Check our new low prices on this and the A77 rang

ALLEN & HEATH SD 12 -2 Yew 12/2 Sound re- infolcerlent mt{er which may also be used for

track recording.

H/H STEREO 12

Quality 121/2 desk from a marufacti_rer ne.e3_ng no

introduction - many features at a ser>sible price.

£330 - VAT

on dem =mstration with omparion echo /effects module_

£430 ;AT

QUAD 405 Uni:ue "current lumping' monitor amplifier

BRITAIN'S LEADING SUPPLIERS OF

PROFESSIONAL AUDIO EQUIPMENT

TEAC TASCAM 80 -8 Eronornic ope =tion, simplicity of e

-8 :rack recording at a pr:ce for those with more taon- than money_

£160 £2314

+ vAT

'JAI'

ANGLE POISE

MICRO - PHONE

ARM

DX-8 E c iannel MK( Unit £ó&l) + v41T

í.+: Te3c; TasErr .-nul-`:track ra :áe or luli deP70_T-

dtratlnr.

You'll find the approach quite diferent at Roger Squire's ?ro- Auc&o, it's something known as service. Like other suppliers we carry large stocks (a -Eider range and larger than most). Yet before the point cf pc.r haae we want you to be =tvinced you are making he right choice.

We are sole U.B. distrioutors of this

produc-. Availablevri.h wall, table or clamp

_mounting bracket Available in black cnd chrome:

£14.75 + VAT All prices ca -reet

at the t;rty of go..ng to vress.

You are invited to vis :t our showrooms where you will find a vast range of mixnrs multi -track tape machined, m_crophones, monitor amps, etc wired ready for remonstration, which tocether with our Technical z dvisory Service is ar. Lnb eatable combination.

PKG BEYER áC7NDCRAFT

Should {o.t m.nuhi_e wish to consider the exter_t of Dur produc: range,

it's contained it our NEW 60 -ace catalogue. We wculc be pleased 10 send a ropy FREE of charge upon request.

Branch _Manager : CLff Lake Sales Enginaer : Dave Wî. ttaker 55 Charlberr St. Lo=1dcn,1W8 EJN

Telephone: C1- 7228111 Telex: 298 4. 3`

S o wrooms open - Tuesday -- Sarurcay !OW a. a - 5.00 pr . Le te night Weds. ranci' 8:09 pm. Local parking -S mir s. from St_ _lobos Wocd Tube. EIPRESS UK AND ET PORT DELIVERY SE. ?N. f E

AGENTS FOIE CALREC SHURL -3AC TASCAM MM CHILTOI CANARY 1-'H ALLEN & HEATH BRENEL. RECGHDiNG STUDIOS DESIGN HIL; OTARI - FERKOGRAEH REVOX UHE3 QUAD AMCRON BOSE TANNO- IBL !CLARK-T:MUNK MXI DBX TECP.MC] RUSSCO

D'EUTRICCONNECTORS OwALMIXERS .TSVTON TAP.CASTER TRIDENT

www.americanradiohistory.com

SURVEY: TEST EQUIPMENT

3M 3M Company, Mincom Division, 3M Centre, St Paul, Minn 55101, USA. Phone: (612) 733 1110.

UK:3M UK Ltd, Mincom Products Group, Recording Materials Division, PO Box 1, Bracknell, Berks RG121JU. Phone: 0344 -26726. Telex: 849371. Agents in most countries.

Products AUDIO TEST SET WOW AND FLUTTER METER WAVE ANALYSER

MJS MJS Electronics, 27 Walnut Close, Yateley, Camberley, Surrey GU17 7DA, UK. Phone: 0252-871401.

Products NOISE AND LEVEL TEST SET

MUIRHEAD Muirhead Vatric Components, Measurement and Control Division, 154/160 Croydon Road, Beckenham, Kent. Phone: 01 -650 4888. Telex : 262710.

Products ATTENUATORS BITS AUTO TRAK AUTO SCAN

NEUTRIK Neutrik AG, SI 9494 Schaan, Obergass 16, Liechtenstein. Phone: 075. 26383. Telex: 77771. UK: Eardley Electronics Ltd, Eardley House, 182 -184 Campden Hill Road, London W8 7AS. Phone: 01 -221 0606.

Products PORTABLE FREQUENCY AND TIME PLOTTER

PYRAL Pyral SA, 70 -72 av du Gal -de- Gaulle, Eschat 661, 94022 Creteil Cedex, France. Phone: 377 1251. Telex: 230520. UK: Pyral Magnetics Ltd, Airport House, Purley

Racal Dana model 9093 two -tone signal source

Way, Croydon, Surrey CRO OXZ. Phone: 01 -681 2833. Telex: 946670.

US: Gotham Audio Corp, 741 Washington Street, New York, NY 10014. Phone: (212) 741 7411. Telex: 129269. Agents In most countries.

Products SPECTRUM ANALYSERS AND ACCESSORIES

RACAL -DANA Racal -Dana Instruments Ltd, Duke Street, Windsor, Berks SL4 1SB, UK. Phone: Windsor 69811. Telex: 849013. France: Racal -Dana Instruments SA, 91 Route des Gardes, 92 Meudon -Bellevue, Paris. Phone: 027 -7575. Telex: 200207. US: Racal -Dana Instruments Inc, 18912 Von Karman Avenue, PO Box C19541. Irvine, Ca 92713.

Phone: (714) 833 1234. Telex: 678341.

Products FREQUENCY METERS DIGITAL VOLTMETERS SIGNAL GENERATORS OSCILLOSCOPES Racal -Dana are also agents for EIP, Exact and Cushman products.

RADFORD Radford Laboratories Ltd, 4 High Street, Nailsea, Bristol, UK. Phone: 02755. 856637.

Products DISTORTION MEASURING SETS LOW- DISTORTION OSCILLATOR NOISE METERS VOLTMETERS PHASE METERS

SENNHEISER Sennheiser Electronic, 3302 Bissendorf, Han- over, West Germany. Phone: 05130 -8011. UK: Hayden Laboratories Ltd, Hayden House, Churchfield Road, Chalfont St Peter, Bucks SL9 9EW. Phone: Gerrards Cross 88447. Telex: 849469. US: Sennheiser Electric Corp (NY), 10 West 37th Street, New York, NY 10018. Phone: (212) 239 0190. Telex: 421608.

Products MILLI VOLTMETERS 86

84 STUDIO SOUND, JULY 1978

Aphex Audio Systems UK, Ltd 35 Brittania Row London N1 8QH England Tel: 01- 3.59 0955/6 Contact: Robbie Williams

Aphex West 7801 Melrose Avenue Los Angeles Calif. 90046 Tel: 213.655.1411 Contacts: Kent Beyer

Pat Taylor

Aphex New York, Ltd. 1400 Pleasant Valley Way West Orange New .Jersey 07052 Tel: 201.736.3422/212.964.7444 Contacts: Stephan Gaffas

Charlie Conrad

Aphex Systems Canada, Ltd. 311 Adelaide Street E. Toronto Ontario M5A 1N2, Canada Tel: 416.363.1715 Contact: Ron Lynch

Aphex France 42 Rue Pergolese 75116 Paris France Tel: (1) 256 -50 -50 Contact: Georges Blumendeld

Aphex Germany, GmbH c/o Rockoko Production Elsterweg 4, 6333 Braunfels Germany Tel: (06442) 5303 Contact: Peter Hauke

Aphex Benelux 18 Avenue Bes Me, 1190 Brussels Belgium Tel: (02) 345 -4444 Contact: Lucien F. Velu

Aphex Scandia Box 5349 102 46 Stockholm Sweden Tel: 08- 678069 Contact: Bengt Olwig

Aphex Switzerland Place du Grand -Mont CH -1052 Le Mont -sur- Lausanne Switzerland Tel: 021-33.3355 Contact: Gaston Schaefer

Aphex Audio Systems Australia, Pty Ltd. 21 Pier Street Sydney 2000 Australia Tel: 261381 Contact: Ron Purvis

Aphex Hawaii Ltd. 679 Auahi Street Honolulu Hawaii 96813 Tel: (808) 521 -6791 Contact: Sam Hilt

www.americanradiohistory.com

rtx

The ® Aphex Aural Exciter is an astonishing signal processing instrument, which brings sound to life and makes it louder without any actual level change.

This is the principle behind it. Sound waves enter our ears with

subtle phase information relating to the location of the sound source -left or right, up or down, front or back, direct or reflected. By using a sum and differencing technique, the brain provides us with our critical aural perception.

But collecting sound, mixing it and then recording it often destroys or masks much of the subtle information resulting in a "flatter sound" than the original.

However, the Aphex introduces phase information in the form of a series of minute delays, whose magnitude depend on frequency.

The formula by which Aphex selective- ly processes the audio signal is not random; it has been designed after considerable research into the mechan- isms of the ear, in particular the reflections and minute time delays caused by its shape.

Aphex is best used on selected channels, normally in the remix stage of production, fed from the echo or foldback send. The output from Aphex is then mixed back into the main signal at about -15 to - 30dB.

Aphex is already famous for what it does to vocals. But any instruments with natural sound tie not electronically produced) like snare drums, cymbals, acoustic guitars, strings and brass sound amazing when Aphexed.

Call it what you will, this effect causes no changes in level, confirming that it is truly a psychological effect.

Because the Aphex principle is young, we expect to replace it continually with new and even more exciting versions, so you can't buy it; you must lease it.

Al'HEN AUDIO SYSTEMS UK I TD., 85 BI1ITTANIA ROW, LONDON N1 tQH. TELEPHONE 01-359 0955/6 ® APNEA IS A HFt:I =TF:RF:I,1 RAI#:MAith il4'.11'H4:C,}lT1- .Mi-17IrciF I.IItiANI:F:LF.`.. CAI.IYaiRN1A. UNA. .

www.americanradiohistory.com

IF YOU NEED JACKFIELDS WHY NOT TALK TO THE SPECIALISTS?

PANELS AND ASSEMBLIES No supplier offers a wider range of panels, inserts and accessories for just about any configuration. And you can get them in any stage of assembly . . . individual compon- ents, sub -assemblies, or complete pre - wired and connectorised assemblies ready to install. Our Bantam range gives a space saving of up to 50 per cent.

0 o

JACKS AND PLUGS Singles, twins, back -to -back, 2 I, patch and switchboard cords, in long frame and Bantam, and our new Printed Circuit Board Jacks. Most standard types are available for immediate off- the -shelf delivery.

For further information on these and our range of B.P.O. type components, telephone or send the attached below to:

C.A.E. LIMITED 70/82 Akeman Street, Tring, Herts. HP23 6AJ Tel. (044 282) 4011 Telex: 82362 BATECO G

Please send us copy of current catalogue

NAME COMPANY POSITION Tel ADDRESS

86 STUDIO SOUND, JULY 1978

SURVEY: TEST EQUIPMENT

SHURE Shure Brothers Inc, 222 Hartrey Avenue, Evan- ston, III 60204, USA. Phone: (312) 328 9000. UK: Shure Electronics Ltd, Eccleston Road, Maid- stone ME15 6AU. Phone: 0622 -59881. Telex: 96121.

Agents in most countries.

Products SPECTRUM ANALYSERS AND ACCESSORIES

SOUND TECHNOLOGY Sound Technology Int'l, 1400 Dell Avenue, Campbell, Ca 95008, USA. Phone: (048) 378 6540. UK : C. E. Hammond & Co Ltd, 105 -109 Oyster Lane, Byfleet, Surrey KT14 7LA. Phone: Byfleet 51051. Telex: 262525. West Germany: Audio Engineering Components GmbH, 6053 Obertshausen, Geleitstrasse 11.

Phone: 06104- 42324.

Products AF SIGNAL GENERATOR DISTORTION ANALYSER LOW -DISTORTION OSCILLATORS

SUGDEN J. E. Sugden & Co Ltd, Carr Street, Cleckheaton, West Yorkshire BD19 5LA, UK. Phone: 0274- 872501.

Products DISTORTION MEASUREMENT SET MILLIVOLTMETERS OSCILLATORS

TRIDENT Trident Audio Developments Ltd, 112 -114 War - dour Street, London W1V 3AW, UK. Phone : 01- 734 9901. Telex : 27782 US : Studio Maintenance Services Inc, 12438 Magnolia Boulevard, North Hollywood, Ca 91607. Phone: (213) 877 3311.

Products LOW- FREQUENCY OSCILLATOR AND FRE-

QUENCY COUNTER (see Review on p104).

Sugden model Si 451 millivoltmeter

UREI United Recording Electronics Industries, 11922 Valerio Street, North Hollywood, Ca 91605,

USA. Phone: (213) 764 1500. Telex : 651398. Export: Gotham Export Corp, 741 Washington Street, New York, NY 10014. Phone: (212) 741 7411. Telex: 129269. UK : FWO Bauch Ltd, 49 Theobald Street,Boreham- wood, Herts WD6 4RZ. Phone: 01 -953 0091. Telex: 27502.

Products ROOM AND SYSTEM ANALYSER AUTOMATIC RESPONSE PLOTTING SYSTEM

WANDEL & GOLTERMANN Wandel & Goltermann, Postfach 45, 7412 Enin- gen, West Germany. Phone: 07121 -3226. Telex : 0729833. UK : Wandel & Goltermann (UK) Ltd, 40 -48 High Street, Acton, London W3 6LG. Phone: 01 -992 6791. Telex: 934480.

Products LEVEL METERS NARROW -BAND WAVE ANALYSERS PCM TEST EQUIPMENT SPECTRUM ANALYSERS SWEEP MEASUREMENT SET WHITE NOISE GENERATOR

WAVETEK Wavetek Inc, 9045 Balboa Avenue, San Diego, Ca 92112, USA. Phone: (714) 279 2200. Telex : 910-3352007.

88 0.

Sound Technology 1710A distortion analyser

www.americanradiohistory.com

More than just a new microphone. More a new way to record.

The Calrec sound -field microphone represents a new departure in microphone technology, giving unprecedented operational flexibility and accuracy of stereo recording.

Based on an application of the mathematical theory of Sampling in which a closely spaced array of capsules and associated matching electronic circuitry completely characterise the first -order directivity of the sound reaching the microphone.

Four outputs are generated proportional respectively to the sound - field pressure and to the three components of pressure -gradient (left minus right, front minus back, and up minus down) . From these four signals, known as B- format, any first -order microphone characteristic can be synthesised. That is to say -any combination of omni -directional, cardioid, hyper -cardioid, or figure -of- eight.

Any number of such microphones can be synthesised simultaneously and the microphone control unit provides, in addition to mono and multi -channel feeds, the output of a stereo pair. Controls are provided which enable the angle between the two microphones of the pair to be varied, as well as the directivity patterns of the individual microphones. The whole stereo pair can then be panned or tilted in any direction. These controls can be exercised either live, or in post- session processing of the B- format tape.

This new facility goes of course much beyond the capability of the usual kinds of variable -pattern microphone. An additional advantage is that over most of the audio spectrum the virtual microphones of the stereo pair are strictly coincident. This gives worthwhile improvement over the usual kind of close -spaced stereo pair in which phase- errors can exceed 180 at the top of the audio band.

The decades most exciting achievement in sound transducers. The new Calrec Soundfield Microphone,the breakthrough that saves you time and increases your recording scope.

CALREC SOL;NDFIELD Calrec Audio Limited MANUFACTURERS OF CAPACITOR MICROPHONES AND SOUND MIXING EQUIPMENT HANGINGROYD LANE, HEBDEN BRIDGE, YORKSHIRE, ENGLAND HX77DD. TEL. 0422 84 2159

TELEX 517479 ANSWER BACK 'SERVICE'.

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SURVEY: TEST EQUIPMENT

UK: Wavetek Electronics Ltd, 109 Crockhamwell Road, Woodley, Reading, Berks RG5 3J°, UK. Phone: 0734 -694944/692467. Telex: 849301. Agents in most countries.

Products FUNCTION GENERATORS OSCILLATORS PHASE METERS SIGNAL GENERATORS SWEEP GENERATORS

WAYNE KERR Wilmot Breedon Electronics Ltd, 422 Bath Road,

TTI 1120 a( test set available in the UK from Wandel & Go /termann

vÉTEK

F-1

Wavetek model 801 pulse generator

Slough SL1 6BB, UK. Phone: 06286- 62511. Telex : 847297.

Products AF BRIDGES AUTOMATIC TEST EQUIPMENT FREQUENCY RESPONSE ANALYSER

WOELKE Woelke Magnetbandtechnik GmbH, Woelke- Strasse 2 -3, 8069 Schweitenkirchen, West Germany. Phone: 08444 -394. Telex : 55547. UK: Lennard Developments Ltd, 206 Chase Side, Enfield, Middlesex, EN2 OQX. Phone: 01- 363 8238. US: Gotham Audio Corp, 741 Washington Street,

New York, NY 10014.

Phone: (212) 741 7411. Telex: 129269.

Products DISTORTION TEST SET WOW AND FLUTTER METER WAVE ANALYSERS AUTOMATIC DISTORTION METER COERCIMETER

USSR IMPORT Z & I Aero Services, 44A Westbourne Grove, London W2 5SF, UK Phone: 01- 727 5641. Telex : 261306.

Products FULL RANGE OF TEST EQUIPMENT

Manufacturers of sound systems and electronics

Station Road, Wenden Saffron Walden Essex CB114LG

Saffron Walden (0799) 40888

88 STUDIO SOUND, JULY 1978

www.americanradiohistory.com

SOUND SENSE FROM RACAL -ZONAL Good news really travels fast so it's hardly surprising that Racal -Zonal has built such a reputation in the world of sound. Professional recording studios, motion picture and TV studios and broadcasting networks -they all know and trust our range of professional audio tapes, audio cassettes and magnetic sound recording film.

Magnetic recording is our genius. Whatever needs to be recorded, we've got it taped. From multi -track recording to motion picture soundtracks, Racal -Zonal makes sound sense.

Racal -Zonal Ltd, Station Hill, Pound Hill, Crawley, Sussex RH10 4AZ. Tel: Crawley (0293) 34982. Telex: 87651.

www.americanradiohistory.com

uoik Le Château revisited

The studio actually has windows

Ever since visiting the Château studio at Hérouville near Paris a

few years ago (see May 1975 issue, page 26) I have had a purely selfish desire to go back. Quite simply it's such a very nice place to be. If only all writing work could involve visiting a 15th Century château deep in the Van Gogh countryside of the Ile de France, eating like a

king, sleeping like a log and work- ing in a Westlake control room overlooking a tiny French village straight out of Jacques Tati's Jour de Féte. Like visiting the Manor, it sure as hell beats the pressures of London.

But it wasn't just memories of the quiet life that stirred me into revisiting the Château. As much as

anything it was to find out whether it really was still 'the most creative place in the world' -as the car stickers proclaim -or whether there

90 STUDIO SOUND, JULY

was any fire behind the smoke of some staggeringly frank un- pleasantries that appeared in the 'Melody Maker' early last year.

The original portrait of the Château that I wrote for STUDIO SOUND in 1975 was pretty flattering and I wanted to know one way or the other whether things had changed -and if so how and why. My original plans to return last year were frustrated first by letters that went astray and then by illness on my part, causing a last minute cancellation. But I finally got there early this spring, en route to the Festival du Son in Paris. For my money the original portrait still stands; if I were an engineer or musician I couldn't imagine a nicer place to work. Presumably the musicians, producers and engineers of Bad Company, Bee Gees, Rain- bow, Magma, John McLaughlin

1978

and the Rubettes feel the same way, because all these groups have spent time at the Château over recent months. Try listening to the sound- track album of Saturday Night Fever. The first four tracks of side one have a warmth and magic about them that is missing from the remainder of the album. All four were recorded by the Bee Gees at the Château (with overdubs and remix back in the USA) with pro- duction by Karl Richardson and Albhy Galuten.

There is, of course, something to be said for not raking over old coals, but what was written in the `Melody Maker' last year cannot be unwritten. What was written by a very well -known record producer was: 'We found the studio totally useless; the people who now own it don't seem to care'. Inevitably there followed a published reply from the Château and then there was another attack and another reply. Apart from the obvious damage potential of such a damn- ing statement in such a wide circu- lation music business magazine, the outburst seems quite genuinely to have hurt those at the Château, who really do seem anxious to create a

relaxed and creative atmosphere where musicians and engineers are happy to work and thus work well. The Château were also put in an invidious position. To defend the accusations meant publicly attack- ing a past client and breaching the bond of confidence that inevitably rises between a studio and those who work there.

I was struck this visit, as during the last, by the very definite reluct- ance of all those at the Château to criticise the ability or product of anyone who had worked there in the past, even those involved in the 'Melody Maker' slanging match. And this reluctance held good even in off -guard moments, for instance, after much food and wine late into the night. Every anecdote that in- volved a name was inoffensive and where offence could have been taken no names were mentioned. Every- one for instance is anxious to talk highly of the Bee Gees, their pro- fessionalism and how there is never any argument between the producers and the group -if the producer suggests 'do it again' they do it again. Likewise there's flattering talk of the businesslike RSO man- agement, even down to organising a suitcase full of British sausages if that's what the group want while in France. And there's admiring talk also of Rick Wakeman's manager who once had to cope with a coach - load of press transported from England to the Château to meet Wakeman, when Wakeman had himself already left for England.

Even a tale of disappearing power is told without any apparant ran- cour. It wasn't a ghost who kept cutting off the mains supply, but a

visiting musician who finally owned up that he had found a way of tripping the mains fuse by short circuiting a plug in his room.

Very sensibly, I feel, the `Melody Maker' incident was finally fermé not with a writ but a `you are wel- come any time' open letter from Pierre Calamel, one of the three Château directors, to the mud- slinging producer. So enough said about the past. As Laurent Thibault, another director and resident en- gineer, remarked : 'If I really am an inadequate engineer, as suggested, then time will find me out'. Personally, having now seen Thib- ault at work on two occasions, I

don't think he has anything to fear. Thibault was first thrown in at

the deep end as an engineer during the earliest of several visits to the Château by the late Marc Bolan. Bolan's engineer left suddenly and Thibault took over. Apart from a freelance spell he has been resident ever since. Likewise Jean -Claude Delaplace remains business manag- er and the only change in 'owner- ship' has been the arrival of Pierre Calamel. Calamel and Thibault have known each other since student days when Calamel helped to manage a band in which Thibault played bass. Calamel became part of the Château a couple of years ago and there has been a fair amount of work done under the new triumvirate since my last visit.

To recap briefly, the idea of con- verting the 15th Century Hérouville Château into a recording studio was first conceived in 1968 by Michel Magne, the French film composer. By 1970 the Château was 16 -track and starting to attract mainly American and British stars who, not surprisingly, loved the idea of recording at leisure in such a welcoming setting. With a swim- ming pool, barbecue and tennis court in the massive grounds, plus French -style accommodation, cook- ing and booze, it was all too easy in the summer to spend up to three months on an album. Hardly sur- prisingly, the albums sounded re- laxed and sold well. So the Château became a by -word for country - style recording with the Manor, Rockfield and so on subsequently adopting similar policies and find- ing similar success. What session musicians, making a jingle or disco album to a tight schedule, need is a

city -centre studio with a rigid time- table. A relaxed album of songs and sunny music is more likely to emerge from the low- gear -long- stay - loose- schedule- approach in country surroundings. 92

www.americanradiohistory.com

In today's recording world it is essential to maintain flexibility within your chosen operational format. Our basic package deal can give you a low cost 8 track studio which can grow as far as you can take it!

for full details of Mod Il and Brenell multi -track tape machines write today or visit - our demonstration studio at Pembroke House.

Audiotechniques Inc., 142 Hamilton Avenue, Stamford, U.S.A.

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WORK

But as all country studios find out to their cost, the low -gear, long - stay approach has its own particular problems. It needs tight and efficient management and mainten- ance, coupled with a flexible ap- proach from the studio staff, if the musicians are to be able to record as and when, and for how long, they like. Some groups may want to spend all day in the sun and work hard at night -perhaps all night. But the studio facilities must be ready to go as the mood takes the musicians. So maintenance and other works need to be got out of the way during the day. But the maintenance engineer still has to be on the spot and available if problems arise at night. Other groups like the Rubettes may want to work 20 hours out of 24. Main- tenance will then have to fit into those spare four hours. There's also the problems of hangers -on. If a famous group spends a month at a studio the word soon gets around. At a building as large as the Château, with three wings and more bedrooms than you can count, it is all too easy for the manage- ment to find they are accommodat- ing and feeding a fair percentage of uninvited and unpaying guests.

In the early days at the Château it seems that their policy was to encourage hangers -on, especially if they looked good in a miniskirt. This is one of the main reasons why the studio ran into financial prob- lems and was temporarily closed down in the early Seventies. Financial problems brought legal problems and at the time of my first visit the business was still find- ing its feet. Improvements and renovation still continue, and, like painting the Forth Bridge, will never really be finished, but it is visibly feeling, sounding and look- ing better all the time.

Thank goodness those in control appear to have great sympathy for the building and what it has to offer. Just one example. It was Elton John on a non -recording visit bétwixt Paris and Holland for a concert who suggested that 'some- thing should be done about the sound' of the main (George Sand) studio high up in one wing of the building. It was where he made Honky Chäteau and Yellow Brick Road. But times change and musicians learn to want more from the sound of a studio. So the Château called in Tom Hidley and asked for the Westlake treatment. The first scheme proposed by Hidley for the control room in- volved sacrificing one of the two windows which overlook the rolling Van Gogh countryside. It also in-

volved covering over the original wood beams on the ceiling. 'Leave me my beams and my window', said Laurent Thibault. Hidley came back with another plan that left the beams and both windows.

Come to think of it the Château studio and control room must be one of the few in the world with windows. Most, whether above or below ground, are best suited to moles. Only roadies dislike the Château studio. It's three floors up a winding stone staircase and has windows and real daylight. Inci- dentally, the Bee Gees' Saturday Night Fever songs were written on the large stone -walled staircase that leads up to the top floor studio -it has a very live natural acoustic ideal for unamplified guitar and voice. A few drummers have been recorded on the top landing, too.

It seems well established in the area, and for that matter in Paris,

Laurent Thibault at MCI console

pestered and forced to be blunt. The buck stops with the studio. It also clearly worries Calamel that he may have to refuse the release of master tapes for 'unknown' clients until bills are paid in full. But the only way for a studio with over- heads like the Château to remain in business is self -preservation. And there's a fine line between self - preservation and self -destruction. One group of four musicians arrived with 21 hangers -on, includ- ing a grannie (yes, really a grannie) and several aunties. Current rate for hiring the Château is around 8000 francs a day, for unlimited recording at any time and with full food and accommodation for every- one connected with the group. But if everyone is 25 hungry people it's easy to run at a loss. So now the rate is cited as 'including board and lodging for up to ten people'. Extra people cost extra (as do drinks for

which is only 30 km and half an hour away by the new motorway that runs into Pontoise a couple of villages away, that hangers -on and groupies are no longer welcome at the Château. One longhair ap- peared during Bad Company's recent stay.

'Is he one of yours ?', asked Calamel. He wasn't. 'Please go'. said Calamel.

'I will when I've found my bag', replied Longhair, and disappeared for a couple of days. He next turned up playing ping -pong and pinball in the musicians' recreation room.

'Please go', said Calamel. 'I would, but I don't have any

transport', replied Longhair. To make sure, one of the

Château staff drove him to Paris. It clearly upsets Calamel to be that blunt. But there's no other way. Musicians cannot work well if

92 STUDIO SOUND, JULY 1978

pretty obvious reasons). This has had the desired effect of cutting down on group followers like magic. That's self -preservation and it makes good business sense, into the bargain leaving the musicians less distracted by those to whom they would find difficulty in saying no. But way back in the 'problem' days one past owner of the Château used to follow the musicians around with a note book totting up the number of drinks. That's self - destruction. So is having open house and free food and drink for anyone who cares to drop in, as used to happen in the free -for -all days of the early Seventies.

With the Westlake conversion came an MCI Series 500 28/24 console, a Studer A80 24 -track and MCI 2- and 4 -track machines. There's, as the Château put it, 'all the toys' including Kepex, Scamp, Klark -Teknik equalisers and the

various Eventide goodies. Natural echo is through three chambers deep in the bowels of the Château. First priority was to get the studio control room acoustically right and fully equipped. Next priority was to improve accommodation and go for greater comfort. This can now be done, indeed is now being done, because at last the Château is

finding a new owner. Whereas previously ownership has been confused by the lingering original debts, these are now being paid off by the present three directors. For the first time in several years those running the Château actually own some of the bricks and mortar, and there is thus an incentive to spend money on improvements that can't be carried away.

It has long been a hobby horse of mine that nowadays, given a reasonably blank cheque and a routine shopping list, any fool can set up a studio that is technically equipped to do whatever a client wants. Provided that maintenance is good, the business is efficiently run and there is an engineer on hand who knows how to work everything, there is no reason why such a studio should not churn out acceptable work in an efficient manner. What really matters today is that extra something that can't be put on a shopping list, and a blank cheque won't buy. It's this extra something that every well - known, well- booked studio (like The Manor, Rockfield, Advision, Air and so on) has to offer -and for each studio that extra something is something different. For the Château it's being in deep French country, within easy reach of Paris and, most important of all, in con- genial company. And that's why I was so anxious to go back and see

-more accurately to feel -for myself whether things had changed at the Château. Of course, it's easy to impress a visiting journalist and his wife by giving them the star suite, candle -lit meals and lifts by car into Paris. That you can Take. What you can't fake is the feel of a place taken over three or four days. I'll buy the feel. So it seems do the Rubettes who were ex- pected a few days after I left for a return visit. The plan was to redecorate and revamp some of the rooms, install a couple of new bathrooms and convert what had once been a maintenance room just under the main studio into a rest room for the musicians. They'd been at the Château a few months beforehand.

'We want them to come back remembering what it was like and find it even better', says Calamel.

94 0.

www.americanradiohistory.com

LITID 4511C11

*STUDIOS 77 Sunset Boulevard, Hollywood,California 901828

MEMO FROM THE DESK OF ARNIE SCHWARTZ

TO THE STUDIO DIRECTOR In answer to your request for a report about the new equipment this studio needs,

I feel that the reason we are losing business to other studios is our lack of a

good synthesizer. I therefore recommend this purchase and below I have outlined

our requirements and provided my answers to the problems.

REQUIREMENTS 1) A "proper" synthesizer that plays in tune and stays in tune.

2) A system that we can build up as and when we can afford it.

3) A modular system that allows rapid expansion or contraction - important for

maintenance so that if one section is out, the rest will function.

4) A synthesizer that sounds like the best synths, in the world - makes the sounds

clients like.

RECOMMENDATIONS 1) The Roland System 700. This system is a totally flexible synthesiser in the

original sense. It is easy enough to operate but it doesn't use any presets to

condition creativity. 2) The Roland System 700 is probably the most stable big synth in the world, once

you've tuned it, it stays in tune - unlike the others.

3) We can build the System 700 up as we go along. Because it's modular we can just

start with the keyboard control unit and the main console. Later we can add

expander modules as we need them. There's also a new "smaller" version of the

main system available. This is called the Laboratory version, and although I

feel we need a full System 700, the directors may consider the Lab version more

"appropriate." 4) The Micro Composer. This is a unique computer sequencer made by Roland. I

feel that this unit would make our studio considerably more attractive. This is

the world's first musical sequencer and if you want to get Mike Oldfield in for

a block booking we'll have to have one.

Chief Balance Engineer

P.S. All the other Roland gear we've got works

real good! P.P.S. When you're next in England check out

Roland stuff at:- Brodr Jorgensen (UK) Ltd, Great West Trading Estate, 983 Great West Road, Brentford, Middlesex.

www.americanradiohistory.com

WORK

With the studio virtually free for a few days while the domestic decision was taken, changes were underway, to let Laurent Thibault to do what had always been planned: namely make his own album. Recently Magma (for which Thibault had once played) had been in for a month, with Thibault pro- ducing and engineering the group. For the first time they had a full month of studio hours to seek the kind of perfection that they had always been previously denied by shortage of time or facilities. Now it was Thibault's turn. For his album he collected together a bunch of musician friends, and night after night they were working on a complex of overdubs. For the others the prime task was to fit a new wire fencing round the tennis court as someone remem- bered that some of the Rubettes liked to play tennis, and the winter weather had unexpectedly turned to spring. One part of the court had just been repaired -a secret tunnel from the Château to what was presumably a priest's hole in the garden had caved in, and left a gap on the service line. With the

sun shining the next job would be to clean out the swimming pool.

Pierre's brother Patrice, a truly superb cook, was out buying food in bulk with a special thought to what he remembered as the group's tastes. Although capable of Cordon Bleu cooking, Patrice can cope with most things. Macro -biotics is now routine for one group as is the particular penchant of another visitor from abroad -beans, beans and more beans on beans. Another favourite for one group's engineer is bread and chips. For his birth- day Partice made him a birthday cake of bread and chips. While I was there one of Thibault's visit- ing musicians also had a birthday. After the meal and the cake (not bread and chips but a fine fresh gâteau) the stories started coming - everyone a French 'Agony' in its own right. Because we English are such rotten linguists they are either told or retold in English.

There's the time when the Château hired a piano tuner they had never seen before. He went up into the studio and stayed there for a while. On his way out he called into the office for payment.

'Have you finished', someone asked.

'What ?', he replied.

'Have you finished tuning the piano ?'

'Sorry', said the piano tuner cupping his hand to his ear. 'You'll have to speak up, I'm deaf'.

The world over musicians' humour is the same; like W C Fields they are no respecters of physical impediment. One of Thibault's musicians revealed that he had once worked in a band with a blind organist. He must have been a very good- natured blind organist. One night after a gig, very drunk, he was sat in the driving seat of the band's waggon and left to steer the car while someone else worked the foot pedals. Hardly surprisingly the vehicle shot a red light in a French village deep in the country. More surprisingly there was a policeman lurking on duty. He flagged down the car.

'Show me your driving licence', he bellowed at the driver.

Straightfaced the organist fum- bled in his pocket and handed the policeman his certificate of blind- ness, entitling him to free travel on the Paris metro.

On another occasion the band stopped the car on the way to a gig saying they fancied a drink.

'This looks a nice bar', they agreed leading the blind organist

into a post office and propping his elbow against the counter.

'I'll have a red wine', he de- manded of a surprised clerk selling postage stamps.

This in turned reminded some- one of a famous visitor to the Château who at 6 o'clock in the morning, drunk on red wine after a night's recording, announced that he was going fishing. The nearest river is 6 km away, but undaunted he set off on foot, staggering into the dawn with a fishing rod and keep net. An hour or so later he was back with no fish but accom- panied by a couple of policemen.

A few more stories and verres du vin and it's off to work for Thibault and his musicians. It figures that what comes out of that kind of atmosphere stands a pretty good chance of sounding good and selling well. It also brings its own gratifying rewards. When Thibault flew to Florida to discuss the MCI purchases he took a taxi from the airport.

'What do you do then Mac', asked the taxi driver.

'I work at a recording studio in France', replied Thibault.

'Oh', nodded the taxi driver, 'that must be the Honky Château'.

Adrian Hope

WE'LL SHOW FRENCH GOLD,

B.B.D.O. AND COLLETS YOUR DEMOS BEFORE YOU WILL.

Wouldn't you love a rep who was always in the right places at the right time?

Well, right now the Creative Handbook seems to be the hottest rep in the advertising world.

There is simply no better way you, as creative suppliers, can show your work, or put across your facilities, to over 2,600 art and print buyers and the key decision makers who buy creative services.

This year more than 4,000 copies have been distributed among the top creative people in leading London and provincial advertising agencies and major national advertisers, and will be

94 STUDIO SOUND, JULY 1978

used by double this number.

A recent survey disclosed that 87% turned to it for new or alternative suppliers. Others used it as a portfolio reference, a telephone directory, or a

source of new business leads.

The Creative Handbook covers just about every creative service. So before you heave your portfolio up

numerous flights of stairs, contact Annie Roe or Stewart Swindell at: The Creative Handbook Ltd., 9 Chichester Chambers,13 Chichester Rents,

Chancery Lane, London WC2.

Tel: 01 -405 2663/4/5.

They'll tell you how to be repre- sented in the Creative Handbook. Then, with a bit of luck, you won't have to call French Gold, BBDO, Collets and the like.

They'll call you.

THE CREATIVE HANDBOOK.

www.americanradiohistory.com

THIS MAY NOT CONVINCE YOU

Rat?() aaaaaac EßuAUSE#

+12 dB boost /cut Channel by -pass facility Excellent performance parameters Centre index fader controls

All crossover points in phase Switchable 2/3 way Muting on all outputs L.E.D. limit indicator

UT THE SOUND

U.K. AGENT

NeweCrescent & NSaIeS

Telephone

WILL Q

www.americanradiohistory.com

euiew, Sony PCM -1 digital recording system Hugh Ford

MANUFACTURER'S TENTATIVE SPECIFICATION

Recording system: linear quantisation pcm. Number of channels: two. Sampling rate: 44.056 kHz. Video bandwidth: 1.726 MHz. Data packing: one line contains 94 bits. This includes three words of 26 bits (13 bits per channel) plus 16 bit crc. Dynamic range: 85 dB (2 Hz to 20 kHz). Harmonic distortion: 0.03 at 1 kHz. Frequency response: 1.1 dB, 2 Hz to 20 kHz.

Inputs: Sensitivity Impedance Jack Mic: 0.3 mV ( -68 dB) 600 ohm standard Line: 95 mV ( -18 dB) 100k ohm phono Video input: 1V p -p 75 ohm phono Wow & flutter: below measurable limits. Dimensions (whd): 430 x 170 x 435 mm (approx). Weight: 19 kg (approx). Suitable vtr: Betamax or U-matic (any model). Price: UK price to be announced. Manufacturer: Sony Corporation, Osaka, Japan. UK: Sony (UK) Ltd, 134 Regent Street, London W1 R 6DJ.

THE SONY PCM I recording system is, in effect, an audio -to -video converter which

converts the twin -channel audio input into a

video standard signal that can be recorded on Sony video cassette machines in the form of a

normal 1V video signal. Similarly, the video sig- nal is replayed and converted back into a twin - channel audio signal.

The signal as recorded by the video recorder is a digitally- encoded version of the audio input signals, each video line containing three words of audio `data' and a I6 -bit cyclic redundancy check word derived from the previous three

96 STUDIO SOUND, JULY 1978

words of audio data. In fact, each word of audio data consists of a 13 -bit sample alternatively from the left and the right input channel. Thus there are three samples per line of video which, with a line frequency of 15.734 kHz in the 525 - line system, corresponds to a sampling rate of 47.202 kHz. However, the practical sampling rate is less than this at 44.056 kHz, presumably to deal with the problem of frame -blanking periods.

At the time of writing the error -correction system is not clear, but the 94 bits in each video line (6 x 13 data bits plus 16 redundancy bits)

are recorded such that the odd -numbered bits are the first, followed by the even -numbered bits. All that is known is that upon replay any detected errors result in the missing bits being replaced by an average of the surrounding bits.

Using 13 bits /sample leads to a theoretical dynamic range of 78 dB with linear digital encoding (where one expects to achieve 6 dB per bit). The PCM I, however, has the optional use of pre- emphasis which increases the dynam- ic range by approximately IO dB at the expense of losing the ability to record the same level at all frequencies. Nevertheless, this is a normal property of conventional tape machines, parti- cularly at the lower tape speeds.

The audio inputs to the PCM 1 consist of unbalanced inputs in the form of low level microphone jacks on the front panel, or XLR plugs on the rear panel connected in parallel with phono sockets. A three -position front - panel switch selects either the line -level XLR or phono connectors or the microphone jacks, either direct or via a 20 dB attenuator. Large diameter record level controls are provided for each channel. Also included on the front panel is the pre- emphasis `in /out' switch, a stereo headphone jack and its associated level control, and the level metering system. The latter is a

fast peak- reading meter that operates from the encoded digital signal, and thus takes the pre - emphasis into account so far as the high -fre- quency boost is concerned.

The level meter covers a range in excess of 42

dB in 22 steps, with calibrations at 0, 6, 10, 20, 30 and 42 dB. In addition, there is an

overload indicator above the 0 dB mark -a use- ful feature since with digital systems an over- load means hard peak clipping. Another good feature is that a switch has been included to enable the meter system to either operate as a

fast attack and fairly fast fallback meter, or to hold the maximum peaks. In practice the meter is fed from the output section of the unit such that any failure in the encoding section, the video recorder or part of the decoding logic will be shown on the meter.

The only remaining user features are the

video input and output connections in, surpris- ingly, the form of phono sockets, plus a front - panel power on /off pushbutton switch.

Inspection of the internal construction of this prototype review sample revealed a very high standard of construction, with large glassfibre plug -in printed wiring boards being used to house the mass of integrated circuits associated with the digital part of the PCM I system. In practice the audio section is largely separate from the digital section, the audio electronics occupying only a small part of the circuitry.

Rather than remind readers at this stage of the advantages of digital tape machines, I will now proceed with the measured performance and then comment upon the significant features of the PCM I system itself.

Frequency response The overall record /replay frequency response of the PCM 1 recorder from 2 Hz upwards is

shown in fig. 1, from which it can be seen that the unit is within an envelope of ±0.5 dB from 2 Hz to 12.5 kHz, falling slowly to 20 kHz above which there is a very sharp loss. While it is felt that the slow roll -off is not necessary, the very sharp cut at 20 kHz is the result of the anti - aliasing filter which is an essential part of digital systems.

www.americanradiohistory.com

FIG. I SONY PCM1 OVERALL FREQUENCY RESPONSE AT FULL MODULATION

:---.M .=11111M11=--- ----. ----. ----- ------- -----. 11CCG::: C ---iii ------ --MI--... -----. ----- ----M :: ------ --... ------- ------- --MI--. ------- -----M. ----- --:. OC:::: -:C: ----. ----- ------- -------- :::

------.M ------ ------ ------.. --MIMI --MI----- ----- CC:: - ------ ----MI--E ---- ---.M ---.. ----M. ------ ----. -...

- - i;f11- --

C - C - C

- - C - - =1E

- - - MBE

=ME

- ------ ------ 0:::

-I=I--.-- -O=--M.. ---M. -=EI--MM. -MM--.-- -11=--M -=--.. ---.. O:CO -MI-::: . ---._ MI.---.,,1=- ---M-.- --------IN ----.-a\ C:::D 'CC::CC' -=------ --------- --------- ---.-- IME----- -IME--.. .. C:::C --.--.-- C -M. - - -...-- ----.--- ------- -=--M-- ----MM-- -MEI--MM.-- ---.M.--

OPME1EIMEEEEEMIEIE I=1 OC:::: CC:::C -=::: NE

- 2 5 10 20 50 100 200

FREQUENCY IN Hz

500 1K 2K 5K 10K 20K

FIG. 2 SONY PCM1 THIRD HARMONIC DISTORTION

0.03%

01%

0.01%

(.00301.

-_-MINE -----ME -----.E -EM-MI.. -----.. ----.M. -----M. ------. ----.M. = -----. ------ ------- -. ---- -----.. -MI--MIM ----.E -MI--..

= O

--------- --------- .11=1== MEE --a--..-- =_=_____ r, . .---------- ----...... ---NIEMB---. ----..----MIU--Ma -----------MI... ---------------. -----------MI--. --------------a -------------- M- :I:::

114111EM=MIEE r.E ------------------------1 EME -----------------------MI1 r.. ----.ME----=111E..-.-----1E1-11-E ---------MI--.-------r ME -----------------------a 1 _ -------- El= ---------------- M- -----..--------------MI--M E: n '°I I' 1 MN ====e::=======:::======= ===='

----.-- ----.-- -MI--M-- ----..-- -------- =1--.-- ----.a-- -- --- - -: C

M1E

= =11

20 50 100 200 500 1K

FREQUENCY IN Hz

2K 5K 10K 20K

FIG. 3 SONY PCM1 INTERMODULATION DISTORTION

0.19.

001'4

OÁ03%

= - -----Ma ------ ----..M -----.. ----MI -----.. -----.. ----M.a 1-: -1E1E--o ----.MI ----iii---..---M=-.r MIME------_-_---------_-_--------- -r. -MI--M-- --MI-------------0-.-1.1 ------- --2.1----- -MIMI-l.M1-ú'i w IMEn I==a.-MII --1= í-ii--:: - . .nMIi n 1.

1 --1-111'11-. NM. w-.-lii..r i'r1 nlMiE - wl -.IarruMI - EERIE MEE El.-.II1.MI.-- -MIIIY \EE-N-1-I--M1--.. -- ---.MI. -.1 1----- ---_--..-_ --a-'--- -_------- --------- ---MI- - --_---.. ------- ------- -------- ----. ----.- ---..- ----- ---.- --MI-- ----.-. ----M- -----u ----..- --_-_--- ------ ----MI

----------- ----------- ----------- ----------- ----------- ---------- -------.M-- ------.-- __=======__ --------- ---------- -1

a1L41 /1.1-I -MI11..1-Er.1'.E1.1_ 11E-11.1r1'11-E r , Ira.a..n MET.? una MM-- ...IÌI I--- MEMENIM10 . MEE I-. _-_--l-.. -------.. M-ME--M -M---.E -------- ------.. --E----.. --EMI--EMI- -_---_--. --------- -a--- - - - - -

20 50 100 200 500 1K

FREQUENCY IN Hz

2K 5K 10K 20K

Unlike conventional analogue tape machines the frequency response shown was plotted at maximum record level, the response being iden- tical at lower recording levels. It can also be seen that the low- frequency response, which falls off in a cyclic pattern around 30 Hz in ana- logue machines, goes in a straight line down to 2 Hz in this digital machine -thus eliminating a number of problems in tape copying or noise - reduction systems.

With pre- emphasis in use the recorded level was found to be increased by about 7.5 dB at 10

kHz and 10 dB at 20 kHz, with the result that musical material having a large high- frequency content has to be recorded at a lower level. This is, however, typical of analogue machines but

there is one important difference in that digital recording systems cannot be used as a compres- sor, since they have a'hard' clipping point at all freq uencies.

Distortion Following on from the last remark it follows that as the recording level is increased at any in-band' frequency the distortion will show little increase (if any) until the system overload point is reached; the distortion will then show a very rapid rise, rather like a transistorised power amplifier, depending upon the digital coding system in use and other considerations.

So far as the third harmonic distortion was 98

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REVIEW- SONY PCM -1

concerned the two channels of the PCM 1 show- ed several dB difference, but this matter is sub- ject to modification by Sony and maybe I'm being unkind by showing the performance of the worst channel. Anyhow, fig. 2 shows the third harmonic distortion of the worst channel at maximum recording level without pre -emphasis. It can be seen that the third harmonic is constant around 0.03% up to 7

kHz, above which it falls off very rapidly as a result of the turnover frequency of the anti - aliasing filter. Investigations at lower recording levels did not reveal any increase in harmonic distortion and it should be noted that this per- formance is orders of magnitude better than conventional analogue machines.

Similar remarks can be made about the inter - modulation distortion to the SMPTE method using two tones in a 4:1 ratio, with one tone fixed at 70 Hz and the other swept up to 20 kHz. The result was that the intermodulation prod- ucts were at least 60 dB down-0.1% is unheard of in analogue machines! Measurement of the intermodulation distortion to the CCIF method, using two equal amplitude tones separated in frequency by 70 Hz and swept from 20 Hz to 20 kHz for the lower frequency tone, produced fig. 3 at maximum recording level without pre - emphasis. It can be seen that the distortion is

almost constant at just under 0.03% up to 10

kHz again a performance that is unknown in conventional analogue machines!

Investigations into the recording and repro- duction of tone bursts showed that at low fre- quencies there will be no significant difference

Fig. 4 10 kHz tone burst.

between the input and output bursts. Fig. 4 shows that high- frequency bursts such as the 10 kHz tone burst produce mild ringing. This was found to be more serious using squarewaves, the results of recording and reproducing a 1

kHz squarewave being shown in fig. 5. This demonstrates substantial ringing that was found to be independent of the recorded level. I would regard this degree of ringing as undesirable in any machine, but it probably has little subjec- tive effect?

Noise Checking the output noise spectrum revealed that any spurious tones from the sampling fre- quency or logic were at least 110 dB below the full output with mains hum at least 90 dB down.

Table 1 shows the record /replay noise related to the full output when using the line input, there being no difference in noise between the linking of the input and output at the video con- nectors or using a video recorder. As is seen,

TABLE 1 NOISE PERFORMANCE Measurement Maximum method output -to -noise ratio

with without pre- emphasis pre- emphasis

Band -limited rms 20 -22k Hz A- weighted rms CCIR- weighted rms ref 1 kHz CCIR -weighted quasi -peak ref 1 kHz

86.5 dB 88.5 dB

77.5 dB 81 dB

80.5dB 73dB

76dB 67dB

Fig. 5 1 kHz squarewave.

100 0.

FIG.6 SONY PCM1 CROSSTALK

-60

-70

-80

-90

- -- alla-- - - alla-- -- IMMENSE ---- ------- - - - - - alla- -- r- C: =

r _-- . -- ---, .- - ..0 CCC:C.. ---.-u .iC ---..1 -

--alla- u i ó ---.-.. ---.-.. I - ---0- 1 ---0 ' -===°=-=' ----.--. ---al-la-- ----lala- I -------1.. ---.01.11Mal1 I= i

- ------. , V M.a /-l_ 1=M111, r a

-..,..--- .Ml - - ..J- -- --...--1 -1. i- 11--. ----...--.OM.-I I-I.- -__--_--.-.--Mi- I--.- --------_- -u---- MON ---.-.-- - ---------

- - ----- - alla-. -.

C C

== NEI ------ ------- ----- ----- == ==::

------ . ------ CCC--.- al- ---al.-- ----.--- ----la--- ----.-- - ----la--- -- -Ma la-- CCCC:CCCC 20 50 100 200 500 1K

FREQUENCY IN Hz

2K 5K 10K 20K

98 STUDIO SOUND, JULY 1978

Worldwide agents for audio Ft design recording. Australia Audio if Recording, Holden Hill, S.A. Tel: 261 1383 Austria Soundmill Vienna, Peter J.Müller. Tel: 222 Telex: 75922. Brazil Serion Ltd, Sao Paulo. Tel: 34 8725. Canada Noresco (Mfg) Co. Ltd., Ontario. Tel: (416) 661 0541. Telex: 065 -24478, a/ b Norescomfg. Denmark Ole Christensen, Audiophil, Copenhagen. Tel: (01) 341 622. Eastern Europe Denis Tyler Ltd., West Drayton, UK. Tel: (089 54) 43681. Tlx 23977. Finland Harold Burgen, Helsinki. Tel: 692 5308. France 3M France, Paris. Tel: (1) 031 61 61. Telex: 695185 West Germany Elmus GmbH, Berlin. Tel: (030) 312 2012. Greece Audiolab Hellas, Athens. Tel: 822 5222. Tlx 5800. Holland Pieter Bollen, Eindhoven. Tel: (040) 512 777 Tlx 59281 Italy Roje Telcomunicazioni, Milan. Tel: 415 4141. Tlx 39202. Japan Nissho-lwai Co. Ltd., Tokyo. Tel: (03) 544 8311. New Zealand General Video Co. Ltd., Wellington. Tel: 872 574. Telex: 31255. Norway Siv. Ing. Benum Et Co., Oslo, 2. Tel: (02) 56 57 53. South Africa Eltron (Pty) Ltd., Johannesburg. Tel: 23 0018. South East Asia Brunei, Indonesia, East Malaysia, West Malaysia, Singapore - c/ o O'Connor's (Pty) Ltd., Singapore 5, Tel: 637 944. Tlx Oconsin RS 21023 Sweden KMH ljud Ab, Stockholm. Tel: (08) 98 07 55. Telex: 13366. Switzerland Jim Duncombe, Zurich. Tel: 72 56 877. United States Audio Et Design Recording Inc., Honolulu. Tel: (808) 845 7226. UK and All Other Territories Audio Et Design Recording Ltd., Reading, UK. Tel: (0734) 53411. Telex: 847605 a/ b Tillex G.

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George Martin's choice... SAMP

- The F 300 Expander/ Gate System LIEN I originally sat down to plan the equipment

installation for my new studio, Air Studios Montserrat my initial inclination was to draft a list of, shall we say, `established' names. But then other, equally important, factors like price, performance, reliability, and availability have to be considered. That's why 1 personally opted for the -Audio & Design SCAMP F 300 Expander /Gate system for the new venture. Very competitively priced, I believe that the Audio & Design SCAMP F 300 Expander /Gate system offers performance and flexibility that is hard to match.,

George Martin of AIR Studios Lon- don, internationally successful record producer, arranger and musical director is presently pro- ducing and arranging the musical soundtrck .nd,t ram of the for - thcomi R O f' `.'Sergeant Pep- per's L. He- ', lub Band' in his Lo S ÖB ..>Yd Los

*uleles

AUDIO I DES -GPI RECOROMI<3

INDICATOR: Shows con- (boon and state of operation

ATTACK ATTACK: A three position attack (open) characteristic on peak sensing side-chain,

RELEASE: The attenuate time can vary between 25má to 5secs.

RANG/

RANGE: Variable from 0-9(MB attenuation. Slope. saùas,tìom 1:1 to 3:1 as rang ;increased.

To the 19" PARKING SPACE

IPI II 0, Expander /Noise- GatesysCern S mple

to operate yet highly sophisticated in its dynamic performance with an unequalled flexibility for effects use. In the AUTO mode really smooth dynamic characteristics are obtained with freedom from 'hun- ting' on the most difficult of signals. This means that these units can be used with - confidence on multi -track mix -down to provide noise reduction and a degree of automation. As non contributing tracks are being automatically attenuated added tape noise is kept to a minimum, and in most applications involving limited dynamic range signals lie pop), the noise will be masked by the signal. Perhaps most important, especially to systems already equipped with a complementary noise reduction system, objectionable source noise lie in- strument amps, hiss from electronic devices, general studio ambient noise and crossmic pickup) will be elimnated - a very significant area in which established noise reduction units can do nothing.

Technical Specification INPUT:

10KS1 balanced. OUTPUT:

<1)2 source balanced clip level + 24dBm.

DISTORTION: <0.1 % THD at line levels for unity gain.

FREQUENCY RESPONSE: ±0.5dB, 30Hz - 20kHz.

NOISE:(Ref. +8dBm) Normal:< - 103dB Effect:< - 86dB

RANGE: 0 - 40dB variable.

Expand: 1 :1 to 3:1 variable Gate: 20:1 with hysterisis.

THRESHOLD: Sets the point of signal level at which expansion starts. Normal the. operates from -40 to -10; with a high 6- feet range -20 to + lOdBm.,

A -AUTO -PEAK: Selects -

peak sensing or combination of peak and meanlevelgens- ing. ,

EXP -GATE: In the Kate mode the slope becomes 20:1.

.11 ., t.w. NOM (Etr

* Auto -Dynamic Characteristics

* Expander Et Noise Gate slope options

* Keyable from external signal

* Variable release, Range Et Threshold

* Superb performance

* Ultra compact (17 units to a rack)

NORM -KEY: Allows con- trol from external signal vmrce.

IN -OUT: Allows system by-pass.

audio ft design (recording) ltd. 84 Oxford Road, Reading, Berks. RG1 711 England Telephone: Reading (0734) 53411 Telex:847 605 alb Tillex C-

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Q. What's smaller than a breadbox,

tells the truth,

and w

our RFI flutter Y

Of wow your wallet?

A. FIDELIPAC wow & FLUTTER METER.

For less than $425.00 you can have a portable, solid -state instrument that quickly and accurately measures the wow, flutter and drift characteristics of any sound reproducing device . .

cartridge or reel -to -reel tape re- corder, turntable, film chain, etc. It's

easily connected to your equipment and features a standard phone out- put jack for oscilloscope connection as well as a self contained switchable weighting filter. With its internal preci- sion 3,150 Hz reference oscillator and its complete immunity to EMI and RFI,

Fidelipac's Model 65 -390 Wow and Flutter Meter is truly indispensable for your test bench or studio.

Foi more information, contact Fidelipac

Prices shown are domestic U.S. and do not reflect shipping, customs duties, VAT or similar charges and are subject to change without notice.

ELECTRONICS by FIDELIPAC® 109 Gaither Drive

Mt. Laurel, NJ 00054

(215) 021 3050

'Trademark C

100 STUDIO SOUND, JULY 1978

REVIEW: SONY PCM -1

the pre- emphasis makes a substantial change in the noise performance. The performance is

clearly very good in terms of the measured per- formance of conventional analogue machines, but it must be remembered that the measured dynamic range for a digital machine has a dif- ferent subjective effect. There are two reasons for this: firstly, the `hard' clipping at the over- load point; and secondly, that the digital machine does not record signals that are below noise level -we can hear them with an analogue machine in spite of noise.

Inputs and outputs Both the audio outputs were found to deliver 3.3V rms at full recording level or 3.32V rms at clipping level from a source impedance of 560

ohm in an unbalanced configuration. It is felt that for professional use a balanced output would be desirable from a lower source imped- ance, the XLR and the phono socket outputs being in parallel.

The line inputs are XLR and phono connect- ors again in parallel in an unbalanced configura- tion. Again it is felt that a balanced connection would be desirable for professional use, but the input impedance of 100k ohm in parallel with 40 pF is very satisfactory, as is the input over- load level at over 10V rms and sensitivity of 460 mV rms.

The front -panel microphone jack connectors again are unbalanced and have the option of two sensitivities by means of a source selector switch. The sensitivities and overload limits

TABLE 2 MICROPHONE INPUT Input selector 'Mic' 'Atten'

Sensitivity 2.23 mV 23 mV

Overload Input input impedance 85 mV 3.3k ohm 850 mV 4.3k ohm

given in table 2 would appear to be directed at domestic applications. Furthermore, it was found that as a result of the insertion of a resis- tive attenuator in the low -level circuits, the noise associated with the microphone input was poor in the attenuated position; the overall noise performance being degraded by 4 -5 dB when the attenuated microphone input was used.

On the other hand the input impedance of all

Fig. 7 Scrape flutter test shows two sidebands 60 Hz either side and 50 dB down

inputs was constant with the setting of the input level controls, these being very smooth in action. For some reason the overall gain and the meas- ured sensitivities do not agree with the manu- facturer's data, but the video levels were found to be in agreement.

Other matters The crosstalk performance of the system was measured by recording one channel at maxi- mum level and not recording any signal on the other channel. The results are shown in fig. 6, from which it can be seen that the crosstalk is at an extremely low level at all audio frequen- cies--a performance that would be impossible with an analogue system.

While it is claimed that the effective wow and flutter from the system is below measurable limits, this is not entirely the case. Using the IEC quasi -peak weighted measurement this is

certainly true (or at least below 0.002%) but the unweighted measurement showed a wow and flutter of 0.08% with the `offending' component being centred on 60 Hz, the video frame rate of the system.

A similar situation arises with my normal test for scrape flutter in analogue machines - that is recording a IO kHz tone and making a

narrow -band spectrum analysis of the repro- duced tone. Even though the sideband compon- ents would have been below the lower limit of my normal measurements, fig. 7 shows two well - defined sidebands 60 Hz either side of and 50

dB down from the `carrier'. An important factor which could not be

measured because of its low level was the phase jitter `between tracks'; even using an oscillo- scope with a delayed timebase no jitter could be

observed. Finally, attention was focused upon the

meter system, which consists of twin bar -type meters that are driven by the `replay' electron- ics in the digitally- encoded part of the circuitry. These were found to have a very fast response time such that they responded fully to a single cycle with a full back time in the order of 250 ms

to return to their `rest' position. These para- meters are ideal such that peaks were fully indi- cated and the readability was very good. Fur- thermore, as is most desirable if not essential in a digital system, the metering was after the pre - emphasis when this was switched into use.

Summary The performance of this Sony PCM I system matches the performance of today's most advanced analogue machines, and indeed offers many advantages over them. However, in terms of forthcoming digital machines it is not up to the expected professional digital standards, as

the future professional machines will incorpo- rate a higher sampling rate and more bits -thus having a wider frequency response and dynamic range.

This is not to say anything against the PCM / system which has a great deal to offer, and for those who already possess a suitable video recorder the PCM I is a most attractive propo- sition.

It is, perhaps, of particular interest on the domestic front as a source of very high quàlity audio, for it is understood that the Japanese broadcast authority NHK has already broad- cast digitised audio from their television trans- mitters for recording by owners of the PCM I

system.

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Audio jack sockets & audio jack fields

Approved suppliers to B.B.C., Post Office, Pye Telecommunications, Pye T V T, and other major users. Mosses & Mitchell supply many of Britain's biggest users with Audio Jack Sockets and Audio Jack Fields to specification. If you have a need for long runs, or batch quantities, Mosses & Mitchell have the modern facilities to provide them -including the ability to design and manufacture precisely the component that you must have.

Prompt delivery by work's vehicle, U.K. only Rigid inspection Keen quotation Fully illustrated brochure on request

MOSSES & MITCHELL LTD A member of Plasmec Weydon Lane, Farnham, Surrey. Tel. Farnham 21236

Don't multiply

types Use a small modular

potentiometer for all your applications,

and enjoy our good delivery times.

CERMET 1/2' square Spindle 0: 3 mm -4 mm -6 mm Ganging up 6 elements only 5.08 mm extra depth per added element. SMOOTH FEEL 1 W at 70 °C 2252 to 2,2 MS2

Tol. ± 10% or ± 20% linear, CW log, ICW log laws Environmental conditions 55 °Ci +125 °C / 56 days MANY OPTIONS: long life, panel sealing, slipping clutch differential terminals configuration

COUNTING -SFERNICE LTD 5 ELSTREE WAY BOREHAM WOOD HERTFORDSHIRE WD6 1SF

Our slaves are yours to command

Loop bin cassette duplicating, Dolby A and B systems, fixing heat-seal cassette labels,

open reel duplicating, large or small runs.

Loop bin cassette duplicating, Dolby A and B systems, fixing heat -seal cassette labels,

open reel duplicating, large or small runs.

Sound Communication (Publishers) Limited, Dewsbury. West Yorkshire. Telephone (0924) 469436

SHEFFIELD SOUND CENTRE

SPECIALISTS IN HI -FI

Main agents for Teac, Tascam, AR, Uher, Dokorder, Revox, Spendor, JBL, Dahlquist, Tannoy, Lowther, Ferrograph, Marantz, Bic Technics, Quad, Armstrong, Sony, Nagra, IMF, Dbx, Otari, and many more.

Competitive prices, terms, part exchange

101a and 107 ECCLESALL ROAD Tel: 0742 23365

101

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Valley People Trans -Amp LZ

TYPICAL PERFORMANCE As a transformerless microphone pre -amplifier, line amplifier, transducer amplifier (balanced input): Differential input impedance: 100k ohm. Full power bandwidth: 180 kHz. Maximum output level: +27 dBm with output buffer. Maximum input level: -I -21 dB ref 0.775V rms at 6 dB gain.

Performance at 60 dB gain with 150 -1k ohm floating source Noise figure: 0.5 dB broadband 20 -100k Hz. Frequency bandwidth: 0.3 -500k Hz. Distortion: under 0.01 im or thd to 20 kHz. CMRR: greater than 100 dB to 20 kHz. As a true balanced differential current summing amplifier: Full power bandwidth: 180 kHz.

Performance re 40 inputs at 10 dB sum- ming gain Noise figure: 0.5 dB broadband, 20 -100k Hz. Buss output noise: -86 dB ref 0.775V rms, 20- 20k Hz. Frequency bandwidth:4.5 MHz. Distortion: under 0.01% im or the to 20 kHz. CMRR: determined by resistor tolerances. Power requirements: +15V bipolar at 10 mA. Size: 30.5 mm square by 15.9 mm high epoxy module. Price: between £15 and £20, dependent on quan- tities. Manufacturer: Valley People Inc, PO Box 40306, 2821 Erica Place, Nashville, Tennessee 37204.

UK Agent: Scenic Sounds Equipment, 97 -99 Dean Street, London W1.

THE Trans -Amp LZ is an amplifier module intended for low -level input stages and

other critical parts of the audio chain. In addi- tion, it is suitable for industrial use, particu- larly as a transducer amplifier.

Basically the LZ is a balanced differential -in/ differential -out device, the gain of which is

controlled by feedback inputs that are separate from the signal inputs. Thus the overall gain does not depend upon the source impedance, and similarly the input impedance is not affected by the gain. When the amplifier is

required to operate in a current summing mode the feedback can be returned to the signal inputs, thus forming a virtual earth to which the input signals are applied. If the

Hugh Ford

module is required to feed an unbalanced out- put, the amplifier's output may be buffered with an operational amplifier -this requires the minimum of components.

Unlike conventional operational amplifiers the open loop gain of the LZ in fact increases as the feedback is decreased. Hence the band- width is larger at small gains, with the result that the amplifier is highly stable. The manu- facturer claims that the bandwidth at unity gain is 5 MHz and remains constant up to a

gain of 40 dB; above this gain the bandwidth decreases.

From the point of view of audio applications the optimum input source impedance for mini- mum noise is very convenient for matching transducers, since the optimum impedance is

in the range 100 -2k ohm with the manufac- turer claiming a noise figure of less than 0.25 dB for source impedance between 300 and 500 ohm.

FIG. I TRANS -AMP LZ FREQUENCY RESPONSE AT 60dB GAIN (SEE TEXT) MC:::C ::C_CM: :_MC:::C --.. B:'.'.:fC1::CCM1::CCN1:11 CIC M-... ........ 11::COM::.10 C1:1. CIM--.. MIMM-M..=-

fiM22::1=C ==NB::'.=i ::=M::=:C1=01:1::1C1=C1::: 1111M.... M.. -. -M...... ... =........ _.... - -==1:EE CMS:::N:L'.: 1:: 01:::CIMIINI---

CB...._CB::1 CCO :: C:-111 1:1:C -.. .. CCCB11:: Ç=---ÇCB1:.1CCM1'C CCM..:: 1048

20 50 100 200 500 1K

FREQUENCY IN Ih

2K 10K 20K 50K 100K

102 STUDIO SOUND, JULY 1978

Measurement results The measurements on the Trans -Amp LZ were

made while using it as a 60 dB gain input amplifier having both the input and the output balanced. The supply voltage was fixed at

+15V bipolar, as recommended by the manu- facturer. Under these conditions the output level for the onset of waveform clipping was

found to be +-24.5 dBm from an output impe- dance in the order of I ohm. Distortion into a high impedance is given in table 1 for 24 dB ref 0.775V rms output. When working into a

600 ohm load the distortion rose a little to 0.01 % third harmonic at I kHz or 0.02% at 10 kHz. However, this performance is excel- lent and distortion at lotier output levels was

even less.

TABLE 1 DISTORTION MEASUREMENT Frequency Second harmonic Third harmonic 63 Hz <0.01" <0.01

1 kHz <0.004q <0.004, 10 kHz <0.003 0.006%

20 kHz <0.003% 0.015`.'

Like distortion, the noise performance as

measured was extremely good (table 2). While relation between noise and source impedance agrees with the manufacturers' data, the actual level of noise is slightly higher. However, this may well result from the difficulties in obtain- ing a defined noise bandwidth suitable for measuring noise to tolerances of a fraction of a decibel, the bandwidth used for table 2 was

20 -20k Hz, with 24 dB /octave filtering. The noise spectrum itself was effectively white noise from 20 to IOOk Hz, with a slight rise in

density above 100 kHz.

TABLE 2 NOISE PERFORMANCE Source impedance (ohm) Noise figure (dB)

100 2.4 200 1.3

660 0.9 1k 1.0

2k 1.4

5k 2.3

Using the recommended circuit at the pre- viously stated 60 dB gain the frequency res-

ponse was within +0.1 dB from 2 to 30k Hz, but rose to - 3 dB at 150 kHz (fig. 1). This high frequency rise could be readily corrected by shunting the feedback resistors with a small capacitor.

A final matter of interest is the common mode rejection ratio, which is particularly important for applications such as microphone input stages. This was measured as being in

excess of 100 dB at I kHz -much better than normal transformer inputs, with an associated input impedance of 100 k ohm.

Summary This brief evaluation of the Trans -Amp LZ module suggests that it has exceptional prop- erties, particularly from the point of view of noise. Thus it can well find applications in low - level input stages, such as microphone inputs. While it was not tried with equalisation in the

feedback loop, there is no reason to suppose

that this will pose any problems. It may be

assumed, therefore, that the LZ module will be

very good as a tape or pickup pre- amplifier.

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You can win them all!

WITH THE NEWAUDI-CORD CARTRIDGE MACHINE The all new Audi Cord cartridge machine has many new features

to win over the most demanding producer. It also has all the technology, ultimate reliability and ease of

access in console, to win over the most demanding service engineer. Even your accountant, when he sees how competitive the prices are,

will know you have found a winner. 15 years of understanding and design experience

coupled with modern circuitry and components for improved electrical performance and reliability are brought together to bring you

the best cartridge machine on the market. Meets all new NAB /IEC specifications.

FEATU RES For the Production Department: *Control logic affords four selections of replay mode, replay only by removing and re- installing cartridge, replay not prevented "played" light indicates status, etc.

*Optional precision digital recording timer with true recorded time indication

*The circuits have been designed to have more than sufficient overload capability to take the soon to be available high output/ low noise cartridges

For the Maintenance Department: *Wide use of CMOS digital and linear inte- grated circuits

*Motor, solenoid and cartridge sensing are all solid state controlled

*Pressure regulating solenoid system im- proves tape skew and eliminates adjust- ments

*Top adjusted head mounts that remain fixed *All pre -sets for equalisation and for the six position meter switch for circuit checks have access through hinged front panels

*Dual record /replay Hi- Lo equalisation adjustments

*No relays or micro switches

OPTIONS Multiple replay featuring automatic switch -over and silence sensing, mono and stereo,

single or multiple cue tones and delay units

For further information contact :

C Welsh

LEE ENGINEERING Napier House Bridge Street Walton -on- Thames Surrey KT12 1 AP Telephone :Walton -on- Thames 43124/5/6 Cables : LEETECH Telex : 928475

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Trident CB9109 low distortion oscillator

Hugh Ford

MANUFACTURER'S SPECIFICATION Output capability: +25 dBm into 600 ohm; large output level meter. Output distortion: typically 0.006 at 1 kHz. Squarewave output: fast rise time. Overall frequency range: 10 -20k Hz. Output attenuator range: +20 to -70 dB in 10 dB steps, with fine control and mute button. Integral frequency counter: gives continual dis- play of oscillator output frequency in both sine and square modes. Separate frequency counter input: accessible on front -panel input; timing range is selected by the frequency range pushbuttons. Power requirements: 110/240V, 50/60 Hz. Dimensions (wdh) : 432 x 178 x 89 mm; rack mount- ing is possible by the addition of two angle brackets. Finish: black anodised, brushed aluminium with anodised silver lettering. Construction: alloy case easily removable for ser- vicing. Electronics contained on glass -fibre printed circuit boards, with 'highest quality components and selected solid- state -devices being used throughout'. Price: £325. Manufacturer: Trident Audio Developments Ltd, 112/114 Wardour Street, London W1, UK.

HE Trident combined low- distortion oscillator and frequency counter is basi-

cally a low- distortion oscillator with a digital display of tuned frequency. However, the counter may be accessed via a jack socket, allowing the frequency of external waveforms to be displayed. The frequency counter has, in effect, two ranges which are selected by the frequency controls of the oscillator section, the ranges being a four -digit display of either 9999 Hz maximum or 99.99 kHz maximum. The latter range is selected when the oscillator fre- quency range switches are in the upper two ranges of I -10 kHz or 10 -100 kHz; the lower ranges being 10 -100 Hz and 100 -1 k Hz. In fact these four selector buttons, which are of the self -illuminating type, serve two purposes in conjunction with a further two buttons. One of these is identified as 'preset /dial' and when released allows the frequency to be set by a roughly -calibrated frequency dial; when depres- sed the frequency is preset to lower frequency of the selected range. Thus preset frequencies of 10, 100, 1k or 10k Hz are available; the

FIG. I TRIDENT CB9109 OSCILLATOR OUTPUT ==MINO ICCO::::C M. MCM:MMM..MCM:MCMMM..M.MCCCMMM.. --... MCaMMM.= C =CCaMM.. =MMOMM:.= M:oM... --MM. --.-. NM 1111.... .... .... .... .... ........ MMMM.

.... M-M...M =MOWER=

M: ::::=....=.... M.... M.... MI ........INIIMI.... ------M.. ....

MMMM. M:M:M:MMM..C ----- --.... CMMMM. MMCMMM'.: CM:mM;MMM'.'. --ME. M:CCM;MMMMMMCMMM CM:MMM.. ---.. mom 61M --.. MM.. ---.. -M... M-M.-M--M-M.M.-M-. .-MI----E COCMCMMMMM.. MCM:MCM:D --a.. =MMMM. ... -1111111111-.. -MINN----. I a=MMMM. MMI.. ==CM:M.. am.

MMM M.M'.

MM-.M.. M.... -.-INNI-.---.. =.... IIMI.--..M. ... m tiLll:::: NM M.... IIMMII... M:MCMMM.. MCMMM. ... M-M.-M--.---..

IMM --.. M MMMM--.. 11=111M.... NE--... moms

2o11000ff M.MCMMMIEMM

31011=--M.. . -.M. M..MINI--a..

=II M.--M--MEE M.---a.. =.... aCaCM:.. MIMMM---MMC.S --MM--------E MCM.aM

M111111-. MMMM. ---.

MM:.e M---M.Ì ===M_:: : CMM... .N-.. ---M.. =M.--- MM.CMCGMIMMM.. MMM..MCt=MMM.PC -M-.. 11111 MM. M--. ---.. WM

summon ::: ---.. --a-. -Am

...IMMIa.---.. AMINNIMMMI---.. MCC -.-M-. --M--a.. ---..=M-N-IM-..M- --... =--.. --IM-m M.---Mm. a- ia--- M=--.. -- IM--. ----o. -M.. ---M- IMII =.11M=---. MINB--.. M.--- 1I m---M.I..mM- ammo-mumm -MM----- IM---.. _. --M..MM.III -MM..

M.-----. M-M.--E.. IMIM MM MM.C -a..111M ----. --a.. iMII M- 1=1--M.. CCMMM:..=M: --... -M-.. NMI MM.IM.-Ma.. 1=-IMME. I-.--... iimm---ME moo ------.----a---.. ---.. --M.. M- II--a-E --M---.. M.MM.C----E. ---. M.----. --.. INN

-a.. -----.. -M... -- -----E-. MMM..MM.CCM:MMMM. --M.. I =-.. MM---mi--a..MM-M- 1111----.

M:MMMM..CC=MMMMM.. INIM--a.. -- ------.. I1 1=1--. M; li =MMMM.M=C mm--.. sm

10 20 50 100 200 500 1K

FREQUENCY IN Hz

2K 5K 10K 20K 50K 100K

104 STUDIO SOUND, JULY 1978

second extra pushbutton allows the preset frequency to be doubled and hence providing 20, 200, 2k or 20k Hz.

Two further buttons control the oscillator's mode, and offer a choice of either sinewave or squarewave outputs in addition to a choice of normal or low- distortion modes. In the latter mode the oscillator's amplitude is not so well controlled, there being bounce when changing frequency and a less accurate frequency res- ponse in comparison with the normal `sweep' mode.

Both the sinewave and the squarewave out- put from the oscillator use the same attenuator and output terminals. These comprise a BNC socket in parallel with terminals /sockets that whilst of the standard 4 mm diameter variety but were not on the standard spacing. This is rather irritating, but it is understood that the manufacturer is correcting the problem.

Output level is controlled by a variable fine - level potentiometer in conjunction with five self illuminating pushbuttons. One of the push- buttons provides an oscillator mute function and the other four individual non -interlocked attenuators identified as +20. +10. -20 and -40 dBm, the output level being shown on an analogue meter calibrated in both dBm and volts.

Since the meter has calibrations in one - decibel steps from +5 dBm to -10 dBm, the available output range is from a maximum of

25 dBm with the 120 dB attenuator, down to -80 dBm with the +10, -20 and -40 dB attenuators. Although the maximum output of +25 dBm is very useful for modern audio equipment, the lower measured limit of -80 dBm is felt to be too high for measuring mic- rophone circuits, and the like; I would have preferred to have seen an extra IO dB of attenuation available.

The remaining front -panel features are two led indicators that show which of the two frequency counter ranges are in use; a 'hold/ count' switch for the frequency counter; and the power on /off switch.

To the rear of the unit there is the IEC mains power connector and its associated mains fuse which was properly identified in rating. Under- neath the cabinet are two feet for tilting the instrument to a good viewing angle.

Within the unit virtually all the electronic components are mounted onto a good quality glass -fibre pcb, which is printed with clear component identifications and tidily laid out. What exists in the way of hand wiring is also tidy, with terminations being sleeved and the wiring well secured.

The main cabinet is of sheet metal and the front panel a substantial thick alloy plate (about 3 mm) with very clear control identifi- cations. Thus the whole unit is reasonably sub- stantial and quite well finished. In general the controls were easily identified and handled well. But 1 would have liked to have had a fine frequency control for accurate frequency set- ting as is required in tuning sharp filters. Also, the voltage scale on the meter is in integral volts with no intermediate scale marks, making voltage reading a little too much guesswork.

Performance The flatness of the oscillator output in the low - distortion mode and in the normal sweep mode is shown for each frequency range in fig. 1. It

106 Ob-

www.americanradiohistory.com

F111 Production Mixer S6 -2 The A & H S6 -2 is neat, black and capable.

It features inputs for two microphones, 2 stereo lines and 2 magnetic grams, all fitted with their own 2 way equalisers and variable input sensitivity controls.

Also included is a comprehensive override system and a separate power

supply relay box which is coupled with the remote start controls.

All this represents real value for money at £420+ VAT. The

A& H production mixer is just that. A desk to provide

pure production - ability.

Roger Squuies

PROo °AUDDOO THE MIXER CENTRE

We have one cf the largest selections of mixers, all wired ready for demon- stration at our showrooms.

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Distribution nationwide.

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105

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AFTER NAB

Cuemaster STILL THE BEST

CARTRIDGE MACHINE

G Granet

Communications Ltd. 39 BEECHCROFT MANOR, OATLANDS

DRIVE, WEYBRIDGE, SURREY KTI3 9NZ

Weybridge (0932) 47785

106 STUDIO SOUND, JULY 1978

REVIEW: TRIDENT CB9109

can be seen that in the sweep mode the flatness up to 20 kHz is within +0.2 dB, which is

acceptable for most audio work. However, above 20 kHz the output falls to about -2 dB at 100 kHz, which leaves something to be desired. Clearly the flatness in the low- distor- tion mode is unacceptable for frequency response measurement, and it is felt that the manufacturer should make these limitations clear in the instrument's specification.

While the frequency stability with time is not often important for an audio oscillator, it does become important for such applications as

measuring tape speed drift. As can be seen from the plot of frequency (1 kHz) against time in fig. 2, the frequency drift is excessive for such applications. In practical terms it can be seen that the maximum rate of drift is in

the order of 0.1 % in two minutes, where with

a tape machine we are probably interested in

0.1 % drift in a full reel of tape -maybe 30

minutes. So far as the frequency counter is concerned,

this has its reference derived from an internal crystal oscillator. Measurements showed that the accuracy was within 3 parts in 10e, which shows as errors in the display above 10 kHz. But the crystal has a trimming capacitor that allows the crystal to be correctly adjusted. This should have been done by the manufac- turer before the instrument was submitted for review.

The sensitivity of the external input to the frequency counter is claimed to be 300 mV. It was found, however, that the indication was unreliable at this level and that a minimum of 400 mV input gave safe indications at fre- quencies up to 99.99 kHz.

The output impedance varied from 84 ohm at low output attenuator setting up to 150 ohm with the +20 dBm output level setting. The actual output levels into a high impedance and into a 600 ohm load are shown in table 1.

TABLE 1 OUTPUT LEVEL High 600 ohm

impedance load Maximum output 14.04V 11.18V

Nominal +20 dBm . - 19.96 dBm +11.18 dBm Nominal -10 dBm -10.13 dBm -9.81 dBm Nominal -20 dBm -20.18 dBm -20.17 dBm Nominal -40 dBm -39.9 dBm -40.1 dBm

Clearly the accuracy is very good. The meter calibration accuracy was also excellent, with less than 0.2 dB error in output level over the meter range -E 5 dBm to -5 dBm.

Using the mute button facility effectively removed the output, with the level at 100 kHz being dropped by 120 dB, and that at 10 kHz greater than 140 dB.

As far as the squarewave output is concern- ed the meter indicated within 0.4 dB of the true rms value of the squarewave; however, it

was felt that the quality of the squarewave 108 0

FIG. 2 TRIDENT CB9109 FREQUENCY DRIFT

10 MINUTES

. o,-0a,a lM tM\\ N

1111` I. l

11 B.t1. dOrll't, 1

1001

1000

999

99B

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STUDER B67 Professional Tape Recorder Respected STUDER quality at attractive prices.

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REVIEW: TRIDENT CB9109

output was not very good. Firstly, the variable attenuator provoked some overshoot at the maximum output position as is shown in fig. 3; this shows the leading edge of a square - wave in two attenuator positions. Fig. 4, the output waveform at 10 Hz, shows there is sub- stantial droop at low frequencies. In addition, the mark /space ratio of 1:1.2 is unimpressive and the risetime of 2.2 µs slow. Finally, in the review instrument the output in the range 10-

100 kHz was useless because of instability of the waveform.

Reverting to the sinewave performance, as

received the distortion at all frequencies was outside the specification. However, the manu- facturer provided very prompt attention to the problem, with the result that the designer of the instrument attended my laboratory and modi- fied the instrument. After modification, the distortion performance within the audio fre-

quency band was good, as can be seen from table 2. As with many low- distortion oscillators the settling time in the low- distortion mode was fairly long and there was some bounce in the output level, but it was not felt that this was excessive.

The final matter to be investigated was the accuracy of the eight preset frequencies. This transpired to be a variable feast with all except 100 Hz, 200 Hz, 1 kHz and 2 kHz being within 1%. The 100 Hz was 6% high, 200 Hz a stag- gering 25% high, 1 kHz 2.7% high and 2 kHz 4% high -it would appear that the 200 Hz error is likely to be an incorrect component value?

Summary While this is potentially an interesting instru- ment that 1 had looked forward to reviewing, quite frankly this prototype was disappoint- ing. When modified it worked quite well as a low- distortion oscillator within the audio frequency band, but there are too many other

Fig. 3. Overshoot at maximum output. Fig. 4. 10 Hz squarewave output.

TABLE 2 DISTORTION Frequency

Total harmonic

Low distortion mode

2nd 3rd Total

harmonic

`Sweep' mode

2nd 3rd 10Hz 0.09 0.03% 0.10% 0.35% 0.03% 0.35°iß

100 Hz 0.02% <0.01% 0.02% 0.08% <0.01% 0.08 "° 1 kHz 0.005% <0.003% 0.005% 0.013% <0.003 °í, 0.013%

10 kHz 0.006% <0.006% <0.006% 0.019% 0.01% 0.01

20 kHz 0.008 °6 0.01% 0.006% 0.023% 0.017% 0.016% 50 kHz 0.013% 0.018% 0.08% 0.095% 0.11% 0.08;° 100 kHz 23`.'., 29% 20% 26%

108 STUDIO SOUND, JULY 1978

shortcomings some of which have been men- tioned.

In addition to the form of frequency display being irritating because it visibly flickers and then stops for a short time to display frequency, the pulses driving the display leak into the oscil- lator's output -hence the inclusion of a `counter - hold' switch. However, the amount of `rubbish' in the oscillator's output depended upon the time at which this switch was operated.

The manufacturers' comments on this review would suggest that this will be an attractive instrument when modified to the production version.

Manufacturer's Comment: The review by Hugh Ford praises many features of the low- distortion oscillator. It is surprising, however, that Mr Ford should summarise his report in the way shown. From about 35 indi- vidual review comments he praises 20 of them with 12 being either personal views or specific market requirements, There could appear to be therefore only three or four serious criticisms, and this comment of being unable to give the unit any recommendation does not seem to agree with the review in general.

The spacing of the sockets has been investi- gated and the error traced to a metalwork draw- ing. This has now been corrected.

The attenuator comments are felt to be per- sonal, as in any event most good circuits today deliver 20 dBm and therefore gains of -I 100 dB can be checked with this unit.

The voltmeter scales are tabulated in the handbook which unfortunately was not ready for Mr Ford's review.

The reference to frequency stability has to be questioned, as the unit tested by Hugh Ford has since been checked and providing the LDO is in the sweep mode and allowed to stabilise for say 30 minutes (as is common practice with fre- quency counters and the like) the frequency stability is much greater than he has measured, and certainly satisfies his requirement. It is agreed this stability is not obtained in the low - distortion mode and possibly his tests were done in that state. Once `warmed up' the oscillator is stable for many hours within 0.05 %.

A direct output for squarewave is now fea- tured on the rear panel of the LDO and pro- vides a ttl- compatible squarewave with no droop and a rise time of 20 nanoseconds.

The preset frequency buttons are intended for spot checks in general amplifier testing and are not intended to be exact frequencies.

The error on the 200 Hz button has been investigated and found to be, as suggested, an incorrect component value; although the corn - ponent is marked as being correct the tolerance is outside its specification. It would appear practical to have these preset frequencies within 5%, as the user can tune to much closer fre- quencies with the frequency counter should he sb desire.

The reference to `rubbish' in the oscillator's output is being considered and, as can be seen from Mr Ford's figures, the distortion para- meter measured is very good and could be

improved even further by inhibiting the counter during very low distortion measurements.

Although we cannot agree entirely with the remarks of Hugh Ford they are naturally very well received. The aforementioned problems will be adequately considered and, where pos- sible, rectified before this unit is released.

www.americanradiohistory.com

RADFORD AUDIO MEASURING INSTRUMENTS

NEW ITEMS DMS4 Distortion Measuring Set. Precision DMS5 Distortion Measuring Set. General Purpose

The DMS4 is a precision instrument intended for laboratory use, capable of measuring total harmonic distortion to better than 5

parts per million (0.0005/). The DMS5 is intended for general purpose use in the studio, test

department, or factory and can measure to 0.001" T.H.D. Both instruments cover the frequency range 10Hz-100kHz and

are semi -automatic nulling. The instruments will operate from any signal source. Nulling to zero is automatic after the DMS has been tuned to the test frequency. The instrument will thus continually read distortion whilst adjustments are made to equipment under test providing the test frequency is not changed.

EXISTING ITEMS LD03 Low Distortion Oscillator A continuously variable frequency laboratory oscillator with a range 10Hz to I00kHz having virtually zero distortion over the audio frequency band with a fast setting time. Specification: Frequency range: 10Hz to 100kHz (4 bands) Output voltage: 10V r.m.s. max. Output source resistance: ISO ohms or 600 ohms (unbalanced) Output attenuation: 0.100 dB (eight 10 dB steps plus 0 -20 dB variable) Output attenuation accuracy: 1% Sine wave distortion: Less than 0.001% 10Hz to 10kHz (typically below noise of

measuring instrument)

Square wave rise and fall time: 40/60 n.secs. Monitor output meter: Scaled 0 -3, 0 -10 and dBv or dBm Mains input: 110V/130V, 220V/240V Size: 17ín. (43cm) x 7in. (18cm) high x 8 }in. (22cm) deep

LDO3B Low Distortion Oscillator, balanced output As LDO3 but additionally fitted with output amplifier and screened transformer providing a 600 ohm floating balanced output and 150 ohms unbalanced. Unbalance: -80 dB I kHz, -60 dB 10kHz.

ANM1 Audio Noisemeter, average sensing ANM2 Audio Noisemeter, true r.m.s. reading ANM3 Audio Noisemeter, Quasipeak /true r.m.s. reading The noisemeters have 16 measurement ranges from 101.iV f.s.d. to 300V f.s.d. incor- porating a 5in. mirror scale of excellent linearity calibrated in Volts and dBv or dBm. The instruments are in accordance with DIN 45.405 and incorporate recom- mended weighting characteristics.

Brief Specification for all noisemeters: Frequency response as voltmeter: 4 Hz to 250 kHz, O.5dB Input impedance: I M ohm shunted by 30 pF Attenuator accuracy: 0.25% Meter scale linearity: 1%. Typically better than 0.5% Waveform error in true r.m.s. instruments: ±- 1% for crest factor 10 Noisemeter included weighting characteristics: WIDE BAND (flat response volt-

meter) DIN 'AUDIO BAND' IEC /DIN 'CURVE A' CCIR

Size: I I }in. x 7 }in. x Elfin. deep overall (28 x 18.5 x 22cm.)

RADFORD LABORATORY INSTRUMENTS LTD. Ashton Vale Road, Bristol BS3 2H Z Telephone 0272 662301 USA Patrick McVeigh. Tel. 201 746 5461

PROFESSIONAL SOUND EQUIPMENT FOR ALL MUSICIANS

Distributed in the U.K. and Eire by:

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109

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R. D. G. AUDIO VISUAL LTD. 12 HILL VIEW, NEWPORT PAGNELL

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We made the man with thetriangle in the Boston Pops extremely happy.

He wasn't cut off this time.

Kilo t. >t

Arthur Fiedler's Boston Pops and Crystal Clear production made this new direct -cut record.

To be sure, they used three different combinations of cutting equipment. And the result, the Scully cutting machine with Orto- fon cutterhead, was chosen by Arthur Fiedler and the sound experts. Not only to please the triangle player in the famous orchestra - but the depth in the music responded to the name "Crystal Clear ".

('h innel separation measured on cut lac tuer disc by interferometric methods. DSS 73 GO 741.

The explanation: The special construction of the Ortofon cutterhead

Every cutting engineer knows the difficulty of cutting frequencies in the supersonic area because of problems with the resonances in the cutterhead. These problems can be solved in several ways. The high frequencies can be cut off. Or an equalizer can be used to compensate for the resonances. Excellent when producing "middle -of- the -road ". But for more sophisticated music you'll need the Ortofon equipment because we have solved these resonance problems. The Ortofon cutterheads DSS 731 and DSS 732 have the lowest secondary resonance above 30 kHz and 24 kHz respectively. This ensures a flat frequency response and high channel se- paration in the lacquer.

"The Lathe" by L.J.Scully. The Perfect Partner.

We looked for a cutting machine designed to meet the most stringent requirements of the master record industry. And found it.

Which means that Ortofon now represents this unique mastering unit in Europe. Just as L.J.Scully Manufacturing Cor- poration represents Ortofon in America.

We believe Ortofon and Scully to be a perfect combination. And so do others. Just ask Arthur Fiedler ...

orrofon accuracy in sound ORTOFON MANUFACTURING A/S 11B. Mosedalvet. DK -2500 Copenhagen - Valby, Denmark

Why not let us have your requirements. We won't cut you off.

U U.K. Distributors

Feldon Audio Limited 126 Great Portland Street, London W1. Telephone 01 -580 4314. Telex: London 28668

111

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May we introduce ourselves...

We have been well established as an important domestic Hi Fi and Video supplier for some years

and we have now finalised a formidable professional audio section designed to cater for studios and

professional users like yourselves.

To give you some idea of the standard we set, look at the company we keep.

We are main agents for. JBL (we are the only place to have 4343, 4315, 4301. 4380 monitors on dem and available, and a full stock of drive units). KEITH MONKS complete range in dock: TEAC &TASCAM AKG QUAD ALICE REVOX ALLEN & HEATH NEAL BRENELL.

We also supply: Beyer DBX Amcron Studer Rusco Master Room SIS EMI EMT Dolby MCI Shure 3M Sennheiser BGW Orban /Parasound A &R Klark Teknik Agfa to name but a few.

Pricing: very, very competitive with (proper) professional discount structure. Stock: big and getting bigger for fast delivery times. Delivery service, demonstration facilities, consultancy service, and account facilities.

As you can see, a large percentage of your equipment requirements (splicing tape to 24tk masters) can be obtained from one source at your normal pricing. We do the running around and paperwork, you just 'phone.

...give us a try, you have nothing to lose, - you could gain a lot!

GRAHAMS PROFESSIONAL

86 -88 Pentonville Road, London N1. Tel:01 -837 4412 Ext. 66 Telex: 299446

Probably the best

cassette sound you've

ever heard Large runs for record companies and smaller runs for studios all given the same precise attention with regard to quality and speedy turnround. Blanks wound any length.

Collection and delivery service door to door for both cassette and master

tape copying.

SOU RECORDING PLANT

ß,7T `\

1 Contact Dave Rees

at 061-795 7666 to discuss your requirements.

supplying studios, schools, the broadcasting industry and

governmental departments - carrying a full range of products

Beyer Revox Neal Quad JBL Phase Linear Tannoy Teac DBX

AKG Allen and Heath Brenell Turner Ferrograph Uher.

Accessories: XLR Mics Stands spools De Magnetisers Splicers Signal Processors Mixers.

PRO -WORKSHOP AND MOBILE SERVICE FACILITIES

now at new premises

THE STUDIO SHOP Oxgate Farm Coles Green Rd London NW2 7EY Ring 01 -452 1979

Buy and sell second hand Studio Equipment, collections /delivery

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112 STUDIO SOUND, JULY 1978

Trust James to get it together time after time

We provide a total product package for the industry. Orders of up to 30,000 perfect copies per week from your 1/4" or I " master present no problem. For smaller runs we can turn your order around in 48 hours.

Design and print of your cassette stationery is

part of our service together with choice of shell types and colours.

Full Dolby facilities are available in house. Your inquiries are invited for the manufacture of 8 track cartridges.

JameslOrkc Limited Glos GL54 3JW tel Fossebridge (028572) 423

We have a lot to live up to ... and we do. Dolby is a registered trademark of Dolby Laboratories Inc.

Fossebridge Cheltenham

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SLIMLINE Penny& Giles

small development in the fader

business Penny & Giles new Slimline fader is only 12.7mm wide with a 65mm electrical stroke. Yet, within that 12.7mm body width you can have mono or

stereo outputs, optional switch linear or audio taper with an infinitely smooth and stepless fade - plus the

other performance advantages of Penny & Giles conductive plastic faders.

Our small development sounds good - and has a

small price to match.

Write for full details or phone

our sales office.

r Penny & Giles Conductive Plastics Limited Newbridge Road Industrial Estate Pontllanfraith Blackwood Gwent South Wales Telephone Blackwood (0495) 223771 1640 5th Street Santa Monica California 90401 Telephone 213 393 0014

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The only way to see

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Fully modular Accurate metering at low cost Precise VU and PPM characteristics available at the push of a button 38 dB dynamic range Green LEDS for normal levels, red for overload Electronically balanced input Front panel sensitivity preset Remotely adjustable brightness Single +24V power supply 16 channel case /power supply available now, 4 channel shortly OEM enquiries welcome

For further details contact AMPLIFICATION and RECORDING (Cambridge) LTD. French's Mill, French's Road, Cambridge Tel. (0223) 54507

113

www.americanradiohistory.com

The Many Ampex Features

AG-440C ATR100 MM.1200

('onsole Version O O S

Rack -mount O O - Portable case - O -

Video layback Head - - O

Multi -point Search -to -Cue O O

Disc Mastering Preview Version O

MQS Synchronizing Equipment O O O

Variable Speed Oscillator O O O

PURC (electronic editing) O S O

Large reel capability 14" 14" 16" NAB /CCIR

Switchable - O - Additional overbridge O - O

Mono O O - Stereo O O 4 -track O O - 8 -track O - O

16 -track O

24 -track - O

O = Option S = Standard

Ampex - leader in the business of total production

and post-production capability

ATR -100 professional audio recorder

AG -440C professional audio recorder

VPR -1

video recorder

MM -1200 multi -track audio recorder

MQS -100 video /audio synchronizer

.... and for every machine, the best tape

114 STUDIO SOUND, JULY 1978

For further information, please call your nearest Ampex sales office or write to:

Ampex International, Acre Road, Reading, Berks RG2 OQR, England. Tel: (0734) 864121 Telex: 847611

Athens (Greece) 682.3819

Frankfurt (W. Germany) 60581 Fribourg (Switzerland) 22.73.31

Paris (France) 609.91.55

Reading (England) 85200 Rome (Italy) 54.69.91

Stockholm (Sweden) 28.29.10

Utrecht (Netherlands) 612921

AMPEX

www.americanradiohistory.com

Classified Advertisem*nts Advertisem*nts for this section must be pre -paid. The rate is 18p per word, minimum £3.60. Box Nos. 45p extra. Semi -display rates on applica- tion. Copy and remittance for advertisem*nts in AUGUST 1978 issue must reach these offices by 10th JUNE 1978 addressedto: The Advertisem*nt Manager, Studio Sound, Link House, Dingwall Avenue, Croydon CR9 2TA. Note: Advertisem*nt copy must be clearly printed in block capitals or typewritten. Replies to Box Nos. should be addressed to the Advertisem*nt Manager, Studio Sound, Link House, Dingwall Avenue, Croydon CR9 2TA, and the Box No. quoted on the outside of the envelope. The district after Box No. indicates its locality. SEX DISCRIMINATION ACT 1975: No job advertisem*nt which indicates or can reasonably be understood as indicating an intention to discriminate on grounds of sex (e.g. by inviting applications only from males or only from females) may be accepted, unless (1) the job is for the purpose of a private householder or (2) it is in a business employing less than six persons or (3) it is otherwise excepted from the requirements of the Sex Discrimination Act. A statement must be made at the time the advertisem*nt is placed saying which of the exceptions in the Act is considered to apply.

FOR SALE -PRIVATE *Phase linear 4000, the world's most versatile Pre -Amp. Immaculate bargain. Tel: 031 445 1260. G

*8 track 1" Leevers Rich deck with Richardson Electronics, 12/2 mixer, all leads and 6 reels virgin tape, £2250. Tel: 01 -263 0423. G

*Two Dolby A361s £600, Amcron 1C -150 Pre - Amplifier and Amcron D -150 power amplifier £500. TEAC AN80 Dolby B unit offers? Box No. 788 c/o STUDIO SOUND. H

*20 into 4 mixer, ITA, ultra quiet, 4 limiters £750 ovno. Also EMI monitors £150. Tel: 01- 505 1110 or 01 -505 5221. G

WANTED *Power pack for Neumann SM2 microphone or microphone for sale. Tel: Rik or Rob 237 1737. G

*Wanted Allen & Heath mod 1 input modules any condition also used 2" tape and boom mit stands. Tel: Wheathampstead 3334. H

*Wanted Studio mixer, 16 or 24 into 8 (Allen & Heath mod II or similar) cash waiting. Tel: 01 -987 1681. G

*35mm transfer machine required. RCA or others, Sands Films Ltd., 119 Rotherhithe Street, London SE164NF. Tel: 01-231 2209. G *Revox's urgently wanted. The Music Labora- tory. 01 -349 1975. X *Wanted. Revox and Teac Tape Recorders. Best prices paid. R.E.W. Professional Audio. 01 -836 2372. X *Tannoy Speakers Wanted. The Music Labora- tory. 01 -349 1975. X *Teac 3340 (S) urgently wanted. The Music Laboratory. 01 -349 1975. X *Nagras wanted urgently. Exceptional prices given. Paul Simmon Ltd., 2 Market Street, Halifax, Yorks. 0422 57442. G

FOR SALE -TRADE *Uher equipment best prices around immediate delivery. Example cash prices inc VAT Model 4200C # track stereo reel to reel £298, Model CR210 portable cassette £321, Model CR240 Dolby portable cassette £343. Tel: Ray 01 -935 8161, AV Distributors (London) Ltd. H

*Ampex MM1000 8 -track 1" tape, offers over £3000. Ampex 2 -track in console, both good condition. Tel: Glasgow 041 638 0724/221 9407.

*Used Hi Fi Pr. quad ELS £249, pr. Sony SS7000 (DM70) £229, pr. Sony 7200 £97.50. Sony TC 280 £119.50. Bedmaster 4000 £220. Technics SA 5400X £119.50. Marantz 4270 mint, with extras £399. Kenwood KR8140£179. Lecson AP3 £190. Amcron 1C150 /D150 £399. Lux 308 £199. Amcron D60 BGW 250B/202 P.D.A., Quad 33/303 £155. Sansui AU101 £47.50. Sorry no lists- ring /call Erricks, Foto- sonic House, Bradford (0274) 22972. G *For sale five Neumann N4521 power supplies 240 volts A /C/48 volts DC. Two channel XLR connectors £45 each. Tel: Kidmore End 3062. G *Ferrograph studio 8 stereo tape machine (con- sole model) 2 years old v.g.c. £1400 ono. Con- tact Vic Gamm, Tel: 01 -951 0222. G

SOWTER TRANSFORMERS MAKE YOUR OWN MICROPHONE SPLITTER WITH SOWTER TRANSFORMER TYPE 4079

This transformer has a high impedance nominal 200 ohm primary, balanced and centre -tapped, and two secondaries each for 200 ohms loading. Suitable for most types of microphone requiring loads up to 1200 ohms, it will handle 2.3 volts (rms) at 30 Hz so that for normal levels DISTORTION IS NEGLIGIBLE. When each secondary is loaded with any values of resistance from 200 ohms to 2500 ohms THE FREQUENCY RESPONSE IS PLUS /MINUS }dB from 20 Hz to 20 kHz.

This transformer is contained in a Mumetal can 33 mm diameter x 37 mm high with two tapped holes in the lid for fixing. (The height is increased to 60 mm if a one hole fixing bush is required.) The hum reduc- tion of the can is at least 30 dB and the colour coded end leads are normally 20 cm in length. Further details of THE CONSTRUCTION OF A SPLITTER USING THIS TRANSFORMER ARE AVAILABLE ON REQUEST. The following price breakdown is valid for three months: In lots of 1 -5 6 -12 13 -24 Strictly nett PRICE EACH E7.55 £7.25 E7.05 ex works Ipswich

Extras are 20p per transformer for postage and pack- ing, and VAT is 8% overall. Dispatch for small quan- tities is EX STOCK but otherwise not more than 2 weeks from receipt of remittance. FOR EXPORT p. and p. is AT COST and there is no VAT. The weight of one transformer and packing is approx. 200 gms.

We also invite your inquiries for PRACTICALLY ANY TYPE OF AUDIO TRANSFORMER and will quote by return.

KINDLY NOTE OUR NEW ADDRESS AND TELEPHONE NUMBER

E. A. SOWTER LTD. Transformer manufacturers and designers

The Boatyard, Cullingham Road, IPSWICH, Suffolk IPI 2EG, ENGLAND

Tel. 0473 52794 and 0473 219 390

STUDIO FACILITIES

*Cathedral Sound manufacture a professional standard compressor /limiter module for under £25, mixer modules, and complete mixer channels. Professional discounts available on Revox, N.E.A.L., Sennheiser, also MM mixers. S.A.E. details. Cathedral Sound, Fourways, Morris Lane, Halsall, Lancs L39 8SX. Tel. Halsall (0704) 840328. X *Revox, Teac, Otari, Brenell, Tascam, Naka- michi, Tannoy sales and service. The Music Laboratory. 01 -349 1975. X *Wow and flutter meter, Rank Kalee type 1740, similar to latest model, calibrated and in good working order. £150 plus VAT. Burgess Lane & Co. Ltd., Thornton Works, Thornton Avenue, London, W.4. 01 -994 5752 and 5953.

X *Ellie Jay records, comprehensive record and sleeve manufacturing services, high quality, low prices, quantities 100- 100,000. Studios and mobile facilities from several bases throughout UK. Ring 01 -908 2735 (11.00a.m.- 11.00pm any day). H *Tape /disc masters, demos (Scully /Westrex), pressings, cassettes, mobile recording studio. Free brochure. Tam Studio, 13a Hamilton Way, London N3. Tel: 01 -346 0033. X *Fanfare Records. Tape -disc pressings, demo's, masters, any quantity. Studio /mobile Neumann disc cutter. S.A.E. brochure. 1 Broomfield Close, Rydes Hill, Guildford. Tel. 0483 61684.

HIGH SPEED CASSETTE COPYING IN MONO OR STEREO AT COMPETITIVE

PRICES

Long or short runs. Blank cassettes supplied in bulk.

A growing reputation for reliability.

MORARD SOUND PRODUCTIONS THORNTON HEATH, SURREY

Telephone 01 -689 7424

SPEECH RECORDING SPR CASSETTE DUPLICATING OPEN-REEL DUPLICATING

LANGUAGES /AUDIO-VISUAL SPEECH-PLUS RECORDINGS LTD 32,PAGES WALK, SOUTHWARK, LONDON SEI 4S5. 01-231 0951/2

115

www.americanradiohistory.com

_ /_7_ /_ /_ / AEI /_ / AMY /_` z CASSETTE FAST- COPYING `

Stereo or Mono. High Quality. Prompt Personal Service.) ÌAlso bulk supplies of excellent virgin cassettes.¡

\ SOUND CASSETTE SERVICES Ltd. 1P.O. BOX 2, GERRARDS CROSS, BUCKS.1

Tel. 02813 84409 i_ii_ J._i_i _ice

FLIED= m m COUNTY RECORDING SERVICE C

From your tapes we cut master discs, demo discs, using our Scully lathe fitted with the latest f ME /76 UK stereo disc -cutting system. ¡1 Dolby 'A', Dolby 'B' and DBX Noise Reduction. L.

Telephone Bracknell (0344) 54935. ñ London Road, Binfield, Bracknell, Berks,

England -I OE GEC G mC-i

*Tape copying service. Open reel and cassette available. The Music Laboratory, 01 -349 1975.

High Quality Tape Spools Ex Stodtoron Short Delivery

5: 5 : Tin bulk

TI Plasro Plastics Ltd 38 Mies Wry.M4cae, Surrey. CR4 4HR

RNWusn:01- 840 014519

WOLLENSAKS CASSETTE FAST COPIERS

1 2770 mono & 2772 stereo, meticulously aligned I by Experts. HEAVY DUTY RECORDERS: 2551

\ Visual Sync & 2520 9 watt. I SOUND CASSETTE SERVICES Ltd.

P.O. Box 2, Gerrards Cross, Bucks. SL9 7PH \ Tel. 02813 84409

SERVICES *Small Studios. Are you a small studio owner in the Kent, Sussex or London area needing the services of highly qualified maintenance engin- eers? Then maybe we can help you by providing services in both maintenance and design. Phone: Tunbridge Wells 38893. G

IF YOU NEED .. . Cassette Duplication Empty Tape Spools

Blank Cassettes White Tape Boxes

=.. Tape 8T Cartridge Bodies

Leader Tape Lubricated Tape

Splicing Tape Head Cleaner Tape

Why not ring us on 01 -399 2476/7 and let us

quote you for your next requirements.

MEDIATAPE LIMITED, 29a Tolworth Park Road, Surbiton, Surrey.

01 -399 2476/7

*For hire at very reasonable rates: Audio Developments micro and pico mixers, Brenell 8- track, Nagra IV and IS tape recorders. mic- rophones by AKG, Sennheiser, STC and Sony (ECM 50). Tel. 01 -940 6276 evenings. G

SERVICE CENTRE

Service and overhaul. High speed conversions.

Head changes. Sel -sync.

Automatic double tracking. Varispeed /varipitch.

MUSIC 01 -388 5392/3/4/5 LABORATORY

116 STUDIO SOUND, JULY 1978

TRAD :

WATFORD 47988 All Studio Equipment bought and sold.

See our advertisem*nt on page 67.

t I49B St. Albans Road, Watford, i Herts. Tel. Watford 47988 N N

*Your Tapes to Disc. Mono or Stereo cutting. Vinylite pressings, Sleeves /Labels. Top profes- sional quality. S.A.E. for photo leaflet. Deroy Records, "Eastwood," Cove, Dunbartonshire, Scotland. X

*Aerco Productions Ltd. Quality disc pressings Professional Record Producers and engineers. Publishers. S.A.E. leaflet. 27 Chobham Road, Woking, Surrey. 04862 -4667. X

OFFSHORE CASSETTE DUPLICATING High Quality - Low Cost

No order too small or too large. Inlay cards and labels designed and printed.

VIKING MANN STUDIOS 29A Duke St., Douglas, I.O.M.

Telephone (STD 0624) 3872

REVOX EDITING CONVERSION Fits all models A77

KIT £75 plus VAT - FiTTED £85 plus VAT New machines supplied standard or converted

SOUND ASSOCIATES LIMITED 23 Redan Place, LONDON W2 4SA

Tel: 01 -229 0101 Authorised Revox Industrial Agents

Scotch PROFESSIONAL TAPE

Type 206, 207, 250, 256 available on 101/2" metal

NAB reels, 206 and 207 on 5" reels.

Quantity discounts. Prices on application.

Mail Order service.

wIVIUS C 01 -388 5392/3/4/5 LABORATORY

SITUATIONS WANTED

*Australian 24 years old, experienced in film and TV sound, seeks work, ESP, multi- track. D. Carlisle, 53 Gordon Square, London WC I.

G *Enthusiastic electronic engineer (26, degree), some audio design experience, familiar with modern recording techniques, but no studio experience, seeks position as assistant mainten- ance engineer with a studio in London. Box 789 C/O STUDIO SOUND. G *Recording engineer, seeks position in multi- track studio, this country or abroad. Box 787 C/O STUDIO SOUND. G

SITUATIONS VACANT

YOUNG ENGINEER WANTED

To work with modern expanding company

in Central London, with an interest in tape

recorders and studio equipment. Must have

a good basic knowledge of electronics.

Please reply in writing to:-

The Service Manager, LL-4.4:.; Music Laboratories,

76 Lyndhurst Gardens, Finchley, London N3.

MUSIC LABORATORY

Details to

SITE WANTED FOR RECORDING STUDIO

Greater London area only; lease or purchase

All replies treated in confidence - all reasonable offers considered

K. Kovach 40 Oakley Street, London S.W.3

GO WITH A PROGRESSIVE COMPANY

MCI UK REQUIRE

A field engineer, extensive experience in trouble- shooting digital and micro -processor based studio equipment absolutely essential. Must be prepared to travel. Second language would be an advantage.

Apply in writing to: D. FELLNER MCI HOUSE

54/56 Stanhope Street, London N W 13EX

www.americanradiohistory.com

Get binding! Keep your copies of STUDIO SOUND in smart black binders (each holds 12 copies) with title in golden block letters on the spine. Price: £2.00 each which includes inland and overseas postage. Send your order with cheque or postal order to: Modern Book Binders Ltd. Chadwick Street, Blackburn, Lancs. (state clearly your name and address and the relevant magazine title).

L7 LINK HOUSE GROUP

DO YOU USE TELEPHONE CIRCUITS ?

PARTRIDGE ELECTRONICS Outside Broadcast Equipment solves your problems at reasonable cost. * Portable Battery self /op unit incorporating auto level drive,

mic & tape inputs, monitor amp (export models fitted with dial).

* Studio terminal with auto level send & receive for two way call -in broadcasts.

* Line drive & receive units -Telephone line protection barriers. FOR WIDE BAND MUSIC QUALITY CIRCUITS: * Auto level send & receive units FULL RANGE OF AUDIO MIXERS & SUB UNITS For details consult us at: (please note our new address) 56 Fleet Road, Benfleet, Essex, or call 03745 3256 for advice on equipment.

TELEVISION ENGINEERS The Media Department of the British Council has two vacancies for broadcast engineers in its studios in Tavistock Square, London. The studios are used to train personnel from countries overseas in broadcasting techniques and for the production of videotapes, films and other audio -visual programmes.

For the more senior post we are looking for someone who will be responsible for the operation and maintenance of the TV Studio and its associated equipment. Experience in TV studio operations, vision control and camera line -up is essential, and experience in quad videotape and lighring operations desirable. Applicants should have broadcast engineering training, or be in possession of a full City and Guilds Telecommunications Certifi- cate, HNC or equivalent. Annual starting salary is £4767 rising by three annual increments to £5202. (Pay rise pending).

For the less senior post we require someone with some studio experience who will be responsible for the operation and main- tenance, under supervision, of the TV sound area. Experience of camera, videotape and lighting equipment would be an advantage. Applicants should have the City and Guilds Telecommunications Intermediate Certificate, or ONC or broadcast engineering training. Annual starting salary is according to age ranging from £3489 at 21 to £4462 at 28 and over. Thereafter salary rises by annual increments to £4767. (Pay rise pending).

Some of the training takes place overseas and there may be occa- sional opportunities for travel. Annual leave for both posts is 22 days plus 2; privilege days and there is non -contributory pension scheme.

For further details and an application form telephone 01 -499 801 I

extension 3028 or write to Staff Recruitment Department, The British Council, 65 Davies Street, London WIY 2AA, quoting reference HS /7.

1 POWER AMPLIFICATION

BY MUSTANG

*VW

Our SS.100 and SS.50 are economical amplifiers with outputs of up to 175 and 100 Watts RMS into 4 -16 ohms, typical THD figures being 0.1°A, clewing rate > I0v /F,s, noise > 90dB down, zero level input, and full electronic protection. Considering these points with their proven reliability and robust construction, plug in output transistors and driver board, optional balanced input and 100V line output, and virtually ex stock despatches we reckon we take some beating! Contact us now for the full technical specifications.

Manufacturers of mixers, integrated mixer amplifiers and slave amplifiers, studio power amplifiers, transformers, lighting control equipment and cabinets for the home and export markets. Contact us for full illustrated technical brochures.

MUSTANG COMMUNICATIONS Nelson Street, Scarborough, North Yorkshire Y012 7SZ England Telephone 0723 -63298

A BRAND NEW FOUR

CHANNEL COMPRESSOR/

LIMITER

from CATHEDRAL s 4.414 44410 Lts

0001 AAA010

Four identical compressor /limiters, completely self powered, in high quality instrument case.

Low noise, low distortion. Ideal for four -track studio, and many recording applications. Very low crosstalk. Ensures accurate levels and gives maximum 'punch' to your recordings. Competitive price.

CATHEDRAL SOUNDS LTD. FOURWAYS, MORRIS LANE, HALSALL, ORMSKIRK

LANCS. L39 8SX Telephone: Halsall (0704) 840328

117

www.americanradiohistory.com

INDEX TO DISPLAY ADVERTISERS

A Advance Music System AKG Equipment Alice (Stancoil) Ltd. Allen & Heath /Brenell Amek Systems Ampex International Amplification & Recording Aphex .. Audio & Design Recordings Ltd. Audio Developments Ltd. Audio International Audix Systems Ltd. Avcom Systems Ltd.

B Bauch, F. W. O., Ltd. BGW Brodr Jorgenson ..

C Cadac Calrec Audio Ltd. Cathedral Sound ..

.. 63

.. 61

.. 18

.. 91

.. 12

.. 114 113

84, 85 98, 99

30 118, IBC

. 88 .. 71

28, 54, 107 .. 110 .. 93

.. 79

.. 87

.. 117

Cetec.. .. .. .. .. .. 24 Communications Accessories & Equipment

Ltd. .. 86

Counting Sfernice .. 101

Creative Handbook 94 Crowmay .. .. 40

D Dolby Laboratories

E Eagle International.. Eardley Electronics Electro -Voice EMS E.S. Electronics Exposure Hi Fi

F Feldon Audio Fidelipac .. .. Fraser Peaco*ck Associates Ltd. .. Future Film Developments

G Gelf Electronics Ltd. Grahams Professional Ltd. Granet Communications Ltd.

H H. H. Laboratories Hayden Laboratories Ltd.

IBC .. Industrial Tape Applications Ivie Electronics Inc.

J JPS .

K Klark-Teknik

Lee Engineering Leevers -Rich Equipment Ltd. Lockwood Acoustics Lyrec Manufacturing A/S

21 105

35 97 34 63

.. 4

.. 100

.. 40

.. 68

.. 28

.. 112

.. 106

.. 25

.. 31

11,13,15,17,19 5

.. 34

OBC

.. 103

.. 14 69

42,43

M Macinnes Laboratories Ltd. Magnetic Tapes Ltd. .. MCI Ltd. .. Midas Ltd. .. Miniflux .. Monks, Keith Mosses & Mitchell Ltd. .. Music Laboratories . .

Mustang Communications

N Neal /Ferrograph .

Neve, Rupert & Co. Ltd.. .

O Otari Ortofon

P Page, John, Ltd. Peavey Electronics (UK) Ltd. Penny & Giles .. Pro Audio ..

Publison

Q Quad 8

R Racal Zonal.. Radford Audio .. Raindirk Ltd. RDG Audio Visual Ltd. Revox .. REW .. .. Rugby Automation Rycote Microphones

S Scenic Sounds Equipment Sheffield Sound Centre Shure Electronics Ltd. Sifam .. . .

Solid State .. . .

Sonifex .. Sound International Soundcraft ..

Sound Recording Plant .. Squires, Roger, Ltd. . .

Strawberry Studios . .

Studio Communications .. Studio Equipment Services Surrey Electronics .. Synton Electronics

T Tandberg .. ..

Technics .. .. Trad Electronics Sales Ltd. .

Trident Audio Developments Ltd. Turner Electronics .. . .

Turnkey Tweed

V Vitavox

W White Instruments .. Wilmot Breeden ..

Y Yorke, James

.. 20

.. 34

.. 26 IFC

.. 72

.. 32 101

22,62 .. 117

The professional alternative. Your tone controls arejust not designed to compensate for

Room acoustics Speaker placement Old or bad recordings Deficiencies in component interaction

We built the C -41 Equalizer to solve these .. 16 problems and more. .. 39

.. 55

.. 10

.. 109

.. 113 .. 95 .. 9

80,81

.. 89

.. 109

.. 27

.. 110 .. 75 .. 6,7 .. 113 .. 62

34,37,60 .. 101 .. 59 .. 73 .. 49 .. 72

7 53, 62

.. 112 83,105 .. 65 .. 101 .. 112 .. 74 .. 67

.. 77

.. 41

.. 29

.. 23

.. 10

.. 62

.. 8

.. 63

. . 10

.. 33

. 112

AEC C -41 Dual Channel Equaliser

These are some of the ways: Individual Octave Control for each channel Long throw, oil- damped linear slide pots for greater accuracy Advanced technology and switching facilities Capable of driving any load at any equalization setting Low distortion -less than 0.01%

THD and 1M Low noise- greater than 90dB 5-year parts and labor service contract AEC's philosophy of uncompromised performance

... ... . .. . . S.. .S 5... . .. S :

You'd have to look a long time to find an EQ that delivers this much value. AEC innovation has done it.

rudi Intl. Box 560229, 6 Frankfurt 56, W- Germany

Please send me available literature why the 4EC C -4l

Dual- Channel Equali =er is the professional's choice I

Name

Street

Ciry Zip

J Published by Link House Magazines (Croydon) Limited on behalf of the proprietors Link House Holdings Limited, Robert Rogers House, New Orchard, Poole, Dorset I3H15

ILL. Printed by Arthurs Press Ltd, Woodchester, Stroud, Glos GL5 5PB.

www.americanradiohistory.com

Harrison

firum

Harrison

RET;ORM

Progress from HARRISON Second Edition Models 4032 + 3232

Automated Master Recording Consoles

,_ DEPE.a, <i

PPM

MMULE STAN

AUTO STATU

SLATE

TALA Sil

COTNATa

- .

0L"

In response to your suggestions, Harrison's Second Edition consoles offer you many new features and functions.

Programmable and Manual Muting. Group Muting. Fader Automation Null Lights. 2 Stereo Foldback Systems With Extensive Source Selection. Optional High Resolution Phase Meter. 2 Phase Meter Source Selection Matrices. Pink Noise Generator. 48 Volt Phantom Power On /Off Switch. Improved Parametric Equalizer Range. Optional Step -Type Equalizer. Stereo and Quad Meter Source Selection Switches Optional 36 Segment, High Resolution Light Meter With Front Panel VU and PPM Characteristic Selection. Master VU /PPM Characteristic Selection Switches Optional NTP Meter Overbridge.

"Still No Compromise" Harrison Harrison Systems, Inc. P 0 Box 22964 Nashville, Tennessee 37202

www.americanradiohistory.com

The DN27 and DN22 graphic equalisers.

In a class of their own.

Every now and then there comes on to the market a

product whose quality is such that it becomes a generic in

its own right. This has been the case

with the Klark Teknik equaliser.

All over the world our equalisers have proved them- selves to be the ultimate in

tone control for sound recording, reproduction and measurement systems.

Inevitably, they cost a

great deal. But we offer guaranteed

performance which meets all

your personal requirements. In equalisers which have

been assembled and checked by engineers rather than a

production line. And specifications which

meet your own exacting demands in every way.

Shouldn't you be the owner of a Klark Teknik equaliser?

You'll never settle for second best again.

For further information about our equalisers, the new DN34 and DN36 analogue time processors and DN70 digital time processor, contact:

HLARH-TEHflIH You know it's the best.

Klark Teknik Research Limited, Summerfield, Kidderminster, Worts DY11 7RE. England. Telephone: Kidderminster (0562) 64027. Telex: 339821.

Worldwide Distributors: AUSTRALIA: Klarion Enterprises, S. Melbourne. BELGIUM: A.R.C. Sprl., Bruxelles. CANADA: Hammond Industries, Toronto. DENMARK. Teamsound, Helsinge. FRANCE: R.E.D. Studio Centre. Paris. GERMANY: Hausman Concert Electronics, Berlin. HOLLAND: Pieter Bollen, Eindhoven. ITALY: Laboacustica Srl., Roma. JAPAN: Continental Far East Inc.. Tokyo. NORWAY: Siv. Ing. Benum, Oslo. NEW ZEALAND: General video, Wellington. SINGAPORE: Ultralinear International. SOUTH AFRICA: Colosseum Acoustics, Johannesburg. SPAIN: Mabel Sdad., Barcelona. SWEDEN: SATT Elektronik. Stockholm. SWITZERLAND: Dr. W A. Gunter. Zurich. TAIWAN: Yang's Audio Visual, Taipei. USA: Hammond Industries, Syosset, N.Y.

studio sonn - americanradiohistory.com€¦ · SPEC BRIEFS 1/3 octave or full octave bands 30 fitters on ISO centers 25Hz to 20KHz. Highly selective three pole -pair fitters exceed - [PDF Document] (2024)