Kappa 10926 Studio Sound 1994 03

User Manual: Kappa 10926

Open the PDF directly: View PDF .
Page Count: 78

Download
Open PDF In Browser	View PDF

MARCH 1994

$5.00 £2.00

STUDIO

SOUND
AND BROADCAST ENGINEERIW;

M:':NIToRING.
The in -ear revolution;

_driver

analysis

Focusrite

In -line

New console exclusive

770

594017

"G Pius Sounds Excellent
By Any Standards"
Allen Sides,-Ucean Way

rrrrrrsrrrr
rrrr¡rrrrrrirrrrrrrr

rrrrurur>.r>arrrrr>trr

iM.
r'vr+rrrrr+rrlursrrursrar.rtirrrrrrr,rr>,rr.urr
'

rrrr rrrrrtlr

..,.:
iss

t[w".

-a 100- channel SL 8000 G Plus
Ocean Way's 'Record One' facility in Sherman Oaks, California.
The world's largest music console

- . .

iAss
.

i*.h4 i.tr.b

-.r.az3"5'.+k-.

rrrlrht(°lchkY.A
,
,>..
1}tisLr4ít,
wr'
.

'os

..+-11ya+

`.'..

- is installed at

"Record One and Ocean Way share a common ethic - to
provide the best possible equipment, classic and modern, to
meet the needs of both artist and producer. I have always
respected the ergonomics and automation of SSL desks. The
addition of Ultimation' bypassing the fader VCAs, and
new audio enhancements mean that G Plus sounds excellent
by any standards."

Allen Sides, Owner
Ocean Way, Los Angeles

Solid State Logic
International headquarters:- Begbrokc, Oxford, England, OX51RU. Tel:
Parisi!)

34 60 46 66

New York (212) 315

Milan
1111

(0865) 842300

(2) 262 24956 Darmstadt (6151) 93 86 40 Tokyo (3) 54 74 11 44
Los Angeles (213) 463 4444 In USA call Toll Free 1- 800 343 0101

STUDIO

SOUN

AND BROADCAST ENGINEERING

Editorial

adoption of circuitry
based on fuzzy logic offers a
solution to the errors inherent
in all digital electronic
systems-but will it find
The

International News
Latest news and events from
the world of pro- audio,
including piracy trends in the
US, POP console purchase,

module from
renowned American
keyboard manufacturer E -mu
Systems offers a welcome
change of angle on sound
synthesis. Zenon Schoepe
enters another plane

Products
20

Sawmills Studios
Offering no access by road,
Sawmills Studios in the
South -West of England could
be accused of being isolated.
Andrew Sutcliffe finds the
pleasant scenery and the
facility more than justify the

DAT Indexing
When Dave Foister attempted
to transfer DAT IDs directly to
CD -R, he encountered
unexpected problems.
He reports on the limits of
the current technology

Music News

Akai DR4d

In -ear

Monitoring

for the discerning
professional. See page 44

MIDI control

Remote Control
Francis Rumsey assesses the
current state of remote control
systems and the increasing
importance of the Musical

Instrument Digital Interface

Air

digital telecommunication
networks is making an
increasing impact on studio
and broadcast practices.
Kevin Hilton takes the

global view

Perspective
columnist Martin Polon
examines the plight of the
audio student in America
and uncovers alternatives to
the traditional academic
assault course
US

Horn Drivers
The 'characteristic sound' of

horn loudspeakers and their
use in studio monitors has
been hotly debated over the
years. Philip Newell offers
fresh research material in the
search for the truth

suggests that it may
irrevocably change our
attitudes to fills and wedges.
Kevin Hilton lends an ear to

Increasing availability of

The increasing interest in
wireless, in -ear monitoring

Garwood's Martin Noar
among others

Focusrite
Focusrite's plans for an in -line
console were a development
secret before this Studio
Sound profile. Patrick Stapley
talks to Richard Salter about
research and design

Zenon Schoepe takes a look
at Akai's hard -disk recorder
with the new DL4d remote
unit and finds a tapeless
system which makes the most
of tape machine logistics

MM 16

In -line Console

hushed seclusion

P&G

Taking MIDI to the
professionals, Penny & Giles
have designed an up- market
MIDI control unit. Vic Lennard
gets an exclusive opportunity
to check it out

A synth

Latest product news includes a

reinforcement speaker
technology offers greater
control over sound dispersal.
Terry Nelson listens in

improvements and
Harman's latest acquisition

high -end workstation from
DAR, amplifiers from Bryston,
an optical recorder- editor
from Publison and a
parametric from SPL

['Acoustics

CJ3

A new line in sound

CTS

England's West Country
houses one of the
most picturesque
studios Sawmills
See page 20

V DOSC

acceptance?

Business
When the British Performing
Right Society decided to invest
in computer technology they
made a costly mistake. Barry
Fox reports on the events and
the lessons they conceal
3

TIED TO THE JOB?
but have you ever

thought about

professional digital audio editing? Too

slow?

expensive?

Too

Difficult to

Windows 3.1
computer

486 host

Rapid graphical editing
Clear user interface
Local SCSI drive fast audio

understand?

SADIETM

changed all that. For
a PC, so you

Disk Editors have
start

All crossfades calculated
SADiE'M runs on

get much more computer for far

less money. It has

fully functional

Windows 3* user interface, non

destructive

sample accurate editing, real time cross
fades and up to

access

track playback with real

real-time

Fully non- destructive,
sample accurate editing
Up to 8 track playback with

real -time mixing
Unique Trim Window
allowing real -time
adjustment of audio
Jog and

shuttle scrub modes

AESIEBU, SPDIF and

time digital mixing, bounce down, overdub,
EQ

and dynamics control. And real time

analog I/O

All standard

sample rates

Full SMPTE timecode
support Ieilli chase and
trigger lock

saving.
SADiE`M Disk

Editors have sold world-

16, 20 and 24 bit digital
audio editing

wide into broadcast, post -production,

Bounce down

studios and mastering organisations, so its

Overdub

already been well and truly put to the test

Reverse playback

Real-time dynamics control

out in the field.

SADiE'M Version

incorporates many of our customers
suggestions. Talk to them about our
commitment and service, if you don't know
SADiETM

Real-time

Real-tinte digital
resampling
Real -time duration change

you in touch.
BRITISH

why not free up

Real -time noise reduction

user in your area, we can easily put

Tied to the job or just tired of the job

EC)

INNOVATION

couple of minutes today

and phone or fax for some more information.

MANUFACTURED IN THE EUROPEAN
COMMUNITY BY STUDIO AUDIO 8
VIDEO LTD

Studio Audio & Video Ltd
The Old School, Stretham
Ely, Cambridge
CB6 3LD. UK

TEL: +44 (0)353 648888
FAX: +44 (0)353 648867
USA

Studio Audio Digital Equipment Inc
1808 West End Avenue
Suite 1119
Nashville, Tennessee 37203
USA
TEL: +1 615 327 1140
FAX: +1 615 327 1699
SADIE"' DISTRIBUTORS WORLDWIDE
Argentina Kappa T 081 31 0818 F 081 31 1493 Asia Pacific VW Marketing T +44 372 728481 F +44 372 724009 Australia Audio 8 Recording T 02 316 9935 F 02 666 3752 Canada JSGS Ltd. T 416 751 7907 F 416 751 7975
China Wo Kee Eng. Ltd T +852 774 2628 F +852 363 7808 Denmark SC Sound T 43 99 88 77 F 43 99 80 77 Finland oy HedCom AB T 90 682 866 F 90 682 8489 France Coach Audio T 87 77 00 00 F 87 77 01 21
Germany Stefan Mayer Audio Engineering T 0 6851 6519 F 0 6851 6519 Hong Kong Digital Professions Ltd T 318 0588 F 3051455 Israel Sontronics Electronic Equipment T 03 5705223 F 03 6199297
Korea Avix Trading Co. Ltd. T 02 565 3565 F 02 565 3561 Philippines Tracks T 2 631 3277 F 2 631 3267 Poland Unico T +44 223 63025 F +44 223 301488 Singapore, Malaysia, Indonesia Team 108 Technical
Services T +65 748 9333 F +65 747 7273
South Africa Tru -fi Electronics SA (Pty) Ltd T 011 462 4256 F 011 462 3303 Spain Lexon T 93 203 48 04 F 93 280 40 29 Sweden Tranzicom T 08 730 3710 F 08 730 5125
Taiwan Acesonic T 2 716 8896 F 2 719 2065 Thailand KDM Trading T 2 318 2724 F 2 318 6186 USA SADiE Inc T 615 3271140 F 615 3271699
'Windows is

registered trademark of Microsoft Inc. Studio Audio

Video Ltd reserve the right to change specifications without poor notice.

STUDIO

SOUND
AND BROADCAST ENGINEERING

March 1994
Volume 36 Number 3
ISSN 0144 5944
EDITORIAL

Editor: Tim Goodyer
Assistant Editor: Julian Mitchell
Production Editor: Peter Stanbury
Secretary: Mary Walsh
Consultant: Sam Wise
Columnists: Barry Fox; Kevin Hilton;
Martin Polon

Regular Contributors: James Betteridge;

Simon Croft; James Douglas; Ben Duncan;
Tim Frost; Philip Newell; Terry Nelson;
Dave Foister; Francis Rumsey;
Yasmin Hashmi; Zenon Schoepe;
Patrick Stapley; John Watkinson

ADVERTISEMENTS
Executive Ad Manager: Steve Grice
Deputy Ad Manager: Phil Boume
Business Development Manager Georgie Lee
Advertisement Production: Carmen Herbert
Secretary: Lianne Davey
CIRCULATION
Controlled Circulation Manager: Maria Udy
Director: Doug Shuard

Publisher: Steve Haysom

EDITORIAL AND
ADVERTISEMENT OFFICES
Spotlight Publications Ltd, 8th Floor, Ludgate
House, 245 Blackfriars Road, London SE1 9UR,
UK. Tel: 071 620 3636. Fax: 071 401 8036.

NEWSTRADE DISTRIBUTION (UK)
UMD, 1 Benwell Road, London N7 7AX, UK.
Tel: 071 700 4600. Fax: 071 607 3352.
© Spotlight Publications Ltd 1994.
All rights reserved.

Origination by Craftsmen Colour
Reproductions Ltd, Unit 1, James Street,
Maidstone, Kent ME 14 2UR.

Printed in England by Riverside Press, St Ives
plc, 2 Grant Close, Gillingham Business Park,
Gillingham, Kent MES OQB, UK.
Studio Sound and Broadcast Engineering
incorporates Sound International and Beat

Instrumental.
Studio Sound is published monthly.
The magazine is available on a rigidly
controlled requested basis, only to qualified
personnel.

Subscription Rates:

UK annual subscription: £24.00
Overseas surface mail: £30.50/US:$89
USA airspeeded delivery: $70

Subscription Enquiries

UK: Subscription Dept, Studio Sound
Magazine, Spotlight Publications Ltd,
8th Floor, Ludgate House, 245 Blackfriars
Road, London SE1 9UR.
USA: Studio Sound Magazine, 2 Park Avenue,
18th Floor, New York, NY 10016.
US Postmaster
Please send address corrections to: Studio
Sound Magazine, do Mercury Airfreight
International Ltd Inc, 2323 Randolph Avenue,
Avenel, New Jersey NJ 07001.
US second class postage paid at Rahway, NJ.

ABC
BUREAU

OfCIRCULATIONS

Total average net circulation of 19,120 issues during
K:8,194. Overseas: 10,926. (ABC audited)

1N V

United Newspapers publlcsdon

Logical alternative
Apart from a small number of die -hards, we are currently busy building an increasingly
`digital' present on the ashes of our analogue past. Where once ever -improving analogue
recording equipment looked indefinitely able to provide for all our needs, digital
technology has offered us an irresistible alternative-one free from many of the intrinsic
limitations of analogue. Currently, we are all too engrossed in the advantages of digital
to look at its intrinsic limitations. Or are we?
There is an alternative to the accepted logical foundation of digital technology and it is
gaining ground alarmingly quickly. While the West in general -and Western Europe in
particular -has ignored it, the Far East has begun to embrace it and already
incorporated it into hi -tech systems ranging from rice cookers to helicopters.
This alternative is grounded in `fuzzy logic' as opposed to our Aristotelian logic. It is
born of a `fuzzy' school of scientific and mathematical thought where the `black and
white' logic of conventional mathematics have been replaced by a `grey' logic -where
zeros and ones give way to the values between, where bits defer to fits (Fuzzy unITs) and
MIPS to FLIPS (fuzzy logical inferences per second). Fuzzy logic, argue its protagonists,
give us back the real world vagaries missing from present mathematical systems and in
doing so, give us a convention that more closely represents the day -to-day mechanisms of
life. Illustrating the practical shortcomings of Aristotelian mathematics is easy-take a
look at quantisation error, for example. Offering an attractive alternative to it is less so.
But only in mathematics are matters perfectly precise, everything we, and our
equipment, set out to achieve involves degrees of a situation rather than all -or- nothing
situations. By adopting imprecise methods of assessing a situation and directing
resources, fuzzy logic addresses the real world on common ground. Fuzzy logic is claimed
to go so far as to allow machines to `reason' in a way analogous to the human brain
(significantly, it is now an important part of AI research in the form of neural nets).
Certainly, fuzzy systems demonstrably offer smoother control and processing than
traditional digital systems.
It is no surprise that fuzzy logic (or vague logic, as it was originally called) and fuzzy
maths are having a hard time in academia; after all, they challenge the very heart of
logical thinking-in the West. In the Far East, however, the vagaries of fuzzy logic strike
a harmonious chord with many traditional philosophies, a fact which appears to have
further hindered Western acceptance. A number of Eastern nations have, however, taken
to fuzzy thinking, and a significant part of their hi-tech industries now makes use of it.
An indication of the Japanese commitment to fuzzy technology can be judged to some
extent by the fact that they now operate two research centres dedicated to it -the
Laboratory for International Fuzzy Engineering Research (LIFE) in Yokohama and the
Fuzzy Logic Systems Institute (FLSI) near Tokyo. Both were established with the
assistance of MITI (the Ministry of International Trade and Industry). The companies
represented by the Board of Directors of LIFE include high-ranking executives from the
likes of Matsushita, Toshiba and Hitachi; its inaugural membership stood at around
50 companies including the likes of Sony, KAO and Mitsubishi.
In the Far East, fuzzy logic has already made a positive contribution to a wide variety
of products -some industrially pitched, others intended for the domestic market. A palmtop computer from Sony, for example, and video camcorders from Panasonic, Canon and
Sanyo join an assembly -line scheduling from Omron give some idea of the scope and
scale of fuzzy applications. Make no mistake: the Far East is serious about fuzz.
Fuzzy thinking is slowly being accepted in to US too. And unless the whole concept of
scientific fuzz is soon proven to be invalid, we can expect to see it making its presence
felt in audio and video equipment imminently.
Tim Goodyer
Cover: Garwood in -ear monitoring

Photography: Phil Dent
5

International News
In -brief
Dorrough Audio win award
The Academy of Motion Picture Arts
and Sciences has awarded Dorrough
Electronics a Technical Achievement
Award for its Audio Level Meter, now in
wide use in motion picture production,
posting, music mixing and dubbing.
Dorrough Audio. Tel: +1 818 998 2824
Digital Audio courses in Paris
Les Ateliers UPIC Institute in Paris,
have inaugurated an educational
programmme designed to complement
the music production in their three
studios. The nine -month programme,
open to students from around the world,
goes from October 1994 to May 1995.
Courses include Computer Music
Techniques; Compostion Seminar;
Electroacoustics and Studio Technology.
Les Ateliers. Tel: +33 1 60 13 93 39

Changes for Sennheiser
Paul Whiting has been appointed
General Manager of Sennheiser UK,
following the departure of Ralph
Martinke to take up a new position
with a German technology firm.

Sennheiser 11K. Tel: 0628 850811
Young Woman Engineer of 1993
Helen Marshman, Cable Engineer with
Cable and Wireless (Marine) Ltd, Essex,
has been awarded the title 1993 Young
Woman Engineer of the Year. The
aim of the award is to encourage
more young women to pursue a
worthwhile career in the electronic,
electrical or allied engineering fields.
E E E. Tel: 071 836 3357
HHB appointments to the board
Pro -audio supplier
HHB Communications have recently
appointed Steve Angel and Mike
Bradley to the board as Sales Director
and Technical Director respectively.
HHB. Tel: 081 960 2144
I

HHB Communications appoint
Steve Angel (left) and David Bradley
to the board

Emmy award for Nexus team
Members of NTL's Nexus division have
received an EMMY from the National
Academy of Television Arts and
Sciences. Nexus built NBC's technical
facilities for the Barcelona Olympics.
NTL. Tel: 0962 822582
6

Studio Sound, March 1994

RIAA: 'Piracy in

decline after six
years of increase'
The Recording Industry Association
of America have released their 1993
antipiracy statistics reflecting the
first annual decline in counterfeit
cassette seizures in six years.
The RIAA indicates approximately
2 million counterfeit cassettes were
seized in 1993 -down from 2.5
million in 1992.
The association have explained the
decrease in street sales of counterfeit
cassettes is directly linked to a
decrease in the number of

manufacturers, distributors, street
vendors and other individuals
producing and selling counterfeit
cassettes. This fact, they say, is due
to the maturation of a number of
RIAA programmes introduced over
the last few years, targeted at illegal
street vendors as well as
manufacturers and distributors.
Ralph Tittley, Senior Editor at Optical Image with the Korg SoundLink. This West
They also credit the increased
Midlands postproduction house have bought an eight -hour SoundLink digital audio editor
involvement of the legitimate
for its studios in Stourbridge, UK. Presently being used in the three Edit Suites and shortly
recording industry at the retail level,
mainly in building regional coalitions.
to be installed in the new Sound Dubbing Suite. The system comes complete with v.4.0
Notable statistics and activities
software and Exabyte 8500tape backup system which is five times faster than real time
include 144 criminal convictions of
sound recording pirates, a 140%
York the first alleged counterfeit CD
increase over the past five years. The
operation in the US was uncovered
report also mentions a small growth
CTS
with 3,000 CDs seized.
in pirate vinyls and CDs. In New
RIAA Inc. Tel: +1 202 775 0101.

Studio One

Multimedia broadcast first for NAB
Sveriges Television (SVT), the
Multimedia broadcasting will
Swedish national public service
become possible as high capacity
broadcaster, will demonstrate a
digital services are made available to
prototype of a Multimedia Broadcast
consumers. Within the NTSC
Service at the NAB '94 in Las Vegas,
environment, the National Data
between March 20 -24th. It will be
Broadcasting Committee is working
the first North American
on standards for delivery of high
demonstration of this technology.
speed data using the NTSC television
The system will exhibit several
service as a delivery medium. For the
potential applications of a multimedia all -digital advanced television service
broadcasting service; interactive
under consideration by the FCC,
multimedia programs such as games
multimedia broadcasting is being
or educational programs downloaded
discussed as potential ancillary use of
to receivers; a current summary of TV the digital channel capacity.
programmes, updates during the
The Sveriges Television
course of the programme; an
demonstration of multimedia
electronic newspaper; and an
broadcasting shows that there are
electronic programme guide.
few technical barriers preventing
In operating the multimedia
television broadcasters from
system, the video, audio and other
becoming multimedia providers and
data stored in the receiving station
offering new, improved and unique
are continuously updated via a digital broadcasting services to the public.
transmission link.
NAB. Tel: +1 202 429 5350.

widens for 1994
Studio One at CTS in North London,
has been given a comprehensive
acoustical face -lift which has resulted
in an increase in floor space as well as
a warmer more reverberant acoustic.
The new -look Studio One is now
wider, after the selective removal of
elements of acoustic treatment
following computer analysis by
designers Recording Architecture.
This provides a more comfortable
environment for the orchestras which
routinely use the studio for classical
and soundtrack recording, as well as
allowing house and visiting engineers
more versatility in the way they set
up those orchestras.
This fine -tuning of Studio One's
acoustic is the latest project in a
long-standing relationship between
the Lansdowne Group's studios and
Recording Architecture, which has
included the attunement of Studios
Two and Three.
CTS. Tel: 081 903 4611.

Contracts
FX Rentals link -up to the world
FX Rentals are now offering for hire

Harman acquire

ISDN hardware that allows studios to
use the international telephone network
to set up real -time high -quality audio
links. FX Rentals now can offer a choice
of codecs from CCS and Dolby.
FX Rentals. Tel: 081 964 2288

Studer Revox
Studer Revox AG have announced
that an agreement for the sale of the
company has been met between
Motor -Columbus Ltd and Harman
International.
The consumer electronics division
(hi -fi), which accounts for about 20%
of Studer Revox's turnover, is
excluded from this agreement and
negotiations with interested buyers
are still in progress.
With the takeover of Studer Revox
AG the Harman Group will have an
unmatched range of products in the
professional audio sector. At the
same time the worldwide market
penetration will be significantly
improved. In addition, future system
solutions can be offered with leading edge products of renowned brands.
Studer Revox will continue to be
managed as an independent group.
The Studer Professional product
range includes analogue and digital
mixing consoles and tape recorders,
digital audio workstations, compact
disc players and recorders, broadcast
automation systems and complete
systems.
Studio Revox AG, who are
headquartered in Regensdorf-Zurich
(Switzerland) operate wholly -owned
subsidiaries in France, USA,

Canada, Germany, Great Britain,
Japan, Singapore amd Austria.
Studer Revox AG.
Tel: +41 1 870 71 11.
Fax: +41 1 840 47 37.

Engineer Jackson Schwartz stands next to the Euphonix CS2000recently installed at

Pacific Ocean Post in Santa Monica. The console, marks Euphonix's hundredth sale

Audix make list
Audix Communications have
achieved the status of Sound and

Communication Industries
Federation (SCIF) approved installer,
as part of their committment to
promoting the quality of sound
system installations.
In order to achieve the status of
Approved Installer, Audix were asked
to supply the names of six customers
who have systems installed in the
past two years. SCIF officials then
approached those customers with a
view to discovering how satisfied they
were with the work carried out and
the completed installation. SCIF then
visited the company to inspect its
operation, looking at the actual site,
the company's documentation and the
British Standards they operate.

The professional audio-video group of 3M have presented their Visionary award to

Chipping Norton recording studio and Oxford -based band Radiohead. Pictured above are
Chipping Norton's Richard Vernon (third from right), together with members of Radiohead
and Richard Wilson of 3M (third from left)

SCIF see this as a logical extension
to BS5750 which, at the end of the

day, can only really guarantee quality
of administration rather than quality
of customer service.
SCIF. Tel: 0628 667 633.

AES STOP PRESS!
Studer revealed true 24-bit
capability for their D827 -48 DASH
recorder... The AES are looking
to increase the European
membership by as much as 20%
according to Vice President in
Europe Dan Popescu speaking at
A strategic alliance
the show...
between AT &T Digital Studio
Systems and Harrison by GLW will
result in a complete digital mixing
console before the end of the year,
the two manufacturers have
revealed... Studio design and
acoustic consultancy Munro
Associates have announced they
have gained the contract for a
£3 million studio for UK Producer
Mike Stock of Stock, Aitken
Ex- Marillion
Waterman fame...
vocalist Fish previewed his latest
single Lady Let it Lie as part of a
paper on ISDN in broadcasting and
postproduction applications. The
single, to be released on the
4th April, was played back from
Fish's studio, The Funny Farm, in
Scotland... MITS International
reported that demand for Mitubishi
machines was still great 14 months
after Mitsubishi closed their
Harman
pro -audio operation...
International confirmed their
agreement to acquire Studer
Revox from Motor Columbus for an
undisclosed sum.

FX Rentals add ISDN hardware. Left to right
Neil White and Nick Dimes of FX Rentals,

with Bill Foster of the Audio Exchange

Logic 1 used on Korean song
The Logic 1 at Korean broadcaster,
MBC has been used to postproduce an
award- winning radio programme. The
30- minute adaptation of a traditional
Korean song was edited and mixed on
the Logic 1 by operator Suh Gi -Bong.
AMS Neve. Tel: 0282 457011

Operator Suh Gi -Bong with MBC's Logic
011ie J

rolls over a Jade

The Soundtracs Jade 48 patchbay
production console in Studio One at Roll
Over Studios is being used by
19- year -old Producer 011ie J who is
attracting such artists as Rozalla,
East 17, 2/3rds and Leftfield. A second
Jade is due to be installed in place of a
Soundtracs in -line soon.
Soundtracs. Tel: 081 399 3392

Producer 011ie J and Soundtracs Jade
7

THE edit block. The razor blade.
And the splicing tape.
All you need really. Cut,

recorders will lock together and
give you sample accurate

splices. You can scrub back and

splice, listen, cut, splice,

listen, boom,

points with a search speed up to
250 times normal.

Put simply
working with two

finished.

No waiting to get
what you've done
dumped from a hard
disk. No tying up an
entire facility to do

D -10 offers instant start at up
to 799 individual programme

D- l Os is simple and
intuitive, just like
using your ears

and a chinagraph.

Digital doesn't have to be

simple transfer. You

forward, find your mark, hit the

walk out with your work under

button and there's another edit.
You want a bit of a
r
gap? DAT with silence
on it as quiet as leader

your arm.
Well, now you can have all
that along with digital quality
and the program length offered
by DAT.
Two Fostex D -10 DAT

complicated. The Fostex D -10
is proof of that.

Editing blocks, who needs 'em? Please send me more information about the

D -10

or call 081 893

5111,

tape.

You want it to

happen... now? The

LNOW EVERYTHING CONNECTS)
FOSTEX (UK) Ltd. Jackson Way, Great Western Industrial Park, Southall. Middlesex UB2 4SA

In -brief
Fatigue -free Yorkville monitors

OCEANEII

Yorkville have designed a three -way
studio monitor for long -term listening.
Yorkville designers have incorporated
high -grade components and many
hours of crossover optimisation
routines to give the YSM -3 a smooth
frequency response
Yorkville. Tel: +1 905 837 8481

Oceane II is a stand -alone optical disk

recorder- editor launched by French
manufacturer Publison at the AES.
The machine comes in a 3U 19 -inch
rack with a sophisticated remote control.
Audio is recorded simultaneously onto
four optical tracks. The recording capacity
for each optical track is four hours on two
sides using a 1.3Gó optical media.
There is full compatibility with
Publison's Infernal Workstation when
more tracks are needed. A 3.5 -inch
floppy disk drive is also included to read
EDL information.
Oceane II features a remote with
comprehensive editing facilities. A colour
graphic screen enables the usual
functions; cut, cut and splice, copy, move,
insert, etc. Also featured are special
effects like time compression- expansion
or harmoniser on each track.

Tukan play music with Linn

enhanced processing unit, which
contains both hard and optical disk
storage facilities.
The Mix Controller incorporates
eight assignable channel strips, with
four control layers, and a stereo
master. Each strip contains a touchsensitive motorised fader, a display
section and channel function control
keys. The Mix Controller provides
Publison, 18, Avenue de la
total control of digital mixing, system
République, 93170 Bagnolet, France.
monitoring and DAR's segment -based
Tel: +31 1 43 60 84 64.
Processing.
Fax +31 1 43 60 84 64.
The Control Console uses simple,
tape -like operations for record,
playback and editing-all shown on a
single page. It is available in two
The Optimizer is a new parametric
options; a compact console, high
equaliser from SPL, the makers of the resolution monitor and pointing
Vitalizer. The unit's proportionate Q
device, or the renowned Classic
allows pinpoint adjustment of
SoundStation Console with
frequencies and care has been taken
integrated touchscreen.
over the filter design to create smooth
Other key features include dual
bell characteristics.
machine control, instant spotting to
The unit can be used in Stereo or
remote time code, feet and frame
2- channel mono and has independent
displays, and single key access to
output level control of each band.
editing functions. DAR's WordFit
Each band has a LP/HP/BP and notch dialogue synchronisation is available
filter with a range of 10Hz- 24kHz.
as an option, and an Autoconform
A roll -off is provided with
package can also be specified.
adjustment from gentle to steep. This
Currently available in 8 and
feature allows you to change the
16- channel versions, SoundStation
character of the sound just by
Gold provides a recording capacity of
rotating the the control.
up to 22 track -hours on hard disk, in
Europe: The Home Service, 178 High
Street, Teddington, Middlx.
TW118HU, UK. Tel: 081 943 4949.

SPL Optimizer

addition to removable, dual- density
optical disks. Studio integration is
achieved as standard by analogue and
digital AES -EBU inputs and outputs,
together with dual RS-422 serial
machine control and the ability to
lock to any external sync source.

Digital Audio Research,
2 Silverglade Business Park,
Leatherhead Road, Chessington,
Surrey. KT9 2QL, UK.
Tel: 0372 742848. Fax: 0372 743532.

Fostex D30
At the AES Amsterdam Fostex
launched the D30 DAT recorder. The
D30 is a four-head time -code machine
with extensive editing and
synchronisation capabilities.
Key features include RAM
scrubbing and instant start,
independent channel record
capability, plus built -in chase sync
facilities including a high -speed LTC
reader and VITC reader as standard.
A large menu -driven LCD is provided
for easy access to all control, setup

and user information.
UK: Fostex UK, Unit 1, Jackson Way,
Great Industrial Park, Southall,
Middlx, UB2 4SA. Tel: 081 893 5111.
Fax: 081 893 5237.

Fax: 081 943 5155.

The Tukan from hi-fi's Linn Products

DigiDesign demo MasterList CD
MasterList allows the user to create
CD or album masters on a number of
affordable CD recorders, as well as
DAT recorders or 8mm SCSI tape
drives. When used with a compatible
CD recorder, MasterList CD creates
fully Red Book -compatible
glass-master ready CDs, encoded
with PQ subcodes.
DigiDesign. Tel: +1 415 688 0600
Studer & Motionworks develop
Motionworks & Studer have joined
forces to develop an integrated
machine -control system for all Studer
mixing consoles by installing a
custom machine-control panel
containing full tape transport remotes,
individual machine status for up to
five machines, a control wheel and
many control functions.
Motionworks. Tel: 0865 790577

Solid Gold

from DAR
Launched at AES Amsterdam by
Digital Audio Research was the
new approach
SoundStation Gold
to digital audio workstations.
SoundStation Gold is a complete,
integrated production centre,
comprising an assignable, dynamic
automated Mix Controller, a
dedicated edit Control Console and an

Linn, makers of discerning hi -fi
products have launched the Tukan
nearfield monitor which they claim will
be ideal for use in video applications
or multi room installations.
Linn Hi -Fi. Tel: 041 644 5111

-a

Biamp Advantage DEQ282/M

Fostex D30- launched at the AES in Amsterdam

The Advantage DEQ282 offers two
channels of '13- octave, digitally
controlled EQ in a 1U space.
Sound Dept. Tel: 0865 514461
9

PRODUCTS

Now more

affordable!

Bryston NPB

amplifier series
The 3B NPB, 4B NPB and 7B NPB,
`involve an approach radically

Qmx Series
Double 15- Composite full range concert system 133dB SPL
Double 12- Composite full range concert system 133dB SPL

different from other amplifiers,' claim
manufacturers Bryston.
Bryston use two completely
independent power-supplies for the
utmost separation and image clarity.
Discrete and symmetrical circuitry is
used throughout for inherent
wide -band linearity.
Other standard features of the new
range include overload indicators
which sense any form of distortion;
front-panel gain controls; GROUND LIFT
and BRIDGE -MONO switches on the
back; and balanced (or unbalanced)
operation.
All models are backed by Bryston's
20 -year parts and labour warranty.

Bryston, 57 Westmore Drive,
Rexdale, Ontario, Canada
K Series
2 x 450 Watt at 4SZ
1K2 2 x 600 Watt at 482

M9V 3Y6. Tel: +1 416 746 1800.
Fax: +1 416 746 0308.
UK: The Professional Monitor
Company, 27 The Avenue, Highams
Park, London. E4 9LB.
Tel: 081 531 5308. Fax: 0582 579278.

K 88

AM Serie
AM 1200 4 x 320 watt at
AM1600 2x810 watt at

Renowned for
superb sound
reliability and

versatility
Backed up by
5 year warranty
10

K88TX -THX approved

4L2

482

AM 2200 Tri- Amp

ustrMonitor Pty

Australian Monitors Europe
Tel 49 7248 4446
Fax 49 7248 4447

Australian Monitors USA

Ltd

53 College Street

Gladesville NSW 2111
Sydney Australia

Telephone 61 2 816 3544
Fax 61 2 8174303

Studio Sound, March 1994

Tel 215 380 1394
Fax 215 380 1358

Australian Monitors Far East
Tel 65 742 9131
Fax 65 742 7288

Australian Monitors Canada
Tel 416 693 0300
Fax

416 691 7193

Soundcraft Series

lOSon-air desk
The Series /OS from Soundcraft is a
variant of the Series /OS on -air
modular self -op console designed for
the particular demands of the North

American and Asian broadcast
markets. This version is intended to
be particularly suitable for local radio
stations and smaller studios of
national broadcasters.
A choice of mono mic -line, stereo
line-line and Telco inputs allow
customers to specify a console
configuration to suit their individual
requirements, and the desk is
available in 12, 20 or 28 -input frame
sizes. Among the standard features
are twin stereo buses for programme
and audition, and an interlocking
remote control system that prevents
channels being opened when
machines are in record or wind.

Soundcraft Electronics,
Cranbourne House, Cranbourne
Industrial Estate, Cranbourne
Road, Potters Bar, Herts.
EN6 3JN, UK. Tel: 0707 665 000.
Fax: 0707 660 482.

__----^

BECAUSE PERFORMERS "LIVE OR DIE" BY ThEIR SOUND

ppr-nenK

STEMS, WE'RE PROUD TO ANNOUNCE THREE NEW TOUGH

THE LATEST
GUYS TO THE PEAVEY POWER AMPLIFIER LINE...THE PV SERIES. THIS NEW LINE COMBINES

DESIGN
Y ALONG WITH THE MOST CONTEMPORARY APPROACH TO TRANSFORMER
SEMICONDUCTOR TECHNOLOGY
FOR HIGH PERFORMANCE, BFUTE POWER AHD UNMATCHE: RELIABILITY WITH SPECIFICATIONS,

SOUND, AND PRICES THAT CAN'T BE BEAT.

PEAVEY ELECTRONICS (U.K.) LTD.

HATTON HOUSE HUNTERS ROAD
CORBY NORTHANTS NN17 51E ENGLAND
TEL

0536 205520

FAX

0536 69029

NEWS REVIEW

SOUND
CONNECTION

Mistaken ID

SOUND
PERFECTION
Life is tough for the humble jack plug. One of
the most frequently used audio components,

it also takes the most amount of wear and
tear: the workhorse of audio equipment.

we build our 2 - and 3 -pole jack plugs to
stand up to the heaviest professional use,
and still give superb signal performance.
So

The brass housing is available in nickel, gold or
black chrome finish. A special collet grips the

cable firmly inside the cap. There's even a
strain relief spring to help keep the cable
constantly at the correct angle to the plug.

latest addition to the DOS Pro -Audio
range is backed by a unique understanding
of the professional market the world over.
And the knowledge of how to engineer
solutions to perfection.
This

For more information and details of the entire
Deltron DGS Pro -Audio range, contact us today.

DELTRON

DGS
PROM
Deltron Components Ltd
Atlas Works, Atlas Road, London NW10 6DN
Tel: 44 81 -965 5000 Fax: 44 81 -965 6130
DGS Pro -Audio

PO Box 170426, Arlington, Texas TX

76003-0426

Tel: (817) 473 7272 Fax: (817) 473 7712

Studio Sound, March 1994

required position before finally writing it. I noted
the resulting time position for each one in order to
make up a PQ listing for the 1630 and sent the
DAT to one of London's most reputable copying
houses-one which had specifically been
recommended as having considerable experience
with CD-R and the SmartBox. It therefore came as
a surprise to find the IDs had been effectively
remastered on hard disk (with PQ worked out by
listening to my DAT) for the CD. It seemed I was
expecting rather more from the system than it was
designed to deliver. Precise transfer of DAT IDs
-so that they end up on the CD in exactly the
same place relative to the music -is fraught with
unexpected difficulties.
In the first place, a DAT with precisely positioned IDs is a rarity in itself. Few machines
allow the kind of frame -accurate placement that
the D20 provides; even those that have a rehearse
function often work in increments of a few frames.
Auto identing is just about the only way most
people have of placing them hard on the start of a
track-the resulting position varying according to
the nature of the initial sound and the way in
which the individual DAT machine operates.
Then there is the time taken for an interface box
to recognise the ID in the datastream. Ideally this
is predictable, but if an error should occur on the
tape at the critical moment, it may take longer for
the ID to be distinguished from the audio. Finally,
there is the time taken for the CD -R transport
itself to write its ID, which apparently varies from
machine to machine. The only way to allow for this
with confidence would be to find out each model's
inherent delay by trial and error, and hope it does
not change next time the software is upgraded.
All these problems can be overcome given the
will. The first is not really a problem; IDs can be
written onto a DAT in precise positions. The second
is a small consideration, and probably makes little
practical difference. This leaves the last, with the
time -consuming and CD-R blank-wasting task of
tinkering with delay times until the right offset is
found for the particular combination of equipment,
and this is the bit nobody seems to have done.
It seems judging from from the various people I
have spoken to -that nobody has ever asked for
this kind of precision in such a transfer.
I ought to say at this point that none of this is
intended as undue criticism of any of the systems
currently available. They clearly meet a need, carry
out their intended tasks well, and are already
pushing the technology further than it was
originally designed to go. It seems to me, however,
that it could be pushed even further, and that some
work still needs to be done if its full potential is to
be realised. Am I asking too much? Am I asking for
something that nobody else wants? If there is
anybody out there who would find the kind of
facility I am talking about as useful as I perceive it
to be, then take this as a call to arms. If not then
please beware: DAT-to -CD -R transfer is not yet an
exact science.
Dave Foister

The last couple of years have seen much discussion
over `consumer' technology in professional service.
One medium not yet caught up in the debate is
CD -R, but this too was originally a domestic
format. I was reminded of CD -R's domestic origins,
however, by a recent experience, which I offer here
for open comment.
I had finished mastering a CD project -apart
from the PQing, which was more complex than
usual. The content was a live recording of the
Guildhall School of Music and Drama's production
of Curlew River, a piece by Benjamin Britten,
which runs for 73 minutes without any clear
movement breaks in which it is not at all obvious
where the `tracks' should appear. Immediately the
question becomes an artistic rather than a
straightforward technical one. Having established
points in the score where an ID would make some
musical sense, it still remains to ensure that,
where possible, the CD can be started with a little
initial ambience. One possible set of track positions
suggested itself, and I decided to have a CD -R
made with these in place.
It struck me that the simplest way to do this
would be to make use of one of the systems which
can convert DAT Start IDs to CD track numbers
during transfer. These systems exploit the fact that
Start ID data appears in the SPDIF datastream
(not in AES -EBU) and can be used to trigger the
CD-R machine to write a track ID. A problem with
early equipment was the fact that it takes a finite
time for the unit to recognise the Start ID and to
carry out the conversion, often resulting in the CD
index appearing late. This is further compounded
by the fact that many source DATs are idented
using an automatic ID facility, which writes a Start
ID when audio rises above a certain threshold after
a period of silence; this, usually places the ID late'.
There are currently two units available to carry
out ID transfer (with other manipulation of the
data): Audio Design's SmartBox 2 and HHB's CDR
Indexer. Both manufacturers are aware of the
aforementioned problems, and both have
attempted to address them by delaying the audio
data. Both incorporate variable delays, the HHB
defaulting to a maximum of 185ms and the
SmartBox using a `zero' reference value of around
400ms which can be varied upwards or downwards
in increments of about 70ms (dependent on
sampling rates) to a maximum of almost 1.5s. It
seemed reasonable to assume that if the DAT IDs
were in the right places, the interface's delay could
be set so that the CD -R machine would replicate
those ID positions on the CD.
With this in mind, I took a DAT clone of the
Sony 1630 master where the relationship between
the DAT A-Time and the 1630's time code was
known to within a frame. I placed Start IDs on the
DAT using the ID Rehearsal function on the Fostex
Thanks to: Tim Channon, Designer of the SmartBox; Phil Beville
D20. This allows an ID to be slid backwards and
at Audio Design; Steve Angel at HHB; Tony Batchelor at TAM
forwards a frame at a time until it is in exactly the
Studio; and Tim MacNamara at Fostex UK

INTRODUCING APOGEE'S LATEST MASTERPIECE IN ENGINEERING:

THE CRQ -12 MULTI -MOPE

1FTu IC EQUALIZER

Featuring unprecedented sonic quality with dynamic range greater than 115dB and distortion
less than 0.003% at +21dBu.
The CRQ -12 is rich with features. Twelve fully parametric filters (each adjustable from 20Hz to
20kHz), four shelving filters and four band -pass filters. All assignable through "Multi-Mode"
operation into three distinct configurations. Fan cooled for ultra -stable filter settings. Four
outputs (two per channel) each with level control and mute switch. Bypass level controls on
all outputs prevent feedback in the event of power loss.

sophisticated tool for absolute control that brings out the best in touring systems,
control rooms and everything in between. Call or write for detailed information.
Finally,

1150 Industrial Avenue
Petaluma, CA 94952
Ph.: (707) 778 -8887
'ax: (707) 778 -6923

See us at MUSIK MESSE, Stand 9.2 B88

C/)
LU

L'ACOUSTICS V-DOSC
It would probably be true to say that
the beginnings of sound
reinforcement lie in the first cinema
sound systems -where it first became
essential to project amplified sound to
an audience in a large acoustic space.
From this point on, there have been
continual developments which have
marked recognisable steps forward in
the quest for improved live sound.
The first major revolution was the
Altec Voice of the Theatre system
which was employed into the 1960s in
various forms, where large multiples
of units were required for the
emerging requirement of high -power
requirements for rock concerts.
Good as these systems often were,
they were difficult and
time-consuming to set up, as well as

returns'. In order to achieve correct
coupling characteristics for multiple
enclosures, the cabinets are often
presented in trapezoidal form, and
should ideally incorporate the angles
defined by the horizontal directivity
characteristics of the system.
Attempting to make these
considerations can often give rise to
ergonomic and manufacturing
problems and, consequently, is not

always a feasible option.
Where modern systems (in the
right hands) are capable of excellent
results, there is a growing feeling
among engineers that the control end
of sound reinforcement system has
far outstripped available speaker
systems in terms of performance
-and that it is once again time to
being physically bulky and difficult to move forward.
move around. In the search for a
The challenge has been taken up
better system, the research work
by L'Acoustics in France, led by
done by Meyer Sound Labs' John
acoustician Dr Christian Heil.
Meyer, resulted in smaller, processor - The result is the V-DOSC (Diffuseur
controlled systems. This, in turn, led
d'Onde Sonore Cylindrique) sound
to a variety of one or two -box systems reinforcement system (it is worth
intended to be installed in arrays.
noting in passing that France is well
However, large arrays have their
to the fore in bringing innovations to
own associated problems-these can
the live sound industry).
be generally summarised as
V-DOSC has been designed for
interference and phasing products
medium to large events, and
due to the use of multiple sound
addresses several basic criteria,
sources. Other shortcomings include
namely: a horizontal coverage angle
limitations on the maximum acoustic of 90° ( -6dB down points) with a
power output in any one direction,
vertical angle of 5° per enclosure. It
coupled with the law of diminishing
has been found that the vertical
coverage requirements are normally
found between 10 °-40 °.
The vertical coverage corresponds
to the diffraction of a flat isophasis
radiating ribbon, the angle of which
varies according to frequency. In the
case of a single enclosure, this angle
is 5° at 12kHz and correspondingly
wider for lower frequencies.
This results in a major
improvement in stacked arrays: the
coupling of V-DOSC enclosures is
Cylindrical propagation
correct for all angles between 0 °-5°
and is defined by the high-frequency
content required. At 0° the coupling is
claimed to be perfect at any
frequency, at 5° the upper limit is
around 12kHz.
In the case of enclosures being
stacked at 0° (one on top of the
other!), the HF limit will be that of
the HF driver, with the vertical
coverage being determined by the
height of the stack. Should a wider
horizontal coverage being required,
separate systems should be used and
Spherical propagation
spaced at a sufficient distance to
14 Studio Sound, March 1994

avoid interference problems.
The coupling characteristics of
V-DOSC can be summarised as
follows: a plane and even array of 0
identical sound sources is equivalent
to a single sound source having the

same shape, providing that the
wavelength is larger than the step of
the array' (Step110dB,
electromechanical
very few drivers can produce such continuous sine
limitations of the drive
wave levels, so comparison is not really relevant.
unit, including thermal
Furthermore, certain audiological reasons reduce
power compression
the relevance of very high -level measurements in a
effects, suspension
studio environment. From the above
nonlinearities and
measurements and the computer analysis of the
magnet -gap problems.
finite amplitude model, it was possible to separate
Secondly, is the
out the distortions attributable to each of the three
nonlinearity produced
main causes previously mentioned. Much
as a function of the
second harmonic distortion can be attributed to
volumetric changes
propagation nonlinearities, with most higher -order
between the diaphragm harmonics being driver related. None of this,
and the phase plug on
positive and negative
half-cycles; and thirdly
is a distortion produced

Nonlinear distortion

SIIIJRE
GEMIJS

Studio Sound, March 1994

by nonlinear

propagation within the
horn itself, which can,
at very high levels, lead
to shock formation.°
To test the less well documented third
cause, a finite
amplitude model was
devised for computer
prediction. Most
standard `horn'
formulae are calculated
on the basis of
infinitesimal wave
amplitude but, in
reality, usable sound

Once adequate
verification of the
computer model
had been achieved,

it was certainly
the most
practical choice for
further study on
other horns

m
n
ñ
D

m
m
illl

driver

axisymmetric horn with EK175

0
6

Reflexion Arts horn with EK175

IIIIIlilill
4

Time (ms)

Time (ms)
4: AX1

Ill11lu,.n,Jlot,ih.il,1..,, ..._.,...

Son Audax (as `B')

driver

Fig.2.3: Power cepstra of sample loudspeakers
however, falls into any sort of pattern when
cross -correlated with the similarities and
groupings found in the listening tests. Indeed,
whichever ways the results were dissected and
analysed, no link could be demonstrated between
harmonic distortion and audible similarity. Units
with up to 20dB difference in distortion levels were
deemed tosound similar, while others of almost
equal distortion figures were considered to sound

Cepstral analysis

With neither amplitude, phase, nor harmonic
distortions clearly explaining the sonic similarities
or otherwise of the different drivers, it was decided
to make further studies in the time domain. In
order to further identify any reflections that may
be produced at the mouth or within the flare of a
horn, a form of power cepstrum was calculated
from the modulus of the measured throat
totally different. From the results of these tests
impedance. In this type of analysis, the
and analyses, nonlinear distortions were
frequency- domain representation of the modulus of
emphatically not responsible for any characteristic
the throat impedance is treated as a spectrum; the
horn sound.
power cepstrum is then calculated using Fourier
transforms. Cepstral analysis was first defined in
the mid-1960s as a
means of helping to
separate echoes from
`clutter' in seismic
Pressure amplitude response (frequency response)
research. The power
was another prime candidate for producing sonic
cepstrum of a transfer
similarity or dissimilarity. After the tests were
function is the Fourier
completed, a Waveform Spectral Similarity index
was calculated for each loudspeaker on each sound. transform of the log of
the amplitude of the
This was derived by calculation of the root -meantransfer function. The
squared error between the spectra of the original
power cepstrum of each
signal, and that radiated by each loudspeaker.
driver was plotted using
A comparison was made speaker -to- filter- input,
a y -axis scaled in
and speaker -to- speaker for each sound. A
nondimensional dBs and
reasonably good tie -up was achieved here (around
an x -axis plotted in terms
80% similarity) between the calculated waveform
of both time and
similarity and the listening tests. Unfortunately,
distance. Fig.2 shows the
some of the results which refused to correlate, did
power cepstra of the 20
so in a glaring way. Usually, when a sample driver
units used in the tests.
which was deemed to be sonically similar to an
The power cepstra plots
archetype failed to show a similar pressure
proved to be revealing, as
amplitude response, then a strong similarity was
noted in the phase response. This has so far not yet they are very effective in
showing reflections. In a
been adequately explained.
conventional pressure
Certainly, the agreement between listening test
results and comparisons between the spectra of the amplitude plot, a
reproduced signals indicate that a large part of the reflection would show as
a comb -filtering effect,
cause of acoustic similarity is due to the on -axis
amplitude frequency response, but clearly, this was but on a complex
not the sole reason. For example, a JBL 2370/2426 spectrum, this can be
difficult to recognise. On
combination was very similar in its waveform
a power cepstrum,
spectral similarity to the Son Audax cone driver,
however, reflections exist
archetype B, for all nine of the test signals, yet in
as single spikes along the
the listening tests it showed a reasonable
time -distance axis, and
similarity with B on only one of the nine sounds.
can thus readily be
It closely resembled the horn C on five of the
recognised.
signals, and was judged similar to none of the
In general, what
archetypes on the other three signals. The phase
followed from the
response of the JBL combination was more similar
cepstral analysis was
to archetypes C and D, the two horns.

Amplitude and
phase responses

that the audible similarity groupings from the
listening tests could be described in terms of the
reflection patterns shown in the power cepstra. The
various reflections and resonances produced in the
cone of a direct -radiating loudspeaker can give rise
to irregularities in the frequency response function
that are similar to those due to mouth reflections
in short (sub 350mm) horns. This explained the
anomalous behaviour of the `long' Fostex wooden
horn in the listening tests. As previously
mentioned, the horn was strongly identified as
sounding similar to the direct radiating cone,
archetype B, but the cepstral analysis showed that
the true `horn' was the 150mm throat section only,
with the 140° horizontal wooden flare acting

11111111

lmr.tr ...tllluilllllLr...t..

0
7: As `5'

IIIIILIIItIIrrt.nt..dllnlll.IH.

4
Time (ms)

Tizne (ms)

but with the lips sawn off

axisymmetric horn

8: AX2

111111111

1IIIlllhl.11ll.iltl1lu

4
Time (ms)

Yamaha horn with EK175 driver

Fig.2.4: Power cepstra of sample loudspeakers

DYNAMIC MODULES

In case you

jr--

EXP/GATE

haven't already
met... Let us

Expander / Gate
Drawmers

introduce you
to the new
range of
Drawmer

threshold

Response
ENHANCE

Time"

"Zero
circuitry

PEAK
MASTER

STEREO
LINK

LEVEL

provides a transparent
stop' to the output signal.

'end -

Drawmer

producing ultra fast, smooth gating and completely eliminates
'chatter' on or around threshold.

, '._
'

.'' N.

q-ATT!
,

;,..

,3 =o

LEVEL

Spectral Enhancer
Drawmers

innovative

Spectral

Enhancement"

"Dynamic

circuitry
'dynamically' boosts high frequency
energy lost during periods of heavy full
band compression and has sufficient
range to add additional "Spectral
Energy" for creative processing.

Metering
Comprehensive bar graph displays give at a glance indications
of gain reduction, and input/output signal level.
Grin Reduction and nrpnt ! Output Bargraphs (Al! models)
39 20

GAIN REDUCTION
s i0 E
z

COMPRESSOR
ee

OUTPUT

LEVEL
V

CHECK LIST
Dynamic
Enhancer

Peak
Limiter

No. of
Channels

DL441 Quad Auto Compressor

Hard/Soft

DL251 Spectral Compressor

Hard /Soft

Soft

Studio Sound, March 1994

The option of SOFT knee or switchable HARD /SOFT knee
compression is provided with Ratio control available in
each mode. In AUTO mode the Attack and Release
characteristics
are continually
optimised to suit the
dynamics of even the most complex programme material.

Expender/ Compressor
Gate
Type

DL241 Auto Compressor

..
.

.,a ,a e

ì i i¡`i ..
'i
i!'
-'
; Ì
.._ 'n

ENHA

COMPRESSOR

OAiN

DRAWMER

CHARLOTTE ST. BUSINESS CENTRE
CHARLOTTE ST
WAKEFIELD WV! IUH

TEL 0924 378669
FAX: 0924 290460

`THRESHOLD

new and unique

Compressor A

Peak Limiter
Variable

RELEASE

"Programme
Adaptive
Expansion" circuitry gives effective 'single control operation'

THRESHOLD

compressors.

OFF

Attack / Release
Manual
Auto

Switchable

+4d8/-10dB

only as waveguide `lips' for directivity control. The
unevenness in the throat impedance was largely
due to the abrupt, horn-to-lip termination at about
150mm from the driver diaphragm. The horn was
consequently reclassified as a 150mm horn with
290mm lips (the shortest horn of all tested),

explaining the similarity between this horn and the
direct radiators. It should be remembered that
there is no absolute dividing line between horns
and direct radiators, as a direct radiator can be
considered as a 180° conical horn of zero length.
The longer horns, even those with relatively
good mouth termination (which is usually easier to
achieve in a long horn,) are identified as horns by
the temporal spacing of the reflections. Even when
the reflections are significantly lower in level than
those of the short horns, the greater separation in
time of these reflections are recognised by the ear
as a pattern which we know as a horn-like sound.
The two horns which were not identified in the
listening tests as sounding like archetypes B or C,
were both shown by cepstral analysis to exhibit
minimal mouth reflections. One of these horns was
long, and one was short. The long horn, though
showing some similarity to C, did not have a
particularly strong resemblance, and was
considered on some sounds to be similar to
archetype A, the Electrostatic. The short horn
showed a considerable sonic resemblance to
archetype D, the Tannoy dual concentric: both the
Tannoy and the Quad Electrostatic have their roots
in 1950s design, yet are still in daily use in `quality
control' suites. Furthermore, both of these units
had historic `difficulties' in the low and
high-frequency ends of their performance, but both
had a clear midrange, suiting them to quality
control applications. Apart from reasons of
inadequate (woolly) bass, and limitations on
maximum sound pressure level, these loudspeakers
also lost favour as studio monitors as a result of not
sounding representative of other loudspeakers in
general. From the cepstral analysis the reason for
this is clear, but it poses an interesting
philosophical point: should a monitor loudspeaker
be rejected because it does not possess the
midrange problems inherent in most other
production loudspeakers?
While the Electrostatic, archetype A, was
deemed similar to the sample loudspeakers on a
relatively small number of occasions, it was
frequently noted that one of the nine test signals (a
recording of a waterfall, band -limited 1k -6kHz on
playback) sounded more `wet' on A than on any
other loudspeaker; a testament to its reality.

Gold
Search no further.
SoundStation Gold
has it all.
A complete audio production centre.

allowing you to record, edit, play and
mix projects using hard or removable
optical disk storage.
Edit with your cho.ce of intuitive.
dedicated interface (compact or touch
screen based consme) and mix using a
dynamically automated mix contre_Her
with 9 assignable motorised faders, 4
instantly accessible 8 channel layers,
grouping and controls for DAR's stunning

Segment Based Processing and EQ.

There's even more top -quality signal
processing, with multichannel scrub and
.arispeed, TimeWarp®, and optional
WordFite. SoundStation® Gold is
available in 8 and 16 channel
configurations, without the limitaticns
found in other systems, to give you

maximum performance, pure digita':
quality and exceptional value.

DIGITAL AUDIO RESEARCH

Digital Audio Research Limited,
2

Silverglade Business Park,

Leatherhead Road, Ciessington, Surrey, KT9 2QL, UK

Tel: +44 -(0) 372- 742848; Fax: +44 -(O 372-743532

LU
CC

Q
U

U
LU
iIIIIIIIIuIIillllll lllltllllllil.11 Ill hllln.nn.

Time (ms)

Fostex H320 wooden radial horn
with EK175 driver
10:

111.111111

11111,111,.

.Jillllnl.h,.11tll,llhd..

Time (ms)
11: JBL 2307-2308 horn/slant -plate

combination with EK175 driver

I1IIII

I.IIIII,1I.IIltiiliindllll

llllllllh..ll....

Time (ms)
12: Altec

driver

sectoral horn with EK175

Fig.2.5: Power cepstra of sample loudspeakers

Design implications

The complete picture
drS

90011

used by:

Masterdisk

Remote 2
used by:

Chop 'Em' Out

drt

902

used by:

Otec Recording

A'S 980 and
dCS 988
used by:

Gateway
Mastering

dt'S 990
used by:
the BBC

dCS

Digital Audio Products

dCS
Data Conversion Systems Limited
The Jeffreys Building, Cowley Road, Cambridge CB4 4WS, England
Telephone: + +44 101 223 423299
24 Hour Contact: + +44 (0) 223 421910
Fax: + +44101223 423281

Studio Sound, March 1994

Throughout the tests, a watchful eye was
maintained for evidence of the material from which
a horn was constructed showing any patterns in
the sonic test results. Other than certain materials
having specific problems due to bad design or
construction, no evidence was found to indicate
that any well-damped, solid material could not be
used in the manufacture of horns. Obviously,
certain materials lend themselves more readily to
the manufacture of different shapes, and it could be
that some materials have had sonic characteristics
attached to them because they are only found on
certain generic designs.

Wave shapes
Investigations into the actual wavefronts leaving
the different horns, showed that the axisymmetric
designs generated waves which resembled
flattened spherical caps, midway between a true
spherical expanding wave and a plane wave
leaving the mouth. The waves leaving rectangular
horns were of the form of spherical expanding
waves which struck the walls of the horn at 90°.
Early in the tests, `bubble -blowing' experiments
were performed -wire loops were bent into the
mouth shapes of the horns to be tested, and it was
noted that only circular, or near-circular mouths
would produce complete bubbles; rectangular
shapes causing the bubbles to tear themselves
apart before they could leave the wire. It was also
noticed that rectangular horn designs would
produce disturbed responses when listening to
them or measuring them from a position 90° to
any discontinuity. Such discontinuities include
waveguide plates, the top- bottom to sidewall
junctions, and any other departures from a smooth
surface. The mouth shape and any internal
discontinuities tend to produce reflections from the
mouth or strange aberrations in the off-axis
responses. All of these things were strong pointers
in the direction of the concept of axial symmetry
being the only viable option for the highest quality
reproduction.

Axial symmetry
For public address and sound reinforcement
applications, directivity is a prime factor in horn
design; in studio monitoring, the on -axis ±20°
response, together with an off-axis response

What a concept ...

Concept One
Digitally Controlled Production Consoles
Although new to Otari, Concept 1 is the culmination of over twenty years of console design and
manufacturing expertise. Given the unusally attractive price, what else is different?
True symmetrical inline cesign with up to 48 dual I/O modules featuring 96 automated mix channels.
Each channel path uses its own dedicated, identical 4 -band equalizer with a 100 mm large fader.
Console -wide snapshot automation allows storing and recalling of switch functions, manually or with
reference to SMPTE /MIDI timecode. DISKMIXTM dynamic fader & mute automation enables fader
grouping with VCA or moving faders. Additional console screen dynamics will follow.
User programmable softkeys per I/O module and the additional virtual master status control create
a new level of operational flexibility.
Each channel's switching functions may be accessed from the easy to understand master section in form
of an active color -coded block diagram (photo insert).
CompuCalTM allows precise digital calibration of output and meter levels.

The particulars are endless, but the bottom line is simple:
Otari has done more than just reinventing midrange audio consoles.

OTARI Deutschland GmbH
Rudolf-Diesel-Straße 12 D -40670 Meerbusch
-

Tel.
Fax

0 2159-5 08 61

2159-17 78
Telex 8531638 otel -d
0

180"

11111111111.1,1

611.1111111111.11..

1111111,11111,1111.11,11,11111

IIUNI'In

10k

Frequency (kHz)

Time (ms)

13: Altec 806C multicellular horn with
EK175 driver

14: Starr Singing Throat wooden
gramophone horn with EK175 driver

IIII1.111IIIIIIiIl.,1.111111n111.16

III

IIIIII,1.11,,,11..IIIIIIIIIi,

Time (ms)
15:

Time (ms)
16: JBL 2370 with JBL 2426

Vitavox sectoral horn with EK175

driver

Fig.2.6: Power cepstra of sample loudspeakers
which changes in its frequency balance in a smooth
and uniform way, is usually more important. In the
above tests, the axisymmetric AX2 horn was driven
by an Emilar EK175 compression driver. In the
cepstrum plots shown in Fig.2.4 the combination is
sample 8, and a small reflection can be seen at a
distance of about 50mm from the diaphragm.
Investigation showed this to be due to the slightly
differing flare rates of the driver throat and the
throat of the horn. When mated with the TAD
TD2001 compression driver, the flares match
exactly and the reflection disappears. The power
response of the TAD is also such that its falling
high-frequency response is closely matched by the
gradually narrowing directivity of the AX2 horn,
producing a smooth on -axis pressure amplitude

response, together with an off-axis response where
the fall -off of high frequencies takes place in a
smoothly controlled manner. These responses are
shown in Fig.3.
Monitor systems using the TD2001 -AX2
combination are now in commercial use,
particularly in control rooms of a very nonreflective
nature where the on -axis response is highly
important. These monitor systems, especially in
inexperienced hands, do suffer from some of the
criticisms formerly aimed at the Quad
Electrostatics and Tannoys, in that they are not
necessarily representative of other loudspeakers,
but equally, many experienced engineers praise
their ability to pinpoint fine detail. Most studios'
use of large and small monitor systems-one

STEREO VARIABLE EMPHASIS LIMITER 3

As a protective

limiter for live recording and broadcasting

For dynamic range reduction in professional to semi -pro format transfers

Incorporates independent flat limiters and variable emphasis limiters
Manuafactured using
PPM10 In- vision PPM and Charts

BBC

design information

Twin Twin PPM Tack and Box Units

Broadcast Monitor Receiver 150kHz -30MHz

Advanced Active Aerial
Stabilizers and Fixed Shift Circuit Boards for howl reduction
10 Outlet Distribution
Amplifier 4
Peak Deviation Meter
PPM5 hybrid, PPM9 Microprocessor and PPM8 IEC/DIN - 50/ +6dB drives and
movements

Broadcast Stereo Coders

SURREY ELECTRONICS LTD
THE FORGE, CRANLEIGH, SURREY GU6 7BG

TEL: 0483 275997

FAX: 0483 276477

Fig.3: Frequency response and phase

response of AX2- TD2001 combination on
axis, in room, at 2 metres
representing `truth', the other a `real world' mix
-still seems to offer the most viable partnership.
In many ways, the AX2 could be defining the
limits of midrange horn design. The axisymmetric
shape (Fig.4) seems to be the only one which can
produce an output free of the irregularities of
response caused by pillars, plates, other
obstructions or surface junctions. Horns much
more than 300mm in length begin to produce
`horn -like' sounds unless the mouth termination is
close to perfect. Given that the rate of flare dictates
the throat cut-off frequency, and the mouth size
controls the smoothness of the low- frequency
termination to the room, then a horn with a low
cut -off frequency, possessing a mouth which
smoothly flares into the baffle, would be of such
great length and mouth size that close coupling to
the other drivers in the loudspeaker system could
be almost impossible. The AX2 has a cut -off
frequency of around 750Hz, but is so smooth in its
response that it can be used through cut-off. This is
the lowest cut -off frequency that can be achieved,
consistent with a flare which smoothly blends into
the baffle, originating from a 1 -inch throat in a
diaphragm -to-mouth distance (with TD2001) not
exceeding 300mm.
However, a high -efficiency horn system, usable
from below 1kHz to over 20kHz, with a mouth
diameter of 121/2 inches, capable of producing very
high fidelity and a maximum output of 125dB at
1 metre is certainly a useful tool. What is more, it
definitely is not `horn-like' in its sound. Clearly,
when the many variables are fully understood and
appreciated, horn systems can be produced which
do not possess any typically horn -like vices.
Attention to detail is a prerequisite, as is a
comprehensive knowledge of the caveats.
Two further aspects of horn design are called
into question as a result of this research, both
requiring further investigation. Firstly, given the
extreme sensitivity to small disturbances in the
throat region, can the Tannoy concept of having an
actual gap in the horn, (the voice -coil gap of the
bass cone) ever be expected to produce optimal
results? More particularly, when that gap is
modulated by high levels of bass driver movement,
can a variable length, variable flare, gapped throat
ever be expected to produce optimal results?
Secondly, the results show that any abrupt
flare -rate changes within the horn, can, do, and
will cause reflections which will superimpose
themselves on the transfer function. As the whole
concept of constant -directivity horns relies upon
flare-rate changes of no subtle nature, then can the
best results ever be achieved from
constant-directivity horns ?10 Fig.5 shows the
measured throat impedance plot of the AX2,

& PHASE CORRELATION

LEVEL

GLeNCF

To improve audio metering

focus your attention on both key parameters of audio signals: PEAK LEVEL and PHASE

CORRELATION
1119 DIN Version
mounted into case 1120

1134
British Scale Version
(Nordic Scale
Version: 1139)

Built -in Phase
Correlation Meter

Peak Programme Meter for
analog + digital audio

tl0

lue

Memo
IIIInIBDINDnl1111pp8pgpt

.zodó

-20

-50-40 -30
1

IIIIIIDnnpllllllilllllllll

Dlll8llll:IIIIpIl8eip01p0111g

IIIIIIIII8p8ppnp800

-10
1

-5

RTW

11111111111111

Reset

1
1D

RTW Peakmeter & Correlator
RTW

RADIO- TECHNISCHE WERKSTAT-EN GMBH
Telephone (221) 7 09 13 -33
Telefax (221) 7 09 13 -32

D -5000 Köln 71

P.O. Box. 710654

W.- Ge-many

Austria ACOUSTA ELEKTFONIK, Tel (662) 824627 Belgium /Nemerlands: P.A.C., Tel (40) 510484
Canada: J -MAR
SYNTEC INTERNATIONAL, Tel (2) 4174700
ELECTRONICS LTD., Tel (4161 4219080 Denmark: SC SOUND MS, Tel (42) 998877 Finland: AV -POINT ICS AB, Tel (0) 561 366 France: SCV AUDIO, Tel (1) 48632211 Great
Britain: AUDIO DESIGN LTD., Tel (0734) 844545 Israel: H.M. ACOUSTICA LTD, Tel (3) 559)266 Italy: AUDIO EQUIPMENT SRL, Te (39) 2000312 Japan: SANIX CORPORATION, Tel (3)
Korea: DAESAN INTERNATIONAL INC., -el ;2) 7368442 Norway: SIV -ING BENUM AS, Tel (221 145460
South-Africa: ELTRON LTD.,
7025315
Japan: ONKYO TOKKI 3) 32083061
Tel (11) 7870355 Sweden: AV MEDIA AB Tel (755) 6549E Switze land: AUDIO BAUER AG Tel (1) 4323230 Switzerland: DECIBEL SA .,Tel (21) 9463337 USA: RECORDING MEDIA
8 EQUIPMENT INC. (305) 7919797
Australia:

Memo 4UdB Reset

THE LOCATION MIXER
PREFERRED BY: MAJOR HOLLYWOOD STUDIOS AND

TOP FILM SOUND RECORDISTS.

0OUTPUT MODULE WITH COMPLETE COMMUNICATIONS SYSTEM
r 4 -7 INPUT CHANNELS, FULLY MODULAR

EAUX

MODULE -CONVERTS MIXER TO 6 IN, 4 +1 OLT

CS106 +1

AUDIO MIXER

STEREO MODULE*

ADVERTISERS' INDEX
AES

Akai

AKG

AMS -Neve

Apogee Sound

Audio Design

Augan

Australian Monitor Co

Avid

Ole I4gIiest Sonic Quality
e

1110.

- .,.
'41

h aximized Headroom
Tap Quality Components

CSPA 2-CHANNEL

MIC- PREAMP
with selectable
mic powering &
m/s deccding.

Bruel & Kjaer

Cooper Sound Systems

DAR

Deltron

Klark Teknik

Meyer

Mogami

Otari

Project Audio

Peavey

Raindirk

RTW

Denis Travis Ltd

Seem

Digigram

Sennheiser

DCS

SSL

D & R Electronica

Soundcraft

Soundtracs

Drawmer

24
IFC
36, 37, IBC
41

Sony
Focusrite

UNPLUGGED?tment!
Internal

batterycontinuoususe
power 12-27V

Optional Feature

COOPER SOUND
AR USE
O

DG)

?gr external

Fostex

I.-i

31952 Paseo De Tania
San Juan Capistrano
CA 92675 U.S.A.
714 248.1361
FAX

45.5

CONTACT COOPER SOUND FOR EUROPEAN DEALER INFORMATION

Stirling Audio

Ghielmetti

HI-1B

25, 27, 30 -31, 52 -53

HW International

62, 63

28, 56

Studer
Studio Audio

Genelec

OBC

26
&

Video

Surrey

TC Electronics

Tony Larking Prof Sales

Presented at the 12th International Symposium on Nonlinear

not overly concern manufacturers of
constant -directivity horns, as the bulk of their
sales are in the PA/SR field, where their smooth
coverage of a desired area far outweighs the sonic
subtleties discussed here. For studio purposes
though, constant-directivity horns would not seem
to be the ultimate solution.

Acoustics, Austin, Texas, 1990.
7. K R Holland, The Use of Cepstral Analysis in the
Interpretation of Loudspeaker Response Measurements'
Proceedings of the Institute of Acoustics, Reproduced Sound 9,
pps 65-71, 1993.
8. K R Holland, PhD Thesis, Southampton University, 1992.
9. P R Newell, 'Monitor Systems-Midrange Horns Part 2',
Studio Sound, Vol.31 (a), pps 62 -72, September 1989.
10. M A Dodd, A Wide Dispersion Constant Directivity Dual
Concentric Driver, Presented at AES 92nd Convention, Vienna,
1992, AES Preprint No 3257.

References
1.

K R Holland, F J Fahy,

Fig.5a: Throat impedance plot of a

Acoustics, Vol.11(7), Reproduced
Sound 5, pps 247 -254, 1989.
2. K R Holland, F J Fahy, and
C L Morfey, 'Prediction and
Measurement of the One Parameter
Behaviour of Horns', Journal of the
Audio Engineering Society, Vol.39
15I, pps 315-337, 1991.
3. F J Fahy, 'Rapid Methods for the
Measurement of Sample Acoustic
Impedance in a Standing Wave
Tube', Letter to Editor, Journal of
Sound and Vibration, Vol.97 (1),
p 168, 1984
4. P R Newell and K R Holland,

typical constant -directivity horn
1110111TIE

Oat.

IREIRMEE 1IttRENEN1

31 -5 -30

Sample lave
Speed 0l 5,uv0

112

311.5

n,craphaae posit loes

N.rulls.a threat

31 1 55

I-.lance

..al ... lus.

Qt- rVrett

Morfey and P R Newell,

The Prediction and Measurement of
the Throat Impedance of Horns',
Proceedings of the Institute of

'Do All Midrange Horn
Loudspeakers have a Recognisable

ieoo

4..>

Frem,e-R lN+

Characteristic Sound ?' Proceedings
of the Institute of Acoustics,
Reproduced Sound 6, pps 249 -258,

511

1990.

Holland and C L Morfey,
Amplitude Sound
Propagation in Horns', Proceedings
of the Institute of Acoustics, Vol.12,
5. K R

Fig.5b: Throat impedance of AX2

'A Model of Finite

axisymmetric horn

compared to that of a widely -used
constant -directivity horn of reputable manufacture
and of similar dimensions. However, this should

Acoustics 90, 1990.
6. K R Holland and C L Morfey,

Finite Amplitude Sound Propagation
n Waveguides of Variable Area,

Fig.4: Axisymmetric horn geometry

Audio Test-System

easy to operate

storage capabilities
t.

highest performance

large graphics display

comprehensive two channel system

Neutrik AG
Uechtensteln
075/2329666
Fax 075/2325393

Tel

Neutrik Mich
Switzerland
Tel 01/7340400
Fax 01/7343891

NCV GmbH

Germany
Tel

0941/98041

Fox 0941/999772

Neutrik Marketing Ltd.
United Kingdom
Tel

071/7928188

Fax 071/7928187

Neutrik Instrumentation Inc.

Canoda /USA
Tel

514/3445220

Fax 514/3445221

NEUT/2/K

SEE US AT AES ON STAND F -20

CONNECTING THE WORLD

STUDIO DIRECTORY
LEGEND TO SYMBOLS:
Digital
Editing
Audio for
Video
Digital Tracks
Audio Tracks

Mobile

Recording
Digital
Console
Residential
Studio
Full -Time
Maintenance

ABBEY ROAD STUDIOS
9

a<66e

roccá

3 Abbey Road, London NW8 9AY. Tel:

(071)

286 1161; Fax: (071) 289 7527. Owner: Martin
Benge - Managing Director; Studio/bookings
Manager: Colette Barber; No. of studios and
dimensions: Studio 1: 94ft. x 55ft. x 42ft.h, Studio
2: 58ft. x 37ft. x 28ft. h, Studio 3: 28ft. x 23ft. x
24ft. h, Penthouse: 20ft. x 20ft. x 9ft. h. Mixing
consoles: Studio 1: Neve VRP Legend 62 cm.
Studio 2: SSL 4000E with G Series computer 56
c + / -i. Studio 3: SSL G 72 channel with ultimation.
Penthouse: Neve Capricorn digital. Recorders:
Studer A820, Sony 3348, 20 Bit DAT, Sony 3324A,
Mitsubishi x880, Sony 1630 1 /2inch, 1 /4inch etc.
Digital audio workstations: Sonic Solutions.
MIDI set-up: Atari Notator, Akai Samplers, Korg
KeyBoards. Monitors: Quested, Bdw, JBL,
Nearfield: Yamaha NS10's, ATC, B &W 805.
Special services: Accommodation,
Restaurant/Bar, Games Room.

M!,

x48 IA

x48

DOUBLEWTRONICS
Eugenio Salazar 42. +34 (1) 519 0566; Fax:
+34 (1) 519 1496. Owner: Jesus N. Gomez.
Studio/Bookings Manager: Regina Marfil. No. of
studios & dimensions: 1 - 70m* (studio), 1 - 9m*
(mastering suite). Mixing consoles: AMEK
Custom G2520 W/Master Mix (48CH). Recorders:
Sony PCM 3348 - MCI JH24. Digital audio workstation: (3) Mac II FX W /SD II (Sound Tools II).
MIDI set-up: Two large systems to be described
here! (emulptor II, III x P, Akai S1100, MP660,
Yamaha....). Monitors: MDIN - Custom JBL 4435
(3 way- active) W/Crown AMPS (Macro
Reference), Small - JBL 4401- JBL 4412 Yamaha NS1OM (W/Crown DC 300). Specified
outboard: Lexicon (224XL - 480 - PCM70 - etc)
AMS DMX 1580 - Eventide 113500 - Valley People
(Ketex II - GAIN BRAIN - 610 MAXI Q - etc) UREI - DBX - TC Electronics - KORG - Yamaha...
A/V equipment: UMATICS, VHS, Color Monitors
(Sony). Special services: Specialises in digital
work. Mastering suite (PCM 1630 w/PQ for CD
Prep.) Association member: AEGS.

x 24

x 48

FONOPRINT RECORDING
STUDIOS
Bocca di Lupo 6, Bologna, Italy. +39 51
5852 54; Fax: +39 51 3340 22.
Studio/Bookings Manager: Nicolini Luciano.
No. of studios & dimensions: Studio 1 Control
Room 60 m* Recording room 85 m *. Studio A
Control Room 26m* Recording room 56m *.
Studio B Control Room 27m *, Recording room
30m *. Mixing consoles: SSL 4064 G Series with
total recall, MCI 500 28CH with Automation, DR
8000. Recorders: 2 x Sony PCM 3324, I x Otani
DTR 900 II, 2 x Otani MTR100. Digital audio
workstations: Sound Tools with Maclntosh II Ci.
Monitors: Quested Q412B, Urei 813B, Yamaha
NS1OM. Specified outboard: Lexicon 480, 224,
PCM70, AMS RMX16, 1580S Yamaha Rev5 Rev?
Eventide H949, H3000S, K.T. DN780, Prisma
Neve. Special services: Studio Design By: ADG
Acoustic Design Group. Kitchen, Catering,
Satellite TV, Biliard Table.
V.

PINK TONSTUDIO

Piano; Hayman Drums; Hammond A 100 & L 100
with Leslies; selection of rare Gtr. - & Bass Amps
& -Cabinets; selection of Gtr. - FX - Pedals.
1160

2 +4

PILOT TONSTUDIO GmbH
Rumfordstr.15 D -80469 Munchen, Germany.
Tel: +49 89 296 396; Fax: +49 89 299 891.
Owner: C. Cress,

Volker, Mambo Musik.

Studio/bookings Manager: Hans Menzel. No. of
studios & dimensions: Studio U SSL 50 sqm 6m
height, Studio II/Harrison Ten. 6sqm, Studio III
Midi, 6sqm, Studio IV/Hard Disk-Mastering.
Mixing Consoles: SSL 4000 G-Series 56 Channels
Total Recall, Harrison Series Ten, fully automated Sony Estee 32 channels, Studer Dyaxis II.
Recorders: 2 x Studer D820 48 -track digital, 2 x
Otani DTR 900 32 -track digital, 2 x Studer A 820
24 track analogue with Dolby SR. Digital audio
workstations: Studer Dyaxis. MIDI set-up: EMU
XP 32MB, 105 MBinternal, Akai S1100 HD 26 MB,
CD -Rom, 60 MB Hard Disc, Roland W -30
Sampler -CD ROM, Roland D550, Roland D110,

Roland Suiper Jupiter +Programmer Prophet VS,
Korg MI, Yamaha DX7 II, Yamaha TX 802,

Yamaha RX 5, Yamaha RX

Luzernstrasse 123, 4528 Zuchwil, Switzerland.
+41 (0) 65 25 24 88; Fax: +41 (0) 65 25 30
31. Owner: Jurg Naegeli AG. Studio/Bookings
Manager: Jung Naegeli. No. of studios & dimensions: a) Studio 40m *, Control room 30 m *, c)
ProTools & MIDI room 24 m *. Mixing consoles:
a) Soundcraft 2400 28/24/2, Bargraphs, c)
Yamaha DMP 11. Recorders: A): Otani MTR 90
MkII; Studer A 812, Dolby SR; Studer A 812 TC;
Studer D780 DAT; Studer D 740 CD-Recorder;
Sony & Tascam DAT's & Cassette's. Digital audio
workstations: DigiDisign PROTOOLS. MIDI setup: Akai S 1000 KB, 12 MB, HD; Emulator II; 2 x
Emu Proteus 1; 2 x Emu ProCussion; Korg M1 &
MIR; Yamaha DX 7; Roland JX8P & D110 & Juno
60 ( Midi); ARP Odyssey; Oberheim Matrix 1000;
Rohner String Ensemble; Alesis HR 16B Atari
1040 ST, 4MB; C -Lab Notator; Mac Quadra;
Opcode Studiovision. Monitors: MANGER
Schallwandler; JBL 4313; JBL 4315; Yamaha NS
10M; Auratones. Specified outboard: Lexicon
480L & PCM 70; AMS RMX 16; AKG BX 15 Spring
Reverb; Roland SRV 2000 & DEP -5 & 3x SDE 2000
& Dimension D & PH 830 & SBF 325 & SVC 350 &
2x Chorus Echo; 3x Yamaha SPX 900 & 2x SPX
90; AMS dm 2 -20; Eventide 910; DeltaLab DL -2;
SPL SX -2; Aphex Compellor & Dominator &
Exciter III & C; Alesis Quadrave Ibanez DM
1000; 2x DBX 160; DBX 120X -DS; SCAMP -Rack w.
Comp., gates, param. EQ's, De- Essers & Drawmer
gates; Mark Teknik graphic EQ's; Yamaha graphic EQ's; T.C. param. EQ's, Behringer Composers,
Intellicates. Denoiser, Ultrafax, Edison, Bassfex;
T.C. 2290, a.s.o. A/V equipment: Sony U -matic Hi
& Lo Band; Sony Monitors; Fostex Sync. Roland
SBX 80 SyncBox. Specials: Bosendorfer Grand
;

7, Yamaha TG 77, JD
800, Korg Wave Station AD, 2 Atari Mega ST4, 2
Atari 1040 ST, 2 Atari Hard Disk. Monitors:
Quested Monitor System Custom Made in Studio
I + II, III, Westlake BBSM 4, Yamaha NS10 M,
Tannoy Eclipse. A/V equipment: Studer Dyaxis

II.

toil

(160)

(48)

SAFE & SOUND STUDIO
Midden Akker 72, 1446 GS Purmerend,
Holland. +31 2990 49354; Fax: +31 2992
1620. Owner: Olof Bosma/Marc Christian.
Studio/Bookings Manager: Marc Christian. No.
of studios & dimensions: 1 studio, dimensions:
7.5 x 5 meters (New larger studio shortly available). Mixing consoles: TAC Matchless (Cmix),
Side car: D &R 4000. Recorders: Soundcraft 2"
(24), Ampex ATR 1000 2" (16) track, Awai DAT,
Tascam D, TEAC Master Un. MIDI set -up: Atari
1040 Cubase - Akai Sampler, Akai Audio, Midi
Trigger. Monitors: Tannoy Little Reds &
Auratone. Specified outboard:Lexicon PCM 70 Lexicon LXPI, Yamaha SPX 900 - Yamaha R100 Boss Multi- Effect, Master Room Spring Reverb
Unit - Aphex Aural Exciter BBE Maximizer Drawmer Comp/Limiters - D &R Limiters D&R
Gates. Microphones U87 -AKG - Beyer Sennheiser.
Special services: 24 track digital available on
request. Associated Member: RE- PRO /APRS.

CLASSIFIEDS

SERVICES

Please call Steve Grice or Phil Bourne

FOR SALE

Rates and details +44 (0) 620 3636
The attention of advertisers is drawn to

The

Business Advertisements (Disclosure) Order 1977 ",

which requires that, all advertisements by person
who seek to sell goods in the course of business

must make that fact clear.

All job advertisements are bound by the Sex

NEVE V3 - 48 CHANNELS
Flying Faders 1,500,000 French Francs
SONY 33/48 - UPGRADED
1600 Hours, Mint Condition
1,000,000 French Francs
Total sale of both for
2,400,000 French Francs
£270,000 - U.S. $480,000

THE CASSETTE DUPLICATING SPECIALISTS

Real time & high speed loop bin duplication,
printing & packaging. Blanks wound to length

TEL: 061 -973 1884

For enquiries, Call:

Discrimination Act 1975.

33 (1)- 47.24.66.55 in

France

Advertisement copy must be clearly printed in block
NEW & USED EQUIPMENT SALES WORLDWIDE

capitals or typewritten and addressed to: Steve
Grice /Phil

Bourne, Studio

Sound,

Spotlight

Digital and analogue editing.
mastering. Duplicating of an
format including
One -off CDs from £19.90

Publications Limited, 8th Floor, Ludgate House, 245
Blackfriars Road, London

SE1 9UR

Also CD testing, custom wound
Hanks and mice -over recording.

SOHO SOUNDHOUSE/

Ref SS591, 13a Hamilton Way
London N3 IAN
Tel: 081 -346 0033
Fax: 081 -346 0530

TURNKEY
Require a mature person (not necessarily in age!)
to run our accessories department. The ideal
candidate will have previous experience in this field,
and whilst this is not essential, a comprehensive
knowledge of this marketplace is.
a CV and letter outlining the benefits
you could bring to our company. Excellent salary/
prospects. We are an equal opportunity employer.

Cross Road,

London WC2H ODT. Fax:
Port

of the Arbiter Group

Sold, repaired, serviced, hired. Stock

7 Goldhawk Mews, London W12 8PA

constantly

................

changing, please phone or fax for list.
Tel:

+44

(0) 71- 700 -1852. Fax:

WHY PAY MORE FOR DAIS?

+44 (0)71- 607 -1410

CRYSTAL!

23a Benwell Road, London N7 7BL

SET UP BY AN
ESTABLISHED COMPANY
TO MARKET A NEW
RANGE OF AFFORDABLE
PRODUCTS

HORIZONTAL PRODUCTIONS

PLC

Way, Stanwell, Staines. Middx. Tel: (1784 256046

CASSETTE DUPLICATION -

Second to None. Simon
Stable Promotions. Lyrec Loop -hin. On -body printing.
Shrink-wrapping. Blanks wound to length. Sample rape
available. Tel: 0869 252831

Maasenburg GML eq
AMS 1580S
Fostex 4050 auto locator
TAC matchless 32 frame
AMEX Mozart 56 frame,
supertrue automation
SSL 4000e 56 frame 48 mono
channels Producer desk
Soundtracs Jade 40 frame
36 inputs

Tel: +44(0)81 749 8222 Fax: +44(0)81 749 8767

071 379 0093

NEW TAPE HEADS SUPPLIED FOR MOST
MAKES, TAPE HEAD RE- LAPPING /RE- PROFILING. Same day turn round. Head technology, I Brittania

remote & locator
MCI 2 inch 24 track
Fasten G24sS
Studer 5800 Mklll
Roland DM80 4 track system
Roland DM80 8 track system
Roland DM8OS Mac software
Akai ADAM digital recorder
Alesis adat 8 trackdigital
Alesis BRC remote
Lexicon LARC
(for 480L or 224)
Lexicon 480L

FAIRLIGHT SERIES THREES

Please send

I14-I16 Charing

Lexicon 224x1
Lexicon PCM70
Eventide H3000 harmonizer
Roland RSS system

Otani MTR90 Mkll

AUDIO & VIDEO TECHNICAL SERVICES.

signal processing and
Custom electronic design
logic control
switching - on screen metering
complete installations. COLOUR SOUND
wiring
0483 574545 or 081 898 3838.

HAMMOND C3 TYPE ORGAN, 25 -note Pedal board, Bench, Leslie & PR40 Tone Cabinet.
Extensively

rewired,

£1495.

CALL FOR FULL

Tel: 0453 752142

DAT R48 - FROM £2.75 + VAT!
DAT R62 - FROM £2.75 + VAT!
FROM £3.30 + VAT!
DAT R92
DAT R122 - FROM £3.69 + VAT!
WE USE MAXELL TAPE
RECENTLY RATED FIRST IN A
NATIONAL SURVEY

TEL 0223 208937
FAX 0223 208937
NORTH ROAD WENDY ROYSTON HERTS SGS 0AB

MANUFACTURERS CLEARANCE SALE
a quantity of PLATINUM Level IV recording desks. Available
or 32 channel frames. 8 group, 24 track monitoring or as 12 group
monitor desks. Bar graphs on every channel and output. Fully Modular design,
excellent specs.

We must sell
in 24

Prices start at under 13000. Phone for

(daytime).
is

(0444) 400432.

brochure and price list.

Trade enquiries and Expert sales welcome.

SITS VAC

SOUNDTRACS;,

Technical Support Engineer

- c£18k

Located Herts. Technical support to manufacturing. An understanding of analogue
and digital electronics plus an understanding of the design process required.

Digital Audio Sales

£neg

Experience selling digital products
advantageous UK and export sales. Knowledge of post production important.

CUSTOMER SERVICE ENGINEER
Analogue and Digital Circuitry
Soundtracs in Surbiton require an experienced audio engineer with extensive knowledge
of analogue mixing consoles with digital control of analogue to liaise with customers over
technical queries both overseas and UK.
This vacancy will suit an engineer with a minimum of an HND qualification and over five
years practical experience. An intelligent and coherent telephone manner as well as an
exacting and detailed approach to analysing problems is vital. Knowledge of database,
spreadsheets, MS -DOS computer systems is also desirable for retrieving information.

Circuit knowledge to include discrete integrated circuits, CMOS, TTL microprocessors

Service Engineers
£12 -17k

HNC Electronics and knowledge of
analogue and digital. Tape machine
experience also revelant.
For further information please contact Mike

Jones, Broadcast & Communications
Professionals, Unit 9b, Intec 2, Wade
Road, Basingstoke, Hants RG24 8NE.
Tel: 0256 470704. Fax: 0256 844054.
Recruitment specialists in Audio and Video

and DSP is sought.

System knowledge to include interfacing consoles with the real world.

The position will entail some overseas travel.
The salary and benefits including a company related bonus scheme will be commensurate
with the responsibility of the position.
Please apply in

writing to:
Simon Payne
Ewell Road, Surbiton, Surrey KT6 6AH
Telephone 081 -399 3392, Fax 081 -399 6821.

Soundtracs PLC,

NO AGENCIES PLEASE

FOR SALE

Buying and Selling qt lality l )r( )iessic
)t at I .t trot )e
equipment ti nut
nick ryan

+44 (0)892 861099

Fax

+44 (0)892 863485

TONY LARKING
PROFESSIONAL SALES LIMITED

ENGLAND'S LARGEST STOCKIST OF

USED
PRO -AUDIO EQUIPMENT
For

Tel:

complete new and used equipment list contact Tony Larking
Worldwide Delivery Service

+44 (0)462 480009

Fax:

+4 (0)462 480035

(Visitors strictly by appointment only)

R.N..y.,,anr.,
tony larking professional salesT

F;liclYrfy4PFS

SITS VAC

EAST MIDLANDS AUDIO
STUDER -REVOX
NEW AND USED SALES
SPARES
SERVICE

APPROVED CONVERSIONS
STUDER A62 B62 SPARES
STUDER A80 24-TRACK
STUDER A80 16-TRACK
STUDER A80 2-TRACK
STUDER A810 4-SPEED
STUDER A812 4-SPEED
STUDER B67 PORTABLE VU
STUDER B67 Mk II
STUDER C37 STEREO VALVE
STUDER A725 CD PLAYER
STUDER B62, TROLLY
REVOX PR99
REVOX B77 Mk II
REVOX A700 3-SPEED
STUDER A80 8-TRACK
REVOX C221 PRO CD
REVOX B126 CD PLAYER
REVOX A77 HS
REVOX C279 WITH EXP
REVOX PR99 Mk III
REVOX B77
STUDER D730 PRO CD
STUDER D740 CD R
REVOX MB16
REVOX PR99 BROADCAST

£500.00
£6000.00
£1200.00
£4000.00
£7500.00
£1400.00
£1000.00
£1000.00
£650.00
£600.00
£1200.00
£1600.00
£800.00
£1500.00
£1200.00
£650.00
£600.00
£1400.00
£2868.00
£2100.00
£2265.00
£3600.00
£7500.00
£1800.00

71talee

wea

cea,

...

Soun
Recording
TECHNOLOGY
DIRECT
COMPACT DISCS
FULL MASTERING
LATEST 32 -BIT DSP
SUPER BIT MAPPING

SALES ENGINEER
SCV Electronics manufacture and distribute
world-wide one of the most extensive ranges of
signal processing equipment for PA., contracting
and broadcast applications.

As part of a group owned by the largest
independent professional audio distributor in
Europe, we are fast expanding and are therefore
seeking an experienced sales professional l.o market
the line primarily in the UK.

The successful candidate will possess a sound
technical knowledge and initiative to develop our

contractor /installer market sector. The candidate
should also be able to assist with U.K. dealer sales
and seminars and our extensive world -wide

marketing plan.

20 BIT DIGITAL RECORDING STUDIO
20 BIT EDITING

SOUND RESTORATION, 0E -CLICK etc
COPY MASTERS

DIGITALLY DUPLICATED

Naturally, we offer a flexible and rewarding
remuneration package coupled with the
opportunity to be part of an exciting and
stimulating team.
Applications in writing including CV to the
Sales

CASSETTES

PRINT REPROGRAPHICS

ALL PLUS V.A.T.

TEL: 0246 275479
FAX: 0246 550421

MARKET LEADERS
a 081 446 3218 LONDON
s 0480 461880 CAMBRIDGE
N.

Director at:

3A 6

ELECTRONICS
24 Southgate Road, London NI
Fax: 071 -241 3644

3J)

t the Annual General
Meeting of the Performing
Rights Society (PRS) in
September, John
Timperley asked a question that
seemed innocent enough at the time
but only later revealed its full

working within five years, probably
far sooner. The PRS accept that
copyright collection is too costly in the
UK. Already royalty information is
going into the MCPS computer, and
from there being relayed
electronically to the PRS.
If the PRS had known a bit more
about IT in the first place, they would
surely have seen the need for an IT
Director to pull the PROMS project
together, warn of the risks and
perhaps warn against even trying to
replace the human element. Or the
PRS could simply have talked to
Brian Eno.
Eno started out playing with
flamboyant 1970s rock art -group
Roxy Music, went on to earn himself
an enviable reputation as the
producer of records made by David
Bowie, Talking Heads and U2, and
makes his own `ambient' music as
well. He spends his life working-in
part -with computer-controlled
synths, such that the pop music press
dubbed him `Professor Eno'. Recently
the University of Plymouth gave him
an Honourary Degree. -so Eno is now

significance.
`What qualities does new Chief
Executive Ted McLean feel he brings
to the post ?'
Earlier PRS Chairman Wayne
Bickerton had told the PRS members
that McLean's appointment in April
had, `...set us on the road to efficient
and properly-tailored new

information systems, and to
management restructuring which will
contribute to a decrease in
administration costs.'
McLean told Timperley: He had
been responsible for the information
technology function in a large
company in the past.'
Just a month later, the PRS sent
out a letter to its members.
`Mr Edward McLean has offered his
resignation and it has been accepted
by your General Council...
Mr McLean was selected from
several appropriate candidates who
had been short- listed from a very
large number of applicants... the
appointment was made on the basis
of the information given to the
interview panel... certain
information, which has recently
come to light, was brought to the
attention of the General Council
and, after discussions, Mr McLean
decided to resign.'
For obvious reasons, the PRS are
saying no more, other than to explain
that Ted McLean had previously
worked for movie distributor UIP.
What the PRS will say, however, is
that they have now created and filled
a new position- Director of
Information Systems-and the PRS
are talking seriously with the MCPS
about some kind of a tie -up or merger
to cut administration costs. This
would bring Britain into line with
other European countries, like
Germany and Holland, where work
on the collection of royalties on
musical performances (done in the
UK by the PRS) and on collecting
royalties on recordings (the MCPS) is
handled by a single bureaucracy.
It is the infamous PROMS episode
that has concentrated the copyright
collectors' minds.
In 1988, the PRS decided to make
revolutionary, rather than
evolutionary, changes to the
computer system which kept track of
royalty collection and distribution.
74 Studio Sound, March 1994

a Doctor of Technology.

Barry Fox

Last night of the PROMS: the
need for education on
information technology
The new system would be called the
Performing Rights On -line
Membership Service, or PROMS. The
plan was to get rid of the ICL

mainframe computer used by the
PRS, and replace it with a database
program run on a network of
personal computers. The PRS
earmarked £10m for the project,
which inflation pushed to £12m.
Hardware and software were bought
and project managers appointed.
Almost immediately things started to
go seriously wrong. The PRS had
grossly underestimated the difficulty
of automating a system which relied
so heavily on human beings helping
the computer.
As one insider astutely put it: The
human beings had been the chips.
They had been tying all the loose
ends together, and it was impossible
to create a single all-embracing
electronic system'.
In November 1992, the PRS froze
all further development of PROMS.
Ewen Fletcher was commissioned to
produce a report which was only ever

seen in full by the PRS Council.
synopsis quite bluntly told the PRS
that PROMS would never work
-however much money was thrown
at it. The report also recommended
that the PRS create a new post,
Director of Information Systems. The
new Director is John Rathbone, who
was working in the role as consultant
before he got the permanent job.
PROMS was a complete failure.
The system never went on line. On
Rathbone's advice, the PRS have
now scrapped the idea of revolution
and gone back to evolution of the
ICL mainframe. In all, the PRS
spent £11m of the budgeted £10m,
but reckons that only (!) £8m of this
was a complete write -off, because
£3m was spent on hardware,
software and training.
Although the PRS and MCPS had
been talking for years about a
possible liaison, the watershed was
the anger of PRS members who saw
their royalties squandered on the
PROMS debacle. The two industry
bodies are now committed to joint
A

With the Professor's kind
permission I quote from a letter he
wrote to a friend after buying a new
computer and struggling with the
instruction manual.
`Welcome to your new computer.
We would like to thank you for
agreeing to sacrifice the best years of
your life trying to understand an
under -evolved technology. If you have
never used a computer before, then
this is a really bad time to start.
The first section of the manual
explains how to use the section of the
manual that explains how to use the
rest of the manual. Before you read
this section, please familiarise
yourself with the following section
which will make clear why the first
section was important. When you
have read the manual you will not be
able to understand your computer,
but you will be considerably older.
`Setting up your modem: Where
you will learn the difference between
application folders, modem startup
documents, SCSI disk mode and
autoremounting.
`If your modem will not work...
`Please consult Troubleshooting...
`Problem: Modem not working...
`You have run out of memory, or
acquired this product before its
design phase was completed, or the
salesperson who told you that the use
of the modem was straightforward
was a pathological liar.'

Out on Location

Superb audio performance
time after time.
Anyone involved in TV, radio or film
production will appreciate the value of rugged,
portable sound recording equipment built to
withstand the rigours of location shooting.
The LM portable audio mixer is a product
of Soundcraft's specialist design and
manufacturing experience. It is
robust, compact and built to last,
with a range of features specifically
geared towards modern production.
I

Lml

Long life batteries sustain the LM l's
trouble -free repeatable performance in the
most inaccessible places.

Wide range input gain, switchable in 5dB
steps, coupled with low noise circuits

guarantees the best results in the

worst conditions.
The mono and stereo mic inputs both offer
3 -band equalization sections with
independent HP filters and 2 auxiliary sends
with master faders.
The mono, stereo and stereo line inputs are
all equipped with I00mm long -throw
conductive plastic faders.

Comprehensive M/S encoding and decoding
allows for input modules to be paired for
M/S working, then decoded for metering
and L -R monitoring.
For further information on the LM please
contact Soundcraft at the number below.
I

Soundcraft
HARMAN INTERNATIONAL INDUSTRIES LIMITED, CRANBORNE HOUSE, CRANBORNE INDUSTRIAL ESTATE. POTTERS BAR,
HERTFORDSHIRE, EN6 3JN, ENGLAND. TEL. 0707 665000 FAX 0707 660482

Harman international Company

www.americanradiohistory.com

The audio mastering revolution starts here.

Because now, Sony sets

new standard in audio mastering

to take you into the next century.
MSdisc.
For the

first time, there's an audio mastering system that

incorporates the latest laser technology.
It means a storage

Now Sony is
setting a new
standard in

medium on ready- formatted,

erasable

magneto -optical

disc, providing random access

audio mastering.

that's virtually instantaneous.
It means a pristine

recording surface, untouched by any part of the record /playback

mechanism.
And it means that a single unit for recording and simple

editing can be all you need. Compatibility with current and future
Sony editing systems is guaranteed.
The new

PCM -9000

MSdisc recorder is exceptionally

compact, and because it has

modular design, you pay only for

the functions you need.
What's more, it offers 80

minutes of full 20-bit digital sound
quality today, with 24-bit capability already built in for tomorrow.
Put it all together and one thing's clear.

Audio mastering will never be the same again.

Sony Broadcast
International

SONY
SONY 1311oADCA57

SIMPLY CALL US ON

AMSTERDAM 020 6581911.

MINATIONAL, JAYS CLOSE. VUBIES. BASINGSTOKE. NAAPSNME, RG22 458. UNf1ED KINGDOM.

BASINGSTOKE, UK 0256 483666. MIISSEIS 02- 7241711: COLONS 022159660;

US80I 01 837 2566, MADRD 091 536 5700: MAN 02 61838440.

MOSCOW 095 253

EAST CENTRAL EUROPE. CIS, BALTIC STATES - US 2256 483294:

2575

OSLO 02 2303530, PARE

MIME EAST/MORIN ARICA

- GENEVA

COPBINMGEN 042 995100; OIRVM 04 313472; 1E1.SRN 0 50291; 6TANMA 0212 224 5961,

014945 4000: RITE 06 549131:

S1OCNNOEM 08 7950800.

VFINA 0222 61050: ZIIRICII ISCHUMIEPO 01 733 3511:

022 7336350: AFRICA - UK 0256 483248. sorry ant MS6sp are traa2marks of the Sony Corpor000n. Japan.

Source Exif Data:

File Type                       : PDF
File Type Extension             : pdf
MIME Type                       : application/pdf
PDF Version                     : 1.4
Linearized                      : No
Encryption                      : Standard V2.3 (128-bit)
User Access                     : Print, Copy, Extract
Create Date                     : 2014:09:08 00:58:43-07:00
Creator                         : PdfCompressor 6.0.543
Modify Date                     : 2014:09:08 01:21:55+07:00
ARH Text Watermark              : {C75687FF-4657-4415-93B5-194EFF10D454}
Has XFA                         : No
XMP Toolkit                     : Adobe XMP Core 5.4-c005 78.147326, 2012/08/23-13:03:03
Metadata Date                   : 2014:09:08 00:58:53-07:00
Creator Tool                    : PdfCompressor 6.0.543
Format                          : application/pdf
Document ID                     : uuid:c3b99051-966f-44b3-961c-ca656d26265b
Instance ID                     : uuid:1059a6c5-d756-4737-b07d-467aebb02e44
Producer                        : CVISION Technologies
Page Count                      : 78

EXIF Metadata provided by EXIF.tools

Kappa 10926 Studio Sound 1994 03

Navigation menu

Versions of this User Manual:

Views

Navigation