AES SPOTLIGHT: THE INTERNATIONAL RECORDING MARKET

✖
PDF Mix-1988-02 
Automation Systems ·Piano Miking ·The Irrepressible Julie Brown
U.S. $4.95 CANADA $5.95 FEBRUARY 1988
Alan Parsons on Remixing "Tales of Mystery"
Directory: Independent Producers & Engineers
THE RECORDING INDUSTRY MAGAZINE
AES SPOTLIGHT: THE INTERNATIONAL RECORDING MARKET

COMPUMIX IV
The Fourth Generation Console Automation System is here. Compumix IV advances dynamic automation technology far beyond the capabilities of other systems. to alevel of sophistication and accuracy demanded by tomorrow's digital recording techniques.
The FORTH realtime software running in a32-bit 68000 computer provides 4simultaneous mixes on-line as well as write command recall accuracy of 1/10 frame. SMPTE time code driven, Compumix IV stores every frame (not only changes) making it possible to perform editing functions on-line. This requires an 80 Mbyte hard disk storage system designed for fast access in both read and write modes.
Compumix IV is designed to control up to 256 IDF fader functions in realtime through easy to operate touchsensitive plasma control panels. An optional Graphics Display System is available.
INTELLIGENT DIGITAL FADER
The ¡DF is amicroprocessor-based module that utilizes the most advanced technology available. The super smooth fader is a10-bit digital encoder that supplies 0.25 dB resolution and 119 dB of dynamic range. The grouping functions are the most extensive ever supplied in amusic recording console. 16 groups are assignable with 4levels of operation: slave, group master submaster and grand master
Up to 256 IDFs run independently through arevolutionary "back door control bus" without the need for external computer automation. Realtime display of dB level, groupings. status. fader position and mutes are available at all times. 9membrane switches allow for selection of up to 160 software defined functions.
CENTRAL ASSIGNMENT
This electronic output assignment cross-point switching system assures fast and reliable connections from the console to your tape machines with full routing or mixing capability. 64 output busses are assigned from each input module by acentral touch control plasma display panel controlling up to a 96 by 64 electronic switching matrix. Completely software driven, the panel allows instant selection and display of the bus assignment with 10 presets in local memory Optional unlimited storage to disk is provided. Easy to use. the system prompts for bus assignments and provides help through informative menu displays.

W i.d·e.ez.e.-..,--.-.*44,/.*e,"_ese,.:g-.ee>%..."1.,·s.e*t.,..>
W orld Class Studios featuring the SUPERSTAR And Compumix IV: KMH Studios
Stockholm
Salzburger Festspiele
Salzburg
Bosanova Hotel
Los Angeles
Sigma Sound Studios
Philadelphia

SUPERSTAR

Advanced technology and unparalleled flexibility come together in the SUPERSTAR music recording console. Development of this console centered around the requirement for high definition sound, improving that most important quality as necessary for digital recording.
No other single console offers the combination of desirable sound, size, and flexibility with an

affordable price. Field expandable, the SUPERSTAR provides ergonomical positioning of the console modules, allowing you to satisfy your own configuration needs. High resolution meters, central bus assignment. Intelligent Digital Faders, and the most comprehensive automation system all add up to SUPERSTAR--your next console.

Be aLeader, Not aFollower.

·

ON MUTE

SOLO

·Superb Sound ·36, 44, 52, 60 or 68 I/Os ·Fully Parametric 4-Band EO ·32 or 64 Bus Outputs · 16 Auxiliary Sends ·Intelligent Digital Faders ·Automation Accuracy 1/3 Frame ·4Automated Mixes On-line

JTE r

15 -

FUS

20 -

25 -

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JETTE I30

135 -

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/40

45 -

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50

PPP 60

·

70 80

INTELLIGENT DIGITAL FADER

·
Mt MITSUBISHI PRO AUDIO GROUP

DIGITAL ENTERTAINMENT CORPORATION

Circle #010 on Reader Service Card

Headquarters: 225 Parkside Drive, San Fernando, CA 91340 ·Phone (818) 898-2341 ·FAX (818) 365-8310 New York: Suite 1321, 555 W. 57th Street, New York, N.Y. 10019 ·Phone (212) 713-1600
Tennessee: 104 Eastpark Drive, Suite 306, Brentwood, TN 37027 ·Phone (615) 371-6602 ·FAX (615) 371-6644 Canada: 260 The Esplanade, Toronto, ONT. M5A 1J2 ·Phone (416) 365-3363 ·FAX (416) 365-1044
United Kingdom: Unit 13, Alban Park, Hatfield Road, St. Albans, Hertfordshire AL4 on ·Phone 0727-40584 ·FAX 0727-67684

NDUSTRY NOTES

WaveFrame Corporation named Courtney Spencer vice president of sales andJoe Kelly was appointed to the board of directors of the Boulder,
CO, company.. .Shape Video recently opened the Shape Midwest Media Center in Indianapolis, IN. Shape, one
of the pioneers in videocassette manufacturing and the largest independent manufacturer of VHS videocassettes in
North and South America, also has facilities in LA. and the Northeast. For more information contact Steve Callahan at (800) 345-4029, FAX (207) 282-1906 ...Edward T. Dell, publisher of AudioAmateur and SpeakerBuilder mag-
azines and Vance Dickason, author of Loudspeaker Design Cookbook, are collaborating to produce Voice Coil, a monthly newsletter for the loudspeaker industry. Topics will include new patents, books, software, and product announcements. Subscriptions are 850/
year, $90/two years. Contact Voice Cog PO Box 176, Petersborough, NH 034580176, (603) 924-9464 ...Nashville's Valley Audio buried the hatchet with Showcase Audio (Atlanta, GA) and brought aboard Showcase Audio's Lewis Frisch and Joe Perry after the Georgia firm announced plans for anew
professional audio dealership, officially closing its audio division in October ...Fuji Photo Film USA, Inc. in NY has promoted Thomas Shay to director of communications...Patrick Murray has been promoted to vice president sales, Consumer Tape and Floppy Disk Divisions, Sony Magnetic
Products Company ...Scott Westover has been promoted to director of advertising for Sony Communications Products Company and Gerrie H. Schmidt has been hired as advertising manager, Professional Video Division ... Dynair Electronics, Inc. named Lorrie Davis as marketing communication manager...Lucas Film Limited chose David Carroll Electronics, specialists in custom audio/ film studio design and construction, as principal engineering consultant/contractor for the installation at the Skywalker Ranch Technical Building...

AudLx has been appointed as the exclu-
sive North America distributor for the Tect line of mics manufactured inJapan. The pre-polarized condensers were set
to be officially introduced at the winter NAMM show in Anaheim...Jeff Lin-
ville has joined Elite Three as videotape post-production manager. The
Baltimore-based company is a consumer-oriented multipurpose production facility. .Neutrik USA has been formed by its parent company to distribute its electrical signal connector
devices and audio measurement systems in the U.S. Jim Cowan has been appointed general manager. The company is located at Millville Municipal Airport, 1600 Malone Street, Millville, NJ 08332, (609) 327-3113, FAX (609) 8254804. .Joe Boerst was hired as service manager for Allen and Heath Brenell USA Ltd. Former service manager Kevin Macdowell has joined AMS Sales of Southern California as arepresentative and product specialist... COMMWEST, the expo and conference devoted exclusively to visual communications technologies, will be held April 26 to 28 at the Vancouver Trade & Convention Center. The show, with new product displays and seminars, is expected to attract over 3,000 professional communicators. For exhibition or conference information, contact COMMWEST, 209-77 Mowat Avenue, Toronto, ON M6K 3E3, (416) 536-4621...Remote Recording Services has moved. Its new address is PO Box 334, Lahaska, PA
18931, (215)794-5005.. Joel T. HePPting has been promoted to artists relations manager of Nady Systems Inc. of Oakland, CA...Solid State Logic recently appointed two new sales managers: Nick Cook will be responsible for studios in the UK and Germany; Peter Woolliscroft will look after the Latin countries and the Middle East... John A. Zimmerman has been named partner and chief financial officer at Pacific Video Resources in San Francisco... Ashly Audio has promoted Bill Thompson to senior vice president in charge of marketing...

STAFF
EDITOR/PUBLISHER David M. Schwartz
ASSOCIATE PUBLISHER/MARKETING DIRECTOR Hillel Resner

MANAGING EDITOR Blair Jackson

ASSOCIATE EDITOR Paul Potyen

TECHNICAL EDITOR Ken Pohlmann MUSIC EDITOR David Gans

SENIOR EDITOR John Woram
EDITOR-AT-LARGE Mr. Bonzai

PRODUCT EDITOR George Petersen

ASSISTANT EDITORS Karen Margroff Dunn Linda Jacobson

EDITORIAL ASSISTANTS Josh Gressel Ann Ben-Porat Steve Oppenheimer

CONTRIBUTING EDITORS lain Blair Lou CasaBianca Dan Daley
Philip Delancie Laity Oppenheimer Bruce Pilato Tony Thomas

ART DIRECTOR Tim Gleason
ASSISTANT ART DIRECTOR Dave Marrs
DESIGN AND PRODUCTION Patsy Law Messerer Barbara Gelfand Stewart Stanyard

ADVERTISING DIRECTOR Ron Taff
ASSISTANT ADVERTISING DIRECTOR EASTERN AD MANAGER Jeffrey Turner
SOUTHERN CALIFORNIA/SOUTHWEST AD MGR. Ken Rose
ADVERTISING REPRESENTATIVE Dennis Gray
NORTHWEST/NORTH CENTRAL AD MGR. Harton Firmin
SALES ASSISTANTS Randy Alberts Carol McMurray
MARKETING ASSISTANT Jane Byer
SALES ADMINISTRATOR Neil McKarney
DIRECTORIES/CLASSIFIEDS MANAGER Lauri Newman
DIRECTORIES/CIASSIFIEDS ASSISTANTS Athena Craig Robin Boyce Yvonne Bennett

GENERAL MANAGER Mark Gunther
PRODUCTION DIRECTOR Anne Letsch
PRODUCTION ASSISTANT Kathy Badertscher
ADVERTISING TRAFFIC COORDINATOR Donna BlIfTiStOrl TYPOGRAPHY
Linda Dierking Connie Wiggins Janice Leber CIRCULATION MANAGER Nick Clements CIRCULATION ASSISTANT Cindy Luklc CONTROLLER Craig Kennedy ASSISTANT CONTROLLER Linda Looper ACCOUNTS PAYABLE Cathy Boyum ACCOUNTS RECEIVABLE lea Lewis CREDIT MANAGER Ann Cuadra OFFICE MANAGER Rachel McBeth
RECEPTIONIST Jenny Hoogstrate

BOOK DIVISION GENERAL MANAGER Craig Wingate
OPERATIONS MANAGER Camille Coyne
CUSTOMER SERVICE George Keres Brad Smith
FULFILLMENT SERVICES Todd Souvignier

MIX PUBUCATIONS INC.

Chairman/CEO President Vice-President, Marketing VP, Finance & Administration

Rudy Norwich David M.Schwartz
Hillel Resner Mark Gunther

Director

Penny Riker Jacob

NATIONAL ED1TORDU, ADVERTISING and BUSINESS OFFICES
6400 Hollis St. *12, Emeryville, CA 94608 (415) 653-3307 Fax, (415) 633-5142
SOUTHERN CALIFORNIA ADVERTISING OFFICES 19725 Sherman Way, Suite 160, Canoga Park, CA 91306
(818) 709-4662

8MIX, FEBRUARY 1988

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SESSIONS
AND STUDIO NEWS

SOUTHEAST
At New Age Sight 8c Sound in Atlanta, the blues/jazz group Lou's Blues Revue mixed their new album, produced by Willia m Bell and engineered by Gary Hamm ..Morrisound in Tampa had New York-based Whiplash in working on their new album, produced by D.U.A.F. Productions. .At Music Works in Hollywood, FL, John Martyn and Michael Shiner produced ascore for Burdines. Sound Emporium in Nashville was the site for some remixes for Sawyer Brown, produced by Ron Chancey and engineered by Les Ladd. .1'yka Nelson, sister of Prince, recorded atrack for her Chrysalis debut LP at CMC Studios in Zebulon, North Carolina. Benny Dellinger and Rock Wilk co-produced...At Wally Cleaver's Recording in Fredericksburg, VA, Mark Wenner of The Nighthawks cut tracks for his forthcoming solo album... Larry Nevilles was in Cotton Row Recording in Memphis with producers Homer Couch and Arthur Liggins tracking on some tunes to shop to major labels. Nikos Lyras and Eric Patrick engineered...The Christian metal group Apostle finished recording their fourth album at Key Recording in Jacksonville, VA. Matt Harding produced John Key engineered ...At Cheshire Sound in Atlanta, Midge Ure recorded bass tracks with Level 42's Mark King. Thom Kidd engineered... At Musiplex Atlanta, Candi Staton did some recording with producerJohn Sessewell and engineer Thom Kidd. .Myion LeFevre worked on a new album with producer/engineer Joe Hardy at Ardent Recording in Memphis...At Soundshop Recording in Nashville, Bobby Goldsboro worked on a children's project with producer Timmy Tappan and engineer Mike Bradley...At Criteria Recording in Miami, The Risk cut a four-song EP with Eric Schilling

producing and sharing the engineering with Patrice Carroll-Levinsohn. Kurt Berge assisted ... U2 dropped by Sun Studio in Memphis to do some work on their upcoming movie. Jimmy lovine produced and David Ferguson engineered with Sun's David Aron assisting. Nicolette Larson cut tracks at Bennett House in Franklin, TN, with engineer Rocky Schnars at the board ...At Mangum/Alford Studio in Jacksonville, FL, country artist Ric Steel recorded "Third Time's the Charm." He produced, with engineering by Jeff Alford .. Jimmy Buffett was in at New River Studios in Fort Lauderdale tracking with producers Mike Utley and Russ Kunkel. Jeff Rifkin engineered with assistance from Dave Barton and John Portuondo ...At Memphis Sound, Donna Lee Powers has been recording with producer/writer Tom Jones III. Robert Jackson engineered, with Dan Pfeifer, Richard Scott and Roosevelt Green assisting... Emmylou Harris joined Earl Thomas Conley for aduet on Conley's new album, recorded at Emerald Sound in Nashville. Emory Gordy,Jr. produced, while Steve Tllisch and Jeff Coppage engineered...
NORTHEAST
The New Edition cut their anti-crack song "Don't Be Pushed" at Normandy Studios in Warwick, RI. Bobby Jones and Dan Serafini produced and Tom Soares engineered with assistance from Mike Skeffington .Larry Gittens recently produced jingles for Absolut Vodka and Lingense Ice Cream at Mirror Sound in Cinnaminson, NJ. Ken Fordyce engineered, assisted byJon Udell ...Claudja Barry was in Counterpoint Studios in NYC doing overdubs for her new album

with producer Jurgen Korduletch and engineer Arty Skye ...Anita Baker and Peabo Bryson recorded asong called "Without You" at Electric lady Studios in NYC. Dean Grant and Michael Powell produced, with Barney Perkins engineer-
ing...Chubby Checker has been twisting and recording at Kalem/Victory Recording near Philly. He's got anew song coming out that was produced by Ritchie Reinhardt (Ramones) and engineered by Mr. Mitch, assisted by Brooke Hendricks...Steve Martin,Jane Curtin and Gilda Radner have been in Giant Sound (NYC) working on an LP called Free To Be a Family. Mario Thomas is producing; Doug Epstein is engineering...Oliver Twist was in Manhattan's I.N.S. Recording working on afew songs with producer/ engineer Jonathan Davis...Vernon Reid & Living Color did some work with producers Ed Stasium and Paul Hamingson at Sound on Sound Recording in New York. Mike McMackin and Steve Immerwahr assisted.. .Airto Moreira recorded apromotional piece for Frederico Percussion at Iris Sound in Royersford, PA...Pro Audio mobile recording (based in Wheaton, MD) recorded alive
concert featuring The Nighthawks, John Hammond, Jr. and others for Rounder Records...Warner Bros. artists Book of Love have been working hard at D&D Recording in NYC with producer Flood (engineer on U2's Joshua Tree). Mike Rogers is engineering, assisted by Bill Mansfield and Kieran Walsh.. Jim
Christopher of Nova Express was in at Third Story Recording in Philadelphia recording tracks for a new tune called "Psychomania." Christopher produced and Dan McKay engineered. ..At Omega Studios in Rockville, MD, Billy Brady ha,, been working on anew project with Nils Lofgren... Sinn put down afew songs with engineerJim Roberts at JLJ Productions in Yorktown Heights, NY... Deo-

10 MIX, FEBRUARY 1988

THE COMPETITION HATES OUR GUTS.

It takes alot

Frequency re-

of guts to com-

sponse. Number

pare yourself to

of bands. Total

some of the

Harmonic Distor-

biggest names in

tion plus noise. In

professional

every category,

audio. Of course,
when you offer

Noise Maximum Output Dynamic Range

Audio Logic SC31 RA NE GE 30 JBL'Urei 5547,4 Alark-Teknik DN 300

LESS than -90 dBm +27 dBm +117 dBm

Less than -90 dBm +24 dBm +114 dBm

LESS than -90 dBm +22 dBm +112 dBm

Less than -90 dBm +22 (Mtn +I12dBm

the SC31 comes out even or on top.
In every cate-

the quality and

Frequency Response

18 Hz to 30 kHz +/-0.5 dB

10 Hz to 40 kHz +0/-3 dB

20 Hz lo 20 kHz +1,'-2 dB

20 Hz to 20 kHz +7-0.5 dB

gory, that is, ex-

features found inside the Audio

Number of Bands THD plus noise

31 Less than .005% @ +22 dBm @ IkHz

30 Less than .01%
@ +4 dBm

30 Less than .596 @ +22 dBm

30 Less than .01% @ +4 @I kHz

cept price. Because the SC31 gives

Logic SC31

Suggested Retail Price

$550.00

$699.00

$849.00

$995.00

you all that capa-

Graphic Equalizer,

bility, plus

it's easy to display more than alittle extra incomparable sound quality, for consider-

intestinal fortitude.

ably less than any other professional

The SC31 is apowerful signal processing graphic equalizer. And that's what galls the

tool designed for professional use. It fea-

competition most of all.

tures 31- 1/2 octave centered bands of equali-

For ahands-on demonstration of the

zation with selectable 6dB or 12 dB of boost SC31, visit your professional audio dealer or

and cut. But that's just for starters.

sound contractor. Or write

Take alook at the chart: It shows how the SC31 stacks up against the competi-

for additional information Audio Logic, 5639 So . A

11=11

tion in the specs most important to audio engineers and sound contractors.

Riley City,

ULtanaeh,8S4a1l0t7L.ake.

AUDIO LOGIC

Maximum output. Dynamic Range.

Or call (801) 268-8400.

@1987 DOD Electronics Corporation

*All specifications taken from manufacturer's published literature.

Circle #032 on Reader Service Card

dato finished up production work on the Dazz Band's latest at Duplex Sound in NYC. Jon G. engineered. ..New age musician Michael Gregory finished his new Novus/RCA album at New York's Quad Recording. Joe Ferla engineered. Island recording artist Millie Scott has been working with producers Bruce Nazarian and Duane Bradley at Gnome Productions in NYC....
NORTHWEST
At London Bridge Studios in Seattle, True 2Life completed arecording project with Rick and Rajan Parashar producing (and Rick engineering) .. .The Jamaican reggae group Defenders was in Triad Studios in Redmond, WA, cutting some new tunes. Charlie Morgan produced, with Larry Nefzger engineering... Carlos Santana has been working on abig anthology album at The Plant in Sausalito, CA, working hand in hand with coproducer/ engineerfim Gaines, assisted by Stuart Hirotsu ...SF Bay Area jazz piano fave Denny Zeldin has been working on an album for Windham Hill at Starlight Sound in Richmond, CA. Bill Thompson engineered...The score for the recent Alex Cox film Walker was completed at Russian Hill Recording in SF by the studio's Sam Lehmer. Joe Strummer (formerly of The Clash) wrote the music...Studio D in Sausalito, CA, had the band Heist in working with producer Ann Fry, engineer Jeffrey Norman and assistant Rob Beaton.. .Hope Sterling completed her first album at Inside Irak Studios in Bumaby, British Columbia, with producer Roy Salmond, recording engineer Gary Tole and mixer Dave Slagter.. .ProducerJan Kurtis was at Ironwood Studio in Seattle working with engineer Jay Folette on a project with Ron Gardner (of Whaler fame)... Thomas McElroy and Denzil Foster of Club Nouveau recorded tracks of the new group Toni, Tone, Tony at Live Oak Studio in Berkeley, CA... Doy Christopher and David Pfaff were in SF's Powerstroke Studio with engineer Tom Knox working on Dov's solo project...
NORTH CENTRAL
At Opus Recording in Gurnee, IL, producer Eric "Griffy" Greif worked with the metal acts Arch Angel and Realm,

with engineering by Al Pangelinan... Malcolm McLaren did some recording and mixing at Pearl Sound, near Detroit, with producer Bootsy Collins and engineer Ben Grosse. Michael Fitzsimmons and Chris Andrews assisted...At Studio A in Dearborn Heights, MI, David Ruffin worked on vocal tracks with producer Ronnie McNeir and engineerJohnJaszcz... Hard rockers Black Medallion returned to Breezeway Studio in Waukesha, WI, to record anew album...The Phantoms have been working on their debut album at Comfort Sound in Toronto. The sessions are being produced by Michael McDonald and engineered by Stephen Traub... Producer Alan Glass was busy in the SSL room of Detroit's Sound Suite working with The Spinners. Engineer Mike Brown worked with Glass on that one ...At Seagrape in Chicago, the thrash band Abomination tracked six sides for an upcoming EP. Mike Konopka was at the board, assisted by Puck...The Chicago Post completed editing and sweetening on aseries of 15 interactive children's programs for Connor Toy. Audio engineering was by Michael Minuskin; offline editor was TracyWilson ...The Madison, WI band E-I-E-I-O did some mixing on their new album at Royal Recorders in Like Geneva, WI. Phil Bonamio is the producer/engineer on that one...
SOUTHERN CALIFORNIA
The Waters have been mixing. tracks for their first album at Baby-0 Recorders in Hollywood. Oren Walters is producing, while Fil Brown is handling the engineering...The Bangles were in LA's Skip Saylor Recording with producer Steve Beltran and engineer Keith Cohen doing a12-inch re-mix on their hit "A Hazy Shade of Winter," from the film Less Than Zero. Assisting were OffJones and Patrick MacDougall...At Red Zone Studios in Burbank, producer Bill Maxwell was in working on aposthumous Keith Green LP for Sparrow Records. Denis Degher engineered with Steve Shepherd assisting...Roy Thomas Baker utilized The Enterprise's (Burbank) 72channel SSL for aproject with an unsigned Irish band whose name is being kept secret--no doubt to attract hype like this ...Kevin Cronin of REO Speedwagon was in North Hollywood's Sound Image cutting tracks for singer/songwriter De-

nise Cronin with producer/engineer John Henning at the controls, assisted by Peter McCabe ...Poison is working on the follow-up to their multi-platinum debut at Conway Recording in Hollywood. Tom Werman is producing, with Duane Baron at the board.. Devonshire Sound Studios in No. Hollywood has been getting alot ofTV soundtrack work of late, including episodes of The Real Ghostbusters Alfand Hello Kitty. ..Rod Stewart recorded anew single with producer Chas Sandford at Secret Sound L.A. on their new SSL 6048 console. Gary McGachan engineered, with Daren Chadwick assisting...The Bonedaddys recorded tracks for an upcoming release on Chameleon Records at Mad Dog Studio in Venice. Dusty Wakeman co-produced (with the band) and engineered ...Mitchell Froom has been producing ex-Split Enz member Tim Finn's album for Capitol Records at Sunset Sound Factory in Hollywood; Tchad Blake engineering, assisted by Mike Kloster...IRS artists The Truth were in at Image Recording in Hollywood tracking with producer Roy Thomas Baker. Jerry Napier engineered, with Don Dasilva assisting.. Take One Recording in Burbank had Japanese saxophonist Kanzaki in working with engi-
neer Alan Hirshberg, assisted by Micajah Ryan... Jeff Lynne helped out Brian Wilson on his solo debut at Larrabee Studios in LA. Bill Botrell engineered...At South Coast Recording in Costa Mesa, ex-Black Sabbath drummer Bill Ward was in working on asolo album, engineered byJim Dotson ...Boz Scaggs worked on some demos for his long-awaited next LP at Lion Share in LA. David Williams produced, with Csaba Petrocz engineering and Karen Siegel assisting...Extensive scoring and postproduction work for the 12th Circus of the Stars was done at Sunwest Studios in Hollywood. Smokey Robinson's producer, Stephen Tavani, was among those involved in the sessions. Session producers included Bob Silvers, Bunny Stivers, Tim Kettle and Tracy Abott ... ExPolice drummer Stewart Copeland was in at IMP Communications in Toluca Like recording the score for Oliver Stone's Wall Street...
SOUTHWEST
At Goodnight Dallas, the local group Three on aHill have been cutting and
-CONTINUED ON PAGE 178

12 mix, FEBRUARY 1988

RELIABILITY
because you depend on it...
The essence of aProfessional is finesse under difficult conditions. Reliable performance day after day, night after night. At QSC, we believe that you shouldn't have to worry about your amplifiers.
They should sound great and operate flawlessly. Always. Because we are committed to building the best Professional high performance amplifiers, we make reliability the number one criteria for our products, our service, and our company. We know that the reliability of your performance depends on the
reliability of our performance.
Circle #033 on Reader Service Card QSC Audio Products, Inc., 1926 Placentia Avenue, Costa Mesa, CA 92627/714-645-2540

4
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SL 4000 G Series Master Studio System

·
G SERIES AUDIO SYSTEMSUNPARALLELED SONIC PERFORMANCE
·
G SERIES STUDIO COMPUTERA NEW GENERATION
·
THE WORLD'S ONLY TOTALLY INTEGRATED MASTER STUDIO SYSTEM

G Series Audio systems are the result of acomplete reappraisal of each and every stage between the microphone and the recorder. Together with the recently

launched Studio Computer, the G Series Master Studio System is the only totally integrated audio system in the world for both tracking and mixing.

Now, and for many years to come, the G Series Master Studio System will have no equal.

Solid State Logic

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INSIDER ·AUDIO
by Ken Pohlmann
THE WORKSTATION COMETH

ttention studio owners: while you were busy booking sessions, trying to make the monthly payments so the bank
doesn't repossess your new console (an exciting new concept in banking: afull-service bank with cash machine, drive-up window, and a64-input SSL),
the requirements for aworld class studio just changed again. Now, unless
you have several CRTs, personal computers, hard (or optical) disk drives,
and a workstation, you just aren't
happening. It's the workstation idea that has par-
ticularly inspired engineers and advertising directors alike. While not exactly anew concept, it is one which has
come of age in the audio workplace. Whereas in the past astudio was com-
prised of acollection ofdiverse equipment, the workstation integrates the functions of the equipment into a
sleeker, more efficient package. The trend toward studio integration probably began with console automation,
picked up speed with synchronizers, added anew dimension with MIDI software controllers, and is now emerging as afull-fledged product in its own
right. This month, let's consider the basic
requirements of an audio workstation
to see what it can and cannot do, why it is better (or worse) than existing collections of equipment, and in which direction it is taking the audio market.
Also, to help define the notion of the emerging all-digital studio, I'd like to
tack on abrieftechnical description of the AES/EBU serial transmission for-

mat, the protocol by which digital equipment may communicate, and
achieve further integration. Adigital audio workstation is an in-
tegrated collection of hardware devices driven by software programs to create an audio tasking system. At least in theory, it should provide greater
flexibility and efficiency, as well as fidelity and creativity, compared to the traditional assortment of studio gear. It is arguable that onlywith aworkstation can the full potential of digital audio technology be realized. The early dic-
tate that digital components be made to emulate analog ones severely restricted utility; with aworkstation design, afresh approach to production
needs can be made. A workstation should be amulti-
function device, limited by its hard-
ware and software implementation, yet
upgradable via modular expansion to perform other tasks. Ideally, all of
these functions should fall under its command: signal processing, synthe-
sis, editing, mixing, mastering and storage. More specifically, adiverse range ofproduction and post-production applications are addressed: music scoring, recording, video sweetening, sound design, effects edit-to-picture,
Foley, ADR and film mixing. To achieve this, aworkstation must combine elements of amulti-track recorder, se-
quencer, drum machine, synthesizer, sampler, digital effects processor, and
mixing board, with MIDI, SMPTE and
clock interfaces to audio and video
equipment.

16 MIX, FEBRUARY 1988

How much Fairlight do you need?

If all these Fairlights look the same it's because they are.
Each one is designed and handbuilt to the same exacting standards, with the same 16 bit sound quality, as our much-praised 16 voice, 14 megabyte Series III.
The difference is, now there's a Fairlight to suit your exact need and budget.
We call them e-x-p-a-n-da-b-1-e Fairlights.
Not aset model range. Instead a series of compatible options that allow you to choose any configuration and expand its capabilities. Right on up to an 80 voice, 140Mb RAM Series III with Gigabytes of Hard Disc and Optical WORM Disc Storage.
There are no limitations. You don't pay for features you don't need. But you do get the exact Fairlight for the job.
Just decide what you require for your composition, arrangement or production role and we'll build the Fairlight to suit.

$39,950
8VOR SI.,4Mli RAM
DUAL 20Mb FLOPPY

Vou I14Mb RAM

I3011 b

,60Mb TAPE

Even our basic Fairlight is far from basic.

For $39,950* you will start with a rack-mounted or portable Fairlight that is unchallenged by anything near its price.

16 bit Digital audio quality with oversampling capability ensures the sound that has made Fairlight the world's leading digital audio production system.
Eight voices provide the versatility required for most session work. And, if required, Fairlight's multi-port MIDI capability allows the control of up to 64 external, sampled or synthesized voices.

$175,000 40 VOICE/SOMb RAM 600Mb DISC, 400Mb WORM·

Advanced software.

This is sampling in its purest form from the people who invented it.
Stereo sampling, Page Rand CAPS Sequencers, Waveform Editing, FFT analysis and resynthesis, and an extensive sound library are all included.
SMPTE chase/lock provides the ideal setting for structuring musical scores, laying-in sound effects, and synchronizing to multi-track tape and disks.
A time-code trigger/event generator also lets you program complex SMPTE cue lists for film and video postproduction.

orchestra, and just about any synthetic and composite sound you could ever use.
Design your own Fairlight. For full details of the new e-x-p-a-n-d-a-b-1-e Fairlights, call your nearest Fairlight office. Los Angeles (213) 470-6280, New York (212) 219-2656, Toronto (416) 964-1885.

Real time effects allow complete control of attack, de and vibrato for arealistic acoustic feel. You have at your command every major section of the

·Prices effective as at filly I, 1987 subject to change without notice. Systems above 16 voice require external rack-mount units (not showniel,ivfetre y latl e 198k 7. e· dL

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INSIDER ·AUDIO
Direct-to-disk recording capabilities allow the workstation to compete with the multi-track recorder. The benefits of random access are obvious--instantaneous fast forward, rewind, locate, and punch-in and punch-out make for fast session work Talent can no longer slack off while you rewind tape; you can work them to death moving from one take to the next as fast as you can hit the button. Likewise, software editing allows the user to jump from one cue to the next for fast, non-destructive edits.
Soundtracks for film, corporate video or commercials all benefit from the inherent nature of sync and random access in aworkstation. Instantaneous lock-up and the ability to lock to vanspeed time code make life easy, as does the ability to slide individual tracks or cues back and forth, and the ability to insert or delete musical passages while maintaining lock How about fitting effects to picture in slow motion, while preserving sync? Easy
Optical disk sound effects libraries provide on-line storage of indexed and cross-referenced sounds. Users can assemble atime code hit list, then audition sounds and effects while locked to picture. Disk recording expedites dialog replacement; master takes can be assembled from multiple passes by setting cue points, then fitted back to picture at locations logged from the original sync master. Room ambience can be taken from location tapes, then looped and overlaid on re-recorded dialog. Track space is automatically allocated by the system.
Composers are attracted to workstations for writing and pre-production; additive, FM, sampled and resynthesis sounds may be mixed and enhanced to suit even the most complex orchestration. Notation, step-editing, cutand-paste, splice, bounce, slide, loop, copy, panning, chorus, tempo and key change, fade-ins and fade-outs all provide flexibility for different arrangement and production ideas.
Aworkstation can be used as amaster MIDI controller and sequencer; the user can remap MIDI outputs, modify or remove messages such as aftertouch, and transnlit patch changes and volume commands as well as song position pointers. It may be advantageous to transfer MIDI sequences to the workstation because of its superior

timing resolution. For example, adelay problem could be solved by sliding tracks in fractions of milliseconds. Bor-
ing drum sounds? Replace them with custom samples.
Commercial production can be made more efficient. For example, an announcer could be recorded to memory, assigning each line its own track This way, tags and inserts can be accommodated by shifting individual
lines backward or forward; transfers and backtiming are eliminated. Like-
wise, doughnuts can be cranked out by switching sounds, muting and soloing tracks, changing keys without changing tempos, cutting and pasting,
and manipulating tracks with fade-ins and fade-outs. Electronic hard disk editing expedites any audio editing task. For broadcast, segments can be assigned to different tracks and trig-
gered via time code from the terminal. Aworkstation offers new production tricks in music production. For example, avocal fix is easily accomplished by sampling the vocal to memory, bending the pitch, then flying it back to the master--an easy job when the workstation records time code while sampling.
Acatalog ofworkstation production examples could extend as far as the price list of workstation options, but the nature of the workstation should be evident. A workstation is, in essence, amemory recorder. It records not only sounds, but performance parameters as well. In that way, the system may manipulate the data in ways not available in traditional tape technology. Whereas atape recorder may be considered aone-dimensional device, aworkstation is athree-dimen-
sional one; recorded audio information becomes acue, an organized playback creates an event, and atimetable that schedules playback of cues is an event list. Thus, when recording, random access and editing (as well as synthesis) are combined under auni-
fied controller, the benefit is more than tripled. In the same way that aword
processor makes atypewriter obsolete, an audio workstation makes atape recorder and peripherals obsolete.
Of course, even the most complete workstation would still lack total facil-
ity. The need to interface the workstation to peripheral gear, other work-
stations, and to the output storage medium will always be with us. Therefore, ahigh quality I/O method is crucial to

Circle #061 on Reader Service Card
18 MIX, FEBRUARY 1988

Every Bit aStude

Introducing the D820X DASH Format Digital Audio Recorder

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Offices: Los Angeles (818) 780-4234 New York (212) 255-4462 Chicago (312) 526-1660 Dallas (214) 943-2239 San Francisco (415) 930-9866
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The wait is over. Digital has finally entered the Studer era. For over 35 years, Studer has concentrated exclusively on one goal:
designing and manufacturing the world's finest audio production equipment. So when it comes down to what professionals want, Studer delivers.
The D820X is no exception. Listen to it--carefully! You'll hear flawless sonic resolution, thanks to proprietary digital processing circuits and uncompromising analog input/output electronics.
Then do arazor-blade edit. Feel how the controls shuttle tape with effortless precision. Note how the meter overbridge panel provides comprehensive control of all operating modes and level adjustments.
Finally, tilt up the transport to examine construction and craftsmanship. No other digital recorder can match what you'll see.
The D820X is built to last. It's every bit aStuder.
·Robust Twin-DASH format at 15 ips ·14" reel capacity ·PWM auxiliary tracks with configuration for CD subcode mastering data ·Fully programmable operating keys ·Service diagnostic displays ·Internal operating system provides RS232 access to transport and digital audio operations.

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INSIDER ·AUDIO
the workstation's overall performance. Of course, analog audio signals can be conveyed from one device to another with aminimum amount ofconfusion. However, the transmission of digital data is agreat deal more complicated, owing to potential disagreements on sampling rate, synchronization method, block length, and many other factors. To permit an orderly exchange of data between digital devices, the Audio Engineering Society has established a standard transmission format for linearly-represented digital audio data. Many manufacturers have adopted the format; for example, most workstations include this AES format.
The digital audio format transmits both left and right channel data using one digital cable. Atime-sharing multiplexing transmission transmits or receives frames, each containing left and right channel data alternatively. The transmission rate corresponds exactly to the source sampling frequency. When the sampling frequency is 48 kHz, 48,000 frames are transmitted per second. The length of one channel data period is thus 11.34 microseconds. One frame consists of two subframes, labeled A(left channel) and B(right channel), each with 32 bits.
Each subframe carries data for one audio channel. The first four bits are used for synchronization, and for identifying preambles, as described below. The next 24 bits carry audio data, with the MSB transmitted last. Since most devices use only 16-bit words, only the last 16 bits in the field are used. Addi-
tionally, the first four bits in the field are set aside for auxiliary audio or other data.
The last four bits form acontrol field which carries special information. The validity bit indicates if the previous audio sample is error-free. The user data bit is used for data associated with the audio channel. The channel status bit is used to form adata block: for each channel, one block is formed from the channel status bit contained in 192 successive frames. The start of a block is identified with special forms of the subframe preamble. The parity bit is used to provide even parity for each subframe; this permits simple error detection.
Three preambles are used to designate three types of events. One preamble marks the start of subframe A

and start ofachannel status data block.
One preamble marks the start of subframe A otherwise. One preamble marks the start of subframe B.
Each channel status data block consists of 192 bits (times 2) organized into two 24-byte sequences. These 8-
bit bytes convey a considerable
amount of information pertaining to the transmission.
The data is modulated with biphase
mark, in which azero corresponds to
one inversion and aone corresponds to two inversions. However, the pream-
bles ignore the inversion correspondences to provide unique identifica-
tion and recognition. The receiver input section uses this preambled portion for synchronization.
The digital audio waveform is transmitted through acoaxial cable with 75 ohm impedance, at alevel of 0.5 volts
p-p. An ordinary audio phono cable can be used to convey the data. Through this transmission standard,
different digital audio devices from different manufacturers are insured of
compatible interconnection and transfer of the digital audio information.
Adoption of the AES standard is an-
other step toward the all-digital stu-

dio, and directly benefits the workstation concept as the nucleus of the all-digital studio.
Clearly, studio equipment is undergoing yet another hardware (and software) transformation. The workstation offers ahighly efficient method to integrate and expedite audio functions. While some may object to amonolithic approach to audio design because of up-front cost, difficulty in upgrading, complexity, and downtime considerations, the advantages appear to outweigh the disadvantages. The studio- in-a-box workstation, highly portable, uniquely flexible, and custom-programmable is the unmistakable trend. As the hardware coalesces, the next step is more unified, intelligent software. That leads us to topics such as artificial intelligence and expert systems. But that's acolumn for another month.
Ken Pohlmann is an associate professor of music and director of music engineering at the University ofMiami in Coral Gables, and vicepresident of US. Digital Disc in New York. He is author of Principles of Digital Audio and The Compact Disc Handbook.

SONEX sweeps carpet: costs less money, kills more noise..

You might think that because SONEX is aprofessional acoustic foam, specifically designed to control sound, it would cost more than carpet. Logical but wrong. At just $18/yard, SONEX is one-third the cost of good quality carpeting. Yet
it's twice as deadly to noise. And even if you order special SONEX in low quantities, it's still only halfthe cost ofcarpet. So you cadt lose. Its less expensive, yet more effective. Call or write for the SONEX brochure, complete with acoustic charts and all the facts.
SONEX is manufactured by Illbruck and distributed exclusively to the pro sound industry by Alpha Audio.

AlphaAudia. 2049 West Broad Street Richmond, Virginia 23220 USA (804) 358-3852
Telex 469037 (ALPHAAUD CI)
Acoustic Products for the Audio Industry

Circle #062 on Reader Service Card

FEBRUARY 1988, MIX 21

by Mel Lambert

JUXTAPOSITIONS

DESIGNING THE FUTURE

n last month's column Iidentified some of the primary players in the
blossoming market for digital recording and random-access editing systems. Now, as promised in the January "Juxtapositions," Iplan to follow up
that detailed examination of innovative hardware unveiled at the AES Convention in New York with some thoughts
on the basic design philosophies being utilized by the developers of such systems.
Iwould like to preface the following comments, however, with anote
of clarification. Ido not consider any of the hardware that is currently or

digital processing and editing can guarantee aradical improvement in overall audio quality.
That caveat off my chest, to busi-
ness: why am Ileft with such afeeling of disappointment when Istudy the
operation of acurrent-generation digital editing system? Ipride myself on being reasonably computer literate,
not to mention familiar with the re-
quirements of today's increasingly
complex studio sessions. Yet Ifind myselfwondering out loud to these man-
ufacturers about the viability/desirability of using certain control surface topographies and operating systems.

Why am Ileft with such a feeling of disappointment when Istudy the operation
of acurrent-generation digital editing system?

soon to be made available as being--
how should Iput it tactfully?--"ill-designed." In fact, Iwould go so far as to state that all of the digital recording and editing systems Ihave examined
so far in the studio, or at trade shows, are capable of getting the job done
and, in the hands of competent production engineers, will streamline the
task of manipulating audio. Not to mention the fact that the use of all-

It still remains amystery, for example, why such firms still insist on tying our eyes to aconventional CRT display for system interrogation and, more often than not, aless than ergonomic
QWERTY keyboard for system control.
And while Iapplaud at least one manufacturer's use ofatouch-sensitive, elec-
tro-luminescent screen display, the latter is somewhat restrictive in terms of the amount and complexity of infor-

22 MIX, FEBRUARY 1988

JOIN THE WINNING TEAM!

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AVAILABLE ACCESSORIES: Carry case & remote instrument microphone with phantom power source. FEATURES INCLUDE: built in rechargeable batteries; built-in microphone, aux line input, SPL in A or C weight, Decay settings. FILTERS: 30 bands on ISO centers to ANSI Class II double tuned specifications.
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If your application requires limiting and you want to save both space and cost. LOFT offers single rack space models with soft-knee limiters.
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and shutting off unused outputs.

The LOFT 400A offers comprehensive envelope control with achoice

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5sec release, plus variable range (attenation) to soften the gating effect.

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JUXTAPOSITIONS

ably designed, touch-sensitive screens keyboard. Both of the major players in

definitely offer agreat deal of flexibil- this field are developing--or have al-

mation that can be displayed simulta- ity. Or consider trackball-driven LCD ready shown at major trade shows--

neously. Atouch-sensitive display does screens with areas around the edges control consoles that more closely

offer, however, the advantage ofsimpli- that dynamically relabel correspond- mimic, or at least emulate, the more

fying the user's responses to menu se- ing softkey buttons or controls, there- conventional types of functions avail-

lection, because all you need do is by extending the static function of one able in analog-based recording and

point an appropriate digit at the desired permanent knob or switch per task. editing systems.

screen-labelled task or function.

(Note that Iopt for atrackball rather

Iwould be more than naive, of

Which brings me to the primary ob- than amouse for controlling on-screen course, if Ifailed to acknowledge that

jection Ihave to using CRT displays in selection tasks; finding aflat surface the primary reason why most, if not

the studio: aside from their physical near aproduction console is never all, of the currently available systems

size and current resolution quality-- going to be easy, Ipredict.) Alternative- utilize amodified minicomputer en-

both of which mean that acumber- ly, a light pen or agraphics tablet gine, CRT display, hard-disk storage

some device needs to be located rea- would enable interrogation and con- and QWERTY keyboard is simple.

sonably close to the engineer at the trol functions to be streamlined.

Such workstations are readily availa-

center of the monitoring system--very

When the time comes to label a ble at low cost, and can be easily

few, if any, contemporary designs ac- composite track, for example, or desig- modified with the addition of high-

knowledge the fact that display and

quality A-to-D/D-to-A converters and

control are two complementary rather

suitable software to manipulate 16-

than separate functions. Just as asim-

bit audio, as opposed to handling, for

ple control knob provides ameans of altering an electronic circuit, such as

Digital control, if

example, conventional word processing, spreadsheets, databases and

an equalizer or effects-send level, it also displays its current value. (And

effected properly,

CAD/CAM tasks. The problem Ihave with such arationale is that it side-

that is why, to my mind at least, few designers of digitally controlled, as-

not only simplifies

steps the fact that most of us do not consider it reasonable to have to

signable or virtual analog consoles have solved the vexing problem of how to automatically reset rotary controls to display previously memorized settings.)
What Iwould like to see is adisplay
technology like atouch-sensitive, elec-

the tasks that we perform routinely during asession, but also extends the

change the way in which we normally work with audio in the studio.
Again, to be fair to at least one manu-
facturer--and the only one, to date, that has shown acombined digital re-
cording, mixing and random-access
editing system using hard-disk tech-

tro-luminescent screen, which would show us information about the produc-

types of operations

nology-- the development of asuitable control surface is not to be under-

tion task being performed, such as a listing ofavailable digital sound effects
in a library of 5,000 samples. Then, without moving our eyes away to a

we can undertake in the studio.

taken lightly. Such adesign has to ac-
knowledge that recording and production engineers need to be presented with acontrol surface that bears apass-

separate control panel, it would allow

ing resemblance to conventional ana-

us to replay an effect for auditioning purposes, or to drop the selected effect into an EDL at the current time code

nate the title of aproduction session,

log designs, but which incorporates the necesslry advances capable of being included with avirtual or assign-

location (which, usefully, should also then apop-up menu-based environ- able design.

be displayed on the screen). The way in which information is

ment could provide an on-screen keyboard, or aconventional Q'WERTY key-

Digital control, if effected properly, not only simplifies the tasks that we

presented need not be restricted to board assigned temporarily via, for ex- perform routinely during asession, but

conventional alphanumeric characters ample, acordless IR link. Either way, I also extends the types of operations

--although these would be necessary would prefer to work with asystem we can undertake in the studio. With

for providing descriptions of input as- that relies almost totally on screen- analog designs, such tasks as the dupli-

signments and track outputs, for exam- driven displays and menus, without cation of EQ and dynamics control

ple, as well as time code locations and lengthy input sessions from an exter- across aselection of channels/tracks

EQ center frequencies. What about an nal keyboard.

can be cumbersome, to say the least.

icon-based display scheme, such as

There are also first-generation digi- Whereas the control signals derived

those featured on Apple Macintosh, Commodore Amiga and Atari ST per-

tal recording and editing workstations available today that have evolved from

from an all-digital console can be routed simultaneously to any number of

sonal computers? Ipersonally consid- complex digital synthesizers. What I functions.

er the use of pictorial illustrations of hope to see in the very near future,

Acouple ofyears ago, one company

routine functions to be much more however, is amove by such companies developed adisplay and control philos-

efficient in terms of screen space and towards offering dedicated systems for ophy which represented an excellent

instant recall of the kinds of tasks as- audio post-production and editing, first attempt at combining operator

sociated with specific projects. Suit- and which do not include amusical

-CONTINUED ON !MOE 179

24 MIX, FEBRUARY 1988

What LA's Largest
Pro Audio Dealer Can Do For You

W ith over 200 different brands of pro audio/ video equipment, we offer you the best selection in the west. And we carry amuch larger inventory so chances are we have what you need in stock.
We'll keep you abreast of new developments, new options, and updates for your equipment so you're always current and usually ahead of the rest of the industry. New Demonstration Rooms
Since we moved to larger quarters here in Burbank we've opened two new fully equipped showrooms. In the Pro Room are three complete, operating production systems--consoles, monitors, tape machines (including 32 track digital), and signal processing/effects gear. Our second room has three more complete production systems set up to hear and compare. This room caters to the

audio/video needs of musicians and production studios. Just the Facts, Ma'am
Things change quickly in pro audio. To make sure everyone here knows all the facts about the latest equipment, we've added aProduct Specialist to our staff. His only job is researching equipment--reading brochures and tech manuals, going to trade shows, talking with manufacturers--and sharing that knowledge with our customers. New Central Location
We're easy to get to from Hollywood, LA, and the valleys. And with more room, we've enlarged our technical and parts departments for even better service and support.
Come by and visit us in our new building. Turn some knobs in the demo rooms. Or just call and we'll be happy to discuss your pro audio needs.

Receptionist Karyn Thomas

''I

Sales Consultants (I to r): Jon Beachdell, Michele Schwartz, Paul Freudenberg, Paul Svenson, Ben Ing, Carl Marinoff, Bruce Bell, Mark Lever, Thom "Coach" Ehle, Elmo Ponsdomenech. (Not pictured: Con Psorakis.)

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Some of our support staff (I to r): Brian Cornfield, President; Niki Simpson, Accounts Manager; Darrin Miller, Purchasing Agent; Carol Gumbel, Controller; Vanessa Perea, Purchasing.
Circle #007 on Reader Service Card

THE ADVANTAGES A StitIO CONDENSER WITHOUT A I!» OF ITS OWN
-0»

Photographed On location at Clinton Sound, Neil , York, NY

For all of its virtues, the typical studio condenser imparts adefinite character to any recording. These impositions are often considered inevitable technical imperfections: accepted, ignored or tolerated by audio engineers.
Characteristic anomalies of-condenser performance such as exaggerated high end response or distortion have even been rationalized as compensation for the high frequency losses inherent in typical analog formats. Nowadays, however, they are increasingly viewed as unnecessary intrusions in critical analog and digital recording situations.
A Condenser For The Digital Era: The Difference is Nothing. The increased dynamic range of digital recording is perfectly complemented by the self-effacing nature of the MC 740. The microphone is virtually inaudible. No coloration, no self-noise -- no sonic footprint, not even afingerprint. All

five of its pickup patterns are equally uniform, identically transparent. We feel your prior experience with large diaphragm condensers will confirm this as aunique achievement.
An Atypical Approach To Condenser Sound. Beyer has never relied on conventional technical solutions. A manifestation of this kind of thinking, the MC 740 eliminates the icy, strident quality typical of most condensers to reproduce voices and instruments with warmth and intimacy. It's no coincidence that these are characteristics often ascribed to our ribbon microphones.
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classical. Sometimes for classical piano music the producer wants adifferent piano sound, so in that case Imove the mics farther away. Iwill soon be recording aSwedish band that plays African music. That should be very interesting. Most of my projects are records, but Ihave done some sessions where we sync to video for various purposes. And I've done afew commercials, but in Norway there are no commercials on TV. You pay alicense to watch TV here. However that situation will be changing soon."
John Hudson Mayfair Recording Studios is the home base for engineer/producerJohn Hudson. Among his recent projects there have been albums for Tina Turner and for the Norwegian group, a-ha. He summed up his philosophy this way: "There isn't ahard and fast rule. You never just mathematically do the same thing twice, because it's really how the instrument is played. You have to listen to it and go from there. It's like saying, 'How do you write asong?' Some people can tell you they use the same EQ and the same mics every time they record apiano. That's not being very creative, is it?"
The studio piano at Mayfair is a9foot Bosendorfer. For both the Tina Turner and a-ha albums it was recorded as an overdub, so leakage was not a problem. "The guy who played on the Tina Turner tracks really digs into the piano a lot," Hudson says. "I think PZMs sound better for that kind of player. In that case Iused two PZMs on the inside of the piano lid with the lid slightly open. If the person is playing more pianistically, you want asound that is not so close. For the a-ha session Iused apair of AKG 414s with the lid all the way up.
"When you're recording you get a sound while you're listening to the person playing live. Once you're committed to tape, obviously if you go to analog and then you play it back it's totally different. When you deal in digital it sounds the same as it did when the guy was doing it. So when you're mixing using analog you may have to work abit more than with digital. I sometimes will EQ when I'm recording, and might use compression when Igo to mix."
Joseph Magee Since 1985 Joseph Magee has been the audio production engineer for the Los

Angeles Philharmonic Orchestra. He has also recorded chamber music with pianist and conductor Andre Previn,
and an international broadcast series called High Performance with Previn as host which was scheduled for aJanu-
ary premiere. Some of his other proj-
ects have included the Los Angeles New Music Festival and the 1984 Olympics.
Much of his recording takes place at either the Dorothy Chandler Pavilion
in LA. or at Royce Hall on the campus of UCLA, where some of the Philips and TelArc work is done. "In classical music you generally don't want the piano to sound percussive," he notes.
"You want the sound to come together first. So Istart with atraditional 3- or 4-way omni system, which Ibelieve gives the most honest perspective. At Royce, for example, Bruel & Kjaer or Schoeps mics work well. Dorothy Chandler is abrighter hall, and abit tinny, so there I'll go with Sennheiser MKI-1 20s or MKH 40s, which Ifind are alittle warmer. If I'm recording alive
situation with piano and orchestra I might use the 4-way system with the inner omni or ORTF for the orchestra, and slightly cheat the main left and right mics up, to back off the piano a bit. That doesn't always work, so I
might touch up the piano with apair of Schoeps MK5s a foot apart on a stereo bar six to eight feet away from the piano. I'll position them about eight feet high, looking into the instru-
ment to give it more definition. If I need to get closer Iwould use two
13&K 4006s, but by jumping in the lid I've already violated several classical recording concepts, so now I'm hold-
ing on for dear life. "If Iuse directional mics such as
C-24s, Coles 4038s or Schoeps hypercardioids for the entire ensemble, I've found that the mic position for that ensemble generally has nothing to do with agood piano sound because of the frequency response of those capsules and their position in the hall. In
the past, I've used such asystem for the ensemble and aseparate omni system for the piano. With ribbons like
the Coles 4038 Iget apretty respectable sound, but acondenser mic accentuates the percussiveness of the pi-
ano. Ribbons are softer and the transients are better. For solo piano work in alive situation, I've used Coles 4038s and omnis together and gotten avery nice sound.
"In classical recording you run into

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FEBRUARY 1988, MIX 29

I'm from the old school where we did everything mono and 2-track live, so I don't use limiting, and very little EQ.
Maybe I'll roll alittle off at 20 to 30 Hz if I'm getting the bass player on the
piano track. "For solo piano work we can use
the room acoustics. I'll still mic close with either Neumann or Schoeps. For ambient mics, I'll use either Neumann or Sennheiser 405s. Itry to get as live a
room as. possible for that type of situation."

Ray Charles, Jerry Lee Lewis and Rolling Stones member Ron Wood, relax on stage at Storyville Jazz Hall in New Orleans during the
production of the recent HBO Special Fats and Friends, recorded by Paul Christensen of Omega Audio.

alot of different, really fine pianos. It's important to capture the truest and best aspects of each piano, and each one is an individual. The first thing I do is take into account the character of aBaldwin, Steinway, Bosendorfer or what have you. The second thing Ido is talk to the piano technician to understand how he's going to voice the instrument, and Ilisten to him tune and voice it. Finally Ilisten to the artist practice on it. Ihave heard some incredible pianists who are able to sit with apiano for two or three hours and coax the best out of it. Others who are world renowned will sit down and beat it regardless of what the instrument may be saying back to them. You never know what you're going to get out of an instrument, so each has to be approached individually in the end.
"I also want to say that Ifind that cable and preamps have alot to do with getting agood sound as well as the other things we've talked about. Right now I'm using Jensen mic preamps and Monster Cable M1000."
Fred Weinberg Occupying the other end of the spectrum is producer/engineer/composer Fred Weinberg. He has won 21 Clios for his musical contributions on commercials for Excedrin, Eastern Airlines, Volkswagen, Mobil, TRW and many more. He has also recorded albums for Blood, Sweat &Tears, Tito Puente, Mongo Santamaria and Eddie Palmieri; and he has written themes for the ABC

Evening News and motion pictures including Rosemary'sBaby. He has areputation in the industry for creating unorthodox sound effects using imaginative techniques and his adventurous spirit manifests itself when he records
pianos, too. Listening to him enthusiastically describe his experience, you can tell that this is obviously aman who enjoys his work.
"We've tried some pretty wild things, like throwing abunch of firecrackers inside the piano with the sustain pedal down and recording the explosions,"
he says. "Also we had a6-foot by 10foot room. We put apiano in there and
tried taking as much wood off the piano as possible and using the room acoustics. We just hung mics in various corners of the room. It was apretty
interesting sound. "I do alot of Latin dates using piano.
Iuse alot of different mics, but Imight
use Neumann U47s or U87s closemiked. Sometimes Iuse PZMs. For Ed-
die Palmieri Iuse an old RCA ribbon 44 on the low end. With Eddie, often
he just comes in and there's very little time even to get levels. So we're prepared for anything. He does alot of humming and singing, and we tried to minimize that by putting blankets over
the piano or by putting cardboard in front of his face, but in the end we felt that it's part of his sound. Most of his stuff is done live, with very little overdubbing. Ijust have the horns facing away from the piano and Iopen the lid and cover the back end with blankets.

Paul Christensen Engineer and producer Paul Christensen has worked with over 200 major artists over the last 14 years, including
Ray Charles, Lynyrd Slcynyrd, Joe Jackson, Willie Nelson and Al Jarreau. His company, Austin-based Omega Audio,
does extensive live remote recording as well as in-house work.
"The kind of piano sound Iget de-
pends on the job I'm doing," he says in his appealing Texas drawl. "When we do the mobile stuff, many times we have to trade-off air for isolation. Often you've got pretty loud monitors so you cannot use the mic of choice. So what we use in that situation is stereo Cducer tape mics [made by C-Tape Developments, Inc.]. They give you an excellent, ballsy sound. You get the fundamentals, the presence and the articulation you need, but they lack the air you might get if you couple them with PZMs or arelatively tight
condenser mic. Iused C-Tape on Lynyrd Skynyrd's 10-year reunion tour for
their live album. Then Iput alittle bit of high end back in when Imixed.
"For medium loud stage situations I'll couple that with AKG 451s or 414s. I'll use two more tracks and bring in enough of the mic sound for the air
but not enough to bring in alot of bleed. Ialso built alittle box, that goes over the hammers, out ofblack formica
so it matches the piano. It sticks up about six inches right behind the music stand. There are mouse holes on each side, and it's got Sonex [acoustic
foam material] inside. So you put your mic stands in from each end with the
414s over the hammers facing down. You get avery bright percussive sound with very little bleed. Iuse this along
with the C-Tape. Or Imight use PZMs with the tape. If Ido, Iusually put 'em on the rim inside the piano, one on the high end and one at the foot of the piano. Alot of times if I'm doing aIV
gig and the director wants the lid off

30 MIX, FEBRUARY 1988

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were done. But ultimately the answer to getting agood piano sound is dependent on having agood piano."

Steve Williams Wool Hall in rural Beckington, England was the site of Van Morrison's
most recent effort. The setting for the basics included seven musicians, including acoustic piano. Says Wool Hall engineer Steve Williams, "We're start-
ing to see areturn to the use of acoustic piano. We're realizing one can't get the perfect piano sound from asampler." In the Van Morrison situation he used apair ofAKG 414s in tight, closed the lid and put acoustic deadening
materials in the gaps. "For solo piano I might open the lid up at 60 degrees and use apair of414s, one at the top of the keyboard, about six inches away,
and one at the bottom about 12 inches off. And then I'll set up aNeumann U87 about ten yards out."

Producer Orrin Keepnews in the studio with pianist Mulgrew Miller (seated).

'cause he thinks it's real sexy to shoot into the piano Igo with just C-Tapes, which attach to the wood underneath. C-Tape is sensitive to phasing. You can get agreat sound in stereo, and it will suck in mono. You have to watch your phase, and move the tape around to minimize it.
"I use EQ quite abit. IEQ to the max whatever Iwant to see on tape. You can't have any preconceptions about how to EQ. I'm running into all kinds of pianos out there. Every one of them is different. Iput the piano onto tape dry 99% of the time. My experience with pianos is that there are companies that simply make better pianos, but there's no guarantee that you can walk in and buy such and such brand with agreat reputation and be sure that it's akiller piano. Ifind that some of the 'Rolls Royces' sound terrible, and some of the ones without that reputation will knock your socks off"
Raine Shine British producer and engineer Raine Shine is probably best known for her association with Vangelis, having worked with him on Chariots of Fire, Friends of Mr. Cairo and several other

projects over athree-year period. She also has worked with producer David Lord on the last two Icehouse albums.
"Vangelis had afantastic piano, a Steinway," she recalls. "You could put amic anywhere in the general vicinity
of the piano and it would sound amazing. What we did was put avery direc-
tional AKG 451 on the treble end, four to six inches from the strings, and an AKG 414 on the bass, crossing them over in the middle. If you want anice
stereo image it really does work well. Sometimes I'd put an extra mic outside the piano to get an ambient sound, but normally not.
"I recently did aproject with jazz sax player Courtney Pine at Island Records' in-house studio called the Fallout Shelter. It was aquartet which was
recorded live and mixed in one day. The piano in that case was not as brilliant as Vangelis'. Because it was an SSL desk and Idon't like using EQ or dy-
namic sections on an SSL desk, Iused a
pair of Pultec parametric EQs and brightened the piano that way. Iput
screens up in the room, closed the piano lid and propped it up with a
book. The separation was good enough to do afix on the piano after the basics

Orrin Keepnews One of the most notable jazz record
producers of the last 20 years, Orrin Keepnews has worked with everyone from Thelonius Monk to Bill Evans
and alot of people in between. He currently devotes much of his time to his own record label, Landmark Records, but throughout the years he has worked on afreelance basis as well. He brought aperspective to this forum which fittingly is not unlike that of a
jazz musician: "You're never recording jazz piano,
you're recording aspecific jazz piano
player. Ithink the whole concept of 'Well, Iknow how to record apiano, I always do such and such' is bullshit. I've seen too many situations over the years where you end up getting the
sound of the studio or the sound of the engineer. It's an important point about jazz recording that may not be true elsewhere; Ibelieve in letting the
musician play the date and letting the engineer record the date. The key to jazz recording has always been flexibil-
ity--not going in with apreconceived notion or procedure. You've got to go in saying only, 'This is who I'm recording, this is the kind of material, this is the size of the group, etc.' All of these things will influence what I'm going to
do with the piano.
"Budget is also afactor. Often you use the mics you've got. And besides, a lot of the mics Iused when Iwas starting out aren't around anymore. I've
been fortunate to have established a

32 MIX, FEBRUARY 1988

wonderful working relationship with engineer Danny Kopelson at Fantasy. And on the East Coast Iwork alot with
Rudy Van Gelder, and also ayoung guy
named Tom Mark, who recorded jazz pianist Mulgrew Miller's last three albums with me."
David Baker David Baker's production career began in the late '60s. He was affiliated with the VanguardJazz label until 1975, and has freelanced since then. The majority of his work is for the German and Japanese market. His recent credits include Richie Beirach's Ballads II, Landscape with Kenny Barron, Cecil McBee and Al Foster, as well as releases for Blue Note, Inja, Japanese RCA affiliate RVC, and CBS Sony in Japan.
"I use Sanken mics alot when I'm in aconcert hall situation. There, Itend to go with B&K 4003s outside and Sankens very closely crossed inside the piano two-and-a-half feet above the strings facing down towards the front of the harp. Idid that for Richie Beirach's Ballads IL which was recorded at New York's Masonic Hall straight to aSony 3202 with asmall Amek board and no equalization. Ireally love Sankens. Idon't own alot of mics, so I'll rent Sankens for those special solo situations. When I'm in the studio I'll use a 4-mic technique if Ihave good isolation from the drums, with I3&Ks or Schoeps outside the piano lid about six feet apart and apair of Neumann 87s or 89s relatively close.
"And this is something Ilearned from Manfred Eicher when we worked in New York: he'll put the inside mics through apair of Pultecs. He'll do a broadband boost at 8kHz with the dial about halfway up on the Pultec, and then kick up 100 Hz to about 3on the dial. And he loves those tube equalizers because they round out the sound. I've actually had my mics up and had a pretty decent sound and he's said, "Vait aminute. Let's go to de tubes.' We plug in the Pultecs at 100 and 8k and boom, there's the ECM sound. He's one of the few producers that actually calls for things, rather than saying, `Make it yellow.' So Imight do this with the inside mics, but I'll leave the omnis flat. They give you that blossom and that sense of space and reality."
Mix associate editor Paul Pooen is a veteran keyboardist who currently leads his own Latin jazz band, Canoneo.

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FEBRUARY 1988, MIX 33

OCAL LINE

by Thomas Appell, Michael
McCone, and Me Rojas
Back in November '86, we wrote about afew suggestions and ideas for producers to improve the quality of the vocal performances in their sessions. In this issue we take it astep further and itemize aseven-pointplan to make the relationship between the producer and vocalist more productive and emotionally satisfying.
Producers and engineers who direct or record vocal sessions should realize that even talented singers who have lots of ability, experience and emotion will do abetter job with intelligent direction from the control room.

Step 1: Look for weak lyrics. Find the phrases that don't fit. If the songwriter is trying to convey amessage, it should come through loud and clear. If the song was made intentionally ambiguous, it should leave you wondering in aclever way. Every word, phrase, verse, bridge and chorus should be scrutinized.
Don't just point out the problems, either. Think of solutions--new words or phrases that will improve the song.
Step 2: Analyze the arrangement. Now that the lyrics are in their best possible shape, it's time to step back and take alook at the structure of the song. Is it too long or too short? Does the chorus repeat too many times or

Thomas Appell (center left), Ate Rojas (left), and Michael McCone
(right) working with Pomona vocalist Steve Mercado at Vocal Dynamics West Covina studio.

not enough? Should there be abridge between the verse and chorus? How about an instrumental solo, and if so, where, and for how long? You may need to scratch out afew new lyrics.
You'll also need to find the best key for the song--the one that makes high and low notes fall where the singer will sound the best. To accomplish this you should have the vocalist try the tune in every key that could be reasonably considered before making afirm commitment.
When the lead vocal line is correctly keyed and arranged, review the song from start to finish and plan the best places for background harmonies. Think of how many parts to use, the harmonic structure, and whether or not there will be male or female voices singing the parts.
Step 3: Plan the breath points and exhales. Consider the length of each phrase, along with the degree of difficulty. Also, consider the expertise of the artist you will be working with. Every breath point marks apossible place to punch in later on when recording, and you should probably plan on breaking up difficult lines with abreath point to facilitate the tracking of inexperienced singers. On the other hand, an unnecessary breath can chop up the feel and flow of an otherwise tasteful phrase, so you'll want to exercise discretion when planning their placement.
When the breath points have been located, you can start preparing your vocal production worksheet. Write the song in phrases ending each line at a breath point, one breath per line. Leave enough space between each line for the notes you will be adding later.

34 MIX, FEBRUARY 1988

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Write the words out as they would be sung, in order. If the chorus repeats three times, write it out three times. Even though the lyrics may be the same, there will no doubt be significant changes in the ornamentation of each repeating part which should be noted on the worksheet.
Even though we know the song is arranged in phrases ending at breath points on the worksheet, it's helpful to see avisual reminder, so at each breath point in the song we'll put asymbol-- acapital "B" in acircle.
We're also going to note what's called an exhale--a place where the vocalist blows out the air left in the lungs after singing ashort phrase. Exhales lend alot of emotion to whatever word they're attached to.
Step 4: Check the enunciation and pronunciation. Look at each word starting with avowel sound on the worksheet and decide which ones are to be enunciated, and which ones are to be run together with the preceding consonant or vowel. If you decide to enunciate avowel sound, you might put avertical "tick" on the left side ofthe vowel. Ifyou want to run it together with the preceding consonant or vowel, place adash between the two words. Stressed consonants are noted by placing avertical tick on the left side of the letter being stressed.
Another useful pronunciation trick is to cry when pronouncing aword. Cries are physically produced by a quick drop in pitch, and like exhales, can lend alot of emotion to aphrase. They are noted by writing the word "cry" in acircle on the left side of the word on which they're used. Note all of the cries, stressed consonants, run together, and enunciated vowels on the production worksheet.
Step 5: Improve the melody using grace notes and runs. We usually indicate all of the pitch changes on each vowel sound using quickly drawn stick figures with few timing markings, if any. Grace notes serve as amental jog for complicated dips and runs, not as an exact musical representation of the piece.
There are two kinds of grace notes --fast ones and slow ones. Afast grace note is so fast that it almost seems like apart of its adjoining note. This quick little rise or drop is noted by a45degree slash through the stem of the grace note. Slower grace notes are

Sample production worksheet with vocal treatment notation

/I

i.,ult

Ken - o t,`)

-There's-a bey -LP Kiiow Épe3.. )
5
He +he one-I

CB) ---irearri-of

1-00 t.j

117-l.2 4V

®®

my 'eyes

-0-

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noted by astem without aslash. We also note what are called "trails"
--places where the artist allows the pitch to go down or up with alot of portamento at the end of anote. Trails are noted by aquarter circle drawn in the direction of the pitch movement.
You should probably start your production work in this department by noting what the artist did on their demo, and then customize as necessary, adding grace notes, runs and trails as your wit guides you.
Step 6: Plan where vibrato will and will not be used. During pre-production, you should go

over every line asking yourself, "Does this line need vibrato or not? If the
vibes here are necessary, how is their quality? Is the vibrato depth too great, leading to an operatic sound, or not great enough to properly enhance the melody? Are the vibes even, unstable, or too even--mechanical sounding?" Work with the singer, planning vibrato in light of their ability to produce it.
If you want to count vibes, they're
noted by writing 5V, 6V, 7V (short for 5 vibes, 6vibes, etc.) above the word or syllable on which they occur. Vibrato rate is written 2V/B, 3V/B, etc., symbol-
izing two vibes per beat, three vibes per beat, etc.

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38 !NIX, FEBRUARY 1988

Circle #066 on Reader Service Card

One plus point for counting vibes is when tracking atight punch-in. For example, you may find the hole for your punch effectively eliminated when asinger puts seven vibes on the end ofanote where six vibes leave just enough room. Noting the number of vibes above the word on the production worksheet also acts as avisual memory jog for the singer and helps instill confidence. Vibrato rates are usually specified when the number is not critical, but the vibrato timing needs to be uniform and predictable, as when syncing the vibes of harmony parts, and when the duration ofvibrato is longer than would be feasible for counting.
Counting vibes and specifying vibrato rates will lead to asmooth, even vibrato which is usually, but not always, what will best suit asong. There are times when perfectly executed vibrato sounds too even, like adrum machine that leaves you longing for the subtle changes inherent to real drumming. For those times just write the word "vibes" above the word they're executed on and ask the singer to add vibrato by feel with no regard to timing.
Step 7: Plan the dynamic changes. Once again, go through each line looking for places where the singer should come on stronger or back off to enhance the interpretation of aparticular
phrase. Using ascale from one to ten, you can easily note dynamic changes by putting asmall number representing the desired intensity under the corresponding lyric.
Early in the pre-production sessions you should get afeel for the caliber of artist you're dealing with. Try not to embarrass inexperienced singers by insisting on complicated ornaments that are too much for their present ability level. Try to produce aversion of the song that's spicy enough to sell
but simple enough to record in areasonable amount of time. You might
plan on recording asimpler version of the song, but give the artist some juicier parts to practice in the meantime. If he or she woodsheds between preproduction and production, then may-
be you can record that spiced up version after all.
Anyway, it's time to jot down the
dynamic changes on the production worksheet, using the numbering scale
mentioned earlier.
--CONTINUED ON PAGE 178

TESTED. PROVEN.

The Carver PM-1.5 Magnetic Field Power Amp--For performance, reliability and sound.

On the Road Since the professional debut in 1983 of
the Carver PM-1.5 Low Feedback High Headroom Magnetic Field Power Amplifier, the sonic excellence and reliability of this 21-lb., 450 watts per channel* powerhouse has been tested-- and proven--on some of the biggest and toughest tours ever to go on the road. 108 Carver PM-1.5's were used by Clair Brothers on the Bruce Springsteen tour, and 180 PM-1.5's on the Michael Jackson "Victory" tour. In both cases the result was purely awesome power.
"Our new Carver amp racks pack twice the number of channels in about the same truck volume as the conventional racks they replace. In addition the average power per channel has increased while the average weight per channel has decreased. In the low end, for example, we now have 1,200 watts per cabinet where 650 watts were previously available. They take less room on the truck, they weigh less and our systems have more headroom than before. The Carver amplifier has allowed us to take asignificant step in improving our sound systems." CLAIR BROTHERS
And not only asound industry giant like Clair Brothers tours with Carver.
"We have toured Carvers with the following artists: Softcell, Paul Young, Johnny Mathis, Donna Summers, Howard Jones, Pointer Sisters, Psychedelic Furs, Lee Greenwood, General Public, George Thorogood. This is exclusive of our numerous one-nighters. The consensus of the performers is that the equipment sounds great. They have been amazed by the sound of the amps as well as their size and weight. As for reliability, out of 50 amps we had only one fail in the past year of touring. This is by far the best record we've had with any manufacturer of amplifiers. Sonically, the extra headroom is readily apparent. We, at Manticore unanimously agree that the PM-1.5 is incredible and is the only amp we intend to buy."
Tom Whisner (owner) MANTICORE
In the Laboratory The Carver PM-1.5 was rigor-
ously tested by Len Feldman for MODERN RECORDING (February 1985). His laboratory test results also prove that the PM-1.5 really delivers. The following quotes from the Lab Report are reprinted with permission of MODERN RECORDING &MUSIC:--
"The first thing we noticed when we began to work with the Carver PM-1.5 was the ease with which the amplifier delivered almost limitless power to speaker loads which we had previously considered to be difficult to drive to loud levels. This is the sort of amplifier that just refuses to quit"

"The amplifier delivered aclean 480 watts per channel into 8-ohm loads with both channels driven for its rated harmonic distortion level of 0.5%. Even at the frequency extreme of 20 Hz. power output for rated TH Dwas 470 watts as against 450 claimed by Carver. Furthermore, at rated power output, distortion decreased to an insignificant 0.015% at mid-frequencies and 0.007% at 20 Hz. When connected to 4-ohm loads, the PM-1.5 delivered 750 watts per channel for rated THD of 0.05%-- far more than the 600 watts claimed by Carver. Clearly, when it comes to specs for aprofessional amplifier, Carver has taken avery conservative approach...All (manufacturer's claims) equaled or exceeded published specifications--usually by awide margin!'
"Carver has managed to deliver atremendous amount of power in asmall lightweight package at avery reasonable cost..."
"For the professional audio engineer or technician who has to move alot of gear around much of the time and who expects total reliability and circuit protection, come what may, the Carver PM-1.5 represents, in our view, areal winning product We will probably see it used increasingly by professionals in every area of sound reinforcement!'
Now--don't you think you owe it to yourself to hurry over to your local Carver Pro Sound Dealer and test your own PM-1.5? Whether you run amegawatt sound company, astruggling bar band, or arecording studio gearing up for digital, the Carver PM-1.5 will pay you. In increased portability and reduced freight costs. In freedom from expensive blown drivers. In sheer sonic excellence.
*Power: 8ohms, 450 watts/chan. 20 Hz-20 kHz both channels driven with less than 0.5% THD, 4ohms, 600 watts/chan. rms 20 Hz-20 kHz both channels driven with less than 0.5% THD. 16 ohms, 300 watts/ chan. 20 Hz-20 kHz both channels driven with less than 0.5% THD. 2 ohms, 525 watts/chan. at clipping, 1kHz, with less than 0.5% THD. Note: 2-ohm specification for information purposes only. Operation at 2ohms is permissible but not recommended. IM Distortion: Less than 0.1% SMPTE. Frequency Response: -3 dB at 3 Hz. -3 dB at 80 kHz. Damping: 200 at 1kHz. Gain: 26 dB. Noise: Better than 115 dB below 450W A-weighted. Input: Balanced to ground. XLR or phone. Impedance: 15k-ohm each leg, balanced to ground. Bridging: 1200W into 8ohms, 1000W into 16 ohms, accessed through rear-panel recessed switch. Dimensions: 19 in. wide, 31/2 in. high, 101 5/16 in. deep. Weight: 21 lbs.

POWERFUL

MUSICAL

ACCURATE

Circle #023 on Reader Service Card

For more information write to CARVER CORPORATION, 19210 33rd Avenue West, P.O. Box 1237, Lynnwood, WA 98046

INTERNATIONAL ·UPDATE

BITS & PIECES

sdhis

age ew at Pads' Salon
The Salon International de la Musique, held last September in Paris, may not yet have the drawing power of Frankfurt in the European instrument industry, but it is becoming an increasingly popular event. Its growing international importance was shown this year by Yamaha's decision to stage the world launch of its TX16W sampler there.
The Salon is organized not by aretailers' association as in the States, nor by adistributors' association as in Britain, but by aFrench magazine publisher--Bernard Becker Communication, which produces aclutch of instrument magazines.
The Yamaha TX16W sampler is arack mount unit similar to the Akai S900 in appearance and price. It's obvious from its features that Yamaha, which only a year or so ago was denying any interest in sampling, has thought long and hard about how to make its debut machine different.
What it has come up with is Dynamic Digital Filtering which enables awide range of tonal effects to be manipulated in real time. Examples demonstrated were programming avelocity-triggered ring modulation on a guitar voice, emphasizing anarrow frequen-
cy band on apipe organ sound while controlling the amount of emphasis
by footpedal and programming areal-

istic simulation of vocal vowel for-
mants to make the TX16W "speak" as you play.
Controlled by LFO, EG or any MIDI control data which can be stored in
internal memory, the Dynamic Digital Filter is apowerful musical tool which
obviously makes the TX16W much more of a"real" instrument.
Other features of the sampler include up to 16.3 seconds of sampling
time at 16 kHz mono, assignment of up to 32 sampled sounds to one "voice" for preservation of natural sound characteristics across the keyboard range, layering of up to 16 of these voices,
key-crossfade function to allow gradual tonal changes rather than abrupt key splits across the keyboard, and touchcrossfade to permit up to 16 voices to blend in and out of each other as a function of key velocity.
Invariably, the majority of the show was filled with U.S. and Japanese equipment--most of the U.S. companies such as E-mu, Hybrid Arts, etc. enjoyed the relative calm of sealed off and soundproofed booths courtesy of their French distributor MW (Musicland Distribution).
Italian newcomers Fatar showed an interesting new 88-note MIDI master keyboard, the Studio 88, featuring 100
patch programs and multiple splits. The keyboard is weighted and velocity

Yamaha TX16W Digital Wave Filtering Sampler

_ r in9 menu . Par ameter

select 1 -- 3 . Level set 3. Pecord

'''''llliatjeli

40 MIX, FEBRUARY 1988

WHAT YOU DO WITH THE M-600 MIXER IS
YOUR BUSINESS.
That's why we've designed it to meet or exceed your most demanding requirements. And made it the easiest, most flexible professional mixing console you'll ever work with.
The M-600 is modular Which means you can custom configure the console to your audio or video production needs. The M-600 lets you choose up to 32 input channels, or you can start with 16 or 24 input channels and expand the board as your needs change. Optional stereo modules can also be added to provide even more line inputs for MIDI instruments and video production convenience.
Installation and wiring is exceptionally easy The M-600 is the only modular mixer that's available with all the necessary finished cables and installation hardware. And that can eliminate alot of installation hassles and expense. At the same time, no other mixer at its price gives you multi-pin, computer-type connectors for quieter, more secure connections.
But the real pleasures of the M-600 will only be evident after it's in your studio. Up to 64 stereo or 128 mono
inputs can be accessed directly from the top panel. Apatch bay can be added for fast, flexible routing. That's convenience.
The M-600 has all the features you'd expect in a professional mixing console. Like balanced insert patch points on all inputs, PGM busses as well as the stereo master buss for increased signal processing capability. Plus sweep-type parametric EQ, balanced inputs and outputs, phantom power talkback/slate channel and all the audio performance you'll ever need. Without the exorbitant price you don't need.
So check out the M-600 modular mixing console. It's ready for fame when you are.

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THEN WE DEVELOPED S/A SYNTHESIS
TO RE-CREATE

If you play piano, it's something you almost take for

granted--you press apiano key, and afelt hammer strikes a

string, which then vibrates. Asound is produced. But behind

this seemingly simple event are amyriad of issues, all of

which determine the nature and character of the sound. How

hard did you strike the key, and at which part of the

keyboard, and how long

was the note held?

Sampled piano sounds, as

good as they are, can

provide only part of the

answer. Asampler only

looks at asmall part of this

process (for avery short

time) and then simply

loops it to create the whole

event. That's why sampled pianos lack the dynamic response and sound character of areal piano,

A SAMPLER ONLY SEES A SMALL PART OF THE SOUND

they don't see the whole

picture. (Don't get us wrong --we like samplers --it's just that

they don't provide the best solution to reproducing

percussive keyboard sounds.) We felt there must be abetter

way, and that's why we developed S/A Synthesis

Technology--the basis for all of our Digital Piano products.

S/A (Structured Adaptive) Synthesis Technology began with

years of research. Roland engineers analyzed the striking of

each of the 88 keys on several of the top concert grand pianos

using acomputer-assisted three-dimensional analysis process.

We hit the keys hard, we hit them

soft, and hundreds of in-betweens.

First came the discovery of several

distinctive waveforms that essentially

characterize each acoustic piano

sound. But then we saw that the

harmonic structure of these

waveforms changes dramatically

with how hard the key is struck or

where it is on the keyboard. Also

realized was the effect of sympathetic

vibrations, soundboard resonance,

damper and sostenuto pedals.

From this analysis, Roland engineers

created advanced digital algorithms

of these complex harmonic

relationships-- for each key on the

piano. These were then refined to

the ultimate degree, taking out all

unnecessary noise and coloration.

Finally, these algorithms were combined with our proprietary

VLSI (Very Large Scale Integration) hardware and software

technology to produce the S/A Sound Synthesis Chip, the

circuit used in all Roland Digital pianos.

The result is already making musical history as the most

faithful digital re-creation of the acoustic keyboard

experience: the RD-1000, RD-300S and RD-250S Digital

Pianos and the MKS-20 Digital Piano module-- three

keyboard instruments and one MIDI module

that provide the fundamental sounds essential

to any keyboard set-up.

Just sit down at one of these instruments and

experience grand pianos that are truly grand,

ringing with life, brilliance and clarity, but

with simultaneous depth and fullness on the

low end of the keyboard. Strike anote hard

and actually hear the sound of the hammer

hitting the string. Play it gradually softer, and

S/A SYNTHESIS TECIINOLOGY ANALYZES THE WHOLE EVENT

feel the tone get rounder. Hold down the damper pedal and experience the sustain and natural decay. But Roland engineers didn't stop with pianos, in addition to the two grand

pianos and one electric grand piano, we've

applied the same S/A Technology to create flawlessly realistic

Vibes, two rich Electric Pianos as well as vibrant Harpsichord

and Clavichord.

The three S/A keyboard instruments make great MIDI

motherboards with their great action as well as their ability to

be split and handle MIDI information to and from other

equipment. The RD-1000 has 88 weighted wooden keys, and,

like the MKS-20 Module, has the facility to store 56 edited

equalization and effects settings of the digital sounds. The

88-key RD-300S and 76-key

RD-250S incorporate the

newly-developed SK-6

dynamic keyboard along

with the same great

S/A sounds.

If you haven't already

experienced the

breakthroughs of Roland's

S/A Synthesis Technology,

do it now. Play any one of

these incredible

instruments and compare

them to any sampled

piano-- even those costing

three times as much. Your

ears will quickly tell you

what thousands of

musicians have been telling

us-- that our years of

exhaustive research were well worth the effort. RolandCotpUS,

7200 Dominion Circle, Los Angeles, CA 90040 (213) 685-5141.

C1987 Roland Corporation US Circle #008 on Reader Seivice Card

Roland®
WE DESIGN THE FUTURE

INTERNATIONAL ·UPDATE
sensitive, responding to both attack and release velocity.
Elka demonstrated their FM soundalike EK44 synth. They too have an 88-note master keyboard, the MK-88, which features ahighly innovative repeat function whereby 4-bar phrases can be instantly programmed for repeats that then allow you to keep playing over the top. Also shown was the Elka- financed Lynx--a 16-bit Ataribased stereo sampler similar to Hybrid's ADAP. With this system the Atari's memory is not needed and so remains available to run asequencing program.
From France, RSF's 12-bit SD140 Sampling Digital Drum Machine attracted considerable attention. It comes complete with 14 built-in drum sounds, 14 user memories, and room to store some 99 patterns and 30 songs.
Fittingly, the most outlandish product of show also came from France, from Maison Musicales. Basically they constructed aseries of "African" wooden huts like giant marimbas which were built into aseries of wooden chimes and other "instruments" you could bash about. When several people were

Farmyard Recording Studios, aresidential facility 30 minutes from central London.

inside thrashing about, the combination of instruments and rhythms plus,
of course, the resonance created by
the hut itself was simply staggering. A brilliant idea for studios--perfect for those "let's get crazy on percussion"
12-inch remixes. In all, the Paris show is well worth a
visit, and as this pleasantly located,
well presented event gathers momentum, Isuspect the opportunity to show
new international lines to Europe will

prove more irresistible each year. --Tony Mitchell
Australia Gets a"Tunable" Live Room Metropolis Audio Pty Ltd. ofSouth Melbourne has recently completed construction of a live acoustic environment in Studio One. Traditionally, live rooms in studios have been of fixed size and shape, thus producing only one type of reverberant quality unique

The StucJiomaster IDP1 represents a new 'intelligent approach to dynamics processing. It is a two channel MIDI compatible multi-effects unit.

The IDP1 can compress, expand, limit, gate, and duck. MIDI can be used to trigger these functions and perform auto fades, pitch-bend auto-fades and auto panning.

The IDP1 loses none of the user-

friendliness of old analogue effects units

and gives the advantage of being able to

accurately

store

frequent[y

used

parameters. 100 memory positions are

available to the user, and in addition to

these there are 28 commonly used ones

pre-programmed.

For a full colour brochure, contact Paul Reeve or Tony RIlen at STUDIOMASTER INC., 1340-G Dynamics Street, Anaheim, CA 92806. Telephone: (714) 524 2227 Facsimile: (714) 524 5096

S'IUDIONVISTE8 IN CAN8DR.

CALG-18Y Mothers Mu9c (403)245 3725 / EDNONTON Mothers . Mu9c (403) 439 0007 / FOLIFFIX Music Stop (902)422 5671 / MONTRER

MusK Store (5 I4)878 2216 / OTTAWA Steves

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(613) 232 1131 / QUEBEC Musique Whom) Gent:treat Inc (41e) 522 3877 I

ST JEAN SUR RICHELIEU Guy Berger Son & lumiere (514)346 5310 /

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Circle #115 on Reader Service Card

to that room. One such studio is Lon-
don's Townhouse, whose live room has become so famous for its distinct sound that bands fly in from all over the world to record their drums in it.
The design of agood live room can be asomewhat hit-or-miss affair, as the actual sound of the room is not known until it has been completed. The approach taken by Metropolis Audio al-
lows the live area to be continually changed to create an infinite number of rooms of various sizes and shapes. This is achieved through the use of large hinged panels which can be pivoted to form the rooms. The floor is timber, the walls and ceiling are mainly plasterboard and the hinged panels
are glass to provide visual contact between areas and add to the liveness of the environment. On one wall are various sized door panels mounted in the wall. When closed they create avery "live" environment. As each panel is opened the reverb time is progressive-
ly shut down. Attention to good acoustic design has been meticulously maintained to the point of building abass
absorber capable of absorbing energy down to 16 Hz.
The first use of the live room facili-
ties at Metropolis Audio was made by international record producer Nick Launay, producing anew album for the Australian group Big Pig. Launay
commented, "Working with Big Pig is ahuge challenge to any engineer sim-
ply because they've got three drummers and the whole thing about their sound is that the drums are acoustic and you can't really cheat alot by using drum machines. It was very important from the outset to find arecording studio that has alot ofvariety in acoustic rooms and there aren't that many
studios in the world, let alone Australia, that have different sounding rooms. Ihave always wanted to say to the assistant engineer, 'Can you move that wall slightly to the left?', and here we
can actually do it."
British Royalty Attends AMS/Calrec Opening
The opening of the new AMS/Calrec
premises in Bumley, Lancashire last November was attended by Queen Elizabeth and the Duke of Edinburgh. During the visit the Duke performed the official opening of the new plant in aceremonial unveiling of aplaque commemorating the event.
Preceding the ceremony the Duke

was escorted by AMS managing director M.V. Crabtree and AMS sales and marketing director J.S. Nevison on a tour of the research and development and production departments. Prince Phillip was introduced en route to heads ofdepartments and anumber of staff. Along the way he conversed informally with anumber of the more than 100 dignitaries, distributors and guests in attendance.
School of Audio Engineering in the USA The Australia-based School of Audio Engineering, the largest audio training school in the world, with branches in 15 major locations including London, Sydney, Vienna and Munich, will soon be expanding to the United States. The SAE will open offices in the U.S. in the spring of 1988 with three fully equipped studios located in Los Angeles, and

pany and will provide us with atruly international school network."
International Studio News In Quebec, aself-contained Synclavier suite was implemented at Le Studio Andre Perry. The suite includes Lynx TimeLine to sync audio to audio and audio to video ...Studio 1at CTS Studios in London, arguably the largest recording room in the UK, has just undergone amajor console refit. The new centerpiece in the control room is the Mark III Neve VSeries 60-input 48-track automated in-line mixing console, the first of its kind in the United Kingdom ...Mayfair Studios recently announced the opening of anew 24-track residential recording facility 150 yards away from its main studio in London...Farmyard Recording Studios, aresidential facility 30 minutes from central London, has pur-

The new resizeable live room area at the Studio One recording facility at Metropolis Audio Pty Ltd., in Melbourne, Australia.
will include the latest model 48/32 Neve console and Otani multi-track, as well as the neceçuty outboard equipment. The studios will only be available to students and will also feature a complete MIDI and digital tie-up.
The SAE will be the only school in the U.S. offering the full Tonmeister program which is also available at the German schools. It will be possible for astudent to begin studies in Los Angeles and transfer to any ofSAE's other locations worldwide. Tom Misner, president ofSAE Inc. said, "We are very excited about our opening in the USA. It represents amajor step for the com-

chased aStuder A820 24-track machine

with Dolby SR installed...Steve Win-

wood has taken delivery of aMitsubi-

shi X-850 32-track digital recorder for

use at Netherturkdonic, his private

studios in Gloucestershire ...In other

British news, DDA consoles were re-

cently purchased by Geoff Westly at

Parsifal Studios of West London,

who installed a44-input AMR24 unit,

and composer/musician Christopher

Cross, who had a36/24 console in-

stalled in his private studio...In the

Far East SSL reports that it has delivered

56-input GSeries consoles to Aoi Stu-

dios, Sound Inn, and Vincent Stu-

dios in Tokyo, and Jigu Records in

Seoul, Korea...The government of

Thailand has acquired 12 Harrison con-

soles for use in recording, on-air and

broadcast production.

II

FEBRUARY 1988, MIX 45

ITALY

A REPORT ON THREE STUDIOS

by Fiorella Terenzi
The music recording business in Italy is actively involved in incorporating the latest digital and analog technologies with traditional Italian classical compositional and production techniques. For this reason, European and international artists alike are attracted to Italian studios. Featured in this article are three studios which manifest this spirit.

ing and production, the artist has the
option to work purely in the digital domain.
The studio is open--and busy-24 hours aday. Clients may commission
musical pieces and they can receive
full, high-level technical assistance in recording their own music. Each year

many film scores are recorded at the Cetra Art facility, both because of the
reasonable production cost and the efficiency of the studio's equipment
and staff. In addition to the digital studio, fea-
turing 24-track Sony PCM and 24-track
Telefunken analog recorders and a

Cetra Art Recording Studio Cetra Art Recording is the newest studio designed by Fonit Cetra, and is a
good example of an innovative Italian facility. Truly afull service studio, Cetra
Art is equipped to do music scoring, electronic and live music recording and mixing, and LP and CD mastering. It is the only studio in Italy (and one of the few in all Europe) to feature afull complement ofdigital recording equipment. Through every phase of record-

Above: Cetra Art Recording Studio

Corrado Rustici, producer of Italy's No. Ipop album Blue's.

Man with Two Countries
If you live in Italy, you've heard his name. Ifyou live in America, you've
heard his guitar. Corrado Rustici is a man with two countries: most of the year he makes his home in San Francisco, USA, where he works as Narada Michael Walden's main stu-
dio guitarist and as the leader/guitarist of his own band, Holiday of Hands. Part of the year Rustici lives
la dolce vita across the Atlantic, where he is ahugely successful pro-
ducer and musician. Today, Italy's Number One pop

album is Blue's by vocalist Zucchero Fornaciari, and produced and arranged by Rustici. Billboard recently reported that it "links brilliant musical contents with outspoken lyrics." Since its '87 release by PolyGram, nearly amillion copies have sold (rnighc, rare in Italy). And unlike much of Italy's popular dance music, its lyrics are sung in Italian. Rustici also asked his studio pals to help out: Blue's is earmarked by saxman Clarence Clemons, keyboardist David Sancious, PaulJones, and drummer Giorgio Francis.
Rustici started out early in profes-
--CONTINUED ON PAGE 48

46 MIX. FEBRUARY 1988

As You Might Expect, No $700 Amplifier Has Ever Equalled The Performance, Quality And Reliability Of The $1000 BGW 7500...

Introducing The BGW 7500T. $1000 Performance At A$699 Price.

There are thousands of BGW 7500 amphfiers in the field today. In every case, our $1000 model 7500 was chosen over anumber of lower priced alternatives, for its superior quality, durability and sonic performance.
But BGW knows that you don't always have the luxury of choosing the higher quality, higher priced amplifier. Until now, the price-sensitive buyer has had no choice but to settle for aless expensive, lesser performing unit.

The 7500 and 75001 are the most rugged and reliable amplifiers you can buy. Inside, you'll find no trouble-prone relays and no sounddegrading IC's.
And here's an important difference between the 7500/75001 and other competitive units: Many use inexpensive MOSFET designs which require high bias, and consequently run very hot. Other brands use inadequate heat sinking. These competitive amplifiers can't live without forced air cooling.

Not anymore. Because BGW's new 7500T amplifier delivers exactly the BGW's exclusive copper header output devices don't require bias at all.

same performance as our legendary model 7500, at aprice that

We mount them directly on highly efficient heat sinks. As aresult, the

goes head-to-head with any U.S. or foreign competitor--just $699

7500 and 7500T run cool and efficient--so they don't require forced air

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cooling. And that means you can forget about replacing burned -out

The model 75001 is aprice/performance breakthrough. You get

fans every few years.

the same conservatively-rated 200/250 Watt-per-channel power

BGW's 7500 has always been the ultimate choice for quality and

(4i 8/4 ohms), the same performance specs--in fact the exact same

dependability. Now that our 75001 gives you the same unmatched

amplifier design, circuitry and components as our no-compromise

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model 7500 -- at a$300 savings.

less than BGW. Call us toll-free at 1-800-252-4800 (In CA, 213-973-8090)

How did we do it? We selectively trimmed afew of the model 7500's nice to arrange for ademo trial.

but non-essential frills. The 75001 has asteel front panel instead of a

fancy aluminum one, and uses cost-effective barrier strip terminations. The 7500's LED indicators are omitted on the 7500T. The lower-priced model accommodates one optional BGW internal crossover card for biamp applications, while the 7500 can take two cards. These differences aside, our new economy model is aBGW model 7500

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Circle #063 on Reader Service Card 48 MIX, FEBRUARY 1988

--FROM PAGE 44 RUS77CI
sional music. By age 15 (1972), his fusion band Nova had released their first album. Later Nova moved to London and signed an Arista record deal. It was while Nova was recording at AIR Studios that Rustici met
Narada Walden, who then was working with Jeff Beck on Wired The two discovered that they spoke the same language. On Vimand Nova's third release, Walden played drums,
and he produced the fourth, Wings ofLove (his first production effort). It hit the charts in America.
Where to go next? Rustici and
Nova moved to Colorado, and then Los Angeles. Nova released one more record before disbanding. In 1979, Rustici moved to San Francisco to help Walden put together a band. Since then, we've all heard
Rustici's guitar on Aretha Franklin and Whitney Houston hits.
On Rustici's first vacation back to Italy, he met Fornaciari. This led to Rustici's producing the singer's sec-
ond album and arranging and producing Blue's But he doesn't regularly do the transatlantic trip. "Zucchero sends me cassettes with him singing with alittle keyboard, and I
arrange it and rewrite some stuff here," says Rustici. He did fly to Bologna to record Blue'sinstrument tracks at Fonoprint and vocals at Umbi, aresidential studio built in a farm villa. Rustici says Blue's "went against the trend in Italy towards all those big echoes. Itried to give him as dry asound as possible, really like aquartet, very warm. It sounds so different when it comes on the

radio, everybody notices." Always in demand in Italy, Rus-
tici's production talents have graced
an all-digital LP done at Splash Stu-
dios in Naples for pop vocalist Gianluigi DiFranco ("This album has
Middle Eastern, jazz and pop influ-
ences, all put together in unbe-
lievable vocal work"), and another
LP for famous Italian rock singer Loredana Bette.
In the Bay Area--where Rustici's
techno-pop/rock band Holiday of Hands scores major local gigs--he is gaining notoriety for his charis-
matic stage presence and his orchestra-in-a-guitar. This unique per-
formance system, designed by Rus-
tici, is based on acustomized Jack-
son guitar with aCharvel MIDI inter-
face, linked to aRoland D-50 keyboard, Akai S900 and 612 samplers,
and custom outboard rack He's currently working on a new system
based on the A3ocess Mapper, so he won't be "swamped with things to do on stage."
Talking about how his roots influ-
ence his producing, Rustici notes, "Being born in Italy, Ilistened to
different kinds of music, like Nea-
politan and classical. Ithink it's important to travel and get different influences from everywhere, be-
cause there's truth everywhere." When asked if he plans to set up
residence in Italy again, Rustici says "I want to break this country first. Also, Idon't think Iwould be happy
just moving back there. Ithink that
my destiny is to lie somewhere in between, and be abridge."
--Linda Jacobson

Soundcraft mixer, Cetra Art also provides aSony CD mastering system with PCM 1610, BVU 800 DA and DAE 1100, and an LP mastering system featuring a Neumann VMS 70, an SAL 74 cutting
amplifier and aSony DDU 1510 digital
delay. A full mobile recording facility is
also available for recording any type of music or audio event in any location. One of the most complete mobile studios in Italy, it has been used to record classical concerts and opera with full orchestra. Again, the client benefits from the high fidelity of the digital process, as the truck is equipped with a24track Sony PCM and 2-track Studer ana-
log recorders, and Soundcraft mixers.

Psycho Studios Recording and Sampling
Completed in Milan in September,
1985, Psycho Studios is located on the ground floor of athree-story building whose upper floors offer furnished rooms and kitchens to the recording artists. The studio itself is comprised of acontrol room and two separate recording rooms. Psycho was designed along the lines of Studio One on Abbey Road in London, although its dimensions are slightly smaller. In fact, it is constructed of the same materials and features the same monitors and amplifiers as Studio One. Psycho features a full complement of synthesizers, samplers and MIDI equipment, as well as a

Eventide Re-Invents The Harmonizer®

tall started on adark and stormy night. We locked our engineering staff into the lab and told 'em they wouldn't get out until they created amonster--the ultimate Eventide Harmonizer. Well, they're out now, and so is the fruit of their labors-- the H3000 Ultra-Harmonizer. There's never been anything like it If you're using an Eventide Harmonizer now, you're in for a shock. And (perish the thought) if you've never used one before, you're in for athrill. To begin with, the H3000 is the first STEREO Harmonizer. Not just two independent pitch shifters, but fully deglitched, in-sync suitable-for-broadcast, stereo pitch change. Plus, the H3000 gives you the world's best pitch change quality. And the H3000's incredible Diatonic Pitch Change program does what no other pitch changer ever could--it generates musically correct harmony lines at any interval. You specify the key; the H3000 takes your single input and turns it into the correct triad chord. Neat, huh? But now, listen to this: The H3000 Ultra-Harmonizer packs so much on-board processing power, those not-so-mad scientists at Eventide also gave it the capabilities of ahigh-end reverb and effects processor. You get dozens of superb quality factory programs, including awide variety of Reverb, Multitap, Digiplex® and Chorus programs, and the potent Death Flange.

The H3000 is fully MIDI programmable, of course. Not just MIDI program change, but complete performance MIDI control of all parameters. And you can use most any MIDI-controlling sequencer.
We all know that most multi-effect boxes sacrifice audio quality for versatility. But not the H3000. It doesn't give up one iota of performance. We're talking typical 5Hz-20k1iz ±.5dB frequency response, >92dB A-weighted signal-to-noise, full 16 bit resolution at 44.1kHz sampling rate, and the most advanced effects algorithms in the business. Now you can see why we call it the ULTRA-Harmonizer.
OK, how much? That's the really uncanny part The H3000 is almost HALF the price of our previous top-of-the-line mono Harmonizer! Hmnim, maybe we should lock up our engineers more often. And definitely, you should see your Eventide dealer, pronto.
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16 us, it sheet music.

It goes without saying that great performance begins with great design. And that mixing console designs are judged by the most critical performance standard: Great sound.
Still, you may not care that Neotek designed transformerless consoles years ahead of everyone else. Or that we introduced state variable equalizers. Or that circuits that others would say are revolutionary are pretty much old hat with us. Our new hybrid amps, for example.
But you do care about sonic quality. That's how your own work is judged. It's how you judge ours.

Neotek's reputation for performance is built on outstanding circuit design. It's the reason no other console sound compares.
Our sound is the reason Abbey Road bought their first American made console. The reason you find Neotek credits on the finest classical CDs. Why top mic and synthesizer manufacturers demonstrate on Neotek consoles.
You can put our designs to work in your studio. Whether you need to capture aperfect vocal, get every nuance of a drum kit, or input ahot sample that makes your synth sound its best,

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your Neotek sound will be remarkably brilliant, clear, and musical.
That's why we work so hard to put our console designs at the leading edge of technology. It puts your sound ahead of all the muddy and fuzzy alternatives.
Great composers write each note carefully on the page. Every passage leads to their vision of the whole. So it is with Neotek's artists of circuit design.
We suspect that Brahms, Beethoven, and Mozart never wrote aschematic.
But if they had....
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Studer A-80 Mk IV 24-track recorder, a Soundcraft TS-24 32x24 board and an impressive array of outboard equipment.
A second studio, Psycho II, is currently being constructed in Milan. Vincent Van Haas, the designer of Psycho II, also designed A&M Recording Studios and Conway Studios in Los Angeles. Psycho II is designed in two. parts. The first will be dedicated to live recording, and to support this, the room dimensions will be comparable to those ofamovie theater. The studio will feature a56-channel Neve Series V mixer and either an Otani24-track ana-
log or an Otani32-track digital recorder. The second part of the studio will be devoted entirely to digital sound, and will include afacility for synthesis using the Fairlight Series III. It will also include a48-channel Soundcraft TS-24 mixer and an Otani 24-track analog machine.
Claudio Dentes, owner of Psycho Studio, is very interested in staying on top of new digital technology, although
often the finished product at Psycho is the result of acombination of natural acoustically produced tracks and sequenced, sampled and otherwise electronically produced tracks. Psycho's sound library for its Emulator (one of several sampling devices available) includes nearly 10,000 sounds. A Macintosh computer is available with sequencer software, as well as librarian programs for many of the studio's synthesizers.
Some of the most notable artists who have recorded at Psycho areJohn McLaughlin &the Mahavishnu Orchestra, Bill Evans, Airto Morreira, Larry Coryell, Danny Gottlieb, PFM and Dee Lewis. The studio also has its own record label which has produced numerous records.
Cad mate Castle Recording Studio Located in a13th century castle near Lake Como, just outside Milan, Cari mate Castle Recording Studios is situated in one of the most beautiful areas of the Lombardia region of Italy. The
castle itself was first restored in the 1800s, and then more recently refurbished to become the home ofamajor recording studio and afavored site for many artists. The castle is 4,000 square meters, and is located on 50,000 square meters of park and garden, making this recording studio truly unique.
--CONTINUED ON PAGE 120

Noise Gates Should be Seen & Not Heard
With its unique application of optical switches (rather than the noisier VCA's used conventionally) the Ornni Craft offers very low noise & high performance -at an affordable price.
Just $395.00 buys you four noise gates in an AC powered/rackmounting package, with facilities to "key" the gates from external triggers as well as adjustable Range, Threshold and Release Time.
Also available are plug-ins for most popular rack systems. Studio performance for the budgetconscious! Call us for literature & information.
Omni Craft --- OMNI CRAFT the quiet one'
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FEBRUARY 1988, MIX 51

"From inspiration to installation,
Centro is the key:

With Centro, your next broadcast, teleproduction or post-production facility can capitalize on years of experience. Your project begins with aCentro Professional Services contract, where your needs are carefully translated into formal design and engineering plans.
With approved plans in hand, Centro can complete every aspect of systems integration, construction, fabrication, and installation. With meticulous attention to every detail, Centro can put your new or renovated facility on-line, on time and within budget.
Centro, worldwide systems integration specialists in building the finest broadcast, teleproduction and post-production facilities. In short, turning ideas and dreams into reality.

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BRITISH STEREO

In amove that is viewed by many as
astonishing, the BBC in Britain has
frozen plans for stereo TV sound until 1991. The broadcast and electronics
industry had expected limited service to start this spring (1988) and are now reeling from the BBC's shocking announcement. Programs are ready. So
are receivers. The man behind the highly contro-
versial decision is new BBC top dog and director-general, Michael Check-
land. He trained as an accountant, worked as an accountant and is now,
for better andworse, applying accounting principles to Britain's public tele-
vision service. Every day it becomes clearer that Checkland was badly advised. The question now seems to be how soon he will seek a second opinion.
Britain was scheduled to be the first
country in the world to use adigital
audio system for terrestrial transmis-
sion directly into viewers' homes. Currently, all television programs in all countries are broadcast with analog
picture signals on one carrier and ana-
log mono sound signals on asecond carrier of higher frequency. The spac-
ing between carriers differs from coun-
try to country but is usually around 5 or 6MHz.
For stereo, Japan chose amultiplex system similar to that already used
around the world for stereo radio. In piggyback fashion, the FM sound carries an extra sub-carrier for the stereo
sound.
Europe, led by West Germany, re-
fused to adopt the Japanese system. Engineers argued that it could not ade-

At AStandstill
quately separate two different language channels, and politicians wanted to limit low-cost imports from the Far East. The West German system puts the stereo signal on asecond sound carrier which is transmitted at aslightly higher frequency than the main sound carrier.
The U.S. modified theJapanese multiplex system. The essential difference is that the stereo sub-carrier is dbxprocessed.
The BBC then added digital techniques to the West German system. There are two carriers. One, with mono sound, is analog and picked up by existing receivers. The second carries digital code, for reception by anew generation of sets. It is transmitted at 6.552 MHz above the vision carrier.
For stereo hi-fi, the sound is sampled at 32 kHz and encoded into 14-bit words which are then compressed to 10 bits. The system is called Nicam 728 because it relies on the "near-instantaneous companding" techniques used by the BBC for 20 years to send radio signals 'round the country, and the

by Barry Fox

overall data rate is 728 kilobits per second.
Separation is so good that instead of carrying mono and stereo music, the three channels (mono analog, digital stereo) can each carry completely different full-bandwidth audio for multilingual programs. The third possibility is for one or both digital sound channels to be replaced by data for teletext, graphics, paging signals or even still pictures.
The Nicam system was designed to mesh with the stereo sound system which will be used for MAC satellite transmissions. For both MAC satellite transmissions and Nicam terrestrial stereo, the stream of digital information is divided up into packets. The
packets for MAC are the same as the packets for Nicam. So the stereo sound chips in asatellite receiver will be compatible with the chips in a Nicam receiver.
By 1984 the BBC had proved Nicam 728 by test transmissions from Wenvoe in South Wales (to check the effect of
multipath caused by local mountains), in London from Crystal Palace, and
from Rowridge on the Isle of Wight, across water.
The digital signal is so robust that clear stereo is heard even when the
pictures have been spoiled by noise and interference. In September 1986, the BBC proudly announced that the British government had approved this
system as anew standard. The electronics industry trade body BREMA (British Radio Electronic Equipment Manufacturers Association) passed the good news on to its members--and

FEBRUARY 1988, MIX 53

BRYSTON POWER AMPLIFIERS CONTINUE TO DEFINE THE STATE-OF-THE-ART IN MUSICAL ACCURACY, LONG TERM RELIABILITY
AND PRODUCT INTEGRITY.

Brinycsotropnodreastiesgnthprheielosophy general concepts. 1. Musical accuracy 2. Long term reliability 3. Product integrity
MUSICAL ACCURACY Musical accuracy is reflected throughout all Bryston power amplifiers and includes the necessity for wide-band transient accuracy, open loop linearity ahead of closed loop specifications, and power supply design as an integral part of the overall sonic and electrical performance of a power amplifier. We have found that asimple carborn film resistor can contribute more static distortion to asignal than the entire remainder of the amplifiers circuitry combined. We discovered that some parameters of transistors must be controlled as much as 1000 times more closely before their contribution to audible distortion is rendered negligible. We discovered that under certain actual conditions of speaker loading amplifiers were incapable of yielding high-power transients without distortion. Each of the various steps or stages in every Bryston amplifier, from
In the United States: [F.DLUÇ--I17Ci-fILVERMONT
RFD *4, Berlin, Monpelier, Vermont 05602 (802) 223-6159

the input section to the output section, without exception, are designed to optimize the musical experience. STANDARDS OF RELIABILITY
Nv etocboenseixdceeretdhiinsglcryiterion important. We have applied techniques and materials in our everyday construction of electronic equipment more typically utilized in the military and aerospace industries. All components used in Bryston power amplifiers are specified for continuous duty at maximum power, with typical safety margins of 250%. The power transistors used in all Bryston amplifiers are 100% tested for safe operating area, both before and after installation in the circuit. They are then taken to a"burn-in" table when they are given a capacitor load, asquare-wave input signal, and set at slightly under clipping for aperiod of 100 hours. During this time, the input signal is cycled three hours on to one hour off, to exert additional thermal stress. Following the burn-in period, the amplifiers are monitored for DC bias stability for approximately
Circle #040 on Reader Service Card

another full day. At this point, they are returned to the test bench for another complete checkout of all operating parameters and functions, at which time atest sheet is made, and included in the packing with the unit. As may be seen, Bryston takes very seriously the correct functioning and long term reliability of its products.
INTEGRITY
Bryston contends that the term 'best' should apply to the honesty pride and courage with which we conduct our business, as well as to the performance of our products. For this reason, you will not find Bryston's products being cosmetically "updated" on a regular basis merely in order to keep the customer's interest, in something `new'. If we make a change in the circuitry, it will be because, and only because, it yields aworthwhile performance or reliability improvement. We feel that regular sweeping revisions to basic circuit design (accompanied by revised jargon) to be cynical marketing on the part of the manufacturer and insulting to the discerning customer.
In Canada: MARKETING LTD.
57 Westmore Dr., Rexdale, Ontario, Canada M9V 3Y6 (416) 746-0300

"Nicam is probably the most important development since color. The public have been made aware and
they want it. The market is ready, but who gets egg on their faces? The manufacturers."

all the major manufacturers started to
design stereo TV receivers, recorders and decoders.
An experimental Nicam service has been operating in the London area
from Crystal Palace for at least ayear.
Unannounced, talk shows, sports events, music programs and selected
feature films have been transmitted in stereo for the benefit of engineers and
designers. Although no official launch
timetable was ever published by the BBC, the electronics industry has been
expecting the engineering tests to roll

out this spring into an official service which expands over the next three years.
But in October, when Michael Checkland unveiled his strategy for the 1990s, he talked only of "formulating apolicy on the introduction of stereo sound for television in the 1991 triennial review"
"We have been led up the garden
path," says aspokesperson for JVC, whose Japanese engineers worked closely with the BBC. JVC already has a Nicam video recorder on sale in Britain; it contains microchips custom-

EXTRAORDINARY AUDIO

Studio Consultants specializes in aselect group of exceptionally fine professional audio products, including:
·AMS AudioFile-- hard disk-based digital recording and editing s'stem ·API--all-discrete equalizers and microphone preamplifiers, distribution
amps, and other audio modules ·Bryston--professional power amplifiers, preamplifiers, and crossovers ·T.C. Electronic--digital delay/sampler, automated equalizers, and effects ·Westlake--monitor speakers
Also: Aphex, Audio Digital, Audio Kinetics, Fostex Professional, Rane, Valley International, White Instruments
Spec sheets, prices, and in-studio demos are available on request. And for short-terni needs, Studio Consultants rents API and Bryston.

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made by Toshiba. Mullard (a subsidiary of Philips) and Texas Instruments are also making chips.
Ferguson's commercial director Peter Brice adds, "It is ashame that in a field generally dominated byJapanese inventions, the BBC is prepared to sit back and see Britain's leading position eroded."
Most ofthe TV manufacturers in Britain are now owned by Japanese companies. Peter Hamblin is marketing director for Panasonic, which employs about 850 people at 'IV factories in
Cardiff. Since May 1987, Panasonic has been making all higher-price sets convertible to Nicam. "We have done an
enormous amount ofwork at our technical centers both in CardiffandJapan," says Hamblin, "and it's all to no avail.
"Nicam is probably the most important development since color. The public have been made aware and they want it. The market is ready
but who gets egg on their face? The manufacturers."
"We are very disappointed," says a
spokesperson from Hitachi. "We have lost export potential because our factory at Hirwaun would have produced Nicam sets for all Europe."
"I regret the situation," said Michael Checkland recently at an industry conference "whereby you have sets and
we don't have programs, and Ihope it never occurs again."
The trade body BREMA has proved singularly ineffective and seems worried about offending the BBC.
The bottom line is that Checkland has been poorly advised on the amount of stereo program material available for transmission--his own staff estimates that at least 20% of the BBC's output is already available in stereo.
Most modem cinema feature films
now have Dolby stereo soundtracks. Almost all music video programs in Britain are made in stereo, either for domestic release on tape or the new CDV videodisc format or for transmission in countries which already have
stereo, or are due to start soon. Most soaps and mini-series from America are available in stereo. If the BBC gets mono copies of this material, it is only because that is what the U.S. suppliers think the BBC wants.
The Shepherds Bush Theatre in Lon-

Equi facil
54 MIX, FE)

The BBC's outside broadcast teams are equipped to cover events in stereo.
Music concerts are routinely covered in stereo for simulcast, radio or foreign
transcription sales.
On the Continent, Germany is paying the penalty of being the first coun-
try in Europe to go stereo--with an
inferior system. Shelving Nicam in its
country of origin does little to inspire confidence in uncommitted countries!
The good news for the broadcast and electronics industries--and the bad news for the BBC--is that the In-
dependent Broadcasting Authority and its commercial 'IV companies have
been spurred into action by Check-

land's decision. Commercial TV sta-
tion TVS, which serves the South of
England, typifies the get-up-and-go spirit which is now running through
riv. Says Robert Edwards, deputy head
of sound at IVS: "Now that the BBC has gone cold
on stereo, 111,can take the lead. Advertisers already use stereo on radio. If
companies like Pepsi and Coca-Cola can transmit musical TV commercials
in stereo, they will pay more to do so. "The availability of stereo is equiva-
lent to the change from 405-line black-
and-white IV to 625-line color in the late '60s."
The IBA had originally planned the

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56 MIX, FEBRUARY 1988

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leisurely introduction of stereo after the BBC. Now there is acrash program to convert the ITV's transmitters, production centers and distribution links to stereo. But this is nowhere
near as easy as the independent production facilities and electronics in-
dustry assume. The BBC is already set up for net-
working TV programs around Britain,
starting mainly from London. This is done with asystem called Nicam 3 and "sound-in-syncs." For distribution between transmitters, the "IV sound is converted into digital code and slotted into the gaps in the video waveform which are conveniently formed
by picture synchronization pulses. This means that both sound and pictures can be sent over the same single
vision link. Nicam 3samples the mono sound at
32 kHz, and converts it to 14-bit code words which are then compressed to 10-bit words, to give adata rate of 338 kilobits/second. This fits neatly into the PAL TV system 4.7 microsecond sync pulse gaps.
Obviously the distribution links must be able to carry stereo if the transmitters are to broadcast stereo. The BBC has developed anew sound-insyncs system which squeezes aquart into apint pot, by widening the time slot and using quatemary coding--the signal changes through four steps instead of two. So stereo sound at 676
kilobits/second is carried in the vision syncs. Work has already begun on converting the BBC's mono distribution links to stereo. It will continue despite Checkland's freeze.
Here is where the ITV stations have aspecial problem: ITV programs originate from all over the country and bounce around acobweb network of land lines and microwave links. The signal from 'TVS' Maidstone studios goes to Southampton; from there, back to the British Telecom microwave tower in London; and from there to Dover and back from Dover to asmall relay at Bluebell Hill.
Currently, the mono sound and vision signals travel separately, along landlines and radio links. This is impractical for stereo, because sometimes British Telecom will route the left and right legs of the link along different routes and so destroy phase coherence. Even with sound in syncs, every link in the chain and node in the network will degrade aNicam signal by adding 3dB in noise and a 13-millisecond delay

,..."...,........*..*... ".,,'. ,,:' , 1,.

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::'-.%:.17".

BRITISH STEREO

In amove that is viewed by many as astonishing, the BBC in Britain has frozen plans for stereo TV sound until 1991. The broadcast and electronics industry had expected limited service to start this spring (1988) and are now reeling from the BBC's shocking announcement. Programs are ready. So are receivers.
The man behind the highly controversial decision is new BBC top dog and director-general, Michael Checkland. He trained as an accountant, worked as an accountant and is now, for better andworse, applying accounting principles to Britain's public television service. Every day it becomes clearer that Checkland was badly advised. The question now seems to be how soon he will seek a second opinion.
Britain was scheduled to be the first country in the world to use adigital
audio system for terrestrial transmission directly into viewers' homes. Currently, all television programs in all
countries are broadcast with analog picture signals on one carrier and ana-
log mono sound signals on asecond carrier of higher frequency. The spacing between carriers differs from country to country but is usually around 5 or 6MHz.
For stereo, Japan chose amultiplex system similar to that already used around the world for stereo radio. In piggyback fashion, the FM sound carries an extra sub-carrier for the stereo
sound. Europe, led by West Germany, re-
fused to adopt the Japanese system. Engineers argued that it could not ade-

At AStandstill
quately separate two different language channels, and politicians wanted to limit low-cost imports from the Far East. The West German system puts the stereo signal on asecond sound carrier which is transmitted at aslightly higher frequency than the main sound carrier.
The U.S. modified theJapanese multiplex system. The essential difference is that the stereo sub-carrier is dbxprocessed.
The BBC then added digital techniques to the West German system. There are two carriers. One, with mono sound, is analog and picked up by existing receivers. The second carries digital code, for reception by anew generation of sets. It is transmitted at 6.552 MHz above the vision carrier.
For stereo hi-fi, the sound is sampled at 32 kHz and encoded into 14-bit words which are then compressed to 10 bits. The system is called Nicam 728 because it relies on the "near-instantaneous companding" techniques used by the BBC for 20 years to send radio signals 'round the country, and the

by Barry Fox

overall data rate is 728 kilobits per second.
Separation is so good that instead of carrying mono and stereo music, the three channels (mono analog, digital stereo) can each carry completely dif-
ferent full-bandwidth audio for multilingual programs. The third possibility is for one or both digital sound channels to be replaced by data for teletext, graphics, paging signals or even still pictures.
The Nicam system was designed to mesh with the stereo sound system which will be used for MAC satellite transmissions. For both MAC satellite transmissions and Nicam terrestrial stereo, the stream of digital information is divided up into packets. The packets for MAC are the same as the
packets for Nicam. So the stereo sound chips in asatellite receiver will be compatible with the chips in a Nicam
receiver. By 1984 the BBC had proved Nicam
728 by test transmissions from Wenvoe in South Wales (to check the effect of multipath caused by local mountains),
in London from Crystal Palace, and from Rowridge on the Isle of Wight, across water.
The digital signal is so robust that clear stereo is heard even when the
pictures have been spoiled by noise and interference. In September 1986, the BBC proudly announced that the British government had approved this system as anew standard. The elec-
tronics industry trade body BREMA (British Radio Electronic Equipment Manufacturers Association )passed the
good news on to its members--and

FEBRUARY 1988, MIX 53

"Nicam is probably the most important development since color. The public have been made aware and
they want it. The market is ready, but who gets egg on their faces? The manufacturers."

all the major manufacturers started to design stereo TV receivers, recorders
and decoders. An experimental Nicam service has
been operating in the London area from Crystal Palace for at least ayear.
Unannounced, talk shows, sports events, music programs and selected feature films have been transmitted in stereo for the benefit of engineers and designers. Although no official launch timetable was ever published by the
BBC, the electronics industry has been expecting the engineering tests to roll

out this spring into an official service which expands over the next three
years. But in October, when Michael Check-
land unveiled his strategy for the 1990s, he talked only of "formulating apolicy on the introduction of stereo sound for television in the 1991 triennial review"
"We have been led up the garden path," says aspokesperson for JVC, whose Japanese engineers worked closely with the BBC. JVC already has a
Nicam video recorder on sale in Britain; it contains microchips custom-

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54 MIX, FEBRUARY 1988

Circle #071 on Reader Service Card

made by Toshiba. Mullard (a subsidi-
ary of Philips) and Texas Instruments
are also making chips. Ferguson's commercial director
Peter Brice adds, "It is ashame that in a field generally dominated byJapanese inventions, the BBC is prepared to sit back and see Britain's leading position
eroded." Most ofthe 'IV manufacturers in Brit-
ain are now owned by Japanese companies. Peter Hamblin is marketing director for Panasonic, which employs about 850 people at TV factories in
Cardiff. Since May 1987, Panasonic has been making all higher-price sets convertible to Nicam. "We have done an
enormous amount ofwork at our technical centers both in CardiffandJapan," says Hamblin, "and it's all to no avail.
"Nicam is probably the most important development since color. The public have been made aware and they want it. The market is ready but who gets egg on their face? The
manufacturers." "We are very disappointed," says a
spokesperson from Hitachi. "We have lost export potential because our factory at Hirwaun would have produced Nicam sets for all Europe."
"I regret the situation," said Michael Checkland recently at an industry conference "whereby you have sets and we don't have programs, and Ihope it
never occurs again." The trade body BREMA has proved
singularly ineffective and seems worried about offending the BBC.
The bottom line is that Checkland has been poorly advised on the amount of stereo program material available for transmission--his own staff estimates that at least 20% of the BBC's output is already available in stereo.
Most modem cinema feature films now have Dolby stereo soundtracks. Almost all music video programs in
Britain are made in stereo, either for domestic release on tape or the new CDV videodisc format or for transmission in countries which already have stereo, or are due to start soon. Most soaps and mini-series from America are available in stereo. If the BBC gets mono copies of this material, it is only because that is what the U.S. suppliers
think the BBC wants. The Shepherds Bush Theatre in Lon-
don, where most talk shows are taped, has already been converted to stereo
for The Wogan Show. Pop programs like Top of the Pops have already been simulcast in stereo with BBC radio.

FIC

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MUSICAL ACCURACY Musical accuracy is reflected throughout all Bryston power amplifiers and includes the necessity for wide-band transient accuracy, open loop linearity ahead of closed loop specifications, and power supply design as an integral part of the overall sonic and electrical performance of a power amplifier. We have found that asimple carborn film resistor can contribute more static distortion to asignal than the entire remainder of the amplifiers circuitry combined. We discovered that some parameters of transistors must be controlled as much as 1000 times more closely before their contribution to audible distortion is rendered negligible. We discovered that under certain actual conditions of speaker loading amplifiers were incapable of yielding high-power transients without distortion. Each of the various steps or stages in every Bryston amplifier, from
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the input section to the output section, without exception, are designed to optimize the musical experience. STANDARDS OF RELIABILITY
W teocboenseixdceeretdhiinsglcryiterion important. We have applied techniques and materials in our everyday construction of electronic equipment more typically utilized in the military and aerospace industries. All components used in Bryston power amplifiers are specified for continuous duty at maximum power, with typical safety margins of 250%. The power transistors used in all Bryston amplifiers are 100% tested for safe operating area, both before and after installation in the circuit. They are then taken to a"burn-in" table when they are given a capacitor load, asquare-wave input signal, and set at slightly under clipping for aperiod of 100 hours. During this time, the input signal is cycled three hours on to one hour off, to exert additional thermal stress. Following the burn-in period, the amplifiers are monitored for DC bias stability for approximately
Circle #040 on Reader Service Card

another full day. At this point, they are returned to the test bench for another complete checkout of all operating parameters and functions, at which time atest sheet is made, and included in the packing with the unit. As may be seen, Bryston takes very seriously the correct functioning and long term reliability of its products.
INTEGRITY
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The BBC's outside broadcast teams are
equipped to cover events in stereo. Music concerts are routinely covered in stereo for simulcast, radio or foreign transcription sales.
On the Continent, Germany is paying the penalty of being the first country in Europe to go stereo--with an inferior system. Shelving Nicam in its country of origin does little to inspire confidence in uncommitted countries!
The good news for the broadcast and electronics industries--and the bad news for the BBC--is that the In-
dependent Broadcasting Authority and its commercial 1V companies have been spurred into action by Check-

land's decision. Commercial TV station 1VS, which serves the South of England, typifies the get-up-and-go
spirit which is now running through ITV. Says Robert Edwards, deputy head
of sound at TVS: "Now that the BBC has gone cold
on stereo, I1V can take the lead. Adver-
tisers already use stereo on radio. If companies like Pepsi and Coca-Cola can transmit musical TV commercials in stereo, they will pay more to do so.
"The availability of stereo is equivalent to the change from 405-line blackand-white TV to 625-line color in the late '60s."
The IBA had originally planned the

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56 MIX, FEBRUARY 1988

Circle #072 on Reader Service Card

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leisurely introduction of stereo after the BBC. Now there is acrash program to convert the ITV's transmitters, production centers and distribution links to stereo. But this is nowhere near as easy as the independent pro-
duction facilities and electronics industry assume.
The BBC is already set up for networking TV programs around Britain, starting mainly from London. This is done with asystem called Nicam 3 and "sound-in-syncs." For distribution between transmitters, the TV sound is converted into digital code and slotted into the gaps in the video waveform which are conveniently formed by picture synchronization pulses.
This means that both sound and pictures can be sent over the same single vision link.
Nicam 3samples the mono sound at 32 kHz, and converts it to 14-bit code
words which are then compressed to 10-bit words, to give adata rate of 338
kilobits/second. This fits neatly into the PAL TV system 4.7 microsecond sync pulse gaps.
Obviously the distribution links must be able to carry stereo ifthe transmitters are to broadcast stereo. The BBC has developed anew sound-in-
syncs system which squeezes aquart into apint pot, by widening the time slot and using quaternary coding--the signal changes through four steps instead of two. So stereo sound at 676 kilobits/second is carried in the vision syncs. Work has already begun on converting the BBC's mono distribution links to stereo. It will continue despite ChecIdand's freeze.
Here is where the IlV stations have aspecial problem: ITV programs originate from all over the country and
bounce around acobweb network of land lines and microwave links. The signal from 1VS' Maidstone studios goes to Southampton; from there, back to the British Telecom microwave tower in London; and from there to Dover and back from Dover to asmall relay at Bluebell Hill.
Currently, the mono sound and vi-
sion signals travel separately, along landlines and radio links. This is impractical for stereo, because sometimes
British Telecom will route the left and right legs of the link along different routes and so destroy phase coherence. Even with sound in syncs, every link in the chain and node in the network will degrade aNicam signal by adding 3dB
in noise and a 13-millisecond delay

due to digital buffering. For the BBC
there are not enough nodes to matter. For ITV there are far too many.
The IBA wants to use 16-bit linear coding instead of companded Nicam
for sound in syncs. It is just possible to squeeze 16-bit stereo into the sync pulse spaces but there is less room for error correction, so the signal is not robust. The IBA is currently experimenting with prototype linear encoders, but all this delays the start of work on astereo network.
Also there is disagreement inside the IBA on how best to produce the
mono signal for transmission for astereo feed. Instead of simply summing the left and right legs at the transmitter, the IBA is experimenting with the idea of shifting the right channel through 90 degrees before summing, to narrow center front dialog. Sound engineers are not happy with the idea, which means another potential source of delay.
Already TVS is experimenting by making programs in both mono and stereo versions, and stockpiling opera in ster-
eo from Glyndebourne. TVS also tries out stereo techniques with live bands

The bottom line is that Checldand has been
poorly advised on the amount of stereo program material available for transmission--his own staff estimates that
at least 20% of the BBC's output is already
available in stereo.
and studio talk shows. Drama is mixed using film techniques, with mono dialog and stereo effects and music. Neumann M/S mics have been tried, with one channel used for mono and the other recorded as aseparate difference track to leave the options on stereo

width open for later mixing. Because the BBC has both radio and
television networks, television can rely on radio people to have stereo experience. But it's not the same for commercial television, because commercial radio and TV stations are quite separate bodies.
"So we are doing rough mixes on stereo to learn," says Robert Edwards. "For instance, we found that moving a wide stereo mic on aboom quite literally makes viewers feel sick. The best results so far are from using the M/S mic with an artificially narrowed image."
Best estimates are that the IBA will be running on-air tests before the end of 1988, and will start alimited service from London and afew other areas around Britain in 1989. This will put commercial TV at least ayear ahead of the BBC. When the inevitable happens, and ITV wins viewers from the BBC,
· accountant Checkland's decision will
be judged adisaster for the BBC.
London-based Barry Fax specializes in writing digital audio perspectives for leading European technical magazines.

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FEBRUARY 1988, MIX 57

A Look At
Britain's
1%1 .trias

Information Exchange

by Richard Elen

The Digital Information Exchange is fast becoming one of Britain's most interesting and useful pro audio events. Now in its third year, the Exchange began life primarily as ashowcase for Sony digital audio products (it
is held by Sony Broadcast, Sony's professional wing in the UK; and HHB Hire &Sales, one of their main distributors). With experience behind it, the Exchange broadened last November to include awide range of manufacturers, in apleasant and reasonably intimate atmosphere--the Private Members' Suite at the London Zoo, Regent's Park, an excellent location for the com-
bination of lectures, question-and-answer sessions, and "hands-on" experi-
ence concerning digital (primarily dig-
ital audio) techniques offered by DIE. The event was expanded to four days
this year, two days of recording industry-related topics sandwiched between
afirst day concentrating on broadcast and video applications of digital technology, and afinal day concerning scientific and industrial applications.
Highlights of the first day included
the new Code of Practice introduced by the Independent Broadcasting Authority, controllers of Britain's com-
mercial radio and television network. These supersede previous specifica-
tions which covered analog techniques only, and these in acontext of mono
TV sound on poor-quality sets.
Then Gert-Jan Vogelaar of Philips DuPont Optical gave amodified ver-
sion of his recent AES paper on CD

Video production considerations. Mak-
ing aCDV master is not asimple business: from the international standard
of the audio compact disc, we move into an area where differing video standards once again complicate mat-
ters. The problem lies in the fact that digital audio CD's 44.1 kHz sample
rate does not sit easily with either NTSC or PAL video frame rates--so at the
very least, "template" tapes must be pre-prepared with at least two different time code formats recorded on them, to sync the various machines and systems required. And that complication could doom an otherwise excit-
ing format. Noted international technical jour-
nalist, and occasional contributor to
Mix, Barry Fox, continued the tale of system failure due to differing video "standards" in adiscussion of European DBS plans. DBS, he says, stands for "Don't Bother Starting," or "Don't
Buy Shares." By the time the official, highly expensive 3-channel British satellite has gone on the air in 1989 there
will already be a16-channel independent bird up there--in adifferent part of the sky and with adifferent broad-
cast standard. Guy McNally discussed the benefits
of direct-access (i.e. hard-disk) audio editing in the context of the Digital
Audio Research Soundstation II, and
described the requirements of this type of system in operational terms:
the need, for example, for varispeed, level adjustment and mixing; the abil-

ity to slip tracks and change crossfade edit lengths, and so on. And there must be a useful and productive human
interface. Later in the day, after arundown of
the possibilities of DAT, we heard from
David Smith on the penetration of digital technology into U.S. broadcasting. "Not very much" was how he put it,
but those who were using digital audio were using it extensively--compact discs for jingles, effects, music libraries and special compilations sent to broadcasters by the record companies; CD as the standard format for on-air music, AM and FM, despite the lack of atruly "pro" player; R-DAT in use by classical
music stations and by CNN for circulat-
ing their specially-commissioned music cues. And Smith supplied asurvey of just afew U.S. production facilities using digital. We were all impressed.
On Day Two, Dr. Roger lagadec in-
troduced the facts of R-DAT in aprofessional environment. It was aconsumer format, he said, and couldn't be expected to offer everything apro user required. Editing, synchronization and
other features promised in the hype
might take years to appear. And R-DAT is not the best way of doing everything --CD mastering, for example, might
be better performed on astationary-
head system. And it should not be forgotten that R-DAT, as aconsumer system, was not built with longevity in
mind. David Smith re-appeared to talk
about the benefits of good filter de-

58 MIX, FEBRUARY 1988

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60 MIX, FEBRUARY 1988

Circle #075 on Reader Service Card

sign--with the help of Christoph Heidelberger from Apogee--and later, on the topic of oversampling converters: common practice in home CD players
but underexploited in the studio. Tony Griffiths of Decca gave us auseful un-
derstanding of the fundamentals of digital signal processing, with practical examples: why you need dither in your digital faders, and what happens when
you overload adigital system (all the
ones turn to zeroes with anasty bang). Haydn Bendall of Abbey Road and
producer Mike Hedges took alook at the problems and benefits of digital audio systems, and why record companies are unwilling to spend the
money on digital multi-track They say it could increase recording costs by a
third and wasn't necessarily always desirable--for example, for aband's first album. But it was pointed out that recording costs were only afew percent
ofthe overall budget for an album .... The day closed with adiscussion of
the need to integrate the capabilities of adigital studio system combining digital audio processing and hard-disk recording/editing, given by someone who should know, Bill Aitken of SSL Their design system is quite well-
known now, but Aitken focused on the need to put storage, processing power, and control sophistication together in the right balance--and at the right
place at the right time. His lecture was preceded by an ex-
tended presentation of Fairlight's MFX post-production system and the new Fairlight cards. Impressive they were too, especially the Apogee-equipped
D/A board, the AES/EBU digital interface, and the 68020-based multi-tasking Waveform Supervisor card which
offers multi-track hard disk recording
and the capability of having two people using the machine at once.
Day Three was packed with presentations, led off by Cary Fisher's survey of the state of digital multi-track world-
wide. Fisher has the useful perspective of having worked for both the major manufacturers, and estimates that to-
day there are 190 machines in North America, 70 in Britain, 110 in Europe and 110 in Asia, including avery high
penetration in Japan. Then Nick Hopewell-Smith, DIE
producer, gave one of his interesting presentations about what the record
industry was doing wrong. In this case, he went through all the business fears
about DAT and dismantled them one by one--so efficiently, in fact, that we

were left wondering whether DAT was any use for anything in the consumer
field. What was there that you couldn't do more easily and effectively with
compact disc, apart from making com-
pilation tapes? And with the highly disappointing sales of DAT machines toJapanese consumers, it looks to me
as if the record company boycott of the digital tape format might just as-
sist the demise of the system. All they have to do is keep it up: no unpleasant
copy-code outcry or legislation to worry about.
Hopewell-Smith feels the time is
right for the record industry to reduce
the price of CD software and make it into the mass-market medium it should
be--and believes the "threat" of DAT might just bring that about.
After Andy Hilton--one of Britain's digital equipment rental specialists-- had given us all the good reasons for renting digital rather than (or perhaps
before) buying it, and after ahasty
lunch, we saw the return of Dr. Iaga-
dec, this time tongue firmly in cheek,
relating the findings of his colleague "Professor R. Lecoq," who had extend-
ed Dr. Diamond's dubious research by
using "studio personnel and, where
possible, humans" to find that the male response in intimate situations
was impaired by digital audio. Fre-
quencies around 3.8 kHz were to blame, he related metaphorically, and
of course they couldn't simply be removed with anotch-filter applied to
the master tape! So a"lower-level" solution had been found by utilizing the
latest "thin-film" techniques. like the WORM optical disk this "audio prophy-
lactic" could be "used once, but not
re-used." Agood time was had by all.
On more serious matters, we re-
ceived auseful overview of the Neve
Digital Transfer Console (DTC) and of the superb AMS Audiofile--and how
they could be used together--from
Andy Proudfoot and John Andrews of
Neve, Stuart Nevison of AMS, and Ian Gillespie of Tape One Studios, who are users of the system.
Then we heard from Bob Ludwig of
Masterdislç another DTC owner. In a fascinating presentation we heard how
he had moved from analog to digital
disc-cutting, and we gained glimpses
of some awesome monitoring in the facility The day was completed by the
least worthwhile presentation of all
(Mark Varney reading alecture which
could have been copied verbatim from
the Philips "Red Book" of CD specs.

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FEBRUARY 1988, mix 61

This little mike gives your talent abig hand. Because it insures that your vocal sound comes through intact. The carefully-tailored response curve anticipates typical sound systems and hall acoustics. With an ATM5R the audience hears more YOU and less microphone.
With its advanced cardioid construction, the ATM5R gives your sound mixer more freedom to raise your vocal level to whatever loudness the music demands. Regardless of nearby monitor or side speakers. And without having to resort to drastic EQ "tricks" that distort your tone. Or the need to "force" your voice, just to be heard.
The ATM5R easily handles your dynamic range. And it doesn't change your vocal sound when you stray alittle off mike. Yet it firmly rejects sound coming from the back. The ATM5R concentrates on you, so that you can concentrate on your
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Nominally about quality control in CD pressing, it was actually the specifications, pure and simple). A far more interesting, succinct report came from Paul Leader of Otani UK on Pro-digi developments--how apotential DASH manufacturer had gravitated to the opposing camp, and why.
The last day, mainly devoted to scientific and industrial applications, in fact had awider appeal, not least because it gave those of us in the recording industry afascinating insight into fields of which we would otherwise see very little. Of special interest was Francis Rumsey's description of digital audio projects in Britain's universities, from the Composer's Desktop Project to digital filters in Wales. Martin Russ (of British Telecom Research) gave a remarkable presentation with the aid of aspecial HyperCard stack on his Macintosh computer on how to increase quality and reduce the bit-rate in digital telephone transmission.
Jim Wilkinson of Sony described the D1, D2 and HD video recorder specifications and their audio capability; Dr. Klaus Genuit of Head Acoustics described the use of dummy-head techniques for measurement applications; and Andy Harding described Sony Broadcast's "Interactive Knowledge System," alinking of IBM PC and videodisk technology to produce avisual
database--which could, for example, be areference manual on acomplex machine.
The session closed with an examination of the practicality of R-DAT as a
data storage medium from Bill Boles of Hewlett-Packard, preceded by one of the best presentations of the day, the inimitable John Watkinson of Ampex instructing us all in aclear, practical and fascinating way how error correction was carried out in digital tape formats--from simple truth tables to cross-interleaved Reed Solomon codes. And we understood every step.
With so much going on in four days --plus more that is not mentioned above--it is hardly surprising that the
Digital Information Exchange is becoming avital day at the Zoo for Britain's audio professionals.
Recording engineer and producer Richard Elen, former editor of Studio Sound, lives in Glastonbuty, England and works as a "Creative Technology Consultant," dealing in recording ad production, music, computers, and laser holography

Nobody gives you more sound for less than Sam Ash.
You'll find everything you need to make music at Sam
Ash at consistently low prices. It's afact that Sam Ash has been filling America's playing and recording needs for more that 60 years. So whatever your needs may be, you'll find that the helpful and expert people at Sam Ash will bring music to your ears. YOUR SOURCE FOR MUSIC AND SOUND Call Toll Free: 1-800-4-SAM-ASH OR 1-718-347-7757

·

124 FULTON AVENUE HEMPSTEAD, N.Y. 11550

,..·
MUSIC STORES

Circle #077 on Reader Service Card

The Reel Difference
iiiv- .,,-._

The difference is the highest quality cassette duplication available. OCA has no equal.

2832 Spring Grove Ave., Cincinnati, Ohio 45225 5131681-8400
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Circle #078 on Reader Service Card

FEBRUARY 1988, MIX 63

LONDON'S TAPE ONE
NG EDGE FEi\); TT

Digital Suite One at London's Tape One.

by Richard Elen
In 12 years, Tape One Studios has progressed from being asmall company producing children's records to London's best-known independent cutting and pre-mastering facility. With a major investment in digital audio technology--including a Neve Digital Transfer Console (DTC) and an AMS AudioFile as recent acquisitions--partners Barry Ainsworth and Bill Foster have become experts in the arcane field of digital audio post-production:

from conventional disc-cutting with digital masters to the whole business
of CD pre-mastering. This article charts the facility's development and brings
to light some of the company's experiences at the leading edge of the profes-
sional audio industry. Tape One was founded in 1975 by
Foster and Ainsworth. Says Ainsworth, "We had amarket for children's records, and we decided that we needed astudio to record them in. We made the first records, and because we had tape recorders, and because of my con-

nection with Sarm Studios, we ended up doing a lot of tape copying for companies like K-Tel. And we kept
those sort of clients. So when we had finished the first 12 children's albums, we decided to look for copying work, for when we weren't making records. So the copying built up."
Then the facility decided to purchase aused cutting lathe, and in 1976 Tape One became amastering facility. "We went into speech recording, but that field was rapidly sewn up by asmall number ofcompanies with large sound

64 MIX, FEBRUARY 1988

effects libraries, so we weren't too suc-

cessful at that," says Foster. "But we
were doing copying in our downtime, and eventually put two machines in

"We had amarket for children's records, and

our speech studio, turning it into a second copying room. Every time we

we decided that we

had asession, we drew acurtain over them to hide them."
Foster, himself a veteran cutting

needed astudio. We ended up doing alot of

engineer, ran the lathe for two years, until they employed Denis Blaclçham

tape copying for

in 1978. "Then we decided it was time to look for new premises," says Foster.

companies like K-Tel."

At that time the facility was operating

out of aseedy basement on Carburton

Street, off London's Euston Road.

"About the beginning of 1982," Fos-

"We found the Windmill Street ter continues, "Roger came to us with

premises in 1978, and construction was completed the following year. We had

the 1610 for us to try out. We ran some tests, and immediately realized it was

two floors of this building--about amuch more serious proposition. So

3,000 square feet--and we didn't know in April 1982 we installed aPCM-1610

how to fill it. So we put in one disc- and two BVU-200B video machines.

cutting room, and one room for putting We also ordered aDAE- 1100 that wasn't compilation albums together," Ains- available until the summer.

worth recalls. By this time the corn-

"So by August 1982 we had acom-

panywas gaining areputation for assem- plete 1610 system and editor," Foster

bling masters for companies such as remembers, "and basically it sat there! K-Tel. "We were becoming known for We did virtually nothing with it--ex-

'20-hits-on-one-record' compilations," cept rent it back to Feldon." Says Ains-

says Foster.

worth, "People were still scared of this

"We soon had one straight tape copy- new technology. To begin with, no

ing room, and aroom dedicated to one wanted to use it.

doing audition cassettes--six ma-

'Mien one day," Foster resumes, "in

chines hooked up together," continues the fall of 1982, someone from arec-

Foster. "We hung onto the idea of putting aspeech studio in the basement,

ord company called up and asked, 'Have you got something called aone-

and we installed that in conjunction six-one-zero?' We said that we had,

with the usual ancillaries such as a and she said, 'That's good, because

library. Then we were asked ifwe could I've got about 20 tapes I've got to send

use the 8-track in there to make loop- to Japan for compact disc....'

bin masters for cassette duplication.

"All we did was straight copies onto

So gradually, once again, the speech 1610," says Foster, "because we had

studio got phased out. It finally died in no idea of subcode formats and that

1980.

sort of thing. Then we had long dia-

"In 1978, before we moved, we had decided to improve our cutting facilities, and ordered aNeumann VMS-80," says Foster. "We were the second

logs with PolyGram and other people
in the industry and came to understand what was required for CD master tape production. We began to produce mas-

people in the UK to place an order. We took delivery in August 1979--it was the turning point. Suddenly we started

ter tapes for quite afew companies, writing down the timing information on asheet of paper and so on.

to be regarded as aserious mastering facility. We put the old lathe in the basement and installed the VMS-80 in

"During that stage we began to come across faults on some 1610 tapes coming in, and we had to make decisions:

our number one room. Later on we for example, should we take the tape

added athird lathe--a VMS-70. "Then in 1981," Foster says, "we

through the desk and EQ out arumble, risking the problems ofthe conversion

were approached by Roger Cameron process at that time, or should we let it of Feldon Audio to consider the pur- go through? In many cases the pro-

chase of aSony PCM-1600. We looked ducers tended to prefer to leave slight

at the system and, quite frankly, we imperfections on the recording, pardidn't like it. We heard horror stories ticularly in the classical domain," notes

about drop-outs and other problems, Foster.

so we passed it by.

"But we were always trying to im-

prove the way we handled digital masters," Foster continues. "We heard about the DSP and called Neve in late
1982." Afew months later, Neve approached
Ainsworth, and asked if Tape One would be interested in adigital console for the truck, Mobile One, which they were operating then. "Neve was doing one for the BBC and thought we might
like to have alook," says Ainsworth.
"We went to see them in February, 1983. After agood deal of discussion
we declined, but did ask if they could do alittle box capable oftaking aSony-
compatible signal in and out and offering alimiter, EQ and fader, and nothing else. And while they were about it, how about aquote on an all-singing,
all-dancing digital disc-mastering console?"
Two weeks later Neve came back to them. "They said yes, they were inter-
ested in both, but we couldn't have one without the other. Ifwe wanted to
have the little box--essentially acouple of channels of their DSP--we had
to order the big one as well. They quoted afigure which was the com-
bined price of the two consoles. And there was little or no variance in spec.
We couldn't have different EQ curves from the BBC, for example. It was basi-
cally have that, or wait two years. We decided to go for it."
The equipment was ordered in the spring of 1983. "Atilla," the small console, was delivered in May 1984, at the
same time as another piece of the CD mastering jigsaw puzzle, aPhilips PQ Subcode Editor, arrived on the doorstep. "We felt that at the time alot of
CDs were going out with very hamfisted subcodes on them," says Foster.
"There were a lot of people in the factories who knew everything about
pit profiles but didn't know where to put the break-point between two tracks
in acrossfaded concept album. "We had the choice of the Sony or
Philips subcode editors, and we chose the Philips partly because it printed
out on paper the information which the record company could understand,
and it was all there if something happened to the data on the tape."
So Tape One became the first facility in the world, outside of CBS/Sony,
to be able to offer digital EQ, limiting
and level correction as well as editing, assembly and compact disc PQ subcoding to customers. "It was that, plus the upcoming disc master console--
which attracted alot of interest at the

FEBRUARY 1988, MIX 66

New York AES in 1984--that really put we saw Stuart there. 'I'm ready to talk,' we needed something else. It was

Tape One on the map," says Foster.

he said. That was the trigger that started logical to look for another facility. We

"The disc mastering console was it all."

wanted astudio with extra rooms: and

rather late. It suddenly dawned on

It turned out there were four or five Trident has the studio, aremix room,

Neve--as with alot of other manufac- hard disk editing systems on show at two cutting rooms, high-speed cassette

turers--that digital audio equipment IBC. Foster recalls, "We ended up talk- room, tape copy room and so on, just

is incredibly software-based. And soft- ing seriously to Lexicon and AMS. At what we wanted. So we decided to

ware is not written in 20 minutes. But the end of the day, when it came to the give ourselves another load of facilities

when the console was finally delivered, matter ofwriting checks, we asked both and some more headaches! Because

it worked very well. The first session manufacturers, 'Can you deliver now?' that's the way we like to work."

was done in November '85, and the AMS was the only one to say yes. So in

"Trident was areal state-of-the-art

room officially opened inJanuary 1986. February 1987 we installed the AMS London studio originally," says Foster.

It's been working ever since and we're AudioFile: one hour of storage (we "It was the first 8-track studio in Lon-

very pleased with it."

now have two hours), without the final don; 'Hey Jude' was recorded there."

Foster goes on, "Then before we Cut and Splice editing page. We built a And in fact Ainsworth worked there for

could sit on our laurels, Graham Bos- new room at the beginning of 1987. afew months. The purchase involves

well and Andy Proudfoot came down We refurbished the original speech stu- only Trident 1; the second facility, at

from Neve and asked us for input. They dio control room--by that time called Strutton Ground (formerly Strawberry

were designing aproduction master- 'Digital Suite l'--and installed the Mastering and now aremix room), is

ing console--which was to become AudioFile."

not part of the deal.

the DTC. We decided to sit this one

By the summer of 1987, Tape One

"We plan to refurbish it from top to

out. After all, we were doing well with boasted four digital suites: Digital Suite bottom, over aperiod of time, as we

our two consoles, and we had added a 1, with the AudioFile and DTC, plus a have done with Tape One," say the

Harmonia Mundi system for some of 1630 and DMR-4000 U-matic system, pair. "Work will start in the early

the smaller jobs that didn't require a and redesigned acoustics and monitor- spring."

complete digital console system. But ing by Tom Hidley; Suite 2, with a

Says Foster, "Basically, we see an ex-

then people started to order DTCs, Harmonia Mundi BW102 interface, tension of the post-production chain.

and Barry and Istarted thinking about 1610 and DAE 1100 with Philips sub- In five years' time, stereo tape may not

ordering one ourselves. Because we code editor; Suite 3with the smaller be the start of post-production. Ithink

had this master plan."

DSP, 1630 DAE1100 and Harmonia now that recording, remix, cutting, and

Their plan revolved around the busi- Mundi system; and Cutting Room 1, CD mastering are all separate stages, it

ness of digital audio editing. Since with the large DSP, VMS-80, 1630, Mit- isn't necessarily the case that post-

1985, Foster and Ainsworth had been subishi X-80, sampling rate converters, production should start at the point

thinking about the usual approach to and analog systems including A820 that the tape has been mixed. There

the subject. They knew they were not machines with Dolby SR. In addition, might well be areas where our post-

happy with the business of shuttling there are four analog rooms available. production expertise can be brought

videotape machines bacicwards and for- From having two floors in the building to bear on stages before the damage

wards. "It was all that was available," when they moved in, Tape One now has been done."

says Ainsworth, "but it took a long uses all five.

For the foreseeable future, the stu-

time to get from A to B. None of the

"We ordered the Neve DTC when it dio and the remix room at Audio One

clients complained, because it was the was announced, and it was delivered will remain just that--"But who

only route: but alot of time and effort in June 1987," says Foster, "and it was knows?" says Ainsworth. "What we

goes into it, and you don't always get hooked up to the AudioFile, which would like to do is something state-of-

what you want. We both thought there included some modifications to let us the-art, but different. But we are in

must be abetter way."

run, from the AMS into the DTC, two business to make money as well as to

"I saw the AudioFile the first time it digital stereo signals and one analog push back the boundaries. So if the

appeared at the AES in Hamburg," says stereo channel."

most viable combination was still an

Foster. "We talked to Stuart Nevison

Despite the commitment to digital, SSL and aStuder, we wouldn't decline

but he said he wasn't interested in there's still room for analog at Tape to put one in just because other peo-

doing astudio version 'yet.' It was a One, particularly Dolby SR. "A lot of ple had them."

digital cart machine--a sensible course compilation albums are being done

"But there are some very interesting

for AMS. It meant they could get out on Dolby SR because the production possibilities out there," Foster con-

some units and start to recoup some of companies don't want to pay digital cludes. "There are very, very bright

their development costs. Stuart said he rates," says Ainsworth. "And these people around in our industry. It will

would talk to us when he was ready. In companies still want to resequence be quite interesting to watch this

the meantime we looked at other sys- the album ahalf-hour before they mas- space."

tems. Disk-based editing isn't anew ter it: it is still· faster to do it with

concept: Tom Stockham was doing 1 / 4 -inch tape, despite the AudioFile."

Recording engineer and producer

something of the sort years ago with

The latest news, announced at the Richard Elen, former editor of Studio

SoundStream. And several companies last AES convention in New York, is Sound, lives in Glastonbury, England

were developing systems."

the acquisition by Tape One of Tri- and works as a "creative technology

"Then we went to the International dent Studios. It will be called Audio consultant," dealing in recording ad

Broadcasting Convention (IBC) in Brighton in 1986," says Ainsworth, "and

One. Says Ainsworth, "The work at Tape One was going fine, but we found

production, music, computers and laser holography.

66 MIX, FEBRUARY 1988

Power Station selects tc.electronic. Installs 6TC-2290 sampler/delays

/ Ilove the sound, the ease of operaIII tion, and the complete control over all parameters. With the three modulation parameters, speed, depth and waveform on the front panel. and the special key functions to access software TC. allows fine tunng of parameters that are predetermined in other units.

The combination of dynamic delay and pan

modulation allow quite avariety of effects within

asingle processing device. T.C. was very smart

about this. affordable

The than

2290 does at lot more, and any other unit we've used.

yis myore

Engineer Don Rodenbach Power Station N.Y.C.

di Imostly use the sampling.., flying in vocal parts is easy and great. Ican fly in awhole chorus and verse. Error-free, no glitches, easier and more accurate editing of samples, and stor-
77 ing of edited samples in pre-sets are great
features. Engineer Rob Eaton Power Station N.Y.C.

Ademonstration model of the new TC 2290 was sent to Power Station by Martin Audio. The first engineer to use the 2290 was Don Rodenbach, who was so pleased with the sound, and features of the 2290, as well as "the clarity of the 32 sec. samples." that he bought one for his own rack. His unit then started making the rounds of various sessions at Power Station. Today there are six TC 2290 units at Power Station and no waiting. Each unit has 32 second capability for sampling (and delay), can be looked in perfect synch with asecond 2290 for stereo sampling (The new stereo link update). and has Sampling 2software, along with "Fast Trigger," update.
Sampling 2Features 1) Multi-layering of samples. Up to 16 samples on top of each other
with no degradation of signal, into the same pre-set. 2)Fancy Dancing-samples triggering samples any order, or number,
as many times as desired. 3)32 sec. delay possibility. 4)Crossfade-After the first sample is triggered, asecond sample can
be triggered, and the first sample will continue to play simultaneously. 5)Note counter for pitchshift of samples. 6)1 millisecond sample looping and sound on sound possible.
Circle #042 on Reader Service.Card

Less is More The TC 2290 offers 2bits more resolution, at aquarter the price of any truly competitive unit. T.C.'s 18 bit resolution. 1MegaHz sampling rate, and 2020K Hz bandwidth (rolling off a33KHz even out tu 32 seconds) make the TC 2290a remarkable unit for sampling, multi-effect delays. and panning programs. Send for literature.
t.c. electronic OF DENMARK
Denmark: Grimhoejvej 3, DK 8220 Brabrand. Phone: (45)6 26 28 00 U.K.: 24 Church St.. Oswestry. Shropshire, SY 11 2SP. Phone: 0691 658 550 U.S.A.: 120 County Road, Tenafly. N.J. 07670, Phone 1201) 568-1820
WEST GERMANY: 08157C677. DENMARK: 062628011 GREAt BRITAIN: 0691 65855o. SWEDEN'. (031) 134950. NORWAY (033)26798. HOLLAND. BELGIUM LUXEMBURG: 003110.4588166. AUSTRIA. 0498157 7677. ITALY:102)5084.1. FRANCE: (91)498728, SPAIN: 91.4426426.USA·(201) 568-1820 CANADA. '416) 727.1951. JAPAN:(03)32943051. AUSTRALIA :103)241 2244. FINLAND. 90-592055. GREECE 01-368541 SWITZERLAND: 071 226616

4.ef>f-5

The price you have to pay to be free.

As amusician, you know you've got to be free. Free to express the music that's inside you. But, sadly, buying an "affordable" keyboard or sound module often means compromising your expressive freedom by accepting secondrate sounds and limited capabilities.
At Kurzweil, we don't think the instrument you play should build fences around your imagination. So we developed our revolutionary 1000 Series to help turn it loose. The 1000 Series delivers authentic Kurzweil sounds with more voices, more programming power, more creative freedom than you ever thought possible at prices you never thought possible.
Freedom from Financial Oppression.
Thanks to our new VLSI microchip, Kurzweil 1000 Series modules start at just under $2000. VLSI has enabled us to pack
each Series 1000 instrument with up to 120 of the same impeccable, 16bit floating point, digitallysampled sounds found on the legendary Kurzweil 25e Choose from the 1000 SX String Expander Module, 1000 HX Horn Expander, 1000 GX Guitar Expander, 1000 PX Professional Expander (which provides avaried collection of our most famous samples) or the K1000 (the keyboard version of the 1000 PX).
Freedom of Expression.
The 1000 Series' generous polyphonic capabilities free you from the expressive limita-

tions of 12-voice or 16-voice systems. The 1000 PX and K1000 offer the power of 24 voices while the 1000 SX, 1000 GX and 1000 HX each have 20 voices. And, if you need more voices, you can combine all four 1000 Series modules to create an 84 voice, 8-output supersystem. So go ahead. Stack voices to your heart's content. Build complex, multi-voiced sequences. Go for those big, two-fisted chord shapes. The 1000 Series modules give you miles of sonic territory to roam at will.
Freedom of Choice.
The 1000 Series is truly democratic too. Three different operating modes let everyone-- from novices to advanced programmers--benefit from the 1000 Series' bountiful capabilities. In Play Mode, you can use those great Kurzweil sound programs just as they are. Simply select aprogram and play The Compiled Effects mode lets you apply avariety of popular effects to any of the preset sound programs. And the Modular Editing mode takes you deep inside the 1000 Series' voice architecture.
So stand up for your rights. You owe it to yourself to check out the 1000 Series. For more information, visit your nearby Kurzweil dealer. Or write to us at Kurzweil Music Systems, Inc., 411 Waverley Oaks Road, Waltham, MA 02154, (617) 893-5900. In Canada, write to Heinl Electronics Inc., 16 Mary Street, Aurora, Ontario L4G 3W8, (416) 727-1951.
KURZWEIL'

·51995 suggested retad price for 1000 SX and 1000. HX. 52,395 suggested retad once for 1000 GX and 1000 PX 52,595 suggested retad price for K1000. All specofications and prKes subject to change w1thout notKe.

Circle #024 on Reader Service Card

Power Station selects tc.dectronic· Installs 6TC-2290 sampler/delays

/ Ilove the sound, the ease of operation, and the complete control over all
parameters With the three modulation parameters, speed, depth and waveform on the front panel, and the special key functions to access software T.C. allows fine tuning of parameters that are predetermined in other units.

The combination of dynamic delay and pan modulation allow quite avariety of effects within asingle processing device. T.C. was very smart about this. The 2290 does at lot more, and is more
affordable than any other unit we've used. y
Engineer Don Rodenbach Power Station NYC.

di Imostly use the sampling... flyiri.. in vocal parts is easy and great. Ican fly in awhole chorus and verse Error-free, no glitches. easier and more accurate editing of samples, and stor-
fienagtoufreesd.ityed ysamples in pre-sets are great
Engineer Rob Eaton Power Station N.Y.C.

Ademonstrat:on model of the new TC 2290 was sent to Power Station by Martin Audio. The first engineer to use the 2290 was Don Rodenbach, who was so pleased with the sound, and features of the 2290, as well as "the clarity of the 32 sec. samples." that he bought one for his own rack. His unit then started making the rounds of various sessions at Power Station. Today there are six TC 2290 units at Power Station and no waiting. Each unit has 32 second capability for sampling (and delay), can be looked in perfect synch with asecond 2290 for stereo sampling (The new stereo link update). and has Sampling 2software, along with "Fast Trigger," update.
Sampling 2Features 1) Multi-layering of samples. Up to 16 samples on top of each other
with no degradation of signal, into the same pre-set. 2)Fancy Dancing-samples triggering samples any order, or number,
as many times as desired. 3)32 sec. delay possibility. 4)Crossfade-After the first sample is triggered, asecond sample can
be triggered, and the first sample will continue to play simultaneously. 5)Note counter for pitchshift of samples. 6)1 millisecond sample looping and sound on sound possible. Circle #042 on Reader Service.Card

Less is More The TC 2290 offers 2bits more resolution, at aquarter the price of any truly competitive unit. T.C:s 18 bit resolution. 1MegaHz sampling rate, and 2020K Hz bandwidth (rolling off a33KHz even out to 32 seconds) make the TC 2290 aremarkable unit for sampling, multi-effect delays, and panning programs. Send for literature.
t.c. electronic OF DENMARK
Denmark: Grimhoejvej 3, DK 8220 Brabrand, Phone: (45)6 26 28 00 U.K.: 24 Church St., Oswestry Shropshire, SY 112 SP. Phone: 0691 658 550 U.S.A.: 120 County Road, Tenafly, N.J. 07670. Phone: (201)568-1820
WEST GERMANY-O81577677 DENMARK: 06262800. GREAT BRITAIN: 0691 658 550. SWEDEN (0311134950 NORWAY, (013)26798. HOLLAND. BELGIUM. LUXEMBURG: 003110-4588166. AUSTRIA: 0498157 ,7677. ITALY: (0215084.1. FRANCE: (911498726 SPAIN: 91-4426426. USA: (2011568-1820. CANADA 14161727-1951. JAPAN: (031329.8051. AUSTRALIA .(03) 241 2244. FINLAND: 90-592055. GREECE: 01-368541. SWITZERLAND: 071226616.

KAIIII PO

by Dan Daley
Look around any recording studio these days and it won't take long to notice a preponderance of names like Yamaha, Sony and Mitsubishi. At sessions over the last few years, you've also probably noticed that sushi and sashimi have replaced burgers and fries as the most-ordered take-in food. This two-pronged Japanese assault of technology and cuisine has established an irreversible beachhead here in the States.

One of the major differences in how the two cultures perceive things is evi-
dent in the way those at Kampo Cultural Center, NewYork's firstJapaneseowned audio and video facility, look at both consoles and raw fish as works of art. And it's not just that the sushi is analogous to software.
KCC Audio/Video, located near the dividing line between the East Village
and Greenwich Village in Manhattan, takes aholistic approach to technology and culture. The cultural center
was founded by Kampo Harada, a76year-old Japanese artist regarded as

perhaps the world's foremost master of calligraphy, the ancient art of lettering. Kampo's art-cum-philosophy has garnered him over 520,000 students worldwide, given him the impending status as one ofJapan's "Living Treasures," and provided him with asubstantial income.
That last benefit is apparent in the cultural center, asix-story building, formerly a run-down furniture factory built in 1869 and recently renovated. It serves as abase from which Japanese arts are promoted. It also houses an SSL- and Studer-equipped audio re-

68 MIX, FEBRUARY 1988

CULTURES AND

TECHNOLOGIES MERGE

IN

NEW

YORK

cording studio and an interformat online/off-line video editing suite.
Technology at KCC Terri MacMillan, KCC's director of sales and marketing, led me on atrip through the rectangular building, each level of which is dedicated to a different aspect of KCC. Beyond the reception area on the first floor, guarded by a 1,000-year-old suit of samurai armor, is Kampo Hall. The 21-foot by 54-foot room is amultipurpose space: dance, art exhibits, film and the like share time with vid-

eo and audio production (where wide open space is necessary). Koto player Sakamoto recently used the room to record an LP. Inputs for 16 microphones and up to six cameras line the long walls, with splits to an enclosed balcony which doubles as acontrol and projection room for video shoots.
The second floor houses the recording studio. The control room is built around aSolid State Logic 4000E console with Total Recall. The multi-track is the Studer A820, with Otani, Tascam and Ampex 2- and 4-track mix decks. Monitoring is through UREI 811Bs and

813Bs, along with pairs of Auratone,
Fostex and Yamaha speakers. Outboard gear includes the Lexicon Prime Time II and 224X.
The recording room, 21 x28 with a 121-sq. ft. isolation booth, was designed by Antonio Argibay of Meridian Design and features manually operated folding walls and motorized ceiling panels for varying reflective and absorptive surfaces.
The third floor houses the video de-
partment, with multi-camera switched video and 24-track audio capability, designed and wired by renowned video

FEBRUARY 1988, MIX 69

tech expert Steve Rutt. Production equipment includes the half-inch Betacam format with broadcast-quality Ikegarni Unicam. The edit suite holds a OVIX 340XL computerized edit controller which commands aGrassyValley 100 SEG, aSony BVH-2000 one-inch edit recorder, and 1 /4 -inch 2-track or oneinch 16-track SMYrE synchronized audio recording. The system is supported by high-resolution character generation, title camera and compact disc sound effects library.
The fourth floor holds the cultural administration offices. The fifth and sixth floors are reserved for living quarters, with one floor available, at additional cost, to artists working in the studios.
The Kampo Family The different elements at KCC reflect the different interests of the Kampo family. KCC is presided over by Kampo's son, Hiroshi, a Berklee-trained jazz guitarist who has spent the last 14 years in America. He first opened a recording studio at the site in 1984. "Hiroshi is amusician, and his original idea was to have astudio he could

"The Japanese are
looked at as
economic animals. But we want
everyone to know it's the people we
think are important."
work in, not acommercial place," says MacMillan. But Hiroshi traveled in musicians' circles and soon buddies like the late Jaco Pastorius were working there.
Hiroshi's brother Shokei owned a video editing facility in Japan and part of his gig was to follow his father around the world and shoot him teaching calligraphy. His father, known as Soshi ("Grand Master") around the studio, thought that avideo facility in

NewYork to go along with the cultural center would be agood idea. Simultaneously, the recording facilities were upgraded to their present state. The combined facility had its grand opening last April.
"The idea of the two studios was also that we wanted people ofacertain type working in here," explains MacMillan. "People who would appreciate where this place was coming from, the whole multi-cultural thing. It wasn't just 'Let's bang out another studio in NewYork,' especiallywith the competition in this city. This place really lends itself to the creative urge; it's loose and tight at the same time. It's very family-like and also very take-careof-business. Having agreat room is a good thing, but we don't think that's enough."
Bridging Two Worlds Calligraphy and consoles might seem disparate worlds to some. But from Hiroshi Harada's point ofview, the two have obvious connections. 'The SSL is just atool, like abrush," he says. "In calligraphy, we use only the best brushes. The same with the equipment in

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70 MIX, FEBRUARY 1988

Circle #082 on Reader Service Card

the recording and video studios. Music is an art and anything that makes it is also related to art. Just like calligraphy--the paper, the ink, how it's made. It's all related. We bought the SSL simply because it is the state-of-the-art. We wanted to go for the best." According to MacMillan, the Grand Master himself is not at all intimidated by the array of technology at KCC: "To him, calligraphy is sort of atechnology, a manual technology. It's avery intricate science. Every move and spot on the paper means something."
Virtually no research went into the marketing side of the studios before they were built, according to Hiroshi. While he admits to being at least mildly curious about how other studios are run, he adds that "I'm not here to compete with American studios; I'm here to do something they haven't done.
"There are two ways to look at cultural exchange," he says. "One is just to look at the differences. Ours is to understand what the source is. Music is very easy to understand."
Basically, the $4 million it took to build and equip KCC were disbursed based on alove of music and faith in good karma. (And given the vicissitudes of the recording industry, especially in NewYork, those are as good a pair of criteria as any others.) "Right now we have to be successful commercial-wise to support everybody who works at the center," Hiroshi conceded, "but eventually Iwant to start producing audio and video projects." He cited Bolivian Halario Soto, an artist he produced who played on the last Steve Van Zandt album. Soto plays traditional Bolivian instruments and is another example of Hiroshi's vision of crosspollenization of cultures through music. "It's easy to do that in New York City," he adds. "It's such acenter to so many kinds of music."
Running a Studio-- Japanese Style Cultural exchanges occur on the management level, too. Japanese business management techniques have been extolled--and lampooned--in countless books, articles and television shows over the last several years. And if the idea that what's good for Nissan is good for America finds its way into studio facility management, that's not the worst thing that can happen, in MacMillan's view.
"They look at us as we're all leaders in our own right," she explains. "We

have morning meetings, which are a
part of that Japanese management theory where everyone gets achance to say what's on their minds in agroup
setting. We see what our strengths are, what our weaknesses are, and we set
our goals and agendas. There is areal
sense here that you are going to make it or break in on your own merits, and
everyone here was hungry for an ex-
perience like that and everybody is very committed to this place as a result."
Tom Toeda, KCC's general manag-
er, is more blunt: "The Japanese are looked at in the world and especially

in America as economic animals. That we only care about making money and nothing else. But we want everyone to know that it's the people we think are important, and that's something we think we can do here. White, black, yellow, we should all work together."
KCC Clientele The sign that hangs in the storefront over which the studio is located lists all the cultural activities first and almost as an afterthought is it mentioned that there happens to be astate-of-theart audio/video facility in the building.

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"This place is known as the Kampo fact they admire their baseball players

Cultural Center, which is the umbrella that way, too.) "The only thing Icould

organization," says MacMillan. "But compare the Harados to in America

our ads are in the papers and in Mix as would be the Kennedys," says MacMil-

KCC Audio/Video. So that's been a lan. "But that's not afair comparison

small problem. But everyone who has because it's such adifferent culture."

come here likes it; there's awhole

Her marketing approach in the near

philosophy here that makes it easy to future will include targetingJapanese-

work here." Located as it is in an area American companies that want to crack

known for its creative types, locals oc- the Japanese markets. One aspect of

casionally venture in and discover it the video facility was included with

for themselves. One of those was a this in mind: character generation in

recent video shoot featuring Debbie Japanese dialects including Kangi and
Harry for a1V special on Superman. Hiragani has been provided for using

The KCC client base over the first aMacintosh Plus computer. In other

six months of operation was primarily places dialect subtitling would be sent

jazz-oriented, mainly due to the musi- out for typesetting before being put

cal bent of Hiroshi Harada. "We've had onscreen because of the exotic shapes

adecided jazz leaning in here so far," ofthe characters and the obscure fonts.

says MacMillan. "Our first full project "That's abig plus forJapanese clients,"

was for MCA Zebra, part of the MCA she adds. "The hard part for me in

jazz project. It was Onaje Allan Gumbs," sales was what we were going to do

whose album was recorded and, for best, because there are so many things

the most part, mixed at KCC. Atlantic we can do."

Records had Stefan Galsas, producer

Toeda says the organization is also

of Stryper, doing The Palace Brothers looking to build special relationships

and Streetwave in the facility. CBS/Sony with Japanese manufacturers, includ-

did Japanese pop artist Marlene there, ing Sanken and Sony, with whom

produced by Kioshi Ito. It's not so they've talked. One type of custom

much thatJapanese artists have aneed apparatus he would like to see in the

or necessarily adesire to record in studio is amusician-controllable cue

New York, but aside from Japanese system for the studio. He points out

ownership ofKCC, the fact that MacMil- that such small personal consoles for

lan worked at CBS/Sony for nine years players are very common in Japanese

helped make the initial connections. studios, and he's heard of it being com-

Jazz-fusion group Top Shelf is anew mon in England. (It is done here, al-

act that KCC Audio/Video Productions though infrequently; Bearsville in

is developing; with MacMillan handling Woodstock, NY, is one.) Ira Kemp's

the nascent artist management opera- system is what Toeda mentioned as

tion, in-house producer George Petit being the one he prefers.

and engineer Tim Williams handled the

But the bottom line for Hiroshi Ha-

audio production end whi le the group's rada is still the cultural aspect of life in

video was done afloor above, directed general and music in particular. "We are

by freelancer Josh Blum.

here to help American people under-

stand Japan and the other way too," he

Targeting the

says. "We hope to make enough money

Cross-Cultural Market

to support the cultural exchange activi-

KCC isn't foregoing awider market. ties. It's like there are many great jazz

According to MacMillan, the jazz rep musicians and they don't make money.

has worked in the studio's favor by We hope to record them in adocumen-

adding asonic cachet: "Rock people tary sort of way. We want to do work-

look at us adifferent way and figure shop performances with them and re-

that if we're ajazz studio we're going cord them and do videos of them. I

to get great sounds, and it turns out to want things to be closer than just peo-

be right."

ple watching things on astage. Iwant

MacMillan says KCC doesn't have a people to be able to come here and

lot ofJapanese clients yet, but she ex- understand things."

pects that to change soon, especially

given the contacts that Kampo senior Dan Daley's one man show, Mel Tor-

has amongJapanese businessmen and me: The Man and the Concept, will be
theJapanese government. He is awell- apprearing at moderately priced din-

known quantity to the Japanese, who ner theaters through February Outside

tend to revere their artists the way his rich fantasy life he owns Pyramid

Americans admire baseball players. (In Recording in Manhattan.

"It's like adream machine':
PETER CHAIKIN, ENGINEER/PRODUCER

Producers and engineers are calling it a dream machine.
We call it the DMP7 Digital Mixing Processor. It's anew kind of creative tool and there's never been anything like it.
For the first time, you can command true digital mixing and dramatic digital effects. And have them programmed into memory for instant, flawless recall.
All from one incredible, affordable, simpleto-use 8x2 console.
All MIDI-controllable. Remote-controllable.

And syncable via MIDI to SMPTE.
It makes unforgettable music.
The DMP7 takes a"snapshot" of all of your settings. Instead of developing writer's cramp after each session, you can digitally store your production notes into memory. Up to 97 snapshots (with RAM4 cartridge), each consisting of more than 200 parameters, from fader positions to effect settings to 3-band parametric EQ settings.
Then recall them instantly at the touch of akey, or with an external MIDI controller or sequencer.

Yamaha introduces it event programmer, a
All at

All the colors are built in.

The DMP7 has three on-board digital signal

processors that deliver

-

spectacular effects like

stereo chorus and echo.

Panning. Four kinds of reverb, and reverb

plus gate. And up to three effects can be mixed

simultaneously.

There are 18 different effect types in all, with up to nine parameters for each. So you can

create precisely the sounds you want, while

saying goodbye to outboard gear and their multiple data conversions. The DMP7's mixer has eight input channels, and its digital cascading feature lets you connect additional DMP7s to add more inputs (up to 32), as you require.
And build yourself the ultimate digital console.
There's alot more you should know about the DMP7, and your Yamaha Professional Audio dealer can tell you the whole story. See him this week.
And believe in dreams.

snewest digital mixer, nd digital processor. once.

Here's the setup.

The simplicity of the diagram below belies the many capabilities of the DMP7 at work in an automated multi-track mixdown/processing system.
Dry tracks from the multi-track recorder are fed into the DMP7. ASMPTE track is fed into the SMPTE/MIDI converter. The MIDI timing track controls the MIDI sequencer/recorder.
The MIDI control information for the DMP7 can now be recorded in sync with the music. The DMP7 then automatically mixes everything down into atwo-track master or

demo. Until now, this level of mixed automation was only possible with more expensive consoles.
The DMP7 doesn't just do the final mixing, but the final processing as well, to each individual track. With reverbs, flanging, delay, and stereo panning Or whatever sweetening you need. And again, in sync with the music. What's more, if you have more than eight tracks, you can cascade in the digital domain to another DMP7 for 16 tracks. Or another for 24. And yet another for 32 tracks.

YAMAHA® Engineering Imagination" Yamaha Music Corporation, Professional Audio Division, P.O. Box 6600. Buena Park, CA 9062Z In Canada, Yamaha Canada Music Ltd., 135 Milner Avenue, Scarborough, Ontario M1S 3R1.
Circle #036 on Reader Service Card

RECORDING OVERSEAS

A Survival Checklist
by Mel Lamben

nthis age of relatively inexpensive air travel and ashrinking world--in terms of both cultural difference and the growth of multi-national record labels --it is not too surprising that agrowing number of engineers and producers are recording outside of the U.S. Not only does the use of overseas studios and production facilities broaden one's recording horizons, it also provides the opportunity to work with different brands of consoles, tape machines and outboard equipment.
Working in an unfamiliar environment, and possibly with assistant engineers and studio staff who do not speak your language, can be astimulating experience. But amutual respect for the recording and production of creative music and sound should easily overcome practically any language barrier.
Not so easily overcome, however, are the myriad technical differences that can plague an overseas assignment. In this article Iplan to identify some of the major technical points to be considered, if only to let you be better prepared for the unexpected.
Power Requirements
Accustomed as we all are to a110-volt/ 60Hz power supply here in the U.S., we probably take it for granted that the same standards are used throughout
the world. Not so! Europe, for example, is pretty much set up for 220-volt/ 50Hz, astandard also utilized throughout Australia. Certain Asian countries make use of combinations of 110V, 220V 50Hz and 60Hz supplies.
For reasons of personal taste, and because ofpossible shortages in aforeign clime, you might prefer to take along your favorite tube equalizer or audio processors (particularly if the latter contain some of our more innovative reverb or effects algorithms). That being the case, you should make apoint of checking with the studio you plan to use to determine the power voltage and line frequency. Or, if you are preparing for atour across several borders, acall to the appropriate consulates or embassies in anearby city before you leave--you probably will be calling anyhow to discuss

visa requirements--should provide the necessary answers.
Ifyour device ofchoice doesn't offer alternate mains power taps to accom-
modate the voltages you will be encountering, a step-up or step-down transformer should fit the bill. Line frequency is seldom aproblem with modern processing hardware, although it might be worth aquick call to the manufacturer to double-check.
Tape Formats If you plan to start aproject overseas and then complete it here--a concert tour recording, for example, with remix to picture at aStateside facility-- check that everybody involved with the project agrees on atape format. While it's very unusual to come across
a 12-track transport these days, you should know up front what track for-
mat width is planned for the sessions. Also, make sure that the tape stock is one with which you are reasonably familiar--when the time comes for
subsequent overdubs, you'll need to know the formulation's bias level requirements.
Check that the studio you are using is familiar with the record level you plan to use; many of us are now run-
ning high output tapes at elevated levels without noise reduction, so ensure that the second and assistant engineers have access to the appropriate line-up
and calibration tapes. Also insist that a careful record is made ofall the various alignment tones and levels placed on the tape. It matters very little if these alignment and test tones happen to be non-standard frequency sets. But do make sure that everyone involved with the sessions understands the significance to subsequent stages of the project.
Noise reduction is another aspect worth specifying up front. Dolby Atype and dbx are pretty common these
days; renting the necessary cards or units shouldn't prove too difficult in any major recording center around the world. Dolby SR processing is making healthy inroads, but you might want to make sure that sufficient units can be made available at your destination. ANT Telcom C4 is attracting a fair

FEBRUARY 1988, MIX 77

amount of interest and application in this country; while it should be no problem to arrange for the rental of a multi-track system in Europe, you are being somewhat optimistic to expect the same degree of availability every-
where in the world. If you plan to track to digital, remem-
ber that DASH- and PD-format ma-
chines are generally not freely available outside of major recording capitals around the world. Of course, you can arrange to have a rental machine shipped in, but check with them about having a (hopefully factory-trained) technician available just in case of problems. Iwouldn't for one moment suggest that digital transports are par-
ticularly fragile. Most of us, however, would feel more comfortable with troubleshooting an MCI, Studer, Ampex, 3M, Otani or Scully analog deck, if only because we recognize most of the parts! And, as long as you know the basics, diagnosing aproblem over the telephone or via an electronic mail link to alocal service center is easier if you are already familiar with such hardware.
In terms of DASH versus PD, it cannot be denied that in Europe, for example, DASH multi-tracks are, by and large, more readily available than PD machines. With stereo machines, PD still seems to be the format of choice in the big recording centers. Check
that adequate stocks of digital tape can be purchased locally or remember to take your own.
Signal Processors While most brands of signal processors--equalizers, compressors, limiters, noise gates, digital reverb, delays, etc.--are available in most parts of the world, do not expect to find some of the more exotic devices. So ifyou need that Pultec tube equalizer for aparticular vocal texture, or aUREI tube LA-2 to hold down the transients, take the beast ie with you, or have it sent ahead of the gig.
Of more importance, Ihazard, is to make sure you know how your outboards are wired to any XLR or stereo jacks. Do not assume that your balanced XI.R wiring scheme--hopefully agreeing with the IEC standard of pin #1 designated as ground, pin #2 as hot or positive, and pin #3 as return-- matches that of the production studio or concert sound system to which it is connected. While 1do not want to become involved with that old wive's

tale of "Yes, you can/cannot hear absolute phase," at least make sure you are
not introducing aphase inversion via your connecting cords.

video decks that can handle NTSC, PAL (used in most European countries, Australia and New Zealand )and SECAM
(France, Russia and pans of Africa).

Also, if you are striping audio with the

Video Standards

video, make sure you specify on which

If you plan to videotape an overseas tracks the left and right or mono mate-

performance, or photograph the track-
ing ofbasics so you have auseful visual record to refer to during later overdub sessions, remember that different coun-
tries around the world use conflicting video and television systems. While I
do not have sufficient space here to

rial is being printed. If you are tracking astereo mix to a
video-based PCM processor, remember
to specify the correct video format and sampling frequency. For reasons alittle
too complicated to be covered here, a sampling frequency of 44.1 kHz is not

the same as 44.056 kHz. If the tapes are

destined for eventual CD release, be

Help on the Way

sure that you fully understand which

Just as the Society of Professional particular frequency should he used.

Audio Recording Studios (SPARS) does an excellent job of assisting

Should you be embarking on afullblown audio-video shoot, then time

producers and engineers working code will obviously be of primary im-

at U.S. facilities, there are foreign portance. Ensure that everyone knows

organizations that can be of help to you during asession at an overseas

which format will he used in postproduction, and that the appropriate

studio. In Europe, the Association of Pro-

generators and video monitor are made available to everyone on the au-

fessional Recording Studios (APRS) dio crew. For a lip-sync shoot for a

can provide invaluable advice on sources of rental equipment, as well as assistance in the selection of

promotional video, check that the Nagra playback copy is locked to the correct sync reference, and that you can

asuitable studio or post-production lockup the edited visuals to the master

facility. In addition, the recently es-

audio tracks during post-production.

tablished British Record Producers

Of the various time code standards

Guild offers help with legal and contractual problems, not to mention

available throughout the world, we in the U.S. are more familiar with SMPTE-

providing objective assessments of format 59.94 Hz drop and non-drop

the types of services provided by studios and rental companies.
For more information about the

frame and 60 Hz. European countries, on the other hand, reference their
EBEL-format time code to a50 Hz line

APRS and the BRPG, contact the As-

frequency and are bewildered at our

sociation's general secretary, Philip need, for historical reasons dating

Vaughan, at 163A High Street, Rick-

from the early days of color TV, for

mansworth, HertfordshireWD3 1AY, dual 59.94 drop/non-drop timebase

Great Britain; 011-44-923-772907.

references.

Dual-standard time code readers

and synchnmizers are freely available

detail the various standards used in every country you are likely to visit

in the larger recording centers worldwide, but take your own if you antici-

around the world, check ahead of time pate problems in making the locals

that you can rent or otherwise obtain fully understand your exacting require-

access to an NTSC one-inch C format, ments. There is nothing worse than

3/4-inch ti- Mat ic or half- inch VHS/Beta-
max deck. (I suggest that you do not confuse matters by specifying one of

returning with dozens of reels of audio and video tape that refuse to synchronize with one another. Get it worked

the newer domestic decks with hi-fi out well ahead of time to save all the

audio, or one of the latest generation grief in post.

VHS video decks. That they are already being heavily discounted at your local
stereo store does not necessarily mean that they are even available in some of

These days, more and more producers working on film are using time code during video-based editing. Once again, ensure that you specify

the more remote parts of the world. ) Because of unpredictable demand,
many rental companies in the major European centers carry multi-standard

the correct time code standard, and that adequate video monitors or dedicated time code slates are made avail-
able for the film crew.

78 MIX. FEBRUARY 1988

The MASTER

When it comes to record mastering, Bernie Grundman wrote the book.
Over the years Bernie has cut the masters for many of the world's best selling albums, including the phenomenally successful 'BAD' by Michael Jackson. What loudspeakers does Bernie rely on to monitor the quality of his output?
I've mastered successfully on Tannoy for 17 years. For my new facility Ichose Tannoy again.'

erni

6054 Sunset Blvd. Hollywood, California 90028

(213) 465-6264

Rely on TAMOY:

The Name for Loudspeakers
Tannoy North America, Inc., 300 Gage Ave., Unit 1, Kitchener, Ont., Canada, N2M 2C8 (519)745-1158 Telex 069-55328

Circle #034 on Reader Service Card

YOU'VE NEVER HEARD ATAD SPEAKER
AND YOU NEVER WILL.

With TAD speakers, technicians get the purest, most powerful reproduction of sound in the industry. And nothing more. Because the TAD division at Pioneer Electronics prides itself on being colorless.
Our Professional Sound Lab insures the outstanding quality of our products through aseries of tests, including Doppler lasers, holography lasers and anechoic chambers. Products are also tested by computer for phase uniformity, transient response and frequency response. Then, using only the finest
`,19148 Purace, Electronics (USA/ Inc.. Long Beach. CA

materials available, every component is assembled by hand, allowing for tolerances down to amillionth
of an inch. At Pioneer, we put so much more into our TAD speakers, they don't sound like speakers at all. For more infor-
mation regarding TAD speaker components, please contact Leon Sievers at Pioneer Electronics (USA) Inc.
Technical Audio Devices
Protessional Productions Division of Pioneer Electronics (USA) Inc.. 2265 E. 220th Street, Long Beach, CA 90810 12131816-0415

Circle #043 on Reader Service Card

i6k fretehkordil âfblee M11,88ofi4e

by Guillaume Schouker
jrance. The mere mention ofthe word conjures up images of rolling hills, fabulous foods and mag-
nificent wines. One's thoughts are usually not those of aflourishing recording industry. But France is home to an ever-growing number of recording artists who have gained national as well as international acclaim. Artists like Charles Aznayour, Guy Bean, Claude Bolling, Pierre Boulez, Johnny Hallyday, Francoise
Hardy, Michel Legrand, Jacques Loussier, Jeanne Mas, Yves Montand, Nana Mouskouri, Rita Mitsouko and Sylvie Vartan
are just some of the many artists that have contributed to France's growing recording industry.
French studios are also playing host to an increasing number of international clients. "Foreigners who are coming to

France don't necessarily record their whole production at the same place,"
says Carla Guiot, co-owner ofStudio de la Grande Armee/Palais des Congres.
"They come to aFrench studio with tape in hand, just to do voice recordings, overdubs, mixes, or whatever. With today's world standard boards and all the outboard facilities, they can start a project in the States, continue in England and finish it in France." Nevertheless, anumber of top artists, from
Talking Heads to Eurythmics, have used Paris recording locales for basics and overdubs.

STUDIOS
What follows are briefprofiles ofsome of the top studios in France, along
with interviews with afew ofthe movers and shakers in the recording industry.
Studio des Dames is one of the

French sensation Jeanne Mas

oldest working studios in Paris. During its 20-year history the studio has played host to Michel Legrand, Sylvie Vartan, Claude Bolling, MauriceJarre,Jermaine Jackson, Pia Zadora, The Cure, Sting and Julio Iglesias, among others. Originally amovie theater in the '50s, Poly-
dor bought the facility and named it Studio Polydor. In 1968, PolyGram took
over and expanded the facility to three
studios. The studio was bought in 1984 by its present owners who changed its name to Studio des Dames, Last year they renovated Studio Acomplete with acontrol room designed by Tom Hid-

Studio Guillaume Tell is equipped with an SSL 4064 console

FEBRUARY 1988, mix 81

The price you have to pay to be free.

As amusician, you know you've got to be free. Free to express the music that's inside you. But, sadly buying an "affordable" keyboard or sound module often means compromising your expressive freedom by accepting secondrate sounds and limited capabilities.
At Kurzweil, we don't think the instrument you play should build fences around your imagination. So we developed our revolutionary 1000 Series to help turn it loose. The 1000 Series delivers authentic Kurzweil sounds with more voices, more programming power, more creative freedom than you ever thought possible at prices you never thought possible.
Freedom from Financial Oppression.
Thanks to our new VLSI microchip, Kurzweil 1000 Series modules start at just under S2000. VLSI has enabled us to pack
each Series 1000 instrument with up to 120 of the same impeccable, 16bit floating point, digitallysampled sounds found on the legendary Kurzweil 250° Choose from the 1000 SX String Expander Module, 1000 HX Horn Expander, 1000 GX Guitar Expander, 1000 PX Professional Expander (which provides avaried collection of our most famous samples) or the K1000 (the keyboard version of the 1000 PX).
Freedom of Expression.
The 1000 Series' generous polyphonic capabilities free you from the expressive limita -

tions of 12-voice or 16-voice systems. The 1000 PX and K1000 offer the power of 24 voices while the 1000 SX, 1000 GX and 1000 HX each have 20 voices. And, if you need more voices, you can combine all four 1000 Series modules to create an 84 voice, 8-output supersystem. So go ahead. Stack voices to your heart's content. Build complex, multi-voiced sequences. Go for those big, two-fisted chord shapes. The 1000 Series modules give you miles of sonic territory to roam at will.
Freedom of Choice.
The 1000 Series is truly democratic too. Three different operating modes let everyone-- from novices to advanced programmers--benefit from the 1000 Series' bountiful capabilities. In Play Mode, you can use those great Kurzweil sound programs just as they are. Simply select aprogram and play The Compiled Effects mode lets you apply avariety of popular effects to any of the preset sound programs. And the Modular Editing mode takes you deep inside the 1000 Series' voice architecture.
So stand up for your rights. You owe it to yourself to check out the 1000 Series. For more information, visit your nearby Kurzweil dealer. Or write to us at Kurzweil Music Systems, Inc., 411 Waverley Oaks Road, Waltham, MA 02154, (617) 893-5900. In Canada, write to Heinl Electronics Inc., 16 Mary Street, Aurora, Ontario L4G 3W8, (416) 727-1951.
KURZWEIL'

$1.995 suggested retad pece for COO SX and 1000 HX $2.395 suggested retad prece for 1000 GX and 1000 PX 52.595 suggested retad pece for K1000. All speohcanons and peces subject to change wehout =Ice

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Studio Miraval in Provence

ley and acquired the first Harrison
Series Ten console in France. The studio has araised isolation room and an enclosed stage which can be separated
or opened in front. Notable equipment: 96-input auto-
mated Harrison Series Ten console, PolyGram 32-channel console, Studer
800 24-track with Dolby SR, and various Studer and Revox multi-tracks.
Studio Davout in Paris has evolved
from its original two tracks in 1965 to its present 24 tracks, going digital in
1985. Known primarily for its work on film soundtracks, Studio Davout has be come more involved in album projects Clients have included Talking Heads, Duran Duran, Bob Geldof, Dionne War wick, Randy Newman, Jacques Brel and Jean-Pierre Rampal. Davout has three dissimilar studios. Studio Ais used primarily for large sessions with strings, brass or choirs, due to its live sound; Studio Bhas amarble floor with partially covered wood walls, making it suitable for vocal or instrument overdubbing, or as amix room; Studio Calso

has amarble floor and is available for any kind of overdubs. Davout also offers aprogramming room with MIDI/ keyboard systems, allowing clients to work without booking its SSL console and audio recorders.
Notable equipment: SSL 4000E with GSeries corn peer, Yamaha DMP7, Sony

3324 and Mitsubishi X850 multi-tracks, Sony R-DAT and Sony PCM mixdown.
Studio de la Grande Armed/ Palais des Congres started off as two nice but small Paris recording studios.
As the studios began to attract more French and international clients, however, the owners decided to expand

NEW PRODUCTS:
·3124 Mic pre/direct box ·3124m Mic pre/direct box/mixer ·5502 Dual equalizer ·5502d Disc 81 CD mastering eq
(all discrete OP-AMPS)

7951 Twist Lane, Springfield, VA 22153 (703) 455-8188 fix: 510-6001898

stkialc,

321 West 4416 S1.e.. Ilew York, NY 10036 OM 5736 7376

FEBRUARY 1988, MIX 83

the facilities, taking over Level 2ofthe
Palais des Congres. In 1980 the renova-
tions started. Now 1,200 square meters, the facility has four digital recording studios, along with its original two ana-
log studios. Credits include Daniel Balavoine, Michel Legrand, Yves Montand, Renaud, The Pretenders, Mick Jagger, Tina Turner, Men At Work and Herbie
Hancock. Notable equipment: Four SSL 4000E
boards, Trident 80B and Trident 70
boards, 3M DMS 24-track machines, Mitsubishi X-850 digital multi-tracks,
Mitsubishi digital 2-track. Studio Guillaume Tell in Suresnes
offers afull complement of digital and
analog equipment, including an SSL 4064 with GSeries computer and Total
Recall, apair of Sony 3324 recorders, and ahost of digital delays and other outboard equipment. Because the studio has consciously maintained ahigh-
tech profile, it is afavorite of local and international artists--it's been used by Prince, the Thompson Twins, Stevie Wonder, Brian Ferry, Rush, George Michael, Depeche Mode, Nana Mouskouri and many others.
Studio Le Voyageur is the only multi-track mobile recording studio
that records concerts throughout France for future live albums. Le Voyageur has worked with Michel Jonasz,
Veronique Sanson, Le Splendid Orchestra, Jean-Michel Jarre, Indochine,
Lio and Alain Souchon. Notable equipment: Saje ULN II con-
sole, Sony PCM 3324 digital recorder, Sony PCM mixdown, extensive video monitoring.
Studio Marcadet opened its doors near the historic Montmarte district in 1979. Three years later it moved to
Plaine St. Denis and brought in an SSL 4000E board and digital gear. It is one of the most fully equipped studios in France, and its abundance of outboard gear brings in alot of mixing work Credits include Eddy Mitchell, Serge
Gainsbourg, Francis Cabrel, Lio, Wham, Stevie Wonder, Brian Ferry, Prince,
Sade and Kenny Rogers. Notable equipment: SSL 4000E with
G Series computer, 3M DMS and Sony
multi-tracks, Mitsubishi digital 2-track. Studio Miraval, situated in Pro-
vence, a40-minute drive from Cannes
or Saint-Tropez, is alarge residential studio, known as much for its country
charm as its equipment list. Owned by the well-known pianist and composer Jacques Loussier (see sidebar) and recording engineer/producer Patrice

Catherine Lara

&Editeurs de Musique(SACEM, Songwriters, Composers &Music Publishers
Society), your work is automatically protected, which means presumption of paternity and priority. Once your
composition is recorded, distributed and has hit the airwaves, the Society
pour l'administration du Droit de Reproduction Mecanique (SDRM, Society for the Administration of the Right of
Mechanical Reproduction) sends money to members four times ayear for the composing or songwriting rights.
The term "production," on the other
hand, has aslightly different meaning. Generally, a"producer" is more afinancier than artistic production director, although the two do sometimes meet.
To give an overview of the production process in France, we spoke with two producers: Daniel Belolo, an independent producer and general manager of Scorpio Music, an independent
production/music publishing company, and Philippe Dothee, A&R Director/Staff' Producer of CBS Records
France.

Quef, this studio boasts an SSL desk among its ultra-high-tech gear, natural inside light, aswimming pool, tennis courts and the estate's own wines. Artists who have worked there include Loussier, Henri Dutilleux, Telephone, Pierre Vassiliu, Elton John, Quarterflash, AC/DC, Pink Floyd and Sting.
Notable equipment: SSL4000E board with printer, Mitsubishi 2-track recorder, Sony PCM mixdown, echo chamber.
Founded in 1975, Studio Polygone started with aTEAC 4-track recorder. Now 12 years and two moves later, the studio is 1,300 square meters, surrounded by greenery and amanmade lake, and is equipped with the latest multitrack equipment The concert hall next door offers Polygone the unique opportunity to do both classical and modem live recording easily, and makes this analog/digital studio unique. Last year Polygone acquired aSynclavier, offering even more options for clients, who include Michel Sardou, Catherine Lara, Images, Herbert Leonard and Sipho Mabuse.
Notable equipment: SSL 4000E, Neve Series V3consoles, Sony 3324 24-track digital recorder, Sony PCM mixdown
MUSIC RIGHTS AND PRODUCTION Music, with or without words, must bc protected. France offers asystem similar to the U.S. Once you register with the Societe des Auteurs, Compositeurs

Mix: How do you sign artists? Daniel Belolo: Ihave to feel good about the artist and he has to feel good and confident about me. Acontract is a kind of marriage. It takes ayear before signing the contract--recording in the studio, filling out the papers and releasing the record. Such a marriage has to last. Also, independent producers don't think like other producers. Our big failing is our lack of patience. We want the success to come quickly. Unfortunately, and more often, success appears after alot ofwork and promotion. The immediate success is very rare, although we had one last year with Tina Charles' "I Love to Love." Philippe Dothee: It's achallenge. You need to have the best songs, the best artists and produce them the best. Of course, we're more likely to sign with an artist who composes the music, writes the lyrics and sings the songs. We like artists that have their own repertoire and who can also produce themselves. At CBS Records, there are many ways to sign an artist. But A&R directors are the ones who have to find the right way. There is no standard procedure, no rule in this business. And that's what makes it magic.
Mix: What about pre-production? Belolo: We usually sign with artists who have already produced themselves and come with a master 24-

84 MIX, FEBRUARY 1988

track tape. We don't have the time we used to, so the work has to be easier. I agree it's acowardly way to do it, but we can't make it otherwise. The artist has to corne with his own team, too-- composer, songwriter and arranger. It's becoming less and less often that we're taking production from the beginning. The industry is going for this idea also. It's definitely adrawback for the artists.
Mix: What is your relationship with the record companies? Belolo: Scorpio Music is aunique production company because we have four labels, and each label is distributed exclusively by one record company. Ichose each company based on the spirit of the label--one is more French music, another is only for dance music, etc. Of course, the difficulty is to persuade the record companies at the beginning; we have to motivate them, to get them enthusiastic about our products.
Mix: What do you look for in astudio? Belolo: Igo to studios where Ifeel good, where the control room is nice. I'm most choosy about the monitor speakers. Ilike to mix in astudio, go to the office with the 2-track tape and get the same sound as in the studio, otherwise Iget very upset. It's also important to go to astudio where you know the engineer and he knows what you're looking for. Dothee: Ichoose astudio according to the people who work there, although we do sometimes bring in our own engineer if we feel he is better suited for aspecific production. We have atendency to go for studios that offer comfort, the best gear and anice atmosphere.
ENGINEERS In the past, studios have generally used their own staff engineers exclusively, but more recently freelancers have gotten more popular.
"I think it's agood idea, even though our studio is one of the last ones in Paris that still has afull staff," says Carla Guiot of the trend. "The idea of afreelance engineer is great because it gives them the opportunity to work somewhere else, other than always in the same studio."
Engineers are also becoming more involved in projects as producers. "For the last three or four years, engineers have had amajor part in production," says Jean-Luc Lemerre, freelance engi-

neer/independent producer and apartner in aproduction and music publish-
ing company. "An engineer helps in the choice of sounds, the interpretation, the final color of asong and the mix. He also works closely with the artist and the artistic director. So eventually he can work as aproducer."
Dominique Blanc-Francard, one of France's top freelance engineers and
independent producers, explains why he decided to take on the dual role: "I like to have my say about the choice of instrument, the arrangement, the artis-
tic direction, the structure of the song and the key and then see the final result. Ialways thought a producer
should know how to use all the studio

equipment, otherwise an engineer could take aproject and make it his own."
In 1988, France, like the rest of the world, is following the technical evolution in the recording industry. Will tape last? Is the future hard disk recording? Nobody really knows, but in France, digital recording has definitely made an impact. So when you're thinking about recording that next LP, think vineyards, fine wines, good food and state of the art equipment. France has it all.
Guillame Schouker is awriter and observer of the French recording scene He lives in Paris.

JACQUES LOUSSI ER: Musician &

helps give me ageneral idea ofwhat
the final piece will be like. So Icompose with the synthesizer and then

Studio Owner

write down the score. But Ican also write it directly on the score and

Well-known pianist and composer then play the piece until it's right. It

Jacques Loussier began playing mu- depends on the circumstances. When

sic at the age of 10 with the goal of you read your scores and play at the

becoming aprofessional concert pi- same time, you can change things

anist. The dream took shape three according to your inspiration. Ilis-

years later when he began to take ten, then record an A version. If I

piano lessons at the Paris Conserva- want to change something Ido aB

tory of Music. At the age of 15 he version, and so on until I'm totally

entered the Conservatory, but fi- satisfied. Irecord the versions at

nancial difficulties forced him to home and then choose the best one.

leave after just one year. He con-

tinued to teach himselfthough, learn- Mix: What kind of instruments and

ing harmony, counterpoint and orche- equipment do you have at home?

stration, while playing in piano bars Loussier: Ihave an Emax hard disk,

and clubs.

an Emulator, Synergy, Prophet D-8,

In 1959, he decided to take some Oberheim, DX-7 synthesizer and two

of his favorite Bach pieces and set drum machines, one for drum

them to jazz. That was the start ofthe sounds and the other for Latin per-

world famous PLayBach(Deccu Rec- cussion. The advantage of having a

ords). In the '60s and '70s he did synthesizer is that it enables me to

arranging work for Barclay and Phil- have astring orchestra, brass or per-

lips Records, toured and became in- cussion section. Ialso have asmall

volved in composing soundtracks for Akai 12-track mixing console, aSony

French andAmerican movies, includ- PCM digital recorder, aRevox PR-99

ing 7'hierry La Fronde, Les Poneys 2-track audio recorder, some echo/

Sauvages and Dark of the Sun. To- reverb/delay systems, monitor ampli-

day Loussier is an internationally ac- fiers and UREI monitor speakers.

claimed pianist and composer, and

co-owner of Studio Miraval. He re- Mix: It sounds like you could be an

cently produced his album Lumieres engineer.

there. He also composes music for Loussier: Even with all this equip-

television series and advertising ment, I'm not searching for newly

jingles.

created sounds, but for different

music from common sounds. Some

Mix: Do you use your piano or score pieces sound better played on a

directly when you are composing? synth, others are better played with a

Jacques Loussier: It depends. I full orchestra.

work alot with synthesizers which

--GS

FEBRUARY 1988, MIX 85

PREVIEW NEW PRODUCTS

sEnes-o8n0iq EPS and
Two new keyboard instruments designed primarily for the live performer have
been brought out by Ensoniq (Malvern, PA): the EPS Performance Sampler ($1,995) and the SQ-80 Cross Wave Synthesizer

($1,895). The EPS can keep
all keyboard functions active while the disk drive loads sounds, and its instant patch select buttons
can bring in alternate programs or wavesamples in real time. And it can play all
Mirage sounds with improved fidelity. The SQ80 enhances expressiveness by enabling the player to graft one sound's characteristics (e.g. bow, pick, breath or hammer attack) onto the beginning of another.
Onboard are 75 sampled and synthesized waves,
including drums, and a built-in 880K disk drive. Both the EPS and SQ-80 feature Poly-KeyTM pressure sensitive keyboards, where
each individual key has its own aftertouch.
Circle 4152 on Reader Service Card

A
Neve Prism Series
Neve (Bethel, CT) has
developed aline of rack mount outboard devices derived from their VSeries console. The Prism Series
is designed as a4U rack unit that accommodates ten modules, powered by an existing console or optional 21.1 power supply.
Modules available are the

Formant Spectrum Equalizer and the mic amp/dynamics unit (compressor/limiter/ gate/expander). Both feature electronically balanced line-level inputs and outputs, and the mic amp also offers transformer-balanced mic input and variable high- and low-pass filters.
Circle #154 on Reader Service Card

Symetrix SX200 Series
The first three products in
the new Symetrix (Seattle, WA) "half rack" line include the SX201 para-
metric EQ/preamp ($239) featuring +15dB boost/ -30dB notch filter capabili-
ty, with unbalanced preamp input, balanced/ unbalanced line-level input, and balanced line
driver output. The SX202
dual microphone preamp

($219) features two pre. amps, variable gain, 15dB pad, +48V phantom powering, and L, Rand L+R outputs. The one-in/four-out
SX204 ($269) headphone amplifier uses high-voltage converter technology to drive high- and low-Z 'phones. Also in the line is arack. mount pan that holds two devices in
one rack space.
Circle #153 on Reader Service Card

J.L Cooper Mix Mate
IL. Cooper (West Los Angeles) has developed Mix Mate, alow-cost fader/ mute automation package for the 8-track studio. The 10"W x7"D x2"H device features aSMFTE time code or "smart" FSK reader/striper, dbx VCAs, and on-board memory.

Run it from SN1PTE code or slaved to software packages, MIDI clocks or song position pointers. At asuggested price of $995, it is also available with Mix MatePlus ($245), an optional interface for the Atari ST computer, offering graphics display, expanded memory and disk storage.
Circle #155 on Reader Service Card

A BGW 7500T Amp
The 7500T is alower priced version of the 7500 power amp from BGW

Systems (Hawthorne, CA).
Listed at $699, it offers the same power (200/250W per channel at eight/four
ohms), performance

86 MIX, FEBRUARY 1988

PREVIEW

specs and audio circuitry as the more expensive unit. According to BGW, this was accomplished by using asteel front panel and barrier strip terminations and by providing accommodation for one internal crossover card instead of two.
Circle #156 on Reader Service Card
UK Recording Guide Available
The Association of Professional Recording Studios (APRS), in Ricicmansworth, England, has published The Guide to Recording in the UK 1987. In ahandy format, The Guide features over 100 studios with color photos and key details of the facilities. Included are major London studios, top class residentials, smaller studios, mobiles and other specialized operations throughout the entire United Kingdom. Maps, articles and an alphabetical listing of all APRS members (studios, manufacturers, services and educational members) complete the new Guide.
Circle #157 on Reader Service Card

Publison Hard Disk & Tape Streamer
The French company Publison has developed a 21-Megabyte hard disk for their Infernal Machine 90. It can store up to six minutes of 20kHz sampled sounds with all parameters, up to 99 banks of the 400 function memories, and up to 100,000 SMPTE/EBU time code events. Also debuting is an external tape streamer that lets up to eight minutes of digital sound (or the contents of the Machine 90's hard disk) be stored on adigital tape cassette.
Circle #158 on Reader Service Card
TAC Automation Interface
Just out from TAC in the UK is auniversal automation interface, available as an option on all Scorpion and Matchless consoles. The interface enables the boards to be run with the new breed of low-cost fader/mute automation systems that run on personal computers. Circle #159 on Redder Service Card

New Orban Parametrics
From Orban in San Francisco comes two new parametric equalizer/notch filters. The programmable 764B is astereo analog EQ that stores 99 full sets of control settings (all parameters) for instantane-
ous recall, and is available with MIDI and other control interfaces. It's 4-
band and dual-channel.

Each section offers overlapping tuning with a25:1 frequency range, +16dB boost/-40dB cut in each band. The projected unit price is under $2,500. The 642B provides switchable 4-band stereo or 8-band mono parametric EQ/notch filtering and tunable 12dB/octave lowpass and 18dB/octave high-pass filters.
Circle #161 on Ream_erS_ervice r_ard

Studiomaster Consoles/ MIDI Update
The new Session Mix consoles for live

applications are now available from Studiomaster (Anaheim, CA). The 8-2 features eight
--CONTEVIID ON NEXT PAGE

Aphex Type C Enhancements
According to Aphex (N. Hollywood, CA), greatly
reduced output noise and less noise enhancement of noisy signals are provided by the new circuitry in their improved Type C Aural Exciter (model

103A). The circuit has a dynamic range of 115dB, allowing it to operate continuously without adjustments at any input level between -10dBm to +4dBm. The suggested retail price has not increased from the original $299.95.
Circle #160 on Reader Service Card

FEBRUARY 1988, MIX 87

PREVIEW

--CONTINUED FROM PAGE 87
balanced mic/line inputs, 3-band EQ, four aux sends,
two aux returns, and flexible rack mount or free-standing design. It can
be expanded to the capacity of the 16-2, which features 16 inputs, direct outputs on input channels, sweepable mid on the 3band EQ, and two mono and two stereo aux returns (can be expanded to 24
inputs). Additionally, the
company has introduced a MIDI update for all Series II consoles, available in all new units or as auser-
installed retrofit. The MIDI controller uses note on and note off data (gen-
erated by akeyboard or

sequencer) to mute and "de-mute" input channels and aux returns.
Circle #162 on Reader Service Card
Australian Monitor Power Amp
From down under comes the "Australian Monitor" line of MOSFET power amps, distributed in the U.S. by Grafton Sound II" (Marina del Rey, CA). Developed to withstand hot Australian "diesel and dust" touring conditions, the AM 1600 delivers 1,600 watts at four ohms, and 2,200 watts at two ohms, while the AM 900 delivers 900 watts at four ohms and 1,400 watts at two ohms,

à Rocktron Prochorus
The Rocktron Corporation
(Rochester, MI) has released the Prochorus, a multi-tap delay chorus stereo processor priced at $449. Its six discrete time delays are assignable to

left mix, right mix, center, or off. Features include pitch shifting, RMScontrolled random chorusing for realistic doubling effects, and regeneration for various flanging effects and ambience enhancement.
Circle #163 on Reader Service Card

/1,,,,à Australian Monitor

with bridge mode capabilities. Both units feature ultra-quiet "on demand" cooling fans, extruded

heatsinks, slow turn-on, and afive-year chassis warranty.
Circle #164 on Reader Service Card

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P.O.Box 5997
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106 Ontario St.
Toronto.Ontario, Canada M5A-2V4 416.364-4848

88 MIX, FEBRUARY 1988

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Have you heard ?

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*Special Price based on 1,000 CDs, 'user Nlastering and Libel Printing from artwork supplied.

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by Guy DeFazio

FIELD ·TEST

KIA XZ100

DIGITAL AUTOMATION SYSTEM

Dbeusdiggentedstuedsipoeciinamlilnyd,witthhe XtZh1e00smcaoln-l sole automation system from Kia Electronics (formerly A-kia, the name was
changed to avoid confusion with the
Japanese electronics manufacturer,
Alçai) offers the kind ofaffordable technology that bridges the gap between
semi-pro and professional systems.
The XZ100 is acomputer-based automation system which can operate with any mixing console. The system
is optimized for 32 channels, but can accommodate up to 128. It utilizes two systems of sync-to-tape, has both snap-
shot and real-time control of all channels, and allows for over 9,000 mixing

events (mutes, fader "moves," etc.), storable on floppy disk.
System hardware for the XZ100 in-
cludes arack mount, 16-channel VCA controller box that Kia refers to as a
Recording Studio Computer/Controller (RSC), an XZ100 Interface Cartridge,
an XZ100 software disk, and an operating manual. The cost of the total pack-
age is $1,999.
Abig part of the XZIOO's affordable performance comes from the fact that
it is designed to work with the inex-
pensive Commodore 64 computer. The C-64 system consists ofaCommo-
dore 64 computer, aCommodore 1541 disk drive, acolor (preferred) or black-

90 MIX, FEBRUARY 1988

oermeffleq

himeimmieeiq umouirtmetmm

The Kia XZ100's
edit screen can display the relative
gain levels of up to 32 mix-
ing channels simultaneously.

and-white monitor, a5-pin DIN MIDIspec cable, and aCommodore 5-pin DIN computer-to-monitor cable. A Commodore 128 computer can also be configured to run XZ100 software. The total cost of the C-64 and the C128 systems is under $500 and $800, respectively.
Using RCA input and output jacks, the RSC easily installs into apatchbay, between atape machine and mixer, or into amixer's send/return loops. The XZ100 can control up to 32 channels. The system can control up to 8
RSCs for a total of 128 channels of automation.
The C-64 computer stores your mixing "moves," and sends this data first
through its XZ100 Interface (which at caches to the expansion port on the
C-64), and then through aMIDI cable to the RSC. If your system requires
more than 16 channels of automation, you'll need a MIDI through box to distribute the interface signal to the
additional RSCs. Upon powering up the system, in-
serting the XZ100 software disk, and loading the XZ100 software into the C-64, you're greeted by the main menu, allowing you to select from three editing modes. You can choose a practice mode (for helping you get started), amulti-track mix mode, or a Status Maker editing mode. The Status Maker is avery useful tool we'll explain later.
Gain changes are made using the lower three rows of the C-64's QWERTY keyboard. Moving from top to bottom and from left to right (i.e. pressing Q, A, Z, W, S, X, etc.) increases the level of the channel or group you're currently editing. The shift key is used to select levels between the gain keys. For ex-
ample, pressing "shift Q" gives the level between Q and A, and so on. The "crsr up/down" key can also be used to adjust levels one at atime or in repeat-
ed steps (fades). Once you've finished editing achannel, the "crsr left/right" key can be used to move to another channel, or you can return to the main menu and assign the next channel or
group to be edited. The muting function of the >2100 is
pretty straightforward. Pressing the

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FEBRUARY 1988, MIX 91

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Circle #121 on Reader Service Card 92 MIX, FEBRUARY 1988

FIELD ·TEST
spacebar mutes the channel or group, and pressing the "*" (asterisk) key restores the channel or group to the level prior to muting. Incidentally, the 2ms response time of the XZ100 makes muting virtually instantaneous.
Operationally, the XZ100's editing features are logical and efficient, with all the necessary operations easily accessible via the main menu. New moves can be overdubbed in addition to or in place of existing moves. A channel or group which is in edit can be soloed, to facilitate equalization, panning or processing. Plus, moves can be copied, erased, deleted or saved to disk at any time. Asystem with this kind of editing flexibility and operating ease permits you to concentrate more on the music than on the mechanics of the mix.
The XZ100 offers two kinds of synchronization. The first method, which Kia refers to as "free running," records async tone at the head of the tune that triggers the computer's internal clock
on playback. Thus, audio events on tape are synchronized to mixing events programmed into the computer. This method is somewhat crude, but nevertheless it frees up an entire tape track normally devoted to time code.
Kia took its free running sync method one step further by allowing you to record additional sync tones, called "timepointers," anywhere there is open track space in the tune. Timepointers enable you to go over individual sections repeatedly, without going back to the beginning of the song.
However, you do need to erase each timepointer as you finish that section, and start the tape from the first sync tone (for reference) before recording your next timepointer. The XZ100 will integrate all ofyour mixing moves with respect to the first sync tone.
In addition, the XZ100 synchronizes to any system that provides MIDI song position pointer. MIDI synchronization allows the XZ100 to auto-locate to any location on the tape and assume the moves associated with that part of the recording. SMPTE-to-MIDI conversion
is the current standard in the industry, but newer, inexpensive systems are on the market from IL. Cooper and Harmony Systems that convert MIDI clock
and song position pointer data to audio tones that may be recorded on tape. This data can be retrieved from

tape and used to synchronize the
XZ100. The Status Maker is avery powerful
editing tool, yet easy to use, and can save a lot of time during a mixing
session. Status Maker allows you to create, store, and recall static mixes ("statuses") of all 128 channels. When creating statuses, the computer's internal clock is off, so initially they're not synchronized to anything. Once
you have created and stored your statuses, you return to real-time editing, sync the XZ100 to tape, and recall the statuses where you want them to occur. This fixes their location in memory.
Besides providing you with the ability to create and insert statuses quickly and easily, the XZ100 allows you to edit your mix, which is now asequence of statuses, using all of its normal overdub, delete and copy functions. Thus, the user can spend the rest of his time tweaking his mix to perfection.
After perusing the owner's manual, and feeling my way around the XZ100's
operating environment, using the "practice" mode, Iwas ready to mix. First, I created and stored statuses of the individual sections of my tune (i.e. intro,
verse, chorus, etc.). Then, with the XZ100 synched to tape via aSMPTE-to-
MIDI converter, Ieffortlessly dropped in my statuses according to the structure of my tune. Next up was editing the individual channels, where the C64 keyboard as well as the Commodore's mouse proved to be fast and effective editing tools. Ifinished my session by testing timepointer synchronization, and again the XZ100 operated exceptionally.
All in all, Kia has come up with a
serious contender in the area of retrofit automation packages. The folks at
Kia are listening to user feedback and constantly upgrading their product. The XZ100 will soon support Atari ST compatibility, an external fader package, better grouping functions, improved graphics, and programmable gating functions. If you've been considering console automation, the XZ100 is absolutely worth looking into.
Editor's note: since the writing of this Field Test, Kia Electronics has un-
veiled anumber of new options and upgradesfor theXZ100 system, includ-
ing adedicated rack mount computer with 3.5-inch disk drive, MIDI in/out and internally loaded software; auto-
matic noise gating; and endless-loop digital faders. ·

Musicians aren't the only ones who can perform
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Circle #015 on Reader Service Card

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LUNCHING ·WITH ·BONZAI
man to approach apretty girl.
Bonzai: "Girl Fight Tonight" is another good one. How do women respond to that? Brown: Well, it was the most requested song at abig station in Houston. The DJ, John Landers, told me that every morning he got lots of requests for that song. All these girls called and explained things like: "I want that song, because this girl took my boyfriend and Ijust really hate her." I think every woman has awoman in their past that stole their boyfriend.
Bonzai: Women can be much nastier to each other than men. Brown: That's because society doesn't say it's OK for women to beat the shit out of each other. When Iwas aguest VI Isang that song on MTV to agirl who had written me aletter. Ihad been doing abit about BonJovi calling me and bugging me on the air. Girl fans of Bon Jovi got really pissed and wrote to me. This one girl said she wanted to beat the shit out of me, so I read her letter and sang the song. I found apicture ofachubby blond and said it was her--too many Milky Ways. Italked about her all day. She probably hates me, but the worst that could happen was that she got famous in her high school. Ihope she writes again. I'm glad Iwas on MW--I had alot of fun. Iwasn't sure about doing it, because VJs don't normally look like they're having avery good time. Some of them do--the other Julie Brown looks like she enjoys herself.
Bonzai: How do you like the music business? Brown: Ihave mixed feelings about it. There are some wonderful people involved--people who love the artistry of making music. And then there's a lot of slimeballs, just like you suspect there are.
Bonzai: Is it the same throughout the entertainment industry? Brown: No. I'm also in the film industry and function in both worlds. The people are different. There's more money involved in film projects and I find more pretentiousness and people who think they know everything. But for records, you're talking about something that is three or four minutes long.

Most record people are willing to admit they don't always know the secret for success. It's hard to tell if it's going to work. People get their feelings about songs, but don't act like they absolutely know. It's amazing--you'd think the music business would have more pretension.
Bonzai: Where is your focus? In the music or in film? Brown: It's in both, and Iknow I'm confusing people a lot. The movie, Earth Girls Are Easy, is acombination of everything I'm trying to do. It has music--a legitimate soundtrack coming out. Ising four songs in the movie, Iact, and Iwrote the movie with Charley Coffey and Terrance McNally.
Ican't say that I'm concentrating on one or the other. Ireally like the idea of combining theatrical things with music. In the '30s, no one would have asked me which one Iwas concentrating on. Judy Garland was asinger and an actress. There were vehicles designed for avariety oftalents. Musicals were so common; now it's different. I think I'm really lucky that Ihave the chance to do both.
Bonzai: When will the film come out? Brown: InJune. The shooting is done.
Bonzai: Are you happy with the results? Brown: Idon't know yet. It's being edited. What I've seen is visually exceptional. The director, Julien Temple, is very gifted. In acomedy, though, the editing has alot to do with the results. What I've seen is wonderful, but you just never know. It'll be frightening to see the first rough cut.
Bonzai: Well, sometimes the editing can enhance and expand. Brown: That's what I'm hoping for.
Bonzai: What's your favorite quality in men? Brown: (laughs) It changes from man to man. Sometimes you just like the way they look. Sometimes it's asense of humor. One of the things Ilove about men is when they really act like men.
Bonzai: You mean, like if you're having agood time and you get stopped by the cops and somebody has to take care of business? Brown: Yeah. Ilove that. Ilove the

part of men where they get cavemanlike. When they aren't victimized by being civilized. Not that Ilike guys who are macho and get in fights. It's just that when they have to be strong, they are willing to do it. It's fascinating. Not that women can't do that, but it's the inherent nature of men to deal with and confront things. But, Ido it too. Iconfront people, and Iget better at it. I'm becoming abetter business person and Ispeak up for myself. But I still find it very attractive in men when they have that certain strength.
Bonzai: When did you start wearing makeup? Brown: As soon as Icould. Iwasn't allowed to wear it right away but I would buy it and then put it on when I got to school. Ithink Iwas about 12. I wanted to wear it as soon as Icould-- makeup is agirl's best friend.
Bonzai: What makes us sad? Brown: When you miss something-- maybe even something you've never had, but you want. Or something that you had and it's gone. Nostalgia for a

"I have mixedfeelings about the music business. Them are some wonderful people involved--people who love the artistry of making music. And then there are a lot of slimeballs, just like you suspect there are."

happier time. It's weird how you can miss things you never had. Ithink sadness comes when you miss something. Or aperson. You're in between relationships and you feel sad, even though you don't know the person you will be with. Like missing something that you know you need.
Bonzai: What makes us happy? Brown: Getting the things we need.
Bonzai: What are your needs? Brown: They change alot. Up until a short time ago, it was to become suc-

cessful and to be in arelationship. The
more success Ihave, the more Ivalue relationships. Arelationship that really
works is very important to me. Now I have abasic faith that my career is going well. You move to the things
you don't have covered in your life and you want them.
My girlfriends that have children
want their careers to really work. Now
that my career is happening, Iwould like to have arelationship, and to have
kids. I'd like the normal aspect of my
life to develop. Iwant to have afamily that is abig focus in my life. Children

NO

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learn, clean and invisible even to first-time users. The joys of automated mixing ... you'll wonder how you ever got by before."

Get ahands-on demo at: Westlake Audio, CA CI LD Systems, TX D AVC Systems, MN CI La Salle, MA D Guitar Center, CA CI Audio Line, WI O AEA, CA CI Lightning Music, IX CI Manny's, NY CI Martin Audio, NY CI Evenlode Soundworks, Oxford, UK CI MEV, Munich,
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Circle #090 on Reader Service Card

FEBRUARY 1988, MIX 97

LUNCHING WITH ·BONZAI

humans like to lose control.

just blow me away. That's something that makes me sad, because I'm missing something that Idon't have. But I don't think it's quite the time for me.
Iwas recently with agirlfriend while she was having her baby. It was staggering. And when Ileft, Igot very depressed. It's such a real thing, and much of what Ido deals with fantasy. And alot of people in show business are dealing with fantasy
Ifeel lucky that Iam having success, because it is helping me to not live in the illusion that show business will make you happy. Friends who are older than me, and not as successful, are always willing to delay their happiness. They think that if they just get that deal, they'll be happy. It's dangerous, because you're not living in the real world. I'm pleased with my career, but it is not what brings complete happiness.
Bonzai: What terrifies us? Brown: The feeling that you will miss something. What's the fear of death? That you will miss things. Also, losing control is frightening. Idon't think that

Bonzai· What brings peace? Brown: Balance brings peace--when you have somehow achieved balance in your life. But peace is not aconstant thing, and it's not supposed to be. It's something that you have to keep achieving. As you grow as an individual, you get out of balance again. You struggle with your growth, find peace, and then it goes. Continued peace is an illusion. Life doesn't work that way.
Bonzai: That's death. Brown: Exactly. Life is astruggle, and it's painful. You actually have abetter life when you realize it's true. This first screenplay was upsetting. Ikept struggling with the fact that it was so hard. Finally, after thinking about it, Irealized my idea was illusion. It's just hard to accomplish anything in life. Once you accept that it's hard, you're actually happier. It's naive to think that life is supposed to be easy. It gets in the way for kids who think that if something is hard, it's not worth it.
One of the worst things about drugs is that they are an attempt to eliminate anxiety. You're supposed to feel anxi-

ety in life. Anxiety is life's way of telling you that you have to do something --there is something you have to work
through in order to accomplish something. If there is something that will
squash the anxiety, you're not confronting your unconscious--the things that are trying to come through.
Bonzai: How is it different for awoman, as opposed to aman, who is trying to make it in show business? Brown: Well, first of all, most of the business is run by men. And your sexuality will become an issue at times. Most men don't have to deal with it, but there's no way to avoid it ifyou are awoman. You just have to learn to deal with it.
Also, alot of men--not all men-- have trouble really listening to women. They want to believe that they know better than women. A woman really has to make sure she is being heard. For me, it's even harder, because I'm small, and my image is cute. Yet, Iknow what Iwant to do with the records and the films. Some men have been brought up to believe that women don't know as much as men do.
But there are also alot ofwonderful men, who listen to what you have to say, and are open.

Take Your First Step Toward A Career In The Music Business

Bonzai: Who is your favorite songwriter? Brown: Iespecially like Paul Westerburg from The Replacements. He writes from the character's point of view. That's something that Iwant to
explore more in my writing. Ialso like some of Bruce Springsteen's stuff. Prince is acreative, wacky guy--I'd
love to do asong, or ashort film with him. Something absurd. We are the
same size and we could share clothes.

re)

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Bonzai: From your videos and your still photos, Iexpected you to be much bigger. Brown: Everyone does, but I'm getting used to it. So when Ishowed up, you thought, "God she's so little!"
Bonzai: Petite. Brown: Why do you think people have the impression that I'm a big woman?
Bonzai· Maybe it's the way you project, the way you express yourself. Brown: Maybe Ishould feel good about it. It's abig image, right?

Bonzai: What's the greatest compliment that has been paid you?
Brown: The idea ofacompliment has
changed as time has gone on. One of the biggest compliments was when I was elected Homecoming Princess in
high school. Ididn't put my name on the ballot and my cheerleader girlfriends put it on for me, and Ibeat them. They were kind of upset. Irealized Ihad won because people like the lowriders and the nerds had voted for me. Iwas into science and everything--the nerd kids voted for me. The real people voted for me. Ifound that to be acompliment.

Bonzai: What high school was that? Brown: Van Nuys High.
Bonzai: So you really are from the Valley... Brown: Yes. My grandparents were Valley settlers and my parents were born and grew up in the Valley. Icall myself third generation Valley.
Bonzai: Where would you like to be and what would you like to be doing in ten years?

ilz.

...-- .. --limmo.

AM> .>

Julie discusses being trapped in the body of aValley Girl.

Brown: I'd like to have ahouse somewhere away from Los Angeles and I'd like to have at least two kids that I spend most of my time with. As far as
my career, I'd like to be writing and directing movies that Istar in.

Mr. Bonzai, a 15-year veteran of the
music industry, is former manager of amajorSouthern Cal recording studio, and author of Studio Life: The Other Side of the Tracks (Mix Publications).

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FEBRUARY 1988, MIX 99

Fostex Goes

The Model 460 Cassette Recorder/Mixer is the most sophisticated of its kind--the first to offer SMPTE/EBU sync capability.
Until now, audio cassette recorders had aserious problem synchronizing with video recorders because of tach rate irregularities. Trust Fostex engineers to have solved that problem.
After all, these are the same clever people who designed the 4030 Synchronizer. So now you can have the convenience of cassettes with the sophistication of video sync.
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Each of the 8Input Channels features parametric EQ, phantom powering, solo, trim and two Aux send busses. There's a dedicated stereo mixer for the 4-channel buss--individual gain & pan plus master level--and convenient, accessible patch points.
The 460 is atrue 2-speed recorder with independent EQ circuitry. There's selectable Dolby* Bor C noise reduction, a4-digit real time counter with 2-position memory and auto stop/repeat, independent level controls for Monitor/Phones/Solo and switchable LED bargraph meters (Stereo/Tape/Buss).
In short, the Fostex 460 is simply the best multitracker made, destined for stardom.
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FREELANCER'S FORUM

MOMRON &CONTROL

SYSTEM s

by Linda Jacobson
"Thank God for automation!" says Craig Bishop, one of the independent recording engineers recently contacted by Mix. We wanted to find out how and why people use (or don't use) automation and control systems in the studio. While specific definitions of "automation" and "control" vary from engineer to engineer, it's generally agreed that automation refers to mixing consoles and control refers to tape machines.
Based in New York City, Bishop is a past Grammy nominee with international credits who has worked with Spyro Gyra, Kool & The Gang, and Billy Cobham. Lately he's been doing jingles and album basics at A&R, and recently finished adigital LP at George Benson's private studio. Bishop is acquainted with all forms ofconsole automation, and notes, "Most tape-based systems are similar, but from the original MCI [JH-50] system to the ARMS, things have become simplified. Ifind the Alison [65K automation programmer by Valley People] on many Trident boards and that's very simple to use. I like the fader null point being at the zero point. It doesn't change to wherever the fader was left at the last pass, like on other systems."
The second generation of automation systems, disk-based, includes Bishop's favorite--the Solid State Logic console. Because the system is diskbased, Bishop can "easily zero in on the details ofamix. Ican go over apart of amix in segments. Idon't have to back up to the top and roll through, which I'd have to do if it were tapebased. And things can be stored out of sequence."
Bishop's affiliation with aproduction company has involved him in a

recording studio installation with a
MIDI mixing setup, "where we plan to
install Diskmix [IBM PC-based console automation software by Digital
Creations] .Because it's SMPTE-based, the Diskmix requires only one track
on a24-track. The idea of using the IBM to mix is alittle mysterious, but the SSL keypad was alittle mysterious
at first also."
It took Karen Kane "a long time to give up the idea of manual mixing.
That's the most creative part, or it was
before automation was around. You
either made or broke the mix then."
Based in Boston, Kane has engineered over 60 records for independent labels (Rounder Records, Flying Fish, Ice-
bergg, Ladyslipper) and major New Eng-
land regional artists. "Most of my work
is acoustic--folk, bluegrass, jazz, new age," she says. "It took years for me to use automation because Iwas doing

'human being' music, rarely using drum machines, computers. But Ihad to do acomplex mix for an R&B project and thought, 'Why kill myself?' So I used the ARMS on the Harrison console at Newbury Sound. It took about an hour to learn how to use it. Iwas pleased with how simple and helpful it is. Since then I've used the SSL at Normandy Sound in Rhode Island, and I'll be using the SSL at Bluejay in Carlisle [MA] .The board has every feature you've ever wanted, and the computer keypad is easy to use. Ispecialize in lower-budget projects, so what Ido is record basics in asmall, non-automated studio, then take it to astudio where there's ahigh-end board to upgrade the quality in the mixing process, and to be able to mix down to half-inch analog or digital format."
In 1977, Richard Adler ordered Nashville's first console automation sys-
Craig Bishop at the Massenburg-automation, Neveequipped Sorcerer Sound in NYC.

FEBRUARY 1988, MIX 101

by Tony Thomas

STUDIO ·VIEW

THE INDEPENDENT EDGE

AN INTERVIEW WITH PETER WOLF

Bdeainygs aisnliiknedelipveinndgeinntapwraorduzcoenre.thTehsee victories may be sweet and the spoils substantial, but you have to be prepared for the painful volleys of criticism from unsympathetic record reviewers and the agony of defeat when your last production ends up in the bargain bins. Then there are realities of the production game. It is no longer abusiness of longevity--you can count the ones that have been really successful for aprotracted period of time on one
hand. The rise may be meteoric and the heights stratospheric, but the burn-
out is as inevitable as that ofashooting star.
Is the independent producer becoming an endangered species? To find out, we spoke to producer/arranger Peter Wolf, amember of the new
breed of producer which combines production skills with arranging, composing, programming and playing ability. Wolf, who began his career as a classical and jazz pianist in his native Austria, moved to LA. in the mid-'70s and joined Frank Zappa's band. From
there, he became afirst-call session player with the likes of Ted Nugent,
Pablo Cruise, Survivor, Henry Gross and Freddie Hubbard.
His production career began when he was invited by producer Dennis Lambert to co-produce The Commo-

dores' Nightshift album. That led to co-production work on Heart's megahit These Dreamsand production credit on Wang Chung's last album (featur-
ing the '80s anthem "Everybody Have Fun Tonight"), as well as Starship's Knee Deep in the Hoopla (which yield-
ed two smashes: "We Built This City" and "Sara"). We found Peter hard at work mixing Nik Kershaw's new album

112 MIX, FEBRUARY 1988

PK.)10 I<N1111 F1PY

FREELANCER'S FORUM

c At:TOMATION OVTROL

SYSTEM

by Linda Jacobson

recording studio installation with a

MIDI mixing setup, "where we plan to

"Thank God for automation!" says install Diskmix [IBM PC-based con-

Craig Bishop, one of the independent sole automation software by Digital

recording engineers recently contact- Creations] .Because it's SMPTE-based,

ed by Mix. We wanted to find out how the Diskrnix requires only one track

and why people use (or don't use) on a24-track. The idea of using the

automation and control systems in the IBM to mix is alittle mysterious, but

studio. While specific definitions of the SSL keypad was alittle mysterious

automation" and "control" vary from at first also."

engineer to engineer, it's generally

It took Karen Kane "a long time to

agreed that automation refers to mix- give up the idea of manual mixing.

ing consoles and control refers to That's the most creative part, or it was

tape machines.

before automation was around. You

Based in New York City, Bishop is a either made or broke the mix then."

past Grammy nominee with interna- Based in Boston, Kane has engineered

tional credits who has worked with over 60 records for independent labels

Spyro Gyra, Kool & The Gang, and (Rounder Records, Flying Fish, Ice-

Billy Cobham. Lately he's been doing bergg, ladyslipper) and major New Eng-

jingles and album basics at A&R, and land regional artists. "Most of my work

recently finished adigital LP at George is acoustic--folk, bluegrass, jazz, new

Benson's private studio. Bishop is ac- age," she says. "It took years for me to

quainted with all forms ofconsole auto- use automation because Iwas doing

mation, and notes, "Most tape-based

systems are similar, but from the orig-

inal MCI [JH-50] system to the ARMS,

things have become simplified. Ifind

the Alison [65K automation program-

mer by Valley People] on many Trident

boards and that's very simple to use. I

like the fader null point being at the

zero point. It doesn't change to wher-

ever the fader was left at the last pass,

like on other systems."

The second generation of automa-

tion systems, disk-based, includes

Bishop's favorite--the Solid State Logic

console. Because the system is disk-

based, Bishop can "easily zero in on

the details of amix. Ican go over apart

of amix in segments. Idon't have to

back up to the top and roll through,

which I'd have to do if it were tape-

based. And things can be stored out

of sequence."

Bishop's affiliation with aproduc-

tion company has involved him in a

'human being' music, rarely using drum machines, computers. But Ihad to do acomplex mix for an R&B project and thought, 'Why kill myself?' So I used the ARMS on the Harrison console at Newbury Sound. It took about an hour to learn how to use it. Iwas pleased with how simple and helpful it is. Since then I've used the SSL at Normandy Sound in Rhode Island, and I'll be using the SSL at Bluejay in Carlisle [MA] .The board has every feature you've ever wanted, and the computer keypad is easy to use. Ispecialize in lower-budget projects, so what Ido is record basics in asmall, non-automated studio, then take it to astudio where there's ahigh -end board to upgrade the quality in the mixing process, and to be able to mix down to half-inch
analog or digital format." In 1977, Richard Adler ordered Nash-
ville's first console automation sys-
Craig Bishop at the Massenburg-automation, Neveequipped Sorcerer Sound in NYC.

FEBRUARY 1988, MIX 101

AN EFFECTS AUTOMATION SYSTEM

MIDI SEQUENCER MIDI INTERFACE SMPTE/MIDI (MTC) ATRíVrR w/SMPTE

(MIDI)

Direct Controlled Effects

CLARITY MIDI/XLV

(CV)

DDL's, Comp/Lim/Gates

(Special) (Special)

LARC · /

224XL, 480L, RMX, or QRS

Figure 1

Bring Signal Processors to Life with Automation
by Alex Noyes
Automation has been around for some time now, but when we think ofautomation we traditionally think of changing the position of faders for audio signals from apre-recorded source. But something new is brewing in the minds of studio effects designers and afew forwardthinking engineers and producers. The idea is to extend the range of automation to include outboard effects.
Imagine gradually increasing the room size of areverb program at the end of achorus, then suddenly shrinking the room at the beginning of the next verse. Imagine switching between several different delay times at pre-programmed locations in asong. These same concepts can be extended to all signal processors--equalizers, compressors, noise gates, etc. If you used to manually change asetting on an effects device and couldn't achieve predictable results, now you only have to do it right once, and it then becomes recorded information. This drastically changes our perception, and in many cases the actual applications ofthese effects devices. It makes them come alive.

A distinction must be made between programmabilie,ofan effects device and automation. Most current effects units can change their program from one complete setting
of all parameters to another setting. Most of them do this through MIDI program change commands. This can be very useful; for example, for changing delay times on a DDL hue automation, however, involves
dynamic, continuous control of a parameter. Asmall but growing list
of effects devices can accomplish this kind of dynamic control.
The Lexicon PCM-70 digital reverb was the first device to allow
use of MIDI to dynamically control asignal processor. Up to ten parameters from any program could be
controlled in real time. However, to set up apatch you select aparameter to be modified, then aMIDI data source, then find some way of generating that data. Not very easy unless you are akeyboard player or have some willing person nearby.
A more recent product development in signal processor automation is the Clarity MIDI/XLV. The MIDI/XLV allows you to control four different high-end reverb proc-
essors (the Lexicon 224XL and 480L, AMS RMX, and Quantec QRS), as well as control up to eight other
devices that respond to control voltages. A great many effects can respond to these CV outputs, including delay lines (usually through
pedal inputs), compressors, limit-
-CONTINUED ON PAGE 104

tern--the JH-50 for the MCI console. And he's used both the SSL and the Neve Necam systems. Nevertheless,
very little automated mixing has been done lately by this freelancer (Ricky Scaggs, Dolly Parton, Neil Young, Natalie Cole, Johnny Cash) who works at Audio Media, Studio 19, Cowboy Arms Hotel & Recording Spa, Treasure Isle and Masterfonics.
"Automation is agreat tool for people who like to go back in [the studio] and pick up where they left off," Adler comments. "It is atremendous reliever of having to keep alot ofthings in your head--it's ascratchpad for mixing. But
it is also atremendous consumer of time because it takes just as long to
teach the computer how to do something as it does to teach people involved in amix how to do it. You may end up with apossibly better, more
refined mix, but the total number of hours invested in amix using automation ends up being equal to or more
than doing it manually." "Automation is ablessing, but it can
be abig pitfall as far as time goes, since you have acomputer to get it exactly like you want it," comments Barry Ru-
dolph. Based in North Hollywood, CA, Rudolph has engineered for Hall & Oates, Rod Stewart,Johnny Mathis, Stanley Clarke and Natalie Cole (among
others), plying his craft at Larrabee, the Record Plant, Kendun [now de-
funct], and EMI/Australia. He's used all types of automation, and for sound quality prefers the Neve Necam, but he notes, "The SSL is really intuitive.
You do everything as if the computer weren't there. The only thing to remember is to end the mix and title it." He tends to use automation just "to get through the mix quicker so I'm less burnt on the whole thing, and to use the computer as away to be more objective. Ifyou use automa-
tion, mixing should take less time. But it generally ends up taking longer and you get abetter product--but how much better at what cost? Iprefer
to mix as if it were not there and then go back and touch things up by way
of the computer." Bob Missbach, an engineer in the
San Francisco area, agrees that SSL automation is hot stuffbut adamantly states, "Automation was never meant to be a time-saver. It doesn't save time, it takes time. The purpose of automation is to let you have detail in your mixing. You
can get in there with amicroscope and pick things apart and make them per-

102 MIX, FEBRIARY 1988

Sound
Advice.

3M
Rezording Tape

3M's 40-year commitment to technology builds in consistency and quality. Recording professionals come to us
because they know they can count on
audio tape products from 3M. So when

you're creating your next album, demo
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. 1987 3M Co

Supporting the dream.

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-FROM PAGE 102, SIGNAL PROCESSORS
ers and noise gates (usually through key or side chain inputs). But the
main achievement of the Clarity MIDI/XLV is you can use the [ARC to automate the 224XL, 480L or anything else for that matter. The process of automating signal processors becomes as easy as traditional fader automation.
As mentioned, agrowing number of effects devices respond directly and dynamically to MIDI and are therefore "automation ready." These include ART reverb units and T.C. Electronics' remarkable graphic EQ/real-time analyzer. Also, a number oftraditional fader automa-
tion systems use MIDI to add automation to existing consoles. The Yamaha DMP7 looms above most of these in terms of capabilities; all DMP7 parameters can be automated through use ofaMIDI sequencer-- faders, sends, EQ, everything except (ironically) its three internal effects processors.
System Design So how do we automate? We automate by using MIDI (for those who hoped you had finally figured out what MIDI can do, this is something new to fit into the equation). The
first step is to assign the parameter of your effects device to respond to aparticular MIDI controller. There are 64 continuous controllers, and 64 switches within the MIDI specification, only afew of which are assigned to such mundane tasks as pitch bending, or the ubiquitous mod wheel. You then find adevice
that can generate the appropriate control data and record that into a MIDI sequencer. Ifyou synchronize your sequencer to tape, preferably

through SMPTE/MIDI time code,
you are ready to automate. Any effects automation system con-
tains aMIDI data recorder (sequencer), a synchronization interface (preferably SMPTE/MIDI time codebased), and the effects to be automated. Fig.1 shows atypical effects
automation system. The most important aspects of auseful automation system are reliability and ease of use. With the use of aMIDI time code-based sequencer, and alittle work in standardizing your environ-
ment, you can create avery userfriendly effects automation system.
"Q-sheet" by Digidesign is aMIDI sequencer program specifically designed for automation. With it you can create your own graphics interface for the effects device you want to control (knobs, sliders, or switches). The program will then allow you to record changes on-screen, or through any external controller such as a keyboard (or even the 224XL's [ARC, if you have aClarity MIDI/XLV).
Applications To what use do we put all these new capabilities? The most obvious is traditional record production. For engineers or producers who are familiar with an effects device that
can be automated, that added control can become part of their signature sound. Another area of interest is the use of effects automation by live sound companies. This is an application where every second of setup time saved during performance can be critical, and automating areverb, or any other effect, makes its usefulness multiply. The last area, and one which is most promising, is the area of film and video

sound. Here room simulation in particular plays an important role in Foley and dialog replacement techniques. Automating these changes makes the work predictable and repeatable, something that should warm the hearts and ears of everyone involved.
In the future, perhaps we will see more general digital signal processors capable ofseveral different functions at the same time (either in parallel or in series). Hopefully, these will allow for dynamic control of their parameters through MIDI. Also the integration of signal
processors in consoles and even synthesizers seems inevitable (this is already happening with devices like the Yamaha DMP7 and the Ro-
land D-50). The expansion of automation to
include outboard effects seems inevitable, especially because of the increased productivity that results from being able to set up and control all your effects in one pass, and then have them reproduce those changes automatically. To be sure, there will be times when effects automation just won't be necessary (the same thing is true of traditional fader automation). It is clear, however, that dynamic control of effects is an important addition to the arsenal of creative people working with sound, and that MIDI has become the standard protocol for achieving this control.
Alex Noyes eastaff member of the
CenterforElectronic Music (GEM), afaculty member ofthe Institute of Audio Research, product specialist for Clarity Inc., and afreelance
composer/synthesist/engineer who works in NYC.

fect. The computer makes it possible tion on The Plant's Trident board. "The

to do whatever we want, but it doesn't Melquist only takes one track on the

make it mandatory."

tape and that's for SMPTE time code,

Missbach works at The Plant, Fantasy the same time code you use for syn-

Studios, Studio D, and Live Oak, and chronizers and everything else, so

has mixed in LA. at Larrabee and A&M you're not using any extra tracks. It can

and in NYC at the Power Station. He's store more than one mix, so you can go

engineered for Huey Lewis & The back four or five mixes to pick some-

News, Journey, Santana, Van Morrison, thing up. It's just level and mute auto-

ConFunhun, and various Windham mation, but it's quick, you can start and

Hill artists. "I've used the SSI., the Ne- stop anywhere on the tape. It's just like

cam II, Melquist, and Diskm ix [on an recording. You can punch in, punch

IBM PC], all for just mixdown," says out, you don't have to do awhole sec-

Missbach, noting he's probably put in tion, you don't have to complete the

the most hours using Melquist automa- song. You can do as many faders and

mutes as you want simultaneously." Phil York, who lives in Dallas, agrees
that automated consoles may "help"
complete half the work in twice the time, "but Irecently finished aTV movie using an MCI 548 board with the original automation. It would
have been a 200-hour mix--but I couldn't find anything else Ihad to do after 22 hours."
York has recorded over 30 Billboard
chart hits, and was voted "Best Recording Engineer" by the Texas Music Asso-
ciation in 1983. He usually works ajob as both engineer and producer, primar-

104 MIX, FEBRUARY 19811

iiMEK AND

A MEK/GML ... the marriage of two of the most creative
forces in audio engineering today. AMEK is renowned for its equalisation, operational flexibility and build quality. The GML Moving Fader Automation System is proven in prestigious studio installations in LA, New York, Nashville, Tokyo and London to be the world's most advanced computerassisted mixdown system. It is now available on three AMEK console ranges --APC1000, G2520 and CLASSIC -- manufactured by AMEK under licence from GML, Inc.

THE FORMULA
utility provides the engineer with the capability of advanced mix editing. The user can selectively modify m ix data, merging, splicing, copying, swapping, erasing, inserting and deleting as required. Additionally, data for individual tracks or for a whole mix can be shifted back and forwards in SMPTE-time.
ML also has asimple and flexible subgrouping facility, using 6dedicated faders as submasters.

eorge Massenburg, one of America's most respected recording engineers, designed his system from the engineer's point of view, aiming to enhance professional audio master recording with a unique and innovative approach which more or less transparently follows the engineer's natural workflow. The GML System facilitates the use of today's most complex and sophisticated mixdown techniques, giving total control of the mix data through powerful easy-to-use data processing methods and remarkable off-line fader and mute mix editing operations.
he GML System is purpose designed for multitrack and audio video post production applications, offering an intelligently advanced 'visual-mixing' environment with versatile automatic timecode recognition and programmable timecode 'off set value' commandability in each mix.
C1 ML programmes are divided into two sections. The outer
shell is used in normal mixing operations to enable the various write and read modes for each fader, and for initial storage of mixes. The inner shell contains the 'mix editor', which is the command centre for the editing of all data. The GML mix edit

he GML System uses two Motorola 68000 series

microprocessors clocked at 12.5 MHz with the Idris

software operating system, 100% compatible with

Unix V6 from Bell Labs, residing on a40 Megabyte

Winchester hard disk. A 1-Megabyte Dynamic RAM

PHOTOGRAPHS OF GML SYSTEM INSTALLED
AMEK APC 1000 )NSOLE COURTESY OF UDIO JIVE, TOKYO

memory is provided for the 'mix in progress', with finished mixes stored on the hard disk and later, archived

to floppy diskette. Provision

is made for the structuring of

mixes into directories and

subdirectories, so that where

anumber of producers,

engineers or clients use the

system their mixes can be

kept entirely separate and

password-protected.

he system is slaved to SMPTE code and has an internal resolution of 8.33 mS (quarter frame) and can control up to 128 faders and 7switches per channel to that accuracy. Necam and Solid State Logic fader and Mute data can be converted to the GML format by way of the floppy disk drive input.
Ongoing software development will continue to hone the
edge of the GML System, enabling it to remain at the
forefront of technical excellence for the foreseeable future.

4

4

GEORGE MASSENBURG LABS

Head Office, Factory and Sales: AMEK Systems and Controls Ltd. New Islington Mill, Regent Trading Estate, Oldfield Road, Salford M5 4SX, England. Telephone: 061-834 6747. Telex: 668127. Fax: 061-834 0593.

In the USA: AMEK Controls Inc. 10815 Burbank Blvd, North Hollywood, CA91601. Telephone: 818/508 9788. Telex: 662526. AMEK USA E-MAIL :AMEK US. Fax: 818/508 8619.

cfe>

19115

1986

INTEGRATING DIGTFAL

PCM 70 parameter settings. Program Row 3 Concert Hall:

REVERB DESIGN

CONTROLS

REFLECTION LEVELS

Bob Missbach, SF Bay Area

fly at Studio Southwest, Crystal Clear, Goodnight Audio or Omega Audio in the Dallas area. Along with the MCI system, York's experience covers the Necam 96 and the Alison 65K. "They all have their virtues," he says. "I think the best use of automation is to free up attention to complete amix to its fullest degree. Imix acut manually until it's very close to what Iwant. That way it has amore human feel. Then Icommit it to automation. Dump it in the computer and play it back, listen from different viewpoints, then start making refinements, which Icouldn't do if I had to do the basic mix over and over."
While he admires the MCI JH-50,
York says, "The advantage of Necam and its floppy disk is that you don't
have to start your automation track at the beginning of the song. You can stop where you are, back up, re-program the computer and handle adifferent function at the same location on the tape, without having to make a clean sweep from beginning to end. That is atime-saver."
Another Neve fan isJay Henry, aNew
Yorker with gold records on his wall and Grammy-nominated albums (Larry Coryell, Run-DMC) on his credit list.
Henry has worked at Unique Recording, Shakedown, and Quad (among
others). His background is in 1V sound, and he specializes in audio/video preand post-production. "I'm excited about the new Neve V console with Necam 96 at Chung King House of Metal, where Iwork alot. I've always been enthusiastic about the sound quality of Neve consoles. Their mov-

ing faders provide audio quality by taking the VCA out of the circuit. And their soft-keys let you reduce 60 keystrokes down to one. Ilike working with the Neve for music production." However, Henry prefers SSL for video post-production "because ofthe recall. You're usually pressed for time and repeatability in post applications for TV In commercials, you do exactly the same mix over and over, except for one element such as voice-over, and doing it with the SSL works well because alot of elements in the channel path affect the level besides the fader
and the mute." Joe Chiccarelli (Hollywood, CA) also
appreciates amoving fader. Artists for whom Chiccarelli has manned the console include Frank Zappa, Lone Justice, The Bangles, Bob Geldof and
George Thorogood. He's worked on Neve with both Necam II and George
Massenburg lab systems, and the SSL (at A&M Studios, Ground Control,
Sound Castle, Capitol Records, and Conway Studios). "It's great to see the faders move up and down past your pencil marks," enthuses Chiccarelli. "You get a secure feeling that you
know what's going on. Iuse the SSL a lot. It's fun, fast, and with the total
recall, Ican get back to my mix in an hour or two and touch it up in amat-
ter of hours. But sometimes the SSL sound is not what Iwant. So if Icut
tracks on an SSL, Ilike to mix on another system. If Itrack on aNeve, then Imix SSL Using different consoles rounds things out. The SSL has its own clean 'high-tech' sound. The

106 MIX, FEBRUARY 1988

REVERB TIMES

REFLECTION DELAY TIMES

-SPACE SHIFTER" Dynamic MIDI patches for use with the YAMAHA DX7 .

MIDI

PARAMETER

CONTROLLER

SCALING LIMIT VALUES

DATA SLIDER

1.0 RT Low

+13

2.8/ 52

DATA SLIDER

1.1 RT Mid

+22

1.1/ 26

MOD WHEEL

12 Crossover

+17

350 Hz/ 4.85 kHz

MOD WHEEL

2.1 Attack

+81

15/ 95

FOOT PEDAL

0.8 Chorusing

+17

51/ 68

LAST VELOCITY

3.1 Lt. V1 Reflection Level

+33

Off/ -8.5

LAST VELOCITY

3.3 Rt. V3 Reflection Level

+30

Off/ -6.5

MIDI CLOCK

0.3 Size

-33

29.8 @ 100 BPM

MIDI CLOCK

40 Delay Master

A'pSpphaccaetiSohinfsteErngwianesewrhWitMenEgbgyleLsexttornon

-110

0 @ 100 BPM

II 1N 1\4

1_, INIE PA,C7-1'

EFFECTS INTO MUSICAL PERFORMANCE: A LEXICON APPLICATIONS BRIEF

We developed Dynamic MIDI® to take digital effects beyond static environments and flat textures. With it, you can use MIDI controllers to change your music's sonic space or texture as you're playing.
With the PCM 70 Digital Effects Processor, we pioneered the concept of parameter control through MIDI: it's still
the most MIDI-responsive effects device available. Each program and register has 10 MIDI patches that assign any controller to any parameter. One controller can change two parameters, or two controllers can affect the same parameter. Dynamic MIDI makes possible dramatic unusual techniques that add impact to your music.
Why do we give you more MIDI patches than most effects have parameters? Because the PCM 70's algorithms (like the Concert Hall algorithm shown here) give you more parameters than some units have programs. Complex as
it is, Concert Hall is only one of six (seven if you have optional Version 3.0 software) PCM 70 algorithms.
"Space Shifter" is based on Concert Hall: it's agood example of how Dynamic MIDI adds new dimensions to performance. The Data Entry slider lengthens the Mid and Low
reverb times. The Mod Wheel moves your audience farther away by controlling

two parameters at once. As it raises the
Crossover frequency, sending more reverb energy into the longer RT Low decay, it lengthens Attack time. The foot pedal choruses the reverb, while keyboard velocity controls the level of left and right reflections.
MIDI clock (included as acontroller in our optional Version 3.0 software) adjusts Room Size and Delay Master for different tempos. The chart at bottom
left shows that most controllers are scaled to vary the effect from a"mini-
mal" space to one with apowerful impact. But the MIDI Clock patches are negatively scaled: as tempo goes up, size and reflection levels go down, to keep the reverb from "washing over" the beat.
For PCM 70 owners, "Space Shifter's" parameter settings and MIDI patches are in the charts on the left. The tenth MIDI patch is empty: it's yours to experiment with. In fact, the whole program is a
starting point for exploration.

Try adjusting the Scaling function to get the polarity and range of control you want. If you need awider range than a controller offers, you can "double assign" it to the same parameter for up to twice the variation.
These are by no means the only controllers you can use. Pitch Wheels, Sustain pedals and over 120 others are included in Dynamic MIDI. Engineers often use Last Note when recording
parameter changes to aMIDI sequencer for automated playback during mixdown.
Now aword of warning: If you don't yet own aPCM 70, don't drive yourself crazy trying to duplicate "Space Shifter" or other PCM 70 sounds using less advanced devices. With 30 to 45 parameters, every PCM 70 algorithm gives you multi-dimensional control that's simply not available in simpler units. Concert Hall alone generates many more sounds than we could discuss on one page.
Every PCM 70 has five more algorithms (six with optional Version
3.0 software, including Inverse Room). All of them are equally
powerful, equally complex, equally ready to take you into new musical spaces. Which is why thousands of creative studios, innovative producers and
productive musicians agree that the PCM 70 has no equal.
If you think your music is something special, discover the
PCM 70 at your Lexicon dealer.

Circle #045 on Reader Service Card

lexicon
Lexicon Inc., 100 Beaver Street, Waltham, MA 02154 (617) 891-6790

For those of you who have defined the problem more precisely, amore precisely defined solution.

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Room resonances can be very deceptive, as you're all too well aware if you've ever tried to tame them. That's why all center frequencies on Klark-lbknik parametrics are fully variable from 20 Hz -20 kHz. Each band can handle any problem, any time, anywhere. An extravagance? Not to anyone who has tried to use aparametric with fixed frequency bands.
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Because even wom presents adifferent set of challenges, Series 400 Parametrics are designed for the highest level of operational flexibility. Filter bandwidth is variable from a1/12th octave notch to 2octaves. Each band has 15 dB of boost, 25 dB of cut. Variable high and low pass shelving filters offer additional control. TWo models are currently available: the single channel five band DN 405 and the dual channel five band DN 410. In really difficult environments, the DN 410 can operate as a single channel ten band parametric or notch filter.
Klark-Teknik reliability stems from uncompromising standards
Our standards are demanding: so are our customers. Years ago, we pioneered the use of thick film micro-electronic circuits in our graphic equalizers. This technology reduces equivalent solder connections by more than 50%: its proven reliability is one reason we back Series 400 Parametric Equalizers with afive year limited warranty.
The other reason is the 100 hours of testing every

Klark-Teknik product undergoes before being shipped. Our standard procedures include stereo dynascope board inspections, full performance verification and acycled burn-in followed by acomplete re-check.
Lower standards of design, construction and testing could make our equalizers less expensive to purchase. But it would make them more costly to own. There are no short cuts to true "set and forget" operation
Klark-Teknik products for afull range of applications
Perhaps you'd like to spend less time tuning -- and retuning -- the room. If so, investigate Klark-Tbknik Parametric Equalizers. For full information on the design, construction and applications of our parametric and graphic equalizers and digital delay lines, write to Klark-Teknik at the address below.

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Dorval, Quebec H9P 1A3 (514) 636-9971

Circle #046 on Reader Service Card

Barry Rudolph, L.A.
Neve is amore thick, warm, musicalsounding console.
"I like using Neve with Massenburg automation, which is very accurate and reliable," continues Chiccarelli. "1 love the Massenburg's moving faders. Those faders have over athousand volume steps. That's what you need for vocal moves or anything finite. And the fader can jump from zero to agiven value at any SMPTE number."
Jim Boyer concurs, "Ofall the newer systems, I'm happiest with the Massenburg. George Massenburg is the engineer's engineer." Boyer works in New York City and has racked up engineering credits with Billy Joel, Steve Winwood, Paul McCartney, Linda Ronstadt, Paul Simon and the Manhattan Transfer. He's mixed at the Hit Factory, Power Station, Record Plant, Right Track, RPM and Sorcerer Sound. Boyer reports, "In alot of mixes Ionly automate ons and offs. I'll set up the mutes and everything to be turned on and off, and then I'll mix without using the computer on the faders. Every time I make amix it's anew performance, and if it's something Ilike, I'll keep it. Automation has taken off alot of pressure, like worrying about making an on and off move in the old days when four hands weren't enough.
"The Massenburg," Boyer adds, "lets you trim the faders on the computer screen, or take moves from one fader and put them on another. But as far as I'm concerned the best system ever is the early Necam, because you don't have to think about making an entry in the computer before you do a

move. You just grab the fader and mix.
My one bone of contention with the
new systems is that they force you to think computerese instead of thinking music."
Rob Freeman says of the Massen-
burg, "You just grab for afader and it knows you grabbed that fader and it
records the action. It seems to be
more related to running the tape than
running the computer." He lives in
Pelham, NY, but goes to Manhattan to work at the Record Plant, Unique,
Sound Works and Quad, among oth-
ers. His engineering credits include
Kiss, Blondie, Ramones, Abba and Rupert Holmes. Freeman has worked with the early systems, Neve Necam, the SSL, and the Massenburg on aTrident board.
However, Freeman doesn't use automation in the mix process. He says,
"The mix is as much aperformance as
anything on the record. Even though I
work with computers and sequenced
drum tracks, Itry to put in as much humanity as Ican. The least Ican put
in that Iknow is human is my own
touch. So Ionly use automation at the
end of the session, to take aphoto-
graph, to `freeze' where we left off. Maybe at the end of the day Ihad
something close but didn't quite nail
it, or Ihad an idea for adifferent vocal approach--the next day that `snapshot'
puts me right back where Iwas, and then Iproceed the way Iwas going,
with my hands on the faders." Freeman has also tried MegaMix (by
Musically Intelligent Devices), aPC
software-based console automation system at Tilci Recording in Long Island.
He says, "I'd like to do it again. It was a
little cumbersome because Iwas doing
one fader at atime. But that Macintosh
system has possibilities, besides being cost-effective. Ihave aMac at home
and wonder about the possibilities of compatibility in terms of taking the mix home. Ifthere were away to moni-
tor the mix, maybe through your own MIDI system or avisual representation
of it; maybe take a2-track mix with a
tone to sync the computer to the tape,
and you can proceed to trim what you
did in the studio--at home."
Glenn Feit is aHollywood freelancer
who also doesn't mind thinking in
"computerese." He specializes in remixes and has engineered for the New Edition, Bobby Womack, Motley Crue
and the O'Jays, working at such studios
as Larrabee and Village Recorders. Recently, Feit has been installing and run-

ILaughed

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He said, "Our mics are abetter value, and the other brands don't include awindscreen and cable. So what if the hard plastic windscreen is ugly, it works good. So think of it as FREE"!
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Circle #093 on Reader Service Card FEBRUARY 1988, MIX 109

fling 24-track studios in producers' homes. It is the home studio trend that has Feit looking beyond the "high end"
at PCs, particularly the Atari ST. Now exploring MIDI-based muting systems,
Feit was about to try MegaMix when we spoke.
"I try to keep recording quality high and cost low," says Feit, "so I've gotten involved in MIDI. Ilook at MegaMix as
an easy automation package that can travel with me. It stores the on/off
information ofthe mute buttons, much
like on/off note information, in any MIDI sequencer. If you're synchronizing your sequencer to tape, then you might as well have one of the tracks controlling the automation. Volume adjustments are just MIDI messages. I
expect to see alot more automation packages based on MIDI, hopefully right in the onboard computers in consoles. Ifwe're using floppy disk-based systems to lock the mixes to tape through SMPTE, why don't we do some of the stuff through MIDI too?
"These type of systems make the mix part of the recording," adds Feit. "You suddenly have extra hands. MIDI is much easier to work with. And some

programs even have event list editing
where you see MIDI messages in text form--you can edit them like aword
processor." Donna Summer, Missing Persons,
the Go-Gos and Shalimar are some of Bob Stone's past clients, but recently he's concentrated on Frank Zappa's albums, CDs and music videos. Stone reports on the approach to automation he and Zappa have taken at Zappa's Utility Muffin Research Kitchen:
"We've developed a system that
locks together our digital [tape] systems. We basically do it the oldfashioned way with a new twist-- having machines lock together so you can do punch-in type edits without
any noticeable punch-in." And the way to do that is with digital tape. "Our automation is not really 'console' automation, but we can punch in anywhere in the mix on avideo basis and the digital system lets us change segments or re-arrange the console."
System components are Sony's PCM3324 digital multi-tracker and 1610/ 1630 PCM processors linked to the BVU-800 3/ 4 -inch video deck The mixdown machine slaves to the multi-track

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110 MIX, FEBRUARY 1988

Circle #094 on Reader Service Card

"They're locked to time code and everything is locked to avideo rate generator," explains Stone, "so everything is done at a44.056 kHz sampling rate
as opposed to 4.4.1 [which is normal for CD format] ."Transport control, time code generation, and lock-up are provided by the TimeLine Lynx. "If you don't like your mix at acertain point, rather than re-recording over the tape or having to do the editing later, you
correct the section without having to load it into the memory of an automation system. Everything is recorded directly to the mix tape. It makes locking to video alot easier. The console is a 48-input Harrison, but we don't use its
automation system." Using akeypad to locate cue points
or specific locations, Stone says, is "slower than manual rewind and manual insert at the point where you want to
change. With our volume ofwork, manual cue winds up being ultimately fast-
er. And for editing, we use the Sony DAE- 1100, so rearranging the sequence of tunes or taking parts of atune performed in one city and inserting them in the same tune done in another city
can be done easily." And what about editing? The con-
cept of automated editing has changed with the advent of speedy microprocessors and MIDI. Now there are audio-for-video editing systems that let you write an edit list, go eat lunch, come back and play back afinished tape.
Engineer Paul Christensen owns Omega Audio outside of Dallas, and
freelances as aremote recordist. He's helped outJohnny Cash, Willie Nelson,
the Oak Ridge Boys, Pat Benatar, the Boomtown Rats, and more. Specializing in audio for video since 1980 (he
recently finished the HBO musical special Fats &Friends), Christensen notes that the first tape-based control systems were somewhat volatile for punch-ins and built up time lags upon updating. The complex mixes used in video and film did not jibe with this. The ensuing
disk-based systems were more suitable, "but there are inherent advantages of going to ahard disk or optical system for storage and retrieval, and this is the third generation," says Christensen.
Christensen now uses the CMX CASS
system built around the IBM PC/AT with a20-Meg hard disk and 1.2 Meg of RAM. It edits and controls machines, and its automation system interfaces to virtually any console. "You can't edit audio for video unless you do it the

way video people do it," he notes. "The
audio editing protocol is no different from video. You deal with the place where you're putting it and the place you're taking it from, and you want to do it electronically because it's more efficient. It's got to be subframe-accurate, with afast trim function. You must be able to see any edit event over and over, then be able to quickly move something to two frames earlier. RAM coupled with ahard disk lets you do that. The hard disk provides for autosave, so every time you do an edit or a move with automation, it saves it to
hard disk. So ifanything happens to the power you only lose the last thing you were working on. Also, on the hard disk you can have hundreds of files that can be brought up in afew seconds."
Christensen uses the CASS system in album mixing, too. "I use the diskbased automation portion to mix. It's a powerful automation system--at the flip of aswitch it controls the console in an audio-only application."
For transport control, Christensen likes linking the CASS system to the Adams-Smith or TimeLine Lynx syn-
chronizers. "The Adams-Smith interface is complex; one advantage is you can solve more problems that are the exception rather than the rule. You have to be more technical and creative to invoke the system's programs, like the splice-track program that lets you deal with dissimilar time code and dropouts in time code. You can tell the computer to ignore it or how to respond.
"The Lynx is good for more straightforward work, and works well out of
the box. It's software-based and does a lot of stuff, all you have to do is punch
up the machine you're using and there it is, all loaded in."
Jay Henry also edits audio for video: "I do automated editing in conjunction
with MIDI control devices where you run everything offSMPTE. My company, Visual Music, put together a digital
audio production system for video. We never have to lay down and transfer audio from one video tape to another while editing, the way people are used to doing it. It's all done with sampling, even sampling announcers--why have him speak into mic and go to tape when you can go into acomputer? We
can do everything you normally do to audio, like time compression, but with MIDI control capabilities plus all the editing capabilities of samplers. We
--CONTINUED ON PAGE 135

Don't even think about another automation system. Listen to the opinion of the professionals:

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Circle #095 on Reader Service Card

Reliable Music
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Circle #096 on Reader Service Card

FEBRUARY 1988, MIX 111

by Tony Thomas

STUDIO ·VIEW

THE INDEPENDENT EDGE

AN INTERVIEW WITH PETER WOLF

Bdeaiynsg aisnliiknedelipveinndgeinntapwraorduzcoenre.thTehsee victories may be sweet and the spoils
substantial, but you have to be prepared for the painful volleys of criticism from unsympathetic record reviewers and the agony of defeat when your last production ends up in the bargain bins.
Then there are realities of the production game. It is no longer abusiness of longevity--you can count the ones that have been really successful for aprotracted period of time on one hand. The rise may be meteoric and
the heights stratospheric, but the burnout is as inevitable as that ofashooting star.
Is the independent producer becoming an endangered species? To
find out, we spoke to producer/arranger Peter Wolf, amember of the new
breed of producer which combines production skills with arranging, composing, programming and playing abil-
ity. Wolf, who began his career as a classical and jazz pianist in his native Austria, moved to LA. in the mid-'70s and joined Frank Zappa's band. From there, he became afirst-call session player with the likes of Ted Nugent, Pablo Cruise, Survivor, Henry Gross and Freddie Hubbard.
His production career began when he was invited by producer Dennis lambert to co-produce The Commo-

dores' Nightshift album. That led to co-production work on Heart's megahit These Dreamsand production cred-
it on Wang Chung's last album (featuring the '80s anthem "Everybody Have Fun Tonight"), as well as Starship's Knee Deep in the Hoopla (which yielded two smashes: "We Built This City"
and "Sara"). We found Peter hard at work mixing Nik Kershaw's new album

112 MIX, FEBRUARY 1988

PHOTO (Ni BRY

Sampler: Up to 26 seconds sample time at 18 kHz bandwidth (40 kHz sampling rate) ·Special enhanced 12 bit format for very low noise ·16
simultaneous voices ·32 drums ·Dynamic sen-
sitive drum pads ·Stereo mixer and echo send mixer ·Sample editing.
Sequencer: 60,030 notes ·99 sequences ·99 tracks ·Tape recorder-style operation ·2record
modes--record or overdub ·Looping in record · Instant-playback timing correction ·Shuffle ·
Full-screen step edil ·Insert delete bars ·
Copy merge tracks ·Edit loop ·Timing shift · Song mode ·Tempo changes ·Meter changes -
Pressure-sensitive mote repeat ·4independent Midi outputs.
Sync interface: SMPTE ·Midi Time Code ·Sorg Position Pointer ·Sync to v., notes ·SMPTE
chase. Features:
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more.

A MIDI PRODUCTION STUDIO IN A BOX
The MPC60 Integrated Sampling Drum Machine, Sequencer, and SMPTE Interface

STUDIO ·VIEW
at Los Angeles' Rumbo Recorders.
Mix: What was it like making the transition from session player to producer? Wolf: Well, I've been pretty lucky over the years that Ihave been successful enough not to have to worry about a gig. Right now, I'm booked almost a year in advance. The music business has been very, very good to me. I've always said that the luxury of being successful is not just the money. It's being able to work with and produce cats that Iabsolutely love. For example, Iloved Wang Chung and when that opportunity came along, Ijumped at it. Right now, I'm producing Nik Kershaw. I've been listening to his stuff for years and I'm one of his biggest fans. He's asuperstar in Europe but he has never broken here. The record we're working on now is going to be fantastic. In January I'm going to do Big Country, in March I'm doing Paul Young and after that I'm doing another Wang Chung album.
Mix: How are you usually remuner-

ated as aproducer? Wolf: Iget an advance before Istart a project and Iget points afterwards. Dif-
"For me, having a manager is
essential. Idon't want to have to be in the position of having to negotiate with the artist. Idon't
want to talk money with
them."
ferent producers get different points based upon how successful they are. When Istarted, Iworked for half a

point and Ijust worked my way up. Right now, I'm afour-point producer. I have amanager who negotiates the deals and handles the business end of things for me.
Mix: Do you think that it is important for an independent producer to have a manager? Wolf: Yes. For me, having amanager is essential. Idon't want to have to be in the position of having to negotiate the deal with the artist. After all, Ihave to work with that artist. Idon't want to talk money with them and they don't want to talk money with me. Ijust prefer to let my manager and their manager battle it out.
Mix: Do you handle the negotiations with the studios for booking recording time? Wolf: That's adifferent story! I'm merciless with studios! After all, as aproducer, Iget acertain amount of money from the record company and I'm responsible for delivering the record. If I go over budget, then it comes out of my pocket. So, Ihave to battle it out with studios.

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114 MIX, FEBRUARY 1988

Circle #098 on Reader Service Card

Mix: What kind of budgets are we is competing to get the biggest hit. We

talking about, in round figures?

all have in our contracts that ifwe have

Wolf: Iget pretty good budgets-- aTop Five record, we have ahalf-a-

about $300,000 to $350,000 arecord. I point override over the other produc-

worked on aKenny Loggins record ers. So you end up with abig race

where they had abudget of close to a where everybody is trying to outdo the

million dollars. Idid five cuts and got other guys.

about $200 grand. Istill don't know

where the other $800,000 went! There Mix: Do you have any advice for up-

are groups that spend millions to make coming producers and players?

records. But you can quote me on this Wolf: Stay out of the music business.

--I don't know how they do it. Idon't Even though Ilove music, it's real easy

think that any record is worth that kind to lose perspective. There is no lon-

of money!

gevity in this business. Even if you're

good, if you go one year where you

Mix: You have aSynclavier. Is that one don't have ahit, you're dead. It's like

of the ways you can help keep the

budget under control?

Wolf: Absolutely. Besides the Synclav-

ier, Ialso have my own Mitsubishi 32-

track digital tape recorder, and I've

found that I'm spoiled. Ican't go back

to working without them. In addition,

Ihave my own rack of signal process-

ing gear, preamps, Massenburg EQ and

my own monitors.

David Foster once told me: when he was first starting out, it was: "Who's David Foster?" At the next stage of his career it was: "Get me David Foster!" Then it was: "Get me ayoung David Foster." And then it was: "Who's David Foster?"
Tony Thomas has been involved in broadcasting recording and publishingfor over adecade. He is managing director of Target Communications International, afull-service ad agency, broadcastproductionfirm, andMIDIbased recording studio based in Southern California.

Mix: With all of that gear, have you ever thought about setting up your own studio? Wolf: Yes, I've thought about it but when you have your own place, you can never get out. Plus, some of the artists Iwork with don't always want to record in the States. If Ihad my own studio, Iwould have the problem of
overhead when I'm not using it. With my own gear, Ijust pack it up and go.
Of course, my cartage bills are high when going overseas, but on the other
hand, Ican rent my multi-track to the project for less than Ican get one in Europe.

Mix: Do you use the fact that you have your own gear as leverage when negotiating with studios? Wolf: Sure. All Ireally need is agood room and aclean board. Icould record in my bathroom if Ihad to. At some point, I'll probably have asmall
studio at home for overdubs.

Mix: What do you think about split-
ting projects with other producers as is
the common practice these days?
Wolf: Well, everybody tries to take their best shot. They think if they have
five producers on aproject then they
have abetter shot at getting ahit. I
don't subscribe to that philosophy. By splitting the project, there is no line that unifies the project. Every producer

Circle #097 on Reader Service Card

FEBRUARY 1988, MIX 115

o'.· ea,

7

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e

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44«« ,

tevie Wonder mixes

SOUND ·ON ·STAGE
by Mark Herman
SOUND
REINFORCEMENT NEWS

Cleveland's largest sound company, Eight Over in France Clair has been supporting

Day Sound Systems, provided sound re- several French acts that are currently break-

inforcement for Jethro Tull's European ing box office records right and left. While

and North American tour (see chart). The unknown in America now, these acts are

system was composed of a60-cabinet Tur- sure to draw international attention soon.

bosound PA powered by AB Systems amps More on this in alater issue.

with aSoundcraft Series 440-channel con-

Plans have been announced for this

sole for the house and aSoundcraft 800 24 year's Amnesty International Tour.

x 10 for the stage. .Kool & the Gang finished their European tour in December

Scheduled to hit all seven continents, it has all the trappings of becoming the most

and returned to the U.S. for two more sensational tour of the 1988 tour season. At

weeks split between the Midwest and the this writing Sting, Peter Gabriel, Bryan

East Coast. Tom Arko says that he has Adams, and possibly Jackson Browne,

been making preparations to send, via ship, U2 and others, are rumoured to be the

an entire sound and light package to Africa headline acts for this massive six-week un-

to do two 40,000-seat shows and alarge dertaking. Corporate sponsors and selling

private engagement with Kool & the Gang movie and video rights will help ease the

in the Ivory Coast .Eighth day is the pri- financial strain for this worthwhile cause.

mary sound contractor for Cleveland's new Michael Ahern will be the tour director,

4,000-seat venue called the Nautica Stage. Mary Daly tour producer, and look for the

Many national acts have already passed ever resourceful Bill Graham as tour pro-

through this pleasant modem amphithe- moter. Some of the sites being considered

ater...Also filling Eighth Day's calendar are countries close to South Africa and oth-

were some conventions, regional dates ers behind the Iron Curtain.

withJohnny Mathis, anational mini tour

MSI briefs: Earth Wind & Fire re-

with Frank Sinatra, several national one- hearsals began in December and atour in

offs and agrand opening for agiant mall. earlyJanuary. The 60-city trek should run a

Extensive Brazilian projects have kept good three months or so with Maryland

Clair Brothers busy. Sting's outdoor South American tour in December import-

Sound Industries supplying the equipment. .Whitney Houston has been out

ed an entire Clair Brothers system. The working North America, spent aweek in

former Police-man performed six stadium Australia and, after abreak, plans to con-

shows in Brazil and one in Buenos Aires, quer Europe in April. ..Pink Floyd's great-

Argentina and then set off to England for sounding American tour ended in mid-

five shows at Wembley Arena. After aholi- December and then proceeded to Austral-

day layoff, Sting planned to resume touring ia, New Zealand and Japan. They're due to

in North America in late January. The first come back to the U.S. in the spring before

three weeks of 1988 also saw Clair Brothers finally ending in Europe...The Cure is

provide sound for ahuge Brazilian festival out in Europe. .. Anita Baker has an MSI

called Hollywood Rock. Four stadium monitor rig...Dan Fogelberg finished

shows each in Rio and Sao Paulo featured a in December...Kenny G finished early

lineup oftwo-thirds Brazilian and one-third January...Jazz guitarist/singer George

international acts...Great gig: U2's Phila- Benson was out with Earl Klugh in De-

delphia outdoor show, with Bruce Spring- cember-January.. .Peter Allen and Frank-

steen lamming on the last song. The crowd le Valli are out ...Anne Murray finished

was caught off guard as Bono and the Boss her year-long stint and resumes touring in

whipped into "Stand By Me" and finished February...Paul Simon's star-studded

offan excellent show with anice touch ... benefit concert December 13 at Madison

Square Garden was handled by MSI. ..The first leg of the Yes tour (see chart) ended in late December and was scheduled to start back up sometime in January, with the band continuing to roam North America. Equipment for the first leg utilized one Harrison and five Yamaha consoles, MSI and Meyer monitors, and 72 MS2 main speakers and 20 MS2B subs powered by Crest 4001 and 8001 amplifiers. Yes is also using MSI's digitally selected monitor system. Ronnie Smith explains, "Instead of having to patch and repatch your sends, you can push abutton and select one of 16
sends to go to. It also has onboard dual select MSI crossovers." The monitor system utilized nine MS 2x15s, eight MS 2x 12s, four Meyer UPAs, 12 Meyer UM is and
two MS sklefills. Most of the speakers were hidden under the stage... Ronnie Smith on 1987: "We're ecstatic with the business that MSI has had this past year and feel we work with an excellent roster of clients that
are good to work with." Salsa anybody? At NewYork City's Pal-
ladium, See Factor Industry Inc., based
out of Long Island, NY, supplies asound system for "latin Tinge at the Palladium," a weekly Thursday night salsa event that attracts the biggest names in Latin music. It has been going on since August of '87. Six Meyer MSL3s, two 650R2s, aMidas Pro 32 x 8x2, and Meyer monitors comprise some of the equipment that is brought in each week Harry Martinez handles the house mix and Steve Schwartz the stage. They also worked two other salsa shows around town--at Madison Square Garden for the Cheer Fest (as in soap), and a Crest toothpaste-sponsored event. Good clean fun...See Factor is doing the sound for the '88 Squeeze tour that begins in February. They also did their short Nov.-Dec. USA
tour (see chart). ..Anthrax finished their U.S. tour in December. They used 32 Martin cabinets along with eight Meyer 650R2 subwoofers. The house engineer, George
Geranious, used aYamaha PM3000 while

FEBRUARY 1988, MIX 117

Circle #118 on Reader Service Card

FEJ3RVARY 1988, MIX 119

et

··

··

by Alan Parsons

PLAYBACK

PARSONS AND POE
TALES OF RE-MIXERY AND IMAGINATION IN THE DIGITAL AGE

Ian Parsons recentb, brought state-of-the-art analog and digital techniques together for atotal re-think on the first
Alan Parsons Project album--Tales of Mystery and Imagination, first released in 1976. Based on the works ofEdgarAllen Poe, the album is considered by many to be a classic. It has now been released for the first time on CD. Here, Alan reminisces about the original recording and ex-
plains how new technology contributed to the new version. When it was first suggested that the Tales of Mystery
album should be released on CD, one thought was to get Abbey Road to make the best possible PCM-encodedi tape

III

Artwork from the first Alan Parsons Project album in 1976

(left) A recent picture of Alan Parsons at his
country studio in the south of England

138 MIX, FEBRUARY 1988

SOUND ·ON ·STAGE
by Mark Herman
SOUND
REINFORCEMENT NEWS

Cleveland's largest sound company, Eight Day Sound Systems, provided sound reinforcement for Jethro Toll's European and North American tour (see chart). The system was composed of a60-cabinet Turbosound PA powered by AB Systems amps with aSoundcraft Series 440-channel console for the house and aSoundcraft 800 24 x 10 for the stage ... Kool & the Gang finished their European tour in December and returned to the U.S. for two more weeks split between the Midwest and the East Coast. Tom Arko says that he has been making preparations to send, via ship, an entire sound and light package to Africa to do two 40,000-seat shows and alarge private engagement with Kool & the Gang in the Ivory Coast ...Eighth Day is the primary sound contractor for Cleveland's new 4,000-seat venue called the Nautica Stage. Many national acts have already passed
through this pleasant modern amphitheater...Also filling Eighth Day's calendar were some conventions, regional dates withJohnny Mathis, anational mini tour with Frank Sinatra, several national one-
offs and agrand opening for agiant mall. Extensive Brazilian projects have kept
Clair Brothers busy. Sting's outdoor South American tour in December imported an entire Clair Brothers system. The former Police-man performed six stadium shows in Brazil and one in Buenos Aires, Argentina and then set off to England for five shows at Wembley Arena. After aholiday layoff, Sting planned to resume touring in North America in late January. The first three weeks of 1988 also saw Clair Brothers provide sound for ahuge Brazilian festival called Hollywood Rock. Four stadium shows each in Rio and Sao Paulo featured a lineup oftwo-th irds Brazilian and one-third international acts ...Great gig: U2's Philadelphia outdoor show, with Bruce Springsteen jamming on the last song. The crowd was caught offguard as Bono and the Boss whipped into "Stand By Me" and finished offan excellent show with anice touch...

Over in France Clair has been supporting several French acts that are currently breaking box office records right and left. While unknown in America now, these acts are sure to draw international attention soon. More on this in alater issue.
Plans have been announced for this year's Amnesty International Tour. Scheduled to hit all seven continents, it has all the trappings of becoming the most sensational tour of the 1988 tour season. At this writing Sting, Peter Gabriel, Bryan Adams, and possibly Jackson Browne, U2 and others, are rumoured to be the headline acts for this massive six-week undertaking. Corporate sponsors and selling movie and video rights will help ease the financial strain for this worthwhile cause. Michael Ahern will be the tour director, Mary Daly tour producer, and look for the ever resourceful Bill Graham as tour promoter. Some of the sites being considered are countries close to South Africa and others behind the Iron Curtain.
MSI briefs: Earth Wind & Fire rehearsals began in December and atour in earlyJanuary. The 60-city trek should run a good three months or so with Maryland Sound Industries supplying the equipment ...Whitney Houston has been out working North America, spent aweek in Australia and, after abreak, plans to conquer Europe in April... Pink Floyd's greatsounding American tour ended in midDecember and then proceeded to Australia, New Zealand and Japan. They're due to come back to the U.S. in the spring before finally ending in Europe...The Cure is out in Europe ...Anita Baker has an MSI monitor rig.. Dan Fogelberg finished in December...Kenny G finished early January...Jazz guitarist/singer George Benson was out with Earl Klugh in December-January... Peter Allen and Frankle Valli are out. Anne Murray finished her year-long stint and resumes touring in February... Paul Simon's star-studded benefit concert December 13 at Madison

Square Garden was handled by MSI. ..The first leg of the Yes tour (see chart) ended in late December and was scheduled to start back up sometime in January, with the band continuing to roam North America. Equipment for the first leg utilized one Harrison and five Yamaha consoles, MSI and Meyer monitors, and 72 MS2 main speakers and 20 MS2B subs powered by Crest 4001 and 8001 amplifiers. Yes is also using MS1's digitally selected monitor system. Ronnie Smith explains, "Instead of having to patch and repatch your sends, you can push abutton and select one of 16 sends to go to. It also has onboard dual select MSI crossovers." The monitor system utilized nine MS 2x15s, eight MS 2x 12s, four Meyer UPAs, 12 Meyer UM1s and two MS sidefills. Most of the speakers were hidden under the stage...Ronnie Smith on 1987: "We're ecstatic with the business that MSI has had this past year and feel we work with an excellent roster ofcl ients that are good to work with."
Salsa anybody? At NewYork City's Palladium, See Factor Industry Inc., based out of Long Island, NY, supplies asound system for "Latin Tinge at the Palladium," a weekly Thursday night salsa event that attracts the biggest names in Latin music. It has been going on since August of '87. Six Meyer MSL3s, two 650R2s, aMidas Pro 32 x 8x2, and Meyer monitors comprise some of the equipment that is brought in each week. Harry Martinez handles the house
mix and Steve Schwartz the stage. They also worked two other salsa shows around town--at Madison Square Garden for the Cheer Fest (as in soap), and a Crest toothpaste-sponsored event. Good clean
fun...See Factor is doing the sound for the '88 Squeeze tour that begins in Febru-
ary. They also did their short Nov.-Dec. USA tour (see chart)... Anthrax finished their U.S. tour in December. They used 32 Martin cabinets along with eight Meyer 650R2 subwoofers. The house engineer, George Geranious, used aYamaha PM3000 while

FEBRUARY 1988, MIX 117

SOUND ·ON ·STAGE
by Mark Herman

CDN THE RCDAD
SOUND COMPANIES, EQUIPMENT, ARTISTS 8( PERSONNEL ON TOUR

Artist Sound Company
Tour Dates & Region

House Console #1 House Console #2 Monitor Console #1 Monitor Console #2
Crossovers

Main Speakers
Other Speakers Subwoofers
Monitor Speakers Monitor Speakers

Main Amplifiers Other Amplifiers
Sub ArnpiMers Monitor Amplifiers

Eric Clapton
Showco Jan-Feb Europe,
Spring USA

Harrison HM-5 32x16x2 ---
Harrison SM-5 32x16
---
Showco

48 Prism (12 columns) ---
12 Prism Subwoofer
Showco 100, 200, 300,
& 400

Crown PSA 2, MT1200 ---
Crown MA2400
Crown MT1200

Joe Cocker Ultra Sound/Audio Support
Dec '87 USA

Gamble HC 40x16x2 .8 ---
Gamble SC 40x16 ---

24 Meyer MSL3 ---
8Meyer 650R2 Meyer UM1, UPA,
MSL3, 650R2

Crest 4000, 4001 ---
Crest 4000. 4001
Crest 3500

Alice Cooper
Electrotec Oct-March N. America

Soundcraft Series 440x16x2 ---
Lab Q Soundcraft 32x18 Lab Q Soundcraft 32x18
BSS

48 Lab Q
--8Lab Q
Electrotec floor wedge

JBL 6233, UREI 6400 ---
JBL 6233. UREI 6400 JBL 6233

INXS Delicate Productions
Oct-Nov '87 N. America

Yamaha PM3000 40x8x2 ---
Soundcraft Series 440x16
--SG Engineering

24 stack Martin (modular component
system) 6Delicate Sub (2 JBL 2245$) Martin LE200A

AB Systems 1200 & Carver 1.5
Ramsa WN220
AB Systems 1210

Jethro Tull Eighth Day Sound
Oct'87 Europe Nov-Dec '87 N. America

Soundcraft Series 440x16x2
--Soundcraft 800 24x10
--BSS MCS Series

48 Turbosound TMS-3 ---
12 Turbosound TSW-124
Band's custom

AB Systems 1200 &
Hafler P500 AB Systems 1200
Crown DC300

Barry Manilow Electrotec Nov-May
N. America

Soundcraft Series 440x16x2
Lab 0 Soundcraft 32x8x2
Soundcraft Series 440x24
Lab Q Soundcraft 32x18 BSS

48 Lab Q -----
Electrotec floor wedge

JBL 6233, UREI 6400 ---
---
JBL 6233

Squeeze See Factor Nov-Dec '87 USA Feb-June N. America

Midas Pro40 24x12x2 Midas Pro5 18x4x2 Midas Pro40 32x12 --Meyer

16 Meyer MSL3 ---
8Meyer 650R2 Martin LE200
& McCauley 612

Crest 4001 ---
Crest 4001 Crest 4001. 3500

Yes Maryland Sound Ind. Nov-Dec '87 N. America

Yamaha PM3000 Harrison Alive 32x2
Yamaha PM2000 32x14 Yamaha PM2000 32x8x2
& 2Yamaha 916 Yamaha F1030

72 MS2
--20 MS2B MS 2x15, 2x12 Meyer UM1, UPA

Crest 4001 ---
Crest 8001 Crest 3501,4001
SAE P50

Engineers: (B) -band (H) house (M) monitor
Mike Ponczek (H) Paul Sontheimer (M)
David Conyers
N/A (B, H) N/A (B, M) Mike Brady Bernie Granet
David McCullough (H) George Barnes (M) Mark Tooch
Colin Ellis (B, H) Ian Digance (B. M)
Steve Venezia Mike Brown
Chris Amson (B, H) Paul Tebbutt (B, M)
Rod Price Mike Pasquale
Greg Delancey cH) Bill Chrysler (M) Jeff Forbes Darren Cray
Ronnie Box (B, H) Ian Wilson (B, M)
Robert Nelson Jason Polanski
Paul Devilliers (B, H) Craig Melvin (M) Paul Wheeler Bruce Emerick Mark Bradley Greg Salmon

118 MIX, FEBRUARY 1988

the monitors were mixed by Thursby Pierce on aSoundcraft 400 24 x 10
Iasked Albert Leccese ofAudio Analysts to give us two predictions for 1988. His reply: "First, it's going to be just as busy as last year. Everything so far indicates that we will be very active in the tour market. And second, sometime this summer we
will introduce our new PA system." Ialso
asked him about the new sound reinforcement mixing consoles being designed by C.ADD (Audio Analysts works very closely with CADD), and he explained, "They will be coming out this spring. There are three prototypes that should be finished by March. The monitor board will be 40 x16 with four rem ix buses, and the house board will be 40 x16 x6with an 8x8matrix and 12 aux sends, eight mono and four stereo." As of this writing Audio Analysts had sound system rigs touring with Hear, John Cougar Mellencamp and Rush.
Electrotec Update: Alice Cooper (see chart) stalks North America till March... Big country-rock act Alabama just got off amonth-long break and continues their usual steady touring pace ...The Cars finished cruising the US. in December... Def Leppard is on the road and still playing in the round in the U.S. until March. After that they head to Europe for two months where Electrotec's European branch, located in London and run by Lars Brogaard, will provide sound reinforcement. The band will return to the U.S. and Canada for more touring. Barry Manilow (see chart) took his act out in November for afull-scale world tour. The first leg will cover North America and should end in May...The hot Randy Travis is finishing sporadic dates before beginning aserious year-long tour stint ...Electrotec's spokes man Mike Renault said, "We've had a very successful 1987 and with the tours that are stretching into '88, we're looking for ward to astrong spring and summer for 1988."
Hood Industries went out again for a short tour with top drawing comedian Sam Kinison .. Other work included providing asound installation from Thanksgiving
to New Year's for apublic square in down-
town Cleveland; several national one-nighters; and sound systems for numerous conventions. Hood Industries is adealer for pro sound products and sells avariety of commercial and industrial products in the Cleveland area.
Showco Shorts: ...Eric Clapton will be using aShowco 12-column Prism PA for his European tour...Those veteran rockers The Kinks, with atour that comes to the USA from Europe will be using aShow-

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Circle #118 on Reader Service Card

FEBRUARY 1988, MIX 119

SOUND ·ON ·STAGE
co AX sound system ...The Clapton sound rig in Europe will switch over to do the Saga tour. Saga is very popular in Europe but still struggling to break in the States. .. The Australian band Pseudo Echo finished their five-week tour of America... Habla Espanol? Iguess Linda Ronstadt must--she's doing what Showco's Wil Sharpe calls, "our first all-Spanish speaking tour." He also added, "The Ronstadt

tour will primarily be concentrated in the Southwest. Ihear she's bringing amariachi

band with her when the tour begins in January."

Who's Making the Big Bucks Report $$$ ...At press time some of the acts that

seemed to be pulling in the really big

money and attendance were Pink Floyd,

Aerosmith, U2, Fleetwood Mac, John

Cougar Mellencamp and Def Leppard

...Pink Floyd, for example, grossed over

$3.6 million in under three weeks.

al

AuthorMarkHerman ownsHi-TechAudio, asound reinforcement companyspecializing in console rentals.
Got any news? Call (415) 726-2428 or EMail Herman-US IMC 2560 or send press releases, photos, etc. to: Sound Reinforcement News, Mix magazine, 6400 Hollis Street, #12, Emeryville, CA 94608.

-FROM PAGE 51, ITALY
The studio is comprised of three major recording spaces, each with a distinctive quality. The first studio is situated in an essentially unmodified-- although carefully restored--room of the castle. This room is built exclusively of wood, with ornate moldings and frescoes on the walls. Its dimensions are 49 ft. x16 ft., with 18-foot vaulted ceilings. The stone floor and wooden walls give this room aunique reverberant characteristic, which is one reason this studio is specifically requested by many artists. It provides an excellent environment for recording violin, strings and drums.
The largest of the three spaces is the result ofamixture oforiginal construction and modem recording practices. This room occupies 1,300 square feet, and its acoustics have been carefully tuned by the application of sound absorbent material.
The final studio takes up 350 square feet, and its walls are entirely lined with mirrors; an extremely live reverberant environment.
Clearly, The Castle is best suited for live recording. In addition to the selection of rooms and their characteristic sounds, the artist has almost total flexibility in selecting and arranging the instruments, effects and other equipment. The studio is equipped with two Studer A-800 24-track recorders, and there are plans to replace the current Cadac mixing console with anew Neve Series V3 board. Some of the other equipment available includes aYamaha MIDI piano, an Alcai S900 sampler, several other synthesizers and drum
machines, and aMacintosh computer with an array of music software.
Because of its unusual nature, the Carimate Castle Recording Studio is famous throughout Europe--so famous that it is referred to only as "The

The MIDI room at Psycho Studios

The recording business in Italy is actively involved
in incorporating the latest digital
and analog technology, yet there is also asense of
the traditional everywhere.

Castle," and no address is required. But The Castle offers more than just a recording facility; it also offers living quarters which are maintained in the period style of the castle (although
updated with modem conveniences), as well as kitchens, arestaurant and a billiard room.
Artists from almost every nation have chosen The Castle for their recording projects. Yes recorded much of their recent album, Big Generator, there. Paul Young, Nena from Germany, and many notable Italian artists have also come to regard The Castle very highly.
Fiorella Terenzi is currentb, developing ber doctoral thesis in physics with an emphasis on computer music and sound synthesis at University of California, San Diego. She is also awriter for a major publisher in Italy, where she writes on developments in the scientific and musicalfields.

120 MIX, FEBRUARY 1988

We taught loudspeakers how to fly Now we're making them soar.

In 1978, we created the first "one box" horn loaded flying loudspeaker system. And have been improving it ever since.
Now we've engineered arevolutionary new system to take the quality of your sound reinforcement to new heights.
Introducing EAW's Virtual ArrayTM system. It's not just better speakers, but atotal integration of speakers, cabinets and electronics.
For the first time, you can build idealized arrays with coverage from 60° to 360° horizontally simply by stacking speaker cabinets next to each other.
There are no hot or dead spots, no lobbing

and virtually no interference in the horizontal plane. Which means great sound at every seat in the house.
Our Virtual Array system includes the KF850 horn loaded system covering the 80 to 20k Hz band, the SB850 vented subwoofer system covering the 25 to 100 Hz band and the MX800 CCEF" processor.
What's more, the whole system is compact for easy transport and rigging.
The Virtual Array system. Another reason why so many of the world's top sound hire companies have been flying with us for years.

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The MX800 CCEP Electronic Crossover Network provo es time/phase compensated asymmetrical sloped filters and power response equalizers. And protection against catastrophic distortion and failure.
Circle #039 on Reader Service Card

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Anew level of performance is just atouch away

The new Ensoniq EPS Performance Sampler and SQ-80 Cross Wave Synthesizer with Poly-Key' pressure sensitivity
Discover anew level of performance in the new Ensoniq EPS Performance Sampler and SQ-80 Cross Wave Synthesizer. With Poly-Key pressure sensitivity you'll find more expression than in any other sampler or synth.
Playing an instrument with Poly-Key pressure is amusical treat. Each individual note responds vividly to your touch. You can control the modulation of pitch, vibrato, brightness or loudness--even the mix between two different sounds--all by varying the pressure of individual keys. So, instead of just playing achord, you can command an entire string section. Or give horns real individuality. Or play dozens of other expressive effects you never could before.
The Ensoniq EPS -- The only sampler that can play and load at the same time
It's hard to be expressive when your keyboard is silent, so the EPS lets you load sounds from the disk while you are playing. No other sampler--regardless of price--has this important performance feature.
Another new means of expression--Instant Patch Select--lets you choose alternate wavesamples or programs instantly in real time. With two patch select buttons located near the pitch wheel, you can instantly add expressive variations to a sound as the spirit of the moment moves you.
In addition, the EPS has 20 dynamically assigned voices, 20Hz to 20KHz audio bandwidth, 16 bit data format. 13 bit sample converter, 24 bit internal processing, floating point output

with 96dB dynamic range and abuilt-in 8-track MIDI sequencer. And since the EPS can convert and play Mirage sounds, there's aready library of over 2500 sounds available right now.
The Ensoniq SQ-80 -- Studio technology with the performance touch
In addition to expressiveness, your instrument needs sounds that can cut through astage full of amplified instruments. The Ensoniq SQ-80 Cross Wave Synthesizer cuts like a sharp knife.
Cross wave technology involves grafting the transient attack characteristics of one sound onto the beginning of another. The SQ-80 has atotal of 75 sampled and synthesized waves on board, including multi-sampled bow, pick, breath and hammer attack transients, as well as inharmonic loops and sampled and synthesized sustain waves. So you can create thousands of sounds that not only cut, but sing and soar as well.
There's also an 8-track MIDI sequencer and built-in 880K disk drive for program, sequence and MIDI system exclusive storage. Each disk can store up to 1728 different programs and 10 full sequencer or MIDI system exclusive blocks. With one disk, you can be set up and ready to play before the guitar player tunes up.
Discover anew level of performance. Step up to an Ensoniq EPS Performance Sampler or SQ-80 Cross Wave Synthesizer at your authorized Ensoniq dealer, today. For the name of your nearest US dealer call toll free: 1-800-553-5151.
ENSONIQ Corp, Dept. X, 155 Great Valley Parkway, Malvern PA 19355 0Canada: 6969 Trans Canada Hwy., Suite 123, St. Laurent, QUE. H4T 1V8 OENSONIQ Europe BV, Domplein 1,3512 JC Utrecht, Holland 0Australia: Electric Factory, 188 Plenty Rd., Preston, Vic. 3072 0ENSONIQ Japan, Ochanomizu KS Bldg., 2nd Floor #201, 3-3-1 Hongou Bunkyo Ku, Tokyo
©1987 ENSONIQ Corp Ensoniq. Mirage. ESQ-1. EPS. SQ-80 and Poly-Key are trademarks of Ensoniq Corp.

THE TECHNOLOGY THAT PERFORMS
Circle #017 on Reader Service Card

MUSIC ·NOTES

STEVE ROACH: SPACE AGE TECH IN THE NEW AGE
by John Diliberto
"I like adrenaline," declares synthesist Steve Roach with agleam in his eye. "I like that feeling of rushes from high-speed traveling. It's not necessarily the bike, the car or the jet. It's just that motion, that feeling of weightlessness that Ifeel in alot of music and that Istrive for in my music." That sense of overdrive motion isn't surprising for someone who became amusician only after spending his teen years as amotocross bike racer, riding the circuit in Southern California, where he grew up and lives. The rush of acceleration and crunch of dirt bike trails can be heard in Roach's Paveler and Empetus recordings.

But Roach's impact has
been felt most strongly with his inner space works like Structures From Silence and the threevolume Quiet Musk.
These are recordings of decidedly contemplative
music--lush, sweeping environments of synthesizer textures and fragile,
lightly sketched melodies. Steve Roach is less a
child of the new age than
the space age, growing up in the post-Apollo moon landing years, traveling the musical spaceways with German electronic artists like Tangerine Dream, Klaus Schulze and Michael
Hoenig. "I was moving into med-
itation and lots of different areas of learning about
myself, and that's when I ran into electronic music
and Klaus Schulze," Roach recalls fondly. "I was working with some friends and we'd get together one day aweek and we were listening to music that would maintain an openness for
us. Electronic music would
do it for us." Roach taught himself
how to play synthesizer,

and began performing in groups with cosmic names like LEM, Paradigm Shift and Moebius, who recorded an album in 1978.
Today, Roach is asynthesist with acapital "S," creating his own music solo, in the isolation of his home studio. His compositions are marked by minimalist sequencer patterns driven with gyroscopic perfection. On tracks like "TBC" and "Conquest," his DMX drum machine is locked to the Oberheim DSX and ARP Sequencers in aspiraling maze of patterns.
"The sequencers that I worked with for quite a while were the ARP 6stage
-CONTINUED ON PAGE 128

JOEL SILL: POP SOUNDTRACK MAGICIAN
by lain Blair
These are boom times for soundtracks. Formerly the ugly duckling offspring of ahastily arranged marriage of convenience between film and music, this hybrid art form has in the last few years blossomed into a beautiful sight--big business at cash registers everywhere.
Aquick glance at the top of the charts this summer told the story. The hottest single and album in the

THE FAR SIDE

By GARY LARSON

"Well, this may not be wise on a first date, but Ijust gotta try your garlic wharf rats."

124 MIX, FEBRUARY 1988

·NOTES

country was La Bamba. And right behind it were Madonna's Who That Girl and the Lost Bcrys album, two soundtracks that outperformed the films themselves. And this past fall, soundtracks for Dirty Dancing and Less Than Zero made waves.
Add in multi-platinum
successes like Beverly Hills Cop 2which placed three singles in the Top Ten at the same time, and the soundtrack from Disorderlies, which spawned hits from the Fat Boys, Bananarama and Bon Jovi, and you begin to get the picture.
"Soundtracks have simply exploded in the
'80s, and particularly in the last year or so," comments Joel Sill, aveteran soundtrack coordinator who is generally regarded as
being one of the best in the business. "In the '70s,
you'd get the odd big smash like Saturday Night Fever, but it was really in
the '80s that soundtracks suddenly came into their

own, with hits like Flashdance, Footloose, The Big Chill, Against All Odds, Ghostbusters, An Officer and aGentleman, Purple Rain, Top Gun--the list just goes on and on.
"The surprising thing is
just how well some of the smaller projects have
done," Sill continues. "Everyone expects the big commercial blockbusters
like Beverly Hills Cop and
Top Gun to go through the roof. But when something like La Bamba goes to Number One as amovie, single and soundtrack album, you know you've
pulled off something special in this business."
And Sill should know, for as Taylor Hackford's partner in their New
Visions Music Group, he's the man responsible for putting together the La Bamba soundtrack, one of
1987's most unlikely success stories.
Energetic and afasttalker, Sill is well known, and well connected in the music business. His father

is president ofJobete Music and his brother is chairman of Warner Bros. Music.
But this guy doesn't need any help from family or friends to do what he does probably better than anyone else in the industry
-CONTINUED ON PAGE 130
VICTORIA WILLIAMS: DIFFERENT ON PURPOSE
byJosef Woodard
Victoria Williams, a.k.a. Mrs. Peter Case, a.k.a. the latest songstress to bust molds with astriking and fresh sound, is adisplaced

Southerner in SoCal. She looks bemused and atad bewildered in an interview at apopular Hollywood eatery, surrounded by dapper power lunchers. With her new debut album out on Geffen Records, Williams is learning quickly about the differences between being astreet musician and acontract player in the majors.
Though she's been navigating the Los Angeles music scene for seven years, you can't take the Shreveport, Louisiana out of her. "There are alot of things Ilove about [LA.], spots that Ilike to go," she says with her customary gentility. "But Istill feel very connected to
-CONTINUED ON NEXT PAGE

FEBRUARY 1988, MIX 125

MUSIC ·NOTES
--FROM PAGE 125, WILLIAMS
Louisiana and the South in general." And that could help explain why
Happy Come Home is such acharming wild card record compared to the prevailing winds of current pop releases. Williams' imaginative song structures and organically adventurous arrangements hearken back to the early work of Rickie LeeJones or the grainy music of Randy Newman and Van Dyke Parks (whose arrangements on Williams' album are worth the price of the record). "It's hard for me to step back. Now that it's out, Isee how different it is, but it wasn't planned that way. It's hard for me to tell. It's only when Istarted reading reviews about my different voice that Ieven thought about it."
Williams possesses ahigh, fluttering soprano; her voice has agirlish purity and innocence that is often bolstered by avivid imagination fueling her lyrics. More than just aset ofsongs, though, the LP also sports some of the most sweetly eccentric--and non-synthetic--production values heard recently on apop record.
Williams had originally intended to

put T-Bone Burnett at the production helm, but the lanky, busy producer got
locked up working on the last Los Lobos album. East Coast drummer/producer/concept man Anton Fier had just finished his Golden Palaminos record and ran into Williams while she was alady- in-waiting. Along with co-
producer Steven Soles, Fier wound up doing the project in New York with a
smattering of different musicians. The Fier factor might seem, initially,
an odd artist-producer pairing. Fier's work with The Feelies, Pere Ubu and The Palaminos tended toward much harsher edges, whereas Will iams' songs are dealt with delicately, emphasizing mostly acoustic textures and quirky mixtures of instruments. But Fier's studio gaminess and Wiliams' feisty bird-
song manage to meet halfway, as exemplified by the sampled tympani parts that show up as amore manly
sort of kick drum. No two cuts are alike on the album,
in style or sonic treatment. 'There were quite diverse methods of producing
this record," she says. "There were the piano-type pieces that were sent to Van Dyke for arranging. He put strings
on them, which gives it that Van Dyke

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flavor of ornate Americana. Accidental-

ly, Geffen sent him asong, 'Shoes,'

which Ihad awhole 'nother idea about

how to work up. But now Ilike what

he did." As it turns out, Parks' slinky

string arrangement on the opening

"Shoes" sets the tone for the rest of the

album nicely.

Williams' debut creates amagical,

personal world of small, poignant tales

and metaphorical images. Many of her

songs spring from some visual image,

extended into a poetic statement.

"When you think of 'Main Roads,' every-

body's on their red bike, and it's about

the things you learn as achild and take

with you. I'd say that

is definitely

cinematic, going into alittle story. I

wanted to go into another world."

Williams' own world recently came

under scrutinywhen veteran documen-

tarian DA Pennebaker (Monterey Pop)

filmed aquasi-documentary on Wil-

liams and her environment. "It's really

not a video, but a film he made,"

Williams says. "He just kind of followed

me around with acamera. We went to

Shreveport. It was painful for me, be-

cause Iwent back and played with all

ofthese musicians Iused to play with.

They've gone through all of these

changes. In your mind, you remember

things as different. You've got these

big Mack trucks going by, and all these

kids playing out in the field--every-

body Iknow has millions of kids now."

The small town of Shreveport didn't

prevent Williams from developing her

own creative side as achild. "When I

saw musical movies, Iwould remem-

ber all the songs. My father listened to

the country stations every morning.

When the alarm would go off, I'd still

be asleep and the music would start

up. On Saturdays, my mother would

listen to opera. All the windows in the

house would be open, we had to work

out in the yard and this opera would

come wailing out ofthe house. Ididn't

like it, but Iused to imitate it "She lets

out her easy, infectious laugh.

In Williams' case, the talespinning

instinct is as important as chord voic-

ings. "I started writing thoughts and

theories and I'd stick them away in this

little cigar box when Iwas about 7or

8," she recalls. "I probably did it until I

was 13 and then Ithought it was a

really corny thing to do. Ilook back

now and Ithink, gosh, why did Istop

that? Istarted writing songs when I

was about 18. Ifirst wrote music be-

cause Iknew this guywho went to jail.

126 MIX, FEBRUARY 1988

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MUSIC ·NOTES

are running the business might as well be in the clothes business. They took

He'd send me poems and I'd put them me in the office and said, 'Look, we've

to music."

just been selling red dresses and every

Playing in country bands around now and then ablue dress. You come

town and working on her own music, in here with your yellow pantsuit. We

it became apparent to Williams that just don't know what to do with you."

she'd have to leave--not only for

Whether or not the general public

career reasons, but for sanity's sake. "I takes notice, the woman in the yellow

came out West to California because I pantsuit with the elegant chirp has

thought that was the land of freedom, given us one of the year's brightest

and Ihad to leave this backwoods pop music anomalies. Armed with a

town," she says. "I was out here for six satchel of endearing songs and some

or seven months and stayed at this new ideas, she has snuck in the side

little place right on the ocean called door of the music industry. "To me,"

the Seaside Hotel--$125 amonth in she shrugs, "I just entered the only

Malibu, set up on pilings."

door that was there for me to enter. I

She played music where and when don't know if that was the side door.

she could, working day jobs and play- Maybe it was. Now I've got to build a

ing through aPignose on the street in room for myself, find someplace to

Venice, California or at hoot nights at camp inside the room."

The Troubador in Santa Monica.

Through her Troubador job, she met

Van Dyke Parks, who produced demos --FROM PAGE 124, STEVE ROACH

for her, and she cut an album that sequencers," he says. "They're analog.

aborted after the company folded. You set them up one step at atime.

Geffen Records was there to pick up Each note has atwo-octave range; you

the ball.

set up anote within that range and it

Williams is clearly tapping into the runs through that pattern and repeats.

rich Southern storytelling tradition with If you have two or three sequencers,

her record. What is it about the South you have different combinations of

that produces such tall stories? "It notes. So you could have different

might just be the pace of life you grow sequences within achord and have

up in," she says. "There's so much to one running in one time signature and

see and you're not being rushed along. one running in another and have one

There's so much time to really see triggering another one at off beats

things. Maybe there are that many in- from the first and again that triggering

teresting people here in LA., but athird. So that type of combination of

there's so much that you can't focus. phasing and syncopated gating, much

The first time Igot reviewed in the like clockwork, was exciting to me."

newspaper, they said Ireminded them

Now he's transferring his sequenc-

of Flannery O'Connor and Eudora ing over to the Ensoniq ESQ-1 and his

Welty. Isaid, "Who are these people?" recently acquired Macintosh comput-

and went out to the bookstore and er, using the Intelligent Music M and

started reading them. Ilove both of Jam Factory software.

them now."

When Ifirst met Steve Roach in 1983,

Her literary penchant isn't always he was living in ahobbit-like cottage

greeted with open arms by market- in Los Angeles, his modest synthesizer

wary executives. One of the songs arsenal bunched in an 8x8-foot room

which didn't make the album is about with an ancient Tascam mixing con-

ahapless lumber man named Johnny sole. He's since moved into a large

K. Hardman. She capsulized his woes six-room house with his wife, artist

by juxtaposing sitar with cajun fiddle, and photographer Georgianne Cowan,

"so you'd see where he was, but the and his arsenal has increased immeas-

sitar was his inward journey. To me, it urably with Ensoniq ESQ -1, two Ober-

all seemed fine. To them, they said heim Xpanders, an OB-8, Emulator

'This is just too wild.' They look at it in Emax, Casio CZ-101, Yamaha REV7, all

terms of what they can mass market. run through anew Soundcraft 200 B

"I listen to Tom Waits' stuff. He can 24 x4mixing console.

put that out and people will accept it.

Of course, it's all MIDI'd together,

It's great that Waits is opening the door which is essential for the multi-layered

for other things.

sound Roach achieves. "MIDI was such

"It's amazing how the people who anatural progression," enthuses Roach.

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MUSIC. NOTES
"I've always felt the music in terms of layers and I've found ways to clock several things together to have layered sequencing. Alot of it had been monophonic. Now with MIDI I've been able to continue that form, working within the structure of harmonies and chordal composition. It's changing my whole approach to music in terms of my writing. I'm writing sequencer layers and chordal structures that intertwine and intermix."
Roach's biggest selling recordings, Structures From Silence, Quiet Music and Western Spaces (a collaboration/

compilation with Kevin Braheny and Richard Burmer), fall under the new age rubric--a label about which Roach is ambivalent. 'The 'new age' umbrella
for this music is encompassing all aspects of new instrumental and vocal music. Ifeel that the background to the music has a quality to it that's evoking strong feelings, acertain quality that's maintained throughout all these different recordings, whether it's electronic, acoustic or ethnic types of
music." If that seems a little vague, it is.
However, when Roach starts talking
about his own work, like Quiet Music, aset of three cassettes released on

Fortuna, he becomes more eloquent
and thoughtful. 'Throughout the day I find myself playing two or three dif-
ferent types of music," he says, "and then about 2or 3in the morning I have this whole wind-up where I'm playing with my moods and that's a type of music that Imove into at night. It really clears aplace for me to feel or think, or aplace not to think and to dream into. In the same way as highspeed music or slow drone music; it's ultimately doing the same thing."
Some artists make jingles and do sessions to support their habit; Roach does it by making meditation tapes. "Companies and individuals who've heard my lighter, meditative music have called me in to score half-hour sets of music for motivational, selfhelp tapes," he says. 'There's one company called Consciousness Tapes, with 30-odd titles. Weight Loss is the number one seller here in America."
The appeal of Roach's music is difficult to define. It combines the unerring perfection of sequencers and rhythm computers working like an Escher painting in motion with agrace and physical power that belie its electronic nature. "It definitely has something to do with time--the distortion of time, the changing of time, and the playing with time," says Roach inside his womblike studio, trying to explain the forces behind his music. "Ever since Iwas very young Ialways liked to move in
and out of time. Iremember when I was young Iliked to spin in circles like children do, and feel that feeling, just
stop and feel that disorientation. I really enjoyed that feeling."

--FROM PAGE 125, JOEL SILL

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Not bad for someone who swears he started doing soundtracks "by accident" while working as amusic publisher at ABC/Dunhill Records in the '60s. "Bert Schneider, the guy who

130 MIX, FEBRUARY 1988

Circle #084 on Reader Service Card

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MUSIC ·NOTES
did The Monkees TV show, called me up out of the blue one day, saying he desperately needed some music for this real low-budget biker picture, and could we give him Steppenwolf who were on our label," recalls Sill.
"So Iwent over to check out the film --it was Easy Rider--and it just blew me away. It was so timely, and the ultimate in '60s attitude.
"Of course, they had no money, so Iraced around buying up masters, rerecording where necessary, and within two days I'd put the whole soundtrack together," he adds. "The moment Isaw how 'Born To Be Wild' and the film played off of each other, Iknew we had something--I just
didn't know quite what. Man, Iwas as surprised as anyone when it became the huge success it did, and that's how Igot started in this crazy business."
Sill, who later moved to Paramount
and then to Warners, reports that, "Back then, it was apretty revolutionary way of scoring asoundtrack. Film studios didn't really understand contemporary music, and vice versa. Occasionally, they'd use some rock and roll if they wanted something 'freaky' and it was ateen movie. But most of the time, they still automatically thought along the lines of getting in abig or-
chestra to do atraditional score. "By the same token, record compa-
nies and rock and rollers had very little in common with the film people --
they were from two very separate worlds. They'd meet from time to time to do aproject, and then go back to their own thing."
Despite increasing, and increasingly successful, cross-fertilization between the industries during the '70s and early '80s, such attitudes were fairly prevalent until recently, Sill reports.
"I had ahell of abattle over An Officer and aGentleman, the project where Ifirst hooked up with Taylor Hackford," he says. "We immediately
hit it off 'cause here was aguy in movies who really understood the link
between visuals and music, and who wanted the soundtrack to play aprominent part, not just the usual number at
the end of the credits. "But the studio, Paramount, had a
very different conception of what they wanted to hear in the film. The fight
was basically over the title song, 'Up Where We Belong,' which had been

written byJack Nitzsche, his wife Buff' St. Marie, and lyricist Will Jennings, who writes with Stevie Winwood. I'd put together Joe Cocker and Jennifer Wames, 'cause their rough and sweet voices together evoked and reflected the Richard Gere-Debra Winger leads in the movie. Taylor and Iboth felt it was agreat song with great performances, but not only didn't Paramount like the song, they wanted bigger names to sing it. Can you believe it? They actually hired someone else to go in and re-record it, but the star got cold feet at the last moment, and our version stayed in the picture. Needless
to say, after it won Best Song at the Oscars, all the executives promptly forgot they'd hated it."
Sill followed that triumph with Flashdance, before moving to Warner Bros., where he coordinated, among others,
such hit soundtracks as Vision Quest and Purple Rain ("My easiest gig yet
--Prince had all this great music, all I had to do was sequence it").
Despite such successes, by the mid'80s Sill had become "burned-out on the studio system. Release schedules are so tight that they run like factories --theatres are booked, advertising's keyed in--and you have this window in which you have to get it all together, or it's over. So when you're doing 18 to 25 pictures every year, and they
all have tight schedules, you inevitably begin to suffer an enthusiasm decay. And Icould see that happening to me."
So when Sill got acall from Taylor Hackford wondering if he'd be interested in heading up the music division of his new production company, he jumped at the opportunity. And on the strength of their first project, La Bamba, the signs are that their part-
nership will become increasingly effective in Hollywood.
"I don't think anyone expected La
Bamba to be as big as it is," he comments, "although we all felt we had something special. Ithink all of us--
Taylor, Luis Valdez, who directed, and his brother Danny, who originally
conceived the project--also felt abig responsibility to get it right. We were dealing with atrue story, with characters, some of whom are still living. And there were other important considerations, such as the underlying theme of the Hispanic community and its need to assimilate and become Americanized, yet retain its cultural

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MUSIC ·NOTES
identity." A key issue early on in the project
was whether to use Valens' original masters for the soundtrack "In the end, we decided against it for purely technical reasons," reports Sill. "The quality just wasn't there, so we decided to go in and re-record everything ourselves.
"The next big problem was choosing the right musicians, and Los Lobos was Taylor's idea," adds Sill. "We all felt they were perfect for this project, and Ithink they also felt asense of responsibility to their latino heritage and community. Musically, they provide adirect link to Valens and his era. Idon't think it would have worked
with abunch of white rock and rollers from New York."
Faced with the same problem in casting Buddy Holly, Eddie Cochran and Jackie Wilson, Sill again opted for musical authenticity over appearances. "I believe it's always more effective to use someone who sounds right, rather than some actor who looks the part and just mimes. And we got lucky, because obviously Brian Setzer openly

models himself alot on Cochran, and Marshall Crenshaw is kind of like a latter-day Buddy Holly.
In addition to careful planning and casting, Sill credits all the principals' close collaboration both during and after production for the success of the soundtrack. "Usually, the music is an afterthought, added on while they're
editing. But with Taylor, you're in there designing the soundtrack from the beginning," he says. "We'd go through every scene, and how we wanted it to play, and then start weaving in the
music. All that was happening at the
script stage," explains Sill. "Later, during the actual production, we had the
film and music offices next to each other, so that we could all run back and forth and build the soundtrack from the inside out. That's why it feels so organic, Ithink. Everything that made the final cut really belongs to
the story." Following La Bamba, Sill went to
work building up the soundtrack for Bright Lights, Big City, the film version of Jay McInerney's novel about a coked-out New York magazine editor. This time, Sill enlisted the services of ex-Steely Dan heavyweight Donald

Fagen. "It's going to be amazing," he

predicts confidently.

With soundtracks conquering the

charts in greater numbers than ever,

does Sill see adanger in over-saturating

the marketplace? "I don't think so. After

all, they were predicting this massive

backlash ayear ago, but the market's

just kept expanding since then," he

points out. "And the reason so many

soundtracks are so hot is that film compa-

nies and record companies have finally

learned how to work together, and

make the most out of music in afilm.

"The truth is, you can't save abad

film with agreat soundtrack But when

both mesh together successfully, and

belong to each other, it's going to

work. If you can put the right piece of

music with the right visual, you've got

an enormously powerful and emotion-

ally satisfying experience, and that's

what it's all about"

al

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--FROM PAGE III, AUTOMATION
can have any number of MIDI control devices locked in sync and running off aSMPTE/MIDI converter, following the video, so we get first-generation digital audio in the video production."
The system is comprised of available hardware-40- input Trident board, Akai S900 samplers, Yamaha FM synthesis voice modules, Series II Fairlight CMI, Sony 3/4-inch video deck and Fl PCM digital processor, and Southworth's Jambox 4MIDI/SMFTE interface. Software is Personal Performer, running on aMacintosh computer. Henry also designed special interfaces and customized software for this system, which constantly evolves as he makes it more multi-tasking.
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Audio Design Group. "Editing requires a human with emotion and feeling,
and once you accomplish one event with the Audiofile or Synclavier or

Adams-Smith, the unit can do it repeatedly," says Lewis. "I just finished aradio spot with five edits in the music; Ididn't actually physically cut the music, but used the [Audio Kinetics] Q.Lock, the granddaddy of synchronizers. It's a workhorse we've been using every day for six or seven years."
Lewis also uses the Audiofile for editing and sound effects placement in video and film, and although he feels it's still evolving, "the random access memory lets you access sounds real quickly. You just type in what sound effects you want to happen at what time code number. Digital boxes don't wow, and the time it takes to wind analog audio tape from the end of one spot to the beginning of the next just evaporates. It goes so fast you have to be thoroughly prepared before you go into the studio.
These boxes are all very delightful, but if you don't know what you can do in sympathy with the picture to make the picture better, all these boxes don't help at all."
Mix assistant editor Linda Jacobson wishes someone would develop an automated proofreading system.

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by Alan Parsons

PLAYBACK

PARSONS AND POE
TALES OF RE-MIXERY AND IMAGINATION IN THE DIGITAL AGE

¡an Parsons recently brought state-of-the-art analog and digital techniques together for atotal re-think on the first Alan Parsons Project album--Tales of Mystery and Imagination, first released in 1976. Based on the works ofEdgarAllen Poe, the album is considered by many to be a classic. It has now been released for the first time on CD. Here, Alan reminisces about the original recording and explains how new technology contributed to the new version.
When it was first suggested that the Tales of Mystery album should be released on CD, one thought was to get Abbey Road to make the best possible PCM-encodedi tape

Artwork from the first Alan Parsons Project album in 1976
(left) A recent picture of Alan Parsons at his country studio in the south of England

138 MIX, FEBRUARY 1988

made from the original non-Dolby 1 /4 inch 2-track master. After all, this policy for our later albums from IRobot right up to The Turn ofaFriendly Cardhad
contributed towards our status as bestselling CD artists on our record label.
Then they said, "What about another mix?"
Irecovered from the inevitable trauma that all producers suffer when confronted with these words, but then they said, "Or you could re-record it."
When Ihad picked myself up off the floor, semi-comatose, Istarted pontificating about the seemingly impossible task of trying to reassemble a cast of thousands that had included Ambrosia, Pilot, and Arthur Brown whose "Crazy World" had long since disbanded. The eventual outcome was apartial re-recording of the album with the original key performances left intact, a few carefully executed overdubs on digital multi-track, the addition of apreviously unreleased narration by the late Orson Welles, and anew computer-assisted digital remix and compilation.
The first question everyone asked was, naturally enough, "Is he going to destroy the original magic?" Iwas only too aware of the criticisms that had accompanied the re-release of Mike Oldfield's remixed version of Tubular Bells. On the other extreme was the disappointment by many at the mediocre technical quality of the early Beatles CD re-issues, which had been left virtually untouched, to emerge only as good as the 1 /4 -inch mono masters from which they came. In an effort to satisfy not only "Project Purists," but also those who wanted to show off their mega-turbo-zillion-times-oversampling CD systems, Ithought, "Let's give them something alittle bit different, and more importantly, something with an element of su/prise"
Awesome Welles The surprise element is almost immediate on listening to the new version. A spoken introduction featuring the unmistakable voice of Orson Welles opens the new album. The "Voice of Poe" was recorded only amatter of days before the album was originally

released. Those in the audience at an
early laser extravaganza to launch the
album at the Griffith Park Planetarium
in Los Angeles had been the only privileged few to hear this narration.
We never met Orson Welles. Soon after ascript had been submitted to
him, a'/4-inch Nagra tape arrived at the

bum was first transferred from the 24-
track analog originals to Sony 3324 format at my own studio outside Lon-
don. Soundcraft kindly loaned us a brand new Saturn machine for this purpose. (My studio possesses no analog machines except aRevox B77 and a cassette deck) The pure orchestral music, originally recorded on 8-track, was transferred to Sony format at Ab-
bey Road.

An orchestral session for the album, 1976

record company's Hollywood offices. The opportunity to include this narration on the 1987 version was truly thrilling. Iknew it should have always been there. Unfortunately the 1976 record was already in production and it was too late to incorporate it.
The voice was transferred to aSony 3324 digital multi-track Ashort line of wild corangktis(or English horn as it is known in the U.S.), playing amotif recorded during the orchestral sessions, was then added as apreface to the opening instrumental cut of the album, "A Dream Within aDream."
All the remaining music on the al-
Artwork from the first Alan Parsons Project album in 1976

The idea behind making these transfers was two-fold. Firstly, repeated playing of the digital tapes would not cause any noticeable audio degradation. It is an established fact that every time an analog tape goes over the heads, there
is asmall loss of quality. Secondly, we had the option to overdub new, firstgeneration material, on aslave tape if necessary Rarely did the digital over-
dubs replace the original recorded tracks. On most occasions they embellished the existing picture.
Iwas rather anti-synthesizer back in '76. The only synth on the original version was filtered white noise for a wind effect in "The Fall of the House of Usher," and acouple of bass notes. The synth in question was an EMS

FEBRUARY 1988, MIX 139

PLAYBACK
Synthi "A" suitcase job, which Iunderstand is now quite collectable. Well, it was good enough for Dark Side of the Moon!
Few could have predicted the lightning-speed takeover of the industry by microchip-based musical machinery. It is hard to accept that the hours we spent getting sounds in the '60s and '70s can today be effortlessly reproduced at the touch of anote on a keyboard or abutton marked "play sample." Bitch bitch bitch... Engi neers have never had it so easy ...Nobody knows how to record drums any more... etc., etc., etc. But Idigress.

ADSR envelope ofaseries oftape loops
on akeyboard. One step ahead of the Mellotron, it used voltage control technology and astudio multi-track tape machine as its source. We called it the "Projectron." Many painstaking hours were spent recording voices going
"Ooh" and "Ahh," wind instruments being blown by vacuum cleaners, multi-layered percussion sounds and individual instruments being plucked, hammered or otherwise abused. Glitch-

Projectronics Ithink our music has been an aural
testimony in support of the philosophy
that synths cannot, and will never, replace an orchestra. But this is not to say that Idon't feel that synths have a
rightful place in today's music. In fact,
soon after hearing sounds from the Roland D-50, Iwas motivated to feature it in all kinds of ways for this
re-release. We were very careful, how-
ever, not to go for machine age over-

Composer/lyricist Eric Woolfson pic-
tured presumably during the course of a mixing session

John Leach plays the cimbalom, an unusual Finnish instrument, 1976

kill, which obviously would have been abig mistake. Ifeel all the new material is in the spirit of the original, which, after all, is the whole point.
Believe it or not, we had already touched on "sampling" in a rather crude analog form long before the likes of the Fairlight were even thought of.
Keith Johnson, abrilliant audio and electronics engineer from Los Angeles, developed ameans of controlling the

free tape loops with low angle splices had to be compiled from these recordings. Further loops had to be made for all the pitches where VSOing produced too much of aMickey Mouse effect. This is analogous to multi-sampling on apresent-day sampling keyboard.
One observation on rock music in the machine age has been the recent obsession with holding ametronomic tempo, and hair's breadth precision in musical timing between instruments. It seems almost laughable that we used to put an old wooden clockwork metronome ticking away in astudio isolation booth ifwe wanted atiming reference. Usually we didn't, however, and relied instead on our own judgment. "It feels good to speed up abit there," Iseem to remember saying. Oh well.
A Dream Within A Dream When Iwas going through the multitracks back in June last year, Imust

admit there were occasions when I flinched at the timing errors that Ihad allowed to go through on the original version. One case in point was the timing between the bass and the kick drum on "Dream Within aDream." The band had originally played to an analog tape loop of arepetitive onenote bass line. The nature of the loop made it very difficult to play to, since there were gaps of two full beats during the sequence. The timing of the
kick drum to the loop was particularly crucial and very exposed.
In order to improve matters, we sampled abass note fromJoe Puerta's original performance and retriggered it with itself (!) when it was playing solo, and later from the original drums. This meant the sound remained consistent for the transition to 'The Raven," which was areal-time performance and therefore an earlier tape generation. The trigger signal was derived from aSequential Studio 440 using its invaluable Trigger Holdoff facility to mask off spurious hi-hat beats. While triggering the bass, we discovered that we preferred the kick drum trigger signal being generated by the 440 to the one on tape. The original track was mixed out. In effect we had made the section more human and tighter, since all the sounds were in essence sourced from the original performances, and not from loops.
Although we did not trigger via MIDI, asmall timing delay was apparent through the triggering operation and the unusual attack characteristics of the bass sample. This kind of thing was very easy to correct with our pair of digital machines. We simply transferred the relevant tracks to aslave multi-track, and then bounced them back (in the digital domain) with an offset ofafew milliseconds. No analog generations, no turning tapes upside down for pre-delays, no brainwork --brilliant.
The Raven When Cashbox magazine saw fit to vote me the 13th best male vocalist in 1977, they might have been interested to know that Idon't sing. Arare exception was on "The Raven" when Iwas given considerable help by aprototype digital vocoder designed by EMI's Central Research Laboratories near London. Perhaps the fact that Isang the word "Nevermore" with an unprocessed voice was an early indication of

140 MIX, FEBRUARY 1988

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PLAYBACK
my fate as avocal performer! This vocoder was the grandfather to
devices which appeared in later years with big commercial manufacturers behind them. It was notoriously levelconscious. All the vocal input had to have adynamic range of about 2dB. I couldn't bear the thought of trying to revocode my monotone voice track for the sake of technical perfection. In its original form, it represented atime slot of technological nostalgia. We would never have gotten near it anyway.
Iremember not being happy with the original snare sound on "The Raven." Soon after the first sessions, we added in new offbeats with adifferent snare and adifferent drummer. With no click reference, there were differences in opinion as to the exact point at which each offbeat occurred. Again,
the 440 helped us to retrig,ger anew snare offbeat sample, which was perfectly in time with the original kit, although as before we had to fly the new sampled track back onto the master with asmall offset.
Ian Bairnson came in for aday to put agreat new solo on abridge section of "The Raven" and afew other bits and pieces. It had been his first appearance on the song, since the original guitars had all been played by David Pack of Ambrosia, well known to readers of this magazine for his contribution to the TEC Awards and his support for the House Ear Institute.
The Tell-Tale Heart No one seems to have heard of the whereabouts ofArthur Brown for many years. He is best known of course for the classic "Fire" single in 1968. Iwill always remember the moment when Arthur, seemingly aquiet, rather timid individual, wandered casually into the studio after hearing Eric Woolfson's guide vocal on "ne Tell-Tale Heart" and whispered into the mic "OK-- let's try it." The very instant the first note of music hit his ears, he was transmitted into the "Crazy World" we knew and loved--leaping into the air, arms waving, as if possessed. Most of it was there on the first take. My initial limiter settings, thankfully, coped with his unbelievable dynamics. We only took two versions and knew we had it. On the new rem ix, there are afew snippets of the other take, which will hopefully
--CONTINUED ON NUT PAGE

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PLAYBACK
capture the interest of serious Projectologists.
A few additions were made to the instrumental excursion section. Ian added some new weird and wonderful guitar and Iplayed some spacy chords with the D-50 on "glass voices," a sound everybody loves, and by the time you read this, it will doubtless have been featured on at least 50% of the Top Ten albums.
The Cask of Amontillado Eric Woolfson, who writes nearly all of

the Alan Parsons Project's songs, has always resisted telling anybody (except me) at the time of recording what
the theme of each of our albums is. In fact we often give fake titles to many of the songs in order not to give the game away. One such song was "The Cask of Amontillado" which was given the
working title "Bristol Cream," another very popular sherry. This was all taken
quite lightly until the orchestral sessions. The players took one look at the title on the music score and rubbed their hands together with glee. They thought they were going to be paid jingle rates!

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"Amontillado" was the first song I worked on with John Miles outside his own band. We had already achieved considerable success in Europe with his Rebel album, and the singles "High-
fly" and "Music." It was anatural choice for John to be one of the principal singers on this album.
Although we now live in the age of musical partnerships like Michael Jackson and Paul McCartney or Tina Turner and Bryan Adams, the idea of an artist guesting on someone else's album was somewhat rare in 1976. We always felt that musicians took an entirely different attitude to their art when working for us, because their careers did not depend on it. They were not frightened to assume adifferent identity for aday or two, and they'd give apart of themselves that did not exist in their own career roles. Since Live Aid, of course, no one can surprise anybody with a guest appearance!
A little retuning of the horns on "Amontillado" was in order for the new version. They were slightly underpitched on the original, and Iseem to remember we were too short of time for aretake. A Publison Infernal Machine harmonized them up to the correct pitch. Once again we took advantage of aslave offset to compensate for the processing delay in the Publison. Various other tuning discrepancies were corrected throughout the album in asimilar manner.
The System of Dr. Tarr and Professor Fether This was possibly the most obscure of all the Edgar Allen Poe works that we chose to incorporate on the album. It was one of the rare occasions when Poe wrote in a light-hearted vein. I would even go so far as to say it is a funny story, as well as being bizarre. Although the title sounds like anewfangled form of noise reduction, the story is actually all about amadhouse where the patients are mistaken for the warders. This meant afield day for the Project sound effects department. Again, the star of the show was John Miles. Iadded aD-50 "cathedral organ" for the new version, to improve the rather tinny sound of the original Hammond B-3. Some fairly vicious EQ brought about increased clarity on the backing vocals and guitar sounds.
Rather surprisingly, little was done in general in the way of EQ on drums on the new remixed version of the

144 MIX, FEBRUARY 1988

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PLAYBACK
album. Ifound that putting the kit into adifferent environment (by electronic means of course) helped to give the drum sounds anew vitality In 1976, reverberant or ambient drum sounds were unfashionable. Idon't feel that giving the drums anew "space" has detracted at all from the original performances. To me they simply sound better Drum reverb was usually from a Roland SRV2000 or aYamaha REV7. (Horrors--he doesn't possess aLex!)
The Fall of the House of Usher Another passage of Orson Welles' haunting narration inspired anew musical interlude at the point where, infuriatingly, the vinyl and cassette versions have to be turned over. Iwas determined to find away of bridging the gap between the original "sides" in order to give the CD the same aesthetic continuity which the original had at every other transition on the album.
Ithink we have used low frequency drones in some form or other on just about every album we have made--except this one, until now. It was the good old D-50 delivering the goods, along with some metallic, machinelike effects for added atmosphere, under the spoken dialog. The drone then fades slowly to make way for the magnum opus of the album, "The Fall of the House of Usher."
On 10 October 1975, we assembled one of the largest orchestras ever to

play on a rock album at London's Kingsway Hall. Ididn't have much ex-
perience engineering such a large crew. Ihad served my apprenticeship as asecond engineer and tape op on some of the greatest classical recordings of the '70s, including ones conducted by Otto Klemperer, Sir Adrian Boult and Sir John Barbirolli, to name but afew. However, Ihad been given no direct experience with the physical act ofbalancing aclassical microphone
setup, so Icalled in my good friend and Grammy award-winning engineer Gordon Parry to give me guidance for this exciting science so alien to arock
music engineer. Several Neumann tube mics were in evidence, noticeably M49s and M50s, which Gordon carefully placed with the expertise of a true genius in his field. My one contribution to his setup was asuggestion to put up a coincident stereo pair of KM56s. He was all for the idea, and in fact the pair became aprincipal source with the other mics being used to "pull focus" on the various sections of the orchestra.
Much credit for the success of the recording also goes to Andrew Powell who scored and conducted the "Prelude" along with all the other orches-
tral music on the album. His contribution to this record paved the way for a long association with Eric and myself on the future APP albums.
The eight tape tracks were split into four stereo images: 1& 2, the KM56 pair; 3&4for the strings; 5&6for the remaining instruments including the

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FEBRUARY 1988, MIX 147

PLAYBACK
bass guitar, close miked and panned center; 7&8for distant mic ambience.
Poor Les Hurdle, the bass player, had to count hundreds of bars rest before his entry at the end of "Prelude," and even then he only had to play one bar of music repetitively!
The remix of the orchestral music was very satisfying. Ionly wish that in 1976 we had taken alittle more notice of acoustic studio noises, which even state-of-the-art '80s technology cannot erase. Still, it gives it a"live" feel. It is nice to know that the CD, for all intents and purposes, represents a playback
of the original edited 8-track Dolby master. There were few fader movements on the final mix to the digital master tracks and no additional EQ. The "Intermezzo" is literally alive recording from only the KM56 pair.
The storm effects for "Arrival" were originally recorded on a prototype West German dummy recording head. We had hoped to get use out of the head for musical passages on the album, but rather like later attempts by many with the controversial Zuccarelli Holophonic head, we got nowhere. However, Ihave always maintained that there is no better way of creating the impression ofbeing in aparticular environment than with agood dummy head. Even on speakers, the rainfall has a certain realism that arguably could not have been captured by any other method. Alittle anecdote: some of the thunderclaps recorded during the freak storm outside the studio at Abbey Road were rendered useless by one of the crew shouting, "That was a good one," momentarily forgetting the nearby plasticated humanoid on atripod was actually arecording device!
The repetitive jangly keyboard motifs on "Arrival" were not sequenced. The technology did not exist to create multi-sampled electronic recycling effects. Instead it was agood old-fashioned tape loop using editing pencils as tape guides. Working with The Beatles and Pink Floyd had taught me a trick or two in this area. The new remix was similar to the original but for a new organ track and abeefed-up drum sound.
The "Pavane" was intended to represent Roderick Usher's aversion to any musical sound except for "certain effects of stringed instruments." String bass, harp, harpsichord, and cimbalom

open the piece. The main theme is played on mandolin and an obscure Finnish zither-like instrument called a kantele.
We had called in all the virtuosi for each instrument: Francis Monkman

To One in Paradise Ihad always felt that Terry Sylvester was a very worthy replacement for
Graham Nash in The Hollies. His career as asoloist never really got off the ground, but of course he contributed

Alan at the EMINEVE console at Abbey Road in 1976

(Curved Air) for the harpsichord, Darryl Runswick for the bass, David Snell for the harp and John Leach for the kantele and Cimbalom. LaurenceJuber (later ofWings) and Kevin Peek played acoustic guitars, and Hugo d'Alton played mandolin.
Few changes were made to this section, except for some clearing up of individual sounds. The Mastermix automation on the Amek desk in my stu-
dio did wonders for tape noise. This was not really aproblem for the original version, where the bulk of the noise was generated on the 1/4 -inch
non-Dolby master, and covered up a multitude of sins!
The "Fall" section became adifferent beast on the new version. Iadded acouple of rising dissonant chords on the D-50 over Andrew's already atmospherically horrific orchestral score, and took particular care on the long pause following the giant buildup. It is great to hear real silence here. There always seemed to be asnap, crackle and pop or asea of tape hiss at this point on the original release. Digital
recording and CD have given anew meaning to the word "silence."

to many of The Hollies' classics like "The Air That IBreathe" and "He Ain't Heavy, He's My Brother." Even ten years on, Ifeel as proud of "To One in Paradise" as anything we have done since, not least because of the brilliant job Terry did on the vocal.
The guitars were originally recorded with avery early "Bad Stone" phaser pedal. On both the old and new mixes, the impression is that there are ten hands on the console twiddling panpots. Actually it's just the natural rising and falling of levels as the phas-
ing sweep cancels certain frequencies, leaving other tracks at different sweep rates and pan positions more exposed.
Ilove the sound of the backing vo-
cals on this song. This was acombination of a London-based boys choir singing live, and Jane Powell singing the same parts as amulti-layered overdub. How we managed to make do with only 24 tracks baffles me. We may have made a"wild" slave, and flown in the vocals with manual synching. Who remembers putting white marks on tapes and pressing "play" at acue?
A couple of new guitars from Ian and amore ambient drum sound are

145 MIX, FEBRUARY 1988

the principal changes on the new mix of the song.
Compilation All the ne\\ mixes were recorded using apair of tracks on asynchronized digital slave multi-track. There were several inherent advantages in having amix running directly alongside the source tracks. On "Dream Within aDream," for example, Ileft the bass off the mix, so that Icould easily match its level in the transition to 'The Raven." Also, all the edits could be done without having to hire in any U-Matic equipment. The final album master was compiled on alarge 9,500-foot reel of half-inch Ampex 467, in order to accommodate the CD running time of over 42 minutes. Imixed to tracks 15 and 16 of the 3324 "B" machine, where Ihad just had Apogee filters fitted for evaluation. (1 have since installed several more.)
Wherever crossfades were required, we transferred the two mixes in staggered form onto four other tracks, having found the necessary offset to make the fade work between the mix tape and the compilation tape. In this way everything remained in the digital domain except for the brief period when the segue was in progress. Once the point of "level match" had been reached, we just made adigital transfer onto the master mix tracks 15 and 16. For all the mixes, the machine tracks were lined up to 8dB above zero at the console. This was the level found to result in arealistic, yet safe level on the CD master.
All that remained was adigital domain transfer to 1630 U-Matic via Sony's specially designed interface. This was aformality to get the album in aform suitable for PQ encoding and CD mastering.
A great joy for me is to see the rerelease in alavish package. The original gatefold sleeve and booklet were withdrawn in favor ofacheaper single sleeve with artwork by Mr. McGoo, over which Ihad no control. The new CD features a22-page booklet and all the original artwork. We also tried to credit everyone this time around, and give awealth of new information.
The new vinyl and cassette versions have equally sumptuous packaging, but afootnote has been unashamedly added in bold print saying, "FOR BEST RESULTS THIS ALBUM SHOULD BE HEARD ON COMPACT DISC." Iwonder who wrote that?

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Art vs. Money

((As asongwriter and artist, it's important to me not to limit myself to a narrow range of musical ideas. This has worked well for me when writing for other performers in their various markets. However, it's been a detriment when I've tried to release my own records. Record companies really do "pigeonhole" artists in most cases. Now, I don't mind compronu.ing and there are some record companies that will allow more artistic freedom than others. But there is agrowing number of them who don't km )w enooeh about music to know when something fresh comes their way. Les Dudek ingwriter, guitarist, recording artist

"I've been to the very top of the charts and I've scraped the Hitrel, and in both cases Ive nid to make alot (4 musical compromises. But Idon't view c(impronnse as ahad thing. There's apoint in everyone's lite when they must take control of their ego imd put things into realistic perspective. Iadmit, money speaks louder t. inc than it used to, but here's how Ilook at it: one of" the most important and enjoyable thingsto me is playing my instrument. Iwill play what I need to play to make sure this continues. Ihave no regrets»
Bruce Shay Recording artist, all-around musician

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FEBRUARY 1988, MIX 149

VIDEO ·NEWS
by Lou CasaBianca
SHORT TAKES

ideo and computers continue to play
an increasingly important role in the audio recording studio. Mix's "Video News" is committed to keepingyou in touch with product update information, new product testing studio activities and special industry events. Please direct any pertinent informa-
tion, event news or inquiries to Mix "Video News"

Version, athree-hour musical film with clay animation by Bruce Bickford; a documentary entitled The True Story of200 Motels, utilizing 16mm behind-
the-scenes footage of the original 1970

Frank Zappa

Frank Zappa and Pacific Video Go Direct To Digital Frank Zappa has been working with film since 1958, with video since 1970, and with digital audio since 1980. Now he has found away to combine them
all as he prepares the first four releases for his newest enterprise, Honker Home Video, using the Sony BVH-
2800 one-inch VTR with digital audio. Named after the eminently recognizable Zappa nose (which is pictured in
the logo), the label will be distributed in the U.S. by Chicago-based MP! Video.
Honker mail orders will be handled through another Zappa entity, BarfkoSwill.
Zappa has been aregular fixture at Pacific Video in Los Angeles since Jan-
uary '87, working mostly through the night (sometimes running different sessions in separate rooms simultaneously) to prepare his enormous film and video library for final assembly on the BVH-2800. He has been assisted by associate producerJill Silvertone, along with video editors Ray Bush, Booey Kober, and assistant editor Fred Simon. Telecine transfers were executed by Joe Finley, with raw video color correction done in Pacific Video's Electronic Laboratory by Rick Dalby.
The first four Honker releases will include Baby Snakes--The Complete

150 MIX, FEBRUARY 1988

United Artists film 200 Motels; Uncle Meat, shot by Haskell Wexler in 1970, and described by some as the world's first performance art musical, and Video From Hell, aone-hour compilation
show providing previews of upcoming Honker releases.
Zappa has always insisted on quality audio for his works, and whenever possible he keeps things in the digital domain. The BVH-2800 was chosen
because it has digital audio tracks on the same tape as the video itself, giving the final edited masters alevel of integrity missing from programs edited on analog machines. "Before the Sony
2800, if you wanted digital audio on your show, you had to use adouble system to broadcast or duplicate it,"
explains Zappa. "In other words, one machine for the pictures, another for
the digital audio. Then you crossed your fingers and prayed for synchroni-
zation. Ihad been through it once before on aPMI project called Does Humor Belong In Music? That show would have been asnap to do on the
2800, but without it, the post-production time increased, and along with it,
the total cost of the show. Anyone doing music videos would be well advised to investigate this machine if they care at all about the sound quality of their finished product."
Technical processes varied from
project to project. The goal was to keep noise and distortion out, and to prepare afinal duplication master with the best possible specs. Zappa continues, "whenever possible digital audio masters of original album tracks
were used, mixed at my studio, The Utility Muffin Research Kitchen, by Bob Stone. Older multi-track masters originally recorded analog were digitally remixed using the Sony PCM-1630.
In the case of film dialog, audio was recorded in three channels (stereo ambience plus directional miking). These audio dailies were mixed to the PCM1630 before being synched to the telecine transfers."
Zappa shot some of the film footage himself in 8mm and 16mm. The oldest
8mm footage dates from 1962 (the Los Angeles County Fair material in "G-
Spot Tomado," the opening selection of Video From Hell). Working from
ECO original of 16mm blow-ups of his home movies, he painstakingly colorcorrected and image-enhanced each edit during the on-line assembly utilizing the Sony BVX-30 system.

"This is atruly amazing device," he
says. "We used it on the output of the edit bay--the final step for the picture after any effects processing, just before it prints on tape. With the BVX-30, I had the ability to balance color scene to scene, correct 'home movie errors,' give the illusion of sharper resolution, reduce picture noise or grain, or, when
it was appropriate, crank up the grain for extra texture, and totally pervert the original color."
So far, about 300 hours of raw mate-

audio, video and computer programming. Database title projections rise
from 125 in 1987 to more than 10,000 in 1991. Applications include avariety of uses such as library, financial, educational, scientific, medical, governmental, legal and consumer. In most data-
base applications, CD-ROM drives are sold or leased to subscribers.
Two other types ofoptical disc drives are going to affect the CD-ROM scene: WORM (Write Once Read Many) and erasable. Erasable drives are slated for late 1988, although demonstration units will be available sooner. The availability of erasable optical drives

Sony CDU-100 CD-ROM drive

rial have been transferred from film to tape. Zappa will use this basic library to create the next generation of Honkers. He is also planning to release the works of other artists in the "optional entertainment field," such as documentaries, animation and compilations of short films.
Microsoft CD-ROM Conference According to industry analysts, 30,000 CD-ROM drives were sold in 1987, and the number is expected to increase to one million by 1991. The value of CDROM is its ability to deliver large custom databases to prospective users. The CD-ROM and CD-Interactive discs are exactly the same size as CD audio discs: 4.72 inches in diameter. (See Mix CD-I Supplement, November 1986.) The CD-ROM system gives the user access to about 250,000 pages (or the equivalent of 500 books) on one silver-colored platter. While not yet able to be recorded to or erased, the medium's capacity is staggering: 550 Megabytes, or the equivalent of 1,500 floppy disks. The discs can deliver text,

will allow CD-ROM technology to function like magnetic media. WORM drives will not replace the standard
CD-ROM playback type drive, because they serve different purposes. WORM
drives will be used by companies looking to create disk-based files that will require an extra measure of security
last March, over 1,000 companies
attended the Microsoft CD-ROM Conference in Seattle. Microsoft introduced the Microsoft Bookshelf, acollection of ten basic reference works accessible on CD-ROM. The company is look-
ing at over 350 products, including databases and the critical retrieval software needed to sort through millions
of entries. It is clear that CD-ROM fits into Microsoft chairman Bill Gates' overall long term goal for "a computer in every home."
On other fronts, Lotus Development has assembled apackage of eight financial and investment databases on
one disc, with weekly updates sent to customers by express mail. Lotus One Source comes with aCD-ROM drive
and software that allows the user to

FEBRUARY 1988, MIX 151

VIDEO ·NEWS
crunch more than 300 million data items using the 1-2-3 spreadsheet. Philips, in Eindhoven, Holland and DuPont of Delaware have formed apartnership, becoming the largest producer of compact discs. Apple and IBM have CD-ROM projects under development as well. 3M has developed an erasable optical disc. Optical Media International and Meridian Data have created a CD-ROM pre-mastering workstation, aturnkey package complete with computer front-end control of digital audio, multi-format video, text and mastering code standards. Optical Media has also released an extensive CD-ROM sound library
Many of these developments, most of the major players, and the next round of new products are scheduled to be released at the Microsoft CDROM Conference in Seattle on March 1 through 3. The Microsoft CD-ROM Conference will be covered in depth in a future issue of Mix

markets. The company supplies CDROM discs from its plants in Kings Mountain, North Carolina, and Han-
over, West Germany. Philips &DuPont Optical will review in detail the steps
involved in mastering, packaging and producing CD-ROM products.
Microsoft Corporation designs, develops and markets awide range of
microcomputer software. The MSDOS CD-ROM Extensions Support CD-ROM discs in IBM and compatible PCs. Microsoft will discuss the importance of standards, software design and user needs in developing CDROM applications.
The seminar (which costs $95 including lunch) will be held from 9 a.m. to 3p.m., followed by an open forum for demonstrations and questions from 3p.m. to 5p.m.
Here are the seminar locations and hotel phone numbers: ·Hyatt at LAX, Los Angeles, Feb. 10,

(213) 670-9000 ·Hyatt Regency, Crystal City, Arlington,
VA, April 12, (703) 486 1234 ·Grand Hyatt, New York City, June 14,
(212) 883-1234 ·Hyatt Regency, Chicago, Oct. 5, (312)
565-5700 ·Ritz-Carlton, Boston, Nov. 2, (617)
536-5700 ·Hyatt Regency, Atlanta, Dec. 1, (404)
577-1234
Digital Music Video One Pass and Propaganda Films have produced what they claim is "The world's first all-digital music video." The two-and-a-half-minute clip "I Don't Mind At All" was produced for Island Record's Bourgeois Tag,g. The song was directed by David Fincher of Propaganda Films. The new Rank Cintel Enhanced MkIIIC Digiscan 4:2:2 flyingspot telecine provided the technological link between the original film foot-

CD-ROM Developers Seminar '88 Meridian Data, Inc. and the Philips & DuPont Optical Company have an-
nounced aseminar series designed to teach potential CD-ROM developers how to produce CD-ROMs. Those companies will be joined by Microsoft in conducting the one-day seminar in
several cities nationwide. Designed for corporate, institutional and govern-
ment CD-ROM developers, the session will outline astep-by-step approach to creating aCD-ROM product. Business issues such as costs, implementation analysis and management backing will be covered during the seminar.
The seminar will address key technical areas such as data conversion, High Sierra Group formatting, indexing, data preparation, build and retrieval software, pre-mastering, mastering,
replication, packaging and delivery systems.
Meridian Data manufactures the CDROM industry's leading data preparation and pre-mastering system--CD Publisher. Meridian Data will cover the
specifics of data conversion, indexing and retrieval software, and pre-mastering. In addition Meridian will conduct on-site demonstrations of the CD Publisher.
Philips & DuPont Optical is the world's largest supplier of optical media for the audio, video and data

At MacMusicFest 1.0 are (standing, left to right): Craig Anderton, editor of Electronic Music magazine; Kevin Kent, executive director of Filmsonix; Alan Kay, Apple Fellow and primary Macintosh inventor; Mark Letczner, Apple manager of advanced products; Ed Freeman, music producer and MIDI consultant; Joel Moss, director of Record Plant and Filmsonix co-owner; Chris Stone, president of Record Plant and Filmsonix co-owner; Bill Lawler, Apple VAR account executive; Don Felder, former Eagle and record producer; (kneeling, left to right): Steve Angelo, Apple district sales manager; Bill Larsen, Apple manager of consumer marketing; Peter Szollosi, Filmsonix co-owner; Jeff Burger, panel moderator and president of Creative Technologies.

152 MIX, FEBRUARY 1988

age and One Pass's component digital editing suite. During post-production it remained in the 4:2:2 digital domain to final Dl edited master, experiencing no generation loss from the original film stock.
The project's special effects coordinator Jim Wheelock explains, "Maintaining a strict, component digital format was essential to keeping the image just like the original throughout the edit and entire post-production process. The look of the video required shooting high-speed 35mm film. We were concerned that its graininess would be exaggerated by multiple generation losses."
The look of the clip is very different, exploiting an ethereal-looking glass quality. The video's special effects include a unique graphic design of transparent, beveled glass panels that appear to distort the images and, at times, actually "contain" the members of the band.
The special effect was conceived by Fincher, and the glass effect was created by One Pass graphic designer Scott Williams using the Quantel Harry digital effects editor and Paintbox. The shots selected for SFX were pinregistered using Steadi-Film and transferred directly to Harry as a cell recorder and then recorded to Sony digital VTR. The 4:2:2 digital standard allows digital information to be moved around the way MIDI moves data between synthesizers. Digital optical effects were executed on the Quantel Encore, programmed by Bart Giovannetti. The original 35mm film footage, shot at 30 fps, was transferred to digital video in the Rank telecine suite by colorist Jim Barrett.
One Pass is one of the first studios in the United States to use the new Rank Cintel Digiscan 4:2:2 telecine. The machine's digital 4:2:2 output improves virtually all of its specifications, including heightened resolution.
Positive Video Installs BOSS Audio Editing System Positive Video of San Francisco has announced the installation of an Al-
pha Audio BOSS audio editing system in the company's Positive Audio division. James Lautz, executive vice president of Positive, says, "The BOSS is
the second of its kind to be installed in the Bay Area [the other being Lucas-
film] and at this time, it's the only system available in avideo post-pro-

duction facility." The new $50,000 system uses TimeLine Lynx synchronizers to slave up to four ATRs to an Ampex one-inch VTR using VPR-3 protocol. This allows producers to achieve instantaneous lock-up of all source tapes and to mix directly to their edited video masters. The BOSS is distinctive in that it brings the procedures and approaches of the video editor to the audio world. It can generate a CMX-compatible list which can be used on any CMX-compatible system.
Filmsonix and Apple Present MacMusicFest 1.0
llmoozers and synthesizers, hard rock and hard disks, gigs and gigabytes came together at the Mac Music Fest held last December at the Paramount Pictures Record Plant location in Los Angeles. Representatives of the music and computer industries joined forces to exhibit the latest Macintosh-based computer-music advancements. Exhibits included everything from desktop sheet music publishing to aworldclass production facility you can put in your project studio. There also were seminars ranging from "Future Abilities" and "Technological Advances" to "Influence of the Macintosh in the Entertainment Industry"
The event was sponsored by Apple Computer and Record Plant affiliate Filmsonix, Inc. According to Filmsonix director Peggy McAffee, "The MacMusicFest was created to provide answers and solutions to anumber of persistent questions and problems that have emerged throughout the entertainment industry. Musicians, composers, music publishers, screenwriters and video producers need acomprehensive array of computer products and services designed specifically for them. Outside of magazines where they can learn about the latest developments in computer technologies which will impact their business? They need instruction and system support that will help them use these products with maximum effectiveness."
Filmsonix is an authorized value added reseller for Apple Computer, as well as adealer or affiliate of other leading music and video-oriented hardware and software manufacturers. In addition, according to Filmsonix
CEO Kevin Kent, "We are developing modular, expandable workstations that can be adapted to the specific need of
--CONTINUED ON PAGE 178

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INDE PENDENT

ENGINEERS & PRODUCERS

Mix does not take responsibility for the accuracy of the information in these listings, which were supplied by individuals listed below.

ROD ABERNETHY Engineer &Producer ROD ABERNETHY 521 Greenwood Dr Cary, NC 27511 (919) 481-0777 Credits: McDonalds, Hardee's, Honda. De Laurentis Studios, AT&T, IBM, Burroughs 1Nellcome, Northern Telecom. Profile Records, The Accelerators. The Connells. Services Offered: Music composition and recording for television, film and radio. Also, producer services for bands 24-track and 16-track mobile recording available on request
M.D. ACOSTA Engineer & Producer SILENCE, INC. PO Box 710, Maplecrest Stn. Maplewood, NJ 07040 (201) 763-0453 Credits: Studio production Nu Shooz, "I Can't Wait" Hot Tracks remix, live engineering: Chuck Berry. Country Joe McDonald. Shadowfax, Rail, Ferro'', B.B. King, Roomful of Blues, Dave Mason, Dan Siegal, Bonnie Raiff. The Band, The Byrds, New Riders of the Purple Sage. John L Hooker. James Cotton, Al Stewart. Services Offered: New producer originally audio engineer. Unexpected success on first production project (Nu Shooz). New York/New Jersey area Free to travel anywhere. Macintosh MIDI studio available for pre-production. Broad-based experience with current technology Please call for details.
RANDY ADAMS Engineer &Producer 3725 Cibolo Ft Worth, TX 79133 (817) 294-2581 (214) 263-0746 Credits: Jeanne Rogers (Maranatha Records), Tom Autry (StarSong Records), Gingerbrook Faire (VVord Films), John Hall, James Robison Television Special, Dave Roever Ministries, Alexandria Sanctuary Choir and Chorale and many others. Services Offered: Production, arranging and engineering services Large orchestral recordings, choirs, audio for video, live recordings
RICHARD ADLER Engineer &Producer PO Box 21272 Nashville, TN 37221 (615) 646-4900 Credits: Johnny Cash (PolyGram), John Hartford (MCA), Dolly Parton (RCA). Ricky Skaggs, Neil Young (Reprise). Natalie Cole (Capitol), "Doc" Watson (Grammy winner), Country Gazette (Flying Fish), Townes Van Zandt (Sugar Hill), The DRMLS (Scam), John Prine (Oh Boy). Services Offered: Music production and/or engineering. Album (or CD) digital mix specialist, adjustable lees for awide range of budgets
DUNCAN A. ALDRICH Engineer 545 Atchison Pasadena, CA 91104 (818) 791-1956 Credits: Seven years as staff engineer at Chick Corees Mad Hatter Studios with recording credits on awide variety of projects, as well as several freelance projects. Services Offered: Engineering, production consultation, studios. astounding sounds, etc.

C.A.T. TRACKS
CREATIVE AUDIO TECHNOLOGIES
BRIEN FORREST ALKIRE Thousand Oaks, CA
BRIEN FORREST ALKIRE Engineer & Producer C.A.T. TRACKS--CREATIVE AUDIO TECHNOLOGIES PO Box 5044-422 Thousand Oaks, CA 91359 (805) 373-3833 Services Offered: Multi-track recording, live sound reinforcement, synthesizer programming, production
CHUCK ALLEN Engineer PO Box 38082 Tallahassee, FL 32315 (904) 656-7935 Credits: Steve Morse/Band, The Dreggs, Art-In-America, Yes, Billy &pier. BTO. The Heartfixers, DIR., Coca Cola Corp., Jackson Browne, Todd Rundgren/Utopia. Services Offered: Quality audio engineering for studio, location, pre-/post-production video, broadcast and conceit sound applications. Systems consultation and design. Installation supervision and management
GREGORY ALPER Engineer &Producer ALTA VISTA MUSIC 77 Warren St New York, NY 10007 (212) 349-8095 Credits: Produced. composed, arranged, performed sizzling sax solos on: records--Greg Alper Band: Chesno Skater, Fat Doggie. Adelphi, (Billboard Pic and Rolling Stone award). Johnny Copeland, Rounder, Velour and 00, Virgin. Jingles, films, industrials--RCA/Columbia Pictures logo, Eastern Airlines. Swatch, New England Power Co., New Jersey, WPIX, AT&T several independent film scores. Services Offered: Composing, producing, arranging, great sax for: dance, R&B, jazz, film scoring and commercials Studio: 16-track Tascam. Soundcraft 24-channel board. Emulator II, Macintosh Plus, digital mixdown, digital reverbs, digital delays, digital drums, cucaracha.

PAUL ANTONELL Engineer & Producer Rd lt3 Rhinebeck, NY 12572 (518) 537-6305 Credits: The Gospel at Colonus, Paris. L.A., Philadelphia, Minneapolis, Atlanta, European tour etc The Warrior Ant at Alice Tully Hall NYC, Bob Telson's Little Village, Soul Stirrers, JD Steek Singers, Five Blind Boys. Terrance Boylan, Placido Domingo. Roger Powell. Services Offered: Pre-production, consultation, audio/visual presentations. soundtracks for industrial theater, complete 16track production studio with MIDI, keyboards, drum machines and sequencers. Call for more information.
FRANK L. ARN Engineer BANTAM SOUND SERVICES 4724 Kester Sherman Oaks; CA 91403 (818) 907-5181 Credits: Staging and production on tours with Rare Earth. Bob Seger, Parliament/Funkacfelic (Mothership tour), Tommy Bolin Keith Carradine (I'm Easy tour). George Benson (Breezin &In Flight tours) and more. RIM Gold Records In Flight vah George Benson, platinum Night Moves with Bob Seger and more. Prior education includes AA in Electrical Engineering Certificate in recording engineering from University of Sound Arts. Services Offered: Available for live showcases. consultations, independent recording engineering, Ive sound engineering for major tours 1987 has been a great year Recent projects include recording dates with Neil Henderson, Tuesday Night, Paul Warren, Broken Silence, Bridge-22, Lenny Lee Goldsmith, Silent Rage, Paul Sabu and Only Child; and with Paul Saba projects for EMI. Arista, Bob Crewe, Rusty Gardner and more. Also concert dales and showcases including the Heartland Jam Iwith Charlie Daniels Band and Resless Heart Paul Warren and Explorer, Tuesday Night for CBS, Zeta Sound in LA.. Neil Henderson, Richard Marx, Jacksor Browne, Graffiti Band. Calvin James. Bill Lorden, Lenny Goldsmith, Paul Sebo
and Only Child and more. VVatch for more in Is Thank you Mix
magazine.
PATRICK ARNOLD Engineer PO Box 12 Charleston, WV 25321 (304) 346-6964 (304) 744-5164 Credits: Ten years live sound reinforcement; assistant engineer "Sountracs Recording," South Charleston. WV. Assistant engineer WV Public Broadcasting's "Mountain Stage." distributed nationally to 100 NPR radio stations Studio demos and albums. Trained at Recording Workshop. Chilicothe. Ohio and Full Sail. Orlando, Florida. Services Offered: Lee sound mix; studio demos; remote recording; acoustic design; studioconstruction and installation special RC; drum sounds: acoustic instruments.
NICHOLAS ASTOR-GROOF Producer NICK-KNACK PADDYWACK RECORDS PO Box 3248, Yale Station New Haven, CT 06570 (203) 773-3593 Credits:Affiliated with Yale University, we have signed 11 clients to Rough Trade, IRS, 4AD. Holden Caulffied. "The Girl Who Stole My Soul" tt 1at 72 colleges across the country Our roster includes Miracle Legion, The Pedestrians, The Cuff of Dispaid and The Kens. Our last annual compilation was distributed in 19

154 MIX, FEBRUARY 1988

countries on all five continents. Services Offered: Looking for new material and talent for record companies and our annual internationally heralded compilation album. 24-track studio, (2) Yamaha ·DX711FDs. Synclavier Fairlight Kurzweil; obviously the best technology Will press ten top bands. If you think you have todays sound, tommorows hits, Nick Knack Paddy Wack may well be your vehicle. We accept submissions from all musical categories and stress the importance of lyric. All productions are executed in conjunction with the student body of Yale University. In addition, we seek writing samples from those interested in writing for our New Music tri-annual publication. Please send demo (regardless of quality) of 3-5 songs Aresponse is assured.
CLIFF AYERS Producer CLIFF AYERS PRODUCTIONS 830 Glastonbury Rd.. Ste. 614 Nashville, TN 37217 (615) 327-4538 (615) 361-7902 Credits: Started producing records for his own label Emerald Records in New York in 1951. Through the years he has had productions released on Decca. Columbia, MGM, Discover, MCA and many other labels. Presently owns American Sound Records and produces some 20 artists. Services Offered: Recording and video productions under American Sound Records and Emerald Records owned by Ayers. Music Town Distributors & Promotions Co distributes independent labels and The Music City Entertainer newspaper in its 17th year of publication II promotes artists and has its own records charts called "HotPops." Cliff Ayers Productions also leases masters for its Emerald Record label.
BRIT BACON Engineer & Producer SKYLINE RECORDING 1402 Old Topanga Cyn. Rd. Topanga Park, CA 90290 (213) 455-2044 Credits: Bob Dylan, Chicago. Bangles. David & David, Peter Cetera. Eddie Money, Ynwie Malsteen. Steve Kujala. Slider Glenn, Karla Bonne Services Offered: Ihave over 10,000 hours of engineering experience and have produced projects ranging from country to rock to jazz. Ialso write, arrange, produce and engineer local and national TV and radio jingles As chief engineer of one of Los Angeles' top 24-track recording studios Iwould love to help you make your next dream project become areality
DEAN BAILEY Engineer & Producer 3422 Beech St Rowlett, TX 75088 (214) 475-9796 Credits: Ray Owens, Bergman &Roberts, Rich Gillilanddemos; 61/2 years of TM Country. Golden Moments, an Olympic retrospective: simu-flite training programs; in-flight music services; commercial production for numerous advertisers. Services Offered: Audio engineering including all facets from studio installation, maintenance. tracking. mixing and producing. Specializing in mellow rock, country, jazz, radio specials. commercial production and audio visual programs
STEPHEN M. BAILEY Producer SYNCARTZ AUDIO PRODUCTIONS 214 9th St Fairview, NJ 07022 (201) 941-0976 Services Offered: We create sounds to fit any application. Choose from our library or, if you prefer, we can produce sounds to your specifications. Call for more information on this and other services including production and composition.
ANDREW BARRETT Producer LIONELLA PRODUCTIONS 7W. 14th St, Ste. 8G S. New York, NY 10011 (212) 620-3122 Credits: Melisa Morgan. Candi Staton. Carol Douglas, Carboy Services Offered: Creative. Top 40 oriented production services with an ear for highlighting strengths of artist Arranging. songwriting and keyboard playing are available. Full pre-production and production staffs on call.
JAMES BARRY Engineer & Producer BARRYTONE PRODUCTIONS 5465 Santa Monica Blvd., Ste. 202 Hollywood, CA 90329 (213) 463-9557 Credits: Women of the World seven-episode television series (King World Distribution). "Artsound" visual art and music environment. Evanston Art Center, Chicago, Knight Rider and Dress

Gray, promotional music spots for NBC. Los Angeles. Early Warning--Crises Challenging America 13-episode television series, Blanchard Films International. assorted recording acts. various music styles Services Offered: Barry Preserve Publishing. BM! Barrytone Production, Inc.. state-of -the-art audio recording and audio-tovideo sweetening facility Multi-track analog/digital mastering. Kurzweil digital keyboard and CD sound effects library Preproduction planning. project managment, musically versatile. open-minded attitude James Barry is a producer-musician who truly envoys working with new and established artists, setting agame plan and seeing that plan become areality
STEVEN M. BASDEN Engineer & Producer 761 NE 178th Ave. Portland, OR 97230 (503) 669-1997 Credits: Rick Dupe& Dan Smythe, Foundation. Holy Danger. Continental Singers, Cornerstone, Prophecy. The Focus and many more Services Offered: Engineering and production from pre-production to mastering demos. LPs, remote recordings, commercials, audio to video Live engineer (house/monitor), maintenance technician, acoustical consultant
SAM BEAMAN Producer VALENTINE PRODUCTIONS 910 16th St, Ste. 900 Denver, CO 80202 (303) 893-0912 Credits: Eleven awards for songs and commercials produced un-house National and regional radio and television commercials Art directors' Club of Denver awards show entertainment Original music for commercial and industrial videos. AV and art shows, scores for cable TV program and hair/fashion show All in-house Services Offered: Complete production from concept to finished mix Staff composers, songwriters, synthesists, percussionist and guitarist Extensive MIDI system synched to 8-track tape studio
GEOF R. BENSON Producer GEOF BENSON MUSIC PO Box 15611 St. Louis, MO 63163 (314) 773-9297 Credits: McDonnell Douglas, Central Hardware. KangaROOS. New Haven Register, Carpet One, Heartland Bank. Armour Dinner Classics, Southwestern Bell Freedom Phone, IGA Stores. Services Offered: Synclaviere/compaser/producer. Original compositions in music and sound effects. Specializing in postscores for film and commercials Record production. Synclavier digital audio system, with 32 poly voices. SMPTE, MIDI, 16 Meg
RAM. 16 FM voices, Kennedy au.. am1. Optical. Linn 9000.
Yamaha DX7 and TX 816. Prophet 600. Call Geof Benson Music to discuss your upcoming projects. to arrange ademonstration of the Synclavier or to request an audio or video demo
GLENN E BERKOVITZ Engineer SPINNING REEL SOUND SERVICES 11929 Windward Ave. Los Angeles, CA 90066 (213) 313-2776 Credits: Television/film credits include: Less Than Zero, To Live &Die in L.A. (MGM/MTV), Max Maven (Universal), and too many commercial and music video projects Music credits include ongoing independent album projects and numerous jingles and demos Services Offered: Specializing in audio--production and postproduction --for film and television Ibring lo my work athorough knowledge of all systems in use today From incorporating digital and time code technologies in my production recording equipment and lechniquess, to helping create full MIDI/SMPTE recording and scoring studios. Iseek to implement and incorporate all of what is currently going on into my work to produce a more cohesive and satisfying result large or small, it has to be good. and, hopefully, fun.

MICHAEL J. BISHOP Engineer & Producer BRIANNA RAE PRODUCTIONS 13678 Butternut Rd. Burton, OH 44021 (216) 834-1350 Credits: (Producing) Wendy Warren, Tom Letizia Jazz-Fusion group, Nombres. (Engineering) Liza Minnelli (Live at Carnegie Hall). Pere UBU, Fleetwood Mac (live). Cleveland Orchestra The Bunsi Jumpers, Atlanta Symphony &Chorus. Jini Fontana, Cincinnati Pops Orchestra, David Thomas, Alex Bevan, Pat Dailey, Baltimore Symphony & Chorus. Seaworld, Cypress Gardens Services Offered: Audio recording engineering. producing. mastering. digital editing and duplication services for all formats including CD. LP, cassette, video and film talso can provide photography and graphic design services! Jack-of-all-trades, master of afew.
MICHAEL BITTERMAN Engineer & Producer MIDNIGHT MODULATION 2211 Pine Ln. Saugerties, NY 12477 (914) 246-4761 Credits: Produced and engineered Woodstock--Moods &Moments (Prism Records): Five After Eight (0C Records): Company Wile, Denise Finley; engineered Jean Redpath (Rounder), Priscilla Herdman (Flying Fish), John Hall. Dan Brubeck, The Band: John Sebastian. Orleans and NRBO. Services Offered: Iown and operate Midnight Modulation. a fully loaded 16-track studio w/full MIDI setup Located in Woodstock. NY. Ihave access to many of the fine musicians here. I have produced artists ranging from folk music to pop to cabaret to rock. Ican give you astate-of-the-art sound for afraction 01 the price. Iam extremely eclectic and will serve every project on its own high merits--from production through engineering the final mix
DAVID BLADE Engineer & Producer SOUND SOLUTION RECORDING 1543 Seventh St Santa Monica, CA 90401 (213) 393-5332 Credits: Animal Dance, Babylon Warriors, Clark Sisters, Jimmy Cliff George Clinton, Doll Congress, Dons Day. Bruce Johnston, Barry Manilow, Terry Melcher, MGM-Seven Brides for Seven Brothers. Dudley Moore, Fred Myrow, Otis Day &The Knights, Jim Photoglow, Mary Ann Price, Tacheads Services Offered: 24-track studio, complete production, project management, concert sound mixing, albums. demos. 1V and film scoring, etc My commitment is to provide the highest service possible to my clients, making every step as effortless as possible
BO BLAZE Engineer 8 Producer BLAZE PRODUCTIONS 46 W. Passaic St Maywood, NJ 07607 (201) 845-9175 Credits: Various local and national acts! Please call for more information. Services Offered: M East Coast connection! Top quality masters, demos. jingles done by top industry professionals Will fit the right producer, engineer, arranger. writer, musician, etc to your budget We work with all major studios in NY and NJ Our engineers and producers have worked with the best of all styles Bill Cosby, Stevie Nicks, James Brown, Grover Washington Jr., Pete Townshend, Alan Vega. Joan Jett, Wendy °Williams, etc., as well as hundreds of independent and local acts.
MONITE BOBO Engineer & Producer PROJECT-B 1940-B Olivera Rd. Concord, CA 94520 (415) 685-8318 Services Offered: 8-track and full MIDI production/pre

ELLIS (PETE) BISHOP Engineer CREATIVE SYNERGIA, INC. 7936 Ponce Ave. Canoga Park. CA 91304 (818) 702-9531 Credits: Funkadelic, Robin Trower, Parliament, Four Tops, Leon
Russell, Tavares, Spinners. Dramatics. Peaches &Herb, David Ruffin, Boolsy, Albert King, Isaac Hayes, Tierra. Little Milton, Johnnie Taylor. Millie Jackson, Marilyn McCoo & Billie Davis. Bobby Womack. Jerry Butler, Michael Henderson, Bernie Worrell, Gloria Gaynor, William Bell
Services Offered: Mixing, tracking, remote recording, postproduction audio, electronic design, studio installation, studio
maintenance. Consultation

MICHAEL BODDICKER
Producer MICHAEL BODDICKER, INC. 13630 Ventura Blvd. Sherman Oaks, CA 91423 (818) 981-1136 Credits: Film music--produced and composed music for Buck-
aroo Benzes, Outland, Get Crazy, White Water Summer, Grammy award for "Imagination" from Flashdance, and the "Magic
Egg." Services Offered: Complete music production services-24track studio. lock to 3/4 "video via Lynx. 3-channel monitoring.
4-track 30 ips mix, digital 2-track, Farlight Series III. over 100 synthesizers and drum machines, voice processing, sampling and synthesized effects processing.

FEBRUARY 1988, MIX 455

ROBERT BOTH Engineer &Producer TWAIN PRODUCTIONS 18 Hiawatha Pass West Milford, NJ 07480 (201) 697-7540 Credits: James Brown. Lyn Collins. The J.B.'s. Hank Ballard, Robert Kraft 8The Ivory Coast, Mutha Records, TR. Records, The Watch. Torn Storms, Tito Rodriguez Jr. and others Three gold records for work with James Brown. Services Offered: Engineering and/or production services in own 24-track studio or studio of your choice, will travel Album or single projects. Musical directions rock, pop. R8B and jazz. solo performers or groups Personal one to one service.
JIM BOYER Engineer &Producer JAMES BOYER COMPANY PO Box 303 South Salem, NY 10590 (914) 763-5086, IMC2368 Credits: Producer. Billy Joel, Peter Cetera, Rupert Holmes. CBS/Multi-Artist, Olatunji. Engineer Billy Joel. Steve Winwood, Charlie Sexton, Paul McCartney Patti Austin, George Benson, Chicago. Kenny Loggins, Paul Simon, Barbra Streisand. Linda Ronstadt, Janis Siegel, Manhattan Transfer. Whitney Houston, Sheena Easton. Feature films: Arthur, Silkwood, Orphans, Tent,, Easy Money. Beverly Hills Copll, Ruthless People, The Serpent and The Rainbow, Places in the Heart,
GARY BOYLAN Engineer & Producer GARRISON SOUND 256 Woodbury Rd. Hicksville, NY 11801 (516) 822-5562 Services Offered: 2- to 24-track recording; mixing, V2" and 3/i" video production, videotape editing.
ERIC T. BRANDT Engineer & Producer ALPINE RECORDS, INC. PO Box 6007 Malibu, CA 90264 (213) 456-0096 Credits: Warren Miller films--featured title songs. Blue Deville (NBC Movie), Truth or Consequences Lorimar, Galaxy High CBS. M1V Basement Tapes winner-- 1986--Flying High Services Offered: Production and engineering of projects from film or television soundtracks to albums to demos Extensive MIDI/SMPTE experience with audio/video lock-up, Macintosh sequencing and voice storage. Emulator and SP-12 sampling. Also experienced with outboard gear including TC2290.AMS. REV7, SPX90. DEP- 5. All this with agreat ateude and ear for good music.
MICHAEL BRAUNSTEIN Engineer & Producer 6300 Lankershim Blvd., *211 North Hollywood, CA 91606 (818) 766-3731 Credits: LP credits Zappa (five: including Zoot Allures, Bongo Fury). U.K., Grand Funk, Rufus, Southern All-Stars, Stephen Stills. CSN, Barry Manilow, Paul Anka.et al. Video/film: Down & Out in Beverly Hills (Little Richard). MTVand Showtime specials (Manilow, Beach Boys, Dave Mason, et al). Services Offered: Familiar with over 50 studios worldwide and extensive remote work
JAMIE BRIDGES Engineer &Producer 1474 Hauck Dr. San Jose, CA 95118 (408) 723-3125 Credits: I've engineered and produced in the San Francisco Bay Area and LA for eight years recording every style and sound imaginable--some famous, some not Services Offered: Ican engineer and produce your project without getting in the way of your music, o' work with your producer Ican also help you find astudio or studios that best suit your music and budget.
HARRY BROTMAN Engineer & Producer BROTMAN MUSICAL SERVICES 19010 Avers Ave. Flossmoor, IL 60422 (312) 799-7711 Credits: 1987--recorded/mixed. Iron Cross Church and State (Turmoil), Daveon It's so Good (Empire), SNAP Snap! (Derbytowne); final mixes: Tyrone Davis Man of Stone (Future), Frank Adams (RBRB). Mitly Collier. The Steelers, jinglas: Colben/C,o1ben. Comitor Advenising; tracking: Marshall Jefferson (DJ. Intl.), Stockyard w/Don Griffin, Smoke City. Ohio Players (Track)

INDEPENDENT
ENGINEERS & PRODUCERS
Services Offered: Engineering, co-production, production, analog and digital synthesis Twelfth year servicing Chicagoland and beyond Requestable at many fine 24-track facilities, including ARS Studio, Seagrape. PS Recording, Startrax, Sonic An, Jor-Dan and River North. Full-service packages are also available in Houston and Jamaica. European near-field monitors/ amplifier system goes everywhere Also. European condenser and ribbon microphones plus various outboards (16 channels of the good sluff!). Custom ore-/pDst-production assistance on all projects is included
BRETE BROWN Engineer & Producer RENOWN SOUND PRODUCTION 2516 El Camino Real Redwood City, CA 94061 (415) 366-4212 Credits: Mark Adams (guitarist/songwriter for The Rock featuring John Entwistle and Zak Starkey Also for The Hurt with Ansley Dunbar), Henry Small (vocalist/songwriter for Prism, The Hurt, and The Rock), Sterling Crew (keyboardist/songwriter for The Tubes. Santana and Heart), Cornelius Burnous (Doobie Brothers). Keta Bill (Big Bang Beat). Services Offered: Professional quality production, songwriter or artist demos Renown Sound studios features: Otan MX-70 30 ips 1" 16-track, MX-5050 2-track, Nakamichi digital 2-track. TPC Scorpion console by Amek. Hafler power amps UREI 811-B and Toa 265-ME monitors Lexicon. Alesis, dbx, Orban signal processors Complete Macintosh MIDI sequencing system featuring "Total Music" software by Southworth. Kurzweil 250 with "Mac Match." Emulator II, E-mu SP-12 with Macintosh drum file. Renown Sound also offers complete writing, arranging and production services.
GLENN J. BROWN Engineer &Producer AUDIO GRAPH PRODUCTIONS, INC. 2810 Bennett Rd. Okemos, MI 48864 (517) 332-3272 Credits: Debbie Boone, Bill Laswell. 22 Cave Gods fast tracks. over 30 album credits in the last ten years. Services Offered: Producer/engineer. synth programmer inhouse 24-track Studer recording studio Video sync work and scoring production tor many large industrial projects
JEFF BRUGGER Engineer &Producer 1157 Briarcliff Rd. Atlanta, GA 30306 (404) 875-0215 Credits: Commercial music for Southern Bell Yellow Pages. Trust Company Bank. Whilewater, Scripto. Album projects for Cheryl Wilson, Margaret Whiting, Billy Butterfield. Services Offered: Music engineering, broadcast production, audio-for-video post-production Clio and Addy award winner
CHRIS BUBACZ Engineer ON TEN PRODUCTIONS 87-86 116th St, Apt D-5 Richmond Hill, NY 11418 (718) 441-5271 (914) 362-1620 Credits: Engineering, mixing and co-production for artists on labels such as Atlantic. Arista, Passport Enigma, Megaforce. CBS. MCA. Private Music. RCA and the Westwood One Radio Network, Services Offered: Engineering, mixing, production.
EDWIN BUKONT Engineer EB AUDIO PO 6057 Alexandria, VA 22306 (703) 765-8397 (Washington DC area) Credits: New Music Festival IV and V--National Public Radio, Proof of Utah; Midwest Summer Show Choir Camps, Voice of America--field operations; studio construction in Barbados, Costa Rica, Houston, TX Member AES. Services Offered: Consulting engineer for design, maintenance or operation of audio recording and sound reinforcement systems Repair and alignment of audio equipment including consoles. processing devices, recorders, distribution systems. Trained in repair of Nagra IV series. MCI JH-110, Studer 4810. Otan MX-5050 Available as local technician for touring companies and contract maintenance of audio facilities.

LARRY BUKSBAUM Engineer &Producer CRYSTAL SOUND PRODUCTIONS 220 W. 19th St New York, NY 10011 Credits: Composed and produced 1987-88 NY Rangers theme song "All the Way Home." Produced music for NY Women Against Rape video Five out of Five. Engineered sessions for Balan Nelson Entertainment, Media 'Aleve, Caribbean, Ford Motor Co., Ballys Casino and Hotel and Subaru cars. Record projects include Annie Golden, Big Stick, VVIiuuping Cranes. False Prophets and Romper Room Records. Services Offered: Complete production including composition, arranging, contracting, engineering and 24-track recording at Crystal Sound Recording Studios, NYC.
LELAND BURNS Engineer &Producer LELAND BURNS AUDIO SERVICES 2741 Marigold Ft Worth, TX 76111 (817) 834-8281 (817) 429-0764 (817) 838-9881 Credits: Sumet-Bernet Sound Studios, Stone Mountain Band, NTSU One O'clock Lab Band, Mary Kay Cosmetics, Healing Faith MJM Productions' "The Unexplained." Jerry Max Lane, Al Hirt, Danmark Recording. Dizzy Gillespie, Larry "T-Byrd" Gordan, Incredible Productions Inc., Chili's "Baby Back Ribs." Brian and Fouts Music. Services Offered: Recording/mixing engineer for studio recordings, live concerts, TV broadcast; editing and special event programming; producer for numerous radio features and short dramas and recording sessions; film/video producing and audio for film/video: photography/cinematography skills for sporting events and concerts; writing credits for Pro Sound News; current manager of Studio Services Inc./Studio Supply Co. of Texas
DEAN BURT Engineer SUPERIOR SOUND PRODUCTION 7248 Shoshone Ave. Van Nuys, CA 91406 (818) 705-3342 Credits: Whitney Houston. George Benson, Jeffrey Osborne, Ray Parker Jr Peabo Bryson. Teddy Pendergrass. Crystal Gayle, Stacy Lattisaw, Judy Collins, Living Color. Services Offered: Pre-production and production consultation, producing and programming.
DANNY CACCAVO Engineer THIS WAY PRODUCTIONS, INC. 66 W 84th St, Apt 2C New York, NY 10024 (212) 724-3308 Credits: Tim Moore "Flash Forward." Kiss "Lick It Up." Surgin "When Midnight Comes," Jailbait "Let Me Be The One," Kate 8 Anna McGarrigle "Rainbow Ride" Laurie Anderson World Tour 1986. Desmond Child "A Little Romance." Services Offered: Engineering with creative musical input Generally bent on rock and roll, with sound designing when appropriate
DOMINIC P CAMARDELLA Producer SOUND DESIGN 33 W. Haley Santa Barbara, CA 93101 (805) 965-3404 Credits: Have assisted, performed, consulted or produced on productions for Joe Cocker, K Loggins, Airto Moreira, International Record Services, Flora Purim, Jim Messina, Innova Digital Archive, Sojourn, Randy Tico, Winchester Fire Luanne Oakes and others. Services Offered: Specialize in techniques for modern pop music and audio/video production Have advanced Fairlight Series Ill music system and extensive outboard keyboards and effects Based at a complete 48-track analog/digital facility featuring Sony 3324 and 3202 recorders Time code lockup for film work or advanced mixing techniques are offered .Versed in classical theory and orchestration but fluent throughout R&B, pop. country. jazz and out.
PETER M. CARLSON Engineer &Producer HAVE EARS WILL TRAVEL PO Box 1454 Aptos, CA 95003 (408) 462-2722 Credits: Bruce Springsteen, Bob Brozman. Lacy J Dalton. Patrick Simmons, Doobie Bros in Moscow Services Offered: Production techniques, audio engineering for any purpose; audio consultation

156 MIX, FEBRUARY 1988

DAY\

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D 30 mm Module Width Yields Unparalleled Compactness Up to 56 Modules in less than 51 /2 feet Up to 112 "Mix" inputs in less than 51/ 2 feet
E Unique "Floating Subgroup System" Any input can be subgroup Each input module has a "Summed" output
III In-line "Tape Monitor" section Monitor patch point, aux sends, and equalizer Monitor solo, mute, and fader reverse
E Four Band Equalizer High and Low shelving with two sweepable mids EQ split (EQ on channel and monitor)
D 8 Effects send busses per module El Stereo "In-place" solo and PFL (pre-fade listen) Ill Hand-crafted cabinetry with pedestal base E Digital quality specifications

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RON CARLSON Engineer & Producer ZOOM TAPES/PRODUCTIONS 256 S. 1st St, RR3, Box 19A Ogden, IA 50212 (515) 275-2048 Credits: Engineered and produced for Messengers of Love, Kent Hofmeister, Allen/Carlson. Assisted for Benson, the Soul Searchers, Hank Lsake Band. Lion of Judah. Services Offered: Have had six years experience with four years at alocal 24-track studio with Neotek/MCI setup Enjoy working with abroad range of musical styles Flexibility and an open ear are offered with the understanding that the music is important to your creative self-expression tcan offer you an intelligent third opinion and will work to complete aproiect to your satisfaction. After all, that's my job!
RODGER EDWARD CARPENTER/RON GRESHAM Engineer & Producer INNOVATIVELY STYLED PRODUCTIONS do Chicago Tras, Inc. 3347 N. Halstead Chicago, IL 60657 (312) 525-6565 (312) 525-8491 Credits: Among our credits for records, labels, live mixing and tours are: "Superbowl Shuffle," ktidnite Star. Bang Orchestra. Union Station, Jesse Saunders, Victor Romeo, Marshall Jefferson. Gavin Christopher, ZZ Top, Kiss, Ted Nugent, Aerosmith, Hall & Oates. No Sovereign, Warner Bros.. Geffen, CBS, MCA PolyGram, Bright Star records Also numerous independent labels, feature and independent fies. commercials and industrials. Services Offered: The development of new Sonic directions and the art of innovative productior. Studio engineering, programming on an extensive variety of synths, drum machines. computers, samplers and many different types of specialized effects; also, sequencers and other MIDI-based systems. We can take your project from concept to completion very cost effectively
STEVE CARA Engineer & Producer HIT AND RUN STUDIOS 18704 Muncaster Rd. Rockville, MD 20855 (301) 948-6715 Credits: Bruce Springstone "Live a! Bedrock." Meet the Flintstones (Billboard Pick Single. Nov '82) Tommy Keene Places That Are Gone. 1984 Village Voice Number One EP of the Year Oho "Change in the Wind" Musician magazine Best Unsigned Band in America--first place winner. Tommy Keene (Griffin Records) "Listen to Me" (single Bside). Services Offered: Breakthroughs and miracles
FRED CHESTER Engineer & Producer F. CHESTER PROD, 3424 Old St Augustine Rd., 1160 Tallahassee, FL 32301 (904) 878-7975 Credits: Recorded Foghat, Babe Blu, Eh. Gamble Rogers, Marcus Roberts, Gov Bob Graham, Southern Satisfaction, FSU-Jazz Ensemble, band scene for Orion Pictures Something Wild Mixed "live", studio"A" broadcasts for WFSU-TV, Ray Charles, Cleo Leine &John Dankworth, Second City Players, Bo Diddley, John Lee Hooker. Jerry Clower Services Offered: Multi-track recording, mixing, duplications, live audio mixing, music production, writing, session time available thru Flaming Studios and ESP Studios locally on an independent basis.
PAUL CHITEN Producer HOT SPOONS PRODUCTIONS c/o Hot Spoons Productions 1226 Harper Ave., Ste. 4 Los Angeles, CA 90046 (714) 656-6874 Credits: Worked with Michael Jackson, Tina Turner, Commodores. Five Star, Anita Baker. Natalie Cole, BreakIast Club, Jose Feliciano, Imagination, Ahsha. Ondrea.Also music for film, video and television. Solid Gold, Fame, Mona Lisa VVitness. Gung Ho, River's Edges Services Offered: Songwriter --producer --arranger --composer--monster keyboards--vocals--I get excited Dy music that reaches for something Whether it be music kit:lance to, sit and listen to, cry to, whatever-- Iwork mainly in the areas of R&B. dance music. R&B/pop and new rock particularly with English influences. If it has vision and heart, Iarn interested

INDEPENDENT
ENGINEERS & PRODUCERS
PAUL CHRISTENSEN Engineer & Producer OMEGA AUDIO 8036 Aviation Pl. Dallas, TX 75235 (214) 350-9066 Credits: Johnny Cash, Ben Vereen, Anne Murray, Willie Nelson. Ouarterflash. Commodores, Oak Ridge Boys, Ray Charles, Merle Haggard, Helen Reddy, Pat Benatar, Sammy Hagar, Hall & Oates. Art Garfunkel, Al Jarreau, Boomtown Rats and over 200 major artists in past 13 years. Services Offered: Engineering and producing services with emphasis on audio for video and film. Specialty is consultation for live video shoots from concept to completion. Extensive experience in digital audio/video interlock, stereo television. video disc and videocassette release both Beta and VHS Hi-fi.
ALEX CIMA Engineer & Producer 1501 E. Chapman Ave., Ste. 100 Fullerton, CA 92631 (714) 680-4959 Credits: Releases on Deutsche Grammophone/Polydor International --Germany, GNP-Crescendo and Chromosome tables. Worked for all TV networks, recorded audio-visual projects, radio/TV commercials, film trailers and music videos, as well as special projects for major entertainment companies Services Offered: Audio recording/production, analog and digital music synthesis, project troubleshooting. consulting Proprietary computer program for hit analysis and video/him footage to MIDI sequencer synchronization. Detailed resume on request
KIRK W. CIRILLO Engineer & Producer NEW MUSIC STUDIOS 2A Mansion Woods Dr. Agawam, MA 01001 (413) 789-2264 Credits: Rockville Records, Focus Records, Epic, Warner Brothers, Bill Zucker (BZB Band), The Breakdown, Picture This. Tome Cole'. Star Search, MTV, The Cartells, Roger Salloom, Jerry Rome Nissan, Northampton Honda radio jingles. Pheonix Mutual Lite. Services Offered: State-of -the-an 24-/48-track engineering with honest advice and direction MIDI/drum machine programming.

SCOTT COCHRAN Engineer & Producer 4137 Longfellow Minneapolis, MN 55407 (612) 729-0831 Credits: Recent engineering achievements include instrumental and vocal production libraries, national and regional advertising campaigns for Macy's, McDonald's, Houston Chronicle, JC Penney's, National Association of Broadcmters, custom radio ID packages, television image packages. LPs. EPs. 45s, booking demonstration tapes and promotional kits, industrial videos and sound reinforcement with Showco. Services Offered: Ienjoy servicing each client with the skill of a technician and the touch of an artist. Advertising agencies, local retailers, bands, solo artists and production facilities each rely on my services flook forward to working with you. Asa marketing test, mention this article and we will negotiate adiscount.
MATT COLE/JOSH HEINEMAN Engineer & Producer SOUNDTRACK CITY 659 Broadway New York, NY 10012 (212) 353-0561 Credits: Gene Ewing Fashion, Atlantic Records, Health VValking Video, NY area commercials for TCI, RCR Productions &Advertising Inc, Manhattan cable TV "Premiere" Services Offered: Soundtrack City's services include complete MIDI production using digital sampling, Macintosh sequencing and SMPTE locked multi-track recording Original music for videos and MIDI production for records is our specialty In addition. Soundtrack City offers 1/2 "and IA" video production. Block rates available on request.
JACOB D. COLLINS Engineer SOUNDS GOOD PRODUCTIONS 2675 E. 74th St Chicago, IL 60649 (312) 374-1684 Credits: Audio mixing and boom for CBS rad.o news. NBC TV news, The Today Show, Entertainment Tonight, public radio, Montgomery Ward, Continental Can. Nightingae Conant, Father Clements Story, Crime Story. Butterscotch &Chocolate. Chicago Tribune, Illinois Lotto, Uncle Bens Rice, Jack &Mike (the making of) Poltergiest Ill/promo Services Offered: Audio mixing and boom for location video, film documentaries, commercials, features, radio, corporate, industrials and entertainment
MICHAEL COLLINS Engineer & Producer THE COMMERCIAL REFINERY, INC. 2105 Maryland Ave. Baltimore, MD 21218 (301) 685-8500 Credits: Essential Attitudes Vol 2compilation LP; When Thunder Comes Eyes of the Wolf LP; Eight Essential Attitudes compilation LP; Missions's When Thunder Comes LP; Mission's The Last Detail LP; Majestic's Mystical Teaser EP: Squashed Ants compilation LP; major market radio spots. Services Offered: Chief engineer at the Commercial Refinery and staff producer for Frantic Records. Freelance engineering and producing, live sound reinforcement and sound consultation. Radio and off-camera TV commercial prcduction, slide/ video/film audio production; LP/EP/single production.

CLAYTOVEN, LARRY BATISTE, WILLIAM KENNEDY Oakland, CA
CLAYTOVEN, LARRY BATISTE, WILLIAM KENNEDY Producer PURE DELITE MUSIC 1407 Webster St, Ste. 211 Oakland, CA 94612 (415) 444-1237 Credits: The Dramatics, FDR, LJ Reynolds, Bill Summers arid Summers Heat and Street Fare. Services Offered: Production and publishing

GARY J. COPPOLA Engineer & Producer GARY J. COPPOLA &ASSOCIATES PO Box 5395 Santa Monica, CA 90405 (213) 399-8965 Credits: Twelve years experience, worked at Cherokee, Kendun. Record Plant, Village, Pacific Video--many others, Worked with Toto, Stanley Clarke, Jeff Baxter, Jeff Beck, Ken Scott, Motown and Warner Bros. Services Offered: Production, engineering and arrangement. Experienced in all types of music and formats Film scoring and video post-production sweetening services Specialize in selecting proper facilities to fit the clients creative and financial requirements Song development and album production.
JUAN G. COVAS (PERICLES) Engineer & Producer ALFA RECORDING STUDIOS Calle Cacique, $12058 Ocean Park Santurce, PR 00911 (809) 727-1732 (809) 790-9872

158 MIX, FEBRUARY 1988

Credits: TH Records, Lobo Records, Unica Records. Satsoul Records, CBS Records, Cod iscos Records, Mueca Estival Records. lvtamoku Records, Padosa Advertising Agencies, Badillo/ SSC. FCB/Mazda Group, FCB/INC. topic, Ileana &Howie. Park Adv .Bacalao Inc ,Corporate Communicators, Young & Rubicam, Omega Adv Services Offered: Multi-track recording, 0.Lock services, ive recording, sound reinforcement engineers. digital mixes
RT. "TABBY" CRABS Producer TCR PRODUCTIONS Rt 2, Box 4, PO Box 589 Charlotte Hall, MD 20622 (301) 884-3709 Credits: Produced 11 Top 100 country singles since 1985 Manages Top 40 folk rock artist Sam Neely Helped six acts break the charts since 1984 Formerly with The Urban Cowboy Band. Produces The Tidewater Report on public radio Owner db Records Services Offered: Independent production and consultation Cost-effective Records 24-track in Nashville and New York. Band 16-track in-house with up-to-date rack Assistance with single distribution and promotion Produces with emphasis on "feel and character" Likes to get to know the artist and tailor facilities and personnel around the artist's talent and personality.
WARREN CRAWFORD Engineer & Producer CRAWFORD PRODUCTIONS PO Box 1192 New Smyrna Beach, FL 32070 (904) 427-6626 Credits: Original music scoring for "I Grow Old, IGrow Old," documentary. WFTV, Orlando; "Give Me Shelter". documentary, WFTV. Orlando. Fairlight programming with John Philip on Atlantic Records, and Whitewing EP, Space Broadcasting Systems Inc. Services Offered: Specialize in scoring, performing and recording of original music for television and motion pictures. On staff music arrangers/composers, orchestrators, musicians, lyricist and music producers. Recording studio/services, sound effects. audio design, music videos and jingles for radio and TV. Fairlight computer programming

Services Offered: Recording engineering, mixing, production and programming.
JON "MR. BIG" D'AMELIO Engineer & Producer PO Box 120884 Nashville, TN 37212 (615) 883-8086 (615) 883-9600 Credits: Reptile Records, Bigamy Brothers, The Dusters, Government Cheese. Susan Marshall, Jerry Dale McFadden, Duane Eddy, Warner Hodges, Scoff Tutt Music, Royal Master Records. Alex Zanetis, Melody Henry, Alabama, Earl Thomas Conley. Charlie Daniels. Bobby Harden, Merle Kilgore, Marshall Tucker Band, VVebb Pierce, Opryland USA, Tom Dowd. Union Station Records, Services Offered: Record engineering/production, live mixing/ recording. artist development and management, song plugging. studio design, photography, album packaging, video production. Studio manager of Jack O' Diamonds Studio. Digital/ multi-track studios used: Chelsea, Sound Emporium, Mastertonics, NAP, 1030 Studios. Studio 1111, Sound Connection, LSI, Treasure Island, Sound Shop. Post facilities: Post Masters, MPL.
ROBIN DANAR Engineer & Producer SQUID PRODUCTIONS 1689 1st Ave., lIt New York, NY 10128 (212) 289-5868 Credits: Suzanne Vega, Garland Jeffries. Randy Newman, Linda Ronstadt, Ay Cooder, Buster Poindexter, Kids in the Kitchen. Uptown Horns, Urban Blight. Pedantiks. Joy Askew, Crossf irechoir. Michael 7, Don Roc, Longhouse, Velveteen, Sylvain Sylvain. Jcity Min, Richard Lloyd, Lonesome Val. Grace Pool and Steve McQueen, Services Offered: Squid Productions provides both recording, engineering and production services and live engineering and production services Studio specialties have been high qualitylow budget demos and independent records, with several subsequent major label releases Live specialties have been coordination of shows and live mix in all the major New York venues (Ritz. Limelight. Palladium, IAlorld, CBGB, Bottom Une, etc.) as well as international tours. Live mixes for television shoots have also been coordinated for Showtime and MTV, as well as local cable networks

MAL DAVIS Engineer & Producer HEARING EAR 730 S. Harvey Oak Park, IL 60304 (312) 386-7355 (312) 653-1919 Credits: The Master & Musician, Phil Keaggy, Mourning To Dancing, James Ward: Jessy Dixon Ken Medema, Northern Illinois University Jazz Band: Chicago Jazz, Roger Pemberton; Hope Publishing; Brass Impact #2, Warren Kime; Wheaton College Men's Glee; Resurrection Band, Chris Christensen, Russ Daughtry Services Offered: Twenty years of professional recording experience Complete music production and multitrack engineering services. Excellent pool of professional musicians and arrang. ers available. Henebased at JorDan Studios, Wheaton, IL Augspurger/Edwards design incorporating 2011 studio ceiling along with Neve-Studer-AMS control room. Accommodations, cornplate kitchen lacilities, musicians lounge and health club available to help make your project a creative and comfortable process Ibelieve in the strength of good working relationships and the pursuit of excellence in all areas
JIM DEAN Engineer & Producer MUSIDEO PRODUCTION GROUP PO Box 117008, Burlingame CA 94010 1112-12840 Bathgate Way Richmond, BC, V6V 1Z4 Canada (415) 344-4434 Credits: Chris Cain Band (Blue Rockit). Dee Jam, Mark Ford Band, Chico Freeman, Joannie Greggains Productions, Susan Jacks (CBS), Kickaxe, The Leaders, Legs 11, Los Tigres (Profono/CBS). Ronnie Montrose (Passport), Eddie Money (Re-Mix). Northrup. Stonebolt (RCA). Secret 7, Tag. Think. The Uptones, Jessica Williams. Blackhawk Records, Enigma Records, Palo Alto Jazz Records. Services Offered: Musideo combines contemporary production techniques with an innovative and confident style of recording to draw out the artist's best performances and to give the project aunique sound As well as music production for hire. Musideo Production Group also functions as an independent A&R company and develops recorded product for record label contract solicitations and/or independent release. Tapes submitted for A&R consideration can be sent to Musideo Production Group. PO Box 117008, Burlingame, CA 94010. attn. Jim Dean Please send astamped, self-addressed envelope, contact person and telephone number, and allow 4-6 weeks for aresponse.

J.R. CUMMINGS Producer SOUNDSTAGE IPRODUCTIONS 13270 ex Mile Rd. Battle Creek, MI 49017 (616) 979-1532 Credits: Jingles and/or original music/soundtracks for such clients as: Whirlpool. North American Van Lines, Dolly Madison, BeMar Foods, Upjohn. State of Michigan, Archway. Scores of Regional Music Works. Lansing General Hospital, Felpausch, Mader Hill Lieta, Gilmores, Savannah Light &Power, US. Government, many more. Services Offered: Original music scores for corporate advertising clients. Including audio for video, motivational, training. industrial and commercial music. We pride ourselves on consistently producing superior product, through our experienced staff and up-to-date technology
JOHN CUNIBERTI Engineer & Producer LAUGHING BOY PRODUCTIONS 7627 Leviston El Cerrito, CA 94530 (415) 525-3860 Credits: 1987 LPs and singles for Joe Satnant Possessed, Dead Kenneciys, Sister Double Happyness, Bohemian Luv Jones, Whispering Lion, Blue Movie, Caribbean Allstars, Tragic Molato, Services Offered: Iwill co-produce or engineer records or demos Iprefer working with new artists on independent lables with good management. Ihave an open mind to just about anything and will lend support when asked. Ican put together budgets. find studios. equipment and players. Iuse only the line* mica and mic preamps for all phases ol recording.
DAVID DACHINGER Engineer & Producer RECORDING AND SOUND SERVICES 127 W. 78th St, Ste. 112 New York, NY 10024 (212) 496-0049 Credits: Michael Bolton, Gavin Christopher, Roberta Flack, Jane Fonda. Isley-Jaspertsley, Mtume, Princess, Arnold Schwarzenegger, Southside Johnny. The System, Third VVorld Jingles include Burger King. Miller Beer, Pacific Bell and Pioneer Stereo

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FEBRUARY 1988, MIX 159

PETER DENENBERG Engineer & Producer ACME RECORDING STUDIOS 112 W. Boston Post Rd. Mamaroneck, NY 10543 (914) 381-4141 Credits: Produced and engineered Eastern Bloc LP for Paradox/PolyGram, engineered for Atlantic Starr recent platinum LP. mixed Geri Allen recent LP, co-produced and engineered many recent live-to-digital jazz CDs. Also worked with John Waite. Mitch Ryder, Glenn Alexander w/MinoCinelu and Randy Brecker Services Offered: Through Acme Studos flexible album or demo projects are possible as both producer or engineer
MICHAEL DENTEN Engineer &Producer DENTEN PRODUCTIONS/INFINITE STUDIOS PO Box 1709 Alameda, CA 94501 (415) 521-0321 Credits: Whispers, Club Nouveau. Bobby Brown, Dramatics, Street Fare, FOR, LT Reynolds. Collage. IWitness. Dooney, Silent Scream, etc. Services Offered: Full 24-track recording studio available includes--complete keyboard MIDI setup, various drum machines, wide selection of drum samples.
EUMIR DEODATO Producer KENYA MUSIC, INC. 60 East End Ave., 2C New York, NY 10028 (212) 472-2933 (212) 334-8444 Credits: Ten platinum records (LP) including 2001, Kool &The Gang, among the older projects. Contact the above numbers for more information. Services Offered: Complete MIDI services including top of the line sequencers, software programs (Macintosh), one of the best studios in NY (Duplex), access to the top songwriters. never missed the charts, many keyboards, etc.
MARC J. DICCIANI Producer MJD PRODUCTIONS, INC. PO Box 153 Sea Isle City, NJ 08243 (609) 263-1777 Credits: Record production: Ben Vareen (Manhattan); Mary Welch (Atlantic); Bobby Ryden (App!ause). Video/muse production/direction: national TV and home video promotional and educational spots for various industries. Total Body Workout (exercise video). Services Offered: Full music/audio/video production; records; pngles. TV, song/artist demos. promotions; commercial and industrial music and video.
OLIVER DICICCO Engineer &Producer MOBIUS MUSIC 1583 Sanchez San Francisco, CA 94131 (415) 285-7888 Credits: Montreux, Henry Kaiser, Fred Frith, Richard Thompson, Bobby McFerrin, Andy Neel. Alex de Grassi. Zasu Pitts, Modern Rocketry, Ron Thompson, Big Bang Beat. PFS,I Sylvester, ENO, Warner Bros. Records, Windham Hill Records, Rhino Records, Michael Hedges, 1985 Grammy nomination Best Engineered Album. Services Offered: With adozen years of experience working out of my own 24-track studio, Ioffer arelaxed and creative environment in which you can realize your musical visions. Services offered include: production, engineering, location recording, musician contracting and arranging.
HANK DONIG Engineer &Producer WIZARD MUSIC GROUP 8033 Sunset Blvd., Ste. 358 West Hollywood, CA 90046 (818) 905-1703 Credits: Kenny Rogers, Lionel Ritchie, Devo, Air Supply. Crusaders. Egyptian Lover, George Winston, Russ Parr. Kingston Trio, Kin Vassey, Linda Caner. P.P.I., Star Search. G.LO.W. (Musical Director for the national 1V Show) Services Offered: Total production package includes 48. track studio, song writing or publisher "A" drawer songs, arrangements. double-scale musicians and BG vocals; all engineering and total package includes shopping arecord deal or pressing records for an independent distribution network. We produce master quality radio-ready tapes.

INDEPENDEST
ENGINEERS & PRODUCERS
CURTIS DRAKE Engineer & Producer 5926 Chula Vista Way Hollywood, CA 90068 (213) 467-0937 Credits: Professional audio services since 1979 in Los Angeles, Dallas and Munich. Diversified clientele and avariety of production facilities combine for awell rounded resume Services Offered: Audio engineering and production services. instruction and independent equipment sales--please contact for resume package.
CECIL O. DUKE Engineer &Producer CECIL O. DUKE 5166 W. Slauson Ave. Los Angeles, CA 90056 (213) 294-5738 Credits: Ray Parker. Jr, Howard Hewitt, Randy Hall, Confunkshun, Zane Giles, Susan Richardson, Came McDowell, Willie Hutch, The Williams Bros Joe Tex, Charlie Singleton. Services Offered: Producing-complete supervision of project from beginning to end; acquainted with the top studio musicians in the Los Angeles area. Engineering-recording/mixing all styles of music; tape machine alignments, synthesizer and drum machine programming, proficient on bass guitar; light keyboard playing; arranging.
HUGO DWYER Engineer &Producer HUGO DWYER MUSIC 70 Carmine SL, 115R New York, NY 10014 (212) 929-4197 Credits: Tina Turner, Robbie Neal. Erasure, Fat Boys, Red Hot Chili Peppers, Mel 8. Kim, Latin Rascals, Information Society, Nocera, Tina B., Cover Girls, Jazz Passengers. House of Mommies. Gloria Loring, Nayobe. Wally Jump. Jr, Cutting Crew, Boys Don't Cry, Breathe, John Rocca. Pointer Sisters. Double Destiny Services Offered: Recording and production for contemporary rock, pop and jazz. Dance re-mixes aspecialty
STEVE DYER Producer ROCKY MOUNTAIN HEARTLAND PRODUCTIONS PO Box 6904 Denver, CO 80206 303) 841-9405 Services Offered: Rocky Mountain Heartland Productions is a full-service production company and advertising agency Executive producer and studio producer is Steve Dyer. Studio production: access to some of the finest studios in the Rocky Mountain empire, Midwest, Nashville and LA music. Arranged and originally scored for studio orchestra, big band, synthesizer. or other combinations LP albums and cassettes master tracks are produced, mastered and pressed. Complete jacket art and photography creatively produced in fresh and stimulating ways Advertising: scripts, lyrics and compositions for radio. TV and print media Film and slide presentation: production for business promotion projects and presentations for seminars, sales meetings, etc. Financing: artist sponsorship, promotion and project financing is possible upon approval ol qualified artists and groups. Creative positions available. Currently looking for personnel in areas related to above. Submit demos, samples and resumes for file.
EBN Engineer &Producer MSP MUSIC, INC. 476 Broadway New York, NY 10013 (212) 226-1030 Credits: Credits as producer, programmer, engineer or musician include: Air Race, Richard Burgess, Keith Diamond, Ebn Ozn, Bob James, Jimi Hendrix. John Luongo, Arif Mardin Gary Moore, Gary Myrich, Phil Ramone, Riff Raft, Scritti Politti, Ravi Shenker, Star Point, Harold Wheeler. James Ingram, Michael Bolton. ABC-TV All My Children), MTV, Judy Tenuta, etc.

Services Offered: Fairlight CMI Series Ill state-of -the-art 16-bit computer musical instrument. 24-track music production and recording, Fairlight programming, film swing. Complete stateof-the-art production facility is available or premises. including Fairlight CMI Series Ill, Studer A80 24-track and 2-track tape recorders, 3/ 4 "video lock-up to 24-track Stoder 810 center track time code stereo 2-track and acomplete line of top quality signal processing equipment, musical instruments and special effects. EBN also has one of the most extensive Fairlight sound libraries available in the world Complete MIDI studio IBM AT
DAVE EDWARDES Engineer &Producer DAVE EDWARDES PRODUCTIONS 7221 Judson Ave. Westminster, CA 92683 714) 892-0877 Credits: Credits or references available upon request. Services Offered: Mufti-track recording, producing or co-production with artist or producer. Pre-production planning, arrangement consultation and live sound also available Experienced in engineering many different musical styles in an efficient. and easy-going atmosphere. Dedicated to capturing and enhancing artists sound. Also experienced in visual fields of the music industry Artists are encouraged to wrile or call.
REGINALD ESKRIDGE Engineer &Producer GCS PRODUCTIONS 1508 Harlem Memphis, TN 38114 (901) 274-2726 Credits: Shirley Caesar, Mighty Clouds of Joy, Johnnie Taylor, J. Blackfoot, Denise LaSalle, Bennie Latimore, Joe Simon, The Manhattans. Victory, Brown Singers. Plus One. CC O'Reilly. Shirley Brown, King Saul, Rufus Thomas, Miele Jackson. Eddie Mayberry, George Jackson, Xavion, Carla Thomas, Vaneese Thomas, Cheryl Fox and many many more. Services Offered: Complete record produdon and radio pngles High performance mixing Immense song catalog. Extensive industry contacts--U.S. and abroad Projects recorded at our in-house studio or at your location. In-house engineers with current Top 10 records, staff musicians who teve gold record credits. We take your ideas through to radio and we provide a competitive edge. For professionalism at its wry best--contact GCS Productions,
DALE EVERINGHAM Engineer &Producer AUDIOVISIONS 8367 Goff Links Rd. Oakland, CA 94605 (415) 568-1617
Credits: Co/albums--Epic, Intima, Quest, Windham Hill. NicA. Calero. Music West, Blue Heron and more. TV/mede--KPIX.
KRON, euu. DHL. Capwells, Milk Advisoni Board, Hidden Valley Ranch, Human Race Club video series. Feature, industrial and documentary films. Chief engineer at Live Oak Studios. 5/84--present. Services Offered: Complete engineering and production services to make your Audiovisions areality Ihave the experience and direction necessary to bring out the best in your project. Highest quality audio in all analog and digital lormats. Expert in Olock Eclipse, lock-to-edeoand del( mix automation systems. Extensive MIDI and computer production skills Pre-production including, rehearsals, Macintosh sequencing .and contracting of the Bay Area's finest musicians Call me to d&cuss your next CD. album, commercial or film project and find your Audiovisions.
FRANK D. FAGNANO Engineer & Producer 413 Park Ave. Fairview, NJ 07022 (201) 941-8528 Credits: Experienced with playing, writing. producing and/or engineering the following electric and acoustic jazz, pop-rockdance, folk, country, new age-classical-contemporary. Latin. national jingle spots-chief engineer of Marion Recording Part owner of Perfect Pitch Productions, Inc. engineer at Hillside Sound. Synclavier training at New England Digital (NYC). Services Offered: Production/engineering in electronic and acoustic music, custom sound development, sequencing and programming on freelance basis. Hourly or package rates available. Synclavier digital audo system, E-rr.0 Emulator II, Yamaha DX/TX systems. Grey Matter response El board. ber hewn Matrix 12/Xpander, Matrix 6. Akai, Roland, Moog, Prophet, electronic percussion including: E-mu SP-12. Oberheim DX, DMX, Yamaha RX, Simmons, Octapads. triggering from acoustic source material, software applications including Mark of the Unicorn Performer/Composer, DX Pro librarian. Blank SP-12 librarian.

160 MIX,FEBRUARY 1988

JOHN FALZONE Engineer & Producer ON FIRE PRODUCTIONS 1305 Wake Forest Rd. Raleigh, NC 27604 (919) 828-3410 Credits: Sidewinder-Fade To Black (Executive). Nantucket-Nantucket V(Executive), Carlene Williams (Broadcast). 3PM-Better Late Than Never (Ostinato). Z Sharpe-Sweet Sixteen (Warner Bros). Maui Warrior (Executive), Rod Dash-Comboland (Making Waves) Services Offered: Complete audio production services Private studio available Specializing in sound processing/treatments
RANDY FARRAR Engineer & Producer SOUND CHAMBER PRODUCTIONS 27 S. El Molino Ave. Pasadena, CA 91101 (818) 449-8133 Credits: Records jazz-Plunkett's Salan. Plunkett's AM. Gordon Radford Moment in Time; films and 7V: PBS Spaceflight, PBS Nova Spy Machine, Howard the Duck (engineer) Services Offered: Production, engineering, orchestration and composition Ihave my own 24-track studio w/SSL 4000E 40-input console which is wired for 32-track Mitsubishi X-850. Specialize in jazz. film scoring (acoustical or synthesized) to 3/4 ' video lock-up
BRENDA FERRY Engineer & Producer 18 Haviland St.,» Boston, MA 02115 (617) 536-0193 Credits: Videos prod./eng. Out of Touch (Top 10 local V-66). Starmakers, Digital Co Films Transformer, NRG (CBS distr.), Safetynet, Father Death Audio Buddy System, I-Tones. Maurice Starr. Earl Steward (comp.). Christian Jacob, Sidney Smith, Superiors, Herman Johnson, Oo-Ah-Ah, Berklee College. Victor LeComer. Essentials. Services Offered: Audio art. Studio production. Multi-track recording with vintage and modern microphones. Location recording. Video production specializing in overall effectiveness of the video-audio package. Ability to recognize talent organize and be cost-effective; hire composers. arrangers. Musicians, video crews, mold effective mixes; get quality product mastered, packaged and distributed Studio installations and wiring work. Studios employed by Newbury Sound. Normandy Sound, Air Sound. Mission Control, Home Inc (video prod .editing). Video 1and Tape Complex (tape duplicatiori). Willing to travel Special interest Christian rock and roll.
JOHN FIELDEN Engineer & Producer PRO SOUND HAWAII 1664-C Lusitana St Honolulu, HI 96813 (808) 523-2841 (808) 947-8802 Credits: NBC Sports, ABC Sports, NFL Films, Manichi Broadcasting. Kahanu Records, Audio Digest, US Postal Service. Tape One Hawaii, Sound Catchers, Custom Audio, various local recording co and producers. Services Offered: Remote 8-track to digital 2-track recording. Audio for video production and post-production Cassette duplication mastering and mixdown. Convention and seminar recordings for transcripts, editing and casscffe duplication Complete production packages for audio and video.
KENN FINK Engineer & Producer DEEP SPACE RECORDS 400 Mill Rd. Hewlett Woods, NY 11557 (516) 791-6755 Credits: ABC TV (All My Children), Air Race. Michael Bolton. Richard Burgess, The Committee for Public Safety, Keith Diamond, EBN-OZN, Fear of Ordinary Lite. Stephan Gerbier. James Ingram, 1.0, Ivornee. Konk, Liquid Hips. John Luongo, Aril Mardin, MTV, The Outcast, Phil Ramone, Scott Grant, Scritti Starpoint. Judy Tenuta, Thundercats, VKTMS, Harold Wheeler and WUR Radio to name afew Services Offered: Extensive programming of Fairlight Series II and IBM based MIDI system. Other instruments include avariety of Oberheim, Yamaha, Roland, Moog and ARP synthesize-s and drum machines. Full production includes 24-track Studer facility Pre-production offers Roland S-50 sampler and 8-track recording Uses IBM system with Texture 2.5. MPS and Prot Composition, arranging, production and performance of songs. jingles and IV/Motion Picture sound tracks Full SMPTE system with 3/4 ", Beta and VHS video available.

JAMES E FOX Engineer 8 Producer LION & FOX RECORDING. INC. 1905 Fairview Ave. NE Washington, DC 20002 (202) 832-7883 Credits: Folk, reggae, hard core rock, big band, jazz, country Services Offered: Full service 24-track recording studio--Emu-
lator II, DX7. LranDrum, Hammond B-3. drums

·
111111arm...._
GERHARD FINKENBEINER Waltham, MA

PAUL FOX Producer do Summa Music Group
8507 Sunset Blvd. West Hollywood, CA 90069 (213) 854-6300 Credits: Producer--Boy George--Hiding Out soundtrack. producer --Scarlett & Black--Virgin Records: producer--Down
Avenue--RCA Records; co-producer --Princess-- PoiyGram
Records, associate producer/writer --Chico DeBarge --"Talk To Me"

GERHARD FINKENBEINER Engineer & Producer G. FINKENBEINER INC. 33 Rumford Ave Waltham, MA 02154
(617) 899-3138 Services Offered: The company is using tuned quartz crystals (shaped by melting techniques) in the production of two musi-
cal instruments. One is the Armonica which was invented by Benjamin Franklin Its use was wide spread around the year 1785 Mozart and others composed music for it The eerie lanes, when played with wet fingers, are said by some to have a hypnetizing effect The second instrument is aCarillon. With this
instrument quartz is struck from akeyboard and is amplified eectronically

RAY eISHEL Engineer & Producer 16910 Bluestem Cl. Austin, TX 78737 (512) 858-5319 (512) 471-6223 Credits: Nova Saxophone Quartet. Harvey Pittel Saxophone Dualet. Harvey Pittel (solo album), Anneka Speller (R OM P). Amy Brantley. Anton Nel (winner of the 1987 Naumburg Foundation International Piano Competition), the University of Texas Jazz Orchestra, Trick Trax, Vision, The Kinsmen, Megan Meisembach. Services Offered: Fully equipped 24-track studio Musicians and arrangers on call Experienced and easy to work with Specia'izing dl classical and jazz recordings using real instruments with real live musicians
BRUCE W. FISHER Producer FISHER ENTERPRISES 2324 Park Ave. Cincinnati, OH 45206 (513) 281-0612 Credits: Down Beal Hall of Fame Award, opening ceremonies 1987 Word Figure Skating Championships Industrials for AT&T, Procter and Gamble, Western Auto, Good Housekeeping, Shell Oil Company. American Legion National Convention. Westinghouse Lighting Division. Sanco. Disney On Ice, Siegfred and Roy's Beyond Belief, all shows and musicals on Norwegian Caribbean Lines, Kings Productions Services Offered: Producer, composer, arranger, orchestrator and lyrical for pre-recorded live shows, industrials and touring shows
BRIAN FOFtAKER Engineer 15458 Cabrito Rd. Van Nuys, CA 91406 (818) 782-0221 Credits: Whitesnake, Rick Springfield, Starship, 38 Special, Heart Bad Company, Saga. Farrenheit, Eddie n' The Tide Services Offered: eull recording services. i.e mixing, remixes, live recording. live broadcasts
PAUL FOWLIE Engineer PAUL FOWLIE AUDIO ENGINEERING 66 Oakrdge Rd. West Orange, NJ 07052 (201) 669-0707 Services Offered: Audio systems design and installation, electronic maintenance and equipment repair, remote recording services live audio mixing for music or events and production consultation

JERRELL L. FREDERICK Detroit, MI
JERRELL L FREDERICK Engineer MOTION PICTURE SOUND, INC. 3026 E. Grand Blvd. Detroit, MI 48202 (313) 873-4655 Credits: Thirty years as are-recording film mixer and recording engineer have won many local, national and international awards Ion the mixing of thousands of motion picture soundtracks for industrial. documentary, training and theatrical films Founded own company in 1986 Services Offered: Re-recording/mixing soundtracks for motion pictures This is the largest 35mm facility in the Midwest We can handle up to 8tracks of 16mm. 8tracks of 3-track 35mm and 16 tracks of 35mm single track. 16/35mm transfers, sound effects and music, as well as custom effects and all new digital MUSIC Dialog recording and replacement. loreign language dubbing Production recording and mixing 16/35mm screening facilities. Soon lo be added the Midwest's first Foley Stage and 30 frame transfer and mixing
MICHAEL FREEMAN Producer COACHOUSE MUSIC The Coachouse, PO Box 1308 Barrington, IL 60010 (312) 382-5295 Credits: The Reverbs (Metro/Enigma US --Victor Japan). Paul Chastain (Pet Sounds/CBS). Eleventh Dream Day (Amoeba), The Service-The Hollowraen (Pravda), Candi Staton (Source), Ric Menck, Paint Set. Pop the Balloon, Green, The Indigoes, I Spy, Heavy Manners. Armageddon, Loose Lips Rise. Misfit Toys
ROB FREEMAN Engineer & Producer TITLEWAVE PRODUCTIONS 135 Nyac Ave. Pelham, NY 10803 (914) 738-1310 Credits: Production credits include 60-60's double platinum LP Beauty and the Beat Twisted Sister's debut single "Bad Boys of Rock n' Roll"; Tim Moore's No.lBrazilian single "Yes". Regina, Jailbait Gowan Engineering and remis credits include. Kiss. Blondie, ABEIA. Ramones.
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FEBRUARY 1988, MIX 161

--CONTINUED FROM PAGE 161
Services Offered: Full service record and music production company with strong emphasis on songs and artiste performance; stale-of-the-an pre-programming with a"human" touch Songwriting and arranging aspecialty Rob works closely with his artists to get the best, most expressive performances possible with every organized, cost-effective, radio-oriented production style. Fifteen years of hit-making experience
GREGORY FULGINM Engineer 1600 N. Wilcox Ave. Hollywood, CA 90028 (213) 461-2751 134 E. Rio Grande Ave., Wildwood, NJ 08260 (609) 522-4638 Credits: Pat Benalar, Berlin, Beverly Hills Cop, Wang Chung. John Coltrane, De. Bob Dylan. Duke Ellington, Ella Fitzgerald, Peter Gabriel. Grateful Dead. David Gnsman. Heart, Jimi Hendrix. Elton John, Nik Kershaw. John Lennon, Los Lobos, Madonna, Barry Mandow, REO Speedwagon, 38 Special, Rick Springfield, Starship, Whotesnake, Kim Wilde. XTC, Frank Zappa, Art Tatum
GREG FURGASON Engineer & Producer 198 Bloomfield Ave. Newark, NJ 07104 (201) 481-0972 (201) 733-0331 Credits: Wall St, Market Report, Wall St. Journal, Repon late news (USA Cable Network). U-68 stereo music video television logo and themes (WWHT-TV), Uncle Floyd Show (WWHT-CH 68). NJ Young Filmmakers Festiva: (WNET-TV), Manhattan Coffee Soda (WPIX-TV). Services Offered: 2- to 24-track analog and digital recording studios, ,A"and 1- music video and spot production from story board to finished master. Recording classes, studio design and installation.
WLADEMIRO FUROUIM DA SILVA Engineer VAVA FUROUIM Rua Araujo Pinho, No. 63, Ap. 604 Salvador, Bahia-Brazil 40140 (071) 245-0994 Credits: Live mixing for Aleeu IValenca (tours in Europe. the USA and South America '80287), Paco DeLuca (Brasil tour '86), John Rivers (Brasil tour '86), Gilberto Gil, Gaetano Veloso, Simone. Elba Ramalho, Marais Moreira. Fagner, Ney Mato Grosso and the Free Jazz Festival '86 with Ray Charles, David Sanborn. Manhattan Transfer, Winton Marsalis Stanley Jordan. Egberto Gismonti. Larry Carlton etc thave worked with these systems: Gabisom. Joao Americo, Mac Audic, R-4. Val 8 Val, Clair Brothers in Rockin Rio. Services Offered: Freelance engineering Live mixing with custom rack including: Klark Teknik 60 analyzer and ON360 EO, BSS FDS340 x-over. Valley People Dyna-Mite, Drawmer DS201 noise gates, Roland Dimension D, dbx 165 comp, PCM70 Lexicon reverb, Roland delay. mrcs: AKG. Sennheiser, Crown PZM. Shure, E-V. BSS active DI
ARTURO MA GARCIA Engineer & Producer MR. CAT PRODUCTIONS 130 Roycroft 11307 Belmont Shore, CA 90803 (213) 434-0469 Credits: Experienced on: SL 4000, rident 808. MCI 1536. Tangent 3216. Tascam M5. AMA's studio Bmixdown desk Two years USC/LBCC Recording Ms program. Special services al LBCC. VVritten and produced music for fdm: Peaks Island Productions, Little Deer Prod. Lockwood &Assoc Masters/demos, rock, pop gospel, metal, country Services Offered: Producer/engineer/musician: production will provide total services for demos/masters, ie. musicians, studio format, 24. 16. 8. 4. Live and/or MIDI recording, sequencing, sampling, etc From pre-production, to tracking, to mixdown. Direction and sound design for film trailers, soundtracks. commercials, TV. radio and industry Excellent one or one rapport with soloist/songwriters.
JIM GARDINER Producer & Engineer LIVE OAK STUDIO 1300 Arch St Berkeley, CA 94708 (415) 540-0177 Credits: VVorked with Thomas Dolby, Rosie Gaines, Curtis ()bison, Andy Narell, Pharoah Sanders, Epc, Capitol, Intima and many, many others. Services Offered: Complete music production offered by experienced composer/arranger, film scores and record production. Two complete 24-track studios with full selection of outstanding keyboards and outboard gear. 0.Lock with disc-based automation Inspirational environment with cityscape views of the San Francisco Bay Bridge. All of this with the punchiest sound in the Bay Area!

IDEPENDENT
ENGINEERS & PRODUCERS
ERIC N. GARRISON Producer CHINA MOON PRODUCTIONS 575 Ponus Ridge New Canaan, CT 06840 (203) 972-3261 Credits: Demo cassette available on request. Services Offered: China Moon deals mainly with artists who are interested in releasing their own work and must do so on limited budgets We like to work on aper project basis, thereby avoiding the hassles and pressures produced by hourly rates. We watch the quality of your project, not the clock. VVe offer aprofessional quality 8-track facility, in-house musicians capable of playing a variety of instruments and providing vocals, writing and arranging services, the sympathetic ear of an experienced musician/ producer with awide range of musical tastes and apeaceful country setting in which to work.
GORDON R GARRISON Engineer & Producer LORIEN PRODUCTIONS 3401 Harpers Ferry Ln. Austin, TX 78745 (512) 282-2734 Credits: Engineering-assistant: Stevie Ray Vaughn-Live Alive, Judas Priest-Live. Michael W Smith-Big Picture Tour Live Producing Tom McDermott. Alliance, various Ingles and local projects Services Offered: Audio production. engineering, arranging. MIDI sequencing, have some outboard gear and monitors available
TERRY GARTHWAITE Producer FOOJOONJOY PUBLISHING CO. Box 14 San Geronimo, CA 94963 (415) 488-4778 Credits: Jasmine: Hunter Davis: Ferron; Nicholas/Glover and VVray: my own album as singer, writer, guitarist; and more. Recorded many albums as artist (Joy of Cooking, solo, duo). Services Offered: Record production with energy in pre-production (material selection. instrumentation, vocal integrity, rehearsals, logistics) as well as in-studio care and ease in recording. Especially sensitive to vocalists. My goal is to provide a comfortable, positive, creative environment for the artists to experience, express and enhance their sound.
TOM GARTLAND Engineer & Producer 202 First Ave., #12 New York, NY 10009 (212) 260-3223 Credits: 11 11, Randy Muller, First Circle, Skyy, Rubout, FU's latest arrival. Mason, Se-Fire, Chena, Peces of aDream, Bernard Wright, Jamaica Girls, Rainy Davis. Executive Slacks. Noel Pointer, Mr Mehla,

WHIT GEIER Engineer & Producer CELLAR DOOR RECORDING PRODUCTIONS 5213 State Rte. 132 Batavia, OH 45103 (513) 732-9520 Credits: Have provided live sound for David Holt who frequently appears on Hee Haw, Elmer Byrd (award winning banjo player) and Rich Kirby Have recorded numerous local and In-state bands Provided sound system for lestival. concerts. Services Offered: 24-track recording Wide selection of guitars. and keyboards available -- DX7s, Roland keyboards, Moog synthesizers, complete Roland effect systems Community speakers used throughout Production and management available. Professional musician on staff at all times. In studio and mobile recording offered.
STEVEN H. GERBER Producer 13, PRODUCTIONS Box 9290 Wichita, KS 67277 (316) 687-6046 Credits: Call John Carsello, (818) 709-8080 Services Offered: Call John Carsello, (818) 709-8080.
PAUL GERRY Engineer & Producer THE CUTTING EDGE CUSTOM DISC MASTERING Box 217 Femdale, NY 12734 (914) 292-5965 Credits: Producer and engineer for Revonah Records, Tel-E. Vue Production Records, Ouickway and Studio 17 Records. Production engineer and disc mastering on numerous independent artists LPs. EPs and 45s. Services Offered: Disc mastering, plating. pressing, engineering, jacket design, layout. photography, artist development and management, studio clips, demo records, tapes and videos. Record production for LPs. EPs and 45s.
BOB GIAMMARCO Engineer RECORDING SERVICES 62 Delano Ave. Yonkers, NY 10704 (914) 237-5755 Credits: Call or write for demo reel.
JEROME GILMER Producer JEROME GILMER PRODUCTIONS 2812 S. Oakland Circle W. Aurora, CO 80014 (303) 671-7955 Credits: Emmy Award winning composer/producer of TV image music, commercials and film scores. Services Offered: Producer/composer/arrange, for records, films or commercials. Scoring for all types of orchestras from small to symphonic MIDI arranging/sequencer programming on Mac Plus with Performer software. SMPTE/video interlock.

CECIL GASPAR Engineer & Producer BREAKING RECORDS PO Box 40162 Santa Barbara, CA 93103 (805) 969-4589 Credits: Numerous major artists: available on request Services Offered: Complete audio recording from musical conception to completion of master. Directly affiliated with video and publishing companies for comprehensive career direction.
CHRISTOPHER D. GATELY Engineer & Producer CHRIS GATELY AUDIO PO Box 526 Bryn Mawr, PA 19010 (215) JBL-3605 Credits: WMMR, WI00, WISP, WRTI, WPST, WMGK Bruce Hornsby, Crowded House, Marshall Crenshaw, Neville Brothers, The Band, The Empire Rock Club Fall Broadcasts 1987, Freddie Hubbard, Wynton Marsalis, The Crusaders, the Police. The Hooters, Pat Metheny, Chaka Kahn, 1987 Mellon Jazz Festival. Philadelphia Folk Festival 1983-86 and many many more... Services Offered: Remote and studio recording. sound reinforcement and studio installation. Ihave much gear and Iam very proficient in its use. My experience and expertise can be an asset to any project Syn Aud Con graduate. SPARS combined scores: 517. Give me acall to find out how Ican be of service to you.

LOU GIORDANO Engineer & Producer LG PRODUCTIONS 312 Cambridge St Cambridge, MA 02141 (617) 497-0647 Credits: Records: Christmas In Excelsior Dayglo (RCA/Big Time), Bleached Black (Important/Relativity), Volcano Suns Lotus Party (Homestead). Mission of Burma EP +Forget LP (Taang); Live sound. Husker Du (Warner Bros) U.S. and European tows (1983 to present). Died Pretty (What Goes On) U.S.Tour 1986. Services Offered: Record engineering and production specializing in alternative/underground rock bands; including extensive pre-production/arrangement and overseeing of mastering. Live sound: full tour support, including technical riders for cor tracts, PA advancing and crew supervision.
VICTOR GIORDANO Engineer & Producer BIG ROOM MUSIC 657 Bridgeman Terr. Baltimore, MD 21204 (301) 821-5084 Credits: LPs Crack The Sky: White Music Photollamingo. John Palumbo: Blowing Up Detroit The Softones, Mannekin, The Ravyns, Looker, Autograph (live mix tor WIYY). Commerce's: ABC Sports, Baltimore Orioles, AT&T, Trump Casino, RAX, Films: TWO For The Money, Tusks. Best engineer, 1986 and 1987 Maryland Musicians Reader's Poll.

462 MIX, FEBRUARY 1988

Services Offered: Big Room Music is afull service production and engineering company Utilizing awide range of studios, combining state-of-the-art facilities with 15 years experience, our clients can choose from avariety of production options As Big Room Music. Victor Giordano and David Lewis compose and arrange music for commercials, slide shows and audio for video. We offer production assistance from demo to finished product, drum programming, musicians and singers. Music. film and production engineering including voice-over, postproduction, audio for video and location sound.
DAVID GLASSER Engineer & Producer AIRSHOW, INC. 5727 N. 25th Rd. Arlington, VA 22207 (703) 237-8312 Credits: Recent projects Baltimore Symphony Orchestra; Paul Winter Consort; US Air Force Band--live broadcast, Doc Watson, NPR Music Recording VVorkshop instructor, technical direction for the New Music America Festival; Tribute to aJazz Master-- Thelonious Sphere Monk PBS special featuring Wynton Marsabs, Dizzy Gillespie and others; "The Bob and Ray Show" Services Offered: Location concert recording for commercial release or radio and TV broadcast We can supply ahigh quality portable recording system featuring Calrec by AMS console, KEF/Bryston monitor system, custom API audio distribution system and modified Sony PCM- 701ES digital processor We also provide technical direction services for remote recording and live broadcasts Our specialty is classical, jazz and other acoustic music Additionally. Airshow operates astudio designed for radio post-production and editing, and we offer consulting services for systems design and custom wiring and fabrication work. Please give us acall to discuss your next location recording or broadcast project.
STEVEN GOLD Producer HIPPOGRIFF PRODUCTIONS, INC. 246 Fifth Ave.. Ste. 201 New York, NY 10001 (212) 481-9877 Credits: Recently completed three singles for Bobby Broom (Arista, GRP). pop music scoring for numerous industrial films and corporate videos. produced aTop 40 hit released overseas by Yaron (Z Group). Currently working with two major labels.

Services Offered: Production of quality masters utilizing MIDI sequencing and sampling technology In-house recording facility with 24-track analog and MIDI-digital formats Independent production company services such as producing, developing and shopping unsigned bands (we're 1for 18, publishing company affiliates Musical Life Publishing (ASCAP) and S M Gold Music (ASCAP), Hippogriff's creative staff consists of New York's top independent producers and arrangers Specialty: dance/pop and AOR.
LARRY GONHUE Engineer & Producer THE SOUND VENDORS 10707 Magnolia Blvd. North Hollywood, CA 91601 (818) 985-9774 Credits: Clients include Universal Pictures. Columbia Pictures. Well Disney Productions; Embassy Home Entertainment. New VVorld Pictures; Cannon Films: Dancer, Fitzgerald & Sample; Abert, Newhofl & Burr, Campbell-Ewald, Cole & Weber and others. Services Offered: The Sound Vendors is afull service radio and post-production audio facility specializing in advertising for major motion picture studios and agencies.
JOHN E. GOODENOUGH Engineer .3 Producer J.E. SOUND PRODUCTION 11323 Santa Monica Blvd. Los Angeles, CA 90025 (213) 479-7653 Credits: Owner and head engineer at J.E Sound Production. Produced bands -- XY.Z. Models and Margie Torres. Evon Jones, Black Flag Labels--Atlantic, PolyGram, Geffen, Restless Records Services Offered: Full production at any location Album production, recording, arranging, instrumentation, musical director. Collaborating, writing, charting.
BILL GRABOWSKI Producer BILL GRABOWSKI 701 7th Ave., Ste. 9W New York, NY 10036 (212) 764-3872

Credits: Bon Jovi (7800eF, co-writer); Messiah Prophet (Christian Metal, len months on Billboard in 1987); Private Life (rockers from Munich, W. Germany); Cryer (heavy rock from Seattle, WA). established East Coast heavy rock act Hybrid Ice; film music for Heart: two years in-house at Power Station Studios. NYC: expert testimony in Cyndi Lauper litigation. Services Offered: Extensive Ell+ SP-12 library, "legit" graduate training in music hasn't stopped me yet, your place or mine.
DOUGLAS GRAMA Engineer & Producer SITUATION ROOM PRODUCTIONS 320 W. 37th St New York, NY 10018 (212) 736-7774 Credits: Fat Boys. Big and Beautiful, Crushin', Blow Monkeys. She Was Only AGrocers Daughter, Diggin Your Scene. Wet Wet Wet, Poped In Souled Out, Ellert Drieson, RCA. EMI, Phonegram, Warner Brothers, PolyGram Services Offered: Full production staff offering writing. arranging. programming and remixing. Top NY session players available 24-track recording and mixing room. 12-track pre-production/MIDI room with vocal booth Call lo further information
ERIC "GRIFFY" GREIF/BRUCE BUCHHALTER Engineer 8, Producer THE EDGE ENTERTAINMENT COMPANY Box 71022 Shorewood Station Milwaukee, WI 53211 (414) 931-6595 (office) (212) 677-4700 (Electric Lady Studios, NY) Credits: Producer Eric **Gritty" Greif and engineer Bruce Buchhalter have together, and individually, produced/engineered major and indie label demoand album projects with artists such as The Cult, Iron Maiden. Twistin' Egyptians, Run DMC and Vyper. Label credits include Sire, Capitol. RCA, Dot Jam. Roadrunner/CBS Europe and others. Services Offered: As aproduction team, Gritty and Bruce offer innovative ideas to clients at every level Specializing in mainstream pop and hard rock/heavy metal, their approach includes arranging, strong vocal texturing and aunique sound quickly catching the industry's attention Bruce is a state-of-the-art engineer and co-producer on staff at Electric Lady (NY) and Hit Factory (NY). Gritty writes, arranges, enhances musically; he considers Electric Lady (NY) and Opus (Chicago) to be production homes. Together they are creative, a blend of tech and tradition. youthfully at the cutting edge and always budget conscious.

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CI MAY '88: STUDIOS OF THE NORTHEAST (Deadline: February 12)
0 JUNE '88: REMOTE RECORDING & SOUND REINFORCEMENT FACILITIES (Deadline: March 3)
El JULY '88: STUDIOS OF THE SOUTHWEST & RECORDING SCHOOLS AND PROGRAMS (Deadline: April 1)
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FEBRUARY 1988, MIX 163

STEVE GRONBACK Engineer & Producer TGS STUDIOS Pt 1, Box 113 Chapel Hill, NC 27514 (919) 942-2612 Credits: Don Dixon. Enigma. co-producer; Rain Parade, Island. producer-engineer, Parthenon Huxley, CBS. producer-engineer. Red Clay Ramblers, Flying Fish. engineer, Pressure Boys, ARoot Da Door Dad co-producer-enginee. Mike Cross, Sugar. hill. producer-engineer; Lee Venters (with Kevin Eubanks. Victor Bailey. etc )Blue Quail. engineer Services Offered: Record production emphasizing material and arranging for airplay and career advancement--experience with successful development of artists on major and indic level Have own 24-track studio, or can travel with Linn 9000. Akai S-900 sampler, etc Experience includes digital recording, automated mixdown and computer sequencing, as well as extensive acoustic, rock and roll, funk and other fur things. Producer's reel available Contact Josh Grier, (212) 888-6600.
JIM HAILEY Engineer & Producer MY STUDIO 1608 Eagle Dr. Ft Worth, TX 76111 (817) 834-5656 (hm) (817) 838-9312 (studio) Credits: Lee Pickens, Bugs Henderson, Edwards Halt Murray Hill Sound, Ft Worth Sound, Easter Island, Howard Griffin, Taylor Made, Debonere Dimension Services Offered: Multi-track and concert sound engineering. producing specialties are new age music and rock, engineering experience in rock, new age. gospel, metal and rap music. Road management. Sound consulting
THOMAS J. HALL Engineer & Producer TRIAD STUDIOS 4572 150th Ave. NE Redmond, WA 98052 (206) 881-9322 Credits: UB40. Oueensryche. Randy Meisner. Autograph, Rail. Heir Apparent D.0 LaCroix. Paul Speer. Eric Tingstad, Norman Ratner, Uncle Bonsai, The Cedar Walton Trio, Dan Foster, Mark Lindsay, Jim Stipech, Chalace Records, Danny Deardorff. Wickline, Pizza Haven, Chris Lobdell, AM. Productions. Magical Strings. Boeing, China, The Puget Sound, Shakeh, Eddie Preston, Rick Vale, Kathleen Wallace and many others Services Offered: All facets of demo and ecord production including pre-production, engineering, producing, watchdog supervision of record mastering ard pressing Iam sensitive to the artists' creative needs and strive for the bee recorded performance possible in acomfortable, low pressure atmosphere.
STEVEN HALLMARK Engineer & Producer HALLMARK PRODUCTIONS 31320 Via Colinas, Ste. 118 Westlake Village, CA 91362 (818) 991-4857 Credits: Many feature films. network TV and records Services Offered: Complete 24-track studio specializing in computer/synthesizer production. Full video production facility also available. Call tor rates and brochure
TERRY HAMMER Engineer & Producer HAMMER PRODUCTIONS 418 Fourth Ave. Mansfield, OH 44905 (419) 524-6968 Credits: Fabulous Thunderbirds, Squeeze, Go Go's, Toxic Reasons, Dead Kennedys, Earl Zero. Soul Syndicate, Robert Gordon, XTC, Husker Du. Gang of Four. Mutants, Flame' Grooves. Pere Ube, Dead Boys. Gong. Jim Carroll Band, Mark Naftalin. Charlie Musselwhite, Romeo Void, Toots &the Maytals, Magazine, Shake' Street. Slits SUT, many others. Services Offered: While living in San Francisco from 1979 to 1982 have mixed and produced hundreds of live remote broadcasts for various Bay Area radio stations commercial and college. Specializing in reggae and hard core, but mix most any kind of music Have done live remotes for all major record companies up and coming new artists Specializing in raw direct 2-track mixes.
164 MIX, FEBRUARY 1988

INDEPENDENT
ENGINEERS & PRODUCERS
MALCOLM H. HARPER, JR. Engineer & Producer REELSOUND RECORDING CO 2304 Sheri Oak Ln. Austin, TX 78748 (512) 472-3325 (512) 282-0713 Credits: Live concert, film, album and TV recording engineering Tears for Fears, Journey. Genesis. Robert Plant, AC/DC, Judas Priest Ted Nugent. The Fier, Billy Squer. Tom Petty. Franke Beverly and Maze. The Gap Band Cool and The Gang, Bruce Hornsby and the Range, Amy Grant Michael W Smith. Dave Perkins, Rick Cua, Steve Taylor, George Strait, Willie Nelson. Ricky Skaggs. VVendy Lankford, VVestwood One. DIR, PBS, Budweiser. Four gold, one platinum record awards. Services Offered: Forty-two foot Tom Heley-designed remote audio tractor-trailer 46-track automated with SMPTE lock, overdub room and lounge. Concert recording for radio, film and TV audio support For album and mixing in your favorite hideaway location Nineteen years experience Recent projects: Live Stevie Ray Vaughan, Judas Priest Live. Dave Perkins. Michael W Smith Live Set. A second remote bus located in Nashville, TN. SPARS member, ASS. Texas Music Association.
CARY HART/CHERYL SOBAS Engineer & Producer C2 PRODUCTIONS 655 Carroll St Brooklyn, NY 11215 (718) 789-0862 (718) 965-1143 Credits: Technical and artistic assistance to independent and major label projects in the fields of pop, jazz. ethnic, electronic and experimental Audio and video services in studio and five performance situations. Services Offered: Technical and artistic assistance to independent and major label productions The team's proven success with the completion of explosive productions against industry odds warrants the offering of its services to both mainstream and idie artists C, Productions offers total project execution from start to finish, including concept development, budget preparation, pre-production (including composition, arrangements, equipment configurations), recording and post-production, presentation and packaging C2 Productions is skilled in small to large studio environments--from 2-track analog to SSL-automated technology If you find yourself with too little money, surrounded by professionals with too few ideas, call C, Productions Creative problem-solving our specially
MARTY HASSELBACH Engineer & Producer NO-HASSELTRACKS PRODUCTIONS Ste. 305-1872, Barclay St Vancouver, BC, V6G 1K8 Canada (604) 685-4009 Credits: Sam Rowland, Ted Katrinsky. Herald Nih, B-Sides. The Vales, David Raven, Einstien, Wildroot Orchestra. Parallel Stales. Night Train Reveue, Vancouver Ensemble For Jazz Improvisation, Richard Loney, Mark Hasselback, Powder Blues. Susan Jacks, The Lawlors, Lowell Fulson, John Lee Hooker, nationally aired radio spots, national and pay television. Services Offered: From demos to finished CD releases, all aspects of your recording will be handled professionally and with the creative touch suited to your needs. Access to the finest analog and digital studios in the Pacific Northwest and amultitude of experience in all areas of audio production including recording and mixing for records, jingles, television and film guarantee that your product will be second to none and that you'll truly say "Those were No-Hasseltracke-
GENE HEIMLICH Engineer & Producer GENE HEIMLICH SAVAGE ANGEUMASADA MUSIC, NEW FRONTIER 888 8th Ave. New York, NY 10019 (212) 757-1953 Credits: Founder of Daily Planet Studios (Planet Sound). manager: George McCrae: production manager Deodato: A&R director: Billboard Disco Forum '76: production coordinator Noel Pointer. Clients: RCA Tropical Buddah, Whole Life-Times, Xerox, Halston, Moving Center, Jim Scott (Radence). Arlen Rogh, Mike Mandel, Raphael, Revelation, Bell Sound, Cafe Lamarna, Ted Bates, Concerto for Astronauts. Gabriell Roth and the Mirroros Amex Vrig, Richard Shullman, Tom Pope. etc. Services Offered: Full production, engineering--multi-track, digital; location recording w/Nagra IV-S and F-1 processor (d/digital). re-mix. Arranging and contracting, studio brokerage and administration. Production especially suited to clients and artists w/packaging needs--for tape sales. Includes cover design and marketing of tapes, film scoring and BG music. commercials. etc Analog, digital, record and CD sampler available on request.

JAY HENRY Engineer & Producer VISUAL MUSIC 235 E. 13th St. 83-D New York, NY 10003 (212) 505-9281 Credits: Fifteen years experience in recording and broadcast industries. Has earned gold and platinum records and worked on Grammy-nominated albums. Jay has worked on projects for Prince, Run DMC, LL Cool J, Shannon, Robin Clarke (Simple Minds). Alphonse Mouzon, Larry Cowell Delunkt, singles on CBS. Atlantic. MCA. Island and many independent labels. Services Offered: Software-based, audio/video pre- and postproduction Full music production services for albums, singles and master demos including digital recording and editing; arrangements and lyncs, music video packages, multi-machine lockups. studio and location production services for video and film: MIDI/SMPTE interfacing to video, film and live performance with MIDISCORE"; featuring Fairlight CMI and Macintosh computer Custom chip blowing; sample edi5ng; sample library. synthesizer and drum programming; custom signal processor software and unusual equipment rentals
FRED HERSCH Producer CLASSIC SOUND PRODUCTIONS 548 Broadway. a5-J New York, NY 10012 (212) 925-1839 Credits: Eddie Daniels To Bird With Love (GRP Records-Ill on Jazz R&R charts); Ron McCroby The Other Whistler (Concord Jazz), jazz albums for JMT, Soul Note, Concord. Sunnyside; national spots for Seiko, Arrow Shirts and others Services Offered: Pianist/keyboards, instrumental and vocal arrangements, compositions (vocal and instrumental) production assistance/budgeting for all projects. Nave own 24-track studio in Manhattan's Soho district wilh Kurzweil. Maori-nosh, Performer 2.2. Steinway "B" piano, various keyboards I'm proficient in many styles of music--jazz, pop, fusion. classical, whatever Let me help you out on your next project'
BOB HODAS Engineer & Producer PO Box 2028 Sausalito, CA 94965 (415) 331-6941 Credits: Doobe Brothers, Village People, Marty Bale, Amanda McBroorn, Mickey Hart Casiopea. Merl Saunders, Good Sound Foundation. Schoenhertz and Scott Services Offered: Recording and concert engineering, film, album and demo productions Consulting.
STEVE HOFFMAN Engineer & Producer STEVE HOFFMAN 24051 Hatteras St Woodland Hills, CA 91367 (818) 784-5777 Credits: At MCA, digital remixing and compiling of Buddy Holly, Chuck Berry, Billie Holiday, John Coltrane, The Who. Mamas and Papas. Elton John. Bing Crosby compact discs At Dunhill. Harry Chapin, Ray Charles Greatest Hits CDs Services Offered: Sonic restoration of old masters Complete re-issue package services: liner notes, compiling, remixing, remastenng and marketing.
MICHAEL HOGSTRAND Engineer & Producer 5020 Woodman Ave. Sherman Oaks, CA 91423 (818) 789-1912 Credits: Thirteen years from 1974 to present working in recording studios, production management and house engineering for concert tours all over the world Primary recording work performed at Polou Music Studios, Stockholm, Sweden. Recent acts. studio and live include Scorpions. Europe, Andrae Crouch, Little Steven. Leon Pafillo, Petra References available upon request Services Offered: Concert and music production Live and studio engineereg Studio and acoustic design Drum programming and audio consultation
BOB HOLBROOK Engineer & Producer HOLBROOK MEDIA PRODUCTIONS 2143 W Main St Jeanerette, LA 70544 (318) 276-6267 Credits: Music and jingles for liAcDonalds, Pepsi, Wed. Child, Fischer's Auto Parts, City of Lafayette and many more. Albums, singles and demos for regional and local groupa Movie and commercial post-scoring audio Full scale video production. Audio voice-over prod and talent pool. Services Offered: Complete 24-track recording studio, with Studer, Lexicon, Otani, AKG and more Large seection of MIDI instruments, keyboards and drums. Complete video 3/4 "field equip (Sony) with 3/4 "editing (Sony). Also writing, publishing, producing and more.

JAMIE HOOVER Engineer 8 Producer OVO PRODUCTIONS, LTD. 2942 Kingsburry Rd. Clover. SC 29710 (803) 831-7016 Credits: Albums with Mark Williams for the Spongetones, The Federal Brothers, Ion Britton, Blind Taxi. Sugarcreek, The Killer Whales. Robert McClure, The Happy Eggs. Carl Rosen Co. produced two cuts on Romeo at JuiNerd with Don Dixon. Currently working wigh Robert Crenshaw. The Blind Dates and Helpless Dancer Services Offered: Record production, freelance engineering and asession player on guitar, bass and vocals. Also owns and operates the Washatena recording studio VVashateria credits include the Spongetones Where-Ever-Land LP and demos for Fetchin' Bones and many others
PETER KIRK HOPPER Engineer 8 Producer Masterview Soundcrafts 1621 Dryden Rd. Freeville (Ithaca), NY 13068 (607) 347-4223 Credits: Producer Ted Sundquist's Courts of the King. Let the Whole Earth Be Filled. (Word, Benson). Phil Keaggy Band Emerging. (Ward) Psalm &Life volumes 1-4. various contemporary Christian artists and syndicated radio programs Services Offered: Independent production for albums, singles. demos, soundtracks. pngles, pre- and post-production, for staged theater and shows 2-. 4- and 16-track, fully equipped recording studio facility offers sensitive and creative musical environment Over 20 years experience in the recording arts and live sound reinforcement applications Private label opportunities
CHRIS HUFFORD Engineer coTempo Recording 3105 Pico Blvd. Santa Monica, CA 90405 (818) 881-4374 Credits: Recorded and/or mixed tunes for EMI, Atlantic and Olivia Records. Mixed music for The Carson Story for NBC television as well as many NBC promos including Miami Vice and Crime Story National jingles including Mitsubishi and Matel Recorded and mixed movie scores and soundtrack albums.
ROD HUI Engineer 8 Producer RODWAY PRODUCTIONS c/o Greene Street Recording 112 Greene St New York, NY 10012 (212) 226-4278 Credits: Run DMC, (unis Blow, Lovebug Starski, Riot Carol Lynn Townes Chaka Khan. James Brown, Trouble Funk, Phil Glass, Bonnie Tyler. Shannon. Joclyn Brown, Contunkshun. Ray Manzarek, John Cale, Joe Piscopo/Eddie Murphy, D St, Brian Eno, Marion Williams. Waitresses, Breakin soundtrack Services Offered: Engineer-producer with access to musicians. programmers, etc.

STEPHEN JARVIS Engineer 8 Producer AKASHIC RECORDS GROUP/RHEEM THEATRE c'o PO Box 395 Danville, CA 94526 (415) 837-7959 (home) (415) 376-1490 (Rheem) Credits: All types of music, over 100 album credits Direction live performance recordings for acts booked at the theater arid "live feel" studio recordings using the sound stage Pre-production for album projects and tour rehearsals Services Offered: High quality in-house 24-track SR Dolby Mobile Modular Recording System located in the 1.000-seal Rheem Performing Arts Theatre, Moraga, California Tube mics, Massenburg mic preamps. MCI console. transformerless 3M M79 24-track. API monitor section, Yamaha NS-10 speaker, UREI 809 monitor speakers, tube limiters. Drawmer noise gates. PCM 70. AMS RMX16 digital reverb, stereo pair Dolby 361 SR noise reduction, 2-track digital Sony PCM-F 1with Meyers correction fitter, over 45 various microphones Equipment available for rental
DANNY JOHNSON Engineer 8 Producer SERIOUS AUDIO 4121 W Vickery Blvd. Ft Worth, TX 76107 (817) 731-9117 (817) 237-9673 Credits: Bachelor of Fine Ans degree in radio/TV/film with a specialization in audio/video production Over seven years experience in engineering live sound and recording demos for local and regional acts Have worked with avariety of styles including funk. R&B. iazz. rock, hard rock and modern new music Services Offered: Multitrack engineering. live PA mixing, video productions. etc Ikeep up with the latest equipment and techniques SMPTE and video editing expenencet like music with a distinct quality and feel and vocals that are raw with emotion t think music should be real to life but very dramatic Iam currently freelancing but would like apermanent position with astudio. Willing to work my way up Iam young, open-minded, serious and aperfectionist
STEVE V. JOHNSON Engineer 8 Producer c/o Balance Sound Studios 4917 Cordell Avenue Bethesda, MD 20814 (301) 951-3900 Credits: Available on request, Services Offered: Production, engineering. composition All audio advertising services, including copy writing. voice-overs and audio design and production. MIDI literate Special emphasis on mixing and dance or pop remixes Love to travel
HOWARD JOHNSTON Engineer 8 Producer DIFFERENT FUR RECORDING 3470 19th St San Francisco, CA 94110 (415) 864-1967 Credits: George Winston. Bobby McFerrin, Club Foot Orchestra, Spot 1019. Kronos Quartet Film/TV soundtracks Bedroom Window. Rags to Riches. Walt Disney Services Offered: Solid Stale Logic 4056 recording facility offering both 24-track digital and analog

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D. CHRIS IVEY Producer KINGDOM PRODUCTIONS PO Box 500 Conyers, GA 30207 (404) 483-6794 Credits: Classic City Quartet -Well Stand Together, - various demos, commercials. etc Services Offered: Full production services, duplication, remote recording, album production, arranging, demo production
DON JAMES Engineer 8 Producer DON JAMES PRODUCTIONS 430 E. 73rd St Kansas City. MO 64131 (816) 361-1594 (816) 931-4102 Credits: Beta Mu-Phi Mu Alpha Sinfonia. Butler Mfg. Central Methodist College. Roger Ferns. Front Page Music, Hallmark Cards. Jamie Page. Destiny Records, Kraiz. Names Don't Matter, National Cinema Supply. Secret Meeting. HydeBrier, Southwestern Bell, Yield Services Offered: Audio engineering and production 2- to 24-track recording for albums or demos Engineering and editing broadcast production and audio/video soundtracks. Strong music background, versatile in all styles 16-track studio and extensive MIDI keyboard system available

DANNY JONES Engineer 8 Producer STAR STAGE, INC., DANNY JONES PRODUCTIONS 37 E. Carolina Ave., Memphis TN 38103 3550 Sportsway Ct. Memphis, TN 38118 (901) 526-STAR (901) 365-0021 Credits: Beach Boys. Bobby "Blue" Bland, Jim Corocoran, Creed, Jim Dandy, DeGarmo 8. Key, Farrell & Farrell, Flying Burrito Brothers, Etta James. Jean Knight. Patti LaBelle. Labor of Love, Mylon Lefevre. Ramsey Lewis. Neville Brothers, Billy Joe Royal. Staple Singers, Diane Tell, Allen Toussaint. Irma Thomas, Rufus Thomas, The Wallets. Services Offered: Producing, engineering, music publishing, artist management, record label, video, promotion, consulting
E. KEVIN JONES Engineer SOUND & SOUND ALIKE 620 W. 149th St, $16C New York, NY 10031 (212) 926-8294
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Circle #103 on Reader Service Card FEBR1ARY 1988, mix 165

--CONTINUED FROM PAGE 165
Credits: Club MTV, Palladium. Ashford &Simpson, Lillo Thomas. Eugene Wilde. Eddie Murphy. SOS. Band, Harry Belafonte, MikeIt's NY.C..0-Train. Atlantic Starr. Kashil, Dave Valentin, Noel Pointer Services Offered: Live sound engineering production management and full crew and technical contractor. Offering worldwide services and will fulfill all your production needs including personal security, stage design and tour managing.
KAREN KANE Engineer &Producer 396 Broadway Somerville, MA 02145 (617) 628-6469 Credits: Many independent labels plus Rounder Records, Flying Fish Records, Folkways, Laclyslipper, Kay Gardner. Deb Fier, Alix Dobkin, Betsy Rose, Fred Small. Burns &Rosen, Ruth Pelham. Chicken Chokers. Willie Sordili, Cathy Winter. Bright Morning Star, Charlie King, Marcia Taylor, Southern Rail. Linda Worster, Matt Glaser, many more. Services Offered: "Have Ears Will Travel.' Iwill travel to any city and stay until completion of project Ialso offer unbiased advice about recording in the New England area and no-charge preproduction meetings Iam easy to work with; fast, efficient and patient.
DAVID KASPERSIN Engineer &Producer DYNAMIC RECORDING 2846 Dewey Ave. Rochester, NY 14616 (716) 621-6270 Credits: Have secured 33 major publishing contracts for artists in the last four years. Engineer for 22 years, producer for ten years Services Offered: Produce excellent demo tapes/records. Write for free cassette or record to 2846 Dewey Ave.. Rochester, NY 14616 or call (716)621-6270. Specify type of music production you are interested in.
STEPHEN KAY Producer TECHNISOUND PRODUCTIONS. INC. 140 Madison Ave. Westfield, NJ 07090 (201) 233-2026 Credits: Virgin Records (Julius Hargett), Rock Video International, Pepsi-Cola, David Seance, TKR Cable, OK Cable. Resorts International Casino. Gianettino &Meredith; first runner-up Keyboard Mag Soundpage Contest 1987; House of Music. Intergalactic. Grand Slam, EARS. M&I, Eras. The Daily Planet. Grand Master Flash: consultant for Sound Genesis Corporation: more. Services Offered: Records, film scores, jingles. demos and session work featuring afully loaded Fain ignt CMI Series Ill, the state-of-the-art digital synthesizer/samples/audio production device 8-track studio/MIDI coned center. 24 x8boards. digital effects, Yamaha DX7IIFD w/1,500+ sounds. Yamaha 1X802 rack, Prophet VS rack, T4" Yamaha grand, two vintage customized ARP 2600s, Macintosh computer, Sony digital mixdown, more. Complete your project in-house (production, composition, arrangement available) or do pre-production for transfer at alarger facility Will travel with Fairlight III and module rack to studio of your choice Fourteen years professional experience-- demo tape available
RICHARD KAYE Engineer &Producer PMF PRODUCTIONS 417 Teaneck Rd.. Apt 2A Ridgefield Park, NJ 07660 (201) 440-8618 Credits: Absolute Music; Laure Anderson; Ashford &Simpson: Roy Ayers, CHAD; Sarah Dash, Janice Dempsey, Art Farmer, Hook. Line & Singer. Freddie Jackson; Howard King; Lenny Kaye; Chuck Loeb: Steve Lunt; Micnael Karp Music; Mr Spats; New York Jazz; REW Productions; Rendezvous Records, Jules Shear, Rahn Song; Darryl Tookes; Scott White Services Offered: Creative, quality engineering and production. Familiarity with many synthesizers, drum machines and samplers Additionally. Ihave experience with both IBM and Mac music software including Sequencer Plus, Palchmaster Plus and Performer.
HELEN KEANE Producer ARTISTS MGT RECORD PRODUCTION 49 E. 96th St New York, NY 10128 (212) 722-2921 Credits: Producer for LPs by Bill Evans, Kenny Burrell. Tony Bennett, Paquito D'Rivera. Clark Terry, Morgana King, Joao Gilberto, Mark Murphy, Steve Kuhn. Adam Makowicz, Joanne Brackeen, Karen Akers. Art Farmer, Benny Golson. Chris Connor. Alive.

INDEPENDENT
ENGINEERS & PRODUCERS
Services Offered: Full producer/director. Services including choosing musicians, arranger, composers, material to be recorded, studio facilities and engineer, photography, cover art, liner notes. etc. Companies produced for Warner Bros CBS Records, Fantasy, Muse PolyGram. Landmark. CTI, Blue Note, Polydor. Verve. Rizzoli
MARCUS KEARNS Producer PERFECT RECORDING &PRODUCTION CO. Rt 8, Box 433-A Statesville, NC 28677 (704) 872-2360 (704) 328-2489 Credits: Producer, composer, musician and engineer; owner of Perfect Pitch Recording, have produced records for various artists and composed for television, video and film soundtracks (Alien Outlaw) Recently released self-produced new age album, What the Wind Whispers Also owner of Melomuque Publishing and independent record label Services Offered: Complete music production services for albums, video, commercials and film soundtracks Composing, arranging. Fairlight CMI. Macintosh. drum computer and synthesizer programming Bachelor's degree in composition with background in classical piano, orchestration, electronic music, jazz and rock music. Automated 24-track studio featuring Studer recorders, top-of-the-line outboard gear, Fairlight CMI and Macintosh computers and afull array of synthesizers, all located on 40 acres of beautiful seclusion
PATRICK S. KEEL Producer 3515 Dickason Dallas, TX 75219 (214) 521-2216 Credits: Shallow Reign (Island), The Trees (Island). Optimystics (Electra), Rev. Horton Heat (Island), The Pool (Enigma). The Effect (Enigma), Year Zero, How To Kiss. Services Offered: Record production, drum machine programming. sound synthesis, sampling, arranging, representation to record labels, modern record production for rock bands, dance music and rap/funk groups at complete 24-track automated studio w/Lakeside design control room.
PETER R. KELSEY Engineer &Producer 2038 S. Holt Ave., 810 Los Angeles, CA 90034 (213) 837-7939 Credits: Fifteen years experience, including six years at Trident Studios. London, with producers: Ken Scott, Roy Thomas Baker. Rupert Hine, Peter Asher, Robert "Muff" Lange, and artists. Elton John, Jean-Luc Ponty, Graham Parker, The Fin, Camel, "Weird" Al Yankovic, Linda Ronstadt, Zawinul, Weather Report, Bill Ward of "Black Sabbath." Wall of Voodo Services Offered: Engineering and mixing for any project, coproduction with artist and/or producer, full production with or without engineering Iwill do everything Ican do to make your music the best it can be Resume on request

Services Offered: Sonic excellence is my goal. Years of experience in both multi-track and classical recording, as well as sound reinforcement, give me the versatility to bring out the best in your performance. Ican travel anywhere in the world to work with you in the studio of your choice or on-location. Although particularly skilled with acoustic music (folk, jazz, classical) Ialso do superior work in the electric medium. As the reviewers say. "...a brilliant, clear sound with astounding presence." "The sound quality of the record is excellent.""Sound-wise the stereo is excellent..." "Sound: A" (Audio magazine).
GEORGE M. KOZAK Engineer & Producer KOZAK PRODUCTIONS, LTD. PO Box 832 Old Bridge, NJ 08857 (201) 251-0001 Credits: Produced and engineered Binary Recording Artists "Parlez"s first CD release entitled Blind Date. Designed stage equipment tor Paradox/PolyGram Artists "Eastern Bloc" Services Offered: Complete audio engueering (studio and sound reinforcement). Complete record production. Custom electronic design and modifications.
SONNY LALLERSTEDT/RANDY BUGG Engineer & Producer TWELVE OAKS STUDIOS 3830 S. Cobb Dr. Atlanta, GA 30080 (404) 435-2220 Credits: Pat Terry Group, Babble Mason, Frank Boggs, Steve Shiver. Cheryl Rogers, Freddie Langston, Mark Lowry, Mike & Von Rogers, AI Holley, In Touch Ministries, Chapel Hill Harvester, Salvation Army, more than 100 custom Chestian albums. Services Offered: We believe that music is a gift given by Jehovah God to allow man an expanded means to worship and praise. It is top priority to record this type of music ins way which He approves We understand what it means to do all things to the glory al God. Our purpose in this listing is to ask that you would prayerfully consider us to produce your Christian music. Let the whole world know!
JACK LANCASTER Producer 315 N. Avon St Burbank, CA 91505 (818) 845-6678 Credits: Produced various artists in top London studios including: Rod Argent, Stephane Grappelli, Gary Moore, Brian Eno. Clive Bunker, Phil Collins. Ella Jordan, Manfred Mann, Cosy Powell, Zeitgeist, Knsma, The Permutations, several film and TV scores. etc Have had hit singles in Europe and USA Services Offered: Production, arrangements, compositions, play all saxes, flutes, clarinet, Lyricons. Can supply engineer tom productions. Have produced many styles of music including rock, new wave. pop. fusion, etc
JOSEPH LAUX Engineer &Producer JLX PRODUCTIONS INC. Box 10835 Beverly Hills, CA 90213 (213) 655-3136 Credits: Producer/co-producer/engineer. Credits tor top mainstream European and US. acts in the last seven years. Services Offered: Full production, with or without engineering; co-production with artist and/or producer; engineering and mixing for any project: excellent audio and video "demo" productions.

NORMAN KERNER Engineer 8, Producer BRILLIANT PRODUCTIONS PO Box 7139 Berkeley, CA 94707 (415) 236-2281 Credits: Surf MCs Sorentinos, Mysteries, Adam Gates and Monkey Rhythm, Bad Mutha Goose, King Jay Records, B-Town Surf Posse, Yanks, Terry Haggerty Band, Freaky Execs, Piero El Malo, Services Offered: Send cassette and relevant rito to PO Box 7139. Berkeley, CA 94707
PITT KINSOLVING Engineer 8, Producer 686 Arroyo Pkwy, 8206 Pasadena, CA 91105 (213) 376-8373 Credits: Numerous records on: Angel. RCA Windham Hill. Motown/Latino, Rounder, Green Linnet Folkways, Flying Fish, Kicking Mule, etc Silver Screen Award for aslide show Artists I have worked with include. James Galway, Shadowfax, Larry Coryell, John Mehegan, Jimmy Stewart. Christopher & Linda Day George, Seamus Ennis and Chris Proctor.

PAUL D. LEHRMAN Engineer &Producer
LEHRWARE/PEA-EL PRODUCTIONS 31 Maple Ave., Ste. 1
Cambridge, MA 02139 (617) 497-7522 Credits: The Celtic Macintosh, world's first all-MIDI album, now available from Themes/KPM Libraries; Digital Equipment Corporation; WGBH, Ursa Major; dbx: AKG; Mass Audobon Society; Century III Teleproductions, George Crumb. Apparitions (Bridge Records), winner, High Fidelity award; New Music For Guitar Vol. 3(Bridge Records); numerous albums, industrials,
videos, live electronic and computer-music concerts.
Services Offered: Complete music and sound production and consultation services for all media; composition, arranging, sweetening, effects, synthesizer and sequencer programming. Specializing in folk, new age, avant-garde and the unusual, with
much experience in film and video scoring and library produc-
tion Fully equipped, private, computerized MIDI production studio with film/video sync for ultra-fast turnaround. As amusi-
cian, engineer and software designer. Ican find the best and most efficient way of doing any project, from arecord album to a multi-media extravaganza. As aleading expert on MIDI. Ican also help you design your own facility and work with you to
make it successful.

166 MIX, FEBRUARY 1988

BRIAN LESHON Engineer 8Producer BRIAN LESHON 13900 Panay Way, SR-207 Marina Del Rey, CA 90292 (213) 823-2191 Credits: Ten years experience in the music industry Projects include Missing Persons, Devo, Supertramp. Stanley Clarke, Kansas With producers such as Ken Scott, Ed Thacker and Peter Henderson In addition thave extensive experience in television audio production including music and sound effects editing. Services Offered: Recording engineer/producer, available for all forms of recording projects including albums, demos, soundtracks and live productions. Specializing in putting together the proper production package to suit any budget in order to assure the best possible product Packages can include studio time, musicians, equipment rentals and more
GEOFF LEVIN Producer LEVIN AND MANY COMPOSING 719 S. Main St Burbank, CA 91506 (818) 841-6607 Credits: Film score. Heart, released by New VVorld Pictures; TV and radio commercials for Toyota. Dianetics. Pepsi, Pacific Bell, etc. Industrials Apple Computer. Saab, Honda, Porsche. Redkin. TV shows. That's Incredible, Kidsworld, The Sports Column, etc. Services Offered: Original music composition for film score. industrial tracks, television and radio commercials Full audio/ video sweetening capability Three recording studios. two 24track. one 16-track. ADAP sampling system. Roland D-50, Emu SP-12, Megamix automated mixing for 24-track room.
LOLLY LEWIS Engineer TRANSPARENT RECORDINGS 1201 Ortega St San Francisco, CA 94122 (415) 563-6164 Credits: Many years experience recording and editing classical music Clients include San Francisco Symphony. SF Conservatory of Music. Telluride Chamber Players, Solisti New York, composers John Adams and David Cope Services Offered: On-location live music recording direct to 2-track master (using Nagra 30 ips recorder and Studer mixing console), high-detail tape editing and post-production services including album production and graphics Digital recording is also available.
BORGE LINDQUIST Engineer &Producer LIPHONE RECORDS Box 51, S-451 15 Uddevalla Sweden INT.4652262081 Credits: Nearly 200 records produced during the past ten years with artists from the Scandinavian countries Sweden, Denmark, Finland and Norway We produce all kinds of music, mostly pop, rock. C&W, jan and folk music. Services Offered: Record production (LiPHONE records). 24track analog and 2-track digital studio (LoREC Studios) and publishing company MUNE Music).
BRAD UNION/PETE DRESSEN/JOE AMICARELLI Engineer 8Producer DEADLY WEST PRODUCTIONS 451 Boardwalk, 11208 Ft Collins, CO 80525 (303) 223-5083 Credits: Demos for Social Death, Action Figures. other equally tameless acts. Services Offered: Experimental music production. All partners are songwriters and musicians Please call for additional details.
STEVE LOEB Producer FIRESIGN LTD. c/o Greene Street Recording, Inc. 112 Greene St New York, NY 10312 (212) 226-4278 Credits: Riot, Lovebug Starski, Carol Lynn Townes, Mr Rhymes
LONNIE LONDIN Producer RAMA DAMA RECORDS 219 State Rd. Eliot, ME 03903 (207) 439-5541

Credits: Twenty-fÑe years experience as recording artist/producer Labels: Glendale Records. Home of the Blues. Keno Records, Motown Records Three yearsas session player (bass) and background vocalist in Nashville. Currently producing for own company, Rama Dama Records. Masters, demos, custom recording, jingles, radio and television advertising production. narration for industrial and promotional films. studio rental, publishing.
JEFF LORENZEN Engineer 8Producer J.L PRODUCTIONS 6614 Coldwater Canyon, *209 North Hollywood, CA 91606 (818) 760-7651 Credits: S.O.S. Band, Troy Johnson, The Manhattans. Assisted on. latest Earth. Wind and Fire album. Jellybean, Jeff Lorber. Jody Watley, Andre Cymone, Don Johnson, Jermain Stewart. Alison Moyet, Robbie Nevil, Supertramp. Ready for the World. Services Offered: Up and coming engineer/prod in tune with the latest and have worked with the greatest Fast, inventive and musically inclined. Solid State Logic wizard MIDI knowledgeable. All styles of music from classical to hard core. Satisfaction guaranteed Incredible sounds Good rates Tape, bio and references on request.
NIGEL LUBY Producer N.L PRODUCTIONS 49A Kensington Mansions Trebovir Rd. London, SW5 9TE England (01) 373-7897 Credits: LPs: Chris Squire Fish Out of Water. Yes Yesshows and Tormato. Critical Mass It's What's Inside That Counts, Mike Oldlield/Simon Phillips Crises, The Alarm Strength. Singles: Chris Squire/Alan White "Run With The Fox." Mike Oldfield "Moonlight Shadow." The Alarm "Spirit of '76," Big Country "The Longest Day," Vagabond Joy Mike Oldfield The Killing Fields soundtrack, Mike Oldfield Crises bye video sound, The Alarm BBC, ITV, UCLA broadcast sound. Experienced studio albums. broadcast, live and digital applications Also knowledge of digital audio and lock to 24 fps., 25 f.p.s film free running of camera. Yes live engineer from 1976-1984. Big Country live engineer. London studios: Townhouse, Roundhouse, Marcus, Battery, The Manor, Sarm East, VVestside Studios, Utopia. Brittania Row, Fisher Lane Farm (Genesis). BBC Made Vale, Capital Radio, BBC Manchester, TV South. Tyne Tees, EZEE Studios. The VVorkhouse, Pavilion; U.S. studios: Record Plant LA, Unique NY, Kajem PH, Bayshore Recorders, Hollywood Sound LA Yamaha Burbank.
REGGIE LUCAS Producer OUANTUM SOUND STUDIOS 512 Paterson Plante Rd. Jersey City, NJ 07307 (201) 656-7023 Credits: Madonna. Stephanie Mills, Roberta Flack. Randy Crawford, VVeathergins Services Offered: Record production
WILLIAM "BILL" LUCAS Producer DELEV MUSIC/SIGN OF THE RAM MUSIC 7231 Mansfield Ave. Philadelphia, PA 19138 (215) 276-8861 Credits: Executive producer of rock group Valkir's debut album project recorded at Sigma Sound Studios in Philadephia, Pennsylvania. Co-producer of vocal group Perfect Timing's debut album Past projects have included Dave James and Trilogy's "Shadow People" single on Surprise Records and Bill Lucas' "Pledging My Love" single also on Surprise Records. Services Offered: Consultation on recording projects, producing, publishing/co-publishing. Affiliated with ASCAP (Sign of the RAM Music) and BMI (Delev Music Company). Also vice president of Surprize Records. Inc.. 421 W Ellet St., Philadelphia, Pennsylvania 19119, or for faster response, send correspondence to PO Box 42707. Philadelphia, Pennsylvania 191042707. Bill is also first co-producer of the Unison Show produced by the Unison Promotional Television Company, PO Box 1102, Sharon Hill, Pennsylvania, 19079. The Unison Show airs ve cable television and is apromotional showcase for new and undiscovered musical artists.
GREGORY C. LUCK Engingeer 8Producer SEAHAVEN SOUND PRODUCTIONS, INC. Sandpiper Cove Rd. Yarmouth, ME 04096 (207) 846-3782 Services Offered: Composition and production-24-track recording using Olen, Kurzweil. Neumann and more. Mixing with Sound Workshop, Diskmix. IBM and more. Processing with Lexicon. dbx and Ashley. Monitoring with Haller, UREI and Yamaha. Plus more--inspiration with the ocean at our door.

DAVID LUKE Engineer 8Producer 5186 Argyle Rd. El Sobrante, CA 94803 (415) 223-4823 (415) 486-2038 Credits: Bruce Hornsby, Timex Social Club. Ave Cherry, Jeffrey Osborne, Maze. David Bromberg, Felton Pilate, New Riders of the Purple Sage, Starship, Eddie and the Tide, Y&T and Night Ranger Services Offered: Recording, mixing and production
NIKOS LYRAS Engineer 8, Producer COTTON ROW RECORDING 1503 Madison Ave. Memphis, TN 38104 (901) 276-8518 Credits: Has worked with Rufus and Carta Thomas, Ella Brooks, Tony Joe White, BarKays, David Porter, Xayson. Farrell and Farrell, In Pursuit, The Skwares, Canadian artists Diane Tell and Jim Corcoran Has produced several Pyramid Award winning jingles; nominated "Engineer of the Year" in 1983 in Canada. Services Offered: Full in-house record and jingle production (producing, engineering, arranging. programming, guitar work), in-house rhythm section, publishing, demo/production room.
DON MACK Engineer 8Producer AUDIO PRODUCTION SERVICES 6951 Ranchito Ave. Van Nuys, CA 91405 (818) 988.3271 Credits: Y&T, Brian Eno. David Byrne, Huey Lewis and the News, Windham Hill Records, Jane Fonda. Dino Fekans. Odin, Allegiance, Syren, Hellion, Alive, Ouest. Pat Gleeson. Kronos Quartet Films Apocalypse Now, Plague Dogs, Walt Disney Productions. Services Offered: Production and engineering with an ear towards the leading edge of tomorrow's music. Iwork with the artist from pre-production rehearsals to the final mastered product, analog or digital. Music should be fun and a fulfilling, rewarding experience My goal is to stimulate the artists to push themselves to ever greater creative heights and to realize their dreams by making them sonically and visually as exciting as possible. I'm interested in all new music and tam always looking to stretch the boundaries of today's sound Artists are encouraged to submit material Iwill listen to everything. Please call or write.
RICHARD MACK Producer OFF THE RECORD 139 Willard Ave. Bloomfield, NJ 07003 (201) 239-7117 Credits: Have worked with numerous artists including Odetta. Olatunji and Kamuka. Services Offered: In-house arranging specializing in African percussion, Ska and Latin sounds Also possess expertise in adapting music to visual media, including business video scoring and audio sweetening for video
JOSEPH MACEE Engineer &Producer JOSEPH MACEE AUDIO ENGINEERING 4900 Overland Ave., Ste. 102 Culver City, CA 90230 (213) 558-4208 Credits: Audio produced/engineered following ensembles/artists: Orchestras: LA Philharmonic, Amsterdam Concert Gebown, LA Chamber, "Y" Chamber, Fort Worth, Opera Co.: Royal Opera of Covent Garden, LA Music Center Opera; Festivals New Music America, Olympic Arts, Seattle Chamber. Artists: Andre Preen, Pierre Boulez, Michael Telson Thomas, Lincoln Mayorga, Marne Nixon. Services Offered: World class audio recording/production for broadcast and record. Specializing in classical, new music and jazz recording Acoustical or acoustical/electronic ensembles. Expertise in both minimal miking techniques or close miking for any size ensemble. Location or studio recording. Consulting services also available.
DOMINICK MAITA Engineer 29 E. 51st St Bayonne, NJ 07002 (201) 437-8443 (212) 869-9022 Credits: Bryan Ferry, Bronski Beat 'til Tuesday. Nona Hendryx. Herbe Hancock, David Byrne, Laurie Anderson, Carmel, Comunards; Film Credits: Band of the Hand. Manhunter Services Offered: Recording/mixing for studio, live concerts, film, video.

FEBRUARY 1988, MIX 167

MARK MANDELBAUM Engineer 8 Producer 530 2St, F-8 Brooklyn, NY 11215 (718) 768-1845 Credits: LL Cool J. Spinners, Run DMC. Jerry Marotta, MC Heavy D, Robbie DuPree, Kitty Navidad, Dan Daley, Michael Mainieri, Del Jam, Profile, Atlantic, Chung King H. of M., Tony Levin Services Offered: From earliest pre-production. song selection and writing, through the entire recording and mixing process, very artist-oriented services.
JOHN J. MANFREDI Engineer & Producer MEGA SOUND PRODUCTIONS PO Box 3101 Elmira, NY 14905 (607) 732-0913 Credits: Written over 300 compositions (all musical styles); 40 commercial jingles being aired (on radio and TV) in upstate NY and Phil metro area; for political campaigns, retail businesses, car dealerships, restaurants and national charitable organizations Produced and engineered: rock group projects, jazz, R&B, gospel, blue grass, cortemporary C&W groups, 15th century opera and instrumental music. Iam comfortable working with musical projects large and small and musicians who play loud or soft. Music instructor at local private college Services Offered: Owner, engineer, producer, musician. composer, Mega Sound Productions/1-inch 16-track facility Studio/ engineering/production packages available/cassette duplication. Professional musician lor over 20 years on lead guitar/keyboards/synthesizers and bass. Fuly equipped facility with guitars, amps and over 20 of the latest keyboards and drum computers.
ERNIE MANSFIELD Producer MANSFIELD MUSIC GRAPHICS WINDSAILOR MUSIC (BMI) PO Box 737 Berkeley, CA 94701 (415) 652-3647 Credits: Produced Windsailor. ColorDrops. on Cater° Records, Aspen/Blackhawk Records and National Radio of Spain Also produced albums on CBS-France. Cathedral Records and Center for Growth in Wholeness Arranger/transcriber/copyist for many artists including Narada Michael VValden, Herbie Hancock, Terry Riley, John Adams, Dan Kobialka. Landmark Records, San Francisco Symphony Services Offered: My specialty area eacoustic music: jan, folk, classical, new age. etc. My skills include arranging-composing, performing on anumber of inertments (woodwinds and keyboards), and start-to-linish production including rehearsing, recording, album art supervision and copyright administration. I'm also aspecialist at songbook production. Music-Graphics is afull-service music typesetter/songbook designer, working on many book productions including The Kate Wolf Songbook. Through my recordings and performances Ihave received grants from the National Endowment for the Arts and the California Arts Council.
JOE MANZELLA Engineer & Producer IN SYNC PRODUCTIONS 211 W. 79th St New York, NY 10024 (212) 496-2636 (718) 998-4648 Credits: Engineering and production: Airforce 1-Streetwise Records, Alan Simon Trio-Cadence Records, %quit° D'Rivera, William Robinson-Mast to Coast Records, Thor, Sula-Chauncy Records, Ednah Holt, The Shades, Israel -Bacan Records, Palma-D'Exil Records. Jimmy Faith. Jing'es, radio and TV commercials: Good oCola. Girl Scouts of America. Quality Dental Care, La Gioconda Clothing Services Offered: In Sync Productions is amulti-dimensional production company specializing in all facers of audio and visual presentations. We create original music for films, plays and commercial jingles as well as individual recordings and production for groups and solo artists. We offer our own 16track recording facility and full production staff for the recording of master tapes and demos as well as the services of session musicians, arrangers and copyists We also provide complete video productions for industrels. TV commercials, rock videos.
MICHAEL J. MANZO Engineer MICHAEL J. MANZO 4Granite Ave. Paterson, NJ 07502 (201) 790-6112 Credits: Production of syndicated radio programming aired in U.S. and Canada, audio museum tours, production of audio books Commercial production including Revlon, Proctor & Gamble, Union Carbide (Eveready), Colgate/Palmolive. Toys "R" Us, Johnson &Johnson. Bristol-Myers (Excedrin). McNeilab (Tylenol). American Health magazine. Rite Aid Drugs, music production and pre-production. Services Offered: Music production, pre-production and commercial production engineering, editing and commercial postproduction engineering.

DEPE\ DENT
ENGINEERS& PRODUCERS
PETER MARTINSEN Engineer & Producer PETER MARTINSEN PRODUCTIONS 11160 Anderson Lakes Pkwy. Minneapolis, MN 55344 (612) 944-2491 Credits: Jesse Johnson, Sue Ann Carwell. Brave Combo, Centerlold, Janet Jackson. Andre Cymcne. Evelyn King. Les Rita Milsouko, Tamara &The Seen. Vanity.
AUBREY MAYHEW Producer KCAM-TV TELEVISION PRODUCTIONS "THE ENTERTAINMENT CHANNEL" 827 Meridian St Nashville, TN 37207 (615) 226-9589 Credits: ESPN Motorsports. See America RV outdoor TV series. Zoo World TV documentary series. Pro World Entertainment Monster Truck Championship TV series, BVP sports. Services Offered: Producer of video broadcast productions. Audio for video and related services.
STEVEN MCCLINTOCK Producer HEADWAY PRODUCTIONS 7560 Garden Grove Blvd. Westminster, CA 92683 (714) 891-0868 Credits: Currently producing Dexter. and Brian Willis' co-produced Exude and Private I, Linda Mir and Gina Hudson Harlan. Produced and arranged for many commercial jingles: looking for recording pop acts with label deal. Produced and scored films by Action Films, David Winter's Group and Sony Int. Services Offered: Own 24-track studio with Trident console and Otan tape machine plus 16-track room with Tascam console SMPTE lock-up; publishing company, photography studio, vocal instruction and two small independent labels; very active-- good talented staff
RANDY B. MCCOY Engineer & Producer LONGHORN SOUND PRODUCTIONS PO Box 630 Clyde, TX 79510 (915) 893-2616 Credits: Engineered and produced all varieties of music and jingles for over seven years: classical, contemporary Christian. rock. country, etc Recently worked on 58 Hours for Jessica. Eager to apply experience gained to your project. Services Offered: Production emphasis on contemporary Christen projects. BMI affiliated writer. Will travel to work on outside-of-area projects. Sincere, hard-working and straightforward in methods and builds client relationships on aone-toone basis. Call for production/engineering rates, please
JAMES MCGOVERN/RUPERT COLEY/SHAWN WOODEN Engineer & Producer CHILTOWN PRODUCTIONS PO Box 4164 Hartford, CT 06147 Credits: Producers: James "Boy McGruff" McGovern, Rupert "Drastic" Coley, Shawn "Matrix" Wooden. Services Offered: Producing, arranging, composing, engineering Specializing in pop, disco and rap music. We are adedicated group of talented people whose attention to perfection is of the utmost importance with nothing overlooked Travel is not a problem We are here to service musicians and songwriters with an innovative approach in bringing their ideas to reality
WILLIAM MCINTIRE Engineer WILLIAM A. MCINTIRE ENTERPRISES PO Box 4244 Portland, OR 97208 (503) 286-4193 Credits: Manufacture lighting, sound, film and video equipment special effects equipment and custom products. Offer services: William McIntire is a sound engineer/recordist for film and television Recently left Station KPTV (Fox network) in Portland. Oregon, to allow more time for own business interests. High Tech special effects. Services Offered: Inventor and developer of "Magic Boxes"'" high tech gadgets Advertising appears in American Cinematographer, others Special effects supervisor on several IV productions: Wee Sing childrens video, Vance Can't Dance music video, Jannen National ads, others. "Magic Boxes" have been used on such productions as: HBO Last Innocent Man, in use by studios for ten years "Magic Boxes" area best kept secret by many!

PAUL MCKENNA Engineer 11616 Ventura Blvd. Studio City, CA 91604 (818) 505-0755 Credits: Sting, Shanice Wilson, Barry White. Herb Alpert Janet Jackson, Philip Bailey, Irene Cara, Vesta Williams. Brothers Johnson, Sly Slone, Cramps, Wall of Voodoo, Morris Day, Tamara &The Seen, Club Nouveau, The Quick, Thin White Rope, Joe Cocker Soundtracks: Soul Man, Born In East L.A. Services Offered: Have samples, will travel.
JAMES MCLEAN Engineer & Producer MCLEAN CREATIVE SERVICES 230 W. 55th St, 531A New York, NY 10019 (212) 517-1645 Credits: Engineered classical music and jazz concert recordings for NPR's Performance Today and American Jazz Radio Festival. Extensive professional experience in the celebrated Troy Music Hall, including broadcast concerts of the Stuttgart and Cologne Chamber Orchestras. Produced Richard Lainhart's These Last Days, apremier electronic music release for the new Periodic CD label. AES member Services Offered: On location concert and session recordings of all types of classical, jazz, folk music. etc., using the finest condenser mica and associated equipment Professional audition and grant tapes of superior quality at reasonable flat rates.
STEVEN MCVICKER Engineer & Producer MIC-VIC PRODUCTIONS 77 N. Third St, 3rd Fl., Dept M2 Meriden, CT 06450 (203) 238-7263 Credits: Robert Crossland. Scott Chaloupka, Rob Darrel and Transit, Anna King and Dirty Works, The Majik, Ed Markiewicz, Steven McVicker. Mt Mehta, Jim Murtaugh, Press, Rich Rankin, Ron Rockett and the Tuners, Robert Sullivan, Winters Run. Services Offered: Live and studio engineer/producer We specialize in the production of new artists and songwriters who are preparing to be shopped to labels. We offer ar 8-track, in-house recording studio featuring aRoland S-50 digital sampling keyboard system, agraphic arts department and total demo/promotional packages. Artists and songwriters are encouraged to write and inquire about their specific needs so that we can respond on a personal level. BMI publisher, member of the Connecticut Songwriters Association.
COLOSSUS
DOGIMIL S'U'IERIE© TM.
C01.055L15
DIGITAL STEREO
BRAD S. MILLER Incline Village, NV
BRAD S. MILLER Engineer & Producer MOBILE FIDELITY PRODUCTIONS OF NEVADA PO Box 8359 Incline Village, NV 89450 (702) 831-4458 (702) 831-4459 Credits: Founder, Mobile Fidelity Sound Lab, Mobile Fidelity Records and Productions; creator of The Mystc Moods Orchestra and producer/engineer of numerous special effects recordings Principle in development of Colossus digital audio system with Louis Dorren. Services Offered: Location/studio recording where accurate archival of live performance or final mix is required. Production services include the Colossus (4-channel) PCM digital audio system with 1630 compact disc format compatibility; and/or 4-channel surround microphone (MS-4). Recommend that interested parties inquire as to latest compact disc samples in release by clients utilizing Colossus or MS-4 or both. Conversion of existing sound effects and music libraries into Colossus format and then to optical hard disk also available. Written information package available upon request.

168 MIX, FEBRUARY 1988

BRUCE MILLER Engineer & Producer BRUCE MILLER do Action Entertainment Group 723 7th Ave. (6th Floor) New York, NY 10019 (212) 840-7870 Credits: Eng, Yes. Duran Duran, Luther Vandross, Natalie Cole. Boy George, David Sanborn. Roberta Flack. Midnight Star, Billy Idol, Seccession, Colonel Abrams. Skyy, Claudia Barry, Princess. Roy Orbison. Communards. etc. prod Uptown Atomics. Felix & The Havannas. Rock Nito, Low Boys. etc. Services Offered: Remixes for 12" and albums, as well as recording and overdubs Programming drum machines. synths. sync boxes. etc.
TONY MILOSZ, AKA TECHNICAL TONY Engineer & Producer PEAKDESIGN 6114 La Salle Ave., Ste. 314 Oakland, CA 94611 (415) 531-5331 (415) 531-5332 (FAX) Credits: American Express, Visa. Mastercard Services Offered: Yo! If being an engineer/producer means knowing how to plug in amic. areverb or boot up aMac, then were (almost) all engineers and producers So why aren't things getting better, At Peakdesign (see 24-track Northwest listing) we design and produce sounds, systems, sonatas. soundtracks Got ideas/ Let's talk (they say it's cheap)
JOE MIRAGLILO Engineer & Producer FISHBOWL PRODUCTIONS 89 Clinton St, Ste. 53 Everett MA 02149 (617) 389-5816 Credits: Music production is any style for advertising and song demonstration. Clients include. American Vision Center, Lafayette Place Garage, The Tall Boys, Blue Moon. Staff engineers' Mike Dobkowski, Bryan Croad. Services Offered: Pre-/post-production for any project on 512/ 10mb Macintosh with most recent software for sequencing, voice librarian, sampling and printing. In-house production facility includes. Tascam 38 w/dbx, 28 inputs on console, outboard equip available to suit your processing needs, many synths are also at our disposal. MIDI composition with tape sync for video is no problem We offer ahigh-tech product in acomfortable and warm setting.

MR. MITCH Engineer & Producer KAJEM/VICTORY RECORDING STUDIOS 1400 Mill Creek Rd. Gladwyne, PA 19035 (215) 642-2346 Credits: Teddy Pendergrass (EA): Warlock (Phonogram); Miles Jaye (Island). Joey Bale, Judy Mowatt: Clarence Clemons: Lou Rawls (Pir); Dexter Wansel (Virgin); Pretty Poison (Virgin): Nice & Wild; Michael Pedkin Jr.; Monnette Sudler: Nat Augustin (MM); Whiteheads (Pir). China (Phonogram); Alan St. Jon (Billy Squer Band), The Stand, Dollar (Arista): House of Assembly: Helena Springs (Arista); Bernie Shanahan (Atlantic): Michelle Goulet (Island), Janice McClain (MCA): Shirley Jones (Pur), Tenta Jordan (CBS): Renee Aldrich. DeeDee Sharp: Junior (Polygram); Chubby Checker, Rich Reinhardt; Kae Williams: Steven Breeze.
MICHAEL "ACE" MOLLISON Engineer & Producer ACE AUDIO, LTD. PO Box 49-7481 Chicago, IL 60649 (312) 221-7222 Credits: Tom-Tom 99. Johnny Littlejohn. Secrets, Sargent's Redd Band, Gene Chandler. Ramsey Lewis, M.C.B., Will Edd Moore. Eric and Smoke, Poplar Demand, Carle Wooley and the Groove Masters. The E-Z Band and others. Services Offered: Production and/or co-production and engineering services Assnriated with the finest studio arrangers, muscens. etc ...Access to any and all stale-of-the-art equipment available today Competently oversees entire projects from start to release...and beyond We are Ace Audio. The "Ace - of all your audio needs
PETER MOORE Engineer & Producer MDI PRODUCTIONS 116 Beaconsfield Toronto, Ontario, Canada (416) 588-5054 Credits: Cowboy Junkies, Suffer Machine, Sheep Look Up, Garbagemen Services Offered:Live-to-2-track digital original recordings employing Calrec Soundfield MK IV: supervision and engineering of all phases of LP production: remote recordings of classical, jazz. plus alternative music aspecially

ERIC MORGESON Engineer & Producer EMP PRODUCTIONS LTD. 5619 N. Beech Daly Dearborn Hts., MI 48127 (313) 561-7489 Credits: Sharon Bryant. George Clinton, Dennis Coffey. The Dramatics, Michael Henderson, Earl <Juge, Ready for the World, Mitch Ryder, Gerry Woo and Alexander Zonje Services Offered: We offer the finest in music production and engineering featuring the Synclaver digital music system interfaced with the state-ot-the-art recording facility in Detroit Studio A Recording We also provide custom songwriting, arranging, mixing and sound design
TAAVI MOTE Sherman Oaks, CA TAAVI MOTE RUF-MIX PRODUCTIONS 12966 La Maida St Sherman Oaks, CA 91423 (818) 760-0269
--CONTINUED ON NEXT PAGE

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FEBRUARY 1988, MIX 169

--CONTINUED FROM PAGE 169 Credits: Production. Jeff Lorber, various projects in the works Mixing/engineering: Jody Watley, Ancffe Cymone, Madonna, Anita Baker, Natalie Cole, Beverly Hills Cop land II soundtracks, Gladys Knight, James Ingram, Path LaBere. Moms Day Services Offered: The test in pre- and post-production, recording. overdubs, mixing. re-mixing (12. LP and single versions) Song publishing Using the best recording studios in Los Angeles, you get the most dynamic sound in analog or digital Extensive variety of outboard equipment available Call for further information
TOBY MOUNTAIN Engineer & Producer NORTHEASTERN DIGITAL RECORDING, INC. 12 Sadler Ave. Shrewsbury, MA 01545 (617) 753-1192 Credits: Frank Zappa, Arlo Guthrie, Ritchie Havens, Rykodisc, Polygram, RCA. ASityl, Rounder, Titanic. Omnimusic, Newport Classic. Bograph. Musical Heritage Society Extensive music background (MA. PhD) and training in digital signal processing (Stanford/CCRMA MIT). Services Offered: Digital recording in studio or remote Digital editing, mastering for CD with Sony PCM-1610/30 system Complete compact disc services
WILLIAM P MUELLER Engineer & Producer 13816 Sunny Brook Rd. Phoenix, MD 21131 (301) 628-7260 (301) 666-0196 Credits: 1985 Grammy nomination-Best Engineered Album. Michael Hedges. Aerial Boundaries. 1986 Grammy nominated album. Douglas Miller. Unspeakable Joy. Six top ten gospel albums Remote recordings Journey, Mr. Mister. Barry Manilow, Ella Fitzgerald. Oscar Peterson, National Symphony, Charlie Pride, Chuck Brown, DIR Broadcasting. AudIo for video: Michael Hedges, Will Ackerman, Shadowfax, Exile, MPT. Production for Don Mark (Capitol Records), engineering for Ka (Atlantic Records). Second album for Vidual on Chrysals Services Offered: 48-track digital. 48-track analog studio: SSL 4000/Sony or Studer Remote: Trident/Sony or Olen. Sony 3202 DASH, BTX Shadow, AMS 1580s. %IX 16, EMT Plate, Lexicon 224XL. LEX 200, (3) SPX90. BBE 202, Sontec EQ. assorted gates. DDLs, compressors, etc
RICHARD A. MUSK Producer MUSK MUSIC INC. 455 Hope St. Stamford. CT 06906 (203) 323-7022 Credits: HBO, Cinemax. IBM. Armstrong Tire. Huebline. GTE, Steuben Glass. Time magazine. Capitol Records, Universal Studios. Wyeth Laboratories Services Offered: Original compositon and wrangement for film, video, industrial, documentary, jingles, logos, songs. Fairlight CMI rental and programming.
NATIONAL VIDEO CENTER/RECORDING STUDIOS, INC. New York, NY
NATIONAL VIDEO CENTER/RECORDING STUDIOS, INC. 460 W. 42nd St New York, NY 10036 (212) 279-2000 Credits: Broadway's Sweet Charily, The Count Basle Orchestra, the Phillip Moms "Superband," Elton John/Jennifer Rush's "Flames of Paradise," Mr. Mister's "Something Real." Peter Gabriel's "Red Rain." Kudis Blow's "America" Also The Pretenders, Mick Jagger. Carly Simon, Duran Duran, Christopher

ITEPENDENT
ENGINEERS & PRODUCERS
Cross. Cyndi Lauper, Billy Idol, commercials, industrials and network programming Services Offered: National's new music studio. "The Edison," (60 x60 x24) with SSL 6000 56-channel console, 48-track recording, video/audio interlock, all outboard equipment, microphones, etc. The Edison's enormous recording space and Tom Hdley-designed control room make this studio ideal for acoustic recording of major acts, orchestras, commercial j'ingles, etc. Also two interlock video sweetening rooms, three voice studios, time compression, celebrity casting and talent negotiation, transfers, music and FX libraries, scoring and soundtrack design Video: three shooting stages (60 x80, 40 x50 and 20 x 30). seven on-line computer editing suites, two off-line/interformat suites, negative color correction, remote production, videodisc premastering computer graphics, animation stands, duplication--all formats.

LARY (LARZ) NEFZGER Engineer & Producer TRIAD STUDIOS 4572 150th Ave. NE Redmond, WA 98052 (206) 881-9322 Credits: Over 12 years of engineering and production experience including many award winning albums and productions. Many top national and regional Northwest recording artists including, Denice Williams, Danny O'Keefe. Cedar Walton Trio, Danny Deardorff. Randy Meisner. Steve Miller. Uncle Bonsai, Eric Tingstad, Spencer Brewer and Michael Tomlinson. Services Offered: With my collection of custom microphone preamps and signal processing equipment, Ican make you and your project sound cleaner. more transparent and ear catching in any recording environment. Whether your project incorporates the latest in MIDI technology, computer sequencing, sampling, video interlock or just great recording techniques --you can rest assured that you have an engineer that can excel and has vast experience in all recording situations My philosophy is based on total communication in an atmosphere of support and technical excellence and yields asuperior endproduct in all facets of recording and video post-production
GREGORY L NEU Producer CHELONIAN MUSIC 51 W. 81st St New York, NY 10024 (212) 362-3386 Credits: The VVaybacks, The Rousers, The Praise Jockeys, The Mockingbirds, The Chantin' VVarlords, The Backbones. Services Offered: Production of musical recordings

BOB NICHOLSON
Engineer & Producer BOB NICHOLSON PRODUCTIONS 20 Hyde Rd. Stockholm, NJ 07460 (201) 697-4580 Credits: Mutria Records. Tygen, Tom Spirgler. The Skulls, Michael Bruce, Mark Johnson, Secret Syde, Y Fly to London
and others Services Offered: Producer/engineer with good attitude and ears available for your next record with over 20 years exper-
ience All types of music Specialty: rock and roll

BRUCE C. NAZARIAN New York, NY
BRUCE C. NAZARIAN Engineer & Producer GNOME PRODUCTIONS 251 W. 30th St New York, NY 10001 (212) 594-7554 Credits: LP and 12" projects for Atlantic. Island, Epic, MCA ATCO, 4th 8 Broadway and Orphan Records Nearly adozen Billboard chart records in the past few years as producer/ engineer/programmer. Experienced session musician on guitar, bass, keyboards and as drum programmer MIDI sequencer programming is aspecialty, especially the Synclavier! Services Offered: Ioffer aunique, musical approach to contemporary recording. As an experienced musician, engineer, programmer and producer, my overview of the recording process is both technically competent and musically sensitive Ispecialize in relaxed recording environments designed to elicit the artist's best performance. In addition, my familiarity with modern digital goodies allows you to harness the maximum power of today's recording techniques while still obtaining agreat feeling product. My studio includes the best of today's recording gear, including a full-blown Synclavier with direct-to-disk. If you haven't recorded with this system, you haven't experienced the real state-of -the-art! You'll be amazed at how easy it is to make a great record.

RICK NOWELS Producer RICK NOWELS PRODUCTIONS 7469 Melrose Ave., Ste. 33 Los Angeles, CA 90046 (213) 655-7990 Credits: Songwriter/producer of Belinda Carlisle LP Heaven On Earth and Stevie Nicks LP Rock-a-Little
BOB OLHSSON Engineer 1408 Donna St Novato, CA 94947 (415) 897-9216 Credits: Quicksilver Messenger Service, Enchantment, Stevie VVonder, Jacksons, Dena Ross, ChuckJackson, Smokey Robinson, Terry Johnston, Four Tops, Fantastic Four, Marvin Gaye Services Offered: Recording, editing, mixing and production. Home studio projects sweetened, mastered, edited or mixed. Transfers to 24-track. The use of Quicksilver's modern (24-track plus MIDI) reproduction of alate '50s studio is also available.

JOHN NEFF
Engineer & Producer MAUI RECORDERS 380 Dairy Rd. Kahului, HI 96732
(808) 877-0677 Credits: Over 22 years experience in record, commercial, institutional and film/video audio production, in lOur large North American markets Services Offered: Resort recording packages in Paradise, with-
out leaving the U.SA With one phone call. Ican put together your Maui recording project, including airfare, rooms, catering, video documentation, extra musicians/singers, recreational ac-
tivities and more. Iown aMIDI/8416-track studio and record company on Maui, and can produce projects from demos to 24-track analog or PCM3324 digital/SSL 4048E on Maui, on
time, on budget Leave your analyst's couch behind, bring your slippers, record where the air is sweet and the water warm.
Abhal

RICHARD OLIVER
Engineer & Productions 854 7th Ave., Apt. 9 New York, NY 10019 (212) 459-9643 Credits: Record engineering major projects (Rolling Stones/Orleans/Yes) to minor demos (Jacoby/McFall). Also videos and film including screen credits. Also commercial credits. Also extensive digital work. Also published songwriter Services Offered: Extensive working knowledge and long-term
experience recording and computer mixing on consoles such as SSL. Nave, Trident and MCl/Sony. Many 48-track projects. Full working knowledge of synchronization, frame rates, pilot
Iones 60Hz. 50 and 599, lock to picture, outboard equipment, digital projects Mitsubishi and Sony machines Mixing to all
formats 1/2 "stereo. 1/2 "stereo. mono Lpilot right, 1630, X80, F1,
DAT, 4-track. 6-track for Mag. Also editing Also unparalleled technical knowledge And on and on and on. And., an ac-
ceptable productive responsible nice guy people like to work with.

170 MIX, FEBRUARY 1988

BRUCE OLSEN Engineer & Producer FLOOD ZONE PO Box 7105 Richmond, VA 23221 (804) 644-0935 Credits: Ten Ten. The Good Guys, Pattison/Rode, Steve Bassett The Orthotonics. IMU, Miches/Guthrie Band. Bop Cats. Snuff. Dirty Secrets, The Offenders. VCU Jazz Orchestra, White Cross. Bees Services Offered: Engineering/producing Ihelp artists realize their dream
LARRY OPPENHEIMER Engineer &Producer TOYS IN THE ATTIC PO Box 590145 San Francisco, CA 94159 (415) 553-8769 Credits: Stein &Welder (Windham Hill). Michael Shneve, Seldom Scene. Abdullah Ibrahim (Dollar Brand) Services Offered: Live and studio engineering, consulting (specializing in audio and music technology).
BUCK ORMSBY Producer ETIQUETTE PRODUCTIONS 2442 NW Market St, $1273 Seattle, WA 98107 (206) 789-3658 Credits: Sorucs, VVailers, Jr. Cadillac, Kent Morrill, Jerry Roslie Services Offered: Production, various music business services
DAVID C. PALMER Engineer &Producer 33371 N. Burr Oak Dr Solon, OH 44139 (216) 248-4750 Credits: Call Services Offered: Studio recording. five sound. equipment consultation
DOUG PARRY Engineer &Producer ANDORA STUDIO &SMOKETREE PRODUCTIONS 3249 Cuhenga Blvd. W. Hollywood, CA 90069 (818) 998-2097
L LEON PENDARUIS Engineer &Producer PINWHEEL PRODUCTIONS 211 W. 56th St New York, NY 10019 (212) 586-3525 Credits: Michael Jackson Bad video score. Pretty in Pink film score. Oliver soundtrack. Saturday Night Live band leader, Fame title song and movie soundtrack. Arranger: Eric Clapton. Aretha Franklin, Sheena Easton. Carly Simon etc
JOHN PERGAMO Engineer &Producer J.P. PRODUCTIONS/XE RECORDINGS 414 Vanderbilt Ave. Brooklyn, NY 11238 (718) 622-7524 Credits: Album Ground Zero by Nuclear Energy Singles "Face the Music-by Superdude, "Long Live Rock" by Derek Reese. "Seaside Baby" by Nuclear Energy Services Offered: Freelance engineering and producing 8track studio with computerized MIDI sequencing Two 24-channel boards linked together and over twenty synths, drum machines and Simmons for astate-of-the-art commercial sound. Rates cannot be beat Musicians and composers available.
RICHARD K. PHOENIX Engineer &Producer EMMETT RECORDING ENT 960 S. Springfield Ave. Springfield, NJ 07081 (201) 467-5530 Credits: Writer, producer. engineer. Voice-over talent of top commercials and PSAs for radio documentaries, motivational, instructional multi-image, talent demos. Services Offered: Up to eight channels w/full mixdown capabilities to 2- or 4-channel stereo on Y.": wrnmercial/PSA prod. AN presentations; instructional/motivational presentations; talent demos; music/sound effects library, reel and cassette dupl., v/o talent bank; script writing and editing; quick turnaround commercial prod. on call.

ED PLUESS Producer ED PLUESS PRODUCTIONS PO Box 6
Tumacacori, AZ 85640 (602) 398-2387 j602) 281-1746
Credits: Produced and wrote original music for television documentary; wrote music, words and produced radio ad for GM dealership, four years television production experience; music composition degree from the University of Arizona, Tucson Services Offered: Write and/or produce music for commercial radio, television or film, arrange and/or produce songs utilizing
a24-track recorder, Kurzweil synthesizer/sampler, Roland and Yamaha synthesizers, MIDI and/or acoustic instruments; provide Spanish/English consultation and production, write copy/ lyrics. Iemphasize originality, clarity and excellent musical
product.

DOUG POMEROY Engineer &Producer POMEROY AUDIO 193 Baltic St Brooklyn, NY 11201 (718) 852-8505 Credits: American Jazz Orchestra. Buck Clayton Big Band. Marty Grosz. Alden-Barrett Quintet, Peter Eklund, Ken Peplowski and Frank Vignola, Swing Street Video, also recording and reinforcement in Town Halt N.YC. Services Offered: Digital and analog 2- and 4-track location recording, editing and mixing, record production, audio restoration
CHUCK PRESTON JR, Engineer POSSIBLE PRODUCTIONS 1821 Eustis St Lauderdale, MN 55113 (612) 644-7497 Services Offered: Post-production for video

MICKEY RAT Silver Springs, MD
MICKEY RAT Engineer &Producer MICKEY RAT Cheezbox 1332 Silver Springs, MD 20902 Credits: Send fo' text. Services Offered: Non-fast food orientea music recording. Owner of 72-track automated audio/video production faci'ity (Power Plant Studio, Kensington, MD-near Washington D.C.). Send me any tapes and photos of you- best and worst work to the address above. Ipromise Ian honest rat!) to check everything out but please try not to phone. Ireceive tons of tape daily (wanna buy some tape?). Thane... The Rat.
JIM REEVES Engineer REEVES AUDIO RECORDING Yonkers, NY (914) 793-6496 Credits: Albums-ZZ Top, Lou Reed Gregg Allman, Mott The Hoople, Johnny Winter, Edgar Winter, Bobby Vinton, Chambers Bros ·AI Kooper, Don McLean, Count Basie. Leslie Gore. Johnny Ray, Jonn Davidson, Martin Mull Tom Rush, Frankie Valli, King Crimson. Queen Concert tours.Dave Mason, Manhattan Transfer, Patty Smythe &Scandal Angela Bolil', Booker T&the M.G.'s. Jingles. Wang. Match Game-Hollywood Squares, Consumer Reports, WPIX /1's Alive, USFL ABC Football. ColecoVision, Technics. Bayer Aspirin. Alpo Services Offered: Studio engineering mobile recording, live PA mixing. audio consulting, studio design, maintenance. vocals. piano, synthesizers. bass. drums. Own and operate a16-track fully-equipped recording stud° and jingle production house.

SPENCER D. PROFFER Los Angeles, CA
SPENCER D. PROFFER Producer PASHA MUSIC ORGANIZATION, INC. 5615 Melrose Ave. Los Angeles, CA 90038 (213) 466-3507 Credits: Albums by Quiet Riot, WASP. Little River Band, Jon Butcher, Eddie Money Tracks by Heart, Cheap Trick Ian Hunter, Beach Boys Film work for most major studios (Stayin' Alive. Mickie &Maude, All the Right Moves, many more). Services Offered: In addition to production and arrangement services, Proffer is the owner of The Pasha Music House recording studios in Hollywood where numerous non-Pasha artists also recorded, ranging from Pointer Sisters, Willie Nelson, Motley Crue and more. Pasha Music Organization offers afull range of promotion and marketing services to help work the projects after their release on disc.
WILL RASCATI Engineer &Producer FOR THE RECORD MUSIC PRODS. PO Box 1685 Lombard, IL 60148 (312) 932-1120 Credits: Styx. Dennis DeYoung, Survivor. Wild Blue. Peter Brown Services Offered: Engineering, pre-production and arrangment producing, publishing, solicitation to record labels.

GARY REMAL/MICHAEL BOYD Producer MUSIC DESIGN 1850 Union, *366 San Francisco, CA 94123 539 S. Niagra Blvd. Burbank, CA 91505 (415) 885-4651 (San Francisco) (213) 826-3181 (Burbank) Credits: Film and TV scores "We Ine People' PBS, Unsolved Mysteries NBC. "Breakin" (Cannon). 'Manes Lovers" (Cannon), Five American Guns HBO Commercials: Avia, Atan, Chevron, Gallo, Bank of America, Safeway, Solollex, PG&E. Services Offered:A full service music production company that produces music for feature films, teievision, commercials and album projects. Since 1983,Music Design has been an industry leader for avastly diverse musical territory for abroad clientele base Offices in San Francisco and Los Angeles. Production work arranged in SF, LA. and New York.
STEVEN REMOTE Engineer &Producer REMOTE MEN VISUAL MUSIC ENT. PO Box 791 Flushing, NY 11352 (718) 886-6500 Telex: 271382 ASL UR Credits: Recorded and/or engineered a variety of artists. Squeeze, The Neville Bros., Norte Hendrix. Clarence Clemons, Allen Toussaint. Black Uhuru, The Blasters, Dr John, Frank Zappa, The Police, James Brown, Simple Minds, Howard Jones, The Ramones, XTC. Stevie Wonder, David Sanborn. Plus clients such as: MM, Arista, BBC-1V, CBS, Fantasy, FM Tokyo. Geffen. King, Landmark, MTV, PBS, Profile. Turner Broadcasting, Virgin, WUR-FM. WHEW-FM. WPIX-FM to name afew, Services Offered: Iam avalable as an engineer and/or producer for pre- and post-production, audio mixing (studio or live), digital and analog recording Ialso own astate-of-the-art dual 24-track mobile unit

FEBRUARY 1988, MIX 171

ROB ROBERTS Carmichael, CA
ROB ROBERTS Producer OCEANHILLS MUSIC GROUP 6120 Coyle Ave. Carmichael, CA 95608 (818) 763-2028 (315) 492-9489 Credits: Produced and recorded separately and collectively David Cochrane, Paulinho Da Costa, Nougu Chancier, Paul Hams, Chuck Kirkpatrick among other recording artists. In recognizing and evaluating the uniqueness and potential of the artist and material within the current market place Services Offered: Producing contemporary rock/pop-AOR crossover/contemporary Christian rcck/jazz rock.
MICHAEL "SPIDERMAN" ROBINSON Producer STONE LOVE PRODUCTIONS Oakland, CA (415) 532-3714 Credits: Album credits Ronnie Laws. Debra Laws, Kenneth Nash. Jean Carne. Bloodstone and numerous independent record and demo projects Services Offered: Multi-keyboardist, songwriter, arranger, performer who can bring the best out of seasoned professionals or beginners Equipment IBM MIDI software recording Sequence Plus. Personal Composer, Texture and Mu-Art 4-channel MIDI recording Keyboards DX7II. Roland S-50 sampler, Matrix 6R, Mirage sampler, Akai S900 sampler. All major drum machines including Linn, Roland. Emulator, Yamaha. MC500, complete effects package. 8-, 16- and 24-track receding, over 20 years experience
SUSAN ROGERS Engineer SUSAN ROGERS 4418 W. Lake Harriet Pkwy., *1204 Minneapolis, MN 55410 (612) 920-8994 Credits: Prince. The Family, Madhouse. Jill Jones. Sheila E. Mazarati, Jesse Johnson Services Offered: Former maintenance technician, experienced studio and location recording eng:neer. co/post-production music supervisor and recording engineer on Prince concert film Sign O' the Times. Albums include Prince Sign O' The Times. Parade. Around the World in aDay. Madhouse Eight. The Family The Family, Jill Jones Jill Jones Currently relocating to Los Angeles.
RICK ROONEY Engineer 8 Producer RICK Planet Dallas Studios 3515 Dickason Dallas, TX 75219 (214) 521-2216 Credits: Shallow Reign (Island), The Tribe (My Highway). Pictures (SW Experience Records), The Bodeans. The Rainmakers, The Smithereens, George Gimmarc& Rock and Roll Alternative Syndicated Radio Program, Lost Highway. Services Offered: Complete turnkey album packages, 24-track MCI automated studio, synths, drum machines, guitars. Yamaha drums, living quarters for out-of-town projects; studio design by Lakeside Assoc.. LA
MIKE ROSENMAN Producer SAUNA STUDIOS 3334 89th St Jackson Heights, NY 11372 (718) 779-2312

INDEPENDENT
ENGINEERS & PRODUCERS
Credits: NBC Radio. American Comedy Network, Radio Advertising Bureau. Apple Computer, Shearson/Lehman Bros., Consumer's Reports. Records The Upstarts, Ronnie Dyson, Blue Magic Services Offered: Production, scoring, arranging for radio and TV music, jingles, industrial videos, station IDs. custom music beds, song parodies. records Large on-call listing of singers, voice-over people. impersonators Pre-production and MIDI synthesizer programming, sampling. MIDI-to-SMPTE sync. Musicianship combined with technology, tailored to your project.
RICHARD ROSING Engineer 8 Producer GENETIC MUSIC 6017 Bellingham Ave. North Hollywood, CA 91606 (818) 763-3742 Credits: Great Western Bank, Toshiba, First Interstate Bank, Capitol Records. Lorimar/CBS, Crusaders Productions. City of Hope, Los Angeles Times, Dreamgin USA, Mike Chapman Publishing. Queen Mary Long Beach, Julie Brown, Gardner Cole, Allan Rich. Gloria Sklerov, Stephen Geyer. Terra Nova, Arlen Advertising. Orphan Records, Dan Howard Productions, El Estudio Productions. Services Offered: In-house state-of-the-art 8-track production facility, composing, arranging, programming, sound effects design, music editing, film scoring.
J. THOMAS ROWAN Engineer 8 Producer SOUND LAB, INC. 2319 Fernwood Dr. Greensboro, NC 27408 (919) 288-0185 Credits: Total engineering and cooperative production on. Lynx EP by Lynx, Thru the Rubble LP by Broken Ice, Heart Like a Rock LP by 50/50. "Where Did our Love Go" single by Crossroad Services Offered: Full engineering and production or production assistance on 16-track Tascam and Soundcraft 1600 Familiarity and expertise on outboard gear including Lexicon, Eventide. Drawmer, Symetrix and much more. Call for studio info. or write for complete gear listing Demos available upon request.

RICK SAND1DGE
Engineer 8Producer MARK FIVE SANDCASTLE PO Box 7620 Greenville, SC 29610
(803) 269-1111 Credits: Rick Sanedge has produced the following: The Killer Whales. The Rob Cassels Band, The Pilot& Sonny Turner. Panic, Grace Capps, Country Gold, J.D. Wilson, Harrey Willis, Barry De Fleron Band, The Drifters, The Grapes.
Services Offered: Producing, engineering, video production

SILVER JOSE SARGENT

Engineer 8 Producer

S1LSAR MUSIC

PO Box 897

Hartford, CT 06101

(203) 548-0212

(203) 522-2705

Credits: Has worked with Maurice Starr, New Edition, Mike

Jonzun, Tommyboy, Mikeal Dunlap. Commodores, Jackie Mc-

Lean, Doug Wimbush, Skip McDonald, Benard Jackson. Sur-

face, Rahni Harris, Hush Productions, Marshall Chess, MCA.

CBS and Macola Records.

Services Offered: Specializing in producing 12" singles or

LPs

songwriting, vocal and keyboard comprehen-

sion, instructor, computer "MIDI" engineering, pre-production

and/or master recording. 16-track studio owner Labels: Sounds

of Connecticut (SOC) Records. Little Bity MIDI City, Polite Music, LUV Sound, Artist Collective, Tri-Sarge Music

ALWIN SAUERS JR. Engineer BLUE VELVET ROSE PRODUCTIONS
2075 E 3rd St, ltG Long Beach, CA 90813 (213) 434-8626
Credits: Radio: Billboards Radio Show of Vie Year, Doors 3 Hours of Magic, Rockline's Holiday Show world broadcast.
Demos and LPs.Babalade "Come With Me," Sweet Singing Cavaleers, Great Vision Records, Wilton Felder Jr. Live: Sam &
Dave, Bo Didley, Big Mama Thorton, Herb Jeffnes, Susan Lynch, Vixen, Tsunami, Patty Weaver, Curt Wilson.
Services Offered: Studio engineering, 2- to 24-track formats, radio pre-production engineering/editing, studio design, studio
builder, studio management, live front mixer. live monde mixer. tour and stage management. Currently freelancing in Los Angeles, CA Also working in management, electmnics vocational
education, Institute of Developmental Technology Ibring a professional attitude to all projects and strive to bring out the best in your music

BARRY RUDOLPH BARRY RUDOLPH 5627 Irvine Ave. North Hollywood, CA 91601 (818) 985-1855 Credits: Engineered for Hall and Oates. Lynyrd Skynyrd. Rod Stewart, Waylon Jennings, Al Wilson, Johnny Mathis, Shalamar, Lakeside, O'Bryan, Don Cornelius. James Last, John Pine, Roy Buchanan, Stanley Clarke, Natalie Cole, Levon Helm. Steve Cropper, Duck Dunn, Robin Smith, The Rockmelons. Dan Band, Parthenon Huxley. David Kahn. Maurice White, Juice Newton and Cher
JAMES SABELLA Engineer 8 Producer JAMES SABELLA 49 Oakdale Rd. Roslyn Heights, NY 11577 (516) 484-0862 Credits: Have worked with CBS/MCA, recording artist, also many independent labels, with rap, R&B, pop and heavy metal Services Offered: 24-track recording studio with Neve 8068 Mk11 console. All production services from demos to masters.
GARY SALZMAN Producer QUANTUM SOUND/MAYHEM PRODUCTIONS 512 Paterson Plank Rd. Jersey City, NJ 07307 (201) 656-7023 Credits: Cookie Watkins. VETO, Tramaine Hawkins, Man Eating Plants. Marla Adles, Michael Lynch, Nicki Buzz, Luminella. Desire Services Offered: Arrangements, record production and remixes

SKIP SAYLOR Engineer 8 Producer SKIP SAYLOR RECORDING 506 N. Larchmont Los Angeles, CA 90004 (213) 467-3515 Credits: The Whispers. Chico De Barge, Dan Siegel. Con Funk Shun, Gary Taylor, Carl Anderson, Maria Conctlita Alonso, Osborne & Giles, Joyce Kennedy, Phyllis Nelsor ET, Van Dyke Parks. King Errison. Kelle Rhodes. Thu Thuy, Linda Le. Steve Narahara, Shattered Faith, Gene Clark, Spittin* Image, many television commercials, soundtracks and film scores Services Offered: Producing and engineering In-house 24track and 48-track facility available. See listing under 24-track recording studios for details
MARK SCHULTZ Engineer 8 Producer MARK SCHULTZ MUSIC PRODUCTION 263 Washington Ten: Audubon, NJ 08106 (609) 547-8928 Credits: Ben Vaughn Combo Beautiful Thing; Kenn Kweder Kitchen Folk Man Overboard; Das Yahoos Sturm und Drag: Scott Anderson VVhat I'm Living For, Trained Attack Dogs Flamehead; Baba Lou Baba Lou at Bob's; Ed King & Frank Hayden; Larry Norman; Five Story Fall, Baby Flame Head; Jane Roman; In-Tech Toys Services Offered: Music production and engineering. Emphasis on independent, underfed, seedy-looking pop, rock, roots rock, country Excellent original music for video. Used to working on shod notice with tight budgets Seven years behind the board; familiar with major Philly studios. Ames:, to great S. Jersey 24-track with lots of keyboards, sequencing, etc. Wiling to travel. Audio Op for video. Consultation for any aspect of recording and post-production. Instrumental and vocal arrangements Complete song charts Always creative and clearheaded.

172 MIX, FEBRUARY 1988

1985January, Northwest Studios. Superbowl Srm springsteen on Stage. Ray Parker Jr. Leon Russell.
0 1985 February, Independent Engineers a Producers. Brian Eno. The An I(Touring Roger Powell on MIDI. les Paul.
O 1985 March, Southeast Studios. Loudspeaker Technology. Martin Rushent Collon (lob si mud. John Fogerty.
1985 April, Video Production Supplement with Facilities Listings. Compact Power Amp,. Radii, Reoirders' !tarry lityant. Eurythmics
· 1985 May, Northeast Studios. Digital Revell). ZX Eddie. Holophonics. Emmylou Harris. litimberu, Gatica.
13 1985June, Sound Reinforcement a Remote Recording Listings. location Re cording Tutorial. Grateful Dead Sound. Weird Al Yanktwic. Synthesizer Oriented Studios. David Sanborn.
0 1985 July, Recording School Listings and Southwest Studios. Mixing Consoles. Dr. Demento. Kashifs Studio Roger Nichols ;.ind Jiihn Denver.
13 1985 August, Studio Design Issue: Listings of Designers a Suppliers. Control Room Acoustics. Thomas Dolby. Orchestral Recording. On the Road with Prince. Neil Young.
o 1985 September, Southern California
Studios. Film S TV Sound. Frank Zappa. Digital Sti Supplement. Mishit« Sound. David Foster.
O 1985 October, New Products for AES. Maintenance 8c Testing. Abbey Road Studios. Ambisonics. Ben Bunt on Imas. Nile Rogers.
1985 November, North Central & Canadian Studios. George Massenburg. Video Supplement. Alligator Records. Women in Media Production.

BACK ISSUES

O 1985 December, Tape-to-Disc Listines.
Mastering. Pressing St Duplication. 'EEC Award Winners Sound for the Twilight Zone Tom Waits,
1986January, Northwest Studios. Equipping lime Studios Paul Winter. SMPTE MIDI Connection. \Oki> Ono.
C 1986 February, Independent Engineers Producers. Mien phone Special Ripe.
laurie Spiegel. Budgeting for Sessions. Joni Mitchell.
1986 March -- SOLD OUT
o 1986 April, Video Production & Post
Production Facilities. Vidts, supplement. Al Kooper. Wireless Mies. Alan Parsons.
O 1986 May, Northeast Studios. Digital Supplement. Sampling Primer. CD Facilities. Future of Console Design. Steve lillywhite.
O 1986June, Remote Recording & Sound Reinforcement Listings. Rtudability. Russ Titelman, Cl) ROM Z5 CD-I. Ry Cot Kier.
1986July -- SOLD OUT
1986 August -- SOLD OUT
O1986 September, Southern California Studios. Film Sound. Telecommuniomii ins PII iduction Music libraries. David Byrne'S True Stories
1986 October-- SOLD OUT
O 1986 November, New Products Directory. Cl) ISupplement. Kenny 1.1,ggins Tour Sound. Daryl Hall, Grounding Primer. Rupert Neve.
· 1986 December, Tape-to-Disc Issue: Mastering, Pressing a Duplication Facilities. Cl) Manufacturing. Mastering Engineers' Forum. lee Ritenour's Studio. Casey Rasent.
1987January -- SOLD OUT
O 1987 February, Independent Engineers

& Producers. International Recording Supplement. APRS Studio Directory. Bruce
DMM for CD. Kitani.
1987 March, Southeast Studios. Digital Recording Supplement. Kim Jung CD Mastering Forum. Richard Thompson.
0 1987 April, Video Production a Post. Production Facilities. location Mic Techniques. Adrian Belew. Sputronizer Survey. Peewee's Playhouse.
1987 May, Northeast Studios. Stevie Winder .S Nile Rodgers Record by Satellite. Programmable Signal Processors. GRP Records, Digital Video Interactive. George Martin.
O 1987 June, Remote Recording a Sound Reinforcement Listings. Touring Om soles. Video's Stephen Johnson. Women in Sound Reinforcement. Paul Simon live in Zimbabwe.

17 1987July -- SOLD OUT
O 1987 August SOLD Olri
O 1987 September, Southern California Studios. Rut-,irding in Hawaii. The Doors. Analog 2tracks Phil Spector,
o1987 October, New Products Directory. Producers' Maury'. Kell, Hiatt Tape Recorder Maintenance Laurin Anderson.
o 1987 November, North Central and
Canadian Studios. George I'artist in. Pioneers and Trends in Film Sound. localization Maurice Jane.
13 1987 December, Mastering, Pressing, Tape Duplication and CD Facilities. Chet Atkins. Alf Clausen's Scoring for TV. Sieve inkather
1988 January, Northwest Studies. imputers in the Studio. Mick Jagger. On the
Road with Pink Floyd Tommy Tedesco.

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FEBRUARY 1988, MIX 173

GARY P SCLAFANI Engineer &Producer GAULEE RECORDING PO Box 226 Johnson City, NY 13790 (607) 693-3400 Credits: Gary &Linda Sclafani, John Wessel's, The Eash Family Singers, Randy Terry, The Beddoe Family, Rossano Bellassai, Gary and Karen Rose Services Offered: Recording, engineering, production, preproduction, programming/sequencing, arranging, writing, performing. We work with the artist to achieve the ultimate creative expression that best suits their style at affordable rates
ALAN SELK Engineer 1469 Pine St. NW Atlanta, GA 30309 (404) 876-8894 Credits: Movies: Dracula's Widow. Windmills of The Gods. School Daze, Annihilators. Commercials: Liberty Bank, Delta Airlines, Chrysler. Goodyear. Mobil Oil. Industrials Dow Chemical, Siemens. Services Offered: Production sound mixer for movies, television shows. commercials and documentaries. Complete equipment package including time code Nagra and playback system.
STEPHEN J. SELTZER Engineer &Producer PO Box 234 Somerville, MA 02143 (617) 623-1066 Credits: Call or write for demo tape and rates Services Offered: Engineering and production--meditation music to dance mixes Hardcore aspecialty
PAUL SETSER Producer PAUL SETSER CREATIVE SERVICES 2930 N. Newhall St Milwaukee, WI 53211 (414) 962-9174 Credits: Blending quality original music scores into multi-image and video presentations for major corporations and institutions nationwide. Continued recognition in the industry Illustrated through top awards from groups like AMI arid IIVA Also producing demos for local rock groups. Services Offered:A unique story-telling approach to soundtrack design carried into all audio-visual/performance media. Featuring across-the-board creative direction, from initial concept through original music composition, multi-track assembly, mix down and post-production sweetening The "setsurround" touch is dedicated to the promotion of technical excellence and the exploration of an impressive vilely in the audio experience.
SHADE/MANZO COMMUNICATION Engineer &Producer AIRBORNE ENTERTAINMENT 530 Ellsworth Ave., Ste. D-1 New York, NY 10465 212) 792-7576 (201) 790-6112 Credits: Production of syndicated radio programming aired in U.S. and Canada. production of audio books, publications and industrial narration, audio museum and auto tours. Commercial production including: Revlon, Proctor & Gamble. Union Carbide (Eveready), Colgate/Palmolive, Toys "R" Us, Johnson & Johnson, Bristol-Myers (Excedrin), McNeilab (Tylenol), American Hearth magazine, Rite Aid Drugs. Services Offered: Afull service production company including: writing and production of radio commercials, audio book production, casting services production of syndicated radio programs, voice-over production.
BRADLEY SHELDON Engineer &Producer ENDLESS SUMMER PRODUCTIONS 1504 Kelly Ten. Arlington, TX 76010 (817) 277-5425 Credits: TES Sports, NBC Sports, CBS Sports. CBS News, PBS's Firing Line, Raycom Sports, ESPN. Jerry Lewis Telethon, Endless Summer Productions' Mindless Summer Tour. Services Offered: Although the majority of my work is in live television, thave built up asampling/MIDI studio in Arlington, Texas This studio is time-code based and is ready for applications in both film and television. With offices in both Dallas and Houston, flexibility is the name of the game.

I\DEPENDENT
ENGINEERS & PRODUCERS
THOMAS H. SHOEMAKE Engineer &Producer FRIENDLY GROVE STUDIO 930 Murphy Rd. Bowling Green, KY 42101 (502) 782-3892 Services Offered: Friendly Grove Studio is an 8-track facility which provides arelaxed environment for avariety of recording applications, including demo recordings, both for artists and for songwriters, jingles and station promos, instructional tapes and remote recording. Ilook forward to providing service you can rely on and products with which you will te pleased, at reasonable rates. Iwelcome your inquiries.

PAUL SPECIAL Engineer
SPECIAL AUDIO SERVICES 197 E. 4th St, 5th Fl. New York, NY 10009
(212) 505-8363
(212) 581-6505 Credits: Island Records Trouble Funk, Nick Tremulis, Buckwheat Zydeco, Melissa Etheridge, Peter Himmelman Gary Windo. CBS Records: Aerosmith, Joan Jett. Price-Sultan Band.
Enigma: The Smithereens. Capitol Records 4x4. TTed Records: Big Tony NBC: NBC Nightly New,. POP Radio Wool-
worth's Chysler Corporation:Jubilation. BhICosby Productions;
Chubby Checker Productions. Services Offered: All engineering aspects of your project can be covered by Special Audio Services, from pre-production to
basic tracks and overdubs to mixing, edit.ng and mastering to live performance. A complete 16-track pre-production studio w/Emulator II is available. Special Audio Services can also
provide complete recording studio insteations and maintenance.

JERRY SKOFtA Engineer PRODUCERS VIDEO SERVICES PO Box 1865 Palatine, IL 60078 (312) 934-0999 Credits: Technical producer for single and multi-camera commercials, industrials (teleconferencing) and concerts (Rolling Stones 1981 Tour and Farm Aid 1986). Services Offered: Engineering supportand equipment: Ikegami HL 79EALs. HL-95. EC-35 (all primes and acc.) lkegami 323 P All tape formats Ultimatte 5specialist. Engineering consultant and maintenance services: Sony. lkegami. JVC
GENE SMITH Engineer &Producer ORACLE RECORDING STUDIO PO Box 204 Avondale Estates, GA 30002 (404) 921-7941 Credits: Multiple recording projects. Services Offered: Ican help you with your EP. LP. demo, soundtracks, voiceover, etc

CARY STEINBERG
Engineer &Producer HEARTBREAK HOTEL STUDIO
3885 S. Logan St Englewood, CO 80110 (303) 761-8060 Credits: Recording various single acts. duos and bands from the Denver area for len years Groups like Johnny 3, Kenny Vaughn, Cactus Jack, currently recording demo tapes by Detente and cassette albums by Minus Bill. Services Offered: 8-track recording for bands, jingles, audiovisual projects and soundtracks. We have the Mirage sampling keyboard, Korg SO-1 digital sequencer, Yamaha TX module,
Yamaha digital reverb.AKO and Sennheiser microphones plus Nakamichi cassette, etc. Call for rates which are the lowest in the area, catering especially to young upcoming groups with lots of talent and little money.

JEREMY SMITH Engineer &Producer c/o Summa Music Group 8507 Sunset Blvd. West Hollywood, CA 90069 (213) 854-6300 Credits: Co-producer Starship "Sara" and "We Built This City", co-producer for The Commodores "Goin' To The Bank". Engineer: Phil Collins "Against All Odds." Chaka Khan "I Feel For You".
JAY SNYDER Engineer &Producer JAY MARK 309 W. 82nd St, ft4B New York, NY 10024 (212) 362-6002 Credits: BoDeans, Jerry Harrison. Talking Heads, Rolling Stones, Madonna, Eurythmics, Huey Lewis, Fishbone. Aretha Franklin, Chuck Berry, Arcadia, David Bowie, Elton John, General Public, Style Council, Lou Reed, O'Jays, Trammps, Queen, Romeo Vod, Stacey Lattisaw, Steve Miller, Stevie Wonder, Teddy Pendergrass, Thompson Twins, Todd Rundgren, Village People. Bananarama. Bonnie Raitt, Beatles. Services Offered: Recording, overdubbing, mixing (specializing in dance mixes). Special rates available for entire projects.
ANDREW B. SOMMER Engineer & Producer 451 Mercury Ave. SE, 8101 Palm Bay, FL 32909 (305) 723-0899 (305) 984-9464 Credits: Yellowjackets, David Clayton Thomas, Original Drifters, Radio and Television News Directors Association 1987 Awards, Rory Pastorius, Michael Leasure, Stuart Coleman, Mint Condition, Spliff Brothers, Screaming Iguanas of Love. Puzzlers, Harris Corp. Services Offered: Concert mix engineer house and/or monitor, live and studio recording engineer Multi-media production for television, video, corporate communication Audio/video prepost editing and sweetening. Theatrical sound and lighting. 8-track analog, 60-track MIDI recording.

BOB STONE Engineer &Producer BOBCO MUSIC PO Box 27728 Los Angeles, CA 90027 (213) 281-7367 Credits: Frank Zappa Jazz From Hell, Shut Up 'n Play Yer Guitar, The Old Masters, LSO It. CD re-issues include Hot Rats remis, Honker Home Video soundtracks, etc.; Navin' ABad Day (Dweezil Zappa), Last Dance (Donna Summer), Shalimar's Second Time Around, Thank God It's Friday, Mickey Mouse Disco, plus numerous other platinum and gold album'12" remis projects. Services Offered: Specializing in production and re-mix with extensive digital experience, including soundtrack, video, multitrack and digital re-mastering for CD. USNVorid tour support, both engineering and technical. Quality project production for maximum chart potential or label consideration.
"HANK" STRASSER Producer REALITY RECORDS/PRODUCTIONS 19 Roxborough PL Willingboro, NJ 08046 (609) 877-7653 Credits: Produced for Reality Records, "Antigua" by Rio Clemente, jazz pianist and former side-man to Joe Venuti and Bobby Hackett. Ihave produced, promoted. or managed: Rick Laird, Vic Juris, Vinnie Cutro, "Reality,""Cahoots," Michael Steinel and "Jaws," Del Reeves and John Ma'am°, Gay Brewer and Jump Street and "The Sleepers." Services Offered: Independent audio production of demos r masters for either a flat fee and/or a percentage of gross revenue. Planning, budgeting, manufacture, promotion, distribution and management services are also negotiable Ihave experience in all types of commercial music My current interests are: jazz, electronic music and new age. Ihave access to a low-cost 8-track demo studio in South Jersey My Reality Records label indulges my personal music passions and economic insanity It is available for quality, outside-financed projects. Send demos and promises of large budget checks to 19 Roxborough Pl., Willingboro, ht.1 08046.

174 MIX, FEBRUARY 1988

PACIFIC AUDIO--VISUAL
ENTERPRISES
RON STREICHER Monrovia, CA
RON STREICHER Engineer & Producer PACIFIC AUDIO-VISUAL ENTERPRISES 545 Cloverleaf Way Monrovia, CA 91016 (818) 359-8012 Credits: Sound reinforcement for Mann Music Center productions of the Philadelphia Orchestra. the Metropolitan Opera, New York City Opera and others; location recording of the Bo'shot Orchestra for the U.S. tour of the Moscow Ballet; radio broadcasts of the Los Angeles Philharmonic Orchestra, audio consultant to the Los Angeles County Museum of An; audio production for numerous projects on National Public Radio. American Public Radio and PBS; and record companies including: Angel, RCA, CMS Desto, CRI, SAZ, etc. Services Offered: Ron Streicher has an international reputation for "tive-to-stereo" audio projects on location as well as in the studio As owner of Pacific Audio-Visual Enterprises, he provides cost-effective, quality-oriented services by specializing in basic, time-proven production techniques--without unnecessary fuss or gimmickry The result asuccessful job...on time and within budget With alifelong background in music presentation. Ron is well qualified to serve as a music consultant as well as engineer on any project: location or studio recording or broadcast; live concert sound reinforcement; music and performance coordination; audio systems design and consultation; lectures and seminars on recording techniques.

HORUS JACK TOLSON Producer 228 Haight St San Francisco, CA 94102 (415) 626-4373 Credits: Record production Die Hard Lover, Loveride. Give Me Back. Norms Lewis, Uncle Imperial, Heart Stop, Tyne Mouton. remis credit: Keep on Holding On. Margaret Reynolds. Technique (ERC/Polygram), Life is the Reason Norma Lewis. Commercials: Zing Ring, Wells Fargo/United Way ARC Productions Cal & Class. Chevy Camaro. Services Offered: Full production in soul/disco and pop records and demos and full production of commercials, jingles 8track/MIDI studio with Macintosh Plus computer. Synthesizer and keyboard work Arrangements and orchestrations. Extensive custom electronics and microphones available (directcoupled all FET designs by Pat Duran) Call for rates
JAN C. TOPOLESKI Engineer & Producer 62 Van Ness Dr. Brick Town, NJ 08723 (201) 477-1860 Credits: Recorded Steve Forbert's newest album. Recorded and mixed Marshall Crenshaw's performance of "Crying, Waiting, Hoping" for the movie La Bamba Engineered "J AM '86" which included performances by Bruce Springsteen, Frankie Valli, Tal Farlow and Southside Johnny Ihave also engineered sessions with Clarence Clemons, Nils Lofgren, Max Weinberg and Garry Tallent. Services Offered: Engineering; production; drum, sequencer and MIDI programming and custom sampling
JOE TORTORICI Engineer & Producer 808 W Newport Chicago, IL 60657 (312) 929-5542 Credits: Gavin Christopher, Shawn Christopher. Colourtones, Ken Chaney. Fenton Robinson. Stations, Paper Tiger, Bang Orchestra. Daryl Thompson (Black Uhuru). Frank Barbalace (Wild Blue). McDonalds, Coke, Sears, Kellogg's, DJ. International Records, latas Tras Records. Services Offered: Independent service available at all Chicago area studios with acontemporary approach to production and engineering that accomodates abroad range of clientele arid

MICHAEL S. SULLIVAN Engineer FORMULA ONE SOUND 4716 Dewey Ave. Riverside, CA 92506 (714) 686-5809 Credits: Live sound, recording, fully qualified engineer In industry since 1972 Some production experience. Work with many bands Punk to jazz! Services Offered: Recording engineer--all aspects, tracking through mastering. Live sound--have complete sound system.
HILL B. SWIMMER Engineer & Producer UPHILL MUSIC 1626 N. Wilcox, Ste. 703 Los Angeles, CA 90028 (213) 666-8388 Credits: Current projects include: Patti LaBelle. Gladys Knight, Klymaxi, Pointer Sisters, Stephanie Mills, Colonel Abrams, Stacy Lattisaw, Teena Marie, Howard Huntsberry, Imagination. Body, SOS Band, Jose Feliciano, Jose Jose, Julio Iglesias, Rosemary Clooney, Bobby Vinton; movies for Lorimar and HBO Services Offered: Analog and digital recording and mixdown for records, video and film. Specialize in sampling and fixing existing tracks New artist tapes received and reviewed.
BILL THOMPSON Engineer & Producer BILL THOMPSON RECORD ENGINEERING &PRODUCTION 1978 Ardith Dr. Pleasant Hill, CA 94523 (415) 689-1197 Credits: Debora lyall, Ronnie Montrose, Sheila E. Club Nouveau, Kajamin, Sylvester, Freaky Executives, Boi, Walter Hawkins Family, The Mysteries, The Looters. The Sorentinos, Force of Habit, Robbie Shakespear, Razormaid Records, Megatone Records, Maeda Records. Services Offered: Full service record engineering and production from pre-production to mastering. Located in the San Francisco Bay Area but will travel. Call for rates and demo reel.

BURKE TRIESCHMANN Engineer & Producer OPEN DOOR PRODUCTIONS PO Box 8556 Berkeley, CA 94707 (415) 527-9311 Credits: Original music composition and production for the Eliot Gould documentary film Working Late. Other clients include Safeway. the Stale of California's Supported Employment Group, Peterson Tractor, RAM Oil and Investment. Pacif icon and Children's Television, Lekotek. Also Independent album projects, books on tape, TV and radio spots and songwriter demos Services Offered: Music composition, production and engineering services for film, video and commercial formats. Complete music production and engineering packages for songwriters, recording artists, bands and independent producers MIDI composition and production services. pre-production arrangement and consultation, creative drum machine programming and top session musicians Available for independent engineering and production work.
scarr TUTT
Producer
scorr TUTT MUSIC
PO Box 121213 Nashville, TN 37212 (615) 331-7400 Credits: Has never produced arecord that didn't chart nationally Also president of Reptile Records Has published several Number 1records Instrumental in the careers of Alabama. Earl Thomas Conley. Susan Marshall, Government Cheese, The Dusters, Pat Garrett. Brice Henderson, Jerry Vaie McFadden and the Bigamy Brothers. Services Offered: Scott Tull Music is an independent publishing house, record production company, offers video production and more. Depending on particular artist and project, we can assist in many facets, from label shopping to pressing to promotion and video Whether you want to sell LPs off the stage or record for amajor label, you've got to have great music and quality product. That's what you'll get with Scott Tutt Music. Recording is not limited to Nashville, although there are many exceffent studios in Music City

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BRIAN A. VESSA Engineer &Producer
BV PRODUCTIONS PO Box 3272 Santa Monica, CA 90403 (213) 453-3636
Credits: Underscores: NBC miniseries Hands of aStranger.
Michael Mann films Band ot the Hand and Manhunter. Don Johnson Heartbeat video feature. four gold albums for Mob and Melody Records. including Jose Jose and Juan Gabriel; Brett Perkins "New Accelerated World"; numerous commercials
and industrials for Porsche, Disney. Del Monte, etc. Services Offered: Production and engineering for records, film and video. Synclavier and computer/synth programming Studio electronics design. With over 20 years experience as a musician. 12 years in the professional audio field and adegree in electronics, can provide the necessary link between concept
and realization of amusical project whether it be acoustic or electronic music, live recording, or the world of synchronizers
and SMPTE My interest is being a catalyst in the creative process

I\DEPE-pfi.yEl
ENGINEERS &
DENNIS WALL Engineer 10 Howland Cir. West Caldwell, NJ 07006 (201) 228-4099 Credits: LPs The Jets, Elise Fiorillo, Brenda K Starr, Ronnie Spector, Boys Club, Chad, Scott White and Chuck Lceb. Film and video audio: Urban Entertainment's "The Chair," NBC News. Evening Magazine, March of Dimes, Wall Street. Hersheys Chocolate and the New York Transit Authority Services Offered: Audio engineering and mixing MIDI systems design and setup, sequencer programming and pre-production. SMPTE/audio/video/MIDI synchronization.

STEVEN WELLNER Engineer &Producer 340 E. 90th St (4-E) New York, NY 10128 (212) 410-1129 Services Offered: Production and engineering servies, artist development, live production assistance
LEW WERNICK Engineer &Producer HARDLY RECORDS, INC. 5120 Walnut St Philadelphia, PA 19139 (215) 747-1201 Credits: Engineered Grover Washington, .1r. Dexter Wansel, The Dead Milkmen, The Johnsons, Monnette Sudler, The Nik Everett Group. Wilma Theater (productions of 1984, Macbett, and Shooting Magda). Produced and engineered: Decontrol Services Offered: Complete production service and record label

WAYNE WADHAMS Engineer & Producer BOSTON SKYLINE MUSIC/FILM ASSOCIATES 73 Hemenway St, 11508 Boston, MA 02115 (617) 536-5464 Credits: Rock, R&B, jazz and classical albums and singles for CBS. Portrait, U.A. MMG ... including Billboard Pick-Hits, Stereo Review "Best of the Month." Scores for major theatrical productions and soundtracks for feature films, including one Time mag. "10 Best" Designed Berklee College 3X TEC awardwinning studios and program Services Offered: Complete production, from concept through final mixes and specialty remixes With 20 years experience producing everything from hard rock to classical. synth pop to new age, tspecialize in bringing the best out in recording artists who want adistinctive sound, one that will set them apart from the crowd in their respective field of music Specialists on hand for arranging and orchestrating, budgeting and AFM/AFTRA matters, programming of every brand of synth. MIDI and ccrnputer-based system, record and mix to pis, complete musicvideo production. CD pre-mastering etc Scoring for stage and screen Will travel!
MICHAEL WAGENER Engineer &Producer DOUBLE TROUBLE PRODUCTIONS, INC. 8033 Sunset Blvd., *84 Hollywood, CA 90046 (818) 508-8714 Credits: Ahce Cooper. Dokken, White Lion, Keel Metallica, Accept. Stryper. X. Poison. Kane Roberts. Great White Bonfire. WA SP Services Offered: Record productor, mixing
JOHN T WAGNER Engineer &Producer JOHN WAGNER RECORDING STUDIOS, INC. 12000 Candelaria NE, Ste. I Albuquerque, NM 87112 (505) 296-2766 Credits: Oldsmobile jingle campaign -It's In" Dimensia for RCA Chevron Ortho/Gro (animated), Charter Medical (animated), National Oldsmobile Marketing Association, Grammy Nominations 1982 and 1983 1986 Miss USA Pageant Arnold Baking for "Brenda" product. Recorded for RCA MCA Capitol, Motown 1985 and 1986 1st place NM ADDY Awards Services Offered: 24-track recording wid,gital automated mixing. Audio post for video using Adams-Smith 5-machine compac controller and synchronizers Original jingle campaigns and music and EFX composition for video. Dialog replacement.
DUSTY WAKEMAN Engineer MAD DOG STUDIO 1717 Lincoln Blvd. Venice, CA 90291 (213) 306-0950 Credits: Dwight Yoakum Guitars. Cadillacs, Etc Etc. LP, Dwight Yoakum Yoakum Hillbilly Deluxe LP, George Hichfill Waitin Up LP, Rosie Flores Rosie Flores LP, Roy Orbison and KO. Lang "Crying" for Virgin Records, Stryper-Enigma Records. Services Offered: Music recording for albums, film. television. advertising. Owner of Mad Dog Studio, full service 24-track with Neve 8108 w/Necam, Studer A800 great mics and tons of outboard gear.

MATTHEW WALLACE
Engineer &Producer DANGEROUS RHYTHM PRODUCTIONS
2321 Russell St, Ste. 1-H Berkeley, CA 94705 (415) 843-3923
Credits: New Monkees. Faith No More, Legal Reins. The Naked Into, The McGuires, Yo, The Sneetches, All Fell Down, Torn Fogerty, Tom Mallon. David Crosby, Capture the Flag, Necrop-
ohs of Love. Dave Bryson. The Furies. The Endmen, Bill Thompson, Glorious Din and Kevin Army
Services Offered: Song choices. song arrangement. pre-production, engineering, producing, mixing, post-production. Ibasically do whatever is needed to turn a musical idea into a finished product.

SAM WHITESIDE
Engineer &Producer SAM WHITESIDE
5195 Misty Lake Tarn Acworth, GA 30101 (404) 928-4150
Credits: Engineer at Sound Exchange Studios/Eventide Clockworks '72-'73; chief engineer/producer at Capricorn Sound
Studios, Macon, GA '73-'79; independent engineer in studio and ive for artists such as: Allman Bros. Band. Sea Level, Elvin Bishop, Marshall Tucker Band, Chuck Berry, Willie Nelson, Chuck Mangione, Sonny Stin. Archie Shepp. Mark O'Connor Making you sound good in the studio or on the stage.

STEPHEN C. WASHINGTON/KEITH HILL Engineer & Producer SLAVESONG PRODUCTIONS 4004 Happy Canyon Dr. Dallas, TX 75241 (214) 225-1457 Credits: Hits produced for: Slave "Stone Jam" (gold). "Hardness of the World," "Slave" (gold), "The Concept," "Just aTouch of Love.", Aurra: Send Your Love Whit "Are You Single," ALittle Love Whit "Make Up Your Mind" "Such A Feeling". George Clinton "Fries/Shake." Good Loolun" and more! Services Offered: Songwriters. LP and 12" hit producers, movie soundtracks. You name it --we're your slave Engineering and mixing services available also
ANDY WATERMAN Engineer & Producer ANDY WATERMAN 5051 Klump North Hollywood, CA 91601 (818) 760-6563 Credits: Records: Stan Ridgway-IRS, Wazmo Naris-Big Time, Max Bennett & Freeway-78A, Les Hooper & Hoopla-Pause. Judy Roberts TV Fashion Channel, Kids Inc, The Master Movies Movies-.Something Wild, Modern Girls, Hard Bodies II, Pretty Smart. Commercials: 1987 Toyota, Honda, Budweiser plus 1,000 more. Services Offered: In residence at Entourape Studio, No Hollywood with acomprehensive personal equipment package including complete Macintosh-based MIDI system; FM, analog. wave table and sampling synthesizers; Linn 9000 drum machine with unlimited library: complete studio drum set. sound effects library. SMPTE video lock-up and custom designed effects and outboard gear package Specializing in record production, jingle production, TV and film score recording Fast. efficient and musical
FRED WEINBERG Engineer &Producer FRED WEINBERG PRODUCTIONS, INC. 16 Dundee Rd. Stamford, CT 06903 (203) 322-5778 (212) 349-6644 Credits: Dreams (CBS)/Ruben Blades (FWP). Tito Puente, Eddie Palmieri. Mongo Santamana, NBC-TV, ABC-TV, Laura Brannigan. Commercials: IBM, Mobil. Nynex. GTE, themes for PBS, Telemundo TV Network. King Features, Columbia Pictures, The Lovin' Spoonful. Features: Hyper Sapiens/The Sun and The Moon, Rosemary's Baby (trailer). Services Offered: Digital studio facilities for in-house production, sound and music consultation, multi-lingual (Spanish. English staff). Private labels: Worldwide Audio Mdeo/Frejo Records/ sound reinforcement consultation, engineering, location recording, MIDI programming, Kurzweil programming, composition, arranging, world class production. Trendsetters in the recording/music field.

JOHN O. WICKS, Ill Engineer &Producer THIRD STORY RECORDS, INC. 5120 Walnut St Philadephia, PA 19139 (215) 747-1201 Credits: Produced. The Dead Milkmen. Monnette Sudler. The Nik Everett Group. The Johnsons. Engineering clients include: Grover Washington. Jr. Pattie LaBelle, Dexter VVansel, Eric Basilian and Rob Hyman of The Hooters. Services Offered: Complete production service and record label
SANDRA WILBUR Producer SANDY WILBUR MUSIC, INC. 48 E. 43rd St, 7th Floor New York, NY 10017 (212) 949-1190 Credits: Commercials: Proctor and Gamble. Coors. VVendy's, Bubblicious, Matchbox, Coleco, Hardees, Meineke, SchliU Malt Liquor among others Records: five chart singles including "The Woman In Me" (gold) and "Hit 'n Run Lover". over 30 songs recorded (music and lyrics). Awards: Cho. ASCAP, NY International Film Festival, American Song Festival. Services Offered: Produce. write, arrange, score music and lyrics for TV and radio commercials, film, records, audio and video cassettes In-house studio used for sound design, special effects, music and audio tracks, and scoring direct-to-picture includes full MIDI'd setup (Kurzweil 250, Mac Plus, DX7, Voyetra 8) plus Otan 8-track. Ramsa board and lots of outboard equ:pment
PETER B. WILDER/PAUL R. APPLEGET Engineers &Producen ADVANCE MUSIC CENTER, INC. 44 Church St Burlington, VT 05401 (802) 863-8652 Credits: Engineering audio-for-video. Vermont Educational Television; remote audio broadcast, Vermont Public Radio. live audio mix for B.B. King, Randy Newman, Richard Thompson, others. Several albums and over 100 jingles. Production credits: arranging. composition and production of several regional albums, cassettes and jingles. Services Offered: Total audio services, from inception forward. Engineering, studio, live or broadract. Production including composition. arranging and instrumentals. Jingle production and composition. Synthesizer programming; studio design; studio equipment sales and installation, complete packages with and without MIDI compatibility Our convenient location and friendly staff will be able to assist on any audio endeavor, be it record production, concert sound, audio for video, jingles. studio consulting or equipment supply We're the one stop for Northern New England. "Have Ears Will Travel." Rates and prices on request.

176 MIX, FEBRUARY 1988

JEFF WILDERMUTH Engineer & Producer LIMETREE RECORDING STUDIOS 552 Putnam Rd. Schenectady, NY 12306 (518) 382-5734
W. BYRON WILKINS Producer SYNTAX PRODUCTIONS 528 N. Lake St. Aurora, IL 60506 (312) 393-4100 Credits: Caterpillar Co., Catholic Health Care Commission, State of Illinois-Vocational Council. AT&T/Bell Labs, Allied Tubular Reel. WKKD-FM. Member ITVA and AFI Services Offered: 4- and 8-track equipment, 16 x32 studio. slide production. 35mm-120mm 4 x 5 photography, multimedia and video production, voice talent, computerized scripting, graphic/title slides, original music production, product photography
JOSEPH T. WILSON Engineer & Producer SOUND TRAX. 1000 W. 171h St Bloomington, IN 47401 (812) 332-7475 Credits: Publisher (ASCAP). lyrics, music writer (ASCAP) recorded international trombone festivities in Nashville. Tenn '86;87 also international trumpet festivities in Kalamazoo. Mich. 1987 along with several gospel, gospel rock groups (Bloomington
Cury Productions. Larry Mitchell), etc. Rock groups. lights. (It
Band, Band X, AD8), heavy metal (Trauma. Pegasus) etc. Services Offered: 8-room 16-track full sound system w/fights on-location or in-studio wivideo. 2-track location also, mobile recordings welcome around the world. Available as engineer and/or producer for your next project. Also have contact with several excellent area bands for warm up situations with originals Sound Traxv is a lull service recording studio. Helping musicians get the sound they want to hear live or on tape
GREGG WINTER Producer EXTRATERRESTRIAL SOUND 174 Pacific St, 1G, Cobble Hill Brooklyn, NY 11201 (718) 834-1441 Credits: Debut album for The Nails entitled Mood Swing on RCA Records Worldwide, The Pleasure Principle by Treat (a Scandinavian hard rock band) on Polygram International. 12" mix of After the Fire's Der Kommissar on Epic Records. Army of One on WEA Records International, as well as numerous independent label productions Also co-wrote the September 1987 Hot 100 chart song "Rev It Up" by the New City Rockers on Critique/Atlantic Records. Services Offered: Being asongwriter and musician (I wrote and sang background vocals on "Eyes on Fire" for Blue Oyster Cult's The Revolution by Night album) is extremely helpful to my work as aproducer Helping bands get the most out of their songs and then tweaking the arrangements is priority one. From that crucial starting point the right performance and the right sounds can naturally flow
HOWARD WOLEN Engineer & Producer 11016 Keridge St. North Hollywood, CA 91606 (818) 508-1259 Credits: Smokey Robinson. Herb Alpert, Roberta Flack/Peabo Bryson, Thelma Houston, The Temptations. Natalie Cole. Dionne Warwick, Robert John, Kim Carnes, Barry White, Alphonse Mouzonnierbie Hancock. Jack Miller Reggae. Teddy Pendergrass, Jennifer Holiday, Hollywood Beat, Solid Gold Show sound mixer/recordist Walt Disney, Mazda, Ford. various others. Services Offered: Engineering, producing, songwriting and collaboration, mixing, fixing, editing, seminars in recording and production techniques
GEOFFREY WORKMAN Engineer & Producer ORIGINAL PROJECTS UNLIMITED 2244 Lowell Blvd. Denver, CO 80211 (303) 455-8208 Credits: Credits include Journey, Queen, The Cars, Motley Crue, Tommy Tulone. Foreigner, Dokken, Twisted Sister, Toto, Sammy Hagar, Ron Wood, Gary Myrick, Roxanne and more. Services Offered: Original Projects Unfimited's primary interest is in working with original bands that are looking to put together aquality independent package, including recording production, engineering, art direction and marketing strategies. Personal band management and direction tor musicians is also the companies intent Original bands may send demos and blips Recording studios may submit brochures

CLEVELAND WRIGHT Producer
MOTIVATOR MUSIC PRODUCTIONS 1591 Bruckner Blvd.. Ste. tt8-C Bronx, NY 10472
(212) 328-8323
Credits: Temper, Anthony Malloy, Black Ivory, Russell Patterson. Impact, Instant Funk, Wayne &Charlie. Omar Chandler. Kids at VVork. Master's of Ceremonies. True Love, Micheal Palace, Gene Singleton
Services Offered: Producing, arranging, songwriting and studio pre-production

DON YOUNG Engineer 171 E. 99 St
New York, NY 10029 (212) 860-9143
Credits: Deprogrammers, Duffault Brothers, Big Stick, Rachel Faro, The Fugitives, The Home Boys, Cold War Babies, The
Clan, Ann Miles, Force MD's, Gary Vogt, Nuvo Blind, Grace
Jones, Nadine Trevour, Cryptovision Records, Manhattan Records, Tommy Boy Records. Working Girls (soundtrack), BBDO.
Grey Advertising. Lockhart &Pettus, Italian Broadcasting Corpo-
ration and many others Services Offered: Full engineering services and production
assistance

84 5, ANTLAND PRODUCTIONS, INC.
ROY B. YOKELSON Bloomfield, NJ
ROY B. YOKELSON Engineer & Producer ANTLAND PRODUCTIONS, INC. 686 E. Passaic Ave. Bloomfield, NJ 07003 (201) 338-7338 (212) 355-1600 Ext. 255 Services Offered: Antland is afull service audio production company providing video sweetening, multi-track recording, original and stock muse, scoring and sound effects to the film/video and rade community Studios located in New Jersey and New York City. For equipment and rates inquiries contact Mana Alec*, production manager

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PHIL YORK Irving, TX
PHIL YORK Engineer & Producer 1400 W. Irving Blvd., Office *301 Irving. TX 75060 (214) 254-8161 Credits: Well-known veteran has recorded gold and platinum records, songs for Oscar-winning feature movie soundtrack. Skilled in all music styles. Was voted "Best Recording Engineer 1983" by Texas Music Association Has recorded over 30 Billboard chart records, produced and directed noteworthy conceptual music videos and afeature TV movie Services Offered: Produces and/or engineers only highest quality products A knowledgeable and easy-to-work-with professional Provides expert production and engineering services for rock, pop and country muse, highly creative writing, storyboard'rig, directing and production of conceptual music videos. Offers fast, excellent judgement in audio recording and mixing and video editing Specializes in music recording for record release and sale and shopping the completed project to national record companies and to overseas record companies

Call for FREE Catalog and sample: (800) 227-9980 (in CA, AK, HI call (415) 321-4022 collect)
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Circle #119 on Reader Service Card FEBRUARY 1988, MIX 177

-FROM PAGE 12, SESSIONS
mixing demo tracks for Island Records. Kerry Craton produced and engineered ... Downtown Sound in Dallas has been active recently with avariety ofcontemporary Christian music projects: Damly Davis was in working on his own projects, as well as engineering for producer/arranger Randy Wills; and Charlie Brown has been producing aproject with Zola Levitt ...Texasbased John Crowe Productions had their mobile trucks supplying equipment and crews for the telecasts ofthe Liberty Bowl, Bluebonnet Bowl, the All-American Bowl and more ...CookSound & Picture Works of Houston has used its Synclavier on anumber of scoring and post projects recently, including TV commercials for Exxon and Ralston Purina and scores for atrio of films by the Compaq Computer Corp...Some of Dallas' top local bands, including Shallow Reign, Reverend Horton Heat and The Affirmative, all worked on demos for major labels at Planet Dallas, with Patrick Keel producing and Rick Rooney engineering...
STUDIO NEWS
Power Play Studios in Long Island City, NY, has added a56-input SSL 4000-E Series console...Presence Studios in New Haven, CT, who also recently got a4000-E, have now upgraded to the G Series, which features aspecial equalization setup... Star Trax in Chicago has taken delivery of aNEOTEK Elite 48-input mainframe and some new UREI 813 monitors...The Toy Specialists in NYC have purchased the Neve Prism Series, which is derived from the Neve VSeries console and is comprised of a4U 19-inch rack with capacity for ten modules that can be powered from an existing console. .MastermLx Studios in Nashville purchased aCakec UA8000 console equipped with AMS TASC Automation... PCI Recording in Rochester has opted for the Telcom C4 Noise Reduction System, manufactured by ANT Telecommunications...Chung King House of Metal has taken delivery of aNeve V60 console with Necam 96... Frankford/Wayne Mastering Labs just got their fourth Sony PCM-1630/DMR-4000 with DIA-2000 mastering system for CD prep...Chalet
Sound in Manasquan, NJ has been finished.
Featured equipment includes an Amek Angela console, an Otani MTR-90II 24-track and the Dolby XP24SR Spectral Recording System... Crawford Post Production in Atlanta has anew Synclavier .

-FROM PAGE 38, VOCAL UNE
The vocal coaching given while recording will be practically identical to the direction given to the artist during pre-production. For this reason, your approach to recording the singer should be clearly understood by the time you've finished preparing acomprehensive worksheet.
Recording avocalist without doing any pre-production work can be tricky, but is alot safer if you make avocal worksheet on the spot. Just have the artist bring acopy of the lyrics to the session, which you can use as abasis for your notation. Use their first takes as astarting point, making corrections
VIDEO ·NEWS
-FROM PAGE 153
composers, publishers and video producers." Chris Stone comments, "By creating flexible, fully-integrated, turnkey systems, we hope to standardize these important tools within the industry, increase your creative range and productivity, and make historically complex studio operations easy to perform anywhere--even in the comfort of your home or office."
Filmsonix has also set up aMacintosh users group to gather and disseminate the latest news--announcing upcoming special events, and introducing and testing new products. The Macintosh Entertainment Guild ofAmerica (MEGA) has an international membership consisting ofprofessionals in music, film, video and graphic arts production. It provides acommunication platform for members, enabling them to network via monthly meetings, newsletters and an electronic bulletin board. MEGA even provides a24-hour emergency help line to assist members in solving their hardware and software problems. For more information about Filmsonix and/or MEGA, contact Peggy McAffee at (213) 468-5427.
Realtime Video Goes CMX-6300 Interactive video specialists Realtime Video Productions has become the first facility in Northern California to upgrade its on-line edit suite to the CMX3600, CMX's most powerful edit system. The system can control four channels of audio. The host computer is two to three times faster than the CMX's former high-end editor, the

as you go. One final note. Your goal as avocal
producer is to help the singer record a great vocal performance that doesn't sound produced, and even though we've gone to great lengths explaining how to orchestrate quality vocalizing, the final recording should still sound spontaneous and have the energy and emotion of afirst take.
Thomas Appeg Michael McCone, and Ate Rojas are vocal instructor/producers at Vocal Dynamics vocal instruction andproduction studios located in Santa Ana, Rancho Cucamonga and West Covina, California.
CMX-3600A. Realtime has also added two new ADO (Ampex Digital Optics SFX) devices, Digi-Trail and Target Frame Store; the latest 3-D software for the Chyron SCRIBE; and Tascam 2-track 1/ 4 -inch center track time code AIR and 8-track half-inch AIR, both directly controlled by the CMX-3600.
Video Expo San Francisco Video Expo comes to San Francisco February 23, 24 and 25 at the Civic Auditorium. Exhibits and seminars will be presented covering latest releases from manufacturers of recorders, monitors, editors, synchronizers, etc. This year's show will have several additional seminars dealing with audio for video. The next Video Expo will be in Los Angeles in May.
Want More Information?
The advertisers in Mix are happy to supply
readers with additional information about the products and services advertised in this issue.
To receive more information, just circle
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178 MIX, FEBRUARY 1988

JUXTAPOSITIONS
-1410M PAGE 24
flexibility with enhanced system control; Mix readers might recall the iconbased displays and control surfaces utilized in the sadly now-defunct Droid Works SoundDroid system. To select aparticular task on the SoundDroid, the operator used atrackball to point and click on asuitable icon designating that task. (A later version used atouch-sensitive screen to achieve the same function.) When the time came to move or relocate various sound cues or effects tracks, avisual representation of the audio modulation and accompanying visuals enabled the user to clearly and unambiguously locate the section to be moved, and where in the audio track the section should be placed. A bank of assignable, servocontrolled faders was provided below the monitor to effect real-time level changes, along with EQ and pan. Although SoundDroid's 1024 by 800-pixel display was provided by alarge-size graphics CRT, subsequent generations ofSoundDroid could have been reconfigured to use electro-luminescent or LCD technologies.
Iwould also look for afundamental reappraisal of the centralized role that an all-digital recording and editing system can play in the studio of the '90s. Given that practically every element of aproduction will be digital, it makes more and more sense for designers to incorporate additional capabilities. For example, the distinction between editing elements of amultimedia produc tion and assembling the various production, ADR, Foley effects and musical elements might usefully be accomplished on asingle system that can be reconfigured to better handle the task at hand. (Interestingly, the SoundDroid's stablemate, EditDroid, was designed to export edit decision lists and other time code-based data directly to the sound editing console, so that these complementary tasks could be undertaken on the same information.)
There is much talk these days of "hypermedia," a new term derived from the computer industry that succinctly represents the essence of the new renaissance in computerized control. Why, we can argue, should asystem be designed to perform just one task, when it really ought to be able to access information, data and even con-

trol signals provided by subsystems that are performing auxiliary functions,
but which can benefit from being networked with the main computational engine.
Consider, for example, the selection of sound elements from amajor effects library. Normally, such data would be accessed via asubprogram that al-
lows various search categories to be entered, and then the results viewed on the screen. In amore thought-out system, however, the library utility could be called up from within the main editing program, and the results of the search--including the actual location of the track and/or any signal processing we have selected during the auditioning process--transferred as appropriate data to the calling program.
Within ahypermedia environment, however, each of these tasks would access the same database and provide away ofannotating the data in light of
the need of the visiting program, and the fate of the data that it plans to export for its own production task
If you think all this seems beyond the needs of the average recording and production engineer, you are

probably correct. To remain one jump ahead of obsolescence though means that we do need to come to terms with emergent technologies and, just as importantly, the control schemes being developed to better integrate the cornplementary functions capable of being achieved with an all-digital microprocessor-based system.
So important is this development that the April issue of Mix will include asupplement dedicated to the coming revolution of hypermedia, and the impact such acapability will have on audio and video professionals. My column in that issue will comprise adialog with representatives from the various companies currently developing digital recording and random-access systems, and their thoughts on integrated control.
Mel Lambert has been intimately involved in the pro audio industry--on both sides of the Atlantic--for the past decade. Formerly editor of Recording Engineer/Producer magazine, he currently is apartner in the Marcus *Lambert PRfirm, and thepresident ofMedia &Marketing aconsultancy service for the pro audio industry

MIX CLASSIFIEDS WORK!
· PROVEN RESULTS--Classified advertisers report quick
turnover in the buying and selling of equipment/services. You get increased sales and opportunities!
· LARGEST READERSHIP--Mix has aBPA audited
monthly circulation of 44,000 copies--the largest in the industry.* We've got your market covered!
· ASSISTANCE IN AD PRODUCTION--The
Mix Classifieds Department will help you write and produce your ad copy to ensure the best results for your business. We guarantee accuracy!
· GET IN ON THE ACTION!--To place an ad, call
the Classifieds Department, (415) 653-3307 or send ad to: Mix Classifieds, 6400 Hollis St. #12, Emeryville, CA 94608. (Please see the Classifieds section in back of the magazine.)
*Source: Publishers' BRA statement of circulation, June, 1987.

FEBRUARY 1988, MIX 179

FEEDBACK

Dissent on "Dissent" Iwould like to clarify certain points made in the November 1987 Mix article entitled "Dissent in Vancouver" [sidebar to "It's Hot Up There].
The Cultural Industries Task Force of British Columbia came together jointly to further the common interests of the film, book publishing and sound recording industries. Our objective is to demonstrate the economic viability of our sector in dealing with government and to address such common problems as promotion, distribution and financing. It is these overall elements of commonality which brought us together rather than any perceived deficiencies of existing organizations such as FACTOR.
Regarding CIRPA, Iactually was comparing it to the Pacific Music Industry Association, of which Iam a founding director, and its intent to address concerns specific to the BC music industry. Pre-existing organizations (such as CIRPA or CARAS) did not have the same objectives or vested interests nor, was my intimation, could they be expected to have, given their respective specialized mandates and national incorporation.
In the matter of governmental touring and recording assistance, it is not my suggestion that commercial music be helped in the same way as classical artists and dance companies, but that commercial music be recognized as economically significant and be stimulated accordingly, not subsidized, for the resultant multiplier effects.
Ihope my position is clarified, and welcome further discussion on the recording industry in British Columbia. Geoffrey Halton Mushroom Studios Vancouver, BC
Stealin' On Thursday, June 25, 1987 at 0100 hours, three white males entered Mix

Masters recording studio, located at 4877 Mercury Street in San Diego. The males identified themselves as members of the band known as "The Choice." The business had been contacted by members of the alleged band prior to Thursday and had made an appointment to record. Once inside, the three males explained to the lone employee what they needed for the recording session. While the employee prepared the equipment, three other male suspects entered the business.
The suspects produced what has been described as a.38 cal 4" blue steel revolver, a6" blue steel .44 magnum revolver and a.12 gauge riot-type shotgun. The employee was handcuffed and shackled and placed in the bathroom for approximately 21/2 hours. The suspects then removed close to $300,000 in recording equipment, including NEOTEK Series III-C console, Hafler amplifiers, Crown amplifiers, Otani 2-, 4-, 8- and 24-track machines.
Any info regarding large amounts of recording equipment being stolen, sold or transported, please contact Detective Ron Thill, San Diego Police Department, Robbery Detail, (619) 531-2299. Ron Thill, Detective San Diego Police Dept.
Oops! Somehow between us moving into a new 15,000-square-foot headquarters and aglitch in your computer coupled with our postal strike, we fell out of your listings for Canadian educational facilities. That's like falling off the planet! Columbia Academy has over 20 years' experience in providing certificate programs for radio, television and the recording arts. Our facilities are situated in Vancouver (H.Q.), Calgary, Edmonton and the
Okanagan Valley. Our students enjoy the practical benefits of aprogram of instruction that is primarily hands-on and personal. We have award-win-

ning instructors and our equipment is state-of-the-art including Neve consoles, Ampex analog machines and Western Canada's only 48-track, Chips Davis-designed Sony digital studio! Alison Medd Columbia Academy Vancouver, BC
JVC and CD Mastering The purpose of this letter is to point out aserious mistake in the article "The Independent's Guide to CD Production" by John Barilla in your December issue.
On page 35 the article states: No matter what format your original production master, for the purposes of CD mastering it will have to be transferred to the Sony PCM 1610/1630 format which has been adopted as the industry standard. The essential thing about this... processor is that it clocks information in and out at ...44.1 ...and stores that information on Sony 3/4 -inch U-Matic cassettes
.while audio track one is reserved for... PQ subcode.
Ifind quite afew flaws with the above passage. 1. Material does not have to be transferred to the Sony 1610/30 format. Several plants are now (and have been) mastering directly from JVC format tapes. 2. The above observation throws some water on your statement that Sony is the "industry standard." 3. The JVC processor "clocks information in and out at 44.1 and stores that information on 3/4 -inch cassettes." Here Imight add that with the JVC system a half-inch VHS machine might also be used. 4. Addressing the PQ code software question, JVC has available asoftware package (DS-CS901) that allows the use of an ordinary PC as the source for PQ data. Plants are using this system on an everyday basis.
By the way, several companies are

180 MIX, FEBRUARY 1988

working on systems which will allow mastering from any format. The only real requirements for direct CD mastering are a44.1 format and the ability to insert PQ codes. It does not take amental giant to figure out that with AES/EBU becoming afact of life other options for mastering exist. Larry Boden National Sales Manager JVC Pro Audio
P.S. The correct telephone number for our CD pressing plant is (205) 556-7111, not area code 206 as listed in the December issue.
We Stand Corrected Thanks to you and author Tim Boyle for the mention in the article on Sundance Institute (November, 1987). However, Pro Co Sound is not located in Salt Lake City, Utah. Although Salt Lake is abeautiful city, Pro Co has always been in Kalamazoo, Michigan. Jerry Smelker Pro Division Manager Pro Co Sound
"Metal" Matters Iwould like to clear up some misleading information that appeared in your July '87 "Sessions" column.
Greene Street Recording inferred in apress release run in that section that LL Cool Jfinished recording his album Bigger and Deffer at their studio. As anyone can see on the record sleeve, the album was recorded at Chung King House of Metal, with one additional mix at Greene Street, engineered by Rod Hui.
With the success of his first album Radio, recorded entirely at Chung King House of Metal, how could the producers, Mr. Cool J and the LA Posse, have wanted anything less than our consistent quality?
Thanks for agreat magazine, and for letting us set the record straight, no pun intended. Eloise Bryan Studio Manager Chung King House of Metal New York
Mix welcomes reader comments on our articles or issues relating to audio and video. Write to us at Mix/Feedback, 6400 Hollis St. #12, Emeryville, CA 94608.

iluer`; purkury 8861

MIX WORDS
MUM Mann MIMI
MIR Mann MIMI MIIIMMIMIMMM u....
BIM MMIM u... MUMMIUM
MMIIMMUM OM MINIM MUM IBM MOM Mum MIIIMMM MM. MM.
MMIIMIUMM MUMMUM MUM MR IIMMM u.... MMUMMIMMU MMIIMM MUM MUM Man MIMI MM.
SOUND SOUNDING

ACROSS

9. Jump agap

40 "

undove

1 Big

10. See 28A

42. See 68A

5. Old ME. god

11. Calm or tale

44. Greek letters

9. Rug or code

12. Stir up

47. Twitch-

13 Venezuelan copper center

16. French holy woman

49. "I do" locale

14. Parisian girl

18. Small bodies of land (archaic)

52

out

15 Tape storage devices

22. Survey

54. Prominent musical mfr.

17. A kind of modulation

25. Writer Leon

55. Swindle

19. Precious measurement

27. Healing place

56. Norse girl

20. Bearish word

28. Certain U.S. coins

57. Science popularizer

21. Auto type

29. Long

59. Famed revolutionary

23. Roman single

30. Actor Anthony

61. Singer McIntire

24. Chit

31. Iris layer

62. Shot or bean

26

ground,

32. Organic mineral paste

64. News story

reduces noise and interference

36.

pan;

65. Hawkeye, to Aida

28. With 53A and 10D, audio test

Chinese abacus

67. Gott device

device

38. Famed folkie

69. Curve

33. Peak appurtenance

39. Begin to be, suffix

70. Movie does first name

34. Offer

35. Hindu deities 37. Fossil resin 41. Once again 43. Musical transition 45. Comfort 46. French legislature 48. Lavinia's daughter 50. Econ. Co-op. Admin. 51 Contend 53. See 28A 55. Tests 58. Depot 59. Cook 60. Organic audio test gear 63. Arab prince 66. Esne in Sparta 68. With 420, simulator for
testing systems 71. Tidal bore 72 Down there, to Pierre 73. Non fixed-wing prefix 74. Control 75. 40 winks 76. End of aprayer
DOWN 1. Sheepish statement 2. Automation system

mnamn Anna mum Solution to December Mix Words
,DOE pump #,cnt
nFAmoInuRir.o1ns7oq,#0n00m/EaMLnMeoMr'7Ir1n1W /4o2Mn1
naunn MCML DIM riUMRs/UnPFINUM
4/ M P Mon senem MR MUM EME eor &MIMecEonn/A/smcALTE

S Not yep 4. French 5. Use an OTB facility 6. Astringent 7. Hawkeye

PSPr 3Ciin l CeEArôEnsICnIoT/ rE R, E

8. Shallots

neon SORE 7,900P

FEBRUARY /988. MIX 181

CLASSIFIEDS

Employment Offered

NEW, USED, DEMO SALE RECORDERS, CONSOLES, OUTBOARD EQUIPMENT

LEASE/BUY/SELL Great prices and great service on over 200 lines including Otani, Har-

LEASING

PRODUCT ENGINEER MONSTER CABLE
Monster Cable is looking for engineering talent in the areas of prod., product development and mechanical design. Experience in computers and pro-sound equip. pref. Build afuture in ayoung, friendly, high energy, fast-growing co. Send resume to: MONSTER CABLE, 101 Townsend, SF, CA 94107. Attn: Personnel.
Audio Engineer/MIDI Programmer --should be experienced in all phases of commercial audio production, MIDI keyboards and audio-for-video

Otani MTR-90 24-trk, Tascam MS-16, Ramsa T-820 20x16 mixer, Aries 24x8x16 mixer,
Scamp Rack, Cypher Shadow Synchronizer w/Remote, Yamaha
DMP-7, Yamaha REV5, UREI 813C monitors, Tannoy PBM 6.5
monitors, Yamaha NS-10M,
Roland S-550, D-550, MT-32, Southworth Jambox 4+, Performer & Composer software... E.A.R. PROFESSIONAL AUDIO
(602) 267-0600

rison, Soundcraft, Tascam, JBL, Lexicon, AMS, Akai, Trident, KT, dbx and all the rest for the best in new or used. AVC SYSTEMS (800) 323-0281, in MN call (612) 7298305.
New Used & Demo Soundcraft Neotek, Otani, Akai, Klark-Teknik, dbx, E-V, LEXICON. USED NEO TEK CONSOLES, microphone sale, over 200 mics in stock. E-V, AKG, Beyer, Sennheiser, etc. New E-V N-DYM mics in stock. Call Pyramid Audio Inc (312) 339-8014.
Call Us Last!
SIDEREALKAP. The SiderealKap

Specialists in Audio Equipment
Rent or Lease All
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WE TAKE TRADE-INS!
PMI, Inc.

application. Send resumes to Lan-

was designed from its inception to

567 N. Market St.

pher Productions, 865 Monticello

Summit

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AUDIO ENGINEER For CD pre-mastering operation. Exper. in technical (non-creative) tape mastering including A/D, D/D conversion, digital editing. Video

Audio Inc.
PO. Box 1678 Los Gatos CA 95031 408-395-2448

available for audio today. Find out
what the music lover's capacitor doesn't sound like. Free literature and price information upon request.
Dealer inquiries invited. SIDEREAL AKUSTIC, 1969 Outrigger Way, Oceanside, CA 92054, (619) 722-

exper. is an asset. Good interper- OTARI MX-80 24-TRK. 3MO. OLD 7707.

sonal skills are amust. Southeast location. Send resume to: Mix Clas-
sifieds, PO Box 2526 ft2, Berkeley, CA 94702.

$23,950; NEUMANN "TUBE" U67 $1,200; NEUMANN NEW KM-84 $359 EA; RAMSA WRS-820 20 X
8/METER BRIDGE $4,800; FOS-

STUDIO FINANCING and leasing plans for qualified buyers. Quick
service, 36-60 month terms. $5K to $200K--for information call Dick

Audio technician to work in contemporary studio, competing on national/international level. Primary music: rock, pop &R&B. Qualifications must
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must. Responsibilities to include re-

TEX E-16 NEW $5,400; OTARI MTR12 6 MO. OLD $6,950; TASCAM MS-16 W/LOCATOR, STAND, BRIDGE $7,500; NEUMANN TLM 170 "NEW" $1,250. CALL OPUS FOR ALL YOUR EQUIP QUOTES 312/336-OPUS (6787).

McCalley at (612) 929-4000.
DO YOURSELF A FAVOR If you're ready to buy any type of recording gear or musical instrument, do yourself afavor and call us before you buy. We have most name brands at some of the lowest prices

cording, mixdown, day to day main-

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3M M-79 TAPE HEADS

Memphis, TN 38103.

or to list your used gear free.

IN STOCK 16- & 24-TRACK 2"

The Bertech Organization

We stock tape heads 1/4"thru 2" &

Equipment For Sale

Call toll free: (800) 992-2272 In Calif. call: (818) 909-0262 THINK BERTECH FIRST!

spare parts for most recorders (800) 553-8712 or (800) 325-4243 CA, (818) 994-6602, Telex: 754239,

Rfoce,orly iable Music Urnerna the Southecnt tor 25 year+ &lea.%
on excellent serectron of max°, rnsnarnent, pro sound and recarchng egarpment rn o
hands on envconment We hove o pro .x9erenced tare, trot/

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We have Digital Audio Tape decks and tape ready for delivery!!

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World's Best Prices on quality used equipment. Super savings on ATR100 and multi-track heads. We buysell-trade. Get on our mailing list and

trorned technroons and oar once, ore

buy where the pros SAVE. AUDIO

PCM

VILLAGE, PO Box 4692, Palm Springs, CA 92263, (619) 320-0728.

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Used Trident 808 30/24/24--$30,000 w/MasterMix automaton add $11,000. Used Soundcraft 2400 Series 28/24/ 24 console, home studio use only-- $24,950; (813) 960-5100.
24 channel Dolby rack fitted with 361 cards. Excellent condition--$10,000. E-mu Emulator II w/3.0 software-- $4,500. Call EARS. (201) 673-5680.
NOW--A solid oak, 16-space rack with 1/8"steel rails, sturdy metal casters for portability and afully adjustable tilt for easy access. Also avail. 8space desk top & 20-space floor racks. For more info. contact STUDIO WOODS INC., 20437 W. Outerdrive, Dearborn, MI 48124, (313) 563-8588.
"AMAZING"
LC,VV,LCiVV PRICES
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V Quality Recording & Midi Gear
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V Great Buys on Rare Equipment

7041375 78662

We buy and sell all Sony PCM products. Call for info!!
Micro Seild Turntables SAFC Tonearms --Cartridges
I.C-OFC wire--the best!! Portable DATs available.
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2718 Wilshire BI., Santa Monica. CA 90403

ICB AUDIO 1349 E. McMillan Cincinnati, OH 45206 Call us for over 100 lines of Professional Audio and Video
(513) 281-5535

Te kC om
CORPORATION
Mastercard & Visa are Welcome
CALL 215.426-6700i

Free Applications Engineering!

AMPEX MM1200 16-trk exc. condi-

-- TUBE MICS***

tion, priced for quick sale--$8,000 A.K.G. C-12

firm. PROPHET 2000--$975, AKG A.K.G. C-24

$2,500 $2,750

Well make sure you get the right transformer, C12A--$695, SONY C37FET--$150, Neumann U-67

$1,700

and show you how to improve the rest of the
circuit, too. Same day shipping from stock.

(2) SPECTRASONICS 610 limiters Neumann M-269/shock

--$100 each. (805) 466-1833.

mount

$1,900

Ijensen transformers I INCORPORATED

DCODE TC ·1 Time Code Reader

10735 Burbank Blvd. ·North Hollywood, CA 91601 FAX (818) 763-4574 Phone (213) 876-0059 TELEX 6502919207 MCI UW
(Mon-Thurs. 9orn-5pm Pacific time)

MI

am

Ftl

v

MI

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LIMITED OFFER $395

Neumann M-249

$2,000

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$2,250

A.K.G. C-12a

$1,000

A.K.G. C-61s (per pair)

$800

Power Supplies

$300/$400

Call Bill Bradley (312) 751-1216

KURZWEIL 250. Mint condition with Sound Block A, Apple Mac interface and extra electronics. $8,900. Call Allan at (503) 687-9332, Eugene, Oregon.
YAMAHA PRODUCTS DMP7 digital mixer, REV 5, SPX 9011, NS10M, NS4OM studio monitors, PM1800, PM3000 mixing consoles, call Dick or Lee at (612) 929-4000.
Equipment

SUNSET SOUND CUSTOM CONSOLE Star-studded studio 2console, selectively seeks new home. Available early 1988. Serious inquiries only. (213) 469-1186.
D&R MIXING CONSOLE!! SERIES 8000 MOD II, DEMO EX. 8MONTHS OLD. IN-LINE 32/24 IN OUTPUT CHANNELS, PENNY &GILES FADERS, T&T PATCHBAY, 8AUX +32 EFFECT RETURNS. MINT! RETAIL $57,850 --ONLY $39,500--(612) 866-2999.
MCI JH-416 console 24x24. Now in use at a home studio. VVell-maintained, spare parts. Will accept ANY reasonable offer. Call Joe (301) 7616159.
MCI 24-TRK-2-TRK HEADS IN STOCK
We stock tape heads 1 / 4 "thru 2 & spare parts for most recorders (800) 553-8712 or (800) 325-4243 CA, (818) 994-6602, Telex: 754239, Sprague Magnetics, Van Nuys, CA.
MILRM AUDIO is

DENECKE, INC. (818) 766-3525 (2) Neve consoles (80 series) 40 EQ 5417-13 Cahuenga Bi.. N. Hollywood, CA 91601 mods, 8 sub-groups, 24 monitor &

AVR Group The widest selection of used gear. Neumann, Puttee, dbx, Teletronics, Otani, MX 5050--$1.2K--Otari Mark III-8-$3.5K, Neve 8048-78-

sub-mixer, 6 FX on inputs, 2 on group, 4on monitors, 60 ch. on remix. Straight console--$40,920--
wrap-around console w/LED-- $46,500. LONDON-01-521-2040.

32x16x 24--$69K, Datatron Tempo

db ENGINEERING

76-$5.5K, Linn 9000-Forat4a2K, The ONLY BROKER w/OTARI &

Telex 300 Dup. System, $2.5K, TASCAM AUTHORIZED SERVICE

UREI 1176LN--$425, all used equip. warranteed & calibrated to factory spec. or your $back. (617) 332-1441. Call for prices on new

Used: Otani MX50508--$1,200, U47 Neumann tube--$1,500,
Neve 8048 w/3 band EQ--$60K, Trident Series 70 16x8 in 24x16

equip.

frame--$9,500, Lexicon PCM60--

TOURING CONSOLES

$625, Pultec MEQ5-$900, Sound-

JIM GAMBLE HC40-24+8*, SOUND- craft 800-18x8x16 w/300 bay--

CRAFT SERIES IV 40CH, MIDAS
PR40 30X16 MONITOR. All with spare supplies and cases. *Financ-

$8K, Sony VP 5600 U-matic-- $1,400, Roland Compu-Editor 16ch. SMPTE auto.--$2K, MCI con-

ing available (818) 503-1292 or IMC sole JH428 $8,500, MCI JH24--

1328.

$13,500, MCI JH 110B-2-trk w/

new Saki heads--$2,500, Sound

Complete Recording Studio--All or Workshop Series 30, 26-in --

any part AMPEX MM1100 2" tape $10,500 w/meter bridge &VCAs.

w/8-trk head remote/search; Tas - LIST YOUR FOR SALE ITEMS

cam Mod 15 console w/wiring hamn WITH US FREE. Specials on new

& patchbay; Teac 4-trk & 1/2 -trk nec; gear. AKG C414 EB-ULS--$650.

loads of outboard ecuipment all in Seck mixer 12x8--$2,525, Senn-

exc. cond. now in use. (405) 769- heiser MD421 --$268. Call for

3726.

prices on Aphex, Trident, Klark-

Rental
DESIGN FX AUDIO

DIGITAL AUDIO RENTALS
Specializing in digital tape machines, reverbs and effects
processors. Technical consultation included.
213/838-6555 Outside CA 800/441-4415
PO Box 491087 Los Angeles CA 90049

On-Can

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rentals

599 Eleventh Awe .NYC. 10036 (2121 582-4400
The Best That Money Can Rent

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THE SOURCE"
FOR THE SWEETEST DEALS
IN PRO AUDIO,
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EQUIPMENT STUDIO DESIGN
INSTALLATION CREATIVE FINANCE 1-7 YEAR LEASING TRADE ALLOWANCE
FULL SERVICE
In the long run, it costs less to deal with the best.
MILAM AUDIO Since 1967
1470 Valle Vista Blvd. Pekin, IL 61554 (309) 346-3161
--Emulator 11+-- Large library and flight case. $4,200 or b/o.

Amek TAC Scorpion 40 input board, Teknik, Orban, Gauss, Aries Tube-

8 effect sends, 8 buss, 8 monitor Tech &TC Electronic. We design section. Used only afew times--like &build studios, custom patchbays

brand new. $16,000 or best offer. Call & racks. More Canare & Gepco

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multi-pair cable in stock. 161

STATE OF THE ART MTR90

Massachusetts Ave., Suite 204, Boston, MA (617) 262-0311. (For-

PRIVATE SONGWRITER STUDIO EXCELLENT EQUIPMENT IN PRIS

merly NE Equip. Exchange.)

TINE CONDITION. WHOLE SYS- Inexpensive 16-Irk recording pkgs.

TEM OR PIECEMEAL.

avail. Must move immediately. Scully

(312) 836-0383.

100 w/Maze console $8,000 OBO,

BIAMP-B3224, brand new, 32-inputs, 24-submasters. The ultimate 24channel recording console in univer-

MCI 16-trk &console--$13,000, MCI & A&H Console. Randy (615) 3618429.

sal modular design for alist price of (3) complete studio equip. MCI pkg. only $13,999. Call for our very spe- avail. Call for details. Randy or cial price on this console. We will Tim --(615) 361-8429 or 361-6768.

offer the best prices available in the STUDER A-80 MK-1V $19.5K. 16 TR, whole U.S. on all BIAMP products. 2300 hrs, excellent SOUNDCRAFT We also have on sale the famous 1600 $13.5K. Producer Series, 24x8 BIAMP-RICK-MAX,16-channel rack- x16, 8Aux FX returns, Full patchbay. mountable mixer, as well as power Contact: Steve (804) 644-0935 amps, etc. Call INTER -CINE -VIDEO

CORPORATION at (312) 872-1665

MCl/SONY PRODUCTS

for prices and details.

Pro DAT PCM 2500 & 2550, JH-24

VINTAGE TUBE MIKES Call Bill Bradley (312) 751-1216

recorder, MXP3000 mixing console, APR 5003 centertrack recorder.
Cash, lease, or trade--Quick service. Call Dick or Lee (612) 929-4000.

Sony 3324--$750 per day, Focusrite EQ (6)--$200 per day, Sony 3202--$225 per day, Free cartage
within 25 mi. of NYC (914) 639-1091.

/à/D10 eeECTj

STUDIO EQUIP. FOR HIRE

Technician on staff 7am-lam

Open 7days aweek

Digital Tape Machines,

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Effects Processors, Reverbs

(213) 871-1104

(818) 980-4006

Equipment Wanted

BTX 4600 Synchronizer system-- Call Peter or Steve--(212) 581-2305.

Instruction

INSTITUTE OF COMMUNICATION ARTS. Commercial Music Performance, Audio Engineering/Prod., Video Prod./Sound Reinforcement, Music 8i Entertainment Bus., Communications, Electronic Music, Music

--Soundtracs MR24 Console-- Like new--$7,500. Call Eric Jensen (415) 469-0192

Ampex MM1200s, highly modified SUNSET SOUND (213) 469-1186

Ampex MM1200s. Highly modified. Sunset Sound (213) 469-1186.

Theory &Arrang. 2Yr Prog/ PT. Studies. 12-12840 Bathgate Way, Richmond, B.C. Canada (604) 278-0232.

FEBRUARY 1988, MIX 183

The new fall 1987 Mix Bookshelf Catalog is now available! Write or call now for your free copy of the most comprehensive selection of books, tape courses, music software, SFX libraries, databases and more.
MIX BOOKSHELF 2608 Ninth Street Berkeley, CA 94710 CALL TOLL FREE: (800) 233-9604 In California: (800) 641-3349
EDUCATIONAL VIDEOS 2/6/12 hour sound mixing/recording courses: $39, $119, $239; 2hour MIDI course $39; Add $5 shipping/ handling for each course. Visa/MC/ check. For brochure: RECORDING ASSOCIATION, 5821 SE POWELL, PORTLAND, OR 97206, (503) 7774621.
Maintenance Services & Repair
Tu A s ELECTRONICS INC
343 MANVILLE RD PLEASANTVILLE, NY 10570
I Plc) riredio Seuréce
·consoles ·Multi-Trax
· Amplifiers ·FX equip
-- Repairs --Modifications -- Performance Testing

Recording Services

CD MASTERING& DIGITALTRANSFERS

DIGITAL SERVICES

, / /

P.O.BOX 694 LYN BROOK, NY
11563
(516)872-2325

EVEN IF YOU DIDN'T RECORD AT REFLECTION, ALL IS NOT LOST-- YOU CAN STILL MIX AT REFLECTION. We handle remix work from studios all over the country (and a few in Europe). You have heard our work on REM, Don Dixon, Marli Jones, Marshall Crenshaw, Let's Active, Tammy Faye Baker, and many others. 24-, 16- or 8-trk mix through Hard Disc Automated Sony 3000 board going to PCM-3202 Digital or APR-5000 1/2" Analog. IT'S NOT TOO LATE! Call us for rates and scheduling, (704) 377-4596 (Charlotte, NC).
Records, Tapes CD Services
and Supplies

(914) 769-6423
RCA MICROPHONES -- Repair service on all models. Complete sound and cosmetic restoration. 35 yrs. experience with company ENAK Microphone Repair, 420 Carew Avenue, Pitman, NJ 08071. (609) 5896186.

Disc Mastering and Record Production LPs, EPs, 45s--Plating, Labels, Pressing, Jackets.
DIGITAL NOW AVAILABLE! THE CUTTING EDGE Box 217M Ferndale, NY 12734 (914) 292-5965

NY TECHNICAL SUPPORT, LTD. Factory Trained & Equipped Ampex/API/MCl/Neve/Otari
Scully/SSL/Studer/3M/Trident CALL GREG HANKS
Service/Design/Consults/Installs
35 Hardscrabble Hill Chappaqua, NY 10514
(914) 238-4171

REAL TIME Best Quality Cassettes using Nakamichi decks only Custom loaded Agfa or BASF Chrome. Label and insert printing, shrinkwrap, blank tapes.
SUPERB QUALITY AT LOW PRICES
Uni-Sette, Inc. 1854 Fulton Ave.,
Sacramento, CA 95825. (916) 485-9534.

Music Products/ Software
DISKS?
Exclusive library of over 400 disks: Emulator II, EMax, Oberhelm DPX-1, Mirage, S-50
1111

FACTORY DIRECT PRICES ON 3M TAPE
& AMPEX TAPE Discounts available. We can & have saved you money! Call us--you'll like us. We're in the business, just like
you. STUDIOWORKS is also a supplier of pro recording equipment. (800) 438-5921 & (704)
375-1053.

$200° per disk
Call or write for Specials: <
No/linter Productions 137158E.,:mpieesn)s7,60P:o17d77, OR 07236

Best AGFA Prices! 2" Reel =$105. 1/4" Bulk =$9.50
WORLD CLASS TAPES (313) 662-0669

CRYSTAL
DUAPSLLOIWCAASTE4D3eCASPLSUSESTETTUEP S

FULL COLOR CASSETTE INSERTS

AS LOW As $53.00 OelinDrIrOi TEN

FULL COLOR GLOSSY PRINTS

Smut..

23e EAOCISOr `000

HIGH ENEARSGLYOW CASASSETTES C-62: 28e and C-92: 34e FULL COLOR POSTERS OR
BROCHURES ASLOW" $195.00 PER..
FULL COLOR ALBUMS 58e EPC. Prli'reef
PHONE TOLL FREE: 1-800-826.6540
TN 615 843 0717 -- MU Middle Valley Road. Hmson. TN 37343..

PROFESSIONAL RECORDING SUPPLIES
We are a major wholesale Distributor of Ampex, Agfa &3M reel to reel mastering tape (1/4"to 2"). We also stock broadcast video tape, assorted reels and boxes, splicing/leader tape, and prepackaged cassettes. We load bulk cassettes in custom lengths using a variety of tape brands. Please call or write for our FREE catalog. Advance Recording Products
7190 Clairemont Mesa Blvd., San Diego, CA 92111 (619) 277-2540
Inside CA: (800) 858-1061 Outside CA: (800) 854-1061
Visa/MC Accepted
!Ma EASTERN , ·É," SPTROADNUDCATRIDONS
26 BAXTER ST BUFFALO NY 14207 ·AUDIO CASSETTE DUPLICATION
Hugh Quallty Real Tune
·VIDEO CASSETTE DUPLICATION
All Formats
·CUSTOM PRINTING &PACKAGING
Labels -Inserts -Shunk Wrap
CALL COLLECT
For Free Brochure
(716) 876-1454

ULTIMATE FIDELITY The World's largest Nakamichi real time cassette duplication system. Full service packaging. 50 to 50,000 qty. Call toll free-- in NO. CAL., (800) 327-AAPX outside CAL., (800) 323-AAPX
or (707) 585-1132 --Call AAPEX today!

URO

TSICiera

Direct Metal Mastering
Mint U.S. Only Complete DMM Facility--

·Disk Mastering Suite ·Hi-Definition Plating ·State-Of-The-Art Pressing

For brochure &pricing, call or write

75 Vanck St, NY 10013 (212)226-4401

Disktmakers
RECORD PRESSING CASSETTE DUPLICATION
SF NI) 1(111 ()PR f,f71( E itiT
CALL TOLL FREE 1-800-468-9353
925 N. 3rd St., Phila.. PA 19123 Neumann to Eventide, AKG to dbx. All in stock, ready to ship. UAR Pro Systems. 8535 Fairhaven, San Antonio, TX 78229. (512) 690-8888.
slizchcvet i· slecteedicsiec eScceete esc Ie_er`oe` (00 \cs tipeleNCI`)ete victeeto ics led-oe ioceslectee to teçesie.Stellalectiozlio 'es gee Wee:et)lelechefsvoi·c
Oitie
,tvtooçsíe\scsflelecShVLçE.etosestleCece. icS NUCAO COI coviceotitec Os oe.,slect-ecztomc5 lech
c,,,,too· wets elo teCtiteelet.
2» egebeno '00(06,201 crest lee
*le CHESite, ett931e
3M SCOTCH AUDIO TAPES Prompt Service--Low Prices
1/4"pancakes, 1/4"-2" reels, accessories, Scotchcarts 8r cassettes.
Call or Write for Price List R&M PRO AUDIO
1080 Pacheco, S.F., CA 94116 (415) 665-8480
OUR 10TH ANNIVERSARY
YOU ARE IOOKING FOR A RELIABLE ENDLESS CASSETTE YOU VE FOUND IT YOUR ENDLESS SEARCH IS OVER UP 10 120,000 · PASSES HEAVY DuPr SELF CLEANING TAPE SOUNDS BETTER
ONGER PLAYS VERTICALLY OR HORIZONTALLY IDE AL FOR ON HOLD TELEPHONE MUSIC TAL KING HOUSE RADIO TRANSMIT TE RS POINT OF PURCHASE DISPLAYS ETC ALSO SPI UAL FNDLESS TAPE PLAYER AVAILARL E CALL OR WRITE FOR PRICING INFORMATION MANN ENDLESS CASSETTE INDUSTRIES
P 0 Ron 1347 San Franci·co, CA 94101 14151 221 2000 EXi 9
MIX CLASSIFIEDS
WORKI

184 MIX, FEBRUARY 1988

DISTRIBUTORS WANTED Major manufacturer of bulk-loaded cassette blanks looking for distributors outside California. Standard and custom lengths. Send for confidential price list and samples on your letterhead. Phylco Audio, 4697 Brooks St., Montclair, CA 91763.
Studios For Sale
24-TRK STUDIO EQUIPMENT Complete Package Includes: Harrison Console, Studer 24-trk, AMS, Eventide, Lexicon, UREI. Call Jim at (513) 681-8715.
FANTASTIC RECORDING STUDIO MCI 16/24 trk, 8trk. Additional equip. incl. Located in Midwest area. Studio designed and equip. 1st class. Realty and as package. Lease to own. (812)

446-0003. Write-1 1/2 W. National PUT THE MUSIC INDUSTRY

Ave, Brazil, IN 47834. Attn: Warren

AT YOUR FINGERTIPS!

Grey.

·THE 1987/88 CALIFORNIA MUSIC

Miscellaneous

DIRECTORY--$33.45. ·THE 1987/88 MUSIC BUSINESS

TRACK SHEETS

DIRECTORY--$33.45. ·THE 1987/88 MUSIC RADIO

BOX & REEL LABELS

DIRECTORY--$33.45.

· Cassette Labels & Inserts · Drum Machine Sheets · Alignment Plagues
· Plus many other items PRINTED WITH
Your Studio Name Address & Phone
FREE CATALOG
of specialized forms for the recording & music industries
STUD/OFORMS Co
186 Glen Cove Avenue, Suite 201/M-29 Glen Cove, NY 11542-3505 (51e) e71-1047

Special discount--All 3for $80. Checks/M.O./VISA/MC to: MUSIC INDUSTRY RESOURCES Box 190, Dept MIX San Anselmo, CA 94960 (415) 457-0215--ORDER TODAY
SYNCLAVIER COPYIST Synclavier Music Engraving Lead sheets to complete orchestra scores. Full editing including corrections and transpositions.

Write: Studio C, 2220 Broadridge Way, Stockton, CA 95209 (209) 477-5130.
STAR'S CUSTOM CABLES Audio & Video snakes, 16, 24 and 32 trks made to order. Custom P.B. & panels. Will install as desired & quality control guaranteed. (805) 251-6547. Call for estimates. Dolby racks, outboard racks, PC board work, all done to your specs.
--SOUND EFFECTS180 SOUNDS YOU REALLY NEED
5 STEREO LPs GROUPED BY CATEGORY .S89.95. POSTPAID
EFX 2325 GIRARD S MINNEAPOLIS. MN 55405

How to Place a Mix Classified

Please print or type in CAPITAL LETTERS and lower case. There are 8lines to the inch and approximately 24 CAPITAL letters per line or 32 lower case letters. $80 per inch -- 1"
minimum. Additional lines $10 per line. BOLD TYPE or Black Border $10 per line. Gray screen
$15 extra. Logos or display advertising up to 4" will be charged at $100/inch. Frequency
discount rates available. Call for information. Payment by check, money order or charge must accompany ad. DEADLINE is the 15th of the month, 6weeks prior to publication.

Categories Available (Check one.)

E Acoustic Consulting

E Equipment Rentals

III Business Opportunities E Equipment Wanted

Employment Offered

El Instruction

E Employment Wanted

D Maintenance Services

E Equipment for Sale

0 Music Products/Software

E Records, Tapes & CD Services and Supplies
E Recording Services E Studios for Sale E Miscellaneous

Name

Address

Phone

Iam paying by (Check one.): 0 VISA E MASTERCARD E AMERICAN EXPRESS

Card #:

Expiration Date

Signature:

E Check or Money Order if:

Amount Enclosed: $

Mail to: Mix Classified, 6400 Hollis St. #12, Emeryville, CA 94608
(415) 653-3307

Ad Copy:

Please attach your classified ad copy on aseparate sheet, typed double-spaced or printed out clearly.

11:MARY 1988, MIX 185

NEXT IN MIX
MARCH
·Southeast Studios Directory
·Nashville Recording Supplement
·Studio Monitors
APRIL
·Video Production/NAB Issue
·HyperMedia Supplement ·Directory: Video
Production and PostProduction Facilities AD CLOSING: FEBRUARY 7 MATERIALS DUE: FEBRUARY 15
MAY
·Northeast Studios Directory
·Mixing Console Technology
·New York Recording AD CLOSING: MARCH 7 MATERIALS DUE: MARCH 15
Only Mix has a BPA-audited circulation of over 44,000 copies each month!' Call (415) 843-7901 for space reservations and complete advertising information.
'Source Publishers BPA statement of circulation for six months ending June, 1987 (average of qualified and non-qualified circulation).
186 MIX, FEBRUARY 1988

ADVERTISERS INDEX

PAGE ADVERTISER 72 A& RRecord and Tape Manufacturing 71 Adams-Smith
113, 145 Alcai/IMC 141 Alesis 187 Allen & Heath Brenell 21 Alpha Audio 105 Amek Consoles 99 American Audio Systems 60 AMP Services
96 Anchor Audio, Inc.
142 Apex Machine Company 56 Aphex Systems 83 API Audio Products, Inc. 146 Applied Research and
Technology (ART) 63 Sam Ash Music 60 Aspen Music Festival 51 Associated Production Music
(APM) 128 Audio Gallery
11 Audio Logic/DOD 27 Audio Media Research (AMR) 62 Audio-Technica 61 Berldee College of Music 28 Beyer Dynamic 47 BGW Systems, Inc. 18 Biamp Systems 55 Bryston 29 Burlington Audio/Video
Tapes, Inc. 51 C-T Audio Marketing, Inc. 39 Carver Corporation 129 Carvin Corporation 52 Centro Corporation
33 Cipher Digital, Inc.
91 Circuit Design Technology (CDT)
110 Clarity 126 Clarity Cassette Duplication 93 CMX Corporation 97 J.L Cooper Electronics
114 CRL Audio 157 D&RUSA 20 dbx, Inc. 57 Digital Creations Corporation 134-135 Digitech/DOD 133 Diskmakers, Inc. 119 EAR. Professional
Audio-Video 121 Eastern Acoustic Works, Inc.
(EAW) 132 Electro-Voice, Inc. 92 Encore Studios 122-123 Ensoniq Corporation 128 Europadisk, Ltd. 49 Eventide 25 Everything Audio 48 EXP/Milab
17 Fairlight Instruments 31 Farmyard Recording Studio

PAGE ADVERTISER 100 Fostex Corporation 109 Full Compass Systems 23 GoldLine/Loft 143 Granny's House 130 Institute of Audio Research 188 JBL Professional
96 KCC Audio/Video 111 Kia Electronics 108 KlarkTeknik 82 Kurzweil Music Systems 144 Lake Systems 106, 107 Lexicon, Inc. 153 Los Angeles Recording
Workshop 165 LT Sound 116 Meyer Sound 149 Microsystems, Inc. 2-3 Mitsubishi Pro Audio Group 136-137 1988 Mix Annual Directory
169 Mix Bookshelf 70 Musitek 50 NEOTEK Corporation
9 Rupert Neve, Inc. 35 New England Digital (NED) 89 Nimbus Records 36 Orban Associates, Inc. 7, 127 Otani Corporation 147 Penn Fabrication 38 Penny & Giles, Inc. 153 Polyline Corporation 88 Power Studio Supply 115 Professional Audio Services
& Supply 63 QCA Record Pressing 13 QSC Audio Products, Inc. 175 RCA Test Tapes 142 The Recording Workshop 111 Reliable Music 159 Rhythm City Music
42-43 RolandCorp US 14-15 Solid State Logic (SSL)
177 Soper Sound Music Library 119 Steward Electronics 19 Studer Revox 54 Studio Consultants, Inc. 44, 131 Studiomaster 80 TAD/Pioneer 79 Tannoy Professional Products 41 TASCAM 67 T.C. Electronic 149 Thoroughbred Music 103 3M Corporation 98 Trebas Institute 188 UREI 165 Vertigo Recording Services 29 Vocal Dynamics
91 Wise Music 70 World Records
73-76 Yamaha Music Corporation, Professional Audio Division

Designed for the Working Professional! The Sigma Series offers you the Maximum Flexibility, in layout and design features that reflect the evolution of Sigma Engineering.
Built to the Highest Standards, to which AHB has established its reputation on... for over 14 years.

Performance Sigma will satisfy your Current and Future needs in 16, 24 and 32 track recording as well as MIDI First Generation Recording and Sound Reinforcement Applications.
For more detailed information on the New AHB Sigma Console, Contact your Authorized AHB Dealer Today.

U.S.A. Allen & Heath Brenell (USA) Ltd.
Five Connair Road Orange, CT 06477 /(203) 795-3594
U.K. Allen & Heath Brenell Ltd. 69 Ship St. Brighton, BN1 IAE England Tel. (0273) 24928 /Telex 878235
CANADA: GerrAudicel'oronto
(416) 361-1667

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INTHE PAST WEHAD A BIG ADVANTAGE
OVER THE COMPETITION. Now WE'VE GOT A SMALL ONE.
Until UREIS 813 Time Align® Monitor entered the studio, speaker systems had become a"smear" on the industry. A "time smear," in which high and low frequencies subtly assaulted the ear because they arrived out of sync. The results were general listener fatigue and unrealistic sound, particularly on lead instruments and vocals.
The UREI 813 solved the "time smear" problem with Time AlignmentTM, unifying sound into asingle point source.This dramatic breakthrough, along with other major technical advances, soon established the 813 as the industry standard.
Now UREI introduces less of agood thing: the 809 Time Align® Studio Monitor The 809 delivers all the engineering depth of its big brother, but at acompact size and price that's ideal for small control rooms and near-field applications.
UREI's 809 features aremarkable, all-new 300mm (12") coaxial driver that achieves atrue one-point sound source, superior stereo imaging, and tight bass. It incorporates aunique titanium diaphragm compression driver that unleashes unequalled high frequency response.
The 809 has exceptional power handling capabilities, high sound sensitivity, and low distortion. It accomplishes precise acoustic impedance matching and smooth out-of-band response with UREI's patented high-frequency horn with diffraction buffer. And its ferrite magnet structures assure the system's high sensitivity drivers will not degrade with time and use.
UREI's Model 809 Time Align® Studio Monitor Smaller package. Smaller price. Same impeccable "813" sound quality See how it fits into your studio today.
IBL Professional 8500 Balboa Boulevard
Northridge, CA 91329
Time Align is atrademark of E.M. Long Associates, Oakland, CA.
Circle #009 on Reader Service Card
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