Applications Magazine For Audio Professionals
The Applications Magazine for Audio 0C.u.ca 0. -. on
iYour Dig tal Insurance Agents.GETA GREAT DEAL ON A DYAXIS WORKSTATIONWHEN YOU CHOOSE STUDER REVOX C270 SERIES RECORDERS.TIME CODE.OR NOT The C270 2 -track version offersoptional center track time code for effortless synchronizationto picture or sound. The C274 4 -track and C278 8 -track areboth equally adaptable to production or post. The optionalremote/autolocator stores 18 start/stop addresses and provides full transport and channel remote control to fit intoyour future Dyaxis purchase. That's your hard disk option! any professional studio environment.THE C270 SERIES This exciting new line of recorders LOGGING TOO For station logging applications, specialsuper low speed versions of the C274 and C278 are availprovides you with all the traditional Studer Revoxbenefits-mechanical precision, electronic sophistication, able with built -in time /date code generator and reader withsearch capabilities, providing up to 25 hours of continuoussupreme sound quality and superior support- addingaudio on one reel of tape.up to state -of- the-art analog recording technology. TheC270 is available in 2, 4, and 8 -track versions with orSTUDER DYAXIS With over 200 Dyaxis systems deliveredwithout remote / autolocator.worldwide, Studer has become the leading supplier of DigitalBEST BUY Compare the "street" price and performance Audio Hard Disk Systems, and the only major reel-to -reelsupplier currently delivering such digital workstations. Buyof any C270 Series machine with the competition, andeither, and you choose a leader. Studer Revox.you'll find there is no competition. The die -cast deckCall your Studer Revox Professional Products Dealer-yourplate and head block, the precision mechanics and aDigital Insurance Agent-or Studerhost of powerful features tell youRevox direct to receive all the details.any C270 Series machine will lastAnd remember, your purchase of anyas long as you need a reel -to-reelC270 insures that your future will bein this emerging era of digital workdigital-with Dyaxis.stations. And in the digital future,you'll need analog recorders thatSTUDER REVOXwill sound good -for a long time.That's why your last reel -to-reelStuder Revox America, Inc.should be a Studer Revox.DIGITAL INSURANCE A C270 Series reel -to-reel\vith a hard disk option? Yes, Studer has just acquiredDyaxis, the most price competitive and capable digitalaudio workstation available. Now when you buy aRevox C270 (or a Snider A807) Series reel-to-reel, we'llgive you a discount certificate worth up to 2,500 onHill like Nashville. TN 37210 (6I5) 254-5651New York (212) 255 -4462 Los Angeles (818) 780 -x2341425 ElmStuder Revox Canada Cid "Vona-Ito La 16)Circle (1) on Rapid Facts Card23 -2831
IT'S THELITTLE THINGSABOUT THEIL SERIESTHAT YOU'LLAPPRECIATE.Takeaclose look at the Sou ndtracs ILProduction console. An outstanding console that'sachieving acclaim amongst commercial recordingstudios around the World. Designed to meetaproduction climate that's radically changing withengineering that matches efficiency with vision.More important, though, listen to theway it sounds. This 32 bus console offers very lownoise, minimal crosstalk anddegree of sonicatransparency that sets new standards.Combinetheseattributeswithasensitive yet effective equaliser section to createone of the sweetest sounds to be found anywhere,perfect for high quality track laying.Andwhileourclearcrystallayoutisfree of gimmickry,we've includedanumber ofunique features and sophisticated circuitdesignswhich,togetherwith SoundtracsTracmix fader automation, provides versatilityto set your creativity free.Little things in themselves. Butinthe Soundtracs IL, add up to arather special production console.CREATIVE ENGINEERINGSOUNDTRACS PLC, 91 EWELL ROAD, SURBITON. SURREYKT6 BAH ENGLAND.TELEPHONE. (01) 399 3392.8101.FAX: (01) 399 6821. TELEX 8951073 STRACS GSPECIFICATIONS:O 48 OR 36 CHANNELS O 104 OR 80 INPUTS ON REMIXOINTERCHANNEL CROSSTALK BETTER THANOMIX NOISE 32 INPUT ROUTED BETTER THAN -82dB.-98d8m1kHzEXCLUSIVE US DISTRIBUTOR:SAMSON Technologies Corp.SAMSON TECHNOLOGIES CORPORATION. 485 -19SOUTH BROADWAY, HICKSVILLE, NY 11801, USA.TELEPHONE. 1516) 932 3810. FAX. (516) 932 3815Circle (68) on Rapid Facts Card
CONTENTSThe 1990 Black BookManufacturers DirectoryDepartmentsAn alphabetical list of manufacturers' ad-dresses and phone numbers56Fax DirectoryAn alphabetical list of manufacturers',dealers' and distributors' faxnumbers80Dealer /Distributor DirectoryA state -by-state list of regional dealers /dis-891989 Article Index1989 articles grouped by issue andsubject85NewsStudio UpdateNew ProductsClassifiedAdvertisers' Index20th Anniversary BallotRapid Facts /Subscriber Cards68110112114120121123Trade AssociationsIntroductionWhat the Black BooktributorsEditorialisand how to use14itAddresses, phone and fax numbers forgroups representing the pro audio industry87Matching Your Needs to Technologybuying equipmentthat will not be obsolete in six months.By Ray Callahan16A guide to finding andProduct Directory1990 Trade Show Calendarwhen and where industrysponsored events will be in the nextyear87A quick look atA list of manufacturers according to equip-On the Coverment typeArtwork by Alecia Wright.20RECORDING ENGINEER /PRODUCER (ISSN 0034 -1673) ispublished monthly for 26 to qualified readers, 30 to nonqualified readers per year by Intertec Publishing Corporation,9221 Quivira Road, Overland Park, KS 66215. Second -classpostage paid at Shawnee Mission, KS and additional mailingoffices. POSTMASTER: Send address changes to Recording Engineer /Producer, P.O. Box 12960. Overland Park, KS 66212.rHelp us help you.your company is not listed in this year's Black Book and you want a FREE listing in next year's issue, fill outthis form and return it by July 1, 1990. (Please type or print.)IfCompany nameAddressCityPhoneYour nameTitleStateZipFaxMail this form to: Recording Engineer /Producer's Black Book, PatBlanton, directory editor, P. O. Box 12901, Overland Park, KS 66212.2Recording Engineer/Producer December 1989
If Michelangelo had a QUADRAVERB,he might have mixed music instead of paint.PAGEINPUTVALLERBGGGEJE4d I0.01'2SPORECUERO 6Mx794GdGMOD 64NAME 99,AASS 0OUTPUT'Its true. MusicaE.2and painting are very similar. A stroke of red, a touch of chorus. A splash of blue,reverb.Either way, its art. And every artform has its masterpieces. And its tools.wash ofIntroducing the Alesis QUADRAVERB. An all -new 16 bit digital, simultaneousmulti- effects processor and dead- serious musical tool. With QUADRAVERB,your mixes will be mirror images of the sound in your head. No letdowns.No noise. No nonsense. No boundaries between art and creation.Inside, QUADRAVERB is alive with colors. Chorus, flange,phase shift, pitch detune and delay. all in stereo, to giveyour music depth and space. For absolute tonal controlthere are 5 bands of parametric and 11 bands of graphice.q. And, of course, there's the unmistakable clarityand drama of the award -winning Alesis digital reverbprograms.With full programmability, 100 memory slots, and 90 factoryprograms created by the best ears in the business,QUADRAVERB gives you total artistic freecom. Plus, inQuadModer,mfour of these flawless 20kHz bandwidtheffects occur simultaneously. Like crunching thousandsof dollars worth of studio gear into one rack space.With very little cash, and even less effort, you can useQUADRAVERB on your next mix. plug it into yourinstrument rig. perfect your sound.See your Alesis dealer today and hear whatstate of the art really means.Michelangelo would agree,QUADRAVERB is a masterpiece.A L.E .s15STUDIO ELECTRONICSLOS ANGELES:Alesis Corporation 3630 HoldregeAvenueLos Angeles, Ca. 90016LONDON:Alesis CorporationBusiness CenterLetchworthAvenue One,Letchworth, Hertfordshire SG62HR6,Circle t4) on Rapid Facts Card
THE POSSIBILITIESThe Flex System from Rane: A Powerful New Approach to Modular Signal Processinglexability, no matter how you spell it,means power. It's the power to meetvaried needs. To meet budgets withoptimum performance. To efficiently accommodate system growth. Long into the future.Flexibility is the essence of Rane's new FLEXSystem. The first universally compatible, costeffective, modular approach to signal processingand routing. With no special requirements. And nodead ends.Each Flex module is an HR (Half Rack) compatible, UL/CSANDE approved, self-containedprocessing unit. Each capable of being EIA rack mounted either horizontally or vertically, withinexpensive, readily available hardware. Or simplyset on a shelf, stand-alone fashion.HIGH- POWERED COMPATIBILITY. Usingstandard 3 -pin, 1/4" or barrier strip connectors,FLEX modules are directly compatible withprofessional audio gear. And since they are remotepowered -via Rane's proposed power supplystandard -troublesome ground loops, hum andagency approval problems are solved up frontby design.ENDLESS POSSIBLE COMBINATIONS FORDESIGNS. The FLEX non -exclusivemodulr concept makes it inherently expandableCUSTOM/OroO C;CE-C.nGçG
aOur HR compatible modules may 15/ -20dB boost/current balanced outputs, andlarge and growing number offunctions and components tobe compact, but they're stuffed withcut, 2- octave downyou've gotmore top -notch features than youexample, the FMI 14 Mixer Inputto /30th- octavebandwidth rangefor notch capabili-crossover standard.This is but a sampling of theinnovative Flex Modules to be re-modulle measures only 1.75" xty, and a full 10Hz-leased this year. We encourage youand upgradeable. It boastschoose from. Mixers. Preamps.Splitters. Crossovers. Dynamiccontrollers. Equalizers. Amplifiers. Line drivers. And muchmore under development.And thanks to Rane's efficientbus design, system wiring isgreatly simplified in even complex mixing and splitting layouts.COST EFFECTIVE CAPABILI-TIES. Modular flexibility. Un-compromising performance. Allwithout a premium price. That'sthe FLEX System manifesto.There is no expensive mainframe to buy; you only pay forthe functions you want, whenyou want them.Say, for example, you onlyneed a 3 channel mixer with onechannel of crossover. The FLEXSystem delivers. And when yourneeds expand, just add moremodules. No need to obsoleteold equipment for a loss.Whether you use two modules or twenty modules, theFLEX System remains cost effective. And supremely flexible.Year after year.SUPERLATIVE PERFORMANCE, RANE RELIABILITY. Thedesign and performance of eachand every Flex module is, in aword, superlative. Every modelcarries top -grade studio specifications, utilizing the best components available. The result isunsurpassed performance andreliability.would have thought possible. For-128dB1EIN20kHz frequencymic stage, switchable phantompower, true 20dB pad, powerfulsweep range forsection, insert loop, twosource- selectable Aux sends andflexibility.10.5 ", yet it boasts a3 -way EQunprecedentedapowerful, flexible newto obtain separate, detailed datars116abtsheets on the many FLEX Systemmodules. Then compare these withthe best standard equipment available. You'll discover that FLEX offersbalanced master channel outputs.The FME 15 Mi-the best of all worlds: compact, costA sincle DIN cable, supplied withcroGraphic Equal-effective, flexible, uncompromisingeach module, routes the Master andizer brings Interpolating Constant-Qperformance.Aux buses from unit to unit for quickfilter performance to the Flex line,pioneered by our full-sized GE 30and clean hook-up.The FMM 42 Master Module notonly provides Aux returns and mixing, but features extra mic andmodel which has set new industrystereo line inputs with duckingcapability for paging and otherand fully balanced three -pin andapplications.astandards. Minimized filter interaction, smooth combined responseterminal strip input/ output are butfew of the features. Both the FME15 and the FPE 13 also provide anFor even more mixing flexibility,exclusive Patch I/O jack which allowsthe FPM 44 Program Mixer allows4 separate mic or line inputs to bedirect connection to an insert loopjack with a single 1/4" TRS patchmixed to 4 output programs, withcable.MODULAR SIGNAL PRO(SSORSpre or post fade switch selection forThe FAC 24 Active Cnnssaver isthe Aux sends. Both the directbalanced/unbalanced terminal stripthe next generation to állow in theand the DIN Flex bus inputs andrespected footsteps of our AC 22outputs can be used simultaneouslyand AC 23 designs. In addition to thefor easy expansion and integrationproven 24dB/octave Linkwit e -Rileyinto larger systems.performance, the FAC 24 features atrue 24- position frequency selectorCarrying on a fine tradition ofinnovative equalizer technology,switch to provide plug -in card ac-Rane sets yet more new standardswith the Flex Series. The FPE 13Parametric Equalizer provides 3separate bands, each capable ofFLEXseriescuracy and repeatability wth theconvenience of a knob. Add to thisa built -in CD Horn EQ section,electronic phase alignment,. summing LF input and three -pin high-Circle (5) on Rapid Facts CardRANE]10802 -47th Ave. W.Everett, WA 98204(206) 355 -5000
EDITORIALPolitical RealitiesWe're at the end of a year and a decade.Both have been pretty interesting. Ourcottage industry doesn't seem so isolatedanymore. Issues that would have beeninter -industry spats, such as DAT, samplingand home studios, are regularly appearing in the mainstream media. Congressional committees are grappling with technical matters that affect us every day.Of the issues that face us as we enterthe 1990s, the most important one doesn'tdeal with technology. It deals with politics.This industry must become politicallysavvy if it is to prosper. As individuals, weneed to start writing letters to elected officials concerning issues that affect our business. As an industry, our professional societies need to start lobbying politiciansconcerning legislation or regulations thataffect what goes on in the studio.Savvy groups provide politicians withtechnical information, clippings from thetrade and consumer press, and expertswho can testify at hearings. Foolish groupsdeclare that they are above politics andthey don't need to get involved.It is vitally important to monitor whatgoes on in government. If you think thatthe goings -on in the halls of governmentdon't affect you, think again. Monetarypolicy affects the strength of the dollar andthe price you pay for imported equipment.Tax policy affects how you run your business, which affects profitability.Or take trade policy. The Bush Administration is negotiating with Japan to allowAmerican rice imports. If negotiationswere to break down, what could bebanned and used as a negotiating tool?Japan's electronics exports, includingsome of the gear you buy.Increasingly, specific technical issues arefinding their way into legislative agendasand congressional hearing schedules. Thatis a new development, one we have ignored to our detriment.In the past couple of years, we've seenlegislation to make the CopyCode systemstandard in DAT machines, a SupremeCourt decision concerning sound levels at6Recording Engineer/Produceroutdoor concerts, and consideration of ablank -tape levy. The RIAA has stated itsintention to have the SCMS agreementwith DAT manufacturers introduced intolegislation.What's been our stand on all of this?Nothing. We've been content to let otherorganizations set the agenda, lobbypoliticians and testify at congressionalhearings.Of particular disappointment has beenthe behavior of our industry's professional societies. Representatives of both theAudio Engineering Society and the Society of Professional Audio Recording Services have stated that because the societiesare non -profit organizations, they cannotdo any political lobbying.Even if that's true, I find it hard to believe that any sort of activity would be unacceptable. What about publishing a newsletter updating people on political andlegislative issues that affect us? It doesn'thave to take a side; it just has to be informational. It's up to the readers if they wantto write a letter on their own.But letter -writing is of limited value. Onebig voice, consisting of thousands of individuals speaking through a trade organization, can be better than thousands of individuals speaking on their own.We've dodged enough bullets. Legislative involvement in technical issues is going to continue. In the next few years, wecould see legislation, congressional hearings or agency regulations concerningthese issues: recordable CDs, their D/D recording capability and their effects on record company profits (as with DAT); sampling and whether the copyright lawneeds to be amended to provide some sortof protection; sound levels at outdoor concerts; sound levels within recording facilities; and a definition of professional re-cordingequipment and whethercommercial facilities need to be protected from proliferating home facilities.Here's what we need to do. First, theAES and SPARS need to call their lawyers,who must figure out how legislators canbe lobbied without jeopardizing thesegroups' non -profit status. If current organizational setups don't allow it, thenseparate lobbying groups must be set up.Then, additional staff must be hired andlocated in the Washington, DC, area.These staff members must track legislationand regulations that are of interest to us,and membership must be regularly informed through a newsletter.They must talk to legislators and theirDecember 1989staffs to help them understand what wedo for a living. When necessary, they needto tell these people our views on pendinglegislation. They must help to locate experts who can travel to Washington andtestify at congressional hearings whenneeded.What can you do? Begin writing letters,starting with your elected representatives.Members of Congress do read their mail.Even if your representatives are not oncommittees that deal with technical issues,your input is better than none at all.Three elected officials represent you inCongress: one representative and twosenators. Here's how you can write them:House of Representatives: If yourrepresentative's name was John Smith, theaddress would be: Hon. John Smith,House of Representatives, Washington, DC20515.Senate: Using the same example, theaddress would be: Hon. John Smith,United States Senate, Washington, DC20510.Keep your letters to the point. Use areasoned tone. Be as specific as possible.If you are writing about proposed legislation, obtain the bill number, or its officialname, and use it.Include any support documentationyou have, such as newspaper or magazineclippings.Also, you can write to members of specific committees and subcommittees thatare dealing with legislation. To whom youwrite depends on where the bill is placedafter it is introduced. That information isreadily available from your representatives' local constituent offices, Bill Status(202- 225-1772) or the public library.And in the future, the information willbe available from RE /P. We have a roleas much as anyone else. You'll be seeingmore coverage of legislative events as theyaffect our industry.It's a new year and a new decade. Let'smake the most of it, musically, technically and politically. Let's not look back in1999 and wonder if our industry would bebetter off if we had only taken advantageof the challenges and opportunities beforeus.Dan TorchiaEditor
ProD isk-464The AffordableDigital Disk Audio Recording & Editing SystemSMPTE time code andMIDI compatibleDigital sound storageon fast and reliableWinchester disksUnsurpassed soundquality yielding 96dBdynamic range withinaudible noise levelArchive on compact,widely available8mm tape cartridgesInstantly locate andedit any portion of upto two hours of soundstorage per trackModular, 4 -64 fieldupgradeable tracksPlug compatible withstandard multi -tracktape machinesFull 16 -bit recordingFamiliar consoleemulation presentedon Apple MacintoshscreensOn-board diagnosticsfor simple servicing. at the Price of a Thpe System!The ProDisk -464 is a four to sixty -four trackDigital Audio Recording and Editing Systemfor Music Recording, Video /Film PostProduction, Television and Radio Broadcast.Priced below what you expect to pay fora multi-track digital tape recorder, theProDisk-464 is a second generation randomaccess disk-based system that willdramatically reduce your production costs.'five Long Term ValueBy integrating proven micro- computertechnology with fast, high capacity diskdrives Digital Dynamics offers you a superiorquality system at analog prices. The ProDisk 464 is a complete digital audio workstationwith an open architecture that ensures a longand useful life. It's LSI and SCSI disktechnologies produce an exceptionallyreliable system that will be compatible withtomorrow's storage products. Start with a4-track system and field upgrade in modular4 track increments up to 64.All specifications are subjectto changeSubstantial Time SavingsEasiest to UseRandom- access eliminates the timetraditionally spent in tape positioning.Electronic "reel rocking" and automaticPunch -In /Out allows retakes that are fast,precise and non destructive. Editing,including cut, paste, copy, insert, replace andalignment, is performed in a highly visualfashion on the controller screen. Theseoperations now take seconds to performinstead of minutes. Individual tracks maybe re- alignes in time, eliminating therequirements for multiple tape machines.The system can automatically generate andsynchronize to SMPTE time code for lock -upwith video and film equipment. No time isrequired to stripe audio tapes. Multiple takesand edit modifications can be auditioned andchanged right up to the production deadline.No time is ever wasted because of a lost ordamaged take.Macintosh controlled, a recording engineerwill require little or no training in the useof the cue editor performing track slipping,crossfades and on- screen sound editing. EditDecision Lists are automatically built up inreal -time. All edits of any kind are nondestructive. A library of sounds and effectsCircle(H)on Rapid Facts Cardwithout notice.can be quickly auditioned and placed atprecise time -coded locations. Compatibilitywith other Macintosh applications providesa means of integration and exchange withMIDI packages, sound files and sequencerprograms.Write or call for theProDisk-464 brochureand to arrange for ademonstration.-i0-namicsApple is a registered trademark ofApple Computer Inc. Macintosh is a trademark of Apple Computer Inc.Digital Dynamics Inc.270 East Pulaski Road, Greenlawn, NY 11740 USACircle #162 on Reader Service Card(516) 271 -5600FAX(516) 271 -5607
NEWSRE/P announces positionsRE /P hasnamed two people to theeditorial staff. Dan Torchia, formerly staffeditor, has been promoted to editor. Hewas staff editor for two years, and beforethat was group managing editor for RE /Pand seven other electronics magazinespublished by Intertec Publishing, RE /P'sparent corporation.Also, Mike Joseph has joined the staffas technical editor. He most recently wasmanager for pro audio marketing forElectro-Voice. His background includes experience as an engineer/producer and asa manager for a pro audio dealership.tion contains two sub -sections, one for engineers/producers and the other for producers.All readers filling out their name and address on the ballot are eligible to win aDAT machine, which will be awarded ina prize drawing.Ballots must be received by Feb. 1. Thepolls' results will be published in the Mayissue, a special 20th anniversary issue.International Monitor Awardsturing and recording communities, submitted nominations this past fall. The top 10vote-getters were selected as finalists.Readers can vote using the ballot onpage 121. The poll is divided into two sections, one for equipment and the other forengineers and producers. The latter sec-The ITS -sponsored International Monitor Awards were presented to 78 directors,editors, lighting directors, cameramen,electronic graphics designers and audioengineers in the video industry. The following awards were given in the audio categories. In the category Audio for VideoCommercials: Best Audio Mixer, Tom Jucarone (East Side Film & Video), "Freedom"National Car Rental; Best Audio Designer,Tom Jucarone (East Side Film & Video),"Freedom" National Car Rental.In the Audio for Video -Non-Broadcastcategory: Best Audio Mixer, Peter Cole,John Walker and Roy Pahlman (The PostGroup), "Cyberforce"; Best Audio Designer, John Walker and Gregg Teal (ThePost Group), "Cyberforce :For Audio for Video-Musical Performance: Best Audio Mixer, Chris Harnet andBruce Gray (Videosonics), "GlyndebourneEDITORIALCONSULTING EDITORSDan Torchia, EditorMike Joseph, Technical EditorPamela S. Fleener, Associate EditorJeff Burger, ComputersWanted: your voteTo celebrate RE /P's 20th anniversary,the magazine is conducting two specialreader polls: one to determine the classicequipment of the last 20 years, and oneto ascertain the engineers and producerswho changed the way we work in thestudio.RE /P's Editorial Review Board, consisting of audio professionals in the manufac-Jennifer Hinkle, Editorial AssistantPaul D. Lehrman,-La Traviata"; Best Audio Designer,ChrisHarnet (Videosonics), "Glyndebourne-LaTraviata:'For Audio for Video-EntertainmentSpecials: Best Audio Mixer, Frank Marroneand Paul Massey (Master's Workshop),Glory Enough For All -"The Discovery ofInsulin "; Best Audio Designer, Ken Dahlinger, Steve Kirklys and John Walker (ThePost Group), "Pee Wee's ChristmasSpecial."In the Audio for Video -EntertainmentSeries category: Best Audio Mixer, RobertHein (The Equalizer/Universal Television)and Mel Zelniker (Sound One), TheEqualizer-"Splinters "; Best Audio Designer, Frank Morrone, James Porteous,Peter Harper, Tim Archer, Gary DaPrato,Anthony J.R. Lancett, Alex Partridge andYuri Gorbachow (Master's Workshop),Captain Power -"Summoning Thunder:'Syn -Aud -Con sponsorsworkshopSynergetic Audio Concepts will sponsora Concert Sound Reinforcement workshopon Jan. 16 -18 at Memorial Auditorium,Chapman College, Orange, CA. This is thesecond sound reinforcement workshopsponsored by Syn -Aud -Con and includesthe same staff as last years Don and Carolyn Davis will host the workshop; DavidScheirman is the facilities coordinator. WillOptional airmail for non-qualified readers is also available foran additional 55.00 per year. Foreign subscriptions are payable in U.S. funds only by bank check or money order. Adjustments necessitated by subscription termination at singlecopy rate.Electronic MusicJohn Monforte, Technical ConsultantDavid Scheirman, Live PerformanceTom Cook, Senior Managing EditorPatBlanton, Directory Issues EditorARTAlecia Wright, Graphic DesignerBUSINESSCameron Bishop, Group Vice PresidentDennis Milan, PublisherEvelyn Hornaday, Promotions ManagerDarren Sextro, Marketing CoordinatorLaurel Cash, Executive ConsultantDee Unger, Advertising Business ManagerSue Edwards, Advertising CoordinatorSales offices: See Advertisers' Index.Photocopy rights: Permission to photocopy for internal or personal use is granted by Intertec Publishing Corporation forlibraries and others registered with Copyright Clearance Center (CCC), provided the base fee of 2.00 per copy of articleis paid directly to CCC, 21 Congress St., Salem, MA 01970. Special requests should be addressed to Cameron Bishop, groupvice president.ISSN 0034 -1673 4.00 0.00.CORRESPONDENCEMember, Business Publications Audit of CirculationSustaining member of Acoustical Society of AmericaMember, international Communications IndustriesAssociationAssociate member of Society of Professional AudioRecording ServicesEditorial, Advertising and Subscription:9221 QuiviraOverland Park, KS 66215913 -888 -4664Telex: 42:4156 Intertec OLPKFax: 913 -541 -6697ADMINISTRATIONSUBSCRIPTIONSHancock, PresidentChuck Rash, Corporate Circulation DirectorSandra Stewart, Circulation DirectorDoug Wilding, Circulation ManagerCustomer Service, 913-541-6628Kevin Callahan, 'Creative DirectorQualified:United States (Domestic Only)ForeignNon-qualified:United States (Domestic Only)ForeignR.J.8RECORDING ENGINEER /PRODUCER is edited to relate recording science to recording art to recording equipment, asthese subjects, and their relationship to one another, may beof value and interest to those working in the field of commercially marketable recordings and live audio presentation. Theeditorial content includes: descriptions of sound recordingtechniques, uses of sound recording equipment, audio environment design, audio equipment maintenance, new products.Recording Engineer/ProducerDecember 1989AESsustainingmember 26.00850.00 30.00 60.00VBPAe/NTERTECPUBLISHING CORPORATION 1989 by Intertec Publishing.All rights reserved.
WDid you knowPower Station usesECAREAGFAPower Station leads the way. It's inspired numerous studio designs. Countless hit records. And a generation ofproducer /engineers.No wonder the New York scene is already buzzing about their new Studio D,a hybrid room that can mix music,audio-for -video, and audio -for -film. It'san innovative look at tomorrow's state -ofthe -art.Innovation. It led Power Station toAgfa bias -compatible PEM 469. Longbefore it became the year's most exciting new mastering tape. Long beforeanyone else. "The high -end holds together," says V.P. /Studio Designer TonyBongiovi. "It's transparent. It's musical.It's leading-edge."It's a new vision for the 90's:A decade of professionalism and excellence. A time when studiosmust try new formulas for success. An era when innovatorswill always play the lead.AGFA magnetic tape from research and development, through manufacturing, todelivery andservicewe care!-Agfa Corp., 100 Challenger Road,Ridgefield Park, NJ 07660 Telephone (201) 440 -2500Left to right Barry Bongiovi. Studio Manager. Bob Walters, President, TonyAUDIO VIDEO PROFESSIONALVice President Studio DesignerCircle (7) on Rapid Facts CardAG FA
NEWSParry, the workshop chairman, and hisstaff (
SAMSON EXCLUSIVE US DISTRIBUTOR: Technologies Corp. SAMSON TECHNOLOGIES CORPORATION. 485 -19 SOUTH BROADWAY, HICKSVILLE, NY 11801, USA. TELEPHONE. 1516) 932 3810. FAX. (516) 932 3815 Circle (68) on Rapid Facts Card www.americanradiohistory.com
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Hotell För hotell anges de tre klasserna A/B, C och D. Det betyder att den "normala" standarden C är acceptabel men att motiven för en högre standard är starka. Ljudklass C motsvarar de tidigare normkraven för hotell, ljudklass A/B motsvarar kraven för moderna hotell med hög standard och ljudklass D kan användas vid
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Connect to the audio connector of a camera if the camera supports audio recording. Note: To make a video backup with audio, make sure the camera which supports the audio function is connected to the video-in channel and audio-in channel. For example, the audio data from audio CH1 will be recorded with the video data from video CH1. 3) AUDIO OUT
