STUDIO

Recommendations

Info

The Recognized Standard in Audio Testing.MEASURE harmonic distortion, intermodulationdistortion (including transient),quantization noise and distortion,wideband and selectivelevel, phase, frequency, wowand flutter (including scrape),dc voltage, resistance.DISPLAY digital readouts of four parameters simultaneously,3 parameters simultaneously as analogbargraphs, 2 parameters simultaneously asx -y graphs.VERIFY your best digital and analog designs with0.001% residual distortion, 0.03 dB flatness,1.5 microvolt residual noise.PRINT graphs at the touchof a key, SAVE data andsetups to disk.SPEED analysis with 30 -50 point two- channelresponse sweeps in 10 seconds,0.01058 s ..o .,.. 16 -point distortion sweeps in+5.17 dBm . seconds., 109.1039 kFor full information on SystemOne, call Audio Precision at1- 800 -231 -7350 (from outside theU.S., call (503) 627 -0832) or write to Audio Precision,PO. Box 2209, Beaverton, OR 97075.System OnesAudioprecisionP.O. Box 2209, Beaverton, OR 97075503/627 -0832 1- 800/231 -7350FAX: 503/641 -8906, TELEX: 283957 AUDIO URt.. 14*- 74.7 IV .-Ir-7ESLINTERNATIONAL DISTRIBUTORS Australia: J.N.S. Electronic Industries 3 439 1430, Austria, Eastern Europe: ELSINCO elektron GmbH, Vienna 222 87 17 51, Benelux: Trans European MusicNV, Zellik, Belgium (02) 466 50 10, Canada: Glentronix Ltd. (416) 475 -8494, China, Mainland: Harvest Company, Hong Kong 5- 782253, Finland: Into OY 358 -0755 7711, France: ETS Mesureur(1) 45 83 66 41, Germany, West: RTW GmbH 221 70 91 30, Hong Kong: TRP Consumer Electronics Ltd. 5650 517, Israel Kolinor Ltd. 326 3298, Italy: Medea S.r.l. 2 445 38 28, Japan: TOYOCorporation 3 279 0771, Korea: Myoung Corporation 7849942, New Zealand: Audio & Video Wholesalers Ltd. 71 73 414, Norway: Lydconsult 35 40 47, Portugal: Acutron ELA, Singapore& Malaysia: THE Systems PTE Ltd., Singapore 286 4608, Spain: Telco Electronics, S.A. 231 7840, Sweden: Tal & Ton AB 31 80 36 20, Switzerland: Tecnad SA 21 35 35 01, Taiwan: LitzTechnologies Ltd. 7036280, UK: Scenic Sounds Equipment Marketing Ltd. 1 387 1262.
QTelevision, to post production on the Fleetwood Mobile's footageof the Russian ballet in Leningrad. The two companiescomplement each other well, enabling each to offer acomprehensive service to their clients.Woolley first came across the Raindirk consoles in theFleetwood Mobile. He felt the Symphony offered extremely lownoise, economical price, good sound and fast availability, andhas had no regrets. In fact he is very pleased. "There areaspects of the desk which belie its price. There are hundreds offoldback and auxiliary sends, 90 line inputs to mix, 32 groups, abig patchbay, and there are two stereo buses which you can mixtogether."The most recent acquisition is an Adams Smith ÁV2600synchronisation system. The AV part of it offers computercontrol of the 2600 modular synchronisers, via a QWERTYkeypad attached to an IBM PC and screen."This means that you operate it much like a CMX videoediting system: for up to 10 machine edits, for slipping thingsaround, for previewing edits and all that sort of thing; it reallyis an expansion on systems like Q.Lock which I was, and stillam, a huge fan of."The Q.Lock's control surface is its strength and there aren'tmany synchronisers around that can compete with that. But Ihaven't found anything yet that this AV system can't do. It'sfantastic. It gives you a lot of the functionality of hard diskeditors without having to use hard disk media. One of the majorbenefits of the AMS AudioFile system is its capability to controledit decision lists. With AudioFile you find a portion of audioyou're talking about, define that with timecode numbers andpaste into where you want it to go in the programme. Themethods you go through with this AV system are really verysimilar to that -its `computer' style and the manipulation, of theedit list. The only exception is that the audio samples are heardon tapes."I don't deny any of the new functions that hard disk editingoffers -direct access to data, non realtime manipulations, minuteediting with no pre -roll and so on but I now feel that thesemanipulations should take place outside the control sessionrecorder and not replace it."At Trilion we operated AudioFile as the only multitrack in astudio and stored all the session audio in it, which seemed alogical approach. Now I feel that all the session audio should belaid up onto digital multitrack and sections that require harddisk editing should be transferred off -tape, manipulated, thenreturned to tape -all in the digital domain, of course."This approach sidesteps the need for massive amounts of harddisk memory since we only require to load short sections -say 30seconds."Because of this, I'm interested in the new samplers that offerhard disk storage and audio manipulation at a fraction of thecost of hard disk editors."I did a project recently sound dubbing Grimms fairy talesread by Rik Mayall. We recorded 12 episodes- approaching 24hours worth of material -on a single reel of tape. It was doneover a short period of time, constantly switching betweenprogrammes, so that where similar effects had to be placed ondifferent programmes we would rapidly switch between them.Trying to do all the production on hard disks would have putrestrictions on moving around having to load down and load upthis limited amount of disk storage in between takes. Therewere times where I would have liked to add in 2 seconds ofstudio noise from somewhere else to cover, or a consonant froma word in from somewhere else to cover an extraneous noisethatsort of thing- but now we're talking about inserting littlebits, not having a massive amount of memory."With the more musical instrument -like hard disk units youcan get any sound you like and then manipulate it. That tendsto be what our clients want; more to do with sound effects,taking effects from an effects CD and modifying them to suit."Woolley's main concern about hard disk systems is thereliability of the actual disks. As a pioneer he admits that hewas very quick to point out the advantages and brushdisadvantages under the carpet."In my experience disks have broken a number of times.There have been communication problems between the floppyand Winchester disks (floppies are used for manipulation,Winchesters for music storage). A lot of studios have boughtAudioFile and are very happy with it. I was probably expectinga bit too much of it."Aspects of hard disk remain invaluable; others a pain in theneck. There is the problem of limited storage, questionablereliability- whether you'll get the same thing twice, or threetimes or 10 times or 100 times. It does seem to me that youneed the audio juggling capabilities of hard disk in certainphases of your production, but after you've finished jugglingthem and you like where they are then I think you want a bitmore of a full stop after that and you say `you mustn't let meerase any of these commands I've put in'."That's what you can really do with tape. You can record itdown onto a track with all your edits in it and then leave italone and the next time you play it it is still there; and the nexttime and the next time; and it isn't going to move by half aframe; and the edits aren't going to move. You see there areproblems with hard disk caused by all these editing capabilitiesalways being available. It would be nice to stop thosecapabilities occasionally. Some combination between disks andtape will be the future. There is no question that there areadvantages in retrieval systems that are independent of timeand position."The aim is to do as many jobs as possible in the machineroom -anything involving simple copying between tapes on the16/35 mm playback. DASH ya in recorder, PCM1630 and twoU- matics plus sample rate converter. There are tielines fromhere to Doublevision's facilities- video, analogue and AES/EBUdigital. A number of jobs involve simultaneously running digitalsoundtracks played back from 1630 and copying those ontoeither 1 in analogue or digital (audio) video recorders. In thelatter case the audio will be taken down an AES/EBU line. Ifthe video recorder is an analogue audio machine it willobviously be taken down analogue tielines. Two Adams SmithZeta 3 synchronisers are employed to lock up between the 1 inmachine and the 1630 U- matic.The equipment room looks onto the mixing desk in the controroom75
Page 1:
June 1989STUDIOAND BROADCAST ENGINE
Page 4 and 5:
Sony Broadcast& CommunicationsBroad
Page 6 and 7:
NEUTRIKSWISSconnectorsFed up with w
Page 8 and 9:
lLET USINTRODUCE YOUTO A FRIENDTHE
Page 10 and 11:
®XSP56001R20B77G8824Ur*.......t+00
Page 12 and 13:
MUSIC i RECORDINGLA B NEWSTelephone
Page 14 and 15:
C/)WDudderidgeacquires FocusritePhi
Page 16 and 17:
GLW Enterprisesacquires HarrisonSys
Page 18 and 19:
AgenciesSynton of Holland have sign
Page 20 and 21:
C :SOUND© GraphicAudio EditingFirs
Page 22 and 23:
ContractsThe Home Service has recei
Page 24 and 25:
1Soundlab active audio splitterSoun
Page 26 and 27:
42'21 111H1H-"b9I Illlllll IIIIIIII
Page 28 and 29:
The DC 24 MultiLFunctionDy, ñíami
Page 30 and 31:
AlbRTW digital masteringsystemRTW h
Page 32 and 33:
The round the world round of round
Page 34 and 35: ,14GENELi CFINLAND, 7htaantie 17, P
Page 36 and 37: SolidStatelogic G Series NewsReal W
Page 38 and 39: SolidStateLogicNew Purpose - built,
Page 40 and 41: SolidStateLogicDi 'tal Audio NewsDi
Page 42 and 43: SolidStateLogicCompany NewsExpansio
Page 44 and 45: REPORTER JOURNALISTPRO -CASSETTE RE
Page 46 and 47: THE ADVANTAGES of a STUDIOCONDENSER
Page 48 and 49: AES HAMBURG=BY ANDY ROSE, DIRECTOR,
Page 50 and 51: 1n seems easy enough,al sampling to
Page 52 and 53: 14e last count the number ofBrent r
Page 54 and 55: cthe question `What if we swapped t
Page 56 and 57: aFIG 5Appearancehead finding audio
Page 58 and 59: AKGacousCicsADVANCEDMICROPHONETECHN
Page 60 and 61: 'Recently a few dealers have compla
Page 62 and 63: tWl £Na«uvv«««:w,p/ N.»iH{t.M
Page 64 and 65: Film -Tech PAM 42 portable audio mi
Page 66 and 67: Q Concept, Soundmix and Multimix. H
Page 68 and 69: d include from Cutec a switchable 1
Page 70 and 71: d of broadcast NAB cartridge machin
Page 72 and 73: 4GOLD LINEumaJAPORTABLE RTA1/3 OCTA
Page 74 and 75: efflefingSoundtracs FMB series mixi
Page 76 and 77: Auio...if you don't see what you wa
Page 78 and 79: -nvasigh Midl'ladP9t/'knnIFveuuenaY
Page 80 and 81: A STRONG TEAMD&R DAYNERwoinpThis co
Page 82 and 83: ULTRASOUN DJanet Angus visits a Lon
Page 86 and 87: 4 The sample rate converter is used
Page 88 and 89: www.americanradiohistory.comDSP THE
Page 90 and 91: INTRODUCINGOUR NEWM0DEIrTèP325THE
Page 92 and 93: VCASINVESTIGATEDPART ONEBen Duncan
Page 94 and 95: Q root extractor or exponentiator.
Page 96 and 97: MORE CO\TROLThere's the sound: big,
Page 98 and 99: Q voltage (VBE) and collector curre
Page 100 and 101: '2)1)2). t)YJÌr2lYlá)`tÌ :% i) _
Page 102 and 103: SINE WAVE1 2 3 4 5 6 7FREQUENCYSQUA
Page 104 and 105: The studio was dark except for the
Page 106 and 107: capacitance is fired by grounding.S
Page 108 and 109: IZWQ U_VW1--Fostex D-20A technical
Page 110 and 111: function by the toggle switch label
Page 112 and 113: Other indicatorsand switchesThe maj
Page 114 and 115: ConceptualdCDCfg114111wR-aatojuiai
Page 116 and 117: Details of the Fostex DAT and timec
Page 118 and 119: BSS DPR -502A user report on a MIDI
Page 120 and 121: preserve the full sound of the drum
Page 122 and 123: www.americanradiohistory.comSoundcr
Page 124 and 125: the EQ section. It can be switched
Page 126 and 127: AND BROADCAST ENGINEERINGYOUR SINGL
Page 128 and 129: S1TUATIGIOACANTSALES ENGINEERWith B
Page 130 and 131: RVICESSI TUATIONS VOCAwPORKY'S MAST
Page 132 and 133: INDEX TO ADVERTISERSAbacusAdams Smi
Page 134:
REALISEYOURASPIRATIONSSTUDER'S COST
show all

STUDIO

Create successful ePaper yourself

Delete template?

Save as template?