Beruflich Dokumente
Kultur Dokumente
MARCH 1968
Architectural Acoustics
Achieving a Commercial Sound
iscus
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6
Letters 8
Sound Reinforcement
Philip C. Erhorn 10
The Audio Engineer's Handbook
George Alexandrovich 14
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,..01.11..M.
Editorial
New Products and Services
17
30
People, Places, Happenings 31
Classified 31
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Robert Bach
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Larry Zide
EDITOR
Bob Laurie
ART DIRECTOR
Marilyn Gold
COPY EDITOR
Charles N. Wilson
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HI LEV
LO LEV.
JOHN A. McCULLOCH
Designs and ideas on console con- as the normal 600 ohms. Some manu-
struction are many, and while there is a facturers of amplification equipment PHASING COMBINING
basic console plan, any design which claim a margin of 10 dB between nor- (2 SWITCHES)
permits the flexibility desired for the mal operating level and maximum ca- Figure 1. This switch permits the
particular application without becom- pabilities of the amplifier (both input combining action to be in parallel.
ing unnecessarily complex is satisfac- and output levels should be considered)
tory. At present a console is being con- to be sufficient. I prefer to plan for a
structed not primarily for use in minimum of 16 dB, and several record-
Hl LEV HI LEV.
recording mixing, but rather for the ing engineers, whose work is constantly
investigation of miking techniques, and at the forefront, claim a requirement of
the microphones themselves. In order from 24 to 26 dB.
to provide maximum flexibility and use- Whichever margin you feel sufficient
fulness, expansions of some circuits not for your operations, the use of these
usually found on general consoles were test points, the wide -range meter and LO LEV
incorporated into this unit. Perhaps the an input pad (either in- console or in-
circuits as used in this console are not line plug-in type) make it possible to
directly usable, but could be adapted accurately control the input level to the
to your particular design. first stage of the amplifier to obtain the
Since the module unit chosen for the best possible conditions for high -quality
input channels has separate high- and recording.
low-level inputs (selected by a switch), Test points at other stages might be LO LEV
the additional wiring required was uti- considered, but if the design of the
lized to perform other functions. Each console was correct and conservative,
input pair contains a phase -reversing the input is the main variable. Cer- COMBINING SERIES /PARALLEL
switch, providing control of micro- tainly it is the most critical. We desire
phone and high -level phases when mix- the highest input level possible to avoid Figure 2. With this configuration
ing multiple sources into a single chan- a poor signal -to -noise ratio. Yet, we combining action is in series.
nel. must provide a good peak margin to
After the phasing networks there is a prevent any possibility of overload.
dpdt switch to place the high-level pair Measure and know the knee of distor-
in parallel with the nomal microphone tion for your particular input stages
CH I
pair. Insofar as the combining is after (the point on the distortion versus
the phasing, the application not only power curve where the distortion first
O
permits the addition of two micro- starts to rise rapidly). Use this point, CH2
phones before any amplification, but not the actual point of observed clip-
they may be combined in- phase, out - ping, as the maximum input to the
of-phase, or in-phase themselves but amplifier. Subtracting your peak mar- SOLO
out -phased with respect to the re- gin will give the normal operational in-
mainder of the microphones used in put level.
the pickup. It is common to provide echo feeds
A fourth switch would permit the se- both before the fader (pre-echo) and
lection of the combining action to be after the fader (post-echo). The ques-
either in parallel as shown in FIGURE 1, tion arises: should this post -echo be
or in series as shown in FIGURE 2. Con- tapped directly after the fader, or after
tinuing along the input circuitry-a pair equalization? Perhaps a third name -
of test points dropped from the micro- designated position (eq- echo ?) should
phone, just before amplification, are be adopted to clarify just where the tap
brought up to a panel. The purpose is made. The versatility of all three
here, is to provide a means for meas- positions should be evident, but the LO
uring, with a calibrated, wide -range dB complexity of switching may not be
Figure 3. Selecting solo busses. In
meter, the actual output level of the to your taste or pocketbook. this single -line illustration, the
microphone. The meter should have At the output of the unit or channel, switches are on terminating re-
calibration means for the standard im- we normally find buss, submaster, or sistors.
pedances used in microphones as well master channel selection. Bussing or
www.americanradiohistory.com
combining networks are standard items,
whether they be passive or active. As
I prefer to have the phasing ability at
this point, as well as at the input. the
console uses a balanced buss of the "O" gel the turntahle a studio needs
configuration. A separate key is also
available which disables the regular
busses, and -by relay -substitutes a set
of busses called solo. (See FIGURE 3.)
...antl rek-o-kut durahìlity, too!
Because of the switching design, this
solo position places the selected chan-
nel alone on the output, in its exact
level and distribution among the output
channels, as it would appear in the final
mix. It is possible to achieve this effect
without affecting the normal recorder
outputs by moving the activating relays
to the inputs of the control room
monitoring system. This would then
necessitate the addition of duplicate
amplifiers and dual tracking faders in
the output sections of the console.
The ability to hear a single performer
or section is an added benfit to the
mixer and producer during the pre-
recording balancing. But whether this
facility would he desired during the
take, without disturbing the take, is
again a matter of complexity and cost.
Under normal conditions the console's
master channel faders are just that, but
for special effects, or original master-
ing on monophonic/ two channel, each
of the four output channels has the
added capability of being switched to
any or all of the recorder busses. Thus
the masters in effect become sub -
masters. A final master could be added,
to be effective only when the mixer
desires the additional control. At
present a hoard fade is not difficult as There's hardly an engineer in the broadcast field that hasn't used a
only four channels are present. Should Rek -O -Kut turntable in his career. Rek -O -Kut has been building studio
expansion to eight occur, then the phys-
turntables for over a quarter century. So you are assured of buying
ical requirements would dictate a final
top quality sound reproduction along with the ruggedness and dura-
master.
Finally- keys that are set for each re- bility that boradcast and commercial installations demand. The rim
cording machine permit deletion of the drive Rek -O -Kut B -12H by Koss Electronics permits slip cueing with-
normal bussing, and substitution of the out sacrificing fidelity. And your KosslRek -O -Kut will last and last
recorder into the master channels for and last with a minimum of maintenance and repair. Write for complete
playback and duplication /dub-down. details on the popular Model B -12H or the 16" studio B -16H today.
The keys also disconnect the record
feeds to that machine (to prevent a
loop path, should the machine's moni- specifications:
tors be left in record position). The
normal play route for duplication and
SPEEDS: 33%,, 45. 78 rpm. NOISE LEVEL: -
59db below 5 cm /sec average
recorded level. MOTOR: custom -built computer type heavy -duty hysteresis
dub -down is through the high -level in- synchronous motor. 45 RPM HUB: instantaneously removable by hand.
puts on the input module. This routing PILOT LIGHT: neon light acts as an "onloff" indicator. FINISH: grey and
permits the addition of additional aluminum. DECK DIMENSIONS: 14 x 15 "/,e ". Minimum
equalization, echo, or other control Dimensions: (for cabinet installation) 17%" w.
conditioning that may be desired. x 16" d. x 3" above deck x 6y." below.
Ideas such as those above, and others PRICE: B -12H Turntable $165. S -320
incorporated in the console have been Tonearm $34.95. Optional BH Base
gleaned from exceptional consoles for audition room $18.95.
around the country, as well as designed
for the special requirements of this ap- Rek -O -Kut Turntables by
plication. It is desirable that other ideas
that you may have devised, whether in
this area or any other, be disseminated
KOSS
Koss Electronics Inc . 2227 N. 31st St , Milwaukee. Wis 53208
among others in the audio field. THE Export Cable: STEREOFONE Koss - Impetus /2 Via Berna /Lugano. Switzerland
FEEDBACK Loor is your sounding board
for ideas, and your fact sheet for co-
operation information.
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Ti - iico
NORTRONICS
HAS
THE REPLACEMENT
TAPE HEAD Theory and Practice N O RMAN H. C R O WH U R ST
YOU NEED Norman H. Crowhurst, P.E. is a pro- the atom bomb: theory developed this
41 PLAYBACK (B)
RECORD >E
ERASE E
Figure 1. The definition of "inser- N
tion gain ": (A) transfer between
NORTRONICS Bulletin 7260 de- two impedances; (B) gain when
scribes simple Look -Touch - Listen amplifier is inserted between them.
test that tells you if it's time for a
(B)
change. Write for your free copy. 500(2
AMPLIFIER 500( AMPLIFIER Figure 3. One deviation: both in-
ó ternal impedances are one fifth
7/c,fronîs
COMPANY. INC.
20dB GAIN FADER 20dB
OSCILLATOR UNIT:
Measuring frequency: 3150 N: (constancy I X 10' after starting up
period).
Output voltage: Approx. 0.4Vrmr at test output connector,
50012 50012 Calibrating device: +2% detuning for static and ±0.3% (60 Ns)
for dynamic recalibration of measuring unit.
MEASURING UNIT:
Input voltage. ±5%.
30mV to 30V, 3150 He
É Input Impedance- >10 kOhm.
NE ti
LO (E t0 O Measuring ranges: ME -101
ME.102 --±0.15% and ±0.75%.
-20.02 to 20.5% and 20.1 to 22.5%;
t
New York, N.Y. 10036DB
É
(V (V
Please send me further information
about your Wow & Flutter Meters.
Name
(B) (B)
Title
Address
Figure 4. Another deviation: both Figure 5. A third deviation: input 5 Company
internal impedances 5 times nom- times, output one fifth nominal.
inal. (A) effect on one amplifier; (A) effect on one amplifier; (B) City
(B) over-all effect. over -all effect.
State Zip
nominal load. Many amplifiers in serv- 180-mV output; just as in the other
ice were not designed that way! case, this is 5 dB extra gain.
Let's use some figures to see what Finally, let's assume the output im-
this means. Assume we cascade two of pedance is 100 ohms and the input im-
these amplifiers, with a professional pedance is 2,500 ohms (FIGURE 5). As
gain control (fader) between them in the second case, the actual input
(FIGURE 2.) The input and output im- voltage will be 1.67 mV. The open -
pedance of each of these line amplifiers circuit output voltage will be 12 mV,
may differ from the nominal load of as in the first case. The actual output
500 ohms for which they are designed.
Let's assume each internal impedance
may be either 100 ohms or 2,500 ohms.
At input and output of the whole
combination, where we have shown
voltage will be 25/26 times 12 mV, or
11.5 mV.
To get the nominal 100 mV output
from the second amplifier, the input
should be 16.7 mV. So 11.5 mV will
Letters
true 500 -ohm termination, it doesn't give about 69 mV output. A loss of 3.2 The Editor:
matter what the internal impedances dB from the nominal 100 mV. Your editorial in the January issue
are, because any difference from nom- Now let's think about what the fader of db interested me and brought back
inal is taken into account in the way will do. With about 20 dB attenuation, memories. I realized that when we
insertion gain is measured and specified. it will present close to its nominal im- moved to this country (in 1953) one of
But the connection between the two pedance at both input and output, so the "translations" I had to make (like
amplifiers can be seriously invalidated, the nominal condition is closely ap- tube for valve and wrench for spanner,
especially when all attenuation is re- proached. Over -all gain will be close to not to mention sidewalk for pavement),
moved by running the fader all the way 20+ 20-20=20 dB. But as attenuation was public address for sound reinforce-
up. is removed, the gain will change by ment.
Let's continue the assumption that the amounts calculated just now. Yes, as early as 1933 I was employed
the input is 1 mV (or to be precise, 2 Where both input and output imped- by a British company that specialized
mV through the 500-ohm input re- ance err from nominal in the same in two kinds of service: sound rein-
sistor) : if all impedances have their direction (both high or both low) the forcement and sound relay. Each had
nominal value, the output of the first last few studs of the fader will change its own problems. Sound reinforcement
amplifier, connected to the input of the gain by more than they're supposed to intensified sound in the same room.
second, will be 10 mV, and the output do. If the fader is designed to insert Relay carried sound into other rooms
of the second will be 100 mV. 1.5 dB per stud, it will more likely and buildings.
Now suppose the internal imped- become 3 dB or more on the last stud Back in those days there were lousy
ances both at inputs and outputs are or two. installations, but the cause of the lousi-
100 ohms. The first amplifier, instead On the other hand, where input and ness was usually failure to accommo-
of being loaded with 500 ohms, is output impedance err in opposite direc- date to the acoustic problems. The Brit-
loaded with 100 ohms. Removing a true tion (input high, output low, or vice ish would never have tolerated the
500-ohm load would allow the output versa) the last few studs will seem to raspy quality that Americans accepted
voltage to rise from 10 mV to 12 mV be almost inactive. The 1.5 dB per step in the name of public address.
(FIGURE 3). Then connecting an actual nominal may drop to less than 0.5 dB. At that time I could not have said
load of 100 ohms, to match the internal Does that explain some unpredicted that we British never used public ad-
value, will load its output down to 6 gain problems you may have encoun- dress, only sound reinforcement.
mV. tered at some time? That discrepancy is Americans wouldn't have known what
The 20 dB gain of the second ampli- the simplest consequence of this effect. I meant. Few had heard sound rein-
fier (to give 100 mV output) assumed Next month, we will discuss other con- forcement. To try to explain (as you
an input actually measuring 100 ohms sequences, such as changes in fre- did in your editorials) would have
was connected to a 500 -ohm source, quency response or increase in distor- sounded so dreadfully snobbish. But
with an actual input voltage of 20 mV. tion that can come about at the same eventually the viewpoint has changed.
So the voltage at the input terminals, time. Now, here too, the public will no long-
to give 100 mV output, would be 3.33 Meanwhile, please don't write to tell er accept high distortion.
mV. Now our actual input voltage is me that I'm misjudging the standard I don't remember the date when St.
6 mV. So the output voltage will be 100 method of specifying insertion gain. Or Paul's Cathedral first installed line radi-
mV multiplied by 6/3.33, or 180 mV. that manufacturers' ratings are decep- ators with a time -delay system, to over-
We have 5 dB more gain than we're tive when their internal input and out- come the building's appalling reverber-
supposed to have. put impedances don't match their nom- ation problem, but it was before we
Next let's assume both input and out- inal values. The problem arises because emigrated. That was a problem tri-
put impedances are 2,500 ohms (FIGURE we have so many variables that it's dif- umphantly solved by sound reinforce-
4). The actual input voltage, instead ficult to specify them all without caus- ment.
of being 1 mV, will be 5/6 of 2 mV, or ing confusion. The only solution is a However, I suppose the main reason
1.67 mV. And the output voltage will little better understanding of the theory! I could not have insisted on use of the
be 60 mV open-circuit, to load down to Beyond this, I have several ideas of term sound reinforcement then was the
10 mV with 500 ohms. So 2,500 ohms my own to discuss in future columns. number of operators, scattered across
will only load it down to 30 mV. But many of the ideas are going to this country, who knew nothing better
Had the source for the second ampli- come from you, the readers. It takes than public address, as you so succinct-
fier been 500 ohms, the actual input a couple of months between the time I ly describe the distinction. And db
voltage would have been 16.7 mV, to work the idea up and you read it in would have been completely beyond
produce 100 mV output. So 30 mV in- print. So start the questions coming if them!
put will produce (30/16.7 x 100 = ) you want to see yours answered soon! Norman H. Crowhurst, P.E.
www.americanradiohistory.com
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SOUND REINFORCEMENT continued
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1111 1111111111111111111111111111
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+35 -IO 40
OR TAPE>
TT
16
II -ETC
6008
Figure 3. In A) an Altec graphic
equalizer is shown. (B shows the
possible boost or cut attainable
with the individually -controlled
seven channels.
ETC
Figure 1. An abbreviated block diagram of a small sound -reinforcement system. moderate boost in those regions where
speech needs an assist to improve artic-
ulation.
These equalizers may be ordered with
a specified number of adjustable chan-
nels, and at specified frequencies, if de-
sired .They are available in both passive
and active configurations. The dia-
grammed system provides sufficient
gain to accommodate a passive type
with an insertion loss of 16 dB. It is
shown as being inserted between the
booster and the master -gain control,
and will of course affect all speaker
locations.
Filters are logically patched into the
program line at any point past the mix-
er network, again affecting the entire
system. If it is desirable to filter an
area fed by one group of speakers only,
then the filters(s) would be patched
into the jacks on the input to the ap-
propriate power amplifier(s).
As you can now see, the conventional
professional mixer approach has given
Figure 2. The physical layout of the mixer portion of a small sound- reinforce- us the facility to quickly try out and
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RECORDING INSTRUMENTS COMPANY Makers of the renowned Scully lathe, since 1919
A Division of DICTAPHONE CORPORATION Symbol of Precision in the Recording Industry.
www.americanradiohistory.com
(If 50 degrees is 0.1 per cent then
100 per cent is 50,000 degrees. Fre-
quency is 50,000:360 or 138.888 Hz-
close enough to 140 Hz for practical
purposes.)
This means that the maximum devia-
tion of the 'scope's lissajous figure from
a line can be 90 degrees of swing be-
tween a line and a circle and back
again to a line. It may be necessary to
trim the oscillator settings slightly to
compensate for generator frequency
drift or lathe speed variation.The phase
relationship between the two signals
should always produce a slanted line.
Double check the 'scope by feeding the
same signal to both inputs so as to ob-
tain the proper presentation.
The speed at which the phase of the
playback signal deviates from the nom-
The Lathe thus I feel this method to be less ac- inal frequency is the frequency of flut-
curate. ter. To determine the exact phase dif-
Of the several types of recording Flutter can also be indicated with- ference from the 'scope, refer to FIGURE
lathe in use today, some are no longer out a bridge (albeit less conveniently). 1.
available new. Only a few manufactur- A generator and oscilloscope are neces- Cutter mounting must be done with
ers continue to offer new equipment, sary. With the 'scope set for identical sufficient precision so that the specified
the most popular and sophisticated of display of vertical and horizontal in- angles are not more than 2 degrees off.
which are by Scully of Bridgeport, puts, a lissajous figure will be seen. This (Two degrees sets the limit of separa-
Connecticut and Neumann of Berlin, will be a slanted line when the hori- tion between channels to 20 dB.) The
West Germany. Both are excellent sys- zontal and vertical inputs are identical. first of several critical mounting dimen-
tems, offering the user a high degree of When one of the signals feeding the sions is azimuth alignment. Looking
automation. 'scope varies in frequency ( the signal from the front of the lathe, this is the
Even with the best lathes, you must from the playback equipment) a dis- normal (perpendicular) line to the sur-
know how to install a cutter properly play ranging from a slanted ellipse to face of the lacquer. The cutting stylus
and how to operate it. Regardless of the a circle will be produced, depending should be parallel to this line. If the
recording system, cutter type or lathe, on the phase shift between the two sig- stylus position creates an angle greater
certain basic tests must be performed nals. than ±2 degrees off 90 degrees, all at-
after installation of the recording chain. Using this technique for flutter meas- tempts to achieve more than 10 -15 dB
The lathe itself must be at least as urements demands an understanding separation will be futile.
good as the best playback turntables in of what accuracy must be achieved. (The assumption here is that the sub-
rumble, speed constancy, and accuracy. Speed constancy specifications for turn- sequent playback stylus is at 90 de-
Flatness of the platter, bearing noise, tables are often quoted at 0.2 per cent grees to the disc. If both cutting and
operation of the feed screw and main maximum deviation from the nominal playback styli are tilted to the same de-
shaft play (the one holding the turn- speed. Therefore, we should be seeking gree, separation will be satisfactory. It
table), are all points of concern. Rigid a maximum deviation at the recording therefore becomes important to use a
standards of performance must be met lathe of 0.1 per cent. carefully mounted and calibrated play-
for the functioning of the pitch selector With this in mind, some thought back system for measurement purposes
mechanism. The feed screw must pro- should be given to the selection of a - as well as visual examination of a cut
vide a pattern -free cut. suitable frequency to display a usable groove containing modulation applied
Testing the motion of the platter re- pattern. With the usual flutter measure- to one channel only. Ideal separation
quires techniques similar to ones used ment frequency of around 3 kHz, a produces a groove with one ridge a
in evaluating playback equipment. A frequency change of ±3 Hz would in- straight line while the other carries the
flutter bridge is an invaluable tool if dicate the maximum allowable speed modulation.)
you are fortunate enough to have ac- fluctuation. Since the most common The next vital consideration of cut-
cess to one. A proper signal as required type of flutter is once per revolution of ter mounting is the actual orientation
by the bridge (around 3 kHz for most, the platter or about 1.8 sec. per cycle, of the cutting stylus. Most cutters today
there is a standard at 3150 kHz) is our measurements using 3 kHz would use either tapered -shank or bare sap-
recorded on disc and then played back be impossible to interpret. (This is be- phire styli. In the first case you must
on the lathe itself. Play the disc several cause 3 Hz is 1080 degrees of phase rely on your skill for proper stylus ori-
times, each time moving the disc in shift while a 'scope rotates its lissajous entation, while in the second you de-
relation to the platter to check for the figure every 360 degrees.) pend on the accuracy of the clamping
worst possible condition where record- If instead we select a lower fre- device as set by the cutter manufac-
ing and playback flutter indications quency, the speed deviation of the lathe turer.
are additive. This indication should be can be expressed in degrees of phase There are several ways to correctly
divided by two to disregard the speed shift per revolution, not exceeding 90 position a tapered -shank stylus. Most
error of playback. degrees in 1.8 sec. This is approximate- engineers use a tweezers to grip the
I prefer this method of testing for ly 50 degrees/sec. or 1/7 of a cycle/ shank of the stylus, plus some means
flutter over the use of standard re- sec. If we want to be able to see 0.1 of optical magnification to see the cut-
corded test records. The test records per cent of the nominal frequency, then ting edge of the sapphire. I've observed
suffer from the inherent flutter of the this frequency should be approximately some younger engineers working with-
machine on which they were recorded; 140 Hz. out magnification.
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Subscriptions New Transistorized,
Are you receiving db each month? Portable Impedance Tester
If you have already returned one
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Í by
STYLUS FRONT
REFLECTED
BEAM PAPER
FROM
SO URCE OF CUTTER
_A FRONT
COHERENT
LI
LIGHT BEAM
ILLUMINATED CUTTER
TRACE OF MISALIGNMENT
VERT HORIZ INCIDENTAL ANGLE DOUBLED
INPUT INPUT BEAM
CUTTING STYLUS
ON PAPER (SHOWN OUT OF
PROPORTION
Figure 1. Use a 'scope to measure flutter. The formula is FOR CLARITY)
A
=Sin e where e is the phase angle. A is the height of
B
Figure 2. A coherent light beam coming from exactly 90°
the y axis of the 'scope trace. B is the highest point of
off where the flat of the stylus belongs will be deflected
the lissajous figure. if the stylus is improperly oriented.
I prefer a method that is harder to flexibility,as well as the mechanical tip. The colder the stylus tip - the
use but far more accurate. It utilizes a suspension of the cutter mount. When shallower the cut.
narrow beam of light reflected off the an advance ball is used, groove depth I suggest that an advance ball be
surface of the sapphire's flat front. A can be closely controlled because of the used even with a free -floating cutter.
narrow beam can be obtained from a rigid coupling between the lacquer sur- Adjust it so that it rides 2 -3 mils above
focused flashlight or microscope light. face and the cutter body. A sapphire the surface of the disc, without touch-
Place a square of paper over the stylus ball (actually a sapphire stud with a ing it. This will prevent the stylus from
tip so that the beam touches the paper highly polished base) can accumulate being broken if the cutter is dropped
indicating the direction of the source considerable dust while it is riding the to the lacquer too fast.
and the reflection. Rotate the stylus in surface of a disc. This can cause lac- Once the stylus is seated and adjust-
its seat until both beams coincide. (See quer smear and it can also change the ed properly, the heater wires must be
FIGURE 2.) actual groove depth if dust finds its way dressed with a proper amount of slack
Since the angle of incidence is equal between the ball and the lacquer. Clean- to prevent biasing of the stylus move-
to the angle of reflection, the observed liness, therefore, is of utmost impor- ment at low frequencies.
error is doubled. This makes alignment tance if an advance ball is used. (I once had to make a cross -country
that much more accurate. If no advance ball is used, the depth trip for the sole purpose - it turned
When a cutter is mounted particular of the groove is dependent on the lac- out - of loosening heater wires which
attention must be given to the position- quer resistance offered to the cutting were. causing a system to malfunction.)
ing of the leads to the head. In addi- edge of the stylus. This is a function of Let me hasten to point out that too
tion to the signal wires, there are heater the lacquer hardness, stylus heat, re- much wire slack is also dangerous;
wires supplying current to the stylus cording speed, and the amount of suc- wires may touch metal parts of the cut-
heater. There must be enough slack for tion. Suction affects the groove depth ter and short out- with heater burn-out
them to flex without interfering with indirectly. Since the cutterhead is float- as the result.
the vertical motion of the cutter. This ing freely above the disc surface, posi- Usually Nicrome V AWG 40 is used
also applies to the suction -pipe hose. tioned only by the tip of the stylus, for heater windings. Wind four or five
It is recommended that all of these be every change in the amount of suction turns of wire around the sapphire and
fastened to the carriage itself so that alters the vacuum or atmospheric pres- use a small amount of liquid ceramic
regardless of the position of the cutter sure between the cutter and disc sur- to cement the wire in place.
over the platter, the same vertical bias face. However, the effect is partially Wire can be purchased from Indus-
force is always present. offset by the stylus heat. This heater trial Heater in New York City and
Quite often recording systems use an current is fairly constant so the actual liquid ceramic from Sauereisen Corp.
advance ball with the cutter to assure heat at the stylus tip is dependent on of Pittsburgh, Pa. The ceramic is avail-
constant groove depth. The choice of the cooling effect of the suction. The able in paste form premixed, or in pow-
using an advance ball or not depends more suction -the more cooling. The der and liquid form ready to be mixed.
CO
on cutter construction, cutter cable more cooling - the colder the stylus (To be continued next month.)
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EctorI
A David L. Klepper in this issue again raises this question. The construction
of many music halls, all of which designs featured the work of acousticians,
have been scored by public, press and audio professionals as unsatisfac-
tory. One hall is too dry, another is too reverberant, a third has not enough intimacy.
Fault will be found with any hall.
Does this mean that acousticians operate in the dark ... that their results are pro-
duced by experimentation rather than science?
Not at all. Modern acoustics is very much a science. Very little that is done today is
of the cut -and -try school. The acoustician involved in designing a hall or studio can
create pretty much what is wanted. The core of the problem seems to be that the
architects and underwriters of halls have broad ideas of what the room is to do. No
one builds a specialized hall or studio; a variety of jobs must be accommodated.
A particular studio may be used mainly for small vocal groups, but since it might
occasionally house eighty -piece orchestras, it must also be adapted for this need.
A studio that fits both requirements can be built ... but it will be involved and ex-
pensive. So the acoustician, against his better judgment and advice, compromises
the room so that it is at least acceptable for both extremes. Then, the room is just
that -a compromise. It is not highly satisfactory for either of our examples.
Thus the acoustician becomes a scapegoat for the studio's inadequacies, when in
fact he could have created an acceptable situation had he been given a limited goal
and a free hand.
There is a very real lesson to be gained from this. Many of you will be needing
rooms that require specialized acoustic treatment. This should not be left to word -of-
mouth chance. The acoustician is a proper part of the professional audio scene. His
help and advice can multiply the usefulness of a room, thus increasing its potential
for income. And this will offset many times the cost of acoustical consulting. L. Z.
www.americanradiohistory.com
Architectural Acoustics
David L. Klepper
Certain ground rules must be followed to design a studio to specific acoustic needs.
These practical facts suggest how to build
or modify rooms so that the best can be obtained from them.
David L. Klepper is associated with Bolt, Beranek, and Figure 1. A non -rectangular plan for a studio.
Newman.
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V
12, (reverberation time) -0.049
Sa
Where V= room volume
S= room surface area
a = average absorption coefficient
Sa =total sound absorption
WOOD BRACING
Although early studios were uniformly dead, there has been RANDOMIZED
Optimum Possible2
Lectures -
0.9 1.1 -
0.5 1.4
Drama (theaters) 0.9 -1.4 0.5 -1.6
Musical Comedy 1.2 - 1.5 1.0 - 1.7
Opera 1.5 - 1.8 1.4 - 2.0 Figure 3. Typical polycylindrical diffuser construction.
Instrumental Recitals The diffusing effect of a cylinder is maximum when
and Chamber Music 1.4 - 1.8 1.0 - 2.0 diameter equals one -half wavelength, and a combination
Orchestral Concerts 1.8 -2.0 1.4 -2.5 of different radii will provide optimum diffusion over a
1.5 - 1.8
wide range. The construction shown also provides low-
Vocal Recitals 1.4 - 2.0 frequency absorption.
Choral and Organ concerts
(liturgical music the-
upper limit depends on
the type of music) 2.0 minimum 1.7 minimum
Occasionally a reverberation time calculation will reveal
2 Good results possible provided other parameters are optimized. a studio or auditorium on the "dead" side (too low a rever-
beration time), even without any applied sound -absorbing
treatment. For example, the calculated reverberation time
for a studio planned for music broadcasting may be under
1.5 seconds at mid -frequencies, even with all interior finish
materials hard and sound -reflecting. The reason may be a
relatively low cubic volume (interior volume less than say
40,000 cubic feet), with the predicted sound-absorption of
the 100 members of a full symphony orchestra present.
Economics may dictate the design of studios or halls be-
low optimum size. Under these conditions the wise designer
or acoustical engineer will often refrain from attempting to
make the hall or studio as live or reverberant as possible
within the available volume, because under certain condi-
tions in small halls or studios, he would be concerned that
the space would simply be too loud for proper performance
conditions. Instead, particularly in studio situations, he
might choose to provide a relatively dry acoustical environ-
ment to be supplemented by electronic reverberation devices,
either within the hall itself (for performers, listeners, and
recordings) or for recordings alone.
We have been discussing mid -frequency reverberation
time goals for various spaces. These are reverberation times
measured in the 500- 1000 Hz range. The variation in re-
verberation as a function of frequency is also very impor-
tant; and it is a good measure of the "frequency response"
Figure 2. Sound diffusing wall modulations of several
types applied to a rectangular room. of the room. For example, a concert hall with a reverbera-
tion time of 2.8 seconds at 125 Hz, 2.0 seconds at 500 and ro
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(Mozart -
Haydn) and contemporary (Stravinsky) music.
Rather than shorten the reverberation time to obtain the
oill
added clarity, today's acoustical engineer would rather sup-
plement the direct sound with additional sound energy that
arrives at the listeners' ears soon enough to reinforce the
ó 2.5 direct sound, adding to clarity without destroying the rich-
Ñ
/Y)% ness of a long reverberation time. The goal is a "have your
cake and eat it too" solution, which combines clarity and
w° reverberation. Such a hall can have a large-hall liveness of
20 N sound with a small -hall intimacy. The time of arrival of
//////7///
ez LARGE SERIOUS MUSIC STUDIOS///AW7M
ó
ó
- % /
%
these early reflections and their strength is important. If too
late (after the initial sound) or too low in strength, they
will be ineffective in aiding clarity: if they are too strong -
N 1.5 -
and early enough they will so dominate the sound heard
z by listeners that the liveness of the hall simply will not be
w heard, and the hall will have a reputation for dryness despite
an adequately long reverberation time.
ó 1.0
z
GENERAL
ir These early reflections may be compared to a pinch of
pepper in a well -prepared soup. Just the right amount is
cl
m . needed. Too much and we'll taste only the pepper (too much
W
>
it' 05 7 V f N 1 EW//////.'///,%/%//.
clarity); not enough and the pepper may as well be absent
(too little clarity); and the pepper should be added at the
right time for best effect (the proper initial time delay gap).
The amount of energy in the early reflections, together
with the energy of the direct sound, determines the ratio of
o early -to- reverberant sound, while the timing determines the
4 8 2 4 8
50 100 500 1000 5K I0k "initial time delay gap ". The ratio of early -to- reverberant
sound is, for our purposes, defined as the ratio of sound
FREQUENCY IN Hz
energy received at a listener's position for the first 50 milli-
seconds during and after the receipt of the initial pulse of
sound to the total sound energy received after the first 50
Figure 4. Suggested studio reverberation criteria. -
milliseconds.3 Often, the inverse ratio the ratio of rever-
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Figure 6. A 3000 -seat Concert Hall -Opera House and 1700 -seat Recital Hall- Theatre Combined in One Hall. (A) -Plan-
left stage enclosure in position for 3000 -seat concert hall, right, 1700 -seat theatre, stage enclosure stored. (B)- Longi-
tudinal section, stage enclosure in position for 3000 -seat concert hall. (C)- Longitudinal section, stage enclosure
stored for 1700 -seat theatre.
1 -Fixed Orchestra Seats 1' -Fixed Balcony Seats 2 torium Ceiling 7- Movable Auditorium Ceiling 8 -Mov-
and 2'- Movable Orchestra Seats 3 and 3' -Stage Apron able Stage Enclosure, Walls and Ceiling 8'- Movable
Elevator 4 -Fixed Auditorium Walls 5 and 5'- Sound- Stage Enclosure Walls, Recital Position 9 -Stage Teas-
Transparent Movable Auditorium Walls 6 -Fixed Audi- er and Tormenter 10- Proscenium Pull -out Panels
Shaded areas are spaces closed off by movable ceiling and rear walls.
N
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berant -to -early sound energy is used. The ratios are usually theatrical rigging system, with the walls in the form of inter-
expressed in decibels rather than fractions. FIGURE 5 shows locking self -supporting pieces or rolling towers. There is a
the ratios for two modern halls as a function of frequency. trend, however, to mechanized stage enclosures that reduce
The initial time delay gap is the delay between receipt of dependence upon normal stage -hand labor for erection and
the initial sound and the receipt of the first reflection. striking while freeing the rigging system completely for its
Beranek's study (see Ref. 4) has indicated 0 to 20 milli- prime purpose of storing scenery. In the Jesse H. Jones Hall
seconds as ideal for the initial time delay gap, and up to 30 for the Performing Arts, Houston, Texas, the forward ceil-
milliseconds as good. ing panels of the stage enclosure fold down as one unit from
The proper early -to- reverberant sound ratio and the ini- the stage house wall above the proscenium, the side-walls
tial time delay gap were inherent in the design of the older, fold out from the stagehouse walls on each side of the stage -
narrow, rectangular "shoe box" concert halls. The designs house, and the rear wall and rear ceiling fold out from the
included broken -up or diffuse side walls, spaced sufficiently lower up -stage (rear stagehouse) walls. All this is accom-
close together (and to the halls' center-lines) to provide the plished with the help of push- buttons and electric motors.
required early reflections. However, the newer, larger and Such a theater design can free the acoustical designer toward
sometimes more radically shaped wide halls seem to require the use of adequately heavy materials, regardless of their
supplementary sound -reflecting clouds (Tanglewood; Clowes weight. In this case, 12 gauge steel, backed with damping
Hall in Indianapolis; Jones Hall in Houston; La Grand material and faced with thin wood veneer was employed.
Salle, Place des Arts, Montreal; DeDolan Hall, Rotterdam; The surface weight of the combined structure is close to 7
for example) or one large sound reflector per hall in the lb. /sq. ft., assuring good sound reflection down to 25 Hz.
form of a "lip" (Saratoga Springs; Chandler Pavillion, Los The improvement of an existing mutlipurpose theater -
Angeles; Opera House, Seattle) to assure the right balance concert hall by provision of a properly designed stage en-
between clarity and liveness. closure, whether wood, plastic, or damped metal, is a
The recording engineer may not be overly concerned with familiar event today. Often the improvement in hearing
these balances. Given a sufficiently live hall, he can increase conditions for the live audience is matched by improvements
clarity by closer microphoning or use of more directional in liveness and balance in the sound as picked up by micro-
microphones; or increase liveness by use of more omnidi- phones; however, more often than not complete re- engineer-
rectional microphones or greater distance from source to ing of the microphone pickup arrangements are required if
microphones. best results are to be obtained.
The sound -system designer may broaden his understand- This article discusses the room acoustics aspects of studio.
ing of room acoustics problems to have a better grasp of auditorium, and concert hall design. Future articles will
the combined room -sound system results. In special cases. touch on sound systems design, noise control, and sound iso-
where architectural means are impractical, an electronic lation, all important parts of the over -all architectural acous-
sound reinforcement system may be called upon to simulate tics picture.
early reflections by amplified sound.
www.americanradiohistory.com
The
Commercial
Sound
by Peter Burkowitz
Contributed and Translated by Stephen F. Temmer
www.americanradiohistory.com
other words, the areas of the business people, the sales peo- involved. This record will, no doubt, become a major hap-
ple, the marketing people, the producers and the artists, the pening; it will be well reviewed by the press and will become
stores and the customers-and to see where our mutual prob- a world-wide success. But above that, a recording must be
lems overlap or perhaps even collide. made in this way today if it is to enjoy any success.
As far as the exact technical problems are concerned I What happens after this point is a matter of precise en-
only want to make the brief determination that they are the gineering. The fact that engineering will know the require-
professional life to the engineer, spooky and too expensive ments all the way to the mass -produced disks and tapes is a
to the business and marketing man, a source of annoyance to matter for which we rely on the professionalism of the engi-
the producer, suspicious to the artist, and, on the whole, neering community. In the engineering profession certainly,
mysterious to the distributors, dealers and clients. nobody will measure output level with a manometer, or tape
But I did want to speak about an area which borders on speed with a light meter. This might sound banal to you, but
the activities of the studio engineer. In this regard, I con- parallel things occur in the aforementioned professional
sidered music production as the most immediate area from disciplines now and then. But I do not wish to give the im-
the standpoint of the engineer: What does one have to ask pression that the complex requirements of recording produc-
of the performance and what can one expect of the engineer- tion could be served using a simple set of devices. In the
ing? The title "Commercial Sound," which might sound quest for more cooperation between the various segments
somewhat profane to strictly professional ears, was not contributing to such a project, I want to point out the vast
chosen to insure a well attended lecture but rather because gap between the methods of commercial technique and en-
it is always those people who cry loudest for "commercial gineering technology, which would not exist if the artistic
sound" who are unable to see clearly the boundary between side of the effort would utilize the same systematic methods
musical content and technical packaging. As Dr. Steinhausen' that are used in engineering. I am convinced that even out-
once said so poignantly, "it is just those people who during side the world of engineering it is possible -and logical -to
and even after the recording session expect from engineering eliminate accidents and failures, for here, as there, all it
a replacement for what they were unable to accomplish." costs is money.
The following descriptions should not be taken as a To make all of this more graphic, allow me to construct a
polemic, but rather as an attempt to bring to this division negative example. First of all, the producer sees himself in
between artistic offering, manufacturing, and the activities a bad situation since most repertory ideas are considered
of the artistic -technical personnel which encompasses both white elephants to begin with. He therefore tries to switch
activities, some sort of guide -posts-perhaps even as a small to a strategy of "special interpretation" of a work which
bit of education for future producers among you. already has been recorded in abundance. Such special in-
First of all, let us look at the situation as it always should terpretation is almost always restricted to the world of stars
be. To those who might think me naive, I would like to ex- and first -rate orchestras. While searching for such stars, the
plain that this example is obviously somewhat idealized. It producer soon discovers that very few suitable artists can be
starts with a producer who only concludes contracts which found in his own stable. Aside from that, he probably will
he can live up to, with artists who represent, in actuality have considerable contractual problems with Miss X and
and not only reputedly, significant talent in the role they Mr. Y. So he arrives at a recording date with such a compro-
are to play. It follows that these artists are given the op- mise cast that everyone feels a miracle would have to hap-
portunity to fully know their part on the day of the recording pen to make this recording anything more than a mediocre
session, and that the producer, director and perhaps even effort.
the studio engineer had previously coordinated, controlled In the spirit of this example, there will doubtlessly be
and corrected their individual roles in this session. The available at the designated time and place only one suitable
orchestra too will have been rehearsed diligently in such a hall or studio, whose sole claim to suitability will be that it
well functioning production, especially if its role in the re- has enough square footage to accommodate the entire cast.
cording is a sizeable one. Besides all this, we must assume that there have not been
For realizing the best results from this performance, one sufficient rehearsals, that the soloists are not altogether
will select an excellent hall with the best acoustical properties familiar with their parts, and that the conductor is scheduled
since the resulting sound is next in order of importance after to conduct a concert only three hours hence. Aside from the
the value of the composition and its interpretation. fact that this should be sufficient to cancel the whole thing,
One will then conscientiously choose the physical setup, the producer now commits another serious error: he thinks
and, hopefully, make clear to the fully assembled performers, the engineer will be able to evolve a brilliant recording from
in calm terms, the importance of the impending unique per- these haphazardly assembled fragments, using his magic
formance. This part of the task is, incidentally, the responsi- conglomeration of machines.
bility of the producer. In such a production, in which nothing At this point, though, I would like to say that nowadays
whatever goes awry, the performers long before have been even the production side of the fence is relearning an old
precisely instructed as to what is expected of them in front truth: Artistically demanding and commercially viable re-
of the microphone. The producer will not attempt to gel the cordings cannot be obtained by indiscriminate editing or
setup during the session, possibly even against the desires of "cooking with acoustic artificial flavoring." Even if a valu-
the artists. In the control room there will be no senseless able work is praised now and then which has been recorded
debates about hoarseness, sibilants or presence of the tym- by overwhelmingly excellent artists but with inadequate
pani sound, and in the end there will be a minimum of re- sound realization, this is no proof against that `old truth."
quired editing. The most skilled jeweler would not, in the long run, stay in
I don't want to go into the many equally important details business if he offered his valuable gems in tin mountings.
The next mistake is committed if, after the recording gets
'Director of Engineering; Deutsche Grammophon Gesellschaft, under way, it turns out that the conductor, the producer,
Hanover, W. Germany and the artists have entirely different understandings of the
N
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piece, and if the producer now tries to convert these people takes this profession. He can prevent it from ever coming
to his point of view. to this point if he convinces the artists in a firm but friendly
The next error is committed if the recording dates are so manner that the steps necessary to improve their artistry
arranged as to make it necessary to record small segments have to be taken by them alone. The artists, on the other
without any logical sequence. The next, when the call goes hand, won't ever think of taking over his technical duties.
out from this now surely nervous group of performers for The young engineer should be aware that equalizers,
the "artistry" of the engineer which always salvages every- limiters, compressors and the entire instrument pack avail-
thing, and the last, when this mish -mash is actually offered able to him are intended to effect quantitative corrections -
for sale. to correct for technical insufficiencies of the studio, the
Of course I have painted a rather bleak picture, for nat- recording medium, the disk limitations - not, however, to
urally such a coincidence of failures will never occur in improve upon the quality of the sound source! The sound
major productions. On the other hand, it is useful to remem- source can not be improved, since that which needs cor-
ber that a producers' manual does not exist. Many of you recting hardly ever lies in the technically controllable ranges.
could find yourself in a position some day to produce or Should the technical-equipment arsenal nevertheless be
direct such sessions, and what better way to learn than from brought to bear on problems which are actually created by
both good and bad examples. lacks in artistry, we then get the well known sound conglom-
But let's get back to the moment where the man at the eration characterized by flattened dynamic range, shrill
- -
console and this predominantly for pop music is asked presence, and pumping reverberation which is flaunted by
that he make the sound more commercial. What is meant by many professionals, especially in the field of pop music, as
that? Well, the performers would like their voices and in- being the prerequisite for market success.
struments to sound so beautiful that the buying public will In the field of serious music, the problems are a bit clearer,
literally tear the recordings out of the dealers' hands. They although we find some tendencies even there to apply ex-
mean that instruments, basically, are instruments and voices, aggerated technical tricks. Many modern -day recordings
basically, are voices. Therefore, they assume it should be with metallicly sharp treble and unnatural proximity of
possible to record every instrument and every voice with sound sources to microphones testify to that fact.
bell -like clarity, since they have already heard instruments What the crux of the problem is, was most dramatically
and voices for which this has been done perfectly. It follows, demonstrated to me in the presence of several of my col-
according to the artist, that it can be only a matter of engi- leagues some years ago. Two orchestras were to be recorded
neering if Miss X or Mr. Y doesn't come out that way. Per- in the same hall using the identical microphone setup, one
haps the compressor is not aligned properly or the micro- after the other. The musicians of the first orchestra fre-
phone is too high? Couldn't it be that 3 dB more highs have quently asked after playbacks whether the strings couldn't
to be set? And before you know it, the control room has be- be set louder and more brilliant and the basses less muddy
come a laboratory. The sweating engineers drag in ever (they believed these to be technical inadequacies). The
more gadgets and black boxes. Engineering is king, while sound nuances of the second orchestra were perfect right
artists and producers watch with approving glances. And from the start. The difference lay solely in better instruments
somehow after all that, things do sound better. (In any case, and playing technique.
everyone convinces everyone else that it is so, and after And so we have arrived at the nucleus of the theme: The
hours of monkeying around nobody has any idea anymore -
commercial sound; that fascinating sounding, and there-
how the whole thing sounded to begin with.) -
fore more saleable realization of a composition is nothing
At the end, both the tired-out producer and artists will else but the well -aimed coincidence of optimal performance
pat the engineer on the back and will not skimp with praise. attributes in front of the microphone. It is assumed, of
Futhermore, they will tell him that he, and only he, is course, that perfect engineering facilities are involved, but
capable of handling their recording the next time. no more than that! The secret of success (and with it the
If this engineer doesn't wake up the second time around business reward) in recorded music of all types, lies then as
to what is being played here, then he is well on his way to now in the culmination of talent, phantasy, temperament,
selling his "mixing soul" to the devil and once again is help- and perfection in front of the microphone, and simple techni-
ing a producer and an artist to live a technically subsidized cal precision behind it.
sham life. In the future, the recording business must introduce to
The end then looks something like this: the artists, rather recording production, as well as to the research into and
than strain at all, record heaps of performance pieces for the catering to the market, the same logical methodology which
engineer in a slovenly manner, relying on his technical eager- dictates the world of science, law, and administration. In
ness to magically produce a recording for them. Worst of all, an attempt to make a method of success, record production
these producers and artists find nothing wrong with this, but will not slacken its efforts, but, quite the contrary, will try
on the contrary, will praise this engineer as the true perfec- to replace empirical methods with systematic ones, even if
tion of his profession. this means giving up some degree of enjoyable freedom of
Here, I do not exaggerate. I have actually experienced action.
such cases, and the people involved didn't even notice it. As technically trained and musically interested profes-
Naturally the results of such a method are no better (and sionals, we can be of significant help to our colleagues in the
more importantly) no more saleable than solid artistic work- A & R department in this process. In the final effect, we can
manship. As soon as this fact has been realized, the eager help in reducing costs and increasing the chances for suc-
engineer in our example will have to look around for new cess. In short, we can improve the product of our common
technical tricks if he intends to continue to enjoy the praises task by means of technical and business systematics. It is in
of the producer and artist whom he himself has brought up this field of influence, and not solely by the skillful operation
this way. This is a vicious circle concerning which every of consoles, that the important, valuable, and superior pro-
aspiring young engineer should be informed before he under- fessional task of a studio engineer lies.
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Audio Facilities
Planning, Construction
and Servicing
Following are the highlights of a meeting held
by the New York Section of the AES this past September.
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Once a rough design is down on paper we build a mock- rectly, the odds are that any emergency is a rather minor
up, usually of cardboard. This gives the people who will failure. With proper maintenance being done, you are not
ultimately use it an idea of what it looks like; how it will fit. going to have a general catastrophic failure somewhere in
If there are no further changes to be made we go right ahead a feedback loop. It is a diode that has popped in the power
and engineer the system. Most of the time the job will be supply, an electrolytic which has shorted; now these things
turned over to a construction firm. On occasion when the do not call for esoteric tracing methods. We can look and
job is to be built right here (at NBC), we hire people to do see where the smoke is coming from. Most of the time we
the constructing. can fix something quickly using nothing more than a pair
Burden: When a construction company such as we are comes of headphones and a couple of alligator clips. Even without
in we take Henry's basic idea, sit down with him and his any equipent we can usually do it. You don't need an oscil-
paperwork, look at his mock -up, and go back and read over loscope to find that there is no B +; you don't even need a
his ideas again. Then we come up with a list of questions: volt meter much of the time.
Why do you do this? Why do you want that? In this way All I'm trying to say is look for the problem easily. Don't
a design engineer from the construction company's side of get so involved in theory and analytic work that you lose
the fence can get a pretty good idea of what someone like sight of the fact that you didn't turn the switch on or put in
Henry wants this console to do. Then we can start without the plug. It happens.
preconceived notions as to how this unit is to operate. And This concluded the formal opening statements. What fol-
when we get to the final design we may find that something lows are selected audience questions posed to the panel.
must be rearranged because this is the only way we can fit Question: In the wiring of facilities there are two methods
the necessary components together. in common use. One is known as the brute -force ground
Today's industry is going more and more toward modular method, where you use non -insulated shield wire bundling
type construction. There often isn't time during the day-to- them together. The other is the method using insulated wire
day operation to look through a console, trace a wire, or bundled together with a grounding at one common point.
run into an amplifier to replace a capacitor. We have to be
able to check quickly, pull the faulty amplifier out of the cir-
I'd like to know from the panel which they prefer and -
why.
cuit, and replace it with something -fast. So the item must be Krochmal: It has been my practice and my feeling to use
accessible as well as replaceable. If we are going to make shielded wires but no jacket at all. (I assume the type of wire
a modular arrangement, it will not do if maintenance must referred to in the question is shielded wire with no jacket on
go down beneath the operator, through a trapdoor and down it.) It makes wiring much easier. I would say that virtually
a set of stairs to get to something. all of the time it is entirely satisfactory. The one thing we find
So the system must be set up with quick accessibility in that we must watch carefully in our installations is where we
mind. This will sometimes require moving a few things terminate those wires.
around on the panel. All this must be done with some We bundle wires depending on what level audio we expect
thought to the operator himself so that he doesn't have to be in those wires. For example, keep all microphone-level con-
a foot -and -a -half tall with an arm reach of seven feet to be ductors in a single bundle, but keep that bundle at least one -
able to operate this gadget. We want to make those sections half to one-inch away from a bundle that might be carrying
that we have set up for preventive maintenance particularly line level. At NBC we use the three shielded bundle forms:
accessible. The logic behind this dictates that hard to reach mic level (around -60), fader level (around -22), and line
-
areas will be skipped during routine maintenance and the level (around +8). We simply run them parallel to each
next thing you know you have a failure. other but not bundled together. When they terminate at a
All of these factors must be considered before actually block we make sure that our lugs in the block are assigned
building a piece of equipment. in such a fashion that there is never mic level on a lug
Kobrin: After Henry and Dick have completed their jobs adjacent to one carrying line level. We will, in fact, often use
we have the ever present problem of maintenance. It hardly separate blocks for the purpose. With this system we don't
seems necessary to stress the importance of proper mainte- run into trouble at NBC. However, I do see where r.f. pick-
nance. So allow me to give you the difference between proper up could be a problem when you are in high fields. I think
and improper maintenance. that Dick Burden probably has a different point of view on
We had a man bring in a recorder with the complaint that this.
it didn't work. So we opened it. We found that he had read Burden: It's r.f. that is the problem, particularly at the a.m.
his instruction book carefully. It said that he should put stations where you get a length of wire that all of a sudden
three drops of oil on the capstan bearing - so he did. He is the right length to become a half-wave antenna and pick
liked this so much that he put three more drops in. This up r.f. Bundling wires together, though it certainly produces
looked very good so he put three drops on the idler bearing. a good ground, can put you in this position. Grounds are an
And this looked very good so he put three drops more there. odd thing; it depends so much on how and where your
"Well," he said, "this looks terrific." So he put three drops cables are connected.
on the heads because the tape runs over them and he put What we do is usually leave the shields to a certain point
about four or five drops on the screws and five or six drops along the line. Then we decide where they are going to tie,
on the meter because it wasn't glossy enough. Well, by the making sure that they are only tied on one end. Once you
time it came to us it was one massive glob of oil. Now the start to bundle, if you have tied a cable by mistake in the
clincher is that this wasn't bad enough, but the darn thing wrong place, you've got a real problem on your hand. My
smelled of Mazola! preference is definitely to insulate, particularly if there is
This is what I consider improper maintenance. If he had an r.f. field.
really followed his instructions properly and used the cor- Joel: I think it has to be remembered that in grounding
rect equipment, this machine would have run properly. practices you must realize that we are dealing with two dif-
Giovanelli: If we have done our routine maintenance cor- ferent types of technology. There is broadcast procedure
www.americanradiohistory.com
where everything is balance that comes and goes. And there Question: Where do you finally ground to when you've taken
is also unbalanced circuitry that is inherent in transistor that conduit down? There are different levels even of earth
equipment. Grounding procedures have changed considera- grounds?
bly since the advent of the transistor and its type of circuitry. Burden: In New York this is a very real problem since we
In any case, you cannot intermix the two systems. You must are on rock. You simply have to find the best ground you
-
decide which way you are going to go and stay that way. can get. In a broadcast station you may want to ground right
Question: It should be added that most of what has been to earth through the ground plane for your antennas. Drop
said refers primarily to balanced circuitry where two wires a good piece of copper and braize right to it.
are shielded to a conductor. But what are the general ideas Question: What do you do on remote locations where you
today when using single-ended circuits where some of the simply must plug in wherever you are?
time the shield is carrying part of the actual signal or the Joel: Bell System practices specify on remote location that
ground side of the signal circuits. multiple grounds be driven and the audio ground then be
Giovanelli: You wouldn't want your shield to carry the attached to this system. I've been out on remotes where we
ground signal. You d rather have it come back almost as if had to drive as many as twenty stakes before we got where
it was balanced, where you have a second conductor to we were going.
bring the signal back and then tie the shield at one end some- Remember that there are two basic theories to keep in
-
where assuming you could, of course. mind:
Burden: We treat it just as though it was a balanced line. Ground only to one place and ground everything to it.
Joel: I was going to say earlier, travel your audio as high Or, ground everything to everything.
and low audio. Don't confuse it with B+ or B-. On remote locations the usual practice is to pick your
Burden: A good example of this is that you might run into location and ground everything to it. Only if you are in a
a bunch of ground loops at the actual installation site even small complex might you consider the ground- everything-
though none were present when the system was setup in the to- everything practice.
shop. if you have used this type of grounding procedure with Question: I'd like to expand on the question of wiring a bit
two wires hanging, you can use an isolation transformer to more. In the past it has been the practice to use an audio
get rid of the ground loops. Once you have used the shields system starting with a microphone, bringing it up to a patch
for grounds you are finished as far as putting a transformer panel, bringing it back down again to the mixer, bringing the
in. -
mixer to the patch panel, back down to the amplifier this
Question: It has been mentioned that there is signal-conduc- could go on forever. Do you feel that this is still the way
tor shielded and two- conductor shielded. Now in referring to to go?
microphone lines of 50 -, 150 -, and 250 -ohms input through Krochmal: At NBC we still do this, mainly for flexibility
a transformer, there is another method using three wires. purposes. We do not do what many recording studios do;
This uses all three run through with the shield connected at there isn't a filter for each mic channel. We have four patch-
one end only. Now do any of you have an opinion of this able filters in one of our consoles and we make it patchable
as compared to two lines? to any one of forty-two mics. Four is the maximum we will
Krochmal: Our practice, with mic circuits particularly, is ever need, but we don't know where we will need them.
to ground in only one spot. That would be the point close Giovanelli: I would like to add that I prefer the system of
to the terminal or amplifier equipment. coming out to a patch panel so that 1 can plug something in
As an example, we have just completed a job where we if I want to listen to it; or feed a signal into it just from a
had long mic lines on the order of six-hundred yards. (It maintenance standpoint.
was a golf match.) We used no grounds at all except right Joel: Let me just air both sides by saying that if you could
at the receptacle panel where the mic cables were plugged conceive of a module that would do everything you could
into the truck. This raised no problems. If we had connected ever ask of it by switching, or by duplicating whatever equip-
at the far side as well we would have had ground loops. ment was necessary, then it would be feasible to remove
Question: With a run like that wouldn't you want to have a some of the patching facility. Some of this is being done
preamplifier right at the microphone, thus overcoming the successfully because of such things as operational amplifiers.
problems by boosting the level right there? Where it was formerly quite expensive to build something
Krochmal: Yes, that would be very fine, except that we had such as an equalizer, now professional amplifiers costing
thirty-nine mics. - -
extremely little under $10 are capable of doing some of
Joel: There is an NAB standard that spells this out very the equalization. It then becomes feasible to put these in
clearly. multiple into the console's modules. When you do this, you
Question: Quite a bit has been said now about shielding. But can eliminate some of the jacking.
one worry that remains is: where do we get our ground Everytime you remove a jack you remove a point source
terminal system; do we go out to a water pipe or some such of noise because in most systems these jacks are normals;
in a tall city building? thus they are a potential source of noise. And with un-
Burden: The water pipe is not necessarily a good answer. balanced circuitry in the module, you are able to live with
It might be better than nothing but sometimes it makes a fewer transformers in the chain (looking at it from front -to-
fine antenna picking up your competitor down the street. In back). This is certainly a design consideration.
some cases, a heavy cable is simply brought up to the level Burden: This is going back to the idea of planning before
you need it. It can be even a 00 Greenleaf, jacketed. Then anything is done. Ask yourself or someone else if you really
bring that up inside a conduit. Ground the conduit and the need all the things you are asking for. Talk to someone on
wire at the bottom end. The conduit becomes a shield elim- the outside and you may get a fresh view. I've found that in
inating r.f. pickup by the ground wire (to some degree). many cases people ask for a lot more than they need. They
It must be added that we are dealing with a considerable over specify. After discussion we may find that 10-15 per
Ñ problem. There are no simple answers that can be given. cent less than was thought is actually needed.
www.americanradiohistory.com
34TH
AUDIO
ENGINEERING
SOCIETY
CONVENTION AND EXHIBITION
www.americanradiohistory.com
FET Microphones Sound Mixing New Recorder Line
Systems
Pro uc:\igAlts
nand The AM4A systems feature
Services rl
blocks of pre-wired, plug-in
modules. The low silhouette
provides the operator with a
convenient sloping panel. Over-
all height is 7 inches and depth
Color Brochure is 27 inches. Frequency re- The model 500A profes-
on Vtrs The FET -80 series of mics
sponse is ± I dB, 20-20,000 Hz sional recorder is designed for
An eight -page color bro- at an output level of +8 dBm broadcast studios, program
includes silicon solid -state ver- automation, and educational
chure describing features, spe- at 1 kHz (without l.f. or h.f.
sions of several Neumann institutes. Meeting all NAB re-
cifications, and operation of equalization). An equivalent
types. The U-87 is the new quirements, it offers two- direc-
the VR -2000B high -band color noise level of -122 dB can be
counterpart of the U-67. The tional record -and -reproduce
vtr is available. The recorder is maintained with a system gain
KM -84 is the FET -80 version capability. All operation can
designed for use by tv stations of 60 dB. The design center is
of the U -64. Accompanying a source impedance of 25012. be remote controlled. Separate
and production houses for these units is the KM -86, the
high- quality color recording Output load impedance is 600f2 high /low torque switches are
new version of the KM -66. provided for each reel drive
and sophisticated teleproduc- at a standard output level of
There is also the new KM -85, motor. The capstan motor is
tion. It results in multiple gen- the updated KM -84.1t has low - +4 or +8 dBm. All systems
eration copies equal in quality meet ASA and NAB require- two -speed and is available with
frequency roll -off for close any two adjacent speeds from
to a master. ments.
microphone and sound rein- MI to 15 in /sec. Mono and
M/gr: Ampex Corporation M/gr: Langevin
forcement use. Of these micro- stereo options for full- track,
Price: no charge Price: Dependent on system
phones. familiar features have half -track, two- track, and four-
Circle5Ion ReaderServiceCard Circle50on ReaderServiceCard
been retained. The U-87 is track operation are available.
three-pattern switchable with There is also a single -speed
Production Mood additional switches for over- logger model with rAii. 1 %2, or
load protection and proximity Monitor Amplifier 1T (. in /sec. speeds.
Music correction. The Neumann KM- Mfgr: Metrotech, Inc.
The 1968 Major Records 86 is a miniature three -pattern, Price: $1695.00 (two -track
catalog offers thousands of side- addressed mic. Two U-64- stereo): Automatic Reverse
classifications minutely detailed type capsules are mounted Units are $1895.00.
as to timing, content, and back -to -back. This series' mics Circle58on ReaderServiceCard
availability of musical and son- are available in systems to be
ic selections for use in all areas powered from the N -452 dual
of sound production. Music is mic a.c. powered unit or the
available in three forms: Ip rec- BS -45 battery supply accesso-
Uher Promotion
ord, full -track tape, and trans- ry. No r.f. circuits are used;
fer to magnetic sound stripe of element polarizing voltages are
16 mm or 35 mm film ready obtained directly from the sup-
for a mix. ply voltage.
M fgr: Thomas J. Valentino, Inc. Mfgr: Gotham Audio (disc)
Price: no charge Price: Will be supplied The first in a series of new
Circle52on ReaderServiceCard Circle57on ReaderServiceCard amplifiers is this Model 610.
Of all silicon -solid -state design.
IO watts of r.m.s. power is
available with total short -cir-
Mobile PA Amplifier cuit and overload protection.
Features include compact de-
sign and low distortion. There
is an integrated power supply.
A barrier strip on the rear pro-
LAFprE11E -
vides all input and output con -
P. C40
nections. Specifications include: Not strictly in the realm of
10 watts into an 8 -12 load, 6.5 a new product -but broadcast-
watts into 1612, output imped- ers and other users of remote
ance is 0.5f2, damping factor is recording equipment will want
a minimum of 16; input im- to know that a special promo-
40 watts of power distin- low- impedance mic, one high - pedance is 10k bridging; and tion exists on the Uher 4000
guish this five -transistor. one impedance phono (ceramic), the required input level for full Report -L battery -powered pro-
diode unit. Three separate, il- and one aux. Uses 12 -14 V d.c. output is -10 dBm. Frequency fessional recorder. This unit,
luminated fiber-optic controls supply source. Includes mobile response is ± 1 dB, 20- 20,000 normally sold by dealers at
have individual on /off and mounting bracket and d.c. ca- Hz; t.h.d. is less than 0.4 per $440 is being specially sold
gain functions with mixer/ ble. This is catalog model 44- cent at full power; noise is only through June 15th for
fader circuits permitting sepa- 0140WX. -86 dB below rated output. $100 less ($340).
rate or simultaneous playing of Mfgr: Lafayette Radio Elect. Mfgr: Fairchild Recording Mfgr: Martel Electronics
external equipment and a pag- Price: $69.95 Price: $138.00 Price $340 till June 15.
ing system. Three inputs: one Circle56 on Reader ServiceCard Circle54on ReaderServiceCard Circle55 on ReaderServiceCard
www.americanradiohistory.com
delivered by Harold I. Tan- many is the broadcast equip-
ner, WLDM. Detroit, chair- ment manufacturers' exhibits.
man of the NAB FM Radio This year, 54,000 square feet
Committee and Charles M. of space, 4000 square feet
Stone, NAB v.p. for radio. more than last year, will house
The last day will feature a the 126 manufacturers signed
luncheon for the Broadcast up as of late February.
Engineering Conference part All exhibit space is at the
of the convention. At this Conrad Hilton Hotel in the
luncheon Howard Chinn, di- Continental Room, the East,
rector of general engineering West, and North exhibit halls,
for CBS Television, will re-
ceive the NAB Engineering
-
plus two new areas the Nor-
mandy Lounge and the Writ-
Achievement Award for his ing Room.
leadership in helping to devel- The exhibition rooms will
At Perma- Power, James F. The annual convention of op NAB's new Standard Loud- he open the entire time of the
White has been appointed vice the National Association of ness Reference Recording. This conference. At press time the
president, Ampli -Vox Prod- Broadcasters will be held on standard has provided broad- only hours that were firm were
ucts, according to Richard March 31st through April 3rd casters with an additional the opening at noon on Sun-
Goldstein, Perma -Power pre- at the Conrad Hilton Hotel in means of maintaining proper day the 31st and the final clos-
sident. As vice president, a Chicago. There will he much audio levels between commer- ing at about 5 p.m. on Wednes-
newly created post, Mr. White of interest to db readers. On cial announcements and pro- day the 3rd.
will direct a force of some fifty the first day- designated FM grams. Technical meetings will be
sales representatives and co- Day - several new horizons There will be more awards held throughout the confer-
ordinate the sales activities of will be discussed. Among these and special features between ence hours at the Pick Con-
approximately 4.500 salesmen willbe the growing use of fm these two ends of the show. gress Hotel, a few blocks from
affiliated with 600 authorized car radios, operations in both Most of these will go to peo- the Conrad Hilton.
Ampli -Vox outlets. Mr. White small and larger markets by ple involved in programming db expects to publish the
comes to Ampli -Vox, manu- newer stations, on- channel rather than engineering aspects most interesting papers given
facturers of sound systems, boosters, and dual polariza- of broadcasting. at these sessions in coming is-
from Rheem Manufacturing. tion. Special reports will he The main attraction for sues.
Classified
Looking for a qualified professional to EMPLOYMENT additional heads. Heads and machine
fill a job opening? Salesman- Experienced with sophisti- are nearly new, in excellent over -all con-
Trying lo sell some audio equipment cated sound systems equipment instal- dition. 71/2 and 15 in /sec. Cannon con-
privately? lation. Northeast U.S. Reply to Box A3B. nectors in and out; mic and line level
Want to get an audio engineering posi- db Magazine, 980 Old Country Rd, Plain- mixing. Accepts NAB and smaller reels.
tion in another city? view, N.Y. 11803. Includes reel locks for vertical operation.
USE db CLASSIFIED... Transport and amplifier chassis both fit
A UNIQUE NEW EMPLOYMENT AND District Sales Manager for leading com- directly into standard 19 -in. racks. Units
EQUIPMENT EXCHANGE FOR THE mercial sound line. To qualify, you must
are in portable carrying cases. This unit
have a minimum of 5 years' experience
WHOLE AUDIO INDUSTRY meets its original specifications and
in commercial sound sales (industrial
db school, etc.) plus solid technical under- should provide long trouble -free sus-
THE SOUND ENGINEERING MAGAZINE standing of the field. Applicants must be tained service. Asking $325 including
now offers a classified advertising sec- capable of building sales volume through shipment anywhere in the continental
tion to firms and individuals in all areas effective selection, training, and super- United States. Box D3 db Magazine, 980
-
of audio recording, commercial sound, vision of commercial sound distribution Old Country Road, Plainview, N.Y. 11803
broadcasting, manufacturing, film and in multi -state territories. Send full res-
tv sound, etc. ume and references to Rauland -Borg Neumann U -67, $325; U -47, $225; Tele-
Rates are inexpensive: 250 per word for Corporation, 3535 W. Addison St., Chi- funken M251, $225; Stephens condensor,
cago, III. 60618, attn: C. Dorwaldt. 2 at $95 each. Write to Box B3B, db
employment offerings, situations wanted
and other non -commercial ads; 500 per Magazine, 980 Old Country Rd, Plain-
word for commercial classified ads. FOR SALE view, N.Y. 11803.
Closing date is the fifteenth of the sec-
ond month preceding the date of issue.
Scully Tape Recorders - One to twelve
track. Two, four, and eight track models EQUIPMENT WANTED
Send copy to: in stock for immediate delivery.
Classified Ad Dept. Scully Lathes - Previously owned and
Hewlett Packard Low Frequency 'Scope
model 120B or 130C or equivalent. Box
db rebuilt. Variable or automatic pitch. Com-
A3, db Magazine, 980 Old Country Road,
THE SOUND ENGINEERING MAGAZINE plete cutting systems with Westrex heads.
980 Old Country Road
Plainview, New York 11803
-
Mixing Consoles Custom designed us-
Plainview, New York 11803
ing Electrodyne, Fairchild, and Universal Rek -O -Kut CVS 12 Variable Speed Turn-
Audio modules. From $4000.00. table in good condition. Box C3, db Mag-
PROFESSIONAL DIRECTORY Wiegand Audio Laboratories, 221 Carton azine, 980 Old Country Road, Plainview,
Philip C. Erhorn Avenue, Neptune, N.J. 07751, Phone: N.Y. 11803
Systems Design and Specifications 201 775 5403
Custom Consoles Technical Writing Used recording lathe -must be in perfect
P.O. Box 861 Berlant BRX-1 Tape Recorder. Mono, condition and reasonable. Please send
Stony Brook, New York 11790 full -track record and erase heads, half - photo if possible. Box B3 db Magazine,
Tel: 516 941 -9159 track playback head. Provision for two 980 Old Country Rd. Plainview, NY 11803 CO
www.americanradiohistory.com
It's a busy April for audio pros. Sandwiched between the NAB
Convention at the beginning of the month and the AES at the end,
is the Midwest Acoustics Conference to be held in Evanston (near
Chicago), Illinois. This is a one -day affair to be held on April 11th
at Northwestern University.
TECHNICAL PROGRAM
1:30 J.A.D. Cooper Introduction
1:40 P. Dallos The Northwestern Univ. Acoustics Program
1:55 W.O. Olsen Performance Characteristic of Hearing Aids
2:16 J.E. Jacobs Ultrasound Image Visualization Techniques
2:37 R. Parmelee Earthquake Engineering
2:58 E.R. Hermann Environmental Noise, Hearing Acuity and
Acceptance Criteria
3:20-3:45 COFFEE BREAK
3:45 K. Reimann Piezo Electric Film
4:06 Z.G. Scheony Binaural Hearing and Masking Level
Differences
4:27 L.H. Pinto Design of an Acoustic Impedance Bridge Visual Electronics Corp. fully tested model, the VM -90
4:48 S. Ramaswamy Helicon- Phonon Interaction held a meeting of all its region- slow- motion color disc -play-
5:09- al managers recently at the back unit. In addition to man-
5:30 K. Horikoshi Heart Sound Analysis company's new vtr manufac- ufacturing facilities, the new
turing plant at Sunnyvale, Cal- plant also has a vtr training
The morning hours will be devoted to an open -house tour of the ifornia. Highlight of the two - school for the training of tech-
University Technicological Institute. In the evening there will be day conference was a preview nicians in the installation and
a dinner at the nearby Orrington Hotel. The featured speaker of the of the new Visual line of vtr servicing of the expanded vtr
evening session will be Dr. Harry F. Olson on Trends in Sound units. Included is a success- line.
Reproduction Research.
The afternoon and evening sessions are free of charge. The din-
ner is $5.95. For reservations call or write to John T. Williams,
Hallicrafters, 600 -08 South Hicks Road. Rolling Meadows, Ill. The New officers have been
phone is (312) 259 -9600, ext. 303. named for the Institute of
High Fidelity. John Koss, for-
merly v.p. of the Institute is
April 29th to May 2, 1968 now president. Mr. Koss is
are the dates of the 34th Con- president of Koss Electronics
vention of the Audio Engi- Inc. of Milwaukee. Wisconsin.
neering Society. The place is James J. Parks of Fisher Ra-
the Hollywood Roosevelt Ho- dio Corp. is the new Institute
tel. Los Angeles, California. It v.p. Treasurer is Walter Stan-
promises to be the best yet ton of Pickering and Co, for-
with many papers of wide in- mer Institute president. Elect-
terest scheduled. Don Davis ed Directors include E. L.
of Altec- Lansing is chairman. Childs (Elpa Marketing), Wil-
The scheduled technical ses- liam Glaser (H. H. Scott Inc.),
sions and their chairman fol- Walter Goodman (Harman -
low. Kardon), Edward S. Miller
Acoustics and Hearing Art - (Sherwood Electronic Labs.),
Soffel, LTV Research Center. Harold Schulman (United Au-
Amplifiers, General-James L. dio), William Thomas (JBL)
George Alexandrovich, vice Noble, Altec- Lansing. Edward J. Goodman, pres- and Mr. Stanton and Mr.
president and chief engineer Amplifiers f.e.t. -James F. ident of RPL (Recorded Pub- Parks.
of Fairchild Recording Equip- Kane, Motorola, Semiconduc- lications Laboratories) of Cam-
ment Corp has assumed the tor. den, New Jersey has an-
general managership of that Audio Applications -Keith O. nounced the appointment of Robert A. Strome, eastern
company. During the eleven Johnson, Gauss Electrophys- Ernest W. Merker as vice pres- sales manager of Ampex
years he has been with Fair- ics. ident, engineering and opera- Professional Audio Prod-
child Recording. he has been Instrumentation -Allen E. By- tions. Mr. Merker will have ucts, died in New York
responsible for the develop- ers, Waveforms, Inc. complete responsibility for the City on February 22 at the
ment of an appreciable num- Music and Speech -
M. V. technical and aesthetic qual- age of 37.
We at db considered him
ber of new audio devices that Mathews, Bell Telephone Labs. ity of original sound record-
are now a part of the com- Recording -
Charles Pruzan- ings, mass tape duplications, a personal friend. Bob was
widely known in the audio
pany's standard line. His in- sky, RCA Victor Record Div. sound tracks for motion pic-
vestigations into the use of Recording and Broadcasting tures and slide films, and spe- world. having previously
light-cell technology in audio -
Facilities William C. Dilley, cialized creative sound pack- been associated with the
Fairchild Recording Equip-
control led to the development Spectra Sonics. ages. As RPL's chief engineer
Sound Reinforcement-Rolf J. for the past thirteen years. Mr. ment Corp. and the Mar -
of two complete input lines
Hertenstin, DuKane Corp. Merker developed, designed. antz Company.
(one a module approach, the
remote -controllable Tape Cartridge Systems- Pell and supervised the installation He enjoyed the respect
other a
and admiration of all for
plug -in audio card series) that Kruttschnitt, Capitol Records. of studios and equipment for
Transducers- George L. Aug - commercial, industrial, and his wide knowledge and
are the foundation of the com-
pany's present product struc- spurger, J. B. Lansing. educational sound applica- far-ranging interests in
The exhibition rooms will be tions. In his new post he will many areas of audio. One
ture. Under his direction the of the best -liked men in the
company is also actively en- crowded with 34 exhibitors (as continue to supervise both the
equipment and production as- field. Bob's lively company
gaged in the custom -console of press time) including db
pects of existing audio -visual and interesting conversation
field. Mr. Alexandrovich is a Magazine. Next month we will
sound media. He will also ex- will be sorely missed by
member of db's Editorial Board have a visual guide to the ex-
hibits as well as the complete plore and design new equip- our fraternity.
of Review and a monthly con-
tributor. program for the four days. ment and methods.
www.americanradiohistory.com
3o -nay
'Wondei'..
_." ..
.... ....
....
..:............
,i3i3i11fii43i
.--
1luulii0.11
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i
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SETTING NEW STANDARDS IN SOUND