americanradiohistory.com · ten reasons to choose the new westar consoles for videoitvifilm: 1. new...

JUNE 1986 $3.00

EBROADCAST MANAGEMENT ENGINEERING

TEN REASONS TO CHOOSE

THE NEW WESTAR CONSOLES

FOR VIDEOITVIFILM:1. NEW DESIGN. State-of-the-art design forstereo and multitrack production.

2. XPANDABLE. Available from 16 inputsup to 80 inputs. now-or later. The Westarframe is even field -expandable.

3. iUTOMATION. IDF Intelligent DigitalFaders with three levels of automation.Field retrofitable.

4. ATERFACING. Easy interface with videoediting systems and TV facilities.

5. Easy interchange of threetypes of equalizers and three types ofmicrophone preamplifiers, in the studio.

6. cLEXIBLE. Console layout and patch -bay location may be custom orderedwithout custom pricing.

7. COMPUTER CONTROL. Optional micro-processor controlled input/output stereorouting, mixing switcher.

8. '1UPPORT. Regional service centers forquick and courteous support. New YorkCity, Nashville, Los Angeles, and Toronto.

9. -411DE IN USA- Engineered and manu-factured in the United States by QuadEight as a member of the Mitsubishi ProAudio Group in their new 45,000 squarefoot Los Angeles facilities.

10. DEPENDABLE. Under the $8 billionstrong Mitsubishi Electric umbrella, QuadEight is the most solidly backed of all pro-fessional console makers.

For more information, please call or write.

The Westar 8300 Series at Hanna -Barbera Productions, Hollywood

WESTAR 8000 SERIESby filucicll eughr

8100 Series TV Stereo,3200 Series Video Sound Post Production

8300 Series Film Sound

MITSUBISHI PRO AUDIO GROUPDIGITAL ENTERTAINMENT CORPORATION

Headquarters 225 Parkside Drive. San Fernando, CA 91340- Phone (818) 898-2341 Telex 311786New York. Suite 1530. 555 W 57th Street, New York, NY 10019 Phone (212) 713-1600 Telex 703547Nashville 2200 Hillsboro Road, Nashville, TN 37212 Phone (615) 298-6613Canada: 363 Adelaide Street E., Toronto. ONT. M5A 1N3 Phone (416) 865-1899United Kingdom 1 Fairway Drive, Greenford, MIDDX UB6 8PW Phone (01) 578-0957 Telex 923003

Circle 100 on Reader Service Card

Fidelipac introduces

6.9% Fixed ratelease purchase program

Finance Dynamax Cartridge Machine equipment below the prime ratewith ownership after a lease of up to five years.

Avoid delay in equipment acquisition Avoid capital budget restrictions Avoid increases in pricing and interest rates Avoid reduction of working capital or bank lines Save money

The following examples are computed at the 6.9% rate:

CTR10 SERIES PACKAGELIST

PRICE*3 YEAR

TERM5 YEAR

TERM

CTR13 Mono Recorder $ 1,890

CTR11 Mono Reproducers (3 units) 3,525

ESD10 Eraser/Splice Detector 1,050

Total $ 6,465 $197.12/mo $126.26/mo

CTR30 SERIES PACKAGECTR34 3 -Deck Stereo 4,375Recorder/Reproducer (1 unit)Total $ 4,375 $133.39/mo $ 85.44/mo

CTR100 SERIES PACKAGE

CTR124 Stereo Recorders (2 units) $ 6,930CTR112 Stereo Reproducers (6 units) 12,360

Total $19,290 $588.15/mo $376.73/mo

Credit approval requires only three days upon receipt of required references. Prepayment is limited to the first and lastmonths' lease remittance. The user retains all benefits of depreciation and available investment tax credits, and maypurchase the equipment at lease maturity for 10%. $5,000 minimum lease purchase. Fidelipac cartridges and other ac-cessory items may be included in the total package.

CALL 800 -HOT -TAPE TOLL FREEFOR MORE INFORMATION

*Prices shown subject to change without notice.

FideSpec Corporation 0 P.O.Box 808 0 Moorestown, NJ 08057 0 USA

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it better workwe're talking serious

rightoutof the box,money here?

We couldn't agree more.When you pay tens of thousands of dollars for

a piece of professional equipment, you deserve to have thatinvestment thoroughly tested.

At Sony Broadcast, thorough testing isthe law

Consider our BVH series of one -inchrecorders.

Each and every unit is unpacked andinspected at our San Jose testing facility.

Critical performance specs are carefullyverified with precision test instruments.

Then, since you can order BVH recorders ina variety of configurations, we test the configurationyou specify as a complete system.

It's all part of our commitment to deliver a productthat meets the highest standards of professionalism.All you do is plug in the cables, thread the tape and go.

That's the Sony Standard at work.Working right from day one. SONY

Sony Broadcost Products Company, 1600 Queen Anne Rd., -eaneck, New Jersey 07666© 1986 Sony Corporation of America. Sony is a registered tfodemark of Sony Corporation.

Moment of truth

ON

OFF

You're on -air. Will your console, the heartof your control system, perform flawlessly?

Your air time is too valuablenot to be sure. If it's anAuditronics, you can rest easy.

Unlike all the new companieswhich jumped headlong into theaudio market during the lastcouple of years, Auditronics hasproved itself the hard way withalmost two decades of experiencein building dependable, user -oriented broadcast consoles. Sowhen we say that our Auditronics200 Series Console is the bestlong term investment on the

market today, we can back it upwith personal endorsements fromliterally hundreds of stationmanagers and engineers acrossthe country.

For a look at what your com-petition is saying about us andours, write or give us a call. Ourexperience can save you money.

ouditronics, inc.3750 Old Getwell Rd.Memphis, TN 38118 USATel: (901) 362-1350Telex: 533356

FBROADCAST MANAGE ME NT F NUN! I RING

PUBLISHING DIRECTOR

Charles C. Lens, Jr.EDITOR EMERITUS

James A. Lippke

EDITORIAL BOARD CHAIRMAN

David Hawthorne

MANAGING EDITOR

Leslie A. AsiaTELEVISION EDITOR

Ova J. BlinderRADIO/AUDIO EDITOR

Judith GrossTECHNOLOGY/ENGINEERING EDITOR

Hugh Aldersey-WilliamsNEWS EDITOR

Douglas DamothCOPY EDITOR

Michael D. Wspindie

FCC COUNSEL

Bechtel & ColeBROADCAST FINANCIAL CONSULTANT

Mark E. BattersbySPECIAL PROJECTS EDITOR

C. Robert Paulson

CREATIVE DIRECTOR

Mark RoganASSOCIATE ART DIRECTOR

Andra DouglasASSISTANT ART DIRECTOR

Raymond Wong

PUBLISHER

William G. mcGorryASSISTANT TO PUBLISHER

Sharon Ponies

PRODUCTION DIRECTOR

Nick TartagliaPRODUCTION ASSISTANT

Barbara Mendelsohn

MARKETING SERVICES MANAGER

Arlene M. PetersMARKETING SERVICES ASSISTANT

Shannon M. Riley

CONTROLLER

John AlinoviOFFICE MANAGER

Donald Cooke

READER SERVICE

Maria Cipollone

Broadband Information Services Inc.295 Madison Ave., New York, N.Y. 10017(212) 685-5320, Telex: 64-4001Also publishers of:BM/E's world Broadcast NewsBITS Educational -Industrial Television

ABp BNmEE/ERIBNRGOA(ISDSCNAS0T00M5A-3N2A0G1)EMisEpNuTblEisNhGedl-

vBpA mInocrithBt/bEy iBsrndcbaulanidedln,:if rtmhoaulitonchSearrvgeicetos

those responsible for station operation and for specifyingand authorizing the purchase of equipment used in broad-cast facilities in the U.S. and Canada. These facilities in-clude AM, FM and TV broadcast stations, CATV systems,EN stations, networks and studios, audio and video re-cording studios, telecine facilities, consultants, etc. Sub-scription prices to others $24.00 one year. $36.00 twoyears. Foreign $36.00 one year. $60.00 two years. Air Mailrates on request. Copyright 1986 by Broadband InformationServices, Inc.. New York City. Second class postage paidNew York, NY, and additional mailing offices.POSTMASTER: send address changes to BM/E BroadcastManagement/Engineering, P.O. Box 6056. Duluth, MN55806.

4 BM/E JUNE 1986Circle 102 on Reader Service Card

A monitor to keepan eye on your videoequipment.

At Camera Mart.

Tektronix 1750 Series Waveform Vector Monitor

No matter how versati e or advanced video equipment is, it mustoperate reliably and up to specs.

That's why we at Camera Mart are so impressed with the Tektronix 1750Series Waveform/Vector Monitor, a brand new, compact unit that monitorsall your other video equipment to make sure everything is working perfectly.

The 1750 Series combines all the conventional monitoring capabilitiesplus the ability to perform SCH phasing tasks.

SCH phase and color frame matching is measured directly using thenew SCH MODE. This makes it ideal for production and editing applicationswhere the maintenance of SCH phase and color frame relationships is critical.

It's new, and, as you'd expect, it's available right now from Camera Mart.The more you know about video, the more you can

rely on Camera Mart.

YEARS

1936-1986

The Camera Mart, Inc.456 West 55th Street, New York 10019 (212) 757-6977

Telex: 275619, FAX (212) 582-2498305 Vine St., Lives pool, NY 13088 (315) 457-3703

Sales Service Rental


We know that one basicVTR, modified many waysto fit many recording ap-

plications, is the most cost-effectiveway for a manufacturer to build aline of VTRs. But we also know thatthis approach may result in compro-mised performance and concessionson the part of the user - concessionsthat at first seem small, but add upquickly in terms of inefficient opera-tion and lost business.

Ampex, video recording, and the

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CO 1985 Ampex CorporationVPR-6 VPR-6

business of video have been synony-mous since 1956. And though we'veseen the "expedient approach" comeand go over the years, the profes-sionals in the video business haverepeatedly assured us that their stan-dards leave no room for compromise.

For these professionals, we build acomplete line of the very best videotape recorders in the world.

The VPR-3: 500 ips 2 acceleration/deceleration profile and 20 milli -sec-ond single field lockup make it the

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fastest and most precise video taperecorder ever designed. With its mul-titude of sophisticated features, theVPR-3 is ideal for demanding post-

production applications.The VPR-6: Superb video and audio

performance, along with the featuresmost users ask for, make the VPR-6the choice of video professionals for awide range of applications. Its price,performance and reliability offer apackage that makes good businesssense for broadcast, production and

post -production users.The VPR-80: Low cost, but high

quality. Ampex brought decades ofVTR experience to bear on this mostdifficult of design tasks. We knowthat every video facility at some timeor other needs a "workhorse" -aVTR that can produce high qualityvideo and audio, and at the sametime not strain the budget. TheVPR-80 is that machine.

The VPR-5: The video quality andfeatures of a Type C VTR in a pack-

age no larger than a briefcase, allowyou to record tapes in the field andedit the same format in the studio.When your productions begin in thefield, where rugged and reliable per-formance is demanded, you need theVPR-5.

Call your nearest Ampex fieldoffice for a demo of the VTR that fitsyour needs. We know that one will bea perfect fit, either as a stand-aloneperformer, or teamed with an ACEeditor, AVC switcher and an ADOTM

in an Ampex Creative CommandCenterTM. And remember, you cancount on Ampex product support,worldwide.

Atlanta (404) 491-7112 Chicago (312) 593-6000Dallas (214) 960-1162 Los Angeles (818) 240-5000

New Jersey (201) 825-9600(In New York (212) 947-8633)San Francisco (415) 367-2296

Washington, D.C. (301) 530-8800Canada (416) 821-8840

AMPEXAmpex Corporation One of The Signal Companies


You've never liked-H--=-1k-- to make compromises

in your teleproductions.Now you don't have to.

VPR-80

VPR-80

Kaleidoscope.

For those whose desiresexceed reality.

K ALMOD P M

You create digital effects all day.home, images still dance through your mind: effectsfar more spectacular than anything you saw onthe monitor.

Now your most outrageous dreams can befulfilled. Now there's Kaleidoscope.'"

If you can imagine it, Kaleidoscope DPM-1Digital Effects Systems can help you create it-with tremendous flexibility for effects creation andtremendous ease for on-line operation.

Yet when the monitor is off and the imagesfade, what remains is equally extraordinary: thequality, reliability and service of Grass Valley Group.

For years, you've been dreaming . . . andnow reality is catching up with you.

Call or write to learn more.

E

Grass Valley Group®A TEKTRONIX COMPANY

IDDos PDIGITAL EFFECTS S"' 'EM

THE GRASS VALLEY GROU INC. x - P.O. Box 1114 - Grass Valley, CA 95945 USA - Telephone (916) 273-8421 - TRT; 160OFFICES: Edison, NJ (201) 549-9600; Atlan , GA (404) 321-4318; Elkhart, IN (219) 264-0931; Arden Hills, MN (612) 483-2594; Fort Worth, TX (81

Woodland Hills, CA (818) 999-2303; Palo Alto, CA (415) 968-6680.Circle 105 on Reader Service Card

TM

JUNE 1986 VOLUME 22/NUMBER 6

Features

DepartmentsCover:There was action aplenty on theNAB floor this year, as over 600exhibitors "showed their stuff"Controversy, drama, and a fewsurprises highlighted the Dallasconvention, which, according tomany, was one of the best in re-cent years.

BlUEBROADCAST MANAGEMEN ENGINEERING

17 85

17 Video (Television & Teleproduction)VTRs, the talk of NAB 3D graphics explode Affordable imagemanipulation Paint and graphics systems Character generators TBCs and frame synchronizers More CCD and 2/3 -inchcomputer -controlled cameras Lenses Video editing Time code Production switchers MERPS Routing busses Support.

85 Audio (Radio & TV)Digital radio moves closer with new CD and digital spot players Spectral recording processing Effects devices Consoles Audiomarried to video Precision speakers Mics AM improvement AM stereo battle Intercoms Wireless mics Telco interface.

125 Transmission (Radio, Television, & Sats)More solid-state high -power transmitters Klystrode designed M Antennas to meet changing FCC rules New techniques to relievespectrum crowding Microwaves Satellite equipment.

147 Test and Measurement (Audio, Video, & RF)Test equipment for new technologies Monitors Test equipmentadvances.

10 Industry NewsNBC/Ikegami contract:NBC's other big NAB deal

154 Business Briefs

156 Advertisers index

BM/E JUNE 1986 9

Industry NewsIkegami Wins MajorNBC Camera ContractWhile NBC's announcement thatit had chosen Matsushita's M -IIformat for all of its videotapeneeds stole much of the business -

side thunder at NAB '86, the $50million half -inch video deal wasnot the only significant contractNBC signed at the show.

NBC also chose NAB as the sitefor closing a major camera orderwith Ikegami, part of a two-yearcontract that will provide NBCSports with new, state-of-the-artstudio and portable videocameras.

The first chapter of the contract,negotiated before the show butinked on the floor, calls forIkegami to supply NBC Sportswith 26 of its just -introducedHK -323 2/3 -inch, computerizedstudio/field cameras and sixHL -79F portables.

Also included in the deal will beadditional cameras to be used forNBC's coverage of the 1988 sum-mer Olympic games in Seoul,Korea. These cameras initiallywill be used in new sports vans re-cently purchased by the network.

According to an Ikegamispokesperson, the total value ofthe deal is yet to be determined.The spokesperson indicated thatthe entire contract could include40 to 50 cameras, perhaps includ-ing cameras for NBC's owned andoperated television stations.

Networks Firm UpSNG Purchase PlansThe major news networks, NBC,ABC, CBS, and CNN, are firmingup their purchase plans for satel-lite news -gathering equipment,based on what they saw at theNAB in Dallas. Some have issuedtheir affiliates lists of approvedSNG vendors, and the others areexpected to follow suit shortly.

The networks tend not to be in-structing affiliates to go with justone vendor, but are leaving them achoice of several. CNN, however,is taking a different tack. PaulAmos, vice president of HeadlineNews, says: "We'll work with anyvehicle out there." This approachhas so far naturally favored low-

Studio A at Omega Studios' brand-new Rockville, MD, recording facil-ity measures 50 by 40 feet, with an 18 -foot ceiling-large enough tohouse orchestras and choirs, even at the same time. The controlroom, pictured here, features a 56 -input, 48 -output API console withFADEX. Other equipment includes Dolby and dbx noise reduction,Studer ATRs, Q -Lock synchronizer, Sony VTRs, and reverb and signalprocessing gear, as well as an aray of traditional and electronic musicalinstruments. Omega plans conversion to digital audio in the near fu-ture for Studio A as well as its Studio B.

cost systems, such as those fromDalsat and Midwest.

The shopping -list approach hasangered some SNG vendors whosee themselves being shut out of alucrative affiliate market becauseof a network directive. Such in-structions from a network, basedon a judgement of equipment de-sign and technology, may not beshared by affiliates who need tomake decisions based on local de-mands and conditions, SNG man-ufacturers feel.

Dalsat, meanwhile, has an-nounced that its SNG systemshave already been approved byABC and CNN, with NBC andCBS approval expected shortly.An NBC spokesperson said that sofar only Centro and Hubcom havebeen approved as vendors for thenetwork's national SNG purchas-ing program. NBC is still lookingat the Dalsat system, as well asthose from Midwest, Harris, Gray,and BAF.

ABC's director of audio/vid-eo systems engineering, BenGreenberg, says that the network

is still evaluating its require-ments before listing officially ap-proved SNG suppliers. ABC hasdiscussed its needs with Centro,Midwest, ENG Corp., Hubcom,and Dalsat, says Greenberg. Thethird network, CBS, has so farheld off naming its approved vend-ors for SNG equipment.

AKG Acquires Ursa MajorAKG Acoustics has acquired all ofthe assets and trademarks of UrsaMajor, Inc. The acquisition estab-lishes a new Digital Products Di-vision within AKG, and theBoston -based Ursa Major will alsobecome AKG's second R&Dcenter.

Two digital products developedby Ursa Major were shown byAKG at this year's NAB show. TheAKG MSP 126 used to carry theUrsa Major name. It's a digitalstereo processor with two chan-nels in and two channels out,which digitally turns a mono sig-nal into stereo for either TV orradio. A brand new product devel-oped by Ursa Major, being mar-

10 BM/E JUNE 1986

If you're looking fora new routingswitcher...

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More and more industry leaders have been switching to Di-Tech's expanding selection of routing

switchers. We design the most reliable switchers to meet every need, every budget and every application.

Our newest, the Model #5850 series, features:I No special IC's or Hybrids

III Serial RS422, RS 232, Coax or Parallel BCD Control

Numerical and/or alpha numerical single bus control panels

Numerical and/or CRT X -Y Controllers

IICall, write or telex for

40x20 Expandable AFV MATRIX with up to 3 levels of audio per input (within the same fr

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more information on the 5850 series, or request our free

Whether it be for radio, television, mobile vans or production studios, Di-Tech has the hiatialioli

reliable, easy -to -operate answer to your present and future needs!

imitiimms

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Industry News

keted with the AKG name, is theADR 68K, a digital reverb effectsunit that has two inputs and fouroutputs and can produce two pro-grams-such as reverb andeffects-at the same time.

Previous products marketed byUrsa Major, such as the Stargate,will be supported by AKG butwill no longer be produced ormarketed.

"We wanted to start off with thelatest technology," said RichardRavich, VP and GM of AKGAcoustics.

CBS and APR In Co -VentureCBS and American Public Radiohave formed a joint partnership toprovide radio programming. Thefirst cooperative effort will be aprogram called Business Update,which CBS News will produce andAPR will distribute to its 313 affil-iates in this country.

The program will consist of a30 -minute afternoon broadcastand a 10 -minute morning busi-

ness capsule airing weekdays. Itwill be a mix of hard news and in-depth features on the financialand business world, includingstock market information. Busi-ness Update will draw on the re-sources of CBS News and use CBScorrespondents.

CompuSonics to OfferDigital Video SystemCompuSonics Video Corp., a30 -percent -owned affiliate ofCompuSonics Corp., has an-nounced plans to demonstrate aprototype of a digital video record-ing and playback system based onremoveable computer disks.

The new CSX digital video re-cording technology, expected tohave applications in the profes-sional and consumer areas, willmake its debut this summer. Aspresently described, it utilizesfloppy computer disks as a storagemedium for video information.

The basis of the system is apatented digital encoding process,

called CSX, that the companyclaims significantly increases theimage and sound storage capacityof digital memories, whilereducing the bandwidth requiredto transmit or broadcast digitalvideo.

The company emphasizes thatthe device to be introduced is aprototype, not a product, and thatactual product development willtake time. In the future, the com-pany hopes to develop a CSX prod-uct family that could include adigital video recorder, videodatabase computer, and digitalencoder.

Correction: PYE TVTMarketing TransmittersContrary to information reportedin the Television Engineering andProduction section of BMIE'sMay 1986 issue, PYE TVT is notdefunct and, in fact, is currentlymarketing its transmitters in theU.S through Philips TelevisionSystems, Inc., of Mahwah, NJ.

GAIN OVERLOAD

EXTEND

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COMREX EXTENDER $495!Finally there's a frequency extender that's really affordable. And, it's a Comrex.Frequency extension is a way to send broadcast -quality program over a

standard telephone line. It's an encode/decode system that restores the lowerfrequencies that the phone can't handle.

We've been building these systems for years, but a lot of people who shouldhave been using them simply couldn't afford them. That's why we developedthe Basic extender. Each component (encoder and decoder) sells for $495, soyour complete system is less than $1,000.

The Comrex Basic may not offer some of the "extras" available on our othermodels. What it does offer is a distinct improvement in program quality sentover telephone lines.

Call Comrex for a demo tape, at 1-800-237-1776. Or write Comrex Corporation,60 Union Avenue, Sudbury, MA 01776.Tel (617)443-8811. TWX 710-347-1049. BUILT FOR BROADCAST


0A111/11 11E1 ®

WIIIINViARMAIP\

The MidwestEdge

Advanced SatelliteNews Vehiclesfrom The Leaderin Mobile Television ,

Communications "

4 --IIIIIIIIIIImoo

S-25

Unique Antenna DeploymentSystem ReducesRaaiation Hazard

From 4 -wheel -drive ENG unitsto 45 -foot mobile productionvans - Midwest has built morebroadcast vehicles than anyone.And as a leader in the RF indus-try, we've supplied hundreds ofsatellite systems across thecountry. Midwest is using thisexperience to produce the mostefficient, versatile SatelliteNews Vehicles available. Allengineering and constructionare done under one roof, allow-ing the fastest delivery in theindustry. And with over 30offices, Midwest has the mostcomplete service networkoffered by any Satellite NewsVehicle supplier.

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The S-25 is equipped to handleany situation, with onboardpower, editing and microwavecommunications capabilities.The 2.4M antenna's deploymentsystem is in full compliancewith the latest FCC radiationregulations. And the uniqueantenna stowage system virtu-ally eliminates snow and iceaccumulation. The SCR -25 com-munications package, developedby Midwest, utilizes Bandedgedigital carriers which allowsencrypted communicationsbetween a remote or base sta-tion and the ability to accessany satellite, any transponder,any frequency. Stay on the lead-ing edge of competition, with aSatellite News Vehicle from theleader in broadcast communi-cations - Miiw .t

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MIDVIESrCommunications Corp.One Sperti DriveEdgewood, KY 410 t 7800-543-1584(in KY 606-331-8590)Circle 109 on Reader Service Card

Harry J. PappasPresident

Pappas Telecasting

Comark performance satisfies the mostexacting customers...again and again.

Harry Pappas was so impressed with his firstComark "S" Series 220kW Transmitter,he bought a second.

You don't get to be a leader in the in-dependent television broadcast industry bymaking the wrong decisions about TVtransmitters. When Harry Pappas wasready to build his New Super -power station,WHNS-TV in Asheville, N.C., he chose theComark "S" Series 220kW Transmitter. InHarry's own words: "The transmitter livedup to the promises made by the Comarkpeople...and then some. In terms of per-formance, specifications and efficiencyratings, I couldn't have asked for more."

Naturally when it came to choosing thetransmitter for his next station in Omaha, Nebraska, therewas only one choice: Comark's "S" Series 240kW rig.

At Comark, we are especially proud to have gained the con-fidence of a knowledgeable industry leader like Mr. Pappas.But building superior transmitters is only a part of our story.We continue to work even harder at building a superiortransmitter company.

Customer service backed by engineering in depth is Comark'sformula for satisfying the needs of the most exacting user.

Services and Equipment that Comark supplies include:

Klystron UHF Transmitters from 10kW to240kW

A complete line of Tetrode TV Transmittersfrom 1 to 10kW

Turnkey Installations On -site Retrofit Programs 24 -hour Field Engineering and Customer

Service RF Transmission Line, Components and

Hardware Site Surveys

Whether your requirements are simple orcomplex, Comark stands ready to profes-

sionally satisfy your needs. Call (215) 822-0777 or write Comark,P.O. Box 506, Route 309 and Advance Lane, Colmar, PA 18915.

CONIaRKCircle 110 on Reader Service Card

FY S71410

teil4

showI N

1441AE '86 will not soon be forgotten. Newtechnology burst forth on all fronts: indigital recording, in solid-state imaging

and transmission, and in signal manipulation.The NAB "S6 exhibition offered drama, excite-

ment, and adventure: Ampex/Sony cross licensedeach other; a digital composite format arrivedamidst a few hisses; Comark stuck its neck outwith the Klystrode; NBC announced that the M -IIhalf -inch video format would become its "univer-sal format," replacing all others.

NAB '86 was also as much a software show asone of hardware. Software pushed 3D picture mak-ing and special effects to beyond tomorrow.Software wil_ usher in the era of digital radio.

These are only some of the stories that follow inBM/E's Show -In -Print, organized into four sec-tions: Video (TV and teleproduction), Audio (radioand TV), Transmission (terrestrial and satellite),Test & Measurement (audio, video, and RF).

Bringing over 600 exhibits into focus is a formi-dable task. The table of contents zeros you in to thesubject. Our approach is to report major trendsfirst, followed by related advanced developments,while not ignoring the standard benchmarkofferings.

Video (TV & Teleproduction) 17Audio (Radii & TV) 85Transmission (Radio, TV, & Sats) 125Test & Measurement (Audio, Video,& RF) 147

This report is c "full press" effort. Our team includedHugh Aldersey-Williams, Eva Blinder, Judith Gross, DaveHawthorne, Jim .tippke, Jerry Walker, and Tim Wetmore.Assisting were C2ristina Potowski, show photographer, andBob Paulson, special projects. Two-way radiocommunications equipment was provided by Mark Wiskoff,Motorola C&E.

BM/E JUNE 1986 15

Practice, learn, fine tune,recall and execute!

MultiController operates the pro:rammablehigh speed HS -1.00P head and will a:curatelyand repeatedly execute your most creative

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Stored tamer motions a -e"learned" -hough the manual con-

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VTRs: NAB's BiggestPlayer 19Revolution in the ThirdDimension 30More CCD and 2/3 -inchStudio/ Field Cameras 46Video Editing: ExpandingCapabilities, ShrinkingCosts 51More Competition in Post -Prod -action Telecines 56Compact Switchers Gain Full -Sized Capabilities 58Wide Choice of SpotPlayers 62Bus Tours: Routing,Distribution, MasterControl 68Support Gets Lighter, MoreVersatile 77

Coming in a future issue: NewsroomComputers

r. rom the moment the start-i ng gun went off,attendees at NAB '86

found themselves in a high-speedtechnology marathon the likes ofwhich the industry hasn't witness-ed for several years. Broadcasterscame in a buying mood, and pro-spective purchasers were not dis-appointed: in almost everyproduct category, technologicaldevelopment leaped forward tomatch the buyers' ardor.

The razzle-dazzle world of elec-tronic graphics, always an easydraw for the curious, was hotterthan ever this year as high -endcapabilities like three-dimen-sional modeling and animationcame down to low -end (or nearlyso) price ranges as more com-panies followed Cubicomp into the$40,000-ard-under range. In mid -and high-priced 3D systems, too,development was fast and furious.

The excitement in graphics wasmatched by the introduction ofseveral new, lower -priced 3D digi-tal effects systems. In fact, allacross the !Icor, increases in capa-bilities ani drops in price madepossible by state-of-the-artcircuitry brought introductions ofstreamlined systems with full-sized capabilities. Editing systemsand production switchers all of-fered more bang for the buck.

The talk on the floor, however,hardly waslimited to graphics and

electronics. The video format warsintensified with NBC's announce-ment, just a day before the exhibitfloor opened, that it had chosenMatsushita's half -inch metal tapeM -II recording system as a "uni-versal format" to replace allvideotape equipment in its opera-tions by 1988. So much for thosewho thought Betacam's successspelled a death knell for Matsus-hita in half -inch recording! Sonyquickly came back fighting, how-ever, announcing an enhancedBetacam SP recording format,also using metal tape, plusBetacam licensing agreementswith Ampex and Bosch.

Excitement heated up in digitalvideo recording, too, with Ampexexhibiting its digital compositespot player and Sony showing thefirst -ever D-1 format componentDTTR.

The broadcast -quality CCDcamera, dealt a blow by RCA's re-cent withdrawal from the indus-try, came back in force this yearwith a new introduction by Sonyand a Toshiba prototype. The2/3 -inch computerized studio cam-era is also coming into its own,with several manufacturers show-ing more complete lines.

Add to that the developments inimage processing, routing, and allmanner of support equipment, andyou have the most exciting NABin recent history.

BM/E JUNE 1986 17

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NAB Show -In -Print

VTRs: NAB's BiggestPlayerFrom Saturday morning on, VTRsand talk of VTRs had the conven-tion floor reeling. Just prior to theconvention, Ampex had an-nounced its decision to manufac-ture and market a half -inchvideotape component video re-cording system using Sony Bet-acam or Betacam SP technologyunder license. Given the strengthof both companies, and the nearwashout of Matsushita's M -format, it looked like a de factosmall -format standard had beenestablished.

Of course, Matsushita would beagain showing its new half -inchcomponent M -II format intro-duced last year, but most observ-ers felt it would be a case of toolittle, too late. Then, Saturdaymorning, NBC called a press con-ference and stunned everyonewith their announcement thatthey had made a five-year, $50 -million commitment to M -II.

Moreover, Michael J. Sherlock,executive vice president, oper-ations and technical services, forNBC, articulated a position on"the new economics of networkand station television," in supportof the decision that promises tohave far-reaching influence on theindustry as a whole. Suddenly,M -II was not only "alive," but ithad come off the ropes with adaunting aggressiveness.

It ain't over yet. What wasleft at the end of this round wasthe distinct impression that thecharacter of the battle had shifted.Before the NBC announcement,without casting aspersions on anycontestant, it looked as if the fightwas about a de facto if not de jurestandard for half -inch componentvideo recorders. After the an-nouncement, it was clear thatwhat was at stake was not a seg-ment of the VTR market but theVTR market-the whole ball ofwax.

NBC's official announcementsaid: "(M -II is to be) employed by

Panasonic showed its M-11 cart system,which with the other M -I1 recordingsystems, got NBC to commit $50 mil-lion over five years.

all of the company's operatingdivisions-NBC Television Net-work, NBC Television Stations,NBC News, NBC Sports, and NBCOperations and Technical Ser-vices-and it will be used at alllevels-from news gathering inthe field, to the 1988 Seoul Sum-mer Olympics, to prime -timeentertainment shows and com-mercial spots on all of NBC-TV."

The apparent strategy for thisfight was cast months ago. NBC,according to Sherlock, had reach-ed a number of conclusions regard-ing its long-term technicalposition. One, the lease on its 30Rockefeller Plaza broadcast head-quarters will expire in 1990. NBCwill build a new broadcast head-quarters on Manhattan's WestSide, and it does not want to makea monument to technological ana-chronisms. Third, in reviewing itsexisting use of videotape record-ing systems, it found that the costof supporting three principal for-mats (3/4 -inch, one -inch, and two-inch) was enormous, and withhalf -inch component recording de-veloping rapidly and the likeli-hood that NBC would ultimatelywant to move to all -digital compo-nent recording, the opportunitiesfor waste seemed colossal unlessthey could come up with a "univer-sal" videotape recording format.

NBC had approached all themajor VTR manufacturers withits idea for a universal recorder.

Video

Only Matsushita's response, saidSherlock, met their basic require-ments. Representatives of bothSony and Ampex expressed disap-pointment that their responses didnot meet with NBC's approval, butmaintained that they certainlygave it their best shot.

Speculation on why thingsturned out the way they did wasrampant at the convention. Themost plausible of these scenariosheld that NBC's committment to a"universal recording format" wasinherently awkward for both Sonyand Ampex, each of whom have amajor share of the market forType -C recorders. Sony also has avirtual lock on the 3/4 -inch marketin broadcast, and the adoption of a"universal recorder" would haverequired each of them to, in asense, market against their ownbest and most successful products.

Moreover, both Ampex andSony hold valuable patents ontechnology associated withType -C recording, and, in Sony'scase, valuable patents associatedwith U-matic recorders. A mas-sive switchover to M -II could easi-ly affect the direction of flow forlicensing fees.

Matsushita, of course, withM -format a virtual washout, withno Type -C product, with a 3/4 -inchmarket in distant second, has fewof the difficulties with a "univer-sal recording concept" that itscompetitors have. Despite its tri-umph over Sony in the consumermarket in the VHS versus Betawar, Matsushita has had littlesuccess in competing with Sony inthe broadcast market. So, the sto-ry goes, Matsushita was anxiousto take on the NBC challenge.

To the credit of the statesman-ship of all concerned, variousofficials of Sony, Ampex, andMatsushita refute the scenario.Say they: We never worried aboutgaining market advantage. We alllooked at the issues strictly ontechnical criteria and decided thatthe steps we were to take were inthe best interest of our companiesand our customers.

Ampex, for example, could havefelt that its adopting M -II wouldcut into its Type -C sales. A direc-

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NAB Show -In -Print

tor of Matsushita, while disap-pointed in not locking up Ampexon its side, did not feel that issuewas a factor.

For its part, Ampex said adeciding factor was the widertrack width used for Betacamvideorecording, which it feltwould be inherently more reli-able-especially in PAL environ-ments. Matsushita counters thatimprovements in video head sensi-tivity and further improvementsin the metal tape will yield a 1 dbimprovement in S/N and a 3 dBimprovement in carrier/noise ra-tios for M -II; thus handling themajor concerns regarding M -IIperformance in PAL environ-ments. As for reliability, NHK ofJapan has had no problem withthe 170 units now operating (90 of100 which have had 1,000 or morehours of use).

But the Sony/Ampex deal onBetacam technology certainlymakes the Betacam format attrac-tive. Also joining in is Bosch. Thislineup outweighs JVC's signingup with M -II. According to Sony,about 25,000 Betacam systemshave already been sold worldwide,with about 6000 sold in the U.S.An NBC survey of its own affili-ates, however, found that onlyabout 15 percent of NBC -affiliatedstations had any Betacam equip-ment, and NBC's feeling was thatthe installed base for Betacamswas not so large as to represent amajor obstacle.

Betacam SP, of course, is not yethere, as we discuss later. AndAmpex has not decided which itwill begin manufacturing, stan-dard Betacam or Betacam SP.

JVC Company of America vicepresident, Dan Roberts, offered nofirm information on just whenJVC would begin manufacture ofM -II systems, nor just how manyof the different types of modelsJVC would manufacture.

The M -II offerings. Four newM -II products were shown by theBroadcast Systems Division ofPanasonic. These included theAU -650 Studio Recorder, AU -500Field Recorder, and a portableField Edit Package for ENG/SNGoperations.

Basically, the M -II recordersuse metal particle tape, whichcomes in 10; 20; 30; 60; and90 -minute lengths. The 10- and20 -minute cassettes are pocket-size. (In addition to Panasonic,Fuji and TDK will also manufac-ture the tapes).

A two -channel analog compo-nent recording system using animproved Chrominance TimeCompression Multiplexing (CTCM)technique is employed. The lumi-nance (Y) signal is FM recordedfor the Y channel, and the twocolor -difference signals (R -Y andB -Y) are time compressed into asingle serial signal that is FM re-

Betacart is now in nearly 10 percent ofstations. Sony believes its installed baseof Betacam systems with recent sec-ond sources such as Ampex andBosch will fend off the M -I1 challenge.

corded for the chrominance chan-nel. A 2.25 MHz burst signal isinserted on each of the video chan-nels (C and Y) during recording toserve as a reference for phasealignment and jitter correctionduring playback. Luminancebandwidth is 4.5 MHz at -3 dB,the K factor is 2 percent, and thechrominance signal-to-noise ratiois 50 dB. SMPTE Time Code is ful-ly implemented with internalreaders and generators. NBCNews expects to use the time codeuser bits provision in the system tonot only fully identify the equip-ment used in each recording (i.d.numbers) but to also "sign" therecordings for copyright protection.

NBC News is also very high onthe Field Edit Package. In its basicconfiguration, the edit package in-cludes two AU -550 Field Edit/Recorders, the AU -A50 Field EditController, the AU-MX50 Field

Video

Audio Mixer, and, for direct trans-mission, the AU-TB50 Time BaseCorrector. The system operateswith either ac or dc power sources.The design weight of the system isapproximately 33 pounds.

The AU -550 field edit recordershave nearly all the features of theAU -650 Studio VCRs. Video andaudio confidence heads are provid-ed for real-time monitoring. Thereare two longitudinal audio chan-nels and two high -quality FM au-dio channels (PCM digital audiorecording will be retrofittable).The studio unit does include an in-ternal 32 -line correction windowTBC, but the field unit can operateat 5X normal bidirectional searchspeed.

The AU -400 camcorder unit hasa 20 -minute record time and is de-signed to dock to several tube -typeand CCD-type cameras.

The studio recorder, field re-corder, and camera recorder willbe available by this fall. The com-plete field edit package will beavailable later in 1987 to be fol-lowed by an M -II Automated CartPlayback system. Pricing for thevarious system components hasnot been worked out completely,but the studio recorder will comein at about $37,500.

Betacam and son-of-Bet-acam. In a special "Future Tech-nology" portion of its booth, Sonyshowed an early version of Bet-acam SP recording technology.The SP designation stands for Su-perior Performance, which itachieves by widening the lumi-nance bandwidth and improvingthe signal-to-noise ratio. BetacamSP will also provide up to 90 min-utes of recording time. The audioportion of the SP system uses bothlongitudinal tracks and two AFMtracks that record both the audioand video signal simultaneouslywith one recording head. The SPsystem will use a new metalparticle tape developed by SonyMagnetic Products Company.

Most important to current andfuture users, SP will be compati-ble both forward and backwards toexisting Betacam systems. Whatthat means is: Any tape recordedon the current Betacam system

BM/E JUNE 1986 21

NAB Show -In -PrintVideo

can be played back on an SP sys-tem. A tape recorded on SP can,likewise, be played back on an ex-isting Betacam player. However, aBetacam recorder cannot recordon the new SP metal tape.

Sony is looking ahead by posi-tioning the SP system as an "idealfield acquisition unit" for the SonyBroadcast 4:2:2 DVTR. The compa-ny also sees the SP format as appro-priate for post -production applica-tions, especially those that usecomponent recording for graphicsgeneration and animation.

To its existing Betacam line,Sony added a new portable player,the BVW-21, a new componentcolor corrector, the BVX-10, a new30 -minute cassette, and newsoftware for its Betacart system.

The BVW-21 is basically de-signed to offer field and office play-back requirements, with such fea-tures as high-speed search (upto 3.5 times normal) and auto stop -

and -rewind. The unit weighs just17.4 pounds and uses either ac ordc power.

The 30 -minute, BCT-30K cas-sette for Betacam uses a newSony -developed Vivax magneticparticle combined with a specialbinder.

FOR MORE INFORMATIONAmpex 250Matsushita 251 BoschSony 252 JVC

253254

Digital VTRDebut `Fragged'by Small -FormatBombshellBoth Sony and Ampex came toDallas prepared to steal the showwith the official debuts of theirDVTR systems-a 4:2:2 compo-nent DVTR from Sony meetinginternational CCIR 601 digital in-terface standards and a noncon-forming composite DVTR fromAmpex.

Considering how long talk ofdigital video recording has beengoing on and generating rising ex-pectations, the appearance on themarket of the first two commer-

cially available DVTRs was re-markably low-key. Whether 10years of being "just around the cor-ner" has made the market blasé tothe DVTR or whether these earlymachines are so "specialized" intheir design intentions as to rend-er them esoteric is hard to deter-mine. What is clear is that bothSony and Ampex are being some-what conservative and cautious inthe positioning of the machines.Sony's component DVR-1000 is, ofcourse, a studio recorder. Ampex'sinitial composite digital unit, theACR-225, is essentially a multipleevent spot player. But Ampex'sannouncement prior to NAB of itsintention of making a studio com-posite digital recorder as wellclouds the picture.

Sony reportedly sold 12 and tookorders for 60 more DVR 1000s dur-ing the show, offering some evi-dence that the market is ready toapply the new technology. TheDVR-1000 and its accompanyingDVPC-1000 digital signal proces-sor comes in a package about thesize of one of those small office -

type refrigerators-three feethigh and, of course, 19 incheswide. It uses 19 mm videotape cas-settes from the SMPTE-specifiedD-1 family. The package is pricedat $120,000.

Clearly, the first applications ofthe DVR-1000 will be in post-

production and other specializedapplications where the machine'ssuperb multigeneration recordingquality can be exploited. The prac-tice of using digital recording forvideo processes requiring manyrecording passes is well estab-lished. Specialized digital re-corders like Abekas' A62 andQuantel's Harry system are al-ready employed for short se-quences requiring such digitalrecording characteristics.

Besides the absolutely trans-parent multigenerational record-ing quality of the DVR-1000, itsother features include four chan-nels of digital audio, no pictureshift in editing, and color playbackin shuttle up to ± 40 times normalspeed. The Sony system is 525/625 switchable with both digitaland analog inputs/outputs for vid-

eo and audio. Fade-in/fade-out au-dio mixing, 100/240V selectablepower, RS -422 remote control, Mand L cassette handling, and in-sert/assemble editing capabilityare all included in the system.

Sony sources say that theDVR-1000 will be deliverable inearly 1987 with some preproduc-tion models available in 1986.

Ampex's ACR-225 Digital CartSpot Player, which offers on-linestorage of up to 256 cassettes and alibrary database for another10,000, is a horse of a different col-or altogether. ACR-225 is clearlyintended to make a quantum leapfrom the technology of the analogACR-25, which it is to replace.

Sony's DVR-1000, a 4:2:2 digital com-ponent video recorder, scored big.Some sources say as many as 60orderswere taken for the new type re-corders.

The choice of a composite digitalsignal approach, claims Ampex,allows the system to be much lessexpensive than component record-ers, which require much moreelectronics to process the threecomponent signals than requiredto process a single composite chan-nel. Nevertheless, the sophisticat-ed error correction and errorconcealment techniques employedand the virtue of digital signalsgives the system a superb picturequality superior to one -inch in ev-ery way, with the added advan-tage of being able to producein -system dubs with no genera-tional loss.

Moreover, the digital processingtechniques allow the system to berelatively insensitive to the typesof errors caused by heavy repeatedreplay. Broadcast quality replaywould be possible even with theloss of two heads on any of thetransports.

22 BM/E JUNE 1986

Canon qualityCanonValue.Now available in a full line of camera support products.

MC-200/MC-300 PEDESTALS

Featu -ing Canon's sophisti-cated Modular Cassette Coun-terbalance (MCC) system thatmakes them far lighter andmore mobile, Canon pedestalsalso feature a very shortmounting height, making themideal f Dr low -angle shooting.

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For years, broadcasters have made Canonlenses a top choice for studio, field and news prc-duction because they know and trust Canon's provencomm tment to quality and value.

Now Canon is proud to introduce a complete,full-fea-ured, high -quality camera support system,built to the same high standards and backed by theCanon service ne:work.

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The system also features fourindependently editable 16 -bit dig-ital audio channels. The D-1 cas-settes used in the system will offerup to 13 minutes of play time.

But what is behind theACR-225? Although only anACR-225 was shown at NAB, con-versations with various Ampexrepresentatives clearly suggestthat the ACR-225 will not be theonly composite DVTR model thatAmpex will make. One companyofficial explained Ampex's view ofthe VTR market this way: Thereare five types of VTR appli-cations-program acquisition(ENG/EFP), program production(studio), post -production, on -airplayback, and utility (all thoseVTRS spread around so that peo-ple can view tapes). Of the fiveapplications, only the post -production application has crite-ria that would suggest a superiorperformance for component digi-tal recorders. In all the otherapplications, composite digitalwould be just as good, and moreimportant, a lot cheaper.

But such a view is not popularwith proponents of CCIR 601, whohave voiced their displeasuresince the first announcement ofthe ACR-225 last January.

To partially offset this negativefeedback, Ampex came to the showwith an agreement by Sony in itspocket to jointly submit theAmpex -developed 4fsc compositedigital recording format to worldtelevision standards committeesfor adoption as a standard. Fur-ther, Sony has stated that it willdesign and manufacture a compos-ite digital videotape recordercomplying with the Ampex 4fscformat, though it provided no timeframe for this action.

Both Sony and Ampex officialsbravely stated that they believethere is enough room in themarket for both companies andcomponent digital recorders. Nev-ertheless, others-mostly repre-senting European interests ormanufacturers of post -productionsystems like digital effects sys-tems, art systems, and otherperipherals-expressed concern ifnot outright resentment toward

the "nonstandard" composite digi-tal VTR, thus making it an inter-esting NAB to say the least.

One critic from the U.K. said:"We worked long and hard for the4:2:2 agreement and made a lot ofcompromise with you Americansand the Japanese to arrive atCCIR 601. If Ampex is right aboutthe American desire for cheapercomposite DVTRs, it will undercutthe economic support needed for4:2:2."

Ampex is no doubt right aboutthe cost of composite versus com-ponent, and that's what threatensthe CCIR proponents who seemoney being sucked out of the dig-ital component marketplace.

Among those who need a compo-nent 4:2:2 digital recorder arethose companies who manufac-ture the post -production deviceslike art/paint systems, effects de-vices, and other digital componentprocessing gadgets. Already thesepeople carry the expensive burdenof converting from analog compos-ite to digital component and havegreeted with some joy the move-ment to analog component, whichreduces somewhat the complexityof their problems.

A movement to digital compo-nent videotape recorders wouldmake their lives much simpler,their equipment cheaper, and,they say, ultimately the wholesystem much more reliable andbetter. With a digital compositerecorder, however, life would bemuch more difficult for them. Saidone manufacturer of digital pro-duction equipment: "Going fromanalog to digital is not hard, fromanalog composite to digital com-posite is even easier, but fromcomposite digital to componentdigital . . . Oh, boy!"

FOR MORE INFORMATIONSony 255 Ampex 256

One -inch ReignsDespite the drama of half -inchcomponent developments, one -inch remains upon the VTR for-mat throne. For the time being,new one -inch Type -C and Type -B

Bosch, which will manufacture Beta -cam systems, pushed Type -B aheadwith the BCN-52.

machines were seen from the prin-cipal manufacturers.

Sony showed two new one -inchmachines designed for specialproduction applications: theBVH-2000/10 and BVH-2000/12.The 2000/10 is designed for tapeduplication applications and basicreal-time recording and playback;it's priced at $29,950. The 2000/12is designed for standard produc-tion, post -production, and on -airplayback. It features DynamicTracking and reverse play in real-time to three -times normal. It ispriced at $39,950.

Sony also showed the newBVH-2800 and BVH-2830. From avideo standpoint, these machinesare like other VTRs in theBVH-2000 series but feature twoPCM digital audio channels forstereo recording in addition to thetwo analog channels. The digitalchannels feature 16 -bit linearquantization and phase -error cor-rection. Both units have a dynam-ic range of 90 dB with 20 dBheadroom and frequency responsefrom 20 Hz to 20 kHz.

Ampex introduced no whollynew one -inch machines but didshow its advanced video processor,Zeus 1, working with the VPR-6for the first time. Giving attentionto stereo, Ampex showed a newstereo upgrade kit-developed byKudelski SA of Switzerland-forits VPR-2 recorders. It can be in-stalled by the user.

Bosch added a new BCN-52 re-corder to its line of Type -Bsegmented -scan one -inch VTRsystems. The new recorder is ableto show a continuous slow motionrange from 0.25 reverse -to -normalplayback speed forwards without

24 BM/E JUNE 1986

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So take yourself on an adventure in cre-ativity with the system backedup by one of the biggest namesin the industry The DVESystem 10 from NEC.

IMAGINE WHAT WE'LL DO FOR YOU

Cac COMPUTERS AND COMMUNICATIONS DVE" is a registered trademark of NEC Corporation.NEC America, Inc., Broadcast Equipment Division 1255 Michael Drive, Wood Dale, IL 60191 Toll free 1-800-323-6656 In Illinois phone 312-860-7600



Tape to FollowThe half -inch video format wars and the arrival of dog-ital VTRs and ATRs have caused shock waves in thetape market as well. At NAB, tape suppliers lined upnew metal tape to support the Beta SP and M -I1formats.

There were also promises to support the digital ma-chines. And it would not be a tape market withoutprice erosion. (The recent oil price collapse has had lit-tle effect on tape and cartridge prices, they say, al-though the oil increase a few years ago was given asthe reason for price increases. Curious economics,that.) Incidently, if you have heard about the tapefrom Turkey, it has been labeled either a good thingor a bad thing or of no importance, depending onwho you ask. Turkish tape has had more impact onthe volatile consumer audio and videotape market todate.

For the record, here's what the tape suppliersfeatured:

The Magnetic Tape Division of Agfa-Gevaert report-ed that it will support both Beta SP and M -I1 formats.New was an improved formulation for half -inch VHStape as well as a newly designed carton for half -inchduplicator videocassettes.

For audio, Agfa had PEM 297D digital masteringtape in one -inch width and PEM 469 studio masteringtape in 5000 -foot lengths.

Ampex Magnetic Tape Division has already set plansto supply M -I1 format tape when the time comes.And the company will also be ready with Beta SP met-al particle tape when those machines reach the mar-ket. New at NAB were the 198 for Betacam and 199for M -format. Also new were a user friendly labelingsystem.

On the audio side, Ampex put out a new three -minute "audio -for -video" demo to emphasize its partin another of the NAB's themes-better sound forTV.

The big news at Fuji Magnetic Products Division wasintroduction and production of M -I1 videocassettes,the result of a joint project with Matsushita. Fuji callsits formulation "Super Metallix," a metal particle tapewith about four times the magnetic energy of con-ventional cobalt ferrite oxide tapes.

Kodak introduced the Eastman EVT-2000 one -inchtape that will be available in C and B formats. As for 8mm, Kodak now has a video duplicator system, theMVS-5660P audio -video recorder and MVS-670 dupli-cator controller.

Celebrating the thirtieth anniversary of the develop-ment of the VTR, 3M announced that it would beready to supply digital videotape when the marketdevelops. 3M introduced a 60 -minute version of one -inch Master Broadcast Videocassette, MBR50, and itslatest half -inch tape, PB20, as well as the 480 and 479one -inch reel-to-reel tape.

Also on hand was the Scotch 275 digital audio mas-tering tape for use on both PD and DASH formatrecorders.

Maxell P/I Division came out with a reformulated 80line for Beta and VHS and a new PI + epitaxial Betavideocassettes for industrial users.

With the big NBC order on its books, Panasonic alsointroduced an M -I1 format, 90 -minute half -inch cas-

PRODUCTION!

STUDIO

NEC HAS ANANSWER FOR YOU

If you're questioning where you canfind a top quality digital video effectssystem for under $30,000, take a look atthe DVE R System 100 from NEC. It hasmany of the features offered by the DVESystem 10 except 3-D rotation and per-spective. But it has pattern select and canbe more easily used live. You get thekind of quality, versatility and reliabilityyou've come to expect from NEC: Allfor only $29,500. The DVE System 100from NEC. The choice to make whenyou don't want to settle for less.

NECIMAGINE WHAT WE'LL DO FOR YOU

CIC COMPUTERS AND COMMUNICATIONS

DVE" is a registered trademark of NEC Corporation.

NEC AMERICA, INC., Broadcast Equipment Division1255 Michael Drive, Wood Dale, IL 60191

Toll free 1-800-323-6655 In Illinois 312-860-7600

Circle 117 on Reader Service CardBM/E JUNE 1986 27

NAB Show -In -Print

kWU

There are onlytwo reasonsto buy anAerodyne TVtransmitter.Putting you on the air.And keeping you there.

These are Acrodyne's top priorities. That'swhy we can give you more than just a fewreasons to buy our state-of-the-art TVtransmitters, known worldwide for theirdependability:

A modular upconverter featuringbroadband amplifiers, synthesized L.O.and phase -locked VCO

Extensive built-in diagnosticsand metering

IF modulation and low level diplexing Single (Class A) solid-state, broadband

driver module Overall AGC Single Thomson 347 tetrodeAll this plus application and custom

engineering, installation and start-up help areyour assurance that all your broadcasting re-quirements will be met. Write or call Aerodynetoday at 1-800-523-2596 or 1-215-542-7000 formore information on our TRU/1KAC andTLU/1KAC 1 kW UHF TV transmit-ter/translators or any of our TV transmitterproducts and services.

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Video

sette with four audio tracks-two FM, twolongitudinal.

Sony Magnetic Products Company introduced anew superior performance (SP) U-matic cassette, KSP.To support its DVTR, Sony showed a 19 mm tape withan optimized magnetic particle formulation, D1M-34and D1L-76. Also added was the BCT Betacam half -inch cassette with 30 -minute record time.

Zonal's specialty is audio including the 610, 611 longplay and 846 double play professional audio tapes.

FOR MORE INFORMATIONAgfa-Gevaert 258Ampex 259 Maxell 263Fuji 260 Panasonic 264Kodak 261 Sony 2653M 262 Zonat 266

HDTV Rolls up Successes at NABDelegates to industry conventions have now becomeaccustomed to the oohs and aaahs as people leavedemos of HDTV systems. NAB was no exception, Butat this gathering, one delegate left the convention asthe proud owner of North America's first HDTVsystem.

Barry Rebo, of New York -based Rebo Associates,purchased a system from Sony valued at overS1 -million. The system Rebo purchased includes anHDVS camera, three HDVS VTRs for recording andediting, and an HDVS Ultimatte system for blue -screenprocessing.

Rebo plans to use the system for feature lengthproductions, including a project called "Clubland,"which he is producing with Mark Levin. Further, Rebobelieves that commercial clients working with film onhigh-priced projects will find savings in both time andmoney as a result of using HDVS technology.

The twenty-four manufacturers who provided HDTVequipment for the demonstration showed convinc-ingly, that a total system-accounting for production,post -production, graphics, effects, etc.-can be builtto the 1125/60 standard proposed by the ATSC.

Teletext Lives: DataUsage is Secret weaponKeeping a breath of hope alive that teletext might stillhave a future in U.S. television broadcasting werethree developments: inclusion of World SystemsTeletext decoders in certain Zenith sets by mid -86,availability of an NABTS terminal for $250 fromSamsung, and systems for inserting business data inthe vertical interval by Norpak. The Zenith set mayspur new (and needed) interest in the WST system,currently supported only by Taft Broadcast.

Of special interest to advertisers is an under -5100coupon printer attachment shown in prototype formby Zenith. The Samsung terminal, offered at aboutone-third the price of earlier units, makes theadvanced -graphics NABTS approach more viable.However, consumer interest may no longer be thedeciding factor. Norpak says broadcasters such asBonneville and CBS have found profitable ways ofusing teletext systems to transmit business data-forthemselves and others. If consumers aren't in themarket, businesses may well be.

28 BM/E JUNE 1986 Circle 118 on Reader Service Card

NO COMPROMISEWhen you reach for Lenco's 400 Series Digital TBC

you don't have to trade qualityfor a competitive price.

The new Lenco 400 Series TBC .

It sets new standards of quality anddependability in time base cor-rection for Heterodyne VTRs. At aprice far below what you'd expectto pay for a TBC with a fraction ofthe 400 Series' features.

Extraordinary features,transparent operationFeature for state-of-the-art feature,the Lenco 400 Series TBC is themost astonishing bargain on themarket. Features such as constantH phase for matched frame edit,4 -times subcarrier sampling with8 -bit resolution, 16 line window,and adjustable horizontal andvertical blanking.

The 400 Series TBC also offers fullprocessing amplifier control, highspeed search handling and versatileoperation, with or without VTR 3.58MHz feedback. And it's digital pixel -by -pixel dropout compensation isabsolutely transparent to yoursystem.

Small size, enduring qualityThe Lenco 400 Series TBC is just1-3/4 inches tall and 15 poundslight. But it's engineered to the veryhighest standards in the industry.And backed with an "industry first"two year warranty, it's built toprovide year after year of trouble -free operation.


The 400 Series TBC is a triumphof space age electronics. Like otherLenco video and audio equipment,it represents one of the greatestvalues in broadcasting. While theprice may be the best on themarket, when it comes to qualityand performance there can beno compromise .

For complete technical informationon Lenco's 400 Series TBC and thefull line of quality Lenco componentsCall toll -free: 1-800-325-8494

-6, --A

LENCO300 N. Maryland St.

P.O. Box 348Jackson, MO 63755

1-314-243-3147TWX 910-760-1382

NAB Show -In -Print

Video

reducing head life. This isachieved by using the latest bufferstorage technology with very highbandwidth so no loss of definitionoccurs during the speed transi-tion.

Hitachi, the other major one -inch Type -C manufacturer,showed no new VTR models in itsone -inch line, but did show a newCompact Console: the CN-230C.

FOR MORE INFORMATIONSony 268 Bosch 270Ampex 269 Hitachi 271

3/4 -inch: FullyAliveThis much -maligned format con-tinues to be treated by the televi-sion industry the way gluttonstreat bonbons: Roundly con-demned, while consumed in prodi-gious quantities.

Sony has continued to push thequality of 3/4 -inch color -under re-cording far beyond where anyonethought it could go. New to thepopular BVU-800 series of record-ers is BVU-850 and -870 and a newportable unit, the BVU-150-allfeaturing SP -Mode. SP is chiefly anew electronics package withinthe machines that give them in-creased horizontal resolutionfrom 260 lines to 340 lines.Chrominance signal-to-noise is in-creased by 2 dB over conventionalU-matic recorders for both ampli-tude and phase modulation, whilegain and phase distortion are re-duced.

Editing performance has beenimproved, and the 870 featuresDynamic Tracking. The portable,BVU-150 is only 20 pounds

In the industrial strength class,Sony introduced a new VP -5020U-matic recorder designed specifi-cally for field and office playbackrequirements. The unit is just 75/sinches high; slightly larger than aVHS tabletop player. A lineartape timer, working off the controltrack, gives accurate tape time onan LED display in minutes andseconds. The unit's functions, in-cluding search up to five timesnormal speed, can be remote

controlled through the RM-690.The unit is priced at $1550.

Broadcast MitesIn the small -format broadcast bat-tle, Bosch continues to manufac-ture and market the Quartercamsystem, expecting that some userswho want its quality (superior to3/4 -inch) and its compactness(smaller than 1/2 -inch) will not becaught up in the whirl of the1/2 -inch component battle.

Hitachi struck a blow for 8 mmas a production format by showing

Hitachi's new compact console for itsType -C one -inch systems was shownat NAB, but its contribution to formatwars was a "one -inch quality" 8 mmrecording system.

a model of it CV -ONE system. Notyet on the market, this 8 mm VTR/Cam combo utilizes a metal tapefor recording times of 11 minutesand 15 minutes. The cassettes areMaxell P6-90 (normal runningtime: 90 minutes) and P6-120 (120minutes at normal speed).

The system consists of a camera(either the Hitachi SK -88 or theNEC CCD camera SP -3A). Thecamera's recorder unit, HR -1, hasa bandwidth of 4.5 MHz, whichgives Hitachi justification forclaiming "one -inch recordingquality."This system was developed by

Hitachi in cooperation withNippon Television Network Cor-poration. A company spokesmansaid that the NAB exhibition wasprimarily to obtain feedback fromthe U.S. market prior to any deci-sion to go forward with afull-fledged marketing and manu-facturing plan.

FOR MORE INFORMATIONSony 272Bosch 273 Hitachi 274

Revolution in theThird DimensionNAB '86 witnessed an explosion inthree-dimensional televisiongraphics equipment unparalleledin the history of broadcasting. Thebreakthrough of 3D modeling andanimation to price levels afforda-ble by many stations, pioneeredlast year by Cubicomp, gatheredmomentum this year with the en-try of several significant systemsin the $40,000 to $60,000 range.

In full-blown, real-time 3D ani-mation systems as well, severalcompanies lowered their sights atindustry leader Bosch, hoping towin a share of the high -end pro-duction house market.

One surprising entry into 3Dmodeling was Quanta Corp.,known in the past primarily forcharacter generation and nowpart of the Dynatech group thatowns ColorGraphics and Utah Sci-

entific. Quanta first strode intothe electronic paint arena lastwith the introduction of Quanta -paint (which reappeared this yearin a new 32 -bit version). But themost exciting development wasDimension, a 3D modeler that, at$54,995, incorporates almost all ofthe features of much more expen-sive systems.

Using solid modeling primitivesand object construction tools, Di-mension will construct wire -framemodels and render them inantialiased, surface -shaded forms.It can also take inputs from a cam-era or from a Quantapaint system.The hierarchical software definesthe relationships of different partsof an object during movement. Thesystem is capable of texturemapping and can define virtuallyunlimited light sources, transpar-

30 BM/E JUNE 1986

Hangon.But let yourimagination go.

Quanta introduces three new

products. Plus a new concept. all

guaranteed to launch your

imagination into new realms of

creativity.

In keeping with our progressive

product philosophy, Quanta has

introduced

DIMENSION, a computer

graphics system for solid 3D

modeling and animation.

QUANTAPAINT 32, a 32 -bit

full color graphics paint system.

QUANTAFEX, a digital graphics

effects system.

And the new Concept?

We call it

"GRAPHIC SYSTEM INTEGRATION"

In other words, Quanta is on the

leading edge of integrated

graphics, effects and animation

systems.

For an integrated graphics

system there's just one

manufacturer. Quanta.

So go ahead. Let your

imagination go. Ask us today about

our new products and integration

possibilities.

Call or write Quanta Corporation

2440 So. Progress Drive

Salt Lake City, Utah 84119

(801) 974-0992, TWX 910-925-5684.

We liberate the imagination.

U A N TADYNATECH Broadcast Group


NAB Show -In -Print

Video

ency, and reflections. By the pro-jected December shipping date, itwill incorporate antialiased keyoutputs, allowing one antialiasedimage to be matted over anotherwith no quality loss.

Another unexpected entry inthe 3D field was IntegratedTechnologies, Inc., previouslyknown for its weather graphicssystems. ITI made news with afamily of IBM PC/AT-based ani-mation systems. At the top of theline is the Image -Maker, a$59,500 system that includes amaster workstation and slave editstation. With the Ani-Net localarea network, up to four worksta-tions may be linked. (Worksta-tions are identical to ITI'sAni-Maker system.) Even at un-der $60,000, the Image -Maker al-lows the user to define wireframesketches, position, offset, rotation,viewpoint, unlimited lightsources, textures, object priority,and transparency. It offers 3D ro-

translation, and perspec-tive, as well as 3D animation overvideo or backgrounds and auto-matic "tweening." Up to two sec-onds of animation may bepreviewed in real time.

The Ani-Maker Plus, at$44,500, features 3D paint, 3D an-imation, and 3D rendering andcan operate in a standalone modeor as a workstation for the Image -Maker, many of whose capabili-ties it incorporates. The Ani-Maker is an economical $37,500system designed for 3/4 -inch pro-duction of two- and three-dimensional animation.

In a similar price range (al-though prices have not yet beenset) is the new Prisma graphic ani-mation system from Digital Ser-vices Corp. Shown in prototypeform, Prisma is expected to under-go further' software developmentbefore its projected end -of -year de-livery date. It is designed forsingle -frame animation in thecomponent domain, with inputsand outputs for RGB or R -Y, B -Y,Y video. Advanced features of thiseconomical system include crea-tion and animation of three-dimensional objects, antialiasingwith color tints, motion with ef-

Quanta Corp. entered the 3D model-ing arena with its new Dimensionsystem.

fects, metamorphosing, tweening,rotation, color shading, and more.

Artronics, which appeared atlast year's NAB under the aegis of3M, left the nest this year to exhib-it some brand-new gear on its own.Unlike the Studio Computer,which was geared primarily to-ward the slide -making industry,the new line is expressly designedfor video. It consists of three prod-ucts: the VGA -3D Video GraphicsAnimator, the VPL Video PaintLibrary, and the VGS VideoGraphics System.

The VGS is a "foundation"graphics box that can operate inseveral standalone configurationsor as a workstation for theVGA -3D. "Building blocks" of thesystem include 3D and 2D anima-tion and the Model Shop modelbuilder. Artronics took an aggres-sive marketing stance with theVGS, which has a base price of$29,000.

The VPL, a high -resolutionpaint system, offers 24 colorplanes plus a four -bit antialiasedkey output for high -quality ani-mation. NTSC, component, andRGB inputs and outputs are pro-vided for maximum flexibility.Features reflect the recent trendtoward names, rather than num-

Artronics designed its VGS paint sys-tem expressly for the video market.

bers: Pablo is the 24-bit/8-bit paintsystem, Marian and Mycroft com-prise the 1200 -image library/stillstore, Muybridge is a real-timeframe and field grab, Dave is a dig-ital effects program, and Watsonis a diagnostics program.

At the top of the line is theVGA -3D, with 25 ns effective pixelresolution, full two- and three-dimensional model building andanimation capabilities, and fourintegrated 32 -bit plane framebuffers for quick, high -qualityrendering. Both Gouraud andPhong shading are selectable onan object -by -object basis. Featuresinclude universal antialiasing, 16animatable light sources, trans-parency, texture mapping (bothpainted and live), and everythingelse expected of a 3D animationsystem. Prices range from $90,000to $140,000, depending onconfiguration.

One complaint with manylower -priced modeling and anima-tion systems is their slow render-ing speed. According to Artronics,the systems incorporate a high-speed accelerator box that cutsrendering speed while increasingresolution.

One source of the Artronics' im-pressive capabilities is a Berkeley,CA-based company called Dia-quest, which provides hardwareand software for PC -based videographics systems. Diaquest's pro-ducts-the DQ-VFG video framegrabber, DQ-VAD video actiondigitizer, DQ-422 videographic in-terface, and DQ-ER electronicrotoscoper-appeared more pro-minently at the Cubicomp booth,where the two companies an-nounced an OEM agreement un-der which Cubicomp will marketthe first three products for itsPictureMaker animation system.

The products expand thePictureMaker's capabilities invideo image capture, video con-trol, and digital matting, allowingit to integrate live video with 3Dcomputer graphics in the absenceof multiple VTRs or editing sys-tems. Texture mapping, superim-position of 3D images on livevideo, and sequential editing andtape positioning are all included.

32 BM/E JUNE 1986

The Abekas A53 -DDigital Special Effects SystemThe innovative tradition of Abekascontinues with the A53 -D -themost cost-effective, high -qualitythree-dimensional effects systemavailable today.

In single or dual channel con-figuration, the A53 -D gives you a fullarray of three-dimensional features.These include: perspective and 3Drotation, variable rotation axes and3D locate, field/frame freeze andfull manipulation of frozen pictures,variable border and background,crop and aspect change, A/B switch-

ing and GPI control, and smoothlinear motion and trajectory withvariable tension.

The A53 -D makes good sense forboth live broadcast and post -produc-tion applications. For broadcasting,the A53 -D offers a simple -to -usecontrol panel with fast access to 24on-line effects. For post -production,the system's extensive programmingfeatures and precise control let youcreate intricate effects limited onlyby your imagination.

You can digitally interface theA53 -D to the highly acclaimedAbekas A62 digital disk recorder.

This unique duo gives you the abilityto composite unlimited layers ofmanipulated video without genera-tion loss.

Let the A53 -D add a whole newdimension to your bottom line,with unmatched price and perfor-mance. For details, contact: AbekasVideo Systems, Inc., 353A VintagePark Drive, Foster City, CA 94404(415) 571-1711.

Abekasvoeo Systems

Now Anything is PossibleCircle 121 on Reader Service Card

THE FIRST INTELLIGENTBROADCAST

COLOR MONITOR

SET UP Input 2 QUAD AUTOMATIC CON BR' SA1

Slot 3 coded aHUE AY/ VJI

CONTROLS DISPLAY FUNCTIONSContrast 100 Size UNDERSCANBrightness 100 Sync source INTERNALSaturation 100 Sync t cte. SLOWHueAperture

100100

Color tempVert, freq.

6f00 KAUTOMATIC 111111111

DECODER FUNCTIONScolor AUTOMATIC

Safe areaDatablankingScan delay

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111:44N11Set up YESSecam id AUTOMATIC

tea:To exit with savingTo exit yithoLt saving

BARCO INDUSTRIES' new CVSprofessional broadcast monitor ismicroprocessor -based to make it intelligentin operation and easy to use.

It has both a digital and an analog bus formaximum flexibility. Plus four "open" slotsthat let you plug in today's options and thoseyet to come. As new features do comealong, you'll be able to add them throughsoftware - no hardware changes I

All CVS functions are controlled from thefront of the monitor or from a remotekeyboard. An optional master remotepermits control of a series of monitors.

ENTERCLEAR

WE PUT THE FUTURE IN THE PICTURE.

BRAG)innt ISTRIEF

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You can also store, and automatically callup, either calibrated presets or your ownpreferred presets.

Like our best master control monitors, theCVS has Automatic Kinescope Biasing(AKB) to maintain color and blac.< levelstability.

The CVS also generates more internal testpatterns than any other monitor. Theyinclude white field, cross hatch and colorbars.

The CVS is available in both 14 inch and20 inch versions, and provides outstandingpicture quality in any TV standard.

For complete specifications, contact your local BARCO INDUSTRIES Dealer or BARCO INDUSTRIES, 170 Knowles Drive. Suite 212,Los Gatos, CA 95030 Phone (408) 370-3721.

BARCO INDUSTRIES is a member of the ACEC-groupCircle 122 on Reader Service Card

NAB Show -In -Print

True Color Paint, developed incooperation with Island Graphicsof Sausalito, CA, allows thePictureMaker to display morethan 65,000 colors within a singleimage. It has full 2D paint capabil-ities, including air brush, water-color, and custom brushes. It willbe standard equipment on Cubi-comp's high -end PictureMaker/30and will also be available sepa-rately for $3950.

Cubicomp's other news was aneven lower -cost 3D modeling sys-tem, the PictureMaker/20, a$19,500 off-line system designedto be a companion to the $31,950PictureMaker/30. Its main differ-ence is that it is incapable of videotransfers, which must be per-formed on a PictureMaker/30.New software for the Picture -Maker system included improveduser interface features, cross-sectional modeling, curvesmoothing, and 20 new fonts.

At a somewhat higher price lev-el than Cubicomp, ITI, or Quantais ColorGraphics, which leapedsignificantly forward with the in-troduction of ArtStar 3D (pre-viewed first at last fall's SMPTEconvention). ArtStar 3D has ev-erything a 3D graphics systemshould have: 3D modeling withwire -frame sketches, a 3D cursorthat moves in real time, full li-brary of animation moves, inter-face to Betacam recorders forcel-by-cel animation, and auto-matic tweening. An unusual as-pect is the combination of rasterand vector graphics capabilities.Raster processing, which ad-dresses each pixel individually, isused for almost all functions, al-lowing maximum creativity andcolor choice. For type, however,where smooth lines are essential,vector processing is used for fullyantialiased characters.

ArtStar 3D builds on Color -Graphics' two-dimensionalArtStar II and features 24 -bitpaint capabilities with eight -bitoverlay. Based on a Chromemcohost computer, the complete sys-tem (with 3D modeling, paint,VTR interface, and five vectorfonts) costs $99,900.

Dubner showed the latest model

ColorGraphics' ArtStar 3D combines24 -bit and eight -bit graphics.

in its CBG line, the CBG-2LX,with full 3D modeling and manip-ulation capabilities along withhigh -quality NTSC paint and TheThird Plane, a high -resolutionstill store. The full system costs$115,000. Also featured wasDubner's DPS-1 full -color paintsystem, a $20,000 unit first dis-played last year and now in fullproduction.

Three-dimensional modeling isan option on Aurora's new AU/200Series 32 -bit paint systems, theAU/220 and AU/280. The formerruns its software on an IBM PC/AT, while the 280 uses a Motorola68020 chip and the Unix operatingsystem. It also features full -colorframe/field grab and multiplanereal-time animation.

The 220 and 280 have similarlists of features, such as transpar-ency, separate full -color graphicalmenu, two full picture buffers,antialiasing, and full -color videoinput. Besides the 3D modelingpackage, options include frame -by -frame animation control, WSIweather and sports data compati-bility, Ethernet -based inter-system communications, andhigh-res hard copy output.

Harris, which is distributing

Alias Research demonstrated its 3Dmodeling software on a Silicon Graph-ics workstation.

Video

the AU/220 under a marketingagreement with Aurora, also an-nounced a software -based controlinterface that connects Aurorasystems to Harris IRIS II stillstores.

In high -end animation systems,two new exhibitors took aim at themarket served by Bosch: Wave -front Technologies and Alias.While both write software de-signed for the Silicon GraphicsIRIS workstation, Wavefront alsouses other hardware and an-nounced an interface with the Au-rora AU/200 Series at NAB '86.

Wavefront's software, writtenfor the Unix operating system, iscomposed of three modules: Model,PreView, and Image. Model uses adatabase of two-dimensional poly-gons to define and model a 3D ob-ject, with no limits on the numberof elements the object may con-tain. User interface is via screenmenus; a graphics tablet can alsobe used to input drawings. Pre -View allows the user to create ormodify a 3D animation and quick-ly play back the results for review,with full control of objects andlight sources and a variety ofediting functions. With Image, thecompleted animation is renderedwith variable resolution and vari-able antialiasing in NTSC or PAL.Features include texture mappingin one, two, or three dimensions;interpenetrating objects; geomet-ric smoothing; color interpolation;transparency; reflection mapping;and ray tracing.

Alias specializes in software forthe Silicon Graphics, which it feelsprovides the ultimate in speed.Software is written in machinecode, so it addresses the hardwarein real time. A complete system,including hardware, ranges inprice from $150,000 to $280,000;by the end of the first day of theshow, the company already hadtwo purchase orders.

Full 3D animation and render-ing capabilities are the system'sforte. The Alias software is de-signed to allow extremely rapidmodeling of 3D objects and full an-imation control. Many image pa-rameters can be controlled andanimated; light color, diffusion,

BM/E JUNE 1986 35


specularity, and motion; surfaceshading with Lambert, Phong, orBlinn techniques; and texturesare just a few. A "Quick Render"routine allows rapid previewing ofimages and scenes using simpleshading.

The system also has an electron-ic paint system, new this year,with ultra -high resolution and fullcolor.

Bosch, however, appears un-fazed by the competition, fromwhatever price range. "Our sys-tem is high on productivity andinteractivity," says Jeff Davis,product manager for the $200,000FGS-4000. "No other system canmake a solid, fully colored, andantialiased raster version of amodel and show a preview of themovement so quickly and easily."The FGS, he points out, was de-signed for video and acceptsvideotape inputs, unlike some oth-ers. Software options includepaint, 3D modeling, fractals, andtwo- and three-dimensional imagemanipulation. In addition, render-ing speed is much faster than withmany of the lower -priced systems.

The newest option for the FGS,introduced at the show, was an off-line graphics modeler with all themodeling capabilities of the FGSand then some. It includes a 2D ed-itor and a 3D editor that calculatessurface of revolution, surface ex-trusion, and lofting. The last, notfound on the full FGS system,quickly connects the cross -sections of a model under con-struction for a rough look at howthe final object is shaping up.

Intended for use as an off-lineworkstation for the FGS, the mod-eler was shown on a Sun Model 2host computer. It will be shipped,however, with the Sun Model 3,which Bosch estimates will be fourto 10 times faster for both con-struction and rendering. TheUnix -based Sun is a multitaskingcomputer that allows several jobsto be performed simultaneouslythrough the same terminal. Com-munication with the FGS isthrough an Ethernet LAN. Themodeler is priced at $36,995.

Bosch also featured its 3D Illus-trator paint package for the FGS,

first shown at SMPTE, a full -colorsystem designed to function inthe FGS's three-dimensionalenvironment.

FOR MORE INFORMATIONQuanta 276ITI 277 Dubner 283DSC 278 Aurora 284Artronics 279 Harris 285Diaquest 280 Wavefront 286Cubicomp 281 Alias 287ColorGraphics 282 Bosch 288

Image Manipula-tion is Hot andAffordableThe intense activity in 3D graph-ics at NAB '86 was mirrored by theexcitement in image manipula-tion and digital effects systems.Prices came down, capabilitiesrose, and broadcaster interest shotthrough the roof.

In high -end digital effects,Quantel reinforced its reputationas the industry leader by showingthe prototypes of two new en-hancements for its Mirage 3D ef-fects box. The first, Starlight, is ahardware and software packagethat offers an unlimited number ofreal-time light sources for usewith all Mirage shapes. Lightsources can be set up and inreal time via Mirage's FloatingViewpoint Control trackball. In-cluded as well are real-time three-dimensional shading and variablespectrum highlighting and posi-tioning. The intention is to bringrealistic modeling into the domainof real-time processing.

The other new enhancement,

Ampex broke the $40,000 mark with itsnew ADO 1000 effects system.

Contour, is a versatile shape -making package designed to allowvideo to be wrapped around almostany three-dimensional shape. The

user defines the shape's cross -sections on a graphics tablet, Con-tour, then constructs the shape,and Mirage wraps the videoaround the new shape. One obvi-ous use for this feature would berecreating the shape of a productcontainer for a commercial.

All Quantel's products, ofcourse, are based on the CCIR 601digital composite video standard.Quantel exploited the possibilitiesof that standard to show digital in-terconnection of up seven Encoresand two Mirages, all controlledfrom one Floating Viewpoint Con-trol unit. The full capacity of theDigital Effects Network, firstshown last year, is 14 Encore/Mirage machines. It can also con-nect Harry to Encore or to thePaintbox via 4:2:2. A further ex-ample of the power of 4:2:2 wasfound at the Sony booth, where anEncore was digitally interfaced tothe new Sony D-1 standard DTTR.

Another high -end system,Grass Valley's Kaleidoscope com-ponent digital effects unit, is nowin full bloom after its SMPTE in-troduction last fall. Like Quantel,GVG has been working towardgreater system integration amongits various editing, control, andproduction products. This year,the company introduced fledglingedit system control of theKaleidoscope.

A basic, single -channel systemis $160,000; maximum configura-tion is four channels with multiplecontrol stations.

Much of the excitement in ef-fects systems, however, was foreconomical systems with many so-phisticated features. One of thehottest items in this category wasthe new ADO 1000 from Ampex.Imagine-an ADO for under$40,000! The ADO 1000 is de-signed for on -air use as well as on -or off-line production. It has 30preset effects, including flips,tumbles, rolls, mosaics, mirror,blur, posterization, solarization,luminance reversal, and A/B in-puts. Effects may run forward andbackward. Up to four ADO 1000channels can be integratedthrough a production switcherwithout a combiner.

36 BM/E JUNE 1986

WE BUILT IT TO TAKEMORE THAN GREAT SHOTS.

Foul weather. The hardknocks of a hard day's work. TheSchneider 14 x ENG/EFP lenscan take just about anything-including great shots.

Light enough totake anywhere. The14x is no lightweightwhen it comesto standing up tothe rigors of thereal world.

Its rugged weather -resistant housing pro-tects the 14 x like atortoise shell. While itsunique zoom grip andergonomic design pro-tect you from fatigue andunsteadiness. No matterhow long you shoot.

All lens controls are conve-niently located, too. So youdon't have to fumble aroundwhen making adjustments orconfidence checks.

But that's just the beginningof what makes the Schneider 14 x

outstanding in the field.It has a built-in 2 x range

extender; macro focus,servo zoom, and

iris. Three inte-grated zoom

ranges: 9-126mm,18-252mm telephoto(with flip -in extender),

and 63-9mm ultrawide(with add-on asphericattachment). And a

remote manual iriscontrol built into the zoom grip.The 14 x also fits just about

any major broadcast or in-dustrial -grade camera.And it's priced...Well, let's

ak SchneiderKREUZNACH

SHOOT FOR THE BEST

just say the Schneider 14 x lenscan be as easy on your budget

as it is tough in the field.Also, if your 14 x ever

needs repair; our factory -trained technicians will fixit in a flash. We'll even pro-vide a loaner. So you'renot out of action while it is.

The Schneider 14 xENG/EFP lens. We built

it to take a lot, but giveeven more. For a free

demonstration, contact:Schneider Corp. of America,400 Crossways Park Drive,Woodbury, New York 11797(516) 496-8500.

Western U.S.A. Service:861 Production Pl., NewportBeach CA 92663. (714) 631-7430



Base price for the 2D ADO 1000is $39,500; a 3D system with fullperspective and three -axis rota-tion is $67,000. A 2D system caneasily be upgraded to full 3D capa-bilities. Ampex's Digi-Matte keyprocessor is available optionally,as are a component input and out-put kit and AVC Series switcherinterface.

A new entry into the 3D picturemanipulation market wasAbekas, already known for 2D efxand its A62 digital hard disk videorecorder. The new A53 -D is a full -bandwidth digital system offeringperspective, 3D rotation and loca-tion, and variable rotation axiscapabilities. Effects include ex-pansion, compression, variable in-side and outside borders, field andframe freeze with full manipula-tion of frozen pictures, cropping,solarization, and more. The A53 -Dalso has built-in A/B switchingand off-line storage onmicrofloppy disk.

Coupled with the A62, theA53 -D allows extremely complexmanipulations to be performedwith no picture degradation.(This, of course, is a potent reasondisk -based devices like the A62and Quantel's Harry are gainingacceptance in post -production fa-cilities.) Abekas is positioning the$47,500 A53 -D against such com-petitors as the Ampex ADO, NECDVE System 10, GVG Kaleido-scope, and Quantel Encore.

Abekas also showed a new com-ponent version of its A52 digitalspecial effects system, alreadyseen in a composite configuration.

NEC America aimed at the livenews and corporate/industrialmarkets with its brand-new DVESystem 100, seen previously onlyat Video Expo San Francisco. This$29,500 system is designed forboth real-time and programmedplayback applications. It com-bines many of the effects of NEC'spopular E -Flex with features and16 -bit system architecture of thenewer DVE System 10. Unlike thehigh -end System 10, which mustbe programmed, the System 100contains 16 preset pattern effectsthat can be called up at the touchof a button. It also lacks the 10's

function control keys and 3D andperspective/rotation effects.

Nevertheless, the System 100has many capabilities impressivein an under $30,000 unit, includ-ing forced monochrome, negativeY and C, 100 -event on -board mem-ory, three temporary scratchpadmemories, two -system control,and built-in combiner.

NEC's System 10 also addednew features, especially a combin-er option that allows existingE -Flex or E-Flex/Optiflex systemsto be combined with a DVE Sys-tem 10 for a dual -channel outputfrom the System 10. (The option isalso available with the System100.) Other new System 10 fea-tures include a new 16 -bit micro-processor and unlimited keyframes for extra -smooth transi-tions.

NEC's new DVE System 100 is a stream-lined version of the System 10.

Quanta Corp. went all-out for3D this year, introducing not onlya 3D modeling and animation sys-tem (described in the previous sec-tion) but a 3D image manipulationsystem. The new Quantafex digi-tal efx system is based on a 32 -bitprocessor and performs full XYZrotations and XYZ positioningwith infinite sizing, aspect ratios,skews, and fully adjustable centerof rotation. The system also in-cludes wipes and splits, last effectrecall, 20 preprogrammed effects,adjustable borders, eight -colorvideo capture, freeze frame, fourswitchable RGB inputs, plus ad-justable keyframe pause andstrobe rate.

According to a spokesperson,Quanta is aiming for "total systemintegration" with its graphics andeffects product lines. TheQuantafex will be available thisfall for $26,995.

Digital Services Corp. intro-duced a new 3D optical digital ef-fects system called Eclipse thatfeatures optional curved effects,such as concave or convex curvedwall effects with perspective andbarrel effects-all in a packagethat runs $55,000 to $70,000, de-pending on options.

DSC also featured its Illusionsystem and the SX-2000D pro-grammable effects system.

Another entry in theunder -$50,000 effects arena wasGML America's new X -Calibredual -channel, multiple input digi-tal effects system, which has com-ponent inputs and outputs asstandard. The two -channelX -Calibre features continuouscompression, expansion, trajecto-ry effects, tumbles, flips, andspins. It has a built-in eventsmemory, along with time base cor-rection and synchronization andGPI closures or RS -422 ports forswitcher interface. The full sys-tem is expected to cost under$50,000, with 60 -day availability.GML also featured its $30,000Proteus dual -channel effects unit,with fixed compression and op-tional downstream keyer.

Microtime's economical Genesis1/Act 1 digital effects system fea-tured a new, continuously varia-ble filter/interpolator thatprovides increased picture per-formance over last year's hard-ware. In addition, new softwareupdates give the system improvedprogramming flexibility.

Among the most innova-tive-and difficult to classify-of-ferings at last year's NAB was thePyxis digital production devicefrom ALTA Group, shown at theConvergence Corp. booth. Thisyear ALTA was on its own, and thePyxis, which packs two 16 -line -

window TBCs, over 20 productioneffects (including digital efx), async generator, four video inputs,and five stereo audio inputs into asingle $6995 box, showed up allover the floor interfaced with a va-riety of equipment. It is also nowavailable in PAL.

Not content to rest on its lau-rels, ALTA introduced a newsingle -channel video manipulator

38 BM/E JUNE 1986

It's a Paint ... It's a 3D Character Generator ...It's Full Animation & Effects...It's ARTSTAR 3D!The mos- powerful paint and animaticn combination, ARTSTAF 3D is the "Super -Box" answerto high resolution professional graph cs production. Check opt these features:

True Color - 16.7 Million Simultareously Displayable Colors The Best Paint Functions of any System 3D Anti-Aliased Vector Type Character Generation - 100 -Font On -Line Capability 3D Modeling - Extensive Choreocraphy Controls, Texture Mapping and Smooth Shading.

Full Rotation, Perspective and Multiple Light Sources - Faster Rendering 3D "Animation Automation" - FLII Animation including Multiple Plane and Frame -by -

Frame VTR Control in Component V deo Flash Frame Grab - Full Color Digital Frame Store - Rolling/Live Video - NTSC or RGB Digital Laser Disc Storage/Recall with Perfect ResolutionNothing on the market today can compare with the price/performance of ARTSTAR 3D!

See it at BPME/BDA-Booth 26-27 and NATPE- Booth 129 & 131

A#RTSTKRCOLORGRAPHICS SYSTEMS INC.

DYNATECh. Broadcast Group

5725 Tokay Boulevard Madison, Wisconsin 53719 (608) 274-5786

COCiE 124 on Reader Service Card


called Cygnus. Essentially, Cyg-nus is an infinite window TBC/synchronizer with built-inhorizontal and vertical imageenhancement. Effects includefreeze, strobing, colorization, pos-terization, and mosaic. A 4x1 au-dio and video routing switcher isbuilt into the front end, allowingthe Cygnus to take tape, camera,or satellite feeds. Price is only$4995.

The Cel Electronics digital ef-fects family put in an appearanceat the James Grunder & Assoc.booth. New this year was theMaurice touchscreen controllerfor the EFX II system. A basicEFX II system, including theP147-30 framestore synchronizer/TBC, the P148 digital effects con-troller, and the P152 Mauricetouchscreen, is under $17,000.Also shown was the EFX III two -channel, A/B roll effects system.Both are upgradeable to the EFXIV, a two -channel system withmultichannel combiner.

Fairlight Instruments returnedto NAB with its CVI low-cost digi-tal effects processor, a $7945 unitthat really shines in its real-time,creative applications.

FOR MORE INFORMATIONQuantel. 290 DSC 296GVG .... 291 GML America 297Ampex 292 Microtime 298Abekas 293 ALTA 299NEC 294 Cel/Grunder 300Quanta 295 Fairlight 301

Paint andGraphicsSystemsQuantel's innovative Harry digi-tal graphics system performs somany graphic functions that it al-most defies definition. For 1986,Quantel announced several im-portant new facilities for Harry,which has now been delivered toseveral major U.S. post -produc-tion facilities.

First, Harry can now operate in-dependently of the Paintbox witha choice of freestanding controlstations. Paintbox users will cer-tainly feel comfortable with thefirst, a graphics tablet and stylus

similar to that of the Paintbox andoffering the same rapid, precisecontrol. The second consists of akeyboard, with soft keys to retainthe flexibility of Harry's menu -driven software and a trackball forcursor movement. Harry also hastwo remote control ports, one thataccepts an external contact clo-sure to trigger a number of presetHarry functions and another thataccepts SMPTE high-level com-mands for external computercontrol.

Harry was shown digitally in-terfaced with Quantel's Encore ef-fects system via CCIR 601.Quantel has taken further advan-tage of 601 by developing a high -quality digital chromakeyer, nowa standard feature of Harry. Thesearch for top-quality mattingwon't end with that, however; justbefore the show, Quantel an-nounced a licensing agreementwith Ultimatte under which thetwo companies will jointly developa digital Ultimatte system forHarry.

Also drawing crowds to theQuantel booth was the new Pro 4fourth -generation software pack-age for the Paintbox, withredesigned menu geography and aPaste Stat routine for accurate po-sitioning and sizing of cutouts.The High Definition Paintbox wasdemonstrated in an advanced ver-sion with new features.

Computer Graphics Labs intro-duced Instamation, a low-cost,real-time animation system, plusnew Animate! software for its Im-ages II + paint system and in-creased systems networkingcapability.

Quanta's new Quantapaint 32 isa full -color, 32 -bit graphics/paintsystem incorporating Bitstreamtype fonts, antialiased brushes,and frame -by -frame animationcapabilities with tweening. An ex-clusive "priority" feature allowsmultiple levels of keying whenusing Quanta QCG-500 or Q8character generators.

ITI unveiled the News -Maker, afull -color paint system designedespecially for news graphics andupwardly compatible with thenew Ani-Maker and Image -Maker

systems. It has two- and three-dimensional paint capabilitieswith perspective and shading.

Chyron has been delivering itsnew Chameleon paint systemsince November and claims over70 already in the field, includingEuropean users. The high -resolu-tion (768x482 pixels) system ispriced at $11,900.

lnovion featured its PUS 11 pro-fessional graphics system, a $7995package with 2.1 million colors,full -color frame grabber, genlockcapability, optional graphics tab-let, and paint package.

FOR MORE INFORMATIONQuantel 302 ITICGL 303 ChyronQuanta 304 inovion

305306307

Character -BasedSystems, CGsThomson-CSF's powerful VidifontV graphics and animation systemnow comes equipped with a5 1/4 -inch Winchester disk for ex-panded memory with extremelyfast access. Other new features arevariable vertical leading (thespace between lines of type) anddirect dial -up access to WSI, ESD,and Accu-Weather weather andsports databases.

Viditext II, Thomson's mid -

priced CG, also boosted its capabil-ities with a second channel, theVidivote election package andGraphicStore paint and librarysystem (both previously limited tothe Graphics V), and font, mess-age, and animation memory ex-panded to one megabyte. TheGraphicStore, which can have upto eight 140 megabyte Winchesterdrives, now offers color cyclingand the Vidifex 3D effectsprogram.

Chyron brought its Scribesuper -high -quality text genera-tor, now being delivered to produc-tion houses. Also new was the4200 character/graphics system,the latest model in the 4 Series4200. It incorporates the "Motion"high -resolution digital graphicsefx generator as an integral part ofthe system at no increase in price.

40 BM/E JUNE 1986

For the designer and the art director thesatisfaction of producing an original television graphicperfectly is everything. With the Quantel Paintbox' youcan create images with smoothly rounded curves andnatural color mixing-at the same time choosing froma large selection of mediums and brush sizes. You'llnever have to live with the "computer" look

Artists love the response time of the Paintbox.Its easy -to -follow menu helps produce lively, originalimages with extraordinary speed. And managementloves it for its fast payback.

Stimulate your creativity with these specialfeatures: Stencil and paste-up functions.0 Paste over live video.

By adding Quantel's new Harry Animation/EditingSystem, the already extensive animation capabilities ofPaintbox can now include full cel animation.

The Paintbox has become the world standardfor creativity in television graphics. All three major U.S.networks as well as most broadcast and post -productionfacilities design with the Paintbox.

Quantel's worldwide sales and service hasbeen expanded to ensure prompt, friendly and expertsupport. It's always there if you need it.

To put the Paintbox creative art system to workfor you, write today to Quantel, 3290 W. Bayshore Rd.,Palo Alto, CA 94303. For the phone number of yournearest sales office call 415 856-6226.

Step closer to the digital studio


A rEL

IT'S HERE!THIE FIRSTGRAPHICS

GENERATOR

As shown at the NAB in DallasCHYRON7711M0110N

MODEL 4200

for only

$54,400Introducing CHYRON 4200, the first graphics generator with MOTION.

Create and display multiple effects and text instantly-flip, spin, zoom, splitimages and more. CHYRON 4200 does it all, while maintaining ultra -high

resolution. At a price this low, it's sure to be the FASTEST MOVING graphicsgenerator. Find out about it-call CHYRON today.

Cluhurf9C)/NTELESYSTEMS / A MEMBER OF THE CHYRON GROUP

265 Spagnoli Road, Melville, NY 11747 516-249-3296 Telex: 144522 Chyron MeIvWest Coast Office: 221 W. Alameda Avenue, Suite 103, Burbank CA 91502 818-842-3244


NAB Show -In -Print

Motion performs zooms, wipes,quad splits, matrix wipes, etc., toChyron-generated video. In addi-tion, the VP -2 Videofex, first seenlast year, is now deliverable.

New features of Quantel's Cy-pher caption generator include aflexible roll and crawl facility thatallows simultaneous mixing ofrolls -and -crawls in any combina-tion, even moving in opposite di-rections or diagonally. Also new isexpanded three-dimensional ani-mation capability, allowing titlesto be wrapped around the surfaceof an invisible shape, such as a he-lix or cylinder.

Another leader in high -qualityelectronic text, Aston Electronics,has begun deliveries of its Aston 4character generator to productionfacilities in the U.S. The $41,500single -channel system incorpo-rates a background plane plus twohigh -resolution, antialiased char-acter planes, with variable speedroll and crawl. The dual -channelversion is $56,500.

New from 3M was the D-6000Panther graphic system, a charac-ter generator with 35 ns resolu-tion, 15 built-in fonts that can besized and manipulated, and a cam-era input for loading flat art. ThePanther also includes paint capa-bilities and sells for less than$17,000.

ICM Video's new, economicalCG -7000P character generator,designed for simple operator inter-face, contains 80 pages of built-inmemory and genlocks to any videosource. The $1995 unit uses plug-in modules to generate fonts and iscapable of an unlimited number ofcharacter and background colors.

Quanta Corp. remembered theCG market with new features onthe Quantafont Q8 and QCG-500.The Q8 now offers reverse rollsand crawls, more than 24 standardface styles, optional 20 megabytehard disk, a recall -only controlpanel, and disk compatibility withthe QCG-500. Price has been low-ered to $27,995 for a single -chan-nel version and $42,995 for adual -channel unit. The QCG-500now has instant sizing in singlescan -line increments, 16 millioncolors, increased per -page color

3M highlighted its D-3600 charactergenerator.

availability, color menu with RGBvalue key -in, and optional RGBout with RGB key out. Prices werealso lowered for the QCG-400.

Compu-Cable unveiled the Star,a $1999 CG/titler with built-ingenlock and superimpose, threecharacter sizes, multiple fonts,and 16 colors.

Mycro-Tek featured its ErnieCG/titler, with about 125 pages ofmemory and audio tape storage ofmessages. Also shown were theMax and Supra Star One CGs, thelatter repackaged and discounteda hefty $4000 to a new price of$6000.

Laird Telemedia showed newadd-ons for its 1500 CG, includinga data tablet ($1495), camera en-try system ($1995), and font devel-oper ($495).

Knox Video showed a prototypeof its K40 Microfont CG/titler, a$2395 unit with 32 colors and up to64 pages of memory. Deliveriesshould start next month. TheK100 Chromafont character/graphics systems were also shown.

Symtec introduced the Chargen200 and 400 Integrated GraphicComputer Systems, based on theSperry personal computer. The200, with four resident fonts and aPC with two floppy disk drives, is$6495; the 400, with a 20 -mega-byte hard disk and one floppydrive, is $8495. Options include18 -font software package, font cre-

Video

ate package, paint package withbit pad, and color monitor.

Mark Electronics featured theMK85 video titler, designed forthe IBM PC/XT and compatibles,with multiple font selection, 19pages of text in real time, two in-dependent lines of crawl, roll, andspecial effects. The full system is$2495..

Also for IBM or compatible PCswas the MicroKey titler systemfrom Video Associates Labs. TheModel 1300 NTSC unit lists for$1995; models for RGB over NTSCor RGB only are less expensive.

A surprise entry into the titlermarket is JVC, whose Profession-al Video Communications Divi-sion is marketing the Titler fromMindset. Designed for the VHSprofessional video and videophilemarkets, the keyboard -controlledTitler uses cartridge -basedsoftware to create and edit up to 20pages of titles. At a more advancedlevel is the Mindset II titling,graphics, and animation systemwith 640x400 pixel character reso-lution and up to 40 pages of memo-ry. It includes a graphics tablet forimage creation and allows imagemodification and animationeffects.

For -A Corp. also introduced anew character generator for thecorporate/industrial and cablemarkets. The VTW-220 featuresfour character sizes, 512 colorswith 14 available at one time,character -by -character underline,nine -speed roll and crawl, adjust-able matte for edge and shadows,and extensive text editing. The32 -page memory is expandable to64. Price is $3540.

FOR MORE INFORMATIONThomson-CSF 310 Mycro-Tek 318Chyron 311 Laird 319Quanteil 312 Knox 320Aston 313 Symtec 3213M 314 Mark Electronics .. 322CM Video 315 Video Assoc. Labs . 323Quanta 316 JVC 324Compu-Cable 317 For -A 325

Weather SystemsDespite its move into 3D anima-tion, Integrated Technologies didnot neglect the important weathermarket. It introduced the new

BM/E JUNE 1986 43


Weather -Maker graphics system,compatible with Accu-Weather,ESD, and WSI weather data andcontaining a base map library.

Alden's Model C200R has fivenew features: 64 -picture memory(up from 16); two-color back-ground (land and water) for allsites; four operator -selectable ra-dar ranges from 25 to 200 miles; abuilt-in auto dialer that can bepreprogrammed to call at timedintervals; and a new full cue modefor preprogramming of on -airpresentations.

Kavouras featured high-speedanimation of high -resolution im-ages on the TritonX weathergraphics system, with improvedart/paint capabilities. RAM ani-mation allows much greater on -air manipulation of high -resolu-tion satellite imagery andmulticolor graphics, according toKavouras. The system willpreload graphics images and ani-mate at 30 fps.

ESD highlighted its newclutter -free radar display that em-ploys high-powered NWS radarsand gives the good clutter effectsof Doppler radar at less than halfthe price.

WSI's satellite delivery systemis now up and operational. Alsonew from WSI was the ASTRO-graphics 24 -hour weather graph-ics service, compatible with anyweather graphics system andshown with a ColorGraphicsLiveLine III.

New from Accu-Weather is theAccu-Data real-time database,featuring the Advanced MapPlotting System (AMPS), whichcan plot any kind of weather infor-mation on any kind of map in realtime. The graphics service is nowavailable via satellite.

Advanced Designs showed itsDoprad II Doppler radar systemand RCD-1000 remote colorweather display system.

Weatherbank described itssatellite -delivered weather infor-mation services....R*Scan fea-tured its LPATS lighting positionand tracking data service....High-lighted by Sea -Tex was theCR-1011 color weather radar sys-tem, designed for radio stations.

FOR MORE INFORMATIONITI 327 Accu-Weather 332Alden 328 Advanced Designs. 333Kavouras 329 Weatherbank 334ESD ....... 330 RScan 335WSI 331 Sea -Tex 336

TBCs, VideoFrame Synchro-nizers, and OtherProcessors...Fortel introduced its Turbo 2timebase corrector for 3/4 -inch pro-cessing of video signals with fea-tures including infinite windowrange, drop -out compensation, dy-namic tracking, freeze field andframe, horizontal enhancementand luma noise reduction. Thecompany also reintroduced itsCC -1 color corrector followingagreement of a licensing arrange-ment with Corporate Communica-tions Consultants....NovaSystems has added three newTBCs to its line since last year, onewith a full frame of memory tofreeze a field or frame for specialeffects and the other two with32 -line memory, one with hetero-dyne half- or 3/4 -inch or direct oper-ation and the other withsubcarrier feedback directoperation.

Amherst Electronic Instru-ments introduced its new Amiconvideo signal processing worksta-tion built around a 32 -line TBCand using software control forfunctions such as remote signalparameter monitoring and con-trol, timecode reading, andmachine control for off-line edit-ing....Microtime introduced theT-300 series of TBCs, three unitsdesigned for half- and 3/4 -inchnonsegmented heterodyne VTRs,offering wide correction window,and genlock or standalone syncgenerator operation....Lencoshowed a "virtually transparent"TBC-450 with a correction rangeof 16 lines and eight -bit resolutionclaiming a S/N ratio of 58 dB.

Harris exhibited its new 560digital TBC with advanced syncand optional dynamic trackingusing an eight -bit component ar-

chitecture with separate chromaand luminance processing alsowith a 16 -line correction window.Also new from Harris were theVW -3 and the 640 TBC/frame syn-chronizers, the former an additionto the Harris line with the compa-ny's acquisition of the productrights of Adda Corp., as well as thecompatible AC-20AS dual chan-nel video signal processor.

Hotronic showed its 4x sub -carrier, eight -bit resolution AF71TBC/frame synchronizer withmore than two frame memoriesand constant H phase for matchedframe edit....NEC America dis-played its FS -19 frame synchro-nizer with 10 -bit quantization forgreater signal outputtransparency....For-A expandedits product line in component sig-nal processing with a number ofannouncements at this NAB,among them the 500 series pro-duction video mixer and compo-nent video switcher withassociated color corrector, colorbar generator, and NTSC color de-coder as well as a componenttranscoder, an effects memory op-tion, and other graphics relatedelectronics....Ampex announcedits Zeus 1 advanced video pro-cessor, designed to integrate withthe company's type C studio VTRs.Picture bounce and blur are elimi-nated, says Ampex, allowingbroadcasters to adjust theirprogram -to -commercial ratioswith little video degradation....Scientific-Atlanta Digital VideoSystems showed its new low-costTBC, frame synchronizer, andcombined TBC/framestore line,originally premiered at SMPTE.

Converters, encoders,etc. Among new product intro-ductions from Quantel was Satin,a bidirectional TV standards con-verter handling PAL and NTSCvia its component RGB input andoutput, using digital encoding anddecoding and the SMPTE/EBUrecommended video processingformat. The unit features interpo-lated field freeze, overscan to com-pensate for input blanking errors,manual or automatic input stan-dard selection, and internal testsignal and genlock SPG.

44 BM/E JUNE 1986

From now on, includingparts and labor, (except for dam-age due to physical abuse), ourWarranty is extended from one-year to...

3 Full Years on everything in thesystem*, except the fluid modules, whichare leakproof by design and continue to beguaranteed against malfunction for 5 years.

've

*Applies to newsystems delivered

from Sachtler inthe U.S. For more

details, call or write:

memo

Sachtler quality startsin the factory and is guaran-teed to keep working for youin the studio or on location.

Quality is ourtop priority! Ask any-one who is alreadyusing a Sachtlercamera supportingsystem.

sachtlerSachtler Corporation of America400 Oser Avenue, Hauppauge, N.Y. 11788Phone: (516) 231-0033Telex: 140107 SACHAUP TWX: 510-221-1884

3316 W. Victory Blvd., Suite A, Burbank, CA 91505Phone: (818) 845-4446



Faroudja Laboratories an-nounced a licensing agreementwith Sony covering variousFaroudja developments includingthat of its NTSC encoder used togenerate signals free of cross -colorand cross -luminance componentsusing prefiltered luminance andchrominance information prior tomixing. Used with Faroudja'scompanion decoder, the signal re-sult is claimed to be virtually in-distinguishable from true RGB;and with a home receiver, picturequality will be improved....In oth-er developments, Thomson-CSFshowed its model 5700 NTSC colorprocessor and TTV-4400 automat-ic contrast corrector available inPAL, SECAM, or NTSC ver-sions....Shintron announced itsMC -1 intermatrix converter forRGB, M, and Betacam for-mats....Video International dis-played the DTC2500 standardsconverter as well as a new digitaladaptive comb filter, DAC4000,

better resolution for com-posite video to digital RGB conver-sion....Broadcast Video Systemsshowed the Michael Cox Electron-ics 203 NTSC encoder andACC200 component-RGB convert-er as well as its 660 componentcolor correctors.... TelevisionEquipment Associates introducedthe Matthey Electronics "verysharp cut" low-pass video filterand showed the company's videodealy lines....Apert-Herzog an-nounced its new Satsync, a one -second video delay and digital stillstore with 32 memory frames andshowed new Chentel stereo audio/video switchers as well as its ownline of video processingequipment....0micron Video fea-tured its model 501 video switch-ers, a ten -input unit and a teninputs of three -component videounit designed for use with a digitaleffects generator such as theMicrotime Genesis 1.

Microsonics showed its 1H/2Hdigital border generator delay aswell as video delay lines and fil-ters from BAL Components....QSISystems demonstrated itsSTAR -1600 video source identifi-cation system using a field -programmable single -line

16 -character encoder and decoderas well as a cable system channelidentifier and a combined colorbar generator and identifier....Allen Avionics announced a newhigh frequency noise eliminatorand showed its video delay lines....Graham -Patten Systems showedits model 1200 range of video andaudio distribution amplifiers of-fering features such as differentialinput, cable equalization, and re-

mote control of signal input levels.FOR MORE INFORMATION

Forte' 338Nova Systems 339 Shintron 352Amherst 340 VideoMicrotime 341 International 353Lenco 342 Broadcast VideoHarris 343 Systems 354Hotronic 344 Television EquipmentNEC America 345 Asso 355For -A 346 Apert-Herzog 356Ampex 347 Omicron Video. 357Scientific-Atlanta 348 Microsonics 358Quantel 349 QSI Systems 359Faroudja Lab. 350 Allen Avionics .. 360Thomson-CSF 351 Graham -Patten. 361

More CCD and 2/3 -inchStudio/Field Cameras

Toshiba's micromini CCD unit providescamera closeups.

TV cameras took a back seat at the1986 NAB Convention behind suchdevelopments as new VTR tape for-mats and 3-D graphics generators.Nonetheless, two or three advancesare noteworthy. The emergence ofmore solid-state imaging camerasand the evolvement of top quality2/3 -inch tube cameras as part of acomputer setup family were mostobvious. If we were to add a third, itwould be to acknowledge the em-phasis put on HDTV. Several man-ufacturers, such as JVC and Sharp,would no doubt suggest that higherquality cameras at ever lowerprices is a trend. Possibly, but suchprogress is more a fact of life than atrend.

Both Sony and Toshiba joined theranks of producers of professionalquality CCD cameras that elimi-nate lag, blooming, and comet tails.The Sony BVW-105 Betacam cam -recorder was introduced as asecond -generation camrecorder asa result of its three -chip CCD cam-era. Rated at 2000 lux at f 5.6, thecamera puts out full video level

with only 15 lux illumination (18dB gain). It's thus good for nightrecording.

Each sensor offers 510 horizontaland 492 vertical pixels for high -quality imaging. Luminance reso-lution is increased to 550 TV linesthrough spatial offset, in which thegreen sensor is offset one-half pixelin relation to the red and blue sen-sors to effectively sample the lumi-nance signal almost 1020 times perhorizontal scan.

Sony says the sensors are accu-rately registered to within .05 per-cent, eliminating the need ofregistration adjustments. The cam-era boasts a S/N ratio of 58 dB. Dy-namic contrast compression, a Sonyexclusive, automatically adjuststhe contrast handling range de-pending on scene content. TheBVW 105 camrecorder (whichboasts additional advanced operat-ing features) will be available inJuly at a list price of $24,500.

The new Sony DXC-3000 (out ofthe Video Communications Prod-ucts Division) is another new threesensor CCD camera. Resolution isslightly less rated at 520 lines of lu-minance. S/N is 56 dB. Price is$6,700 without lens. It's availablenow.

CCD chips make possiblemicrominiature color cameras"opening up new worlds of imag-ing" to quote Toshiba. Toshiba dem-onstrated some of these possibilitiesat NAB by placing an 18 gram cam-era head (about the size of your lit-tle finger) inside a vase of flowers,

46 BM/E JUNE 1986

The OutperformedIKEGAVI'S HL -79E IS MORE VERSATILE THAN EVES

Ikegami's HL -79E has lived up to its bill-ing as the greatest achievement in hand-heldcamera technology, a claim supported by anincreasing number of 79 series purchasers,presently in excess of 5000.

And yet, today. the engineers at Ikegamihave found a way to improve the camera.Now, when equipped with the new VBA-1adapter, the HL -79E is totally compatible withthe Sony Beta recorder.

Cm your shoulder, the HL -79E is still un-matched in performance with features thatinclude Dynaniic Detail Correction, ChromaAperture Correction, Highlight Aperture Cor-rection and Auto Contrast Compression.Plus the HL -79E offers superior contrastrange, S/N ratio. registration accuracy, reso-lution and more.

On a tripod, the HL -79E becomes thepremier EFP camera which can be used invarious systems configurations and con-trolled remotely by the MA -79 MulticoreAdapter, through multi -core cable (up to 300meters) or by the TA -79E triax adapterthrough triax cable (up to 2000 meters).

-he camera can be set up using con-ventional manual techniques or an optionalmicroprocessor assist.

For a complete demonstra-tion df the HL -79E and otherIkegami cameras andmonitors, contac' us or visityour local lkegami dealer.

Adapts to Sony Beta Recorder

A A4 Est Coast.

Ikegami Electronics (USA). Inc. 37 Brook Avenue Maywood. NJ 37507st Coast. (213) 534-0050 Southeast: (8'3) 884-2C46 Southwest: (214) 233-2844 Midwest: (312) 834-g774

Cick: 128 on Reader Servi:e Card

RC -786

Full broadcast quality at16 to 30 fps with 16 or 35mm film.ADS -1 is the only telecine designed specifically

for broadcasters. It lets you compress film runningtime by as much as 25% without any unacceptable

video side -effects. With this far superior technology,you'll never again have to cut scenes or suffer from

picture degradation.ADS -1 is fully compatible with 16 or 35mm film to giveyou the increased aesthetic impact that only 35mm

can offer. You can also take advantage of the optionalexclusive dirt/scratch concealment system and an

automatic color corrector.Rank Cintel is the world's only specialized manufacturer

of telecine equipment. Backed by more than fourdecades of experience, you'll be glad to have ADS -1

on your side. For more information just call RankPrecision Indust-ies at (914) 353-1914; (215) 886-9817;

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RankPrecision Industries, Inc.

NAB Show -In -Print

within a kitten's playpen, and thelike. The CCU itself was no biggerthan a micro -sized voice recorder.Sensitivity is rated at 200 lux, f 1.6;S/N is 46 dB. Horizontal resolutionis over 250 TV lines. Toshiba alsoshowed a threee-chip prototypeCCD ENG camera, the modelTokyo.

Toshiba was not the only exhibit-or to show a microminature cam-era. Canon also demonstrated sucha unit, although it was not pack-aged as a product for sale.

As further evidence of the comingage of CCD cameras, Panasonic'sIndustrial Company showed a non -broadcast CCD camrecorder, theAG -155. It uses a half -inch CCDpickup element. Standard illumi-nation is 1400 lux at f 4.5. Thecamrecorder features a Piezo Fo-cusing System. Portends of furtherannouncements in this area werehinted at by Amperex (whichshowed some chips) and Hitachi,which has at earlier NABs showedsolid-state sensors using MOS tech-nology. In fact, Hitachi said a pro-fessional camera would beintroduced later this year (a single -chip consumer model is currentlyon the market).

Ikegami's new computer controlledcamera offers fast setup.

Meanwhile, NEC, the pre-eminent broadcast quality CCDmaker,which introduced the firstbroadcast usable CCD camera backin 1983, was displaying several ad-vances. Foremost was the new SP-3AES camera, which features anelectronic shutter. Speeds are from1/60th through 1/1500th of a sec-ond, variable in 16 steps. NEC saysthe electronic shutter approach ismore reliable and stable than themechanical shutters used by RCA.The SP -3A camera interfaces withany videorecorder including the lat-

est M -II and 8 mm formats. Anoth-er NEC enhancement is a RCU-3remote control unit for the SP -3A.Compatible with RTS intercom sys-tems, range is 1000 ft, standard ca-ble, and 1 1/2 miles, triax.

Continuing a trend set earlier byPhilips and Hitachi with the LDK26 and SK -970 respectively, twomore computer -controlled TV cam-eras using 1/2 -inch tubes for field orstudio use were unveiled at NAB'86-the Ikegami HK -323 and theThomson TTV 1530. Both of thenew cameras can be automaticallyset up using integral microproces-sors as well as a central engineer-ing control panel. Both can be sepa-rated from their CCUs and used inself-contained applications (with 12v power packs). Both are compati-ble (interchangeable) with otherfamilies of cameras from the samemanufacturer. Both are multicoreor triax operated. Spec sheets indi-cate rough equivalence-theHK -323 camera head does seem tohave a slight weight advantage andwill take 1 -inch tubes, if desired.The optical prism system for 2/3 -inchtubes is rated at f 1.2 for theIkegami and f 1.4 for the Thomson.

During the past year, Hitachi hasadded two new features to the stu-dio SK -970-a new optional f 1.2prism for lower light level opera-tion and a built-in shutter to catchslow motion sports action. Philipshas not stood still. All cameras inthe LDK family this year have an"A" appended to them.

The A means full plug compati-bility with the LDK 54A portable,updated software and a wider rangeof control options. An A also meansthat the cameras can be interfacedwith Philips' Coach system, whichpermits both remote control and re-mote monitoring of cameras. Thelatter feature facilitates preventa-tive maintenance since critical datais stored over the lifetime of thecamera. Comparisons with earlierreadings can reveal deterioration.Coach can remotely interrogatecameras through a modem.

Last year, Sony announced theavailablility of a complete HDTVsystem. This year it was Ikegami'sturn. The camera in the Ikegamilineup is the HDK-1125P, which in -

Video

corporates three special high -resolution one -inch tubes.Automatic setup is a feature, in-cluding a digital registration cor-rection circuit. Saticon technologyfor HDTV was was exhibited byHitachi. Coming are higher sensi-tivity tubes resulting from im-proved electon guns usingbarium -impregnated cathodes,along with high resolution as a re-sult of the uniform structure of theSaticon target. Resolution of morethan 2000 lines is possible.

FOR MORE INFORMATIONToshiba 365 NEC 367Panasonic 366 Ikegami 368

Other Cameraadvances.. .While most camera progress camein the CCD or 2/3 -inch computer -controlled area, advances werescored on many fronts. Bosch, forexample, which has rather be-latedly joined the ranks of thosemaking computer -controlled cam-eras, showed for the first time inNorth America its one -inch tubemodel, the KCM-125. Among itsfeatures is an integrated automaticdynamic lens error correctionsystem.

Bosch also announced intentionsof marketing in the U.S. itsKCF-IB portable (popular in otherparts of the world). Toshiba is re-turning to the U.S. market it saysoffering -in addition to CCD cam-eras- the sophisticated computercontrolled PK-50 line. (The 501uses 2/3 -inch tubes.) Hitachi said itwould be modularizing itsSK -9T970 line to increase its flexi-bility. The company also showed arevitalized CV -One, the cam/recorder using an 8 mm metal tapeformat, "to test broadcaster reac-tion." The revamped unit is fullbandwidth (4.5 MHz luminanceand 1.4 color difference). Recordingtimes are 11 minutes and 15 min-utes. Camera head is the SK -88.

JVC expanded it line of camerasby announcing the ProcamKY320U, a three -tube Plumbicontype with many automatic features.Horizontal resolution measures

BM/E JUNE 1986 49

A TOUGH ACT TO FOLLOWGenesis 1TM With ACT ir $27990

Genesis 1 ACT 1, Microtime's high quality, low-cost digital effects systemincreases creative capabilities to your imagination's limit Create throughself -prompting, icon -driven menus and instructions for sequences involvingmoves, freeze, Nos, tumbles, posterize, shadow variable aspect ratio,XY mosaic, strobe, and source change.

Genesis 1 ACT 1 offers: 3 -Axis joystick control Keyfrarne creation of sequences Smooth curvilinear movement Frame accurate duration of a sequence Routing switcher interface for dual input switching

when flipping and tumbling Three leves of sequence storage:

RAM, internal and portable

Genesis ACT 1...A user-friendly digital effects system for your videoproductions. An ACT not to be missed at $27,990.

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Genesis 1 and ACT I are trademarks of Microtime, Inc

Northeast, Ray Bouchard (609) 896-3716Central, David Everett (312) 934-9191

Southcentral, Steve Krant (214) 644-0232Southeast, Jerry Rankin (404) 979-4437

Western, Chuck Bocan (714) 989-4433

Cfcle 130 on Reader Service Card

NAB Show -In -Print

more than 650 lines at center. Atthe high end of the Procam line isthe 900 series, which includes low -capacitance diode gun pickup tubesand f 1.4 prism optics. Another newcamera is the single -tube GX-N8PCU camera designed as a inputsource for computer graphics sys-tems. Sharp showed a three cameraremote control capability designedfor its XC Al line.

Philips stressed that its A versionof the LDK54 is truly a multirolecamera operable as a standalonecamera, a cam/recorder combo, orconnectable to any of the largerLDK cameras. It's available in atriax mode . Panasonic introduced atriax cable system for its AK -30hand-held ENG/EFP camera.

Ikegami's popular HL -95Unicam was at the show configuredthis year to connect with the newPanasonic M -II metal particle taperecorder-the NBC choice. TheHL -95B boasted new 2/3 -inch Plum-bicon pickup tubes (with diode elec-tron guns and electrostatic focus)for high sensitivity and high resolu-tion. A video camera for night timeuse was shown by Pag of America.Produced in Israel, the Nitecamuses an infra -red laser combinedwith a image intesifier tube. Clearpictures at distances of 300 feet canbe obtained in total darkness.

FOR MORE INFORMATIONBosch 369 Sharp 373Toshiba 370 Philips 374

375376

Hitachi 371 PanasonicJVC 372 Pag of Am

Latest LensDevelopmentsNew Schneider TV lenses at NAB86 reflected recent cameratrends-a new 14 X zoom for CCDcameras (the TV -56) and a newhigh resolution 17 X low weightcompact lens for 2/3 -inch tube fieldcameras, the TV -80. The TV -56 14X is called the APO-Varon. It fea-tures true Apochromatic design inwhich all colors are focused on pre-cisely the same image plane, neces-sary for CCD cameras. The TV 80 isa brand-new lens offering high res-olution and low chromatic aberra-tions. New servo modulesincorporate digital feedback and

auto alignment. With a 8.5 to150mm focal length, f 1.4 aperatureit is wide angle. It has 2x built-inextenders. Schneider also intro-duced a new group of wide angle14.5 X lenses: type TV -64, 65, and66, for studio applications coveringall three major tube diameters.

Angenieux introduced a majorchange in that it has replaced gearswith belts in its EFP lenses to re-duce noise and weight. This newfeature is a "new generation" of 18X lenses for studio use. Innovationsinclude recessed hood handles and adigital readout for iris position,diascope location, etc. Among manynew entries, it debuted a 15X9 f 1.2EFP zoom for 2/3 -inch format camer-as making it the fastest 15X in theindustry. It offers a wide angle of 53degrees. Zoom rod construction re-places internal pins to withstandshock damage.

Three other new lenses were a 14X 7 ENG/EFP boasting an angle of64 degrees, a 14 X 8 ENG type, anda 14 X 9 ENG type, all with an aper-ture off 1.6. lens. All of these lenseshad a center of gravity closer to thecameraman for better balance.

Fujinon brought out a newA18X8.5ERM zoom as a "new stan-dard" for ENG applications. It not

Video

only has the range, but it is smallerand lighter, weighing but 1 1/2 kg.At the 8.5 wide position, the angleis over 65 degrees, making the lenssuitable for studio use, too. Aper-ture is f 1.7 flat to 116 mm droppingto f 2.3 full telephoto...To assure itsclaim as a source for the very widestangle ENG lenses, the companyadded this year the A8.5X5.5RM.Field of view exceeds 77 degrees.

Fujinon's modular constructionadvantages were demonstrated innew P17X16.5ESM, P20X14ESMand P44X18ESM zooms. These in-clude easier serviceability,operability-and improved per-formance. They are also shorter andnarrower than most lenses.

Canon's principal new lens thisyear was the HDTV PV14X12.5BHD. lts performance was demon-strated in the special HDTV areamounted on a Sony camera. Its focallength is 12.5 to 175 mm. Minimumobject distance from the focal planeis 0.7 m. Aperture is f 1.6...Schwemintroduced at wide angle attach-ment for its image stabilizingGyrozoom 60/300 lens.

FOR MORE INFORMATIONSchneider .377Angenieux 378 CanonFujinon 379 Schwem

380381

Video Editing:ExpandingCapabilites,Shrinking CostsIn a technology -dependent in-dustry, it's expensive to be in thevanguard. The very latest top -of -the -line computer -based equip-ment, while impressive, is almostby definition the most expensive.

Its benefits, however, trickledown to the general populationwith a speed and reliability thatcan almost make one believe insupply-side economics. Yester-day's state-of-the-art equipmentoften becomes the basis for today'sworkhorse as components become

less expensive to produce.It was no surprise, then, that the

major editing system activity atNAB '86 was from companiesshowing streamlined editors withreduced pricetags and augmentedcapabilities. An excellent exampleof this trend was the newECS-1000 from ConvergenceCorp., designed to control up to sixserial VTRs of any format viaRS -422 interfaces. One of the ex-citing features of this new systemis that it has no rack -mounted

BM/E JUNE 1986 51


electronics at all-all its featuresare contained in a single compactbox.

Those features include multipleassignable record, 1000 lines ofedit decision list, sequential andcheckerboard auto assemble, and409 and Cleanit list managementroutines-virtually all the capa-bilities of Convergence's 200Series editors, in a more compactand less costly package. Prices forthe 1000 range from $17,500 to$25,000, depending on list man-agement capabilities and numberof VTR interfaces.

Things are cooking at CMX,which has pulled itself out of thedoldrums to reassert its leader-ship in high -end editing. Accord-ing to VP and director ofmarketing Larry Weiland, CMXhas committed itself to building areputation for not showing anyproduct that can't be deliveredwithin a reasonable time frame.

Its brand-new product for NAB'86 was the 336XL editor, a mid-range system designed as a "bigbrother" to the 330XL, with sixports as opposed to the 330's five.Along with the extra control port,the 336XL also adds shift/retardslow forward and reverse; jog for-ward and reverse; retard jog rate;advance job rate; dedicated keysfor video, audio one, and audio twoedit mode selection; short cut dis-solve (with last dissolve rate); andshort cut wipe (with last code andrate). It also has a raft of addition-al time code functions and storesmultiple EDL files on floppy disk.

CMX has long featured com-plete upgradeability, and the330XL is upgradable to a 336XL,which, in turn, is upgradable allthe way to a 3400A. A basic 336XLsystem, including a Multi -I2 chas-sis with interfaces for a switcherand three VTRs, is about $30,000.Deliveries should begin thismonth.

CMX editors have long controll-ed ATRs as well as VTRs, but thisyear, CMX expanded its audiocapabilities with an audio consoleinterface, an option for theMulti -I2 that allows CMX editingsystems to control Graham -Pattenaudio mixers and the Harrison

PRO -7 audio board.Another new software product

from CMX is the EDL Optimizer,an edit list management toolavailable in versions for IBMPC-compatible formats and forCMX systems.

Sony, whose BVE-3000 andBVE-5000 editors are well-knownin the middle- and high -endranges, also showed a trimmed -down editor. The new BVE-900 isa four -machine controller thatwill interface to any combinationof U-matic, one -inch, and Betacamrecorders. Source selection andcontrol can be performed even dur-ing another automatic event.

The 900 features serial or paral-lel switcher control of crosspoints,

Convergence's new ECS-1000 is a self-contained editor with 1000 -line EDL.

main fader, keyer, wipes, and dis-solves, along with audio mixercontrols for automatic audioswitching and crossfades. It alsohas three assignable GPIs and dy-namic motion control, both storedin the edit decision list.

Other BVE-900 features in-clude a menu -driven display, ef-fect mode display, reading oflongitudinal and control tracktime code plus VITC and user bits,and color framed or matchedframe edits. The system lists foran economical $11,595.

The EMME system from EECOwas shown in four new versions,all built around the new Compu-terized Editing Workstation, acomputer -style keyboard inter-changeable with EMME's two oth-er workstations. The newentry-level EMME is the Model395, a $13,500 A/B roll system

with time code and basic list man-agement. The Model 595 adds in-termediate list management andsequential auto assembly; it sellsfor $17,500. Next up is the Model795, with an eight -inch floppy diskdrive and $19,950 pricetag. Top ofthe new line is the Model 995, withfull list management and a longi-tudinal time code generator. It ispriced at $24,950. All four modelscomplement the existing 3000Series of EMME, which starts at$26,950.

EECO also added a new modelto its IVES line with the introduc-tion of the IVES PRO, a three -machine, A/B controller withremote electronics and detachablekeyboard. IVES PRO will inter-mix half -inch, 3/4 -inch, and one -inch VTRs and also controls aspecial effects generator and splitsaudio and video for editing.

United Media celebrated itstenth anniversary by introducingthe Comm-Ette, a low-cost A/Broll editor with list management,250 -event memory, standard GPIswitcher control, and optionalauto switcher control. Other ad-vanced features include frame -by -frame VTR control for animationrendering and checkerboard autoassemble. The "industry -compatible" EDL output can bepaper tape, disk, or printer.

Its keyboard includes one user -definable key capable of 120 deci-sions. The three -machinecontroller also controls Pyxis andother serial machines. It is frame -accurate and can be upgraded toother UM products. Prices rangefrom $6500 to under $10,000; autoswitcher control ups the top priceto $12,000.

Calaway Engineering intro-duced an enhanced CED editingsystem called the CED + . TheCED + has all the capabilities ofthe CED, plus an expanded key-board, increased error/helpmessages, and additional macrofunctions. It also has expandedGPI functions for E-MEM control,variable speed control, and emula-tion of the Quanta Q8 CG key-board. The fully loaded CED + ,

with control ports for six machines(the CED controls four), is

52 BM/E JUNE 1986

NAB Show -In -Print

$20,500; basic systems start at$10,500.

Videomedia introduced a pair ofextremely low-cost editors, theMickey 1 and Mickey 2, so namedbecause of their mouse controllers.The Mickey 1 is a two -machine,cuts -only editor with distributedintelligent VTR interfaces, print-er output, mouse control input,50 -event memory, and GPSI forcontrol of external devices such asATRs or character generators. Notbad for $3500!

It is upgradable to the Mickey 2,a full A/B roll system with Auto -Match, Auto -Tag, extend edits,and internal video dissolveswitcher and stereo two -channelAFV mixer, both with full autodrive. Mickey 2 lists for $4500.

FOR MORE INFORMATIONConvergence 384CMX 385 United Media 388Sony 386 Calaway 389

EECO 387 Videomedia 390

Ultimatte, FaroudjaStretch Limits of NTSCWith all the current talk of com-ponent video, NTSC sometimesseems like a neglected child. Itspervasiveness in television, how-ever, makes it perilous to ignore.

One company no one can ac-cuse of giving NTSC short shrift isFaroudja Laboratories, whose in-novative CTE-N NTSC encoder isdesigned to eliminate many ofthe artifacts considered inherentin the NTSC signal. Combined withthe CFD-N decoder, the systemmakes possible manipulation andstoring of NTSC computer graph-ics, and high -quality NTSCmatting.

The latter capability was quicklyseized upon by Ultimatte Corp.,which demonstrated exceptionalmatting quality using one -inchvideotaped foreground material-never before possible.

Video

Other EditingSystems...Editing system advances werenot, of course, confined to themidrange. In large-scale systems,Grass Valley Group announced anupgrading of its Series 51 editor tothe new 51E. New features in-clude version 3.0 software (sched-uled for July 1 release) andadvanced diagnostics that testhardware on the system computer.Trace and 409 software are stan-dard. In addition, a new displayformat maximizes clarity and effi-ciency of use, and the screendisplay has been "tremendously"speeded up, according to a GVGspokesperson.

Two timely enhancements forthe 51E are interfaces for Matsu-shita M -II format recorders andfor the Abekas A62 digital disk re-corder. Even more exciting is a

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brand-new "effects jog" featurethat lets the user move GVG's Ka-leidoscope component digital ef-fects unit through an effect withthe editor's jogger wheel. In the fu-ture, the company aims for evengreater control of the Kaleido-scope. System 51 editors now inthe field are upgradable to the51E.

According to CMX, over 100 top -of -the -line 3400A editing systemshave been delivered since the on-set of shipments last summer. The3400A is an all-out system for theserious post -production facility. Itfeatures Dynamic Motion Memo-ry, a routine that allows the ma-chine to learn or program asequence of motion changes on upto six playback VTRs simultan-eously.

CMX's 3100, the recently intro-duced replacement for the 340XL,made its first NAB appearance.This advanced system featurescontrol of eight devices (out of 24assignable), GOTO machine con-trol functions displayed in -timefor individual devices, and sophis-ticated match cut calculation.

Ampex's ACE editing systemwas shown with new Version 3.0software that greatly expands itscapability to control productionswitchers.

The new software, which is be-ing shipped as a free update toACE users, applies not only to thestandard ACE system but also tothe ACE Micro, which differs fromits larger sibling only in number ofcontrol ports.

Version 3.0 controls effectsinvolving up to three M/E bankson the AVC switcher, with most ofthe control from the ACE key-board. All information goes di-rectly into the edit decision list.The editor can loop through M/Esto add ADO efx and keys, takingthe ACE far beyond static GPIclosure.

An important facet of the multi-ple M/E feature cluster is the AddProgram Mode, which allows con-trol of non-AVC switchers.

Paltex expanded the top of itsline with the new Esprit Plus,with control of three to six ma-chines and a price range of

GVG's System 51E features expandedcontrol of the Kaleidoscope.

$50,000 to $60,000, depending onconfiguration. Paltex is particu-larly proud of its editors' ability tocontrol VTRs of any format andmanufacturer, including the newM -II machines and the AbekasA62.

A new feature of the Esprit Plusis multiple assignable record, al-lowing any number of VTRs to beselected as main record or slaveVTRs for sync roll editing. In addi-tion, the Learn Mode control sys-tem has been enhanced with auser -programmable "slow play"and "speed set" key that lets theeditor "learn" VTRs at differentspeeds, forward or reverse. A newData Store system provides flexi-ble switcher memory storage andinterfaces with any switcher, ac-cording to Paltex.

Convergence's top -of -the -lineECS-205, introduced last year, isnow in full production. Its ad-vanced features include control ofup to eight VTRs with multiple as-signable record; interformat capa-bility; 1000 -line edit memory;automatic switcher crosspoint se-lection for designated "active"

CMX's 3400A is the top of the line.

source VTRs; and sophisticatedlist management. At the other endof the scale, the recently intro-duced ECS-195 was also shown ina variety of configurations.

Editron, the Australian editingmanufacturer that attended lastOctober's SMPTE convention,came to its first NAB with its100A, 500A, and 500V editing sys-tems. The 100A, which controls upto four machines, now has an im-proved keyboard with a detacha-ble panel that allows the keyboardto be positioned remotely.

The 500A, capable of activelysynchronizing up to 15 machines,has been upgraded with 99addressable interfaces, subframecapability for ATRs, soft keys, andjam sync record. New features forthe 500V are six -machine capabil-ity, soft keys, and chase modeoperation.

Videomedia's editing systemline, including the Eagle XR, I,and II, and the recently introducedMagnum, were also on view. Alsofeatured was the Eagle III, an A/Bediting system designed forinterformat editing of half -inch,3/4 -inch, and one -inch material.The Echolab SE -3 computerizedproduction switcher with customsoftware is a standard feature ofthe package, allowing multileveltransitions to be defined in theedit list and executed by theediting system.

BHP's EnVision touchscreen-controlled video editing system isnow being delivered. A searchmode and CRT status screen arenow standard features with thesystem. This off-line system willproduce either a CMX-compatiblefloppy disk for on-line auto assem-bly, or a conforming log in filmedge numbers for film conformingusing standard techniques.

United Media featured its eight -machine Commander II, alongwith the Mini -Comm A/B roll edi-tor, upgradable all the way to theCommander II.

PEP featured its direct edit in-terface designed to allow VHSsource video to be edited directlyto 3/4 -inch via a Sony edit control-ler, with no equipment modifica-tions necessary.

54 BM/E JUNE 1986

CoverinAll the

asesM ative TimeBase Correctors from FOR -A. Thesehigh performance systems combinethe latest advances in digital andcomponent signal processing withthe versatility to handle everyprofessional broadcast and post -production application. FA -410 Tune Base Corrector-The

full -feature "Workhorse" TBC withDynamic Tracking' for the SonyBVU-820 and Panasonic NV -8950VTRs.

FA-400/FA-420 773Cs withFrame/Field Picture Freeze plusprocessing of Non -Synchronoussignals from remote locations orNon -V -Locked VTRs.

FA -43C. TBC with ImageProcessor-Providing the ultimatein cdor correction, imageenhancement and noise reductionwith Y/C Dub, Dynamic Trackingand DOC.

FA -440 TBC with Video ProductionEffects-An exciting array ofmultiple digital effects includingCompression, Inversion, Mosaics,Posterization and Multi -Move.

FA -E00 AUTOCOR FrameSynchronizer with Automatic Lem,Condos-Now with capability forcorrecting 1" (Type C) VTRs,including Velocity Correction,DOC end VTR SC mode.

FA -450 Component InterfacingIBC-Handles any component,Y/C Dub or Composite Signaland provides Full TranscodingInte-face capabilities includingdecoding and encoding functions.Employing 4:2:2 sampling and 8 -bit encoding for each component,the FA -450 provides Full -FrameCorrection, Color Picture Freeze,DOC and Dynamic Tracking.Designed with future videotechnology in mind, the FA -450upcates existing systemsanc insures against formatobsolescence.

So cower all the bases and join thewinning team. FOR -A is ready toreview its versatile line-up with you.Call your FOR -A dealer . . . and askabout our new 2 -year warranty.

amatic and Dynamic Tracking are registeredtrademams of Sony Corporation.

INNOVATIONS IN VIDEOand AUDIO TECHNOLOGY

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FOR MORE INFORMATIONGVG 392 Editron 397CMX 393 Videomedia 398Ampex 394 BHP 399Paltex 395 United Media 400Convergence 396 PEP 401

Time CodeEECO introduced six new modelsin its Eeconoline family of SMPTEtime code equipment. Included arethe PTG-56 portable reader/generator ($1995), the MTG-57master generator/reader ($1795),the TCR-66 mini time code reader($1295), the TCR-67 desktop read-er ($1495), the VCG-76 miniaturereader/inserter ($1595), and theVCG-77 reader/inserter withfront -panel display ($1795).

Skotel expanded its time codeline with the introduction of theTCR Series time code readers intwo models. The TCR-111 is a com-pact SMPTE/EBU reader that op-erates at tape speeds from 40xreverse to 80x forward. It has op-tional RS -422 control port, micro-processor control, and powerbackup. The TCR-112 has all the111's features, plus simultaneous,independently controllable dis-play of time and user bits,

selectable character heights, char-acters positionable anywhere inthe raster, and legible black orwhite characters with or withoutcontrasting window.

New from Cipher Digital wasthe CDI-750, a combined reader,generator, character inserter, andevent controller. The micropro-cessor -based time code system of-fers programmable jam syncmode, built-in time -of -day clock,RS -232 computer interface, and16 -event controller.

Development continues on GrayEngineering's DT -213 SMPTEtime code generator and dualcharacter generator, introducedlast year....Datum featured its fullline of time code products, includ-ing the 5350 generator, 5360 read-er, and 5300 intelligent timeprocessor....Comprehensive Videofeatured its $345 Log -It 100 porta-ble time code reader and loggingsystem, based on the Radio ShackModel 100 lap -top computer.

FOR MORE INFORMATIONEECO 402 Gray 405Skotel 403 Datum 406Cipher 404 Comprehensive . 407

More Competition inPost -ProductionTelecinesThe high -end, post -productiontelecine business, long dominatedin this country by Rank Cintel,may begin seeing some genuinecompetition as Marconi and Boschstrengthen their marketingstances here.

Marconi, whose CCD telecinewas again showed by A.F. Associ-ates, has added features designedto increase the product's appeal toU.S. post -production houses. Oneof the most important additions isvariable speed transfer, whichRank and Bosch have alreadyshown. The Marconi system al-lows the user to calculate the per-centage of compression orexpansion or to let the machine

perform the calculations itself.Marconi showed the telecine

with its Prefix programmable con-trol system, which also has a sig-nificant new feature: colorcorrection during still frame. Pre-viously, the system could color cor-rect moving pictures only, forcingthe user to jog back and forthwhile performing color correc-tions.

Also new is an XY postioner forthe telecine. In all, Marconi hasadded features now demanded forhigh -quality film transfers.

Meanwhile, both Bosch andRank showed their establishedtelecine and film transfer prod-ucts. Bosch's FDL-60 CCD tele-

cine was shown with its full rangeof features, including slow motionplayback, programmable freeze ordefreeze, variable speedes of 16 to30 film frames per second,preselection of negative film stocktype, and full -format playback ofCinemaScope films (PanScan).The FDL has built-in manual col-or correction and an optional grainreducer, plus options such ascomputer -controlled film repro-duction programmer, A/B inter-face, wet gate, secondary colorcorrection, and negativematching.

Rank's booth featured theMK3C flying spot telecine, latestversion in Rank's popular MK3line, in its standard broadcast -resolution version and also in thenew MK3HDTV high -definitionversion, designed for mastering onthe 1125 -line, 60 Hz HDTV stan-dard. Options for the MK3 includethe Amigo preprogramming con-trol computer, which offers ad-vanced control and colorcorrection facilities for MK3 seriestelecines, and the X -Y Zoom unitwith mini joystick positioner, 6:1zoom range, and preprogramm-able zoom and position. Rank'ssolid-state ADS1 multiplexed on -air telecine was also featured.

Rank was not the only manufac-turer showing an HDTV telecinethis year-understandable since35 mm film offers a mass of ready-made product for the fledglingHDTV market. Ikegami, whichhas shown telecine cameras formany years, introduced an1125 -line format high -definitiontelecine system to complement itshigh -definition camera and pro-jection system. The basis of thetelecine is an HDTV telecine cam-era with three one -inch diode gun,low capacitance Saticon tubes andfeaturing 1200 TV lines of resolu-tion, 30 MHz video bandwidth,and auto setup with a diascopeslide.

The 35 mm projector for thetelecine is pin -registered to elimi-nate vertical jitter.

FOR MORE INFORMATIONAFA/Marconi 408 Rank 410Bosch 409 Ikegami 411

56 BM/E JUNE 1986

-411.4-00.4

zooms into view...Announcing X -Calibre from GML. The new

dual channel, multiple input digital video efectsunit that gives you a brilliant, highly versatioe zoomano trajectory capability with infinite size int-,rease

. . . instantly, a! the touch of a button.A cursor can be positioned anywhere 9n the

screen for zoom starting point and for anyrequired trajectory. With further zoom variationssuch as slide and tumble. spin rotation . . . al' theflexibility you need.

Plus a vast repertoire of othereffects - including vertical inversion, Inn

horizontal and vertical compression, segmentedreveals and coriceals between channels, full re-entrant capabi.ity - and full digital signal processing,in one superbly designed complete package.

With two TBC's, frame and field capabilityand a host of advanced features, X -Calibre is wayout in front, Wit*, nothing to touch it for anythinglike the price.

Ask for a demonst-ation of the X -Calibre DVEnow And see for yourself what highperformance, versatility and ease ofoperation are all about.

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GML France, 50 Bis. Rue Maurice Arnoux, 92120 Mc.atroupe. Fiance I GML America Inc. 8150 Leesburg Pike, Suite 910. Vienna, Virginia 22180



Compact SwitchersGain Full -SizedFeaturesAmid the glitter of graphics andthe glamour of effects, it takes athoughtful eye to discern develop-ments in less "sexy" product areas.Fortunately, broadcasters under-stand that no matter how muchpizazz the picture has, it won't getto air without solid controlequipment.

That requirement was an-swered in abundance at NAB '86with a host of new, compact pro-duction switchers packing manyof the features of their larger sib-lings. These versatile switchersare at home in a variety of applica-tions, from on -air control room toedit suite, and often feature exten-sive special effects. Many are de-signed to allow control from anediting system. Their only re-maining limitation is number ofinputs.

The Bosch RME Series produc-tion switchers aren't reallynew-hundreds are in operationaround the world-but Bosch hasnot actively sought the U.S. mar-ket and has sold almost none onthis side of the ocean. That can beexpected to change now, accordingto the company, as Bosch mounts aserious attempt to crack the U.S.broadcast facilities market withthe compact switcher line.

To further that aim, Boschshowed new features and capabili-ties for its R102ME switcher, de-signed for both production andon -air use. For example, theswitcher has a mix key stage thatgives each mixer level operationalcombinations previously limitedto multiple, cascaded M/Es. Alsofeatured are separate preview andkey buses, RGB chromakey, bor-derline key, flip-flop program/preset buses, NTSC pulseprocessing, and an extensive wipeselection including 19 modifiablerotating patterns.

Options include dual or singledownstream keyer, tech preview

Intergroup Video Systems introducedthe 9420 20 -input productionswitcher.

bus, encoded chroma keyer, digi-tal effects processor control, and asophisticated digital memory sys-tem called CFM (control functionmemory) that memorizes as manyas 10 sequences of up to 100 takeseach. CFM is also available on theR51ME, smallest member of theRME family.

While Grass Valley Group'spopular 100 and 1680 productionswitchers were basicallyunchanged from last year, thecompany made news-and even asale-with an HDTV version ofthe Model 100, shown as part ofthe Sony HDTV exhibit.

According to a GVG spokesper-son, the HDTV switcher was es-sentially a standard Model 100CVcomponent production switcherwith the video bandwidth andpulse processing systems adjustedto accommodate the higher linerate and wider bandwidth re-quired for high -definition video.The ease with which GVGreconfigured the switcher forHDTV use can be seen as anotherindication of the value of compo-nent processing in easing the tran-sition from today's studios to thoseof tomorrow.

Intergroup Video's new produc-tion switcher line spans the dis-tance from midrange to large. The9000 Series, an update of Inter -group's previous 900 Series,consists of two groups. The first,the 9400, comes in three models,two with 10 inputs and one with

20. All include two independentM/Es, a program/preview mixer,and a downstream keyer/edger.The 9410S has LED shadowswitches; the 9410E and 9420have illuminated switches. Thesecond group, the 9300, consists oftwo 10 -input models with LEDshadow switches and illuminatedswitches, respectively, each withtwo M/Es with shared patterngenerator.

An intriguing new product fromCrosspoint Latch recalls ALTAGroup's successful Pyxis, de-scribed in the story on editing sys-tems. The 8200 Excalibur is amini-switcher that incorporatestwo 16 -line -window digital TBCs,with independent posterizationfor each TBC. Digital effects in-clude push on, push off, pull on,posterization, and mosaic. Excali-bur also features two levels ofkeys, colored borders, full color-izer, joystick positional, 12 wipepatterns including circle, two -channel audio mixer withbreakaway, genlockable RS -170Async generator, four black burstoutputs, GPI, and master fade toblack. Quite a bundle for $8995!Options include serial and paral-lel control from editors, seven-

input stereo audio mixer, andRGB chromakeyer/color bars.

Crosspoint Latch also intro-duced a compact post -productionswitcher, the 6129 AHK, with twoM/Es with shared or optional sec-ond pattern generator; up to fivelevels of keys (two chromakeyers,one optional); and two down-stream keyers (one optional).With all the standard features andoptions, this adds up to a very ca-pable machine. Two modes ofautomation-independent rampmode and sequence mode-arestandard, as are 32 patterns withborders, soft edges, symmetry, andpreset limits. Stereo AFV andauto disk are available as options.Prices start at $10,995.

Central Dynamics' CD1080 pro-duction switcher now has a built-in isokeyer that allows multipleinputs to be put onto a single chan-nel. The switcher also now incor-porates a routing switcher controlpanel, reflecting the trend toward

58 BM/E JUNE 1986

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r- STANDARD FEATURES

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2Circle 133 on Reader Service Card

NAB Show -In -Printvideo

increasing the power of therouting system; each switcher nowhas inputs selected from the rout-er, so the router drives the plant.

Echolab introduced a powerfulcompact switcher, the DV -5, de-signed for teleproduction and post -production applications. The12 -input switcher has threekeyers and two mix/effects sys-tems, along with three digital col-or generators and front -panelprogrammability.

In the Programming mode, theDV -5 stores control sequences forlater playback via a keypad. Se-quences may be stored and re-called later in Production mode,which allows switcher control ofboth wipe patterns and digital ef-fects. The switcher has more than40 wipe patterns. Options includeRGB or composite chromakeyer,SMPTE editing interface, audioswitcher/fader for AFV, dropshadow generator, NTSC or PALoperation, quad splits, and rotarywipes.

Ross Video introduced the Mod-el 216 production switcher, a16 -input version of its compact210, introduced last year. The 216features the Ross Multi -Level Ef-fects system, along with full tran-sition preview, downstream keytie, built-in memory, analog keyborder generator, and serial inter-face to editing systems.

While Convergence Corp. is aname that hasn't been associatedwith production switchers (despiteits recent association with ALTAGroup), the company's introduc-tion of the SE -100 switcher/effectsunit seemed natural. The SE -100is an off-line system expressly de-signed to operate under control ofConvergence's ECS-200 andECS-100 editors. Designed pri-marily for industrial use, it allowsspecial effects transitions betweentwo of five video/audio sourceswhen controlled by 203 or 204editing systems. Transitions areprogrammable through the edi-tor's keyboard and include 23 wipepatterns, cuts, dissolves, and ex-ternal keys.

Shintron introduced no brand-new switchers, but again featuredits Model 390 component switcher/

editor interface and its Empress2000 production/post-productionswitcher. The latter is a heavilysoftware -oriented machinecontrolled by twin Z-80 micropro-cessors and based on RS -422. TheA/B switcher has program andpreview buses, dynamic transitionmemory, a wide range of effects,built-in SMPTE time codegenerator/reader, and flexible edi-tor interface. The Model 390 is asmaller version of the Empress de-signed to handle three separatecomponent video channels at onetime and to interface with editingsystems for complete post -production of component video.

Beaveronics featured its fullline of midrange switchers, in-cluding the J&D 712, the BI -154,and the BI -156. All incorporatesync/nonsync detection and modu-lar construction. The smallest, the712, is a 12 -input unit with,among other features, a key invertswitch that allows keying to be ac-complished from either black orwhite video. The 15 -input BI -156has two identical mix/effects/keysystems, each with 32 wipe pat-terns, positioner, and matte colorgenerator.Large switchers. Grass Valley

had a significant development forits large Model 300 productionswitcher: a key extender that in-creases the number of externalkey inputs from six to 32. Accord-ing to a spokesperson, the prolifer-ation of digital effects boxes,character generators, and otherdevices that produce key signalsas well as video has created a keyinput crunch for many switcherusers. With the new key extend-ers, the need to patch extra keysignals is virtually eliminated.Rim

Grass Valley Group's Model 300 had aversatile new key extender.

The key extender has other ad-vantages, too. It increases theswitcher's split keying capability,allowing a key signal to be used asa "hole -cutter" to create an object -shaped hole in the backgroundvideo that can be filled with videofrom a third source. Shipments ofthe key extender should beunder way by now.

Ampex's midrange 4100 andhigh -end AVC switcher series,both basically unchanged sincelast year, showed up in several lo-cations within and without theAmpex booth. The AVC Series es-pecially was in evidence,demonstrating increased capabili-ty for editing system control. InAmpex's own Creative CommandCenter, the AVC was tied in to theACE editor; elsewhere in thebooth it was closely interfaced tothe ADO 1000 digital effects sys-tem and demonstrated in an audioapplication. AVC switchers werecontrolled by CMX editing sys-tems at the CMX booth and in FujiTape's NAB edit suite.

DSC featured its SX-2000D pro-grammable effects system, aswitcher designed both for on -airand post -production work. TwoZ-80 microprocessors are used tocontrol and digitize all panel func-tions and to allow automatic eventprogramming by the user or fullcontrol from a video editingsystem. Transitions may be per-formed manually or under com-puter control, with automatictransitions, and the control panelis designed to provide easy accessto all M/E, keying, and digital ef-fects functions.

Vital's new 3000 Series largeproduction switcher, introducedlast October at the SMPTE show,made its NAB debut. The 3000 isdesigned for keying power andease of operation. It incorporatesfour video keys (or a chromakeyand four video keys) in each M/E.Each M/E also has a separate keyinput with discrete filling signal,for a total of 16 self -filled keys in afour-M/E system, the largestavailable. There are no "hiddenextras" with the 3000; all featuresare standard. A three-M/E unitis $175,000.

60 BM/E JUNE 1986

FOR MORE INFORMATIONBosch 415Grass Valley 416 Convergence 422Intergroup 417 Shintron 423Crosspoint Latch . 418 Beaveronics 424Central Dynamics . 419 Ampex 425Echolab 420 DSC 426Ross 421 Vital 427

Keyers andAccessories...Graham -Patten Systems featureda new line of video keying sys-tems, the 1230 Series, designed forstandalone or integrated opera-tion. Features include multiplekey inputs, internal or externalkeying, internal matte andmasking generators, and optionalanalog bordering.

Among the new items fromBroadcast Video Systems were theCDK-1000 component down-stream keyer and the CBG-1 com-ponent color bar generator. TheCDK-1000, designed for use incomponent editing suites, allows

mixing between two componentsources with internal or externalkey modes.

BVS also showed zero loss delayline, a delay device for timing vid-eo into a switcher that guaranteesno loss in gain. The Cox compo-nent color corrector and prototypeDS -600 digital scene storer for Coxcomponent or encoded color cor-rectors were also on view.

Central Dynamics introducedthe DMK 2180 downstreammultikeyer, a spinoff of its Series80 production switchers. Thisstandalone unit can add up to fourvideo keys to any composite sig-nal. The 2180 features four key se-lectors that can be selectedindependently or simultaneously;four key sources with separate keyand fill inputs; composite ornoncomposite key source inputs;nonsync key inhibit and indicator;built-in color black generator; au-tomatic color black output;selectable sync and burst replace-

ment with automatic nonsynchro-nous defeat; and on -air tallysystem.

Any key or combination of keyscan be bordered in a variety ofstyles and widths. In addition,nonsync program material canbe keyed by using a sync outputderieved from the program mate-rial to synchronize the keysources.

Shintron showed its DK3/CK3component downstream keyer andRGB chromakeyer, which can op-erate as a standalone unit or inte-grated into a component switcher.A special feature is SLEW (super -linear extra wideband) technolo-gy, which allows the keyer toperform key fades and program/preset fades with almost no degra-dation in differential phase,differential gain, or frequencyresponse.

Mark Electronics introducedthe Osar M324 matrix wipe gener-ator, a microprocessor -based key

You provide the vibration

AThe Schwem Gyrozoom 60/300 will stabilize it

One of the torture tests we gave theSchwem Gyrozoom 60/300 ImageStabilizer Lens was an improvised dollyshot using an ordinary office chair.The chance you'll ever want to do thatis remote. Still, it's nice to knowit's possible.

You're more likely to use the SchwemGyrozoom 60/300 for conventionalhandheld applications like snowmo-

biles, toboggans and skydiving. Or evenboats, motorcycles and golf carts. Infact, almost anywhere that vibrationthreatens to ruin the shot. The Gyro -zoom 60/300 fits most 3/4" ENG/EFPcameras and eliminates virtually allimage vibration.

Consider the creative possibilities.Tripod quality images on location be-cause practically anywhere you can

put a camera you can stabilize theimage with a Schwem Gyrozoom 60/300.

Call Schwem today for a free dem-onstration. (800) 228-1333-242 or(415) 935-1226. 3305 Vincent Road,Pleasant Hill, CA 94523.

FASCHWEMTECHNOLOGY


BM/E JUNE 1986 61


signal generator that also func-tions as a three -input key selector.The self-contained system in-cludes 20 matrix wipe patterns,three auxiliary key inputs,RS -232 port for remote control,

and remote transition start for ed-itor interface.

FOR MORE INFORMATIONGraham -Patten.... 429Broadcast Video... 430 Shintron 432Central Dynamics. 431 Mark 433

Wide Choice of VideoSpot PlayersAlthough the broadcast industrymoved away from quad five yearsago, there really hasn't been any-thing on the market as an exact re-placement for the ACR-25 orTCR-100. NAB '86 saw that gapfilled with Ampex announcing theACR-225. It's a 19 mm cassetterandom-access player offering full -bandwidth video and four channelsof audio. The cassette size is in con-formance with the new internation-al standard set by the CCIR fordigital television tape recorders,but Ampex records the signal usinga digital composite footprint ratherthan the digital component format.

The composite format is morecost effective, at the same time of-fering unlimited dubbing withoutdegradation. The ACR-225 canhandle 256 cassettes on line. Theassociated library managmentpackage can identify over 10,000.But coming with a price tag of over$250,000 (no official price has beenset) and delivery of production units18 months away, the ACR-225 doesnot have the field to itself.

Competing with it are over a doz-en automated video multi -eventplayers ranging from full -roboticsystems to relatively simple ma-chine control sequencers. The cartplayers embodied in these systemsare Betas, M -I, M -II, or U-matics.Alternately, Type -C decks can beoperated by some. All are undersome sort of computer control offer-ing differing softwarecapabilities-some are more exten-sions of machine control systemsthan MERPs systems.

The sorting -out task is not easy,but systems slot into one of the fol-lowing categories: the robotics orelevator systems, which move indi-

vidual cassettes about; hand -loadedsegmented -tape systems in whichseveral individual spots are re-corded with cue -coding on a lengthof tape; hand -loaded single -spot butmultideck systems; and the ma-chine sequencer systems that do notrequire program coding.

Some, which found their genesisin the cable TV industry, play afairly simple repertoire ofcommericals and program inser-tions, sequentially obviating theneed for random access. On the oth-er hand, such units control severalchannels simultaneously, eachwith different ads. Others are de-signed to handle heavy spot loads,which might consist of news, IDs,and ads, each on their own cassette.A touted feature is the ability tomake a last-minute spot change.

Sophisticated systems can pro-gram themselves, taking a datadump from a traffic computer. Sim-pler ones require rekeyboarding.Some give you a verified log of whatwas played by reading codes; othersdo not.

In the robotics class at NAB, inaddition to the newly unveiledACR-225, were Sony's Betacart sys-tem, currently something of a bestseller; Asaca's 6000, which offersboth considerable capacity and flex-ibility; Odetics, scrambling to pick

Ampex's ACR-225 digital spot player isunveiled.

up the pieces dropped by RCA; andPanasonic showing a prototypeMERPs system for the M -II format.Odetics has managed to make sev-eral sales and proved that it wasready to take on Sony by showing aBetacart version.

Lake Systems, which has estab-lished itself well as a reliablemulticassette playback systemssupplier, seemingly assured its fu-ture by announcing La -Kart II as a"next -generation automatic pro-grammer." It's all in the software.But Broadcast System Inc. also an-nounced a second -generation auto-matic video cart machine, theDC -80. Falling more or less intothis same category is a new compa-ny, On -Air Management Inc. On -Air is an amalgam of hardware andsoftware vendors (including MarkElectronics) prepared to offer inte-grated service. Its CCS-100 is asoftware -intensive computer -basedautomation system.

Looking at station mishap prob-lems from a total machine controlperspective is Alamar. Its MC 1050automated controller provides auser friendly display to indicate thestatus of the plant and details ofupcoming events. The SC 2000 con-troller interfaces with all equip-ment, including cart machineplayers. Alamar can handle severalindependently scheduled programssuch as those required by cable op-erators, but does not tend to focuson tape editing .

Coming out of a tradition ofserving multichannel cable opera-tors are Channelmatic (since 1974)and Solutec of Canada. Channel-matic offers a variety of random ac-cess ad insertion systems, includingan automatic videocassette chan-ger, thus putting it in the roboticsclass to a degree. Solutec'sSOL-6800 system is a machine con-trol system.

Offering sequencing systemswere Commercial Cable Inc. andMatco.

But we are not yet finished. Twoother companies are major contend-ers in this field, each offering a spe-cific perspective-AF Associatesand Grumman Electronics Sys-tems. And at NAB, a third sourcethrew its hat in the ring: Video -

62 BM/E JUNE 1986

NEVER HAS Off

MADE IN JAPAN

INCHWe could tell you that Fuji's H621E1" video-

tape has a video and chroma S/N rating 2dBhigher than even our best 1" tape.

And we could tell you that now we've madeH621E even better with an audio rating that's3dB higher.

But why tell you when we can show ycu?We'll do it right before your eyes, in your owntacility. Just call your Fuji representative. He'llIntroduce you to a tape that will give you clear,

BEEN TAKEN SO FAR.crisp audio and unsurpassed picture quality aftermore generations than you'll probably ever need.

Cf course, good news travels fast. So before allthese extra dBs wind up in someone else's studio,call the nearest regionaloffice listed below toll -freeand ask them for a demonstration of Fuji H621E.Because when it comes 70 great audio and videoreproduction, why look any further?

11

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1986 Fuji Photo Film U.S.A., Inc., Magnetic Products Div, 555 Taxter Rd., Eimsford. NY 10523


stored

YOU DON'T HAVE TOREMODEL

TO ADD ONundr,eds of Background and

oreground colors can be

tta Resident

ai? Ma ail7

Memory

r I'E `a.14. 411414'Sit tIIIIII

1̀

With some character generators the cost for additional features is the cost of a new character generator. The Laird1500 is expanded through software updates. The operating system and 70 fonts are loaded by two 31/2" disk drives.This unique feature allows you to add options anytime, without having to scrap your entire system. Priced at $7,695the Laird 1500 is designed to expand with your horizons.

NEW ADD ON FEATURESFONT COMPOSECreates new fonts by resizing and editing any of theexisting 70 fonts. $495

DATA TABLETLogos, drawings and fonts can be traced into the1500 with an electronic stylus. Speeds the editingprocess when used in conjunction with FoitCompose. $1,495

CAMERA ENTRYDigitises art work and graphics instantaneously forediting and colorizing. (Requires separate B&Wvideo camera and copy stand) $1,995

STANDARD FEATURESO 16 resident fontsO 70 font libraryO High resolution characters (35ns, 1508 pixel x

485 scans)E Proportional spacingE 16 tab stopsE Vertical and horizontal flipH Selectable roll and crawl rateE Multiple angle italicsE. Title ModeE Flash and underlineEl Up to 100 pages of internal memory7 Dual channel operation Four quadrants of drop shadowF. Center, right and left justifyE Character tuck and overlapE 65,536 resident colorsE Insert and delete editingH Eight edge intensitiesE. Character Attributes

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NAB Show -In -Print

media. AFA's approach is to offeran off-line commercial compilationsystem to efficiently make up a dai-ly reel for a one -inch tape player (orother deck). Videomedia's Q -Star IIis of this genre. Grumman offers anad insertion system but wants to in-tegrate this capability with salesand traffic control automation, in-cluding billing, right on through tocomplete machine control.

Bearing these major distinctionsin mind, each boasts a variety offeatures designed to appeal tobroadcaster's needs-a "world wait-ing for a more sophisticated auto-mation and control system," to useSony's words as it discussed librarymanagement needs under theheading of future technology.

Sony sees this need as the abilityto communicate with traffic man-agement computers, automationsystems, and library managmentcomputers pretty much all at thesame time without creating con-flict. The library management sys-

Odetic's robotized cart player includesredundancy.

tem Sony envisions would store1200 cassettes (sufficient for thebusiest station or network) butwould have an instant access portfor inserting a cassette for one ortwo plays.

The Odetics TCS-2000, whichholds 280 carts on line, tracks65,000 in its database, and down -

Video

loads from a traffic system,simplifies to a great extent pro-gramming concerns. TheTCS-2000's 1000 -event look aheadgives you a printed list of neededcarts. It also gives you an "as seen"log. Saturation spot carts neverneed leave the machine. TheOdetics robotics offers considerableredundancy. Run from an IBM AT,requirements are not onerus. Pres-ently, the system operatesBetacarts and M -I players.

Asaca's ACL-6000C, whichstores 600 cassettes all under com-puter control, is one of the mostflexible program control systemsavailable today. Barcodes are usedto locate the correct cassette, anddeliver and preroll it. The deliverysystem performs load and unload in15 second. In conjunction with a re-cord VTR, editing can be accom-plished. A complete softwarepackage has been designed byDubner Computer Systems. TheACL-6000C is run by a host corn -

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puter that interfaces with a trafficcomputer. At NAB, Asaca was of-fering systems for either Betacamor M -II cassettes.

The "next generation" of auto-matic machine control program-ming, heralded by Lake Systemsand Broadcast Systems, relies onsoftware control to expand flexibili-ty yet keep operations simple.These systems do not require auto-matic cassette loading. At present,Lake's La -Kart II goes further thanBSI in that it extends to routingswitcher control, master control,and production switcher control inone direction and to a traffic com-puter in the the other (Columbine).

Lake uses a 68000 32 -bit comput-er to achieve its broad interfacecapability (28 mixed format VTRscan be handled simultaneously)and its multichannel capability. Itcan also be used by several depart-ments at the same time: library(catalog) management, programlog, and execution log.

Through the use of SMPTE/EBUtime code, longitudinal and verti-cal, frame accurate cueing is possi-ble and identification, simple. Alook -ahead window identifies whatis ready and needs attention. Over130,000 -event storage is possible.

In contrast to Lake and Alamar,BSI does not use SMPTE timecodein its DC -80 but instead enters spotID numbers through an FSK head-er cue tone placed on the tape aheadof program material. The transportautomatically cues up and readsthe spot name. The new unit differsfrom the earlier DC -8 in that multi-ple segments per tape are managea-ble. The DC -80 matches the spot IDnumber with the programmedevent and displays the spot name onthe CRT. A logger prints details ofruns. The DC -80 can program 500events. The load list gives the se-quence in which spot IDs are to beloaded, but they can be put in anyavailable transport. Programediting permits late changes. A lot

of control is executed by single but-ton entries.

A description of On -Air Manage-ment's CCS-100 reads somethinglike that for the BSI DC -80. A com-bination of tone and control trackcueing is used to achieve frame ac-curate starts. Spots can be storedone to a cassette or indexed at oneminute intervals and cued in thefast forward mode. Like the BSI,each tape deck has its own control-ler. A separate system is availablefor both BSI and On -Air for off-linetape identification and editing.

The Alamar approach relies ontwo primary units: the MC -1050 (orALA -CART) automated controllerand the SC2000 machine interfaceunit interconnected by an SMPTE/EBU bus controller. The SC2000operates various combinations ofparallel connected and serial con-nected devices. To assist in spotmanagement, Alamar offers whatit calls the Media Manager (acataloger of programming materi-

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Circle 211 on Reader Service Card66 BM/E JUNE 1986


Would you like . . . the assuranceof your top maintenance engineerwherever your camera goes?With COACH you can have it. COACH - thenew Philips remote control and monitoringsystem for the LDK 6 family of automaticcameras. A system devised to give doubleassurance of the perfect performanceprovided by total computer control . . . in thestudio or field . . . with your top engineeron-line supporting your production staff.LDK 6A and LDK 26A television cameras already havethe industry's most extensive diagnostics.

The new Philips COACH is a tool for centralisedmaintenance and monitoring of the LDK 6 family ofcameras. It consists of 2 components - an interface and anIBM compatible personal computer. Simple to use,COACH provides -

remote control and monitoring of LDK 6 family camerasystems

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COACH display flexible retrieval, storage and control of camera data

with greatly expanded and highly protected memoriesto warn of approaching end of range and unusualchanges in camera set-up

in depth diagnostics monitoring including surveillance remote access via standard modems over telephone lines.

COACH, therefore, helps make more efficient and costeffective use of high grade engineeringthem to give on-line technical support and advicewhenever and wherever it is needed.

COACH is just another example of the developmentsthat ensure Philips LDK 3A and LDK 26A camerasremain the fastest selling cameras in their class with over400 sold worldwide.

Users from networks, stations, production facilities andinstitutions are discovering for themselves the benefitsthat come from total computer control. It is available fromPhilips in all tube formats . . . the 2/3" (18mm) LDK 26Aand the choice of 1"(25mm) or 11/4" (30mm) LDK 6A.

Prove the total cc mputer difference for yourself.A demonstration will prove why these cameras are

years ahead in design, performance andcost effectiveness. Call or write fordemonstration or request the descriptiveLDK 6A, LDK 26A and COACHtechnical brochures.

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LD 15

Broadcast Equipment PHILIPSReliability through QualityCircle 143 on Reader Service Card


al) and a Traffic Manager, which in-terfaces with the stations' trafficsystem.

The AFA Pegasus System 5100commerical compilation systemuses computer techniques to com-pile off-line commerical and promo-tional break material. Schedulesare inputed into the system(through a direct data dump) andthree different schedule types aregenerated: transfer, compilation,and deletion. The transfer scheduleessentially creates an edit list fortransferring material from mastertapes to a bank tape. The compila-tion schedule produces an edit listto produce the daily tape from thecompiled banks. When the compila-tion edit list is produced, an excep-tion report is prepared to inform theoperator of materials not yet en-tered into the system. The deletionschedule removes entries from thebank tape directories.

Realizing that traffic control andediting are important factors in es-

tablishing automated playback sys-tems, Videomedia has developedthe Q -Star IVA playback automa-tion system. Using high-level pro-gramming languages, many sub-routines can be called up. Using amodular approach, the systemconsists of VSIO microprocessorinput/output ports, a tape encoding(cue tones) station, and a controller.A commerical verification unit isalso part of the system.

Both Channelmatic and Grum-man systems, designed primarilyfor cable systems, include sales andbilling software. Grumman also in-

cludes a traffic control system.Channelmatic, a pioneer in the ca-ble field, has a wide variety ofequipment and software optionsavailable. Solutec, which also ca-ters to the cable world, promotesthe SOL-6800 as a multiple (8) VTRcontroller.

FOR MORE INFORMATIONAmpex 434 Alamar ..442Sony 435 Channelmatic 443Odetics 436 Solutec 444Asaca 437 AFA 445Panasonics 438 Grumman 446Lake 439 Videomedia 447BSI 440 CCI 448On -Air 441 Matco . 449

Bus Tours: Routing,Distribution, ControlFor some years now there has beenan undercurrent, if not a full-fledged tidal wave, of increasingdependency on routing and control

automation. Due to this pressureto automate and gain a more thor-ough control over an astoundinglycomplex television plant, all in the

Up to 5000 messages/second No central processor, no central failure point SMPTE interface

68 BM/E JUNE 1986

interest of better performance,both technically and economical-ly, many manufacturers haveentered the routing switcher, distribution, and master controlwaters. To the consternation ofmany, this has resulted in severaldifferent kinds of systems, oftennot willing to talk to each other,causing a reluctance on the part ofbuyers to dive in and take theirchances.

In the interest of stemming thetide of incompatible control sys-tems, the European BroadcastingUnion Specialist Group for Re-mote Control and the SMPTE Sub-committee for Remote Controlhave "produced a complete basicarchitecture for a television con-trol system," now known as theEBU/SMPTE bus (ESbus).

To no one's surprise, the topic ofcontrol standards exploded at the1986 NAB as one of the most dis-cussed obstacles for modern TVand involved, to some extent, a

little controversy over not only fu-ture direction of systems architec-ture but where we really are rightnow, even with a standard. An ex-hibit at the show demonstratedthe equipment of various manu-facturers working together,communicating over the ESbus.

The equipment involved in thedemonstration obviously includesendorsers of the ESbus includingan Ampex VPR-3, a SonyBVH-2000, a Sony remote controlpanel, a Bosch control panel, acontrol panel from the Institut FurRundfunktechnik, Gmbh, a buscontroller from the BBC, two buscontrollers from Dynair, and aTektronix bus analyzer. Convin-cingly, all the various control pan-els, regardless of whether the BBCbus controller or the Dynair buscontroller was in use, workedflawlessy on all of the VTRs in allfunctions no matter what mix ofequipment was used. According toTom Meyer, who chaired the joint

EBU/SMPTE effort, and MikeStickler of the BBC, who repre-sented the EBU, all of the equip-ment was received from themanufacturers just hours beforethe demonstration, and was sim-ply unpacked, plugged in and,from the moment the bus control-ler was turned on, it worked.

In addition, the Tektronix DataBus Analyzer not only monitoredall the various equipment, ran di-agnostics, and performed severalother functions, it was also capa-ble, should the bus controller fail,of being used to control the bus asa backup to the controller.

Tom Meyer, commenting on thestandard, maintained that "youcan build a system that's betterand faster than a standard, whichis, by definition a compromise, butwe needed to develop an open con-trol architecture that anyone canput pieces into, hook up, and haveit work." The system had to besimple, effective, economical, and

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easy to implement. Thus the cornpromise should become, to a cer-tain extent, the strength, i.e. theversatility of the system.

The counter -flow in this tide ofcooperation came with Utah Sci-entific's surprising announcementof its new distribution systembased on its own "universal con-trol bus," the Dynabus. TheDynabus, developed by Utah Sci-entific engineers, is intended to

address many of the same issuesas the ESbus but, according toLyle Keyes, president of Utah Sci-entific, accomplishes its task at upto 50 times faster than the ESbus.Indeed, rate of data transfer wasthe impetus behind the develop-ment of the Dynabus Data Net-work, which currently operates at1 Mb but, pending incorporation ofa new chip, the speed will jump to2 Mb.

StandardSetter

The Standard -Setting Telephone Interface(Modestly Improved)

It's no secret. Studer has become the acknowledged leader in high qualitytelephone interfacing equipment. The Studer Telephone Hybrid - already se-lected by hundreds of U.S. broadcasters, including all three major networks -has been praised for its straightforward design, long-term reliability, and con-sistently outstanding performance.

At the heart of the Studer Telephone Hybrid is an auto -balancing hybridcircuit which automatically matches phone line impedance while isolatingsend and receive signals for maximum sidetone attenuation. A built-in limiterprevents sudden overloads, and bandpass filters shape the voice signals foroptimum clarity and system protection. The new updated Studer Hybrid in-cludes additional noise suppression circuitry to eliminate unwanted noiseand crosstalk while still preserving true 2 -way hybrid operation.

Now the Studer Telephone Hybrid is also available as part of a completeTelephone System. Designed to operate independent of the studio console,the self-contained Telephone System includes a microphone input plus apalm -sized remote module (on a 30' cable) with VU meter for line level,headphone output, and level controls for microphone, headphone, and tele-phone receive.

The time -tested Studer interfaces. Improved for even better performance.Expanded for more flexible operation. And built to set the quality standardfor years to come. Call today for the location of your nearest Studer dealer.

STUDERE1/OKStuder Revox America

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Utah Scientific's Dynabus distributionand master control system introducednew technology in routing.

The bus itself is a bright yellowtwinax whose outside diameter is0.35 inches (8.89 mm) and charac-teristic impedance is 150 ohms.All connections to the cable aremade with a Dynatap or similarbuffered and protected tap -off tominimize discontinuities thatcould create data -destroyingreflections.

At maximum capacity, a Dyna-bus system would have a backboneto which as many as 14 sub-networks would connect by meansof node controllers. Each sub-network could support up to 14segments. If each segment is limit-ed to 100 stations, the maximumnumber of stations would then be19,600, with the maximum sepa-ration of any two stations being5000 feet. Control systems aremultilevel so that audio/video/SAP and other functions can all beseparated from the same panel.Uniform crosspoints provide a 60MHz bandwidth.

The technology at work in thissystem is referred to as "CarrierSense Multiple Access/CollisionDetection" (CSMA/CD) in whicheach station tests the line beforetransmitting (carrier sense) in or-der to avoid colliding with anothersignal. If a collision takes place,the affected stations each sensethe collision and back off for a ran-dom period of time before againtesting the line and transmitting.The back -off time, though ran-dom, has a maximum limit that issoftware assigned in accordancewith one of eight priority levels.The highest priority station hasthe shortest wait time.

Thus, a high -priority stationwill likely seize the line first uponrecovering from a collision. Broad -

70 BM/E JUNE 1986

THIS IS THE ONE.

THIS IS THE ONLY.

The nature of ENG and EFP business demands that you haveone and only one chance to capture an event the moment ithappens.

And when you're talking one and only, you're thinking Sony.The Sony Betacam system is the one to record with, and

Sony's Betacam BCT series cassette is the only one to record on.Our exclusive VIVAX magnetic particles, special binder sys-tem, new surface treatment and anti -static shell are all specif-ically designed to ensure the highest level of durability andreliability. And most cf all, the best audio and video signalperformance possible.

Your Sony Professional Tape Dealer will be glad to give youall the impressive facts and figures on Betacam BCT seriescassettes. But the most important fact is: No Sony recordershould have to tape on anything less than Sony tape.

SONYProud supplier of tapefor the Goodwill Games

THE ONE AND ONLY

Sony is a registered Trademark of Sony Corporation.The One and Only, Betacam and VIVAX are Trademarks of Sony Corporation.



cast Systems of Spokane, WA, alsouses collision detection in itsrouting systems, but without pri-ority levels since each station willhave a different random numbergenerator, almost nullifying pos-sibilities of a second identicalcollision.

While using RS -422 electricalstandards, the Utah ScientificDynabus has a protocol essential-ly conforming to the IEEE 802.3

standard. Each transmission con-tains six address bytes. Threebytes identify the station beingaddressed and three identify thetransmitting station. The remain-der of the message packet isformed by eight additional bytes,including a two -byte cyclic redun-dancy check (CRC). The CRC pro-vides an extremely high degree ofprotection against message errors.

Reportedly, Utah took this di-

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vergent (from the ESbus stan-dard) approach because there wasa feeling the standardscommittees were not making rap-id enough progress, in addition tosettling for slower transmissionspeeds. Given all of this, theDynabus will talk to an ESbus ma-chine through an EBU/SMPTEinterface.

On the other hand, Meyer andothers within the committeestructure claim the ESbus stan-dard was designed to eliminatethe need for interface devices andalso that it is currently fastenough to handle all master con-trol situations, except editing, andthat the Dynabus will have to up-grade its speed to handle thatfunction as well.

Provisions, therefore, have beenmade for future transmission rateincreases in the ESbus system.Also, the committee is looking to-ward incorporation of the produc-tion switcher into the overallscheme of routing and master con-trol. In addition, with ESbus workhaving been completed for VTRs,further preparation of controlmessages for the following equip-ment is under way: audio tape re-corders, cart tape (MERPS)equipment, other productionswitcher, routing switcher, andmaster control functions.

Feeling that they have com-pleted 98 percent of what shouldbe in the standard, including aspecific provision for a high-speedbus, the EBU/SMPTE committeehas assured users that even oldmachines without the bus can behooked in for approximately $700.Dynair and Alamar have builtboxes for this purpose.

Routing approaches forfuture. Alamar also incorpo-rates into its overall routing/control system the CentralDynamics MC -990 master controlswitcher, basically using theCD -480 electronic hardware tomatch its own software. The phi-losophy behind its software re-volves around the belief thatstations are heading more towardcomplete computer control, evenas far as including the traffic, bill-ing, administrative, and account-

72 BM/E JUNE 1986

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ing terminals as integral parts ofthe control spectrum.

Some of the features of theAlamar system include as -airedstation logs, auto spot cueing, con-trol of up to 32 VTRs, VTR/telecine interfaces, random accessto multiple spots on tape, and six -channel capability. Also providedfor are multi-user CRTs, on-lineevent editing, and on -screen oper-ator prompting.

Grass Valley Group, a propo-nent of the ESbus, has, to some ex-tent, already designed theproduction switcher into the con-trol system. With new control pan-els, or operating through theM-200 master control switcher inaddition to the possibility of con-trol with the 300 Series productionswitchers, Grass Valley has at-tempted to integrate systems con-trol. Under the current configura-

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tion, the company can storemachine control parameters onthe 300 Series E-MEM, bringingthe possibilities of production/post -production control withinreach.

The routing system is called theHorizon family of equipment, of-fering various size configurationsfrom small to large, culminatingin the 128 x 128 system with re-dundant power supplies and con-troller modules, plus output moni-toring. All Horizon switchers havean ASCII terminal interface,which communicates with mostavailable computer terminals,making the system user program-mable through three groups ofterminal commands: system in-stallation; system modification;system maintenance. Employ-ment of the terminal enables theuser to define, the matrix inputand output size and the number oflevels (i.e. video, audio 1, audio 2,time code, etc.).

In addition, one can write orchange the input transcode table,the input exclusion table, and theprogrammable panel tables aswell as set and read the systemreal-time clock. Integrated ma-chine control allows the Horizonswitchers to step beyond simplerouting functions and to providereliable parallel machine inter-faces to transmit bus commandsand report back machine status.

Dynair, too, believes modernstations are heading toward totalcomputer control of all switchingand control functions and that weare now in the beginning stages ofthat transition. In response to thistrend, and in conjunction with thecompany's direct involvementwith the ESbus committee, Dyn-air has employed CPUs to be thebasis of its control functions withdifferent keys, panels, and theexchanging of proms effecting thenecessary custom touches re-quired by the individual stations.

The PCA-910 for example is acomputer control interface to theSeries 10 switchers allowing anyRS -232 port to communicatethrough the interface; the Series10 switchers have a 30 MHz band-width and can be supplied with thePCA-904A programmable remote

74 BM/E JUNE 1986

Attendees looked over Dynair'sarray of routing units, includingSeries 10 computerized controllers.

control. The Series 1600 RGBswitcher, designed for chromakey-ers, as well as other switchers, willbe available with a bandwidth of100 MHz due to a demand fromcomputer graphics users.

Reflecting the trend in qualityswitching toward compactness isDi-Tech's series of routing sys-tems. Here, dense packaging andflexibility of control are the orderof the day. These goals areachieved through the use ofsoftware to provide greater cus-tom options on command, all dis-played on a color monitor. The

vastnew

9001 controller offers breakaway,and the configurations of input as-signments in its switchers are im-portant features since not all sta-tions of operation need access toall the inputs, all the time.

The Model 5860 Series ofswitchers provides a two -channelaudio assembly and a video assem-bly of card frames with a 64 x 32matrix and dual power supplies.Routing switchers as large as 256x 256 can be built using the 5860Series.

In routing and automation ofmachine control, Bosch an-nounced a new system designedaround the Hewlett-Packard 9000Series 300 hardware using UNIXoperating systems and the 68020CPU. Also new at the show wasthe programming system for dis-tribution switcher control panels.The downloadable mnemonicssystem, designed to work on AppleII or IBM PC hardware, will en-able the user to reprogram mne-monics in any or all of his control

panels as the need arises and storeall programming information onfloppy disk. Retrofit kits exist formany older control panels, al-lowing existing facilities to usethe system.

The full line of TVS and TASvideo and audio switchers were onhand boasting upgraded band-width and other specifications.Bosch also showed a master con-trol interface for the SonyBetacart video playback cartsystems.

A proponent of the ESbus stan-dard as a way of unifying the in-dustry, 3M introduced two newSeries H routing switcher matri-ces this year. The two matrices are32 x 32 and 64 x 64 audio/videorouting switchers with the 32 x 32,taking up 11 RUs vertically. Itprovides the capability of one vid-eo and one, two, or three audioswitching levels in the same enclo-sure and represents 372 video andaudio crosspoints per rack unit.

The unit is available as a video -

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Circle 213 on Reader Service Card Circle 214 on Reader Service CardBM/E JUNE 1986 75


only or audio -only switcher witheach audio level independentlyaddressable. As the 64 x 64, one -video and one -audio switchingsystem comes in a frame 22 3/4

inches high and is also availablein a two unit audio -only Series Hframe. Both new matrices arecontrolled by the 3M model 6600microprocessor controller or a6500 microprocessor -based con-trol system.

FOR MORE INFORMATIONBosch 461Dynair 462 Alamar 466Tektronix 463 Central Dynamics.. 467Utah Scientific 464 Grass Valley 468Broadcast Di -Tech 469Systems 465 3M 470

Master ControlSwitches toMicroprocessorsOther products shown by 3M in-clude a 16 x 16/20 x 20 componentvideo switching system and the

422 SMPTE-type control machinefor remote control of all VTR andtelecine functions. The Model 324master control/on-air switcherwas exhibited to perform externalkeys, dissolves and cuts, and tran-sitions to and from programming.

Grass Valley's Model 1600-4Smaster control offers stereo andSAP capabilities, optional digitalor analog borderline, and isexpandable to M-200 automation,with dual power supplies andpulse regenerator for nonsynctransitions. Similar to the Boschcontrol, Grass Valley M-200 mod-ular automation offers SonyBetacart interface, and in addi-tion, will handle still stores fromAbekas, Adda, Harris, Quantel,and others.

Series 8000 master controlswitchers from InterGroup VideoSystems were new with a two -busdesign. This permits the operatorto select and input on the presetbus and, by pressing the "take"

button, transfers the desiredsource to the output of the switch-er. A pre -roll machine control op-tion is available, allowing the tapemachine to lock the picture andstabilize before being aired. Indi-vidual programmed preroll timesfrom 0.1 to 9.9 seconds may bestored for each input.

Datatek showed its D-2000 50 x25 video matrix frame, expand-able up to a very large size as wasproved by its use at recent Olym-pics. A unique feature is that it isan output -oriented switcherwherein each output bus has itsown microprocessor, so that ifsomething fails, the whole switch-er doesn't go down.

Image Video demonstrated analternative to the use of EPROMsfor systems architecture forlocking video, audio, and relaysystems, called the 10K routingswitcher control system. Standardfeatures of the 10K include four-

channel alphanumeric represen-

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tations, logical inputs andoutputs, user -assignable inputand output alphanumerics anddial -up, salvo bus switching, andcrosspoint restrictions.

Field upgrades are possible byreplacing or adding PC boards tocontrol panels, routing switcherframes, frame managers, and byadding the 10 system controller.The basis for the system is eitherthe 6200 routing switcher or the9600 high -density routing switch-er. Using the 9600, the framemanagers are a remote extensionof the system controller, and allowthe controller to write newcrosspoint data to, and read talliesback from, the switcher matrixover a serial coax line.

Ampex showed the 4100/MC4audio -follow -video inputs, includ-ing three timetable entries andfive separate breakaway audiosources. Stereo audio and me-tering are also features of the sys-tem, along with the ability tocontrol nine VTRs and three film

offering 12prerollable inputs with fourpreroll times.

Involving the editing functionin the automated machine controldomain is Videomedia. TheVMC-202A addresses and auto-mates the editing process (whenused with Videomedia editing sys-tems) as well as actually com-manding the automation portionof the VMC-200 system. It gener-ates logs and sales tracking re-ports but also generates a cut listfor the automatic editing of spotreels and incorporates a method ofplayback verification.

FOR MORE INFORMATION3M 471Grass Valley 472 Image VideoInterGroup Video 473 Ampex

475476

Datatek 474 Videomedia 477

Moderate SizeOffers BigVersatility...A two -wire machine control sys-tem from Auburn Instrumentswas revealed at the NAB, calledthe MC/1. Basic features includeeight commands, eight return tal-

lies, and dc power on a two -wirebus; two 4 -button remote units tocontrol eight functions; single poleswitch delegation; master/slaveand gang start capabilities; andopto-isolated machine interface.

In addition to a broad range ofaudio and video routing switchers,Broadcast Systems offers theModula family of remote controland routing switchers. Its MiniModula is aimed at the small -to -moderate sized user.

The 12X Series of routingswitchers from Shintron is a groupof microprocessor -based unitsaimed at medium -to -small facili-ties, both encoded and component.

Also meeting medium -volumeneeds with a cost-effective routingswitcher was Hedco with itsHD -12 system. This unit offers 12x 12 video and audio in a two RUframe, 12 x 12 stereo audio in thesame size, and includes in eachframe a serial control card andRS -232 and -422 ports.

Omicron Video showed the Mod-design video/

data distribution amplifier forcomposite video, noncompositevideo, RGB video, pulse, andsubcarrier distribution. The sys-tem offers eight outputs per ampli-fier, is self powered, and haslooped -through differential in-puts. The Series 500 audio/videodistribution switcher from Omi-cron features self-contained and

optional remote control panels,vertical interval switching, twobalanced 150/600 ohm audio out-puts.

McCurdy brought its VAS -100routing switcher, which can beconfigured as a video -only 10 x 1switcher, with mono or stereo au-dio available, remote control capability, an optional relay tallyboard, and breakaway button fea-ture for separating audio and vid-eo. Also with a 10 x 1 unit, CoxElectronics offered an RGBrouting matrix with two outputsper bus and vertical interval fieldrate switching. Video inputs canaccommodate three or four videosignals, 1 V looping input connect-ors, while the output is one videofrom a 75 ohm source.

Showing in the Moseley booth,Integrated Media Systems demon-strated their audio routing systemwith video capability, the SmartSwitcher, in the 200 and 400Series configurations. The 400 of-fers audio routing expandable to256 x 256, slavable AFVmultilevel breakaway and thecapability of interfacing with oth-er manufacturers.

FOR MORE INFORMATIONAuburnInstruments 478 Omicron Video. 482Broadcast McCurdy 483Systems 479 Cox Electronics.. 484Shintron 480 Integrated MediaHedco 481 Systems 485

Support Gets Lighter,More VersatileOf particular note in this category(as well as many others) was thecelebration by Camera Mart of its50th anniversary. The companyhas been renting a complete arrayof broadcast qualtiy cameras, tri-pods, and lighting equipment as aservice to the broadcast industryfor a half century.

Introducing a new pair ofdollies into the U.S. for the firsttime, Matthews announced theUnit 85 and Delta. Composed oftwo different units, the Unit 85consists of the crabbing dolly and

Vimen showed Its full line of pedestalsand tripods along with new light, ENG-type camera heads.

BM/E JUNE 1986 77


the camera arm and can be fittedwith various seat configurations.The Delta dolly is an all -terrainTV pedestal, weighing 118 poundsand can support a camera and itscompliment weighing up to 220pounds.

Having just opened its own U.S.offices, Vinten introduced its Vi-sion ENG/EFP pan and tilt headsand tripods, expanding the compa-ny's interests to include light fieldequipment as well as full duty stu-dio support gear. The Vision 10 isa six pound package with fully cal-ibrated fluid drag controls, andcan handle up to 25 pounds. Thehead also has 180 degree balancetilt, on/off pan and tilt brakes, andsafety quick release plate. The Vi-sion 20, with the same features asthe Vision 10, is also an ENG unitbut is able to handle up to 50pounds. Vinten also exhibited atwo -stage extended tripod, aBetacam plate, and the Microswift200 digital remote camera controlsystem.

Modifying last year's entry,Canon has taken its two large ped-estals, the MC -200 and -300 (hold-ing over 240 pounds each) andmade a new version smaller andlighter and more appropriate forfield work as well as studioapplications.

Sachtler, too, demonstrated atendency toward smaller supportsystems with the introduction ofthe Video 14, the little brother ofthe Video 20 and 25 units also ondisplay. The video 14 offers a tri-pod and pneumatically supportedcenter column, permitting properadjustment to all small cameraconfigurations with the samesmooth movements.

O'Connor's fluid heads drew at-tention with its model 100C -HDfor studio and field cameras up to100 pounds. This unit offers achoice of three dynamic spring set-tings to support a wide variety ofcameras and accessories, includ-ing prompters.

Arriflex showed a vast array ofsupport gear including the Cine-Jib camera crane system and theHot Dog dolly, with crab or two -wheel steering and special linkrod.

Making its appearance with afull line of fluid head camera sup-port systems was Innovative Tele-vision Equipment. ModelITE-H70 is a heavy duty unit de-signed for field and studio use andhas application with camerasweighing up to 65 pounds. Simi-larly, the H90 is for studio andfield but for heavier loads of up to100 pounds and comes withMitchell base adaptor, offers dragcontrol with eight selections inpan and seven in tilt. The H60 forcameras up to 25 pounds was alsoshown.

Elicon's contribution to supportequipment came in the form of afield computer motion control sys-tem with 2-63 axes of movement,real-time recording of operator'span/tilt movements, and compati-bility with several camera heads.Also in motion control, Eliconshowed the Roger-Real-timeOverhead Gantry Electric Robot- incorporating a synchronizedcomputer controlled X/Y rotation,closed loop servo with encoderfeedback to ensure accuracy, andmultiple -axis synchronous con-touring, all suitable for interfacewith most computer graphics sys-tems to allow digitization of 3Dobjects.

Sony featured the TSM (TotalSpectrum Manufacturing) cameraprecision multicontroller withHS -100P high speed program-mable servo pan/tilt system. AllCCU and motion control functionsperformed for technical setup andon -air operation can be remotelycontrolled from a base station.

Systemizing remote controlfunctions of both cameras andcamera tables was Telemetrics.The TM 8505 camera remote con-trol was introduced as was aremote control pan/tilt table speci-ally for use with miniaturizedCCD cameras and small portableENG units.

FOR MORE INFORMATIONBogen One/Video 488Matthews Studio Innovative TelevisionEquipment 489 Equipment 495Vinten 490 Mitchell 496Canon 491 Elicon 497Sachtler 492 Total SpectrumO'Connor 493 Manufacturing 498Arriflex 494 Telemetrics 499

Batteries ChargeForward...Among the several products thatdrew attention at the Anton/Bauer booth was the Data -Tap, abattery testing and monitoring de-vice that sandwiches between thecompany's existing Snap-On cam-era bracket and the Pro Pac bat-tery. Equipped with a digitalreadout in ampere hours, the unitmonitors power consumption giv-ing the user exact information onthe amount of power consumedfrom a fully charged battery. Inconjunction with this announce-ment, the Automatic DischargeModule was unveiled, possessing atwo position, switchable, automat-ic cut-off circuit, preventing over -discharge of a battery. In addition,the Power Strap, multi -purposebattery strap, was premiered foruse with all portable video record-ers and low voltage portable light-ing equipment. The strap will runa VO-6800 recorder for threehours or a 25 watt Ultralight bulbfor two hours.

Christie returned to the showwith its CASP system: charger,two analyzers with reconditioner,sequencer, and programmablepower supply. Key elements in theunit are a microcomputer, powermodules using high -frequencyswitching, the ReFLEX chargingprinciple, a four-way sensing sys-tem, and automatic battery recognition. CASP automaticallyhandles up to six batteries, can an-alyze any type of battery, and canstore, recall, print, and graph suchparameters as voltage, current,time, ampere hour, and otherinformation.

Brand new from Frezzolini for1986 is the Uninterruptable Pow-er Interface, which provides auxil-iary power to operate camerasduring battery changes. Theadapter interface is compatiblewith all current mounting brack-ets and offers up to three minutesof power while changing batteries.Weighing less than 1.5 pounds,the unit is automatically connect -

battery change and automaticallyrecharges from the main camerabattery.

78 BM/E JUNE 1986

There's greater depth inFujinon's ULTRA WIDES.

Now with the widestzoom in the world!

When productions call forscenes as wide as all out-doors, or wall-to-wall cover-age inside a phone booth,Fujinon's ULTRA WIDESdeliver. And they delivergreater depth as well.

The new A8.5x5.5RM isthe widest zoom made.From 5.5mm to 47mm, you get a distortion -free zoom withall the brightness, contrast, and color accuracy that hasmade Fujinon famous.

The new, lightweight Al 8x8.5ERM zooms from 8.5mm to153mm...and, with its built-in 2X extender, can take you allthe way out to 306mm. It's destined to become the standardlens for news cameramen throughout the world.

More than the ultra wide field angles you want, the

A8.5x5,5RM

ULTRA WIDES also provide the high MTF, low longitudinalchromatic aberration, fast F1.7 speed, and the minimalramping you've come to expect from Fujinon. And for abso-lute production control, the lenses accept a full range ofstudio conversion accessories including shot boxes that de-

liver push-button operation with accuracy to a sin-gle millimeter and zooms at the precise speed you

want. The Al 8x8.5ERM is even avail-able with a built-in test pat-

tern projector.To learn more about

Fujinon's ULTRA WIDES(including the A3.5x6.5RM

and A7x7RM), you'llget more information

or a demonstration bycalling the Fujinon location nearest you.

FUJINON INC. 672 White Plains Road, Scarsdale, NY 10583 (914) 472-9800 Telex 6818115SOUTH

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DPS-170 Time Base Corrector

New technology yields a price/performancebreakthrough in a single, space -saving rackunit. The DPS-170 time -base correctsmonochrome and heterodyne inputs for editing,assembly and match framing. Direct -color isachieved with 3.58 MHz feedback totape player.

The DPS-170 gives you a wide dynamictracking range of -1 to +3 with clear viewing atup to ±30X normal tape speed. You get tapesource flexibility, with a 16 -line buffered

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Perrott Engineering made several an-nouncements, including new lights,batteries and the camera "Cozies."

Also new was the battery adapt-er, which will accommodate up totwo battery packs, mounting di-rectly to any Anton/Bauer orFrezzolini battery bracket.

Bringing a host of new productsto the show was Perrott Engineer-ing. The PE 868 multicharger iscapable of overnight charges of upto 8 PE -90s, Sony BP -90s, orequivalent batteries, simultane-ously and independently. Also onhand were the PE 138 battery dis-chargers for discharging andexercising NiCads, the Mini Char-ger, which is a compact charger foron -board batteries in either 115 or230 volt operation, worldwide, andthe PE 38 NP Mini Charger.

A new dichroic filter designed inpyrex for daylight color correctionwas unveiled as were the brand-new "Cozies," battery operatedwarming covers for protection ofcameras and VTRs at tempera-tures lower than zero degrees.

Cine 60, who once again arrivedwith new product announcements,unleashed its new Hitch -Hikerbattery as a direct replacement forany OEM camera battery,equipped with the OEM's mount-ing plate. It features a ventillatedmetal housing and precision tem-perature sensing system. Othernew items included the LunchboxDuo battery pack containing dual12 volt, seven ampere hourbatteries built into one housingproviding a total of 14 amperehours.

80 BM/E JUNE 1986


Alexander showed its charger/analyzer, the TA 3877, which Cy-cles a battery through thecharge/discharge/charge cycle af-ter the analyzer provides a read-ing in milliamps of the exact bat-tery capacity. This unit is adapta-ble to more than one type ofbattery and can charge threebatteries at once. The three unitSmart Charger was demonstratedmonitoring voltage and, once atfull voltage, automaticallyswitching to trickle charge.

A new company on the scene,Paco Electronics U.S.A., theAmerican division of the Japanesecompany, showed both new char-gers and new batteries. Featuredwere the DP -11s, a 13.2 volt 1.7AH battery for the replacement ofSony NP-ls. The DP -1240 batterypack is for ENG cameras andVTRs and contains a fiber -reinforced plastic exterior. TheKD-220 quick battery chargermade the scene offering simulta-neous charging of two batterypacks and matching for threetypes of batteries; the Paco batterydememorizer was also displayed.

One of the innovations PAG de-buted at this year's NAB was thePAG-lok battery connector sys-tem. The system consists of a cam-era bracket with assortment ofdirect electrical fillings for vari-ous camera makes and models, thecamera bracket plate, which is thePAG-lok portion of the camerabracket and the battery backplate.

Pro Battery, formerly Provi-sional Battery, revealed the Batt13 and 14 camera batteries weigh-ing four pounds and providing upto four hours of running time for acamera operating at 14 watts. TheProlite system at the convention iscapable of converting to a 12, 30,or 120 volt light and is constructedof a metal casing with twist -offhead for easy bulb replacement,and provides a flip -away dichroicfilter and built-in heat sinks.

FOR MORE INFORMATIONAnton/Bauer 501Christie Electric . 502 Alexander

503 Manufacturing'Paco Electronics

504 PAG America505 Pro Battery

FrezzoliniPerrottEngineeringCine 60

506507508509

New E)OE-24)(:)°ProgrammableEffects System.Digital Effects integrated

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You can't compete effectively for listeners if yourstation sounds just like everyone else's. And the way tostand out is with outstanding sound of the kind you getwith CRL's outstanding FM -4 system.

CRL's FM -4 gives you the spectral shaping flexi-bility you need to sound different from other stations usingthe single unit processor. The CRL advantage comes fromour intelligent building block approach. An approach thatgives you the options you want.

Begin with our SPP 800 Stereo Preparation Pro-cessor and our SEP 800 Spectral Energy Processor for in-dividually selectable four -band compression. Then add ourSMP 800 Stereo Modulation Processor and our SG 800Stereo Generator and you are equipped to stand out on theairwaves as never before.

If you haven't heard what CRL technology cando, you don't know what you're missing. For a 10 -day freetrial at your station just call CRL toll -free at (800) 535-7648and we'll make immediate arrangements for your localCRL dealer to give you a demonstration.

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Lad!lc ac I

Digital B

ecomes a Force in

Radio

86Processing IncorporatesN

ew R

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Consoles Stress E

ase ofO

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105Production E

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here are two catch w

ords ir_audio advances these daysdigital and integral -ion.

Digital audio has finally com

einto its ow

n, and any product thatis not directly offering digital au-dio in one form

or another has thestandards set by digital qualityw

ith which to contend.

Radio stations have digital offer-

ings available to them in the form

ofC

Ds and digital record/playback

systems, although the latter have

yet to faid full acceptance among

broadcasters. Digital A

TR

s were

present at the NA

B, and there is a

whole realm

of other introductionsthat cotid only have com

e about ira post -digital environm

ent. The

new Spectral R

ecording processfrom

Dolby is one exam

ple of striv-ing tow

ards digital perfection. Ever_

speakers and studio design arestarting to respond to the new

focuson higher audio quality.

In:egration is seen in efforts tom

any audio systems to all other

systems. A

udio to audio in radio au-tom

ation can now drive reel -to -

reels,cart m

achines, cassetteplayers, and C

Ds, as w

ell as incor-poraze satellite netw

orks and evenlive announcers into the chain forlive- assist. T

he marriage of differ-

ent types of audio can also be seenin the sym

biotic relationship thatSO

ME

companies are trying to foster

between cart m

achines and CD

s.O

ne other major trend taking

place in audio today was begun tw

oyears ago. T

hat is, of course, stereoT

V. T

his year, the focus has shiftedto

support equipment

ratherthan. stereo transm

ission systems.

ImproveYour Image.Audibly.

DolbyA Quiet Commitment.

100 Potrero Avenue. San Francisco, CA 94103-4813 415-558-0200 Dolby and the double -D symbols are trademarks of Dolby Laboratories Licensing Corporation. c Dolby Labs 1985S85/6602/6774


NAB Show -In -Print

Digital Becomesa Force in RadioLast year, the idea of the digitalradio station began to look likemore than a futuristic fantasy.For the first time, manufactur-ers were offering digital audiostorage and retrieval systems todo the work now done by cartmachines, and the idea of com-pact discs as a main source ofmusic began to look good. Con-sumers were embracing the ideaof CDs for home use, and whilethere were only a few profession-al players available, many sta-tions began using consumer CDplayers to keep up with the de-mand for digital audio.

The problems keeping digitalfrom full acceptance were a prac-tical means of integrating CDsinto automation or even live -as-sist stations and getting thedesired music libraries and play -lists available on discs. For thedigital spot players, the prob-lems were getting from proto-type into production units,keeping costs reasonable, andachieving enough storage time.

This year's offerings at NABshowed that some of those prob-lems have been solved.

One of the biggest leaps fordigital audio has been the emer-gence of automation systems toaccommodate both CDs and, insome cases, the digital spotplayers as well.

Digital Programming Inc. hada working model of its encoding/decoding system for CDs inte-grated into Broadcast Elec-tronics' radio automationsystem, along with a cassetteplayer, reel-to-reel, BE cart ma-chines, and a Microprobe Elec-tronics Inc. Digisound-the harddisk digital audio storage andretrieval system for spots andjingles.

DPI offers custom musiclibraries with the automationencoding on the CD, which alsoallows access to a database onthe disc.

Digital Programming Inc.'s encodingprocess for custom compact disclibraries was featured in BroadcastElectronics' radio automationequipment.

DPI featured its disc at otherbooths as well. Sono-Mag Corp.was showing it as part of its ra-dio automation system, andStuder Revox displayed it alongwith its professional CD player,the model A725.

Schafer World Communica-tions Corp., which offered inter-faces to CD players two yearsago, also showed its automationsystem fully integrated to CDsand to MEI's Digisound. Thecompany seems eager to meetthe demands for digital technolo-gy, saying "if the technology isgoing to be there, Schafer will beready."

In a private suite, Ron SchillerAssociates showed its softwarepackage for control of CD play-ers from an IBM PC/XT or com-patible. It will work with Philipsand Sony professional CD play-ers and interfaces to the Studerplayer are being investigated.The CD Filer system, as it'scalled, can catalog, sort, andmanage over 2000 CDs and oper-ate up to 99 players. It worksvia a lite pen, touch screen, orregular keyboard and creates adatabase of CDs, showing infor-

Audio

mation of the cuts on each, orother uses if needed.

Time of day and remainingtime in the cut are displayed,and the system has cross -fadeand prefade capability.The system also interfaces to au-tomated cart systems and to dig-ital spot players. It's in beta testsites now and could settle a sta-tion's questions about CD auto-mation and integration.

CD hardware. There were twomajor developments at NAB.The most interesting is anagreement announced at theshow between Studer Revox andPhilips to market the StuderA725 and the Philips LHH 2000professional CD players togetherin the U.S.

That agreement leaves Sonyoff on its own with its profes-sional CD player. Sony showedthe CDP-3000 and CDS-3000, aCD modular system with twoplayers and a controller, and in-troduced the CDK-006 Auto DiscLoader, which handles as manyas 60 CDs. It changes discs in 16seconds.

CD software. Availability ofCD music has been a particularproblem, especially in a form us-able to most radio stations. Butthis situation is also being re-solved with custom libraries,such as DPI's, being offered andwith introductions by many mu-sic library companies.

Associated Production Music,DeWolfe Music Library, andOmnimusic offered music libra-ries on CD. Meanwhile, bothmusic and sound effects on CDwere introduced by NetworkProduction Music, Sound IdeasSound Effects Library, andValentino Music Library. Musicsupplier Century 21 has commit-ted itself to digital audio inmany of its forms. The companymarkets libaries on CD and willalso supply music on floppy diskif the Compusonics floppy -basedplayer catches on.

Another intriguing idea for ra-dio stations that want digitalmusic is also being suggested byCentury 21-music library via 8mm video.

BM/E JUNE 1986 87

"We're putting out 50 kwof AM Stereo and we've

never sounded better:'

eke'

00

41

Morris BlumPresident and General Manager,WANN Radio, Annapolis, Maryland

"As anyone who's been inthis business a long timeknows-if you don't move ahead,you're left behind.

"We've just upgraded WANNto a 50,000 watt, four -towerdirectional array. We now reacha potential market of six millionpeople.

"That-along with a newurban contemporary sound-means that WANN is movingahead, planning for thefuture ... and sounding betterthan ever.

"And Of Course,We're In Stereo"

"AM Stereo is the mostphenomenal sound I've heard in40 years of owning this station.

"We sound absolutely great instereo-a purer, cleaner high -quality signal. We even soundbetter in Mono.

"And you can be sure AMstereo receivers are coming. Bynext year, over 30% of all newcars will have AM Stereo. Andwe're ready to capture thoselisteners right now.

C-QUAM is aregistered trademark of Motorola, Inc.Manufactured under licensefrom Motorola, Inc.

"Naturally, I ChoseDelta Electronics"

"When I decided to upgradeto AM Stereo, I chose Delta Elec-tronics. Why? Because Delta'sbeen around a long time, pro-viding precision equipment to thebroadcast industry long beforethey came into AM Stereo. Theyknow my business and they knowwhat they're doing. Theyinstalled my C-QUAM® stereosystem without a hitch.

"And Delta's C-QUAM systemis rugged and reliable, built to

Delta's C-QUAMStereo System: ASE -1 Exciter (top)and ASM-1 Modulation Monitor.FCC laboratory tested and type -accepted.

work the way it should. Literallytrouble -free. Plus, it's got thenumbers to back it up: over 65systems operating in the U.S.and worldwide.

"Even better, Delta standsbehind it with full technicaland service support. Anyproblems or questions-I justpick up the phone. They'realways ready to help.

"Next Time You'reIn Annapolis ..."

"Stop by and I'll personallygive you the deluxe station tour.

"Better yet, turn your dial to1190 and hear for yourself thenew sound of AM Stereo-andhear where your listeners aregoing to be."

Delta Electronics, Inc.5730 General Washington DriveP.O. Box 11268Alexandria, Virginia 22312(703) 354-3350Telex: 90-1963

DELTA ELECTRONICS


NAB Show -In -Print

The Philips LHH 2000 CD player systemuses a flywheel for cueing.

Digital spot players. Manydigital storage and retrieval sys-tems were at the show in force.Compusonics did have workingmodels of its DSP-1200 playerand DSP-1500 recorder, the flop-py disk systems. They feature upto 15 kHz response and fourminutes of stereo storage with a32 kHz, 16 -bit linear samplingrate.

MEI, as mentioned, seemed tobe everywhere there was radioautomation at the show-at itsown booth and with DPI andSchafer. The company'sDigisound's rack mountabilityand membrane keypad with CTRscreen fits in well with the auto-mation gear. Digisound featuresa Winchester disk drive and of-fers up to 15 kHz frequency re-sponse for broadcast, up to 20kHz for music recording, and 76minutes of mono storage.

There were several new digitalaudio products introduced thisyear.

Digital Broadcast Systems,Inc., a new exhibitor, introducedthe Astre, an integrated digitalaudio system that handles sched-uling, production, on -air controlthat is schedule driven, manualcontrol, and logging. It allows upto eight workstations to performthose function simultaneously.

Astre features varying fre-quency responses up to 20 kHzand a varying sampling rate upto 50 kHz. A system could haveup to eight hard disk drives for atotal storage of 2000 mono min-utes, while one disk drive wouldaccommodate up to 80 minutes

of mono at the 15 kHz samplingrate. The system is especiallysuited to live assist stations, butcan interface to automation sys-tems with the addition of aswitcher.

For -A unveiled the Sirius 100,a Winchester disk-based digitalaudio memory system. It alsofeatures frequency response to15 kHz and can accommodate upto eight channels for simultane-ous use. The Sirius -100 can re-cord at 16-, 12-, or eight -bitrates and offers 1000 minutes ofmono audio (more if other bit re-cording rates are used) with theuse of eight disk drives.

Digital audio systems varywidely in price and climb over$100,000 for the larger systemswith the greatest amount of stor-age and versatility of functions.It's not likely that the cart ma-chine is doomed just yet. But at

Audio

least one company exhibiting atthe show was hoping to showthat the capabilities of its cartmachine are a match for digitalaudio. An ITC/3M demo com-pared the frequency response ofa CD with that of a cart re-corded from a CD, using a FastFourier Transform Analyzerfrom Bruel & Kjaer. The twopatterns were virtually identical,leading ITC/3M to conclude thatCDs are useful as source materi-al for carts.

FOR MORE INFORMATIONBroadcastElectronics

525

DeWolfe MusicLibrary 536Digital NetworkLib Production

Programming 526 Music 537Microprobe 527 Omnimusic 538SchaferSono Ma g

528529

Sound Ideas SoundEffects Library ... 539

Ron Schiller 530 Valentino MusicStuder Revox 540PhilipsSony

53253CompusonicsLibraryDigitalBroadcast

541

Associated Productio5n31 Systems 542Music 534 For -A 543Century 21 535 ITC/3M 544

Processing Incorpo-rates New RealitiesSome new factors are influencingthe way audio is recorded, pro-cessed, transmitted, and heardthese days. From a new push forhigher quality brought about bydigital, to a new emphasis on themarriage of sound to picturesspawned by stereo TV, audio pro-cessing is breaking new ground.

At the NAB this year, DolbyLaboratories introduced a masterrecording process that allowsanalog recording to compete real-istically with digital audio. DolbySR-or spectral recording-is aprocess that has been in develop-ment for six years, and, if initialreaction is any indication, it willbe a hot topic for at least as manyyears to come.

The SR recording process uses anew coding algorithm, based onthe continuous analysis ofchanges in the signal spectrum, toincrease the information capacityof the recording. The SR encodingresponds both to changes in signalspectrum and to level changes,

whereas noise reduction systems,which have up to now been Dolby'sspecialty, respond mostly to levelvariations. The encoding at the re-cording end is teamed with adecoding at the playback.

Basically, the SR system takesinto account certain aspects ofmagnetic recording and humanhearing. The signal is analyzed bythe circuit, and the minimalamount of signal processing neces-sary is applied. The SR circuit canbe thought of as a complement ofthe audio signal, with envelopingprotection at low levels and pro-cessing at high levels to reducetape saturation and increase theheadroom of analog recorders.Within the SR system, there isboth fixed- and sliding -band pro-cessing applied separately forlow-, mid-, and high -range parts ofthe signal.

The results of SR recording are auniform operating level across thefrequency range and, through sig-nal protection, reduction of har-

BM/E JUNE 1986 89

NAB Show -In -PrintAudio

monies and intermodulation prod-ucts from tape overload. Plus, SRrecording produces a dynamicrange Dolby states as being equalto or greater than that obtainedwith 16 -bit digital recording.

In the actual listening, DolbySR results not only in a signal thatis noise -free, but also with tran-sients that are clear anddistortion -free. Musical instru-ments, such as strings, which aretypicaly hard to reproduce onmagnetic recordings, are clear andaccurate, and the overall clarity issuch that a guitarist's fingers"squeaking" as they move up anddown the frets or the breathstaken by a reed instrumentalistare clearly audible.

The SR process is available insingle -channel plug-in modulesthat fit existing Dolby main-frames. The first one available,the Cat. No. 280 module, is for360 -Series and M -Series Dolbyframes. The No.431 module is cur-rently under development andwill plug into Dolby SP and XPseries units. Eventually, the pro-cess may be developed for videorecorders.

The Dolby SR process was a hot-ly discussed topic at many audioindustry booths at the NAB show.Otari has already seen fit toincorportate it as part of its noisereduction switching for the MX -80recorder introduced this year.

MTSSynthesizersCome of AgeWith stereo TV a reality among afifth of the commercial stations inthe U.S., but with the amount ofstereo programs still limited,stereo synthesis has been em-braced by TV stations as at leastan interim necessity.

The two biggest problems facingTV stereo synthesizers are recog-nition of stereo material that al-ready exists and what to do aboutdialog. Another problem, not justfor synthesizers but for the wholeof stereo transmission, is that ofpolarity reversal. The newest of-ferings from the three TV stereo

The new Kintek KT -960 Monoguardprevents loss of mono due to polarityreversal for MTS.

synthesis manufacturers presentat this year's NAB show that theseproblems have been addressed.

Orban Associates, which is go-ing strong with sales of itsOptimod stereo TV and SAP gen-erators, has a new stereosynthesizer developed especiallyfor broadcast use. The 275A is astereo in/out device with twoforms of automatic recognition.These allow the unit to switchback and forth between synthesisand bypass. In addition, single -channel recognition looks formissing audio on one channel andwill cross -fade to synthesis fromthe remaining channel. For dia-log, there is a narrow mode thatcenters the sound, while the widemode offers more dramatic spatialcharacteristics.

Kintek has dealt with the prob-lem of polarity reversal byintroducing the KT -960 Mono -guard, an automatic correctionsystem to prevent loss of monowhen polarity reversal occurs. Itmonitors the channel -to -channelstereo signal correlation and cor-rects it if need be and allows long-er time constraints for music.Kintek also featured its KT -903Stereophonic Converter, a three-part automatic stereo synthesizerthat doesn't alter the spectral den-sity of mono material. It has a dia-log centering control and amono -stereo sense switch that letsstereo material pass throughunaltered.

Studio Technologies featured itsAN -2 Stereo Simulator Synthe-sizer and the RCU-1 recognitioncontrol unit. The latter is a real-time unit that determines themono/stereo status of audio pro-

gramming, displays it, and auto-matically switches the synthesison when needed.

One other company with a prod-uct to create stereo from a monosignal is AKG Acoustics, which re-cently acquired the assets of UrsaMajor and is now marketing theMSP 126 under the AKG name.It's a two -channel in, two -channelout digital stereo processor, whichdigitally creates stereo from monoand provides other stereoenhancements.

FOR MORE INFORMATIONDolby 546Orban 547 Studio Tech. 549Kintek 548 AKG Acoustics 550

Effects, NoiseReductionAboundIn the continuous striving towardshigher quality audio recordingand transmission, there wereplentiful introductions of proces-sors and audio effects.

There were upgrades and newofferings in digital reverb, effects,and delay, as well as time com-pression and musical interfaces.

Applied Research and Technolo-gy introduced its PerformanceMIDI software for the DR1 digitalreverb unit. Also new is the PD3Professional Delay System, ahigh-performance multitap delaysystem. Advanced Music Systemsfeatured the DMX 15-80S dual -channel digital delay line/pitchchanging system, RMX 16 digitalreverb, and Timeflex stereo com-pression expansion. Audio Digitalunveiled the TC-4 broadcast digi-tal delay fixed at seven seconds,while Eventide introduced a newbroadcast delay unit as well.Eventide's features improved au-dio: up to ten seconds of delay and20 kHz frequency response in fullstereo. Also new was the stereosynthesis monitor for the popularSP2016 Effects Processor.

Lexicon Inc. showed a produc-tion model of the 2400 stereo timecompressor expander, designed forvideo, with optional time code

90 BM/E JUNE 1986

OPTIMOD° Is a registered trademark of Orban Associates Inc.

A free guide from thecompany with the broadest,most experienced customerbase in the industry: 150stereo TV stations on -the -air. A guide that's worthlooking into.Included are:

THE NEW GUIDETO EASY STEREO TV

INSTALLATION.

Application Notes: Helpful installation and setup hints. How BTSC Stereoworks. Connecting the stereo generator to exciters. Modifying RCA exciters.Monitors, demodulators, and stereo decoders. Feeding stereo over microwave-discrete or composite.

1=1 New Orban Stereo Television System brochure: Details on the OPTIMOD-TVAudio Processor, Studio Chassis Accessory, TV Stereo Generator, SAP and Pro /Generators.

0 Automatic Stereo Synthesizer: How it can provide your station with aconvincing sense of ambience and spaciousness from mono source material.Automatic recognition and switching between mono and stereo. Automaticcorrection of phase -reversal.

El List of Orban Stereo TV Stations On -the -Air.El Complete pricing and ordering guide.

/// ,.;\es ,,,-. ,,,/ c)

/ 4/ ,. GO,/ .1/49 c:P

To get your own free Orban Guide to Stereo TV, send in the coupon, // 4§''circle the reader service card, or call us direct: / C.1° c,(800) 227-4498 or (415) 957-1067. / ,),,Cs-

fic'

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.1/4.Orban Associates Inc. // 0,$645 Bryant Street, San Francisco, CA 94107 / oc, , 6/ (,..c

Orban ,, ,c,, , 4,

_ e Z,0Circle 149 on Reader Service Card / e:'

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cp°

The SSL Stereo Video SystemThe Practical Standard For MTS Production

Before and beyond the transmitter, Multichannel TelevisionSound is an art. In the studio and post -production suite, thecreative use of stereo can do as much or more than lighting,lensing, colour and video effects to give depth, impact andimmediacy to the television picture. It quite literally adds anentirely new dimension to the viewing experience.

In stereo, television is a whole newball game - or newscast, or series,or advert, or sitcom, or special.Because stereo is both natural andcompelling, the programmingpossibilities are as broad as theimagination and skills of today'ssound designers. Technical limit-ations and the constraints of timeare the only obstacles. Andthat's where SSL can help.

Our, SL 6000 E Series Stereo VideoSystem handles complex MTSproduction with unrivalled ease andefficiency. Designed to simultane-ously speed and enhance all aspectsof television audio production,

MI IMMO Mr fro R

the SL 6000 E Series makesinnovative stereo programmingpractical on a daily basis.

Only SSL has triple stereo mixbuses for stereo music, dialogueand effects, plus rapid mix -minusmatrixing for Second Audio Pro-gram creation. Only SSL providescompressor/limiters, parametricequalizers, expanders and noisegates on every channel - plusbalance and image width controlsfor all stereo sources. And onlySSL provides such time -saving operational features as patch-

free audio subgrouping and pushbutton signal processorrouting. For post -production efficiency, even the multitrackelectronics remotes are built right in. And that's just thenew line standard equipment!

Options include Total RecallTM - an SSL exclusive, completelyindependent of the audio path, which allows any operator torecreate the most intricate console setups for any programmewith rapid accuracy, week after week. Programmable dynamicstereo equalisation and panning may also be added, along with

NAB Show -In -Print

Audio

reader and also introduced the480L digital effects including newreverb and new effects with 20kHz response and a 44.1 or 48 kHzrate.

AKG Acoustics introduced theADR 68K, an all -new digital re-

verb effects unit. It uses the same68K CPU chip as a MacIntoshcomputer and has two inputs andfour outputs. It can create twostereo programs, such as reverband effects, at the same time and isMIDI interfaceable.

In noise reduction, Dolby hadseveral product introductions.New are the Models 380i and 390.The 380i adds Dolby's new auto-matic noise reduction identifica-tion feature to its Model 380A -type noise reduction for oneinch VTRs. The 390 providesDolby C -type noise reduction for3/4 -inch video recorders.

ANT Telecommunications/Solway featured the Telcom C4Esingle channel noise reduction for

mobile and line transmissions;ATRs and VTRs. Straight WireAudio Inc. introduced the HummGobbler, which monitors a stereoaudio line and automatically fil-ters it to eliminate hum and buzzwhen present. Also new is theStereo Sentinel accessory for thenew Orban stereo synthesizerwith voice recognition thatsupresses synthesis during dialog.

Advances in traditional pro-cessors. There was no shortageof traditional processing equip-ment at NAB. Aphex Systems,Ltd., introduced the Dominator,an intelligent triband peakprocessor -limiter with a proprie-tary circuit that varies the thresh-old for limiting. Also featured wasthe Aural Exciter, which en-hances brightness, and the Corn-pellor, which offers compression,leveling, and peak limiting. Audio& Design Calrec introducedScamp 4 -band processing with anoptional transcoder to spreadstereo beyond the speakers andthe Filmex multiband expansionto eliminate noise in old movies,etc. Audio Developments/Port-

land Instruments featured its 066compressor -limiter for use withportable mixers. New from BarcusBerry Electronics was the 401BBE signal processor for musicalinstruments, which corrects phaseand amplitude distortion fromamplifier -speaker interface. CRL,staying on top of the need for pro-cessing in stereo TV signals, intro-duced the 300 series TV signalgenerator, which utilizes tribandprocessing.

dbx Inc. had new product intro-ductions as part of the 63X series,including the 163X Over Easycompressor/limiter/preamp, the263X Automatic Deesser, and the463X Noise Gate Expander. Alsoin prototype is the dbx FS 900 pow-ered mainframe for 900 modularseries signal processors. GothamAudio Corp. introduced the EMT227 DX mono AM limiter, whichcan link two units together forstereo and delays sound before thelimit to determine how much lim-iting is needed. Harris introducedthe Ultimate 91 compressor-

limiter and also featured thePhase Fixer audio TBC, which

92 BM/E JUNE 1986

multi -repeatable Events Control, AutomaticDialogue Replacement, and centralisedcommand of up to five synchronised audioand video machines. All of this is thoroughlyintegrated with the SSL Studio Computer-the world's number one choice for mixingautomation.

Best of all, the SSL Stereo Video System isnot a hasty revamp of an old mono design. Nor is it an experi-mental project in search of a guinea pig. It is a practical,reliable international standard for advanced television audioproduction - proven in well over half a million hours ofnetwork and independent studio and mobile operation -in Great Britain, Japan, Germany, Scandanavia, Australia,Canada and all across the United States.

Take advantage of our experience. Call or write today for afree 40 page colour brochure describing the operation andapplications of the SL 6000 E Series Stereo Video System.If your station or facility is contemplating an upgrade to fullMTS production capabilities, we'll be happy to arrange acomplete demonstration. And be sure to ask about ourtraining programmes.

Solid State LogicBegbroke, Oxford, England OX5 1RU (08675) 4353

2J0 West 57th Street . New York, New York 10019 (212) 315-11116255 Sunset Boulevard Los Angeles, California 90028 (213) 463-4444

uses encoding and decoding to cor-rect phasing problems. Howe Au-dio featured a new Phase Chaser,its audio phasing correction sys-tem that does not require encodingof program material. The 2300New Phase Chaser is designedspecially for problems unique tostereo TV and satellite reception,but is similar to the model 2100Phase Chaser for radio.

Orban Associates introducedthe FMX stereo generator SCAprotector. New from Symetrix wasthe 528 voice track processor withFET mic preamp, frequencyselectable de-esser, gated com-pressor -limiter, and three -bandparametric EQ. Valley People Inc.had several introductions. Thenew Model 415 Dual DSP dynamicsibilance processor does not reactto normal speech sounds, only tothe sibilance or whistle present.The Model 815 DSP single -channel DSP is housed and pow-ered by Valley People 800 seriesrack enclosures, and the Model400 single -channel mic processorboosts low impedance mics fromsignal to line level for processing.

U.S. Audio Inc. introduced theGatex model 904 single- channelnoise gate/expander housed andpowered by a dbx F-900 poweredframe, and the Levellor, a two -channel audio signal processor. Pa-cific Recorders & Engineeringintroduced the IS -12, an insertswitcher for up to four processingunits and up to 12 channels of pro-cessing or multichannels throughone processing unit.

ARTAdvanced MusicSystems 553Audio Digital 554Eventide 555Lexicon 556AKG Acoustics 557Dolby 558ANT/Solway 559Straight WireAudio 560Aphex Systems 561Audio & DesignCalrec 562Audio Developments/

FOR MORE INFORMATION552 Portland

Instruments 563Barcus BerryElectronics .564CRL 565dbx Inc. 566Gotham Audio 567Harris 568Howe Audio 569Orban Associates 570Symetrix 571Valley People 572U.S. Audio Inc. .. 573Pacific Recorders &Engineering 574

Consoles StressEase of Operation:Go PortableThanks to advances such asmodular design and assignablefunctions, the work of the audioengineer in both radio and TVhas become more simplified. It isnow easier to be a creative audiomixer, and new consoles allowfor complex productions in muchless time The end result is bet-ter quality audio products.

TV AudioAutomation

As the production and post -production demands on audioconsoles get more complicated,some of the major players in thefield of TV consoles have re-sponded by making the functions

BM/E JUNE 1986 93

TAKEYOUR BEST SHOT

Otari's ARS-1000 Automated Radio StationReproducer has taken just abouteverything that broadcast opera-tion has thrown at it. From con-tinuous day after day operationin hot, dusty corners - to cig-arette smoke and coffee spills,an ARS performsautomation tasksflawlessly andfaithfully.

Born from Otari'sline of heavy duty industrial tapeduplicating and loading equipment thatmoves tape at up to 480 ips, the ARS-1000 isengineered for continuous use, simple opera-tion, and ease of maintenance.

Bulletproof? Of course not. But it is the kind ofequipment that frees you to get involved in thereal challenges of today's new, dynamic radio.Because you're not constantly fixing some-thing that shouldn't have broken in the firstplace. From Otari: The Technology You CanTrust.

Contact your nearest Otari dealer for a demon-stration, or call Otari Corporation, 2 DavisDrive, Belmont, CA 94002 (415) 592-8311Telex: 910-376-4890


o Otari 1984

NAB Show -In -Print

easier to perform through auto-mation. Such was the case atthis year's NAB.

The area that has seen thebiggest growth in console devel-opment is audio for video post -production. Part of this comesfrom a commitment to producingshows for stereo TV. NBC, withits commitment to stereo hasbeen upgrading all of its audioequipment recently and isrelying heavily on offerings fromSolid State Logic.

Solid State Logic introduced new auto-mation software for its 6000 seriesconsole.

The other big demand comesfrom the music industry, partic-ularly in the production of musicvideos.

Automation adds a variety ofbenefits to audio mixing. It al-lows computer control and stor-age of preset mixes for laterrecall. Audio console automationcan also sync audio mixes to vid-eo via SMPTE or EBU timecodeand control other audio or videosources in the process. But thebiggest benefit is the complexityof mixes it allows. Multitrackmixdowns that would take un-told hours and precision effortswithout automation capabilitiesare at times virtually a breeze,with functions such as equaliza-tion and compression settingsstored for quick recall.

One added benefit is thatsound mixers who have beenused to relatively simple mixingof audio for video in the past canadapt themselves to the new em-phasis on stereo audio for TV,including use of multitrack tech-niques, quickly and without ap-prehension. Automated boardsalso boast added flexibility. Asingle board in a TV audio booth

can be used for a variety of dif-ferent shows, with settings forthe audio mix stored indefinitelyand called up by each mixer asneeded. Flexibility and versatili-ty of another kind is achievedwith assignable functions; it'spossible to switch console assign-ments as needed and vary thevirtual size or application of thethe mixing board by program-ming entire sections to act sepa-rately or as a whole.

Computer automation is a keyfeature in offerings from SolidState Logic, one console manu-facturer responding to thenewest audio -for -video mixingneeds. The SSL 6000 handlesmultitrack recording and cansync to VTRs and other audiosources. The SSL Studio Com-puter provides automated equali-zation and stereo panning, andits Total Recall feature storessettings on floppy disk and re-calls them, complete with dia-grams for precise matchup. Newthis year is Autoscan, which al-lows total recall matchup for agroup of channels or one sectionof the board.

Other SSL features are the611-V stereo I/O module and thespecial Stereo Image Width con-trol, which allows the mixer tovary the width of the stereo im-age to the TV picture.

This year, SSL also showed aproduction version of the SL5000 M series designed to servethe custom console marketplace.All switching in the 5000 M iselectronic and can be put underthe control of the SSL InstantReset Computer, allowing resetof up to 48 combinations withthe push of a button.

Rupert Neve is another con-sole manufacturer incorporatingautomation into its offerings.This year, Neve introduced theV Series console, a 48 -busmultitrack console available invarying frame sizes. Features in-clude individual channel dynam-ics with external keying,facilities for in -line or separatemonitoring, and a solo sectionwith selectable reverb/effects re-turn. The V Series also includes

Audio

Neve's 4 -band format spectrumequalization.

The Neve V Series also hasNecam 96-the automation pro-cess introduced by the companylast year. It allows for up to 128fader position "scene sets," withautomatic or manual cross -fadebetween sets, comprehensivemuting, and labeling and eventsfunction switching. A color mon-itor and keyboard allows themixer to keep track of the statusof the mix. Necam 96 can controlup to 96 moving faders. TheV Series is also flexible.

Designed both for video postand with the music recording in-dustry in mind, the HarrisonSeries X is billed by the compa-ny as "the world's first totallyautomated console." The SeriesX is a virtual console offering avariety of configurations. Stan-dard equipment includes Penny& Giles motorized faders, and in-stead of VCAs (voltage con-trolled amplifiers), the Series Xuses DCAs (digitally controlledattenuators).

The Harrison console has twoautomated signal paths, a Win-chester disk for mix data stor-age, and archival storage onfloppy disk. It features assign-able and centrally controlledfunctions and can read timecode,but it does not directly control orsync to tape machines.

A new exhibitor to the NABthis year introduced automationcapabilites to a modular audioconsole as well. Soundtracs'CM -4400 Digital Routing Sys-tem is a console available in avariety of mainframe sizes. Itfeatures assignable functions,

Rupert Neve's new model 8232 audioproduction console is suited to audiofor video post -production.

BM/E JUNE 1986 95


rapid setup, visual assignmentindication and preprogrammedmuting.

Sountracs' CMS2 hardware/software automation package in-terfaces to a Commodore 64computer and adds several auto-mated features to the CM -4400.For multitrack recording, mostremix work can be automatedfor storage and recall, and thereis automated noise gating, ef-fects sends and returns, andstorage on floppy disk, amongother features. For video post -production, SMPTE/EBU syn-chronization is made possible.

Soundtracs also introducedtwo other mixing consoles: the MSeries modular consoles, whichincludes such features as PhaseReverse, and the T Series ex-pander mixing modules avail-able in groups of four -channelunits to expand the 16-4-2 TSeries master to any size up to32-8-2.

Other new consoles featuredsome automation capabilitiesthis year.

Amek Console Inc. had aworking version of its APC 1000production console configured forvarying degrees of automationon the modular "building block"principle. It's available in framesizes up to 88 inputs, with busoperations ranging up to 48mono and six stereo. In theAPC-1000, setups are stored asRAM pages.

Mitsubishi Pro Audio featuredthe Quad Eight Westar produc-tion and post -production consolewith 20 to 60 inputs, 24 mixingbuses, and up to four stereo sub -masters. The Westar offersCompumix IV hard disk auto-mation.

Another console maker offer-ing storage and retrieval of set-ups via a PC is ADM Tech-nology. The 3243 console can beoperated via a PC with the 'addi-tion of BCS 3243 -PC software.

Autogram Corp. introducedthe model 20 R/TV console, with20 slide pots, featuring electron-ic switching and VCA level con-trol. It too can be operated via acomputer by adding new auto-

111111.-Shure Brothers introduced the FP32portable audio mixer.

mation software.Sony Pro Audio had two new

console offerings, one with someautomation capabilities and onewith interfaces to video editingequipment. The MXP-2000stereo audio mixing console isdesigned for both on -air andpost -production and features anoptional assignable dynamicsprocessor module and automaticATR start capability from the fa-ders. An optional interface tovideo editors will also allow con-trol of cross -fades and muting.

Portable consoles. Portablefield production consoles for TVmade their first showing at lastyear's show, and this year therewere additions to the field. Port-ability is a direct response of in-creased emphasis on EFP andthe desire for better audio quali-ty in the field as well as in thestudio. But it is not uncommonto find that radio stations willuse these portable EFP consolesduring remotes, as well.

Shure had its two portablemixers as first-time offerings atthe NAB; they were introducedat last year's AES show. TheFP32 stereo mixer is designedfor ENG and features two out-puts and three inputs switchableto mic or line level. There's alsoindividual level control andstereo pan pots for true mixingcapability. The FP42 is a stereoproduction mixer with two out-puts and four balanced inputsand also features stereo panpots. The FP42 also has cueingcapabilities.

Sennheiser also entered theportable mixer arena with theM8, a studio -quality mixer fea-turing eight inputs, two outputs,

parametric mid-EQ, and graphichigh- and low-EQ. There is oneauxiliary send with its own mas-ter, and the M8 has Penny &Giles faders and can be phantomor externally powered.

Connectronics Corp. intro-duced the SECK portable mixingconsole. It's has a larger designthan the others, with 18 bal-anced inputs that can beswitched between mic, line, andtape. Full in -line monitoringgives a stereo monitoring formultitrack mixes, and three ex-tra effects buses can be swtichedin for the mixdown.

And a portable mixer for theNagra field recorder was un-veiled by Audio Developments/Portland Instruments. The AD260 is a portable stereo ENGmixer; a 4x1 mixer that is pow-ered off the Nagra. It sits on topof the recorder and has slidingfaders on top. Together, the mix-er and recorder form a compactduo.

FOR MORE INFORMATIONSolid State Logic 576 Sony ProRupert Neve .. 577 Audio . 584Harrison Systems 578 Shure Brothers.... 585Soundtracs 579 Sennheiser 586Amek Console . 580 ConnectronicsMitsubishi Pro Corp. 587Audio 581 Audio Developments/ADM Technology 582 PortlandAutogram Corp.. 583 Instruments 588

Radio BoardsStress Variety...Other on -air and production con-soles introduced for radio hadsuch features as modular design,or custom design, capabilities.

Wheatstone Corp. showed theAP500 on -air and productionconsole, which includes on -boardsignal processing, total logic,and multistudio-to-control roominterface, with remote controlsfor cart and tape machinesavailable.

Howe Audio Productions un-veiled the 8000 Series eight -channel and 10000 Series totalcustom design consoles for bothradio and TV. The 8000 featuresprecision rotary faders or pots.The 10000 is a modular consoledesigned to the user's needs.

96 BM/E JUNE 1986

THE ONLYCOMPANY THAT DIDN'T

HAVE TO IMPROVEITS LAVST

DID.ALIER

MICSJU

As the world's leader in lavalier microphones,we've just taken some very important steps to en-sure that we retain that distinction.

For one, we've taken our mics in a new direc-tion with the addition of the Sony ECM -66 uni-directional. Its wide-angle cardioid patternprovides better off -axis frequency response thanthe classic pattern-while also providing an un-precedented level of isolation from ambient noise.

We've also made the least of a good thing:The new ECM -77 is the smallest microphone inSony history. We've even made our new cable hous-ing smaller-and more durable.

We've made more of some good things, too.The new ECM -55, for one: the latest refinement ofour successful ECM -50 series.

And we've expanded our line ofaccessories-with new color windscreens; pencil -type, safety -

pin and necklace -type clips; and a power supplyholder that clips to your belt.

Sony lavalier microphones operate on eithera single AA battery or phantom -power. You alsohave a choice between black or satin -nickelfinishes; and XLR, pigtail or Sony wireless -com-patible output configurations.

So to see (barely) and hear (very clearly) theresults of Sony's refusal to rest upon its laurels,call your Sony representative: Eastern Region,(201) 368-5185; Southern Region, (615) 883-8140;Central Region, (312) 773-6000; Western Region,(213) 639-5370. Or write toSony ProfessionalAudio ProductsSony Drive,Park Ridge,NJ 07656.

C 1985 Sony Corp. of America. Sony is a registered trademark of Sony Corp. Sony Communications Products Company.Sony Drive. Park Ridge. New Jersey 07656.


SONY.Professional Audio

NAB Show -In -Print

Audio

Ramsa (Panasonic Pro Audio)unveiled the WR-8428 post -production and recording consolefeaturing four to 28 tracks, modu-lar design, stereo line input, XLRmic jack, and 56 stereo inputs.

Studer Revox showed two newprototype mixing consoles, onefor on -air and one for production.The 970 on -air is modular andcan be configured in many stan-dard versions, adaptable to dif-ferent broadcast needs. Studeris seeking feedback on thisconsole. The 963 features PCM-compatible performance and is alarge -frame mixer in a compactdesign. It can be configured for 16to 40 inputs and is fully modular.

ATI (Audio Technologies Inc.)featured its first NAB showingof the colorful Vanguard Serieseight -channel mixer, with dualstereo, which is aimed at smallerapplications. The 12 stereo out-puts to eight mixers has an op-tional 5 x 2 expander and comeswith rotary or linear faders.

Auditronics (Tapecaster) intro-duced the Auditronics 310 Seriesaudio console, a second -genera-tion replacement for the 300Series, available with four or eightoutputs, including submasteringto stereo and mono mix. Also newis the Tapecaster 1000 series on -air console in six, eight, 10, or 12mainframe sizes with stereooutputs.

Other radio consoles were abun-dant as well. Ward -Beck's newconsoles, the Model R1400 andR2200 radio audio consoles, areupdated, redesigned versions ofprevious 1200 and 2000 consoles.Broadcast Audio Corp. showed theSystem 6 modular console with sixmixers and the same plug-inassemblies as larger consoles.LPB Inc. introduced the AlphaSeries six, eight, and 10 mixerstereo on -air consoles, with audiocircuits confined to circuit boardsand DC control from panel. Audio& Design Calrec had an interest-ing addition, the Admix: a smallaudio mixer for use with the Sony701 PCM digital recorder that canmix sound on sound.

Gotham Audio Corp. showednew EMT consoles for multitrack

The AP500 is Wheatstone Corp.'s newaudio on -air and production console.

production in a compact, modulardesign featuring 10 to 30 inputchannels. Neotek Corp. intro-duced the Series I production con-soles, configured to a variety ofuser options. EELA Audio had thenew SBM broadcast console and S100 B series audio consoles.Arrakis Systems Inc. introducedthe Model 5000 16 -channel modu-lar console. Heie Engineeringshowed the Commander BC -1broadcast on -air console with au-tomatic sequencing andtelehybrid interface.

Soundcraft USA, Inc., intro-duced the Series 200B updatedstereo recording console. AudioDevelopments/Portland Instru-ments introduced the AD067 six -input edit mixer, which is alsoavailable with four inputs. HarrisBroadcast Group featured its Med-alist audio consoles. Quantum Au-dio Labs showed the 22 Serieson -air console. And Pacific Re-corders and Engineering featuredits Newsmixer, a modular, com-pact board introduced last yearspecifically for radio news.

Audio for video andpost. Many of the samecompanies that specialize in auto-mated or semi -automated consolesfor TV and video post -productionalso featured less elaborate offer-ings in the field.

Rupert Neve also introduced the8232 audio console featuring 32mic/line input channels with 24mixing buses and optional stereoreverb returns. Each channel fea-tures Neve's four -band formatspectrum equalization.

Soundtracs unveiled the 8-12Series console, for small studiosand post -production, and T -Series

for four- to eight -track recording,expandable to 32-8-2.

Autogram Corp. showed theLC -10 console with slide attenu-ators and the Microgram micro-processor -controlled console withup to 64 inputs.

Ward -Beck Systems introducedits ST Series, a "purebred" consolefor stereo TV. It's a microproces-sor -controlled system with newcircuitry and modular design,good for on -air or forpost -production.

Other audio for video consolesintroduced also incorporateediting functions. McCurdy Ra-dio Industries featured the AMS210 editing audio console, with12 -input, three -bus audio mixingand addressable RS -422 ports tointerface to video production sys-tems. Orion Research showedthe AMU Series audio consolewith rackmount analog electron-ics and digital remote controlpanel, eight to 32 stereo inputs,and storage for 32 setups, plus aplug-in serial interface for videoeditors.

And Graham -Patten Systemsshowed the Model 608 eight -inputedit suite audio mixer for postproduction.

Logitek introduced the Stereo -rack, a stereo, rack -mountableaudio console featuring 11 bal-anced stereo inputs, two stereooutput channels, and up to sevenassignable mic inputs.

Not a console, but an essentialcomponent of consoles, are theubiquitous Penny & Giles faders.The company also had productintroductions: the T -Bar control-ler for smooth control in videoand the motorized fader for auto-mated audio consoles.

FOR MORE INFORMATIONWheatstone 590Howe Audio 591 Quantum AudioRamsa (Panasonic Labs 606Pro Audio) 592 Pacific Recorders &Studer Revox

594593 RupertEngineeNnenvge

607(ATI)608Auditronics 609559965

AutogramSoundtra 610csWard -BeckBroadcast Audio 597 Ward -Beck 611LPB 598 AudioAudio & Design . 599 Developments 612Gotham Audio 600 McCurdy 613Neotek 601 Orion Research. 614EELA Audio 602 Graham PattenArrakis Systems 603 Systems 615Heie Engineering .. 604 Logitek 616Harris 605 Penny & Giles 617

98 BM/E JUNE 1986

111111111111111111

ep

lamp _imer

apeuaZ,od

erGpuduc7e.

Foryour audio needs: a growing line of compact,-to-use FP amps and mixers.

Shure FP products are built specifically for ENG, EFP, film, and video work. They're not general audio products that "might"work on remotes. And no one offers as wide a selection with this kind of built-in ruggedness and reliability.

l: P32 FP42 For Stereo Remotes. The FP32 Stereo Mixer is comparable in sizeand features to our famous FP31. Its stereo capability, light weight,easy -to -use controls and convenient shoulder harness make it thefirst choice of field crews. Our FP42 Stereo Mixer simplifies miccueing, so important in situations like sports remotes. Plus it enables

you to easily mix down stereo in your post production booth. It offers all the features of the popular M267 plus stereo capabilityand a stereo headphone amp.

Frio The Industry Standards. The FP31 is Shure's original field production mixer.Thousands bet their audio on it worldwide. The FP16, a one -by -six dis-tribution amp with transformer balancing and link jacks, outperforms allcompetition. It's also ideal as a portable press bridge

Far Long 'Yardage Situations. The FP11 Mic-to-Line Amp providesfreedom from noise in long line situations, with up to 84 dB of gainin 15 6 -dB steps. It converts any mic to line level and includes aninvaluable limiter circuit. The FP12 Headphone Bridging Amp is amust for shotgun and boom operators. It keeps them on targetwithout need for a return line. It's ideal for multiple headphone feeds,troubleshooting, and as an intercom.

For more information on the entire FP tine, call or write Shure Brothers Inc.,222 Hartrey Avenue, Evanston, EL W:02-3696. (312) 8(42553.

H

Circle 152 on Reader Service


More ProductsThan Ever MarryAudio to VideoDigital audio editing systems,mostly designed for audio for videopost -production or music mas-tering, first came to light at lastyear's NAB with products such asThe SoundDroid.

This year, there were new offer-ings, though it may be awhile be-fore audio editors find their ownplace in the broadcast world. How-ever, the increased emphasis onaudio quality brought about bystereo TV works in their favor.This influence is felt mostly in thevideo post -production arena andhas given rise to more complexediting procedures.

Another strong influence is theacceptance of digital audio, mostwidely in the form of compact discsthat have been embraced by con-sumers. As better, cleaner audiobecomes more commonplace, itdrives the entire audio -producingindustry towards perfection. Au-dio editors are a direct result ofthis trend.

Returning this year to the NABwas The Droid Works' Sound-Droid, and it attracted a great dealof attention. The Droid Works' de-velopment team is readying thefirst systems for delivery. Theunits will include such features asautomated mixing and digital re-cording. A primary feature is theaudio signal processor for built-indigital sound storage.

SoundDroid performs a greatdeal of audio editing functions, in-cluding multitrack recording,mixing, equalizing, panning, andalso add reverb and special effects.Control is through a touchscreenand mouse, and the digital audio isstored on magnetic discs. Faderson the system are motorized, and aCRT readout or printout gives avisual representation of the audiofor precision edits.

For less complex editing,SoundDroid has also introducedits "spinoff"-the SoundDroid

Advanced Music System's Audiofile is ahard disk-based audio editing systemdesigned with music applications inmind.Spotter-at a lower cost. TheSoundDroid Spotter is designedfor cataloging, storing, trans-fering, or auditioning audio, or forlaying -in sound effects. It utilizesa new interface to optical discrecorder/players for high -density,low-cost storage, and the Spottercan be used by itself or in conjunc-tion with other SoundDroidsystems.

The Soundmaster system,shown by Amtel Systems, Inc.,and developed by Master's Work-shop Corp., was also present againthis year. Combined with the newSoundmaster Syncro, it providesmultiple timecode-based machinecontrol. Soundmaster uses displayscreens to monitor the status of anedit and provide real-timemontitoring of machines. A2550 -event list memory can bestored to disk. The software runson an IBM PC. The new feature,Syncro, is controlled by theSoundmaster and communicateswith the PC.

More than 400 events for auto-mated control of Syncro's func-tions can be stored on RAM, andmultiple Syncro units can bestacked together. In addition toconsole control, Syncro features aMIDI interface, edit list download,and random access editing.

Another returning product isthe CMX CASS 1 (Computer -Aided Sound System). It inte-grates audio synching and editingwith console fader automation. Acolor keyboard and monitor con-trol the unit, and synchronizationis achieved through the Adams -Smith 2600 system. The CASS 1can control up to six video or audiomachines simultaneously. In ad-dition, the system's GPI (generalpurpose interface) will control 14additional devices such as audiocart machines, CD players, or two -track ATRs.

The CASS 1 operates in twophases: an edit phase, which syncsup and lays down audio from vari-ous sources, and the mix automa-tion phase, which interfaces toaudio consoles via VCA faders.The mix automation system hasthe ability to store several hun-dred mix versions.

In addition, CMX has a new in-terface that uses the Editing SuiteAudio Mixers (ESAM) Serial IIprotocol jointly developed by CMXand Graham -Patten Systems. TheInterface is designed to be usedwith the CMX Multi -I2 SwitcherInterface for use with Graham -

Patten audio mixers and theHarrison Systems Pro -7 console.

Graham -Patten introduced theModel 608, an eight -input editsuite audio mixer (esam) specific-ally for TV post -production. Eachinput has its own fader control. It'sconfigured to operate like a videoswitcher, and offers edit control ofsource selection, preview func-tions, and transitions.

Cipher Digital also has an audioeditor/controller system for videopost -production. The Softouch sys-tem and Shadow II synchronizer/controller provide a "buildingblock" approach to a variety of au-dio production applications. TheSoftouch keyboard provides forfull multitransport control andmonitoring. It works in conjunc-tion with the Shadow II, whichsyncs and controls audio, video,and film transports; and theCD1-750 time code system.

New this year is an automatedaudio editing system from AlphaAutomation called The Boss

100 BM/E JUNE 1986

-4 j7SIP

Ir

Even though loudness wasconsidered of vital importance inthe design of OPTIMOD-FMModel 8100A/1, something elsehad even higher priority.

ip ffr

-- IN.INI=1.11.01EV-11.111.110..........

OPTIMOD-FM:BECAUSE

MUSIC MATTERS.Music. Because music is

what your listeners care about passionately.

OPTIMOD-FM was designed and built bypeople who have worked professionally in therecording industry. People with educated earswho know natural, musical sound-and whoaren't satisfied with anything less. And peoplewho are also skilled in the art of sophisticated,mathematical design techniques.

In OPTIMOD-FM, the math and the musiccome together in perfect harmony.

There are no bells and whistles. The fewflashing lights are functional, not cosmetic. Thesophistication is on the inside, where itbelongs-assuring listener satisfaction by nevermangling the music.

That's why OPTIMOD-FM is the best-sellingFM processor ever. Use it alone, or adapt it tospecial needs with its optional Six -Band Limiter(for the more aggressive sound demanded bycertain formats) and/or Studio Accessory Chassis(for dual STLs). OPTIMOD's versatility makes itthe right choice for your station, regardlessof format.

If you believe that music matters to yourlisteners, why wait any longer to bring them thebest? Call your favorite Orban Broadcast Dealer,or contact us direct.

Orban Associates Inc.645 Bryant Street, San Francisco, CA 94107

(800) 227-4498 or (415) 957-1067 Telex: 17-1480

orbanCircle 153 on Reader Service Card

The ITC "Componel System"

Provide impressive on -air sound for eventhe most discriminating listener at an unbelievableprice/performance relationship.The Best of Both Worlds

The ITC "Component System" combines thequality of digital source material with all theoperational flexibilities of an all -cart format. Simplyrecord from a compact disc onto a ScotchCartellbroadcast cartridge using a 99B master recorder withELSA, then play back on a DELTA reproducer!Separately, These ITC Components areImpressive, Together They're Awesome!

Cartridge, tape and machines have been designedby a single manufacturer to compliment each otherlike never before and produce uncompromisingaudio quality.1. 99B Master Recorder-Waded with features2. ELSA-A patented automatic cartridge

preparation system3. DELTA Reproducer-Outstanding audio

performance in a reliable, mid -pricedcartridge machine

4. ScotchCartmll Broadcast Cartridge-Capable offrequency response equalling professionalreel-to-reel performance

Allow ITC's "Component System" to provide yourfacility with the operational flexibilities of an all -cartformat while you offer your listeners impressive on -air sound they are sure to love.

When newer technology emerges, it will comefrom International Tapetronics Corporation/3M,"The Leader in Reliability and Service."

Call today to discuss financial options and theunbelievable price/performance benefits of the ITC"Component System." In the U.S., call toll -free800-447-0414, or collect from Alaska or Illinois309-828-1381. In Canada, call Maruno Electronics,Ltd. 416-255-9108. In most countries outside theU.S. and Canada, information on ITC equipment canbe obtained through local distributors.


International Tapetronics Corporation/3M2425 South Main Street

P.O. Box 241Bloomington, Illinois 61702-0241

3M

NAB Show -In -Print

8400/8410. It's a computer -basedsystem to manage machines andaccelerate audio production. TheBoss can control up to five ma-chines from 16 machines ad-dressed. The color monitorcontains machine descriptions,time code, and status information.A work area shows edit lists.

The keyboard allows for the in-sertion of sound effects, edit ses-sion recalls, and many otherfunctions with a single touch. Thecontroller, MPU (master pro-cessing unit), is a 16 -bit centralprocessing unit with two diskdrives. Precise cueing for follow-ing a pre -planned script is possi-ble, as is duplication of an entireediting session.

Audio editing for music.Two digital editing systems formusic were introduced at NAB.

Advanced Music Systems fea-tured the Audiofile in productform. It stores eight hours of monoaudio on a Winchester hard disk ateither a 44.1 or 48 kHz samplingrate. It's a 16 -bit system that is de-signed for either music editing,audio, audio for video, or digitalstereo editing.

New England Digital had aunique product introductioncalled the Synclavier. It's a modu-lar system that is computer basedand features an interface to a real-time keyboard, musical instru-ments, and digital tape storage.The Synclavier has a 32 -track dig-ital memory recorder and is beingcalled "the tapeless studio." It in-cludes audio effects, music and vo-cal synthesis, storage onWinchester or floppy disk, inter-faces to computer options such asterminal, alpha-numberic key-board, and printer, and featuresan option called Script: a musicalmemory -notation system.

The Synclavier would seem tobe a synthesizer, sound effects ma-chine, computerized audio editor,and it can be SMPTE-locked to atape machine.

FOR MORE INFORMATIONThe Droid Works 619 Advanced MusicAmtel Systems 620 Systems Audiofile 623CMX CASS 1 621 New EnglandAlpha Automation 622 Digital 624

Studer introduced the SC 4008 SM PTE/EBU bus controller for audio/videopost production.

A/VSynchronizersand ControllersWith or without the emergenceof audio editors, the mainstay ofaudio for video production is stillthe audio/video synchronizerand/or controller. Most of themajor players in this all-impor-tant field had product introduc-tions, reflecting the increasedfocus on this field with the ad-vent of production for TV stereo.

Two unique products in A/Vediting allow for audio automa-tion via video editors. Logitekintroduced the Crossfire, a four -channel automated audio cross -fader. Driven by GPI or rampcontrol, the Crossfire lets a videoedit system run audio levels.

Mitsubishi Pro Audio an-nounced a video interface to adigital audio fader. It allowscommunications from the recent-ly introduced intelligent digitalfaders (IDFs) from a CMX orsimilar editing systems, provid-ing software for the support ofexternal audio -follow -video de-vices. It allows real-time auto-mation control of fader levelsand mute commands by the vid-eo editing system.

Other A/V synchronizers.The more familiar A/V synchro-nizers were out in force. Adams -Smith Inc. showed the Model2600 CC, a compact version ofits A/V tape synchronizing

Audio

sytem controller with integratedmulticontrols, all in a compact,lightweight package. EvertzMicrosystems showed its line oftransport synchronizers includ-ing the Phaser, which was intro-duced last year. It's amicroprocessor -based capstanspeed resolver and time code sys-tem for audio tape transports.Fostex Corp. showed the Model4030 SMPTE-based A/V synchro-nizer and Model 4050 SMPTE-based synchronizer for MIDI-SMPTE lockup.

Editron introduced the Model500 Audio Production System forcomputer -based control of up to15 video or audio recorders andthe Model 100A Timecode Syn-chronizer and optional Model200A System Controller. GeiseElectronic introduced the Lock -System 3 and 3/2 rackmountunit for SMPTE/EBU control ofvideo, audio, and film machines.It's a modular designed centralunit with remote control withone master and two slave inter-faces. Studer Revox America fea-tured the SC 4008 and SC 4016SMPTE bus controllers for post -production. The SC 4008 controlsup to eight synchronizers; theSC 4016 up to 16.

Timeline showed the LynxModel VSI for full control of au-dio machines from external com-puters. It's compatible withCMX, Ampex, and GVG editingsystems and also features theLynx System Controller, a con-trol keyboard/computer for pro-duction work. Audio Kineticsintroduced the Eclipse editor -controller for Q. Lock 4.10synchronizers, which offers four -machine editing. J&R Film in-troduced the Lok Box, a hard -lock synchronizer that attachesto film editing equipment or filmtransport and synchronizes thevideo deck to it.

FOR MORE INFORMATIONLogitek 625 Edition 630Mitsubishi 626 Geise Electronic 631Adams -Smith 627 Studer Revox 632Evertz Timeline 633Microsystems 628 Audio Kinetics 634Fostex 629 J & R Film 635

BM/E JUNE 1986 103

IntroducingAn Important, NewInformation ResourceFor The TelevisionSound Industry . . .

DEKKO<

The FirstDeskbook InBM/E'S Series OfStand -AloneReference Volumes.

A Much -Needed ReferenceResource On An IncreasinglyVital Topic.Television stations everywhere are gearingup to improve their plants to multichannelsound capability. And now, more than ever,television professionals need a reliablesource of information that will allow them tokeep pace with the fast-moving television in-dustry. That source of information is BM/E'sMultichannel TV Sound Deskbook.

First In A Series Of BM/EDeskbooks

Multichannel Television Sound is the first in aseries of authoritative Deskbooks which ev-eryone involved in the broadcast industry willwant to have. The library of stand-alone refer-ence volumes will continue to grow. Be sureto buy the Premiere Deskbook issue.

Order Today . . .

Please send copies of Multichannel TV Sound at

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Bmil. BROADCAST MANAGEMENT'ENGINEERINGA 295 MADISON AVE. NEW YORK, NEW YORK 10017


NAB Show -In -Print

DigitalATRsMake aShowingEven though digital audio is start-ing to be accepted among broad-casters in the form of CDs anddigital storage and retrieval sys-tems, there is yet to be any realmovement toward digital ATRs.Digital recorders are now firmlydivided into two camps: the DASHformat on one side, supported bySony, Studer, and Matsushita;and the PD or pro -digital formaton the other side, with the supportof Mitsubishi Pro Audio, AEG,and Otari.

Product introductions in thiscategory came on the PD side ofthings this year, with new offer-ings from Mitsubishi and Otari,and AEG slating next year as thetime for that company's first digi-tal ATR product.

Mitsubishi introduced the X-86two -track digital mastering re-corder, the X-400 16 -channel digi-tal recorder, and the X-85032 -track digital. The X-86 is asecond -generation X-80, Mitsu-bishi's first digital offering, butthe two are not entirely compati-ble, although there is a playbackoption to the X-86 allowing theplayback of X-80 tapes.

The X-850 offers second -generation design, cut and spliceediting, RS -232 and RS -422 con-trol ports, 48 kHz or 44.1 kHzsampling frequencies, and

Among new digital recorders intro-duced was the Mitsubishi X-86, a1/4 -inch two -channel in the PD format.

Otari entered the cart machine marketwith the CT 1-10.

SMPTE generator with dropframe. The company reports therehave been orders for two -channelX-86 machines which have beenslated for July or Augustdeliveries.

Otari introduced the DTR-900one -inch 32 track PD digital re-corder, with 24/32 or 16/32 op-tions. It too offers splice editingand 48 or 44.1 kHz sampling rates,plus a timecode generator and op-tional timecode sync.

In the DASH format, Sonyshowed its PCM 3102 and PCM3202 digital recorders. The 3102runs at 7.5 ips and features cutand splice editing; the 3202 runsat 15 ips and features electronicediting.

Sony also introduced theVSU-3310 Vari-Sync Controllerfor its PCM-3324 multitrack digi-tal recorder. It enables users tovary the pitch of digital audio sig-nals and provides switchable44.056, 44.1, or 48 kHz frequen-cies. Also new is the DFX-2400, a16 -bit digital audio sampling rateconverter, which allows conver-sion of the four most common digi-tal audio sampling frequencies:32, 44.056, 44.1, and 48 kHz.

Studer Revox also has a DASHformat ATR. The D820 has 14 -inchcapacity, both 44.1 and 48 kHzsampling, electronic and spliceediting, and digital and analog in-puts and outputs.

In addition, one trend in thearea of digital tape recording isthe rise of support products. 3Mand Mitsubishi announced the ap-proval of Scotch 275 tape for use inMitusbishi 32 and two -channeldigital tape recorders. The approv-al is for one -inch and 1/4 -inch tape.

Audio

And Gotham Audio has developeda digital -to -digital interface be-tween DASH and PD recorders,which may help foster acceptanceof both. If that occurs, the world ofdigital ATRs may remain adouble -format world, much likethe situation that exists with1/2 -inch video recording formats.

FOR MORE INFORMATIONMitsubishi 637 Sony 639Otari 638 Studer Revox 640

MultitrackRecording andOther TapeDevelopments ...Following the recent industrytrends toward more multitrack re-cording for both radio and audio -for -video, at least one companyhas been quick to respond with amultitrack product introduction.

Otari introduced the analogmultitrack MX -80 two-inch, with32 or 24 channels, similar to theMX -90, geared to postproduction,witt noise reduction switching forDolby SR. It allows recording at aslower speed for high frequency.

Other analog recorders offervarious conveniences, includingtimecode. AEG-Bayly showed thenew M-20 ATR 1/4 -inch two -trackin stereo with digitally controlledaudio alignment and SMPTETime Code. Fostex Corp. intro-duced the E-2 1/4 -inch stereo mas-tering recorder with center tracktime code and the E -221/2 -inch twotrack with the same capabilities.

Studer Revox America Inc. alsointroduced the A812 analogbroadcast recorder, featuringmicroprocessor -based electronics,12.5 -inch reel capacity, 1/4 -inchtime code programmable func-tions, and also a timecode versionof the A820 and a version of it forfilm audio. Also new from Studerwas a prototype version of the newA807 two -channel rack -mount-able recorder. Tascam Profession-al Products introduced severalanalog ATRs, all in the 60 series.The 60/2T 1/4 -inch two -channel hascenter -track time code; the 60/2N

BM/E JUNE 1986 105


1/4 -inch two -track features an NABstereo head. Also new were the60/2HS 1/2 -inch 30 ips two -track;the 60/4HS 1/2 -inch 30 ips four-

track; and the 60/8 1/2 -inch eight-track with timecode. SoundcraftUSA introduced the micropro-cessor -controlled two -track mas-tering machine in 1/4- and 1/2 -inchversions. And United ResearchLab introduced the ASC reel-to-reel recorder.

News in cart machines. Cartmachine developments includedone new entry, accessory equip-ment, and also featured productspreviously introduced.

Otari entered the cart machinefield with the CTM-10, which fea-tures Dolby HX Pro optimization.Otari plans to offer it with discreteor matrixed stereo, as a mono orstereo recorder, and mono/stereoplayback, designed to competewith the medium/high- end cartmachines available on the markettoday.

Fidelipac Corp. introduced theESD 10 eraser/splice detector withtwo erase heads, similar to anopen reel recorder, with a continu-ous duty cycle that avoids tapewear. Also new was the CTR 30three -deck cart machine, first toincorporate the record unit in theplayer. It's also worth noting thatCipher Digital had a Fidelipaccart machine synched to its timecode machine for TV sound effectapplications.

ITC/3M also introduced an eras-er, but the ESL V erase splice loca-tor features an erase coilunderneath. It's microprocessor -controlled and replaces the ESLIV. ITC/3M also had its 99 andOmega and Delta series cartmachines.

Pacific Recorders & Engineer-ing featured a final productionversion of the Micromax cart deckintroduced last year and also fea-tured the Tomcat cart machines.Broadcast Electronics displayedits cart decks as well. AndAuditronics showed the Tape -caster X-700 Series cart machine.

In support , Capitol MagneticProducts showed its A-2 and AA -4broadcast carts; while ITC/3Mshowed the new ScotchCart II

ITC/3M compared the frequency re-sponse of a CD and a cart recordedfrom CD using a Bruel & Kjaer FastFourier Transform Analyzer.

broadcast cartridges, and Audi -Cord featured the "S" and "E"series family of cart equipmentand the "TDS" twin -deckreproducers.

Schafer World Communicationsintroduced the Ready Spot cart au-tomation machine with 30 trays inincrements of 10 per unit up to 90trays. Also new was the 7000/7000GLS software with super ROM,which upgrades the system to al-low broadcasters to achieve moreflexibility and quality control.

IGM Communications intro-duced a new IGM controller usingthe Commodore 128 computer, a

new IGM-SC systems controllerusing the IBM-PC, and showed theIGM Instacart and Go -Cart car-tridge automation systems.

Systemation unveiled its uni-que computerized automation sys-tem for cassette players. TheMiracle X-7 software operates upto 63 Tascam 234 cassette decks,with cassettes that can hold up to76 commercials or 60 songs. It of-fers the advantage of cassettequality fidelity, including stereo,and is geared especially towardsthe fully -automated or live assistradio station. It can also becustom -designed to interface tosatellite networks.

Broadcast Automation, Inc.,featured its remanufactured auto-mation systems and broadcastequipment and also showedretrofits to cart automation sys-tems and other broadcastequipment.

FOR MORE INFORMATIONAEG-Bayly 642 Pacific Recorders 649Fostex 643 Broadcast Elect... 650Tascam 644 Auditronics 651Soundcraft 645 Capitol Mag 652United Research 646 Audi -Cord 653Fidelipac 647 Schafer 654ITC/3M.. 648 IGM 655

Production EssentialsStrive for PerfectionIf there's any one trend that tiedall of the audio product develop-ments together at this year'sshow, it was the continuous striv-ing toward higher audio quality;be it greater fidelity, lack of distor-tion, or a focus on digital. Thisreach extended even into therealm of speakers, microphones,headphones, amps, and preamps,with precision equipment, morepowerful equipment, and betterperformance from even the mostroutine of equipment.

SpeakersBecome PreciseMonitorsIt was bound to happen. With anew emphasis on audio quality

brought about by the emergence ofdigital recording and the push forstereo TV, it was only a matter oftime before broadcasters began topay more attention to the acousticenvironment. Better audio hasspawned the demand for more pre-cision in monitoring and produc-tion, and recently, the broadcaststudio has begun to borrow tech-niques from the music recordingindustry in order to improve theacoustics of the studio itself.

Terms such as Live -End -Dead -End, time -aligned, and ergon-omics are now freely talked aboutin audio. Just this year, NBC em-ployed precise acoustic design cri-teria when it began to upgrade itsaudio booths, making use of time -energy frequency tests and thelike.

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The new focus on precise moni-toring has led to a change inspeaker design. Whereas beforethe idea in building an audio stu-dio was to create a pleasant lis-tening environment, today, themain concern is getting the soundto be as accurate as possible sothat when it is duplicated in otherplaces the result is close to theoriginal production.

Several speaker manufacturershave met the need for greater pre-cision in their NAB product offer-ings. JBL, in its recent associationwith Urei, has shifted its focusfrom merely making good speak-ers to creating accurate audiomonitors as well.

JBL/Urei introduced severalprecision audio monitors, with ti-tanium dome tweeters and fea-tures such as a tighter systemresponse tolerance. The 4406 is atwo-way with a 6 1/2 -inch wooferand 75 watt power capacity; the4408 is a two-way with 8 -inchwoofer and 100 watt power capaci-ty; the 4410 is a three-way with10 -inch woofer and 125 watt pow-er capacity; and the 4412 is athree-way with 12 -inch wooferand 150 watt power capacity. Alsonew was the 6215 rack mountablepower amp.

Electro-Voice also introducedprecision studio monitors. Neware the Sentry 100 and Sentry 500series.

Tannoy North America special-izes in dual concentric monitorsand introduced the NFM-8B rackmountable near -field audio moni-tor and the FSM studio monitorwith two 15 -inch drivers.

Cetec Gauss showed its newsingle -point source studio moni-tor, which does not need time com-pensation. The Model 7258 uses

Audio-Technica featured a display of itsstereo headphones.

the company's 200 watt coaxialloudspeaker whose design param-eters place both drivers in thesame acoustic plane. The new coaxmonitor is designed with TVstereo applications in mind.

Two other manufacturers intro-duced speakers specifically de-signed for the broadcastenvironment. Anchor Audioshowed the AN -1000 andAN -1400, two new powered speak-ers for audio edits from video.Ramsa (Panasonic Pro Audio) in-troduced the WS 810K and WS810 compact monitors forbroadcast.

New MikingTechniquesThe rise of TV stereo, and an in-creased emphasis on producingstereo audio for video, has causedaudio engineers to begin thinkingmore carefully about miking tech-niques. Not only must they decidewhether to use directional oromnidirectional, or what patternsof directional mics to use, but ex-act placement of mics to get thebest stereo image must be consid-ered, while at the same timeavoiding phasing or timeproblems.

Generally, in stereo miking, co-incident mics are the way to go,achieved with a pair of directionalmics set at an angle between 60and 120 degrees from each other.The mics are placed within thesame plane. This technique iscalled X -Y miking.

But recently, another mikingtechnique has been suggested forstereo TV: the placement of twomics in different planes at a 90 de-gree angle. This technique iscalled mid -side, or M -S, miking,and in addition to two mics facingin different directions, or a singlemic with two mic elements, it in-volves feeding each mic paththrough a matrix decoder.

There are some benefits to begained from the technique. Themid and side microphone channelsare recorded directly withoutdecoding to stereo L and R, thenthe stereo is created in post-

production. The use of the matrix

allows the mixer to alter the stereospatial characteristics and per-spective as desired.

Audio Engineering Associatesis a proponent of M -S miking andpresented a paper on it to the AES.At the NAB show, AEA featuredthe MS -38 Active Matrix Decoderfor M -S mics. It's a transformerl-ess, single -control decoder thatmatrixes the M and S signals intoconventional stereo. The MS -38has differential inputs that acceptbalanced line -level signals fromthe M and S mics or mic elements.It is designed to interface with therecording chain between the micpreamp and the input channelcontrols.

M -S miking is more involvedand more expensive than X -Ymiking. It is better suited to post.production applications.

FOR MORE INFORMATIONJBL/Urei 659 Anchor 663Electro-Voice 660 Andew 664Tannoy 661 Ramsa 665Cetec Gauss 662 Audio Eng. Assoc, 666

Other Produc-tion Essentials...Microphones, amps, preamps,DAs, headphones, and other audioproduction tools were all plentifulat the show. Recent surveys ofbroadcasters show that these arethe bread-and-butter products ofthe industry, and most engineersgo to a show like the NAB fully in-tending to buy such items.

Microphones and head-phones. These familiar productsgo through subtle design changeseach year. Microphones getsmaller, and headphones areaiming for greater comfort. Therewere introductions in bothcategories.

AKG Acoustics, Inc., introducedthe C-460 condenser mic systemswith CK-1X, -2X, and -3X mic cap-sules, plus CK-61 and -62 ULSSeries cardioid and omnidirec-tional capsules for use withC -460B mics. Also new from AKGwere the Q-34 headset/boom com-binations and K-240DF flatresponse studio monitor head-phones.

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Audio-Technica U.S. had twonew mics. The ATM5R is a minia-ture unidirectional, fixed -chargecondenser mic with a low imped-ance, making it ideal for vocal use.The ATM33R is a phantom-powered, unidirectional condens-er mic, with a Lo -Z (150 ohms) anda frequency range of 30 Hz to 20kHz. Beyer Dynamic had severalnew products. The MC 736 PV andMC 737 PV are short and longshotgun mics with new preamp de-signs, which accept 12-48V phan-tom powering. Beyer alsointroduced the M 380 announcer'smic, the M 740 large -diaphragmcondenser mic, and the MCE 10, acardioid lavalier mic.

Countryman Associates fea-tured its Isomax headset -mountedmic. Crown International intro-duced the GLM 100 and 200 smallcondenser mics and MT 600LXpower amp with 220 watts perchannel. Electro-Voice featuredthe RE98 miniature electret mic.

Sennheiser Electronics intro-duced the HD 540 top -of -the -lineopen air headphone and the MKH40 P 48 low -noise transformerlesscardiod and new transducer cap-sule designed for fast transientresponse. Sony Pro Audio intro-duced two multipurpose dynamicmics, the F-730 and F-720. Bothfeature a talk switch and stream-lined design.

And Shure Brothers featured itsentire line of mics. Stanton Mag-netics Inc. introduced the 30M/SR,a single -cup, shoulder -rest head-phone with a frequency responseto 22 kHz; and also introduced the310B stereo phono preamp forStanton and selected other mag-netic phono cartridges. TOA Elec-tronics featured shielded A/Vmonitors and F series speakers.

In other amps, preamps, andDAs. In amplifiers, there wereseveral new offerings. Lenco brokenew ground with a very exactingprofessional monitor power amp,

the MPA-2100. Lenco had the pre-cision needed for digital audio inmind in the amp's design. The ampcomes with a five-year warrantyand has some unique features,such as an open-air design to allowfor cooling. It's a 1 Hz to 100 kHzamp with a thermostat -controlledfront end and a bipolar MOSFETamp. Its power output is 100 wattsper channel at 8 ohms (stereo), butit can accommodate up to 500watts at 8 ohms for mono.

Benchmark Media Systems,Inc., introduced the MIA -4 micpreamp card, which gives up to200 kHz bandwidth and high out-put, and also the DA -102 stereodistribution amplifier. BrystonMfg. Ltd. unveiled the 6B, a new500 W mono amp with a 100 Wswitch on the back. Harris Broad-cast Group showed a new turnta-ble preamp, the PX-91. Ramsa(Panasonic Pro Audio) introducedthe WP -9055 stereo 50 -watt -per-

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Russco Electronics Mfg. Inc. had anew dial -up remote amplifier andfeatured other studio products.ADM Technology showed a newline of resistive output stereo DAs.McCurdy Radio Industries un-veiled its new line of audio DAs.Pacific Recorders & Engineeringintroduced the SDA-8A stereo DAand TX -990 phono preamp. Ward -Beck introduced the D8212 DAsystem, which fits into a 3 1/2 -inchrack space and includes redun-dant power supplies. And AudioDevelopments/Portland Instru-ments introduced the AD066/3Port -A -Flex System DA and theAD066/2 Port -A -Flex SystemPower Supply Unit.

In other production and miscel-laneous audio equipment, RadioSystems introduced the DCX lineof studio low-cost modular studioproducts including turntable, mic,line, headphone, and power amps.Alpha Audio Acoustics featuredits line of acoustic materials in-

cluding Sonex, Soundtex, andAcoustilead sheet lead. AudioBroadcast Group showed its "hu-man engineered" prewiredturnkey studio system. RPG Dif-fusor Systems introduced theQRD-734, a new low-cost diffusorfor production rooms, and also anew designer diffusor series.

Kinemetrics/True Time showedtwo new clocks, OM -DC Mega syn-chronized and SF -DC, which maybe synchronized or free running.And ESE showed its line of digital

AKGAudio-Technica.BeyerCountrymanCrownElectro VoiceSennheiserSony .Shure _StantonTOALencoBenchmark MediaBrystonHarris

clocks, timers, time code genera-tors, readers, inserts, and other re-lated products.

FOR MORE INFORMATION668 Ramsa ..683669 Russco . 684670 ADM .685671 McCurdy 686672 Pacific Recorders673 & Engineering 687674 Ward -Beck 688675 Audio676 Developments . . 689677 Radio Systems . 690678 Alpha Audio 691679 Audio Broadcast 692680 RPG 693681 Kinemetrics 694682 ESE 695

CommunicationsGear: Diversify andConquerCommunications gear, includingwireless microphones, both wiredand wireless intercoms, and thevarious types of headsets, has

benefitted from recent develop-ments in miniaturization of elec-tronics as well as the use ofsophisticated materials in the pro -

This new portable UHF Field Strength Meter givesyou accurate readings across the entire band.

Someone once said that "Certainty is Security." That isthe main idea behind field strength measurements. Theyverify the signal level and rf environment at the point ofreception. You know for certain what's out there.

It is now easy for UHF stations to achieve this certainty.With the new FIM-72 from Potomac Instruments.Tune the entire UHF band

From 470 to 960 MHz. The received signal strength isshown in volts and dB, with a 140 dB measurement range.Select peak or averaging detection; wide or narrow IFbandwidth. Seven 20dB logarithmic ranges assures precisereadings. Internal demodulators (AM and FM) provideaudio monitoring of the selected signal.

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BM/E JUNE 1986 111


duction of this type of equipment.For example, diversity receiversfor wireless mics have beenaround for quite some time now,yet each year-as '86 reveal-ed-brings smaller, less expen-sive, and more efficientelectronics.

Incorporating much of what re-cent devlopments have to offer,Telex improves the received sig-nal in its new diversity receivernot by selecting the stronger sig-nal from a capacitor circuit, but byputting the out -of -phase signalthrough a phase modifier (theseunits are designated by the termPosi-Phase), combining the twophase -related signals, obtainingwhat it claims to be a signal 3 dBstronger (or, from another per-spective, increasing reception sen-sitivity by 3 dB).

On the other end of the spec-trum, new belt -pack wirelesstransmitters (WT -50) from Telexenhanced the transmission end by

Telex intercoms, wireless systems, andheadsets drew attention at NAB.

including a miniaturized sensitiv-ity selection circuit, allowing theuser to switch the gain to achievecompatibility with all brands oflavalier mics.

One component of increased so-phistication in diversity receiversis the use of gallium arsenide fieldeffect transistors for high sensitiv-ity, low noise, and wide dynamicrange. Cetec Vega's Pro Plusseries of diversity receivers incor-porates such devices. The receiverpreselector, used in determining

the value of the two incoming sig-nals, is a two -pole, silver-platedhelical resonator filter, while thepower transformer is a high per-formance toroidal design for low-

hum operation. This all adds up toa higher sensitivity and a more se-lective narrow front end with ad-vanced circuit design.

Improvements in circuitry andmaterials have also occurred withtransmission components. Glassepoxy PCBs are used for all ofCetec Vega's equipment. Thehand-held units contain an inter-nal dipole antenna that's "print-ed" onto the circuit board.

Miniaturization played a cen-tral role in Sony's development ofits new VHF wireless system.Since the components are nowsmall enough and reliable enough,Sony has announced the first wire-less system with frequency syn-thesis in both the transmittersand receivers. Rather than usewhat it terms unstable crystals to

Advancing technologies can move atsuch a rate a new product may blurby without offering the true explana-

on of why it was developed in thet place.

Quite simply the new GLM is asuperior studio quality microphonethat incorporates all the benefitsof its larger more conventionalpredecessors.Crown technology has alwaysignored the conventions of newproduct development and recognizedno limits in achieving the ultimatein professional quality.See your nearest Crown dealer. Findout how this incredibly small micro-phone achieves such a high levelof performance.Crown International, Inc., (219) 291-80001718W. Mishawaka Rd., Elkhart, IN f6517

crown112 BM/E JUNE 1986 Circle 161 on Reader Service Card

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The PCM-3324 Digital Audio Multi -Channel Recorder isthe first Sony product to incorporate the DASH format.

So it can interface with already existing equipmentand will be compatible with future developments in audio.

And its reputation is spreading fast for being awell-built, well -designed piece of machinery.

Or, in the words of Mr. Liftin, "I took it out of the crate,set it up and got it running. And my coffee was still hot:'

We couldn't have said it better SONYourselves. Professional Audio

Circle 156 on Reader Service Card© 1986 Sony Corporation of America. SONY is a trademark of Sony.


generate a signal at a certain fre-quency for wireless transmission,Sony has adopted frequency syn-thesis.

Each transmitter, such as theWRT-220 body pack, is capable ofoperating on any of 48 frequen-cies, while the system's receiversare equipped to handle all 168channels in the VHF band.

Micron displayed its rack ofmultiple diversity receivers priorto this year's NAB, but has madeadvancements in its CNS 500noise reduction processors.

New receiver packag-ing. Drawing as much attentionas different methods of processingwere the different methods ofpackaging specifically relating toreceivers. Sennheiser, for exam-ple, has had a compact field de-sign. This year, HM Electronicsintroduced the Field Pac receivercase, FR200, that will hold up tofour RX752 receivers as well asthe electronics for the AD -10A an-

tenna diversity system. By addingthree dipole antennas, full diversi-ty reception is provided for all in-stalled systems.

In addition, HME showed Sys-tems 58-85-87 wireless mics incor-porating Shure elementscorresponding to those modelnumbers. The System 82 body -

pack transmitter featuring theirDynamic Expansion system ofcompansion speaks to the RX722receiver, which employs newsquelch circuitry.

Nady, long known for its wire-less technology, has a similarpackaging called QuadPak, hous-ing up to four of the company's 701VHF diversity receivers. The unitcontains the electronics to couplethe four receivers together, whilepermitting the user to install orremove each receiver separately.

FOR MORE INFORMATIONTelex 697 Micron 700CetecVega 698 HM Electronics. 701Sony 699 Nady 702

Wireless MicsTransformIntercomsA system that makes the transi-tion from wireless to intercom isthe Swintek Mark QDC-H. Thisvideo camera wireless microphonesystem is configured to be mount-ed on a portable video camera. Thereceiver has an adjustable squelchcontrol and a headset monitoringplug with an external level controlallowing the receiver to be used forcueing, bilingual remote lis-tening, or as a one-way communi-cation link. The system operatesin the VHF band to eliminate thepossibility of hum bars being in-troduced into the video recorder.Also on hand was the Mark 200Dradio headset demonstrating com-patibility with all standard wire-less headsets and with many of thewired systems. This VHF unit of-fers headphone -to -headphone

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NAB Targets AM ImprovementThis is the year the NAB has focused on improvingthe technical quality of AM radio. There are severalongoing groups working on ideas for upgradingtransmission and reception of AM. In some cases, giv-ing AM broadcasters what they need to gain backtheir listeners and to compete with FM is more a mat-ter of survival than merely a good idea.

Technical sessions. In its radio engineering ses-sions, the NAB and broadcasters summarized some ofthe ongoing efforts on behalf of AM.

The first deals with preemphasis and has broadcast-ers and receiver manufacturers sitting down to workout acceptable amounts of high frequency boost andthe concomitant attenuation in AM radios. Receivermanufacturers have voiced a commitment to makinghigher fidelity AM radios, and work in this area is cru-cial to that end. A subgroup of the National RadioSystems Committee has been meeting regularly toconsider preemphasis proposals. Their work has beenzeroing in on several key points: first, the question ofsplatter and, second, methods to measure it in thefield.

The NAB is also planning a study of second adjacen-cy contours, to determine how much overlap there isand how it effects listening habits-in short, when dolisteners tune out?

In the meantime, the study on overmodulation isbeing done by Harrison Klein and will be released thissummer. Once the splatter and second adjacencyquestions are answered, the subgroup will begin fieldtests of proposed preemphasis curves.

Antenna design is another critical area for AM. Twonew experimental AM antenna designs are ready forfield tests, which will also be conducted this summer.

The third area of concern regarding AM is electricalinterference from RF lighting devices and other elec-tronic technologies that use RF. The FCC set limits oninterference in some cases last summer, but thesedid not take into account RF lighting devices. The NABhas now sent a report to the Commission requestingaction on this type of interference.

FCC AM Report. Around the time the conventiontook place, the FCC's long-awaited report on AM im-provement, developed by the Mass Media Bureau,was released. The report addressed some regulatoryissues that can help AM become a more viable force,depending on their interpretation and how rulechanges are implemented over the next few years.

One key issue is interference rights. The reportlooked at allowing AM stations to sell or lease their in-terference rights. Another possibility explored in thereport is allowing a broadcaster to own more thanone AM station in a market. Some AM owners are al-ready contemplating future plans involving these rulechanges. A broadcaster could theoretically buy an AMin a nearby or overlapping area and treat it as an ex-tension of the currently owned station, perhaps withsome local broadcasts of news or public affairs. Inthat way, the station would be increasing its coveragearea and perhaps be better able to compete with FMstations in both coverage areas.

The report also looked at a possible restructuring ofinterference limits, station classifications, protectionratios, power limits, and antenna systems. A closer


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look at receiver characteristics and AM stereo devel-opments are included in the report also.

The report has been made public, and the Commis-sion is currently accepting public comment on it forthree months, through July.

AM Stereo Battles Not OverAM stereo remains a thorny issue, and some newthistles cropped up while the show was in progress.On the surface, it was business as usual, withMotorola displaying the popularity of the C-Quam sys-tem among receiver manufacturers and Kahn Com-munications reporting a commitment by Sanyo tobegin marketing multisystem IC chips in massiveamounts. But beneath the surface the battles ragedon.

Just before the convention, Leonard Kahn filed acomplaint with the FCC accusing the C-Quam systemof causing splatter and showed spectrum analyzerphotos to back up the allegations. Kahn contendsthat the C-Quam system was never tested under realbroadcast conditions, that is, not past 75 percentmodulation beyond 5 kHz, and then only withmultitone tests, not the single -tone tests he says areneeded to gain type acceptance. He says the C-Quamsystem violates the FCC's occupied bandwidthrule-the most basic of the Commission's broadcastrules.

The FCC's reply to Kahn, sent just as the conven-tion opened, said that multitone tests were an ac-ceptable way of determining type acceptance andthat the Commission was aware that some AM stereosystems may not stay within occupied bandwidth lim-its when pushed beyond certain conditions.

But Kahn perservered. A second letter asked thatthe FCC look into all C-Quam licensees and insistedthat single -tone tests are needed for type acceptanceof AM stereo equipment, and that the occupiedbandwidth rules must apply to all transmission sys-tems "under all possible conditions" as stated in therulebook. Kahn also alleged the submission offalse information from one C-Quam licensee hewould not publicly name.

He receives another letter from the Commissionimmediately, saying it would look into all matters per-taining to his complaint.

Where does the entire issue stand now? At presstime, the FCCs Office of Science and Technology re-ported that it had looked at type acceptance submis-sions by the C-Quam licensee named privately byKahn and was indeed questioning those submissions.The matter is still being investigated.

On the mater of the splatter alleged by Kahn in hiscomplaint, the Office of Science Technology has said itis engaged in ongoing discussion with the Mass MediaBureau to determine, what constitutes splatter in AMstereo transmission systems. The Office has also said itintends to conduct actual tests, the field, of C-Quamstations to see if Kahn's accusations bear out.

Motorola maintains that the C-Quam system in noway violates occupied bandwidth rules and thatKahn's complaint will amount to nothing. For now,amidst some name-calling and a few "cheap swipes"on both sides, the AM stereo standards war goes on,and on, and on.


QEI OFFERS EVERYTHING YOU EXPECTIN A HIGH TECHNOLOGY

FM TRANSMITTERWITHOUT THE HIGH PRICE TAG

With a QEI FM trans-mitter you won't haveto compromise quality tomeet your budget.

A one -kilowatt trans-mitter that is completelysolid-state. Higher powermodels that have onlyone tube . . . a stable,reliable, efficientgrounded grid triode.

A full remote controlsystem along withmicroprocessor -baseddiagnostics built intoevery transmitter.

A super -low distortion"transparent" exciterwith automatic powerand modulation control.

Advanced technology ata price you can afford.Why settle for anythingelse?

For more informationcontact John Tiedeck at609-728-2020. He willdescribe the many fea-tures of these uniquetransmitters.

We make the famous691 tool A stereo andSCA monitor that cangive you accurate read-ings, even on clippedcomposite. Over 40 testsperformed in minutes onyour station, or thecompetition.

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communication at distances ex-ceeding 1000 feet.

Clear-Com has made advance-ments in receivers as well, exhib-iting the TR-62, two channeltalent receiver, which uniquelycombines two receive channels ona single mic cable. The unit is com-patible with many types of head-sets and earphones with a preampthat has variable gain and bal-anced output. It is powered via twochannel IFB line, no separate pow-er needed. New for Clear-Com inthe IFB department is a standa-lone system that is completely in-tegrated for the first time. Itincorporates a building-blockprinciple allowing modules (fourchannels each) to accommodate upto 96 people .

RTS, one of the other companiesin the forefront of standalone IFBtechnology, not only brought IFBgear and new lightweight head-sets, but also introduced the Model848 Matrix intercom station. This

piece of equipment is the maincomponent of a 24 -bus intercomsystem. Each station in the systemcan talk to any one or combinationof other stations, and all commu-nications are dedicated -line soonly the selected receiving stationcan hear the sending station. The848 operates in a four -wire, full-

duplex mode.Showing a wireless intercom

with added number of stations,Cetec Vega introduced the Q -Pluswith up to six belt pack remotes forcommunication in full duplex, orpush -to -talk if desired. HME ex-hibited both wireless and wired in-tercom systems, featuring the 700series cabled system with ad-vances in belt -packs. These sta-tions are switchable for use withdynamic or electret headsets andprovide audio limiting.

R -Columbia's announcementsin intercoms revealed new, ultra-light headphones with internalamplifier and noise cancelling

condenser microphone for im-proved performance. The conven-ient device plugs right into thecamera unit. In wireless equip-ment, a new two -channel head-phone was introduced with arange of up to 150 yards.

Large-scale intercoms for in -studio use demonstrated the solidreturn of several of the digital sys-tems. Pesa introduced theSIM-4000, with full microproces-sor control, four -wire operation,transformer balanced audio lines,and expandability up to a 32 x 32matrix (custom matrices can gohigher)....McCurdy's CS 9400 dig-ital intercom also made a hit. Thesystem uses an advanced micro-processor architecture and solidstate switching to provide instantaccess to all stations. Keypanel as-signments are locally program-mable, or can be instituted from acentral location. There is full re-dundancy in group and master mi-croprocessor controllers, and the

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DIVIDE AND CONQUER.By dividing the two main functions of the audio console (Processingand Control), we've conquered many of the problems inherent in aconventional console.

Separating the analog processing electronics from the all -digitalcontrol panel, for example, means a space saving, easy to installsystem that simplifies wiring and maintenance.

Next, from inputs to outputs (even aux sends, monitorsand EQ) we made the AMU completely stereo tomeet the rigorous demands found in today'stelevision audio environment.

We didn't stop there, though. We addedinnovations like SoftMapTm, electroniclegends, and an interactive informationdisplay - features that greatly increaseflexibility and speed in console set-upand operation. But we kept a traditionalcontrol panel layout so that even a first

time operator would feel athome with the AMU.

Then, since the AMUis a true software based

mixing system, we includedautomation in every model, whichmeans on -demand storage, recall,

and reset of up to 32 full panelset-ups. Couple that with our plug inserial interface for video editors and

audio synchronizers and the possibilitiesare virtually unlimited.

Finally, like the 'icing on the cake', ouradvanced design, engineering, and

manufacturing techniques have madethe AMU surprisingly affordable.So, whether you're in broadcast,production, post, or remote, call

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entire system can be custom con-figured with up to a 480 x 480matrix....Ward-Beck againshowed its diversified Micro Corndigital intercom system. Using adistributed form of control, theMicro Corn has no central comput-er but employs microprocessortechnology to give local control toeach station, preventing a centralcomputer breakdown from turn-ing off the whole system.

FOR MORE INFORMATIONSwintek 704Clear-Com 705 Pesa 708RTS 706 McCurdy 709R -Columbia 707 Ward -Beck 710

Telco InterfaceBecomesProduction ToolBroadcast telephones and inter-faces have metamorphosed fromsimple line couplers into the cur-

rent, versatile systems extendersand transceivers. Now, more thanever, a higher level and broaderspectrum of processing is includedin these little boxes. Gentner En-gineering, for example, intro-duced the EFT -900 extended -frequency transceiver forhandling remotes, sports, and call -

in shows. The unit has full -duplexcapability, Aphex processing, in-ternal coupler, and built-in micpreamp. Also displayed was theTeleprocessor with a built-in cueswitch for muting receiver audioin IFB mode.

Long a staple of the remotebroadcast scene in radio, Comrexfrequency extenders expandedtheir line to include rack mounteddecoders and the STLX two-lineencoder console. This unit is acomplete remote broadcast pack-age when phone lines are chosenas the method of transmission. Of-fering four mixing channels, theunit provides switchable AGC on

all mic channels, four headphonechannels for monitoring and inter-com, and PA feed out/externalmonitor in.

More along the lines of in -studiophones and listener call -in sys-tems, Normex introduced theTelnox L -O, with a two-wire/four-wire separator, boasting the abili-ty to handle up to 10 lines perphone console, auto redial, mute,and priority features with thresh-old adjustment. As an alternativeto carts for phone service an-swering, Bradley Broadcast Salesshowed the Telos Systems Echounit. This digital voice storage/retrieval device has applicationsin concert, weather, movie, andski report listener lines. It offersauto disconnect and remote con-trol ability from production studi-os or newsrooms.

FOR MORE INFORMATIONGentner 711 Normex 713Comrex 712 Bradley 714

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Stereo, mono, and summedstereo outputs

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THE NEW ORBAN AUTOMATIC STEREO SYNTHESIZER

For years, Orban's popular 245F Stereo Synthe-sizer has proven its worth to broadcast professionalsby generating compelling, dramatic pseudo -stereofrom mono sources.

Now, Orban introduces the new Model 275AAutomatic Stereo Synthesizer, precisely tailored tothe needs of TV broadcasters. The unit will smoothlycrossfade between true and synthesized stereo whentriggered by internal automatic mono/stereo detectionand/or single -channel recognition circuits; upon receiptof local or remote commands; or, upon commandsfrom your automation system, tally, or vertical intervaldecoder.

Orban's switch-defeatable center -channel mono/stereo recognition circuit is carefully designed toeliminate many of the false -triggering problems ofcompetitive units. However, because it is difficult forany electronic circuitry to distinguish between truemono and hard -center information in "stereo"sources, we offer a rational alternative-single-channel recognition. By recording or feeding monomaterial to one track only, you can use the single -channel recognition to automatically and reliably fadein synthesized stereo when this condition is detected.It also remains continuously alert to guard againstdead channels.

The 275A employs Orban's patented, allpass-derived, complementary comb filter stereo synthesistechnique. It's fully mono -compatible, and itslogarithmically -spaced frequency bands avoid thedisturbing and unnatural harmonic cancellation prob-lems of delay -line -derived stereo simulators. Two syn-thesis modes are available to assure proper spatialperspective: "Wide" creates a dramatic sound similar

to our 245F. The new "Narrow" mode creates a moresubtle ambience which properly centers dialog. Whilethe two modes are remote -selectable, "Narrow" cansafely and effectively be used with all programmaterial.

Single -ended Noise Reduction can be applied tothe synthesized signal to reduce hiss and other noiseby about 10dB without "pumping" or "breathing"while preserving low-level ambience and dialog in-telligibility. This function is ideal for cleaning up oldermaterial and optical soundtracks because no encodingis required.

When not in a stereo mode, the 275A ordinarilyroutes its inputs directly to its outputs. In this mode("Bypass") the 275A can detect and correct "out -of -phase" stereo material before your mono audiencenotices any degradation. Our sophisticated AutoPolarity detection circuitry is highly resistant to "fall-ing"-even with Dolby MP Matrix° material contain-ing substantial out -of -phase surround information.

The 275A complements Orban's complete audioprocessing and baseband generation system for stereoTV, and provides the stability, reliability, and superbperformance which have made Orban the choice forthe TV broadcaster who is evolving to meet the needsof the contempory audience.

Contact your local Orban dealer for moreinformation.

Orban Associates Inc.645 Bryant St. San Francisco, CA 94107

(415) 957-1067 Telex: 17-1480

orbanDolby is a registered trademarkof Dolby Laboratories, Inc. Circle 172 on Reader Service Card

UNMISTAKABLYKLINE TOWERS!

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ARRAY ATOP THE WORLD TRADE CENTER SUPERSEDINGARRA ATOP THE EMPIRE STATE BUILDING


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136

IFhe unsung hero of much of

the technology that de-buted at this year's N

ation-al A

ssociation of Broadcasters

convention in Dallas is the m

icro-processor. T

his is certainly thecase in the m

ove to digital audioand w

ith graphics and spec:al ef-fects for television.

But it is no less true for sam

e ofthe broadcast industry's lessglam

orous product introductions.T

ransmitters new

at the showdem

onstrated increased confi-dence in high -pow

er solid-statedesigns. M

icroprocessor remote -

control systems and equipm

entw

ith greater self -diagnostic cap-ability w

as in evidence for trans-m

itter operators. As in the graph-

ics industry, people are wanting to

use a conventional personal com-

puter for these tasks, and the mar-

ket is beginning to respond.In satellite and m

icrowave com

-m

unications, development is less

led by technology than by demand

from broadcasters. Saturation of

the C -band in satellite new

s-gatherkg has sw

itched almost ev-

eryone's attention to Ku -band,

with a :w

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product andservice announcem

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AB

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ing similar crow

ding at some of

their operational frequencies, tow

hich the FCC

and equipment

manufacturers are responding

with new

bands and narrow -

banding schemes for exist-

ing ones.

N'

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-.4,SfrY"

To a company whosename means quality,it was a natural stepto take.

Dielectric Communications is now your single sourcefor complete UHF RF systems due to our recent pur-chase of RCA's Antenna Division. Dielectric and RCAhave had a long-term association, and are both knownworldwide for highly reliable broadcasting equipment.It was only natural for Dielectric to begin offeringthese high quality antennas as part of our already ex-tensive line of UHF components.

Over 600 UHF Pylon Antennas have been shippedfrom our Gibbsboro, NJ, assembly/test range and areproviding years of trouble -free service with minimalmaintenance. These ruggedly constructed antennasare designed for low relative windload and weight. Alluse a single feed point with high power input ratings.They are available in numerous vertical and horizontalpattern combinations to meet a wide rangecast coverage requirements.

Other broadcast products manufactured by Dielectricinclude: coaxial and waveguide diplexers; motorizedwaveguide and coaxial switches; rigid coax andwaveguide transmission line and filter products; andcustom RF systems with Magic Tee switching for UHFstations.

Dielectric's reliable equipment is backed by a fullrange of in-house services from design to field testing.Call us today for free specification brochures -1-800-341-9678.

TheTraditionContinues.

DIELECTRIC

1,7

Raymond, Maine 04071(207) 655-4555 (800) 341-9678TWX: 710-229-6890


NMI

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NAB Show -In -Print

Signals Are Strongfrom TransmitterManufacturersBullish attitudes found among themajority of transmitter manufac-turers at the NAB are due in partto the obvious market opportunityposed by the closure of RCA'sbroadcast equipment division and,in part, to new technology nowcoming on -stream.

Further justification for trans-mitter manufacturers' optimism,if it were needed, is given inBM/E' s recent survey of stations'transmission equipment buyingplans. Of the survey's respon-dents, the greatest number in anyrecent BM/E poll, 16.4 percentplanned to make a main transmit-ter purchase this year, and 13.7percent planned to buy exciterequipment.

Down the tubes. The trendaway from vacuum tubes as morereliable and higher -power solid-state amplifying components be-come available continued at thisNAB. The biggest surprise in newtransmitter technology came fromThomson-LGT, demonstrating itsaim to become a major U.S. equip-ment supplier.

It unveiled a fully solid-state30 kW VHF transmitter usingThomson Mostek bipolar transis-tors and a low -capacitance trans-former with transient surgeprotection. This achieves a life-time claimed to exceed three mil-lion hours, according to U.S.regional sales manager, PaulEndelstein.

The transmitter is already forsale in Europe. In the U.S.,Thomson expects to work with amajor broadcast group to repack-age the transmitter to gain FCCtype acceptance before salesstart later this year. Already,Endelstein reports, several U.S.broadcasters are considering apurchase.

Nautel president, David J.Grace, agrees there is a pro-nounced trend toward greater

Thomson-LGT's 30 kW solid-state VHFtransmitter is preparing to take on theAmerican market.

solid-state reliability. Interest inhis company's 50 kW AM trans-mitter introduced at the 1985NAB ran high at this year's show,he says.

Larcan Communications Equip-ment showed its new TTC-50LHhigh -band VHF 50 kW transmit-ter. Booth interest ran high, ac-cording to U.S. sales manager LewPage, in its features of a 2 kWsolid-state driver and micropro-cessor control. Larcan is currentlydeveloping additional software fordiagnostic functions, Page re-ports. Also supporting the trendtoward solid-state implementa-tion at Larcan was a new 3 kW au-ral transmitter for the company'sexisting 30 kW unit and a 1.2 kWVHF high-band/low-band device.

Skeptical. Transmitter com-panies, however, remain skepticalabout the commercial prospectsfor fully solid-state equipment inAmerica. For one, power levels ofU.S. transmitters are often higherthan in Europe or elsewhere, mak-ing tried and trusted high -powertubes a safer option in the opinionof some.

In addition, says Larry Cervon,president of Broadcast Electron-ics, the presence of government -backed broadcast stations abroadwith the cash to invest in solid-state equipment affects the issue.The competitive environment

Transmission

here makes it pay to stay with theolder technology, says Cervon.

Robert Kolts, product salesmanager for Thomson's electrontube division, notes a shift awayfrom solid-state and an increase intube research in the defense field,a trend that might be felt in thebroadcasting field in the future.

Nonetheless, transmittercompanies are keeping a closewatch on developments. "It's in-teresting to see the technology'sgot that far," says Joe Wozniak,national sales manager forAcrodyne Industries. Acrodyne'sown announcement for the showwas an expansion of its TRL andTRH series of high -power VHFtransmitters with high- and low -band models at 20, 30, 40, 50, and60 kW power levels. The 30 and 50kW devices use three Thomsontubes. The 40 and 60 kW transmit-ters are doubled 20 and 30 kWunits.

Wozniak estimates 30 VHFtransmitters are replaced in theU.S. each year. Conversion toMTS and circular polarized an-tenna systems will add tothe demand, Acrodyne says.Transmitter audio modulationhas been broadbanded with im-proved linearity and flatness ofthe aural bandpass. The companyhopes to claim a quarter of thatmarket, and already reports a cou-ple of likely orders from the show.

UHF advances. UHF trans-mission at higher power levelswith solid-state technology is notyet feasible, although Tomson hashinted that its propriatary tran-sistor technology could be appliedhere too. Instead, the principal ad-vance reported at this NAB wasthe long-awaited commercial real-ization of the Klystrode tube de-sign in a production transmitterfrom Comark. The Comark designuses a revised version of theVarian Klystrode shown at lastyear's NAB. The tube used has apower level doubled to 60 kW andhas been made compatible withexisting EEV and Amperex tubeequipment, says Comark Commu-nications' president Nat Ostroff.

Like the high -power solid-statedevelopments in VHF transmis-

BM/E JUNE 1986 127

NAB Show -In -PrintTransmission

sion, the Klystrode transmitter isnot regarded as practical by someother manufacturers, although itsacceptance is being carefully mon-itored.

Undeterred, Ostroff expects tosee the Klystrode operating in abroadcast tower within ninemonths. A paper presented byComark at the NAB engineeringconference gave cost of ownershipcomparisons for a Klystrode trans-mitter against a conventionalklystron design. "The results,"says Ostroff, "are quite stag-gering, indicating a potential sav-ings of about $100,000 in the firstfive years over the Klystrode'sclosest rival."

Klystron improvements.The Klystrode is not the only im-provement on the way for UHFtransmission. EEV reporteddevelopment work on a griddedklystron tube with a full-timemodulation mode pulsing tech-nique for increased efficiency. An-other advance reported at theengineering conference that mayappear in a product in NABs tocome was a multiple depressed col-lector (MDC) klystron design.

The project has been under-taken by the NAB with sponsor-ship from Varian Associates anda number of transmittermanufacturers, including Harrisand Townsend. According toTownsend's McClure, the compa-ny's TA range of transmitterswould be "compatible and adapta-ble" to the MDC designs.

Townsend also plans expansionby acquisition as well as by back-ing new technologies. Undauntedby its recent setback in at-tempting to take over first thewhole, and then only the trans-mission operation, of RCA'sbroadcast equipment division, thecompany expects to use its finan-cial backing from Avenir Group tostrengthen its market foothold.

RCA's Gibbsboro operations, ex-cept the antenna side, which wasrecently sold to Dielectric Com-munications, are still up for grabs.No RCA Gibbsboro staff were onduty at the NAB, however, andthere was no word from other RCAdivisions present on the likely fu-

ture of the broadcast equipmentside.

Radio transmitters. New inFM were transmitters from ElcomBauer, Harris, and BroadcastElectronics. Elcom Bauer showeda 1 kW solid-state transmitterwith "Fluorinert" liquid cooling.The company expects to expand itsrange with 2.5 and 5 kW unitsusing the same technology later inthe year, according to presidentPaul Gregg.

QEI draws KFAI-FM as winner of 695 FMexciter celebrating sales of over 1675FM exciters.

Harris Corp.'s FM additionswere at the 35 kW and 5 kW powerlevels. The lower power unit,FM -5K1, requires only single-phase AC power, saving broad-casters up to 50 percent of the costof three-phase installation, Harrisclaims. The transmitter meets RFpower requirements for Class Aand reduced -power Class B opera-tion with high antenna heights.

The 35 kW transmitter hasbuilt-in self -monitoring and diag-nostic capabilities that can main-tain power levels during icing andindicate problems on a front panelLED and meter array.

Another new transmitter at the35 kW power level came fromBroadcast Electronics. The com-pany announced it in the form ofan updated version of its 30 kWunit, both with single -tube de-signs. The company also showedits 10 kW FM transmitter. Accord-ing to Broadcast Electronics presi-dent, Larry Cervon, trends towardhigher towers with greater trans-mission line losses and antennasof wideband design and with re-duced numbers of radiating ele-ments are the reasoning behindthe 35 kW arrivals.

FOR MORE INFORMATIONThomson-LGT 730 Townsend 735Nautel 731 Elcom BauerLarcan 732 (FM transmitters).. 736Comark 733 Harris 737Acrodyne 734 Broadcast Elect .. 738

Other Trans-mitters...NEC America showed its PCN-1400 VHF transmitters in a fullrange of output powers from 1 to35 kW, all solid-state up to 10 kW,and, in UHF, NEC exhibited itsPCU-900 transmitter series....Marconi Communications Sys-tems at the Comark booth addedthe B7536-30 30 kW VHF unit toits 7500 series of high -bandtransmitters....Thomson-LGTalso announced a new single -tube30 kW VHF transmitter....Philipsshowed its 60 and 120 kW UHFtransmitters with power supplyand transmission line equipment,claiming sales of 18 units sofar....Television Technology Corpshowed its Silverline range ofUHF transmitters from 10 to 220kW.

As well as new FM transmit-ters, Harris Corp increased thepower rating of its FM -3.5KValuStar transmitter to 4 kW toallow broadcasters to meet cover-age requirements more easily....QEi. Corp showed new compact 10and 15 kW single -tube FMtransmitters....Elcom Bauer dem-onstrated ET, a portable 300 Wfully synthesized and broadbandFM transmitter as well as solid-state transmitters at 100, 300, and600 W....CCA Electronics Corp.unveiled a 20 kW two -tube FMtransmitter with optional out-board exciter and a new controlpanel.

Continental Electronics intro-duced new FM transmitters at 4.3and 35 kW and a new 500 kW AM -

SW unit....CSI Electronics an-nounced the new T -3-F 3.5 kW and500 W solid-state FM transmitters....Bernie Wise returned to the RFindustry at this NAB with a rangeof FM transmitters from 40 W to30 kW from Energy-Onix....AEG-

128 BM/E JUNE 1986

R-42 diversity receiver Now with GaAsFET's.

Improved sensitivity and system range, with ultralow noise.Cetec Vega's top -of -the -line PROPLUS R-41 and R-42 wireless -microphone receivers have quicklybecome the worldwide standardof excellence. Overall quality ofthe PRO PLUS wireless system isequal to wired microphone systems,with respect to dynamic range,signal-to-noise ratio, distortion,etc. We invite your comparisons.Check these features of the new,improved PRO PLUS receivers:

GaAsFET front end.Provides the highest achievablesensitivity for maximum systemrange. Also incorporates a high-performance helical filter.

Lowest distortion.0.25% maximum, 0.15% typical.

Measurably the highest signal-to-noise ratio and widestdynamic range.Quiet as a wire. With DYNEX II(a new standard in audio pro-cessing), SNR is 101 dB (108 dBA -weighted). System dynamicrange is 133 dB including trans-mitter adjustment range, frominput for maximum nondistortinggain compression to noise floor.

"Infinite gain" receiver.Improved performance in thecritical threshold region, superiorhandling of multipath condi-tions, better SNR, and constantreceiver audio output level.

Professional audio circuits.Output is adjustable from +20

dBm to -60 dBm in four ranges.Also featured are selectable phas-ing and 0.2 -watt independentheadphone amplifier.

True dual -receiver diversity.The R-42 diversity system is themost reliable method to avoiddropouts. The R-41 nondiversityreceiver has all of the otherfeatures of the R-42.

PRO PLUS wireless -microphonesystems achieve the highest per-formance possible with today'sadvanced technology.

Write or call for further informa-tion and location of your nearestdealer: Cetec Vega, P.O. Box 5348,El Monte, CA 91734. (818) 442-0782.

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NAB Show -In -Print

Transmission

Bayly showed its line of FM trans-mitters at 500 W,1 kW,and 1.5 kWpower levels....LEA Dynatechshowed its line of transmitter pro-tection equipment, and now plansto introduce its "Total FacilityProtection Concept," integratingclean line electronic filter andsurge and transient eliminatorsfor primary protection outside abroadcast facility.

Other exciters and amplifiers.Emcee Broadcast Products an-nounced the TSA100GA 100 WS -band amplifier and the TTU-100SR 100 W solid-state UHFtransmitter -translator as well asnew stereo modulation and cool-ing features in its 5 kW translatorand a 10 W GaAs FET 2.5-2.7 GHzTV repeater....Acrian described a120 W addition to its UHF amplifi-er module range.... Micro Commu-nications displayed new MTSUHF TV diplexers and UHFswitchless combiners as well as anew version of its VHF combiner.

Richardson Electronics showedits "Doomsday" RF power amp-lifiers, RF445UR and RF6100-UREDC....Philips described newVHF TV and FM power amplifierswith broadband input circuitrywith new cavities to 'allow opera-tion without tuning....ITS Corpannounced the ITS -10 and ITS -15VHF exciter -modulators intendedto drive established RCA trans-mitters as well as a new VHFICPM corrector for low-levelprecorrection of visual signals inRCA equipment.... Delta Elec-tronics announced an improvedASE -1 C-Quam AM stereo exciterand ASM-1 modulation monitor....Elcom Bauer showed the 690B and6020 FM exciters.

More tubes. Thomson's elec-tron tube division announced a200 W addition to its TWT amplifi-er line as well as showing its tet-rode range....Amperex showed itsline of klystrons and tetrodes....Varian Associates showed klys-tron designs for TV and satellitetransmission as well as theKlystrode and other cavities....EEV Broadcast Tubes offered arange of wideband UHF TV klys-trons from 5 to 60 kW.

Remote control systems.

Comark shows 60 kW Klystrodetransmitter-a first.

Gentner RF Products Divisionannounced what it described asthe world's first broadcast transmitter remote control system de-signed to function on a dialtelephone system. Gentner saysthe adoption of the FCC's docket84-110 releases the remote controlindustry from "the unrealistic re-quirements previously in force."The product, designated VCR -1000, uses synthesized voice ordigital data to report transmittersite parameters and alarms tomultiple locations....Moseley As-sociates also moved into standardtelephone communication withthe announcement of a dial -up op-tion for its MRC-2 remote controlsystem. Firmware allows control

terminals to dial up remote ter-minals to a user -selectedschedule....TFT updated its 7600series by announcing its new 8610series digital remote control sys-tem providing ten channels eachof raise, lower, telemetry, and sta-tus monitoring, expandable to atotal system capacity of 70channels....Harris expanded itsline of Sentinel remote control sys-tems with the low-cost Sentinel 16unit....CAT Systems reported highlevels of interest in PC -controlledremote sites. Its new product inthe area was the CAT9200 multi -site remote control system builtaround the IBM PC and having 16telemetry and 16 status inputs....Nurad exhibited its establishedrange of microwave remote con-trol systems and accessories.

FOR MORE INFORMATIONNEC America 740Marconi Richardson Elect .. 754Communications Philips 755Systems 741 ITS 756Philips 742 Delta Electronics..757Television Tech.. 743 Elcom Bauer 7580E1 744 Thomson ETD 759CCA Electronics . 745 AmperexContinental Elect 746 Varian 761CSI Electronics .. 747 EEV 762Energy-Onix 748 Gentner RF 763AEG-Bayly 749 Moseley 764LEA Dynatech 750 TFT 765Emcee Broadcast . 751 Harris 766Acrian 752 CAT Systems 767Micro Comm 753 Nurad ..... 768

RF Rulings BuoyAntenna IndustryCorporate takeovers rather thanproduct announcements mademuch of the NAB news in the an-tenna industry. Dielectric Com-munications has now completedits purchase of RCA's broadcastantenna business (BM/E, March1986, p. 18). Dielectric describesthe acquisition as providing "alogical, long-term growth opportu-nity. We are in a position to supplytotal systems, from RF output tothe antenna."

On the technology front, thenew RF radiation requirementsfrom ANSI are leading to new an-tenna development approaches.The business is becoming one ofsystems design as opposed to justselling antennas, notes Gary

Hatch, president of Antenna Tech-nology Corp.

Circular polarization. An-other technology trend is noted by0. Ben-Dov, Dielectric's managerof advanced development and spe-cial programs. After specializingin VHF circular polarized antennadesign during his 16 years at RCA,he now says: "Acceptance of thisnew technology is now firm andgrowing." With the acquisition ofRCA, Dielectric claims 64 percentof the U.S. CP antenna market.Just in the year since the 1985NAB, says Ben-Dov, the numberof VHF CP antennas in the fieldhas increased from around a dozento 60.

Dielectric Communications' ac-

130 BM/E JUNE 1986

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Andrew Corp.'s booth displayed arange of antennas for SNG as well asregular broadcast use.

quisition of RCA's antenna centerwas not the only business move. Inanother takeover, Jampro Anten-nas made a surprise return to thebroadcast industry with the pur-chase of Cetec Antenna from itsparent corporation just a week be-fore the NAB. Jampro has alsobeen a leader in the developmentof CP antennas for both FM andTV broadcasting. The companywill continue worldwide distribu-tion of Cetec antennas and is re-taining the same management.

Jampro president James Olversees the FCC's requirement thatbroadcasters comply with theANSI RF radiation guidelines as amarket opportunity. The companysays its CP cupped spiral dipolebroadband antennas require lesstower space and give a broadermain beam in the elevation plane,as well as providing the necessaryreduction in low -angle radiation.

Meeting ANSI. Shively Lab-oratories announced a half-wave

Harris's circularly polarized FM Skygainantenna.

132 BM/E JUNE 1986

spaced antenna, also to reducedownward radiation to meet theANSI standard, as well as a verti-cally polarized FM antenna to re-duce channel 6 interference. Thecompany's engineers also deliv-ered a paper on combining net-works for FM multiplexing, basedon experience with branched andbalanced bandpass filter systems."People are taking a lot more so-phisticated look at over and abovethe hardware as to what serviceand guarantees a manufacturercan provide," notes CharlesPeabody, Shively's vice presidentof marketing.

Another CP antenna announce-ment came from Harris Corp. Thecompany says its Skygain anten-na's inherently low 90 -degreedownward radiation helps meetthe new RF requirements. Hori-zontal circularity is typically ± 2dB when the antenna is pole-

mounted for uniform signal cover-age, with 5 MHz bandwidth perFM channel.

FOR MORE INFORMATIONDielectric 770Antenna Tech 771 Shively Labs 773Jampro/Cetec 772 Harris 774

Other Antennaand RF Announ-cements on theNAB Floor.. .

Andrew Corp announced field in-stallations of its Trasar CP VHFtraveling -wave antennas as wellas showing its Trasar UHFspecifications....SWR demon-

strated its Clarion high -powerUHF waveguide antennacapability....Bogner BroadcastEquipment announced upgradesof its low -power antennas to 30kW and greater radiation patternavailability to meet RF limits.

Conifer Corp (Comex) describeda low-cost six-foot ITFS antennawith eight- and ten -foot versionsto come.... LeBlanc and Dick dem-onstrated its custom antenna sys-tems design capability....Towercompanies, among them Stain-less, Transmission Structures,Central, Fort Worth, Utility, andAllied, reported increased interestat this NAB, in part due to Docket80/90 considerations....FlashTechnology Corp said that re-duced FAA beacon intensityrequirements would boost its busi-ness and cut power consumptionfor antenna operators.

Dataworld offered a new FMinterference study program,FMinter, designed to determinepossible contour overlaps betweenexisting and planned facilities aswell as its FMTV6 program to pre-dict interference areas to channel6 reception....Holaday Industriesoffered its HI-5000-SX RF expo-sure measurement system with anew data logger feature tocompute ANSI six -minute RFaverages.... Hipotronics showedits Peschel automatic voltageregulator.

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for use at the 18 and 23 GHz bandsrecently approved by the FCC.Others are narrowbanding signalsto squeeze additional life from theexisting lower frequency bands,which are often saturated, espe-cially in densely populated areas.

The lower frequency bands, at950 MHz, 7,and 13 GHz, retain anadvantage over the newly ap-proved higher frequencies in thatthey experience less signal atten-uation by adverse weather condi-tions and hence have greatertransmission ranges. They alsobenefit by the greater range ofequipment already on the market.

Recent technological develop-ments and regulatory issues in mi-crowave transmission, and theresulting options facing broad-casters in deciding which bandsbest suit their STL needs, will beaddressed in more detail in a fea-ture article in next month's BM/E.

Twenty-three today. InDallas, several companies an-nounced microwave links in the 23GHz band. Harris Broadcast Mi-crowave claimed the first 23 GHzmicrowave link to meet RS -250Bstandards for short -haul tele-vision signal relay with itsMicrostar 23 unit. The 23 GHz ra-dio is made by Microwave Net-works for Harris under the termsof a five-year exclusive marketingagreement between the twocompanies. The link joins theHarris 2, 7, and 13 GHz STLs. Themodular design of the Microstar23 allows units to be configuredfor simplex or duplex operationin unprotected or hot -standbymodes, according to Harris.

Another new 23 GHz link camefrom M/A-Com MAC. It claims upto a 15 -mile range and a dynamicrange up to 110 dB. The MA -23 usesthe dbx 700 digital audio processorto achieve this broadcast qualityimprovement for premium soundfor major market stations. Forother AM and FM stations, M/A-Com has configured a second sys-tem, using the Sony PCM701ESprocessor to give a 90 dB dynamicrange without companding.

The MA -23 STL was designedfor video transmission but is beingused increasingly for audio with a

stereo separation of better than 80dB, says Erik Stromsted, managerof M/A-Com MAC'S OEM anddealer sales.

Motorola also introduced a 23GHz STL at this NAB. Its Starpoint23 HPV FM video microwave radiois claimed to attain a ten -milerange in ideal conditions.

1

Microwave Networks was one of sev-eral companies unveiling STL equip-ment at the new 23 GHz band.

Rain attenuation. OtherSTL manufacturers are choosingnot to announce 23 GHz links atthis time. For cost and transmis-sion distance limitations, saysM.E. McClanahan, vice presidentat Marti Electronics, the existing950 MHz band remains prefera-ble. Higher frequency STLs, likeKu -band satellite systems, can berendered effectively useless overlonger ranges in adverse weatherconditions. Nurad's StephenNeuberth was also skeptical aboutthe usefulness of the high -frequency STL bands. Nuradshowed its existing microwaveline at the lower frequencies aswell as its ENG and remote con-trol equipment.

Marti's narrow -band singlechannel per carrier STL systemclaims to be able to more than dou-ble the number of STL channels inthis aural band. The system, des-ignated STL-10, gained type au-thorization a month before theNAB, says McClanahan. It uses 75kHz for AM mono, 175 kHz for AMstereo, 150 kHz for FM mono, and250 kHz for FM stereo. The noise,distortion, response and channelseparation is better than most 500kHz channel systems, Marticlaims. For FM operation a signal-to-noise ratio of 75 dB is achieved,with 72 dB for AM.

Moseley Associates is upgrad-ing its PCL606 950 MHz band STLin response to the FCC's allowing

Transmissionstacking of narrower bands. Itsnew spectrum efficient 606SECmodel carries 300 kHz channels inplace of 500 kHz. According toGlenn Sanderson, Moseley's man-ager of RF engineering, the SEClink should gain type acceptancewithin three months.

Patrick Bradbury, vice presi-dent of sales and marketing for RFTechnology, feels there are toomany products catering to the 23GHz band. RF Technology iscontinuing to manufacture itsSeries 700 and 1300 transmittersand receivers for the 7 and 13 GHzbands. In addition, there was newat the NAB data on a redesignedproduct line of 950 MHz wirelessmicrophones.

FOR MORE INFORMATIONHarris 791M/A-Com MAC 792 Nurad ......Motorola . 793 Moseley AssocMarti Elect 794 RF Tech

795796797

Microwave andMiscellaneousTransmissionEquipment...TFT introduced the model 8303composite STL receiver to accom-modate a mono STL user betweentwo existing composite STLchannnels. The 8303 is optimizedto work at 250 kHz spacing....Rockwell Internationalannounced a 12 GHz narrowbandmicrowave video relay system,mainly for cable TV relay....MicroControls showed its widebandcomposite and a narrowbandsingle and dual 950 MHz STL aswell as its AM stereo STL and 950MHz repeater....Ikegami an-nounced a portable mini micro-wave link operating in bands Bthrough E to complement itsseries of compact links....Itelco in-troduced its VLO2FM video link, alightweight unit allowing onecameraman to transmit one videoand one audio signal to the studio.

Fiberoptic transmission.Catel showed its multichannel FMfiberoptic system for video, audio,and data for broadband transmis-sion applications, giving repeater -less operation over 25 miles for up

BM/E JUNE 1986 135


to 16 channels per fiber. The com-pany also showed an FM stereomodulator and a color TV modula-tor....Artel described its fiberoptictransmission capability with anew duplex data system and an ex-pansion of its SL3000 videofiberoptic product line as well asintroducing a slimline 3270multiplexer.

Learning Industries showed its813 SCPC program audio trans-mission system for terrestrial andsatellite communications net-works....Grass Valley Group an-nounced preliminary data on itsnew model 4400 digital audiotransmission system intended foruse with standard telephone orfiberoptic systems, for which it iscurrently scheduling field trials.

FOR MORE INFORMATIONTFT 800 Catel 805Rockwell 801 Artel 806Micro Controls . 802 Learninglkegami 803 Industries 807Itelco 804 Grass Valley 808

Satellite Equipment:Selling Sjpace andTime in DallasSatellite news -gathering was un-doubtedly one of the boom areas ofthis NAB. There is so much rapidgrowth in satellite transmittersfor SNG, receivers, and satellitenetwork services that it is hard tobelieve that some degree ofshakeout won't hit the industry inthe near future.

Most broadcast satellite equip-ment companies at the show agreethat such a shakeout is bound tocome sooner or later. Somecompanies will go bust after theboom, but for the moment, at least,they are saying that there are twoor three years more expansion tobe enjoyed before then.

Satellite services. A variety

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of satellite syndication and news -gathering services, national, in-ternational, and local as well asfull- and part-time, made groundat the NAB. Cooperative SNG ar-rangements among affiliates of anetwork are most organized atNBC, and ABC has also an-nounced plans for some SNGcoordination. CBS is still dis-cussing the idea, but will followsuit soon, according to JohnFrazee, news service executiveproducer for the network.

Among the new SNG servicesunveiled in Dallas was RCAAmericom's offering of its SatcomK-2 transponder space. Announc-ing the service, Americom's presi-dent said: "The combination ofSatcom K-2 and its existing net-work of earth stations for the firsttime allows the nation's televisionnews desks an almost unlimitedsource of material from around thecountry." He pointed out that theservice's Ku -band signals could betransmitted and received even inmetropolitan areas of heavy mi-crowave congestion.

News, programs, and com-mercials. Turner Broadcast-ing's Cable News Network willuse the K-2 bird in launchingwhat it calls the first full -serviceKu -band satellite news -gatheringoperation, Newsbeam. Paul Amos,vice-president of headline news atCNN, says: "We think many sta-tions will subscribe to more thanone SNG service."

Brightstar Communications,meanwhile, is using the RCA K-2bird for its television program andcommercial syndication service,announced at the NAB. ItsSyndistar system uses one K-2transponder currently, with an op-tion on a second.

The service gained its first cus-tomers last month with two pro-grams from Gaylord scheduled tobegin syndication in the fall. The

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programs will be the first to be dis-tributed nationally by Ku -bandsatellite, says Brightstar.

Syndistar will also transmitprograms outside the U.S., mak-ing use of Brightstar's Intelsattransponder allocation. In addi-tion to the Ku -band service onK-2, the company offers a supple-mentary C -band service.

GTE Spacenet showed its NewsExpress SNG service introducedat the last NAB. The occasional-

use Ku -band service uses satellitetelephone circuits on a separatetransponder for direct communi-cations link. News Express cur-rently uses two hybrid C/KuSpacenet birds and two Ku -bandG -star satellites. Additionallaunches of both types are plannedfor the next year, says GTE.

New from GTE was a Turn-around Service to convert Ku- andC -band signals for downlink tootherwise incompatible earth sta-tions. Signal conversion takes

place at GTE's Woodbine, MD.,earth station. The introduction iswell timed to meet the rising SNGdemand. According to MichaelCaffarel, GTE Spacenet's industryservices marketing director, sta-tions "can expand the use of ex-isting C -band earth stations bypicking up feeds from a Ku -bandtransportable truck, which mightbe part of another network, sta-tion, or affiliate group." Smallerstations could use the service tocover events that would have beentoo expensive with transportableequipment, he adds.

The new services will find them-selves in competition with ConusCommunications. Conus has re-cently expanded its news centermaster control in Minneapolis tocope with the ever rising demandfor SNG, allowing the company tomonitor more satellites, effective-ly doubling its capacity for itspresent 34 member stations,according to Conus president

Charles Dutcher.Also in the SNG service market-

place were AT&T, Comsat Gener-al, and occasional -use local servicevendors, Central Florida Teleport,using the RCA K-2 and its MC Kumaster control and South StarCommuncations, also based inFlorida.

More portability. ComsatGeneral's Skybridge servicemarks an expansion from its ex-isting commitment to NBC.Comsat is also enhancing NBC'sSNG involvement by providing 50portable uplink packages to addtransmit capabilities to sites thatcan currently only receive satel-lite signals.

Greater mobility was certainlyan important factor contributingto the appeal of SNG equipment atthis NAB. There was confusion insome areas of the new technology,however, with potential buyersunsure of the legality and efficacyof some of the smaller uplink

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It puts your station in the driver's seat.The cornerstone of SkyBridge is a compact,self-contained satellite broadcast vehicle. Its2.4 meter antenna can be operated frominside the vehicle and folds down onto thetop of the van when not in use. And sinceSkyBridge provides you with Ku -band satel-lite time, you can transmit from remotelocations or the middle of a city regardlessof the distance back to your studio. Wher-ever events are happening, you'll be therewith SkyBridge.For a very reasonable monthly lease, Sky -Bridge puts your station in the driver's seat.For complete details on SkyBridge, call JudyBlake at (202) 863-7326.

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dishes and disarray among thenetworks and their affiliatesas to whose equipment was to besupported.

Comsat was only one of severalcompanies with portable uplinkannouncements. The Comsatuplinks are actually manufac-tured by Harris Corp's SatelliteCommunications Division. Theunit breaks down into six boxes,including the 1.8 meter antenna,with no box weighing more than70 lbs., allowing them as check-able baggage on airlines.

Modulation Associates intro-duced its KUO2 portable uplink,designed for 1.2 or 1.8 meterantennas. The unit has multi-channel SCPC capability andpacks into just three cases for airtransportation, according to D.H.Haight, the company's president.Stereo, IFB, private, and digitaldata channels are available asoptions.

Midwest unveiled a range of

transportable SNG equipment for.vehicles of different sizes and fordifferent applications. Principalamong these were the S-18 andS-24 vans. The former uses a 1.8meter antenna with dual redun-dant RF, including two phase-

combined 200 W TWTs and amilitary -grade power supply forgreater reliability.

The S-24 is a surprise additionto the range, a slightly smaller butmore roomy version of the S-25SNG van intended for the moreelaborate on -location work withits own editing and microwavecommunication links. Here, too,improvements have been made toreduce the unwieldy and unreli-able nature of RF equipment withan improved power supply fromHarris and a new plate -mountedphase -combined system with200 W TWTs as in the S-18.

Dalsat introduced its newSNV-6 satellite news van, a10,000 lb vehicle with a 1.8 meter

antenna. Now the company plansto unveil its big sister at theRTNDA in August. This will bethe SNV-8, a 15,000 lb van withmany shared features of theSNV-6 but with a 2.3 meter An-drew antenna with offset feed.

Flyaway combo. The RoverFlyaway SNG terminal intro-duced by Spectra Communica-tions is also a Ku -band device witha 1.8 meter antenna. The sameportable uplink has been incorpo-rated by Spectra Communicationsand L.B. Telesystems into an Iveco14,000 lb truck and into a FordEconoline van, both new at thisNAB.

The truck has its own 2.4 meterantenna,and the van has its own1.8 meter antenna. Ordered as acombination, the truck and fly-away can share the same trans-mitting hardware. This combina-tion package is proving of interestto stations that had come to theNAB just looking for the van, says

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The Wait is Over!IKEGAN/I UNVEILS THE 2/3"

FIELD/STUDIO CAI/ ERA STANDARDWhen Ikegami engineered the all new

HK -323 field/studio camera, their first pri-ority was to make this advanced technologycamera available to all preferences.

The result: the HK -323 1" and theHK -323 2/1"-two tube sizes to meet thebroadest range of preference, application orbudget.

Like the 1", the HK -323 qi" features self-contained operation, numerous auto set-upsin any mode, a built-in encoder and syncgenerator, high performance prism optics,self -diagnostic functions, a control panel thatconnects directly to the camera head, a S/Nratio of 60dB and more-all in a cameraweighing only 55 lbs.

The HK -323 is equipped with a 7"viewfinder featuring pan and tilt, and specialfunctions that include Chroma Aperture for 'sharpest picture quality regardless of coloror lighting; Highlight Compression Circuitryfor broadest contrast range; Soft Detail toeliminate harsh or overwhelming presence+Auto Beam Control, and more.

A companion hand-held camera is alsoavailable, and is operational off the samebase station.

Optional remote control is available in:triax, multicore and fiber optics.

Compare the HK -3231/3" to any camerain its class and find out why the lightestfield/studio camera is also the biggest value.

Ikegami EleEast Coast: (201) 36 West Coast: (213) 534-005C Southeast: (813) 884-2046Southwest: (214) 293-2844 Midwest: (312) 834-9774

rp-1 Rr. ader Service Card

NAB Show -In -Print

Spectra Communications' presi-dent, Vince Walisko.

Hubcom showed a Ku -band Vid-eo Flight Pack with a 1.8 or 2.2meter antenna transportable ineight cases and with a total systemweight of 450 lbs. Another innova-tion aimed at bringing greatertransportability to SNG equip-ment was the company's new "Lowboy" Ford E-350 van. The van isdesigned for rapid deployment andC130 aircraft cargo transport.

Microdyne debuted its MAT au-tomated terminal for advance pro-gram scheduling for satellitetransmission using either C- orKu -band birds. The MAT allows200 presets to be stored,with 32 astimed events.

ENG or SNG Mobiles:What's the Difference?It is virtually impossible to sepa-rate the satellite news -gatheringvehicles from the traditional ENGvans these days. The ENG-cum-SNG mobile units included ENGCorp., who introduced a Ku packand 23 -foot microwave mast.

The TMD Division of theWill- Burt Co. showed its tele-scoping, pneumatically raisedsupport mast for SNG and ENG,available in heights from 20 to134 feet.

Midwest, in addition to its line ofstudio production units, offered aparking lot full of SNG vehicles:S-18, S-19, S-23, S-24, and S-25.Wolf Coach showed the S-15, butit also featured the standardVC -201N ENG van. Centro showedthe SNG Networker in Ku- band.Centro also had its 45 -foot traileron view -the one selected byNBC Sports. The network has or-dered four of them, twoexpandable.

Remaining primarily in the fullproduction mobile unit campwere Roscor and Shook. Roscorwas there to discuss its TV -45Performer. Shook showed plansfor the No. 40-43 and No. 45-60production trucks.

FOR MORE INFORMATIONENG Corp 823TMD 824 'Centro ... 827Midwest 825 Roscor 828Wolf Coach 826 Shook 829

FOR MORE INFORMATIONRCA Americom... 810 South Star Comm . 816Brightstar Comm. 811 Comsat General 817GTE Spacenet 812 Harris 818Conus Comm .... 813 Modulation Assoc . 819AT&T 814 Midwest 820Central Florida Dalsat 821Teleport 815 Hubcom 822

Other SatelliteDevelopments.. .Microdyne also announced itsQuicklink transportable SNGunit with automatic satelliteacquisition and peaking, flexiblydesigned for trailer or truckmounting with appropriate test,production, and editing equip-ment ....Also new from Microdynewas the 1100-TDC tracking down -converter for narrowband use ofvoice and data on Ku -band satel-lites.... Ethereum Scientific an-nounced two transportableuplinks, one in C -band with a Ku -band option and one Ku -band onlywith a 2.8 m dish and 600 W TWT.

Broadcast Microwave Servicesunveiled a new Ku -band uplinktruck with on -board Loran andmagnetometer to compute the an-tenna orientation for the best sig-nal from within a 3 x 4 -degreewindow....RF Scientific showed afour -channel audio Ku -band flya-way unit with the Harris/Satcomexciter and upconverter availablein single 300 W or redundantphase -combined 200 W versions....BAF Communications unveiledits 340T larger SNG truck....Centro announced its SNGNetworker, a Ku -band transport-able with a 2.3 meter antenna and300 W TWT amplifier.

Transmission

Modulation Associates intro-duced the T -Sat agile C -bandSCPC receiver and the SR 23frequency -agile subcarrier receiv-er designed for program transmis-sion above video and prepro-grammable for up to 100 specifiedfrequencies....DX Communica-tions announced its new DSA-654TM frequency -agile satellitereceiver, a C/Ku-band compatibleunit with front panel selectable

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Circle 187 on Reader Service Card BM/E JUNE 1986 143

TOSHIBP,

TOSHIBA's imaging technology has onceagain gone one better! With the new Micro-miniature Color Camera. we have introduceda new concept in TV/video camera systems.This system consists of a separate camerahead that fits easily into even a child's hand.connected by a 4mm-thick cable to a

TOSHIBA CORPORATION

IRTURE COLOR CAMERACamera Control Unit (CC athan a thick paperback book and perthe imaging functions. The camera producesa fine clear picture on a color TV receiver,and can also be used in conjunction with aportable VCR by amateurs and professionalsalike.

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transponder frequency and dualvideo output....Pinzone showedthe 8250 receiver as well as a low -noise down -converter for both C -and Ku -band satellite use....PesaElectronica showed its newSR -91785-A satellite receiver anda satellite line amplifier -equalizer, LAE-917N....Com-tech's antenna division consolida-ted its move away from C -bandequipment with a new 3.5 meterdual -axis Ku -band antenna.

Vertex Communicationsshowed its 1.8 meter Ku -bandearth station antennas, a dual,offset mobile unit and a flyaway,the dishes used in Midwest's SNGvans announced in Dallas....Radiation Systems subsidiary,Satcom Technologies, demon-strated its antenna range from 5and 5.5 meter dishes down to a 2.4meter SNG dish being used byComsat....Scientific-Atlanta in-troduced the series 304 low -noisecooled Ku -band amplifier, whichallows efficient use oftransponder space.

Standard Communications, atits first NAB and hoping to in-crease its broadcast interests fromtheir present level at 5 percent ofsales, introduced a multiformat,multifrequency satellite receptionsystem comprising the AgileOmni receiver and C- and Ku -band low -noise amplifier/blockdown-converters....Wegener Com-munications announced a systemfor distribution of multiplexeddigital voice and data channelsover SCPC satellite links....QSISystems announced techniquesusing the vertical blanking inter-val for SNG transmission identifi-cation, one encoded and the other,which reportedly attracted muchinterest especially among trans-portable owners, in plain lan-guage. A 16 -character version wasshowed at NAB, expected to be up-graded to 24 characters shortly.

FOR MORE INFORMATIONMicrodyne 830 Pinzone 837E t h e r e u m Pesa Elect 838Scientific 831 Comtech 839Broadcast Microwave Vertex Comm 840Services 832 Satcom Tech 841RF Scientific 833 Scientific Atlanta ..842BAF Comm 834 Standard Comm . 843Centro 835 Wegener Comm ..844DX Comm 836 QISI Systems 845

The ENG-4 Receiver is supplied with asmall monitor earphone and a 1/4 waveantenna that mounts vertically or at aright angle.

It's a small wonder!Big FOUR CHANNEL receiver and TWO CHANNEL transmitterpacked into the smallest packages ever.The system is designed for ENG broadcast and remote video productionand operates in the VHF band between 165-216 MHz. There are 14 stan-dard computer selected frequencies available from Telex. The receiver'ssimple rotary dial allows quick channel changes in the field. Spring -loadedbattery compartment pops up so battery "sled" can be taken out andreplaced instantly with a spare-reducing battery change downtime to justseconds. For more information on this "small wonder" write or call today.

ENG-4Antenna can

be mounted ata right angle

WT -400is supplied withbelt -pack carryingcase not shownhere

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PERFORMANCE AND ECONOMY.SIDE BY SIDE!Now get more perform-

ance for the moneyin two new additionsto Tek's 1700 Series family:the 1720 Vectorscope and1730 Waveform Monitor.For years television facil lieshave looked to the Tek 528Aand 1420 for reliable, co-sis-tent signal monitoring. Ourtwo new monitors do the jobfaster, better-and at asubstantial reduction in cost.Even easier to use. Nowfour front panel setups canbe stored-from the fro -itpanel-and recalled at :hetouch of a button. You getcomplete line select capabil-ities including field selection,

15 -line display and CRT read-out of field and line number.You can display Channel Aand Channel B inputs simul-taneously. The informationyou need is there at a glance.Each monitor incLides itsown advanced feature set.There's an X Y input forstereo audio mon toring inthe 1720. Dual filter opera-tion in the 1730. Plus proven1700 Series family advan-tages. Excellent viewability.Low power consumption. Allin a compact package suitedfor stand alone use or rack -

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munting and availablein NTSC and PALversions.

The new 1720 Vectorscopecan also De comb 'led with a1710B Waveform Monitor-for even greater side -by -sideeconomy,Get the full story fromyour Tektronix represent-ative. AsK for a demo andsee what makes the 1720and 173C the lead ngprice performance values onthe market today!

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Testing Times for NewBroadcast Technologies ... 147

LEADERINSTRUMEN'

Auch of the excitementat the Dallas NABcame from the intro-duction and rising

level of acceptance from broadcast-ers of new technologies for the crea-tion and transmission of audio andvideo signals. Often, it is test andmeasurement equipment manufac-turers who are fueling the move to-ward greater deployment of digitaltechnology.

Over recent years, and at thisyear's show, they have beenintroducing simpler instruments,yet ones that have more intelli-gence built in to make them easierto operate as well as more powerfultools in the range of tasks they canperform. The availability of suchequipment is seen as a prerequisitefor the introduction of new tech-niques in a working broadcast sta-tion environment.

Testing Times for NewTechnologiesSuccessful implementation of newbroadcast technologies by stationsdepends, among other things, uponthe availability of appropriate newtest equipment. Conscious of this,some manufacturers of test andmeasurement instrumentation areahead of the game.

Interest in stereo for MTS andAM ran high at the NAB, for exam-ple. "But how do you measure it?That's what everyone's askingright now," reports Alan Perkins,sales manager for ModulationSciences.

The advanced instrumentationhas been developed in any case be-cause researchers needed it, points

out Dave Jurgensen, director of en-gineering at Magni Systems. "Whynot bring it to the market?" he asks.Magni's principal new offering wasthe 152'7 integrated measurementpackage with color frame and SCHphase capability as well as a TV testsignal generator operating from anIBM PC or compatible.

The Dallas show saw new instru-ments for multichannel TV sound,AM stereo, as well as for componentvideo signal test and measurement,despite the comparatively smallnumbers of stations that have so farmade use of these new capabilitiesin their everyday broadcasting.

The fullest ranges of new test

BM/E JUNE 1986 147

NAB Show -In -PrintTest and Measurement

equipment were those from LeaderInstruments and Tektronix. Thetwo companies introduced instru-ments that will be in direct compe-tition in some instances.

Leader's additions included a525 -line -select waveform monitorand new TV stereo signal genera-tor. The waveform monitor featurescontrols to select any line of fields 1or 2 and may be preset for up tothree lines for checks addressingparticular test pattern areas.

Implementing new technol-ogy. Leader's TV stereo signalgenerator illustrates how the newTV technology is advancing thestate of the art in test equipmentthat will then put broadcasters in aposition to implement that newtechnology. The LMS-237 signalgenerator was developed "at the re-quest of several major televisionmanufacturers," says Leader's di-rector of marketing, Robert Sparks.

Other developments from Leaderinclude a portable picture, wave-

Tektronix's new component analogtest signal generator avoids the needfor transcoders.

form, and audio monitor for EFPwork weighing 8 lbs; a semi-automatic audio distortion meter;an AM stereo signal generator de-signed to work with Motorola'sC-Quam system; and an attache-

case portable 60 MHz oscilloscope.The principal announcement at

this NAB for Tektronix was the re-placement of its elderly 528waveform monitor and 1420vectorscope with a paired set of in-struments, 1720 and 1730, avail-able for less than the old units cost.

The 1720 and 1730 offer complete

line select, front panel recall, x andy inputs for stereo phase measure-ment, simultaneous A and B chan-nel display, and dual filter display.The 1730 waveform monitor candisplay any one, two, or 15 lines of aframe, or the same lines in bothfields. The 15 -line capability aver-ages to eliminate noise when usedwith a resolution chart.

Also new to the NAB was thecompany's WFM-300 componentvideo waveform monitor. Inequali-ties in component amplitude andtiming and interchannel gain canbe monitored and measured usingthe device's "Lightning" display,which shows the relationship be-tween the luminance and color com-ponents. Looking at all threesignals simultaneously, theWFM-300 can be used to monitorvalid color gamut.

Completing Tektronix's addi-tions in test and measurement werethe TSG-300, providing digitallygenerated test signals for a variety

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148 BM/E JUNE 1986

Oncein-a-lifetime eventsdon't happen twice!This 8 -lb EFP/ENG Monitorconfirms your field productionsare perfect, first time, every time!The LVM-5863A Color/Audio/Waveform Monitorconfidence tests cameraand VCR performanceanywhere. Shows you theoverall production qualityimmediately...with fullcolor (NTSC) and sound.LVM-5863A lets you besure all your productionsare techn cally and artistically correctbefore you leave the location. TheLVM-5863A confirms whPle balance,sync and burst levels. Its 2H and 2Vwaveforms show both line and field ratesignals. A switchable IRE filter makesit easy to check peak video. And for

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accurate verification of setup and blackbalance, switch on the 4x magnifier. Withall this, the LVM-5863A is easy to usesince controls are kept to a minimum.

It goes anywhere.Lightweight and small,the LVM-5863A is easyto hand carry or to mountin trucks, vans orhelicopters. Requiringonly 12 Vdc, it can usea readily available, self-contained battery (SonyNP -1 or equivalent) or

external power sources such as vehiclesand EFP battery belts.Quickly pays for itself.The LVM-5863A eliminates the risk oftime -wasting, cost -increasing, missed orpoor -quality shots.

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Circle 102 on Reader Service Card for Information Circle 203 on Reader Service Card for demonstration


of component formats; an audiovector converter for MTS moni-toring and an audio monitor formultichannel mixing; and anNTSC sync generator with genlockto calculate sync and SCH phase forcolor framing identification.

Testing time for TV ster-eo. Tektronix was not the onlytest and measurement equipmentmanufacturer to show a commit-ment to stereo television broad-casting. Sound Technologyintroduced its model 1530 MTS/stereo analyzer as well as a pro-grammable multichannel switch-ing system.

The 1530 can be used with theSound Technology 3100 two -channel programmable generator,introduced at last year's NAB, orwith other audio oscillators. The in-strument measures phase error,voltage/power, frequency response,channel separation, noise, and har-monic distortion.

The new switching system allows

up to 1536 channels of audio to betested automatically.

Scip Electronic Systems chose toshow its 3302 stereo signal mana-ger for its first NAB. Designed toaddress the problems encounteredin production, duplication, andtransmission of stereo and MTS au-dio, the instrument has signal cor-rection, formatting and monitoringsections. The 3302 can diagnose,reconfigure, correct, and calibratediscrete stereo, matrixed stereo,SAP, and time code signals.

Further activity in stereo meas-urement was seen at Belar Elec-tronics. Adding to its basebandmodulation monitor of last year,the company announced itsTVM-210 BTSC aural referencemonitor and TVM-220 aural pro-gram monitor.

Used together with the TVM-100baseband unit, full-time moni-toring of L + R and composite signalmodulation levels is possible as wellas BTSC stereo transmission setup,

SONEX killsbackground noise beautifully.

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SONEX is a special acoustic foam that absorbs noise fourtimes better than acoustic tile or carpeting. It makes yousound like a pro - inexpensively - because your voice comesacross clear, clean, and intelligible. Use SONEX for video,remote conferencing, voice-overs, radio communications,audio production, or anywhere else you need to soundcrystal clear. Kill background noise beautifully - and savethe true sound - with SONEX. Send for all the facts.SONEX is manufactured by Illbruck and distributedexclusively to the pro sound market by Alpha Audio.

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test, and measurement with accu-rately decoded left and right chan-nel audio outputs.

Shown in prototype at last year'sNAB, the IM -1 Imagescope fromB&B Systems is effectively a stereoaudio vectorscope with the programsignal displayed on a -CRT .

Stereo generation. The newsin new technology stereo equip-ment was not confined to the televi-sion broadcaster. Orban releasedpreliminary information on a mod-el 8150A Optimod FMX stereo gen-erator. The unit promises up to afour -fold increase in stereo cover-age area for FMX-equipped receiv-ers, reduced stereo noise,overmodulation, and loudness loss.When available, in fall 1986, at thesame time as Orban expects FMXreceivers to begin hitting the mar-ketplace, the generator will workwith established Optimod-FMequipment as well as with someother audio processors. Also newfrom Orban was its 275A automaticstereo synthesizer with narrow andwide synthesis modes and twomono recognition methods.

Another FMX stereo generatorannouncement came from Ino-vonics with its model 700 X-tra.The X-tra has audio processingcapability, normal FM and FMXstereo subcarrier generation, and aSCA generator option.

Among the stereo generators atthe show, TFT offered its BTSC TVstereo model 850 aural modulationmonitor and 8500 and 8501 genera-tor and demodulator comprising itsTV STL composite subcarrier MTSBTSC stereo system with provisionfor SAP/pro microwave transmis-sion....Modulation Sciences showedits BTSC stereo generator as well asthe TV Sidekick integrated SAPgenerator and Sidekick SCA gener-ator and audio processor....LeamingIndustries debuted at the NABwith, among other offerings, itsMTS-1 stereo generator for trans-mission of BTSC formats in cabledistribution systems....Marcomshowed its model 710 TV stereogenerator.

Telemet introduced a stereodemodulator with quadrature out-put and a built-in video responsetester and a switchable output to


PHASE II:HIGH RESOLUTION

For over a decade, critical customers have been usingVideotek color monitors for a wide variety of applications.

Join us now in Phase II: High Resolution.The HR130 is perfect for use in studios, control rooms, engineering

bays, and many other areas that require critical signal evaluation.Precision circuitry is based around a PIL-Delta CRT,

with .31mm dot pitch, producing in excess of 600 lines of resolution.Standard features include: three Composite Inputs,

A -B Split Screen, Analog RGB Input, High Voltage Regulation,Linear Phase Aperature Correction, Switchable Comb Filter and Notch Filter,

Horizontal and Vertical Delay with Switchable Expanded Vertical,Underscan, Selectable Time Constant, Presets, and

Lockable Engineering Adjustment Drawer.For a close-up look at the HR130, contact your local Videotek dealer.

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view both synchronous and envel-ope outputs together on a singletrace monitor....Dorrough Electron-ics displayed its 80B FM stereo gen-erator, loudness meters, level mon-itors, and audio processors.

In general test equipment, RE In-struments announced its RE201dual -channel audio analyzer for au-tomated -testing using the IEEE488bus intended to provide fastermeasurements and replace a rangeof manual test equipment....Techron revised its System 10acoustic analysis range with theTEF System 12 using time delayspectrometry techniques and com-plete with software and trainingprograms....Schmid Telecommuni-cation of Zurich announced theSZ340 sound program circuit ana-lyzer for stereo channel transmis-sion measurements with manual,program, or remote control....LangVideo Communications introducedan SNG test package, employed inthe Hubcom video flight pack, andincluding color, waveform, and au-dio monitors.

Amber Electro Design showeda stereo phase addition to its au-dio measurement system and newapplication software....Audio Pre-cision announced software en-hancements for wow, flutter, andintermodulation measurement onits System One PC -based audiotest equipment....Philips T&M un-veiled its PM 5654 VITS test sig-nal generator and inserter andshowed its range of other testequipment.

Pesa Electronica introduced tothe U.S. its ASC-4652-B syncwatcher, analyzer, and timer,which aims to circumvent the er-rors of conventional test equipmentin editing and quality control in thevideo engineering environment....Panasonic announced an intelli-gent audio analyzer claiming atypical 0.0001 percent distortionfactor, as well as an AM/FM signalgenerator and a hand-held oscillo-scope with vertical and horizontalranging.

Sigma Electronics announced itsTSG-375 test signal and syncgenerator....Potomac Instrumentsshowed its QuantAural QA -100 au-dio program analyzer as well as aseries of subcarrier modems forSTL remote control interface andother meters and test and controlsystems....Texar announced an AMmonaural modulation controllerand standalone limiter to be avail-able soon.

In the category of monitors,Conrac's news for this NAB was itsmodel 6545 Micromatch color moni-tor and 6550 photometer, which to-gether are claimed to cut monitorset-up time to 20 seconds per moni-tor, the photometer "memorizing"the monitor alignment usingConrac's digital beam current feed-back system with precision in -lineguns for the first time....Barco In-dustries introduced a new menu -driven color monitor, CVS

Sony announced a new 14 -inchmonitor with a built-in currentfeedback system capitalizing on

component technology research toreduce color temperature drift....Pesa showed two new color moni-tors, at nine- and 14- inchsizes....Videotek introduced a rangeof new test equipment, including a13 -inch monitor as well as avectorscope and an stereo audiomonitor.

In transmission monitoring,Itelco announced the 1002 TV testgenerator for switchable video, au-dio, and color checking and adjust-ment of TV transmitters....BirdElectronics displayed its new 4410series Thruline RF directionalwattmeters designed for transmit-ter tuning, especially at AM andlow frequencies, and to work withincreasingly sophisticated equip-ment and broadcasters' stereobroadbanding requirements....Leitch Video brought its new 25000series of digital test generatorscomprising a studio test generatorand two transmitter test generatorsfor sideband and link use.

FOR MORI INFORMATIONMagniLeader

855856

Tektronix 857 Lam Video 873Sound Technology 858 Amber ElectroScip 859 Design 874Belay 860 Audio Precision . 875B&B 861 Philips T&M 876Orban 862 Pesa 877Inovonics 863 Panasonic 878TFT 864 Sigma 879Modulation PotomacSciences 865 Intruments 880Learning 866 Texar 881Marcom 867 Conrac 882Telemet 868 Barco 883Dorrough 869 Sony 884RE Instruments ... 870 Videotek 885Techron 871 Itelco 886Schmid Telecom- Bird 887munication 872 Leitch Video 888

Two newTime Code Readersfromsl:otel

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All new... from front panels to advancedreader and error checking electronic circuits.Enhanced full reader features and performance...read from 1/40 up to 80X play speed...small,smart packaging designed for desk or rackmount (Y2 rack width).For all those who told us...'All I want is an LTCreader with a video display for window dubs."It's the TCR-112 at $1350. (F.O.B. Destination) Simultaneous display of Time and User bits. 4 character heights... highly legible font. Positionable over full raster.

For those who say....I only need an LED display."It's the TCR-111 at $1100. (F.O.B. Destination) Large green LEDs for visual comfort. Reshaped code output (also TCR-112). Dual standard SMPTE/EBU (also TCR-112).Call or write for name of your nearest dealerand our latest Product Guide.Skotel ...for 10 years a pioneer of VITC, colorfield ID, User bit and video display applications.

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The"SWAT"*The best engineers assistant.

automatic analysis of all sync parameters of the video signal * video monitoroutput " local liquid crystal display * two independe-it video inputs *

manual/automatic testing modes * alarm indicators fog parameters out oftolerance * self -test software ' RS 232 output to feed printer or PC

PAL/NTSC version.

Watcher -Analyzer:* sync and burst amplitude* field period number of lines ho-izontal sync width" number of cycles in burst breezeway

number of vertical sync puls=11!* equalizer width

vertical pulse width* SC/H phase up to two degrees* SC frequency error up to 0.2 Hz

Standard Measurements

AEI -4652D NTSC VI 2INPUT

Sync Am 291Field . 16 68Lines 625H Stine. 4.70Vert. In4 6/6/6Equal is- 2 30Vert PU4scsBurst Amy.. miffBurst 10Breezeroy.SC/H PhOSG

Err UI

285±40mV16.68ms

5254 7±0.2,,s6/6/6

2.30t0 .1./s27.0±0 2,As285±40m0

9±1 c0.6t0 2.s0±40deg

Timer: H and V lock* PAL lock H delay and SC phase delay

be'ween inputs A and B

* Sync Watcher* Analyzer* Timer

'PESAGT,

Pesa ElectOnica, S.A.Albala, 12 - 28037 Madrid (Spsin) - Telex: 48449 PESAE E - Tel: 754 00 78

Pesa America Inc. 6073 NW 167th St. - Miami. FL 33015 (USA) - Telex: 6712435 PESAM - Tel: 305 556 - 9638 - Toll Free: 1-800-USA-PESA

INISEL Group

1111=11011=1111111111111The affordable hi -tech.


Business BriefsConus Communications, Min-neapolis, MN, has just received de-livery of a second communicationssystem from Gentner Engineer-ing Co. Member televisionstations will now be able to com-municate with their SNG truckson the new system. And theKansas State Network has be-come the first local television sta-tion group to share such a truck.The van, a new "low -boy" jet -transportable version, will beshared among the network's prin-cipal stations....A new interna-tional organization, theInternational TeleproductionSociety (ITS) has recently beenformed from the union of theVideotape Facilities Association(VFA) and the Videotape Produc-tion Association (VPA). The neworganization will be devoted toincreasing industry recognition,setting standards and practices,publication of handbooks and di-rectories, and developing aseal of approval.

Provisional Battery Co., Inc., ofAtlanta, has changed its name toPRO Battery Co. Company pres-ident Gene Sherry qualified thename change, stating that the suc-cess that was at one time "provi-sional" for the company had nowbeen achieved....Broadcast Sys-tems, Inc., of Austin, TX, has justannounced a new television sta-tion that will service the Birming-ham, AL, area-WCAJ-TV68....Integrated TechnologiesInc., has just relocated its market-ing and sales headquarters fromGreensboro, NC, to Falls Church,VA.

The architect of the U.S. Capitolhas selected Imero FiorentoAssociates, Inc. to design thelighting system for the SenateChamber to allow the proceedingsto be televised. IFA designed asimilar system for the House ofRepresentatives in 1979....Cran-ston/Csuri, Columbus, OH, has de-signed a promotional animationpiece for WJLA-TV in Washing-ton, DC. Designed by artist RickMcKee, the computer -generatedanimation displays a slick glass-and -chrome look....DirectorZbigniew Rybcznicki, working at

"A Silver Opportunity," a video presentation produced by TotalCommunications, Inc., Newton, MA, marked one of the highlights ofthe third annual "Experience Works" luncheon. Narrated by WNEV-TVanchorman Tom Ellis and produced by Total Communications' NancyElrick (both pictured above), the video portrayed the bottom -line valueof rehiring and retraining older people to join the nation's workforce.More than 200 guests attended the luncheon, which was co-sponsored by Operation ABLE, The Greater Boston Chamber of Com-merce, and various state and local agencies on elder affairs.

New York's VCA/Teletronics'Center Stage facility, simultane-ously shot and edited a music vid-eo for the British rock groupSimple Minds. The session wascompleted over two days and in-volved a new multilevel Ultimattetechnique that layered together117 levels of imagery....VaritelVideo of Los Angeles has been cho-sen by Cinema Preview Channelto do post -production on its weeklyCinemAttractions show. The half-hour program comprises filmtrailers, movie trivia, and a week-ly list of the top seven grossingfilms....Capitol Satellite's Star -shooter transportable uplinkunit has been busy providing feedsfor the NCAA Championships andthe Liberty Bowl from Memphis,TN....PBS's Cats and Dogs serieswrapped up post -production at theCentury III facility in Bos-ton....A camera with a snorklelens pointing out a car's moonroofwas among the techniques used byVideocraft Productions of Bos-ton on a recent shoot for NewEngland Ford Dealers....Soundcraft USA, Santa Monica,

CA, in conjunction with Audio-tek, Burbank, CA, provided soundfor the recent twenty-eighthGrammy Awards broadcast.

Personnel changes this monthinclude Rita Scott as Unitel/Hollywood's new vice president ofoperations. Mark Miller will serveas that facility's VP of engineer-ing....Lake Systems Corp., ofNewton, MA, has appointedFrank DeMayo, Jr., president andBill Philips vice president of inter-national marketing....HarrisCorp. has appointed John T.Hartley president and CEO. ScottMartin is Harris' new districtmanager of radio sales for N.Carolina, and Mitchell Montgom-ery will be his counterpart in Tex-as. That company's vice presidentof domestic radio marketing isnow Gary Thursby....LarrySilverman has been announced asthe new national sales managerfor Shintron of Cambridge,MA....ITI, Inc., Falls Church,VA, has named Michael Gold pres-ident. Gold was previously one ofthe founding officers of the VectrixCorp.

154 BM/E JUNE 1986

NaESEA _M

The World's Leading PortableTV Standards Converter Bar NoneProfessionals demand an uncommon level of picture quality andsmooth image reproduction in TV standards conversion.The LT1210 is the world's smallest converter able to handleNTSC, PAL and SECAM, with PAL -M conversion as an option.The image enhancement furction ensures a high -definition picturewith outstanding image clar:ty. This converter is also a totally

integrated unit so no adap:or or changing of encoder/decoder modules is requiredfor conversion between NTSC, PAL and SECAM. The cost -performance of the LT1210 isnothing less than outstanding. The LT1210. Check it out. Anywhere.Oki also produces the high -end LT1015E Digital TV Standards Converter.

LT1210 Digital Television Standards Converter

In the U.S.A. and Canada, contact:Oki America Inc. (Oki Telecom)One University PlazaHackensack, New Jersey 07601U.S.A.Tel: (201) 646-0011-0015Telex: (25) 710-990-5004 OKI ELEC HAK

In other areas, contact:Head Office:Overseas Marketing & Sales10.3, Shibaura 4-chome,Minato-ku, Tokyo 108, JapanTel: (03) 454-2111 Telex: J22627Cable: OKIDENKI TOKYO

OKIOki Electric Industry Co., Ltd.Tokyo 108, Japan


Advertisers IndexAbekas Video Systems. 121 33 Frezzolini Electronics, Osborne Associates,Acrodyne Industries, Inc. 118 28 Inc 186 143 Allen 165 116AEG 166 117 Fujinon Inc 142 79 Otari Corporation 150 94Allen Avionics 187 143 Fuji Photo Film USA 134 63Alpha Audio 193 150 Paco Electronics U.S.A.,Ampex Corp./AVSD 104 6-7 GML America Inc 132 57

Inc 191 148Ampex Corp./MTD 145 82-83 Graham -Patten Systems. 169 120

Panasonic BroadcastAmperex Electronics 178 134 Grass Valley Group, Inc. 106 8

Systems 112 18Applied Research Grinnan Fixture Co 155 104

Perrott Engineering Labs 214 75Technology 195 53

Harris Corporation 181 138 PESA Electronica, S.A... 200 153Audio Technologies 159 110

Harris Corp./Broadcast Potomac Instruments 160 111Auditronics, Inc. 102 4

Microwave 158 109 P.T.S I 140 67Avcom of Virginia 212 66

Hipotronics, Inc 183 140Barco Industries 122 34 Hitachi Denshi America 115 25 QEI Corp. 188 119

Belar Electronics 143 80 Quantel 125 41

Broadcast Audio Corp.. 171 122 Ikegami Electronics (USA), Quanta Corp 120 31

Broadcast Systems .... 76 196 Inc 128 47

Camera Mart, Inc., The.Canon USA, Inc.Capitol Magnetic

Products

103119

163

5

23

114

Ikegami Electronics (USA),Inc 185

International TapetronicsCorp./3M 154

142

102

Rank PrecisionIndustries

Sachtler Corp.Schiller, Associates Ron

129

127199

48

4574

Centro CorporationCetec Vega

177175

133129

Kline Iron & Steel Co. 173 124Schneider Corp. of

America 123 37

Chyron Corporation 126 42 Laird Telemedia 135 64 Schwem Technology 192 61

Circuit Research Labs . 146 84 Leader Instruments 202, 149 Scientific-Atlanta 176 131

Colorgraphics 124 39 203 Shintron Company 137 65

Comark Leitch Video Ltd 164 115 Shure Brothers 152 99

Communications 110 14 Lenco Electronics 114 29 Skotel Corp. 194 152

Cornrex CorporationComsat General Corp. .Continental Electronics, a

Division of VarianAssociates, Inc

CorporationCrosspoint LatchCrown International ..

108182

179113133161

12

139

1362059112

McCurdy Radio 205Merlin Engineering 211

Merlin Engineering 213Microtime 130Midwest Corporation 109Mitsubishi Pro Audio

Group 100

C-366755013

C-2

Solid State Logic Ltd.Sony Broadcast Products

Co.Sony Pro AudioSony Pro AudioSony Tape Sales Co....Studer Revox America .

Tektronix

--

151

156138198

190

92-93

2-397113

71

70

146

Delta Electronics 147 88 NEC America, Inc. 116 26 Telex Communications . 189 145

Dielectric NEC America, Inc. 117 27 Thomson-CSF

Communications 174 126 Normex Ltd. 136 65 Broadcast 168 73

Digital Services Corp... 157 81 Nurad 180 137 TMD Division, The

Digital Video Systems.. 144 80 Will Burt Company 141 72

Di -Tech Inc. 107 11 Odetics 162 107 Toshiba Corporation 206 144

Dolby Laboratories 148 87 OKI Electric Industry Co., Total Spectrum Mfg 111 16

ESE 167 118Ltd 210 155 TTC/VVilkinson 184 141

Orban Associates 149 91 Utah Scientific 139 68-69Fidelipac Corp. 101 1 Orban Associates 153 101For -A Corporation of Orban Associates 172 123

Videotek 197 151

America 131 55 Orion Research Inc 170 121 Ward -Beck Systems - C-4

SALES OFFICES

Eastern States295 Madison AvenueNew York. New York 10017212-685-5320Telex 64.4001James C. MaywaltTom Joyner

295 Madmon Ave New York New York 10017 Tele 64.4001William McGorry. Publisher

Central States980 North Michigan AvenueSuite 61, 14th FloorChicago, IL 60611(312) 664-0572Gene Kinsella

Europe 'United Kingdom33A Station RoadNorth HarrowMiddlesex HA2 7SU England(01) 427 9000Telex 21289Ric Bessford

Western States19411 Sierra Noche RoadSuite OneIrvine. CA 92715(714) 854-1922Wally Gilbert

Japan'Far East2-14-20, Minami-Aoyama,Minato-ku, Tokyo 107 Japan(03) 405 5118Telex: 2427388Fax: (03) 401-5864K. YamamotoY. Yozakiri

156 BM/E JUNE 1986

McCurdy's audio consoles reachlisteners of every music persua-sion. From country to classical,jazz to contemporary. Rhythmand blues to rock 'n roll. Radiostations across the board rely onMcCurdy equipment.

In particular, the SS8800Series A and E Audio Consoles.These have defined a continuingevolution of one of the indus-try's most successful, criticallyacclaimed and widely imitated

audio broadcasting consoles.

which provides completeHere is a fully modular sys-

temIMICCURIN

facilities for the mixing, moni-toring and control of audio pro-gram material in broadcast orother professional applications.

The McCurdy SS8800 stereoconsoles are available in 8, 10,16, 20, and 24 channelswith a wide range of featuresfor on -air and _productionapplication.

CROSS

McCurdy Radio Industries108 Carnfonh Road, Toronto, Ontario,

Canada M4A 2L4 Tel: (416)751-6262 Telex: 06-%11533In U.S.A.: RAM Broadcast Inc.

346 West Colfax Street, Palatine, Illinois, U.S.A. 63067Tel: (312)358-3330Circle 205 on IReader Service Card

Network Multichannel TV AudioTo meet the demands of network stereo

,and multilingual TV programming,Ward -Beck and ABC-TV engineers

teamed up to develop this impressivecustom system based on new

WBS Series ST technology.It employs all -new stereo modules

and circuitry, as well as the brand newST profile. In keeping with every STsystem, the console offers advanced

ergonomic design for controlaccessibility and operational simplicity.

ABC Studio TV -1, in New York, issetting new standards for audio quality

throughout the world.

First by Design.

Ward -Beck Systems Ltd.,841 Progress Avenue. Scarborough.

Ontario. Canada M1H 2X4.Tel: (416) 438-6550.

Tlx: 065.25399.

americanradiohistory.com · ten reasons to choose the new westar consoles for videoitvifilm: 1. new...

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