ijdico - worldradiohistory.com · 2019. 7. 17. · 00c1c0[1010101113 000011'010010010...

BROADCAST MANAGEMENT ENGINEERING

Improving

IJDICO

A7M/I ST Series IIThe Audio Company

West Central Sales(817) 467-2990

West Coast Sales(415) 945-0181

High marks in everythingThe ratings are in on our ST Series AM/FM Broadcast Consoles-and

they're number one. They rate high for versatility, reliabilityand overall excellence.

But we know that even the finest products can be made better-that's whywe've introduced the new ST Series II. These new consoles incorporate

even more features to insure greater capability and performance.The new ST consoles offer a series of modular frames that can be equipped

to meet your specific needs. A wide range of input, output and signalprocessing modules is available to cover your present requirements and

provide for future expansion.At ADM we're never content to stand still-the new ST Series II consoles

are impressive proof of that. We're so confident of their excellence thatthey're backed by an exclusive 5 -year warranty.

Contact us now! ADM Technology, Inc.-The Audio Company-1626 E. Big Beaver Road, Troy, MI 48084, Phone (313) 524-2100.

TLX 23-1114.

Main Officeand

East Coast Sales(313) 524-2100

Rocky Mountain Sales(801) 486-8822

A IA

Try This onYour TBC.

CEIFIPURATIUN

When we set out to design a dual -channel time base

corrector, we knew we had an exciting opportunity. The

AC 20 would be more than a superb, economical TBC; it

would be the basis for a system that could incorporate

production functions normally found only in separate stand-

alone units. For instance, a 2 : 1 Production Remote was a

natural.

The AC 20 gives you two channels of digital time base

correction in just seven inches of rack height, saving space,

maintenance, capital cost, cooling, and power. The

Production Remote gives you digital switching effects at very

idle extra cost.

In fact two channels of time base correction with 2:1

digital effects are priced at only $17,500.

Two of the effects are shown above: Corner Wipe, and

Push Off.You also get Vertical Wipe, Vertical Interval Cut,

F.ade/Dissolve, Push On, and Pull Off, plus Reverse and Mid -

Stop controls and a choice of four transition speeds. Not bad

for a TBC.

This means that with three VTR's and an AC 20 (with the

Production Remote option) in an editing suite, your ENG post -

production crew is ready for A/B-roll editing with digital

effects, some of which have only been seen on upscale

switchers until now. No need to tie up your production

switcher. And you can remote the AC 20 to your editor, if

you like.

The AC 20 works with 1/4 -inch and 1/2 -inch V -locked ,

unsegmented VTR's that accept derived 3.58 MHz feedback.

It uses a 16 -line store, eight -bit technology, and fourth -

harmonic sampling to produce a broadcast -standard output.Its digital circuitry assures that the output signal is thesame quality as the video input signal. It is virtually trans-

parent. And it is modular; you can start with a single

correction channel and do cuts -only editing; you can add a

second channel and move up to A/B rolls. You can add the

Production Remote for digital transition effects. And that's

just the beginning. The AC 20 TBC is the first of a new family

of products that will have a significant influence on the

future of broadcast production equipment.The bottom line: Two TBC's plus 2:1 digital effects. At less

than a fifth the cost of separate stand-alone production units.

Affordable Excellence

CORPORATION I

1671 Dell Avenue

Campbell, Califarnia 9500E3

(408) 379-1500

Circle 100 on Reader Service Card

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Musical notes like these neverexisted before 3M invented the DigitalMastering System.It uses computer technology to recordevery nuance of a piece of music inbinary numbers. So that when repro-duced, every note can be heard withuncanny crispness and clarity.At 3M, by listening to people's needs,we've pioneered over 400 products -toserve the needs of the communication

arts field. They include products for visualarts and audio visual communication;packaging and printing; for advertisersand marketers; and for broadcasting,recording and commercial pictures.And with this range of products, thereare sure to be some to fit your needs.So let us hear from you.Al 3M, we're in the business of hear flg

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7

NameAddress

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L1-800.942-8881.) _J

Circle 101 on Reader Service Card 3M

PublisherCharles C. Lenz, Jr.Editorial DirectorGerald M. WalkerEditor EmeritusJames A. Lippke

EditorRobert RivlinSenior EditorRobin LanierAssociate EditorEva J. BlinderAssistant EditorTim E. WetmoreAssistant to the EditorDouglas DamothEditorial AssistantToria SmithArt DirectorSaija Osis

Associate PublisherDjuna Van VortProduction DirectorJanet E. SmithAdvertising Production AssistantCharles ReadCirculation ManagerRobert CrawfordReader ServiceSharon Porges

ComptrollerMichael J. Lanni

FCC CounselFarmer, Wells, McGuinn, Flood & BechtelBroadcast Financial ConsultantMark E. Battersby

ISM EBROADCAST MANAGEMENT ENGINEERING

AUGUST 1982/VOLUME 18/NUMBER 88 Editorial

Who speaks for audio?

12 Broadcast Industry NewsFCC unanimously votes green light for DBS; '82 ad revenues to rise despite sluggishrecovery; Supreme Court will rule on home VCR's legality

23 Radio Programming & ProductionNPR fills void in Sunday programming

27 Television Programming & ProductionMusic television: radio goes video

Special Report: Audio

35 Improving AudioThe spillover of technology, talent, and equipment from other media is directlyaffecting the way broadcasters view their own industry. BM/E looks at some of thesechanges and the consequent transformations in broadcast audio, for radio and TV

45 Audio Processing: Recipe for Better SoundTechnological advances are heating up the competition among radio stationsseeking the sound that will hold listeners

55 Field Sound Recording Pushes Technology to the LimitsObtaining studio -quality high-fidelity sound in the field is becoming less a promiseand more a reality

65 Quarter -Inch ATRs Become Broadcast's Recording WorkhorseThere's something for everyone in 1/2 -inch ATRs

Facilities Design and Engineering

77 Part 3: Functional Planning of the TV StationThe step-by-step process of functional planning can assure that the final design ofyour TV station is compatible with all your working requirements

85 FCC Rules and RegulationsCommission OKs I -A daytimers, clears AM carrier for non -broadcast use

89 Tax Tips for StationsBecoming your own landlord

93 Great Idea ContestEnter next month's contest-win $50

96 Broadcast EquipmentBM/E's survey of new products

Coming In September ...THE SOURCE-BM/E's buyer's guide to hundreds of manufacturers and services for thebroadcast industry.

The NEW GREAT IDEA CONTEST has EVEN BIGGER PRIZES! Details on p. 93.

BROADBAND INFORMATION SERVICES, INC.295 Madison Ave., New York, N.Y. 10017, 212-685-5320, Telex: 64-4001Publishers: BM/E-Broadcast Management Engineering

BM/E's World Broadcast News

ABP LTDCBM/E BROADCAST MANAGEMENT ENGINEERING (ISSN 0005-3201) is published monthly by

Vgpik Broadband Information Services Inc. All notices pertaining to undeliverable mailor subscriptions shouldbe addressed to 295 Madison Ave.. New York, NY 10017. BM,E is circulated without charge to those re-

sponsible for station operation and for specifying and authorizing the purchase of equipment used in broadcast facilitiesin the U.S. and Canada. These facilities include AM, FM and TV broadcast stations, CATV systems, ETV stations, net-works and studios, audio and video recording studios consultants, etc. Subscription prices to others $24.00 one year,$36.00 two years. Foreign $30.00 one year, $48.00 two years. Air Mail rates on request. Copyright 1982 by BroadbandInformation Services, Inc., New York City. Second class postage paid N.Y., N.Y. and additional mailing offices.

6 BM/E AUGUST, 1982

"arm,PERSPECI1VE

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With ADO you can alter perspective, geometry, andpicture size in real time, on up to four separate videochannels. You can rotate a picture about all three axesand execute flips, tumbles and spins more smoothly thanon any other system on the market today. And what'smore, you do it all in true, three-dimensional perspective!

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EDITORIOL

Who Speaks for Audio?

SOME SIX YEARS AGO, members of the AES (Audio Engineering Society), concernedabout the rapid proliferation of digital recording formats then under developmentand recognizing the ultimate value of the digital recording process, began workingon a standard for the digital audio signal. Unfortunately, an over -zealous JusticeDepartment took up the cause of a group of manufacturers who felt they were beingby-passed, and cautioned AES that its standards -setting activities would be in viola-tion of anti-trust statutes. As a result, the Society's standards -setting movementcame to a virtual standstill.

In the light of the new marketplace philosophy and relaxed government interfer-ence, and prompted by the success of organizations such as SMPTE in establishing

At present, the Society has two working groups attempting to gain a concensus inthe industry about various proposed standards. At the end of their work, assumingthat a concensus is indicated, the groups will draft recommendations which will bevoted on, and it is hoped ratified, by the Society's members.

Of the two, the working group on sampling frequencies, headed by Emil Torickof the CBS Technology Center (see "Digital Audio: A View of Today and To-morrow," BM/E Feb., p. 43), is the furthest along. Having spent what seems -tosome to have been a lifetime deliberating among the various proposed frequencies,the group appears to be on the verge of finally drafting a document calling for a 48kHz sampling frequency standard. This was one of two frequencies which SMPTEhad suggested could be interfaced easily with a digital video standard. It is also thefrequency which virtually every manufacturer of digital audio equipment has indica-ted would be acceptible. Even most Japanese manufacturers, who had originallyfavored higher sampling frequencies of 50, 51, and 52 kHz, are virtually unanimousin saying they would adopt 48 kHz. There is, then, agreement within the industrythat the digital sampling frequency will be 48 kHz. Clearly there is a concensus. Allthat remains is the Working Group's formal standards proposal and the industryvote.

The other working group, headed by Alistair Heaslett of Ampex, is only justgetting started in its work-defining the digital interface that will allow one piece ofdigital equipment to speak with another no matter what the actual format of the indi-vidual system. It is this I/O interface that will eventually allow digital ATRs to inter-face with digital audio processors and digital video recorders and even with digitaltransmissions. This will become the universal language of digital audio, permittinginterface with international program sources (with which the 48 kHz sampling fre-quency is already compatible).

What the AES must now do is take a cold, hard look at itself and define, as quicklyas possible, how it can fulfill its standards -setting responsibilities. As the govern-ment backs away from its regulatory and standards -setting role and looks increas-ingly towards the marketplace to define the rules, it becomes imperative fororganizations such as AES to pick up the banner. The same unfortunate outcome ofthe AM stereo issue must not be allowed to happen to digital audio. Future digitalaudio developments depend on the speedy development of digital audio standards.

8 BM/E AUGUST, 1982

NEC INTRODUCESTHE SMOOTHEST,EASIEST CURVES

EVER.FOR UNDER MIL

With NEC's new E -FLEX DVE® system, you canmove a title along a curved trajectory with all thesmoothness of film. And with programming that takesseconds, instead of hours.

The secret? NEC's digital processing, plusE-FLEX's huge 128 -event built-in memory. Quite anachievement for an under -$80,000 system. And ourtrajectory function is only one of the effects it makespossible.Our exclusive new effects put excitement atyour fingertips.

For instance, take Multi -Move. With it, you canturn a moving figure into as many as 16 compressedimages-and have the action continue in each frame.And there's an improved, continuously variable mosaiceffect that gives you smoother transitions.

E -FLEX also lets you create backgrounds and bor-ders that track through any movement-even flipsand tumbles. And in the two -channel mode, its newreciprocal function makes effects like page turns androtating cubes smooth and simple to program.

Our bubble memory system lets you store effectson the shelf.

If you use the same effects over and over-foropens, closes, and the like-E-FLEX's optional bubblememory will save you hours every time you edit.

You program the effects just once, and transferthem to a bubble memory cartridge. When you needthe effects again, simply drop in the cartridge. Andsince the cartridges last indefinitely-unlike discs ortapes-you may never have to reprogram.Let us boggle your mind some more.

There are E -FLEX features we haven't evenmentioned yet.

And some of them, you'd have to see to believe.That's why we suggest you see E -FLEX for yourself.To arrange a demonstration, call us today at1-800-323-6656. In Illinois, call (312) 640-3792.

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NECNEC America, Inc.Broadcast Equipment Division130 Martin LaneElk Grove Village, IL 60007


11 REASONSNEWS IS EASIER TO

Of course, there are other reasons why ENG and EFP applications are easier and better with a completeBetacamTm system. Like full chroma bandwidth capability for superior color resolution and linear emphasis forsuperior color reproduction.

In fact, Sony also offers a rugged, cost-effective one -tube camera.

A RUGGEC MAGNESIUM -ALLOY CASE,NOT THE LSUAL PLASTIC.

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CDMPRESSED THE DIVISION MULTIPLEXWHICH GIVES IMPROVED COLOR RESOLLTION ANDREDUCES UNWANTED DISTORTIONS.

1982 Sony Corp. of America, 9 W. 57th St., New York, N.Y. 10019.

WHY THETAKE WITH A SONY.

If you're looking for a half -inch cassette camera/recorder system that doesn't stop halfway, a system youcan grow with that offers unmatched performance, flexibility and value-make it easy on yourself.

Call Sony in NewYork/New Jersey at (201) 368-5085; in Chicago at (312) 860-7800; in Los Angeles at(213) 537-4300; in Atlanta at (404)451-7671; or in Dallas at (214) 659-3600.

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LENSES WHICH ARE INTER-CHANGEABLE WITH OTHER CAMERAS.

SONYBroadcast

Sony is a reg. trademark and Betacam is a trademark of the Sony Corp.

broadcast industry MEWSFCC Unanimously VotesGreen Light for DBSThe 12 GHz band has been opened upfor interim direct -broadcasting satelliteservice in the U.S. by unanimous voteof the FCC, to the delight of applicantsforDBS systems and the consternationof terrestrial microwave users who cur-rentiy occupy the band.

Broadcasters also had negative reac-tions to the FCC move, with NABterming the action "in direct conflictwith [the FCC's] mandate for adequatespectrum management." The associa-tion's statement continued, "DBS willhoard the significant amount of 12 GHzspectrum space, leaving little for thecurrent users . . . It will impair thegrowth of rural broadcast service, andstifle the development of high defini-tion television."

The fate of the terrestrial microwaveusers had been one of the biggest obsta-cles in the DBS rulemaking, since thetwo services would be mutually exclu-sive. Under the new decision, themicrowave users will have to relocateat their own expense, probably to the

12.7 to 13.25 GHz band, over a five-year period. Final determination oftheir fate will wait for study from theOffice of the Chief Scientist, which isanalyzing the best position for currentusers. That report is due in September,1983.

Even DBS applicants are not allpleased about the way the microwaveissue is being handled. Satellite Televi-sion Corp., the Comsat subsidiary thatwas the first to propose a DBS system,reportedly feels that the five-yearperiod is too long and may:impede therapid growth of DBS. (STC recentlyacquired 36 acres of land near LasVegas for its planned broadcast center.)Some observers feel that if the micro -wavers move too slowly, DBS opera-tors may reimburse them to hasten thechange of frequency.

The FCC's move opened up 500MHz of spectrum in the 12 GHz bandfor downlinks and 500 MHz in the 17GHz band for uplinks. It set licenseterms at five years, but imposed noownership restrictions, technical stan-dards, or guidelines for what type of

Earth Station Design Wins Engineering Award

An innovative earthstation installation inNew York City haswon one of its de-signers an engineer-ing award. Robert C.Tenten, director ofengineering at Man-hattan Cable TV, washonored for excel-lence in earth stationtechnology by theNew York State Com-mission on CableTelevision and theNew York State Ca-ble Television Asso-ciation.

Tenten was citedfor his work on Man-hattan Cable's newtwin antennas, located atop its downtownheadquarters. Each spherical antennameasures 22.5 feet tall and 36 feet wideand is capable of receiving multiple satel-lite feeds simultaneously. Between them,the two are designed to allow the compa-ny to receive up to 38 satellite signals atone time. Each accommodates as manyas 19 feed horns.

At startup time, the earth station wasequipped to receive signals from seven

Manhattan Cable TV's twin spherical antennas can receive upto 38 satellites.

satellites-RCA's Satcom 1, 2, 3, and 4,Western Union's Westar 3 and 4, andANIK 2.

U.S. Tower Co. of Miami, OK, built theantennas to Tenten's specifications andoversaw installation and testing. Tenten,who assisted closely in the conception,design, and development of the earth sta-tion, also bore the responsibility for siteselection, construction scheduling, anddesigning the facility.

service may be offered by DBS opera-tors. The Commission refrained fromspeculating on the possible effects ofDBS on broadcasting, but said that thepossible benefits of the new servicewere such that it should be authorized"in the absence of evidence of an ad-verse effect." The 500 MHz alloca-tion, the FCC said, would maximizethe number of channels receivable by asingle dish, lowering viewer costs andincreasing competition.

'82 Ad Revenues to RiseDespite Sluggish Recovery"Advertising in 1982 will certainlygrow much faster than the economy,"predicted Robert J. Coen, senior vicepresident of McCann-Erickson USA, ata recent briefing for investment ana-lysts and the business press in NewYork City. He predicted an averagegrowth of 10.4 percent in advertising in1982, compared to a 5.6 percentgrowth rate in the economy as a whole.

Broadcast advertising, however,will do even better, according to Coen,with all categories except spot radio ex-pected to grow 12 to 13 percent overlast year. The nine percent growth ratepredicted for spot radio is still signifi-cantly higher than estimated GNPgrowth, however, and political spend-ing in this election year may help thepicture, Coen suggested.

Network TV ad revenues in the firstfour months of 1982 rose an average of13 percent, Coen explained. In the firstquarter, spot TV revenues rose 21.5percent.

A particular area of interest is adver-tising for video games, which wasabout $2 million in 1978. That figuredoubled in 1979 and again in 1980,then jumped almost fivefold in 1981 to$39.3 million-about 90 percent goingto television, Coen estimated. Expend-itures this year could easily exceed$100 million, he stated.

Supreme Court Will Ruleon Home VCR's LegalityThe Supreme Court, in response to apetition from Sony Corp. of America,has agreed to review a lower court deci-sion that found home taping of televi-sion programs an infringement of thecopyright laws. The case will come be-fore the court next winter, with a finaldecision unlikely before next summer.

The case, originally brought by Uni-versal Studios and Walt Disney Pro-ductions against Sony, its advertisingagency, and four Betamax retailers,

12 BM 'E AUGUST, 1982

You are assured of one masterful performance afteranother because the DA16B/CH2OB providesaudio distribution of unquestioned reliability. It of-fers a unique combination of features for exceptionalversatility.

Each amplifier is a one -input, six -output plug-incard.

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Input levels up to +27 dBv; output levels up to+27 dBm before clipping.

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Output amplifiers have individual, front accessedgain adjustment, and a test point. Each CH2OB will house up to six DA16B cards,and has a complete set of redundant power supplieswith automatic changeover.

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NEWS

charged that home taping constitutedunfair use under the copyright laws andclaimed Sony was responsible since itknew its products would be used tobreak the law (see BM/E, December1981, p. 10). The U.S. district court inLos Angeles found against the plain-tiffs, but an appeals court in SanFrancisco overturned that ruling andsent the case back to the lower court forremedy.

As expected, Sony was delightedwith the Supreme Court's acceptanceof its petition. Company president

Kenji Tamiya asserted, "This caseraises important questions affecting therights of American consumers to utilizeand obtain the full benefits of televisionprograms distributed over the publicairwaves."

On the other side, the Motion PictureAssociation of America was less thanpleased, with its president, Jack Valen-ti, commenting that the issue "fallswithin a congressional province, not ajudicial one."

Congressional action remains astrong possibility, however, although

Advanced RF Technology...

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THE INN IVEA ROACH

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some observers feel Congress may waitfor the Supreme Court decision beforeacting. Two basic remedies have beenproposed: writing a home use exemp-tion into the copyright law (favored bythe VCR manufacturers) and imposinga tax on all home VCRs and tapes sold,with the proceeds to be divided amongprogram copyright holders (favored bythe motion picture industry). Propo-nents of both solutions recently debatedbefore the Congressional Arts Caucus,with Valenti stating that increased VCRpenetration will lower TV ad rates be-cause viewers can edit out commer-cials. Charles Ferris, the former FCCchairman and now attorney for theHome Recording Rights Coalition,claimed that remote control deviceshave allowed viewers to avoid com-mercials for years.

Committee Skips Flaherty;Coleman May Head SMPTEThe SMPTE nominating committee hasselected Len Coleman, the society's fi-nancial vice president, as its choice forthe organization's presidency, bypass-ing executive vice president JosephFlaherty of CBS.

Flaherty had been considered aprime candidate to succeed currentSMPTE president Charles E. Andersonof Ampex Corp. While conceding thatthe committee's decision was "contro-versial," Anderson stated, "It wouldbe entirely inappropriate for me tocomment" on possible reasons forFlaherty's omission.

Some observers, however, feel thatFlaherty may have been too outspokenfor some in the organization. Flahertyis seen as having a strong pro -videostance that does not sit well withSMPTE's film constituency; he is alsoan active proponent of high definitiontelevision, which some broadcastersview as a possible threat.

Anderson pointed out that the Boardof Governors, if dissatisfied with thenominating committee's list of pro-spective officers, can delete a name andadd another by a three-quarters vote.Also, he said, any member of the socie-ty can be nominated by petition; atpress time, Anderson believed that apetition to nominate Flaherty was beingcirculated.

Sony Switches Format onHalf -Inch RecorderClaiming that it is giving broadcastersmore of what they want in a half -inchrecorder/camera, Sony has adopted adifferent format for the recorder sectionof its Betacam system.

"We are not going to manufacturethe product we introduced at NAB

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[1981]. Instead, we will have a newformat that has advantages in perform-ance and is adaptable to new worldwidedigital standards," Sony BroadcastProducts Co. President Neil VanderDussen announced recently.

Pointing out that Sony has usedSMPTE guidelines in making thechanges, Vander Dussen added, "Theuser has told us to go a different wayand we've decided to follow that direc-tion."

Sony's move has done nothing toclarify the half -inch VTR standards

bind that SMPTE has been trying to un-ravel. RCA and Panasonic, togetherwith Hitachi and Ikegami, have peti-tioned SMPTE to accept their VHShalf -inch format as the sole recorder/camera standard. But now Sony hasmade a counterproposal to the society,basing its argument on Sony's adher-ence to SMPTE half -inch guidelines.

Meanwhile, the VHS camp hasgained a heavyweight backer in theform of Ampex Corp., which has an-nounced it will market the "M -format"half -inch recorder/camera, the Matsu-

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shita (Panasonic) system. Ampex willinitially market units produced byMatsushita, but intends to manufactureits own version in the future.

Sony has opted for a component re-cording scheme that uses Y, R -Y, B -Ycomponents and a system of time divi-sion multiplexing. The format includestime compression for the R -Y and B -Ysignals. According to Sony, the bene-fits of this approach compared tofrequency division multiplex or linesequential time division multiplex arepotential commonality among NTSC,PAL, and SECAM, simple interfacewith the world component digitalstandard, plus extended and equal chro-ma component bandwidths.

The SMPTE Working Groupcharged with defining a standard for thehalf -inch recorders met again in lateJune to receive the Sony proposal. Atits next meeting, August 25 in Chicago,the group will decide on which of thetwo formats-VHS-based or Beta-based-to suggest as a proposed stan-dard. According to Alex Alden,SMPTE's manager of technical ser-vices, the group will almost certainlyadopt the VHS type as one of itsstandards. "But if Sony actually hastwo or three manufacturers supportingits systems, as it claims," said Alden,"and there is a substantial technical dif-ference between the two formats, thenSMPTE will propose standardizingboth and letting the marketplace de-cide." Alden also suggested that if thequarter -inch format being developedby Bosch were presented formally, another group within SMPTE would cer-tainly review it toward a third stan-dardization proposal.

Godsey Leaves RTNDA;Mell Assumes PresidencyDean Mell, news director at KHQ-AM/FM/TV, Spokane, assumed his dutiesas president of RTNDA four monthsahead of schedule following the recentresignation of his predecessor, WayneGodsey. Godsey had stepped downfrom the post due to his promotion tovice president and general manager ofWTMJ-TV, Milwaukee.

Mell, an RTNDA member since1973, has served the organization aschairman of the investment advisorycommittee, regional director, and exec-utive committee member. He becamepresident-elect last September and wasto have become president when God-sey's term expired in October.

In resigning, Godsey told the boardof directors, "I feel strongly that aworking news director should be thespokesperson for the organization eventhough our constitution would permitme to continue to serve as president."

Circle 107 on Reader Service Card16 BM E AUGUST 1982

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BUSINESS BRIEFS

Developments involving people in thebroadcast industry are highlighted bythe appointment of William Maddenas manager of the newly created Broad-casting and Related Products Depart-ment of 3M's Memory TechnologiesGroup. This department includes inter-national Tapetronics, a 3M subsidiary.

Chyron Corporation has appointedRoi Agneta to VP, engineering of theTeleSystems Division . . . At ConracCorp., Warren O'Buch has beennamed marketing director of the Con-rac Division. Precision/Echo has an-

nounced the appointment of ThomasParkinson to VP, marketing.

Two new appointments took place atCEI: Alan Sheffield appointed to na-tional sales manager, and DonaldKline appointed director of advancedtechnical development . . . . ComarkCommunications names NathanielOstroff as a member of the board of di-rectors and as operating VP.

Vlahos-Gottschalk has undergonethree personnel changes. Petro Vlahosis now board chairman, Paul Vlahos isnow president, and Pat Smith moves

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from sales manager to VP. MarioDieckman is now VP, marketing forOak Communications . . . . Comsatelected Alfred Statham as VP, corpor-ate affairs; in a related development atComsat General TeleSystems, HaroldDetlefs has been appointed VP,marketing.

CBS has elected to install ADDA'sESP Still Store systems in its New Yorkbroadcast center. In addition to the ESP750C, it will also install the VIP DigitalVideo Effects equipment . . . . TheNew York City Motion Picture FilmEditors Union has taken delivery of aConvergence ECS-103A editing sys-tem. . . . Four new Dubner Comput-er Graphic Systems have been sold toKOMO-TV Seattle, KTVA Anchor-age, One Pass Video San Francisco,and Video Post and Transfer, Dallas.

The Voice of America (VOA) hascontracted Logitek Electronic Sys-tems to manufacture custom audio dis-tribution and monitoring equipmentvalued at over $175,000. It will be in-stalled in VOA's new master control fa-cility in Washington, DC

Sony has sold four new BVH 2000Type C one -inch VTRs to Sun TV inLos Angeles. The new units will be in-stalled in a 40 -foot remote truck. . . .

Panavideo TV production house haspurchased a complete one -inch video-tape production and editing systemfrom Sony, including a BVE-5000editor, three BVH-1100As, and aBVU-800 ENG editing system.

Western Union has sold two trans-ponders on Westar IV to EquatorialCommunications Services headquar-tered in Sunnyvale, CA . . . . M/ACom DCC has formed a 24 -hour cus-tomer service department to handle sat-ellite communications assistance suchas spares and replacement parts, war-ranty repairs, and training. . . . FordAerospace, General Electric, HughesAircraft, and RCA Astro Electronicshave submitted bids to Satellite Televi-sion Corporation (STC) to constructdirect broadcast satellites for STC'ssatellite to home pay -TV service.

The Warren/Van Pelt Associationhas a syndication service for smallermarket stations that features a main-tained playlist, rotation instructions,and copies of all new records added tothe list. . . . The Royal Group, a newfirm in Salt Lake City, has announcedtwo new radio sales programs. Bothprograms are designed for News/Talk,Adult Contemporary, and MOR radiostations.

A new post -production company hasbeen started by two editors, David Deeand Stan Siegel. It is called EvenTime, Inc. and is located at 350 West46 St., NY, NY 10036.

18 BM E AUGUST 1952

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For starters, theHL -83 is extremelycompact and well bal-anced. It's about thesize of competitiveone -tube cameras-yet, it's a top quality,three -tube, prismoptics design that'struly up to the highestbroadcast standards.And it uses proven,readily available ccrn-ponents. Inside are2/3" Plumbicon* orSaticon** pickuptubes coupled to

advanced Ikeg-arni circuitry that delivers usablepictures in low light with up to 18 dB of gain.Automatic whne balance corrects colorimetryover a wide color temperature range with thetouch of a single button-there's no need to fum-ble with filters. The HL -83 is ready to go whenyou are-where you are. Simple to set up. Simpleto operate. Ge: set for the action in the standbymode and the :amera's up and air -ready in lessthan two seconds when you hit the switch.And you can keep on shooing or up to 3 hourswith an on -board 4 lb. Nicad battery.

The HL -83 can easily adapt to your chang-ing needs. For ENG there's direct interface toexisting 3/4 -inch VCR's. And with adaptor, there'sinterface to either on -board or hip -mounted com-ponent recordilg 1/2 -inch high-speed VCR's.

For EFP it can be connected to a full featureremote control unit through 15C meters of multi -

core cable with indiVdua RGB as well asencoded outputs.

For sports it's part of the ML -83Microlin-c system for complete remotecontrol and transmission I r wirelessoperations.

And the HL -83 :s ready for otheradvances as they become available. It'sIkegamf Sway of outmoding obsolescence.

Put the HL -83 on yourshoulder. You'llbe amazed athow little it weighs. How well ithandles. And how much pic-ture it delivers It's the com-pact top per .irmer with a verybright future. Contact Ikegamifor full retails.

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In the hands of a professional, anequalizer can work wonders. For theperson who owns a UREI equalizer,

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Whether to correct or create, UREIoffers a complete line of the mosteffective audio frequency shapinginstruments available:The Model 535 Dual GraphicEqualizerTwo channels of ten calibrated, stepless, vertical adjustment controlswith ±12dB boost or attenuation. Alsoavailable in a single channelversion -Model 533.The Model 537 One -Third OctaveGraphic EqualizerA single channel device, it provides±12dB of boost or cut in 27 ISO1/3 octave increments from 40Hzto 16kHz.The Model 539 Room EqualizationFilter SetSpecifically designed for roomequalization, it offers 27 ISO 1/3octave calibrated adjustments from 0to -15 dB attenuation plus band -endtunable high and low-pass filters.The Model 546 Dual ParametricEqualizerTwo independent channels. Each hasfour sections of continuously variablebandwidth, frequency, boost or cut;bypass for each filter section andchannel; tunable end -cut filters; and30dB gain. Also available in a singlechannel version -Model 545.

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ROMprogramming fi production

NPR Fills Void

in Sunday Programming

NATIONAL PUBLIC RADIO'S reputationas an innovator is well known since itbecame the first full-time, full -servicesatellite radio network in the UnitedStates in 1980 (see BM/E, October,1978, p. 39). NPR continues to makepioneering moves with its new pro-gramming package, The Sunday Show.The show runs from noon to fiveo'clock every Sunday, presenting bothlive and taped material that exploresthe state of the arts in all forms,from poetry readings to classical musicperformances, including artists fromFrank Zappa to Igor Stravinsky.

"The show started about two yearsago as a survey to determine the typeof programs member stations wantedduring weak Sunday afternoon seg-ments," says Jan Hausrath of NPRPublic Information. By and large, whatwas asked for were arts and classical

Scene from Verdi's opera"Emani," the subject of a behind -

the -scenes -look from NPR.

programs to supplement what the localaffiliates had already scheduled.

Many of these stations have limitedstaffs and require that the entire showbe sent from the outside. Thus it is de-signed so that an affiliate can take two,three, or the complete five hours of theprogram. As of the April 4 debut, 145out of NPR's 260 affiliates were takingthe show, and of those 145, 90 werebroadcasting the entire five hours.

Each week's broadcast is made up ofa number of different segments. Inde-pendent producers, from both the affili-ates and elsewhere, contribute theirefforts, as do the staff producers inWashington, DC. The number of seg-ments in any show depends on thelength of the principal event-gener-ally a live performance-but there areregular features with prominent artistspresented on a weekly basis.

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RADIO PROGRAMMIK

David Ossman, charter member of theFiresign Theater, produces The SundayShow.

For instance, Connie Goldman, inher series "Faces," is the arts reporterwho has interviewed actress ClaudetteColbert, poet James Dickey, and actorRichard Dreyfuss. Another continuingfeature is "Audio Art Gallery," withworks created for radio by leading

Calland's "CrazyQuilt" is a regular in the series and is ageneral potpourri of radio program-ming.

Special events are also scheduled forholidays and anniversaries such as theFourth of July and Easter Sunday. OnHalloween, the network will broadcasta new thriller written especially forradio in what NPR calls a "three di-mensional binaural broadcast for stereoheadphones."

David Ossman is both host and exec-utive producer. Ossman is a chartermember of the original comedy groupThe Firesign Theatre and a veteranradio announcer. He meets daily withhis staff of about 15 to discuss ideas foreach week's show.

Each person at the meeting repre-sents a different category for the net-work, such as music, art, drama, orother spoken material. At the meetingthe production ideas are evaluated interms of the cost of producing the newsegment vs. material already on hand,as well as how the idea will fit into ashow with a special theme such as theHalloween Special or the StravinskyCentenary Concert scheduled for June13, the producer explains.

At least one major event is scheduledeach month, providing Ossman with acentral theme on which to build theprogramming while also offering flexi-bility for the remaining weeks of themonth.

24 BM E AUGUST. 1982

Poet James Dickey appeared on ConnieGoldman's interview series "Faces."

Funding for the programs is achievedin two ways. The news and informationsegments of the broadcasts are un-derwritten by various companies andcontributors with up to $250,000 in ex-change for mention during the day ofthe program. The second fund, for theperformance phase of the program,comes from grants from governmentorganizations such as the NationalEndowment for the Arts. All moneygoes to the NPR performance fund andto the Corporation for Public Broad-casting (CPB).

Additional funding will be generatedby a new agreement with WesternUnion whereby excess capacity on sat-ellite channels leased by CPB will bemade available to commercial users forthe first time. Both NPR and WesternUnion will be able to market space seg-ment capacity and ground facilities tocommercial users, whereas previouslythey had been restricted to the distribu-tion of non-commercial programming.

The affiliates of course, all receivethe satellite broadcasts live. For thosewho do not have earth station facilities,an arrangement is made with a nearbystation with such facilities to receivethe signal and relay it to the NPR affili-ate via landlines.

With the successful launching of theprogram on April 4, the network hascontinued to devise new ways of ex-pressing new ideas. This is the type ofinnovation that speaks well not only forNPR, but for the future of radioprogramming as well. NPR director ofperformance programming John Bosclaims, "The Sunday Show is a depar-ture for public radio, one we hope willnot only generate involvement fromAmerica's arts community but also pro-vide a unique listening experience forthe audience." BM/E

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THEMOVING PICTURE

COMPANYON CMX

John Beedle was one ofthe first staff members ofthe Moving Picture Com-pany in London and iscurrently an editor, engi-neer and is on the Boardof Directors. Fifteen yearsaga he started in thebusiness with PayPle-vision, an experimentalpay TV company in Lon-don. He got his first tasteof editing doing "TheBreakfast Show" forPle-vision International andlater set up and ran avideo suite for EwartTelevision, London, before joining MPC.

"Two years ago when we at MPC decidedto expand our video editing facilities, our goalwas to have the most efficient suite in London,marrying the new one -inch 'C' format tech-nology with a flexible, reliable editing system.After much investigation, including a visit tothe U.S., we chose the CMX 340X.

"This system has brought a new dimensionto our editing capabilities and has been awinner with both our clients and editors. Thesystem has most options fitted and is inter-faced fully to the video switcher and by GPI tomany peripherals such as additional SFXbanks of the switcher, 1/4 -inch tape, telecines,and our multi -channel Quantel. Our sophisti-cated special effects work demands the kindof flexibility available with the 340X includingthe ability to delegate record and playback

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"After a year ofoperation, due to growingbusiness demands, wedecided to install anotheredit suite. Again, wecarefully examinedthe available editingsystem to see what wasnew. We bought anotherCMX. This second systemenabled us to exploitanother facet of 340Xflexibility. We were nowable to delegate machinesfrom one system to the

other as the specific job dictated. System onehas three format 'C' VTR's and one quad inter-faced. System two has three format 'C' and oneformat 'B' interfaced. With this mix and theability to delegate, we haven't yet been caughtout by the proliferation of formats, we just`switch and mix' machines as required.

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TELEVISIOMprogramming fi production

Music Television:

Radio Goes Video

CABLE TELEVISION has enjoyed a free-dom from program regulation unknownto-and envied by-its over -the -aircompetitors. A good example of pro-gramming that has taken advantage ofthis freedom is Music Television, theyear -old entertainment channel fromWarner Amex Satellite EntertainmentCo. (WASEC). Innovative in bothprogramming ideas and technology,MTV is heavily indebted to FM radiofor its format and operation.

"MTV is simply a radio station withvideo," explains Andy Setos,WASEC's vice president for engineer-ing and operations. The programmingconsists primarily of what Setos callsvideo clips, short (four minutes, aver-age) videotapes of rock musicians inperformance. The clips are producedby record companies for various pro-motional uses. In between songs appear

MTV's video jockeys (VJs, as they areknown), commercials, animated jin-gles, and IDs. The cable operator getstwo minutes of local availability perhour; WASEC sells six minutes of na-tional advertising. A smaller portion ofthe programming includes rock con-certs (either taped or live) and inter-views with rock personalities.

A special and highly promoted fea-ture of MTV is its audio-top-quality,Dolby -encoded stereo. During theplanning for MTV, WASEC realizedthat stereo was essential for successwith young (18-34) rock fans. To bringthe stereo audio into subscribers'homes, WASEC decided to hook intocustomers' FM receivers.

"We found that in the 18-34 agegroup, which is our audience, 65 per-cent of cable homes had the stereo inthe same room as the television set,"

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BM ,E AUGUST, 1982 27

TELEVISION PROGRAMMINGSetos reveals. "We were very heart-ened by this because it indicated to usthat stereo could be as important toMTV as color is to television."

Cable operators who take the servicebuy a black box that receives thesatellite -transmitted audio signal andmodulates it into an FM broadcast sig-nal, which goes out over the cable to theFM receiver, where it is received on anunused frequency. This "stereo trans-mission processor" is available fromtwo manufacturers, Learning Industriesof Costa Mesa, CA, and Wegener

Communications of Norcross, GA, forabout $1500. WASEC strongly urgesMTV affiliates to invest in theequipment.

To compensate for CATV operatorswho balk at providing the stereo hook-up, MTV's signal is fully compatiblewith regular television audio. "Wedidn't want to invent a new box," Setosstates. "We had to be compatible be-cause MTV had to grow very, veryquickly. Otherwise, doing somethinglike this is a very expensive proposi-tion." At press time, MTV was on over

Think of usmikeexpert.expert.

TheThe C094. All miniatures are not created equal.Until now, the engineer faced with selecting power source to "back-up" the phantoma miniature microphone was hard pressed power. Plus, the C094's advanced electronicto find any dramatic differences in performance. design permits powering from virtuallyThat is, up until the Electro-Voice C094. any DC power supply, capable of delivering

For starters, the C094 offers unprec- between 8 and 50 volts. The internal reg-edented dynamic range. It has 10 dB greater ulation and filtering will make the C094'ssensitivity and 20 dB greater input SPL impedance converter swear it's beinghandling capability than the best known powered by an over -priced import supply.competitor. This high performance makes These and many otherthe C094 ideal for stereo spaced-omni re- performance features set .410%cording, close miking of high output musical the C094 a giant stepinstruments, as well as standard lavalierapplications.

The C094 also offers exceptional power-ing flexibility. It can be powered by a stan-dard 9 -volt radio -type battery. Or it canbe phantom powered from a mixing board,recorder, or in -line supply. The 9 -volt bat-tery can even be used as a redundant

Ey

above the other miniaturesyou previously had tochoose from.The C094 isa versatile new kind of tool,and just one more reasonwhy you should thinkof Electro-Voice as yourmicrophone expert.

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Operator edits intersticial material for TheMovie Channel between VPR-2 andACR-25.

600 cable systems with 4 millionhomes.

MTV goes to great lengths to insurethe quality of the audio it transmits. Thecompany pays the record companies tomake top-quality dubs of the mastertapes, all Dolby -A encoded at 15 ips onquality tape. The tapes then go to Re-gent Sound in New York City, wherethey are carefully synced to the monau-ral track on the videotape. Regent'scomputers are used to improve thelipsync, if necessary.

Equal time for videoAudio isn't the only part of the MTV

product that gets scrupulous attention.The video clips (which cost the recordcompanies anywhere from $10,000 to$50,000 to produce, according toSetos) reach MTV in a variety offorms-all tape formats as well as film.Image Transform of Los Angeles trans-fers the tapes to one -inch, color -correcting and noise -reducing the videoby its proprietary methods. The ser-vices of Image Transform and RegentSound are essential to MTV's opera-tion, Setos declares: "Without them, Iwould have had to start a whole newoperation."

Once the videotape has been syn-chronized with the audio, MTV titleseach clip at the beginning and end withthe artist, album name, record compa-ny, and copyright owner. MTV's li-brary currently contains about 600 clipsproduced in this fashion.

The video jockeys are pretaped inMTV's New York City studio. Becausethe VJs are taped only 24 hours in ad-vance, their comments can be topical.To contribute to the live feeling, allmistakes are left in.

Putting it togetherAll the elements for MTV converge

at WASEC's new Smithtown, NY,plant on eastern Long Island. ThreeWASEC services-The Movie Chan-nel, Nickelodeon (a children's chan-nel), and MTV-currently operate outof the Network Operations Center,

Circle 117 on Reader Service Card28 BM E AUGUST, 1982

Transmission area for all three channels now on line. Monitoring is by Tektronix and Panasonic.

which occupies 15,000 square feet ofthe four -acre site. The center will even-tually house as many as 10 cableservices.

The area had been home to an "an-tenna farm" of longwire antennas fromWorld War II (now being dismantled),so director of engineering Dom Stasifelt that local residents would raise fewobjections to the electromagnetic radia-tion from the satellite transmittingdishes.

Other RF users, however, lost notime in filing 66 interference objec-tions. Most of these were cleared"right away," Stasi says, and eventu-ally all were settled using Compucon'scomputer facilities in Dallas. A sign ofthe site's success is that both HBO andReuters are putting in satellite facilitiesnearby.

The antennas and buildings were de-signed as a unit, with each elementplaced to give a strong diffractionmechanism, resulting in high interfer-ence loss. According to Stasi, the"double diffraction" design relies onthe rear wall of the building as the maindiffracting mechanism, with fencingproviding the rest. Total loss is about60 dB.

Actually, the building forms the in-terference block for the two 11 -meterdishes. These in turn block interferencefrom the seven -meter dish, a TVROthat is being modified to serve as a re-ceiver on an occasional basis, pendingFCC approval. Stasi says this dish willbe the first transmitter smaller than ninemeters to be approved by the FCC forfixed service.

All satellite equipment is fromScientific-Atlanta. The large dishes si-multaneously transmit and receivethrough four -port feed horns and or-thogonal transducers; they have casse-grain feeds.

Video adds a dimensionInside the center, every effort was

made to insure that the high quality ofthe original video and audio wouldreach viewers unchanged. Accordingto Setos, the MTV operation was de-

signed so that the limiting factor inquality would be the original material,not the studio or transmission equip-ment. MTV goes to the satellite from acontrol room equipped with a GrassValley Group 1600 1X switcher with aDVE Mark II, which provides variousdigital effects for visual segues. (Theless complex Nickelodeon and MovieChannel employ Image Video switch-ers.)

"In radio there's only one dimen-sion-you time the dissolve and that'sit," Setos says of the segues. "In tele-vision we have many more possibili-ties. We can cut, dissolve, wipe, dosoft wipes, and do digital effects with

less isMORE*

*This is the actual size of our 50 series frequency -agileENG microwave radios. They are 2-12 watt powerprogramable over 21 channels and weigh only 2 poundsmaking them the smallest and lightest available to thebroadcast industry.

BMS, the news and sports microwave people, knows livecoverage demands complete portability from ENG equip-ment. Whether quick -mounted on a camera, in a flightpack or news vehicle, these totally portable units take youwhere the action is- quickly and efficiently.

BMS offers complete ENG microwave systems includingthe most innovative antenna systems in the industry. Wecustomize each system to your broadcasting needs.

If you're consideringupdating your ENG equip-ment, it pays to talk to BMS.

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TV PROGUMMINGthe DVE. In addition, we can do L cuts,little talk-overs in which the music isunder the jockey. It runs just like a ra-dio station, with all these elementsavailable to the operator in real timeand on a random basis."

Stereo on cart

Also in use are two unique AmpexACR-25 cart machines, specially mod-ified for stereo by Ampex. (A thirdstereo ACR-25 is in service at the Mov-ie Channel; the three are the only stereoACR-25s in the U.S.) Each ACR holds24 six -minute carts at a time and is as-sociated with a VPR-2B reel-to-reelmachine. The VPRs hold the tapes ofthe VJs and the longer programming,such as concerts (for this purpose theyoperate with a BVU-200 as backup; au-tomatic switching is provided in caseany major parameter is lost).

Other equipment includes LeitchVideo sync generators and timingequipment, Tektronix 1900 Series testgenerators, GVG video DAs, andDrake audio DAs, used because theyare readily available in stereo. Stasisays that PPMs are used exclusively foraudio because they more closely simu-late the human hearing response.

The transmitter room initially con-tained seven Varian transmitters butthree more are due to be installed.Transmission is all Dolby B -encoded;Setos says MTV is the first national net-work, radio or TV, to use Dolby FM.

Reliability is essential for a live ser-vice such as MTV, and for that reasonthe RF and video sections of the plantare both fully redundant. In addition,temperature and humidity are individu-ally controlled for each room. Biocellair filters filter all air for technicalspaces, resulting in what Stasi calls"the cleanest air east of the Pecos."This and a no -smoking rule are de-signed to increase VTR head life.

MTV reaches cable systems overRCA's Satcom 3-R. Without the satel-lite, Setos says, a national net likeMTV would be impossible.

"Terrestrial transmission is just tooexpensive for true national networks,"he asserts. "Satellite time is easy to getand cheaper than terrestrial transmis-sion. You don't have to paint hundredsof towers, you don't have to mow thegrass, you don't have to pay the insur-ance bills, and there are no main-tenance costs once you launch it."

Lack of technical regulation was an-other boon for MTV, Setos remarks."It allowed us to do things faster-wedon't have to wait two years to get somenew product authorized." Aside fromthat, he says, "We just took what welearned from radio broadcasting andapplied it to the new tasks." BMX


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WREX-TV BoostsLocal ProductionWith TR-800s

WREX is one of four broadcastfacilities serving the Rockford,Illinois market. Says Gerry Mein-ders, Chief Engineer at WREX,"We had clients taking their pro-duction to Chicago because of theediting capabilities there. Now,with our 1" TR-800s, WREX canoffer the same capabilities here."

WREX sought the mostadvanced machine available tomeet their present and future pro-duction and post -productionneeds. "One of the reasons we likethe TR-800 is that it is the mostadvanced machine available.Being microprocessor controlled,if we want to add to the system, itwill be easily done. It's really atotal system package."

The TR-800s are being usedfor commercial production anddelayed playback of network pro-gramming. The units areequipped with RCA's Supertrackfor broadcast quality playback instill and variable play modes. OneTR-800 has the RCA Super SearchEditor.

"Our clients definitely likeour TR-800 quality and our newediting capabilities."

RCA . . . 30 -Year Supplier ofCustom TV Mobile Units

Hundreds of RCA mobile TV unitsare in use around the globe. Com-pacts and trailers; busses and boxbodies. Custom-built by RCA, theycome in a wide variety of layoutconfigurations, and with equallyvaried equipment complements.

A leading worldwide supplierof mobile TV systems for morethan 30 years, RCA has the experi-enced staff and resources to han-dle any requirement.

The compact van illustratedis a popular, exclusive RCA de-sign. Just under 19 feet long, itis nimble enough to flow with city

traffic, and to fit into tight park-ing spaces. Yet it has the staminafor cross-country travel. Its flex-ible design accommodates a fullrange of equipment variationsand layouts with every capabilityrequired for on -site originationand taping.

The RCA compacts feature amolded fiberglass shell on a heavy-duty chassis, available with 2 or 4 -wheel drive.

Before you start the wheelsturning on any mobile TV project,check out RCA's full service pluscapability.

Energy -Saving Options Available forRCA UHF TransmittersNumerous design improvementsand updates have been incorpo-rated in RCA UHF Transmittersfor enhanced performance andoperating efficiency.

Three optional devices nowavailable (the Mod Anode Pulser;the Aural Coupler and the Vari-able Visual Coupler) result in sub-stantial savings in transmitterpower consumption. They can besupplied in new RCA transmittersor field retrofitted into existing

TTU-30, 55, 60 and 110 systemswith high efficiency klystrons.

The accompanying table liststhe typical power usage and sav-ings for the basic transmitters andfor each of the options. For aTTU-110C 110 kW Transmitterequipped with all three of thesedevices, the total saving is typ-ically 116 kW of power. For detailson RCA high efficiency UHFTransmitter products, contactyour RCA representative.

POWER SAVINGS WITH EFFICIENCY OPTIONSFOR RCA UHF TRANSMITTERS

With And And TotalTransmitter* Basic Aural Mod -Anode Visual Power

Model Transmitter Coupler Pulser Coupler Savings

TTU-30D 120 kW 110 kW 94 kW 88 kW 32 kW

TTU-55C 208 kW 190 kW 160 kW 150 kW 58 kW

TTU-60D 220 kW 200 kW 168 kW 156 kW 64 kW

TTU-110C 411 kW 375 kW 315 kW 295 kW 116 kW

*The models specified are equipped with high efficiency klystrons and solidstate exciters.

NOTE: All figures are typical, in kilowatts, based on 10% Aural Power.

HAWKEYE Takes The Lead In Video System VersatilityHAWKEYE is the one multi -pur-pose matched video systemdesigned to do it all-from fieldrecording to post -production anddistribution. Yet, its modulardesign delivers unprecedentedversatility in meeting numerousoperational applications and econ-omies. HAWKEYE is the mostcomplete and adaptable video pro-duction system available today.

Recording Camera FlexibilityWhere split-second timing

and up -front access to events arethe keys to coverage success,HAWKEYE's HCR-1 RecordingCamera offers a striking contrastto conventional field systems.Film camera mobility and record-ing performance approaching one -inch standards deliver highlydesirable results in restrictiveenvironments and under less thandesirable operating conditions.

Yet, the HCR-1 is versatile. Byattaching a feed cable, live outputcan be aired while recording. Sim-ple adaptors permit the separationof the HC -1 camera and HR -1recorder, so that the recorder canbe slung over the shoulder, carriedon a cart or by another individual.

Camera ChoicesHAWKEYE's HC -1 Portable

Color Camera operates live, orwith other format VTR's, in addi-tion to HAWKEYE's HR -1 porta-ble or HR -2 studio recorders.

A multicore adaptor for theHC -1 allows live productionremote control via multicore cableat distances up to 2,000 feet.Another adaptor permits remotecontrol over universal triax cableup to 5,000 feet. Rack mountedprocessing electronics are in a newcompact size, and the operator'sremote control panel, smallerthan standard RCU's, provides alloperating controls. A 4.5 -inchviewfinder is also available for usein these configurations.

Field VTR ModesIn the recording camera, the

HR -1 Portable VTR is directly cou-pled to the HC -1 camera. A base-

band adaptor for the HR -1 permitsoperation of the recorder separatefrom the camera in a two-piececonfiguration. Another decodingadaptor equips the HR -1 for use

HAWKEYE offers new levels of mobility andreliability as a one-piece video production system.

In the studio or in a van, HAWKEYE is ideal forrecording, playback, or broadcasting applications.

with a TK-76, TK-86, and othercameras or video sources withNTSC composite video outputs.

Studio VTR AlternativesThe HR -2 Studio VTR is

ideally suited for studio and/orremote productions. It operateswith the HC -1, TK-76, TK-86,TK-47 or any camera with com-posite outputs.

Companion to HAWKEYE re-cording cameras and field record-ers, the HR -2 allows playback ofHAWKEYE recorded cassettes forviewing program material. Whenequipped with the optional built-in HT -1 Digital Time Base Correc-tor or any TBC, the HR -2 may beused for on -air broadcasts.

Editing OptionsSince the HR -2 VTR has stan-

dard video inputs and outputs, itcan be controlled from a number ofediting systems.

In the HAWKEYE editingsuite, it serves as the record/playback source for the HE -1 Edit

HAWKEYEs camera and recorder operate as atwo-piece system or with other cameras and VTR's.

HAWKEYE adapts to numerous editingconfigurations and applications.

Controller providing control trackediting capability. It may be easilyintegrated into conventional ENGediting set-ups by simply replac-ing one 3/4 -inch VTR with an HR -2.

HR -2 VTR's employing TBC'smay be linked to a switcher/effectssystem through a computer con-trolled editor for sophisticatedediting capability. Additionally, aTBC equipped HR -2 can be inte-grated into multi -format post -production systems, via varioustime code editors.

To find out how HAWKEYEcan accommodate your particularrequirements, see your RCA Rep-resentative. He'll show you howeasy it is to step up to new levels ofoperational convenience and per-formance with this uniquely ver-satile video production system.

RC

FOR CLEAN SOUNDAfter WLEE installed

SONEX, people called aboutthe "clean, new sound!" Was itnew equipment?

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SONEX kills all the strayreflections, so the mikeprocesses a clean signal of theannouncer's voice. Theannouncer hears himself in awarm environment, and there's

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less clutter to waste watts. Theresult is a noiseless, clearsignal and greater marketpenetration.

Get the facts today. SONEXis available in five colors, inthree thicknesses, and instandard four -ft. squarepanels. Use it in broadcasting,recording, videotaping orperforming areas for reallypure, clean sound.

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)))))))))AUDIO

The broadcast audio industry is being shaped by forces largelyoutside its control-developments in other media which are hav-ing a profound effect on the way broadcasters view their own in-dustry. But whatever their source, the changes are creating in theaudio industry a sense of excitement that it has not felt for severalyears.

One of the major forces for change is coming from the record-ing industry, whose business has been faltering for some time.Radio has continued to rely for most of its programming on therecord industry, and television, to a lesser extent, is doing thesame (see "TV Programming and Production," p. 27). Despitesome original production for radio, and the fact that listeners areturning increasingly to radio as their primary entertainment medi-um because of the high cost of record purchase, the relationshipbetween the radio and recording industries, insofar as pro-gramming is concerned, remains basically unchanged.

But the recording industry is indirectly changing radio. One ofthe most obvious ways is through a large influx of recording stu-dio technicians, producers, and engineers into radio stations asjobs in the recording industry have dried up.

Not only is the talent seeping over, but so is the technology.Recording studios, which until a few years ago had their handsfull with record contracts, are now actively seeking clients amongradio and TV stations anxious to produce high -quality work. Au-dio sweetening for television programs produced for the net-works is also a major new area of interest for recording studiosand post -production sound facilities.

There is even a spillover in terms of equipment. Whereas untila few years ago it was almost unheard of for a radio broadcaster touse a large, automated mixing console or an eight -track recorder

AUDIO PROCESSING: RECIPE FOR BETTER AUDIO page 45FIELD SOUND RECORDING PUSHES TECHNOLOGY TO THE LIMITS page 55SURVEY OF BROADCAST QUARTER -INCH ATRS page 65

BM E AUGUST, 1982 35

AUDIO)) )

in anything but the occasional major concert event, manu-facturers now report more and more stations using largerand larger equipment. Partially, of course, this is due to anintensive effort by the equipment manufacturers to "openup the broadcast market. " But there is good reason to usebetter and more sophisticated equipment for everydayproductions, especially when there is a talent pool experi-enced in running it.

Impetus for change is also coming from home video.Consumers can now purchase high-fidelity, stereo soundvideocassettes and videodiscs and play them on a deckwith audio frequency response equivalent to that of ahigh -quality audio amplifier. Consumers will demandequal quality from broadcast audio. Audio producers aretuning into this demand, supplying quality radio and TVaudio programming produced with at least as much care asproducts for the home market. Then, too, smart producersrealize that today's broadcast product may one day be-come a home cassette or disc, and require top-quality

sound at that stage. Money spent in quality production atthe outset is worth three or four times its value if the pro-duction has to be rerecorded later.

Still another force for change is the generally increasingquality of consumer audio amplifiers and receivers,whether used to tune in radio or to play back tapes andrecords-to say nothing of the astonishing fidelity andquality of the Sony Walkman and its sucessors. The earsof the American audience are daily becoming more dis-criminating, and the listeners becoming more demanding.If, for a minimal investment, the consumer can acquire apiece of equipment that provides as much tonal range ashis ears can discriminate for some time to come, then thebroadcast industry must be at least capable of driving theequipment to that limit.

Broadcasting's future is being influenced by others.But it is certainly no passive spectator. The industry hasperceived the challenge-and is in the process of meetingit.

Digital audio developments

Surely one of broadcasting's big concerns for the 1980sis what will become of digital audio. Again, radio broad-casters are only one of the forces involved. The digitalaudio disc (DAD) is well underway with product intro-

NRBA and NAB Radio Programming Conferences

Another place to look for significant audio developments is atthe fall's two big radio conferences, NRBA and NAB RadioProgramming Conference.

The theme of this year's NRBA show (Reno, September12-13) is "Win Big in the '80s". Owners and management willsit down and hammer out some of the formulas to make radioeven more profitable in sessions ranging from methods for costcutting, business computers, and management techniques, tocable TV and satellite technologies. As in previous years,programming and promotion will also receive considerableattention-both in sessions and in various hospitality suitesarranged by programming syndicators, the networks, com-panies supplying IDs and spots, and so forth.

For engineers and production people, there is unfortunatelyless. As is the case for management attendees, sessions willbe held on satellites and on cable-two areas of vitaltechnological concern. The former is a present reality, despitethe trouble some of the newer radio networks such as ABC'sSuperadio are having getting off the ground. But when eventraditionalists such as UPI decide they will begin turning towardsatellites for data distribution, and when a number of networksare currently distributed via earth stations, satellites are mostcertainly on the way for more and more radio broadcasters.

The question of cable distribution is a little less obvious.Large -market stations have already cashed in on cable TV'scontinuous demand for programming, supplying audio back-grounds while the CAN company runs its announcements orclassified ads or wire service displays of news. The future maybe even brighter than this, however, when one takes into ac-count the demands being made by listeners for high -qualitysound. Cable can deliver into the home what broadcast televi-sion at present cannot: high-fidelity, stereophonic program ma-terial, accomplished by dedicating several cable channels(many system operators now have 100 available) to the trans-mission of full bandwidth sound. How radio might interfacewithin this environment is not precisely clear at this moment,but it will doubtless become a hot subject for discussion atNRBA.

The conference is also again mounting a hardware exhibit,with over 50 manufacturers currently due to set up exhibits (seethe accompanying panel).

Although there will be an exhibit with over 50 manufacturers

showing their wares, its effectiveness has come into questionin recent years. Some wonder if the conference should not con-centrate on its strong point-the excellent management andprogramming -oriented sessions-and steer clear of the moretechnical topics. More and more radio broadcasters attend theNAB show, and indications are that they do most of their buyingas a result of those visits; at the NAB, the sessions and theequipment exhibit are kept separate, but equal attention is paidto promoting both. At the NRBA, however, sessions drain theexhibit hall to a mere trickle of attendees, and the manufactur-ers themselves are calling for NRBA to adopt a new set ofground rules. Last year's show attracted almost 20 more exhib-itors, but some of the "big name" equipment manufacturers willbe noticeably absent this year.

The same might be said of the fifth annual NAB RadioProgramming Conference (August 29-September 1, New Or-leans). This event got started when programmers felt they werenot getting enough attention from NRBA. The conference hasbeen pushing frantically to get its exhibitor and attendee figuresup -2000 from the radio industry are expected in New Orleans,with a still unspecified number of exhibitors. Perhaps thedwindling number of programmers who exhibit at the main NABshow (15 this year as compared with 30 in 1981) indicate thatthere will be more at the Radio Programming Conference. But itmay also prove to be true that radio programmers still don'thave a "home" where they feel comfortable. Direct sales ratherthan trade show exposure may yet prove the best route.

Nonetheless, NAB is making a concerted effort to put on itsbest show ever. The list of workshop and clinic topics (see fulllist in accompanying panel) reads like a directory of every con-ceivable subject of interest to radio broadcasters-includingAM stereo, new technologies for program directors, satellites,radio networking, changing demographics and ratings, and soforth.

The conference has also gone in for extended one-on-oneopportunities. Programmers will have a chance to meet withnationally known experts in private consultation booths. Then,at a "research fair," programmers will again have an oppor-tunity to have their questions answered by experts in a one-on-one, private meeting. Another RPC highlight will be a "pro-ficiency test" in which programmers will be able to ratethemselves on a wide range of important topics.


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INTRODUCING OPTIMOD-AM MODEL 9100AOrban's new second generation OPTIMOD-AM introduces a remarkable new sound to the

AM band: a dramatically open, effortless, defined, FM -like sound combined with extremely com-petitive loudness; RMS levels as much as 3dB higher than those produced by our previous processor.Yet you listen to the music, not the processor!

The new 9100A combines the best ideas from our previous 9000A with some of those in-troduced in the popular OPTIMOD-FM 8100A. Performance is further extended with newdevelopments in distortion -cancelled multiband clipping and receiver equalization. The bottom -line isa processor that develops its FM -like sound on real world auto, table, and portable radios. And a pro-cessor that solves broadcasters' real -world problems, including sloppy operator gain -riding, inconsis-tent source material, and transmitters that tilt, overshoot and ring.

The new 9100A is available in single -chassis stereo or stereo -convertible mono versions.Sum -and -difference stereo processing means highest mono loudness from any of the AM stereosystems. Integrated construction and high -precision parts assure accurate dynamic tracking of thesum -and -difference channels, guaranteeing separation of at least 20dB (50-10,000Hz)-with betterthan 30dB typical. Compare before you buy!

There's much more to the 9100A's exciting technical story than we can possibly tell here.See your Orban broadcast products dealer, or contact us directly for further details:

Orban Associates Inc., 645 Bryant St., San Francisco, CA 94107. Toll Free (800) 2274498,In California (415) 957-1067. Telex: 17-1480, Cable: ORBANAUDIO

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JBL 4313 Studio Monitor.It flattens the competition.

Introducing the 4313.Flat frequency response. Itmeans accuracy. Naturalness.Reality.

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AUDIO)))

ductions in the U.S. expected before too long. But it willbe some time, perhaps five years, before DAD comes toradio, except for the occasional instance when a stationacquires a DAD player to be "the first on the block."

Here, again, it is consumer products that will motivatethe radio broadcaster; used to getting enormousbandwidth with virtually no noise on their home players,listeners will begin demanding the same quality of theirradio stations-or simply tune them out.

Digital technology in broadcasting, however, eventual-ly could be much larger than the DAD, perhaps extendingeven to transmission. If the AES can reach agreement onthe 48 kHz digital sampling frequency as now seems like-ly (see the Editorial, p. 8) work can begin on the develop-ment of the myriad other components that are needed torecord, and perhaps eventually transmit, digital audio.

Just how much work remains to be done can be gaugedfrom some of the reponse to the AES's premier confer-ence, "The New World of Digital Audio," held earlyJune in Rye, NY. Drawing some 200 attendees from allparts of the industry-radio and TV broadcasters, manu-facturers seeking guidance in product development, re-cording industry producers-the conference laid out someof the benefits and problems the industry will face in go-ing digital.

At present, according to a list circulated at the confer-ence by the RIAA, there are just over 50 facilities aroundthe world currently using digital recorders from five dif-ferent manufacturers-each different in approach. Theseare primarily recording studios and record pressing plants;10 are using the JVC system, four have Mitsubishi equip-ment, 15 are committed to Sony equipment, four facilitieshave the Soundstream system, and 18 have one of the 3Mdigital recorders.

For intraplant recording and mastering, having a non-standard system is perfectly adequate. But as use becomesmore widespread, standards must be set in order toachieve the goal of a truly universal interface. The sam-pling frequency is only the tip of an iceberg that might in-clude a definition of tape width, number of tracks andchannels, running speed, error correction and conceal-ment techniques, interfacing of various types of equip-ment through serial and/or parallel data ports, and muchmore.

There is, of course, encouragement from the televisionindustry-an outside force, once again, that has helpedmold the audio industry to meet its own needs, but withentirely beneficial results. It was television which,through the SMPTE, urged the adoption of the 48 kHzsampling frequency as one that could easily interface withthe SMPTE-proposed and adopted digital video samplingscheme. This video standard has now been adoptedworldwide, and as work proceeds with the developmentof actual digital video recording techniques, incorpora-tion of digital audio recording within the video format isbeing seriously pursued.

It is also worthwhile to note that the TV industry is very

*AKG AcousticsMicrophones, headphones

American Image ProductionsPromotion, IDs

*Toby Arnold & Assoc.Music programming

Audio + DesignAudio processing

*BGW Systems, Inc.Amplifiers

Broadcast Audio Corp.Consoles

Broadcast ElectronicsTransmitters, program automation

Cabiewave Systems, Inc.Transmission line, connectors

Capitol MagneticsBroadcast carts

CBS Radio Stations News ServiceProgramming

Celestial MechanixPromotion, IDs

*ComarkRF equipment

Computer Concepts Corp.Business automation

*Concept ProductionsMusic programming, automation

Continental ElectronicsTransmitters

Continental RecordingsPromotion, IDs

CSI ElectronicsTransmitters

NRBA Exhibitors:C.S.P. Inc.

RF equipmentCustom Business Systems, Inc.

Business automationDelta Electronics, Inc.

RF equipmentDorrough Electronics

Audio processing*Eicom-Bauer

Transmitters, consoles, cart decks,processing

*Emergency Alert ReceiverAutomation

Harris CorporationTransmitters, consoles, automation

*IGM CommunicationsCart decks, automation

Johnson Electronics, Inc.Tuners, amplifiers

*Libra ProgrammingBusiness automation

LPBConsoles

*3M, Magnetic kV ProductsAudio carts

*MaganavoxAM stereo system

*MarketronBusiness automation

*Microdyne CorporationEarth station equipment

Motorola, Inc.AM stereo system, communications

*New exhibitor at NRBA

*OtariATRs

Phelps Dodge Communications Co.Transmission line, connectors

Philadelphia Resins CorporationTower guys

Quantum Audio LabsConsoles

*Radio Computing ServicesBusiness automation

Ramko ResearchCart decks, consoles, amplifiers

RCA Electro Optics & DevicesTransmitting tubes

Register Data SystemsBusiress automation

*Scientric AtlantaEarth station equipment

Station Business SystemsBusiness automation

*Station Research SystemsResearch services

TFT Inc.Remote control, STL, monitorsystems

U.S. Tape & Label Corp.Promotions

Unidyne Direct MailAdvertising

United Press InternationalProgramming

Woid Communications, Inc.Satellite services

BM'S AUGUST, 1982 39

AUDIO))) ) ))

NAB Radio ProgrammingConference-

Workshops and Clinics* No Music After AM Drive* Choosing a Consultant* AM Stereo* No More Contests* Positioning: Case History* Using/Misusing Networks* Digital Recording* What's a Rep?* Computers for Programmers* Why Do Sales People Make More $$ than Jocks?* New Tech for PDs* How to Really Read the Book* Building Your Own TV Commercial* Creative Public Service Campaigns Make You a Hero* Marketing Is a Mess-Yes or No??* Audio Processing* You Can't Learn Anything from Public Radio?* Promotion that Pays for Itself* What PDs Must Know about Sales* Lifestyle Changes and Your #s* Building a Morning Show* Living with Unions* Why Radio Is Red Hot* Hiring and Firing

seriously considering stereo audio-possibly even to in-corporate it within current broadcast systems by multi-plexing the L and R channels or by digitally encodingthem into the vertical blanking interval of the TV frame.Or, stereo audio may have to wait a little longer-untilfull-fledged digital recording comes along. But in anycase it is a major step in the much sought-after improve-ment in broadcast sound quality and dynamics.

Broadcasters are generally taking this commitment totheir future with digital recording more seriously thanmany expected. The AES conference heard what musthave been a first for broadcasting-digitally recorded pro-gram material produced by WFMT, Chicago's fine musicFM station, using the portable Sony PCM-FI digital re-corder. The program material, produced as a trial balloonof what digital recording might mean to broadcasters,consisted of recordings made in the station's own studio,segments of a Milwaukee Symphony concert, and localrecitals. (For more details, see the story on field sound re-cording beginning on p. 55).

Broadcasters can use digital with good results if com-panies such as Sony and the others manufacture hardwarethat can be afforded by the local station. Mitsubishi cer-tainly thinks so, and has also come out with a brand-newportable/studio digital recording system aimed specifical-ly at the broadcast market (BM/E, July, p. 10).

In short, as the stories in this special report indicate,broadcast audio, both radio and TV, is undergoing a ma-jor transformation. The impetus for the change, and oftenthe means of the change itself, has come from forceslargely outside broadcasting. But broadcasters, respon-sive to the pressures, have responded. BM/E

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AUDIO )))))))))

PROCESSING:Recipe for Better Sound

Thanks to recent technological advances, competitionis heating up among radio station operators looking for

the perfect combination of loudness and compression, witha little reverb added along the way, that will attract and

hold listeners.

WHEN CHIEF ENGINEER A and Program Director B twist thedials on their new multi -band compressor/limiter whilelistening anxiously to the resultsthey are trying for a "sound" that might outdo other sta-tions in attracting and holding listeners. Programming andpromotion continue, of course, to be the mainstays of theradio station's operation; but competition for soundquality has become a major element of management andengineering concerns. And advances along several tech-nological fronts now make improved audio quality a tan-gible reality.

Ingredient one: dense but clean modulation

Reducing the dynamic range of program material is oneof the basics in processing. Compression did not start outas a tool in the loudness war, but as a response to the factthat a radio system-AM or FM-cannot handle the fulldynamic range of modern recorded material. The programgets lost in the noise at the quiet end, or over -modulatesthe transmitter at the high end. When the digital disccomes along with its 80 to 90 dB of dynamics, the radiopath will be even less adequate.

The fact that reducing the dynamic range increases themodulation density and allows a "louder" signal to be puton the air has been one of the strong spurs to the spread ofaudio processing. But technical advance in this case doesnot mean simply making a louder and louder signal availa-ble. Within the legal limits-no overmodulation-thereare important constraints on the amount of compressionused. One is the rise of unwanted side effects, severalforms of distortion, as the processing gets steeper. Theother is the production of sound quality that will not matchthe musical tastes of the station's listeners.

Reducing the seriousness of the side effects at any giv-en level of compression has thus been one of the mainlines of recent technical advance: the top systems availa-

ble now are far better than any used to be. Those sideeffects include such disturbing results as "pumping"-sound and falling as thoughsome imp had hold of the console fader-and "breath-ing," an operational swishing sound. In addition therecan be frequency unbalance, poor handling of transientsignals, holes in the response, and other noxious perform-ances.

Overall, the worst effect of excessive compression is akind of "squashed" quality that many listeners dislike.But not all. The "Top 40" listener, the teen -to -early -twenties group, has been delighted, at least in the past,with a steady loud beat and voices and other instrumentsaround it at an unvarying level. A number of stations werehighly successful with this approach such as a New Yorkrock station that had a dynamic range around 3 dB. Thereis now evidence that the old flat-out rock has lost much ofits appeal.

At the other extreme is the classical listener who wantsthe widest dynamic range the station can manage. Classi-cal station managements try to supply it, using justenough compression to produce a signal "loud" enoughto reach the intended audience.

Between these two extremes there is a complete rangeof compromise positions, and each management has toweigh all the complex factors involved to reach a judg-ment on what is right for the station. If there is any rule ofthumb, it is "back off if you've gone too far." But "toofar," as suggested, depends on many factors-the kind ofmusic, the sophistication of the processing system, theacuity of the station personnel's hearing as well as of theirjudgment of the market. Long and careful listening is theonly route to effective adjustment of a compressionsystem.

Another factor in compression is money. The simplestcompression systems are inexpensive, but they are also


AUDIO))))))))

the most likely to get the user in trouble when the com-pression ratio is pushed high. If the radio managementwants only small to moderate amounts of compression, itis possible that a simple system will get the stationthrough. But it is necessary in every case to listen critical-ly, whether the system is simple or elaborate, whether thecompression ratio used is moderate or steep. Some com-pression systems are "unsafe at any speed."

Here is a sampling of techniques described by manu-facturers of a few of the current compression systems.This is not a listing of units on the market, but a selectionof some representative approaches to the problems of"dense but clean modulation," the center ring in today'saudio processing.

Remember though, that the "GIGO" principle (gar-bage in, garbage out) applies to heavily processed audiosignals. It probably should be the "BIHO" principle, or"bad -in -horrible -out," because audio signals of poorquality are worse after heavy processing. Thus the radiomanagement wanting to use heavy processing as a com-petitive tool, as so many do today, has a strong incentive

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The signal into a compression system must not only beclean but should also be fairly constant in level: variationis likely to bring frequency unbalance and other troubles.Thus a number of the compression systems use a slow,broad AGC stage ahead of the actual compression stages,to keep the signal within a reasonable amplitude range.

The Inovonics Model 215, the Orban Optimod AM,and the CRL-FM-2 are just a few of the systems that usepreliminary slow AGC.

Dividing the spectrum into several bands for the com-pressor stage has become widespread among the higher -priced systems. This reduces the tendency of a very strongbass sound, for example, to punch a hole in much quieterhighs. There is no rule about how many bands are opti-mum; but if the compression is going to be pushed hard,the system ought to have at least three spectrum bands inthe compressor stages. Many of the popular systems meetor better this requirement: Audio and Design's Trans -dynamic, Gregg Laboratories systems, Orban compressorsystems, the CRL units, the Dorrough DAP -610, and theHarris MSP-90 are some examples.

Considerable subtlety enters in the provisions for con-trol of the attack and release times, because these affectthe auditory qualities strongly. Some systems, amongthem the Orban and Audio and Design, allow the user to

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Need a deluxe broadcast remote mixer?The M267 is ideal for live broadcasts of sports,conventions, other remotes. Built-in limiter prevents overload distortion Mic/Line Capability on each input and outputWant professional mixer features at minimum cost?The M67 is the most popular model for remote broadcast andproduction work. AC or battery operation Transformer balanced inputs and outputs

Want to expand your sound system?The M268 is great as an independent mixer or for adding inputsto existing sound systems. Built-in simplex power for condenser microphones Quieter operation than competing models

Need a low cost, versatile PA mixer?The lightweight, portable M68 is a great buy as a basic mixer.

What if input levels vary?The SE30 is the only combination mixer/gated compressor unitwith an adjustable response rate that prevents "pumping." Automatic gain riding keeps levels constant Lowers background music automatically in paging systems

Need an 8 -channel mixer, but short on space?The SR109 is popular in large hotel paging systems, as well assmall post -production rooms. 8 channels with bass and treble tone controls Built-in limiter

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AUDIO) ) ) ) )

choose automatic control (action determined by the pro-gram material); or the user can take over manual control.This is probably the best approach, particularly if the userwill work hard to get the cleanest possible signal throughthe processing system, which takes the most careful ad-justment of all parameters.

Ingredient two: blocking peaks

Integral with most of the popular compression systemsis a method to keep sharp peaks in the program materialfrom reaching and overmodulating the transmitter sincethe compression system cannot handle sharp peaks.Controlling peaks has been a familiar part of radio opera-tion for a long time; knocking off the peaks lets the opera-tor get his modulation very much higher than would bepossible without that control.

But peak controllers have never been without seriousdrawbacks, including overshoot, ringing, and phase dis-tortion. There has been a steady advance in the design oflimiters and clippers aimed at reducing these drawbacks.A number of the latest processing systems use very elabo-rate filter and clipper designs intended to block the peakswith fewer spurious additions to, or changes in, the signalthan has been possible before. Orban, Harris, Gregg andAudio and Design are among those models in which ex-traordinary effort has gone into the limiter and clipperdesigns.

In these systems, and some others, the improvement inthe peak control action has given the quality of the finalsignal a distinct lift. The millenium is not here; but we arecloser than we were a short time ago.

Two new methods of blocking peaks have just come onthe American market. One is the EMT Model 266 tran-sient limiter, used for some years in Europe and importedhere by Gotham Audio of New York. This system delaysthe program about 3 ms after extracting the control infor-mation, so that the control and the signal can reach thecontrol stage together. This makes the control "posi-tive"; no part of the peak can slip through while the con-trol signal is being developed. The response is tailored toprevent perceptible "holes" in the signal and the releasetime takes account of human hearing parameters.

The other new limiter is the Model CP803 compositeprocessor from Modulation Sciences of Brooklyn, NY.As the name indicates, this system is designed to operate

Lexicon Super Primetime sup-plies very wide range of spe-

cial effects.

Compact noise -reduction module bolds Dolby Type "A" system.

on the composite signal in FM broadcasting, and does notinclude gain -riding, or compression stages. It is transpar-ent to the 19 kHz pilot signal, and thus avoids the con-straint to very low processing ratios-about 0.5 dBmaximum-imposed on most composite limiters by FCCrules with respect to the pilot. The advantages claimed bythe manufacturer are noise -free operation (no gain rid-ing), a high-tech filter system that gives complete controlof overshoot peaks and high frequency peaks to allow upto 6 dB more modulation, and the ability to work with orwithout other processing equipment ahead of it in theaudio chain.

Ingredient three: equalizer punch

Most of the more elaborate compressor/limiter systemsalso include adjustable frequency equalizer circuits thatallow broad alteration in the frequency response of thesystem. Some of the equalization provided is quite spe-cialized. The Orban Optimod-AM, for example, has afrequency -shaping circuit intended to offset the curve of

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AuDIO)))))))))

the average small AM radio. The intention is to get con-siderably more brightness into the sound the average AMlistener is getting from the station. This is in addition togeneral equalizer controls.

Wide -spectrum control of the frequency balance mightseem an "extra" on a compressor/limiter, but it has latelybecome a much used tool in the "sound" competition.Radio managements use frequency shaping to help themcreate a brighter or more punchy quality that will grablisteners.

Important is the fact that the technology has lately ad-vanced to supply frequency shaping on the higher -qualitysystems that introduces very little distortion into thesignal.

Ingredient four: fingertip reverb

Artificial reverberation is one of the oldest processingstories in broadcasting and recording. What is new is theapplication of digital technology to create flexible, all -electronic reverberation.

To simulate natural reverberation with a multiplicity of"fed back" samples of the signal is one of the most diffi-cult design problems, simply because natural reverb ismade up of thousands of reflected signals. But the design-ers of several of the current digital reverb systems havemanaged to create effects close enough to the "real" tosatisfy almost any need for added reverb in broadcasting,recording, etc.

It takes a considerable amount of computer power to dothe job, so the top -grade electronic reverb systems are cor-respondingly expensive. But they have great advantagesover the older electromechanical systems in the varietyand instant adjustability of reverb character: a good elec-tronic system is, in effect, 10 or 20 or 100 different reverbsystems.

Leaders in this development are Eventide, Lexicon,Ursa Major, Marshall Electronics, and Quad Eight. Par-ticularly powerful is the programmable reverb system,which uses software to produce the multi -signal "reflec-tion" and control it for just the effects wanted. Eventide'sSP -2016, Lexicon's 224-X, and Ursa Major's 8x32 are all"open-ended" systems that can move into new modessimply by the user's installing new software modules. Allthe manufacturers named are working on additional mod-ules that upgrade or extend performance in one way or an-other (Ursa Major, for example, announced four newprograms for the 8x32 as this was written).

The programmable reverb systems are at the top of theprice bracket. Below the top are systems that producefewer effects but are close enough in quality to the top sys-tems to satisfy many users at considerably lower cost.Electromechanical systems are lower still in price, but attheir best will do a satisfactory job.

Ingredient five: specialties

The techniques for creating electronic artificial reverboverlap to some extent those needed for "special ef-fects," so the two functions are sometimes combined inone system. Special effects is a wide-open category thatcovers the endless alterations of sound quality producible

50 BM E AUGUST, 1982

with fed -back, delayed, or otherwise altered samples ofthe signal, combined with frequency shaping and othertechniques. Combining the signal with out -of -phase cop-ies of itself can do wondrous things to the quality-for ex-ample flanging, a swishing or swimming quality.

There is a basketful: deep space voices, machine -likevoices, and literally hundreds of other unnatural soundswith the main functions of grabbing listener attention,stirring his or her excitement.

Special effects have so far proved most useful to broad-casters who produce commercials. The ability to give thecommercials a special sonic character for memorabilityand impressiveness has made special effects worthwhileto many broadcasters. "Consistent strangeness" may bethe best operating doctrine to give prominence to the adsof a particular customer.

Ingredient six: quelling noise

Like special effects, noise reduction has proved mostuseful to broadcasters in the production studio. Thisapplies particularly to the production of recordings oncarts, whether for commercials or regular programming.

As everyone knows Dolby and dbx have dominated thenoise reduction scene for a number of years. What is newis the Dolby "C" system, which supplies considerablymore quieting than the Dolby "B", reaching about 20 dBat the top of the frequency spectrum. This is excellent forcart recording systems, which suffer heavily from tapehiss.

Another system new in this country that should workwell in cart recording applications is the Telefunken"High Com," which will be marketed by Straight WireAudio of Arlington, VA. High Corn is also a single -bandsystem with a claim of large quieting, up to 30 dB. It is inheavy use in Europe.

A third new system is the MicMix Dynafex, which willallow new modes of operation in broadcast stations be-cause it does not need encoding -decoding. It can be ap-plied to any program source for what the maker says isnoise reduction up to 30 dB. Dynafex uses an updated ver-sion of the "sliding filter" technique. The pass band isautomatically adjusted to minimize noise at various levelsof the signal. This might well prove to be the most practi-cal approach to noise reduction on some kinds of programfeeds, for which encoding -decoding are not convenient.

Putting it together

Now that broadcasters can do almost anything theywant with processing, what are the applications? Each sta-tion will have its own needs. Giving DJ voices more ap-parent power without raising the actual modulation levelis one use for reverb. Adding power and resonance to pro-gram material picked up in very "dry" acoustical settingsis an obvious application.

Beyond such particular and corrective uses, reverb isoften an important element of the mix that establishes thecharacter of the station's sound. In trying to produce a hot,competitive sound the radio operator can mix compres-sion, frequency shaping, and various kinds of reverb in anendless variety of aural stews. Reverb can add punch andpower, apparent loudness, "life." The operator, like thegood cook with a shelf full of seasonings, has to use all theelements with a light hand, "tasting" often as he goes.The effort can be worthwhile; the station's sound canmove up to a fresh attractiveness that may be just what themarket will respond to. BM/E

THE TRUEMEASURE OF

PERFORMANCE

I 4444 4444 4444 4441 4444 4444

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um=

ASACA/SHIBASOKUSV11A Video Sweep Generator

The SV11A measures frequency response on highresolution, wide -band color video equipment. It hasa frequency band ranging from 100 kHz to 30 MHz.You also get a choice of two amplitude ranges: widerange covering the whole band in one sweep, andnarrow range centered on a particular frequency.Sweep signals may be selected by the switchingV sweep of the built-in sync signal and power linefrequency. A variable marker and six fixed markerwaves are built-in and may be set to desiredfrequencies. Generates sweep (0.1-30 MHz), Wide sweep

width (3-30 MHz), Narrow sweep width (1-10MHz).

6 pre-settable fixed frequency markers plusvariable marker with digital readout.

22.5 db level marker can be inserted to 0.5 dbsteps, facilitating readout.

Composite sync signal and VD signal available. On -off switch for sync signal, color burst signal

and setup. CW output. Available in NTS:3; PAL B, M, N; and SECAM

systems.Measure your performance with the best.ASACA/ SHIBASOKU SV11A. Wide band videosweeps up to 30 MHz.

For complete specifications. write:

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"OUR NEW SONYALL KNOWN

"Finally there's a 3/4 -inchrecorder that doesn't just inchalong," says Fred Rheinstein,president of The Post Group.

A major post -productionfacility in Hollywood, The PostGroup counts among its clientsall three networks, PBS, andmajor cable TV and syndicatedproduction companies. It willedit the new syndicated chil-dren's show "We're Moving" en-tirely on the BVU-800.

"The 800 is amazingly fast.To be able to go backwardand forward at 40 times playspeed means you can searchfor your edit points-and findthem-more than twice asfast as ever before;' continuesRheinstein. "And this machinegoes from its highest speed toa still frame. Instantly. Withoutslewing or breaking up.

"It also has a direct -drivesystem, which promises greaterreliability and accuracy

"We have extremely criticalclients;' says Rheinstein."They'reused to the best performance,in terms of picture quality andin terms of flexibility. This newSony can deliver it.

"It's the perfect combinationof U-matic economy and broad-cast quality. It's a true master-ing process; with the BVU-800,there's no need to transfer toone -inch and lose a generationin order to edit your taper

U-MATIC BREAKSSPEED RECORDS!'

Fred Rheinstein, THE POST GROUPOther breakthroughs incor-

porated in the BVU-800 includeits ability to make machine -to -machine cuts without a separatecontroller; its adjustable, remov-able edit control panel; andits narrow, front -loading design,which makes rack mountingpossible.

"We've always bought a lotof Sony, because we can dependon the company for reliabilityand innovation;' says Rheinstein."Now, with the BVU-800, Sonymakes its competitors look likethey're operating in reverse"

Sony makes a full line of 1 -inch and 3/4 -inch broadcastequipment, including cameras,recorders, editors and digitaltime -base correctors.

For more information, writeSony Broadcast, 9 West 57th St.,New York, N.Y. 10019. Or callus in New York/New Jersey at(201) 368-5085; in Chicago at(312) 860-7800; in Los Angelesat (213) 537-4300; or in Atlantaat (404) 451-7671.

SONYBroadcast

Sony and U-matic are registered trademarks of Sony Corp.Inn°II.11, I

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Field )))))))))Sound RecordingPushes Technologyto the LimitsRecording high-fidelity sound in the fieldhas traditionally been hampered bylimitations in recording techniques andequipment. Now, the promise of gettingstudio quality in the field is coming closerto fulfillment.

BRINGING GOOD AUDIO back from a field recording datehas always challenged radio and television sound engi-neers. Broadcasting-especially television-has laggedfar behind home audio systems in the quality of its soundreproduction. In the past it often meant that sound qualitytook second place to other considerations that seemedmore important, such as getting a clear picture or beinglouder than a competing station.

Technology, however, is beginning to remove thelimits on broadcast fidelity, simultaneously raising theimportance of sound engineering. With high -quality re-ceiving equipment widely in use, radio stations, especial-ly FM stations, are aiming less and less for the typical carradio and more for the home stereo system. Although thevast majority of television receivers continue to incorpo-rate tiny, tinny speakers, the possibilities for qualitysound are increasing, spurred by new technologies such ascable and videodiscs.

Both radio and television have benefitted by the availa-bility of 15 kHz program channels from the telephonecompany, aiding transmission of full -bandwidth sound.The one -inch videotape recorders with their two high -quality audio tracks are helping TV crews bring backmore realistic sound, and the development of SMPTEtime code has allowed more creative editing back in thestudio.

Another significant advance in television audio hasbeen the incorporation of Dolby A noise reduction into theSony and Ampex Type C VTRs. Dolby makes a noise re-duction card that plugs directly into the BVH-1000/1100or VPR-2, providing 10 dB of noise reduction from 30 Hzupwards, increasing to 15 dB at 9 kHz and above. Mostrecently, Dolby completely redesigned the entire audiosection of the Sony BVH for improved audio; theredesigned audio section and type A NR are all on a single

plug-in card. Dolby has done the same for the AmpexVPR.

TV audio: stepchild no longer?

A sign of the times in audio for video was a recent panelsponsored by the New York chapter of the Videotape Pro-duction Association (VPA). Ed Grower of ReevesTeletape/Sound Shop opened by throwing some light onwhy audio has always taken a back seat to video in televi-sion production.

"Some of the bad habits we have overcome in light-ing," Grower explained, "grew out of the fact thatvideotape evolved from live television, where lighting be-came a matter of illumination because everything else waslife and death. With the luxury of videotape, it has takenquite a while for a lot of talented people to overcome someof those bad habits. By analogy, in audio for live televi-sion, it was not a question of sweetening or getting attrac-tive, evocative sound-it was, 'Oh, God, I hope we hearthe words!"'

Most of the bad habits imposed by live television'stechnical limitations have been eliminated, Grower feels,but there is still plenty of room for improvement.

Speaking at the same meeting, Mort Dubin of IrisFilms, chairman of VPA, commented on why audio hasremained the stepchild of video for so long. "A lot of theproblem is rhythm," he opined. "If it's not in yourrhythm to consider a sound mix in videotape, you don't doit. . . . Also, it goes back to the origin of videotape.Videotape began as a replacement for the live show-ithad the connotation of being quick and dirty. You did ev-erything as quickly and as cheaply as you could. Now, asthe video medium is growing up and becoming more crea-tive, more money is being put into it and the rhythm ischanging."

Scharff Communications' Peter Scharff, intimately in-volved with producing top sound for television (seeBM/E, April 1982, p. 42), gave the meeting a briefoverview of the changing importance of television audio."A number of years ago," he recalled, "all televisionwas coming out of a small three-inch speaker. Even if youdid a high -quality recording job in New York, by the timeit got out over AT&T lines to Kansas it was reduced tovery low bandwidth and very high signal-to-noise." Un-


AUDIO))) ) ) )SMALL AND PORTABLE MIXERS

Mixing sound in the field requires a high -quality portable mixer. This chart lists a selection of small mixers madeor distributedin the U.S. with their major specifications and approximate prices. Models vary widely, from hefty, full -featured mixers tocompact, lightweight hand -carried models. Which model is appropriate depends on the complexity and nature of the job.MFR MODEL STYLE* CHANNEL SPECS FEATURES OTHER

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Allen &HeathBrenell

1821 1 S/M 18 6 -118 -118 ± 1.5 3 no slide yes no VU V AC/DC 0/R

Ampro/Scully AC -12 1 S/M 12 2 -74 +1.5 .5 ABC

rotary,slide yes AC 0/R

Arrakis SC series 1 S/M 8 2 -70 ± 1 .1 no slide yes yes VU V AC 0/RAudioDevelop-meats

ADO 45 3 S 6 2 -125 -2. .05 3 no slide yes yes PPM V AC/DC II

AudioForce

LocationerMix 8

2 S/M 8 2 -127.5 -85 +0, -.5 08 3 BC slide yes no VU AC/DC II

LocationMixer 16 2 S/M 16 2 -127.5 -85 +0, -.5 .08 3 BC slide yes no VU AC/DC II

CoherentComm. MX 0 B 3 M 4 3 -129 -85 1A otary yes yes

VUpeakLED

V AC/DC II

Dyma Inter-nafional 4 M 8 1 -60 +.5 .5 no slide yes VU AC 0/R

Eela S 41 3 M 4 2 -3 .05 1 AC slide yes VU v DCHalli-kainenFriends

TVA 142 4 M 36 -115 -74 ±1 .25 no rotary yes noVU

peakLED

V AC I-111

IndustrialResearch

VoiceMatic 1 .5 no rotary AC 0/R

ISI 1002 4 S 10 2 -123 -95 ±.5 .5 1 no slide yes yesVU

peakLED

AC III

Logitek Audiorack 4 M 6 2 -72 -67 ±.5 .05 VUkpea v AC/DC II

MCI JH-636M 1 S/M 36 24 -129 +0, -.5 .1 3 ABC slide yes yes VU v AC 0/RMicro -Trak Sport IV 3 M 5 1 -60 -60 1 no rotary yes no VU AC/DC I

Ramsa WR-8112 1 S/M 12 4 ±.5 .04 3 AC slide yes yes LED V AC 0/R

SATT SAM 82 2 S/M 12 6 -128 -85 +.5, -1$ .2 VUPPM

V AC/DC II

Shure SE 30 3 M 5 2 -128 ±2. .5 A rotary no yes VU V AC/DC I

Sigma SS -380 1 S 18 7 -125 -70 +0, -1.5 .5 2 slide yes yes VU AC IIISony MXP 42 3 S/M 4 2 -125 ± 1 .1 A rotary no yes VU v AC/DC 0/RSoundDynamics

Newsport300

2 S/M 6 3 .1 rotary yes yes LED v DC II

Studer 269 1,2 S/M 20 4 -83 ±.5.5 VUPPM V AC/DC III

Telfax TFX 131 3 M 4 2 -55 -58 +3 1 rotary yes yes VU V AC/DC 0/RTransit-0 -Sound TOS-3C 3 M 4 2 -63 -70 ±3 .1 1 A rotary yes LED v AC/DC I

Trident Trimix 1 S 32 24 -125 -84 ±.5 .05 4 A slide yes yes VU V AC IIIUltra Audio MS105 3 M 11 3 -102 -90 ±1 .1 1 A slide yes yes VU AC II

UREI Mod One 1 S/M 10 3 -70 -70 ±1 .5 A slide yes yes VU v AC 0/RWard -Beck R1000 1 S/M 10 2 -124 -78 ± 1 ABC slide yes yes VU V AC IIIYamaha 1532 1 S 32 12 -68 +0, -3 VU v AC IV

KEY: PRICE:1 = desktop/console t A = limiter/compressor Frequency: I = up to $15002 = suitcase B = echo t means figure II= up to $50003 = hand carried C = reverb/foldback is measured in III= up to $10,0004 = rack mount 40 Hz to 15 kHz range IV = over $10,000


The Quantel DPE 5000/SP.

SEE POE TIME

SET SIZE TIME

TYPE 7 I TUMBLE

NUMBER

SETUPDATE

NIS TOM

NUMERIC

DPI SOCIOSLINE

FREE

TREE 4.3

BORDER

POSITION

-----"ON

IBORDER

LUM SAT V. WTH i

Now every broadcaster can afforddigital effects.

If you've been holding back fromdigital production effects becausethe cost seemed too high, hold backno more.

The new Quantel DPE 5000/SPmakes digital effects affordable byevery broadcaster.

This exciting single -channel systemgives you infinite compression. Zoomexpansion to 2X normal picture size.Variable picture positioning. Freezeand update. Variable border genera-tion. Horizontal squeeze. And verti-cal squeeze.Not bad for a unit that's only 83/4inches high. Perfectly sized for yourstudio-or mobile unit.

MCl/Quantel and "Digiflip" are trademarks ofMicro Consultants, Inc.

But you get a lot more. Like pre-select of picture position, size, andtransition rate. A choice of linearmoves or camera -like Quantel-stylemoves. And "Digiflip" tumble -flip.

And more yet! Forty moves instantlyselectable at the touch of a button -30 pre-programmed effects and 10 ofyour own creation.

MCl/QUANITELThe digital video people

The DPE 5000/SP even includesbuilt-in noise reduction so you caneliminate the cost of a separatenoise reducer from your equipmentbudget.

On top of all this, you get Quantel'ssuperior picture interpolation forthe smoothest moves available.

"SP" stands for "special perform-ance:' Almost an understatement.Call your local MCl/Quantel officefor details. Or get in touch with usdirectly at 415/856-6226. MicroConsultants, Inc., P.O. Box 50810,Palo Alto, California 94303.

Circbe 136 on Reade,, Service Card

HITACHIFP -22 Color Camera SystemWith Microprocessor for Automatic Set -Up

2-FP22-3 Tube Saticon cameras2 -Al 0 x 11 BRW 10-1 lens power zoom F1.62 -Operation panels with 50' cables2-5" and 2-11/2" View Finders2 -Lens drive kits2-A.C. adaptors1-PVM 8200 8" color monitor1 -WV 5203 triple 5" monochrome monitors1-M67 audio mixer

1-6142 Crosspoint latch production switcher1-6006 Sync generator1 -Service manual1-528 Tektronic Waveform monitor1-BPM-1 Burst Phase Meter1 -McMartin amplifier and speaker2 -sets batteries and charger2 -Sets wood tripods - O'Connor fluid heads -

dollies with deluxe wheels

Modular three piece portable studio, packaged in protective cases with front and rear hard shell coversSingle cable interconnect between modules for quick and simple set-up.

$45,600 Delivery andWarranties Included

Full line distributorfor all Hitachi

video productsLERRO

ELECTRICAL CORPORATIONCOMMUNICATIONS SYSTEMS DIVISION

3125 North Broad Street, Philadelphia, PA 19132

For further details215-223-8200

Ask for John Neri

AUDIO)) )

der such circumstances it's no wonder engineers didn'tput all their energy into audio. Now, however, Scharfftold the audience, AT&T has made it possible to send highquality audio over 15 kHz program lines, and one -inchvideotape has given engineers added flexibility in record-ing single -system sound.

In a recent interview, Scharff described in greater detailthe advances in television sound. Although the oxide onone -inch videotape is optimized for video rather than au-dio, the audio quality of the tape is far higher than any-thing achievable with quad tape, he said. In the field, thetwo tracks, used creatively, can give a much more naturalfeel to the sound. For example, an RF lavalier mic on anannouncer's clothing could go on one track and a shotgunmic, also trained on the announcer, on the other. Thetighter, more closely miked sound of the first track couldthen accompany closeup shots of the announcer, with theother track, with its looser feel and more ambient sound,going with long shots. With this kind of recording,Scharff said, the sound much more closely parallels theaction for a more realistic program.

Use of wireless mics in sound recording for video is onthe upswing, Scharff notes, spurred by an increase inquality and reliability. Wired and RF intercoms are alsocoming into increasing use as productions become morecomplex and communication becomes correspondinglymore important.

One of the biggest boons to recording and editing sepa-rately recorded sound, Scharff says, is SMPTE time code,which can be recorded on one track of a four -track audio

deck for synchronization with the video."To get two stereo tracks of audio, left and right, in

sync for videotape, you really need a four -track ma-chine," Scharff insists. "On track four you put theSMPTE code, which you don't want next to the audio be-cause it's so spikey and it tends to creep in. You have ver-tical drive on track three, then left and right on theremaining two tracks." Live from Lincoln Center, whichuses the Scharff Communications audio truck, does astereo recording on four -track in this manner, "basicallyjust as a protection," Scharff says. The audio is recordedon videotape for broadcast, but the existence of the stereofour -track tape allows the producers more flexibility forreselling the show. Since the four -track recordings areusually made without an announcer, the producers canadd a European announcer if they sell the show overseas,for example.

Scharff's specialty, however, is multitrack audio re-cording for television, and he sees double -system record-ing as justified mainly for this purpose. "With a decentaudio board, you can do quality audio right on thevideotape," he asserts. "There's really no reason to dodouble -system if you're recording on videotape, unlessyou're planning to remix."

Producers should consider the possibility of remixingcarefully, though, he warns. "Once you've laid it downon location, on four -track or on videotape, if you then de-cide the voices aren't loud enough, there ain't a thing youcan do. If you do it multitrack, you can change your mindafterwards."

Problems with one -inch

Less enthusiastic about the audio possibilities of one -inch recorders is Chris Newman, an independent audioengineer in the New York area. "Most of the recordersdon't have a lot of headroom, so that if you record with

WFMT Serves Digital -to -Go with

Taking field recording quality one step closer to the ultimate,Chicago's fine arts FM station, WFMT, recently broadcast aprogram of recordings made with Sony's portable digital audioprocessor. The PCM-F1 works in conjunction with an SL -2000Betamax video recorder to record a 16 -bit digital audio signalwith dynamic range of over 86 dB and S/N of 96 dB. Frequencyresponse is flat from 10 to 20,000 Hz ( + 0.5 dB), harmonic dis-tortion is less than 0.01 percent, and channel separation isgreater than 80 dB.

According to Rich Warren, program producer, the procedurefor making the digital recordings differed little from normalanalog recording. "With the digital processor, the dynamicrange is so wide that once the levels are set, you can forgetabout them," Warren says. "The processor is switchable from14 bits to 16 bits, but we opted for the 16 -bit position with itsextra dynamic range."

The one drawback of the portable Sony system, Warrennotes, is that tapes can't be edited electronically (this is possi-ble, of course, with Sony's professional digital recording sys-tem). For that reason, the station simultaneously recorded abackup analog tape on a Studer A -80R ATR equipped withDolby -A noise reduction.

The program, which aired June 5, featured excerpts from aconcert by the Milwaukee Symphony, material recorded at lo-cal recital halls and folk music clubs, and other music recordedlive in WFMT's studios. Warren was extremely pleased with thehome digital system, which he says "delivers sound qualityvery close to the professional system."

Portable Processor

Sony Betamax VCR sits atop the PCM-F1 in WFMT's studio.Watching as station engineer Larry Rock operates the systemare Sony high fidelity national training manager Marc Finer(left) and producer Rich Warren.


AUDIO)) )

any kind of dynamic range you get distortion on wideswings unless you employ limiting before the recorder,"Newman complains. He suggests hooking high -qualitystereo limiters to the mixer outputs for the video feed toavoid overload on the VTR. The availability of Dolbynoise reduction for one -inch recorders is a "delightful"development, he concedes.

Like Scharff, Newman sees great potential in the use ofradio microphones for audio recording. One big advan-tage of radio mics, according to Newman, is that they al-low producers to save labor costs: "If you give a guy threeor four radio mics he can do a job by himself if pressed. "Quality is very good with most of the RF mics he has used,he says, although no transmitter is reliable 100 percent ofthe time. Newman recalls testing a very expensive RF lav-alier mic that, he says, produced extremely high soundquality, but still did not transmit reliably under certain dif-ficult conditions.

Newman also predicts increasing miniaturization oflavaliers. "The most difficult aspect" of miniaturization,he explains, "is the power source. Maybe with these newwafer-thin lithium batteries, they'll be able to do it." An-other barrier is the cost of R&D-"big numbers for a verylimited market," as Newman puts it. Video, he notes,makes it easier for sound engineers to "hide" small lava-

liers in the open. "If you can't see it on the monitor, youwon't see it," he notes. "It's different from lookingthrough the finder of a film camera-you're not necessari-ly seeing what the film sees." Another positive aspect tosound work for video, Newman explains, is the ability tosee in real time exactly what each shot looks like, so thatthe mix can be appropriate.

Mixing designs also may see some advances, Newmanspeculates. "Even portable mixers may have more auto-mation," he muses. "And I'm sure the portable mixerswill become more rugged, more reliable-and less expen-sive, hopefully." None of these advances, however, spellsany major change in miking or recording technique, andnone will make recording foolproof, Newman asserts.

"Everything can be perfect, with your equipmentmeticulously checked and working perfectly," he says,"but if the surf crashes down at the wrong moment or theairplane flies at the wrong time, forget it. That's luck, andno state of the art can fix that. "

WTIC: Streamlined quality for radio

WTIC-AM/FM, Hartford, CT, has a long history ofdoing audio in the field-its first remote broadcast wasback in 1925. Chief engineer Larry Titus says that one ofhis main jobs has been to simplify remote operations soengineers are unnecessary and talent can run the wholeshow. "We had 11 engineers when I came to the stationfive years ago," Titus says. "Now there are only three."

The station is in the field regularly, for both recordingand live remotes, Titus says. For events such as the Great-er Hartford Open golf tournament, the station uses an

"The Missing Link to ReliableCart Music Reproduction Has Beenthe Cart...Not the Cart Machine.I've been using the Audiopak AA -3 at variousstations for over two years, with gratifying results.

The AA -3 is capable of studio master musicreproduction with excellent stereo phase stability.

It is durable and reliable in performancethroughout its long life.

In my opinion, the AA -3 is the best cartwe've tested."

CUldiopikAA -3 -""

coMinuous loop rwul$,sionol txonrkos, word).

QltCUMUOpah=HOW&

Elliott KleinCorporate Director of Engineering,Buck Owens Broadcasting GroupChief Engineer, KNIX AM & FM,Phoenix, AZConsultant to:Scripps -Howard Broadcasting Co.(Radio Division)Sunbelt Communications Ltd.The Research Groupitanstar Network

AA -3- THE MISSING LINKFor stations who care how they sound

CAPITOL MAGNETIC PRODUCTSA Division Of Capitol Records, Inc.6902 Sunset Blvd., Hollywood, California 90028 (213)461-2701© 1981 Capitol Records, Inc.

60 BM 'E AUGUST, 1982


The Orban 424AGated Compressor/Limiter/De-EsserThere are lots of production limiters out there. Oldfavorites. Pretenders to the throne. The competitionis fierce. So, when Orban set out to design a newproduction limiter, we knew it had better besuperior.

The result of our research is the "Studio Optimod"-a Gated Compressor/Limiter/De-Esser with versatilecontrols, simple set-up, and a natural, transparentsound that must be heard to be apprecated.Try one and A/B it against your current favorite.You'll notice the sound-remarkably smooth andnatural over a wide range of control settings-evenat high compression ratios where apparent loudnessand punch are significantly enhanced. It's no acci-dent: The unit is a direct descendent of our super -popular, second -generation OPTIMOD-FM broadcastlimiter. So it exploits our years of experience in mak-ing an AGC device sound natural on diverse pro-gram material without critical re -adjustments. Yet fullversatility exists for special effects in production.

A bonus is a smooth, natural de-esser. It's indepen-dent of the compressor/limiter section so you cansimultaneously compress and de-ess vocal materialwithout compromise. You can even de-ess sibilantvocals which have been mixed with other program.The icing on the cake is unique gating and "idlegain" functions which prevent unnatural noise -producing gain variations during pauses and abruptgain changes when the unit is switched in.Our new Model 424A (dual channel) and 422A(single channel) are destined to become the new in-dustry standards in dynamic range control. Prove itto yourself. Contact your Orban dealer today.

()lbwOrban Associates Inc.645 Bryant StreetSan Francisco, CA 94107(415) 957-1067Telex: 17-1480


AUDIO))) )))

Ampex 351 recorder, which Titus says "takes the abusenicely. We usually take a stereo or mono deck into thefield," Titus explains. "Typically, we don't do multi-track work, although the station is capable of it."

Titus's do-it-yourself philosophy has given the stationsome innovative equipment. One item is a radio ENGpackage WTIC uses regularly on its remotes. A Motorolatwo-way radio, modified for broadcast quality at the sta-tion and fitted with small nicad batteries, straps onto theshoulder of the user. On the other side of the package is abox containing an AM/FM radio for audio cuing, com-plete with push -to -talk switch. The package also has aTelex headset with a lip mic (a hand mic can be substitutedif desired); the antenna mounts to the headset. The entirepackage weighs about two pounds; Titus has built three sofar. Because it is so lightweight, the station has actuallystrapped one to a runner to cover a road race.

To mix sound in the field, the station uses a Sport IVminimixer from Micro-Trak. Titus is extremely pleasedwith the quality and convenience of the Sport IV, but thatdidn't stop him from trying to make it a little better. "Wecolor -coded the dials to make it easier for talent to use,"he explains, "and we also modified the headphone se-lect." The latter modification, Titus boasts, will be incor-porated in Micro-Trak's next model. The lightweightSport IV has done extensive traveling for WTIC: a talk-

show host took it to Washington, DC one week and did hisshow from there, and the station's sports director took it toFlorida to cover baseball spring training. Neither requiredan engineer, Titus says.

Clifford Foot, chief engineer at KJR-AM in Seattle, hasalso found small portable mixers to be the answer for situ-ations where space is at a premium. The station has twoEela portable mixers, a tiny minimixer that has been usedfor remotes from blimps, for example, and a somewhatlarger 6x2 model for remote recording as well as live pick-ups. Both are distributed in this country by Audio & De-sign. Foot says he is very pleased with the quality of theEela mixers; the larger model, S-191, has for each chan-nel three EQ curves, auxiliary effects send, pan pot, muteor solo channel, a phantom send channel (which can feeda hot stage monitor), and a talkback circuit. The wholething weighs about 15 pounds and has both external powerand phantom power for mics. "The mixers seem to be im-pregnable to RFI," Foot comments.

A new technique that is working well for the station,according to Foot, is a conventional Motorola two-wayradio beefed up for high -quality audio by J-Ngineering ofConoga Park, CA. The unit provides broadcast qualityand helps the station avoid telco lines, with their inherentnoise problems.

It is clear that getting the best sound possible has be-come a top priority in broadcasting, and continued im-provement in broadcast audio appears inevitable. As thetechnology is refined, the standards of both broadcastersand their audiences rise, providing impetus for furthergrowth. Once on the road to high fidelity, broadcasterswill find there's no turning back. BM/E

NEW FM AND TVFIELD STRENGTH METERFIM-71 Accurate - Direct Reading - Volts or dB 45 MHz to225 MHz - Continuous Tuning Peak or Averaging Detector(switch selectable) Wide or Narrow IF Bandwidth (switchselectable) 20 dB or 60 dB Meter Range (switch selectable) AM or FM Demodulator (switch selectable) CalibratedDipole Antenna, Mounted on Case for Near -Ground Measure-ments or Removable for TASO Measurements 140 dBMeasurement Range (1 iW to 10 V) 4'/ -Inch, MirroredScale, Taut -Band Meter Front Panel Speaker Recorder Output Rugged, PortablePackage CalibratedSignal Generator,45 MHz to 225 MHz Battery or ExternalPower Use as SignalSource/Selective Volt-meter for InsertionLoss Measurements ofFilters, etc. MeasuresFM Harmonics to -80 dB

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62 BM E AUGUST. 1982

29

No -Cut Editing with The Lexicon Mo e 00:saves time, saves reshooting, preserves program integrity Compress takes that cur. to long Compress commercials to add tags Compress syndicated shows to add

commercials Meet network/satellite time constraints Streamline post production editing


The Lexicon Model 1203 audio time compressor/expander automat.cal y controls the ;peed of record/playback equipment and preserves broadcast quality audio

for film, disc, tape and video tape. ID use: enter actualplay time, desired play time, press "GO' It's that simple.

41106w0a tuhranm e r StrAee(;2154

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Better listening throughbetter design-Series 99B

...Crisp, Clean, Brilliant Sound

S-.Iperior features!"aSA" (Pate-: 4.142,221) the 3nlyCartridge Pneparaon System thata-atDmatically the cart..-idge,elirr.inates azIntuti_ error and locatesthe splice. "ELSA- combines with: Crystal -referenced DC Brushless

Servo Motor Standard Fligh-Speed Cue Micro -adjust. ceint.r pivot l-ead

module Exclusive ITC 3rea-face head cosign

(Patent 4,193 1X. Exceptional Frequency Response Improved heacropm, transient re-

sponse and square wave performance Distortion -free carzridge positioningstem

Multi -turn Car:itm-tion Control; Milti-functior. T?. -_;-_-Tone Generator Dramatically redu:-__ heat allows for

sealed case 141:::roproce%or cmarolledSeries 99B-a comL:nation of perfor-rranoe features tnat meets even thehigiest standards.

International Tapetronics Corporation2425 South Main Street, L- O. Box 241, Elz-o-rington, Illinois 01701

Call Toll -Free 800-447-0414 to learn more about Series 99B and to receive our rm. ,:oiriplete broclare.Call Collect from Alaska, Hawaii cr (309) 828-12.81.


Quarter -Inch ATRBecomes »)))))))Broadcast'sRecordingWorkhorse

The number of choices available to audioproducers and broadcasters in 1/4 -inch

ATRs is growing steadily, keeping pacewith increased demands for production

flexibility. Now there's a choice forevery budget and application.

(Left, top to bottom) Ampex'sATR 800 in rolling cabinet;Mitsubishi's X-80 PCM re-corder; Studer's new A810.(Right) MCI's JH-100Series '/4 -inch studiodeck; (below) Teac's 44Series.

7 BM/E AUGUST, 1982 65

AUDIO))))))

66 BM/E

PROBABLY NO OTHER PIECE OF EQUIPMENT in a contempo-rary facility has such a wide range of uses yet is so takenfor granted as the 1/4 -inch ATR. And despite advances be-ing made in multitrack audio recorders, the "old reliable"1/4 -inch models are still increasing in use in response to theincreasing amount of material being produced outside thestudio.

The accompanying chart is self-explanatory, and pro-vides both performance and features information aboutthe latest recorders available from over a dozen manufac-turers. Only currently -available models of 1/4 -inch ATRsdesigned for production and broadcast applications are in-cluded; logging recorders are not. Some additional com-ments are also in order, however.

One of the most exciting developments in 1/4 -inch re-cording has been Mitsubishi's recent introduction of itsX-80 (portable) and X -80A (studio) two -channel digitalrecorders. Both use standard 1/4 -inch tape at 15 ips, offercut -and -splice editing, and are designed to interface withMitsubishi's XE-1 electronic editor. These are the only1/4 -inch digital machines currently on the market (Sony'sPCM units use 1/2 -inch tape). The sampling frequency is48 kHz with an optional converter for the 44.1 kHzsampling required by the digital audio disk. Other specifi-cations are impressive with unmeasurable wow & flutter,over 90 dB dynamic range, and a 20 Hz to 20 kHz fre-quency response.

Another new machine with high standards and compactstyling is Nagra Magnetic's T -Audio. Nagra has, ofcourse, had a long line of dependable units from the Emodel to the IV -S, and all of that experience has gone intothe T -Audio. This unit takes a 12 -inch reel, and has twoaudio tracks and one sync track. Twin dc servo capstanmotors drive the tape and there is a manual servo editmode plus an interchangeable head block. The T -Audiohas selectable search -speed and direction, remote control,and is SMPTE code capable.

Studer also has a distinguished line including the B77and PR99 models. The newly introduced A810 offers fullmicroprocessor control with digital programming of boththe transport and audio systems. There is also an interfacefor computer control, phase corrected amps, and eithertransformer or transformerless electronics. A four -address auto locator is built in with four tape spoolingspeeds, SMPTE code operation, and, of course, stereocapability.

In its 1/4 -inch configuration, the Ampex ATR-800 is amono or two track machine with 11.5 -inch DIN reels, dc

(Top to bottom) Nagra's T -Audiohas many new features; Otari's

505BQ; the 255 1/4 -inch unit fromAmpro/Scully. (Bottom right) ITC's

durable 770 Series.

IF YOU'RE THE CHIEF ENGINEER,HERE'S GOOD NEWS.

Now there's a computer systemthat will give you a hand withyour on -air operations. If you'reusing a Grass Valley 1600-4S,Vital VIX 115 Series, or CDLMC -990 it's perfect for you.

It's called BIAS® MasterControl Automaton. Becausethat's exactly what it does.Makes master controlautomatic.

BIAS has developed theindustry's first fully -integrated

system to automate your sta-tion from order entry throughbilling. MCA automaticallyreceives the daily log andallows operations personnelto program on -air switching,machine assignments, anddelegation interface. Thatmeans you'll enjoy fewerswitching errors and a cleaneron -air image. And you II gaintime for monitoring audiolevels and video output. Master

Control Automation can workindependently or with otherBIAS systems to coordinatetraffic, sales, accounting, ad-ministration, and much more.

We would like to put thissystem to work for you. Yousimply can't buy a better one.Or one that's easier to operate.So mail the coupon today. Orcall us at 901-345-3544. Andlet us give you a hand withyour on -air operations.

TELL ME HOW TO GET A BETTER ON -AIR IMAGE.

NAME

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111 II TM BROADCAST DIVISIONIDATA COMMUNICATIONS CORPORATION

ectors Row Memphis

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AUDIO q)111111"

QUARTER -INCH BROADCAST AUDIO TAPE RECORDER/PLAYERSManufacturer,

ModelsTracks

record/playTape speed

(ips)Max. reelsize (in.)

Capstanmotor Features Price range

AmpexATR-700 full and 2 3.75, 7.5 or 10.5 dc servo dump edit, NAB/IEC EQ select less than

7.5, 15 $3000

ATR-800 full and 2 3.75, 7.5, 15 or 11.5 dc servo microprocessor based, EQ select, variable speed $3-60007.5, 15, 30

ATR-100 full and 2 3.75, 7.5, 15, 30 14 dc servo dump edit, pinch rollerless $6-10,000

Ampro/Scully255 full, 1/2, 2, 1/4 3.75 or 10.5 ac remote control, motion sensing less than

7.5 or 15 hysteresissynchronous

$3000

250 full, V2, 2, 1/4 3.75, 7.5 or 10.5 ac mic preamp option, motion sensing less than7.5, 15 hysteresis

synchronous$3000

285B full, 2, 1/4 3.75, 7.5 or 10.5 ac dynamic braking, remote control capability $3-60007.5, 15 hysteresis

synchronous

280B full, 1/2, 2, 1/4, 4 3.75, 7.5 or 10.5 ac optional servo motor, TTL logic with 3 relays $3-60007.5, 15 or hysteresis

15, 30 synchronous

FostexA-8 8 15 7 dc servo pitch control, return to zero memory less than

$3000

ITC770 full 3.75, 7.5, 15 10.5 dc servo individual reel motors less than

$3000

MCIJH-110B 1 to 4 3.75, 7.5, 15 14 dc servo manual speed for editing $3-6000

JH-100BC 2 7.5, 15 11.5 dc servo microprocessor control for tape timer/locator $3-6000

MitsubishiX-80 (portable)X -80A (studio)

2 15 10 dc servo PCM digital, electronic edit, error correction, $20-30,000ferrite heads

NagraE full 3.75 or 7.5 7 dc servo battery portable less than

$3000

4.2 full 3.75, 7.5, 15 10.5 dc servo battery portable $3-6000

IV -S 2 (stereo) 3.75, 7.5, 15 10.5 dc servo stereo, pilot sync, SMPTE $3-6000

T -Audio 3 3.75, 7.5, 15, 30 11.8 2 dcservos

changeable head block, remote control $6-10,000

OtariMX -5050B 2 3.75, 7.5, 15 10.5 dc servo dump ed t, motion sensing, microprocessor based less than

$3000

MX-5050-BQII 4 3.75, 7.5, 15 10.5 dc servo same less than$3000

Sound DynamicsSD -100-1 full 3.75, 7.5 or 10.5 ac dc servo available, remote control available less than

7.5, 15 $3000

SD -100-2 2 (stereo) 3.75, 7.5 or 10.5 ac same $3-60007.5, 15

Studer/RevoxB77 2 to 4 15/16 to 15 10.5 ac servo sound on sound less than

$3000

PR99 mono to 2 3.75, 7.5 or 10.5 ac servo full logic, sound on sound, dump edit, van -speed less than7.5, 15 $3000

B67 mono to 2 3.75 to 30 11.1 ac servo time counter, EQ select $3-6000

A810 full and 2 3.75 to 30 11.1 ac servo microprocessor, SMPTE, stereo $6-10,000

TandbergTD 20A -SE 2 to 4 7.5, 15 10.5 hysteresis

synchronouscueing, equalization less than

$3000

TD 20A -P 2 7.5, 15 10.5 hysteresissynchronous

edit cutte-, carrying case less than$3000

TEAC44 4 7.5, 15 10.5 dc servo pitch control, EQ on request

Technics(Panasonic)

1700 2 3.75, 7.5, 15 10.5 3 dcquartz

auto reve-se on request

Telex1400 4 1 VIE I to 15 7 dc servo remote control $3-6000

3000 4 3.75, 7.5, 15 10.5 synchronous remote control, auto cue release $3-6000

The need for TV standards conver-sion doesn't stop at the studio door.That's why Oki developed the port -

In the U.S.A. and Canada, contact:OKI Electric Overseas Corp.Cne University Plaza,Hackensack, New Jersey07601 U.S.A.Tel: 201-646-0011-0015TWX: 7109905004 OKI ELEC HAK

111111111111111111111111111111111111111111

able LT 1200 Digital TV StandardsConverter. The cost performance ofthis system sets the industry stand-ard. And its reliability in the fieldas well as in rugged use in broadcaststations has earned the LT 1200 areputation for dependable perform-ance. Operation is totally automaticand totally simple. For convertingNTSC, PAL, SECAM, or PAL -M, leaveit to the LT 1200. Wherever you are.

Oki also produces the high -end LT1015E and LT 1100E Digital TVStandards Converters.

In Europe, contact:Technology Resources S.A.27-29 Rue Des Poissonniers92200 Neuilly-sur-Seine, FranceTel: 747-4717. 747-7051Telex: 42610657 TERES

LT 1015E LT 1100E

Head Office:Overseas Marketing & Sales10-3, Shibaura 4-chome,Minato-ku, Tokyo 108, JapanTel: (03) 454-2111Telex: J22627Cable: OKIDENKI TOKYO


OKIelectricindustrycompany, ltd.

Agent or Distributor inquiries invited.


AUDIO))) ))) ))Motors are hysteresis synchronous, with cueing and selfsync. The TD 20A -L has a dc servo motor and an auto sys-tem allowing two machines to record up to 48 hourscontinuously.

Two production machines are offered by Telex, the1400 which takes a seven-inch reel, and the 3000 with a10.5 -inch reel. The 1400 operates by dc servo with remotecontrol and hand cueing. Four tape speeds are available.Model 3000 has tape speeds of 3.75 to 15 ips and also of-fers an auto cue release function.

Solid state electronics produce, at 15 ips, a 30 to 22 kHzfrequency response in Sound Dynamics' two models, theSD -100-1 and 2. The latter is a stereo version, but all otherspecifications are the same. The capstan motors are acwith dc servo optional as is remote control and the rollaround cabinet. Two tape speeds are available for bothunits.

International Tapetronics has a long list of accomplish-ments in the broadcast cartridge business and it also has auseful workhorse in reel-to-reel recorder/reproducers. Itcomes in either mono or stereo, full or 1/2 track, and uses adc servo motor with two speeds. The unit boasts a newplayback head with improved low frequency response.There are individual reel drive motors and permanentlylubricated ball bearings for motor rotation of 1800 rpm.

Technics, with its unique isolated loop open reel tape

Telex's 3000 Series features CMOS logic.

threading, offers only one 1/4 -inch machine for use by thebroadcast industry. The RS -1700 has a three -motor directdrive tape transport with a single large capstan at the top ofthe loop. Phase lock and tape tension control are standardas is the interchangeable head assembly and the auto -reverse facility.

Other versatile open reel decks are the 30 and 40 Seriesby TEAC. They feature two tape speeds and weigh only20 kg. Wow and flutter is only .06 percent. A return -to-zero function is standard. These machines operate verti- cally or horizontally and can be rack mounted.

One of the most reliable, on -air playback machines for

24 -HR.PROFESSIONALSERVICE FOR

COLLINS &CONTINENTAL

AM & FMTRANSMITTERSContinental Electronics offersparts and engineering servicefor all Collins AM & FMtransmitters.

Whenever you want parts orservice for your Collins orContinental equipment, phoneour service numbers day or night,

(214) 327.4532 parts(214) 327-4533 serviceContinental Electronics Mtg. Co.Box 270879; Dallas, Texas 75227Phone (214) 381-71611 kW thru 50 kW AM & FM transmitters andrelated equipment.

CO-Kii-PWI-Lal- e.),..7_,1.-/LLexiii-crmi_c_41_ Z

BroadcastStereoresolutionwithout

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Hi

Audio

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wgr,SYSTEM

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g

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Audio Corporation introduces theConsole. A digital slide fader and

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automation is Ampro/Scully's Model 255. Single tapespeed operation is standard with a choice of 3.75, 7.5, or15 ips. Motion sensing logic with three relays and full re-mote control are available.

Fostex has put eight tracks onto 1/4 -inch tape with itsA-8 reel to reel. The transport controls are IC logic withthree dc motors to drive the tape. A useful feature in thisunit, which is primarily intended as a music recorder, isshut-off tension arms to prevent tape spills.

Many of these manufacturers produce several modelsoffering various functions at different prices. The pre-ceding information should act as a general guide to what isavailable rather than a comprehensive listing.

The 1700 is Technics' broadcast machine.

The Fostex A-8 has eight tracks on 1/4 -inch tape.

Whatever your budget, there are good 1/4 -inch open -reel decks available. The decision ultimately comes downto a question of applications and price/performancefactors. BM/E

turn your telephone line intoa music line, and pay less

5 KHz lines are far from cheap and not always available. So why not use Rood'slow-cost alternative, the Bandwidth Extension system (BAX for short), andsave money while retaining the same quality?

By means offrequency shifters,compressors, andexpanders a 50 Hzto 4950 Hz signalis transported viatwo telephonelines.

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The BAX systemout -performsmusic lines, bothin price,performanceand availability.

P.O. Box 66507, Scotts Valley, CA 95066

(408) 438-4273

Circle 149 on Reader Service Card BM E AUGUST, 1982 73

NEVER BEFORE HASTHIS VITAL

COMPONENT BEEN SOSUCCESSFULLY

INTEGRATED INTO AIVIDEO RECORDER.

SONY INTRODUCES A 1" VIDEORECORDER TAILORED TOTHE PEOPLE WHO USE IT:

THE BVH-2000.Because Sony probably has

more experience selling andservicing 1" VTR's than anyoneelse, we're in an unequaled posi-tion to understand the wishes of 1"video users.

And now, Sony announces wish ful-fillment for the broadcast industry:the new BVH-2000 1" video recorder.

WHY "BVH-2000" WILLMEAN DIFFERENT THINGS TO

DIFFERENT PEOPLE.In broadcast recording, there is no

such thing as one typical situation.That's why there's no one single

BVH-2000.The BVH-2000 actually allows you

to "design" the VTR you need for yourown particular applications and budget.

You can choose among three differ-ent control panels-ranging from abasic model to one with virtually everpossible feature and function.

And the tape transport system, sig-nal system, and control section caneither be combined into a single unit, orseparated easily and installed in a 19" rackor console.

The BVH-2000 also gives you far greater latitude in settingup your entire recording system. Various remote -control con-

nectors enable you tointerface your systemin a variety of waysfor studio, mobile, andediting configurations.Direct interfacewith U-matic® andBetacamtM is possible,

A range of plug-in accessories is available. too. The BVH-2000also has an optional plug-in time base corrector.

What's more, the BVH-2000's lighter weight and smaller size(almost 50% less than its predecessor) make it as ideal on theroad as it is in the studio.

And because of the ever-increasing number of applicationsrequiring longer program times, the BVH -2000 provides up to 2hours of tape time.

A VTR THAT LEADS THE SIMPLE LIFE.In the BVH-2000, unlike most other VTR's, microprocessors

are used to their full advantage. All data nec-essary for servo control are channeled intoa central processing unit, making theoperator's control over all systems andfunctions simpler and more precise.

Life is made simpler yet by the fact thatevery necessary function control, meteringfacility, and electronic module is accessiblefrom the front.

Even the way the tape moves through therecorder has been simplified. One innova-tion-an extremely precise servo mechanism

The BVH-2000 (shown with

-permits the entrance and exitguide posts to move about 10mmaway from the drum duringthreading. The result is the eas-iest threading system ever ina 1" video recorder.

THE MOST ARTICULATEVTR EVER BUILT.

The BVH-2000 removes muchof the mystery from maintenance,

too. It literally tells you aboutmalfunctions-usually well before you'dnotice them yourself-through amicroprocessor -governed self -diagnos-tic system.

The system includes various alarmfunctions and numerous checks toconfirm that2verything is

working proper-ly. Most defectscan be easilyfound-allowingfor far less com-plicated main-tenance andrepairs, and re-ducing down-

time considerably.And because

the best wayType -Ill control panel). to simplify mainte-nance is by lessening the need for it, theSony BVH-2000 has been designed to bevirtually maintenance -free down to thelast detail. For example, only brushless DC motors are used, andall incandescent lamps have been replaced with high -bright-ness LED's.

Other welcome advances include a greatly expanded dy-namic tracking range (from reverse at normal speed to for-

ward at 3 times nor-mal); programmedplay (allowing you tovary playback speedacross a rangeof ±20% of normalspeed); and videoand audio confidence.

Remarkably,these are only some

of the Sony BVH-2000's innovations. All of them add up to formthe answer to virtually every need ever expressed by the users

of I" video.To find out how it can answer

yours, write Sony Broadcast, 9 West57th St., New York, NY 10019. Or

call us in New York/New Jersey at(201) 368-5085; in Chicago at (312) 860-7800; in Los Angeles at (213) 537-4300; inAtlanta at (404) 451-7671; or in Dallas

at (214) 659-3600.

2)

(6'

:AA STILL

:00 TPPE OUT

RESET

MS.LATISOLO

Display board for self -diagnostics andother data-processing functions.

Front access to all electronic circuits and modules.

To simplify threading, guideposts automatically

move away from drum, andaudio head cover opens.

SONYBroadcast

Sony and U-matic are registered trademarks and Betacam is a trademark of Sony Carp. © 1982 Sony Corp. of America. 9 W. 57th St.. New 'fork, N.Y. 10019.

"I want aworld -class camera.I can take a mile from the van,

and still get 57 dB S/N and600 -line resolution':

DIGITAL COMMAND UNIT DU -61

l I I.

0001000,0 0

HITACHI HEARD YOU.Then you're looking for broadcast -quality. Then you'relooking for lightweight equipment you can carry unencum-bered by anything but a lightweight triax cable.

Well, Hitachi heard you. Because now our HitachiSK -91 and SK -81 can both be connected to our triax DU -91Digital Command System by up to 6,000 feet of cable.

The SK -91 is an example of the lengths Hitachi willgo to give you the camera your craft and courage demand.Though just 9.7 pounds, including its 1.5 -inch viewfinder,this 533,000 camera has been hailed as a bargain by per-fectionists. And it's I.B.A. and C.B.C. accepted.

Its shock -mounted optical system-with Saticons!Plumicons® or Diode Guns®-gives you up to 57 dB S/Nand 600 -line resolution. All in an incredibly tough

magnesium alloy package.It has an auto -iris closure. A +9/18 dB high -grain

switch. Horizontal and vertical blanking widths adjustableover a wide range. An auto black balance control as wellas an auto white balance control.

The SK -81 gives you just a shade less performancefor $22,000. The DU -91 at $18,900 lets you get greatpictures with either the SK -91 or SK -81 whether you'reshooting at the low -light levels of a coal mine or going tothe top of the world. Who from? Who else? Hitachi DenshiAmerica, Ltd., 175 Crossways Park West, Woodbury, NY11797. (516) 921-7200. Offices also in Chicago, LosAngeles, Atlanta, Cincinnati, Dallas, Denver, Seattle andWashington, D.C.


FACILITIES DESIGN AND ENGINEERING

PART J

FUNCTIONAL PLANNINGOF THE TV STATIONA quick tour through just about any television broadcastfacility is almost certain to reveal one or more of the com-mon problems that complicate daily operations in today'stelevision stations. The visitor may notice a distressed au-dio engineer concerned about the noise generated by setconstruction going on in a prop room directly adjacent tothe production studio. A glance into the newsroom mayfind state-of-the-art weather forecasting equipmentdominating workspace that was originally planned for re-porters or other support personnel. The station's receptionarea may provide plenty of comfortable seating for visi-

James G. Gary is a principal and the senior facilitiesplanner/programmer with Rees Associates, Inc., Archi-tects, Planners, Engineers, an Oklahoma City -based firmspecializing in planning and design for broadcast produc-tion facilities.

BY JAMES G. GARY

tors, but offer no means of limiting the general public'saccess to sensitive areas of the station.

Sadly, many of these typical problems could have beenavoided in most cases-if the architects designing the fa-cility had been provided with vital input from station man-agers and technical experts during the design process.Functional planning is a step-by-step process architectsuse to work with a station's general manager and chief en-gineer to assure that the final design of the facility is com-patible with the working requirements of each departmentin the facility.

FIRST THINGS FIRST

"Programming" is the first step in the functionalplanning process. Programming activities start with indi-vidual interviews conducted by the architects to determinehow each person at the station performs his job. In con -

Back -to -back MC and engineering lab at KAUT simplify servicing.


FACILITIESDESIGN ANDENGINEERING

ducting these preliminary interviews, it is essential to in-clude the station's key decision makers in addition to allsupport personnel. In this regard, the general manager andchief engineer play a critical role in identifying the per-sons who will ultimately have the power to make impor-tant decisions regarding final design criteria.

Interviews conducted during the programming processprovide information regarding the people, equipment andspace required to meet the needs of each of the station'sdepartments. Equally important is the opportunity theprocess provides to track the history of growth at the sta-tion. The data resulting from programming interviewsprovides the basis for a written description of how eachdepartment in the station functions and how trends in thedepartment have developed over the past few years. Usingthe information, the architects can accurately project thefuture staffing, equipment, and space requirements of thestation as a whole.

Failing to include engineering personnel in the inter-view process can lead to critical problems in the station'sdesign. For example, directors and technicians may ex-press a preference for a particular brand and model of stu-dio lighting fixture. However, engineers often provideessential input regarding factors such as the availability ofreplacement parts. In one case, the lights preferred by pro-duction personnel had a history of causing downtime dueto long waits for parts. Consulting the station's engineersresulted in a compromise and the decision to specify lightswith readily available parts.

DETERMINING SPACE REQUIREMENTSSpace planning follows the programming activities.

Once the number of people and the specific equipmentthey need to perform their job functions have been deter-

mined, the area required to house the staff and machinesof each department can be established. Having preparedsimilar tables for each individual department of thestation, the next step is to draw functional diagrams thatindicate the planned use of each area of all station depart-ments. A functional diagram for the technical manage-ment department (Figure 1) provides a check againstforgotten provisions for planned activities and helps es-tablish a basis for further discussion with all members ofthe planning team.

Once functional diagrams are complete for all areas of astation, the architects identify significant relationships be-tween departments by constructing an interdepartmentalmatrix (Figure 2). This matrix establishes location priori-ties which will become important in the later phases of thedesign process. Based on the relationships identified inthe interdepartmental matrix, various arrangements of thestation's departments are sketched in block diagrams.Block diagrams show the relative size of each departmentand help to determine the best configuration for the finalfacility. Using block diagrams, the architects are also ableto make decisions regarding such factors as the relativeadvantages of a single level facility versus a multilevelbuilding, and the most cost-effective means of solving thedesign problem at hand.

APPLYING THE DATA

By working with station managers and engineers withinthe systematic structure of the functional planning pro-cess, the architects are able to identify the needs of specif-ic departments within the broadcast facility. For example,departments with a history of growth are positioned at thebuilding for expansion. Suchgrowth patterns are easily identified by reviewingprogramming data and making logical projections basedon past trends.

Other factors, such as access to natural light and outsideviews are also taken into account in the planning process.In areas such as traffic, sales, and executive and manage-ment business offices, outside light does not interfere with

ELECTRONICSMICROWAVES

TRANSMITTERSTRANSLATORS

ELECTRO-MECHANICAL

SIGNALTRANSPORTATION

CAMERAS

NETWORKDEVELOPMENT

MICROWAVEOPERATIONS

STUDIOMAINTENANCE

AUDIO/VIDEO

DEPT. HEADTECHNICAL

MANAGEMENT

MOBILEUNITS

VI -Rs

CIVIL

ENGINEERING

PROJECTS

-ECHNICALLIBRARY

REFERENCE

ELECTRONICS

TECHNICALDATA

Figure 1. A functional relationship diagram for technical management.


Ampex Announcesthe Practical End of

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11,1_1 FACILITIESL-H7-11 DESIGN AND

1-7 1 ENGINEERING

the daily operations of the departments. However, in tech-nical departments such as master control and tape air, in-tense sunlight can cause difficulty for techniciansconcentrating on monitors. Direct sunlight can also dam-age videotape and create temperature control problems intechnical areas. Since people working in technical areasneed the psychological relief of daylight and outsideviews, rooms such as master control should be locatednext to break rooms. This enables technicians on a shortbreak to catch a glimpse of the outside world before re-turning to work.

Detailed functional planning also identifies importantrelationships between departments in the broadcast facili-ty. At KAUT-TV in Oklahoma City, for example, the sta-tion's master control area was located adjacent to the

engineering lab. This enabled the architects to positionmaster control equipment racks along a common wall toprovide easy access for equipment maintenance and ad-justment. Similarly, the station's technical productionand engineering areas are located adjacent to news andmain production studios, forming a "technical block"that groups related types of activities in a convenient, log-ical configuration.

Limiting access to sensitive areas of television stationshas become an increasingly important design issue in re-cent years. Often, older facilities require uniformedguards or other full-time personnel to control access to ex-ecutive offices, sales records, and technical areas of thestation. However, considering these security aspects dur-ing the functional planning process can eliminate the needfor guards and make the station seem like less of a "for-tress" to the general public. KAUT-TV's main public en-try is an excellent example of a reception area designed forboth visual appeal and control. Persons entering the facili-ty encounter a receptionist in a warm, personal setting.Here, a simple "May I help you?" from the person at the

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ADMINISTRATION

TECHNICAL LIBRARY 2

ENGINEERINGDept. Head 2 3

Section Chiefs 1 3 2

Electronics Lab 2 2 2 1

Drafting 1 3 2 1 2

NETWORK DEVELOPMENTDept. Head 2 2 2 3 4 4

Signal Transportation 3 3 3 4 4 4 1

Regional Coordinator 3 3 4 4 4 4 1 1

Engineers 4 2 3 3 3 3 2 3 3

Microwave Lab 4 2 3 3 4 4 3 3 3 1

Transmitter Lab 4 2 3 3 4 4 3 3 3 1 1

Translator Lab 4 2 3 3 4 4 3 3 3 1 1 1

Instrumentation Library 4 2 3 3 4 4 "3 3 3 1 1 1 1

Microwave Operations 4 4 3 3 4 4 2 3 3 2 2 2 2 3

STUDIO MAINTENANCE'4Dept. Head 2 2 3 4 4 3 4 fi /4 4 4 4 4

Quality Control 3 2 3 4 4 4 -"3 4 4 14 4 4 4 4 4 1

Magnetos (VTR'S) 4 2 3 3 4 4 /1 4 A v. 4 4 4 4 4 Z 2

Audio/Video 4 2 3 3 /4 4 4 4 4 4 4 4 4 4 4 2 2 1

Cameras 4 2 3 3 /4 4 4 4 A 4 4 4 4 4 4 a 2 j 1

Mobile Units 4 2 3 3 4 4 4 4 6 4 4 4 4 4 4 22 2 22Electro-Mechanical 4 2 3 3 4 4 4 4 4 4 4 4 4 4 4 2 2 2 2 2 2

1. Immediate Adjacency2. Close Proximity3. No Strong Relation

Figure 2. A physical relationship matrix for technical management.4. No Relationship


Taft Broadcasting Company1718 Young StreetCincirmat_, Ohio 45210

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Our system can be as simple as a 10x1 oras sophisticated as a computer interfaced sys-tem controlling tape and film machines, printinglogs, or connecting any combination of inputsto any combination of outputs. All at the touch ofa button or the pulse of a computer command.

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Owen, V. P. Television Engi-neering at Taft Broadcasting. So far, he's onlyhad one complaint: "I wish we would have hadthem in '76,'77 and '78':

If you'd like more information about3M Routing Switchers, call us collect at 1-612-733-8132. Or write us on your letterhead at 3MProfessional Audio/Video Equipment, Bldg.223-5E, 3M Center, St. Paul, MN 55144. Forinquiries from outside the continental U.S., callor write, International Operations, 3M, Bldg.220-5E, 3M Center, St. Paul, MN 55133.1-612-736-2549.

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FACILITIES0:2r--1 DESIGN AND

ENGINEERINGfront desk replaces the ominous presence of a guard.

On the other hand, some areas of a television station,including sales, traffic, and management offices must bedesigned in anticipation of a high volume of visitor traffic.Therefore, areas for public and client contact should bedesigned to provide circulation corridors which route vis-itors to their destinations, while precluding admittance tocontrolled areas. Providing windows which give limitedviews of technical and production operations from publiccorridors solves the problem of conducting facility tourswithout interrupting the work in progress at the station.

Similarly, locating station departments with relatedfunctions in adjacent areas improves security as well asimproving interdepartmental relationships. Technicalproduction areas are most closely tied to programming,promotion and production, news and engineering depart-ments. Engineering areas are best located near operationsand news functions. Public affairs departments should benear administrative offices; news near operations; andadministrative offices in close proximity to programming,promotion, production, and business office locations.Further design features, such as limiting access to produc-tion studios by providing only one interior and one ex-terior exit, and linking a station's newsroom directly to itsnews studio, result in the best working relationships witha minimum of interference.

SOLVING UNUSUAL PROBLEMSIn the case of a new facility designed for TV -Chile,

management's main concern was to prepare for coverageof the 1987 Pan-American Games. TV -Chile's engineerswere also concerned about protecting the station's invest-ment in technical equipment. Since 1969, the station hadacquired a large amount of modern equipment, housed inless than adequate conditions. VTRs with an estimatedservice life of 300 hours, for example, had been lasting aslittle as 100 hours because of a lack of the ability to controlenvironmental factors such as temperature, humidity, anddust.

The functional planning and space planning process re-

quired the architects to interview some three dozen em-ployees with various job descriptions. The process wasmade more difficult by the complexity and size of the op-eration with some 100 transmitters and translators locatedthroughout Chile-the equivalent of a scaled -down U.S.network operation.

At TV -Chile, the first phase of overall facility planninginvolved the eventual replacement of the entire facility,starting with a major new 8,600 square foot productionstudio and the replacement of all technical facilities. Thisinitial effort also provided covered parking for the sta-tion's 10 mobile studios and video, microwave, audiocontrol, and VTR vans anticipated by the time of the Pan-American Games.

As with TV -Chile, functional planning related to theredesign of an existing facility helps to point out majorshortcomings in existing design, while providing designsolutions which solve the same problems in new or reno-vated construction. Housed in an array of single andmultilevel buildings on a 7.7 acre site, TV -Chile has ex-perienced rapid and uncontrolled growth in the past. Deci-sions made as a result of the functional planning process atTV -Chile reflect the requirement of phasing the overallproject to keep costs in line with available funds. There-fore, the architects identified certain interim design solu-tions as the most cost-effective in terms of both structuraland staffing efficiency.

The initial planning phase at TV -Chile provided newstudio and technical areas; functions which had previous-ly been housed on the second level of the station's existingstudio building. Phase I also enables studio equipmentmaintenance shops to be relocated in ground -level facili-ties, the same level occupied by new technical areas formaster control, continuity, VTRs, telecine, and tape air.This change eliminates the need to carry heavy equipmentup or down stairs for repairs. Likewise, moving technicalareas and the station's studio maintenance shops freesspace for other functions on the second level of existingconstruction. However, since the building in question willeventually be replaced or used for nothing more thanwarehouse space or set shops, interim use of this space hasbeen limited to office functions. This decision alleviatesthe overcrowded conditions in the station's administra-tive, financial, and management areas and requires lessexpensive renovation procedures, such as interior paint-ing and the installation of carpeting.

KAUT's reception area affords comfortable visitor seating but limited access to station interior.

82 BM 'E AUGUST. 1982

The key to identifying the actual needs of a station is thearchitects' thoroughness in asking questions about howeach person at the station should ideally perform his or herjob. Typically, engineers are the most up-to-date on newequipment and professional techniques and play an im-portant role in bringing desired items or design features tothe attention of the architects. For example, requests foritems such as high pressure sodium studio lighting fix-tures enable proper lighting levels to be achieved withoutthe heat gain associated with standard fixtures. This, inturn, means that the heating ventilation and air condi-tioning systems for studios can be sized to handle less ex-treme variation in studio temperatures, saving bothequipment and operating costs.

TECHNICAL REQUIREMENTS

The specification of a particular piece of equipment of-ten influences the selection of other systems or design op-tions for the area in which it is to be housed. The electricalrequirements of individual machines often dictate theelectrical distribution within a technical area. Locatingthese machines close to main electrical supplies can sim-plify installation and maintenance while keeping con-struction or renovation costs down.

Determining the number and type of tape machines an-ticipated in a facility in the future can enable the architectsto plan access or wiring and the circulation of chilled air tocool associated equipment racks. Working with the chiefengineer to establish equipment requirements can alsoprovide a means of evaluating the relative merits of design

options such as providing for cable runs in sub -floortrenches or by means of access flooring.

Seemingly simple decisions such as the color of floorcovering materials in studios can be closely tied to thespecifications for video cameras. If engineers specifycameras requiring in excess of 200 footcandles for opti-mum performance, dark floor materials should be used.However, newer cameras which require about 100 foot-candles can work well with light floor colors. Extra pre-cautions such as subjecting sample floor materials toin -studio test shots, can eliminate later problems.

Installing sound attenuation materials above the ceil-ings of control rooms and recording booths helps limit theintroduction of unwanted noise into the studios. Set stor-age and construction areas are often located near studiosfor convenience. However, if set construction or the de-livery of materials is anticipated during production, prop-er acoustical isolation is essential.

THE BOTTOM LINEWorking with all key employees at a broadcast facility

to determine the detailed. needs of specific departmentsand verifying the information gathered by reviewing datawith management and engineering officials, is the bestway to ensure that the facility will meet the needs of thestation at the time it is built. The functional planning pro-cess also assures that the station will continue to providean ideal working environment as new technological de-velopments in equipment and revised operating proce-dures are incorporated. BM/E

UNCOMPROMISINGWIRELESSMICROPHONESFinally, you can choose a wireless mic to fit the appli-cation. The Telex WHM-300, the electret wirelesstransmitter mic for uncompromising speechclarity. Or a Telex WHM-400 dynamic wire-less transmitting mic for vocal entertain-ment with rich, full bodied audio quality. [-Both elegantly tapered and withouttrailing antenna wires. Or selectthe miniature electret WLM-100te-"-lavalier mic (or any standard A

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Circle 152 on Reader Service CardBM/E AUGUST, 1982 83

INTRODUCING OPTIMOD-TV

TVAudio Revolution.There's a revoluticn going on. TV broadcasters are carpeting with VCR, videodisc, prerrium cable, and other servicesfor the eyes znd e'rs of a mass audience that's becon rig more aware of good sounc. In this and 3 war, '60's processingtechnology coesr t cut it.Enter OPTIMOD-TV. It's the same sacond generation OPTIMODFM sound fi'at's sweep ig the country, withenhancements to adapt it to the spect 3 needs of TV broadcasters. Smooth multiband compression teams up with ourpatented "Smart Clipper"TM and FCS :-A.ershoot corrector to create a sightly bandlirnited, peak -controlled outputthat stays out of tie video and is rea:y for TV stereo. 'Ani stereo processing is supplied standard.The processor rids gain and peak-lir-its with remar<a)Le subtlety, achieving supelor consistency,openness, and ia-_-uralness on the finest master-qual t,r a.iio or the poorest 16mm optical film.OPTIMOD-TV g yes you the potential -o bring ycur auc o up to the same quality as yourstate -of -the -al pic:ure. Processing is rip longer the I n ting factor. SD plan youraudio strategy for the great war of the 80's around OP-IMOD-TV Model8108A. Your Orbar broadcast dealer can tell you mo-e. Or contact LEToll Free (80C1227 498. In California (415) 957-1067 Icr more in-formation.

Orban Associates nc.645 Bryant StSan Francisco), of_,'/N

94107

interpreting the

FCC rules 8 regulations

Commission OKs AM RegsBy Harry ColeFarmer, Wells, McGuinn, Flood & Bechtel

AFTER A PROLONGED period of lagging technologicallybehind its sister services, that grandfather of broadcastservices, AM radio, is finally getting a much -needed shotin the arm. The Commission has recently decided to ex-pand both the number of AM stations and the nature of theservices they can provide. And, while these changes maybe but forerunners to further changes in all of the variousbroadcast services, it is doubtless comforting to AMbroadcasters to finally be getting additional opportunities.

As far as the raw numbers of AM stations are con-cerned, earlier this summer the Commission took a giantstep toward adding a significant number of new daytime -only stations by opening up the 25 Class I -A clear channelfrequencies for daytime -only use on a limited basis.Those channels, of course, were initially opened up forexpanded full-time use two years ago, after several dec-ades during which one or two stations enjoyed virtuallymonopolistic control of their respective frequencies atnight.

When this opening up of the clear channels occurred in1980, the Commission specifically declined to accept anynew daytime -only applications, whether for new stationsor for improvements to existing stations. The idea was topreclude as few new full-time operations as possible, atleast until the FCC had a chance to consider how best todeal with daytime protection requirements and possibleunlimited -time operation by daytimers already on theclears. Now, after two years, it has been decided thatsome additional daytimers can be tolerated without anyundue effects.

The restrictions imposed on new daytime -only clearchannel applications are relatively simple. The station hasonly to locate itself within the nighttime interference -protected service area-i.e., the 0.5 mV/m 50 percentcontour-of the clear channel station already on the fre-quency to be used. The Commission feels that daytimestations can operate in the "sizeable zone" between day-time and nighttime Class I -A service areas withoutprecluding potential full-time stations, which would belimited by the dominant station's nighttime protectionlimits. This involves a substantial area-possibly ex-tending as far as 100 miles from the Class I -A station'stransmitter. Of course, applicants would still have tosatisfy the various other technical acceptance rules; butnow they are in a position to at least try for use of the clearchannels.

However, although the Commission has taken this pos-itive action to increase and, in some cases, improve AM

service, its timing may have been somewhat question-able. The Commission's AM Branch is still reeling fromthe 1980 clear channel decision, which generated some300 applications, the vast majority of which still have notbeen acted on. To make matters worse, the FCC's recentaction may generate as many as 200 additional applica-tions. After all, the Class I -A stations-within whosenighttime interference -protected contours the new appli-cations will be squeezed-are located in extremely desira-ble areas. It has been a while since the Commissionoffered any opportunities for new stations in most of thesecities, and it will be surprising if many would-be broad-casters don't take a shot at one or more of these frequen-cies, even if they will get, at most, daytime -onlyfacilities.

Of course, these new applications will just be added inwith the rest of the full-time applications that have been onfile for some time. The AM Branch has only two lawyersat most presently on hand to bear the brunt.

One element that makes the FCC's decision to acceptadditional daytime only applications somewhat surprisingis that existing daytime -only broadcasters have for yearsbeen pressuring the Commission to elevate them to full-time status while the FCC, in response, has committed it-self to exploring the options available and to takingwhatever action is possible. By creating more daytime -only stations, the Commission is also adding to the pres-sure it can expect to encounter from the already vocaldaytimer lobby.

In addition to expanding the number of potential AMstations, the Commission has also recently moved to ex-pand the services they can offer. The Commission hastaken another step toward AM -FM equivalence byauthorizing AM licensees to utilize their residual carrierfor fuel load management purposes. FM licensees wereauthorized to use their subsidiary communications author-izations (SCAs) for this type of service last year, and nowAM licensees, too, may realize some additional revenuesfrom this type of non -broadcast service.

AM and FM fuel load management is based on relative-ly recent technologies that permit the design of systemswith which utility companies can regulate more efficient-ly their average and peak loads, both residential and in-dustrial. The system includes a master control unit at theradio station and individual receivers/decoders in thevarious homes and businesses on the system. The mastercontrol unit is programmed by the utility company withspecific, digital instructions for each individual receiver


FCC RULES & REGULOTIOMS

and transmitted over the AM carrier (or the FM SCA).The individual receivers pick up the signal, decode it, andautomatically carry out the instructions electronically.

Of course, there is no such thing as a free lunch, andjust as FM SCA use occupies one FM subcarrier to the ex-clusion of other signals on that subcarrier, so too does useof AM carriers present some choices for the licensee. Thisis particularly true in light of two facts. First, the FCC hascomposed virtually no specific rules and regulations gov-erning AM fuel load management, other than the fairlyobvious proposition that such use should not disrupt or de-grade the station's regular broadcast service. Second, thevarious AM stereo systems presently available utilize pi-lot frequencies that are available for fuel load manage-ment. If one station chooses a particular frequency forstereo service, and another nearby station chooses thesame frequency for load management, some adverse re-ception effects could occur in stereo receivers.

While not requiring any particular selection, the Com-mission has broadly hinted that the frequency opening be-tween 25 and 55 Hz would be appropriate, since the fiveavailable AM stereo systems have located their sub-

audible pilot tones at 5 Hz (Magnavox), 10 Hz (Belar), 15Hz (Kahn), 25 Hz (Motorola), and 55-96 Hz (Harris'sweeping tone).

The decision to permit AM stations to provide loadmanagement services is indicative of a trend at the Com-mission toward maximum efficient utilization of theavailable spectrum, regardless of the traditional "pigeon -

holing" approach taken to spectrum allocation. In otherwords, the frequency bands allocated to broadcast useshave historically been absolutely restricted to broadcastuse. Now, however, the FCC has decided to permit broad-casters to "piggy -back" the non -broadcast load manage-ment signals onto their main signal as long as that mainsignal is not disrupted. In this way efficient use of the fre-quency space involved is maximized.

In view of this trend, broadcasters should be on thelookout in coming months for the opening of further pos-sible uses of their signals. For instance, it is apparent froma recent Commission action involving a television sta-tion's proposed use of its aural subcarrier that the FCC isindeed moving forward with its consideration of multi-channel sound for television. No firm estimates of whenaction can be expected are available, although some con-crete proposals are expected by November, and the Com-mission's staff is already hard at work on it.

As is apparent from the nature of the load managementservice, though, potential uses are not restricted to broad-casting. Also in the works at the Commission is a proposalfor an extremely wide variety of industrial and/or privateuses of the FM baseband. This proposal is expected to beready for comment in the late summer/early fall of thisyear, and while details have not yet been made public,present indications are that it will give FM licensees a verybroad range of opportunities not now available. Andchanges effected in FM are likely to find their way over tothe AM band not long after. BM/E

--1111111111111111111r-

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The 6142 is an extremely stable and versatile switcher. A very useful feature is the program and preview cross -fade.This permits a convenient dissolve from one camera to a previewed effect between two other cameras and thena dissolve to a previewed fourth camera.

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86 BM/E AUGUST, 1982 Circle 158 on Reader Service Card

The telecine without tubes.igital CCD technology

means better pictures.Advanced technology in the new

Bosch FDL 60 "U.S. Series" withPanScan and black stretch gives youtremendous advantages over conven-toonal film scanners.

And the most important of these issuperb p cture quality with high resolu-tion, excel ent signal-to-noise ratio, andbrilliant color rendition with negative orpositive film.

CCDs make the differenceThe use of said -state CCDs-

charge-coupled devices-completely

eliminates electro-optical problemsinherent to pickup or scanning tubes.

You don't have to worry aboutburn -in, afterglow, or field lag becausethere's no photoconductive or phosphorlayer to cause these effects.

You can forget about shrinkage,flicker, vertical deflection, horizontalmisregistration, and positioning errorsof all kinds.

And never again will you be sub-jected to the expensive ordeal of tubechanges.

New operational modesThanks to the FDL 60's capstan

drive and digital signal processing, youcan operate slow motion, fast motion,forward, reverse, and freeze frame-allin full broadcast quality. You cart startand stop instantly, and with frameaccuracy. You can search for scenes orframes either with variable program-mable search or frame jogging, bothwith full format color pictures.

Convenient film deck controls include speed,mode, direction, format, framing, and focus.Adjacent decks control audio, video, andcolor correction.

Low operating costsThe solid-state devices used in the

FDL 60, including the CCD sensors,need no maintenance. They have all thereliability and long operating life typicalof semiconductors. So besides givingyou a better picture, the FDL 60 savesyou money on maintenance.

Operational flexibilityThe FDL 60 gives you operational

flexibility you'd expect only in a modernvideotape recorder. You control it like aVTR, too. The servo deck with con-tinuous capstan drive and microcom-puter control ensures gentle filmhandling. And it's totally insensitive toperforation damage.

A keyboard that lets you enter timecode cue points and a changeoverswitch give you disturbance -free transi-tions between two machines in paralleloperation.

You can even integrate the FDL 60into your VTR editing and film -to -tapetransfer systems.

A quick -switch optical block letsyou run either 35mm or 16mm film incombination with all the usual types ofsound track.

Find out for yourself how hightechnology can mean better pictures.Call your local Fernseh office. Or getin touch with Fernseh Inc., P.O. Box31816. Salt Lake City, Utah 84131,(801) 972-8000.

BOSCH

C. 1982 rernseh Inc All rights reserved.


SUPER3 VELEGA\T SIV

INTRODUCING THE VIDEOLA V-500 ... forbroadcast -quality Film/Video Synthesis`" in anew, compact form.

Offering all of the quality and convenience fea-tures of the widely -accepted V-1000, this newmodel is for applications which don't require sep-mag facilities, but do need the capacity for filmsup to 6,000 feet in length.

Built around the unique Flickerless Prism opti-cal system, Videola produces superb imageswith no sign of flicker, jitter or frame lines . . atany frame rate. Because the Videola optics mergeadjacent frames into a continuously -movingimage, TV synchronization is no longer a consid-eration. Video transfers can be made at crystal -controlled sound speed or at any speed forwardor reverse up to 6x (35mm) or 10x (16mm) sound.

Video output will stay state -of -the art for years tocome, because the Videola optics deliver their

IDEO,PLICITY.

image to the pickup tube of a high -quality ENG/EFP camera ... readily exchanged for a futurehigh -resolution model.

Please write or call for full information on theV-500 and V-1000, and for the names of happyVideola users. In the east, contact Laumic Co.Inc., New York.

Magnasync/Moviola Corporation, A Subsidiaryof Craig Corporation, 5539 Riverton Avenue,North Hollywood, CA. (213) 763-8441. Cable:MAGNASYNC. Telex: 67-3199 MAGNA/MOVIO.


TeX TIPS for stations

BecomingYour Own LandlordBy Mark E. Battersby

AN INCREASINGLY POPULAR SCHEME in the broadcastingindustry is for the owners, principal shareholders, or eventhe key executives of a station to own the building used bythe business. Real estate, after all, is an excellent tax shel-ter for almost anyone. And when you consider the manybenefits to the station, such as low rent and off -balancesheet financing, becoming your own landlord makes agreat deal of sense. Unfortunately, as with most tax -related benefits, there are also a few potential problems.

Generally, in the average sale/leaseback transaction, abuilding will be sold to or constructed by a group of in-vestors who can benefit from the tax advantages. Inves-tors are typically in higher tax brackets and can often takebetter advantage of the depreciation and other tax incen-tives than could the business itself.

From the station's standpoint, leases can improve thebalance sheet. In fact, most leases in this type of transac-tion do not appear on the station's balance sheet at all, be-cause they have been structured to meet the strictaccounting criteria for operating leases. If the businessobtained a mortgage or issued bonds in order to constructits own building, the obligation would of course show upon the books.

In most two-party deals between the business and itsprincipal or principals, the station conveys the real estateto the buyer while simultaneously entering into a leasewith the new owners. However, with the increasinglypopular three -party deal, an outside financial institution,usually an insurance company, helps finance the deal.

This unique type of arrangement offers advantages farbeyond those normally present in a typical sale/leaseback.The buyer -lessor will have tax shelter in the form of de-preciation and interest deductions, while the seller -lesseecan often receive 100 percent financing.

The insurance company can provide the funds, whileavoiding certain lending restrictions normally imposed ontraditional real estate loans. However, as one recent TaxCourt case illustrates, the buyer -lessor can easily lose thistax shelter if care is not taken to properly structure the dealto insure that the buyer's interest has the required "sub-stantial legal and economic substance."

"Jones" Broadcasting, a large station, had constructeda new transmitter building. To help its own cash -flow sit-uation as well as provide tax relief to several of its majorshareholder/officers, Jones Broadcasting worked out asale/leaseback. "Fourth Main," a so-called "single pur-pose" financing company, was established specifically toact as the buyer -lessor in the sale/leaseback.

Fourth Main financed the purchase price by sellingmortgage notes to insurance companies. These notes weresecured by (1) a deed of trust, which conveyed FourthMain's interest in the property to the Trustees for the in-surance companies; and (2) an assignment of the lease andrentals to the trustee.

The property was leased to Jones Broadcasting under alease for 30 years with renewal options up to an additional68 years. Rentals were not based on fair market value but,instead, were calculated to provide Fourth Main with suf-ficient funds to pay 90 percent of its loan from the insur-ance companies in the first 30 years. After that, the rentalswere reduced to 1.5 percent of the purchase price for 23years, and then 1 percent thereafter. These rents were ex-pected to cover the costs of refinancing the remaining 10percent of Fourth Main's loan.

Fourth Main then sold, for a nominal price, its interestin the property to a series of limited partnerships made upof its owners and executives. None of the money paid inby the limited partners was applied to the actual purchase.Instead, the sums were used to pay brokerage, promotion,and consulting fees.

The result of this arrangement was that Jones funneledrentals through the partnerships to the insurancecompanies, while the limited partners used their shares ofthe partnership's losses resulting from depreciation andinterest payments to shelter other income.

As recently as 1978, the U.S. Supreme Court hadupheld this unusual type of three -party sale/leasebackarrangement and had allowed depreciation and interestdeductions. However, when the U.S. Tax Court appliedthe Supreme Court criteria to "Jones" Broadcasting, thebuyer -lessor lost out.

According to the earlier Supreme Court ruling, a sale/leaseback is considered bona fide when there is "agenuine multiple -party transaction with economic sub-stance which is compelled or encouraged by business orregulatory realities, is imbued with tax -independent con-siderations, and is not shaped solely by tax avoidance fac-tors that have meaningless labels attached."

With the Jones case, the Tax Court ruled that considera-tions other than those of a purely tax nature clearly existedbetween Jones and the insurance companies. However,none existed between Jones and the investors in FourthMain. There was no economic substance to the deal (otherthan tax avoidance), said the Court, because "the methodof payment could not be expected to quickly yield an equi-ty that the buyer could not prudently abandon."

This determination was apparently based on the Court'sfinding that the value of the cash flow from rentals was


TeX TIPS

nominal at best. The Court also found that the possibilitythat the property might have a substantial residual value,should Jones ever abandon the lease, was far too specula-tive (and highly improbable) to serve as a reasonable basisfor investing in the partnerships.

The Court concluded that, at least in the Jones situa-tion, apart from the tax consequences there was no justifi-cation for participation in the partnerships and thesale/leaseback. Therefore, the Tax Court ruled that thelimited partners had not invested in the property and ac-cordingly had no interest in it. And, since depreciation ispredicated on an ownership interest in property, the de-ductions claimed by the investors were disallowed.

However, before you completely eliminate this excel-lent strategy from your own tax arsenal, let's take a look athow our all -too -real "Jones" case differed from theearlier project, which had met with high court approval.

(1) Rentals for the initial term in the Supreme Courtcase completely amortized the mortgage principal. In ourJones case, the rentals only amortized 90 percent of thenote's principal, leaving a sizeable balance.

(2) In the earlier case, the rentals were equal to theproperty's fair market value, and the renewal rentals weretoo small to produce a profit, especially if applied torefinancing the remaining balloon.

(3) In the earlier situation, $500,000 of its own moneywent to the seller -lessee in addition to the financedmoney. In our Jones case, none of the investor's moneywent to Jones.

(4) The principals in the Supreme Court case stood torealize a substantial gain if the seller -lessee exercised itsrepurchase option. By the terms of Jones' repurchase op-tion, the investors could not realize any profit at all.

(5) The executives in the Supreme Court case were a"substantial corporate entity" and had actively partici-pated at arm's length in negotiating the terms of the sale/leaseback. In Jones, the entire transaction was set upbefore Fourth Main was organized and then sold to execu-tives as a tax shelter.

(6) The executives in the earlier case were personallyliable on the mortgage. Fourth Main, in the Jones situa-tion, was not.

In essence, the organizer's major flaw in Jones was itsfailure to provide the entity we have been calling FourthMain-and the limited partnerships-with a profitmotive. It also failed to sufficiently establish Fourth Mainas an entity with a separate economic interest. The six dis-tinctions made by the Tax Court illustrate how to properlystructure your own three -party sale/leaseback.

The mere fact that the buyer -lessor cannot make a sub-stantial profit if the repurchase option is exercised is in it-self not really critical. It was important in Jones onlybecause profits on the rents were not being generated.Without the repurchase profit potential, there wasn't anyjustification for the investment.

All in all, however, becoming your own landlord is agood-and profitable-strategy, if you utilize the adviceof others from the planning stage on. BM/E

TECHNICAL

MAINTENANCESEMINARS

FOR VIDEO EDITING SYSTEMSConvergence Corporation prides itself on the qualityof its editing products, and we realize the importanceof regular maintenance to keep editing equipment atpeak operating efficiency.

These Technical Seminars teach you to perform rou-tine preventive maintenance on your Convergenceequipment, so you can virtually eliminate any costlydown -time that might result from lack of attention toequipment upkeep. Contact Training Coordinator forfurther details.

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Circle 160 on Reader Service Card90 BM E AUGUST. 1982


olby

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Dolby A -type noise reduction has_been accepted for years through-out the world for high -quality taperecording and other audio trans-mission and storage media. Itprovides 10 dB of noise reductionfrom 30 Hz upwards, increasingto 15 dB at 9 kHz and above,without the audible side effects(such as noise modulation andovershoot distortion) associated

with more conventional tech -r iques Dolby noise reduction canalso lead to lower distortion, as itpermits more conservativerecording levels to reduce the riskof tape saturation.

Today wide audio bandwidth andlow noise are becoming common-place in many parts of the tele-vision origination/transmissionchain. Contact us to find out howDoloy noise reduction can pre-vent the VTR audio track frombeing one of the weak links.

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GREOTIDECONTESTHere's a chance to share your own per-sonal solutions to some of broadcasting'smost vexing engineering needs . . . .

Each month, BM/E presents two en-gineering problems and invites you to sub-mit solutions complete with diagrams.BM/E's editors will read the entries andselect the best for publication-givingreaders an opportunity to vote for theidea they consider best by using the ballotarea on the Reader Service Card.

We will pay $10 for each entry printed.In addition, the solution in each month'scompetition receiving the most votes onour Reader Service Card will win $50.00.So put on your thinking cap and submit ananswer to either of the problems outlinedbelow . . . and be sure to watch this sec-tion for the solutions.

NEW, BIGGER PRIZE:$50.00 FOREACH CONTEST WINNER!

Problem 10: STL SwitchoverYour station uses an STL on UHF to carry the FM stereo program to thetransmitter two miles away. A telephone line, previously used as an STL,has been kept as a back-up. Design a simple automatic switching systemto transfer the program from the radio to the telco line in case the radiolink misbehaves or fails. It should include a warning indicator to tell theoperator the switch has occurred.

Solutions to Problem 10must be received by

September 17, 1382, and will beprinted in the November 1982 issue

Problem 11: Cart AutomationThe station has three cart machines, bought at various times, so they arenot equipped with automatic sequencing circuitry. Design an inexpensiverelay and pushbutton system to: (1) Start the second cart when the firstfinishes; (2) Stop the first and start the second at the push of a button; and(3) Proceed similarly from second to third, and from third back to first, ifa switch is set for that. Use the simplest cue tone or other end -of -tapesystem that will do the job.

Solutions to Problem 11must be received by

October 18, 1982, and will beprinted in the December 1982 issue

CONTEST RULES

1. How to Enter: Submit your ideas on how to solve theproblems, together with any schematic diagrams, photo-graphs, or other supporting material. Entries should beroughly 500 words long. Mail the entries to BM/E's GreatIdeas Contest, 295 Madison Avenue, New York, NY 10017.Use the official entry form or a separate piece of paper withyour name, station or facility, address, and telephonenumber.

2. Voting and Prizes: BM/E's editors will read all entries andselect some for publication; the decision of the editors isfinal. Those selected for publication will receive a $10 hon-orarium. Each month, readers will have an opportunity tovote for the solution they consider the best by using theReader Service Card. BMIE will announce the solution re-ceiving the most votes and will award the winner of eachmonth's competition a $50.00 check.

3. Eligibility: All station and production facility personnel areeligible to enter solutions based on equipment already built oron ideas of how the problem should be solved. Consultantsare welcome to submit ideas if they indicate at which facilitythe idea is in use. Manufacturers of equipment are not eligibleto enter. Those submitting solutions are urged to thinkthrough their ideas carefully to be certain ideas conform toFCC specs and are in line with manufacturers' warrantyguidelines.

Mail Official Entry Form to:

BM/E's Great Ideas Contest295 Madison Avenue, New York, NY 10017

Solution to Problem #

Your Name

Title

Station or Facility

Address

Telephone: (

I assert that, to the best of my knowledge, the ideasubmitted is original with this station or facility, and Ihereby give BMIE permission to publish the material.

Signed

Date


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GREET IDEOS

SOLUTIONSto problem 7:Intercom/IFBin the on -air consoleInstant winner! This month'swinning entry was submittedby Lee Barrett, chief engineer,KOJM/KPQX-FM, Havre, MT.

When KOJM/KPQX-FM expanded toa four studio facility, it was necessaryto provide communications betweenstudios without wearing out the carpet.The circuit illustrated was designed tofit inside the mixers and provide suchcommunications. The intercom workson a "party -line" principle where allparties hear the conversations, howev-er, muting is provided to preventunwanted chatter while each studio ison -the -air.

Connection of the intercom is sim-ple. A single balanced pair is used be-tween studios and connects across theterminals labeled IL. The output of theleft channel, microphone preamplifier(ahead of the attenuator) is tied to pointAl. MA is connected either to the cuebus in the mixer (as is done in our fa-cilities) or in parallel with the monitoramplifier input. An unused remote startpushbutton (normally open) is used topull the point marked PTT to ground totransmit. Finally, point MS is tiedthrough a spare contact of the monitormute relay in the mixer (normally open)to ground to allow the open mike to to-tally mute the intercom.

After the intercom circuits are in-stalled, adjust the transmit gain potenti-ometers to half range (5k Ohms toground). Set the cue (or monitor) gainto a normal level in the mixer. Whilesomeone in an adjacent studio de-presses the PTT pushbutton and talksinto the left microphone, adjust the linegain for the desired "talk -over" level.Once the line gain is set, the transmitgains may be further adjusted to equal-ize levels. Note that the line gain affectsboth the transmit and receive levels.

The MC3340P used as U2 is mutedby pulling point MS to ground throughthe studio mute relay. This action in-hibits any intercom audio while the stu-dio is on -the -air. Relay RL-1 is aPotter -Brumfield R10 -E2 -Y2 -V185with a 12 V coil. If a 24 V relay is used,R1 may be replaced by a jumper. A


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cheaper transformer than the TRW0-30, one that has similar impedancecharacteristics may be used.

Connections to and from the inter-com should be made with shielded ca-ble. Care also should be taken to keepchassis ground isolated from audiocommon or ground loops may result.

All parts are readily available for thisintercom from Newark Electronics. A 3by 6 inch intercom printed circuit boardis available from KOJM/KPQX-FM.

CONTESTWINNER

problem 2:automaticrecordingCongratulations to

James SensenbackChief Engineer

KMWU, Wichita, KSfor his winning solution B: seepages 276 and 278 of theMarch, 1982 issue. The solutionhas won Mr. Sensenback an engi-neering slide rule calculator.

105 EAST 69111 AVENUE

VANCOUVER. B C.CANADA V5X 2W9PHONE (604) 327-9446TELEX 04-508605



ast

gialOMENITAudio Console from LPBThe new Benchmark Ser-ies from LPB consists oftwo models, the 2000 and3000. The series featuresfull modular capabilitywith equalization andprocessing. The B-2000has up to 16 stereo in-put modules, while theB-3000 offers up to 24.Both models are capableof mono, stereo, and fourtrack output.

Input modules featuretwo separate stereo auxiliary send con-trols with pre/post selection, as well asEQ select, PFL, and solo select. Me-tering is with LED peak indicators anda balance indicator when trim is ad -

250

justed away from zero. Output isthrough a total of eight program bussesthat can be configured through use ofmono, stereo, or four track input, offer-ing many assignment possibilities.

FOR MORE INFORMATION

circle bold face numberson reader serivce card

ISI has new EditorInterface 251The new Model 920 is an editor inter-face for video switchers from Industrial

Services. It is arranged into four inde-pendently controllable sections. Thefirst section has crosspoints selection,pattern selection, and transition modesassignable to either the editor or switch-er control panel. Transition duration isdetermined in the second section.Presets for the positioners and faderlimits are controlled in the next area. Inthe last section, the transition can becontrolled by the editor or manually onthe front panel of the unit.

There are no internal setup adjust-ments and the 920 can be remotecontrolled from as far away as 10 feet.Edit duration of up to 999 frames is of-fered with LEDs to indicate operationalstatus.

Lavalier Mic fromCountryman Assoc. 252The Isomax Pro is a new directionallavalier microphone offering eitherphantom or internal power with bal-anced output on standard XLR-3 con-nectors. Other features include

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switch -selectable low frequency rolloffand presence peaking, making it usefulfor voice and music. The microphonelists for $269.00 with case and tie clip.There is also a clip for two mics avail-able.

Satellite Automationfrom Microtime 253The new Model C-150 Automatic Lo-cal Ad Inserter from Microtime was de-signed for use in satellite applicationsthat require automatic local ad or pro-

gram insertion. The unit is a machinecontroller, operating up to four VTRseither automatically using coded tonesfrom satellites, or manually from aswitch closure command.

The new controller offers multipleselection of satellite network tone de-code sequences, adjustable pre -rollcues, and built-in audio -follow -videoswitcher. The C-150 also has an auto-matic TBC interface and audio -videobypass default system which detectsand bypasses to local slate or messagewithout any loss of video.

Equipment boxfrom Wolf Coach 254The Wolf Coach ENG equipment boxfeatures three heavy-duty sliding trackdrawers, a compartment with a piano -hinged door, and an exterior storageshelf for organizing portable TV newsequipment. The box weighs 250 lbs.empty and fits into the back of mostvans and station wagons. It is made ofwelded aluminum covered with for-mica, and lined with carpet padding.Custom foam padding protects speci-fied camera models.

Two new tape headsfrom Nortronics 255The new Maxtrax stereo record andplayback heads are three -channel unitsfor 1/4 -inch tape and readily fit fourpopular models of ITC cart machines as

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Also new is the Wide Pole Facestereo playback head for late modelITC cart decks. The cylindrical contourface head directly replaces existingheads without deck modification. Itprovides - 50 dB at 1 kHz crosstalkseparation.

Modulators fromM/A-Com 256A new series of broadband single side -band modulators in octave and multi -

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pieces fit', so the saying goes. And the beauty of it isMcCurdy can put this complete system to work for youright from the start

McCurdy begins by choosing and supplying the bestcomponents for the job. Like our turntable systems. .theonly turntables designed specifically for broadcast..Flas a virtually anlimited range of ccnsoles, such as theS'S8816 shown here, to meet any broadcast application.And a wide varie-y of tape configurations, turrets and/cr jackfields and auxilliary equipment to meet theneeds of each sys-em

Then McCurdy packages the parts in customhousings complete with woodwork and trim. Each finished product incorporates the best names fromevery audio discipline. And because McCurdy puts ittogether, they guarantee the results.

Let McCurdy give you the complete picture onquality audio. There's no secret to patting it togetherwhen you start with all the right pieces.

Circle 168 on Reaoer Service Card

Eleganceby design!Ward -Beck has created the 81000...a unique maste-piece oftechnical efficiency and elecantsimplicity.In this exceptional radio corsolelegendary Ward -Beck quality isavailable at a price one wouldexpect to pay for much lessdistinguished company!The R1000-ideally suited tosmaller studios or newsapplications-is an excellent wayto experience the finest engineeringon a modest budget.

First by Design.

Ward -Beck Systems Ltd., 841 Progress Avenue, Scarborough, Ontario, Canada M1H 2X4.Tel:(416 )43E;-6550.

WarMnerSystM1W,6900 EMerAlimek Road7Suita -rizo-n9 1'025 .

ijdico - worldradiohistory.com · 2019. 7. 17. · 00c1c0[1010101113 000011'010010010...

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