TRIDENT THRUST

Trident Audio Development Ltd is set to introduce an innovative new console, aimed at the upper end of the studio market.

Called the DI-AN (Digital-Analog) the desk combines digital control of analog circuitry. Immediately striking is the lack of conventional controls and channel modules. The desk is actually structured horizontally and has some affinity with the Neve DSP. Above each input fader are buttons for Mute, Solo, AFL and PFL. A large illuminated Access button will display the channel status on auxiliary, equalisation and input sections — which are common to all channels. An alphanumeric 'scribble strip' is provided and this can be dumped to floppy disk for storage.

For speed of operation, mic inputs have an auto-gain feature. Similar to the auto-focus found on some cameras, the auto-gain will simultaneously set all mic inputs to within 5dB of maximum operating level.

The equalisation section is four band parametric with additional high and low pass filters. Like other sections of the desk, mains parameters are accessed by incremental nudge buttons, although rotary controls could be supplied to order. Use is also made of edge-wheel controls. Each band has a choice of 16 selectable frequencies, shown on seven segment alphanumeric displays. Boost or cut is displayed on 37 segment bargraphs.

Any channel may have up to four equalisation settings loaded into memory. These may then be recalled during remix against SMPTE code, to a maximum of 255 changes.

Because of the radical structure of the desk it has been possible to provide 24 auxiliary sends which may also be ganged for 12 stereo pairs. On a normal console, this would occupy an unworkable amount of channel space.

Each of the main sections is mounted on a panel approximately the size of a horizontal A4 page. It is envisaged that the equalisation section will be mounted centrally, with the auxiliary section to the left and input section to the right. As the control system is digital other configurations could be provided.

At the back of the console, each channel has a permanent 32 LED routing display, as well as indication for phase reverse and other fundamental options.

Any level of fader automation is possible, including Optimix, Master Mix and Trident's own moving fader system. Fader automation is independent of the computer system for the rest of the desk and may be retro-fitted. The high level of inherent automation may make fader automation less significant for some users.

Despite the innovative format, the console is a traditional 'split' design with 40 inputs and 32 groups. The manufacturer envisages the unit coupled with a Mitsubishi digital 32 track.

Trident MD Malcolm Toft has likened the DI-AN to 'a very large word processor', on the grounds that areas not being worked on are stored on file for subsequent recall. Toft emphasised to SE+P that a great deal of thought had been given to making the system practical to use and confirmed an enthusiastic response from a number of engineers.

Although the desk is to be shown at the APRS '86 exhibition for the first time, the unit will not be the full production model. Response though, is already positive with many parties showing interest.

Development of the DI-AN has been in progress for over a year, assisted by a grant for technical innovation.

Malcolm Toft, Trident Audio Developments Ltd, (Contact Details).

SAS DISTRIBUTES TRIDENT

The Trident console range (including the DI-AN), will in future be distributed by Stirling Audio Systems. Stirling will begin by selling the 65 and 75 Series.

'As part of our evaluation' said Andrew Stirling, 'we have had independent tests made on these desks and, in certain areas, they have far exceeded the original manufacturers' specification.

'These desks have been designed, built and marketed by engineers which has helped to give the very high performance levels but, so far, they have been underestimated for exactly the same reasons.'

Few people, said Stirling, are aware that they have recently installed a Trident 65 at the TSI video post production suite and a Trident 75 in Simon Clarke's home studio.

'As far as studios are concerned,' continued Stirling, 'the Trident Series 75 in particular helps to sell studio time, giving a really impressive rate of return for initial investment.'

Stirling Audio Systems Ltd, (Contact Details).

GRAY'S IN ROAD

Michael Gray, formerly Manager of Classical Operations at EMI records has been appointed to the international position of CD Technical co-ordinator and Quality Assurance Manager for the company.

Continuing to be based at Abbey Road Gray will be responsible for software origination and final CD quality control. His job entails him assembling the correct tapes, liaising with producers and artists and ensuring that tapes are prepared to the appropriate formats and standards for CD releases.

Gray will receive initial production samples from pressing plants around the world and will use Abbey Road's Sony CD Analyser system to ensure standards are maintained.

He will liaise with plant managers including those at the new EMI plants now under construction at Jacksonville, in the US and Swindon in the UK.

Work on the Swindon plant is now well advanced with trial discs already having been produced. The plant will open officially on May 15th.

APRS NEWS

APRS Business Meetings are important regular events organised by the Executive for studio members, and the Executive wishes to give members every possible encouragement to attend.

The meetings are opportunities for full and frank discussions of studio business matters, of common interest to the professionals in the industry — with Executive members on hand to lead discussion, give information on the activities of the Association, and take note of issues which need further investigation or attention.

Past meetings have provided a forum for debate on management and financial matters, technology, and individual or Association projects which may be of interest to the whole studio membership.

At the last Business Meeting, on April 8, the agenda included a report on the Longmans Seminar on Commercial Agreements in the Music Industry; the suggestion that manufacturers should be invited to conduct short seminars on their products and their own technological developments, for studio members. An important topic was the proposal from the APRS Technical Committee and the Producers Guild on setting up an industry-wide system for identifying tapes through standardised colour-coded labels for tape boxes. This system is seen as being urgently needed at a time when the proliferation of different mixes and versions of the same recording (for different purposes) causes identification problems for studios, producers and record companies). Also discussed was studio maintenance and maintenance cover; the new APRS Private Medical scheme for members' and their staff; the benefits or otherwise of APRS representation at MIDEM; studio time brokerage schemes; education and training in the industry; and a review of the Studio Link Up scheme.

Studio members of the Association are also regularly invited to attend the long-established Credit Control meetings, which many have come to regard as essential in an industry which is forced to accept a certain degree of risk in matters of payment for services.

These meetings are restricted to paid up member studios. No minutes are taken or distributed, and it is understood that no studio owner or manager present at a meeting will report on the sensitive information exchanged during those meetings.

The APRS Annual General Meeting is also an important opportunity for both manufacturers and studios to meet, and as such deserves better attendance than has been usual over the years. The Executive is looking for higher numbers at this year's AGM on July 8, at the Russell Hotel, London.

24 TRACK ON THE ROAD

Soundcraft Japan has recently installed a highly customised 56 channel TV24 broadcast console into a mobile recording studio for Tamco, one of Japan's largest recording facilities.

The console (the biggest built by Soundcraft) required 56 inputs. By designing the console in two halves and hanging one on the side wall of the vehicle the problem of space limitation was solved.

Tamco reportedly chose the Soundcraft console as it allows simultaneous multi track recording and stereo mixdown as well as stereo subgrouping instead of VCAs, which Tamco felt would lessen the sound quality for this type of operation.

The Japanese company specialises in audio for TV, radio and video.

The new mobile (the only one in Japan with 24 track recording) has already been used for the recording of the London Philharmonic Orchestra at Osaka for an 8mm video album.

A TAPE REVOLUTION?

Memtek Products, owner of Memorex tape, has launched a new cassette tape that, it is claimed, can record a sound range close to that of compact disc.

The Memorex CDX11 retails for £4 (twice the price of an average chrome cassette).

TAPE LEVY LATEST

The BPI was recently celebrating the publication of a Government White Paper that if it came to law, could see a levy imposed on blank tape by the Autumn.

Commented BPI Director General John Deacon on the paper Intellectual Property and Innovation, 'the levy proposal marks an acceptance of the important principle that copyright owners should be remunerated for the use of their material.'

The proposal is the first review of the Copyright law in 30 years and demonstrates, said the BPI, that the Government understands the significance and the role played by the copyright industries in the UK.

The paper, however, has not proposed any ideas for record rental, a point that has disappointed the BPI but it was pleased that many of the 'impractical' proposals in relation to the levy contained in the 1985 Green Paper have been deleted.

The BPI will also seek to discuss with the Government the proposal that tapes less than 35 minutes long should be exempt from the levy.

Deacon hopes that a copyright bill follows the White Paper by the Autumn.

PAY TO PLAY

The BPI has decided to bring the UK record industry into line with its European counterparts by stating that in future it will only supply videos to TV on a pay-for-play basis. All TV stations have been given notice.

Until now the record company financed videos have been supplied free of charge to broadcasters. After May 31 BPI member companies will be advised to cease supplying music videos free of charge.

The BPI is in the process of setting up a negotiating committee to sort out the question of rates and conditions of payment.

DISCS FOR DUPES

Video discs are being used to duplicate cassettes at high speed. American record company Capitol uses such a system for mass-producing music tapes.

Recording plants normally duplicate tapes by recording them in banks of 32 or even 64 with the material to be recorded coming off a loop of master tape running at 1200 centimetres per second.

This tape often results in damage and Capitol has replaced the tape with an optical disc, of the WORM type (write once, read many times). The disc runs at 32 times the normal speed so the digital code streams off the disc at a rate of about 64 megabits per second. The signal goes through a digital to analog converter (still at 32 times normal speed) to a bank of slave machines resulting in conventional analog cassette.

BASF LAUNCH

BASF (UK) Ltd has launched Studio Master 911, a new analog recording tape engineered to meet the professional demands of multi track recording. The 911 features high dynamic range of all frequencies, low modulation noise and minimal-print-through. With a high print ratio of 57dB the 911 should be ideal for long term archiving.

E.ZEE LOSE

E.Zee Studios of North London has lost its fight with the Inland Revenue (see MONITOR April SE+P).

Studio MD Graham Oakes was told direct from the Chancellor of the Exchequer's office there was no chance that E.Zee would be receiving finance through the Government's Business Expansion Scheme.

The ruling comes after months of fighting by the studio who, along with independent experts, believed they had a concrete case and were eligible for capital to upgrade and expand.

E.Zee's battle has cost them considerable time and money, although City financers Hoare Octagon are busily searching for investors willing to put money into the complex.

Oakes is understandably annoyed at his treatment at the hands of the IR. 'We've lost a year,' he said, 'but if we get the money now we can hopefully start work on E.Zee 1 — the studio to end all studios (SSL 72 track).'

As E.Zee were, to all intents and purposes, a test case the IR's ruling virtually ensures that no other professional recording studio will be elligible for finance under the BES.

SMALL JOINS KEF

Dr Richard Small, one of the most influential people in the development of loudspeakers over the last decade, has joined KEF Electronics, of Maidstone, Kent.

He leaves his post as Senior Lecturer in Electronics at Sydney University, Australia to become Head of Research at loudspeaker manufacturer KEF.

He will carry the responsibility for developing and coordinating the applied engineering on advanced research projects. Technical Director Laurie Fincham will take on a more corporate technical perspective while specific responsibility for Development Engineering will be handled by Mike Gough.

Small will be bringing a wealth of experience and expertise with him. Along with fellow Australians Neville Thiele (ABC) and Em Benson (AWA) Small's analysis of the low frequency parameters which govern the behaviour of dynamic loudspeakers has been the most quoted source work for years. This has played a considerable part in the improved low frequency control that all modern loudspeakers have over their predecessors.

Australia's loss will undoubtedly be KEF's gain.

DOLBY SR CORRECTION

Tony Spath Studio Projects Manager at Dolby Laboratories writes to inform us that one of the diagrams used in the article Analog's Answer (SE+P April) was incorrect.

Figure 5 (page 37) in fact shows the 'window' or area available for recording programme with conventional analog tape.

Above is the correct diagram which we should have printed and shows 'dotted curves indicating the typical performance of a professional recorder operating at 15ips without noise reduction,' and an unshaded zone representing, 'the area available when Dolby SR is employed'.

Thus, is the value of Dolby SR revealed.

• Hayden Laboratories Pro-Audio Department is now offering to professional customers (including music/video retail shops) selected models in the Denon and Dual ranges of electronics for re-sale. Hayden is also distributing the Dynacord ELA range of products, and has set up a new facility called Hayden Systems Engineering for use in public address and audio communication systems.

• Ken Bansly has joined AKG as Northern Sales Executive, and Mike Gibson has been promoted to Southern Area Sale Executive for professional products.

• AKG celebrates its first birthday at Godalming, Surrey by building new warehouses and office complex on the site of the existing headquarters at Vienna Court.

• Harrison Information Technology Ltd has appointed Syntec International, 60 Gibbes Street, Chats wood. NSW, Australia as its sole agent for the Australian market.

• Soundtracs has appointed Simon Phillips to its Technical Sales team. He was previously with ITA.

• Soundcraft USA recently supplied the sound for the 28th Annual Grammy Awards presentation in conjunction with Audiotek of Burbank. Five Soundcraft consoles were used; a 40 channel 800B used for the house mix, a 32 channel 800B for the monitor mix, a 24 channel 200B for monitors, and two 200Bs were used in mobile vehicles for sub mixing.

Soundcraft has also installed a 32 channel TS24 console into China Pjecords, Beijing, the largest recording company in China. This is the first TS24 to be fitted with Optimix automation systems.

• David Bearman has been appointed UK Sales Manager at Turbosound UK. He joins from Beam Electronics.

• Hilton Sound is the first UK customer for the Mitsubishi X-86, while Multitrack Hire Ltd has become the seventh UK customer to buy a Mitsubishi X-850 multi track recorder.

• Michael Stevens Associates has been appointed the North European distributors for the Audioscope products, including three audio spectrum analysers and advanced multi channel audio level display unit.