DOMESTIC R-DAT LAUNCHED IN JAPAN

Noel Keywood files a special report from the recent Tokyo Electronics And Audio fair. It should be pointed out that this R-DAT launch was aimed at the domestic market, and that any professional implementation of R-DAT may well adopt a different approach.

DAT is short for Digital Audio Tape, a digital cassette system that uses much the same type of signal processing system found on Compact Disc. However, it gives an uninterrupted two hours recording time, or playing time from pre-recorded tapes. The cassette tapes are miniature — roughly the size of a credit card, but 10mm thick. With 16-bit quantisation and a 44.1kHz sampling rate, providing 20kHz bandwidth from pre-recorded tapes, DAT potentially offers studio-quality replay.

Exact prices have yet to be fixed, but I was told that they will almost certainly be in the £800-£1000 region for the first domestic recorders. Blank tapes are quoted as around £6 for a C-120.

One of the surprises of the Tokyo trip was the discovery that record sampling rate for domestic machines had not been fixed, at least in the Japanese view. It will depend upon the outcome of talks to be held between the IFPI (International Federation of Phonogram and Videogram Producers) and the EIAJ (Electrical Industries Association of Japan).

More ominously, some DAT recorders I saw (e.g. Denon and Hitachi) had a front panel push-button input switch marked analog digital. There's little point in domestic machines having a digital input unless a 44.1kHz sampling rate is to be used, since this is all that is available from a CD player's digital output.

I found Japanese manufacturers either knew little about Copyright or, if they did, they didn't seem aware of the concern it was causing in some quarters in the UK. A likelihood of direct digital copying with DAT is quite high, I feel. Even if domestic recorders do not offer such a facility in the end, then doubtless pro ones will.

Another point of interest to professional users is provision of recordable sub-code areas (e.g. Toshiba and Denon). Information like track number, playing time, etc can be written into this area.

Perhaps it is portable DAT that will be most interesting for the recording business. Technics had a very complete working model, but both Sony and Aiwa displayed portables also. I suspected from the way Technics "emerged" from a sloped base that its electronics were outboard, something a representative reluctantly confirmed, but this is of no consequence. Sony, Hitachi and Matsushita (Technics) all have complete chip sets and transports ready, OEM displays revealing their small size. They said it would only take 10 weeks or so to start production.

I judged the Technics portable to measure roughly 6" x 7" x 2" deep and it was top loading. This type of recorder is only going to be popular for ENG (Electronic News Gathering), if it uses professional sampling rates, and for all live recording work. It would revolutionise the job, because current options like Compact Cassette or Sony's PCM-F1 have drawbacks.

Whilst the Japanese were largely unsympathetic to the Copyright issue, they fully appreciated the importance of pre-recorded software, especially for car players — Kenwood (Trio in the UK) and Alpine had impressive working models of such units, housed in booths designed to stimulate a car environment.

Sony, JVC and Technics also had static machines.

Yet more divergent viewpoints became evident on the subject of software. The manufacturers were definitely cogniscant of the problem that would confront them if, for some reason — like a software embargo — music became unavailable for use on DAT.

However, after pressing many manufacturers on this point, I got the impression that the fear of a software shortage was not great. It could be coped with by providing domestic recorders with a direct digital recording ability if necessary to facilitate direct digital recordings from CDs.

There was a notable lack of duplicating equipment shown with the grand exception of a massive crowd-pulling high speed duplicator on the Sony stand, apparently working. In this instance though, the unit was only a prototype.

A subsequent meeting with Sony people confirmed that high speed duplicating had not been perfected, at least in commercially useable form.

The same view was expressed by Hisao Suzuki, Deputy General manager of Otari, who specialise in studio equipment. I approached them specifically for information about duplicating and was told that Otari was currently researching the problem of high speed duplicating, in conjunction with Sony and DuPont. The technology was still experimental though. Initially, DAT duplication will be in real-time, much like video cassette duplication at present.

Perhaps it should have been no surprise that most DAT recorders were much like CD players in layout and facilities.

They are front loaded, to allow stacking and have inbuilt ATF – Automatic Track Finding. Codes allow computer programmable track location to be carried out. There's track skip and fast search too. Large blue fluorescent display panels show track number and elapsed time. Many of the machines had long fluorescent record-level meters with a 40dB range, 0dB being absolute maximum, like that of CD. The top 6dB sector, also commonly identified as MSB (Most Significant Bit) was a red no-go area, as it is in practice with CD. Many machines had an "after-sampling monitor" system too.

In size the machines were much like large CD players. Bare OEM DAT transports being displayed measured about 6" x 7", so initial domestic recorders are not likely to be much smaller, as Technics portable suggested.

The latest launch delay was due to Philips, and people were reluctant to tell me why. The official show guide said "At the urging from Philips of the Netherlands, however, domestic makers were inclined to postpone the marketing of DATs". Apparently, a top level request had been made by Philips management for a delay, both to give CD a chance to establish itself and to allow the company to switch from S-DAT, which it had been developing, to R-DAT, which the Japanese ultimately decided to adopt.

Since the latter system was chosen because it is less problematic and could be got into production quickly, it follows that any delay will be nominal — sufficient to show good will, but not so much as to jeopardise the system or produce an unacceptable delay in return on investment.

However, Philips are not the only ones causing concern amongst Japanese manufacturers. Strong criticism from companies like A&M and EMI had been noted and I was told Tamotsu Harada of the EIAJ that a meeting had been arranged with the IFPI to discuss the problems of home taping and piracy, which music publishers believe DAT will exacerbate.

The IFPI want anti-copying hardware built into the recorders but the Japanese do not appear interested in this possibility. I strongly suspect it will never come about.

As already mentioned, a final meeting between the EIAJ, the IFPI and Philips is scheduled. No matter what is, or is not agreed here though, it seems certain that DAT will be launched within months. There are strong indications that Sony will try to pre-empt others by releasing in time for Christmas. Dealer conventions on DAT are to be held this November.

What Sony cannot do though is unilaterally fix a record-sampling rate, and this may well hold them back. The DAT Conference, comprised all the DAT Agreement signatories and headed by Mr Nakajima, President of Aiwa, will first have to decide upon this matter after the outcome of the EIAJ/IFPI meeting.

Numerous manufacturers told me it would take a few months to gear up production, making the prediction of Akira Nagano, Foreign Press Officer for Matushita, for a Spring '87 launch seem fairly realistic.

SE + P HEALTH WARNING

• In other words, what we're saying is 'those of you directly involved with manufacturing commercial pre-recorded software: take note!; those of you who originate material in the studio: don't panic, R-DAT has not yet been launched on the professional market — when it has been, you'll know about it. Don't assume that everything that applies to domestic cassette decks will apply to you!'

ABBEY SMACK'N ALL

Abbey Road Studios was the location for the recent recording of the Anti Smack single, Live-In World.

The record, which included artistes Holly Johnson, Fish from Marillion and Suggs from Madness, has been released world-wide by EMI records. EMI engineer Anthony Clark was involved with the recording and is also working on the forthcoming Anti Smack album.

Bob Dylan was recently in Abbey Road's Studio 1 but did not record a single note. The reason? Despite the recently refitted control room, the studio was only being used for location work on the film Hearts of Fire.

Upstairs in the Penthouse another console is to be installed. The original Neve was swapped earlier in the year for a leased Westrex. This is now going in favour of a Calrec UA8000.

AR PARTNERS

US speaker manufacturer Acoustic Research has two new models of particular interest to the professional market.

The original paper-coned AR18 has always been a favourite for nearfield monitoring and general purpose transportable work, so the changes to plastic cone drivers and dome tweeters for the hi-fi market have not been universally welcomed by professionals. Now AR has revived much of the original '18 as the Rock Partner, but housed in a rugged vinyl clad wedge cabinet, which will make it even more practical — or at any rate less tatty — when used in a typical kickabout pro environment. The Rock Partner is rated at 115dB and will be available at £125 inc. VAT.

Another plastic covered wedge is the AR Powered Partner, but there the resemblance ends. The more compact PP has a built-in amplifier, and has a moulded hard plastic case with adaptors for a variety of mounting arrangements. It may be "daisy chained" to give good quality sound over any required area, and clearly has a ready application for giving high quality background music in wine bar/restaurant/pub-type applications.

Magnetic shielding enables it to be used close to television screens, and front panel variable gain and tone controls permit subtle tailoring for an even and consistent spread of sound when a number of PPs are connected up. Loudness capability is 106dB/1m, and price is £160 inc VAT.

MAYFAIR EXPANSION

John and Kate Hudson, joint managing directors of Mayfair Studios in North London, are to expand business operations both at home and abroad in the new year.

In the UK there is to be another Mayfair studio, situated near to the existing complex. It will house a 24 track SSL with a reduced choice of equipment than its counterpart, so offering a low-cost option to the client.

Abroad there is to be a 48 track SSL studio built in Tahiti, the result of four years planning by the Hudsons. Although not owned by the same company that is behind the Mayfair studios in London, John and Kate are the major shareholders in the new concern. The studio will be called Mayfair Tahiti.

Situated on a beach overlooking a lagoon, adjacent to the residential bungalows, restaurant and other facilities available to the clients, Mayfair Tahiti should be open for business by June 1987 pending local government approval. This should not be too difficult to attain considering the extra business that the studio will generate in the area.

Judging by the amount of interest already shown in the project by artists and producers, bookings should be plentiful.

MARTIN IN THE USSR

London based rental company ACS recently supplied the hardware for The Nolan Sisters' tour of Russia.

Keith Davis, Manager of ACS, explained that this was the first time the Martin RS 1200 was used in the USSR — using 12 Martin RS 1200 Compact Systems, backed up by 10 Martin LE200 Wedge monitors.

Normally the 1200s would be flown but on this tour the units were placed on stage.

No such space problems in Tel Aviv where Martin has just completed design of what is possibly the world's largest disco — built to accommodate 5,000 people.

The system was designed for a mixture of power, clarity and coverage and is driven from 11 Crown Amcron MT 1200 power amps. On each side of the stage and dance floor are four Martin RS1202H Mid-Hi packs. Each contains a Martin M1230 mid-range driver, JBL/Martin horn unit, and twin JBL 2402H tweeters.

Two more RS1202Hs are flown above centre stage, while two Martin VPS800 cabinets are flown from each side of the stage.

The bass sound is supplied by three Martin S2 sub bass units, a modular bin used in blocks of four on each side. This forms a giant optimised horn having a mouth area over four metres square, a flat response to 30Hz and power handling in excess of 3,600W.

QUEEN GO INDEPENDENT

Queen's simulcast broadcast at the end of October on Channel 4 and the Independent Radio Network was one of the biggest live music exercises ever.

Tyne Tees TV employed 13 camera crews to film the event inside Wembley Stadium, with another mounted in a helicopter.

Every independent radio station in the country had been equipped with a satellite dish to receive the stereo music signal. The broadcast was the first time that all the IR stations had been linked by satellite and the programme marked the first ITV and IR networked simulcast.

NEVE TRANSFER CONSOLE

Neve has announced the development of the DTC-1, a digital audio transfer console for the preparation of master tapes for compact disc.

The DTC-1 is based on the two channel digital console built for London's Tape One Studios. The new unit has three stereo channels, two digital and one analog. This has been designed to allow real time crossfading. It is compatible with both PCM 1610 or AES/EBU standards, sampling at rates of either 44.1kHz or 48kHz.

The DTC-1 has a four band digital EQ section that, reportedly, uses a system of curves ideal to disc mastering needs.

Other features include dynamic controls, limiter/compressor/noise date/expander, which allows vocal stressing or de-essing and stepped trim controls for accurate adjustment of source level. All functions are carried out within the digital domain.

Master tapes can be transported to worldwide mastering facilities through use of Neve's Instant Reset, a snapshot memory linked to SMPTE with storage made on floppy disks. All settings can be instantly restored and up to 200 snapshots per program may be stored and recalled at any time.

JBL IN CONTROL

JBL has introduced the Control 1, a monitor designed to bridge the domestic/professional gap.

It is hoped to find a home in shops, bars, clubs, airport lounges as well as being used as a studio nearfield monitor.

The compact monitor incorporates a 135mm low frequency loudspeaker, 19mm high frequency radiator and high performance dividing network.

A clamp mounting system allows the unit to be attached semi-permanently to a wide range of structures.

JBL deny that at present they will be branching out to compete directly with the NS10 market, but sources reveal that such a move could be on the cards before too long.

AT YOUR SERVICE

Essex based Audio Engineering Services has introduced a number of products that should interest the studio worker.

Perhaps the most interesting is the SX3000, designed for use by producers, studios and musicians involved in drum sound sampling.

The unit contains a dynamics controller which may be used in conjunction with any sampling system (AMS, Fairlight, SX303, Bel etc) to impose the dynamics of the trigger sound. Thus, performance accents may be maintained in the drum track, without compromising the flexibility of the sample process.

The pitch of the sample can be varied over a wide range without its length being altered. This is achieved through a precision multiplier circuit. As it is not a harmoniser-type circuit it is glitch free and operates over an unrestricted bandwidth.

The unit also includes dynamic control of release time and pitch shift in order to accurately simulate real percussion characteristics. A trigger output based on the SX303 design is provided to control other processors or the sampling device itself.

The company has also introduced the SX303R, a 19" rack mounting remote that allows the Roland SDE3000 delay to operate as a sampler with 2.25 seconds recording at 17kHz.

Also, AES has introduced the MR256, an expansion memory board for the Roland SDE3000. The unit is a plug-in replacement for the Roland RAM PCB — but with four times as much memory. Used in conjunction with the SX303 this allows nine seconds of sampling at 17kHz or 18 seconds at reduced bandwidth.

APHEX LOOK TO DOMINATE

Marvin Caesar, President of Aphex, recently paid a flying visit to the UK to examine how his products are establishing themselves in the broadcast and professional recording markets.

His Compellor, Dominator and aural exciter products feature in many UK studios; although he admits to receiving some reservations. "Why should I buy a compressor I can't hear?" is a question often fired at him when discussing the Compellor with prospective customers. Caesar's riposte is to describe mixing a piece of music where the backing vocals fade unpredictably into the lead, making it impossible to ride the faders perfectly. By keeping the Compellor on the sub-mix it keeps the levels constant, giving the producer time to worry about other things.

Now his 12 year old company is to introduce a Stereo Generator at the LA AES, and a single channel aural exciter at NAM in January. This latter unit intended for use by musicians, will be pitched at around £150.

CELL BUY LAKES

That idiosyncratic studio, The Padded Cell, now has a pair of Westlake monitors suspended over the desk. Like some of the other features in the studio the monitor supports are an in-house construction.

Padded Cell attribute its current heavy bookings to the design of the live room. Apparently, the open faced brickwork and inset iron bars make an ideal environment for recording "live" drums.

LORD RAISES ROOF

Producer David Lord has already raised the roof in his Crescent Studios, Bath. Lord, who's production work includes Peter Gabriel, Icehouse and XTC, has fitted a new roof to the recording area. The result has been increased live ambience in the stone walled room.

However, the local council is threatening to build a new road destroying the studio and its 18th century setting. Lord, keeping his options open, is now in consultation with Munro Associates about building a new facility. Meanwhile, it's business as normal with recent clients including Latin Quarter and Stranglers' guitarist Hugh Cornwell.

BREAKAWAY WITH AKG

AKG is offering two days' free holiday accommodation to all purchasers of one of five selected microphones or five hi-fi headphones from its current range.

The promotion period lasts until the end of January 1987, relates to major catalogue products and operates for each individual purchase.

Holidays can be taken in a list of over 400 approved hotels in the UK, France, Belgium, Spain, Germany, Holland and Luxembourg.

Products included in the offer can be identified by a Holiday Breakaway sticker.

AKG has also recently introduced the AKG C410 condenser microphone, especially designed for vocal use. It weighs 25.5 grams and is mounted on a ultra-lightweight headboom.

Intended for both live and studio use, the boom has an detachable windscreen which acts as a pop shield.

The mic has a frequency range of 20Hz-20,000kHz and an impedance of 300 ohms.

LINFORD MANOR

A new 32 track residential studio is to open in the new year just outside Milton Keynes.

Set in an 18th century manor house Great Linford Manor Studios has cost £2½ million to develop and has been equipped with a Mitsubishi X-850 digital tape recorder and X86 two track mastering machine.

The man behind the studio is Harry Maloney who financed the project through his own company Harry Maloney Management Ltd, and partly through the City.

The studio will admit its first clients in January, and there are plans to build a second studio/theatre capable of accommodating up to 200 people.

MUSIC OF THE SPHERES

Traditionally not a rock venue, the London Planetarium recently hosted an attempt to combine synthesised music, lasers and lights in an evening promoted by AMP records and Akai Professional.

A Teac A3440 was used to record a stereo mix of three of AMP's artists to start the show. Using the Planetarium's custom built "Manchester" code generator, a stream of data (or cues) was recorded on track three, sending patching signals to both of the lasers (a one watt Crypton Ion and a five watt Argon) enabling complex laser shapes and patterns to be set up in advance, which were tightly synchronised to the music.

Live music followed from Steve Jolliffe (DX7, flute, sax and backing track on Sony PCM 701) and Neuronium, featuring Michel Huygen on synthesisers and samplers and Same Pico on guitar synth. Both acts sent a mixed stereo feed to the house PA which comprises eight Martin wedges with 15" Gauss drivers and four Martin 18" bass bins, arranged in four stacks. Powered by Hill and HH amps, the sound is fed through an 8 into 2 Teac, into White third octave equalisers for any corrective treatment deemed necessary.

The laser operator Mark Sutton-Vane accompanied both live acts with some "live" displays of complex shapes and forms, generated by the lasers and Zeiss star projector. As both acts music is somewhat ethereal in nature, the result was a good mix of sound and light, staged in an unusual environment.

FAST TAKES

• Trident has recently established a management company for engineers called Kick Off Management. Brian Reza, who has managed Pete Collins and Peter Waterman in the past, now handles the careers of engineer/producer Bert Bevans and Trident Director Stevan Stuart-Short. There are currently another four engineers on the books and these are handled by Ros Earls. The company say they offer "a wide spectrum of engineering styles and talents" for both in-house and freelance work. They may change the company name to Trident Management, and look after the affairs of musicians as well engineers in the future.

• SAV Studios, which offers 40 track and 24 track recording, has formed a partnership with Big Ears Music. As Big Ears is a production and publishing company, the union is intended to provide a high level of support and technical resources for in-house artistes.

• Having gone 24 track last year, Woodcray Studio in Berkshire is now offering accommodation for up to six people. The facility has an MCI 636 automated console, Otari 24 track and half inch machines, plus a comprehensive list of equipment included in its basic rate.

• PUK has now opened Studio B. In order to cater for as many clients as possible, a completely new selection of equipment has been chosen to that featured in Studio 1. Where Studio A has two Mitsubishi X-850s, Studio B has no less than three Sony 3324 machines — giving 72 digital tracks. A 56 channel SSL 4064 offers an alternative to the Calrec UA-8000 in Studio A. Each studio has its own Fairlight Series III, which owner John Quist describes as the 'ultimate sampling and sequencing tool'.

• Paradise Studios has included a Fairlight Series III as part of a second anniversary update. The old Series II is being retained and the two can be MIDId together. Audio Kinetics Mastermix automation has been fitted to its Amek console and other additions include increased outboard equipment and an Oberheim Xpander.

• Engineer Gerry Kitchingham (cover June issue) has been busy of late. Having flown to Australia to complete three A-Ha tracks during a break in their tour, he is back at RG Jones, working with producer Alan Tarney on a Cliff Richard album.

• Bowen Broadcast Hire has recently accompanied Depeche Mode on a European tour. Audiences at 14 concerts were treated to 300 square feet of television display above the stage and a selection of the recorded material has been screened on BBC's Whistle Test.

• HHB Hire and Sales are to move premises as from November 3. Its new address will be (Contact Details).

• Dod has introduced the Pitchrider 7000 MK II, a pitch recognition device for guitarists that will recognise, assimilate and translate an electric guitar signal, via MIDI, so that it may control MIDI based compatible devices such as drum machines, sequencers and synthesisers.

Contact: Rhino Distribution. (Contact Details).

• Downbeat is the self-depreciating name given to a new London music store. The shop covers two floors, one given over to guitar orientated products and the other divided between drum and percussion products, used tape decks, mics, desks, loudspeakers, effects racks and assorted recording gear.

Contact: Pete Randall, Downbeat Music, (Contact Details).

• A free update of software has been issued to all existing customers of Audio Kinetics Eclipse system. It allows a more comprehensive loop editing mode, recall and event listings.

Two more UK dealers have been set up to distribute and promote the company's Pacer synchroniser. These are: KGM Studio Specialist, (Contact Details); Samuelson Video Equipment Sales, (Contact Details).

• Dates for this year's Roland Road Show (now named The Tommy Snyder Tour '86 and co-sponsored by Roland and Toa) have been confirmed.

They are:
Newcastle, November 10. The Crest Hotel, New Bridge Street; Edinburgh, November 11, Liberty's Greenside House, 25 Greenside Place; Manchester, November 12; A1 Music, 88 Oxford Street; Birmingham, November 16, Portland Club, 100 Icknield Port Road, Edgbaston; London, November 14, The Logan Hall, 20 Bedford Way, WC1. All shows start at 8pm. A master class will take place at the end of the tour and feature Snyder and drum teacher Francis Serieu at Ronnie Scott's Club, 47 Frith Street, London W1 on November 15, at 3pm.

Admission is £3 or £1 to the unwaged and MU members for tour dates. The Ronnie Scotts' gig starts at 3pm, and entry will cost £5.

• FD&H Music, has recently completed an extensive refurbishment of its premises in 1838-1140, Charing Cross Road, London.

FD&H has occupied the site since 1895 and has developed from selling primarily sheet music to become a recognised outlet for musical instruments of all types.