RUNDGREN v MU

Around the time this magazine reaches the news stands Todd Rundgren and his band Utopia will make history as the first group to sue the Musicians Union. They are looking for a reversal of the MU's ruling which bans any foreign musician from appearing on British radio. The band claim that the MU acted illegally in preventing Utopia from broadcasting live on Radio One of the shows they gave at The Venue, London, during December.

Rundgren was the centre attraction at Utopia's press conference to announce their decision to sue on December 21. The other two members of the band present chose to remain silent. Before anyone points the finger and mentions publicity stunts it must be said that half the journalists at the conference had been chasing Todd for a week to do interviews and he'd turned them all down.

To me the question appears to be: Does the fact that British musicians can broadcast carte blanche on radio in America have any relationship to the fact that, due to the acute shortage of airtime available, the Musicians Union find it necessary to ban all foreign musicians performing on British radio?

The episode began when Utopia and Eric Gardner, the band's manager, conceived the idea of appearing in Europe. This was ten weeks prior to the appearances at The Venue, which took place between December 15 and 21. There was a limited amount of time available as the band, and in particular Todd, have heavy individual commitments (Rundgren for instance produced Tom Robinson's forthcoming album while in England). They decided to find an intimate venue. Utopia have been touring America where they choose to play several appearances at one venue — smaller than the vast stadiums they could play with Rundgren's substantial drawing power. During each batch of gigs one of the shows would be broadcast live on a local radio station. Todd is a campaigner for live music and is extremely adept in that area of performance.

Eric Gardner then visited the UK to check out Virgin Records' The Venue in Victoria, and decided the room was acceptable. The plan was to utilise fully the television and radio media in order to reach the rest of the UK and Europe. Gardner spoke to several radio and TV companies who, he claims, were keen on the idea and none of them explained to Gardner that problems might arise in obtaining the necessary work permits and exchanges. The band's manager returned to the US for the end of Utopia's tour there. During the second week of November he returned to finalise appearances at The Venue, and at this time he spoke to the band's British record company, WEA Records. All too familiar with dealing with the British Musicians Union they told Gardner he had about as much chance as a snowball in hell in getting live radio time. This is because the MU have had a running battle with BBC radio for years over live broadcast times versus needle time (programmes featuring gramophone records). The MU is continually fighting for more live performance airtime and there would be even fewer opportunities in this area were it not for their efforts. Their policy is to not allow foreign musicians to encroach on the inadequate time available. However to Gardner and Utopia who have become accustomed to live radio broadcasting as an integral part of the presentation of their music, the situation appeared ludicrous. Gardner voiced his feelings at the press conference in London on December 21.

'The situation is absurd. British musicians in the US have a free rein, requiring absolutely no permission whatsoever, and can broadcast live from any American city and do as many media appearances as they wish or as the media will absorb. I saw inequity there so I reported the situation back to the band. They also found it inequitable. We had a meeting to decide what could be done and we are now taking action against the (British) Musicians Union.'

The tinderbox of the situation was to be a lunchtime meeting between Gardner, a representative of the MU (unidentified) and a representative of WEA Records (also unidentified) — but more of that later. The sparks were about to ignite Rundgren's temper which was already close to flashpoint, as he explained: 'Our case is not any different from any other cases. It is historically the way foreign musicians are treated in the UK. I've had experiences of this type since I first came to England which was 12 years ago and attempted to record an album with my first band in the studio. We had no intention of playing any live dates. We were here simply to record an album and felt we would get the studio sound that we wanted, something like that. In any case I can't see how that conceivably prevents a British musician from working, by us utilising studio time. Except that to the point that the studios are so well booked that we'd be preventing them getting in the studio.

'I have to say that none of us in the band are legal experts in this. This (legal action) is from our point of view a moralistic question and a legal avenue which we will take simply to be one that brings relief. Whatever is necessary, we are just trying to make things as equitable here as they are in the United States. A British musician can come to the US and has free license to perform. And there is a charade that there is some sort of arrangement between the British MU and the American MU, something to do with exchange of artists. That a British artist has to appear in the US before an American artist can perform in Britain. And historically British artists in the US far outnumber American musicians in the United Kingdom. In reality that's not a viable argument.

'It's always been more or less ironic to me that they make no divisions in the form of music that is being played. For instance popular musicians who very rarely need the so-called protections of the MU, who always make far more money than the established scale, are still constrained to join the union and are still constrained to labour under these particular regulations. As far as I know I have never personally had any use for the Musicians Union.

'There is the so-called generation gap. Most of the people who run the MU were active musicians maybe 20 years ago and are now administrators. And the people who are actually musicians are under the age of 30, the ones that are getting the most money and the most exposure, selling the most records and generally making people the most aware of music at this point.

'This has happened to me before innumerable times and it just reaches a point where you won't take it anymore and you have to try and do something about it. And we intend to pursue this energetically until it reaches a conclusion one way or another. We want this to be evolved one way or the other. What will probably happen if it is not resolved in our favour is that it will be impossible for us to play in this country again. And that's more or less the gamble we are taking at this point.'

At this stage in the press conference Eric Gardner took over to explain Todd's last remark. It relates to the previous meeting of Gardner, a representative of WEA Records (unidentified) and the Musicians Union representative (unidentified), when Gardner still had hopes of thrashing out a solution. While Gardner spoke at the press conference Alexis Grower, who is the legal representative for Utopia in the action against the MU, listened in and occasionally clarified legal points. Gardner continued.

'That's because it was implied in the conversation that I had with the MU that should we take issue on this or more explicitly circumvented the union we could well have gone straight to the radio and TV stations and done it without the MU's permission. It was explicitly stated to me that it would, in the MU's words: Become immeasurably difficult if not impossible for the Labour Department to issue work permits for the band in the future to enter this country. There is some vague connection, which we have yet to define, between the MU and the department within the Labour Ministry which issues work permits for musicians. Am I right, Alexis?'

Grower replied, 'Yes.' Gardner continued, 'We were further informed that should the record company have prior knowledge of our intention to do this, the circumvention that is, that the record company would have its hand slapped by possibly some of its other artists, not just us (Utopia), being granted TV exchanges. You know that each foreign artist is offered two television appearances on an exchange, these would be limited to ITV rather than BBC programmes thus eliminating 90% of the important TV programmes for musicians. And intimidation like that I think is something that has helped preserve the status quo here (UK) for all these years.'

On January 3 WEA Records were unable to identify their representative who was at the lunchtime meeting mentioned. The MU were unable to identify their representative. Alexis Grower was unwilling to divulge the identity of the MU representative.

At the press conference Gardner, Grower and Rundgren had not established all their facts and therefore certain issues discussed were clouded. It later transpired that, had the appropriate exchange and work permit documents been arranged in time, neither the MU or the department issuing work permits would have had any objection to Utopia appearing live on TV complete with telecast broadcast via satellite to other countries. The MU claims that Utopia's exchange request did not include requests for anything to be broadcast in any way whatsoever. Gardner also admitted that he had left it too late to book a satellite. Apparently there are not any spare ones floating about up there. When I spoke to Alexis Grower on the telephone on January 3 he stated that the proposed action would now only relate to the question of foreign musicians appearing on British radio live or pre-recorded. He said a live satellite broadcast would be affected because of a necessary radio link-up. I was unable to verify this as there are so many variable factors depending on the countries to which the telecast might be beamed.

Also on January 3 MU officials were reluctant to comment. I spoke to Jack Stoddart, Assistant Secretary at the National Office of the Musicians Union. When I told him of a reluctance to comment he agreed to answer some questions, although stating that he regarded the whole question as a non-event. At that time he had heard nothing from Alexis Grower.

'So far as the MU is concerned there is no difference between a live broadcast and a live concert, and a studio-recorded television broadcast. If we are able to approve a TV broadcast we don't care if it's live or a studio performance.'

And American musicians cannot perform live on British radio? 'Neither live nor delayed.'

But they have broadcast both live and pre-recorded on stereo BBC Radio One in conjunction with The Old Grey Whistle Test on television. 'Well, that is exceptional. The exchange arrangements which we have with the American Federation of Musicians which are the arrangements which make it possible for American musicians and groups to work in this country — and that is something which Todd Rundgren seems to forget — facilitate visits, they don't prevent them. The exchange arrangements that we're out to approve are intended for live performances. Now that's what Todd Rundgren came over and did. And he did so because we were able to approve an exchange.

'We also approve, as an addition to a live tour or series of live performances, a maximum of two television appearances and that is in exchange for the same number of television appearances in the States for the British band that is in that exchange. We don't extend those additional things, remembering that the original concept is for live performance anyway, to radio broadcasting. That's really all there is to it. The philosophy or reason behind that is that there is too little radio work for British musicians.'

Would Jack say that as long as that is the case the MU's position must be maintained? 'That's right.'

I tried a couple of questions about this situation possibly changing to give sufficient time to allow the Americans or other foreign musicians to broadcast on radio. Stoddart fairly commented that he did not see the point of hypothetical discussion which might be seen as reaction to Rundgren's press conference. But he went on-to say: I can see no change ahead. I do not think policy is going to be changed by lawyers issuing writs or whatever because that shows a misunderstanding of what the position is. We don't determine what work they (visiting foreign musicians) will do. The Department of Employment decides if work permits will be granted at all. We respond to their requests for advice, or if we get the stuff first we write to the DOE and say we've had an acceptable exchange put to us. The Department of Employment decides if they are granted or not. You're going along the same track again of saying there might at some time in the future be a position where we say we've got sufficient work in broadcasting and we don't mind who else gets some of it. All the broadcasting in this country, resident musicians are entitled to it all because this is the place where they are entitled to work.'

And how do the MU react to the fact that British musicians have virtually complete freedom to broadcast in the States? 'The radio broadcasting arrangements in America are entirely different and they've changed here in recent years, of course. Because of local BBC radio and local commercial radio. But broadly the situation started when there was only one radio broadcaster and that was the BBC. But that isn't really anything to do with it, if the AFM don't mind some broadcasting over there then that is their business. Those broadcasts are not part of the approved exchanges but that's up to them. As it happens that work for Todd Rundgren was for half a dozen concerts at The Venue. That is what we were asked to approve, that is what I did approve and that is what the work permits from the DOE granted and nothing more. It would have been illegal for them to do any more.' Ralph Denyer

Watch SI's News pages for further developments.

Ultimate Speaker Support

Ultimate Support Systems of Colorado have come up with a clever instant speaker stand. The stand is light and portable, and will support a 300lb enclosure. Yet it weighs in at a mere 12lb. Apparently the design utilises hang-glider construction-techniques developed by USS' Darrell Schoenig. The device takes as little as two minutes to set up, using spring locking clamps and simple fasteners to avoid complications. Two height settings and the possibility of tilting the speakers add to system flexibility. The device will carry both wide and narrow enclosures, the only mods to cabinets that are required being some small 2in square brackets. The supports come in pairs, in a strong waterproof nylon carrying bag.

Further details from: Ultimate Support Systems, Inc, (Contact Details).

Sounds Mysterious

Oh, yes, what's this mysterious press release that arrives on our desk in the mail? Attached to it is a card inviting us to a 'History-making Event' somewhere in the US. The press release is from the Carver Corporation and announces the release of two audio devices that sound as if they'll revolutionise, er... something or other, pretty soon. Bob Carver is the man behind the developments; his name may ring bells with those who are acquainted with the Phase Linear breed of power amps. Bob has sold off his interest in Phase Linear and set up this new company to exploit, initially, two of his new inventions. One sounds very interesting, the other we shall have to hear to believe.

Interesting is the 200W RMS/Channel power amp, which does not use conventional power supplies (no bulky transformers and electrolytic capacitors) or output stages (no bulky heat-sinks). It weighs 12lb, costs $300, and is a mere 6¾in-sided cube. It apparently sounds good, too (just as well, really; not much good if it didn't!). The release is careful to reveal no more than snippets of how it's done. Like the snippet that says that just as you can store energy in a capacitor, you can store it in an inductor. And the name of the beast (no 666 connection), which is the Carver M400 Magnetic Field Amplifier.

Hmm... Magnetic Field Amplifier... magnetic amplifiers in general, muses a writer in our US counterpart Modern Recording when faced with the same problem, 'have been confined to line-frequency applications and control — not to audio amps'. That's because they're a bit narrowband. Carver claims that his device is flat from DC to... well, it could amplify something down the end of the Long Wave radio band — 250kHz — quite happily. And said machine has about 94% efficiency (as compared with good old Class B etc's 60-odd), fast slew-rate of 80V/As (TID? Never heard of it sir), noise level better than -100dB, distortion of 0.05%... fabulous specs indeed. Mind you, I'd like to know how he measured the distortion. I've yet to see a method in general use that tells you anything that correlates to what you 'ear with the ear. I'm sure world distortion expert Mr Otala (quick round of applause) would like to see his method in general use, but it isn't... yet. Never mind; although I didn't like the Phase Linear 'sound' I'll give him the benefit of the doubt until I hear one (soon, please!).

In the meantime one is moved to hypothesise on how he's done it. No big mains transformers and electrolytics.., hmm. A power supply could be constructed based around a high-power oscillator running at a few hundred kilohertz: then you'd need a very small transformer, probably air-cored, a few turns on each side (it's several volts-per-turn up at those frequencies), and a few pF for smoothing. Neat and small. Switching-mode power-supplies work this way and the only area in which they haven't yet appeared is audio (your Sony TV probably has one). The amp itself uses FETs everywhere except in the output stage, which is high-speed silicon trannies. That sounds like a good idea — the FETs that is — but how to use transistors at high power with no heatsinks, running at little more than room temperature... ? Is this the return of Class D, with pulse position modulation and switching transistors? That would offer a high efficiency... yes, until you stuffed it through a low-pass filter on the output to get rid of all the super-audio switching spikes and things. And besides, hardly a 'magnetic amplifier'. So what is the secret? Patents are applied for, so I hope we'll soon see-and hear.

The other device is the Sonic Hologram Generator Pre-Amp, model C4000. You can guess what that's supposed to do. It uses 'Audio Holography To Project A Three Dimensional Audio Image Retaining The Sonic Quality Of Life' it says here, and that put me off for a start. The press release draws parallels between laser holography and the pre-amp... I think not. Digging deeper into the blurb (and into Modern Recording again) we discover that the unit requires, in addition to the main stereo speakers, 'some five or six very tiny transducers (smaller than a fist), capable of reproducing frequencies over a limited bandwidth from 200Hz on upwards...', to bring the sound out into the room. The blurb reveals that the machine uses a time-delay system, plus some kind of dynamic noise-reduction and an expander, plus a lot of facilities of the switching and tone control variety.

Carver reckons that best results will appear if the material played is specially encoded (aha! Has he rediscovered Ambisonics? Not with all this time-delay stuff I shouldn't think. Besides, there are patents.) but it will give a good effect on ordinary source material. This machine, it says here, '... creates an image that appears to be located precisely where it is beamed with all the credibility of the live originator that first produced the sound.' Oh, yes, I believe that like anything. No disrespect for Mr Carver, but will modern panpotted-mono reproduce in any way other than the string-between-the-speakers it truly is? Coincident-pair and binaural recordings perhaps, but even classical music is recorded in depth-less panpotted-mono these days.

I'm suspicious of this here 'Sonic Hologram' business; I hope a listen will stun me suitably. The amplifier, on the other hand, sounds particularly interesting. Hopefully we'll be able to get hold of a system for review.

In the meantime, further info can be obtained from: Carver Corporation, (Contact Details).

Throwaway line

Leafing nonchalantly through last month's fab ish our eyes (all six of them) were drawn in a not particularly interested way to some ad for Atlantis or some such name, inviting us to 'cut out this page and throw the magazine away'. Well, being a creative lot we weren't gonna let them tell us what to do. So after long, expensive and tiring experiments, we found that cutting out the ad and throwing that away resulted in much more satisfying reactions. But that's just a personal opinion. (Hi Bob.)

Cobham Tama Bash

Billy Cobham extends his endorsement relationship with Tama drums and percussion at a clinic in London on March 2. The clinic has been organised by the Jazz Centre Society and the distributors of Tama in the UK, Summerfield.

The clinic takes place at the Young Vic theatre in The Cut, London SE1 at 2.30pm on Friday March 2. The theatre holds 450 people, so applications for tickets (£1 each) should be made now to the Jazz Centre Society, (Contact Details) enclosing a stamped, addressed envelope. The clinic is expected to last over two hours and will feature Cobham bashing everything Tama, from conventional drums to Octobans and the new Snyper drum synth (see News last month).

MXR On Double Time

The NAMM Winter fair in Anaheim saw the introduction of a new time-delay-based signal processing unit from MXR Innovations. The unit is known as the Flanger/Doubler, and features a time delay of 0.25 to 5ms in Flange mode, and 17.5 to 70ms in Doubling configuration. The unit is instantly switchable between the two effects, and incorporates manual control of delay time, a mix control (dry/processed), sweep controls over both width and speed, and a regen knob for additional depth and special weirdies.

The unit is designed for flanging, 'hard' reverb, and ADT/Chorus-type effects. It is rack-mounting, in common with other MXR Professional Products Group gear, and has instrument-level inputs and outputs on the front-panel, and normal line ins and outs on the back, so it can be used for stage work as well as in the studio. One can also see it being useful for DI work in the studio, with an instrument plugged direct into the front, whilst deriving a line-level output to drive the desk. LEDs indicate sweep, power on and effects in/out. Another useful feature is the incorporation of voltage-control terminals on the back-panel to facilitate stereo patching and external delay control. US list price is S425.00; sounds like a good deal.

MXR Innovations Inc, (Contact Details).
UK: Atlantex Music, (Contact Details) (Throw the rest of the magazine away indeed!).

That's It, Folks

The Sound International/Turnkey Competition has now closed, and it's worth pointing out that we now have the exceedingly lengthy task of judging all the articles you've sent in. We gave them a quick read when they came in, and all several hundred entries were of remarkable quality and made good and interesting reading. So the task will be doubly difficult. But winners will be informed as soon as we've made that decision.

Which means that this is an opportune moment to point out a few things. Firstly, we're arranging a few runners up prizes for those who don't quite qualify for the ministudio. They're a few little devices that will no doubt assist the home recording enthusiast. But most important, the competition has fulfilled our 'secret intention': to encourage you to write for the magazine. The entries have shown that you've got a lot to say that's worth saying in our pages, and indeed, you'll all have the chance of getting into print. Not only will winning entries be published, but many of the other entries received will be published in the coming months and authors will be paid at our usual (excellent) rates. So almost everyone will be a winner in some form.

So don't stop there. You've entered the competition — or maybe you haven't — but we're still more than pleased to open our pages to you, the readers. If you've got something to say, you can say it here, whether it's via a letter or an article. So thanks, from us to everyone who's contributed to SI over the past issues; we hope to be hearing from you again.

Copying Copy

Elsewhere in this issue you can read an interesting piece on Virgin's new London-based studio, Town House. Just as we were tying up these News pages we heard from Chris Blake, manager of Virgin's tape copying section, that his activities will now be based at the Town House (and have been from January 1 in fact). Chris will continue to handle tape copying, while Tony Cousins will look after the cassette variety. The department will re-equip this month, roping in some Ampex ATR machines and Aiwa 3-head cassette decks to replace and update existing equipment.

Virgin Tape Copying, Town House Studios, (Contact Details).