Hello. This is Joe Martinson and onceagain I believe I have something excitingto share with you. The sound of success.Yours. We are absolutely committed togreat sonics and transparent, unique facil-ities. This is why we are continuing theNeotek console line, in particular the Élite,Élan, Encore and Essence desks. We thinkthe Élite with the Audiomate moving fadersystem has no parallel as a music andproduction console. We have one of thelatest deliveries showing at the 1997 AESshow in New York. This 40 channel Éliteis the second Élite purchased by TropicalBrain in Puerto Rico. Another Élite,featuring our MIDI Direct System and theMultiFormat Monitor Module, has justshipped to Jean Malfroy in Paris.

The ADR Pro System, including theEssence console with AIP Panel, ADRControl Pro, ADR Spotting Pro andsundry peripherals, is the only completesolution for ADR and Foley (Effects Lay-up, too). Essence deliveries for this yearinclude 20th Century Fox (3), Soundelux,EFX (a TEC Award winner), and BejingFilm Studio. (See page 3)

The Encore has the features of filmdubbing boards selling for twice theEncore price. It’s proven performancetells most of the story (West Productions’Emmy’s for the X-files- Zentropa’ssuccess with Breaking the Waves). Wehave new consoles in Athens atCinemagic, and in Bombay with AnandRecording Studios. And West Productionsrecently upgraded their board to 5.1

channel monitoring.

We have gotten an especially goodresponse to the Adrian Belew ads for theÉlan and this is still a good alternative forthe more budget minded project studioslooking to become pro facility’s.

We also are introducing the NeotekMAX line of signal processing. TheMicMAX (a stereo mic pre based on theÉlite) and the MultiMAX, a rack mountversion of our MultiFormat MonitorSystem, are the first in this series. (See page 2)

The MSS-10 from our Martech line isthe premier piece in our striving for sonicexcellence. The reviews have beenuniformly raves. The current issues of EQand Music Connection are typical of thereaction we’ve had. Studio Sound’s June‘97 issue not only had nothing but good to

say about it, they featured it on the cover(as will the Nov. Pro Audio Review). Ittruly allows you to hear what yourmicrophone hears.

Our unique solutions help build your success.

Inside This Issue

New Ideas in Recording from Martinsound Fall 1997

Continued on page 11

Beyond Stereo: Mixing for Surround . . 2

The ADR Solution . . . . . . . . . . . . . . . . . . 3

Realism versus accuracy in audio . . . . 4

The meaning of value . . . . . . . . . . . . . . 5

Are you ready for automation? . . . . . . 6

Standard for reverbs . . . . . . . . . . . . . . 7

And now something... . . . . . . . . . . . . . . 8

Final checkout for 32 channel Encore with Audiomate headed for Cinemagic in Athens.

By Craig ConnallyIn the last issue I wrote about why you

might be concerned about producingsurround sound material, even if you arequite happy to be working in mono now. Ipointed out that it is not just facilitiesproducing sound for cinema release thatneed to think about surround sound;anyone producing sound these days, nomatter how far down the food chain, willneed to confront surround sound issuessooner or later. My bet is that it will besooner, and that’s why I designedNeotek’s MultiFormat Monitor controllerI wanted to give every studio anaffordable means of dealing withsurround sound monitoring so that theycould put out material with confidencethat it would play properly in surroundformats.

In this issue I’d like to point outwhy you will have to deal withsurround sound audio even if youdon’t produce it yourself. I’ll explainhow surround sound can creep into yourfacility from a number of unexpectedsources. You’ll need some insight into theprocess as well as a proper monitoringenvironment if you want to be sure you’renot making big blunders.

Later I’ll mention the new multi-speaker formats and discuss some newfeatures of Neotek’s MultiFormatMonitor controller, which we callMultiMAX, that are designed to keep youon top of this additional complexity.

Last issue I mentioned the problem ofproducing music that doesn’t collapse tomono when played through the Dolby 4-2-4 process (that is: recorded in LCRS,matrixed to 2-channel LtRt, and thendecoded back to LCRS). Typical solutionsinvolve adding a few milliseconds of

delay to part of the signal and then add itback, perhaps with inverted polarity. Youcan also use MS microphone techniques,stereo enhancers, and stereo reverbs.

But what if you didn’t record thematerial? What if it just shows up and youdon’t have any idea how it was produced?In the best of all worlds you’ll have timeto listen to the material. In the bad olddays you’d just put it up on stereospeakers and do an occasional mono sumcheck, maybe throw a phase meter orëscope across it if you’re lucky, and that’dbe adequate.

That was then. These days you can becertain that somewhere, somehow, almostevery piece of audio can end up passingthrough a Dolby decoder (even 5.1material, as I’ll discuss later). People tendto leave the ProLogic decoders in theirTVs and stereos turned on all the time.And the higher their income, the moreexpensive their system, and the morelikely it will be that they hear it insurround. Think: THE PRODUCER!

Here’s an example of where you caneasily go wrong. Let’s say you are editingin backgrounds. The tracks can be music,

applause, or ambience, you don’t knowhow they were recorded or indeed if allthe material was recorded the same way.If you’re monitoring in stereo with monochecks it could all sound fine. Playedback in surround through a ProLogicdecoder, the situation may be quitedifferent. One section recorded in monocompatible stereo will put the ambiencesolidly in the center, the next sectionrecorded with surround componentssuddenly fills the room when decoded. Ifyou are building your backgrounds fromseveral sources in this way, the final effectcan be bizarre. Your lead may stayconstantly in the center while thebackgrounds shift from solid front andcenter to room filling surround. Yeteverything sounds fine in stereo.

How can this happen? Why does some“surround” material have very littlesurround information and other“stereo” material play back in full

surround? The answer lies in theencoding process itself.

The encoding process used in Dolbysurround is basically pretty simple (thedecoding process is not). The Lt signal ismade up by adding L plus C (3dB down)and S (3dB down and out of phase). Rt isthe same, but with S in phase. This can bestated simply: out of phase material endsup in the surrounds.

This means that panned mono signalswill stay nicely in the LCR front. Dialogor lead will stay in the center speaker,where you want it. The problem is with S,and your problem is that decoders can’ttell your stereo material with out of phaseinformation from LCRS encoded LtRtmaterial.

Beyond Stereo: Mixing for Surround

Continued on page 7

2

Beyond Stereo: Mixing for Surround

By Joe Martinson

For years, ADR/Foley systems wereone-off kludges constructed by thetechnical staff of the facility usingequipment from a variety of vendors,often requiring a great deal of customengineering. This difficult and sometimespainful process is no longer needed. Youcan now purchase a complete ADR/Foleysolution from just one vendor,Martinsound. The ADR Pro is the onlycomplete state of the art ADR/Foleysystem. It features the Neotek Essence IIADR console, the Martinsound ADRControlPro computer system with the AIPPro automated monitor and trackselection panel. No other ADR solutionwill reduce the high level of stress causedby tight schedules and demanding talentthe way the Martinsound system does.

Essence II ADR Console

The Essence II ADR console fromNeotek, a Martinsound company since1996, is the key part of the ADR Pro

system. This is the only console inproduction that has been designed fromthe ground up to meet the mostdemanding ADR/Foley requirement. Forexample, the input and monitor functions

are split into separate modules, allowingthe customer to configure the console tohis specific recording and monitoringrequirements. In addition, the Essence hasADR/Foley features found in no otherconsole, like LCRS Monitoring, AuxSoloing and a special Listen Bus.

You don’t need to sacrifice sound toget the bells and whistles with the NeotekEssence II ADR console. For over 25years, production, post, film and musicengineers have enjoyed the famousNeotek sonic quality. Essence consolesare found in leading post and film housesworld wide including Warner Hollywoodand Burbank, 20th Century Fox andToddAO.

Control Pro Computer System

Another featured part of the ADR Prosystem is the Control Pro ADR computersystem. Originally developed and sold byLarTec to facilities like Disney, Universal,LucasFilm, Fox and Warner Bros., theControl Pro has set the standard for easeof use. This advanced controller integratesand automates all aspects of theADR/Foley session. When a track isarmed to record, the associated monitorchannel on the console turns on. Ahead,In and Past audio switching is controlledwith edit point automation along withauto record in and out. The custom

keyboard allows full motion control,locate and cycle points and many otherfeatures.

The Control Pro also controls theprotection tape and automatically createsthe session logs. Working with the JSK or

other motion controller, the system cancontrol and arm almost any type ofrecording system including tapemachines, digital dubbers, mag recorders,workstations and multichannel digitaltape units like the DA88.

The Control Pro also works with theaward-winning SpottingPro software andTime Pro SMPTE reader. This pre-session system is a dialog editor’s dream.Used with the Control Pro, this producttruly automates Automated Dialog

The ADRSolution

3

Continued on page 10

To continue receiving Audio Horizons, you must return the form on page 12.

Neotek Essence II ADR Console.

AIP Pro.

ADR Control Pro.

4

A few years ago, a pro audio companyknown for manufacturing exceptionallyaccurate devices introduced a newproduct. It was a unique product in that ithad parallel signal paths. One path wastube while the other was solid stateelectronics. The company stated that bothsignal paths were extremely accurate, butthey sounded different. It was up to theësubjective judgment’ of the user whichpath was preferred, though bothrepresented the highest degree ofaccuracy. This leads to the question,“What do we mean by accurate?”

accurate adj.1. Conforming exactly to fact;

errorless.2. Deviating only slightly or within

acceptable limits from a standard.3. Capable of providing a correct

reading or measurementThe definition of accurate exudes

scientific analysis. It infers that for adevice to be accurate it must conform tostrict test bench procedures and standards.Notice though that it does not address thevariables that occur outside of thestandards met. Two different pieces ofequipment may have identical specs, butwhile one may sound quite extraordinarythe other may sound quite poor. Yet bothpieces are accurate!

A better word for the audio enthusiastto use in describing his or her goals inrecording might be ërealism’. Whendigital audio arrived, the manufacturersstated how accurate it was. Nobodyquestioned the accuracy of digital, but itseemed that most audio professionals hada problem with its sound quality. Nowlook at how digital has matured andimproved in the way that it crunchesaudio into 1s and 0s and back again, butits specs are still the same. Meanwhile,recent experimental recordings using 24bit samples and 96kHz sample rates (andeven higher) are receiving accolades for

the phenomenal realism they present.

realistic adj.1. Tending to or expressing an aware-

ness of things as they really are.2. An inclination toward literal truth

and pragmatism.3. Of or relating to the representation

of objects, actions, or socialconditions as they actually are.

Nuance, detail, and image are just afew of the issues that fall out of the realmof accuracy and into the realm of realism.Specs do not inform you whether a piece

of equipment will pass these subtleties.Yet how often is equalization used tomake up for inadequacies in these areas.Wouldn’t a mix be better if these oft-overlooked items did not disappear in thefirst place?

At Martech, accuracy is imperative,but realism is foremost. Our primary goalis to design and build tools that allow you,the listener, to reproduce the source asnaturally and realistically as possible. TheMartech MSS-10 Mic Pre strictly adheresto this concept. We think that theinclusion of “color” in a sound should bethe prerogative of the engineer, notsomething that is forced upon him or her,therefore the MSS-10 is “colorless”,allowing the engineer to choose micsbased on their desired characteristics.Also, we believe that “colorless” does notmean sterile. Sterile means unable toproduce or lacking vitality. If anything,the MSS-10 is the antithesis of sterility.Many engineers are shocked at the size ofthe bottom end, the clarity of themidrange, and the silkiness of the highs.We designed the MSS-10 to be naturalsounding, to put you as close as possibleto reality. What you hear through it is asbig as life itself.

The MSS-10 Mic Pre represents yearsof critical listening and R&D intoelectronic components, amplifier

topology, and custom transformers. TheMSS-10 is the foundation of the ModularStudio Series, providing uncoloredamplification at the most critical stage. Itsunique transformer, discrete non-invertingamplifiers, and capacitor-less main signalpath assure you the finest amplificationpossible. Preconditioned silver switchesare featured throughout, and all internalwiring is hard wired to avoid thedegradation of connectors. A flexible,minimal signal path allows you toconfigure and use the MSS-10 for yoursituation. The MSS-20 Equalizer will

follow shortly, providing natural, musicalsounding equalization. Also underdevelopment is the MSS-30 Compressor.The main signal path of the MSS-20 andMSS-30 will use the same amplifiers andcapacitor-less signal path as the MSS-10,carrying its tradition of natural sound withprofound realism.

With the current avalanche of homerecording, it takes real magic to make apiece of music stand out as legendary.Whether it be a haunting melody,thoughtful lyrics, the sonority of a classicmusical instrument, or the performance ofa virtuoso, our goal is to realisticallycapture that moment and make itavailable for generations to come. TheMSS-10 is built to embrace that legendarypoint of time, not impinge upon it. Doyou really want to trust your music toanything less?

Martech understands that only youropinion counts when purchasingequipment. That is why we are invitingyou to judge for yourself the realismattainable with the MSS-10. We’re socertain that you will hear the difference,that we give a no questions asked 60-daymoney back guarantee. If you want tohear what you’ve been missing from yourmusic, give us a call today at 1 (800) 582-3555.

Realism Versus Accuracy In AudioBy Shawn Micheal

5

By Craig ConnallyNeotek's …lite consoles have stood the

test of time. Although they haveundergone continuous evolution sincetheir introduction a dozen years ago, thebasic system, circuits, and constructionhave proven themselves all over theworld-from top post houses in Hollywoodto broadcast trucks in Romania.

This fact was brought home by arecent order for a second console forTropical Brain, a leading studio in PuertoRico. Five years ago they installed theirfirst …lite and their business began togrow. Their console had held up,produced great sounding products, andhas shown the flexibility to accommodateunforeseen demands of changing marketsas they and their business model adapted.Now they are ready for another …lite,this time with Audiomate moving faderautomation. Tropical Brain is looking toongoing success, and they know theirNeotek console will put out high qualityproduct without loading them with debt.

A similar story is that of Sugar HillRecording in Texas. They built theirbusiness on a Neotek Series III, thepredecessor of the …lite. They grew, theirconsole supported their growth, and nowthey're ready for a new …lite.

There are lots of stories like this aboutNeotek consoles; because we built themthat way. But when you think of classicaudio products, you generally don't thinkof mid-range consoles. They're generallybuilt to a price, with flimsy construction,under-rated caps, and short-life pots.

Neotek, however, has never skimped inthese areas with the result that our oldestdesigns are still in use. For example, SteveAlbini can certainly afford whateverconsole he wants, but he chooses a vintageNeotek console for his personal studio.

To give you real value, a console mustfirst produce high quality sound. Forgetthe bells and whistles. When your clientswalk away with their product they justcare that it sounds great, they don't carehow it got that way. Neotek consoleowners have gotten used to masteringfacilities asking, "Wow, what'd you dothat on? A Neotek? Yeah, it figures." Nexta console needs to be flexible, yet easy tooperate. That way you can do yourartistry without fighting with theequipment. Neotek pioneered DualChannel architecture, a console systemthat has found its way into just aboutevery other manufacturer's line. It's thebasis of today's …lite, and tomorrow's,too, for that matter. And finally, a consolemust be built to keep on producing yearafter year, so you can grow your business,pay off your equipment, and some daygive us a call about a new Neotek. That'sthe true meaning of value, and that's whatyou'll find in a Neotek …lite.

MicMAX makes the sceneThe first new product produced by

Neotek's design team after the move toCalifornia will be shown at the New YorkAES show. It's MAX, or more specificallyMicMAX. MicMAX is a dual micpreamp which can best be described asthe …lite microphone preamplifier on

steroids-as if it were designed without theeconomic and physical size constraintsrequired in consoles. We think it's prettyspecial.

The architecture of MicMAX isunique: it's balanced from input to output(there's also an unbalanced output, if youneed it). MAX is made with discretetransistors and special high voltage,audiophile opamps. The benefit is that theoutput will hit +30dBu with less than.001% THD. MAX has incredibleheadroom, so if there's clipping in yoursystem, it won't be because of MAX.

MicMAX also has exceptionally lownoise, so the dynamic range is suitable forthe most pristine 24-bit recording.

A professional preamp demandsprofessional features, and MAX has themin spades. It has a subsonic filter thatswitches to a conventional high pass; apolarity inversion switch to make it easyto control multiple mics on an ensemble;input impedance that's switchable to 500,1500, or 10,000 ohms to cater to yourfinest mics, be they ribbons orcondensers, with or without transformers;an output ground lift switch; and ofcourse, MAX has a beefy phantom powersupply. You'll like the front panel bargraphmeter, which lets you check proper gainfrom across a room.

Gain is controlled by nudge buttons in5dB increments, with a 2-digit readout,plus a +/-5dB detented trim pot on anoutput stage. This lets us use hardcontacts to cleanly and precisely set gainin the most critical stage. There are otheraudiophile features as well, like giantpolypropylene caps at the inputs (the onlycaps in the signal path, because we useDC servos elsewhere), special 1%resistors, and toroidal power transformersfeeding six regulated supplies.

So, the big question is, how does itsound? Beta testers have been universallyenthusiastic when they compared it totheir favorite units. Dead flat, crystalclear, and with that warm, extendedNeotek sound. We're building up anotherbunch of units for final testing and UL/CEapprovals. Now's the time to call us aboutgetting one for yourself. Cost? MSRP willbe about $1200.

The meaning of value.

56 channel Élite at Stardog Studios in Austin, Texas.

To continue receiving Audio Horizons, you must return the form on page 12.

6

Do you find yourself inviting the bandinto the control room to help you mixbecause suddenly two hands are just notenough? Are you losing valuable mixingbusiness to a competing studio? It’s timeto think about fader automation!

There are two basic types of faderautomation. One memorizes the movementsof each fader and uses the information tocontrol the gain of a VCA. The other type ofsystem uses the same information to controla motor that moves the fader.

So which type of system should youchoose? The one thing to keep in mindwhen making your decision is that theautomation system should be astransparent as possible, in terms of both

sound and ergonomics.

For most engineers, noise is a majorconcern. Despite the advances in VCAtechnology, they can still introduce noiseand distortion. Older equipment can beespecially problematic. One VCA mightgo unnoticed, but when it comes time tomix that two inch tape, imagine howmuch noise twenty-four VCAs willintroduce when you switch on theautomation. And the superiorperformance of the average digitalmultitrack machine will make that noiseeven more apparent. Don’t forget, too,that you may be adding even more VCAsto the signal path if you are using signalprocessors like compressors and gates.

The automation system should be amixing aid, allowing the mix engineer todo his job without distractions. With aVCA automation system, the position of

the fader on the console is no indicationof the level of the VCA. For example, thememorized level in the automationcomputer that is being sent to the VCAmay be 0dB, yet the fader could be set atñ30dB. That means that the engineer mustlook at the monitor screen continually tovisually check his automated mix levels.

For many, a moving fader system is theonly answer.

And who better to assist in thedevelopment of a moving fader systemthan Martinsound? In 1987 Martinsounddeveloped Flying Faders™, a system thatushered in a new era of consoleautomation. Flying Faders was easy touse, flexible and, above all, reliable. Neve

Electronics licensed the technology andthe exclusive marketing rights and, nearlyten years and hundreds of systems later,Flying Faders is as popular as ever, andfor many is the benchmark by whichother systems are judged.

But not everyone has the budget for aNeve, so for the cost-conscious the tie-inbetween Martinsound and AudiomationLtd. in England finally makes qualitymoving fader technology affordable. TheAudiomate motor fader automationsystem costs less than $500 per channel,and the new budget thirty-two channelsystem package is just $14,000. Thesystem requires an Apple Macintoshcomputer and uses super-smooth, highquality conductive plastic faders withSwiss motors. Audiomate provides 10-bitresolution, giving 1,024 steps from top tobottom of the faders. The software

incorporates a cue list, machine controland comprehensive off-line editingfacilities. The average installation takesjust a couple of days.

One facility that chose moving faderswas Synchronized Sound in Atlanta.When it came time to add another room,studio owner James Klotz installed aNeotek Élan fitted with Audiomate. Staffengineer Dan Schaefer says, “Do I preferVCAs or moving faders? That’s a given. Ilike to see a fader physically move.”

Randy Best, studio manager at thePolyGram Music studios in Nashville,also chose the Audiomate system whenhe decided to add automation to hisNeotek Élite console. Randy has a similar

explanation for his decision: I prefer tohave a visual indication of the levels,without having to constantly refer to acomputer monitor.

If you are worried that an automationsystem might be difficult to learn, DanSchaefer has some reassuring words:“Audiomate is the easiest automation Ihave ever had to learn, and I’ve workedon most of them. It’s super easy.” He addsthat the ergonomics make it easy for userswho are new to the system: “Everythingis really accessible.” Randy Best agrees,noting that visiting engineers quicklylearn the system basics: “I can take myoutside guys through it in ten or fifteenminutes. And outside engineers canconcentrate on the mix without worryingabout the system crashing, because asDan points out, It’s very stable. I’ve neverhad a problem with it.”

Are you ready for

automation?By Steve Harvey

Stewart Levin, composer/arranger, The Practice,Picket Fences, 30Something, “Whenyou’re doing music forTV you can’t postponeTues. It’s got to be rightand it’s got to be on time.The Audiomate systemhelps me keep up withtight schedules.”

7

40 year old designsets standard fordigital reverbs!!!By Reeve Bridges

This tabloid headline is really the truth.The sound of the EMT 140 Echo Plate iswhat all of the digital boxes promise butnever quite deliver. Unfortunately, thegrand old plate is

noisy and doesn’t have much headroom.Enter Martech with a solution offering thebest of both worlds. Quiet as a 20 bitdigital FX unit, +24 dBu input and thegreat sound EMT is known for. Our mainobjective in developing the upgrade wasretaining the EMT Sound and the EQcurves EMT used.

The list of facilities that have installedour upgrade over the last six years says itall. The Hit Factory (4 units), ToddAO(4), Conway Recording (4), Chung KingHouse of Music (2), Masterphonics, StarStruck (2), Bill Schnee Studio and manymore. One of the most recent is MuttLange’s Reach Sound.

Reach was also the first to receive ournew motor and remote kit. No morehanding the second engineer your celphone and having him call when he getsback to the storage room where the plateis kept. The motor/remote kit makes

optimizing decay time just a push of thebutton, and the Decay Time meter permitslogging of that optimum setting.

We also have tune-up kits andvibration damping mounting feet for the140. We even have complete, recondi-tioned units available. If you have a platethat isn’t getting much use these days orhave wanted to pick one up, give us a call.

How does out of phase information getinto a stereo signal? Easy. If MS or ABmics are not perfectly balanced, the resultis out of phase material: surround sound.Same with MS converters; any signal onthe S that is not matched on the M will bedecoded as surround. Widely spaced micsare famous for phase problems, but that’show most ensemble and orchestralmaterial is recorded. Stereo reverb, ofcourse, is random phase. And who knowswhere library music or applause tracksstarted or what they’ve been through(stereo processors, new psychoacousticenhancers, you name it).

The moral of this story is that in theold days you had to monitor in stereo andmake mono checks, but today you’dbetter monitor in surround and checkstereo and mono.

OK, maybe you’re hoping that 5.1 orDVD or MPEG or AC-3 will save you.After all, 5.1 is discrete, no encoding ordecoding is involved (just a few bits aretossed out). Not so fast. While 5.1 and 7.1

are discrete in the cinema world, the sameis not true of consumer products.

The digital audio bitstreams of allthese formats have as part of theirspecifications a process calleddownmixing whereby the originalsurround tracks are reduced to stereo ormono for compatibility with existingequipment. MPEG downmixes to Lo Ro,which do not have the out-of-phasefeature and which don’t do anything foryour ProLogic decoder. But AC-3, whichis used in Dolby SRD cinematic releasesand in HDTV, downconverts to (youguessed it) Lt Rt.

This brings us back to the previousconclusion: monitoring in surround isessential for any modern audio facility,whether you are recording music, mixingto picture, or broadcasting talk shows.Neotek’s MultiFormat Monitor controllereasily and affordably attaches to yourexisting console to give you the multi-speaker controls and processor inserts youneed to meet this challenge.

Continued from page 2Beyond Stereo: Mixing for Surround

Many studios have multiple plates fitted with our up-grade kits.

Dave West at West Productions recently up-graded their Encore for 5.1 monitoring.

Motor and remote control featuresoriginal meter used by EMT.

We thank you for taking the time to look oversome of the things we’re doing these days. We

hope you enjoyed our little newsletter and wouldappreciate your input. So here’s the

vital statistics for those so interested:

Address: Martinsound Sales & Service1151 West Valley Blvd.Alhambra, CA 91803

Telephone: (800) 582-3555 (US only)

(626) 281-3555(203) 466-1104 (Martinsound East)

FAX: (626) 284-3092

E-mail: info@martinsound.com

Web: www.martinsound.com

8

By Dale ManquenWe have several new products that are

unique solutions for very specificproblems.

Recorder monitor systemsThe Martech Recorder Monitor System

(RMS) is a versatile multi-input monitormatrix that provides programmableheadphone, loudspeaker and VU metermonitoring of recorder inputs, syncoutputs and repro outputs of multiple 8-channel audio sources. The listening pathsprovide Left/Center/Right placement ofeach track, separate volume and mutecontrols for headphone and speaker andsingle track solo. The metering path,consisting of 8 meter buses withauxiliary balanced output drivers oneach bus, permits metering of onemachine at a time or the summed outputsof several machines/stems. A ToneInjection option provides a versatileprogrammable sine/pink noise oscillatorthat can be routed to the machine inputsvia hard relay contacts.

The system consists of a 2U primarycontrol panel for 4 eight-track machineswith master functions formonitoring/metering, mode selection andtone injection, up to 3 additional 2Uexpander panels for up to 12 additionalmachine, 2U router boxes for groups of 4machines, and VU meter panels. Allcomponents communicate via serial lines,permitting distributed placement andmultiple paralleled panels for control fromthe studio, machine room and/orprojection booth.

The versatility of the metering andlistening paths permit a broad range ofapplications for the product includingrecordist’s monitor panels, change-overswitching, and track combining for copiesand transfers. The serial control protocolpermits the use of a roving control panel inthe machine room so that thetechnician can have completeoscillator and monitor control at hisfingertips while he is tweakingmachine adjustments.

Console expanders with automationSuperminiconsole In July of 1993,

Groovemasters initiated the first rental of aMartech Miniconsole, a 24-input, 6-busoutput expander for automated consoles.In the intervening 4 years, our fleet of fourMiniconsoles has created a solid niche in11 of the 13 Flying Faders dubbingtheaters in the United States. The primarylimitation has been the lack of basicfeatures such as equalization and auxsends.

The new SuperMiniconsole addscomprehensive input

modules for each channel toprovide 2 inputs, equalization, 4aux sends, 8 busses, panning, direct outs,inserts, solo, and mute. As an option, theevents control facilities of Flying Fadersmay be used to automate the input select,EQ and insert functions. The unit ispackaged as a stand-alone consolette.

OEM and custom automation productsMartinsound manufactures a broad

range of automation products. Certainlythe most popular product is the FlyingFadersÆ motorized fader automationsystem which we license to AMS Neve. Inthe nine years since the first system wasdelivered, Flying Faders has maintained aworldwide reputation of unsurpassed ease

of operation and reliability.A more recent offering is the

AudiomateÆ motorized fader automationsystem from Audiomation. TheAudiomate hardware featuresMartinsound servo controller cards.Originally released as a 64-channel systemrunning only on Macintosh computers,Audiomate is now available as a 128-channel version running on a Power PC.Martinsound is the exclusive U.S.distributor of Audiomate systems.

Martinsound servo controller cards andswitch/LED panels are also used in aseries of motorized controllersmanufactured for Level Control Systems(LCS.) The LCS RIF control surfacesprovide a convenient interface to the LCSLD-88 DSP-based audio controller.Various size units, ranging up to 80motorized fader channels, are installed atthe Hollywood Bowl and at theatersoffering Broadway plays such as Ragtime.

On several occasions, Martinsound hasbeen called upon to design andmanufacture custom upgrades forrecording and dubbing consoles. Stage 2at ToddAO Hollywood is a typicalexample of the extent and sophisticationof these upgrades. ToddAO askedMartinsound to upgrade an older 4-busADM dubbing console originallydesigned for TV to handle modernmegabuck action feature films. For thatapplication, Martinsound developed newinput modules, panning facilities, and afamily of microprocessor-basedcontrollers including a bus router forrouting 96 inputs to 32 buses, an 8-channel monitor and meter formatter, anda recorder controller.

On a prior Todd project, Martinsounddelivered several custom equalizermodules for expansion of a QuadEightconsole. The Martinsound modules wereso much quieter and more musical thanthe QE originals that the mixers all wantedto junk the rest of the QE equalizers in theconsole and go all Martinsound! Completely different

And now for something...

9

10

Continued from page 3

Replacement. Spotting points can beentered in advance of the ADR sessionalong with a transcription of the dialog tobe replaced. A list of automated Record Inand Out points can be saved, then loadedfrom disk, rather than the time consumingprocess of entering them by hand at thetime of the ADR session.

To provide a complete solution fromone vendor, Martinsound has acquiredfrom Lartec the exclusive license tomanufacture, sell, service, support, andenhance the ADR ControlPro andSpottingPro product line. TheMartinsound ADR ControlPro andSpottingPro have all of the features foundin the original Lartec version, along withmany new enhancements. Over time,Martinsound will add additional user-requested features, such as support fornonlinear audio and video to allow instantreplay of loops, and interfacing to

additional brands of motion controllers.

AIP Pro Monitor Router and Mode Control Panel

The AIP Pro was originally developedby Neotek for Warner Hollywood toprovide the front panel control and audioswitching for the ADR ControlPro. Afteracquiring the exclusive license fromLarTec, Martinsound, working with Foxand EFX, completely re-engineered theAIP Pro, making it the most advancedand easy to use system for automating themonitor modes and track selection duringan ADR/Foley session.

The major components of the AIP Proare an audio router for monitor signalrouting and a comprehensive control panelmounted in the console. The AIP Procontrol panel has four powerful selectionmatrices for independent control of thebooth or control room speakers, stagespeakers, talent headphones, and editors

headphones. The matrix for each sectionallows the user to independently selectwhat is being monitored ahead, in and pastthe loop for the cue or guide track, auxinput, playback, and beeps. In addition,these settings, which are saved in memory,may be different for each of the primaryoperating modes: Record, Rehearse andPlay. Since there is a dedicated button forAhead, In, and Past for each signal in eachsection, setup and changes couldn’t besimpler. Booth and Stage monitor sectionsare LCRS and feature digital gain controlthat reads out in dB SPL.

The AIP Pro control panel alsofeatures a sophisticated, but simple to use,track selection system. Complete controlof record arming and playback monitorcontrol is selected from one centrallylocated set of track selection switches.This reduces operator fatigue andminimizes errors that irritate the talentand editors. In the record mode theseswitches arm selected tracks on therecorder. In addition, the track selectionsystem works with the Neotek EssenceADR console to automatically turn onand mute the associated playbackmonitors for armed tracks. In theplayback and transfer modes, the trackselection system has several powerfuloptions including one that allows onlyone monitor channel to be on at a time.Perfect for selecting bits and pieces tocreate the best of several takes.

Although the ADR Control Pro andAIP Pro work best with Neotek consoles,the various parts of the ADR Pro systemare available separately and may beinterfaced with other consoles.

In addition to our standard film andpost products, Martinsound oftenprovides custom solutions. Our successcomes from listening to our customersand providing the tools they need to besuccessful. Call today and find out howwe can help you.

The ADR Solution

The Martech EMT products are acomprehensive line of five complemen-tary upgrades turn any tired, old EMT-140plate reverb into a great sounding piece ofmodern equipment. The electronicsupgrade features low noise and distortion.Adding our new motor and remote kitmakes it easy to use. (See page 7)

The Audiomate System has grown. Wenow can offer Power PC native, 128channel systems and a budget system, theAudiomite (16 channels under $10k). (See

page 6)

Martinsound Technology, generallyspeaking, is pursuing the road lesstraveled. In addition to OEM projects likethe RIF control surfaces for LCS and theKMX Moving Fader Controller Card, weare making some unique pieces for the

post market. The Recorder MonitorSystem is a modular-expandable solutionfor recordist’s, machine techs and transferengineers. The ADR Pro Series includesthe components to bring ADR and Foleyinto the modern world. From the ADRControl Pro to the Editor’s Pod (an overbridge with Annunciator panel,headphone controls and lighting) wecover your needs. The ADR Spotting Prowith LTC/VITC reader costs about thesame as other timecode readers, but oursystem also includes great spottingsoftware! The SuperMiniConsoleexpander, primarily for studios withFlying Faders Automation on theirexisting console, is a strong solution forthe studio that needs more channelcapacity but isn’t ready to buy a newconsole. (See page 8)

In addition, we will continue toprovide custom solutions to select clients.We are developing the next generation ofproducts. Some are about through thisprocess, some are in the opening stages,but our criteria is still customer driven.We want to recognize a need and fill it.Your input is our most valuable tool.Martinsound is a long-time leader incontrol surface technology and our aim isto give greater facility to all of our gear,while maintaining our standards foraudio. We want to partner with you in ourmutual success.

Yours truly, Joe

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Your unique solutions help build your success.Continued from page 1

A straight wire with plenty of gain.• <.001 THD at +30 dBu output • 24-bit dynamic range

• The features a professional needs: precision gain, high pass filter, input impedance selection, polarity switch.

Martinsound Sales & Service1151 West Valley Blvd.Alhambra, CA 91803

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Reader ResponseMartinsound designs, manufactures, sells, and rents innovative andsuperior audio solutions that give to its customers major advances in thecontrol, storage, automation and sonic quality of audio.

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