by BERT WHYTE
The 69th convention of the Audio Engineering Society was held at the Los Angeles Hilton, May 12 to 15. For the first time in quite a few years, I was not in attendance, having been laid low by a nasty bug. Thus, this report is by way of my splendid surrogate, Dr. Barney V. Pisha, one of Audio's Senior Editors and our resident phono cartridge expert.
Barney tells me that although the convention was well attended, things were a bit on the low-key side. Some part of this can be attributed to the poor level of re cording business which is virtually epidemic in the Los Angeles area recording studios. It is said that "for sale" signs have been hung in a considerable number of studios. A lot of the smaller fry are really hurting, but even some of the Big Deal studios have had to retrench. The poor business climate seemed to be reflected on the exhibit floors of the convention, with many visiting recording engineers wistfully eyeing all the dazzling new digital recording baubles which were financially out of their reach.
However, digital recording looms ever larger in the scheme of things. There is little doubt that given a more salubrious business climate and some progress in establishing a digital recording standard, this business will boom. Alas, in spite of ongoing meetings of digital committees, little progress has been made, and the more cynical types feel any standard is still a long way off.
Be that as it may, digital recording equipment continues to proliferate. A case in point is Sony's introduction of their PCM-3324, a 24-channel, stationary-head digital recorder. The unit uses half-inch tape, has 16-bit linear encoding, and switchable 44.1 and 50.4 kHz sampling rates. Error correction is by CRCC and cross interleave code. The recorder also incorporates the SMPTE code, and overdubbing and punch-in/ punch-out are provided with digital cross-feed characteristics. Sony also introduced the PCM 1610, an updated version of their PCM 1600 unit. The new processor features switchable transformer/transformerless inputs and outputs. Perhaps the most important new feature for many people is the $12,000 reduction in price from the original PCM 1600 unit. PCM 1600 recorders can be updated to PCM 1610 specifications for a nominal charge. Word also comes from Sony that they have signed an agreement with MCI to share in the format and technology of the digital recording technology presently shared by Sony and Willi Studer.
Mitsubishi was on hand with their cur rent models of their X-80 two-channel, stationary-head digital recorder, as well as their huge X-800, 32-channel stationary-head digital recorder. Delivery is now slated for late fall of this year at a rather breathtaking $200,000. Near the same lofty price point is 3M, with their pioneering 32-channel digital recorder. 3M claims there are now more than 50 of these recorders in daily use throughout the world.
A new category of digital recorder has begun to appear. Technics broke ground in this respect with their model SV-P100, an integrated VHS videocassette transport with LSI chips for PCM digital recording and playback. (See June 1981 "Video Scenes.") Quantizing is 14-bit linear encoding to EIAJ standards with a 44.056-kHz sampling rate. Now Hitachi has introduced a similar unit, their PCM-V100, which again uses a special VHS videocassette deck with LSI chips for PCM record and playback. As you might expect, the EIAJ 14-bit linear encoding is used here too, with the ubiquitous 44.056-kHz sampling rate. An interesting characteristic of this new breed of PCM recorder is that in addition to the standard NTSC VCR format, the units are compatible with the PAL and SECAM VCR formats. Strong rumor has it that several other Japanese companies will be introducing these integrated VHS/PCM digital recorders.
Denon has been in the digital recording field for some time now and has just introduced a new unit, the DN-035R four-channel, rotary-head 3/4-inch digital recorder. Using-inch U-Matic type tape cassettes, the system uses 16-bit linear encoding and a 44.1-kHz sampling rate. The switchable 2/4 channels will appeal to those who want to do digital recording but need more flexibility than the usual two-channel format.
In the analog tape world, which is still very much with us, Technics introduced the latest version of their well-known closed-loop recorder, the RS-10A02. A two-channel, half-track unit for professional and broadcast use, the unit has all bias, EQ, and level adjustments on the front panel, as well as a built-in test oscillator. Also in the analog tape world, 3M introduced Scotch 226/227 mastering tape, which they state is bias compatible with Ampex 456. Among other things, a 2 to 3 dB improvement in print-through characteristics is claimed. Significantly, this permits 3M to sell the Scotch 227 tape, which is one-mil thick, for use in longer play mastering.
With the onrush of digital recording, many companies are introducing a variety of "digital-ready" products. Loudspeakers are certainly in this category, and JBL had VP John Eargle explaining the highlights of their big new monitor speakers, Models 4430 and 4435. The speakers are two-way systems employing biradial horns from 1 kHz upwards. The 4430 has a single 15-inch woofer of a new design, while the 4435 employs two of the new 15-inch woofers. Users of either monitor speaker need have no fear of digital dynamics. The 4435 can handle 300 watts from 100 Hz down to 22 Hz. The sensitivity of the 4435 is a brisk 96 dB from 1 watt at 1 meter.
Another digital-ready loudspeaker system (to put it mildly) is John Meyer's new compact subwoofer for his ACD monitor system. Utilizing two special 15-inch woofers in a vented enclosure, this unit can handle a continuous output of 120 watts from 100 Hz down to 30 Hz!
Crown was showing two new professional amplifiers, the PS-400 and the PS-200, with respective output power (4 ohms, full bandwidth) of 260 watts and 135 watts. Also new was their MX 4 mono electronic crossover. Newly re packaged and updated is the Badap BDP-2 audio computer. Now a much more compact 5.25 inches in height and only 35 pounds in weight, it is much more suitable for field use. Price is expected to be around $5,500.
Needless to say, there were other interesting items at the convention which Dr. Pisha told me about but which would require a personal look-see for any comment I might make.
---------------
AES Moves LA to October, Drops Apple for 1982
The Board of Governors of the Audio Engineering Society has changed the dates of the 1982 Los Angeles Convention from May to October and has cancelled the New York Convention for next year. Plans for the 71st Convention, scheduled to take place in Montreux, Switzerland, March 2 to 5, 1982, remain unchanged. The action came as a result of a day-long meeting of the Board of Governors during the Los Angeles Convention last May.
The Society is interested in hearing from members about this change in timing, and various members of the Board of Governors have noted privately that they are very concerned with the rapidly advancing peripheral costs of attending and exhibiting at the Conventions. They specifically cite air fares, hotel costs, and difficulties associated with bringing key personnel to Conventions. Also mentioned was the increasing number of shows and conventions, as well as the associated timing difficulties. Those who wish to comment should write to the Audio Engineering Society, Suite 2520, 60 East 42nd St., New York, N.Y. 10165.
-----------
(Adapted from: Audio magazine, Aug. 1981; Bert Whyte )
= = = =