TECnology
Hall of Fame, 1877-1950
By George Petersen
25 AUDIO INNOVATIONS THAT CHANGED THE (PRO AUDIO) WORLD
Sep 1, 2004—Compared to medicine or
agriculture, the history of professional audio has been
a comparatively short 125 years or so—barely a ripple
in geologic time. But a whole lot has happened in that
century and a quarter. True, other innovations also
emerged in that era—from automobiles to aviation, telephones
to television, exploring outer space to cyberspace—but
for we true devotees, audio is what counts.
To recognize technical excellence
and creativity in professional audio, the TEC Awards
was established two decades ago. During the years, the
TEC Hall of Fame and Les Paul Awards were added to honor
individuals who made important contributions to our
industry. The HOF members include Ray Dolby, Tom Dowd,
Geoff Emerick, Roy Halee, Wally Heider, Deane Jensen,
Quincy Jones, Eddie Kramer, Bob Liftin, George Lucas,
George Martin, George Massenburg, Bob Moog, Rupert Neve,
Les Paul, Sam Phillips, Bill Porter, Bill Putnam, Phil
Ramone, Colin Sanders, Elliot Scheiner, Al Schmitt,
Phil Spector, Willi Studer, Bruce Swedien, Rudy Van
Gelder and Frank Zappa.
To expand the scope of the 20th
annual TEC Awards, the Mix Foundation created a TECnology
Hall of Fame to spotlight the long and rich history
of the pro audio industry. Selecting just 25 inductees
from a 125-year heritage turned out to be a difficult
task, indeed. An elite committee of more than 50 industry
leaders, engineers, producers, designers, educators,
journalists and historians volunteered their time to
help in this endeavor, and each was asked to pick 25
innovations (10 pre-1950 and 15 from 1950-1994), with
the only “rule” being that any selections must be at
least 10 years old.
Once the results were in, I was
given the honor of tabulating the results and writing
narratives that put each into a historical context.
It wasn’t easy: Many manufacturers are long since out
of business. At some companies, no one remains who has
any knowledge of the product. Worst of all, the history
of pro audio—our very lineage—is woefully neglected
and sources are scarce, if not impossible to find.
As you read these, bear in mind
that this is the first year of the TECnology Hall of
Fame, and we plan to add more honorees in the future.
So if your personal fave—such as the 1996 J-Con 1⁄4-inch-to-3-pin
AC plug adapters—wasn’t included, there’s always next
year. Send your comments/suggestions/corrections to
mixeditorial@primediabusiness.com
or hillel@mixfoundation.org.
In the meantime, set your time machine (analog, of course)
waaaay back and enjoy this magic carpet ride through
the annals of audio.
Thomas Edison with his phonograph/talking machine
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THOMAS EDISON
CYLINDER RECORDER (1877)
There is no doubt that Thomas Alva Edison (1847-1931)
played a major role in the development of recorded sound.
Besides holding patents for more than 1,300 inventions
such as incandescent lighting, the stock-ticker, fuses,
electrical distribution systems and the kinetoscope
“peep show” viewer, Edison’s landmark patent (USA #200,251)
filed on Christmas Eve, 1877, eventually gave rise to
an entire industry—even though the cylinder format that
he developed was comparatively short-lived.
According to legend, Edison replayed
the words “Mary had a little lamb” on the prototype
“phonograph/speaking machine.” This first device was
crude, using a diaphragm with a sharp point to etch
variable-depth indentations in tinfoil wrapped around
a hand-cranked cylinder, and the sound was replayed
by a lighter diaphragm/needle combo tracking those same
grooves. The cylinders were not removable, although
Edison proposed removable foil sheets that could be
reproduced by creating masters from Plaster of Paris
molds.
In later patents, including the
British BP 1644/1878 in late 1878, Edison proposed dozens
of other phonograph concepts, including using discs
rather than cylinders, wax materials rather than tinfoil,
double-sided discs, electromagnetic recording/playback,
electroplating and pressing manufacturing/replication,
and even an amplification system based on compressed
air. However, Edison was late in filing for Stateside
protection on these claims and his U.S. patent was refused,
leaving these concepts unprotected.
Meanwhile, Bell unveiled its Graphophone
based on removable wax-paper cylinders; Edison countered
with his 1888 “Perfected Phonograph,” which used a removable
solid-wax cylinder. Other than making archival recordings,
the main use of the Edison recorders was for transcription.
All of this changed around the turn of the century,
when molded cylinders became a reality and suddenly
the market for music recordings opened up. Eventually,
the popularity of cylinders began to fade (although
Edison made them until 1929), and Edison reluctantly
debuted his first commercial disc phonograph in 1912.
Emile Berliner demos the flat-disc Gramophone. |
EMILE BERLINER
GRAMOPHONE DISC RECORDER/PLAYER (1887)
The origin of recorded audio is frequently attributed
to Edison, yet Emile Berliner invented the flat-disc
Gramophone that was the precursor to the modern record.
Born in Hanover, Germany, Berliner (1851-1929) worked
after school to help support his 10 brothers and sisters,
but at age 19 was offered the opportunity to emigrate
to America. He set off for the new land and ended up
with a cleaning job in New York at the lab of saccharine
developer Constantine Fahlberg. With America’s centennial
in 1876, he moved to Washington, D.C., where he saw
a demonstration of the Alexander Graham Bell telephone.
Believing that its weakness was the transducer, he developed
the loose-contact transmitter—essentially the carbon
microphone—and sold the rights to American Bell Telephone,
which hired him on as a research assistant.
After a few years, Berliner left
to find his own research company. In 1886, he began
examining Edison’s cylinder machines, looking for ways
to improve their shortcomings, such as the fragile wax
grooves and the difficulty of replicating dics. Rather
than continue with the cylinder design, Berliner proposed
a flat-disc system in 1887 (U.S. patent #372,786) using
a wax-coated zinc disc as the recording medium. After
the recording machine traced the stylus movements in
the soft wax, the disc would be dipped into an acid
bath that permanently etched the pattern into the zinc.
A separate playback machine was required, and Berliner
christened the system the “Gramophone.” Electroplating
the master zinc disc would result in a stamper that
could be used to create copies.
At first, the Gramophone was only
released as a children’s toy, using small discs, but
with Berliner’s formation of United States Gramophone
Company, the world began to see the promise of recorded
sound for the masses and the record industry was born.
Berliner also had numerous other inventions, ranging
from gyroscopic motors to “Parquet Carpet” floor coverings
to acoustic tiles (1926 patent #1,573,475). Yet perhaps
one of his most lasting acts was trademarking Francis
Barraud’s now-classic “His Master’s Voice” painting
of a terrier listening to a Gramophone (the company
had the artist paint over the original cylinder player
in the picture, replacing it with a Berliner disc reproducer),
which became the well-known symbol for the Victor Talking
Machine Company after it acquired Berliner’s business
in 1902.
Photo: History San Jose; Used by Permission
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LEE DE FOREST
TRIODE VACUUM TUBE (1906)
If audio would have followed the course of every other
technology, then vacuum tubes would have been long forgotten
by now. Yet anyone who’s ever plugged into a Marshall
JTM45, Fender Twin Reverb, Vox AC30, Teletronix LA-2A
or any other of hundreds of classic tube devices should
give a silent nod to Lee De Forest.
Born in Council Bluffs, Iowa, in
1873 and reared in Alabama, De Forest had an aptitude
for science from an early age. After receiving a Ph.D.
from Yale in 1899, he turned his attention to the seminal
field of radio.
Seeking to create a detector for
electromagnetic radiation, De Forest began by examining
John Fleming’s invention of the “electronic valve” (diode),
which was fairly insensitive to variances in electromagnetic
radiation. By simply adding a third electrode (grid)
between the cathode (filament) and the plate (anode)
of a diode, the conductance of the tube proved controllable.
In this case, a fairly minute signal (voltage) at the
grid would result in huge changes in the plate voltage,
and the first amplification device was born. De Forest
referred to his triode invention as “Audion” and received
U.S. patent #879,532 for his discovery in 1907.
De Forest was granted some 300 patents
during his life, including Phonofilm, a 1922 method
of recording synchronous sound onto film that was unable
to garner any interest in the film community. Eventually,
the industry adopted an optical sound-on-film system
that was similar to De Forest’s, but that was years
after his De Forest Phonofilm company went bankrupt.
Western Electric engineer E. B. Craft (holding disk)
demos the Vitaphone system. Note the synchronized
turntable (on pedestal at rear or projector) and
Western Electric 1B mic at top of photo. |
WESTERN ELECTRIC/BELL LABS
VITAPHONE FILM SOUND (1926)
In terms of upheavals, the biggest revolution in 20th-century
audio was surely the talking motion picture. In a matter
of years, careers were spawned and ruined, and entire
industries created and dismantled—all based on the rise
of the “talkies.” Vitaphone (a 1925 co-venture between
Warner Bros. and Western Electric) wasn’t the first—or
even the last—film sound format to arise out of this
new craze, but once the public had a taste of synchronous
theater audio, there was no turning back.
Working in the Vitagraph Studio
in Brooklyn, N.Y., Western engineers worked with a team
from Bell Labs to create Vitaphone, a format using 16-inch
discs running at 331/3 rpm on a projector-driven turntable,
for a running time of about 10 minutes, which matched
a single 1,000-foot reel of 35mm film. The format was
less than ideal: A skip in the record or a film splice
meant loss of sync; the system bandwidth was only about
4 kHz; and Vitaphone required an extreme needle force
of 85 to 170 grams(!), meaning the life of the shellac
disc was limited to a couple dozen plays, at best.
There were earlier film sound systems,
ranging from General Electric’s Pallophotophone to Lee
De Forest’s Phonofilm and a variety of earlier systems
created at Western Electric. These were doomed mostly
by studio/theater owners’ reluctance to make the substantial
investment in playback equipment. But it was the Vitaphone
touch on the 1927 The Jazz Singer that created a worldwide
demand for film sound. Even with talking parts in a
only few sections (mostly song numbers), the success
of this Al Jolson mega-hit marked the beginning of the
end for the silent screen.
The Vitaphone film+disc system that
created the revolution was short-lived, replaced by
the sound-on-film systems such as the GE/RCA variable-area
soundtracks (the forerunner of today’s optical tracks)
and Fox’s variable density system. But one key to the
success of the Vitaphone was the availability of Western
Electric sound systems, which not only helped popularize
theater sound, but catalyzed the development of modern
sound reinforcement systems. Ironically, the film+disc
concept was revived 65 years later with the DTS (Digital
Theater Systems) release of Jurassic Park in 1992, in
which 6-channel audio on CD-ROM was locked to timecode
on the film. [Note: The Vitaphone Project was formed
to assist in the restoration of Vitaphone-format films—many
of which exist today with picture intact but without
sound disks. Contact www.vitaphoneproject.com
for more info.—Ed.]
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HARRY
NYQUIST
NYQUIST THEOREM (1928)
It’s hard to imagine that a man born on February 7,
1889, in the small town of Nilsby, Sweden, would have
such an enormous impact on modern digital production.
Emigrating to the United States, Harry Nyquist attended
the University of Dakota, receiving B.S. and M.S. degrees
in Electrical Engineering before completing his studies
with a Ph.D. from Yale in 1917. After graduation, he
took a job with AT&T, doing research in improving the
state of transmitting telegraph picture and voice signals.
But the (digital) world was forever
changed in April 1928, when Nyquist published a lengthy
paper in the AIEE Transaction. Entitled “Certain Topics
in Telegraph Transmission Theory,” this unassumingly
named article continued his earlier report about improving
the speed of telegraph transmissions, but also proposed
the basics of sampling continuous analog signals and
converting them to a digital form. One of the tenets
of digital audio, this Nyquist Theorem specifies that
the highest reproducible frequency in a digital system
is equal to or less than one-half of the sampling frequency.
In real terms, for a digital system to reproduce the
entire frequency range of human hearing—20 to 20,000
Hz—then the system has to sample the incoming signal
at two times the highest input frequency, or 40 kHz.
This doubled figure is known as the sampling rate or
sampling frequency.
In 1934, AT&T’s Department of Development
and Research was folded into Bell Telephone Laboratories
where Nyquist continued his work in transmission engineering
until retiring in 1954. Altogether, he received 138
patents during his tenure with the Bell System. Nyquist
died in 1976—just as the digital era was beginning.
ALAN DOWER BLUMLEIN
STEREO PATENT (1931)
Born in London in 1903, Alan Dower Blumlein lived a
short life, but during those 38 years, he changed the
way that an entire world listens. After receiving his
B.S. degree in 1923, he worked at Standard Telephones
and Cables, but his main contributions to audio came
after he joined the Columbia Graphophone Company in
1929. His early innovations included a moving-coil wax
cutter head for gramophone lathes and a moving-coil
microphone. Throughout the audio world, he is best known
for his 1931 patent, simply entitled “Improvements In
and Relating to Sound-Transmissions, Sound-Recording
and Sound-Reproducing Systems.”
In this patent (British #394,325),
Blumlein examines the physiology of the human binaural
hearing process and the spatial illusion produced by
“two or more loudspeakers”; describes the use of multiple
microphones—including the crossed figure-8 (now known
as the Blumlein technique) and Mid-Side stereo-miking
methods; details a dual 45/45-degree phono cutter head
for producing stereo record masters; and proposes a
means of transmitting stereo radio. Many of the concepts
in this patent did not reach fruition for decades to
come, but all have had an enormous impact on the evolution
of audio. Around the time of the patent, Columbia Graphophone
Company merged with Gramophone Company (HMV), forming
Electric and Musical Industries (eventually, this became
EMI) and Blumlein stayed on, researching vacuum cathode
ray tubes used in the Iconoscope for early TV cameras.
Blumlein was granted some 128 patents
on subjects such as antennas and radar systems. In fact,
it was such research that led to his death in 1942,
when he and 10 others were killed during a secret flight
testing a radar system. One can only guess at what wonders
Blumlein could have devised had he lived another 38
years.
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AEG
MAGNETOPHON TAPE RECORDER (1935)
The genealogy of the tape recorder can be traced back
to Valdemar Poulsen’s early demonstration of magnetic
sound recordings on a steel wire in 1899. Wire recorders
never sounded very good, so in the 1920s, German inventor
Kurt Stille came up with the concept of recording in
steel ribbon—an improvement—but the medium was expensive
and still couldn’t match the fidelity of a 78 rpm disc.
In 1928, Fritz Pfleumer was granted a German patent
for long paper strips coated with a magnetizable powder,
which reduced the cost of ribbon recordings. In 1932,
AEG chairman Hermann Bucher hired Pfleumer to work with
Theo Volk and BASF chemist Friedrich Matthias to develop
a magnetic tape recording system.
Innovations were many during the
Magnetophon’s three-year development. In 1933, Eduard
Schuller invented a ring-shaped magnetic head that created
a concentrated magnetic field without touching the tape
surface. The BASF group put carbonyl iron powder on
a tough cellulose acetate-base material that could easily
be edited, yet was strong enough to handle the torque
of the transport motors.
In August 1935, the Magnetophon
K1 was unveiled at the Berlin Radio Fair. The first
serious recording using this portable, self-contained
recorder was in November 1936, with Sir Thomas Beecham
conducting the London Philharmonic at BASF’s concert
hall near its manufacturing plant in Ludwigshaven. Other
improvements followed, such as BASF’s ferric-oxide tape
in 1939 and Walter Weber’s rediscovery and application
of high-frequency AC biasing, which had been known since
the 1920s, giving the 1941 Magnetophons a bandwidth
of 10 kHz.
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ALTEC LANSING
VOICE OF THE THEATRE SPEAKERS (1947)
From the big cities to the farms and small towns, American
life in the post-WWII era was good. Besides the return
of thousands of GIs from overseas, an end to wartime
shortages and rationing meant that people could live
it up and enjoy life without feeling guilty. Hollywood
was booming and the theater business prospered, offering
an evening of entertainment everyone could afford. So
the timing was perfect when Altec co-founder Alvis A.
Ward announced the original Voice of the Theatre Series
in 1947.
Designed by John Hilliard, Voice
of the Theatre was a line of high-performance, two-way
cabinets made up of a number of huge (9- to 10-foot-tall)
low-frequency enclosures that put one to four 15-inch
Model 515 woofers on a wide-flare bass horn. The LF
boxes supported large multicell horn(s) with the new
Model 288 HF compression drivers, and could be mated
with bolt-on wing panels that extended the bass response.
It worked. In fact, the sonic improvements that Voice
of the Theatre speakers offered made them an immediate
hit with studios, theater owners and the general public.
Approved by the Research Council at the Academy of Motion
Picture Arts and Sciences, they became the industry
standard for decades.
In the early 1950s, Altec unveiled
the Voice of the Theatre A7, a compact (5-foot/180-pound!)
two-way product suited for smaller cinemas and multichannel
installs in the burgeoning stereo theater market, as
well as for studio monitoring and home systems—the latter
offered in a walnut cabinet model. The A7’s high 103dB
(1W/1m) sensitivity made them an ideal match for the
low-wattage power amps available at the time, and they
became the popular P.A. choice of a zillion bars, clubs
and rock bands throughout the 1960s and ’70s. More recently,
Altec has reissued the A7 in a special “A7 Legacy” edition
for the home stereo/pro market.
Bing Crosby with his beloved Ampex 200A recorders
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AMPEX
MODEL 200A TAPE RECORDER (1948)
The story of the 200A—the first tape recorder from Ampex—is
inextricably linked to the history of the German Magnetophon.
After World War II, an engineer by the name of John
Mullin brought two older Magnetophons back as war souvenirs,
modified them for HF bias and demonstrated them to Bing
Crosby, who used them to record, edit and play his weekly
ABC radio shows. Helped in part by the U.S. government’s
declaration that all German and Japanese patents were
invalid, the decks were studied by the fledgling Ampex
Corp., which launched its own recorder program.
The Ampex engineering team for the
200A included Harold Lindsay and Myron Stolaroff, who
kept many of the Magnetophon’s basic features such as
30 ips operation and a B-wind design, in which the tape
was wound with the oxide facing out. Unlike the portable
Magnetophon, the Model 200A tape had a huge polished
black wooden console and heavy anodized-aluminum fixtures
and fittings. Recording one track across the full width
of the 1⁄4-inch tape, the 200A was capable of
performance that was flat within 0.5 dB from 30 Hz to
15 kHz.
In October 1947, the first 200A
prototype was demo’ed at Radio Center in Hollywood;
the enthusiasm by those who heard this wonder machine
was apparent, and Ampex moved forward into regular production,
with units serial #1 and #2 delivering in April 1948
in time to record and edit the 27th Bing Crosby show
of the 1947-’48 season. A 200A retailed at $4,000—nearly
as much as a house at that time—but the convenience
of editing and the ability to time-delay performances
appealed to Crosby, who no longer had to perform separate
shows each week to reach different time zones. Weeks
later, ABC ordered 12 more recorders and other broadcasters
soon followed. In all, only 112 of the 200A recorders
were made (the $1,500 model 300 followed it), but the
impact of the benefits of tape-based production was
felt throughout the world.
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NEUMANN
U47 MICROPHONE (1949)
The U47 was not Neumann’s first microphone or even its
first mass-produced condenser mic; those honors go to
the CMV3 “bottle” condenser mic, which first appeared
when Georg Neumann founded the company in 1928. However,
as the first multipattern condenser, the U47 ushered
in the era of the modern studio mic, and even more than
50 years after its birth, it remains one of the world’s
most sought-after and desirable studio tools.
The U47 featured a high-performance
(and now nearly impossible to find) VF14 tube and the
dual-diaphragm M7 capsule—essentially back-to-back cardioid
capsules that combine to create an omni pattern, or
can be used singly for a cardioid pickup.
But the birth of the U47 was far
from easy: Soon after the war, Neumann moved its plant
back to Berlin in a rented building on Genestrasse,
where the 10 Neumann employees had replaced the blown-out
windows with cardboard, as no glass was available in
the capital. But the company was determined, and Georg
Neumann had a backlog of new ideas (such as his invention
of the sealed NiCad battery) and was anxious to contribute
to the reconstruction of Europe.
Due to distribution issues with
Telefunken and post-war production snags, the U47 officially
debuted in 1949. The Telefunken U47s—which other than
the logo, were 100% identical to the models bearing
the Neumann name—were sold to European broadcasters
and to the U.S. market, where they soon replaced RCA
ribbons as the studio mic of choice. Over the years,
the accolades for Neumann products have been many. The
company has garnered an unprecedented seven TEC Awards
for microphone excellence, and received a Technical
Grammy® Award in 1999 for the contributions of the Georg
Neumann company over the years.
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AKG
C12 Multipattern Tube Microphone (1953)
Besides making history as the first true multipattern
microphone with remote polar control, AKG’s C12 sounded
great (and is still highly prized today) and laid the
foundation for more than a half-century of future AKG
mic designs. Developed by AKG engineer Konrad Wolf,
the C12 included an external box for selecting any of
nine polar patterns, and its slender tubular housing
was more compact than Neumann’s U Series and featured
internal shock-mounting, so no external elastic suspension
was required.
The heart of the sound of the C12
is its capsule, which uses a dual-backplate design invented
by two Siemens engineers and results in consistent on-axis
sensitivity when the polar pattern is changed. The C12’s
CK-12 capsule paired the dual-backplate approach with
two 10-micron diaphragms. (Two years later, the CK-12
capsule was upgraded to 6-micron Mylar capsules.) To
expand AKG’s postwar distribution, the mic was also
re-branded by Telefunken as the M251 and as Siemens’
SM 204. In the 1960s, as tube mics were losing popularity
to the “convenience” of solid-state FET designs, the
C12 was discontinued, later to resurface in slightly
different forms. In 1983, “The Tube” used a C-414 capsule
with the original C12 tube electronics but in a smaller
body. The C12 finally reappeared in a more accurate
re-creation in 1994, as the C-12VR (vintage reissue),
which paired the C12 electronics with a re-tuned CK-12
capsule that simulated the acoustic signature of the
orignal C12.
A stereo version of the C12,
the C24, was created in 1959 by stacking two identical
capsules that could be rotated to vary the stereo perspective.
As with the C12, the polar patterns of both C24 capsules
can be changed—again, nine choices are offered—so the
mic is capable of X/Y, Mid-Side or Blumlein (crossed figure-8)
stereo-miking.
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EMT
Model 140 Plate Reverb (1957)
Today, with the proliferation of low- and high-end digital
reverberation, room simulators and the like, it’s hard
to recall a time when adding a little ’verb to a track
was a complicated undertaking. Natural reverb has always
been available, and it was always possible to create
reverb while tracking using a distant room mic or placing
your sound source in a reverberant space, such as a
bathroom or stairwell. A few studios even went so far
as to build reverb chambers—hard-surfaced rooms equipped
with a mic or mics to pick up a speaker feed. Less well-heeled
studios could always use their hallways in a pinch.
However, electronic reverberation finally appeared with
the debut of the Model 140 from German company EMT (Elektromesstechnik).
Developed by Dr. Walter Kuhl at
the Institute for Broadcast Technology in Hamburg, the
EMT 140 used the concept of vibrating a large, thin
metal sheet (about 1x2 meters and half a millimeter
in thickness). The metal plate was suspended by springs
from a rigid metal frame enclosed in a heavy wooden
case. The vibrations were generated by a center-mounted
transducer (essentially a speaker-style driver) that
was amplified and fed from an effects send, with the
reverb output coming from a mic-style pickup transducer
placed at the outside of the plate. The system’s “reverb
time” was controlled (or at least kept from going out
of control) by a damping pad that pressed against the
plate.
The results hardly sounded like
a cathedral but were thick and diffuse, and well-suited
to vocals and drums. Given their massive size, 400-plus-pound
weight and need to be placed in a vibration-free/noise-free
space, plates were hardly the perfect solution but sounded
far better than spring reverbs and were much cheaper
than building acoustic chambers. In 1961, EMT debuted
the Model 140S, which added a second output pickup for
a stereo effect. Even with the power of modern DSP to
conjure up almost any space, nearly all of today’s digital
reverbs include plate reverb programs.
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Teletronix
LA-2A Leveling Amplifier (1965)
Some 40 years after its invention, the story of the
Teletronix LA-2A continues to be written, but one thing
that remains constant is the demand for this mono optical
tube compressor limiter, even in these days of digital
production. Originally patented by Jim Lawrence in 1965,
the LA-2A was produced by Teletronix in Pasadena, Calif.,
which soon after became a division of Babcock Electronics.
A few years later, Babcock’s Broadcast Products division
was acquired by Bill Putnam’s Studio Electronics Corporation,
shortly before he changed the company name to UREI.
The LA-2A’s gain control scheme
was revolutionary: Gain reduction was controlled by
applying the audio voltage from a tube peak detector
to an electroluminescent panel that glowed onto a light-sensitive,
cadmium-sulfide resistor, with a second matched photoconductive
cell controlling the metering section. With up to 40
dB of smooth gain limiting, flat 30 to 15,000Hz (±0.1dB)
frequency response and low-noise performance, the LA-2A
soon became a studio standard.
By 1969, tube gear had fallen out
of favor, and the LA-2A was replaced with the “improved”
solid-state LA-3A. Later, UREI was purchased by Harman
Professional, which made a couple short (200-unit) reissue
runs of the LA-2A—first in the late-’70s and then in
the 1980s. In 1999, the sons of Bill Putnam regained
the UREI brand from Harman and began manufacturing meticulously
hand-built LA-2As, 1176s and other UREI studio gear
under the Universal Audio brand, delivering the first
products in May 2000. The industry’s reaction to these
classic re-creations has been overwhelmingly positive.
Imagine that.
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Shure
SM57 Dynamic Microphone (1965)
How exactly does a $99 microphone become a Hall of Fame
inductee? Well, if that mic is the Shure SM57, the answer
comes easy. For four decades, the SM57 has proven itself
in perhaps the most demanding application of all: delivering
solid, dependable performance placed in front of amp
stacks or an inch or so above (and below) snare drums,
where the excruciatingly high sound pressure level would
cripple lesser mics. Yet that same mic has been the
presidential microphone of choice, capturing press conferences
and speeches for every U.S. chief executive since Lyndon
Baines Johnson. In fact, Shure even offers a “VIP Dual
Microphone Kit” that includes all of the hardware and
cabling to use two SM57s side-by-side for fail-safe
vocal coverage of important events.
The lineage of the SM57 began when
Shure engineer Ernie Seeler developed the Unidyne III
capsule, a cardioid dynamic design that continued the
evolution of Ben Bauer’s original 1939 Unidyne (the
first single-element unidirectional mic). After three
years of hard work and hundreds of tests involving dropping,
throwing, cooking, salt spray immersion and submerging,
the SM Series was born, and Seeler’s same capsule design
was employed for the SM57 and its vocal counterpart,
the SM58.
It’s somehow ironic that Seeler—a
classical music devotee who despised rock ’n’ roll—created
two of the mics that 40 years later remain a mainstay
of rock music. Today, it’s the rare session—rock, pop,
R&B or country, onstage or in-studio—that doesn’t have
an SM57 on a drum kit somewhere, even when far-more
expensive microphones are available.
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Ray Dolby
Dolby A-Type Noise Reduction (1966)
Ray Dolby has lived and breathed audio since his earliest
years. While still in high school, he worked at Ampex,
first doing mundane chores such as copying alignment
tapes for its new 200A tape recorder, and later as part
of the company team that developed the first pro video
recorder. After earning his BSEE from Stanford, he did
postgraduate work at Cambridge, receiving a Ph.D. in
Physics in 1961, followed by two more years of advanced
studies. Dolby then spent two years working for UNESCO
in India, during which time he considered ways of applying
his thesis findings (on means of improving X-rays for
clearer images) to noise-reduction methods for audio.
In 1965, he founded Dolby Laboratories
to develop systems for reducing the background noise
inherent in tape recording. The company’s first product
was the A301, which debuted in 1966 and provided one
channel of A-type noise reduction. This sophisticated
audio compression/expansion system dramatically reduced
background hiss inherent in pro recorders without discernible
side effects. Unlike single-ended approaches, Dolby’s
treated low-volume signals only, leaving the loud signals
that naturally mask noise unprocessed and divided the
spectrum into multiple bands to prevent the pumping
(noise modulation) common to conventional wideband companders.
The effect of Dolby noise reduction
on the world’s audio community—consumer and pro—was
profound. It opened the possibilities of narrow-gauge/low-speed
recording on formats such as the cassette tape and pro
video recorders, as well home VCRs that would follow
later. But on the pro audio side, Ray Dolby’s invention
helped fuel the fire of a multitrack recording revolution—something
we can all appreciate.
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TEAC
1⁄4-Inch Simul-Sync 4-Tracks (1969)
Go back 35 years and there was no home recording market.
In 1969, the first 24-tracks were becoming available,
but choices for musicians were few—either go the full
pro route or limit home recordings to stereo reel-to-reels,
either with or without a “sound-on-sound” feature for
layering new elements while recording over original
creations, a “no-undo” process that required persistence
and luck. At the same time, 4-channel consumer reel-to-reel
decks for the quad market arrived; yet, with no provision
for listening to earlier tracks while adding new tracks,
overdubs were impossible.
Among those companies making quad
recorders was TEAC, and in 1969, Dr. Abe and a small
team of techs and marketing pros founded TEAC Audio
Systems Corp (TASC, which in 1971 became TASC America
or TASCAM) in a small office in Marina Del Rey, Calif.
After opening as a custom shop to modify TEAC 4010 quad
decks into the overdub-capable Simul-Sync TCA 40 Series,
TASCAM soon began making mixers and recorders for the
home recording market and first exhibited its products
at the 1973 AES show. Eventually, the 2340 and 3340
lines sold tens of thousands of units to a growing market
of musician-recordists, almost single-handedly launching
the home recording revolution.
Long before audio education became
an industry unto itself, TASCAM gear provided a learn-by-doing
sort of self-guided audio apprenticeship. Untold numbers
of today’s top recording engineers and producers learned
the basics of multitrack music production (punch-ins/outs,
console routing, optimizing gain structure, etc.), honing
their skills on products such as TASCAM’s Model 2, Model
5 and Model 15 mixers. And as small format 4, 8 and
16-track recorders emerged, a new industry of garage
recording was born, with hundreds of today’s large studios
starting out from such humble beginnings.
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Lexicon/Gotham
Delta T-101 Digital Delay (1971)
Pro audio was forever changed when Lexicon introduced
the world’s first commercial digital audio processor
in 1971. The story began at MIT, where Dr. Francis Lee
developed a digital delay unit for heartbeat monitoring.
A teaching assistant, Barry Blesser (who years later
would design the EMT 250—the world’s first practical
digital reverb), suggested that they try running audio
through the system. The experiment resulted in a 100ms
audio delay line, which was state-of-the-art for that
time. Once the late Steve Temmer of New York City’s
Gotham Audio heard about it, he commissioned 50 units
to help overcome live sound propagation delays and as
a pre-delay for plate reverbs.
Thus, the Delta T-101 was born,
with “Gotham Audio” on the front nameplate and “Lexicon”
on the back. The original unit offered a 10kHz bandwidth
and a 60dB signal-to-noise ratio—less than stellar,
but remarkable for its time. Lexicon definitely felt
that the specs were capable of improvement and the result
was the Delta T-102 (sold under the Lexicon name), which
pushed the noise down to an acceptable -90 dB and helped
convince the industry that digital audio was a viable
proposition.
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JBL
4311 Studio Monitors (1974)
Once upon a time—meaning about 30 years ago—monitors
in U.S. studios were either custom designs (typically
developed from JBL or Altec components), Altec 604E
coaxials in “utility” cabinets or JBL’s large 4320 two-way
horn systems. Based on the success of the 4320s, which
had been designed with Capitol Studios and later developed
a worldwide following, even being adopted as the standard
studio monitor for Britain’s EMI, JBL began looking
into other studio products to expand its market share.
The answer was the 4310, a high-powered three-way, all-cone
system that was small enough to be suspended or placed
on a shelf or console top.
The 4310 was a hit, but some at
JBL felt that the 4310’s popularity in the consumer
realm would dilute its appeal to professionals. The
4310 then morphed into the L100, a hugely successful
home product with the cool sculpted foam grilles; and
JBL developed the 4311—an “all-pro” successor to the
4310.
The 4311 was built ground-up to
be a “studio” monitor: It was available in textured
gray or walnut finishes; the 12-inch 2213 cast-frame
woofer had a 3-inch voice coil and a beefy 6.5-pound
magnet structure; the 1.4-inch cone/dome tweeter had
a foam surround to reduce diffraction effects; and it
had easy-access, front panel presence and brilliance
controls. But the 4311 had one feature not found on
any of JBL’s home speakers: Offering tightly clustered
components that provided coherent imaging when the speakers
were used in close-in listening, the 4311 was ideal
for near-field applications such as meter bridge placement.
In a matter of years, survey after survey from trade
magazines noted that JBL monitors consistently led all
others in its share of the studio monitor market.
With Visa card in hand, Abbey Road Studio manager
Ken Townsend buys an SSL 4000 from Colin Sanders.
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Solid State Logic
SL 4000 Series Studio Console (1977)
There are many terms used to describe innovators in
technology, but “visionary” certainly applies to Colin
Sanders. More than 25 years ago, his design for the
Solid State Logic SL 4000 mixer defined the modern recording
console and changed an entire industry.
Sanders founded SSL in 1969 at age
22 to build electrical control systems for church organs.
By the early ’70s, SSL moved out of Sanders’ parents’
house in Oxford to a nearby village where a workshop
and studio were set up. When Sanders decided to upgrade
the studio for multitrack capability, he launched an
intensive R&D project, studying existing consoles, while
planning to add advanced features such as computerized
automation, dynamics and transport control. Clearly,
the board was designed for production-scale manufacturing
from the very start, and the basis for a commercial
product was underway.
At the 1977 AES convention in Paris,
SSL debuted the first 4000 Series console, complete
with Studio Computer. Though a well-known UK studio
owner remarked, “No one will ever buy a console with
a television in it,” the board was sold in August ’77
to Dick Cadbury’s private studio near Oxford. The mixer
had all the earmarks of the 4000 range: in-line channels,
small faders, track-arming and dynamics on every channel,
computer-controlled automation and tape machine control.
Later models continued the refinements (the current
version is the SL 4000 G+) and today there are more
than 3,000 SSL-equipped studios and facilities worldwide.
Sanders left SSL in 1991 to pursue
various non-audio projects, including high-tech induction
cooking systems and water filtration technologies. Sanders,
an avid pilot, died in 1998 when his helicopter crashed
outside his estate in a light fog.
Thomas Stockham
Soundstream Digital Recording System (1977)
For those who believe “digital” began with digital audio
workstations in the late 1980s, it’s important to remember
that the first commercial digital recordings were made
using Dr. Tom Stockham’s Soundstream Digital system
in 1977. After demonstrating some opera demo recordings
at the spring 1977 AES in L.A., Stockham was invited
by Lincoln Majorca of Sheffield Records to cut The Art
of Fugueing album on his Town Hall label. It worked,
and later in the year, it was followed by recordings
of the Philadelphia Symphony, Virgil Fox and the Boston
Pops.
The Soundstream system was a 50kHz/16-bit
process that stored audio on a high-speed instrumentation
tape recorder. One of its most important features was
its extensive and powerful editing and crossfade capabilities.
The system—initially available only through rental on
a per-project or hourly basis—remained in use for more
than a decade.
Always looking ahead, Stockham’s
paper in the October 1977 Journal of the AES predicted
future records on pocket-sized, 490MB digital discs,
holding 60 minutes of music sampled at 42.5 kHz. Five
years later, Sony/Philips would debut the CD, a pocket-sized
digital disc format storing 60-plus minutes on a 540MB
disc at a sampling rate of 44.1 kHz. Stockham—an AES
president from 1982 to 1983—died earlier this year at
the age of 70, but received many accolades during his
life for his tireless contributions to audio, including
an AES gold medal, SMPTE’s Poniatoff Gold Medal, a Technical
Grammy® Award and an Emmy Award.
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New England Digital
Synclavier (1978)
From a technology standpoint, the 1978 launch of New
England Digital’s Synclavier—the first commercially
available, real-time digital synthesis instrument—was
a monumental achievement. But the story of the Synclavier
began years before when a group of engineering students
(Sydney Alonzo, Cameron Jones and Judd Burnham) in the
Digital Hardware Lab at Dartmouth College created a
small digital synthesizer to give computer-aided instruction
in music with some composition language software and
ear-training exercises. Based on the response to their
simple prototype, the group applied for a grant to create
a larger, multi-user system, and was able to license
FM synthesis from Yamaha. In 1976, the students formed
New England Digital and got a contract from the Norlin
Corp. (which had just purchased Moog Music) to create
some marketing prototypes.
Early in 1977, Norlin dropped the
funding, NED got its technology back and with the availability
of new 5.25-inch floppy disks, the group decided to
create a portable musical instrument known as the Synclavier.
The early units were fairly crude, but with the later
debut of the Synclavier II, which offered polyphonic
sampling and powerful synthesis capability (still favored
by many top sound designers worldwide), NED was on the
way.
Over the years, the Synclavier would
develop from a musical instrument to an all-encompassing
digital production environment, breaking new ground
by combining keyboard sampling and synthesis with its
Tapeless Studio™ and Direct-to-Disk™ recording technologies.
In 1992, NED ran into financial difficulties and folded,
abandoning hundreds of purchasers of these $100,000-plus
systems, but a group of loyal owners formed a user’s
group to provide support and software updates. That
spirit continues today at www.synclavier.com.
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Meyer Sound Labs
UPA-1 Arrayable Trapezoidal Speaker (1980)
Since its earliest days, sound reinforcement has traditionally
been a very conservative market that was slow to acccept
change. However, everything changed in 1980, when John
Meyer unveiled the UPA-1, a compact, high-output, low-distortion
two-way system with a little extra. From the outside,
the UPA-1 was decidedly different: It was the first
trapezoidal speaker (U.S. patent D271,967), now a common
practice within the industry. Its sloped sides allowed
the creation of tightly packed, wide-coverage horizontal
arrays to minimize the comb-filtering effects that occur
when spaced drivers reproduce the same frequencies.
But the real revolution in the UPA-1
was less obvious to the eye. The speaker was designed
to operate as a system, with the then-revolutionary
concept of using an outboard active electronic controller.
Placed just before the amplifier, the controller provided
far more than mere crossover functions, also incorporating
circuitry to optimize the system frequency response,
phase response/driver alignment and signal limiting
protection. Preset at the factory, the controller parameters
were designed to optimize the performance of the system
and not just the drivers themselves, allowing the UPA-1
to function like a much larger speaker.
The era of the modern sound reinforcement
speaker began with the UPA-1 and continues its evolution
today in the form of the UPA-1P, a version with 700
watts of onboard bi-amplification.
Mackie
CR-1604 Mixer (1990)
Go back to 1989, and you’ll enter an audio world that
was pre-ADAT and pre-Pro Tools—even the first digital
audio sequencer (Opcode’s Studio Vision) was a year
away, and an “affordable” digital 8-track was Yamaha’s
$30,000 DMR8. Yet the MIDI keyboard revolution was well
underway, and musicians needed a mixer that was affordable,
solid and good-sounding. The outlook seemed bleak for
anyone looking to make decent music on a budget. Fortunately,
help came in the form of Tapco founder Greg Mackie,
who, in 1989, launched a new company bearing his name
and sold a couple hundred of its first LM-1602 line
mixers. But it was Mackie’s CR-1604 compact 16-channel
mixer, unveiled about a year later, that spawned a revolution
of its own.
Besides offering rock-solid construction
(frequently described as “built like a tank”), the CR-1604
ushered in some slick new concepts. Although a rackmount
design, it could easily be used as a desktop mixer:
Its Rotopod chassis allowed connections to be accessed
either from the front or the top of the unit. The CR-1604
also had a rugged internal power supply, a feature that’s
almost unheard of in a market flooded with budget mixers
using flimsy wall warts. But best of all, the CR-1604
did the impossible: It sounded great and carried a rock-bottom
price.
Soon, Mackie had sold tens of thousands
of the mixers. The audience included not only struggling
bands and musicians, but also working pros everywhere
who used them as submixers in high-end studios, on top
tours, in post-production for feature films and covering
live broadcast events such as the Olympics.
Alesis
ADAT Modular Digltal Multitrack (1991)
The Alesis ADAT changed the entire recording industry,
beginning a revolution of affordable recording tools.
Overnight, the cost of digital studio recording plummeted
from a sizable $150,000 for the Sony PCM-3324 24-track
to a relatively modest $12,000 for three ADATs at their
original $3,995. The ADAT project was a collaboration
of a huge design team, headed on the hardware side by
Alesis founder Keith Barr (formerly the president of
MXR) and with software development from Marcus Ryle
(founder of Line 6) of Fast Forward Designs.
Unveiled at the Winter NAMM show
in Anaheim, Calif., on January 18, 1991, ADAT was a
compact studio recorder that could store eight tracks
of digital audio (at better-than-CD quality) on an S-VHS
tape, and could be interlocked with up to 15 other ADAT
units, providing up to 128 tracks in all. ADAT finally
delivered more than a year later, but in that time,
1⁄2-inch analog 8-track sales came to a virtual
standstill, and for a while, every conversation in the
industry seemed to be centered around this newcomer
on the digital multitrack block.
The advantages of ADAT’s modular
digital recording approach were many: The system used
inexpensive, commonly available S-VHS tapes; the machine
sync was sample-accurate; creating clone safety backups
was easy; and users just bought/borrowed/rented more
transports for more tracks. Meanwhile, ADAT simplified
long-distance recording with session players and opened
up the concept of megatracking, in which as many additional
takes as possible could be recorded simply by switching
tapes in a multi-transport system. The original 16-bit/48kHz
ADAT was later upgraded to 20 bits, and other companies
(Fostex and Studer) adopted the format. Eventually the
popularity of the ADAT (and competing Tascam DA-88)
diminished, mostly due to the rise of inexpensive disk
recording systems, but its legacy lives on in the innovative
Lightpipe 8-channel, fiber-optic standard that remains
in everyday use.
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Digidesign
Pro Tools (1991)
On January 20, 1989, Digidesign founders Evan Brooks
and Peter Gotcher unveiled Sound Tools, a Mac-based
(SE or Mac II) 2-track digital recording/editing system.
Offering outboard converters, Sound Designer II software
and a $3,995 price tag, Sound Tools was ideal for editing
DAT tracks, and its SD II file format became (and remains)
a worldwide standard for digital file exchange.
In 1991, Digidesign made a giant
step with its debut of Pro Tools, a Mac-based system
that integrated multitrack digital audio recording/editing,
DSP and onscreen digital mixing. The platform originally
supported four to 16 independent I/O channels, analog
and digital I/O and SMPTE sync; systems were priced
from $5,995 (less the $6,700 for a Mac IIci—including
4 MB of RAM and an 80MB hard disk). The system has since
evolved fifty-fold, expanding to provide full 192kHz/24-bit
resolution, MIDI sequencing, TDM DSP plug-ins and cross-platform
(PC/Mac) support. The latest iteration is the current
Pro Tools|HD, and recent upgrades include a variety
of controllers, from compact, all-in-one Digi002 systems
to ICON, a fully integrated console environment featuring
the D-Control™ tactile worksurface.
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