Tom Chrapkiewicz,  former engineer for ADM Technology (Audio Designs and Mfg) sent us some information on this extremely sophisticated console that they designed in 1981 for Glen Glenn Sound.

Tom tells us, ‘above is a scan of a sales photo/document for one of the Consoles we made at ADM circa 1981 for Glen Glenn Sound (later Todd AO) Hollywood.  The application was for Dialogue, Effects and Music production for film.  Countless films in the mid to late 1980s were done on these consoles. This is an early automated, digitally controlled analog audio console. The mixing control was via multiple 6502 microprocessors – one per each of the 65 inputs.  These multiple microprocessors were networked together to a (I believe 8080/CP/M system.  The analog path was controlled via dbx2001 VCA within each input strip.’

Tom can be reached at tchrapkiewicz (at) gmail (dot) com

For earlier ADM posts on PS dot com, click here… and here.

DOWNLOAD: LarryScully_BertWhyte_Interview_AUDIO_1169

As longtime PS dot com readers know, we are based in Bridgeport CT,  former home of Scully.  Scully was America’s leading manufacturer of Lathes for cutting LP masters; only Neumann lathes offered any real competition in terms of quality. Starting in 1962, with the aid of former PRESTO engineers, Scully also began manufacturing high-quality tape machines in a variety of formats.  I had a Scully 1″ 8-track machine recently and it was a marvel of engineering; the sound quality was absolutely astonishing.  In this article, L Scully describes his father’s start at Columbia Records (also based in Bridgeport in the early 20th century), their movement the manufacture of professional tape machines, ETC.   Great piece of history.

There is a plethora of Scully, Columbia/Bridgeport, and Bert Whyte material elsewhere on this site; just use the search box. 

IM A HIGHER BEING

if you get that reference

we’re probably in the same karass

and if you get that second reference as well

one of us might be a clone

Download the complete 21 page Harrison Systems, INC catalog of audio mixing desks circa 1980:

DOWNLOAD: Harrison_Consoles_circa_1980

This document contains images and text describing the following units: Harrison 32C and Series 24 recording / mixing consoles and Harrison “Autoset” automation.  The product photography and GDSN of this publication are second to none.  Unlike virtually every large-format console-manufacturer of the 1970s, Harrison is still in business; I saw their recent 950MX mixer at AES a few years ago and it looks killer.  Anyone using an older, or newer, Harrison, for their day-to-day?  Let u know in the comments.

DL:  Gotham_Audio_1981

Products covered, with text, photos, and limited specs, include: Neumann U89, KMR 82, USM 69 microphones; VMS 80 Disk Mastering System; SP 79C Disk Cutting Program Control Consolel MT 80 Preview/Playback Tape Machine; SAL 74B Cutter Drive Logic; and SX 74 Dynamic Feedback Stereo Cutterhead;  EMT 251, 240, 245 reverb units and 162TS solid-state reverb amp for the 140; EMT 422 ad 424 flutter analyzer, Neumann RUMS 77 Rumble Meter; BASF PW 384 splicing cassette.

Above: the Lyrec TIM 4B tape timer for Scully and Ampex multitrack tape recorders.  A couple of years ago we purchased a beautiful Scully 284 8-track 1″ machine for Gold Coast Recorders; the sound was superb but ultimately we decided to install more modern (IE., 1980’s-era) tape machines for a variety of reasons – a principle concern was that the Scully has no timing facility whatsoever.  The thought of spending time searching blindly cueing the tape for punch-in points and overdubs was a bit disorienting to me, and I imagine it would be frustrating to performers as well.  I can’t imagine that there are too many of these Lyrec units out there in the wild but if you do own a Scully or Ampex, this would be a good get…

earlier GOTHAM AUDIO coverage on PS dot com:

Download the complete 1972 Gotham Audio catalog

Download the complete 1979 Gotham Audio catalog

DL: McCurdy_SS8900

McCurdy was a Canadian – based manufacturer of broadcast audio equipment.  They seem to have had US operations in Massachusetts and Illinois at various points as well. It’s easy to find their modular mic pre amps and various metering units on eBay, but I’ve never encountered one of their consoles.  Anyone?

Click here to DL specs on their earlier 7700-series consoles via AmericanRadioHistory

DOWNLOAD: Eventide_1980

Products covered, with text, photos, and some specs, include: Harmonizer HM80, H949 and H910; LU618 de-glitch board (ooops); HK940 keyboard, FL 201 instant flanger and BPC 101 phaser card; 2830 omnipressor; BD955 Broadcast delay line 1745M delay line;  JJ193 delay line; TIMESQUEEZE system with PTC 945 precision tape controller; RD770 Monstermat mon/stereo matrioxing unit; and the Eventide Real Time Analyzer systems THS 224 and VTU02.

I am a big Eventide fan.  We have their classic H3000 Harmonizer at our studio Goldcoast Recorders (one of only two digital processors we’ve kept in the main mix room).  At home (where I don’t have room for a big outboard rack)I heavily depend on my Eventide Space reverb pedal, which is pretty likely the greatest effect pedal ever made.  I use it on literally every electric guitar and electric piano I record at home, and most synths as well.

I’ve had my eye on these early ‘compact’ HM80 harmonizers for a while; seems tough to find but would def tie the vintage synth ‘rig’ together.

One of my favorite patches in the SPACE (#19 ‘NEBULA’) models the above OMNIPRESSOR – it reverses the attack envelope of any sound.  Simple in principle, but the crazy part is it actually works.  I’d love a ‘real’ Omnipressor for the mix room at GoldCoast but these seem pretty much impossible to find for a reasonable sum.

Commodore PET anyone?  Of little interest to most, the download package contains a ton of info on Eventide’s PET-based RTA system.

Using vintage Eventide in your system?  Drop a line a weigh in.

DOWNLOAD: Microphones and their placement

Written by Arthur Davis, Phillip Erhorn, and their team at Aerovox, the article offers an interesting historical perspective on microphone technique in the 1950s.

(image source)

If you’ve spent much time creeping around inside old electronic equipment, you have undoubtedly seen numerous examples of the capacitor shown above.  I really don’t have a super-strong sense of ‘how good’ Aerovox caps were as compared to their contemporaries, IE., how often they tend to need replacement, ETC,, but IIRC they tend to be more reliable than most 50’s foil caps.

“The Aerovox Research Worker” was a sort of ‘branded content’ marketing item that the company published from at least 1949 through 1958.  I recently picked up a large pile of these publications, and most focus on RF and TV applications.  This was the only one I could find that was audio-focused.  Enjoy. CR

DOWNLOAD A COMPLETE 13pp 1940 RCA SOUND SYSTEM PROPOSAL:  1940_RCA_PA_Proposal

Somethings, tho, are just too weird and interesting to ignore.  I found this jacketed proposal package for a 1940 church PA system.  Just the sort of audio historical flotsam that probably no one else ever bothered to preserve.  I can’t stand to see this stuff lost.  So here ya go.  If you ever wondered what those gigantic RCA amps and weird 77 variants cost new, who bought em, and how much those UrSoundBros got paid to install it… ANSWERS WITHIN.  enjoy. CR

Above: The Soundcraftsmen RP10-12 equalizer

Above: The Sansui QSE-1 Quadraphonic Encoder

Above: The Quad-Eight Variable Filter, Auto-Mix 23B compressor, EQ 312 channel EQ, and RV10 Reverb unit Above: the Martin SLM-1020B mixer, PEQ500 rackmount program EQ, and varispeed 3B tape machine speed controller. 

Click here to DL a pdf of the proceedings: AES_1971_DBmag

There is just a shit-tonne more of this stuff, so click the link below to READ ON;;;;;