RECORDING
‘Levels’ were pretty much set during the two dance sets prior to show-time. The only unforeseen problem encountered was an A/C signal on a couple of the mikes attributable to the stage lights. This was easily taken care of.

Davis’ show opened with “Spinning Wheel.” The tune with its rich horn parts, solid rhythm, and good volume, was a good one with which to finally measure and establish settings and balance for peaks.

With everything running smoothly, and all instrument channels balanced, Heider was free to devote most of his attention to the ‘tracking’ of the vocal.

He did not, at this point, elect to use a Limiter. His feeling was that if he used a Limiter, it would have allowed a good bit of the band sound to get on to the vocal track over the limited signal.

By keeping the vocal level up, really watching for peaks, limiting later in the mix-down would provide all the control needed. If he had had a track to spare, Wally might have used an alternative method he likes very much for doing vocal remotes without using Limiters. This involves paralleling the vocal signal into two channels at once.

One of the channels is set-back, perhaps, 3-5 dB from ‘0.’ In his words, “it provides a safety in the event of sudden peaks and eliminates the need for limiting, while accomplishing the same objective.”

THE TRUCK
As diagrammed, the remote facility Wally has been using is built around the shell of an ALTEC console with Universal Audio equalizer and pre-amp. The eight buses are supplemented by eight auxiliary buses which are in reality the echo buses. Each of the 16 channels has its own mute control for easy monitoring. The first sixteen (16) input positions are switch- able to any of the first eight buses.

Positions 17-24 are permanently wired into the eight auxiliary buses. The monitor system consists of four (4) ALTEC 604 E’s in narrow cabinets. The monitor system is powered by MC 275 power amps. An essential part of his monitoring system is the closed circuit TV monitor located just to the left of the console.

As this issue of Re/p goes to press, let’s call it “WALLY ON WHEELS ‘II”’ is about to be christened. The new enlarged remote facility will be reported on in the next issue.

About the author:
With this, his first article, Chris Huston adds the title ‘Author’ to the many others which describe his current occupations as well as former activities: producer, engineer, mixer, session-man, studio-owner/ manager, graphic artist, etc., etc. Re/p is delighted to publish this story by Chris at about the same time that he is receiving more recognition for having just engineered the Eric Burdon/War —I single “SPILL THE WINE”. . . as well as the album. A Huston produced/engineered group “SWEETWATER” releases an album on Warner’s in October.
-ed

Downloadable Media
Original Article (pdf)
Issue Cover (pdf)
Stage Layout (jpeg)

Take the PSW Photo Gallery Tour of audio equipment ads appearing in RE/P magazine, circa 1970.

Editor’s Note: This is the first in a series of articles from Recording Engineer/Producer (RE/P) magazine, which began publishing in 1970 under the direction of Publisher/Editor Martin Gallay. After a great run, RE/P ceased publishing in the early 1990s, yet its content is still much revered in the professional audio community. RE/P also published the first issues of Live Sound International magazine as a quarterly supplement, beginning in the late 1980s, and LSI has grown to a monthly publication that continues to thrive to this day.

Our sincere thanks to Mark Gander of JBL Professional for his considerable support on this archive project.

Please send all questions and comments to ProSoundWeb Editor .(JavaScript must be enabled to view this email address).

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