'A' Range - De Lane Lea - WEMBLEY
The Wembley contract was a massive challenge. I had sold Dave Siddle the idea that we should design and build the tape amplifiers. This became the straw that broke the proverbial camel’s back. The only problems we had with the mixers was the over sophisticated monitoring logic. Based on that used in the early “A Range”, I felt that the actual circuit design was beyond me. I’d found a guy called Tony, in Norwich, who used to then make our printed circuit boards. He appeared to have an in depth of digital logic design.
The first device he designed for me was a studio digital stop watch. These sold like hot cakes, though I discovered later that bored musicians and engineers used to gamble with these in the early hours of the morning. The logic circuits were a disaster. Some of the blame was mine. I had insisted that he used a particular method of switching, and this started the problems. A redesign eliminated this problem, but we were still left with serious problems. It was only a dramatic simplification that saved the day.
But back to the tape machines. Dave and I had found a new, British, manufacturer of tape transports called Unitrack. When we first met them, they had just finished their prototype transport. I liked the use of printed circuit motors, and their use of digital logic (again - you say!) control of the transport’s functions. They had yet to design and build any amplifiers. Ideal. We would supply these. Our first, eight track, transport arrived. It frequently screwed up the tape. This, they diagnosed, as faulty logic design.
Jill and I left for a holiday in the Canaries. On our second day, I received a telegram from John saying Unitrack had gone broke. As we had placed the order for the transports, this was down to us. I rang John, and the next day he and Dave Siddle arrived in the midst of our holiday. Though Jill was markedly irritated by the intrusion, I had to admit that I was enjoying the glamour of the occasion. Sitting around the pool, sipping Camparis and soda, discussing this grave problem. Within a couple of days, we had agreed to use 3Ms transports for the multi tracks. They were about the same price and very fashionable. They were also readily available. Ampex were selected for the quarter inch decks. Although Dave Siddle did make some superb records with our tape machines, John and I knew their deficiencies too well.
The first device he designed for me was a studio digital stop watch. These sold like hot cakes, though I discovered later that bored musicians and engineers used to gamble with these in the early hours of the morning. The logic circuits were a disaster. Some of the blame was mine. I had insisted that he used a particular method of switching, and this started the problems. A redesign eliminated this problem, but we were still left with serious problems. It was only a dramatic simplification that saved the day.
But back to the tape machines. Dave and I had found a new, British, manufacturer of tape transports called Unitrack. When we first met them, they had just finished their prototype transport. I liked the use of printed circuit motors, and their use of digital logic (again - you say!) control of the transport’s functions. They had yet to design and build any amplifiers. Ideal. We would supply these. Our first, eight track, transport arrived. It frequently screwed up the tape. This, they diagnosed, as faulty logic design.
Jill and I left for a holiday in the Canaries. On our second day, I received a telegram from John saying Unitrack had gone broke. As we had placed the order for the transports, this was down to us. I rang John, and the next day he and Dave Siddle arrived in the midst of our holiday. Though Jill was markedly irritated by the intrusion, I had to admit that I was enjoying the glamour of the occasion. Sitting around the pool, sipping Camparis and soda, discussing this grave problem. Within a couple of days, we had agreed to use 3Ms transports for the multi tracks. They were about the same price and very fashionable. They were also readily available. Ampex were selected for the quarter inch decks. Although Dave Siddle did make some superb records with our tape machines, John and I knew their deficiencies too well.
One of 5 consoles
The dreaded tape amps. The 'screened' transformers, bottom right, could pick up hum from a 100 yards!
The logis switching that did away with a patch bay?
Control room 1
Digital stop watch
