Interview with Rein Narma

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rotation

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Hi,

i would like to get the file with CJ's interview with Rein Narma, to post it at the local pro audio forum where we are having nice discussion about this limiter.
I already got CJ's permission but he don't have pdf file anymore. I guess many of you have it, can anyone share it with me please? Our group will be very thankful.

Regards from Miha

P.S.: Please pm me.
 
BUMP..
Come on guys, can anyone please share it? As i said, i have CJ's permission and group would be thankful for interesting reading.
 
I had this from page 5 of the Fairchild thread titled "Rein Narma - The Fairchild 670 King"
I am not sure if there is more.
Here's what I have:

cj - So now you were back over here, are you still tied in with any of these companies?

"As far as General Instruments is concerned, now I headed all the component business, which included CPR (?) relays, targeting systems, primary radar surveillance systems, and targeting systems for missiles, which was maybe the first passively targeted device. The Navy had put Harpoons on the P-3's, and while there were weapons up there, they also have a very powerful radar system. But they are defenseless, you know, and an anti aircraft missile could find them in a nanosecond."

(note: the P-3 Orion, as many of you know, Lockheed built (MD?) Navy sub finder with a big "stinger coming out the tail, where the antenna sits. They used to circle around here constantly, after a low and slow flight over the pacific, usually Hawaii and back, during the cold war years, making noise (turbo-prop), disrupting AM radio broadcasts, and killing golfers next to 101. - cj)

"So it was our job to....we created our own re-con monopoly. We developed a purely active way, by looking at enemy radar signals, to target the Harpoons. By only missiles. By identifying the track points. And by targeting, so that the Harpoons can go flying up, up until they can take over its own final targeting. That was just one of the things, anyway,.....so I did that...quite a few years, and then, I sort of became an overall guy, and the Executive Vice President of the corporation, and the adviser to the chairman."

"They had some rules. Above a certain age, above sixty five, you couldn't serve in certain capacities. For the last couple of years, I was overall V.P. Anyway, so I did this until the company was sold. Or bought, which was in December of 99. And then, all the top shelf was retired."

"So I was retired. End of December of 99. And then, Frank(?) and I, we founded a company called Manhattan Partners. And went out looking for things to buy."

cj - Turned into a venture capitalist?

"Well, we found that Westinghouse was selling one of their electronics entities, called Contec International.

cj - That is where you are working now?

"No, I was, until December of this year."

cj - Was that broadband stuff?

"Yeah, it was a very small company, roughly a ten million dollar company. Westinghouse had lost thirty million dollars. It provided technical services, the main part of it was repair, and the servicing of cable and satellite receivers, and cable system power supplies, and satellite system components. And technical advice.
Well, I took over as the CEO.
In debt, losing money...

cj - Did they do any satellite internet connection broadband?
 

The principle business was fundamentally repairing cable setup parts

cj - There are some talented people in that field...

"Very good people. It was just mis directed. You don't realize how complex those setup boxes are. Overall, they are more complex than a P.C. You have to have several Simultaneous communication systems at different frequencies, and at different modulator speeds, as well as the picture system, as well as everything. They purposely built those to be difficult to find out how it works."

cj - Sanding off the part numbers of the I.C's? Software?

"Yup, but including some hardware, too. Fundamentally, we acquired two additional companies, related to the large one from Motorola. And we sold the company this January for fifty to seventy times of where.....

cj - Miracle worker! Now did you have to learn a lot of legal stuff to make the transition from engineer, to CEO of all these companies?

"Well, I had a good partner, Frank and I, would report every so often, we would work well together most of the time. And I had good people, including legal talent, so its all a question of having the right people, and getting the capital to get the job done."
_________________
If I can't fix it, I can fix it so nobody else can!

Last edited by CJ on Tue Mar 20, 2007 10:41 am; edited 2 times in total
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CJ



Joined: 03 Jun 2004
Posts: 7503
Location: California
Posted: Mon Mar 19, 2007 2:23 am    Post subject:
(cont)

"Then,... kind of funny, after I was sort of retired from General Instruments in December, 99, Alan Partrikoff(?), who is a venture capitalist, called me. He might have heard....."Um, now that you have some time on your hands, maybe you want to look at something. We have been considering an instrument in a small company in Westchester County. Some ex IBM Ph D's dreamed up some pretty good ideas, and if you could take a look and see if we ought to make an investment..."

"So I went out, spent a couple of days with the Ph.D's, from IBM at that time, and they had some very good ideas. Fundamentally, they had made some inventions of their own, and they had assured me that these were all done after they had switched jobs from IBM, they had cleared this from IBM...anyway, I made a few phone calls, to the rest of the ...(?)and ended up by recommending to Alan that they go ahead and invest."

"Now, it so happens, that in January of 1999, it takes time for the venture guys to get their money together, after their money, they had to get people to put in. They needed a lot of money, and they couldn't meet their payroll for the people at this little company. Well, I asked them how much they need to pay the payroll. They said $10,000. I gave them $10,000. It was just an outright investment. And they also invited me to join the board. And the company, Business Week, out of thousands of small companies in the country, found us to be number two, of excellent small companies. Called Pes..a..???"

cj - How do you do this!

"Good luck!"

cj - Being at the right place, at the right time?

"I found myself at the right place, at the right time."

cj - Well, you paid your dues early on there, thats for sure...

"I also worked hard, I mean, a combination of luck and hard work."

cj - So how many things do you have going on now?

"I still do a little bit of consulting."

cj - So you are completely out of General Instruments..

"They were bought from that buyout firm, by Motorola. They are part of Motorola now.
.
.
Oh, I forgot something. I also headed the Broadband Division of G.I., that part of the company as well."

cj - "It would be nice to show my friends some footage of the 670 invent.....(cj reaching for camcorder, the interview is essentially over..)

"People are still using it?" (Rein is referring to the 670)
"Is there something else that is replacing it?"
_________________
If I can't fix it, I can fix it so nobody else can!

Last edited by CJ on Tue Mar 20, 2007 10:42 am; edited 1 time in total
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CJ



Joined: 03 Jun 2004
Posts: 7503
Location: California
Posted: Tue Mar 20, 2007 2:38 am    Post subject:
OK, Tape 2 Side B

Just dingin round, forgot what we have...


Rein:

"People are still using it? (670) Is there something else that is replacing it?"

cj - They have software plug ins, but they don't duplicate the 670.

(cj hands Rein a slide rule)

"I haven't used one of these in ages."

cj - Remember they used to make them out of ivory? You used the slide rule on the 670?

"Yes, I did. I did.

cj - Did you use the tube data sheets on the 670?

"I used tube data sheets. It used to be....RCA published a book of loose leaf service of all of the data sheets. Unfortunately, there were so many moves. I lost a lot of my old stuff. Computers have completely spoiled me.
I have been using a computer instead of this for the past twenty years, or so, its amazing how one gets spoiled.

cj - I see the heaters are biased up on the this B+ supply to avoid cathode stripping...

"Thats the idea..that is right.

cj - You don't recall what kind of capacitors you were using ...

"Most of them, I think, were Spragues. These pots were Allen Bradeley, and those are Davens...."

cj - I notice you have some grounding lugs on these pots...

"As much as noise was always a problem back then....

cj - Were you in contact with Fairchild when they were doing all that new stuff?

"Yes. As a matter of fact, I met the founders. You see, Sherman actually financed the first group of people, who were the founders of Fairchild Semiconductor, out of his own pocket. Long before the various financial guys came in. I met them at Sherman's apartment. He introduced me to the group at the time."

(note from cj - this "group" than Rein so nonchalantly refers to is probably the "Traitorous Eight", dropouts from the Shockley Regime. Two of the eight, Moore and Noyce, went on to found Intel)

http://en.wikipedia.org/wiki/Traitorous_Eight

cj - There was a big battle going on over who actually came up with the I.C.
Fairchild, or T.I.

"I don't think theres any question that both T.I and Fairchild played a role in bipolar integrated circuit development."

cj - Is it fun being a Genius?

"I'm not....."

cj - Did you have time to enjoy music?

"Yeah, I did."

cj - You went through the Swing era...

"I've always liked various types, but I like solo music, good piano concerts come to mind....

cj - New York is a good place for entertainment...

"Yes it is. I also found that to this date, nobody has done a decent recording of a symphony orchestra. I almost don't like listening to recordings of a live symphony orchestra, because it is so poor compared to the live performance. To this date, our recording path is really miserable. Recordings and reproduction of it. First, when you have so many continuous....(?)...differences......and all the .....so much is lost. It is no longer fresh. I'm so critical, that I don't like to listen to it. There is still to be a truly high quality of a large symphony orchestra. We are still trying so hard...to be developed. If you think about it, in 2005, and we have not accomplished this, even though lots of people claim .....when you go and listen to the professional recording, and go and listen to the symphony orchestra, you don't want to listen to the recording."

cj - Irv Saul..(?)

"Yes, he interviewed me a few years ago.

cj - Did you design the faceplate for the 670?

"Yes. Including the original drawings of the chassis. and used Greenlee punches to punch holes in the chassis!

cj - You need a heavy chassis, this thing weighs 64 pounds!

"Today, it would be done with one quarter the weight. Throw away the power supply, you throw away the power amplifier for the control voltage...

cj - But it wouldn't sound the same. People buy these darn things, you have all that classic iron.....

"matter of fact, you can make a better power supply..."

cj - What happens to the dynamic range during compression. Do you tend to lose a little high end?

"You don't have to. Maybe you reduce the overall dynamic range by approximately ten to twelve db, this was never intended to be much more than that. Then you creating such distortions..."

cj - If your a good engineer, you don't need all that compression anyway...

"If you actually sat on the recording console, it is still very difficult to follow the music, you see a cymbal crash coming but you're never fast enough. '

cj - How many hours does it take to build a 670?

"The ones that I manufacture by hand myself, oh, it takes....probably took me about three or four days....

cj - wow, thats pretty fast!

"...after the initial chassis. I had probably manufactured the chassis before then....I only made it with two Greenlee punches."
_________________
If I can't fix it, I can fix it so nobody else can!

Last edited by CJ on Wed Mar 21, 2007 7:05 am; edited 6 times in total
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CJ



Joined: 03 Jun 2004
Posts: 7503
Location: California
Posted: Tue Mar 20, 2007 4:46 am    Post subject:
(cont)

cj - Now did you start off with a block diagram of what you want, or just start drawing the schematic from the git go?

"Well, I had the block diagram pretty much in my head. The block diagram for this is extremely simple. Audio amp, control voltage generator, and the power supply. Very simple block."

cj - Did you do any radio design? Or did you go straight into audio?

"As a matter of fact, when I worked for the U.S. Military, and at the War Trials, as part of my income, I did build radios. I actually built some radios and I sold them..... from scratch, you know, anyway, to make money, because we were starving."

cj - Now this control amp does not have a regulated voltage on it, is there a reason that you don't need to have......

"You don't have to have it regulated, simply because it's gain is controlled by the feedback. So any changes in voltage will not change it's gain. So it doesn't require regulation."

cj - Now did these sell pretty well after you started putting them on the market?

"I don't think they sold very well."

cj - They probably sold for a lot of money back then, maybe five or six thousand?

"No, no, those sold for around five hundred dollars."

cj - And you know these sell for thirty thousand dollars, remember, I told you that?

"Thats what you told me. Hard to believe."

cj - So Les Paul never worked on this?

"No, he had nothing to do with it. Anyway, he bought one of them."

cj - Did you ever go to Van Gelder's studio and hang out?

"Sure. As a matter of fact, my first involvement, really, with equipment and industry, was....I......people started to use the Telefunken microphone, the Neumann U47 microphone, and I noticed that they were doing........at Gotham....the distortion products were just too high. I was a little bit surprised, because those microphones were never intended to be used the way they are used here in the United States. It was always used as a single, or two microphones, far away from the source, so the sound pressure levels were actually very low. U.S. applications, people used it relatively close to an instrument, or a performer. And in overload conditions. And so, one of my early moneymakers was I re-designed the circuits inside. Originally, it was set up as a pentode amplifier, and I changed it to a triode, cathode follower. Because the gain was not required in the U.S studios. So it was now an essentially a zero gain impedance converter. Now the distortion products, for all practical purposes, disappears. It was now useful."

So for a while, while at Gotham, we modified U-47's for twenty bucks a piece, or something like that. I personally took em apart, and adjusted the gain, and so on, and later, I think, "..?..).., my partners, and others, showed them how to do it. I personally must have modified several dozen of U-47's. So it's possible that they thought it would be ..?.. change those circuits."

cj - So you wired the screen to the plate...

"That is right. And I changed the circuit from being plate loaded, to cathode loaded."

cj - People were putting those right over the piano...

"Oh, and sometimes they would put it right in front of a fairly loud instrument. Or a loud singer. Also, because of some of the distortion products of the transformer, so the pentode, being a high impedance source, really didn't do much to deal with some of the iron distortion products of the transformer. so a cathode follower, having a lower impedance, improved that as well."

(back to some 670 stuff)

cj - Did you ever talk to any of the transformer engineers...

"Never did. These are stock transformers..., so I never talked to anyone about modifying them, I just looked for components that could do the job."

cj - This 670 can probably drive a pretty long transmission line, with this output here....

"If you had to run a line down the hill, you shouldn't have any trouble at all. Its well balanced."

cj - You didn't have a way to measure the rise time of your control voltage...

"Within the limits of the oscilloscope. I could not measure it precisely, but I could get a pretty good idea. I calculated it, then I listened to the effects on a particular recording."

cj - You could calculate the amplification factor of this whole voltage amp...

"Easy enough to know what the source impedance was, at the various frequencies, so thats easy to measure them. The scopes didn't have the bandwidth that they have today, but they still had a couple of megahertz, which was adequate response.
As a matter of fact, I didn't even have that, what I had is....the test equipment I had at the time was tube equipment that I put together myself."
_________________
If I can't fix it, I can fix it so nobody else can!
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CJ



Joined: 03 Jun 2004
Posts: 7503
Location: California
Posted: Tue Mar 20, 2007 7:49 am    Post subject:
(cont) last installment-Rein was getting a bit antsy, later, I found out that his silent cell alarm had gone off. His ride was on the way to pick him up, and he needed to take care of things. Never the less, he did not cut me off...

cj - These are nice big VU meters...

"Those are Westons. Very specific dynamics."

cj - Nice grounding, plenty of big buss wires...

"One of technicians that worked with me at the time, Alexandrovich?

(note: George Alexandrovich, His name is seen on the cover page of a 670 manual that is floating around the web. George and Irv might be two great leads for further info, if so inclined...)

"He may have been the guy who did some of the detailed layout, with Irving Saul. Irving Saul was the engineer......"

cj - Did you have any problems with audio hum, having that big power transformer in the proximity....

"No. First of all, everything is balanced. The two guys who have something to do with the detailed layout are Irving Saul and Alexandrovich. I think he was of Russian orientation. Have you heard of Dave McNight?

cj - Was he on the 670?

"No, no, not 670, but he was part of my team at Ampex, but he was quite an activist at AES for awhile."

cj - Here is an Altec compressor, and......

"That was one of the units that didn't do the job......

cj - But this Langevin Leveline......

Thats right, these are the ones that kind of prompted me to design this one because the distortions that they caused."

cj - It looks like you pulled out all the stops when you designed this thing, it was quality from the git go....

"The point was that the recording art needed to be improved. You don't go in with a hammer and chisel, you know, when you need a surgical knife!"

cj - Thank You very much!

cj - You know the Beatles, right?

"Yeah........

cj - They used the Fairchild on a lot of their stuff...

"They did! How about that! Ha ha! Kind of funny, using something that I did."

 
Hi,

thanks for your help. I agree with you, it looks like a part of interview is missing. Can anyone else confirm this?
We will enjoy reading anyway, it's nice that i found it :)

Regards from Miha
 
Here's what I've got in my little archive. Is this the series of posts you were looking for?

Rein sat  down with me for a little over three hours and we talked about as much stuff as he could remember pertaining to the 670.

Rein is 82 but looks to be in great shape. 

I have to listen to the tape to remember it all, as I was in a semi state of shock the whole time, but a few things I remember, some of it might need further verification:

only about 45 units were ever sold

he assembeled the first ten himself

he designed it in his cellar before coming on board Fairchild

he liscensed it to Fairchild and was to recieve aproximately one hundread dollars per unit, but can't remember if he ever recieved said monies

the prototype was sold to somebody and it looked pretty much like the final units

tube data sheets from an RCA loose leaf tube handbook were used

the reason for designing the 670 was because he felt that there were no compressors out at the time which did the music justice-most were "like using a hammer and chisel, when they should have been like using a scapel"...

the front panel was designed by him

the instruction manual was written by him

one of the reaosns for using the 6386 was the relatively low transconductance which meant less distortion

about four out of five 6386 tubes passed matching tests

he wanted more headroom than most compressors had

he wanted a very low output impedance on the control amp, it is close close to 0.5 ohms

different time constants were used to catch different things- some of the time constant settings have dual values, one for catching a symbol crash, the next for other things

they sold for about five or six hundread dollars back then

they took three to four days to build

they use Weston meters and Allen Bradley pots

transformers were picked according to the turns ratios that he needed

transformer balance was a factor in picking certain brands

relatively little test equipment was used while desinging the 670 , a scope, oscilator, VTVM....

transformer balance was tested by inverting the signals feeding the transformers and looking at the output

the 670 was first intended as a tool for a cutting lathe

the 660 chassis was done by Rein, but someone else layed out the chassis for the stereo version

no regulation was needed on the B+ voltages on the last two control amp stages because of the negative feedback

the negative feedback helped lower the impedance of the control amp


the control amp input resitors form a pad to help isolate the output signal from the control amp input transformer

the tapped ac threshold pot was used so that the control matched up with what the compressor was doing

if he were to design the 670 today, he would use a solid state sidechain (op amp) , solid state regulated power supply, the unit would be smaller...etc ( I tried to talk him out of this!)

the push pull balanced circuit cancels second order distortion

hum from the tube heaters is cancelled by the push-pull circuit

the compressor was designed to be as clean as possible from a circuit standpoint, as can be seen in the audio path

it is fairly simple, an audio amp, a side chain and a power supply (yeah, right!)

he can't recall Les Paul having anything to do with tweaking the circuit

he did help Les Paul with that Ampex eight track prototype, it needed a lot of work as far as distortion, etc, when it first arrived

Rein used to hang out a bit at Rudy VanGelder's studio. He modded about twenty Nuemann U-47's that came through at the time. The mod involved reducing the gain by connecting the pentode as a triode and converting the circuit to a cathode follower in order to match up with the transformer better.

Rein plays piano, played coronet and trumpet in a marching band, loves the sound of a live orchestra and has yet to hear recorded music come anywhere close to the experience of hearing a live orchestra, and thus does not listen to a lot of recorded music.

he was very pleased to learn that a 670 was used in the recording of some Beatles things.

I had been dreaming of doing this interview for about three years, ever since I first saw the 670 schematic, so am very pleased that it came off so well.

Sorry if this was stuff we already knew, but it's good to hear it from the designer.

Thank You Rein!

cj :thumb:

Hey, thanks everybody!
I am backing the interview up onto tape. I bought that Sony voice recorder the night before the interview, always a bad idea, so I was nervous about using something new. Especially when I had to change the battteries last night. There is a message on the instructions that says be sure to back up everything to tape in case of accidental data loss! So I feared I might lose the interview when I changed batts, but everything is cool, I am on my second 90 minute tape right now.

The most humbling thing about the interview is the fact that the 670 is probably a minor event in his life compared to what followed. Once he finished that, he was on to something else, then something after that...on and on til he was 80 years old.

He came from a tough background. Escaped from Estonia when he was a teenager. Got a job with the US Army in Germany after WW2 as a radio guy. He had built a DIY radio as a kid, and also spoke English, which is what got him the radio job. So DIY can help you, folks! Setting up  up and running the radio broadcasts for the Nurnberg Trials was one of his first duties. Then did field recordings of music for the United Nations in the refugee camps. After he got over here,  it was Gothem Music, Fairchild, Ampex, General Instrument which required  a move to Taiwan,  back here and into the broadband biz, a few venture capitalist things, but not much audio after Ampex.

This can go in the Brewery I guess. I thought it might generate some more technical discussion on the 670, but that's cool.

I will post the other tech stuff as soon as I pull it from the interview.



=================

General Instrument was one of the first to bring out the mosfet chips. Rein says the biggest problem was water vapor in the oxide coating. Just a snippet.
GI also sprung off the Microchip company which makes PIC chips.

In the early years, they were know for bullet proof packaging on their retifiers which involved a special encapsulating process.and dependility

He was also involved with Philco, which started making  UHF tuners. When everyone decided that all TV sets must have a UHF, that company made millions off of that tuner.


====================

Mr. Narma did tell me that he has an AES paper on his compressor ideas.
I wish someone would hunt that down. I am not a member.
There was some mention on ideas pertaining to disc cutting. It seems the Europeans wanted to do it one way, and the US another.  Each 45 degrees off axis versus horizontal vs vertical. This tied into compressing as you need to watch the vertical more caefully in the horizontal/vertical system. This is covered a bit in the owners manual for the 670. It turns out that cutting a disc a certain way produces more IM distortion.

---------------------------------
Larrchild (Tube Equipment Corp. SR-71) wrote:

Since prior to this great meeting, the threads on this forum (long before I arrived) got into the Fairchild on a molecular level so much of what you bring back is confirmation of what we thought. Thats good!

But so far from this, we got that the low source impedance of the control amp output gave it the risetime to bias the 6386's faster than the "turbo lag" associated with high impedance tube rectifiers. A more transparent compression, I imagine. The control amp output has a tertiary winding the goes back to the 12BH7 cathodes for NFB.  Tightens up the whole deal I guess.

This feels like a dumb qustion even as I type it, but if I unhooked that feedback winding on a Fairchild and watched the amount of db's the amps' gain rose..would that amount of db's also be the amount of feedback?
I wanna do this minimally invasive.




Larry, the Chicago output has a NFB Z of 104 ohms calculated, accorcing to the Pope of transfomers.


tell you what. This is going up right next to my 70's Farrah Fawcett poster.
Thanks!

The Son of the Father of Mumetal sez its 104 ohms eh?  I believe it. The winding is split between 2 resistors to ground to center it for diff amp use, I wonder if that effectively divides that number per leg or side?  Sowter's site says its a 9.5:1 ratio which lines up with a 10% fb winding, CJ  like you said.

Regarding a DIY vari-mu control amp without the specific Chicago specs,
i proposed to PRR (to avoid that last foot in mouth).. A control amp based on 6BQ5's and a Hammond 1645, but using the Fairchild schematic. He said this iron mite work. 

The first thing one finds when cloning a fairchild is a lack of PP output transformers with 600 ohm secondaries that can make 60v. There is the exact copy and...nothing.  After misstating that the Chicago output xfmr was a 70v tap, I said "well, why not?" and realized in a modern world, that may be as close as it gets for off the shelf at DIY budgets. This is the 1645:
http://www.hammondmfg.com/1608.htm
I'm thinkin that floating second winding for 4 ohms could become a feedback winding. It's a 30w xfmr so with 20w or so, 50+ volts of control voltage could happen. The "z" @ 70v@30w is 163 ohms. Not 600, but plenty of swing. It's 5000 ohms ct pri, so either 6V6's or 6BQ5's would work. 'BQ5's are beam pentodes and handle more current in a smaller tube.. . I was tryna "mid 60's " the Fairchild, move into the subminiature envelopes.lol.  opinions?
ps: you could even connect the ultralinear screen taps and have the best sounding rectifiers on the block.

Just curious, did Mr. Narma talk about the Ampex MR-70 master recorder? He co-authored the AES paper on it so I assume he was part of the design team. I don't recall AES papers on the Fairchild limiter, but there was one on their cutting head amplifier by Narma

Larry, I asked Doc Hoyer, not Mr. Sowter. Doc has rewound maybe forty or so 670 control outputs, so I gave you the specs for the original. Says they quit making the endbells, which pisses him off.
The NFB winding is 300 turns of #35 wire, if your curious.

I guess PRR is right. People like popping those outputs.

Rein talked quite a bit about Ampex, and it wasn't pretty. Gross mis-management by admin people, who wouldn't listen to their engineers, and the rest is like the company, history.

He took a 300 tape machine when he was at Gotham and stripped out everything but the transport and made his own amplfiers. Said the originals had too much distortion. Sheesh, talk about DIY!

I will check on that model number. Running the interview thru a Pultec for that "old school" sound!


Rein has a recording out of his field work in the refugee camps. I asked him if he squashed it with a 670, but he said no.

======================================================

Mr. Narma may or may not have mentioned this in the discussion, but Fairchild's stereo cutterhead (641?) was Vertical/Lateral, not 45/45 like the westrex, this might explain some of the 670 controls.


Doesn't matter for the limiter. While the 670 seperates Mid/Side (or lat/vert) for processing, even when this mode is selects, the signal inputs still go in as L/R and are re-converted to L/R for output. it's just about how the limiting is applied to the signal... unless I misunderstand you, which is certainly not impossible!  :wink:



Thanks,

Joe
 
Thank you. I just posted it, there are some good hints. I'm still not sure if i have complete interview, but i'm (we are) happy with what i could get.

Miha
 
I threw this into Quark and made a pdf of it a while ago. Don't know why I never posted...
If anyone has some copyright-info and date/time/place details I'll modify the pdf.
Also if anyone is not ok with this being posted please let me know.

Enjoy!

Link
 
Hi guys, beautiful interview with Narma, but I have a ig one question I can't find nothing around about that.... maybe here there is someone who can answer or answer directly to Narma...
There's a lot of information and specs about Fairchild compressor ok... BUT WHAT ABOUT THE FIRST NARMA CONSOLE????? the one he made for van Gelder and after for Les Paul ... Van Gelder yes , he has problems with U47 but Narma design new console for that after have trying to change the microphone with not good results he made a new console with -20 db pad on every channel. But what in this new revolutionary preamp. CLASS A? WHAT TUBES???? they were in 1957 a year of great revolution... altec console start to move from penthouse to double triode... I know Narma visit the Columbia studio that inspired his first console for Van Gelder but they were also in contact with German engineers of Neumann for fixing U47 issue with their US "born for ribbon" mic pre of RCA etc.... what preamp Narma made for Van Gelder ???? I think the world must to know it!!!!!! The first mic preamp in US that can manage U47 and ribbon well enough for a John Coltrane album!!!!! Man I really think the world has to know that schematic!!! Anyone had something real out it ????????? THANK YOU!
 
I know Rein Narma designed equipment for Gotham Audio as well. He designed the Gotham Audio PFB-150WA amplifier. It was designed to drive a Grampian cutter head. They are very highly regarded. A Gotham Grampian setup sounds great. They can take a beating and deliver serious level.

He also designed the Gotham Audio “Transfer Control Panel Model A”. This was a bare bones cutting console for those who couldn’t afford or didn’t want a Neumann console.

Other mono setups were more hi-fi like the Ortofon system. They couldn’t compete level wise with a Gotham/Grampian.

As I understand it the Gotham amp used a B+ of 900VDC. Yowza!

The Fairchild cutter head mentioned earlier was designed by George Alexandrovitch when he was at Fairchild. I know he was Director of Engineering at some point.
 
Photos for above
 

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Thank you so much for this reply! You're so prepared! Very interesting and a kind of track to follow the worms of that mic preamp in Van Gelder / Les Paul console.... Do you think it could be similar? I mean the design of that amplifier could be similar to that mic preamp? I want to add something else that could help the research .... The Narma console designed for Les Paul is at MAHWAH museum. Maybe someone there could help us?

 
Photos for above
Thank you so much for this reply! You're so prepared! Very interesting and a kind of track to follow the worms of that mic preamp in Van Gelder / Les Paul console.... Do you think it could be similar? I mean the design of that amplifier could be similar to that mic preamp? I want to add something else that could help the research .... The Narma console designed for Les Paul is at MAHWAH museum. Maybe someone there could help us?
HERE THE COLORED PICK JPG OF THAT CONSOLE:
https://www.preservationsound.com/wp-content/uploads/2013/03/PreviewScreenSnapz0011.png
 
Do you think it could be similar? I mean the design of that amplifier could be similar to that mic preamp?.png[/URL]
The Gotham console is for line level transfer. There is no microphone preamp or bus. It’s doubtful there is much in common.
 
Hi guys, beautiful interview with Narma, but I have a ig one question I can't find nothing around about that.... maybe here there is someone who can answer or answer directly to Narma...
There's a lot of information and specs about Fairchild compressor ok... BUT WHAT ABOUT THE FIRST NARMA CONSOLE????? the one he made for van Gelder and after for Les Paul ... Van Gelder yes , he has problems with U47 but Narma design new console for that after have trying to change the microphone with not good results he made a new console with -20 db pad on every channel. But what in this new revolutionary preamp. CLASS A? WHAT TUBES???? they were in 1957 a year of great revolution... altec console start to move from penthouse to double triode... I know Narma visit the Columbia studio that inspired his first console for Van Gelder but they were also in contact with German engineers of Neumann for fixing U47 issue with their US "born for ribbon" mic pre of RCA etc.... what preamp Narma made for Van Gelder ???? I think the world must to know it!!!!!! The first mic preamp in US that can manage U47 and ribbon well enough for a John Coltrane album!!!!! Man I really think the world has to know that schematic!!! Anyone had something real out it ????????? THANK YOU!
Here is some rudimentary info on the van gelder consoles.

https://rvglegacy.org/mixing/
 
Here is some rudimentary info on the van gelder consoles.

https://rvglegacy.org/mixing/
Yes I know it Thanks, but as you probably have seen... they say only about echo send and 20 db pad... nothing about that mic preamp design ... it remains hide ... I really think that this part is a big lack in American recording history.... maybe it's easier to find the design of the Narma console made for les Paul ...
 
Yes I know it Thanks, but as you probably have seen... they say only about echo send and 20 db pad... nothing about that mic preamp design ... it remains hide ... I really think that this part is a big lack in American recording history.... maybe it's easier to find the design of the Narma console made for les Paul ...
It wasn’t a 20dB pad. He had the preamps designed to only do 20dB of signal boost due to using high output microphones such as the German condensers
 
Oh thanks ! This is a good clue... You mean only 20 db gain preamp or a preamp with a low gain with the possibility to increase it 20 db? I think in any case it's a good clue cause I expect it to be a relatively low gain preamp ... kind of 6072 design? what kind of tubes do you think could include such a design? Maybe a second tube that increase the input at the second stage??? And a third tube at the output stage...
 
Oh thanks ! This is a good clue... You mean only 20 db gain preamp or a preamp with a low gain with the possibility to increase it 20 db? I think in any case it's a good clue cause I expect it to be a relatively low gain preamp ... kind of 6072 design? what kind of tubes do you think could include such a design? Maybe a second tube that increase the input at the second stage??? And a third tube at the output stage...
Well there were a few things that needed to happen due to the style at the time. I am over simplifying things but basically the big deal was don’t go above 0VU as you are reaching over modulation/distortion territory.
I would be a couple of things. 1. The eq section would have been passive with makeup stage(1tube here)
2. Preamp allowing up to 20dB boost of signal from the mics.
It may sound like it is not enough but with high output mics, it maybe just right.
 
Wish there was more info out there on the console... Apparently the RVG console had some sort of built in compressor?

Guessing the EQs were fixed frequency points by the number of knobs?

I wonder where the RVG console is now... I think there's a big neve in there now.
 

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