Featured in the leading recording industry magazine
at the time: Recording Engineer Producer (REP)
Before the days of Mix Magazine! The Beginning of a continuous legacy
of recording excellence.
California - December 1975 R.E.P. Magazine - John
Vestman and Kraig Black run Worldwide Audio in Long Beach [The upper right hand corner of the REP
cover is where the studio
It's another 8-track studio specifically dedicated to the music aspect
of recording, and like the others of the same purpose reflects the
previous musical activity of its owners. However, the relationship
between the studio's avowed purpose and its equipment sets it
distinctly apart from the other [studios discussed in the article].
seems to come as close as any to being the only one of these
studios that competes head-on with Hollywood. Each of the other studios
is basically equipped with TEAC/TASCAM 8-track gear: either model 5 or
model 10 mixers, and 8-track, 1/2-inch recorders (either series 70 or
80-8 machines). To further qualify all of these operations, they are
each what might be described as first generation studios. That is,
their current major equipment components have remained basically the
same since each began professional operation.
Worldwide has been equipped from the start with a Soundcraft
(England) 12 x 4, full function recording console and an Otari 8-track,
one inch, 15-30 ips. recorder. Their choice of this equipment level is
explained by John Vestman. "We have been exclusively into music
recording, (maybe only because since we've been open we haven't had
time to go out and seek the other markets.)"
appeal to our client is that when a band wants to make a demo, you
don't make them a demo; you make them a master tape. . . and the master
is the demo. They are going to have a master quality demo at an
inexpensive price. In my opinion no 8-track is good enough for super
demos, unless you are doing a three piece combo, that just wants stereo
drums, a guitar, a bass and a voice. Definitely 16-track is a must to
step up into doing masters, and that's our goal."
equipment we have (which we think is already a step-up over
what demo places usually have), we can produce a really quality
product, pretty much for just an increased tape cost. We run the Otari
at 30 ips, the frequency response is excellent, the signal-to-noise is
fantastic, and that's really our main selling point.