User:Tchrapkiewicz/sandbox

Audio Designs and Manufacturing (aka ADM Technology aka ADM), Detroit, Roseville, Troy, Michigan, USA

Audio Designs and Manufacturing (later ADM Technology) was an international audio company incorporated in Detroit, Michigan in 1966 by Robert A. Bloom ('Bob Bloom'). Initially serving the recording industry, later ADM branched into the Radio and Television Broadcast Markets, then the Film Industry. Sales were through direct staff in the ADM facility. International Sales were distributed outside of the USA by Ampex International Operations.[11]. ADM was listed on the 'Government Services Administration' list and consequently found many sales to the Voice of America, US Senate, Air and Space Museum, Air Force Band and other US government agencies. Products ranged from standard to custom audio consoles, audio distribution systems, audio monitoring systems the Vu-Scan ^tm, the patented audio switching system Audex ^tm and the Slidex^tm linear fader. About 50% of company revenue was from custom audio systems and consoles. In addition, standard and custom audio assemblies were produced - such as Distribution Amplifier Systems, Audio Switching Systems, Jackbay Systems and other components according to customer specifications. The systems were well known within the industry as being highly reliable, and as such most applications were for 'On-Air' situations. The company maintained a '5 year' warranty against all defects - including light bulbs. All components were highly serviceable and all systems were provided with redundant power supplies. Many systems and components are still in operation decades later. (Case: JO5351 operational since 1984 to 2022).

History and Locations: Bob Bloom had served some time in the US Navy and became well educated in electronic circuitry design and fabrication there. After Bob returned from the Navy, Bob Bloom worked with Bob Fine who was a well known recording engineer - producing many of the 'Mercury Living Presence' recordings. [14] Mr. Bloom worked with Mr. Fine while recording the Detroit Symphony Orchestra in Detroit, Michigan. Mr. Bloom also worked with Artie Fields in Detroit. Bob Fine knew that Bob Bloom was being challenged in past jobs so he said, 'Why don't you go to Detroit and work with Artie Fields'. When Bob came to Detroit, he drove through Dearborn and couldn't believe how clean it was compared to his experience in NYC. Bob worked for Artie, built a studio, and designed other equipment for the studio, including a small 4 input (rotary) mixer. In 1966, Bob then started Audio Designs and Manufacturing in a small 1200 square foot storefront on Wyoming Avenue in Detroit. The neighborhood was in transition and Bob kept a dog there for added security. In 1967 Audio Designs moved to an industrial park at 15645 Sturgeon in Roseville Michigan. As business grew and facilities were strained, the business moved down the street to 16005 Sturgeon. As the business continued to grow during the 1970s and early 80s a new building was built at 1626 East Big Beaver Road in Troy, Michigan. During this time period, the formal name of the company was changed from 'Audio Designs and Mfg.' to 'ADM Technology' (June 1982)

Audio Designs & Mfg. 16005 Sturgeon

ADM 1626 E. Big Beaver

Market Developments and History

The first systems developed were primarily in music audio mixing and production. After the first Artie Fields designs, recording consoles were developed for Robert Fine Productions in New York City [xxx Preservation Sound, Eargle], Techiku Recording in Japan [12][13], Muscle Shoals in Mississippi, Kenjo Sound in San Diego, Pampa Recording in Detroit, Mobile Recording (United Audio Truck/Detroit). Audio Designs and Mfg. designs were well known to be very reliable and rugged. They then branched into the Broadcast Industry, boasting very high reliability, immunity to Radio Frequency (RF) interference and a 5 year warranty on all parts and labor (even replacement light bulb packs were regularly shipped out). Market coverage was widespread with international shipments and government contracts. Further growth was found within the film production industry with significant shipments to Xian Film in China [pic], Glenn Glen Sound in Hollywood, California[5].

Novel Inventions and Developments:

The 'Audex' ^tm:

'Mixing Consoles' or audio 'Desks' - usually in Recording Studio applications often require many (on the order of 10s or 100s) input signals or connections. Operationally this can present an overwhelming task. Bob Bloom patented two systems (US Patent 3,626,097, December 1971 (with Haddock) and US Patent 3,631,470, December 1971) commercially referred to as the 'Audex'^{tm tm}. This system was implemented in many early ADM recording consoles.

The 'Slidex' ^tm.

Early Professional audio mixing consoles or 'Desks' used rotary controls ('potentiometers' or 'pots'). As the number of inputs grew for audio consoles, several companies developed and used an 'inline' strip - where now the main pot was a linear fader. These were usually constructed of several cm long partially conductive circuit paths which varied the audio signal level. While this provided superb user functionality, the exposed conductive paths were subject to dirt and soda intrusion, causing the audio path to malfunction. Bob Bloom (along with Sturtz and McGrath) developed and patented the 'Slidex' - a novel combination of a spiral metal piece which was controlled by a linear mechanism (US Patent: 3,736,801, June 1973). One end of this mechanical spiral then rotated a convention rotating (and mechanically sealed} control. This method was impervious to external dirt, etc... At technical conferences, this robustness was demonstrating by pouring a popular Cola product over the console surface - and then demonstrating that the functionality was unaffected.

Digitally Controlled Analog Signal Path

The Glen Glenn Film console was designed in 1981 [10]. This was a 65 input channel mixer. Each channel contained a 6502 microprocessor driving 10 bit DACs controlling dbx2001 VCAs. This design was later carried into the 9000 series consoles. The automation system, while not an industry standard (industry standards did not yet exist) was an engineering first in the film industry. (The audio path of the Harris Broadcast Products 'MicroMac' analog path slightly predates this). [4] [5]

Implementations:

Many of the recording studio consoles used the Audex^tm system.

Virtually every ADM console manufactured used the Slidex^tm linear fader. This included all Recording, Broadcast and Film Production applications.

The 9000 series consoles used an automation system adapted from the Glen Glenn automation designs.

Input Strip / Module Development:

 700 Series:

The first model input strip was called the '700 Series'. This was a solid state, totally discrete transistor system operating on a single positive polarity power supply - usually 24 volts DC. The input strip was a single module containing main fader, input gain/switching and equalization. These were the earliest Audio Designs systems - most hand built by Mr. Bloom and family/associates. These input strips constituted the Multitrack Recording Consoles produced by ADM.

 770 Series:

The 700 Series Design was further refined into the '770 series. This was also solid state, using discrete transistors and several integrated circuit operational amplifiers. This input module/strip, like the 700 series contained the main fader, input gain/switching and optional equalization. This radically new, improved design operated from dual, positive and negative power supplies - plus and minus 20 volts DC. Further, the '201' operational amplifier was developed for the 770 series. The 201 was required to achieve maximum audio performance in noise level, output voltage level and output current drive. The 770 input module could optionally contain signal processing functions such as equalization and logic functions - within the module and externally throughout the desk. While the basic module design was standard, it's architecture was such that minor modifications could be implemented in design and manufacturing. This architecture resulted in over 140 'standard' 770 family modules.[2] throughout the history of manufacturing. Each 770 module contained a Slidex^tm module for it's main gain control. The 770 series were originally used in the Recording Series and later adapted to the Broadcast Series consoles.

 780 Series:

In the late 1970, the 780 input module was developed which implemented further performance improvements along with an improved discrete operational amplifier - the 202. The 202 was used throughout the later history of ADM. The 780 removed any capability of signal processing and contained more standard logic functionality. This realized all standard input modules with little requirement (or opportunity) for non-standard module designs. This family later included a phase control switch, and simplified designs for the 2780 family. Mechanical integrity was also significantly improved to provide a more robust and reliable system for the Broadcast market. The 780 series contained a processor loop so that an external signal processor - equalizer, compressor/limiter, noise gate could be inserted in the signal path.

Product Development:

One of Mr. Blooms first designs in 1968 was a 24 by 16 track console with an automatic input switcher module [1]. Other early products were recording consoles for Techiku Recording (Japan)m Muscle Shoals (Alabama, USA) [12] and Kenjo Recording(San Diego, California, USA).

After several years, larger facilities were needed and the business moved to 15645 Sturgeon, Roseville, Michigan. As further growth and manufacturing space was required, the company moved down the street to 16005 Sturgeon. (see pic)

Audio Designs and Manufacturing predominantly served the recording, commercial broadcast industries, both domestic and international. (Venezuela, China, Europe) Many projects also served the recording and film industries (China Xian Film Studios, Glen Glenn Sound in Hollywood USA, Techiku Recording in Tokyo, Japan, Muscle Shoals in Alabama, University of Missouri Recording, etc.) As a GSA contractor Audio Designs provided mixing consoles for the Air Force Marching Band, the Air and Space Museum Theater, the Voice of America and countless other government contracts. With continued growth, the company name was changed to ADM Technology when the company moved to Troy, Michigan (1626 East Big Beaver Rd.).

Facilities:

ADM was a fully vertically integrated Marketing, Sales, Engineering, Manufacturing and Administrative facilities within one building. While all separate deparments, Bob Bloom was continuously involved in all departments detailed below. This of course provided a significant continuity throughout all aspects of the business, but also provided some very interesting lively discussions between departments [3]

Sales and Marketing:

Sales and Marketing staff travelled the world understanding the customer requirements and bringing them back to Manufacturing and Engineering for refinement and development. Staff here was from 1 to 5 people with remote global offices as required.

Engineering:

 Circuit Engineering:

The modules within the larger mixer consist of many separate and interconnected circuits. Each circuit must be robust in functionality and durability and provide high performance to the modules that these circuits are implemented within. Staff:1 to 3.

 Systems Engineering:

A 'typical' audio system consists of hundreds (and sometimes thousands) of audio paths. Each path in a complex audio system in its own right. Proper signal processing must be maintained throughout the engineering to result in high complete system performance. Staff: 1 to 4.

 Software and Computer Engineering:

Later in ADM History, a software and digital hardware control group was established within engineering. The Glenn Glen console was the first major system to require this expertise. Later standard systems such as the 9000 series required this increased emphasis. Staff: 1 to 4.

Drafting:

Documentation of Systems and Circuits were developed within the Drafting Department. All circuit boards were 'laid out' on clear mylar with conductive paths implemented with adhesive tape on a 4 to 1 scale - later to be photo-reduced and manufactured as double sided printed circuit boards by and external suppplier. All boards used '2 ounce' copper with gold connecting fingers for edge connector insertion . Staff: 1 to 6.

Manufacturing/Test and Quality Control:

 Module Manufacturing and Test:

All modules were individually manufactured in ADM facilities. Early modules were hand wired. In the 1970s, components were hand inserted and the printed circuit boards were 'wave soldered' - realizing a more reliable construction. Electrical and mechanical construction was completed by hand. Complex metal extrusion and Circuit Board manufacturing used external suppliers. Modules were tested using state-of-the-art test equipment. Each module was individually tested and documented for all audio parameters. Module burn-in was implemented in custom burn in racks. (picture?)

Staff: 20

 System Manufacturing and Test:

A complete audio console (with its thousands of interconnections) requires miles of interconnecting wire and detailed handiwork. As most systems were custom, the Manufacturing department would design the appropriate system wiring and subassemblies. Each system was tested and documented for all audio parameters. A proof-of-performance document was developed for each system - often developed in conjunction with the customer. In addition to relevant module performance parameters, system performance is also tested and documented. (picture of POP?)

Staff: 30

 Desk Frame:

The completed system with modules is contained within a large 'office desk - like' structure. This structure was highly refined and later used custom extrusions to provide the inter-module strip mechanical structure. (picture??) All wood, metal, engraving and construction activities were completed in the 'Wood and Metal' shops. Staff: 5 [6]

Historical Significance:

Artie Fields: Countless Jingles, Post Production, MC5

GM Studios: Countless -

Pampa Recording: Seger, others

United Sound Truck: Seger Live Bullet, J.Geils Live Recording

(picture/footnote - Customer List)

Later History:

In 1989, ADM ceased all sales and operations - all existing production parts and materials were auctioned off to local interested parties. [7]

Modern Recognition:

Most all Audio Designs and Manufacturing and ADM consoles have been 'retired' and 'parted out'. Unfortunately few if any complete systems still exist. Recording studios use these 'parted out' modules for their ultra-high quality microphone preamplifiers. [8]

Recently, an intact 32 channel, 4 sub and 2 master system has been found intact. It is currently undergoing restoration. It had been operated continuously from 1985 through 2014. [9]

[1] http://www.preservationsound.com/wp-content/uploads/2012/02/Audio-6811-Whyte-Fine_Recording-crunched.pdf

[2] Thomas Chrapkiewicz experience(s).

[3] Dave Clark, James Pashkot, Garth Frudd, Thomas Chrapkiewicz Discussions.

[4] Thomas Chrapkiewicz, Design Notes.

[5] http://www.preservationsound.com/2018/08/1981-adm-custom-film-mixing-console-for-glen-glenn-sound/

[6] http://www.preservationsound.com/2019/09/adm-console-history-part-iii-via-former-manager-g-frudd/

[7] Thomas Chrapkiewicz Notes.

[8] Al Sutton, Rustbelt Studios, Royal Oak, Michigan

[9] Thomas Chrapkiewicz Notes.

[10] https://www.preservationsound.com/2018/08/1981-adm-custom-film-mixing-console-for-glen-glenn-sound/

[11] World Radio history BME 1977-05-p97

[12] https://www.purehonk.com

[13] http://www.preservationsound.com/tag/adm/

[14] http://www.preservationsound.com/2012/02/fine-recording-inc-pioneers-in-high-fidelity-studio-recording/

[?} In discussions with James Pashkot last night (7/6/2022), he says that Bloom moved to Detroit to design the studio for Artie Fields. [??] JP: Dave Clark and I started on the same day - 1972.