Within the last few years a new classification has been born in the audio field—semi-pro. While in the past the term has been mostly applied to sports, its use in audio is both difficult to define and necessary. Basically, the semi-pro is an audiophile not content with conventional "set it and forget it" audio products; he and she want to tinker with the music. Perhaps the best example of a semi-pro is a young technical and tinkering musician.

When we were kids, we sang into microphones and«"performed" for family, friends and posterity; The equipment is now available for us to record much more professionally. In fact, several groups on the make have invested in semi-pro equipment rather than the stiff prices ($50 and up per hour) for studio time. They make demo tapes the way moonshiners made bathtub gin. The results are as variable. That means if you start with talent and have some engineering ability (that's dexterity and talent, not slide rules and calculators) , you can come out with something pretty close to a "professional" demo. You can also come out with a tape that will delight your friends, neighbors and amaze your grandchildren.

Basement studios are becoming more popular and there are a number of items you may want and several companies producing them. We'll build a hypothetical system (which we've actually built) as a prototype, but understand that brands can be interchangeable to better fit your preferences.

The cornerstone of your basement studio is a good 4-channel tape deck with overdub synchronization. Didn't quad go out years ago? Almost, but the 4-channel record head gives you four independent tracks to play with. It may not be up to the 8 or 32 of pro studios, but it puts you one big leg up.

However, not any quad deck will do the job for you. It must have a synch feature that will let you record one channel while monitoring the others simultaneously. The catch here is the last word. Many decks will allow you to monitor a channel and record on another, but the monitor signal comes from the playback head and is, therefore, out of synch with the record head (since it is physically after the record head). The synchronization feature, known by different companies as "Simul Sync," "Syncro-Trak," "Quadra-Sync," etc., allows the record head for any of the channels to be switched to a playback head and gives you a simultaneous account of what's on the tape as you record.

Teac, perhaps, is the company that has best understood the value of their "Simul-Sync" system and has developed a series of semi-pro items to go with their 2340S and 3340S open reel tape decks. They have truly started to exploit our urge to be creative about audio. They have also made, it relatively easy to follow. With equipment there is not the usual hocus-pocus that can surround a new field or technique. The company says that virtually anyone with an interest in creating tapes, the performers and some patience can produce an interesting program.

To this end, the company has also produced a record by the Hello People called Home Made with Teac. The Hello People used a Teac 3340 to do most of their work. They produced demos of such quality that they landed a recording contract on the basis of them. Home Made is step-by step description of how you can use a deck like the 3340.

The other equipment I set up was a Teac Model 2 mixer which proved a very useful tool and an MB-20 Meter Bridge. The mixer allowed me to use up to six microphone or line inputs, place them on any track and adjust their levels. The Meter Bridge allowed me to follow those levels and make all adjustments at the mixer rather than use the deck's VU meters. The advantage to that is that you have both the controls and the meters in the same place. The MB-20 also allows you to select which inputs and tracks the meter will monitor. It's a very useful gadget.

The 3340 is a high quality IVi, 15 ips machine with IOV2" reel capacity, We loaded it with a reel of TDK's Audua tape, made the myriad interconnections between the deck, the mixer and the bridge, plugged in a microphone and we were ready to roll. With palms more than a little sweaty we attempted our first "home brew."

It was an easy set up. One voice and one guitar and one microphone. First the guitar track went down. It took a few takes, but it was pretty good by the time we decided to go for the voice. Now, came the vocal addition. Here is where life got a little hairy. For us semi-pros, singing along with a tape, even one that's in synch, is a new and somewhat disquieting experience. However, after a few false starts (and God knows how many false notes) the melody was. laid down, Easy two tracks. One for each real item. If all we wanted was ping-pong stereo, there it was.

But we were looking for "artistry" not gimmickry. We wanted to try a few more tracks adding "voices." And we did. Gradually, a sound began to emerge from multiple tracks. There was a guitar line, firm and clear and strong. And then die main voice, at first hesitant, but now refined and sure. And then two harmony lines, one above and one below, each adding strength and ornamentation to a very simple, but lovely song.

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We had completed a very simple recording session. Three and a half minutes of music had taken us several hours to record and we had only gone to four tracks. We did a preliminary mix using the Model 2's pan pots to place the guitar on one side with the harmonies oh the other. The main vocal line was balanced between. Certainly not one of the great feats of engineering genius, but not bad for a first try.

Our second try was the next evening and we had much more of an idea of what we were doing. I had had a chance to play with mixer and realized what subtle differences could be made. We were much more comfortable with the set up and our singer was used to singing with headphones on. She had complained that it was difficult singing on key without being able to hear herself for a check. We repeated the procedure of the night before, but things went a little faster and considerably better. We were still not ready for more than a simple four track mix, but we were getting there.

After some more experimentation and few more evenings, we knew we were ready to try the big time. We are now in the process of getting together a bass, drummer and a few more voices. We'll need some more and better microphones and perhaps a 'noise reduction unit. But we're now ready to take the plunge and fill all four tracks on the 3340, mix what we want onto a stereo deck and then come back to the 3340 with more tracks. Yeah, we've got the bug. We've gotten into live recording and it's for real. It's the kind of thing that most people with a real interest in music and performance should try their hands at at least once.

OK, but how much does it all cost? Not as much as you might think. Sure the price is steep, but compare it to studio time at upwards, of $50 an hour and the price tumbles down.

The heart of the system is, after all, the Teac 3340. This unit lists for a hefty $1200, but is slated for a phase out. It will be replaced by the 3440 which is updated and modeled along the company's Tascam line. The price for the new deck will be $1500, but in the meantime you may well be able to find a good deal on the 3340 which is a more than serviceable deck. If that price is too steep for you, take a look at Teac's 2340SX which features the same "Simul-Sync" system and fine specs, but puts it into a 7V2, 33A ips, 7" reel format rather than the higher speeds and the larger reel. It carries a suggested price of $950.

Teac's Model 2 mixer sells for $350 and the MB-20 meter bridge goes for another $175. You add those prices up and you've got $1725. For that kind of bread you may well be able to talk your dealer into dealing with you a little. The other items you'll need just be a microphone or two—or three or more—depending on .what you've got in mind. Start out with one or two and experiment. Different microphones can give you different sounds. And if you really get into heavy overdubbing, you're going to want noise reduction. Something like the dbx 155 would do the trick nicely. It's available for under $500. So for $2500 at list price, you can set yourself up with a basement studio.

It may be a lot of money to spend on a hobby, but you may find you've got more than a hobby. Many engineers and studios started out even smaller and grew and grew. You may find yourself the local sound maven. And that may lead almost anywhere.