Audio March 1962
MARCH, . 1962
"Modern" is not the word. Perhaps
"ahead-of-its-time" is a bit more descriptive of the new Altec 708A "Astro." How
else would you describe an all-in-one
stereo center full of features and facilities
never before available in a single package?
For example, consider its circuitry.
Transistors are combined with new frame
grid tubes to gain the best qualities of each.
As another example, consider its unique
stereo headphone facilities. The output receptacle is in the rear; you may leave the
headphones plugged in permanently, out
of sight when not in use. The headphone
switch, however, is located conveniently
on .:le front panel.
Or, consider the unique tape recording
monitor that functions much like monitors
in professional recording studios. Namely,
it permits you to monitor any source
material two ways during recording: the
instant signal enters the record head or
directly from tape, the moment it is recorded. And these features are only a
sampling. Truly, the "Astro" is "ahead-ofits-time" even down to the smallest details
such as the exclusive friction-lock controls
that obsolete awkward dual knobs found
on conventional stereo equipment.
For cool operation, Altec makes judicious
use of transistors. For highest sensitivity
and quietest performance imaginable, new
ultra-precise frame grid tubes are used.
This proper combination of transistors and
tubes in the "Astro" has produced results
that are just this side of miraculous.
Five integrated stereo components are
packaged in a compact 6" x 15" x 131;2"
cabinet: FM, FM multiplex, AM, dualchannel preamplifiers, dual-channel power
amplifiers. The wide band FM tuner features 1.5 microvolt sensitivity (equivalent
to 0.75 microvolts with matched 72 ohm
antenna) to assure highest gain, lowest
noise. A built-in FM stereo multiplex receiver provides 30 db stereo separ.ation between channels over the entire audio
range. To take all guesswork out of tuning,
a monitor light goes on automatically
when stereo signal is received. The AM
tuner provides high sensitivity and excellent image and IF rejection.
The preamplifier section features a complete complement of controls and includes
facilities for everything from record and
tape player to the stereo headphones.
Powerful dual-channel amplifiers deliver
25 watts each down to 20 cycles (lHFM
standard) with ± 1 db, 20-20,000 cps frequency response.
The "Astro" is sensitive, stable and completely consistent in its performance (topnotch!) and utterly free of drift. Indeed, it
is the first truly practical stereo center because transistors in the power stage make
it run cool for hours on end. Unlike ordinary "hot boxes," the "Astro" secures peak
operating efficiency and maximum life
from resistors, capacitors, and other subcomponents in its circuitry. And, because
it runs cool, the "Astro" is the first practical unit for built-in installations.
50 watts from
an area the size
of a postcard!
That's the magic
of transistors:
the four shown
at left make up
the power stage
of the "Astro."
In all, 12 transistors and 17 tubes are used
in this entirely new stereo center that is
rated several years ahead of its time.
Feel it, too, for that all-important coolness. At your Altec Distributor's now. Or,
for information, write Dept. A3
© 1962 ALlEe
A Subsidia71l
of Ling-Temco-
LJ!'J.~~~iiiii~1 Vought. Inc.
1515 S. Manchester Ave .• Anaheim, California
161 Sixth Avenue. New York }3 •. New York
l\1 t.RCTI,
Vol. 46, No. 3
Successor to
R.AmQ ,
Est. 1917
C. G . MCPROUD • Publisher
Production Manager
' .
' . '"' .. '
: -, '
Contributing Editors
Business Manager
Advertising Director
Circulation Director
Bill Pattis & Associates,
4761 West Touhy Ave.,
Lincolnwood 46, Ill.
James.c. Galloway,
6535 Wilshire Blvd.,
Los Angeles 48, Calif.
A High Quality Stereophonic Mixer J 9 Robert Gerbracht
The Frequency-Response Specification 24 M annie H orowitz
Electronic Organ Tone Generators- In Two
Parts- Part II 30 D. Wolkov
AUDIO Reviews
8 Chester Santon
Light Listening
Record ReVUe 46 Edward T atnall Canby
Jazz and All That 54 Charles A . Robertson
Fisher Stereo Control Amplifier Kit 40 K X -200
Fisher FM-Stereo Tuner Kit 40 K M-60
Heath Oscilloscope 43 M odel 10-21
Omega Transistorized Stereo Amplifier 44 Model 1600
H. H. Scott Speaker System 44 S-3
AUDIO in General
M '"".
Joseph Giovanelli
Edward T atnall Canby
H arold Lawrence
"'SlIfUU Of
'INC '
,"0' "",wo •. • '"' " .J • , " , - .....
zines, Inc. , Henry A. Scbober, President; C. O. McProud, Secretary. Executi••
and Editortal OMces, 204 Front St., Mineola, N. Y. Subscription rates-U. S.,
Possesaions, Canada, and Mexico, $4.00 ror one year, $7.00 ror two yeor8; all
other countries $5.00 per year. Single copies 50¢. Printed in U.S.A. at 10
MeGoTern Ave., Lancaster, Pa. All rights reserved. Entire contents eopyrlghted
1962 by Radio Magazines, Inc. Seeond Class postage paid at Lanca, ter, Po.
Postmaster: Send Form 3579 to AUDIO, P.O. Box 629, Mineola, N. Y.
MARCH, 1962
Ariz.: Phoenix : KEPI , KNIX
Calif., Fresno : KCI B, KXQR
los An~eles : KFMU, KMlA
OceanSIde: KUDE
Sacramento : KSFM
Santa Barbara : KMUZ
San Diego: KGB, KlRO, KPRI
San Francisco : KPEN, KBAY
San Jose: KSJO
Visalia: KONG
Woodland: KATT
Conn., Newton: WGHF
Dela ., Wilmington: WJ BR
Fla ., Miami Beach: WAEZ, WVCG
Orlando: WHOO
Sarasota : WY AK .
Ga., Columbus : WRBl
III., Chicago : WEFM, WFMT, WKFM
Rock Island : WHBF
Ind., Evansville: WIKY
Indianapolis: WFMS, WISH
Iowa, Des Moines: KDMI
Kans. , lawrence: KANU
Wichita: KCM B
Md., Towson : WAQE
Mass., Boston (Waltham) : WCRB
lynn: WUPY
Mich ., Detroit : WDTM, WGPR
East lansing : WSWM
Grand Rapids: WJEF, WOOD
Minn., Minneapolis: WAYl, KWFM
Mo., Kansas City : KCMO
Sl. louis : KCFM, KSHE, KWIX
Nebr., Omaha : KQAl
Nev., las Vegas : KORK
N.J., Dover : WDHA
long Branch : WRlB
N.Y., Garden City: WliR
New York: WQXR, WTFM
Schenectady : WGFM
Syracuse: WSYR
Westbury : WGFM
N.C., Burlington : WBBB
Ohio, Akron : WDBN
Cleveland: WNOB
Columbus: WBNS
Middletown : WPFB
Ore., Eugene: KFMY
Portland : KPFM
Penn., Johnstown : WJAC
Norristown : WIFI
Philadelphia: WFlN, WHAT, WQAl
Wilkes-Barre: WYZZ
R.I., Providence : WPFM
S.C., Spartanburg: WSPA
Texas, Dallas: KIXl, KSFM
Wichita Falls: KNTO
Va., Richmond : WFMV
Wash ., Seattle: KISW, KlSN
Wise., Milwaukee: WFMR, WMKE, WTMJ
Canada, Oshawa : CKlB
Toronto: CFRB, CHFI
H erman Burstein
N orman H . Crowhurst
AUDIO Articles
Audio ETC
Editor's Review
Tape Guide
Audio Teasers
New Products
This Month's Cover
About Music
Industry Notes
Advertising Index
If so, see your Sherwood dealer right
away! The FM stations listed above
are now-or soon will be-broadcasting
in Stereo. To enjoy fully this thrilling
new experience, you need the
incomparable Sherwood S-8000 FM·Stereo
Receiver and a pair of Sherwood SR3
"Ravinia" Loudspeakers .
See and hear these superb stereo
starters at your Sherwood dealer.
Sherwood Electronic laboratories, Inc.,
4300 N. California Ave ., Chicago 18,
Illinois. For details, write Dept. A·3.
only for those who want the ultimate
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studio and
the audio
perfection ist
StereO Spacer and two
8&053 microphones
The new 8&0 200 convertible
microphone comprises two ribbon elements in a rotating
housing for controllable separation with ideal point-pickup
for multiplex compatibil ity. Its
performance surpasses even
the famed 8&0 50 and 53.
Standard 200 n impedance,
phase switch , T-M-O switch ; accessory matching transformer.
Write for detailed specifications
3912 Powelton Ave. •
Phila. 4. Pa.
Interna l Circu it Grounding
Q. I would welcome information on the
following question. In reading articles in
AUDIO and other magazines, there appears
to be two schools of thought in regard to
grounding of amplifiers. Both schools agl'ee
that the internal circuit ground should be
made to the chassis at one point only,
usually at the input jack. One school uses
regular hookup wire to run separate wires
from each component to the single ground
point. The other school uses a single, heavy
gl'ound bus, grounded at one point and
run through the amplifiel' with the ground
points tied on to it. It appears that the
order of the grounding points on this bus
is critical. My question is in two parts,'
1. Is either method superior to the other ?
2. In the ground bus method what order of
grounding to the bus would be best for a
first try? Arthur L. Stanhope, Haddonfield,
New Jersey.
A. First of all, when constructing amplifiers, unless they are of the integrated
type, containing the preamplifier together
with the amplifier, I am not fussy about
grounding. I often make chassis grounds
at whatever point seems convenient to the
particular ciFcuit, and use neither method
you mentioned.
When it comes to a circuit which has the
gain possessed by a preamplifier and which
must handle low-level signals, more care in
grounding must be observed. Both the bus
system and the hookup wire approach are
good schemes. I don't think there is much
to say for one method over the other. I
prefer the use of the hookup wire rather
than the bus since the bus makes for difficulties in laying out the parts in some instances. Notice that my preference is not
ba~~d, upon the relative hum-rejecting
abIlitIes of the two schemes. With extremely high-gain circuits, such as tho se
required for some low-output t ape heads
I believe that the hookup wire syste~
possesses somewhat superior performance
capabilities. This system is so wired that
the ground for each stage is returned to
the main ground point. This eliminates the
possibility of any hum loops being developed along the ground bus.
As fo: the order of ground placement
when USlllg the bus approach, there is a
very simple explanation for this. You know
that the end nearest the input handling
the smallest signal is grounded to the
chassis. This point is located near the first
stage of the equipment. All grounds from
the first stage a re made to one point_ Then
comes the grounds for the second stage
the third stage grounds, and so on. I lik~
* 3420 Newkir'k Ave., Brooklyn 3, N. Y.
to bring my filament grounds directly to the
main ground-to the chassis-so that they
won't cause hum voltage to be introduced
along the length of the bus bar. It would
be a good idea to return the B filter ca·
pacitor leads to this same, main ground
point. The centertap of the power transformer is returned here also. These are
some of the most important considerations
in grounding circuit elements within an
amplifier. By observing these precautions,
you can produce virtually hum-free performance from your preamplifiers, providing that care is taken in filtering of Band
filament supplies, and that hum is not
picked in the input devices such as tape
playback heads or phono cartridges.
When using the hookup-wire system you
do not need to run a wire from each in·
dividual component to the main chassis
ground. It is sufficient to run the grounds
from each stage to a tie point and take
this stage ground tie point to the main
ground via hookup wire.
A.C. a nd D.C. Balance Circuits
Q. Many amplifiers have pot controls
for d.c. balance of the output tubes. Many
of the newer amplifiers are appearing with
a,c. balance controls as well. What is the
advantage or purpose of an a.c. balance
control? How is it adjusted? Arthur L.
Stanhope, Haddonfield, New Jersey.
A. Let's look at the push-pull output
stage to see why we need the a.c. balance
control. We want the d.c. adjusted in the
push-pull amplifier so that , equal current
flows through each half of the output
transformer. This will prevent saturation
of the iron in the transformer. When the
iron core of a transformer is saturated, the
inductance of the transformer decreases.
When the circuit is unbalanced, the d.c.
magnetization of one half of the p rimary
of the output transformer is not counteracted by the same force in the other half
of the transformer. Even if, under these
conditions, no saturation has resulted, the
transformer will not be able to handle the
amount of audio which could otherwise
be handled when the d.c. is correctly bal·
anced. This previously·mentioned fall in
inductance is likely to occur during lowfrequency passages because these passages
contain the greatest amount of audio power,
Therefore, these bass tones will not be
reproduced cleanly.
It would also be nice if each half of the
output stage of the amplifier would recieve
the same amount of signal from the driver.
This would give maximum power output
and minimum distortion because the pushpull action of the stage is correctly functioning. Not only is it a matter of the
performance of the stage as a whole, but
MARCH , 1962
Use the cartridge of your choice
... any manufacturer, any 1nodel!.
The arm on the Type A will bring out the best in any cartridge
... tracking (and tripping) at the lightest pressure specified by
the cartridge manufacturer. This includes the professional models, which were developed originally for separately-sold tone
arms because of their high compli ance. 0 Now,Garrard integrates
precisely such an ar m into the Type A Automatic Turntable. This
is a dyna mically-balanced, counterweighted arm, designed and
built with the same precision, the same balance, the same freedom from friction, the same playback characteristics and low resonance expected in tone
arms separately sold, regardless of price.
The Type A arm, operating in conjunction
with a weighted , full-size, non-magnetic turntable; a laboratorybalanced, double-shielded motor; and (when you want it) the
gentlest automatic record-h andling mechanism ever designed;
rewards you with the full measure of the magnificent reproduction achieved by any of the latest, finest, stereo cartridges. 0
Extravagant concept, yes . . . but the price of th e Garrard Type A
"::-" Automatic Turntable is exceedin gly modest, only $79.50.
For illu strated liter a ture , write Dept. GC-12,
,. r-i.."'-.... Garrard Sales Corporation, Port Washington, N. Y.
the Weathers Moderne Trio
... a complete, three
channel stereo speaker
system which gives full
stereo phon ic reproduction
in every part of any size
room . It consists of two
full ra nge speakers and a
unique Hideaway
non·direction al speaker
that is completely concealed
f rom view. You can pl ace
it anywhere - and still
be sure of superb
performance. The Moderne
Trio is the smallest and
most effic ient stereo
speaker system yet devised .
It fit s any size room and
blends with any decor.
It produces to perfection
all stereophonic record ings
and adds greater depth
to monaural discs .
also it is a matter of the performance of
the transformer. If one half of the trans·
former is driven harder than the other half,
it is obvious that magnetizing forces will
not cancel out, and the transformer will
be more quickly saturated than it would
otherwise be. I n order to determine whether
the grids of the output tubes are receiving
equal signal, you can measure between grid
and ground of each tube. If they are not
receiving equal signal, what can you do
.. about it in most amplifier circuits ' The
.answer is, of course, nothing at all. Only
in those amplifiers containing an a.c. bal·
ance control can this condition be corrected.
The a.c. balance control makes it possible
to adjust the input so that each grid does
get the same amount of signal.
The a.c. signal conditions discussed
here are not applicable to the output stages
of amplifiers only. They hold true for any
push·pull stage.
Of course excellent performance may be
obtained without the a.c. balance control.
The use of this type of balance circuit
merely imparts the final touch to the equip·
ment- the frosting on the cake as it were.
A superlative
instrument wi th the
finest performance
per cubic inch of any
speaker yet devised.
One without the other is
excell ent . .. BUT ...
Combine the speakers
and t he Professional
Picku p System and t he
results are fa r beyond
all you 've ever
hoped fo r,
I°t .I
the finest performance
per unit of cost
in stereo cartridges.
'lhe Ya g i Antenna
What is a Yagi antenna? Nario Brenes,
B rooklyn, N ew York .
A. A yagi antenna is one of a group of
antennas known as parasitic arrays. The
yagi consists of a dipole, a reflector, and
several directors mounted on a boom. To
make this a rrangement more clearly understandable, consider a heavy rod. At one end
of this rod is mounted another rod, this one
being much shorter than this first rod, or
boom. It is mounted at right angles to the
direction of the boom. Near the rod is
mounted a dipole- either folded or straight.
The physical length of the dipole is slightly
less than that of the fu'st rod. The first
rod is known as a reflector; the dipole is
known as the driven element. Spaced along
the remainder of the length of the boom
are mounted one or more a dditional rods,
or elements as they are called. These will
each be shorter than the dipole, and are
known as direct01·s.
Somewhere near the center of gravity
of this array, a clamp is attached which
enables the array, or beam, to be mounted
to a mast. Sometimes, rather than being
mounted directly on the mast, it is mounted
on a rotator. Wires are run from such a
rotator to some convenient point near the
equipment with which the yagi is a ssociated. The wires are connected to a control
box which operates the rotator, and which
is provided with some means whereby the
direction the yagi points to can be de·
termined. Rotating the antenna and knowing the direction in which it is pointed are
very important f acets of the total picture
of the yagi, as will shortly be seen.
The end of the boom furthest away from
the driven element is the end which points
to the desired direction.
What is the purpose of this' It str engthens the signals received. In other words,
let us assume that you are interested in
receiving a weak FM station. Your dipole
did not work well enough to give you
r eally good limiting. The ya gi antenna
will probably give you sufficiently greater
signal strength to enable the listener to receive the station with no background noise.
The yagi accomplishes this by means of a
focusing action of the elements, focusing
maximum signal on the dipole portion of
the array.
However, this is done with some sacrifice.
You somehow never do get something for
nothing. Your original dipole would receive
signals from two directions in a cardioid
(Continued on page 38)
MARCH, 1962
.. . from the world's Inost experienced Inanufacturer of recording tapes
Let's face it . . .
4·track stereo does challenge tape quality!
New 4-track stereo, with dramatic improvements
in sound reproduction and tape economy, puts
tape quality to the test-makes the exceptional
quality of "SCOTCH" BRAND Recording Tapes more
important than ever. For example . ..
Narrow, quarter-width tracks mean that oxides
must work harder, and the high-potency oxides
in " SCOTCH" Recording Tapes do just that-permit thinner, more flexible coatings that make
intimate head-to-tape contact a certainty.
With 4-track equipment, tiny variations in tape
thickness (unnoticed in previous recording systems) may be magnified into level variations,
distortion, other sound failures. "SCOTCH" Recording Tapes meet this demand with microscopic
precision of both coating and backing thickness
-assure identi cal full-frequency response with
wide dynamic range inch after inch, reel after
reel. Width, too, is h eld to a close tolerance to
assure proper track alignment. And exclusive
Silicone lubrication provides lifetime protection
against wear for delicate 4-track heads. To make
the most of 4-track stereo (two- and full-track
recording, too), insist on the tape that's the
performan ce standard
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Free: Send for Sound
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Magnetic Tape." For your
copy, write Magnetic
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MCT-32, 3M Company,
St. Paul 6, Minnesota.
magnetic Products Division
MARCH, 1962
Higher Harmonics
I n the J anuary "Letters" column Mr. Richar d Simonton
stated that he has yet to examine an electronic organ with harmonics higher than 7500 cps. Mr. Simonton, at least t hree
organs (Alien, Artisan, and the new Rodgers) have fundamentals up to 8372 cps and some of the mixture stops may
have even a higher f undamental. Obviously, t he second harmonic
of these fundamentals is in the region of 16,000 cps, which is
not difficult t o achieve since these notes are not pure sine waves.
Some of the reeds and strings may actually have harmonics as
high as 20,000 cps.
2504 Alvord Lane
Redondo Beach, Calif.
Electronic Organs
For the first time, Thorens - in the new TD-135 - offers a
component-quality arm and turntable mated with a precision
that insures you perfect tracking, perfect sound ... always .. .
with a minimum of installation effort on your pa rt.
There's no compromise whatever with quality such as you
usually find in integrated turntable and a?'m units, THORENS
TD-135 is Swiss-precision crafted throughout, , . true component high fidelity all the way. You g et : A precis ion turntable
featuring 4 speeds, all adjustable, with an 8-pound nonmagnetic t a ble, .. plus a completely new, advanced tone arm
that's so good we also sell it separa tely (see below) for use
with any turntable of your choice. Exceeds NAB specs for
wow, rumble and flutter, Has same belt-plus-idler drive as
famQus TD-124, Shuts off a utomatically at end of r ecord.
Many, many more features tha n we can detail.
$110 net
There are some misleading statements in Mr. Wolkov's article in the February issue. First of ali, organs which sell for
$39 are not really electronic organs- they are reed mechanisms
with motor-driven blowers which at best may use elect ronic
amplifiers. The most inexpensive electronic organ I know of
sells for $300--400. Secondly, Table 1 does not clearly indicate
that a pipe of the length shown will produce only the top frequency in the column. For other not es, frequency and pipe
length are inversely proport ional. However the table is misleading in that the pipe lengths shown generally refer to pitch
registers over an entire manual. F or example, a 16-foot register
would include notes beginning at 32.7 cps (produced by a
32-foot pipe), plus 5 additional octaves.
Thirdly, the author's conception of scale mathematics seems
inaccurate. The frequency of each note is the same as that of
the previous note multiplied by the 12th root of 2. This r atio
produces the correct, tempered scale. Fourths and fifths are
"mistuned" to achieve the relationship mentioned, not to result
in altering it. Briefly stated, the scale is based on a frequency
ratio of 2, the octave. The ear hears pitch increments and
decrements logarithmically. Thus, to divide a ratio of 2 into
12 part s which will be exactly equal as perceived by the human
brain, the factor becomes the 12th root of 2. The reason a
tuner hears beats between fourths and fifths is that in this
tempered scale the numbers arrived at are irrational, bearing
no whole-number relationship .
RICHARD H . DORF, President
The Schober Organ Corp.
43 West 61st St.
New York, N. Y.
He Wants Meat
Identical arm included with TD-135, but s old a s separa t e unit.
Less than 0.5 0 l inch tracking error. Built-in cueing device. All
adjustments : vertical height; calibrated gra m-force; stylus
P?sitioning slide; balancing counter-weight. Unique vertical
PlvOt keeps stylus vertical for any h e ight adju s tment.
Resonance well below audible frequencies. Intercha ngea ble
4-pin ca rtridge shells. Mounted on board for THORENS
TD-124, TD-121 turntables.
$50.00 net
See and hear the THORENS TD-135 and ALL the members
of the "TD" famil y of fine turntables a t your fra nchised
dealer's today; there's oile for every budget ! Fo?' additional
in/ormation, write us dir ect.
I have looked at the instruction manua ls of kits built by
friends and find t hat they are complete as to step-by-step assembly but do not give any information on the "whys." I (10
not intend to become an engineer but would like to know a
great deal more about how my set· operat es.
The question remains, "H ow can manufacturers be convinced
that many people in my category want more meat to chew on ,,,
1205 Tyler St.
Glendale 5, Calif.
(Simple--write to them!
What and Why
Anyone who is adept with his hands can do a creditable
job in building kits- if he f ollows the instructions. But after
a few kits he wants to know what and why as well as how. I
feel tha.t a bet ter underst anding of what and why will increase
his understanding and enjoyment of music just as a person
who understands the basic f unctions of an automobile makes
a better driver.
New Hyde Park, N. Y.
84--23 Manton Ave.
J amaica 35, N . Y.
MARCH , 1962
says GI1iTR~nON, wel.~ known TV Sportscas:er~
"You II se&what I mean when you try the
. FUiI.¥
'19 2'
gl yes
PROFESSIONAL Monophonic Tape Recorder
you ... Fulltrack or Halftrack * Hi / Lo Impedance input switching * 8/600 Ohm Balanced Output
** Self Contained
Frequency Response: 40 to 15,000 cps at 7'12 ips, ± 2db; 40 to 9500 cps at 3 3; ' ips, ± 3db.
Signal to Noise Ratio: 50 db below recorded "0" level.
Tape Speeds: 7V," or 3%"'per second.
Wow and Flutter: Less than
0.18 % RMS.
Heads: Inline record/playback head in shielded housing; full track or V, track available.
Motor and Drive: Pre·
cision balanced hysteresis·synchronous motor, to speed stabilized flywhee l/capstan tape drive.
Amplifier: Professional terminal
board wiring used; cast front panel; 6 watts undistorted output.
Equalization: Amplifier record and playback equalization based
on broadcast (NAB) standards.
Inputs and Outputs: Jacks provided for low level , high impedance microphone input; high level
input; auxiliary speaker or line output; input/output jacks for connecting directly to either or both channels.
Index Counter:
Accurate, three digit type.
V. U. Meter: Illuminated, calibrated -10 to +3db.
Operating Position: Vertical or horizontal.
Size: 7" maximum (up to 2400" of .tape).
Dimensions and Weight: 15 %" x 14 V," x 9';''' overall 28 Ibs.
Interlocking Controls:
Prevent accidental erasure of recorded tapes; instantaneous start and split second acceleration.
Pause Lever: Permits instant
stops during recording, simplifies editing and facilitates setting volume leve! before recording.
Power Requirements: 95 to 120
volts, 60 cycles, 50 W.
* *
10 1/ 2 " Reel Adaptor Now Available-$49.50
MARCH, 1962
5920 Bowcroft Ave., Los Angeles 16, Calif.
Please send me :
Roberts Stereo Tape Instruction Manual
containing stereo and monaural applications.
I enclose 25¢ (cash, stamps) for ·postage and
o The name of my nearest dealer.
Name ___________________________
Address _ _ _ _ _ _ _ _ _ _ __
State _ _ _ __
maintains t he workmanship exhibited in his
fir st album, Mersey will soon be a leading
name in the specialized field of tastefullyproduced orchestral show music.
Kwamina (Original Broadway Cast)
Capitol SW 164S
.-rli.g HT----------
The symbol 0 indicates the United
Stereo Tapes 4 - track 71j2 ips tape
Stereo 35/MM Volume 2
Command RS 831 SD
Ordinarily, records that sound good on
equipment oj modest frequency range, sound
even better when transferred to w ide-range
equipment whose response is flat enough to
satisfy the discriminating listener. Last November, I made a point of the fact that Command's first stereo 35/MJ\1 release had imp ressive sound when played on equipment that
rolls off sharply in the high end. The peak in
the record's mid range, barely noticeable on a
system of limited response, was a ll too evident
on the set up I use every day fo r review of
records and tapes.
During the months that foll owed the release
of "Stereo 35/MM," Volume I , my reviewing
equipment underwent only one significant
change: a thoroughly up-to-date stereo cartridge that has Improved the sound of vil'tually every record I own. When Volume 2
of this series came along, I immediately
checked it with the new pickup-only to discover that the rise in the record's mid-frequency response is stm there and is stilI objectionable with the new pickup. ROlling off
the upper end doesn't help. The record fail s
to respond to moderate change of tone co ntrols the way other discs do these days. I
didn't get rid of the exaggeration in Command's recording curve un til I set the preamp's cutoff filter at 7000 cps. Such a recording curve hardly does justice to the sou nd of
the diverting arrangements acquired for the
orchestra led by Enoch Light. Phil Bodner's
piccolo and Doc Severensen's trumpet roam
the upper regions of the scale; a French horn
warms the orchestral tonal palette and a tuba
underlines the efforts of the lower strings but
the highs don't get the break they should.
The stereo separation delivers its punch from
each channel but I stilI come a way w ith th e
conviction that this is not a compl ete record.
What is missing is the fiat r esponse above
7000 cps that other labels are furn ishing In
their releases. Command deserves a great deal
of credit for the sound it Is turning out in
Its classical line but this particular series
lea yes me cold.
Keith Textor: Sounds Sensational!
RCA Victor LSA 2425
Novelty seekers get the best break in sound
in the recordings t h at comprom ise this month 's
RCA Victo r pop release. The extr a demands
placed upon the label's technical resources in
the Stereo Action series seem to call forth
better wo rk from the personnel in the pressing
depar tment. Keith Textor's grab bag of sounds
Involving chorus and percussion is displayed
on good surfaces and the response is invigorating. An assortment of RCA microphones has
been used at most of the vantage points with
the chorus and brass Ins truments assigned to
Telefunkens. The selection on this record destined to get the most demonstration is found
* 12 Forest Ave., Hastings-on-Hudson,
on Band 1 of Side 2. 'rhe t llne is t he traditional favorite, When Johnny Oomes Marching Home. B efore the arrangers get him off
the battlefield, they unleash some cannon fire
that is the most realistic I've h eard on stereo
discs since the days of Vanguard's 21-gnn
volley i n "The Queen's Birthday Salute" and
the Mercury recordings for artillery and orchestra. The only other dubbed-in sound playing a role in the arrangements comes f rom a
small train with a decidedly roguish personality. It circles about while the chorus sings
Down By the Station. The most effective
sounds produced in the studio include the percussion battery that sparks the old Chevalier
hit Mimi nnd the tap dancing of Tad Vosburgh
picked up on a special platform during the
performance of T ea For Two. The brief duel
between dancer and drums is a particularly
clever example of stereo milling. Balancing
the busier moments of the program are r elaxed trea tmen ts of Irving Berlin's For the
Ve,·y First Time and Ben Bemie's old theme
song, It's a Lonesome Old Town .
Ray Ellis: How To Succeed in Business
RCA Victor LPS 2493
Robert Mersey: Kean
Columbia CS 8532
Once a r ecord firm acquires the right to
r elease the original cast r ecording of a Broadway show, other decisions remain to be considered. There's one sure way to learn what a
record label really thinks of a musical It has
under its wing. If a production shows promise
while stIlI in r ehearsal , plans are then set in
motion to reco rd the score in a variety of instrumental formats. If a show has mixed
prospects durin g rehearsal, instrumental versions may be held in abeyance until the public
has had a chance to render its over-the-footlights judgment.
Neither RCA or Columbia has wa ted a
moment in bringing out orchestral treatments
of these two scores. Both shows were obviously considered strong enough to make
headway in the market without the benefit
of big-name established orchestras. Ray Ellis
has appeared in several Victor albums bu t
Robert Mersey is making his record debut in
the Kean score. E llis elects a swinging approach in all the bright tunes from Frank
Loesser's "How to Succeed." A wordless
chorus backs up the beat of Love F"om a
Heart at Gold, Happy to Keep His D inne"
War"" and Been a Long Day. A few phrases
are sung in J Believe i1l )'O!,; the title alon e
is voiced in Rosemary. A Secretary Is Not (I
Toy is one of the smartest tunes in the origi -
nal cast a lbum hut something seems to h appen
to it in the con,ersion. As an orchestral nov elty, it sounds for all the world IiJ,e the
Whistler and His Dog.
The music from t he Robert Wright-George
Forrest musical gets a sophisticated treatment
in the Robert Mersey arrangements. Most li steners wi ll find his approach in Kean 's mu sic
a refreshing one. The scoring is fully as colorful as the instrumental show albums put out
by Percy Faith and And re Kostelanetz. Mersey
is a native New Yorker who bega n his professional career as an arranger for the Woody
Herman band. He later spent three years arranging and conducting in England. Upon his
return to the States, Mersey wrote and arranged music for some of the prestige drama
shows on television-while they lasted. If he
This mu sical dealing with the birth of nationalism in present-day Africa raD for only
32 performances in New York. Capitol Records
decided, however, to assemble the cast for a
r ecording of t he sco re on the day after the
show closed. This move, certainly an unusual
one in the r ecord business, was prompted by
Capitol's conviction that "Kwamina" did not
fall on Broadway because of its music, a
point borne out by the press reviews when the
show opened. The company felt that the score
deserved a wider audience than it was able
to gamer in the theatre. Richard Adler furnished the music and lyrics that propelled
Capitol to Its decision. The show's plight, in
all probability, stemmed from a plot so advanced in its thinking t h at even today's audience was not quite p repared to accept it. The
Adler score attempted to include two types of
African mu sic: atonal incantations of strong
rhythmiC pattern but no melody and the
Bantu music of South Africa with ample melody in its five-tone scale.
From what I have r ead about the play, I
expected a score somewhat a loug the lines of
Kurt Weill's famous "Lost In the Stars"
which a l so had an African locale. "Kwamlna"
comes closest to that classic in atmospheric
pieces such as The Oocoa Bean Song as delivered by the entire company and A Man
Oan Have No Ohoice sung by the owner of
one of the best voices in the cast- Brock
Peters. The Calypso, originally brought to the
West Indies by African slaves, Is suggested In
the rhythms and double talk of The Sun 18
Beginning to Orow. Unfortunately, a jarring
note is struck just as the scores shows some
sign of establishing an identity of Its own. In
the role of the white lady doctor, Sally Ann
Howes, who once played the role of Eliza
Doolittle, copies the inflections used by Julie
Andrews throughout the secon d h alf of L erner
and Loewe's "My Fair Lady." This is a minor
point in casting and direction but it may have
been one of several factors that led to the
show's demise.
Leo Diamond: Fore ign Film Themes
Reprise 0 RSL 1706
King of Kings and Other Film Themes
London 0 LPM 70050
Im ported cars have not been the only European products gaining wide ci rculation in this
cou ntry in recent years. Back in the Thirties,
European movies were available only in the
la rge urban centers-if you Imew someone
who could direct you to the right neighborhoods. With 'Iuck you might even see an ocr-asional "musica l"-the life of Beethoven, perhaps, with a sound track as sour as the visage
of the composer. Since World War 2, the burgeoning European movie industry has been
send ing a n IncreaSing number of films to this
country. The more recent ones have adopted
the Hollywood custom of stressing one or two
themes in the backgroun d score, tbereby making possible the tape a lbum now issued by Leo
Diamond. We can't complain of a scarCity of
Hollywood movie music on records or tapes
but comprehensive collections of foreign
themes have been a comparative rarity. The
only hitch here lies in the fact that you have
to take Diamond's harmonica acrobatics along
with the more reasonable so und of two pianos,
harpsichord, celesta an d strings. Diamond has
probably earned the gratitude of some listeners in one respect-he doesn't u se a zither in
the Thi,'a jJian Theme . The best known mu sic
from "La Strada" and "Never on Sunday" 1s
gi ven a bolero tempo. Among the dozen tunes
a re such well-entrenched favorites as Anna,
Om'nival from "Black Orpheus" and themes
from "La Dolce Vita." "Rocca and his Brothers/' "La Ronde," and "400 Blo,vs."
In the London tape, Frank Chacksfield is
asked to abandon his blithe carefree style of
former years and don the heavy mUSical" robes
of the super-spectacle costume films. He can
hardly be blamed if the themes from "King
of Kings, " "The Robe," "Ben-Hur," and "Quo
MARCH, 1962
The Fisher KX·200 SO·Watt Stereo Control·Amplifier Strata Kit, $169.50.*
Build I,
Automotic Checking
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It has four things that others haven't.
Strata Kit Construction. Assembly by totally
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Each stage is built from a separate transparent packet
of parts. Major components come already mounted on
the extra-heavy-gauge steel chassis. Wires are pre-cut for
every stage-which means every page. Result: Absolutely
equal success by the experienced kit builder or the completely unskilled novice!
Built·ln d'Arsonval Meter. For laboratory• accurate adjustment of bias and balance. Assures
peak performance from the start; permits 'touching up'
for continued peak performance throughout the years,
regardless of tube aging. No other single-chassis controlamplifier kit has this vital feature.
Third·Speaker Output with Volume Control.
• Blends the two stereo channel outputs to feed a
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Ideal for center-channel stereo fill-in or for a mono extension speaker in another room of the home. A Fisher
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The Fisher Name. No comment necessary.
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MARCH, 1962
Vadis" sound pretty much a like. They have to.
If they didn't, the producers and the public
would feel they were being short changed. The
sound on this reel, for all its "heroic" spread,
is disapPointing. I have a two year old fourtrack Chacksfield tape on this label ("Evening
in Paris"/M 70005) that sounds better in
side-by-slde comparison.
The Many Voices of Miriam Makeba
Kapp KS 3274
Remember the days when sound-on-sound
r ecording usually In vol ved a loss in listening
quality? I was reminded anew of the progress
made in multi-track work while listening to
the a mazingly clean sonnd that producer Bob
Bolla rd and recording engineer Bob Simpson
have provided in the second a lbnm by the new
singing star from Africa, Miriam Makeba. In
songs a bont warriors and witch doctors, Miss
Makeba produced seven vOicin gs--dubbed one
at a time-yet the sound loses none of the
cla rity found in the rest of this recording that
is rar from average in technical prowess. The
first Intimation that this is to be a remarkable
r ecord comes in the very first selection, a
hunting song and boot dance that sends the
stamping feet of dancers across the stage to
the accompaniment of large African drum s,
bells aud smoothly agile stick rhythms. In
the West I ndian ballad Love Ta8tes Like
Stmwberries, the s ilvery sigh of Ernie Calabria's 12-string guitar, heard on the left, and
the low boom of percussion on t he right provide a startling contrast as backdrop for the
voice. In more sophisticated material -the
Carnival theme from the movie "Black Orpheus" an d "Night Must F all"-we find Miss
Makeba equally at home in music f r om other
co n tinen ts . Her crystalline voice is heard to
best a dvan tage in a little lullaby about a canary. In its mOving simplicity, this one song
is enough to confirm the belief of many observers that Mirian Makeba is one of the truly
gr eat folk Singers of our day.
Mantovani: Music of Victor Herbert and
Sigmund Romberg
London PS 165
America is taking to our new Lu xor Stereo tape recorder like Swedes take to Smorgasbord.
Among the big factors in the success of this complete stereo sound system is its great
crosstalk rejection ability. This means that the port arid starboard speakers in your stereo
system pull their share of stereo from the tape and nothing more. Made with traditional
Swedish care, the Luxor Magnefon has less crosstalk than a pair of glaciers. It does however
HAVE all of the finest characteristics that a "dedicated" audiophile could ask for. Any
audio dealer in town will fill you in on the . frequency responses at all three speeds, (it's
truly Hi Fi at 3 3/4), and even the cubic dimensions. While you ar.e investigating all this we
are sure he will try to sell you one at $279. If he does- Buy it! In the West he will ask
for a few more dollar.s - Still worth it!
Mantova ni recordings h ave been a vital segment of the London catalog during all the
years of the LP record but a surprising num·
ber of t h em are available only In mono versions. At first glance, this release-and a
companion disc called "Music of Irving Berlin
and Rudolf Frlml" (London PS 166)-struck
me as another example of duplication until I
discovered that not one of these composers
had undergone stereo treatment in Mantovani
a lbums. If the orchestra's arrangements have
changed since mono days, it would take a
battery of experts to establish the pOint.
Woodwinds are now sharing some of the
prominence once reserved for the s trings. Of
course, Mantovanl's string section still has
plen ty of prominence if you hear it under the
conditions of preemphasis used on four-track
tapes. The recording curve in these discs, fortunately, for the music involved, is quite
close to the RIAA specifica tion.
Vienna-City of My Dreams
Columbia WL 156
r--------------- AJ '
Sale U. S.
60 East 42 Street, New York 17, N. Y.
Pl ease write for illustrated descriptive
AmeLux Electronics Corporation
60 East 42 Street . New York 17, N.Y.
NAME:_ _ _ __ _ _ _ _ __
Plea se send your free brochure to
ADDRESS,_ _ __ _ _ _ _ _ __
The technique of dubbing the sounds of
a city into a recording of its music is hardly
a new one yet the Austrian crew involved
in this project has turned in a fresh·sounding
portrait of Vienna. Most of us have encountered recordings of this type in which the
sound effects were'" burdened with a distort ion content greater than that of the studlor ecorded orchestra. Here the problem is
licl{ed in a very simple way. The extraneous
sounds are kept at true background level
while the orchestral arrangements a re used
for maximum effect in pinpointing the lighter
side of the Viennese musica l scene. Among
the sources of local color are the city's cabarets, bars, and wine gardens. Even the
leading amusement park has been pressed
into service for some of the background atmosphere. The local orchestra under the direction of Karl Grell has the relaxed freedom
of authentic Viennese music making.
(Continued on page 67)
MARCH , 1962
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MARCH, 1962
Co., Inc., De pt. A3A, 38-19 108~ h St. , Corona 68, N.Y. Ex port: Morhan Ex porting
Corp., 458 Broadway, N.Y.C. Canada : Atlas Radio, 50 Wingold Ave., Toronto 19.
Edward ratnaliCanby
I haven't said a word about FM-stereo
for almost nine months. Not since last
spring, when the new system was :first approved. (I won't count a passing reference
to FM-stereo's "phase-2" characteristics, a
few issues back.) Good enough reason. It
takes awhile for this kind of pudding to
cook. And the proof's in the eating, remember. The listening.
It wasn't until almost the end of last
year that, very late one night, Miss Sarah
Vaughan suddenly belted out a number
from one of my stereo loudspeakers, while
her accompaniment dribbled forth out of
the other. Stereo! Well, maybe it wasn't
stereo but there sure was plenty of separation. I tried my balance control, from one
channel all the way over to the other; yes,
definitely, this was it. The real ping-pong
McCoy. There was Miss V., full-bodied,
slightly larger than life and much closer,
spang in one speaker. On the other channel
she was no more than a faint, off-mike,
reverberated echo.
My musical ears were not impressed. But
my mind said, by golly, it works. This is no
fake. If La Vaughan can do it, so can
Beethoven and Mozart. I mean, maybe,
Leonard Bernstein and Leopold Stokowski.
If you've got sepamtion, you've got everything. (Well, almost everything.)
A Slight Delay . . .
Yes, I'm aware that thousands of ardent
audiofans sat up most of one night, back
there last June, intent upon hearing the
first ten seconds of genuine stereo-on-theair. (I'm aware that the editorial staff of
our magazine was numbered among the
wakeful hopefuls, too.) Not me--though I
did ride on the very first train on the new
Sixth Avenue subway in N.Y.C., back in
the thirties. (Just to show you I can get
in a "first" when I feel like it.) I was too
much the benevolent cynic, this time. I went
to bed early, and figured I'd look into FM
stereo in a couple of months or so, maybe
by late August. I was much too optimistic,
of course. Shouldn't have given it a thought
until after Christmas.
Now keep carefully in mind that I am
speaking here of layman's stereo (multiplex), as per title. Needless to say, during
those six months or so the inner audio
world was positively seething with FMstereo activity, breaking its collective neck
in a hundred ways over the frightening
task of living up to advance publicity,
getting real, audible, workable FM stereo
out where it belongs, in the living room.
This was a "phase 2" with a vengeance, as
almost any participant will admit, I think,
and the problems were genuine all along
the way. As a semi-insider, I heard rumors
and talk all the time, from every side'-:=not
merely in the building of home stereo
tuners but from the transmitter people,
who were having their minor disasters, and
even from the program departments, who
found to their horror that a large proportion of available stereo disc material
wouldn't work on FM-stereo broadcastcomplex and unforeseen technical allergies,
so to speak, phase cancellations, and the
like. A frantic time was had even here,
auditioning huge quantities of records in
the search for something that the System
would tolerate; and that, of course, was
merely one minor area of problems. There
were plenty more, most of which belong
in the technical sections of this magazine
and which I can do no more than acknowledge as existing. Even such minor annoyances as that nasty audio beat tone that
shows up with some tape recorders. Bias,
tangling with the multiplex.
No blame for the delay in multiplex,
then. Far from it. Better an honest delay
than a too-hasty launching of imperfect
equipment, half-baked. There will always
be serious problems in this sort of development that simply cannot be foreseen ahead
of time.
What was the layman's likely first move,
towards stereo on the aid Well, I :figured
first I'd like to try a conversion. After all,
for some years now we've all had those
nicely labeled MULTIPLEX plugs on our
tuners, just waiting for a plug-in converter.
In any new area, the conversion unit is
naturally the first item to be made available. Serves a highly useful, if a temporary
purpose. As soon as FM stereo is generally
built into most FM tuners of the requisite
quality, the conversions will have served
their interim purpose and they'll quietly
leave the market. So-I'd better begin with
a converter.
Well, I never got to one. You see, I had
a fine mono tuner sitting in my living room
just then, and I :figured, why not try the
multiplex conversion for this tuner, the
conversion for which was being heralded, if
I remember rightly, back in midsu=er. (1
was leery of "all-purpose" converters, to fit
any mono tuner, and had already heard of
some disquieting mismatches, inevitable
under the circumstances. Better stick to the
same brand, I thought, a specific conversion for a particular model. I note that
today one can acquire an all-purpose converter, the probable bugs having been
mainly worked out and anticipated, out of
experience. But this was last August.)
So-an exchange of cordial letters and
phone calls with the maker of this fine
mono tuner. Then a wait. Further exchange
of cordial letters and phone calls. A slight
f urther delay. As I say, 1 was understanding, and expected just this. Eventually, 1
got a nice letter saying the conversion
unit would probably be available in mid-
November. That was :fine with me; so I
tactfully waited until mid-December (I do
understand these things.. . ) and then tried
again. I got back an excellent suggestion
from the company: under the circumstances, wouldn't it be more sensible, now,
for me to turn in my mono tuner and pick
up the new model with the multiplex already built-in' An excellent thought, I
decided. For in the meanwhile I had discovered that the conversion unit was not
quite of the plug-in sort; there was a certain amount of :finger work to be done in
the process, like replacing the volume control and power switch. I found, unaccountably, that I had chilly feet at this mild
prospect. So I said-yes. Excellent idea.
Give mo the works- and thus 1 by-passed
the conversion period altogether.
If you will turn to page 46 of the February issue, you'll find our "Equipment
Profile" write-up of this very conversion
unit, "at long last." Citation MA. The editors sweated out the wait, too, and don't
think they didn't expect it, just as 1 did.
A conscientious audio designer is more than
likely thus to get out of step with his publicity people, who always get there first
with the mostest.
So, as of now, I am still looking forward
with utter equanimity to a continned slight
delay in receiving the Citation IIIX multiplex tuner, in exchange for the Citation III
mono tuner that I still am hanging onto,
with the greatest of pleasure. I must say,
at this point, that the Citation III has
given me, over-all, unusually fine mono FM
performance. The longer I wait for Citation IIIX stereo, the more confident 1 am
that the eventual product will be tops. I'll
leave Citation there, for the time being,
and return to my story about Miss
Pilot's Separation
Miss Vaughan, you see, came to me
courtesy of another company, Pilot. (It
was another company. Since then, I discover to my astonishment, Pilot has been
bought by a corporation that also owns
Harman-Kardon, maker of the Citation
line.) Pilot was really on the ball this last
year. That company somehow got its FM
bugs and its designing problems out of the
way in relatively short order and, in no
time at all (just a few months) came out
with workable, buyable, practical stereo
equipment. I don't mind saying that it was
at the editors' suggestion that 1 inquired
at Pilot to see whether they might have
some stereo ready to hear. They did, and I
received a Pilot 602M, a moderately priced
combination unit, combining stereo amplifier and phono preamp, and so forth, with
a multiplex tuner all in a single package.
This was, actually, just what I want ed,
in a different category. If you are going to
get an idea of practical broadcast stereo
for the layman, you must tackle various
line of inquiry (a) conversions (b) topquality equipment and, even more important, (c) modestly priced, intermediate
equipment of the sort that really will make
or break the multiplex market for components.
Since we've already printed an extensive
Equipment Report on this model (AUDIO,
January 1962, page 44), I'll concentrate
on the actual experience I have had with
this very honestly designed piece of equipment. It has already taught me much, both
pro and con, about the larger picture in
present-time stereo reception, both at my
city location, in the heart of Manhattan,
MARCH, 1962
Kit $39.95
Wired $64.95
Cover optional $2.75
An original EICO
contribution to the art-of
FM Multiplex reception.
Completely assembled, wired and tested.
Semi-kit include? a completely assembled and
tested transport, electronics in kit form.
Luggage-type Carrying Case-$29.95
Standard 19-inch Rack Mount-$9_95
A top quality stereo tape recorder permits you
to build a stereo tape library of your favorite
music at low cost. As your musical interests
change, you may record the new music that
interests you at no additional cost.
"Perfected 4-track stereo/ mono recording, 4 &
2 track pl~yback. True high fidelity transistor
electronics, individual for record & playback,
plus separate record & playback heads permit·
ting off-the-tape monitor. 2 recording level
meters, mixing, mic & level controls, switched
sound-on·sound recording. Electrodynaniically
braked supply & take-up reel motors; hysteresis
synchronous capstan motor. Individual solenoids for pinch-roller & tape lifters. All-electric,
interlocked push-button transport control &
interlocked safety "record" pushbutton. Precision tape guidance & sweep loading - no pressure pads. No slurring or tape bounce problems.
Digital turns counter. Vertical or horizontal
mounting. Modular plug-in construction_ An original, exclusive EICO product designed & man·
ufactured in U.S.A. (patents pending) .
Kit $94.95 Includes Metal Cover Wired $149.95
Kit $79.95 Includes Metal Cover Wired $129.95
ST96: FM and AM stereo tuners on one compact chassis. Easy-to-assemble: prewired, prealigned RF and IF stages for AM and FM .
Exclusive precision prewired EYETRONIC®
tuning on both AM and FM .
FM TUNER: Switched AFC (AUtomatic Frequency Control). Sensitivity: 1.5uv for 20db
qUieting. Frequency Response: 20-15,000 cps
±ldb. Multiplex-ready: Regular and MX out·
puts built in.
AM TUNER: Switched "wide" and " narrow"
bandpass. High Q filter eliminates 10 kc whistle.
Sensitivity: 3uv for 1.0V output at 20db SIN
ratio . Frequency Response: 20·9,000 cps
("wide"), 20-4,500 cps ("narrow").
BOTH AMPLIFIERS: Complete stereo centers
plus two excellent power ' amplifiers. Accept,
control, and amplify signals from any stereo
or mono source.
5T70: Cathode·coupled phase inverter circuitry
preceded by a direct-coupled voltage amplifier.
Harmonic' Distortion: less than 1 % from 25·
20.000 cps within 1 db of 70 watts. Frequency
Response: ±lhdb 10-50,000 cps.
5T40: Highly stable Williamson-type power
amplifiers. Harmonic Distortion: less than 1 %
from 40-20,000 cps within 1 db of 40 watts.
Frequency Response: ± % db 12-25,000 cps.
listen to the EICO Hour, WABC·FM, N.Y. 95.5 MC, Mon.-Fri:, 7:15-8 P.M.
MARCH, 1962
Designed for all EICO FM equipment (HFT90,
HFT92, ST96) and any other component quality, wide -band FM tuners having multiplex
outputs, the new MX99 incorporates the best
features of both matrixing and sampling techniques. It is free of phase-distorting filters and
provides the required, or better·than-required,
suppression of all spurious signals including
SCA (67kc) background music carrier, reinserted 38kc sub-carrier, 19kc pilot carrier and
all harmonics thereof. This is very important
for high quality tape recording, where spurious
signals can beat against the tape recorder bias
oscillator and result in audible spurious -tones
in a recording. This adaptor will sym;hronize
with any usable output from the FM tuner and
will demodulate without significant distortion
tuner outputs as high as 7 volts peak·to-peak
(2.5 volts RMS) .
The MX99 is self· powered, provides entirely
automatic stereo/mono operation and includes
low impedance cathode follower outputs to permit long lines. An indicator lamp turns on when
the station selected is broadcasting multiplex
stereo. A separation of 35db between channels
is typical across the entire audio spectrum. An
over-all gain of unity is provided from input to
output on both stereo and mono.
I-----~-----------Eleo, 3300 N. Blvd .. L.I.C. 1, N. Y.
1 D
Send free 32-page catalog & dealer's name
which I enclose 25¢ for postage & handling.
I Name ................. _................................................... ..
II Address .................................................................. ..
' - C~..::.::::.::::.=.:: .::.::::.~o~
:: ~a~. ::.: .::::_
Over 2 MILLION EICO instruments in use.
Most EICO Dealers offer budget terms.
Add 5% in West.
Export Dept., RoblJrn Agencies Inc., 431 Greenwich St., New York 13
P,"ese,"ve ti,e Ge"ills
of ti,e M"ste,"s ,,;iII. tim
N,lt.,,-al So.",d
The r em a rkable fea tures of this superb
unit sp eak for them selves - records 4
track; plays b a ck 2 and 4 tra ck ste r eo
and mono; records/pla ys back FM
Multiplex Stereocast with m agnificen t
clar ity, even at 3 % ips. P ermits soundon-sound, track adding, dir ect m onitor
from sow'ce or tape ; has push button
controls, three separa te Tandber g en gineered precision laminated heads,
h ysteresis synchronous motor; installs
into HI-FI system. Price $ 498. Remote
control "F" model also available.
MODEL 65 3
Another Tandberg triumph - for pure
playb ack of 2 and 4 track stereo a n d
mono tapes with finest fre quency response. E x trem ely versa tile; f acilities
for adding erase and l'ecord h eads.
Price 8 199.50.
Tandberg re mains u nchallenge cl for
clear, crisp, natural souncl!
, 1andberfJ
and in the country, a hundred miles away,
with fringe· area reception at its most
deadly. I can sum up the 602M major qualities in just two observations.
First, it has the essential quality for
stereo reception, the absolute necessity·of·
necessities. SEPARATION. La Vaughan
sold me not only on Pilot but on stereo
broadcasting, all in the space of a few
moments I I owe Pilot a real debt of thanks
for bringing me then, after so many months
of doubt, the first absolutely concrete evi·
dence that stereo broadcasting does, truly,
honestly, without the slightest doubt, pro·
duce real stereo.
Moreover, Pilot resolved another heavy
layman's doubt that had bothered me (and
bothers others, I am sure). Even with a
minimum signal-and a vast roar of background noise-the separation was excellent.
I had wondered, perhaps innocently,
whether separation in any way depended
upon signal strength. (I now know that
separation can be traded, in the designing,
for certain other desired features- if you
want them.) Well, it doesn't. Ask Pilot.
Jet Roa r
Secondly, that much-discussed l7-db loss
in effective sensitivity as between stereo
l'Elception and mono reception of the same
signal is a stark reality. The Pilot 602M
in its role as a moderate·cost but carefully
designed over-all performer is not particularly sensitive. Sensitivity is only one of
many desirables, remember, and not always
needed, either.
In my country home I found that this
t uner behaved moderately and nicely on
FM mono, receiving dozens of distant stations with complete limiting and perfect
silence, picking up the weak ones with
varying degrees of steady hiss and/or
swish-swish (interference from planes),
exactly as might be expected. My ultimate
sensitivity test, my own weak signal from
New York's WNYC 100 miles away, was
marginally audible on the Pilot sometimes
quite clear, at other times fading to nothing. That's nothing new, you may be sure!
It happens with most tuners.
However, on multiplex, as expected, t he
thin margin of useable reception I had on
hand at this critically distant range was
drastically reduced. The hiss became a
giant roar, like a nearby jet plane, an immense increase in a heavy bass "rumble."
Net result was that though I could pick up
New York stereo at 100 miles via Pilot, I
could not eliminate the background noise
to the point where the reception was practical. (I could hear the stereo separationdefinit ely and reassuringly. Remember
t hat.)
WTFM, our New York all-weather 24hour stereo station, was always audible
but was not quite st rong enough to limit
the stereo noise background. WQXR's Boston Symphony "live" broadcast (via tape)
was considerably weaker, come Saturday
night. I could just about make out the
music, and confirm that the stereo sound
still was there. F ive minutes of the jet roar
was all I could take of that. And nobody
else around the East seemed to provide any
stereo for me on the occasions when I tried
stereo hunting, right across the band. Not
a thing. It's amazing, I'm sorry to say, how
little stereo there is on the air, even now.
Again-this is only to be expected. Let's
bo realistic. 24 hours a day is an awful lot
of time to fill when the hours, days, weeks,
months insist on mounting up relentlessly
without a break. Still- don't count your
stereo chickens too fast. There aren't very
many of them, yet.
Let's be realistic, too, about Pilot's 602M
and a good many other stereo tuners that
fit in the same moderate and popular intermediate category. I said the P ilot was
"honest." I mean just that. If I am right,
Pilot could have reduced some of this huge
roar on weak stereo signals by compromising the stereo itself. (Anybody can do it,
of course, by throwing in a low-end filter,
to reduce the roar to a hiss; but that also
cuts ont the bass in the music.) I'm not
enough of a technician to know at this
point what is involved ill the adjustable
design parameters here, but I am confident
that P ilot's insistence on "eal, 100 per cent
stereo separation even at the possible expense of some extra noise as compared with
standard (mono) FM, is both an honest approach and a highly valuable one. After
all, we are buying stereo and we want the
most of it there is. More sensitivity- without stereo compromise- would help, though.
Let's not underestimate this need for
extra sensitivity in multiplex stereo reception. It is a drastic need, for all weakish
reception and in all fringe areas. On the
other hand, in most urban or near-urban
areas- which means just about anywhere
within 30 or 40 miles of a strong stationthe sensitivity factor is not so important.
There is plenty of reserve and more, in any
reputable component tuner-though I
wouldn't say as much for some of the weaksister FM receivers of the table-model sort
I've had occasion 'to run int o.
(My Connecticut neighbor has an FM
mono t able model, with built-in aerial,
around 200 yards from my house. I can tune
some 60 FM stations (mono) via any
normal, medium-sensitive FM tuner plus
my rot ating house-top antenna. Neighbor
M. can get exactly one local st ation, rather
faintly. F ort unat ely, its a "good music"
stat ion and his wife loves it. The thing just
plays, all day long, in the kitchen, sitting
catty-corner to get the best reception. TUl'll
it halfway around and there's no FM at
Moral : Beware of fringe reception if you
buy stereo ; get the most sensitive tuner
you can possibly pay f or . But if you are
in a normal location with good, strong signals, receivable on an ordinary folded
dipole inside the house (or if you have a
better antenna outdoors or in the attic that
gives the equivalent), you can buy a P ilot
or similar tuner with expectat ion of complete background silence on F M broadcasts
-and via t he Pilot I can guarantee, firsthand, that you will hear stereo.
I note that the same basic Pilot circuit
is available in other forms, including the
conversion unit, which if I am right should
"work" with virtually any mono tuner.
I note also that current issues of AUDIO
ar e so full of stereo multiplex tuner ads
that I am left gaping with astonishment,
and hope that you-all out there understand
two things. First, t hat I am unable t o
try 'em all, not even in a year, let alone
day after tomorrow. And, second, t hat I
chose Pilot for preliminary t rial last fall
because the Pilot company did get into
practical production (as opposed to ad vel'tising) very quickly and, last autumn, was
clearly one of the few companies out in
front in the big race. Things have changec1
- now there are rivals on every hand, as
you may see by looking about you on these
pages. I trust that my early experience
with Pilot will serve usefully for you layman readers, whatever brand of tuner you
tryout for yourself, as of now.
MARCH , 1962
Highest Output For Best Quality
Professional Quality Basic Amplifier
With Amazingly Low Distortion
Model HF-90M
100 - Watt Basic Amplifier
I . Silicon diode with high regulating capability is used in rectifier circuit to
produce a powerfu l output of 80 watts without distortion. This unit is so
compact that it may be conveniently installed or moved around.
2. One of the most distinguished features of the HF-90M is superb lowfrequency characteristics which are rarely found in 9ther flmplifiers. The
distort ion·free output (distortion reduced to 1 'Yo) is 75W at 30 cps and 50W
at 20 cps.
3. This amplifier uses a la rge output transformer with a core of 5'/." X4'/." X
I '!. " , the same in size with that of a power source transformer. Such a
large output transformer usu ally has rather poor high.frequency charac·
tcristics and it is difficult to apply negative feedback. In order to overcome
su ch defects, this amplifier has specially designed tertiary coil so that a
great deal of stabilized negative feedback may be applied.
The HF-90M is the best professional type basic amplifier featuring exceedi ngly
powerful output, superb tone qu a lity, highly stabi lized performa nce and com pact size .
Superb Hi·Fi Sound from Newly Designed Circuit
Standard Type Specially Emphasizing Stability
.• Model HF-90MH provided with a terminal for high impedance output (200
ohm) and an output terminal for monitoring is scheduled to be placed on the
market together with Model HF-90M.
Specifications I
Electron tube s: 3 tubes. 2 silicon diodes, Se len ium
rectifie r
Circuit system: 6CA7PP Fixed bios
Ga in, 0.9Y. SOW at IKe
S N ratio: More thon 75db
Output te rminal: 4, 8, 16 ohm
Maximum output: lOOW
Distor tionlass out put: BOW
tion at IKe)
Disc Reproduction Noise Is Eliminated
(lees than 1% distor-
Frequency characte ri stics: 20 c/s-30Ke' ± Idb
Residual noise: l ess than 1.5WCot th e lowest level)
Voltage, 100. 117Y <Changeable)
Power consumptiOn: 200W
Dimens ions, 14.7/ 16' (Wl X8.1 116' (Dl X7.1 11 6'(Hl
Weigh" 33.07 Ib,
Canada: Importhouse of Canada
Scarboro. Ontario
Singapore & Malaya:
Hwee Seng & Co.
Beach Road, Singapore
5, Otowacho 6-chome, Bunkya ku, Tokyo, Japan
MARCH, 1962
N THE PAST FEW YEARS high-fidelity components have
achieved quality levels which are truly remarkable
-fer instance, we noticed in the process of putting
together our Test Equipment Roundup in the January
issue that the residual distortion of some laboratorytype test instruments actually is as great as the total
distortion of several available components. Tube components, that is!
Now, however, there is much talk about the inevitable and imminent transistorization of components.
According to the conversations we have heard the
changeover is supposed to occur within the next three
or four years. Well, perhaps these predictions are
correct but we can't help wondering, in view of the
unusually high quality of existing tube equipment,
why it is necessary to abandon known excellence for
the "wee electronic wonders?" Even more to the
point, will transistorized equipment perform better
than, or as well as, existing components in the equivalent category ? It seems to us that unless the latter
question is answered affirmatively, transistorization
will be a step backwards.
We do not deny the important virtues of solid-state
devices; smaller size, less weight, and reduced heat.
But these qualities must necessarily take a back seat
to performance in high-quality components.
Don't misunderstand, we are n either saying that
transistorized components are necessarily worse than
tube components nor that conversion to transistors is
undesirable; what we are saying is that the decision
to convert should be based primarily on performance.
And reliability. And serviceability.
Recently we visited a local audio emporium to purchase a resistor or something, and overheard a conversation which disturbed us somewhat. In effect we heard
a salesman saying that the IHFM (Institute of High
Fidelity Manufacturers) rating system for amplifiers
(music power) was not as valid as the rms rating.
'Whether or not he is right about amplifier ratings (we
have commented upon this in the past), and whether
or not he was trying sincerely to help a customer,
we are inclined to believe that the over-all effect is
First of all, the basis for an industry-wide standard
is that it be accepted and used by the entire industry.
Because such standards exist, the consumer can be
confident that a 20-watt amplifier will not change in
power from store to store. The manufacturer can be
confident too.
Now, what if the standard is inadequate in that it
does not truly standardize the qualities it purports to
make standard ? It seems to us that the proper procedure would be to fight hard to change the standard
-not tear down the system of standards! Indeed, it
is vitally important for the consumer to insist on the
use of these standards-they are one of the best yardsticks available to him.
As an interesting footnote, recently the Magnetic
Recording Industry Association set up an eleven-man
Standards Committee in order to assure consistent
high standards in the tap e industry. Another step in
the right direction.
Fifteen years ago, come May, AUDIO (then called
AUDIO ENGINEERING) started a course of events which
has inexorably led to the magazine (and industry) as
we know it today. In the course of these fifteen years,
many exciting events have occurred and AUDIO readers have participated in them. In our May issue we
will devote a considerable amount of space and effort
to retelling those eventful years. In order to make
this as meaningful and interesting as possible, we invite each of you to participate-to send us photographs or other documents which would shed light on
the growth of the high-fidelity field. (We promise to
use them gently and return them quickly.) Naturally
the most useful photographs would show some of the
early equipment as well as the important events.
In addition, we invite you to gaze into your crystal
ball and predict what you think the next fifteen years
holds in store for the high-fidelity field. Do not feel
restricted, make your predictions as technical or nontechnical as you wish or are capable of. We will tabulate all the predictions and report the results in May.
Fifteen years from May it will make interesting reading for any of us still around.
MARCH, 1962
to his ...
stereo tluxvalve p-ickup--
PICKERING & COMPANY INC. offers the stereo f1uxvalve pickup in the following models: the
Calibration Standard 381, the Collector's Series 380, the Pro-Standard Mark II and the Stereo 90.
Priced from $16.50 to $60.00, available at audio specialists everywhere.
Pickering and Company-Plainyiew, Long Island. New York
MARCH, 1962
The fundamental capabilities of pulse transmission are under study at Bell Laboratories. At a transmission rate of 200 million bits per second, for example, PCM
could simultaneously transmit 3000 telephone conversations on a single circuit.
Bell Laboratories engineers have applied a method of
transmitting telephone conversations which uses a series
of ON-OFF pulses rather than the continuous electrical
signals generally used since the time of Alexander
Graham Bell's first famous message.
The method is called Pulse Code Modulation. With
PCM the telephone caller's voice is sampled every
1/8000th second. Each sample is then encoded into a
series of ON or OFF pulses, and these pulse groups are
sent over the regular telephone line. Spaced periodically
along the line are repeaters which clean up and amplify
the pulses. At the receiving end the pulse groups are
decoded and the caller's voice is reconstructed.
Since the pulses are of very short duration, it is possible to interlace many different voice messages and send
them allover one line. For example, in a PCM system
now operating between Newark and Passaic, N. J., a single
pair of wires carries as many as 24 one-way voice signals.
·Other systems for carrying more than one voice signal
over a single telephone line have been developed and are
in widespread use. PCM, however, provides special advantages, for example, in cable circuits connecting telephone
offices in a congested metropolitan area.
PCM in its present practical form for cable circuits
has been made feasible by Bell Laboratories' invention
and development of the transistor, the key element necessary for a small economical system.
Currently, PCM systems carrying much larger bundles
of communication channels are under study at Bell Laboratories. The goal as always is the improvement of Bell
System communication services.
World center of communications research and development
A High-Quality
Stereophonic Mixer
The avid tape recordist can improve his recordings by use of a mixer. Here IS one
that will mix four stereo channels (two each high and low level) or eight mono.
of reasons it is
sometimes desirable to employ several
input signals simultaneously. Such
instances occur most often during recording- adding spoken commentary to
recorded music, sound-on-sound techniques, and other special effects. When
more than one input source is employed
it is necessary to supply means of switching from one to another, controlling the
amplitude of the signals, fading them in
and out, and mixing them as desired. It
is the purpose of the mixer to perform
these operations smoothly and without
noticeable discontinuities in the output.
Mixers come in all sizes and forms
depending upon their projected use.
They may be divided into classes defined by the inputs: high or low impedance, constant or variable impedance,
high or low amplitude. Further diversification arises according to whether or
not amplification is provided during the
mixing process. By and large equalization is applied before the mixing stages,
but even this function may be performed
simultaneously with the mixing.
The dividing line between high and
low impedances for the purposes of this
article will be taken as some few kilohms.
Obviously the dividing line is somewhat
vague-in practice, however, things are
much improved, for there is a gap in
the range of impedances of commercial
* 315 S. Chester Ave., Pasadena, Calif.
-----~, r
' " ON
Fig . 2. The "common-plate" mixer.
devices between about 600 ohms to
perhaps 10,000 ohms. A similar situation exists in the case of signal levelsthe dividing line may be taken as perhaps
50 mv, although 20 mv would be a large
"low-level" signal, and perhaps .1 volt
is closer to usual "high-level" signals.
It is up to the mixer to accomodate the
wide latitude of impedances and output
levels and to function properly throughout as broad a range as possible.
Design Considerations
The most common signal sources are:
high-level high-impedance (tuner, preamplifier output, ceramic cartridges, and
so on) ; low-level high-impedance (magnetic cartridges, some microphones) ; and
low-level low-impedance (other microphones). High-level low-impedance
sources are rarely found outside of the
Fig. 1. The completed mixe r.
MARCH, 1962
usual 600-ohm studio line. For convenience and simplicity we will consider
only high-impedance sources. Now the
signals to be mixed must be of the same
order of magnitude; hence low-input
signals must be amplified to the level
of the high-level inputs before mixing.
Since preamplification is necessary at
any rate, the output then being high
impedance, the choice of a high input
impedance mixer in no way limits the
versatility of the device. It is only necessary to provide a suitable means for
amplifying the low-level signals by a
factor of perhaps 40-60 db, taking pains
that the input impedance of the preamplifier matches that of the signal
Magnetic cartridges require equalization and should be terminated in a fixed
impedance (usually 47,000 ohms). Withour further discussion it is assumed that
the signal from such a cartridge will be
amplified and equalized in the usual
fashion and presented to the mixer as
the (high level) output from some preamplifier. Microphones require no equalization-preamps suitable for high impedance microphones are included in
the mixer described in this article. Although low-impedance microphones are
often superior to their higher impedance
counterparts, the microphone may be
terminated in a suitable transformer and
the output changed to high impedance
with little trouble and moderate expense.
Alternately, the output may be sent
through a transistor cll.'cuit in the
r-.II.f\N\IIrII-+----1f---<> OUT
Fig. 3. The "anode-follower" mixer.
pectively (tubes assumed identical).
Here eo is the signal output while ej is
the jth input signal. Cathode resistors
are eliminated for simplicity. Then
contact the signal must be on the order
of at least 100 mv, i.e. a high-level
signal. Hence all low-level signals must
be amplified before the attenuator. This
il; no drawback, however, since amplification of low-level signals is ne.cessary
before mixing anyway.
Probably the most popular and common type of multi-input mixer-amplifier is the common-plate circuit shown
in Fig. 2. This circuit has the advantage
of complete isolation between inputsno amount of change in the levels of
any input has any effect on that of any
other, an important requirement for any
mixer. On the other hand, one tube section is required for each input. An
alternate design, Fig. 3, utilizes plate-
-- -
'/.Ioe l + ilrp = /.Ioe 2 + i2rp = . .. =- iTRL
where iT =il + i~ + ia + . . . + in. Hence
( e1 +e 2 + . .. +en) +
rp(i l +i~ + ... +i,,) =- iTnR L
so that /.10 (e I +e 2 + . . . +e,,) =
- iT(rp + nRL).
But eo = iTRL so that eo =
--R=-(e l + e2 + .. . + en)
rp +n L
Eq. (1)
From this it is seen that all signals
are mixed evenly and also that any
given input is amplified by a factor
.A =- '/.IoRd(rp + nRL ) Eq. (2)
This compares with the usual expression for a triode amplifier gain A =
- I/.IoRd(1· p +R L ) so that the gain is
altered by the factor (rp+RL)/(rp +
nR L ). For triodes this often appr oximates lin indicating that amplification
is markedly lessened in the mixer. Moreover, due to the shunting of the load
resistor by the plate resistance of the
various tubes it is evident that the output voltage for some given amount of
distortion is reduced in the ratio r pi
[rp+ (n-l)R L ] from that of the single
amplifying stage. But as the output
from the mixer need be only a few volts
this limitation is not serious.
Fig . 4. The equivalent circuit of the common-plate mixer for n inputs.
grounded-base configuration which has
the properties of low-input impedance
and high-output impedance. From here
it may proceed to the high-input impedance preamplifiers. Finally, the output of the mixer may be sent to a cathode
follower, thus removing any need for
constant output impedance. These considerations simplify the design of the
mixing stage considerably.
For a mixer to be a mixer it must
have at least two signals to mix-each
signal may be high level or low level.
This dictates at least four inputs. The
demands of stereo double this number.
Unless the degree of attenuation must
be precisely known, simple potentiometer
type attenuators may be used instead
of costly step-type controls. However to
override the noise from the moving
lOW 2
HIGH 2 -
Circuit Det-a ils
Figu1·e 5 shows a block diagram of the
mixer. Low-level signals are amplified
43.5 db in a cascode preamplifier. The
two low-level inputs and the two highlevel inputs are then mixed in relative
amounts depending on the settings of
the level controls. Over-all gain for the
two channels is adj usted by a ganged
volume control. A simple switch changes
the dual 4-input mixer into a single 8input mixer with a variable resistor
serving as a separation control. At this
point information is taken from each
channel and delivered to an amplifier
stage and then to a VU meter which
Theory of Operation
Figure 4 shows the equivalent circuit
of the common-plate configuration for n
inputs. RL is the common-plate load
while rp and /.10 are the tubes' plate resistance and amplification factor, res1 Ch arles P. Boegli, "The Anode Fol·
lower," AUDIO; Dec. 1960, p. 19.
2 Donald L. Shirer, "Feedback Techniques in Low-Level Amplifiers," AUDIO;
M ay 1961, p. 19.
grid feedback in an "anode-follower"l. 2
arrangement to achieve isolation and
mixing. However complete isolation is
not gained, for grounding one input may
alter the output of another signal by
some 2- 3 db. The common-plate circuit
is employed in the mixer described in
this article.
~NO '-,",",
Fig. 5. Block diagram of the mixer (channel A only).
MARCH, 1962
serves as a visual monitor. A cathode
follower completes the circuit.
Figure 6 presents the schematic diagram of the mixer. Only one channel is
indicated, the other being identical. The
low-level preamp is an almost standard
cascode amplifier followed by a voltage
amplifier and d.c.-coupled cathode follower. The function of the 120,000-ohm
cascode plate resistor has been described
by Shirer2. A gain of 150 is delivered by
the two tubes. The cascode tubes VIand
Vs are 12AY7's, a premium low-noise,
low-microphonic tube especially designed for low-level amplification, while
the cascode circuit is used for its lownoise characteristics. One per cent (leposited film precision resistors are used
throughout the preamps to ensure low
noise. Well filtered d.c. is applied to the
filaments of all preamp tubes operating
at low-signal levels. Regulated B + is
used throughout to provide exceptional
stability and low-hum levels. Large
amounts of feedback are applied in the
preamps, including the unbypassed
cathode resistors, cathode to cathode
feedback from V t b to VIa) and, indeed,
the basic design of the cascode circuit
itself. The output from the preamplifier is flat within 1 db from below 5 cps
to 175,000 cps. The cathode resistor of
the cathode follower output from the
preamplifier is a 100,000-ohm pot and
serves as the level control. A spst switch
grounds the output when no signal is
The high-level inputs go directly to
similar 100,000-ohm pots and on-off
switches, and then directly to the mixer
The mixer circuits are identical for
high-and low-level signals with the exception of the grid resistors and coupling
capacitors of the low-level stages. Two
12AX7's are common-plate coupled. For
these tubes J.L=100, r p =80,000 ohms, so
according to Eq. (2)
100 x 27
80 +4 x 27
Unbypassed cathode resistors supply 5.2
db of inverse feedback and the resultant
gain is 8.
The mixer output is coupled through
the .5 J.Lf capacitor to the 100,000-ohm
master gain control and the grid of the
cathode follower. The latter has a gain
of .9 which serves to make the over-all
gain for low-level signals exactly 1000,
and 7 for the high-level pickups. Two
partially isolated outputs are supplied
so that, for example, an audio amplifier
and tape recorder may receive the signal
with output being available at one output
jack even if the other is grounded, which
sometimes is done in equipment when
the input is not being used. The output
impedance is approximately 10,300 ohms
r---~------~--~----------------~------------~----~-- + 225 v
V 2B
10 k
. 5~f
t--o----V 16
10 k
. 5 ~f
50 v
560 k
L---~------*---~--i~ +225 v
~ § ~~------------~--------------~--~
Fig. 6. Schem a tic of the mixer (only one chan ne l sh own, t he other is id entical ).
MARCH , 1962
rna 600 v
V 17
+225 v
+-------------~----~----_o +2~v
(4) 150 rna 400 v
'»---........,J\/1MfIr-.......-----;~ +10 I v
T1 '--------t==~--~~~L-~
Fig. 7. Schematic of a power supply f or the mixer.
which permits the use of an output
cable with a shunt capacitance of up to
750 pf before the highest audio frequencies are noticeably attenuated. This
corresponds to an output cable length of
approximately 30 feet.
When the mixer is employed in the
8-input configuration the over-all gain is
reduced by a factor of 2 if the separation control is completely shorted. When
this control is fully open the signal injected into the alternate channel is about
15 db below that of the original channel.
Input to the meter circuit is from three
points. Switches on the front panel send
the signal on any or all of the mixer
grids through the meter, or the total
output of the mixer may be monitored.
I n the latter p osition a voltage divider
consisting of the 120,000 and 820,000ohm resistors takes account of the gain
of the mixer stage and eliminates the
necessity of changing the meter sensitivity switch. A third position is
supplied for any external signal, such as
that from an audio preamplifier. The
meter circuit consists of a voltage amplifier, a step-type attenuator, cathode
follower, and the VU meter itself. Tube
V 8a has a gain of 60 with sufficient
bandpass to cover all audio frequencies.
The signal is then coupled through the
cathode follower to the meter. The amplifier and attenuator permit the meter
to register on scale to a wide range of
input levels and effectively eliminates
the loading effect of the VU meter on
the line. The switch positions are labeled
by the input signal voltages necessary
to give "0" VU deflection on the meter.
The resistors of the attenuators were
hand picked from a box of standard 10
per cent resistors to ensure their proper
values. For example, the 550,000-ohm
resistor is actually a 560,000-ohm resistor
with somewhat low resistance.
The power supply for such a device
must be carefully designed. Hum cannot be tolerated with such low-level signals. Direct current on the filaments is
essential to low-hum operation-regulation of the filament supply is helpful,
but not absolutely necessary. On the
other hand, regulation of plate voltages
is necessary for long-term over-all operational stability. It goes without saying
that hum on the B + line must be insignificant. The mixer requires a + 225
volt regulated supply at about 65 rna,
and filament voltages. In the actual construction of the mixer a slightly modified commercial power supply was used
with regulated outputs of + 225, + 150,
and -170 volts. The negative supply at
150 rna was used to supply regulated
filament voltages with a series string
arrangement to all tubes except those
in the meter circuits. (If such an arrangement is used care must be taken to
ensure that the 12AY7's are stacked
toward the ground side of the lineotherwise the filament-to-cathode voltage ratings may be exceeded.) The
12AX7's will tolerate 200 volts between
filament and cathode and thus may safely
be placed at the upper side of the filament supply.
A considerably simplified power supply
circuit is shown in Fig. 7. Here an
isolation transformer, TIJ supplies 117
volts of a.c. at an easy 150 mao This
is rectified in a typical fnll-wave bridge
and filtered. This supply sends wellfiltered d.c. to the eight preamp tubes
operating at lo.w-signal levels. The other
tubes and the various pilot lamps are
powered from the usual 6.3 volt winding
of transformer T 2' Plate voltage is also
obtained from this transformer. After
rectification and preliminary filtering
the output passes through a standard
series voltage regulator. The series regulation tubes V16 and V 17 are each rated
at 35 mao The error signal is applied to
the grid of V18J a high gain amplifier,
through the sliding arm of the 20,000ohm pot which permits accurate adjustment to + 225 volts. A premium 5651
gas VR tube provides a stable reference
voltage and completes the tube complement of the supply.
Construction Details
Two views of the mixer are shown in
Figs. 8 and 9. The construction of the
mixer employs a few techniques worthy
of mention. Careful attention was given
to shielding of the low-level stages-the
power supply is isolated by shields
across the width of the chassis, top and
bottom, and shielded cables are used
,vherever long signal leads are required.
MARCH , 1962
Such leads are .found only at the inputs,
however, because pots and switches have
been positioned near the tubes they serve,
thus elimating the usual (and interminable) number of long leads to the front
of the chassis and back. Brackets holding
the pots have been used, with extension
shafts bridging the gap from the pot to
the front panel.
For low noise operation precision carbon-film resistors were used exclusively
in the preamp stages, with 1 watt resistors throughout the remainder of the
construction. Phone plugs are used instead of the usual phono plugs. This
permits a more positive connection and
also allows the inputs to be shorted when
no plugs are in the sockets. It is important that high quality components be
used, especially for the potentiometers,
otherwise the sliding contact may inject
appreciable noise into the line. Shielded
tube sockets are also provided for minimum hum, and a bottom plate completes
the electrostatic shielding.
In this particular construction extensive use was made of ceramic terminal
strips which unfortunately are not readily available commerically. However, any
of the customary wiring techniques using
terminal boards, printed circuits, or good
point-to_-point wiring may be satisfactory. The ordinary phenolic terminal
strips may also be employed with good
results at some sacrifice in space economy. While the chassis width is determined by standard rack panel widths, the
depth behind the front panel is arbitrary
to a certain extent. The meter circuit
may be placed on a front subpanel as
in this construction (Fig. 8), or positioned on the main chassis of a deeper
model. Aside from these particular hints
standard wiring practice should be followed for satisfactory results. While not
a complex project, the mixer is rather
involved, and should be approached with
caution by those with limited experience.
On the other hand, those familiar with
building projects can reasonably expect
to achieve a pleasing result with no more
than the usual trauma.
The mixer is built on a 17-in. chassis
for standard 19-in. rack mounting, although an alternate panel was constructed and the completed instrument placed
in a wooden case for aesthetic purposes.
A familiar problem to the home constructor is that of capping a successful
project with a front panel worthy of the
electronics behind. In this case the bare
chassis front and sub panel are covered
by an aluminum panel, with proper cutouts, which is sprayed flat black. The
front panel itself is of Plexiglas. Control
designations were etched on the rear of
the Plexiglas, and edge lighting is employed with lamps located at the edge of
the Plexiglas. The VU meters are also
illUlI\inated. Brass plates are employed
on either side as a convenient way of an-
MARCH, 1962
of two. Thus the sensitivity of the mixer
changes to 2 mv or 300 mv, and the signal-to-noise ratio improves by the corresponding 6 db.
The frequency response of the mixer
is shown in Fig. 10. It is evident that the
output is essentially flat up to and beond 100,000 cps. and to below 5 cps.
This result is independent of the input,
for the low-level stages have flat response well beyond these limits.
Operation and Performance
At this point it may be proper to conThe rated output of the mixer is taken sider the matter of distortion. Figures
to be 1 volt. This is sufficient for nearly on distortion-harmonic and intermoduall purposes-if not, the mixer will de- lation-are difficult to come by. With
liver outputs up to six volts without ap- such low power applications distortion
preciable distortion. The sensitivity for in a properly designed amplifier will
not exceed a few tenths of a per cent,
even at the extreme ends of the audio
spectrum. Graphs of harmonic distortion
vs. frequency are rather uninterestingthey generally consist of a horizontal
straight line. Even the ordinate of this
line is indeterminate if high quality
equipment is not available, capable of
measuring distortion levels on the order
of .1-.2 per cent. This is the situation
in this case. The only remarks on distortion consist in the fact that the disFig . 8. Top view of the completed mixer.
tortion is certainly less than .3 per cent
throughout the audio range and at outputs of up to six volts.
Crosstalk is an important characteristic of a mixer, for good isolation must
be achieved between various inputs and
between the two channels. At 1000 cps.
feedthrough is down 45 db between inputs of each channel, while between the
two stereo channels the crosstalk is 55
db down. At 10,000 cps. the above figures change to 35 db and 45 db respectively. This is sufficiently low to be
The mixer described above is a flexFig . 9 . Bottom view of the completed
ible, unit offering complete control sirated output using the low-level inputs multaneously over a large number of
is then 1 mv-for the high-level inputs inputs. The mixer may be used for many
the sensitivity is 150 mv. The signal-to- purposes, of course, but its primary
noise ratio for the low-level inputs is 54 utility arises during tape recording.
For the avid recordist some type of
db, corresponding to an effective noise
mixer is practically mandatory and this
input of 2 !-tv. Hum is well below this
thermal and tube noise. At the high-level unit should fulfill the wishes of the most
inputs the signal-to- noise ratio is 85 db . . exacting.
These figures all correspond to the
stereo, 4-input configuration. When the The parts indicated below are for one
mixer is used as a single-channel 8-input channel only. For stereo the number must
mixer the output is reduced by a factor ·
(Continued on page 53)
choring the eight toggle switches. Decals
were used to complete these, and the
brass pieces then covered with lacquer.
A polished brass bar divides the panel
horizontally, with brass knobs purchased
form a well-known component manufacturer completing the front panel design.
The finished chassis is slid in from the
rear and bolted to the cabinet bottom.
The result is shown in F i g.l.
1 MC
Fig. 10. Over-all frequency response with a low-level input: e in = 5 mv, e out = 5 volts
(0 db).
The Frequency-Response
Frequency response is one of the most commonly quoted statistics
of a high-quality amplifier. Here's how it is obtained and measured.
that the first characteristic recognized by the andiofan
in relation to an audio amplifier is
frequency response- which can be defined as the relative gain of the unit
over a range of frequencies. The significance of this yardstick has not waned
with time, but other amplifier characteristics have assumed a place of equal
The importance of a flat frequency
characteristic requires little discussion.
It is quite obvious that for accurate
sound reproduction, all frequencies
should be given "equal opportunity."
Any frequency presented to the input
of an amplifier should be amplified the
same amount as any other frequency
simultaneously presented at the same
input. There are several important exceptions to this ideal.
First, it must be realized that the
output from an equalized phonograph
or tapehead preamplifier is not uniform:
records and tapes are recorded to adhere
tv a specific curve wherein some frequencies are favored. During playback,
the amplifier must compensate for these
frequencies in order to provide an overall flat response from the source (phonograph record 01' prerecorded tape), the
transducer, and the amplifier. We will
Jiscuss the measurements of frequency
response from the tuner input of the
preamplifier through the power output
section. The characteristic must be reasonably flat when only these sections are
A second consideration is the frequency range desired from the amplifier in question. While many units will
have a flat response to several octaves
on either side of the audio spectrum
(assumed here to be 20 cps to 20,000
cps), some amplifiers are designed for
limited bandwidth in the interest of
increased stability and reduced noise.
The latter factor is especially true in
transistorized units, where bandwidth
limitations are required to keep noise
measurements comparable with actual
audible noise reproduction.
Frequency response is usually measured in db although it can also be meas-
The Decibel
Fig. 1. Output measuring circuit.
The decibel is defined by the simple
equation :
db=10log lO P o/P ,
where Po = output power f1'ol11 a n amplifier and Pi is the input power. Putting
this equation into another form, with
the logorithmic base being 10, yields :
Fig. 2. Standard meter face.
ured in terms of voltage or power. In
the latter cases, the numbers would become astronomical. A brief review of db
is thus in order here.
Eq. (1)
=10 log Po -10 log Pi
Eq. (2)
During the frequency-response check,
the voltages fed to the amplifier (Vi )
must be maintained at an equal level for
all frequencies. It is assumed that the
input impedance (Ri) of the amplifier
is not frequency sensitive. The latter
condition can be assured by feeding the
signal from a low-impedance source.
The input power, Pi is thus constant at
all frequencies because it is equal to
Vl / R i , two constants. The term 10 log
Pi in Eq. (2) can be replaced by a constant. We will call this constant K.
In these tests, all measurements revolve about the 10 log Po term. In the
actual test procedure, the K term is adjusted for a specific power reading at
the output of an amplifier, for some
frequency in the middle of the audio
range. The central frequency is usually
Fig. 3. Logarithmically expanded scale.
MARCH, 1962
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Fig . 4 . Ci rcuit use d to meas u re freq ue ncy response.
1000 cps or 400 cps. Ten times the log
of the output power at all other frequencies is compared with this reading
at 1000 or 400 cps. In the following
discussion, 1000 cps is used as the reference frequency.
The equation for gain at 1000 cps is:
db (1000 cps) = 10 log Po (1000 cps) - K
Eq. (3)
For example, let us find the difference
in gain (in db) at 100 and 1000 cps.
First, write the counterpart of Eq. (3)
for 100 cps:
db (100 cps) = 10 log Po (100 cps) - K
Eq. (4)
The db variation at 100 cps from the
reading at 1000 cps is found by subtracting Eq. (3) from Eq. (4), if the
gain at 100 cps is greater than the gain
at 1000 cps or subtracting E q. ( 4) from
Eq. (3) if the gain at 1000 cps is greater
than the gain at 100 cps.
Converting the equation to read directly
in voltage would be much simpler, saving
two calculations.
Consider the output power at 1000
cps to be equal to Po (1000 cps) = V /
(1000 CPS)/RL and the output power at
100 cps to be equal to Po (100 cps) = V/
(100 cps)/RL. Substituting these into
Eq. (6) yields:
t:". db = 10 log
V / (1000 cps) / R
V / (100 cps) / R
=10 log (Vo (1000 CPS) )
V o (100 cp s)
= 20 log (Vo (1000 ('. PS))
V o (100 cps)
db (1000 cps) =10 log Po (1000 cps) -K
- [db (100 cps) = 10 log Po (100 cps)
... db (1000 cps) - db (100 cps) = 10 log
Po(1000cps) -10Po(100cps) Eq. (5)
e in
Eq. (7)
The input term drops out in the final
equation. The resulting equation involves
only the deviation of the log of the output power at 100 cps from the log of
the output power at 1000 cps.
Another way of expressing the difin gain at 1000 cps and 100 cps
t:". db=10 log Po (1000 cps)
Po (100 cps)
Eq. (6)
The measuring circuit at the output
of an amplifier takes the form shown in
Fig. 1. The output power is developed
across a load resistor, R L , and measured
on a wide-frequency-range a.c. voltmeter. The power across the resistor is,
of course, V o2/RL' where Vo is the output reading on the a.c. meter.
A straightforward procedure consists
of measuring the output voltages at 100
and 1000 cps calculating the power at
each frequency from V o2/RL , and substituting these into Eq. (6) to determine
the db difference at the two frequencies.
Fig . 5. Ideal level control, (A); more accu rate re p resentati o n of a leve l co ntrol
in a circu it, (B); realistic circuit of level
co ntrol in co njun cti o n with co nventiona l
stereo bal an ce control, (C).
Equation (7) can be used, assuming
that RL at 1000 cps is equal to RL at
100 cps. This is generally true if the
load resistor used in the test is noninductive. This formula does not hold
true if a speaker load is used, for the
load varies with frequency. All tests on
amplifiers are made assuming a constant
load at the output for all frequencies.
In E q. (7), db is expressed as a ratio
of two voltages. If one voltage is known,
t:". db can be calculated for any other
voltage from the equation. These db
values, representing different relative
voltages, can be printed on the meter
face, and read directly as in Fig. 2.
Reading db variation on this scale is
obvious. Set the output for 0 db at
1000 cps on a convenient range. Read the
deviation from this 0 db at any other
frequency directly on the scale. If the
voltage is on the next higher range, add
10 db to the original reading while, if
you must switch to the next lower range,
subtract 10 db. Every time you switch
from the original reference range, you
either add or subtract 10 db per range,
depending on whether the output is
higher or lower than the original.
If you use other than the 0 db as the
reference voltage, all other readings
must be referred to this new reference
as if it were 0 db. Thus, if - 2 db were
the reference reading at 1000 cps, a - 4
db reading at 100 cps indicates a loss
in gain of 2 db and a + 2 db reading at
10,000 cps indicates an increase of 4 db.
Several factors may be observed when
comparing the voltage and db scales.
Doubling the voltage is the same as a
6 db increase while cutting the voltage
in half is a 6 db decrease. A voltage
factor of 10 is a change of 20 db. Doubling the doubled voltage indicates a
second 6 db increase or a total of 12 db
more than the original. Doubling the
original voltage three times (2 x 2 x 2)
indicates in 18 db increase over the
original reading ( 6 db + 6 db + 6 db).
Similarly, 26 db (20 db + 6 db) indicates
a voltage multiplication of 20: a multiplication by 10 is 20 db and a multiplication by 2 is 6 db, and 2 x 10 = 20 or 6 db
t 20 db = 26 db. While numbers are multiplied, the db factors are added.
Another type of a.c. meter, extremely
popular in the audio field, uses a sup-
Fig. 6. Testi ng w ith a sq ua re w a ve.
MARCH, 1962
A 'Round-the-Wor/d musical trip, lasting 21 days, awaits the lucky winner
(and his guest) of Empire's 1st Annual
Musie Contest. Imagine ... you'll be
attending such greats as the Athens,
Dubrovnik, Bregenz, Salzburg, Bayreuth, and Edinburgh Festivals. You'll
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best of all, this is at no cost to you!
Transportation, rooms, meals, tickets
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your host on this incomparable trip.
Your Hi-Fi dealer has complete itinerary.
II,,,·.. '"
. t'\11'~
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1. On an officia l entry f o rm. or pl ai n
.stationery. list a ll th e o ut sta ndin g feature s
(code letters) of th e New Empire Tro u·
bador in th eir order of importance. Only
on e entry per person . Be sure to include
your address.
2. Judges will be de t ermin ed by Empi re
Scientific Corp. Th e entry fo rm l isting th e
outstandin g fea tures in th eir ord er Of im·
port ance exac tly as on th e judges' li st wi ll
be t he winner. In the event of a t ie, an
opini on question o n "record playback system s" wi ll be sent t o a ll contestant s involv ed i n U1e ti e. Th e jud ~e s, as. d etermined by Empire Sc ientific Corp., wi ll
judge th e answer s to th e opinion Question
on th e basis of originality a nd aptness o f
th ough t. Th e participant th e
bes t answe r in th e opin ion of the judges
w ill be th e winne r. The deci:iion of th e
judges will be fin al .
3. Th e prize must be accepted as scheduled i n adverti seme nts. An y tax or lia b ility pertainin g to the award w ill be the
sole r esponsibility of the wi nner. No subst itutio n of th e prize w ill be a ilowed.
Empire Scientific Corp. r eserves the r ig ht
at all tim es to change th e festivals and
citi es named wit hout notice.
4_ Ent ry enve lopes must be po stma rked
no later than midnigh t June 15, 1962. All
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Mai l en t ri es to Empire Sc ien tific Corp.,
Box 6 15, Garden Cit y, long Island, N Y
5. Th e contest is open to a ll resid ents of
. the United States a nd Canada. Th e contest is pro hibited t o employees of the
Empire Scientific Corp., its· se lling age nts,
affiliated compan ies. i ts advertising agen·
cy, and th eir fam ilies. Thi s contest is
subject to Federal , State, and loca l regu·
S. Winner wi ll be notified by mail not later
than 15 days after final drawing.
7. Wi nner a nd guest of h is choice ~ill be
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conn ecti ng interci ty tra nsportation will
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hote l accommodation s, meals (2 per day),
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above is only valid if p rize is accepted as
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Each year thousands of people from all parts of the world attend one or perhaps two of the great musIc
festivals .. . . Now two people will have the opportunity to attend most of the leading festivals-the winners
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curate to 0.1 grams. Dial exact stylus
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- Rumble better than -64 DB; Wow and
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pivots use vertical and lateral ball-beari'ng suspensions.
E. No Acoustic Feedback - Rigidized arm
structure eliminates resonance - no turntable i solation required.
F. Rugged - virtually impossible to damage the retractable stylus mechan ism or
turntable system.
G. Sensational Dyna-Lift - Automatically
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J . Truly Compatible Mono·Stereo Cartridge - frequency response 15-30,qOO
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r--------------------------------Official Empire
mail to:
1 _ __
2 _ __
3 _ __
Music Festival Entry Blank.
P.O. BOX 615, DEPT. AM
1. Fill in name and address
2. List the features (by code letter only) in
their correct respective order.
4 _ __
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DEALER'S NAMLE___________________
Note, All contest entries subject to Olfiei.1 Rules
Fig . 7. Square
wave with measurable rise time.
Rise time is t2 - tl
and is defined as
the time required
for the output to
rise from 10 per
cent to 90 per cent
of its final value.
pressed zero movement, as shown in Fig.
3. The scale does not start with zero
and is essentially logarithmic in character. If this type of meter is used each
. the range is switched, it represents
a change of 20 db rather than 10 db.
that the reactance becomes
The impedance of the upper portion
is R , . Treating this circuit as a voltage
e0 1/.1
=..!:....=..!:....+ jfuC= 1+ jooCR.
Eq. (8)
• - 1 + jooCR.
The Measuring Circuit
As indicated, the first step in measuring the relative gain or frequency response is to maintain a constant input
voltage at all frequencies. As shown in
Fig. 4, a meter is connected at the input
to the amplifier to monitor the voltage
fed from the signal generator. The output from the generator should be
readjusted or checked each time the
frequency is changed to maintain the
input to the amplifier (as read On the
input meter) constant at all frequencies.
Feed the signal from the oscillator to
an unequalized input on the amplifier.
!.rhis is usually marked TUNER or AUXlLIARY. Adjust all controls on the amplifier to get an optimum fiat position.
If a preamplier is involved, the tone controls, loudness or contour controls, and
the scratch and rumble filters are all set
so that there is no compensation introduced. Turn all level controls to their
maximum output position.
A level control can be considered as
the resistive voltage divider shown in
(A) of Fig. 5. A more exact representatIon o~ the level control as it is commonly
used ill the grid circuit of a vacuum
tube is given in (B) of Fig. 5. C G represents the total capacity between the grid
and cathode of the tube and is the sum
of the gr~d-~o-cathode capacity and (K
+ 1J. multiplied by the grid-to-plate capaClty (Miller effect). (K is the gain of
the tube).
. It can be shown from Fig. 5 that the
hIgh-frequency response is a function
of the control setting. Assume the control ~o be set at a point so that the upper
portlOn has a r esistance R and the
lowe;- portion has a resistan~e R . . The
admIttance of the lower portion is:
X _
R . /l + jooCR.
R./1 + jooCR. + R,
Eq. (9)
Divide the neumerator and denominator
in Eq. (9) by jooCR. to yield
Eq. (10)
R, + R. + jooCR ,R.
Multiplying this equation by
RI+R2/RI+R2 +j~CR:.
+ •
_ R./R, + R.
- l+jooCR,R.
The frequency at which the response is
3 db from the center value is reached
when the denominator takes the form
1 + j, or
jooCRIR ~
R, + R.
an d
R, +R.
R,R. C
Eq. (11)
The frequency response is thus a direct
function of the relative values of resistors R, and R 2 •
This situation is even more serious in
stereo amplifiers. A potentiometer is
usually placed in series with ein, used for
balance between the two channels. The
frequency response must roll off at the
upper end of the band when this configuration exists, for R. behaves as if it
were part of R , . In testing this type
of amplifier, it is proper to set the
level controls at maximum and the balance control for equal output from both
channels. The response cannot be as fiat
at the upper end of the band as was
the case with monophonic units. Because the rolloff is slow, and usually
starts at about 10,000 cps, the effect will
probably not be audible.
Continuing with the mechanical features of the test procedure, choose a
convenient output impedance on the
power amplifier and place the load' resistor across it. The 16-ohm output
terminals are usually used. Connect a
16-ohm, 25-watt, non-inductive resistor
across these terminals. The power developed across this resistor is measured
in terms of voltage on a wide range a.c.
voltmeter placed across this resistor.
(The readings may be converted to
power if desired, using the V· /R formula, where R =16 in the example cited.)
Place a scope across the load resistor.
This last step does not result in actual
data, but is required to monitor the waveshape. An essentially sinusoidal output is
required if the meter readings are to be
The actual readings can now be made.
Set the signal generator for a specific
reading on the db meter at 1000 cps.
Switch to all other significant frequencies
(from 10 cps to 40,000 cps or more)
and read the deviation from the original
db setting.
It must be r emembered that the measurement is for frequency response-not
power response. The output must be so
adjusted that the signal will not distort
at any frequency under test. A I-watt
level is usually satisfa.ctory. When the
signal begins to distort, the reading is
no longer valid. Start the test again at
some lower output and r epeat the measurements. Only then can you be certain
that you are reading frequency response
rather than power response.
The frequency response should be a
smooth curve over the complete range.
Any peaks are usually an indication of
a tendency towards instability. Peaks
(of about 2 db or more) within the
audible ra~ge of 20 cps to 20,000 cps
add undeSIred effects to the reproduced
sound. The much disputed "presence
peak" at about 2000 cps is said to add
to the reBlism-but the purist will certainly disagree.
A square-wave test can provide a
rough indication of the frequency response. Figure 6 illustrates how an amplifier may affect a square wave. Tilt
and other variations of the waveshape
are possible and may be observed, but
these have more significance in describing the phase shift rather than the frequency response .
The rise time of a square wave is a
fairly accurate check on the upper limit
o~ an amplifier's frequency response. A
hIgh-frequency square wave is illustrated in Fig. 7. This may be considered
as the form assumed after having passed
through an amplifier. It is actually a
plot of output voltage against time.
The theoretical square wave has a zero
(Continued on page 67)
MARCH, 1962
the Biggest
in High
Finest corner enclosure
for any 12" full-range
or 3-way speaker.
Now, Electro-Voice offers the finest acousticallycorrect enclosures for your home music system
... and at a saving to you of up to 50% !
In just a few short hours, you can assemble
an E-V KD6 Aristocrat or KD9 Marquis kit
-without special tools or previous woodworking
experience. And you'll obtain the same full
sound as the factory-assembled models
... yet you'll save up to one-half!
Carefully pre-cut and complete with easy-tofollow instructions, each E-V enclosure kit
features handsome birch veneer that can be
easily finished to match any decor, with
complete E-V Finishing Kits. For the final
sparkling accent, an AK6 Grille can easily be added.
The KD6 and KD9 are each scientifically designed, acoustically
correct enclosures that will add up to an extra octave of performance to
any full-range speaker. The folded-horn KD6 uses the corner of the
room as part of the horn, to increase performance without increasing
size. The KD9 with its rear-facing ducted port provides similar
range extension for along-the-wall applications.
Each kit is pre-cut for any 12" speaker. KD9 also accepts IS" speakers.
For superb results, choose one of the six E-V 12" speakers ranging in
price from $19.50 to $125.00. There is the precise model for your
requirements. Both kits are also designed for simple addition of any
E-V Building Block Kit. You can start with a coaxial speaker and
easily build to a complete 3-way system in step with your budget.
For the perfect combination of performance
and economy, put your high fidelity
loudspeaker in an Electro-Voice kit
enclosure. You'll bring 'em back alive
-every favorite musical performance,
and at lower cost than you
dreamed possible! Write for your
free E-V catalog today!
Superb response from 12"
or 15" speaker when
used along the wa ll.
(shown with AK6 grille)
12" speaker. Also pre-cut for E-V Buildin g
Block components and Wo lverine Step-Up
Kits . Uses folded-horn plus corner of room to
extend range- save space. Size: 29% inches
high, 19 inch es wide, 15% inches deep.Shipping
weight 36 pounds. Net each $39.00.
MODEL KD9 MARQUIS Similar to Aristocrat at left, but for 12" or 15" speakers. Ducted
rear port des ign provides optimum bass response in along-the-wall in stall ations . Size:
29% inches high, 19 inches wid e, 14Y. inches
deep. Shipping weight 38 pounds. Net each
EN FINISHING KITS Compl ete with st ain,
filler, sealer, she llac , high gloss and sati n
varn ishes, fini shing papers, brushes and easyto-follow in structions. Available in Walnut, Cordovan Mahogany, Fruitwood, Cherry, Golden
Oak and Ebony. Net each $6.00.
AK6 TRIM KIT Add a sparklin g brass grille
to KD6 or KD9. Net each $4.80.
BOOKS Complete, concise instructions help
the home workshop enthusiast to build E-V
high fidelity enclosures. Avai labl e for Aristocrat, Marquis, Regency or Baronet. Net each
ELECTRO-VOICE, INC., Consumer Products Division, Buchanan, Michigan
ELECTRO-VOICE, INC . , De pt. 324A
Buchanan, Michigan
Pl ease send my free copy of the E-V high fidelity catalog.
Address' __________________________
City_________________ State ________
Electronic Organ Tone
Electro-mechanical tone generators use either the recorded sound of pipe
organs or the addition of modified sine waves to produce musical tones.
In Two Parts-Part 2
There are three different types of
electromechanical tone generators in today's organs. Such tone generators, although they differ in design concept and
tonal quality, are alike in that they never
require tuning. The new Electro-Voice
ltD" Series utilizes the recorded sound
from air pipe organs to generate a
capacitance in a manner similar to a
condenser microphone. I n the second
type, exemplified by the Kimball, photo
cells scan the analog of a recorded sound
of a pipe organ. The third type, the
Hammond uses tone wheels to generate
modified sine waves from which complex
tones are formed by electr{)nic addition.
The Electro-Voice Series "D" organ
produces its tones from twelve generators. Each generator has two stationary
stators with engraved complex waveforms for each note and each voice. A
synchron{)us motor rotates a scanner
which has radial lines corresponding to
the number of octaves on the stator.
" 10 Sunbeam Rd., Syosset, N.Y.
[email protected]~ ··
_;;I!S!l\---TONE WHEEL
Fig. 14 . Hammond tone generator.
The relative movement between the
stator and the scanner produces a varying capacitance change which in turn
produces a varying voltage. The complex
waveforms used on the twenty-four stators reproduce the waveforms of the
organ pipes from which the originals
were obtained.
Fig . 15. Magnet locations on Hammond
tone generator.
Fig. 13. Kimball photo-electric tone g e nera tor.
The Kimball Photoelectric Organ reproduces organ tones by scanning photographic patterns placed between lamp
bulbs and photocells. Each of the twelve
tone generators encloses a photocell
within a metal shell so that the cells
are normally dark. The photocell is
connected to the organ preamplifier so
that if a beam of light is moved across
it, an oscillation will be produced. Lamp
bulbs illuminate the photocell when the
organ keys are pressed. When a bulb
is lighted, its light reaches the photocell through successive identical slits
which are moved across it. This produces
a tone at a pitch determined by the number of slits crossing a lamp bulb is a
given time (see Fig. 13). Seven pitches,
each an octave apart, are produced in
each tone generator. By ananging the
slits in circular rows, with different numbers of slits in the various rows, different pitches are produced.
In contrast to the systems just described, single-frequency sine waves are
produced in the Hammond tone-generator assembly. The Hammond generator
contains 91 "tone wheels" driven at predetermined speeds by a motor-and-gear
arrangement. Each tone wheel is a steel
disc similar to a gear with high and low
spots on its edge (see F ig. 14). As the
wheel rotates, these teeth pass near an
associated permanent magnet. The resulting variations in the magnetic field
induce a voltage in a coil wound on the
magnet. The twelve lowest tone-generator wheels are specially cut to be rich
in odd harmonics and are used only in
the pedal combinations. Each pair of
tone wheels is mounted on a shaft and
between them is a Bakelite gear held
between two coil springs forming a
mechanical vibration filter. As the gear
is not rigidly attached to the shaft, any
pair of wheels which might be stopped
will not interfere with the operation
of the others. On top of the Hammond
tone generator assembly are small transformers and capacitors forming tuned
MARCH, 1962
No, we haven't forgotten anything. We designed it that way.
There are no "user·operated" controls. This is only one of
the manyfeatures that makes PILOT'S unique signal sampling
Multiplex circuit'~ used in all PILOT Multiplexers, Stereo Re·
ceivers and Stereo Tuners-simpler, more effective and more
trouble·free than any circuit presently being manufactured
for stereo demodulation.
L + Rand L - R signals) takes place at a rate of 38,000 times
a second, and the "memory" circuits maintain a constant
output signal level between sampling instants.
3. No frequency separation filters or matrices are used. For
this reason PILOT'S Multiplex circuitry gives you perfect separation across the entire audio spectrum.
1. The circuit is simplicity itself-there are no controls to
manipulate, no special adjustments to make. You can con·
nect PILOT'S fully automatic 200 Multiplexer to the FM tuner
of your stereo system in less than a minute without any tools,
and you never have to touch the Multiplexer again. (The
PILOT 100 Multiplexer can be connected just as easily , and
in most cases it, too, need never be touched again.) And, in
PILOT'S Stereo Tuners and Receivers , where the Multiplex cir·
cuit is built into the unit, no extra controls of any kind are
needed for Multiplex Stereo reception.
2. Maximum separation (30 db or better) is provided by
PILOT'S Multiplex circuit. The left (L) and right (R) channel
signals are extracted directly from the incoming composite
signal by means of unique signal sampling and "memory"
circuits. Sampling of the composite signal (a combination of
Other stereo demodulating methods , such as frequency sepa ·
ration and time division, require filtering and matrixing and
cannot maintain perfect channel separation across the entire
audio spectrum.
4. An ultra-stable synchronized oscillator assures locking
and accurate phasing and maintains high-level performance
despite varying input signal levels.
5. Virtually any high-fidelity FM tuner can be used with PILOT
Multiplexers for stereo reception.
6. Equipped with the only fully-automatic stereo indicator.
The FM Stereo indicator on PILOT'S 200 Multiplexer and 654M
Stereo Receiver will light and stay lit if the station you're
tuned to is broadcasting in stereo.
If you'd like us to be even more specific, we'll be glad to send
you a reprint of a December, 1961, AUDIO article which discusses these features in detail.
· Patent Pending
MULTIPLEXERS (PILOT 100, $49.50 ... PILOT 200, $79.50) STEREO RECEIVERS (PILOT 654M, 60 watts, FM / MPX, $329.50
.•. PILOT 602S, 30 watts, AM / FM / MPX, $299.50 ... PILOT 602M, 30 watts, FM / MPX, $249.50) and STEREO TUNERS
(PILOT 280, $99.95 ... PILOT 380, $179.50). For further information , see your PILOT dealer or write:
MARCH, 1962
filters for the higher frequencies (see
Fig . 15). The design of the organ is such
that the fundamental and harmonics may
be mixed by the performer in varying
amounts. This method permits the generation of a multiplicity of complex
patterns for each fundamental note.
Figure 16 is a schematic of one Kinsman tone generator, which exemplifies
the class of organs based on the neontube relaxation oscillator. The triode
tube, half of a 12AX7, is the master oscillator, operating as a variation of the
Hartley circUit. The coil, approximately
300 rob in value, is tuned by means of a
powdered-u'on slug. G1 is the tuning capacitor and Rl is shunted across the coil
to reduce its Q somewhat.
While the Kinsman oscillator is essentially of the grounded-plate variety,
there is a plate load R s so that output
can be taken from the plate. The values
of G3 and G4 are such that a sawtooth
pulse is produced.
The frequency-divider stages employ
NE-2 neon lamps. A classic neon oscillator consists of a resistor connected to
the supply voltage and to one lamp electt'ode while the other electrode is
grounded. Across the lamp there is a
capacitor. The values of the supply
voltage, the resistor, and the capacitor,
as well as the characteristics of the lamp,
Table II lists in summary form the
determine the frequency of the sawtooth
generator design approach for a
Although the classic neon relaxation group of representative electronic oroscillator can be synchronized to an ex- gans. The characteristics given are not
ternally generated signal, it cannot be intended as a figure of merit, but to show
done reliably. Even if all components the diversity of schemes used for tone
and voltages were held constant, the generation. With an understanding of
lamp would fire at different times be- how organ tone generators operate, we
cause of random firings across the two will be ready to discuss in a subsequent
article the methods used for changing the
electrode faces.
It has been determined that two con- output of the tone generators into the
ditions are necessary in a relaxation fre- complex wave shapes which we hear as
quency-divider arrangement for elec- musical sounds.
tronic organ.
1. That relaxation oscillator must have
a free-running frequency somewhat
1. R. H. Dorf, "Electronic Musical Inlower than the desired synchronizastruments," Chapters 1 through 4. Radiojile,
2. That the method of injection of
2. Harry F. Olson, "Musical Engineersync signal must be such as not to ing." McGraw-Hill, 1952.
3. Carl E. Seashore, "Psychology of
reflect back to the source, nor to
McGraw-Hill, 1938.
inject into the output any appre- Music."
4. B. Van der Pol, "The non-linear theciable amount of the sync signal.
ory of electric oscillators." Proc. I.R.E.,
With the correct selection of sync amplitude and timing values (resistors and
capacitors), the two lamps may be made
to fire only once for every two cycles
of the synchronizing frequency. Thus,
frequency division can be accomplished.
Reference 10 contains a complete analysis of the Kinsman two-neon-tube relaxation oscillator.
Vol. 22, 1051 (1934).
5. F. B. Llewellyn, "Constant-frequency
oscillators." Proc. I.R .E., Vol. 19, 2063
(1931) .
6. H. Pender, K. McIlwain, "Electrical
Engineer's Handbook, Electric Communication g- Electronics," John Wiley and Sons,
Fourth Edition, 1954.
7. F. E ., "Radio Engineering."
(Continued on page 65)
I &+
'\ ~.
1.5 MEG ~ VI(B)
\~: p I
1:~ 1 0
=~I 0
- I
"' "
~~~ !
-" •
L _ _ _7_cps
__ J
5TH DI V. -0
. C3
. 02
. 0125
. 0064
~-------------------3~R~D~D~IV~.~ ~
.00125 .016
. 00064
. 008
. 0016
. 00 1
*-200 v.d.c.w.
. 0032
. 0025
. 002
. 032
. 025
L-------------------------------~2N~D~D~IV~.O 0~
. 005
. 02
. 004
. 01
. 04
. 008
Fig . 16. Sche ma t ic of Kinsma n to ne genera to r. Each printed circu it con tains two adja cen t notes .
MARCH, 1962
Can You Afford 15 Hours to Build
The World's Best FM/Multiplex Tuner?
Fifteen h ours. That's all it takes to build the world's best
FM/Multiplex tuner.
Citation has the "specs" to back the claim but numbers alone
can't tell the story. On its real measure, the way it sounds,
Citation III is unsurpassed. And with good reason.
After years of intensive listening tests, Stew Hegeman, director
of engineering of the Citation Kit Division, discovered that the
performance of any instrument in the audible range is strongly
influenced by its response in the non-audible range. Consistent
with this basic design philosophy - the Citation III has a
frequ ency response three octaves above and below the normal
range of hearing. The result: unmeasurable distortion and the
incomparable "Citation Sound."
The qualities that make Citation III the world's best FM tuner
also make it the world's best FM/Multiplex tuner. The multiplex
section has been engineered to provide wideband response, exceptional sensitivity and absolute oscillator stability. It mounts
right on the chassis and the front panel accommodates the
adapter controls.
What makes Citation III even more remarkable is that it can
be built in 15 hours without reliance upon external equipment.
To 1'\1 e't tl1.e special requirements of Citation III, a new FM
9 ridol \\~S develo1?ed which embodies every critical tuner
. \\ is QQu1yletely assembled at the
~QiW [\\ \~ ~~
erfect\y lligned.
Q., ~l' P 1 i\\\1\}.\ \IX
~ith the c~~
problem of IF alignment and oscillator adjustment are eliminated.
Citation III is the only kit to employ military-type construction. Rigid terminal boards are provided for mounting components. Once mounted, components are suspended tightly between
turret lugs. Lead length is sharply defined. Overall stability of
the instrument is thus assured. Other special aids include packaging of small hardware in separate plastic envelopes and
mounting of resistors and condensers on special component cards.
For complete information on all Citation kits, including reprints of independent laboratory test reports, write Dept. A - 3.
Citation Kit Division, Harman-Kardon, Inc., Plainview, N. Y.
The Citatio1t III FM t"ner·-kit, $149.95; wired, $229.95. The
Citati01t III MA 1/tnltiplex adapter-factory wired only, $79.95 .
The Citation III X integrated multiplex tuner - kit, $219.95,
factory wired, $299.95. All prices slightly higher in the West.
tortion, which after all is the main purpose of the r ecord-level indicator,
Wow and Flutter
Q. I would like a brief explanation of
wow and flutter, How 1n~LCh is acceptable
in a tape machine?
(Note: To facilitate a prompt l'eply,
please enclose a sta'lnped, self-addl'essed
envelope with yOU1' question,)
Silicon Rectifier
Q. I have a stereo tape recorder and
plan to build another power amplifier. The
circuit calls for a power transformer with
393 volts at 200 mils in the high voltage
section. I have another transformer which
. delivers 355 volts at the required current_
If I can substitute a silicon rectifier for
the rectifier tube, a GZ34, can I get the
required voltage?
A. You may pick up as much as 30 volts
by substituting a silicon r ectifier for a vacuum-tube rectifier. If you are still shy some
volts, you might try putting a filament
winding of the power transformer, if there
is one to spare, in series bucking with the
primary, .(A direct plug-in replacement for
the GZ34 is a 1N2389 silicon rectifier.)
Fnrthermore, any worthwhile amplifier circuit should operate well at voltages within
10 to 15 per cent of design value. Therefore, if your ultimate voltage still is somewhat less than 393, the amplifier's performance should not be seriously affected.
other hand, the machine with a hysteresis
motor retains the advantage of speed stability, so that pitch does not change between record and blayback, or possibly between the beginning and end of the reel. A
tape recorder with a shaded-pole motor may
change its speed between record and playback, or from one day to another, or from
one end of the reel to the other, because of
changes in line voltage and/or changes in
the load presented to the motor,
A. Wow is a slow variation in speed,
audible as a quavering effect or one that
causes a steady note, such as produced by
a piano, to go "sour." Flutter is a rapid
variation in speed, which imparts a grainy,
buzzy, 01' coarse quality to a sound. In any
tape machine deserving of the term high
fidelity, wow and flutter should be undetectable to any ear except p erhaps the
extremely sensitive one. To judge whether
there is appreciable flutter, and also wow,
record and play back a steady tone of
about 3000 cps, for example from a test
r ecord or, better yet, au audio oscillator;
or play back a test tape designed for this
purpose. In playback, if the recording is
made at moderate level (somewhat below
maximum recording level), the tone should
sound steady, pure, and sweet rather than
pulsating, grainy, or coarse.
Cable Length
Magic Eye vs. VU Meter
Q. I plan to install my tape recorder in
a closet about 20 feet from my preamplifiel·. Is the 20-foot distance all right? The
closet doors have small magnetic catches,
Will these affect the l'ecording, the tape
heads, or the tape?
Q. I am considm'ing the pUl'chase of the
*'"* tape recordel', which has been stl'ongly
recom7nended fOl' high fidelity use, but I
note that it has a magic eye ~ndicatol' instead of a VU meter. How much difference
will this make?
A. For home use, this should make very
A. The 20-foot distance is all right for
little or no difference. In professional applications, a VU meter is important, for playback only if your tape machine has a
one thing, to assure that the playback low-impedance output. Otherwise you are
limited to about 2 or 3 feet of cable unless
signal fed to subsequent studio equipment
is of proper level, so that it will neither you are willing to accept substantial treble
overload or be too weak to drive this loss. Similarly, the 20-foot distance is
equipment. Such use is 'not ordinarily made suitable for recording only if the tape outof the record-level indicator at home.
For recording purposes, the magic eye in- put of your preamplifier h as l ow impecldicator actually has an advantage over ance. If in doubt, check with the manuHysteresis Motor
the meter. The magic eye is an electronic facturer or salesman of your audio comQ. What is the advantage of having a instrument that responds immediately to ponents whether they have low-impedance
hysteresis motor in a tape machine?
strong, brief signals (transients), whereas outputs. As for the magnetic catches on
the meter is a mechanical device that lags your closet doors, they will havtl no effect
behind such signals. The magic eye shows
A. The speed of a hysteresis motor is
basically governed by the line frequency peak recording level, whereas the meter unless brought into immediate contact with
rather than by the line voltage. This makes provides an indication of average level. the tape, heads, or other components.
it possible to build a tape transport with Hence the recordist who operates a tape
a high order of speed accuracy. Profes- machine incorporating a meter must estiLoss of One Channel
sional units with hysteresis motors exhibit mate the peak level on the basis of the
Q. I have a **** tape deck Every so
speed errors of 0.2 per cent or less, whereas meter reading plus his experience and
many home machines have speed errors of judgment. The home recordist, using a often when I am recording or playing back
1 per cent or more. Worse, this speed error magic eye indicator, does not have to a tape I lose one channel. This is especially
may change from one period of time to an- make such an estimate and therefore true when I fil'st use the machine after it
other; thus under some conditions it may incurs less danger of overloading the has been idle seveml hOU1'S. I can usually
bring back the lost channel by touching
be 0.5 per cent, and under other conditions tape.
it may be 1.5 per cent. Hence correct pitch
On the other hand, the· VU meter is a one of the terminal leads behind the recordplayback head with tny finger. Any sugwill not always be preserved between remore stable device. than the magic eye
~ording and playback, even though record- , so that its indication of recording level gestions you might have as to the cause of
mg and playback are on the same machine. i8 apt to remain more accurate over a long this annoyance and its remedy would be
When it comes to playing commercial preperiod of time. Also, the VU meter lends appreciated.
recorded tapes, speed errors as little as 1 itself to fine adjustments of recording
per cent or less can be offensive to ears le,:e1. I~ you consider buying a tape maA. Your difficulty may be a faulty
with a good sense of pitch, although other chme wIth a meter, be sure that this is a solder connection. When the tape deck has
ears may tolerate errors of 2 per cent
true VU meter, having the frequency r e- been in operation f or a while, the increase
3 per
' and other standard characterl'stl' CS in. tern per a t ure may cause enoug11 !:lXpan.
Not cent, ort even more.
every ave m achine with a hysteresis specified by the a.udio industry. There are s o
t tl
motor necessanly 0
'thin 0
~ n a
Ie poor COlmection "V
SM> .~J,lI'''f J .)U;\
p era es WI
.2 per some meters WhICh look very much like Slunal ge ~:s tl ,
flfl f ITnf
of accurate speed. The WTl'ter has the VU t
0 -"
Bcale and "o.ll- bUt are aoo1B
1J/1 '~fl r} W~11111
th t ed some units with such motors where poo . .type-same
erorer~or was ~~out 1 per cent. A slight anc~ lIDl a lOns with r espect to perf orm~ O
OllllMtion Op
In machllU
th d"
ens u • •
capstan th
e Iameter of the
In view of the £
W gl; I
ml If,
shaftd or some other
to buy the ***Il t that TOUliT
~JJ.rt ca~ re~ultI~r
~'>~& ~-,n,r
UU. u
.Tto..,. .L
ane 8., lJ7anta.(1h
i ' tho
HoJdu ~nnn I:~ lIIJ~ U
egbstan. BIPabmty oj B VU 4p§rgnOraop t,t d ~ MA n ~Ii ~ ' n~~
n the fact that th ' t. 1JJotel' 16 I
~ I'P~~b,l
r eCord aad 19 ape moe, , JI w
eOned h
. F.
flllr.i w,'b
1hZ,:; i:!ft~!'th~:~;: ~~h: bit
~/8bJ/jlmt~ "YI~~ /1
~ .gJ~ W!~leq:~~4 ~lfe mU10;0 ~ l~gMd qo~ I~! I.
WJ~ q
/: /lttr/~tq ~PQIUl, ,~ VI Q~ I ~I I tJ.
~,q4t~'hfl_!t~O4b/,~ODfI_ P\~~ 1~It ,~~,
sma" speakers
sma" rooms?
These two AR-3 speakers provided Christmas mu sic la st yea r for Grand Central Terminal's
main concourse, whose capacity is several milli on cubic feet. Carols and organ music were
played in stereo a t natural concert volume. Passer s·by were oft en seen looking around for
a li ve chorus or pipe organ.
Relative size does not determine th e suitab ility of sma ll , medium, or large speakers to small ,
medium , or large rooms. The only criterion by which performance may be judged is the
ab ility of the speaker to reproduce music naturall y, without colorati on.
The price of AR speakers ranges from $89 for an unfinished AR-2 to $225 for an AR-3 in
walnut, cherry, or teak. A five-year guarantee covers parts, labor, and r eimbursement of any
frei ght charges to and from the factory . Catalog and a list of AR dealers in your area
are available on requ est.
MARCH , 1962
24 Thorndike Street, Cambridge 41, Massachusetts
Buy with Complete Confidence of Quality Performance-Heathkit guarantee
assures your success. Your
Heathkit must perform to factory specifications or you r
money refunded!
Build with Amazing Ease
and Speed-Complete instructions in everyday language show you what to do
and how to do it! No experience needed, no special
knowledge required!
Pay as You Enjoy the Music
Y ou Love-You can order
the kits you want with no
money down and up to 18
months to pay on $25 to $600!
5% discount on Systems!
Heathk it A D-60B
Heathkit AA-20)
Heathkit AS-SIW
Heathkit AD-lOC
Heathkit AS-SI U
Heathkit AA-ISI
The Heat hkit H FS-46 is a low-cost Stereo Phono System that is
complete in every way to bring to your home the pleasures of
ste reo record playing. It is perfect as a "starter" system for newcomers to the wo rld of stereo sound and it is priced we ll within
the reach of every budget for that "extra" system.
Included in this economical system is the Heathkit AD-JOC
Stereo Record Player with Sonotone STA4-SD ceramic stereo
cartridge a nd diamond and sapphire styli; the Heathkit AA-201
6-watt Stereo Amplifier wit h its exciting new styling concept of
black and ivory ; and two of the new Heathkit AS-S! U Miniature
High Fidelity Speakers which feature a 6" woo fer of special design
and a 3" tweeter for unusual response (cabinet is factolY assembled, ready for finishing).
Expandable at any time, yo u can add the Heathkit AJ-3 1 FM
tuner and AG-) 1A Multiplex Adaptor for FM Stereo reception .
You'll be a mazed a t the qua lity sound of this Heathkit Stereo
System. Capable of reproducing every note of your favorite
recordings, this system features the top-of-the-line Heathkit
AD-60B Record Changer with the Shure MSD Stereo Cartridge
equipped wit h a diamond stylus and the Heathkit ADA-SOW
Walnut record changer base.
Power is supplied by the Heathkit AA-lSl 28 Watt Stereo
Combination amp lifier ... 14 hi-fi- rated watts for each stereo
channel. This tremendous preamp/amplifier value fe a tures th e
patented Heath UL TRA-L1NEAR.® circuit for extra fidelit y,
separate bass and treble tone con trols, four stereo inputs, speaker
phasing switch, and rich modern styling in lu ggage-tan and
charcoal gray.
Ideally matched to the amp lifier are the twin speakers, the
Heathkit AS-S I W duo. The factory assembled cabinets are handso me in walnut veneer. Inside is a n S" woofer, a true compressiontype tweeter, ancl a high frequency level control.
All components are simple to. assemble, designed to give yo ur
family years of stereo enjoym ent, and may be expanded at any
time to include other program SO Ul ces (examples: add the Heathkit AJ-! I A M-FM tuner and AC-!! B Multiplex Adaptor or the
new AJ-41 Stereo Tuner, opposite, for Stereo off the air. WI.
HFS·46 . .. 33 Ibs . . . . no money down, $10 mo .. ..
, ........ .. ..... .. ........... ... (with system discount) just
HFS·47 ... 90 Ibs • ... no money down, $21 mo ....
. . . •. . .......... ... .. .. ... . ...... . (with system discount)
MARCH , 1962
Superior Circuitry; Beautifully Styled; AM, FM
and Built-In FM Stereo Multiplex
Here's the kit t uner yo u've asked fo r . .. the new Hea thkit
AJ -41 . . . ready fo r you to e nj oy AM, F M or FM Stereo
Multiplex ! It 's completely self-co ntai ned . . . the FM Mult iplex Ada ptor is buill-in ! It's co nve nient ... separate tunin g
meters fo r AM and FM! It 's qu iet . . . new FM squ elch
circuit hushes betwee n-stati o n no ise ! It's a uto ma tic . . . the
Stereo Indica tor light sho ws when F M sta ti o n is blOadcas tin g stereo ! It 's easy to bui ld
... preasse mbl ed tuner, prea li gned co ils, c ircuit boards. It's a grea t Hea th kit va lue . . .
no mo ney dow n, $ 11 mo . o nl y $ 11 9.95 in Ki t fo rm ; $ 189 .95 asse mbled .
Heathk it AJ-41
Your "Dream Stereo Home Music Center'f-yours with no money down, as low as
$38 00
2. AD-60B
3. AE-20W Wa lnu t
ui p m ent Cente r
Cabin et
per month
4. AE-40W Walnut
S pea ker Cab in et
6. AJ-41
Ster eo T u ner
---------------------------------H E A TH C O MP A N Y
Yo u ca n bu ild yo u r " drea m stereo ho me mu sic
ce nter " a nd enj oy the supe r ior q uali ty o f t he
fi nest in equi pment with t he satisfact io n of hav in g
secured it at a sa vin gs of at least 50% ! The above
Heat hkit stereo system presents the ul t imate in
perfo rma nce of kit co m po nent s ... a fi ne record
cha nger, the la test in stereo t uners, a powerful
and versatile a mpl ifier, superb coaxial speakers,
and elega nt wa ln ut ca b inet ry. Check t he de tai ls
of each co mpo nent in your H ea th kit ca ta log ;
compare t he system with o thers cost in g $500 to
$1000 mo re ! Yo u' ll agree there's ext ra va lue in
Heathki t.
HFS. 48 .. . no money down, $ 38 m o .
. . . . . . .. •. .. . . . . (w ith system di sco u nt)
MARCH , 1962
Benton Ha r bor 41. M i ch i gan
o Yes . se nd me my free 1962 Heathkit cata log
®§# fff=A ¥.f,b.
NAME _________________________________________
Free Cotolog!
A DD RESS _____________________________________
C lT V' __________________ ZONE _ _ ST A T E:_____________
Ord er direct by mai l or see yo ur Heathkit dea ler.
Shi p
0 Parcel Post
0 Express
0 C .O.D .
0 Best W ay
Ord ering In struction s: Fill ou t the order b l a n~ . Include charge s for parce l po st
accord in g to weights shown . Express orde rs shi pped d eli ve ry charges co ll ec t. A ll
pr ices F. 0 . B. Benton Ha rbor , Mich . A 20% d epos it Is re aulred o~ all C:O .O .
o rd ers. Prices sub jec l lo ch ange wit ho ut nol ice . D ealer and export pn ces s ll g hll y
hig her.
Send In tod ay for your free
100·page cat alog. Over 250
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i n this most comp lete ca ta-
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arise, however much the loudspeaker may
distort-so long as it does not r attle or
AUDIO will pay $5 for questions or
answers used. Send questions or answers to: Audio Teasers, P. O. Box
629, Mineola, N. Y.
Answ e rs to Last Month's Teasers
Answer B-1. This question fr eq uently crops
up. In a correctly designed filter of this
type, at crossover frequ ency there is 90
deg. transfer delay in the low-pass section
and 90 deg. transfer phase advance in the
high-pass section. This means the two signals at the outputs are precisely out of
phase. At frequencies ad joining crossover,
the phase transfer angle of each section
changes, but retains the total of 180 deg.
at all frequencies (theoretically from zero
to infinity).
It is usually argued that, for the high
and low frequencies to produce their outputs in correct phase relationship, both
uuits should be in phase; but this would
This M onth's Qu estions
Question C-l. A high-fidelity enthusiast had
built an amplifier from a kit. When a friend
noted that the output transformer did not
look husky enough to be a quality job, our
enthusiast decided to try a "better" one.
Getting a larger unit, with the same ratio,
impedance ratings, frequency response, and
so on, he installed it, hoping his quality
would be demonstrably worth the effort;
instead it was inferior to the original transformer. For the record, the output stage
used push -pull, with the tubes connected
as triodes, over biased so as to work in
Class AB 1 • What could be wrong with the
transformer, assuming it tested out well
according to specs f
Question C-2. Comparisons were being macle
between two systems, one rated to have an
output of 15 watts, the other 60 watts.
Each was operated with the loudspeaker
system recommended for it. First test used
a piece of program using a jazz combo,
and the 60-watt system clefinitely had more
power and punch than the 15-watt system.
The ne)..'t test used a symphonic recording,
and seemed to reverse the situation: the
60-watt system folded up long before th e
15-watt system sounded too bad; a little
distortion Inight be detected in the 15-watt
system, but not th e complete inability to
handle evidenced by the 60-watt system.
Why the difference, with different program
Fig . B- 1. Correct con necti ons .
I·esult in out-of-phase operation in the important frequency regions where both units
are contributing essentially equal acoustic
power. To cover the crossover range of
frequencies correctly, the ~nits should be
connected out of phase, according to th e
test, so the acoustic outputs are in phase
over this range.
The fact that the high frequencies will
be phase-reversed compared to the low frequencies cannot be helped, and is an unavoidable consequence of using a two -way
system with this kind of filtering. Figur·e
B-1 shows the correctly completed connections.
Answer B-2 . The key to this situation rests
in the kind of sound being reproduced. The
high-fidelity loudspeaker is invariably
called upon to reproduce a complex of
sounds all at once. Intermodulation distortion can pro~uce very j arring effects, and
resonances will produce spurious coloration.
For the solo organ, on the other hand the
loudspeaker is really part of a musical instrument. The resonances may lend "body"
to the .tone, instead of . coloring it-they
are eqUIvalent to mechamcal and acoustical
res o~ances th~t ar.e present in any conventIOnal musICal IDstrument. And intermodulation distortion has no effect, bec~use the organ only plays one tone at a
tIme. Intermodulation products only come
when at least two unrelated tones are
played together. The harmonic relationship
between frequencies in a single organ tone
ensures no illtermodulation products can
liver what you bear, and not to service bats
and other creatures. Which of these views
is right-is one influenced by "wishful
thinking"-or can they be reconciled'
Question C-3. The relationship between frequency response and observed (audible)
performance is often brought in question.
Readers write in about it. Articles are
written about it. Both report apparently
contradictory experiences. On the other
hand, many report tb at an amplifier with
lots of feedback and a response from subaudible to uitrasollic frequencies (even up
iIltO the megacycle range) is much cleaner
sounding than one with less pretentious
performance. On tbe other hand, others
make precisley similar comparisons and
come to the opposite conclusion: extended
range, beyond audible limits, "costs" in
other respects; these claimants argue that
the best amplifier is one designed to de-
Reader Answers
Following is my answer to Question 1 in
the January 1962 issue:
For flat response down to 50 cps (no
more than 3·db down at this point), the
time constant of the circuit capacitances
in conjunction with the load resistance
should be about 3200 jLB. The circuit capacitances are those of the ceraInic pickup
and of the cable to the amplifier. We shall
assume cable capacitance to be 100 pf,
which is quite typical. If a 5 megohm load
is required for good bass, this suggests that
the ceramic pickup has 540 pf capacitance,
making a total of 640 pf circuit capacitance. Multiplying 640 pf times 5 megohms
yields a time constant of 3200 !Ls.
For response down to 50 cps with a 250k
load, total circuit capacitance would have
to be 20 times as great as with a 5 megohm load. It would have to be 12,800 pf.
The difference between 12,800 pf and 640
pf is .01260 !Lf. Therefore we can achieve
good bass response by wiring a .012 !Lf
capacitor in parallel with the output terminals of the pickup.
At the same time this capacitor would
cause 26 db over-all reduction in output of
the pickup. The question, then, is whether
the amplifier has sufficient gain in view of
the signal we can expect from the pickup.
Typically, a ceramic pickup can produce
between 1 and 3 volts on peaks. A 26-db
reduction would yield peak values between
50 and 150 mv. Many amplifiers have sufficient sensitivity to be clriven to full or
ample output by such a signal.
If the amplifier lacks such sensitivity,
or if the pickup produces less than 1 volt
on peaks, we could use a 500k load control
or perhaps even a 1 megohm control \vithout encountering hum. This would entail
only a 20 db or 14 db reduction in signal,
which for most ceraInic pickups and most
amplifiers should be enough to drive the
amplifier to full output. For a 500k load
the capacitor across the pickup should be
about .006 !Lf; for a megohm load it sbould
be about .0025 !Lf.
H. B.
(from page 4)
pattern in each direction. This arrangement gave the dipole the ability to bear
most signals in the vicinity of the antenna.
The yagi, on the other hand, is capable of
receiving signals in only one direction over
an angle of perhaps 30 deg., the exact angle
depending upon the number of elements
Because of this characteristic of the
yagi and all other parasitic arrays, means
must be provided which can change the
direction to which the yagi points if coverage is to be complete. The rotator does this
and lets you know from where yon can
expect to hear stations with a given setting.
The actual operation of this kind of
antenna depends upon the phase relationships of the signals on each element. The
reflector is intended to reflect signals frol11
the rear of the yagi back into the dipole
while the director focuses the signals from
the front of the array into the dipole. Only
one reflector is usually employed; additional reflectors do not add significantly
to the performance of the arrays. Doubling
the number of directors will increase the
strength of a received signal by 3 db. An
8-element yagi can be expected to provide
an apparent gain of between 10 and 13 db.
Sometimes, rather than doubling the number of elements in a single array, two or
more arrays are stacked on the same mast
and connected to a common feed line. This
also will increase the performance. Of
course, as the performance is improved,
the sharpness of the pickup pattern is also
increased. An 8-element array will have a
pickup pattern of 30 deg. between points
at which the signal is dOWll 3 db.
Books can and have been written on this
subject. Space does not permit a fuller
discussion of the working of the a rray
and its application not only to receivers
but to transmitters. I do hope, however
that this gives you some idea of the yagi;
and can show you how to improve your
FM reception. Do not consider using such
a device to improve AM reception. You
would be rotating a boom hundreds of feet
in length.
MARCH, 1962
II N1.1 NI rn: I)
JBL goes all the way-with product warranty as well as product quality. It is - and always has been-JBL's
policy to repair or replace without charge, at any time during the life of a product manufactured by James B.
Lansing Sound , Inc ., any unit whose performance is impaired by a cause beyond the control of the owner. The
only limitation is the availability of parts . And , frequently, it is possible to use today 's parts to bring a discon ·
tinued model up to better·than·new performance. This is another reason why it's a smart idea for the music
enthusiast to invest in the very best loudspeakers available . like any fine musical instrument, they don't wear
out, are almost always worth restoring to top·notch playing condition . Write for your free copy of the new JBL
catalog and ask us to enclose a copy of the J BL warranty card .
MARCH , 1962
acc urate. Up to about 6000 cps, the NAB
curve is exact for 73h ips, with a droop of
2 db at 10,000 cps and 3 at 15,000-easily
compensated for by the treble ton e controls.
The KM-60 Tuner Kit
MODELS KX-200 and KM-60
These units are two of the newest entries
in the kit field, and they are well worthy
of the Fisher name, both in performance
and in ease of construction. The KX·200
is a dual 35·watt stel'eo amplifier-preamplifier and the KM-60 is an FM-stereo
tuner with self-contained multiplex circuitry. Both have excellent specifications,
and the performance equals 01' exceeds the
Eaeh section of the KX-200 consists of
an ECC83j12AX7 as the preamp stage
with feedback equalization for both phono
and tape, followed by the selector switch,
a high·cut filter, a tone-control amplifier
using another ECC83, the loudness·volume
control, another ECC83 as amplifier and
direct-coupled phase splitter, and a pair of
7591's as the output stage. The output
tubes are operated with fL'i:ed bias, and
both bias and balance are adjustable, with
a switch able meter being used to indicate
the correct settings. Controls include a
tape/phono switch to change equalization
in the low·level inputs which are marked
MAG 1 and MAG 2, tape monitor switch,
loudness contour switch, dimension control
which r anges from mono, wherein both
channels are coupled together, to stereo
where they are completely separate, balance control, and the usual selector, mode,
separate bass and treble tone controls,
and the volume control. In addition, there
is a center speaker switch which has five
positions- off, low, medium, high, and
maximum. This switch introduces more
or less J'esistance iuto the center speaker
circuit which is fed from the common tap
of the left channel and the 16-ohm tap
of the right channel, with the 4·ohm tap
of both channels being grounded to the
chassis. The meter switch aud the bias and
balance controls for the output stage are
located on the top of the chassis.
There are five inputs for each channelMAG 1, :MAG 2, 'l' UNER, AUX 1, und AUX 2along with a tape monitor input and a recorder output, with the latter being ahead
of both volume and tone controls, which is
the logical place for the recorder feed ..
Heaters of all tubes except the output
stages are fed with d.c., and silicon rectifiers are used fo r both heater/ bias and
plate power supplies.
1M distortion measu red 1 per cent at
36 watts, and harmonic distortion was
under 0.5 per cent at the same output.
Channel separation measured 52 db at
1000 cps, 28 at 10,000. A phono or tapehead input of 3.4 mv produced full output,
with 320 mv being required at the highlevel inputs. With the volume control set
to give rated output at an input of 6 mv
at the phono input, hum and noise measured
69 db down, and with the volume control
turned to minimum, the hum and noise
measill'ed 96 db down. The toue control
range was measured as + 10 and - 15 at
50 cps, and + 15 and - 16 at 10,000, while
the high filter produced a cut of 12 db at
10,000 cps.
The Mag inputs may be used either for
phono or tape, and a panel switch pro,
vides a change in equalization f rom RIAA
to NAB, the former being exceptionally
Immediately followiJlg the construction
of the amplifier, we turned to the tuner.
This unit, which is very similar to the
factory-built 50·B tuner, consists of a
casco de r.f. stage, employing an ECC8Sj
6DJ8, a mixer and oscillator using the two
sections of an ECC-85/ 6AQ8, with two
6AU6 i.f. amplifier stages and two 6AU6
linriters, feeding a wide-band ratio detector. A meter in the grid circuit of the
second limiter serves as a tuning indicator
for normal use, while chassis-mounted
switch permits connecting the meter to the
ratio detector circuit for use in initial
alignment. A panel switch feeds the deemphasized mono signal to the two grids
of an ECC83/12AX7 as anode followers
feeding the output jacks.
The multiplex unit comprises a 12AT7
signal and pilot amplifier, with the latter's
output synchronizing a 12AX7 multivibrator at 38 kc to provide the subcarrier
to two diode bridge circuits. Their outputs
are fed to the two grids of a 12AT7 wheJ'e
separation compensation is added, along
with the de-emphasis for the two stereo
outpu ts, which are then fed to the output
] 2AX7 anode followers. The presence of
the 19·]<c pilot signal furnishes a bias of
some 6 volts to the grid of an EM84A,
which closes the pattern and indicates that
the program is stereo, whereupon the user
switches to stereo. Another position of the
stereo·mono (and power) switch introduces
a capacitor between the two multiplex out·
puts to reduce noise. Both the front end
and the multiplex sections are factory
built and aligned, so the final alignment
of the unit is quite simple and can be accomplished without any instruments in less
then ten minutes. After using the recommended alignment, we tried it with a
sweep oscillator and 'scope, with no appa rent change at all.
As to sensitivity-the KM-60 has all that
is necessary, 1.8 microvolts by IHFM
measurment standards. We found that with
only about three inches of wire connected
to the antenna terminals we could get
everyone of the important stations in the
New York area, with limiting on most of
them. It is a fine performer throughoutlistening quality excellent, stereo performance excellent, hum and noise satis·
factorily low. One feature we like par-
Chassis view af the two completed Fisher Stratakits-Fig . 1 (left) is the KX-200 amplifier-preamp, and Fig . 2 (right) is the
KM-60 tuner.
MARCH, 1962
:land, Sinatra, Lee, Cole, Kingston Trio, top shows, classics, etc., etc., etc. - all on Capitol 4~Track Stereo Tape Albums!
Judy at Carnegie Hall-Judy Gar- Kenton's West Side Story 0 Okla_land 0 Only th e Lonely - Frank horhil! Ca rousel, Can-Can 0 The
King and I 0 The Music Man 0
Sinatra 0 Come Dance With Me! Frank Sinatra 0 Latin ALA Lee ! Fiorello! The Sound of WagnerPeggy Lee 0 Love is the Thing-Nat Erich Leinsdorf 0 Americana - CarKing Cole 0 The Touch of Your Lips men Dragon 0 Hallelujah! - Alfred
- Nat King Cole 0 Make Way!- ' Newman 0 Concerto Under the Stars
Kingston Trio 0 Here We Go Again! - Leonard P e nn ario 0 Char ge !- Kingston Trio 0 Music for Lovers Felix Slatkin 0 Tchaikovsky : OverOnly-Jackie Gleason 0 Sounds of ture "1812"- Herbert von Karajan 0
the Great Bands - Glen Gray 0 Fred Soviet Army Chorus and Band 0
Waring and th e Pennsylvanians in Poulenc: Gloria In G Major ConHi Fi 0 Sa:tin Brass - George Shear- certo For Organ 0 String & Timpani.
ing 0 Berlin by Lombardo 0 Your CAPITOL PROFE SS IONAL RECORDING
TAPE - The Master Series_ By any and
Guy Lombardo Medley: Volume 3 0
The Shearing Touch 0 Music for My all criteria, there is no finer tape
Love - P aul Weston 0 Dream Danc- available_ Precision-produced in nine
ing-Ray An thony 0 Billy May's Big types to meet every professional nee'd.
Fat Brass 0 Ports of Paradise- Ask for it at your favorit e hi-fi
Alfred Newman & Ken Darby 0 Stan s pecialty store.
The emotion created with in
you by a work of art is a
profoundly personal
experience. Equally personal
is your reaction to a
work of music. And,
therefore, beyond question,
your own ear, is the only
true measure of how closely
the deep emotion you
experience during a live
performance is recaptured by
the speakers in your high
fidelity system. Quite apart
from engineering, the
design of the Wharfedale
W60 Achromatic Speaker
System, and all other systems
in the series, reflec ts
extensive musical traini ng
and great respect for musical
values. Wharfedale's
exclusive sand· filled
baffle, coupled
with special speakers built
to perform perfectly in
concert with the enclosure,
produces full, true bass
and rich, non-strident high
notes. You hear music free
of all spurious resonances or
coloration. Discover the
uniquely na tural sou nd of
a Wharfedale speaker system
by listening to a
best-loved recording
at your high fidelity dealer.
achromatic speaker system
(rue wood J 16.50 , unfinished 5 101.50
A reprint suitable for framing available
on request. Address Dept.
we 12
Brit ish Industries Corp., Port "VashingLOIl, N . Y.
MARCH, 1962
view of the KM-60 FM-ste re o tu ne r moun te d in the a ccessory w alnu t
is the stereo indicator which
whenever one turns to a stereo
Construction of both units is simple
and quite fast-13 hours for the amplifier
and just under 8 for the tuner, and both
worked right off the bat. In both kits, the
instructions are broken down into stages,
each apparently designed to take about
half an hour . The parts for each stage
are packaged in separate polyethylene bags,
each with the contents listed on a card
enclosed in the bag. Wire lengths are
given, and the lengths of resistor and
capacitor leads down to the nearest % in.
The introductory treatise in the instructions
covers soldering thoroughly and should
make an expert of practically anybody.
In the amplifier kit especially, the over-all
tone of the instructions is light and
amusing. Phrases that brought out smiles
were encountered regularly, such as, " _ ..
if you have any parts left over you goofed!
Go back and check," After stage 4 of the
amplifier, the builder is cautioned "to take
a break" so as to avoid carelessness caused
by getting tired. There are special instructions on how to handle shielded cable,
silicon diodes, and' mistakes.
Much of the drudgery is avoided by the
factory mounting of sockets, transformers,
tie points, and similar parts, not to mention
the tuner front end and the MX units.
In the amplifier, all controls and switches
are properly mounted on the front plate
so as to eliminate the possibility of
selecting the wrong part- which could
happen easily to an inexperienced builder.
On the whole, we found these kits to be
beautifully packaged and "instructed," and
easy to build, and the performance is impeccable. So now, you, too, can build a
While it is true that most measurements
on audio equipment can be made with various types of meters used in conjunction
with different signal sources, there are still
other observations which can be· made only
with some sort of device which will permit
a study of the actual waveform- and that
means an oscilloscope.
In the oscilloscope, the "writing" element is actually a beam of electrons which
has-to all intents and purposes-no inertia
whatever. For example, on the face of a
21-in. picture tube, the beam moves about
20 in. for each scan, and there are 15,750
scans per second, so the beam is actually
moving across the screen at around 18,200
miles per hour. On many laboratory-model
'scopes, the beam can travel some 200 times
that fast. In contrast, the beam of a typical
3-in. 'scope traveling over the limits of the
2-in. reticule at 10,000 cps neecl s to travel
only about 2300 miles per hour.
Needless to say, the requirements of the
audiofan do not warrant the expense of
'scopes capable of handling 100 mc, and it
is true that some of the finest lab 'scopes
cost as much or more than a small automobile .However, within the limits .of its
frequency range, any 'scope is equally accurate in its presentation of waveform data.
The Heathkit 10-21 'scope is a small, compact, and lightweight instrument priced
well within the budget of any earnest ex-
Fig. 4 . Ne w He a thkit 10-2 1 oscilloscope.
perimenter, and capable of handling frequencies up to 200,000 cps. It measures
9Jh -in. high, 6Jh-in. wide, and 10-in. deep,
and weighs only 12 pounds-quite a contrast to an elderly 5-in. model we have
which weighs 53 Ibs. The 10-21 builds in
af ound 7 hours, and is a fine performer
after its completion.
Since the requirements of audio and most
general radio servicing are not as severe as
those for micrO\nlVe work, for example, it
is possible to r educe the cost appreciably
by resorting to a simplified design without
eliminating any n eeded function. In the
10-21, there is no focus control on the panel
- focus and astigmatism are adjusted by
internal controls which need no touching
up throughout the entire range of t he instrument_ There is no intensity controlintensity is set by the original design. There
is no synchronizing control -sync is fed to
the multivibrator time-base generator from
the vertical amplifier automatically. The
two deflection amplifiers are identical, COllsisting of a cathode follower, gain control,
and a driver direct co up led to the push-pull
output stage.
Pe rformance
The horizontal sweep is calibrated on the
front p anel in foul' ranges fTom 20 cps to
100,000 cps, and will actually sync from 10
to 230 cps on the lowest range, 90 to 2500
on the second, 1600 to 27,000 on the thiTd,
and from about 16,000 to 125,000 cps on
the top range. The hOTizontal expansion is
great enough that with a six-cycle p attern
on the screen, the pattern can be spread out
to permit a full-screen sine-wave of any
one single cycle of the six. In the vertical
direction, the pattern can be moved up 01'
down enough to view the top or bottom of
a 5-volt illput signal when the gain control
MODEL 1600
At the last N ew York High Fidelity
Show (September 1961 ) we wer e introduced to a n ew piece of high-fidelity equipment, a fully transistorized 30-watt
(IHFM) stereo amplifier. At that tim e we
noted that it used military-type constTuction und erneath its beautiful exterior. A pp arently e"erybody thought it exciting
because we had to wait in line several
months b efore our tur n came. You can Test
assured that the unit was list ened to,
"opened up," and under t est within minutes
after we received it.
The circuit of the output stage is significanf and patented. Each output st age
consists of four power transistors in a
ba.sic symm etrical bridge. The power tra.nsistors, constituting the four active arms
of the bridge, are driven in p airs j transistors 1 and 4 conduct while transistor s
2 and 3 do not, and vice-versa. Associated
with each of the power transistors is a
driver transistor. Power transistors 2 and
4 are driven by emitter-follower F:NP units
in phase opposition. Their input signal is
derived from a conventional t ransistor
phase-splitter circuit. Power transistors 1
is adj usted fo r a f ull- screen pattern for an
input of 0.5 volts. This is the sort of pattern
mobility that is usually encountered on only
the most flexible 'scopes.
Specifications call for an input sensitivity of 0.25 volts/ inch, but the actual measured value was 0.18 volts/inch, which is
considerably above the claimed figure. One
other desirable feature is the blanking
which eliminates the unwanted return
traces which so often become objectionable
at high sweep frequencies.
The 3-in. cathode ray t ube is protected by
a heavy Ple).:iglas screen and a green reticule graduated in 14-in. squares o, er au
entire pattern of a 2-in. square. Terminals
are available on the back for direct con nection to the deflection plates for observations above th e frequency range of the
internal amplifiers and at high signal voltages. A switch selects either the terminals
or t he internal amplifier.
This is the first 'scope we have obser,ed
iu some which had all the features
required for audio work without undue complication. Previous low-priced 'scop es generally had limitations in over-all performance which forced the user to compromise.
The H eath 10-21 does not seem to have any
limitations for which compromises must be
made in any work that the audio engineer,
serviceman, or experimenter needs to do.
and 3 ar e driven by 1\TPN units connected
as common emitte r amplifiers. The input
signal to these units is derived from loa ds
in the collector circuit of the PNP drivers.
A signal representative of the output wave
form across the load is obtained through
a novel one-transistor differential amplifier which provides feedback for i nj ection i nto a low-level stage. Altogether a
rather clever ciTcuit.
The Omega 1600 provides balance controls for volume, bass, and treble. After
these controls are set to compensate for
room acoustics, mast er ganged controls are
used. IV' e found this a rather useful feature,
especially since the commonly-used contr ols
spOl'tecl larger knobs.
The Omega 1600 is the f1l'st transistor
amplifl er we have tested which delivered
30 watts IHFM (25 watts rms) per
channel. The frequency r e ponse was within
0.5 db f rom 30 cps to 40,000 cps a.nd ± 1.5
db from 10 cps to 55,000 cp s. For some
unaccountable reason harmonic distortion
did not meet specifications ( less t han 1
pel' cent) at the extreme low and high
frequencies although 1M distortion was
within specifications. In all other areas
the 1600 performed extremely well. In all,
a rather satisfying early production sample.
fig. 5. Omega's Model 1600 transisto rized amplifier-preamp.
0 -27
Fi g. 6 . H. H. Scott spe a ke r syste m, Mod e l
5-3 .
The fir st time we observed this speakel'
syst em sever al months ago we were impressed by a veTY significant fact, t he
design of t he "package" (enclosure) wa s
extremely sensitive and handsome. This is
signifi cant to us because a speaker sy tem
of this type is intended to be a piece of
furniture as well as a music reproducer.
Anyhow, subsequently we discovered that
the visual designer of this unit (and, as
we under stand it, all H . H. Scott equipment) is no less than the Vice President
of the company. We are not sure whether
this means t hat H. H. Scott t hinks visual
design important enough to r ate a vice
presiden cy or th at the vice president is an
unusually versatile person, but we are glad
either way.
The S-3 is a three-way speaker system
which utilizes "air loading" to improve
low-frequency response. In addition, the
crossover network is used to help "flatten"
the mid-Tanga r esponse. In reality, t he
crossover networ k is used in the S-3 in a
manner similar to the way a tone control
is used to compen sate for room acoustics.
Looking at it another way, we can consider
t he enclosure for the speakers as a "room"
with individual acoustics, and the crossover
network as a frequency-discrinlinating device used to boost or cut those frequencies
which require it. Since the "room" is
constant once the design is fued, it is
only necessary to measure its acoustics,
calculate or empirically determine the
correction, and "build it in" the crossover
network. A clever idea.
The only question that remains to be
answered is how well have the H. H. Scott
engineers succeeded ~
Very well I On the other hand, it would
have b een very surprising if they hadn't
done an excellent engineering job j excellent engineering is really their stock in
Mor e specifically, t he H. H . Scott Model
S-3 speaker system reproduces music with
as little coloration as any bookshelf speaker
system we have heard. Both extremes of
the audible frequency spectrum are solid
while the mid-range has just that touch of
brightness that we personally enjoy. 0-28
. ' MARCH, 1"962
record player
.. made
to protect
the original
fidelity of your
Each record player is
laboratory tested and is sold with a
written test report coded to the serial
number of that particular
record player, certifying that
performance is
within specification limits.
MARCH, 1962
The selected Diamond Stylus pickup of the 4-speed
Electro-Acoustic 7000 Series stereophonic record player, with its
high compliance and extremely low stylus pressure combine
to extend record life and maintain the original fidelity
of your fine recordings.
The dynamically-balanced 4-pole, 4-coil motor and turntable,
micro-honed motor spindle, precisely machined bearings, and the
custom-fitted turntable drive ... limit rumble to-40db, wow to less
than 0.15% RMS and flutter to 0.06% RMS (better than NARTB
standards). Turntable speed is certified to be within ±1% of absolute.
The Electro-Acoustic 7000 series handles your records more
carefully than human hands. It is designed to capture the full
beauty of every recording for hundreds of playings.
$69.50 Audiophile Net.
Write today Jor Jree illustrated literature and the name oj 1Jour nearest dealer.
2135 South Bueter Road, Fort Wayne, Indiana
The Incomparable Bjoerling. Arias from
Italian Opera. Assorted orchestras, conductors.
RCA Victor LSC 2570 stereo
This memorial to the Scandinavian tenor
who died in 1960 is a collection out of his
later recordings (in stereo), after a 25-year
career in which the superb vocal technique
sC'a rcely a ltered, nor did the voice gr ow old.
Bjoerling was a mild, almost placid tenor compared to the fiery-voiced Caruso or the brassy
Lanritz Melchior in his big days. But Bjoerling did have what is now virtually non-existent, a real, old-fashioned perfection of vocal
production, absolutely never forced and, thus,
never forcing the voice itself into overwork.
Paradoxically, his finest milieu was in the
Italian opera area, where the impact of a
perfect technique and high musicianship
easily outbalanced the mildness of temperament that could show up to his detriment in
the heftier Germanic roles.
Eileen Farrell in Verdi Arias. Columbia
Symphony, Rudolph.
Columbia MS 6254 stereo
The great EIleen, she of the big voice t h at
can sing anything (including popular music),
is at her very best in Italian opera even if
she does live in Staten I sland, New York,
and even though her solid American accent
does show through a bit here and there. For
one thing, she conveys a real sense of personal involvement in Verdi and Puccini,
where in other m u sic-including Beethovenone feels a bit too strongly the implication,
"See, I can sing this too".
She can, be assured. But she does it all a
bit too easily, wi th that immense voice of
hers. Not so in these Italian works. She's well
worth a heavy try in this recording and In
others in her present series of the sort- put
her up against Tibaldi, If you really want an
interesting comparison , Tibaldi being the
reigning Italian queen of Ita lian opera. Farrell can hold h er ' own.
Victori,a De Los Angeles and Dietrich
Fischer-Dieskau in Duets. Gerald Moore,
Angel 35963 stereo
It is musically correct that three not two
s miling faces should appear on th~ cover of
this record-Gerald Moore, at the piano, is
surely as big an artist as either of the others
a nd the three together make marvelous music,
whatever the style or content.
The styles vary pretty widely. We begin
with Henry Purcell, in English (practically
faultless), then go on to. a Haydn setting (in
German) of a Scots a Ir, All Through the
Night and a brace of Beethoven's similar arrangements of Irish tunes (in English) w ith
an interlude by the "London" Bach, J ohann
Christian, sung in Italian. Side Two moves
from Schubert through Dvorak, Tchaikowsky,
* 780 Greenwich St., New York
14, N. Y.
Saint-Saens and Faure-a pretty kettle of
musical fish and any other than this superbly
musical team would manage to make hash of
It. Good musicianship pays; here we have
three of its top practitioners.
Rita Streich sings Lieder by Hugo Wolf.
Erik Werba, piano.
Deutsche Gramm . 138 641 stereo
A really lovely record, with ony a few
qualifications. Streich has a lovely and communicative voice for the German Lied, one
t hat emotes, that dicts, that weeps and
la ughs, with that peculiarly direct honesty
and purity of in t ent that is the most wonderful pa rt of this German song-music. Her
only mild fault is one that is ultra-common
in t he case of Hugo Wolf-she can't quite
keep up with the Wolfian harmonies when
they begin to jump a round.
Wolf was a fiendishly ingeniou s composer.
Much of the time, his expression is as simple,
as well as profound, as anything by Schubert.
But every so often-let's say in every third
or fourth song-he goes into complex tonal
modulations, jumping astonishingly f rom
chord to chord, key to key. Paradoxically in
this day of atonality, not many performing
a rtists have the ears to follow his lightninglike complexities, Streich can't, when the
harmonic gOing gets tough. She's like a bobsled that just barely makes the fast curves.
Nothing obvious; but every so often one feels
a gro ping for pitch that is mildly unsettling.
That's all.
Erik Werba, at the piano, h as no trouble,
of course. His own fine ear is a ided by the
piano keys themselves-which are always in
t une, after all.
Leroy Robertson: Oratorio from the Book
of Mormon. Soloists, University of Utah
Chorus, Utah Symphony, Abravanel.
Vangua rd VSD 2099 stereo
On the face of it, this immense oratorio
out of Utah might seem the sort of music for
outsiders t o avoid. I was rather surprised,
then, to find that even though it is a thoroughly derivative work it does have a certain
sturdy modernity to it and a good deal of
rather solid musical construction as well,
within the grandly solemn oratorio tradition
to which it belongs-stemming back to countless "Messiahs" and even a Bach B Minor
Mass or two. I found I really didn't mind
it a bit, though aU my intellectual senses
kept saying I should.
Indeed, the fervently musical performance
by these dedicated Utah people suggests a
good comparison, architecturally and stylistically: the music somehow reminds one of
the famous Mormon Temple itself, out in
Salt Lake City. That sturdy shrine is nominally a monument to early American a rchitectural n a ivete but, even so, it manages to
convey an aston ishing quality of str ength,
dedicated workmanship and community togetherness. Impressive even if you've just
flown in from Notre Dame or Chartres the
day before. So it is with this oratorio. Interesting.
Moussorgsky: Songs and Dances of Death;
The Nursery, etc. Netania Davrath, sopr.,
Erik Werba, pf.
Vanguard VRS 1068 (mono)
Netanla Devrath has a lovely voice and an
infallible musical ear; she sings a lm ost everything, from opera to Israeli folk song. She
sings Moussorgksy here, some of t he finest
dramatic songs of the late 19th century, and
I admire half of them, find the other half ina dequate. After all, n ot every singer can sing
e1'e-ry song, of whatever sort.
Devrath's voice is light, rather white in
tone. In the delightful "Nursery Suite," a set
of songs in which a child speaks of his own
life in child-terms, she is superb, taking the
child's part with animation and musical
finesse. But in the stark, terrifying "Songs
and Dances of Death," Devrath is out of her
element. The drama is miSSing. If you want
to hear these songs in a ll their chill fearsomeness (and their human appeal) try to dig
up Jennie Tourel's old Columbia recording,
on an early LP. Next to that, this one is almost inSipid-though musically accur ate and
beautiful in the singing tone.
Liszt: "Dante" Symphony. Budapest Philharmonic, Budapest Radio Choir, Lehel.
Westminster WST 14152 stereo
The revived Westminister label Is issuing
an interesting series of recordings out of
Budapest, where the musical tra dition remains so very strong that to this day, and on
all sides of the political front, Hungariantrained musicians are the most brillian t and
solid we can find anywhere. Llszt wasn't
exactly a Hungarian composer, but in his day
he did produce what passed for Hungarian
music (even if it did turn out mostly t o stem
from gypsy cafe material). That's enough
f or pr esent-day Hungarians, who perform him
as a national hero.
The trouble with Liszt right now is that
though he is just out of a 150th anniversary
(his birth, in 1811) his music is at the very
climax of " datedness"--1!ven as it begins to
be appreciated for its truly classic qualities
of structure and design. You'll find this long,
meandering, thundering "symphony," complete with Inferno, Purgatory and Magnificat,
by turns inspiring and an infernal bore. Can't
criticize it-for this is the way things were,
back in the 1 850's. The longer, the better!
This is plenty long, especially the soft, mysterious parts and the Silences, pregnant
mostly with surface noise. Not Liszt's fault;
ours for listening at home.
Brahms: Symphony :#:2. Pittsburgh Symphony, Steinberg .
Command Classics CC 11 002SD stereo
Haven't enjoyed this old symphony so much
since . . . well, since I played the 1940
Mengelberg Telefunken recording recently released. (See above). And the stereo microphoning on this new label is out of this
world, a marvelous example of what I might
MARCH, 1962
Bobby Christian &His arch.
SPAC E SUITE: Th e Call· Count-Down · Flight Into
Orbi t & Empyrean ' The Call · Re-Entry ·
Finale· Midni gh t Sun' Out Of Thi s World·
Blue Star ' Autum n In New Yo rk ' Out Of
Now here · How High Th e Moon
AFLP 1959 • AFSD 5959
Songs, Stories and
Anecdotes from his Carnegie
Hall One Man Show
Makin' Whoopie • If You Knew Susie · .
Ida' Ma, He's Maki ng Eyes At Me •
Th ere's No Business Lik e Show
Business · Dinah ' Is It Tru e What
They Say About Dixie? • Margie '
Josephine Please Don't Lea n
On The Be ll' and oth ers
of the Nickelodeons at
Paul Eakins' Gay Nineties Village
Kin g Cotton. Di xie · Patri oti c
Medley · Georgia Cam p Meeting '
Han ds Ac ross The Sea ' The Jolly
Coppe rsmith, Th e Irish Was herwo man.
• Battl e Hym n Of The Repub lic '
My Wild Iri sh Rose · March Medl ey ·
Ca rry Me Bac k To Old Virg inny •
Ya nkee Dood le · Ta Ra Ra Boom
De Ay • Over Th e Waves
AFLP 702
Teletype Machines · Facs imil e
Wirephoto Machines · Cuckoo Clocks ·
Grandfather Clock ' Clock Ti cki ng
(time-bom b effect) • Army Pisto l Range
• Heavy Artillery· 'Vu lcan' Aircraft
Machine Gun' M48 Med ium Tank ·
Close Orde r Dri ll .' Police Car
Pass ing Thru· Traffic'; Pedestrians
Iii City Street · Thunder And Ra in'
Rai n On Pavement · N. Y. Subway '
Model T Ford Start ing, Idlin g, Passi ng ·
. El ectronic Effects · many others
DFM 3011 • DFS 7011
o Apito No Samba
' Mu lata Assanhada
• Poema Do Adeus • Covard e •
Arrasta A Sandali a • Marcha: Mund o
De Zi nco • Eu Chorarei Amanh a •
Lata D'Agua • Nao Me Diga Adeus •
Ch ora Tu a Tri steza • Impl orar • 0 Amor
E A Rosa' Recordar • Marcha: Madei ra
De Lei ' E Com Esse Que Eu You
AFLP 1960 • AFSD 5960
AUOlO FID eLITY DFe '1'011
SOUND ;-ii;;;;:i';iiI
Jo Basile, Accordion & arch .
La Bam ba • Jarabe Tapa t io •
Ma lag uena • Chi apanecas • La Raspa •
Ay Jalisco No Te Rajas ' EI Rancho
Gra nde · La Cucaracha • Cieli to
Lind o · Guadalajara ' La Golondr in a
• Las Maiianitas
AFLP 1946 • AFSD 5946
Tumba Le Le • Levanta Mangueira •
Pra Seu Govern o, Recordar • Na Base
Do Amor • Se Eu Errei, Me Da Um
Di nheiro Ai • Indi o Quer Api to • A Lua
E Dos Namo rados·, Evocacao •
Vassour inha, Ma dalena Vai Casa r·
Cacareco E 0 Ma ior, Piada De Sa lao •
Maria Escanda losa • Paie, Quem
Me Ve Sorrir • Nao Me Diga Adeus •
Genera l Da Banda, Qu al E 0 Po •
Vai Ver Que E • and others
AFLP 1954 • AFSD 5954
AFLP 1953 • AFSD 5953
Mono (AFLP, DFM}-$4.98 I Stereo (AFSD, DFS}-$5.95
Dept. A3, 770 Eleventh Avenue., New York 19, N. Y.
MARCH , 1962
can Prog ressive America n stereo, imaginativ ely used not for ''literal'' concert hall r eprod~Ction but to achieve a ma ximum mu sical impact in stereo's own terms. E~ropean
record buyers shou ld try it for the Ir own
ed ification.
To tell the truth, I was a bit put off ~y
tbe hi-powe r publicity which launched th Is
label and by the fau cy double-fold album s.
Last' time this sort of thing came my w ay,
the results in mu sic were distinctly less t han
sensational, in inv erse propor tion to the p ro motional jazz. Not this time.
For one thing, (starting from the Olltside), the albums nre fa n cy bu t each boa sls
an excellent a nd beautiful art cover by a
wothwhiJe serious arti st-ill t hi s case Gaber
Peterdi (the notes tell m e), whose buffcolored print a bstraction makes an unu s ual
covel' desig n. Th e lin e r notes are modestly
adeqnate, t he technical data only mod e ra tely
blown-up (35-mm film-reco rded) and t he geneml a r t-layout really in excellent taste-
whicb means tbat it i s h a rmonious, ~ eautiful
in its color scbeme and well-p roportIoned in
t be ty pography.
But tbe di sc is wbat counts. And for m~ It
isn't n ecessa rily tbe 35-mm film-r ecordlllg
tbat gives such a lovely sound bu t, as I .s~ y ,
somebody's bighly iutelligent and sensItive
use of tb e stereo mikes. I suggest tha t Con~ ­
mand bas done a good deal better than CapItol did with tbis same g roup, though t~at
was in an earlier stage of the fast-movlllg
stereo a rt.
And finall y-the music. Command, hy accident or careful choi ce (I wouldn't kno.'v) ,
has inherited one of the fin est, most musIcal
of the American orcbestras a nd one of t he
best condu ctors in tbe business f or the bIg
classics. Tbe first two movemen ts of this
performance are just plain lo\·e l .r~fo r any
li stening ear at all. Tb e other two go so r t of
fast (maybe the LP wasn't big enougb) but
c ven so t her e is no l acl' of clarity and sweetness. ':Natnral" i s t he best word for the
-;------T--~ -~~.;-~ ~~~---__
L_ - - - - - - - - - - -
: I
- - - -
- - - :;-
_...L. - - -_ _ _
_ ________ - _______ ...L. ________ _
------ -: -. ----- ~!J
.;' j'.{ /
Check thIS weekly \'
schedule . .. MONDAY: Voca l group ( Om nidirectional ), TUESDAY: Soloist (Cardioid), WEDNESDAY: Trumpet ... Close-up
( Overload protection switch ), THURSDAY: D uet (Figure 8), FRIDAY: Newscaster (Voice switch ). Now, all these day-tO-day stud io problems can be solved
with ONE NEUMANN u-67 MICROPHONE! Switch controlled directional characteris tics (all patterns), low frequency response, and sensitivity, are the three
separate compensation possibiliti es provided by the U-67 ... the only microphone '
with such unique versatility. Remember the thrill, the firs t time you tested the
famous U -47? The U -67 will thrill you anew, setting new standards with its
completely natural and undistOrted sound even when inches away from the
sound source. Incidentally . .. the one situation in our group above, for which
we DO NOT recommend the U-67, is the SATURDAY concert hall assignment. The
M49b with remote controlled directional patterns is better for this particular
purpose. Write us about your special problem. The U-67 can probably solve it
... or we will forward details on the NEUMANN microphone most
suited for your needs. Address inquiries to D ept. M.
AU 01 0
2 W. 46 St.. New York 36. N. Y. (212) CO 5·4111
1710 N. La Brea. Hollywood 28, Ca l. 1,13) HO 5.4 111
Steinberg sound. Natural in terms o.f today.
w hich means straightforward a nd mIDu Ro mantic-s tyle frills, yet lyric, cleanl y played
a nd phrased, always balanced and well co ntrolled.
. 'd
If you want to hea r the ~arvels m SI e a
Brahms sym phony, the multitude of couutermelodies t he color touches, the play of t he
orcbestr~1 chOi rs, t h is semi-close-up "cu rtain of sound" is "the mos t." I 'nl gla~ C~m­
mand has a l ready sold 50,000 of t hI S d ISC.
You'd be tte r try on e, too.
War-Time History
Brahms: Symphony No.2 . Con certg e bouw Orch. , Meng e lbe rg . (Re cord e d April 9, 19 4 0 ).
Telefunken TH 97005
Tchaikowsky: Symphony No.6 (" Pathetigue"). (Recorded Ap ril
2 2,
19 4 1), Concertgebouw Orch ., Men gelbe rg.
Telefunken TH 97002
Historic r ecordin gs w ith a 'i'engea n ce,
t hese. How strange is mu s ic:) l histor,v
when it is li ned up against t he la rge l'
world in which it ex is ts ! I thought.
somehow. that t he dateR above mi g h t
be especiall y Significant. I ru s hed to m y
"Rise a nd Fall" ("R ise and Fall of tile
Thi1'd R e';ch," b.v Wm . L. Shirer) a nd
la-th e g reat \ViIlem lI1en.gel berg, on e of
t he fin est condu ctor s of the ea rly cen t ury, r ecorded t his Brahms wi t h hi s
Dutch orchestra on the very day of t h e
invasion of Norway by the Germans and
th e sutlden overpowe rin g of its sma ll
n eighbor-nation, Denmar k.
Th e Norwegians fought fo r awhile,
but t he Danes n e ve r e ven had a cban ce
to try. And t here, only a few mil es away
on th a t day, was B r ahms, se renel y li vely.
played in th e great tradition of high
Romanticism in wh ich the sym pho ny
was composed, led by a man wbo had
taken over this orchestra befo re the
turn of t he century. Astonishing-and
what a lovely, warm, pla stic, gPlluinc
performauce it is, too! T o lI1endelberg,
Brahms was still young a nd n ew. Goo cl quality, olel-style 78's. You can hea r t h e
swish-swish faintl y.
It was onl y a month later tha t the
larger invasion which completed the conquest of Europe overwh elmed Holl a nd
itself, in a mere five days of terror.
\ \Th at do we have, t ben, on the second
of t bese diSCS? A/J1'iZ 22, 1941! On t ha t
April 22, Hitler was in tota l charge of
Europe, incl uding Holland, and obviously including the Concertgebollw
Orchestra and its famous leade r. An unsavo ry aspect of his last yea rs but a
complex one, as this s u perb Mengelberg,
"Pathetique" attests.
On that April 22, Greece was about
to collapse and Yugosla via's pathetic
little r evolution had been crushed by
Hit ler; the great inva sion of RU SS ia
w as al ready overdue, postpon ed until tbe
Jate days of J u ne. And here was Mengelberg a nd his orchestra- an d Piotr
lIyich Tchaikowsky's last symphony,
t ragically played as it seldom has been
Since, in a style no longe r really possible
to day. A superb, a priceless perfo r mance.
I s th ere anyth ing Hitl e rian about i t?
Well, the Dutch string section is pitifully weak, a handfu l of fiddlers, placed
clo se to th e m icrophones. \Var-ti me attrition. Much more Significant, t h e tec bnical qu ality of the sou nd is s ta ,·tIingly
i llLp"o ved over that of the Du tc b recording of a year earlier. F ab ulou s ! And
sin ister-for this mus t bave been the
sudden influ ence of German technology.
At such a time! Well, s uch is life, an d
Telefunken (via London) is aesthetically
100 per cent r ight in bringin g us again
these outstanding recordings, ou t of a
tro u bled his tory.
MARCH , 1962
Instruments of the Orchestra. Commen tary
by Yehudi Menuhin . 50-page ill. booklet.
Capitol HBZ 2 J 002 (2) mono
Recordings of the instruments of the orchestra, for edu cational u se, seem to pop u p
regularly every year or so. This British one
has the best-played and best-r eco rded mll s ieal examples I've ever h eard, done in a ver y
natural liveness, as at a mu sical record i n~
sesston, and contr asted d ef tly willt f u l ~
orchestra passages excerpted from EMI l'ecordings. ( ~'h e co mparison between a solo
instrument close-u p an d the same in its
naturally di .. tant orch estral surroundings has
too often been badly h an dled, or simply ignored.)
Yehudi Menuhin i s the earn est, somewhat
pedantic-sounding com mentato r. Th er e is no
dou bt of his sincerity, an d the information
he conveys is useful a n d succin ct. It's just
t hat somehow, the tone of his voice h as t h at
"ed ucationa l" sound to it, much prized by
music educat or s a nd goner ally a bhorred by
t h e public at large an d by children in particula r!
Not unpleasant, mind you-and yOU must
produce some tone, if you're going to talk,
after all. I've heard a great deal worse
pedantry than Menuhin's, which isn 't r eally
t hat at all, for h e i s a r eal musician . Just a
ma nnerism , a way of s peaking.
The tape editing of the r ecord ed excerpts
is poor-clumsy fade-outs , more Or less at a
proper stopping point but ill-ma naged and
badly timed. 1 know-I do it ever y week m yself with reco rds, on the air, and 1 could do
better U,an this.
Poulenc: Concerto for Organ and Strings.
Stravinsky: Jeu de Cartes. Boston Symphony, Munch.
RCA Victor LSC 2567 stereo
A fine pa ir of works here, both of them
associated most honorably with the Boston
Symphony an d its hom e a uditorium, Symphony Hall. The Poul enc is one of his neo classical pieces (after many a year of f rittery
Fren ch hi-jinks), dating from 1938, not un like t he very popular two-piano concer to,
with plenty of serious but catchy melody a nd
some pleasantly h ard rh ythmic variety.
The Stravinsky "Card Game" is al so in
the high neo-classical tra dition
(19 36),
Bach-like in its s t eady, pulsing rh yth mic
figures, ingratiating to t h e ears of today as
tho ugh a lready out of a classical period in
the past-which it is, to be sure. Music now
is made of stern er stufl', in the atomic age.
The piece is composed in "deals ," with a
special bit of mu sic t o accompan y the cardshuffling, and the plot involves complication s
provoked by t he g uile of the pe rfidious
Joker. As th e lin er notes put it, this is a
"waggish" piece--and an a musing one f or
alm ost any hi-fi listener.
Ravel: Daphnis ·a nd Chloe (Suite No.2):
Alborada del Gracioso; Le Tombeau de
Couperin; Valses Nobles et Sentimentales.
L'Orch. de Ie Suisse Romande, Ansermet.
London CS 6210 stereo
There's n othin g 1 love so much as Ravel
w ell played-a nd h ere is a whole record of
the very best of it. Ravel, the essence or II
Frenchman, is a somewhat specia l t as t e, I
admit-people either enjoy him moderntel~·
Or (like me) find his influence as essen ti nl
an d powerful, every so often, as ca tnip is to
a cat. One mu st deli cately roll in R avel an d
that's just t h e way I feel about hi s marveleusl y lu sh , beautifully ten der, elegan t , sophis·
ticated, su per-violent mu sic. A r eal man of
hiS type, and one of t h e g r eat musical personaliti es of his age.
Ansermet, the bearded Swiss, i s in tru th
far nearer to the French tempera ment, albeit
in a sui tably weighty fashion, than he i s to
that of the Germanic peoples whose m usic h e
also plays-Beethoven, Brahms an d the rest.
This is just plain s upe rb F r ench, especially
t he "Tom bea u de Couperin," and only the
"Valses Nobles" seem to me som ewhat less
potent h er e than I've h eard them elsewhere
at their best.
MARCH , 1962
THE selection of a cartridge fo r use with a record changer-mono
or stereo-would appear to pose no special problem. Yet, there are
certa in things to be consider ed.
A cartridge t hat tracks at some featherweight fraction of a gram may
introduce prob lems if the record changer arm is not capable of trackin g at that force. To adj ust it, and attempt to use it at such a low force
may introduce complications. Joe Marshal, noted a udio a uthority, discussed this in his article INSIDE THE CARTRIDGE (High Fidelity Maga- {
zine, Jan. 1962 ) -HAn attempt to 1'educe n eedl e preSSU1-e with an arm
not designed fo r low n eedle pr-eSSU1'e will usually 1'esult in high distortion due to loading th e needle w ith the mass and f ri cti on of the arm."
Induced hum is another problem to be cori$.idered and anticipated with
a ma gnetic cartridge. The very nature of t he magnetic cartridge
makes it an effici ent hum transd ucer. In t he fi eld of an unsh ielded AC
motor, it is prone to r eproduce hum in the loudspeaker system.
The record changer owner mu st make fairly certain t hat the tracking
capabi lities of the arm and motor shielding are suitable for use with
a magnetic cartrid ge. He can avoid these complications, and en joy
superlative performance by selecti ng a ceramic stereo cartridge.
Sonotone was the first to develop the use of ceramics in piezo-electric
phono pickup application s. And today, the Velocitone cartridge stands
out as one of the most notabl e atta inm ents in high quality r ecord
r eproduction. The Velocitone tracks at 2 to 4 grams - well within the
capabilities of any r ecor d chan ger a rm. And it wi ll perform in the
magnetic fi eld of an entirely unshielded motor without the trace of
magnetically induced hum.
With magnetically induced hum and stylus f orce problems out of the
way, here's the kind of performance you can expect f rom the Velociton e : usab le frequency response from 20 to 20,000 cycles (± 1;2 db
from 20 to 6,000 cps; ± 1 db to 17,000 cps). Output is 11 mv. per channel
with better than 25 db separation.
Th e Velociton e is provided with matched equal izer s (no tools required ) so that it opera tes as a constant velocity device, and can feed
di r ectly into the 'magnetic' phono input of any ster eo preamp. What's
more, the Velocitone's performance is unaffected by extreme temperat ure and humidity changes.
Th e Veloc itone, priced at $26.50 with two 0.7 mil turnover diamond ,
styli, gives you, in effect, two cartridges for the price of on e. With
diamond/sapphire combination, the price is $23.50. Ask your hi-fi
dealer to demonstrate the Velocitone, the cartridge t hat is performance-matched to yo ur r ecord changer. Write for descriptive liter ature.
[email protected]
Eighteenth Century Flute Duets. Ju li us
Baker, Jean·P ierre Rampal.
Washington WR 442 (mono)
Catering to the B aroque-Rococo trade, the
circumspect Washington label here offers a
somewhat spectacular special- these two are
perh aps the greatest living flute players of
today, one Amer ican the other French.
(Washington releases few records but chooses
with care.)
Two flutes, no accompanimen t. A fi ne sound,
and much of the music is decidedly worthwhile-it involves a piece by "Haydn (?)," a
Telemann Sonata, an Allegro and Minuet by
Beethoven, out of his earliest {>roductlon at
Bonn three years prior to "Opus 1," and a
longish D.tet by Kuhlau, a flute player who
fled the Napoleonic Wars and settled happily
to a life of flute production for the King of
One of t hese pieces, or two, may be enough
at a time. If you will space them out in your
listen ing, you'll fin d each a fine exercise in
top-form flu te playing. T he tiny, significant
contrasts of tone and technique between the
two men will keep flute players' ears extremely busy.
Aristid Von Wurtzler, Harpist.
ASCO A 112 stereo
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70-S1 84th Street, Glendale 27, Long Island, New York
-- --~-----
fot. twet 30 ~.
~ledwnic ~~nt
Aristld Von Wu rtzler is a top harpist, a
young refugee from Hungary afOOr the 1956
revolution, a soloist with the New York
Phllharmonic--and his recording is a plain
bore. No bet ter can be said, though this is not
uncommon as a result of the kind of musical
professionalism that gets onto this record.
Why? Well, nobody can deny that M_ Von
Wurtzler is a fine harp player- he Is. But
when his Bart6k, praised by KodAly himself,
turns out here to be no more than a handfu l of those tiny, half-minute children's
pieces of Bart61<, that sound much better In
their proper piano versions, when an instructional suite by Von W. himself (easy
for students) is no more than an insipid and
rather amateurish bit of harpish parlor music,
when a Von 'Wurtzler performance of a wellknown Handel Passacaglia soun ds as though
Handel were a late-19th century harpist on a
small scale--which he was not, when the
mea t of this disc finally emerges (as migh t
have been expected) as we arrive, come
side 2, at the real harpy pieces, all fancy
trills and runs, a l a Harpo Marx-th en • . .
well, I'm just not a harp player myself.
Nor, probably, are you.
This is strictly trade stuff, showing merely
that the Budapest harp training is much like
too much other harp-instruction, tending
towards narrowness, compounded. Fine for
Portrait of a Splendid American-A Documentary Tribute to Dr. Tom Dooley.
Columbia ML 5709 (mono)
This is a first-ra te documentary in the
highest sense of that term- for t hough it
ostensibly presents facets of Doo ley's hectic
life as a tribute to him, in actuality it affords all of us a first-hand opportunity to
hear for ourselves how this somewhat controversial young man "worked, " to hear the
intensity of his dedication to his medical
causes, to assess with our owu ea rs-as he
speaks-whether we feel one way or another
about him.
Dr. Dooley, you'll remember, went out to
Laos and stirred himself mightily in favor of
the native population. He was a kind of
dynamic whirlwin d Dr. Schweitzer-passionate, where the older Doctor was quietly
philosophical, avid for publicity in his cause,
where Schweitzer was cautious (and still is),
frenetically high-tension in contrast to
Schweitzer's endur ing ca lm. And Dooley died
of galloping cancer r ight in the middle of it
a ll, thus quickly ending a ca reer that perhaps
was too spectacular for its own good.
Was it? Well, you can judge nicely for
yourself, via the abundant quotes from Dr .
Dooley's own speeches and broadcasts, on-the-
MARCH , 1962
scene and on visits home_ No ques tion, he
was a highly volatile and abundantly endowed young man with an enormously compell!ng personality. That personality comes
through with disturbing vividness here. Congrats to KMOX, St. Louis, which produced
this show 6riginally for radio.
The Story Teller • . . a Session with
Charles Laughton.
Capitol STBO 1650 (2) stereo
This is a humdinger of a set. I'm only
part-way through the four long Sides a t the
moment, but I've been caught for fair, and
so will you be. The man has a stage personality and a mike personality that is just
amazing! One minute, and you'll be rooted
to your speAker until It's all over-from
Shakespeare to Jack Kerouac, from the Bible
to "Major Barbara" by Bernard Shaw, plus
a liberal sprinkle of small talk and large
talk, off the cuff, to tie the whole thing together.
Here, by the way, is an excellent example
of an audience recording, a "live" performance on records. It goes along with many
another, ranging from pure slapstick and
Milt Kamen all the way to "Mark Twain
Tonight." In a "live" recording of speech,
you see, the audience is very much in evidence and audibly a real part of the show,
with its constant laughs, applause. Your
imaginative awareness of the "live" situation is thus perfectly sustained, in the living
room. With music however, the situation is
quite different. Audience noise is obtrusive,
even in very small quantities, and so is the
relatively stiff applause that accompanies a
formal concert.
Thi s kind of "live" performance is a natural for records, though music rarely is .
Sviatoslav Richter at Carnegie Hall: All·
Beethoven Program (Vol. 1).
Columbia M2L 272 (2) mono
There's a fascination to that magic phrase,
"So-and-so at Carnegie Hall," a cachet that
goes with a live performance of distinction,
apt to be his toricaL This concert was all of
that; but I have reservations as to its value
in the recorded form.
Don't forget, in your excitement over
Richter, that a record is always a record.
(And particularly when the pianist, as Is
rumored here, insists on a mike that is out
of sight and mind-hence the somewhat Inadequate mono sound in this series.) Keep In
mind that the recorded medium has its own
values, makes its own demands, projects its
own sort s of virtues as well as defects. It
is always necessary to apply a separate judgment to the musical values of a "live" concert and its r ecorded duplicate; the two are
often very different in musical impact.
On these records, Richter is exactly what
we should expect him to be, a big pianist, a
big-audience man, playing on the grandest
scale to vast, attentive, enthusiastic crowds
of admirers. We are in on a spectacle, llIid
we listen close-up (relatively close, though
the plano is off-mike by normal recording
standards) : we are intimate witnesses here
to a show, in musical terms, that is aimed
big, spread wide, shaped on a huge scale.
Could it be otherwise, in such a situation?
Clearly not-and even the critics on the
spot, live, had a sense that some of this
Beethoven was a bit larger than life, notably
in the early Sonata Opus 2, Number 3, which
is essentially a piece for room-size playing
and is at Its best in that milieu.
We are room-sized listeners, via records.
The recorded medium is basically for livingroom listening. True, we can "sit in" on a
spectacle such as this. True, we can be persuaded of music's sheer size by means of
tricks, via big liveness, for instance, as recording engineers now know so well. But
when it comes to the real thing, as here, we
feel an inconsistency. Like being a couple of
feet from La Callas when she hits a high
note, or, maybe, bending over Heifetz' necl,
as he screetches off a fiddle cadenza. Much
larger than life, and a bit overdone, for the
living room.
MARCH, 1962
We consider the Dual-l006 CUSTOM
to compare more than favorably with
any other record player now on the
market. So much so thatwe submitted
it for testing to a completely impartial
authority. A copy of this report is now
available upon request. It contains the
facts to be familiar with before considering any purchase of record playing equipment. For your copy write:
Dept. C-3,
united u.,udio
12- 14 W_ 18th Street. New York 11, N_ Y-
So it is with R ich t e r. One sen es t h e elect ric atmosphere, all r igbt, by t b!l a lmost hysterical applause that bursts out in stantly
after each piece; but oll e resents t he suuden
intrusion- baving forgotten du ring the playing that there was s uch an a ud ience! (Columbia has redu ced many of the a udien ce's coughs
to a sort of gassy hi s, which I find more
annoying" than the genuine, natural b onk.)
In the early Beethoven , th e sbow is too
close-up, too potent, too big, for any nornlal
living room. In the "Appassionata," howeve r
- a show-piece if ever there was one-Beetboven takes otI with astonishing eO'ect.
'['hat piece is righ t at home in the concert
hall , and at home with R ichter, too.
Yes, he's a great dramatiC pian ist, a masler
of big-time performance. But the t houg htfl11
intimacy of the chamber m us ic approach is
not his specialty. You'll n eed to listell to
him on reco rds with th is in mind.
Spanish Songs and Dances in Motion .
Jose Greco and His Dance Company,
Orquesta de Conciertos de Madrid ,
Columbia MS 6265 stereo
Here's another of those Spanish song-anddance recordings that featu re t he sounds of
the dance itself as w ell as the accompanyin g
music. T his one is rather sophisticated, as
benefits a famo us touring co mpan y. Pa rt of
it involves a fu ll symphony orcbestra and a
Spanish one at that,
But there's nothing phon ey about th is
presentation. The more intimate dances lI a " e
tJ:1e r equisite close-up sound of gu itars, sla]>plUg of thighs, clapp ing of hands, r attle or
castan ets and, of cou rse, t h e brittle r h ythms
of hard heels and soles an h ard wood flooring. Some passages-as is the new style i n
Spanish recordings- dispense en t irel y with
music for consider able stretches, in favor of
sheer r h ythm. Very nice.
Virtually e ve ry piece (or dance ) seems to
be somehow "arranged" by t he symphonic conductor, Ma chado, or so the record label says.
"Machado-Greco" is th e way it gets pri n ted.
Since Spanish dancing is supposedly s t ill
quite improvisational, traditional, and high ly
rhythmic-w ith-the-feet-and-body, I'm not clea r
as to how or what the "arranging" involvesbut let t his pass. It sounds good, arranged or
no. (Can you copyrigh t some fast foot wo 1'1,
in terms of r eco rd ed sound? ?'!)
2nd Pigeon and the Mockingbird. (Sounds
of Steam Railroading, Vol. 4.) O . Win ston
(0 . Winston link Railway Prods.
58 E. 34th St., Ne w York 16, N. Y.)
"2nd Pigeon," believe it or Dot, is t he
name of a train, one of the last coal trains to
be hauled by steam on purpose (as opposed
to those that a re ma nned by fans or commiss ion ed by record ing outfits!) . And this record, continuing the O. Winston Link tradition
of inter esting side-etIects, does feature a fullfledged and genu ine mo ckingb ird, no fake nor
even a caged birdie but a singer who ju t
happened to come along and stay awh il e.
In case you didn't know, mockin "b irtl s
belong in the South but often stray Northwards-and, oddly enough, the Northern
strays often turn out to be exceptionally
good singers. T he theory is that they have
nothing t o do bu t imitate the surrounding
noises, minus t he company of their own
kind . Moreover, mockingbirds (as I've ohserved myself) clearly like peopl e a nd enjo)'
showing off near any scene of moderate
human activity.
So, you see, t hi s mocki ngbird came around
to inspect the Link tape recorder an ti stayed
on a bit, to sing. After awhile, a steam train
comes along. . . . U 's 2nd P igeon .
Most of t he r ecord is the now-usual sequent ial acco unt of complete trai n episodes,
abundantly descr ibed in the accompanying
liner notes, which YOU must . read as you
liste n. Link in\"ented the idea, far as I l",ow.
Mobile Fidelity MF 8 stereo
Well, this oue has added sound-effects,
too. "Havoc! February, 1 961! The fun force
of ang"-y skies striT,e Hattiesburg, Mississippi,
'1'he 8ta,'" reality of devastating ,-ain and hi gh
wate,'. . ! ' P u blic relation s in high gear, if
you ask me, and I'll bet t h e guy who wrote
that blurb di dn't even own a hi-fl. B ut there
is a real , honest thunderstorm here, just the
same, one of t h ose that keep coming back
again and again (pre-frontal squall line, I'll
insert in my capacity as a u amateu r 111eteorologist) . Th e thunder cracks are solid enough
and reason ably frequent. the raiu just kceps
pou ring dow n and down, wetly. In the micldle
of the record I looked out my window at a
perfectly dry city street and jumped perceptibly.
Against this sultry storm there is a train,
natch. Old engine ' 0. 300, 2-8-2, comes
rumbling along with its train of cars. Sounds
just li ke an old small freight to me, and my
only objection is that, as we l isten, thi s train
also 1ceeps coming back, over and oYe r again.
I can ' t figure out its schedule.
Th e darned t hing seems to be shuttl ing
busily over a co u ple of miles of dead-end line,
judging from the sound. Whooo, whoooo,
who-WOO O echoes t h e w histle ' t hrough the
stormy Mississippi hills, then choo-choo-choo CHOO -OHOO, rattle-wbeeze-bau g, a nd olr it
goes into the d istance--onl y to turn rigbt
around and choo-choo st raight back again
to us once more. After a few times, this gets
to be rather zany. Has the engineer goue
mad? Or maybe it's a circular track.
Just a rather unimaginative job of tape
editing, I suppose--but what, after all, are
you going to do with one old steam train fo r
a whole LP side? Can't just record it once
on the daily run-th rough, then wait 24 hours
for the next time.
Ther e's a differen t traiu on the other side.
Steam trains being so scarce, two complete
trains, all ditIerent, is doiu' pretty good for a
single LP.
D 19 B
Dynamic Directional Microphone
the premier mike for semi-pro
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K 50
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For the home mus ic fan, th is pa ir of aces
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MARCH , 1962
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lhw, 1%
MARCH, 1962
balks at the claim that a self-replenishing
groove lubricant reduces the tendency of the
stylus to "skate" up and down the side walls.
The term "pinch ell'ect" might be more accurate and do away with any confusion, as
friction when high frequencies n arrow a
groove is what causes the stylus to ride up
side walls. Lubrication does lessen friction
and help the stylus "skate" through a narrow
passage, but this term usually refers to a
tone arm moving across the record surface
after a broken side wall or other defect forces
the stylus to jump out of the groove. Finally,
the magazine's experts tried taking measurements to confirm the Impressions of listening
tests. Any differences proved too sUgh t to account for the improvement, so the article is
titled "The Polymax Mystery." The answer
lies in the Fortissimo XK and Stereo Workshop Series, and quite a few record buyers
will judge it to be the solution of their
toughest problem.
Shorty Rogers: The Fourth Dimension In
Warner Bros. Stereo BS 1443
To meet stereo competition from all quarters, Warner Bros. has set up a Stereo Workshop, given its engineers carte blanche in
regard to engineering facilities, and is launchIng a series designed to titillate audiophiles
and arouse the curiosity of musicians. In
keeping with the avowed intention of "exploring unchartered patterns of sound," the
first three albums introdu ce a number of new
ell'ects, some of which are novel and ingenious
enough to startle the fashioners of electronic
music. The Initial jazz offering comes from
Shorty Rogers, a seasoned veteran at trying
out unusual combinations of sound, and he
handles the multiple duties of arranger, con,ductor, fiugelhorn soloist and supervisor of
the final remixing without missing a trick.
As remixing Involves six channels and six
recorders, the need for close cooperation between arranger and engineers in preparing the
two final tape channels must be fairly evident. In fact, conferences begin well In advance of recording sessions, and each piece
is carefully plotted In terms of time and
space. Not only does the six-track recording
permit complete fiexibility of positioning in
breadth, but the amount of reverberation
can be Individually controlled on signals from
all sixteen microphones. Soloists or instrumental sections can be placed in depth at wlll,
either during the session or by remixing
la ter through the console.
Even confirmed opponents of artificial reverberation will be intrigued at some of the
ell'ects brought oll' by Workshop engineers,
who seldom stoop to anything so Simple as
applying echo to the entire assemblage at
once. Instead, the same instrument may appear to be quite remote or astonishingly close
at dill'erent pOints In a single selection. Orchestral sections are isolated in the studio
and usually recorded with a minimum of
echo. A sound's final trajectory becomes firmly
established only during remiXing, which is
alleged to take three times the n umber of
studio hours normally required. Just how
smoothly the engineers work is demonstrated when trombone and reed move forward from far back in the studio on the old
Tommy Dorsey favorite Marie, terminating
with the extreme presence of organlike chords
from Ken Shroyer's bass trombone and Bill
Hood's baritone sax.
Several playlngs are required to absorb
everything Rogers and his collaborators have
up their sleeves, and the experience is less
apt to become tiresome than when echo is
added in the usual way. One or more instruments always remain fairly stationary in
the middle of the stage to provide a focal
point for all the action. Some experiments
wlll prove more durable than others, but all
are worth noting, especially a "swim" ell'ect
used to switch channels with a steady stroke.
Serious composers of electronic music have
* 732 The Parkway, Mamaroneck, N.
made great progress in inventing synthetic
sounds and altering t a pe speeds, but their
' lighter minded brethren are being given facilities to take the lead in the conquest of
space. Perhaps before long Warner Bros. w!ll
let a few of California's bright, young synthesists take a turn at its sixteen-position
At present, most seekers of stereo adventure
will find Rogers inventive enough, without
the help of manufactured sounds, to satisfy
their craving. Leading a mobile group of
nine studio regulars, he comes up with fresh,
swinging ideas to make his debut in super
stereo an eventful one. Stereo dialogues are
developed between flutists Bud Shank and
Paul Horn, drawing responses from Emil
Richards, vibes, and bassists Red Mitchell on
Lover, and Stompin' At The Savoy. Dual
melody lines are worked out on You're Just
In Love, and Baubles, Bangles And Beads.
Latin rhythms go Into action on Kook-A-RaCha Waltz, with Shelly Manne shaking a
tambourine, and the vibrantly exotic Taboo.
Pete Jolly's plano "swings" about with splltsecond timing, and the leader's fiugelhorn
turns up when least expected.
The audio enthusiast who learned about
high quality Polymax pres sings from Riverside's Fortissimo XK series will welcome news
that Warner Bros. also Is adopting this superior material. So far, distribution reaches
just thirteen western states, and purchasers
can detect the genuine article only by looking
for two patent marks next to the engraved
matrix number near the printed label. Unlike the brightly hued Fortissimo XKs, all
copies are colored black and the grooves play
from the outside edge. Owners of good equipment should have no trouble spotting the advantages in clarity and presence when comparisons with ordinary pres sings a re made
on their turntables.
Chemists working at Research Craft Corporation discovered Poly max, which is prepared as an additive to harden and convert
pure vinyl resin into an Improved medium
for preserving delicate sound impreSSions, and
Stereo Workshop ' presslngs were shipped for
r eview f rom the Los Angeles plant. Ewing
Nunn's Audiophile is another label which
played a part in the developmen t of the new
compound, and some collectors may have
sampled early pressings without knowing It.
Since the last Fortissimo XK release, the
manufacturer has increased his list of claims
and now states that pressings are free from
internal stresses, thereby making possible
warp free records and a product of less weight.
An array of photographs taken by means of
polarized light supports this revolutionary
claim, and the stress areas in various vinyl
mixes are clearly shown. Just to make the
proof more binding, an early Polymax pressing containing some signs of stresses pictured
along with one of the latest, in which stress
appears to be completely vanquished.
Polymax is being introduced abroad, and
demonstrations at the 1961 London Audio
Festival resulted in an article in the British
"Hi-Fi News." While awarding the new material hOllors after AB listening tests and
praising its anti-Static properties, the author
Joe Gordon: lookin' Good
Contemporary Stereo S7597
Dexter Gordon: Doin' All Right
Blue Note Stereo ST84077
Although both claim the same last name,
the real bond between these two men Is the
part they are playing in the revitalization of
jazz in and around Los Angeles, a region
still less than wholly receptive to the unadulterated product. However, the vaunted
climate is proving especially beneficial at the
moment for rejuvenating battle-scarred veterans and raising a vigorous new crop of
youngsters. Neither category quite fits Joe
Gordon, whose trumpet playing won admiration in his native Boston and for the last
three years in California, yet this is his debut
album as leader and composer. It marks a
great forward step for the former Dizzy
Gillespie protege, and trumpet fanciers are
advised to give first priority to the nine
originals contained therein. The creative
humor of the writing is best indicated by
some of the titles, and a healthy future should
be in store for anyone able to think up
Terra Firma Irma, You're The Only Gir~ In
The Nea:t World For Me, and Non-Vienne8e
Waltz Blue8. Aside from bassist Jimmy Bond,
the quintet introduces members of the new
crop, Including Jimmy Woods, an alto sllXist
of great promise, pianist Dick Whittington,
and drummer Milt Turner.
Dexter Gordon's return after ten years of
relative inactivity closely parallels the resurgence of Howard McGhee, another resident who is back in the IImeUght, but he had
to visit New York to get back in a recording
studio again. Greater maturity and close attention to tonal niceties are evident during
the ballad You've Changed, and t he tenor saxist shifts from low to upper register without
a hitch. He gradually gathers steam on George
GerShwin's 1 Was DOing All RiUht, and It'8
You Or No One, until all the old fire bursts
forth on two originals. Stereo affords all the
room needed to turn a beautiful phrase or go
loping oll' In pursuit of Freddie Hubbard's
trumpet, and both feats are performed with
deceptive ease and a warm, full-bodied sound.
The Horace Parlan trio provides rhythm backing, with the leader on piano, George Tucker,
bass, and drummer Al Harewood.
Riverside Jazz: Stars: A Jazz Version Of
Riverside Stereo RLP9397
This jazz version of a Broadway musical
is neatly arranged to make the nine Jazz
Stars sound Uke fourteen ordinary players,
and the trio responsible for turning the trick
consists of Jimmy Heath, Ernie Wilkins and
Melba Liston. Spreading the writing chores
around increases the odds In favor of a more
varied trea tmen t, yet the r isk of conflicting
viewpoints ' spoiling the whole was sUght in
this case. The division of labor is fairly
even, with both ballads and swingers being
shared by all, and everyone hews to the current jazz Une.
In fact, if the fiamboyan t Kean were ali ve
today, he might consider the untimely demise
of the show bearing his name and forego the
stage for a career in jazz. He would probably
feel right at home and ready to take part in
MARCH, 1962
MARCH, 1962
the stereo conversation between Blue Mitchell
and Ernie Roya l on Penny Plain, even t h ough
the trumpeted street cries sou nd cl oser to
Charleston than to 1 9th century London. And
his l ost youth would be restored on h ea rin g
Clark Terry's poetic fiugelhorn on To Lool.
Upon My Love. Jimmy Heath, tenor sa..x, and
pianist Bobby Timmons a lso tal,e starring
ro les, and others in t h e cast include Juliu s
Watkins, Ron Carte r and A l Health.
Gary McFarland: How To Succeed In
Business Without Really Trying
Verve Stereo V68443
As this helpful guide to the corporate way
of l ife seem s to be entrenched for several
seasons on \~.. '1 6th St., quite a few arrangers
are li kel y to attempt jazz versions or the
Frank Loesser sco r e from t ime to time. If
t h ey hope to outdo Gary McFurland's success
with this first ve nture, everyone co ncerned
F org,et about . ecord wear. Play records
at peak perfomlance even if they are
w~rped. Hear t?e entire audible range
Wit hout d istortIOn. How? "Vith these
technically superior fea tures avai lable
on ly in Audio Dynamics components:
First, the ADC-l al1d A DC-2 ca rtr idges
that give you:
Lowest stylus mass: a mere half-milligram elimina tes high frequency d istortlOn and he lps to provide excellent channel separation.
Unusually high compliance: at least 20
x 10. 0 ems/dyne, del ivers clean, tigh t bass.
Both of these q ualities resliit "ill :
, Lowest tracking force : less than 1 gram! ,
renders record wear an d dis tortion ne<rl igible.
Next, T he Pritchard TO~le Ann:
Very low inertia w ith perfect balance :
gives hig hly stable tracking a t low stylus
press ure.
Only 1
rear overhang: makes installation easy in the tightes t ca bi net space.
The side thrust compensatpr: first of its
kind in
American mod,ej; helps to maintai n even
.•_ _groove
_ .._ _ _
_ _p
. _ __ _ _ _.
c...... .~_
had better abandon the precepts of the book
and really try. A youthful vibist from the
\Vest Coast, McFarland has branched out as
composer and arranger since migratin g east,
writing for Gerry Mulligan, Anita O'Day,
Johnny Hodges and Bob Brookmeyer. He
tack les his deb u t a l bum with a zest and
e uthu s iasm befitting any junior executive, and
the manageria l eyes of a ll major l abel· are
su re to watch bis progress from now OD.
Most of the songs a re t ied to characters or
s itualions ou the stage, but McFarl and reo
moves a ll such shackles and treats each theme
as free ly llnd expans!l·ely as the big boss
would entertain a prize customer on an e ve·
ning out. The en ergetic title tune is up l ifted
further by a touch of gospel fervor, and a
blues feeling adds to the nostalgia of G,·ancl
Ol(l I vy.
McFarland trnsts the book's main premise
enotIgh to del egate the authority for numerous
ad·lib choruses. M il ch of his s uccess r es ults
Single ball bea ring mountings: Minimize lateral-vertical friction.
An accurately machined and treated
wal n ut tone arm: suppresses extraneous
New type wire guide: Tone arm wire
can no longer exert drag on the mo\'ing ~
system. I t moves as a unit on its own axis!
Plug-in head: eaSily accom modates all
quality cartridges.
And now the Pritchard Pickup System.
By cO ~llbining the ADC-l carh·idge and
the Pritchard tone arm, a remarkab le sys.tom IS p roduced. This system tracks at
~/4 gram! Surely with these exclusives, it
IS worth your wh ile to hea r superb Audio
Dynamics componen ts at your d ealers'
Pr i tchard Pi cku p Sys t em Mode l ADC·85
Pri tcha rd Tone Arm Mode l ADC·40
Plug in Ca rt ridge Shell Mode l ADC·S40
ADC· l Stereo Cartridge
ADC·2 Ste reo Cartr idge
$85 .00
For more inForma tion on Aud io Dynam ics
componen ts, wri te:
1677 Cody Avenue
Ridgewood 27, New York
when the trying is turned over to suell ~orn­
pe ten t member s of the sixteen ·man stal1' as
Phil Woods, Bob Brool<meye r , Oliver Nelson,
Hank Jones a n d Kenny B u rrell . I n fact, he
p ractically loses the h ero's role to C lark
Terry, whose trumpet and fiugelhorn work is
witty and lyrical throughout. If Terry keeps
on devoting so much attention to show tnnes,
a sign may go u p on his desk someday bearing
the title "The Thinki ng Man's Jonah Jon cs" ·
McFarland wisely places several h ealthy sol o
bids h imself, at just tbe right mom e nt to seuu
his stock as vibist soaring.
Henry Mancini : Combo!
RCA Victor LSP2258
Jonah Jones: Broadway Sings Aga in
C-apitol Stereo ST1641
While man y factors enter into the mal,eup
or a combo, there are rea Ill' only two I,inds
-those that p l ay arrangements and the
others. Extremes of hoth types tal,e the field
on these albums, with Henry Uancini holdin g
up tbe arranger·composer's end in h is usual
masterful fas bion. In fact, it would require
the combined el1'or ts of Peter Gunn and Ur.
Lucky to find another non playing conduc tor
of combos in all jazz history, un less Jacltie
Gleason q ualifies.
But then, )lancini's duties in the studio
may si mpl y consist of giving e l'eryo ne stereo
c ues, as quite a few startling etYects are
brougbt orr at th is session. Johnny Williams
p lays the harpsichord so that it so unds like
rhythm guitar, then Bob Bain's bass guitar
manages to equal Big Ben tolling t he hour iu
reaching tonal depths on Dreant Of You., while
Larry Bunker a lternates from marimba to
vibes and imitates Bobby 'I.'immon s soloing
on Moanitt'. Of more substautial nature are
seve ral clarinet pas 'ages from Art Pepper,
and dr umm er Shelly Uanne duelling with
Ramon River's con gas on Teq'tila. Although
Uancini drops broad stylistic hints in the di·
r ection of famous combos, the only influe nce
frankl y admitted is R aymond Scott's draw·
ing room manner on The Powderecl Wig. As
on aU Mancini's r ecordings , engineer Al
Schmi tt again does the honors.
Jonah Jones p r obably last read an arrangement when playing in the "POl'gy and Bess·'
pit band nearly ten years ago. His brand of
rugged individualism makes h is q uartet a
one-man operation, and his success formula
is melody, a variation or two, and then mo re
melody. And once he knows the tune, tbe
muted-trumpet variations could go on all
nigh t. Happily, one of h is sets of Broadway
s how tunes each year seems to be part of
Capitol 's permanent planning. Among tbe h i ts
of the past season are Ma.1,e Someone Ha.PIJY,
Goo(l Glean Fun, and Hey, Look Me Over.
Also reprised are a few mellowed with use,
incl uding Al·m ost LH,e Being In Love, and I
Wish I Were In Love again.
AI Hirt: Horn A-Plenty
RCA Victar Stereo LSP2446
Apparen til' n eith er A l Hirt nor Billy May
stepped on the scales before and after this
exhibition bout, as there is no listi ng of the
poundage l ost by the two hefty gen ts. After
working as sparring pa rtner with so many girl
vocalists, May seems happy to be back in the
heavyweight division again, and he unwraps
a dozen strenuous arrangements to give the
trumpeter from New Orl eans his most thor·
ough workout yet. No l ess than twenty top
Hollywood studio musicians help out at the
event, responding to May's every request anel
shining the bright light of stereo on the main
soloist. Both men prance vigorously through
Bumpus, and H oliclay FO!· Trmnpet. And
they show great heart and stamina during the
clinches on Margie, That Ola FeeHng, and
Love MalGes The Wo,·za Go 'Round.
When thrown in the ring with an extrovert l ike May, t he fiamboyan t Hirt acts more
at home than he did at his previous match
~vith He~l'i Rene's strings. If anything, h e
Illdnlges III fewer stylistic excesses out of de·
ference to a trumpet section that boasts
Mannie K l ein and Conrad Gozzo. By way of
variety, May l ets the saxes rest for several
ro unds, s u bstitu ting five French ho r ns to good
etfect, especially when the full brass choi r
MARCH, 1962
sounds on Swing Low, Sweet Chariot. In the
joint capacity of engineer and referee, John
Norman treats both contestants ali ke a nd
never perm its one to overpower the oth er .
Jo Basile: Jo Bosile's Paris
Audio Fidelity Stereo AFSD5955
After playing attendance on a sum total
of sixteen albums fo r t his label, J 0 Basile returns from a grand tonr of the international
scene to the city of his first success. Massed
strings furn out in welcome, swelling the
ranks of the little bal musette ensemble which
supported the leader during his travels. T he
home-com ing party takes place in a spaciou s
ballroom, and the sumpt uous setting is in
sharp contrast to the group's plebeian beginnings. Basile's accordion purrs contentedly
a mong the silken strings, but he may have
slipped away to a neighborhood bloc!< party
to end the evenin g in plainer surroun dings.
Th e songs chosen are popula r in either
place, even a noble visitor from Britain
t itled Greensleeves, and includ e Gig'i, SO" .. £e
Cie l De Pa."i8, and Melod'ie D 'A mott'!". Three
Monnet pieces comprise a special treat. F ull
advantage is taken of the extra personnel to
in crease the dimensions of t he stereo stage,
and the strings acqui re a romantic blool11 in
the excellen t recording.
The Limeliters: Sing Out!
RCA Victor Stereo LSP2445
Bob Grossman
Elektra EKL21 5
After a series of appearances in packed
clubs and noisy auditoriums, even the inside
of a recording studio must seem inviting,
Besides, ample proof already exists of the
explosive way audien ces react when The
Limeliters let fly, and examples of the sharp
bumor of Lou Gottlieb's introductions also
are plentifu l. Apart from dispensing with
preliminaries, the t rio sin gs out with accustomed high spirits and compensates for the
omi ssion with hilarious asides directed at the
control booth of RCA's Music Center of the
World in Hollywood. One member benefiting
from quiet surround ings and excellent stereo
is Glenn Yarbrough, whose tastefu l solo
passages proceed without interferen ce on
Everywhere I Lool. T Jds Morn'in', The LUtle
Land, anel A Wa"ja1"ing St,'ange,', Alex
Hassilev leads everyone back to the open
road on Gol den Ben, and Joy Across The
In terviewers have quoted the Limeliters
on the price of success and the strain of constantly singing together, an affliction which
caused a split in The Kingston Trio. The
chance to relax in the studio helps this time,
but a long vacation may still seem attractive
to one member or another. If a sllbstitu te is
ever needed, the two sur vivors might do well
to draft a rising new star on the label which
gave the Limeliters a start.
Bob Grossman set out 011 a foil, Singing
career after graduation from high school and
acquired stage presence during a nine month
stay at the Unicorn in his native Los Angeles. The twenty-year-old youth is now
packing a gu itar around the circui t traveled
by all folk aspirants, anel this debu t al bum
finds him en livening t he night at the Bllddbi
in Oklahoma City. Dipping into an international bog of folk material, he keeps the
populace alternately enthralled and ent husiastic enough to indulge in group participation. Attesting to his versatility a re
such diverse items as Viva La Qttnice Brigad("
Vayiven Uziaht', and Bilked And Scon,ed. No
stereo version is available, but Grossman will
be heard fro m ngai n and again.
Modesto Duran: Pachanga, Anyone?
World-Pacific Stereo 1414
Mariano Mores: Mexico
Capitol Stereo ST10292
The atmosphere in Latin American music
is so heavy with the pollen of cross-fertilization that hybrids of all sorts are turning up.
However, these albums come from ha rdy
stock and the incidence of f oreign strains
remains relatively lo w, especially when Mo-
MARCH, 1962
New society attracts
more than 4000 kit builders
In less than 3 months
Charter Membership Invitation extended to April 30, 1962
nnouncement of the new R' A' E Society
has received overwhelming response.
Charter Membership applications from kitbuilding enthusiasts are pouring in from' every
section of the Country. long-time kit-builders,
new kit-builders, and will-be kit-builders are
as one in applauding the R' A· E Society idea
for people interested in building radio, audio,
electronic kits. The Society will help you, too,
to derive more enjoyment and satisfaction from
this fascinating hobby, and show you how to
achieve the best performance possible from
kits you build.
Many letters accompanying applications cite
the various benefits offered by the Society as
reasons for seeking membership. Most often
mentioned :
r. The R ' A· E Quarterly Journal received
the greatest number of mentions as the
only publication devoted exclusively to
kits and kit-building. (No music articles,
no record reviews )
2. The Advance-Test Panels excited interest with the plan to have members pretest newly-designed R' A' E kits before
they are marketed and, in so doing, receive
the kits absolutely free.
3. The Members' Roundtable and other
departments of the Journal devoted to
members' correspondence, brought favorable comment as an opportunity to
exchange ideas and experiences, opinions
a nd recommendations, to help others, and
to learn from them.
One applicant summed it up : "This looks
like the best $1 investment I ever made."
Milton B. Sleeper, noted figure in electronics
and Chairman of the R· A· E Society, heads the
editorial staff of the Society's Journal. This
unique publication, elaborately illustrated and
printed on fine paper, will cover new R'A'E
stereo and mono kit designs, new kit-building
ideas, high-quality installations from the
simplest to the most complete, recording techniques, and maintenance and testing methods,
with articles on improving reproduction from
records, tape, multiplex ' FM, and TV sound.
The Journal will include an "I Think" department where members will air their ideas
as to what they would like or don't like in
kit designs, circuits, and methods of assembly.
"Notes and Comments" will contain news and
criticism related to radio, audio, and electronics.
Use of the "Buy, Sell, and Swap" section will
be available to members without charge.
The wide spread of authoritative, reliable
iniormation in the Journal, planned for beginners as well as advanced enthusiasts, is not
available from any other source.
Only members of the Society will receive the
R'A :E Journal. The $1 annual membership
dues will entitle you to receive four issues free
of charge as one of the benefits of membership.
No copies can be bought anywhere.
At this writing, the first 1962 issue is being
completed, and will be ready for. mailing to
Society members soon after this advertisement
appears. Among the equipment articles are:
Simplified, Modular-Type Stereo FM Tuner
Electronic Network Improves Any System
New Concepts of Kit Design
A Mono Preamp You Can Convert to Stereo
36 Plans for High-Quality Installations
In 'addition, the first 1962 issue of the Quarterly Journal will contain important, advance
information about 'new kits of revolutionary
design by R ' A . E Equipment, Inc.
Many comments indicate that this is one of the
most original ideas ever adopted for pre-testing
new products. Kits intended for kit-builders
will now represent the kit-builders' point of
view, with design techniques based on kitJj'uilders' experiences.
Before any new R · A' E kit is finalized, ten
prototypes will be first tested by an AdvanceTest Panel comprized of 10 Society members.
Each will receive a kit to assemble, and will
report his findings to the Society. The completed kit will then become his property at
no , cost to him. All members may qualify for
the Advance-Test Panels. A new Panel will be
chosen for each new kit to be pre-tested; no
member will serve twice.
Becf\use response has been so much greater
than anticipated, the cutoff date for Charter
Membership has been extended. By sending
$1 for your first-year dues before April 30,
1962, you can still become a Charter Member.
This will entitle you to receive the quarterly
issues of the Journal; to qualify for an Advance-Test Panel; to receive advance information on new R' A . E kits, and to participate in
all other activities announced in the Journal.
. ·Il'. . . . . . . . . . . . ..
' Use the coupon below or your own stationery.
(sponsored by R· A,. E
Equipment, Inc.)
Central Bank Building
Great Barrington, Mass .
Yes, 1 wan t to participate in the R·A·E Society's
activities. I enclose $1 as my Charter Me mb,ership due s for one year. I understand that 1 will
receive a Charter Membership Card , the Q ua rterly Journal issues for one year, and will qualify
to serve on the Advance-Test Panel.
City & Zone
I understand t.hat I am not required to purchase
any R· A · E kits to enjoy membership privileges.
I am a 0 Beginner 0 Experienced kit-builder
If I am not completely satisfied after I receive
and examine my fi rst issue of the Quarterly
Joumal, my money will be refunded promptly
on request. No extra charge outside the USA.
Now! The identical world-acknowledged
desto Duran's Charanga Kings occupy the
stand. The instrumentation consists simply
of violins and cello, a wooden Cuban flute
pitched high enough to sond like a piccolo,
pl us a rhythm section featu ring the jawbone
of an ass and the leader's conga drum. Born
in Havana, Duran got his start with Gilberto
Valdes orchestra, played in Mexico with
Esquivel, toured seven years with Marla
Antonietta Pons, and his three·count conga
bea t helped the original Perez Prado group
introduce the mambo. After coming to the
The same electro-mechanical know-how
United States, he worked wIth Ertha Kitt,
that for over a quarter century has estab- Lena Horne, Herb JeffrIes, a nd set the
lished FAIRCHILD as a leader in quality rhythmic pace for Harry Belafonte's first
components is now available to the astute calypso album. With all these credits to look
audiophile and kit builder in quality back on, Duran ventures forth as composer of
nine of the dozen tunes, most of which move
controlled ready-to- assemble kits.
to a pachanga beat. One exception worthy of
no te is Sere FeUz, a lyrical and pulsating
bolero, while unother brings the chachacha
to Les Baxter's Village . The sound of
DomIngo Vernier's fabu lous flute obbligatos
For th e astu te audiophile who dreams of repays the purchase price, and Olguita supowning only th e finest the famous FAIRCHILD plies pert vocals. Oliver Berliner's supervIsion
412 is now available i n kit form . The assures sterling stereo reproduction.
Mariano Mores introduces five new works
FAIRCHILD 412-1 K is from
"Luces de Buenos Aires," a musical
identical as its sbow whicb he presented with great success
City, where thIs album was reo
assembled coun te rpart which co rded in excellent stereo. Wbile the perform·
a nces of the large chorus a nd orchestra may
includes seem
a bit theatrical, tbe leader's arrangelocked in ments are full of surprises that break through
the shimmering surface. His touch at the
syn chronous 33 h
speed, 8 lb. turntable and piano is firm, fiexible and sparkling in the
best tango tradition. The fiery Argentine
the famous exclusive FAIRCHILD Double- rbythm gives a luminou s new look to the one
Belt Dri ve . Comes complete with mounting ou tside Visitor, The Song From Moulin
components are available in
Turntable Kit
board . .
KIT $74.95
Assembled $95.00
Model 510K
Dynamic Realism in kit form ! Through the
use of the
you can now
add Dynamic Realism to all
your disc and tape recordings . Acclaimed by
music and audiQ expe rts the COMPANDER
restores many of the dynamic values that
are necessa ri ly controlled in recording or
broadcast. Can also be used as a compresso r for ba ckground music .
KIT $59.95
Assembled $75.00
Turntable Kit
This Fairchild single-belt drive, two-speed
turntable, 33 \13 and
45 rpm ., has performance charac teristics similar to
the famou s FAIRCHILD 412 . This
robustly designed FAIRCHILD 440-2K kit
w ith fast speed change, accurate speed
control through use of FAIRCHILD Spee d
Sentinel, unusual low low rumble and practically immeasurable wow and flutter makes
t his a des i red addit i on to any quality
component· system. Come s complete with
KIT $58.00
mounting board.
Assembled $69.95
All these FAIRCHILD KITS are available
at your audio dealer. Write for com plete details .
10·40 45th Ave., Long Island City I, N. Y.
Circle 5SA
Joe Ha rnell: The Sound Of Th e Asphal t
Kapp Medallion M ST47018
(4-tra ck UST tape)
No doubt r ecord producers spend as much
time looking for tags to hang on albums as
they devote to preparing the contents. Names
of popular televisIon shows fill the bill
splendidly, if a pact that is mutually agreeable can be worked out, and why a natural
like "Person to Person" was neglected still
remains a mystery. Joe Harnell beat out competition before to gain the rights to "Naked
City," and it must have sold copies or this
sequel wou ld never see the light of day. As
fa: as Harnell is concerned though, the set's
pl'lmary purpose is to provide swinging
danceable mUSic, and fancy titles or stere~
fireworks are just so much extra frosting.
Apart from the theme and a little thing of
flarnell's called Midnight Madne88, t he tunes
are a ll standards accustomed to both country
club life and the urban scene. Harnell's arrangements deserve to be classed with those
of Nelson Riddle and Gordon Jenkins, and his
piano passages are smartly styled. While sections of the large orchestra are at liberty to
leap about in stereo, the beat always remains
within reach. Dancers can sail forth with
this tape confident that it wlll not become
too spectacular for comfort.
Pink Anderson: Car olina Blues Man, Vo l.
Prestige/ Bluesville 1038
The CarOlinas nurtured a goodly number of
blues singers throughout the years, but this
is the first visit paid to the area by any
of the con tem porary lot of folk material
gatherers. Pink Anderson worked most of his
life as a mediCine show entertainer, traveling
fo r thirty years with Dr. Kerr to help peddle
miraculous cures put out by the I ndian
Remedy Company. Seasons when the show
was off the road, he sang ru ral blues and
played guitar with a trio around his home
in Spartanburg, until heart trouble finally
put an end to outsIde activities a year or so
ago. Now in bis sixtY'second year, Anderson
can look at the blues with a dispassionate
eye, and the ten here are sung with a detached and reflective air. Perhaps the virtues
of understatement were learned in t he tent
shows, where the next act a lways promises to
eliminate dist ortion in even
the most elaborate speaker system
with a TRU-FI TONE. This easilyi nstalled unit (no soldering needed)
stops distortion originating in your
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quality by a new method of back
pressure control. Satisfaction guaranteed or your money refunded.
N o C.O.D.'s Only $5.95, postpaid.
(Ca lif. residents add 24¢ sales
Circle 5 8B
Up to 2 years to payl
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Circle 5SC
MARCH, 1962
be better tban the last and perfor mers leave
selling to the doctor in charge.
According to another theory, the t rait is
regional and helps dist inguish t h e local
product from less temperate outpourings
usually hear d t o the sout hwest. Supporting
this claim is the in fiuence of Blind Boy Fuller,
who was the first residen t of the Carolina
hill countr y t o r ecord with a n y success. But
Fuller h a d a bass voi ce, un like most blues
singers, a n d it m u st h ave shaped his style,
as little restr aint shows in the falsetto of
Sonny T erry, another native son and early
pupil. Thanks t o the effo rts of two adventurers with a tape recorder, producers Sam
Charte rs aud Ken Goldstein, blues collector s
can wo rl< ou t their own solu tion while listening to Anderson sing four pieces associated
with F uller.
Claude Hopkins: Let's Jam
Prestige/Swingville 2020
Although new material is conven ien tly separated from swing standards on this a lbum,
some finicky listeners may hold an opposite
view from the liner notes as to w h ich portion
deserves to be called the n ewer. Actually,
the three Cla ude H opkins originals prepared
for the first side go back fu r ther in jazz annals than do the swin ger s on the reverse.
Basic issues are dealt w it h a t t h e very start,
and the quintet gets down to business as Wendell Marshall ticks off the agen da on Offbeat
BZues. With the prompting of d rummer
J . C. Heard to rely on, the bassist tells everyone how to time a slow drag for t he proper
effect. The quest for speed seldom permits
today's youthful wonder s to work at such a
deliberate pace, and they might take a lesson
in pu rity of tone a n d pertinen t phr asing from
veteran s J oe Thomas and B udd y Tate. Experience on several recent L Ps has returned
Thomas to top form , a nd h is t rumpet sounds
fu ller and better than ever . A surprise swit ch
f rom tenor sax to clarin et has T ate performing like a true son of New Orleans on Late
Evening . The interlude should prove pleas-
ant enough to stir up quite a few requests
that T ate make the change more often. Each
member carries his own weight on Sajm,
and the trip across the veldt is much like
the ones Jaan Tizol used to plan for D uke
Heading the quintet not only gives Hopkins
a chance to work his balladic wiles, but his
pianistic strength as an accompanist is more
evident than during the days when he was
leading a big band. He always makes his
presence felt, whether by politely nudging the
others a long or swinging out at will on I
Apologize, I Surrender Dear, and his own
familiar I WouZd Do Anything For You.
trumpet solo, and the feat should also clear
liP any doubts about h is command of the
horn .
Also attempted in one take is an expression
of the emotions indicated in the title D espair
T o Hope, an exercise inspired during attendance at a Joh n Cage concert. Ac tually, the
music is much eas ier to take than the
analysis E llis gives on the liner, and thinking of it Simply as a slow blues in which the
tempos become brighter helps a lot. Ellis
introduces a n ew partner in Al FranCiS, whose
recorded debu t on vibes reveals a fresh
sounding voice, a n d the newest thing in fresh
r hythm is represented by Jaki Byard, piano,
Ron Carter, bass, and drummer Charile
Don Ellis: New Ideas
Prestige/ New Jazz 8257
It was only a question of time befor e some
hapless record company came a cropper for
the same reason that an art gallery hangs a
modern painting upside down. Everything
seems to have gone smoothly with this latest
Don Ellis release un til the fina l stages of
production, then somehow the sides were
reversed. Both the liner notes and labels are
correct for the first master number punched
on the matrix, but someone blocked out the
A and B deSignations and scratched new letters on the wrong sides. If every collector of
curiosa starts ransacking retail outlets for a
copy, Ellis may find this inside-out example
selling to an audience not reached by his
earlier abstract deSigns.
Compounding the error is the fact that the
first title, Natural H, was selected to show
how Ellis handles a familiar line like Sweet
Georgia Brown. Apparently the quintet had a
few ideas leftover to use on Imitation, which
opens the other side, as bits of the theme
turn up during improvised solos. The trusting
listener can hardly be blamed for jumping to
the same conclusion as the expert who
switched sides. If any doubts exist after this
explanation, the next number is something
Ellis improvised in one take at the studio.
It is
unmistakeably an unaccompanied
Jim Copp and Ed Brown: East of Flumdiddle
Playhouse 404
While t he exact location of the title's
imaginary land of bright nonsense never becomes known, it must be somewhere a long a
route already traveled by Hans Christian
Anderson . Several of the master storyteller 's
tales are bo rrowed by Jim Copp and Ed
Brown to complete this fourth annual collection of song and fab le. Fortunate owners
of earlier entries in the series are aware
that considerable audio kn ow-how goes into
the preparation of both original and a dapt ed
material. The two collaborators call on a
n umber of electronic skills to account for
ninety differen t voices, including a ll the inanimate objects met on the way. Whenever
a situation calls fo r sound effects, some of the
most reailstic n oises ever to come through
loudspeakers are h ear d. Not only does the
audio action keep young audiences quiet for
the moment, but it opens tender ears to the
imaginative use of everyday sounds. Among
the characters and places visited this year
are a basso profundo lady toad, an A.W.O.L.
French toy soldier, a one-inch maiden, a hen
with a low I.Q., and t he castle of Tin Pan
with its magical garden of audible frllit. .a:
Not quite. But you might think so if you
saw our repair)re cords! E-V profession ~ 1 microp hon es just seem to
~eep on going no matter what
you do to th efT) .
That' s why we can afford t o off er
an uncond itiona l two year gu aran tee
against failure fo r any reason . (Just on e
exception ... don't scratch t he fi nish - we
. charge to fix th at!)
Two years is a mighty long ti me, but E- V
a,"so offers a lifetim e guarantee agai'nst
defects in materials or workman·ship .
And our out-of-warranty repair
charg es are t he most rea sonable in the industry.
' You profit every day fro m t he dependa
of E- V profeSS ional microphon e'S.
Is n't it t i me to follow th e lead of maj or
and leading independent studios? Switc
to Electro,-Voice- dependably better!
ELECTRO-VOICE, INC., Commercial ·Products Division, Dept. 321A. Buchanan. Michigan
MARCH, 1962
• Thin Spea ke·r Syste,m . Advanced Acoustics announces a new addition to th e ir
line of B i-Phonic Coupl er speaker systems.
T he new u nit, called the Wafaire BiPhonic Coupler, uses a new method of
const r uction which helps improve p e r formance while a t the same time reducin g
cost. The B i-Phonic coupler does not USe
cone-type speakers, but instead the wooden
panel vibrates as a single piston in an
unbatfled arrangement. Dimensions of the
• 48-Wa tt Amplifie·r . H. H . Scott has m a de
available a 48 -watt stereo a mplifie r kit.
The n ew kit, Mode l LK- 48, incl udes features s u ch as separate bass an d treb le
co ntro ls for each channel, a stereo bala n ce control, front pa nel t a pe monitor fa c ilities, a nd d erive d cellter c hann e l output. Alth ough r a t e d at 24 w a tts per c hannel, th e LK-4 8 i s claim ed to d eli ve r 28
a d' Arsonval t u ning' m ete r, separate t on e
contro ls , b lend contro l, stereo ind icato r
lights, fro n t pallel headphone r eceptacle,
a nd a n illumina ted pushb u tton on/off
sw itch. Price of the TA5000X is $299.95.
A walnut e nclosure is availab l e for $29.95.
Hannan -I{.al'don, Inc., P la invi e \", Long I s la nd, N. Y.
• Professi onal Turntable. Designe d t o
so lve th e r umb le prob lem highlighted b y
the intr oduction of stereo broadcast ing,
the F a irchild Model 750 is clalmed to be
the fi r st 16-in., 3-s pee d, belt- driv en t Ul'1lt ab le offered to the broadcast industry.
R umbl e is - 65 db b el ow a l OOO - c ps s i gnal
at 5 cm / sec. Wow a nd flutte r are b e lo\\'
0.03 p er cent, cl early indicating the advantages of a belt driv e . 011 the other
h a nd, o n e of t h e maln d isadvantages of the
belt drive, stretching of th e b e l t , h ave been
watts (IHFM) at low freq u ellcies. For
ease of construction the m a nua l shows
parts in their actu a l co lor. Parts come
mounte d o n sep a r ate "Part-Ch a rts," one
for each page of the instruction book . All
wires are pre-cut and pre-strippe d. The
kit arrives in a "Kit-Pal," cOlltain er
w hich opens to form a work t ab le . All
mechanical parts a r e riveted to th e ch assi s
at the factory . Price of the l<it is $124.95 .
H. H. Scott, IllC., Maynard, Mass.
C· 3
• H ide -away Spea.kers . Featurillg t h e "reflection co upl er" speak e r system the
Raven swoo d M50W speaker s a r e s mall
enough to be hidden out of s ig ht behind
a cou ch, a nd handsome eno ugh to be in
v iew. Th e M50W systems in a stereo setup
Wafaire are 13'hx21 %.x3% . The un usually shallow depth of the system p er mits it to be placed in a variety of locations not ordina rily compatible to speaker
systems. It requires only 10 watts of c lean
audio power and its impeda nce is 8 ohm s .
The Wafaire is available in mahogany,
oiled walnut, or lacquered walnut finish.
Price is $69.50 individually, or $124.50 for
a matched pair. Advanced Acoustics Co.,
Cedar Grove, N. J.
• Ste,r eo The n ew Eico Model
ST-84 stereo preamp feat u res distortion
levels of 0.05 per cent or le ss at all l evels
of a ll functions. Styled to match the Eico
"New Look" line, its brushed cast-alumin u m face plate is gold anodized with brown
accenting ban d. Input and mode selectors
each have s even positions. Switches control low- and high-frequency filtering,
equalization of 3 %, and 7'h ips t a pe speeds,
will h a ndle 35 watts of program m ateria l
and dispe rsion with the reflectors shown is
180 deg. Imped a nce is 16 ohms. E ach uni t
measures 20-in. x 16-in . x 6-in. Price for
the M50W is $49.95 each i n u tility black or
$54.95 finished in oiled walnut. Raven s wood, Annapolis, Md.
eliminated by the u se a 2-speed synchronous motor. Also, speed change can b e
accomplis h ed while the turnta bl e is revolv in g, a nd is sufficiently quiet to p ermit
operation very c lose to open stUdio micr ophones. Other features include a 35-lb.
a luminum-fi lle d p latter and a front dress]) late for m ounting controls. Sem i-autom at ic operation i s availab l e with t h e u se
of the new Fairchil d '''I'hird Hand," an
a u tomati c attenua tor. The price of the
t urntable unit on a t o p plate is $485.00,
an d in a cabin e t (i llustrated) $55 0.00 . F ai rchild Recording Equipme nt Corp., L on g
I s land City, N. Y.
• FM-Ste·r eo (Multip lex) Tuner . F eaturin g
a front-panel s witc h for the multiplex section, the L afayette LT-700 indicates stereo
by means of a front -pan e l light. The FM
• FM-Ster eo Receiver. The new S ter eo
Festival III by H a rma n -Kardon , Model
TA5000X, is a versatile high fid elity m u sic
center for the home. It f eatures separate
tape mon itoring, and lo u dness contour.
T he unit i s self -powered. Frequency response is ± 0.3 db from 5 cps to 25,000
cps. Harmonic distortion from 20 cps to
20,000 cps is 0.06 per cent at 2 volts o u t p u t. In ter modulation distortion is 0.04
per cent at 2 volts outpu t. Tone controls
p r ovide 15 db cut and boost at 50 cps and
10,000 cps. P r ice i s $59.95 in kit form and
$89.95 ready t o pla y . E i co E l ectronic In stru ment Co., L .I.C., N . Y.
AM and FM tuner sections for stan dard
broadcast reception, an integrated FMstereo adapter, two 25 -watt amplifiers
(music power), and compl ete control facilities for monophonic or stereophonic
listening. The Stereo F estival I II includes
circuitry includes a low -noise front end
with triode m ixer fo llowecl by doubletuned dual limiters a n d a wide band
Foster-Seeley discri minator. Separation is
given as 35 d b at 400 cps and harmon ic distortion is less t h an 1 per cent f r om 50 cps
to 15,000 cps. Over-all freq u ency response
is within 1 db f rom 50 cps to 15,0 00 cps.
MARCH, 1962
Hermon Scott faced a basic choice ... bring out his new
LK-48 amplifier kit at $124.95 or make it to sell for $30 less
like many other amplifier kits. All his engineering department had to do was make a few compromises.
The LK-48 is rated at 48 watts . By using a smaller power
supply, ordinary output transformers, and pushing the
output tubes to their limits, the amp lifier might still produce 48 watts at 1000 cycles where many amplifier kits
are rated. But measured at 20 cyc les, w here Scott engineers feel power is really important, output would be
down considerably. No compromise was made. Th e
LK-48actual/y produces 28 watts per channel at 20 cycles,
and delivers full power throughout the audio range.
Yes ... Hermon Scott cou ld have made the LK-48 to sell
for $30 less ... but it would have mea nt compromising
life- lon g standards. This is something he would never do_
You can choose any Scott kit with complete confidence
- the LK-48, the LK-72 80 watt complete stereo a.mplifier,
the LK-150 130 watt stereo power amplifier, the LC -21 professional preamplifier, the LT-110 multiplex tuner, LT-10
FM tuner or t he LM -35 multip lex adaptor. Th ese superb
kits have al l the features and performance you've come
to expect from the world's leade l' in audio engineering .
H. H. SCOTT I NC .• III Powdermill Rd .• Mayna rd, Mass. Dept. 035-03
Many kits use a one color in struction book. Hermon Scott
decided to continue to use full color to insure factorybuilt performance, even at the hands of a novice_
Important Scott engineering extras like the all-alu minum
chassis, DC operated preamp heaters and unique humnull balancing could have been eliminated. Hum would
have been audibly hig her and distortion at levels normal
to many kits, but Hermon Scottfe lt thatthe kit builder was
entitled to the same performance he has come to expect
from Scott factory-wired units_
MARCH, 1962
Please rush me your new full-co lor brochure telli ng
about Scott's full lin e of superb stereo kits.
Name. __ .. .. .. ... _...... _.... .... .. ... .. _.... __ .. _•.
Address ...... ___ .. ............. ..... ... ...... _. _.•• ••
City .. . . ...................... .. ... .Slale . . .... .... "
Expo rt: Morhan Exporting Corp., 458 Broadway, N .V.C.
Canada: Atlas Radio C,?rp .. 50 Win~old Ave ., Toronto.
Prices slightly higher West of Rockies.
The LT-700 is handsomely styled in cream
and brushed-brass finish on the front panel
and is set In a beige-finish vinyl enclosure.
Price of the LT-700 Is $124.50. Lafayette
Radio Electroics Corp., Syosset, L. I., N. Y.
• Automatic Level ControL Incorporating
the most recent advances In solid state
and computer technology, the CBS Laboratories "Audimax" automatic level control
device automatically maintains maximum modulation or recording level. Audlmax Is offered in two models: Audlmax I
employs a "platform" concept which auto'm atically readjusts the gain "platform" to
input level drops below a preset level. This
unit is intended for FM broadcasters, television motion pictures, and public-address
syste~s. An Audimax stereophonic adapter
is also available to provide for precise
stereophonic coupling of two Audimax
units. CBS Laboratories, Stamford, Conn.
• lO()"Watt Complete stereo Ex-
ceptionally high power and flexibility
which makes it equal to many separate
units distinguishes the new H. H. Scott
Model 296. Among the features of this unit
is the patented "Dynaural Rumble Suppressor" which removes turntable or record rumble during playback without loss
- 0
a new level when the Input levels shift to
a new region. This unit is intended expecially for broadcasting, recording, and
background music systems. Audimax II
incorporates, in addition, a "gated gain
amplifier" which maintains a constant gain
that bridges the program lapses when the
of audible music. Each section delivers 60
watts IHFM from 20 cps to 20,000 cps. A
variable phono level control permits precise matching to any phono cartridge or
tape deck. Other features include a stereo
selector switch, a front panel stereo headphone output, and a derived "center channel" level control. H. H. Scott, Inc., Maynard, Mass.
(from page 14)
A good many years ago, I decided that
eventually the phonograph arm was going
to get smaller and smaller, as pickup elements grew lighter and more delicate, until it would somehow resolve itself into a
purely automatic t racking device-a minichanger that would eliminate the coarse
human hand altogether. Well, it's funny,
but it hasn't happened.
For one thing (speaking superficially),
the age-old half-inch mounting center for
pickUp cartridges, dating back to the early
crystal period in the 1930's, still sticks
with us today, carrying with it the necessity for a large "head" on the arm, its
minimum dimensions determined by the
need for interchangeability between cartridge models. There are big cartridges
and small ones, but all of them toe the
half-inch line in this particular respectexcept for a few s.p ecial models that have
now and then broken away, such as the
Pickering Uni-Poise or the Shure Studio
Thus today virtually every arm still has
a very swelled head. And a big head tends
to require a fairly big arm to support it,
if only for looks. Not too many recent
arms have sported big heads on spindly
"necks," though from an aesthetic point
of view the thin-tube type of arm, done
rightly, can be handsome.
Three-Way Designing
The technicians will be screaming at me
here that aesthetics come last and what
counts isn't arm size at all nor even the
head size, but those much more vital basic
parameters that go along with all these externals-arm mass, tracking geometry, the
assorted weights, drags and inertias, both
vertical and lateral, that must be balanced
against the changing mechanical parameters of stylus design within the cartridge
itself. Right! I'm not dumb enough to bypass such considerations (out 10.lid).
Nevertheless . . . the total consideration
in an arm does involve three major factors,
oIlly one of which is strictly a matter of
engineering performance. The pickUp arm
is designed for people and for the home.
Aesthetic appeal may be the last factor of
importance but it's there just the same,
and permanently. And there is that even
more important human factor, increasingly
our concern these days, the cybernetics of
the design, the human engineering. Your
arm must be developed, you see, as part of
the human machine with which it will operate; it must be "coupled" to human energizing motions and to human thinking
and habits. Since we haven't yet been able
to redesign the human arm itself, and in
particular to miniaturize it, we seem to be
more or less permanently stuck with its
macro-energy and its relatively coarse
movements, as a source of motive power.
If you ask me, that is really the basic
reason why we still have the big arms and
their swelled heads, though I'll admit that
the geometry of the 12-in. LP record has
a wee bit to do with it.
In a way, you can think of pickup arm
designing (cartridge taken into consideration, of course) as a kind of constant
juggling of various methods of suspension
and of motion, to see which one works out
best at a given time, for a given set of
factors in relation to the unchangeable
human being. Remember the 6-oz. RCA
magnetic pickups of around 1930' I used
one. When those beasts went into operation
via the hand the main danger was the
needle-and the danger wasn't to the stylus. You could stab yourself 1f2-in. deep
MARCH, 1962
with no trouble at all. You could also stab
the record, breaking the point or digging
holes. Once on the disc, however, the arm
didn't really present much of a tracking
problem. It had to track, with all that
weight, and no two ways about it, so long
as the shellac record was in one piece.
And then there was the first "lightweight" arms, along j ust before the war.
Point pressure was reduced to an uncanny
lightness-one ounce. I evolved a standard
test method for "needle" pressure in those
days. Lift the arm by lifting the stylus
point with the ball of a finger. If the point
drew blood, the pressure was too great. If
it merely pricked a bit, it was all right.
If you think back over this long period,
you'll find the basic thinking fo r each design more or less as I have described it. As
the designer works out his formulae or follows his intuitions and brainstorms, adjusting the angles, the weights and the counterweights, the pivots, bearings, springs, scales
and, of course, the aesthetics, he must think
inevitably-first get it to work with current equipment; then get it to work with
people, who are always "current;" and finally, make it pretty. This trip artite oP-"
eration brings up something different each
time the changing factors are lined up for
a new look.
Each advance in cartridge construction
means a new set of readjustments or redesignings in the arms that take the cartridge. Stereo, for example, produced the
biggest disruption in arm design since the
beginning of phonography. We aren't yet
entirely recovered, aft er a good three years,
from the fuss stirred up when vertical cartridge response was added to lateral. Arm
after arm has appeared, or reappeared
modified; type aft er type has been .tried;
old types like the once-popular VISCOUSdamped mono arm have been largely retired, or drastically altered to meet the
new needs. New sorts of arms have turned
out to be best for stereo.
A small repercussion of a typical sort
comes to mind. A year or so back I got a
new arm to try out-I won't name it now,
having more to say about it later on. Just
lately I mounted that arm in a new set-up
to take a brand new cartridge put out by
the maker of the arm itself. Well, there
was only about a year's time-lag between
the two, but the new cartridge was so light
in weight that the arm wouldn'~ a~just .to
it and proceeded to float happlly lU mIdair! Obviously, the company had not foreseen its own cartridge when it designed
that arm-thon~h I suspect minor changes
have since t aken care of the difference. I
strapped a penny on top of the shell, to
bring it down to earth.
And so, with these general thoughts in
mind, I turn to mention of an interesting
arm I've used for these last several months
in my main listening system, the Grado
arm, plus its complementary Grado ca7tridge. (Bless me, I can't figure a~ thIS
point which of the Grado grades thIS one
is but I think it's the best, out of three.
No identification on it. Anyhow, it's small,
strictly rect angular and a soft gold in color,
with a very compliant stylus, emerging
from a protective rubberish guard.)
Let me talk of the arm-but I'll have to
say in passing that the Grado cartridge is
one of those that just plays and plays, producing top-quality sound for me without
any complicatio;ns at all. If it varies from
other top cartridges, it is in those microrespect s that fascinate hi-fi listeners ~ut
tend to affect musicians in that they lIke
their music the better, or praise the recording, or the amplifier--even the performance
MARCH, 1962
itself. "Wow-what superb Bach!," they'll
enthnse. And all the time it was just the
cartridge, doing a superb job. What else
is a cartridge for.
The Grado arm takes all standard cartridges in its tricky bottom-mounted cartridge chassis, made of milky nylon plastic
with four delicate fingers for the silver contacts. You place it under the end of the
arm and scr ew it tight upwards via an overhead knob. Good system, though you can't
see what you're doing very well, if you
ever want to. (Use a dentist's mirror')
This arm is the most practical and ingenious version of the increasingly popular
dynamically balanced arm I have yet run
into. For one thing, it is small-unusually
so. It fits right into an old changer box of
mine-where the last arm I used had to
have a hole cut in the side of the box to
let its rear overhang out. Short, and also
surprisingly simple, considering the variety
of ad justments the arm provides. The arm
itself is made of wood (walnut, I think),
for non-resonance. The rear counterweight
is massive , and heavy, projecting only a
short distance; it slides easily, with a
knurled knob to hold it in place for the
fore-and-aft equilibrium that is the special
feature of this type of arm. After mounting, and inserting the cartridge of your
choice, you fil'St set this rear weight. The
cartridge sits in mid-air, balanced. (Same
general system on n umerous other arms
today-Empire, SME, ESL, and so on.)
Then you proceed quickly to the sidewise balance: Grado uses a very simple
~t ,ecording StUdt '
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4-Track Stereo Tape Recorder
A recording studio in a suitcase - that's how Norelco '400'
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RE,SPONSE: at 71/z ips, 50-18,000 cps; at 3* ips, 50-14,000
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self-contained, including dual recording and playback preamplifiers, dual power amplifiers and two Norelco wide-range,
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High Fidelity Products Divi sion
NORTH AMERICAN PHILIPS COMPANY, INC•• 230 Duffy Avenue, Hicksville, L.I.,
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lit tle sliding weight on a track to the rig~t
of the main arm, with a setscrew. For thIS
adjustment you tip the whole turntable
'way over, then balance the side·pull (now
a partial down-pull) of. t~e offs~t head a~d
cartridge against the sliding weIght. ~galll,
same idea as in the other arms, bu thIS one
is undeniably convenient and easy to ad·
Finally, after balancing both w~ys, you
turn a small knob over the arm pIvot and
the third major adjustment, stylus foree, is
made via a spring inside. Also similar to
other arms of this general type.
It would be nice if someone could devise
an "absolute" seale of grams for this type
of spring stylus adj ustment. Bu~ that, I
fear, is impossible unless all cartndges are
st andardized at identical weights (and all
springs made to pull at a permanently
standard tension, another unlikelihood ) .
As with other arms, you must measure your
own stylus for ce at this stage; but Grado
tries to help via one of those ubiquitous
penny balances. For once, Mr. Grado be·
comes imprecise, as I suppose he had to,
pennies being pennies. It says "2 pennies
equal 1 gram. Each additional penny
equals 1 gram. 4 pennies equal 3 grams."
BafIled by this arithmetic, I went out and
dug up myoId Auda.....: stylus·force meas·
urer, the one with the little donut weights.
No pennies, thanks.
There are still other neatly designed ad·
j ustments, once and for all, on this Grado
arm-I forgot an important one, a sliding
motion at the cartridge mounting which
allows you to center the stylus tip exactly
at the optimum point for best tracking.
Excellent idea, and it should be provided
on aU general·pUl'pose arms.
In use (after these preliminaries), I
found the Grado to be cybernetically near
ideal for its type. A neat little arm rest,
for instance, in the right place, with a
small magnet mounted in the arm itself to
hold it down. Unlike other magnetic arm
rests I've tried, this one cannot bounce, a
dangerous habit when the magnetic pull is
side,vise and unaided by mOl'e conventional
holding power. This arm drops downwards
into a r ectanglar socket t hat just fits; the
magnet merely serves to hold it lightly in
place. Excellent. (But th e magnet kept
coming loose. I re· stuck it with rubber
The other vital element in arm handling,
the lowly finger lift, is also exactly "right"
here-where in so many f ancy arms it is
overly complex, clumsy, fussily delicate
and/or badly placed. The simplest is really
the best, just the old-fashioned curved
hook, f or one fore·finger. There isn't anything better.
Only one minor problem turned up, an
easily repaired defect. The cartridge at
first produced only one channel and fo r
awhile I thought I was up against some
more of those Canby gremlins. Couldn't get
a peep out of the other half. It turned out
to be a slight warping of the plastic can·
tact fingers on the cartridge mount. Com·
man enough in this sort of material and
not hard to remedy with a bit of warmth.
I think the most impressive aspect of the
Grado arm, over and beyond its compact·
ness and its ease of adjustment, is simply
a feeling of security that it provides in
actual use. Not easy to pin down, for it is
a result of many f actors; but the over·all
lightness of mass has to do with it. No
big hUllks of metal swinging dangerously
around, no long projections to snag, no
clumsy or over-delicate handling facilities.
If you want a short arm, if you want
in particular an arm that goes easily in a
small cabinet, a tight corner, a cramped
work space, yet has "everything," this
Grado model is surely for you.
MARCH, 1962
([l·om page 32)
8. Alan Douglas, "Frequency division
organ." AUDIO, September aud October ,
circuits for musical instruments." Eleo10. R. H. Dorf, "Electronic organ uses
tronio Engineering, September, 1960.
neon tone generators." Eleotronios, August,
9. R. H. Dorf, " The Conn electronic
T- 15o, b, SHERATON
TC-1, TC-3,
TC-4, TC- 6
30, 45 SERIE S 5 1
430 }
" D"
200 }
o s-
TABL E. 2. Characte ristics of typical tone g e nerators.
The owner of this system, Mr. Francis
Colaguori, has combined his two m a jor interests, art and music, in an unusually ingenious manner. A resident of West Long
Branch, N. J., Mr. Colaguori constructed a
"picture wall" with the paintings functioning as do~rs for the compartments in which
the high-fidelity components are mounted.
He used the following components in his
Sherwood S-4400 preamp, S-360 basic
MARCH , 1'962
amplifier (not visible ) and th e S-3000
III FM-ster eo tuner (with multiplex )
Telefunken M97 ster eo t ape r ecorder
Weathers K803 professional turntable
and pickup system
Jensen TRJOU speaker system (one on
pole, the other is out of the picture
Another interesting idea r evealed by the
photograph is the use of egg separ ators 011
the surface b ehind the "wall." We nnderstand they work beautifully as sound absorbers and diffusers.
Mixers aren't new. But one that will fade
and blend two program sources with a single
contro l is. That's one of the exclusive features
on the new Harman-Kardon COMMAN DER Series
of publ ic address amplifiers. Equally unique,
yet typical of the exceptional value of thi s
product group is an Anti-Feedback Filter which
increases sound output by 100% under difficult acoustica l condi tions and Multip le Inputs
for still greater installation flexibility. That's
not all ! The popular priced COMMANDER Series
includes features usually reserved for co stlier
" de luxe" equipment such as: master volume
control ; input for magnetic cartridge ; outputs
for tape recorder, booster amplifiers and both
25 and 70 volt speaker lines; locking covers;
DC on fi laments of hi-gain sta ges, etc. Get all
the facts now. Write Commercia l Sound Division, Harman-Kardon, Plainview, LI ., N.Y.
Se nd f re e d etailed catalog s: De sk 38
Nam e
On French Opera, Not Crand
ECTOR BERLIOZ called it "music for
pastry cooks and dressmakers." Theophile Gautier contemptuously dis·
missed it as "that wretched bastard form
composed of two incompatible elements,
in which the actors excuse their bad acting by saying that they are singers, and
sing out of tune on the plea that they are
The target of these and other attacks by
19th-century composers and literary figures
was the "opera comique," a peculiarly
French institution that is often neither
operatic nor comic.
Technically speaking, opera comique is
opera with spoken dialogue. The form had
its roots in the "vaudeville" and "piece a
ariettes" of the early eighteenth century,
its modern counterpart being the satirical
review. Everything not specifically banned
by the Court was fair game in these short
plays with music: topical events, fashions,
the nouveaux riches, and celebrated personalities (Cardinal Mazarin was the butt
of numerous satires, which acquired the
generic title of Mazarinades) . From the
start, opera comique, like the gay intermezzi inserted between the acts of serious
Italian operas, was essentially a popular
entertainment, quite apart from the opera
of the "grand" variety, which sets mythological and historical subjects to appropriately dignified music.
The French, who maintain separate
though unequal facilities for their two
branches of the musico-clramatic art, traditionally enveloped the Opera in an aura
of superiority. Composers for the stage regarded the Opera as their ultimate goal.
]]ven the most successful opera-comique
masters longed to penetrate the confines of
the Opera, where fluff and frivolity were
spurned and noble music and high-toned
libretti enshrined. The Opera-Comique was
to the Opera what the Broadway musical
theatre is to the Metropolitan Opera House.
Opera comique was the rage of Paris
during the years between the Restoration
and the decline of the Second Empire. In
keeping with the growth of Romanticism,
it had lost much of the intimacy and satirical bite of pre-Revolutionary times,
turning more and more to the typical melodramatic concoctions of the period and
straying far from home for its subject
material. Sir Walter Scott's novels were
widely adapted by opera-comique librettists, and, as early as 1797, Cherubini set
the tragic and gruesome story of Medea to
music. The orchestra increased in size from
40 players in 1790 to 70 some fifty years
later. Despite this rapprochement in text
and scope between the Opera Comique and
the Opera, the former generally retained
in approach and execution a lightness of
For inf orm ation, write Depa rtm ent
Circle 66A
Circle 66B
Me 12
style that consistently avoided pretentiousness- it was sentimental but never patlletic; its humor was down to ear th, not
epic; and philosophical overt ones were
conspicuously absent. Looking over some
of the operas comiques of the period, one
is struck by the fact that there is very
little real development of musical or literary ideas. Each theme (or should we say,
tune) appears briefly and, with a pretty
curtsy-cadence, makes way f or the next;
as for t he personages, they are shallow,
stereotyped creations. The storms and passions of Zampa, for example, with its
Weber-like string writing and noisy climaxes, are not to be taken too seriously.
Nevertheless, there is much to be admired
from a purely musical viewpoint. A lively,
boulevardier spirit animates the melodic
line of an Aubel' score; Boieldieu's orchestration is often a model of clarity and full
of piquant effects; and one finds numerous
examples of elegant vocal and instrumental
writing in the works of Adam and Herold.
Today's musical public is familiar with
the operas comiques of these composers
only through a handful of overtures which
are included in "pops" concert p rograms.
The near-total disappearance f rom the
repertoire of this large body of music conb'asts dramatically with the enormous and
extended popularity which many of these
works enjoyed during their day. Within
two years after its premiere, Herold's
Zampa (1831) was performed in a dozen
opera houses throughout Europe and in
Moscow and New York; Boieldieu's La
Dame Blanche (1825) reached the 1000mark at age forty; and many others ran
over a hundred performances. Berlioz, confronted with defeat and frustration in his
operatic career, reacted with cold fury
over the easy success of the opera-comique
composers, although he was fair enough t o
credit some of them with originality and
craftsmanship in orchestration.
I n recent years, quite a number of lesser
known 18th- and 19th-century operas have
been revived, either in stage or concert
versions. As might have been expected, the
majority of these revivals have consisted
of obscure works by famous composers, not
always a guarantee of high musical quality; e.g., Bellini's Il Pirata. But this operatic archaeology has unearthed some fine
music, such as Rossini's Turco in Italia
and Paisiello's Barber of Seville.
Mid-19th-century opem comique, however, like Swiss wine, does not export well.
Do not blame it on the librettists. Eugene
Scribe, who wrote nearly all of Auber's
books, was one of the foremost dramatic
writers of his day. What of the music' Of
minor significance in the history of opera,
light in content and treatment, designed
MARCH, 1962
to "'e pater les bourgeois" (to delight the
average Parisian audience)-hardly an unqualified recommendation. Yet , if Fra
Diavolo is representative of t he opem
comique style of the mid-1800's, it would
bt' a pity to banish such music forever.
What Rossini wrote of Auber could also
apply to the best works of the leading
composers in this carefree genre : "H e may
have produced light music, but he produced it like a great musician."
(from page 28)
r ise time--that is to say that it takes
zero time for the voltage to rise from
its zero level to maximum. However,
when a square-wave signal is sent
through an amplifier it will be found
that a finite amount of time will elapse
from the instant the rise starts until the
peak output voltage is reached. This is
due to limited bandwith. This passage of
time can be defined as the r ise time.
Actually, the rise time is conventionally
Fig. 8. Circuit with high-frequency rolloff.
defined as the time it takes the signal
to r ise f rom 10 to 90 per cent of its final
value. The passage of time is shown as
t2 - t l in the drawing.
J ust what the r elationship is between
rise time and the upper frequency limit
can be determined from Fig. 8. We can
see that the upper frequencies ar e
(from page 10)
Living Strings: South of the Border
RCA Camden CAS 682
We learn In t his release that a "Living
Strings" orchestr a can be assem bled in Mexico
just as easily as one in Engla n d. This lowpriced series (It is listed at a nation al fi gure
of $2.98) has featured some exceptionally fine
performances in the past . Chu cho Zarzosa upholds the habit as he conducts, in an up-todate Mexican studio, his own arr angements
of F"enesi, Besame Mucho, P oinciana and
other Hem ispher e favorites. Ther e isn't a
trace of boredom in the playing of these musicians. They behave as though a sizeabl e break
had come their way in the fo r m of an appearance on a major American label. T he quality
of the sound In t h is release is just abou t on
a par with so-so ster eo discs selling at regular
prices. Definitely recommended for "budgeted"
background listening.
Norman Luboff: Sing! It's Good For You
RCA Victor lSP 2 475
Is the Norman Luboff choir being g r oomed
for sing-along releases? Luboff's previous recordings on this label stressed arrangements
that highligh ted the virtuOSity of the choir.
Now we find the chorus occupied with a
roster of tunes designed to stimulate l istener
participation. The mood is resolutel y cheerful
throughout a lineup that r anges from a Latinpaced Happy Days A,'e Here Again to swinging versions of I Got Plenty 0 Nuttin' and
It's a Good D ay. Listener s who object to the
amount of rever beration found in some of
the more famous sing-along a lbums that
have been dominating the market will find
little fault with the trace of echo that is
suggested in this disc.
More Yves Montand
Columbia WS 380
Yves Montand has been a Parisian music
hall favorite for nearly two decades but his
masculine singing style didn't become a major
attraction on domestic recordings until he
made his first Amer ican movie. Releases by
Montand on French labels first began to catch
on among collectors in this country during
the Fifties when singers such as Edith Piaf,
Patachou, and Jacqueline Francois were demonstr ating that Chevalier was not the only
French vocal star of our generation. The turnIng point in Montand's career was the oneman song and dance show he brought to New
York in 1959, only to discover that the gravel
in his voice could also he t u rned to American
gold. In his latest Columbia release, a small
combo accompanies MOIitand in one of his typical displays of versatility. There is more than
one echo of European music halls in The
Bilbao Song from Kurt Weill's forgotten show
"Happy E nd ." A novelty with an oriental
theme, From Shanghai to Bangkok, brings in
the tinkle of temple bells and at l east one
recen t movie is recalled in the theme from
"Goodbye Again." That new woofer may carry
more conviction to the distaff side of the
family with this release.
MARCH, 1962
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• •• FREQUENCY RESPONSE - AT LAST, a condenser microphone
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• • . FRONT-TO·BACK RATIO - Highest wideband rejection over
the important midrange; at least 26dB. Since directional patterns
are varied acoustically rather than electrically, frequency and
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The un ique feature that makes
Schoeps microphones superior to
ail others is its patented single
metal diaphragm construction . Pattern switching is achieved by altering the acoustic chambers behind
the diaphragm. This system guarantees not only a smoother high
frequency re sponse but aIso a
higher front-to-b ack discrimin ation
in the cardioid pattern.
Schoeps microphones are available in two series. The eM 60
series uses a standard 6AU6
plug-in tube. The smaller M221B
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number of interchangeable condenser capsules. A full range of
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A new compendium of AUDIO knowledge.
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can appreciate its valuable context.
Covers planning, problems with decoration, cabinets and building hi-fi furniture. A perfect guide. $2.50 Postpaid.
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Good only on direct order to Publisher
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Plf'ase send me the books I have circled below. I am enclosing the
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limited by some configtu'ation (s) similar
to that shown. Here, the capacitor at
the output results in a rolloff. The f r equency a t which the gain is down 3 db
is 1/2JtRO. This can be seen when we
consider the network as a voltage divider where
R + l/jwO
j wR O + 1
The output is 3 db down when the denominator is equal to 1 + j, or jwRO = j.
iclt and VR= 'iR
ther efore e'i = ~ Jiclt + iR
Eq. (14)
A solution1 to this equation is
Eq . (15)
where eo is the instantaneous voltage
across the capacitor at any moment of
time after the leading edge of the pulse
has been applied, E is the final voltage
after an infinite time, and { is a constant
equal to 2.72. We can now find the time
it takes for the voltage to rise f rom 10 to
90 per cent of its final value.
For convenience, let us assume that E
in EiJ.. (15), the final voltage across the
capacitor, is 1. At the 90 per cent portion of the final voltage, eo must be equal
to 0.9. Substituting these into Eq. (1 5),
0.9 = 1 (1- (-t i RO)
+ 0.1 =+ { -t i RO
Putting this into logarithmic form gives
log{O.l = - tiRO
- RO log,O.l = t =2.3RO log 100.1
(for log, = 2.3log 10)
t=-2.3RO(-1.0) =2.3RG
Eq. (16)
The time that it takes the voltage to
reach 10 pel' cent of its final value, can be
found by substituting 0.1 for eo in Eq .
(15) .
0. 1 = 1 (1- (-t iRO )
+ 0.9 = + { _ t iRO
Putting this into logarithmic form gives
log{0.9 = - t/RO
- RO log,0.9 = t =- 2.3RO lOg100.9
t = - 2.3RO (-1 + .9542 ) = 0.105RO
Eq. (17)
See Appendix.
MARCH , 1962
The frequency where the response
down 3 db is then:
Eq. (1 8 )
Eq . (12)
N ow assume that the leading edge of a
square wave enters the network shown
in Fig. 8, causing the capacitor to charge
gradually. The equation for this network
Eq. (1 3 )
ei= V c + V R
Vc=~ J
Rise Time = t,. = (2.3 - .105) BO
f= 2Jtt,.
- =t,.-
w=ROandf = 2JtRO
(17) .
= 2.2 == 2.2 ( for w =~)
w 2Jt/
The time requu'ed for the voltage to
rise from 10 to 90 per cent of f ull value
is the difference between Eq. (16) and
Equation (18) will yield the 3-db point
for frequency response at the high end.
This equation will give the 3-db point
from actual measurement, whereas Eq.
(12) will give the point from component
Unfortunately, the rise-time measurement cannot be readily made on all oscilloscopes found in the average laboratory : it must be made on scopes in which
the horizontal axis has been calibrated
in tiIne. Only on these more expensive
types of equipment can this test be made
While on the topic of 'scopes and
square waves, it should be noted that not
all oscilloscopes are capable of properly
r eproducing square waves. Wide-band
d.c. 'scopes best suit the task of observing all kinds of square-wave responses.
M easuri ng Preamplifiers
In gen eral, the test procedure and
setup for meastu'ing a preamplifier is
identical to that shown in Fig. 4 One
important exception must be considered.
A 16-ohm load has been placed at the
output of the power amplifier. This is
an extremely low impedance. Any normal capacitance due to in struments, su ch
as the a .c. voltmeter, oscilloscope, distortion analyzer, and so on, is n egligible.
The output of a preamplifier is usually
high impedance. The capacitance due to
the instruments as well as the connecting
leads may have a considerable effect on
the frequency r esponse. For this reason
all instruments not actually involved in
the test should be disconnected. The connecting leads should be made of low-impedance single-conductor shielded cable,
and kept as short as practicahle.
Frequency r esponse is an extremely
important characteristic of an amplifier
but it should be considered in its true
perspective. Just as a wide frequency
response does not necessarily indicate an
excellent unit, a liInited bandwidth does
not necessarily indicate a poor amplifier.
Either extreme can be a detriment as
well as a benefit. A good design involves
all factors and the best compromise is
achieved only after everything involved
You can assemble
t his new Schober Spinet Organ for $550
- or hal f the cost of comparable instru ·
ments you have seen in stores. The job is
simplicity itself because clear, detailed stepby-step instructions tell you exactly what
to do . And you can assemble it in as little
as 50 hours _
Yo u will ex perien ce the th rill and satisfaction of watchin g a beautiful musical instru ment take shape under your hands. The new
Sch ober El ect ronic Spinet sounds just like
a big concert-size organ - with two keyboa rds , thirteen pedals and ma gnificent
pipe organ tone . Yet it's small enough (only
38 i nches wide) to f it i nto the most limited
living space _
You can learn to play you r spi net with
ast ou ndi ng ease. From the very first day
you w il l transform simple tunes into deeply
satisfyi ng musical expe ri ences. Then , fo r
the rest of your life, you will reali ze one of
life' s rarest pleasures - the joy of creat ing
you r own music .
For free details on all Schober Organs,
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Also av ai la b le i n Can ada and Au st ra li a.
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Dept. AE 7
43 We st 615t Street
Ne w York 23, New York
Pl ease sen d m e FREE booklet and oth er
lite ratu re o n th e Schober Organ s.
Pl ease sen d m e the Hi -Fi d emon str at ion
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in proper audio reproduction is considJE
Rat .. : 10¢ per wMI per Insertion for nOll""" ,,,111
Id,orthl" •• ts; 25¢ p. r word for com .... lal
t lle • • Dts. Rat.. arl net, and no dl,_nb will N
allowed. Copy malt bl atcompaDled by rIII lttuM ID
fi n. and malt r.acb the New York ofht ., til.
ft rst 01 t he month pr. cedlng t hl dati of la l ..
Repeating Eq. (14) :
+~ fidt=e
The complete solution involves both the
steady state and the transient solution. The
force-free tra n sient solution can be found
by setting e = 0, resulting in:
Eq. (14B )
as a solution to Eq. (14A) . Substituting
LOW, LOW quotes: stereo tapes, components, recorders, HIFI, Roslyn 4, Pa.
Assume i = Ae P'
Eq. (14A)
audio and recording equipment. Low prices on
components with service. Best trade-in deal in
the country. Dick Simms, Audio Trading Post,
Inc., 58 W. 48th Street, New York 36, N. Y.
JUdson 2-2356. 2nd floor.
Ae P' = 0
iR + ~p AeP' = 0
Ava ilable in both monaural a nd stereo types, in a
large va riety of impe dances, th is new add ition to
Write lor lurther details.
Circle 7 0A
New low prices on ampli·
fiers, t uners, t ape record·
ers, speakers, etc.
Circle 708
(for i=Ae
p, )
(R + ~p) =0
LEARN WHILE ASLEEP. Hypnotize with
your recorder, phonograph, or amazing new
"Electronic Educator" endless tape recorder.
Astonishiug details, sensational catalogue
FREE. SleeJ;l-Learning Research ASSOCiation,
Box 24-AD, Olympia, Washingtou.
Solving for p results in
SALE ITEMS. Bulk tapes-component
quotes. Bayla, Box 131-0, Wantagh, N. Y.
p=- RO
Substituting this into Eq. (14B) leaves as
the solution for i
i=Ae- tIRC
P.O. Box 1449, Glendale, Californ ia
168 W. 23rd St., New York 11, N. Y. CH 3-4812
write us before you purchase any hi-fl. You 'll
be glad you did. Unusual savin~s . Key ElectroniCS, 120 Liberty St., New York 6, N. Y.
CLoverdale 8-4288.
iR+~ f
the world renowned PERMOFLUX dynamic head phones combines all desirable fea rures
High sensitivity and smooth flat frequency response
Rugged sturdy construction
Close coupling to ears
Soft comfortable earcushions (washable)
At popular prices
With or w ithout boom mounted microphones.
Recommended for language labora tories, a udiophile, studios.
Eq. (140 )
At the start of the impulse, all the current is across R_ The current through the
resistor at this instant is EjR. Writing this
a lgeb raically
i= Ae- oIIW =A(l) = EjR
105-LX. All die cast frame, 2%-pound magnet,
2-inch V. C. 20 watts. $35.00 or trade for
University HF-206 super-tweeter. Terry McConnell, 1101 Kalamazoo Aveuue, Petoskey,
MAGNECORDS FOR SALE. Several different professional models newly reconditioned.
Send for list. Audio Specialties, Box 1220 ~
San Antonio 12, Texas.
WANTED: Two Marantz electronic crossovers. Age, condition, price in reply. Meyer,
Box 586, W. Hyattsville, Maryland.
So that Eq. (140) becomes
Eq. (14D)
The steady-state solution for this is i = 0,
the transient solution for the voltage across
the capacitor is:
=~ f ~ e- IIRCdt
( for i
=~ e- tlRO )
eo = OR [- RO] e- IIRO +Ee- tiRO +A
Eq. (14E)
When t = 0, eo = O. At this time. Eq. (14E)
o=_Ee- DIRO +A = E +A
or A=E
Substituting this into Eq. (14E) yiel ds
eo =-Ee - IIRO +E
or eo=E(l-e- IIRO )
which is Eq. (15).
NATIONAL CONSUMER MAGAZINE seeks man (or woman) who knows
audio from components to consoles and
can write about it intelligently. Knowledge of tape and tape recorders for home
use desirable. All correspondence confidential. Address Box CC-l, AUDIO,
P. O. Box 629, Mineola, N. Y.
FOR SALE: Slightly used Roberts 144 DPA
deck, $435.00; Altec Lansing model 830A
Laguna speaker system, mahogany, make offer; Bell T-238 deck, $235.60; TA-230 HK
stereo amplifier, AM-FM tuner, $195.00; VM
722 tape recorder and model 168 speakeramplifier used once, full warranty, $275.00;
two ALC-1 JFD bookshelf mahogany speakers,
pair $75.00; Stephen Leberer, 2232 South
Clermont St., Denver 22, Colorado.
FOR SALE : REL 646C FM receiver, perfect
condition, $185.00. Shure StudiO Dynetic 16inch reproducer with N21D styl us, $45.00.
W. Torgeson, 6425 12th Avenue South, Minneapolis 23, Minn .
U47 NEUMANN (Telefunken) OWNERS :
Tight vocal pickup with no blast or thump on
"p," "th," or "b" sounds- no wind noise out·
doors. $5.95 check or money order. No
C.O.D.'s. Postage paid. Peter J. Helffrich, 419
W. 4th St., Bethlehem, Pa.
SELL: Amplifier Corporation portable, dualtrack tape recorder, "Magnemite" Model
610-TD. Like-new condition, factory overhauled July 13, 1961. 7%- and 3%,-lpS capstans, microphone, batteries. $115.00 or highest offer. Captain Edward Rodgers, 2008
Comm. Sq. APO 271, New York, N. Y.
REK-O-KUT B-16-H t urntable, net $250.00,
unopened),. $145.00. Bill Watson, 96-01 133rd
Avenue, vzone Park 17, N. Y.
NOW AVAILABLE: Index to record and
tape r eviews. Covers fourteen 1961 periodica ls
including AUDIO. $1.50 postpaid. POLART,
20115 Goulburn St., Detroit 5, Michigan.
WANTED: Buy, Magnecord 728 recorder.
Sell, Concertone 505E 'h -track recorder plus
pair Dynaco variable-impedance microphones.
Walter Robinson, 1941 California St., Meuntain View, California.
MARCH , 1962
Get more FM stations with the world's most
powerful FM Yagi Antenna systems.
To be fully informed,
send 30¢ for book
"Theme And Variations" by L. F. B.
Carini and containing
FM Station Directory.
Circle 71C
SAVE UP TO 40% on
• 15 Day Money Bock Guarantee
Plea.. write for FREE return mail quotation,
and wholesale catalog. Also pre-recorded tape
calol09 on request.
Noted- •••
in the history of the show an entire b uilding will be devoted to electronic products
and their a cces s orie s. The 1962 show
w ill be in New York June 24-28. M u s ical
m ercha n dise will be demonstrated a t the
Hotel New Yorker w hile the N ew York
Tra de Show building across the s treet will
h a v e five fioors of ex hibits devoted to
sound reproduction equipment.
TelePrompter Purchases Weathers_ As its
first entry in the high-fide lity comp on ents
field , T e lePrompter Corp. a nnounced the
acq u~ sition
of W eath ers Indu s tries, of
Barrmgton, N. J. TelePrompte r Co rp. spec ia lize s in a udio-visua l and ele ctronic communica tions equipment and s ervices. I rv ing B . Kahn, Pre side nt of T elePrompter
s a id tha t "Weathers fits p erfectly into
our plans to develop a nd m a rket a n expanded line of a udio-vis u a l products. We
intend to m a intain the high q u a lity of
Weathers products a nd to a ugment the
lin e with items now b eing d eveloped in
our la bora tori e s ." Gera ld G. Griffin, TelePrompter Corp. Vive-President of Ma rketing, s a id tha t they pla n to offe r their
audio-visual equipment through dis tributors a lready h a ndling Wea thers products
a nd, in addition, will develop n ew outlets
througho u t the United Sta tes a nd a broad.
Weathers Industries will b e ope r a ted as
a separa te division of the TelePrompter
Corp. with Mr. Paul W eathers a s Director
of Engineering.
220-U East 23rd St.
New York 10, N. Y.
(. ) audio exchange
The Fisher FM-l00-8
FM-Multiplex Wide-Band Tuner
with Exclusive Stereo Beacon
Features 0 .6 microvolt sensitivity, Micro Ray
Tuning Indicator, Automatic switching between
mono and stereo, MPX noise filter. -
• TRADE Hi-fi for hi-fi
• TRADE Amateur radio* for hi-fi
• TRADE Hi-fi for amateur radio
• TRADE Amateur radio* for amateur radio*
" Includes HAM; SWL; Citizen's Band; Test Equipment
Trade·Back Plan • New Equipment from over 100
manufacturers. Used Equipment sold on 10·day un·
conditional mon ey·back guarantee .. . plus 90·day se.rv·
Ic.e warranty. Special GE credit plan. custom Instal·
lation for stereo and monaural equipment. • Hi FI
service laboratory.
Get more! Pay less when YOU trade at ~
audio exchange
For Trading info" write dept, AM .
153.21 Hillside Ave., Jamaica 32, N. Y. • AXle I 7·7577
203 Mamaroneck Ave. 1065 flalbush Ave. 451 Plandome Rd.
Circle 71A
Specializes in SAVING YOU MONEY
We are FRANCHISED DEALERS for most Hi-Fi
lines. Most orders SHIPPED PROMPTLY from
190-A Lex. Ave., Cor. 32
St., New York 16, N. Y. Visil Ou r Show room
Circle 71 E
High Fidelity Equipment
Complete Lines
Complete Service
HI-Fi Records - Components
and Accessories
Irving B. Kahn (left), President of TelePrompter Corp ., examines products of
Weathers Industries, with Paul Weathers.
TelePrompter h~s just announced acquisition of Weathers Industries.
Circle 71 F
Circle 71C
11 111 111111 11111111111111111111111111111111 11 111111111111111111111111111111111111111111111111111111111111111
to write to us and we will show you how to keep your
BRITISH EQUIPMENT _ Ampllfters, Tuners, Speakers, Motors, Pick-ups from the
United Kingdom HI-FI Mall Order Specialists carefully
packed , Insured and shipped promptly at minimum cost.
7, The Broadway, Wood Green, London N.22. England
11111111\111111111111111111111"11111111111111111111111111111111111 1111 1111111 111111111111 11 1111111 111111111
Circle 7tH
MARCH, 1962
.At wholesale prices. Shipped within 24-28e
.hrs. We'll airmail low quotes on packaged·
: Hi-fi. (Free catalogue.)
• Each file holds a
full year's copies.
• Jesse Jones Vol ume Files for every
• Covered in durable
leather like Kivar,
title embossed in 16
Kt gold.
Solisfacllon guaranleed
Responce .. .. . ··· ··········· ··· 20- 20. 000 cps
Out put· ·· ·· ··· ·· .. .. 4 mV I 5 em I I. 000 Cis
Channel lsolanon . . . 20 dB 40- 12.000 Cis
Channel Balanc e .. . .. . ±0 .5dB aI 1.000 cis
Compli ance .
. ..... .... 3 X 10 -6= I dyne
Attractive and
practical for your
home or office
Load ReSistance
.... 50- 70kill o ohms
Tracking F orce·
······3 gram s
St ylus .......
······· ··· ···0.7 mil Diam ond
Welg b! ..........
······ ······· ··· 12.5gr"!'s
3 for $7.00
6 for $13.00
ORDER NOW - send
check or money order
10 1
Toklwomo l suc ho, Shibuyoku, T okY'~ 1~po n
NEW YORK 36, N.~. Y.
Circle 71 B
Engineered To Professional Standards
Acoustic Research , Inc . .... . . . .. . ... . 35
Ai rex Radio Corporation ..•..........
Altec Lansin g Corporation ..... . .. Cov.
Ame lux Electronics Corporation ... .. ...
Apparatus Development Co. ... . .... .. .
Arden, David, Enterpri ses ... . . _ .. . ...
Audio Bookshelf ..... .. ........ _ . . . .
Audio Dynamics Corporation .. . .. _ . . ..
Audio Exchange .. . ..... . .....•....•
Audio Fide lity Records ...... . •.. . .. .
Audi o Un limited .. . ... . .••...•• .. ..
Made in U.S.A.
Be ll Telephone Laborator ies ........... 18
British I ndustr ies Corporation
3, 42, 43
Ready for Stereo and no Adapter Needed
opening a new era in stereo, the new lafayette
Criterion FM Stereo Mu ltipl ex Tun er i s entirely
self conta ined with its own built-in mult iplex
facilities. Capable of achieving t he highest
laboratory Standards , its exceptional selectivity
and sensitivity together with drift-free AFC performan ce insures effective reception of even
the weakest multipl ex or monaural FM signals.
Capitol Tape .. _ .. .. _ . . .•.. . . ... .... 41
Carston ......... . . •.. . . . .. . . ....... 71
Cl ass if ied .... . . . ••... .. •... • _ .. .... 70
Dynaco, I nc. . . . .. _ .. , . , .. .. , .. .. _..
in U.S.A.
Electronic Applicati ons. Inc. ... . .... ..
Electro-Voice. Inc . . . . . . .... . . . ... 29,
Electro-Vo ice Sound Systems . .. . ......
Empire . .......... . .... . . . ...... . ..
Ercona Corporati on ... . .. . ...... _•...
in Kit Form
Completely Wired
• 3rd Channel Output
• Separate Bass & Treble Controls
• 50-Watts Monophonically - 25 Watts Each stereo Channel
• Response: 15-40,000 cps ± .5 db (at normal listening level)
Pacesetting quality, perfo rmanc e and design. Features include: unique "Blend"
control for continuously variable channel separatio n-from full monaural to full
stereo, 4-position Selector, Mode, loudn ess and Phase switches. Also provides
outputs for 4, 8, and 16 ohm speakers. Hum-fre e operation is insured by use of
OC on all pre-amp and tone co ntrol tubes. Individual bias and bal ance controls.
Harmonic di stortion, less than 0.25 % . 1M distorti on , less than .5%. Hum and noise
77 db below full output. 14'I2"W x 12%"0 x 5112" H. Shpg . wt., 28 Ibs.
Fairchi ld Record ing Equipment Corp. . .. 58
Fisher Radio Corporation ............. 9
Garr ard Sa les Corp. . .... . . . ....... ... 3
Goodwin , C. C. (Sales) Ltd ........ . .. 71
Gotham Audio Corporation . .. _ . . ..... 48
Grado Laboratories, I nc. . .. . .. . .. . _. . . 62
Harm an-Kardon .. . ... .. .... _ . .. . . 33, 65
Heath Company . . . . . . . ••.. . . _ .. . 36, 37
Hi Fideli ty Center ... . . . ..... . . . ..... 71
I nternationa l Electroacoust ics
Incorporated ..... . ..... . ........ . 67
79.50 134.50
In Kit Form
~11 ~3r~Acci~stic· 'Pr~d~~t; ·C~ .. : : : : : : : : :: ~~
KT-600A Criterion
Key Electronics Company
.. . ... _ . .... 70
Completely Wired
• Response 5-40,000 cps ± 1 db
• Precise "Null" Balancing System
• Bridge Control Provides Variable 3rd Channel Output
• Variable Cross Channel Sil:nal Feed Eliminates Hole-In-The-Mi ddle Effects
• Tape Head Playback Equalization for 4-Track Stereo
sensitivity 2.2 mv for 1 volt out. Dual low impedance "plate followe r" outputs 1500
ohms. l ess than .03% 1M distortion; less than .1% harmon ic distortion. Hum and
noise 20 db below 2 volls . 14xlOo/ax4V2" . Shpg. wI., 16 Ibs
Lafayette Radio .. . . ............ . ... 72
Lansing, James B., Sound, Inc . . . ...... 39
in U.S.A.
Magnetic Product s Di vision, 3M Company 5
Multicore Sales Corp. . ..... . . . ....... 66
N orth American Phil ips Co., Inc.•. _... 63
• Rate d at 50-Watts per Channel • Response
from 2-100,000 cps; 0-1 db at l-Watt • Massive Grain Oriented Silicon Steel Transformers
• Multiple Feedback Loop Design (over 50 db)
• Metered Calibration Control Panel • Absolutely Stable Under Any Conditions of Load
A new " labora tory Sta ndard" dual 50-watt ampl ifie r
guaranteed to outperform any basic stereo ampl ifier
on the market. Advanced engineering techniques plus
the fin est components ensure flawless performance. Dis·
tortion levels so low they are unmeasurab le . Hum and noise
better than 90 db below 50-watts. Complete with metal enclosure. 91/4" H x 12V2"D. Shpg. wI., 60 Ibs.
in Kit
P.o. Box 10
Syosset, L. I., N. Y.
Send FREE 1962 Catal og featuring the complete line of
lafayette Stereo Components.
$ Enclosed .......................... .. .. .. ....................... for Stock No ........................ .
Name' _______________________________________________
Address' _____________________________________________
City·________________________ Zone _ _ Slale _____________________________
~-,- ..-.. -,----.----------------------------------------------------------!
Paco Electron ics Co., Inc . . . . . .. . • _ ...
Permoflux Corporation ......... . , •.. .
Pickering & Company, Inc. . . . ... . _...
Pi lot Radio Corporation . . . . ...... . ...
Pi oneer Electronic Corporation . . . . •....
RAE Soc iety .. . . .... . ........ • ... . ..
Reeves Soundcraft Corp. . ............
Rek-O- Kut Co., I nc. ....... . ...... . ..
Robert s Electroni cs, Inc. . ... . . .•. ....
Rus- Lang Corp. ............. . .• . ....
Schober Organ Corporation .. . ........
Scott, H. H. , Inc. . . . . .... . .. ........
Sherwood Electronic Laboratories, Inc. ..
Shure Brothers, Inc. ........... . ••. . .
Sonotone Corp. ..... ....... . .. . ... . .
Sonovox Co. . Ltd . . ... .. ,.... . .... . ..
Superscope, Inc. . . .............. Cov.
Tandberg of America, Inc. . .. .. .. ... . 14
Thorens Division , Elpa Marketing
Industri es, Inc. .. ............... .. 6
T ransis-Tronics, Inc. . . ......... •. Cov. IV
United Audio . . ............... . .. . .. 51
Weathers Industri es . .... . .. . •....... 4
Wharfedale ••...... . ..... .. _ . ... 42, 43
MARCH, 1962
GOTHAM AUDIO CORPORATION, 2 W. 46 St., N. V. 36, N. V., Tel: CO 5-4111
Formerly Gotham Audio Sales Co. Inc.
Exclusive United States Sales and Service Representatives for: NEUMANN, "the microphone standard of the world."
basic con.tributions to our culture
Johann Gutenberg of Main;,:: on the Rhin'e is credited with the invention of movable type, a contribution
of immeasurable worth to the arts and sciences. Unmeasured sure!y, but of great significance, are
the contributions to the art-science of high fidelity made by James B. Lansing Sound, Inc.: There is the
four-inch voice coil with its attendant high efficiency ... the acoustical lens . . . the
ring radiator •.. Now JBL brings you wide field stereo reproduction through
radial refraction. This is the principle on which the magnificent JBL Ranger-Paragon
and the more recent JBL Ranger-Metregon are based. Two highly efficient,
full range, precision loudspeaker systems are integrated by a curved, refracting panel.
You are not confined to one "best" listening spot, but can perceive al l the
realistic dimensions of stereophonic reproduction at its very best throughout the
listening area. The JBL Ranger-Metregon comes within the reach of all true
high fidelity enthusiasts. For, no less than seven different speaker systems may be
installed within this exquisitely styled, meticulously finished acoustical dual enclosure.
You may start with a basic system and progressively improve it. Perhaps some of the JBL loudspeakers
you already own may be used. Write for a complete descriptton of the JBL Ranger-Metregon
and the name and address of the Authorized JBL Signature Audio Sp'ecialist in your community.
JAMES- B. LANSING SOUND, INC., 3249 CaSitas Ave., Los Angeles 39, Calif.
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