▲
The Authoritative Magazine About High Fidelity®A
Build a Tone
Burst
Generator
The
Legend of Caruso
The
Listening
Room
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Whe n you go 4 chan nel...
goSc ott4 43
Qua dran f 4 chan nel
It's Got The Features You Want. The 443 AM-FM Quadrant
Receiver makes its own 4 channel programs from any 2 channel
source using Scott's exclusive DvR matrixing circuitry. And
Scott's flexibility allows combining 4 outputs into 2 for doubled
output power when the 443 is used for conventional 2 channel
listening. You may select 4 x 18 or 2 x 35 watts by a convenient
front panel control.
The 443 receiver also reproduces discrete 4 channel programs
from live or recorded sources. And its detector output/multiplex
input jacks will accept an adapter to receive 4 channel broadcasts when the FCC establishes a format.
It's Got The Quality You Demand. The 443 uses Scott's FET
front end, silver plated tuner, solderless "tension-wrap" connections, quick-change Modutron® circuit boards, direct
coupled, all-silicon output stages, plus Scott's traditional100%
American design and manufacture.
It's Got The Value-For-The-Price You Deserve. The 443
receiver offers 4 channels and 72 conservative Scott
continuous (RMS) watts into 8 ohms for $319.90,
which is in the price range of most 2 channel
receivers of similar features and power ratings.
Want More Performance And Features?
Try the Scott 444 AM-FM Quadrant
Receiver. It's got all the quality features
of the 443 plus separate signal strength
and center channel tuning meters,
slide type volume controls and switching for up to 16 speakers. At a power
rating of 4 x 25 or 2 x 50 watts, it's also
a value-for-the-price leader at $449.90.
Interested In 4 Channel Amplification
Only? Scott offers a choice of two integrated control amplifiers. There's the
495 at 4 x 25 or 2 x 50 watts at $349.90.
Then, there's the powerhouse 499 with
which Scott officially started the whole
4 channel industry in 1969. It puts out
a conservative 40 watts per channel
into 8 ohms for $459.90.
~
When you go 4 channel, remember that
reme mber PAND ORA' S BOXP
Only with a TDK Super Dynamic cassette can you be sure,
Remember the lady whom Zeus sent down to earth with a little
sure that you have a cassette that will never let you down.
box full of plagues and troubles? Next time you buy a tape
And that gives you ultra-wide
- --------- ----------=:.
cassette remember Pandora's box ;
frequency response, high output and
unless it says TDK on top, you never
extended dynamic range, negligible
know what problems you are
noise and distortion and, overall, the
bargaining for. Sticking. Jamming.
world's finest quality.
Tape tangling and breakage.
Wavering pitch due to uneven speed.
Noise. Signal dropouts. One way or
Next time you buy cassettes think
another, the sounds you want to
of Pandora's box-and buy a box of
capture and keep are spoiled or
TDK. Reliability is no hit-or-myth
irretrievably lost.
proposition.
TDK offers Super Dynamic, Deluxe Low
Noise, Maverick Cassette and Super
Dynamic reel-to-reel recording tape
H.H. Scott offers more models and more
performance per dollar than any other
manufacturer. We needn't say more.
Check No. 100 on Reader Service Card
T DK
CD~~Qii:l~
H.H. Scott, Inc., 111 Powdermill Road
Maynard, Massachusetts 01754
®World's leader ;n tape technology .
TDK EL-ECTRON ICS CORP.
LONG ISLAND CITY, NEW YCRK 111Q3
Chftc k No. 1 on Reader Service Card
www.americanradiohistory.com
AUDIO
Successor to
Eugene Pitts
Assistant Editor
Rowena Kendall
Designer
John Kwasizur
Cover Design
Est. 1911
Vol. 55, No. 11
NOVEMBER 1 971
George W. Tillett
Editor
Edward Tatnall Canby
Associate Editor
~.
Contributing Editors
Jay L. Butter
Publisher
Herman Burstein
Leonard Feldman
Richard Freed
Joseph Giovanelli
C. G. McProud
Harry E. Maynard
Alexander Rosner
S. L. Weingarten
Bert Whyte
Sanford L. Cahn
Marketing Director
Mary Anne Collins
Advertising Production
Jean Davis
Subscription Manager
HIGH
FIDELITY
Altogether, this new arm strikes us as an
excellent piece of engineering: it probably is the best arm yet offered as an
integral part of an automatic player. 0
Operation is simple, quiet, and reliable.
0 All told, we feel that Garrard has come
up with a real winner in the Zero 100.
Even without the tangent-tracking feature
of the arm, this would be an excellent
machine at a competitive price. With the
novel (and effective) arm , the Zero 100
becomes a very desirable "superchanger"
with, of course, manual options.
FEATURE ARTICLES
10
18
25
34
56
64
Christmas Buying Guide
The Loudspeaker-Listening Room System
IC Tone Burst Generator, Part I
Mathematics 4 Beginners. Part Ill
Latter-Day Gadgetry
The Legend of Enrico Caruso
I
Panasonic AM I FM Stereo Receiv;r
Sherwood FM Tuner
Rabco Straight-Line Turntable
Th e GRAMOPHONE
August, 1971
Reproduction quality was excellent with
no detectable wow, flutter or rumble
under stringent listening conditions. End
of side distortion, which is always a possibility with pivoted arms, was virtually
absent, due no doubt to the tangential
tracking arm.
Model SA-6500
Model SEL-300
Model ST-4
RECORD AND TAPE REVIEWS
66
70
72
74
76
Classical Record Reviews
Canby 's Capsules
Recorded Tape Reviews
Weingarten Looks At . .
Jazz & Blues
Edward Tatnall Canby
Edward Tatnall Canby
Bert Whyte
Sherwood L. Weingarten
Martha Sanders Gilmore
Fall. 1971
One could go on cataloguing the virtues
of the Zero 100 indefinitely.
AUDIO IN GENERAL
4
4
6
8
Coming In December
Audioclinic
Joseph Giovanelli
Tape Guide
Herman Burstein
What's New
12
16
79
82
Behind The Scenes
Editor' s Review
Classified Advertising
Advertising Index
AUDIO
Bert Whyte
AUDIO (title register-ed U.S. Pat. Off.) is published by North American Publishing Co ., I.J . Borowsky
President; Frank Nemeyer and Roger Dam io, Vice Presidents; R. Kenneth Baxter, Production Director :
Nate Rosenblatt, Pr omotion Director ; Mary Claffey, Circulation Director , Subscription rates-U.S
Possessions, Canada, and Mexico, $5.00 for one year: $9.00 for two years; all other countries, $8.00 pe r
year. Printed in U.S.A . at Columbus, Ohio. All rights reserved . Entire contents copyr i ghted 1971 by North
American Publishing Co . Second class postage paid at Philadelphia, Pa ., and additional mai ling office
for 8-page test reports booklet and a 12-page
brochure on the Zero100 and the entire Garrard
series mail to British Industri es Company,
Dept. K 11, Westbury,N.Y. 11590.
REGIONAL SALES OFFICES : Jay L . Butler and Sanford L. Cahn. 41 East 42nd St . New York . N Y 100 17
Te lephone (212) 687-8924 .
Jay Martin . 15010 Ventura Blvd . Sherman Oaks. Calif 91 403 : (213\ 93 1-7852
Name--------------------------Address _____________ _ _ _ ______
REPRESENTATIVES: United Kingdom: Overseas Newspapers (Agencies) Lim ited
Cromwel l
House, Fulwood Place . London . W C 1 /Te lep ho ne 01-242 0661 1 Cables · WESNEWS London
PS4. Continental Europe: John Ashcraft . 12 Bear St.. Leicester Square. London W C.2 England
Te l. 930-0525. For Benelux & Germany: W. J . M. Sanders . Mgr. Herengracht 365 . Amsterdam Holland
Tel . 24.0908 . Japan: Japan Printi ng News Co .. Ltd No. 13. 2 Chome Ginza-Hi qasi . Chuo-ku Tokyo
Japan. Phone 541-5795
•
AUDIO Editorial and Publishing Offices, 134 N. 13th St ., Philadelphia , Pa 19107
Postmaster: Send Form 3579 to the above address
Check No. 2 on Reader Service Card
www.americanradiohistory.com
July, .1971
The Zero-1 00 performed just about as we
expected after reading the specifications .
Wow measured .08 per cent-that is in
the band from 0.5 to 6 Hz. Flutter, in the
band from 6 to 250 Hz, measured .03 per
cent both of which are. excellent. 0 Thus,
the 'Garrard Zero 100 is certainly the
finest in a long line of automatic turntables which have been around for over
50 years. 0 We think you will like it.
Po~ular Electronics
Roy Allison
Walter G. Jung
Norman H. Crowhurst
Edward Tatnall Canby
Don Altobell
EQUIPMENT REVIEWS
38
44
50
Sepl. 1971
Stereo Review
July, 1971
Indeed, everything worked smoothly,
quietly, and just as it was meant to. If
there were any "bugs" in the Zero 100,
we didn't find 'th-em. 0 Garrard's Zero
100, in basic performance, easily ranks
with the finest automatic turntables on
the market. l_ts novel arm- which really
works as claimed- and its other unique
design features suggest that a great deal
of development time, plus sheer imagination, went into its creation . In · our view,
the results were well worth the effort.
August, 1971
Our lab measurements essentially confirmed the claims made by Garrard for
the Zero 100. We used a special pro~
tractor with an angular resolution of about
0.5°, and the observed tracking error was
always less than this detectable amount.
The tracking force calibration was accurate, within 0.1 gram over its full range. 0
The Garrard Zero 100 operated smoothly
and without any mechanical "bugs."
Sept 16, 1971
This unit has every imaginable gadget
and gewgaw one might possibly desire,
and it works. And considering how -much
it does, and how well it does it, at 190
bucks it doesn't even seem expensive.
The changer has so much in it that an
analys is of its innards is almost a case
study in record player design.
Audioclinic
Coming
In
December
Special
Headphone
Number-
Articles include a stereo crossfeed
unit and a headphone amplifier
Equipment Reviews Include:
Soundcraftsmen 20-1 2 equalizer
Heath AR-1 500 receiver
Plus-
Record and tape reviews and all
the regular features
About the Cover: This shows the
listening room of Charles Price
of Kansas City. JBL S-7 speakers
are concealed behind the bookcase and above the doorway.
The H F horns are angled slightly
inward to give the optimum stereo
image. The installation, which includes J BL Lancers and LE 14' sin
other rooms plus LE 8's on the
patio, was made by David
Beatty. Amplifiers and tuner are
Mcintosh (FM MX 11 2 and 250
power amp) .
4
Center-Channel A mplifier
Q. I am interested in finding a mono
amplifier to use as a center-channel driving source with my Marantz 33 preamplifier. The center-channel speaker
will probably be so:ne inefficient bookshelftype. Can you make any suggestions
as to what I
can use?-Corrado J.
Bendotti, Bronx, N .Y.
A. As for the kind of amplifier to
use for your center-channel driving
source, most now are stereo these days.
Of course, you actually need just mono.
I think you will be forced to obtain a,
stereo amplifier but you will use just
one channel. The actual amplifier will
not matter too much, just so long as it
has enough power to drive the speakers
you plan to use. Your preamplifier must
have some means of adjusting the
volume of this center-channel amplifier in the event that the power amplifier
you ultimately obtain does not have a
volume control of its own. Further,
the amplifier's minimum input voltage
requirement must be at least equal to
that which your preamplifier provides
at its center-channel output.
If you buy a stereo amplifier, it might
be nice if it was the same make as your
main amplifier. This way its phase
characteristics will match those of
your present equipment.
The other channel of your new amplifier will, of course, be unused for the
time being. However, you will be prepared for four-channel sound at such
time as you wish to enter this interesting
phase of our hobby.
Locati ng a.c. Ground
Q. How can I determine the ground
side of an a.c. receptacle?- Joseph P.
Laronda, Cheshire, Conn.
A. It is possible to obtain neon lamp
testers designed to sense the presence
of 117 V a.c. or d.c. Theytake the form
of a neon lamp, mounted in a housing.
Protruding from the housing are two
leads. If the ends of the leads are
inserted into the wall socket, the neon
lamp will glow. If one of the leads is
inserted ·into the socket and the other
lead is touched to the screw which holds
the outlet cover, you may get a light
from the tester. Try both socket connections till you find the one which
produces a light in the tester when the
other terminal is touched to the socket
·cover retaining screw. U nder these
conditions, the lead which is inserted
in the socket is the "hot" lead; the other
one is ground.
JOSEPH GIOVANELLI
The reason I suggest that you try
both socket connections before coming
to a definite conclusion is simply that I
have fo und that in SO:!lle old buildings,
the box in which the socket is mounted,
and hence, the cover retaining screw, is
not grounded. In that case, neith~r
socket terminal will cause a glow m
the test lamp. In that case, you must
use a radiator or waterpipe as the
ground connection.
If you do not have one of these
testers, anything will work. If you have
an ordinary light socket on hand, connect wires to it and insert an ordinary
incandescent lamp into it. Then proceed
as above.
Amplif ier Reserve Power
Q. What is the benefit of using an
amplifier which provides 80-80 watts rms
when a speaker might use only a tiny
fraction of that power?-Ed H annes,
Great Neck, N.Y.
A. Many speakers today are rather
inefficient. Therefore, it is necessary
to drive them with amplifiers capable of
delivering large amounts of power. If
you do really loud listening, especially
to organ music, you will easily run your
amplifier at full power output if you are
using one of these inefficient speakers.
If your speakers are efficient, you will
not need the full amount of power of
which the amplifier is capable.
When tubes were used in high fidelity
equipment, it was common practice to
use amplifiers capable of delivering
more power than was necessary. This
was helpful because distortion rose
slowly in such amplifiers till the power
output maximum was reached. After
this distortion rose rapidly, of course.
Now that solid state devices have replaced tubes, the situation is different.
Distortion remains more or less constant
until full output is reached. Again,
after this point, distortion will rise
rapidly-far more so than tube gear.
All of this means that, with an efficient
speaker, you can use an amplifier
capable of only 10 to 15 watts per channel rms and have all the level and sound
quality you could ever need.
If
you
have
a
problem
or
question
on
audio, write to Mr. Joseph Giovanelli at
AUDIO,
134
North
Thirteenth
Street,
Philadelphia , Pa. 19107. All letters are
answered. Please enclose a stamped selfaddressed envelope .
AUDIO· NOVEMBER 1971
www.americanradiohistory.com
Tape Guide
Recorder for an Auto
Q. I would like to play my 7" stereo
reels in my automobile at 118, 3-!4, and
70 ips. Is this possible? Is there equipment on the market for this? Is there a
portable deck available which would play
the tapes mentioned?- David E. Benford,
New York City, N .Y.
A. If it is a portable, battery..:operated
tape machine that you are seeking, I
don't specifically know of any that
accommodate reels larger than 5" and
at the same time meet your other requirements. I suggest that you consult
the audio stores in your locality. A
poss!bility you might care to explore,
particularly if you wish high quality
performance, is to employ an a.c.
operated tape machine and power it
from a converter that plugs into the
cigarette lighter unit of your car. Again,
consult your audio dealer on this.
Quality of Reproduction
Q: I bought two tape decks while overseas, planning to use them to play prerecorded tapes. I have been disappointed
in the quality of such tapes, finding that
the hiss and other noise is quite a bit
more audible than that on FM stereo or
on discs. Given the state of the art, what
medium of reproduction has the highest
fidelity- FM·stereo, disc, or tape?
I am still planning to continue the use
of tape for off-the-air recording. Would
having my machine adjusted for low-noise
tape substantially improve the quality of
reproduction?
I am considering the purchase of a
Revox A -77 or Tandberg 64X. I haven't
heard these machines yet, but the specs
surpass what I have now. With either of
these machines, could I achieve fiedlity
equal to the original FM-stereo broadcast?-Bob Kellogg, Winston-Salem,
N.C.
A. If the broadcast is of live music
(or other live material) and if the FM
station employs good equipment properly aligned and properly used, then FM
probably offers the highest fidelity.
Next I would place discs because I think
the average high fidelity disc still tends
to be better than the average high
fidelity prerecorded tape; however,
there is probably little to choose between the very best discs and the very
best tapes.
Converting your machine to use with
low-noise tape, which requires changes
in bias current, equalization and audio
drive current for optimum results,
would probably tend to improve matters
so far as noise is concerned.
I am. sorry, but I cannot comment on
the tape machines you are considering for purchase inasmuch as the policy
of AuDio prohibits me from doing so.
Left-Channel Static
Q. I have used my Sony TC-200 tape
recorder for about four years. For the past
several months I have been picking up
annoying static electricity on the left
channel. My tapes do not produce any
static when they are played on other recorders. When I pull back the pressure
pads, the quantity of static is cut down
but is not eliminated After cleaning
the heads, guides, and pressure pads and
after demagnetizing the heads, the static
is eliminated for only an hour or two of
playing time. Are there any other ways
to reduce or eliminate this static electricity?- V. Gary Taylor, Williamsburg,
Va.
A. The only possibility that occurs
to me is that the playback head of your
machine is not. properly grounded.
Check the grounding carefully.
Proper Choice of Speed
Q. For home use, is 3-!4 or 70 ips the
best speed? My recordings will be from
discs, off the air, and from other tapes.
Should a different speed be used for each
special instance, or the same speed for
all of one's tapes?-Avery L. Puckett,
APO San Francisco, Calif.
A. For home use, and assuming you
want really high fidelity, 7lh is still the
preferred speed. If you employ a high
quality machine, you may, however,
fmd that the deterioration in performance between ?V2 and 334 ips is so small
or even unnoticeable as to permit you to
do your recordings at the lower speed.
The only way to tell is to try. Should
you find tha~ 3% ips is truly satisfactory,
then stay with that speed for all purposes. But if you find that ? 1/2 ips offers
a worthwh!le improvement, I suggest
you use th1s for sources offering good
quality, and shift to 334 ips for sources
of lesser quality. Again, you will have
to experiment to arrive at a final course.
Crosstalk
Q. I seem to be having trouble with
crosstalk on my tapes, that is, when tracks
1 and 3 are playing, tracks 2 and 4 are
HERMAN BURSTEIN
clearly audible in the background playing backwards. Needless to say I find
this somewhat disturbing as I thought the
tape I was using was supposed to be excellent. When I bought the tapes I was
afraid that I might have trouble with
leakage or crosstalk, but was assured
that with good equipment there would
be no difficulty. Using Scotch 290 (0 mil
tape), I find that the half of the tape
closest to the center of the reel never
winds smoothly, although some tapes
wind more smoothly than others. This
is also the portion of the tape that gives
me the most trouble with crosstalk. I
have no problems with winding or crosstalk when I use Scotch 203 ( 1 mil).
I realize that when using thin tape,
things of this sort are more likely to
happen. The crosstalk occurs soon after
recording (within 24 hours). The tapes
are not subjected to excess humidity and
are kept at room temperature. I am
wondering if there is anything wrong with
my equipment or if I have defective tape.
If it is just that the tape is too thin, which
tape would you recommend so that I could
get the greatest amount of playing time
with least crosstalk?-Alan Koslow
Clayton, Missouri
'
A. One might think that your crosstalk problem is due to vertical mis-'
positioning of the tape- head. But since
it occurs only with certain tapes, it does
appear that the tape is at fault. I am
not sure I can explain why. It's almost
as though print-through occurred, not
from one layer to the next, but from one
~rack to the next. You may be experiencmg a form of "adjacent channel spillover." Another possibility is that layerto-layer print-through occurs; and that
lack of smooth winding permits tracks 2
and 4 to approach the position of tracks
I and 3 more nearly than if winding
were smooth.
. ~he policy of AuDIO magazine pro~1b1ts me fro~ recommending specific
Items of audiO equipment, including
tape. Therefore I can only suggest that
you try various tapes until you find
the one closest to your needs. I might
add. that the NAB standards suggest
staymg away from lh-mil tape for high
quality recording.
If you have a problem or question on tape
recording, write to Mr. Herman Burstein at
AUDIO ,
134
North
Thirteenth
Street.
Philadelphia, Pa. 19107. All letters are
answered. Please enclose a stamped, selfaddressed envelope .
The tweets and
birdies that happen
when the high frequencies in your input
signal beat against the
bios frequency can't happen in our new cassette
deck F-107. Because its bias
frequency is so high-100kHzthat even beat frequencies are too high to be audible.
And you won 't get the speed-up gabble or the slowdown groan thqt means your recorder taped something
at one speed but is playing it back at another. That's
because our hysteresis sy nchronous motor drive assures
precise, un iform speed at all times, despite those power
fluctuations that ore so common these days .
The bea t s, tweets,
birdies, gabbles and
groans, you don't get.
What you do. get is
30-13,000 Hz response,
a 47dB signal-to-noise
ratio, and less than 0.2% wow and flutter.
like the dual bias tape selector that we
pioneered, Endmotic automatic stop that saves transport
and tope wear, and all the controls that you could wish
for (even a mono-stereo switch). Just $149.79. Concord
Division, Benjamin Electronic Sound Corp. , Farmingdale,
N .Y. 11735/subsidiary of Instrument Systems Corp .
CONCORD F-107
Prices subject to change without notice.
r--------------------------,
iBENJANIIN!
I
I
I CONCORD
l
~--------------------------~
Clleck No. 7 on Reader Service Card
6
AUDIO • NOVEMBER 1971
www.americanradiohistory.com
What's New in Audio
Leader LAG-25 generator
This solid state sine/square wave generator features a 20 Hz to 200 kHz range
in four decades, with a low distortion
sine wave and fast-rise square wave.
Calibration accuracy is said to be .±,3%
(+2Hz) and is direct reading. Drift is
rated at less -than 1% with .:t,5% change
in line voltage. The unit will generate
complex waves for IM distortion checks
and synchronize frequency from any external standard source. Price: $99.50.
Chec.k No. 8 Ol'\ Reader Service Card
Pioneer PL-41 D turntable
Kenwood KW-5066 recorder
This reel-to-reel machine has a claimed
response of 25 to 20,000 Hz ±3 dB. A
front-panel bias adjustment allows the
user to setup the m~chine for a wider
than normal variety of tapes. Other
features include echo, sound on sound,
full-track erase, and noise filter. Price:
$259.95.
Check No. 10 on R.e ader Service Card
Less than 0.07% wow and flutter is
claimed for this unit which uses an eightpole hysteresis synchronous motor, to
drive the 121;4-in, 4.6-lb.diecast platter
by means of a polished polyurethane
belt. The belt drive also features a
lock mech.anism which is said to prevent
deformation of the belt when the speed
is changed. Tracking force range is 0.4
to 12 grams, while tracking error is
specified at 0.17 degrees/ ern. Price:
$220.00.
Check No. 37 on Reader Service Card
Catalogs
Xcelite has issued bulletin/price list .
671L, covering a series of magnetic
nutdrivers which use Alnico magnets
and come in a variety of styles and sizes.
Novasound Kaleidophone
The Model A Kaleidophone. is an electronic music synthesizer which can be
used as a live performance instrument,
a teaching aid, or sound. effects generator. The unit does not require signal
generator modules or patch cords,
though inputs from an electric guitar
or turntable can be used. Price:
$1,296.00.
Check No. 9 on Reader Service Card
8
Gotham Audio offers a four-color, sixpage brochure on the Delta-Tau Model
101 audio signal delay unit, which digitally processes audio signals. Several
applications are described.
Russound/FMP IMP-1
I m pedaverter
This solid state electronic impedance
converting amplifier terminates medium and high impedance microphones
properly, yet allows the use of cables up
to 500 feet in length. Gain and phase
switching is provided, as are paralleled
114-in. phone and
RCA-type phono jacks
at both input and output.
Check No. 11 on Reader Service Card
Howard W Sams & Co., . Inc. has made
available copies of its current cataJog
of technical and scientific books.
Olson Electronics' latest catalog, .771,
offers a wide variety of equipment and
accessories, from receivers, speakers,
and microphones, to noise filters, test
leads, and cassette storage cabinets.
Price: 25¢ from Olson Electronics, 260A
So. Forge St., Akron, Ohio 44308.
AUDIO • NOVEMBER 1971
lhe$95 Misunderstanding.
It seems there's been some confusion about the
price that appeared in our first ad for the new KLH Model
Thirty-Two loudspeakers. To clear up any misunderstanding, the price is, indeed, $95 the pa ir ($47.50 each). t
If you're wondering how we could make a KLH
loudspeaker for $47.50, it's really quite simple.
We had two choices.
Either we could make a fair speaker and a lot of
profit. Or we could make a lot of speaker and a fair profit.
We chose the latter. We always do. That's why KLH
speakers sound like KLH spea kers.
·
Of course our Model Thirty-Two won't deliver as
t Suggested retail
price . Slightly higher in the west .
*A trademark of The Singer Company
much bass response as, say, our Model Seventeen. But the
bas ic listening quality of the new KLH Thirty-Two is superb
by any standard. In fact, we'll match the Thirty-Two
against any speaker in its price class: even against most
speake rs costing twice its price . For when it comes to
making reasonably-priced speakers that deliver an inordinate amount of sound, that's real ly what KLH is all
about.
And about that, there can be no misunderstanding.
For more information on the Model Thirty-Two, write
to KLH Research and Development, 30 Cross St.,
Cambridge, Mass. 02139. Or visit your KLH dealer.
lllllllllllllllllllllllltnllllllllllllltm~·
KLH RESEARCH AND DEVELOPMENT
A Division of The Singer Company
Check No. 12 on Reader Service Card
www.americanradiohistory.com
ehristmas
11uying Guide
I
K
c
H
LJ
c
L
H
M
H
G
Under $10.00
A. How about a case for carrying records? The Duotone
RC-50 (as its' name implies) has room for 50 LP discs and
costs only $9.95. It is finished in black leatherette and has
extra strong locks. The address of Duotone is P. 0 . Box 1168,
South Miami, Fla. 33143.
Interested in FM DXing? The Univ. of Wisconsin has an atlas
available which lists nearly 300 FM stations in the U.S. and
Canada. It costs $2.00 (postpaid) from Dr. Bruce F. Elving,
WUWM Radio, Univ. of Wisconsin, Milwaukee, Wise . 53201.
B. Here is something for the home constructor: adhesive
copper tape for making circuit boards. It costs $1.00 for a
1116-in.-by-12-ft. roll and $2.00 for a 1/8-in.-by-12-ft. roll.
From Tape-A -Circuit, P.O. Box 3268, Scottsdale, Ariz. 85281.
fOUR CHANNEl / stEREO 0£<:0DfR
cartridge clutter" and the cassette case holds 20 tapes and costs
$9.95. The larger version, which has room for 40 8-track
cartridges, is fitted with a lazy susan base and costs $19.95.
Both models are made of solid walnut. Display Media, 120
Laura Dr., Addison, Ill. 60101.
E. ·Why not buy another pair of stereo phones-either for
another member of the family or for your own personal use.
The Pioneer SE-120 shown here have a very wide frequency
range and are unusually light at a mere seven ounces or so.
Price: $29.95.
F. A lot of good music is now available on cassettes but many
people have 8-track players- especially in their cars. The
solution to the problem is simple-use an adaptor. Two
recently released are the Toyo 680, which costs $29.95, and
the Muradaptor at $34.95.
Under $35.00
C. The Staticmaster record cleaning brush features a polonium
cartridge which is claimed to neutralize static charges by
sending out a stream of alpha particles. The cartridge is said
to be replaceable-which is strange because the half-life of
polonium is about 626 years. Still, you never know. . . .
Makers of the Staticmaster are: Nuclear Products, 2519 N.
Merced Ave., So. El Monte, Calif. 91733.
D. The Display Media cases are described as "a cure for
Under $120.00
G. Changing to four-channel? There is now a wide selection
of decoders including Sansui, Denon, EV, Sony-CBS, Toshiba,
H eathkit, and Dyna. Shown here is the M etrotec version of
the EV Stereo-4 and it features independent decode control
of front and rear channels as well as front/rear balance
control. It costs $69.95, but you can save $20.00 if you
assemble it yourself.
. . . ..
-
J
Metrotec Industries
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I"F~~~
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H. Those rear speakers could pose certain domestic problems
in some households and one compromise is to use coffee-table
speakers like the Empire 6000's ($119.95). The tops are solid
marble, not plastic. Another possibility are the small 3M Co.
A -1050's, which are priced at $75.00 a pair. Among the more
conventional systems worthy of consideration are the new
JansZen 108's which use an electrostatic treble unit with an
8-in. bass speaker. They measure just 20 by 10 by 10 in.
( approx.) and cost $99.95 each.
Under $300.00
I. Audio equalizers which give a frequency control by octaves
cannot make a poor loudspeaker sound like a good one, but
they can often effect a dramatic improvement. They can also
help to reduce standing wave peaks in poor listening rooms.
Among those available are the Advent, Metrotec, SAE, and
Soundcraftsmen. The model shown here is the Soundcraftsmen
20-12, which gives separate channel control with a 24 dB
rangefor each of 10 octave bands. Price: $299.50.
J. Another solution to quadraphonic conversions is a combin ed
decoder-amplifier and the addition of such a unit will enable
you to play discrete 4-channel tapes, matrix discs, as well
as producing a surround sound from ordinary two-channel
stereo sources. A typical decoder-amplifier is the Sansui
www.americanradiohistory.com
L
••
-
-
QS-100, which produces 15 watts per channel (rms, 8 ohms)
QS-1 shown.
and is priced at about $200.00.
Expensive
K. Need more power? How about investing in a Marantz 500,
a state-of-the-art power amplifier giving an output of 500
healthy watts per channel? That's right-a total punch of one
kilowatt! But, after all, this is really only about 10 dB higher
than a modest 50 watts per channel. Model 500 will mount on
standard racks without adaptors and sells for $1200. There is
a three-year parts and service guarantee.
L. Here are two other items that could give pleasure to the
whole family (or commune?). The first is the new Musonics
Sonic V Synthesizer which has a four octave keyboard and
comes complete with built-in speakers ready to play for
$895.00. No patch cords are used, and it measures only 34
inches wide by 21 inches deep and 13 inches high. Makers
are Musonics, Inc., P. 0. Box 131, Academy St., Williams ville, N.Y. 14221.
M. The second Item is a complete closed circuit TV and
intercom system at the remarkable price of $370.00. The
monitor has a 5-in. screen and the camera, which has a
F:1.6 lens, is said to pick up a good picture under poor lighting
conditions. Obtainable from Olson Electronics, 260 S. Forge
St., Akron, Ohio 44308.
--_-__- ;;..-:-_-_-::.::-:-_- -
BEHI ND THE SCEN ES
E
I was in
London, visiting with Dr. Ray
Dolby and his charming wife,
Dagmar. I was also privileged to see
the inner workings of Dolby Laboratories, about which I'll report on in the
near future.
While in London, I had the opportunity to hear a demonstration of the
CBS SQ four-channel disc. The indefatigable Ben Bauer of CBS Laboratories was on hand to explain the
workings of the SQ disc to a large
assembly of British audio enthusiasts,
including quite a few members of the
British hi-fi press. The venue was a
largish room in the Grosvenor House,
measuring approximately 35 . feet wide
by 50 feet deep, with 11 foot ceilings.
As Mr. Bauer pointed out, a room this
size is just about the limit for demonstrating four-channel sound.
At each corner of the room there was
a huge studio monitor speaker, . and in
between the front speakers a Studer
four-channel stereo tape deck, conventional disc playback equipment, and of
course, four-channel stereo amplification. There was also remote switching
equipment and an illuminated glass
display panel to indicate what mode the
sound system was in during A- B tests.
It was possible to switch between the
master tape and the SQ four-channel
disc, the SQ disc plus electronic logic
(a special feature Qf the CBS system),
the switching allowed the SQ disc to be
played in conventional two-channel
stereo mode, and finally, monophonically. As with most of these
demonstrations, the room was jampacked, so that many of the auditors
(including yours truly) were poorly
situated for optimum evaluation. Add
to this the fact that these studio monitor
speakers are highly directional and the
optimum listening area becomes even
more circumscribed. In regard to this
symmetrically "ideal" listening area,
I respectfully must disagree with Mr.
Bauer that quadraphony per se "frees"
the listener from the "center of the
room" spot. The type of speakers used
has a great deal to do with the shape of
a quadraphonic sound field, with wide
dispersion of high frequencies a de12
ARL Y IN SEPTEMBER
sirable characteristic. But I submit that
even with theoretically "ideal" speakers,
a person who has gone to the expense
and trouble of setting up a four-channel
stereo system wants optimum results,
and invariably in my experience, this
is the intersection of the four sound
fields in the approximate center of the
room.
At this point, a description of the
· CBS SQ system would be in order.
However, I have not yet been to Mr.
Bauer's laboratories for really intensive
listening and discussion. Plus the fact
that Mr. Bauer has written an article
for Aumo explaining his system, which
appeared in the October issue. Nonetheless there are several aspects of the
SQ system which are purported to be
different from other matrix systems,
and these should · be mentioned. The
system is said to possess "omnidirectional stereo fidelity," which means
that if a constant signal is panned
around the encoder, the total sound
power delivered to the stereophonic
loudspeakers should remain constant
regardless of the angle of the pan. To
quote Mr. Bauer, "the system also
displays omnidirectional quadraphonic
fidelity-with a signal panned into the
encoder around a 360 degree angle,
the total encoded energy applied to the
four loudspeakers should remain
constant." The aforementioned "electronic logic," is described as a circuit
which recognizes back channel sounds
as side-effect sounds (as . interaction
between front and back channel pairs)
because of their equal strength and
phase relationship, and causes the gain
of the back channel amplifiers to be
diminished. In this manner, the complete illusion of the full orchestral span
is preserved regardless of . listener
orientation. When there is an orchestral
pause in the music you are listening to,
the reverberent sounds carry on and
the logic causes full restoration of the
back channel amplifier gain so as to
reproduce accurately the. reverberent
effects.
- As for -- the demonstration itself, a
four-channel SQ disc was played with
an introductory narrative by the urbane
Mr. David F rost, interspersed with
--
_:-_-_
": :. -_ ·-·:. _- -:. -_ -
BERT WHYTE
musical examples. There were the usual
cornball (but quite legitimate) "effects"
-Frost's voice moving around the four
speakers and the very eerie, chilling
howls of a circling wolf pack! Then a
four-channel master tape and an SQ
disc cut from the master were played
synchronously and A-B testing commenced. The pop music was a varied
bag of rock, mood, and show stuff,
all typical mix-downs from 8- · and
16-track material. Classical music was
the ubiquitous Walter Carlos' "Switched
On Bach," some of the Gabrielli
Canzoni, and the merest snippet of
the finale of Tchaikovsky's 4th Symphony.
How did our British cousins react to
the demonstration? How did I like it?
The first comments from some people
I talked to didn't surprise me. Their
first concern was not with four-channel stereo, but with the sounds of the
studio monitor speakers. In short, they
utterly loathed them. Said one irate
chap, "Blasted things can drill a hole
right through one!" If you know the
British propensity for understatement,
you can understand why they felt this
way about these hyper-bright "presence-peaked" speakers. As to fourchannel stereo per se, or at least to
the matrixed disc kind that they heard,
reactions were mixed. Some of the
keener types I spoke to were enthusiastic, not merely because of the
demonstration they had heard but for
the whole idea of multi-dimensional
sound and another step towards the
concert hall experience. Still others
dismissed the whole thing as a fad or a
gimmick, and opined that they · didn't
think four-channel stereo would get
very far. A few were outright condemnatory, stating they heard all sorts of
distortion, and "you just don't hear
musiC this way" and it was just a plot
by the damn yankees to sell more
speakers and amplifiers. Gad! From my
less than ideal spot, I thought the presentation was good and allowing for the
speakers, the sound was clean and wellbalanced. The A-B tests between the
tape and the SQ with logic were quite
Which of these two new Wollensak
stereo cassette decks is worthy of
your sound system?
One is Dolby. One is not.
The one on the left is the Wollensa:k
4760 cassette deck featuring the
new Dolby System® of noise .
suppression. It reduces thel~vel
of background tape hiss by 10 db
at 4,000 Hz or above, while
greatly increasing dynamic range.
To enhance fidelity, bias for both
standard and high performance
tapes can be selected by a tape
selection switch. Frequency response
of the Model4760 is 35-15,000 Hz
plus or minus 2 db. This deck .is
the ultimate in cassette decks; the
finest you will ever buy. It is equal
to the best and most expensive
open reel recorders.
.For. the man who wants many of
the same high qualities of the 4760
without the attributes of the
Dolby System, we have also
. invented the Wollensak 4755
cassette deck. Both of these unique
decks feature a massive,
counter-balanced hi-peripheral
drive responsible for one of the
lowest. wow and flutter ·
characteristics you'll find anywhere.
The preci.se heavy-duty tape
transport mechanism is considered
the finest by many audio experts.
This· mechanism includes the only
full-size flywheel and capstan
available to assure constant tape
®A TRADEMARK OF DOLBY LABORATORIES. INC.
(Continued on page 14)
AUDIO • NOVEMBER 1971
Either way ... it's worth it
Wollen sal< 3m
3M
CENTER
·SAIN T PAUL . MINNESOTA
Check No. ~ 3 on Reader Service Card
www.americanradiohistory.com
speeds~ Fast- forward and rewind
speeds are about twice as fast as
any otheL Interlocked _controls
allow .you to go from one
function to another without first
going through a stop o_r neutral
mode. End-of-tape sensing stops
the cassette, disengages the
mechanism and prevents
unnecessary weaL The "Cassette
· Guardian" automatically rejects
a st~lled cassette in play or record
.position.
Either the Wollensak 4760 or the
4755 can complement your present
C(omponent system with cassette
advantages. Hear them both at
your nearby dealer. Then answer
the question: Dolby or not Dolby?
55101
Behind the Scenes
(Continued from page 1 2)
...................................
effective. However, I am bound to say
(and not snidely) that the music that
was presented was all of the equal amplitude "surround" variety, even including
the classical selections with the exception
of the few brief seconds of the Tchaikovsky 4th. You must remember that
the "Switched On Bach" is strictly an
electronic studio product, while the
Gabrielli is in the category of the
Berlioz Requiem . . . one of the few
pieces written for antiphonal front-torear effects. As I have observed with
all matrixed discs, when true rear channel ambient information is presented
and A-B tested against a discrete master,
invariably you perceive that when you
switch from the discrete to the matrix,
the sound field seems to "collapse" in
front of you. It sounds almost like an
out-of-phase condition and becomes
very amorphous and vague, with little
separation or directional qualities to
anchor your auditory senses. Thus I
personally will have to wait until my
visit to CBS Labs and hear the SQ
system with classical material with
ambient information, before I can state
unequivocally that I could not hear any
difference between master tape and
disc.
It was interesting to note that when
members of the audience were given
the opportunity to use the remote
switching control, they were inclined to
spend more time switching between the
SQ four-channel and conventional twochannel stereo, rather than between
four-channel tape and disc. I questioned
a few people about this and they stated
that they were more interested. in what
they might be missing on going from
four- to two-channel, inasmuch as they
doubted they would ever be able to
afford discrete four-channel stereo
tape. In the after demo question session, there seemed to be more concern
about compatibility than is evidenced by
American
audiences.
Nevertheless
there were some very intelligent questions and poor Ben was I think rather
"baited" by one chap, described later
to me as "half mad-half genius," who
was prepared with two metal hoops with
which to argue and illustrate the complex permutations of the four-channel
matrix.
All in all, I think our British friends
were impressed. Percy Wilson, the grand
old man of British audio, was there and
he summed up things to me quite aptly.
"My dear Bert, you know it took us a
great deal of time to switch from monophonic to stereo sound. I hesitate to
think what is going to happen in the
14
four-channel era. And I especially dread
how we are going to cope with the
ladies." It is noteworthy to me that this
spry octogenarian thinks there will be a
"four-channel era." I look forward
to visiting with Mr. Bauer at CBS labs
for a full exposure to his most interesting SQ disc.
In the current Module competition
'Ne enter the Garrard thoroughbred ...
complete ready to play... at only
5
* * *
I have reported to you in several
columns about demagnetization and the
unique products of the R.B. Annis Co.
The super demagnetizer I mentioned,
with the 400 oersted strength at the
probe end, has arrived and works like
a charm. I measured a value of 3 gauss
on the capstan of one of my tape
machines with the Annis pocket magnetometer. A few moments application
of the Han-d-Mag degausser and then
the meter registered zero. Incidentally,
the field is so strong that it is only
necessary to hold the probe end within
a quarter-inch of the heads or guides
and capstans . . . not actually touching
the parts to effect demagnetization.
Complete
with these
The "hot" flush end of the Han-d-Mag
is about 700 oersteds and can be used
very easily to bulk erase cassettes. A
double note of caution is in order ...
on inexpensive tape machines with low
quality VU meters it is prudent to
keep the probe end of the unit about
two inches away from the meters. On
higher quality machines one inch spacing is sufficient to prevent damage. A
kind note from an engineer at CBS
Labs states that a field strength of 350400 oersteds might damage input
transistors and FET's of modem tape
machines. Cause would be possible
transformer action between degaussing
devices and tape head windings which
might develop voltages which would
destroy solid state devices or at worst
degrade operating noise figures. I have
checked a number of engineers on
this and ·some state that it is of no concern, while others say maybe. On professional machines, there is no reason to
worry. In any case, we . are following
this up and will report to you as soon
as we know the score on the problem .
AUDIO • NOVEMBER 1971
Check No. 14 on Reader Service Card
www.americanradiohistory.com
Blue Ribbon
Features
Synchro-Lab synchronous motor
for absolutely constant speed
Dynamically-balanced
tubular aluminum tone arm
Adjustable stylus pressure control
Patented sliding weight
anti -skating control
Viscous-damped cuei ng/pausing
and tone arm descent
Fingertip tab controls
Safe 2-point record support
Oversized balanced turntable
Interchangeable spindles
for manual and auto play
· Editor's ·Review
· OCCASIONALLY~
I MANAGE to abandon ·the
.
Editorial Chair for two or three days so I can
visit various manufacturers to see what is going on
behind the scenes in the labs, so to speak. Many of
.the new products I have seen during the past few
months are still under wraps but the.re are a number of items I can mention. One is. the new AR
loudspeaker system which is mainly intended for
studio use. It is based on the standard AR-3a but
has four mid-range and four HF domes in addition
to the 12-inch bass unit. The domes are mounted
to "fire" from the two angled sides as well as from
the front so the net result is a wide dispersion.
Cubic capacity of the enclosure is the same as the
AR-3a, so the bass performance is almost identical.
The sound has an uncolored, spacious quality,
and I am sure these AR systems-which by the way
are called .LST's-will find a place in many homes
as well as studios. Not far away from the AR plant
is a competitor, KLH, and here I was impressed
with a new modular system which was demonstrated by Mt. Von Sacken, the Marketing Manager.
This was the Model 35 and it comprises a 40-watt
(rms) AM/FM receiver, a Dual record changer,
plus two Model 6 loudspeakers. Styling was
typical KLH and performance, as might be expected, was above average. Price is $550.00.
Can you imagine a color TV picture about six
feet by five feet? Well, that is what I saw at Advent,
and the elaborate three-gun projection system is
the pet project of Henry Kloss. Henry is also very
much occupied with tape recorders. He is very
enthusiastic about chromium dioxide tape for
cassettes and a demonstration of the low noise
level achieved was certainly most convincing.
The next call was at H. H . Scott and this pioneer
company has an impressive range of products.
It was evident that the VP of Engineering, Victor
Brociner, and Chief Engineer, Dan Recklinghausen, are giving a great deal of thought to the
potential of four-channel stereo. Epicure has
moved from the Boston area to Newburyport, a
few miles north, and here they are settling into a
brand-new factory complete (or so the brochure
says) with ping-pong table! I did not see this piece
de resistance-but I did see stacks of speakers ready
for dispatch. Other visits took me to Bozak where
future plans-Top Secret-were discussed with
Saul Marantz. A few weeks before this found me
down at Benton Harbor, Michigan, at the giant
Heathkit plant. Highlight of this visit was a look at
the new computerized stacking machine in the immense storehouse. Insertion of a punched card in
16
the control unit would send the stacking device
down the rails to the programmed stop, where it
would raise itself to the right level and pick up the
required box of resistors or what-have-you's.
Heathkit's president, David Nurse, told me that the
robot nearly wrecked the storehouse during the
first few weeks but now it has been tamed and
everything is under control. The Chief Engineer,
Gene Fibich, showed me a recent innovation-a
large, well-equipped lab which is not used for research or design but for quality control. Here, the
new prototypes are sent for a thorough analysis,
life testing, and so on before being finally approved.
I was interested to see that the new AR-1500 receiver was undergoing its final tests-this is the
"second generation" version of the popular AR-15
and we hope to review one of the first models very
soon. At the British plant evaluation was always
performed by a group working away from the
engineering labs but we never graduated to a QC
lab on this scale!
We didn•t say this about our new
electrostatic headset.
uyhe really important rproof of the
maiden's kiss-one of those things you can't
pudding' is in listening, and here the Isophase hardly ever get any more. Sure, we kicked out
the circuit breakers several times, but we
showed up as superb. If one were ever skepsimply wanted to see how loud the phones
tical about the use of phones, these should
would play. Loud enough, certainly, and even
cure him. Lows were solid like those from a
louder than one would consider adequate for
large theatre-type speaker system, and highs
were smooth and silky, with no raspiness and · comfortable listening. Operation was restored
immediately by depressing the circuit-breaker
no harshneJJ. In addition to sounding so
good, the Isophase headset was comfortable
reset buttons on the front panel of the
to wear, even with glasses, for a long period
polarizer. On the whole, these phones were
of listening. The kid-like vinyl covering for
well worth waiting for."
C. G. McProud
the circumaural foam pads was as soft as a
Audio Magazine did.
----~--·~-~--~~--~~
Hi-Fi For Beginners
I am always being asked "What book on hi-fi
would be suitable for beginners?" The trouble is,
most of the great books of a few years ago are now
a little dated, but here is a new one that can be
highly recommended. ·lt is Hi-Fi in the Home
and it is written by John Crabbe, Editor of the
British Hi-Fi News & Rec;ord Review. No, I am. not
biased on this account but I have to agree with the
reviewer who said, "This book is the most up-todate and comprehensive treatment of domestic
hi-fi in print." It can be obtained from Transatlantic Arts, Inc., North Village Green, Levittown, N.Y. 11756. Price is $9.16 postpaid.
Humor in Advertising
From a press release: Say it with music has become a means for spreading the word for H. B.
Fuller. The adhesive product manufacturer has
just released a 45 rpm record entitled "Someone
is Glueing Your World Together." The words are
"Living is taking the shape of tomorrow. It's not
far to that world. Someone is gluing your world
together, making it a better, Fuller world." Ouch!
Of course, advertising with records is not new;
more than 50 years ago a candy company made one
which was quite popular. It was much better than
the Fuller disc as it was made of chocolate, so that
after one tired of the music the sticky mess could be
eaten-for a fuller inside.
G. W T.
1\e Stanton Mark llllsopha$C Electrostatic Headset System
offers frequency response from 20-18,000 Hz + 2dB, and is designed to
r··"'"~t11.1orJC from speaker output terminals of any amplifier of at Least 10 watts rms rating.
Headphones weign only 15 ounces. Polarizer attd laeadphones: $159.95.
STaNTOn .Magnetics Imc., Terminal Drive, Plainview, New York 11803
AUDIO • NOVEMBER 1971
Check No. 17 on Reader Service Card
www.americanradiohistory.com
The new Heathkit AR -1500 surpasses our famous
AR -15 in everything but price
The
Loudspeaker ILiving
Room System·
RoyF.AIIison·
~~What
do people actually hear when they put on a record and sit
in their favorite chairs, and why do they hear what they do? ' '
s PART OF A RESEARCH project on loudspeaker measurement t_e chniques, Acoustic Research recently measured
the "frequency response" of the sound fields produced
by loudspeakers in normal listening rooms. We wanted objective field data on real-life listening situations: what do
people who buy high-fidelity loudspeakers, and put them where
they will fit best in their living rooms, actually hear when they
put on a record and sit in their favorite chairs? And (just as
important for our purpose) why do they hear what they do?
Which aspects of a loudspeaker system's performance are
significant in determining the perceived frequency response,
and which (if any) are not?
These questions arise, of course, because of the very significant differences in results obtained when loudspeaker systems
are tested in different ways. The "frequency response" depends
on the environment into which the speakers of the system
radiate, the angle from the system at which the measurement is
made, the distance of the microphone from the system, and
, even the time (relative to the input signal) of the measurement.
It is not surprising that ther:e is misunderstanding l;lnd controversy .whenever loudspeaker measurements are discussed.
Some of these differences may be clarified by the illustrations
that follow. They show the results of tests on one particular
model of speaker system under various conditions, with comments on each type of test. (To answer the obvious question
in advance, it is an AR-3a system).
Tests made in an anechoic environment-either outdoors or
in a chamber with completely sound-absorbing treatment on the
walls-provide information on the direct radiation from the
system but only at one angle from it at a time. Figure 1 shows
the anechoic response of the individual speakers in the system,
taken through the crossover network, at three angles: 0°
(directly in front), 30° off the axis and 60° off the axis. The
low-frequency part of the woofer curve was taken outdoors,
since anechoic chambers are not perfectly sound-absorbent
at very low frequencies . The mid-range and tweeter curves were
taken in an anechoic chamber but with the speakers on large
flat baffles to eliminate diffraction effects.
Figure 1 is only a starting point. This kind of response is
never heard as direct radiation from a speaker system, because
at and near the crossover frequencies there are two speakers,
physically separated in the cabinet, radiating simultaneously.
Their phase relationship for rays of direct radiation changes
with the angle of the ray, reinforcing or cancelling in the region
of overlap. This interference effect is shown in Fig. 2. These
are anechoic chamber curves of all three speakers of the system,
remounted in the cabinet and operating together. The cabinet's
molding has been removed and the speaker mounting plate
extended by a flal-lbaffle . Response is shown at the same three
angles as for Fig. 1. It should be realized, however, that
while the curves in Figure 1 are typical of those that would be
obtained for rays at the same angles in all planes, this is not
true for the system curves in Fig. 2. The interference effects
A
*Vice President, Acoustic Research , Inc., Cambridge, Mass .
18
would be different for similar angles in different planes around
the cabinet.
The first sound that reaches a listener's ears, regardless of the
listening environment, is represented accurately by a response
curve taken under the conditions that apply for Fig. 2. The
exact curve that would apply depends on the angle of the listener with respect to the cabinet, of course . But this relatively
simple situation does not last very long.
,
After a period of somewhat less than one millisecond,
diffraction effects-reflections from the grille cloth molding
and the cabinet edges-cause further perturbations in the response at any particular angle. This can still be considered
"direct radiation" because, even though it is the result of reflections, it is caused by the cabinet and it is independent of the
listening environment. Diffraction flffects are visible in Figure
FREQUENCY- Hz
Fig . 1-Fiat-baffle anechoic response of each of three speakers
in the system, taken at angles of 0, 30, and 60 degrees .
FREQUENCY-HZ
Fig. 2-Anechoic response of complete system in cabinet,
but with grille cloth molding removed to minimize diffraction,
at angles of 0, 30, and 60 degrees.
In 1967 we introduced the Heathkit AR-15, a receiver that opened
new horizons in stereo and FM/ stereo circuitry. Experts agreed it
was the most advanced receiver on the market, and customers by
the thousands praised it as the best buy in stereo. Now meet the
AR-1500, successor to the AR-15, with impressive improvements in
every critical area, yet no increase in price! If you're going to improve upon a classic, that's the way to do it.
180 Watts Dynam ic Music Power, 90 watts per channel (8 ohm
load); 120 watts dynamic music power per channel under 4 ohm
load, with less than .2% intermod distortion, less than .25% harmonic distortion. The 14-lb. power transformer and massive output transistor heat sink make this definitive statement on power
in the Heath tradition of conservative ratings. Direct coupled
output and drive transistors are prot ected by limiting circu itry
that electronically monitors voltage and current.
FM Selectivity greater t han 80 dB, better phase linearity, separation and less distortion are made possible by two computer-designed 5-pole LC Fi lters. The improved 4-gang 6-tuned circuit frontend gives better stab i I ity, 1.8 uV sensitivity, 1.5 dB capture ratio,
and 100 dB image and IF rejection. Four IC's are used, three in the .
IF, one in the Multiplex. Patented automatic FM squelch is both
noise and deviation activated, fully adjustable for sensit ivity.
Vastly Superior AM, an "also ran" with many other receivers, has
two dual-gate MOSFETS in the RF and Mixer stages, one J-FET
in the oscillator, 12-pole LC Filter in the IF, and broad-band detector. Better overload characteristics, better AGC action, and no
IF alignment.
Famous Heat h " Bl ack Magic" Lighting hides tuning scales and
meters when the AR-1500 Is not in use. You'll appreciate such
niceties as velvet-smooth single-knob flywheel tuning for FM and
AM, function pushbuttons, chrome-plated die cast panel and
knobs. And there are outputs for two separate speaker systems,
bi-amplification (separable preamps and amps); oscilloscope monitoring of FM multipath. Inputs for phono, tape, tape monitor and
auxiliary sources- all with individual level controls.
If you can bu il d a kit, you can bu iid an AR-1500 ! Ten plug-in circuit boards, two wiring harnesses and extens ive use of pre-cut
wiring with installed clip connectors make the AR-1500 a kitbuilder's dream. Built-in test circuitry uses signal meter to make
resistance and voltage checks before operation . Install in the new
low-profile walnut cabinet, in a wall or use the black-finish dustcover included in the kit. The coupon at right is your order blank.
Or, if you still can't believe the AR -15 was just a beginning, send
for more information on the new Heathkit AR-1500.
Kit AR-1500, less cabinet, 42 lbs., mailable .. ... . . .. . .... . 349.95*
ARA-1500-1 , walnut cabinet, 6 lbs., mailable . ..... . . . . . . . . . 24.95*
AUDIO • NOVEMBER 1971
www.americanradiohistory.com
Massive transformer, and output transistors with heat sink across the full
length of the back panel, are mute testimony to the power at your command.
Hinged circuit boards for FM IF, AM IF,
Multiplex and Phono Preamp sections
-six plug-in boards for all other major circu itry.
Printed plug-in boards for AM and FM
IF sections contribute to error-free
building . FM circuitry has two LC filters, three IC's. Even the AM has an
LC fi Iter for superior reception.
Completely new AM tuner circuitry
mounts easily on printed circuit board
- includes two dual-gate MOSFETS arid
J-FET mixer. FM tuner is preassembled
ready to i nsta 11.·
r;~H-;0-;;PANY, Dept. 41·11
I Benton Ha rbor, Michigan 49022
I D Enclosed is $ · - - - - - - -- -I
HEATHKIT
.
I
l1u®1HMA
l
· plus shipping.
D
I
Name (print)
I
I
I
City
I
1
Please send model (s)
Please send FREE Heathkit Catalog.
I
I
I.
I
1
Address
State
Zip _ _ _
Prices & specifica t ions subject to change without notice.
*Ma i I orde r prices; F.O .B. factory .
HF-252
I
I
I
1
~-------------------------~
C hec k No . 19 on Reader Service Ca rd
3. These curves correspond to the ones in Fig. 2 except that
the grille cloth molding has been reinstalled. Such curves
represent accurately the sound field at listeners' ears during the
time interval between the onset of diffraction (less than one
millisecond) and the arrival of the first room reflections (3
milliseconds or so).
The room reflections build up in density (that is, the time
intervals between individual reflections become shorter) and
increase in total intensity, then fade away as the sound energy
is absorbed by successive bounces from the walls and room
furnishings. This reverberant field energy exists in significant
amplitude for a period of 114 to one second, depending on the
reverberation time of the room and upon the original intensity.
During this interval hundreds of reflections will occur, each
of which affects the "response" of the instantaneous sound
field at the listeners' ears. The sound pressure level of the reverberant field is quite uniform throughout the room. If the
listener is more than four or five feet away from the speaker
system, the reverberant field is significantly greater in amplitude
than the direct field for most frequencies, regardless of the
direction in which the speaker is "aimed."
The reverberant field is composed of sound energy that
originates as radiation from the speaker system in all directions
-not just the rays sent directly toward listeners. Therefore its
"frequency response" is really the sum of the output at all
angles (the acoustic power response of the speaker system),
as modified by the frequency characteristics of the room itself.
How does the room modify the reverberant field response?
Figure 4 shows the unmodified acoustic power response of
this speaker system, with mid-range and tweeter level controls
at maximum settings. This curve was obtained in a reverberant
chamber-a small room deliberately made as reflective as
possible, with minimum sound absorption. Its frequency
characteristic is known and compensated in the measurement
system, so that Fig. 4 is an accurate representation of the system's true power output vs. frequency. The room is not reliable
below about 700 Hz, but the system is known to be omnidirectional below that frequency; thus its anechoic output
at low frequencies can be considered to be representative of
its acoustic power output. By comparing Fig. 4 with the results
of the same kind of measurements made in actual rooms,
therefore, the effects of the room can be seen.
We made such measurements at several locations in each
of eight real-life rooms. They were the music listening roomsthe living rooms or recreation rooms-of eight AR-3a owners in
the Greater Boston area. Neither the speaker systems nor the
furniture was moved for these tests; the only thing we changed
was the level control settings for the mid-range and tweeter
units. They were turned to maximum for the tests, so that the
results could be compared directly. The rooms varied sub·
stantially in size, shape, and "liveness."
Figure 5 is one set of curves for one of these rooms. The
microphone for this test was placed eight feet from the leftchannel speaker system and directly in front of it. Figure 5A
is the curve obtained with the speaker cabinet in its normal
position, facing the mike; 5B is the curve obtained by rotating
the speaker cabinet 30°; 5C is the curve obtained with the
speaker cabinet rotated 60 o . Turning the cabinet, rather than
moving the microphone, minimized the effect of room mode
differences that would occur at different room locations. In this
way we could change the frequency response of direct radiation reaching the microphone (as demonstrated in Figs. 2
and 3) and evaluate the effect on the total sound field in the
room at the microphone location. The great similarity of the
three curves of Figure 5 show clearly that the field at the location of the microphone is primarily reverberant-that the amplitude of direct radiation from the speaker system is far below
the amplitude of the reverberant field. This was true for all
normal listener locations in all the rooms.
20
Anew concept in tape decks:
Superior Sound/Low Noise
Figure 6 is a curve obtained at another listening location in
the same room, with both speaker systems operating and in
normal physical orientation. This is a typical curve, about average in over-all shape and with a little more roughness than
average. In general, we found that there were no sharp peaks
or dips caused by room modes above l kHz. Whatever correction in general slope might be desirable could be done
They're so good, TEAC heads carry alife-time guarantee.
100
FREQUENCY·Hz
Fig. 3-Anechoic response of complete system in cabinet,
with grille cloth molding, at angles of 0, 30, and 60 degrees.
Diffraction would produce elevated output in 1 . 5-kHz region
at some other angles.
Meet the revolutionary Superior Sound/Low Noise (SL)
Series by TEAC, the only tape decks in the world designed to
fully exploit the superior recording characteristics of the new low
noise/high output tapes. As such, they are the most advanced,
most professional tape decks that money can buy.
To understand what makes them so different from past tape
de~ks, it is necessary to look at the recording requirements
of the new low noise/high output tapes. These tapes require
greater recording bias current, higher recording signal level,
wider frequency range and residual preamplifier noise to
perform to theirfull potential.
Until now, these requirements were beyond the capability
of virtually all recorders. Here's how TEAC's industry-leading
engineering has changed all that in the new SL Series.
New front panel bias switch
Controlling both bias and recording equalization, this front
panel switch reduces
Regular
noise and hiss to a level
.taiplel~~~=JI!!!I~
below audihility, permits
+ 1o NAB
a greatly improved signal~~~~1•ra
ods - 10 to-noise ratio, wider
dynamic range and lower
- 20 distortion when used
- 30 with the new type tapes.
- 40 The results are a new
-50clarity and brilliance
-60of tone never before
possible. It also maintains
(Relation of noise to recording tape) full compatibility with
your present tape library.
Run your favorite tape through an SL Series decks and you'll
notice a vast improvement in performance.
level
meter
reading
1K
100
10K
FREQUENCY-HZ
Fig. 4-Acoustic power response of the speaker system,
measured in a reverberant chamber. Straight line at left shows
relative woofer level .
l
New meter level switch
To handle the higher recording signal levels demanded by the
new type tapes, this control permits expanded
scale operation by an additional3 dB to
ensure a better signal-to-noise ratio and
dynamic range expansion. This is TEAC's new
engineering innovation developed exclusively
for low noise tapes.
VU meters is used on all SL Series decks. Meter accuracy and
sensitivity are assured when recording or playing back at higher
recording signal levels.
New high density ferrite heads
SL Series tape decks ( 601 OSL,
7010SL, 7030SL) are equipped
with newly developed high
density ferrite heads that
are so good they carry
an original-owner lifetime
guarantee. Composed of
an extremely hard ferrite
material impervious to wear, they permit TEAC engineers to
design and manufacture heads to a degree of mechanical
precision not possible with laminar construction techniques.
This extends all the way down to polishing. With their sparkling,
mirror-like finish, the heads prevent dust and tape oxides from
adhering to head gap thus assuring continued high frequency
response over extended periods of time.
New low noise preamplifiers
Designed for the low noise concept, SL Series tape decks
incorporate new record and playback preamplifiers built to
professional standards with wide dynamic margins of performance.
Selected low noise IC and silicon transistors are used throughout
to reduce residual noise to new lows.
These revolutionary SL Series features are available in
the following models; 4010SL $499.50, 60IOSL $699.50,
7010SL $899.50, 7030SL $799.50.
If you're ready to make the move to the new generation
of recorded sound, audition one of these
great new tape decks today at your
nearest TEAC dealer.
Large expanded scale VU meters
100
IK
FREQUENCY-Hz
Tied in with the meter level switch, a pair
of professional, semi-linear, expanded scale
!OK
fig. 5-A, Frequency response of loudspeaker and room at
location eight feet from speaker system, with speaker aimed
directly at microphone; B, same with speaker cabinet rotated
30 degrees, and C, same with speaker cabinet rotated 60
degrees .
AUDIO· NOVEMBER 1971
www.americanradiohistory.com
TEAC Corporation of America: 7733 Telegraph Road, Montebello, California 90640 Phone: (213) 726-0303
Authorized TEAC Distributor in Canada: White Electronic Development Corporation (1966) Limited , 3041 Universal Drive, Mississauga, Ontario ,
Canada Phone : (416) 625-5404 I TEAC EUROPE N.Y., Kabe1weg 45-47, Amsterdam-W.2, Holland Phone: 020-12 44 041 TEAC Corporation of
Japan : Sales Offtce: 1-8-1 Ntshi-Shmjuku, ShmJuku-ku, Tokyo
Check No. 29 on Reader Service Card
quite accurately with a treble tone control or the level controls
on the speakers. As for the room modes at low frequencies,
notice the diffe rences below 1 kHz between F igs. 5 and 6:
correction for one room location would make response worse
at the other location. It is difficult to see any justification for resonant narrow-band "room equalizers" if the speaker
systems are good to start with.
.
One might argue that the relative amplitudes of the dnect
and reverberant fields are of no consequence. The direct wave
reaches the listener first. Since directional perception is undeniably carried on by detection of very small time differences
between the direct waves from two speaker systems, isn't it
probable that listeners base their judgments of spectral balance
~~
It is difficult to see any justification for resonant narrow-band
'room equalizers' if the speaker systems are good to start with.''
also on the first-arrival sound wave, and ignore the reverberant
field's spectral balance?
The first argument in response to that proposition is a negative one . F requency response of the first-arrival wave is not
affected by the room. If the direct wave's spectral balance were
the perceived spectral balance, therefore, a speaker system
would sound the same in any room; an orchestra would sound
the same in any hall. Experience tells us that this is not so.
As a positive test, however, we made binaural recordings (usi~g
a dummy head, with microphones built into the ears) of music
played through speakers in several of the rooms. We rotated
the speaker cabinet several times during each recording, as
we did for the response curves in Fig. 5, thereby changing the
direct sound's frequency response substantially.
Listening to these recordings with stereo headphones we
were unable to hear any differences in spectral balance between
the oo , 30°, and 60° cabinet angles for any normal listener
location of the dummy head. Slight differences could be heard
if the dummy head was brought to within three feet of the speaker
cabinet. Conclusion : listeners base judgments of spectral
balance on the sum of the direct and reverberant sound
fields , and for all normal .listener locations the reverberant
field predominates in amplitude. Therefore, the acoustic power
frequency response of a speaker system is of primary importance. The direct radiation at any particular angle is important
only insofar as it affects the ratio of direct to reverberant sound
at a particular listener location in the room. By the same token,
wide, uniform dispersion of output at all frequencies is necessary
to achieve maximum uniformity in the reverberant field and
assure its predominance at locations close to the speaker systems.
Another important question is this: what is the proper spectral
balance of the reverberant field-what should be its frequency
response? The first impulsive answer would be, "Flat, of
course." If the goal is maximum accuracy in reproducing the
concert-listening exp~rience, that is the wrong answer, at least
for recordings as they are now made and for live broadcasts
using present microphone techniques.
The main microphones for recording sessions and live broadcast are always set up quite close to the instruments. Often
they are very close indeed, particularly for soloists on the stage.
As a result these microphones are in the "near field"-the direct
sound predominates, and the microphones receive a spectrum
of energy that is either flat or with accentuated high frequencies.
A concert hall audience, on the other hand, is well within the.
area of reverberant field predominance. That is true even for
small intimate halls. The reverberant field of the average concert hall has a spectral balance that slopes down at the highfre quency end much more severely than that of the average
living room. To duplicate at home the spectral balance of the
sound perceived at a live concert, the refore, the energy put
into the room by the playback system must also slope down at
22
high frequencies. That slope should be tailored to make up the
difference between high-frequency absorption in the hall and
the home listening room.
Figure 7 contains two frequency response curves. One is
a plot of the average spectral balance of four typical concert
halls, measured (without audience) at orchestra-floor seats
between YJ and Y2 way back in the hall from the stage. The solid
part of this curve is the actual empty-seat measurement; the
dashed part shows the average result that would be expected
with the audiences in place. The other curve is the average
spectral balance we measured for 22 normal listener locations
in eight living rooms with AR-3a speaker systems. It is clear
that the best match would be obtained with both the mid-range
and tweeter levels turned down well below m aximum; and
with a small amount of bass tone control boost or placement of
the speakers in positions more favorable for bass output.
These are average curves, however, and should be interpreted
only as a place from which to start. In view of the actual
variations found in both concert halls and home listening rooms,
maximum realism for each record can be obtained only if one
is willing to recognize that these slope variations do exist and
to make liberal use of tone controls to correct for them.
/!i:..
c::J
y
~0
v
!g
.....,
1\
~
100
! OK
lK
FREQUENCY·Hz
Fi g. 6 -Frequency response at another listening location, same
room as Fig . 5, both speaker systems operating.
100
!OK
lK
FREQUENCY·Hz
Fig. 7 - A , Average spectral characteristic of concert halls,
as actually measured without audience ; A', predicted result
with audience , and B , average spectral characterist ic produced
by AR -3a systems at 22 listening locat ions in eight living
rooms .
AUDIO · NOVEMBER 1971
We compared our new deluxe preamiJ
to a 10° piece of wire.
First we ran a signal through a 10<1:
length of shielded cable. What came
out the other end was , of course, aud ibly identical to what went in. Then we
ran the same signal through our new
TA-2000F preamplifier. and ran an A-B
comparison between its output and the
wire's. Both were audibly identical. As
we'd expected .
This is not to say that sufficiently
precise instruments could not detect
inaudible d ifferences between our preamp's signal transmission and a wire's.
Whereas a straight wire has no distortion whatsoever, we must admit to
having some-three hundreths of one
per cent harmonic, and five hundreths
of one per cent intermodulation, maximum, at rated output. And whereas a
wire theoretically does generate some
noise. its signal..:.to-noise ratio is still
somewhat better than the 73dB obtained through the TA-2000F's phono
inputs, or even the 90dB obtained
through our Aux, Tape and Tuner inputs.
But, as you 'd expect, the big difference in price between our deluxe preamp and two feet of cable, buys a great
deal more than just a pure, clean signal.
As our preamp's 58 levers, switches,
meters, knobs and jacks would ind icate.
· NEARLY 2,000 RESPO N SE
SETTI N GS
Six of those controls are devoted to
precise adjustment of frequency response. The calibrated, 2dB-per-step,
bass and treble controls have switches
that adjust their turnover frequencies,
so you can choose how deeply the tone
controls will affect -or not affect the
midrange. Still another switch cuts the
tone controls out of the circuit altogether. And a single knob controls the
sharply-cutting, 12d B-pe r-octave, 50Hz
and 9kHz filters . Together, these six
controls give you a choice of 1,935
precisely repeatable response settings
including flat (10Hz-100kHz, +0.-2dB)
response.
The facilities for tape recording are
exceptional and unique; you can record
on two tape decks at once, monitoring
either (or your program source) at the
flick of a switch. You can dub from one
machine directly to the other, without
external patching or connections. For
straight microphone recordings, there's
a mic input position on the function
selector knob; for voice-over-music,
there's a separate mic level control that
diminishes all other input signals as
it increases the microphone level.
And, of course, the two. front-panel
VU meters. are as useful for testing as
they are for monitoring record levels.
TOTA L INPUT AND OUTPUT
FL EXI B ILITY
The TA-2000F can feed two stereo
amplifiers (and an additional monophonic or center-channel amp) at one
time, at either a 1 volt or 300mV level .
The second amplifier output could also
be used for still another tape recorder,
should you wish to use the ultra-versatile tone controls and filters in recording . The front-panel output jack feeds
both high- and low-impedance headphones. or can be used as a tape output, by suitable adjustment of its independent level control; the same .
knob also controls the centerchannel output.
Five of the 8 rear-panel stereo
inputs have rear-panel level adjustments. A sixth- the Phono 1
input - has a switch that selects
three separate input impedances
at the normal 1.2mV sensitivity setting, and two more impedances at
the 0.06mV setting that lets you
use even the lowest-output
cartridges .
96 TRANSISTORS VER SUS A SINGLE WIRE
But all these features
merely make our
TA-2.000F more versatile than any
wire. They don't
explain how we
can come so
close to the
wire's pure, unadulterated performance. That
explanation will
rest with our cir-
··
t
'~=~=~::"""""'""""'~~~~~~:~~-:~
and with the 96
high
voltage, and
cuit designers,
Field Effect transistors they used.
THE TA-3200F : AN AMPLIFIER TO
TRULY CO MPLEMENT OUR PREAMP
A preamplifier like the TA-2000F deserves, of course: its complement in a
Check No. 23 on Reader Service Card
www.americanradiohistory.com
power amplifier. Not too surprisingly,
we make one: the Sony TA-3200F . Its
fully direct-coupled circuitry produces
200 watts continuous (RMS) at 8 ohms,
with power bandwidth from 5 to
35,000Hz.IHF Dynamic Power is rated
at 320 watts into 8 ohms (and fully
500 watts into a 4 ohm load). Its distortion. at a listening level of one half watt,
matches the preamplifier's at 0.03%; at
full rated output, it is still a mere 0.1 %.
And the signal-to-noise ratio is 110dB.
Our amplifier's facilities nearly match
our preamp's. The 3200F has controls
you 've rarely, if ever, seen on power
amps before: switch-selected stereo input pairs; a speaker selector switch; a
power limiter (which holds output down
to 25 or 50 watts, should you so desire) ,
and a rear-panel switch that lets you
limit bass response below 30Hz., instead of letting it extend to 10Hz.
For further information,
see your Sony dealer, or
write us. Or wire. Sony
Corporation of America,
4 7-4 7 Van Dam Street,
Long Island . City, N .Y.
11101.
SONF
It~
'llt11e ll•••·st t;e••e•·altttl·
l';••·t 1: fllettl•\• a11tl
·M
tt11fll11e ttf ;lltlt••n;•~••
hODERN INTEGdRATED CIRCUITS
ave opene up many new
opportunities for circuit improvement in the audio field. We have
already been witness to the penetration
of the IC operational amplifier into
audio circuits. Now other IC's are
beginning to make their presence
felt, in some areas opening up totally
new concepts. Applying these devices to
traditional problems can result in worthwhile economies as well as better per-
System Components
In simplest form, a tone burst unit
could consist of an audio transmission
path with a series switch (perhaps pushbutton activated) to make and break the
audio path (Fig. 1). But of course this
will suffice for only the most rudimentary experiments-it allows no control
over relative ON and OFF times or ratio
between ON and OFF voltage level.
Control of these paramenters is ab. solutely necessary of course, and when
Walter G. Jung
microsecond speeds, it must not
sacrifice any of the other parameters of
an ideal switch, namely: linearity,
isolation, frequency response and so·
forth (more on this in a moment).
Performance Specifications Of IC Tone Burst Generator
From Bock to Bach in 0.25 Seconds
Sony can't stop those little family arguments. But we can make
them more worth winning And a flip of Sony's unique, knoband-lever dual selector switch gets the winner into the music of
his cho ice just a little quicker than an ordinary, single-knob
selector. Because until your fingertips unleash the STR-6065
receiver's performance, it might as well not be there.
So we didn't just engineer our circuits and our switches. We
human-engineered them. For instance, in normal FM-stereo
operation, all the 6065's levers make a neat row, and all its knob
indexes point straight up; any control that's out of place shows
up immediately.
You , who have no doubt adjusted to the crotchets of your
current equipment (and perhaps even love them), may not think
th is much. Julian Hirsch, who must re-adjust to every new component that he tests, commended it: "Most receivers and amplifiers are surprisingly deficient in ease of use. Sony is to be
congratulated ."
With performance this accessible, the 6065 had better
perform . And it does: 2.2 uV IHF sensitivity ("1.9 uV," says
Julian Hirsh) gets you the weak FM signals; an FET front
end prevents overload from strong ones. And our high selec-
tivity makes tuning easier. If you find those stations easier to
listen to, you might also credit our direct-coupled amplifier
circuitry. It's supplied with both positive and negative voltages (not just positive and ground), so we don't have to put a
coupling capacitor between the speakers and the amplifier.
And, so that we can maintain full power (255 watts IHF, 160
watts RMS into 4 ohms; 220 watts IHF, 140 watts RMS at
8 ohms) or all the way down to 20 Hz at 50 watts RMS per
channel.
Which brings up another way we made the 6065's performance more accessible ·to you: the price. And if its moderate
price isn 't accessible enough, we also make a lower-priced
model, the 6055. Its power is a little less ( 145 watts rather than
255 watts) as is its rated sensitivity (2.6 uV instead of 2.2). But
its otherwise almost identical.
So perhaps we can solve those family squabbles after all : a
6065 for yourself, and a 6055 for your son.
Sony Corp. of America, 47-47Van Dam St., Long Island City, N.Y.
SONY®6065 I 6055
Check No. 24 on Reader Service Card
www.americanradiohistory.com
Input Signal:
Amplitude-Will operate properly with
input signals within the range of 20
m V p-p and 10 V p-p (approximately
-35 to + 15 dBm. in a 600 ohm system).
Frequency Range-10Hz to 100kHz.
Input Impedance- 47K, unbalanced.
On-Off Timing:
General- Control of ON-OFF switching is
via two internal modes of switch control, COUNTED or TIMED, or by external
gating signal.
Counted Mode-Coherent ON-'OFF timing
in integral number of cycles of 1, 2, 4,
or 8. Duty ratio of 50 percent.
Timed Mode-Coherent ON-OFF timing
in any duration of ON or OFF, independently adjustable. Range of adjustment of ON -OFF periods 10 seconds to
10 microseconds.
Switching Phase-In both COUNTED and
TIMED modes the starting point of
switch closure is adjustable ±90
degrees about 0 degrees or 180 degrees
with respect to input for total range of
360 degrees.
External Control-Control switch ONOFF state available· by external signal
input. Levels are TTL compatible;
equal to or less than 0.4 = oN; equal to
or greater than 2.4 = OFF.
Output Signal:
General-Output signal is l: 1 replica of
input in ON state, THD and noise 0. L
percent. OFF state of signal is adjustable
from equal to ON level down to 80 dB
below ON level.
Offset or Pedestal- Adjustable through
zero .
Switching Time-50 nS or less.
Output lmpedance-10 ohms, d.c.
coupled.
Power Requirements:
Internal supplies of ± 12 and +5 V.,
regulated and protected. A.c. line
power 105 to 129 V. a.c., 60-400 Hz,
15 watts.
Price: Less than $50.00.
formance. An example of just such a
useful application of IC's is a tone burst
generator. Tone burst generators have
been with us for years, but previously
have been a sophisticated and expensive
tool relegated to the laboratory. The
availability of a wide variety of . IC's
at economical prices have now made
the construction of a tone burst generator
feasible to the dedicated audio experimenter. And that is what we'll be
talking of in this article-how to build
an IC tone burst generator using readily
available state-of-the-art IC's. But before
we get into the details of solder, nuts
and bolts, let's first look at what a tone
burst unit is comprised of and define
how we'll go about building this model.
we begin to talk of how these things are
to be accomplished, the simple ON-OFF
push button rapidly develops. But let's
see how and at the same time why. After
all, you'll want some justification for
glorifying a simple ON-OFF switch,
won't you?
Basically the two main components of
this tone burst system are the switch
itself and the means of controlling this
switch. This latter device we'll call a
synchronizer. The switch is obviously
more than a simple SPDT bat-handle
or even the highest speed reed relay-it
must be a completely electronic high
speed switch under the control of the
synchronizer. But even though it is an
electronic switch and must operate at
AUDIO • NOVEMBER 1971
Fig. 1-S 1 is a switch to interrupt the
audio path.
EIN >--<t---------~
OFF
LEVE L
51
ELECTRONI C
SWITCH
SWITCH
SYNCHRONIZAT.ION
AND T I MI NG
3
EX TERNAL
~SW ITCH
CONTROL
Fig. 2-Switching modes: 1,
2, TIMED, and 3, EXTERNAL.
COUNTED;
Fig. 3-Aiternate single cycles of ON
and OFF .
Fig. 4-The upper waveform advanced,
the lower retarded, with switching
waveform not shown.
25
control. It is illustrated by Fig. 3,
showing alternate single cycles of ON
and OFF, with the drive which commands
the switch shown directly below the gated
waveform. Note in this case the phase of
the gating which is at the exact zero
crossing of the sine wave. Phase control
of the synchronizer allows two variations beyond this. A simple 180 degree
reversal would interchange the position
of the ON and OFF cycles. Another,
more subtle form of phasing is provided by a vernier phase control which
advances or retards the switch timing from the zero point. This is shown by
Synchron ization and Control
Consider the other element of our
system, the synchronizing portion which
co·ntrols the state (ON or OFF) of the
switch. This device must control the
timing of switch openings and closures
in accordance with the phase of the
incoming audio signal. It provides two
basic control modes of switch control.
The first of these is to count out a
predetermined number ot: cycles
( 1,2,4,8 or more) and generate a switch
drive corresponding to the zero crossings of the audio signal. This is the
"counted" mode, the simplest form of
OUTPUTS
+6
-9
GAIN ADJUST 3
o.-...:..1- - - - ·
I
I
I
I
500
L ___ __ __ _
10
-v
Fig. s........:Schematic of MC 1496G balanced modulator I demodulator.
+V
.,__ _ _ _ _ _.,Eo
----l
I
I
I
I
CONTROL '>------4---,7,..+-~
I
+l.SV
I
I
81
I
I
I
I
1---~IJ-4-___, SIGNAL B
EIN > - - - - - - - - 1 - - _ _ , . . : . . ; 41:.__-----f
SIGNAL A-+
3
1
12
SIGNAL
I
B
LEVEL
I
I
I
I
____ ..JI
10
BALANCE
-v
Fig. 6- The MC1496G connected up as a two-channel switch .
26
Fig. 4, the upper waveform advanced,
the lower retarded (switching waveform
not shown).
A second synchronizer mode of a more
general nature is the TIMED mode. In
this mode the switch control is of variable time length for both ON and OFF
states. This is the more flexible of the
two control 1Jlodes, and with time con- ,
stants of sufficient range can be programmed for duty cycles of any ratio.
As an example, if the ON time is made
Jf one cycle duration and the OFF time
9 times this, a 10% duty cycle results.
Conversely, reversing the two ratios
will result in a 90% duty factor. This form
of switch control can accommodate
variable duty cycle control over the complete audio range with suitable range of
time constants.
A third mode of switch control is· by
means of external stimulus. This allows
an external signal to gate the audio path,
with the timing parameters determined
elsewhere. Using this mode the tone
burst unit can be used as a general
purpose audio gate with defined ON
and OFF states of the control signal.
T he Electronic Swi tch
We have talked briefly above of the
electronic switch, but not in any detail.
This element is really the heart of the
generator. And since the overall quality
of' the tone burst will be determined
by the performance of this switch,
let's talk now in terms of what is required of this element.
A conventional , manually operated
switch is such a simple device that it is
totally lacking in most of the detrimental
factors which plague the electronic
variety. No one thinks of a toggle
switch as having d.c. offset, yet this is a
common misery plaguing electronic
switches. Switching transients are also
much more prevalent in the electronic
type, usually due to feed-through of the
switch drive to the signal output. And
of course, it is quite unheard of for a
toggle switch to create distortion or to
alter frequency response (at least within
the audio frequency range). However,
these are very real considerations in an
electronic switch. But even though all
of these problems are formidable, they
are by no means insoluble. In fact this
challenge is met quite well by one of the
newer IC's we talked of in the introductory paragraphs. Now here is what
it is and how it relates to our job of
electronic switching.
The IC of which we speak is the
M C 1496G balanced modulator I de modulator, a schematic of it is Fig. 5.
This IC is designed for communications
applications of modulation and demodulation where the desired output
voltage is to be a product of an input
AUDIO· NOVEMBER 1971
www.americanradiohistory.com
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voltage (the signal) and a switching
function (the carrier). The middle
pair of transistors (Q5-Q6) constitute
the signal input port and the upper
pair(s)
of
differently
connected
switches constitute the carrier input port.
Q7, Q8 and Q9 form a biasing network,
LOGIC CONTROLQ......__ __,
Fig. 7- The equivalent of the MC1496G
as a DPDT switch .
A QUIESCENT LEVEL
D.C.
VOLTS
t
8 QUIESCENT LEVEL
TIME____.
Fig. 8-Switching transients are due to
the differences in the A and B quiescent
levels.
providing a constant d.c. emitter current
to Q5 and Q6 from the collectors of
Q7 and Q8. All circuit nodes are brought
outside the package to facilitate flexibility in external connection options.
Connected up as a two-channel switch,
the MC1496G appears again in Fig. 6.
Here we begin to see how the device
really lends itself to our needs. In this
application transistors Q5 and Q6 are
linear common emitter amplifiers for
input signals A and B. Signal A is an
unattenuated version of the input
signal Ein, signal B is a variable level
version adjustable from 0 to the maximum value (the case where B =A). If
the switchoutputconsistsof A channel we
get the full amplitude of the input.
This constitutes the BURST or ON state
of the switch. The switch output in
position B can be any ratio of the input
from 0 to max. This is the OFF state,
which allows maximum flexibility in
the adjustment of the ratios between the
A and B levels.
The actual switching between the two
channels is done by the differential
pairs Ql-Q2 and . Q3-Q4. This is best
understood by analyzing the output at
pin 9 for the two states of the Q l-Q4
switches.
Q l-Q4 are controlled by a logic signal
at pins 7 and 8 which switch the relative
state of conduction between the pairs.
With pin 8 held at a positive bias of
1.5 volts, a logic ZERO (not greater than
0.4V. d.c.) at pin 7 will turn on Q2-Q3
and a ONE (not less than 2.4V. d.c.) will
turn on Q l-Q4. Thus only two transistors
sl
AUDIO
INPUT
rv
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PHASE
SHIFTER
AND
LIMITER
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TRIGGER
PULSE
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SCHMITT
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SWITCH
EXT. l s4
£
OVERRIDE
EXTERNAL
GATE
Fig. 9-Synchronizer block diagram.
28
Control
Input
Pin 6
Output
Pin 9
Output
High
Low
Source A
Source B
Source B
Source A
1 -Summary
operation .
Table
of
the
switch
No need to Cbmpromise
Bozak Quality Costs Very Little More
COARSE PHASE
FINE PHASE
CD
of the Q l-Q4 set are on at one time,
Q 1 and Q4 or Q2 and Q3 . Now look
at the output (pin 9) in terms of the signals A and B and the logic control
input. First, if pin 7 is low (a logic zero)
both Q2 and Q3 are on. Pin 9 receives
output from both Q2 and Q4, but in this
case only Q2 is on. So the output at
pin 9 is the output of Q2, which in turn
is the output of Q5, or the "A" signal.
Now, reverse the state of the logic
signal at pin 7, make it high (a logic
one), and follow the signal path to
pin 9 for this condition. In this case Q 1
and Q4 are held on by the logic one,
and pin 9 receives the output of Q4.
Q4's output consists of the current from
Q6, or the "B" signal. So this is how the
logic control at pin 7 selects either the
A or B channel.
To simplify the explanation above we
have purposely avoided discussing the
state of the other output, pin 6. It can be
analyzed in exactly the same manner
and it will be found to be a complement
of pin 9, always receiving an output
which is the exact opposite. The operation of this switch is summarized in
Table 1 and its equivalent as a DPDT
switch illustrated by Fig. 7.
Since the differential pairs Q l-Q4
possess the capability of switching at
nanosecond speeds, response time is
hardly a limitation in applying this IC
to audio usage. In the same sense,
the transistors used in the MC 1496G
are VHF devices with characteristically
low capacitance and wide bandwidth.
These factors remove any restrictions
on bandwidth due to the IC.
The biasing of the QS and Q6
amplifiers with current. sources Q7 and
Q8 provides excellent signal linearity.
This allows the current output of those
stages (Ia and Ib, Fig. 6) to be linearly
proportional to the applied voltages
A and B. The switching transistors Q lQ4 have little effect on these signal currents from a distortion standpoint and
serve only to pass or block the desired
signal. As a result this switching configuration results in linear overall signal
handling characteristics with distortion
products below 0.1% of full scale in the
ON state. Isolation of the switch in the
OFF condition is on the order of 80 db.
Another serious problem common to
electronic switches, which is handled
. AUDIO • NOVEMBER 1971
Of course you can always trade-in for a TEMPO 1,
later.- But why?
When you buy a first-rate stereo system, you expect
first-rate sound - rich, vibrant bass, smooth crystalclear strings and voices, the open flow of all the music
without tonal coloration.
For very little more you can have it to start with- in
a Bozak TEI\IIPO 1.
TEMPO 1 inherits the superior qualities of its larger
ancestors. It is a true Bozak in every way. Every part
that could make the slightest tonal difference is made
only at the Bozak factory. Bozak, for example, is one
of the very few manufacturers who make all of their
own loudspeaker cones rather than settling for commercially-available units.
This fine three-way bookshelf loudspeaker has the
same costly drivers found in the most luxurious Bozaks. The variable-density bass cone, developed by
Bozak, is made from a unique highly-damped material
processed into a lightweight but structurally-rigid
piston ·that is free of coloration. In the midrange
speaker there is a critically-damped aluminum cone
with excellent transient response. The entire diaphragm of the treble speaker, of thin spun aluminum,
rests on a bed of soft resonance-damping foam. All
cones, together with their gen.erous ceramic magnets
and precision-machined pole structures, are assembled
on solid cast frames - not sheet-metal stampings.
Bozak's traditional excellence in craftsmanship is
further apparent in the smart enclosure, where the
warm beauty of select wood grain is brought out by
careful hand finishing.
Quality tells. TEMPO 1 gives you rich big-Bozak
sound from a superbly engineered bookshelf system.
The longer you live with this fine speaker the more you
will appreciate what a difference true quality makes.
Not every dealer is permitted to sell TEMPO 1. If you
can't locate your authorized Bozak Dealer, write for
our list of the fine audio showrooms in your area. The
R. T. Bozak Manufacturing Company, Darien, Conn.
06820, USA. Overseas Export by Elpa Marketing Industries Inc., New Hyde Park, New York 11040, USA.
®
Check No. 28 on Reader Service Card
www.americanradiohistory.com
l. INPUT
SI NE
WAVE
2. OUTPUT
FROM
LIMITER
3. OUT PUT
FROM
SCHMITT
TRIGGER
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5. OUTPUT
FROM
FF 1
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7. ON-TIME
- ' ! - - - ,.....
ONE SHOT
8. OUTPUT
FROM
· OFF-TIME
ONE SHOT
...
Fig. 1 0-Synchronizer timing waveforms.
very well by this IC, is the one of switching transients due to offsets. Ideally
there should be no difference whatsoever in the quiescent d.c. level upon
which the A and B signals ride. If there
is, there will be a transient when the
switch passes from one channel to the
next.
To visualize this condition, see Fig. 8
which illustrates the effect. This is a
graph of the A and B channel quiescent
levels. Note that to switch from one to
the other a relatively large voltage
difference (A-B) will be transmitted.
To minimize this effect we would like
the A and B d.c. levels to be as closely
matched as possible and we'd also like
to maintain this balance independent
of temperature. In a discrete component
amplifier this would be an impossible or
at least impractical situation. But component matching is a natural thing for
an IC, and the currents generated by
Q7 and QS (which appear ultimately at
the output) are not only initially well
matched but will also track with temperature due a minimum of temperature
differential between the two. All that
need be provided is a means to adjust
any slight residual d. c. imbalance (due
30
to production tolerances) to zero and this
will eliminate any offset between Ia and
lb. This is provided by a differential
current bleed from Q 5-Q6 by the balance
network and pot tied back to the negative supply. Under these balance conditions switching may be done at any
rate between the A and B channels with
no switching transients.
Synchron izer Bl ock Diagram
Now if we turn to a block diagram
of the synchronizer (Fig. 9) we'll see how
it produces the signals necessary to
control the switch we have just been
discussing. There are several operations
necessary to process the input sine
wave into the timing pulses suitable to
operate the switch. These will be taken
in C?rder as we progress through our
diagram. Waveforms at each stage are
shown in Fig. I 0.
1. Limiting and Shaping is necessary
to transform the input sine wave
(waveform 1) into a square wave (waveform 3). The limiting (waveform 2) is
necessary so that the synchronizer's output will be relatively independent of
input signal level, and a stable switching
signal will be available over a wide
range of input variations. The shaping
into a square wave is necessary so the
trigger circuits which follow will have a
consistently sharp pulse from which to
trigger, regardless ofthe frequency. This
is particularly important at the lower
frequency extreme where the rate of
change (or slope) of the input is at its
lowest or worst case condition.
2. Phase Shift: A second operation
necessary is the phase shifting of the
synchronizer timing waveform with
respect to the input sinewave. Phase
control is desired so the switch timing can
be positioned to occur at any point on
the waveform (as was shown by Fig. 4).
T his operation is accomplished in two
steps, fine and coarse. The fine phase
control has a range of ± 90 degrees and
functionally is part of the limiting amplifier. The center of this control's range
corresponds to the 0 degree or 180
degree phase reference for the fine
phase. The combination of these two
controls is arranged so the trigger pulse
generator will generate a single pulse
which can be positioned over a full
360 degrees of each individual input
cycle . T his range is also independent
of frequency; that is 90 degrees at 100Hz
is the same as 90 degrees at 10 kHz
and requires no readjustment of phasing
if the frequency of the input is changed.
3. Trigger Pulse Generator: Now that
we have a shaped and phase-controlled
timing waveform at the output of the
coarse phase switch, it is necessary to
generate a single pulse corresponding
to the position slope. This is accomplished by the trigger pulse generator
which produces a single four-microsecond negative pulse each time its
input goes positive. This pulse serves as
the master timing pulse for the timing
generation and is fed to both the counting circuit and the timer. It is shown on
the timing diagram (Fig. 10) as waveform 4.
4. Counter: The counter divides the
input frequency by fixed ratios of 2,4,8,
and 16, independent of frequency.
Any one of these frequency ratios may
be selected by the count ratio switch S2.
Flip-flops l through 4 make up this
counter and are connected in a straightforward manner as a ripple counter.
Waveforms 4 and 5 illustrate the sequence of stage one which divides the
output of the trigger pulse generator
by a factor of two, the output of FFI
changing state each time its input goes
negative. The relationship of FF2 and
FF 1 can be regarded in a similar manner by noting waveforms 5 and 6. FF2
is driven by the output of FF 1 and will
change state each time FFl goes negative. Since FF 1 operates at Y2 the frequency of the main trigger pulse, FF2
will operate at Vz FF l's frequency or 1!4
AUDIO · NOVEMBER 1971
www.americanradiohistory.com
the trigger frequency. This is division
by 4. Flip-flops 3 and 4 perform in a
similar manner, further dividing the
input frequency by ratios of 8 and 16
respectively. With S3 in the COUNTED
mode S2 may be operated to select the
division ratio of the counter. The synchronizer· output will close the audio
switch whenever the output of S3 is
low (a logic zero) and open it when the
output is high (a logic one). On waveforms 5 and 6 this corresponds to the
shaded portion.
5. The Timer: The variable tlmmg
generator allows the TIMED mode of
operation. This mode is selected by S3
which connects the switch control to
the output of two variable-period oneshot multivibrators. The delay times of
both of these one shots are variable over
an extremely wide range by the adjustable time constant Ctl and Ct2
(switch selected for decade ranges)
and Rtl-Rt2 for continuous adjustment.
The first one shot is triggered directly
from the main trigger pulse and starts
Ask acynic ...
if you want the facts
atiout speaker
quality!
Scratch below the surface of an audio dealer and you'll find a cynical,
opinionated, always skeptical expert. He's got to be ... his continued existence
depends on his ability to pick and choose. When he coordinates a receiver,
a record player and a couple of speaker systems, he is practicing the art
and science of his craft in an attempt to produce great sound
at competitive prices in a trouble-free music system.
The Creative Dealer conjures up systems with a mix of brands - often
marrying a top receiver and record player with a speaker bearing his own name.
This is partly pride, but also a striving for the best sound value and so
he works with top designers and manufacturers in creating his signature system.
Maximus is the acknowledged master in this field and has come up
with all the great "Private Label", signature systems. The signature designs
carry the dealers name, but all the great ones show the Maximus Hallmarkeither printed label or evident by the sound alone.
MAXIMVS SOUND CORP. 809 Stewart Avenue, Garden City, N. Y.11530
MAXIMUS WEST 1900 West 135th Street, Gardena, Calif. 90249
MAXIM US
All Ma.ximus™ and Maximus made systems are
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<W
,
its output timing pulse from this point
(see waveform 7). This time is the ON
time and will enabLe the audio switch
through S3 for the duration of the time
it is low (shaded portion). Since in an
actual situation this time must be able
to extend for a number of input cycles,
the one-shot must be inhibited from
triggering again from any additional
input pulses while it is still in its timing
cycle. Here this is accomplished by
feedback from its output to an input
gate which prevents false triggers during
this cycle. In waveform 7 note that
two additional input pulses are rejected by this action, as the time extends
beyond the third trigger pulse.
With no additional hardware this
timing cycle would begin again with
the 4th input pulse which co·mes a
short time later. But this would impose a
serious limitation on the length of
the OFF time, as it could only be a
maximum of slightly less than one
cycle under these conditions. So this is
the reason behind the additional OFFTIME one shot. This one shot is triggered
from the trailing edge of the first and
generates an additional variable length
pulse which is used to inhibit the ON
TIME one shot. This will allow any desired OFF TIME to be introduced before·
another ON period is begun. Wave form
8 illustrates the effect of this inhibit
pulse which is fed back to the input
gate of the first one shot. During the
time this pulse is low input triggers
will be blocked. When waveform 8
goes high, the ON TIME one shot is again
enabled and will trigger on the next
pulse. Waveforms 7 and 8 show the
ON TIME one shot inhibited on the fourth
trigger pulse, enabled shortly afterwards, and then triggering on the fifth
pulse, starting a new cycle.
6. Switch Control Logic and Override:
As was stated in the previous paragraphs, the switch control logic closes
the audio switch to generate an output
burst when the input signal is in the LOW
state. This is true for either the couNTED
or TIMED modes and is also true in the
case of an external gating signal. F oi
convenience in use, an override switch
(S4) is also provided which will close
the audio switch at any time it is actuated. This is an aid to setup or as a
quick check of the switch itself, since
it will force the switch ON regardless of
the setting of any other controls.
By now perhaps you are interested
enough to think about building one
for yourself. If so, next month's part
should prove quite interesting. We'll
have a complete schematic and detailed circuit explanation along with a
parts list. So have those catalogs and
order blanks handy; you'll be able to get
started next month.
Check No. 32 on Reader Service Card
When four-channel records are areality,
you may finally need all of Dual's precision.
Dual turntables have always been designed
with "more precision than you may ever need:'
This is as it should be.
A turntable is a long-range investment,
whereas cartridges tend to be replaced from time
to time. Thus, the tonearm should be capable of
tracking at less than the optimum recommended
force of the best cartridge available at the time.
Flawless tracking calls for near-absolute
accuracy in all tonearm settings: balance, tracking
force and anti-skating. It also calls for nearfrictionless bearings, for the stylus can't tolerate
any drag from the pivot system.
. All these requirements have been met by
Du_
a l for years. In fact, they have been invariably
exceeded by comfortable margins.
Now that the four-channel record is a nearreality, and although it is not decided which of the
possible recording techniques might become the
standard, one thing is certain. The demands on
tonearm and turntable performance will be more
exacting. Which will simply mean that Dual
precision is no longer a luxury, but a necessity.
A few examples of Dual precision
engineering are shown in the photo above. If
you would like to know what several
independent test Ia bs say a bout it, we'll send you
complete reprints of their reports. Plus on article
from a leading music magazine that tells you what
to look for in record playing equipment.
Precision features of the 1218 and 1219 tonearms: A) Twin.-ring
gyroscopic gimbal centers and balances tonearm within both
axes of movement. Horizontal bearing friction less than 0.015
gram. B) Setting to provide perfect vertical tracking in single
play and at center of stack in multiple play. In 1218, this feature
provided within cartridge housing. C) Tracking force applied at
pivot, maintaining perfect dynamic balance. D) Anti-skating
separately calibrated for elliptical and conical styli, as each
type skates differently. E) Damped counterbalance has vernier
adjust plus click-stop for convenience in changing cartridges.
1218, $139.50
United Audio Products, Inc., 120 So. Columbus Ave., Mt. Vernon, N.Y. 10553.
Exclusive U.S. D istribution Agency.
32
AUDIO · NOVEMBER 1971
www.americanradiohistory.com
Check No. 33 on Reader Service Card
SONYSUPEREVERSABILITY
Lets you play on and on.
Mathematics
Beg·n ers
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George found Henry
to ask his help with electronic
calculations, he had just been
having troubles like the ones which
started their discussions. Only this time
his mistake was one that all of us drift
into at times, assuming a resistor's
color code means exactly what it says.
He had put together two resistors, each
ofwhich was coded 1.5k, on the assumption that they were both exactly the same
and would add up (connectedin series)
to 3k.
Before George came to Henry, he
had put the resistors in question on a
bridge and measured them. One of them
measured 1.4k, the other 1.64k. The
total came to 3.04k, but they were considerably off being equal, which did not
suit his purpose, which was to use them
as a voltage divider.
Henry pointed out to George that a
1.5k resistor, with a silver band indicating 10% tolerance, could vary between
1.35k (1.5k-150) and 1.65k (1.5k + 150),
so that both were within the tolerance
their markings specified. But this did not
solve George's problem. What could he
do?
"Is it .important that they both be
1.5k exactly, or can they simply be
equal?" Henry wanted to know. George
was not quite sure.
"If they only need to be the same, you
can make one match the other," Hepry
went on, "but they must both be l.Sk
exactly, then both of them must be
changed to be as close to that value
as you need to have them.
"To make the first one 1.5k, if its
value is 1.4k, you could put a 100-ohm
resistor in series," Henry again went on,
as George seemed a little uncertain
N
·jl
~I
fl
!i
EXT TIME
what he meant. "But if making them the
same as each other would do, a 240-ohm
resistor will do, if you happen to have
that value."
George nodded. "But if I make the
1.4k up to 1.5k with a 100-ohm resistor, how can 1 'get the 1.64k down
to 1.5k?"
"By picking a suitable parallel value
instead of a series one," Henry suggested, "but first let us explore how
tolerances affect series and parallel
combinations. To make it easy, suppose
you put 1000 ohms and 100 ohms in
series. If the 1000-ohm resistor has 10%
tolerance, it can vary from 900 to 1100
ohms. If the 100-ohm resistor has 10%
tolerance, it can vary from 90 to 110
ohms."
"So if the 100-ohm resistor is used
because the 1000-ohm resistor is 10%
low," George picked up, "the result will
pe between 990 and 1010 ohms, which
is within ... " he thought a moment after
making those additions, "1% isn't it?"
"Correct," said Henry.
"Doesn't that mean that when you
combine two resistors, and one of them
is, as in this case, one tenth of the other,
that the effect of its tolerance on. the
combined value, is divided , by ten?"
George asked.
"Strictly, that's not quite right,"
Henry responded. "Actually the 100
ohms represents one t~nth of the total
value. Thus if both resistors had been
1000 ohms, at 10%, then 10% variation
of only one of them would affect the
total value, which is nominally 2000
ohms, by 5%. But how does this work
with parallel resistors?"
"Just what I was going to ask you,"
George said. "Let's see. Suppose I put
1000 ohms in parallel with 100 ohms,"
and he proceeded to put down the calculation, "this would make a resistance
of about 91 ohms. Now what?"
"Well, try varying the 100-ohm
resistor, from 90 to 110 ohms, which is
the 10% tolerance," suggested Henry.
George did it and came up with
values of 82.6 ohms and 99.1 ohms.
"That's not far short of 10% on either
side of 91 ohms," he said.
"All right, now try varying th~ 1000ohm resistor by 10%," said Henry.
George did this, and came up with 90
ohms and 91.7 ohms. "That's about 1%
on either side of 91 ohms, isn't it?"
George asked and Henry nodded in
reply.
"So far, so good," George went on.
"I see that the biggest resistor has the
most effect in a series circuit, and the
smaller resistor has the most effect in
a parallel circuit. But how do I tailor
these values to both come out 1.5}(?"
"For this," Henry suggested, "you
have to turn around the parallel resistance formula a bit, so you can get the
'spare resistor' as the solution to your
equation," and he did the algebra to
get the new expression. ':
"I see," George verbalized the final
formula, "you take the value you have,
multiply it by the value you want,
and divide by the difference."
"Correct," Henry said, but George
was already workiQ.g on the values:
1.64k as what he had, 1.5k as what he
wanted, and 140 ohms as the difference.
He came up with 17 .57k. "The nearest
stock value is 18k," he suggested.
"So see how close that is likely to get
you," Henry suggested.
"Let's see, an 18k could vary between
See either of these outstanding automatic reversing reel-to-reel decks at
your Sony/Superscope dealer or write for full details to Mr. Richard
Linda, Sony/Superscope, Inc., 8144 Vineland
Ave., Sun Valley, Calif. 91352 .
l§•i§'ti SUPERSCDPE® I
.AUDIO • NOVEMBER 1971
Check No . 63 on Reader Service Card
Scrape Flutter Filter. Special precision idler mechanism located between
record and playback heads reduces
tape modulation distortion.
Electro Bi-Lateral Six Head Function
with Central Capstan Drive. Electro
bi-lateral heads significantly reduce
head alignment problems while still
allowing six head versatility. Central
capstan drive assures precise tape
motion in either direction .
Relay and Solenoid Operation. Electronic relays and positive action
solenoids activate the operating mechanisms with precision and ease.'
Other Features: Four-track stereophonic recording · and playback- in
both directions. Three speeds. Two
large illuminated VU meters. Stereo
headphone jack.
Sony Model 580-$449.95. Also Available : The Sony Model 440 tape
system with foil activated auto-reverse, roto bi-lateral heads with six head
function and three speeds for only $369.95.
You never heard it so good.®
34
©1971, Superscope, Inc., 8142 Vineland Ave,, Sun Valley, Calif. 91352 S end for f ree catalog . Circ le 63 on reader service card.
www.americanradiohistory.com
16.2k and 19.8k, if it has 10% tolerance,"
said George, looking to Henry for confirmation.
He figured these results out, and came
up with 1.49k and 1.515k. "Both within
1%," he commented.
Henry looked at George, who had
done all this by long multiplication
and division. "You know," he suggested,
"unless you have a calculator handy, a
sliderule would make those calculations
much easier."
"I've often thought that, as I watched
you use one," George replied. "Would
you show me how to do it?"
Henry set the hairline of the cursor
against the point representing 1.64 on
the D scale, explaining to George why
1.64-one
that point represented
mark below the 1.65 mark-and slid the
C scale so that 17.84 (found by adding
1.64 and 16.2), which is between marks,
was also under the hairline. Now he
moved the hairline to 162 on the C
scale, and read off 149, representing
1.49k on the D scale.
"It certainly makes it look easy,"
said George, "but even if I could remember what to do, I'm not sure I'd
get the decimal point in the right place.
You know, I couldn't be certain whether
it was 1.5k or 15k."
"That does take a little care," said
Henry. "But it's not really difficult. And
practice is what really helps, more than
anything. Here, see if you can figure the
other one the same way."
George took the slide rule and carefully set the hairline back to the 164 on
the D scale, then slid the C scale so
that 2144 was also under the hairline.
(That gave him a bit of trouble, because
each small division is worth 0.02 there,
instead ofO.Ol, so the final "4" is 115 of
a large division, which Henry explained
to him.) Then George slid the hairline
down to 198 on the C scale, which was
easier, and read off the answer from the
D scale, finding it halfway between
the 151 and 152 markers, as 1515,
representing 1.515k.
"It's certainly easier than I thought,"
George said. "Maybe with some practice,
I could get to use a sliderule for things
like that."
calculations
(1000 X 100') + (1000
+
100) ·= 91 ( approx)
(1000 X 90) + (1000
+
90) = 82.6
(1.64 X 16.2)
(1.64
+
16.2)
1.49k
(1.64 X 19.8)
(1.64
+
19.8)
1.515k
rJtJN£1(.0
A
u<MENSJO""''-
~·•-··
".pO.." '" . ,. . ,.0, -------. .,.,.,. . .
llllliil ·~·
-:.:.lll!!lr.""
-----
~--------------
.
I
True4•Cbannel Sound
[s42.50 per 20•watt ehannel]
There are several components on the market that
you can take home and get true 4-channel sound out
of today.
All are expensive.
Except ours.
We call ours QAUDIO. It's an amplifier and player
with 4 discrete channels. And we designed it primarily
to play the new S-track 4-channel cartridges.
But we also give it the ·
capability of playing ordinary
S-track stereo cartridges,
because there are a lot more
of them around today than
there are 4-channel cartridges. And QAUDIO makes
even ordinary stereo cartridges sound fuller and richer
than they ever have before.
But of course it takes a specially
recorded 4-channel cartridge to
give you the real QAUDIO experience, and there's no point in try-
,..,.._~ .PL•f-ot:: R
\
(1000 X 110) + (1000 + 110) = 99.1
(1.64 X 1.5) + (1.64 - 1.5) = 17.57k
NEW DYNACO AMPLIFIER
ing to describe what that's like. It's simply something
that has to be experienced.
And you can experien'ce it today-at a price that's
almost as unbelievable as the sound: $169.95. (That's
$169.95 for a true 4-channel amplifier-player with
SO watts of total music power.) A QAUDIO unit for
your car or boat is just $129 .95.
A free call to 800-631-1971 (in N.J. S00-962-2803)
will give you the names of
stores where you can experience a Qaudio demonstration.
For brochure: Toyo Radio
Co. of America, Inc., IS42B
W. 169th St., Gardena, Calif.
90247.
• OAUJIJliiO.
·avTOYO
A SHOCKING EXPERIENCE IN SOUND.
Check No. 36 on Reader Service Card
www.americanradiohistory.com
. . .." .-• -
--
----
SCA-SOQ
$169.95 kit
$249.95 assembled
BUILT-IN 4-D CIRCUIT
••• AT NO EXTRA COST
The most logical choice for a compact, powerful control amplifier is the new Dynaco SCA-80Q. The
SCA-80Q not only is a one-piece stereo preamplifier
and power amplifier, but it includes built-in Quadaptor™ circuitry for 4-dimensional stereo. No decoder is required.
The SCA-80Q is the same price as the SCA-80
which already has established a reputation for unexcelled value. The SCA-80Q has all the features as
its predecessor and exactly the same performance.
And you can connect either two speakers to it for
conventional stereo, or tour speakers for 4-D sound
now (or later).
The best results are obtained when the SCA-80Q
is used with speakers that have small impedance
variations. The most accurate front-to-back separation is achieved when the impedance of the back
speakers remains as close as possible to 8 ohms.
All of the different Dynaco speakers have been
designed for uniform impedance. They are a most
sensible choice for 4-D playback with the SCA-80Q.
Their similar efficiency and sonic characteristics permit them to be used together in the same 4-D
system. The larger A-50 ($179.95 each) as well as
IJIUI\IiJCD INC_
the compact bookshelf types A-25 ($79.95 each)
and the new A-10 ($99.95 the pair) are appropriate
for the front. The compactness and light weight of
the bookshelf models, particularly the A-10, render
them ideal for unobtrusive mounting on a back wall.
A 4-D system including the SCA·BOQ and four
full-range Dynaco speakers is the most economical
and compact way to realize the full potential of your
existing stereo library and FM stereo broadcasts.
And as recordings made specifically in the 4-D format become more available, your enjoyment will be
greatly increased.
SPECIAL DIRECT OFFER ON
4-DIMENSIONAL DEMO RECORD
: -INC.- - - - - - I
rDYNACO
I
I
I
I
3060 Jefferson Street, Philadelphia, Pa. 19121
Enclosed is my check or money order for $2.95. Please
send me the new Dynaco/Vanguard 4-D demo record postpaid . Limited to USA residents only. Offer expires
December 31, 1971
Name
1
I
I
Address
~ty--
I
State_ _ _,Z ip
-
I
_ _ 2..j
3060 JEFFERSON ST •• PHILADELPHIA, PA. 19121
Equipment
Profiles
• Panasonic SA-6500
AM / FM Stereo Receiver
• Sherwood SEL-300 FM Tuner
• Rabco ST-4 Straight-Line Turntable
Panasonic M odel SA-6500
AM I FM Stereo Receiver
MAN UFACTURER'S SPEC IF ICATIONS
FMTu nerSection IH FSensitivity: 1 .8JlV. S/N Ra t io: 60
dB. THO: 0.4% (mono). Se l ectivity: 60 dB. Spuriou s Response Rejection: 75 dB . IF Rej ection: 90 dB. I mage Rejection: 80 dB . Capture Ratio: 1 .5 dB. Stereo Separation
(1 kHz) : 40 dB .
A M T uner Section. I HF Sensi t i vity: 1 5 fl V . Sel ectiv ity:
30 dB . I mage Rej ection : 70 dB. IF Rejection: 60 dB .
Ampl ifier Secti on. Power O utpu t Music Power (IHF): 140
[email protected] 8 ohms; 200 [email protected] 4 ohms . RM S Power: 50 watts/
channel @ 8 ohms; 70 watts/ channel @ 4 ohms . TH O at
Rated Ou t pu t: 0.5% . IM: 0.7% . Power Bandw idth: 7Hz to
60 kHz . Fre quency Respon se Overall : 15 Hz to 65,000
Hz ± 3 dB. IH F Hum and Noise Leve l: Phono (2 mV ref .),
-70 dB; AUX (1 70 mV ref), -80 dB. Input Sensi t ivity:
Phono 1 & 2, 2 mV; AUX & Tape Monitor, 1 70 mV. Dampi ng
Factor : 50 (at 8 ohms) .
D i m en sions: 16Ya in . W. X 5Ya in .H. X 15V<t in. D. W eight :
34 lbs . Price: $369 .95 (includes walnut case) .
If the name Panasonic has always conjured up visions of
well-designed portable TV sets, first-quality table radios and
cassette players, you'd better have another look- for Panasonic (the trade name used in the U.S. by Matsushita Electric
Company) has entered the component stereo high fidelity
market in a big way. Their top-of-the-line Model SA-6500
stereo receiver is as up-to-date in looks and performance as
any equipment we've analyzed this year- and then some.
T he aluminum and smoked plastic panel is almost entirely
devoid of conventional rotary knobs. The two that are used
are a tuning knob and the program source selector switch, at
the right of the panel. The three push-buttons seen at the left
of the panel are of the push-to-engage, push-to-release type
and govern power ON-OfF and the selection of MAI N or REMOTE
38
38
44
50
pairs of stereo speaker systems. Four up-and-down slide controls take care of BASS , TREBLE, BALANCE and VOLUME settings.
While we have seen this convenient form of control used on
some of the more recently designed components, these are
by far the smoothest sliding and most accurately calibrated
controls we have run across. The o or FLAT settings of the tone
and balance controls corresponded exactly with electrically
flat settings as measured by instrumentation in our labs.
Fully two-thirds of the entire panel is "blacked out" until
power is applied, at which time an almost completely linear,
well calibrated (every half M Hz has its own mark) F M dial ,
a 0-100 logging scale and an AM dial scale are disclosed.
Doing away with the conventional pointer, Panasonic utilizes
a well illuminated green bar which gradually comes into view,
becoming longer and longer as you tune from 88 to 108 M Hz
(or from 550 to 1600 KHz) . This form of tuning indicator is
reminiscent of the speedometer arrangement used for many
years by the Buick line of General Motors automobiles and it
is highly visible from great distances. It also demands extreme
accuracy of calibration, since the line of demarcation between
"green line" and blacked,out portion is precisely defined and
there is · no parallax error involved in viewing. In the case of
the Panasonic SA-6500, the calibration was very much " equal
to the task."
The blacked out area also contains two tuning meters-one
for zero-center tuning of F M stations.. the other for signal
Introducing the Ampex Extended Frequency Cassette
Fig. 1 - Top view of Panasonic SA-6500 chassis .
Egad, what sound! What spectrum! What fidelity! At last, I can
use the full range, the maximum frequency response of my
magnificent stereo system. Yes, a med ium to match my music.
Absolutely smashing!
Ask your Ampex dealer to demonstrate the new Extended
Frequency cassettes, another quality product in a full line of
recording tapes; open reel, S-track cartridges and standard
cassettes.
What's more, those clever rascals at Ampex have increased
output with a smaller particle black oxide
formula. They've reduced noise with
super-smooth Ferrosheen® tape . They
call it Extended Frequency. I call it
marvelous. And, the packaging is so
handsome it complements every
piece of my fine equipment. Ah,
quality sound with cassette convenience for just a bit more than
two dollars each.
But, don 't wear your glasses.
AUDIO • NOVEMBER 1971
Chec k No . 3 9 on Reader Service Card
www.americanradiohistory.com
AMPEX
Ampex Corporation
Magnetic Tape Division
401 Broadway,
Redwood City,
California 94063
strength indications in both FM and AM use. Illumination of
the former is automatically extinguished when the selector
switch is rotated to the AM position and both meters are darkened
when the selector switch is set to non-radio positions such as
AUX or PHONO. Separate illuminated words appear in the dial
scale area to denote these latter program sources, and the word
FULL LIMITING @1.7 ,uV (I dB)
~
~ -20
~
~
d
..:..
5:: -30
!I
I!
' . . . . . . . . _______ [email protected]___
' _~
1-
~ -40
~ -50
<
~ -60
-70
10.0
1.0
0.1
!00.0
IK
ANTENNA INPUT SIGNAL·.u V
Fig. 2-Mono FM characteristics.
IL" OUTPUT WITH "L" ONLY APPLIED
~
'_:
i
.
..1
"~
~
'
~. ~
'
I
I
'
<
I
. -,
.t
~~
·~1
-
10kHz
100Hz
-20
I
I!WW~
....
1-
6
~
:
-~~~ ·~ l----~~·:·
-10
co
I
'
w
>
i=
~
"" -30
-40
100
10
!OK
lK
FREQUENCY-HZ
lOOK
Fig. 3-Stereo FM separation.
1.6
1.4
1.2
~ 1.0
~ 0.8
ssw !<il l ~·
I
----lM
0
~
C5
I
I
_ _ THO
0.6
I
I
,
52W fi! .)%
I
0.4
52.5W !ii!Q.S%
I
01
-------------------~
0.1
1.0
10.0
)
100.0
POWER OUTPUT·WATT/ CH .
Fig. 4-TH D and I M characteristics with 8 ohm loads.
to the right of the two meters, is also illuminated in the
presence of a stereo FM signal.
Below the dial scale area are a series o( eight push-buttons
which activate the LOUDNESS circuits. HIGH and LOW filters,
multiplex high frequency blending (used when weak stereo FM
reception causes noisy reception). interstation muting defeat,
a MONO-STEREO button, tape monitor switch and a phono push
STEREO,
40
THE
FOUR -CHAN NEL
EVER YTHIN G.
button which selects either the PHONO 1 or the PHONO 2
inputs. A stereo headphone jack at the lower left edge of the
panel completes the front layout.
The rear-panel of the Panasonic SA-6500 discloses at the
upper left antenna terminals for FM (300 ohms impedance)
and AM. Along the bottom are a ground terminal, input and
output jacks for phono, aux, tape and tape monitoring, a DIN
receptacle for tape recorders equipped with this type of multiple
pin plug, a pair of speaker protection fuses, terminals for connection of main and remote sets of speakers and one switched
and one unswitched a.c. convenience outlet. Speaker connection terminals are spring-loaded ·and, when depressed, disclose a hole into which the stripped end of the speaker lead is
inserted. Releasing the terminal locks the lead firmly in place .
This type of connection is still the very best available and just
about eliminates any possibility of shorts. At the upper right
of the panel are a pair of jumpers which interconnect the preamp outputs and the power amp inputs. By removing these ·
jumpers it is possible to treat the receiver as two independent
components, interposing such devices as reverberation units,
tonal equalizers, four-channel decoders, etc., without resorting
to the use of the tape monitor jacks. The presence of this
"circuit interruption" facility also enables you to use this receiver as part of a hi-amp or tri-amp sound system if you are
so inclined.
Construction and Circuitry
The RF front end and the AM-FM-IF-MPX modules are
covered with complete metal shield cans. The FM r.f. section includes two FET r.f. amplifiers and separate bi-polar devices
for oscillator and mixer functions . An AM r.f. stage and a converter stage are also included in this module. FM i.f. circuitry
includes three amplifying stages and two stages of limiting.
A combination of crystal filtering and conventional interstage
i.f. transformers are employed. The second and third ·i.f.
stages are combined in a 14-pin monolithic IC (type AN-203).
The AM section features two i.f. stages while the MPX
section utilizes seven bi-polar transistors and four diodes in a
bridge switching configuration. Ten transistors are used in the
preamplifier module. The driver section features differential
amplifier inputs and direct coupled power output stages made
possible by separate positive and negative supplies of 38.5
volts each. Interconnections between the various modules
seemed well planned and often utilize harnessing for consistency of layout and wiring. While parts density was fairly
great, access to practically any part is easy and the chassis seems
well thought .out from a servicing point of view.
Measurements
IHF FM Sensitivity was a bit better than claimed, measuring 1.7 fL V. Perhaps more important is the fact that this exact
reading is maintained from low end to high end of the FM
band-indicating perfect alignment and excellent design of the
FM front end. While Panasonic claims only 60 dB of ultimate
SIN, we measured 66 dB. THD (mono) equalled the claim of
0.4% exactly, while in stereo the THD measured 0.6%, a very
respectable figure for 100% modulation. Full limiting occurs
at under 2 f-LV, making the IHF sensitivity even more meaningful since, at 3 fL V of input the SIN ratio is already better
than 50 dB-our own criterion for "listenability" in a practical
situation.
Stereo FM separation measured 38 dB at mid-band frequencies. At least 30 dB of separation is maintained from
70 Hz all the way to 7 kHz with no reading of less than 25 dB
obtained at any frequency in the FM audible range.
The audio control and amplifier sections meet or exct>ed
their specs very nicely. Operating into 8-ohm loads, with both
channels driven, we measured 52.5 watts/ channel at rated
distortion of 0.5%. At power levels below about 40 watts,
AUDIO· NOVEMBER 1971
Sansui's Model QR6500
SANS UIBR EAKS
THE BOTT LENE CK.
The "wait-and-see" period is over. You can go ahead and overwhelm yourself with the awesome
power of the total four-channel sound field right now. And tomorrow too.
·
Sansui's QR6500 Four-Channel Stereo Receiver makes it possible. Actually it's an AM/FM
Two-Channel and Four-Channel Stereo Receiver-Synthesizer-D ecoder-Amplifier and Control
Center. Add four speakers (you probably have two of them already) and live. That's all there is to it.
As a synthesizer, it can ferret out the ambient signals already present in most two-channel stereo
recordings and broadcasts and process them for astonishingly realistic rear-channel reproduction.
Enhancing this effect is Sansui's exclusive phase-modulation technique, which moves the sound
about the listening area the same way nature propagates the live sound field.
As a decoder, it can accurately reproduce the four original channels of any compatibly matrixed
four-channel recording or FM broadcast. And such discs and broadcasts are here now, past the
experimental stage, becoming increasingly popular. In this mode, Sansui's original phase-shift
circuitry prevents the sound dropouts and lost sound-source localization that plague many matrixed
systems. And the phase modulators are also at work to build up that "live sound field."
As a straight-through four-channel stereo center, it can handle open-reel or cartridge four-channel
tapes, or any other discrete four-channel source. It features 280 watts of total IHF music power
(50 watts continuous per chanel at 4 ohms; 37 watts continuous per channel at 8 ohms). Normal-level
resp~nse is 20 to 30,000 Hz ± 1 dB. Distortion at rated output is less than 0.5%. IHF sensitivity of
'
the hrgh-performance FET FM tuner is 1.8 microvolts.
It has slide controls for front-rear and right-left balance, illuminated digital indicators for two- and
four-channel modes, and a full complement of controls and accessory circuits for any two-or
four-channel function you can think of. You can even "dial" the best speaker arrangementfour-corner style, front 2-2, or what have you.
It's Sansui's embodiment of the four-channel era. Model QR6500.
SANSUI ELECTRONICS CORP.
Woodside, New York 11377 • Gardena, California 90274
, SANSUI ELECTRIC CO., LTD ., Tokyo, Japan • Sansui Audio Europe S . A., Antwerp, Belgium
Check No. 41 on Reader Service Card
www.americanradiohistory.com
@COPYRIGHT BV SAN SUI
THD was well below 0.1 %, readings being limited only by our
own audio generator which is known to put about 0.05% THD.
IM Distortion reached rated value (0.7%) at an output power of
52 watts/chan nel and was well below 0.1% for all levels below
about 30 watts/chan nel. Power bandwidth extended from 6Hz
to 60 kHz-a really incredible range due, in part, to the advantages gained through d.c. coupled output stages which
eliminate the need for low-freque ncy limiting coupling capacitors.
S·OHM LOAD
0.5%RATED THO
!OK
IK
100
10
lOOK
FREQUENCY-HZ
Fig. 5-Power bandwidth.
3.0
~
0
2.0
~
0
t:;
0
1.0
IK
100
10
FREQUENCY·Hz
Fig. 6-TH D versus frequency at 20, 40, and 50 watts/ chan-
nel levels.
+15
+10
a:l
+5
~
§
u.J
- 5
>
;:::
~""
-10
-15
10
100
IK
FREQUENCY·Hz
!OK
lOOK
Fig. 7- Tone, filter, and loudness control characterist ics.
A fairly recent addition to our normal set of measureme nts
of amplifier sections are the THD figures for all meaningful
audio frequencies at various power levels. In the case of this
Panasonic receiver we chose power levels of 50 watts/chann el,
40 watts/chan nel and 20 watts/chan nel. At the 40 watt level,
distortion at 20 Hz is only 1.0% while at the high end, even
50 watts of power/chan nel is possible with THD never exceeding the "rated" figure of 0.5%.
42
We have often berated manufactur ers for including socalled "low filters" and "high filters" which did little more than
follow the nominal 6 dB per octave curves of the ordinary
tone controls and were therefore no more effective as filters
than are ordinary tone controls. A look at the curves shown will
let you know how we feel "it should be done." Notice that with
the "low" filter in-circuit an attenuation of better than 20 dB
is obtained at 20 Hz while the response at 70 Hz is down only
three dB. To obtain the same attenuation using the bass tone
control would mean the "cutting out" of vi tal information contained in the range from 200 Hz down, with almost 10 dB of
attenuation at 100Hz! The same applies, of course, for the "high"
filter as compared with the treble cut settings of the treble
control. By incorporati ng 12 dB/octave slopes on the two
filters, Panasonic has made them useful and significant -and
highly effective. Loudness control action at a -30 dB setting
on the volume control is also shown, and Panasonic has opted
to provide a bit of treble compensati on as well as the more common bass boost in its version of the "loudness control."
Listening Tests
The Panasonic SA-6500 Receiver is one of those units that
seems to deliver more power than its specs would indicate.
Perhaps it is a combinatio n of total stability (the unit was stable
from no-load to capacitive loads of up to 10 ,u F and inductive
loads up to I H) and extremely wide band response, but no
amount of "driving" could produce anything but clean,
crisp transients and tight, hangover-fr ee bass reproductio n
limited only by the quality of the loudspeake r systems with
which it is to be used .. Noise and hum level in the PHONO
settings are remarkably low (we measured better than the 70
dB claimed with reference to a 2 mV input). Since our cartridge
puts out about 4 mV with a standard test record, we really had
a dynamic range capability of nearly 78 dB in phono opera-
tion!
As for FM reception, it was about as good as the best we h~ve
seen. Some 54 stations were logged with our outdoor directional
antenna and of these 22 were broadcastin g in stereo. The muting
action is very effective, adjusted at the factory to work at between 4 and 6 ,u V. It exhibits no "marginal" effects-tha t is, the
station either comes in or it doesn't-the re are no "partial"
situations which could lead to distorted FM reception. Interestingly, we lost about six stations when the mute switch
was in the "on" position, indicating that these stations had been
received acceptably before at signal strengths of less than, say,
5 1-'- V. The steepness of the noise-rejec tion curve referred to
earlier comes into play advantageo usly with that order of signal
strength. Stereo indication is also positive and there is no random lighting of the stereo indicator on noise impulses or
interstation wide-,band noise.
· The AM section deserves a mention here, for while we don't
ordinarily devote much space (or testing time) to AM, in the
case of the Panasonic SA-6500 the extra RF stage seems to make
the difference as compared with "run-of-the -mill" AM circuits
normally found in many receivers. Selectivity of the AM section
was particularly good, as we were able to listen to dozens of
stations even at night without the usual adjacent channel bleeding, whistles, etc. With the addition of an outdoor AM antenna,
this unit coul.d probably delight such AM DX-ers as are still
to be found amongst the high-fidelity fraternity.
It is obvious that Matsushita Electric Company did not enter
this specialized component field without first devoting · a
great deal of attention to thoughtful engineering, cosmetics,
and a thorough understand ing of the features that most
buyers demand in an under $400.00 receiver. With the introduction of this receiver, Panasonic successfully enters "our"
Leonard Feldman
market. Welcome!
Check No. 42 on Reader Service Card
AUDIO· NOVEMBER 1971
Our town
The sun never sets in our town, nor do our microphones and sound systems
get any rest. "Our town" is the mecca for sound specialists, and here, Shure
Microphones and Vocal Master Sound Systems handle it all: you'll hear
them in hotel show rooms and lounges used by famous professional entertainers whose livelihoods depend on sound excellence; you'll hear them in
hotel convention halls, in club after club, in casino after casino; and you'll
hear them 'round-the-clock as keno scores are announced. Why? Because
the predictability and reliability of Shure microphones and sound systems
simply make everyone's job a lot easier. The Shure sound is the Las Vegas
sound -and we're proud of it.
Shure Brothers Inc.,
222 Hartrey Ave., Evanston, Ill. 60204.
Check No. 44 on Reader Service Card
www.americanradiohistory.com
Sherwood Model SEL 300
Digital Readout Stereo FM Tuner
MANUFACTURER'S SPECIFICATIONS
IHF Sensitivity: 1.5 f.LV . FM Quieting: 0.9 f.LV for -20 dB;
3.0 f.LV for -50 dB. Alternate Channel Selectivity: -85
dB. S/N Ratio: -70 dB. AM Suppression: -65 dB . THO:
0 . 15% at 100% modulation (mono) . Spurious Response
Rejection: -100 dB. Image Rejection: -80 dB . IF Rejection:
-110 dB . Stereo Separation: -40 [email protected] 1kHz . Frequency
Response : (mono) 20 to 20kHz
1 dB ; (stereo) 20 to 1 5 kHz
± 1 dB. Size: 51,4 in . H. X 161,4 in . W . X 14 in . D. Shipping
Weight: 25 lbs. Retail Price: $579.00 .
To local osc illator
(98 .2 MHz to 119.2 MHz)
1-
±
The new Sherwood SEL 300 Tuner is truly the embodiment
of "an idea whose time has come." While not the first high
fidelity component to utilize "digital readout tuning," it is the
first such unit which we have had an opportunity to analyz.e
·and measure and, as such, provided us with a whole new
series of performance features which cannot, for the moment,
The new Revox A77 Mk 111.
be compared with any other similar units. In one sense, it is
almost a pity that the "digital readout" features predominate in
all of Sherwood's promotional material and advertising, 'for in
point of fact this new tuner has so very much to commend it
from a performance standpoint. More about that in a moment.
As can be seen in the front panel view, the tuner has no
familiar dial scale. Instead, the upper left portion of the gold
and black panel has four readout tubes mounted behind it. The
tubes themselves are normally not visible since this portion of
the pane-l is constructed of smoked plastic. Only the incandescent-illuminated digits themselves are visible when the tuner
is powered. Sherwood indicates in its instruction manual that
the life expectancy of these display tubes is 100,000 hours.
Even if you're a 12-hour-per day FM buff, that works out to
about 25 years! Alongside the digital readout area are two
meters-one for center-of-channel tuning, the other for indicating relative signal strength and for aiding in antenna orientation. There follows a good sized tuning knob, coupled to an
effective flywheel (and we must confess that it takes a bit of
. m'
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Fig. 1 -First logic module in digital read-out circuitry divides
local oscillator frequency by eight .
It's still not perfect.
Nothing is.
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didn't discard all of the time tested features and superior performance that
distinguished the original A77.
The Mark Ill is an improved version of
our critically acclaimed A77. The recorder that The Stereophile magazine
(1-71) described as, "Unquestionably
the best tape recorder we have ever
tested ... "
Instead, we made only those changes
which wou ld mean ingfully improve performance and reliability.
And that judgement is as true now as it
was then.
I
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MS2XIJ
But the new A77 Mark Ill is certainly the
best recorder Revox has ever made.
And that's saying something.
However, at Revox we've never been
content to rest on our laurels . We
thought we should make the best even
better.
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AO,ISI~-1
L, ___________________ .:_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _. _ _ _ _ _ _
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But in bringing out a new model, we
As a result, you have to examine the
new A77 Mark Ill rather closely before
you see any external differences at all.
On the other hand, from the moment
you start to use the new Revox, you'll
begin to appreciate the changes we've
made inside .
All in all, we haven't created a revolu tion.
We've just done what we set out to do
... that is carry the art and science of
tape recording a few steps closer to
perfection .
And, in the process, we've given you
eighteen more reasons why .
I
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RE.Vox
__J
Revox Corporation
155 Michael Drive , Syosset, N. Y. 11791
3637 .Cahuenga Blvd ., West , Hollywood, Cali f. 90068
In Canada: Tri-Te / Associates , Ltd ., Toronto , Canada
Lamb House , Church Street. Chiswick, London W4 2PB
Fig. 2-Major logic module contains 100 kHz reference, or
" clock" frequency crystal oscillator, further divides IC's and
the necessary logic " gates" to drive the segments of the
numeric read-out tubes .
44
Not a radical transformation, but a program of rational development.
For example, we've designed a new
oscillator circu it for greater efficiency
and lower distortion. Modified and
strengthened the self-adjusting braking
system. Devised a new hardening process to reduce capstan wear. Improved
tape handling and spooling . And made
a number of other changes. A total of
eighteen . .. some major, some minor.
AUDIO· NOVEMBER 1971
www.americanradiohistory.com
delivers what all the rest only promise.
Check No. 45 on Reader Service Card
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Fig. 3-Sherwood's published comparison between its i.f.
bandpass response using multipole filters and "inferior"
crystal filters. l.f. systems using conventional tuned interstage
transformers would probably suffer even more by comparison.
Fig. 4...:_Rear view of tt)e SEL 300 chassis.
Fig. 5-Bottom view of the SEL 300 chassis.
46
getting used to, to spin the tuning knob and see only rapidly
changing digits instead of the usual travelling dial pointer).
A step-switch attenuator offers precise settings of output from
+ 4 VU to -63 VU and an OFF position in ten discrete settings.
Along the bottom half of the panel are a power ON-OFF
switch, a HUSH control (Sherwood's name for its muting
circuit), a BRIGHTNESS control for the readout tubes (they can be ·
extinguished entirely or set to three levels of brightness), a
VOLUME control for the adjacent stereo phone jack (yes, the
phones can be directly powe.red from a built-in low powered
pair of audio amplifier channels), a tape dubbing jack and a
series of six push-push button switches. These switches take
care of the tape monitor function, the mute on/ off action, FMmono/stereo switching (used only when a stereo station is too
noisy and distant to be received satisfactorily in the stereo
mode), a high frequency noise filter (for reducing background
noise with only moderate reduction in frequency response and
high frequency stereo separation) and two more buttons which
·require a bit of explanation.
A stereo-only button, when depressed, acts to "mute" all
monophonic stations, allowing only stereo programming to
reach the various output jacks. The last button is identified as
interstation · readout blankout and, as the name implies, it
causes the readout tubes to light only when a station is received. It should be noted that all readouts are in increments of
200 kHz, corresponding to actual FM station frequency allocations. thus, the digit beyond the decimal point reads only
l, 3, 5, 7 or 9. Thus, in tuning for a given station, say 96.3,
the reading will remain constant from 96.200 MHz all the way
to 96.399 MHz. This suggests that based upon the. digital
readout only, a user might be mistuned by as much as 100kHz
and still get a "correct" digital readout. It is for this reason that
the center-of-channel tuning meter is still a "must" in this
system.
The rear panel has terminals for connection of either a 75ohmor300-ohm transmission line. There is also a 75-ohmantenna
jack which accommodates a standard Motorola-type coaxial plug. Pairs of outputs are available for tape monitor,
record output and line output. In addition, there are a pair of
outputs intended for connection to the horizontal and vertical
deflection plates of an oscilloscope and a "4-channel output"
jack. The latter jack is a takeoff point at the discriminator
(detector) of the tuner i.f. system and anticipates the future
possibility of FCC approval of a discrete system of "fourchannel" broadcasting. Talk about "non-obsolescence"! The
rear panel layout also includes a ground terminal, a line fuse and
an unswitched convenience a.c. receptacle.
Naturally, the most intriguing part of the circuitry of the
SEL 300 tuner has to do with the digital read-outs, and the two
portions of the schematic diagram relating to this function are
shown in Figs. 1 and 2. Essentially, the circuit operates much
like any commercially available frequency counter. What is
"counted" in this instance is the frequency of the local oscillator, which is always 10.7 MHz higher than the incoming frequency. Figure 1 shows a series of "divide by two" logic IC's
which reduce the oscillator frequency to a range of 12.2 to
14.9 MHz (a total division by eight). In Fig. 2 a 100 kHz
reference crystal acts as a "clock" frequency against which the
further divided incoming oscillator frequency is compared in a
series of logic IC's which ultimately trigger and fire the various
segments of the four read-out tubes. Readers familiar with
digital electronic, techniques will have no trouble following the
"logic" of these circuits. Those readers who can think only in
"analog" terms will have to take our word for it-the circuit
works, and works very well indet;::d.
Of equal (or perhaps greater) interest to us was the rest of
the circuitry- that par.t of the tuner which enables us to hear
clean, noise free, undistorted FM at its best. A pair of FET
r.f. amplifiers in cascade, followed by an FET converter
AUDIO· NOVEMBER 1971
www.americanradiohistory.com
The AR .Laboratory Standard _
Transducer
A speaker for professional use
from Acoustic Research
ACCURACY AND FLEXIBILITY: The AR-LST
offers a total of six different energy profilesall accurately known and repeatable at the
turn of a switch, which is located on the front
of the cabinet. This permits a degree of control
and precision that is usua:lly found only in
electronic equipment.
FLAT ENERGY CAPABILITY: The AR-LST is
capable of a flat energy output characteristic
that, in our judgement, establishes a new
state of the art. The graph shown above
represents the acoustic power output
produced by the AR-LST with its control set to
the "flat" position. The horizontal line below
500Hz indicates the relative woofer level.
LOW DISTORTION: As with the AR-3a,
harmonic distortion measurements down to
the lowe.s t audible frequencies are, to the
best of our knowledge, the lowest of any
loudspeaker system available.
WIDE DISPERSION: AR's hemispherical dome
tweeters produce exceptionally smooth, wide
dispersion of midrange and high frequencies,
even in room or studios that are acoustically
rather dead.
POWER HANDLING: Multiple drivers for
midrange and high frequencies enable the
AR-LST to handre power levels significantly
higher than AR's finest speakers designed
primarily for home use.
Detailed information on the AR-LST is available on request. Mail the coupon be.low.
Acoustic Research, Inc.
24 Thorndike Street
Cambridge, Massachusetts 02141, Dept.
Please
s~nd
AU-11
the booklet describing the AR-LST to
NAME ______________________________________________________________________
ADDRESS _________________________________________________________________
FULL LIMITING ( < 2;;. V)
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Fig. 6-FM characteristics .
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10K
Fig. 7-Stereo FM separation characteristics.
stage and a 3-IC i.f. system which remains in perfect alignment
thanks to a pair of multi-pole "LeGendre" type toroidal filters
as well as a real Foster-Seeley discriminator circuit, yield sensitivity figures that are unequivocally the best we have checked to
date and selectivity characteristics which were so good that we
were able to tune in several channels which were only 200 kHz
removed from strong, local stations. It goes without saying that
alternate channels ( 400 kHz apart) were the rule, all over the
band, rather than the exception. As a matter of interest, Fig. 3
{taken from Sherwood's instruction manual) shows the excellent
i.f. bandpass characteristic of the SEL 300 as compared with
crystal filter arrangements which Sherwood obviously feels
are inferior to the multi-pole filter approach-and we tend to
agree.
_
Multiplex circuitry is fairly conventional and is the usual
"bridge demodulator" automatic switching type. We found this
portion of the circuitry to be in perfect alignment, giving the
separation results claimed by the manufacturer. Views of the
internal construction of the chassis are shown in Figs. 4 and 5.
Measurements
We have, in the past, stressed the importance of early limiting
and "steep" quieting characteristics in a good FM tuner. While
the Sherwood SEL 300's IHF sensitivity of 1.5 fL V is impressive
enough in itself, Fig. 6 discloses the fact that full limiting is
actually achieved at an input level of less than 2 fL V, while
50 dB of signal-to-noise ratio is attained with an input of 3 fL V.
(Actually, we measured S/N of 53 dB at this low input level).
Ultimate SIN reached 72 dB as opposed to the 70 dB claimed
by the manufacturer. As for THD, very frankly we · have to
take the manufacturer's word at 0.15%. Our FM generator itself
is known to produce about 0.25% THD and that is exactly what
we read when trying to measure the mono THD of the SEL 300.
(Anyone want to buy a slightly used FM generator in excellent
condition?)
48
The stereo separation characteristics of the SEL 300 are
shown in Fig. 7 and are seen to be every bit as good as FCC
transmitter requirements (at least 30 dB from 50 Hz to 15kHz).
At mid-frequencies we read 40 dB, as claimed, though the tuner
may well be doing a bit better since, again, that is about the
reliable limit of our stereo generator's separation capability.
(Anyone want to buy a slightly used stereo generator in excellent condition?)
Other pertinent facts we learned about the SEL 300 are 'that
the hush controi may be set as low as a 2.5 fL V threshhold and
all interstation noise will be eliminated. We wonder, in fact,
why Sherwood offers so much front-panel range for this control. If, as is the case, 3 microvolt signals are perfectly listenable, why would anyone want . to block signals of, say, less
than 10 fL V? The station read-out sensitivity is just under 4 fL V,
which means that it is possible to listen to a few very weak
signals which are not strong enough to trigger tlie readout tubes
when the INTERSTATION READOUT BLANKING button is depressed. Of course, if such a situation exists in your area you
have but to release this button to read the received frequency.
With this button released, all frequencies are read, regardless
ofwhether a station is being received at the particular frequency
or not.
Listening Tests
Without using our antenna rotator (and allowing the antenna
to face due west, towards New York City, some 20 miles from
our location), we did not miss a single alternate channel from
92.3 MHz to 107.9 MHz. That is, every 400 kHz we heard a
listenable signal. Below 92.3 we received only four additional
stations (this is the "non-commercial" or educational segment of
the FM band) and that was simply because some of the lesser
educational stations are not on the air all the time. Thus, with
no antenna reorientation we received 45 usable signals, of
which 28 were broadcasting in stereo. Reorientation of our
antenna by means of our rotator brought in an additional 15
stations from the north and northeast, for a grand total of 60
different signals. More importantly, this last experimentation
enabled us to really check the aural significance of a selectivity
specification in excess of 80 dB. It is, indeed, highly significant,
for we were dealing with adjacent channels (only 200 kHz
apart) in this last phase of our tests-and some of the adjacent
channels involved were adjacent to local signals with measured
signal strengths at our antenna of more than 10,000 fL V!
We also utilized the "multipath" 'scope jacks on the rear of
the tuner to orient our antenna properly for those signals which
did exhibit significant amounts of multipath interference and
were able to clean up all but about three. Invariably, the least
multipath interference occurred when we directed the antenna
to points other than the "maximum signal strength" point, as
indicated on the meter alone. Anyone fortunate enough to own
this tuner will not be doing it justice unless he avails himself
(even if on a borrowed basis) of an oscilloscope with which to
record the "least multipath" antenna positions for his favorite
stations. We realize that the SEL 300 might have cost consider- ·
ably more had it been provided with a built in 'scope tube,
such as is supplied by some of the high-priced competition,
but it just might have been worth it.
As for our reaction to the digital readout feature, in a word,
it's "comforting" - comforting to know that we really have
tuned to the station of our choice without having to wait for a
station identification. If that were the biggest selling point of
this "over $500 tuner" we would seriously question its merit.
But, confronted with a tuner that performs like the Sherwood
SEL 300 we can onJy wish that the digital readout innovation
helps Sherwood sell a lot of them, so that discriminating FM
listeners will have an opportunity to judge it as an FM tunernot as an eye-catching "gimmick."
Leonard Feldman
Check No. 48 on Reader Service Card
AUDIO • NOVEMBER 1971
www.americanradiohistory.com
~go can well be repeated, this
It was supposed to and did it
Rabco Model ST-4
Straight-Line Turntable
MANUFACTURER'S SPECIFICATIONS
Turntable: Precision die-cast, driven by vibration-isolated
synchronous motor. Either 45 or 33 rpm speed can be obtained
by manually moving belt between two motor-pulley diameters.
Tracking Force: V3 gram minimum . Rumble: -60 dB . Tonearm: Driven by a mechanical bi-directional proportional servo
system. The arm is provided with a "steering" wheel that rides
on a constantly revolving shaft and keeps the arm at right
angles to the shaft. Any deviation from true tangency to the
record is immediately corrected. Automatic lift at end of
record. Pushbutton cueing. Pickup Mounting: Cartridges
with standard V2" spacing of mounting holes fasten with two
screws. Cartridge holder can easily be adapted to any other
spacing . Plug-in cartridge holders interchangeable . Output
Connections: Standard, three-foot double-ended stereo cable
is supplied . Dimensions: 1 5 V2 X 1 8 X 5 in . with base 15V2 X 18 X 6 in. with cover . Weight: 15 lbs. Price : $159.00 .
DC-4 dust cover (optional), $ 1 5 .00 . CH-4 plug-in cartridge
holder (optional), $ 1 0.00
When we profiled the original Rabco SL-8 Servo-Driven
Tonearm in May,_1969, we said that "here is a phono cartridge
tone arm for audio buffs who can put their money where their
hearts are ." Now comes the same idea combined with a turntable and automatic cueing, so the suggestion made two years
Fig. 1-Underside of arm, showing nylon guide rollers,
counterweight, and the four-contact plug carrying the pickup
output. Plug inserts in matching receptable on chassis, and
four fine wires carry the signal from the cartridge with a minimum of drag on the arm .
50
time in spades. The unit did what
well-that is, it carried the stylus
along the radms of the record, keeping the cartridge always
tangent to the groove.
The mechanism of the ST-4 differs appreciably from that of
the .SL-8-so much so, in fact, that it appears to be a whole new
de_si~n wh~n compared to the motor-driven tracking of the
?ngmal umt. I_n the _newer model, a highly polished steel shaft
IS rotated contmuously by a belt drive from the turntable, and
on this shaft rides a rubber wheel which is mounted within the
arm. The rubbe~ wheel actually supports the arm, positioned
by two nylon gmde wheels which keep it in place. As the arm
is swiveled by the action of the stylus following the groove,
the rubber wheel tends to achieve an equilibrium on the shaft,
s the entire. tonearm with it. Not that it makes any ·
a~d so carrie_
difference w1th ·conventiOnal records, but the unit would track
records .cut inside-out (as were early transcription discs) as
well as It does the usual outside-in records.
As if the tracking mechanism were not of itself so unique,
we must add that there is a cueing device which lowers or
raises the stylus to or from the record at the touch of a button.
Assuming the playing position of the cartridge, one presses the
button and a second motor, completely isolated from the turntable motor, actuates a double-bar assembly which lifts the arm
Fig. 2- Top view of the ST-4 with platter, arm, and mechanism
cover removed to show !he simplicity of the entire chassis .
Fig. 3-Ciose-up of the drive mechanism , light source f~r endof-record activation, and light-sensitive cell housing . (Note:
current models do not have speed-shifting lever. )
Announcing an end
to the age-old power struggle
between the left and the right.
Every stereo receiver has two amplifiers. And in order
to amplify, they both need power.
But until now, receivers have only had one power source ..
.
And thad; been the source of a big problem.
When the left channel takes power, it's stealing from
the right. Since the right also needs power, it doesn't
give up without a fight .
·
And in the ensuing battle, you lose.
Bass notes sound fuzzy. Treble becomes veiled. And the receiver
tends to "break up" when you need it most-at high volume.
To put an end to the struggle, Harman-Kardon designed a new kind of receiver: the 930.
The 930 is the first receiver with twin power. It has two entirely separate power supplies:
one for the left channel and one for the right. That way, they peacefully coexist.
When one channel needs power it simply takes what it needs -without affecting the other.
As a result, the 930 can handle enormous tone bursts at full volume without straining.
In fact , its distortion curve isn't even a curve. You can draw it with a straight edge.
(Total harmonic distortion remains below O.Y7o from 20Hz to 20,000 Hz-at full rated output,
45/45 watts RMS, both channels driven simultaneously into 8 ohms.)
The 930 costs $369.95 . WhiCh is about what you'd pay for a good receiver without twin power.
So, the only question is which you'd rather have:
War or peace.
For complete information, write:
Harman-Kardon, Inc., 55 Ames Court,
Plainview, New York 11803. [email protected] kardon I
A subsidiary of Jervis Corporatio n
The Harman-Kardon 930.
The first receiver with twin power.
AUDIO • NOVEMBER 1971
www.americanradiohistory.com
Check No. 5 1 on Reader Service Card
1.1
upward. When the lifting bars have completed their cycle, a
cam shuts off the motor. To start the play cycle, you simply
position the stylus over the desired groove and press the button,
holding it down for a couple of seconds, and the arm is lowered
gently to position through the actiqn of the double arms.
What happens when the stylus comes to the end of the
record? There is another "invention" which takes over. As the
stylus tries to follow the runout groove, the arm is swiveled too
rapidly to permit the rubber wheel to catch up, so this third
invention involves a small mirror on the rear portion of the
arm, and it reflects a beam of light from a lamp in the mechanism housing to a light-sensitive cell to inaugurate the liftcycling motor, thus raising the stylus from the record.
Turning to more mundane aspects of the ST -4, the motor
(to drive the turntable) is synchronous, of the type usually
referred to as a clock motor. It is fitted with a shaft with a
pulley having two diameters for 45 or 33VJ rpm. A finely ground
flat rubber belt rides on the selected diameter and around the
outside of the heavy non-ferrous platter which rotates on a
steel shaft riding in a bearing well mounted on the chassis,
which is isolated from the base by damped spring mounts.
The oN/OFF switch is actuated by a lever which controls a snapaction switch and at the same time applies a brake to the inside
rim of the platter. The drive to the steel tracking shaft is by
means of a thin round belt around a groove on the hub of the
platter to a pulley on the shaft mechanism, and it in turn drives
the shaft at a slower speed by another round belt. Early models
of the ST-4 provided a speed-changi ng lever which moved the
turntable-driv e belt from one motor pulley to the other, but
current models require moving the belt by hand in a more
effective arrangement.
Stylus force is adjusted by a weight on the rear of the arm,
with this weight being marked from 0 to 9 for fine adjustment,
and one full turn of the counterweigh t will vary the stylus force
t1b
by only 1/.1 gram . Mounting the cartridge to the arm is considerably simplified since the manufacturer supplies six pairs of
4-40 screws of different lengths to accommodate practically any
known cartridge. In addition, two plastic shims are provided
to position the cartridge so as to ensure that the arm is parallel
to the record surface. The rubber mat on the platter is centered
by the 45-rpm adapter, which turns over for the large-hole
records.
·
Performan ce
We tried out the ST-4 using a number of different cartridges
to determine if adjustments were adequate for all. T hey were.
We found that suitable and reliable operation could be obtained
with as little as one-half a gram, which is about as little as any
cartridge will accept for reliable performance. Slots are provided
in the arm so the stylus can be set accurately to the center of
the spindle. On the whole, everything seems to be well thought
out for optimum adjustment.
Wow and flutter measurement s were made using the CBS
BTR-150 Broadcast Test Record and with measurement s made
with a flutter meter calibrated to indicate rms wow and flutterwow being in the range from 0.5 to 6 Hz, and flutter in the
range from 6 to 250Hz. Flutter was extremely low, measuring
only .03 per cent, while wow was in the range from .05 to .06
per cent. Rumble measured by the old NAB standards was
noted at -43 dB, unweighted, which approximates -61 dB
weighted, about what one would expect as the ARLL figure .
On the whole, we found the Rabco ST-4 to be well made,
and capable of excellent performance in every particular. It
takes a little more time to set up and. get into action than the
usual turntable, but when it is in your system, you are sure to
like it.
C. G. M cProud
Check No . 50 o n Reader Service Card
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a. $350.
, ,c:ver used.
5 ROBERTS
1 & track
• 265
31lARGE
TW O -
Speake rs used
mo nths. For sale or swap fo r two
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For complete information write:
UTAH ELECTRONICS
1124 East Franklin Street
Huntington, Ind iana 46750
Cf'lVI:'T \'..
AND IT'S N O ACCIDENT ! What greater compliment can
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I
KM60;
1 6.:1- _/(
SOOTX AM FM stereo r<
c~ iver 200 \\atts; tH''Y r used. 350. 1 R_EALT
FI~HhR
""'":',... 1,.... -4.....,.
In addition' to the beautiful cabinetry of the high density
acoustic board covered in genuine walnut veneer (not vinyl or
plastic imitation) FAIRFAX Speaker Systems will deliver more
realistic sound, dollar for dollar, than any speaker on the market
today. FAIRFAX Speaker Systems are recognized not only to
reproduce with superb open sound classical, symphony and
operatic works, but popular, jazz and rock too !
If you're really "on" to quality sound, and want to be
ahead, know the difference in loudspeaker performance and are
conscious of how to spend your money - insist on listening to
and comparing FAIRFAX Speaker Systems for yourself. Then
make your decision! And if you want to avoid making a tradein make the correct purchasing decision the first time. Don't
buy any speaker until you compare it to FAIRFAX. We promise you you'll never forget it!
FAIRFAX Speaker Systems are available at leading tWled
. in audio dealers only. If your dealer does not stock FAIRFAX
Speaker Systems -let us kn.o w and we'll arrange for a
demonstration.
Write for complete details and colorful brochure on the
complete FAIRFAX line of Speaker Systems from $39.95 to
audiophiles pay us than by trading in their present speakers for
FAIRFAX Speaker Systems? And why not? Today's sophisticated listeners know what quality sound is .. . and they want
the best and most for their money!
Ads like the ones above have been appearing in newspapers and magazines from coast to coast. Although the publisher has requested us to censor the manufacturers ' names, the
implication is clear : Because of their superior performance
FAIRFAX Speaker Systems are in more demand · today than
ever before by more stereophiles and by more knowledgeable
pro's for studio playback and other commercial applications.
$3.99.50 ·
"Patent being applied for .
t Comprehensive testing report by independent audio testing laboratory
o~ actu::l listening comparison tests
of FAIRFAX Speaker Systems against other well-known speakers rs ava1lable upon reg~est.
This unbiased report is vitally important in helpin~ you to make your purchasmg declSlon.
a.
c.
b.
d.
a. FAIRFAX L-34A: She lf-type; Differen ti al Circuitry Gate ; two s:' heavy-duty base drive rs; one
4" mid-range driver; one 1" spherica lly-domed ultra-high tweeter; F/R : 20Hz to beyond audible
hearing range ±3 db ; 24"H x 1411 W x 1211 0 ; $199.50 . b. FAIRFAX FT~ : She l f;typ~ ; D1fferent1~l
Circuitry Gate; high frequency 3-way, 4-speakers-tw o spec1ally-des1gned 8 1 dnvers; two 4
spherical-dome high dispersion tweeters ; F/R: 24-20,000 Hz; 24 11 H x 14"W x 12"0; $139 .50 .
c. FAIRFAX FE-8: Floor-type; Differential Circu itry Gate; four 8" w1de range bass dnvers; four
4" spherical-dome type tweeters: 28% 11 H x 20 11 W x 12 11 0 ; $249.50 . d. FAIRFAX FX-1 00 : Differen tial Circuitry Gate ; one 8 11 bass mid- range driver ; one plastic-domed tweeter: 21 "H x 12"W
x 7Ys"D; $89 .50. (prices are suggested retail).
.
fAIR FAX
INDUSTRIIf~l
900 PASSAIC AVENUE, EAST NEWARK, N.J. 07029 (201) 485-5400
Ch eck No. 53 on Reader Service Card
www.americanradiohistory.com
changer
-.:ond $2
FAIRFAX must be doing some thing right!
.
Check No. 52 on Reader Service Card
FISHER
for FAIRFAX FTA's. :::A-6-o,j/1 after , - 9, F:~he
-
First they have the DIFFERENT IAL CIRCUITRY
GATE *.. . an advanced and sophisticated engineering feature.
Differential Circuitry Gate, a function of computer design
technology, results in the only speaker systems in the _industry
to provide TRUE PITCH and ~ERO OVER~AP. Th1s means
that there is a complete separation of all musiCal tone_s, subtle
nuances and timbre originally recorded and reproduCtng each
individ~al sound in true undistorted fidelity. No other speaker
manufacturer can make this statement!
There are 4 channels in your present
Stereo System. Studio 4 and two
more speakers will reveal them.
Use your present amplifier. Use your
regular stereo records or tapes.
Use your present FM stereo broadcasts. For the first time your
room will come completely, fully
alive. Impossible? STUDIO 4 has a
switch for both 2 channel and 4
channel sound. Switch easily from
your present 2 channel great sound,
to 4 channels. Your great sound
becomes twice as good.
NET $39.95
·
ble. amp· never used. $330.
• r <-terPO
1pe record•"'
''?! ?71 r
KENWO
- - I 6 PM.
•ode!
W HAT MAKES FAIRFAX SUPERIOR? t
You have 4 channels in
your present stereo.
Utah's STUDIO 4 and two
more $peaker systems will
reveal the other 2 channels
- 100
~~~
I
·I
Ireasonable offerSpeakers
for sale. No
refused. Need money SCOTT
- - (.:: '' ) ~·J
•o multi
12 x gt ,. TWO
tape recor
tapes, he
I FAIRFAX FX- 100. Call rC7-.J~j :;,
516) : _a_s_k_f_o_r_B_
ob
_ ._ _ _ _ _ _ _..,..
·'lie
..:0
w/Wo
.ereo,
,_
I1n
l
tur'1
_,riER
21:t,
n .:~rer T 300 A~
'{! PYC ~3Q() r P
Will trade two
Speakers,
excellent condition for two FAIRFAX
FE-8-even exchange-no money. I'll
take loss. Call VA :1-0SJG days only.
1f "
SCOTT :v' t' ct +
·-
old. exc.
} '
A violinm aker talks about theV-M Professionals.
Ampex AX300
Receivers
The Hitachi SR-300 has a power bandwidth of 30 to
20,000 Hz, and the firm's SR-100 receiver has a THD at
rated power of 0.5%.
Ken Warren of Ken Warren & Sons,
Chicago, deals in treasured violins.
At his workbenches are some of the
few craftsmen whom the world's
greatest violinists trust to restore and
recondition a Stradivarius or Guar~
nerius, the world's more precious
violins.
"The great crime of most equip~
mentis distortion. ' '
Our Model1521 receiver delivers
40 watts a channel RMS, with extra,
ordinarily low distortion and selec~
tivity values, because we engineered
it with S~pole phase linear toroidal
filters. ICs, printed board circuitry,
MOSFETs, and more. It is awesomely
powerful, dead ·quiet, and distortion~
proof.
"Your automatic turntable is right
in tune.''
Ours not only play records per~
fectly but handle them beautifully.
Records are lowered, onto a motion~
less turntable. Counterbalanc ed, anti,
skate tone arm is longer for indiscem,
ible tracking error. Beautifully isolated
motors make Wow, Flutter, Rumble
undetectable to the ear. All push,
button controlled.
((This sounds very near a live
performance.''
Exactly what components are all
about. You hear sound as recorded,
not as interpreted by speakers. Our
Model93 uses domed tweeter, half,
roll surround, self,contained mid,
range, and acoustic suspension
woofer. Inductive,capacitive cross.over delivers seamless transitions.
If the Professionals can please
Mr. Warren, sound and recording
engineers, and musicians, people
whose business is sound, we're conn~
Man ual Turntables and Arms
The correct length of the Hitachi PS-77 tonearm is
14-9 I 16 inches.
Address Directory
The new address of Sansui Electronics Corp. is 32-17
61 Street, Woodside, N.Y. 11377, while the address of
Rabco is 11937 Tech Rd., Silver Spring, Md. 20904 and
Hill Speaker Co., P.O. Box 457, Lawrence, Kansas 66044.
The TEAC Corp. of America is now located at 7733 Telegraph Road, Montebello, Calif. 90640.
O pen-Reel Tape Recorders
The correct price for the Ampex AX300 tape recorder
is $599.95, rather than the $899.95 as was listed in the
September Directory. Ampex also notes that the price of
the Model AX50 tape recorder has been reduced from
$249.95 to $199.95.
The TEAC 3300 tape recorder is equipped with 10V2inch reels, rather than the 7-inch size as was specified
in the Directory.
SPECIAL FEATURES
In f.
Baffle
MARANTZ
Imperial 4
8
-
(2)
4
Cone
(2)
2
Acous. -
Cone 20- 20K
40
700
6000
60-18K
30
2000
Cone
22 X 15
X 26
Lacq.
Wal .
Cloth
brn.
60
299.00
10~4 X 7Y2
Wal .
Cloth
brn.
14
59.00
12 X 9Ji2
X 23
Wal.
Cloth
brn .
89.00
14 14 X 1}1/z
X 25yz
Wal.
Cloth
brn.
129.00
X
Imperial 5
8 -
Dueled
port
-
Dueled
port
Imperial 6 10
54
3Y2
-
Cone
50-15K
±3
Cone
40-18K
±5
40
2000
100 3000
18 \
AUDIO • NOVEMBER 1971
Check No. 55 on Reader Service Card
www.americanradiohistory.com
BV.M Corpora tion
Model1 521. Suggested terail, $500.00.
Model 1585. (Automatic turntable.) Suggested retail,
$165.00.
Model 1555. (Automatic turntable, magnetic
base dust cover.) Suggested retail, $220.00.
·
Suggested retail, $134.00.
41
TEAC 3300
Marantz Imperial V
dent they can make you very happy,
too. For all the facts and figures,
write: Professional Series, Dept. 74,
P.O. Box 1247, Benton Harbor,
Michigan 49022.
Made in Benton Harbor,
Michigan byV ·M Corporation.
Latt er-D ay Gad getr y
EDWARD TATNALL CANBY
WITH BUILT-IN
4-CHANNEL
COMPOSER
and
"
ADAPTER
CIRCUITRY
T
reigned supreme
back in the days when this
magazine first dipped its toe
into the brand-new hi-fi field, some 25
years ago. It was a gadget world, in
audio. You put together your system not
from components but from parts of
components. A speaker was a speaker,
not a box full of glass wool, drivers
and crossovers, ready-installed. A phono
player was made up of an arm, a
cartridge, a motor-turntable and something to hold it all together; you
acquired each of these by itself-even
the needle was sold separately. A
gadgeteer's paradise, or purgatory,
depending on how gadget minded you
were.
56
HE GADGET
I'd been involved in the same for a
long while before, even to the point of
building my own fat power amplifier
out of a pair of 6L6's in push-pull.
Not, of course, without guidance. I
couldn't design a power amp any more
than I could design an angel food cake.
But I built it. I had to. In those preAuDio days there wasn't anything for
power except those sturdy PA amplifiers for skating rinks and school auditoriums, out of which the home hi-fi
amp eventually developed. We started
buying them up even before it dawned
on the manufacturers that skating ri11-ks
weren't their only market.
Anybody around remember the Bogen
PH-10? The Grommes LJ-1 ("Little
Jewel")? T.hese were the first mtmhistoric
"hi-fi" models, bottombracket style at around $35.00 list, with
input for crystal phono, in effect
modified low-cost PA amps and they
launched a new market in the home. A
central gadget to be hooked into other
gadgets, like speakers mounted in open
Celotex boards (and set into a fireplace
for BOOM bass). Believe it or not, my
original Bogen amplifier, the PH-10,
exactly as was, still is in daily use today
(Bogen, please .note), as the central'
element in a modest New York apartment installation. The lady in question
hasn't converted to stereo yet.
My attic and shelves are full of ancient
hi-fi appurtenances left over from these .
AUDIO • NOVEMBER 1971
NOW A QUALITY COMBINATION
AM/FM STEREO RECEIVER and
8-TRACK STEREO CARTRID.&E
RECORDER-PLAYER
Magnificent Lafayette LRK-855 AM/FM Stereo Receiver/8-Track Recorder-Player has a full complement of professional features: Exclusive 4-channel
"Composer" and "Adapter" Circuitry, direct stereo
8-track recording from the 20-watt AM/FM stereo
receiver, automatic stop and motor shut-off after last
channel has been recorded or played, 2 illuminated
VU-record level meters, and "Remove Tape" indicator light. Four-channel compatability is accomplished
by Lafayette's specially designed "Composer" and
"Adapter" circuits for deriving 4-channel sound from
conventional 2-channel sources such as stereo rec-
ords, tapes, and FM broadcasts. The 4-channel Adapter does not require an external amplifier-just add
two more speakers! The 4-channel Composer Circuit
(requires an auxiliary amplifier) provides outputs for
program sources requiring 4 separate channels of
amplification (e.g. 4-chann.el tape recorders). The
AM/FM Receiver section has Lafayette's exclusive
"ACRITUNE" for foolproof visual FM tuning. Send for
Lafayette's new 468 page 1972 Catalog #720 ... and
stop into your nearest Lafayette Radio Electronics
Center to see and hear the NEW LRK-855 and complete exclusive line of stereo Hi-Fidelity components!
only $219.95
LA FA YE TT E®
.
/
•
Lafayette Radio Electronics, Dept.
FREE!
21111 ,
••••••••••••• ••••••••••••• ••••••••••••
Please send my FREE 1972 Catalog #720 to:
2 7111
1972 Catalog
Name ____________________________________________________________________________________________ _
·4 &8 Pages
• Address ________________________________________________________________________________________ _
Your Guide to
"Everything in Electronics" !• City ____________________________________________State ____________________________ Zip ________ .
• ••••••••••••• ••••••••••••• ••••••••••••
Check No . 57 on Reader Service Card
www.americanradiohistory.com
Box 10,Syosset, New York 11791
early put-it-together days. One favorite
"prop" of mine was a 50¢, six-in. speaker
mounted in a cardboard carton maybe
eight inches square. Hooked up to a "hifi" amplifier this gadget produced what
then was an astonishing blast of reasonably good sound, a lot better than
"commercial" phonographs. Just showed
what you could do, if you got into hi-fi.
I have a monster collection of dead
phono arms, their leads dismally trailing, their cartridges removed, and
drawers full of cartridges, from the
Astatic CQ (a wide-range miniature
crystal for the early LP) ·and assorted
models of the G E variable reluctance
on to Fairchild's foursquare earlystereo SM-1 (two of them-how did
I manage that?) and a brace of gold and
.;;ilver Pickerings, the snub nosed model
writh the colored plastic insert, red,
purple, b~ue, yellow. All this and much
more. It was a gadgety world.
It still is, but, oh, so differently. It
wouldn't do at all to speak of our present
basic hi-fi components as gadgets.
They are much beyond that, in many
ways, but principally in that they are
now smoothly functional, complete
overall pieces of equipment which
perform, .eve~ for the uninitiated,
the way automobiles do in tpe 1970s.
Efficiently and without fancy explanations. Perhaps the Model A Ford was
the last true gadget car, if you'll overlook
the ubiquitous Beetle. Definitely not the
present Ford LTD and its plush relatives! You can buy gadgetry to go with
them, but they themselves exist in
another plane, far removed from gadgetry. So it is with much of 1971's
basic hi-fi.
All of which leads me to some items
of latter-day gadgetry which have lately
occupied my attentions. Let me take
extremes. First, I've been playing with
two fabulous gadget attractions which,
unbelievably, manage to polish up the
chrome plate on the famed gilded lily,
and do it remarkably well at remarkable
cost. Second, I've been window shopping
in a fabulous low-price gadget catalogue
(shall I say, a gadgetlogue), which has
so many cheap enticements I could
spend years trying them out. Some contrast. ·
Ever need to clean up your dirty LP
discs? An old story that, and a prime
source of gadgetry for a quarter century
of progress. My Audiotex Accessory
Catalogue goes to town, reflecting these
many years of accumulating dirt and
dust. Most of us, of course, ignore the
groove-smog, piling our naked LPs in
hideous, grinding stacks and treating the
sonic overlay that results as merely so
much innocuous background noise.
The· best preventative, if you want to
58
prevent, is simply to put your records
back in their inner sleeves and restore
them (with the opening to one side) to
their proper cardboard jackets. But to
supplement this unlikely sort of perfection, Audiotex has almost three pages of
cleaning gadgetry, selling from 75¢ up,
and mostly under a couple of bucks.
It's 95¢ for the Powder Puff record
cleaner, with a strap over the top for
a couple of guiding fingers as you wipe
the LP surface. You can smear it with
Record Satin Spray, pressurized; or
maybe with Recor-De-Stat, from a small
plastic bottle . (But don't get any NonSlip fluid on it, out of a similar bottle
-that might be disastrous!) Alternatively,
you can try the Disk-0-Kleen antistatic
record cleaning cloth ($1.25) or the
Disk Whisk, a two-pronged affair that
clips over both sides of the disc and
wipes 'em off with a quick turn. Then
there's Stylus Kleen, in another bottle
(95¢), to take off the lint and dirt from
diamond, "saphire," and steel needles
-to quote the catalog. (Probably works
even without the extra "p.") If you don't
want to mess with liquids, there's
always the bristle brush-Record Tone
Arm Lift and Brush ($1.00), to turn your
ordinary cartridge into a you-knowwhich-brand. Or even cheape r (75¢),
the Record Brush, to hook onto the
cartridge end of the tone arm; or the
Record Stylus Brush, which sits off tq
one side on a little post so that the stylus
has to whisk across it when returning
·.
to rest.
But maybe the most useful gadget in
~his part of the catalog isn't a brush or a
liquid- just a batch of polyethylene
envelopes (15 for $1.50) into which you
can put your orphan discs, the ones that
have lost their protective covering. After
you've cleaned them up. On~ more.
Kleen-0-Record (75 (i;) is a silicone
impregnated cloth, anti-static and "repels dirt." All these, you see, under one
minute category, if a potentially important one.
Audiotex has all the standard ap purtenances, of course, including
speakers (boxed, that is) , soldering irons,
45 rpm adapters, wire strippers, speaker
volume controls, headphones, mics (we
used to say "mikes") from $1.95 on
up (up where? To $39.95 for a "cardioid
dynamic professional microphone"
with built-in pop screen), plus stands and
booms, phones, telephone pickups, a
vast array of TV extras, etc., and a
perfectly enormous display of connecting cables and adapters, to go from
every imaginable plug or socket to
every other imaginable one.
Am I for these last, even at a (relatively) stiff price ! If you've ever made
up your own connectors, you'll know
why. Much of the Audiotex connector
equipment is of the sturdy molded
plastic sort, a type that just isn't possible
via home soldering. I can assure you
after years of shorts, squawking broken
grounds, dead signal leads and so on,
that there is no substitute for the modern
molded connector, unless it is those
expensive pro connectors of large size
that you see in recording studios and
broadcast stations. Many of the Audiotex
adapters are direct coupled. No cable,
just two connectors back to back, so
you can convert one end of a cable.
A whole . range of "Y" adapters too, a
category I've found useful in going from
stereo to mono and vice versa.
Plenty-you get the idea. You can get
the catalogue (FR-71 -A) and its successors from GC Electronics, Rockford,
Ill. 61 101. · Or visit your local gadgetry.
I'd be remiss here if I didn't backtrack a bit, to the inexpensive record
cleaning items, and mention the
granddaddy of them all, the Watts
Dust Bug. This one's not from Audiotex,
but Elpa Marketing, and can usually
be found in your local hi-fi or record
store. This granddaddy bug is mounted
o:q. top of a suction cup-based pillar,
which sits beside the turntable platter.
At the end of a plastic arm are bristle
and roller brushes, which skate inward
while the record is playing, removing
static and dust.
A five minute experiment
by which you can prove .•.
THE SPEAKERS
more than any other component in your stereo system,
DETERMINE THE QUALITY OF THE SOUND.
EXPERIMENT
Ask your dealer to let you compare
the following two stereo systems
in an A-B listening test :
1. Any moderately priced turntable
and amplifier connected to
BOSE 901 speakers.
2. The most expensive turntable
and amplifier connected to any
other speakers.
Now for the chrome-plated lily. So
you really want to clean your records.
The ultimate super-cleaning job, thari
which no other could conceivably be
better? Can do. It will cost you $595.00
plus tax. (A coin-operated version goes
for $629.00. Record stores take note.)
They used to say it took the Germans
to do a methodical job of carrying things
to the ultimate. I vote any day for the
English, who, when they get their engineering minds onto some idea, just
never give up until they have it right,
done to a turn and "practical.'l This
enormous cleaning gadget is British.
I hesitate to call it state-of-the-art, but
that's what it is. The Syantific Audio
Cleaning Machine! That's the way it's
spelled. You'd have to see it to believe
it.
'
.
A big; fat, square metal box with a
massive turntable mounted on top,
like something out of a studio, and on it
what seems to be a phono arm,, ·thougp
the "cartridge" looks a bit odd. Big
paintbrush thing, five i:p.ches or so
wide, mountedori a swinging "gantry" to
AUDIO • NOVEMBER 1971
www.americanradiohistory.com
CONCLUSION
The conclusion is yours to draw.
We think that you'll have time left over
to enjoy just listening to the 901.
THEN YOU WILL KNOW
why people just starting in stereo as we ll as
those who have owned the most expensive
speakers are select ing the BOSE 901
DIRECT /REFLECTING® Speaker SystemTHE MOST HIGHLY REVIEWED SPEAKER
REGARDLESS OF SIZE OR PRICE .
For literature and reprints of the rave
reviews circle the number at the bottom of
this page on your reader service card.
For those interested in the twelve years of
research that led to the design of the 901,
copies of the Audio Engineering Soc iety
paper 'ON THE DESIGN, MEASUREMENT
AND !::VALUATION OF LOUDSPEAKERS',
by Dr. A. G. Bose , are available from
BOSE Corporation for fifty cents.
Natick, Massachusetts 01760
BOSE 901 DIRECT/REFLECTING®
Speaker System $476 the stereo
pair including Acti ve Equalizer.
Sl i ghtly higher south and west.
Pedestal bases and walnut
fac ings optional extra.
Covered by patent rights
i ssued and pending .
Chec k No . 59 on Read er Servi ce Ca rd
Enjoy the full dimension
of 4-channel sound NOW!,
STEREO 4 DECODER
by Metrotec sDw-1 srEREo 4 DEcoDER . .._~~~~~~~....;...:,~;.;.;;;;,...~
A true encode/ decode system with 4 different channels each full range full fidelity.
'.
~our-channel sound comes of age with Metrotec's STEREO 4 DECODER
wh1ch .deco~es 4-channel records and broadcasts, in addition to adding a
new d1mens1on and startling realism to existing stereo records.
Hundreds of records and scores of FM stations are exciting listeners with
full 4-channel sound. The STEREO 4 DECODER is completely compatible
with any source and with all existing equipment. Employs E-V 4-channel
~ystem r=.cc approved for FM broadcasting and adopted by major recordmg compames.
Features: • Master volume control for all 4 channels • Front to rear balance. ~ontrol eliminates need to adjust volume controls on separate
ampl1f1ers • Independent decode modes allow separate decoding of front
& rear channels for maximum effect & flexibility • Provision for tape monitor
• Tape/Source switch • Integrated circuits.
Juli?n Hir~ch says, "How d~e~. it sound? Great! The E-V system, especially w1th the added flex1b1l 1ty of the Metrotec unit works; adds a
substantial amount of listening enjoyment. It convinced this skeptic."
~-.~
II II
•mrnc11nmn•
Model SDW-1 (wired) $69.95 (2 year guarantee); Model SDK-1 (kit) $49.95
Send for brochure and FREE listing of current Stereo 4 records.
Metrotec Industri es I 33 Cain Drive, Plainview, New York 11 803
Ch eck No. 54 on Reader Service Card
ffitfnfosh
CATALOG
.and FM DIRECTORY
an?
~et all the n~west
latest information on the new Mel ntosh SolId s.tate equ1pmen~ 1n t~e Mel n t osh catalog. In addition you will
rece1ve an FM stat1on directory that covers all of North America.
MX112
FM STEREO/ AM TUNER PREAMPLIFIER
- ALL SOLID STATE
,--------------------1
SEND
TODAY!
1
Mcintosh Laboratory Inc.
, 2 Chambers St., Dept. AE11
I Binghamt on, N.Y. 13903
I NAME
I
I
I
I
I.
I ADDRESS
I
I
I
I CITY
ST A T E
Z IP_ _
I
1- - - - - - - - - - - - - - - - - - - __ I
Check No. 60 on Reader Servi ce Ca rd
one side, with plastic tube running down
inside the box. Big, black elongated
pushbutton on one side of the slanted
control panel, a set of printed decalstyle directions and, off to the other side,
a pair of plastic lighted slide switchesVACUUM and TURNTABLE. Next to the
table, a formidable black-japanned
lifting handle, to lift the hefty· top panelso you can get inside the box and renew
the materials.
Phew! Motors, vacuum pump, bottles
for fluid. A far cry from the inside of a
phono player. There's even a long hank
of green string, which has something to
do with the vacuum and has to be
renewed every so often. (Let's not get
into that, yet.) The more you look at
this incredible monster, the more unlikely does it appear, a sort of lumbering
elephant of a device, out of a hospital
operating room, with all those bottles
and tubes. Smartly styled for the 1940's
or so.
Put the filthy LP disc on the turntable.
Push the ~lide switch-and it takes off,
faster and faster. Around 80 rpm, after
a gradual pickup . Then you push the
red VACUUM switch. Chug-chug-chug,
one of those fancy diaphragm pumps
they have in laboratories and the likeno vacuum cleaner system here! With
vacuum chugging heartily and table
spinning merrily, you lift the brush up
and turn it around so it drops down onto
the disc. Push the big black button
and a nasty, oozy glop floods out over
the surface and is rapidly smeared by the
brush. Smell of alcohol-odd, since
the stuff seems so viscous. After due
deliberation, you then pick up the "tone
arm" and move it, against a rubbery
detent, over to the center of the disc,
then lower it to the record surface.
Instantly it starts to move backwards,
slowly, very slowly, towards the outside.
The "stylus" is a little round tube into
which the big vacuum pump now slowly
sucks the glop, groove by groove. Slurp,
slurp. Takes a long, long tim,e as you
watch, though actually it's around 30
seconds. Then the arm falls off the outer
edge of the table and just sits. So you
take the disc off, turn the other cheek,
and do the whole thing over again,
glop and all. Side two is now immaculate.
I had one little difficulty. Most of my
records are brand-new and almost unused, so they really didn't need cleaning.
I tried a few, dispiritedly, then had a
bright idea. In no time, I pulled out of
my back closet a pair of ancient onesided, white-label test pressings, naked
and unashamed, which had been lurking
there in the dust and dirt ever since circa
1950. Concert Hall Society, one of the
very early commercial LP releases. Some
test! You could hardly see the surface
for the dirt. I put these hideously encrusted objects straight on the Record
Cleaning Machine to see what would
happen. (It's a clean machine.)
Well, quite a bit happened. The
va~uum pump inade extra bubbling
n~Ises and the "tone arm" gave out
with some very moist gurglings, as
though it were a bit ill. But the dirt
and the dust and the micro-pebbles
dutifully disappeared, straight up the
gullet of the sucking pipe. I gather that
one of the big problems is to keep the
machine's pipes open and unstrangled,
regardless of the record's condition.
(The string . sort of eases the stuff on
through, like dental floss or something.)
They stayed open okay, for the first and
then the second ancient side. Only one .
problem showed up-warping. These
early LPs had the once-common strains
and wavers due to inaccurate heat
control in the pressing and, maybe, an
un~ven plastic mix. The sucking mechams~ bounced over the broad warps,
leavmg some of the glop behind. But,
after all, my genuine phono pickup,
the real one, also bounced; so how much
do you expect?
•
The machine couldn't do a thing for
the multiple scratches and abrasions.
Not even the British have solved that
problem. But, warps aside, the old
surfaces were indeed clean and reasonably playable. As you may guess, the
monster is primarily intended for such
as radio stations, where cleanliness is
next to godliness and records get used
heavily .. So if you're a radio station guy,
or eqmvalent, you can find out all
about it from Metrorep, P.O. Box 782,
Freehold, N.J. 07728, around the East
or direct from Anglo International, th~
importers, at 1100 W. Newport Pike,
Wilmington, Del. 19804.
Before I leave this subject of record
cleaners, let me add a word about a relatively new entry to this field-Discwasher, Inc., 13 So. Sixth St., Columbia,
Mo. 65201. This is a fluid-brush combi~ation, both of which the company
clmms are new departures in this field.
The fluid is said to leave up to 16 times
less residue than other products, more
than three times less than even ordinary
tap .water. What's more, the fluid guards
agamst fungus colonies, which the firm
says grow on records and attack the surface of the discs, and is able to remove
lipids, the fatty substance which accumulates when the fingers actually
touch the grooves. The brush is of a
fine, directed-pile fabric, which means
that it uses a built-in grain to help
pick up debris. The brush also tends to
absorb, through capillary action,· the .
gunk which has been put into solution by the fluid.
Before I quit, let me tell you of another
lily-chroming gadget, a more sober
affair and not nearly as expensive.
For something over 100 bucks, you can
60
AUD IO · NOVEMBER 1971
AUDIO· NOVEMBER 1971
www.americanradiohistory.com
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touch up the tweeter end of your already-super-duper ultra hi-fi stereo
loudspeaker system, for better dispersion. Just buy a pair of the little five
sided Microstatic boxed tweeters, which
sit on top of your big boxes and share
the highs with the built-in tweets,
spreading them out evenly over a widened
angle. Instead of dropping off, as you
walk over to the sides of the stereo
listening area, your highs now stay
put, far out. The side-position stereo
image is rendered more accurate since
more of the vital information reaches
your ears.
The high quality Microstatic units are
not, as the title implies, electrostatic
speakers (cf. Janszen, et al.). Instead
they are not unlike the tiny dome-shaped
speakers already found in some of the
top quality units for which the Microstatics are a supplement. The idea, as I
get it, isn't so much an improvement
in sound quality as in the dispersion,
to 180 degrees, uniformly side to side
(see their "poop sheets"); and in fact I
found the quality of the sound remarkably unchanged on the A-B, or rather
A vs. A & B, test on axis. It's the side
listening that matters. And there I had
a sort of dual reaction, quite specific,
after a spell of close experiment.
Yes, if your listening area extends off
axis, as most listening areas do, there
is a clear difference. If you don't get
too close to either of your speaker
systems, if, say, you move about in a
wide area at least five or six feet away
from the speaker on each side, you will
find a clear increase in stereo precision
in the areas which are off at an angle.
No doubt about it, and for good reason,
with that 180 degrees of dispersion.
This is assuming an average speaker
separation of say eight to ten feet in a
medium-sized listening room. The larger
the space, the more listening room
you'll have. Depending on your habits
and your furniture, you might well
work up a considerable increase of
listening versatility, so to speak, via
the Microstatic additions.
On the other hand, there is an effect
in some rooms, like mine, where space
is less free and circumstances often
bring the ears fairly close to one or
the other of the . pair of stereo
speakers. If you have a couch near one
speaker, an easy chair or a table just
beyond the other, you may often find
yourself listening from a highly lopsided position. In such a situation, the
more limited (but still adequately
wide) dispersion of highs in the standard
speaker system may actually be an advantage in stereo. I call it the proximity
effect.
The last thing you want to hear in
stereo is the point-source speaker it-
self as distinct from its speaker mate. In
good stereo you do not hear the speakers
-you hear the sound, spread out and
from many apparent sources, at, between,
and beyond the two actual speakers.
Now as I walk over to the side and
approach quite close to one of my
speakers, I move off axis and the highs
of the near speaker drop awaywhereas the far speaker (aimed a bit
inward) still radiates highs. Result: I
can stand or sit right next to one speaker
and yet not hear it as a point source;
instead, I .hear the more generalized
stereo due to reflections.
No, that isn't "accurate" stereo. But
it is definitely usable. I often sit on my
couch, right next to one speaker, and
enjoy the music; or stand near the other
speaker, where my records play ori a
side shelf. It works. The proximity
effect. The tailing off of the pointsource highs as you come up close to
the side of one speaker, thereby hiding
that speaker as a separately perceived
source. Good, . and useful in many
rooms.
Now here the Microstatics cheerfully
undo what the normal speaker does
perforce-and the results are not quite
as intended. At close range, to one side,
you distinctly hear the highs from the
Microstatic that is nearest you as a
point source, right under your nose.
The other one, emitting the other channel across the room, no longer blends
and thus the stereo, at this acute sideangle, is lost. So in this special situation,
I found the stereo listening better
without Microstatics.
But who, for goodness' sake, is worry- ·
ing about a grotesquely small sliver of
the total normal stereo listening area!
Only a few of us will ever be concerned,
due to the way our rooms are built and
our walk-and-sit space is arranged.
Like the people in the old Metropolitan
Opera House, who sat in the side boxes
and saw half the stage and most of the
backstage where the next scene was
being prepared, it's zany but interesting.
And strange! One night I sat on my
couch and played mono pop music.
Magic. The Microstatics were fine,
even at close range. Probably because
in mono the two channels are identical
and blend all over the room . So put
the proximity effect in the back of
your mind, just in case.
My electronics assistant says the
Microstatic people should find a grand
market in updating a slew of sturdy old
speaker systems, the kind that have
splendid bass but sort of screechy
highs. I can think of more than one pair
of speakers I would like to update in
this fashion, given a handy set of Microstatics at a good price. But then, this
wouldn't be chroming the lily.
~
Here's What the Experts Say
julian Hirsch
Stereo Review Magazine
Gordon Holt
Stereophile
It is probably the closest approach to
perfection in a record-playing arm that
has appeared to date . . . .
A beautifully designed and constructed
arm to gladden the heart of any audio
perfectionist . ..
Tracking-angle error is essentially nonexistent over the· entire record surface,
and distortion arising from this source is
eliminated. Perhaps even more significant
is the complete absence of "skating
force" (an inherent problem with conventional pivoted tone arms), which
eliminates the need for any form of
anti-skating compensation . . . .
In short we don't expect to see this arm
obsoleted for some years to come, and
have adopted it as our new standard fqr
subjeetive testing of universal type cartridges . . .
In our tests, the arm of the Rabco ST-4
worked exactly as · intended. Both oa;tput channels of the phono cartridge had
identical waveforms when playing very
high-velocity test records (the true criterion for correct adjustment of the antiskating compensation of a pivoted arm),
which also confirmed the absence of
significant lateral arm friction . . . .
The center of the rotating arm shaft
(effectively the vertical-pivot axis of the
arm) is almost exactly in the plane of
the stylus and record, minimizing warp
wow ... .
In our experience the arm certainly is as
good as anything we have used , and we
never found a trace of degradation,
noise, or any undesirable effect that
might have been
attributable to its
unique design . . . .
In using the ST-4 we found that the arm
mass was so low that it would track
severely warped records without losing
contact with the grooves. In this respect, it was better than practically all
pivoted arms we have used , and almost
as good as the Rabco S L-8 arm . which is
outstanding in this test . . . .
Norman Eisenberg
High Fidelity Magazine
There is no doubt that this type of
tracking does reduce playback distortion
and can extend the life expectancy of
both record and stylus . . . .
ARLL rumble figure way way down at
-61 dB (this beats any of the popular
automatics we've tested and puts the
ST-4 in the top manual class). Flutter
averaged a negligible 0.07 per cent.
As a manual record-playing ensemble it
is at least ·as good as, and in some
important ways better than, anything
hitherto offered . . . .
·
If ever a product could be characterized
as "state of the .art" the new Rabco arm
is it. In fact, you might even call it
ahead of the state of the art . . . .
It moves a pickup acro.ss a record in a
true radius, with virtually no friction,
negligible resonance effects, unprecedented low tracking force, no skating effects,
minimum groove wear, and minimum
stylus wear . . . .
It is extremely well engineered.
After months of continuous use the
SL- 8 remains as responsive and foo lproof as when first installed ....
The mechanical servo-drive system of
the ST-4 tone arm is so simple that
one's reaction is likely to be "Why
didn't someone think of that before?"
Audio Magazine
The ST-4 is not critical with respect to
leveling; in fact we operated it at angles
as great as 15° to the horizontal with no
decided change in its performance . . . .
We know the principle is right , and we
must admit that the embodiment of the
finished product works perfectly, as far
as we can see . It is a delightful device.
Without question, the Rabco arm does
what it is supposed to do, and does it
nicely . . . .
Makers of the onl!:l seruo-driuen straight line arm.
11937 TECH ROAD
SILVER
62
AUDIO • NOVEMBER 1971
AUDIO· NOVEMBER 1971
SPRING~
MARYLAND 20904
63
Check No. 64 on Reader Service Card
www.americanradiohistory.com
The Legend of Enrico earuso
Don Altobell
23, 1903, and to
open its 21st season, the Metropolitan Opera chose Verdi's Rigoletto. Mme. Marcella Sembrich appeared as Gilda, and the title role was
sung by Antonio Scotti.
More than a few people, however,
were eagerly in attendance to hear a
new-ly signed Italian tenor named
Caruso. As they took their seats,
little did they realize that they were
about to hear the American debut of the
greatest of all tenors!
I
TWAS NOVEMBER
He sang the role of the Duke of
Mantua. His opening act aria, "Questa
Ouella," was the first thing the audience
heard, and it set the hoorahs and
huzzahs rattling off the rafters. Brr-rravo! Brr-rra-vo!
The critics of that day (and this day
too!) were more reserved in their enthusiasm. Henry Krehbiel, of the New York
Tribune, reported: "Signor Caruso has
many of the Italian vocal affectations,
and when he neglects to cover his tones,
as he always does when he becomes strenuous, his voice becomes pallid." Krehbiel did admit, however, that Caruso
" ... is generally a manly singer, with
a voice that is true, of fine quality, and
marvellous endurance."
W.J. Henderson, of the New York Sun,
had a bit more foresight. He said, "Mr.
Caruso has a natural and free delivery,
and his voice carries well without forcing. His clear and appealing high notes
set the bravos wild with delight, but
connoisseurs of singing saw more
promise for the season in his mezzo
voice."
In that first season with the Met,
Caruso sang 25 times ih eight different
roles, and in the 17 seasons tliat foilowed, 29 more roles were sung, for a
total of 607 performances. The tone
mellowed, and the acting became more
refined, the acclaim more exuberant
from critic and gallery fan alike. The
Caruso legend grew!
Caruso's voice was virtually unschooled for there is no record of his
taking any formal training. As a youth he
did spend one year as an observer of a
maestro who taught young singers, but
his intonation, breathing techniques,
and the meticulous attention he gave to
subtleties of interpretation were all
his- all Caruso!
Yet he never became lazy about prac-
tice. Even with his many performances
-often two or three per week-his daily
routine always included scales and vocal
exercises. Caruso's innate musicianship
and honest appraisal of himself told
him he was the best, and his fierce
pride drove him to make the sacrifices necessary to stay at the top.
Caruso never let his repertorie become
stale. In addition to the bountiful
supply of old favorites (76 Pagliacci's
and 64 Aida's at the Met), he introduced 12 new operas there. Toward the
end of his career, older, more obscure
roles were sought as Caruso vehicles,
and five such were dusted off for him.
It was in one of these, as Eleazer in
Halvey's La Juive, that he reached
what many believe to be his dramatic
zenith. The once slow-to-warm critic
Krehbiel wrote of the performance,
"Indeed, the greatest tenor has succeeded in giving perfect verissimilitude
to a tragic impersonation. By it, he has
raised himself a good notch higher in
artistic stature. And he sang the music
with passion, yet with a restraint which
revealed only the more exquisitely his
golden voice."
Ironically, it was in this role that
Caruso sang his last p_erformance,
December 24,- 1920.
Since then, great tenors like Martinelli
and Gigli, and exciting tenors like Lauri~
Volpi and Del Monaco have had their
day in the sun ... but there has been
none like Caruso. Numberless "second
Caruso's" have vanished from memory.
And today it is Franco Carelli ... but
still no Caruso.
What was so different about his voice?
So distinctive? His great breathing
capacity, never-faltering power that
could swell to full and glorious volume
from a pianissimo without pause for
breath, his tones of pure gold. Yes,
all these, but these are only words.
You must listen to the voice and hear
for yourself.
While the number of people Still living who actually heard Caruso grows
smaller each year, the memory of .the
Caruso voice is kept ever alive by
his recordings; which are plentiful.
They were made by the most primitive
of means-he sang into a short, square
horn connected to the recording machine. One man worked the machine
from behind a partition, with the
piano or orchestra behind Caruso at
the back of the room. Their proximity
determined their volume since there
were no amplifiers. (If only he could
have made a record-just one of today's
audio quality! Or at least some magnetic
recordings.)
With the advent of the LP and the LP
collection, the Caruso voice became
easily accessible. RCA Victor, for whom
he made all his American recordings,
has released a number of Caruso collections. These include a good number of
the 234 original Caruso records listed
in the discography of the book Enrico
Caruso, His Life and Death, written by
his wife, Dorothy.
In the more recent of these LP's, the
RCA engineers have done a marvelous
job of "de-ticking" many of the imperfections found in . their time-woni
masters. Saine of the earlier LP's have
been deleted from the catalog, but these
weren't of today's high quality anyway.
It is only to be hoped that RCA will
re-do them.
Listed with this article are the names
and numbers of the Caruso LP's available today, as noted in the Spring, 1971
Schwann Supplementary Record Guide.
I hope you'll get one or two. Listen,
just listen, and you may catch something
of the voice behind the ~egend!
Pi:..
discography
Before American Conquest (I)
Canzone napoletana
Caruso (E, F, I, Sp)
Enrico Caruso (I)
Enrico Caruso
Great Voices, Vol.3
Immortal Performances, 1904-06 (I)
In Song (F, I, L)
Italian Songs (I)
N eopolitan Songs (I)
Opera & Songs
Operatic Arias (I, F)
Operatic Rarities (I)
64
AUDIO • NOVEMBER 1971
AUDIO • NOVEMBER 1971
www.americanradiohistory.com
Eterna 725
RCA Int. LM-20080
2-Vic. LM-6056
Rococo 5244
RCA Int. LM-20095
Scala 872
Vic. VIC-1430
Vic. LM-2778
Rococo 5294
Vic. LCT-1129
Vic. LCT-1034
Vic. LCT-1007
Vic. LM-2700
Recital (I)
Recital, Vol. II
Recital (I, with F. Tamagno)
Recital (F, Sp)
Re-Recordings (I)
Very Early-Circa 1902
Voice of Century (E, F, I)
Vol. 1, Zonofono/G&T, 1902
Vol. 2, Milan G&Ts/Pathe H&Ds.
Vol. 3, lst N.Y. Recordings, 1904/5
Vol4, (I)
Vols. 5, 6
Young
Rococo 2
Scala 854
Rococo 7
Rococo 5275
Scala 825
Scala 884
Vic. LM-2639
Olym. 301
Olym. 302
Olym. 303
Scala 878
2-0lym. ORL-305/6
Sera 60146
65
Handel: Ariodante. Steffan, Scuitti,
Partridge, Bogard, Greevy, Rintzler,
Eder; Vienna Academy Chorus, Vienna
Volksoper Orch., Simon. RCA LSC
6200 (3 discs), stereo, $1 7 .96.
One of the musical phenomena of
this time is the sudden-there is no other
word for it-reappearance of the longsemi-unknown Handel operas, in fulllength performances. For 200 years these
operas have languished in the catalogues
and libraries. Everybody knew they
were there; everybody supposed they
were great HandeL But only a handful
of performances over the years made the
attempt to realize them in actual stage
presentation, though individual arias
(like the famed "Largo") were sung
by a thousand singers, with inappropriate
piano accompaniment, as if they were
merely songs, unattached to any larger
musical shape.
The LP record, of course, has made
the difference, though staged Handel
is now at last also becoming successful.
In both cases (the LP is much the most
practical), it is our increasing awareness
that "grand" opera is not confined
merely to "La Boheme," "11 Trovatore,"
"Aida," and others of the sort, pleasing
though they still may be to millions.
In New York, Handel has been a sellout. On discs, his operas proliferate,
though there are plenty still left untouched. He turned out no less than
forty-six, each one of them good for
at .least three LP discs, both sides!
The present opus, Ariodante, rates as
No. 35 in the astonishing series, and it is
a whopper, full of enchanting musiconce you catch onto the Handelian
way of procedure, the normal operatic
format of his time.
Familiar enough, now, to many of us.
Recitative and aria, the semi-spoken
sung recitative carrying quick bits of
action, the long arias serving as static
comment on the situation of the moment. The language is Italian, as was
the practice (the opera came out of
Italy), and the original singers were
almost exclusively Italian. Most of the
male leads were sung by castrati,
either soprani or alti, and these today
are sung by female singers (though if
we had enough good countertenors,
noncastrati, they would do a better job
I should think). Thus, qualities of feminity and many a love duet between two
ladies! One quickly gets used to it, for
the characters of the males are potent
enough to satisfy any idea of masculinity, except in the matter of pitch.
Ariodante is typical, and a highlevel opera, no two ways about it.
As in so many modern performances,
the modem voices here are not well
suited to the demanding music, full
66
Opera Enterprise
Classical
GR.ecord
with KENWOOD's newest 4-channel KA-8044 Quadrix AmpHHar .•. or
M•lt stereo system to 4-channel with KENWOOD's excenent KN-7044 Quadrixer
and KM-8002 Power Amplifier, plus a complement of four Speakers. Either way yau will enjoy
the true ambience of the concert haH in the comfort of your home with ~surround Sonic'
components by KENWOOO.
CJtvieWS
EDWARD TATNALL CANBY
of instrumental-type rapid figures for
which our singers simply are not
trained. But good musicianship and
musical fervor carry the day, especially
in the two principals, the soprano
Sofia Steffan, the (male) hero, and
Graziella Scutti, who is the heroine
and a most feminine one too. A typically
international mixed bag of vo]ces, nonItalian, including an excellent Carole
Bogard as the (alto) lady in waiting,
nevertheless show an earnestness and
cohesiveness of expression that is made
more and more clear as one listens to
side after side of the long work, following (as one must inevitably) the libretto
and its translation. It all adds up, as
splendidly as Wagner himself, hour
after hour.
One factor is moderately at fault.
Stephen Simon is an uneven conductor
of Handel and occasions some unpleasantness, notably in the rapid parts of
the music, though the slower pieces go
well throughout. A driving quality (is
it New York?) pushes too hard, or holds
back fussily, too slow; and one senses
that the Vienna players, probably no
more used to the music than most professionals, are not really helped to
understand it. Exaggeratedly slowed
endings smack of an outworn tradition
best forgotten at this point.
Old Handelites will not be overly surprised to find a goodly portion of the
Overture to this opera familiar as music
from a long-favorite Handel Suite for
Orchestra-is it the Water Music or
one of the others? Handel, of course, reused such material again and again,
to the obvious pleasure of his audiences,
who recognised the familiar tunes as
we do. Why not? After all, he wrote
enough "original" and/or new music to
sink a dozen music libraries; a repeat
of a good tune could be a blessing for
all concerned.
Performance: ASound: AHel iotrope Bouquet. Piano Rags by
Turpin, Joplin, Lamb et al. Will iam
Bolcum, piano. Nonesuch H 71257,
stereo, $2 .98.
Very interesting paradoxes here. The
original ragtime music dates from before 1900, just about the first music
(after Stephen Foster!) with a real
American slant to it. It wasn't folk, but
it did come, as might be expected, halfBlack, out of a background of hankytonk or what have you. As those of us
who are old enough to dimly remember,
this sort of music was heard on hard,
metallic pianos, those stripped-down
uprights, played by stolid men whose
incredible flying fingers had the strength
of steel springs-or played, of course,
by pneumatic machinery in the same
style from piano rolls. The "live" sound
was the more impressive, . the more
powerful for sounding like the machinemade product. Fantastic rhythm and
drive, all done with a certain deadpan
quality, a truly American phenomenal}.
Ah! But now. Ragtime has been rediscovered by the young, who do not
remember. Researched avidly. And
reconstructed into elegant modern
grand pianos, impeccably tuned and
voiced, recorded in sonorous stereo.
Scott Joplin, the greatest of the rag
men and a Black, is now (as the notes
say on this record) "the Chopin of
America" -and that is exactly how the
music sounds! All gentle passionate
gracefulness, well modulated, sophistiAUDIO • NOVEMBER 1971
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cated, and never a harsh overtone.
(Well, not many.)
The intention is straightforward .
Scott and the others never had it good;
so now let us put them where they
would have liked to be, on the fancie st
of modem grand pianos, played by
serious,
classically-trained
pianistcomposers. Where have we heard this
argument before? Poor Bach, he didn't
have a modem piano, nor did Mozart.
So let's give him one.
I'm of a mixed mind. Stylistically,
I think the idea is nuts. I like the old,
hard, brassy, nail-head piano sound out
of a beat-up upright. Making the best,
miraculously, out ofwhat was available.
I can't believe · that his music is rightly
played like so much Chopin-even if
J oplin would have marvelled at the idea.
And yet, it does bring out unexpected
things. Mainly, how U.S. popular music
is at heart very much grounded in
European salon stuff (and still is, to this
very day). Take away the hard, brassy
sound and the driving mechanical
rhythm, and you have European
schmaltz. Not very good schmaltz,
either. Chopin did it better, if you ask
me. But Chopin could never have played
a honky-tonk piano.
· See also Joshua Rifkin's earlier Nonesuch disc, recreating a brace of Joplin
compositions in a similarly elegant
salon-concert style.
Performance: B?
Sound: B-
Performance : A
Haydn and Mozart Arias. Dietrich
Fischer-Dieskau ; Vienna Haydn Orchestra, Reinhard Peters. London OS
26182, stereo , $5 .98.
I got to this very late-but e~joyed
it thoroughly. This very American performance, all the singers sporting
normal American voices, is precisely,
it seems to me, what Menotti wanted.
The Medium was a great hit when it
first came out. Would itcarrythesameimpact today? It does! I was astonished, to
tell the truth, for Menotti is not
much as modernists go, nor is he in
quite the big-league grand opera field.
His basically are chamber operas.
Most peculiar. Menotti is so Italian,
and so Americanized! Somehow, he,
and he alone, has hit exactly the vein of
American interest in a form that is
basically alien; he writes precisely for
those ardent, large-bosomed females
with big voices and those others,
including would-be Caruso types, who
abound so marvelously in every American city in hundreds of local opera
groups. Such energy! Opera is big
here among those who want to sing it.
What Menotti gets so right is the curious
68
AUDIO· NOVEMBER 1971
AUDIO· NOV EMBER 1971
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It takes frequent revision to keep up wit h t he many new releases in
reco rds and tapes. That's why the bible for the devotee of re·c orded
music is the Schwenn Record & Tape Guide, which is revised monthly.
Each issue is nearly 300 pages crammed with valuable information
about lp records, 8 track cartridge and cassette tapes . Schwenn lists
composer, performers, manufacturers record label and number and
list price. When a tape version is available, it is indicated and all
needed ordering infor mation provided.
The monthly Schwenn currently lists about 45,000 stereo lp records
and tapes in classical, popular, jazz, rock and other categories. The
new listing section in an issue often runs 1,~000 or more records and
tapes-an indicator of the many worthwhile works that you might
never know about were it not for Schwann.
Keep a copy at home for reference and to help you decide· on additions to your record and tape library. Considering its modest 75¢ cost, Schwenn is a real
bargain in record and tape information. Get a
copy each month from your record or tape shop.
Schwann Record
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J & Tape Guide
\\::~ Published Monthly ] 5¢
Sound: B+
A fascinating disc, this one, and
much more than its title suggests.
These are all "new" works, isolated
pieces mostly composed either as
individual solo or "concert" arias, or
else for insertion in somebody else's ·
opera, a common practice at the time.
Some are from works that most of
us Haydn-Mozart fans will not even
have heard of. So you know your
Mozart opera- did you ever run into
Warnung, K. 433? First time I ever
heard of it. An incomplete work.
Since Haydn's operatic works are
much less known than Mozart's, the
shock value of the Haydn pieces here,
four of them on side 1, is less important than, simply, the value of some
new good music by this genial composer. The seven Mozart works,
though, are stunning-from the early
aria out of La finia giardiniera, K.
196 (Mozart was 18) to the isolated
M entre ti lascio, K_ 513 , a late and
very profound serious aria in the grand
tragic manner. One delightful oddity
is an alternative version of one of the
most familiar bits in le nozze, the
Marriage of Figaro, the tune set into
a different orchestral background. If
you are a Mozart man, you'll really
sit up at this one.
M enotti: The Medium. Regina Resnic k,
Judit h Blegen ; Opera Soc. of Washin gt on, Jorge Mester . Col umbi a MS 7387,
stereo, $5 .9 8 .
the bible
revised monthly
combination of the European singing
voice, mainly Italian-style, and the
plain old American speaking voice . He
combines the two, so utterly opposite,
with extraordinary skill.
Mme. Flora, the bosomy medium of
the story here, is unique in opera. Her
terrifying combination of half-sung, halfspoken expression is, if you ask me,
a lot more effective than the famed
Sprechsstimme of Schoenberg; for it is in
a peculiar way utterly natural. It is
exactly what a big, trained singing
voice would do if it were to break into
agonized half-speech in ordinary American English.
Regina Resnick does this to perfection, and Judith Blegen as the daughter
Monica is just as good in her own way.
The others, the duped ones who think
they see their dead loved ones and will
not be persuaded that the whole seance is
false , are excellent too, with just the
right grave, earnest approach.
And so a tear-jerker, grotesque if done
wrong, is done right once again, and
once more it will probably bring a tear
or two to your eyes.
69
OTHER SCHWANN PUBLICA TI ONS:
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Schwann now lists records and tapes-popular more than 2 years old, mono records,
spoken, educational, religious. New section: International Pop & Folk. Fall '71 ed. 60¢
SCHW ANN COUNTRY & WESTERN TAPE & RECORD GUIDE. Country & Western
music on more than 60 labels, lp records, 8-track cartridge and cassette tapes. Includes
titles of selections on albums. 1970-71 ed. 75¢
SCHW ANN ARTIST ISSUE. Currently available classical records, listed by performing artist: orchestras, quartets, instrumental soloists, etc. 320 pages. Needed by music
lovers and record collectors. 1970 edition. $1.75
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AU
Grieg: Incidental Music to Peer Gynt.
Sheila Armstrong, Ambrosian Singers;
Halle Orch., Barbirolli. AngleS 36531,
stereo, $5.98.
The album with the lovely blue cover
(a fjord) has all the music (except some
accompaniment for ·spoken "melodrama " ) in original order, with soprano
solo and one choral number. Much is
familiar in old "music appreciation"
Suites-but some is "new" and Grieg
at youthful best. Nice, gentle, Romantic
performance.
On records, the old-type "concert"
suite is replaced by the longer, more
varied type, with much extra music.
Good. The sound here is mellow, not
too huge-right for Grieg's unpretentious early music.
Ravel: Sonata. Grieg: Sonata, Op. 45.
Wanda Wilkomirska,
vi.,
Antonio
Barbosa, pf. Connoisseur Soc. CS
2048, stereo, $5.98.
Connoisseur's recording place (church, NYC) is real problem. Big, blurry reverb
smears piano sound unmercifully, with curious "slap" wave effect, most unpleasant.
Go elsewhere, I say! This pair of stalwarts is brilliant, not yet tops. Violin is
expert, fine tones, but somehow monotonous, blank in style; piano is wham-bang
energetic in loud parts. Skilled but musically unsubtle.
Symphonion Music Box Concert. Music
Box Records (685 S. Rays Ave., Columbus, Ohio 43204}.
One of those curious 19th C. German "disc" music boxes-a large brass disc, rotating
slowly, a single piece each turn, via lengthwise slits in the disc. This recording has
Sousa and other U.S. music on it-tailored for American Market? And when? Must've
been a very late "release"!
The Wurst of P.D.Q. Bach. With Prof.
Peter Schickele. Vanguard Twofer VSD
719/20 (two discs), stereo, $5.98 .
P. Schickele's plays on words outdo his total musical tricks-but the tricks are good;
he is a competent musician and an ingenious composer of pseudo-old ml!sic. This
pair of discs, 2 for 1, is surely the best of the wurst, out of the long-time P.D.Q. series.
[-r I RADFORD l
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At the very least, it's uncomfortable.
But smile. You can still enjoy
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headphones without discomfort.
With Sennheiser HD414 "openaire" headphones-five ounces of
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you. The nearest yet to concerthall sound!
But one listen is worth a thousand words. Visit your nearby
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Check No. 70 on Reader Service Card
Check No. 71 on Reader Service Card
Fischer-Dieskau is at his mature best
in this kind of music. His voice for
some reason is recorded with a slightly
metallic edge-this would appear to be
a recent job, not a reissued "oldie."
The orchestra is lively, if a bit ragged
here and there.
Performance: B +
Sound: B-
Francesco Antonio
Rosetti:
Six
Sonatas for Harp, Op. 2. Susann
McDonald. Orion ORS 7144, stereo,
$5.98.
Rosetti was no Italian-his real
name was Frantisek Antoni'n Rossler
and his home area was near Prague.
But in the later 18th century the universal Italian style was at home in
Prague, as in Vienna, Italian names
were chic, and ltalianate music taken
for granted everywhere. These little
Sonatas, each a group of short movements, are in style somewhere between Scarlatti and Joseph Haydn,
pretty little melodic things with graceful trills and pleasant harmonies.
Rossler-Rosetti, as he is sometimes
called, wrote a good deal of very
popular big stuff-symphonies, assorted
concertos, oratorios-and these harp
items are side products of a busy life.
Susann McDonald is a solid-techniqued young American harpist whose
fingers shimmer over the strings at a
great rate, forthrightly and efficiently. ·
In the recording, the blur of harmonies
is an impediment to the music, which
should be set forth with no more than
one chord ·audible at a time. Inherent
in the harp, which has no dampersbut the hand and arm can damp out a
lot and I wonder, myself, whether
Susann just isn't listening to her own
music well enough; or whether this
is perhaps an accident of too-close
microphoning, picking up more of
the overlapping of chords than would
be heard at a decent concert distance?
All I know is-some harpsists can seem
to eliminate the sonic blur, just by the
way they play, and wait. Even in recorded form.
Performance: B
Sound: B
Mozart: Symphonies No. 21 in A, K.
134; No. 27 in G, K. 199. Munich
Chamber Orch ., Hans Stadlmair. Nonesuch H-71244, stereo, $2 .98.
Mozart's "greatest" symphoniesundeniably great-were once nearly
played to death, the Jupiter, Haffner,
Prague, the G Minor, while the earlier
symphonies remained unknown. With
our broader interests today, and with
the incomparable medium of the LP
record, we turn more and more to these
AUDIO • NOVEMBER 1971
equally lovely little works, just as
"great" in their own less all-embracing fashion. These two, both very
Italian-influenced, during Mozart's
period of triumphal tours in Italy (just
over the Alps from Salzburg) are
essentially string symphonies with a
pair of flutes added, (horns, too, oc·
casionally) and no oboes, a sweet,
spring-like sound, altogether ravishing
if you are in the mood for it. I often
am. The playing is really superb. Not
spectacular or self-conscious. Just
totally musical, relaxed, intent, beautifully balanced, thoughtful. The sound,
from Barenreiter in Germany, is a bit
on the muffled side, but that could
merely be the acoustics of the recording place. Won't bother you a bit.
Performance: A-
Sound: B
Parkening Plays Bach. Christopher
Parkening, guitar. Angel S 36041,
stereo, $5. 98 .
When I wrote about young Parkening's first classical guitar recordings
for Angel I was roundly sat upon, for
failing to hail him as the new genius
of the instrument. But what I said then
still applies, I think, and -you can hear
it for yourself in this latest offering.
Without a doubt, this favorite pupil
and disciple of the great Segovia has a
superb technique and a real musical
soul, enough to put him in the' top
bracket of his profession. But he continues to be imitative. Of course old
Segovia thinks him tops! He sounds
like Segovia. That's a pardonable
pride, found in most masters. Parkening is a gentler, less flamboyant
Segovia, to be sure: But if you have
followed
the
twenty-thousand-odd
Segovia recordings over the last quarter
c~ntury and more (I still have a teninch, 78 rpm, shellac Segovia), you will
recognize the way of playing instantly.
It is lovely, but by now a bit old
fashioned and rather on the pretty
side. (Much better than the woodenly
mechanical plucking of some lesser
"classical" guitarists!) There is nothing
wrong with following in the footsteps
of your own much-older teacher and
master. But sooner or later a performer
must be himself, and vigorously.
Parkening has plenty of time to do
that. He's just at the beginning.
A brace of ultra-familiar Bach pieces
here, the ones that generally are heard
in various transcriptions- for everything from piano and symphony
orchestra to maybe musical glasses
or Moog. A good many are Parkening's
own and very well done.
Performance: B +
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71
Check No. 72 on Reader Service Card
www.americanradiohistory.com
bad, miking is haphazard, balances are
poor. Not so here. Whoever did this
job deserves a big hand. This is almost
studio-like in quality. All elements are
very clean, orchestra and chorus
beautifully balanced, the stereo properties handled with taste, the overall
presence remarkable. Musically this is
a winner too, with Conniff giving us
a neatly balanced program of oldies,
show tunes, and contemporary stuff,
which all add up to a tape that should
become a best seller for Columbia.
Great Strauss Waltzes, Werner Muller
and his Orchestra, London/Decca
5SP44039, Dolbyized Cassette, $6.95.
Ray Conniff's Concert In Stereo. Columbia GR30122, open reel, lY2 ips, $7.95 .
Here is another fine recording,
just about the best I have ever heard
made on location. This was a live
pickup at the Sahara/Tahoe hotel in
Nevada. You know, most examples of
this kind of recording are usually
pretty disappointing. . .acoustics are
72
As you may have noted, this is a
London/Decca, not an Ampex/London
cassette. As I pointed out several months
ago, Ampex will still manufacture
London tape products in this country,
but English Decca will issue Dolbyized
cassettes of different repertoire under
their London label in the USA. This
recording and a number of others will
probably be available by the time this
issue of AuDIO reaches you. In any
case, this is a Dolby cassette that should
find an enthusiastic audience. It has
everything going for it ... a potpourri
of great Strauss waltzes including the
"Blue Danube," "Wine, Women and
Song," "Emperor Waltz," "Roses From
The South," and others equally wellknown. The arrangements are highly
stylized and somewhat "Hollywood
Epic" in nature, employing a chorus
in addition to the orchestra. Of its type
however, it is well executed. The sound
is in general quite clean and well
balanced, and there is little evidence
of the ' high frequency distortion that
plagues so many cassettes. The Dolby
aspects were a joy to the ear. At my test
level of 100 dB peak, there was a just
discernible trace of hiss. In fact there
was just enough so that when a number
ended you could hear the noise cut-off.
This is kind of surprising, since on tapes
you rarely encounter the 5-6 seconds of
silence that corresponds to the spiral
between the cuts on a disc. Obviously
at the lower level at which most people
would play back this cassette, tape hiss
would be inaudible. There was some
modulation noise and some dropouts,
but they were not too obvious and
probably wouldn't be noticed by the
average listener. All in all, one of the
best Dolby cassettes thus far.
Hit Movie Themes, Enoch Light and his
orchestra, Project Three PR4C-5051,
four channel, open reel, lY2 ips,
$14.95.
This is the sixth four-channel tape
issued by Enoch Light, and it is in every
respect an outstanding production. A
compendium of themes from such
recent hit movies as "Airport," "Z,"
"M* A *S*H," "On A Clear Day," "The
Out Of Towners," "Patton," and eight
others of equal stature, this is sonically
a real blockbuster. This production
represents the quintessence of top
quality multi-mike recording in the
eight-channel master, and a virtuoso
mix-down to four-channel stereo by Mr.
Light. This tape is of the equal intensity
"surround" type of four-channel stereo
generally favored for pop music. I think
it is time we stopped belaboring the
point about the "musical aesthetics"
involved in this approach. You takes
your choice and either love it or loath
it! I can tell you that at all the hi fi shows
I have been at in the past year, and
including the recent Washington D.C.
show, the majority of people attending
enthusiastically endorsed this type of
.four-channel sound. Admittedly, a good
portion of the crowds were neither
musically literate nor technically
oriented. Butthere were plenty of hardnosed hi fi buffs who found this type of
four-channel sound not only sonically
exciting, but musically and emotionally
stimulating as well.
The best number oil the tape is the
"Patton" theme, a clever, catchy piece
of music of obvious martial aspect,
which is recorded with sound of stunning
impact. The crowds in Washington
really flipped when they heard the
sharp rattle of the snares, the hard clean
punctuation of the tympani, the "feel"
of the out-sized bass drum, the bright
blare of brass and squeal of the fifes.
l;'he arrangement is very good and lends
itself well to the tricky mix-down and
disposition of the various musical
elements among the four channels. The
sound is excellent throughout the tape
with the combination of close-miking
and just the right amount of reverb
affording outstanding presence. The
other numbers on the tape are not quite
as spectacular as the "Patton" theme,
but they are all cleverly arranged and
have their own particular sonic attractions. Four-channel stereo was relatively
new to Washington ... at least as far
as public demonstrations were concerned. There is no doubt in my mind
that this recording influenced a great
many people-including plenty of
skeptics- to a positive appreciation of
the four-channel format.
A final footnote: The four-channel
stereo recording I made of the mighty
Wurlitzer organ in the old Brooklyn
Paramount with organist Billy Nalle
will be issued on Mr. Light's "Project
Three" label, first as a conventional
two-channel stereo disc, and later as a
four-channel stereo open reel tape. It
will be called, "Big, Bold and Billy."
AUDIO • NOVEMBER 1971
www.americanradiohistory.com
the record ENCORE! (LSPX-1005).
What it is is a dozen tracks by soul
singer-guitarist Jose Feliciano, all but
two of which were culled from earlier
LPs (the exceptions, "Life Is That Way"
and "Wichita Lineman," were both .
previously available as singles).
Best of the package is an instrumental
version of "Malaguena," recorded live
but so impressive the audience is totally
silent during the performance. Other
live extracts are "Rain," the tune that
. singer Anne Murray imitated and turned
into a hit; "'California Dreamin'" and
"Light My Fire."
-But don't overlook "Hi-Heel Sneakerst "Pegao," "Susie-Q," "Hitchcock
Railway," "Destiny," or "Nature Boy."
Weingarten
Looks At
Tom Clay
OM CLAY is an ex-disc jockey
forced into success by his vigorous idea of what's right, the
nation's horrible economic climate, a
unique recording, and some luck.
Clay, who declined to compromise his
principles while spinning vinyls on the
West Coast and thereby found himself
without a public turntable, in neardesperation tried his hand with a concept single. Tt clicked, and now it's the
basis for an LP, also expected to sell
well.
When the deejay found himself jobless, with more time than even he wanted
to spend with his family and electronic
gadgets, he conceived a plan to carry a
message via the pop music arena. The
result was an unusual 45 that combined
music and dramatizations with news
tapes to make a commentary on today's
world. Enter the luck aspect. The youthful buyers who virtually monopolize
what makes it in the singles field decided the message was the massage.
Voila, chartbuster!.
And despite the length of the cut (six
minutes, 10 seconds), it quickly gained
heavy air play-partially as a novelty, in
part as a salient playlet.
The single, now the lead item on
TOM CLAY'S WHAT THE WORLD
NEEDS NOW IS LOVE (Mowest,
MW 103-L), opens with an announcer
interviewing a tot, asking the boy if he
knows what segregation, bigotry, and
hatred are. The child says no, and the
groundwork for what follows has been
laid.
Message One: The negative values of
societal living must be taught.
The Blackberries provide vocal accompaniment, initially, with the Hal
David-Burt Bacharach evergreen "What
T
the World Needs Now is Love," and
Army cadence counts and the bursts of
machine-guns sharply contrast.
The chorus then quickly shifts into
"Abraham, Martin, and John," and
the speakers erupt with an on-the-spot
tape of the John F. Kennedy assassination.
Next is the voice of Dr. Martin Luther
King, Jr., saying he's "been to the mountaintop" and that, "like anybody, I'd
like to live."
Bobby Kennedy's voice follows,
ironically noting that "no one can be
certain who next will suffer some senseless act of bloodshed." His own assassination, via another on-the-scene tape,
then is superimposed on what obvi~usly
is, in the form of a song, Message Two:
"What the world needs now is love,
sweet love."
Then Ted Kenrtedy's eulogy for his
slain brother, replete with broken voice
and a citing of "times of danger and
uncertainty," leads to the closing
segment, a reprise of the announcer and
the boy.
"What is prejudice?" asks the announcer at the conclusion. "I think
it's when somebody's sick," replies
the tot, succinctly offering Message
Three.
The track, obviously the best of the
10 on the album (which is distributed
by Motown), is shadowed by several
other attempts at the same type of thing.
"Whatever Happened to Love," for
instance, is a narrative with choral
amplification that reminisces about
the lost purity of childhood pleasures.
And "What's Going On," similar to an
old gimmick used by Simon & Garfunkel
on "Silent Night," superimposes a
newscast, with all the vitriol and nega-
* * *
tives today can bring (with the emphasis
on _violence), on some cacophonus
mUSIC.
"For Years" starts with Clay's
daughters, Candy, Becky, and Kimmy
singing the hymn, "Jesus Loves Me,"
then combines the sounds of strafing
bullets and a speech about the Vietnam
War, goes into a rendition of "My
Country 'Tis ofThee," inserts more shell
sounds-and poignantly ends in mid-air
o~ the l,~ne "Land where my fathers
d1ed ...
Clay's "The Victors," in contrast and
yet in the same vogue, is a mournful
version oftaps, via flute, and a recitation
of young men (and children) who
were killed in U.S . wars (on both sides),
plus in the tragedies of Hiroshima and
Nazi gas chambers.
The flip side of the disc, still keeping
with uniqueness but turning in a different direction, consists of one long segue,
a tone poem of sorts, a composite of
music-and-word essay on what love
really is. Narrative editorial comments
are interspersed with such meaty (and
sometimes banal) items as Jim Webb's
"MacArthur Park," David-Bacharach's
"This Guy's in Love with You,"
Holland-Dozier-Holland's "Baby, I
Need Your Loving," Joni Mitchell's
"Both Sides Now," and Paul Simon's
"Bridge Over Troubled Water."
It's an interesting experiment even if
not totally successful.
Taken as a whole, however, the LP
should be a must for every audiophileif only because it is innovative and challenging to the listener's mind.
* * *
It might have been called "the best
of," but RCA decided instead to call
Tennessee Ernie Ford, whose deep
voice retains all the resonance it ever
had, appeals to the old-fashioned
churchgoers and the new fashioned
return-to-religion youth with ABIDE
WITH ME . (ST-730) a Capitol disc
containing 10 hymns.
Backed by the Jimmy Joyce Singers,
Ford is best on the title work and "God
Bless Our Native Land," despite tr.~
latter being the kind of thing young
rebels oppose vehemently as chauvinistic
Establishment propaganda.
The cover, not incidentally, is
adorned with a Norman Rockwell painting, "Freedom of Worship," that first
appeared as a Saturday Evening Post
cover illustration three decades ago.
* * *
Combining the sounds ofThe Mamas
and The Papas plus the Beatles seems
an impossible suggestion, yet The
New Seekers come pretty close to
doing . just that. Witness the quintet's
latest album, Elektra's BEAUTIFUL
PEOPLE (EKS-74088), which showcases among its 12 cuts two chartbusters penned by Mellanie Safka,
"Look What They've Done To My
Song, Ma" and the title tune.
Eve Graham sings lead on both
songs, and, in fact, on most of the
Seekers' output, but each of the group
(all of whom are in their 20s) now and
then comes up front. The sound, always harmonious, always easy on the
ears, is augmented nicely by an
orchestra under the direction of Bill
Shepherd that makes fine use of its
string section.
Spotlighted are such items as
Nilsson's "One," on which the lead
position is sung by Peter Doyle;
Doyle's own composition, "Cincinnati,"
a bluesy-country piece on which he
again sings .lead; Randy Newman's
"I'll Be Home," with Lyn Paul coming
on strong, and Delaney Bramlett's
"Never Ending Song of Love," re-
produced in a mod-ern sing-along
fashion.
* *
Peter Bardens has a mind that flies
all the way to the . sun. His talent is
evident on THE ANSWER (Verve
Forecast, FTS-3088), a disc on which
the composer (of all the six tunes on
this LP) and pianist-organist, plus
eight others, stresses music rather
than lyrics.
Best of the fascinating album, recorded in London, is the title tune
(which starts with a Baroque organ
riff, moves into a soft vocal, progresses
to a heavy electric guitar, and then
goes with a soulful vocal).
But other highlights, and the
listener's pleasure, like the proverbial
cup, runneth over. Hear, for instance,
"Don't Goof with a Spook," an eerie,
electric, jazzy offering; "Let's Get It
On," a frenzied, avant-garde suggestion
of tomorrow, and "I Don't Want to go
Home," with heavy use of percussion
and flute, and with lyrics (the most
expressive of any on the vinyl) that
sound a bit like Donovan's.
Nationally AJvertiseJ BranJs
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* * *
Barbra Streisand shows great versatility on her newest LP, indicating that
her growth as a singer is far from ended.
The album, Columbia's STONEY END
(KC 30378), neatly scatters ballads,
blues numbers and rockers.
The thrush leans heavily on contemporary tunesmiths for the 11-cut
disc, on which full orchestration, always
slick, is immensely helpful.
Highlighting the effort, of course, is
the title tune, the No. 1 chartbuster
that showed that Barbra could swing
with the best of 'em. Unfortunately the
motif of the song, by Laura Nyro, is
copied too closely in two other selections, also by Miss Nyro, "Hands 'off the
Man (Flim Flam Man)'' and "Time and
Love."
If you ordinarily like Streisand,
though, probably you'll love her renditions ·o f Joni Mitchell's "I Don't Know
Where I Stand," a soft mournful piece;
Gordon Lightfoot's "If You Could
Read My Mind," a mildly countrified
winner; Randy Newman's "I'll Be
Home," a melancholy number that
indicates the songstress still is best with
items filled with pathos; "Let Me Go,"
plus Harry Nilsson's "Maybe."
* * *
OLATUNJI (Roulette, SR 42063) is
the last name of a guy whose first name
is Babatunde. The Nigerian native uses
African drums to portray that continent's
culture on seven melodies. Sambalike rhythms stand out, and there is
muc)l jazz orientation. Vocals, for the
most part, are chants (performed by
six singers).
Before you buy, be sure to
check our price list. You'll be
glad you did.
Write us for our price list, DEPT.A,
or check our number on the reader
service card.
Boston ;~g~wANY
1 Discount Drive, Randolph, Mass. 02368
74
AUDIO • NOVEMBER 1971
AUDIO • NOVEMBER 1971
75
( East Randolph Industrial Park,)
Check No. 75 on Reader Service Card
www.americanradiohistory.com
IT'S THE We've been known
to build
TUNER
FINEST
share
· _.ofour
excellent
WE'VE EVER
Martha Sanders Gilmore
Bill Evans: From Left to Right
Musicians: Bill Evans, Steinway piano
and Fender-Rhodes electric piano;
Sam Brown, guitar; orchestra arranged
and conducted by Michael Leonard;
produced by Helen Keane.
Songs: What Are You Doing the Rest of
Your Life?, I'm All Smiles, Why Did
I Choose You?, Soiree, The Dolphin
(Before and After), Lullaby for Helene,
Like Someone in Love, and Children's
Play Song.
MGM SE4723, $4.98.
One ,must immediately exclaim over
the extraordinarily beautiful arranging
and com posing that resulted in this
recording. This artistry, which seems to
know no bounds, may be attributed to
the melodic talents of Michael Leonard,
who arranged and conducted the set,
not to mention composing "I'm All
Smiles" and "Why Did I Choose You?"
When combined with the musicianship
of the inimitable Bill Evans, music lovers
are indeed twice blessed.
In the compatible collection of ballads
which comprise this unique set, we
recall Erroll Garner's "Other Voices,"
recorded some years back in which the
piano bears a kind of concerto relationship to the orchestra.
Here, however, innuendos of French
impressionism permeate the grooves,
summoning forth picnics on the banks
of the Seine, rain showers which tuck
us away under the awnings of French
cafes. A supreme delicacy exists, enhanced by the penmanship of Michel
Legrand who composed "What Are
You Doing the Rest of Your Life?"
further vindication of a canvas tinctured
with an imitation of France.
I had the pleasure of catching Keith
Jarrett live with the Miles Davis group
this m~d-winter. At that time, Jarrett
expounded his considerable talents over
dual keyboards, one electric, one
acoustic. Now, a somewhat similar
experience comes to me on record via
the sensitivity and deft fingers of Bill
Evans, pianist non-pareil, who stands
76
apart in jazz much as Picasso does in
art, Shakespeare in literature-a musical
genius without peer, in my view.
From left to right, from the Steinway
to the Fender-Rhodes electric piano
dance the Evans fingers, gliding with
subtlety over far more than the usual
88 keys. Evans uses the pianos interchangeably, seemingly according to
whim,· but we know better. Often he
states his theme on acoustic piano,
increases his tempo, and goes on to
develop his musical ideas on the electric
keyboard which encourages its player to
bend notes at will.
It is not only interesting to hear the
way Evans utilizes the two instruments
but to compare the timbres. One is
struck by the resonance of the Steinway,
replete with overtones. While the
Fender-Rhodes piano does not resound
and vibrate to the same extent, it, in
contrast, possesses a flexibility and
versatility of sound. Many times its
hollow, mellow tone resembles that of
a vibraphone superimposed on a piano.
Evans obviously enjoys it as a vehicle
to launch his talents. An existential
quality prevails; one thinks of Francoise
Sagan.
Eight of these nine tunes are ballads,
tone poems which are so appropriate to
Evans' rather spare and selective
technique-the Gustave Flaubert of
the keyboard! He chooses his notes
carefully; his texts are lean.
Leonard employs flutes, strings, and
percussion primarily in a beautifully
cushioning
backdrop,
orchestrated
Evans' notations. Piano and orchestra
answer one another, commenting as a
chorus.
In "What Are You Doing the Rest of
Your Life?," a minor key sets the stage.
We are reminded of grey skies over the
banks of the Seine, trenchcoats. Evans'
flights cascade like waterfalls. The entire
set has a movie quality about it-a Cary
Grant-Ingrid Bergmann scenario.
Evans' style, like Mel Torme's, another musician's musician, is well suite4
to waltzes as "I'm All Smiles" .and
"Soiree." Sam Brown on guitar is
empathetic throughout, opening out his
guitar strings like a harp, projecting
himself at exactly the right time,
embracing the single notes of the piano
with circular chords. We'd like to hear
more of Sam Brown! "Soiree," reminiscent of Evans' album with Jim Hall
entitled "Undercurrent," is a polished
jewel of creativity.
We are permitted two takes of
"Dolphin," the only non-ballad in the
group, a bossa nova with scintillating
rhythm and superb sound reproduction.
We prefer the first take which features
the trio alone. The second take is overdubbed by the orchestra whose strings
flow in and out like an ocean wave.
Much is happening. The flute passage
is most striking.
. Bill Evans' own "Children's Play
Song" captures his style and technique
perfectly. Cross rhythms abound, three
blind mice configurations are stated in
the left hand. The song is simple purity,
a theme and variations which is masterfully resolved by the acoustic piano in
the treble, the electric on the bass notes.
This album assuredly succeeds in
what it sets out to do. Evans' fans will
certainly want to add it to their collection. Glossy as cake frosting it is at
times, but executed with the best of taste.
The arrangements are so magnificent
that one tends to fasten on them rather
than study the technique of playing two
pianos at once. But maybe its success
lies in this subtlety and lack of the
obvious.
My major disappointment in the
album lies in the dearth of development and improvisation for which jazz
buffs yearn. Beautiful statements are
made but we'd like more exploration.
These are more or less vignettes to whet
one's appetite; I wished the musicians
would extend themselves further.
May the day come when the EvansLeonard team makes a 2-record set
composed and arranged by Leonard but
AUDIO • NOVEMBER 1971
www.americanradiohistory.com
Bul. I.•·r
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The SEL-300 is designed with
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The logic circuitry~ses 17 inte..
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We've even included
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A pushbutton to blank the readout in
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· If you're the kind of person who is
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It's designed for the finest,
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Ask your dealer for a demonstration .
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Sherwood Electronic Laboratories,
4300 N. California Ave.,
~~~~~~~~~~~~~~~~ Chk~o,Ill.~618.
ERWOOD
SOUNDS EXPENSIVE
Check No. 77 on Reader Service Card
a mean harmonica, gigged around juke
. joints in the 1950's until they concluded
that to be heard over the din would require some electronic assistance.
Performance: A+
Sound: AThus, in this Arhoolie LP of 10 blues,
we have everything from _the plugged-in
basses of Gene Douzier and Clarence
Louisiana Blues
Prophet and what appears to be an
Musicians: Arthur "Guitar" Kelley,
echo chamber in "Lucky, Lucky Man"
vocals and guitar; Silas Hogan, vocal
to fade-outs, which occur in six of the
and guitar; Henry Gray, vocals and
10 tunes. Unfortunately, the quality of
piano; Moses "Whispering" Smith,
reproduction is not what it should be.
harp; Clarence Edwards, guitar;
ON NATIONALLY
The form is pure and simple a a b
Clarence Prophet, bass; Samuel
ADVERTISED
with the expected repetition and the
Hogan, drums; Roy Lee Sheppard,
recounting of hard times, vividly bold
guitar, and Gene Douzier, bass.
and purposefully exaggerated to shock
Songs: The Blues Won't Let Me Take My
as in "Rats and Roaches in My Kitchen,"
Rest; Lucky, Lucky Man; If I Ever Get •
a Silas Hogan original.
Back Home; Talk To Me, Baby; I Got
Here are the pure and natural blues,
a Funny Feeling ; Rats and Roaches in
bringing it all back home, wherein status
My Kitchen; Cold Chills; Hear That
WRITE FOR OUR QUOTE
symbols such as diamond rings and V-8
Rumbling; How Many More Years, and
All Merchandise Shipped
Fords abound. Subtle dialects spell out
On The Dark Road Crying .
Promptly Fully Insured From
the
message.
The
pronunciation
Arhoolie 1054, $5.98.
Our Warehouse.
indigenous to Baton Rouge and environs
Springing out of Louisiana farm
is gentle, rumbling, carried off with a
communities which skirt the marshes
twang - "rang" for "ring"; "susta" for
and swamps alongside "61 Highwa( of
''sister"; "kitchun" for "kitchen"; and
which Mississippi Fred McDowell smgs,
syllables that require four notes to be
is a country-bred type of blues with a
annunciated.
city flavor, a kind of blues come-to• Henry Gray growls into his notes
town. Bluesmen such as Henry Gray,
17 WARREN ST.
vocally, chasing them up the scale,
a
pianist
who
played
with
Howlin'
Wolf
NEW YORK, N.Y.10007
hissing the blues while accompanying
for some 12 years; Guitar Kelley, who
267-3670-1-2
himself on a barroom piano to end all
makes
his
recording
debut
in
this
album;
DEPT. A
barroom pianos. Gray attacks his
Silas Hogan, Clarence Edwards, and
instrument with sweeping glissandos,
Moses "Whispering" Smith who talks
Check No. 76 on Reader Service Card
runs, and repeated trills. Although his
voice is not picked up well at times he
Vinyl records and humidity serve as a complete life
takes us back to rhythm and blues with a
flair.
"On the Dark Road Crying" is our
favorite blues of the set and features
"Whispering" Smith vocally an~ on
harp, incisive and warbling w1th a
When you clean your records with Discwashern. you'll
tremolo, displaying excellent control.
see that it works so well that we don't have to dream up
This is essentially the only number in
weird probl~ms to solve. Point is ... damage caused by
which the musicians expand and
the enzymes that microbes produce is real!
improvise and they are together and
well rehearsed. However, the fade-out
is anticlimactic.
Guitar Kelley's full barrel-like tones
ate low keyed as is his approach but
he means what he says~that the "blues
ain't nothin' but a woman in love with
a married man." Kelley utters asides
as if to signal his fellow musicians .to
carry on and they do, with Gene DouZier
on bass like a train.
"Talk to Me Baby" is successful, delivered with no strain by Kelley who
executes octave leaps on guitar. If
there are too many syllables to fit the
picture, he simply omits one.
These more polished, mildly urbanized
blues do not project the range and depth
of feeling their precursors emoted and
are not as interesting in our view. However, they will make you nostalgic for
the rhythm and blues of the SO's.
Active fungal colony
Record surface permanently
cons1stmg of only piano, bass, and
guitar. Although this is beautifully
orchestrated, they can soar even higher!
Clas sifie d
Rates: 25¢ per word
pet insertion for noncommer cial advertiseme nts; 50¢
per word for commercial advertiseme nts. Frequency
discounts as follows: 2 times, less 15%; 6 times, less
20%; 12 times, less 30%. Closing date is the FIRST of
the second month preceding the date of issue. Payment must accompany all orders under $10.00. Use
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AUDI D, I NC.
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growing on a record.
cratered by enzyme attack.
Microbes such as these are found everywhere.
Discwasher protects your record investment. It
does a lot of other good things too. Just $12.95
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Performance:
78
B
Sound: C
SERVICES
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RENT STEREO TAPES $1 .50 week. Catalog
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LEARN Electronic Organ Servicing at _ home.
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TRADE STEREO TAPES. $1 .25 each postpaid . Minimum three : Tapetrade, Box 2181,
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NEED SOMETHING "SPECIAL"? Four channel power amplifiers, electronic crossover network,
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AUDIO • NOVEMBER 1971
www.americanradiohistory.com
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Catalog of Parts, Kits, Consoles & Accessories
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Middlesburg, Pa . 17842-(717) 83 7-1444.
FOR SALE
OVER 20 YEARS SUCCESSFUL DISCOUNTING
OF AUDIO EQUIPMENT insures best value and
service . Specialize in Stereo Components, Tape
Recorders, Cassettes , Magnetic Cartridges, Sleep
Learn Equipment, etc. LOW QUOTES, FREE
CATALOG. DR ESSNER, 1523A, Jericho Turnpike,
New Hyde Park, New York 11 04-0.
INFINITY AND
CROWN
SYSTEMS-AKG
microphones, UREI limiting, Fairchild equipment,
Rabco, more. Finest reproduction possible. Barclay ,
503 Haverford Ave., Narberth , Pa . (215)
M0-7-3048 .
FIRST BREAKTHROUGH IN RECORDING TAPE.
Originally made by America's leading tape manufacturer 2400' mylar, 7" reel, $2 .2g : 1SOO' mylar,
7 " reel, $1 .69: 1200' acetate , 7 " reel , $ . 79.
Write for quantity prices. AAE, 218 Columbia St .,
Utica, N.Y. 13502.
_R EK-0-KUT Turntables, Tonearms, and Replacement Parts are now available. Contact our Main
Plant at Rek-0-Kut, 1 568 North Sierra Vista ,
Fresno , Calif. Phone: (209) 251-4213 or our
Parent Company, CCA Electronics Corp ., 716
Jersey Avenue, Gloucester City, N.J. 08030 .
Phone : (609) 456-1716 .
KLIPSCH,
TANNOY,
BOZAK,
MARANTZ,
THORENS. RABCO. No discounting . Superior
Sound, 1801 Brewerton Rd . (Rt. 11) Syracuse,
N.Y. 13211 .
NAB HUB ADAPTERS-Fit Revox , Crown, TEAC,
Roberts. $3/pair postpaid. No C.O.D. Quantity
prices available . John Kountz, 1065 Van Dyke
Dr., Laguna Beach , Calif. 92651 .
INFINITY, Audio Research Corp . amplifiers,
SAE , Phase Linear , Quad , Decca . Controlled multi-directional dispersion; electrostatic, transmission-l ine Trans-static 1 speakers. Brochures
available , other components. Paul Heath, 81 Big
Tree St., Livonia, N.Y.
MODULES FOR ALL TYPES of applications.
Discrete to thick film IC devices. Pre-amplifiers
to power amplifiers. Complete kit and parts
catalog, 25¢ . PM Electronics lric ., Box 46204,
Seattle, Washington 98146.
STEREO TAPES, $4.9 5 postpaid . CAG , 3606
Nanton Place, Phila ., Pa . 19154.
PIONEER, Kenwood, Teac, .Sansui, Roberts,
Sony, other import gear, PX prices . Immediate
domestic delivery. Also bargains in guaranteed
used equipment . Audiofax Unlimited, Box 7961,
Atlanta, Georgia 30309 .
(Continued on page 80)
79
Classified
(Continued from page 79)
FOR SALE
OPERA TAPES-Records "live" performances,
broadcasts. Free Catalog, Hathaway, 49 Merbrook
Lane , Merion, Pa . 19066.
1000 WATTS RMS into 8 ohms at below 0.1
percent distortion, electronic power level display .
Switchable for either two or four channels of
amplification-the INTEGRAL SYSTEMS MODEL
1000 tor $1000. Write for details. Integral Systems
Corporation, Box 12, Winchester, Mass. 01890.
DIAMOND NEEDLES and Stereo Cartridges at
Discount prices for Shure, Pickering, Stanton,
Empire, Grado and ADC. Send for free catalog.
All merchandise brand new and factory sealed.
LYLE CARTRIDGES, Dept. A, P.O. Box 69,
Kensington Station, Brooklyn, New York 11 21 8.
RECORDING ENTHUSIASTS-IMPROVE RECORDINGS Inexpensive impedance converters
terminate microphones properly, while allowing
cable extensions to 500 feet without performance
deterioration.
Switchbox-handles-to
three
recorders, for dubbing, editing, and mixing.
WRITE: Aids to Recording, RUSSOUND/FMP,
Dept. 6, P.O. Box 476, Exeter, N.H. 03833.
ADVENT DOLBY NOISE REDUCTION UNITS.
$125.00 & $250.00. ALL ADVENT products
in stock. Also REVOX, CROWN, QUAD, STAX,
AUDIOCOUSTIC and many others. Professional
advice and booklet "Common Sense Guide to
Stereo" given free to all inquiries . Sound
Productions, Inc., Dept: A, 1412 W. State St.,
West Lafayette, Indiana 47906.
SAE TUNER, preamps, amplifiers, Infinity, Bose,
Revox, LWE, Rabco, B&O, Demonstration by
appointment only with John Vogt of Stereo
Exchange, Lynbrook, Long Island, NY. (516)
887-4444.
FLORIDA Discount prices on most major brands.
Full service facilities. Stereo Sounds, Inc., 3501
Biscayne Blvd .. M iaml. Fla. 3313 7 .
250 WATTS RMS into 8 ohms at below 0.1
percent distortion-the INTEGRAL SYSTEMS
MODEL 250 for $250. Write for details. Integral
Systems Corp., Box 12, Winchester, Mass. 01890.
AND
CLAVICHORDSHARPSICHORDS
New Flemish Harpsichord, curved bentside,
uncompromising classic construction and detail,
$295. Other kits from $100. Send for free brochure. Zuckermann Harpsichords Inc., Dept. A,
160 Sixth Avenue, New York 10013 .
RECORDING CONSOLE, Altec 9200 A series;
100% solid state, one year old, in service six
months. Ten input modules, four master modules,
one PanPot module, one monitor control module,
one talk back state module with mike, twenty-six
9740 A amplifiers, three 9550 A power supplies,
$10,500. Also available in factory sealed cartons,
ten additional input modules and eight 9740 A
amplifiers. Contact Claude Hill, Chief Engineer,
Glaser Sound Studio, 916 19th Avenue, South,
Nashville, Tennessee. Telephone (615) 327-0005.
PLAYBOY MAGAZINE. Some worth $100 to
$300 . For authentic list, giving market prices of
all old issues send $1 .00 to Ostfeld Publication
Research, Suite 1301, 29 E. Madison St., Chicago,
Ill. 60602
HI-FI
DISCOUNTS.
Free
catalog-Western
Electronics, 7121 Rich Ave., Newark, Calif . 94560 .
HI Fl FURNITURE? See Toujay designs at S.E.E.
70's High Fidelity exhibit. 443 Park Ave. S.,
N.Y.C. 10016, Tues . to Fri. 10-6, Sat . 10-4. Full
line brochure 25¢.
80
FOR SALE
FOR SALE
PSYCHEDELIC LIGHT Box Kits~From $ 5.00!
CarrCraft, Dept. 150, P.O. Box 1165, Yucaipa,
Calif . 92399 .
BUY IRISH TAPE at discount prices, get Free
leaders trailers. Write for catalog and order form.
Also ask for pre-recorded specials. Direct Mail
Cassette Corp., Box 71, Plainview, N.Y. 11803.
STEREO CORNER will sell most major Audio
Products at 20% off the advertised list priceFreight pre-paid . Send order with check to:
Stereo Corner, 339 Park Ave. So ., Winter Park,
Fla . 32789. Check will be refunded by return
mail if we are unable to fill order .
INSTANT QUOTATION KIT New! Easy! Lowest
prices possible, to 40%! Preaddressed selfadhesive labels list . 30 outstanding discounters.
$2.00 Use your postcards? Or, our Quotation
Requestforms. $1.50 . Unusual Gifts, Box 5357A,
Trenton, N.J. 08638.
1905 EDISON CYLINDER PHONOGRAPH,
excellent
condition.
Includes 25
cylinders .
$450.00. (703) 868-6480.
REVOX A77 DECK $410 new, sealed. AR AMP
$195, new; Freight prepaid used Mcintosh MX11 0
& MC240, mint. $395.00 . Custom craft Sound,
202 W . : Fayette St ., Baltimore, Md. 21201
(301} 727~1134.
PRESTO 6N Disc Cutting System with amp,
equalizer, console, manuaL all accessories $550 .
R. Hertzler, Route 4, Box 298, Charlottesville,
Va. 22901.
; SCOTCH MAGNETIC TAPE, discount. Box 167A,
Orwigsburg, Pa.
TV & RADIO TUBES 36¢ EA. Free 48 page
Color Catalog. Cornell 4215 A University, San
Diego, California 92105.
MCINTOSH 2505 VERSUS MARANTZ 32,
Citation Twelve, and Dynaco Stereo 120. The
winner? Send $ 1 today for test report, refundable
with $7.50 yearly subscription . THE HI-FI
NEWSLETIER, Box 593, Hialeah, Fla . 33011.
OPERA TAPES-Great performances of past
35 years. Free catalog. Ed Rosen, P.O. Box 97,
Freeport, N .Y . 11520.
STEREO HI-FI SALE. Nationally advertised
amplifiers, tuners, speakers, tape decks, etc.
Discounting to 40% since 1959. Arkay NationaL
1028-05 Commonwealth, Boston, Mass. 02215.
BRAUN, Germany's finest in speakers, tape
decks, turntables. Catalog and dealer list 25¢. ADS,
·
P.O . Box 293, Huntsville, Ala. 35804 .
QUAD tor the closest approach to the original
sound. Audio equipment for the serious music
listener. For details write Audio Imports, 5557
Versaille Drive, Indianapolis, Indiana 46227.
PROTECT YOUR RECORDS. Cardboard replacement covers, plastic lined sleeves, 78 and
45 heavy sleeves, hinged record set boxes, 12",
1 0", 7" . Cabco A-2, 89 East Woodruff, Columbus,
Ohio 43201.
BARCUS-BERRY, piano transducers now available to the recording studio, the professional
musician and the serious student. Make piano
recordings of the finest quality on location, at
home, or in the studio. Acoustics no problem.
These piano sensors are being enthusiastically
accepted by the professional recording studios
and musicians everywhere , This piano pick-up
system is a must for the pro. Write for our product
information bulletin. Cath-Mar Recording Service,
17113 Cambridge, Allen Park, Mich. 48101.
Phone (313} 2 78-2278.
AUDIO RESEARCH components and speaker
system; also Infinity Systems, Revox, and Thorens.
D S Audio, 410 East Evergreen Road, Lebanon,
Penna. 17042. (717} 273-6314.
------------------
GOLDEN AGE RADIO-Your best source for
radio tapes . Box 8404-D, Olivette, Missouri 63132 .
DO-IT-YOURSELF.
PROFESSIONAL
ELECTRONICS PROJECTS-$1 .00 up. Catalog 25¢.
PARKS, Box 25665E, Seattle, Wash. 98125.
EXCITING LISTENING! Police,
calls on your broadcast radio,
Crystals, receivers, Scanners,
Company , Woodsboro 50, Texas
Fire, Emergency
$19.95 up. Also
dualband . Saleh
78393.
BASF RECORDING TAPE ... prerecorded stereo
tapes, postpaid. Stereotone-Tapes, Box 657,
Sterling, Illinois 61081.
SCOTCH RECORDING TAPE, lowest prices .
TAPE CENTER, Box 4305B, Washington, D .C.
20012 .
B&W 70CA, PHASE LINEAR, THE WORLDS
FINEST SPEAKER AMPLIFIER COMBINATION,
JVC 5011 super preamp, Transcriptor, EPI Tower,
Quad.
Electrostatic · specialists. Finest,
best
equipped laboratory in the · country. Formerly
supplying to professionals only . Now you can
benefit from the unique services of THE AUDIO LAB,
146 French St., New Brunswick, N.J. 08901
(201) 249-9191.
CONCORD DOLBY CASSETTE deck with
Endmatic $ 250.00; Concord Dolby Tape Adapter
just $125 .00; Concord Mark Ill tape deck with
three pressure-sintered ferrite heads $21 0.00;
AUAICORD Professional extended range metal
cassette tape -(60) modestly priced at $4 .35
or two for $8.50 prepaid . OTARI super professional
tape decks unbelievably superb. Decca cartridges
still the best and in stock. BLOW electrostatic
full range Swiss handmade ear loudspeakers
$175 .00 complete. IMF State-of-the-art Studio
loudspeakers in stock. Sheffield direct to master
disc stereophonic beautiful recording $7.50 postpaid . Contrast recording "Sounds in Contrast"
excellent $5.95 prepaid. Following equipment
mint condition: Dyna PAS-3X factory wired preamp
$65.00; Ortofon tonearm $50 .00; two Acrosound
Ultra Linear amplifiers-collectors' items superb
the pair $95.00; Koss PR0-4A stereophones
$30.00 prepaid; Grado Laboratory turntable with
ESL
tonearm
$95.00.
Audiocraft,
South
Rockwood, Michigan 481 79. Telephone evenings
(313) .379-9945.
WORLD'S FINEST SPEAKERS-on demonstration-Audio Research 4'X6' panels, Infinity SS1
(improved version), 8 Quad system, B&W 70's,
trans-static speakers, inquiries invited.
Paul
Heath, 81 Big Tree St., Livonia, N.Y. 14487,
(716} 346-5630.
MARANTZ lOB Tuner as new,
81 Big Tree St., Livonia, N.Y.
Paul
Heath,
JBL HARTSFIELDS (2); Walnut. $1500.00
or best offer. Exec. condition. Bob Berthiaume,
16371 Oleander, Los Gatos, Calif. 95030.
RECORDING TAPE 2400' reel $15 .00 dozen,
1800' reel $12.00 dozen , 1200' reel $9 .00
dozen. Postpaid guaranteed. Mitchell, Box 444A,
Flushing, N.Y. 11367 .
MAGNECORD 1 028-24-4th head, case, factory
overhaul including new heads, Jan. 1971. Home
used only. lnspectograph on request. $750.00.
JBL D-130 signature drivers-the pair $95.00or
FREE with purchase of 1028. T.D. Tyson, P.O .
Box 5552, High Point, N.C. 27262.
METROPOLITAN OPERA POSTERS, Old Classics,
Caruso, Toscanini, free brochure . Fiesta Arts,
Inc., Greenvale, New York 11548.
RUBBER STAMPS. One line $1 .00. Each
additional line 50¢. Good quality. Prompt service.
MOYERS, 3037 Montrose, Chicago, Ill. 60618 .
FOR SALE
FOR SALE
STEREOS
AM-FM HEATH TUNERS, preamp 1 00 w. pwr.
amp. mono. E.V. Patrician speaker system, custom
mahogany enclosure. John C. Fister, 14g Awixa
Ave ., Bay Shore, N.Y. 11706.
NEW MciNTOSH MX 112 $545 .00 and 2505
amp $450.00 w/cases ., Long, 9 Newcroft Cir.
Mattapan, Mass. 02126.
Automatic Radio, Blaupunkt, Boman Auto
radios-Tape players Dual, Garrard, PE Record
Changers, Sony Superscope, Roberts Norelco,
Craig Tape recorders. Bogen, Grundig, Telefunken.
Shure, Pickering, Grado, Cartridges. Auto and
Home Accessories Unbeatable prices Write:
MAiilTY'S , 2414 University Blvd. West, Wheaton,
Maryland 20902.
REVOX A77, $475; Advent 100 N. R.V. and
case, $200; Sony PS 1800A turntable, $140; used
three months; also Marantz 20 tuner, $425 . Need
school money. P.O. Box 54, Fayetteville, Ark .
72'701 (501) 521-3621
LIMITED EDITION! Unusual Collectors item
from the roughest pioneer town in Kansas ... Newton's Centennial record album . . sound effects,
music, and clever narrative ... $5.00 postpaid . . .
Send to SRS Studios, Newton, Kansas 67114.
AMPEX PR-10 TRANSPORT w/o electronics,
half track, 7Y2 15 IPS, $150 . Tektronic 531A
scope with G plug in, $325.00. Late S/N Marantz
1 OB tuner, best offer. Dick Thomas, P.O. Box
5368, Las Vegas, Nevada (702} 648-6622.
DELETED L.P.'s All labels, All artists, Send
wants, Vincent Scaparro, 904 Allerton Ave.,
Bronx, N.Y. 1 0469 .
HARTLEY CONCERTMASTER VI speakers with
24 inch high power woofer. $1000.00 for pair.
Joseph P. Sammut, '432 Chestnut Avenue, San
Bruno, California 94066.
LEARN TO READ MUSIC in one evening! Amazing
new book shows how, only $3.00 Money-back
guarantee. Circle D Gifts, 3901 Oaklawn Rd.,
Oxon Hill, Md. 20022.
DISCOUNTS, HIGH FIDELITY WHOLESALERS
SERVING THE ENTIRE WEST WITH QUALITY
BRANDS, LOWEST PRICES & SHIPPING COSTS,
FASTEST SERVICE. GET OUR LOW QUOTE!
REDWOOD STEREO COMPANY, P. 0. BOX 2794;
SAN RAFAEL. CALIF . 94902. (415} 456-3050.
CUSTOM HI-FI a $300.00 equip. enclosure for
the custom hi-fi man that will cost less than $30.00.
Send only $2 .00 now for your guaranteed instructions-A . Marano, P.O. Box 197 Brooklyn, N.Y.
11237.
BUY DIRECT FROM ENGLAND'S HI-FI MAIL
ORDER SPECIALIST! Save on SME, lak, Acoustical. Goldring, Decca, Bowers & Wilkins, Thorens,
Tandberg, Revox, G·old Speakers, Garrard, BSR,
Dual, Lowther, Wharfedale, KEF, Celestion,
Transcriptors, Radford, etc. Insured shipping
quotes free or send $2 bills for catalog($ 3 airpost).
Goodwin Ltd. 7 Broadway, Wood Green, London
N22. Visitors welcome to showrooms.
GUARANTEED USED EQUIPMENT: Revox A771104 $400. Heath AR 15 receiver $325. AR
amplifier $165. AA 1W $65 each . Dual 1219 with
base and cartridge $135. Dual 1019 with base
and cartridge $90 Har-Kar, Citation A preamp
$95. Tandberg 64X like new $250. Tandberg 12E
recorder $195 each. Marantz 15 basic amp $195.
Mattes model SSP 200 amplifier $195. Mcintosh
C24 preamp $180. Crown SX 724 $600.
Marantz 30 $375. Teac 4010S $210. Akai 355D
$250. Marantz 20 tuner $450. BO 2000 tape
recorder$ 225. Citation B amplifier $120 . Dynaco
ST70 amp $65. Acoustech Ill amp $140. Audio
Consultants 517 Davis Street, Evanston, Illinois
60201 (312} 864-9565
LOUDSPEAKER KITS, complete or cabinet
only, original and published designs. Amplifier
kits. Factory direct at great savings. Catalog
25¢. R.C.S. Co, P.O. Box30312, Santa Barbara,
Calif. 93105.
CASSETTES-Unique titles including old time
radio, educational, language . Send 1 OC for
new 1 6-page 1972 catalog covering 8-track and
cassette blanks plus hard-to-find accessories .
Cassettes Unlimited, P. 0. Box 1 311 9A, Pittsburgh,
Pennsylvania 15243.
AUDIO • NOVEMBER 1971
www.americanradiohistory.com
QUAD for the closest approach to the original
sound. Audio equipment for the serious m~sic
listener. For details write Audio Imports, 5557
Versaille Drive, Indianapolis, Indiana 46227 .
PROFESSIONAL MICROPHONES FOR SALE:
Two AKG C12A's $260.00 each, four AKG D12's
$55.00 each, two Altec M30 ' s $150 .00 each .
Ampex MX10 professional mixer $200.00 All
in mint condition. Pvt . Larry Dupon, 2704 W.
Argyle, Chicago : Ill. 60625 (312} 728- 9625 .
MARANTZ
7T,
$195.00.
Tandberg
64X,
$ 22 5. 00, both excellent condition . N. McCoy,
# 5, Adams Court, Mt. Vernon, Ill. 62864 .
ARMY GOT ME! SonyTA2000 Preamp, $ 225.00;
Sony ST5000F Tuner, $285.00; Sony TA3200F
Amplifier, $250.00. All two months old, spotless .
Fisher Model 202-R AM-FM Tuner, cost $349.50
and matches the finest today, $75 .00. Lowrey
TLO-K organ three months old, perfect, cost
$2190.00, sell $1595.00. Alois Osti, Greenwich,
N .J . 08323.
4-CHANNEL SOUND FOR UNDER $10.00.
Newly developed matrix adapter enables you to
electronically separate any standard 2-channel
record, tape or FM broadcast into four channels
using your present stereo amplifier or receiver.
No electronic experience needed. For completely
illustrated plans and parts list send $3.00 to
Techni-Sketch #4, P.O . Box 1151, Sun Valley,
Calif. 91352.
WIRED, SELF-POWERED background music
adaptor to use with your present FM-$25.00.
Thieves Warehouse, P.O . Box 8057, Pensacola,
Florida 32505.
STEREO COMPONENTS
STEREO COMPONENTS. LOWEST DISCOUNT
PRICES! Trade Ins. Send $1.00 for our discount
catalogue . Defa Electronics Corp., 2207 Broadway
Between 78 & 79 Sts. New York City, N .Y.,
10024. Or call (212) 874-0900 .
HELP WANTED
Serious recordists to make records for five
companies. We train, equip and provide protected
franchised territories . Modest investment required.
Send resume to Mr. Bloch, 418 N. Main St..
Englewood, Ohio 45322 .
----------------------
W A NT TO LI VE I N ISRAEL?
Rapidly expanding design, manufacturing and
sales company specializing in Audio, High Fidelity,
Commerical and Military Sound Systems requires
experienced, mature professionals in all of the
above fields. For full details send complete
resume or contact L. Feldman, 97 Oxford Blvd.,
Great Neck, N .Y. 11023 (516} 482-5629 .
GOVERNMENT SURPLUS
JEEPS Typically From $53.90 . . Trucks From
$78.40 . . . Boats, Typewriters, Knives, Airplanes,
Clothing, Multimeters, Oscilloscopes, Transceivers,
Photographic,
Electronics
Equipment.
Wide
Variety, Condition. 100.000 Bid Bargains Direct
From Government Nationwide. Complete Sales
Directory and Surplus Categories Catalog $ 1.00
(Deductible On Orders From Separate Included
Catalog) .
Surplus
Service,
Box
820-AUD,
Holland, Michigan 49423.
COMPLETE LIST OF PRICES
FOR: top manufacturers of stereo equipment.
Send $1 .00 for catalog, or write for quotations on
all major brands of stereos.
COMPONENT CENTER
465 High St.,
Morgantown, West Virginia 26505
RECORDS
SHOW
ALBUMS-Rare,
Out-of-Print
LP's.
Free large list. Broadway I Hollywood Recordings,
' Dept. A, Georgetown, Connecticut 06829.
OLDIES-45 RPM. Original hits. Catalog 50¢.
C & S Record Sales, Box 197, Wampsville, N.Y.
13163.
CATALOGS
Broadcasts,
soundtracks,
Personalities of Thirties, Forties, Box 225, New York,
N.Y. 10028.
OLDIES-45 RPM original labels and represses over 5.000 from personal collection for
sale. Reasonable prices . Try me for the ones
you've given up hope in finding. Call or write,
Robert Fenster, 1503 Ave. J, Brooklyn, N.Y.
(212) 258-5121.
HARD to find show and soundtrack LP's. List
10¢. Music Minstrel, P.O. Box 15271, New
Orleans, La. 70115.
NATURE RECORDS. Ecology oriented Christmas
gifts. Learn and enjoy the songs of birds, frogs,
and insects with your family. Free catalog .
Cornell Ornithology Lab ., 1 59 Sapsucker Woods
Road, Ithaca, New York 14850.
RADIO PROGRAMS
RADIO RERUNS. Complete broadcasts of old
favorites. Catalog free . Box 724, Redmond, Wash.
98052.
MOST AMAZING SHOW ever produced for
Radio, Ken Nordine, narrator and network cast.
Complete series on 19 Cassettes Volume 1
ready NOW! Subsequent releases, one per month.
$3.98 each postpaid. Money back guarantee.
"Incredible, But True!", Sawyer, Michigan 49125. ·
OLD RADIO PROGRAMS at low prices yet
a large selection. Catalog 50C The Best of Radio,
P.O . Box 1692, F.D.R. Sta., New York, N.Y.
10022.
OLD RADIO programs catalogue 25¢. Steve
Monaco, 1306 Park Ave., Des Moines, Iowa
50315 .
OLD RADIO PROGRAMS. Catalog
(refundable}. The Radio Vault,
Box
Wyoming, Michigan 49509.
$1.00
9032,
OLD RADIO PROGRAMS on Cassettes or Reels
high quality, low prices thousands of your
favorites live again, priced as low as $8.00
for 6 hours, Catalog 50¢. Remember Radio Inc.
Box 2513 Norman, Okla. 73069
(Continued on page 82)
81
READER INQUIRY CARD
NOVEMBER 1971 ISSUE
THIS CARD EXPIRES JANUARY 31
Classified
Advertisin g
Index
(Continued from page 81)
EQUIPMENT WANTED
TEAC Corporation of America Erath models
LWE-1 and LWE-Vl speaker systems. Heathkit AJ-1 5 Deluxe stereo tuner. John Barrett,
P.O . Box 207, Immokalee, Fla. -3 3934 .
CASH FOR YOUR unwanted LP's and prerecorded tapes. Record ·House, Hillburn, New
York 10931.
WANTED: JBL Hartsfield components Dr. T. K.
Wirtel, ETSU Music Dept . Commerce, Texas
75428.
USED PROFESSIONAL 4 channel (W' tape)
recorder (Ampex , Scully, 3M , etc.) Adams, 302-C,
Havre des lies, Chomedey, Montreal, Que.
TAPE RECORDINGS
RENT 4-TRACK open r.eel tapes-all major
labels. 3,000 different. Free brochure . StereoParti, 55 St. James Drive , Santa Rosa , Cal. 95401.
AUDIO IS A
WELCOME
CHRISTMAS
GIFTf
a subscription to a friend or
relative for a year-long remembrance. A beautifully-engraved gift
card in your name will be sent before Audio is mailed.
Special Gift Rates :
1st Order (can be your
renewal)
. .. $5.00
Each additional order .....
STATEMENT OF OWNERSHIP, MANAGEMENT AND
CIRCULATION , Act of October 23 , 1962; Section 4369 .
Title 39 , United States Code.
1. Date of Filing, Sept. 24, 1 971; 2. Title of Publication.
AUDIO; 3 . Frequency of Issue, Monthly; 4 . Location of
Known Office of Publication , 1 34 N. 13th Street.
Philadelph ia, Penna 1 g1 07; 5. Location of the Headquarters or General Business Off ices of the Publi shers. 134
N. 1 3th Street. Philade lph ia, Penn a. 1 91 07 .
6 . Names and Addresses of Publisher , Editor, and
Managing Editor : Pub lisher, Jay L. Butler, 134 N . 13th
Street, Philadelphia , Penna . 1g1 07; Editor, George W .
Tillett, 134 N. 13th Street, Philadelphia, Penna . 191 07;
Managing Editor, none .
7. Owner, North American Publishing Company. 1 34
N . 13th Street , Philadelphia , Penna . 1 g1 07 . I . J . Borowsky,
1 34 N. 13th Street, Philadelphia , Penna . 1 g1 07 .
8. Known Bondholde rs, Mortgagees, and Other Security
Holders Owning or Holding 1 Percent or More of Total
Amount of Bonds, Mortgages or Other Securities : None.
g, Paragraphs 7 and 8 include. in cases where the
stockholder or security holder appears upon the books
of the company as trustee or in any other f iduciary relation,
the name of the person or corporation tor whom such
trustee is acting , also the statements in the two paragraphs
show the affiant's fu ll knowledge and belief as to the
circumstances and conditions under which stockholders and
security holders who do not appear upon t he books of
the company as trustees. hold stock and securities in a
capactty other than that of a bona-fide owner. Names and
addresses of individuals who are stockholders of a corporation which itself is a stockholder or holder of bonds.
mortgages, or other secur ities of the publishing corporation
have been included tn paragraphs 7 and 8 when the
interests of such individuals are equivalent to 1 percent
or more of the total amount of the stock or securities of
the publishing corporation.
10. This item must be completed for all publications
except those which do not carry advertising other than
the publisher' s own and which are named in Sections
132 , 231 , 132.232 an d 132 ,2 33 , Postal Manual (Sections
4355a . 4355b, and 4356 of T itle 3g_ United States Code)
Average no . Single issue
nearest to
copies each
issue during filing date
preceeding
12 months
go,400
88 , 860
Total no . copies printed
(Net Press Run)
B. Paid circulation
1 . Sales through dealers and
carriers, street vendors
and counter sales
2 . Mail Subscri ptions
C. Total paid circulation
D. Free Distribution by Mail ,
Carrier or other mean s
1 . Samples, complimentary,
and other free copies
2 . Cop ies distributed to news
agents. but not sold
Total distribution
(Sum of C and D)
Office use. left-over
unaccounted , sp,oiled
after printing
G. Total (Sum of E and Fshould equal net press run
shown in A)
A.
12,351
64,329
76 , 680
12,977
65 , 620
78,5g7
1,182
1,230
g_554
9 , 563
87.4 1 6
89 , 390
1,444
1 .010
88 . 860
90 .400
I certify that the statements made by me above are correct
and complete .
JAY L. BUTLER . Publishe r
82
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I am a:
1 0
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Home Recordist
Professional Recordist
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50
60
Audio Service Technician
Audio Manufacturer or Dealer
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0
0
11
12
13
14
1 have purchased the following equipment after seeing it advertised
#A B
#A B
#
31
32
33
46
47
48
49
50
51
52
53
54
55
61
62
63
64
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67
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69
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45
29
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15
Age - - - - -
A B
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22
23
24
25
26
27
28
10
Technical articles 0 Articles for beginners
Construction projects 0 Articles on music
Music reviews : 0 Classical 0 Jazz 0 Rock
Other
0
1 buy an average of ____ records a year.
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16
17
9
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I would like to see more :
on the subject up to date.
1
2
3
4
5
6
7
8
City ________________ State _______ Zip _____
Are you a subscriber to AUDIO Magazine?
~
#A B
Office
0 Residence
'. 47
Acoustic Research, Inc.
.. 62
Allied Radio Shack . . .
39,73
Ampex Corp . .. .. . . .
71
Audio Dynamics Corp.
75
Audio Sales
70
Audionics .. .. .
59
Bose Corp. . . . .
75
Boston Audio Co.
29
Bozak Mfg. Co., R. T.
3,15
British Industries Corp.
79
Classified Advertising .
.7
Concord Div., Benjamin.
78
Discwasher, Inc. . ...
78
Downtown Audio, Inc.
37
Dynaco, Inc. . .
61
Eastman Sound .
Elpa Marketing
. Cover III
Industries, Inc.
' 53
Fairfax Industries, Inc.
. 62
Finney Co. . . . . . . .
3,15
..
Garrard turntables
62
Guild Music Industries .
51
Harman-Kardon, Inc.
19
Heath Co. . . .... .. .
KLH Research
9
& Development Corp. . . . . . . .
Kenwood Electronics Corp. . . . . . 67
57
Lafayette Radio Electronics Corp.
. . .... · 13
3M Company. .
Marantz Co. . . . . . . . . . 27,Cover IV
61
Martin speakers . . . . . .
. .. 5
Matsushita Electric Corp.
. . 32
Maximus Sound . . . . . .
60,68
Metrotec Industries, Inc. .
. . 60
Mcintosh Laboratory, Inc.
. Cover III
PE turntables . . . .
.5
Panasonic . . . . . .
49
Pioneer Electronics
68
RCA . . . . . . . .
63
Rabco turntables .
45
Revox Corp. . . . .
41
Sansui Electronics .
69
Schwann, Inc. . . .
Cover II
Scott, Inc., H. H. . .
70
Sennheiser Electronics Corp.
.2
Sharpe Audio Div,, Sintrex .
. . . . . . . . . 77
Sherwood
43
Shure Bros., Inc. . . . . .
23,24
Sony Corp. of America .
31,35'
- Sony/~~pe~scope, Inc. _.
17
Stanton Magnetics . . .
14
Superex Electronics Corp. .
.1
TDK Electronics, Inc. . .
21
TEAC Corp. of America . .
Thorens turntables . . . . . . Cover III
36
Toyo Radio Co. of America, Inc.
33
United Audio Corp.
52
Utah Electronics .
55
V-M Corp.
Use this FREE Post Paid Card for more facts
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56
57
58
59
60
70
71
72
73
74
75
A B
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#A B
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#A B
A B
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~-
My Comments On This Issue ____________
in AU D 10 Magazine. ---------------------------- -------
I am planning to purchase the following equipment in the next year.
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www.americanradiohistory.com
·Midc:lle-of-the-roa~ sterf20 people
· are missing·the·fun of Marantz.
BLAH PEOPLE. Middle-of-the-road people who only listen
to the midrange because their power amplifier DISTORTS the
high and low frequencies. Because their 250 watt amplifier
is really only 250 watts right in the middle. Because that's
where it's measured SMACK DAB IN THE MIDDLE! So when
the power drops off on either side they miss the BOOM, KA
BOOM of a bass and the crisp swissshh of the wire brushes.
Uncompromising music lover~ Professional sound engineer. The Marantz 250 amplifier working in any system delivers continuous power at the critical EXTREME frequencies.
EXTREME right. EXTREME left. EXTREME high. EXTREME
low. Pure sounds. Total reality. Your kind of stereo.
Priced at $495, the Marantz 250 professional power amplifier is o-n1y""'one of a brilliant line of components, receivers
Now take the Marantz amplifier Mode!~l~:;~~~=======!~~a~nd speakers from the makers of the world's
250. Marantz says it delivers 2·s o watts
most expensive stereo equipment. lnRM S. That's 250 watts total RMS CONeluding a $139 console amplifier.
Tl N UOUS power. Over the whole
Visit your Marantz dealer and listen
to our line. Marar:-ttz stereo at any price
powerpushin' listening range. Right
through from 20 Hz to 20,000 kHz with
is damn well worth it.
total harmonic and intermodulation
---~:.e~---•z ®
distortion at less than 0.1%! Fantastic!
We sound better.
i
Check No. 43 on Reader Service Card
~ Marantz Co., Inc., P.O . BoK 99C, Sun Valley, Calif. 91352 . Marantz S.A., 40 ,-Aue de Chatelain, 1050 Brussels. In Canada: Electrohome, Ltd. Send for free catalog.
www.americanradiohistory.com
·Micldle:of;the-roa~ ster'o people
are m1ss1ng the fun of Marantz.
Middle-of-the-road stereo people
are missing the fun of Marantz.
BLAH PEOPLE. Middle-of-the-road people who only listen
Uncompromising music lover.
loveL Professional sound engito the midrange because their power amplifier DISTORTS the neer. The Marantz 250 amplifier working in any system dehigh and low frequencies. Because their 250 watt amplifier
livers continuous power at the critical EXTREME frequencies.
frequencies.
is really only 250 watts right in the middle. Because that's
EXTREME right. EXTREME left. EXTREME high. EXTREME
where it's measured SMACK DAB IN THE MIDDLE! So when
low. Pure sounds. Total reality.
real ity. Your kind of stereo.
the power drops off on either side they miss the BOOM, KA
Priced at $495, the Marantz 250 professional power amBOOM of a bass and the crisp swissshh of the wire brushes.
brushes.
plifier is offlyTDne
only 'one of a brilliant line of components, receivers
Now take
and speakers
Now
take the
the Marantz
Marantz amplifier
amplifier Model
Mode~~~~~~!!!!::!=::I:!E~
and
speakers from
from the
the makers
makers of
of the
the world's
world's
2.5 0 watts i
250. Marantz says it delivers 250
most expensive stereo equipment. Inln_RM
S. That's 250 watts total RMS CONRMS.
cluding a $139 console amplifier.
eluding
TIN
UOUS power. Over the whole
who le
TINUOUS
Visit your Marantz dealer and listen
powerpushin' listening range. Right
to our line. Marantz
Marar:1tz stereo at any price
throu
gh from 20 Hz to 20,000 kHz with
through
is damn well worth it.
total harmonic and intermodulation
----~:.-4iiJa_--.-~ ®
distortion at less than 0.1%! Fantastic!
We sound better.
Check
Check No.
No. 43
43 on
on Reader
Reader Service
Service Card
Card
C> Marantz Co..
Co., Inc.,
Inc., P.O.
P.O . Box
©Marantz
Box 99C,
99C, Sun
Sun Valley.
Valley, Calif.
Calif. 91352.
91352 . Marantz
Marantz S.A„
S .A .. 40,
40, Rue
Rue de
de Chatelain.1050
Chatelain ,1 050 Brussels.
Brussels. In
In Canada;
Canada: Eleclrohome,
Electrohome. Ltd.
Ltd . Send
Send for
for free
free catalog.
catalog .
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