MAY/1 965 - American Radio History
10 reasons you can roudly recommend
Stereo Compact to
With advanced solid state miniaturization,
Scott engineers have achieved a
de force in home entertainment value
... the Scott Stereo Compact. It's a real beauty, it sounds great, and it's a tremendous buy. See it, hear it, and you'll recommend the Scott Stereo Compact enthusiastically.
But here's advance warning resist this little jewel yourself.
you may not be able to
Optional drop -in
FM stereo tuner, $129.95.
even more information, write: H. H. Scott,
Powdermill Road, Maynard, Mass.
Wide Range Speaker
Systems, with separate woofers and tweeters and superb Scott cross- over networks, assures perfect reproduction, from thunderous bass to the highest shim- mering overtones.
Amplifier uses advanc- ed design techniques for flexible, distortion
- free performance.
Cover provides protec- tion for your records, enhances the Stereo
Compact's smart con- temporary appearance.
Turn- table, chosen by
Scott engineers for reliabil- ity and convenience, lets you enjoy many hours of continuous music; manual opera- tion, if you desire.
Magnetic Cartridge, with precision diamond
. sty- lus, prolongs the life of treasured records, brings out every subtle musical detail.
Space for drop -in
Superb solid state Scott tuner pulls in even the weakest
FM signals with amazing
Name as- sures you that this quality home music system is backed by the company which prides itself on leader- ship in every aspect of high fidelity perform- ance.
Full Complement of
Controls includes sep- arate bass and treble controls for both chan- nels, ing exclusive balanc-
and switched headphone output for completely private stereo listening.
Superb Cabinetry constructed of select oiled walnut, to please a wife, to grace a fine home.
Guarantee, identical to that on
Scott's finest separate stereo compo- nents, plus Scott's con- tinuing interest in your complete satisfaction, assures you of years of trouble -free enjoyment.
H. H. SCOTT,
MASS. slightly higher west of Rockies. Prices and specifications subject to change without notice.
Export Scott International,
Maynard, Mass. Cable HIFI. Prices
Circle 100 on Reader Service Card
West Touhy Ave.,
25, 2- chome, Shiba Hama- matsu
Minato -ku, Tokyo,
Portable Console for Broadcast or
Audio Cables 30
Record Revue 38
Scott Model 260
-State Amplifier 32
Bogen Turntable 34
-State FM- Stereo Receiver 44
May, 1965 Vol. 49, No. 5
EDWARD TATNALL CANBY
Joseph Giovanelli Audioclinic
New Products 40
InZide AUDÌO 42
Advertising Index 56
Edward Tatnall Canby
AUDIO (title registered
Off.) is published monthly by
Radio Maga- zines, Inc., Henry
A. Schober, and Editorial
McProud, Secretary. Executive
Front St.. Mineola,
N. Y. Subscription rates
Possessions, Canada, and Mexico, $5.00 for other countries
Blanchard Press Inc., Garden City,
N.T. one copies
$9.00 for two years; all
Printed rights reserved. in U.S.A. at
Entire contents copyrighted 1965 by
Mineola, N.Y. and
Inc. Second Class postage paid at additional mailing offices.
RADIO MAGAZINES, INC.,
P. O. Box 629, MINEOLA,
Postmaster: Send Form
3579 to AUDIO,
P. O. Box 629, Mineola, N.
21 in a series by of discussions
Electro -Voice engineers
Despite the relative newness of many design parameters for the technology, transistorized high fidelity and amplifiers have become relatively stable
Unfortunately, these so- called standard circuits too often tend to represent the extremes in design philosophy without regard for the usable benefits to the consumer.
To follow proven either a high
-cost exceeds techniques may well result in
"ultimate" approach that vastly the needs of home music systems, or in a low -cost below approach that performs significantly the capabilities of present
-day tube -type units.
In an effort to provide optimum quality to useful benefits to the user it necessary and desirable to depart in several essential ways from in
-Electro and true"
-Voice circuit found design its new line of high -fidelity amplifiers and receivers.
For instance, a complementary emitter -follower driver stage is employed in the
E -V 66 amplifier.
Since resulting idling current is extremely low, and current is drawn only in proportion to the signal, heat generation is extremely low. Even more is important the reduced danger of burning out the power stages due to to the non -technical user, however, momentary shorts or overloads. This circuitry has made possible the use of slo -blo fuses which provide full protection, but reduce the need for frequent fuse changing when accidental over- loads or shorts occur.
Another distinguishing characteristic of the driver circuit of these new amplifiers is its hexifilarwound transformer. The winding is carefully designed to reduce leakage inductance, and the extended high frequency response of these amplifiers is a direct result of the performance of this critical com- ponent.
A unique tone control circuit also distinguishes the
66 amplifier. Variation in volume control settings change the source impedance feeding the tone control circuitry. No effect on response can be noted when the amplifier is set for
"flat" oper- ation. However, as tone controls are advanced and volume lowered, the permissible amount of tone control action is increased. Thus, advanced set- tings of the tone controls (often essential at low levels ing for realistic reproduction) are automatically reduced as volume is increased. Ease of maintain- uniform response at every level is increased, with automatic safeguards against excessive equal- ization at high levels. More than adequate tone compensation is available at every volume.
Innovation in design requires, as a corollary, a thorough testing program. The testing of the
66 can only be described as abusive. Despite un- usual extremes of cessive heat, physical violence and ex- electrical demands on input and output cir- cuits, the designs were proved exceptionally stable.
This stability, in turn, benefits the high fidelity enthusiast directly, by assuring optimum perform- ance despite less than perfect ambient conditions.
It also serves to reduce the incidence of repairs and maintenance required to an absolute minimum.
For technical data on any
-V product, write:
ELECTRO- VOICE, INC.,
Cecil St., Buchanan, Michigan
Circle 104 on
Reader Service Card
Calculus Made Difficult.
Butterly. Most en- gineers find calculus difficult,
for making it impossible.
Tapes Long- Lived?
expert and pioneer
aim at this controversial and dif- ficult topic. Many miscon- ceptions are thoroughly exploded.
Cohen. Rever- sible sound systems
the speakers to
be both speaker and microphone.
KLH Stereo Amplifier
Altec 604E Speaker
On the newsstands, at your favorite audio dealer's, or in your own mailbox
Send questions to:
Brooklyn, N. Y.
Include stamped, self- addressed envelope.
Vertical and Lateral
Q. All available arms and cartridges are intended for stereophonic use, yet many of us still use monophonic discs.
In order to play both mono and stereo records, cartridge manufacturers recom- mend that the coils in the stereo cart- ridge be paralleled.
I wonder whether this arrangement is proper. I made up a unit, using minibox, a SPDT slide switch, a and three phono jacks wired as in Fig.
I wanted to be able to prove whether paralleling of proper. the cartridge elements is
Playing a mono record, with the slide switch in the
"mono" position, one de- termines which of the two cables from the arm is
"lateral" because the mono record is recorded laterally. There should be no vertical response.
For comparison's sake, with the de- termined laterial cable plugged into the lateral jack, one obtains an output one volt.
By reversing the cables of and plugging the vertical cable into the lateral jack, no signal should be present except possibly for noise and the grit in the bottom of the record groove.
However, the cartridge does respond laterally via
40 the vertical coil, at about per cent of the output from the lateral coil, with the lateral cable in the lateral jack.
How come? The repro- duction is not good, but yet it does respond. What happens to the sepa-
OUT ration that manufacturers of cartridges talk about? Isn't the cartridge made so that the lateral modulations of a mono- phonic disc are only impressed on the lateral coil and not on the vertical?
It would appear that cartridge manu- facturers have a big job cut out for them, for one cannot refute that play- ing a monophonic record, with the cart- ridge paralleled, the response should be only from and through the lateral coil.
Any response from the form of noise the vertical coil is in and added distortion, which to my thinking should not be present.
Conversely, if one had a vertically recorded disc, would not the latter coil also respond?
I think this proves my contention that the playing of a monophonic disc demands that the vertical coil be grounded to provide clean reproduc- tion, and disproves the paralleling theory of playing monophonic records.
Adolph Hoefer, Clayton, Missouri.
Let us first examine the con- struction of a stereo record. Assume that a groove is being cut with no modulation. Now let us modulate the right channel. If you could observe this modulation with a microscope, you would note wall was that the right -hand being modulated 45 groove degrees from vertical while the left wall will contain little or no modulation. The degree to which the left wall is modu- lated is a measure of the separation of stereo channels in the particular cutting system used to make the record under discussion.
If, now, we modulate the left channel and omit modulation of nel, the right chan- the pattern will reverse so that the lefthand groove wall will be modulated but not the righthand groove wall.
If we take the modulation and feed it simultaneously into both channels, making sure modulation of that the modulation ditions would prevail. The output, is identical in character, one of two con- or the groove, would be vertical or horizontal depending upon the phase relationship between the modulation applied to the two chan- nels. of
(If the modulation phase, the resulting modulation will
( is applied out
Continued on page 49)
-z. o7 --/-9d
- - ----
.r%r.xn. b?,- did.44c-e
-. - .-
in New York City
For years Liederkranz Hall was world renowned for its remarkable acoustic effects and consequently was in constant demand for
Liederkranz Hall had its it recording. limi- tations! Engineers could not always con- trol the reverberation quality and time.
However if you wanted to record in Lied
Hall today it would be impossi- ble because, as with marks, it's destined
most old land- for destruction. don't fret, don't worry!
There's a much more practical, effec- tive, and less expensive method to add controlled reverberation to your sound.
Now reverberation comes in a com- pact, portable attractive and rack mountable package
241/2' high by
19" wide in
Unique Features of the FAIRCHILD REVERBERTRON
Variable reverb out expensive servo mechanisms network provided.
Electronic time control
Solid state components Rack mountable
Portable Three time periods instantly and noiselessly selectable
Remote control with-
Used by studios throughout the for its natural reverberation ef- fects, the FAIRCHILD
TRON'S possible reasonable for price now every studio to makes have it the production plus of controlled, flexible and natural reverberation.
Priced at only
professional audio products the pacemaker in
for complete details.
RECORDING EQUIPMENT CORPORATION
Ave., Long Island City
Reader Service Card
1965 issue response in
"Editors Review" to
Elliott Sanger's letter (page
4) in the same issue was greatly appreciated, much needed, and well done.
I have no doubt but
separate programming on AM and FM, for those commercial broadcast stations now duplicating programming, involves a significant investment in terms of equipment alone, let alone program- ming costs. However, although licen- sees in have been allowed some terms of latitude past duplication (which did stimulate development of an FM au- dience to some degree), there is now no reason why licensees should not be required to conform to requirements intended to bring about more effective use of the existing commercial broad- cast spectrum. After all, the spectrum is extremely crowded. Surely there is no longer a public need for this dupli- cation of
AM and FM programming.
Licensees, such as Mr.
WQXR, have a may right to complain and be expected to desire continua- tion of a situation that is to their advantage, but we must bear in mind that the freedom which they were given was neither a right nor guaran- teed to continue indefinitely, nor is it now in the listener's interest: most ef- fective use of the spectrum allocated for commercial purposes. The F.
C. C. proposals aren't flawless,
they should prove to be a practical ap- proach to a problem of effective spec- trum allocation. Let us see how this proposed solution works. Practice will point to refinement needed.
In his April issue letter,
Mr. Sanger generalized regarding the characteris- tics of his listeners, citing these gen- eralizations as one support for his argu- ment against the
C. C. proposals, and here
I strongly disagree with him.
Speaking as an ticular field authority in this par-
am a "WQXR listener"
positively do not expect nor want the same programming on
AM and FM, but rather the reverse. Since
Mr. San- ger chose to cite WQXR as the good example, this listener must differ again: although WQXR is one of the two best (Mr. Sanger forgets the program- ming of
New York at certain hours) com- mercial "good music" stations in the area on
WQXR occupies this position only by it is one of the worst on FM default),
(where it suffers by comparison because of rela- tively unimaginative programming, steadily increasing commercialization, and long -term heavy emphasis on the
"personality cult" in function)
. the announcing
To conclude my major argument,
"The announced purpose of the separation policy is to give greater variety of programming to the listener.
There is no need for this in
York." Mr. Sanger would indeed seem to be saying that he can see no need for greater variety in program- ming to serve his own marketing area.
This is surely a memorable, truly a re- markable, and an even astonishing statement to come from the pen of an
AM -FM station executive vice presi- dent
a very illuminating state- ment.
WEST ORANGE, N. J.
Open Letter to a
-Voice apologized for their having failed
Canby's wastepaper carton test.
I have just gone into executive con- ference with myself and have voted you a vote of thanks for your letter and also a memorandum to the effect that
I hope you do not send me your 473 dif- ferent varieties of carton, and
I must warn you, moreover, that if you do, there will be nobody at home. Perma- nently. good
The EV speakers arrived in per- fect condition
so did the cartons, but as you say, the cartons aren't much without the stuff inside them.
Addendum to "Sound at
It is of special interest
some exhibits used home -type rather than industrial equipment to pro- vide high -quality sound.
I only know about asked the exhibits for which we were to supply speakers, but I am sure there were others.
For example, the Crystal Palace fashion show used
AR -2a speakers and Dyna power amplifiers; the stu- dios of station WTFM, broadcasting from the Fair, used
12 AR -3's; the
Minnesota Pavilion used
AR -3's; and a jazz group on
'Bour- bon Street" used
There were also three exhibits de- voted specifically to high fidelity: the silent
display, the H.H. Scott exhibit in the
Belgian Village, and the
Music Room in
Center. the Better Living
The latter demonstrated
(and will again in
1965) the equipment of
(Continued on page
994 gives you automatic programming. Plays or records automatically three different ways.
Stops by itself where you want it
Threads itself automatically. And, the 994 is available now!
With the transistorized
994, Concord introduces a new dimension to tape recording.
Some might call ization, some might call
think modern- of
-in playing, in recording,
stopping, in threading, in hours of in
starting and uninterrupted
994 is as differ-
from the conventional stereo recorder as the old crank-
Gramophone is from the modern record changer.
AUTOMATIC PROGRAMMING. gram the
994 to play or record one side of a
can pro- beginning to end and stop
Or, to play /record first one side of the tape, reverse, side, then stop automatically.
record forward and back, forward
back, continuously, as long as you like
or all day. You may change direction of
play the other play/ and
hour, six hours,
like by merely pressing the direction change buttons.
same lighted buttons automatically show you direc- tion of
The operating controls are lit- erally
your fingertips. recorder you can operate waving, and with one threading,
even simpler is
As the one
994 threads itself automatically.
After all this, we
stop in designing the
going. As a result, the
994 offers superb perform- ance and every conceivable feature required for your lis- tening and recording pleasure. Here's a brief sample:
three speeds with automatic equalization, four profes-
sional heads, two VU meters, digital
sound, exclusive Concord Trans
-watt stereo amplifier, professional
record /monitoring system.
994 may also be used as
or without simultaneous taping.
TWO -WAY STEREO SPEAKERS.
lid of the
994 houses a
two -way speaker systems, each containing a tweeter, woofer,
pair of highly sensitive dynamic micro-
phones is included.
994 is priced under
$450.* An identical recorder,
990 comes without speakers or microphones and is priced under
Both are wait? Drop
your dealer's demonstration and find now. So
why for your- self what fully automatic tape recording by
Concord is all about!
Or, for complete information, write Dept. A
For Connoisseurs of Sound
IN CANADA: Magnasonic Industries, Ltd., Toronto /Montreal
Other Concord models from
$50 to $800.
*Prices slightly higher in Canada,
Devices /Closed Circuit Television
Circle 106 on Reader Service Card
New advanced design with low -noise field effect transistor!
-22 Condenser Microphone uses a field effect transistor as the microphone pre- amplifier.
This field effect transistor has an ex- tremely high input impedance that complements the high impedance characteristics of the con- denser capsule for an outstanding improvement in signal -to -noise ratios.
RF cir- cuitry is used in an effort to improve signal-to- noise ratios.
The absence of vacuum tubes elimi- nates the problem of noise, microphonics, and
'the expensive periodic replacement of the tube.
-22 provides the user most often needed with the pickup pattern
-with outstanding front to back cancellation character- istics thereby making it ideal for broadcast,
TV, sound re- enforcement and recording. Extremely low hum susceptibility allows easy use in a vari- ety of operating fields and the basic high sensi- tivity of the
-22 allows integration into a variety of circuits and a variety of studio and field operating conditions.
A new convenience
-22 is self -powered. eliminates the bulky, heavy, cumbersome remote power supply associated with conventional condenser microphones. The
-22, as illustrated, is complete
-just plug into a studio audio line and you have the smoothest, cleanest sound pos- sible.
This self- contained power supply allows new ease of operation in studio work and in field assignments. The use of a field effect transistor with its low noise and low current drain require- ments allows the operation of the
-22 with long life mercury cells. The use of minimal parts and the use of missile
-grade components throughout assure the user of continuous quality.
By breaking away from traditional condenser microphone design and using the latest in solid state -field effect transistor technology and micro- circuitry,
FAIRCHILD is able to produce this qual- ity condenser microphone at an astonishingly low and sensible price, thereby putting the ultimate microphone quality within the reach of every sound engineer.
the pacemaker in professional audio products
for complete details.
RECORDING EQUIPMENT CORPORATION
Ave., Long Island
Serenaders: Evening in the
It would seem magazine is that the influence of this making itself felt even in a place as far off as
Hawaii. Here is a stereo disc of exceptional technical competence re- corded in
Hawaii for Warner Brothers by a local firm called Hula Records. This Hono- lulu outfit can hardly be called a byword among record customers in the
U.S. market yet the work it turns out puts to shame the efforts of some of our fanciest labels. The sound here has all the crystalline crispness of the best Warner releases, automatically placing it near the very top of the list of
American labels still turning out a decent product. Hawaiian engineers were not the only free -lance artists involved in this proj- ect. The six native musicians who make up the
Maile Serenaders appear under that name only on records. They have been drawn from the major performing groups on the islands. Ukulele, bass and three types of guitar -each instrumentalist fea- tured here obviously deserves the top rating he enjoys in the island.
Lower Basin Street
Basin Street style of music making shows no sign of dying out while
Dinah Shore remains within reach of a microphone.
It doesn't seem possible that
25 years have gone by since
Dinah hit last- ing fame on the NBC radio series known as
"The Chamber Music Society of Lower
What is there in the distinc- tive Shore voice and style-that time simply does not affect?
She sounds as fresh and re- laxed in as she this revisit to Lower Basin Street did when many of us listened to the original radio series on a weekly basis. The album points up a fact perhaps forgotten by devotees of the old tion to the old Dixie radio show. In addi- standards, the program offered a fresh and nonchalant treatment of current songs of the day in a singularly appealing style. The saine idea has been carried over to this find album. Interspersed with Basin Street
Blues, Chloe and Bye Bye
Blues, are relaxed arrangements of modern tidbits such as
More and Do -Re -Me from
"The Sound of
All returns should be as happy as this one.
Mercury's affiliation with the Philips label, one of
Europe's largest, offers dual dividends in this release. Anyone seeking
Reader Service Card an album of unassuming background music delivered in the current continental style will find it here as pianist Horst Jankowski, age 28, leads a choir and orchestra in his own novelty arrangements. The other divi- dend is the opportunity to hear what Ger- man recording engineers are doing with their latest gear. It's easy to make a judg- ment of contemporary German sound in this stereo recording because Mercury did not tamper with the original recording curve when it turned out the disc for Amer- ican consumption. In playback
I was able to indulge in the rare luxury of flat tone control settings without being driven out of the room by screaming highs and fake bass. This is a thoroughly clean job at level settings considerably higher than one can endure on some
European) discs of a pop nature. The odd mix of tunes
-Nola rubbing shoulders with Parlez
Moi and Toselli's Serenade
-may give the record some difficulty in finding a specific audience but any true audiophile should be pleased with what he hears.
Mercury OSC 6210
With good musicals as rare as they are these days, it doesn't take much persuasion to talk a large record company into backing a show in order to get release rights to the original cast album.
If a show score or cast lineup displays any merit before rehearsals, the major disc firms are quick to put in their bids and the production appears in due time on one of three labels
Capitol. For reasons that be- come plain when you hear this album, the three companies usually most interested in show casts passed up this Buddy Hackett musical comedy. Mercury Records, how- ever, was willing to wager that comedian
Hackett has a following large enough to justify release of his first major effort. In one sense,
Broadway the label is performing a public service in gambling where the others showed no interest. Not having seen the show,
I don't know how many numbers
Buddy Hackett has in the stage presenta- tion. On aware the record the listener is scarcely that Hackett is the star of the show.
He appears in no more than three songs. Of these, only Dr.
Freud offers any semblance of a vehicle for his visual comedy style.
There are ballads aplenty
Be Possi- ble? and Almost) to keep romantic leads
Richard Kiley and Karen Morrow busy but the score just doesn't have enough to sell a
Hackett record with so little Hackett on it.
(Continued on page 14)
New Bozak Speaker.
New Bozak Speaker.
New Bozak Speaker.
Though young and just getting start in the business world, Bill a has an ear for music.
He wants the very best loudspeaker he can afford now, without losing his investment later.
Mary, wants which she can be proud. furniture of
Wisely, they choose the tasteful
Provincial enclosure designed to house a full
-305 speaker system.
In it they have mounted a single two -way Bozak coaxial
Things are going well.
Bill and Mary just moved into a new house.
Their living room is big enough to take advantage of a broadened sound source, with its increased realism.
While both secretly believe it to be difficult to improve the sound from their
Bozak, they add a second
-207A coaxial speaker.
It's easy panel and
- just remove a pre -cut insert the speaker. Total cost $94.50.
To their surprise, they find a new measure of presence, of musical de- light, in their
Bill just had another raise. Mary completely refurnishes their home, but finds that the quiet dignity of the Bozak cabinet still adds charm to her living room.
They take the final step toward their dream of convert listening perfection.
They their speakers to a three
-way system by adding a
-209B mid -range speaker and a three
-way crossover network. Again, they simply remove a er. panel and insert the speak-
Total cost, $82.00.
Now they have achieved their goal.
They have the complete
-305 speaker system which they couldn't afford when they were first married.
Meanwhile, they've enjoyed years of musical pleasure.
Thanks to Bozak's ing
uncompromising policy of build- all speaker components
to the same
high elec- trical and acoustical standards, to
values, you can system
without fear of
GROW? today build
though you can't afford
- and toward
pleasure begins with
musical taste now.
you how. Your dealer will prove
can select the Bozak
of your dreams
*All prices shown are current prices and are subject to change at any time. Prices slightly higher in the South and Far West.
Circle 109 on Reader Service Card
Export: Elpa Marketing Industries, Inc.
New Hyde Park New York
This book is for the hobbyist and technician who wants to know the plain and
TROUBLESHOOTING HIGH FIDELITY
Mannie Horowitz, his
fact -filled, illustrated chapters
spell out the most direct approach to curing both, vacuum tube and transistorized amplifier ills. Every- thing from instruments and test procedures, to servicing transis- torized stereo amplifiers, is cov- ered in a writing style that it easy to read and absorb. makes
FIDELITY written specifically for the service technician and the audio hobbyist who specializes
or wants to specialize
growing and highly profitable field of audio and high fidelity service and repair.
A wealth of information
Use convenient coupon below, just enclose your remittance
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Radio Magazines, Inc., Dept.
I am me enclosing
, please send
_. copies of
HIGH FIDELITY AMPLIFIERS, by
Around 1678 a London charcoal hawker converted the loft above his coal house into a music room. He tuned up his Ruckers virginal and small five
- stop organ, weekly and put on a series of public concerts.
Coffee was served at a penny a cup, and customers who were "willing to take a hearty
Sweat [had] the Pleasure of hearing many notable performers in the charm- ing Science of
We have come a long way from those informal chamber music parties, which were among the earliest public concerts in history. Nowadays audiences file into concert halls ranging in size from small auditoriums like
Judson Hall, to Phil- harmonic Hall at Lincoln Center, to hear pianists, string quartets, violinists, harpsichordists, and other soloists and chamber groups, play music originally composed for the more intimate at- mosphere of an aristocratic salon or a charcoalmonger's loft.
A critic recently compared the experience of a attending guitar recital at Philharmonic Hall with that of peering down at a fly in a
Grand Canyon gorge.
Chamber music concerts like these erect a barrier between audience and performer.
Seen from the sunken or- chestra seats or the distant balconies of most concert halls, the musicians on stage often appear remote and inacces- sible, and the spectator cannot fail to
Baroque Ensemble per- forms at a concert party in the Bowman
Suite of the Hotel Biltmore. (Photo by
Fink.) be affected by this separation. But place the music lover on the same level as the performer, and in the same room
(most concert halls consist of two dis- tinct
`rooms': stage and auditorium) and he is at once of drawn into the sphere the performance.
A bassoonist and pianist recently played a short program of works by Mozart, Hindemith and
Weber for some friends at a private studio. The audience was thrilled to hear the unlikely duo, but their excite-
4 ment stemmed less from the perform- ance than from the impact of hearing these instruments at close range and in an intimate setting.
To the average music lover, the words
"chamber music" suggest austerity, monotony, and the esoteric. Concerned with this image, a public acceptance of pair of part
-time impresarios set out to cultivate a wider what some have called "the music of friends." They noted with gratification the signs the rigid that patterns of concert -giving may be breaking up: at a
Greenwich Village coffee house
Britton's probably no larger than
London loft, a pianist per- formed Mozart and Bach to a bearded and blue -jeaned audience; programs of experimental music are staged in cold- water flats in Lower New
York; and, of course, there are the perennial series of
A chamber music at the Frick
Museum. year ago,
Feldman, an in-
- surance broker, and William
Boal, an assistant manager at Time -Life en- terprises, rented the Bowman Suite of
Biltmore Hotel to produce a subscription series of Friday evening concerts, or
In the mirrored ballroom, some 400 persons may sip drinks at tables arranged in
horseshoe fashion around a small plat- form for the musicians. The living room lamps that provide light for the players' musical parts add to the intimate at- mosphere the impresarios are trying to achieve. "We acquired the lamps first to compensate for the room's inade- quate lighting," explained
"then we found to our delight that they enhanced the `home' effect."
Each concert -party is conducted in three movements.
The first is the
Re- ception starting at
8:00 P.M., during
Continued on page 48)
the widely acclaimed
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h arm an kardon
Stratophonic is largest
-selling the all- transistor stereo receiver today
Clean, pure, spacious sound in stereo
... a sound never before achieved
the great popularity
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Fall. Freed at last from the heat and distortion
tubes and output transformers, the majestic Stratophonics
Sound Unbound in your
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with the addition
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-state instruments for every listening
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LEADER IN SOLID -STATE STEREO COMPONENTS
SR -400 36-
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/FM want the tuner their hi
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volume, speaker balance, treble and bass, program selection; tape- recorder output; two convenience outlets.
Stereo Amplifier. 36 power (18
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1 watt, watts IHFM music normal listening level) from
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Direct speaker cou- without output transformers results in speaker damping factor of 25:1.
Complete controls and stereo headphone jack.
(exclusive of excise tax).
No tubes (not even nuvistor tubes) to cause heat, drift, or distortion. This fine tuner handles strong input signals without overload or crosstalk. Multiplex
25 db. Usable FM
2.9 av IHFM. sensitivity
*Prices slightly higher in the West. closures optional.
Edward Tatnall Canby
There are worlds within worlds, these days, even in audio. Merchandizers spend thousands, just like everybody else, trying to pin them down via mar- keting research
get their itching fingers on a few more pulses and maybe sell a few more products.
And yet the unrehearsed, un -re- searched bits of info that we stumble onto, now and then, can sometimes show up more of those little worlds than we might have thought even ex- isted. Take a letter between two friends that was passed on to me recently by a third friend. It's about tape, home tape, tape from the point of view of some
- thing called the
The Underground, of course, is that vast unofficial exchange of taped sound that is now world -wide and which no tape manufacturer can admit to know- ing about, since it involves matter of copyrights, et al.
But this isn't the point I have in mind at the moment
take all that for the little granted.
What interests me is the side -comment in this letter, concerning and the present state tape of 4- machines track.
I don't know either correspondent, the one who writes, apparently from some such place as
Hawaii, and the one who gets the letter, who might be living anywhere in the world where Americans are found. But their mutual story un- folds immediately. They are both home tape amateurs, both music lovers, and both members of the world
Bill, (Name falsified here, de- liberately.) The tape arrived Saturday morning. Many thanks. I was able to reproduce it very well and enjoyed the
Flagstad songs (Wesendonck). I've been wanting them for some time and it was a pleasure to the
St. sari, get them. For some reason
Passion which, you is on LP repressed from 78 rpm
- does not have the same quality but it certainly is a pleasure to have the voice of the immortal
Ferrier in such a work.
The Robert Frost poems I am not fa- miliar with, but they were much appre-
particularly by Dorothy."
That sets the scene, doesn't it? These two boys are hep on classical music and many other things to be found in such lovely for quantity on
LP records, all ripe their larcenous recorders.
No com- punctions about most of us in that
As the field are well aware, this little side
-show is actually one of the biggest hobbies in the whole tape area and it accounts for a whale of a lot of our business
is, the sale of tape recording equipment and of raw tape itself.
Though a vast` amount of erased tape recirculates in these Under- ground circles, to the frustration of tape sellers.)
After a side
-paragraph having to do with a tidal wave scare (thereby locating the source of the letter as
, our friend gets down to the real point of his letter, which is the interest- ing part for us. Seems the writer is an old hand in tape exchange, while the receiver of the letter must be fairly new at the game. He wants information, this
Bill character. And so our writer, who shall be called John, proceeds to give it.
"NOW, in choosing a recorder, type of tape
IT ALL DEPENDS
WHAT YOU WANT TO DO
If you want to have a fine one and go clown town sionally made and buy
-track profes- tapes
make your own recordings and play 'em back ON
OWN MACHINE, then a
4- track machine is fine.
HAND, if you are in
THE OTHER the Tape Exchange
O -oh. I some of can see the hackles rising on our professional readers.
Sorry, can't help it.
That's what the guy says.
was about here that
I myself began thinking, hey, maybe somebody ought to print this letter.)
"I would never use a 4
present conditions (February
1965), with my English correspondent, the guy who sends me those marvelous
Handel operas, etc., screaming his head off, and all the Old Pros swearing they'll never use 'em. They're justified, too, because
-track on one fellow's ma- chine might be 1000th of an inch off on some other fellow's and you have plenty of crosstalk.
ACTUAL FACT, there
IS crosstalk on tapes but it's below the nor- mal "annoyance point" when played back on machines with IDENTICAL
ALIGNMENT, FACING and HEAD
Well, there's the Underground view- point, as of this very year. It harks back only too familiarly to many an argu- ment that raged among us in the pro- fessional field back when
-track tape first appeared.
Obviously, alignment in all its phases is much more crucial in
-track taping than in the earlier for- mats, two -track and full
-track. The guy is right in general terms.
But is this really an up
-date obser- vation, or does it reflect lag that is the usual time
- inevitable among consumers?
First, equipment -in -use always ranges back in time and brand new equip- ment is always in the minority.
Sec- ond, ideas, there is the persistence of older perhaps already out -dated.
We need merely think back to every new development in this and similar areas where one is the standards of precision have been upped. Always, the older system allows more leeway, the newer more subject to troubles of mis- alignment, etc. etc. I'm thinking not only of tape but, of course, of the LP record itself
suffered the same sort of criticism in its early years as compared to the then more "reliable"
Can't we all (us middle -aged people) remember it? The
-rpm speed was al- most impossible to stabilize short of big, expensive, bulky pro equipment. The microgroove was two delicate, the play- ing cartridges too gross selves too delicate
home use. The needle skipped, the pitch wavered and
I don't know what else.
But with the passing of years, we im- proved the LP system, with all its pre- cision.
We improved the
-mm home movies system similarly. We improved
35 -mm still pictures, until the blow -ups were plenty good enough for anybody, amateur or pro.
Progress does progress, given time.
Is it to be so much different with tape?
Is there any reason why
-track tape shouldn't in the end be just as reliable as 2
-track tape and, before it, full- track?
I would assume, as
I'm sure most pros in the field also assume, that
-track for the home is today well on the way to reliability and to changeability so that illusive inter- important to the Tape
Underground. There's still room for a a lot of healthy progress. Look at the newly exact parameters already on home market in such devices as the the
Revere cartridge tape recorder with its tiny thin tape and
1J ips speed.
Also the demonstrated accomplishments of numerous 1965 recorders at similar slow speeds, as shown at the Hi this year. We'll see
Shows plenty more pre- cision. as
keep an eye on things they are NOW, out in the
After two months of what Popular Science described as the most extensive listening tests ever made by any magazine," a panel of experts chose components for stereo systems in several price categories.
The components in the highest rated system were to be the best available no matter what the price.*
"Where there was a more expensive component that produced a detectable improvement in sound," stated Popular Science authors
Lockett, it was chosen."
AR -3 speakers and the
AR turntable were the choices for Popular Science's top system.
The Popular Science panel was not alone in
Tape Systems its fiindings. Two other magazines
selected components for the best possible stereo system;
AR -3 speakers and
OF POPULAR SCIENCE MONTHLY
BY POPULAR SCIENCE
COMPANY, INC. ti
Two of Popular Science's live-member panel check speakers.
AR turntable were the choices in each case. Gentlemen's Quarterly chose the
AR turntable for its top
($3,824) system, but relegated
-3's to its "medium- cost" ($1,273) system. (The complete lists of selected components, as they appeared in these four magazines, are avaolable on request.)
AR turntable by regardless of price. itself has been reviewed by leading authorities as the best in the entire field
Yet you can spend many times the price of these
AR -3 speakers are $203 to $225 each, depending on finish (other models from
$51), and the two
AR turntable is
$78 including arm, base, and dust cover.
"Speakers limited to
"compacts" for reasons of practicality iin the home.
ACOUSTIC RESEARCH, INC.,
24 Thorndike Street,
Cambridge, Massachusetts 02141
112 on Reader Service Ca-d
with all that accumulated back- infor- mation going around, and all those older
-track machines still at work. Our friend John goes on esting idea further.
thinks that only younger people go for
-track tape. His feeling is they don't know any better.
Lack of experience. I'm not so sure. Couldn't it be that these younger kids keep up with the times a bit more enthusiastically, and so veer more quickly towards the newer systems as development? they improve with
"Now, for the purposes of economy that you mentioned
different sets of material on one tape,
are a bunch of younger fellows in the Under- ground who are using
-track machines for this purpose -economy and space
UNDER 30 years of age and I that experience in EXCHANGE will ultimately force them back to 2- track. However they do good work, they REVERE the quality of and tape that
I send to them."
Well, anyhow, now we know that
John is over
He's one of those Ex- perienced guys all right. He goes on about the problems of playback:
can play my tapes on their
-track machines BUT WHEN
THEY SEND TAPE TO ME, they have to use tracks
VIRGIN TAPE and record on
4, leaving the two center tracks blank. Now don't think that is
ALL of the picture. Tape so recorded
your Flagstad to me is so record- ed
weak and fuzzy because I'm getting only half of what I normally would get. Have, therefore, to play them on a special transport where I can
"position" of that
34 the head to get the full effect
Well now just a minute, John, hold on. if
You're going overboard a bit. Natch, you're going to play
-track on a 2- track machine you'll have to fix things up somehow; but why blame the sys- tem? To be sure, there's an incompat- ibility.
It was, alas, necessary and in- evitable if we were to have a new arrangement which would take advan- tage of tape progress to allow more sound on less tape
useful commer- cial ends and a widening of home tape potential.
If you're going to play
-track tapes, then for goodness sake play them on 4- track heads. There is no other way.
Well, now we know that this letter's recipient,
Bill, uses 4- track. The cat is out of as the bag! Bill is a 4- tracker, where- older, wiser John, writing this letter, is an old- fashioned 2- tracker.
can) generally get pretty good effects from
-track tracks tape recorded on
BUT DON'T KID
and FULL TRACK is much better still.
If it's economy (you want) you can, like these young guys, put four different sets of material on one tape, but don't ever kid yourself that you won't get crosstalk (if you listen carefully in the quiet spots) and DON'T EVER KID
YOURSELF THAT YOUR CORRES-
PONDENTS WON'T GET PLENTY
OF CROSSTALK unless their machines are identical to the 1000th part of an inch."
John, I get the message. I'm not even trying to kid myself. As a matter of fact, tape being reasonably cheap if you shop carefully,
I do all my own tape exchanging at
732 ips full -track and
I write in
"PLAY big letters on each reel
So you see
I'm an old con- servative, even more so than
John. And yet
I do not accept his reasoning as final, nor will you. Things are improv- ing. They'll go on improving.
But what really makes me marvel, in all this fine discussion, is one huge, enormous, positively staggering omis- sion.
For Heaven's sake
. . grams to 2000
ounces to 70
small size with presence
Nominal power rating
Peak power (music and speech)
Impedance switch for variable adjustment
20 watt watt
system for universal application through
WIDE FREQUENCY RANGE
SWITCH AND GOOD POWER
For more information write to
P.O. Box 629,
Circle 114 on
Reader Service Card
CHICAGO 44, ILL.
BRANCH OFFICES: LONG ISLAND CITY
LOS ANGELES 22,
113 on Reader Service Card
Marantz discusses his revolutionary new model
Marantz, your new
10 -B tuner is revolutionary.
Do you feel it will obsolete all other tuners?
Marantz: In one sense, yes. The per- formance of this tuner is so dramatically
conventional tuners that
anyone who does not wants the model
10 -B. or needs perfect reception today has no choice
FM use however, obsolete conven- tional tuners.
Rolls Royce, of course, makes superior cars, but they haven't obsoleted Chevrolets.
Is this superior performance ible to the average listener? discern-
Marantz: ence is quite conventional able to pick up and reproduce which could match disc
Very much dramatic.
As back system quality is generally excellent.
The differ- you know, have never the quality been broadcasts of a the broadcast fine tape playback system. This has often been blamed on broadcasting qual- ity. But the new
-B disproves ory. or
reproduces disc or a tape with the same clarity and separation as if played through a play-
this the- of a
Is this nals also? true with weak broadcast sig-
Marantz: will reach
55 microvolts! This is
quieting better than most con- will
1000 microvolts. With a 25 microvolts station the
-B reaches a phenomenal
70 db quieting which is about
20 db better
can achieve means
any signal with the
-B will be excellent reception even in
This there fringe areas, particularly so because of the tun- er's high sensitivity, its extremely sharp selectivity and reduced susceptibility to multipath effects, which on other tuners cause distortion.
How plished? are such improvements accom-
Mr. Marantz: tion is
The answer to
ques- very complex, because the
10 -B is
an improved tuning sys- tem; cept
is a completely new design con-
with many technical innovations
developed by Marantz engineers.
Q. Can you give us some examples?
Mr. Marantz: example,
The RF section,
balanced -bridge di- ode mixer sensitive
-a the first technique used in modern
designs to eliminate major source of noise, harmonic distor- tion and other spurious commercial application
RF circuit is balanced- tuned, using a precision tuning capacitor with four double sections, for tion of spurious images.
For the critical oped of the "Butterworth," or phase- linear fil- ter.
This new concept provides a number of is
strip, we've distinct characteristics essential good tion and results. phase
-linear for extremely low distor- especially
for reduc- devel-
example, high frequencies a
remains essentially phase -linear
all signal levels.
Cutoff slopes beyond the passband are extremely steep, allowing unprecedented selectivity; effects of quire it is much less subject to the multipath, and
doesn't re- realignment with tube changes or aging.
The old standby coupled
cir- cuits currently in use do not have any of these characteristics.
Are there any innovations designed specifically for multiplex?
For multiplex recep- tion we've developed our own unique variation of stereo demodulator, which permits phase correction to maintain
very advanced order of stereo separa- tion throughout the whole audio band.
What is the purpose of the tuning and multipath indicator?
This versatile its present, making antenna for best reception. modulating.
oscilloscope device single trace easily understood stories. a of station tuned exactly the passband.
The users can check stereo
to height easy to is tells many shows the center of tern shows the signal strength.
The in- dicator shows how much multipath is adjust the
when the pat- shows if the station is creating distortion by over
- technically informed
of transmissions, discs and other sources.
And how soon will available in the model
10 -B be quantities?
-B is a labo-
of extremely high quality which will never be mass pro- duced in the usual sense. However, pro- duction has been stepped up fourfold and all back- orders are now being filled by
Marantz franchised dealers.
IF Passband phase linearity retains and sharp slopes at any signal strength for low distor- tion, sharp selectivity.
IF circuits change characteristics drastically depending on signal strength. i
Station tuning is simply Multipath
(Ghosts) shows and by accurately adjusted centering the trace. up as tuning is
'wiggles' smooth. on the trace. Antenna is simply rotated until trace
MARANTZ, INC., SUBSIDIARY OF
INC., SUN VALLEY, CALIF.
Circle 115 on
ground discovered stereo yet?
Evidently not. Too soon.
Don't these guys remem- ber that the entire reason for the 4 -track system in the first place was to make tape possible? a workable stereo home
Two tracks in each direction, with stereo and reasonable economy too?
Don't they ever stop to think that nowadays there are literally dozens of thousands of stereo LP records (whoops
be saying is found every sort of sound and music imaginable? And may I say to them, sort of sidewise (for of course possibly condone
, that in my most seasoned and professional opinion, as a long -time listener and a trained musician, at least 90 percent of these records gain in tive power via
I'm astonished their communica- the stereo transduction. that there isn't as yet
Tape Underground in isn't. Anyhow, our writer John and his correspondent Bill obviously aren't in- volved. Maybe the answer is that all the guys who do STEREO 4
-track cor- responding are under
20 years of age.
More power to them,
say. Off the record, of course.
KENWOOD stereo introduces the ultimate the never
-possible luxury in solid powered by SILICON
TRANSISTORS state to provide pleasure of an unsurpassed wide frequency range
a dynamic, clear, authentic sound reproduction with utopian quality.
Total Music Power:
%' harmonic distortion at
1Kc per channel)
80 watts (IHF Standard)
32 watts /32 watts
um and Noise:
-60 db, AUX
±10 db (50 cps)
±10 db (10,000 cps)
MAG 1.5 mV,
Tape HD 1.5mV, AUX
(at Volume Control
72 db below rated db 10,000 cps
Sensitivity: to Noise Ratio:
1.8 microvolts (IHF Standard)
60 db (at 100% modulation lmV input)
38 db at
Automatic switching FM
Switch, Silicon Power
TWO STEREO SPEAKER SETS AND
-80 provides speaker output terminals and power for two (2) sets of stereo speakers plus stereo headset jack.
Front -panel switching permits easy selection of either speaker set, both sets, or ear phones.
CIRCUIT (U.S. Patent pending)
AUTOMATIC MONO /STEREO
CATOR WITH ILLUMINATED PIN-
POINT TUNING: Prnrvssional, minated pinpoint illu- tuning meter shows maximum reception of FM broadcasts red and while blue lights automati- cally indicate mode.
ILLUMINATED PROGRAM! SOURCE
INDICATOR: Lights indicate in- stantly whether program selector is at FM, Phono, Tape HD or AUX.
KENWOOD's signed larger flywheel is de- for smoother, exact tuning of FM broadcasts.
MUTING CIRCUIT suppresses inter station noise.
- the sound approach to
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This album took me back about thirty years or so to a was day when show business not dominated by television.
In his coast -to -coast tours, Fred Waring is still leading his
Pennsylvanians in a theatre show similar to those give in many of us saw him the Thirties.
Now, for the first time in his disc career, Waring had recording engineers on hand when he played a typical concert engagement. The locale happened to be Lake Charles, Louisiana but it could have been any one of 150 cities he appears in during the course of an annual tour. Ob- servers who have argued that television has created a more sophisticated audience throughout the country will have a job ex- planing the enthusiastic reception Lake
Charles gives even to the cornier routines in the concert. Waring's soloist, chorus and orchestra appear in a fast -paced omelet of entertainment that covers pop- folk, jazz -of- sorts, movie tunes, a smattering of the classics and a familiar hymn for the finale.
The program may be theatrical in the ex- treme but the milking by Reprise is too close -in to convey a
Waring stage prespec- tive in the sound. The chorus sounds con- siderably smaller than it should while sing- ing into its own mike. Each component of the large and diversified Waring ensemble is pinpointed at the expense of the aural sense of the whole.
Circle 116 on Reader Service
West 43rd Street
Federal Electronics, Inc. (Subsidiary)
Vestal Parkway, Vestal,
"Anything, anywhere, anytime, always"
Harvey's other name. From the most sophisti- cated tape decks to the smallest replacement parts for professional broadcast and studio re- cording equipment. All from the greatest names in the business.
No need to hunt when you can call
from anywhere in the
order will demonstrate the depend- ability of
America's oldest distributor of profes- sional equipment. Phone or write today.
Always on hand: A.D.C. ALTEC
CBS LABORATORIES DAVEN ELECTRO-
R.C.A. SENNHEISER UNIVERSAL AUDIO
118 an Reader Service Card
of audio engi-
the audio engineering
by all who knew him,
for his incisive
1905 in New
City, C. J.
a B.S. in
1.926 was a
he research physicist with Raytheon,
research engineer with
Electric Products and worked
on lamps, ozone tubes.
sound recording problems. From
1942 he was
Chief Engineer, and
of Audio Devices, Inc.
where he worked
lacquer recording blank
and magnetic recording
tape. From 1942 -45
hearing test equipment,
1946 -47 he
electronic consultant, Damage
Control Project, at
of ships' motion. Finally, from 1947 -1965
was listed in "American Men of
LeBel was a Fellow of
Society; a ca;
Acoustical Society of
Ameri- an Active
he had authored
of Mag- netic Recording" cordings"
"How to Make Good
by Audio Devices, Inc.
and both best
patent turned out to be
the fluorescent lamp (the
much litigated "LeBel
At Audio Devices LeBel was
automatic machine production
16 discs in America, discs.
Audio Devices rose from "nothing" to
discs in one
Audiotape magnetic recording tape. He
helped write many sound recording standards.
Company LeBel applied psychoacous
-- tics to
that he helped write the
and developed the
developed an intermodulation meter with
very low values of IM.
Subsequently he developed logarithmic
loggers) which are used
convert linear recorders to
highly developed and patented instant acting varsitor
convertor. He also
Nearly all musical people prefer natural sound..
And natural sound begins with
Pickering. Right where the stylus meets the groove.
Any of the new Pickering
V -15 stereo cartridges will repro- duce the groove, the whole groove and nothing but the groove.
That's why a
Pickering can't help sounding natural and the rest of the reproducing equipment are quality. if the record of equally high
To assure four different
V -15 pickups, each designed for a specific compatability with your stereo equipment, there are application.
The V- 15AC
-1 is for conventional record changers, where high output and heavier tracking forces are required. the
-1 is for lighter tracking in the newer automatic turntables.
The even more compliant
-1 is ideal for professional -type manual turntables. And the
-1' with elliptical stylus is the choice of the technical sophisticate
No who demands the last word in tracking ability. other pickup design is quite like the Pickering
The cartridge weighs next to nothing (5 grams) in order to take full advantage of low
-mass tone arm systems. Pickering's ex- clusive Floating
Stylus and patented replaceable
V -Guard stylus assembly protect both the record and the diamond.
But the real payoff car hear the difference. is in the sound. At least for those who
L. i., N.Y.
hear the g difference.
a $1000 stereo system
See your hi
-fi or any of
125 other prizes!
To become dealer for entry blanks and full details. eligible, simply identify the musical people pictured above.
119 on Reader Service Care
100 watts at
Power band for both channels
12- 25,000 cps. is at
1% watts at
I.M. distortion. Continuous sine -wave power output (two channels) Is distortion.
Hum and noise: Phono -70c b,
Tuner -80db. Sensitivity: Phono 1.8mv,
Tuner 0.25-. Other Sherwood all -Silicon Solid -State amplifiers are the S-
-watts music power
$229.50 an= the S -9500, 50 watts music cower
. - t a
-WATT AMPLIFIER CIRCUITRY
-watt emplifier j29',
Sherwood is the best
The dictionary defines
"to challenge one to pass a test." The Sherwood
SILICON Solid -State 150
-watt com- bination zeam3- amplifier consistently passes tests against any competitors' products. These tests can involve either the accuracy of its
-watt power rating, the design of its Baxendall type controls, the reliability and coolness of its
(rated at l75; than
' /a %). the flatness of frequency response (
±Mdb), the elimination of hum and noise its lack of distortion
80db), or the sensitivity of its phono p-eamp ifier
How dare we say
Sherwood is the best? We can because comparative specifications, together with the experts' opinions and listening tests confirm again- and -again that Sherwood is the best!
Sherwoot flsctronic Laboratories, Inc., 4300
North California Ave., Chicago,
Circle 117 on Reader
dedicated engineer is constantly
searching for ways to improve his equipment. He strives to make it more compact, lightweight, and at- tractive while retaining all the desirable features displayed in earlier models.
WILS engineers are no exception.
They were intrigued with transistor circuits when the first CK -722's ap- peared on the market. Their experi- ments have uncovered many ways broadcast equipment can be improved using transistors instead of vacuum tubes.
-transistor console you see in
1 is one indication how successful their experiments have been turning out.
The sponsor's reaction when the console is room is placed in his store or show- one of surprise at how attractive a broadcasting unit can be built. At the same time, our engineers testify how easy the console can be moved from place
-to- place, set up, and taken down after a broadcast. Maintenance records over the past two years indicate a good history of reliability and low mainte- nance costs.
What about fidelity? Using the same equipment we employ in making
"proof-of-performance" measurements on our broadcasting system, we re- corded the following measurements:
An over -all audio frequency response of
°Chief Engineer, Station WILS, Lan- sing, Mich.
50 cps to 15,000 cps various tones into
feeding the either the microphone channels or employing a CBS test rec- ord on each turntable channel. Harmon- ic distortion was no greater than
1.8 per cent from 50 cps to 15,000 cps, the low
Hum and other extraneous noise meas- ured being 0.7
db per cent at 1000 cps. below a zero db output level. All measurements were taken with channel controls and the master gain control set in to
3 o'clock on their normal operating range, this range being from
10 o'clock the master gain control and
9 o'clock to
5 o'clock on the chan- nel control.
The microphone preamplifiers and the first stage of the program amplifier determined how much audio overload- ing could occur before distortion be- came objectionable.
Components in these amplifiers have been selected to give us
12 db of overload protection.
So far we have considered beauty, mobility, and fidelity. What have we done to make it convenient for the operator?
See the operator's eye view at the beginning of the article.) considerable amount of time was
A spent observing our operators in action. We talked with them and asked for their ideas. Their observations and sugges- tions were tempered with our past ex- perience in designing audio consoles.
The design formula became:
"Fit the electronic and mechanical into apparatus the space remaining after the com- forts and conveniences of are satisfied." the operator
Portable broadcast console and discothèque.
Having read this far, may
I assume you would like to build this console?
Let's start by building the cabinet. Ob- serving all the photos will be helpful.
Those parts visible to an audience are cut from
-in. walnut plywood. The bottom is cut from
-in. fir plywood
All cabinet joints are mitred, blocked, and glued. Sometimes it was found helpful to nail the blocks into place after they were "buttered" with glue and put in position. Two pieces of solid walnut were glued in place on the cabinet near each end of the operator's panel.
Solid of walnut was used instead wood tape because it was reasoned these areas could be easily damaged.
Don't forget to cut out the leg braces and round the ends of these pieces of plywood to follow the contour of the folding legs. Gerber folding legs are fastened to the underside of the cabinet with wood screws. Cut one set of fold- ing legs
-in. set. shorter than the other
-in. blocks of wood between this set of legs and the cabinet bottom.
Failing to do this, one set of legs will not fold over the other to a fully closed position. Use wood screws to fasten the plywood leg braces in place.
I recommend some type of leg- leveling device be installed in the ends of the
Gerber legs so the cabinet can be lev- eled if less encountered. than ideal conditions are
Three coats of
Vitrolene are applied to the cabinet to give it a durable, handsome varnish
-like finish. Use a fine grade of steel wool to smooth the sur- face of before applying successive coats
Vitrolene. After the surface is com- pletely dry, apply a good grade of furniture polish.
Because of its superior wearing quali- ties, anodized aluminum was selected for the operator's panel and the end panel.
A piano hinge is now riveted to the bottom edge of the operator's panel. Secure this hinge to the leading edge of the cabinet with wood screws.
Both panels are now ready for you to install parts on them. When every-
¿a iF sIa a
6£a s6a a) o u a)
C o u a) c o u
C o u a)
EK o u o
PARTS LIST FOR FIG.
UNLESS OTHERWISE STATED
(CA -1041 OHMITE
(CA -1041 OHMITE
(CA -1041 OHMITE
R65: 8200w, 5%
(CA -1041 OHMITE
ß80:300OO u, lOw
Cl: 25pí, 15v,
25 pf, 15v,
C4: 100pí, 15v,
25 pf, 15v,
C9: 25pf, 25v,
25 pf, 15v,
C13: 100pf, 25v,
25 pf, 15v,
CIS: 150pf, 15v,
C19: 25 pf, 15v,
=SPRAGUE CL= CENTRALAB
C23: 150pf, 15v,
25 pf, 15v,
25 pf, 15v,
0.05 pf, 10v,
CL UK 10 -503
C33: 25 pf, 15v,
C35: 25 pf, 15v,
10v, CL UK 10-50.3
C41: 5 pf, 25v,
C44: 100pí, 25v,
T2: TRANSFORMER, INTERSTAGE
(GATES 478- 0053 -000)
13: TRANSFORMER, OUTPUT
SWI, 5, 7: SWITCHES, SWITCHCRAFT 3036-L
3, 4, 6: SWITCHES, SWITCHCRAFT 30312
SWITCHCRAFT 3501 -FP
VU METER, SIMPSON 110470,
MODEL 142, A
RLY1: RELAY, SPEAKER
POTTER -BRUMFIELD KM
P.A. VOLUME CONTROL PLUG,
2, 3, 7, 8,
Q4, 5, 6: G.E. 2N44
Q15: RCA 2N301
TURNTABLES: QRK MODEL 12
CUT TO SIZE
4 thing is installed on the end panel, use wood screws to fasten it to the inside of the cabinet opening provided for it. In- stall all parts on the operator's panel except the turntable potentiometers.
Make a "U" shaped aluminum bracket and mount the two potentiometers and two microswitches on it. They are posi- tioned so when a flat area is filed in the side of the potentiometer shaft, the microswitch is mounted so its lever rests in the flat area when the pot is turned off.
This is called a
The completed assembly is operator's fastened to the panel with shaft bushings through the
"U" bracket holding the sub -assembly to convenience the front panel. The provided lets the operator cue -up records anytime the turntable potentiometer is turned off without hav- ing to actuate another switch. The PRO-
GRAM, AUDITION, and GROUND busses should be installed on tie -points screwed down to each switch, as shown in Fig.
5. position to the auxiliary input on the end
SW,. This gives us two inputs for the price of one preamplifier.
A 50 db fixed pad is inserted ahead of the preamplifier when it is used for a
ON END PANEL
tape recorder, remote line, or third turn.. table input. Transformer
-1 provides a
500 -ohm to 2000 -ohm impedance match and isolates the input from possible d.c. leakage across
Lets make a quick tour of the schem- atic diagram
Fig. 2) before starting to build the Vector board amplifiers. Start- ing in the upper left -hand corner, we have the
-2 preamplifier. The frequency response, temperature stabil- ity, and low distortion exhibited by this amplifier are excellent. Its input is switched from the
OUTLETS INSIDE CABINETS
Power supply schematic. (Parts
00 e e e e e
+1.3 d. c.
R223: 2700 w
1000w, LINEAR POT.
470, 000 w
1800pf, ARCO ELEMENCO DM-
1600 pf, 50v,
SPRAGUE TVA 1209
-206: DIODE, INTERNATIONAL RECTIFIER
D207: ZENER DIODE, 1N3022 -B
T201: POWER TRANSFORMER,
T202: BIAS TRANSFORMER, MERIT
VOLUME CONTROL SOCKET, CINCH
SOCKET, CINCH -JONES
-306 AB -
5203: A. C. PLUG
F202: LAMP d. c. SUPPLY FUSE
P202: POWER PLUG,
P203: MUTED SPEAKER
CINCH -JONES 13A
J201: AUDIO INPUT SOCKET, CINCH -JONES 81A
OUTLET, CINCH -JONES
CINCH -JONES 81A
PANEL, SWITCHCRAFT LI1
J205:PHONE JACK (PA DRIVE) ON
CINCH -JONES 2H3
Q207: G.E. 2N169A
FOR FIG. 3 and 4
The next preamplifier down on left is used solely to amplify the the audio voltage generated by the microphone mounted on top of the console.
It is identical with the preamplifier just de- scribed, except it has no input trans- former. Although the characteristic in- put impedance of the preamplifier is around 2000 ohms, little change in fre- quency response or loss in signal level is experienced using a 150 -ohm micro- phone. The difference in signal level amounts to about 5 db.
Thanks to the many fine articles technical written about equalized phono preamplifiers, we signing the two had no difficulty de- appearing directly be- low the microphone preamplifiers.
They have an excellent
RIAA playback re- sponse when used with a
Shure M3D cartridge. Parallel the outputs of this stereo cartridge for monophonic use.
These amplifiers also have low distortion and excellent temperature stability.
Our program amplifier appears in the upper right hand corner of the sche- matic. below
The earphone amplifier is directly the program amplifier.
It is an intermediate -gain amplifier designed to amplify audio appearing on the
GRAM, AUDITION, busses to busses or
EXTERNAL INPUT earphone volume operate at a level of level.
A level much too low for satisfactory ear- phone listening.
Last, in the bottom -right corner is the cue amplifier.
An amplifier designed to raise the cue buss audio level to about
200 milliwatts and feed the small Quam speaker, it produces adequate volume for cueing even in noisy locations.
We are ready to build the Vector board amplifiers. Space does not per- mit me to show complete parts place- ment for these amplifiers, however it is not nearly as critical as in tube am- plifiers. Although it consumes more area, it was found advantageous to all put parts on one side of the board and wire up interconnections on the oppo- site side.
-B terminals are swaged into place on each Vector board to pro- vide tie -points and inter- connecting terminals. Those displayed across the front edge of the boards are used as terminals for the inputs, power leads, and outputs for the various amplifiers.
However, there are two exceptions where this could not be done.
On the turntable preamplifiers, the input is brought out to a pin jack near the rear edge of the board. Along of the front edge the program amplifier, from left
-to- right, are the input, master volume con- trol, and power terminals. corner and going
Turning the up along the side of the cabinet, we have the meter voltage drive for pad, the earphone amplifier, and the program amplifier output ter- minals.
All Vector board amplifiers are mounted above the cabinet bottom on two wooden strips. They are directly below the operator's panel for conven- ient servicing, if necessary.
5. Chassis before turntables are installed. solid hook -un wire.
The tnrntahlnc power supply, and the a.c. distribution strip in the bottom of the console were wired with plastic lamp cord.
All wiring and interconnecting com- pleted, install the turntables and tone arms, microphone, and copy rack.
When you apply power to the con- sole for the first time, it is wise to mon- itor the
Be prepared to remove power from voltage doesn't come up to or more immediately. If this should happen, remove
the console if the from
the volts power supply by unfastening plifier chassis from the power am- the panel and pull- ing it away from the power supply.
Also, remove the
volt lead on
that feeds voltage to the Vector ampli- fiers.
If this doesn't clear the trouble, it is in the power supply and is most likely
After you have cleared the trouble, adjust
for a final voltage reading of
volts. panel. Locations of the major are shown in Fig.
Everything having been built and installed except the turntables, it be- comes a relatively easy task intercon- necting the amplifiers, power supply, end -panel, and operator's panel. Follow your schematic diagrams and the var- ious illustrations carefully. Note how we have harnessed the audio cables leaving the operator's panel and laced them to- gether so as to form just two large cables.
You should use two -pair, stranded, shielded, audio cable for all audio runs. Power connection on the end panel were made using
To check console out the operation of the under normal programming conditions, the
MASTER gain control should be set to
MONITOR volume to
TURNTABLE channels to
Mic channels to
2 o'clock. The
CUE volume control should be wide open and the
PHONES volume to nearly wide open. Channel switches should all be placed in the
(Continued on page
Fig. 6. Closeup of the Vector boards showing placement in cabinet.
and Power Supply
Our amplifier is rated at
Heat sinks must be provided for power output and voltage regulating trans- istors. For this reason, the amplifier and power supply were built on two alumi- num chassis and secured to a common
0204 Q205 Q207 0209
Closeup of power amplifier and power supply chassis showing placement of major components.
Fuses are on bottom to facilitate replacement.
Transducers on the
instrument eliminate recording
Barcus and John Berr\
Long Beach, Calif., do not believe in microphones. The primary function of a disc or tape, they believe, is to pro- vide a facsimile of a musical perform- ance. To them, ambient studio sound, whether tolerated as a necessary evil or elevated by the term
"concert hall presence," is tortion. nothing more than dis-
They have devised a called technique the
Barcus -Berry Direct Record- ing Process. Instead of microphones, it uses a transducing system that acquires its signal directly from the bridge of a stringed instrument, from the mouth- piece or reed of brass, from the vibrat- ing element of percussion.
By coaxial cable, the energy is transmitted to a mixing panel, then split between an
Ampex 300 tape recorder and toring section that employs a a moni- high
- fidelity amplifier and loudspeaker sys- tems.
For years Barcus worked with vir- tually every type of microphone, amplifier and loudspeaker produced, always reaching an almost- but -not- quite plateau.
John Berry was introduced to him through a mutual friend about five years ago, bringing to the partnership a well- developed talent as a concert violinist and a passionate interest in seeing his instrument reproduced to a musician's satisfaction.
Louis Kievman at record- ing session for
Dvorak Quintet. Though instrument is completely redesigned, weight and dimensions of traditional viola are retained.
Fig. 2. ry and
Roland Bundock, bass;
Kurt Rener, cello; and Louis
They began anew. Microphones were tried again, using every conceivable technique. The men met the same prob- lems that plague every record company, large or small.
(Repeat records is their
Pickup element is concealed in bridge and body of instru- ment. company.) Electric guitar pickups were tried and discarded, although persons introduced to the new system usually suspect them as the secret.
Contact microphones, too, came in for a share of attention, but they re- produced everything.
A violin or cello was heard in its entirety, including every obnoxious scratching and scrap- ing, the sound of the artist's chin rub- bing on its rest and his fingers popping on the fingerboard.
Then came the concept that a vi- brating string's energy can be captured at its source. Two tiny wires were placed in a violin bridge, an electronic unit was voila! added to the circuit and
Recording was direct. So were several phenomena of dubious benefit.
Barcus and Berry spent days reliving some of the lesser contact microphone problems, along with the body noises inherent in close -heard fiddle.
For a violinist, John Berry took a drastic step, one that ihas lured musician, scientist and crackpot alike into an acoustic morass, when he be- came an accomplice to redesigning the instrument.
"Stripped of its glamour," Barry explains, "all the art in a del Jesu
Guarnerius or a fine
Stradivarius is confined to an the chest, which serves as acoustic amplifier, nothing more." of
"Therefore," he continues,
"a string proper quality, tension, gauge and length can sound only like a violin string, provided it can be amplified sufficiently."
Proof is in
Repeat's Opus I, an ex- perimental rendition of standard melo- dies using two violins, viola, cello, bass, piano and guitar. The direct process captured all the sound normally heard by a concert -goer in about fourth row, center orchestra.
The new string family seeks to nul-
Iffy all the false resonances, dead spots and notes that must be given special attention by a violinist. In redesigning, the partners built instruments of hard- wood.
Fingerboard, length and
"feel" were retained
serving merely as an anchor for strings.
The new instruments, looking much like something to of be seen in modern art, were first a gallery dubbed
"Violectras," a name later dropped at the suggestion of musicians who have worked with the new recording system.
"They sound as they're supposed to," the artists said, "so why fool with the name ?"
Repeat's second release, Gentle Jazz, uses redesigned violin, bass, piano and guitar, along with a new development, once called the "Baritone Violectra."
The same size as a fiddle, but with much heavier strings, the baritone in- vades the register of the cello with the facility of execution of the smaller instrument.
It has possibilities tran- scending mere novelty.
A brand new piano might be sug- gested for a brand new process, but pianist- arranger Fred Valdez furnished a 60- year
-old Chickering grand in the interests of science.
Here again, all the partners wanted were strings, a place to anchor them, and the transducing system.
First to go was the sounding board, unceremoniously ripped out and dump- ed.
Tonal effect is unnoticed. The three -string unisons were reduced to two for simplicity in with no deterioration quality, except when unamplified.
Without the monitoring system, the instrument is barely heard. The sustain- ing pedal mechanism was altered so that, when depressed, only those notes in use are sustained.
Dampers remain on the others, eliminating unwanted sympathetic vibration. The muting pedal, which usually shifts hammers from three strings to two, now shifts to one, adding a slightly different sound to traditional piano tone. Natural- ly, the instrument is prepared to record
in full stereo. The effect is not lost on pianists when they try their first arpeggio.
Reeds, brass fewer problems and percussion caused than strings.
- tioned, the pioneers decided on the mouthpiece as the pickup point on winds, except for the flute family, in which the end plug is used.
"If you blow a horn with a clarinet mouthpiece," Barcus suggests, "it will sound more like a horn instrument. Sound is than any reed made by the reed or lips, with the body of serving to the instrument change quality and pitch.
There's nothing for us at the bell or in the body."
"The direct process calls for a little more push," recording artist Nash says.
"The sax, for example, doesn't give the illusion of playing itself. But I'm well satisfied with process and its the accuracy of the quality."
After engineering the transfer from tape to disc of
Opus I and Gentle Jazz,
"I first thought it might be just another gimmick, but now I'm sure it's out of
Fig. 6. Reed man
Ted Nash's phone mouthpiece is alto
"transduced" saxo- from tiny wires directly under reed. Horn mouthpiece wiring begins immediately under lip. Notches are made, then re- filled after wire is added. that category. We did find that only top equipment will do the job of mak- ing a good transfer.
With an absolute lack of studio sound, you'must be sure you don't add any mechanical noise in the mastering process."
Another facet of the system brought out in making discs is the energy con- tained on the original tape. While heavy bass tones will often cause groove jump- ing, it's seldom that mid -ranges exhibit the effect. On
Rural Rhythm, the sharp tap of a wood block had to be tenderly handled.
With the earliest recordings, Barcus and Berry happily learned that most of the problems found in conventional methods were eliminated.
"We have absolute control," they declare "We can record from strength, capturing sounds never before repro- duced. From there we must subtract.
Our criterion is established by musicians, our sole judges." the
A recording session is informality itself.
A listening room serves as the studio. On a warm day, doors remain open with no in thought given jet aircraft the
Long Beach landing pattern, passing diesel trucks or as tortured rubber drivers miscalculate a traffic signal a few yards away.
Only the sounds of the instruments reach the tape recorder. Since the sound until amplified, musicians re- designed violin family produces little have had to adjust to hearing themselves on the monitoring loudspeakers several feet away. Naturally, with instant playback, retakes are cut to a minimum.
Kurt Reber, first cellist with the
Angeles Philharmonic, recalls,
"The adjustment was a problem, at first, since we're used to hearing an instru- ment as well as feeling it.
But with an opportunity to practice beforehand, and the sound coming over the speakers just as we hear it, we managed to adapt.
What surprised me was the way you can `crank on' the volume without dis- tortion."
Reher, who worked on
Opus I, also appears on Dvorak's
Quintet in G major, Op.
77, with John Berry and
Sosson, violins; Louis Kiev - men, viola, and Roland Bundock, bass.
"For the first time," Bundock says,
"people can hear real fundamental tone from a bass fiddle. And it's wonderful doing the job yourself without an engi- neer `riding gain'."
Marshall Sosson quickly reached a decision shared by everyone who has worked with direct recording: "There just isn't any place to hide. Nothing can be done to help a bad note or faulty execution."
The firm's partners are the first to admit that a premium is placed on musical competence. It just happens that that's exactly what they want, and one of the reasons all the artists to date have been symphony, motion -pic- ture and
recording studio men.
Engineering a direct- recorded session is accomplished by
(Continued on page 55)
(1) pushing the
Redesigned cello, guitar, mixing panel and Ampex 300
Cables lead to three -channel stereo piano. tape recorder.
The Hi -Fi
What we are after now is a means for recording and reproducing high quality stereophonic signals in as quantitative a manner as to be within financial reason.
This is clearly a high fidelity set -up, but with added requirements not presently available commercially. Since a tape re- corder is required and never includes within its confines the complete circuit, its relation to the consideration.
The rest is the very first author agrees with
(JUMPER PROVIDED WHEN
TAPE RECORDER REMOVED)
\ VOLUME b
(Automatically connects in- put to output when turned off
Incorporating a tape recorder into music system.
0.96 v RMS
WITH HIGH BOOST
Y m ua g x s3
FRONT PANEL CONTROLS LISTED)
SEPARATION RATIO ADJUST
0.445 v RMS
P6 BASS SLOPE
P7 TREBLE SLOPE
.MS (FLAT) o
60 TO 600o LOAD o0.8TO8wLOAD
CALIBRATED SEPARATION RATIO
DETECTOR CIRCUIT INCLUDES:
510 METER SELECTOR
P17 SEPARATION RATIO CALIBRATE
2. Block diagram of system.
TAKEN WITH SEPARATION
BALANCE CENTERED, LEVEL FULL
0 v D. C.
1° b. ló
EACH CHANNEL ti
MAX. 43k MIN.
52 TO HANDLE PUSH
Ross Snyder7 on how to inte- grate a tape recorder into a hi
His gospel, good as new after
10 years, is simple; install the tape recorder be- tween the program selector and tone controls with optional bypass connection.
8 of the original article) is our basic block diagram before the ad- dition of requirements that prompt the present article. Note that the recorder is in series with the signal path, so feed- back howl will never occur due to an in- advertent slip of a knob twiddler's fin- gers, yet when none of its functions are required it is simply shut off.
Don't let the simplicity of this arrangement fool you. See how many control units you can name where this pattern is clearly stated in the instructions and unmistakeably implied on the schematic.
Ross H. into the page
Snyder "Building Simplicity
Hi -Fi System,"
Snyder's arrange- ment enlarged upon to include the author's present needs and also to show in the outline form what he considers to be best arrangement for internal tape recorder circuits. The tape /source pot is preferred to an AFB switch for con- venience with the variable level signals one always has to contend with.
With a semi -log taper on each side of center tap it is virtually as fast to use in prac- tice as a switch. Following the recorder, the stereo controls
3) work their way from a
1 kilohm input impedance up to 50 kilohms output into the tone control buffer
They include a separation controls modified to operate at approximately
1 kilohm impedance level and integrated with a balance con- trol at approximately
The relatively low balance control impedance s
"A Dimension Control for Stereo," Electronics
56. obviates the need of an impedance drop- ping amplifier into the contour networks and level control. This saves several transistors but requires an undistorted output from the higher than usual tape recorder a few db for a line level signal.
Some tape recorder output stages may require "beefing up" to be compatible.
The tone control (Fig.
5) is an adapta- tion of the Baxandall feedback circuit along the lines of the modification de- scribed by Barhydt10 in which he offers switched control of turnover frequencies and continuous adjustment of slopes be- tween the asymptotes. The impedance level was reduced by a factor of
4.7 for compatibility with the active networks and different ranges of turnover selec- tions were calculated
( complete informa- tion on this is included in the reference).
P. Wentworth, "An Improved
30. lo Hamilton
Tone Control page
Ammo, Aug. 1956,
LEVELS ARE RMS, CORRESPOND TO
40 mv OUTPUT AT
RMS ACROSS 60w)
D. C. f
CONNECTED TO THE SLIDER OF
T.P. a db
(EFFECTIVE LOAD OF
EFFECTIVE LOAD 250
Second stage design. (above)
Linearized first stage. (left)
Here is the first stumbling block in the circuit design.
For maximum portability it was decided to build the new control unit into the tape recorder assembly, the available space measuring
3 x 5 x
17 inches, hardly enough to avoid over
(Continued on page 54)
` POS. 1,
POS. 6, FLAT
N a n
O O O O
300p'fr o o
0 0 0
FOR ELECTRON TUBE
1956, p.18 i-10v
-4.8 v D. C.
Transistor version of Baxandall tone control (Barhydt modification).
Ii, in 1631, the horse means No you went to rent a horse from Thomas Hobson at
Cambridge, England, you took that stood next to the door. And no other. Period. Hence, Hobson's Choice
And, as recently as
1961, if you went to buy a true high fidelity stereo phono cartridge, you bought the
Just as the critics and musicians did.
It was ac- knowledged as the ONLY choice for the critical listener.
Since then, Shure has developed several models of their
Stereo Dynetic cartridges
designed for optimum performance in specific kinds of systems, each designed for a specific kind of porte
We trust this
Shure brief recitation of the significant features covering the various members of the cartridge family
help guide you to the best choice for you.
15° tracking and Bi- Radial Ellip- tical stylus reduces Tracing (pinch effect), IM and
Harmonic Distortion to unprecedented lows. Scratch -proof. Extraordinary quality con- trol throughout. Literally handmade and in- dividually tested.
In a class by itself for repro- ducing music from mono as well as stereo discs.
IS YOUR BEST SELECTION
If your tone
(either with arm tracks manual or at
11/2 grams or less automatic turntable)
and if you want the very best, regardless of price, this is without question your cartridge.
It is designed for the purist ist whose
- entire system must be composed of the finest equipment in every category. Shure's finest cartridge. $62.50.
Designed to give professional performance!
Elliptical diamond stylus and new 15° vertical tracking angle provide freedom from distor- lion.
Low Mass. Scratch
-proof. Similar to
V -15, except that it is made under standard control conditions. quality
If you seek outstanding performance and your tonearm will track at forces of
1Vs grams, the
M55E will satisfy
Will improve the sound from your high actually fidelity system! (Unless you're using the V
Shure's finest cartridge.)
A special value at
A premium quality cartridge at a modest price.
15° tracking angle conforms to the 15° RIAA and EIA proposed standard cently adopted by most recording companies.
Harmonic distortion cutting angle re- are remarkably low gated in
-talk between channels is ne- critical low and mid -frequency ranges.
If you track between
11/2 grams, the
.0005" stylus represents a best
-buy investment. If you track between
3 grams, the M44
-7 is for you
particularly if you have a great
Both have number
Either model under
$25.00. of older retractile records. stylus.
A top -rated cartridge featuring the highly compliant
N21D tubular stylus.
Noted for its sweet,
"singing" quality throughout the audi- ble spectrum and especially its singular re- creation of clean mid -range sounds (where most of the music really "happens ".) Budget- priced, too.
21/2 gram your present set -up than
$20.00, it is tracking. sounds
At if less truly an outstanding buy.
(Also, if you own regular M7D, you can up- grade it for higher compliance and lighter tracking by installing an N21D stylus.)
Stereo -Dynetic cartridge head shell assembly for
Miracord automatic turntable owners. The cartridge counterbalancing springs
makes the stylus scratch
. ends tone arm
If floor vibration is a problem.
Saves your records. Models for Garrard Laboratory Type
AT -6, AT -60 and
50 automatic turntables and
10H turntables. Under
$25.00 including head shell,
.0007" diamond stylus.
-seller with extremely musical and trans- parent sound at rock -bottom price.
Tracks at pressures as high as 6 grams, as low as
The original famous
If cost is the dominant factor.
Lowest price of any Shure Stereo
Dynetic cartridge (about
with almost universal application. used with any changer. Very rugged.
HIGH FIDELITY PHONO CARTRIDGES... WORLD STANDARD
WHEREVER SOUND QUALITY
Shure Brothers, Inc.,
Ave., Evanston, Illinois
120 on Reader Service Card
A new "Scotchflex" flat cable sys- tem, designed especially for custom stereo, hi -fi, intercom or background music systems has been introduced by
3M Company. Similar to a station wir- ing system currently used by many telephone companies, "Scotchflex" au- dio flat cable
No. 800 is a 4- conductor,
No. 22 AWG stranded wire, embedded in a flat vinyl strip, with an adhesive backing that will adhere to any clean, relatively smooth, firm surface.
800 was designed for the sound engineer who needs a slightly heavier system to carry an ex- tra load, or operate over extended dis- tances. It is adaptable to nearly every type of music or intercom arrangement and to any room or building.
A series of accessories for termina- tion, splicing and transition connec- tions complete the package. Included are "Scotchflex"
No. 728 terminals,
4- post transition devices for connecting amplifiers or speakers to to the cable sys- tem; No.
729 splice units with which splice flat cable when extending the main system; No.
730 plugs and re- ceptacles, to connect amplifiers or speakers into the system; and
No. 731 corner covers, to protect and secure corners made with the cable.
No. 800 audio flat cable system is primarily a
4- conduc- tor system, it may be modified for long run applications where resistance be- comes too high through the adjacent wires to provide use of shorting bars, which parallel connect lent of a 19- gauge,
The shorting bars are provided with individual terminals or connectors.
With the use of conductor the
No. the equiva- system.
729 splice unit accessory, any length of cable or cable layout is possible.
No. 728 terminal or ceptacle, any number the of
No. 730 speakers the re- can be connected to an intercom or back- ground music system. Greater use of a limited number of speakers can be made by prepositioning the
No. 730 receptacle units about the room or office and then plugging in speakers as desired at one or several locations. No stripping of wires is necessary for in- stallation. Splices in connections in the cable and the special terminal blocks are made with the
"U- Element" connector, which makes an electrically efficient, tion simply by
No. 800 audio flat cable system has a amperes ance of mechanically strong connec- pressing in place. rated current capacity per conductor,
ohms with a of
4.5 resist- per conductor foot at
68 deg. F. The system is chemically inert to moisture and most common solvents, once applied to a dry surface.
The insulation material is self extin- guishing and may be any common house painted over with paint.
FM dipole at ceiling.
Connecting high fidelity amplifier to speaker (left and above).
A. speaker at Bethany Hospital in Kansas
(Installation by Tele- Music, Inc.)
If it wasn't for this monstrous
"Voice of the Theatre
843A 838B A7W, A?-500W
you could these probably never afford
enjoy the no- compromise big sound of
Because their no- distortion mid
-range (with highs and lows to match) which embraces 90% of all musical material would be beyond the reach of anybody except people in the industry: the recording and broadcast studios, and the networks. Most of whom use them. (Who else in the hi
-fi industry can make a claim like this?
J, K, K, L, P, Q,
S. T. U, W ?)
And maybe even these discriminating speaker buyers couldn't afford to help us amortize the research and development costs of developing
P1,.AYBACK systems like our beautifully furni- ture- styled 843A "Malibu';
A7W. Thank goodness they (and you) don't have to.
Theatre owners the world over have done it already. Ever since 1945, when Altec introduced the first (and only) commercially
- available speaker systems approved by the
Research Council of the Academy of Motion
Picture Arts and Sciences.
So unless you have room for two of our 1,400 lb. "Voice gest you
PLAYBACK, of the Theatre" Systems, we'd sug- consider the only next best systems like thing: the ones available to recording and broadcast studios and you at the same reasonable, R&D- prepaid prices.
For example, the new Altec 843A "Malibu" is a bargain at $356.00 because it contains speaker components that are nearly identical to our giant two -way theatre models: two low fre- quency speakers, a horn
-loaded high frequency driver with low crossover. and a two -section dividing network. The "Malibu" is first and foremost a beautifully hand -crafted furniture piece tailored into a space -saving upright wal- nut enclosure room.
For a that will do credit to any living horizontal version of the same thing, try the 838B "Carmel" at
$384.00, you can own the new
Altec A7W which is identical, in every way but looks, to our famous "baby" "Voice of the
This for people who like over -emphasized instrumental bass. extreme low pass filter connects between amplifier output and speaker input. Suitable for use only with high efficiency speakers. Price:
The difference is that the A7W comes in walnut finish, while the
A7 comes in a rather spartan utility cabinet (though at only $288.00 who will complain?) fm built
Other full -size Altec Speaker Systems available from $2t4.50 for nado" to $411.00 the space- saving
What more can we tell you? Just to "A -B" these
PLAYBACK systems against anything and everything you can find at your nearby leading
In the meantime, get your copy of Hi
Stereo Review's Great Debate: "Is a good big speaker better than a good little speaker?" The affirmative, quite own naturally, is presented by our
Chief Engineer of Acoustics
Alexis Badmaieff. The negative is presented by a well
-known manufacturer of little speakers.
So find are out for yourself why full
-size speakers now the rage. Merely write Dept.
Temco- Vought, Inc.
All prices shown exclusive of applicalsle Federal Excise Tax.
121 on Reader Service Card
With the appearance of more and more transistorized amplifiers, it seems likely that descriptive literature may soon resort to the terminology employed in the automotive industry, for "cool" and "compact" are certain to be used.
For whatever else transistors have of- fered in the amplifier category
that is plenty
can be compact, and they certainly run cool.
The new Scott 260 is also compact.
Matching other Scutt components in general appearance and size (most re- quire the same panel cutout -4% x
14% in.) it offers a full -size 80 watts
( music power) as a fitting companion to the already well -accepted line of Scott tun- ers
particularly the 312
still runs cool enough as not to require any excessive precautions
As a about ventilation. matter of fact, it dissipates only 25 watts of heat at standby, and radiates less heat than a
100 -watt lamp under full power.
In appearance, the
260 could be a conventional tube amplifier except for its size.
The panel is
4% x 15 in. and it requires a depth of 13 in. from the front of the mounting panel.
A dividing line separates four switches and a volume
- control knob at the top from the less
- used controls such as input, selector, bass, treble, balance, and and power switches in the the speaker lower half.
The upper switches are
BLE, SCRATCH, and
INPUT switch has four positions
TAPE HEAD, PHONO, TUNER, and
EXTRA, the latter being a welcome change from
U the usual
The selector switch of- fers seven positions -BAL L,
MONO, STEREO, REVERSE STEREO, L
"BAL" positions are a
Scott fea- ture which combines signals from both channels and feeds them only to either
R speakers, permitting an accurate balance adjustment between them. The
R inputs select the input from either channel and feeds it monophon- ically to both speakers. The other posi- tions are self
Next in line across the bottom are the dual -concentric bass and controls treble tone providing separate control of the channels yet permitting easy control over both channels at once when de- sired. tion is
The last knob on the bottom sec- the balance control. The remain- der of the section is occupied with the speaker and power switches, a pilot lamp, and a stereo headphone jack
especially desirable feature in these days of headphone popularity.
The rear panel mounts a power fuse and two speaker fuses, two convenience receptacles
switched and the other not jack, jacks,
- a derived center -channel phono tape recorder feed and output four pairs of inputs for
HEAD, PHONO, TUNER, and
Also included are a grounding terminal, a slide switch for each channel to adjust for speaker impedance- either
16 ohms or 4 ohms, and a three
-position slide switch to adjust phono input sen- sitivity.
These last three switches are especially desirable, since the user may have two speakers with different im- pedances-or perhaps he wishes to par- allel another speaker to feed a different
Model 260 solid
- state amplifier. location, and thus requires a different output impedance-and not all phono cartridges are of the same output level, though many amplifiers make no provi- sion for this condition. In the 260, the
SENSITIVITY which adjust switch has three positions the amplifier
(by a change in the preamp feedback circuit) to give rated output at
3 -, 5
-mv inputs, respectively. In tion of the least -sensitive posi- the switch, preamp overload is satisfactorily high at
63 mv, while there is still adequate gain in the most- sensi- tive position for the lowest -level car- tridges. The
9 mv position will be fine for most cartridges. This phono overload point has become the first parameter we measure, since we have some units which have been encountered disappoint- ing in this figure. It is our opinion that the preamp overload signal should be at least 40 mv, since tridges with average car- and records, this value is reached more than occasionally. This measure- ment is made at
1000 cps, and the over- load point diminishes rapidly as fre- quency is lowered.
The two channels of the
260 are, of course, identical, and each employs 11 transistors, mostly silicons. The preamp section uses three
2N2926's and one 2N2613 or
2N508A. is provided in
Equalization the feedback circuit, as is also the sensitivity change previously described. This is followed by one sec- tion of the input switch and the tone
- control amplifier, which uses two more
2N2926's. The tone control circuit is similar to the Baxandall in that the fre- quency discrimination is provided by feedback.
The scratch and rumble filters are also incorporated in this section. The driver section comes next, and employs three selected 2N3053's and one 2N-
398B, the latter a
PNP unit used as a phase reverser. This section feeds the single -ended push -pull output stage us- ing a
3235's matched pair of 2N3055's or 2N- mounted on a large heat sink.
Bias and balance adjustments for the output section are provided in the driver amplifier. No transformers are employed in the audio circuits, and though this somewhat complicates the design, it does result in a fine amplifier with a minimum of phase shift through- out.
The accommodation for differing speaker impedances is a switchable net- work in the feedback circuit from out- put to the base of the first transistor in the driver section. Coupling to the speaker from the common point of the output pair is by means of a
capacitor to give good low- frequency response. has an
The derived center channel impedance of
4700 ohms, the value of a resistor to ground from this point, which is fed by an 82,000
/Illl /irI g(lid
TOCCATAS with the world's
And if you can't wait-.
give up. What is
Reader Service Card
resistor from the two speaker lines.
The speaker terminals are fused to prevent any damage to case of a the output stages in short in the leads
open circuit makes no difference, apparently, since the speaker switch simply opens the circuit without substituting a dum- my load.
The headphone jack is fed through a
220 -ohm resistor from each speaker lead.
The power supply uses two silicon rectifiers, 2250 µf of capacitive filtering, and one 27 -volt Zener diode to stabilize the low -level stages.
As we have learned to expect with
Scott equipment, the 260 lives up to its specifications
exceeding them in places. We measured 0.8 per cent total harmonic distortion at 45 watts
- wave) output, while the specifications claim only 30 watts. With both chan- nels operating simultaneously, we meas- ured 40 watts per channel at
0.8 per cent THD. At the more usual output level of around one with efficient speakers
THD of only 0.15 per cent, which is certainly exceptionally good. IM was less than
1 per cent at rated power (60 and 7000 cps,
A signal of approximately 0.5 volts available to feed a tape recorder, and rated output from the amplifier is achieved with only
2 mv input from a tape head.
3, 5, and
9 mv, respectively, will provide rated output from the phono input at three settings of the sensitivity switch, while the high level inputs require approximately 0.5 volts for is the same output. The scratch filter down about
7 db at 10,000 cps, com- mencing to roll off at 3500 cps.
The rumble filter is down
11 db at 50 cps, with the effect commencing at
125 cps. about
Loudness compensation meas- ured
8.7 db at 50 cps, and the tone con- trols provide a boost and cut of 10.5 db at
10,000 cps, and 13.3 db boost and cut at 30 cps.
These symmetrical figures betoken considerable care in the selection of values in the tone -control circuits, and the over
-all design appears to be con- servatively done
electrically and mechanically.
Until someone finds out how to de- rive adequate aesthetic pleasure from meters or an oscilloscope, the ultimate proof of a hi
-fi component is in the lis- tening. Second to this is how it handles.
If an amplifier sounds good but is poorly arranged or difficult to operate or the switches are the volume and tone controls have the wrong taper, the user is likely to become disenchanted after a few hours of even delightful listening.
The 260 has "nice manners" in op- eration and we certainly could find no fault whatever in its handling. We were pleased at the solid bass, resulting largely from the high damping factor
seems to be the reason for the so- called "transistor sound," which might be described as a
"tightness" or "dry- ness." This a type of sound results from complete elimination of loudspeaker hangover. High- frequencies from such instruments as violins and oboes have a silky smoothness which is pure joy to hear in any reproduction.
Now may be the time for all good audiofans to convert to solid
-state am- plifiers
if you are thinking of buy- ing any amplifier, the 260 is bound to be a most satisfactory choice. Circle
-62 is not a new turn- table; rather it is a significant updating of a well established system. Its direct ancestor was the
-61, a unit that es- tablished a good reputation for itself at a very modest price.
The differences between the. B -61 and
-62 are not obviously visible: The arm has been redesigned so accommodate a that it can wider range of cart- ridge weights at the lowest stylus forces; the stylus force adjustment has been altered; the cartridge shell is metal instead of plastic. Otherwise, this is much the same unit as before.
-62 is an integrated unit. That is, the arm and turntable are irrevoc- ably married to each other.
The arm is of a static balance type, stylus force comes from unbalancing the arm for the required downward force. The on- off switch is linked to an arm lift de- vice that is completely disconnected when the arm is in play position.
The turntable is really unique. It consists of a
-lb. non -ferrous platter that is driven by a four
-pole motor. The motor is linked to the platter by a puck drive on the underside of the platter
(not its rim).
Accordingly the under- side of the platter is accurately ma- chined and polished. Of major interest is the shaft from the motor that drives the puck.
Instead of the usual step diameters for shaft is a the various speeds, this tapered shaft with three steps,
Turntable each step tapered
( there are actually four speeds
and 45 are on one step)
The result is continuously varia- ble speeds. Steps are provided for prac- tical purposes, the shaft would have to be too long without speed change is them. Continuous provided from just be- low 33 to a bit over 80 rpm.
The value of this speed control is obvious to the music lover. Particularly, if he plays along or has a collection of older non
-standard speed discs. Precise pitch control is his.
At the same time,
Bogen recognizes that fishing for an exact speed is tea, so not everyone's cup of they provide four click -in stops for the four popular speeds.
As received, the
-62 was right on speed at 120 volts: at
130 v it
1.5 per was only 0.5 it became 2.0 cent fast; at 100 volts per cent slow; at
85 volts per cent slow.
These are very satisfactory sus- voltage figures speed regulation -ver- indeed. And remem- ber that the table can be adjusted to exact accuracy regardless of voltage.
Flutter measured 0.09 per cent while wow was 0.40
Rumble per cent. measured
25 db based on
/sec recorded velocity at
However, oscilloscope checks showed that the rumble was all well below 20 cps
15 cps). tracking error was moderately
Empire 880P cartridge, we measured
1 degree per inch as the arm moved inward. Maximum error at a 6 in. diameter was just under
3 de- grees. Arm resonance was very low in frequency (10 cps) and was
This places it well below the range of recorded music and should cause no performance problems at all.
Listening tests were made to find how far the ear could confirm these measurements. Rumble is inaudible, mono or stereo. Piano tones were pure without audible flutter or wow.
The arm tracked well at the lowest recom- mended forces.
This table sells for a mere $64.95.
It is solidly built, and appears extremely reliable. And, it performs quite well in- deed.
Circle 209 on Reader Service Card
(Continued on page 44)
purchased control of
Sid Simonson (Rek
Vice -President) and
Hal Dennis (Rek
reason why everyone
-Kut as the very
thinks of finest
in single -play
a reason why every respects
-Kut audio engineer in the business knows and
Simonson explained, we paid
"is that for
over 25 years,
particular attention to
purchase of parts and raw
Then we tooled
absolute precision in
and assembly. If something
and said Koss,
what is now being done at the Milwaukee plant.
Truly a professional
20,000 cps. Impedance: 50 ohms to be used with
4, 8, or
16 ohm outputs. attachment. instrument.
Frequency response: 30- and
Fluid -filled ear cushions for positive seal comfort over long listening periods. Highest quality driv- ers mounted in acoustically designed chambers provide un- usually smooth frequency response. Equipped for boom mike
Three speed. Noise level: -59 db below average recording level. Wow and duty
Hysteresis Synchronous motor for constant speed and
"hush" flutter: 0.385% performance.
Custom -built, heavy indicator.
Write for complete details and specifications on all Koss and
N. 31ST STREET
123 on Reader Service Card
grid resistance is over 250,000 ohms.
In view of the high impedance of the
BK1091, you would have to make extra sure that stray capacitance (of the cable, and such) between the head and the following tube is kept to a minimum.
Plastic- Coated Tape
To facilitate a prompt rein!!. please enclose a stamped, self -addressed envelope with your question.)
Twin Lane E., Wantagh,
Eye nor VU Says He
I cannot seem to understand why there should be any argument for either the
VU meter or the magic eye tube as a record level indicator. if
It seems to me that the tape recorder is correctly adjusted, there should be available a gain control setting, consistent with the "average" vol- ume of the material being recorded, which will safely record any momentary peaks that come along. A lot of material being taped cannot be monitored for peaks before recording, so it seems only reasonable most recording is done with the that level in- dicator set for "normal" when "average" volume is being fed to the recorder.
Is there anything wrong with this reasoning?
If not, what is the continuing fuss about?
In a tape recorder of good quality and employing a
VU meter to indicate record- that ing level, this meter is adjusted so
O VU corresponds to about
1 per cent harmonic distortion
( at 400 cycles
This leaves about 6 to
8 db safety margin for that the meter, being a me- signal peaks chanical device, cannot follow.
In fact, however, signal peaks may be as much as
20 db above the average or indicated value. How are you to know? The answer is: experience. The experienced recordist, knowing what is apt to occur with different kinds of music and perhaps different re- cording sites, will alter his recording level accordingly. That is, in one situation he that the may adjust recording gain so meter never or hardly ever goes above
O VU; in another situation he might keep below allow
VU; in still the meter to hit another he might
Furthermore, using a professional or semi
-professional tape recorder, one can monitor the signal on that has just been put the tape. Thus one can use the evidence of his ears as to how high the recording gain control may be set.
Lacking sufficient experience or the monitoring facility
( which requires separate record and play- back heads and tape amplifiers), one can turn to a magic eye to indicate whether peaks are being recorded at too high a level.
Let me describe a recent experience to
Q. Is magnetic tape With microthin plas- tic coating over the oxide more satisfactory than the uncoated type?
A. I have had no personal experience with the microthin plastic coating.
My guess is that there may be some loss of treble response, particularly at lower tape speeds, owing to the separation between the tape and the heads due to the plastic coating. illustrate the point.
I was at the home of a friend who owns a tape recorder equipped with a VU meter. However, this machine cannot record and play simultaneously.
The owner had recorded an hour program of classical music, taken from phono discs and interspersed with his comments. There were many passages in one of his selections which contained distressing distortion, yet the operator had been careful
VU to keep the meter below
A check of the phono no disc which had been copied revealed comparable distortion on the disc.
The simple fact was not been an that the VU meter had adequate guide in setting record level for the program material in question.
You state taped cannot be monitored for maximum you are that "a lot peaks before recording." of
I material being doubt this. If recording from microphone or phono disc, certainly you can experiment in advance in order to set recording level properly. If you are recording from radio, you can preset your recording level on the basis of that the program material preceding which you want to record; it is un- likely levels guard that the station will change carefully against doing so. its peak from one program to the next by a serious amount; in fact, stations generally
In your article in Audio in
July 1958 you describe the use of a
Brush BK1090 low- impedance head
(550 millihenries) for both record and playback. Why isn't a transformer for matching the tube input necessary during playback? The
BK1091 is a high
-impedance head. Would- n't that work as well?
What circuit changes would be necessary if this were used in- stead of the BK1090?
BK1090 is a high -impe- dance head, while the
BK1091 can be
Use of described as extra -high impedance. a step
-up transformer between the
BK1090 and a tube grid would entail serious danger treble loss due to winding capacitance of of the transformer.
Use of a
BK1091 for play- back would have the advantage ing a of present- higher signal to the tube and resulting the in a better signal -to -noise ratio. On other hand, the
BK1091 has too high an impedance to be used satisfactorily recording, where relatively for substantial audio current and bias current are re- quired. In playback, no circuit changes would be required in substituting a
BK1091 for a BK1090, if the following
Q. One review of a particular machine puzzles me.
After giving an over -all excel- lent report on this machine it concludes with (what
I consider) a very poor IM tortion figure, stated as 5 per cent at
VU review said this type of that this figure equipment. figures over
1 or 2 is
I have normal been dis-
and 18 to
30 per cent at
The for a hi -fi fan for some time now, and distortion percent tend to alarm me.
Also, as a
I don't understand normal recording this
level. On my
VU present machine I would have considerable tape hiss if
I attempted to record at such a low level.
Could you specifications for me. please elucidate these
VU that this particular machine's reading corresponds to 3 per cent harmonic distortion
( at 400 cps ), in which case IM distortion of 18 to 30 per cent seems only of
10 moderately excessive; a figure per cent would be more in line with what can be expected of a high quality tape recorder. On the other hand, if I am wrong and this machine's
0 VU reading corresponds to
1 per cent harmonic distortion
( which is the proper way of calibrating a VU meter for tape record- ing), then
18 to 30 percent IM is quite excessive.
The reference to
-10 VU as a normal recording level assumes that most of the material recorded will be about 10 db below the peaks. Ordinarily you would set recording level so that the meter to read
VU. the peaks cause
It comes as a harsh surprise to most audio fans that
IM reaches much greater heights in the case of a tape recorder than in any other electronic component. But this is
IM a fact. Whereas we seldom encounter greater
1 or 2 per cent in preamps, power amplifiers, tuners, and so on, IM
20, percentages frequently reach
5, 10, and even more on tape. Great be exercised in care must setting record level low enough to avoid excessive IM, yet high enough to maintain a good signal -to -noise ratio. One of the reasons that commercially recorded tapes have not gained a more favorable reception is because of the high amount of distortion on them due to the effort to maintain a high signal -to -noise ratio. is
It should be clear that the distortion essentially due to the tape rather than to the electronics of the tape machine.
Electronic Projects Catalog.
Laboratory offers a free catalog of the many electronic projects plete plans for a wide that range they of offer. Com- items, such as amplifiers, spot welders, a theremin, moisture meter, impedance meter and ultra sonic power generator are offered. The catalog lists the item, gives a brief description and suggests the ease or difficulty of the project. Circle
Use. This free booklet from Eastman Kodak treats such subjects as the sound recording process, frequency response, bias, sensitivity, sound brilliance, output, signal
-to -noise ratios, base other mechanical properties of tape for audio use. Although primarily aimed at print
-through, materials and the advanced amateur sound recordist, the
-page booklet is written in explanatory language designed
'help the casual tape user to to better understand the magnetic processes, thereby achieving better recordings.
Title of the publication is
Plain Talk From Kodak about
Sound Record- ing Tape." Circle
If you are in a
current, or even not
-so- current, issue of a magazine
SEA tracking down a technical article
- do it the easiest way with
LECTRODEX, the original radio -electronic magazine index. In only minutes you can locate the subject you want, and it costs you only pennies per issue of LECTRODEX.
For more than a decade, librarians, engineers teachers, students, researchers, hobbyists and technicians in the radio
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LECTRODEX covers more than twenty
-five publications in the radio and electronics fields and is published as a all cumulative index throughout the year with the 6th or last issue as an Annual which may be kept as a bi- monthly permanent record of radio- electronics and related articles published that year.
Available by subscription only:
Viking of Minneapolis,
Publica- tions. "High Fidelity Decorating with an
Compact" is the title of a new brochure that includes general recommendations for com- ponent placement and photographs of stylish home installations. It is available at no cost.
88 series Viking machines can now receive, for
$1.00, a complete service manual.
Theory of operation, installation, trouble shoot- ing and complete mechanical and electronic serv- ice information is covered in detail. Diagrams and a complete parts list extend the usefulness
,tóf the manual.
P.O. Box 629
$3.00 for six issues; $5.50 for twelve issues; all other countries
$3.50 for six issues.
Please enter my subscription for
$ for a issue subscription.
Book of its
Record Review Index. The Polart
Reviews (including tape) has
Index to just been released for the year
1964. This is a comprehen- sive listing of all record and recorded tape reviews published during the past year in twelve of the leading review magazines
Auoso).Listings are by composer or category, whichever is obviously appropriate. Popular re- short life are not cordings judged to have a kncluded on the basis of having no reference value. However, extensive reference listings are given to categories entitled "Pop and
"Foreign," and "Shows." In all eases, the list- ing for a particular subjest will give the maga- zine(s), issue(s) and page number(s).
Cost of this
-page booklet is $1.50.
Distribution System Handbook.
Corporation is offering a
-page manual that provides
150 easy -to- understand sample layouts of typical TV distribution systems used in rela- tively small installations. The book is designed for the serviceman who would like to enter, or expand his activities, in this lucrative field.
Complete information on antennas, cabling, divi- tap
-off are provided. Ample graphs
" sion and and tables are provided to allow calculation of
.gable loss, db conversion and other parameters of distribution system operation. This revised and updated edition of a manual, originally published in
1959, is available for
Tape Recording Books. "Tape Recording the
Your Life" is the title of a
-page book that describes in depth typical
And outdoor recording techniques. Vacations,
'weddings, zoos, holidays, home parties, creative indoor sound are some of the subjects covered. List price is
"How to Get the
Most Out of Your Tape
Recorder" is a second
-page book, also with a
It covers dubbing, radio recording, slide and film synchronization, sound effects, hobby
-tape clubs, and the legalities of ucts of
Robins Industries. certain types of record copying. Both books are prod-
-Meyer and Vincent
SOUND in the
THEATRE has ever been published. It is the first book to set forth in authoritative detail what you can do with sound by electronic control, and how to do it whenever the source (singer, musician, speaker, etc.) and the audience are present together. The book develops the re- rived systems and equipment specifications.
Complete procedures are given for: Planning, assembling, and testing sound control installa- tions-
Articulating sound control with other elements of production formances
-Rehearsals and per-
Operation and maintenance sound control equipment. of quirements for electronic sound control from the necessities of the performance, acteristics of the audience the char-
(hearing and psy- choacoustics), and the way sound is modified by environment, hall, and scenery. Sound
During the past thirty years, the authors have developed the techniques of sound control in opera, open-air amphi- theatres, theatres on
Broadway, theatres on- the -road and concert halls and night clubs, in
Holly- sources are considered for their susceptibility of control and need for it, and the many tech- niques for applying electronic sound control
`are described and illustrated in thirty -two spe-
problems. From these problems are de-
Post Office Box
Mineola, New York
` off- Broadway, in wood and in the laboratory.
Some of used in broadcast and recording as well ances where an audience is present. From have come
An invaluable reference an in. dispensable guile for anyone working in the neatre a com plete technological thesaurus for their techniques are as in perform- their laboratory notably successful applications of sound con- trol to psychological warfare and psychological screening. the engineer, architect, designer, technician, student, and teacher concerned with the reinforcement of sound and speech.
I am enclosing my
Send my copy of remittance for $6.95
SOUND in the
C.O.D., all books sent postpaid in and possessions, Canada, and Mexico.
Add 50e for Foreign orders.)
This enormous book
-album, with some
66 big pages of color and print, in both
English and Spanish throughout, comes with a single slim record to keep it techni- cally in the recording area
practically in the art -picture
-book format. Plushy pro- duction: Goddard Lieberson is the pro- ducer and that slightly pompous word
"Legacy" is attached to the project.
I've scarcely had time to do more than look admiringly through the big book, with its pictures in color and black and white and its decorative text layout.
Like all these projects, the quantity of material is enormous and the detail
-work is formid- able. The book is called "Mexico:
Its Cul- tural
Life in Music and Art." The music?
Well, whaddya know. It's that old Col
- lumbia album of Mexican orchestra -chorus arrangements, engineered by Carlos Cha- vez, which first appeared in 1940 in con- nection with the Museum of Modern Art exhibit "Twenty Centuries of Mexican Art" in
If I'm right, the
78 album reappeared on an early LP. Now it has been done all over in stereo with the inde- fatigible Chavez still at the helm.
The stuff is pretty dated nowadays
mixture of 1930s -modern and hepped -up popular music, with some intriguingly unimportant imaginary
(on real Aztec instruments) concocted by Cha- vez. I always liked the sentimental "La
Paloma Azul" in its lush chorus arrange- ment by Chavez.
I still do. But some of the other items are overly pretentious high- brow stuff;
I suspect that the Mexicans themselves have gone this now much further than and may be just a hit embarrassed by it all, in spite of Columbia's best inten- tions, and Chavez's. How about
Columbia? It's later than
Valle del Locomotora de
MF 14 (2) stereo
Darn it, I do like a bit of railroad now and then. But these
RR buffs, you can't stop them. Now
Mexico to find they've had to move to steam
they come back with two full LPs of the stuff, in one album!
Let's face it. To a non
-buff like me, steam is steam, Mexican or otherwise.
In fact, these engines are U.S. -made, most or all.
The Mexicans do blow their whistles a'plenty, though.
'specially for the tape recorder,
I always ask myself ?) And they talk
Mexican, i.e. Spanish, every now and then. Beyond that, I'd have to let the experts describe this big album, which seems as if it might be what the doctor ordered.
Dame de Paris, 1163 -1963.
(Music by Campra, Desvignes, Vierne, Coch- ereau.)
Choir of Notre
900 -039 stereo
What an astonishing record! Two tons of stereo equipment, miles of cables, intercom
TV and phone, 20 mikes
what really counts is the
800- year -old cathedral itself, the heroine of it all. Four works are heard, all composed for the cathedral itself, the oldest
( very young in terms of the build- ing's age) being a
Psalm by Campra, of the French -Baroque eighteenth century.
Then there's a
Napoleonic celebration -piece by Desvignes, right out of the Beethoven
"Eroica" Symphony in its style
), a neo- Romantic bit by Vierne and, finally, a piece by the present organist,
Cocher- reau, all immersed in the darnest 20- second reverberation
( well, almost
) you ever heard!
In stereo it's appalling, stop listening. but you can't
I works are all regret to say, the two oldest that matter very much.
But what will they say in another
The Campra is first
-rate of its newly -popu- lar sort, with solos, choir boys, tutti, the bass continuo pounded out in giant el- ephant tones by fifty double bases and the organ pedals,
So it sounds anyhow.
But very musical, in spite of the drastic means taken to make musical sense in the big echo. The Desvignes is unimportant but a real period piece; sounds sort of like the
Triomphe with Napoleon himself striding beneath it, crowned in laurel! The less said better, except about the rest, the that some listeners will like the big noise, both Vierne and Cochereau.
Alpha M7700 mono (also stereo)
(5965 West Blvd.,
Wow! I somehow missed this in passing
music isn't my dish but this kid, who started on the Mighty Wurlitzers at eleven and is around fourteen here, is the most finished past master at this stuff
I ever heard. Whew! Sounds like he'd been at it for thirty years.
All sorts of weird noises in this Mighty
W., including a remote -control piano, played off the organ keyboard.
Also honky tonk, harpsichord, mandolin.
Not to mention sleighbells, cow bells, Boat
Whistle, Fire Gong, Surf,
Bird Whistles and Horse's Hooves.
What an antique.
Electronic age P.S. All sounds were re- corded on the organ itself except for two notes.
Taped in, I presume. Coupla dead pipes?
Auscultation of the Heart.
Barlow and W. A. Pocock.
Thump- thump. Slrrrp. Thump -thump.
Slrrrp. Somebody's heart is about to give way.
This amazing record just goes to show how far the
LP in all its majesty has gone these days.
A very professional sounding young
Britisher speaks here, analyzing
( with plenty of medical terminology
) just what is going on in the numerous and appallingly loud pumpings of these damaged hearts and normal ones, all beating furiously at the business of keeping somebody alive from minute to precious minute. Rather a terrifying sound for the uninitiated.
All sorts of are heart troubles and actions heard and discussed. Most is utterly be- yond anyone but an M.D. though a few light moments intrude themselves timidly, like a the sound billed as
"Cooing dove ".
Not bit funny, really.
If you want to listen for yourself, London has copies. No stereo.
took guts to
think of making
low -cost speaker line to University's high qual- ity standards. But
-the chal- lenge paid off!
Rugged one -piece die-
Massive ring magnets
2" long -throw voice coil
Electroplated metal parts to prevent distortion and assure long life
Shallow depth styling
American top quality high fidrlity speaker
it ies the same unparal- leled
year backs up all warranty that
University prod- ucts. And there
full line of Mustangs, with prices starting at
a low, low
You've just got to
hear it to believe it. Hold
Mustang in your hand
will recog- nize the high quality con- struction that has made
its field for more than
35 years the same
... quality design that won first prize
recent national competition.
comparably priced speaker
match the high quality performance of
it to yourself.
to your dealer
will know why everyone
"University sounds better."
new Guide to
Compo- nent Stereo! Write
DIVISION Of LINO IEMCISVOOGNS
West Reno, Oklahoma City, Okla
125 on Reader Service Card
-Way with Sphericon
-The whole speaker only $32.00
A GREAT NEW BREED
Automatic Two -Way
Tape Stereo. The in Concertoné s series of
Matic" latest tape recorders is the
This is a 3/4-track stereo recorder with three -motor drive. Auto- matic reversal play and record is provided through six heads, three for each direction, plus a symmetrical center -capstan drive. Record and playback preamplifiers are solid state. Operation
Compact Phone Jacks. Switchcraft has an- nounced a new series of compact,
4" jacks designed for use in applications requiring com- plete insulation between jack sleeve and metal mounting board. Called the Insulated HI
110, the new units are only %" square and utilize a molded, threaded nylon bushing for level lower than virgin tape. The 150
-A will also demagnetize tape heads, guide posts, bear- ings and other tape recorder parts that could insulation between sleeve and panel. By in- tegrally moulding this nylon bushing with a brass insert, a continuous sleeve contact is jack's sleeve and achieved between the phone the mating sleeve of the plug. Five models three -conductor types in open, closed and double closed are standard available. These include two- and circuits. Eighteen other types able on special order. Circle 203. are avail- is by a pushbutton and remote control is available as an optional portable extra. carrying
The recorder case is containing built -into a stereo amplifier and stereo speakers.
Two microphones are also included.
Available as a deck (Model
801 lists for $449.95.
Deluxe Stereo Receiver. The Kenwood KW-
55A is an
/FM /MX receiver with a host of interesting features. The
FM tuner features
1.8 av sensitivity and nuvistor lights on the front front end. Colored panel indicate the mode of operation.
A stereo indicator lamp glows when the set "senses" a multiplex broadcast. Silent, automatic, electronic switching changes the set from mono to stereo mode.
The amplifier portion
Capacitor Tester. Designed to make measure- ments on a detect practical
Model 801 checks all trolytics, picking up defects cuit performance. A special balanced -bridge circuit tests electrolytics up to 2000
µf. It can marginal basis, this new
K capacitors, including elec- electrolytics that that will affect cir- should be re- placed and predicts the life expectancy of any alter a tape recording if they were to he netized. The netize watches, tools, and any email magnetized metal parts. unit aLso can be used to mag- demag-
Designed for eery, hand -held opera- tion and housed in a plastic case, the
-A is provided with an eight -foot gray
-vinyl line cord.
List is $18.95.
A new series of low -cant high
- speaker components has been dubbed, by
-wild horse indigenous to Texas, New ico and Oklahoma).
In line with this they described as a new breed of
"Mustang" (for in price from size from 8" to a 12" full the small, hardy,
Mex- are spirited components.
$19..90 to $32.00 in three
-way system. protides a total of
17 watts per channel rms power will at
1 per cent THD. The preamp section accommodate magnetic inputs from phono or tape heads, with a sensitivity tone control is provided
10 of db
1.5 at mv. Full
10,000 cps), as well as rumble and scratch filters, loudness compensation, AFC defeat, and a separate power on-off.
23 tubes and are used.
Power consumption is 200
8 diodes watts, weight is 30 pounds and dimensions are
Price is $239.95.
Decorator Speaker System. Accent colors only are part of the modern styling built into the new Utah PRO speaker system. The grille cloth can be changed in seconds by snapping in alter- nate pre- covered boards.
Blue, orange, persim- mon, beige tweed, and cane panels are offered. electrolytic rated circuit leakage test eliminates the need remove a capacitor make actual leakage re- sistance measurements. Tests are made voltage circuits so read directly. at to
3 volts or snore. An in- to on low - that transistor units may be
Higher voltages can
Size is 5" x 8" x 12% ". also be used.
Net price is $99.95.
Jensen Manu- facturing Company announces the availability of a valuable new design tool for the profes- sional sound system layout engineer. Large
14" x 20" as transparent
Isosonie plastic templates known
Charts show the sound coverage of the Jensen
Model 55 and
These be transparent templates can placed directly over the architect's elevation drawing regardless of scale to indicate the cor- rect location and tilt angle for these column speakers to attain any desired audience erage. Jensen Technical Bulletin
No. 45, upon request, "Speaker System Layout is cov- free
Easy with Jensen Isosonic Contour
Charts" describes these templates and how to use them. This bulletin includes small size reproductions of the isosonic contour charts for these two col- umn speakers which can be used for speaker system layout although not as conveniently as with the large of two transparent transparent templates. The set templates with are available in a mailing tube for
Post- paid. Jensen Mfg. Co., 6601 S.
As for the speakers themselves,
(12" x 12" x 24
") contain woofer in a sealed enclosure. The 8" mid and
31/2" tweeter are a 10" separately the cabinets high -compliance
-range sealed to pre- vent interaction with the other drivers. The complete system
(with one grille cloth) sells for about
Eraser. release of an old standby among the
Model 150 -A
This recorded tape will bulk is erase actually a a re- tape recordists,
Junior Bulk Tape full reel of in seconds, providing a noise
Among other new speaker products released
University is a new professional
-way speaker system here illustrated.
9/16" x 153/x" x 121/4", it is designed for bookshelf or floor placement. Response is claimed at
28- 22,000 cps cps with crossovers at
600 watts. Consumer price is $1.29.00.
Circle 207. and and power .handling capability is 40
I want to be able to relax. Send me all the literature on
McIntosh products. please check
C 22 tube stereo preamp
24 solid state preamp
71 fm stereo tuner
MC 225 stereo power amp
MC 240 stereo power amp
MC 275 stereo power amp
67 fm stereo tuner
MA 230 stereo amp /preamp
110 stereo tuner /preamp
Will a McIntosh make me younger, more handsome, smarter, more exciting, and dynamic?
will let you relax.
Then you won't care
you are younger, more handsome, smarter, more exciting, and dynamic.
Reader Service Card
Guide by Roy
AR classic work
for novices (and perhaps be con- sulted secretly by professionals). From the
Bergen Evening Record:
If this doesn't give you a roadmap into the field of hi
-fi, nothing will."
Ameri- can Record Guide:
2 explains how components work than how to use them, but rather it presupposes no
Mayer writes in esquire:
Martin technical or mathematical background.
"far introduction to the subject ever written
- best literate, intelligent and, of course, immensely knowledgeable." From
"really expert guidance
User's Guide" at $1
I would strongly urge this book as prerequisite reading for anyone contemplating hi
-fi pur- chases."
High Fidelity: "welcome addition to the small but growing body of serious litera- by
70 pp., illus., paper $1.00
A layman's practical guide to high stallation.
We think fidelity in- that it will become a ture on home music systems."
"To my mind, this is the best basic book now available on high fidelity."
Library Vol. 2 93 pp., illus., paper $2.00
"just the books to satisfy that intellectual itch for deeper understanding."
RADIO MAGAZINES, INC.
629, Mineola, N. Y.
Please send me
Sound" at $2
I enclose $ der, in bills, money or- or check only. (All prices post- paid.)
Villchur's "Reproduction of
Previously, we have some ship its
As aspects of the between the ultimate master, written about complex relation- audio industry and the customer. The connecting link in this relationship is the retailer. After all, one who sells audio has grown, so have the number of dealerships. There are many small establishments, to be sure, it is but the retailing giants
( and there are only a few) who dominate
Now, most prices to the the small price manufacturers the industry. offer better quantity buyer. This puts independent at an immediate disadvantage since he cannot pos- sibly purchase products by the hun- dred to get the best price. So, he must either sell at a higher price or take a reduced profit if he is to stay alive against the dealer is the the product. the chain store.
He has one other choice. He can be- come a franchise store. This is some- thing new in audio but it is certainly not a new idea. Howard Johnson, Car - vel and others have been doing just that all along. Many of their establish- ments throughout the country are not centrally owned, they are the private property of a local individual. They are a small business that is given the ad- vantage of a big dealer through the device of a franchise. This has come to retail audio.
My interest in this subject was re- cently aroused by an that a
New York retailer who had sev- eral stores of his own in announcement the area was starting a franchise program. This deal- er is the Audio Exchange.
His specialty is, as the name implies, the trade -in.
Audio Exchange has an enviable re- putation as a source for used audio equipment and as a dealer in new mer- chandise as well. His reputation was natural demonstration built by careful, of components under simulated living room conditions and a thoroughly com- petent and extensive service facility.
I spent part of an afternoon recently with William Colbert, energetic Pres- ident of the Audio Exchanges, discuss- ing his approach to expansion via the franchise route.
It must be established that Audio Ex- change is a newcomer to franchise hav- ing begun with their first non -owned store in November
We talked, then, mostly about future plans, par- what they held for the con- ticularly sumer. Bill
Colbert feels very enthu- siastic about the future of franchising.
He sees it as a benefit for all.
I am inclined to agree.
Audio Exchange is, by necessity, con- fined to of the Greater Metropolitan Area
City. Beyond this area their reputation decreases, as does the desirability of their franchise.
If a local retailer on
Long Island wanted to enlarge his business he might investigate becoming an Audio Ex- change franchisee. If he sought this out, he would find out the following:
That he must be a substantial and reliable business, or risk
(if a new firm)
, before he will receive a fran- chise. His competence will be investi- gated. If he passes muster he can that Audio Exchange logo outside. hang
What does he get? a
He can buy all his merchandise from central source. Since source buys in the central quantity, it gets the best price. This is passed onto the franchisee.
He thus gets the bulk price even though he may only purchase one piece. And, in the case of limited- distribution fair
- trade lines, he has direct access.
But, he must be authorized by the manu- facturer for these special lines.
It's easy to understand that a finicky manufac- turer would tend to approve an Audio
Exchange outlet where he might not otherwise want to open up a particular area.
The franchisee does not have to buy from Audio Exchange. If he prefers, he can buy directly from the manu- facturer. Wherever he gets the best price.
The franchisee also participates in regional advertising by Audio
Ex- change without actually paying for it.
And, the local store will directly benefit from any advantage that central buying can accrue. If Audio Exchange can a special deal, all buy the stores will have it.
Last, and most important, the
Exchange house label components are available to will to say the dealer an item local dealer. This ques- tion of house labels is a big one. You hear more about this. Suffice it that a house label offers the that is non -competitive.
Only an Audio Exchange store can a
Colbert speaker. And, house sell brands offer the consumer a good value since they are often sold as leader items, or because of mass purchase and low ad- vertising cost, can actually be sold for less than standard brands.
The consumer, our long suffering friend, who visits an Audio Exchange franchisee is, for all practical purposes, at an Audio Exchange store.
That deal- er's trade -in and trade -back policies are open to him. And, Audio Exchange service is open to him. The local fran- chisee may, or may not, have service of his own, but central service is avail-
Many outlying stores cannot afford
(or get) a high -priced technician
specialist. The local man, picks up the phone and stumped, he is just talking to the chief serviceman in New
From Audio Exchange, I went to
Radio in Syosset, New
Lafayette is one of the giants, long es- tablished as a major mail order house and direct retailer. Their catalog has made them a national dealer so it was no surprise to find that their involve- ment with franchising was on a nation- al scale. Lafayette now has been at it for four years. They have
167 franchise stores, spread all over the country.
Their modus operandi is quite similar to Audio Exchange. The dealer gets his merchandise at a good price from
Lafayette, though not always at the maximum discounts.
This brings up the question of does what the franchisee pay Lafayette or
Audio Exchange for using their name.
A the privilege of percentage of gross sales.
Lafayette franchisee has the availa- bility of the entire catalog at their dis- posal. This goes far beyond high
- fidelity components, and gets into the electronic parts business as well. And
Lafayette has an extensive house label system, again well beyond the compo- nent business alone.
It was pointed out to me at Lafayette that franchising makes it possible for a locality to have a
Lafayette store that otherwise would not have been. It would not pay for a major distributor/ retailer to go into a small town in, say,
Kentucky. But a local business man can make a go of it. We have already pointed out the advantages of the fran- chise to the dealer. For the consumer,
} in that
Kentucky town, he has the
Lafayette catalog on display in his town. chisees
Lafayette requires of its fran- that they maintain equipped service shops and in general adhere to minimum care standards beyond mere sale of a component. the s
I've looked for may cost the local the loopholes in this franchise gimmick.
I can't find them. It dealer personal iden- tity. Joe's Audio Shoppe now becomes
Audio Exchange or operated by etc
(and only in small letters, "owned and benefit. er choice and often lower price. manufacturer benefits by selling more amplifiers. No as
But the dealer does
The consumer benefits by great- wonder Lafayette
The could franchise so many stores in only four years. I would not be surprised if Au- dio Exchange, on its own scale, does well. In fact, I would the franchise bandwagon.
It's a sure winner.
not be sur- prised indeed, if more companies climbed on
MORE NEW STUDIO EQUIPMENT FROM ALTEC
LOWER NOISE, EASIER.
The hoped -for possibility has developed into working reality
we've managed to come up with the finest attenuators yet developed. More than 300 types are available with either solder terminals or as plug -ins either
-lines, and in such categories as mixers, cali-
controls, calibrated grid control pots, VU range extenders decade attenuators, impedance matching networks, decade resistors faders, and stereo new Altec
potentiometers. And they're all listed in tip e
Catalog which we've printed as a convenien t reference for your aid.
You might like to know how some of these improved attenuators were engineered.
instance, "coin" silver, which is normally used to make brushes, contains copper and is subject to oxidation sulfides. Silver sulfide
reducing con- ductivity and raising noise level, among other things.
So we've made
brushes of "fine" (pure) silver because it doesn't oxidize
it does not reduce conductivity; in fact, it actually has a helpful lubricity.
We use dual brushes on all our attenuators
-- both rotary and straight -line models. They are independently sprung and so guided as to eliminate
from contact to contact.
line is designed so that we'll be able to gang up to
8 of them in tandem, enabling you to operate the whole group with one control. We've produced rotary attenuators
will give you more steps in less space. How? Instead of putting them in the conven- tional round cans
building ours in square ones. And we're using the corners (space
previously went to waste) for the wiring.
FORGET THE CATALOG
The new Altec log we
Cata- mentioned above has all the technical characteristics and
other relevant data on
the new line. We'll be delighted to send it to you. So write today, Dept..
Ling Altec, Inc.
F O R N
Reader Service Card
(from page 34)
EICO SOLID STATE
EICO Model 3566 is complete- ly solid state FM-stereo receiver, de- signed as a kit but available factory assembled, which has successfully tack- led many of the problems which we find had plagued early solid
-state designs. Thus that the 3566 decreases in dis- tortion as power decreases; at normal listening levels distortion is as low as any unit we have encountered, and far lower than most. Also the ability to handle a wide dynamic range in low
- level stages is surprisingly good.
For example the phono input, with a sen- sitivity of 4 mv, does not start clipping until the signal becomes
With a sensitivity of 12 my clipping doesn't start until 240 mv.
(The 3566 can be set for either sensitivity by removing or replacing a jumper.) the conveniences provided by
Some of the EICO
3566 are: Automatic,
Z f.a a
"ONLY TANDBERG TAPE RECORDERS OFFER
BETTER, CLEARER, MORE NATURAL
SOUND" the last word in stereo and monaural excel- lence the world over. At franchised dealers every- where from $208.60 to $498.00
OF AMERICA. INC.
P.O. Box 171, 8
Third Avenue, Pelham, N.
Y. o silent switching between FM stereo and mono; automatic indication of stereo transmission by means of a light; ad- justable and defeatable muting; de- featable afc; loudness compensation; tape monitor; and a front panel head- phone jack.
In addition, the tuning dial is extremely well laid out and lit.
Tuner: The FM front end and i.f. section are are separate assemblies which apparently supplied as a unit and the transistors are not identified. How- ever, from the schematic we note transistors in three the front end, the r.f. input stage being in the common base configuration. The converter is straight- forward. Following the front end as- sembly is sists of the i.f. assembly which con- four stages and the ratio de- tector, with taps for afc, tuning in- dicator and muting. The multiplex as- sembly contains ten transistors, all of them 2N2672's except for a single
2N1304 in the indicator circuit. The multiplex is classified as a time division type.
Amplifier: The power amplifier good example of is a the
RCA output cir- cuit which has become mon circuit available. sistors are the most com-
The output tran-
2147's, two per channel, driven by a transformer, which in turn is driven by a
2N2613. The driver transformer is driven by permit a much wider the emitter of the transistor (low impedance) so that the transformation ratio can be 1:1 and bandwidth trans- former. Tone controls are Baxandall type, utilizing a feedback network for input stage is boost or cut. The phono quite straightforward, incorporating a the input stage
DTG110 transistor for and a
2N2613 for the second stage, with a feedback network from the out- put of the second to the emitter of the first, the network incorporating the re- quired equalization. High level inputs the inte- such as tape, or auxiliary, or gral tuner bypass the phono preamp.
There is no tape equalization provided, so a that the tape input must be from recorder with a built
Power Supply: The power supply of the 3566 provides electronically reg- ulated voltage to the entire set except for the amplifier power output stage, which really doesn't require regulation.
(three) are used to regulate the various supply sections, apparently quite successfully to judge by perform- ance.
The kit version of the 3566 is de- signed to require absolutely no adjust-
Circle 129 on Reader
-.* ment. This is achieved by having the front end, i.f., and multiplex sections factory assembled and adjusted, each on its own circuit board. The amplifier section, and preamplifier are complicated, in
The transistors are safeguarded, and the use of sockets to solder to them directly.
The manual is also un- spite of the switching. assembly eased, by for the transistors instead of having quite clear and de- tailed, with to a good deal of space given oversized illustrations. We were particularly happy to note pletely removed from that the op- eration and service sections were corn- tion; two the assembly sec- separate manuals are pro- vided.
In fact, precisely the operation manual is the same as provided for fac- tory assembled units. And rightly so.
Amplifier: The amplifier watts per channel rms provided
25 with an load and both channels driven; with a 4 -ohm load it put out
-ohm watts mis, with only one channel driven; ohms it provided 27 watts
both channels driven. Distortion measured
0.4 per cent at measured
25 from 20- 12,000 cps; per watts at rms,
12.5 cent; at
8 at ohms, watts it watt
FM - stereo receiver per cent,
20- 18,000 cps.
Intermodula- tion was
1 per cent
25 watts per cent at
Frequency response was within
1 db from
63,000 cps. Hum and noise measured
69 db below
10 my on phono.
At the most sensitive position of the phono jumper, sensitivity was
At other inputs sensitivity was 190 mv.
With an 8
-ohm speaker connected to from 20- 20,000 cps and observed to the speaker terminals, we swept the waveform on an oscilloscope in order determine whether the amplifier re- acted were well with a reactive load such as it would normally encounter. Results quite excellent. We did not at- tempt a capacitive load, but experience with this type of circuit leads us to believe there would not be any diffi- culty.
Tuner: Sensitivity, channel separation was 39 db; ratio was 4.5 db; harmonic distortion
1 per cent; audio response within db from 20- 15,000 cps; AM rejection
43 db; crossmodulation index,
Listening tests reveal
61 db. that the
3566 fine is a good buy performer and an extremely at its kit
(factory assembled at $350) dling of music is livering a firm price of about
Its han- most enjoyable, de- but full bottom end and smooth response of throughout the rest the range.
As a tuner, we were impressed with its ability to quite handle strong signal, an ability which early solid
-state tuners a also impressed with its generally good handling and satisfactory all didn't share. We were price. low noise level. product at a very
A very attractive
CONDENSER MICROPHONES COMPLETE
OUR SUCCESS FORMULA.
Operations at Columbia
Records, rank reports
Liebler, Director of Technical talent bination!"
NEUMANN and rapport through
NEUMANN producer and sound control room engineers achieve
Microphones inspire confidence, command professional respect
It's a winning com- for their predictable, consistently reliable performance. And above technician admire
Y. them for that
Columbia and innumerable studios the world over.
That's why we find a forest of
M -49s in top total all...artist, exclusive the sound of success! Proven at this studio...why
NEUMANN or outside application. you make ail who depend need
NEUMANN. Got a the right decision. on particular
For is recording
Condenser Microphone suitable for a problem? There living is a always ready to help more for any information inside write:
WEST 46 STREET,
NEW YORK, N.Y., 10036
In Canada: i -Mar Electronics Ltd.,
Don Mills, Ontario
Reader Service Card
STEREODYNE m stereo phono cartridge by B
'' one of the truly musical pickups"
With the exception of loud- speakers, no part of your music system affects its
as much as the choice of a phonograph
re- ports, while helpful, cannot
thorough listening evaluation
in mak- ing so
is the latest refinement by
Madsen of Bang and Olufsen, who
recognized the im- portance of a
angle. In sepa- rate arms, as well as in the
clearly superior sound will
Wide, smooth response
Lowest hum (by a
you listen to this
cartridge at your audio specialist's showroom
3912 POWELTON AVENUE
Circle 131 on Reader Service
ABC the most stimulating jazz la- bels is
cool division of
Paramount. Under the aegis of
Thiele, a veteran record executive and jazz enthusiast, Impulse has con- tributed a number of very important albums featuring musicians from main- stream to way out. And their perform- ances have usually been on that con- sistently high level that is only achieved under ideal studio conditions, when a group of first rate professionals who respect one another can play for each other in an atmosphere of serious music making without the distractions and influences of a noisy concert or night club audience.
Together with this sympathetic at- mosphere, Impulse exercises the kind of care in recording and pressing sults in that re- the utmost fidelity to the live performance in the finished product.
Most of their sessions axe engineered by Rudy van Gelder, a man whom
I know only from his discs and his repu- tation as a cutter of superior lacquers, but a man whom I admire more with eaoh Impulse waxing
I hear. At a time when most engineers have ceased to care about the quality of their mono tapings, van Gelder continues to make progress in this area, and I find myself in the rather surprising position having to admit that
I find of greater clar- ity and separation in most of his mono recordings then I can hear in the stereo sound of some of the mass production labels.
For its latest release, Impulse has inundated record enthusiasts with an even dozen of discs-
Most of them are up to the very highest standard that the artists involved have achieved to date, and in one very important in- stance
new Coltrane album
of the very greatest achievements of the jazz recording industry. his notes is impressive and uncomplicated.
Johann Sebastian Bach was another great musician with simple devotional concepts and complex musical ideas.
Coltrané music on this record consists of a four s part setting titled: Part
III -Pursuance and
Jimmy Garrison, bass, and Elvin
Jones, drums, this
Psalms. McCoy work effiectively
Tyner, piano, with Coltrane throughout. My one reservation concerning deeply moving performance end of
Part I, but this is a is minor detail.
This record is one of the most eloquent performances ever committed to wax. the chanted repetition of the set's title at the
Archie Shepp: Four for
In spite of the title and a credit on that John Coltrane is the album indicating co- producer with
Thiele, Archie Shepp emerges from this a carbon copy
Song of platter as a highly in- dividual tenor saxpphonist, rather than as
Coltrane. The four tunes referred to in the title ae
Flute, Cousin Mary and Mr. Syms.
Each receives a vigorous workout in a flippant, extrovert style that is very much
Shepp's. But nothing matches Shepp's tune
Swing his face at last to the wind, then his neck snapped.), a number that de- mands
high keyed, in- tense performance. John Tchicai, alto,
Rudd, trombone, and Charles
Mof- fett, drums, all work tightly with Shepp, and to but the album belongs to Archie bassist Reggie Workman who provides pensive, supple counter pattern a to Archie's spirited exposition. Leroi Jones' liner notes are as sensitive and evocative as these not- able performances. "This album," says the back cover, "will be a milestone in the his- tory of jazz music."
It is not an overstate- ment.
The deep sincerity of John Coltrane is manifest in the impact of his performances.
That his sincerity is grounded in deeply felt religious belief had not crossed my mind until
I encountered this new release to which Coltrane not only contributes pro- foundly moving performances set of devotional album notes but also a that are just as is deeply motivated even though the pen not his effective medium of expression.
The simple faith that Coltrane reveals in
Russian Jazz Quartet:
15, 1961 two Russian musi- cians on tour in
Japan with a Soviet vaude- ville
U. S. troup presented themselves at the
Tokyo with a request for asylum.
It was their desire to come to the United States so that they could perform the kind of jazz that they were not permitted to play in the Soviet Union.
Following two months of debriefing in
Frankfurt, Germany, the
New York weeks of late in pair arrived in
October, and within two their arrival, they had not only met a sizable number of the jazz greats of
Midney, alto and clarinet, and Igor Berukshtis, bass, the sists of but they had formed the group with which they are now heard in their first recording. In addition to the two young
Russians, Boris quartet con-
Grady Tate, drums, and Roger
- away, piano. On three of their first six recorded numbers, George
Ricci, 'cello, augments these forces. If not staggeringly original, these young men are at least suffi- ciently good to justify genuine interest their work as musicians, instead classified as of in being mere political curiosities. Mid
- ney swings freely in a relaxed, somewhat impressionistic manner, and Tate and
- away turn in the same sort of reliably sensitive performances either difficult to hear or is heard in mere doubling of the solo line in a manner does that they generally deliver. With the exception of a very low introduction on Remember, the 'cello is that sage. nothing to enhance the music's mes-
Possibly the stereo version brings out the 'cello sound more effectively.
All of the important solos are contributed by Midney who is also six the composer of four of the tunes on this set. He sounds like an earnest, inventive performer from whom we are likely to hear rather a bit in the near future. tion. Assisting
01 struments are Richard Williams, trumpet,
Mike Nock, displays not only exceptional precision also the kind of closeness in style ticipation of one anothers ideas for piano, Ernie Farrow, bass, and
Black, drums. Together, they make up a remarkably well coordinated team great ensemble playing. and that that but an- make
Impulse Mono A
With the assistance of Jimmy Heath, tenor, Connie
Kay, drums, Richard
Davis, bass, and further help from some miscell- aneous
Jackson instrumentalists and singer Lillian
Clark on several tracks, Vibraphonist izing numbers
Milt turns in some rhythmically tantal- that are sure to delight those cool characters who don't object to music with a pronounced dance beat. This is simply lively dance music played by jazz oriented musicians, perbly, and the Lillian Clark vocals on
Samba and but they swing su-
Run are a perfect amalgam of warmth and rhythmic agility. Joe
E. Ross, known to television admirers as Gunther Tootie of "Car
Are You ?," is vocalist in an amus- ing novelty called the a witticism that will
Oo Oo Bossa Nova, doubtless be lost on future generations of TV audiences.
The Voice That
Hartman's rich, robust voice is coupled with superb instrumental accompaniments on his arrangements by
Hammer make effec- tive use man uses his flexible voice to number into an expression sonal his
A 74 second great album for Impulse. The of guitar and percussion, and Hart- interesting numbers are My Ship, by
Riego and Mortimer, and
Rogers and Hart's
My Mind. of a turn each very per- experience. One of his great virtues is ability to make his points without impairing the musical line or the meaning of the lyrics. To find so much latitude for individual statement without distorting the basic material is a very rare thing these days. But, ure are, then, singers of
Hartman's stat- indeed, rarities. The collection cov- ers a wide range of interesting but not overly familiar music. Among the more
Here are six trombone solos in as many moods by the greatest living exponent of that instrument. Never has
Jay sounded better on discs or received such clean, ac- curate recording. Harold Mabern,
Jr., piano, ing
Jr., bass, and Frank
Gant, drums, provide a brisk and
Blues but self effac- accompaniment on
Neo, Stella by
Star- light, Minor
Blues, My Funny Valentine
Waltz. McCoy Tyner, piano,
Elvin Jones, drums, and
Thielemans, guitar, speak out more individually on Lullaby of Jazzland, but none of these men rises to the exhalted heights of Johnson, and their attempts merely constitute an intrusion of medioc- rity into great music making. Happily this group is heard on only one tune. The rest of the platter is sheer magic.
Live at Pep's
Impulse Mono A
Here is the exception to the usual studio recording that we have come to expect from Impulse. The recording was made at
Pep's Musical Lounge in
Philadelphia, and it has istics many of the objectionable character- that plague all "live" jazz discs
- spoken introductions to the music, applause at the end of solos within the number, audience noise, etc.
But it must be ad- mitted (grudgingly) that this disc does offer exciting, alive insinuating a microphone into an even- ing's entertainment. In the course of his performances, oboe, argol struments are a twin reed instrument from
Mr. performances and shannas that
Lateef plays tenor go a long way toward justifying this technique of
last two sax, in- ing a and another twin reed, oboe -like in- strument from India. He is also heard play- bamboo flute of his own construe-
The perennially welcome \1r. Hampton turns up with a quintet of grand old vet- erans: Clark Terry, trumpet,
Ben Webster, tenor, Hank
Jones, piano, Milt Hinton, bass, and
Osie Johnson, drums. Together they romp through a delightful collection that includes such splendid old numbers as
Ellington's Ring Dem
On Parade and the Goodman- Hampton
-Rib. a trio of
Bobby Scott's Taste of Honey,
Hampton tunes: Vibraphone
Tempo's Birthday, and Swingle Jingle,
Trick or Treat and Cute by Neal Hefti and Stanley Styne fill out the set. The results are a set of easy, re- laxed music delivered with mellow good spirits. It isn't very modern, of fun. 2E but it's lots
introduces THE stereo recorder for the connoisseur
If you are one whose stringent requirements or passion for perfection has been convinced of the need to spend at least
$400 for a quality recorder, and if you have felt that nothing available to date for less than
$1000 could meet mands, then give your de- serious consid- eration to the Dynaco Beocord
Judge it first on absolute per- formance
recording is the most exacting test for the com- plete in recorder
its many exclusive luxuriate features:
3 stereo mixing inputs with slide
- type controls and plug
-in multiple mike conversion law impedance pled mike input transformer cou-
8 watt amplifiers for PA use, home music system, monitor speakers, or low impedance headphones pushbutton selection of echo, sound
-on- sound, and unique syn- chro monitoring from half the record head electronically protected fully tran- sistorized plug
100 KC bias, synchronous drive
Only a comparative evaluation in use with the finest associated components will effectively dem- onstrate the superior perform- ance this and unique flexibility of superb instrument.
Write for full specifications and ask your dealer for a demonstration.
132 on Reader Service Card
(front page 8)
Whether you use it.
EICO letters are now coming customers who in the new 3566 solid state stereo from satisfied just finished building tuner /ampli- fier and they say the
3566 is giving them the best sound they ever heard.
We're very pleased at the response the 3566 has
The received, but we're not at all surprised.
3566 was designed to enter the highest quality class of solid state automatic stereo tuner class, there's
/amplifiers there may be a has won it
and certainly no hands down. walnut cabinet $14.95. that it quality contest does! in
While this top price contest.
$349.95 includes cabinet
Similarly powered class competitive brands in this start at above
$490 including cabinet.
But don't take anyone's word the specifications and listen to the 3566 at your authorized
EICO dealer. We feel dent that you'll agree a lot more
EICO for it
is check confi- worth
(wired), maybe even
$450.00 to $500.00.
112 Watts into
2 uy IHF sensitivity
38 -40 db separation
60,000 cps response
-falsing stereo indicator light
Automatic stereo switching
Interstation noise muting
0.15% Harmonic, 0.3% IM distortion
19 diodes, 6 rectifiers
Whether you transistor build the
-kit sockets, and easy
-to- follow step -by- step wired, you'll be proud of its superb ease instructions of operation. plug
-- with pre -wired pre -aligned front
-end, 4 -stage
IF strip and time -multiplex circuit;
or buy the 3566 factory quality
If you can't get to an authorized
EICO dealer, write to
EICO direct, and we'll send you a beautiful full -color brochure that brings out all the beauty of the 3566 that you and your family will enjoy for years to come.
01,39th Avenue, Flushing,
á which the guests get settled, order their drinks, and mingle. The second move- ment is the Concert itself: 8:45 -10:45.
The evening concludes with the Party, which gives tunity to meet the audience an oppor- the artists, and to discuss the concert with fellow guests. Mr.
Boal says there is absolutely no coughing during the second movement:
"All one can hear, and seldom at all, is a faint tinkling of an ice cube in a highball glass." last
Having attended a concert -party
February, I can vouch for the claim; the audience was noticeably quieter than its concert -hall counterpart. Prob- ably the informality of the event (drink- ing and smoking permitted during the concert unless singers object to the former) engenders a feeling of relaxa- tion along with on the music. a deeper concentration
The first concert -party took place on and featured
Quartet; the ments by Mozart the Lenox second was on
June and included works for wind instru- and
Beethoven. Both concerts were sold out. Following this, a subscription series of eight concert
- parties was scheduled, the last of which will be given on May
The acoustics of the Bowman Suite are ideal for a chamber music: resonant, well -blended, yet detailed sound, with frequency re- remarkably smooth sponse.
The room measures
-feet long and 42 -feet wide, ceiling. A horseshoe with a 20 -foot terrace frames the lower ballroom floor on three sides, both areas accommodating 26 tables.
So far, the concert -party entrepre- neurs find that audiences enjoy the mix- ture of conviviality and chamber music.
The first concert -party,
Has it paid off?
Feldman said, "cost about $1,200, including artistic and rental fees and other costs." ceeds from
The hotel gets the pro- the bar. Individual tickets cost $4.00 (or $3.75 in advance).
Feldman and Boal, who made a
Messrs. profit of
$30.00 on the first concert
- party, were afraid that their series might appeal mostly to classical Lonely
It turned out otherwise; doctors are among their heaviest subscribers.
But romance was in concert- party. ist of the air at the first
Peter Marsh, first violin- the Lenox
Quartet, met a young woman there and married her a week later. Commented
Mr. expected this sort of to our guests,
Feldman: We thing to happen but not to the per- formers."
Reader Service Card
manual turntable.. an automatic turntable... or automatic changer...
for mono or stereo, you enjoy the same gentle quality, the some flawless per=orm- once that has made
Miracord first choice in the finest consoles and component tems. sys-
Miracord brings out the best in your records, and preserves their quality for long- lasting enjoyment. Model
10H with hysteresis motor, $99.50; model
-pole induction motor,
$89:50; (less base and cartridge). At hi -fi dealers, or write:
BENJAMIN ELECTRONIC SOUND CORPORATION
Circle 134 on
Reader Service Card
(from page 4)
Ma g neraser
Quickly erases a reel of magnetic tape or sound film of any size or type. Erasure is
100% complete even on severely level overloaded tape.
Lowers background noise of unused tape
3 to 6 db. Also demagnetizes record -playback and erase heads. Only $24.00.
Guarantee. Available at your dealer's or write us.
-in Three -Range
3 kc Test
Preamplifier and Limiter. Filter Ranges:
0.5 to 6 cps; 0.5 to 250 cps; 5 to 250 cps.
Designed for rapid visual indication of flutter and wow,
Meets standards set by the
Voltage, 0.001 to 300 Volts; Ranges,
Limiter Range, 20 db.; Oscil- lator (built -in), 3000 cycles; Net Price,
Write for complete specifica- tions and free
-page booklet on
N. Y. WO 6
135 on Reader
easy to overcome.
Dyna, and Shure, and Audio
ACOUSTIC RESEARCH, INC.
In the El Cheapo
2 -30, the use of three diodes in the series string
may cause excessive zero sig- nal current flow in a few cases. The use of only two diodes provides excel- lent temperature compensation, but un- fortunately results in serious crossover distortion. My suggestions are as fol- lows:
Check the zero signal current flow to the amplifier, one channel at a time, with a milliammeter.
If the zero signal current is less than
75 mils or so with three diodes, leave well enough alone.
If much one of greater than
75 mils, replace the diodes with a 50 -ohm pot set for minimum resistance. Adjust the pot for a zero signal current through the amp of about
50 mils, or until no crossover distortion is visible on a low level sine wave. Either adjustment works fine.
Once is the value of the pot determined, it may be replaced with a fixed resistor of equal value.
I've worked with silicon transistors so long, that my approach to tempera- ture problems is rather casual. Usually
I just spit on the case, and if it doesn't sizzle,
I don't worry about it.
Actually, the output transistors can run a couple of hundred mils without any trouble; the dissipation is only a couple of watts. But conceptually, why waste power?
*Iatrophobia is fear of going to the you doctor. The cure starts when
your phone and make an appointment
your doctor for a complete physical checkup. be
Half the cases of cancer could cured,
they were diag- nosed early and treated promptly. Your best cancer insurance is a health check- up every year.
Make that phone call now.
It might save your life.
AMERICAN CANCER SOCIETY
(from page 2) be lateral; if the signals are in phase, the modulation will be vertical.)
may be difficult to visualize this
it is worth trying because it bears on your problem.
Notice that on a stereo record we do not have a vertical and a lateral chan- nel. We have two channels, equidistant from the vertical or the lateral plane.
The conventional cartridge has a simi- lar arrangement of coils or elements.
Each pickup channel is constructed to
For imprtant recordïng as- signments you need the ease of operation, quick response, the completeness, rugged construction and dependability of the
Newcomb TX10. And you need the 101/2" reels.
Full size reels give you long playing time even with 1% mil tape. Professional tape thickness provides strength, minimum stretch, less print -through, easier splicing.
And for play- back you can splice pre- recorded tapes to give you hours of music. But most of all, you'll ap- preciate the quality of the sound and the way the
TX1.0's central joystick permits you to take charge of tape movement.
It's cybernetically engineered for intuitive operation. Below are some of the TX10's outstanding features:
Sound -on -sound
Monitor before record- ing or cif the tape
Two illuminated vu meters arranged pointer -to- pointer
Handles long microphone lines: built
-in provis- ions for plug -in Input transfomers
Uses Cannon connectors microphone
Hysteresis synchronous motor
Dynamically- balanced flywheel drive
No pressure on heads pads
VA ips standards,
15 or on special order
Choice of 2- or
Push button speed change automatically provides speed
- frequency correction
Operates or vertically horizontally
100 kc bias and erase oscillators with indi- cator lights
Automatic shut -off
Positive record Inter- lock prevents accident- al erasure.
Differential braking on both reels
$750.00 less case
Carrying case, mounting hardware for rack or cabinet, portable
2 channel amplifier and reproducer systems are available
For a complete description of the
TX10, mail this coupon.
NEWCOMB AUDIO PRODUCTS CO. Dept.
Hollywood, Calif. 90038
Please send a free copy of Publication
TX4. name address city state zip
136 on Reader Service Card
work best when the signal it 45 degrees from the vertical or lateral plane. One coil will
what do more you need in a microphone?
WHEN THE RCA
MUCH,,, is applied to not produce elec- tromotive force; the other coil will when we play our groove just de- scribed.
If we play a laterally recorded groove, both coils will produce output, but not quite as much output as they would if the playback stylus moved at a
45 of degree angle.
The same holds true vertically recorded grooves.
Remember the way our cutting stylus acted when we reversed the phase of identical modulation of the two channels? Well, the same thing will happen when we change the phase of
IMPROVED CARDIOID PATTERN
The improved unidirectional character- istic provides an exceptionally uniform response over a wide range of frequen- cies, and attenuates unwanted sound from directions other than those the pickup angle. Ideal within for studio use.
SENSITIVE RIBBON ELEMENT
Uniform frequency response over entire audio spectrum. Effective range,
20,000 cps. Ribbon element also assures low hum pickup, immunity to tempera- ture and humidity variations.
You're looking at the business end of an RCA BK-
5B... a superb unidirectional studio
-ideal for all broadcast, public address and recording applications.
3- position voice -music switch provides damage optimum response for any application. Blast filter eliminates from sudden noises.
Inconspicuous TV gray finish. Exceptionally good shielding permits operation in high -hum fields.
ASK TO SEE THE BK
-5B AT YOUR NEAREST
For complete specifications write
E91 MC, 415
5th St., Harrison, N.J.
ELECTRONIC COMPONENTS AND DEVICES, HARRISON, N.J.
one coil with respect to the other in a playback system. When a highly modu- lated lateral recording is played, there is a tendency for the stylus to be pushed upward from the grooves at high frequencies. Thus, there is some vertical stylus motion on even a purely lateral record. This is part of the reason you hear some program level have the channels phased when for you vertical when playing a
If you lateral disc. want to see this experiment work out a little better, try to find a stereo disc which contains some vertical rumble or find a playback table which has it. Using either channel alone, you
CHOICE OF MOUNTING
AND WIND SCREEN
STAND will hear the rumble. Play the disc laterally and the rumble is greatly re- duced. can be
(Certain kinds of record scratch reduced by this same approach.)
Obtain a good stereo test disc and note the separation between the chan- nels.
It probably will run about
20 db or more at
1 kc. This is not perfect separation, partly because of the re- cording process and partly because of the playback process, as well as the manner in which the tonearm is mounted. Even with this seemingly poor separation, we obtain rather dra- matic stereophonic sound on some discs.
The degree of the stereophonic effect depends on the men behind the recording rather than upon the per- formance of perts say the equipment. Some ex- that if separation was no better than
12 db, stereo would be just as apparent as would be the case if much greater separation was achieved.
You'd be surprised how little separation is required in order to make a sound appear to be located on one side of a room or the other.
To repeat, the pickup is constructed with two orthogonal coils rather than a vertical and lateral coil.
If there was a vertical and a lateral coil, there would be no need to parallel them to obtain the desired cancellation of unwanted signals. All to use that would be needed is the lateral coil or the vertical coil as the case may be. It is only when these channels are combined properly that the cartridge as a whole can dis- criminate between lateral and vertical modulation.
There is still one point which may be troubling you. When you used a monophonic disc to determine which channel was the vertical channel and which was the horizontal channel, you were obtaining a definite difference in output between them. From what I have said already, there should not be a difference in output of one channel over the other because of the angular relationships between modulation of the coils and the the disc.
The difference in of output can be accounted for in one two ways.
Either the cartridge is defective or the tonearm is not truly vertical. If the tonearm is tilted to one side or the other, the cartridge will tend to be oriented in a vertical -lateral arrangement rather than the
45 -45 degree manner intended. Check this and try some other cartridges.
Coupling Two Power
In setting up a disc recording, hecause of cost considerations and such,
I have chosen not to buy a new disc recording amplifier. However, I have a disc recording amplifier rated at 13.5 watts and a much older
PA amplifier which is quite linear and still in very good condition. The PA amplifier is
Circle 137 on Reader Service
tapin q classics,
jazz, or pops...
-top tape from Tarzian is as fine a brand as you can buy. We start with the finest, raw materials, use the most advanced manufacturing equip- ment, and apply strict quality control standards. Then we lab -test other brands, too
we can honestly assure you that you can't do better.
You can do a lot worse, though. Off brands and "white box" tapes not only compromise quality, but may actually seriously damage the sensitive magnetic recording head in your tape deck.
For best results, always use brand
- name tape.
Tarzian.) And to triple your tape record- ing fun, buy it three reels at a time!
When the music stops, to be
32 there's lots more fun had!
Write page booklet recording ideas. for of our tape
Leading Manufacturers of TV and FM
MAGNETIC TAPE DIVISION
Export: Ad Auriemo,
Enterprises Ltd., Toronto, Ont.
138 on Readier Service Card
30 watts; it has been a good disc
-cutting amplifier. so
I want to couple the two amplifiers that
have a usable power of 40 watts or a little more to drive the cutter.
Because bath units have controls for mikes, phono, and such, how would I use these controls?
couple the output of the
13.5 -watt watt unit? unit to the input of the 30-
I use the mike or phono input on the 30 -watt unit?
Do I leave the volume control of the
tell the difference between the
555 and any other stereo tape recorder
the controls of units are the
13.5 -watt unit? Both rated
20 to 20,000 cps. What can I expect in the way of response and distortion if both units are coupled together?
Both units have output taps of 8 and
16 ohms. The
-watt unit has a
70 -volt tap.
I am sound. tions? interested in clean, wide -range
What are your recommenda-
Name and address withheld.
A. You cannot couple the input of one amplifier to to the output of the other obtain more power. Let us see why this is true.
Amplifiers are rated as producing their full power when
X voltage is fed into the input. Increasing the
X voltage will not materially increase the power output of the amplifier but will materi- ally increase the amount of distortion produced by the amplifier.
Even if the device feeding this input is producing power, this power is not taken by the input. The input only uses the voltage developed across the power amplifier.
All is way the power from the driver amplifier being wasted. Thus, it is not in any added to the power of the driven amplifier.
The way amplifiers are usually con- nected to provide additional power is to connect speaker taps together and drive both amplifier inputs from a com- mon ever, are source. This is impractical, how- in your case because the amplifiers not matched.
This means that the phase relationship between them will not be zero degrees as is required for such an arrangement. Because of this, the power produced by these amplifiers will is not add up to form the sum of the powers of the two amplifiers. It actually possible that the total amount of power will be less than that supplied by your 30 -watt unit.
Fortunately, this is not important because you would not gain very much even if the two amplifiers could have been used as intended. The improve- ment in power output is considerably less than
3 db. This improvement is not a sufficient amount to warrant ex- perimenting further with combining your two amplifiers.
You lift it. It's a remarkably lightweight complete portable stereo tape system.
So compact it weighs less
You check for tubes.
solid state (all trans - sistors
27 of them).
You hear it.
2 unique two -way speaker systems for cleaner stereo sound reproduction.
You check its dependability.
And its price is less than you'd ex- pect to pay. $349.95*.
Oki has a fine choice of other solid
state tape recorders, starting
See and your Oki dealer. hear them now at
*manufacturer's suggested list price tone year parts,
6 months labor
Chancellor Electronics, Inc.,
Ave., Newark, New Jersey
Circle 139 on
Reader Service Card
Circle 140 on Reader Service Card
(from 23) have you auditioned these loudspeakers lately ?"
If you are partial to full concert hall sound, listen to the brilliant repertory of true tonal valves built into the "Mark V" and "Del Mar." Possibly we put in too many hidden values, but otherwise the extra measure which we believe essential might have been lost. We weren't willing to take a chance.
Dual crossover network. Frequency response 30 to 17,000 cycles.
14" wide x 261/2' high x
Oil walnut finish. 5169.95
Frequency response 40 to 15,000 cycles.
23%" wide x
233" high x
11'h" deep. Oil walnut finish. $79.50.
UTILITY VERSIONS OF BOTH THE
V AND DEL MAR
You can in system build your own cabinet or your own and be sure of true concert hall built. sound.
2649 BRENNER DR.,
DALLAS 20, TEXAS
YOU'RE LEFT WITH IS A GREAT
WITH 100 USES.
Here are just some of its many outstanding features: fully transistorized,
4 speeds, 4 heads, 4 chronized built
-in track stereo impulse
track mono with built
-in and editing, automatic tape stop.
And don't forget.
DIA- mixer control
PILOT- stereo transmitter for fully automatic control of for both channels. Separate recording level controls for microphone and phono- graph, blending commentary and background music in one recording pass. multiplay, sound on sound, plus echo effects, pause control for click
-free stops syn- slide projectors and animated displays. AKUSTOMAT: you simply speak and the machine records, you stop speaking and the machine stops. No wasted tape.
SOUND BEGINS AND
FOR COMPLETE PRODUCT LITERATURE AND YOUR NEAREST MARTEL DEALER WRITE
2356 SOUTH COTNER, NEW YORK CITY: 1199 BROADWAY, CHICAGO: 5445 NORTH LINCOLN AVENUE
141 on Reader Service
PROGRAM of position with the exception
Mic-2 and MIc -1.
They should be be left in the neutral position.
Plug a speaker into the MUTED
&Ica jack on the end panel. Start a record playing on one of just its volume the turntables. Ad- until its peaks at
100 per cent on the vu meter. Momentarily actuate MIc
-1 switch to the
PROGRAM or AUDITION position. This should mute the speaker. Plug in a pair of ear- phones you. and adjust the volume to please
TURNTABLE channel potentiometer all the way down to off.
You should hear the record playing over the cue speaker unless your con- trol room Mic-1 is turned on. Go through your
AUDITION side of the operation just like we have with the
Although I haven't included
Rlyuus in my power amplifier, connections are available all the way from Mic-2 switch to the power amplifier chassis so you could install it to an adjacent studio mute a speaker in where you might station
May I take this opportunity to point out some of the bonus features we've given you in this all- transistor audio console that are not immediately ap- parent? Something you can't appreci- ate from black and white photos is that different colored knobs were used to identify the channels. Yellow was used for the
MONITOR control, black for both
Mic-1 and Mic-2 controls, blue for both
TURNTABLES, and red for the
We gain control. remembered to leave three feet of extra microphone cable on sole- the con- mounted microphone so the an- nouncer can remove the microphone from its stand and interview nearby guests.
Transistors were not soldered into the circuits except where it was neces- sary to use a heat sink.
The servicing engineer appreciates this.
Few, if any, commercial, portable, audio consoles feature auditioning pro- visions.
With this feature, announcers can check out a microphone, turntable, or even feed a system separate public address without interrupting the regular program.
Little has been said about the copy rack idea. But ask any announcer if he
Closeup of end panel,
A convenient service to AUDIO readers. by
your books leisurely save time and
I travel,' we pay the postage.
Hi -Fi Equipment
A valuable reference anyone whose living or hobby is servicing hi -fi equipment. Outlines the professional approach servicing all types of for for hi- fi components. Covers trouble- shooting of elec- tronic, mechanical and acoustic problems. 224 pages.
No. 58 Paperback $2.90*
Designing and Building
Hi -Fi Furniture
Written by a professional hi
-fi furniture designer who has taught furniture design at leading col- leges, this book is an au- thentic reference of value to the hi-fi fan and pro- fessional custom builder.
Covers types ture of everything from woods to finishing for furni- the mechanically adept; de, sign principles, styles and arrangements for the decor minded. 224 pages.
No. 79 Paperback $2.90*
McProud High Fidelity Omnibook
Prepared and edited
C. G. McProud, by publisher of Audio and noted au- thority and pioneer in the field of high fidelity.
Contains a wealth of ideas, how to's, to's, and when to's, ten so plainly that both engineer and layman can appreciate its valuable context. Covers problems cabinets and what writ- planning, with decoration, building hi- fi furniture.
A perfect guide.
The 5th AUDIO
G. McProud, publisher of AUDIO.
An an- thology of the most signifi- cant articles covering: stereo recording and reproduction; stereo multiples; ments; stereo measure- construction and theory
5th is and a technology,
which appeared in AUDIO during 1958 and 1959.
The truly a collectors' item valuable reference for the professional engineer, teacher, student, hobbyist and hi -fi fan.
"the best of AUDIO"
Tape Recorders and
A complete book on home recording by the author of High Fidelity Simpli- fied. Easy learn the techniques re- quired for to read and professional results with home re- corders.
Covers room acoustics, microphone techniques, sound effects, editing and enthusiasts. splicing, etc.
Invaluable to recording
112 Paper Cover $2.95
A new compendium of
Here is a best of AUDIO
AUDIO collection of the
. . by
Joseph noted audio engineer and the original high fidelity an- swer
Here is a wealth of hi mation. Answers to the most high
-fi edited by C. G. and
Editor of audio infor- important issues in fidelity and able reference. a valu-
No. 124 Volume
"best of almost 50% with this
($2.00) collection of
McProud High Fidelity Omnibook
Tape Recording ($2.95)
TOTAL VALUE ALL FOUR BOOKS
Your cost only
This offer expires June 30,
1965, and is good only on direct order to the Publisher.
"The AUDIO Cyclopedia"
Howard M. Tremaine
Is one single volume with the most compre- hensive coverage phase of audio. accurate of every
Concise, explanations of all audio and hi -fi sub- jects. More than 7 years in preparation authoritative encyclope- dic work with question.
-the a most quick reference system instant answers to any vital unique plete reference book for com- for every audio engineer, techn clan, and serious audiophile.
The 6th AUDIO
C. G. McProud, publisher of
Includes articles on the two most sig- nificant milestones in the field of high fidelity:
FM STEREO and TRANSISTORS IN AUDIO
A meaningful reference
A necessary book high for everyone in the fields of audio recording, broadcasting, man- ufacturing and servicing of components and fidelity pages. engineering, equipment. for enthusiast. the
No. 130 $3.95
By the editors of AUDIO, the original magazine about high fidelity.
A 1962-1963 product review of stereo high fidelity components. Valuable reference for the high fidel- ity enthusiast and hobbyist.
I contains a Stereo a thorough discussion of the Problems of is a
Part II complete treatise on
Selecting a Tape Recorder.
Indispensable to the prospec- tive buyer of stereo com- ponents and tape recorders.
Includes a section on where to buy various stereo hi -fi components and accessories.
High Fidelity Simplified
The complete hi
answers all questions about tuners, changers, amplifiers, tope recorders, speakers, record ideas players, etc.
Lots of for custom installa- tions. Tells how to achieve concert hall reception in your borne. 216 pages.
629, Mineola, New York
Please send me the books
I full remittance of $ have circled below.
I am enclosing the
(No C.O.D. or billing.)
U.S.A. and Canadian orders shipped postpaid.
Of Your Tape Recorder
"plain talk" for the mon who has, or wishes to buy, a tape recorder. It answers the myriad ques- tions raised by tope record- ing enthusiasts. Its chapters cover every phase of opera- tion and maintenance
-from adding a tope recorder to the hi -fi system, to a thor- ough dissertation phones.
Lots of on micro- practical
Information on how to buy.
doesn't think it is just as important as his microphone. We designed this one of la
It pivots at each end, allowing it to completely fold down over the turntables for moving purposes.
In0 per word per insertion for noncommercial advertisements:
250 per word for commercial adver- tisements.
Rates are net, and no discounts will be allowed. Copy must be accompanied by remittance In full, and must reach the New
York office by the first of the month preceding the date of issue.
HIGH FIDELITY SPEAKERS REPAIRED
AMPRITE SPEAKER SERVICE
St., New York 11,
The only device in the world that will convert any tape recorder into a voice - actuated unit. Tape recorder records when you speak
turns off when you stop. Permits complete operation of recorder from a distance or when hands are busy. Ideal group without tools pause and all for conferences and activities. Installs
. no in seconds soldering. Has sensitivity controls to meet requirements.
Can be used as on
-off switch to control hi
-fi, CB or ham trans- mitters, electrical appliances, etc.
In leatherette case, complete with cord for battery- operated and transistor tape recorders. Under
Made in USA
See your tape recorder dealer or write:
DEPT. AU -5
2040 W. Washington Blvd.,
Reader Service Card crowding unless
The transistors are used.
Baxandall circuit utilizes an anode follower for the negative voltage feed- back used sirable for distortion reduction, a de- feature for the transistorized version. The first active stage in the control unit reduces the
50 kilohm out- put of the level control to approximately
900 ohms to feed the Baxandall network.
At the same time a gain of approx- imately 1.5 is realized to make up at low distortion part of the
8 db loss suf- fered through the stereo controls preced- ing it. Another transistor "collector fol- lower" (Fig.
6) is used to isolate the network from the output stage. Un- fortunately the
600 ohms output im- pedance desired here cuts the gain to approximately
0.8, so the output stage must loss. regain most of the passive circuit
An emitter follower was not re- sorted to here as to do that would de- stroy the
Baxandall network by remov- ing the virtual ground at the active element input terminal
(Q2 base). Mea- surements showed ized that the net unequal
- gain of
1.5 x 0.8 or 1.2 was satis- factory and gave the minimum count up to the special transistor output stage, six transistors being used (two chan- nels).
Design information for transistor anode followers is glaringly absent.
Many design equations were found, but they numbered almost as many as their originators.
None of them gave a con- fident kind prediction of a circuit using the of transistor parameter data avail- able to the average user.
After discussing this matter with another designer having previous experience in this area, we sus- pect the algebra of matrices lack. All for this transistor design equations, if not in matrix form, are approximations of that form, and the theory of matrices has not, as yet, been completely adapted for universal and easily applied transis- tor design.
There is also a lag in the parameter measurement field for best expressing parameter variations so that a matrix can handle them accurately.
The transistor anode followers used in this control unit were consequently de- signed by the old compromise method plus some published information.11
BE CONTINUED at Wm. E. Owen,
Amplifier Design," Solid
9, 12, 15 and 22.
HARPSICHORD. Same as owned by
Phila- delphia Orchestra and
Victor. In kit form for home workshop assembly,
Free brochure. Write:
Harpsichords, Dept. R., 115
Christopher St., New
LEARN WHILE ASLEEP. Hypnotize with recorder, phonograph! Details, strange catalog free. Sleep- ington.
A5M components, for and lowest quotations on tape money- saving stereo catalog your individual recorder, or system require- ments. Electronic Values, Inc., 200
York, N. Y. 10011.
HI -FI COMPONENTS, guaranteed
-day money -back
HI- FIDELITY CENTER,
New York, N. Y. 10028
HI -FI SPEAKERS EXPERTLY REPAIRED
USED SPEAKERS BOUGHT
Astor Place, New York 3,
ELECTRONIC CHASSIS PUNCHING drilling service, panels cut, etc. Build azine article! Send chassis,
(16ths) diameters to to
", 504; sq.,
54 perimeter centers, allow clearances. or
W', that and mag- request estimate.
50; inch to 3/16. Steel 20ga. add 50 %. Mark sizes
Payment rial, minimum $2.00, under
2 lbs to in
", 254; aluminum and with mate- returned post- paid. Metalwork, P. O.
FOR CUSTOMIZED STEREO INSTALLA-
TION: High quality German -type U.S.-norm stereo components. Stereo-FM
-MPX receiver chassis has
4 wavebands, numerous professional features,
Compact stereo -changer with di- amond needle, studio-type automatic- manual play system, $19;
Complete package including 2
-12" heavy duty hi fidelity co-axials,
Box 234, pre -tested freight
- free shipment, $117.
AR3, like new, under war- ranty, approximately $135.
501 skate transcription arm.
Ohio, 43204. anti
Citation I, $135.
$15. with ADCl,
Wharfdale W /12
FM music without commercials.
Easily connected to your tuner.
SELL: Miagnecord 728
3 latest heads and factory reconditioned. Not model new used since.
A superior machine in superior condition. $650.
L. Ricker, 153
Lafayette S. E.,
JANSZEN 130's. Two complete speaker systems of the highest quality and condition. Matched drivers in the finest oiled walnut cabinets. Indistinguishable from new.
Originally $1120, now $550. A rare opportunity.
(More classified on page 55)
With the Sensational
MOUNT ANYWHERE e et only pure
Use a inco
Filter to stop terference and block anted signals from
T.V., and and otors, autos mps.
41/4" x vailable
Amateur at and out
Citizens transmitters, fluorescent
2" x your Finco
Hi -Fi d ealer. Satisfaction guaranteed! odel
St. Bedford, Ohio
"on" button when a take begins, and
(2) pushing the
"off" button when it ends.
"We make a passage in test of the loudest the score," Berry explains,
`and determine our level by sound from the monitors rather than any indica- tion on VU meters. The musicians decide tonal structure, and we need. that's all
Several musicians have remarked that if Repeat does nothing else, taking the difficulties makes out of piano recording the process worth while. to a
But there seems to be much more it than that. Will it revolutionize recording? The answer to while in coming. Technically, revolution is here
that may be recording the is now fact.
But, as tions, the in so many revolu- public will make the decision.
transistorized mixing console components
PREAMP, l8dbm out
20 -20Kc noise
120db. xformer in
-20 KC, in. plug in
100 PWR SUPPLY,
$75.00 for details on custom consoles, phono or tape preomps write to:
N. Y., N.Y. 10033
147 on Reader Service Card
143 on Reader Service Card
600 -2, 601 -2
Ohio. stereo recorder.
Roys Avenue, Columbus,
Fred Valdez at
60- year -old piano.
The instrument has no sounding board, but three cables lead to mixing panel and monitoring loudspeaker system.
FOR SALE: ACROSOUND
TO -350 output transformer, unused.
$50 plus postage and in- surance.
Muckenfuss, tady, N.
FROM YOUR TAPES. WHOLE-
QUANTITIES. DUBLE DUBLYU
Carton Avenue, Neptune, N. J.
High Fidelity Equipment
Hi -Fi Records
Components and Accessories
145 on Reader Service Card
Each file holds a full year's copies.
Jesse Jones ume Files
Vol- for every publication.
Covered in durable leather like Kivar, title embossed in
Attractive and practical for your home or office
3 for $7.00
6 for $13.00
NOW check or money
NEW YORK 36,
24 months to pay day money -back guarantee month guaranteed repurchase plan
Ins list warranty all lines. We ship from stock
-parts and labor allowance
Shipments double -packed
20th yr. of dependable service
We invite your test of our
"We will Not
Undersold" policy insured
Write for our price now.
You'll be glad you did.
FIDELITY cif rh.
/louse of co-
Hi -Fi List Free.
Reader Service Card
BUY IT AT RADIO-TV PARTS STORES
SALES CORP. PORT WASHINGTON,
150 on Reader Service Card
NEW! LAFAYETTE 10 -WATT
COMPLETE AM -FM STEREO RECEIVER
Just Add Speakers and Enjoy
FM, FM and High
A powerful 70 -Watt Amplifier plus Complete amplifier plus a sensitive
Tuner plus an FM
Stereo Tuner all on One Compact chassis
Amazing FM casts
Control Facilities plus
Search" Circuit Signals Presence
"Stereo of Stereo Broad-
THE WIDELY ACCLAIMED
-TRACK MONAURAL RECORD
Amplifier Corp. of America
Concord Electronics Corp.
EICO Electronic Instr. Co.
Electro -Voice Inc.
Electro -Voice Sound Systems
Fairchild Recording Equipment
Gotham Audio Corporation
4. adaptable to stereo playback
Track Selector Switch, VU
Meter and Pause
Includes Lightweight carrying case, dynamic microphone, output cable, 7 inch empty tape reel.
& 71/2 ips vides Instant
Stop for Editing
Heavy -Duty 6x4" PM
Pause Lever Pro-
Separate Erase and
1965 CATALOG No. 650
Featuring Everything in
From the "World's Hi Fi
See the Largest Selection in
Our 44 -Year
Coupon for your
Syosset, L. I., N.
Send me the
O send me
(Prices do not include shipping charges)
Circle 148 on
Reader Service Card
Harman- Kardon, Inc.
Harvey Radio Co., Inc.
Hi Fidelity Center
Kenwood Electronics, Inc.
McIntosh Laboratory, Inc.
Newcomb Products Co.
OKI- Chancellor Electronics
Scherr Tumico 12
H. H. Inc.
Tandberg of America
RCA Electronic Components
new Empire Royal
system designed and engi- neered in sight and sound
stereophonic reproduc- tion. Lets you
everything. Its regal
majestic sound unlike any you've
ever heard before.
loaded woofer, largest ceramic structure
lens allow you to enjoy the highest
of mu- sic plus phenomenal stereo separation
anywhere in the room. Speaker place-
ment non- sound crifcal.
your dealer or write or complete color
845 Stewart Ave., Garden
City. L. I., N.
Circle 108 on
Reader Service Card
o o o with these
output transistors gives you audio power output
-virtual y flat from
with total harmonic distortion like this
15,000 cps at
...plus the magic
Hard to believe...but true!
-Field High -Power Audio
Transistors can put the difference of "transistor sound" into your high -fidelity amplifiers
-at low, low,cost!
-N -P transistors can deliver
25 watts audio output with modulation distortion and with essentially flat frequency less than 1% inter- response from
8 cps to 30 Kc.
Low cost is only part of the story.
-as in all
RCA germanium audio transistors -include exceptional uniformity, high linearity, excellent stability, broad frequency response and high beta.
Positive proof: most of the originators
And at lower cost. of quality solid -state hi-fi units use the "new generation" of
RCA audio transistors now available deliver
RCA still audio transistors. better performance
RCA design channel your
Field transistors and silicon rectifiers include all the solid -state devices you need virtually anything from
1.0- professional stereo amplifier.
Components and Devices, Harrison, N.J. information commercial phonograph to a
-per- oh specific types or the complete line, see write:
Commercial Engineering, Dept.
THROUGH YOUR RCA
RCA ELECTRONIC COMPONENTS AND DEVICES, HARRISON,
The Most in
101 on Reader Service Card www.americanradiohistory.com
How does this
MONSTER help solve your sound problems?
©The giant microphone shown here is the biggest microphone in captivity
643 is also the most directional microphone sold today. It helped
E -V win the first
Academy Award for microphone design in
But beyond this, the 643 has been one of our most effective field research tools, offering a far -reaching insight into the nature of directional microphones, and their applications.
An obvious result of 643 research is our unique
Same E -V CardilineTM principle
It reaches up to twice as far only
18 inches long. as any other broadcast unidirectional microphone to give you better long distance pickups than were dreamed possible a few years ago.
And this same basic research stimulated the development of our new
668 cardioid micro- phone.
It uses the Continuously Variable -D® car
- dioid principle (a creative development from exclusive our
Variable -D patent
*) to provide smoother cardioid action
more versatility other boom microphone you can use.
But let's not ignore the most popular professional cardioid microphone of all, the Model
Here's where the Variable -D since principle got its start. And the introduction of our seven foot laboratory, the
its companion, the
been further refined to offer better performance and value than ever before.
From such startling microphones as the 643, come continuing basic improvements- and the tools you need to solve your most difficult sound problems.
-V provides this kind of design leadership. E -V microphones in your studio will give you a big head start toward better sound.
After all, we're at least seven feet ahead of everybody!
ELECTRO- VOICE, INC.
Buchanan, Michigan 49107
STANDARDS IN SOUND
Cirdw 1n2 nn Render Service Card
* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project