e -oldignewei - American Radio History

e -oldignewei - American Radio History
THE AUTHORITATIVE
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ECKS.
OLD IDEAS.
controls plus two large VU
meters. All of which helps
reduce the dimensions
considerably.
Of course, as you can
see from the picture, the entire
unit is rack mountable. But
what you may not have
noticed is that the RT-707,
unlike any other tape deck,
is stackable. It's made to fit
right in with the rest of your
components.
AUTO -REVERSE
AND OTHER EXTRAS.
While many tape decks
have auto -reverse, chances
are you won't find it on other
comparably priced 7- inch tape
decks. You also won't find
a repeat button that lets you
listen to your tapes endlessly,
or circuitry that allows you to hook
the RT-707 up to a timer, so you can make
recordings even when you can't be there to
supervise them.
Obviously, these are only a few of the
virtues of our new RT-707. But there are
also things like a highly accessible :ape
head alignment that lets you adjust and
clean the tape heads without removing the
cover. Solenoid push-button controls that
give you direct function switching, so you
can go from one mode to another without
damaging the tape. And a floating guide
roller that helps decrease intermodulation.
The point is, you'll see a lot of things
on the RT-707, that you won't sec
on any other 7- inch tape deck.
But all this revolutionary thinking
wouldn't mean much if the RT-707 weren't
built to fit comfortably into your budget. It
is. In fact, its price is comparable to any
good" tape deck.
See your Pioneer dealer and get a
closer look at the most extraordinary 7-inch
tape deck ever built.
We think you'll find the only things that
the RT-707 has in common with other 7
inch tape decks is the size of the reels. And
the size of the
-
-
price.
c
PION
WE BRING IT BACK ALIVE.
197
f REO2LNCY RESPONSE:
850,1.,Ih,tr>
ips
2028900 Hz"
13034,000 Ht
z 3
d0L
WOW AND FLUTTER: @7S ips 0.03 IWR4ISI
SIGNAL TO NOISE RATIO: More than 55 -dB
HARMONIC DISTORTION. No more Montt 0%
SPEEDS:
7'aips11eem'sec.l SA.ips19.5 cm oao
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-
0.05%.
a dove motor . I Ica pstan drivel, 6.pole
inner--rover sond al .ndurdon motor c2 ,reel drive).
REFERENCE TAPE: 5ror_h #206
MOTORS: FG AC Sn -vv dirn
Enter No. 39 on Reader Service Caed
THE RI-707
UNLIKE OTHER 7-INCH TAPE D
THIS ONE ISN'T FILLED WITH 15 YEAF
Now there's one 7- inch open reel tape
deck with the kind of technology and
features found in some of today's most
sophisticated 10- inch tape decks. Pioneer's
new RT-707.
In fact, the 707, when compared to
other 7- inch tape decks, makes them look
and sound 15 years old.
have perfect pitch even if they weren't
originally recorded that way.
BEYOND THE RANGE
OF MOST 7-INCH TAPE DECKS.
In the past, the most you'd expect
from any 7- inch tape deck in terms of
frequency response was respectability.
But Pioneer's
engineers have gone
THE MOST ACCURATE
DRIVE SYSTEM:
far beyond that. Our
DIRECT-DRIVE.
super -sensitive tape
The average 7- inch
heads, for instance,
tape deck is equipped
will pick up and
with an old fashioned,
deliver frequencies
high speed drive system
from 20 to 28,000
The extraordinary direct -drive system.
that works on belts or pulleys.
Hertz. The preamplifier,
A system that generates excessive heat,
which is built around Pioneer designed
wow and flutter and comes with its own
integrated circuits, will handle up to 30
nifty little "noisemaker": a fan. Not the
decibels more input than any other 7- inch
RT-707. It's driven by a far more accurate
tape deck without distorting. So you can
and efficient AC Servo direct -drive motor. A
capture all the depth and presence of each
motor that generates its own frequency to
and every instrument without losing any
monitor and help correct variations in tape
part of the music.
speed. Which results in incredibly little wow
AWHOLE NEW WAY
and flutter -0.05% (WRMS). In addition, the
OF LOOKING
drive system of the RT-707 is unaffected by
AT TAPE DECKS.
fluctuations in line voltage and won't
Where most
deteriorate with age like belt -drive. And
7- inch tape decks are
because it doesn't generate heat it doesn't
big and clumsy, new
need a fan. So what you'll hear is music with
technology has helped
a clarity and crispness not possible on any 7
us make the RT-707
inch, or many 10-inch tape decks.
smaller and more
compact.
A FIRST FOR 7 -INCH TAPE DECKS:
PITCH CONTROL.
For example,
Unlike others, the RT707 can be stacked
or rack -mounted.
Thanks to this extraordinary direct-drive between the take-up
reels on the"dinosaurs" of the past, you'll
system, it's also made pitch control possible
find nothing but wasted space. On the
for the first time on any 7- inch tape deck.
RT-707, however, you'll find this space
Which means that you can regulate the
occupied by a series of highly sensitive
speed of the tape, so your recordings will
-
THE ONLY THING IT HAS
IN COMMON WITH
OTHER 7-INCH
TAPE DECKS IS THE
SIZE OF ITS REELS.
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DENON
January 1978
"Successor to
RAW
Est.
1917"
Vol. 62, No.
1
Feature Articles
What Kind of FM Antenna
Michael J. Salvati
Daniel Shanefield
Best For You?
30
Recordings for Critical Listening
TDS in Sound Measurements
40
46
Don Davis
Audio Phase Detector
My Friend The Maestro ...
54
Charles Kitchin
Leopold Stokowski
58
Bert Whyte
Is
Equipment Profiles
AC DIRECT DRIVE
The best of both
worlds: smoothness
of belts, accuracy
of direct drive.
AC Direct Drive is an
exclusive DENON sys-
tem that senses the
moving platter with a
tape -recorder head.
The actual platter
speed is then clocked
and made perfect-with
a smooth -running AC
motor.
Advantages?
No DC motor pulsing. No heavy flywheel
platter needed for motor
smoothing. (A lighter
platter means faster
starts and quicker response to speed correction as well as less wear
on bearings). No cartridge sensing of tiny
motor jerks. No belt to
wear out.
AC Direct Drive.
On all DENON turn-
tables from $298 to
$930.
Distributed by
oilAmerican
Onkyo A-7 Integrated Amplifier
Burwen DNF-1201A Dynamic
Noise Filter
Neumann fet-80 Series
Microphone System
68
Leonard Feldman
76
Leonard Feldman
80
Jon Sank
Record Reviews
The Column
83
Jazz & Blues
90
Tape & Turntable
97
Classical
The Folk Bag
100
105
Michael Tearson & Jon Tiven
Edward Tatnall Canby
Tom Bingham
Audio in General
Tape Guide
6
Herman Burstein
Audio
Dear Editor
8
Edward Tatnall Canby
16
Behind the Scenes
20
What's New in Audio
26
Audioclinic
Classified Advertising
Advertising Index
28
ETC
Bert Whyte
Joseph Giovanelli
109
114
About the Cover: The "J.P. Seeburg Orchestrion" doesn't need a conductor
which may be appropriate in light of the
recent deaths of Leopold Stokowski and
Guy Lombardo. This mechanical orchestra
was restored by Albert H. Hreha of the
Carousel Mechanical Museum in the Village Mall on Pa. Route 420, Morton, Pa.
Audioport, Inc.
1407 N. Providence Rd.
Columbia, MO 65201
AUDIO Publishing, Editorial, Subscription and Advertising Production offices, North American Building 401 No. Broad
Philadelphia, PA 19108. Telephone. (215) 574-9600. Postmaster. Send Form 3579 to above address.
St.,
"Not the loudest sound in
town, but the best quality"
claims WXRT, Chicago,
longtime Stanton user.
. .
Daniel Lee, President and General Manager, discussing Stylus Replacement Policy with Howard Williams, Chief Engineer and Ken Rasek, Audio Engineer.
WXRT is a progressive rock, FM station that is unique in
many ways. Its whole operation, including Administration,
Sales, Engineering, Programming, Broadcasting, Transmitting (even the tower itself), is located in one place
a
highly unusual set-up for a major market.
In a market crowded with as many radio stations as Chicagoland, the excellence of sound can make or break the
station, especially a station like WXRT
which plays no
tapes
has no recorded commercials
and goes totally
with disc -to -air and live copy.
Since WXRT uses no limiters and no compression to magnify the level of their signal, their turntables and cartridges
are absolutely crucial to the quality of their sound.
...
...
...
...
For over 10 years, the station has used the Stanton product in its turntables. Today, it even uses the 681 Triple -E for
disc -to-air playback and, although this stylus was not designed for back -cueing, the engineers and announcers report
no problem (they even use them on their AM operation,
WSBC).
Leading radio stations around the nation depend on Stanton 681 Calibration series cartridges, because they offer improved tracking at all frequencies
they achieve perfectly
flat frequency response to beyond 20 kHz. Its stylus assembly, even though miniaturized, possesses greater durability
than had been thought possible to achieve.
Each 681 Triple -E is guaranteed to meet its specifications
within exacting limits, and each one boasts the most meaningful warranty possible ... an individual calibration test result is packed with each unit.
Whether your usage involves recording, broadcasting or
home entertainment, your choice should be the choice of the
professionals ... The Stanton 681.
...
For further information, write to:
Stanton Magnetics. Terminal Drive,
Plainview, N.Y. 11803.
Stanton Magnetics Inc
John Bell hands new record to Scott McConnell
Air personality. John
84
prepares to play
a
record
Enter No. 47 on Reader Service Card
,
1977
srai`rron
Editor
Eugene Pitts
Ill
Associate Editors:
Edward Tatnall Canby, Bert Whyte
Assistant Editor
Eugene J. Garvin Jr.
Marketing Director
Sanford L. Cahn
Design
Frank Moore
Design Assistant
Debbie DePietro
Circulation Manager
Jean Davis
Advertising Production
& Editorial'Assistant
Gloria Klaiman
Senior Editors:
Richard C. Heyser, B. V. Pisha
Contributing Editors:
Tom Bingham, Herman Burstein,
Geoffrey T. Cook, John DiLiberto,
Leonard Feldman, Joseph Giovanelli,
Bascom H. King, C.G. McProud,
Dan Morgenstern, George Pontis,
Howard A. Roberson, Jon Sank,
Donald M. Spoto, Michael Tearson,
George W. Tillett, Jon Tiven.
Model ATISSaIH Dual Magnet
Stereo Cartridge pre -mounted in
Universal tone arm head shell.
Publisher
Jay L. Butler
AUDIO (title registered U.S. Pat. Off.) is published
monthly by North American Publishing Co., Irvin J.
To find out how much
better our cartridge
sounds, play their
demonstration record!
There are some very good test
and demonstration records available. Some are designed to show
off the capabilities of better -than average cartridges... and reveal the
weaknesses of inferior models.
We love them all.
Because the tougher the
record, the better our Dual Magnet'"
cartridges perform. Bring on the
most stringent test record you can
find. Or a demanding direct -to -disc
recording if you will. Choose the
Audio-Technica cartridge that
meets your cost and performance
objectives. Then listen.
Find out for yourself that when
it comes to a duel between our
cartridge and theirs...we're ready.
Even when they choose the weapons!
What you'll hear is the best
kind of proof that our Dual Magnet
design and uncompromising
craftsmanship is one of the most
attractive values in high fidelity.
For their records...and yours!
audio technica.
Borowsky, President; Frank Nemeyer and Jay L. Butler,
Vice Presidents; Harry Feld, Treasurer; Joseph
Florentine, Chief Financial Officer; Mary Claffey,
Secretary & Circulation Director; R. Kenneth Baxter,
Vice President/Manufacturing;
Sanford L. Cahn,
Marketing Director; Mary Anderson, Production
Director; John Nolan, Corporate Art Director; Vic
Brody, Promotion Director; Circulation Consultant,
S.O. (Shap) Shapiro.
Subscription Rates: United States only,
1
2
the U.S.,
team -Amsterdam.
England: The Paul Singer-Lawrence Media Group, 54
Burton Court, London SW3, SY4, England Phone, 01730 3592
EDITORIAL CONTRIBUTIONS are welcomed but
should be accompanied by return postage. Submissions will be handled with reasonable care, but the
publisher assumes no responsibility for return or
safety of manuscripts, photographs, or artwork.
INNOVATION o PRECISION o INTEGRITY
Dept.
18A
AUDIO-TECHNICA U.S., INC.
33 Shiawassee Avenue, Fairlawn, Ohio 44313
In Canada: Superior Electronics, Inc.
Enter No. 8 on Reader Service Card
,
year for
years for $16.00; 3 years for $22.00; outside
1 year for $11.00; 2 years for $18.00; 3 years
for $28.00. Printed in U.S.A. at Concord, New Hampshire. All rights reserved. Entire contents copyrighted
1977 by North American Publishing Co. second class
postage paid at Philadelphia, PA and additional
mailing office. Back issues, $2.00 each.
World Library Congress Number: ISSN 0004-752X
Dewey Decimel Number: 621.381 or 778.5
National Sales Office: Jay L. Butler, Publisher,
545 Madison Ave., New York, NY 10022. Telephone
(212)371-4100.
West Coast Sales Office: lay Martin, 17000 Ventura
Blvd., Encino, CA 91316. Telephone (213) 788-9900.
Continental European Representative: V. B. Sanders,
International Publishers Advertising Service,
Raadhuisstraat 24, P.O. Box 25, Graft -De Ryp,
Holland: Telephone, 02997-1303; telegrams, Eurad$9.00;
cc,
Leader in editorial excellence
It's time for everybody else
to start playing catch-up. Again.
From the very beginning, experts have acclaimed the
performance and feature innovations of Yamaha receivers
as nothing less than spectacular.
But now, we've outdone ourselves.
Yamaha is introducing a new line of receivers with such
unprecedented performance, it's already changing the
course of audio history.
Real Life Rated"' While traditional laboratory measurements provide a good relative indication of receiver
performance, they simply don't tell you how a receiver
will sound in your living room in actual operation. So
Yamaha developed a new standard for evaluating overall
receiver performance under real life conditions. It's
called Noise -Distortion Clearance Range (NDCR).
No other manufacturer specifies anything like it, because
no other manufacturer can measure up to it.
We connect our test equipment to the phono input and
speaker output terminals, so we can measure the performance of the entire receiver, not just individual component sections like others do. We set the volume control
at -20dB, a level you're more likely to listen to than full
volume. We measure noise and distortion together, the
way you hear them.
On each of our new receivers, Yamaha's Noise Distortion Clearance Range assures no more than a mere
0.1% combined noise and distortion from 20Hz to 20kHz
at any power output from 1/10th watt to full -rated power.
Four receivers, one standard. On each of our four new
receivers, Yamaha reduces both THD and IM distortion
to new lows-a mere 0.05% from 20Hz to 20kHz into
8 ohms. This is the kind of performance that's hard to
come by in even the finest separate components. But it's
a single standard of quality that you'll
find in each and every new Yamaha receiver. From our CR -620 and CR -820
up to our CR -1020 and CR -2020.
What's more, we challenge you
to compare the performance and features of our least expensive model, the
CR -620, with anybody else's most
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Variable Loudness Control.
More flexibility. It's consistent with Yamaha's
design philosophy that you'll find the same low distortion throughout our new receiver line. Of course, as
you look at Yamaha's more expensive models, it's only
logical that you'll find the additional flexibility of more
power, more functions, and more exclusive Yamaha
features.
For example, there's a sophisticated tuner, with unique
negative feedback and pilot signal cancellation circuits
(patents pending), that makes FM reception up to 18kHz
possible for the first time on a receiver. Plus other refinements like a Built -In Moving Coil Head Amp, Fast-Rise/
Slow -Decay Power Meters, and Yamaha's own Optimum
Tuning System.
Now's the time to give us a listen. Our new receiver
line is another example of the technical innovation and
product integrity that is uniquely Yamaha. And your
Yamaha Audio Specialty Dealer is an example of uncommon dedication to faithful music reproduction and genuine customer service. It's time you heard them both.
If your Yamaha Audio Specialty
Dealer is not listed in the local Yellow
Pages, just drop us a line.
YAMAHA
Audio Division. P.O. Box 6600, Buena Park, CA 90622
©1977 YAMAHA INTERNATIONAL CORP.
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CR -620 0.05% THD 0.05% IM
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expensive receiver. You'll discover that nobody but
Yamaha gives you our incredibly low 0.05% distortion
and -92dB phono S/N ratio (from moving magnet
phono input to speaker output).
You'll also discover that nobody else starts out with
such a variety of unique features. Independent Input and
Output Selectors that let you record one source while
listening to another. A Signal Quality Meter that indicates
both signal strength and multipath. The extra convenience of Twin Headphone Jacks. Or the accurate tonal
balance provided at all listening levels by Yamaha's special
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AmericanRadioHistory.Com
anPzALLa
ZEI1EDI1
The impact of AMPZILLA'S
and THAEDRA'S revolutionary circuitry continues
to send shock waves
throughout the audiophile
community. They became
classics of audio -design
excellence and remain the
choice of experts all over
the world.
Now, Great American
Sound Co. proudly unveils
the third generation of
affordable discrete stereo
components with the
uncompromised sound
qualities of it's illustrious
predecessors.
Taepde
Herman Burstein
Meter Recalibration
want to adjust the calibration of
the VU meter on my TEAC tape deck as
am changing to a high output tape
that requires a 1 dB greater input level
for a 3 dB higher output. How do go
about making this adjustment?-J.
Hardy, USS Bryce Canyon
A. Consult the TEAC manual for the
location of the control that adjusts the
VU indication when recording. Feed a
400 Hz signal into the deck and note
the VU reading. Maintain the same input level and adjust the VU calibration
so that the meter now reads 1 dB lower
than before. However, feel that the
inexactitude of the VU reading is such
that a 1 dB adjustment becomes rather
academic.
Q.
I
1
1
I
Alcohol Cleaning
$559.00
CHARLIE
the FM digital tuner (top) features crystal controlled time readout, wide/narrow band
selection and new surface -acoustic -wave
low -distortion IF filters. (Available early 1978).
$309.00
THALIA
servo -loop preamplifier (center) with fully complementary class-A circuitry throughout.
Distortion is less than .01% at 2 Volts out,
20 to 20 KHz.
$309.00
GRANDSON
power amplifier (bottom) can deliver over 80
Watts at 4 Ohms with less than 0.3% (20 to
20 KHz). Transient Intermodulation (TIM) Distortion is less than .01%.
Write for our latest Gassettes which include over 32 pages
of test reports from Stereophlle, Absolute Sound, Stereupus,
Audio, Sound Advice. High Fidelity, Popular Electronics,
etc., as well as specifications and complete information on
all G.A.S. Co. products.
1
THE
P
I
I'
CHATSWORTH. CALIF. 91311
U S
Dolby Improvement
Q. I have just added a Dolby noise
reduction system to my tape equipment. Can you please tell me if the
reproduction quality with the Dolby
unit is better when taping at 33/4 ips,
that at 71/2 ips with the Dolby?-S.
Warshauer, Phila., Pa.
A. The quality is better at 71/2 ips
with the Dolby, than at 31 ips with the
Dolby-using the same tape machine.
However, the improvement in the
signal-to-noise ratio is usually more
noticeable at the slower speed.
Prerecorded Playback
understand that if I don't play my
prerecorded tapes once a month or so,
then before playing them should rewind them in order to get the proper
Q.
I
1
INC.
GREAT AMERICAN SOUNDA. CO., 998-8100
20940 LASSEN ST
Q. Does the use of isopropyl alcohol
for cleaning heads damage either the
heads or the tapes?-Allan Northcutt,
Bedford, Mass.
A. Generally tape heads can be
cleaned with isopropyl alcohol without damage. But it is always safest to
check the deck manufacturer's recommendations as to cleaning fluid, or if
you're using a replacement head,
check with the maker of that head. Let
the heads dry thoroughly before running tape past them.
12131
Enter No. 20 on Reader Service Card
tension. The trouble is that I have too
many tapes and don't get to hear them
for months on end.-D. Pearson, Salt
Lake City, Ut.
A. While it is a good idea to rewind
unused tapes periodically, I don't
think that this has to be as often as
once a month, particularly if the tapes
are stored after being wound at normal
playing speed. Rewinding about every
six to twelve months should be sufficient. It is okay to use your fastest
operating speed in rewinding.
Price & Performance
Q. Based on reports in Audio, I
bought a TEAC reel-to-reel tape deck.
At 71/2 ips, comparison between the
tape and the source gives identical
results. At 33/ ips, the TEAC handles
the high frequencies without much
loss. However, the comparison of the
TEAC specs with those of other tape
decks leaves me wondering whether I
could have gotten more performance
for my money.-Larry Scherer, St. Joe,
Mich.
A. If a tape machine had a flat
frequency from 0 Hz to 1,000,000 Hz,
your ears probably couldn't tell the
difference between this machine and
one with an essentially flat response
from about 50 Hz to 14,000 Hz. In a
directory of tape decks (such as appears annually in the October issue of
Audio), you will see that some highpriced decks have more modest specs
with respect to frequency response
than some of the lower priced ones.
Beyond a certain point-say roughly
15,000 Hz-there is very little to be
gained by further extension of the
treble response, since it would require
a sacrifice in other aspects of tape
performance, e.g. distortion and
signal -to- noise ratio. Therefore, if your
tape decks sounds good to your ears,
forget about the specs and be happy
with the deck.
If you have a problem or question on tape recording, write to Mr. Herman Burstein at AUDIO,
401 North Broad Street, Philadelphia, Pa. 19108.
All letters are answered. Please enclose a
stamped, self-addressed envelope.
AUDIO
January 1978
I
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tJLI iKAWliuttsaniu
V 1.1 niirr tYC WU\v
Harman Kardon's
ultrawideband 430 and
730 receivers.
Frequency response:
4-140,000Hz.
Amplifier design: true Twin Power.
Two features you won't find in any other
receiver except our own limited -production Citation.
Two features you won't find even in separate
components-at anything less than twice the price.
They're there for just one simple reason.
The sound.
In sonic terms, ultrawideband components
deliver two important benefits. Phase linearity and
outstanding transient response.
Outstanding transient response is the ability of
a component to respond instantly to the onset of a
sound. It keeps the reproduced music as open and
clear as the original.
Phase linearity describes a component's ability to
pass multiple frequencies without changing their
time relationships. It gives you a sound that stays
open and accurate, clear on down to the bottom,
Harman Kardon feels so strongly about these
benefits that, in a market full of narrowband components, with frequency response from 20 to 20,000 Hz,
we make only ultrawideband components.
The twin power supplies give you a further
benefit. When the music makes extreme dynamic
demands on one channel, the other channel simply
cannot be affected-so even the loudest passages
remain clear and open. That's why you'll find this
feature in the world's finest high fidelity components.
Among which, of course, the Harman Kardon 430
and 730 receivers have been enthusiastically accepted.
Harman Kardon, 55 Ames Court, Plainview,
New York 11803.
harman/kardon
wide,
open sound
Most people think only expensive separates can
give you wideband response and twin power supplies.
Except for these two receivers,
they're right.
tuncticn
Enter No. 22 on Reader Service Card
Edward Tatnall Canby
turn to the following expression
with considerable compansion. And if
you find those words odd, they merely
reflect the gist of my thought which is,
can we compand or use our home
audio system to good advantage as per
a burgeoning of recent new equipment, or will things be OK if we leave
our music as it is, just as it comes from
the audio package-tape, disc, or
broadcast? The answer is yes ... both
I
tically compress their own dynamic
range, repress their natural expression,
even before the microphones get
involved; that's one way to do the
necessary job. And a nice sub-question
is, should we expand them electronically in our homes, to make them
play the way they might have played,
if-? Well, can tell you right now that
that particular expansion will never
work. The only way to make musicians
I
ways. Some people
would put things the
128 (Audio, Nov. 1977, pg. 106), a piece
of equipment which is highly involved
in this sort of mirror operation. If there
is anybody in the biz who knows the
ins and outs of compransion, it must be
dbx, and this model is doubly involved,
once for the traditional dbx two -stage
noise reduction (via mirror compression/expansion circuits) and again
via a range expander, hopefully to
compensate for the compressions that
undeniably are there
in the long chain of
electronics
other way around:
should we compress
and expand; but it's
all the same to me
room. Compransion
is a verstaile prin-
since expansion is
but the mirror twin
of compression, two
Now
that
I
it happens
had another
dynamic
exactly what the
whole thing is about.
The villain of this
compransion, is the
lefthanded
many
uses.
when all goes well,
are one and add up
to zero. Which is
(gauche,
with
ciple
which,
processes
that
living
leads from
music to the living
twin
sinister),
compression. Compression of signal is
a necessary evil in
many areas of audio
signal processing to
make things fit into
the audio frame.
Nobody does it for
fun & games (though
they'll do it for
background). On the right hand
(dexterous, adroit, righteous), we have
expansion, the saving grace, the
many say
redeeming feature and, if
so, also inclined to take off on its own,
minus twin. It's fun to expand.
When it comes to transmitting music
through the interface betwen acoustic
and electronic there is no room for
I
anything but careful compromise,
which means compression, limiting,
and other negative-type circuitry. Various equalizations are part of the
picture, but compression is the main
thing, at least as of my present concern, and it isn't simple.
have to
Even live orchestras,
remind you, must sometimes acousI
I
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sound as if they are playing LOUDER is
overto have them play louder
tones, physical effort and all that. You
cannot make a soft trumpet sound like
a loud one by turning up the volume.
But if we merely bring them back to
normal, after electronic compression?
That is another story and it should
work just fine-if we can do it. That's
where the dynamic range expander
comes in. A mirror -type circuit, its
expansion of the volume range
matching the compression built into
the audio signal. If it works we should
have zero, the same thing the players
played.
I
recently read with pleasure our
Equipment Profile on the dbx Model
.
.
.
range
expander right in my
own home circuit,
built into a piece of
equipment loaned to
me for another purIt will be
pose.
nameless because it
is not currently in
production-but do
you think I didn't try
it? try everything.
listened to normal
recorded music with
this thing in my
circuit, to see what
would happen, this
time.
In all the years have been writing I
had not yet heard one of these expander devices that, however noble
I
the
intentions,
sounded
right.
Instead, they have left me thoroughly
disturbed, for they seemed always to
destroy that easy sense of "presence"
that is the very basis for good listening;
they intruded, they called attention to
themselves, like a amiable puppy that
comes in and won't leave you alone.
The idea is splendid but it never
seemed to work out in practice. I just
found that like the plain music better,
compressed or not.
So I tried this one, now some years
old-and it was the same. I used the
helpful controls, tried to fool myself
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AUDIO
January 1978
Audiofile
housing systems
AUDIOFILE, the new definition in function and style is here.
Six outstanding designs to solve the problem.
They look good! They're mobile! And they're priced right!
Trolleys, Uprights, Lowboys and Wall Mounts
a design for every need. Priced from $139.95 to $549.
Extra strong matt aluminum
construction with black plexiglass
panels. Decor Matching Kits also
-
available.
For information write:
Dept. 148
Click Systems
Hammond Industries Inc.
155 Michael Drive
Syosset, New York 11791
systems
PAT. NO. 3664627
A Diviser, of
Enter No.
21
on Reader Service Card
hammond industries inc.
by leaving the thing on and hoping to
forget it was there next time-no go.
The best setting was zero. Out of the
circuit. But-? Hope never dies! Even
so, the idea is good, it ought to work.
In a way, I was disappointed. Because
rejoice when somebody, at last, manages to do the heretofore impossible. It
happens right along, it can happen
again. Reason says that this sort of
expansion just has to work, if it is done
right, especially now, when we can do
so much more that we useta could.
The problem, of course, is that here
I
we are dealing not with one fixed,
known compression, to be precisely
matched by a fixed and known expansion. Far from it. There are almost as
many compression parameters as there
are record companies, broadcasters,
tape machine builders, and disc cutters; not only that, one compression
may be superimposed upon another, in
a different place and time, and indeed
probably is. These gents don't even
know each other to speak to, let alone
compare notes on compressions. All in
all, find it astonishing that their final
I
products get through to us with any
sense in them at all, what with so many
operating circuits at so many places in
have a
the audio chain. In fact,
healthy respect for our record producers (and even some of our broadcasters) for their practical know how.
If compress they must, then they have
learned to do it gracefully.
So our expansion mirror circuit is
tackling the impossible, which is to
match exactly all of these alterations
in the sum total as represented in the
signal which reaches your home. The
mirror isn't flat. It's full of sonic wriggles and wavers and bumps. That's
what have been hearing-so far. The
compressions themselves, again, are
generally smooth and unnoticeable,
even if they are there. And yet-? am
beginning to see, after all these years,
how it could be done. And am beginning to suspect that the more recent
manufacturers have figured it out.
Maybe the impossible is no longer so
impossible?? There are new ways to go
at the problem. But look a bit further
into home listening.
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The Phase Linear
4000 Preamp:
Quìet,versatìle, incredible.
1
2
Quiet it is, but a preamp should do
more than merely function flawlessly as a control center. To
achieve obvious audible improvements in the reproduction of music
you have to compensate for the
limitations in the re cording and playback process.
The 4000's Autocorrelation Noise
Reduction System
l
/UM?
Peak Unlimiter and Downward Expander senses gain riding and peak
limiting in the recording process
and restores the dynamics to the
original level. The Active Equalizer
produces
>.
i%q
tri
The Powerf ul Difference
virtually eliminates
record/tape hiss and
FM broadcast noise
without affecting
musical content. The
a
flat energy distribution
over the entire audio
spectrum. and passive, independent
step -tone controls
allows precise tailoring of the music to
your listening
environment.
Incredible? See
your dealer anc
listen for yourself.
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The Future Force
ideally, compransion-comYes,
pression/expansion -is a serious basis
for the consumer dynamic range expander. But it is not the only basis. If
know the normal hi fi owner, there is
another aspect and you can guess what
it is-the sheer pleasure of a versatile
new way to play around with your fi, to
suit your taste and show off your
equipment, and to heck with studious
mirror images. You can build up your
loud music even louder, cut back the
soft parts to a smooth whisper, increase the total impact by a whole new
order, and all without lifting a finger.
Nothing new in this sort of pleasure!
After all, your choice of volume level
has always been free and variable all
over the spectrum, except for practicalities like neighbors. Some like it
loud, some prefer the discreet (don't
know). Myself, I've learned to like it
loud and you'd be amazed how often
am asked .. please turn it down. You
think I'm just a musician? Same thing
for tone controls; mostly we do with
them what sounds good. And how
about space expansion, reverb, Audio
Pulse? All these are adjustable
creatively to your choice and not
necessarily according to any acoustic music original. So why not dynamic
range expansion too? This is a legitimate way to use a clever automatic
circuit and see no reason to be doubtful about it, if that is your taste. A lot
of people are going to like the newest
expanders on just this basis, a singlestage operation that enhances the
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anufactured in the USA.
n Canada by H Roy Gray, L
AUDIO
January 1978
ONKYO'S QUARTZ-LOCKED
...ACCLAIM BY IMITATION
:That's happening now with Onkyo's
rtz-Locked Tuning System. Since Quartzed has proved to be about the bast tuning
tem in the business, some big names are trying
to equal our success.
You might, of course, be better off if they did copy
the Onkyo Quartz-Locked. Then you'd have the system which Hirsch -Houck Labs said, "...was virually
impsible to mistune..:'* A statement other indepen_ent labs have agreed with.
O'-kyo's Quartz-Locked Tuning System is control led by a Sentry Circuit which reacts tc your touch
on the tunirg knob, unlocking Quartz -Locked when
you ouch it for tuning; locking it when ou re ease
the -nob.
The system works through a quartz crystal controlled reference signal in constant comparison to
the IF frequency. Quartz-Locked detec-s and corrects off -frequency conditions so fast you never
e\.en know it's happening. The result. continuous
maximum reception that's rigidly stable.
Of course, we've had Quartz-Locked in our labs
for years before putting it on the market. And, in the
little more than a year it's been out, Quartz -Locked
has made a name for itself ...and a lot of audio fans
Artistry in Sound
to do.
In adcition to Quartz-Loc
also has a Quartz -Locked -uner for'éri-gradi
system. And a few more Quartz-Licked zompo
coming off the drawing board now.
The best way to be sure of setting the Quartz Locked system that set the stancard is to be sure i
says "Onkyo Quarz -Locked Tuning System:'
Perhaps it car oe imitated We doubt it can bE
equalled
ONKYO QUARTZ-LOCKED AUDIO EQUIPMENT
TX-4500 Quartz -Locked AM/FM Stereo Receiver
Power output 55 watts per :harmed,
timum RMS at f.
ohms, bot-1 channels driven from 20 -1z is 20 kHz, with ne
more thar 0.1% Total Harmon Distortion.
TX-8500 Quartz -Locked AM/FJVI Stereo Receiver
Power output 110 watts per channe, minimum RMS at 8
ohms, bout channels driven from 20 -Iz tc 20 kHz, with no
more thar 0.1% THD. Dual Power supply.
T-9 Quartz -Locked AM/ FM Stereo Tuner
Dual Gate MOS FET 4-Gang Variable capacitor front end
with Usable Sensitivity 1.7 pV; 50 dB Quieting Sensitivity of
3µV; Harmonic Distortion: Mono 0.15%, Stereo 0.3%; Stereo
Separation 40 dB at 1 kHz.
NKYG
ri
i
î
*POPULAR ELECTRONICS AUGUST, 1976
Eastern Office: 42-07 20th Avenue, Long Island City. NY 11105 (212) 728-4639
Midwest Office: 935 Sivert Drive, Wood Dale, III. 60191 (312) 595-2970
West Coast Distribution Center: Damark Industries, Inc., 20600 Nordhoff Street, Chatsworth, California 91311 F213) 998-6501
Canada: Sole Distributor, Tri Tel Associates, Ltd., Willowdale, Ontario. Canada A2H 2S5
Enter No. 35 on Reader Service Card
signal for new creative effects. That, if
you wish, is the musical wave of the
future and a bigger factor in home hi fi
than most of us care to admit. am all
for it, with only one reservation: these
sounds, these effects, are not for
everyone.
For some of us, the two -stage expander remains a more important objective, factual compensation, as
nearly as possible, for the alterations
built into the musical signal. A flatter
mirror is all we want. And decidedly,
this is a tougher task, though I think it
is the one dearest to the hearts of those
who design and build expanders.
I
Music, acoustic music, the sound of
music out of the original acoustic instrument, is still a major basis for
audio reproduction and those of us
who are concerned with this music are
understandably leery of creative sonic
extremes of any sort as the music
comes forth in the home. We are not
literal minded. No symphony in the
home can ever sound like a symphony
in the hall, nor should it. But, there
must always be a relationship for us
between these two extremes, one that
allows us to hear the sense of our
music freely "through" the audio
medium with that ever -necessary illu-
soc
The different
distortion indicator
14
The Input-Output Comparator
(IOC) now available on Crown D -150A
and DC -300A amplifiers is a significant departure from traditional clipping indicators. The IOC reports all
types of overload distortion by telling
the user that the output waveform no
longer matches the input waveform.
The IOC is so sensitive that distortion
is reported before it is audible.
In the feedback system used in
Crown amplifiers, the input IC is continually comparing input and output
waveforms. If there is a difference,
indicating a non -linearity in the amplifier, the input IC generates a correction signal.
If the output is distorted from
some cause other than overload (for
example, crossover distortion) the
correction signal will bring the output
waveform into compliance with the
input.
Overload distortion, however, results from some circuit component
operating beyond its linear range.
The correction signal cannot change
the characteristics of the component,
so the input IC continues to generate
a large correction signal. This will
happen regardless of the kind of
overload-clipping, TIM or protection
circuit activation.
The IOC was designed by Crown
engineers to take advantage of this
behavior, and to use it to report significant information about distortion
to the user of the amp. The Crown
IOC analyzes the correction signal
and reports the existence of nonlinearities in the output waveform
through a front -panel LED.
The IOC is highly sensitive and
detects distortion that is a great deal
less than the .05% THD and IMD ratings of the D -150A and DC -300A. The
user is thus notified about distortion
before it is audible. The user also
knows that the Crown IOC is reporting distortion of a music waveform,
not just a laboratory test signal. Maximum useable gain for the D -150A or
DC -300A can be determined by adjusting gain so the front panel LED's
stay off, or come on briefly during the
highest music peaks.
The IOC is available on all
Crown DC -300A and D -150A amps
manufactured after October, 1977.
Because of its value to any serious
music listener, a factory retrofit is
available for earlier units.
See your dealer soon for complete information
about detecting distortion differently...with Crown.
crown
1718 W. Mishawaka Rd., Elkhart, IN 46514
sion that it
is
there, right out in front of
us.
To go back to my start, yes, we can
do OK without dynamic range expansion, for the most part, because the
altered audio product, such as it is, has
been very cleverly tailored to fit the
living room. And yet-? Can we do
more? We always can.
No, we will never be able individually to match all those compressions
with exact expansions, because we
don't know which ones are there and
how they work. That approach is
hopeless. Not by a vast choice of different curves, either-a setting for
every record company, broadcast network, disc cutting studio! That would
be like the old equalizations for
records, before standardization. Do I
remember Old Columbia, New Columbia, NAB, RIAA, RCA, and dozen more
choices; we were in Alphabet Smith's
famous soup all over again. No, not
that.
Computer Compransion
Instead, I begin to see the way. By a
modern statistical approach, maybe
computer aided, of the sort we now do
all the time. An expander circuit that
operates-my first thought-like
pressions. An expander circuit that
would turn out to be right within
acceptable limits, with only a few
careful controls. Phew! One falls into
jargon in these things. But this is how it
could be done, and maybe has been
done.
We have the two essentials. First the
computer-type design techniques, the
sort that have made incredible strides
in the last decade. We can turn out
"blueprints" of
a predictable accuracy
unthinkable a few years ago in the
handwork, hit-or-miss, and intuition/guess era. Or worse, the systematic try -everything era. Multiply
the old slow calculations by a thousandfold and you have what we have.
Tools for design. Second, we can build
the circuitry to match, also maybe a
thousand times more sophisticated,
yet practical for home equipment.
Solid state, ICs, and all the rest.
So
am convinced, brainwise, that
we CAN produce and probably HAVE
produced a dynamic range expander
to satisfy all of us, even including me.
And all the music lovers. It figures. It
has to be! All I have to do now is to
A
hear it.
I
AUDIO
Enter No. 13 on Reader Service Card
a
Gallup Poll. Not a literal compensation for all those compressions, but a
statistically derived correction, accurate plus -or -minus, almost a prediction, taking sophisticated computeraccount of a vast amount of known
data-we do know the possible com-
January 1978
Before Sound Guard, you only
played a record in mint condition
once.
methods, removes all
common record contaminants-from dust particles
to oily fingerprints.
And whether your records need a light cleaning
to remove surface dust or
a thorough cleaning to
remove deep-seated contaminants, Sound Guard record
Same magnification shows no record wear.
Magnification shows the record vinyl wearing away.
cleaner does both.
preservative maintains
You can see how the
2. Sound Guard"
sound fidelity by reducing
picture has changed.
Total Record Care System
record wear. And with its
Independent tests*
puts Sound Guard record
built-in, permanent antishow that records treated
preservative and Sound
static property, it resists
regularly with Sound
Guard record cleaner in one
Guard preservative Sound i. wet. dust accumulation.
package.,
And now, two new
keep the same full
for the best
Sound Guard products:
amplitude at all frepossible
I. Sound Guard"
quencies, the same
total care
record cleaner, develabsence of surface
for all of
oped from extensive
noise and harmonic
your records.
research into
distortion as records played just
Available in audio
record cleaning
once in mint condition.
and record outlets.
problems and
With its patented dry *Tests available on
lubricant film, Sound Guard
request.
Cüro
.
G
Sound
Feco,o
Guard®
=f>[email protected];tNQ
Record
Preservation
Kit
Sound Guard keeps your good sounds sounding good.
Sound Guard preservative-Sound Guard cleaner-Sound Guard Total Record Care System
Sound Guard is Ball Corporation's registered trademark. Copyright CO Ball Corporation, 1977. Muncie, IN 47302
Dear.eltor
Quadraphonic Clique II
Dear Sir:
In response to the Quadraphonic
Clique letter in your "Dear Editor" column of June, 1977, would like to say
that my wife and are the proud owners of two quadraphonic receivers. We
enjoy SQ, QS, and CD-4, in addition to
having a very good deck for Q8 four channel tapes.
We hope that quadraphonic will
come back strong, and we both know
that it has almost unlimited possibilities. Here in the Dallas -Fort Worth
metroplex area, there are a large
number of quadraphonic owners who
despair at the limited number of records and tapes presently available.
Joe D. Marchand
Wide Bandwidth Preamp
Corrections
Dear Sir:
I
Arlington, Tex.
16
Lux Amplifier Addenda
Dear Sir:
discovered that I had made an error in the schematic for the Lux power
amplifier which I reviewed in the
November, 1977, issue of Audio. Here
is a partial schematic that shows the
two spots where I did not note
resistors.
George Pontis
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ce
m
Best of the Worst
Dear Sir:
How about an article on the 10
worst performers of the year, done by
your record reviewers? This would be a
worthy addition at the end of each
year.
I like your magazine very much even
though
don't subscribe to it. The
reason
buy your magazine off the
newsstand and not by subscription is
the fact that we Canadians have the
worst mail service in the world. In fact,
our postal service is not obligated to
deliver the current issue until the next
one arrives.
William Dang
Calgary, Alta.
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Murphy's Move
6240
6240 G
68
K
Dear Sir:
On page 34 of the November Audio,
I noticed a letter by Boy Wonder W.J.J.
Hoge in which reference is made to an
alleged statement by Mrs. Edsel.
G
0.22
Please be informed that Edsel MurIK
56K
-120
56K
IK
would like to inform builders of the
Wide Bandwidth Preamplifier published last February in Audio of a
power supply correction and a
modification to the RIAA circuit which
recommend. First, the drawing of the
regulated power supply published in
the September issue was accidently
missing two connection dots. There
should have been a dot at the junction
of R48, D1, C12, and the base of Q11.
Similarly, a dot should have been at
the junction of R49, D2, C14, and the
base of Q12. recommend that a 100
ohm, 1/2 watt resistor be installed in
series with the base of both Q11 and
Q12. Capacitors C11, C12, C13, and
C14 should each have separate ground
wires to the power supply main ground
point. The inductance of a common
ground wire to these four capacitors
can cause r.f. feedback, and Q11 and
Q12 will become oscillators. Do not
use phone jacks for power supply connectors, they will cause Q11 and Q12
to blow when connected or disconnected.
The RIAA circuit can be improved a
great deal by increasing Cl to 0.0022
mF and R3 to 82 ohms. Cl should be a
physically small capacitor. In case the
recommended circuit boards are not
used, the leads to Cl and R3 should be
as short as possible, and the network
formed by these two components
should not be routed close to any
other components in the circuit. It has
been stated erroneously in literature
mailed out in circuit board orders that
a connection dot is missing in Figure 1
of the February article at the junction
of R3 and the emitter of Q1. This
should have been at the junction of R3
and the base of Ql.
W. Marshall Leach
Georgia Ins. of Technology
Atlanta, Ga. 30332
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phy, his family, and any future issue
that may come forth from him, are the
exclusive property of db Magazine.
We claim this by right, rather than
copyright, since Edsel came to live
here 'way back in May of 1968 and
ever since has been proving to us just
how correct his basic thesis is.
We can only assume that his wife's
appearance in Audio is yet one more
manifestation of the pervasiveness of
can only hope that
his law. In fact,
Mrs. Murphy's appearance in your
pages means that the Murphy clan has
moved to Philadelphia.
Larry Zide
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Editor/Publisher
db Magazine
Plainview, N.Y.
Classified Ad Note
Dear Sir:
International Audio Review's citation in your classified ad section of a
report in the Boston Audio Society's
newsletter, The B.A.S. Speaker, appears
without our consent or sanction. 1AR's
AUDIO
January 1978
Why Mkro-fkoustics
2OO2 Q owners enjoy music
more than you de.
If you're listening to music with any of the
other high -quality stereo phono cartridges on the
market today. there's a very good chance
you're missing sornethirg. Something thaf s
earned us unanimous praise from 2002-e
owners: a significant improvement in sound
quality which can only come from major
advances in cartridge design_
Twin -pivot dual -bearings. Perhaps the most
unique feature of the 2002-e is its direct -coupled
transducing system. which was granted. J.S.
Patent No. 3952171. Ur like conventional singe pivot cartridges. which .can only be optimized
for tracking or transient ability. our unique twinpivot/d,ral-bearirg design is optimized for
both characteristcs-which are equally vital fcr
precise reproduction.
Twir pivots insure superior transient ability,
enabling the 2002-e to accurately follow even
the mast comp:ex waveforms And dual bearirgs
maximize tracking ability. so that even difficult
high-level passages car De accurately tracked at
very low stylus forces.
Beryllium camiliever- The 2002-e's preciselyformec cantilever is made of beryllium -an
exotic space-age substance that is 35% lower in
mass than conventional stylus bars. As a result
the cartridge boasts far: lower moving mass. contributing further to its superior transient ability
and unusually transparent' sound. By dramatical''y
reducing movirg mass. the 2002-e also reduces
record -wear to va.n'.shinçly low levels.
Low cartridge body weight. Mcre and
more tone arm designers are discovering
the importance of cartridge weight,
espeéialy in tracking warped
records. Since over 95% of today's records are
warped to some degree. a lighter cartridge means
móre effective tracking at lower stylus forces.
At less than half the weight of most high-erd
cartridges. the 2002-e enables you to enjoy records
that couldn't be tracked by o her cartr dges.
The mismatch problem: solves. Until now, an
exact match between pnono cartridge and
preamp or receiver) input impedance was required for flat frequency response. The
2002 -es built-in passive microcircuit eliminates
mismatzfn problems by automatically controlling output impedance, This microcircuit also
makes -he cartridge immune from the effects
of cable capacitance, so the 2002-e may be used
with all types of tone arms ever: those tacking
low -capacitance cables.
-
Critical acclaim/popular acceptance. Few
contei nporary high-fidelity products have received
such unanimous critica acclaim. And no other
stereo phono cartridge has been so succJessful in
satisfyiré the critical demands of today's
sophisticated, dedicated music lovers.
But don't take our word about why 2'02-e
owners enjoy music more than you do: the proof
is waiti-c at your Micro -Acoustics dea'er: Or
contact us for more information.
Hear the difference. To help you eva:uete and.
compare cartridge tracking and transient
abilities we've developed a unique demonstration/test record which is itself enjoying widespread critical use and acclaim. (For a postpaid
J copy. send $3.55 to the factory.)
Micro-AcousticsCorp., 8 Westchester
Plaza. Elmsford NY 10523. in Canada,
H. Roy Gray Ltd., Markham. Ont.
Micro- acoustics
"Because good tracking isn't enough.":
$119.00, suggested ist.
c' 1977, Micro -Acoustics Corporatioi
L
"Do unto others and split,"
am compelled to share a unique use of the Lirstumbled upon this
with you.
pa
quite by accident. In a recent (Mohammad) Ali fight, am sure that it was the
Inoki fight, because before it wrote:
He float like butterfly,
He sting like bee,
But the jokyo
in Tokyo
Is the ripoff to see.
editor and publisher J. Peter Moncrieff
advised us of the ad's content after he
submitted it to you for publication.
When we registered our strong objection, he apologized and promised to
eliminate the reference from future
advertisements, but said that it was
too late to recall the one already submitted. We want to make it absolutely
clear that the opinions we expressed in
the cited article are those of the
member who authored it, not of the
Boston Audio Society. The Boston
Audio Society makes no endorsements
of any kind. It does not endorse the
conclusions of the cited article, and it
does not endorse International Audio
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In addition, some manufacturers
and distributors do not seem to be
Michael D. Riggs, Editor
The B.A.S. Speaker
P.O. Box 7
Boston, Mass. 02215
overly concerned about providing service. One well-known manufacturer
limited his communication to me to a
toll -free line which told me where
might get service. In another situation,
the turntable am using has had three
distributors in as many years, and the
current distributor seems to be unconcerned about models he did not
originally handle.
Initially was told that repairs were
hard to obtain because the equipment
pointed out, howwas so complex.
ever, that one model needed a new
pilot light which could easily be
replaced, while the other component
had a mechanical problem. Besides,
doubt that audio equipment is much
more complex than, say, a color TV.
cannot think of any other merchandise that is comparable in price, quality, and prestige which offers such
shoddy warranty and repair service.
This simply would not be tolerated in
other industries. Since my own work requires dealing with closed-circuit TV
know from experience
equipment,
that service in this field is both fast and
efficient. Either audiophiles are overly
meek about this situation, or the industry hasn't caught on to the fact that
his kind of dis -service either has or will
nullify most of the advertising thrown
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Editors Note: The display classified
ad in question appeared in our November, 1977, issue, and was changed by
Moncrieff for December.
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Record Problems
Dear Sir:
The September
issue of Audio
featured an article about tape print through. would like to describe an interesting phenomenon that occurs with
records. On many of my discs, hear a
pre -echo which is, to say the least,
quite unpleasant. A great deal of my
records have this problem, but in most
the level is low enough so that it
doesn't really become annoying.
This is just one of the many problems that records have. They also have
sibilant "S" sounds, background noise,
and poor sound quality in general.
used to think that some of these problems were due to my system, but after
upgrading it with a more expensive cartridge arid carefully aligning it, the imperfections in my records became
more apparent. On the other hand,
records on imported labels, especially
Deutsche Grammophon and Philips,
sounded great,
Since American record companies
have deemed fit to raise their list
prices to the level of imports, they
should have a product of at least equal
feel that the record comquality.
panies should try to improve the sound
quality of their records to give some
justification for their ever increasing
prices.
Robert Herbin
I
I
I
I
Yonkers, N.Y.
Lirpa Ecstasy
Dear Sir:
Believing as do in adages, "Love
thy neighbor but don't get caught" and
I
I
unheard of.
Review.
18
nothing is perfect. assumed that obtaining these repairs would be a minor
annoyance. But, not so.
live some
Despite the fact that
distance from a major urban area, am
able to obtain repairs for appliances,
cars, etc. in the local community. Not
so with audio gear. One factory authorized station wouldn't even look
at my equipment until it had been in
the shop for three weeks and they considered that generous. In and out
repair times of six weeks are not
Shortly before the exhibition
started, I connected the audio output
of the TV set to the input of the Lirpa I.
In so doing, the feedback from the Lirpa completely obliterated the TV picture. Then I noted another improvethe intermodulation distorment
tion of the sound became so strong
that the sound coming from the TV
could not be heard. The hum could not
be measured in dBs. But can tell you
it Hertz the ears. Because I have a low
threshold of ooms (as in Ram Dass
ooms) resistance, I went quickly into a
trance-like state of bliss. When came
out of the trance, the fight was over. It
was the greatest Ali fight have ever
seen. have also used this same TV- Lirpa hookup during the Mr. Whipple/
Charmin' commercials to great advantage.
E. Claude Farnsworth Ill
Racine Wis.
.
.
.
I
I
I
I
Unexpected Expenditures
Dear Sir:
Several years ago decided to take
the plunge and make a considerable investment in audio gear. On the whole,
have been quite pleased with my
I
have
decision. Recently, however,
become aware of a problem which appears to plague most audio enthus-
I
I
I
at us.
feel that the number of repair service facilities and the typical repair
I
time for a hi-fi component should be
studied by a publication such as yours.
Bernard R. Kingsley
Apple Creek, O.
I
I
iasts.
After giving me years of trouble free
service, my equipment has now started
to need repairs (coincidentally, this appeared to occur just at the expiration
of my warranty period). This did not
after all,
cause me any distress
.
.
.
Editor's Note: We currently have in
house an article examining the service
practices and attitudes about warrantees of various major brand service
managers and service facilities. While it
appears that most audio buffs experience substantially better service
than has Mr. Kingsley, it does appear
that there are several steps which can
be taken by the consumer which will
lead to better and quicker repairs. We
anticipate that the article will be
published early this year.- E.P.
AUDIO
January 1978
IF YOU HAVE AN EAR FOR MUSIC,
YOU NEED THREE HEADS TO TAPE IT.
2 -Head Cassette Recorders made home recording convenient.
Now the 3 -Head Fisher CR5120 makes it professional.
isn't fair to compare the Fisher
Studio Standard CR5120 to other cassette recorders. Its superior flexibility and
performance are comparable only to the
most sophisticated reel-to-reel tape decks.
The CR5120 combines the convenience of cassette
with 3 -head
It really
tape/source
monitoring. The
CR5120 delivers
exceptional performance with
4 -micron record head for high output
with an incredible 64dB signal-to-noise
ratio...and a playback head having a very
narrow gap (1.6 micron) for extended
frequency response
to 18,000 Hz,
-± 3dB. The result is sound recorded on
the CR5120 is
exactly like the original. No more...and
no less.
A recording studio
-30
engineer would
never consider reimportant recording without the
cording features
improved perforlike Dolby* noise
mance and monireduction, signal
toring capabilities
limiting, and
of a 3 -head tape
ERASE HEAD
RECORD
PINCH ROLLER
LED peak indideck-and neither
HEAD
CAPSTAN
cA PSTAN
cators.
should you.
PLAYBACK
PINCH ROLLER
HEAD
Eliminate
The CR5120 proGuesswork. The only way to make convides a tape/source monitor switch for
sistently perfect high fidelity recordings is
instantaneous comparison while listento compare the quality of the taped siging.
nal to the original while the tape is actu2 -Motor, Dual -Capstan Tape Transport.
ally being made. Studio engineers call
Professional recording requires tape
this "monitoring," and it can only be acalignment exactly perpendicular to the
complished on a 3 -head tape deck.
tape heads. To accomplish this, Fisher
Monitoring subjects every inch of tape to
engineers equipped the CR5120 with two
instantaneous analysis by the most sensicapstan/pinch roller assemblies: one
tive acoustic device available-the
preceding, the other following the tape
human ear-assuring a perfect "take"
heads. Both capstans are micro-ground
without guesswork.
for absolute concentricity; and each is
Better Sound. Nearly all cassette decks
fitted with a heavy, dynamically balanced
have two tape heads-an erase head
flywheel for smooth operation. The
and a record/playback head. Even the
capstans are driven by a servo -controlled
best of them exhibit certain unavoidable
REEL DRIVE FLYWHEEL
compromises due to the combination
SUPPLY REEL
record/playback head configuration.
DC SERVO\`0
These compromises, although accepted
-.`7CONTROLLED
CAPSTAN
by the industry, were not acceptable to
MOTOR
DC
REEL
Fisher engineers. They created the
MOTOR
CR5120, a major advancement in casTAKE-UP
sette deck technology utilizing three sepREEL
arate, precision long -life ferrite tape
heads: erase, record, and playback.
FLYWHEELS
Fisher engineers developed a wide -gap
ware
1
CR5120
Hall -effect DC motor for absolute speed
accuracy, independent of fluctuations in
AC line voltage. A second, DC -controlled
motor provides the proper hold-back
tension. This configuration, standard for
professional recording equipment, is responsible for the CR5120's exceptionally
low wow and flutter specification of
0.04% WRMS ... performance superior
to most reel-to-reel decks.
Dual Dolby Noise Reduction For Tape and
FM. The CR5120 utilizes Dolby noise reduction to suppress tape hiss, improving
recorded dynamic range up to 10dB. It
incorporates separate
record and playback
DOLBY
DDLay
Dolby IC circuitry so
Na
that both the source
and monitored signals
are simultaneously
Dolby processed-a
feature found only in
the most advanced
recording systems. Dolby circuitry is also
provided to decode Dolby FM broadcasts.
Other Professional Features. Separate
input and output controls for each channel provide maximum flexibility. Two illuminated VU meters, each with an LED
peak indicator calibrated to +3 VU for
accurate visual monitoring.
Switchable limiter circuitry prevents distortion due to tape saturation. A three digit counter with memory is included to
quickly, automatically, locate the start of
a recorded program.
The Final Word. The unique Fisher
CR5120 is priced about $400:'`` Available
at fine audio stores or the audio department of better department stores.
For location of nearest Fisher dealer, call
toll free 1/800/528-6050, ext. 871 from
anywhere in U.S. Arizona residents
call 1/955-9710, ext. 871.
FISHER
The first name in high fidelity.
1977, Fisher Corporation,
I amen St., Chatsworth, Calif. 91311
21314
x/
e>
11a.181 R
-Dolby
I
(It
is a trademark of Dolby Labs. Inc.
suggested retail price. Actual sale price is
determined by dealer.
Specifications
Frequency
Response
(record/playback)
Standard Tape
CrOr Tape
30-15,000 Hz, 3dB
30-18,000 Hz, ± 3dB
Wow & Flutter
0.049r WRMS
Signal to Noise
Ratio
64dB
Dimensions
65/x" x 17Vs" x 121/2"
(HxWxD)
19
theBehind
c
Bert Whyte
In New York, there is a snap in the
air, and the autumnal colors have
come. Even without these harbingers
of Fall, know the season is upon us by
the number of press releases and invitations to press conferences to
preview new audio equipment. The
Audio Engineering Society reminds me
I am due at the 58th convention at the
Waldorf, November 4-7. No sooner do
we catch our breath, when we check
into Terry Rogers' "New York Hi-Fi
Stereo Music Show" at the Statler
Hilton, running from November 10th
through the 13th. There has been much
controversy about the value of "hotel
hi-fi shows" to audio manufacturers.
Be that as it may, the show appears to
be "sold out." Since this is the first hi-fi
show in New York in over four years,
interest among the audiophiles is sure
to be high, and the audio companies
are going to tempt them with a
plethora of new products.
You may recall that I visited
Studer/Revox in Zurich during July of
1976, and Willi Studer gave me a "look
see" at some new developments, with
intimations of other products to come.
Thus, when I. recently received an invitation to a Revox press conference, I
felt sure I would be shown a new
generation of Revox audio components. Not only did they show the
new B77 tape recorder expected, but
the B760, a new quartz -controlled
digital FM tuner; the B750, a 60
watt/channel @ 4 ohm integrated
amplifier, and, totally unexpected
from Revox, a very sophisticated,
quartz -controlled, direct -drive turnI
20
relays and any of the drive modes can
be entered directly without going
through the Stop mode. There are new
record and playback electronics, with
the bias oscillator putting out 150 kHz.
Revox is particularly proud of the 24 dB headroom on the B77 in both
record and playback, which puts it
right up with the professional
recorders in this respect. Revox also
makes a point of their frequency
response of 30 Hz -20 kHz,±3 dB @ 7.5
ips, noting that their 0 dB point is at 1
kHz, thus their worst case droop at the
upper and lower frequency extremes is
only 3 dB. Revox makes much of the
fact that their heads, made in their
Revox 877 tape recorder
I
table
with
a
tangential -tracking
tonearm!
Revox Roundup
The B77 is a new tape recorder, but
it is not the successor to the A77,
which stays in the line. It does however
retain many of the features of the A77,
such as the die-cast chassis, the
outside -rotor supply and take-up
motors, and the servo -controlled,
direct -drive capstan motor. New on the
B77 is full electronic logic control of
tape motion. There are no levers or
own plant, do not exhibit the low frequency head -bump excursions,
which are a dèsign anomaly present
even in some of the best professional
heads. A very strong claim is made for
the wear characteristics of the B77
magnetic heads, stating that head life
cannot be surpassed by any recorder
currently on the market. The B77
employs new VU meters, considerably
larger than the meters on the A77, and
they are fitted with long scales and
LED over- modulation indicators. To
the right of the head assembly, the B77
sports a new splicing block with builtin shears. New muting circuits are used
which prevents source/tape monitor
switching transients from affecting the
recorded signal. Electrically, the B77
claims a S/N ratio of 66 dB @ 7.5 ips,
half-track "A" weighted, and total harmonic distortion of 1 per cent for the
record/play cycle. The B77 will be
available with quarter or half-track
head configuration with tape speeds of
3.75 and 7.5 ips. No doubt, a highspeed (7.5/15 ips) version will ultimately be available, as was the case with
the A77. The suggested price of the
B77 is $1195.00. With a recorder in this
price and quality range, there will be
some who question the use of microphones with unbalanced lines and input impedances 600 ohms and up.
However, with most high -quality mikes
having impedances of 50-150 ohms,
this shouldn't be much of a problem.
Another point of controversy is that
bias and equalization facilities are not
available on the front panel nor does
the playback potentiometer control
the VU meter movement, making the
use of alignment tapes difficult. With
any new tape recorder there is bound
to be some nit-picking. All in all
though, the B77 seems to have a lot going for it, and with Willi Studer's wellfounded reputation for high quality, it
should prove to be a fine performing
tape recorder. Time and testing will
tell!
Revox, like many other audio companies these days, evidently wants to
have a full line of components to offer
audiophiles. Their B760 digital FM
tuner is a very sophisticated unit,
utilizing frequency synthesizer tuning
controlled from a quartz reference
crystal. There are 15 pushbuttons
which can activate a CMOS memory
and store the frequencies of 15 stations. Tuning is as simple as pressing a
button, and the number of the station,
and the station frequency is digitally
displayed. A 68.18 nS digital FM
demodulator is a feature, and the unit
has very wide bandwidth and linearity,
plus very low distortion. A Dolby card
can be plugged into the tuner for
decoding of Dolby FM broadcasts.
The B750 integrated amplifier puts
out 60 watts/channel into 4 ohms, with
THD less than 0.1 per cent up to full
output. A fully complementary pushpull output stage is featured for each
AUDIO
January 1978
you believe that perfection is a thing of the past, take a good
look at the Nakamichi 410 Preamplifier, 420 Power Amplifier
and 430 FM Tuner-the most elegantly compact, best performing trio of components on the market today.
Timelessly styled, they adapt to the most limited spaces (each
measures less than 9"x16"x31/4") and can be arranged in an
endless variety of ways. Altogether, they occupy less space
than most receivers, yet, since each is a separate component, the three easily adapt to unusual space requirements.
Installed "bare", they are a handsome addition to any
interior; attractive walnut finish enclosures are available at
small additional cost.
If
Each, of course, embodies world-famous no -compromise
Nakamichi engineering and quality construction... with the
distinctive "feel" of meticulous manufacture. The 410
Preamplifier and 420 Power Amplifier have established that
great things do indeed come in small packages. Both
challenge the theoretical limits of error-free amplification.
Performance specifications, such as a phono equivalent
input noise figure of -140dB (IHF-A) or a power amplifier THD
figure of under 0.0008% (@1 kHz and any power level below
clipping), are proof of Nakamichi's highly advanced engineering know-how and skill.
Perfection...from Nakamichi
The recently introduced 430 FM Tuner completes the system.
It utilizes a specially-designed linear-phase IF stage, resulting
in distortion of less than 0.06% in mono, 0.09% in stereo. A
phase -locked -loop multiplex demodulator ensures maximum
stereo separation. Nakamichi's tuning lamp system with
"self -lock" circuitry makes pinpoint station selection a
breeze. Other features include narrow/wide selectivity
switching, defeatable interstation muting, hi -blend, and an
optional plug-in card for Dolby= FM. FM broadcast quality will
have to improve tremendously before the 430 can be fully
appreciated.
The most pleasant surprise will come when you price the
Nakamichi 410, 420 and 430-they are amazingly affordable.
So, if you're limited by space or budget, but unwilling to
compromise on quality or performance, nothing could be
more perfect. See and hear them at your Nakamichi dealer
soon. For further information, write Nakamichi Research
(USA), Inc., 220 Westbury Ave., Carle Place, N.Y. 11514.
*Dolby
is a Trademark
of Dolby Laboratories, Inc.
410
420
430
Nakamichi
Enter No. 32 on Reader Service Card
.__--
channel, and Revox makes the eyebrow -raising claim that the amplifier
has
no transient intermodulation
distortion! A unique feature is that the
two amplifier sections can be separated by switching for separate use or
for coupling to an external equalizer.
Surprise of the Revox press conference was the B790 turntable, a
direct -drive turntable with servo electronics phase locked to a quartz
reference. Nice, but nothing too
unusual there. Ah, but the arm is
another matter. After a record is
placed on the turntable, an arm cradle
assembly is swung into position and an
ultra -short arm, less than 2 inches in
length, tangentially tracks the record.
The arm is servo controlled, with a
geared servo motor guiding the tone arm cradle across the record. Two
photo diodes on the end of the arm
receive infra -red light from an LED
through a slot in the arm. Any canting
of the arm from perpendicularity
causes an assymetrical amount of light
at the diodes, the servo pre-amplifier
detects this, and appropriate correction is made. Lowering and lifting of
the arm is via electro -magnetic con -
WOW:
and other comments from audio critics
about Ohm C2 loudspeakers:
trol. An Ortofon VMS20E phono cartridge is supplied with thè unit, and
while it is not a special type, changing
of the cartridge is supposed to be a
factory matter. don't know whether
you are "locked" into the Ortofon cartridge. It is a fine cartridge, but if
I
someone prefers another brand, this
may pose problems. In any case, this a
unique, "hands off" turntable that provides optimum tangential tracking.
Price is supposed to be "around
$700.00."
Technics Triumph
Hard on the heels of the Revox conference, Technics held a press conference and introduced some new
components that really had us all
agog. How about a 350 -watt -per- channel, class -A d.c. stereo power
amplifier! This is the rating of their
SE -Al unit which is claimed to have no
more than 0.003 per cent THD from 20
Hz to 20 kHz. At 1 kHz, they state the
THD is unmeasureable on the best test
equipment. All this is accomplished by
22
Technics
Comments from
High Fidelity:
"The speakers produce a
sound that is clear and well
if you want it
detailed and
loud. Transient
that way
response is crisp ...Things
seem to be accurately positioned from left to right ...."
"Surely, all things considered, the design of the Ohm C2
represents a fine achievement. With classical music its
adequate
performance is
--
with something to spare. And
with popular music
- wow!"
Comments from The Complete Guide to Stereo/Hifi
Equipment:
" The C2 is a high -efficiency
speaker with ruler -flat response to 37 Hz., high -power
handling capability, very
smooth treble response, and
excellent dispersion. Considering the size of the box,
performance, and price, the
Ohm C2 must be reckoned
with as one of the better
speaker values available ...
Ohm speakers are very well
made, and we recommend
this model highly."
241 Taaffe Place, Brooklyn, N.Y. 11205
Enter No. 34 on Reader Service Card
SE -A1
amplifier
what Technics calls "class -A plus"
operation. In their explanation, a
class -A amplifier, of about two watts
power, has its power supply ground
potential floated, while a high voltage,
synchronized with the amplitude of
the audio signal, is applied from an independent power supply amplifier.
The output of the "class -A plus" is connected directly to the speaker terminals in push-pull operation, thereby
eliminating switching and crossover
distortion. To do all this, a total of
eight separate power supply stages
have been incorporated, four for each
channel, in this bi -monophonic constructed amplifier. Four electrolytic
capacitors of 100,000 µF each have
been coupled to the class -A amplifier,
and another four capacitors of 22,000
µF each are connected to the power
supply amplifier. Both left and right
channels also include high capacity,
low
d.c.
resistance
toroidal
transformers. All coupling capacitors
have been eliminated from the signal
path, including the negative feedback
loop. The problem of d.c. drift, common to all d.c. coupled amplifiers, was
AUDIO
January 1978
ARE YOU BLAMING YOUR
TAPE RECORDER
FOR PROBLEMS CAUSED
BY YOUR TAPES?
Every day people
all over the country go
into hi fi dealers with
complaints about their
tape recorders.
When in reality what
they should be complaining about is their
tapes.
Because the fact is, a
lot of the problems that
plague tape recorders
can be attributed to bad
tape.
for stronger cassettes.
JAMMING
IS CAUSED BY YOUR
RECORDER. OR IS IT?
even after years of use,
we finish them to tolerances as much as 60%
higher than industry
standards.
Inside, we use free
rolling Delrin rollers so
the tape doesn't stick.
And finally, we
screw instead of weld
everything together
because screws make
If your recorder frequently suffers lapses in.
sound, i* could be the
tape is cf inferior quality.
And nobody's bothered
testing the tape for
dropouts before lit leaves
the factory.
POOR TRACKING IS CAUSED BY
YOUR RECORDER. OR IS IT?
step of the way it's
checked for even the
slightest inconsistencies.
So if you re having
problems with your
recorder, try a Maxell
cassette, 8 -track or reelto-reel tape.
You might find there's
really nothing wrong
with your tape recorder,
just with your tape.
DROPOUTS ARE CAUSED BY YOUR
RECORDER. OR ARE THEY?
Maxell tape is made
of only the finest polyesters. And then every
HEAD WEAR IS CAUSED BY YOUR
RECORDER. OR IS IT?
If you have to clean
your tape heads more
than usual, for example,
it could be your tape
doesn't have a special
nonabrasive head
ìkOepin lExtetxk.3 Range
...
Jibe.
cleaner.
maze
Maxel has one.
If your recorder jams,
it can be any number of
things. Maxell does
something to prevent all
of them.
We make our
cassette shells of high
impact polystyrene. And
then so they won't crack
I
8
'
Trade CarrridgeTape
-
lirmIIl4ww!!IwII
maxeü
C90
1111111111111111111E
111I1IIIIIII11 III
I
LL. THE TAPE THAT'S TOO GOOD FOR MOST EQUIPMENT,
Mc<ell Corporation of America. 130 Wert Commercial Avé Moonachie. New Jersey 07074
Enter No. 29 on Reader Service Card
23
solved with an active, thermal servo control amplifier, independent from
the signal path. With this new circuitry,
in spite of the huge 350-watt/channel
output, the amplifier is not overly
large, although it weighs 112 lbs. and
does not get hot enough to require a
cooling fan. This is, of course, in
marked contrast to most class -A
amplifiers. Frequency response of the
SE -Al from d.c. to 200 kHz is +0, -1
dB; S/N ratio, IHF "A" weighted, is 120
dB, and the unit has a slew rate of 70
volts per microsecond. The amplifier
has two special +10 to -50 dB, rapid response, peak -reading power meters,
with switches for 4-, 6-, 8- and 16 -ohm
readings. It has four sets of speaker terminals with four independent level
controls. Input terminals are goldplated. Obviously, a class -A amplifier
of this power breaks new grounds and
is most likely the prototype for a whole
new family of class -A amplifiers. It is
incontestably the tops in one category
...
July/August/September
1977
o
Ultic
In this issue:
The speaker survey at last, with 15 systems from
$224 to $5200 a pair compared in this first
go -around. (The $5200 one sounded best, alas.)
Our power amplifier survey continues in a rather
positive vein, especially since this second hatch
includes our new reference standard.
We launch what may be our most important and, to
some, most disturbing inquiry so far: an updated
investigation of the cartridge/arm/turntable
relationship. Including 10 tone -arm and turntable
reviews for openers.
Plus,
1111
of course, our regular features.
crossover distortion. There is a
separate phono input for moving -coil
cartridges with a S/N of 80 dB @ 100
µV. The phono input for moving -
amplifier, Technics introduced their
SU -A2 d.c. control amplifier, which
combines the functions of a preamplifier and parametric equalizer. Class-A
advertising neither from manufacturers
nor from dealers. So no one can inhibit
or influence its reviews. Some of these
are already classics the first to point
out little-known products of great
merit, and to demolish sacred cows,
pretentious hypes and downright frauds.
One year's subscription to The
Audio Critic (six issues) costs $28,
first-class mail only. (No Canadian
dollars, please!) For overseas airmail,
add $5. No single copies are sold for
any reason whatsoever, but the unused
portion of canceled subscriptions is
refundable on request.
We strongly suggest that you
begin your subscription with Volume 1,
Number 1, in order to own a complete
set and be thoroughly familiar with
our approach. If you wish, however, we'll
start you with any issue you specify.
And we'll do the same for anyone whom
you want to surprise with a Christmas
gift subscription.
Send your $28 for your first six
issues today to The Audio Critic,
Box 392, Bronxville, New York 10708.
-
u
employed in all
.
or to distinguish defective design from
Consider the dilemma of the
defective operation. (One of them
serious audio enthusiast looking for
recently reported a 16,000 Hz peak in a
sophisticated guidance and tough,
power amplifier!)
no-nonsense equipment reviews.
Only when The Audio Critic
The big, commercial hi-fi
appeared on the scene early in 1977 did
magazines can't afford to offend their
a satisfactory alternative become
advertisers. Most of their reviewers are
available. Six times a year, The Audio
ultraconservative company men who
never met an amplifier they didn't like.
Critic lays it right on the line, both
subjectively and objectively. It still
The so-called underground audiophile
gives top priority to listening tests but
reviews are somewhat more helpful,
since they at least report truthfully what firmly believes in verifying its conclusions
in its own well-equipped laboratory.
they heard from where they were
sitting. Unfortunately, most of them are Its staff is equally at ease with Mozart,
untutored in physics, mathematics and
Pink Floyd, spectrum analyzers and the
electrical engineering, so they're unable difference between Butterworth and
Chebyshev filter response. And it's
to deflate technical mumbo jumbo
100% noncommercial, accepting
Volume I, Number
is
stages of the SU -A2 and is claimed to
completely eliminate all switching and
price. Are you ready, fellas? ..
$4000.00!
As a companion unit to the SE -Al
What neither the hi-fi slicks
nor the "undergrounds"
will tell you.
24
amplifier operation
Technics SU -A2
magnet cartridges is said to have the
astonishing S/N ratio of 107 dB for 10
mV! The MM input signal is claimed to
have less than 0.003 per cent THD
from 20 Hz to 20 kHz. As in the power
amplifier, all coupling capacitors in
the signal path have been eliminated.
The equalizer circuit is completely d.c.
The d.c. drift is again under control of
thermal servo circuits. The preamplifier has fade-in/fade-out, touchtype switches which eliminate crosstalk signal leakage and shock noise by
utilizing reed relays for optimum switching. This unit has "whistles and
bells" galore
a built- in oscillator
which produces sine waves, square
waves, pink noise, and warble tone
signals, plus a universal frequency
equalizer. There are special meters for
peak and average modes, and peak
hold as well. All input and output terminals are gold-plated
could go
on and on, but you get the idea!
Another $4000.00 will mate this pre amp control unit with that nice 350watt amplifier. Can't you just see this
$8000.00 pair showing up as "his and
her" baubles in the Neiman-Marcus
Christmas catalog?
...
...
AES Prelude
The 58th AES convention at the
Waldorf is shaping up as one of the
biggest ever. In fact, new areas of the
hotel are being used for the first time.
As have pointed out before, the AES
is becoming a mini hi-fi show, with this
year over 30 companies presenting
sound demonstrations, necessitating a
move to the 10th floor. The trend to
digital recording may well begin at this
convention, with a number of systems
I
finally available for commercial use.
The showing of a digitally -encoded
audio disc with laser read-out, a la the
Philips/MCA videodisc, by Teac at the
Tokyo Audio Fair, may give added impetus to the idea of digital recording.
As usual,
will bring you a complete
report on the audio products making
news at the AES convention.
¡,tj
I
AUDIO
AmericanRadioHistory.Com
I
January 1978
For elegant engineering anc tec'nical finesse, the world looks to Sony.
but what is often overlooked is the
sold vallue that Sony represents.
Witness three important Sony
receivers: The STR-680CSD, $565. -he
STR-5800SD, $450. Anc the STR-4830SD,
priced at $350. ( Mfr's. Suggested tte-a l)
We respectfully care any manufacturer to give you features like these at
prices like those.
Sony. Your locall power company.
The 6800, 5800 and 4800 are rated at 50,
55 and 35 watts, respectively. Minimum
RMS at 8 ohms, from 20 to 20kHz, at
0.1%TH.D. And keep in mind that we're
conservative; tcugher on our ratings than
any independent rating lab would be.
Get out of the Dolby doldhrumis.
If your favorite station is Dobyized, resi
assured that these receivers have a corn
plete FM Dolby noise reduction sysn.
That nynirnizes noise and over-loac
i
distortion.
Acousti-Comp is no small
compensation. For listening at all levels, an
exclusive 3 -position loudness adius`ment.
It compensates for the lack of highs, lows,
or midrange. Insuring accurate reprocuction regadless of room acoustics o
speaker deficiencies.
A new transistor is invented
You may not have head it on the news,
but news it is. Our LEC (low emitter concentration) transistor is designed, made
by, and exclusive to Sony. It guaran_ees
low noise. and a wide dynamic range.
You'll be glad you use our dia.
The dials on these receivers incorporate an
LED that doubles in length wher the station is being properly received. Thai's Dart
of what we call iumar engineering-and
it's-basec on the observation that
machines don't use our machines, oeop'e
do. So also you'll find a stereo indication
light, signal strength meter, and more. All
placed for your convenience, not ours
So to all those w -io are struggling
to match Sony's quality, now you have to
match our prices, too.
SONY
2Z,7J9M©
1977 Sony Corp. of America. San%, 9 W. 57 St.. N
SONY ma trademark of Sony Corp
9.
Y
10019
Enter No. 46 on Reader Service Card
AmericanRadioHistory.Com
Community Light
Catalog
Product specifications for the firm's
radial, straight high -frequency,
multicell, and cone -driven horns and
Burwen Headphones
The PMB 6 headphones feature a
push-pull orthodynamic driver, which
utilizes a thin voice-coil diaphragm
printed with coaxial conductors and
positioned between two perforated
cabinets, along with information on
drivers, accessories, and systems
design and application. Also included
are detailed comparative measurements of the firm's products versus
similar products from other wellknown makers. These measurements
give coverage angle by frequency and
6, 12, and 20 dB down points, along
with data on system Q, D1, and sensitivity for 1 -watt of pink noise input.
26
acoustic
3 -way,
suspension loudspeaker features a 10 in. woofer with a high flux density
[8,500 gauss], 20 -oz. magnet and a low
loss voice coil, a 12 -cm mid -range
BGW Stereo System
Control Center
disc magnets. The frequency response
is 16-23,000 Hz, THD 0.3 per cent,
maximum sound pressure level 121 dB
at 1 kHz, and impedance is 140. Price:
$89.95.
Enter No. 82 on Reader Service Card
Audio
Preamplifier
PS
The PS II preamplifier features
passive RIAA equalization with an
accuracy of ±0.2 dB re: RIAA; rated
harmonic, IM, and TIM distortion
figures of 0.01 per cent; a gain of 40 dB
@ 1 kHz, and a S/N ratio of 78 dB "A"
weighted re:10 mV. The input impedance is 47 kilohms, the input overload
of 380 [email protected] 1 kHz, and an output
impedance of 6.8 kilohms. Price:
$119.95.
Enter No. 83 on Reader Service Card
driver, and a Metastic slot, solid-state
tweeter. The rated output level is 99
dB SPL at 1 meter on axis with 1 watt
rms power at 100 Hz. Amplifier power
limits are a minimum 10 watts rms/ch
and maximum 75 watts rms/ch, while
frequency response is specified as 37
Hz to 31 kHz. Price: $200.00.
Enter No.
81
on Reader Service Card
The free Summer 1977 Complete
Catalog lists 75 titles of full-length
readings by best-selling authors
recorded on rental cassettes of 1 or
11/2 hours. Categories of books include
Americana, classics, fiction, history
and war, non-fiction, and travel and
adventure. Price: $6.50, $7.00, $7.50
(depending on book length), plus $1.75
per book for postage and handling.
Enter No. 85 on Reader Service Card
Enter No. 80 on Reader Service Card
STR Loudspeaker
The STR Delta
Books on Tape Catalog
Koss Loudspeaker
The Model CM/1030 four-way
loudspeaker system has a 10 in.
woofer, two 41/2 in. mid -range drivers,
and two 1 in. tweeters. The vented -box
design was tuned to Thiele-Small
parameters using a computer to
specify relations between cabinet
design, drivers, and crossover for the
optimum trade-offs between low- frequency cut-off, efficiency, and box
volume. Bandpass response [3 dB
down points] is 29 Hz to 19,000 Hz,
recommended amplifier power rating
is 15 to 200 watts per channel. It
measures 161/2 in. x 141/2 in. x 39 in. and
weighs 74 lbs. Price: $385.00.
Enter No. 84 on Reader Service Card
The Model 203 contains a dual -band
phono preamplifier design, a high output line amplifier, dual voltage regulated power supply circuitry, active 18 dB per-octave subsonic and
scratch filters, high/low gain switch for
optimizing signal-to-noise ratios, front panel tape -copy and headphone jacks,
and provisions for remote moving -coil
remote a.c.
pre-preamplifier and
power switching. Input impedance for
phono is 47 kilohms, input overload for
phono is 100 millivolts at 1 kHz, rated
output is 4 volts rms into 5 kilohms,
total harmonic distortion is less than
0.01 per cent at rated output 20 Hz -20
kHz, S/N ratio is 88 dB, and frequency
response is ±0.2)dB, 20 Hz to 20 kHz
from level inputs. Price $649.00.
Enter No. 86 on Reader Service Card
BGW Power Amplifier
The Model 410 stereo power amplifier features an arc -scale, peak
reading L.E.D. display; controls for
adjustment of input sensitivity and
speaker selection, a headphone output
jack, high-speed arc -interrupting and
relay speaker protection circuitry,
and complementary symmetry, d.c.coupled design. The unit delivers 200
watts continous power into 8 ohms,
with 0.05 per cent THD. Price: $699.00
Enter No. 87 on Reader Service Card
AUDIO
January 1978
METRON/Me ... tranlr
(C R Definition "measure ...")
THE METRON GROUP-a small, international
bend of ingenious engireers, scientists, and assorted crazies bent on expa riling the boundaries '
at dio technology.
Our group is informal motivated and well credentialed. We are trying to correlate the beg
measurement technology available with enlightened
listening experience-that .s, reconcile subjecti-e
olinions and objective test data. Some people sa th -s is difficult. Some say it's downright impossible_
Oar group seems to think fiat it's probably somwjere in between, so we s re trying anyway.
We are well supported b} the financial and ledr
nciogical resources of a large independent aurae
manufacturer. Independen a from conglomerate
mat tape makes this deep commitment possible.
The initial Metron electronic products ha -e
impressive spec's indeec, rut we also know tha
impressive spec's and impeccable sound dor':
necessarily correlate. We have concentrated en
parameters that contribute most directly to the
listening experience.
The Model PR-1 Preamplifier Control Center
Enormous dynamic range due to high supply
voltages and low noise
High srewle rate: 100 \ /Ns
Accurate t'IAA egaalizations: _.15dí
Low transiart I.M. Distcrtion
Fully -egdated, symmetrical tree sing power
supplies
Every gait i lock from input to o itp it is double
differ-mtit., full complementary high voltage,
discrete, r.t i optimum ocal feedba al
No ruibin t c ontact potentiometer; I. Led in signal
paths
prth are gangue precision
silver-plat el attenuators with fixed deposited
All co -tro s in signal
film re aistors
inpu3 and 5 outputs up to - 2t.dLn :12 volts)
THD less t tan .005%o 21Hz-20kHz
7
The Muriel M-200 Power Amplifier
Symmetri g1, dif_erertial, full complimentary
circuity
50 V/is sle-oing ra e
Clips g -ace tally with ra lid dynamic recovery
Low transient IM distortion
Relay malfunction protection (No D.C. fuses)
RMS integrating
meters
Minimum power at clipping: 200 Watts RMS/per
channel in -d 40
Distortion .02% THD at 125 watts RMS per
channel inéo 80, 20Hz to 20 kHz
!wise: -92dB<:t.o volt, Dynam_c Lange: lildB
The Model A-4000 Power Amplifier
Same sae, :ificaticrw as M200 incl.dizg:
Stamp' l-- and laid peak reading meters/50dB
range
S:,ut ce and spec er switching
Heacp-.one output
Massive, independent power supplies fc- each
cannel
Independent, t.rsidal potted pc wer -ransftaers
Therm : statical r controlled forced air coosg
Dfnimr_m power at clipping: 6O0 watts RMS 'per
cannel in 4Q
Erestortion: !.0tß -o THD, 20Hz-20 kEZ, 350 watts
per channel into 852
K.04'2o TIED, 2( 1}z-20kHz, 551 watts per caannet
into 4S:
N rise: t2dB <LC volt, Dynamic Range: 1261E
These initial the-e aroducts distill the essence of
two high-technology cultures into a total amplification system without peer. The construction is elegant, meticulous and precise. The components are
fabricated from the finest materials to meet the
most stringent specifications.
Listen and campare these exclusive products
against the costliest high-technology offerings and
you will agree indeed, they have no peer ..
yet, they are very affordable!
.
Enter 4e. 12 on Reader Service Card
Model M-200
Model PR -1
Cerwin-Vega!
THE METRON GROUP
12250 Montague Street, Arleta, California 91331 (213) 896-0777
In Canada: Cervin -Vega Canada Ltd., 19 Malley Road, Scarborough, Ontario (416) 752-7530
Used
loudspeakers
Joseph Giovanelli
Equalizers & Long Cables
I
quirements, suggest that you use a
simple emitter or source follower
which should work very well providing
low impedance and, at the same time,
providing good signal level. With the
use of matching transformers, the loss
of signal, in most cases, will be too
great. see no need to use ICs where
one single, discrete component will
work fine.
I
thinking about buying an
equalizer. I have my stereo equipment
Q.
am
in one room and my speakers in
another, but want the equalizer to be
in the same room with the speakers,
which is at least 30 feet away from the
other components. I need to know a
way to run the lines that far without
changing the frequency response, or
adding hum and hiss. know of only
two ways that this can be done ..
either by using matching transformers
or through the use of integrated circuits. I need to know the answer to this
before I buy the equalizer, since the
equalizer is of no use to me if I cannot
adjust it during each album I play.
-Michael D. Snyder, Pittsburgh, Pa.
A. Most equipment these days has
low impedance output and relatively
high impedance input. Because of this,
it is possible that you can actually run
your equalizer with no matching
transformers, ICs or other intermediate
devices. The signal levels are high
enough so that hiss or hum should not
be a problem. It is only where the reactance of the shielded cable, interconnecting the equipment, becomes low
enough to equal the output impedance
of either the equalizer or the equipment driving it at higher audio frequencies, that high frequency attenuation takes place.
If you use a separate preamplifier
suggest
and power amplifier, then
that you put the equalizer between
them because this position will make it
more likely that you can operate the
equipment with no problems. This will
now depend upon the output impedance of your equalizer relative to
the capacitive reactance of the cable
connecting the equalizer to the power
amplifier. Make sure that the equalizer
can supply the power amplifier with
sufficient signal without becoming
overloaded.
However, if you use tape monitor
facilities, you must consider both the
output impedance of the equalizer
and that of the circuitry which drives
the tape recorder inputs. These tape
monitor output jacks are sometimes of
high enough impedance so that the use
of long cables might cause some high
1
I
1
28
Every Allison speaker system you buy
as new has actually been "used" for 20
minutes to a half hour. Spending this
much time on our test program gives us
the confidence to publish a most complete set of specifications for our products, and to provide a full warranty that
every one will meet those specifications within ±2 dB for at least five
years.
To that end, we manufacture all our
drivers and crossover networks ourselves. (Most of our competitors do
not.) We test every driver and every
crossover board (not just a random
sample) to a set of close -tolerance
standards. Only those that meet the
standards are installed in cabinets.
Then every completed system must
pass another long series of performance tests, before the cabinet gets
its final coat of oil finish, a careful
visual inspection, and is packed for
shipment.
We don't have to guess what's inside
our shipping cartons. We know. If you
too would like to know, we'll be glad to
send you our free 10 -page catalog on
request. It includes complete specifications and a statement of Full Warranty for Five Years.
ALLISON ACOUSTICS
7 Tech
Circle, Natick, Massachusetts 01760
Enter No.
5
on Reader Service Card
I
frequency losses.
Where it becomes necessary to use
some other means to achieve your re-
Disc Playback with Dolby
Q. Please explain why the Dolby
system cannot be used for the playback
of discs. I would certainly think that it
could. Fletcher King, Andover, Mass.
A. Let us keep in mind that the
Dolby system is a complimentary
system. It is used where the program is
both recorded and then played back
with it. Note that recorded tapes are
now available that have been recorded
with the Dolby system, and you must
use Dolby when playing them back in
order to obtain the correct frequency
response and dynamic range. As for
disc recordings, the master tapes are
often recorded using Dolby and when
these tapes are transferred to discs, the
Dolby system is once again used. So
the final disc recordings are already
properly decoded and further use
would not be warranted.
-
Plastic Record Sleeves
Q. Are records better off stored in their
original paper sleeves or in those
plastic-lined ones?-David J. Lee,
Wash. D.C.
A. I do not like those plastic -lined
record sleeves as they cause more
static build up than the paper sleeves.
This static results from the sleeve rubbing against the record when it is
withdrawn and reinserted. Static build
up means that dust will be attracted to
the surface of the disc, and in these
days of high compliance phono cartridges and low tracking forces, dust
causes more background noise and
ultimate damage to the record surfaces than wear from playing the
record a number of times.
If you have a problem or question on tape recording, write to Mr. Herman Burstein at AUDIO,
401 North Broad Street, Philadelphia, Pa. 19108.
All letters are answered. Please enclose a
stamped, self-addressed envelope.
AUDIO
January 1978
HIGH BIAS.
These cassette deck manufacturers use SA
as their reference for the 9Igh(Cr02) bias/EQ setting:
AIWA AKAI CENTREX JVC
KENWOOD MERITON NAKAMICHI
OPTONICA PIONEER ROYAL SOUND
SANSUI SHARP 'TEAC TOSHIBA
UHER YAMAHA
And are joined by these
in recommending SA for use in their decks:
BANG & OLUFSEN DUAL FISHER
HARMAN/KARDON' LAFAYETTE
SANKYO 'TANDBERG
AND MANY OTHERS.
There's been a quiet revolution going on in the cassette world.
Leading makers of quality
cassette decks have adopted TDK SA as their reference standard tape for "High" (CrO2) bias and
equalization settings. Why TDK SA? Because TDK SA's advanced tape formulation and super
precision cassette mechanism let them (and you) take full advantage of today's advanced
cassette deck technology. In addition, a growing number of other companies are recommending SA for use with their machines.
So for the ultimate in cassette sound and performance,
load your deck with SA and switch to the "High" or "CrO2" bias/EQ settings. You'll consistently
get less noise, highest saturation and output levels, lowest distortion and the widest dynamic
range to let you get the best performance from any
quality machine. CI But you needn't believe all this
just because we say so. All you have to do is check
our references.
TDK Electronics Corp., 755 Eastgate Blvd., Garden City, N.Y. 11530.
In Canada: Superior Electronics Industries, Ltd.
TIDK.
The machine for your machine.
Enter No. 50 on Reader Service Card
The Lance FMO shown in Fig. 4 consists of two folded dipoles arranged at
T
TTT
T
V T NT\
ft
right angles to each other and
a 1/4 -wave phasThis yields a pattern somewhat like that shown
in Fig. 5. This type of
connected by
sss.
art fluTllllfi
YOU?
IS BST
omni, often called a
"turnstile" antenna,
has less gain than a
Michael
J.
Salvatti
The first FM antenna an audiophile
usually comes into contact with is the
ribbon dipole packed with most FM
tuners and receivers, an antenna that is
adequate for non -critical applications
in high -signal strength areas. However,
since the theme of this series of articles is quality FM antenna systems,
the ribbon dipole will be relegated to
the carton and the discussion of outdoor antennas will commence.
Omnidirectional Antennas
30
Omnidirectional antennas pick up
signals equally well in all directions
without the need of a rotator. Although high-gain omnis are possible,
with few exceptions the only omnis
readily available are the types shown
in Figs. 1 and 4. Both of these antennas
are variations on the simple folded
dipole.
The Channel Master 4405 shown in
1 is simply a folded dipole bent into an S -shape to convert the dipole's
"figure eight" horizontal -plane polar
Fig.
pattern (Fig. 2) into an approximation
of a circular pattern (Fig. 3). The
resulting antenna has a gain of about
-1 dB relative to a /-wave dipole. This
type of omni is sold by Winegard
(FR -1), JFD Electronics (AFM450), Kay
Townes (FMOD-G), Gavin (FMS), and
of course Channel Master.
very
This'/2-wave
antenna
also
popular
styl e is
sold
by
Winegard (FM -3T), S&A Electronics
(WCF-5), Antenna Corp. of America
Kay Townes (FMND-1G),
Gavin (FM -7), Jerrold (C677M), RMS
Electronics (F-3), Channel Master
(4403), and Antennacraft (GFMSS).
Antennacraft also makes the G2FMSS,
which consists of two vertically stacked turnstiles to achieve a few dB more
gain and vertical -plane discrimination.
(AC -103),
This means that it has minimal pickup
of noise and multipath signals
originating above and below it.
When properly located and installed, one of these antennas and
some 300 -ohm twin leads comprise a
very satisfactory antenna system for a
large percentage of FM enthusiasts.
The popularity of these antennas is
due to the fact that when properly
located and installed they provide a
good S/N ratio for decent reception in
metropolitan and suburban areas, are
small and lightweight, low priced, easy
to mount, and require no operation
(rotation) in use. Their chief disadvantage is they afford no protection
against multipath and noise pickup in
either the horizontal or vertical planes.
A possibe disadvantage is low gain,
although as you will
see in a later issue
this can be an advantage in some situations.
High-Gain Directional Antennas.
A high-gain antenna is needed when
distant station must be received with
adequate quieting or when one antenna must drive a number of tuners. A
a
high -gain antenna may also be needed
in strong-signal areas, not because of
its high gain, but because of the directionality that accompanies high gain.
Directionality (narrow beamwidth and
high front-to -back ratio), is the best
countermeasure for multipath distortion and various types of r.f. interference. The idea is that a highly directional antenna will pick up lots of
signal in the direction it is aimed, but
very little signal in other directions
(where, presumably, the r.f. interference or multipath is coming
from). These directional characteristics also permit listening to a distant station on the same frequency as
a nearby (stronger) station. Naturally,
these benefits are obtainable only if
the desired station lies on a different
bearing (direction) from the undesired
stations or interference signals. Further
discussion of this aspect of directional
antennas continues in the section on
reception problems at the end of this
series of articles.
A very common type of directional
antenna is a 3- to 5 -element yagi (or
beam) antenna. These usually consist
of a folded dipole with reflector, and
one or more directors (Fig. 6). The
reflector and directors change the bidirectional (figure eight) pattern of the
dipole to an essentially unidirectional
(single main lobe) pattern, like that
shown in Fig. 7. Generally, the greater
the number of directors, the narrower
the beamwidth and the higher the gain
of the antenna (at certain frequencies).
The parenthetical phrase indicates the
"catch"; this type of antenna is
capable of high gain and narrow beam width over a portion of the FM band,
AUDIO
January 1978
Critics and audiophiles agreethe listening quality of the DQ-10
is unexcelled. What accounts for
its supe -b performance?
Titre
Much credit for its smooth ccherence must be given to the precisely
mat._hed transient characteristics
of the five dr_vers. And, a gocd
deal has been written about the
DQ-10 and its extraordinary solution to the problems of :ime delay orphase distortior..It is
not surprising that otl-er high
quality speaker designers
have followed suit in offering ihei- versions of time
delay correction.
...and Time Again
The real "secret" tj the unprecedented performante c f the DQ-10
lies in Jon Dahlquist`s patented
method for reducing diffraction, a
more audible and destructive form
of tinte distortion. The separate
baffle plate on wh_cheach driver
mounted is dimensioned to
minimize d=ifrac:icn in the frequency band in which it operates.
Thus, the effect of the sound we
hear is that of a driver mounter in
free space, without ofstructions
or surfaces to distort the original
sound source.
It can be said that the DQ-10
eliminates iraccurate reproducrion
caused by tme e_ements- inertial
time delay,, and ciff-action time
delay-distortions that limit
the perf+ormarce of conventional speaker systems.
That's why the more crit.cml
listerer will select the D-10.
Time and time again.
is
MUM HLQILE
ST
27 Hanse Ave., Freeport, N.Y. 11520
Enter No. 15 on Reader Service Card
AmericanRadioHistory.Com
Fig.
1- The
antenna is
"S shape."
32
a
Channel Master 4405
folded dipole bent into an
but cannot provide consistent performance over the full FM band. Still,
if cost is a factor, these simple yagis
can be quite useful in all but the most
critical situations. Even a very simple
yagi will provide better S/N and
multipath performance than an omni.
The vertical -plane pattern of a small
yagi is such that signals above and
below the antenna are rejected, as well
as those lying along azimuths not
covered by the main lobe.
The very best directional antennas
are those built to the log -periodic formula, which may be either pure logs or
logs with directors. The characteristics
that qualify this type of antenna as
"best" include high absolute gain, excellent gain flatness across the entire
FM band, excellent impedance match
(VSWR) across the FM band, and nearly constant polar patterns at any frequency in the band. As you may conclude, the matter of consistent performance across the entire FM band is
essentially what sets log periodics
apart from the simple yagis.
A small but high-performance log
periodic is the Winegard CH -6060
shown in Fig. 8. This ruggedly built
antenna has less than 0.4 dB gain variation and only 7° beamwidth variation
across the entire FM band, producing
about 81/2 dB gain with just a 60 -inch
boom length. A weatherproof housing
on this antenna encloses a cartridge offering a choice of 300- or 75 -ohm output impedance, so it can feed coaxial
cable directly, without the need of an
external antenna balun. As you can see
from its polar patterns (Fig. 9), it has excellent front -to -back (F/B) ratio (20 dB
minimum) and deep side nulls, with a
beamwidth of 63-70°. A much larger
version, the CH -6065, offers 1 to 2.4 dB
more gain, and narrower beamwidth.
Jerrold's QFM-9 (Fig. 10) is a longer
antenna (101 inches) costing about the
same as the CH -6060. The QFM-9 has
Fig.
2- Polar
pattern of
a
folded
Fig.
3-The polar pattern
of an
S
dipole.
dipole.
slightly less gain (7 dB average), but
unusually narrow beamwidth and the
same excellent F/B ratio and deep side
nulls. The beamwidth of the QFM-9 is
only 56° over most of the band, narrowing to 49° at the upper end. This
very narrow beamwidth at 108 MHz
can be used to advantage in combatting CB harmonic interference, as you
will see in a future issue. (Note: All
antenna gain figures in this article are
from their respective manufacturer.
Because of the many complex factors
involved in determining absolute
antenna gain, the gains claimed for
antennas not measured at the same
time on the same test range should not
be compared without considering that
an error of up to 2 dB between antennas is not unusual.)
Factors that might be considered
disadvantages of log periodics and
long yagis are size, weight, and inconvenience. High gain and directionality' are achieved at the cost of
great size; antennas such as the
Winegard CH -6065 can be over 140
inches long! Aside from the aspect of
something this size above your dream
cottage, large size also means lots of
bucks, both for the antenna and a
secure mount. Arid, except for cases
where only a single station is within
reception range or where all stations
lie in the same direction, these antennas must be repositioned (via an antenna rotator) each time you listen to a
station in a different direction from
the previous one. Here the really good
antennas extract the maximum in inconvenience; the very large and directional antennas must be positioned
more accurately than smaller antennas
with wider beamwidths. (There is no
free lunch.)
Fig. 4-The Lance FMO turnstile antenna consists of two folded dipoles ar-
ranged at right angles to each other.
Fig.
5-Polar pattern of
antenna.
the turnstile
Using Your TV Antenna
For FM Reception.
Many people who desire a moderate -gain directional FM antenna do
not wish to erect a separate antenna
and rotator when they already have a
large and rotatable TV antenna on
their roof. This can be a sound idea
with the right antenna-or a terrible
idea with the wrong one.
Some TV antennas are designed to
provide low -band frequency coverage
that holds up well to 108 MHz just as
the antenna comes out of its carton.
Other antennas are designed to block
FM reception as shipped, but can be
AUDIO
January 1978
TODAY MORE THAN EVER
AR SPEAKS THE TRUTH
LOUD&
CLEAN
Amazing.
The hottest new name in the
speaker business seems to be AR.
Because we've been busy
making a few changes. But we
haven't forgot what màde us
famous.
Quality.
Ai
Accuracy.
Performance,
loud and clean.
Yes, we've
broadened the AR line. Now it
includes 7 models designed to
sell from about $65 to about
$450.
Yes, we've improved AR
power -handling capacity with
an important innovation. The
liquid -cooled speaker. All our
high-range drivers for '77-'78
will use magnetic fluid (it costs
nearly $3000 per gallon) to
position and cool voice coils.
Yes, we've refined logos,
cabinet styling and several other
neat little touches.
We've even improved
distribution. Henceforth you'll
find AR only in quality highfidelity stores.
What hasn't changed is AR
quality and quality control.
And that's the reason every AR
speaker system is covered by the
most impressive warranty on
construction and performance
of any major speaker.
For information and "specs"
pick up our new catalog from
your high fidelity dealer or
write to us at the address below.
WTEL
DYNE ACOUSTIC RESEARCH
10 AMERICAN DRIVE. NOR W000. MASSACHUSETTS 02062
IN CANADA. A. C SIMMONDS 8 SONS LTD
Enter No..
2
on Reader Service Card
Fig.
na.
6-A typical
5 -element
yagi anten-
modified to receive FM at full gain.
Still other antennas are designed with
frequency coverage that falls off
rapidly after 88 MHz, and cannot be
readily altered for good FM reception.
The Jerrold VU -932S (Fig. 11)
an
is
outstanding example of an all -channel
antenna that provides excellent FM
performance as shipped. As shown in
the VU -932S gain chart in Fig. 12, this
compact antenna will provide 3 to 4
34
dB gain over the full FM band. Since
this antenna is also a superb TV antenna (whose performance was verified by
the author in competitive measure ments), it is highly recommended as an
"everything" antenna for metropolitan
Fig.
typical yagi antenna.
8-The Winegard CH -6060 highperformance, log periodic antenna.
and suburban areas. At this point I
might mention that the VU -9325's performance is not typical of most TV
antennas claiming FM coverage. The
FM performance of most TV antennas
falls off as shown by the center gain
chart in Fig. 12. However, since a fair
amount of directionality remains even
at the high end of the FM band, antennas of this type are usually satisfactory
for strong-signal areas.
The Jerrold VU -9345 is a larger version of the antenna just mentioned. It
also offers superb performance, but it
must be modified per the manufacturer's instructions to function on FM.
This antenna is an excellent example
of an antenna designed to block FM
signals as shipped, but which can be
easily modified (by snapping off the
FM control elements) to provide
superb FM gain. The gain curves at the
right of Fig. 12 show the VU-934s's performance before and after modification. The solid line is for the antenna as
shipped; there is a huge "hole" in the
response after 90 MHz and in this condition it will perform terribly on FM.
The dashed line shows the antenna's
gain characteristics after the FM control elements are snapped off. Now the
VU- 9345 has extremely flat gain over
the full FM band. In fact, the FM performance of this antenna approaches
Fig.
7-Undirectional pattern of
a
Fig.
9-Polar patterns for two Winegard log periodic antennas. The CH -6065
(top) has
a
narrower directional pattern than the CH -6060 (bottom).
108MHz
88MHz
88MHz
98MHz
108MHz
AUDIO
January 1978
In the Black II
-
Performance, beauty, quality
three attributes
that have always been the hallmarks of SAE products. SAE systems in the past have had them, this
system's predecessor had them, and the new In
The Black system has them and much more.
The 2200 Stereo Power Amplifier with fully complementary circuitry delivers 100 Watts RMS per
channel from 20-20K into 8 ohms; at less than
0.05c/c Total Harmonic Distortion, from 250mW
to full rated power.
The 2900 Parametric Preamplifier offers our new
flexible parametric tone control system, full dubbing and tape EQ. New phono and line circuitry
results in unparalleled clarity and definition with
distortion of less than 0.01°7c THD & IM.
The 8000 Digital FM Tuner has linear phase filters,
phase -lock multiplex, and of course, our famous
digital readout tuning indicator system.
Combine these products together and you have
a system that ensures superior performance in all
areas, excellent control flexibility, and the sonic
quality that is typically SAE.
44011
11.
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For Complete Information Write:
Scientific Audio Electronics, Inc.
P.O. Box 60271 Terminal Annex, Los Angeles, CA 90060
Enter No. 42 on Reader Service Card
Fig. 10-The Jerrold QFM-9 high-performance log periodic antenna with an
unusually narrow beamwidth.
that of an 8 -element log periodic! This
is the ideal TV/FM antenna for the far
36
suburbs.
When signals of all kinds are provided by one antenna, a device called a
band separator must be used at the
bottom end of the transmission line to
direct the FM signals to the FM tuner
and TV signals to the TV set. With this
device most of the signal in each frequency band is automatically applied
to the proper receiver. Quite a few TV
accessory manufacturers offer three way band separators that provide VHF,
UHF, and FM outputs from a single
output from a single input. They are
11- Jerrold Electronics VU -932S
all -channel antenna.
available in both 300- and 75 -ohms input impedance and always have 300 ohms output impedance. (In an all coax system, a balun can be connected
to the FM output terminals of the band
separator.) The Jerrold FS -1314-FM
(shown in Fig. 13) is included with the
VU -series antennas mentioned in the
Fig.
Naturally, both entertainment
devices cannot be used simultaneously
with this technique. The Jerrold DCS is
a superb 75 -ohm cable switch at a
reasonable cost. If the FM stations are
so strong as to interfere with your TV
reception, you can insert a Winegard
T-FM7 FM bandstop filter in the cable
going to the TV set.
Fig. 14).
preceding paragraphs.
Unfortunately, there is a serious
fault in the band -separator technique.
There is no frequency separation between TV channel 6 and the bottom of
the FM band, so even a super-sharp
filter network (not possible at consumer prices) will attenuate 88 to 90
MHz FM signals in the FM output and
channel 6 in the TV output. The solution is to not use a band separator, but
to manually switch the entire antenna
signal to the FM tuner or TV set (See
Where to Mount the Antenna
Advice on where to mount an FM
antenna invariably includes sure-fire
phrases like "as high as possible" and
"in the clear." While these are quite
true, attempting to achieve "as high as
possible" could involve an expensive
Fig. 12-FM gain characteristics of several TV antennas. The Jerrold VU 934S curves (right) show TV and FM performance before (solid line) and
after (dotted line) modification.
JERROLD VU -932S
yHFLO-
BAND
JERROLD VU -934S
TYPICAL TV/FM ANTENNA
VHF LO -BAND
FM
VHF LO - BAND
FM
10
10
10
9
9
9
8
8
8
7
7
7
6
6
6
5
5
5
4
4
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54 60 66 7276 82 88 94100 108
FREQUENCY
2
3
IN
CHANNEL
2
3141
15
6
11
54 60 66 7276 82 88 94 100 108
MHz
AUDIO
January 1978
PINPOINT IMAGING.
SO ACCURATE
YOU'LL WONDER WHERE THE
OTHER SPEAKERS ARE.
The Phase Matrix Group: A family of
four elegant and exciting new loudspeaker systems from Audioanalyst.
37
CDnjunction with our unique
Phase Matrix" is a low loss crossover
network so meticulously constructed its
heart is a glass fiber printed
circuit board.
Moo -king in
Our limited warranty covers
all speakers in the Phase
Matrix Group for a full
six years.
Every speaker is Enc o ed in a genuine
wain 1 veneer cabinet lacquered to a
fine finish and faced with a subtly
sculpted, projecting grille.
Begin with Iwo Audioanalyst Phase Matrix loudspeakers. Put on a record, close your eyes and suddenly the performers
will seem reassembled in their places before you. With sound
originating to the left, the right, even ahead of or behind where the
speakers actually stand, you'll feel sure you're listening to more
than just a pair of them.
Thanks to our unique Phase MatrixTM(patent pending),
it only takes two speakers to recreate a three dimensional sound
field with breathta king accuracy. This frequency selective, sonically
absorptive device surrounds the high frequency driver, preventing
specified sound waves from being reflected off the speaker baffle
important area and disturbing the radiation pattern of the primary waveforms. It virtually eliminates phase cancellation, the confusion in time relationships between various
aspects of a musical performance that impedes the imaging
characteristics of other speakers.
We call this uncanny precision pinpoint imaging. Experience it for yourself by auditioning a parr of loudspeakers from
Audioanalyst's Phase Matrix Group. We give you four different
models to choose from. For a descriptive brochure and the name
of the Audioanalyst dealer nearest you, please contact us at the
address below.
in this critically
THE PHASE MATRIX GROUP AuthoDaIqJ
Audioanalyst, Inc,, P.O. Box 262, Brookfield, Conn. 06804.
In
Canada contact Superior Electronics, Inc.
Fig.
13-Typical VHFIUHFIFM band
separator.
38
and sometimes prohibited tower, while
"in the clear" could require you to
move from some locations! For most
of us, the selection of a place to mount
an FM antenna is limited to finding the
best place on our residence to erect a
10 -foot mast. The lucky will live in a
one -family house amid a sea of one family houses or in the highest apartment house in the area. The unlucky
will have a small home right next to an
apartment or water tower. This latter
group can only pray that some orientation of their high F/B ratio log periodic
will yield a sufficiently strong signal
that is reasonable free of multipath effects.
My advice is actually on where not
to mount your antenna. Do not mount
it close to a TV antenna; the proximity
of another antenna operating in
roughly the same frequency range will
disturb the directional characteristics
of each antenna, thus increasing the
likelihood of multipath pickup.
Similarly, never mount the FM antenna
on the same mast as the TV antenna;
you cannot get sufficient separation
with simple masting to allow this.
Don't use too short a mast; stick with
the standard 10 -foot mast for omnis
and small logs, and a well -guyed 20 foot mast for large log-periodics. Don't
put the mast on the side of your house
adjacent to a heavily -trafficked road if
you want low -noise, weak -station
reception. Don't mount any antenna,
particularly one on a high mast,
anywhere near power lines. Many people have been killed by masts tipping
over into power lines during installaA
tion.
/7(74/
COAX
DCS
ANTENNA
SWITCH
FM TUNER
COAX
FM BANDSTOP FILTER
(OPTIONAL)
COAX
r
IT-FM7I
L_ _J
BALUN
n
3
®
14-Manual switching technique
to direct the entire antenna output to
either the FM tuner or the TV set.
Fig.
Manufacturer's
Directory
Channel Master
E Ilenvil le, NY 12428
Lance Industries
P.O. Box 4156
Sylmar, CA 91342
Antennacraft
Jerrold Electronics
P.O. Box 1005
Burlington, IA 52601
P.O. Box 487
Hatboro, PA 19040
Winegard Co.
3000 Kirkwood St.
Burlington, IA 52601
KEF CALINDA
And while the Calinda's
performance will do full justice
to your music, its elegant shape
is sure to enhance your room.
Listen to the Calindas,
discuss them with your local
dealer, and discover just why
KEF call themselves
"the speaker engineers."
Distributed in the USA in
conjunction with:
Intratec,
399 Jefferson Davis Highway,
Arlington, Virginia 22202.
And in Canada by:
Smyth Sound Equipment Ltd.,
595 Parc Industriel,
Longueuil, Quebec J4H 3V7.
The big reason why the
Cálinda sounds so good is the
engineering that's gone into it.
The component parts-drive
units, dividing networks
and enclosures have all been
designed and tested with
computer aid. They've been
matched together more closely
than ever before, to work as a
total system giving the highest
quality reproduction.
The enclosure is narrow,
to give wide dispersion of
sound without diffraction;
deep from front to back, to cut
down disturbing reflections from
walls; and tall, so that the midrange unit is well away from the
floor, reducing reflections which
would otherwise cause a nasty
double impression.
-
11111
The Speaker Engineers
KEF ELECTRONICS LTD., MAIDSTONE, KENT, ENGLAND.
Enter No. 26 on Reader Service Card
"...the Sansui tradition:
solid, well thought-out...performance
up there with the best...
aright
ine value.. .HIGH
FIDELITY MAGAZINE
If you're not yet convinced that Sansui
receivers stand in a class by themselves, we'll try a
different approach. Read what the editors say. After
all, they're the experts.
"Here is yet another receiver in what we have come
to think of as the Sansui tradition: solid, well thoughtout...delivering performance right up there with
the best....
"Some 'extras' are immediately apparent when you
lay an inquiring finger on the controls. The tone knobs
are stepped...and include a MIDRANGE as well as
the usual BASS and TREBLE...two phono inputs...mono
mike input with its own mixing level control...There
also is output -power metering. ..One special feature
of the 7070 is its provision for outboard decoding of
Dolby** FM broadcasts.
"The amplifier section is rated al 18dBW (60 watts)
per channel and actually will pump out 1/2dB (10
watts) more before exceeding the distortion rating at
any audio frequency. More impressive, harmonic distortion is far below Sansui's 0.3% rating at all tested
power levels.... Intermodulation too is low.
s
"... if your expectations are high, there's very little about
the 7070 that we think might disappoint you. Feel and
finish of the parts is excellent, as we have come to
expect of Sansui. The capable amplifier section has
enough power for use with two pairs of speakers...the
tuner section is among the best; the ancillary functions
...are comprehensive and efficient. All in all, a fine
value for the money"
See your local franchised Sansui dealer for
a demonstration of the beautifully styled 7070, one of
the only mid -powered receivers that offers twin power
meters. You'll find that the experts are right. Musical
quality is excellent and a finer value can't be found. It
is what you've come to expect from Sansui.
A whole new world of musical pleasure.
*High Fidelity Magazine, Dec. '76
Simulated woodgrain cabinet.
Enter No. 43 on Reader Service Card
...,\
SANSUI ELECTRONICS CORP.
Woodside, New York 11377 Gardena, California 90247
.
11:.::..::::: ,,`.,,,
tfisTEIIRO
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68
111
92
94
Sauts-ui
SANSUI ELECTRIC CO., LTD., Tokyo, Japan
SANSUI AUDIO EUROPE S.A., Antwerp, Belgium In Canada: Electronic Distributors
.:S:S::S0/////./II/J11101/1111110.
;:;;; .. ....... ..
,,,,iiiiiiiiiiiiiiiiiiiiiii
l'renee /motive. 7070
"Trademark of Dolby Laboratories, Inc.
96
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AmericanRadioHistory.Com
,.
Recordings
for Critical
Listening
Daniel Shanefield
40
A relatively small number of disc
recordings are now available that
come close to providing the illusion of
the live performance, when properly
played back through a good system.
While an illusion of "realism" is not
necessarily the goal of every audiophile, the pursuit of this illusion is
often both pleasurable and technically
enlightening. Using realism as the
focal point, the present article will
discuss a group of records which are
unusually successful in aiming towards
that goal.
By comparison
with these, the ma-
jority of modern discs are so much
poorer in quality that the recording
itself is usually seen as the weakest
link in the playback chain. Regarding
the poorer records for a moment, some
audiophiles ardently seek the illusion
of the concert hall or night club performance in their home listening
rooms by assembling new chains of
ever more elaborate components, but
it is a pity that too many of these people are using discs which simply do not
contain the "good vibrations" being
sought. A great deal of attention is
focused on the phono pick-up cartridge, the preamp, etc., and this brings
only slight changes in the sound, but
not a convincing illusion of reality. On
the other hand, playing the recordings
listed on the following pages can
sometimes provide both an immediate
and a great improvement over the
more commonly heard sounds, even if
only medium-priced playback components are used.
There are, of course, many excellent
recordings which are not on the list,
and this article is only meant to be
used as a starting point. New recordings of good quality are becoming
available every week or so, although
they tend to become buried among
myriads of sonically poor ones.
I
am hopeful that some of the
records on this list will satisfy the
readers' artistic tastes, in which case
the subtleties of timbre made available through technical excellence can
enhance the overall musical pleasure.
In addition, these discs can help one to
fine-tune the rest of the record playback chain and show which components need improvement. However,
the reader should be warned that most
systems will sound rather good when
spectacularly good recordings are being played. Therefore, when evaluating
new components, the listener should
play a few old -favorite discs also, since
those are the types of recordings that
will be used most of the time after a
component has been added.
An additional use for the recordings
listed in this article is in demonstration. Taking a string of short selections
from these discs and dubbing them
one after the other onto a single tape
can make an impressive sound show.
Characteristics of Realism
What distinguishes these recordings
from other, less realistic ones? The
main characteristic seems, to me, to be
a special sort of transient response
which allows a minimum of blurring.
The important thing that must not be
blurred is a kind of very fast vibrato or
tremolo. (Vibrato is quick variation of
the frequency, while tremolo is a quick
variation in the amplitude.)
Musical instruments provide not
only fundamental sine waves and complex harmonics, but also beat frequencies and interference effects which
cause the sound to be modulated,
with very fast variations and perturbations of the tones. It is this which imparts "stringy," "brassy," "reedy," and
"woody" sounds and quickly distinguishes natural music from synthesized electronic music, even when the
steady-state frequency distributions
are nearly the same.
AUDIO
Immediately after that, the
reflected sounds usually overwhelm
the direct sound and cause some blurrnote.
Taken all together, a first-class
recording on an optimized
playback system is able to
simulate the eyes -closed sound
of the live performance to a
high degree, indeed.
Close miking has been used to make
many realistic recordings. But not all
such recordings are made that way,
and not all close-miked recordings are
realistic. There still seems to be a great
deal of art (and, occasionally, sheer
luck) mixed into acoustical engineering. No record company which makes
a large number of discs is completely
consistent in attaining realism.
Considerable personal taste is involved in evaluating the total record playback system, and it must be emphasized again that realism is simply a
good illusion, and this involves several
highly subjective and even emotional
factors. An interesting way to shed
some light on this aspect is to attend a
live performance and focus your attention on the crystal clarity of the sound.
Stare at the musicians with a sort of
conjured -up intensity, and at the same
time, out of the corners of your eyes,
make yourself aware of the great
space around you in the concert hall,
night club, or whatever. Then suddenly
close your eyes. The great space collapses, the sound gets somehow flattened, and the whole image is degraded. It is true that some details of the
sound can often be heard more clearly
with your eyes closed, but the
spaciousness feeling is much diminished. The eyes- closed sound is all that
you can ordinarily reproduce in your
home listening room, since there are
neither big spaces nor musicians to
see. It is remarkable how quickly we
tend to forget that much of the
spaciousness feeling at the live concert
is derived from other -than -sonic clues.
To compensate for this, a slightly exaggerated set of purely sonic clues
would appear to be philosophically
permissable. In other words, a little bit
of extra reverb, a little bit of extra upclose-ness, and a little bit of anything
else that's legal should really be OK, if
it provides the illusion of the concert.
At a live performance in most concert halls or night clubs, in most of the
audience seating area, the "stringiness" (very fast tremolo or vibrato) is
only audible at the beginning of each
January 1978
AmericanRadioHistory.Com
"blurring" results from the inability of any
large group of musicians to continue
to play a vibrato or tremolo in strict
unison, and the later, reflected sounds
contribute to the sense of hall or ambient space.-E.P.) But we know we
are in the presence of the live performers, and we tend to focus the
mind's ears on the good things which
go along with reality, not on the later
blurring. At home, in the listening
room, we need a little extra continuation of the clearest sounds to compensate for negative visual clues which
tell us we are not "there" after all.
Another aspect of up-close sound is
a frequency response which is rich
from about 800 Hz to about 6 kHz. Distant sounds tend to be weak within this
range because furniture, clothing, huing. (Editor's Note: To me, this
man bodies, and even grass and shrubbery, all absorb reflected sound strongly in the 800 Hz to 6 kHz range (see Fig.
1). Therefore, the ear and brain train
themselves to recognize that distant
sound sources are deficient in this
range. Any time you want to fool your
ear into thinking that a recorded sound
is coming from a great distance, borrow or buy á graphic equalizer and cut
the midrange and mid -treble response
by about 4 dB; the source will seem to
recede to great distances. In the opposite direction, increasing the response in that frequency range above
the normal levels makes the source
seem unusually close.
The illusion of extreme closeness is
not necessarily a good thing in itself.
European record cómpanies, such as
Philips and Deutsche Grammophon,
tend to avoid it, and European record
reviewers tend to criticize relatively
close sound while American companies tend to use it for recording
classical music. Since most of the seats
in a concert hall or night club are not
up close, the optimum illusion in your
listening room is that the virtual image
of the performers is somewhere on the
other side of the listening room's front
wall, as far as distance is concerned.
This illusion takes your attention away
from the loudspeakers, and it also corresponds to the most probable distance between you and the stage at a
performance. The ideal apparent
distance should be reasonably, but not
conspicuously far away. (Of course,
the clarity of the sound should be such
that the wall itself does not seem to be
there at all.)
Thus, we have examined two
characteristics which are at least
responsible for a feeling of realism, (1)
an unblurred transient response, and
41
(2)
just the right amount of midrange
and mid -treble in the frequency
response. The superb -sounding discs
on the accompanying list almost all
have a lot of number one, often
somewhat more than a live per-
Poorer -sounding discs,
especially some of those made by
American record companies, show a
tendency to exhibit too much of
number two, giving an extreme upclose feeling, but not really giving
much clarity. In fact, too much mid treble can cause a harshness or sonic
glare when the disc is played back on
average -quality equipment.
formance.
Optimized Playback
Getting the best results from a
recording can be dependent on a few
subtle points of great potential value.
Foremost is the need for a strong hand
on the tone controls. While American
records often have accentuated
response in the 800 Hz to 6 kHz range
for exaggerated "presence," as
mentioned above, many of the newer
TABLE
1- Technically
W
ó
a
0aB
o
z
-3 dB
>
IC
w-6aB
100
I0K
IK
FREQUENCY
1- Frequency
-Hz
spectrum of flat sound after it has been
reflected from the surfaces of a typical
room with carpet, sofa, plaster walls,
and curtains. (Dashed line shows spectrum at original sound source.)
Fig.
response
European discs have strong treble at
about 9 kHz to 12 kHz, which can
sound strident on systems that are not
adjusted for this. If the treble is cut
somewhat, the resulting sound is quite
smooth, and the high frequency
background noise is much reduced
also, as an extra bonus. (A graphic
equalizer is useful for fine-tuning the
frequency response, and this is often
best done by ear rather than by meter.)
In other words, a few records might
sound good on a given system, but
judicious adjustments can make a
wider selection of discs sound just as
good or better.
Similarly with dynamic range, a few
discs are excellent in this respect, but
some of the new noise reduction
devices (including simple expanders)
can bring life to many other discs.
Various methods for adding in a
certain amount of reflected sound can
help to provide a realistic sense of
distance and spaciousness, particularly if delayed sound is also added at
the back of the room. (For a simple but
effective method, see Fig. 3 of my
article in Audio, Nov. 1975, pg. 50).
Taken all together, a first-class
recording on an optimized playback
system is able to simulate the eyesclosed sound of the live performance
to a high degree, indeed.
Excellent Recordings.
Deep Bass Frequency Range
42
1r
Organ Music from Westminster. Edward D. Berryman. Ark 10251-S, stereo,
$6.95 postpaid (Fulton Electronics,
4428 Zane Ave. North, Minneapolis,
Minn. 55422). Side 2, Band 4.
Played by an organist whose technique includes a heavy foot on the
bass pedals. Too many notes at around
32 Hz for good taste, but wonderful for
rattling large picture frames and
somehow tickling the air spaces in
your chest. Unusually pure fundamental and first few harmonics of
the lowest musical notes, which are
only rarely recorded on disc. (If your
playback system can not reproduce
the fundamental, you can still hear the
harmonics.)
Holst: The Planets Bernstein. Columbia
31125, MQ SQ/quadraphonic, $7.98.
Side 2, Band 2, at 95% of the band.
Very loud, very low notes, for a
demonstration of the kind of bass that
can be (but usually is not) recorded.
Dark Side of the Moon: Pink Floyd.
Harvest SMAS-11163, stereo, $6.98.
Side 1, at 60% of the side.
Powerful heartbeats at low
frequencies build up to a loud climax.
The recording also contains realistic
clock chimes and bells, at 55% of Side
The low frequencies here are in
subtle "hall sounds," which provide a
feeling of being inside a large night
club. In addition, a Dixieland jazz
band is recorded with truly sensational
high fidelity. (See also the comments
at the end of this list.)
Mid
Bass
Percussion Music. DesRoches, New
Jersey Percussion Ensemble.Nonesuch
H-71291, stereo, $3.96. Side 2, Band 2,
at 15% of band.
The drum has a particularly membrane -like sound which is lost if the
loudspeakers used for playback do not
have good transient response.
Pig's Eye Jass; Fidelity First, Vol. 2,
stereo, $10.95 postpaid (Insight
Records, 7726 Morgan Ave. South,
Minneapolis, Minn. 55423). That Side,
Band 2.
A woody, reedy bass clarinet is the
main feature of a Dixieland jazz band,
and the other instruments such as the
drums and trumpets are also superbly
recorded. The trombone is unusually
good on the next band, too.
1.
Young and Rich: The Tubes. A&M 4580
stereo, $6.98. Side 2, Band 1.
Excellent drums. Also, excellent
piano on the next band, and realistic
guitar on the last band of Side 2.
The Sound of Musical Instruments. AR 1, stereo, $5.00 postpaid (Acoustic
Research, 10 American Drive, Norwood, Mass. 02062). Side 2, Band 2.
Bach: Cello Suites.
SRI 3-77002, stereo, 3
The cello sound is
this recording, which
years ago and has been reissued and
stamped in Europe from old American
master tapes. Judging from discussions
at recent meetings of the Audio
Engineering Society, nobody really
knows why the old Mercury tapes are
so good. Some engineers speculate
that it was the simple microphone
techniques (no "mikes mix tricks"). But
others disagree, since modern multimiking procedures can sound just as
good.
This One's for Blanton: Duke Ellington
and Ray Brown.Pablo 2310-721, stereo,
$7.98.
Another reissued oldy, with
"squeaky clean" bass violin sounds in
a group of swing era duets. The piano
is also very good. Tone controls should
be adjusted to suit the listener's tastes.
The disc contains a great deal of
treble, and too much will sound raspy,
while too little will sound dull. If a
graphic equalizer is available, a 4-dB
cut in the mid -treble might be tried.
Low Midrange
The following three records have all
caught the woodiness and stringiness
of the piano.
Rachmaninoff: Piano Concerto No. 2.
Sviatoslav Richter; Warsaw Philhar-
monic,
Stanislaw
Wislocki.
Deutsche Gramophon 138 076, stereo,
$7.98.
Starker. Mercury
disc set, $20.00.
very "stringy" on
was made several
Beethoven: Bagatelles, Op. 33, 119,
and 126. Stephen Bishop. Philips 6500
930, stereo, $7.98.
AUDIO
AmericanRadioHistory.Com
January 1978
1976: ADC CLAIMS THE XLM MK II
SHOWS "NO PERCEIVABLE WEAR
OVER THE LIFE OFA RECORD:'
AND PROVES IT.
n
Introducing the ADC ZLM
cartridge with the ALIPTIC
stylus.
It's a revolutionary new cartridge design
that has taken the state of the art a giant
step closer to the state of perfection.
Because of last year's XLM MK II
record wear test results, we confirmed
our thinking on how to design the perfect stylus tip shape. It combines the
better stereo reproduction of the elliptical
stylus shape with the longer,
lower wearing, vertical bearing radius of
the Shibata
shape. The result is our
revolutionary new ALIPTIC stylus.
And that's only the beginning.
The ALIPTIC shape is polished onto a
tiny .004" x .008" rectangular nude
diamond shank, which has reduced the
tip mass of the XLM MK II by an incredible 50%. This tiny stone is mounted on
our new, tapered cantilever, which
reduces effective tip mass even further.
The XLM MK II tests also proved
the importance of tip polish in reducing
record wear. So the ZLM is polished
with a new, more expensive, more
effective patented polishing method.
The ADC XLM MK II has long
been known for its uncolored, true
sound reproduction. The ZLM goes
even further. Sound reproduction is
completely open and spatial. And individual instrument placement can now
be identified with even greater ease.
The ZLM tracks between '/z
and 1% grams. Frequency response is
± 1dB to 20kHz and is flat to even higher
frequencies; out to 26kHz ± 1'/2dB.
As you can see, by reducing the
tip mass even further, we've come
closer to the ultimate in pure sound
reproduction. To prove it, every ZLM
comes with its own individual frequency
response
signed by the ADC
technician who tested it.
This means that the ZLM cartridge will reach every sound lying
dormant in your records, transmitting
them faithfully through your hi-fi system
without altering the sound or the health
of your records.
Not only do we think the ZLM
is one of the most exciting cartridge
designs to come along in years, but we
can prove it.
Superior performance we can prove.
1977: ADC CLAIMS THE NEW ZLM
WITH THE ALIPTIC 'STYLUS
HAS EVEN LOWER WEAR AND
BETTER PERFORMANCE.
AND PROVES IT AGAIN.
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A BSR COMPANY
K;ATRD DGES
Audio Dynamics Corporation
Pickett District Road
New Milford, Conn. 06776
Concerto No. 1.
Israel Philharmonic,
Piano
Brahms:
Rubinstein;
Mehta. London CS 7018, stereo, $6.98.
Beethoven: Symphony No.
Philharmonic,
Tea for the Tillerman: Cat Stevens.
A&M SP 4280, stereo, $6.98. Side 1,
Band 5.
Judith: Judy Collins. Elektra 7E-1032,
stereo, $6.98. Side 1, Band 1.
High Midrange
Organ Recital.
Earl Barr. Sound En-
vironment TR -1003, stereo, $8.55
postpaid (Sound Environment, 100
North Sixth St., Minneapolis, Minn.
5.
Vienna
Kleiber.
Deutsche Grammophon 2530 516,
stereo, $7.98. Side 2, at 5% of the side.
Midrange
When playing back these two
popular vocal selections, the listener
should attempt to adjust the frequency
response to eliminate any chesty, boxy
sound. It will probably not seem as
though the performer is in your
listening room, but it might sound
quite a lot like a live performance in a
small night club, if everything is done
right.
Carlos
A stunningly metallic group of horns
followed by a clear group of cellos
(at 17% of the side). Many other types
of full -orchestra delights have been
caught here, with wide dynamic range
and plenty of reverberation from the
concert hall. On most systems, the
treble needs to be cut somewhat.
is
Symphony No. 5.
Concertgebouw Orchestra, Haitink.
Philips 6500 922, stereo, $7.98. Side 1,
at 15% of the side.
Essentially the same comments apply to this record as were made immediately above. The strings can be
used to illustrate "definition," as contrasted with the more commonly heard
"stereo separation." The listener
should perceive a group of violins,
quite near to each other, but clearly a
plurality and not a homogeneous
blend.
Direct from Cleveland: The Cleveland
44
Stravinsky: Pulcinella. Academy of St.
Martin in the Fields, Neville Marriner.
Argo ZRG 575, stereo, $6.98. Side 1, at
70% of the side.
Realistic woodwinds.
Treble
Trilogy: Emerson, Lake, and Palmer.
Cotillion
Orchestra, Maazel.Telarc 5020, stereo,
$16.00 postpaid. (Telarc Records, 4150
Mayfield Rd., Cleveland, OH 44121.)
Classical selections from Berlioz,
Bizet, Falla, and Tchaikovsky recorded
by the direct -to -disc method. Violins,
horns, and other instruments are
sharply defined against a very quiet
background.
Stringy, woody acoustic guitar. (The
vocals are not particularly well recorded.)
Decibel Records, Dept.
James. Lab -6 (SL23ISL24).
This
Is
the One:
Dick
2, P.O. Box
L19IS L20).
A -Train Ltd., 8719 Wilshire Blvd.,
Beverly Hills, CA 90211.
Firebird:
Kenji
Mori
Wellstood,
Direkt To Disk, Sonic Arts Corp., 665
Harrison St., San Francisco, CA 94107.
Piano Fireworks:
Russell Stepan,
DTD-01.
The Piano: David Montgomery,
DTD-02.
Gasparo Co., P.O. Box 90574,
Nashville, TN 37209.
J.S. Bach Suite No. 1 in G Major: Roy
Christensen, Cello, GS -102.
Quartet,
TBM3003.
Mozart String Quartet: Mari Iwamoto
String Quartet, ALC-1038.
Beethoven Funeral Sonata op. 26: Hans
Kann pf., ALC-1024.
wood, Mass. 02062).
Short music pieces of uniformly excellent quality, each emphasizing one
type of instrument.
Q
Crystal Clear Records, Inc., 225
Kearney St., San Francisco, CA 94108.
Charlie Byrd, CCS-8002.
Audiophile AP -120,$15.00.
Discovered Again: Dave Grusin, Lab -5
(S
The Sound of Musical Instruments.
AR -1, stereo, $5.00 postpaid (Acoustic
Research, 10 American Drive, Nor-
cellent quality.
631, Lexington, MA 02173.
Santa Barbara, CA 93108.
Violin, etc.)
stereo, $6.98.
Editor's Note: Here are some addi-
Comin' From A Good Place: Harry
Various Sequences of Individual
Musical Instruments (Cello, Drum,
High Treble
Bach: The Goldberg Variations. Gustav
Leonhardt.Telefunken SAWT 9494-A,
tional discs which have appeared on
the market since this article was written, which we feel have many of the
fine qualities exhibited by the author's
selection:
Sheffield Lab, Inc., P.O. Box 5332,
Barbara, Cal. 93108.) Side 1, Band 2.
This is a direct -to-disc recording with
an extremely wide dynamic range. The
surface noise is at a state-of-the-art low
level, and the cymbals come on very
strong with harmonics measured at up
to 20 kHz. On other bands of the disc,
a variety of instruments is also recorded spectacularly and realistically.
Sessions. Stereo, $3.00 postpaid (James
B. Lansing Sound, Inc., 3249 Casitas
Ave., Los Angeles, Cal. 90039), 2 discs.
Solo instruments, and also an interesting series of rehearsal takes,
mixes, equalizations, etc., with explanations by a narrator. Uniformly ex-
SD 9903, stereo, $6.98. Side 1,
Band 4.
Lincoln Mayorga and Distinguished
Colleagues, Volume Ill. Sheffield
LAB -1, stereo, $10.00, postpaid. (Shef-
field Records, P.O. Box 5332, Santa
Tchaikovsky:
55403).
Realistic organ pipes.
This recording has apparently been
pre -equalized for playback in an
average home listening room, since
much of the midbass response has
been reduced. Therefore, if a graphic
equalizer is ordinarily used in the
system, the listener should try switching the equalizer out, to provide an optimal rich harpsichord sound.
James B. Lansing Sound, Inc., 8500
Balboa Blvd., Northridge, CA 91329.
The Los Angeles Philharmonic Orchestra, CSO 1010.
Reference Recordings, P.O. Box
77907, San Francisco, CA 94107.
Viola and . . . : James Carter Chamber
Ensemble, RR -4.
Finnadar Records, Atlantic Recording Corp., 75 Rockefeller Plaza, New
York, NY 10019.
Chopin
Prokofiev
Scriabin: Idil
Biret, pf.Finnadar SR125, $12.98.
Umbrella, Audio-Technica U.S., 33
Shiawassee Ave., Fairlawn, OH 44313.
Sold through local dealers.
Rough Trade Live: Rough Trade,
Umbrella DD -1.
Big Band Jazz: Rob McConnell & the
Boss Brass,
Umbrella DD4
AUDIO
January 1978
As you would expect from LLX,
our new R-1050 tuner/amplifier
"is no mere run-of-the-mill receiver."
When LUX Audio entered the U.S. audio
scene in 1975, we brought with us a worldwide
reputation for excellence. But since vie also
brought only our separate amplifiers and tuners,
relatively few audiophiles could enjoy the special
qualities of LUX performance.
Now, everyone who would like a _UX
tuner, preamplifier and power amplifier-on
a single chassis-can have them jusl that way.
We choose to call these new models "tuner/
amplifiers," although you probably th nk of
them as "receivers." What's more important is
how Hirsch -Houck Labs described the R-1050
in Stereo Review:
"Given its features, appearance and
performance, this is no mere run-of-the-mill
receiver.... The excellent audio -distortion ratings
...obviously place it among the cleanest of the
currently available receivers...every aspect
of the receiver's operation and handling was
as smooth and bug -free as its fine appearance
would suggest."
Typical of the circuitry and features that
result in such fine performance are these: a
dual -gate MOSFET front end for high sensitivity,
and a special linear -phase filter array for
high selectivity, low distortion and wice stereo
separation. The preamplifier section f -as a
two -stage direct -coupled amp for accurate
RIAA equalization and a good phono overload
capability. And the power amplifier is direct coupled DC, in a true complementary symmetry
configuration, for excellent transient and
phase response.
Operating features include a six -LED peak
level indicator for each channel; tape -to-tape
dubbing with simultaneous listening to other
program sources; turn -on time delay speaker
protection plus automatic overload shutdown.
The sound of the R-1050 has been
appreciated as much in England as here. For
example, the British magazine HiFi at Home
said: "...treble quality was light and delicate,
something LUX engineers always seem to
achieve ... bass output seemed plentiful and
strong, as is often the case with enormous, low
impedance power supplies."
If we've encouraged you to experience the
sound of a LUX tuner/amplifier, your next step is
to visit one of our carefully selected dealers.
We'll be pleased to send you the names of those
in your area.
Luxman R-1050: 55 watts per channel. THD 0.05%. Suggested price.
$595. Other Luxman tuneramplifiers: R-1040. 40 watts per channel.
THD 0.05%. Suggested price, $445. R-1120, 120 watts per channel.
THD 0.03%. Suggested price, $895. (Power ratings are minimum
continuous output per channel, with both channels driven
simultaneously into 8 ohm loads, from 20 to 20.000 Hz, and no
more than quoted total harmonic distortion.)
LUX Audio of America, Ltd.
160 Dupont Street. Plainview. New York 11803
In
Canada. White Electronics Development Corp
c.d wd
aa
su
a<
.
Ontario
-11A
gq
C
d:1tt;1eE
SPEAKERS
PHONE
F;
AmericanRadioHistory.Com
in
TDS
Sound Measurements
Don Davis*
The only licensee of time delay
spectrometry (TDS) in the audio industry to date is Cecil Cable, an audio
consultant from Edmonton, Alberta,
who has spent the last five years applying the basic ideas of TDS to
professional sound system applications. The first detailed explanation of a sound system's early room -reflection interactions in the
determination of bandwidth of the
filter required to suppress feedback
modes resulted from this research on
TDS in large arenas (AES Convention,
May 1977). Before we go into some of
the practical sound system applications of such devices, let's look at
the basic theory behind this
fascinating tool.
46
TDS
Basics
Sound travels through air at a finite
speed (typically around 1130 ft/sec at
70°F), thus it is possible to speak of the
distance sound travels in either feet or
milliseconds. If we divide one second
into 1000 mS, we then find that the
sound has traveled 1.13 feet in one mS
or it takes 0.885 mS to go one foot.
Therefore, if we placed a microphone
10 feet in front of a loudspeaker and
switched on a 1 kHz tone to the
loudspeaker, the microphone would
not receive the tone until 0.885 mS x
10 ft = 8.85 mS after the loudspeaker
first sent it.
At the instant the loudspeaker
emitted the tone, if the generator
driving the loudspeaker were to begin
a sweep upwards in frequency at the
rate of 10,000 Hz/sec or 10 Hz/mS, by
the time 1000 Hz reached the
microphone, the loudspeaker would
be sending at the very same instant in
time 1000 + (10 Hz/mS x 8.85 mS) _
1088.5 Hz.
If the microphone is connected to a
narrow (10 Hz) filter capable of
sweeping at the same rate (10 Hz/mS)
as the generator but synchronized to
start its sweep at the exact instant the
signal arrives at the microphone (8.85
mS after the generator sends it or 88.5
Hz behind the generator, then the
readout device (meter, oscilloscope,
wave analyzer, etc.) will see only the
frequency arriving at the microphone,
and by means of the filter's selectivity,
discriminate against all other frequencies (see Fig. 1). Thus, room
reflections caused by lower frequencies can't get past the filter and
only the direct sound of that frequency
from the loudspeaker itself is present
at the microphone during the time the
filter
is tuned to that frequency.
Figure 2 illustrates graphically these
interlocked relationships, and Fig. 3
shows Cecil Cable's modified H.P.
8552B/8556A analyzer with the ac-
companying digital frequency counter
that allows the monitoring of the
frequency between the generator and
the receiving filter.
The arrangement discussed thus far
allows rapid, accurate plots of the
direct sound from the loudspeaker
without any influence from the room.
This is a truly anechoic response plot.
Early Reflections Spectra
It can be seen that by "tuning
in space (or time), that is,
by delaying the receiving filters' sweep
further out"
*Synergetic Audio Concepts,
Tustin, Cal.
Audio consultant Cecil Cable is shown at work with his
modified Hewlett Packard 8552818556A analyser with
the digital frequency counter.
WIN ITALL!
The Accuphase Super System.
An audio perfectionist's fantasy.
ralrfmv.I t Tmmf
47
u
s_
,rwr+a"a."'
""111111 111111111111
Here's how you can enter:
Visit a participating Accuphase dealer. Pick up an official entry
blank, fill it in, mail it in, and hope. That's it-not a thing to buy.
For the nearest Accuphase dealer call toll -free, 24 -hours a day:
800-243-6000 (In Connecticut 1-800-882-6500).
Accuphase makes the extravagantly engineered, extravagantly praised components that Stereo Review calls
"analogous to...Rolls Royce." By no coincidence at all, they're
at the heart of this super stereo set-up.
And the other top-quality elements of our Super System are
worthy teammates.
When you visit your dealer, listen to Accuphase. And listen
to your dealer, too. He is a knowledgeable audio specialist;
he features and recommends Accuphase. The two facts
go together.
So hear Accuphase. Enter our winner -take -all Accuphase
sweepstakes. And you may win all the deluxe
audio equipment on this page.
How does that sound?
The Accuphase Super System
Accuphase P-300 Power Amplifier Accuphase C-200
Preamplifier-Control Center Accuphase T-100 FM Stereo-AM
Tuner TEAC A-7300 Open -Reel Tape Deck TEAC 860
Cassette Deck Loudspeakers: 2 Infinity Quantum 2 and 2
Visonic D-80 Micro Seiki DDX-1000 Turntable Tone Arms:
Micro Seiki MA -505, Infinity "Black Widow," and Audio
Technica AT-1009 Phono Cartridges: Sonus Blue Label,
Audio Technica AT -20 SLA, and Ortophon MC-20 Moving Coil
(with MCA -76 Preamplifier) Soundcraftsmen RM -2212
Equalizer Audio Pulse Model One Digital Delay dbx 3BX
Range Expander Micro Seiki MX -1 Headphones 2 TEAC
ME-120 Microphones 2 TEAC Remote Control Units TEAC
Cable Kit TEAC Dust Cover. TEAC Recorder Maintenance
Kit TEAC Demagnetizer Discwasher System and Disc washer Zerostat Ion Generator Ampex Grand Master 101/2"
Open -Reel Recording Tapes and 20/20 + Cassettes -1 carton
each Direct -To-Disc Albums: The catalogs of Sheffield,
Umbrella, and Crystal Clear And best of all, an
1
Accuphase T-shirt and halter!
iccupnase
When you're really serious
Official Rules 1. To enter, complete the official entry form available
from a participating Accuphase dealer.
2, All entries must be postmarked by January 31, 1978, and received
by February 28, 1978.
3. Winner will be selected in a random drawing. Result of the drawing
will be final. Winner will be notified by mail. Odds of winning will be
determined by number of entries received. Only one prize sound
system will be awarded. State, federal, and other taxes imposed on the
prize-winner will be the sole responsibility of the prize-winner.
about your music.
4. Employees of TEAC Corporation of America (distributor of
Accuphase), affiliated companies, and sales agents, and the families
of any such employees are not eligible. Void where prohibited or
restricted by law.
5. Any request for the name of the winner should be mailed after
February 28, 1978, to: Accuphase Super System
TEAC Corporation of America
7733 Telegraph Road
Montebello, California 90640
AmericanRadioHistory.Com
-
FREQUENCY OFFSET
20
0
25
24
40
I
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1
60
1
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until after the direct sound has passed
the microphone, that it becomes possible to discriminate against the direct
sound as well and see, for example,
only the spectrum of a reflection off a
nearby wall, ceiling, or floor (see Fig.
240
220
I
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I
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200
180
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44.25Hz
987654-
88.5 Hz
I
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8.85
7.97
- 7.08
176.99 Hz
-6.20
- 4.43
- 3.54
- 2.66
- 1.77
5.31
3-
2-
- 0.885
1-
0
o
1- Relation between sweep rate,
time, and offset. The frequency offset
Distance
in Hz = 0 Hz sweep rate (
Fig.
-
l
Velocity of sound
1
48
Fig. 2 -The relation between the
generator and the receiver during the
sweep.
.885
0`
II
1.7l7
TIME IN mSEC
2.66 3.54 4.43 5.31 6.20
1
1
1
l
1
1
7.08
-
8.85
7.97
1
I
1
10
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8
7
6
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+110
- +100
- +90
- +80
- +70
- +60
- + 50
- +40
I
9
º
-+30
+20
-+10
0Hz
-
D
MIC.
10 Hz
SPKR.
I-+ 20 H z
-9-5
-6
-7
-8
H 30
Hz
40
Hz
5o
60
70
Hz
r.
FREQ OFFSET IN Hz
0Hz
- S.R
El
Hz
ol
Hz
cc
80Hz
-I-9oHz--_---
-w1-
- -50
--60
--70
--80
-0--_ r-9-(-) -88.5
10
20
30
40
50
60
70
80
90
2
3
4
5
6
7
8
- -100
- -110
- -120
--130
--140
- -150
- -160
--170
--180
s
10,000
\ 1130
=
265.49 Hz
(*Note: the sound travels 20 ft from the
loudspeaker to the reflective surface
and then 10 feet more returning to the
microphone.)
Practical Uses of TDS
The ability to directly compare the
difference in level between the direct
sound spectrum and the chosen
reflected sound spectrum makes absorption vs. frequency immediately
visible, and the focusing of reflective
surfaces is easily identified.
One of the fundamental measurements undertaken by Cecil Cable was
the identification of time align anomalies that interact with the normal
modes in a room to create acoustic
feedback as system gain is increased
(see Fig. 5). Cable has shown that the
feedback modes that occur when a
sound system is used in an enclosed
space are due to the room modes
riding on the "comb filter" response of
the time align anomalies generated by
the early reflections spectrum. This
coincidence of the early reflection
spectrum and the room modes have, at
long last, demonstrated why it seemed
as if the room modes joined into
clusters of modes, rather than
operating as individual, very narrow
areas.
By being able to place the total
spectrum of both the direct sound and
the total reflected sound on the same
analyzer screen, it becomes practical
to study how loudspeaker Q, the
critical distance, and the ratio of
direct -to-reverberant sound behaves at
differing locations of source, listener,
and boundary surfaces relative to frequency.
"Dead" Rear Wall Wrong?
A "dead" rear wall with a hard front
wall in a control room is fundamentally questionable. Presuming that the
loudspeakers are properly flush
mounted, then the early reflection
1
I
I
0Hz
- -10
- -20
--30
--40
/811
01ST
\VEL SOUND
If, for example, the microphone
were 10 feet from the loudspeaker and
the reflective surface was another 10
feet from the loudspeaker beyond the
microphone, the frequency offset (FO)
required between the generator and
the filter, if the sweep rate were 10,000
Hz/Sec, would be:
9
10
AUDIO
DIST IN FT
AmericanRadioHistory.Com
January 1978
49
The first tuner and amplifier
that won't scare you into buying a receiver.
Most people buy a receiver instead of
separate tuner and amplifier because
they think it's easier to handle, less complicated, not as frightening, even less
a
expensive.
Nothing could be further from the
truth. Which is amply proven by the
Optonica ST-3636 tuner and the SM -4646
amplifier. a pair so easy to get along with.
and so affordable.
Nobody gives you a combination of
features like the smart -looking Optonica'
ST-3636 tuner. It's got Opto -Lock tuning,
which locks in the signal and locks out station drift and unwanted noise. The
advanced FM front end is designed for
excellent sensitivity, outstanding selectivity
and a high signal-to-noise ratio.
The Optonica ST-3636 also comes
with air check circuitry so that a tape deck
can be calibrated to record FM broadcasts at the optimum level.
Just wait until you get your hands on
Optonica's SM -4646 amplifier. The beautifully engineered front panel gives you
total control flexibility to meet every
recording and listening need.
There are three independent power
supply circuits to give you full range stability and power handling. This Delta
power amplifier puts out smooth. effortless reproduction.
With the SM -4646 you've got the
power to handle it all. There's a full 85
watts per channel minimum RMS at 8
ohms, from 20 Hz to 20 kHz with no more
than 0.08% THD.
With that kind of power, you need
Enter No. 44 on Reader Service Card
protection. And you get it with an LED
Automatic Protection Circuit. This exclusive Optonica feature isolates vital output
components if the outputs are accidentally
shorted. And to prevent speaker damage,
the circuit will also activate if excessive
DC voltage occurs at the output.
We invite you to test the Optimum
tuner and amplifier to find out just how
comfortable separates can be for you.
We'd also like to give you a free copy
of our full line catalog. Just call toll -free
800-447-4700 day or night (in Illinois dial
l-800-322-4400) for the name and address
of your nearest Optonica showroom, or
write Optonica. Dept. AU, IO Keystone
Place, Paramus. Nev. Jersey 07652.
OPTONICA
THE OPTIMUM.
STOP:
0000
-FREO.000NTER
/REQUENCY
OFFSET ADJUSTMENT
`-SINE
Fig.
3- Basic
MICROPHONE
SOUND SYSTEM
AMPLIFIER AND
WAVE
GENERATOR
SWEEPING
AT IOHz/mSEC.
LOUDSPEAKER
SELECTIVE FILTER
SWEEPING AT I0Hz/mSEC.
AND DISPLAY SCREEN
WITH LINEAR HORIZ. FRED.
SCALE AND LOG. VERT
AMPLITUDE SCALE
time delay spectrometry
equipment.
LOOK:
50
At the all new B&W Loudspeaker with
its components designed and built in
B& W's factory in England. A B&W de-
veloped spheroidal transducer provides
better control and dispersion for high
frequencies. Mid -range is a special
B & W design, flat from 70 Hz to 3 KHz.
Plus a new ultra -low frequency radiator
for complete bass reproduction. Includes a loudness contour control. B&W
computer research into phase and transient distortion have provided design
data that makes the DM -7 an outstanding value.
WRITE today for a free technical
brochure on the DM -7 and the name
of your nearest dealer.
spectrum will look like a comb filter
with very broad (one octave or wider)
humps which are quite audible. If,
however, the loudspeakers are properly flush mounted (an art in itself), the
adjacent surrounding area is made
very absorptive, and the rear wall is
made hard and diffuse, then the early
reflection spectrum will look like a
comb filter with a large number of very
narrow humps, which individually are
Fig.
LISTEN:
...at your dealer
For linear frequency response, 30Hz For a large listening
25KHz it 2dB
window. Vertical ± 1dB within 10°; horizontal ± 1.5dB within 40°. For distortion
of less than 1%, 3rd harmonic. For the
sound of engineering excellence.
4-Measuring the spectrum of
k
10'
8.85
from Anglo-American Audio Co., Inc.
PO. Box 653
Buffalo, NY 14240 U.S.A.
Enter No. 10 on Reader Service Card
+
IO'
8.85 mSEC
mSEC
-
REFLECTED
/LOUDSPEAKER
I
SOUND
REFLECTIVE
MICROPHONE
SWEEP
GEN.
SWEEP
FILTER
FRED.
FRED.
1.-TDS
I
COUNTER
Loudspeakers
reflective surface.
DIRECT SOUND
AMPLIFIER
BHW
a
not significant, but as a group enhance
the sound level. Obviously, the larger
the control room the better, with up to
40 feet in depth offering good acoustic
possibilities.
Time delay spectrometry (TDS)
allows us to look at the spectrum of
the early reflections and objectively
analyze them. Time align(TM) monitors
have eliminated many of the subtle
masking effects.
ADDJUST
SURFACE
ANALYZER
I
FRED. OFFSET (F.O.) BETWEEN GEN. AND FILTER
(GENERATOR BEGINS SWEEP FROM 0Hz BY F.O. Hz AHEAD OF THE START OF THE
FILTER SWEEP-BOTH GEN. AND FILTER SWEEP AT SAME RATE)
F.0.= SWEEP RATE (
TOTAL DIST. REFLECT. SOUND TRAVELS TO MIC.)
VELOCITY OF SOUND
/
AUDIO
January 1978
POWER
RIGHT
CHANNEL
SUBSONIC FILTER
Dynaharmony
RMS output power per channel
(both channels driven into 8 ohms
20Hz-20,000Hz 0.1% THD) 200 watts
Transient Music Power
(within rated distortion)
Frequency Response
S/N Ratio
(IHF, A Network)
Extra Power with Improved Efficiency
Hitachi's Class G
Hitachi's Class G is one of the most
incredible cost/performance amplifiers
ever created.
It is about three times as efficient as
the conventional Class B amplifier. And it
looks as sophisticated as it sounds.
Simply expressed, Class G is two amps
in one. During the musical "downs" and
"averages" the primary amp works on the
low -voltage amplifier. But let one of those
musical peaks come along and the standby
high -voltage amplifier cuts in for clear,
powerful sound without clipping distortion.
Technically the standby amp consists
of additional power transistors which are
activated only when the signal peak
demands it. But practically it means we
can offer more usable power at a lower
price.
Or in other words you're not only getting
a little extra, you're getting about twice the
amplification for the price of one amplifier.
HITACHI
When a company cares,
it shows.
Enter No. 23 on Reader Service Card
Audio Component Division, Hitachi Sales Corp. of America, 401 West Artesia Boulevard, Compton, CA 90220, (213) 537-8383, Extension 228
AmericanRadioHistory.Com
TDS Instrumentation
The present instrumentation format
is not considered ideal, but is the result
of adapting as economically as possible an available precision spectrum
analyzer. One "flaw" in the present
system is that the display on the screen
is linear along the frequency base
(1000 Hz per division), while a
logarithmic display would be preferable.
In order to achieve such a display, it
might be necessary to exchange frequency offset between the tracking
generator and the filter for a continuously variable time delay and
7
ilrtglii
1
.
, L 1'
.,
'
1
I
1 i.
,.
f\f\lrf
"trigger."
.4_500«..
H+
Summary
demonstrated its fundamental usefulness to those of us
privileged to use it thus far (a small but
select group at this writing. However, it
has been shown and demonstrated by
Cecil Cable at each of the Syn-AudCon sound engineering seminars since
May, 1977). It is obvious, at present,
that it only awaits publication of its
benefits, along with the educational
assistance of those who would respond
to its enormous promise, in order to
become the first logical extension
beyond the aquisition of real time
Q
spectrum analysis.
TDS
52
dB
has
+
.
5
Hz
-
Acoustic feedback's parameters. The lower trace shows the
frequency response of early sound
with the loudspeaker 2.26 feet in
front of hard wall. Upper trace shows
the room mode pattern through a
Fig. 5
4/
3
I
\
2
5KHz
two -second window, while the dotted
lower trace is shown with loop gain.
The baseline markers indicate order
in which oscillatory feedback appeared.
Not a win on the pools, a trip to
a Pacific paradise, or a reduction
in income tax, but distortionless
"current dumping"
Z's to 4 are the four passive
components which interconnect the
current dumpers, (the output
transistors which supply the
power), to the small high quality
amplifier which provides the
error signal, so that when the
above condition is met the
current in the load, the loudspeaker, is independent of the
1
wonderful*
happens when ZiZ3=Z2Z4
current in the dumpers and hence
distortion is solely dependent
on the quality of the error
amplifier, which because it is
small can be very good.
Wonderful indeed.
For further details on current
dumping and other Quad products
write to Dept. A
The Acoustical Manufacturing Co.
Ltd., Huntingdon, Cambs.,
PE18 7DB England
* Magazine
Elektor Electronics
No. 8. Dec. 1975
QUAD
for the closest approach to the original sound
OUAO is
Enter No.
3
on Reader Service Card
AmericanRadioHistory.Com
a
Registered Trade Mark
Watts...still the superior
system approach
to record care.
Watts really works!
Condition of record before
cleaning.
Manual Parastat is really two cleaners in one! For older records, which have
accumulated dust, dirt or residue in their grooves, Parastat's brush of pure
nylon bristles penetrates the record grooves. Loosens and removes the covey
of dirt and grit.
For the maintenance of new records simply tilt the Parastat to either side and
Parastat's special nylon plush pile collects the loose dust and dirt from the
record surface.
New Formula "anti-stEtic" Fluid-Just a drop or two (we're not in the fluid
business) of Watts "anti -static" solution assures that Parastat applies the proper
degree of humidity to relax dust -attracting static. This is accomplished without
applying any interferring viscous film on the record surface.
Humid Mop-Okay, now what do you use to clean the cleaner? Only Watts
Humid Mop cleans and conditions record cleaners (like the Parastat) by
removing any foreign matter from the cleaning tool. Otherwise the same dust
and dirt would be reintroduced onto the very next records you play.
Watts, the only complete, system approach to effective record care... at audio
salons and record shops worldwide.
distributed by: ELPA MARKETING INDUSTRIES, INC.
EAST: New Hyde Park, New York 11040
WEST: 7301 E. Evans Rd., Scottsdale, Arizona 85260
le
After cleaning with Watts
Manual Parastat.
Build An Audio Phase Detector
Charles Kitchin*
For the owner of a modest stereo
system utilizing one speaker per channel, phasing the speakers is a relatively
easy task. By correctly connecting the
speakers by their polarity dots or by
switching the leads to one speaker and
listening for the most solid bass
response and best stereo centering,
proper phasing is accomplished.
However, if more than one amplifier
is used such as in biamp and triamp
systems, speaker phasing can become
a horror show. Unless the amplifiers
are identical (i.e., the same phase shift
in each), wiring up the speakers by
polarity will not work. The problem
is
compounded by the electronic
crossover which may, or may not, have
the bass, midrange, and/or treble outputs in phase with one another. Also,
microphones and audio lines are difficult to phase correctly.
Device Description
54
A simple and inexpensive solution to
this problem is to send a coded signal
'Analog Devices
Norwood, MA
through the system. It is then picked
up on a portable receiver which can
listen to each speaker individually and
indicate its phase relative to the other
speakers in the system. Such a device
is the audio phase detector presented
here. The coded signal is a sawtooth
waveform generated by an integrated
circuit voltage -to -frequency converter
(a voltage-controlled oscillator), the
Analog Devices AD537. The sawtooth
waveform is ideal for the code because
the sloping portion of the waveform,
the ramp, A, is low -frequency energy
for a relatively long period of time,
while the rise, B, is very fast, high frequency energy for a short time (Fig.
la). This sawtooth waveform is connected to the line input jack of an
amplifier, amplified, and the speakers
will reproduce the waveform into a
sound wave picked up by a microphone on the receiver. The air mass
between speaker and receiver acts like
a capacitor and differentiates the
waveform, (Fig. 2). The long, slow ramp
(A) becomes a long duration, very low
signal, while the fast falling portion (8)
becomes a high amplitude spike. So in
practice, the high amplitude spike can
be detected, and its polarity will be
due to the relative phasing of that particular speaker.
Circuit Operation
The heart of the transmitter is the
Analog Devices AD537, a monolithic
voltage -to-frequency converter. The
AD537 was chosen because it is very
stable over temperature variations and
contains its own voltage reference
which is used as the voltage input to
pin #5. The AD537s are closely
matched to one another, because of
this the user does not need an oscilloscope or frequency meter, and no
adjustments are required. Frequency
of operation is determined by capacitor C, and resistor R,, (Fig. 3). The
output of the AD537, pin 14, is normally a square wave, however, for this application a sawtooth waveform is
desired. This is accomplished by an RC
time constant of 10 mS at the output,
using resistor R, and capacitor C,. The
time constant is long enough, compared to the operating frequency, that
the ramp of the sawtooth wave is
linear. The output of the 537 is then
reduced to an amplifier line input level
of approximately 11/2 volts by resistors
R, & R,. Resistor R, also minimizes
AUDIO
AmericanRadioHistory.Com
January 1978
B+C VENTURI.
Tomorrow's technology
in 7 Formulas today.
Speaker design is a funny business.
It is relatively easy to be esoteric. Much
harder (and rarer) to be truly advanced.
Nonetheless, in 1973, BIC set out to make
some fundamental improvements in speaker
system design.
We developed, and patented, the BIC
VENTURITM coupled path to multiply bass energy and the BICONEX® horn to match that new
response.
The result was a quantum leap forward in
loudspeaker efficiency that dispatched changes
throughout the industry.
Last year, we introduced a new concept in
speakers. The System Monitor Speaker, with
electronic circuitry that takes measurements,
displays information, even initiates action.
That gave loudspeakers the unique ability
to make the rest of a component system perform
better. In our view, a landmark development.
In just four years, BIC advancements had
twice marked the path for future speaker
evolvement. And, quite by design, all this was
managed within a line of speakers most enthusiasts can realistically afford.
BI
This year, with the addition of new Formula
3 and 6 models, we've closed the gaps in
our
line. The seven BI C VENTURI Formulas are
shown here in ascending order.
Formulas 1 through 4 offer a choice between two-way and three-way systems of different performance capabilities. While models 5 to
7 add the system monitor technology to speakers of increasing size and sophistication.
Thus, whatever level of refinement a music
system has reached, there's a BIC VENTURI
Formula that can upgrade its performance. And
together they offer a range of choice (and price)
that is unique in the industry.
For literature, and complete technical details, write us at the address below.
BIC VENTURI SPEAKER SYSTEMS
TOMORROW'S TECHNOLOGY TODAY
C
VENTURI, Westbury,
N.Y.
11590.
BI
C,
BICVENTURI,nd BICONEX are trademarks of British Indurtries
Co. Division of Avnet, Inc. In Canada: C. W. Pointon. Toronto.
CIRCLE N0.7 ON READER SERVICE CARD (FOR EARLIEST RESPONSE WRITE DIRECT)
Calibration and Use
TRANSMITTED SIGNAL (A)
RECEIVED SIGNAL
(B)
Fig.
1- The coded
a sawtooth
waveform.
signal is
TRANSMITTER
STEREO
SYSTEM
SPEAKER
MICROPHONE
RECIEVER
METER
II
"TRANSMISSION THROUGH AIR ACTS AS A CAPACITOR"
Fig.
2- Block diagram of the detection system.
loading of the output, keeping the output waveform undistorted. Power is
supplied by a 9-volt transistor radio
battery.
Receiver
56
The receiver uses an inexpensive
portable cassette recorder microphone; any dynamic microphone with
a high -impedance output will also
work. The microphone output is connected to J, and amplified by IC,, a
741 operational amplifier with a gain
of 200 (Fig. 4). The signal then runs to a
dual peak detector D, & D2, is filtered
by C, & C2, and the two d.c. signals are
mixed by R, & R6. The two d.c. signals
are the detected ramp and the detected spike of the sawtooth waveform
that was transmitted through the
speaker. The spike will be much
greater in amplitude and override the
smaller ramp signal.
The resistors R, & R6 also serve as
the gain setting resistors for IC2 in conjunction with resistor R,. The resulting
d.c. level is amplified by IC2 which has
a gain of 10 and runs to voltage divider
R, & R,. Resistor R. is an overall gain
adjustment to make up for the output
level variations in microphones. The
meter is a miniature 50-0-50 d.c.
microammeter with a 13/4 inch square
outside diameter.
Power for the receiver is also a 9 -volt
transitor radio battery. Resistors R, &
R10 convert the 9 -volt battery output
into ± 4.5 volts to ground for powering the operational amplifiers. Capacitors C, & C. assure a low a.c. impedance to ground. Jack J2 is a differentiator input for inputs from audio
lines, amplifier outputs, etc. Capacitor
C6 differentiates the input signal, instead of using an air mass.
Construction
Both the transmitter and receiver
were built on small breadboards and
placed in 26/6 x 4 inch miniboxes. The
best boxes to use are the Model 3301
miniboxes made by Pomona Electronics Co., which can stand üp to
heavy duty and look professional. The
power switch for the transmitter may
be located at any convenient point on
the minibox. On the receiver, the meter
should be located near the front of the
top side of the minibox. The microphone is attached to the bottom side,
its front extending out about an inch
from the front of the minibox.
The microphone can be attached to
the bottom of the box by stick -on tie
wrap anchors and tin wraps. The
breadboarded circuitry for the transmitter and receiver can be placed in
the miniboxes on standoffs. The cost is
under $30.00.
Fig.
Connect the output of the transmitter to the line input jack of the left
channel of the stereo amplifier in the
system to be phased. If more than one
amplifier is used in the system, connect the output of the transmitter to
the high level input of the preamplifier. Set the tone controls to Flat
position, and turn off the loudness
contour control. Turn on the transmitter, and adjust the output of the
speakers to a fairly loud but comfortable level. Turn on the receiver and
hold it so that its microphone is 1/2 to 3
inches from the speaker you wish to
phase first. Adjust the trimpot, R. in
the receiver so that the meter registers
a strong indication to either the left or
right of center. The direction the meter
travels will depend on the relative
phase of that particular speaker. Next,
check all the other speakers in the left
channel. They should all indicate the
same direction. If any are different,
reverse their leads until all the
speakers in that channel cause the
meter to deflect in the same direction.
After the left channel has been phased,
connect the output of the transmitter
to the right channel and phase all the
speakers in that channel so that they
deflect the receiver's meter in the same
direction as the left channel. When
you are finished, all speakers in the
system will be in phase.
It must be pointed out that proper
operation of the phase detector is
dependent on the sawtooth waveform
from the transmitter arriving undistorted at the speaker terminals.
Tone controls and other frequency
shaping devices must be set to their
Flat position. Loudness cqntrols should
be turned off. Electronic crossover networks should be set to flat or bypassed. If the preamplifier system can -
3-The transmitter schematic.
FRED=
IC
117 Hz
AD537
PIN
I
e-
IDENTIFIER
8.6m5-R2
I
+
C2
10 K11
LOGIC GND
OUTPUT
DRIVER
SYNC.
IµF
+vs
R3
IIN
L
-
CURR.
TO-
-VI
CAP
MICA
CONY.
OS
RI
91
-VREF
KII
10,000 p F
FREO.
+V
VTEMP.
I00KII
CI
T
VR
PRECISION
VOLTAGE
REFERENCE
-VS
OUTPUT
C3
O.IµF
201a1
=
9 VOLT
Ì
AUDIO
January 1978
R2
20KÁ
C5
l
1
1
DISCWASHER
+Vs
RI
IODA
7
2
F+
presents
6
ICI
3
AD741
4
R7
I KO
-Vs
MICROPHONE
INPUT
50-0-50
JI
»A
R8
ON-OFF
D. C.
I0KR
Ilipir ivii
Vs
C6
20 pF
J1
R5
50KR
tL
R9
C3
5KR
IµF
VOLT
Golld1=ems.
RIO
C4
5KR
Fig.
10
9 VOLTS
Iµ F
IO
VOLT
4-The reciever schematic.
not be set for flat response or if it has
no unequalized inputs, phasing should
be performed by feeding the transmitter output directly into the power
amplifiers.
To phase microphones, simply unplug the microphone from J, and
substitute the microphone to be
phased. They can be plugged in one at
a time and held 1/2 to 3 inches from the
speaker. They should all deflect the
meter in the same direction if correctly
phased. The second jack, J,, is for
phasing amplifiers, lines, and various
other audio gear. The jack accepts a
line level of from 0.5 to 1.5 volts.
A
PARTS LIST
57
Transmitter
C,-10,000 pF capacitor, mica or
polystyrene
C2-1 µF,12 V tantalum capacitor
C3-0.1 µF paper capacitor
IC-AD537J VHF converter, manufactured by Analog Devices
J,-RCA phono jack
R,-91 kilohm, 5% carbon resistor
R2-10 kilohm, 5%, 1/4 watt carbon
resistor
R3-100 kilohm, % watt 5% carbon
resistor
R4-20 kilohm potentiometer
1 -14 -pin dip socket
1-9V transistor radio battery
1
1
-Battery clip
-2% x4x1 V2 inch minibox,
Electronics, Model 3301
1-Single-pole, single -throw
switch, Microswitch 8C1021
4-Small rubber feet
Pomona
R2-20 kilohm, 5%,
resistor
R3, R6,
1/4
watt carbon
.
R,-1 kilohm,
5%,
1/4
watt carHigh -conduction
bon resistor
R4-10 kilohm, 5%,
1/4
watt carbon
resistor
R5-50 kilohm, 5%, 1/4 watt carbon
resistor
R6-10 kilohm trimpot
R9, R,0-5 kilohm 5%, 1/4 watt carbon
resistor
1 -50-0-50 d.c. microammeter, Interna-
tional Model 163
-8 -pin TO-99 sockets
-9V transistor radio battery
1- Battery clip
2
1
1-2%x4x1'/2 inch minibox-Pomona
Electronics Model 3301
On/Off
1
gold-plated audio
connectors.
Heavy-duty low capacitance cables
and soldered joints.
"Super cable" that is
incredibly flexible and
has a third grounding
wire.
Steel spring "flex protectors".
-Single pole, single throw On/off
switch, Microswitch 8C1021
1
- Inexpensive dynamic microphone
Tie wraps and tie wrap anchors
Receiver
C4-1 µF, 10V tantalum
capacitor
C5 -100µF tantalum capacitor
C6-20 pF mica capacitor
C,, C2, C3, &
D,,
D,- IN4148 diodes
IC,, IC,-AD741
amplifier
J
operational
J,-RCA phono jack
R,-100 ohm, 5%, 1/4 watt carbon
J,,
resistor
AUDIO
Note:
The three ICs may be purchased by
ordering: One AD537JD @ $13.00; two
AD741CH @ $3.00; postage and handling, $1.00, for a total of $17.00. Send
prepaid by check or money order to:
Order Processing, Analog Devices,
Inc., Rt. 1 Industrial Park, Norwood,
MA 02062.
January 1978
and 2 meter lengths;
also DIN and extension connectors.
1
jdiscwasher inc.
1407 N. Providence Rd.
Columbia, MO 65201
3111111111
AmericanRadioHistory.Com
fond reminiscences of
Leopold Stokowski
Bert Whyte
58
On September 13, 1977, the brave
heart of the seemingly indestructible
Leopold Stokowski finally was stilled,
and one of the truly great men of
music was dead at the age of 95. He
died on his native heath, in the quaintly named village of Nether Wallop in
Hampshire, England, and with him, an
era ended.
The press of the world has noted his
passing with fulsome obituaries, and if
you want to read about his vital
statistics, they are there in 100
languages. I'd rather talk about the
man, the musician, and the friend I was
privileged to know for 26 years.
It is incredible to me to realize that I
was nine years old when the maestro
made the first electric recordings with
was a
the Philadelphia Orchestra.
choirboy, a soloist, and heavily into
oratorios and such. By odd chance, my
next door neighbor was Thelma
Votipka, a mezzo-soprano of imposing
stature, who sang at the Metropolitan
Opera for many years, mostly in secondary roles, and specialized in Wagner.
She introduced me to Wagner, and at
age 12 I discovered Stokowski's Wagner; I worshipped at the Maestro's
shrine from thenceforward. Stokowski
entered my life in 1951, when I was a
sales executive and musical director
for Magnecord, in Chicago, one of the
pioneer manufacturers of magnetic
tape recorders. Because we had built a
two -channel recorder for a U.S. Navy
underwater project, I had been experimenting with binaural sound. One
day a letter arrived for me, and ... my
it was from Leopold
God!
I
.
.
.
Stokowski! To this day, have no idea
how Stoky found out about the binaural project, but in his letter he said
he had experimented with binaural and
stereophonic sound with a man named
Alan Blumlein (!) in England and a Dr.
Braunmuhl in Berlin, had heard about
our experiments, and went on to say
that he was going to give a conducting
seminar at the University of Illinois,
and would like to do some recording
with him! What a thrill When met
the Maestro at the University concert
hall, he greeted me most graciously,
and then launched at once into a
discussion of the music and recording
techniques. Needless to say, was in
awe of this Olympian figure, and, of
had
course, this was .the first time
been personally exposed to the famous
Stokowski accent. Many people have
been puzzled by his accent. It seemed
to have no specific ethnic origins,
other than vaguely "mitteleuropean,"
and his detractors asserted it was
merely a phony affectation. can tell
you this... if the accent was phony
then he was a consummate actor. In all
the years knew the maestro, not once,
not even in our most relaxed moods
when we were aglow with good wine,
did he lapse into the accent you would
a most
expect from what he was
cultivated English gentleman. was in
the maestro's Fifth Avenue apartment
one day when the phone rang, and he
answered the call in fluent German. A
little while later, another call and this
time he spoke French. Still another call
and he conversed in flowing Italian. So
perhaps his accent was an amalgam of
I
I
!
I
I
I
I
I
...
I
all the tongues he spoke. Perhaps the
accent was a sort of "protective coloration," stemming from American
pre-occupation with European music
culture, when a symphony orchestra
conductor was expected to have a
foreign accent. In any case, way back
then at the University, I soon learned
that a microphone was pronounced
"meek -ro -phone," and when we
discussed his great Disney film "Fantasia," it came out as
"Fantasee -ah."
At the University, the maestro informed me that the work chosen for
the conducting seminar was the
massive Monteverdi Vesper Mass of
1610, with full orchestra, organ, and
chorus of 250! The seminar was to last
five days, at the conclusion of which
he was to conduct a gala performance
of the work. Observing Stokowski at
work at this seminar was a revelation.
Now mind you, this was a raw student
orchestra
and I do mean raw. Virtually every other note, there was a
problem. Bad ensemble, missed cues,
poor entrances, awful phrasing, horn
clams, bad intonation ... you name it.
I still marvel at what the maestro accomplished with that orchestra (and
chorus as well) in those five days. He
always had a special rapport with
young people, and incontestably, he
was one of their greatest teachers. Of
course, he commanded their absolute
respect. He was gentle with the
miscreants in the orchestra. With particularly intractable players, his admonishments were firm, but he never
humiliated anyone. He never was sar.
.
...
AUDIO
AmericanRadioHistory.Com
.
January 1978
castic, never flung invective at them,
never displayed the volatile temperament that is supposed to be a characteristic of symphony conductors. Of
course, Stoky knew the limitations of
his players and he didn't try to gear the
orchestra to the levels of proficiency
of the few truly talented musicians in
the group. Rather, he concentrated on
fundamentals. He opted for good attacks, cleaned up the ragged ensemble
playing. Always big on strings, he was
daring enough to change them from
unison bowing, to his "free bowing"
techniques for which he was justly
famous. More relaxed, the strings
began to have better intonation. Coaxing them, guiding them, gently chiding
them, and praising them in equal
measure, by the time the concert
came, Stoky really had the orchestra
"up" for the event, with most of tne
players performing beyond their normal abilities. What the maestro had
done in five days was well nigh
miraculous. Don't get me wrong
this student orchestra was still a long,
.
.
.
long way from even approximating a
polished ensemble, but at least they
were "listenable," where previously
they were excruciating.
Placing The Chorus
It was at this seminar that the
maestro taught me the use of risers
and that the placement of orchestral
choirs in a symphony orchestra üs not a
sacrosanct tradition. Risers are sturdy
platforms of various heights, which
can be placed in certain positions on
the concert hall stage, and various
groups of players can be seated on
them. Generally, the maestro kept the
entire string body flat on the stage,
while the woodwinds, brass, and some
percussion were placed on risers. In
this manner, the instrumentalists on
the risers were not playing Tinto, but
over the backs of the string players.
Stoky felt that this layout gave him
better control of orchestral balances
and produced a more sonorous, richer,
and more powerful sound from the orchestra. used this technique in all of
I
my Everest recordings and will use it in
my upcoming recording of Arthur
Fiedler and the Boston Pops.
During the seminar, the maestro and
I
got along very well, and we established a relationship that was to stand
the test of time. A few weeks after the
seminar he invited me to record his
concert with the Detroit Symphony Orchestra. The musicians' union kicked
up a fuss about the recording, but
Stoky went to the head of the union
and told him that he "must have these
experimental stereophonic recordings," and that some day this kind of
recording would benefit orchestras
everywhere. How prophetic! With the
Detroit Symphony, the maestro didn't
differ too greatly in his relationship
with the players, as compared to those
in the student orchestra. He still was
the great teacher but, of course, on a
much more elevated level. He respected and expected professionalism
in the musicians' performances, and
made it clear that he would not
tolerate any breaches of this phil -
59
AmericanRadioHistory.Com
Introducing the Koss Theoryof
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Tokyo
b
Leopold Stokowski and Associate Editor Bert Whyte
raise a toast to friendship and good music.
62
osophy. Only once, many years later,
did I see the maestro come close to
"blowing his cool." We were recording
one of the major orchestras, and frankly, in the inner circles of the classical
music field, these musicians were considered a rather blase and cynical
group, who could make things tough
for a conductor. We had been recording for a few minutes, and it was obvious some things weren't going right,
that some "monkey business" was going on. The maestro put those wonderfully expressive hands of his flat on the
score stand in front of him, stopping
the music, and in his inimitable accent,
his voice shaking with anger, he said,
"Listen to me ... if you want to act like
high school boys, you do that, and we
can all pack up and go home. You're
supposed to be professionals. If you
want to play like professionals and
have respect for the music, we will
continue." Treated to a rare display of
Stokowski temperament, and properly
chastened, the musicians settled down
and we made a fine recording.
Stingy Stoky?
could write volumes about the
maestro, but some personal glimpses
will have to suffice. Somehow
Stokowski had gotten a reputation of
being "close with a dollar." Perhaps
this had some substance, but not as far
was concerned. For example, it is
as
customary for a conductor to receive
I
I
advance payment against the
royalties he expects to earn on his
recording. Stokowski was the only conan
I
ever recorded, who never
asked for advance royalties of any
kind. With me, he was never anything
but generous. At times he combined
his generosity with his delicious sense
of humor. He had a way of having a little smile play around his lips, when he
was ready for some fún. One mid -morning at his apartment in New York,
made ready to leave, and he asked
"Why don't you stay for lunch, Bert?"
Came time for lunch and his maid put
a bowl in front of me containing some
shredded lettuce, chopped celery,
chopped peanuts, sans any dressing,
and a very miniscule portion it was. I
looked rather disdainfully down my
nose at this, and he said "Oh, come on,
Bert, eat it! It's good for you, and
you're too fat anyway!" But for dinner
that night we went to L'Armorique,
owned by Marcel Gosselin, former
chef de cuisine of the great Chambord
restaurant. The maestro and Marcel,
both wearing the rosette of a Chevalier
of the Legion d'Honneur in their lapels,
greeted each other as old friends and
began discussing details of our
epicurean repast in voluble French.
Marcel's famous fresh fois gras en
brioche and homard l'absinthe, washed
down with a superb Batard Mon-
ductor
in one corner, and there was a stunning
red -head at the next table. Stokowski
was an inveterate and outrageous flirt.
Of course, the red head was looking at
him, and he was smiling at her and ever
so slightly saluting her with his wine
glass, much to the discomfiture of her
companion.
I
trachet, isn't exactly the kind of dinner
you expect from someone who is supposed to be parsimonious. Needless to
say, you can't go into any kind of a
public place, particularly a restaurant,
with Stokowski and not create quite a
stir. At L'Armorique, Stoky, my wife
Ruth, and were seated at a banquette
I
Where He Lived
Stokowski lived in the 14th -story
penthouse of a Fifth Avenue, New York
City, apartment building. The living
room was huge, with windows overlooking Central Park. The furnishings
were comfortable, a melange of different styles and periods. On the wall
separating the living room from the adjacent study, the maestro had built a
large clock, some three feet in
diameter. The clockwork was in the
wall, and he had marked off the hours
in varied colors. Scattered around the
clock wall were piles upon piles of
books on music and scores, many of
them quite rare. Then there was the
maestro's odd collection of exotic instruments, mostly percussion, including a huge tam-tam suspended
from a stand. Stoky had a spindly
period desk at right angles to one of
the living room windows. This was his
base of operations, and he used one of
those one-piece Swedish Ericaphones.
When he was in the process of building
the American Symphony Orchestra
which he founded, he would sit at this
desk and audition potential candidates for the orchestra, concentrating
on string players. He would often com-
AUDIO
AmericanRadioHistory.Com
January 1978
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ment to me, that he was worried about
the chronic shortage of string players.
He said that America wasn't producing
enough of these instrumentalists. The
maestro felt this was because string instruments were difficult to learn, and
there was little chance the players
could earn supplementary income in
pop orchestras. In contrast, there were
plenty of brass players, since they
could augment their income in dance
bands, etc.
In his study, surrounded by still
more stacks of scores, was Stoky's hi-fi
system. When I set up this system for
him in 1959, he told me he wanted a
good system, but not something in the
very top category. He said he wanted
to approximate the kind of system
used by the average hi-fi enthusiast.
This was in the early days of stereo, of
course, so we settled on a fairly large
pair of Wharfedale speakers, a mid powered H.H. Scott receiver, and a
Garrard changer with a Pickering cartridge. He liked this system, but a few
years later he wanted more power and
better bass, so we installed a McIntosh
pre -amp and amplifier. Like many an
audiophile today, his chief complaint
was noisy record surfaces, and he
would rail at record company executives to correct this deplorable problem.
Stokowski was a very private person,
to many people an aloof and remote
figure. He despised phonies, poseurs,
and "pushy" people who wanted to involve him in commercial projects.
Oddly, at the same time, he was one of
the most democratic persons you can
imagine. When the maestro was
recording for me at Everest Records,
quite often he would be chauffeured
to the studio by a character who worked for us named Rocky. Rocky was our
all around "go -fer" and truck driver, a
rough and ready sort of individual of
Italian extraction, who lived in an
apartment in the wilds of Brooklyn.
Rocky was a nice guy, and he was very
fond of Stoky. One day at the studio,
Rocky knew that the maestro had been
to my home for dinner the previous
evening, and in his best "Brooklynese"
he said to Stoky, "I know Bert is a good
cook, maestro, but my wife makes the
best lasagna you ever tasted
you
ought to come out to my place and try
some."
Well, by God, Stoky accepted the invitation, and in due time Rocky drove
him to Brooklyn, to a neighborhood a
far remove from Stokowski's usual
kind of environs. Of course, his visit
created a tremendous stir, and the
maestro agreed that the lasagna was
indeed quite exceptional! Speaking of
driving, the maestro loved fine cars,
although he rarely drove in his later
...
years. One time when he was coming
to my home for dinner, I arrived at his
apartment building in my new pride
and joy, a full -bore, fuel -injected, competition Corvette. I apologized to him
for the car being so low -slung, and
somewhat difficult to enter. Now
remember, at that time he was 76, but
nothing daunted, he deftly folded his
frame into the Corvette. With that little smile playing around his lips, he
said, "This is your kind of car, Bert. It
suits you." He let me ponder whether
he was complimenting me or needling
me! When we got further out on the
Long Island Expressway, and traffic
was light, I was cruising along at 70 in
deference to the maestro, and he said,
"This feels like a very stable car, Bert.
Can you go faster?" This Corvette
could go from 0 to 100 in 15 seconds,
so dropped a gear and zapped up to
105 mph. Stoky was quite impressed,
but not the least bit flustered.
I
THE Stoky Mix
What about the stories that the
Maestro remixed and "tampered" with
his recordings? Partly true. If he
thought the hall wasn't good enough to
achieve the balances he liked, he
would try to remix. This largely
depended on the company he was recording for, since in many of them, a
strong engineers' union would prevent
him from touching the board controls.
There was no doubt he had a fantastically keen ear, and he often improved the balances of the original
recording. Stoky liked working at our
Everest studios, and he was quite fond
of Harry Belock, who cofounded
Everest with me, since Harry was a
AUDIO
January 1978
perfectionist like himself. He really
liked recording with the 35 mm
magnetic film system we pioneered,
because it gave him a better signal-tonoise ratio and much greater dynamic
range than that obtainable on standard
magnetic tape. Like almost everyone
else in those days, we recorded threechannel masters. Stoky would like to
sit in on the mix -down from three channels to two, when we would be making
the dubbing master for our prerecorded tapes. (For our disc recordings, we
used the actual master, with the reduction to two channels taking place in
the playback console and going directly to the cutting amplifier.) The
maestro's mixing was minimal, mainly
he was always striving for more sonority from the contrabasses. He never
complained when I would gently tell
him, that good as our 35 mm system
was, he was approaching the limits of
the equipment. He respected that, and
respected my judgment. There were
some engineers in one of the record
companies Stoky worked for that
thought they could put one over on the
old man. When Stoky mixed this particular recording in their studios, the
faders activated the amplifiers and he
heard the changes through the loudspeakers, but the output of the console
was not linked to the tape machine.
When Stoky listened to the test pressings of his recording (which had the
sound as originally recorded), he took
only a few minutes to announce angrily that this was not the recording he
had mixed.
The Maestro had a profound respect
for music. In all the years I knew him,
in the many casual relaxed conversations we had, he never strayed far from
music. He was not really a political
creature nor much on sports. He had
an almost mystic dedication to music,
and of the many conductors I have
known and recorded, his knowledge of
music was far more comprehensive
than theirs, virtually encyclopedic.
And, of course, he had championed so
much new music in his long career. He
gave either world or American
premiere performances of works by
such composers as Mahler, Shos-
"Parsifal" with the Houston Symphony
(which he pronounced "Hoo-stun"),
the score called for these very special
Wagner chimes, which as far as I know
are used only in the annual Bayreuth
performances.
Well, we couldn't
duplicate those, but the maestro had
the Schulmerich Carillon Co. in Pennsylvania build him this monster set of
amplified chimes, and the damn thing
stood about 12 feet high! The sonority
of those chimes was truly stupendous,
a brazen clangor you could feel in
your bones!
Stokowski and I dreamed many
dreams of music we wanted to record.
Unfulfilled was our dream of a really
definitive "Boris Godounov," with the
original orchestration. We were set to
record a long cherished Shostakovich
7th, the "Leningrad" symphony and Le
Sacre du Printemps with the Chicago
Symphony, and the plans fell through.
There were many other things, for we
were always discussing repertoire. am
so glad had a chance to visit with the
maestro last summer, as related in my
column on the visit to Decca Records
in London. Frail as he was, still very
much alert, and after our greetings, the
first question was "Well, Bert, do you
have any new ideas for repertoire?"
I
I
I
This, at age 94! The maestro was a dear
friend, and I consider myself very fortunate to have known one of the truly
great giants of music in this century. Q
67
takovich,
Prokofiev, Schoenberg,
Rachmaninoff, and many others.
Stokowski was a tireless experimenter in trying to achieve ever
more realistic sonic presentations of
his beloved music. Early on, we had
discussed multi -channel sound (and, of
course, he had this kind of experience
with the movie "Fantasia") and the
need for ambience systems to simulate
the original acoustic environment of
the recording locale. Nothing was too
difficult in his service to music. When
we were recording some excerpts from
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January 1978
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±1 dB.
Rated Input: 1.5 V.
Damping Factor: 50 (8 ohms).
SIN Ratio: 110 dB (IHF "A" Weighting).
Input Impedance: 100 kilohms.
Preamplifier Section
Input Sensitivity: Phono, 2.5 mV; High
Level, 150 mV.
TH D: 0.05 per cent.
IM Distortion: 0.08 per cent.
Frequency Response: Phono, RIAA
±0.2 dB; High Level, 10 Hz to 50 kHz,
+0, -1 dB.
Phono Overload: 230 mV at 1 kHz.
SIN: Phono, 80 dB (IHF "A" Weighting);
High Level, 90 dB (IHF "A" Weighting).
Maximum Tone Control Range: Bass,
±10 [email protected] 100 Hz; Treble, ±10 dB @
10 kHz.
To the audiophile who has progressed beyond the "receiver
approach" to high-fidelity components, a good integrated
amplifier offers the next logical step if budget needs and
inclination are not geared to a system of total separates.
Many manufacturers, recognizing this renewed interest in
integrated amplifiers, have been concentrating their efforts
on mid -priced, mid -powered preamp-amps which offer
precise and comprehensive control and switching flexibility,
attractive styling, and fairly compact packaging. Typical of
such integrated amplifier designs is Onkyo's Model A-7, the
higher -powered of two similarly configured integrated
amplifiers in their present line.
The front panel of the A-7 features a massive volume
control knob at the upper right, calibrated in 1 dB detented
Tone Control Turnovers: 125 Hz, 400
Hz, 2 kHz, and 8 kHz.
Low Filter:10 Hz cut-off, 6 dB/octave.
High Filter: 5k Hz cut-off, 6dB/octave.
Muting: -20 dB.
General Specifications
Power Requirements: 120 V, 60 Hz a.c.
Dimensions: 171/2 in. (44.5 cm) W X 61/4
in. (15.9 cm) H x 15 in. (38.1 cm) D.
Weight: 29.7 bs. (13.5 kg).
Price: $349.95.
I
steps down to -18 dB, then in 2 dB steps down to -28 dB,
and in larger attenuating increments from that point
downward. Three easy -to -grip selector switches handle
program source selection (two phono inputs, AUX and tuner),
tape monitoring of up to two decks, and. tape dubbing from
either deck to the other. Separating the dubbing and
monitoring switches in this manner makes it possible to dub
from tape to tape, while listening to any other program
source such as phono or tuner. Click -stop bass and treble
controls (affecting both stereo channels at once) are
associated with three position turnover switches located just
below them which select 125 Hz or 400 Hz bass turnover or 2
kHz and 8 kHz treble turnover points. In their mid -positions,
these switches by-pass tone control action completely. A
AUDIO
January 1978
Up to now you had to choose
between the turntable you warted
and the turntable you could crfford.
Introducing the MKII Ser es. Th-ee new professional
turntables: The SL-1300MK11 automatic, the
SL-1400MK11 semi-autcmnctic and the SL-1500MKII
manual. All with a total'', quo'tz-controlled
direct -drive system with cne b g advantage: a
moderate price.
So to unparalleled ;;peed accuracy, powerful
torque and fast start-up act cr. Technics MKII Series
adds quartz accuracy -o vhat_ver pitch variation you
des re. In exact 0.1% increments. At the touch of a
but-on. And instantaneo_sly disployed by LED
What's more, all h s techio ogy has Dee-)
compressed into four high -density IC's. So the MKII
Se- es' styling is low, lean aid :lecn.
And our low-masv 5 -shaped universal tonearm
hcs been made so accurcte. Zricticn is an incredibly
ow 7 mg. (vertical and la-erol). The MK1 Series also
coasts a double- so ated sr_;pen;ion _system and
onti-resoncnt base material to minim .e teedLacb.
Compare speci=icaticis. C_rnpere prides.
And you'll reclize there's n) compari;on forT=_chni_s
1,1KI1 Serie<_.
MOTOR: B-ushless DC moto-, qu_rtz-contro led
abase -locked servo circuit. SPEEC_ 33 aid 45 rpm.
STARTING TORQL.E 1.5 kg. per ar. BU LD-U' T ME 0.7
seconds (= 90'' rotation) to 33rí ram. SEED DRFT:
Within +0.002% WOW & FLU -TEE: 7.025% WRMS
73dB (D N B). P TCH VARIATION: _ 9.9`.o.
RJMBLE:
i
-
*399 ;5', -300), 5369.95
SJGGESTED RETA'L PRICE`:
-400) and $1-49.95 (150C).
The MKI Series. A rare comzina-ion c.= and o
technology. A rew s -andad cf zucic excellence.
'Technics recorr rrerded prize, but ac
,JoI
Technics
by Panasonic
Enter No.
AmericanRadioHistory.Com
51 Dr
Reader Service
C and
eti
pr cewil! be set by
Jeoec
Proferssbna: Serie=
speaker selector switch is located at the upper left of the
panel, above a power -on indicator light and the power On/Off
pushbutton switch.
Other controls and switches along the bottom edge of the
front panel include the usual phone jack, a series of five
pushbuttons which activate a sub -sonic filter, high -cut filter,
mono/stereo selection, loudness circuitry, -20 dB audio
muting, and a small rotary balance control knob.
The rear panel of the Onkyo A-7 contains the appropriate
input jacks, tape -out jacks, preamp-out/main amp -in jacks
(interconnected by means of wire jumpers for normal use),
and a chassis ground terminal at the left. At the far right are
two sets of color -coded speaker terminals which feature
vertically oriented molded channels or routing paths that
make it nearly impossible to create short circuits between
adjacent speaker wire ends. Easily replaceable 5 ampere
fuses are also located in this area (these are in series with the
output signals), along with a linefuseholder and three a.c.
receptacles (one switched, the other two unswitched). Output
stage heat sinks are located inside the chassis itself, and three
rows of ventilating slots are located at the center of the rear
panel to permit adequate air flow through the unit.
Internal Construction and Circuitry
70
The A-7's large power transformer and associated 25,000
mF filter capacitors are clearly visible in the photo of the
internal layout of this amplifier. Onkyo claims that this oversized power supply system, though common to both channels, together with their use of a buss feeder ground, brings
the equivalent series resistance of the power supply as close
to "zero" as possible.
The phono preamplifier -equalizer section of the A-7 uses
class -A, differential -amplifier, push-pull circuitry, and a total
of six transistors is required for each stereo channel of this
phono preamp. The power amplifier section utilizes a class -A,
push-pull driver stage and differential, direct-coupled, pure
complementary-symmetry output circuitry. Two major
printed circuit modules are used in the A-7. One is for the
preamp/control circuitry, the other is for both channels of the
power amplifier section and is mounted vertically and integral with the massive heat sinks. A circuit refinement worth
mentioning has to do with the tape switches. When the
monitor switch is in the Off switch, connection to the Rec Out
jacks is interrupted to prevent possible loading of circuits by
associated tape deck input impedances.
A relay -type protection circuit is incorporated in the A-7 in
addition to the output line fuses mentioned earlier. If abnormal d.c. voltage should appear at the speaker terminals
because of power amplifier malfunction or some other
Fig. 1-Harmonic and intermodulation
distortion characteristics of the Onkyo
A-7 amplifier with 8-ohm loads.
{
reason, the relay contacts will open to protect against
speaker damage.
Power Amplifier Section Measurements
Figure 1 is a plot of harmonic and IM distortion versus
power output, using 8 -ohm loads. Under this load condition,
using a 1 -kHz test signal, the amplifier delivered a continuous
power output of 71 watts per channel for rated (0.1 per cent)
THD and 76 watts per channel for rated IM distortion (0.1 per
cent). At rated power output, THD measured 0.006 per cent
for a 1 -kHz test signal, while IM distortion was 0.019 per cent.
Since Onkyo offers a power rating for 4-ohm operation,
measurements were repeated for this lower load impedance,
and results are plotted, for a 1 kHz test signal, in Fig. 2.
During these tests, the amplifier delivered 93 watts per
channel for rated THD and IM.
Figure 3 is a plot of distortion versus frequency, taken at
rated output (65 watts per channel, both channels driven)
once again using 8 -ohm loads. On the basis of the results
obtained, it is clear that Onkyo has rated this amplifier very
conservatively and might well have specified the power band
as extending from below 10 Hz to 30 kHz.
Frequency response, measured via the main amp inputs,
extended from below 10 Hz to 65 kHz for the -1 dB roll -off
points and up to 110 kHz for a -3 dB roll -off. Damping
factor measured exactly 50, as specified. Unweighted signal -
2-Harmonic and intermodulation
distortion characteristics with 4 -ohm
Fig.
loads.
0.09
ALL CHANNELS
DRIVEN
0.08
8
--
0.06
IM
0.05
0.04
0.03
0.03
0.02
0.02
0.01
11.
0.1
10
IO
POWER OUTPUT / CHANNEL
-
100
WATTS
1
--AIM
THD
0.06
0.04
o
DRIVEN
4 -OHM LOADS
INPUT: kHz
0.07
THD
0.05
0.01
ALL CHANNELS
0.08
- OHM LOADS
INPUT: 1kHz
0.07
0.09
IK
\....
..."..:**>*,..m.
1.0
POWER OUTPUT
i
10
/
CHANNEL
-
i
1
100
IK
WATTS
AUDIO
January 1978
ONE GOOD THING
KENWOOD .en -r... r+r......> ... r., .v... ...xx.r. r.« -...>v>
1111111111111
88
AM
90
000
£2
000
94
98
MD
98
000
100
102
1000
104
1200
106
1400
108
MK*
w
114
71
LEADS TO ANOTHER.
When it comes to a super -powered
receiver, people know a good thing when
they hear it.
That's why our KR -9600 is one of the
most popular receivers in its category.
For less than $750* you get 160 watts
per channel, minimum RMS at 8 ohms,
from 20-20,000 Hz with no more than
0.08% total harmonic distortion. With all
the features and performance you'd
expect from our top of the line receiver.
But let's face it. A lot of people
don't need all that power. That's
why we developed the KR -4070.
It's got 40 watts per channel,mini-
mum RMS at 8 ohms, from 20-20,000
Hz, with no more than 0.1% total harmonic distortion. (That's correct, 0.1%
TH D.) Plus all the features most people
need.
But what's incredible, is that you can
buy it for less than $300'.`
Depending on how much power you
need, either receiver will give you
more performance for less money than
you thought possible.
Because at Kenwood, we think
you can't get too much of
thing.
a
good
`Nationally advertised value. Actual prices are
established by Kenwood dealers.
Handles optional.
KENWOOD
For the Kenwood Dealer nearest you, see your Yellow Pages,
or write Kenwood, 15777 S. Broadway, Gardena, CA 90248
Introducing 3 new ways
to get the truth out of your
cassette deck.
BIAS
1
Cr02
FeCr
Master Series.
A Scotch cassette for every
switch position.
T
Three totally different tapes. Each developed to
deliver the truest, clearest sound possible at each tape selector
switch position.
Our Master I cassette is for normal bias recording. It
features an excellent dynamic range, low distor=ion, uniform high
frequency sensitivity and output mat's 10 dB more than
standard tapes.
Our new Master II replaces chrome cassettes and is
designed for use on hi-fi stereo systems with chrome bias
(70 microsecond equalization). It fieatures some spectacular
performance characteristics, including a special coating that
gives it a 3 dB better signal-to-noise ratio at low and high
requencies than chrome cassettes, yet it's less abrasive.
Our new Master III is for the ferri -chrome setting. It's
formulated with the most advanced technology available, giving a
3 dE output improvement at low frequencies and 2 dB at
high frequency. And the unique dual layer cons :ruction increases
both low and high frequency sens:tivity over chromium
dioxide and ferric oxides.
All this, plus unique inner workings you can
actually see. Our new Master line has a special bonus
feature. A precision molded clear shell that allows you to monitor
the inner workings of the cassettes. You can actually see
the recorder head penetration and the unique roller guides in
action. Look closely at the transparent shell and you'll see
the water wheels which were specially designed to move the tape
evenly across the head, reducing friction and noise. And two
radially creased shims insure smoother wind, :mproved
mechanical reliability and reducec wow and flutter.
Enough said. Now it's time for you to take the true test.
Match up the right Master cassette with the bias you prefer.
Then just listen.
Youll find that whichever switch position you use, a
Scotch® Master is :he wav to get the most out of it.
Scotch® Recording Tape_
The truth comes out_
Eiter No.
52 on Reader Service Card
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to- noise ratio for the main power amplifier section measured
104.5 dB relative to full rated output.
Preamplifier Section Measurements
Phono input sensitivity (for both Phono 1 and Phono 2
inputs) measured 2.6 mV for rated output. Phono overload
was an impressive 245 millivolts (as opposed to 230 mV
claimed), and phono S/N was outstanding, with readings of 81
dB (IHF "A" weighted), referred to actual input sensitivity.
74
8 -OHM LOADS
BOTH CHANNELS DRIVEN
0.030
65 WATTS/CHANNEL
0.025
0.020
0.015
0.010
0.005
RIAA equalization was accurate to within 0.2 dB of the "old"
RIAA curve (new standards require an additional roll -off time
constant at sub -sonic frequencies), but the combined use of
the sub -sonic filter along with existing RIAA equalization
comes very close to meeting the new RIAA standards.
The advantages of having selectable turnover tone controls are clearly illustrated in the 'scope photos of Fig. 4. In
Fig. 4(A) the 400-Hz and 2 -kHz turnover points were selected,
and tone control range is typical of most bass and treble
controls. In Fig. 4(B), turnover points were switched to 125 Hz
and 8 kHz, and the tone controls become more useful in
adjusting extreme bass and extreme treble without adversely
affecting mid -frequency musical response of the system.
Action of the sub -sonic filter, which has a cut-off point of
10 Hz, does not show up in the sweep -frequency 'scope photo
of Fig. 5 since that sweep extends only from 20 Hz to 20 kHz.
The action of the high -cut filter is clearly seen, however, and
although its slope rate is only 6 dB per octave, its cut-off
point is sufficiently high in frequency so that some small
noise -reducing benefit is afforded without sacrificing too
much in the fundamental musical frequency range.
Listening and Use Tests
o
kHz.
It took us only a few minutes to become familiar with the
controls of the A-7. One gets the feeling, when operating this
integrated amplifier, that all the controls and switches are
just where they should be and all of them do their jobs
positively and very smoothly. The outstanding thing we noted
while listening to music reproduced via the A-7 was that it
seemed capable of delivering more power than our bench
measurements had indicated. Perhaps this is in part a result
of the extremely flat power -band characteristic at the low
end which, in turn, may be a result of the care that Onkyo
A
B
10
100
IK
FREQUENCY
-
IOK
Hz
Fig. 3-Distortion vs. frequency with
both channels driven at 65 W into 8 ohms.
Fig. 4-Tone control range of the Onkyo
A-7 with turnover switches (A) set to 400
Hz and 2 kHz; arid (B) at 125 Hz and 8
20K
AmericanRadioHistory.Com
.
,zEx.....'..
75
Proof that you don't have to pay a fortune
for a first-class, high -power stereo amplifier
What more proof do you need than rave
reviews by a major audio magazine?
Stereo Review (April 1977) says "The
SA-2000 can deliver as much power, with
as little distortion, as will ever be required
by the vast majority of its users:' 55 watts per
channel, minimum RMS at 8 ohms from
20-20,000 Hz, with no more than 0.3% total
harmonic distortion. Our tone controls "are
among the better ones we have seen:' says
Stereo Review. They give you a choice, by
boosting or cutting bass at 125 or 400 Hz
and treble at 3 kHz or 7 kHz. It's almost like
having four separate tone controls. Stereo
Review also says ours is "one of the very few
loudness compensation systems that really
works:' That's because exclusive Perfect
Lever makes our Perfect Loudness*' system
adjustable to any listening level so that the
"boominess" so offen heard with ordinary
loudness systems is eliminated. Among
many other features, the SA -2000 has two
magnetic phono inputs, dubbing and
monitoring circuits for two tape decks, and
a walnut veneer case. Only $269.95*
even less if you buy it in a complete system.
-
SOLD ONLY WHERE YOU SEE THIS SIGN:
These two credit cards honored
at most Radio Shacks.
"Prices may vary at individual
stores and dealers.
ftadie Ihaek
A
DIVISION OF TANDY CORPORATION
FORT WORTH, TEXAS 76102
OVER 6000 LOCATIONS IN NINE COUNTRIES
AmericanRadioHistory.Com
took is designing that power supply to have such low internal
impedance and to provide such great power reserve at the
bass end. In any event, the A-7 sounded very good to our ears
when coupled to a rather low -efficiency pair of sealed enclosure speaker systems which have previously required
upwards of 100 watts per channel to deliver the kind of clean,
powerful sound we normally seek. Obviously, continuous
power ratings do not tell the whole story, FTC power rule
notwithstanding.
If a few of the frills normally found on some separate
preamp/control units are missing from the A-7 (notable
separate tone control of each channel, sensitivity selection of
phono inputs, or cartridge impedance matching selection),
these omissions are more than justified in an integrated
amplifier that sells for as low a price as this one. Onkyo has,
in our opinion, put together an integrated amp that offers
excellent value for its price, both in terms of front panel
functions and in terms of reproduced sound capability.
5-The high-cut filter response of
the Onkyo A-7.
Fig.
Leonard Feldman
Enter No. 90 on Reader Service Card
76
Burwen Research Model DNF-1201A Dynamic Noise Filter
MANUFACTURER'S SPECIFICATIONS
"Hiss" Reduction: Up to 30 dB above 5
kHz, 5 to 14 dB total above 400 Hz,
depending upon program material and
control settings.
Frequency Response: Minimum bandwidth, -3 dB @ 500 Hz, -10 dB @ 1
kHz, -20 dB @ 2.5 kHz; Maximum
Bandwidth, ±0.5 dB, 10 Hz to 20 kHz.
Input Level: 0.77 V (0 VU), adjustable
to 10 dB lower level.
Maximum Input:
6 V @ 0.1 dB gain.
Rated Output: 2.5 V (+10 dB).
Clipping Level: 6 V.
Output Impedance: 50 ohms, d.c.
coupled.
Gain at 1 kHz: 0 dB adjustable to +10
d B.
THD (Sensitivity at Maximum): 0.2 per
cent at any frequency from 20 Hz to 10
kHz.
The Burwen Research DNF-1201A is a much improved and
totally restyled and re -engineered version of Dick Burwen's
earlier Model 1201 which we had an opportunity to examine
some years ago. The Burwen operation is now headquartered
at the same location as KLH, in Cambridge, Mass., both companies being part of EAD Industries. Evidently, with Mr.
Burwen now able to devote all his efforts to engineering
(instead of trying to run his small, independent company and
worry about new products all at the same time), he has come
up with a truly effective dynamic noise filter.
A dynamic noise filter, unlike the more familiar "high cut"
passive filters found on most preamplifiers, amplifiers, and
even receivers, may be thought of as a filter whose cut-off
points and degree of attenuation are constantly changing,
depending upon the musical content of the program source.
In other words, if a moment of music comes along which contains no high frequencies, the filter cuts down overall system
IM Distortion: 0.05 per cent.
Internal Noise: 100 µV rms. 20 Hz to 20
kHz.
General Specifications
Dimensions: 171/2 in. (44.5 cm) W x 2'/,
in. (7.3 cm) H x 8% in. (21 cm) D.
Weight: 8 lbs. (3.6 kg).
Power Requirements: 105-125 V, 50/60
Hz, 8 W (210-250 V model optionally
available).
Price: $379.00.
response (it is usually inserted in the signal path via the tape
out/tape in jacks available on most amplifiers and receivers),
and high frequency "hiss" or noise is sharply diminished. At
the instant when a high frequency musical signal comes
along, the filter "opens up" and lets the music come through
unattenuated. Sounds simple, but execution of an unobtrusive dynamic filter is not that easy. As for what happens to
hiss when the filters are wide open and highs are contained in
the music, a well known characteristic of human hearing
known as the "masking effect" takes care of that very nicely.
During such time periods, the high frequency musical content
tends to mask the lower intensity high-frequency noise so that
even though it is very much there, our ears simply do not respond to it.
The front panel of the 1201A is gold anodized and has a
low -profile design. The power On/Off pushbutton is located
at the lower left. Four interlocking pushbuttons determine the
AUDIO
AmericanRadioHistory.Com
January 1978
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PART INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL
ilevel of signal processing which is to occur. The first button
(bypasses the filter entirely, while the next three switches are
labeled MAX (for maximum processing of poor quality program material where high levels of hiss are present), MED
Untended for signal processing of average quality tapes,
records, or broadcasts), and MIN (for signal processing of
very high quality, low -noise programs of all types).
A sensitivity control, in the form of a continuous slide
lever, is flanked by red and green LED indicators and allows
the user to "fine tune" the filters once the appropriate signal
processing switch has been selected. Optimum performance
occurs when the LEDs flash on and off alternately. In actual
use, if this condition cannot be obtained for any setting of the
sensitivity control, the user is advised to use an alternate
signal -processing button and try again.
The rear panel of the 1201A contains a pair of tape -out and
tape-in jacks, in addition to the input and output pair of
jacks. These replace the ones used up on your amplifier or
receiver in connecting the 1201 A, and the user can select tape
monitoring by means of the tape monitor button on the front
panel. The button at the extreme lower right of the panel permits the user to interpose the filter ahead of the connected
tape recorder's inputs or after the tape deck's line outputs,
thereby enabling pre- or post -recording filtering.
Flow It Operates
The Model 1201A uses a bandwidth control circuit which
includes a complex multistage nonlinear filter. The band -
1-With the "MIN" button
depressed the DNF-1201A provides mild
bandwidth suppression which increases
at low noise levels. Here the Sensitivity
width controller measures the high frequency content of the
sum of the bandwidth in accordance with both level and frequency. Dynamic filtering is achieved as the bandwidth controller generates a d.c. control voltage that constantly
regulates the cutoff frequency of a voltage variable low-pass
filter. Bandwidth changes occur gradually at low levels but
rapidly enough to track the signal. According to Burwen,
sharp transients can extend the bandwidth to full response in
as short a time as 600 microseconds attack time. Reduction
of bandwidth, or decay time, is adapted to the incoming
signal and varies in the range from 50 milliseconds to 1.5
seconds.
Laboratory Measurements
From the foregoing description, it should be obvious that a
dynamic filter such as the Burwen DNF-1201A does not lend
itself too well to "static" or constant -signal bench testing.
When measuring frequency response, for example, results
can be confusing because the bandwidth of the device
changes with incoming frequency and levels. Nevertheless,
we looked about for a way to illustrate graphically what is
happening in the filter under different signal level conditions
and came up with a series of scope traces which helps to
clarify the action, we feel. Figure 1 is a 'scope photo of frequency sweeps (from 20 Hz to 20 kHz) taken with the signal processing set to minimum and the sensitivity lever set to its
mid -position. At high level input (top trace), response is
almost out to 20 kHz, as it should be, since high frequencies
at this level cannot be anything but "music." The lowest trace
(some 40 dB lower) exhibits a cut-off at around 7 or 8 kHz. In
other words, the filter has "closed down" somewhat, perceiv-
Fig.
control was set to mid -position. Each
vertical division equals 10 dB.
AUDIO
January 1978
Fig. 2-Greater bandwidth contraction
occurs when the "MAX" button is
depressed. Each vertical division equals 10 dB.
77
ing this low level sweep (or its high frequency content) as being "noise." Note that each of the response sweeps is the
result of an instantaneous change of a shift in the instantaneous output/frequency response with input frequency and
amplitude.
3-Varying sensitivity control of the
1201A with the high level sweep
frequencies applied resulted in the
upper group of response curves. With
the low level sweep, lower response
curves were obtained with the "Min"
button depressed.
Fig.
78
In Fig. 2, the MAX signal processing button was pushed and
successive sweeps were repeated as in Fig. 1. Note that this
time, cut-off occurs at approximately 10 kHz, even for high
level signals, while at lowest sweep level, cut-off moves down
even further in frequency, as it should be expected to do.
Figures 1 and 2 represent a series of frequency response
curves all taken with the slide sensitivity control in a set (mid)
position. To get some idea of the action of this control, we
recorded additional sweeps in Figs. 3 and 4. This time, for Fig.
3, we used the MIN signal -processing button and applied
high-level and low-level sweep signals. For each level, we
varied the setting of the sensitivity control and obtained a
series of response curves for each of the constant input sweep
levels (low and high).
These experiments were repeated using the MAX signal
processing setting, again using low- and high-level input frequency sweeps and varying the sensitivity control from one
extreme to the other. By examining the results obtained in
Figs. 3 and 4 and correlating them with earlier Figs. 1 and 2,
readers should be able to get a pretty good idea of how the
filter expands and contracts bandwidth, depending upon the
input level and frequency content.
Accurate static measurements can be made only with the
OUT button depressed and, under those conditions, response
measured flat within 0.5 dB from 10 Hz to 20 kHz, as claimed.
We were able to drive the output to a level slightly greater
than 6.0 volts before noticeable clipping occurred. With the
sensitivity control set to maximum (worst case), total harmonic distortion at 1 kHz was just under 0.1 per cent. IM
distortion measured 0.03 per cent. Signal-to-noise ratio of the
unit itself (with the OUT button depressed) measured a very
acceptable 88 dB below rated output.
Listening and Use Tests
4- Procedure
was the same as used
curves, except that this time the
"MAX" signal processing button was
depressed.
Fig.
in Fig.
3
The only proper way to evaluate a device such as the
1201A is to listen to it while playing a variety of program
material having varying degrees of poise content. We did just
that, using everything from some antique 78 rpm discs (there
is nothing noisier), to weak -signal stereo FM programs and
moderately noisy LP discs. With a bit of experimenting for
each of these program sources we were finally able to adjust
the controls and choose the right buttons so as to achieve
really significant noise reduction with barely a trace of
musical loss. If you have a chance to experiment with 1201A,
don't be fooled by a phenomenon which first tricked us ..
we are all so accustomed to have high frequency hiss accompany treble tones that when the hiss disappears, we tend
to think that we have lost treble response (for the music) as
well. It takes a bit of careful listening and A -Bing to realize
that this is not the case. The OUT button on the 1201A makes
it very easy to conduct such comparison tests.
Since the Burwen is a "one-sided" noise reduction system,
it can be applied to any program source and does not require
"processed" or "encoded" program sources (such as Dolby,
dbx, or other "two-sided" signal processing systems). As such,
it will prove useful to anyone who has records or tapes (or
listens to FM programs) that are anything less than totally
noise free. Of course, at $379.00, owners of mid -priced hi-fi
systems will have to think twice before spending very nearly
as much as they may have spent for all their other components, but for the purist, who has unlimited funds and also
owns records or tapes that have become overly noisy and are
irreplaceable, the Burwen DNF- 1201A may prove to be one
of the most worthwhile investments you can make.
Leonard Feldman
Enter No. 91 on Reader Service Card
AUDIO
January 1978
3 2
,
DOLBY NR
t
E0
7
80 100%
10
_;,.---,
5
;
2.
WI
#+
gt
0
1
i5
9080
30
(I
MOM
+3dB
15
C-60-16».)
(x: -C-1'9l
TAPE TIME
TAPE
COUNTER
COUNTER RESET
LH BIAS FINE
LEFT LEVEL
MEMORY
METER
10FF :ON
1VU :TAPE TIME
(%:
DOLBY NR CMPX)
TOFF
(MPX ON)
811
With the AD -6550's unique new Remaining Tape
Time Meter you never have tc worry about
running cut of tape in the m,ddle of recording your
favorite music. In the past you monitored your
tape visually and hoped that the musical passage
and tape would finish together. Now, this extremely
easy to use indicator gives you plenty of warning.
It show; you exactly how many minutes remain on
the tape. So that when you record the "Minute
Waltz" t won't end in 45 seconds.
LH BIAS FINE
INPUT SE_ECTCR
1LINE SMIC/CN
(`%U)
Bias Fine Adjustment
Wow and Flutter: Below 0.05% (WRMS)
The SD -6550 cassette deck achieves an
inaudible wow an: flutter of blow 0.05 (WRMS)
thanks to a newlydesigned 38-aulsº FG servo
motor anc AIWA's special Solid Statilized
Transport (SST) system. And Because we use
Dolby` we also irr Drove the S'N Vatio to 65dB
(Fe -Cr). So you can listen to tie music instead of
tape
-he AIWA
AD -6,..C.
Be forewarned.
But there's a lot more to the
AD -6550. AIWA has included
a Bias Fine Adjustment knob
that permits the fire tuning
of frequency response to give
optimum performance o`
any branc of LH tape on the
market.
'Dolby fs a -rademark of Dolby Laboratcnes
Ic.
Distributed in the U.S. by: MERITON ELECTRONICS, INC., 35 ax13rd Drive Mconachie. I. J. 07072
Distributed in Canada by: SHR RO (CF.NADA) LTD.
Enter No. 4 on Reader Service
C
arc
Neumann Models 83, 84, & 85 fet-80 Series Microphone System
MANUFACTURER'S SPECIFICATIONS
Model KM-83 Assembly
Capsule Model No.: KK -83.
Preamp Model No.: KMi.
Directional Pattern: Omnidirectional
Frequency Range: 40 Hz to 20 kHz.
Model KM-85 Assembly
Capsule Model No.: KK -85.
Preamp Model No.: KMi.
Directional Pattern: Cardioid.
Frequency Range: 40 Hz to 20 kHz, L/F
roll -off.
Transducer Type: Pressure gradient
Transducer Type: Pressure condenser.
condenser.
Model KM -84 Assembly
Capsule Model No.: KK -84.
Preamp Model No.: KMi.
Directional Pattern: Cardioid.
Sensitivity: 10 mV/Pa = -40 dBV/Pa
(may be reduced 10 dB by switch on
preamp).
Output Impedance: 200/50 ohms.
Noise Level Expressed as Equivalent
Sound Level (The frequency bandwidth
is not stated): Approximate values, IEC
Frequency Range: 40 Hz to 20 kHz.
Transducer Type: Pressure gradient
condenser.
80
The Neumann fet-80 microphones are high -quality condenser units designed for professional broadcasting and
recording. The advanced amateur who has invested $1,000
plus in a tape recorder, not to mention other accessories such
as preamps, mixers, and equalizers, will also want to acquire
professional grade microphones.
We first learned of Neumann microphones in the 50s when
we read a "Target Report" by the U.S. Forces who occupied
Germany at the end of World War II. They had "captured"
the Neumann labs in Gefell and moved them to Berlin before
the Russians arrived. They learned from Mr. Neumann
himself about double -membrane, switchable directivity condenser microphone ... which was unknown in the U. S. at that
time. We had an opportunity to test an early U-47
microphone with a Telefunken logo which was the commercial version of Mr. Neumann's invention. The U-47 had a wide
range frequency response with a rise at 10,000 Hz. It was very
popular with recording studios, and an fet version of it is in
the latest catalog.
Today, the Neumann name is synonomous with high- quality studio microphones, just as RCA and Western Electric were
in the 30s and 40s.
We evaluated three microphones of the fet-80 series, all 22
mm (%8 in.) diameter components. The KM -84 was received as
a system, consisting of a flat response cardioid capsule, FET
preamplifier, "pop" screen, and swivel mount. Two additional capsules were supplied separately, the KK -83 omnidirectional and the KK -85 cardioid with low frequency rolloff.
The N80 power supply was furnished, which provides 48 V
d.c. "phantom" powering for two microphones. (Readers of
our review of an AKG microphone in the August, 1977, issue
will recall that phantom powering is a means whereby an ordinary two-conductor shielded microphone cable carries
both the audio signal and the d.c. power.)
Moving -coil and ribbon microphones may be interchanged
with phantom -powered condensers on the same microphone
line without turning off the power supply.
179, 18 dB; DIN 45-405, 25 dB.'
Max. SPL for 0.5% THD: With sensitivity switch set at -10 dB, 133 dB.
Power required: 48, +6, -8 V d.c.
Phantom Powering: 0.4 mA.
Operation Time with Battery Supplies:
Approx. 200 hours.
Dimensions: V. in. (2.2 cm) D x 4
in.
(11.1 cm) L.
Weight: 2.82 oz. (80 gms).
Accessories Supplied: MKV swivel
mount and WNS21 (foam) pop screen.
Price: KM -84 microphone system,
$260.00; KK -83 capsule, $110.00; KK -85
capsule, $110.00, and the N80 power
supply, $50.00.
%8
No microphone cable was supplied as part of the KM -84
microphone, as the fet-80 series is a "component"
microphone system where the user must separately order the
capsules and power supply needed for his particular application. The preamp and power supply employ U.S. standard
Switchcraft 3 -pin connectors. The supply output is via two
short cables which terminate in Switchcraft adaptors. These
adaptors have male and female 3 -pin connectors and are inserted in the output lines of one or two fet-80 microphones.
The capsules are easily unscrewed from the preamp and interchanged. Some care has to be taken not to bend the long
gold-plated contact pin which protrudes from the capsule.
The head -end insulator on the preamp is a teflon hemisphere
which provides a long electrical leakage path to minimize
humidity effects. The shape also provides a smooth (and nonresonant) transition from the back part of the capsule to the
atmosphere. The mechanical design and workmanship are
flawless, and the nickel plated finish appears to be very
durable. The sensitivity switch is recessed and can only be
intentionally operated by a pointed instrument.
No individually drawn frequency response curves were
supplied, even though other European manufacturers, such
as AKG and Beyer, supply curves with their higher priced
microphones, at least. This did not make us very unhappy
because the instructions contain curves on each capsule with
rather tight production tolerance "envelopes" indicated.
The instruction pamphlets supplied include data on many
different models of microphones, power supplies, and powering methods. However, they are printed on rather thin paper,
and we feel that Neumann should, for the benefit of
audiophile users, print individual simplified instructions for
each model of equipment in larger type and on heavier paper.
Laboratory Tests
Our first impedance test indicated a low Z value and the
microphone appeared dead. We consulted the instruction
pamphlet entitled "Compatible Central Powering
fet-80
...
AUDIO
January 1978
series" and failed to find a reference to the N80 Power Supply
which we were using. Fortunately, individual circuit
schematics were supplied separately for both the preamp and
power supply. We learned that the N80 contains no output
isolation transformer, so grounding either microphone line (a
must for our impedance test) shorts out the d.c. power. The
instructions show some (slightly complex) modifications for
unbalanced operation, as required for some tape recorders,
etc. We opted to use a high quality 1:1 isolation transformer
for all tests. The UTC HA -108X is a well -shielded unit that will
accept line levels without distortion. Gotham offers such a
transformer as Model BV -40134.
Neumann states that in order to use their microphones with
a grounded center tap input transformer, the center tap must
be lifted from ground, which they state will do no harm.
However, the user should be cautioned that in some applications, particularly with long microphone lines, increased hum
and noise may result due to lack of cancellation of "common
mode" interference. Then the user will have to add an isolation or input transformer that rejects noise without a center
tap grounded. (For example, the Shure line and input
transformers do not require a grounded center tap. Editor's
Note: Neumann states they have used mike cables several hundred feet long and encountered very few common -mode dif-
ficulties).
Having solved this problem, the impendances shown in Fig.
1 were measured. The impedance is, for practical purposes,
equal to that of a 200 -ohm nominal value resistor.
The axial frequency response of the KM-84 is shown in Fig.
2. The "plane-wave without pop screen" curve fits within the
envelope in the instruction pamphlet. The 12 -inch data
represents a normal proximity effect for a cardioid
microphone, and an external roll -off equalizer is required for
flat low -frequency response at distances closer than about
two feet.
The pop screen does not live up to Neumann's claim of -1
dB at 10 KHz as our test shows. a 3.5 dB loss. They may be experiencing some quality control problems, as we have used
these WNS-21 screens for many years on sound level meter
mikes and with a GR ceramic mike where they exhibit no
more than 1.5 dB loss at high frequencies. For voice applications, the new screen should cause no problem.
Our sensitivity numbers are 5 dB less than nominal.
Neumann does not state the tolerance on sensitivity, and our
numbers will be at least 1 dB low due to our transformer. We
are pleased with the
55 dBV/Pa value with the switch at
-10 dB because it agrees with values for many moving-coil
and ribbon mikes.
The cardioid directional pattern of the KM -84 (Fig. 3) is
essentially uniform with frequency. (We consider the 180°
response to be a perfect null if 15 dB or more below the 0°
response.) Thus, the KM-84 is virtually a perfect cardioid mike
TRIANSFORMER 200200 OHMS I
IMPEDANCE IS AS SHOWN WITH KK83,84,85 CAPSULES
70
i0
1
dl
225/1
40
ATTENUUATORR SWITCH
21511
ATTENUATOR SWITCH -10dB
loo
specifications envelope.
The KK -83 capsule response at 0° (Fig. 5) is slightly above
the specification envelope at 50 and 8000 Hz, possibly due to
differences between laboratories. Note that the KK -83 must
be used at grazing incidence for direct sound waves or high
frequencies will be boosted. When used for pickup of direct
plus reflected sound, such as a single mike above an orchestra, the sound will be natural, because the response to
random incident sound will be similar to the 90° curve. We
believe that Neumann has made the correct choice in tailoring the response of the KK -83.
The one-third octave self -noise levels (Fig. 6) indicate a flat
AUDIO
0K
IK
FREQUENCY
-Hz
20K
1-
Fig.
Impedance of the Neumann KM 84 microphone system, including the
UTC-HA108X isolation transformer.
WITHOUT FOAM
POP, SCREEN
12"
PLANE WAVE
W TH FOAM
POP SCREEN
OdB=-45dBV/PA(ATTENUATOR SW TCH 0dB)
OdB=-55 dBV/ PA (ATTENUATOR SW TCH -10dB)
I
20
Fig.
10K
IK
-Hz
FREQUENCY
20K
2-Frequency response of the KM -84
mike system.
81
KM -84
+10
0=
AP'
90=
-
and is the best one we have tested.
The response of the KK -85 capsule (Fig. 4) is similar to the
KK -84 except for the low -frequency roll off. The KK -85 is
suited for use close to the source or for attenuation of low frequency noise on distant sources. Our data falls within the
OdB
2
""
180=
oe
20
20
100
I
0K
K
20K
-Hz
Fig. 3-Frequency response versus angle.
FREQUENCY
Fig. 4-Frequency response with the
K K-85 capsule and the KMi preamp.
12"
OdB=-47.5dBV/PA (ATTENUATOR
OdB=-57.5dBV/PA (ATTENUATOR
SW.
SW
0dB)
-10dB)
PLANE WAVE
20
January 1978
AmericanRadioHistory.Com
100
IK
FREQUENCY- Hz
10K
20K
KM -84 (with screen) was just a little higher than our BK-5B
with its large 4-inch diameter windscreen. This good "pop"
immunity apparently results from the trade-off of high frequency response and is caused by the high air -flow resistance
of the foam screen.
Vibration sensitivity of the KM -84 was quite low, and equal
to our BK -5B. Phasing was Pin 2 positive, in agreement with
the proposed revision to the EIA Standard.
1
I
v+I
I
0=
z
m
w
}
z
o
a
90=
I
OdB*-48dBV/PA(ATTENUATOR SWITCH OdB)
OdB =-58dBV/PA (ATTENUATOR SWITCH-I0dB)
w
e
Subjective and Listening Tests
20
lOO
!OK
IK
20K
FREQUENCY-Hz
Fig. 5-Frequency response with the
KK -83 capsule and the KMi preamp.
82
or "pink" noise characteristic at high frequencies, but the
noise at low frequencies follows a 1/f characteristic. The lowfrequency noise will cause no problems, unless you're recording distant earthquakes. The one-third octave values in the
important mid and high frequencies are as low as 6 dB
equivalent SPL. This will be below ambient in most rooms.
(The KM -84 would be good for acoustic noise measurements,
as the lowest third -octave level we've been able to measure
with lab equipment is about 18 dB SPL!)
We recently constructed and calibrated a "sound proof"
box for another project and thought it would be an interesting experiment to attempt to measure the absolute self noise of the Neumann mike system. In this test, the ambient
noise inside the box was at least 10 dB below the self -noise.
Our measured overall noise level of 33 dB was higher than the
(approximate) Neumann values of 18 or 25 dB, but our bandwidth extended down to 2.5 Hz, so that the overall measured
level was controlled by infrasonic noise. (The IEC or DIN
methods roll off the low frequencies.)
The 60 -Hz magnetic hum sensitivity of the KM -84 is much
greater than our BK-5B reference ribbon mike is undoubtedly
due to the preamp output transformer. There is little room for
shielding but our experience indicates that carefully balanced hum bucking windings will yield adequate performance. We had to move the mike and test box away from
electrical equipment to avoid a 60-Hz peak in the noise
graph, Fig. 6. Recording studios minimize electro magnetic
noise (as well as acoustic hum) by using incondescent instead
of fluorescent lighting and by keeping non -essential electrical
equipment out of the studio. Thus, hum will not be a problem
with the KM-84 in most studios, but the audiophile could encounter problems in the field while recording weak sound
levels in a room with strong electro magnetic interference.
(Editor's Note: Neumann states that they have concentrated on
r.f. interference problems and feel the mikes are nearly immune to these.)
We observed clipping at 132 dB with the KM -84. This is
close enough to the spec value and adequately high for most
voice or music applications. The "pop" sensitivity of the
microphones.
We mentioned that improved instruction books would be
desirable for the audiophile. We also feel that Neumann
should incorporate an isolation transformer in the power supply which would prevent the shorting problems found with
some mike inputs. This would save the audiophile from having to perform circuit modifications on mikes, mixers, or
recorders in the event that shorting problems are encountered.
Jon Sank
(Editor's Note: Neumann feels that for the audiophile the
fewer transformers, the better, and recommends their KM-883
mike which is similar to the KM-83 but has an unbalanced output and requires no transformer.)
6- Noise spectrum of the KM -84
microphone system in one-third octave
bands, unweighted.
Fig.
2 40
0
N
30
v
z
20
OVERALL LEVEL, UNWEIGHTED
2.5 TO 25,000Hz BANDWIDTH
=
The fet-80 series microphones were used without the "pop"
screen for this portion of the review.
The KM -84 with speech or music at two feet or more
sounded very simiar to our BK -5B reference mike (M-flat
response) except for a distinct lack of "presence." The BK-5B
has a slight rising response trend from 50 to 15,000 Hz, and
the response in the 2,000-5,000 Hz region rises a few dB above
the trend. A similar result was obtained by comparison of the
KM -84 to a 77 -DX, except the top octave of the 77 -DX was
missing compared to the KM -84. The essentially flat response
of the KM-84 may be acceptable without equalization in
many applications. With pipe organ, for instance, all three
mikes sounded identical, but for voice, brass, guitar, strings,
and woodwinds, we would boost the "presence" region of the
KM-84 2 to 6 dB with an external equalizer.
We obtained similar results with the KK -85 capsule in the
high frequency region. The bass roll off is quite noticeable for
distant sources, and the KK -85 must be placed at 6 to 12
inches from the source to obtain a natural bass sound. The
KK -85 has obvious utility for close pickup of voice or music,
as well as suppression of low -frequency noise in rooms or outdoors.
A proper A -B test of the KK -83 capsule would require comparison to a lab condenser mike. We did not do this because
a change of the reference mike would require retraining our
ears, as well as adding confusion to this report. Besides, in the
real world, pressure mikes are compared to pressure -gradient
mikes. For distant voice (in our dead room), the KK -83 yielded
similar results to the KM -84 when compared to the BK -5B
reference. Its lack of proximity effect is a great advantage for
close pickup of voice or music. For voice, the mike may be
úsed "on axis," but for certain high-pitched instruments the
top octave is exaggerated and the mike must be oriented
perpendicular to the axis of the source for a natural sound (if
the mike is used close to the instrument). We feel the KK -83
would be excellent for classical recordings where a pair of
mikes is suspended above the orchestra, if the room is not excessively reverberant. We'll leave this as an exercise for the
audiophile and hope to receive some reports of their results.
Except for the slight possibilities of hum problems, the
fet-80 series has excellent performance. The price is competitive with high quality ribbon and dynamic mikes, and we
think the price is moderate for a top quality condenser mike.
We feel that the audiophile who has an octave band or
preferably one third octave band equalizer will obtain maximum performance in varied field situations with these
33dB
10
Enter No. 92 on Reader Service Card
O
20
100
IK
FREQUENCY
IOK
20K
-Hz
AmericanRadioHistory.Com
AUDIO
January 1978
83
Foreign Affairs: Tom Waits
Asylum 7E-1117, stereo, $6.98.
Tom Waits somehow keeps on creating compelling music and stories when
many keep expecting him to burn out.
His fifth album Foreign Affairs is in
many ways his most ambitious album
so far. For one thing his voice has
regained its tone and texture after it
had receeded to a growl on Small
Change. This alone makes his ballads
and tender material that much better
and more believable. In fact, he's
singing beautifully on Foreign Affairs.
Produced by Bones Howe this album, like Small Change, was recorded
live in the studio direct to two -track
stereo tape without the benefit of overdubs or re -mix, and completed in only
five sessions. The orchestrations are
even fuller this time around which
makes the record all the more impressive. As for the sound that this
recording technique achieves, if it isn't
direct -to -disc sound, it is as close as
commercial recording is likely to get.
The lengthy murder mystery story
Potter's Field that opens side two is a
AUDIO
January 1978
thrill -packed adventure with stunning
washes of orchestra arranged and conducted by Bob Alcivar. lack & Neal, apparently Kerouac and Cassidy, is
another recitation piece half -sung,
half -spoken, and all sheer acting. It
takes place out on the road to California with a crazy nurse in tow. Barber
Shop is another funny kaleidoscope of
shop talk, circa 1964, when hair was
just getting out of control and passing
a whole generation by as they were losing theirs.
Waits' hand on an emotional slow
song has never been surer. The duet
with Bette Midler on I Never Talk to
Strangers is charming. That one,
Muriel, the story of an affair with a girl
and a cigar, and Burma Shave are as
taut and sharp as anything Waits has
done.
Raconteur, balladeer, or whatever
you call him, Tom Waits shares the
space he occupies with no one. He's a
peculiar kind of unnatural resource.
When Small Change appeared a year
ago, I called it something like the
clearest roadmap yet to the Waits ter-
rain. Well, Foreign Affairs is clearer
yet. It's more approachable, less
militantly iconoclastic, and a great
album. The kid just keeps topping
M. T.
himself. call that growth.
I
Sound: A
Performance: A
Little Criminals: Randy Newman
Warner Brothers BSK 3079, stereo,
$7.98.
Randy Newman's last album Good
01' Boys, released in 1974, correctly
predicted the country's political
Southern drift. Awfully prescient, that.
The new one deals in small time
scams and perpetrators. Randy
Newman's brilliant edge is honed
sharp as ever. His songs are almost
never to be taken at face value, for the
person singing the song is usually as
much a character as anyone in a
Newman song. Consider the desperate
fellow trying to stave off a loan shark
in You Can't Fool the Fat Man. The title
song follows in which a family of big -
time crooks take a young one to task
for dealing dope and other small-time
operations such as sticking up gas stations. Next is a little vignette tallied
Texas Girl at the Funeral of Her Father,
a poignant scene indeed. lolly Coppers
on Parade follows, a tale of a starstruck little boy goggle-eyed at
parading police (the day after first
heard the song
chanced on the
Philadelphia German -American Police
Association parading, a truly scary example of synchronicity).
Another
disturbing vignette closes that side, In
Germany Before the War. And I've not
even mentioned Short People, the song
that opens the side ("They wear platform shoes on their nasty little
feet/Well, don't want no short people
round here.")
The other side includes Baltimore a
picture of the grey life of that drab
city, my home town. I'll be Home is
one Randy wrote about eight years ago
and never got around to recording until now. Rider in the Rain is really a
cowboy song for a Sergio Leone spaghetti film, or if it isn't it should be.
Kathleen (Catholicism Made Easy) has
the immortal line "I've always been
crazy about Irish girls." And then
there's Sigmund Freud's Impersonation
of Albert Einstein in America, a song so
tautly written it's stunning. In one
verse Newman eloquently sums up
America's hopes and dreams as discerned by an outsider:
Americans dream of gypsies, have
found
I
I
I
84
What more couic be asked' Dyne's famous A-25 is surely the
moEt popular quality speaker system in the world-the perfect choice
for more than 900 00) ears But now we've gcne 3 better. The next
step closer to perfection 'or al Dyna owne's is the feat new A-30XL
-Dynaco's first 3 -way bookshelf speaker. A deeper Icw-erd. more
efficient and smoo:her over-a I, Dynaco again sets the sta-idard.
Perfectionists on a budget will pick the all new A-25 Mark Il. For
ove -all value, it's the perfect answer. With refinement: like higher
efficiency to couple ocst witi the popular receivers for Dyna's
fantastic SCA-5C irteg-aled amplifier) it's scund gt.ality pLts it
worlds apart from -he Js&al package cho ces.
For those whose critical taste far outreaches their wallet;
chcose the new D-XL's a: a down-to-earth pr ce that is as sure
to please you as the listenirg.
3 from the leader in scund alue.
Ask for a demonstration and don't
settle for anything else. tf your dealer
doesn't have then. call Dynaco
collect at 609/228-3200.
Dept. A-1, Box 88, Blac<'nocd, N.J. 08012
I
And gypsy knives and gypsy thighs
That pound and pound and pound
and pound
And African appendages that almost
reach the ground
And little boys playing baseball in
the rain.
The album is well produced, with
but one anomaly. Because of Randy's
admittedly froggy voice, he gets
pushed way down in the mix, especially on the more fully backed, rocking
numbers that feature Eagle -styled harmonies sung by Eagles' Glenn Frey and
Don Henley, with their friend J.D.
Souther. At times they even drown him
out completely. Still, with the lyrics
provided, there is really no problem.
(Except that it's a poor, muddy
mix.-Ed.)
Little Criminals is an album which is
still unfolding before me. Those weird
characters that Randy Newman conceives and writes about are totally intriguing. Repeated listening, only
brings new insights into both songs and
writer. Randy Newman is at once one
of the most fascinating and important
D-20XL
AUDIO
Enter No..
18 on Reader
Service Card
January 1978
e
Everything but the effects of poor room acoustiics,
poor speakers or poor program quality with
the MXR Stereo Graphic Equalizer.
You've got a room that's a lot like a sponge ...
rugs, drapes, overstuffed chairs. And every time you
turn on your system, most of the aural glory gets
soaked up. Or, you've bought a sound system
that has an impressive price but alas, a depressing
sound. Your records, tapes and radio sources may
sound good to some, but to you, the high fidelity just
isn't high enough. And you'd lose if you made
a trade.
Get into control with the MXR Stereo Graphic
Equalizer. It lets you tailor frequency responses and
adjust acoustics to your desires. Control 10 frequencies plus level on each of two channells. Play
with the lows, boost the mid -ranges, and scar
with the highs. Bring each speaker closer, or move it
farther away at the touch of a slide control. The
MXR Equalizer's frequency controls not only adjust
for the interior of your room, but also for the
interior of your system, making a small system
sound big ... a big system sound mammoth.
Built with the same ingenuity are our Compander
which enhances sound for home recording, and our
new Dynamic Processor, which brings recorded
dynamics to life and removes impulse noise.
Hear the entire MXR line at fine audio dealers.
Or write MXR Innovations, Inc., 247 N. Goodman St.,
Rochester, N.Y. 14607. Or call 716-442-5320.
Also distributed in Canada by
White Electronic Development Corporation,
6300 Northam Drive, Mississauga, Ontario.
(MxR) Consumer
Products Group
Ester No. 62 on Reader Service Card
85
writers we have, and Little Criminals is
an album that is very difficult to either
ignore or forget.
M. T.
attitude toward recording which in the
past has proven most effective. They
are, in every sense, the ingenues of the
music world-but Twilley Don't Mind
will probably stand throughout their
career as their worst record ever. Not
that it's bad, but it's as bad as they
could ever be, given their respective
Performance: A
Sound: C
Twilley Don't Mind: Dwight Twilley
Band
Arista AB 4140, stereo, $6.98.
Compared to just about everything
else around, the Twilley band is rock
'n'roll heaven. They've got the gift of
melody, a unique sense of rhythm,
strong voices, a youthful spirit, and an
talents.
life-it
The album doesn't breathe
reeks of calculation. Instead of experimenting, they are simply trying to
make hit records, and although songs
like Looking for the Magic, Tryin' to
Find My Baby, Chance to Get Away,
and Rock 'n' Roll 47 are potential
classics, the versions recorded here
sound stale and bland. Phil's vocals
carry nowhere near the emotional impact that they bring to these songs
onstage; the overall production sound
is more geared toward a consistent approach than a refreshing one, as it's as
flat as their first album's was spacious.
can understand that these guys
want to be successful today, and they
probably think that by co-opting their
style into something which, to their
ears, is more FM is a shortcut to
America's hearts. However, the result
is a record which doesn't sound like it
was a joy to make, so what's the point?
I
J. T.
Sound:
86
High Fidelity, September'77
the High Fidelity editors in a review of the Satin M -18X
cartridge. "The reputed clarity of moving coil cartridges is here
taken for granted rather than flaunted, resulting in sound that is
extremely smooth Satin, if you will."
Here's why. Satin MC cartridges with superior high flux magnet
ami light aluminum ribbon coil provide sufficient output to power
any fine stereo pre -amp without the need for pre -pre -amp or
booster transformer.
And Satin cartridges are the only MCs available with user
replaceable stylus. You will never need to send your cartridge to
the factory again.
Visit your franchised Satin dealer today to hear any of the fine
cartridges in the Satin line. You'll learn to believe in instant sound
superiority. instantly. Ask your dealer for a free copy of the Satin
"Guide to Moving Coil Cartridges." Or write directly to us.
So said
-
_OS IA
Osawa
CoN.Y..
New&York,
Inc., 521 Filch Ave
100177(687-5535-9)
Performance:
C
B
My Aim Is True: Elvis Costello
Columbia SEEZ 3, stereo, $6.98.
Stick to Me: Graham Parker & the
Rumour
Mercury SRM1-3706, stereo, $6.98.
The best thing about Bruce Springsteen is that without him, it's very likely neither of these albums would have
happened. Both of these artists are
touted as the "British Springsteen," a
comparison which, though it has a certain amount of feasibility, doesn't give
either enough credit.
Parker is a master performer with a
commanding presence on album
which buoys mediocre material to high
standards of listenability and, when
confronted by a truly great tune (he
writes about three per LP), shines. His
third record, produced by Nick Lowe,
is his best and most consistent to date.
Also, under the wing of said Lowe is
Elvis Costello, currently the rage in the
land of lobsterbacks and a fine artist in
his own right. Costello's debut album
carries with it an incredible amount of
style and charisma, in addition to four
or five of the best songs recorded all
year. There's a certain amount of
crudeness to My Aim Is True- possibly
due to their use of an eight -track
machine to record it on. However, the
guitar sounds shrill and trebly but not
necessarily in a bad way. There's a
heavy debt to Van Morrison, Phil Spector, and just about everybody except
the Beatles here, but all in all a very
pleasing and inspired record, a must
for any true rocker.
J. T.
Parker
Sound:
Elvis
B
Sound:
B
Performance:
B
(USA)1
Enter No. 36 on Reader Service Card
Performance: A
AUDIO
January 1978
Choose
Any Set
W17
zocrot98
s)
MOZARTt,R1
T'Ol-IAY
QuARTETTOITALIAND
53. MOZART Six String
Quartets to Haydn
(3 LPs)
Quartetto Italiano
54. BACH Six Sonatas
and Partitas For Solo
No obligation to buy
any future offerings.
(4 LPs)
Michele Campanella at
the piano
°u
43pE[EJTtiOV
TCHAIKOVSKY
This remarkable $8.98 offer is brought to you by The
International Preview Society-a highly selective record
program that does not oblige you to buy at any time.
These multi -record sets-and many, many more superb
albums-will continue to be offered in an exclusive Preview magazine every eight weeks (only seven times, a
year). Each issue highlights a Featured Selection
plus
an impressive variety of alternate selections. All at dramatically low prices. For example, you pay only $16.99
for a 3 -record set in our regular offerings. Only $21.49
for a 4- or 5 -record set. Both well below the suggested
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The Society's Bonus Plan will save you even more. For
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If you'd like to preview the Featured Selection, you need
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Audition Any Album At Home For Ten Days
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As Many As Four Records For The Price Of One.
You may choose any one of these multi -record sets for
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...
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TALÁ
87
N'-
...
...
55. LISZT Complete
Hungarian Rhapsodies,
Opera Paraphrases
52.BRAHMS Four Symphonies (4 LPs)
Claudio Abbado: Vienna Philharmonic,
Berlin Philharmonic, Dresden State and
London Symphony Orchestras
Violin (3 LPs)
Nathan Milstein
.
-.
.
..
c
`
,
50. TCHAIKOVSKY
Symphonies 4, 5
and 6 (4 LPs)
Yevgeny Mravinsky:
Leningrad Philharmonic
Sleeping Beauty
& Swan Lake
Herbert von Karajan:
Berlin Philharmonic
56. MOZART
Don Giovanni (4 LPs)
Arroyo, Freni,
Te Kanawa, Ganzarolli,
Wixell.Colin Davis:
Chorus and
Orchestra of the
Royal Opera House,
Covent Garden
57. BEETHOVEN The
Middle Quartets, Op. 59
Nos. 1, 2 and 3, Op. 74
No. 10 and Op. 95
No.11 (3 LPs)
Quartetto Italiano
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YES! Please send me, for my free audition, the
multi -record set I have indicated by the number
below. I may return it after ten days and owe nothing
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Send no money. We want you to judge for yourself
before you decide to buy. If you are not delighted after
ten days, return the set.
These are superior, silent -surfaced recordings by
Deutsche Grammophon and Philips. They come in a handsome hinged storage case with an informative, illustrated
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Every recording offered by the Society must meet the
rigid standards of the distinguished Carnegie Hall Selection Committee-headed by Julius Bloom, Executive Director of Carnegie Hall. Only albums of the most exceptional musical interest, artistic excellence and technical
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So do take advantage of this marvelous value and mail
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Enter No.
FREE BONUS
ALBUM
Return coupon within
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gift-TCHAIKOVSKY'S 1812 Overture.
Bernard Haitink: Concertgebouw Orchestra,
Amsterdam.
Name
Apt. No.
Address
City
State
Zip
Offer limited to the connecting 48 states. Offer expires June 30, 1978. Limit: one
membership per household. Only new members eligible. NOTE: All applications
are subject to review, and we reserve the right to reject any application.
41
on Reader Service Card
79122
Never Letting Go: Phoebe Snow
Columbia JC 34875, stereo, $7.98.
In a comfortable and personal
groove now, Phoebe Snow is merely
continuing, not innovating. Her best
new originals are Ride the Elevator and
Electra while 1928s Garden of Joy Blues
is the best cover song of the album.
Phil Ramone's production is his
typically "beautiful" job, marked by
fine craftsmanship. Never Letting Go is
good, but in no way extraordinary.M.T.
Sound:
B
-
Performance:
C
+
Young, Loud & Snotty: Dead Boys
Sire SR 6038, stereo, $6.98.
It's hard to tell who you're listening
to here-instead of capturing the excitement of the group, producer Genya
Raven injected her own ideas of pop
punk to buoy an album which is essentially not very terrific or representative
of the group. The drums are lost and
the vocals lacking in personality, but it
sounds like hours were spent on
special effects. It's a shame because
the group is at the very least exciting,
although they are not the most sterling
instrumentalists in the world. They've
got a lot of energy live, and a few of
their songs (What Love Is and All This &
More) actually are real neat. You can't
quite tell from this album, thoughmaybe next time.
J.T.
88
Sound: D
Revolutionary!
Sound -shaping taping mike.
-a
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microphones! Four tiny frequency filter switches built into the new
Shure 516EQ E-Qualidyne Microphone let you tailor sound for studio
effects in virtually any recording situation: flick a switch to add sizzle
to vocals . . . flick another switch to
highlight the sound of a bass drum. You
can even compensate for the acoustic
response of a room
right from the
microphone! In all, the 516E0 creates
16 different response variations that
can add a new, professional sound to
every tape you make. Available singly
or in pairs for stereo recording. Ask to
hear a recorded demonstration at your
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Never before
16
-
Shure Brothers Inc.
222 Hartrey Ave., Evanston, IL 60204
In Canada: A. C.
Simmonds & Sons Limited
Manufacturers of high fidelity components, microphones, sound systems and related circuitry.
Enter No. 64 on Reader Service Card
Performance:C +
Show Time: Ry Cooder
Warner Brothers BS 3059, stereo, $6.98.
Except for the opening track Show
Time is a live recording of the amazing
Tex-Mex band Cooder toured with last
winter. It featured accordian legend
Flaco Jimenez. As ever, Cooder
presents a joyously eclectic experience
on the disc.
The opener is a Gary U. S. Bonds
oldie, School is Out, which was released as a single at the start of summer and sank without a trace. It is a
bright, fun calypso -tinged number.
The live show opens with a rousing
Alimony from Cooder's first album, a
spirited romp. Jesus Is On the Mainline
is next. This standard of his repertoire
gives Ry a chance to stretch out on
some of his patented acoustic bottleneck work. Cooder lets his backing
singers Eldridge King, Terry Evens; and
Bobby King take lead vocals on Dark
End of the Street while he plays some
bone -tingling, eerie electric bottleneck
leads as the whole band slides back in.
Flaco shines on the medley that
opens side two. Seguin written by his
AUDIO
January 1978
father is a standard showdown number
in
Flaco's native circles in the
Southwest and his is the current
definitive version. The quirky jump
Seguin has leads into Woody Guthrie's
Do Re Mi. Excellently played, the
segue is still somewhat forced. Volver,
Volver is a Cajun piece followed by a
surprisingly somber reading of Alfred
Reed's How Can a Poor Man Stand
Such Times and Live, another Cooder
standard. The album closes with a
smoking Smack Dab in the Middle.
Ry produced Show Time himself.
The sound is good if not exceptional.
The music is spirited and fun, slightly
stronger on the first side. Most of all,
though, it is true to Cooder's own
special vision and identity in a Big Mac
world.
M.T.
Sound:
Performance:
B
Max 128 tape
copies sound
patter than
your records
B
Bad Reputation: Thin Lizzy
Mercury SRM-1-1186, stereo, $6.98.
On the verge on busting out for
several albums, Bad Reputation may
finally be "The One" for Thin Lizzy.
The songs are solid and the production
has never been better thanks to the
sharp ear of Tony Visconti who is one
excellent man to have behind the
board. Tony V. is known for being able
to crystallize the sound of difficult
bands like Bowie, Osibisa, Strawbs, T.
Rex, Caravan, Gentle Giant, and many
more. Here he's done it again.
Phil Lynnot, Irish born leader/
bassist/singer, again has had a hand in
writing all of the material. It is better
stuff than their last one, Johnny the
Fox, which suffered from the aftermath of a Lynnot bout with hepatitis.
They sound lean, hungry and ready for
the big leap this time. Dancing in the
Moonlight could be the elusive hit
they've been seeking, an erotic,
slithery Van Morrison style song.
Southbound and Downtown Sundown
are a similar tuneful pair wisely placed
a side apart. That Woman's Gonna
Break Your Heart and Killer Without a
Heart have robust, beefy guitar power
lines at the spine. Killer and Soldier of
Fortune represent Lynnot's continuing
concern with the violence of his home.
The finale Dear Lord is something of a
production number that opens with an
ethereal angel chorale sung by
multiples of Tony's wife Mary Hopkin
and segues to a roaring conclusion.
Lizzy knows how important Bad
Reputation is for them. If it flops, it
could conceivably rend the group
asunder just as they are getting mean.
Up to release this album has everything right. Now it's in your hands. M.T.
Sound:
A-
AUDIO
January 1978
ULTRA DYNAMIC 'UL
i. UL
i
RA DYNAMIC "Ú035.K
fnaxet ULTRA DYNAMIC -11035
'flaxen
ULTRA DYNAMIC Lp.35.
POWER LINEAR
First, you play your favorite records, tapes or FM broadcasts
through the expander section of our Model 128 to restore missing dynamics
and reduce noise that's been robbing you of live performance realism.
Then, you preserve the dynamics of this vibrantly enhanced
program by copying through the 128 noise reduction section to eliminate
tape hiss normally added by copying.
Finally, you play back your taped copy through the decoder of your
dbx 128 and hear music with more dynamic ronge and detail than you've
ever heard before off any tape. Sound unbelievable? Well, it was until the
dbx 128 came along. But now you can make dynamically enhanced copies
that sound better than the originals, with no hiss build-up, on any open-reel,
cartridge or cassette recorder.
To learn how, ask the dbxpert at your local dealer for o
demonstration of the new dbx 128. For full product information and a list of
demonstrating dbx 128 dealers, circle reader service number or contact:
Performance: A
dbx, Incorporated, 71 Chapel Street
Newton, Mass. 02195 617-964-3210
Enter No. 14 on Reader Service Card
x
89
90
The Quintet: V.S.O.P.
Columbia C2 34976, stereo, $9.98.
Piccolo: Ron Carter Quartet
Milestone M-55004, stereo, $9.98.
Bundle of Joy: Freddie Hubbard
Columbia JC 34902, stereo, $7.98.
V.S.O.P. began a little over a year
ago as a one-off concert followed by
an album (Herbie Hancock-V.S.O.P.),
all highlighting the career of Herbie
Hancock. The quintet sides of that
album were only an approximation of
the power this group had in the days of
its original exploratory conception. It
may have turned people on to their
original ideals, but for many it was a
reminder of how far removed they
were from their heritage.
The subsequent tour and this album
culled from it, The Quintet, casts still
another shadow on the honesty of
these musicians with their music.
There is an uneasiness which pervades
this album taken from live concerts on
the West Coast in mid-July. It's a
feeling of discomfort and hesitancy as
to just how far they can go. Never a
virtuoso like Cecil, McCoy, or Jarrett,
Hancock depends on touch, shading,
and spacing for his sound. Where he
used to pick the perfect note every
time, Hancock now slips into pop classical arpeggios and facile glissandos. His new style coupled with
odd miking make the piano sound flat
and electric. Tony Williams is still
surging, trying to equal his peaks with
Miles and Lifetime. He is tighter and
more confined than his previous
pulsating technique. Here he overplays
in his ensemble work and is technically
deficient and void of ideas on solos
like Lawry. Half -formed ideas lead to
clashing sticks and flustered
execution.
Wayne Shorter pays the penalty
here for rarely stretching out with
Weather Report. Given the freer extended context of the Quintet, he plays
close to the melody with brief unattached riffs. Freddie Hubbard blows
hot and cold. Sometimes he falls
victim to the same unconnected riffing
as Shorter. Other times he plays a
warm, flowing flugelhorn or fiery,
compact trumpet. On Darts his solo
charges, stops, dips, and swells again.
Ron Carter is the only one who consistently portrays himself with his
strong, throbbing bass lines.
The album is poorly recorded with
uneven miking and mixing, which has
Williams' drum set at varying levels
and Hubbard's trumpet sometimes
fading in and out of the ensemble.
One question raised by V.S.O.P. was
what they would do afterwards. Would
they pick up from the early 70s and go
on, or would they return to the formula
music they had been playing before?
Based on two post-V.S.O.P. albums, it
appears both. Ron Carter never left the
mainstream of jazz, as did Hancock
and Hubbard, but has kept his feet in
both worlds. He, along with Richard
Davis, is everyone's bass player. His
newest album features his unusual
working ensemble with Ben Riley on
drums, Kenny Barron on piano, and
Buster Williams on double bass. Carter
himself plays the leading soloist with
AUDIO
January 1978
his piccolo bass. The combination of
Williams and Carter creates a dark,
rich atmosphere. Because of Riley's
fleet propulsive drumming and Kenny
Barron's long overlooked piano, it
never becomes oppressive.
Recorded earlier this year at Sweet
Basil in New York, the Carter quartet
runs through standards, ballads, and
cookers with an ease that makes their
unique instrumentation seem natural.
The album has an immediate impact
with the strong melodic variations of
Saguaro or the Latin tinged Tambien
Conocido Como that bears a striking
similarity to Chick Corea's La Fiesta.
While Carter's leads are continually
inventive with twists thrown into his
liquid improvisations, it's the contrasts
between the two basses that holds the
most interest. Carter's steady flow is
set against Williams' brooding fullbodied tone. On Little Waltz Williams'
pizzicato supports Carter's sweeping
arco, while on Blue Monk they trade
off a flurry of exchanges that blend
smoothly into one another. Carter's
Quartet is deep but crisp, and recorded here with a clarity that accentuates the many subtle shadings.
Freddie Hubbard is lost forever.
Bundle of Joy is so smooth that it
might even slip past the disco audience he seeks. Hubbard's horn is
swathed in plush strings and velvet
voices that are more in tune with a
Bert Kaempfert production. After
listening to his sentient solo on Darts,
Bundle of Joy sounds like breathing
lessons.
Like most cross -over records, this
one is immaculately recorded with a
spotless satin sheen. There are no
rough edges here, only a vacant glow.
If V.S.O.P. meant anything for Hubbard, it was a sharp message that he
could not return home. John Diliberto
V.S.O.P.
Sound:
B-
Performance:
B-
A-
Performance:
A-
Performance:
D-
Carter
Sound:
Hubbard
Sound: A
One Night Stand With Les Brown
Joyce 1008, mono, $5.98.
One Night Stand With Les Brown,
Vol.2.
Joyce 1038, mono, $5.98.
One Night Stand With Les Brown &
Doris Day
Joyce 1020, mono, $5.98.
The Best of Les Brown
MCA 4070, mono, $7.98.
AUDIO
January 1978
Brown and His Band of Renown
EMI Electrola 1C 054 81 712, "Duo phonic", $6.98.
How Brown Sounds Now
BASF G 22840, stereo, $6.98.
Sessions, Live: Les Brown, Harry James
Calliope Cal 3005, mono, $6.98.
Many leaders never recovered from
the slump that flattened the big bands
after World War II, but despite the
almost complete indifference of the
music business, and particularly the all
Les
CLEAN YOUR
G
RECORDS
THE PROPER
WAY.
important
recording industry, Les
Brown and his splendid Band of
Renown have survived with the help of
Bob Hope, television appearances with
Dean Martin and on the Hollywood
Palace, the recent "nostalgia" surge,
and the bright.arrangements and crisp
musicianship Brown has always insisted on. Les Brown has not recorded
with a major label for over 10 years,
and that's why this spate of specialist
collector's releases are most welcome.
Apparently there is a big audience in
Germany for the kind of middle of the
road big band swing Brown represents,
because both the BASF issue and the
EMI Electrola "Masters of Swing"
reissue are imports from West Germany.
What Les Brown has always done
best is to skillfully translate jazz into
rhythmic,
beautifully
modulated
dance music. Listening to Joyce's One
Night Stand With Les Brown is to catch
the Band of Renown at the peak of its
commercial success, just at the close
of World War II. Despite the muddy
sound of these airchecks from the
Baker Hotel in Dallas, one can savor
the bite and inflection of the band's
superb brass, and the rich blend of its
resonant sax section. One Night Stand
With Les Brown Vol. 2 is from 1949
radio transcriptions and live broadcasts produced by the US Marine
Corps in which Brown shares the
spotlight with Billie Eckstine. Buddy
Rich had joined Brown early in 1949,
and his presence is felt in the
powerhouse, swinging assault of
Carioca, a fine piece of big band jazz
which reflects be bop's tight tempos
and strident harmonies. Rich also
drives the Brown ensemble along in a
vigorous performance of the band's
theme, Leap Frog, and a bright, zestful
reading of I've Got My Love To Keep
Me Warm, a 1948 best seller for Brown,
and the only hit recording made by a
big band during the period of post war
decline. One Night Stand With Les
Brown Vol. 2 also offers authoritative,
slightly boppish solos from trumpeter
Frank Beach, tenor man Dave Pell,
altoist Ronnie Lang, and clarinetist
Abe Most that offer fresh evidence the
Les Brown band was a swinging dance
DRY CLEAN THEM.
Some of the widely advertised record
cleaners would have you believe that you
must use a liquid or chemical preparation
to clean your records properly. What they
don't like to talk about is the contaminants
that are left behind.
Now, at last, there's Pixoff. It can't
leave behind any contaminants because it 91
works effectively without liquid or chemical
cleaners. Pixoff's specially formulated and
patented cleaning surface creates a force so
much greater than static force that it actually
lifts dust and dirt from the bottom of even
the deepest grooves. And Pixoff does it
gently and safely!
But what's even more important, you
can hear the remarkable difference in reduced pops, crackles and distortion after a
Pixoff cleaning. The original sound comes
through because the stylus is not roadblocked by pollutants, and can track the
grooves precisely. And as a bonus: your
stylus lasts longer.
Restore the original brilliant sound of
your records-the Pixoff dry cleaning way.
Available at audio or record dealers.
Should your dealer be unable to supply, please
use coupon to order direct.
PIXOrr
The International Award -Winning
Record Cleaning System
rSonic Research,
Inc., Sugar Hollow Rd..
Danbury, Conn. 06810
Please send
Pixoff Record
Cleaners @ $17.50 ea. postage paid.
Name
Address
City/State
Zip
Check or M.O. only. No CODs.
Conn. residents add $1.23 ea. sales tax
Enter No. 45 on Reader Service Card
92
orchestra founded on jazz principles.
Even on the broadcasts featuring Doris
Day (incidentally, one of the best band
singers ever), Day's intimate, mellifluous voice is set off by vibrant orchestral voicings and by the extensive
use of improvising soloists. A good example is Day's blithely swinging Taint
Me which offers us Ted Nash's pulsing
tenor and the solidity of attack of a
powerhouse trumpet section.
The cleanliness and clarity of the
Brown ensemble are beautifully captured on MCA's The Best of Les Brown,
a collection of 20 monaural sides
made for the Decca subsidiary, Coral,
in the early 50s. By 1950 Brown had
replaced Buddy Rich with Jack Sperling, a Bunny Berigan discovery, who
had been a mainstay of the Tex Beneke
rhythm section. Sperling, who knows
how to swing a big band, has remained
with Brown, off and on, for the past 27
years. By the early 50s the pattern of
activity that permitted Brown to survive in an age of Eddie Fishers and
Johnny Rays, and later through the
rock explosion, had begun to emerge.
The band remained California-based,
playing weekend dances, making
recordings, allowing its men to do
freelance studio dates; there were, of
course, the trips to entertain US troops
in Korea and Vietnam as part of the
Bob Hope entourage.
MONITOR
L {i(1
:,,:
T,.
The best way to accurately
see what's going on in a system
is with TEAC's MB -20 Meter
Bridge.
The MB -20 includes 4 VU meters with LED peak level indi-
cators, built-in
mixer,
4 x 2
monitor
headphone amplifier,
independent monitor switches
for each channel and a variable input sensitivity selector
(+4, 0, -3, -10 dB).
Optimum flexibility for any
line -level application. About
$200 at your TEAC dealer.*
T EAC
Actual resale prices determined by TEAL dealers.
EXCEL
Get clean, undistorted signals
under the most demanding recording
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Low mass
polycarbonate dia-
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pop filter is removeable.
One of the most rugged and durable
microphones you can buy. About $100
at your TEAC dealer.*
Rose's in Chicago or King Karol in
NYC); the ear -bursting highs achieved
in the sound transfer job by the German engineers can be compensated by
adjusting the treble controls. The German BASF sides, cut in Hollywood in
1974 by the Brown band, offer well
balanced stereo sound, but, with the
exception of the swinging Thanks for
the Memory, rather pallid performances.
The recently issued Calliope Sessions Live, which devotes one side to
Les Brown and the other to Harry
James, is quite another matter. It offers big band excitement together with
a terrific sonic punch.
These are
monaural tapes, recorded in 1958, and
the Brown band swings like hell on
such numbers as Ridin High and Taps
Miller. Les Brown once told this writer
during an interview how, even today,
at dances he steadfastly refuses to
play rock and roll, informing his audiences what to expect from the band:
"As a general rule, I tell them-we're
still a swing band." Amen to that,
brother.
One Night Stand With Les Brown
Sound:B-
Performance:A
One Night Stand With Les Brown
Vol. 2
*Actual resale prices determined by TEAC dealers.
The Brown band recorded entirely
on the west coast for Coral, from 1950
until 1954, and then for Capitol, from
1954-1957. Some of this extremely
well -recorded material is available in
the MCA double set and in the EMI
reissue. Both the Coral/MCA and the
Capitol/EMI albums contain high
fidelity re-recordings of Brown hits and
standards. The MCA set includes many
Frank Comstock arrangements (Lullaby
in Rhythm, the Gal From Joe's) that
utilize the piano -guitar voicings
popularized by George Shearing in the
50s. There's a rousing performance of
From This Moment On, and several excerpts from a Hollywood Palladium
concert that Coral recorded live in
1953. The musical content of this concert is of a very high standard; it includes a surging solo by Dave Pell's
tenor on Montoona Clipper, and Ronnie Lang's lustrous alto on Sonny
Burke's Midnight Sun. The EMI/Electrola albums spotlight the lively surge
and attack of the Brown ensemble on
Just You, Just Me; Melancholy Baby;
Swinging Down the Lane; Leap Frog,
and the Piccolino and trumpeter Don
Fagerqu ist is a standout with a mellow
solo on Stardust. The EMI Brown Ip is
an outstanding big band collection if
you can find it (check specialist stores
that handle jazz and pop imports like
Sound:
C
+
Performance:
A+
ST
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check acoustic characteristics of your
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response.
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and 15kHz. About $70 at your TEAC
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T EAC®
*Actual resale prices determined by TEAC dealers.
ORGANIZE
keyboard textures, tight, super -crisp
drumming (by Harvey Mason; who
else?), "hot" syncopated bass lines,
tricky instrumental interplay lending
an illusion of well -rehearsed spontaneity, and of course melodies and structural hooks inspired by Return to
Forever and Jan Hammer-all manipulated with above -average skill and
taste. Naturally, it never hurts to throw
in a couple quieter tracks for varietyone spacey, with a powerful, quasi symphonic interlude (Dolphin Dreams),
the other more reflective and acoustic
Clean up cable mess with
TEAC's PB -64 Patch Bay. Takes
Convenient point-to-point
connection design accepts
standard RCA phone plugs.
Textured surface makes labeling easy.
About $100 at your TEAC
dealer. *
-
One Night Stand With Les Brown
& Doris Day
Sound:
B
-
Performance: A
The Best Of Les Brown
Sound:ALes
Performance: A
Brown & His Band Of Renown
Sound:
B
+
Performance:A +
How Brown Sounds Now
Sound: A +
Performance:
The only familiar element missing is
wretched, omnipresent background
chorus. Replacing it, we have a
wretched foreground vocalist (Bill
Champlin of the Sons of Champlin),
thankfully appearing on only one cut,
an overly literal rendering of Stevie
Wonder's Isn't She Lovely, sung with
more effort than feeling. Not only does
the arrangement add very little to a
song already over-exposed, the vocal
severely damages the mood created by
the rest of the album.
The one thing that effectively sets
this album above so many others of its
type is Ritenour's tasty guitar solos.
Amid the electronic technology
(including his frequent use of a 360
a
system interfacing.
*Actual resale prices determined by TEAC dealers.
Systems
Polyphonic
Guitar
Syn-
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conventional cables. Just flawless
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Color coded with moveable rip stop. $5 and up at TEAC dealers.*
C
Sessions: Live
Sound: A +
wear.
Rubber Cleaner prevents harden-
ing, cracking and loss of roundness in
rubber parts.
Stainless Polish keeps exposed
metal work gleaming.
All in spill -proof dispenser bottles.
About $9 at your TEAC dealer.*
tie
Recorder Maintenance Kit
T EAC®
*Actual resale prices determined by TEAC dealers.
thesizer to subtly alter his clean timbre, plus a wah-wah and similar attachments), stock rhythm patterns, and
tunes obviously designed for maximum airplay, one hears a well-developed'personality in the modern jazz guitar tradition of Wes Montgomery,
Pat Martino, and pre-Breezin' George
Benson. Unlike too many talented
jazz-rockers who should know better,
Ritenour takes care to consider what
he's playing, instead of churning out
the exhausted so-what cliches that
pass
Performance:A +
PROFESSIONAL SERIES
LOW CAPACITANCE
Dual Audio Cable
Captain Fingers: Lee Ritenour
Epic PE 34426, stereo, $6.98.
Lee Ritenour is one of the busiest
studio guitarists in L.A., a must-have
participant on countless jazz, jazzrock, soul, and disco sessions. Thus, it's
not altogether surprising that Captain
Fingers is basically in the same jazzrock -funk fusion vein as on dozens of
other studio -musicians -gone -solo albums.
Indeed, the title track and Margarita
could very easily serve as representative samples of this genre. All the
usual ingredients are there-multiple
AUDIO
Head Cleaner to prevent loss in
frequency response and unnecessary
(Sun Song).
any combination of 64 inputs
and outputs for just about any
T EAC®
CLEAN
January 1978
TC -203
3 M.
for improvisation these days. He
injects some originality and believability into the proceedings, and the
album is much better for it.
This is not to say that there's
anything so complex, adventurous, or
astounding here that soars above the
heads of the "average record buyer"
(at least that's whom
presume this
barrage of "fusion" albums is directed
to, not to the "serious" listener).
Nonetheless, interest actually increases with familiarity, if only because Ritenour's inventiveness is not
immediately apparent in his hackneyed surroundings. In any case, this is
one of the better recent albums in this
I
genre.
The
recording is excellent, with
beautifully defined synthesizer overlays, an incisive snap to the drums, and
*Actual resale prices determined by TEAC dealers.
93
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94
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effective mix that keeps sight of the
fact that this is a guitar album. The
strings (on three cuts) are a little conan
stricted,
though.
The
average.
Sound:
surface
is
Tom Bingham
B+
Nova: Steve Reid
Mustevic Sound
Performance: B+
MS
2001,
stereo,
$6.98.
Despite its Arabic and Latin
rhythmic input, Steve Reid's debut
album, Rhythmatism was a welcome
throwback to the semi -avant-garde
post-bop purveyed by Blue Note in the
late 60s. Nova magnifies the Third
World influences and extends them into an area which, while still derivative,
would seem to hold great potential for
future development.
Reid is joined by members of his
early -70s collective band, the Legendary Master Brotherhood. Ahmed Abdullah is one of the most imposing
trumpeters to emerge in recent times,
with a piquant, incisive tone, and an
ear for perfectly calculated melodic
constructions, logically relating each
well-chosen note to its predecessors
and succesors. He plays especially well
on his own compositions, Lions of Juda
and Long Time Black. Joe Rigby is a
promising reedman, with a playful
soprano solo on Free SpiritsUnknown, plus a surprisingly pastoral
turn on Long Time Black, where he's
reminiscent of Arthur Blythe.
Les Walker is a dramatically emotional and vigórous pianist (note his
own Free Spirits-Unknown), while his
organ work is the most mature evolution from Sun Ra's space -warp style
ever assayed. Listen to his jabs, wails,
swirls, and whines on the Arabicflavored Lions of Juda, where he
effects bizarre, razor-sharp, otherworldly organ registers, grounded in
Sun
Ra's
discordant Venusian
diapasons.
Reid is a buoyant drummer, contributing jangling cymbal splashes
which ride all around the music, as
well
as a
highly-developed accenting
sense on Long Time Black. Reid gives
the band direction without being
pushy. The album's most powerful
track, Sixth House, recalls vintage
Pharoah Sanders. The dignified processional theme is earnestly stated by Abdullah and Rigby over a kinetically
Acoustat
Corporation
4020 North 29 Ave Hollywood. Fla. 33020
Enter No.
1
on Reader Service Card
rumbling background.
The recording is far below the quality of the music. Though Abdullah's
trumpet has a well-rounded bite,
Rigby's soprano is noticeably pinched.
But at least the horns sound like horns;
Walker's piano sounds more like a gypsy cembalon! While you can make out
the fact that there are two bassists
(Richard Williams, electric; Luis Angel
Falcon, acoustic), their lines are too
murkily mixed to follow with any real
certainty. Reid's cymbal timbre sounds
unnaturally squashed together.
Available from Mustevic Sound,
Inc., 193-18 120th Ave., New York, NY
11412.
Tom Bingham
Sound: D +
Performance: A
Ellington'55: Duke Ellington
Capitol SM -11674, mono, $3.98.
This is a landmark album. The concept back in 1955 was to free Duke Ellington and his orchestra from the restrictions of time and to let the material set its own pace. As a result the
seven selections run from four minutes
to over six minutes. The performances
are unusually emotive and sensitive,
even for the great Ellington outfit.
Even better, the recording is of brilliant quality with the subtle colorations of Ellington's music shining
clearly.
The album includes classical ElIingtonia like Black and Tan Fantasy
and Rockin' Rhythm plus such
favorites as Fats Waller's standard
Honeysuckle Rose and Basie's One
O'Clock Jump. The only drawback of
the reissue is that one or two numbers
were omitted from the original.
However, this classic album has
been out of print far too long. This
reissue is an Audio Best Buy.
Michael Tearson
Sound: A
Performance:
A+
Basie & Zoot: Count Basie & Zoot Sims
Pablo 2310 745, stereo, $7.98.
This album has been out for quite a
while; don't miss it, it is one of the
stellar jazz releases of the past year
and a half. This is the first time Basie
has been paired with a tenor saxophonist and a rhythm section only-it
is, indeed, a pared -down rhythm section consisting of Louis Bellson on
drums and John Heard on bass. Producer Norman Granz has cleverly deprived Basie of the use of his long- time
guitarist Freddie Green, and without
this rythmic "feed" from the guitarist
Basie is forced to open up with his left
hand, playing with more of the twohanded striding style that he had all
but abandoned over the past two
decades.
Honeysuckle Rose, one of the many
outstanding tracks, rockets along with
AUDIO
January 1978
plenty of two-fisted Basie and with
Zoot easing in with a supple, rhythmic
solo that lifts the performance with
tremendous momentum and vigor. The
same feeling of empathy, inspiration,
and swinging joie de vivre are evident
on Never Knew and Paper Moon with
both musicians in their element. Basie
is, of course, one of the best chordal
accompanyists and rhythm feeders in
the business, and he is particularly fine
on the up -tempo Nat Cole, a pulsing
tribute to that singer's piano-playing
days. Zoot is at his very best in this
Pablo session, revelling in his musical
partnership with Basie. Over the years
he has developed a formidable tone
and technique, which combined with
expressive melodic gifts, rank him with
the greatest of mainstream jazz
tenormen.
Unalloyed swing is the Count's and
Zoot's business, and if, like this writer,
it's your pleasure in jazz, you too will
revel in these splendid performances.
1
John Lissner
Performance:
Sound: A
Best
Friends:
Cleo
Laine
&
A+
John
Williams
RCA AP L1-1937, stereo, $7.98.
The voice of Cleo Laine has been
placed in the jazz category; at times
this vocal virtuoso sounds like a jazz
singer, not far removed in timbre from
her husband John Dankworth's expressive alto saxophone. Ms. Laine's vocal
gymnastics can be impressive as she
ranges across barriers of register with
fearless abandon and, at the same
time, with astonishing flexibility and
freedom.
Alas, on this recent RCA recording
teaming her with classical guitarist
John Williams, a string quartet, rhythm
section, and Dankworth's sax and
clarinet, Ms. Laine is not only unadventurous, but downright dull. The Laine Williams combination is very disappointing; two major talents converge
and nary a spark flies. Williams, a fine
guitarist, plays pleasantly throughout,
and Cleo has her best moments on
Charms, a song she co-authored with
Dankworth, and on the Beatles Eleanor
Rigby (also highly recommended is a
fine version of Send in the Clowns
Laine recorded on one of her previous
RCA releases). One number that Cleo
Laine and all singers, jazz or pop,
should drop from their repertoire is the
sappy Feelings, an enormously popular
saccharine dirge that is the opening
cut in this lackluster, but extremely
well recorded album.
John Lissner
Sound: A
AUDIO
Performance:
January 1978
B-
Time for a Change: Monnette Sudler
Inner City IC 2062, stereo, $6.98.
Monnette Sudler has been one of
the few descendants of the Wes Montgomery school to translate his playing
style into 70s contemporary and avantgarde jazz. Though she has played with
avant-garde figures like Sunny Murray,
Sam Rivers, and Khan Jamal, her debut
recording, Time for a Change, is very
straight ahead, with a fleet, fast changing rhythm section of Philadelphia
musicians, including Oliver Collins,
piano; Gerald Benson, bass; Newman
Baker, drums; with the addition of
William Duke Wilson on congas,
bongos, and percussion for the three
quintet tunes.
The performance is tight and supportive, pushing Monnette's guitar to
the fore. The first side consists of three
cookers, with Monnette playing fast,
punchy lines that dart through the
rhythms. Particularly on the opener,
Easy Walker, Monnette establishes
herself with a fast, buzzing head over
the tension of congas and drums. Her
solo shows the influence of Sonny
Sharrock with its unpredictable
slashing notes coupled with the harmonic logic of Wes Montgomery.
The second side becomes more introspective with a beautiful unaccompanied staccato solo which leads
into the tremulous Let Us Love. Mon nette builds her solos around a simple
melodic and rhythmic framework but
expands carefully constructed substructures within it.
The recording is captured raw and
alive with the sparse accompaniment
setting off Monnette's guitar. If
anything, Monnette could use a
stronger counterpart to share the lead
work and thicken her group's sound.
But Time for a Change should place
Monnette Sudler in the forefront of
new jazz guitarists.
John Diliberto
Sound:
B
Performance: B+
Look to the Rainbow: Al Jarreau
Warner Bros. 2BZ 3052, stereo, $8.98.
Al Jarreau is one of the most striking
club performers to emerge in the last
few years. He is a vocalist in the King
Pleasure tradition, gifted with great
ability, who has the range to caress a
ballad or scat hellfire. His first two
albums, both studio jobs, give no real
hint of the man's demon abilities. The
third one corrects this situation with a
double-disc live recording from an
early 1977 European tour where, from
the sound of it, he wowed 'em.
His voice is a fine horn soloing, or a
sneaky, clever sound effects machine
as in the brilliant opening passage on
his version of the late Paul Desmond's
You'll think it's the
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95
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The results are astonishing! Frequency
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Distortion is 0.25 percent. And the
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Take Five. Mostly Jarreau's voice is a
chameleon bound only by his own imagination. He backs it with a basic jazz
quartet featuring Lynn Blessing on
vibes and Tom Canning on keyboard,
pros who do the job.
Each of the four sides has a pair of
Jarreau originals and a cover. The
material proves the album's chief
weakness. Jarreau is a much better
vocalist than composer. His covers
nearly always feature his most
thoughtful and moving performances.
He is growing and that is a good sign,
for he is also young and hopeful, which
adds up to a lot.
The record is a good live recording
technically. The main focus is appropriately right on Jarreau where it
should be. It misses none of his
dynamics, from a flutter to a scream.
So far the only ways to catch the
real Al Jarreau are on Look to the
Rainbow or to see him in person
Michael Tearson
yourself.
Sound:
96
A-
Performance: B+
Duo 1, Duo 2: Anthony Braxton/Derek Bailey
Emanem 3313 & 4, stereo, $6.98 each.
Volume Two, Solo Acoustic Guitar:
Eugene Chadbourne
Parachute P-002, stereo, $6.98.
The guitar is a latecomer to the improvised -music avant-garde, perhaps
because until recently all modern jazz
guitar styles (even the rock -influenced ones) could be traced back to
Charlie Christian. It took the farsighted genius of British guitarist
Derek Bailey to ultimately free the
guitar from its melodic straightjacket
by applying techniques and concepts
resembling those of the "classical"
avant-garde to the instrument.
Duo 1 and Duo 2, live recordings of
one spontaneous-interaction concert
which pitted Bailey with multi-reedman Anthony Braxton (originally issued as a double album in England),
are among the relatively few examples
of Bailey's work to reach these shores.
His startling, totally innovative style
strings together disjointed plucked
textures, electronic hums, percussive
rappings and scratchings, dissonant
chordal splashes, and the like. He extracts such unique timbres from both
electric and acoustic guitar in a manner which seems anarchic at first, but
which reveals its own original system
of logic when examined in toto.
Anthony Braxton's playing is, of
course, much more familiar to followers of improvised music. His approach
to Duo 1 consists of extended trills,
harmonic squeals, angry growls, dis-
arming honks, controlled reed
squeaks, and phrases constructed
from notes that are more spit out than
cleanly articulated. On Duo
2,
he adds
blowing into his flute without notes
coming out, plus melodic flittering
that sounds like the "Afternoon of a
Hyperactive Faun" to his bag of tricks.
As usual, all these elements become
not only meaningful but musical in
Braxton's hands.
Both Duo 1 and Duo 2 evince an extremely high level of inspiration and
counter -action throughout. Braxton
has a much better developed sense of
humor than the colder, virtually emotionless Bailey. Still, their innovative
instincts are supremely compatible,
making both albums classics of their
genre. Though the two records are
most effectively heard as a unit, Duo 1
may be slightly more accessible to the
uninitiated listener.
Both Braxton and Bailey are very
cleanly and closely recorded, with the
balance barely favoring the reedman.
Duo 1 is plagued by a surfeit of surface crunches and bursts of static
which interfere with a careful scrutiny
of the music. Duo 2 has a much quieter surface.
Eugene Chadbourne is one of the
first of what may be a new wave of
post -Derek Bailey guitarists. Though
would be incredulous if the Canadian
musician professed an ignorance of
Bailey's advances, Chadbourne has
developed his own sonic world,
which takes the acoustic guitar even
further than his English model.
After hearing the other -worldly
sonorities that emerge from Chad-
bourne's modified instruments, in
some cases with the frets removed
and cello and harp strings added, one
must wonder if Chadbourne hasn't
reached the ultimate in non -guitar like guitar music. Though some of the
sounds on Volume 2, Solo Acoustic
Guitar (Volume 1 is currently out of
print) parallel Bailey's shredded timbres, others are quite unlike anything
I've ever encountered. Chadbourne is
fond of using a slide to bend notes
into eerily dissonant, quasi -electronic
extensions. He also beats his instruments percussively (most notably on
Sufficient Space), moans dementedly
on Rocket, and generally shows a
marked disdain for meter, structure,
and propriety. Oddly enough,
though, he shows a greater inclination
toward melody (or a semblance thereof) than Bailey, besides possessing a
waggish wit (hear The Shreeve and
Ginger Shelp for examples) that ren-
ders his music far less formidable than
it may appear on paper.
The recording captures everything
with a vivid, very explicit sound. Alas,
a generous helping of surface noise
threatens to drown out the quietest
moments.
Emanem's address is P.O. Box 46,
Shady, N.Y., 12479, while the Chadbourne can be ordered from Buck dancer's Choice, 330 10 St. N.W., Calgary, Alberta, Canada. All three al-
bums should also be available
through the New Music Distribution
Service, 6 West 95th St., New York,
N.Y. 10025; write for their catalog.
Tom Bingham
Duo 1
Sound:
B-
Performance: A
Duo 2
Sound: B+
Performance: A
Chadbourne
Sound: B+
Performance: A
Pipedream: Marc Charig
Ogun OG 710, stereo, $8.98.
Marc Charig's album is another
chapter in the Ogun labels continual
search for experimental sound forms,
from Lol Coxhill's side -long solo on
Diver (OG 510) to Elton Dean's large
ensemble Ninesense (OG 900) to the
unaccompanied vocal quartet making
up the album Voice, (OG 110). Now
trumpeter Marc Charig, best known
here for his work with Keith Tippett's
Centipede and King Crimson, has
moved his music into a church in the
countryside of England.
With pianist Keith Tippett and
vocalist Ann Winter, his music grows
out of the church's environment. He
utilizes the musical aspects of the
church with its organs and bells, and
then he teams this with the acoustical
depths of the church's solemn atmosphere. The opening is particularly
inspiring with the tolling bell supporting the ominous trumpet clarion.
All the music is freely improvised with
the musicians obviously responding to
their surroundings. The organ and
voice drone throughout as Charig sputters, moans, and creates airy whistles
through his trumpet. Everyone is
restrained with a thick cushion of
space surrounding their voicings.
Pipedreams is an ethereal album
recorded in fine detail which detects
every nuance but places it all in a large
ceremonious expanse. John Diliberto
Sound: A
-
Performance: A
AUDIO
-
January 1978
Direct from Cleveland-Lorin Maazel
the Cleveland Orchestra (Falla, Bizet,
Tchaikowsky, Berlioz). Telarc Directto -Disc 5020, stereo, (Available through
Discwasher Group dealers).
As the first "classical" direct-to -disc
offering, this record made a considerable impact-I ran into it in
England last summer, for sale at a horrendous price. The sound itself confirms all that the informative notes by
our own Burt Whyte tell of the direct to -disc procedures used. Even the surfaces are good. Yes-you can really
hear the difference. An unaccustomed
shininess, a certain simplicity of sound,
minus extra coloration, a cleanness of
cymbals, and brass and percussion. It's
all there, true to life. do not think you
will be disappointed if you are insatiable in your search for fi.
It remains merely to comment on
the fi/music aspect. If you want super music, by all means start with side 2,
the Berlioz-the Overture Le Corsaire
and the Hungarian March from the
Damnation of Faust. Here, Lorin
Maazel's nervously rapid tempi, plus a
certain very audible nervousness in the
orchestra itself (after all, this was a
nerve wracking occasion!) fits perfectly with Berlioz' extremely high-tension
music, and the fi does splendid things
for the Berlioz orchestra, always highly
colorful. This side should please even
the lowest -fi music lover, and delight
the audio buff.
The first side, however, found problematical. The same nervously fast
tempi are not as good for the final
dance from Falla's familiar Three Cornered Hat-that starts too abruptly as
an opener-while both Bizet and
Tchaikowsky sound hurried and forced
to this old -hand musician. Well, you
can't have everything.
The two band -separation breaks on
side 1 and one on side 2 are well
managed, a quick fade-down (while
the musicians hastily cough and
rearrange their music) and fade -up
after around 12 seconds. As for
acoustics, you will find them a bit
dead for optimum effect. The hall is
that way, and of course no reverb is
added. For some reason, this is more
I
I
AUDIO
noticeable on side 1 than in the Berlioz
on side 2, probably a by-product of the
music itself.
Playing time is disconcertingly short
you should be warned, that is in part
the consequence of direct -to -disc recording without the tape -recorder
automatic advance groove separation-also, of course, the wider the
spacing the safer the fi. If you want
longer play, there are plenty of standard LPs awaiting you.
E. T. C.
Charlie Byrd
Chrystal Clear CCS 8002, stereo, 45
rpm, $12.00, $3.00 extra for air mail
shipment from 225 Kearny St., San
Francisco, CA 94108.
Direct -to-disc recording is the latest
tool audiophiles have in their search
for perfect sound reproduction. In
essence, it consists of the elimination
of tape from the recording process.
The music is cut directly onto the disc
which becomes the master for plating.
Theoretically, its' goodbye to much
sound deterioration and tape hiss, and
hello to crispness and presence.
At its present technological development, direct -to-disc recordings seem to
only work with a very select style of
music and performance situations.
Charlie Byrd, with his clean, precise,
classic jazz guitar, is in that group. His
quintet runs through five selections
with brisk accuracy on this white vinyl
disc. This process does not allow for error. If the performance contains a flub,
then the entire album must be recut.
There can be no overdubbing, electronic manipulation, or lengthy improvisations in the direct -to -disc
method. The sole reason for it is accurate, clean sound reproduction; and
with this record they succeed.
The surface is free from noise, hissing, pops, and other maladies of contemporary record production. The mix
is even with the drums spread across
the stereo spectrum. The cymbals are
crisp, the definition of the tom-toms is
distinct, and the bass drum kicks. The
trombone and flute are mixed into the
left and right channel respectively.
While neither player has a distinct
sound, nuances, such as the breath-
January 1978
AmericanRadioHistory.Com
iness from the flautist and an unfocused, flat tone by the trombonist,
are accurately reflected. Only
Charlie's brother, Joe seems to suffer.
While his sound is well defined and his
function supportive, he does get lost
during the ensemble passages.
At present, the widespread future
use of direct -to -disc recording seems
to me to be questionable. While it
works fine for impeccable artists, such
as Byrd, and with small groups, it
seems too limiting and restrictive on
the spontaniety of most jazz music.
The improvisations of avant-garde jazz
frequently exceed the length of one
side, and the decision as to the cut-off
point would now be determined by the
duration of the side rather than the artistic discretion of the performer. Can
you imagine a producer in the middle
of Ornette Coleman's double quartet
Free Jazz sessions signalling "Wind it
down Ornette, we're coming to the end
of the side."
It also eliminates overdubbing, making it unfeasible for the works of people like the Carpenters, Mike Oldfield,
electronic composer Ralph Lunsten,
and ECM artist Terje Rypdal, if a pure
approach to the direct -to -disc method
needs be maintained. The aesthetic
ideal behind the direct -to-disc method,
is appealing, but the possibilities it
eliminates make it seem to me to be a
regression.
Sound: A
John
Diliberto
Performance:
C
Charlie Byrd,
Crystal Clear Records CCS 8002.
Charlie Byrd is Mr. Class. Mix his impeccable taste and the wonders of
modern direct -to-disc recording, and
you have something really special, particularly when it is specially pressed on
heavy white vinyl and plays at 45 rpm.
The sound is frighteningly good.
Turn your back, and Charlie and his
quartet are in your living room. Byrd's
delicate classical guitar is always
prominent in the Crystal mix. The
upright bass and drums are perfectly
present. Wayne Phillips' brief drum
solo in Old Hymn is musically and
sonically riveting. It's a lyrical
97
showpiece in which he lays down the
sticks for the special expression hand
percussion allows. The project is a
total success on all levels. Musically, it
is absorbing. The recorded sound is a
standard against which you measure
everything else.
For additional information, write to
Crystal Clear Records, 225 Kearny St.,
San Francisco, CA 94108.
Michael Tearson
Sound:
A+
Performance: A
MoussorgskylRavel: Pictures at an Exhibition. Ravel: Pavane pour une infante defunte. Tokyo Metropolitan
Symphony Orch., Louis Fremaux.
Denon PCM OX -7072 -ND, stereo,
$12.00. (Available from Discwasher
dealers.)
This pulse coded Pictures is far from
a demo -type recording in the musical
sense, though the sound quality is as
good as this PCM tape technique can
make it, which means superb. The
young European conductor and the
Tokyo musicians put out a modest and
non -bombastic version of the famous
Ravel orchestration-though, to be
sure, the big moments are suitably
loud. have the feeling this man was
deliberately avoiding the overblown
effects too often given to the music,
which remains one of the masterpieces
of sheer orchestral subtlety of this century. The sound, then, is more French
than Russian or Japanese.
The well known Pavane, by Ravel
himself, is done with impeccably
French ambience, quite beautifully.
Talk about "beautiful music," that
slushy stuff you hear on too many FM
stations! Here is the original source for
many of its by -now tired effects, fresh
and new as of 1899. The original music
was for piano; the orchestration dates
from 1912, and should make Montovani sigh with envy. He probably did
sigh, long since.
E. T. C.
I
98
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University
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For further information,
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Organ Concert at Holmens
Church. Martini, Telemann, Boyce,
Walther, Pachelbel, J.S. Bach. Jorgen
Ernst Hansen, Holmens Church, Copenhagen. Denon PCM OG 7001 -ND,
stereo, $12.00. (Available from
Discwasher dealers.)
J.S. Bach: Orgelmeisterwerke (Organ
Masterworks). Toccata and Fugue in D
mi., G mi. Fantasy and Fugue, Passacaglia in C mi., etc. Helmuth Rifling,
Organ Gedachtniskirche,
Stuttgart.
Denon PCM OX -7027 -ND, stereo,
$12.00. (Available from Discwasher
dealers.)
The
These are two of the finest Baroque
organ recordings
have yet to hear
judging in terms of hi-fi sound. They
are part of a batch of discs that came
to us unheralded-this Japanese label
has been recording over much of the
world since 1972, with a classical
catalogue that a year ago already had
well over 50 releases plus jazz, pops,
movie scores, and more-and every
last disc from the beginning taperecorded via pulse code modulation.
The label was still not listed in
Schwann as of a recent month and is
distributed through American Audioport. The copies we have are basically for Japanese consumption with
I
the characteristic mix of titles and
names in English and descriptive detail
in Japanese characters. The discs
themselves are out of Nippon Columbia, production is handsome, and yet
only notable "faults" I have yet to
discover, other than occasional disc
noise, are some tell -tale misspellings
11
Pastol Fido by Vivaldi; some
"contemporary" music by Varess, that
is, Edgard Varese; a Handel opus called The Harmonious, Blacksmith, and a
batch of Virtiosos for Strings. All but a
few of the artists are non -Japanese and
the roster of names recorded is impressive and musically well-informed,
including such as Jean-Pierre Rampal;
Josef Suk; the Smetana Quartet; Janos
Starker, cellist; Robert Veyron-Lacroix,
harpsichord, and the Ensemble Baroque de Paris ... one could almost plot
the recording itinerary, from Tokyo to
Sofia, via the release artists.
So you think that direct -to -disc is the
only answer to problems of noise and
distortion on tape? So you also think
that tape is the present bottleneck?
think you are wrong. It is the disc
which is quite rightly the present
weakest link. That, of course, via PCM,
a "binary coding" approach to tape
recording that boasts the very same
virtues as those of pulse -modulated
laser light through glass fibers. The
Denon system, interestingly, uses
video standards and video -type tape
for its pulse recording, to provide the
same ample "ceiling" of bandwidth
and the same elimination of noise that
we find in these two advanced systems. do not think that the keenest
ears will hear tape noise on these
discs-just disc noise. And the rendering of high overtones, the very essence
of musical sound, is simply beyond experience, not to mention other
equivalently important elements of
true hi-fi recording.
Of all musical sounds, the Baroque
organ has perhaps the most demanding
spectrum of intense and complex high
tones, shiny, steamy, brilliant, and extremely powerful. These two organs
display that sound as I have not heard
it except in the "flesh," the solid tin
and seasoned wood of the best instruments built in the 17th and 18th
centuries. J. E. Hansen's Danish concert, Bach on side 2, earlier Baroque
on side 1, is the best playing in terms of
color, phrasing and sensitive musicianship; Helmuth Rilling's more ambitious
big Bach, on a more distant and
somewhat bigger sounding instrument,
has superb values in spite of a certain
Germanic plodding. I turned both recordings up to top volume and almost
blew the roof off. Not a trace of distortion, even so. PCM seems to make your
E. T. C.
system work better.
-
I
AUDIO
Enter No. 33 on Reader Service Card
AmericanRadioHistory.Com
January 1978
A. Vivaldi: II Pastol Fido. Six Sonates
pour Flute et Clavecin. M. Larrieu,
flute,
Veyron-Lacroix, hps. Denon
stereo, $12.00.
(Available from Discwasher dealers.)
The most heartening thing about this
PCM label, for the record reviewer, is
that it does not flaunt "demo" pieces
to display its digital recording virtues
but, instead, is simply a solid classical
label-who needs fifty -plus digital
demos in the classical area? That's
what they have. Audio in the service of
music. This mild and gentle recording,
not a demo at all in the usual sense, is
just as clean and quiet in the tape as its
more spectacular brothers. It should
be II Pastor Fido, the Faithful Shepherd, and the music is simply a series
of Baroque flute sonatas with harpsichord, beautifully played by this
French team. Veyron-Lacroix played
for years with the famed Jean-Pierre
Rampal-Denon also records himbut the two operate separately now, on
this and on other labels including RCA.
The Denon catalogue includes specs
for the PCM tape recording, which run,
partly, like this. Dynamic range over 89
dB, no interchannel cross talk, frequency range d.c.to19 kHz ±0.2 dB,
no IM, 2-, 4-, or 8 -channel capability,
half -speed cutting capability, 2 -channel advance head for variable cutting pitch, virtually no loss in tape
PCM
R.
OX -7005 -ND,
marimba/electric-piano sound and
both, too, feature what one might call
mellifluous classic.
played Sonic
Boom first, just to put things in
duplication (digital), no ghosts (print through). The recorder uses a 4 -head
VTR configuration, 2 -inch videotape,
the PCM has a 14 -bit binary coding,
clock frequency 7.1826 mHz,
waveform basically a standard TV
signal; audio sampling frequency is
47.25 kHz, the tape speed (metric!) is
38 cm., the head -to-tape a relative 40
mS. That should impress the experts.
I
perspective, and indeed it is an excellent recording of assorted percussion sounds, well up to high standards
for remix type production.
So went back from this directly to
Crystal Clear, for one modestly jazz
side and another side modestly classical-Almeida himself is featured but
I
Laurindo Almeida -Virtuoso Guitar.
(Direct to disc, 45 rpm). Crystal Clear
CCS 8001, stereo. (225 Kearny St., S.F.
CA 94108)
Sonic Boom. Music for Percussion
Ensemble. Sonic Boom Perc. Ens.
Crystal S140, stereo, $6.98.
Oddly, these two turned up next to
each other in a pile, and one thing is
crystal clear-that record is opaque
white! The other one is black, normal
speed, normally taped. Crystal Clear is
direct-to -disc, and why hasn't somebody made use of the 45 speed before
this? Connoisseur tried it briefly many
years ago but nobody bit. Really a very
useful hi-fi speed for any sonics that
are not overly long and require super
quality. trust that more outfits will exI
periment with it.
Crystal's Sonic Boom makes a fine
comparison to the Almaeida disc since
both feature a lot of melodius
Introducing the phono cartridge
that will never come out of the lab.
11
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Th,
Each Signet
cartridgeW
hand -made in the laboratory of one of the world's largest phono
cartridge manufacturers. By producing Signet in the lab, each unit
gets unique personal attention, free from the pressures of volume
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The Signet group can fully concentrate on the nuances of
performance. They can experiment directly with new materials and
technology. For instance, stylus cantilevers are now available in your
choice of tapered -tube aluminum alloy (standard), beryllium, titanium,
or even carbon fibre. And diamonds much too small for normal mass
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Signet is intended solely for the audio enthusiast who is both
knowledgeable and critical. And available only from the
handful of dealers who understand your needs. Write today
for literature and dealer list.
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Enter No. 60 on Reader Service Card
no means prominently and exclusively, playing along with a group
of interesting side rrien and side
sounds. Went back, because as you
absent-mindedly started
can guess
the white record off at 33, and didn't
wake up for a couple of cuts.
At the right speed, 45, things instantly picked up to brisk, and must
say, without prejúdice to Crystal's
Sonic Boom, could easily detect an
added smoothness-the very best
word. Like that smoothness they advertise in old Scotch whiskey. Precisely
that! Comfortable, natural sounding,
minus any bite at all. Direct-to -disc,
you see, isn't necessarily sensational.
More often it is just quietly good.
Which is what it should be, assuming
the software is played right. You can
get more info on the opaque crystal
clear records from San Francisco, address above.
Edward Tatnall Canby
by
I
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Edward Tatnall Canby
Classical
reviews
100
Beyond the Sun (Holst: The Planets).
Patrick Gleeson, Eu Polyphonic Synthesizer. Mercury SRI 80000, stereo,
$6.98.
Patrick Gleeson hopped from 18th
century English Lit. into electronic
music via Buchla and Moog, and in
short order was playing along with big
pop outfits and jazz people. All this
from the record liner notes and audio
people will also find Gleeson's own account there of the Eu Polyphonic (it
plays more than one note at a time)
unusually lucid. This machine is apparently state-of-the-art, its voltage controlled elements in turn controlled
by "programmable devices," including, of course, those versatile sequencing affairs that carry out a whole
series of operations in all sorts of
variable configurations ....
How does one judge a recreation of
a known orchestral work? Each man
for himself, can tell you! Description
is better than opinion in this case.
have not heard Tomita's rendition of
the same work into electronic format,
I
I
but suspect that if you want high
drama, extremely virtuoso use of
sound effects over and above the
original "acoustic" realization of the
music by Holst himself, you will turn
that'away. Gleeson's is a relatively
restrained and "pure" version, though
that does not mean any lack of sensational effect-there is plenty built into
the musical sense of the original score.
Gleeson sticks rather strictly (for electronics) to the given notes with a
minimum of whooshes and fire sirens
and tinkles not in Holst"s own repertory of sonics. Also, Gleeson sticks to
somewhat rigid tempi, derived straight
from the score's indications (where
many a standard conductor takes
liberties right and left for rhythmic
flexibility)-I noticed this before
reading Walter Carlos' introduction in
which he takes mild issue on this subject.
What seems to me remarkable in
this version of The Planets is the ease
with which assorted "real -instrument"
sounds are synthesized, not self-conI
sciously but with a fluent sort of
casualness, the "real" sounds mixed in
with those which, as we say, are purely
electronic. Excellent approach! If we
are, in fact, to imitate the acoustic instruments, it must be in this fashion, as
simply so many useful effects that the
synthesizer can now produce. Some of
these "real" sounds here are absolutely startling. A cello solo, for instance,
that is more real than many a cello
recording. Trumpet sounds with the
bite of real brass. Big drums that rattle
loosely, like the biggest bass drums of
orchestra and marching band. In
another direction, there are even
thunderstorm -like sounds which for a
moment thought must be non -electronic, so random was the rumbling. I
also like the over-all "orchestration,"
as derived from the original score; the
mix and overlay is always clear and
very little detail is lost. Remember that
the assembling of electronic sounds into compound mixtures is no less
demanding that the same in terms of
standard musical instruments. Either
I
AUDIO
January 1978
way, the results can be clearly defined
or a muddy mess.
Considering that much of this work
is the product of extreme and extended
"overdubbing," mixing and copying,
the finished music is clean and
uniform in sound. If you don't think so,
just try a bit of Sgt. Pepper.
the arduous television specials aired
last year-absolutely astonishing. At
90 the man had the strength and endurance of a pianist of 30, an absolutely infallible technique and a sense
of musical style that is beyond any
compare. All of these astounding
qualities-and the unflappable urbanity of the man's playing, so relaxed, so
easy going, yet so masterful, are right
in these concerti, every last one of
them the most satisfying version I have
ever heard-and that includes many of
the other "greats." Matter of choice
and opinion, of course; but any way
you listen, this is among the top offerings. Beautiful piano sound too.
RCA, or RCA's English aides, have
put the piano forward and the orchestra distinctly a bit behind, an old
RCA habit-but in this case the orchestra, while entirely adequate, is in
no way the star performing agent
under the accomodating Barenboim.
Just as well that it is mildly played
down in the recording.
Beethoven: The Five Piano Concertos.
Artur Rubinstein; London Philharmonic Orch., Barenboim. RCA Quadradiscs
ARD5 1415, 5 discs, CD -4 quadrophonic/stereo, $39.98.
There is a stereo version of this, if
Schwann reads correctly, same price,
same number of discs. (The stereo cost
is up, instead of the Q cost coming
down.) I thought it important to play
the album in normal stereo, to judge
its compatibility, and am glad to say
that I found no problems-no distortions, especially no sudden lowered
levels, thin bass, and so on, as has occasionallly been the case with CD -4 of
earlier vintage. Evidently RCA still did
not quite want to go over to an all-out
single release, like Columbia's-so few
and far between. They could have.
That man Rubinstein is the phenomenon of the age in music. These
were made, think, just before his 90th
birthday. I saw and heard him later, on
Beethoven: The 9 Symphonies. London
Philharmonic Orch., Haitink. Philips
6747 307, 7 discs, stereo, $55.86.
All the Symphonies! A proper listening is a week's undertaking (and better
if more widely spaced out) but
I
that cou
may stock you.
Elim nating RFI problems can make a big improvement, too. It's the fast RF you don't heEr that can cause
slewing induced distortion you will hear-the result of
an amplifier responding slower than its input signal.
Only the 511A has an ultra -high speed preamp-250
V/ps-that solves this problem. RFI is then passively
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These Haitink renditions, done in a
forthright Dutch manner with English
musicians, are surely top level in terms
of responsible musical performance,
as well as in the splendid (if rather distant) Philips sound. As I listened, kept.
telling myself this. Nothing wrong.
Plenty right. And yet-instead of growing excited,
found myself mildly
bored. Speaking in general-what
else?-these are outwardly warm, inwardly cool performances. They
smoulder, they heat up on many occasions, but they seldom take fire.
Everything but the large soul of each
work is there. don't feel that the musicians have been lifted out of their
seats by the sheer power of this music
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AGI BI -AMPLIFIED PHONO STAGE
Write fo- the full
story-there's lots more
AUDIO GENERAL
Dept. A -I, 1631 Easton Road, Willow Grove, Pa. -9090
Enter No.
9
on Reader Service Card
I
I
I
101
filtered at the output, where it can't
affect the cartridge, to avoid problems
in later stages. Other designs have to
reduce RFI with an input filter, but this comprornses
cartridge loading.
AGI's unique bi -amp design optimizes two amplifiers
in different performance areas, combining the advantages of both. Result: the noise and cistortion of the
best conventional designs, plus an order of magnitude
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Remember, it's what's up front that counts, for the
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Every
E
PHONO
INPUT
Schwann usually lists about 17 complete sets these days, not counting
Toscanini and Bruno Walter out of
past history. For listening, Beethoven is
the most uncompromising music of
all-more so than Bach; it is really difficult to force this man into the
background category, what with the irrepressible energy and violence of his
writing! Nor is there any composer
who suffers more from sudden stops
and starts of the hi-fi machinery. Continuity is the name of the Beethoven
game! There is no other way of listen-
PHONO
OUTPUT
NASSAN
II
I10
gelia
SANDY NASSAN and his GUITAR
the privacy of your lives,
Watch them play upon
each other,
Intimately,
Passionately,
Tenderly.
In
102
Watch them cry and laugh
together.
Watch them argue.
Watch them give and take.
Watch them caress one another
as lovers do,
responding to each other
with fullness and depth.
They will involve you with
their love affair.
They will move you.
They will excite you.
They will leave you fulfilled.
This solo album is
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Enter No. 30 on Reader Service Card
and the magnetism of their conductor
in conveying this to his operatives.
These men and women are doing an excellent job ... Period.
could be a lot more specific if we
were listening together. Somehow,
Haitink fails to point up those special
places which anyone who has heard
much Beethoven knows so well-the
dramatic changes of key, the sudden
I
gleaming dissonance (it startled in his
day and still does if rightly played), the
points of rest and change, the vast
shapes, envolving, the precise tiny
shaping of each rhythmic motival idea,
and that devilish Beethoven gleam of
triumph one can almost see in the big
climaxes, to match the pianissimo hush
of the opposite dramatic moments.
This man is curiously insensitive to
these things. He even rushes one harmony into another for an acoustic blur
when clarity of harmony is the essence.
None of this is grossly mismanagedfar from it. But the cumulative effect is
distressing.
Now, if you please, go out and try
Vanguard's Beethoven, via Sir Adrian
Boult (Audio, Nov., 1977). Not all the
Symphonies but, as they say, the price
is right. Everything that is lacking in
Haitink is there, to perfection. will
always believe that, given half a
chance, music speaks to any intelligent
hi-fi ear. If you are curious, if your ears
are as good as they must be, you surely
will hear these differences, and in the
end it should be an exciting experience. Especially on good equipment.
I
Albinoni Adagio (Vivaldi, Gabrieli, Jannequin). La Grande Ecurie at La Chambre du Roy. Odyssey Y 34605, stereo,
$3.98.
This French import of Italian Baroque has a split 'personality. The first
number (see title) is one of those "big
tunes" that in hyped -up sentimental arrangements often catch the ear of the
larger populace-an old phenomenon
going back even before the Air for the
G String and Elvira Madigan. Recently
it was a canon by Pachelbel, dragged
through icky gallons of musical honey
and molasses. Now it is Albinoni, and
we need go no further for those who
will rejoice in the same.
But the rest is something else. Four
works by G. Gabrieli for assorted
winds and a concerto for sopranino
recorder by Vivaldi which will make
amateur recorder players turn blue in
their listening seats. What is unusual
about all of these is the (French) use of
authentic instruments of the time, in
this case played with intelligence and
expertise. Here is the right sound for
the famed Gabrieli "brass" music (a
good deal of it for wood), not that
shiny, big -bottomed modern sound
that has been so popular these many
years. It is maybe not as powerful a
sound, but you will find it much
livelier, lighter, more varied, and far
superior in rhythmic verve-a big
factor-than the often soggy versions
by unknowledgeable modern brass
players. You will hear the curious
breathy music of the wooden cornetto
(with finger holes) and if
am right
such buzzy crow -call delights as a
choir of crumhorns-or is it maybe a
raquett? (Hmmm-is that the source of
our word "racket"?) One work (Jannequin ) is a Gabrieli arrangement of the
popular battle music (Bataille de
Marignan ) for voices-not much of a
battle but good fun.
Sound? Not ideally clean, but serviceable for the music and not at all a
listening impediment.
I
Glazunov: Symphony No. 5; Suite from
the Middle Ages. The Large Symphony
Orch., Moscow Radio and Television,
Fedoseyev. ColumbialMelodiya M
34522, stereo, $6.98.
The late-Romantic
"background"
literature continues to expand on
disc-those "other" works by composers best known for one or two concert favorites played everywhere. In
Glazunov's case you may know the
Raymonda Ballet Music and the Violin
Concerto in A, famous if only because
Heifetz, Milstein, Ricci, and Oistrakh
have all recorded it. Glazunov bridged
the Revolution and lasted until 1936
but his big music was done back at the
turn of the century and before.
No less than eight symphonies (a
ninth unfinished) are among the non recorded works and hereby they are
sampled via the Fifth, a good sampling
if we credit one critic's judgement that
they all sound more or less alike. Easy
to believe! Also on this disc, a
program -type orchestral suite (1902) of
the then popular type, complete with
story.
It's pleasant listening, on a vast orchestral scale, though the mind does
tend to wander. Glazunov is one of
those composers who pour forth music
in torrents with what seems to be no effort at all-not the best reason for
bothering with economy and tightness
of organization. How the man does
talk. Vast, genial climax after climax, a
thousand folk dances in one and a
hundred soulful melodies; 50 brass
bands, a dozen string orchestras, all
playing at once with the greatest of
ease, an immense ending to end all
endings-yet when you come down to
it the whole is no more than a small
work, oddly unassuming and un -
AUDIO
January 1978
complicated in expression. A little man
making big noises, but not pompously.
It's friendly music, straight through. If
you can keep your mind on it.
As for musical style, you'll find the
man most like Dvorak, without that
composer's profundity of mood. Same
period, same approach to the very
large and thick -textured orchestra of
the late last century. Same exuberance
and length and melody and lushness.
As for fi, this Russian recording is hi
enough and clean enough for anybody,
but the mike technique, opposite Columbia's own, it distant and minus the
accent color, the kind you keep turning up louder to hear the details.
Sounds like basically a two -mike (or
one stereo mike) deal to me.
Anton Rubinstein: The Four Violin
Sonatas. Robert Murray, vl., Daniel
Graham, pf. Musical Heritage MHS
3385186, 2 discs, stereo. (Mail order only: 1991 B'way NYC 10023)
Musical Heritage Society continues
year after year to build its huge mail
order catalogue with more budget
recordings, still packaged in budget
black and white-against the times,
but more power to them. Some people
continue to want good music at prices
less than "affordable (which means too
expensive). The mail order deal keeps
alive, suspect, not only becuase of
careful economics but more vitally
thanks to intelligent musical policy,
the music itself and the performances,
recognizing that though the big company star system may sell (not very
will these days!) it does not reflect the
whole of the record buying market. Far
from it. Enterprising, out-of-the-way
music well presented to the ear will
always find a market in this country.
Anton Rubinstein was the more
famous of two Russian brothers, a
superb pianist and fluent composer
trained, however, in strictly West European terms. The Rubinsteins' association with Tchaikowsky helped brand
that composer at home as nonnationalist-certainly not the truth.
But Anton Rubinstein's music is indeed
I
you can imagine, the
whole sound redolent of the German
Romantic school with only a faint
flicker of French coloration now and
then. He might just as well have come
from Hamburg with Brahms, or
Dusseldorf with Schumann, and in fact
lived extensively in the West. Even
toured America.
These Sonatas are really lovely. If
not absolutely top Romantic, then
only a peg or two below. How we do
neglect such good things! Though they
are probably the best out of a much
too vast mass of his composition. The
as non -Russian as
AUDIO
January 1978
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103
DISCOVER
early Sonatas here are heavily
Mendelssohnian but of a later, more
lush expression as of the 1860s. The
late Fourth Sonatas, Op. 98, is far
closer to Brahms, a more weighty and
passionate style. Two young American
artists do an excellent and serious interpretative job, Robert Murray's
violin (Guarneri) rather small in tone
and a bit blurred in detail but highly
musical, and Daniel Graham's piano
full of energy, reflecting Rubinstein's
own masterful pianism.
Curious piano sound, rather non resonant and thin in the bass; is this a
(properly) oldish piano? The recording
is good for the violin but puts the
piano somewhat in the background,
not ideal for such an energetic element
in the partnership. It often happensaren't these, after all, listed as "Violin
Sonatas"? Better to call them Sonatas
for Piano and Violin, to reflect the proper sonic priorities for the benefit of
our engineers.
BANG&OW
WRITE FOR LITERATURE.
DEPARTMENT 10C 515 BUSSE ROAD
BANG & OLUFSEN OF AMERICA
104
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Beethoven: Settings of Irish, Scotch
and Welsh Folk Songs. Academia
Monteverdiana. Dir. Denis Stevens.
Vanguard Everyman SRV 356 SD,
stereo, $3.98.
These many songs, together with
another large batch by Joseph Haydn,
were composed in the salon style of
the early 1800s, for well-bred home
music making-not concerts. Much
"chamber music" of the sort was so intended, and that is where the name
came from. For present day folk enthusiasts, the music will be an odd surprise. The idea, then, was to take folk
songs, or prettied -up folk songs (taken
down in notes, not via recorder!) and
civilize them, set them as so many art
songs, fit for milady's front parlor. So
Beethoven did, with the then -stylish
optional accompaniment of violin and
cello to aid the piano, which can play
without their aid just as well.
Denis Stevens is a very well-known
musicologist and conductor with-for
my mind-one enormous blind spot,
always reappearing. He invariably is
associated with big, operatic, professional voices, and apparently sees no
musical need for any other sort; at
least that is my sonic experience of his
work to this date. Thus, the modest
and lovely Beethoven songs, perfect
for a small, quiet, simple voice, are
bellowed out here with all the operatic
panache you could want from Puccini.
Good musicians! But their instruments
are simply unsuitable for this music, as
you will probably decide for yourself
rather quickly. If you like the voicesthen you'll enjoy the music, all four instruments. Many of the tunes are fa-
COMPLETE CATALOG
Enter No. 53 on Reader Service Card
AUDIO
January 1978
Folk
Tom Bingham
105
Mike Auldridge
Flying Fish FF 029, stereo, $6.98.
After first attracting attention with
Cliff Waldron, Mike Auldridge became
major force in the newgrass revolution as a founding member of the
"Seldom Scene." He consolidated his
reputation as the most influential
dobro stylist of the 70s with his first
solo album, Dobro, then went on to extend the instrument into pop and contemporary country-with touches of
jazz and rock-on Blues and Blue
a
Grass.
Last Train to Clarksville and California
Dreamin. The Monkees' oldie has a
marvelous banjo solo by Jordan,
though Clements relies too much on
naround. Phil Rosenthal's Indian Summer is one of those songs perfectly
tailored for the dobro, though it also
gives the sorely -underrated sparkle toned banjo picker Vic Jordan a
chance to shine.
Tennessee Traveler tends toward the
jazzy end of bluegrass, with dazzling
fiddle by Vassar Clements (including a
fast -paced pizzicato solo that
first
mistook for a mandolin), brittle banjo
by Bobby Thompson, and tasty dobro
variations. Blues for Barbara is a
wistful Auldridge original, seemingly
based on Nobody Knows You When
You're Down and Out, with superb
rhythm guitar by singer -songwriter
Dick Feller and Panama Red, plus fiddle by Jim Buchanan, a dead ringer for
Clements. Georgia On My Mind is also
given a pensive, laid-back blues -jazz
treatment, including David Bromberg's
best guitar work of the set.
Auldridge invades rock territory for
Dreamin' features a skillful blend of
Auldridge's dobro and Lloyd Green's
pedal steel, two obviously compatible
I
Mike Auldridge continues the artist's expansion of the resonator steel
guitar into both familiar and relatively
uncharted realms. Aiding in this project is top Nashville engineer Garth
Fundis, who has fully captured the burnished metallic warmth of Auldridge's
inimitable tone and the smooth fluididity with which he manipulates his
slide, this laying bare the dobroist's
amazing versatility and tasteful sensitivity.
Several tracks are what might be
tagged "typical" dobro showpieces,
AUDIO
with somewhat derivative-though
hardly trite-themes. Southern Rain is
a
carchy tune reminiscent of the
Stringalongs' Wheels, while Mountain
Slide sounds a lot like Colorado Tur-
January 1978
his
familiar
instruments
cliches.
rarely
California
encountered
together.
Side two has a bit of a Latin flavor,
with the Mexican -tinged Spanish Grass
and Lloyd's of Nashville, the latter a
dobro duet by Auldridge and Green.
All Thumbs is an appealing Thumbs
Carllile composition, fetauring
sen-
sitive soloing by Dick Feller. The
album also includes two Don Williams flavored vocals by Auldridge, with
Emmy Lou Harris adding a Dolly Parton like harmony on Dreaming My
Dreams.
The rhythm section is suitably
fleshy, but the lead instruments (excepting Auldridge) could have been mixed
Tom Bingham
more prominently.
Sound: B+
Performance:
A-
flitlnlosh
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whole lot to this delightful package.
Michael Tearson
ii
In
The Beaudoin Family
Philo 2022, stereo, $6.98.
The Beaudoin Family plays dance
music, mostly reels, on this delightful
album. The acknowledged star is Louis
Beaudoin, one of the finest fiddlers on
either side of the Canadian border.
Like many Philo albums, The
Beaudoin Family was recorded at their
Earth Audio Techniques studio. It is a
totally relaxed and flowing album.
Paul Wells informed liner notes add a
1.1..
Performance: A
Sound: A
MX 113
Swingtime In Springtime: Lew London
Philo 1032, stereo, $6.98.
Lew London (formerly of the bluegrass -fusion band, Bottle Hill) is the
latest in a long line of folk -swingers
who've carried on Dan Hicks and his
Hot Licks' revival of 30s swing in string band clothing.
London sounds quite a bit like Steve
Goodman vocally, and is just as adaptable within a comparatively less
eclectic range of material. He's appropriately sensitive on the three con-
AM TUNER AND PREAMPLIFIER
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MAIL ORDERS: For shipment within 48 hours send
money order or certified check. Two weeks delay
on personal checks. Please add $2.50 per order for
shipping 8 handling. N.V.S. Residents add tax. NO
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Write for prices on other tapes
Enter No. 24 on Reader Service Card
singer -songwriter -type
tracks (Rodeo Rider, Randy, and Green
Peach Blues, all worthwhile songs,
well -performed, even though hard-core
swing addicts will no doubt consider
them intrusive), suitably flippant on
Crazies and the title song, and consummately "hep" on Gimme That Wine
and Nagasaki.
London's guitar work is amazing,
with a taut, secure, yet elastic touch
and a fertile imagination, as Crazies
and the super-exciting Lady Be Good
(with swooping Grapelli-esque fiddle
by Jay Ungar) instantly demonstrate.
His flashy, finger -picked intros and
solos are most closely based on
Django Reinhardt, injecting chunks of
bluegrass and country into his sterling,
swinging jazz improvisations. Significantly, the instrumental Jennie's Fault
almost sounds like the David Grisman
Quintet, who have a similar set of influences.
Just as impeccable as London's
leads are Mark Josephs' supple, steady
rhythm guitar and Jim Tullio's flattoned, ultra -flexible acoustic bass. This
tight little trio meshes beautifully with
London's arch -top guitar on the title
cut and Lottery Ticket, using several
other first-rate musicians and backup
singers.
The most notable of London's originals is the old-timey Sooner Or Later, a
variation on the time-honored "if the
river was whiskey" theme. And, of
AUDIO
January 1978
course, he includes an obligatory Bob
Wills tribute, Home In San Antone.
The whole album is permeated with
a good-time spirit that keeps you
coming back for more. It may not be
the most intellectual music you'll ever
hear, but it's loads of fun!
The recording captures the reverberant qualities of the acoustic
stringed instruments, the crispness of
the drums, and the deep timbre of the
clarinet. The remix engineers fortunately recognized the importance of
Josephs and Tullio to the music, and
have spotlighted them accordingly.
Tom Bingham
Sound: A
-
Performance: A
Enjoy
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you ought to know about a goldmine of helpful information for
.
Son of Morris On
Import IMP 1013, Stereo, $6.98.
The sticker on the front
cover
defines morris not as a finicky cat but
as "a vigorous English dance performed by men wearing costumes and
bells."
Further down on the front cover the
names "Ashley Hutchings, Simon
Nicol, John Tams, Phil Pickett, Michael
Gregory, Dave Mattacks, Shirley Collins, Martin Carthy, John Watcham,
John Rodd, Albion Morris Men, Ian
Cutter, Adderbury Village Morris Men"
appear. With such a stellar cast what
should appear but a panorama of
music from the morris tradition. This is
dance music with the occasional bit of
jollity. It is a bright and cheery album
of mostly instrumentals.
As the title suggests, Son of is a
follow-up to an equally wonderful
album issued in England similar to that
caused here by Joshua Rifkin's Scott
Joplin recordings. Both of the morris
albums are excellent. Michael Tearson
Sound:
A-
Stec her
Bay 210, stereo, $6.98.
On this fine album, virtuosity takes
a back seat to some fine songs recorded in a warm, living room -like studio
situation by friends. Among them John
Herald, Fred Sokolow, and Hank
Bradley stand out.
Several songs stand out too. Jody
likes Gordon Bok's evocative Hills of
Isle Au Haut so much that two different versions appear. The classic
Golden Vanity has a spirited reading.
Jean Ritchie's Black Waters is a
"superb piece of songcraft," a telling
song of the after effects of strip mining. O The Wind and Rain is a traditional ballad Bob Dylan borrowed to
January 1978
Schwann Record & Tape Guide
is a compilation of information about
records and tapes of many classifications. This wonderfully useful catalog uncovers titles you didn't know were
available, helps you select versions by conductors and artists whose work
you prefer ... shows you money -saving reprints on budget labels ... and
much, much more.
More than 65,000 records and 8 -track and cassette tapes are listed in the
monthly Schwann -1 and its semi-annual companion, Schwann -2. All are
available through your record dealer if you ask for them by Schwann title
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hobby. See your record dealer for latest copies.
Schwann -1
Monthly.
Lists the
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Also nearly 45,000 available recordings on
702 record labels, 231 tape labels, 82
quadraphonic labels, in classical, recent
popular, rock, jazz, musical shows, country,
opera, ballet, electronic, etc. $1.00 at your
dealer's.
Performance: A
Going Up On the Mountain: Jody
AUDIO
every record collector.
Schwann -2
The semi-annual companion catalog for specialized categories:
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classical classics of the pre -stereo era, also
the great re -issue catalogs; international
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Basic Record Library booklet.
Lists 1,000 suggestions in classical music by musical periods for your enjoyment.
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AU
107
favorites. Clarity, grace, and wit are
the album's hallmarks. Mary's varying
unusual guitar tunings are an integral
ingredient allowing out of the ordinary
sounds to emerge regularly. In addition, the recording is ungimmicked and
clean, well -suited to the material.
McCaslin's choices are consistently
fresh and cleverly arranged. The
Beatles song that opens the album
Things We Said Today is an excellent
song not often covered. The Supremes'
My World is Empty Without You is
another good one. Wendigo is a superb
song based of an Indian legend of the
howl of Death. The harmonies of McCaslin with Jim Ringer are riveting. The
four cowboy songs are lighthearted
and perfectly done. Mary sings the
rarely heard prologue in her version of
Cole Porter's Don't Fence Me In. The
frailed mountain banjo that plays the
famous opening riff on Pinball Wizard
is a dare that pays off handsomely. The
one original song gives the album its
title and adds perspective and depth to
a most personal collection of favorite
mutate into Percy's Song. The original
is a horror story about a lover who
turns into a fiddle.
Going Up On the Mountain is easy
going as an album, a real part of his
life shared openly.
Michael Tearson
Performance: B+
Sound:B
Old Friends: Mary McCaslin
Philo 1046, stereo, $6.98.
Easily her best record yet, Old
Friends is a welcome visit from Mary
McCaslin singing a singer's choice of
AUDIO
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Old Friends is warm and pleasing
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Sound:
Performance: A
B
The
MILLION SSS
Peru: Music From the Land of Macchu
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Lyrichord LLST 7294, stereo, $7.98.
INVENTORY
The music of the Peruvian Andes
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recently broke through to
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vocally this was a thoroughly inauthentic American -folk -pop adaptation of a
Peruvian original, the instrumental
interludes-played on native flutes
called quenas-did convey a genuine,
exotic Andean flavor.
This collection of mostly instrumental music from the mountainous
regions southeast of Lima includes a
few selections with melodies more
most
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music, from the lowest fundamental to the highest
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spatial image unlike any other system in production. New complete line, including a bass extender
for
with smaller models.
use
Dealers & Reps, see us at
Holiday Inn. Center Strip.
CES, Las
Vegas in the
QYSONIC RESEARCH CORP.
920
Enter No.
S.
61
Placentia .Ave., Placentia, Cal. 92670
Tel. (714) 630-5321
on Reader Service Card
than little reminiscent of El Condor
Pasa. The distinctive bittersweet cadences of that song are likewise recalled on several other tracks.
Andean music derives from a variegated blending of Spanish and Inca
cultures. Through the past 400 years,
two factions have intermixed so
thoroughly that it's virtually impossible to tell where one begins and the
other ends. In a few cases, one of these
two strains is instantly identifiable. For
example, Churyacase Yampuyov (the
language is Quechua), with its gruffly
blaring cornet and Nilda Quinta Gonzales' odd falsetto vocal yelps, is obviously Indian -influenced. Conversely,
Juan Zarate Solier's flamenco-derived
guitar solo, En el Hospital de Amores,
is decidedly Spanish in origin.
Most tracks are less easy to pin
down. The brass band of side one,
track five is predominantly European
in
instrumentation, though their jump-
ing dance rhythm is probably an Indian
variation on a march. Likewise, Jorge
Velazquez' guitar solo, Despedida de
Cotahuasi, played in what sounds surprisingly like a Mississippi blues -guitar
style, is neither exclusively Spanish nor
Indian.
The two instruments most people
associate with Peru, the Indian quena
and the Spanish harp, are of course
represented. The quena is heard on
Carlos Valderrama's mysterious La
Pampa y La Puna, which almost sounds
Japanese, and a bird -like, untitled tune
by Roba Corazen. The harp is heard in
solo and duo contexts, and as part of a
rather funky festival orchestra which
also includes violins, clarinet, and a
couple saxophones-the tenor saxist
sounds amazingly like Gato Bar-
bieri!-arranged with a delightfully
off -kilter sense of coordination.
Also included is an example of black
Peruvian music (Festejo) by a percussion band playing in an Afro -derived
pattern; plus a Marinera dance, sung
and played on the guitar by Patricia
Ghumbiavca in a manner close to the
mainstream of Latin American popular
music.
Whatever the roots of each selection, Peru: The Land of Macchu Picchu
is filled with entertaining and unusual
music, highlighting a variety of musical idioms and instruments. El Condor
Pasa may have illustrated one aspect
of Andean music, but it hardly told the
whole story.
The recording has a refreshing, convincing outdoors ambience. Lyrichord
pressings are often disturbing, but tape
hiss is a greater problem than the surface here.
Tom Bingham
Sound:
B
-
Performance:
AUDIO
B
to A
January 1978
Classifie
FOR SALE
FOR SALE
RAFLER 0H-101 PREAMP
STEREO ONE
We expect to be in stock on this exciting new preamp by Dec. 12th.
Kit price is $199.95. Custom wired and tested. $299.95. Im-
Fairfield, Conn.
mediate prepaid shipment via UPS. THE AUDIBLE DIFFERENCE.
435 Tasso. Palo Alto, California 94301. (415)328-1081.
ELECTRONIC
CROSSOVERS-ALL
booklet describes applications,
TYPES.
Updated
definitive
how to improve speaker systems,
$5.00 postpaid, credited to first purchase. Huntington Electronics,
Box 2009A, Huntington, Conn. 06484.
Koss
JVC
ADS
LS3/5a,
ARC D-100, SP3a1, EC2a,
Marantz 8b, Leach LNF-1, McIntosh MX 113, BGW 500D, SAE Mk
1
Avid
Headphones
Sonus
Audio-technica
Celestion
*Sefton
Rotel
Grace
Denon
Maxell
Discwasher
Jecklin
Sfax
Revox
AKG
Ampex
Make Offer. Don Davis, 1804 Lake, Gothenburg, NE 69138.
USED MINT: ARC T -D's ACOUSTAT X, Koss ESL, Beveridge ESL,
G
"We offer SOUND value for your dollars"
Luxman
PIONEER Spec -1, Spec -2, RT -2022 Tape Deck. Mint Condition.
Ohm F, Allison One, Rogers
FOR SALE
...
203-255-5939
GAS
ADS
Electro -Research
Kenwood
Sonus
Bravura
Connoisseur
ERA
LinnSondek
Magneplanar
lechmcs
Threshold
FMI (Fulton Jl
Nakamichi
Rappaport
Slax
Ampzilla
bookshelf size. using plasticized drivers. and has superb impulse
response. Also available the newly refined Model
RABCO SL -8E REBORN:
LED motor
DC
$425.00 ea., the phase coherent Model
switching circuits, LED in-
B
R
Mark
II
at
at $235.00 ea.. and
Model M with transmission -line base at $800.00 ea. Come audition
power supply, low mass red-
or write for detailed information on Fried and other edge-of-the -art
wood arm, precision bearings, mod. $500. Newsletter #5, photos,
TREMENDOUS DIS-
Grado Signature
Dyna vector
Series" speakers. Our customers say "incredible" and compare
them with speakers costing hundreds of dollars more! "High
Fidelity" said "transparent, sparkling." ''Stereopus" said
"thoroughly honest sound." The Fried Series begins with the
Model 0-at only $140.00 ea.-truly a bargain. The Model 0 is
1229 Post Rd., Fairfield, CT 06430
dicators thru plexiglass channel,
COMPONENTS AT
Grace
Dual
Advent
FRIED SPEAKERS AT DESIGNATRON
Rabco ST -7, M&K Rabco arm. PAUL HEATH AUDIO, 354 State
CANADIANS-DYNACO
Denon
Auno iiezeercn
Designatron is pleased to have the fantastic Fried "Signature
b, Citation 12, Soundcraftmen PE2217, Crown DC 300a & IC 150,
Street. Rochester, NY 14608, (716) 232-2828
2858 W. Market Street
Akron. Ohio 44313
(216) 864-4411
grain0Pbone®Phone
Floats
Sanyo Car Stereo.
Sony Portables*
We pay freight
GOLDEN
products from Designatron. Fried Model 0's shipped free in con-
$2. AUDIOETC, Box 55, Lansing, IA 52151.
tinental
COUNTS. Write En Jay Sales Hornepayne Ontario.
U.S. Designatron Stereo Store. 260 Old Country Rd.,
Hicksville, N.Y. 11801. [5161822-5277.
Professional HI-FI Home Study Course-Instructors include Len
SAMPLE COPY OF NEW DAWN, the magazine for
Feldman, Julian Hirsch, Larry Klein, and Larry Zide. Send $2.00.
are interested in world affairs, as well as beauty and
fashion. Send $.50 for sample copy, to: NEW DAWN,
North American Building, 401 N. Broad St., Philadelphia,
Pa. 19108.
for full color AUDIO PRIMER and information on joining (SAC)
LUX C-1000 PREAMP $595, Rabco ST -6 $265, SAE MK 24 $540,
Society Audio Consultants, Dept. A, 49 East 34th St., New York,
ESS AMT
N.Y. 10016.
(703)522-2369
IA
$590/pair, All mint condition. Call after
8 P.M.
women who
CLASSIFIED
ADVERTISING
RATES
D24
BUSINESS ADS -For Sale. Help Wanted. Services. Business
Opportunities. Tape Recordings, etc. etc $4.80 per line. First
line set in bold face type at no extra charge. Extra lines $9.60
per line. One point ruled box, extra charge $8.00. Full pay-
ment must accompany order.
NON BUSINESS ADS -Situations Wanted, used equipment for
sale by private individuals $2.80 per line. First line set in bold
face type at no extra charge. Extra lines set in bold face type
$5.60 per line. Full payment must accompany order.
FREQUENCY DISCOUNT -3 times, less 10%. 6 times, less
15%. 12 times, less 20%.
DEADLINE -1st of two preceding months. (Dec. 1, 1977 for
Feb. 1977 issue).
The first reviews are in...
"The D24 loudspeaker gives a fine account
of itself; it is low in coloration... is very'open'
in sound, and has good tonal balance. The
bass is particularly clean...The D24 looks like
a winner."
BLIND ADS -Box numbers may be used at $5.00 extra for
MUSICAL HERITAGE REVIEW MAGAZINE,
handling and postage.
August 15, 1977
MAIL ORDER AND DISPLAY CLASSIFIED RATE
1
col
x
1
col
x2"
$125
1
col
x 3"
$175
2
col
col
x 1'
x 2'
$125
2
1"
$85
CONSTANT WIDTH, ASYMMETRIC
TRANSMISSION LINE SPEAKER
$225
Advertiser must supply complete film negative ready for printing for display ads.
SYSTEM.
Write for the dealer nearest you
AUDIO Magazine
401 North Broad Street
Philadelphia, Penna 19108
HOW TO ANSWER BOX NUMBER ADS
When replying to an Audio Box Number Ad, please use this
address Box No.
c/o Audio,
Philadelphia, Pa. 19108.
AUDIO
January 1978
401 No. Broad Street.
innotecul
42 Tiffany Place, Brooklyn, New York
(212) 522-0862
11231
09
FOR SALE
7
7
\
BUY HI-FI
COMPONENTS
THE MODERN
WAY:
V
FOR SALE
AKA!
ADC
SHERWOOD
TDK
TEAC
MILLER AND KREISEL SOUND CORPORATION
PRICES ANYWHERE on audio equipment. All
major brands discounted. Write for quotes, K&L Sound Services,
SUR WOOFERS
75 N. Beacon St., Watertown, Mass. 02172.
M&K MAKES
LOWEST DISCOUNT
AR
SHUREY
HY-GAIN
TO
THRESHOLD 400A now on demonstration! 100 watts/channel of
MANY OTHERS
Class A power. Tremendous dynamic capability. Greatly extended
PHONE & MAIL
bandwidth plus faster stewing. Beautifully styled with LED readout
of peak and average power. Listeners expect it to cost twice its
price of $1147. Also new from Threshold, and now on demonstra-
Call TOLL FREE or write for LOW PRICES
Nationwide
California
FOR SALE
800/854-7769
800/472-1783
the
ultimate
DYNAMICIAIso now on
turntables.
tonearms,
in
stock
we
display-the suberb
TUB -WOOFERS RANGING FROM $125
$465 -ALL UTILIZING M&K'S NEW DOUBLE VOICE COIL
MATRIXING (DVCM)
Goliath I -Walnut cabinet and audiophile woofer, built in DVCM
matrixing and crossover adjustable to 150, 125, 100, 75 and 50Hz
on back plate. Designed to be used with Magneplanars, Ouads,
Dahlquists, B&W's, Acoustats, etc.-$315.00
Goliath II -Simulated walnut, slightly smaller. Uses a high power
tion, is the NS-10 direct coupled preamplifier.
For
AUDIOPHILE RECORDS
CROSSOVERS
6 MODELS OF
the
BREUER
DENON direct drive
Hear the all new moderately priced electronics from
12' bass driver and the same 5 frequency, adjustable
matrixing crossover.-$175.00
capacity
BE -1B -Walnut
cabinet audiophile woofer. No crossover network.
,Approved by Phone
G.A.S.-Thalia, Grandson and Charlie the Digital Tuner. We have
Includes DVCM. To be used with same speakers as Goliath I. Re-
MPK SALES
the Sleeping Beauty in stock!
quires external crossover or biamping. $230.00
Hear the ROGERS LS3/5A and SPENDOR SA -1 mini- monitors.
250 N THOMAS, PO BOX 2100
POMONA CA 91766
J
We have the STYLIFT which lifts your manual tonearm automati-
cally at the end of the record-$15.95. Ask us about the benefits of
using the anti -resonant PLATTER PAD.
THE AUDIO ADVOCATE
We have the
beautiful
fidelity recordings.
GALE maximum
MILBURN, N.J.
prepaid/insured throughout the U.S. Our other fine
suppliers include Ariston, Audionics, Connoisseur, Dahlquist, DB
LOWEST AUDIO PRICES POSSIBLE
Systems, Formula 4, Grace, Grado, Goldring, Linn Sondek, Infinity
Black Widow, M & K, Rappaport, RH Labs, Sonex II, Sonus and
We ship
Write for our Quote: Sound Electronics of Johnstown, 519 Wheat,
date kit will convert your PAT
5
into
435 Tasso
(415) 328-1081
stunning state-of-the-art
a
contender. We invite comparison to any preamp. Parts list and
instructions-$5.00, kit-$55.00 post-paid. Musical Sound Lab,
Box 5503, Preston King Station, Arlington, Virginia 22205.
2
drivers. $425.00
but without crossover net work. In-
cludes DVCM. $125.00
Studio Standard -Features 125 SPL 0:040Hz for studio monitors.
4 drivers. $465.00
Contains
All M&K Sub-woofers are aligned 2nd Order Butterworth (62)
maximally flat (tc =13). They are designed particularly for "tight"
bass, transient detail, and very low overhang and decay time.
small in cabinet size but large in power handling capability and
great in transparency and imaging. Together with an M&K Sub -
THE AUDIBLE DIFFERENCE
ATTENTION DYNACO PAT 5 OWNERS! Our PAT 5 phono board up-
Contains
BE -II -Same as Goliath II
Today's market offers some superb small super- speakers;
Onkyo.
Johnstown, Pa. 15902.
DBE-18-6db higher output limit and twice the efficiency of the
BE -18.
woofer (hidden in
a
corner), one hears
a
clean, big sound com-
Palo Alto, Ca. 94301
petitive with the world's finest large speaker systems. M&K
particularly recommends that their sub -woofer be used with: ADS,
AUDIRE ELECTRONICS now available in LOS ANGELES, Ca. at
Braun, KEF Corelli, Rogers LS 3/5A, Jim Rogers JR 149, Visonik,
Delphi Custom Stereo call (213) 657-3019.
Spendor and others of the top quality.
M&K, THE SUB -WOOFER SPECIALISTS,
AUDIRE ELECTRONICS now available in TEMPLE Terrace, Fla. at
Hi Fi Hutch call (813) 985-7144.
SUPERB NEW PARAGON MODEL 12A and System E1 Preamps;
Previously, single sub -woofers reproduced bass from both stereo
also New from Paragon-the E4 Amplifier, the E5 100W mono Amp
channels by combining the channels at high level using a tran-
Line Monitor.
sformer. Now M&K has eliminated the transformer, thus gaining
increased output, punch and linearity. Each channel of a stereo
amplifier can feed a separate voice coil though separate input
terminals. This dual input design combines the 4 Ohm level power
output of both channels of a stereo amplifier into a single woofer.
(solid state), the E3 Active Crossover, the
needle in a haystack specializes in stereo styli and cartridges, ac-
cessories, special records. All major brands and many hard -to -find
110
replacements available. Free catalog. Dept. A.P.O. Box 17436,
Washington,
DC
20041.
FULTON/FMI-BRAVURA-PRO
MUSICA,
E6 AC
These together with the FANTASTIC ROGERS LS 3/5A BBC
M & K Subwoofers-All at PARAGON OF
WAIT-Now the Highly Acclaimed New SNELL
Monitor Speakers and the
SOUND.
BUT
ACOUSTICS LOUDSPEAKER and the DYNAVECTOR Moving Coil
Cartridges requiring no pre-preamp are also available at Paragon of
You do not need a bridging adaptor and you avoid wasting half the
Sound. Call 301-229-2676 (Bethesda, Md.) (on weekdays call
amplifier power when bi-amping.
after 6:30 P.M. EST) Or write P.O. Box 189, Cabin John, Md.
SAN DIEGO, CALIFORNIA
AUDIO
20731.
RESEARCH,
INTRODUCE DOUBLE
VOICE COIL MATRIXING
All current stocks of M&K sub-woofers offer this feature. They
still have the same superb
MAGNEPLANAR, KMAL record cleaning. Audio Pulse and other
"tight"
low bass detail and absence of
coloration of our earlier drivers. With the Bottom End Series, bi-
state-of-the-art components. Mission Bay Audio, 4501 E. Mission
CUEING DEVICE FOR AR turntables and others. Precision ma-
amping is readily carried out without
Bay Dr., San Diego 92109.
chined,
crossover network. The Goliath Series carries an internal crossover
network, but can also be bi-amped.
silicon
damped. Easily installed $16.00 postpaid.
LYRELIFT, 582 Franklin Street, Cambridge, Mass. 02139.
Systems, Denon Electronics,
Signature,
Entre, Fons, Grace,
Grado
Infinity, Nakamichi, Ortolan, PHASE LINEAR, PMI
Supex, TASCAM, Technics, Thorens, Audio Pulse, Acoustat, I.M.
Transcriptors, SAE, Nakamichi, Bozak, SME, DBX, Revox, Infin-
Rogers, Ram, etc.
ity, RTR, Phase -Linear, Tandberg, G.A.S., London -Decca, Stax,
Sonus and over 50 others. Wisconsin's ONLY Audio Research
components
by
Audio
Research,
Dahlquist,
HI-FI HAVEN
dealer with their new product line on demonstration. Plus one of
28 Easton Ave.
the truly largest displays of tape decks & accessories in the entire
New Brunswick, N.J. 08901
country. Over 130 machines on display. WACK ELECTRONICS,
201-249-5130
INC. 5722 W. NORTH AVE. MILWAUKEE, WI 53208
-
GARLAf1D AUDIO
tubes, op -amps or power
supply), yet unlike resistive -reactive passive networks (usually at
6db per octave), the LP -1 has virtually no loss in the pass band
and provides 12db per octave from low pass to high cutoff and
18db per octave from high pass to low cutoff (to protect small high end speakers against excessive bass drive). If you want the ex-
ceptional dynamic range advantages of bi-amping, but wish to
maintain the superb mid-range and high definition your expensive
pre- amp and amplifier produce, you can avoid adding further
active stages in the chain by using the unique passive LP -1. It's
getting raves from Golden Ear Audiophiles. $120.00
The M&K Bass Ramp uses the same elements as the LP -1
crossover in a configuration to drive a single amplifier with adjustable bass & high levels to permit Bottom Ends to be used with
high efficiency speakers such as Altec, JBL, KLIPSCH, Tannoy,
"DISTINGUISHED FOR THE VERY FINEST"
THE EXQUISTE AUDIO PRODUCTS
OF
AUDIO
RESEARCH, MARK LEVINSON, SEQUERRA,
MAGNEPAN, GALE, GREAT AMERICAN
SOUND, LUX, NAKAMICHI, QUAD AND
MORE ARE OPTIMIZED AS A SPECIALTY OF OUR ART
AS IS OUR HOSPITALITY AND SERVICE.
SAN JOSE
BERKELEY
2960 STEVENS CRK. BL.
3101 TELEGRAPH AVE.
415-841-1591
244-6724
TUE -FRI
CROSSOVER
Completely passive (no transistors,
TRUE AUDIOPHILE DEALER
Specialists
in
PASSIVE
NETWORK FOR BI-AMPING STEREO SYSTEMS
MILWAUKEE & WISCONSIN'S ONLY
REVOX SAE, SAEC, Sennheiser, Sequerra, Sony, Stanton, Stax,
--
higher power level matrix or
M&K ALSO INTRODUCE THE LP -1
AKG, AMPZILLA, ARISTON, BEYER, CIZEK, CROWN, Dahlquist,
DB
a
-
11
-6, SAT-
10
-5 AND BY APPT.
etc. and allows the full power of your amplifier and its full damping
to be available to all speakers. M&K Ramp R-1
$95.00, M&K Ramp
R-2, $115.00 (Rear Connections.)
M&K utilizes automatic charted laboratory instrumentation for
frequency response, harmonic and intermodulation distortion,
phase, tone burst and other transient testing, and calibrated instrument for SPL. Its new recording facility includes
a Georg
Neumann disc cutting lathe with passive mixing and state-of-theart electronics. Write for information on new direct -to -disc and
other audiophile releases. Currently very popular is the new M&K
Bottom End Musical Bass and Transient Test Record, Vol. II. By
direct mail, $7.50 plus $1.00 postage. See al! of the above at your
nearby M&K dealer.
DYNA STEREO 70 MOD KIT. Tighter bass, improved transient
response, higher definition. Complete instructions, schematics,
parts list, $5.00. With parts kit, including all new tubes, $75 all
postpaid. Audio Designers, Box 122, Ledyard, Conn. 06339.
AUDIO
January 1978
LEGENDARY.
Mark Levinson. Threshold. Grado Signature. Janis. Pyramid. Grace. Spendor.
TECHNIARTS
Audio Equipment Showroom, Ampex, AKG, DBX,
Professional
Crown International,
Malatchi, Orban Parasound,
Sescom on
Rogers. DCM. Paragon. DB. Bryston. Paoli. Linn-Sondek. Bowers & Wilkins.
Denon. Verion. Dunlap -Clarke. All these legends at Chestnut Hill Audio,
2302 Lombard Street, Philadelphia, Pa. 19146. (215) KI 6-6178.
display in stock for immediate delivery. 8555 Fenton Street, Silver
Spring, MD 20910; 301-585-1118.
INNOVATIVE AUDIO
CHES'I'Nj1'I' HILL AUDIO.
129 Degraw Street, Brooklyn, NY 11231
(212)596-0888 or 858-3493
Mark Levinson
Systems
BGW
Sequerra
Yamaha
AGI
Innotech
OHM
RAM
Accustat
Klipsch
Ortofon
ADS
Bryston
STAX
Dunlap -Clarke
SAE
IMF Electronics
Revak
Radco
FOR SALE
FOR SALE
FOR SALE
DB
Harman Kardon
AUDIRE ELECTRONICS now available in Metropolitan New York
ESOTERIC
Infinity
and Paramus, N.J. at all Crazy Eddie's stores call (212) 645-1196.
Nakamichi, Ampzilla, Luxman, B&O, Dahlquist, Quatre. Write for
Denon
Spendor
Supex
Grace
PRODUCTS -New
used.
and
Audio
Research,
list. STEREO SHOP, 107 Third Ave SE, Cedar Rapids, Iowa 52401
Keith Monks
CYBERACOUSTIC LABORATORY is a research and development
ALTERNATIVE
-Boulder Sound
Gallery,
center combined with the most scientifically advanced audio
lab. Exciting new product lines for 76-77 including:
COLORADO'S
acoustics
Ltd. -Purveyors of unusually fine audio systems and service to
Audio Pulse Home Digital Delay Line, Acoustat Direct Tube Drive
Electrostatic Spkr., Crown's New High Definition Series of Amps
meet the needs of all serious music lovers. Our product selection
Fronheiser, Johnstown, PA 15902
Make
and Preamps, Fulton Systems, Infinity's New Quantum Spkr.
Series, Luxman Ultra -High Fidelity Solid State & Tubes, IMF Inter-
X ESL, Allison, B & 0, B & W, Dahlquist,
dbx, Dynavector, Fidelity Research, Fons, Luxman, Magneplanar,
Mark Levinson, M & K Sound, Quad Acoustical, Quatre, RAM
Electrostatic
Sound Concepts, Stax, Supex/Sumiko, Yamaha, and Ultraphase.
PERFECTIONISTS PREFER DYNAKITS
Before Purchase You Owe Yourself Our Oriole Mainline
DON'T GET RIPPED
OFF!
1la
971
use of inside trade secrets.
Manufacturer's Price Sheets on: Advent, Bose, Harman Kardon,
Marantz, Sony. List of wholesale distributors which sell esoteric
products from 5% over dealer cost! 12 page report. Send $1.00
national Spkrs., RTR
and two stamps -Box 162 Bryn Mawr, Pa. 19010.
Recording Director Series of Electronics, Source Engineering's
Point Source
BIk,
Direct Drive
ll, L, 0, & S Spkrs., Denon
Wht. Carts., Stax Electrostatic Spkrs., Nakamichi's
Spkrs., IM Fried Models, H, M,
&
D, R
Reduction System, EMT Moving Coil Cartridges,
Transcriptors TT, Sonus Carts., Otani Decks, KEF Spkrs., Spendor
AUDIO
includes the Acoustat
Demo Lux M-6000 amp with new warranty available.
1200 Pearl, Boulder, Colorado 80302, 1-303-444-2626
New Noise
YOUR MAIL-ORDER TAPE SPECIALIST IN WASH. D.C. SAME DAY
SHIPMENT -DISCOUNT PRICES -BASF, SCOTCH, MAXELL, TDK &
CAPITOL. FREE PRICE LIST. SAXITONE TAPE SALES, 1776 COL-
Spkrs., Formula
4
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E.
233
19096,
$495? Can't be done? You haven't
This basic preamp excels at one very essential function; preserving Snd reproducing
every last nuance and subtlety from your record grooves. Our exclusive Ultra-Linear Cascode front end will preserve and amplify
reel 12 for $18 POST- PAID,
ALL the information without shaving off the important depth,
space, and delicate tonal Information which is the true essence of
live music. You may discover, as we did, that your present records
Tonearms, Polk Spkrs., Fons TT AND MUCH
Lancaster
Ave.,
Wynewood,
PA
215-667-3048.
UMBIA RD. N.W., WASH. D.C. 20009
AMPEX TAPE -NEW 1800' on
MARK LEVINSON JC-2, Evenings, 608-849-7207.
1200'
7'
12 for $13 POSTPAID -free list -WIDE RESPONSE, 6114A,
SANTA MONICA BLVD., HOLLYWOOD, CA 90038
formance at $99.95. Huntington Electronics, Box 2009A, Hunt-
ington, Conn. 06484
E
MODIFICATION FROM GERMANY. For in-
ment may not work its best. That's why we're here, displaying
equipment like Lux, Crown, Avid, MXR, Ace Audio, Stax, Grado,
ESS, Grace, and more. 212-544-8700. SOUND SOURCE, 108-18
CLEVELAND AREA AUDIOPHILES
Want to hear the finest?
RECORD REVIEW Magazine
WHAT IS AUDIOMART? Audiomart is the unique audio newsletter
that doesn't charge for classified ads! Buy, swap or sell your used
gear and accessories without cost -per -word worry or two month
delays! Subscribe today: $6/12 issues. Audiomart, Box 821,
-Thorough CLASSICAL,
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ROCK.
Sample $1.00; Twelve Issues $8.00. Box 91878 -AU, Los Angeles,
CA. 90009.
Music Unlimited can give you the sound you desire. Threshold
Class A Amps, Dayton/Wright, Audio Research, Radford, Fidelity
Research, Grace, Gale, EMT, Linn Sondek, Decca, EMI, Advent
Recordings, Sonus, Thorens, Audire, Saec,
3340 Warren Road, Cleveland (216) 221-8411
Stratford, Connecticut 06497.
72 Ave., Forest Hills, N.Y. 11375.
Carlos, CA 94070
formation send $1.00 to H.W.G. Audio, Niederseelbacher Str. 49,
6272 Niedernhausen, W. Germany.
good, knowledgeable dealer to help and explain the best equip-
-E from PARAGON.
more information write: PARAGON 997 E. San Carlos Ave., San
TOTAL RABCO SL 8
THE EQUIPMENT OR THE DEALER? The ANSWER: BOTH. Without
a
experienced the SYSTEM
are better than you thought. PARAGON, one word says it all. For
SUPEX-ORTOFON-DENON-OTHER MOVING COIL CARTRIDGE
OWNERS: Send for free literature on our Micro Preamp Superb per-
AN AUDIOPHILE PREAMP FOR
ALL MINT: CROWN 0150 $325; Marantz 7T preamp $250;
Marantz 108 $750; Marantz 120B $350; Marantz 4140 amp $375;
(4) JBL 100s ea. $225. Call Bill (215)384-7200 M -F 9-5.
Negotiable.
Northern N.J.'s finest store-Lux, Mod DO -10, IMF, Grace, B&W,
G.A.S. Sleeping Beauty, FR, B&O, Linn Sondek, Janis and more.
University Stereo, 57 E. Ridgewood Ave., Ridgewood, N.J. 07450.
20 minutes from the G.W. bridge. 201-447-5700.
RARE
MANY PREAMPS HAVE COME AND GONE,
KLH #1 Woofer System. This walnut enclosure with its two 12 inch
IN 18 YEARS MANY,
woofers and internal space for your JanZen 130 tweeter, is the first
BUT IN THAT TIME OPUS ONE HAS RECOMMENDED ONLY 4 AS
STEREOPUS Our latest issue is out! Reviews include the 8&W
product designed by Henry Kloss for KLH in 1955. This classic used unit is selling for $149. Also New great sounding Gale, Advent,
BEING
SOUNDING.1959 Marantz 7C; 1971 Audio
Research SP2; 1973 Audio Research SP3; 1977 Rappaport PRE -1.
Our customary 18 year old procedure of checking, testing, and
DM -6, Infinity OLS, Sonex
listening to all electronics prior to sale, applys to the Rappaport
preamps. Rappaport PRE -1 $575 and Rappaport PRE -1A $715.
and much, much more. New full magazine size format. With all the
review magazines around, why do you need another? Try us and
OPUS ONE
see! Subscriptions: $10.00 ($12.50 first class), $12.50 Canada,
Sheffield, Crystal, Ark, Umbrella, 3 Blind Mice records and Advent
cassettes.
OPUS ONE
THE BEST
400 Smithfield St. Pittsburgh 15222 Pa. 412-281-3969
400 Smithfield St., Pittsburgh, 15222, Pa. 412-281-3969
DAYTON-WRIGHT SPA Mk. 2-B preamp,
II, Koss Two, and Rogers LS3/5A
loudspeakers, Audio Research (solid-state) electronics, Ampzilla II
and RAM power amps; the DB Systems and Nakamichi preamps,
$16.00 overseas (air mail). Five issues (two large, three smaller)
per. P.O. Box 509, Shalimar, Florida 32579
new Threshold 800 A
amp, new, Revox A700. Walker, (201) 746-2794
KLH RESEARCH 10 SCX' speakers,
MAGNECORD 1024 NEW TELEX HEADS,
portable. cases $550.
516-796-4518.5 Mohegan Dr., N. Massapequa, N.Y. 11758.
$650.42 months remaining
on
transferable warranty. Jon Alexander, 2118 -7th St., Douglas, AZ
STAX PREAMP $325.
85607. Te. [6021364-3921
93762, [2091224-1901
J. Lynch,
3762 N. Cedar,
Fresno, CA
SOUNDCRAFTSMAN RP -2212 EQUALIZER 2 months old, mint con-
dition, $280 804-696-3022.
"STATE OF THE ART",
"OPEN", "SILKY SMOOTH",
"UNCOLORED", "NATURAL"
VERY POTENT SPEAKER system, consisting of two utility cabinets,
each containing two modified
horn, and one
E -V
E -V
SP -15 woofers, one Altec 5-11
T-35 tweeter. $650.00 or best offer. Write. Box
935, Aptos, CA., 95003
ACOUSTAT-X, Jonus Miller modified Rabco SL8E, Denon DP7000
turntable, Entre -1 cartridge, Denon AU320. Bill Pilicer. Evenings
310-354-1196. Days 319-356-1791.
MARANTZ 7C, 108, 16. Thorens turntable TD-124/11.. D. Kesler
R6 Olney, 1162450
MARK LEVINSON JC-2,
A&D cards, new
power supply filter
module, cabinet, mint-$850/infinity Black Widow $150. Call
evenings EST 912-746-0037.
AUDIO
January 1978
SIMPLY BETTER
These are some of the terms which are commonly used by the manufacturers of
esoteric land not so esoteric) audio products to describe the sonic merits of their
respective equipment. These descriptions have been so abused, misused, and
overused by so many people that their original meanings have become obscure.
At AUDIRE, we would like to simplify things. We use only two words to describe
the sound of our equipment: SIMPLY BETTER. These same two words also apply
to the quality of our parts, our craftsmanship, and our reliability. By the way, we
have another attribute which is also SIMPLY BETTER: Our prices. At AUDIRE we
DIFFET 1 PREAMP $475.00
believe in giving you more for your money. AUDIRE...products that are SIMPLY
BETTER.
MODEL 2M AMP S575.00
COMING VERY SOON: OUR FANTASTIC 700 WATT RMS AMPLIFIER.
MODEL 2 AMP $450.00
FOR MORE INFORMATION: See your nearest AUDIRE dealer or contact:
Western Audio Marketing, 13929 Marquesas Way, Marina del Rey, CA 90291 1213! 823-7443
111
No. we would not insult your intelligence. Since audio is subjec-
SpeakerKit
Featonng the newel« Ptl,P and
Electro -Voice drleer with computeraWNd croseawr demon.
Odtatandin0 Oe3tily ate surprisingly
affordable price. Assemble n yourself.
Write for details.
NOTICE TO CANADIANS
WORLD'S FINEST LOUDSPEAKER?
New Lambda Series from
SpeakerKit
FOR SALE
FOR SALE
FOR SALE
tive there cannot be a finest or best! However, if you would like to
designed by Dick Sequerra called the Metronome
own a loudspeaker that performs like a $3000 Electrostatic. has
Canadian hi fi enthusiasts at a price which makes the total landed
front -to -back
depth ever heard, why not audition the incredible DCM TIME WIN-
costs in Canada equal to the American retail price. For additional
information and descriptive literature contact Dick Sequerra-
DOWS?
Pyramid Loudspeaker Corp. 71-07 Woodside Avenue -Woodside,
the
e
widest sound stage & the most phenomenal
2 Plus 2W to
New York 11377 Telephone 212-651-0111.
The audiophile loudspeaker at an affordable price
Box 12A, Menomonie, WI 54751
Pyramid Loudspeaker Corp. offers a new loudspeaker system
516-561-7114
AMERICAN AUDIOPHILE TRADING CORP.
ARIZONA AUDIOPHILES
AUDIRE ELECTRONICS now available in LAGUNA HILLS, Ca. at
PYRAMID Power/Cheops to Scale! Instructions -$1.00 & SASE.
Southland Audio call (714) 768-1362.
Sweetbrier, 1003-P Lake Dr., Weatherford. TX 76086.
Mark Levinson, Dahlquist, S.A.E., Sequerra, Revox, Rabco,
Nakamichi, Yamaha, Transcriptor, Crown, Grace, Stax, Tandberg,
Accuphase, Sonab, Supex, Gale, Klipsch, Phase Linear, Uher,
...
VICKERS AUDIO, INC.,
a
DAYTON WRIGHT XG-8 Mark Ill full range Electrostatic speaker
systems.
new world of sound experiences in
CHAPEL HILL, NORTH CAROLINA
..
length
.
2
on
pairs:
1
1
pair new,
ST -300.
1
pair used
$2800.
few hours. Extra cable
a
pair.
a
(519)848-6924 or
E.S.S., Burwen, Sony V- FET, J.B.L., Harmon-Kardon Citation,
A.D.S., Spettro Acoustics, Jennings Research, Beveridge, Sennheiser, Teac, Thorens, Stanton. Aiwa, Stax, A.K.G., Ariston,
Micro-Seiki, Fideality Research.
Mark Levinson Audio Systems
Genesis Physics Corporation
(416)961-9906.
Infinity Systems, Inc.
Magnaplanar MG Series
M4V 2L4.
Threshold Corporation
Great American Sound
Fidelity Research
Kenwood Professional
EXCEPTIONAL OFFERING, LIKE NEW: EMT 930 Turntable with ex-
DB Systems
J&H Formula Four
tras, Revox A-77
Dahlquist
Harman/Kardon
35 watts per channel (4) Dynaco Model 70A stereo amps 70 watts.
TUCSON -5750 E. Broadway. (602) 622-7407
Technics
Mitsubishi
(2) Dynaco Mark IV amps 40 watts. Cinema Eng. type 9205-A
MAIL ORDER HOT LINE -MR. WOZ (602) 265-7841
Klipsch
Tandberg
degausser ten inch reel size, Sony
Denon
Ortofon
model EV-320, minus power supply, JBL 5306 Pro -mixer, Sony
TANDBERG 10X0, 'A
Grace
Sefton
model CLP-1B video color pack, original NORDEN BOMBSIGHT,
Ana St.. South Gale, CA 90280.
Sonus
Braun
Philips Sound Delay Machine EL 6911/02 multi head tape loop
Don DiNovo, 15 Forest Hill Rd., Toronto, Canada
JERRY'S AUDIO EXCHANGE
2
track deck, (13) Dynaco Mark III power amps
PHOENIX -334 E. Camelback Rd. (602) 263-9410
TEMPE -130 E. University Dr. (602) 968-3491
inch color video recorder
1
trk.,
15 ips, Dolby. Make offer. 3806 Santa
We stock a large selection of audiophile recordings. We offer one of
delay system, (4) Scully 280 electronics' 280 series, (5) Technics
THE HI-FI GAME is a new and exciting board game that can be
the finest audio salons in the Southeastern U.S., with a relaxed at-
turntables SL 1100A, CINEMA/SOUND LTD 212-799-6940.
played by hi-fi buffs and game -lovers alike. Players compete to
build the super systems of their dreams. A must for every
mosphere and knowledgeable salespeople. Please visit us, call us
or write us for further information. Our address: 210 West Franklin
Street, Chapel Hill,
NC 27514 (919) 929-HIFI.
AUDIRE ELECTRONICS now available in SAN DIEGO, Ca. at Stereo
MR. AUDIO CORP. P.O. Box 4489 Berkeley. CA 94704. Positive
audiophile. Money back if not entirely delighted. $12.00, plus
vibrations preamplifier; Eight Tube. Dual Mono. $675. Trevor Lees
$2.00 postage and handling, to Penijon Games, P.O. Box 2129,
Tube Preamplifier MK 3 $300. Trevor Lees Dyne Pas Mod Kit MK 2
-Martinez, CA 94553 (Calif. residents add appropriate sales tax).
$200. Black Faceplate $25. MK
Plans N /C.
1
Owners: Update Kit $20. Update
INFINITY OLS-1 w/4 th years warranty; Infinity FET preamp
[latest mods] w/21/2 yrs. warranty. Best offer. Jim Heusi, 1122
Unlimited call (714) 466-0505.
AUDIO RESEARCH D-150, Latest Fulton
"J"s..
Bravura Preamp,
Latty, Defiance, Ohio 43512. Ph. 419-782-5657.
SAE-VIB FM Tuner, Linn Sondek TT. All absolutely perfect, used
QUICKEST AIRMAIL SERVICE DIRECT FROM TOKYO All brands of
112
Cartridges & Arms. Great time & money Saving
JAPAN
AUDIO
TRADING
CO.,
Saikaen
!
very little. To highest bidder. AUDIO Box-A71-1.
ROGERS SPEAKERS AND ELECTRONICS: export monitor, compact
Write us today.
Bldg.,
4-33-21,
Kamimeguro, Meguro-Ku, Tokyo 153
monitor, and of course. the LS3/5A-the most accurate of all the
Maxell, TDK,
mini -monitors, also, the Rogers A75 Series 2 integrated amplifier.
BASF. Ampex (Grandmaster). and Discwasher. Lowest prices and
All at Audio Reproduction, 217 College Ave., Blacksburg, VA.
fastest service. Tape World. 220 Spring Street, Butler, PA 16001.
24060, (703)552-6850
or 11)-$2.20,
QUALITY BLANK TAPES. Maxell: UDXL-C60
UDXL-C90 (I or 11)-$3.09, UD -C90-$2.53. LN -C90-$1.78, UD3590-$4.45, UDXL35-908-$5.40, TDK: SA -C90-$2.85, SA -C60-
DYNACO PAT -5, 150 stereo amp with meters, B.I.C. 960, Heath
QUALITY RECORDING TAPES
and accessories.
BUDGET TAPES, RECORDS. Many favorite artists and titles. Free
catalogue. Write Topsound, Box 15, Dept.
Al,
Dayton, Ohio 45405
TOTAL MODIFICATION for Rabco SL8E from Germany. For informa-
tion. send $1 USD to HWG AUDIO, 6272 Niedernhausen.
MARANTZ 500 AMPLIFIER mint. dealer's demonstrator, factory 3
yr. warranty. Best offer buys. Phone 216-434-3448. noon to 6:00
I
-C60-$1.13, D -C90-$1.54. BASF: Studio -$2.39. Shipping $2.50 per order.
Minimum order 12 tapes. Pa add sales tax. Give us a try. Tape
World, 220 Spring Street, Butler PA 16001.
$1.98,
AS -1373 speakers.
Dr. Mark
Finn. 203-482-3032,
Litchfield,
Conn.
AD -C90-$2.39. D
90 and Chromium 90 Cassettes
CROWN IC -150. Excellent condition, $225.
203-232-0380.
YAMAHA B-1 V-FET amp with UC -1 control. Perfect $1200. Call
1-912-927-1190.
AUDIRE ELECTRONICS now available in PHOENIX, and Tucson,
Ariz. at Arizona Audio call in Phoenix (602) 279-4900, in Tucson
(602) 795-9648.
P.M. E.S.T.
ACTIVE
ELECTRONIC
CROSSOVERS
Plug-in Butterworth (maximally flat) filters in 6 db., 12 db., or 18 db. per octave
attenuation, any specified frequency.
Complete crossover in attractive cabinet
with all terminations and regulated power
supply.
$ 92.00
MONAURAL 61 -AMP
$126.00
STEREO BI -AMP
$209.00
STEREO TRI -AMP
$279.50
-AMP
STEREO QUAD
features:
Suggested added
Summer for
"Single Woofer" systems, sub -sonic noise
elimination filters; level controls.
FOR OEM'S AND HOME ASSEMBLERS
500 Series dual filters and/or plug-in
filters; regulated power supplies.
WRITE FOR FREE BROCHURE AND
PRICE SHEET
VeedalWeg
ENGINEERING LABORATORY
11828 Jefferson BI.Culver City, CA 90230
Phone: (213) 397-9668
LIMITED NUMBER OF BEVOX A-77 available -Our Price $650,
WESTCHESTER, FAIRFIELD COUNTY
regularly $999. Brand new in sealed cartons with manufacturer's
warranty. It's a steal! Other models available -write for full listing
THE LISTENING ROOM INC.
or make checks or money order ($650 & $12 freight & handling.
Scarsdale, N.Y. 10583
NY residents add appropriate sales tax) payable
590 Central Park Avenue
to': Entertainment
(914) 472-4558
Sound Services Inc., 78 North Franklin Street, Hempstead, New
Cordially invites you to audition our fine line of equipment. DAHL-
York 11550,516-538-2220.
QUIST
DISKO MIX -MASTER IV
DAYTON WRIGHT ESL
SNELL ACOUSTIC
LUX REFERENCE
QUAD ESL
AMPZILLA
Now available with two phono inputs plus AUX input for tape.
4
Outstanding performance, professional specs. Write for literature.
POLK AUDIO
Available thru selected dealers. Berkshire Audio Products, P.O.Box
BRYSTON
II
NAKAMICHI
DBX
KEF
THAEDRA
THRESHOLD
DYNAVECTOR
PHASE MATRIX
YAMAHA
GRACE
SON OF
DENON
TANDBERG
SAEC
AMPZILLA
STAX
JANIS
FORMULA
THOEBE
PARAGON
AUDIO PULSE
THRESHOLD 400 A CLASS A AMPLIFIER
35, Great Neck, NY 11021.
We ship free anywhere in the U.S. We invite inquiries.
BOB HEENAN SELLS QUALITY USED EQUIPMENT ONLY. Select
LEVINSON JC2 A&D cards $850.00 (201) 679-6687.
from tube classics, mass merchandised bargains to high end
price listing. Sound Advice, 1906 Beacon St., Brookline, MASS.
BRITISH AND EUROPEAN HI-FI, most makes, from England's Hi-Fi
mail order specialists. Save on LS3/5A, KEF, Radford. Tandberg,
02146. TEL. 617-734-2727.
Tannoy, etc. Shipping
esoterica. Everything unconditionally
guaranteed. Send $1
for
Goodwins,
ILLINOIS AUDIOPHILES: AUDIONICS, POLK, M & K, Formula 4,
Grace, Quatre,
Leach, Dynaco, Audio Dimensions,
noisseur, Denon, Goldring,
ERA,
Promethean. SYSTEMATIC SOUND,
Tape Recorder. 512-729-6110.
Teac 3300
4
list free or send $3 to include literature.
Broadway, Wood Green, London N22. Phone
888-0077. Callers welcome.
Con-
512 Bridge Street, Rockton, Illinois 61072. (815) 624-4902.
CROWN IC -150 A Stereo Preamplifier.
7 The
Track Stereo
AUDIRE ELECTRONICS now available in TORRENCE, Ca. at Dimensions in Stereo call (213) 542-8521.
AUDIRE ELECTRONICS now available in WEST L.A., Ca. at the
Audiophile call (213) 391-2824.
AUDIO
January 1978
FOR SALE
FOR SALE
FOR SALE
AUDIO MODIFICATION MANUAL
AUDIRE ELECTRONICS now available in WINTER PARK, Fla. at The
METAL REELS
More than 220 pages of priceless information, including general
Sound Gallery call (305) 647-4434.
NO WALK -AROUND to
audio philosophy, specific design criteria, general mod instruc-
prietary modifications presented in detail. Latest printing includes
much new information, including
Pioneer Receiver, SX 1010 100W/CH. 3 years old, mint condition.
Nuvistor (:ube) subpreamplifier,
$400.00 John; 605-996-6487, After 5:00 p.m.
$25.00..
THE SENSIBLE SOUND -ISSUE #3
a
a
novel variable VTA headshell
and much more, Price includes free consultation service. U.S.A.
.
$1.50 tax.
Two NEW Mods, costing less than $1.00, that will audibly improve
your system -today. Proof that
construction project for a QUIET
a
other countries U.S. $27.00. California residents add
Telephone orders accepted (M/C, VISA): (714)
278-3310. AUDIO DIMENSIONS. 8898 Clairemont Mesa Blvd..
subscription with us pays for itself.
San Diego. Calif. 92123.
thread.
Latch holds tape for
or
releases at end of
7" is
813.95,10" iss 16.75, add 81.35
shp.-hndlg. SEND FOR CAT.
R F PRODUCTS CO.
FtO.BX.270, LYONS,NJ 07939
tions for al classes of tubed equipment and loudspeakers, plus explicit step-by-step procedures for many common components. Pro-
MAGNEPLANAR 1-C speakers. Perfect condition. 101 N.W. 60th,
Seattle. WA 98107. Ph. [206] 783-6694.
REVOX TAPE DECK A-77
Model 1104/remote control
$450.00
Also: Buying direct from England, Used equipment, Video Today,
inside industry news, and direct comparasion equipment reviews
STELLAMASTER SM7
including -new H/K Citation 17 and PS Audio preamps. SpectroAcoustics 210 and ADC 500 equalizers. ADC QLM36 MKII, AKG
GENALEX, TELEFUNKEN tubes in stock for fast delivery. Genalex
cartridges. Stanton XXI, AKG K-240 and Koss
ECC83 (12AX7) $3.95 ea.; EL34 (6CA7) $9.95 ea. Write for
HV/1a headphones. Qysonic TAD, Epicure 11, Polk 7, Cizek, EPI
120, Ohm L, DCM OED, Infinity Monitor jr, Tracer II, Sonex II and
quotes on other types. Orders prepaid by certified check or m.o.
all the B&W speakers. Also: Quatre amp, Formula 4 arm, KD -500
sales tax. Sound Services, Lake Walton Road, Wappingers Falls,
table,
NY
P7E and Satin 117G
Craig
5503
Receiver,
Vac-O-Rec,
Gold
Disctracker, Rotel rolling cleaner & surprises. Subscribe
-
CODE -A -PHONE
Answering Machines. Shipped Prepaid and In-
sured. Immediate Delivery. Call for Low Prices. AN AUTOMATIC
ANSWER (408)649-0099, Ca. (800)682-4644.
AUDIOPHILE DEMOS AND USED
Used $150.
DBX 122 (noise reduction)
Demo $170
GAS Thaedra (preamp)
Used $599
Gately EK 6 (factory wired echo)
Demo $250.
Gately SM6A (factory wired mixer)
Demo $420
Harman Kardon
Used $249.
(preamp)
11
Kenwood 700C (preamp)
SENNHEISER MKH 105 Mikes (2)
$500 00
STAX EARPHONES (SRX & SRD-7)
$200.00
STAX SRA lOS pre amp
$250 00
PAOLI AMPLIFIERS model 60M (2)
$500 00
12590.914-226-5414
$10,
$11 Canada, $16 Foreign. 403 Darwin Snyder, NY 14226
Burwin 1201 (noise reduction)
$3500.00
shipped free in U.S. C.O.D. add 5%. NY residents include 5%
attenuater,
Amtech
7'/e-15" (Head block switchable with 10Y] 'real plus accessories
Lion: KT88 (6550) $45.00 MP's, $21.50 ea. Telefunken:
TOK CASSETTES SA C90 Virgin
Negotiable
All In excellent condition 201-567-5062
3600' NEW L/N SCOTCH or Ampex tape, 10y: " metal reels 5 for
$38.0012 New Ampex 42 min. 8 Tracks $9.00.6 New Ampex 370
C-60 cassettes in Stackette $5.50. C-90 $6.50. Sound, Peachtree
DeKalb Airport, Chamblee, Ga, 30341
AUDIRE ELECTRONICS now available in BOSTON, Mass. at K&L
Sound Service call (617) 926-6100.
Demo $350.
SNELL ACOUSTICS TYPE A LOUDSPEAKERS
PROTECT YOUR LPs. Poly sleeves for jackets 9e round bottom in-
Levinson JC-1-AC (mc preamp)
Used $150.
Paul Heath Audio has now on demonstration the remarkable new
ner sleeves 7G Poly lined paper sleeves 15e White jackets 35K
McIntosh 1700 (receiver)
Used $300.
Snell Acoustics loudspeaker. Each speaker utilizes highly modified
Marantz 33 (preamp)
Used $190.
conventional drivers which are placed into two separate modules,
Postage $1.50 House of Records, Millburn, New York
10931.
Used $190.
the woofer section and the midrange tweeter section, which is
placed above it. Its advanced design. attention to detail and sound
Levinson JC-1 (mc preamp)
Used $80.
Marantz 3300 (preamp)
Phase Linear 2000 (preamp)
Demo $199.
Phase Linear 4000 (preamp)
Demo $399.
character are unexcelled; resulting in the illusive sense of listening
Revox A76 (tuner)
Used $199.
through to the source.
(preamp)
Used $350.
Brochures available.
SAE
1
B
2-Schoeps CMT 35
U
(microphones)
Demos $375. ea.
(12" tonearm )
Used $60.
Sony C55P (microphone)
Used $125.
SM E 3012
Sony 5130 (tuner)
Used $175.
All items subject to prior sale.
Paul Heath Audio, 354 State Street. Rochester, NY 14608, (716)
232-2828
AUDIRE ELECTRONICS now available in S. F. BAY Area (Saratoga,
Ca.) at Avant Garde call (408) 867-6677.
Dealers welcome. send check, BAC, MC.
Stereo Lab
DEALER FOR THE
INCOMPARABLE
614/294-4743
MARK LEVINSON H.Q.D.
REFERENCE SYSTEM
AUDIRE ELECTRONICS now available in VISALIA, Ca. at California
The H.O.D. reference playback system consists of the following
Audio Systems call (209) 625-0677.
components:
TO CENTRAL
ILLINOIS
Audio Ltd. is bringing the finest in components including
IMF
Micro -Acoustics
Quad
Promethean
Grace
Thorens
Allison
Cizek
Rogers BBC
SME
KEF
2
Hartley 24 in sub -woofers
4
Quad ESL loudspeakers
2
Decca ribbon tweeters (modified)
2
Levinson LNC-2 Crossovers
Quatre
Ariston
DB
Systems
1
Levinson ML -1 (LEMO) preamp
6
Levinson ML -L amplifiers
stands (for Quads & Decca)
THE
H.O.D. SYSTEM WITH GOOD SOURCE MATERIAL. WILL
REPRODUCE A MUSICAL EVENT BETTER THAN ANY SYSTEM
AUDIOPHILES
Don't miss the exciting issue #4 of the AUDIO FORUM. Besides our
usual bevy of informative features we offer our super audio gift
welcome. AUDIO FORUM makes
a
perfect gift.
Money -back
guarantee.
WE
KNOW OF:
SOUND COMPONENTS
2710 Ponce de Leon Boulevard
Coral Gables, Florida. 33134
305-446-1659
STEREO SAVINGS!!
quality audio tubes available at very competitive prices. Contact
Most popular and esoteric brands. WILLNER, 223-B 4 Thayer, Pro-
Jim Wallace at 201 McMasters Drive, Monroeville, Penna. 15146
vidence,
or (412) 373-2602.
02906.
AUDIRE ELECTRONICS now available at Weingarten Stereo in the
LEACH LOW TIM Amplifiers 100w/ch, 10 day trial, free shipping.
Raw spkrs., Bextrene cones, Decca Ribbon Tweeters; details, TA
Box 90 RRI, Surry, ME 04684
Bay Area (Menlo Park) call (415) 323-5111
CROWN ES -212
Speakers. Perfect Condition.
pair. (804)973-6029 Ch 'vine. Va.
AUDIO
January 1978
-
Our records are mastered on
a Neumann disc cutter from high accuracy. low distortion, 100 dB dynamic range tapes. The limited number of
pressings made from each stamper maintains
uniform state -of - the -art quality, guaranteed
against manufacturing defects.
mic rendition of Feelings. Cymbals that challenge
your tweeters. Includes: Rhinestone Cowboy,
Leroy Brown, Wild Flower, and Misty. A PERFECTLY CLEAR' "^ disc made in Germany on the
Celia Label. BL-3.
THIS IS THE ONE
Piano solos by Dick Wellstood
jazz with a fine
touch. "It's a rather pretentious performance,
which is not like Wellstood. Otherwise, he ranges
far and wide on the musical scene in this collection, turning all sorts of things to his own advantage and playing with great spirit and élan."
John S. Wilson, High Fidelity, November 1977. Includes Paganini's Thing, Keepin' Out of Mischief
Now, You Are the Sunshine of My Life, The
Steeplechase, You Go To My Head, Rosetta,
Sugar, and Giant Steps.
On Audiophile Label, AP- 120.
Price $15 each postpaid. Send check or money
order. Massachusetts residents only add 5%
-
TWX: 812-848-7627
SIEMENS, TELEFUNKEN, GENALEX AND AMPEREX and other top
RI
Can records mastered from tape match
the superb fidelity of today's direct discs?
-
For more information, please write or call:
guide. Gifts for the audiophile from records to super preamps to a
unique hi-fi game. Send $15 ($20 overseas airmail) for six bimonthly issues to BOX 578-A, Fairfax, CA 94930. VISA & M/C
HIS IS
MISTY
The Petty Trio -organ, guitar, drums, and vocals.
Highly entertaining, and danceable, with a dyna-
1pr. Hand-crafted oak or ash trestle
and more, 115 N. Walnut, Champaign 61820. 217-359-3774.
rev OIE
Genuine stereo microphone techniques preserve
a sense of depth and ambience.
(100hz&7Khz)
Sonex
CI)
recordings made by Burwen
Studios using the unique Burwen Model
2000 companding Audio Processor; specially
redesigned tape machines; and ultra -low
noise capacitor microphones. mixers and
equalizers.
EXCLUSIVE SOUTHEAST
Columbus, Ohio 43201
DISCS
No! Except
SOUND COMPONENTS INC.
2244 Neil Avenue
INDIRECT
Under warr. $850
sales tax. Decibel Records, Dept. 17, P.O. Box
631, Lexington, Massachusetts 02173.
FOR SALE
AUDIO RESEARCH
JANIS
GALE
Audio
rn
BREUER
Hi.
Reference c
Systems
m
C.)
808 732-3303
Kahala Office Center D
~ Suite 201
Honolulu, Hawaii 96816 z
ROGERS. GREAT AMERICAN SOUND
SONEX
ADVERTISER
PAGE
ADC
Tonearrns
COMPONENTS FOR THE CONNOISSEUR
43
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Acoustat
Leach
Dahlquist
Paragon
Janis
Quatre
149
Rappaport
R
Ariston
Koss
Magnepan
EMT
M&K
Goldring
Rogers
Grace
Snell Acoustics
Grado Signature
Spendor
Linn Sondek
Visonik
Sonus
94
DBX
Hi-Fi Components
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89
Dahlquist
31
Acoustic Research
Loudspeaker Systems
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33
Loudspeaker Systems
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Acoustical Mfg.
Hi-Fi Components
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52
Aiwa
79
Decoursey
Tape Tune Meter
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354 STATE STREET
(716) 232-2828
MARK LEVINSON JC-2, A&D cards, cabinet, mint $850; Phase
Linear 400, cabinet & fan $325; Infinity Black Widow $150; SME
3009S2 imp. non -detach $50. Call evenings EST 912-746-0037
Allison
Loudspeaker Systems
28
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37
Audio Critic
Publication
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24
FINEST AUDIO
DEALER
Accu phase
AEI
AR
Ariston
Armstrong
Audire
Bryston
Connoisseur
Dahlquist Woofers
Dayton Wright
Janis Woofers
LUX
M&K Woofers
Magnepan
Mark Levinson
Optonica
Revox
Rogers LS3/5A
SAE
101
Audio Reference
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114
Audio Systems
109
Hi-Fi Components
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Audio-technica
Demo Record
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Harman-Kardon
IMF International
Infinity
Thorens
Verion
Visonik
PLUS MUCH MORE
Shipping Prepaid & Insured
OVATION
6019 Broad St. Mall
Pittsburgh, Pa.
VISA
s
412-441-4550
B. I. C
Discwasher
Turntables
2, 57
Connectors
Dixie Hi-Fi
Audio Mail Order
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104
Dual (United Audio]
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63
Dynaco
Hi-Fi Components
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84
Eastman Sound
67
Loudspeaker Systems
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Elpa
Record Care Products
53
120
Fantasy Sound
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111
GAS
Grace
"Headquarters for the Verlon Cartridge
Alignment System"
121
Audio Store
Audire
Hi-Fi Components
Loudspeaker Systems
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Fidelity Research
Fulton Music
Discount Music
Record Club
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119
Sonab
Sonus
Sound Concepts Delay
Stax
Supex
Teac
Dennon
'
Audio Views
Publication
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bx
Decca
4 99
Phono Cartridge
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Sherwood
Snell Acoustics
d
123
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Preamp
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Western Pennsylvania's
Definitive Systems
Audio Store
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Audioanalyst
Hi-Fi Components
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Audio General
114
112
Electronic Crossovers
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PAUL HEATH AUDIO
ROCHESTER, NY 14608
62
Acoustat
Hi-Fi Components
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Formula 4
Polk
PAGE
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X
Beveridge
ADVERTISER
Custom Stereo
Audio Store
Fisher
Hi-Fi Components
19
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GAS
6
Hi-Fi Components
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55
Garland Audio
Audio Store
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110
B&W
Loudspeaker Systems
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50
H&H International
Loudspeaker Systems
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120
Ball
Record Preservation Kit
15
Hammond
Hi-Fi Components
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11
Harman Kardon
Receivers
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7
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Bang & Olufsen
Hi-Fi Components
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104
Bryston Mfg
Hi-Fi Components
'103
124
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Henry's
Audio Store
Burwen
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113
Indirect Discs
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Cerwin-Vega
Hi-Fi Components
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Chestnut Hill Audio
Audio Store
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Crown
Overload Capacitors
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...........
27
Hitachi
Hi-Fi Components
51
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IAR
..
111
Publication
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14
Innotech
Loudspeaker Systems
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AUDIO
119
109
January 1978
FOR SALE
As the Audio
ADVERTISER
PAGE
106
J&R MUSIC
Audio Mail Order
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IVC
64, 65
Hi-Fi Components
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KEF
38
Loudspeaker Systems
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Keith Monks
Tonearms
66
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Kenwood
71
Amplifiers & Tuners
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87
Qysonic
Loudspeaker Systems
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108
RF
CONNECTICUT: ADC-Accutrac, Advent, Audio Pulse, B&0, B.I.C.,
11i
Products
Metal Reels
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Radio Shack
...
Loudspeaker Systems
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75
Amplifier
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45
Hi-Fi Components
.....
Marantz ....
Amp
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85
Stax,
Ortofon,
Phase
Linear,
Sony,
Tandberg,
White
St.,
Danbury,
Conn.,
06810. (203) 748-3889-phone
quotes only.
LEACH LOW TIM AMPLIFIER NOW AVAILABLE IN WEST. For info
G.
Max Carter,
Box 26A Goldcamp Rd., Colo Spgs, CO
80906.
104
Rhoades
Teledapter T.V. Sound Tuner
LUXMAN (2) MB-3045 mono tube amps, (1) CL -35 III stereo tube
SAE
preamp in mint condition. $1150.00, 501-253-9483 evenings.
35
Hi-Fi Components
Sansui
Receivers
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TYPE YOUR SLIDES! Sizes 3V. x 4
39
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MXR
Hi-Fi Components
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J.B.L., McIntosh
Nakamichi,
write
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Lux
Citation, Dahlquist, Epicure, Harman/Kardon,
Yamaha, Cizek, Sonus. Will ship prepaid. Sounds Incredible, 226
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60.61
Koss
PAGE
ADVERTISER
Polymusic
Preview Society
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Critic states,
"Another Underground Publication." Yes, to be sure, only
with a difference. State of the
Art, a forum of Audio Views.
Our credo, "For the Sake of
Music and Our Demanding
Love of It." Try us. $15 for 4
issues. Your money refunded
AUDIO VIEWS if you are not satisfied.
3871 Piedmont Avenue
Oakland, CA 94611
Schwann
107
Catalog
$2.35 per 50 and
$2.85
2 x 2
per 100 plus postage. Radio Mat Slide Co., 444 N. Peninsula
Drive, Daytona Beach, Fla. 32018
PHASE LINEAR
Alana Ave
7008 mint $600. [4151881-8618.
Write 19933
Castro Valley, CA 94546
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Ill
126, Coy.
Sharp
Tuner & Amp
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49
Shure
88
Eventide Phaser-All like new. Must
system-Allison Kepex-
sell-best offer will
be ac-
cepted. 618-662-3521.
23
Microphones
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Sonic Research
Hi-Fi Components
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91
102
Sony Corp.
Receivers
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25
106
Maxell
Magnetic Tape
AKG BX -20 REVERB-Cooper Time delay
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McCormick
Records
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McIntosh
Catalog
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McK Sales
Audio Mail Order
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110
Micro -Acoustics
Phono Cartridge
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17
Nakamichi
Hi-Fi Components
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21
New York University
Audio Course
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98
Ohm
Loudspeaker Systems
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22
Onkyo
Hi-Fi Components
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13
Osawa
Phono Cartridge
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86
Speakercraft
SpeakerKits
PS
Audio
AUDIO
Sumiko
Tonearm
SUPERAMP
101
for about $12
!
Superex
Headphones
in 10 minutes
95
Enter No. 49 on Reader Service Card
29
without soldering
a
!
thing
!
Magnetic Tapes
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SO
on Reader Service Card
47, 92, 93, Coo. IV
Only lAR tells you How and Why
Accessories
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on
Lan Own the Very finest
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106
Technics
69
Turntable
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3M
International Audio Review
72, 73
Magnetic Tape
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Coy. II, Pg.
1
Value Kits
Speaker Kits
125
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108
January1978
Stanton
Hi-Fi Components
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Hi-Fi Components
12
Audio Mail Order
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a
Reel -to -Reel Tape Decks
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Playback
into
122
TEAC
114
Hi-Fi Components
Pioneer
Hi-Fi Components
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Speakerlab
Speaker Kits
TDK
103
Phase Linear
(eg a Phase Linear 400)
112
Speaker Kits
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Phono Preamp
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PAIA
Hi-Fi Components
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Change your ordinary amp
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Speakerkit
Ovation Audio
Audio Store
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121
AMAZING !
Yamaha
Hi-Fi Components
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5
2449e Dwight Way Berkeley Ca 94704 USA
Four issue nos. $25, eight $45. Surcharges:
$10 first class, $10 overseas surface, $20 air.
Bank credit cards accepted.
FOR SALE
FOR SALE
FOR SALE
LUXMAN PD121 TURNTABLE:
ADVE\T
Mint, Warranty Card, $350. 317-463-4457.
STATE OF THE ART IN N. CALIFORNIA
Hi Fi Components
now on demonstration at The Audible Difference. Hear the
is
AUDIO RESEARCH D-150 very little used. Absolutely mint condi-
tion. $2500. (301)681-7462 evenings.
superb Threshold NS -10 preamp/400A power amp through Dick
Sequerra's stunning Metronome loudspeakers. Audition Peter
Snell's superb Snell Acoustics Type
gu SCO lJ lSg
LI IJ
14,771, SALE
Walnut Loudspeakers 300
Utility Loudspeakers 260
israrc
Powered Loudspeakers 900
Smaller Loudspeakers 188
178
02 Loudspeakers
-AO
03 Loudspeakers
104
300 Receiver
270
201 A Dolby Cassette 400
TO ORDER'. SEND 50% DEPOSIT.
BALANCE COD, MASTER CHARGE,
VISA. AMERICAN EXPRESS
ACCEPTED
245
215
695
149
139
89
239
339
MAGNEPAN
MG
II
speakers,
absolutely
perfect.
$500.00.
in high -power amplification,
512-358-2433.
amplifiers.
FULTON
J's and THRESHOLD 400A. "AH" version with cables;
$1800; amp $950. 516-689-9077. Long Island.
tNe WBReIIOutilk
Write for catalog of other
Curl's new transient perfect crossover from Symmetry, the ACS -1,
plus Paragon's 125 watt solid state bass amp. Experience the
Hear the ultimate direct drive turntable.
$50.00. Send $14.95 for complete plans and assembly instructions. Kneller Audio Cabinets "Dept.
A'' 6428 W.
27th Place, Ber-
wyn. Illinois 60402
furniture.
Most components,
new glass platter, belt drive Planar tables from Rega Research.
Hear the ultra -musical Paragon System
a
monitors from Spendor and Rogers. For the music listener who
PIONEER M-22 CLASS A power amp, mint
widen your knowledge of Audio Products and Systems and make
new acquaintances. Informative monthly meetings feature new
Angeles. CA 90025
$500; Sonus Blue
1649 Colby Ave., Los
product demonstrations. lectures on latest Hi-Fi developments and
exchange of information. All Audiophiles are invited to attend one
AUDIRE ELECTRONICS now available in HUNTINGTON Beach, Ca.
session as our guest. Details about meetings and membership
at Stereo Haven call
available. Write Box 125 Whitestone Sta.. Flushing, N.V. 11357 or
call (5161593-6538.
24 CHANNEL SOUND REINFORCEMENT MIXER,100 foot snake,
prises,
P.O.
Box
751-5991.
1036,
Submixers, monitor, echo, solo. Also
Littleton,
Colorado
C
&
80160;
G
plus BBC mini -
demands the best, we offer the Breuer Dynamic Tonearm, plus the
non-profit member-
UREI Model 527A GRAPHIC EQUALIZER. Best Offer! B
new generation of compact high per-
a
Chin, 56 Mott St. #2, N.Y.C., N.Y. 10013.
Calibrated, new $100. Dick Schoener,
3
preamp, plus the new
formance loudspeakers from Polk and Cizek,
supported Hi-Fi Club. Come and hobnob with others like yourself to
balanced input, 3 band E0,
E
moderate cost Thalia/grandson combination
DAHLDUIST DO -10, never opened, have receipt. Asking $650.
Zenith! Alleco. Lockbox 1029U, Johnstown, Penna. 15907.
THE NEW YORK AUDIO SOCIETY, INC. is
from G.A.S.
Grace 707 tonearm. Examine the precisely machined bearing of the
from G.A.S. Audition
QUOTATIONS!
II
the Denon DP -6000,
plus the audiophile reference Linn Sondek with Linn -modified
high performance,
amazing money saving values.
SUPER DISCOUNT
audition the Threshold 8000A mono
Hear how good a bi -amp system can be with John
beautiful new Paragon 12A preamp. plus Thaedra
CORNER HORN SPEAKER ENCLOSURE-Build your own for under
Mow 6.eweexs io, eeu.en
ouemme:
A loudspeaker system with
Threshold's new medium power CAS -1 amplifier. For the ultimate
For that extra measure of sonic purity so important to the critical
audiophile, we recommend and stock Polk Sound Cables; Mogami
wire; the anti -resonant Platter Pad, $24.95; Audio Perfection audio
interconnect low capacitance cables, $15/pr.; plus the Stylift at
$19.95 and
a
wide selection of audiophile quality recordings in-
cluding Gale Maximum. Fidelity and Denon PCM.
(714) 897-0166.
We ship all products prepaid throughout the United States.
THE AUDIBLE DIFFERENCE
MARK LEVINSON JC 2 with all the latest improvements, excellent
condition $925 or best offer. 203-929-0647 or write Ken Ludwig,
Shelview Dr., Shelton, Conn. 06484.
AUDIRE ELECTRONICS now available in GAINS VILLE,Fla. at Hi Fi
Hutch call (904) 377-HIFI.
120
435 Tasso. Palo Alto. CA 94301
(415) 328-1081
6
Enter-
(303)
EMT cartridge with Verion transformer.
AUDIO RESEARCH SP3A-4 preamp. Factory re -tubed and tweaked,
"son" rack, new $325; Technics SL -110 turntable,
extra arm plate $225; AT1009-2 tonearm $75; AT706 electrets,
two headsets $125; Sonus blue, new stylus $60. All equipment
$500., GAS
absolutely mint. Warranties. (319) 1337-5819.
goodbye box!
TONE BURST GENERATOR
New kit from RF Instrument Labs. Designed for audio and digital
applications. Has internal sine oscillators, independently variable
on and off times, timed and counted triggering modes, variable offset voltage for driving TTL, external
input, trigger output and
more. Tests speaker and amplifier performance. $129.95. Write
for free spec sheet and applications information RF Instrument
Labs, Department
1A, P.O.
Box 18504, Cleveland Hts., Ohio
44118.
HI-FI ENTHUSIASTS WANTED!!! Earn more than just spare money
in your spare time. We need campus representatives to sell name
brand stereo components at discount prices in your area. No investment required. Serious inquiries only please. Contact: Mail
Order Dept., K&L Sound Services Co., 75 N. Beacon St., Water-
town, Mass. 02172
POLK AUDIO MONITOR SERIES
AUDIO
BREAKTHROUGHS
now
has
on
demonstration
the
remarkable new Polk loudspeakers. Compare them to the finest
loudspeakers in the world. Both the Seven ($139.99 ea.) and the
Ten ($199.95 ea.) utilize high definition polymer laminate bass
midrange drivers, wide dispersion soft dome tweeters and fluid
coupled sub-bass radiators. They are capable of reproducing a
highly defined phase accurate three dimensional sonic image
which rivals the thousand dollar super speakers. They sound great
with
a
small receiver, yet reveal the fine subtleties of state of the
art electronics like Levinson, Nakamichi.
Essence and G.A.S.
Shipped free in U.S. Send for free brochures on Polk or our other
Say 'sayonara' to the resonances, edge reflections and colorations
of conventional box speakers. Top-rated, cylindrically -shaped JR 149
features ultra -wide dispersion and unparalleled transparency. From
England's highly -regarded Jim Rogers.
H & H
International, 354 State St., Rochester, N.Y. 14608
716/325-5275
fine lines.
AUDIO
BREAKTHROUGHS,
1534
Northern
Blvd.,
Manhasset, N.Y. 11030; 516-627-7333.
AUDIRE ELECTRONICS now available in OMAHA, Nebraska at
Stereo West call (402) 393-2100.
AUDIO RESEARCH D76A $680, Crown IC150A $300,
Dynaco
stereo 300 $390, Win SDT-10 $59, 713-729-1658.
AUDIO
January 1978
FOR SALE
FOR SALE
FOR SALE
JIM ROGERS' JR 149: NEW STANDARDS
STATE OF THE ART
FOR SPEAKER SIZE AND
FREE
PERFORMANCE
IN
MIAMI, FLORIDA
Jim Rogers had produced
...
Quite simply, only the very finest in audio components
Mark
a
new and exciting loudspeaker which
featuring: H.O.D. System, LNC-2. ML -1, ML -2. LNP-2. JC-1-AC
149 features a cylindrical enclosure of heavy gauge aluminum. In
letter; accessories; quick service. 100% iron -clad
addition to its being extremely resistant to vibrations and internal
& DC
Great American Sound.
England),
Acoustat-X,
Stax,
Musical Industries,
Fulton
Magnepan,
Rogers, AGI, Audio Pulse. Lentek,
(of
standing waves, the external contour of the cylinder minimizes
KEF,
edge reflect ons and promotes exceptional dispersion, openness,
IMF Electronics,
and naturalness. Not surprisingly, its stereo imaging is without
Sonex.
Yamaha.
Quad
Gale,
Fidelity Research, Grace, Supex, Promethean, Linn Sondek, M&K,
Braun, Janis, Sequerra, Bang & Olufsen, Armstrong. KMAL, Dec-
DIFFERENT
KIND OA
F RECORD CLUB
Discounts up to 73%, no "agree -to -purchase" obligations.
All labels, Schwann catalog of thousands of titles; classical,
pop, jazz, country, etc. Discount dividend certif iates. News-
is free of the typical problems of conventional box cabinets, such
as resonances, colorations, and surface reflections. The new JR
Levinson Audio Systems
details
guarantees. Write for free details.
don
DEPT.
DISCOUNT MUSIC CLUB, INC.
14-01 78
650 Main Street, New Rochelle. N.Y. 10801
peer.
The JR's sophisticated
AUDIO DEN LTD.
16 element crossover permits excellent
ca, Leeson, Naim, Rabco, Otan, Spendor, Rega, AEI, Bryston,
powerhandling capability and low frequency response. Due to the
Long Island's finest audio dealer is proud to announce the addition
Pyramid. Also, Discwasher record care products and audiophile
accurate matching of all elements, no undesirable phase effects
of:
records such as Mark Levinson Acoustic, Sheffield, Audio Lab,
are detectable, and pink noise tests reveal a remarkable lack of
AUDIO RESEARCH SYSTEM
M&K. Reference Recordings, Crystal Clear, Gale.
coloration.
The radical design of this new loudspeaker allows for exceptional
ACOUSTAT X LOUDSPEAKERS
reproduction without
SOUND COMPONENTS INC.
a
THRESHOLD ELECTRONICS
VERION TABLES
suggestion of its small size.
SAEC & DYNAVECTOR TONEARMS
2710 Ponce de Leon Blvd.
305-446-1659
TWX:810-848-7627
Mastercharge & Bankamericard accepted. We ship mall order
prepaid within U.S.
ONLY
MINUTES
TEN
FROM
MIAMI
THE
EMT CARTRIDGES
WHAT THE REVIEWERS SAY ABOUT THE JR 149:
Coral Gables, Florida 33134
INTERNATIONAL
AIRPORT-WE WELCOME VISITORS FROM ABROAD!!!
In a test of 30 loudspeakers in the English publication
Pleasure, the reviewer had this to say about the JR 149:
... this speaker attained an outright first placing ... "
"An intrinsically even loudspeaker with an outstanding
uniformity of response ... "
In another English review, Ralph L. West stated:
"Having lived with a pari for over a month, find myself
as amazed and delighted as was when first heard them
.. The amazement has still persisted during the laboratory
tests
" "
all the more quiet and delicate sounds
came over with a naturalness that makes one forget
loudspeakers. In fact, it is usually difficult to hear the
loudspeaker itself: one is merely conscious of a source of
sound somewhere behind and between the actual
I
SOUND ADVICE MAGAZINE: Now. in issue 5, an exclusive in depth
interview with John Iverson of Electro Research plus
new
kinetic phono
electro
pickup. Also
amplifiers: Threshold 400A,
Yamaha
B-2. We
compare.
DB
a
reviews of
Systems, Stax
sonically,
look at his
the
DA
power
-80, and
Linn-Sondek
and
turntables, with objective as well as listening
of an extensive survey of tone arms, including the Breuer Dynamic, Dynavector, Black Widow, Mayware.
We look at the state-of-the-art in headphones, plus a comparison of
Technics SP10 MK
II
tests. We present Part
I
some surprising moderately priced loudspeakers also, insight into
rebirth of
the super audiophile discs coming from Japan. Plus
a
reel-to-reel tapes. And much more. Sound Advice:
issues $12;
4
$15 first class and $18 overseas (sent airmail). Check or Money
Order U.S. Funds made payable to "Friday Publishing,
Inc."
To:
I
...
BACK ISSUE MAGAZINES. Over 200 titles.
1890 to 1978. Send
stamped Envelope. Free List. Everybody's Bookshop. Dept. AU,
317 West 6th, Los Angeles, Calif. 90014.
CLASSES IN MUSIC RECORDING. Record production, publishing
disc mastering, film recording. Taught by famous engineers and
producers. Held in 16/24 track recording studios. Contact:
University of Sound Arts, 1508 Crossroads of the World,
.
Hollywood, CA 90028. 213-467-5256.
TAPCO-MIXERS
Write to SON
IX
EQUALIZERS-Lowest prices anywhere.
CO.. P.O. Box 58, Indian Head, MD 20840. VISA
AND
and MASTERCHARGE accepted.
THE AUDIO ADVOCATE
MILBURN.
N J
201-467-8988
FUTTERMAN
Reference
C/M
new
INCOMPARABLE
tube
amplifiers.
Golden
Ear
Loudspeaker system. Verion cartridge transformers.
C/M RR805 professional receiver.
Denon direct -drive turntables. Phasor
CC -2A preamp, new $250.
rare
"Miracle
find $600.
Worker" makes consumer
quality
preamps
JR 149 is not only one of the most compact
speakers available but its uniform response and open
sound make it one of the finest loudspeakers heard in a
long time."
"The first and most notable impression of the JR 149 is
the complete absence of boxy sound. In fact, it closely approaches sound generated in free air such as one hears in
a live performance." "
the JR 149 can be positioned
nearly anywhere in a room, including against a wall, where
it can be hung with optional wall brackets. Or it can be
placed on stands that soon will be offered as another op-
...
tion."
"For convenience and
quality performance, few
loudspeakers match this little wonder."
JR 149's are available in walnut, rosewood, teak and
acrylic black. They carry a lifetime warranty for the
original purchaser, and are fused to protect against accidental transient overloads. A matching cylindrically shaped subwoofer with a built-in passive crossover is
available, as are specially -designed stands & wall
brackets.
Consumer and dealer information is available from H&H
International. 354 State Street, Rochester, NY 14608 (716)
325-5275.
NORTHWEST AUDIOPHILES
Dedicated to the ones who care about good listening
speakers $295. pair. Like new McIntosh MC -30 amplifiers, pair
Box
2189, Riverview,
Michigan 48192. (313)
QUALITY USED EQUIPMENT: Audioanalyst A100X speakers. $215
pr.;
AUDIO RESEARCH
ARC Tympani ID speakers $995: ARC SP -4 preamp, $695:
Levinson JC-1AC prepreamp $129; ERA MK6C turntable [new)
$119; Lux CL32 tube preamp $459; KEF Corelli speakers $259 pr:
IMF ALS40A speakers
$189 pr.: Celestina 44's $369 pr; and
Nakamichi 250 cassette deck $179. The Tin Ear, 704 Symons.
NAKAMICHI
BEVERIDGE
FULTON
ROGERS
LUXMAN
Grado Signature. Denon, Grace Formula Four and Sheffield Labs.
FREE INSTALLATIONS IN N.Y. AREA. NO CHARGE FOR SHIPPING.
AUDIO DEN LTD.
1320-34 Stony Brook Road
Stony Brook, New York 11790
516-751-3350
POLK AUDIO and AUDIO DEN
The Audio Den is proud to have on display and demonstration the
amazing Polk Audio Monitor Series. Our customers say. "Fantastic! Compares with the finest loudspeakers
ably the best value in the history of
I
have heard. Prob-
audio!!!" Audiogram TM, from
the Audio Advisor said, "We were so impressed that we could not
believe the prices
...
Other $200 speakers simply do not come
close to the standards set by the Model 10
... And at their price,
they are simply a steal." Come in for an audition or write us for
information on Polk or our other state-of-the-art products. Polk is
in the continental U.S. Monitor 10-199.95 ea.
Monitor 7s 129.95 ea. and the incredible Mini Monitor $79.95 ea.
shipped free
Audio Den Ltd. 1320-34 Stony Brook Rd., Stonybrook L.I., N.Y.
11790,516-751-3350.
TOURING SOUND SYSTEMS, 2, 4, and 8 Track Studios, Disco
Sound, Cerwin Vega
BGW. Altec, Shure, AKG, Tapco,
Dyna,
Revak, EV, Beyer, Cetec, etc.
K & L Sound Service, 75 North
Beacon At., Watertown, Mass. 02172. (617) 787 -4072 -AU: Ken
Berger.
FS1E1AKERI ;I
O
1st CLASS SPEAKER KITS
...
...
NO HORNS
..
IMITATIONS ..
.. NATURAL SOUND ..
7 MODELS
SUB WOOFER
NO CHEAP
LINN SONDEK
SONEX
GRACE
DYNAVECTOR
GAS/AMPZILLA
BREUER
RAM
8&W
ALSO: PATHEMARCONI. REFERENCE RECORDINGS
THE TIN EAR STEREO CENTER
704 Symons, Richland. WA 99352
509-946-4459
January 1978
AmericanRadioHistory.Com
...
...
...
EASY TO BUILD
MONEY SAVING
..
..
YAMAHA
STAX
Richland, WA 99352, 509-946-4459,
AUDIO
MAGNEPAN
DENON
POLK
479-1234.
Magneplanar, Ouad,
.
"Dixie," other tunes. $12.95. Shotglass
$350. WANTED:Mclntosh MC -3500's; Audio Research D -150's;
Marantz 86 tube cover. 8B transformer cover, Nines and Fives.
Rappaport,
(ESL and electronics) Lux, Onkyo, B&O. Revak, Crown, Sonus,
..
cables. Breuer Swissmade tonearms. Becker car radios. Swiss
GOLDEN EAR,
100 in stock). Dahlquist. RTR, Polk, Avid.
into
audiophile quality. $99.95. Van Alstine electronics. Verion triaxial
door chimes play
Bravura, DB Systems,
Rogers. Quatre. Infinity. Yamaha. CM, Nakamichi, Fulton (60, 80,
...
.
... The
To the already fine lines of
I
cabinets."
"Jim Rogers is no newcomer to high fidelity design ..
He is to be congratulated on producing such a gem of a
loudspeaker."
An American reviewer, Thomas Lyles, made the following remarks about the JR 149 in an article appearing in The
Washington Star on June 5,1977:
Sound Advice 68 Post St Suite 226 S.F. CA 94104
GALE RECORDS
HI Fl for
EMT
TANDBERG
SEND FOR FREE CATALOG
P.O. BOX 13460
PORTLAND, OREGON 97213
(1-800-547-5534)
(1-503-232-1956)
.
.
..
J
FOR SALE
FOR SALE
FOR SALE
BUILD STEREO
SPEAKERS
WITH JUST GLUE
AND STAPLES.
Save up to 50% of the cost of
ready -built speakers by assembling Speakerlab kits. We've done
the design, carpentry and wiring,
leaving you only the actual instalMost people take less than
drivers.
speaker
lation of the
two hours to assemble a kit. Illustrated, easy -to -follow
of the way. (And if you
step
each
you
instructions check
still can't finish the kit, we'll do it for you for just the cost
of return freight.)
When you're through, you have a high quality, multi element stereo speaker witha resonance -free enclosure,
fiberglass damping, a crossover with real L -pads, and
drivers that are some of the best in the industry.
Send for our free 52 -page catalog. It's practically a
manual on speaker building and acoustics.
Speakerlab Inc., Dept. AD -B
5500 35th H.E., Seattle, WA 98105
RENOUNCE ROTTEN RECORDINGS! Read selected British reviews
AUOIRE ELECTRONICS now available In ATLANTA, .:a
in the bi -monthly EURO -DISC GAZETTE, then order these European
Village call (404) 233-5346.
discs judged the finest in technical and musical excellence. Selections mainly classical. Send for free sample issue. No obligation.
EURO -DISC GAZETTE, PO Box
Pyramid,
TYPE YOUR SLIDES! Sizes 3V. x 4 $2.35 per 50 and
2
x 2
$2.85
RTR,
Engineer (BSEE),
East
Repping/Demonstrating high quality loudspeaker line. Prices, info. $1 (refundalbe w/order) + SASE. (812) 332-4252. AUDIO
1010 S. Dunn, Bloomington, Indiana 47401.
Audimation Power Amps
DB
Grace
$1600; Late Serial No. A700 Revox 2 -Track Tape Recorder,
$1450; Janis W1 Subwoofers, $350 ea.; Bozak Concert Grands,
Stax
25A-Setauket,
New York, 11733 AVAILABLE FOR SHIPMENT
ALL OVER CONTINENTAL U.S.A. CALL (516) 822-5277
MIXER MADE ESPECIALLY for tape duplication. Will prepuce
enhanced high quality second generation tapes. Kuhn Electronics
1801 Mills Ave., Norwood, Ohio 45212
NEW 1977-78 CATALOG -raw speakers, custom foam speaker
grills, crossover parts, veneers. High quality, low prices. Send
10e.
Custom Sound Service, Algonac, Michigan 48001.
MARANTZ 7e tube preamp with case and new tubes. Recent test
data available $250. Wanwig, P.O. Box 1020, Stockton, CA 95201
Super Savings, P.O. Box 86, Eden, N.C. 27288.
Greenwood (803) 229-2406.
BUY HI -Fl EQUIPMENT "DISTRIBUTOR DIRECT."
No middle -men
or Salesman's commissions to pay! Quick service, excellent stock,
Supex
equipment to fit every purse and aesthetic taste. Write for quotes:
Hi-Fi Sales, Box 348, Dept Q. Bryn Mawr, Pa. 19010 (215)
I.M. Fried Loudspeakers
Technics SP -10
544-1465.
Ace
electronics lines, plus audio
specialties, custom components, and the best customer service.
Call Contemporary Sound Associates, 35 Little Falls Rd., Fairfield,
And many more state-of-the-art
N.J. 07006, Phone: 201-575-1135.
PINK NOISE GENERATOR, kit $13.95, assembled $19.95. West
Side Electronics, P.O. Box 636 -Al, Chatsworth, California 91311.
VAN ALSTINE DYNA MODS
FOR
ST -400,
ST -416,
ST -410,
-150, PAT -5, PAT -5 BIFET, FM -5 are still the best. New $10.00
improvement kit for Dyna PAT -5 BIFET. Double 400 conversions for
both ST -400 and ST -416. Free mod instructions for ST -70,
MK-111 and PAS -3X. $100 audio circuit mods for ARC SP3-A1. All
ST
new DC coupled VAN ALSTINE MODEL
1
preamp and MODEL
Stereo Shop, 2202 River Hills Dr., Burnsville, Minnesota 55337.
PARAGON MODEL 120 -THE ONE YOU'VE BEEN WAITING FOR
612-890-3517
invested in your record collection than you have in
your hardware, you owe yourself a visit to your nearest PARAGON
dealer to audition the incomparable Model 12A. This astonishing
refinement of our Model 12 will make a dramatic improvement in
your sound system if you are now using transistors or IC's in your
phono preamp. If you are already using a vacuum tube preamp,
LOW NOISE RESISTORS -'k W, 5% from
1
to 4.7 Megohm for 3'h
each. Fifty per value $0.85. Postage and handling is $1.00 per
order. FREE catalog and resistor sample. Components Center,
Box 295A, West Islip, N.Y. 11795
technology has advanced in the last two years. Take a Model 12A
home for one night, play a dozen recordings of your favorite
MUSIC, and we're sum you'll never again want to return to the
SEATTLE, WASHINGTON
-Seriously Pursuing The State
of the Art
-
screeching, edgy, constricted, cold, flat, lifeless, sandpaper dry,
compressed, sterile sound which eminates from transistor phono
preamps. Pick us up for a "one night stand," and we think you'll
wind up marrying us. PARAGON (USA) 997 E. San Carlos Ave.,
Audio Research
San Carlos, CA. 94070 (CANADA) EDON ACOUSTICS 697 -Bank
Bravura
St., Ottawa, Ontario (EUROPE) AUDIOSYSTEMS-DESIGN Thielallee
6a, Berlin, WGR. 'all PARAGON products are manufactured entire-
Dynaco (MODIFIED)
Connoisseur
AKG
ly in the United States of America.
Linn Sondek
ERA Mk6
Magneplanar
Fulton/FM'
G.A.S./Ampzilla
Quatre
Quad ESL
Mark Levinson
Beveridge
Yamaha
Nakamichi
Formula 4
DCM
Plug-in Butterworth (maximally flat) filters in 6 db., 12 db., or 18 db. per octave
attenuation, any specified frequency.
Complete crossover in attractive cabinet
with all terminations and regulated pow-
supply.
BI -AMP
STEREO BI -AMP
STEREO TRI -AMP
STEREO QUAD -AMP
92.00
$126.00
$209.00
$279.50
$
Summer for
"Single Woofer" systems, sub -sonic noise
elimination filters; level controls.
FOR OEM'S AND HOME ASSEMBLERS
500 Series dual filters and/or plug-in
filters; regulated power supplies.
WRITE FOR FREE BROCHURE AND
Suggested added features:
PRICE SHEET
euDe
9
ENGINEERING LABORATORY
11828 Jefferson BI.Culver City,
Phone: (213) 397-9668
Grace
Shure IIIG
Denon
FLINT MICHIGAN
CROSSOVERS
MONAURAL
PO
you might be interested to find out just how much vacuum tube
ACTIVE
ELECTRONIC
er
2
power amp. Crown tape electronic mods coming soon, Jensens
It you have more
AUDIO PULSE IS AT DESIGNATRON'S STEREO STORES ON LONG
ISLAND 260 Old Country Road -Hicksville, N.V. 11801 748 Route
SANSUI AND KENWOODI Below mail order prices! Send to: GSH
Transcriptor
-it
GREAT!
(804)
wood, S.C. at Music Machine call in Anderson (803) 224-2584, in
A. Stewart Hegeman
Systems
SEDUERRA TUNER MODEL 1, $1800; LNP2 Levinson Preamp,
gives you up to 8 channels of sound to amplify -it's
studios
great for tilling up huge spaces with little speakers -it's just plain
Electrical
23223.
AUDIRE ELECTRONICS now available in ANDERSON, & Green-
Lee Creighton Audio Labs
it's great for small recording
Service by
Street,
high end lines available at lowest wholesale. Make 10%/40%
M6B 2Z7
delay system that really works:
Hitachi.
Broad
CAMPUS REPS! CONSUMERS! DEALERS! Most medium and many
Samuel Goodman & Co., 2700 Bathurst St. #306, Toronto, Canada
Remember how exciting it was in the theater! Now you can recreate
that big -open -deep sound with an AUDIO -PULSE added to your
sound system. The AUDIO -PULSE MODEL ONE is the digital time -
2215
644-8903.
names in sound, including designs by:
HEAR STAR WARS IN MULTI -CHANNEL!
Acoustat,
J,
Magnepan, Dahlquist, Polk, Nakamichi, Quatre, DB, SAE, Denon,
Stax, Entre, Dynavector, Visonik, Grado, Verion, Supex, Grace,
Formula IV, Connoisseur,
AUDIRE ELECTRONICS now available in CANADA.Distributed by:
P.M. &
Fulton
Beveridge,
Research,
Drive, Daytona Beach, Fla. 32018.
ATTENTION: NEW JERSEY AUDIOPHILES
5
Audio
per 100 plus postage. Radio Mat Slide Co., 444 N. Peninsula
your looking for the real, no-nonsense AUDIO place, Contemporary Sound Assoc. is here for you. We handle some of the finest
weekends.
RICHMOND, VIRGINIA
337-A, Peterborough, NH 03458.
If
$700 ea.; All mint. H.F. Royal (404) 253-6419 after
al Stereo
CA 90230
"THE BEST VALUE IN AUDIO"
"Time Windows", DB Systems, Leach, Visonik, M&K, Con-
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DEFINITIVE AUDIO
3414 NE 55th
Goldring. Audio House, 5232 Sagamore Dr., Swartz
Seattle, Washington
Creek, Mich., 48473. 313-732-4670.
(206) 524-6633
Tuesday -Saturday
WHAT IS AUDIOMART7 Audiomart is the unique audio newsletter
that doesn't charge for classified ads! Buy, swap or sell your used
gear and accessories without cost -per -word worry or two month
delays! Subscribe today: $6/12 issues. Audiomart, Box 821,
Stratford, Connecticut 06497
DIAMOND NEEDLES and Stereo Cartridges at Discount prices for
Shure, Pickering, Stanton, Empire, Grado and ADC. Send for free
catalog. LYLE CARTRIDGES, Dept. A, Box 69, Kensington Station,
Brooklyn
New York
11218.
For
fast service call toll
free
800-221-0906.
AMBIENCE
DECODER
FOR
REAR CHANNELS,
$149.95. Free
literature. Huntington Electronics, Box 2009-A, Huntington, Conn.
ROTEL DUALITY AUDIO COMPONENTS:
06484.
Immediate delivery all
Rotel products including RB -5000, RX-1603, RX-1203, RA -1412,
STEREO REPRESENTATIVES NEEDED!!!
brands!! Lowest Possible Prices!! Krasco-REP
DEPT. -998 Orange Ave., West Haven, Conn. 06516
Sell
100
RA-1312, RI -1024, National
Sound Company, Ft. Lauderdale,
Florida (305) 462-6862
FOR SALE, BEST
OFFER-Marantz tube amp and preamp audio
consolette services #1-3000 mint. Write: Dave Pieper, 20 N. Main,
MAHLER'S PIANO CONCERTO. Mahler never wrote one, but if he
did its recording would be reviewed in Fanfare, the magazine with
more classical reviews than anyone else. Six issues, $9.00; sam-
Mayville, Wis. 53050
ple, $2.00. Fanfare, Dept. A, P.O. Box 720, Tenafly, N.J. 07670.
AUDIO
AmericanRadioHistory.Com
January 1978
FOR SALE
NOW ALMOST 15 YEARS OLD, STEREOPHILE
FOR SALE
FOR SALE
has become the
NAME BRAND RECORDING TAPE, custom loaded. Available in
pioneered subjective testing (by ear), devised a unique vocabulary
for describing nuances of reproduced sound, proved that a
reels, and cartridges. Huge savings direct from
manufacturer. New catalogue now available, MJS, 516 Brooks,
San Jose, Calif. 95125 (408) 998-2693.
CENTRAL OHIO
subscriber -supported magazine could be blunt without being
churlish, and led the industry by demanding higher standards of
reproduced fidelity than it could provide. STEREOPHILE is not for
CANADIANS: Best Hi-Fi discounts on over 96 leading Hi-Fi brands.
GAS
AUDIO RESEARCH
SAE
LINN SONDEK
FONS
TASCAM
MAGNEPAN
MAGNEPLANAR
KLIPSCH
GRACE
KIETH MONKS
SUPEX
FIDELITY RESEARCH
STAX
ROGERS
LUXMAN
AUDIO PULSE
most widely -copied audio publication of them all. It should be: We
cassettes,
the neurotic compulsive who must own the Best On the Block, but
for the listener who wants the most natural possible reproduction
Many exclusive factory closeout and special deals. Quotations via
of music, Send $12 for 4 issues, or write to STEREOPHILE, Box
ed
49S, Elwyn, Pa. 19063 for details.
cessories, calculators, telephones and accessories, kits, parts,
return mail. Nationwide mailorder service. Free catalogs jam pack-
with bargains in Hi-Fi equipment, tape and recording ac-
etc. Hundreds of factory and government surplus specials too!
American inquiries welcome Rush free catalog request to ETCO,
Dept. AUA, Box 741, Montreal 183G Hymus, Pointe Claire, Quebec
ATTENTION AUDIOPHILES -FLASH!
Have just returned from Japan and have acquired exclusive rights
H9R 1E9
to "Three Blind Mice" records in addition to Audiolab's. 82 new
jazz albums in the same tradition as Audiolab's is famous for.
SHOP AROUND
-Listen
every month. These albums are guaranteed noise and static free
Cyberacoustic
Laboratory and
and, of course, no tape hiss.
Electrostatic
The A-train library now consists of 120 albums and is growing
The fine equipment that you've invested your money in deserves
fine quality recordings. Send for complete.brochures now. You
Audiophile Art
Headquarters
hear
RTRs
New Direct
1391 S. Hamilton Rd. Columbus, OH 43227
235-7 57 5
Drive
speaker system at Philadelphia's exclusive
-by appointment -233
distributor
PA
DR -1
to every speaker available then come to
rs OM 5 EREO
l"
E.
Lancaster Ave., Wynewood,
19096; (215) 667-3048.
SUE
RABCO
OWNERS -Ultimate modification features adjustable
15-gram tone arm gimbled in jewels. Effective mass
may order direct from A-Train Limited or visit your local dealer.
21/2
grams.
device. $295.00. Complete modification
$395.00. Wheaton Music, 2503 Ennalls Ave., Wheaton, Md.,
Redesigned centering
No decoders are necessary for these records.
A Train -Ltd., 8719 Wilshire Blvd., Beverly Hills, Calif. 90211
213/659-4370.
ELECTRO VOICE,
CROWN, TECHNICS, AKG, Sony-Superscope,
20902-301-949-1115
right. Gold Sound, P.O. Box 141A,
Englewood, Co. 80110. (303) 789-5310.
DBX, Tapco. New, priced
MXR's 10 Band equalizer, Discwasher Systems, Marcell Tape. DisAUDIRE ELECTRONICS now available in BLOOMINGTON,Ind. at
counted. N.A.B. Audio, Box 7, Ottawa, IL 61350
Alan Audio call (812) 332-2192.
SAVE UP TO 69% ON OVER 100 TOP BRAND AUDIO COMPONENTS
FROM CARSTON STUDIOS,
NEW GENERATION Crown Amplifiers, Cleanest, Smoothest sound
ever produced
-Crown D1200/HP1200,
on demo only at Barclay
NEW ENGLAND'S
AUDIO SUPER-
MARKET. ONE OF THE OLDEST MAIL ORDER FIRMS (EST 1952)
AND CERTAINLY ONE OF THE MOST RELIABLE.
ALL ORDERS
Recordings, 233 E. Lancaster Ave., Wynewood, PA 19096; (215)
SHIPPED FROM STOCKED WAREHOUSE. SEND FOR PRICE QUOTE
667-3048.
AND PRICE LIST. CARSTON STUDIOS, OLD BROOKFIELD ROAD,
DANBURY, CONN. 06810.
AUDIOGRAM,
THE BI -MONTHLY
newsletter
that
brings
Free
information-Write-Audiogram,
P.O.
Box 17202,
Dept. AM, Wash., D.C. 20041.
K.C.
Company,
793,
Box
OF
LIKE
NEW
LP's
and
prerecorded
tapes.
THE SENSIBLE SOUND: ONLY audio equipment testing publication
with
a
"best sound for the money" philosophy- for perfectionists
foreign. 403 Darwin,
Snyder, NY 14226.
for AR TURNTABLES!! Proven counter -weight
design of nickel steel & aluminum construction. Install yourself in
minutes. $7.00 postpaid. (Dealer inquiries invited.) AUDIO INANTI -SKATING
NOVATIONAL PRODUCTS,
219-
745-2646 anytime.
non -Schwann.
Augusta, Maine, 04330.
Catalogue-$1.50. House of Records, Hillburn, New York 10931.
on a budget. Subscribe. $10, 11 Canada, 16
ARC SP-3a-2, mint, $525.00 new tubes, wood cabinets,
Mostly
cassettes.
THOUSANDS
you
reviews, news, and our views of todays audio world. $15.00/6
issues.
VIENNESE WALTZES, POLKAS, OVERTURES on imported Dolby
P.O. Box
1607,
Portsmouth, N.H.
03801.
CHESTNUT HILL AUDIO -We are
a
unique audio dealership offer-
ing the finest in audio equipment. Our products include -Mark
HI-FI REPS NEEDED. Excellent Stock, Lowest Prices, Friendly Service. No investment or obligations! Hi-Fi Sales, Box 348 Dept A,
Bryn Mawr, Pa. 19010 (215) 544-1465.
Levinson,
DB, Paragon,
Rogers, Spendor, IMF,
B &
Threshold,
Bryston,
AUDIO'S HI-Ft HANDBOOK
Dunlap Clarke,
W, Gale, DCM, M and K, Janis, Denon,
Linn -Sondeé, KMAL, SAEC, Formula IV, Paoli, Stax, and Vernon.
Perfectionist records and accessories. 2302 Lombard St. Phila.,
Pa. 19146 (215)
parison. Plus over 30 outstanding articles on audio topics, trends,
reading for audiophiles. Only a
and advances. State-of-the-art
546-6178
limited quantity available. Over 200 pages. Send $4.50 (including
shipping and handling) to: Jean Davis, Audio Hi-Fi Handbook, 401
HERE'S THE CHALLENGE:
1.
Complete reference guide to over 1,000 components including
prices and specs. All arranged in tabular form for easy com-
Refine every idea that's come along in audio.
2. Expand on separate power supplies to the ultimate and build
a
super -amp for each channel and directly drive each speaker.
3. Make the signal go through the shortest most direct path in the
LOWEST PRICES ON STEREO -ESOTERIC
COMPONENTS!!! Over
150 brands. Write for quotes. Audio Unlimited,
N. Broad St., Phila., Pa. 19108.
3386 Golf, San
Jose, CA 95127. (408) 985-2285.
preamp to keep it pure.
RHODE ISLAND MUSIC
PHILES
4. Make the BEST phono preamp-period!
5. Patent a new connector that eliminates noise and hum between
amplifier and preamp.
SHURE AUDIOMASTER ED $45.00, Sony SO 1000 Quad Decoder
$45.00, Ampex 350 stereo professional Recorder
6. Make it all affordable to a large number of audiophiles and
music lovers.
w manuals
HERE'S THE SOLUTION:
in rack, many
new parts included, good heads, electronics, needs mech adjusts,
$600.00, Hadley 621
SS Preamp
$125.00,
CM CC -1
Preamp $135.00, Marantz 88 Tube Power amp $195.00,
Thorens TD 125 with SME Arm and Shure V-15 cart base and dust
SS
The KENWOOD AUDIO PURIST DIRECT DRIVE SYSTEM available
at DESIGNATRON'S STEREO STORES -260 Old Country Road,
Hicksville, Long Island, N.V. 11801 and DESIGNATRON-748
Route 25A, Setauket, Long Island, N.Y. 11733 CALL (516)
822-5277.
cover $275., Pioneer PL 12 with B&O SP 12 & 14 Carts $100.00
also Technics & Sony Radar Sentry Security Alarm $45.00, One
Pair JBL 13' folded rear loaded bass horns with 2 2205 15' bass
drivers in each cabinet, heavy duy strapping crossovers (no high
end) $850.00 pair. Contact Bill or Chuck at 802-425-2111, or
write The Barn, N. Ferrisburg, Vt
VACUUM TUBES
and tube-peculiar parts. AUDIO DIMENSIONS offers
a
complete in-
ventory of high voltage capacitors, precision resistors and tubes.
Kits or separate parts available for building circuitries described in
our 230 page Audio Modification Manual. Write for parts list,
literature and outline
of
services. AUDIO DIMENSIONS, 8898
Clairemont Mesa Blvd., San Diego, CA 92123.
EVER HEAR OF TOM HOLMAN?
He did the research and design work that is the HOLMAN Pm -Amp
the APT Corp. He has designed a state-of-the-art
preamplifier that has all the switches, controls, quality, and QUIET
pany,
-and
even better, you can afford it! ONLY
DESIGNATRON'S STEREO STORES,
$447..
GRACE
KEF
CONNOISSEUR
RTR
KEITH MONKS
SUPEX
JVC
GRADO
AVID
STAX
BREUER DYNAMIC
FUJI
Available from
16 preset memory console. Packed for touring. Must Sell! BC&G
COUNTRY ROAD, HICKSVILLE, N.Y. 11801 Mail and phone orders
Enterprises, P.O. Box 1036, Littleton, Colorado 80160; (303)
751-5991.
accepted on Mastercharge and Visa. Ask about our satisfaction
guarantee on this product (516) 822-5277
Definitive Systems
FINE STEREO
.
LIGHT DIMMER SYSTEM for sale. 32-3K dimmers, 32 faders with
January 1978
KIRKSAETER
LUXMAN
I.M. FRIED
DB SYSTEMS
ARISTAN
DAHLOUIST
DECCA
HARMAN KARDON
ORTOFON
SOUND CONCEPTS
AKG
SATIN
Circuit in the Advent Receiver. Now, Tom has started his own com-
you crave
AUDIO
faithful musical reproduction is what
you're after; and not the seductive deceptions of musical phantoms, then take a trip
to Newport.
If
260 OLD
26
u AUDIO COMPONENTS
Memorial Blvd West, Newport, PI 02840
847-5740
847-5741
MUSIC BY THE SEA
CROWN IC -150 -case, Crown
BIG DISCOUNTS ON
STEREO COMPONENTS
f®,
-_BOT.E `= P- r= lèzànis
(, (0 PIONEER mar..awz
®,
1000 -case $250.00, Braun
III
)
PS
-$400.00,
-600 changer
Phase Linear
HIGH FIDELITY SPEAKERS REPAIRED
V15 -
AMPRITE SPEAKERS SERVICE
All mint 912-876-4681.
655 Sixth Avenue, New York, N.Y. 10010
212-CH3-4812
port prices? Join us at STEREOPHILE in mounting a campaign to
bring US record companies sack to the view that high fidelity
means musical realism. not tick, boom and screech. For informa-
CAMERA
tion about this lively, literate publications that is still leading the
audio industry since 1962, write STEREOPHILE. Box 49S, Elwyn.
Pa. 19063, or send $12 for 4 issues
Y's
Lauderdale, Florida. (305) 462-6862.
SURPLUS SPEAKER CABINETS
FINSIHED & READY FOR YOUR DRIVERS
cabinet dealer:
RECORDS
OHIO MERCHANDISE
2825 S. MAIN ST., AKRON. OHI0-44319
RECORDS-International
1971-50,000
LPs Sold
®
Service
Cast. Personalities. Folk, Comedy. Country Western:
Sonus,
Theo's. P.O. Box 7511 Van Nuys. CA 91406, U.S.A
Genesis, Bang
R. Rock. etc.
&
Since
Auction -Jazz. Soundtracks. Ong
'MILWAUKEE -AT LAST! The Audio Emporium -6900 W. Brown
Deer Rd, where ears and minds are open. Audio Research, GAS,
Polk,
ment to any N. American destination. National Sound Company, Ft.
Send for your FREE pictured literature to America's largest surplus
F9R-F1 a/RIDEO
Td.488-0341
Magnepan,
try Ill, and Sentry V monitor loudspeaker systems for professional
monitoring and sound reinforcement. Immediate air freight ship-
Fifth Ave. Electronics call (602) 947-8037
COLLECTORS
Lux,
ELECTRO -VOICE SENTRY PRODUCTS. In stock: Sentry IV-B. Sen-
AUDIRE ELECTRONICS now available in SCOTTSDALE, Ariz.. at
61618L s+e St Downtown L.A.C.90014
Dahlquist,
new
with
DISGUSTED WITH AMERICAN RECORDINGS? Tired of paying im-
421 . 85 3
kril
=
-$200.00.
D -60 -case
INANITY
IL1I'
T//IPIII TANDBERG DOKORDER
KENWOOD B 1-CBMA AR SONY
To order call toll free
(
SPEAKERS
FOR SALE
FOR SALE
R
WANTED TO
BUY OR TRADE
& B, R. &
Specify Category or Artist from: Ray Macknic (or)
Olufsen, Technics, others. Tues-Sat 10-6 or by appointment.
FISHER-SA -1000 or K-1000 power amp, Teac-7010 SL. Don't care
354-5082.
FREE SOUNDTRACKS & CASTS CATALOG! Personalities ST/OC
condition of units.
Valuebook: $4. RISA, 711 W. 17th. G-1, Costa Mesa, CA 92627
CA
Jazz, Rock, Classical. Big Band LP's. Tapes. Current Imports,
OPEN
Berringer, 1218 Dana Dr., Apt. B, Fairfield,
F.
94533.
AUDIOWORKS
For the serious listener
...
components of exceptional musical ac-
curacy. Featuring Rappaport, Bryston, Gale, Spendor, Verion,
Denon, Fons, Grace, Snell Acoustics,
M & K, and more. We seek
Cutouts Catalogs $1; NERI, Box 268-A, Lawrence, Mass. 01842
only excellence and reliability in music reproduction, with honest
No hype, pretentions or fads here.
Audioworks, Box 4314, Harrisburg PA 17111, Tel. 717-652-6996.
RARE JAZZ
SNELL ACOUSTICS
CATALOGS.
value for our customers.
AND POPULAR Vocal LP's Sold by Auction.
323, Hillburn. New York 10931.
TO
A few minutes listening to the Snell Type A loudspeaker and
..
.
Personalities of Thirties.
manship, handsome design, high reliability and affordable cost
-
altogether an impressive achievement. Hear it, properly driven by
high -resolution components, at Audioworks, Box 4314, Harrisburg
PA
WHILE
should
YOU
WERE
ve been
LOOKING
for
ALL MUSIC mfg. companies: Wanted to buy any type of
musical instruments. drum, horns, stereos. synthesizers, etc.,
etc., etc. at manufacturers cost. Send information, Gary Lewis
Wholesale Co.. 1813 Norwood, Toledo, Ohio 43607.
Forties. Box 225, New York, N.Y. 10028.
you are led gently through the looking glass, into a complete in-
volvement with the music. Outstanding engineering, superb crafts-
pre-recorded tapes. Rock, folk, jazz. classical.
CASH FOR your unwanted LPs & reel to reel tapes. Records. Box
Leon
Leavitt. 8241/4 North Las Palmas. Los Angeles, Calif 90038
Broadcasts. soundtracks.
REEL,
stereo, quad. Ray. 2282 Woodward. Lakewood, Ohio 44107
out -of -print
records,
you
looking for us. DISContinued, 444 S. Victory
Blvd., Burbank, Ca. 91502
OUALITY USED EQUIPMENT from reliable firm in U.S.A. & Europe,
Al2-103, Misecho 2187, Kashihara
City Nara,
NEED THORENS C040 concert changer for my RCA
Berkshire
Kazuhiko Murota,
Japan 634.
17111. Tel. 717-652-6996.
SHOW ALBUMS -Rare Out of Print LP's,
64 page list $1.00.
SHERWOOD MICRO/CPU 100 stereo FM tuner, brand new, in box
Bakers Wife cast LP $9.95. Broadway/Hollywood Recordings.
with warranty $1200. (414]466-3566.
Georgetown, Conn. 06829.
THE ABSOLUTE SOUNDTM, in its new issue, takes an extended
look at Richard Sequerra's first loudspeaker, the Metronome 2; a
direct -coupled amplifier from Kenwood; and the Infinity OLS-1.
There's also a special report on four cartridges: Sleeping Beauty;
Morrie Dr., San Jose CA 95127.
COLLECTORS RECORDS-50,000
LPs -Sold
©Auction- Interna-
tional Service Since 1971 -Specify category or artists -Lists From:
Ray Macknic (or) Theo's, P.O. Box 7511, Van Nuys. Calif. 91406.
I
WESTERN ELECTRIC 594A driver. Collect, 206-232-2040.
WANT SOMETHING? AUDIOMART, the monthly FREE AD audio
U.S.A.
will place your ad free of charge or obligation!
Subscribe today! $6/12 issues. AUDIOMART, Box 821, Stratford,
newsletter
the Supex SO 900e -Super; the Pickering XSV-3000; the Grado
Signature -A. There are also major reviews of a Swiss amp, the
FM Acoustics 800a: the Rappaport Pre -1 preamp; the Bravura
restoration. Any other Berkshire owners in the audience? Also interested in EH Scott receivers of prewar vintage. FABRIS, 3626
SOUNDTRACKS-JAll-POP. Vincent, Box 5202. Long Island
City. N.Y. 11105.
Connecticut 06497
preamp; Son of Ampzilla; the Dynaco Mk VI tube amp; the Dahlquist passive crossover; the Allison One; the Advent 300; the
Marantz 510 basic amp; the Satin M-18 moving coil cartridges; the
RTR
DP
ESR-t5 electrostatic tweeter. And more. Including the Denon
-3000 turntable; the Sony TC -800-2 tape recorder; the Elac
SLS-555E cartridge; and the Power Research System 3-c speaker
78 RPM RECORD LISTS. (1) Popular & Jazz, (2) Americana. (3)
Classical, (4) Country -Western. State category. AUCTION ONLY.
Write, S.A. Langkammerer, RECORD LISTS, 3238 Stoddard, San
4."
sleeves, opera boxes. Free catalog. CABCO A6, Box 8212, Colum-
bus, Ohio
"RARE OUT OF PRINT
Yamaha
C-1
preamp
Angeles, CA.
JAll &
POPULAR Vocal LP's Sold by AucLas Palmas,
Los
WANTED:
or
21
Marantz
120
tuner,
JBL
drivers/horns
Holly Hill Dr., Mercer Island, WA 98040
THE BOOK PASSIVE AUDIO NETWORK DESIGN by
Howard Tremaine. Gauthier, 218 Ballantyne, Chicoutimi, Quebec
Crystal Clear, M&K, Umbrella. Send $1.00 for catalog. Disconnec-
Canada G7J 2L7
tion, 4201 Jetton Ave., Tampa, Fla. 33609.
RABCO SLB-E in good
QUASI -RATIONAL PRODUCTS has everything in record protection;
used equipment guaranteed 90 days parts and labor. Audio Con-
liners @ $13.50/100 incl. shipping, jackets, vinyl jacket covers.
containers. Discwasher, Watts, Maxell, Nortronics. Jensen and
Pioneer auto. etcetera. Swift and Reliable. Free catalog. QUASI RATIONAL PRODUCTS, P.O. Box 171, Prospect Heights, Illinois
sultants. Inc.. 517 Davis St.. Evanston III. 60201 [312]864-9565.
60070.
Nakamichi 700 deck $625; Thorens T0125/SME arm/Stanton
cart. $290; Rabco ST7 $275; Jecklin Float headphone $170. All
5000
[206]232-2040.
DIRECT TO DISC RECORDINGS: All labels including Sheffield,
amp $500: B&O M70 spkrs. $500 pr; Lux 3045 tube power amps
demos $350 ea.; Lux 35 III tube preamp demo $595; Hadley 622
amp $225; Lux C350 preamp demo $350; Lux M2000 demo $795;
McIntosh MLIC spkrs. $200 ea.; Rectilinear S spkrs. $145 ea.;
SONY
90038."
$1000; Yamaha YP 800 turntable $260; Beogram 4002 turntable
$525; IMF TLS80 spkrs. $640 each; IMF Studio 3B spkrs. $260
each; tour [4] Dayton Wright XG8 MKII spkrs. w/power supply
$2000 complete; Nakamichi 1000 deck $900; Phase Linear 700
RABCO SL -8E need not be in working order. Dean Slindee, Box 55,
Lansing, Iowa 52151.
43201."
tion. Free Lists. Leon Leavitt, 8241/2 North
EQUIPMENT:
Boyertown, Pa. 19512, or call 1-215-367-9114, no collect calls.
Green St., San Francisco, CA 94010.
with Robert Ludwig, often called the U.S.'s best cutter of master
discs. The price $12 (four issues); $13, in Canada. Add $2 for
first-class mailing. Outside North America, $16 (air mail). The Absolute Sound, Box 5, Northport, N.Y., 11768.
USED
transcriptions of old radio shows.
MARANTZ 7C, 9. State price, condition, phone J. Fong, 1238
glossy, pure white or black jackets. Plastic lined inner sleeves, 78
HIGHEST DUALITY
12 in.
"RECORD JACKETS. Replace old, torn, LP jackets with clean,
Among other things, there's an interview
Mayware "Formula
in.,
Send list, price and condition to Edward J. Carr, 216 Shaner St.,
Bernardino, Ca. 92405
system. And still more. Including an updated look at the LinnSondek turntable and a comparison of the J.H. Formula 4 vs. the
LOOKING TO BUY 16
working order. Ouste price including mailing
to Australia. John Cain,
17 Powell Street, Reservoir Victoria,
Australia 3073
WANTED -NEED A JBL D-208 or a AR-4ax. Send price to S.B.
Miller, 4426 Gleneden Rd., Kingsport, TN 37664.
AUDIO
January 1978
how to become a speaker engineer
PLANS & KITS
Let us show you how
PROJECTION TELEVISION lenses $50 to $199. Send $1 for plans
and details. PROJECTAPIX. 300 West 53 Street, New York City,
SPEAKER
KITS you can save a bundle by simply putting together the assembled
components. You DO NOT have to do any wiring or soldering. The
units are fully assembled and TESTED at the factory in Semi -Kit -Form.
For free information and literature on this and all other RECTILINEAR
Semi -Kits and Kits...write to:
VALUE KITS INC.
Dept. A. M.
107 Bruckner Boulevard
Bronx, New York 10454
With
mixer, compressor. preamp schematics. $8.50. The Millers, 1896
Maywood.
Euclid.
S.
OH
IT YOURSELF
Now... from the only authorized distributor of RECTILINEAR
10019 (212) 765-7869
TAPE -SLIDE SYNCHRONIZER, lap -dissolve plans. $5.50.
to... DO
44121.
BUSINESS
OPPORTUNITIES
PRESENT YOUR IDEAS to industry. Free Kit containing successful
invention background and disclosure information. Send for Kit -
RADIO PROGRAMS
AUD, IMI, 401 Wood, Pittsburgh, PA 15222
AGE
GOLDEN
GET INTO BROADCASTING! Become a DJ, Engineer. station owner!
TAPE &
TAPE RECORDERS
your best source for radio tapes. Box
RADIO.
25215-D. Portland. Oregon 97225
Start your own AM or FM station and receive free tapes, records,
55t6 -NL, Walnut Creek,
CA
94596
MEMOREX, BASF, cassettes.
Lowest prices. New, Guaranteed.
INSTRUCTION &
EDUCATION
experience-others operate for you! Details tree. "Broadcasting'',
Box
MAXELL,
TOO,
Unique Cable FM station business requires no investment or
P
0. Box 56039. Harwood Hts
.
IL
reels 8 -tracks.
FREE CATALOG S & S
Audio.
60656
WE WILL BEAT any price sheet in America. Featuring TDK, MAX
$25.00
DAILY
POSSIBLE
stuffing
envelopes!
Details
FREE
SERVICE. Box -715 AU, Lynbrook. N.Y. 11563.
COLLEGE DEGREES
Masters,
Ph.D.
accredited Associate,
by mail
Free
info:
Bachelors,
6253
CONSULTANTS,
COLLEGE
-
ELL, and others. Tape World International, 220 Spring St., Butler.
PA 16001
Hollywood Blvd., Hollywood, Calif. 90028. (213)462-6691.
RECORDING TAPE -OUTSTANDING VALUES
$1000 MONTHLY POSSIBLE! Mailing Commission letters.
Information -FREE. Opportunities, Box 721 -AU. Lynbrook, N.Y.
DEGREES,
11563.
CA. 90309.
experience/credits: EMI, Inc. Box 4277, Inglewood,
CASSETTES
-8 -TRACKS -OPEN REEL -ACCESSORIES.
New, Fully Guaranteed. FREE CATALOG. Write'
MAGNE HOUSE
COLLEGE
HELP WANTED
JOBS -Now
hiring
High
AUSTRALIA -NEW ZEALAND WANT YOU!! 50,000 Jobs! Report
CA
90808
90028.1213)462-6691.
Reel Rental, Dept. C, 4 Prescott Ave.. Dix
HIGH FIDELITY
SAVE
Write MCGEE
50%. Build your own speaker systems.
RADIO
with
Incredible variety. Reel, cassette. Magnificent Free catalogue. Live
C. N Y.
OLDIES TAPES ON OPEN REEL TAPE. Rock n' Roll songs by their
year of release. Over 100 songs per year. Free brochure. Rock N'
McGee Street,
1901
ELECTRONICS,
Measure loudspeaker
PINK NOISE TAPES.
THRILLING LIVE OPERA TAPES. PERFORMANCES SINCE 1930'S.
I
2015 -17th Street, San Francisco. CA 94103
information:
Kansas City.
MO
64108
TAPE RECORDINGS
Opera, Box 3141 Steinway Station. L
free
pay.
all Occupations.
Transportation. Computerized Reports, $2.00. TRANSWORLD. International Airport. Box 90802-K, Los Angeles 90009.
$2.00. Austco, Box 8489-K, Long Beach,
(External -Recognized)
California Pacifica University. 6253 Hollywood Blvd., Hollywood.
CA
OVERSEAS
DEGREES.
11103.
MUSICAL
INSTRUMENTS
a
microphone and voltmeter.
to 16Hhz
Vs
response accurately
octave bands
15 ips-$28 ppd 7V2 ips-$23 ppd. Both
. 1dB 31.5Hz
V.
halftrack.
"
STEREO
&
QUADRAPHONIC
OPEN
Hills, NY 11746.
TAPES.
REEL
Popular,
Classical. Jazz. Lowest prices. Catalog $t.00 (refundable). Real
Sound.
P
0. Box 71A. Shillington, PA 19607.
CASSETTES & REEL TAPES, lowest prices, name brands. also
custom loaded w/TDK or SCOTCH. Super mastering cassettes in
computer shells. FREE literature. STANFORD INTERNATIONAL.
Box 609A. San Carlos, CA 94070
Cassette available. Instructions included for stereo system or P.A.
application. AUDIOLECTRO Audio Division. Box 5334-A, San Antonio, Texas 78201. QUALITY PRODUCTS SINCE 1929.
TAPE &
TAPE RECORDERS
SERVICES
cartridge manufacturer in India requires
consultant service from experienced persons having expertise in
phono magnetic design and production. Nilu Aich Bhaumik, 3336
A WELL KNOWN PHONO
Pennsylvania Ave., Waitron, West Virginia 26062.
UP
60%
TO
DISCOUNT. Name
brand
instruments.
Catalog
Freeport Music, 114R Mahan St., W. Babylon, N.Y. 11704.
MUSICAL INSTRUMENTS, amplifiers, pianos, organs. PA's at low
NYC prices. Sam Ash Music Stores, 301 Peninsula Blvd., Hemp-
stead, NY 11550. 800-645-3518; 212-347-7757.
SCOTCH
lowest prices
TAPE,
RECORDING
TAPE
CENTER Box
4305B Washington, D.C. 20012. USA. APO, FPO
OPEN REEL TAPES. 71/2
CUSTOM RECORDING SERVICE, Tapes, discs,
ips, Dolbyized releases from RCA. Lon-
don. DG. Warner and others. Airline tapes and quad. Catalog $1,
refunded on first order. THE REEL SOCIETY. 8125-A Lankershim
and cassettes.
Stereo and mono. Live and copies. Editing. Masters and press-
ings. High quality at reasonable rates. Joseph Giovanelli, Audio Tech Laboratories, 2819 Newkirk Ave., Brooklyn, N.V. IN9-7134.
Blvd.. N. Hollywood. CA 91605
CROWN INTERNATIONAL
RADIO PROGRAMS
CUSTOMIZED TAPES, Jazz, Big -Band. Select standard tracks or
available artists. Free catalog 80 minute reel cassette or 8 track.
YESTERDAYS RADIO ON TAPE. Reels -Cassettes, Quality Sound,
$8.00 Tapes Unlimited, Box 163, Portsmouth, R.I. 02871
Beats television!! Tapes. $1.00
hour! Established esteemed dealer, informative 200 page catalog
$1.25. Cassette samples $2.00. AM Treasures, Box 192AU,
Babylon, N.Y. 11702
recorders in stock for immediate delivery. Excellent selection of
purchased and accepted for trade in. TECHNIARTS 8555 Fenton
STATE-OF-THE-ART
magazine.
1930-1962 RADIO PROGRAMS.
early model Crown tape recorders and amplifiers. New Crown
reconditioned Crown recorders for sale. Used Crown recorders
Reliable Service. Catalog $1.00 refundable with first order.
ADVENTURES. Box 48-2-A, Inglewood, California 90302.
Complete repair, overhaul. and rebuilding service for current and
Free
CASSETTE Recordings.
brochure
Audio Art. P.O.
Quarterly cassette
Box
2961.
Street, Silver Spring, MD 20910 301-585-1118
St.
Petersburg, FL 33731.
TAPE RECORDER HEADS re-lapped $15.00 ea.
DISCOUNTS
ON
RECORDING
TAPE,
M.A.A. P.O.
Box
532,
Southfield, MI. 48037. Mastercharge and phone orders accepted
machine or stack. One day service.
E.
Maher,
5
Removed from
Evans Place, Orin -
da. Calif. 94563
(313) 559-6913.
DISCO SOUND SYSTEMS -installations, sales, service & rentals.
VINTAGE RADIO: Lowest rates, post free, traders welcome. shows
for comics, etc signals. Box 5063, Station E. Edmonton, Alta..
Canada.
EVERYTHING
ON
OPEN
REEL!
Classical.
Popular.
Dolby.
Quadraphonic. Latest releases. For "Reel News," send $1.00.
Barclay -Cracker, Room 857 A. 11 Broadway, New York 10004,
Mobile
DJ
available. King Cobra Sound Co., 291 Kings Highway,
Brooklyn. N.V. 11223. Tel: 212-375-4062.
NASHVILLE RECORD PRODUCTIONS WILL PRESS HIGH QUALITY
RENT RADIO SHOWS: Make your own copies or
just listen. Great
way to owlet your collection reasonably. Catalog $1 refundalbe.
OTR Rental, Box 1146, Livermore, Ca.
AUDIO
94550
January 1978
MAXELL, AMPEX,
CAPITOL. Columbia
Tape Bulk & Custom
PURE VINYL RECORDS FROM YOUR TAPES. SEND FOR SAMPLE
Loaded reels, cassettes. Reels, boxes, leader, splicers. For com-
RECORD AND PRICE LIST. ALSO FINEST DISC MASTERING.
plete catalog write Omega Audio, Box 39253-B, Redford. MI 48239
Chestnut St., NASHVILLE TENNESSEE 37203
469
125
Marantz goes beyond
changing transient and sound levels of music.
That distortion is TIM.
THD to lower TIM
The gentle slopes of continuous sine wave test
signals normally used to test an amplifier simply
cannot detect TIM distortion. It requires the type of
extremely sophisticated spectrum analysis equipment developed by the space industry to analyze
radio frequencies.
(transient intermodulation
distortion).
Because TIM doesn't show up on conventional
amplifier testing equipment, most manufacturers
and their engineers aren't even aware that it exists
in their amplifiers. Even if they were, they probably
wouldn't know what to do about it.
Our answer to TIM is a circuit design that ensures the widest bandwidth and the lowest obtainable THD before negative
Spectral analysis demonstrates
feedback is applied. The
But because Marantz
that Marantz conquers TIM distortion.
Marantz 170DC Stereo
builds for the music and
Power Amplifier (the
not just the specs we
1152DC, 1180DC and
know how destructive
1122DC also use this cirTIM can be to pure
cuitry), for instance,
sound reproduction.
needs only 1/100th
And we've developed a
(-40 dB) the amount of
revolutionary new
Marantz 1180 DC's output
Test signal
Competitive amplifier's
negative
feedback comcircuit design to elimithe
and
square
output.
Note
the
added
is
identical
to
(sine
distortion products.
input test signal.
waves mixed).
monly required by other
nate it.
amplifiers to yield the
The reduction of TIM can be the single most
same low total harmonic distortion figures.
important element in making an amplifier sound
Incredibly, Marantz amplifiers with low TIM de better. For instance, two amplifiers with identical
total harmonic distortion (THD) specifications
sign can deliver flat frequency response from 0 Hz
should sound the same when compared ... but the
to 20 kHz without the use of negative feedback. And
this same circuit design provides the optimum slew
one with low TIM will sound audibly better! That's
rate for minimum TIM and maximum reliability.
because TIM adds an unnatural harshness to the
music. It's not only detrimental to pure sound reproResult: Marantz reduces TIM to an inaudible
duction, but it can have an emotional effect that you
level, which means you get clear, clean sound from
experience as "listening fatigue:'
all your records and tapes. Think of Marantz with
low TIM as a window to the original performance.
TIM is caused by an improper design of "negative feedback circuitry;' by other manufacturers.
If you truly want the best reproduction of musical
Every modern amplifier uses it to lower THD.
sound available anywhere-and
But excessive negative feedback
are willing to spend a little
coupled with an insufficient slew
more to get it-then go for it.
rate' can lead to gross internal
i
Go for Marantz.
overloads under the constantly
r.,,,,
(Y,
t`
.....-.
c,
ffrf
e
C
,
L
......
__III
nnnn `
rS'
- 0nn n
IiI
Ii.I
n
A~
_
n
n
We sound better.
*The maximum change of voltage per unit time. © 1978 Marantz Co., Inc., a subsidiary of Superscope, Inc., 20525 Nordhoff St.,
Chatsworth, CA 91311. Prices and models subject to change without notice. Your Marantz dealer has the full line of Marantz
amplifiers. Look for him in the Yellow Pages.
AmericanRadioHistory.Com
It's 1Vlarantz.
There are
certain other
commitment to multitrack
excellence.
MB -20 Meter Bridge for
control of volume, tone,
instruments
every serious
musician should
know how
to play.
The implements used in
every art form except music
both create and preserve
the art. If music isn't
captured at the time it's
created, it's gone forever.
But the instruments used to
capture music can also be
used to alter, refine and
improve it.
Instruments like the
blend and spatial
positioning. There are also
microphones for every
recording need along with
accessories like the PB -64
Patch Bay and cables to
help organize the process.
find out more about the
adventure of multitrack
recording and to hear the
quality of music that can be
made on TEAC multitrack
equipment, send $2 to Dept.
30 for our "Home Made With
To
TEAC is the leader in
multitrack. Less than a
TEAC" Album.* Or, if you
can't wait to get your hands
decade after multitrack
equipment was introduced
on the instruments every
musician should know how
to play, see your TEAC
to the
professional industry,
TEAC introduced it to
people serious about their
music. Today, thousands of
musicians and recordists
are getting many of the
important elements of the
studio experience but
without the studio bill. And
TEAC continues its
dealer now.
TEAC®
First. Because they last.
A-2340SX and A-33405
4 -channel
tape recorders
with Simul-Sync for
multitrack recording and
over-dubbing, as well as
mastering decks like the
A-6100
and A-3300SX-2T for
mixing down multichannel
tapes to stereo.
c TEAC 1977
Instruments like the Model
2A Mixing Console with an
;;
:
:.:
ii
gill
4.
_
S
S
2111
NI in
*Offer good while supplies last. Void where prohibited by law.
TEAC Corporation of America, 7733 Telegraph Road, Montebello, California 90640 In Canada TEAC is distributed by White Electronic Development Corporation (1966) Ltd.
AmericanRadioHistory.Com
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