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MAGNEPLANARS®
Top Choice of Tough Customers
FROM STEREOPHILE, VOL.12, NO.1 (JAN. 1989)
the
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TOP 30
LOUDSPEAKER
BRANDS
Brand name
Percentage
of Stereophile
readership
owning brand
Magnepan
6 9%
Percentage of
speaker owners
that would not buy
the product
if they had it
to do over again.
1%
WIWI"
Mal
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111111
WIEN
IIIMAGNEPAN
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Enter No. 33 on Reader Service Card
1
A MONEY
YOU GETA
FOR COLLEGE SERVING PART-TIME IN
THE ARMY R SERVE.
Joining the Army Reserve is one ofthe smartest
ways to help pay your way through co:lege In fact, you
can earn over $18,000 through the Montgomery GI Bill
and your Reserve pay durbg a standard enlistment. And,
if you have or obtain a fecLrally insured student loan, you
may qualify for a government program thEt will help
repay up to $20,000 of it for you.
But you get a lot more than just money in the Army
Reserve. You get hands on training in one of over 250 skills...
skills like modem health care techniques, engineering,
foreign languages, criminology and many otters.
You get the pride amd confidence that come with
tackling a tough job and doing it well. And service with
the Army Reserve can help you develop the maturity and
self-discipline it takes to succeed in college ane in life.
You also get the satisfaction of knowing you're
helping to keep America strong.
Besides completing Basic and Advanced
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BE ALL YOU CAN BE°
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,
JANUARY 1990
VOL. 74, NO.
'
McIntosh Amplifier, page 72
Laurie Fincham, page 54
FEATURES
THE AUDIO INTERVIEW:
LAURIE FINCHAM
CERTIFIED BASS
FOR THE CERTIFIABLE
RECLIMBING EVEREST
O
David Lander
54
James S. Sherwin
John Eargle
i
62
132
EQUIPMENT PROFILES
McINTOSH MC 7200
POWER AMPLIFIER
DOLAN PM1 PREAMP
PHILIPS LHH1000
COMPACT DISC PLAYER
VECTOR RESEARCH VRX-5200R
RECEIVER
BRÜEL & KJAER 4011
STUDIO MIKE
AURICLE: CLASSÉ AUDIO
DR -5 PREAMP
..F
Leonard Feldman
Bascom H. King
72
82
Leonard Feldman
94
Leonard Feldman
104
J. R. Sank and H. G. La Torre
114
Anthony
126
H.
Cordesman
4
AA
MUSIC REVIEWS
ROCK/POP RECORDINGS
CLASSICAL RECORDINGS
JAZZ & BLUES
138
144
152
Certified Bass, page 62
DEPARTMENTS
SIGNALS & NOISE
TAPE GUIDE
AUDIOCLINIC
THE BOOKSHELF
SPECTRUM
AUDIO-JUILLIARD SCHOLARSHIP
ROADSIGNS
AUDIO ETC
BEHIND THE SCENES
6
Herman Burstein
Joseph Giovanelli
14
Ivan Berger
Susan Elliott
Ivan Berger
Edward Tatnall Canby
Bert Whyte
3C
16
24
33
36
42
48
The Cover Equipment: McIntosh MC 7200 power amplifier.
The Cover Photographer: Michael Groen.
Audio Publishing, Editorial, and Advertising Offices,
1633 Broadway, New York, N.Y. 10019.
Subscription Inquiries, (800) 274-8808;
in Canada or other foreign countries, (303) 447-9330.
3PA
V
the
Audit
Bureau
Geri Allen, page 152
/
1
l
1
GET ON WITH IT.
00)
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The Proceed CD. An original expression of
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PROC E
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LABO/ATJRII£S
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AUDIO
Editor: Eugene Pitts Ill
Art Director: Cathy Cacchione
Technical Editor: Ivan Berger
Managing Editor: Kay Blumenthal
Associate Managing Editor: Tony Scherman
Copy Chief: Manta Begley
Associate Art Director: Linda Zerella
Editorial Assistant: Michael Bieber
IS
YOUR
CLASSICAL
MUSIC
Associate Editors:
Edward Tatnall Canby, Bert Whyte, B. V. Pisha
Senior Editors:
Leonard Feldman, Howard A. Roberson
Senior Editor/Loudspeakers: D. B. Keele, Jr.
Senior Editor/Music Features: Ted Fox
Editor-At -Large: David Lander
Contributing Editors/Artist:
SUFFERING
Michael Aldred, Susan Borey, Herman Burstein,
David L. Clark, Anthony H. Cordesman, Ted Costa,
John Diliberto, Frank Driggs, John M. Eargle,
Joseph Giovanelli, Bascom H. King, Hector G. La Torre,
Edward M. Long, Frank Lovece, Jon W. Poses,
Jon R. Sank, Donald Spoto, Michael Tearson,
Jon & Sally liven, Paulette Weiss, Michael Wright
FROM
POOR
HOUSING
CONDITIONS?
ISeTDKIREA(,.
Business Services Director: Greg Roperti
Circulation Director: Leon Rosenfield
Production Director: Patti Burns
Production Manager: Nancy Potts
Research Director: Vicki Bimblich
Special Projects Coordinator: Phyllis K. Brady
Ad Coordinator: Sylvia Correa
Sales Secretary: Liz Dedivanovic
High resonance housing will put any tape in a nasty mood.
Especially when pests, such as modulation noise, gnaw on the
purity of digitally sourced music.
At
V.P./Publisher: Stephen Goldberg
ADVERTISING
Associate Publisher: Stephen W. Witthott
(212) 767-6335
Account Managers: R. Scott Constantine
(212) 767-6346
formula for perfect reproduction
includes not only technologically superior tape, but housing that
enhances its performance.
TDK, we believe the
Our incredible new SA-X, for example, features an ultra
low resonance SP -ARIL mechanism. By utilizing our unique comolding technique, the unified two -layer shell realizes maximum
total rigidity to improve reliability. Which drastically reduces
modulation noise-an enemy of clear, pure sound that even
noise reduction systems are powerless against.
Barry Singer
(212) 767-6291
Carol A. Berman
(212) 767-6292
Western Manager: Bob Meth
Regional Manager: Paula Mayen
(213) 739-5130
Automotive Manager: James Main
(313) 643-8800
This undesired "noise" is also attacked by SA -X's revolutionary magnetic characteristics and smooth, flat tape
surface. First, there are the densely packed and uniformly
distributed ultra fine Super Avilyn magnetic particles. Then,
DCI EXECUTIVE STAFF
President and CEO: Peter G. Diamandis
Executive V.P.: Robert F. Spillane
Sr. V.P., Finance, and CFO: Arthur Sukel
Sr. V.P., Mfg. 8. Distribution: Murray M. Romer
Sr. V.P., Operations: Robert J. Granata
V.P., Controller: David Pecker
V.P., General Counsel: Catherine Flickinger
there is the advanced dual coating technology.
Together the result is an unbelievably quiet tape with an
exceptionally low bias noise of -61.0 dB. Plus, low and high
frequency MOLS of + 5.0 dB and -6.5 dB respectively.
AUDIO, January 1990, Volume 74, Number 1.
AUDIO (ISSN 0004.752X, Dewey Decimal Number
621.381 or 778.5) is published monthly by DCI, a
wholly owned subsidiary of Hachette Publications, Inc.,
at 1633 Broadway, New York. N.Y. 10019. Printed in
U.S.A. at Dyersburg. Tenn. Distributed by Warner
Publisher Services Inc. Second class postage paid at
New York, N.Y. 10001 and additional mailing offices.
Subscriptions in the U S , $21 94 for one year, $39.94
for two years, $53.94 for three years: other countries,
add $6.00 per year AUDIO' is a registered trademark
of DCI. $11989, Diamandis Communications Inc. All
rights reserved. Editorial contributions should
include return postage. Submissions will be handled
with reasonable care, but the Editor assumes no
responsibility for safety or return of manuscripts,
photographs, or artwork. The Publisher, in his sole
discretion, reserves the right to reject any ad Copy he
deems inappropriate. Subscription Service: Forms
3579 and all subscription correspondence must be
addressed to AUDIO, P.O. Box 52548, Boulder, Colo.
80321-2548. Please allow at least eight weeks for the
change of address to become effective Include both
your old and your new address and enclose, if
possible, an address label from a recent issue. If you
have a subscription problem, please write to the above
address or call (800) 274-8808: in Canada or other
foreign countries, (303) 447-9330.
And SA -X, which provides transparent reproduction of the
most powerful digital sources, is available in convenient lengths
of 46, 60 and 90 minutes.
:TDK.
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AUDIO/JANUARY 1990
CLECTROT1ICS
From the highly acclaimed, budget priced 761 to the
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Enter No. 37 rn Reade, Serrice.,Da-d
Avideo receiver
designed for audiophiles.
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Until now, video receivers have overlooked a distinct segment of the Nielsen population.
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Those people who listen to TV as well as watch it. Which is why
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Mitsubishi engineers developed the M-AV1. A video receiver
inspired from the philosophy that a soap opera should sound every bit as good as an Italian
opera. At the heart of the system is a powerful amp_ifier with Dolby Surround- sound. It
boasts 125 -watts per channel'' With a generous dose of 25 -watts per channel in the rear for surround sound. A time delay of 20 milliseconds has also been encoded into the rear channels to
'-'tc% 2
TV
increase depth perception and maintain separation from the front speakers. And with our
Dynamic Delay Line, wéve expanded the dynamic range of our rear channels by as much as
40 dB over other conventional designs. It also offers four video inputs (two of which are SuperVHS compatible). And comes complete with an award-winning remote that's easy-to -use and
capable of controlling all functions via on -screen displays. So you never have to get up from
your recliner on our account. But now that you've got a great video receiver, as an audiophile,
you might be in the market for an audio receiver. In which case read the other side of the page.
An audio receiver
designed for videophiles.
MITSU&5MIJ
n to /1101.0º u-.n
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COMM. .O. erl(ta1
If like most people you read this ad from left to right, you know by now that the i\4-AV1
distinguishes itself as a superb video receiver. But what makes the M-AV1 a rare species in the
A/V receiver jungle is that it also makes an equally superb audio receiver. For starters, it's so full of technical goodies that it makes the average audio receiver, much less
the average A/V receiver, blush. You'll find our dual J-FET preamp provides low- c
T='
noise and minimum distortion characteristics to the output amplifiers.W ve utilized
discrete components instead of integrated circuits for the output devices for maximum headroom and separation. Our own Multi -Feedback Servo system faithfully
reproduces low frequency music with a minimum of distortion while protecting your
loudspeakers from potentially damaging DC signal components. And therés also a remote operated motorized volume control that provides smooth attenuation while avoiding distortion.
Of course, if you decide you're still a hard-core videophile and only care about obtaining a
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*125-u ates Ian channel nonunion RMS. both channels driven into 8 ohms from 20Hz - 20kHz with no more than 0.05% total harmonic d-stornot,. For the name of your authorized
Mitsubishi dsalci, call i800í 527-888,"1 sir 145 C 1989 Mitsubishi Electric Sales America, Inc. Doty Surround is a trademark of Dothy Laboratories Licensing Corp.
MITSUBISHI ELECTRONICS
TECHNICALLY, ANYTHING
IS
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Precision
In
Motion
SIGNALS & NOISE
Front Tournenu. one or the
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of fine timepiece. corres these
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A Signal Leak
Getting the Picture
Dear Editor:
read "Too Many Signal Sources"
(June 1989) by Herman Burstein with
great interest (who woulda thunk of using a three -head deck and switchbox
as a reverb unit?) but was disheartened to see no comment about signal
leakage in the units.
use the Radio Shack model to hook
up two cassette decks and a VHS Hi -Fi
VCR to my preamp. I've found myself
in the situation of recording a program
on the VCR while also recording an LP
or CD onto cassette. The switches on
the Radio Shack controller are set such
that I'm monitoring the cassette deck,
and the cassette deck is getting its
input from the preamp. The sad truth is
that
can hear the sound from the
VCR-at very low volume, but still quite
clearly-during the quiet passages in
the audio program. Arrgggh! This happens no matter what switch settings
use.
have been thinking of investing in a
higher priced switchbox, in hopes that
this leakage (crosstalk?) would be
cured. When saw Mr. Burstein's article, hoped for some guidance, but no
such luck. Any further comments on
this subject?
Lonnie Brownell
El Segundo, Cal.
Dear Editor:
would like to comment on two items
in your September 1989 issue. First,
James Gillette's letter in the "Audio clinic" column contained an error. The
diameter of a human hair is roughly 40
to 60 microns-not 5 microns, as stated. (Check it out with a micrometer
caliper, remembering that 1/1000 of an
inch equals 25.4 microns.)
Second, Bert Whyte's "Too Hot to
Handle," in the "Behind the Scenes"
column, was excellent. In questioning
some of the myths about HDTV, Whyte
said much that needed saying. In fact,
few people have ever seen a really
good, full -bandwidth, 525 -line TV picture. It is a revelation. Unless people
want to view their TV screens through a
magnifying glass, 525 lines can serve
for a long time to come.
However, what is still needed is ade-
I
readers.
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quate bandwidth for roughly 660
"lines" (330 line pairs) of resolution
along the scanning lines and a correspondingly higher color subcarrier frequency. A finer dot structure might
also be required for picture tubes. But
retaining the present raster specs
would make it easier to design an
NTSC-compatible receiver that could
also display improved transmissions.
Charles H. Chandler
Malden, Mass.
Author's Reply: do not believe that all
the tape control units listed in my arti- What Price Records?
cle can be all things to all people. For Dear Editor:
In reference to the letter from J. Miexample, there is the problem of hum
when dealing with low-level sources chael Gatien, Esq. (June 1989), I'd like
such as phono, and mentioned this in to say that Mr. Gatien is essentially
the article.
did not investigate the correct in what he says about record
problem of leakage and was not aware club pricing versus record store pricthat this was a problem because my ing, but he doesn't give the full story.
interest was in operating one signal
Recording artists do subsidize sales
source at a time.
through record clubs in the form of a
My experience is limited to the Radio reduced royalty rate-50% of the rate
Shack and Russound units. These are paid on sales made through the regumade for a specific purpose where lar (record store) channels and nothing
leakage does not enter the picture. For on sale and giveaway items (especially
my needs, operating only one signal the introductory offer!). Despite this,
source at a time, they work admirably. the actual price you will pay per album
Perhaps leakage varies from one through a record club is not all that
brand to another. If you could pur- different from what you'll pay at the
chase several brands on a money - chain record store, once you factor in
back trial basis, you might discover the "mailing and handling fee" they hit
that some have sufficiently low leak- you with, plus the 25 cents each time
age. am not in a position to investi- you send back the refusal form. Congate further, however, or to suggest sider that you pay full list price for your
first selection, plus $2 or $3 for ship modifications.-Herman Burstein
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To order, call our TOLL FREE
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800-345-8112.
I
8
AUDIO/JANUARY 1990
A NAIM FOR MUSIC
At Naim Audio we believe in a basic truth.
You deserve a hi-fi system worth coming home
to. And there are sound reasons why proud
Naim owners have been coming home to us
for twenty years.
We never settle for less than the very best
in musical reproduction and we don't expect
you to either. From the start of the design
process to the last detail of production,
rigourous care goes into every piece of Naim
'
equipment.
We utilize a unique combination of high
technology and skilled craftsmanship. Our
robot loads the circuit boards, then every item
of our eqúipment is hand -built with justifiable
pride. If you haven't seen the inside of a Naim
amplifier, send for our brochure or better yet,
NAIM AUDIO NORTH AMERICA
1748 NORTH SEDGWICK STREET
CHICAGO
IL 60614
U.S.A.
TEL (312) 944 0217
see your nearest Naim dealer. This is our art
and we are proud of it.
We test our equipment in our factory, not in
your home. We measure distortion, stability,
bias, noise levels and over a dozen. other
parameters, to ensure they fall well within our,
and your, demanding specifications. Finally
each piece of Naim equipment has to pass the
ultimate test - we listen to it. Think about that,
of thousands of components every year, each
auditioned prior to shipment.
Most importantly, Naim is about music. We
have behind us a twenty year tradition of
excellence, craftsmanship and innovation.
Visit your Naim dealer and audition our full
range of electronics and speakers.
ALCYON ELECTRONIQUE
6818 ST DENIS
MONTREAL
HUS 252
CANADA
TEL (514)276 4004
Independent record stores
may offer the most for your
music dollar, including
personal service and maybe
even a stock of LPs.
ping and handling. That's quite a bit
more than the highest priced mall store
will charge! "Bonus" selections, when
included, will bring the price you pay
down into the "sale price" range you'll
find in stores.
While prices from the two sources
are now roughly comparable, that
does not mean either vendor offers a
good deal. For the most pal, the
chains no longer pay any attention to
the list price suggested by some record labels (not all labels suggest a
retail price) but charge whatever they
think the market will bear. Often, this is
actually 50 cents to $1 above the sug-
e
Generes'
The
DQ-20
gested list price. In fact, the regular
price at most chains represents a
markup of almost 70%! The record label generally gets about half of what
you pay on a non -sale title at your
typical chain store, so you can't really
blame the labels for the inflated prices.
(Remember that the middleman, the
distributor, also gets a small cut on
each sale.) These stores have only two
reasons for charging as much as they
do-huge overhead expenses (fancy
chromed -up stores in high -rent malls,
large headquarters with large staffs
and large salaries) and greed (it
doesn't take long to get addicted to the
tremendous cash flow these stores can
produce!).
If you are truly interested in getting
the most for your music dollar, you
should check around your area for an
independent dealer-in other words, a
non -chain store. The independent
won't have the huge overhead expenses-no shiny chromed fixtures, no
beautifully landscaped office complex,
no large staff of salaried accountants,
buyers, and advertising executives,
and no high mall rents to pay. Further,
you will usually find the owner at the
store every day!
Your independent store will probably
have LPs in stock-try finding them in
a chain! Your independent will stock
titles that aren't on the charts, representing many different styles of music
from around the world, and will usually
know something about the music he's
selling. If you're looking for an effective
Imagine a speaker system that delivers
transparent imaging, accurate dimensionality in width, height and depth,
combined with harmonic integrity and
dynamic power.
The Dahlquist DO -10, the original Phased
Array dynamic speaker system, became a
legend in its own time. This seminal design
employed many of the concepts which are still
at the leading edge of loudspeaker design.
The importance of low diffraction distorticn
and correct inter -driver time delay were certainly
popularized by the DO -10.
The DQ-10has been replaced by the DQ-23.
Three extraordinary drivers have been combined with advanced enclosure technology to
cover a wider range with greater efficiency
than was possible with the DO -10 The same
attention to diffraction control and time delay
distortion allows the DO -20 to provide the
expanded open window on the soundstage for
which Dahlquist is famous
Clearly superior the DO-2C
stands as ti
special -order source, your independent store can get more for you much
faster than nearly any chain store. He
deals with dozens of distributors and
labels directly, not through a buyer at
headquarters who is looking for box -lot
discounts (and waiting for box -lot sized orders). And try getting any of
this attention from your club! The net
result is a price that's usually $1 or $2
under the list price, every day, and
even lower on sale items.
My apologies if this is beginning to
sound like a plug for independent record stores. happen to own one, and
have an independent label, too-so
can claim some familiarity with the figures involved.
Lloyd E. Townsend, Jr.
Imaginary Records
Auburn, Ala.
I
I
I
ultimate stereo
vehicle that will transport you
into the realm of pure sound. This incredible
achievement lets you surround yourself with
the captivating reality of brilliant musical performances and listening pleasure.
J
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It is an experience you will never forget.
LOAN ILO ILJI SIT
601 Old Willets Path, Hauppauge, NY 11788
(516) 234-5757
.trffté
10
t5 on Reader Service Ca
10
AUDIO/JANUARY 1990
° rSi
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Affil.- IN 1..OV
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OMENT ON I'M
with the musical legacy of
BOLO LOVE ca
PNCENTRATE
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Celebrate America in Song
.
.
!
'
LOVE PARIS
WAYS TRUE
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With dazzling wíth and elegant style, Cole Porter gave America and the
world some of the greatest songs ever written. And now these songs
can be yours to treasure always
,
in...
,1S
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\W-3,
"COLÉ PORTER"
from THE COLUMBIA MUSIC COLLECTION
-
It's over 2 hours of magical music on 2 double -length CDs or cassettes
42 Cole Porter classics in all. Performed by legendary recording art sts like
Mary Martin ("My Heart Belongs To Daddy," "Anything Goes"), Tony Bennett
("Just One Of Those Things," "Ev'ry Time We Say Goodbye"), Billie Holiday
("Easy To Love"), Johnny Mathis ("I Concentrate On You," `Begin The Beguine"),
Doris Day ("Night And Day," "I Love Paris"), the Dave Brubeck Quartet ("What
Is This Thing Called Love") and Dinah Shore ("Always
True To You In My Fashion," "So In Love"). All digitally
remastered for today's cleanest sound. Plus, a fascinating,
informative booklet describing Cole Porter's life and
music. All presented with the quality and value
you've come to expect from the Columbia
J
Music Collection.
SPECIAL
INTRODUCTORY
OFFER!
P.rI
GREAT AMERICAN COMPOSERS
INTRODUCTORY OFFER
PREVIEW "COLE PORTER" RISK-FREE
If you're not delighted, return it within 10
days, and owe nothing. Or keep it at our
cote
1
Special Introductory Price of only $9.95 (plus
atilo
$2.50 shipping and handling) for your choice of
two double -length CDs or two double -length
cassettes. Then, approximately every 4-6 weeks,
we'll send you a new volume in The Great
American Composers series at the regular price of just $24.95 for two
double -length CDs or $19.95 for two double -length cassettes (plus $2.50
shipping and handling.) Each will be devoted to a single American
composer-like Irving Berlin, George and Ira Gershwin, and Roge-s
and Hart. And each will include over two hours of classic American
songs performed by leading recording artists, as well as a handsome
booklet about the composer and his music.
There's no risk, and you may cancel your subscription at any time.
So send today for your 10 -day risk -free preview of "Cole Porter."
Mail today to: The Columbia Music Collection,
Dept., L-36, P.O. BOX 1134, Terre Haute, Indiana 47812
YES. Please sendme "Cole Porter" to audition for 10 days
risk -free. It's mine to keep if I choose at the Special Introductory
Price of only $9.95 (plus $2.50 shipping and handling.) Future
volumes will be sent to me under the terms described in this ad.
Please send all my recordings in (choose one):
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SEND NO MONEY NOW MAIL TODAY
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CARvER
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Distributed in Canada by evouuTION O AUDIO INC. l-14161847-8888
f~Ilk
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signal, the better the eventual results
are apt to be. Therefore, in theory, it is
desirable to dub a Dolby -encoded
tape with the Dolby circuits off. However, to maintain substantially flat response, it is necessary to equate the
output and input levels of the two
decks with reference to Dolby level,
which can be a tricky business.
In practice, the wisest course is to
use Dolby decoding in playback of the
original tape and Dolby encoding in
recording the dubbed tape. In this
way, one is most likely to preserve correct Dolby level and to achieve flattest
response, particularly in the treble region.
suggest you experiment with
both modes of dubbing and let your
ears decide which gives the most satisfactory results.
I
PORTLAND HAWTHORNE STEREO
ERIE
L,
'
Q. Should the Dolby NR circuits of
both decks be switched on when dubbing from deck to deck? I have heard
many different theories on this.-Mark
Greenblatt, Los Angeles, Cal.
A. The less one tampers with the
1
Tape Drag
Q. Do you get many complaints
about tape drag, that is, speed being
slightly slow on cassette decks? I have
always had a problem with this, even
though I had my decks checked and
was always told their speed is okay. If I
take up all the slack in a tape, this
sometimes helps for a while.-Jimmy
Edwards, Greenville, N.C.
A. Yes,
get a fair number of complaints about cassette decks being off speed. These involve situations where
different decks are used for recording
and playback. Tape drag can be due
to a number of factors: Excessive holdback torque by the supply hub; insufficient take-up torque by the take-up
hub; a glazed pressure roller, which
cannot grab the tape adequately; insufficient pressure by the roller; a capstan that somehow has gotten lubricant on it and therefore cannot grab
the tape, and some brands and types
of highly polished tapes, which have a
tendency to slip.
Usually a tape deck whose speed is
off by no more than 0.5% is considered
to be operating at proper speed. Some
service shops may even consider
speed within 1% as proper operation
and hence may put their okay on a
I
14
deck that, to a highly sensitive ear, is
somewhat slow. However, must repeat, this can happen only if different
decks are used for recording and playback or if a deck has changed its
speed characteristic over time, so that
the speed in playback differs from the
original speed in recording. When the
same deck is used for recording and
playback, and if its speed has not
changed, any speed error which occurred during recording is cancelled
I
by the same error during playback.
Dolby Symbol
Q. The fluorescent level meters on
my cassette deck have the Dolby double -D symbol between the 0- and 4 -dB
lines. Please explain the meaning of
this symbol and what it signifies for
recording.-Victor S. Zupancic, Kirkland Lake, Ont., Canada
A. Dolby level corresponds to
200 nWb/m (nanowebers per meter)
on the tape at 400 Hz. This is nearly 2
dB below DIN level (250 nWb/m at 315
Hz), which is generally considered
close to the maximum level at which
one can safely record in the vicinity of
300 to 500 Hz without running into excessive distortion. In most program
material, maximum amplitude tends to
occur in the range of roughly 300 to
500 Hz; hence if you are safe at 400
Hz, you tend to be safe at all other
frequencies.
Recording at a level no higher than
Dolby level usually provides a bit of
safety margin against recording overload. If you want to push your recording level to the maximum feasible point
in order to extract the last dB of signalto-noise ratio from your deck, you can
probably record so that peaks read no
higher than +4 or +5 on your deck's
meter. However, you should experiment to determine whether this is a
safe practice so far as your ears are
concerned.
If you have the necessary test facilities, you can use the deck's Dolby level indications to check for correct
Dolby NR tracking. First, record a
400 -Hz tone from a test disc or oscillaIf you have a
problem or question on tape
recording, write to Mr. Herman Burstein at AUDIO, 1633 Broadway, New York, N.Y. 10019. All
letters are answered. Please enclose
a
stamped, self-addressed envelope.
AUDIO/JANUARY 1990
Speakers are the most important part of your stereo system. It is the speaker that turns amulifier signal into sound
and so ultimately determines what you hear. If your speakers de not perform well, your
stereo system will simply not sound like musk.
-
The search for musically satisfying speakers, however, can lead to
some very expensive products. And if you have already bcught those
high priced speakers, then you better rot listen to Paradigms. But if
you haven't, better not miss them. Why? Because from the time they
musical ability utterly
were first introduced, Paradigm's
amazed listeners.... but what caused even me re amazement was the
unprecedented low price.
shr
So avoid the expense and the agony. Visit your authorizes Paradigm
dealer.... and listen to the clear choice.
The critics agree:
"...
For once we wholeheartedly agree... the ?a-adigm is most definitely a
no-compromise two-way design capable of outptc-fornr ing systems costing
several times as much."
-
Hi Fidelity Magazine
"... the
Paradigm is no more colored than speakers misting up to h -o or
three times its price, and gave a consistently m.sicai performance...
Conclusion: the Paradigm offers excellent performance..."
- Stereophile Magazine
ISound&Vision
MN\
CRITIC'SCHOICF.A W ARD
music
gun
...
above all.
In the U.S.:AudioStream, MPO Bx 1410, Niagara Falls, New York 14302
In Canada: Paradigm Electronics Inc., 457 F inner Drive, Weston, Ontario M9L 2R6
Enter No. 9 on Reader Service Card
Crosstalk can be caused by
improper head position or
even by crosstalk within
the heads themselves.
DL7M3QL L
U.S. DEALER LIST
CLASSIC STEREO
AUDITION
Birmingham,
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CAMPBELL'S
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CO
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OH
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Chicago, IL
Philadelphia,
SOUND PRO
SUMMIT AUDIONIDEO
Carmel, Ind.
Kingston, PA
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ON TOP AUDIO
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PA
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SOUNDINGS
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Wellesley, MA
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WALTHAM STEREO
SPECIALIZED SOUND
Waltham, MA
Madison, WI
TX
WA
tor, with your deck's level meters set at
the Dolby -level mark. If this tone also
reads at the Dolby mark in playback,
your deck is properly adjusted for correct Dolby NR decoding of the recordings you make on that tape formulation. (Other tapes may require different
sensitivity settings on the deck; some
the head owing to imperfect isolation
between the upper set of gaps (for one
direction of tape travel) and the lower
set (for the other direction). Perhaps
the only thing you can do about this is
to try the costly step of replacing the
head, although the new head may perform no better than the old one.
decks can adjust themselves for these
differences automatically.)
Sweet Spot
You can also use the Dolby -level
Q. My cassette deck is nearly 10
marks to determine whether your deck years old and suffers from a problem
is properly calibrated for tapes made that, at first, seemed to be azimuth
on other decks using Dolby NR. This, misalignment but unfortunately is not. If
however, requires an accurately made I play a well recorded tape and skew
test tape containing a 400 -Hz tone re- the tape slightly (the deck is an open
corded at a measured level of 200 design that enables me to do this), I
nWb/m.
get my sweet spot. As soon as I let the
tape go, there is a dramatic loss in
Crosstalk from Opposite Tracks
high -frequency response, and the tape
Q. When I listen to cassette tape sounds very dull.
through my headphones, between seI took the deck to a fairly competent
lections I think that I can hear material shop, and they made an azimuth adbeing played backward from the other justment in addition to demagnetizing
side of the tape. Why?-Richard Har- and cleaning the heads, but the deck
ding, Peabody, Mass.
behaves the same as before. Physical
A. If you count tracks from top to inspection seems to indicate that the
bottom of a cassette tape, then tracks heads are in good condition. Please
and 2 are respectively for the left and give me some leads as to what may be
right channels, while tracks 3 and 4 are wrong with my deck.-Andy Valiente,
respectively for the right and left chan- Winter Park, Fla.
nels in the opposite direction of tape
A. If moving the tape with respect to
travel.
the playback head restores high -freThe position of the playback head quency response, this suggests either
should be such that its two gaps exact- improper azimuth alignment or poor
ly correspond to tracks 1 and 2 in one tape -to -head contact. Apparently, you
direction, and to tracks 4 and 3 in the have ruled out azimuth misalignment,
other direction. A downward shift in the but are you sure? Did the shop align
position of the head may cause the azimuth with respect to a standard
lower gap to pick up a bit of the infor- tape or with respect to your tapes?
mation on track 3, particularly at lower Your tapes may have been recorded
frequencies, where the magnetic field with a head that was not in standard
tends to spread out beyond the track alignment-that is, not with its head
(fringing).
gaps at a perfect right angle to the
If the crosstalk that you hear is not
tape's long dimension. Playing such
particularly strong, would be inclined tapes with a head in standard alignto leave things as they are if everything ment would result in treble loss. You
else is working well. If you have a tech- might check the situation with another
nician try to eliminate the crosstalk by repair shop that is more than just "fairly
shifting the head, there may be an ad- competent."
verse effect on azimuth alignment, with
Poor tape -to -head contact may be
consequent loss of treble.
due to a flaw in the deck's mechanism
If your deck has separate record
that prevents the cassette's pressure
and playback heads, it is possible that pad from doing its job. Perhaps insuffithey are not correctly aligned with re- cient torque by the take-up hub conspect to each other in terms of vertical tributes to the problem, or it may be
position, resulting in crosstalk.
due to inadequate "grab" by the capIf yours is a reversing deck whose
stan and pressure roller. A worn,
playback head has two sets of gaps, it grooved head also may interfere with
is possible that crosstalk occurs within good contact.
A
1
I
16
AUDIO/JANUARY 1990
THE IDEAL CROSSOVER FOR MULTI -WAY
SPEAKER INSTALLATIONS
Bryston 108 electronic crossover
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For More
_
Information
41254
.rte
Call 1-800-553-4355
All internal buffer
Bryston's Model 10B Electronic
cascades the low-pass and the high-pass
path.
Crossover combines ideal signal -
sections and allows the selection of
amplification stages are Bryston's
handling with an enormously flexible
unusual crossover curves, including,
exceedingly linear and superbly quiet
control function. Simple. direct front -
"dual slopes", where the crossover point
discrete op -amp circuitry. This means
panel switches allow any crossover
is
curve to be set instantly, and the signal
stop -band is rolled
purity
thereafter. It also permits the
freedom from noise and distortion
increasingly popular Linkwitz-Riley
anapproached in normal equipment.
is
always maintained.
The Model 10B features independently
selectable crossover points for high-
effected
at a
shallow rolloff, and the
off rapidly
and
the signal is always maintained as
"Audiophile Quality", with stability and
alignment with steep rolloff curves, 24
From the point of view of adaptability,
or 36 dB/Oct.
flexibility
pass and low-pass, in case the speaker
and signal integrity, the
Bryston l0B Electronic Crossover
installation requires slightly overlapped,
All crossover selections
(or slightly staggered), response curves
accurate and repeatable, being
system is the ideal choice for the widest
for the drivers. You can also indepen-
implemented with I% selected metal -
range
dently select crossover slope, from 6,
film resistors and polystyrene
installations.
12, or 18dB/Oct., where one
driver
are extremely
capacitors. All switches are heavily
requires faster cutoff than another in the
gold-plated, for lifetime protection from
same system.
corrosion. The level -controls are precise
I
The crossover may be used in any of
three internal connections: 2 -way
stereo, 3 -way mono, and
a
special
configuration. 2 -way mono. This last
of multi -way speaker
dB increments, also derived from
gold-plated switches and I% metal -film
resistors. Most important, however, is
that the Bryston 10B Crossover uses
NO integrated circuits in the signal
Enter No. 12 on Reader Service Card
57 Westmore Dr., Rexdale. Ontario.
Canada M9V 3Y6
Telephone: (416) 746-1800
(416) 746-0308
Fax:
06-989548
Telex:
Brystonvermont Ltd., RFD#4 Berlin,
Montpelier, Vermont 05602
Telephone: (802) 223-6159
AUDIOCLINIC
JOSEPH GIOVANELLI
Light Dimmer Interference
say, the position of the volume control
I stumbled across a cure for light knob. There is, however, no relationdimmer interference recently and ship between the position of the knob
wanted to share it with other readers.
In my house, I have installed two
strings of recessed lighting, both of
which are controlled by dimmers.
These strings are located at right angles to one another, precluding orienting an AM antenna to a null point. I
have tried various brands and models
of dimmers, all to no avail.
Recently, however, I put an undimmed 100 -watt bulb near my turntable to help me see better. With this
light on, the horrendous buzz was totally eliminated. (I don't mean when
playing records; I mean when I run my
AM tuner!) I have no explanation for it,
but this cure worked for me in at least
this instance.-Keith Richardson, Ma-
and the absolute amount of power delivered to the speakers.
From what you wrote, don't know
how much power can be supplied by
your receiver. Let's assume, for discussion's sake, you've got 400 watts
per channel. Under some conditions,
full power won't be delivered, even
with the volume control turned up fully.
Under other conditions, it's possible
that full amplifier power will be delivered to your loudspeaker system with
the control set to less than half -scale.
To add to this, we don't know how
much power the speakers are protected against by those fuses. Are the
fuses of the slow -blow variety? If so,
they will handle more power before failson City, Iowa
ing than will fast -blow fuses.
We could apply Ohm's law to all this,
Loudspeaker Impedance
but have found this of little help when
Measurements
determining the amount of protection a
I am writing in response to the techgiven fuse size exerts on a loudspea<nique presented in the July 1988 "Au- er system. This has to do with the comdioclinic" regarding measurement of plexity of the waveforms involved plus
speaker impedance.
the fact that power demands can be
Although the reader's question was great but perhaps not be sustained.
answered, it is important to point out
certainly would not move to a highthat the technique presented dis- er fuse rating until knew for sure that
cusses only the magnitude of the im- your speakers are not being driven to
pedance. Equally important to know is their limits with the present fuses. If
the phase of the impedance. The mag- these fuses were supplied or recomnitude and the phase together then mended by the speaker manufacturer,
describe the complex impedance or, you surely should not increase their
equivalently, the "real" and "imagi- current rating.
nary" parts of the complex impedance.
After all, it is possible that your amOne situation where knowledge of plifier can't even provide as much
the phase will be very important is in power as your speakers can handle
determining the amount of power deliv- but that, due to overdriving, the amp is
ered to the load.-Andrew Koranico- clipping. Again, those fuses may be
las, Cambridge, Mass.
saving you from speaker damage.
I
I
I
I
Speaker Protection Problems
Spindle Misalignment in CD Players
Q. My speakers are protected by
Q. I am writing concerning what ap2.5 -amp fuses capable of handling pears to me to be a problem with sev350 watts. When I turn up the volume eral CD players I have examined.
on my receiver about three-quarters of When I removed the top covers, I obthe way, the speaker fuses blow. served that each player exhibited
Should I use fuses of higher current some degree of rotational inaccuracy
rating, or must I put up with not being similar to a moderately warped and/or
able to use my receiver's full poten- off -center LP. The cause of this can
tial?-Tim Tripp, Osseo, Minn.
easily be seen when examining the
A. The amount of power delivered to spindles. They appear to be misyour loudspeakers depends on the in- aligned and perhaps a bit sloppy. I
stantaneous loudness of the music be- asked several technicians about my
ing played, the signal level produced discovery but received conflicting
by your program source, and, as you points of view as to whether or not this
18
problem.-Robert C. Chase,
New Cumberland, Pa.
A. Till now,
have never given any
thought to the spindle and its alignment. examined both of my players
and was surprised at the close tolerances in the mechanical assemblies.
One of these players is rather inexpensive; it is, therefore, amazing that a
piece of equipment which is so complicated can be so well made.
Any minor rotational errors don't affect the playback of my discs. Tests
have been conducted which demonstrate that most players will track propis a real
I
I
erly despite rotational problems
caused by the discs or the player.
If an LP is warped, one can hear
wow. If the warp is severe, there may
be an audible "thump," as the tonearm
tends to ride out of the grooves. Because a CD is not analog, its sound
quality should not be degraded by
small rotational disturbances. When
these disturbances are sufficiently
great, the output will either quit altogether or "pop in and out."
In my experience, at any rate, can't
find any conditions which tend to degrade the audio quality of a CD-however slightly-until the errors are so
great that the digital information cannot
be recovered.
I
FM
"Bleeding"
listening to an album which
am very familiar with, and it seemed
distorted. I turned up the volume in an
effort to determine the nature and/or
cause of this distortion but could not
figure it out. In my frustration, I stopped
the recording without turning down the
volume beforehand, as I usually do. I
distinctly heard the FM tuner-the exact station programmed. I switched
from LP to both of my tape loops and
could still hear the sound, but when I
switched to my CD player, I could not
hear it.
I have good patch cords from my
CD player to the rest of my system. The
rest of these patch cords were supplied by the makers of my gear. Because the problem is not present when
Q. I was
I
problem or question about audio,
write to Mr. Joseph Giovanelll at AUDIO Magazine, 1633 Broadway, New York, N.Y. 10019. All
letters are answered. Please enclose a
stamped, self-addressed envelope.
If you have a
AUDIO/JANUARY 1990
And development.
Research.
lilt
llll
I
{
7P1
L.
What do you do after building the largest, most sonically -
accurate speaker system in
the world?
If you're Infinity, you take
everything you've learned from
the 711 foot, $50,000 Infinity
Reference Standard V and apply
it to the most sonically-accurate
compact speaker system in
the world.
And you call it Modulus.
A speaker system for the 1990's.
Technologically, it is an
encyclopedia of high science,
from its time -aligned driver
array to its servo-controlled
subwoofer to its acoustically inert, sand -filled pedestals.
Sonically, it has the
power to drop jaws with its
absolutely uncanny musical
accuracy.
And visually, it would be
as at home in the Museum of
Modern Art as in any listening
room. With or without its
optional modular components.
Enter No. 22 on Reader Service Card
To audition the new
Modulus system, bring your
favorite disc or tape to a selected
Infinity dealer.
And experience Research
and Development, Infinity style.
Infinity.
%% get you back to Wttt
its all about. Mt ic.
For literature and the mane of your nearest Infinity
dealer, call (S00) 765-&556. In Canada, call
(416) 294-4833, H. Roy Gray, Ltd. ©1989 Infinity
Systems, Inc. H A Harman International Company.
Impedance, volume setting,
and the position of switch
contacts can make crosstalk
from a tuner disappear when
CDs are being played.
I listen to CDs, is it perhaps a good
idea for me to replace all of my patch
cords? Of course, I can solve the problem by turning off the tuner, but this is
not my preferred "way out. "-David C.
Samuel, Greensburg, Pa.
A. Your signal "bleeding" won't be
solved by purchasing different patch
cords. Most preamplifiers have provisions to prevent the very thing we are
talking about. They work by placing a
short across all inputs not switched
the program selector switch with suit-
into use at any given time. As with any
switch contact-and that's all we're
dealing with here-oxidation can ruin
the effectiveness of the short. Clean
tuner is not heard when you play CDs
can be the result of a couple of circumstances. First, it may be that you have
your volume control turned lower when
playing CDs than you do for other program sources. Obviously, the lower the
volume, the less you will hear of the
leakage. Second, it may be that the
switch contacts associated with your
CD player are located further from the
tuner's switch contacts than are those
of some other program sources. Further, the impedance of the player may
be lower than that of your other program sources, thus acting to short out
some of this leakage. Finally, it may be
that the tuner produces high signal
output. It is sometimes hard for some
shorting systems to remove all traces
of such a high signal level. If the tuner
has a level control, turn it down a bitjust far enough to "kill" the leakage but
not so far as to force you to turn up the
preamp's volume control to an exaggerated setting.
What do Apogee,
Duntech
Martin -Logan,
Monster Cable
Van den Hul
USA
and VPI
have in common?
able contact cleaner. This simple
"cure" may be all that is needed.
The fact that the leakage from your
Deterioration of CDs
dragon
These are some of the state of the art audio companies that
have purchased Aragon amplifiers for their research and
development work.
Q. There has been a lot of talk about
"laser rot," the deterioration of picture
and sound which occurs on perhaps
10% of videodiscs. It has been stated
that this could occur on Compact
Discs as well, because CDs are coated with just a thin layer of aluminum.
It is my understanding that the deterioration of videodiscs is caused by a
problem in the bonding of the two
halves. Because CDs have only one
play side and are not made the same
way videodiscs are, how can "laser
rot" occur?-Jim Zerr, Glen Burnie, Md.
A. To date, have not heard of any
problems related to the deterioration of
CDs for any reason, including the
"problem" of the thin coating used to
protect the surfaces of these discs. As
a result,
don't have an answer as to
how such action could take place on
Compact Discs.
Audio published the results of some
accelerated wear tests in which CDs
were submerged in boiling water, left
in car trunks during summer days, and
more. CD failures involved warping,
but no other failures occurred-at least
as understand the test results.
Q
I
I
MONDIAL DESIGNS LIMITED
Two Elm Street, Ardsley, New York 10502
(914) 693-8008
I
20
AUDIO/JANUARY 1990
A World Of Difference!
The Wadia Digital 2000 Decoding Computer
There is indeed a world of dierence between conventional C/A processors and the tme-domain-optimized
Deco dirg _ompurs ty Wadia
1adloos
The difference begins with four high-speed AT&T DEP
chips operating in parallel at 36 MegaHz in a powerful
CPU that provides 72 million Lism:ctions per second
capability.- equilaien- to
_
I,
>
_
I
_
Nñdia
But this is ust the beginning
.
.
.
-
Wadia's revolution3r/ new Digrlvlaster software is augmented by the Spline
the only decoding polvmomia: known that regenerates the slope of the signal
as it moves throcgh the sample paints. It is two generations beyond conventional
brickwal: digital being in pero-mance. It is optimized in the time -domain
not the frequercy-domain
tnerefore, the impulse respcnse is clean, the
iiertt
a
is
absolute.
inter lion
silen
-
111.
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-o--
.h,
tc finger-nail sized off-the -shelf
commercial DACs that cannot
handle 2.8 -million conversions per
.
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shows Wad ia's
The photo on the
internal circuitry, the two large red
modules are proprietary I8 -bit
transversal, multipert DACs. They
have been called "BOSS DACs" in
the press. This is in sharp contrast
. ,Y
-
'
7ARAL 7000
100 PCs!
17'
second (64X oversampling), nor can
they produce the dynamic Wadia
Sound!
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4X YS. 64X CVERSAMPLING The
outpi-t o
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a
8 KHz dne
The
left bate
is
the DAC
4X ae'rsampled CD player. The signal
aw_.
ig-hand
is
an
Notice that there are 22 steps per cycle.
YOU
á
the output o' the Wadia DAC
64X ouz.3ampliAg. Notice the
taking
smoo hness due to the fact that
there are 353 slops per 8 KHz cycle.
Wadia's new Sledgehammer' output buffer provides 400mA of peak current drive
with a 1300 Volts/nicrosec slew rate for a sound that Is rich and solid.
The Wadia enclosures are machined from solid
aluminum and heavy plate metal The integrity and
homogeneity of the enclosure is a subtle but important
factor in performance. Any cross section of an electronic
enclosure is a complex maze of eddy current, ground
current and thermodynamic flows.
The Walla DgiMaster Decoding Computer
Corm
-owed
YSNVYIOt111A1
-
"With the
A World of Difference? A prominent recording engineer said it all
Wadia, CDs have the musicality of the best analog sound, but with the added
punch and impact, wide dynamic range, extended bass response, and freedom
from noise that makes digital recording so attractive."
Enter No. 61 on Reader Service Card
DIGITAL
CORPORATION
511 Second Street
Hudson, WI 54016
715-386-8100
FAX 715-386-8118
mu.
it se Soun
44
gave
e BestV. ue
eWo.c
Iri
Cambridge SoundWorks has
created Ensemble, a speaker system that can provide the sound
once reserved for the best speakers
under laboratory conditions. It virtually disappears in your room.
And because we market it directly,
Ensemble costs hundreds less than
it would in stores.
'1.:
.
-t'
¡.
.4
4
Hen0, K/oss, creator ofthe dominant speaker
models of the '50s (Acoustic Research), '60s
(XLII) and '705(Advent), brimsynu Cambndge
Sound i4brks, agenuinely new kind ofspeaker
company for the '90s.
The best sound comes in
four small packages.
Ensemble consists of four
speaker units. 'Kw compact lowfrequency speakers reproduce the
deep bass, while two small satellite
units reproduce the rest of the
music, making it possible to reproduce just the right amount of
energy in each part of the musical range without turning
your listening room into a
stereo showroom.
No matter how well a speaker performs, at home the listening room takes over. Room
acoustics emphasize and deemphasize various parts of the
musical range, depending on
orles
David Clark-Audio Magazine Sept. '89
where the speaker is placed in the
room. If you put a conventional
speaker where the room can help the
low bass, it may hinder the upper
ranges, or vice-versa.
Your listening room works
with Ensemble, not against It.
Ensemble, on the other hand,
takes advantage of your room's
acoustics. The ear can't tell where
bass comes from, which is why
Ensemble's bass units can be
tucked out of the way-on the floor,
atop bookshelves, or
under furniture. The satellites can be hung directly
on the wall, or placed on
windowsills or shelves.
No bulky speaker boxes
dominate your living
space, yet Ensemble reproduces the deep bass
that no mini speakers can.
"Very much
in the
Henry Kloss
tradition...
another hi-fi
mile done"
I]
Wien/UPI/If
Unlike seemingly similar satellite
systems which use a single large
subttoofer, Ensemble uses two
separate, compact bass units.
They
more gracefully uuoyour
ling environment, and help
minimize the effects ofthe
listening rooms standing i+aves.
fit
"'Ensemble & Ambiance arc trademarks of Cambridge SoundWorks, Inc.
Not all the differences are as
obvious as our two subwoofers.
Unlike seemingly similar threepiece systems, Ensemble uses premium quality components for
maximum power handling, individual crossovers that allow several
wiring options and cabinets ruggedly constructed for proper acoustical performance. We even gold-plate
all connectors to prevent corrosion.
An even bigger difference is how
we sell it.
You get to listen for hours without a salesman hovering nearby.
If after 30 days you're not happy,
return Ensemble for a full refund
(we'll even reimburse the original
UPS shipping charges in the continental U.S.).
At only $499-complete with
all hardware and 100' of speaker
cable-Ensemble is the value on
today's speaker market.
{
"You get a month
to play with the
speakers before
you have to either
return them or
keep them. But
you'll keep them:'
lEsc;aivtE
"A listening test
left no doubt
that this system
ranks with the
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price
L!)e
range"
Bork Limes
Try them risk -free for 30 days.
Call 1-800-AKA-HIFIt
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Our toll -free number connects
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upperfrcquencies comhgfrom the same
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American Express) and arrange
surface shipment via UPS. Your
Thousands agree: the best
Cambridge SoundWorks audio
showroom is your living room.
expert will continue as your perChoosing a loudspeaker after a
sonal contact with us. We think
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you'll like this new way of doing
like deciding on a car after one
business.
J
quick trip around the block. So we
'In Canada, call 1-800-525make it possible to audition Ensemble
Introducing Ambiance
4434.
Audio experts are on duty
the tight way-in your own home.
by Henry Kloss.
9
AM
Midnight, Eastern Time,
to
In fact, Ensemble is sold only by
is an ultra -compact seven days a week. Fax #: 617AmbianceCambridge SoundWorks directly
speaker that proves high perfor332-9229.
from the factory.
,
mance, small size and low cost
need not be mutually exclusive.
ECAMBRIDGE SOUNDWORKS
Suite IJ4J 154 California St., Newton, MA 02158
Ambiance is ideal for bedrooms,
"They were
dens, dorm rooms...or for use as
Send more information and test reports.
designed to play
in surspeaker
or
an
extension
Send Ensemble risk -free for 30 days, for $499'
music-and make
Send_ (qty) Ambiance (Nextel), for S109 ea'
round -sound systems. While no
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like
Send_ (qty.) Ambiance (Primed), for $109 ea'
speaker of its size can provide the
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Send
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same low bass and total volume as
This they do
Visa
AmEx
MC
I'm paying by
Check
our Ensemble system, Ambiance
well, in a most
way,
has more output in the 40Hz region Acct. Number
Exp
unobtrusive price...
than any "mini speaker" we've
Signature
at a bargainimagine
encountered. Indeed we know of
Name
too
hard
it's
no compact speaker that outperAddress
wr
forms Ambiance, including those
Zip
State
City
costing hundreds more. Ambiance
wit -Ensemble'?
Number
Phone (Area Code)
is only $109 per speaker in Nextel
IMMEDIATE SERVICE: 1-800-AKA-HIFI
Stereo Review
or primed for painting; $129 in solid FOR
MA residents add 5% sales tax.
oak,* and comes with our 30 day
* Plus freight (Ensemble 57-525, Ambiance 52-512)
L Delivery time usually 2-7 days.
money-back guarantee.
J
Ibu can put Ensemble's lowfrequency units
exactly where they should go for superb bass.
You can't do this with conventional speakers
because you have to be concerned about the
-
_
Enter No. 13 on Reader Service Card
THE BOOKSHELF
REFERENTIAL TOME
John Wat- ing these complex matters more diffikinson. Focal Press (Stoneham, cult than necessary.
Many fine figures are presented,
Mass.), hardbound, 489 pp., $49.95.
some copied from the references,
was pleased to have this book many new. Some are self-explanatory
come to me for review. In the past and enlightening; unfortunately, many
several months, have not only read it are not. Often the figures receive little
thoroughly, some sections many times, or no discussion in the text and have
but have also used some of its expla- short, infuriatingly incomplete cap nations and information as references
in teaching a course on audio system
design for senior electrical engineering
students. It is without doubt one of the
most useful books have come across
for obtaining an overview of the art of
of
digital audio. recommend that everyone with either a professional, or even
Digital Audio
a more casual, interest in digital audio
rush to get a copy.
A reading of this book by anyone,
but particularly by persons with some
electrical engineering or computer sciences background, will be refreshingly
useful. Jammed with information on
everything from floppy disks to Compact Discs, it seems to include discussions of every kind of digital recording
ever conceived, whether for numerical
data or audio signals.
Now that you are sold on The Art of
Digital Audio, let me issue some warn- tions. In many cases, the figures need
ings. Most readers will, as have, de- much -improved captions or more exvelop a love/hate relationship with this tended discussion in the text. Exambook. Though some 480 pages long, it ples are numerous; will give only one.
is either too short or contains too Figure 6.16 shows the autocorrelation
much. As a consequence, many topics functions for 10 channel codes, none
are covered too briefly. The brevity is a of which have been discussed yet
special problem in the discussions of (some are discussed later). The capsome of the more basic topics, such as tion reads, "Comparison of codes by
digital conversion, coding, and signal autocorrelation function of run length."
processing.
The text explains, "Most of the parameJohn Watkinson points out in the ters of a code can be read from the
preface that he has not tried to write a autocorrelation function at a glance,
textbook. He moves from the overly whereas the more common use of
simplified to the incredibly difficult with code spectrum makes this more diffigreat leaps and fewer connecting links cult." Clear? Neither "autocorrelation
than are necessary to teach the materi- function" nor "code spectrum" are to
al. There are few facts in the book, he be found in the index.
says, because facts can be forgotten;
It is simply not possible to teach or
his emphasis is on thinking and under- understand many of the complex constanding. found the book loaded with cepts in this book without some mathefacts-very interesting facts, indeed. matics and without a thorough discusUnfortunately, there is often no expla- sion of the terminology being used.
nation of their significance, nor, fre- Nevertheless, this is in many ways a
quently, are they tied into the thread of wonderful book. will try to give you a
the concepts being discussed. found balanced view of its contents.
many of the discussions of important
In general, the chapters on basics
theoretical issues not only lacking are inadequate, while those on specific
equations but written in such a convo- topics are full of interesting facts.
luted manner as to make understand- Chapter 2 covers basics, such as conThe Art of Digital Audio by
I
I
I
The Art
I
I
I
I
I
I
24
version of signals from analog to digital
form and vice -versa. Sampling and
quantization are covered without benefit of mathematics; only the roughest
idea of the process can be gained
from the figures and text. The author
has distilled several good references
on these matters and condensed them
into a series of "facts." suggest that
the original papers, or other textbooks
on theory, be consulted for an understanding of the basics of digital processing of signals. A treatment of the
accuracy and speed of the currently
available D/A and A/D converters, as
they are applied in the latest digital
equipment, would be more in keeping
with the level and content of the later
I
chapters.
Chapter 3 contains about 10 pages
on binary logic, adding, and the like.
Its last 20 pages are on a strange,
almost random collection of digital topics, some of which seem quite out of
place: Level metering, gain control,
mixing, cross -fading, and companding. Only digital dither, time-base correction, and FIFO (first -in, first -out)
time -base correction seem to fit well
into the presentation at this point.
Overall, however, Chapters 2 and 3
seem weak.
Chapter 4 is a 55 -page treatment of
digital filters. This includes finite impulse response filters, infinite impulse
response filters, z -transforms, filter design, and zero/pole positioning, with 14
pages on sampling rate conversion
thrown in for good measure. If you understand these topics before you read
this chapter, you will find it an interesting treatment. It is a bit like Alice in
Wonderland, since it goes through topics fast, fast, fast. Despite its faults, the
chapter will give the novice a flavor of
digital filtering practice; the expert will
find the treatment gives interesting insights into digital filtering. All in all, not
a bad chapter.
The 21 -page Chapter 5 seems too
short. Very interesting and well written,
it goes into detail about the various
digital interconnection standards for
digital equipment. Many standards are
discussed, including those used in
PCM tape machines, Compact Disc
players, digital audio tape machines,
and other equipment. The topics fit the
author's style beautifully. There are
facts, details, and well-done figures.
AUDIO/JANUARY 1990
DISCS, DISCS, DISCS, DISCS!
-
ó'CDS
A
? Z.
r
t
r
STONES
STEEL
A
N
plus sh pping/handling with membership. Details on other
-140.N
t1
>t
CH
WHEELS
+7'
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'ONE MORE CD -FREE!
7
11
I!jo
,
r
I
17.
-
1
7
Rolling Stones -Steel Wheels.
Mixed Emotions; Sad, Sad, Sad;
etc. (Rolling Stones Rec.) 387738
Michel Camilo -On Fire
389.999
The D.O.C.-No One Can
(Epic)
Do It Better (Ruthless)
389.155
The Isley Brothers
The
Night
Spend
(Warner Bros.)
389.148
-
Enuff Z'Nutf
388.967
(Atco)
Barry White -The Man Is
Back) (A&M)
388.843
Slick Rick -The Great
Adventures Of Slick Rick
(Columbia)
388.363
Yellowlackets-The Spin
(MCA)
388.173
10 Years After -About
Time (Chrysalis) 388.140
Schoolly
D
-Am
I
Black
Enough For You 7
(Jive/RCA)
388.066
The Jets -Believe (MCA)
388.033
Taylor Dayne-Can't Fight
Fate (Arista)
388.017
Yo -Yo Ma/Stephane
Grapelli-Anything Goes.
Mostly Cole Porter Tunes
(CBS)
387.845
Placido Domingo-The
Unknown Puccini
(CBS Master.)
ek
-T
n pia.
387-829
-
-is
,
Elton John -Sleeping
With The Past (MCA)
387-993
Dino-24/7
(4th & Broadway/Island)
387.415
24-7 SP4Z-Harder Than
You (In Effect/Relativity)
387.373
The Beach Boys -Still
Cruising (Capitol) 387.092
Joe Cocker -One Night
Of Sin (Capitol)
387-084
King's X -Gretchen Goes
To Nebraska
(AI/Megaforce WW)
387.019
Patti LaBelle -Be
Yourself (MCA)
386.334
The Traveling WilburysVolume One (Wilbury)
375.089
Paula Abdul -Forever Your
Girl. Cold Hearted; Straight
Up; more. (Virgin) 374.637
Molly Hatchet -Lightning
Strikes Twice (Capitol)
389.346
Paul Shaffer -Coast To
386.276
Coast (Captol)
Boogie Down
Productions -Ghetto
Music: Blue Print Of Hip
Hop (Jive/RCA)
386-193
Babyface-Tender Love
(Epic)
386.177
Marshall Crenshaw
Good Evening
(Warner Bros)
-
386.110
Steve Stevens Atomic
Playboys (Warner Bros.)
Bee Gees -One
(Warner Bros.)
386-086
386.060
Chaka Khan -Lice Is A
Dance/The Remix Project
(Warner Bros.)
386.052
Tanggier-Four Winds
386.011
Do The Right Thing
(ATCO)
-
Original Soundtrack
(Motown)
385.732
Pete Townshend-The
Iron Man (Atlantic) 385-724
Rippingtons-Tourist In
385-658
Adrian Belew-Mr. Music
Head (Atlantic)
384.867
Melissa Etheridge (Island)
371.468
Badlands (Atlantic)
384.388
Youssou N' Dour-The
Lion (Virgin)
384.362
Danny Wilson -Bebop
Moptop (Virgin)
384.347
Kool Moe DeeKnowledge Is King
(Jive / RCA)
384.339
Michael Damian -Where
Do We Go From Here
384.305
(Cypress)
Paradise (GRP)
Bob Dylan -Oh Mercy.
Ring Them Bells; etc.
(Columbia)
389.262
John Tesh-Garden City
(MM)
388.876
Dr. John -In A
Sentimental Mood
384.040
Diana Ross -Working
Overtime (Motown)
383.984
Tin Machine (EMI)
383.976
Marla McKee (Geffen)
383.844
James Ingram -It's Real
(Warner Bros.)
383.836
Billy Squier-Hear And
Now (Capitol)
383.760
(Warner Bros.)
Jackson Browne -World
in Motion (Elektra) 383.752
Night Ranger -Greatest
Hits(MCA)
383-729
Ghostbusters I1 -Original
Soundtrack (MCA) 383.711
Reba McEntire -Sweet
383.562
Sixteen (MCA)
Queen -The Miracle
(Capitol)
383.547
Gold & Platinum Volume
Six (Realm)
388.355
Gloria Estefan-Cuts Both
Ways. Don't Want To Lose
You; etc (Epic)
382.341
Richard Marx -Repeat
Offender. Too Late To Say
Goodbye; etc. (EMI) 380.915
Living Colour -Vivid
370.833
Donna Summer -Another
U2 -Rattle And Hum
(Island)
374.017
(Epic)
Bonham-The Disregard
Of Timekeeping
(WTG)
383-497
Bad English (Epic)
383.463
Dan Hill -Real Love
Place And Time (Atlantic)
382.960
Kool G Rap & D.J. Polo
Road To The Riches
(Cold Chitin)
382.713
Eli-Liven' Large (Virgin)
382.473
Dangerous Toys
(Columba)
382.903
Stacey 0-Nights Like
This (Mantic)
382.838
White Leon -Big Game
(Atlantic)
382.820
Shark Island -Law Of The
Order (Epic)
384.180
Hank Williams, Jr.
Greatest Hits Ill
-
383.380
(Columbia)
Jean-Pierre RampalMozart: Flute Concertos,
K.313/314 Adante, K.315/
Rondo K.184 Israel
Philharmonic/ Zubin
Mehta (CBS Masterworks)
383.364
Black Sabbath
Headless Cross (I.R.S.)
383.109
Michael Bolton -Soul
Provider (Columbia)
383.083
Clarence Clemons -A
Night With Mr. C
383.067
(Columba)
The System -Rhythm
And Romance (Atlantic)
382.986
Jethro Tull-Rock Island
(Chrysalis)
388.157
-
-
(Warner Bros /Curb)
378.182
Cyndl Lauper-A Night To
Remember (Epic) 377.887
Debbie Gibson -Electric
Youth (Atlantic)
377.275
Barbra Streisand-Till I
Loved You (Columba)
374.884
MÓtley Crue-Dr. Feelgood.
Title cut plus Without You:
T.nT.; etc. (Elektra)
387944
Bobby Brown -Don't Be
Cruel (MCA)
372.045
Alyson Williams -Raw
(Def Jam / Columbia)
382.465
The Doobie Brothers
Cycles (Capitol)
382.457
-
Skyy-Start Of A
Romance (Atlantic)
382-440
Alice Cooper -Trash
(Epic)
382.366
Triumph -Classics (MCA)
382.135
Donny Osmond (Capitol)
382.119
Roachford (Epic) 382.010
Branford Marsalis-Trio
Jeepy(Columbia) 381.830
The Cult -Sonic Temple
(Sire/Reprise)
381.798
Mr. Big (Atlantic) 382-812
Crosby, Stills, Nash and
Young -American Dream
(Atlantic)
376.533
Batman -Original
Soundtrack (Warner Bros.)
383.885
r
NO POSTAGE
NECESSARY
IF
BUSINESS
FIRST CLASS PERMIT
Anderson, Bruford,
REPLY MAIL
NO. 660 iERREI-IAUTEIN
POSTAGE WILL
Wakeman, Howe (Arista)
BE
PAID BY ADDRESSEE
384.115
CBS/Columbia House
1400 NORTH FRUITRIDGE AVENUE
TERRE HAUTE, IN 47812-9202
Cher -Heart Of Stone
383.893
(Geffen)
The Police -Every Breath
You Take... The Singles
(MM)
348.318
MAILED
IN THE
UNITED STATES
I
III I 11111111111111111111111111111111111111111111111111
l
-_.--17 li E
-1
1
r
1.
s 1k
Lggy Marley á The Melody Makers -One Bright
Day. Look Who's Dancing; etc. (Virgin)
Soul I Soul -Keep On Movin'. Title hit
Back To Life; Feel Free; etc. (Virgin) 386.037
386.987
Aerosmith-Pump. Love In An Elevator;
Jefferson Airplane. Plane: aummer
Love:
Now Is The Time; many more. (Epic) 385.906
Janie's Got A Gun: etc. (Geffen) 388.009
8 CDs FOR A PEN
ó
AND A CHANCE TO GET
ONE MORE CD -FREE!
plus shipping/handling with membership
-
Beattie Boys -Paul's
The Best 01 The Dregs
Divided We Stand (Arista)
386-979
Boutique (Capitol) 383.786
Stray Cats -Blast Olt!
(EMI)
381-442
Stevie Nicks -The Other
Partridge FamltyGreatest Hits (Arista)
Side Of The Mirror
(Modern)
381.103
386.961
Best Of Cher (EMI)
Jody Watley -Larger
Than Life (MCA)
381.509
The Best Of Canned Heat
(EMI)
380.832
Roy Orbison-The AllTime Hits, Vols. 1 & 2
(Columbia Special Prod.)
377.945
Dion and The Belmonts
381.061
1
-Their
Best (Laurie)
369.074
The Very Best of Poco
(Epic)
367.623
Humble PIe-Smoklri
(A&M)
367.573
Marvin Gaye -Greatest
Hits (Motown)
367.565
Don Henley -The End Of
The Innocence (Geffen)
383.802
Guns N' Roses-GN'R
Lies (Geffen)
376.087
Jett Healy Band -See
The Light (Arista) 375.873
Joni Mitchell -Court and
367.102
The Who-Greatest Hits
(MCA)
365.361
Spark (Asylum)
Alice Cooper -Billion
Dollar Babies
363.531
(Warner Bros.)
Johnny Mathis -In The
-
Fail Me Now (Warner Bros.)
363.523
Best Of The Spencer
Davis Group-Featuring
Steve Winwood (EMI)
362.335
Grand Funk Railroad
Grand Funk Hits (Capitol)
359.828
Grateful Dead
Workingman's Dead
358-887
(Warner Bros.)
Best Of The Doors
(Elektra) 357.616/397.612
Yes-Close To The Edge
(Atlantic)
351.965
Traffic -The Low Spark Of
High Heeled Boys (Island)
351.924
Best Of Mountain
351.890
(Columbia)
(MCA)
319.541
The Babys-The Babys
Anthology (Chrysalis)
312.256
-
Creedence Clearwater
Revival -20 Greatest Hits
(Fantasy)
308.049
The Best Of Emerson,
Lake & Palmer (Atlantic)
306.969
Electric Light Orchestra
-
-Greatest Hits
383.042
(Jet)
300.095
Iron Butterfly-In-AGadda-Oa-Vida (ATCO)
294.629
Led Zeppelin -Houses Of
The Holy (Atlantic) 293.597
Rolling Stones -Sticky
Jackson Browne -The
Fingers (Rolling
Pretender (Asylum)
292.243
The Band -The Last
Waltz (Warner Bros.)
291.948/391.946
Best Of The Grateful
Dead (Warner Bros )
291.633
Milli Vanilla -Girl You
Know It's True (Ansta)
379.610
350.645
Stones Rec.)
Best Of Procol Harum
(A&M)
344.457
The Byrds-Greatest Hits
342.501
(Columbia)
Best 01 Kansas"
327.742
(CBS Assoc)
Filthy Stinking Rich
379.644
(Columbia)
-
Poi Dog Pondering
389.213
(Columbia)
Red Hot Chill Peppers
Mother's Milk (EMI)
389.205
The Ocean Blue
(Sire/Reprise)
389.197
Debbie Harry-Def,
Dumb 8 Blonde
389-130
(Sire/Reprise)
-
Something Inside So
Strong (Reprise) 381.749
Mica Paris -So Good
(Island)
381.731
Expose -What You Don't
381.715
Barry Manilow (Arista)
381.707
k.d. tang And The
Reclines -Absolute Torch
& Twang (Sire)
381.624
Swans -The Burning
World (Combat/Relativity)
387.613
Mental As Anything
Cyclone Raymond
(Columbia)
389.049
-
Ezo-Fire, Fire (Geffen)
381.616
Danger Danger (Imagine)
383.398
Icehouse -Great
Southern Land (Chrysalis)
387.043
Big Audio DynamiteMegatop Phoenix
388-215
(Columbia)
Camper Van Beethoven
-Key Lime Pie (Virgin)
388.074
Squeeze -Frank (A&M)
388.058
George Clinton -The
Cinderella Theory
(Paisley Park)
387.134
Fetchin Bones -Monster
387.050
(Capitol)
Syd Straw -Surprise
(Virgin)
386.995
Chris Isaak-Heart
Shaped World (Reprise)
386.144
Paul Kelly And The
Messengers -So Much
Water So Close To Home
(A&M)
384.321
Bryan Ferry / Rosy Music
-Street Life (Reprise)
384.230
Bodeans-Home
(Reprise/Slash)
The Call -Let
Begin (MCA)
384-206
The Day
384.156
Send these 8 COs for
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Jim Croce -Photographs
I
Memories: His Greatest
Hits (Sala)
246.868
Santana -Greatest Hits
(Columbia)
244.459
&
Janis Joplin -Greatest
Hits (Columbia)
231.670
Simon á Garfunkel
-
Greatest Hits (Columbia)
219.477
Blood, Sweat
&
Tears
-
Greatest Hits (Columbia)
214.650
Sly & The Family Stone
Greatest Hits (Epic)
196.246
Bob Dylan -Greatest Hits
138.586
(Columbia)
Fine Young Cannibals
The Raw And The Cooked
(I.R.S.)
379.214
-
'I
When Harry Met Sally
-
Original Soundtrack
386.821
(Columbia)
Fleetwood Mac
Greatest Hits
-
(Warner Bros.)
-
New Kids On The Block
The B -52's -Cosmic
Thing (Reprise)
383.877
Lloyd Cole & The
Co mmotion s-1984-1989
(Capitol)
383.778
Boris GrebenshlkovRadio Silence (Columbia)
383.513
The Cure-DisintegratIon
(Elektra)
382.093
10,000 Maniacs -Blind
Man's Zoo (Elektra)
382.077
Indigo Girls (Epic)381.269
R.E.M.-Green
(Warner Bros)
375.162
-Hangin'Tough
368.423
Canadian Brass -The
Gabrieli Album
(Columbia)
(CBS Masterworks)
379.933
The Chick Corea
Akoustic Band (GRP)
379.891
Tone-Loc-Loc'ed After
Dark (Delicious Vinyl)
379.875
Skid Row (Atlantic)
379.602
Madonna -Like A Prayer
(Sue)
379.594
Martlka (Columba)
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Barbra Streisand,
Barry Manilow
Mr.
Mrs.
Miss
Best 01 The Doobie Bros.
291.278
Eagles -Greatest Hits
1971-1975 (Asylum)
287.003
Linda RonstadtGreatest Hits (Asylum)
286.740
(Warner Bros.)
Neneh Cherry -Raw Like
Sushi (Virgin)
382.994
Liza Minnelli-Results
(Epic)
382.333
L.L. Cool J -Walking With
A Panther
(Def Jam I Columbia)
381.988
Great White-... Twice
Shy (Capitol)
381.178
379.149
© 1990 CBS Records Inc.
Rolling Stones,
Tom Petry
Led Zeppelin IV (Atlantic)
291.435
James Taylor -Greatest
Hits (Warner Bros )291-302
On The Cutting Edge
Tom Petty -Full Moon
Fever (MCA)
382.184
Kenny Rogers
Know (Arista)
Joe Cocker -Greatest
Hits (A&M)
320.911
Elton John -Greatest Hits
WarraAt-Dirty Rotten
Still 01 The Night
(Columbia)
Little Feat -Feats Don't
-
Selections with two numbers contain 2 CDs and count as 2 -so write in both numbers
LZV/F6
LZW/59
CBiSUOIJUMBIAIk USFATrrre Haute, IN47811
One can really understand both the
problems of interfacing among various
standards and how to go about solving
some of these problems. The detail
presented is excellent, and would like
to have seen even more of it.
Chapter 6 is where The Art of Digital
Audio really comes to life. The author
clearly knows a great deal about digital
recording, and it shows. The dozen
pages on the magnetic recording process and the qualities of the channel
are enlightening and to the point. It is
made clear why channel coding is
needed. The discussion of simple
channel codes is useful (even though
the dreadful Figure 6.16, mentioned
above, appears in this section ). A 10 page review of group codes and convolutional codes follows. would like to
have seen this material expanded, as it
is one of the most important topics in
digital audio and the material is very
well written. Partial response receives
five pages. This subject, which involves very advanced concepts of trellis coding and Viterbi decoding (a topic usually called delayed decision coding) unfortunately cannot be explained
in five pages and probably should not
be included in this book. These are
topics much more applicable to modems and communications systems,
since they are not effective for burst
errors, which are more typical in digital
storage media. This chapter would
have been better had it treated fewer
topics more thoroughly.
Chapter 7, 46 pages long, is nicely
presented in that it starts with relatively
simple examples, those of parity code
checking, and proceeds to more complex topics by giving a nice example of
a Hamming code. Cyclic codes are
discussed in the next seven pages.
The discussion is clearly presented
and at a level which can be followed
easily if the reader puts in some effort
on working through the examples in
detail. Codes such as cyclic redundancy check codes (CRCC) are very
important because they are widely
used in digital audio systems. Even the
brief discussion of Galois field manipulations seems in place in this chapter.
It is greatly simplified but nevertheless
gives some insight into the complexities required in useful and practical
coding systems. Correction of burst errors is essential in digital recording,
I
I
AUDIO/JANUARY 1990
since errors are caused by defects in
the medium which wipe out "chunks"
of data. The author, in 16 pages, attempts to ease the reader through the
burst -correction maze by treating several coding techniques in order, from
the simpler to the more complex. The
Fire code, B -adjacent code, and Reed Solomon code (used for Compact
Discs) are discussed. It would have
been useful to improve the code structure figures, and find the discussion
of the Fire code more confusing than
clarifying. When the author allows himself to write a few equations and to
give examples, his exposition becomes very clear. find his treatment
of the Reed -Solomon code a very nice
starting point for understanding the
purpose of all the complexity required
to make the Compact Disc work so
well. The final eight pages of Chapter
7, on interleaving, are nicely written,
readable, and understandable.
The 48 -page Chapter 8 is on rotary head recorders: Video recorders, PCM
machines, EIAJ-format recorders, and
the R-DAT machine. This is where the
book really starts to pay off in a big
way. Chapters 8 through 11 alone are
worth the price of admission: Roughly
one-half of Chapter 8 is on video -type
I
I
rotating -head machines (including
PCM adaptors and the like) and the
rest on DAT (specifically R-DAT). The
mechanical problems, channel limitations, and coding techniques used are
discussed with just the right amount of
detail and at the right level for readers
who want an overview of this important
digital recording technology. The treatment of R-DAT is excellent-here is
another case when the interested
reader will wish for more.
A full 53 pages are devoted to stationary head recorders in Chapter 9,
half on the DASH formats and half on
the Mitsubishi formats (Pro-Digi).
Again, the treatment is excellent. There
is enough detail for the reader to understand the problems involved and
the elegant solutions that have been
devised to solve them. This chapter will
be of interest to the studio engineer
who simply wants to know more about
the technology, as well as to those
merely interested in digital techniques
and how they are applied to audio recording. There are even a few pages
devoted to the S-DAT formal.
Chapter 10 is a short, nine -page
sectior on digital technology applied
to 8 -mm video. Chapter 11, 25 pages,
discusses professional VTR formats
such as EBU/SMPTE, C -format, and
other PCM formats. These chapters
are adequate discussions of the technology for the specialist; they do not,
however, add much to the book in
terms of extending the reader's understanding of digital technology. These
chapters are more lists of facts than
anything else. Though not as thorough
as Chapters 8 and 9, they nevertheless
will be of interest to studio and broad-
cast personnel.
Chapter 12 is rather long, 52 pages,
on various disk drives that are or might
be used for audio recording. It is a sort
of mishmash of interesting information
about all kinds of disks, from floppy to
hard and including optical. liked the
chapter and learned a lot of "facts"
about these drives, but am not sure
the information learned will be very
useful. The casual reader will find this
chapter interesting; the expert will find
it too elementary and sketchy.
Chapter 13, 46 pages, is on the
Compact Disc. "Finally!" you might
say. While this is the last chapter, it is
by no means the least. A few pages
are devoted to how the CD is manufactured and to a discussion of the mechanics of the tracks and how the
"bumps" are read. Yes, "bumps." Why
not "pits," which is standard usage in
most of the literature? Pits are just
bumps looked at from the bottom-or
the other way around! Eight additional
pages are spent on the reading, tracking, and optics of the CD system.
There are a few pages on the pickup
structure as well. This is as good and
clear a treatment of the mechanics of
the CD as have seen, and the coverage includes most of what the casual
reader would like to know. A nice six page section on the channel coding of
the CD includes an explanation of the
use of eight -to -fourteen modulation
(EFM). The following 12 pages give
great detail about the data and control
formats on the disc. The serial frame
structure is described clearly. The CD
subcode blocks used for control and
other information (i.e., the P, O, R, S, T,
U, V, and W word blocks) are discussed in depth; the treatment is detailed and well written. The final nine
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McIntosh has earned wcgld nenovrfor -ts techndogical con:ributions tor
improved sot-nd. When vol. buy
Mclütosh, yo_i buy not cnly hightechnology, }ou buy technological integr ty proven by time. Mclraosh has
alwtys earned its renutatior. by q.tality performance, technological leadership, user 'oriented facilities 'and anappearance which -provides for ease of
maintenance or repair. These fun;.
damental elerients are incorporated in
the McIntosh MAC 4300V Receiver.
Remote Coatrol_providesünusual
versatility with operating simplicity.
In either the Main listening area cr
when expanded to two.additional
areas, you can:
_
:urn the AC power on of off;
the listening sound source
,tuner, ccmpact disc, tape
recorder, etc.):
3) adjust the volume;
4) :urn on or off up td 3 ccnnected
speaker pairs, or
5) when the tuner section is the
sound source, you can select :he
stations you wish to hear on
either AM or FM, or select the
preset sta:ions on either AM cr FM;
1)
2) .;elect
-
6) when a McIntosh Compact Disc
Player is the sound source, you
can put the CD player in play,
All in all, your selection of the
McIntosh MAC 4300V FM/AM Receiver
will be reinforced by your day-to-day
use of this superb instrument
mismatch, the Sentry Monitoring protects the output transistors.
The Power Guard waveform comparison circuit detects waveform differences between the input and the
output signal. The output program is
constantly compared with the program at the amplifier input. Should
the differences reach 0.5%, Power
Guard goes to work. In only a fraction of a millisecond Power Guard
dynamically reduces input level to
prevent amplifier overload, yet the
amplifier will deliver its absolute
maximum power output without extra
distortion. The Power Guard circuit is
absolutely silent. There is not even
"soft" clipping. There is simply no
clipping!
next track or preceding track or
stop play.
In addition to the I R sensor,
remote sensors can he installed in two
additional areas. Instillation is easy!
Use ordinary video distribution cable,
RG-59/U, to connect the remote
sensors.
The ease of FM tuning has been extended to AM with a new, McIntosh
AM automatic center station tuning
circuit. When using the preset touch buttons, the auto -tune circuit searches
for the center of the AM broadcast
frequency and locks to that center
point.
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two audio tape recorders, allow either
-ecorder to be heard from the main
output. These switches can also select
zl:e audio from two video recorders,
dr one audio recorder and the audio
from one video recorder.
Three SPEAKER tcuch-buttons
switch three sets of loudspeakers to
provide program to three listening
areas.
A five -band program equalizer permits the adjustment and improvement
of the loudness contrast of the five
most important frequency ranges.
Technological leacership is shown
rn the full power McIntosh amplifier
!which will deliver its maximum
power output to three pairs of
.oudspeakers. The quality of the
sound reproduction and the quality of
your speakers are protected by the
patented' McIntosh Sentry Monitor
circuit and McIntosh Power Guard circuits. The Sentry Monitoring circuit
constantly monitors the output signal.
Az signal levels up to rated o.ttput this
circuit has nc effect. Should power
output exceed design maximum, or a
short circuit or seve:e impedance
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For Information on McIntosh
products and product reviews
please send your name, address
and phone number to,
McIntosh Laboratory Inc
Department A190
PO Box 96 East Side Station
Binghamton, NY 13904-0096
McIntosh research, engineering and
design has developed circuits covered by
these U.S. Patents:
3,965,295. 4,048,573; 3.526,847; and
3,526,846.
Handcrafted with pride in the United States by dedicated, highly trained- craftspeople.
Enter No. 36 on Reader Service Card
The New Trouser Press
Record Guide chronicles
alternative rock groups
that you won't find out
about anywhere else.
"Shure's most recent
version of its top model,
the V15 Type V -MR...
strikes this listener
as perhaps the most
musical -sounding
phono cartridge
ever made."
pages describe specific circuits and
control circuit designs of CD players.
The chapter on the CD is adequate
but disappointing in some ways. It
passes off CD error -correction techniques with the comment that they
have been discussed in Chapter 7.
feel that a section on the specific application of interleaving and Reed -Solomon coding techniques to the CD
should have been included. These
techniques are too important to the CD
to be slighted as they have been here.
A large number of potential readers will
be interested mainly in the CD.
The other lack in this chapter is its
failure to discuss oversampling and
digital filtering as they relate to modern
digital CD machines. These are two of
the most important recent technical
developments. They have added
greatly to the quality of CD playback
processes and deserve extensive
treatment. The author mentions over sampling in Chapter 2 but unfortunately fails to discuss the latest CD technology using these techniques.
As indicated at the start of this review,
have a love/hate relationship
with The Art of Digital Audio. It is very
good in many of its parts, and that
Hans Fantel
The New York Times
I
'
SHURÉ
r
....
SN1/RE®
For product literature, call1-800.257-4873
(In Illinois,1-800-624-8522)
INTRODUCING
I
REM
makes it worth having. In fact, now
keep a copy at home and have put one
in my electroacoustics laboratory library as a reference for my graduate
students. It is not a textbook, but it is a
very good reference for many topics.
(It has a good list of references at the
end of each chapter and a good index.) consider this probably the best
book available at its technical level at
this time, and would urge anyone with
an interest in digital audio technology
to buy it. It takes concentration and
hard work to read and understand, but
with this investment, reading it will be
very worthwhile.
R. A. Greiner
I
Music & Video Buying Service
CLASSICAL
,
JAll &
CLASSIC ROCK CDs
Fine Films and
live
I
Performance Videos
I
LOW PRICES
Send for Your
FREE CATALOGUE
YES, please send my FREE
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Name
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and SEND lo:
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P.O. Box 1134
Lae
Terre Haute, IN 47811
i
The New Trouser Press Record Guide,
Revised Edition edited by Ira A. Robbins. Collier Books, 657 pp., softcover,
$16.95.
So you want to know about alternative rock bands like !Action Pact!, Men
They Couldn't Hang, or Xdreamysts.
Where do you turn? About the only
place is The New Trouser Press Record Guide, edited by Ira A. Robbins,
now out in an expanded third edition.
28
The book chronicles the various alternative rock movements that began
reacting to the highly formularized
pop/rock of the late 1970s. Beginning
originally with New Wave and punk, the
Guide has expanded its scope to include styles from reggae, rap, and
hardcore to a small amount of independent heavy metal and new folk music. Entries are alphabetical.
What you'll find here is a wealth of
information on both obscure and better
known groups that are iconoclastically
inclined, either in terms of music (Einstürzende Neubauten) or attitude (Flux
of Pink Indians). The majority will never
show up in your Harmony Encyclopedia of Rock and Roll, and that alone
makes this Guide valuable.
When it comes to substance, however, there's good news/bad news.
The good news is that you get a tremendous range of entries to dip into,
and good basic discographies (title,
label, year, country, special format
info, and CD availability; no ID numbers). An index would have been a
helpful addition, but maybe next time.
The bad news is that many entries consist more of highly subjective record
reviews than of helpful biographical information (e.g., names of band members) or other more objective, historical
perspectives. Implicit in this is a tone
of somewhat egocentric, elitist critical
snobbery which can be annoying if you
don't buy the notion that only music
which is not commercially successful is
intellectually acceptable. In the worst
cases, all you learn is that the reviewer
did or didn't like a record.
Yet despite a subjectivist critical
ethos more appropriate to a fanzine,
Ira Robbins' The New Trouser Press
Record Guide provides interesting information on a major chunk of rock
music that you won't find out about
anywhere else. Now, let's see, what do
they have to say about Mofungo?.
Michael Wright
.
AUDIO/JANUARY 1990
One way to eliminate the effects
of room acoustics.
V,
111E
I4
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.
®
IÍMiIM
t,
Due to room acoustics, no two rooms sound the same. KEF
can't redesign your listening room, but with their proprietary Uni-Q
loudspeakers you'll hear less of the room and more of the music.
Sound emanates from the KEF Uni-Q driver
much
as if it were a single point source. But with
y-}
-,
one fundamental difference-this is a point source
with a fine sense of direction. In the Uni-Q driver,
the woofer cone acts as a wave guide to control
of the tweeter, so that it
Only the KEF
Uni-O driver
matches
that
of
the woofer. Sound reflected
places the tweeter inside
ithe woofer's voice cot
within the room is not only reduced,
the music you hear is less colored.
Using Neodymium -Iron -Boron, the most powerful of all
magnetic materials, KEF was able to make a tweeter so small it
can be placed inside a woofer's voice coil. Now the sound arrives at
your ears at exactly the same time, giving you seamless sound no
matter where you are sitting.
KEF Uni-Q is nothing short of an engineering breakthrough:
the first truly coincident -source driver.
In addition to minimizing room colorations, KEF Uni-Q
drivers, with their controlled directivity, produce rock -stable stereo
images wherever you sit.
At last, accurate, undistorted sound has emerged from our
laboratory.
And arrived safely in your listening room.
'
.,thedispersion
KEF Elrurron¢s a
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The Speaker Engineers.
Circle, Chantilly. VA 22021
Enter No. 24 on Reader Service Card
SPECTRUM
IVAN BERGER
AND THE SURVEY SAYS...
to sell recordings that could not be
copied. An even higher proportion
disapproved of imposing charges,
fees, or royalties on either blank tapes
or audio recorders. Nearly two-thirds
(63%) felt that "current home taping
practices should be left unchanged."
And 93% felt that taping for one's
own use or to give to a friend was
Congress, Copyright, and Copying
Ever since the first home tape
recorders hit the streets, the record
industry has worried that music lovers
would borrow and tape records
instead of buying them. To!prevent
the massive losses they envisioned
from this practice, the record
companies have long sought
technical means of hampering home
record copying and sought royalty
payments from surcharges on home
recorders and blank tape.
Because of the continued debate
on this topic, Congress asked its
Office of Technology Assessment to
see just what effect home taping had
on sales of commercially recorded
music. The OTA survey has now been
released, and both the recording and
home electronics industries are citing
it as supporting their claims.
According to a summary issued
by the Home Recording Rights
Coalition, the OTA survey showed the
record industry's case to be
overstated. To begin with, only about
one-fourth of all home taping sessions
Only 6% of tapers said their most
recent home copy was made to save
money or to avoid buying the
recording; so few people taped music
to help others avoid purchasing it that
the OTA considered this activity
"marginal." Only about 13% of the
music recently taped by adults was
from borrowed recordings.
Home taping apparently does not
significantly displace prerecorded
music purchases. Tapers spend only
about 12% of their time listening to
home -recorded tapes, and many of
these tapes did not duplicate albums
that were commercially available in
the same form. At least three-quarters
of home tapers said that if they could
not make home recordings, they
would not replace those tapes with
purchases of commercially recorded
music.
On the other hand, there's evidence
that home taping may help stimulate
album purchases. Nearly one-fourth
of the consumers surveyed said they
had heard a homemade tape of their
most recent recording before
surveyed involved copying
purchasing it. More than one-third of
prerecorded music, and only 28% of
those who bought records on their
most recent buying occasion, and
the people surveyed had copied
music from commercial recordings in
about one -sixth of those who bought
the preceding year. The vast majority
CDs, did so with the expectation of
taping their purchases. The OTA
(81%) of this copying was done from
recordings owned by either the taper survey showed that home tapers buy
or other members of the taper's family albums much more frequently than
or household. The principal reason for non-tapers-confirming earlier
surveys by the record industry itself.
taping was to shift the recording to a
Are royalty taxes, and technical
format that could be played in
portables or in the car. Other reasons bars to home taping, fair? Of the
were to create customized music
consumers surveyed by the OTA,
compilations, to protect originals from more than half said it would be unfair
wearing out, and to gain longer
to build new audio recorders that
playing time.
can't copy commerical recordings or
30
"perfectly acceptable."
To the RIAA, these findings are
"frightening." As the RIAA's
counterblast to the HRRC's release
pointed out, the OTA report confirms
that Americans tape more than one
billion musical pieces per year, and
40% of Americans have taped
prerecorded music in the past year
-
22% more than 10 years ago. Says
the RIAA, "Most consumers don't
know that only one out of every six
albums recorded makes a profit. It is
that one-at the top of the chartsthat will be copied most frequently.
Ironically, it is also that one that
supports the signing of new artists
and the diversity of music that
Americans have come to expect."
Copies of the OTA's 293 -page
report, Copyright and Home Copying:
Technology Challenges the Law, are
available for $13 from the
Superintendent of Documents, U.S.
Government Printing Office,
Washington, D.C. 20402. The GPO
stock number is 052-003-01169-7.
Look Ma, No Microphone!
Last June, saw an engineer at
JVC lean down to shout at two tape
decks. He wasn't angry, just
demonstrating that decks could act
as microphones (and, of course,
that JVC's newest deck, the
TD-V1010TN, had elaborate antivibration setups that made it
noticeably less microphonic than its
predecessors).
Fiber-optic cables can be
microphonic too, as another engineer
had demonstrated to me a year
earlier. He did not show or claim that
fiber-optic cables could pick up
ambient sound, but did show that
tapping such a cable while it was
carrying a digital bit stream could
cause noise in the analog signal
decoded from those digits.
I
AUDIO/JANUARY 1990
Optical Class A bias control
of Denon's
extensive research into
digitally recorded music.
is the result
Denon was the first to record music using
digital technology and is the only pure audio company involved in every step of the music chain.
Perhaps the reason why Denon receivers are more "digital ready"
is that Denon was ready with digital first.
.40
4241
`
10,130,-
o
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`rP
\,
°
.
Denon's digital experience makes Denon more prepared
to cope with the challenge digital presents to receivers.
Using their extensive research into the
dynamic levels found on digital recordings,
Denon developed the Optical Class A system incorporated in the DRA-1025. Denon's
Optical Class A system allows the amplifier
sections of Denon receivers to produce high
power efficiently while maintaining extremely
low distortion for critical low and midlevel passages. (A highly respected
audiophile publication found the sound
\\'t\
of the DRA-1025 the equal of the best
separate $1,000 power amps.)
Lest you think Denon is concerned solely with sound quality, Denon
IIV
receivers over $350 offer IS" Integral
System remote control to command Denon
I
CD players and Denon cassette decks and are
fully compatible with Denon's multi -room remote
system. Various Denon receivers offer remote speaker
switching, NRSC for improved AM reception, variable
loudness, video switching and much more.
111
e.m.....
aV
.
--
-
:
'N did Denon make these
advancements and not some electronics giant? 3ecause since 1910, Denon has
been making one thing and one thing only.
Music.
DENON
DESIGN
DRA-1025 shown with optional side panels available for most Denon models.
Prices quoted are manufacturer's suggested retail prices and may vary.
i
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Dawn America. Inc.. 222 New Road. Parsippany. N107054
Enter No. 16 on Reader Service Card
Desktop Stereo works inside
your computer, controlled
by the computer's keys,
with station information
displayed on its screen.
Music for the PC Bored
Music can ease long sessions of
computer work, but computer
systems often hog too much desk
space to leave room for a radio.
However, Optronics Technology of
Ashland, Oregon now offers an FM
radio designed to fit into, and be
controlled by, PC -compatible
computers.
The Desktop Stereo's specifications
aren't all that intriguing (S/N of 66 dB,
AM suppression of 50 dB, and
a nonstandard sensitivity rating of
"15 µV for -3 dB"), but Optronics
says that their radio is not subject to
computer -generated interference,
unlike most FM radios and tuners. So
it could conceivably outperform your
hi-fi tuner when the computer's
running.
What is intriguing about the
Desktop Stereo is its control interface.
It has no controls of its own but is
operated from the computer
keyboard. The software supports
Pop-up screen
superimposes tuning
and control information
on the program
currently running.
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a pop-up screen that shows the
currently tuned station frequency,
volume and tone -control settings, a
fine-tuning indicator, and the contents
of the 10 station presets (which can
be labelled by format or by frequency
or call letters). Stations can also be
selected by typing in their
frequencies or by using the cursor
'
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COME
CIE=
control keys for manual or automatic
search. The system can also generate
printouts of all local FM stations
(including stereo or mono status and
signal strength) and lists of strong
stations. Outputs are provided for
speakers (4 watts per channel into
4 ohms), headphones, or to feed an
external stereo system.
Musical Truth
r
Some people settle for speakers which distort the
truth a little, adding their own interpretation to the
music.
Others insist on the most natural reproduction that
art and technology can provide. For these refined tastes
there is Tannoy Series 90.
The effortless accuracy and dynamics of Series 90
bear witness to Tannoy's 62 -year heritage of
engineering the industry's finest professional monitors.
Tannoy monitors mastered the challenges of digital in
the recording studio long before the advent of the
Compact Disc. Having developed single -point -source
drier technology to solve the problem of phase shift in
studio playback, Tannoy has applied the single -point source system here to create a stereo image so
accurately natural it brings the concert experience
home at last.
Find out why Tannoy is the only loudspeaker ever to
be honoured with the recording industry's prestigious
TEC award for outstanding achievement. It's a
testament of Tannoy's dedication to the musical truth.
TANNOY Series 90
1
ping
An Extension of the Legend
Tanixn North America Inc. 300 Gage Avenue Unit I, Kitchener, Ont. N2M 2C8 Canada Tel. (519) 745-1158 Fax (519) 745.2364
Enter No. 55 on Reader Service Card
DEUTSCHE GRAMMODHON RCA PHILIPS
ARCHIV L'OISEAU-LYRE ANGEL NEWPORT CLASSIC
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Malang Am.4eaWart
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FOR JUST
With No Obligation
To Buy Anything ...Ever!
25032
Cakewalk, many more. MCA
00604
Respighi: The Pines 01 Rome; The Fountains Of Rome; Roman Festivals The
Philadelphia Orch./Mull. Angel
34443
Rachmaninov, Symphony No. 1 Con-
certgebouw Orchestra/Ashkenazy 'Full
of churning, driving energy.'-Fanfare
London
15347*
The Academy-By Request Academy of
St. Macon-m-the-Fields/Marnner: Sheep May
Safely Graze, more. Angel
54094
Beethoven, Symphonies Nos. 2 & 8 London Classical Players/Nornngton. -Bnlliantly
executed. --Opus Angel
00466
Rhapsody In Electric Blue Jeffrey Reid
Baker, synthesizers. Rhapsody In Blue, 3
Preludes, more. Newport Classic
34647
Emanuel Ax: Beethoven, Piano Conc. Nos.
f
1 &
Previn, cond. RCA
2
83469
Barry Douglas: Brahms, Piano Concerto
No. 1 London Symphony Orchestra/
Skrowaczewski. RCA
6
more
Salerno -Sonnenberg: Mendelssofn, Violin
Concerto; Saint-Saéns, Rondo capriccioso
Angel
34670
Krystian Zlmerman: Choppin, The
Ravel, Bolero; La Valse; Rapsodie Espag-
nole; Alborada del Gracioso
Scarlattl,
Montreal
Symphony Orch./Dutoh.London
15199
Jasc ha Heiletz: Bruch, Violin Concerto No.
&
Scottish Fantasy; Vieuxtemps. Concer-
to No.
5
Ravel, Piano Concerto; Concerto For The
Left Hand Argench & Béroff, pianos. London
Symphony/Abbado. DG
15468
Songs and arias by Schubert,
Verdi, Flotow, Liszt, Scarlatti,
ll.atal v,e.ra
43612
C31
Rini .11 *iiV I%111N\\l1
others. London
15311
1
7
Dvorak,
ciso Yepes, guitar.
DG
`Ncw World"
15497
I
Tcchalkovsky,
o.
'`
4
ChicagooSympSmhnyphony
Orchestra
/
Vivaldi,
4
Seasons
16
Pro Arte/Fanfare
more.
24616
r
4
Cliburn:
Liszt d Grieg
Piano Concertos
MMVOholoolb
'
00606
P
Prokofiev, Peter And The
Wolf; Tchalkovsky,
Nutcracker Suite Dudley Moore, narrator.
Boston Pops/Williams.
Philips
15137
.
Handel, Music For The
Royal Fireworks; Concerti
2 &3
a Due Cori Now.
English Concert/Pinnock. Archly 25375
St. Louis Sym./Slatkin.
Rakóczy March, Turkish March Wedding
March, Radetzky March, more. RCA
00986
Adams, The Chairman Dances Plus Christian Zeal And Activity, more. San Francisco
00491
Symphony/deWaart. Nonesuch
Beethoven, Symphony No. 6 (Pastorale); 2
Overtures Academy of Ancient Music/Hogwood. L'Oiseau-Lyre
25397
Mozart, Clar. Conc.; Horn Conc. 1 & 4
Nedich, Jolley. Orpheus Chamber Orchestra.
15481
Strauss. Don Quixote; Burleske
Orchestra/Reiner. RCA
63643'
Ashkenazy: Rachmaninov, Piano Concerto
No. 3 Concertgebouw Orchestra/Haitink.
-Fabulous'-Hi-Fi News London
Gregorian Chant
Hofburgkapelle. Philips
15434
Nazareth, Brazilian Waltzes & Tangos
Arthur Lima. piano. 'Record of the Year!
-Stereo Review Pro Arte
83731
Handel, Water Music The English Concert/
fresh
- -COMPLETE AND MAIL THIS C ARD TODAY?
-
Write Selection
Numbers Here'
I
Mr.
First Name
Last Name
Initial
(PLEASE PRINT)
Address
Apt
City
State
Zip
Light Cavalry, more.
Montreal Sym./Dutoit. London
25219
Telephone (
Ashkenazy: Mozart, Piano Concertos
Nos. 8 (LOtzow) & 9 (Jeunehomme)
London
Beethoven, Triple Concerto
Zeitser. Karajan conducts. DG
Ama Code
Signature
15418
Mutter, Ma,
Members who choose CDs will be serviced by the BMG Compact Disc Club and will receive CD Discovery 19 times a
year (about every 3 weeks). Full membership details will follow with the same 10 -Day, no -obligation, no -minimum
purchase privilege. Current BMG CD Club members not eligible for this offer.
Limited to new members; continental U.S.A. only, one membership per family. We reserve tie
BF
POE
ZAPOE
PJ
05319
Newman: Bach, Organ Works Prelude &
Fugue in C, more. Newport Classic
34604
IPS/6550 E. 30th St /Indianapolis, IN 46219
right to request additional information or reject any application. Local taxes, if any, will be added
IPS 536
I
...Note:
25157
Schola of the
6
I
Mrs
Miss
Janigro,
cello; Janis, plano. Chicago Symphony
Pinnock. The playing is everywhere
and
Cliburn: Rachmaninoff, Piano Sonata vital'-Ovation
Archly
15306
No. 2; Prokoflev, Piano Sonata No. 6;
more RCA
00607. Stravinsky, Petrouchka; Song Of The
Nightingale; more Monreal Symphony/
Dutoi. London
15331
I
15356
01 The
Nightingale; 4 Studies - Montreal Symphony
Orchestra/Dutoit. London
15331
Into The Woods Bernadette Peters &
original cast. TRW song, No One Is Alone,
many more. RCA
61656
YES! Please accept my membership in The International Preview Society and send me, for 10
days FREE examination, the 3 selections have indicated below, under the terms of this offer.
may return them alter 10 days and owe nothing, or keep them and pay only $1 (shipping and
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Please send selections on:
Compact Disc
Cassette
Malcolm Bilson, fortepiano. Archiv
25208
Tomita's Greatest Hits The Planets, Bolero,
Pachelbel Canon, more. RCA
53955
Suppe, Overtures
Title song,
o'bk
Perlman: Brahms, Sonatas for Violin &
Piano; more Angel
33760
Mozart, Piano Concertos Nos. 20 & 21
'
Grace-All
Time Bagpipe Favorites
Van
.r...e
Simon Standage.
English Concert/Pinnock. Archiv
Amazing
DG
4111._
25038
Hoist, The Planets Mon real Symphony
Orchestra/Dutoh.London
15448
Dvotak, Sym. No. 8; more Dohnanyi/
Cleveland Orch. London
15042
Rossini, Overtures Barber Of Seville, more.
Orpheus Chamber Orch. DG
15527
Mahler, Symphony No. 4 Concertgebouw
Orchestra/Bernstein. DG
15526
Vivaldi, 9 Concerti a Quatiro I Musici. A
must'-Fanfare Philips
15313
Saint-Saens, Symphony No. 3 (Organ)
Montreal Symphony/Dutoil.London
15529
Bach, Brandenburg Concertos Nos. 4-6
The English Concert/Pinnock. Archiv 25417'
Berlioz, Symphonic Fantastique The
Philadelphia Orchestra/Muli Angel
54244
Accardo: Bach, Violin Conc. Chamb. Orch.
of Europe. Philips
25162
St. Louis Symphony/Slatkin.
41491
-Brilliant.'-Gramophone Angel
Cleveland/
Dohnanyi
1
Solti.
London
Ballets)
Sym.
15018
Stravinsky, Petrouchka; Song
Ute Lemper Sings Kurt Weill Mack The
Knife, Speak Low, I'm A Stranger Here Myself,
11 more. London
15163
Copland, Billy The Kid; Rodeo (Complete
44363 Classic Marches
RCA
Sonatas;
Larghetto; more NarD.
4
Ballades Plus Barcarolle & Fantasie in F
Minor. -Dramatic.'-Gramophone DG 15332
Pavarottl At Carnegie Hall
(Pastorale);
Royal Phil./
Previn. RCA
4
Chaconne,
Siciliano, 3 Pieces For Lute, Gavotte en Rondeau, more. MCA
63600
Beethoven, Symphony
No.
00732
Andres Segovia Plays Bach
1
plus shipping
and handling
with Club
membership
'
'Perlman: Mozart,
Sinfonia Concertante
Vivaldi, Concerto "L'Amoroso;" 5 more
The English Concert/Pinnock. 'Luscious
?sound]. -Billboard Archly
25187
Heiletz: The Decca Masters, Vol. 1
Humoreske, Clair de tune, Golliwog's
ttXSSETTES
.
Selections marked () are available on CO only.
DEUTSCHE GRAMMOPHON
RCA
c?r/»r,f/Mira/
ARCI-IIV
PHILIPS
L'OISEAU-LYRE
ANGEL
rriPla(iOri?
Horowitz
Plays
Mozart
15436*
COMPACT
DISCS OR
CASSETTES
plus shipping
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FOR JUST
James Galway & Kazuhito Yamashita:
Italian Serenade Charming pieces by
Paganini, Rossini, Bazzini, others. RCA 73824
The Movies Go To The Opera Great Opera
themes from Moonstruck, Fatal Attraction.
Raging Bull, more. Angel
14806'
finest.'-Dioital
London
irá1Foñe wiñ
hzhak Perlman: Brahms, Violin Concerto
Chicago Symphony Orch./Giulini. A Grammy
Award Winner! Angel
63343
Mozart, Serenade No. 3; more Academy of
Ancient Music/Hogwood. "Played with...
style.'-Fanfare L'Oiseau-Lyre
15000
AVENTRICANBONS
Viennese
Bonbons/Maazel
15287
Audio
15018
Strauss, Also sprach
Zarathustra; Der Rosenkavalier Waltzes; more.
Chicago
Symphony
Orchestra/Reiner. RCA 63627'
Rags And Riches David
Düsing Singers Bill Bailey
C
Vladimir Ashkenazy: Mozart, Piano Concertos Nos.11 & 14 Philharmonia Orchestra/
Ashkenazy. London
25424
-i
The Mystery Of Bulgarian Voices
Bulgarian State Radio & TV Female
Simon Rattle: The Jazz Album Rhapsody
In Blue, Ebony Concerto, more. London Sin-
Choir. Absorbing...haunting.'-Fanfare
tonletta, others. Angel
Nonesuch
Fete a la Frangalse Montreal Symphony
Orchestra/Dutoit- The Sorcerer's Apprentice,
more. London
25235
By Request The Boston Pops/Williams.
Olympic Fanfare, many more. Philips
25360
World's Greatest Overtures 1812, Poet &
Peasant. Die Fledermaus, Egmont. Academic,
Flying Dutchman, more Pro Arte.
24789'
Rachmaninoff, Piano Concerto No. 2;
6 Etudes -tableaux Evgeny Kissin, piano.
London Sym./Gergiev. RCA
00915
Copeland, Appalachian Spring (Complete);
macabre
Cortege
(from Grohg); more St.
Louis Sym./Slatkin. Angel
54176
Mozart, Overtures Magic Flute, Marriage Of
Figaro, Don Giovanni, more. Academy of St.
Martin/Marriner. Angel
34267
Gershwin, Catfish Row: An American In
Paris, Cuban Overtures, more Slatkin
St. Louis Symphony. Angel
72226
I
Beethoven, Symphony No.
9
(Choral)
Kenny, Walker, Power, Salomaa. London
Classical Players/Norrington. Angel
00467
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15530
Itzhak Perlman: French Violin
Showpieces
N.Y.
Phil./Mehta. Carmen -Fan-
song, I Get A Kick Out Of You, Friendship,
many more. RCA
43950
Haltink conducts. London
25153
15457
Anything Goes Broadway revival cast. Title
Andrew Lloyd Webber, Variations; William
Bach, Brandenburg Concertos Nos. 1-3
Lloyd Webber, Aurora Julian Lloyd Webber,
English Concert/Pinnock. `Among the best
Maazel cond. Philips
cello.
15473
sounding CDs."-Fanfare Archly
15541'
The Digital Fox Organist Virgil Fox plays
The Legendary Enrico Caruso 21 favorite
arias including Vest; la giubba, La donna e
mobile, more. RCA
34274'
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Got Rhythm, The Man
Ashkenazy: Rachmaninov, Plano Concerto
No. I; Rhapsody On A Theme Of Paganini
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IF MAILED
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UNITED STATES
Toccata & Fugue in D Minor; Widor, Toccata;
more. Bainbridge
62889
Itzhak Perlman: Mozart, Violin Concertos
Nos. 3 & 5 Vienna Phil./Levine. "Extraordinarily rich'-Fantare DG
15146
1
James Galway's Greatest Hits The Man
With The Golden Flute plays Memory, Angel
Of Music, Greensleeves, more. RCA 73233
This remarkable $1 offer is being
made to introduce you to an
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membership-with never any
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1
FIRST CLASS
I
tasy, Tzigane, Havanaise more. DG
IPS 536
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Gershwin, Bizet, others. RCA
64348
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14877
Kid to Kanawa Sings Gershwin Somebody
Summertime, more. Angel
70258
Syncopated Clock & Cther Leroy Anderson
Favorites Fiddle Faddle, more. Kunzel/
Michael
Feinstein:
Pure
Gershwin
S
WonRochester Pops. Pro Are
24767*
derful, Embraceable You, Liza, more.
Ravel, Mother Goose (Complete); Le Tom Elektra.
54173
beau de Couperin; Pavane; more Montreal
Symphony Orch./Dutoit London
Mozart, Eine Kleine Nachtmuslk Plus
25197
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NSTANT HALF-PRICE BONUS PLAN
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Montreal SymJ
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Torroba Fantasia para un Gentilhombre,
Castles Of Spain, more. RCA
63579
n
1812
mances by Jussl Bjoerling with Robert Merrill,
Lucia Albanese, others. RCA
00992
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Newport Classic
01036
'
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With No Obligation To Buy Anything ...Ever:
Dvorak, Symphony No. 7
The Cleveland Orchestra/
Dohnányi. 'One of the
NEWPORT CLASSIC
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PUBLISHER'S PRESENTATION
S
P
O
T
L
T
1
Audio Magazine-Juilliard
Scholarship Award Dinner.
"Too often those of us in the audio
industry forget that the equipment
would bé useless without music and
those who devote their lives to the
art of music -making." Steve Goldberg, Vice President and Publisher of
Audio, is explaining the rationale behind the Audio Magazine-Juillard
School of Music Scholarship. The
award was presented September 19,
1989 to violinist
Perlman, Shlomo Mintz, and Midori,
among others], was in on it, as well
as Louis Brunelli, the Dean of Orchestral Studies."
Lewis ultimately received $10,000
-the full $8,500 tuition plus a $1,500
living stipend, which will go toward
the rent on his apartment. "I was told
about it on April 17th-my 21st birthday!" he recalls. "The financial aid
Brian Dean Lewis.
satz')" and a transcription of Cop land's "Hoedown" from "Rodeo" with
Pamela Pyle accompanying him. The
Tavern on the Green was not set up
for an intimate classical soiree, and it
took a bit of doing to persuade a big
band down the hall to take a break
while Mr. Lewis performed. In the
end, ail went well, enabling Brian to
one day tell his grandchildren that
e
Goldberg contin-
he'd fiddled at Tavern on the Green.
Of course, playing
at Carnegie Hall is
more what he had
in mind, and, if he
continues on his
current path, that
doesn't seem terribly far out of the
realm of possibility.
Lewis began his
studies at age four
ues, "In fact, the
foundation
on
which the component hi-fi industry
/ 'r^
rests is music.
However, it is a
platform that must
be rebuilt by each
generation.
"Audio feels obwith the Suzuki
ligated to help that
method and made
renewal process,
his solo recital deto help by supportbut a year later.
ing young perHe first played for
formers such as
Brian Lewis as Publisher Steve Goldberg (left) with Brian Lewis, winner of the first annual Audio Magazine- pay at age 20, in
well as the Juillard Juilliard Scholarship. To their right is Avery Fisher, founder of Fisher Electronics and leading Little Rock, Arlight of the classical music industry.
kansas. In high
School, an institution that has contributed immeasur- office also informed me that I should school, he served as concertmaster
ably to the training of young musical make plans to be available for a ban- of the Kansas City Youth Symphony,
quet, at which I would be perform- the Kansas State Orchestra, and the
artists over the years."
National High School Orchestra,
Goldberg left the choice of student ing."
Little did he know what was in which performed in 1986 under James
to the school; he didn't even specify
composer, singer, or instrumentalist. store. The awards dinner was held in DePriest. Two years ago, he made
Lewis was chosen on the basis of the a private dining room at New York his European debut with the Berlin
same criteria as any scholarship stu- City's Tavern on the Green on a Symphony Orchestra conducted by
dent. "I made a general application stormy night. The guest list totaled Jesus Lopez-Cobos. Currently, he is
for scholarship," says Lewis, who is over 150 notables from both the co -concertmaster of the Juilliard Orfrom Ottawa, Kansas. "The only re- equipment and recording industries chestra and plays about 10 profesquirement was that you be either a and included Avery Fisher, Juilliard sional solo engagements annually.
"I need to spend my time studying
junior or senior-someone who had President Joseph W. Polisi, Ms. De Lay, Lewis and several of his friends, and practicing," he says. He is practialready hung in for two years.
"Scholarships are awarded on the and, eventually, his parents who ar- cal but confident. "A solo career is
basis of academic standing, faculty rive in time for dessert after having `he most difficult thing to break into
and performance recommendations, circled LaGuardia Airport for 21/2 and maintain.
"There will be a shot for me. I
and I guess what you'd call 'promising hours. It was Lewis Sr.'s first time in
need to be ready for it when it hapyoung artist-ness,' " he continues. "I New York.
Lewis performed Brahms' "Scher- pens." And Audio is helping him do
know my teacher. Dorothy DeLay
-Susan Elliott
[whose star pupils include Itzhak zo in C minor for a Sonata ('Sonaten- that.
.
so.
%Iwo
VI
^c
P
.
1
,
1
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PRICE AND PERFORMANCE.
+
AUTOREVERSE
CODE
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Introducing three slick new performers from Blaupunkt.
Finally, legendary performance without a legendary price taq. That's the
Blaupunkt difference. Just feast your eyes on our three latesl- innovations.
The Phoenix and Boston cassette/receiver combinations and
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The Phoenix SOR 29 ($279.95) Quick release removable chassis Auto reverse
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ROADSIGNS
IVAN BERGER
DOUBLE DIN, TRIPLE THREAT
Stereos with Everything
The dashboard stereo slots in many
Japanese cars (as well as a handful
of U.S. and European models) are
standard width but twice the standard
height. (The "standard" here is DIN
for the U.S. and Europe, and
nominally DIN for Japan. However,
the car stereo mount which the
Japanese call "DIN" is a slightly
narrower version; the rest of the world
calls it ISO.) was not aware of this
until saw double -DIN car stereos on
display at last October's Audio Fair in
Tokyo.
Taking advantage of the extra
space afforded them, several of these
models include radio, cassette, and
CD plus extra -large displays. In most
of the models saw (Panasonic's COVZ700D, Kenwood's KRC-X11, and
JVC's KS-RX835), the CD slot is at
the top of the unit so that discs can
I
I
I
be loaded easily even when mounted
in consoles just ahead of floor shifts.
On the Panasonic and on Alpine's
Model 7360J, the display swings
down to give access to the tape slot;
the Alpine has no Compact Disc slot,
just controls for a remote CD
changer. However, the Kenwood unit
(which also includes controls for a
trunk -mounted CD changer) has its
tape slot just below the display, and
the JVC has small dual displays at
the left and its tape slot is located in
the middle of the panel.
The displays on several models
could also act as spectrum analyzers.
On the Alpine and Panasonic, the
spectrum bars tapered and
converged towards the top center of
the display, giving an impression
of a multi -lane superhighwayappropriate, in this context. The
Alpine's display could also be
Car Audio Abuse
We've all heard car stereo systems
so loud that you can hear the lyrics
from a block away-when, that is, the
systems aren't so bass -heavy that the
lyrics can't be heard at all. Some
lawmakers have heard them toomore important, so have their
constituents. From New Jersey to
Hawaii, laws have been proposed to
curb such nuisances. Some prohibit
running a car sound system loud
enough to be heard more than 25 or
50 feet away; others prohibit systems
which are even capable of being run
that loud.
reading came from
Prohibiting system misuse may be
more than just prohibiting system
capability, but it's harder to enforce.
Lawyers could make mincemeat of
police who issued a summons when
they felt a system sounded "too
loud." Even if police carried sound level meters (hardly likely), it might be
hard to prove that a given level
manufacturer organizations, lobbying
against them, have defeated anti audio laws in Hawaii and seem to
have stalled them in California.
However, Jersey City, N.J. has
passed an ordinance that prohibits
playing audio equipment if it's audible
36
the ticketed car
So laws limiting system capacity are
more likely to be passed. Dealer and
programmed with station call letters
or similar information.
Another double -DIN Panasonic
model, the CA-AV1 D, lacked CD but
had a detachable, flat -panel video
screen as its display. could not
determine whether this allowed TV
watching while driving or only acted
as a TV screen when detached from
the in -dash unit and mounted
elsewhere.
Prices of triple-threat models range
from about $750 to $1,000, while the
CA-AVID is about $1,400. Double DIN models without CD run about
$700 to $850, but these models may
not show up here. At least two
models, Panasonic's CO-VZ700D and
its CD -less twin, the CQ-VZ300D,
would need substantial modification
for the U.S. market: Their controls are
slanted to the right for Japanese and
British drivers.
I
from 50 feet away, and restricts the
amplifier power and the number and
size of speakers that can be installed
or operated in a vehicle. One bill
introduced in the California legislature
prohibited the operation of "amplified
sound systems" where the posted
speed was 35 mph or less. The
wording of this bill was so loose it
would have prohibited all but the
cheapest aftermarket systems as well
as virtually all factory -installed
premium systems.
Meanwhile, a dealer in Columbus,
Ga. foresees another potential
problem of car stereo abuse. "If the
kids buying megabuck stereo
systems now were to come back to
us as young adults and claim their
hearing had been injured, where
would that leave us?" asks Mike
Hamby of Audio Connection. "Maybe
we should get them to sign a release,
acknowledging the dangers of
misuse, when they buy."
AUDIO/JANUARY 1990
AUTOMOTIVE
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.
Today's radios have digital
tuning; tomorrow's may get
true digital signals, but
not with CD's dynamic range
and frequency response.
U.K.
Update
feasible, I'd hope that car receivers
would offer the option of not restoring
all that range; on the other hand, cars
might be a lot quieter by 1995, when
Howard predicts the system might be
Frequency synthesis tuners with
digital station displays aren't really
"digital" (though one might call them
digitally tuned) because the radio
signals they pick up and the audio
signals they deliver are still analog.
Nevertheless, references to digital
tuners didn't bother many people until
the CD era, when digital audio
became available. There won't be
much cause for general confusion
until there's digital audio on the air,
in use.
From the same source, learn that
Scorpios like mine will soon come
with a new stereo system. The new
amplifier will be about one-third more
powerful and will include á seven band graphic equalizer. The new
head unit (at least in Europe) will be
Ford's Premium Sound 2008 RDS,
which has virtually the same control
layout (and excellent ergonomics)
as the Ford Premium units made for
U.S. Ford/Lincoln/Mercury cars.
However, the 2008 is set up to
receive long -wave broadcasts and
the Radio Data System ("Roadsigns,"
August 1989), which are not used
here. Therefore, American Scorpio
buyers might wind up with a modified
version of the 2008 or with the
equivalent U.S. head unit.
I
but that may not be too far off.
According to Geoff Howard, the car
stereo columnist for Britain's Car
magazine, engineers from the BBC
and the European Broadcasting
Union are working on a digital radio
system. At a 1988 international
conference in Geneva, frequencies in
the 2.5-gigahertz band were reserved
for satellite radio broadcasting.
According to Howard, these
frequencies can easily be picked up
in a moving car.
The data rate Howard says is
contemplated would be lower than
CD's, which would require some
reduction in sampling rate (with a
consequent drop in high -frequency
range), sample size (which would
reduce dynamic range), or both. If
sample size is reduced, companding
techniques could be used to restore
some of the lost dynamic range. If it's
u
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Based on Hafler's philosophy of utilizing superior
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From the delicate sound of a classical Spanish
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Harman Kardon has a history of firsts:
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And now, bit stream technology with totally
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That's Harman Kardon. Pioneering technology for
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Take your favorite CD to your Harman Kardon
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Also ask for a detailed explanation of 3D Bit
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Enter No. 19 on Reader Service Card
the
STORY
MADE IN
U.S.A
One hn.ndred percent quality control is seen on EVERY unit manufac-
SECTION OF PRODUCTION AREA IN MAIN PLANT
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tured. EVERY completed unit is
electronically tested for specification accuracy and then EVERY ni:
Ps connected to a high fidelity sys
tem and listened to-just like soy.
would at home. If your unit meats
or exceecs the critical standards Set
forth on these tests, it is then packaged for shipment.
#1.
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EVERY AMP_ LIFIER
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Soundcraftsmen celebrates its
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Soundcraftsmen engineers are
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From the finest equalizers, the
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The next few pages will answer
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Enter No. 30 on Reader Service Card
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1990 BUYER'S GUIDE
TO PRO -QUALITY 19" RACK -PANEL ADD-ON SEPARATES
(For complete specs, prices &
color photos of all 26 models, circle reader card number)
POWER AMPLIFIERS
PREAMPLIFIERS
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Len Feldman, in Audio Magazine, says: "...another example of
Soundcraftsmen's superb engineering and dedication to user convenience
and product flexibility. It serves as a true control center without adding
complications for the user. My chief delight was with the versatile switching logic. What a joy not to hear any noise or clicks!"
The new PRO -CONTROL preamplifiers from Soundcraftsmen provide
C-MOS digital -control electronic switching for noise -free and distortion -free
recording and listening enjoyment. All signal routing is accomplished with
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This method allows all Signal Paths to be optimized, which measurably
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SPECIFICATIONS: FRED. RESPONSE: High Level-5Hz-100kHz, ±0.25dB.
THD: Less than 0.005%...S/N RATIO: Phono-97dB, High Level-116dB.
$279 to $799
PREAMPLIFIERS
PRE-CEIVERS
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duced from some of my CD spectaculars..." "In my view, you can spend
five times as much as what this amp costs, but you won't get a better,
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The New PRO -POWER amplifiers are especially designed for the extended
Dynamic Range requirements of today's Compact Disc players and Hi Fi
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The Pro -Power Four features precision -calibrated LED power meters
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SPECIFICATIONS: CONTINUOUS FMS POWER: 205 watt per channel @ 8
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mazái
EQUALIZERS
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PREAMP SPECIFICATIONS: THD: 0.008%. FRED. RESPONSE: 20Hz100kHz±0.5dB. S/N RATIO: Phono: 80dB, High Level: 100db.
TUNER SPECIFICATIONS: IHF SENSITIVITY: 10.3dBf. SIGNAL STRENGTH
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(9,041-#47,`
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The new Control-Center/Preamplifier/Tuner combines the outstanding performance and features of our separate tuner and preamplifiers. The
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These heavy-duty power stages, necessary for high dynamic range amplification, would generate levels of heat, hum, and noise unacceptable to the
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SPECIFICATIONS PRO -E0 44: THD: .01 @ 2V RMS...S/N RATIO: 114dB10V RMS output, -100db-2V RMS output. ISO CENTER FREQUENCIES
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AUDIO ETC
EDWARD TATNALL CANBY
DUEL MEDIUMS
hen we first began to hear
about the coming "marriage"
of hi-fi and television a good
many years back, most of us thought
of it simply as a sort of merger of two
businesses, if at the time they were
rather thoroughly incompatible in their
philosophies. Television, better known
now in the larger sense as video, was
in every way removed from our smaller
audio biz, and notably our hi-fi end. We
had two industries, or rather groups of
industries, which were utterly out of
sync both in technology and viewpoint,
and they were to be married! Desirable, of course-but how? Somebody
was going to have to adjust, i.e., compromise. And we were all too certain it
would be us, the junior partner in the
marriage contract. And so it was, predictably, for a while.
No longer. As suggested in my first
articles on the mini -mogul Jac Holzman, founder of the Elektra and Nonesuch labels and now chief technologist
for the Warner Communications/Time
Inc. group and top man in Cinema Products, the centers of argument have
drastically changed. Hi-fi sound and
moving pictures, both in the consumer
areas and in the huge commercial
markets, are already far into each other, and very rapidly moving into further
42
integrations. It is inside this vigorous
volcano, the biggest in the entertain ment world, that the fierce arguments
now occur, in the press-alas--and in
the circles of technology. Of course
confusion reigns, and indeed, it pours.
In making the point that Jac Holz man has significantly landed not in vid eo, but in film, after his notable days as
part of audio, did not mean to suggest that it is "either/or" with himeither the new HDTV video or the es tablished but still highly dynamic film
medium, photography via chemical
agents. Far from it. Lately, HDTV has
been in the limelight of big publicitylargely ill-informed. Somebody, as I've
already noted, has to take the side of
the older medium, to restore an objecfive balance for the good of the whole
combined industry. Too few of us are
aware of film's immense advantages in
certain areas of production. The hoop la about HDTV misleads us all; film has
had most of what HDTV offers for many
years, and has many more advantages
in its special areas, notably "HD" itself-high definition-but also immense superiority in picture sensitivity
and in the vital parameters of hi-fi color
rendition, as noted last month. Most of
all, to recapitulate, film offers a dependable long-time standard of interI
changeability, past and present; further, film has the immense advantage
(not true of audio) of a fixed and simple
mechanism that is never out of date,
plus concentrated R & D on the film
itself, where virtually all the important
updating occurs.
The heart of the matter lies, however,
in the use of both kinds of photography-let's call them chemical photography (light -writing) and magnetic photography-each of which has special
qualities. We should have sense
enough to see this. But we don't. It's
the marvelous integration of two incredibly refined areas of technique
which is in the works and will count in
the end-with audio subservient but,
nevertheless, right at the center of the
integration. Holzman is so excited at
this true prospect that he waxes almost
poetic, if his poetry is a bit solemn:
"There are clear advantages to each
medium, but the choice whether to
originate in film or video should be
based upon the ultimate intention of
the production. Video has a kind of
plastic immediacy; film has subtleness
and romance. Video brings you up
close; film has a softer objectivity."
"Hear, hear," is all can say! But the
man is also entirely aware of the technical details on each side. Having run
his own record companies for most of
a generation, he goes right on from
poetic generalities to specifics:
"A production is not just about capturing images, whether it be on video
or film; it is equally about post -production, the editing, manipulation and
sometimes digital creation of images to
form a synthesized whole. It is here
that film, computers, and video can
serve each other seamlessly and well."
How's that, you, audio professionals?
He sounds almost like an audio manthough we must always note that in
visual motion -picture entertainment,
the old audio artistic motto, hi-fi reproduction of the original, does not exist
and never has existed because, of
course, there is no film original. One of
these days, I'm hoping, we will understand that except in the technical sense
of quality, our audio recording is exactly the same-and always has been.
And so Holzman goes right on:
"Routinely, most dramatic television
... is shot on film, with the use of video
assist for instant replay, and then edit I
AUDIO/JANUARY 1990
Now that the
Compact Disc is a musical
triumph, Sony.. presents
the encore.
SONY
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Introducing the world's first
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Copyright 1989 Sony Corporation of America All Rights Reserved Sore, orrd - he leader in Digital Audio ore trademarks of Sony -Dolby is a trademark of Dolby cbor atones (kerning Corp.'For those who mad footnotes.
the D2010 also Iras audio/video switching, p ogrammoble remote control, Sorrys low -noise Direct Comparator FM tuning, dcaete output trrnsisrors and front pow. output of 13C welts per ch., cont. R1Á5, boy h ch. irivee
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integration of
two techniques-film and
video-is in the works,
with audio subservient
but right at the center.
Texarkana
IDAHO Boise
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Sound Pro Lewiston
Stemers
NEW JERSEY
A marvelous
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One Panasonic Way. Secaucus. NJ 07094
ed either on film or transferred to video
and edited within a video environment." Integration where it matters,
you see. Film, for its basic quality; video, at this preliminary stage, only for
instant playback, which not even Polaroid can do in the film medium. But if
the editing is on video, Holzman warns
that, for total integration, "The film negative should be conformed to the video -determined edit decision list so that
transfers to formats such as PAL,
which have nearly 20% more scanning
lines than NTSC, can be achieved
without loss of quality." Also HDTV?
Those in the audio profession, particularly the digital end, can see how
familiar the film/video integration is going to be, when pictures are "married"
to audio. Here's more of the same, a
revelation that should be accomplished fact in the photo industry by
now. "Kodak," writes Holzman, "recognizing that film would benefit from an
easier and virtually automatic method
to conform negative to video edit decision list, will introduce in August 1989
a latent image barcode, positioned so
that it will relate to the man -readable
edge numbers the film editors have
used for years. The introduction of
Keycode at no additional cost on all
EXR film stocks makes it possible to
'print' takes to be routinely transferred
to video containing the Keycode numbers within the user bit structure of the
SMPTE time code. No record needs to
be kept of film takes after that. Once
video post -production is complete, the
film negative cutters' edit decision list
is automatically produced and the
original negative is then easily conformed to the video 'answer print.' "
Admittedly, for the casual reader of
this magazine, the Holzman account is
rather technical. My own head spins a
bit at this point, since
am not that
close to the film studio! But know that
the audio man who works on his own
type of up-to-date editing of sound will
instantly see how the techniques are
converging toward similar ways of
thought and, very soon now, into total
integration between film and videoplus the audio that is in both or either,
depending on the stage of production.
Holzman does not mention audio at
this point, but obviously it is there, not
only coded into the picture timing but
necessarily part and parcel of the pcI
I
44
ture sequence-if mostly after the editing is complete at the dramatic end.
can't help thinking, on our audio
side, of the remarkable advance introduced by the MIDI type of digital integration, whereby, in a similar way, the
ins and outs of a variety of instruments,
synthesizers, and such are made compatible with each other for easy transfer of audio information; also of machinery such as Colossus, a mighty
name for what is, essentially-if am
right-a very ingenious "intermedium"
for transferring digital info all over the
place, from one format and/or type of
equipment to another. This is the crux,
of course, in every aspect of the Great
Integration, in pictures and sound.
promised a mention, last month, of
one specifically audio bit of information
in the material Holzman sent me. It was
not in his magazine article but in a
reprint of a technical piece by Ed Di Giulio, founder of Holzman's Cinema
Products, and was published in International Photographer. It's about the
rise, fall, and present re -rise of large size, 70 -mm moving -picture film since
the 1920s. Obviously, the large sizefar more expensive to produce and to
equip than the normal 35 mm-was
intended for fancier quality in very
large -screen projection. The Todd AO
process, which many will remember,
was introduced with fanfare in the mid '50s, but its cameras, it seems, actually
were wide-screen machines from the
late 1920s used by Fox Studios. (Holzman makes the point that film cameras
do not go out of date in their basic film
transport and lens systems.) Oddly,
those 1920s cameras were 65 mm, not
70. Todd AO added the extra millimeters to the production print for-guess
what? Two magnetic soundtracks on
each side outside the film perforations,
plus two more inside. That's no less
than six soundtracks, all magnetic,
back in the 1950s.
The Depression, at near bottom in
1930, finished off the original Fox 65 mm film, but the late -20s cameras
were put safely away. The "AO" in
Todd AO, when they were resurrected,
was for American Optical Company.
Their performance update increased
the frame speed to 30 fps, but the films
also had to be released in 24 fps,
which was much too costly. Later on,
there were Panavision and Super Pan I
I
I
AUDIO/JANUARY 1990
9
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7
THE FIRST ROCK GROUPTHATACTUALLY
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One of the most advanced speakers
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What's more, the CX series is available in a bookshelf and two floor -standing models. The latter uses a
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So, if you appreciate
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Presenting the Technics CX Speaker
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Enter No. 57 on Reader Service Card
The science of sound
Big -screen film owes its
resurrection largely to
audio-to Dolby sound,
that is, and the new audio
formats yet to come.
avision and Ultra Panavision, with further gimmicks on the same basic system, including various lens -produced
squeezes (exactly parallel to our compression/expansion circuitry) for the
wide screen. Then, alas, cost being
cost, there were cheaper blow-ups
from 35 mm to the 65 -/70 -mm size. All
I
/ aim WORLD
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DEO'
'E
NAL COMPUTE
RECEIVE
-
assume, still included the six
soundtracks that gave us the 1950s'
"surround" effects, or at least a wide stage sound, which followed after the
famous Fantasia presentation.
That took the original 65 -mm film,
become 70 -mm for multiple -track
sound, right up into the '70s. But with
of these,
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Dealer E. Institutional Inquiries Call Toll -Free 1-800-221-3191
In New York 1.718.417.3747
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TO ORDER BY MAIL: SEND MONEY ORDER. CERTIFIED OR CASHIER'S CHECK. MASTERCARD, VISA, AMERICAN EXPRESS or DISCOVER
CARD (Please include Interbank No. expiration date and signature.) TO: JAR MUSIC WORLD, DEPT. AMO19O, 59-50 QUEENS.
MIDTOWN EXPRESSWAY, MASPETN, QUEENS, NY II378.Personol and business checks must clear our Authorization Center
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SIDENTS PLEASments E A DD SALES TAX. A LL MERCHANDISE
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FRESH, AND 100% GUARANTEED. Copyright 1990 JAR Music World
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Enter No. 23 on Reader Service Card
failing success. Familiarity, as usual,
breeds a certain amount of contempt,
if not indifference. Then-aha! Guess
what, again? You have to know: Of
course-Dolby. Tailor-made for Mr D.,
and isn't he always in there when Opportunity knocks?
Dolby and Holzman are remarkably
alike in their respective areas. If Holzman got in fast on the new market
possibilities for the stereo LP of the
1960s, Dolby saw the light (and the
sound) right in time to transfer his attentions from home -type Dolby B NR
and C NR to those ailing movie theaters desperately needing some sort of
big -space innovation to counter small space home video. Why not the Big
Sound-Dolby Stereo?
And the catch that matched was the
old large -screen, large -film format,
with its handy six magnetic tracks right
out of the 1950s! So large -screen film
is now resurrected, and largely thanks
to audio. As the DiGiulio article says,
more and more first -run theaters are
now equipped to show 70 -mm presentations-in Dolby, first of all, and in dbx
NR and Lucas, with more to come.
"The six magnetic soundtracks on a
70 -mm release print were ideally suited to provide multi -channel high-fidelity sound in the theater," writes DiGiulio-and this from a cinema professional in a photo magazine. Audio is getting in there, swinging its real weight.
All the pioneer Dolby system lacked,
of course, was the most radical aspect
of current audio, also lacking in most
video and in professional film releases-digital sound. If may say so,
this is not because Ray Dolby is an
ignoramus. It is the industry which consumes analog audio, and Dolby goes
along, optimally as usual. There is
Dolby for 35 mm too, things being as
they are. And for the home VCR. But
the optimum format comes with the ultimate in film size and a system now
almost 40 years old.
When digital sound finally overcomes analog in the video/film unity we
are now working out, you audio professionals will have your biggest chance.
All you need is a bit more technical
refinement, to mesh with all those other
refinements. Holzman, from the film
side, is right and so is DiGiulio-and
Dolby. We in audio are coming of age
in the biggest entertainment of all.
A
46
AUDIO/JANUARY 1990
ec no
one
MC905A MOBILE PHONE - AN INNOVATIVE NEW CONCEPT IN
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cellular telephone technology
Enter No. 58 on Reader Service Card
BEHIND THE SCENES
BERT WHYTE
DAT's BESIDE THE POINT
In the October 1989 issue, colleague Leonard Feldman reported
in "Forum" on the Serial Copy Management System (SCMS) for R-DAT recorders. As you know, for more than
three years the manufacturers of RDAT recorders and the Recording Industry Association of America (RIAA)
have been embroiled in a bitter battle
over the issue of the digital recording
of copyrighted music. The RIAA contended that R-DAT recorders were capable of making "perfect" copies of
CDs and that this would cause severe
financial losses for record companies
and composers.
The RIAA expressed their objections
to R-DAT recorders even before the
Japanese made the first attempts to
bring R-DAT to the marketplace. In an
effort to placate the RIAA, the Japanese R-DAT manufacturers conceded
to having the R-DAT units record only
at a sampling rate of 48 kHz per second, thus preventing direct digital
copying of Compact Discs at a 44.1 kHz sampling rate. For playback of
prerecorded DAT cassettes, 44.1 -kHz
sampling was provided on the R-DAT
machines.
The battle between R-DAT manufacturers and the RIAA has been well documented in the audio press. Except for
48
"gray market" recorders brought into the United States,
there has been no "official" importation
of consumer R-DAT recorders by the
American agencies of the Japanese
manufacturers.
In his report on the RIAA/R-DAT
"peace pact," Feldman described the
workings of the Serial Copy Management System. Ostensibly, this agreement, and a new generation of R-DAT
recorders equipped with SCMS, will finally enable importation of these new
recorders into the U.S. In actuality,
there may yet be some points of contention between the two factions that
may make some waves in the presently
calm waters of R-DAT.
For one thing, manufacturers wi
likely not rush the new SCMSequipped recorders into production
unless the U.S. Congress legislates the
RIAA/R-DAT pact into law. For another,
the agreement reached on SCMS in no
way precludes the future imposition cf
some sort of royalty on R-DAT hardware or, more especially, blank R-DAT
cassettes. This might be possible
through some RIAA-sponsored legislation, although the whole royalty idea is
adamantly opposed by the Japanese.
Apparently, the Japanese are not
very happy with the technical cona limited number of
I
straints imposed by SCMS, but they
support it because, as a U.S. import
law, it would keep "bootleg" Taiwanese and Korean R-DAT recorders-capable of unrestricted 44.1 -kHz directdigital CD duplication-off the market.
Although a few SCMS-equipped RDAT recorders may be introduced at
the Winter CES in Las Vegas, in my
opinion it will be just an exercise in
one-upmanship.
Persistent rumors indicate that manufacturers will not produce large quantities of new -generation DAT recorders
unless there is a substantial library of
prerecorded DAT cassettes available.
This indeed poses some problemsnot the least of which is a reported
announcement from PolyGram (London/Decca, Deutsche Grammophon,
and Philips) that they will not issue any
prerecorded DAT cassettes until the
SCMS protocol actually becomes the
"law of the land." In other words, it is
once again the old chicken and the
egg riddle-one which has plagued
every prerecorded tape medium since
magnetic tape was invented. Put simply: No large number of R-DAT machines, no large number of prerecorded DAT cassettes-and vice versa.
Thus, in spite of the SCMS agreement, many problems still remain to be
overcome before R-DAT can really become a viable consumer product. The
most optimistic insider guesstimate
puts the probability of a general launch
of R-DAT sometime in the fall of 1990.
It is no secret that a recordable,
erasable Compact Disc exists in the
laboratories of a number of companies. In fact, several versions of these
recordable CDs have reached a pretty
advanced state of development-so
much so, that nothing much more than
marketing decisions are necessary to
introduce them into the consumer audio marketplace. It is felt that the imminence of recordable CDs, which the
RIAA views as an even greater threat
to their interests than R-DAT, was the
most compelling reason the SCMS
agreement was reached. With the introduction of R-DAT, recordable CDs
could be held at bay-on the back
burner, so to speak-for a longer period of time.
Viewed in the most simplistic terms,
R-DAT is a clever mini -recorder, resembling a VCR in its tape transport
AUDIO/JANUARY 1990
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DAT's usefulness in pro audio
notwithstanding, I predict
a rocky road for the format
in the consumer market.
THE
NATURAL
CHOICE
and mechanical functions but with the
considerable advantages and sophistication of digital audio and electronics.
have used a Sony DTC-1000ES RDAT recorder for some years, and it
has performed flawlessly. Unlike with
analog tape recorders, wow and flutter
is not a problem in R-DAT recording.
Frequency response is ruler flat over
the entire audio spectrum, dynamic
range can reach 100 dB, and tape
noise is virtually nonexistent. Add the
two-hour recording time of an R-120
cassette to electronically controlled
programming and tape handling, and
the R-DAT system is a versatile, consistent, reliable, high -quality tape recording medium.
While the consumer R-DAT market
has been trying to cope with its numerous problems for the past three years,
the professional R-DAT market has
flourished.
Early on, most recording engineers
who tested R-DAT recorders found
that, at least in terms of straightforward
two-channel stereo recording, the RDAT system was the equal of more
elaborate and expensive digital audio
recording systems. These engineers
particularly liked this high performance
available in such a small, convenient,
lightweight package, ideal for remote
and location recording.
After initially using consumer R-DAT
recorders, engineers soon were able
to use special professional R-DAT recorders from Sony, Technics, Fostex,
and others. These recorders had refinements such as AES/EBU inputs
and outputs along with SDIF (Sony/
Philips Digital Interface Format) outputs and, in at least one case, SMPTE
time code. The professional R-DAT recorders could record at the 48 -kHz
sampling rate and at 44.1 kHz. This
was mainly in aid of CD master production. In spite of the 44.1 -kHz recording capability, CDs still could not
be copied digital-to -digital because of
the copy -prohibit flags that are encoded in every CD.
Being considerably less expensive
than the usual professional video and
open -reel format digital recorders, RDAT machines soon became favored
by the many small "mom and pop,"
basement and garage recording studios, finally enabling them to offer their
clients digital recording. Clearly, the
I
Rogers products have earned a
worldwide reputation for fine sound
quality and high construction
.
standards. Primary design goals at
Rogers llave always been tonal
neutrality, low colouration.
transparency and wide bandwith.
The result is asnmoth. effortless
sound that makes Rogers
"the natural choice."
000.,1.%01 *
tE
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write or call for dealer Information
Enter No. 7 on Reader Service Card
-
Audio
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These distinctive 12 -ounce English
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Available in set of two (black and gray)
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professional market for R-DAT recorders has been firmly established.
Having said all these good things
about R-DAT recorders, and even in
the light of the SCMS agreement, predict a rocky road and limited sales for
R-DAT recorders in the consumer marketplace. In fact,
predict much the
same fate and limited acceptance for
recordable Compact Discs. The basic
question, quite simply, is, what would
the average consumer, or even the
most avid audiophile, record on their
R-DAT or recordable CD machines?
There certainly is no point in recording
from vinyl LPs, except to preserve rare
items. Copying from CD makes even
less sense, unless it is to make customized compilations for use in car
DAT players. Live recording, even allowing for requisite good -quality microphones and recording skills, would
most likely be limited to children's
birthday parties, the church choir, or
the high school band-all not very musically satisfying. Recording off -air via
a good FM tuner might once have
been a worthwhile pursuit in this country, but broadcasts of live music-pop
and especially classical-are very
rare. One longs for the off -air recording
opportunities available in London, with
five major symphony orchestras whose
live concerts are frequently broadcast
by the BBC. The BBC, moreover, has
some well -skilled recording engineers
who are venturesome enough to use
such things as M -S stereo mike pickups and even Calrec Soundfield Ambisonics pickups!
For most people, the recording capabilities of R-DAT machines would be
infrequently called upon. Most R-DAT
machines would be used for the playback of prerecorded DAT cassettes.
And in matters of sonic performance,
R-DAT and CD are on about an equal
footing.
Inevitably, most audio equipment
must make a major contribution to the
reproduction, appreciation, and enjoyment of music. If there were no such
thing as Compact Discs, R-DAT would
be greeted with loud huzzahs and
would rapidly establish itself as the
darling of audiophiles. But as it is,
whether your tastes run to pop or classical music, it is my opinion that CD
recordings are likely to remain the preferred medium.
Q
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At Altec Lansing, we think it's time you
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balance levels, all through a' simple
YOUcontrol panel. So now, you can tell
the philharmonic how
to conduct itself.
The remarkable 511
Tower is one of twelve
new Altec Lansing
speakers, all designed to reproduce
sound with unheard-of accuracy.
If the new 511 sounds good,
call 1-800-Altec 88 for the dealer
nearest you. Then take a
pair home and tell them
what you want to hear. ;
AN
I
9
ADvANcE
;
.
OF
A
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'AUDIO
TECHNOLOGY
Sp
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THAT IJSTIN
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LOUDSPEAKERS FOR THE
WELL TRAINED EAR.
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Enter No.
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1833/
THE AUDIO INTERVIEW
Laurie Fincham
O
to
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llAVII) LAti'llF.II
one sense, Laurie
Linehan) came along
too soon. Ilad he en- - tered this world just
two hours later, his birth
elate would have coincided
with King George VI's coronat ion day Every child born
in England on that auspicious occasion was presented it h a free baby carriage.
Yet many would agree that
Finchanr, a longtime KEF
engineer who now holds the
title of technical director at
this Kent, England loudspeaker firm, arrived on the
scene at precisely the right
time. Not only can he be
credited with numerous advances in EF speakers over
the last two decades, but he
pioneered the use of computerized measuring techniques
in loudspeaker development
and production.
was Dorn in Southampton in
1937. During the war years,
he was sent to a private
school in Wales, which he
remembers fondly. Ile later
studied engineering at the
University of Bristol, where
he was more interested in
playing bass in a _jazz band
than he was in applying
n
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Finchatu, whose given
name, Lawretnce, shortens to
Laurie in England (he was
surprised to find out it's a
woman's name in the U.S.),
54
Laurie Finchatn on
string bass, with vibist
Bill le Sage sitting in on
piano (cira 1959), at the
first anniversary of the
Jazz Club
himself to the curriculum.
Once professionally involved in loudspeakers, however, F'inchan's thirst for
knowledge of his chosen
subject grew. Ile even t e turned to school at age 28 to
learn more ahout acoustics.
Finding once again that formal education Wasn't a proper route to the understanding he sought, Laurie Fin chant began to pave his own
avenue to advances in speaker design. In this interview,
he describes a few of its signiiicant landmarks.
The ant hor wishes to
thank Dick Moore for his insightful help in preparing
this article.
U.L.
AUDIO/JANUARY 1990
v
PHOTOGRAPH: ELENA SEIBERT
THE AUDIO INTERVIEW
Music and hi-fi were among your interests even when you were a schoolboy,
so why don't we begin with some recolléctions of those days?
went to grammar school
when was 11. Keen sportsman. Played a lot of cricket
and tennis. Minimum amount
of work. was keen on model
aircraft, explosives, music,
He was the ringleader. He was a bit
eccentric, but he could afford to buy
equipment, and he had one of the first
Quad electrostatics when he was
I
As a
I
about 16. That would be about '54, '55.
He was also quite a keen musician, a
guitarist, and introduced me to modern
jazz. After a while, I got into model
aircraft, so there was a sort of
choice between becoming an
aeronautical engineer or electrical engineer. And as didn't
want to go into the army,
chose electronics, a deferred
occupation. So went to uniI versity when was about 18 to
study electrical engineering.
But of course, in those days,
there really wasn't any elec-
student, I played jazz, wrote
I
comedy scripts, acted in revues, and did
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girls-the
usual things.
Explosives?
Oh, yes. was a great bomb
maker. would have made a
wonderful anarchist. The be-
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whatever didn't involve electronics.
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didn't have the interest, you see.
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ginnings of my engineering came with
making my own cannons. designed
them with recoil mechanisms to improve their accuracy. And
used to
make delayed -action bombs, remotecontrol bombs-all sorts of things.
A young friend of yours introduced you
to hi-fi at around this time. Was he a
fellow bomb maker?
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The Jazz Club was run by four
members of the John West
soup, one of whom was Fir,
2.ham, shown here playing bass
with vibist Bill Le Sage, baritone
Deist Ronnie Ross, and pianist
Stan Jones.
I
tronics to speak of. We didn't have a
single transistor in the department the
whole time was there. They had just
one loudspeaker, and they would encourage you to measure interesting
things like accession to inertia. It was
heavy engineering-hydroelectrics
and so forth. So while was there,
did-again-a minimum amount of
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AUDIO/JANUARY 1990
Laurie Fincham
work, but played in a band. took up
the bass when went to university. We
used to play be -bop with berets and
dark glasses and little goatee beards.
And used to act in revues, write comedy scripts, and generally do anything
that didn't involve electronics. didn't
have the interest, you see. When you
go to school, they get you on this
treadmill when you're 15. After about
five or six years, was fed up with it.
What did you do after you graduated?
When left university, did an apprenticeship with Rediffusion, and played
a lot of music. Rediffusion are an enormous combine. They owned a TV company; they were into music distribution,
they used to make flight simulators, r.f.
welding machines, endless -tape players for background music. They used
to take on students, and you'd spend
maybe a month or three months in varidid work on
ous departments. So
flight simulators, which in fact was very
interesting because they had speakers
there where they were trying to simulate taxi rumble, turbine whine, and so
forth. The first job had was at their
research department, which was right
at the beginnings of stereo. Rediffusion
used to sell these really nasty little
speakers that they would put in hotel
bedrooms. It was a cable, and they
had the idea that they would distribute
stereo and sell twice as many speakers and charge more for the service.
became involved in doing some work
looking at stereo and played some of
the early Capitol tapes with artists like
David Rose and Gordon Jenkins. So
did a bit on speakers there, and after
that they offered me a job somewhere
was playing
in the north of England.
so much jazz at the time that wasn't
interested, so packed up and went
more or less full-time as a professional
musician. used to write music all night
and play. And then, during the day, I'd
sleep.
Did you envision a career as a professional musician?
No, didn't really. liked playing, but
wasn't good enough. wanted to be a
really good bass player, but realized
that was never going to make it.
Are you still friends with any of the
people you played with then?
The pianist. We've been friends for
over 40 years. Very good player. He
has perfect pitch, which is an absolute
pain in the ass if you don't have it. He
can sit down and play anything, just
hearing it first time. For a time,
thought every [musician] could do that.
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Mozart could.
suppose. And if
you've knocked around with Mozart,
should think he'd probably put you off
any thoughts of becoming a musician.
So you got into loudspeaker design at
Rediffusion.
didn't design speakers. just got the
feeling that speakers might be a good
thing to do. Then saw an advert for
Goodmans. They were looking for engineers. So went along there and got
a job as a junior development engineer. And did what everybody else
does who gets into speakers-I did all
the wrong things. You get into speakers and you think, "Oh, good idea to
was playing
make stiff cones."
around with expanded polystyrene,
things like that. There was a lot of that
going on in the late '50s, early '60s. So
did that for a bit, and then they found
out was a musician. Goodmans were
pretty old-fashioned at that time, very
much a '30s company, and so they
used to get me to deal with all the
musicians who called at the door with
ended up designbroken speakers.
ing quite a lot of musical instrument
speakers-this would be about '62,
suppose, just the beginning of rock
and roll. The big revolution had come
about in the late '50s, when was still a
student, but, being a good be-bopper,
looked down my nose at rock and roll.
thought it was terribly beyond the
pale.
Well, that's the point,
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AUDIO/JANUARY 1990
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How did rock and roll change things?
think what happened was that, all of a
sudden, the speakers people had
been making over the years suddenly
became too feeble for use with musical
instruments. When started playing in
bands, no place had P.A. There'd be
one carbon microphone and a little 10 inch open -baffle speaker stuck up in
the corner. Rock changed all that.
They had to have stage P.A., and they
had to have amplifiers on stage. In the
early days, designers in the U.K. designed everything in a classical, orthodox way, so you had hi-fi amplifier designs being produced for guitar amplifiers, and of course that was totally
wrong. Fender over here knew perfectly well how to do it. They just designed
amplifiers with very little feedback. So
used to travel around to various guitar
manufacturers, just talking to them
about how guitar amps should be designed, and then started on a miniature hi-fi speaker called the Maxim. It
was sold over here under the name of
Maximus.
Tell us something about it.
In the very early '60s, there was a company called Leak, and there was a
man there called Don Barlow, a very
interesting and quite innovative engineer. He made a tweeter that think
really was a rip-off of a Wharfedale
tweeter, which was a sort of straight sided 3 -inch cone with a cloth surround. In the lab at Goodmans, at the
time, was a chap called Ted JordanE. J. Jordan. He'd seen this cone,
thought he could make a miniature full range speaker based on the design,
with lots of bass, and he did a bit on it.
He'd stopped playing with this thing,
and decided would develop it into a
little full -range drive unit, but it didn't
work out. Then Goodmans took an interest in putting this thing on the market.
panicked. We had about six
weeks to go, so designed a little cone
tweeter to go with it, and they did extremely well with it. What was funny
was that, later on, it got copied quite a
lot by other people, and they copied all
the things that were wrong! The reason
we were using these huge magnets
was that somebody in the buying department had over -ordered. They
bought 10,000 of these large steel
magnets and said, "Use the damn
things up." But of course they were too
big, so had to open up the gap. And
they were too mean [British for
"cheap"] to spend money on new
voice -coil formers, so made a very
The Jlaxiui loudspeaker, which
was sold in the U.S. under the
name biaxinus, was designed by
Fincham while he was working
as an engineer for Goodmans. It
vkas his first commercially successful design.
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THE AUDIO INTERVIEW
fancy plate shape so it would reach
into the gap. It was amusing to see
how people copied it without really understanding it. There wasn't anything
fundamental about the thing. It was just
fortunate that it was the break you
need early on in your career when they
say, "Who did that?" So
then got
offered a job by Celestion because the
former managing director of Good mans had left and gone there.
Tell us about your tenure at Celestion.
They didn't really have a hi-fi department. think that when arrived there,
we didn't have an oscillator. We had to
borrow it from one of the subsidiaries
in the group.
think we had an AVO
meter, which is a very old-fashioned
moving-coil meter, and that was about
it. Celestion were an even older company than Goodmans, but they were
extremely mean. Whereas Goodmans
had an anechoic chamber, lots of
equipment, and lots of graduate engineers, Celestion had no anechoic
chamber and was the first graduate
they'd recruited in 29 years. They used
to call me Einstein and a few things like
that. But it was a great place to work
because there were very, very good
mechanical engineers there. worked
for an old fellow called Les Wardlooked like Sir Adrian Boult, actually.
He was a bit of a spiky character. He
was a former boxer, think, and used
to play the trumpet in a band. He was a
very good mechanical man. He taught
me lots and lots of things about mechanical speakers, about horn speaker
design. He was totally intuitive, completely self-taught.
"Totally intuitive" sounds like a lot of
people's conception of the ideal
speaker engineer: Three parts magic,
one part science.
People like to think there's witchcraft in
speakers. Now I'm not here to say
there isn't. A good chef, with the same
ingredients, will always cook a better
meal. What am here to say is that an
awful lot of it isn't witchcraft. It's just
lack of understanding. If we just get rid
of the perhaps 90% that is amenable to
analysis, then we could get on to the
bit that really matters.
In fact, you've pioneered a lot of the
analysis that's been done in the speaker industry during the last 15 or 20
years. One of your principal activities
since moving to KEF has been computerized measurement. What got you
interested in that?
About 1969, had a call from a man in
Bradford University called Rex Leed I
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innovative character. He wanted to
simulate the acoustics of a living room,
which was quite an advanced thing to
be looking at in 1969, because there
weren't many computers about. He
had with him a very bright young student called Mike Berman, who subsequently came and ran our research
department. He was doing a Ph.D. on
the simulation of room acoustics. Anyway, we got together. At this time, I'd
been working with speakers for about
eight or nine years, and
realized
knew very little about what was doing.
It hasn't changed much. I'm bound to
say, 20 years on, we're still as dumb as
we were then. It's just that we thought
we were smarter. So
thought there
must be a way of measuring speakers
other than with sine waves. I've always
had this feeling that we use the wrong
signals, the wrong instruments, to test
speakers. What we do is use the instruments that are to hand. We don't ask
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ourselves whether that's appropriate.
think we should test speakers using
the signals that the speakers are actually going to be used for-music. A lot
of the work I've been doing over the
years has been trying to get signals
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that are closer to musical sounds than
they are to sine waves.
You're getting ahead of yourself. Tell
us about the first computer experiments you did.
We started measuring the transient behavior of speakers using pulses. We
bought an instrument called a single point correlator to do this. So said to
the salesman, "What are we going to
do with that?" He said, "Well, can't do
much. It's just the pulse response."
And said, "Well, can't tell anything
by looking at that." "Ah," he said,
"what you want is a Fourier analyzer.
It'll analyze the frequency content of
this pulse."
said, "How much are
they?" "Oh," he said, "they're about
14,000 pounds." Now in 1970, 14,000
pounds was like $300,000, so what we
did was obtain a grant from the government-the university did-which
enabled them to buy one of these Fourier analyzers. Rex Leedham and Mike
Berman did a project there and also
acted as consultants for KEF. They did
this for three or four years, I suppose,
and every weekend used to travel up
and down the motorway to Yorkshire,
which is about 200 miles from where
lived, to see how the experiments were
coming. In the end said to Mike Berman, "You'd better come and work for
us because I'm fed up with doing all of
this." So he said he'd come down to
Kent, and he did in 1975.
And KEF bought its own Fourier analyzer at this time?
Before we bought it, went to HP in
California. Now these things were used
on nuclear subs and by car manufacturers. They weren't used in the audio
industry at all. said, "We'll buy it on
one condition. You've got a mass storage device. Surely we can record music on it." So they set up these experiments, and think we could sample at
20 kHz, which gave you a maximum
frequency of 7 kHz. But the idea had
at that time was this: If we could record
music, store it on the computer, and
measure the speaker digitally, then
maybe we could simulate the effect on
the reproduced sound of changing the
measured performance. When Mike
joined, we developed a scheme for
recording directly onto a computer
disc and did a presentation, think in
1975, at the AES in London, where we
recorded on a hard disc, a removable
one.
How much signal could you store?
We could get 20 seconds of music on
it. It was 14 -bit resolution and 79 -kHz
Famous British electronics engineer Peter Baxandall aided KEF's
work on the 104/2 when he suggested that the driver be put into
the box, rather than on its face,
and that servo feedback be used.
I
AUDIO/JANUARY 1990
Laurie Finch"
sampling-pretty advanced for those
days. The A -to -D converters we used
cost us, then, somewhere in the region
of $8,000. What we did was record the
music on the disc, then digitally filter the music as if it had
been played through a
speaker. We used a technique called convolution,
which is pretty slow. In fact, it
used to take about eight
hours to pass 20 seconds of
recorded music through a
digital filter. We couldn't do
this during the day because it
would hog the computer, so
Mike Berman had a bed in
there. He used to switch the
thing on, go to sleep, and
then have to wake up halfway
through the night because the
computer didn't have a very
wide dynamic range. At that
point, he'd go through the
data looking for the largest
value so he'd get good signal-to-noise. Well, as you can
imagine, the glamor wore off
after a few nights. So we
didn't really do any more with
the technique. In fact, it's taken from then until now to have
real-time DSP machines that
can do what we wanted to do
15 years ago. We were frustrated by lack of equipment,
so we just used the computers for measuring speakers
initially.
You've relied on a number of
universities for personnel and
wanted to know and give them some
sort of time scale on it. We must have
worked with eight or ten universities,
suppose. But do a lot of lecturing at
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In the future, the front-end of audio
will disappear. and speakers will be the
only thing left. They'll bé plugged in
around the house like table lamps.
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research over the years,
which is not something American speaker companies do.
What's your rationale for this?
What we've found is that you
cannot have all the skills that
you require within a research
department, even when it's
pretty well equipped and fairly well staffed. Even with six or
eight engineers, you couldn't
have all the skills you wanted.
When want to get somebody
to work on a project, go and
find the best man in that area, [the one,
for example,] who knows the most
about DSP or acoustics. So from our
point of view, going and working with a
department of a university was a very
good thing for us to do. It was never
done hands-off, mind you. It was always directed research. We would certainly go along with a list of things we
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AUDIO/JANUARY 1990
universities, so we've always had that
link with them. In fact, the man who
runs our research department, Dick
Small, was an academic.
Right, in Australia. How did
you come to meet him?
I've known Dick for ages. He
was doing a Ph.D. in Sydney,
and he'd measured some
speakers I'd designed. That
all really stemmed from Neville Thiele. I'd got hold of
Thiele's famous paper on reflex enclosure design, which
he wrote in '60 or '61 when
was at Goodmans. didn't understand a word of the thing,
persevered with it and
but
eventually put in measuring system equivalents that used
a lot of Thiele's techniques.
Dick Small, when he was doing his thesis, was surprised
to find a company that appeared to understand what
this was about. Thiele was not
as well known as he is now.
In fact, Small first worked for
KEF while he was on sabbatical from his university job.
When was that?
think it was '84. He stayed
with us six months or a year;
the time just flew by. Then he
went back to Australia.
How did you get him on a fulltime basis? A lot of people
would agree that was a great
coup.
At that time, there were a lot
of cutbacks-more students,
less time for research-and
he wanted to do research.
And the equipment he'd so
carefully built up for pulse
testing had all been cannibalized for other purposes.
think he became pretty disenchanted with academic life.
went over there, and he
voiced that. He said, "I'm
really thinking of getting out."
So said, "Give us first refusal." He said, "Well,
didn't
think you'd have me." mean,
that was Dick. He's a very modest soul.
In addition to computerized measurement, you're well known in the speaker
industry for your work in the area of
low-frequency response.
That's the easy part. That's the reason
[laughs].
Well, let me combine two thoughts
here. For one thing, you've said that
I
A live -versus -loudspeaker
dem-
onstration featuring, jazz bassist
Red Mitchell in a showdown with
the KEN 104/2 speaker system.
Such a test pits the speaker
against its true signal-music.
59
THE AUDIO INTERVIEW
certain things you've worked on have
been developed in stages over a period of many years. The coupled cavity
in the KEF 104/2 is an example of that
and also represents your
work in the low -frequency
realm. What can you tell us
about it?
We were working on a servo
system, in the early '70s, with
Peter Baxandall. Baxandall
had this idea, and he said, "If
we just put the speaker inside
the box and listened to what
came out of the port and used
servo feedback, we could
My
speaker. It was designed by a couple
of people called Baruch and Lang in
about 1951. They were the ones who
had done all the original work.
You're now two years into an extremely
ambitious project with Bang & Olufsen
that involves the interaction of speakers and room surfaces.
What we basically did was to
say that the differences in
feeling about patents in this
identical speakers must have
to do with the reflected sound
in the room-that the way
sound was reflecting off the
was influencing what we
Make walls
heard. That must be due to
two things: The directional
characteristics of the speaker
(the way in which it spreads
sound around the room) and
the acoustics of the room
(size, shape, where you're sitting, and so forth). Now there
are so many variables with a
speaker in a room that we
thought it would be nice if we
could deal with one thing at a
time. We decided to do it by a
simulation method, where we
set up a number of speakers,
a number of sources, in a
completely free space, with
each source representing one
'.reflection in a room. So-in
theory, at least-we could
change the nature of these reflections by just attenuating or
filtering the input of the various speakers. We knew from
Mike Berman's work in the
early '70s that you could analyze a room in this way, make
computer models where you
used an analogy between the
behavior of sound in a room
and [the behavior of light if]
the walls in the room were
mirrors. So we set up a program where we were going to
make sound sources as good
as we knew how to make
them. We would hang them
up in this chamber in an array
predicted by a computer,
[and that] would simulate a
listener in a particular room,
listening to a particular
speaker.
And how far along are you?
That's pretty well where we've got to
now. We've got the thing set up in the
anechoic chamber, and we'll be able
to simulate the effect of changing the
acoustics of the room. could actually
move the room, with respect to the two
of us, just by flicking a switch. We can
change the directional characteristics
business is, it doesn't matter a damn who
was the first to think of something.
it into a product; otherwise, it's pointless.
make a really good bass
speaker."
got to thinking
about that and thought, "Yes,
but we could do that with a
passive system." thought it
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was new at the time, and did
an analysis over Christmas in
1974. Within two months, got
a letter from a good friend of
mine named Siegfried Linkwitz, who worked for HewlettPackard. He said, "Look at
this thing by Onkyo. It looks
like the thing you've just described." So thought, "Forget it; it's not even original."
And we left it on the shelf for
about five years. Then
thought, "Well, it's interesting.
I'll write a paper on it." So
did a paper in '79, and then
we produced the product in
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'84. It had been hanging
around for 10 years. It was on
the shelf, and thought, "Well
damn it, I'll make it work." And
we did, finally.
Then didn't a French company get in touch with you,
claiming the idea was theirs?
Elipson. They said they'd invented it and that they'd patI
ented it in 1968.
was sure
they didn't have the exclusive
patent on this thing, so went
on a great patent search. We
then heard through our Danish agent-this is how these
things go-that he had read
an article reprinted from a French underground magazine saying that the
original design had been done by
someone in the United States. Now
[KEF founder] Raymond Cooke-who
loves a detective tale, just loves sleuthing after things-came over to the
States and [went through the archives
until he] found a reference to this
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sound between nominally
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Basic psychoacoustic research is
being carried out in the Archimedes project, a ,joint venture be-
tween the Technical University
of Denmark, B & O, and KEF, to
show how a room interacts with
a speaker.
:
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AUDIO/JANUARY 1990
Laurie Fincharn
of the speaker-at least we can simulate the effect of that change. By doing
this, we hope to come up with the degree of sensitivity that the ear has to
changes in the room characteristics or
in the [loudspeaker's] directional char-
acteristics.
So you'll be exposing live listeners to
computer -programmed changes in the
reflection characteristics of simulated
rooms?
Yes, that's right. You sit in a chair in
this anechoic chamber and just look
into space, because you can't see any
of this at all. You're in a net curtain
tube, and all these speakers are hung
at various positions around you. You
have a keyboard, you're given a
sound, and you have to key in a response. The psychoacoustic tests are
set up to let you hear two things in
relation to one another. For example,
we could ask, "How important is the
reflection from the floor; does that
make a difference?" We could program in a floor that was concrete or a
floor with a foam -rubber mattress on it
or something like that. Now what we're
interested in [determining] is, at what
point do you hear the difference?
We're interested in thresholds.
So you've come full circle. You're back
to flight simulators, except that this
simulator is for the ears exclusively.
Absolutely.
Will these experiments lead us to the
perfect speaker?
Our object in these experiments is not
a reproduction system that is perfect.
It's a system that is as good as the best
available today, no matter where you
use it. Wouldn't it be nice if you could
make a speaker that always sounded
I'd like to go back to your earlier comment about everything in speakers
having been done, or at least having
been conceived, before. In the late
'50s, Ed Villchur's acoustic suspension
was held invalid after he sued Electro Voice for infringement. Apparently,
Harry Olson had written about it.
My feeling about patents in our business is. no matter what you think of, it's
always been done before. In a way,
suppose.
cling to the view that it
doesn't matter a damn who was the
first to think about something. It's the
first person to do something about it.
Go and make it into a product. Otherwise, it's pointless.
It's interesting that loudspeaker technology has changed a lot less than
some related audio technologies. The
idea of a dynamic, moving -coil loudspeaker, for example, is rooted in another age entirely.
The original moving coil was proposed
in 1877. We're still light-years away
from other industries. What appalls me
about loudspeakers, as always say
to people, is this is an agricultural
business.
I
.
71
_
Tat
Will it change?
for
`
I
will change. The thing that will happen is digital processing will go into
speakers. There will be other technologies that allow us to reduce the size
of enclosures. It will happen. It's happening now.
Can you give us a more detailed picture of this?
Yes.
think what will happen is the
front-end of audio will disappear, and
the loudspeaker will be the last thing
left over-no matter what. don't think
speakers need to get that much better,
but they need to be more convenient.
think speakers, in the end, will be
things that are plugged in around the
house, like table lamps.
But there will be loudspeakers.
You've still got to get something to actually shift the air. It's the last interface
with your ear.
A
It
I
I
AUDIO/JANUARY 1990
I
I
its best, no matter where it was?
But just how complicated would such
a speaker have to be? A number of hifi designers are now turning to. very
complex signal processing. What ever
happened to the old audiophile ideal of
a straight wire with gain?
don't like having a lot of technology if
you can possibly help it, and
don't
expect that the systems that come out
of these researches will be that complicated. People have had a go at these
room equalizers, and they came up
with immensely complicated systems
that tried to recreate the perfect signal
at the ear. That's an absolute waste of
time. You have to produce the right
signal at the ear. The ear's very tolerant of the wrong signal in many cases
and, [in others], very intolerant of
something that's just slightly off.
I
I
I
,
Why? Is it that you and your colleagues
are slow, or that your predecessors
were so visionary?
think it's a bit of both, really. think
that the brightest people were in audio
when audio was an emerging business. All the bright people worked in
Bell Telephone, Westrex, and they
were all working in the '30s. It was the
cinema which was pushing it forward,
the need to have high power output
and so forth. Then they got into the
war, and it was underwater speakers
and hydrophones for sonar. After the
war, it was TV, so all the people went to
TV. Now they're into computers. So for
a long time, we did not attract the best
people into the industry; it was a peripheral industry. The other reason,
think, is that the moving -coil loudspeaker was actually quite a good
idea. It's like the piston engine. Why do
we not have turbines or electric motors
in cars now? Because [the piston engine] was really pretty good. The trouble with speakers is they work better
than they ought to for such a crude
device that's relatively inexpensive to
make. That's one of the reasons why
they won't change. The other point
about speakers is there isn't really an
economy. Take a TV set [from] 20
years ago: [Today,] you can make it for
a fraction of the price. A speaker you
can't quite [do that with], because it's a
chunk of wood. It costs more money
than it did before. All the parts. There's
no benefit of miniaturization. Really,
when you think about it, there's an indictment. We're not really doing it the
right way. All we've got to do is shift a
bit of air.
I
Australian Richard Small was
able to extend his countryman
Neville Thiele's work on box design and driver interaction so
that designing a system is no
longer a black all.
I
61
I.
e
0
.
/ f'1 _,
Á_A;
/
.
rl.
-
1
JAMES S. SHERWIN
1
he design, measurement, and
subjective evaluation of large
subwoofers capable of complementing the dynamic impact of efficient horn loudspeaker systems in the
home has intrigued me for several
years. While recognize that few would
choose to live with a pair of sub woofers when each occupies 32 cubic
feet of living -room space, many would
have
appreciate the sonic results.
lived with a JBL Hartsfield corner horn,
possibly the most graceful of loudspeaker boxes, and still use a 60 -cubic -foot compound bass horn, but neither has had the bass extension below
20 Hz realized by these subwoofers.
I've never built concrete exponential
horns extending outside my living
room nor met anyone who has, but
did once buy an 11 -rank pipe organ
(653 pipes) to install in my home, so
maybe that qualifies me as certifiable.
recently fixed upon the idea of exI
I
The desired results have been
achieved: The bass extension is significant to below 15 Hz and is flatter than
expected, no bass -boost or peaking
networks are necessary, and each of
the two subwoofers is capable of producing 96 dB SPL at 1 meter for 1 watt
input. Their efficiency is only 2.6%,
compared to 10 times that for the remainder of the horn -loaded system,
but it is nice to know that the full impact
any real improvement may possibly
come from an attendant approach to a
linear -phase system rather than from
the reproduction of any musical harmonic content in the nether reaches.
This attention may be well deserved
and is certainly less space consuming
than an extension downward to 16 Hz.
However, when musical response is
extended upward without similar extension downward, the balance of the
cannot
music structure may suffer.
guarantee this to be the case but have
observed that the bass at concerts is
much more apparent than in reproduced music, whereas the highs seem
similar.
I
Commercially available subwoofers
were passed over because few, íf any,
can produce the desired level of clean
low bass, and most give up low bass
response and/or utilize active equalization to gain bass extension without
of a bass drum can now be repro- resorting to large cabinet sizes. While
tending system response another oc- duced in my living room. These sub - many available units no doubt produce
tave below the 40 Hz of my existing woofers do wonders with source mate- results superior to what may be
horn system as well as realizing im- rial such as pipe organ, large bass achieved with conventional loudspeakproved time coherence by eliminating drum, synthesizer, thunder, and even er systems, decided on larger boxes
the folded horn. Even I deem straight cannon shots. Telarc's Time Warp for improved efficiency that would enbass horns with good 20 -Hz response (CD -80106) is stunning with this sys- able my system to extract more dyto be impractical, hence my decision tem, but there is another, more impor- namic impact from the music source. It
may be safe to limit the discussion of
to use vented boxes for a subwoofer tant improvement will discuss later.
required SPL to that expected with ordesign. The first step in the transition
chestral instruments, drums, and synwas to design, build, test, and audition
The Quest for All of the Music
thesizers because reproducing canthese subwoofers. The next step will
Much attention has been given to non, thunder, and other environmental
be to abandon the large horn for a
more compact mid -bass short horn extending loudspeaker response to- sounds at realistic levels is probably
ward and even beyond 20 kHz, where out of the question. Assumptions of a
working above 80 Hz.
I
I
I
I
1
ILLUSTRATION: TERRY ALLEN
AUDIO/JANUARY 1990
63
90 -dB SPL average listening level for
symphonic music and 20 -dB peak-to average levels have often been used in
determining peak required SPL for effective music reproduction. Rock music is typically played at higher average levels but normally exhibits a lower
peak -to -average ratio. Using the
above values, music peaks of 110 dB
SPL must be reproduced at the listening position. The subwoofer handles
most of the power because the orchestral bass drum creates the highest of
these peaks at 40 to 60 Hz. Measurements made on one -octave pink noise
centered at 31.6 Hz, at the 5 -meter
listening position in a moderately large
living room, show the SPL to be 10 dB
below that at
meter from the sub woofer. The net result is that the sub woofer is required to generate 120 dB
peak SPL at meter. Fielder and Benjamin [1] found that, on some CDs,
environmental, synthesizer, and pipe
organ sounds would extend the required frequency range to as low as 13
or even 10 Hz (see Table I). It seems
likely, then, that the greatest music dynamics can be reproduced only with
large subwoofers. Whether this is
worth sacrificing 32 to 64 cubic feet of
living -room space is up to the individual. This writer is pleased with the
trade-off, but you may remember that
am probably certifiable.
so this was the starting point. While
other drivers may have been suitable,
the JBL 2235 and 2245 15- and 18 inch drivers were the final candidates.
The 2245 18 -inch driver was initially
selected because of its 2.1% half space efficiency, which gives it a povv-
I
MANY A SUBWOOFER
WINDS UP SACRIFICING
1
CLEAN,
LOUD,
LOW
--
BASS TO AVOID USING
1
BOXES THIS LARGE.
i.
I
The Design
Ground rules for this design were:
High efficiency to maintain music dynamics, easily equalized response to
20 Hz, and real but flexible limits on
system size.
Thiele and Small [2, 3, and 4] have
shown that high efficiency is obtained
only with drivers of large cone volume
displacement placed in large boxes,
Table
I
Benjamin.)
er output of 95 dB SPL for
watt at 1
meter. It is important to recognize that
this SPL and efficiency are ratings fog
the flat -band response above 100 Hz
and are not necessarily representative
of efficiency and output in the sub bass region between 20 and 100 Hz,
where box volume and tuning greatly
1
affect system efficiency. The final
choice was two 2235 15 -inch drivers
per box (see Table II). Because usirg
two drivers per box theoretically doubles their efficiencies, the paired 15 -
Compact Discs with audible components below 32 Hz. (From Fielder and
Frequency, Hz
For 120 dB
64
For 110 dB
inch drivers operate at 2.6% efficiency
with a sensitivity of 96 dB SPL.
The next step was to select an alignment from Thiele's tables [5] and do
some computer modelling to determine the system response for various
alignments, box tuned frequencies,
and box volumes. It was known at the
beginning that at least four 15 -inch
cones were needed to maintain low
distortion and that a large box was
needed to achieve high efficiency.
With this in mind, several possible
alignments were modelled before selected the fourth -order Butterworth (B4)
alignment with box and cone resonance coincident at 20 Hz (Table Ill).
In this alignment, the net internal cabinet volume is 0.707 times speaker Vas
(the volume of air having the same
acoustic compliance as the driver suspension). This requirement ruled out
the JBL 2245 drivers, as box volume
for two 18 -inch drivers would have
been 41 cubic feet, whereas it is only
22.9 cubic feet for the two 15 -inch drivers. Computer modelling also showed
that the system response would be
slightly smoother, and cone excursion
limits would be slightly less stringent
between 20 and 25 Hz, with the 2235s
than with the 2245s. Accordingly, the
ultimate choice was a pair of 2235 drivers in a cabinet having a volume of
22.9 cubic feet. The same response,
but with lower efficiency, could be
achieved with one 2235 in a cabinet of
11.45 cubic feet.
Computer modelling [6] of the final
design indicates response to be -2
dB at 75 Hz and -8.8 dB at 20 Hz.
This meets design criteria, as it can be
easily corrected with a simple tone
control hinged at 100 Hz. Other specifics in Table IV indicate that each sub woofer can produce 115.5 dB SPL at 1
meter at 20 Hz and 121.6 dB SPL at
100 Hz with a 300 -watt input. Actual
room response is considerably better
than this at the extreme low end, due to
bass gain of the room [1 and 7], as will
be seen later. The calculated displacement -limited power input is 293 watts
maximum at 30 Hz. The thermal -limit
numbers are for long-term operation
and may be considerably surpassed
over most of the passband to produce
much greater speaker output for brief
moments. For example, if thermal limits
are conveniently ignored, the Table IV
data in parentheses indicates the dis-
Composer/Artist
Selection
Record
Label
Catalog
Number
Telarc
CD -80041
Telarc
CD -80136
10
12.5
Tchaikovsky
1812 Overture
16.5
16.5
Dupré
Symphony in
15
17.5
Grofé
Grand Canyon Suite
Telarc
CD -80086
18
18
Hindemith
Organ Sonata No.
Argo
417159-2
18.5
18.5
Jongen
Symphonie Concertante
Telarc
CD -80096
12.5
22
Flim & The BBs
Big Notes
dmp
CD -454
16.5
22
Strauss
Also sprach Zarathustra
Telarc
CD -80106
22
22
Bach
Kyrie, Gott heiliger Geist
Telarc
CD -80097
24
24
Saint-Saéns
Symphony No. 3
Telarc
CD -80051
25
25
Williams
"Star Wars" Theme
Telarc
CD -80094
19
25
Bach
Toccata and Fugue in D Minor
Telarc
CD -80088
29
29
Billy Cobham
Warning
GRP
GRD-9528
29
29
Various
Movie soundtrack, "Country"
Windham Hill
WD1039
G
Minor
1
placement -limited average power,
which should not be exceeded.
The final design is a box having an
internal volume of 29 cubic feet, or a
net internal volume of 22.9 cubic feet
after deducting 3.1 cubic feet for the
AUDIO/JANUARY 1990
ducted port, 0.4 cubic foot for the two
drivers, and 2.6 cubic feet for the bracing. Overall room volume displaced is
32 cubic feet, including the cabinet's
base. The phantom views of box construction in Fig. 1 show the preferred
off -center driver placement, symmetrical port placement for equal mutual
coupling between drivers and port, internal proportions of 0.8 x x 1.25 [5],
legless design for improved imaging to
the floor [7], and robust panel bracing.
1
Table Ill
Box Parameters
Net Internal Volume (Vb): 22.900 cubic feet.
Helmholtz Resonance Frequency (f1): 20.0 Hz.
Box Leakage O
and maple hardwood, internally
braced with hemlock and fir. The boxes looked -even larger in the listening
room, so only one was installed initially,
lessening the shock to my wife. A
month later, the other box took its
place on the other side of the room.
Initial listening was done with a sub woofer amplifier rated to deliver 325
watts per channel into 4 ohms. Although the system was then adequate
for most musical information (including
pipe organ reproduction), CDs which
contained thunder or cannon shots,
and Telarc's Time Warp, caused amplifier clipping. can assure you that
amplifier clipping into these subwoofers is quite apparent -and somewhat
frightening when you consider the Ion I
Table 11 -Driver parameters
for JBL 2235
15 -inch woofers.
(0'):
3.0.
Minimum Vent Area: 169.2 cubic inches.
Vent Length,
Inches
Vent Area,
Square Inches
Vent Diameter,
Inches
38.63
169.15
14.7
50.11
212.95
16.5
64.73
268.09
18.5
83.34
337.51
20.7
106.99
424.90
23.3
Shocks and Surprises
Seeing the completed cabinets for
the first time was somewhat of a shock,
as the boxes hadn't looked all that
large on paper. Lifting them into the
truck was another shock, as they were
built of void -free Finnish birch plywood
Box and system parameters.
System Parameters
Fb
Tuning Ratio =
H
=
= 1.000
Alpha = Via' = 1.415
b
source material. Some source material
contains significant stereo information
below 80 Hz; this can cause the channel with the higher bass levels to be
driven into clipping while some of the
other channel's power capacity is unused. To best utilize available amplifier
power, it is desirable to sum the sub woofer signals by bridging or other
means. This is valid because the ear
has little directional sensitivity at very
low frequencies.
nor ster
Two
boxes, each
occupying 32 cubic feet,
fill the author's living
room with bass that's
deep and powerful.
Table IV Calculated
free -field system performance. Figures in parentheses are for
short-term performance, set by excursion limits. Other figures, for long-term performance,
are governed by thermal limits (T) or excursion limas (E), as shown in last column.
Free -Air Resonance Frequency (fs): 20.0 Hz.
Compliance Equivalent Volume (Vas): 16.200 cubic feet.
Total Driver O (Ors): 0.250.
Half -Space Efficiency (n): 2.60%.
Effective Cone Diameter (Sd): 13.3 inches.
Peak Linear Excursion (Xmax): 0.330 inch.
Peak Displacement Volume (Vd): 91.69 cubic inches.
Thermal Limit Input Power
(Pr max):
300.0 watts.
gevity of four expensive drivers. Amplifier clipping does not necessarily
mean that the amplifier is delivering
maximum power into the speakers because speaker impedance varies with
frequency, but there seemed no choice
but to invest in a higher powered amplifier. The one selected is rated at 800
watts per channel into 4 ohms. More
power would be even more suitable
because it is still necessary to exercise
care when demonstrating interesting
AUDIO/JANUARY 1990
Freq.,
Relative Response,
Maximum
Acoustic Output,
Hz
dB
Watts
-17.7 (-30.4)
105.2 (105.2)
128
(
128)
E
-11.6(-24.3)
111.3 (111.3)
258
(
258)
E
1.42
(
1.42)
-8.8 (-20.1)
115.5 (115.5)
300
(
413)
T
-6.2( -6.2)
1.85
(
1.92)
-6.2(-18.7)
116.7 (116.8)
300
(
311)
T
-5.3
-4.7
-4.2
-3.8
-3.4
2.23 (
2.23)
117.5 (117.5)
293
(
293)
E
2.62 (
3.03)
118.2 (118.8)
300
(
347)
T
2.94
(
4.28)
-5.4 (-18.1)
-4.7 (-16.8)
-4.2 (-15.3)
118.7 (120.3)
300
(
438)
T
3.25(
6.08)
-3.8(-13.7)
119.1 (121.8)
300
(
561)
T
3.56 (
8.53)
119.5 (123.3)
300
(
719)
T
119.8 (124.7)
300
(
915)
T
120.2 (126.0)
300(1156)
T
120.4 (127.3)
300 (1446)
T
120.7 (128.4)
300 (1793)
T
120.9 (129.5)
300 (2206)
T
121.0 (130.6)
300 (2690)
T
20
25
30
50
55
60
65
70
75
80
90
100
Limiting
Factor
0.54)
-10.9(-10.9)
-8.8 ( -8.8)
45
Maximum
Input Limit,
Watts
0.13)
-14.0 (-14.0)
18
40
Maximum
Room SPL,
dB
0.13(
0.54(
16
35
Relative
Maximum Output,
dB
-5.3)
( -4.7)
( -4.2)
( -3.8)
( -3.4)
-3.1 ( -3.1)
-2.7( -2.7)
-2.5 ( -2.5)
-2.2 ( -2.2)
-2.0 ( -2.0)
-1.9 ( -1.9)
-1.5 ( -1.5)
-1.3 ( -1.3)
(
4.41
(
21.24)
4.65
(
27.82)
4.88
(
35.89)
5.09
(
45.67)
-3.4 (-12.3)
-3.1 (-10.9)
-2.7 ( -9.6)
-2.5 ( - 8.3)
-2.2 ( -7.1)
-2.0 ( -6.0)
-1.9 ( - 5.0)
5.46( 71.28)
-1.5( - 3.1)
121.4 (132.5)
300 (3914)
T
5.77 (106.67)
-1.3
121.6 (134.3)
300 (5543)
T
3.86( 11.77)
4.14( 15.95)
(
-1.3)
65
Measurements
As I firmly believe in measurements
as well as subjective evaluation, listened for but a few days before beginning a series of tests. The measureI
respectively. The departure from my
computer -generated predictions is at
least partially due to the increased radiation resistance caused by speaker
proximity to the pavement; the proximity effect, apparent when a surface is
0.1 wavelength from the driver [7 and
ments made were: Complex impedance, in a search for unwanted cabinet
or cone resonances; impedance magnitude, to verify box, cone, and coupled -system resonances; response to
single -frequency sweeps; both in the
room and outside, and harmonic dis4
tortion at several power levels. Indoor
measurements were near -field, at 1
meter and at the 5 -meter listening posiSEEING THE FINISHED
tion. Outdoor measurements were at
meter, with the speaker aimed parallel
BOXES FOR THE FIRST
to the outside house wall. I've no access to equipment for TDS measureTIME WAS ONE SHOCK;
ments, but my swept -frequency network analyzer measurements are adeLIFTING THEM ONTO THE
quate for near -field and outdoor work.
TRUCK WAS ANOTHER.
The outdoor measurements were
made with the speaker standing away
from the house, on pavement. The area
may be considered free of intruding
resonances below 43 Hz but becomes
reverberant above this point due to a
low wall running parallel to the house.
The outdoor placement provides approximately the same bass gain from
the pavement and house wall that exists due to the listening room's floor
and rear wall, so outdoor measurements may approximate TDS measurements made inside.
Perhaps the most pleasant surprise 8], increases radiation resistance on
of all is that the outdoor 1 -meter swept - the lower driver below 100 Hz and on
frequency response of Fig. 2 is flat the upper driver below 50 Hz. Irreguwithin about ±0.75 dB from 55 Hz larities in the measured response from
down to 17 Hz and is only about 3.5 about 45 Hz up are due to the environand 10 dB down at 15 and 13 Hz, ment and may be ignored. Inside the
1
IMP
Fig.
listening room, additional bass gaineffective at various frequencies due to
proximity of side walls (8, 11, 16, and
28 Hz), ceiling (19 Hz), rear wall (20
Hz), and opposite wall (5 Hz)-is expected to further improve bass response, although the effect should be
quite smooth and mild due to my
room's size and multi -faceted "L"
shape [1]. The effect of this bass gain
is to significantly increase loudspeaker
efficiency and reduce cone -excursion
requirements at low frequencies [1].
Averaging peaks and dips of the nearfield indoor measurements suggests
an essentially flat response to
kHz,
although there is no intent to Use the
subwoofers above 70 to 100 Hz.
The impedance magnitude curve of
Fig. 3, showing 9.5- and 31 -Hz peaks
occurring on either side of the 20 -Hz
common resonance, is typical of ported -box loudspeakers. The impedance
is 4 ohms only from 16 to 19 Hz, between the two peaks, and again from
100 to 300 Hz, so power input calculations based on constant impedance
can be misleading. For example, an
amplifier rated at 800 watts into 4
ohms, supplying 57 V into 4 ohms or
more, delivers only 64 watts into 500
ohms, so clipping may occur near the
two resonant peaks without driving the
speakers to their excursion limits.
It is instructive to plot the power absorbed by the subwoofer from an amplifier rated at 800 watts into 4 ohms
and compare it with the calculated excursion -limited peak -power measurements (Fig. 4). The top curve is the
excursion -limited power curve, factoring in corrections for the effects of
bass gain in the room. This bass gain
1
1-
Composite views, showing port
construction (A) and internal
bracing (B).
;'
i
/A
66
AUDIO/JANUARY 1990
reduces driver cone displacement to
below calculated values; hence higher
power is required to drive the cones to
their linear excursion limits. The corrected curve indicates that the cones
will remain within their linear excursion
limits with the full voltage output of the
suggested amplifier at all frequencies,
thus keeping distortion within acceptable limits over all available operating
conditions.
The complex impedance curve (not
shown) indicated only two very minor
subwoofer resonances, at 125 and 145
Hz; these are also visible in the impedance magnitude curve (Fig. 3). Since
the cabinets will be used only below
100 Hz, these resonances (which may
be either cone- or box -related) are of
only academic interest and have no
effect on the reproduced sound.
Second- and third -harmonic distortion components are plotted versus
frequency in Fig. 5 for nominal 10- and
100 -watt inputs, equivalent to 106 and
116 dB SPL at
meter. The levels of
the 100 -watt curves have been lowered 10 dB for clarity. Each distortion
component is commendably low, less
than 2% for all frequencies, where
each subwoofer is driven by a nominal
10 watts to produce 106 dB SPL at
Fig.
loo
2-
Frequency response, measured
outdoors at 1 meter, for watt
input. Reverberant -field effects
caused by a nearby wall
become evident at about 40 Hz
(13 -foot critical dimension);
see text.
1
70
50
0
FREQUENCY
100
200
-N
100
Fig.
3-
4
Magnitude of impedance,
measured indoors in a reverberant
field and outdoors in an almost
nonreverberant field.
Ú
IO
S
whin
OUT
t"I''
1
1
meter.
In any case, the constant -voltage
frequency response is flat down to 17
Hz, there are no measurable cabinet
resonances in the intended frequency
range, and distortion is within acceptable limits over the full operating range
of power and frequency. An amp rated
at 800 watts per channel allows unclipped listening at full symphonic levels, in a moderately large room, for
anything except cannon and thunder.
Technically, the project can be considered a success, but what of the listening experience?
10
12
FREQUENCY
Fig.
4-
I0M
-
00
--warns
rillIiiiii
WINEEE1
Permissible peak power input,
limited by driver excursion
capabilities, compared to
maximum peak power available
from the amplifier, as functions
of frequency. Both excursion limited curves are computed, not
measured; the corrected curve
includes the effects of increasing
radiation resistance at low
frequencies. The amplifier is
rated to deliver 800 watts into
4 ohms; the curve shows power
available into the impedance
actually presented by the
speaker at each frequency.
lY
Na
simmummua
JIÍ
ñÍI
400
200
MAXIMUM
PEAK POWER
AVAILABLE FROM
AMPLIFIER
Listening Evaluation
loo
Perception of bass frequencies in
small, regularly shaped rooms can be
highly variable depending on the listener's location relative to standing
waves generated by normal -mode resonances. Normal -mode resonances of
a room may be calculated from:
frequency =2L(L)Z+(v7/
21/2
+(H)j
where C is sound velocity in air; L, W,
and H are room dimensions, and m, n,
and o take on all positive integers [1].
A large number of closely spaced resonances is desirable, as they will
AUDIO/JANUARY 1990
l0
-
Ni
10
5-
Fig.
Main harmonic components vs.
frequency, for 10- and 100 -watt
inputs. The 100 -watt curves have
been lowered 10 dB for clarity.
loo
20
FREQUENCY
~A
,w
`,.-Ii00
J,
WATTS)
w\
2nd
1100 WATTS)
/
H
i
1.mC..
in.7'l '\
w
ó
l
.
_w
Y..,
'.
z
_
\-w\ ,,.
,1
\
011
FREQUENCY
\a-oil
.
0
-M
67
smooth the overall room response rather than appear as individual resonances. As my listening room is Lshaped, it has eight pairs of parallel
surfaces; thus, for me there are eight
factors to the equation instead of three.
The room is 5,800 cubic feet in volume
and has a projecting fireplace wall; it
should be fairly neutral, as it has 23
normal -mode resonances below 100
Hz, nine below 50 Hz, and four below
30 Hz. The four lowest resonances are
rather closely spaced, at 18, 22, 25,
and 28 Hz.
All listening was done in this large
room, with the subwoofers placed
flanking the existing stereo speaker
cabinets. The entire system is currently
in transition but presently includes the
two subwoofers, crossed at 80 Hz into
a three-way system that's completely
horn -loaded. The system comprises
JBL 15 -inch mid -bass drivers in exponential horns, JBL 2445 titanium -diaphragm compression drivers (with 2 inch throats and 4 -inch voice -coils) in
500 -Hz horns, and JBL 2405 diffraction -horn supertweeters. Additional
crossovers are at 700 Hz and 7 kHz.
All four channels are multi-amped via
Rane four-way Linkwitz-Riley constant phase crossovers with a slope of 24
dB per octave and adjustable low channel phase -delay compensation.
All eight individual channel gains are
set for flat response to wide -band pink
noise, as observed on a third -octave
analyzer with its microphone at the listening position.
Subjective evaluation of any loudspeaker system is always difficult, as
one can never be certain whether what
one seems to hear is real or imagined.
With these subwoofers, am constantly
amazed as listen to familiar recordings and hear additional bass information that never suspected was present. The bass extension is certainly
real and not imagined, as it represents
a new or additional sonic experience
rather than a changed experience. The
lowest organ, drum, and synthesizer
tones on recordings are distinctly felt,
in an almost unimaginable way, as well
as heard. One can actually feel the
spaceship departure in the "2001: A
Space Odyssey" section of Telarc's
Time Warp, as floor and walls rumble
and vibrate, yet the bass is neither
overpowering nor tiring, as is sometimes the case with subwoofers placed
near the corners of relatively small listening rooms.
On first listening, there appeared to
be an immediate improvement in the
mid -bass and middle frequencies as
well as the low bass. What believed
I
I
I
I
68
I
heard was a difference in timbre; difficult to describe in words, it may be the
expected reduction in amplitude modulation or intermodulation of mid -bass
and midrange by the low bass. (In any
system without a subwoofer, audible or
inaudible bass -cone excursion modu-
mental presence. Point made, but
rather miss the raspy sound.
The dynamics of the music are improved with the addition of the lower
octave and the cleaner reproduction of
the mid -bass to midrange. A larger
soundstage appears, possibly due as
much to the visual effect as to the mirroring of the mid -bass speakers in the
I
subwoofer cabinetry.
recommend
that you try subwoofers like these if you
want all the music and have the space
I
1\,
FREQUENCY RESPONSE ISM
/
addition of the subwoofers, the rasp
has disappeared, either because of reduced distortion or increased funda-
± 0.75
FLAT WITHIN
References
17 Hz, AND ONLY 10 dB
DOWN AT 13 Hz.
I
lates [10] the remainder of the spectrum radiated from that cone. In most
systems, this includes frequencies to 1
kHz or higher, or most of the fundamental musical spectrum.) However,
now that I'm used to the system's new
sound,
don't hear this improvement
as much-was it ever real at all? can
report that it did seem to be real and
was immediately apparent upon installation of the subwoofers.
One unexpected, dramatic, and demonstrable difference in sound ocI
I
I
installed the sub -
woofers. Telarc's digitally mastered LP
(DG -10039) and CD (CD -80039) of
Stravinsky's "Firebird" paired with Polovtsian dances from Borodin's "Prince
Igor" exhibit an unusual buzz on the
most dramatic part of the Polovtsian
dances. The buzz diminishes neither
with changes in tracking force nor with
listening level, and it was initially disconcerting. later accepted the buzz
as part of the music, particularly when
Telarc's Jack Renner assured me that
the buzz near four minutes into track
three of the CD "is real, is a bass tuba,
and is a particularly raspy bass tuba,
at that." Eventually,
came to like the
sound of the raspy bass tuba. With the
I
I
Q
dB
FROM 55 Hz DOWN TO
curred when
to spare; you'll like them.
1. Fielder, Louis D. and Eric M. Benjamin, "Subwoofer Performance for Accurate Reproduction of Music," Journal of the Audio Engineering Society,
Vol. 36, No. 6, June 1988.
2. Small, Richard H., "Vented -Box
Loudspeaker Systems, Part II: Large Signal Analysis," JAES, Vol. 21, No. 7,
July/August 1973.
3. Small, Richard H., "Vented -Box
Loudspeaker Systems, Part I: Small Signal Analysis," JAES, Vol. 21, No. 6,
June 1973.
4. Thiele, A. N., "Loudspeakers in
Vented Boxes, Part II," JAES, Vol. 19,
No. 6, June 1971.
5. Thiele, A. N., "Loudspeakers in
Vented Boxes, Part I," JAES, Vol. 19,
No. 5, May 1971.
6. "VBOXRES," a computer program
by Jeffrey E. Bollinger with additions
by Rollins Brook of BBN Laboratories
and Drew Daniels of JBL Professional,
based on algorithms developed by
Don Keele at JBL and further modified
to include variable Ob (the ratio of
acoustic mass resistance to series
acoustic resistance of the vent at the
box resonant frequency) with cabinet
volume.
7. Allison, Roy F., "The Influence of
Room Boundaries on Loudspeaker
Power Output," JAES, Vol. 22, No. 6,
June 1974.
8. Jacobsen, Oluf, "Some Aspects of
the Self and Mutual Radiation Impedance Concept with Respect to Loudspeakers," JAES, Vol. 24, No. 3, March
1976.
9. Clark, David L., "Velodyne ULD15 Powered Subwoofer," Audio, November 1987.
10. Klipsch, Paul W.,"Modulation Distortion in Loudspeakers: Part II and
Part Ill," JAES, Vol. 18, No. 2, February
1970 and Vol. 20, No. 10, December
1972.
AUDIO/JANUARY 1990
C_
If
VOLUME 9A
±
MuLñ-eo coNTROL
11"1
FAO
'siAa
MID
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YEaT STATIONS NtEMORY/AUTO'SOUND IE Val 12\R
ORP
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00
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SENSOR
[gem Pi
UM"
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isonSir
{YK.~1AR
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T
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A
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OOLao,...< ..
They said it was impossible
to build an AM/FM multi -play
CD controller and cassette deck
with a detachable face.
OTC_
-
r
X?u-' o`VK
e
Giza'
i
,ON6
_
,
tirKtroyie
s
MEMOPv/souNoE
Ese
se
0p.
.
-s
3
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-
But Pioneer pulled it off.
Introducing the Premier" KEX-M800.
The only thing more exclusive than
the KEX-M800 is our dealer network.
new Premier'" KEX-M800.
Premier Installation Specialists are expert
The world's first car stereo that not
only offers you a combination multi -play craftsmen, so you know your system will
be custom installed with the utmost care.
compact disc player, AM/FM tuner, and
So see your Pioneer Premier dealer.
It
features
an
antideck.
also
cassette
And watch us pull off the impossible.
theft detachable face plate to help keep
For your nearest dealer
your system safe from
Ir)
r1
call 1-800-421-1404.
prying eyes.
What's in a name? Everything if it's the
Premier'.' Advanced technoIog from Pioneer. ©1989 Pioneer Electronics (USA) Inc., Long Beach, CA
Enter No. 44 on Reader Service Card
The NI Series
fl
RTA 11t
_
"They provide smooth, fast and incredibly well detailed sound"
polk audio
The Speaker Specialists
"Polk's
RTA Tower Loudspeakers Combine
Legendary Polk Performance with Contemporary Style."
Big speaker performance with an efficient use
RTA
lit
ofspace.
Both Polk RTA series loudspeakers achieve the extremely rare combination of good looks and state-
The RTA
lit
is the finest conventional (non-SDA)
speaker that Polk Audio manufacturers. Its extremely high power handling (250 watts) and high
efficiency (90dB) provide remarkable dynamic
range from both large and small amplifiers. The
RTA Ilt utilizes the same technologically advanced
fluid -coupled subwoofer design found in Polk's
flagship model. Dual 8" sub -bass radiators are coupled to two 61/2" mid/bass drivers, resulting in a fast,
powerful, deep, and ultra-accurate bass response,
without the booms undetailed sound of large
woofer systems.
RTA 8t
In a slightly smaller package, the RTA 81 offers the
same driver complement as the larger, more expensive RTA I lt, and thus shares its benefits of superior
imaging, musicality, and detail.
of-the-art performance. The tall, elegantly slender and deep "tower" design cabinets allow for
substantial internal volume for high efficiency and powerful bass, but only require less than one
square foot of floor space! The small baffle surface area around each driver minimizes diffraction
(sonic reflections), thereby insuring outstanding imaging and low coloration.
Positioning the I" silver-coil dome tweeter between the two 61/2" trilaminate polymer bass/midrange
drivers achieves sshat is called "coincident radiation." This means that both the mid- and high frequencies appear to radiate from the same place on the baffle resulting in perfect blending at the
critical crossover point.
(See
illustration, below).
Polk RTA speakers have an uncanny ability to perfectly reproduce the human voice, pianos, guitars,
and every other instrument whose faithful reproduction demands superlative midrange and high -
frequency performance. Bass and percussion instruments are accurately reproduced with full
visceral power and realism, without the heasiness, boominess, or lack of detail that plague
lesser designs.
The discriminating listener who seeks state-
of-the-art performance and design will find
the quintessential combination of both in
Polk's RTA series loudspeakers.
THE PRINCIPLES OF COINCIDENT RADIATION
`
1,,
E.....
acoustic center
Polk Audto RTA 8t and
Tower Speakers
The perceived source of sound
of two identical drivers is
centered in the area between them.
In the Polk RTA loudspeaker,
the tweeter is positioned at the
acoustic center of the drivers.
Drivers and tweeter appear to
operate together as an ideal
point source resulting in precise imaging, uniform dispersion and startling midrange
accuracy.
Where to buy Polk Speakers?
For your nearest dealer, see page 150
Enter No. 47 on Reader Service Card
RCA
lit High
polk
The Speaker Specialists
5601 Metro Drive
Baltimore, Maryland 21215
Performance
EQUIPMENT PROFILE
Manufacturer's Specifications
Power Output: Stereo, 200 watts/
channel across 8 ohms or 300 watts/
channel across 4 ohms, 20 Hz to 20
kHz, both channels driven; bridged
mono, 600 watts across 8 ohms, 20
Hz to 20 kHz.
THD: 0.005%, stereo or bridged
MCINTOSH
MC 7200
POWER
AMPLIFIER
mono, from 250 mW to rated power
per channel.
SMPTE IM: 0.005% for any combination of frequencies from 20 Hz to 20
kHz.
Frequency Response: 20 Hz to 20
kHz, +0, -0.25 dB; 10 Hz to 100
kHz, +0, -3.0 dB.
S/N: 105 dB below rated output
Power Guard: Clipping prevented
and THD held below 2% with up to
20 -dB overdrive at 1 kHz.
Power Requirements: 120 V a.c.,
50/60 Hz, 0.6 to 15 amperes.
Dimensions: Chassis, 143/4 in. W x
7'/a in. H x 15% in. D (37.5 cm x
18.1 cm x 39.7 cm); front panel,
161/a in. W x 71/a in. H (41.1 cm x
18.1 cm).
Weight: 53 lbs. (24 kg).
Price: $2,595.
Company Address:
2
Chambers
St., Binghamton, N.Y. 13903.
For literature, circle No. 90
(A -weighted).
Damping Factor: Greater than 200.
Input Impedance: 20 kilohms unbalanced, 40 kilohms balanced.
Input Sensitivity: Switchable,
1.4
or 2.5 V.
mow
111. lw%
4.
=
mtInfosh
MC 7200
pOWEP OUTPUT
'ova. OIVPG
DIGITAL
DVNAMIC
STEREO
POwEF AMPLIFIER
hoer-EA »OLD
ovio
.
a.
.
.
72
1990
It's been a long time since last tested a piece of McInwas delighted when this massive
tosh equipment, and
(and heavy) high-powered amplifier was delivered to my
lab. While other domestic and foreign manufacturers come
and go, McIntosh, located in upper New York state, seems
to go on forever. Although the company introduces new
products far less frequently than most other audio component producers, when "Mac" does come up with a new
product, you can bet that it's been designed with the same
conservative approach, ruggedness, and reliability this
company has always been known for.
The MC 7200 is a stereo power amplifier designed to
operate with loudspeakers having a nominal load impedance of 8 or 4 ohms. Both balanced and unbalanced inputs
are provided. The amplifier design provides nearly perfect
linear operation, without loop feedback, for every stage of
voltage or current amplification. According to the preliminary instruction manual supplied with my sample, this is
accomplished by several techniques, including careful selection of each transistor used, light loading of each stage
by its following stage, and higher, more linear input impedances of stages (made possible by using emitter degeneration). In addition, careful selection of resistors and capacitors in the signal path and the use of matched output
transistors that have uniform current gain, high current -gain bandwidth product, low output capacitance, and large active -region safe operating areas help to eliminate any crossover distortion normally associated with high -efficiency amplifier designs.
There are no fewer than six protection circuits in the MC
7200. Power Guard, which have seen in earlier McIntosh
I
I
I
components, eliminates amplifier clipping caused by overdrive. In this circuit, the output waveform is compared with
the input waveform. When a waveform difference develops
due to the onset of clipping, Power Guard indicators light
and an electronic attenuator at the amplifier input reduces
overall gain. Another circuit, Sentry Monitor, constantly monitors the output signal and reacts to prevent overload of the
output transistors. Thermal, sensors within the MC 7200 will
interrupt a.c. power if temperatures become excessive. A
turn -on delay of about 2 S prevents any pops or thumps
from annoying the listener or damaging loudspeakers. Another protection circuit prevents speaker damage caused
by d.c. in the output signal; should the circuit detect d.c. in
either channel's output, it will clamp the power supply to
zero, causing the fuse in the MC 7200 to blow. The sixth
protection circuit guards against power -line transient
surges.
Like all McIntosh components, the MC 7200 comes with.
the necessary hardware and template for custom mounting
in a cabinet, using the company's well-known Panloc installation system. This allows you to lock the unit firmly in place
while still being able to unlock and remove it easily. The
procedure is not difficult, as I've found in earlier tests. If you
prefer shelf or table -top mounting, McIntosh also offers
component cabinets to fit all of their products.
Circuit Description
Each MC 7200 amplifier channel uses two stages of
voltage amplification followed by three stages of current
amplification. The input signal feeds one input of a differential amplifier stage. Negative feedback from the amplifier
output is applied to the other input. The differential amplifier
outputs connect to current -mirror stages and feed a positive -drive cascode voltage -amplifier stage. The cascode
amplifier feeds complementary Darlington driver transistors;
these supply the signal to 14 complementary -connected
output transistors. The chassis is arranged for convection
cooling and requires no mechanical fan to maintain proper
operating temperature. The power supply uses a massive
power transformer, full -wave bridge rectifiers, and large
filter capacitors having 100 joules of energy storage. Two
large heat -sinks cool the 28 output transistors.
Control Layout
Two large illuminated power output meters on the front
panel are calibrated in both watts and decibels. The meters'
logarithmic calibration permits you to read from 200 watts
down to 0.002 watt. The meters respond to the peak output
of each channel; when amplifying musical signals that might
be too "fast" for the mechanical pointer to follow, a special
circuit provides a "time stretched" electrical pulse so that
the peak position of the pointer can be observed by the
human eye. Furthermore, the meter can be locked at the
peak indication by selecting a "Meter Hold" switch just to
the left of the panel's center line. The "Power" on/off switch
is symmetrically pos tioned just to the right of that line.
Whenever the Power Guard circuit limits the output to
prevent clipping, left- and right -channel lights on the front
panel turn on to let you know that the amplifier is being
overdriven. Left- and right -channel gain controls complete
AUDIO/JANUARY 1990
73
Six different protection
circuits contribute to
the MC 72OO's ruggedness
and reliability.
amplitude (d0) versus
4.0000
Frequency
(Uz): McIntosh
MC-7200 Amplofier
4.900
2.0009'
2.000
0.0
0.0
-2.00
-2.000
-4.Oe
I
-6.000ya
101,
1001,-6.02
Fig. 1-Frequency
response measured
at 2 watts output into
8 -ohm loads. Note that
response was virtually
identical for both
channels.
IUD
route (R) versus
0.010,
Frequency (Mil
et
rated power output: McIntosh
Measurements
.
.
' '
iY
'
active.
The rear panel has three types of input jacks-pairs of
XLR connectors and quarter -inch phone jacks for balanced
lines, and RCA -type phono jacks for unbalanced inputs.
McIntosh has come up with clever speaker terminals that
accept either heavy -gauge wire (up to AWG #4) or spade
lugs; when spade lugs are not used, the connector screws
must be replaced with other screws, which are supplied
separately in a small bag. All elements of the speaker
terminals that come in contact with the speaker wires, including the special screws, are gold-plated. Recessed slide
switches on the rear panel select input sensitivity (1.4 or 2.5
V) and stereo or bridged mono operation. When the bridged
mode is selected, a single speaker is connected between
the two "hot" terminals, with no connection made to the
"common" or ground terminals. Under these circumstances, a single input is applied to the balanced or unbalanced right input on the rear panel.
Me7200
0.001
.U005a
the front panel layout; when using the amplifier in the
bridged mono mode, only the right -channel gain control is
206
Frequency response of the MC 7200 amplifier, for 2 watts
output, is shown in Fig. 1. Response was down less than 0.2
dB at 20 kHz and down about 0.1 dB at 20 Hz. The gain of
both channels was virtually identical. The high -frequency
-3 dB roll -off point occurred at around 80 kHz; at 100 kHz,
response was down 4.2 dB.
When McIntosh decided to let me test this amplifier,
received a letter from their chief engineer, Sidney Corder man, whom have known for many years. He warned me
that would probably not be able to obtain distortion values
down to the levels that he had measured for this amplifier.
Corderman told me that he had used a Panasonic VP -7722P
analyzer, which, he said, is one of the few instruments
capable of measuring the ultra -low distortion levels produced by this amp. took this with a grain of salt, having
acquired the Audio Precision System One test system some
time ago. Well, must confess that my test equipment has
met its match-and then some. How do know? Because
Corderman supplied his own test data for this amplifier, and
his graph of THD versus frequency showed a THD reading
of under 0.001% over most of the audio range, when driving
8 -ohm loads to a constant output level of 200 watts per
channel. The best could get, as shown in Fig. 2A, was a
reading of just under 0.002% for the same test conditions.
There was a slight rise in THD + N, to 0.0025%, at 20 kHz.
hasten to add, however, that my readings are the sum of
THD + N, whereas Corderman's were for THD only. In the
not -too -distant future,
expect to be able to read THD
figures as low as my friend up in Binghamton can-once
get the digital signal processing upgrade installed in my
Audio Precision gear, which will allow me to use narrow band filtering when analyze harmonic distortion. Meanwhile, let's not quibble over the difference between 0.001%
and 0.002%. For all know, may be reading the residual
distortion of my test setup's signal generator.
The same test was repeated for 4 -ohm stereo and 8 -ohm
bridged mono operation, at 300 and 600 watts per channel,
respectively; results are shown in Figs. 2B and 2C. In Fig. 3,
I
I
IUD
t
Moose
(U) versus
Frequency (Ui) at
rated power output; McIntosh
Mc7200
I
.,
:
0.00179
laa
11,
109
206
I
I
I
IUD
Motee
0.010
CI) versus
Frequency (Mz) at rated power output; McIntosh Mc7200
,
I
0.001;
.00e520
16k
206
I
I
I
Fig.
2-THD +
N
vs.
frequency at rated output
levels of 200 watts per
channel into 8 ohms (A),
300 watts per channel into
4 ohms (B), and 600 watts
bridged mono into
8 ohms (C).
74
I
I
I
AUDIO/JANUARY 1990
MX-2000 Push-Pug' Dual Driver
Powered Subvroofer
The new stancard zf subwoofer exce lence has arrived- he M&K MX-2C00
Reaching a new pi-mole in performance, _f a MX -23310 powered sub woofer proudly becomes the top of the
audio industry's cri' e ght model line
of subwoofers.
The fv>-2000 achieves this status
by bring ry tocetlrer great clarity and
detail; trernendot.s bv: frequency
power aid impac; hich sound power
levels down to 20 Hz; plus the ability -o
seamlessy bleno t.rtl- any speaker.
The 3J0 watt cDitiruous RMS
MX-20000 incorpora-es M&K's remarkable new -iorizoria Rush -Pull Dual
Driver System-prxluzing the tightest,
cleanest and most powerful bass M&K
has ever offered. Ths innovative system
delivers superior transient performan:3; lowers harnonic distortion;
reduces cabinet cobration and vibration; and couples remarkably well to
the listening room.
Building On Excellence
Fifteen years of unmatched experience
puts M&K at the forefront of the subwooter ndustry. No other manufacturer offers as wide a variety of styles
and sizes of high-perforrríance sub woolens. From the very affordable to the
state-of-the-art, M&< subwoofers are
unsurpassed in audo and audio/video
system performance.
Ard, M&K offers :he ultimate
Satellite-Subwoofer systems, with a
=rter No. 32 on Reader Service Card
choice of five lignly acclaimed Satellite
speakers. These small speakers are
optimized br music or multi -channel
surround -sound come theatre systems,
and actually oLiperform large speakers.
The Only Choice
Building or M&K s legendary high level
of subwoofer eaoellence, the MX -2000
becomes M&KS finest achievement in
a subwoofer-Dlerding seamlessly with
any speaker. Fir high-performance
audio and audio -video systems, the
MX -2000 is "the Dnly choice:'
her
10391
MILLER a KREISEL
S:DUND CORP.
Jefferson 3Ivd. Cu we- City. CA 90232 213/204-2854
McIntosh warned me that
the MC 7200's THD would
be lower than my instruments
could measure, and they
were right.
Distortion
Noise
a
1
(Y.)
vs.
Power Output (H);
McIntosh MC7200 Amplifier
.:
fl
I
0.1
0
.
010
I
¡ ..
I
,
0.001
plotted THD + N versus power output. As usual, although
readings seem higher at low output levels than at high ones,
this is the result of noise and not harmonic distortion. At or
near the rated output levels on these graphs (200 watts for
Fig. 3A, 300 watts for Fig. 3B, and 600 watts for Fig. 3C),
results correlated fairly well with those shown in Figs. 2A,
2B, and 2C.
Since McIntosh specifies power bandwidth (the frequency range over which full power can be maintained at rated
THD or less), ran some tests to confirm this specification.
(Normally, omit this test, preferring instead to measure
dynamic headroom in accordance with the EIA Amplifier
Measurement Standards.) Figure 4 shows the power levels
that can be obtained at various frequencies for a fixed,
specified THD level of 0.005%. In the case of 8 -ohm loads,
that power level was about 230 watts per channel for nearly
all of the audible frequency range. When
used 4 -ohm
loads, the amplifier delivered about 400 watts per channel
at all but the extreme bass and treble frequencies. This
should give you some idea of how conservatively McIntosh
rates their products!
The only test results that did not conform to McIntosh's
claims were those for SMPTE-IM distortion, shown for stereo
operation into 8- and 4 -ohm loads (Fig. 5A) and for bridged
mono operation into 8 -ohm loads (Fig. 5B). suspect that this
small discrepancy may be mostly due to noise and/or
ground loops in my setup. Even with that, the readings I
obtained for the equivalent of rated output (after compensating for the test waveform) are hardly anything to be
concerned about. In stereo operation, measured 0.006%
at 200 watts into 8 -ohm loads and 0.022% at 300 watts into
4 -ohm loads; in bridged mode,
got 0.021% at 600 watts
into 8 ohms.
had much better luck when tested CCIF-IM distortion,
which essentially measures the "beat" -kHz frequency
present at the output of an amplifier when two high -frequency signals are fed to the inputs at the same time. In the case
of the McIntosh MC 7200, applied equal amplitude signals
at 18 and 19 kHz (Figs. 6A and 6B). At the rated output
levels for the three operating conditions, COIF IM was only
,
0.2
!4.
.....
.....I:
20 Ht
AND 1
kW
10
500
A
Hotse
Distortion
(It)
vs.
Pows.r Output
(0);
I
McIntosh MC7200 Amplifier
I
^---20Ht
1kHt
AND 20k0í
I
e.ealé:z
.
10
100
'SOP
B
I
hoist.
Distort00ion
(
vs.
Power Output (H);
McIntosh MC7200 Amplifier
I
I
1
11
I
11
Power Bandwidth lest.
500
ih
0.010
for 0.005.. IND;
McIntosh MC7200
np
1.
ISM
4
OHMS
20Ht
~"\J:
20 kNt
0.0010.2
10
100
Ik
8
OHMS
C
3-THD + N vs.
power output for stereo
operation into loads of
8 ohms (A) and
4 ohms (B) and for
bridged mono operation
into 8 ohms (C).
Fig.
76
c
10010
100
1k
¡flk
¡flak
Fig. 4-Power bandwidth
for rated THD level of
0.005%.
AUDIO/JANUARY 1990
New
& Improved
One day a buddy called and invited
me over to hear his new KLIPSCH®
speakers. He was going on and on about
how these speakers had just come out.
I could tell he was excited. Then I
realized what he was talking about.
"Wait a minute, did you say
KLIPSCH FORTÉ®?" I asked. "It's
been out a couple of years. I'm
familiar with the speaker and it's
really good. But you're just now
hearing a pair?"
"The KLIPSCH FORTÉ Ile" he
responded, "a new and improved
version of the original FORTÉ."
I arrived that evening sort of
expecting to hear the audio equivalent of a movie sequel. But on the
very first CD, the FORTÉ Its had me
sharing my friend's excitement.
They were so open, yet dynamic.
The image was so big, wide, and
steady that you felt like you could
touch the music. The sound was
literally lifelike. I was impressed.
We pulled off a grille cover and
there was a midrange horn like I'd
never seen. His dealer had called it a
tractrix hybrid.
"That's the secret," I said.
"And a new woofer, and a new
passive radiator, and a new crossover,
and not a lot of money," he said.
Today, FORTÉ lls are a welcome addition to my system, as well.
No component I ever bought, not
even my CD player, has made such a
vivid difference. Music never
sounded so "new and improved" to
me.
For your nearest KLIPSCH dealer,
look in the Yellow Pages or call toll free,
1-800-223-3527.
kIipschA
P.O. BOX
688
EIN
UN
HOPE, ARKANSAS USA 71801
Enter No. 25 on Reader Service Card
A superbly designed amp
like the MC 7200 delivers
good sound, regardless of
the type of music played.
S11PIE-IM Dtc(ortton
('r.)
vs
Power Output (N);
0.1
":::7-4°1114
0OHM5
8.010
'
,
,
`
.
McIntosh 14C7200
CCII-It, Dtstertton
(t) versus
Power Output
(halts): McIntosh
MC72B0
.--.-...'rf
B. w;01
OHMS
500
1
A
B
A
B
C(:IP-IM Dtstorston
SMP:E-IM Dlstortten (s)
vs
(P.)
versus Power Output (Notts);
McInto h MC7200
Power Output (N); McIntosh MC720B
8.010,
B.Bhlf
BRIDGED
BRIDGED
0.010
'10
"ik
9.991,
~us p
Fig. 6-CCIF-IM distortion
vs. power output for
stereo operation (A) and
,
Fig. 5-SMPTE-IM
distortion vs. power
output for stereo
operation (A) and for
for bridged mono
operation into 8 ohms (B).
bridged mono operation
into 8 ohms (B).
0.0007% at 200 watts into 8 ohms and at 300 watts into 4
ohms and was 0.00052% at 600 watts into 8 ohms in
bridged mono mode.
Damping factor, referred to 8 -ohm loads and using a 50 Hz test signal, measured 235, well above the minimum of
200 claimed by McIntosh. The A -weighted S/N ratio was 85
dB below
watt. Translated to a reference level of rated
output (200 watts per channel into 8 ohms), this works out to
an S/N ratio of 108 dB-again, better than the 105 dB
claimed by the manufacturer. Using 8 -ohm loads, dynamic
headroom amounted to 2.1 dB, which means that for short
musical peaks of 20 mS or so, this amplifier can deliver
nearly 325 watts per channel into 8 -ohm loads. With 4 -ohm
loads, the dynamic headroom was even greater, measuring
nearly 2.5 dB.
1
Use and Listening Tests
Because this amplifier has gain controls, was able to
connect my reference CD player directly to the MC 7200. To
have done otherwise would have meant using a preamplifier
whose characteristics may not have been as good as those
I
78
of the amp was trying to judge. At almost the same time I
started to test this amplifier, some new Delos releases
arrived in my lab. One of these, Organ Works by Ned Rorem
(Delos D/CD-3076), was perfect for putting this amp through
its paces, what with the powerful, sonorous tones that the
Marcussen organ at Wichita State University in Kansas
produced. The MC 7200 never seemed strained, nor was
I
there ever a time when the Power Guard lights illuminated.
Although not all of this organ music suited my taste, it
certainly was a good disc for testing a high-powered, low distortion amplifier such as this.
Once had satisfied myself that the "Mac" could handle
the peaks and complex sounds of the organ,
turned to
another recent Delos release that features, among other
works by Haydn, his Symphony No. 51 in B -Flat Major
(Delos DE -3064). This recording may not have made as
severe demands on the MC 7200, but it certainly offered a
soothing respite after all the bench testing. All of which
proves that a superbly designed amplifier such as the
McIntosh MC 7200 delivers good sound, whatever the type
of music.
Leonard Feldman
I
I
AUDIO/JANUARY 1990
HIGH PERFORMANCE
BY
APOGEE
'LS
S.
FROM THE AFFORDABLE
"STAGE"
TO THE INCREDIBLE
"DIVA",
APOGEE BLENDS ADVANCED DESIGN WITH
CUTTING EDGE TECHNOLOGY. APOGEE'S RIBBON TECHNOLOGY CONTINUALLY WINS BEST SOUND DISTINCTIONS
AT
AUDIO SHOWS WORLDWIDE. CONTACT APOGEE ACOUSTICS FOR THE DEALER NEAREST YOU.
nnoGEE nCOUSTICS
APOGEE ACOUSTICS, INC., 35 YORK INDUSTRIAL PARK, RANDOLPH, MA 02368
Enter No. 6 on Reader Service Card
(617) 963-0124 - FAX (617) 963-8567
© 1989 Philips Consumer Electronics Company
A
D0000 of No.
A
mcan Pfahps Ccporaeon
y
O
.-' ..
U
n .0o.
YT
poi"
µ
-
O=
141.1
WH1000.
THE PREMIER CD RAYER FROM
PI-IILIPS
THE COMPANY1h&T
PREMIERED CD TECHNOLOGY
wooi,ii/`,%_
,...
.
This limited edition Reference Series LHH 1000 is a
direct descendant of Philips' broadcast -standard CD
recording and mastering equipment. In fact, it's the first
consumer model with the professional LHH designation.
With this breeding, no wonder the LHH 1000 is of
exceptional quality, inside and out. For complete
isolation, the transport and D/A converter are housed
separately. This dual -chassis design virtually eliminates
inter -component interference and thoroughly
dampens vibration. And with coaxial or optical fiber
cable connecters between the two units, you get virtually
error -free transmission. The result is pure sound with
absolutely no distortion.
As a fitting complement to this elegant architecture,
its construction is uncompromised. No expense was
spared in utilizing the materials best suited for sound.
..,
/,:
For example, Philips' top CDM-1 transport and all
critical chassis components are made of solid diecast
aluminum zinc alloy.
Further, the LHH1000 features Philips' premier
creation-16-bit, four times oversampling. And
the heart of the separate digital -to -analog converter is
Philips' Special Select Grade TDA-1541A-S1 chip,
widely regarded as the premier DAC technology.
The LHH 1000 delivers a high degree of sonic accuracy.
In fact, it has been "recommended ...in Class A of
Stereophile's 'Recommended Components' listing"*
Experience firsthand the outstanding stereo
imaging, the articulation and resonance of this
remarkable instrument and our complete line of CD
players. Call 1-800-223-/%/2 for your nearest Philips
audio specialist. Stereoph,/e, Vol. 12, No. 6, June 1989.
WORLD -CLASS TECHNOLOGY. EUROPEAN EXCELLENCE.
PHILIPS
PHILIPS
EQUIPMENT PROFILE
Manufacturer's Specifications
Frequency Response: Phono, 20
Hz to 20 kHz, ±0.2 dB; high level,
Hz to 500 kHz, +0, -1.0 dB.
THD: 0.02%, 20 Hz to 20 kHz.
S/N (Unweighted): Phono, 80 dB
with "Low" sensitivity setting, 76 dB
with "Mid" setting, 72 dB with "High"
setting; high level, 90 dB.
Output Level: Main, V;
Power Requirements:
1
60 Hz, 20 watts.
1
Phono Input Sensitivity: "Low"
setting, 1.5 mV; "Mid" setting, 0.5
mV; "High" setting, 0.15 mV.
DOLAN
PM1
Phono Overload Level (for 0.1%
THD at 1 kHz): "Low" setting, 180
tape, 0.1 V.
120 V a.c.,
Dimensions:
19 in. W x 23/4 in. H x
10 in. D (48.3 cm x 7 cm x 25.4
cm).
Weight: 13 lbs. (5.9 kg).
Price: $2,495.
Company Address: c/o Fanfare
In-
ternational, 500 East 77th St., New
York, N.Y. 10021.
For literature, circle No. 91
mV; "Mid" setting, 60 mV; "High"
setting, 18 mV.
PREAMP
NWiit
c
s[1,01.1
,CAsu.
o
.
\,
82
1
AUDIO/JANUARY 1990
The Dolan company was formed in 1983 by a couple of
computer consultants who decided to turn their audio hobby into a business. From what understand, the PM1 is the
only product in their line at present, but an interesting power
amplifier that will drive 0.1 -ohm loads is in the works and
should be out in early 1990. Their preamplifier has a rather
striking appearance because of its low, rack -width front
panel, which is brushed gold with knobs to match.
The PM1's front panel includes rotary balance and volume controls; switches for power and mute on/off, mono/
I
stereo mode, tape monitor, and, finally, selection of input,
phono input resistance, and phono input capacitance. Rotary switches are used for the input and phono input -resistance selectors.
Located on the rear panel are seven pairs of high -quality
Tiffany input and output RCA connectors, a ground binding
post, a three -position phono gain switch, two switched outlets, one unswitched outlet, and a combination a.c. power
cord socket and line fuse.
Looking within, we find a single -sided p.c. board taking
up about 60% to 70% of the interior space. To the left of this
board, as seen from the front, is a 30 -VA toroidal power
transformer. While most components built with p.c. boards
have board -mounted switches and signal jacks, the PMI's
jacks and switches are not mounted to the board. Numerous
pairs of shielded wires by Straight Wire connect the front panel controls and signal jacks to the board. Of note here is
that these shielded wires go right to the point of use on the
board rather than to the edge, as is typical. The volume and
balance controls have a small p.c. board under them for
circuit interconnection because these parts are of the p.c.mount type. Parts and construction quality appear to be of
high order.
The chassis is a single sheet of steel, bent up to form the
rear, sides, bottom, and front subpanel. The front subpanel
and rear panel are further bent over at the top to create a 5/s inch ledge to mount Pemm nuts for attaching the top cover.
The top cover is a U-shaped piece of steel tha: covers the
sides of the chassis and is screwed into the Pemm nuts in
the rear panel and front subpanel and to Pemm nuts in the
chassis sides. The assembled unit is rather heavy for a
simple preamp and is solid and rigid.
Circuit Description
wasn't supplied a schematic diagram for the PM1. However, the owner's manual gives some circuit details, and
along with some observation of the insides on my part, was
able to get a pretty good idea of what makes the PM1 tick.
The overall topology of this preamp has three gain blocks
per channel, two in the phono preamp, with the third being
the line -output amp (Fig. 1). Across the phono inputs (which
are also, of course, the inputs to the first phono amp block)
are loading networks controlled by two front -panel switches.
One is a rotary switch selecting input resistances of 10, 30,
100, 300, and 1,000 ohms and 47 kilohms; the other, a
three -position toggle, adds shunt input capacitance of 0,
I
I
150, or 390 pF.
The phono preamp's first gain block has flat frequency
response and a choice of three gain levels, selected by a
switch next to the phono input jacks on the rear panel. The
output of this block is capacitor -coupled to an RC network
(a resistor in series and a capacitor in shunt) that performs
the RIAA equalization's 2,120 -Hz roll -off. This RC network
then feeds the input of the second phono circuit block.
This second block adds more gain and provides the RIAA
equalization's bass boost from 500 to 50 Hz in the feedback
loop around this gain block. A servo circuit around this
block keeps its output d.c. offset low, so that output coupling capacitors won't be required between this block and
the tape -out jacks and selector switch. The servo is said to
have a low -frequency cutoff of 0.5 Hz, with a slope of 6 dB
per octave; this means the low-frequency cutoff of the second phono stage and the line stage is also 0.5 Hz.
The output of the phono preamp, along with three of the
four high-level inputs, is applied to the selector switch.
Output of the selector switch feeds the tape output jack and
one input terminal of the tape monitor switch; the tape input
jack feeds the switch's other terminal. Emerging from the
tape monitor switch, the signal next encounters the stereo/
mono mode switch, a double-pole/double-throw toggle. In
stereo mode, this switch just passes the signal through. In
the mono mode, the signal -source channels are tied directly
together, and series resistors are inserted in the signal path
for each channel-presumably to reduce the level of the
mono sum. In my opinion, this is not the way to do it, as it
shorts the two channels of the selected source together,
which could cause distotion with strong out -of -phase information. Perhaps there was a wiring mistake in the sample
was sent for review.
Next come the volume and balance controls. The volume
control is a 50-kilohm, log -taper unit. The balance control is
a silvered, 25-kilohm unit-that is, its wiper track is of low
resistance from one end to the center, with the 25-kilohm
resistance between the center and the other end. The balance control's wiper feeds the input of the line amplifier.
Also, at this circuit point, the front -panel mute switch shorts
the signal to ground when in the mute position. Another
result of this topology is that, in stereo mode, the selected
source gets shorted to ground if the front -panel muting
I
AUDIO/JANUARY 1990
83
For better phono cartridge
matching, the PM1 has both
resistance and capacitance
selectors right on its front
panel.
INPUTS
TAPE
MONITOR
TAPE
INPUT
SELECTOR
TUNER
MODE
MONO
45
CD
AUX
PHONO
Fig. 1-Circuit topology of
the Dolan PM1. Note that
RIAA equalization is split
between two networks.
The switchable circuits
for phono input loading
are not shown.
TO
OTHER
CHANNEL
QJMUTE
OUTPUTS
TAPE
PHONO GROUND
MUTING
RELAY
III
.24 V
MAIN
50 500
FREQUENCY
+
-24
COMMON
V
POWER SUPPLY
ANO
MUTING CIRCUIT
Cc
111
24 V
-24 V
COMMON
switch is engaged when the volume control is full up. This is
not a likely condition, however, as the volume control is
rarely set to its full -clockwise position.
The signal circuitry of each of the gain blocks is all
discrete, with the exception of IC op -amps in the servo
circuit. At the start of each gain block is a differential
amplifier that is resistively loaded and direct -coupled to
another differential amp that forms the block's second
stage. This stage is connected in a cascode arrangement
and terminates in a current -turnaround circuit whose output
signal to ground is the sum of both differential phases. This
signal then drives complementary emitter followers that are
biased for Class -A operation and produce the final output
signal from a low output impedance.
The first stage of the phono circuit uses a low -noise
LM394 monolithic transistor pair. This device is an NPN
type, and presumably the other gain blocks start out with
input devices of N -channel polarity. This would mean that
the second stage's differential amp and cascode devices
would be of P polarity and probably bipolar, and the current -turnaround devices would be N polarity. The line amp is
said to use FET devices, so an input coupling capacitor to
that gain block is not needed. In all three of these blocks,
the input signal is applied to the noninverting input of the
input differential pair and the feedback is applied to the
inverting input, in typical op -amp circuit topology.
The power supply in the PM1 starts out with a 30 -VA
toroidal power transformer feeding a bridge rectifier and
capacitor input filters to produce an unregulated positive
and negative 32.5-V d.c. supply across two 1,500-µF, 50-V
capacitors. Two positive and two negative four -terminal TO 220 -sized IC regulators of a variety I'm not familiar with feed
the two amplifier circuit channels with ±24 V. From what
could see, these regulated voltages feed all three gain
blocks of each channel directly, with no resistive decoupling
along the way. There are small, apparently monolithic (and
I
84
hopefully Mylar) bypass capacitors on the supply lines at
the local site of each gain block.
A time -delay circuit mutes the output for a suitable period
at turn -on, so that circuit -settling surges won't emerge from
the main outputs. The tape monitor outputs are not so
muted. A normally closed pair of contacts in the muting
relay directly shorts the main output until the time -delay
circuit energizes the coil and thus unshorts the outputs.
Upon turn-off, the relay immediately shorts again, thus preventing turn-off thumps from coming through.
Measurements
Focusing on the output line section first, output resistance
was measured and found to be about 660 ohms at the main
outputs. Since this unit has no buffer resistors in series with
the tape -out jacks, the output impedance looking back into
these jacks is that of the selected source. The impedance of
the line inputs is about 50 kilohms-that of the volume
control's value when the volume control is turned down. This.
input impedance decreases to about 13.5 kilohms at full
volume, due to the 25-kilohm balance control's becoming in
parallel with the 50 kilohms of the volume control and some
input resistance in the line amp also coming in parallel. The
theoretical value would be 16.7 kilohms if no other resistance was in shunt. The input impedance will stay above
about 45 kilohms until the volume control is taken past half
rotation. In my use of the unit, generally set the volume
control below that point for the weakest source, which was
phono in medium gain mode.
Volume control tracking was found to be within 0.2 dB
from the control's highest setting down to the second detent
from full counterclockwise (60 dB). At the next -to -last detent
(about -87 dB), the difference between channels was 2.4
dB. This is very good performance.
The d.c. offset of the output amp measured about + 1 mV
for the right channel and + 13 mV for the left.
I
AUDIO/JANUARY 1990
California Audio Labs
There is an all new
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`
Q
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r/Aa
ii-
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,,1-1,,1-1--ir-s-
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ai'denGroae Blvd. Suit
1'
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ri
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v-Is
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For More
Information
Call 1-80C-553-4355
\
.911894,6706
Volume control tracking
was within 0.2 dB, from
full up all the way down
to the penultimate detent,
which is very good.
Fig. 2 -Line -section
square-wave response.
Overlapped traces (top)
show 100 kHz into
instrument and IHF loads;
middle trace shows
100 kHz into instrument
load, with volume control
turned down 6 dB; bottom
trace is 20 Hz into
instrument or IHF load.
(Scales: Vertical,
5 V/div.; horizontal,
2 µS/div. for 100 kHz,
100 mS/div. for 20 Hz.)
Referred input noise for the line section is shown in Table
I. This unit seems to have some kind of ground -loop problem when the volume control is fully clockwise and the
inputs are terminated in any low to medium impedance, as
the noise was mostly composed of a strong, 60 -Hz -based
signal with strong, lower odd harmonics. This is evident in
Table in the cases where the volume control is fully clockwise and the inputs are terminated, for those measurement
bandwidths that don't attenuate the lower harmonics of the
60 -Hz line frequency. This hum is just audible at the speakers in my setup, with the line inputs terminated and the
volume fully up. With the volume clockwise and the inputs
open -circuited, this waveform went away and full -bandwidth
noise was much lower. In the rest of the spectrum (above
400 Hz), noise is satisfactorily low. Interestingly, the IHF S/N
ratio was not affected by this full -volume 60 -Hz noise. This is
because the IHF measurement, which is A -weighted and
referenced to 500 mV, is made with the volume control
turned down about 20 dB, to the point where 500 mV input
produces 500 mV out.
Crosstalk between channels was measured for the line
section and was found to be quite symmetrical with respect
to direction. It was better than -80 dB up to about 3 kHz,
decreasing to -70 dB at 10 kHz, -64 dB at 20 kHz, and
56 dB at 50 kHz. At 10 kHz, rotating the balance control
toward the driven channel increased the crosstalk to about
63 dB, and with the balance control centered and the
volume control turned down to worst -case crosstalk, the
I
-
86
amount increased from -70 to -64 dB. This is quite good
performance in this area.
THD + N was less than 0.01% from 20 Hz to 20 kHz at 4 V
rms output or less, with instrument or IHF loading. Harmonic
distortion was dominantly second order. The distortion level
stayed reasonably constant with frequency, but the distortion products got a bit more complex from 10 to 20 kHz.
Clipping, with either instrument or IHF loading, occurred at
about 13 to 14 V rms. The unit drives 600 ohms quite nicely,
with no low -frequency roll -off, as there is no output coupling
capacitor.
Output amplifier rise- and fall -times for ±5 V out, volume
at maximum, and instrument loading were about ±0.3 µS,
with some ringing evident. Under the same conditions but
for IHF loading, the rise- and fall -times were ± 1.6 µS. With
Table I -Line -section noise levels (in µV), referred to input,
vs. bandwidth for counterclockwise volume setting with 1kilohm input termination (CCW), clockwise volume setting
with inputs open -circuited (CWO), and clockwise with inputs terminated by 1 kilohm (CW). The IHF S/N ratio was
88.0 dB for the left channel and 88.5 dB for the right.
Left Channel
Bandwidth
CCW
Wideband
3.0
20 Hz to 20 kHz
400 Hz to 20 kHz
A-Weighted
2.1
1.2
1.3
Right Channel
Cw0
4.8
2.9
2.2
Cw
CCW
CWO
Cw
22.0
21.0
4.3
3.8
4.1
2.1
4.5
1.8
1.9
4.8
4.2
2.6
2.6
27.0
25.2
4.9
5.5
Table IIA-Gain (in dB) with instrument and IHF loads, at all
three gain settings.
Phono to Tape Out
Low Gain
Medium Gain
High Gain
Phono to Main Out
Low Gain
Medium Gain
High Gain
AUX to Tape Out
AUX to Main Out
Table IIB
Left Channel
Right Channel
Instr.
Load
IHF
Load
Instr.
Load
37.7
47.0
56.3
37.0
46.2
55.6
37.7
46.9
56.2
37.0
58.9
58.2
67.4
76.7
58.9
68.1
77.4
58.2
68.4
76.7
68.1
77.4
IHF
Load
46.2
55.4
0
0
0
0
21.5
21.0
21.6
21.0
IHF sensitivity (in mV), at all three gain settings.
Left Channel
Phono to Tape Out
Low Gain
Medium Gain
High Gain
Phono to Main Out
Low Gain
Medium Gain
High Gain
AUX to Tape Out
AUX to Main Out
7.1
2.4
0.84
Right Channel
7.2
2.5
0.85
0.62
0.62
0.21
0.21
0.072
500.0
0.072
500.0
44.5
45.0
AUDIO/JANUARY 1990
roruc,
au
e
0
model GFA-565
dcom stereo components
have a loyal and devoted
following, having earned
a reputation among audiophiles, engineers and
musicians for extraordinary performance at
affordable prices. Now Adcom introduces its newest
amplifier, the no compromise GFA-565, for those
in pursuit of absolute power and sonic perfection,
but who prefer not paying a king's ransom.
The Evolution of Adcom's GFA-565
Adcom's new mono GFA-565 evolves from
the design of the critically acclaimed GFA-555,
greatly extending its capabilities. Representing
brute strength, it delivers 300 watts at 8 ohms,
450 watts at 4 ohms and an awesome 850 watts
at 2 ohms* Most significantly, it will accurately
drive even esoteric loudspeakers which present
loads as low as 1 ohm.
Inspired by the GFA-555, the new GFA-565's
well -regulated, high -current power supply has an
enormous reserve capacity to meet tremendous
dynamic demands, resulting in distortion -free
reproduction on a continuous basis.
c.co_._.
no a
instantaneous distortion alert
er.
thermal protection
Why Use Two Mono Amplifiers?
More Sound, Less Money
The ability to deliver very high power into
complex loads is a prerequisite for superior sound
reproduction. Power supplies capable of delivering
the energy necessary for high power, high -current
amplifiers are massive. But there are practical
limits to the size and weight of stereo amplifiers
designed for home use, as well as heat dissipation
and reliability constraints. Consequently, the use
of two Adcom GFA-565 mono amplifiers offers
optimum sound definition, detail and dynamics,
satisfying even the most demanding perfectionist.
Like the GFA-555, the new Adcom GFA-565
sounds superior to amplifiers costing two and three
times as much. It is so powerful and pure that it
may be the last amplifier you ever buy, even if you
upgrade your loudspeakers several times over the
years. And that makes the GFA-565 an extraordinary
bargain considering its exceptional performance.
*Continuous power output, 20 Hz - 20 kHz <002% THD,
measured in accordance with FIE' specifications.
(over please)
The Adcom GFA-565:
details you can heat
Hig h-Current
Output Stage
More and more of
today's high performance
loudspeakers exhibit very
r-I
O:7O)
low impedances and
particularly difficult loads.
Many so-called esoteric
amplifiers are incapable of
delivering large amounts
of undistorted power
continuously into these
complex loads thereby
defeating the objectives of
Adcom components are also available with white front panels.
the loudspeaker's design.
Shown: GFA-545 with GFP-555 preamplifier
The GFA-565's highly
and GFT-555 AM/FM stereo tuner.
advanced, triple Darlington
are incorporated which would
output stage featuring 20 rugged,
restrict the delivery of full power
discrete output transistors is
output. Protection against short
designed to deliver extremely
term overloads, short circuits
high -current at low impedances
or long term, excessive output
into reactive loads. No protection
is achieved by non -interfering
circuitry or current limiting devices
power supply fuses and thermal
circuit breakers.
OOO
Specifications
Power output, watts/channel,
continuous, 20 Hz - 20 kHz,
<0.02% THD: 8 ohms/300
4 ohms/450
2 ohms/850
Signal-to-noise ratio, A-weighted,
full output: >106 dB
Input impedance: 50,000 ohms
Input sensitivity:
For rated output: 2.15 V
For
1
watt: 130 mV
Damping factor (20 Hz - 20 kHz):
>1000 @ 8 ohms
Dynamic headroom (at 4 ohms):
dB
Voltage: 120 V/60 Hz (available in
220 V/50 Hz on special order)
Dimensions: 17" x 8'A" x 111/2"D
(432 mm x 210 mm x 292 mm D)
Shipping weight: 45 lbs (20.50 kg)
Available options:
565 FAN: Top mounted, automatically
variable, ventilating fan.
565 BAL: Rear mounted, symmetrical
(balanced line) input circuit.
RM-8 rack mount adaptors.
White front panel and switch.
1.6
Well Regulated,
High -Current Power Supply
Advancements in CD technology
and the introduction of digital audio
tape have created opportunities to
reproduce the full dynamics and
psychoacoustic experience of a
live musical performance. To
realize the full potential of this
technology, amplifiers and
loudspeakers must be capable of
delivering tremendous energy
continuously, not just for tiny
fractions of a second.
The massive power supply of
Adcom's GFA-565, featuring
70,000 microfarads of filter
capacitance and a huge 1.25kVA
toroidal power transformer, has
enormous reserve power capability.
This is a no compromise power
supply that eliminates all audible
Enter No. 3 on Reader Service Card
limitations. Hum, vibration
and noise, the byproducts of
lesser power supplies, have
also been reduced to an
absolute minimum. For
most home applications,
the optional variable speed
cooling fan is unnecessary,
making the GFA-565 a
silent performer despite its
formidable power.
Instantaneous
Distortion Alert
A highly accurate LED on the
front panel is activated by a unique
monitor circuit if any form of
distortion-THD, IM, TIM, SID,
etc.-exceeds 1 percent. This will
provide ample warning that the
music system is being operated
beyond its design parameters.
Ask for a Demonstration
No amount of words or
technical specifications will
adequately describe the experience
of listening to a music system
featuring a pair of Adcom GFA-565
amplifiers. If you are one of those
few who are seeking real power
and sonic perfection, please
contact your authorized Adcom
dealer for a demonstration of this
most remarkable audio component.
details you can
he á
11 Elkins Road, East Brunswick, NJ 08816
U.S.A. (201) 390-1130
Distributed in Canada by PRO ACOUSTICS INC.
Pointe Claire, Quebec H9R 4X5
á
Distortion stayed below
0.01% from 20 Hz to 20 kHz;
it was mostly second -order
up to about 10 kHz.
instrument loading and the volume reduced to -6 dB, rise and fall -times lengthened to -±1 µS. Slewing started to
occur above 10 V peak to peak and was worse on the
positive -going transition. Figure 2 shows 'scope photos of
output amp square -wave performance. The top trace is for
100 kHz at an output level of 10 V peak to peak, with both
instrument and IHF loading. The middle trace shows the
same signal, with instrument loading but with the volume
control turned down 6 dB from maximum. The bottom trace
is for 20 Hz and is the same with either instrument or IHF
loading. A slight amount of tilt is evident here, due to the
servo's low -frequency corner.
Turning to the phono section, gain and sensitivity measurements are shown in Table II. Table Ill shows referred
input noise as a function of phono gain setting for a variety
of bandwidths and input terminations; IHF S/N ratios are
also listed in this Table. Noise performance of the phono
section is pretty good, and noise is unlikely to be a problem
except when using MC cartridges, of extremely low output,
without a step-up transformer.
Crosstalk between channels was measured for medium
and high gain settings, with the undriven channel terminated by 100 ohms. Results were about the same for both gain
settings and were quite symmetrical with respect to direction. Crosstalk was down more than 80 dB at frequencies up
to about 10 kHz, increasing to about 72 dB at 20 kHz. In the
low gain mode, treated as an MM input and terminated in
the dummy IHF MM load, crosstalk was down more than 80
dB at frequencies up to 1 kHz; crosstalk peaked at 10 kHz,
where it was about 50 dB down.
Phono overload versus frequency is shown in Table IV for
low and high gain settings. The left channel is shown here;
both channels were very close in their measurements. The
output level at the overload point is quite constant with
frequency, which means the input acceptance is effectively
constant with frequency as well -that's very close to ideal.
A bit of clarification on that: Both MM and MC cartridges
are velocity -responsive. When playing an LP of test signals
from 20 Hz to 20 kHz, made with RIAA record equalization,
the cartridge's output will rise with frequency, and that rise
will be the inverse of the RIAA playback EQ curve. Now
imagine a test disc that would drive the cartridge so hard
that it made the phono preamp circuit just begin to clip at
kHz, and that it put out correspondingly high levels at all
frequencies from 20 Hz to 20 kHz. (In actuality, no such disc
could be cut, and no cartridge could track it.) A phono
preamp with ideal signal acceptance would just begin to
clip at all the frequencies from 20 Hz to 20 kHz.
Figure 3 shows RIAA equalization error versus frequency.
The curves shown are for the medium gain setting; the
response curves for the low and high gain positions were
virtually identical. IHF loading didn't change the curve's
shape, just its level. Of note here is the very close channel
match and the general roll -off shelf at the low end.
Oscilloscope photos of pre -equalized square -wave signals going through the phono preamp are shown in Fig. 4.
From top to bottom, the test frequencies are 10 kHz, kHz,
and 40 Hz. The 10- and -kHz waveforms look really good,
and the effects of the low -frequency roll -off shelf in the
frequency response can be seen in the 40 -Hz square wave
1
Table Ill-Phono-section noise, referred to input, and IHF
S/N ratios vs. gain setting and source impedance.
Referred Input Noise, µV
Bandwidth
Low Gain, IHF MM
Wideband
20 Hz to 20 kHz
400 Hz to 20 kHz
A -Weighted
Medium Gain, 100 OhmsWideband
20 Hz to 20 kHz
400 Hz to 20 kHz
A -Weighted
Medium Gain, IHF MM
Wideband
20 Hz to 20 kHz
400 Hz to 20 kHz
A -Weighted
High Gain, 100 Ohms
Wideband
20 Hz to 20 kHz
400 Hz to 20 kHz
A -Weighted
Left Channel
Right Channel
1.15
0.95
0.74
0.7
1.25
0.78
0.73
0.45
0.28
0.12
0.12
0.8
0.35
0.12
0.13
1.0
0.85
0.72
0.7
1.2
1.0
0.76
0.71
0.4
0.25
0.7
0.35
0.1
0.1
0.1
1.1
0.11
IHF SIN Ratio, dB
Low Gain, IHF MM
Medium Gain, 100 Ohms
Medium Gain, IHF MM
High Gain, 100 Ohms
- 76.0
-72.0
- 76.3
-76.6
-72.4
-77.0
-73.5
-73.0
Table IV-Phono overload vs. frequency, gain, and load.
Frequency,
Hz
Low Ga'n
20
50
100
300
1k
3k
5k
10k
20k
High Gain
20
50
100
300
1k
3k
5k
10k
20k
Instrument Load
Input, mV
10.0
26.7
43.5
96.5
177.0
305.0
450.0
865.0
1700.0
1.05
3.0
7.2
11.2
21.0
36.0
54.0
102.0
207.0
Output,
13.5
13.7
13.7
13.7
13.7
13.7
13.7
13.6
13.6
13.2
13.6
13.8
13.7
13.7
13.7
13.7
13.7
13.6
V
IHF Load
Input, mV
10.0
26.7
43.5
96.5
177.0
305.0
450.0
865.0
1700.0
1.05
3.0
7.2
11.2
21.0
36.0
54.0
102.0
207.0
Output,
V
12.6
12.9
13.0
12.9
12.9
12.9
12.9
12.8
12.8
12.4
12.8
12.9
12.9
12.9
12.8
12.9
12.8
12.7
1
1
AUDIO/JANUARY 1990
91
Summing up, the Dolan PM1
is a good preamplifier that
basically serves the music.
I recommend it.
LEFT
0
RIGHT
20
100
10k
1
FREQUENCY
Fig. 3-RIAA equalization
error at medium gain
setting, with instrument
load on output and
47-kilohm resistive
load on input.
-
Hz
20k
The traces shown are for instrument loading; IHF loading
didn't change their shape, though it did change their level
slightly.
Figure 5 shows the result of feeding in a 1 -kHz pre equalized square wave whose high -frequency content is not
band -limited and then increasing this signal's amplitude at
the input. All phono preamps ultimately overload when out of -band high frequencies are applied in this way. As Fig. 5
shows, when the PM1 overloads, the resulting compression
symmetrical, which is desirable circuit behavior.
also tried this test with the low gain setting-a largely
academic test, since the resulting signal levels would be
unlikely to occur with actual cartridges-and something
interesting happened: The preamp latched up and went to
+20 V d.c. output in one channel and -20 V in the other!
"Oops, there goes this circuit," thought. "I won't be able to
listen to it." But after some dispirited tweaking of the gain
switch and the input signal level, lo and behold, the PM1
came back and worked again!
Phono-stage harmonic distortion was, as usual, hard to
measure without some hum contaminating the results. In the
high gain mode, got about 0.01% THD + N from 20 Hz to
10 kHz, rising to about 0.014% at 20 kHz at an output level
of 3 V rms-both good results-with either instrument or IHF
loading. The harmonic distortion residue was essentially
second -harmonic.
also measured d.c. offset. At the tape output, with the
phono input selected, it was less than 10 mV in either
channel.
is
I
I
I
I
Fig. 4-Response to pre equalized square waves
through phono input for,
top to bottom, 10 kHz,
1 kHz, and 40 Hz. (Scales:
Vertical, 0.5 V/div.;
horizontal, 20 µS/div.
for 10 kHz, 200 µS/div.
for 1 kHz, 5 mS/div.
for 40 Hz.)
5-Results of
deliberate high-frequency
overload from 1 -kHz
square waves at four
different input levels.
Note the symmetrical
clipping; see text.
(Scales: Vertical, 2 V/div.;
horizontal, 200 µS/div.)
Fig.
92
Use and Listening Tests
Equipment used to evaluate the Dolan PM1 included an
Oracle turntable fitted with a Well Tempered arm and
Koetsu Black Goldline MC cartridge, a California Audio
Labs Tempest II Special Edition CD player, a Nakamichi 250
cassette deck, a Technics 1500 reel-to-reel recorder, a
Cook -King reference tube phono preamp, and EAR 519
mono tube power amps driving Siefert Research Magnum Ill
speakers and Stax SR-X/Mk3 electrostatic headphones via
an SRD-7 Pro energizer.
First listening with the PM1 was with Compact Discs as a
source, using the line section of the unit. Generally, the
sound was pretty satisfactory and listenable, but the Dolan
had a noticeable tendency toward a slight coarsening of
texture and a reduction in depth and delicacy when compared to my reference stepped attenuator used as a system
volume control.
Phono reproduction through the PM1 was musical and
satisfying. However, my sense that the music was being
performed in real space, my sense of that space's size, and
the general believability weren't as good as with my reference tube phono preamp and stepped attenuator, and the
bass was not as prominent.
Operationally, the unit worked nicely; there were no real
surprises. felt that the selector and the phono resistive loading switches felt a little clunky, with slightly too much
play in their shaft bushings.
Summing up, think the Dolan PM1 is a good preamp that
basically serves the music, and recommend it.
Bascom H. King
I
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I
AUDIO/JANUARY 1990
BEST OF BOTH WORLDS
ti.
,....1/M..
narr
NM
MOM
o,,,.E
.aM.E./11
10 et.
f
FI
MU<tE
Great musical performances preserved on analog LP and
compact disc continue to benefit from the further refinement of analog technology. The No. 25 Dual Monaural
Phono Preamplifier and balanced input option expand the
flexibility and performance available from the No. 26 Dual
Monaural Preamplifier system. When used together, or
independently, they offer a new level of performance and
musical realism for any phono or balanced output high
level source.
All Mark Levinson products are handcrafted in limited
quantities to ensure their high standards. Visit your Mark
Levinson dealer to hear how good music can sound in
your home.
Mark Levinson' products .aw designed and manufactured by MADRIGAL AUDIO LABORATORIES
PO Box 781. Middletown. CT 06457 ITT TLX 4941158
EQUIPMENT PROFILE.
PHILIPS
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PHILIPS
LHH1000
COMPACT
DISC
PLAYER
Favorite Track Selection Memory Capacity: Typically, 150 discs
t
c
Channel Separation:
THD: 0.0015%
Digital Input
with five selections each or 70 discs
with 20 selections each.
Power Requirements: 120 V a.c.,
60 Hz, 0.18 ampere.
Temperature Range: 41° to 95° F
(5° to 35° C).
Humidity Range: 5% to 90%.
Dimensions: 177/e in. W x 4'/8 in. H
x 13% in. D (45.4 cm x 10.3 cm x
34.5 cm).
Weight: 30.8 lbs. (14 kg).
to peak, 75 ohms.
Optical Output Level: -15 to
dBm.
- 23
Number of Programmable
"Blocks": 20.
LHH1002 D'/A Converter
Sampling Rate: 48 kHz, 44.1
peak, 75 ohms.
to
-23
dBm.
Analog Output Level: Unbalanced
outputs, 2 V; balanced outputs, 3 V;
headphone output, 45 mW into 32
ohms.
Power Requirements:
120 V a.c.,
60 Hz, 0.2 ampere.
Dimensions:
D
177/e in. W x 41/e in. H
(45.5 cm x 10.3 cm x
34.5 cm).
Weight: 30.8
kHz, or
lbs. (14 kg).
32 kHz, automatically selected.
Frequency Response: Unbalanced outputs, 2 Hz to 20 kHz, ± 0.1
dB; balanced outputs, 20 Hz to 20
kHz, +0.3,
S/N: 101 dB.
-0.6
Dynamic Range
There's a definite, if still small, trend toward two-piece, no holds -barred CD players. Philips' version. the limited -edition
LHH1000, consists of a transport (housing the laser pickup
assembly, the rest of the mechanics for the CD player, and
the servo electronics) and a separate digital -to -analog converter. This player carries a suggested list price of $4,000,
half what some other two-piece models cost but still twice
as high as state-of-the-art single -unit CD players.
According to Philips, the LHH1000's D/A converter and
digital filter use special "select grade" TDA-1541 AS -1
chips with four -times oversampling, and they are supposed
to realize more than 15.75 bits of resolution out of the 16 bits
available in the standard CD format.
The transport section features a Philips CDM-1 mechanism made of die-cast aluminum alloy. A single -beam laser
pickup floats on a radial/linear swinging arm that is supposed to result in improved tracking ability and faster track
access. The unit also has Favorite Track Selection (FTS), an
innovation introduced by Philips and Magnavox (another
Philips trade name) in many CD players costing far less than
94
1
Optical Input Level: -15
x 13% in.
Manufacturer's Specifications
LHH1001 CD Transport
Coaxial Output Level: 0.5 V peak
100 dB.
kHz.
Level: 0.5 V peak to
at
dB.
Price: $4,000
for complete system,
including remote.
Company Address:
P.O. Box
14810, Knoxville, Tenn. 37914.
For literature, circle No. 92
96 dB.
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this one. With FTS you can set the LH1000 so that, when a
given disc is inserted, the jnit will play only those tracks or
selections you have previously programmed for that disc.
This is possible because each CD, according to the Philips/
Sony CD standarcs, caries an identifying code. The player
memorizes this code alcnc with the track numbers that you
prefer to hear when the disc is played.
The transport and D/A sections of the LHH1000 can be
linked via a coaxial caL4e or a supplied optical-fiber cable
said ta have ÓiamnnÚ'pplishegconnectors.
|Ú color-rathThe two components are a champ
er a welcome departure from the all -black finish almost
every audio manu'actuner nua adopted as a de facto "standard" for high-eni equipment. The system comes with a
sophisticated universal remote control that can learn 150
functions from other remot3s of audio and video products.
Control Layout
Eac.h of the LHH1000's components is fitted with a swingdowndown
AUDIO/JANUARY 1990
door, along the lcwer edge of the front panel, which
95
The spectrum analysis
of residual noise shows
how well the power supply
is shielded from the audio
signal circuitry.
Awplltude (dB) Versus
2.0000
Frequency (Hz)
Philips LHH1000
1.5000
1.502
1.0000
1.000
.50900
LEFT
0.0
RIGHT
-.5000.
-1.00
-1.500.
100
14
.10k
264-2'""
Fig. 1-Frequency
response.
Interchannel phase (de9.) Vera,. s Frequency (Hz),
...
10.000. ..
Ph111ps LHH1000
8.0000.
6.0000
4.0000,
2.0000
0.0
-
-2.000
-4.000.
-6.000
-""B:.000
Fig.
2.00k
4.00k
6.004
8.006
10.0k
12.0k
14.0k
16.0k
18.04
20.04
2-Interchannel
phase difference vs.
frequency.
SPeeteuw
Analysis
4f Residual Yolse
hides seldom -used controls. With the panel closed, the
transport unit shows switches only for power, drawer open/
close, play/stop, and track advance/reverse. An elaborate
display is also visible; it shows the usual track number,
index number, and playing time as well as such modes as
shuffle play and repeat, FTS data, and in tiny numerals from
1 to 24, the total number of tracks present on the disc.
When the hinged door of the transport unit is swung
down, numeric buttons, selection and memory keys, and
program cancellation and recall buttons are revealed. Here,
too, are buttons for "FTS," the time display (elapsed time of
track, total remairing time, and time of current track being
played), repeat, and pause as well as rockers 'for fast
forward/reverse and "Index" forward/reverse.
The transport's rear panel has two coaxial digital output
terminals and an optical output terminal. A fuse -holder is
also accessible from the rear, and a separate power cord
connects the transport to an a.c. source.
The front panel of the LHH1000's D/A unit has a power
switch at the left and a central display divided into three
areas. The first shows digital tape -monitoring mode (coaxial
or optical), the second shows whether the current sampling
frequency is 48 or 44.1 kHz (it's unlit when playing material
made with 32 -kHz sampling), and the third shows which of
the two coaxial and two optical digital inputs has been
selected. Opening the hinged door reveals a stereo headphone jack and level control, a "Digital Tape Monitor" selector, and an "Input Selector." An abbreviated block diagram
of the D/A converter is also screened onto the surface
behind the hinged door.
The converter's rear panel is equipped with two digital
coaxial inputs, two optical digital inputs, left and right unbalanced analog outputs, and left and right balanced XLR
analog output connectors. A fuse -holder and a second
power cord complete the rear panel.
was surprised to find that Philips had not provided even
one convenience a.c. outlet, either on the transport or the
D/A converter. As things stand, you will need two wall
outlets to power this two-piece system. Furthermore, you will
have to push the power switches on both components to
power up the player. (Philips says this is in keeping with the
design philosophy of maintaining separation all the way to
the a.c. wall outlet.)
I
(d8)
Versus Frequency
(H,); PMlips LHH1000
-60.0
-70.00.
-70.0
-80.00
Measurements
-100.0
-100
-110.0.
-110
-120.0
-120
-130.0
-130
140.020
10k
20k -140
Since Philips' published specifications suggest the unbalanced outputs will yield flatter response than the balanced
outputs, used this hookup for measuring performance of
this system. No doubt, matching transformers in the analog
section account for the slight deviation from perfectly flat
response encountered via the balanced XLR output connectors. In any case, interfacing the ordinary unbalanced
RCA -type output jacks with my Audio Precision test equipment, plotted the response from just above 10 Hz to 20 kHz
using my CD -1 test disc. The results are shown in Fig. 1. The
slight ripple evident at the high -frequency end of the plot
amounts to less than the claimed ±0.1 dB.
used a greatly expanded vertical scale (in degrees) to
plot interchannel phase shift between channels. For all
practical purposes, the shift was negligible (Fig. 2).
I
I
3-Residual noise vs.
frequency for "quiet"
Fig.
track of CD -1 test disc for
left channel (solid curve)
and right channel (dashed
curve).
96
I
AUDIO/JANUARY 1990
PA- 304
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acd:r w:,.erA:ov;tlie.
x,i
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i
Power by Nakamichi
There are times when the sound of
your car's engine is all the music you need
to hear. Even Nakamichi Mobile Sound
System engineers have been known to
occasionally enjoy Concerto for Tuned
Exhaust. But if you're contemplating the
installation or upgrade of a car audio system, you should know that these same
engineers have but one goal in life: to
make sure that the sounds of the world's
finest engines remain Nakamichi's only
competition.
20,000Hz response in both tape directions;
Auto Dynamic Reception plus new multi path suppression circuitry for exceptionally clean, noise -free FM; anti -theft
pull-out chassis- plur a handheld wireless
remove control.
D/A converter circuits in a unique "4 x 4"
configuration that cancels out instabilities,
glitches, and noise. This plus an 8 -times
oversamplingdigital filter result in a new
standard of accuracy and definition in
mobile sound. And auto-selection of
44.1kHz and 48kHz sampling frequencies
make it ready for future digital -output equipped car audio components, such as a
DAT player.
1
=
if
'I
-4TTTT
....
The new CD -760 Mobile Tuner/
Compact Disc Player, for example,
incorporates Nakamichi's superb glitchfree dual digital -to -analog (D/A) converters
with a 4 -times oversampling digital filter
for uncannily smooth, natural CD reproduction. A dual -chassis design reduces
noise interference and permits use of the
highest quality discrete components
throughout for compromise -free performance. The DIN -sized head unit has an
anti -theft pull-out chassis.
=
IC
'^A i T
With the TD -560 in your dash, you can
opt for the CDC -101 Mobile Compact
Disc Changer, using the former to control the latter's large variety of disc and
track access and programming features.
The CDC -101 can be mounted almost anywhere, either vertically or horizontally,
with an impressive multi -suspension system that assures virtually error -free CD
tracking. It uses convenient 10 -disc
magazines, and its glitch -free 4-times oversampling dual D/A converters assure
extraordinary reproduction quality.
s_C
-ST-.
The TD-560 Mobile Tuner/Cassette
Deck features Nakamichi's unrivaled 0.6
micron gap Crystalloy head with 2-way
azimuth calibration and an ultra -precise
auto-reverse transport to deliver 20-
And because the CDC -101 is the world's
first mobile CD player with a direct digital
output, you can connect it to another
world's first: the DAC-101 Mobile D/A
Converter. The DAC-101 employs four
Source components of this caliber
deserve no less than the PA-304 Mobile
Power Amplifier. It is lavishly constructed and endowed with state-of-the-art
circuit design that uses no overall negative
feedback whatsoever. It is a 4-, 3-, or 2 channel amplifier, depending on your
needs. And its "over -designed" digital
power supply and hand-picked discrete
power output transistors result in sonic
quality that will please the most critical ear.
As with the world's finest engines, words
cannot adequately describe the actual
behind -the -wheel Nakamichi experience.
For that, you'll have to visit your nearest
Nakamichi Mobile Sound System specialist
for a demonstration.
rikNakamichi
Nakamichi America Corporation
19701 South Vermont Avenue
Torrance, CA 90502 (800) 421-2313
In California: (800) 223-1521
Nakamichi Canada: (800) 663-6358
No difference was audible
between the optical and the
coaxial interfaces, though
the fade -to -noise test did
show some variance.
Ido
N<
+
(dB)
versus 0,.pl,lnde (dB);
Phsl,ps LHH1090
-80 00
-80.0
-22.00
-14.20'
-89.0
-26.00
-86 0
1
-22.00
i)
-ee.9
-90.00
-90.0
-92.09
!
/
-92.0
-94.0
-96.00
-96.0
-98.09'
-90.0
-180.0-100
-82.0
-90.0
4-THD
Fig.
+
-70.0
N
-62.0
-50.0
-40.0
-30.0
-22.0
-10.0
9:9 -toe
vs.
signal level for left
channel (solid curve) and
right channel (dashed
curve).
D,ssoron
?Mace ss. Fre9.,enav,
at
FsN.
A -weighted S/N ratio, referred to maximum recorded level, was a very high 112.8 dB for the left channel and 113.3
dB for the right. These results are far better than the 101 dB
claimed by Philips. A spectrum analysis of the residual
noise generated by the analog section of the system is
shown in Fig. 3, and it is clear from this plot that the power supply components are extremely well shielded from the
audio signal circuitry. There is virtually no rise in noise level
at the 60 -Hz power -line frequency or its harmonics.
Next, plotted THD + N (expressed in dB and referred to
maximum recorded level) versus amplitude, from 0 to 90
dB, using a 1 -kHz test signal that decreased in amplitude in
discrete steps (Fig. 4). Some slight increase in THD + N
was noted at higher output levels and was caused, no
doubt, by a minute amount of nonlinearity in the analog
output circuitry as higher audio levels were reached. The
THD + N value of about -86 dB shown for both channels
at 0 -dB recorded level corresponds to roughly 0.005%. This
is just about what measured at 1 kHz when plotted THD
+ N versus frequency for a signal recorded at maximum
level (Fig. 5A).
In a spot check of SMPTE-IM distortion, using test signals
at maximum recorded level, obtained readings of 0.00315%
for the left channel and 0.00265% for the right.
have recently acquired a new test disc issued by Philips.
Much of its content is similar to what the CBS CD -1 test disc
offers, but a couple of tracks yield new information that
thought might be worth including. Figure 5B, therefore,
shows THD + N for recorded levels of -60 and -24 dB,
using signals from the new Philips disc. As Figs. 5A and 5B
demonstrate, distortion in a digital playback system rises as
signal levels decrease. However, even at -60 dB, THD +
N was only about 1.5%.
Figure 6 is a plot of separation versus frequency over the
range from 125 Hz to 16 kHz. At 1 kHz, separation measured 105 dB, while at 16 kHz, separation actually increased somewhat, to 110 dB. Notice, too, that at all frequencies, separation from left to right was virtually identical
to separation from right to left. There are actually two curves
in Fig. 6, both following the same path over most of the
I
-
I
I
Record Level;
Ph,Ilps LNN1000
I
S
I
I
B.1
0.1
0.010
U.010
O dB
0.201 2.
,d9
16
104,
A
B
No,se (2)
IND
vs.
frequency (92) at -29 dB and -60 dB:
Ph,lips L1H1000
range tested.
5
-6040
Separai)c., .12. versus
-50..0
r.e,u.r,c9
PI,FIIW LHH1000
(N.);
-ea.00
0.1
0.1
-72.00
-24013
-80.08
6.010
0.6110
-90.00
-100.0
100
0.001
16
100
224
-110.0
Fig.
5-THD +
N
vs.
frequency for 0 -dB
recorded level (A) and for
recorded levels of -24
and
98
-60 dB
(B).
-120.02.
Fig.
100
16
101
204,
6-Interchannel
separation.
AUDIO/JANUARY 1990
.
?
4
-
\
;.
From
Thé Fruit Dóesri't Fall Far -From The Tree
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After nearly a decade
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The remote control was so
awesomely versatile that
I used it for bench testing
as well as my listening
sessions.
6evr4l,on 6,0. Perfect Ltneseity.
3nd,thered Signals;
Philips
0.011036
16.060.
(0.60
iá'. éwi
8.0600
3.006
8.0000
6.6000
6
060
6
0023
4.0009
4
000
4.
0900II'
2.6666
2.030
z
3.0
0.0
0
20f
...w
t
pe.feee 11.:'etty
dunlny íade-tc-noase
teft;
PM'ips 0.091033
I,
AAA
Pd{If
0
r'1¡'1'ilY!^v''!r'lrywr`^"..-..r....,..-...--^^
11
-2.000
'
i'
2
00
-2
008
-4.806
-4 46
-6.639
-8.00
-6.600
006
-0.73
-0
0
-16'"-166 -90.0
-06 0
-70.8
60.0
-41.6
-.s3.0
-30.6
-08.0
-10.1
0.0-16.1
7-Deviation
from
Fig.
perfect linearity using
undithered, 1 -kHz signals
for left channel (solid
curve) and right channel
(dashed curve).
L.v...t.un
13..x,0
C,.n Il,,.+r)li 11
lo..
900
-10.10_l2a
-110
-106
-90.0
60.0
-7l.6
A
B
19iu3
1101...r,.y -lupino
Fads-t-r,ot.e" te.t.
Philips 0.601606
6.0000
6.0000
levels 6803
vs.
Level
139); Ph11,rs
4.0006
L06)013
i
10.6,0
I
,
0.6130
0.000
It,
6.01,09
l:
1.1
11
6.000
.2.000
4.064430
4
lA
r
COW
-4.000
2.0006.
0.108
0.0
0.0
-6.303
900
-2.00
-'0 8P_10a
-4.60
-6.600
-6.00
-0.10
-16.61-140
-93.9
-98.0
-05.0
-43.0
-75.0
-70.0
-63.d
-60.010.0
Fig. 8 -Linearity deviation
using dithered, 1 -kHz
signals for left channel
(solid curve) and right
-136
-113
-30.4
-8l.4
-71.0
-60.0
Fig. 9-Linearity deviation
for "fade -to -noise" test of
dynamic range, using
coaxial connections
between transport and
D/A unit (A) and using
optical connections (B).
channel (dashed curve).
have come to the conclusion, as have others in the Held,
that the most important difference between the "good,"
"better," and "best" CD players is their ability to reproduce
low-level signals with good linearity. The three tracks of the
CD -1 test disc use for checking linearity are, therefore, the
tracks that perhaps tell me the most about a CD player-no
matter what its cost. Figure 7 shows the Philips LHH1000's
deviation from linearity using undithered signals from 0 to
-90 dB. Linearity was virtually perfect down to -80 dB; at
-90 dB, deviation from perfect linearity measured between
-3 and -4 dB. These results are above average for all
players have tested in the past year or two, though they are
not the best have ever obtained. Some CD players costing
a good deal less have yielded equal or better results for
linearity.
I
I
I
I
100
The same holds true for the test using low-level dithered
signals covering the range from 60 to -100 dB, as seen
in Fig. 8. Once again, deviation from perfect linearity was
between -3 and -4 dB at -90 dB. Because of the
dithered nature of the test signals, was able to read down
to -100 dB, where deviation from perfect linearity improved
somewhat, to between -2 and -3 dB.
had not been able to measure any
Up to this point,
difference in performance when used the optical or the
coaxial interface between the system's two sections. decided to give the comparison study one more try during the
fade -to-noise test on the CD -1. Sure enough, a difference
finally turned up. Figure 9A shows deviation from linearity
using the coaxial interface; it also shows how noise increases at low levels (from about -110 to
120 dB).
-
I
I
I
I
-
AUDIO/JANUARY 1990
AUDIO ON -SALE AT THESE FINE STORES
Dealers interested in Audio should call 1-800-221-3148
AUDIO DEALER LISTING
ALABAMA
GEORGIA
NORTH CAROLINA
Huntsville
Atlanta
Asheboro
Audiotech
1219 Old Farmer Rd.
ARIZONA
Stereo & Video Designs INC.
6300 Powers Ferry
High Fidelity SSS
322 E. Paces Ferry Rd. V.E.
Douglas
Douglas
DM Electronics
929 G. Ave.
Video Unlimited
Route 3 Box 1170
ARKANSAS
ILLINOIS
Paragould
Rockford
Sound Choice
1605 W. Kings Hwy
Absolute Audio
4227 Maray Dr.
Audio Video Lab.
2801 Newby Rd., Suite A
CALIFORNIA
Greenville
Todd's Stereo Center
105 Trade
NEW HAMPSHIRE
Seneca
Grusin Sounds
916 AA Hwy 123 By Pass
El Centro
s Electronics
244 W. Main
INDIANA
Sound Waves
Salinas
Bloomington
575 7th Ave
Auto Sound
546 W. Holt Ave.
Calexico
Seiki Stereo
700 Imperial Ave.
Torrance
Dimensions In Stereo
19800 Hawthorne Blvd.
Harbor City
Tom Tronics Inc.
25904 S. Western Ave.
Ukiah
DFM Car Stereo
1080 N. State St.
Santa Cruz
Auto Sound
546 W. Holt Ave.
Modesto
Vincetown
P.O. Box 22
Huntingburg
CONNECTICUT
Waterbury
Zinno Music Inc.
195 Meriden Rd.
Hartford
New York Sounds
624 Wethersfield Ave.
FLORIDA
Tampa
Audio Visions
14733 Dale Mabry Hwy N.
Fort Pierce
Tape Deck
Sabal Palm Plaza
Vero Beach
Audio Shack
1976 14th Ave.
TEXAS
Jersey City
Chireno
Kay's TV Sales & Service
704 Bergen Ave.
Kelly's Video
P.O. Box 52
Dallas
Omni Sound
4833 Keller Springs
Bloomfield
Sound Reproduction
237 B oomfield Ave,
Beaumont
Salmar Audio
5904 Eastex Frwy
KANSAS
Verora
Houston
Shawnee Mission
Audioport
7329 W. 97th
Wichita
Advance Audio
Audio Connection
615 &cornfield Ave.
Soundscape
2304 Portsmouth
Home Entertainment
2617 Bissonnet
5507 E. Kellogg
Livingston
Music, Inc.
3203 E. Douglas
Metro Media Design Inc.
15 Tarlton Dr.
LOUISIANA
New Orleans
Tulane Stereo Hi -Fi Co.
1909 Tulane Ave.
Jim Russel Rare Recorcs
1837 Magazine
MASSACHUSETTS
Plymouth
PM Systems
20 Court St.
COLORADO
Stereo Warehouse
729 North Ave.
The Sound Shop
528 South Tejon
636-1684
RD 10 RT 206
Landes Audio
Chester Mall, Rt 24
Vanden Berg Stereo Svc.
227 James
Grand Rapids
Electronic Sound Equip Co.
2249 Division S
Grand Junction
Selmer
Electronic Services Ltd.
110 South Y Square
Chester
MICHIGAN
Drive in Radio Inc.
165 West Arvada
TENNESSEE
Audiosource Electronics
322 W. 4th
CD Exchange
435 McHenry
Colorado Springs
SOUTH CAROLINA
Sound Advice
2821 Ashland Rd.
NEW JERSEY
Eureka
Second Wind
3332 T St.
Lakeport
P
Bruck's Car Stereo
310 Main Street
Pomona
Dr of Audio
Russell's Car Stereo Custom
1077 Buchanan Trl E
Columbia
Lasers Edge
512 IAA Dr.
Bay Video & Stereo
1168 S. Main
Waynesboro
Tri-M Sounds
831 Bragg Blvd.
Audio of New England
31A S. Main
Campus Audio
413 E. Kirkwood Ave.
Portage
º
Who's Your Entertainment
Sounds Good To Me
2481 E. State
Fayetteville
Concord
Bloomington
Hermitage
Holland
Rochester
Sound Choice
235 S. Main Street
MISSOURI
Joplin
Air and Sound
2010 Virginia Ave.
St. Louis
Hammond Electronics
110164 Watson Rd.
Columbia
National AudioNldeo Svc.
1301 Vandiver Square
Monroe City
Rowdy's TV & Electronics
Mark Twain Plaza
Hartville
Coy's Sight
&
Sound
Rt 2 Box 174A
North Plainfield
Stereo City
950 US Hwy 22
Plainsboro
Sound Ideas
Princeton Meadows Shopping
Center
NEW YORK
Hartsdale
Stereo Depot
155 S. Central Ave.
Depew
Phillips Communications
5335 Transit Rd
New York
Electro Brands Inc.
43 Warren
Montauk
Montauk TV Service
Main Street
De Witt
GP Communications
3330 Erie Blvd. E
Orchard Park
Stereo Chamber Inc.
Union & Orchard Pk. Rds
Harlingen
9
Sound Lab
1042 North Business 77th
Fort Worth
Highland Mobil
7356 Dogwood Pk
San Antonio
Auto Sec & Sound Systems
6893 2 Bander Rd.
Corpus Christi
Audio Video Designs
4904 S. Staples
Laredo
Audio Systems Inc.
4500 San Bernardo
VIRGINIA
Danville
Aeolian Svcs.
215 Main Street
Newport news
Go-Ho Auto Audio
10817 Warwick Blvd.
VERMONT
Brattleboro
Scientific Stereo
128 Main Street
OKLAHOMA
WASHINGTON
Oklahoma City
Kirkland
Mobile Connections Inc.
227 NW 63rd
Sound Plus
12407 NE 124th Street
OHIO
WISCONSIN
Marietta
Photo Center/Sound Room
132 Putnam
Toledo
Siegel Auto Radio
1110 W. Sylvania Ave.
Greenbay
HI -Fl Heaven
1917 S. Webster Ave.
La Crosse
Fiers Electronics
2755 George
PENNSYLVANIA
Platteville
Fairless Hills
Tri-Corn/Radio Shack
1190 W. Hwy 151
NEBRASKA
Audiolab Stereo Center
500 Lincoln Hwy.
Kearney
Bethlehem
Huntington
Palmer Audio
3650 Nazareth Pike
Cartunes
Center Stage Audio/Video
3817 2nd Ave.
WEST VIRGINIA
436 4th Ave.
Clearly, Philips spared no
expense on the LHH1OOO,
a reference CD player of
elegance and style.
Observe carefully the amplitude of the noise spikes between -110 and -120 dB and compare them with those in
Fig. 9B, where optical coupling was used. The noise spikes
in Fig. 9B are actually greater in amplitude than those in Fig.
9A-so much for the noise -reducing advantages of optical
coupling! Of course, both graphs depict noise floors which
are extremely low and somewhat better than average for CD
players. Using the better display (coaxial coupling) to calculate EIA dynamic range, came up with a figure of around
111 dB. The EIAJ method of measuring dynamic range
resulted in 98.8 dB for the left channel and 98.7 dB for the
right. Judging from their specs, Philips must have used the
EIAJ method rather than the newly approved EIA method.
Getting back to the question of optical versus hard -wired
connections, would quickly 'add that during the careful
listening tests that followed the lab measurements, was
unable to detbct any difference in sound quality between
the two interface types. Could the departure from linearity in
my particular sample have masked even more subtle sonic
differences might otherwise have heard when changing
from optical to coaxial connections? I'll never know, one way
I
Fig.
10-Monotanicity
test. See text.
I
I
I
other-at least not with this unit.
got good confirmation of the minor low-level departure
from linearity when photographed the test signal used to
check monotonicity. Careful examination of Fig. 10 shows
that the second steps in the up and down "staircases" are
not positioned with perfect symmetry above and below the
display's central axis.
Figures 11 and 12 show how a 1 -kHz square wave and a
unit pulse were reproduced by the LHH1000. These results
are pretty much what we have come to expect from players
employing digital filtering and oversampling.
or the
I
I
Fig.
1
11-Reproduction of
-kHz square wave.
Use and Listening Tests
The versatility of this system's remote control is truly
awesome. Just about every function of the CD player was
controlled using the remote, both during the bench tests
and subsequent listening tests.
used my two new "defects discs" to check out the
tracking capabilities of the transport. In general, mistracking
occurred whenever the data gaps reached 1 mm in length.
(The largest data gap any CD player has been able to track
since started using these test discs has been 1.5 mm;
poorly tracking units misbehave at or below 0.7 mm.)
The minor linearity deviation at ultra -low levels could not
be heard by me or the several guests in my lab who had an
opportunity to compare this player with one that is somewhat more linear at low levels. listened to everything from
large orchestral works to chamber music with light, extremely soft passages.
Clearly, Philips has attempted to design and build a
reference CD player and has spared no expense in doing
so. Aesthetically, the two units are attractive and, mounted
one above the other, give the impression of elegance and
style that I'm sure was intended. doubt Philips expects to
sell this two-piece CD player in any great quantity. Rather,
borrowing from the technology inherent in the LHH1000,
perhaps Philips will come up with somewhat more economical models incorporating much of the new technology in
Leonard Feldman
this, their reference CD player.
I
I
I
I
Fig. 12-Single-pulse test.
102
AUDIO/JANUARY 1990
--/
L ¡MING A
.
r
I
LA
_NFI IS"ED
S"OULD BE
C MPOSER.
UR
N
g
r
Schubert had a pretty good
reason for not completing music.
gF
F
Mechanism
He
-Phase
Super Silent
But abrupt endings while tap ing CDs are not so excusable.
KJIS II)
. .
Which is why Maxell now offers
""
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-minute cassettes designed
specifically for digital sources.
With superior frequency
5u0S
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response and noise reduction,
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they actually rival CDs in sound
quality. And with an extra ten minutes of
recording time, they do the same in sound quantity.
..Instead of being frustrated by the shortcomings of other
tapes, try our new XLII 100 and XLII -S 100. And you may
never have to settle for Vivaldi's "Three -And -A -Half
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-
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IEC TYPE
EXSENOEU
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AccurecY
SuDde
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AMtC
RANGE
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LOW NOISE
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_
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maxell
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EX
EXCELnEN7
LTN NO SEGE
.
O 1989 Maxell Corporation of America. 22-08 Route 208. Fairlawn.
Enter No. 34 on Reader Service Card
NJ. 07410
,-
IIi a x e
R
EQUIPMENT PROFILE
Manufacturer's Specifications
Power Bandwidth: 20 Hz to 20 kHz
FM Tuner Section
(see text).
Usable Sensitivity: Mono, 11.2 THD: 0.07%.
dBf.
IM Distortion: 0.07%.
50 -dB Quieting Sensitivity: Mono, Dynamic Headroom Power: 80
15.6 dBf; stereo, 37.6 dBf.
watts (see text).
S/N: Mono, 74 dB; stereo, 70 dB.
THD at 65 dBf,
Frequency Response: High
level,
10 Hz to 50 kHz, ± 1 dB.
Damping Factor: 50.
Input Sensitivity: MM phono, 2.5
mV; high level, 150 mV.
SIN: Phono, 80 dB; high level, 95 dB.
kHz: Mono,
1
0.17%; stereo, 0.35%.
Frequency Response:
50 Hz to 15
kHz, ± 1.5 dB.
Capture Ratio:
1.3 dB.
Alternate -Channel Selectivity:
General Specifications
Power Requirements: 120
60 dB.
Image Rejection: 52 dB.
I.f. Rejection: 80 dB.
AM Suppression: 56 dB.
Spurious -Response Rejection:
VECTOR
RESEARCH
VRX-5200R
RECEIVER
a.c.,
Dimensions:
17 in. W x 41/2 in H x
12 in. D (43.2 cm x 11.4 cm x 30.5
65 dB.
Separation:
V
60 Hz.
cm).
42 dB at
1
Weight: 181/2 lbs. (8.4 kg).
Price: $369.95.
Company Address: 1230 Calle
kHz.
Amplifier Section
Power Output: 50 watts
per channel
into 8 ohms, 60 watts per channel
into 4 ohms.
Suerte, Camarillo, Cal. 93010.
For literature, circle No. 93
1
.
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AUDIO/JANUARY 1990
Despite some published specifications that are less than
spectacular (not to mention some mildly "creative" nonstandard specifications will discuss later), the Vector Research
VRX-5200R receiver has much to commend it. The unit's
quartz frequency -synthesized AM/FM tuner section features
20 presets. There's an audio/video signal -processing loop
in addition to two tape -monitor loops. One feature particularly like is having separate FM muting and mono/stereo
controls. Most receivers link these two functions to a single
control, making it impossible to receive weak signals in
stereo-even if the user is willing to tolerate somewhat
higher noise levels. With this receiver, you can choose
whether to switch to mono under such conditions and,
separately, whether to apply muting to eliminate those weak
signals altogether. Unlike some other units which are called,
as this one is, audio/video receivers, the VRX-5200R actually lets you route video signals through it and connect a TV
monitor to it as well. In other words, within limits, this receiver can serve as your total audio/video control center. Vector
Research has brought back some of the nice features
used to find on receivers years ago, such as separate
preamp-out/amp-in jacks and separate 75 -ohm coaxial and
300 -ohm screw -terminal FM antenna inputs.
In many other ways, though, this receiver is as modern
and up-to-date as the competition. It has AM and FM auto scan tuning and a dedicated remote control that handles
preset station selection, volume adjustment (including
mute), function selection, and power on/off. There is provision for connecting two pairs of speakers in parallel. If four
speakers are used in the same room, a matrix circuit can be
switched in to provide a simulated surround effect. The
addition of a midrange tone control adds to the flexibility of
audio spectral balance that can be achieved with this receiver. To make the unit more flexible when used as an AN
control center, there's even a video signal -processing loop
(video in/out) which is normally interconnected by a removable jumper. With the jumper out, such devices as video
noise-reduction units or video enhancers can be interposed
in the video signal path.
Vector Research's brochure and owner's manual provide little detail concerning actual circuit approaches
used in the VRX-5200R, other than pointing out that the
output stages utilize discrete transistors. They have come
up with a name for this: DOS, which computer aficionados
will immediately surmise stands for Disk Operating System, but which, in fact, is Vector Research's acronym for
Discrete Output Stage.
I
I
n
at
=
y
.....,.
I
Control Layout
At the extreme left of the front panel is the on/off switch
and, below it, a stereo 'phone jack. A frequency display is
further to the right. To its right are banks of LEDs, two of
which serve as approximate power output meters. The third
bank, consisting of three LEDs, serves as a signal -strength
meter. The display area flashes the word "Memory" when
the "Memory" button is pressed to store station frequencies.
A stereo indicator light is also found in the display.
The lower left portion of the panel contains a pair of
speaker on/off switches; the "Matrix Surround" button; rotary tone controls for bass, midrange, and treble; a rotary
AUDIO/JANUARY 1990
balance control, plus pushbuttons for loudness compensation and audio muting. Buttons for 10 numbered presets, up/
down tuning, and "Memory" are at the upper right portion of
the panel. Below these are seven program source selectors,
three of which are associated with tuner operation. After
pressing the "Tuner" button, you must then select either AM
or FM by pressing an additional button nearby. wonder
why Vector Research couldn't have simply included one
button for AM and one for FM, without the additional "Tuner"
button. Perhaps they did it for visual symmetry, since the
preset/memory bank of buttons just above also has a button
count of seven. At the extreme right of the panel are the
aforementioned "Mute," "Mono," and "Auto Scan" buttons,
with a good-sized rotary volume control above. This control
is motorized, so it rotates when the remote control is used to
adjust volume.
The rear panel is equipped with 300 -ohm FM antenna
screw terminals, a 75-ohm coaxial FM antenna terminal, and
AM antenna screw terminals. A separate AM loop antenna,
supplied with the receiver, can be snapped into a clamp
and then rotated for best reception, or an external AM
antenna can be connected. The usual array of input jacks
for "Phono," "CD," "AV/Tape 1," and "AV/Tape 2" are augmented by sets of "Video" input and output jacks, a video
"Monitor" output jack, the previously mentioned "Processor"
in/out jacks, and the two preamp-ouUamp-in jacks. A separate ground terminal is provided for turntable grounding.
Spring -loaded speaker terminals accommodate two pairs of
speakers. One switched and one unswitched receptacle
complete the back panel's layout.
I
Tuner Measurements
Figure 1 shows the frequency response of the FM tuner
section of the VRX-5200R The dashed curve, measured for
the right channel, has been deliberately displaced for clarity. Notice that the actual response meets Vector Research's
claims, since response at 50 Hz was off by less than -1.0
dB, and left -channel output exhibited a slight rise of about
+ 1.0 dB at 15 kHz.
105
This receiver's versatile
controls include such
niceties as a motorized
volume pot that can be
operated remotely.
Amplitude tal) ve.av c Frequency (02);
FM Section, Vector Research
985-5200
Till
plus noise
vs.
Signal Level, FN Section Vector
Research 080-5200
10.00
I
1
i
1p
'
8.0020'
.8.000
6.0000
6.800
4.0000.
.
2.0000
4.000
STEREO
2.000
LEFT
a.0
.
0.0
-------- _-RIGHT
-2.000
'
-4.000
-6.00
,-0
toe
Fig.
1
00
z0R-18.0
-Frequency
10.00
20.00
30.00
0.010
0.00
50.08.
60.00
30 es
80.00
3-THD + N vs.
signal strength at 1 kHz.
Fig.
response, FM tuner
section. Right -channel
curve has been displaced
for clarity.
Quieting characteristics, FM Section;
0.e
0.8100.0
Vector
Research VR%-5200
^r 8.0
-
Distortion
Mots. versus Frequency; FM Section, Vector Research VRT-5201
5
5
tip
AUDIO OUTPUT
-20.00
1-20.0
-30.00
-30.0
-40.00
-40.0
STEREO NOISE
-50.00
'-50.0
-60.00
._ ___
MONO NOISE
-r
.
.
.
-80.00
..
-60.0
1-70.0
-00.0
-9"a9.0
Fig.
_--
.
-7000
2
19.00
-Mono
a0.00
30.00
40:00
50.00
60.00
79.0P
00.0040.0
and stereo
0.01050
Fig.
10d
4-THD +
2060.010
N
vs.
quieting characteristics.
modulating frequency for
65-dBf signal.
My usual plot of S/N versus signal input level for the FM
tuner section is shown in Fig. 2. Maximum S/N fell short of
Vector Research's claims; my results were 65 dB for mono
and 63.5 dB for stereo at 65 dBf and above. Notice that the
stereo switching threshold occurred at about 15 dBf. Sensitivity for 50 -dB quieting was very good, whether in mono or
stereo. To be specific, the results obtained were 12 dBf for
mono and 30 dBf for stereo.
Plots of THD + N versus input signal level are shown in
Fig. 3. At 65 dBf, THD + N for -kHz signals was only 0.18%
in mono and 0.25% in stereo. The usable sensitivity measurement, derived from this test, was 13.5 dBf in mono. It
may seem odd that this is not as good as the 50 -dB quieting
sensitivity measurement, but this is not unique. Usable sensitivity measurements take distortion and noise into account,
while 50 -dB sensitivity is based on noise alone. When the
noise slopes off more rapidly with signal strength than the
THD does, this apparent discrepancy can occur.
Figure 4 shows how THD + N varied with frequency for a
constant 65-dBf input signal. The -kHz figures correlate
fairly well with those in Fig. 3. At 100 Hz, THD + N measured 0.27% in mono and 0.36% in stereo. At 6 kHz, the
other standard frequency for this test, THD + N was 0.24%
in mono and just under 0.4% in stereo.
FM separation is plotted in Fig. 5. Separation reached 40
dB at mid -frequencies, decreasing to 33.5 dB at 100 Hz and
26.5 dB at 10 kHz. A spectrum analysis of a 5 -kHz, 100%
modulated, left -only signal (Fig. 6) revealed that actual separation was somewhat better than the results in Fig. 5. In
Fig. 5, crosstalk products other than the fundamental frequency are included, such as subcarrier output and harmonic components of the modulating signal. In Fig. 6, these
additional components are isolated from the actual 5 kHz
present in the unmodulated channel's output. Accordingly,
you can see that the amount of 5 -kHz crosstalk present in
the unmodulated channel's output is some 48 dB lower than
I
1
106
1
AUDIO/JANUARY 1990
VISIONARY.
It leaves an indelible
impression on your
senses even before
you turn it on.
It's sleek Stylish.
Contemporary. It's
sculpted brilliance.
It's the Elites Pro-92
Projection Monitor.
This is no mere
television. It's a theatre like experience so ahead
cf its time, it doesn't invite
wmparison.The picture?
In a word, perfect.
Images are amazingly
bright and sharp. The
secret is an advanced
lens system :hat
dramatically enhances
color reproduction,
clarity and detail.
The Elite Projection
Monitor. The future
never looked so good.
For your nearest
Elite dealer, call
1-800-421-1404.
E LITE
BY
O 1M8) PMwrcr
Enter No. 45 on Reader Servce Card
e
PIONEER
Ekevonfo QSA) Inc., Long Beach. CG
The surround-sound matrix
worked quite well, using
a simple design dating
from the "prehistoric" days
of quadraphonic sound.
Separatrun (de) vs.
19.000
frequency
CHs);(._Modulated
in the modulated channel's output, while components at 10,
15, 19, 38, and 57 kHz are also clearly visible. The 38 -kHz
Ch.,-----gn,...d.Ch.)
9.9
-10.00
component at the modulated channel's output was attenuated by about 53 dB.
Secondary FM tuner specifications turned out to be pretty
much as claimed -in most cases a bit better. measured a
capture ratio of 1.5 dB, i.f. rejection of 83 dB, AM suppression of exactly the rated 56 dB, image rejection of 55 dB,
alternate -channel selectivity of 62 dB, and spurious -response rejection of 70 dB.
Vector Research doesn't quote any performance specifications for the AM tuner section of this receiver. However,
my listening tests revealed that this unit's AM section was
not all that bad certainly no worse than most such sections
supplied with otherwise "high-fidelity" tuners and receivers.
measured the AM tuner's frequency response, and results
are shown in Fig. 7. Using the -6 dB convention for quoting
AM response, this tuner can be said to have a frequency
response from 80 Hz to 2.7 kHz.
I
-20.90,
-39.90
-40.00
-40.0
-59.09
-50 0
X0.0020
100
lk
lek
204-60.0
Fig. 5-FM frequency
response (top) and
separation vs. frequency.
Saectraa
f,.3a.ysls of
5
kMa signal
I
output.
(L d
I)
Vector Research
vier-3200
19.9..0
10.00
9.0
0.9
-10.90
-10.0
-00.00
-20.0
-30.0P
-30.0
-40.09
-40.0
-50 00
-se 0
-60.00
-60.0
-70.00
-70.9
-90.00.
99.0
-90.00
-30.0
-loe.014
1k
3.94
-100
Fig. 6 -Spectrum analysis
of 5-kHz modulating
signal (top) and crosstalk,
including subcarrier and
other components
(bottom); see text.
eapli(uds
tall)
Amplifier Measurements
The amplifier section easily met its power output specification for 8 -ohm loads. As shown in Fig. 8A, THD + N, at an
output of 50 watts per channel, was 0.009% at 1 kHz,
0.006% at 20 Hz, and 0.048% at 20 kHz. The same measurements were repeated using 4 -ohm loads (Fig. 8B).
Again, the output claimed by Vector Research -60 watts
per channel, in this case -was easily attained at levels of
THD + N well below the 0.07% rated value. At an output of
60 watts per channel, the results for THD + N using 4 -ohm
loads were 0.013% at 1 kHz, 0.018% at 20 Hz, and 0.049%
at 20 kHz.
Almost perfect correlation with these figures was obtained
when I set up my Audio Precision test equipment so that a
constant 50 watts per channel was delivered into 8 -ohm
loads, and test frequencies were swept from 20 Hz to 20
kHz. Results of this distortion test are shown in Fig. 9A, while
results for 4 -ohm loads, with the system regulated for an
output of 60 watts per channel, are shown in Fig. 9B.
plotted SMPTE-IM distortion only for 8 -ohm loads (Fig.
10), since results were almost identical when the load was
changed to 4 ohms. At an output of 50 watts per channel,
SMPTE-IM distortion was 0.055%, well within the 0.07% limit
set by Vector Research. Damping factor, referred to 8 -ohm
loads and using a 50-Hz test signal, measured 52.
Next turned my attention to the preamplifier and control
section of the receiver. Figure 11 shows the characteristics
of the loudness compensation circuitry. The degree of bass
and treble boost increased gradually as volume levels were
decreased from maximum to -40 dB. would have preferred to see less, or no, treble boost. Many manufacturers,
however, insist on including both bass and treble boost, as
Vector Research does in this loudness circuit.
Figure 12 shows the maximum boost -and -cut range of the
bass, midrange, and treble tone controls. In my opinion,
given the relatively limited dynamic headroom of this receiver (less than 1 dB), entirely too much boost has been
provided by the bass control. While a maximum boost of 10
dB is available at 100 Hz, the output continues to rise below
this frequency, so that at 20 Hz, it reaches an extreme boost
I
vareas iregaency (hs); AM Secesen cot,er Research VRx-5200
lie. ISM..
5.0990
0.0
I
-5.0(0
-19.99
-15.00
I
-20.00
-25.0e.
-39.00
-55.09.
90'0020
lee
Fig. 7 -AM frequency
response with 75-µS
pre -emphasis.
108
1k
10k
AUDIO/JANUARY 1990
-mmv...
B
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1aA
CID-91
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IT EVEN SOUNDS
PICTURE PERFECT.
If true perfection is
unattainable, they haven't
told our engineers.
sound, something you
won't find on any VCR.
Case in point. The ate®
combination LaserDisc
CD player. It is arguably
the finest sight -and -sound
specifications would
impress even the most
ardent audiophile. So no
matter how you look at it,
the Elite CLD-91 makes
perfectly good sense.
For your nearest Elite
machine ever created.
For one thing, i_'s the
only LaserDisc player
available with digital tine
base correction which
delivers a picture with
unsurpassed brightness
and resolution. Anc it
features extraordinary CD
-
As a CD player, its
dealer, call 1-800-421-1404.
e
ELITE
BY
O 14B9 Pic
e
PIONEER
nnr Elntnn1a3 (USA) inc. I.* Beach .G
Enter No. 46 on Reader Service Cad
With efficient speakers,
sound levels were more
than adequate, distortion
was imperceptible, and
transients were clean.
Distort tan
Noise til
e
os.
Power Output; Vector Research 00X-5200.
120
5
t.atse
t
(O.?
eursus frequency (Hs> at
rated output; Vector Research VRX-52011
5
S
1
.
2010,
201I1
t4Ht~
16
106
.0O05 2a
200
A
B
Dtstortl4r
.
nulfe
I..)
us.
Power Jutput; Vector Research VR0-5200
IND
;tots-
t...
versus
ttsttencM
(Nil at
rated output; Vector Research 00X-520,4
5
1
.i4
4 OHMS
'<:..
.
.
.
201.14/.,,
I
14Ht
2.012,4.2
Fig.
8-THD +
10
N
-
100
la0
vs.
Fig.
9-THD +
N
1M
104
201.
ohms (B). The two
curves are virtually
identical from 40 Hz to
vs.
4
power output per channel
into 8 ohms (A) and
4 ohms (B).
frequency at rated output
of 50 watts per channel
into 8 ohms (A) and
60 watts per channel into
of nearly 15 dB. Anyone setting the bass control to maximum while listening to, say, organ records is likely to notice
an increase in turntable rumble; in extreme cases, acoustic
feedback and howling may actually occur.
also measured dynamic headroom. Vector Research
quotes this in actual power, rather than in dB, as called for in
the EIA/IEEE measurement standard. This duplicate power
rating causes confusion. Coupled with their failure to quote
power ratings properly (the frequency range over which
rated power can be delivered must be quoted in the same
sentence as the power level itself), it could potentially trigger some action by the Federal Trade Commission, whose
"Power Rule" they are violating. This would be a pity, since
the amplifier did, in fact, meet all its power ratings very
adequately over the entire range from 20 Hz to 20 kHz.
Getting back to my bench tests, sensitivity for the highlevel inputs measured 22 mV for 1 watt output. Like so many
other manufacturers, Vector Research doesn't quote input
sensitivity-or, for that matter, amplifier S/N ratios-in accordance with EIA/IEEE measurement standards. This ac-
counts for the discrepancy between my high-level input
sensitivity figure of 22 mV and their quoted figure of 150 mV,
which is referred to rated output. Signal-to-noise ratio for the
high-level inputs was an adequate 77 dB, referred to 500
mV of signal input and with the volume control adjusted for
watt output.
Input sensitivity for the MM phono inputs measured 0.35
mV .for
watt output. Signal-to-noise ratio for the phono
inputs, referred to 5 mV input and with the volume control
again adjusted to produce watt output per channel, was
76.4 dB. There is no exact way of correlating these S/N
readings with those quoted by Vector Research, since their
figures are referred to rated output, with the volume control
set at maximum.
Figure 13 shows the deviation from exact RIAA playback
equalization over the frequency range from 20 Hz to 20 kHz.
At 30 Hz, overall equalization and response from phono
inputs to speaker outputs was off by -1.8 dB. Maximum
error in treble equalization was +0.9 dB at around 5 kHz,
decreasing to +0.4 dB at 20 kHz.
I
110
1
kHz.
1
1
1
AUDIO/JANUARY 1990
l
-
The Direct
z
/U
HighPerfoii
I
OF >LL
4TIO\S
, r,u
roducingthe LS1_ Steeo Line==a
Amplífier,
-,r
i
CAIN
LEFT
l
RIO-1T
A[v
E*Enw
lFi
Meg.
a
BALANCE
.Pf
e-
audio research
MOOEL L51
.091
]/6t
1141/4"1.
-
which bypasses all major controls except
Gain-and provides _ degree of resolution that
challenges the best preamps in the world.
LS1 goes far beyond them-in musicality. in
technical innovation. i-1 quality of manufacture. Its
The LS1 features Audio Research's own
pedigree. ín other words. is pure Audio Research.
oxygen -free Lis wire in critical circuit paths.
-audience
as well as aud_ophile-grade connectors selected
But far from being an expensive, limited
assault on an esoteric ideal. the LS1 ccsts $00 less for their sonic purity And for audiophiles who
own signal processo:s or who bi-wire, the LS1
than our popularly priced SP9 Mark II preamplifier.
offers two main'outputs.
And. it includes Aud:o Research's famous hybrid
tube/solid-state cscuit technology. unstinting
If you've forsaken vinyl records. if you collect
parts and manufacture, and service backed only tapes or digital source material. audition an
by 20 solid years of leadership in audit
LS1 at your nearest Audio Research
dealer today_ It may seem too good to
The LS1 offers owr_ers the exceptional
years
classic
true, but we promise: the LS1 will
be
convenience of seven inputs, including
make a believer out of you.
the new Direct Gain Path,
To begin with, forget any comparison to
ordinary passi\ e line -stage controls. The active
,
1970
-
1990
audio research`
HIGH
D
E F
I
N
I
T
I
O
Nt
Er' r No. 8 on
Reader Service Card
6801 Shingle Creek Parkway I Minneapolis. Minnesota 554301 Phone: 612-56&7570 FAX: 612-566-3402
r
For a mid -powered receiver
that sells for a moderate
price, the VRX-5200R has
many features of costly,
higher powered models.
SMP1E-I1.1
Distortion us. Poner Output; Vector Research VRY-5200
lone control tanºe, Vector Research VRk 5200 RM/Fle Stereo Receiver
15.4100
Hra
10.000.
5.BNPP
0.0
0.010
_ _
-
-5.1420
0.001
.
0005
100
0
Fig. 10-SMPTE-IM
distortion vs. power
15.0028
100
lk
lok
204,
Fig. 12-Tone-control
characteristics, including
midrange control; see
output for 8 -ohm loads.
text.
Loudness control eharacteras tacs,
10.000
Vector Research VRk-5200 Receiver
Rion
5.á00V
Equalization Deviation tá0)
Frequency;
VRX-5200
Ap
4.Vuee¡
0.0
).44Ve44+
2.0000!
1.0000
0.0
-2.4420
-1.0201.
'
-;.000
-50 0020
100
10k
jot
Fig. 11-Loudness
Use and Listening Tests
was particularly interested in checking the effectiveness
of the simple matrix surround decoding featured in this
receiver. My lab/listening area is equipped with a pair of
reference speaker systems and a smaller pair of monitor
speakers mounted above my test bench, so connected
both sets of speakers to the terminals on the VRX-5200R.
My KEF 105.2 reference speakers flank my video monitor,
so was able to approximate the way a user might set up
the receiver in a complete NV system. The surround -sound
effects I heard were quite good, considering that this receiver does not have gain -enhancement circuitry. The rear
channels, simply reproduce L
R signals, which is not
unlike the arrangement popularized by David Haller and
others in those prehistoric days of quadraphonic sound.
(Does anyone else remember those primordial matrix ambience and surround systems?)
But let's get back to more serious listening and evaluation. I liked the front -panel control setup even more during
my listening tests than did while testing the unit on the
I
I
1
-
112
COO
r44k
20k
Fig. 13-Deviation from
RIAA equalization.
compensation
characteristics for volume
settings from maximum
(0 dB) to -40 dB.
I
-5.0N0á0
bench. Most of the things wanted to do were possible with
the supplied remote control. Had wanted a more versatile
remote-one that could control other video and audio components by "learning" their codes-I could have tried Vector Research's optional, more elaborate universal control,
Model VRC-125 ($99.95).
Of course, the 50 to 60 watts per channel available from
this receiver were really not enough to drive my relatively
inefficient KEF reference speakers to the kind of lifelike
levels prefer for listening. But when the VRX-5200R was
connected to a more efficient pair of speakers, such as
those use on the lab bench or in my office (yes, actually
listen to music while write test reports), the sound levels
were more than adequate. Further, distortion was imperceptible, and musical transients were clean, with little or no
hangover evident. Although the VRX-5200R is essentially a
mid -powered receiver with a relatively modest price tag,
what liked most about it is that it has many of the operating
and control features of higher powered receivers costing a
great deal more.
Leonard Feldman
I
I
I
I
I
I
I
AUDIO/JANUARY 1990
r
DUE TO THE
.Lech
COMPLAINTS
LwrF;lTvgiy sllbal
.
Woa
II
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OF OTHER
wordtored
rep
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DELETED
/
For More
Information ....
QUARTZ
.faveforms.
ugn
41258
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"gmptoy, h
ieptions. Or
ite paper
hnd illustra
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lengths in
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'A conversi
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`e form Qt two ci ianneis 61
,mpling frei EFM modrror correci.tr ,,,r `addition of
overall data rate is conreased when the data is
-.he disc. Specifically, the
.cup in every CD player reads
rcm a disc at a rate of 4.3218
s per second. Circuits syn'
ta.
.Q-.1 demodulfa.
MB Quart Electronics, U.S.A., Inc.
25 Walpole Park South, Walpole, MA 02081
Enter No. 35 on Reader Service Card
-
o ever, in prac-
ineering methods
se tasks cal
Call 1-800-553-4355
508-668-8973
fr..
duced by
Perhaps it's the 5 octave range of Quart tweeters,
or our sophisticated crossovers that insure only the
ideal operational frequency range for each driver.
The fact Quart speakers are astonishing both for
their musical performance and their affordability
might have something to do with it, too.
So, in the spirit of fair play, we've deleted the
portions of this Quart ad that are causing our
competitors concern.
But don't worry. Your Quart dealer can give you
the whole picture.
It's not easy being one of the most intriguing
speaker lines to hit the market in years.
Our competitors, for example, certainly
aren't smiling.
Maybe it's because of our 5 -layered wood
cabinets, expertly tongue and groove fitted.
Or the fact each of our 6 models is available in
over 8 different furniture finishes.
It could be the butyl rubber surrounds we use
with our woofers. Or their specially aged cones
that optimize response time.
i
1.
ana
mala
ter i.
inherer
SPEAKER
COMPANIES,
PORTIONS OF
THIS QUART AD
HAVE BEEN
c:.ry
rt:pug
4
EQUIPMENT PROFILE
rig
\
BRÜEL & KJAER
4011
STUDIO MIKE
Manufacturer's Specifications
Type: Prepolarized condenser.
Directional Characteristics:
First -order cardioid.
Frequency Response:
Hz to 20 kHz, +
(30 cm).
1,
-2
On axis, 40
dB at 12 in.
Nominal Sensitivity:
10 mV/Pa
V/Pa), individually calibrated, with integral 20 -dB attenuator.
(-40 dB
re:
1
:]
Maximum Sound Pressure Level: 158 dB peak SPL, before clipping.
THD: Less than 0.5% at 110 dB peak
SPL.
Equivalent Noise Level:
19 dBA
re: 20 µPa.
Output Impedance: 180 ohms.
Phase Response Matching:
± 15°, 100 Hz to 20 kHz, for any two
microphones.
Power Requirements: 48 V phantom, per DIN 45-596.
:m.
The Model 4011 cardioid and the
Connector Type and Polarity: similar Model 4012 are welcome addiThree -pin XLR type; pin 2 positive tions to the line of Brüel & Kjaer studio
with increasing sound pressure.
microphones, whose omnidirectional
Supplied Accessories: 16 -ft. (5 - models were reviewed in the Novemmeter) cable, windscreen, locking ber 1984 issue. Application of the latter
has been somewhat limited by their
stand mount, and mahogany box.
Optional Accessories: Shock omnidirectional characteristics. The
mount and clip -on stand mount.
cardioid pattern of the new mikes
Dimensions: 3/4 in. diameter x 6'/e opens up the possibility of using B & K
in. long (1.9 cm x 17.5 cm).
mikes for coincident stereo microWeight: 5.9 oz. (165 grams).
phone arrays, such as X -Y or ORTF.
Price: $1,497 each.
Cardioids can also reduce acoustic
Company Address: 185 Forest St., "leakage" in multi -track recording and
Marlborough, Mass. 01752.
will permit increased gain before feedFor literature, circle No. 94
back in live concerts where sound rein14
-
-
forcement is used. The inherent proximity effect of a pressure -gradient mike
(such as a cardioid or figure eight)
may be used to give "warmth" to vocals and to cancel background noise.
The Model 4011, which tested, is
intended for use with mixers that can
provide 48-V phantom power. The
Model 4012 is intended for use with the
Model 2812 power supply, which provides 130 V to the microphone, giving
it a 10 -dB higher input -level capability.
The 2812 is a two -channel unit with
line-level outputs that can be connected directly to a recorder for improved
S/N. Both the cardioid microphones
I
AUDIO/JANUARY 1990
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If all you're looking for is power, it's easy enough
to find.
But raw power is a little like an avalanche-it tends to
destroy the surrounding detail.
That's why Counterpoint created the SA220, a hybrid
amplifier capable of delivering 1000 -watt peaks. It harnesses
power in the most natural way possible. And captures
music's majestic qualities by using the finest vacuum tube
technology yet developed.
But sonic realism requires more than power.
Music demands accurate preservation of
sonic detail as well. The SA220 will drive
any loudspeaker, including hard to
drive fractional impedence or
capacitive loads with consumate musicality. Its "APC"
Automatic Protection Circuitry
21
makes it "bulletproof," without degrading sonics. Remember,
beautiful things are often hard to find. So if you haven't
found an SA220 to listen to, call 800-266-9090 for the
Counterpoint dealer nearest you.
Otherwise, you
may never find
what you're
searching for.
E
COUNTERPOINT
Nothing Between the Music and You
2610 Commerce Drive, Vista, CA 98083
Enter No. 64 on Reader Service Card
Call 800-266-9090
These cardioids are best
suited for close-up work
because their response is
flat up to about 4 feet,
rolling off with distance.
and the power supply are transformerless, which can reduce low -frequency distortion. In my 1984 test of the omnidirectional mikes, transformers were needed at the recorder
in order to reduce hum and noise when the 2812 was used
with long output lines. The 4011, however, yielded good S/N
when used with long house lines.
The coincident arrays mentioned above, often used for
classical recording, are not the prime application for which
the 4011 and 4012 were intended. B & K feels they are
better suited to pickup of individual instruments in multitrack "pop" applications or as accent mikes in classical
music recording. The reason is that these mikes are designed to have flat response to a point source at 12 inches
(30 cm). The response at 4 feet and beyond is rolled off at
low frequencies, due to proximity effect. All pressure -gradient microphones exhibit this effect, and the curves are
published in books.
In his April 1989 "Behind the Scenes" column, Bert Whyte
states: "Some B & K mikes respond as low as 2 Hz!... In
contrast, most cardioid mikes have a low -frequency response that rolls off rather steeply below 40 Hz." Whyte
indicates that the omni mike is the best choice for recording
low bass. (He was discussing high-grade condenser mikes
for recording applications; some omni mikes, such as dynamic models made for speech use, also have rolled -off
bass.) My files of test data show that Whyte was correct: The
response of the B & K omnidirectional studio microphones
was ruler flat down to as low as could measure, and many
cardioids exhibited a roll -off below 50 Hz (at infinite distances). Two cardioids have tested had exceptional bass,
the AKG C-422 stereo mike (whose mono version is the C414) and the Sennheiser MKH 40 (reviewed in the January
1988 issue). With both of these mikes, response at 30 Hz
was -3 dB at infinite distances and +7 dB at 12 inches.
However, there is a trade-off, as these microphones have
larger diaphragms than the 4011 and 4012. Thus, their gain
in bass response is at the expense of the off -axis high frequency response. According to B & K, the problem with
extending the bass in a small -diaphragm mike is that the
cardioid pattern becomes non -uniform at higher frequencies. The company is researching this and may eventually
offer a version with extended bass for classical recording.
My review of the remarkable Nakamichi CM -700 series of
condenser microphones (September 1978) indicated that
the response of the Nakamichi cardioid was flat at 12
inches, similar to the 4011's, yet
made good orchestral
recordings with it. When tried a bass equalizer, as shown
in the review, room rumble was excessive.
The B & K press release states that they spent 10 years
developing the 4011 and the 4012, and that each has a
I
I
I
I
IN THE STUDIO
If product presentation equalled
product recognition, then Brüel &
Kjaer would surely be the world's
most well-known microphone manufacturer. These people border on the
compulsive when it comes to microphone development and construction; even the mike carrying cases
are finely tooled. Open up the shipping box, and you find a smooth
hardwood case with top-quality
hinges and a sure -closing clasp. Inside is a molded, hard -plastic carrying form so perfectly cut the mike fits
exactly. You almost have to flip the
case over and shake it for the mike to
many sound sources.
started off
with voice, a basic narration at first,
and later, at another facility, male vocal. In each case, the B & K mikes
were unbelievably accurate and extremely sensitive-so sensitive they
were prone to "popping" when hit
with breath blasts (such as when "p"
was spoken or sung). Three quick
solutions remedied this undesirable
effect: Moving the mike further from
the speaker/singer, placing the mike
so that the singer was off axis, or
fall out.
(The more common sock -type
screens hurt more than help, because tt}éy block out too much of the
sound source.)
went on to miking bass and snare
drums, cymbals, acoustic piano, and
electric guitar with the 4011s. The
snare drum produced such a hot signal that console attenuation was employed. The result was not as punchy
as would have liked for heavy rock
music, but when reduced levelssuch as those for pop and jazz-
B & K sent two Model 4011s for
review. My principal testing site was
Servisound, an audio production facility located on West 45th Street in
New York City. With the help of friend,
engineer, and overall advertising
dude Joseph Casalino,
put the
4011s to the test. wanted to see how
they fared in different settings within
a commercial studio. These mikes,
by their design, should be flexiblecapable of properly reproducing
I
I
116
I
placing a commercially available
windscreen, such as a Popper Stopper, between the artist and the mike.
I
I
were used, the mike once again
came alive.
Placement becomes very critical
when miking a snare drum with the
4011; the mike does not have to be
placed so close to the drumhead.
B & K offers a -20 dB attenuation
switch on the 4011. However, it is
positioned in the base of the mike, in
the center of the three XLR pins. This
is inconvenient for studio and stage
work, as it's annoying to have to take
the mike cable off and insert a tiny
screwdriver into the base simply to
kick the attenuator into action. A
switch on the housing would be less
time consuming.
The kick drum test was interesting
because the 4011 doesn't have a
large diaphragm. When that much air
is being moved, manufacturers generally go to a mike with a larger diaphragm. This was the only case in
which had to employ creative equalization to get a real rock kick drum,
was still impressed with the
and
result. One "drawback": The 4011 is
so sensitive, you will have to make
sure that you limit extraneous
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AUDIO/JANUARY 1990
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There's no need to search
for a matched pair of 4011
mikes. For all practical
purposes, any pair will be
almost exactly alike.
nickel -based diaphragm similar to that of the company's
measurement microphones. The microphone's matte black
housing is machined out of solid brass. The intergral 20 -dB
attenuator is selected by a switch recessed behind the
output connector. The locking stand mount is a clever design that holds the mike securely. A quick -release clip
mount is also available.
Measurements
I
The 4011 has no accessory power supply, so opted for
battery operation using my UTC HA -108X line transformer,
which is very well shielded and offers a 200/200 -ohm impedance match for isolation. I found a nominal 9-V battery at
Radio Shack (Cat. No. 23-583), which actually delivers 9.6
V. The magic of this is that five of these batteries add up to
exactly 48 V. My test methodology eliminated the effects of
the transformer from the resulting data: In the impedance
test, the effective series resistance was measured by substituting a resistor of known value for the mike and then
subtracting this value from the measured data. In the response and noise tests, a calibrating voltage was inserted in
a balanced mode between microphone and transformer. By
this means, the open -circuit voltage of the microphone was
measured. For descriptions of my impedance and frequency response test schemes and the sound source used for
I
noises-such as bass drum pedal
squeaks-or you'll have those on
tape. You'll probably start hearing
sounds you didn't know were there.
In fact, the mike itself adds practically
no noise to the circuit, even when the
console preamps are cranked way
up for recording quiet signals.
In all miking situations, the B & K
4011 performed extraordinarily-especially when compared to microphones which have become known
as industry standards. The final
sound was more realistic, more detailed, and simply more accurate.
What I heard in the studio was more
faithfully transferred to the control
room, and thus to the tape.
There are two major reasons, however, why individuals and professional studios might be reluctant to accept the B & K line of microphones.
One is they are very expensive; each
4011 retails for $1,497, and even
many top-quality studio mikes cost
several hundred dollars less. The
price of the B & K does include a
case and a mike stand holder, however. (The holder is very good and
118
response tests, see "The Compleat Microphone Evaluation"
(April 1977; update, September 1978).
Two microphones were furnished by B & K from their
demo stock, eacn in its own hardwood box. There would
have been no need for B & K to hand-pick a matched pair;
thanks to tight production tolerances, all these mikes are, for
all practical purposes, alike. Each 4011 is calibrated at the
factory and comes with a computerized frequency response
curve made in an anechoic chamber. As said in the 1984
review, the accuracy of calibration at the B & K factory is
comparable to that at our National Bureau of Standards.
Since B & K provides individual data only for the axial
frequency response of each mike, my other measurements
could only be compared to the nominal data in the manual.
Just as begar testing, encountered a vexing problem:
The cable furnished had Neutrik connectors on it that fit one
mike snugly and were extremely tight in the other. Then
tried lab cables with Switchcraft plugs; they latched up
tightly and had to be removed with pliers. B & K had
indicated that the inside diameter of each mike housing was
machined to fit at least three brands of connectors, but that
they had still encountered problems because the various
manufacturers of XLR-type connectors do not make them
alike. hope B & K will opt to open up the barrel and settle
for a more sloppy fit. A subsequent tour of local electronics
I
I
I
I
secures the mike solidly. Other manufacturers should look to duplicate or
secure a licensing agreement for this
design.)
The second reason lies in the performance. The 4011 is so accurate
that many engineers, producers, and
musicians may feel what they hear is
too strident, too sterile. Because of
their frequency response, many microphones impart a particular sound
quality to a voice or instrument. They
give a sound source a warm or mellow quality. This is what many in the
recording industry have come to
know as the "right" sound. It is not.
Any time a mike or mixing console
alters the tonal quality of a voice or
instrument, it becomes something
other than the passive sound conduit
it was meant to be. What you hear in
the studio, from the instrument, is
what you should hear in the control
room, through the monitor speakers.
B & K will have to get its communications guns out and try to reeducate
many people in the industry. This will
not be an easy task in a business
steeped in imitation.
The B & K 4011 is an excellent
product. You'll be hard-pressed to
find a better microphone. It is certainly capable of handling a multitude of
miking tasks. Still, despite its ability to
handle the wicked levels produced
by snare and bass drums, its rightful
place seems to be miking other
acoustic instruments-piano, guitar,
percussion-and vocals.
imagine
string sections, brass, and reeds
would also sound true to life. Unfortunately, these instruments were not
available to me during my evaluation.
Studios in the habit of purchasing
numerous mikes, each manufactured
for specific purposes, may well be
spending more than it might take to
purchase a few of the more versatile
B & K mikes. Others who should look
into B & K microphones are individuals who do minimal stereo miking of
jazz or classical music, and electronic musicians. MIDI players ordinarily
don't need more than two or three
mikes in their arsenal-for vocals,
acoustic guitar, and sampling-so
those mikes may as well be the best
available.
Hector G. La Torre
I
AUDIO/JANUARY 1990
Anyway you look at it, or listen to it.
Proton's 600 Series Stands Apart.
Sculpted for dramatic impact, and designed for
ease of use, Proton's 600 Series components fit
elegantly into any environment. Seldom used
controls are concealed, yet revealed at the touch
of á button. Cakes, hidden by rear panel covers,
disappear into the pedestal of this sleek, freestanding unit.
And naturally, the sound is pure Proton. With
high performance technologies like Dynamic
Power on Demand (DPD), the new Schot/ II
tuner circuitry and the exclusive Aphex® Aural
Exciter;" 600 Series components provide
absolute clarity and realistic reproduction for
incomparable listening pleasure.
The series includes the AM -656 Integrated
Amplifier, the AT -670 Tuner, the AV -6-16 AM/FM
Receiver, the AD-630 Auto Reverse Cassette
Deck. the AC -620 Compact Disc Player and the
matching AB -600 pedestal. Each component can
he controlled with the versatile AH -681 remote,
which also controls select Proton %ideo products.
Proton's new 600 Series. A rewarding
investment for the discerning listener.
From every point of view.
-
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For a free brochure and the
Protoirretailajlearest you,
call (800) 772-02
In California, (800) 428-10067
Or write to 5630 Cerritos Ave.,
Cylxes, CA. 90630.
PRoTo,1
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Enter No. 63 on Reader Service Card
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Overall noise was 1.5 dB
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The impedance curve (Fig. 1) shows that the measured
value of 189 ohms at 1 kHz was close enough to the rated
180 ohms. The low -frequency rise indicates a series capacitor, perhaps to block d.c. in this transformerless mike. If the
mike were connected to a matched load (200 ohms), a
serious loss of bass response would result. suggest using
a minimum input impedance of 5 kilohms to avoid this loss
of low -end response.
The axial response curve (Fig. 2) shows, for all practical
purposes, a ruler -flat response from 30 Hz to 18 kHz. (I
measured response at 12 inches from the source, as did the
factory.) I was pleased to find that the resulting curve was
very close to the factory calibration chart. The 1 -dB wiggles
below 1 kHz in Fig. 2 are not on the factory curve and may
by systematic errors caused by the acoustics in my room,
which is not quite anechoic.
This may be the first time my measurements at low frequencies on a pressure -gradient mike have agreed with the
manufacturer's data. The usual measurement problem has
been related to the sound source. use a 2 -inch -diameter
aluminum dome set flush in an 8 -inch aluminum sphere,
specially made by the late Al Witchey of RCA more than 30
years ago. (I have tracked its calibration for 25 years, and
there has been negligible change.) Various manufacturers
of microphones I've reviewed in the past have used commercial speakers, typically 8 -inch, for microphone testing.
Tests at distances closer than twice the source diameter do
not yield the correct response. With the 2 -inch source,
accurate tests can be made at 4 inches or more, but with an
8 -inch speaker, proximity effects are all but unmeasurable.
The small source probably could be duplicated from the
drawings have, but to date, no company has expressed
interest.
B & K has avoided the complexities of building a small
sound source by using a small commercial speaker and an
FFT analyzer. The speaker is the "David" Model 2001 made
by Visonik in West Germany. They use the tweeter only,
energized by repetitive pulses that are converted to frequency response curves by an FFT analyzer. This analyzer
can store curves from the mike under test as well those of a
standard mike and can then print out the difference curve.
How can they test bass response with a tweeter? The
answer seems to be, "with difficulty." The printout is at spot
frequencies, spaced a constant number of hertz apart.
Thus, the curve is continuous at high frequencies but choppy at low frequencies. My old-fashioned test with a swept
sine wave and a proper sound source may be more accurate at low frequencies, albeit more time consuming. In this
regard, it is interesting to note that at high frequencies, there
are no differences between the data obtained and B & K's,
but at low frequencies, my curve is flat whereas theirs is
down by 1 to 1.5 dB. For microphone testing, the FFT
method seems better than the TDS method, as the latter is
limited by average room size to frequencies above about
200 Hz. However, the TDS method (as used by B & K for
experimental microphone tests using a microphone as the
source) yields the energy -time response of the mike under
test, which is of interest.
Figure 2 also shows the effect of the windscreen on
frequency response; it is negligible.
I
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Fig. 2-On-axis frequency
response at 12 inches
(30 cm) from source;
0 dB equals -40 dBV/Pa.
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3-Comparison of on axis frequency response
of two B & K 4011s, at
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source.
Fig.
stores turned up connectors from Neutrik, Switchcraft, Cannon, and an unmarked Cannon look -alike (the latter two from
Radio Shack)-not all of which mated with each other. This
appears to be a very serious problem that calls for attention
from a standards organization.
noticed another mechanical problem when tried mounting a 4011 on a stand using the furnished locking adaptor. It
held the mike securely, but its hinge was too loose and
could not be tightened to give the desired degree of friction.
did not run all tests on both mikes. selected the mike
with the easier fitting connector for all tests. The other mike
was tested only for axial response and sensitivity, plus
cross-checks on selected aspects of performance. Both
mikes were used in the listening tests.
I
I
120
I
1
I
I
AUDIO/JANUARY 1990
Most audiophiles think of CD changers as the station wagons of
the digital world. Convenient to be sure. But certainly not exciting.
Until now.
Because Onkyo's new DX-C300 and DX -0500 CD changers will
change your mind as well as your discs.
And they'll put an end to the risk of sacrificing musical enjoyment
for the ease of multi -disc operation.
1
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Optional magazines allow your choice of single disc simplicity or
multi -disc convenience.
Onkyo's AccuBit technology is the reason.
AccuBit insures that even the quietest musical passages and
subtle nuances are reproduced with stunning clarity. How?
AccuBit starts with high precision Digital -to -Analog converters.
And individually calibrates each one for maximum accuracy. This
critical adjustment allows all the music on your discs to reach
your ears. And not get lost in the distortions that plague
conventional CD changers.
Until the DX-C300 and DX-0500,
only the finest single disc players
could claim such extraordinary
sophistication. But that's just
what you expect from Onkyo, the
company with an unparalleled
reputation for making high end
sound affordable.
I
f
Onkyo.
The End Of The Compact Risk.
ONKYO.
RISING ABOVE THE CO JUNGLE
200 Williams Drive, Ramsey, NJ 07446
In Canada: H. Roy Gray Ltd.
For More
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41z44
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Call 1-800-553-4355
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Axial response is basically
ruler flat from 30 Hz out
to 18 kHz, for sources at
a 1 -foot distance-flatter
than B & K's own curve.
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The axial near -field frequency response of two 4011 units
is compared in Fig. 3; one of the units is even more ruler flat
than the other.
Figure 4 shows how the bass response varies with distance. The solid curves indicate measured data at 6 and 12
inches. The dashed curves show the calculated responses
at 48 inches and infinity; these calculations are fairly accurate due to the physics involved. The dashed curves suggest the sound one would obtain when recording outdoors;
in real rooms, actual bass pickup may vary with source
geometry and room acoustics.
Figure 5 shows directional characteristics of the 4011.
The responses out to 90° are essentially identical up to 12
kHz. The responses at 135° and 180° are down about 15 dB,
which is sufficient, and if my room was more perfect, the
180° curve would probably show "cancellation" of 20 dB or
more, as in the manual. The peak in the 180° response at
high frequencies is attributable to the mike but is not a
significant defect. These results indicate performance which
is about as perfect as can be attained in a 3/4 -inch mike.
122
Use and Listening Tests
To get a feel for the sound of the 4011, first conducted a
crude listening test using my voice, some noise from an air
conditioner, and a new CD of the Empire Brass played on
my outdoor test source. (The latter is an Altec Lansing 755E
8 -inch speaker in a rigid fiberglass sphere; see the September 1978 issue.)
had just heard the Empire Brass in
concert, so I thought I remembered how they really sounded. The best reference mike on hand was a Nakamichi CM 700 cardioid. It is an audiophile mike, but its frequency
response is very similar to the 4011's. The mikes sounded
very similar when picking up on -axis speech or music.
Speech at 3 to 6 inches sounded the same on both; the
proximity effects were the same. Speech from any direction
sounded the same on both mikes. After adding the air conditioner noise to the room, found that the speech -to noise ratio of each mike was the same. This indicated that
the directional patterns were similar. Each mike was very
wind sensitive, but this was reduced by the windscreens on
each. With the CD, each mike sounded the same when
picking up on -axis sound. With sound sources 90° off axis,
the B & K sounded the same as it had at 0°, but the
Nakamichi sounded high-pitched or "tinny." The 4011 had
essentially no sensitivity to magnetic hum, having no transformer, but the Nakamichi had high hum output.
The more formal listening test was conducted in the 900 seat sanctuary of the United Methodist Church in Haddonfield, N.J., where am the sound person. The ceiling is 40
feet high, and an AKG C-422 stereo microphone is suspended about 17 feet above the floor, aimed downward and
forward to the chancel area. The capsules are set for an
included angle of 90° because their patterns are normally
set for figure eight (bidirectional); this forms a Blumlein
array, which find works best in this auditorium. The 4011s
were mounted on a Shure S-15 stand using an M -27M
mounting and were positioned as high as possible, about 2
to 3 feet below the AKG. They were aimed downward and
forward, with the 120° included angle that is correct for
cardioids. The AKG was set for cardioid, but it was not
practical to increase the included angle between its capsules. The 4011s were connected, via about 250 feet of
cables in conduit, to the Soundcraft M200B mixing board in
the balcony. The board has eight inputs and four main
outputs. The stereo outputs were connected to a Sony SLHF500 Beta Hi -Fi VCR.
The church has an active program of concerts, and this
year we did the Brahms "Requiem" with 50 members of the
Philadelphia Orchestra and 150 voices. It would not have
been appropriate to agitate the musicians by setting up
microphones that they hadn't seen at rehearsals, so waited
for a concert that did not involve professionals. It was a
lively affair put on by the young people's choir and included
I
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Overall A -weighted noise level was 17.5 dB (1.5 dB lower
than specified), and the unweighted noise level was 24.0
dB. Figure 6 shows the noise spectrum; the curve is very
smooth, with no bad features such as hum pickup or increasing levels at very low frequencies. The noise level is
comparable to that of the lower noise version of the B & K
omni mike and should not be noticeable in a quiet studio.
I
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AUDIO/JANUARY 1990
Ultimate Upgrade.
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Thé Luxman R-117 combines the state-of-the-art technology
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TOTAL SONIC INTEGRITY
All Luxman receivers incorporate massive power
supplies to deliver high dynamic power.' he R-117
measures over 700 watts of dynamic power per
channel (2 ohms) to ensure distortion -free transients.
The pre -amplifier section combines several Luxmán
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and the AM/FM stereo tuner is sonically competitive
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In all, the R-117 receiver provides the purity and
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The R-117 includes a hand-held remote to control
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The R-117 also interconnects with an external
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A previous advartage of separate components over
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The B & K is an excellent
microphone. It will handle
wicked levels, and yet its
rightful place seems to be
with acoustic instruments.
50 voices, pipe organ, piano, percussion, electric guitars,
and synthesizer. Thus, the sound was more "pop" than
classical. They performed modern sacred music plus some
classical and popular tunes. The vocal mikes (Beyerdynamic M500 ribbons and Audix dynamics) used six channels,
so had only two left to play with. Therefore, used the AKG
for the first half of the concert and the B & Ks for the second
half. The problem was that some instruments were moved
and others were changed during the intermission.
I played the tape in my listening studio, which has
been
described in previous reviews. Briefly,
have a pair of
modified Altec Lansing 604C speakers in sealed, stuffed
boxes of more than 10 cubic feet apiece; they are equalized
and driven by 100 watts per channel. This system can
produce 120 dB SPL, and since the ambient noise is 30 dB
SPL or less, can use the rated 90 -dB dynamic range of the
Beta Hi -Fi recorder. Unfortunately, the acoustic S/N in the
church is much poorer, due to the organ blower, the blower
of the ventilation system, people, and outdoor traffic.
have a curtain hiding the speakers in my listening room,
which is helpful in localization of recorded sound sources.
found that the sources recorded by the AKG were contained
within a smaller angle than those recorded by the 4011s
because of the difference in microphone included angles.
The sonic images from the 4011s extended from wall to wall,
so concluded that 120° is correct for X -Y cardioids in this
I
I
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I
I
I
I
auditorium. fixed the problem by moving my chair forward
when listening to the AKG.
found that the AKG and B & K mikes sounded alike on
choral music, with the B & K sounding perhaps a shade
better on piano overtones. The 4011s were outstanding in
reproducing percussion from the far right. The sound of the
cymbals was perhaps the best I've heard from any mikenot bright and brassy as with a "gimmick" microphone, just
natural, clear, and crisp. The lowest bass in the concert was
from the guitar, not exactly earthquake sound, but the 4011s
did not seem to lack in bass. The AKG has a linear frequency response at high frequencies, as do the B & K mikes, but
it has wiggles due to reflection from the cage surrounding
the capsules. These have minimal effect on sound quality,
because unlike resonant dips or peaks caused by defects in
the diaphragm, they do not spoil the transient response.
However, this comparison with a microphone having very
smooth response revealed the effects of the wiggles in the
AKG's response.
consider the AKG C-422 a super mike and, as the B & Ks
seem to be just a shade better, concluded that they too
must be in the super category. Since a pair of 4011s costs
roughly the same as the C-422, I judge the 4011s to be a
good value. The lesson learned from this is that a 3/4 -inch diameter cardioid can offer an optimum combination of
acoustical performance and dynamic range. Jon R. Sank
I
I
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I
Digital filters
PACKAGE
DEVICE
SM590AP/
APTT
SM581AP/
APTT
Manufactured by
SAMPLING
FRED.
COMPOSITION
OVER
TYPE
PIN
DIP
28
2 channels
DIP
28
2
W PC
NIMON PRECISION CIRCUITS
TAPS
SAMPLING
channels
FILTER
tdB)
CHARACTERISTICS
PASSBAND STOPBAND
ATTENRIPPLE
UATION
FEATURES
INPUT
OUTPUT
Serial
Serial
For digital audio system
For digital audio system
8/4 times
153+29+17
10.00005
110
8 times
153+29+17
10.00005
110
Serial
Serial
t0.09/tD.01
90
Serial
Parallel
Serial
Parallel
High stopband attenuation
Small passband ripple
t0.09/3Á.015
90
Serval
Parallel
Serial
Parallel
High stopband attenuation
Small passband ripple
For recording and playing
SM5802
A/B
FPP
60
2 channels
2 times
SM5804
A/B/C/D
FPP
60
2 channels
4 times
SM5805
DIP
28
2 channels
2 times
121
10.001
90
Seral
Serial
28
2 channels
2 times
70
10.05
60
Serial
Parallel
For compact disk
18
2 channels
4
times
81 + 13
10.05
50/45
Serial
Serial
For compact disk
4 times
105 + 21
±0.001/ 0.01
70/52
Serial
Serial
21+141
1-0.0002
±0.0005
88/95
SM5806
DIP
SM5807DIP
E/F
SM5814
A/B
DIP
SOP
22
SM5815A
DIP
SOP
24
FPP
64
SM5831
PGA
24
40
68
2 channels
2
channels
4 on -chip
multipliers
LTD.
DATA FORMAT
1/2 or 1/4
Decimating
80
80
+ 15
Serval
Serial
Parallel
Parallel
15MHz
4, 7, 8
25MHz
cascadable
On -chip
coefficient register
64 steps digital attenuation
sharp cutoff characteristics
Decimating filter for
audio system
For video signal
High speed digital filter
U.S. and Canada Distributor
SSEPONIX
2151 OTOOLE AVENUE, SUITE L,
O'TOOLE BUSINESS CENTER,
SAN JOSE, CALIFORNIA 95131
TEL:408-922-0133
1-800-237-4590
FAX:408-922-0137
For complete product information and order,
contact Jim Chang,
Director of Customer Service/Developments
or, Greg Branch, Sales Director
Enter No. 62 on Reader Service Card
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AURICLE
amplifier is a case in point. It costs
approximately $2,000. This is scarcely
cheap by mid -fi standards, but it is
very affordable by high -end standards,
and the DR -5 comes close enough to
the ultimate reference preamps to be a
serious rival.
Unlike many top high -end preamps,
the Classé DR -5 comes on a single
chassis which contains both the audio
Company Address: 9414 Cote de components and the power supply.
Liesse Rd., Lachine, Que., Canada The styling is attractively functional,
H8T 1A1.
and the control features are excellent.
For literature, circle No. 95
You have a choice of phono, tape, or
three high-level inputs. There are the
have never made any particular traditional balance and volume corsecret of my passion for the high end, trols, and switches for tape monito,
and one of the major joys of being a phase inversion, and muting. Unlike a
reviewer is having the opportunity to number of preamps, this unit also
make extended trials of top -price com- gives you a full -featured selection
would never otherwise be switch so you can choose between left
ponents
able to afford. At the same time, find it or right only, stereo, reverse stereo,
amazing to see how close some of the and mono.
more affordable high -end designs can
The DR -5 is very definitely configcome to the ultimate reference designs ured for outstanding reproduction of
which are three or more times as ex- analog phono-something which is
pensive. The Classé Audio DR -5 pre- only optional in an increasing number
CLASSÉ
AUDIO
DR -5
PREAMP
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of competing high -end preamps. It has
one of the best moving -coil gain
stages have ever encountered; this
preamp is self -matching to the impedance of an MC cartridge, a feature
which saves experimentation with MC
phono loading. The DR -5 seemed to
be able to get the best from given MC
cartridges, rivaling the selectable impedance features of my reference preI
amplifier.
The DR -5 offers 11 different levels of
gain, from 20 to 40 dB, in order to
ensure that the phono level will match
that of the high-level stages and have
the gain which suits a given MC cartridge. The Classé also has switchable
47-kilohm loading and 35 dB of gain
for MM cartridges.
Other important phono-stage features include a passive RIAA network
and zero feedback in the phono gain
and equalization stages. For purists,
there is a phono bypass switch which
eliminates the input -selector, tape, and
mode switches from the signal path.
This bypassing nas a small but audible
BALANCE
-
MOM
ñlírsfilfAuóia
MOT SELECTOR
DR -5 NERT
TAPE
RIASE
26
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1
AUDIO/JANUARY 1990
We're making a big deal out
no
ofpractic
reproduce the low amplitude signals coming
from the disc.
To achieve this superior sound definition,
Yamaha uses four 18 -bit D/A converters, each
with an exclusive 4 -bit Floating
System to boost linearity to 22 -bits.
Delivering four times greater
resolution of low amplitude signals
than even fixed 20 -bit D/A converter
systems.
What's more, Yamaha's exclusive
Super Hi -Bit DAC Direct Output
provides phase accuracy so close to
the original recording, it's unprea full -function
cedented in the industry
remote lets you
The CDX 1120 also features
control evervthing. with 3dDigital DeEmphasis and Digital
tracA random
access proVolume Control to give the best
gramming,
5-way repeat
possible signal output - - uncomplay and more.
promised by analog components.
To fully appreciate the phenomenal CDX
1120, pay a visit to your local Yamaha dealer.
Once you hear it for yourself, the
advantages will come
across loud and soft
HA®
and clear.
The most difficult job for a compact disc
player is to reproduce low amplitude signals.
Fortunately, Yamaha has created a remarkable
CD player that rises to the occasion.
The CDX 1120 reproduces those low
amplitude
:-.1111:1:
signals that until
now, have been
distorted or lost
in the noise generated by the digital -to-analog
conversion process in most CD players.
Allowing you to distinguish the subtle
variations between, say, both an oboe and
clarinet softly playing middle C.
As well as enjoy improved ambiance,
revealing the acoustic characteristics where
the performance took place.
And superior imaging, clarifying the placement of each instrument in an orchestra.
All worthy reasons to take a good, soft
listen to our remarkable new CDX 1120. Only
then, can you truly appreciate Yamaha's Super
.il
,
Hi -Bit Technology.
Yamaha's exclusive Super Hi -Bit System
utilizes the additional information generated
by our 20-bit digital filter to more accurately
YAMAHA
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t:1989. Yamaha Electronics Corporation, USA. For the dealer nearest von call 1-800.662-6800.
The DR -5 gives you a major
increase in "focus." It's
like switching from an
ordinary camera to one of
Nikon's or Pentax's finest.
effect in allowing you to get the best
As with all good high -end compopossible performance from a phono nents, the internal construction is
cartridge.
something of a work of art, and careful
The other inputs and outputs are rel- attention is paid to both components
atively conventional, except for the tun- and circuitry. While make no claims
er input and the provision of balanced for being able to distinguish the sonic
outputs. The tuner input is padded effects of individual technical features,
down, or attenuated, by 6 dB. Tuner the manufacturer provides an impresoutputs are usually higher than those sive litany. All controls and switches
of other audio front -ends, and this al- have silver- or gold-plated contacts. All
lows you to maintain a constant level resistors are 1% metal film, and polybetween components. Alternatively, it styrene and polypropylene capacitors
would be equally useful with one of the are used in the RIAA equalization and
higher output CD players.
bypass circuitry. There is a single
Balanced outputs are rapidly be- printed circuit board, with oxygen -free,
coming the rule in high -end preamps deposited copper sealed with solder
and amps. They do, however, require mask. In addition to the phono-circuit
very careful engineering to ensure that features discussed earlier, the manuthe balanced circuitry does not alter facturer emphasizes "streamlined" sigthe sound of a unit and that the poten- nal paths and "a true balanced hightial benefits in S/N ratio can actually be level section" that finishes with "an ulrealized. The Classé is one of the few tra -high beta (current stage) which repreamps I have heard in which using a sults in the preamplifier having an
balanced line does not significantly al- output of ohm."
ter the sound character of the unit.
Anyone who buys a high -end
While my system is not noisy enough to preamp does so for its ability to promake the use of balanced lines impor- vide a degree of transparency and mutant, did find through experiment that sical realism unavailable from mid -fi
the balanced output will sharply re- components. These qualities seem to
duce interconnect noise if long inter- have little to do with ordinary technical
connects are used or when an inter- measurements, since many relatively
connect is placed near a transformer cheap preamps yield performance-in
or other source of line noise.
terms of frequency response and disAs for technical specifications and tortion measurements-which is so
features, the DR -5 joins virtually all good that it should theoretically make
modern high -end transistor electronics the differences between such pre in setting frequency and distortion amps and their higher priced cousins
standards which are so demanding inaudible.
that detailed comparisons of specificaIn practice, however, preamps differ
tions are largely meaningless. The S/N sharply in the details of their sound
specs do, however, provide an indica- quality, and only a few provide the kind
tion of why the DR -5 has exceptional of transparency and realism available
transparency: With A -weighting, S/N is in the DR -5. In fact, if this unit has a
80 dB at the phono stage for both MM special sound quality, it lies in its ability
and MC cartridges and 90 dB at the to reveal an astounding amount of muhigh-level stages. The output imped- sical detail at every level of dynamics.
ance is also exceptionally low-only
Anyone who compares a preamp
1
ohm-allowing the use of long inter- like the Classé DR -5 to a good mid -fi
connects with minimum problems in preamp in a high -resolution, high -end
terms of hum and noise.
system will immediately be struck by
The circuit features include a large the extent to which the DR -5 reveals
toroidal transformer which is fully cop- details in top-quality récordings that
per shielded and has eight times the the mid -fi preamp cannot. This may
power needed to drive the circuit. The take the form of new data about the
power supply has eight stages of regu- soundstage, an added degree of reallation and 73,200 µF of filter capaci- ism in male or female voices, or a sudtance. The Classé's power supply and den ability to distinguish individual
all power -line inputs and accessory choral voices or massed string instruoutlets are in a separate shielded ments. It may also take the form of a
compartment.
sudden increase in the life and apparI
1
I
128
ent speed or dynamism of rock music
and jazz, particularly in piano or other
percussion instruments. The difference
is roughly equivalent to the difference
between a picture taken by a run-ofthe-mill viewfinder camera and one
taken with a top -of -the -line Nikon or
Pentax: There is a major increase in
"focus."
The DR -5 also has the special merit
of providing this detail in a musically
natural way. A number of high -end
preamps tend to provide transparency
that almost seems etched, and the ad-
ditional detail eventually seems unnatural. Other preamps provide musical
sweetness but do so at the expense of
transparency. The DR -5 gets the balance right to a degree that few
preamps in its price range have yet
approached.
The DR -5 also has an exceptionally
low apparent noise floor. Many
preamps whose measured S/N is exceptionally good, nevertheless seem
unable to reproduce all of the low-level
detail in classical music and jazz; they
make soft passages sound muted or
dull. The DR -5 has an outstanding ability to provide lifelike and musical
sound in soft passages. You may be a
bit shocked to realize that a superior
ability to reproduce low-level musical
information can contribute at least as
much to your listening enjoyment as
the ability to handle music peaks.
In terms of frequency balance, the
Classé has a slightly "forward" sound,
with a bit more upper-midrange data
than other top high -end preamps such
as those made by conrad-johnson,
Krell, or Jeff Rowland. It is closer to the
Mark Levinson No. 26 in terms of midrange and treble balance, although it is
not quite as smooth or transparent. The
DR -5 does an excellent job of reproducing the lower midrange and upper
bass. It has none of the warmth of tube
preamps but little of the leanness of
some transistor preamps. The mid and
lower bass of the Classé are outstanding, although detail and control are emphasized over power and dynamics.
The soundstage is slightly forward,
and you have more of a feeling of moving slightly further toward the concert
hall stage than you do with many other
high -end preamps. At the same time,
the right -to-left imaging is excellent.
The soundstage seems to extend to
AUDIO/JANUARY 1990
American
Acoustics®
loudspeaker offers
' these.advanced"features and á 10 -year wsrrán
.
,development to finished product, we're
yNo :other
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Frómthe,iriiifal'researchqttd
.
dedicated to providing.the.very best in
sound to our listener.
'Fór instance, our new Dual,
Source Format:toiidspeakers, a
;stunning culmination of techñical
excellence arid pure áúditory emotion
by -people who love music just -like you .'
do. Features like dual bass
transducers for high level bass clarity,
Symmetricrear port apertures'for quick,
bass reflex at near zero distortion.'
Geometric baffle cover coñfigurátign,
that minimizes sound diffraction and
improves high -frequency dispersion:
Midrange driver, positioning (above the
tweeter) for improved time arrival ovér
theentire sound spectrum..Discrete
high -slope crossovers for smooth"
frequency transftion.
And, like all Ame iéán,
Acoustics Loudspeakers, añ
.industry -leading 10-year warrañtyl
A full decade ,oflistening confidence.
Because we'ré.confldent about what
goes into every American Acoustics
' product Superior componentry,
advanced materials and construction:
techniques along with quality
conscious, old-fashioned American
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Whether you choose the
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Today, tomorrow, and for years
to come.
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American Acoustics
One Mitek Plaza
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Winslow, IL 61089
LISTENING FOR THE FUTURE
Enter No. 5 on Reader Service Card
For the dealer nearest you .'please pail 1 800-223=5286:'
When callirig,.please refer to number /0977
'
Only a few preamps provide
the transparency and the
realism of the Classé DR -5.
You get an astounding
amount of musical detail.
the right and left of the speakers without any loss of center fill. Instruments
are well placed in terms of depth and
from right to left, and the imaging is
stable and musically realistic. There is
no unnatural expansion or contraction
of the image, and the bass and upper midrange imaging are fully consis-
tent-qualities which are rare
in even
the very best high -end preamps.
Dynamics and transient information
are very good up to very loud listening
levels. The Classé does not, however,
handle
symphonic
spectaculars,
massed voices, or other loud complex
music quite as well as its top competi-
HPC
CPC
HELICAL PLANAR COPPER
COPLANAR COPPER
111
tors. This effect is minor, however, if
you pay careful attention to your
choice of interconnects. You want in-
terconnects that stress frequency
range and detail, rather than coherence or smoothing of the sound.
The DR -5's high-level inputs are also
exceptionally clear of residual levels of
coloration. While the Classé is not perfectly neutral, it does a much better job
of maintaining neutrality than any of its
mid -fi counterparts, and it rivals many
much more expensive high -end units.
You can hear this neutrality for yourself
at any good high -end dealer. Simply
listen to a system where the power
amp is directly connected to a top CD
player or decoder with preamp controls, like the Spectral SDR-1000 or
Theta DS Pre. Then insert the DR -5 into
the signal path and make sure the levels are matched. The "sound" of the
DR -5 is barely audible compared to
that of all but a handful of reference quality preamps.
The phono stages of the DR -5 do an
equally good job of getting the best
from a moving coil. A few audiophiles
may bemoan the lack of opportunity to
play around with different loadings, but
most will find that the DR -5 sets the
impedance for an ideal combination of
upper -octave smoothness and sound stage detail. The Classé preamp also
produced a very low phono noise level
with a wide range of different high -end
tonearms, including several that often
produce hum or noise problems with
other preamps.
Even one or two years ago, doubt
you would have been able to find a
rival to the Classé DR-S-at any price.
It reveals an exceptional degree of
mastery of both the science of electronics and the art of listening. It also
has outstanding ergonomics, providing the kind of real -world features a
true audiophile needs in an easy -to operate and logical form. There are
now a few superior preamps, but few
rival the Classé at anything like it's
price. Given the high -quality balanced
outputs, the DR -5 is also well equipped
for the latest fad in high -end electronics, although the standard RCA outputs worked just as well in my system.
All in all, the Classé DR -5 offers superb
value for the money, without forcing
you to mortgage your home.
Anthony H. Cordesman
I
a.
Over two years ago the staff at Madrigal Audio Laboratories
began accumulating convincing evidence that solid conductors
of rectangular cross-section would do a better job of carrying
musical signsls. Years of listening and enginering tests making
use of ribbons of specially processed, high -purity copper with
teflon insulation and the highest quality terminations, have
resulted in the new Madrigal HPC and CPC cables.
Visityour Madrigal dealer and hear what these original designs car do to improve your music system.
HPC and CPC cables are designed by. and manufactured exclusively for
Box 781, Middletown, CT 06457 ITT TLX 4942158
Madrigal Audio Laboratories, P.O.
130
AUDIO/JANUARY 1990
fieyacy
e
e
q79tem&.
4
Signature
y7P í.1
II-The tower speaker that's
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been six years in the making.
967/flI
I.
-
The Monitors
Accuracy unbounded
by dimension.
e
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CJJM81
EVEREST
JOHN EARGLE
One of the
promises
of the CD revolution
that is now being
fulfilled in abundance is the
reissue of the best of the
various "golden ages" in
phonographic history.
the early '60s, Belock decided to get out of the rec-
ord business, and the
company was sold. Its im-
il
_
I
132
age receded, and pressing quality got even worse.
The legend remained,
however, and record and
sound buffs have never
forgotten Everest's original
In
many cases, we are hearing these old recordings as
they've never been heard
»en
before, with more clarity
M.LIT]va .cMAYF3~-`than we'd ever thought was
_fkL4 ík]Cr=._T-4
in the grooves or master
tapes. The major companies are scouring their
vaults, looking for their best
and earliest source material, and transferring it to digital formats for further processing or direct transfer to
Compact Disc.
Philips is doing something that is rare for a major label:
They have gone beyond their own vaults and are rereleasing some of the classic recordings of the old Everest label,
which thrived as a division of Belock Instrument Corp. during the '50s and early '60s.
Most readers of Audio are aware that Associate Editor
Bert Whyte was responsible for the technical side of these
recordings. In its day, Everest was celebrated for the quality
of its recordings, and only on rare occasions did the major
labels match what Everest did on a routine basis. As an
engineering student during the late '50s, was enamored of
their two -track reel-to-reel tapes and had amassed quite a
collection of them, expensive as they were. For those without a tape player, there were the noisy Everest stereo
pressings, which gave little indication of what was really on
the master tapes.
Later, when came to know Bert Whyte, had the privilege
of hearing his own proof copies of the carefully prepared
tape duplicating masters. These gave me an even better
idea of how truly remarkable the recording technology was.
Whyte pioneered the use of three -track magnetic recording on 35 -mm film. With a speed of 90 feet per minute (18
ips), track widths of one -quarter inch, and a very thick base
material, the medium was extremely quiet, had virtually no
print -through, and exhibited excellent time -base stability.
Not all Everest recordings were made with 35 -mm film, and
standard 15-ips, three -track half -inch tape was also used. In
I
C
I
accomplishments.
0101111
Bert
Whyte's greatest contribu.,::
_'
tion was his ability to emphasize the sonic values of
rich modern scoring without getting in the way of
the music or detracting
from it in the least. Over 30
years later, this remains a
worthy goal for all recording engineers.
For their first group of Everest reissues, Philips has picked
five examples of the 35 -mm technology, and they have
processed them with the remarkable NoNoise system developed by Sonic Solutions of San Francisco, which is the
culmination (at least for now) of the long search for systems
that can remove noise already present in recordings.
Such systems have nothing in common with the dbx,
Dolby, and other noise -reduction systems that attack noise
before it becomes a problem, by compressing the signal
during recording and expanding it during playback. In this
way, the signal can be maintained well above the noise floor
of the medium during recording; playback processing restores the program's original dynamics while pushing the
noise floor lower.
Once a noisy recording has been made, there are limited
options for quieting it. Over the years, static techniques
such as low-pass filtering and removal of discrete noises
through tape editing and dynamic techniques such as program -directed filtering have both been used. Their effectiveness has varied, depending on the nature of the program,
but in general, it is felt that any kind of filtering removes
music at the same time it removes noise.
Many years ago, Harry Olson of RCA developed a novel
method for removing noise from recorded program material.
His technique was to divide the spectrum into octave bands
by way of sharp filtering. Within each band, he established a
user -variable noise -floor threshold. Any signal below the
-.__
AUDIO/JANUARY 1990
[ven II Your Best Friend Breaks Them,
We'll Repair Or RepI&eThem.
9
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Koss Stereophones have become world-renowned for two
things: outstanding sound and extraordinary durability.
But nobody's perfect. That's why Koss is pleased to pre-
ygpl
And that's something to think about the next time
you're in the market fora pair ofphones. After all, it'd
be a shame for a broken pair of stereophones to break
sent something literally unheard of in the audio business.
Introducing the industry's first lifetime warranty.
From now on, if an y pair of Koss Stereophones should ever
fail for any reason, we'll repair or replace them. No
questions asked. From the smallest portable model right
up a good friendship.
up through Koss' infrared Kordless"" systems.
WI 53212.
For more information and the name
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dealer, call toll free: 1-800-USA-KOSS. Or write: Koss
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Hoss'No-Questions-Asked limited lifetime Warranty.
Enter No 26 on Reader Service Card
® KOSS"
stereophones
In its time, the Everest
label was revered for the
quality of its tapes. The
majors rarely matched what
Everest routinely released.
threshold could be defined as noise
and be "squelched." When the several
bands were recombined through further filtering, the noise was all but gone
and the music left virtually intact.
In 1984, at the AES Conference on
the Art and Science of Recording,
Roger Lagadec, then of Studer Revox,
demonstrated a digital version of the
Olson scheme, this time using 256 discrete frequency bands. Although the
system was demonstrated in mono, the
results were impressive. We could
hear that the threshold of noise, if set
too high, could affect the ring -out of
reverberation. It became obvious that
Why Are
Audiophiles
Still Buying
Turntables?
I
Expensive ones. Indeed, with CD re -issues available, why are used -record
prices skyrocketing? Why are so many old and incredibly expensive LPs ending
up in Japan along with American vintage tube gear? And why is there now a
resurgence in new tube equipment?
If the cable business is the hoax some people claim it to be, why has it grown
into a worldwide multimillion dollar industry?
If CD players all measure and sound virtually identical, why are many
audiophiles now spending thousands of dollars on outboard processors?
Is it because all of these people around the world are deluding themselves?
Or are they on to something you should know about?
For sixteen years The Absolute Sound has been on to something: the truth
about good sound and how to get it at home.
If you're serious about high fidelity, it's time you subscribed.
There's no magazine in the world like it.
The Music
The Equipment
The Past
Subscribe now for four issues for just $22.95, using our toll -free number.
We'll bill you after you receive your first issue. If you're not completely
satisfied, just write "cancel" on your invoice and return it to us. You keep
your first issue and owe nothing. That's how sure we are that once you
start reading The Absolute Sound, you won't want to stop.
The Present
The Future
The Truth
the absolute sound°
The Iligh End ,lournaler for the Discriminating Listener
Call 10am-6pm ET, Mon. -Fri., at 800-222-3201 or 516-671-6342. Or mail this ad with
your name, shipping and billing address to P.O. Box L, Dept. ES3, Sea Cliff, NY 11579
Enter No. 59 on Reader Service Card
good musical judgment had to be exercised to produce acceptable results.
With cyclical interferences such as
hum, buzz, and the like, it is possible to
sample the interfering signal, duplicate
it, and return it in opposite polarity,
achieving a virtual cancellation without
affecting the music in the least. The
NoNoise process accomplishes all of
this. In addition, it can detect discrete
disturbances, such as clicks, and replace them with a replica of previous
cycles of music waveforms so that absolute playing time is not affected.
Digital technology can do all of this
with the appropriate programs. The
processes are not cheap, and good
ears must be constantly at hand to
ensure that good taste prevails. It is
always wise to leave a little of the noise
floor audible. After all, some of that
noise was in the original venue.
have listened to four of Philips' Everest reissues made with NoNoise, and
the listening is almost magical. With
the background noise all but inaudible,
it is easy to imagine that you are hearing the "line out" of the recording console. The sound may be quieter than
what the recording crew heard when
they played back the masters, and details of the soundstage become remarkably clear. One also hears a characteristic of the day, the sound of the
early Neumann U-47 microphones,
with their relatively undamped high -f requency peak. Nothing bad, but not a
match for the ultra -smooth microphones of today. Let's look at the four
discs have auditioned:
Leopold Stokowski is represented
by the Shostakovich Fifth Symphony,
performed by the New York Stadium
Symphony Orchestra, and Scriabin's
"The Poem of Ecstasy," performed by
the Houston Symphony Orchestra
(422-306-2). The Stadium Orchestra
was in reality the New York Philharmonic, which at the time was under
contract to Columbia (now CBS) Records and could not record for other
labels under its own name. The recording was made in the eighth -floor ballroom at Manhattan Center in 1958, and
it stands up well today. The immediate
ambience and "bloom" of such rooms
as the one in Manhattan Center are
rare in the United States, but such
spaces are highly valued in England
and Europe and account for the sound
DIAJAO
I
134
AUDIO JANUARY 1990
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Lewis Lipnick
"Stereophile" Vol.10, No.5 Aug. 1987
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When it comes to recording
orchestral music, today's
best techniques have nothing
on the methods of 30 years
ago-witness these albums.
heard on many imported recordings. the original reverberation. The Houston
After many years of inactivity (due to Symphony recording, dating from
changing of hands and unfortunate 1960, does not come off as well, maincarpeting), the old Manhattan Center ly due to acoustics.
ballroom is once again coming into its
The music of Mexico's Carlos Cháown as a recording venue; its carpet is vez, conducted by the composer, also
now covered, on request, by thick sec- features the New York Stadium Symtions of particleboard, thus restoring phony Orchestra recorded in Manhat-
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tan Center in 1958 (422-305-2). The
program consists of Sinfonía India, Sinfonía de Antígona, and Sinfonía Romántica, all richly scored works making use of native coloristic elementsexotic music for exotic tastes.
Copland's Third Symphony and "Billy the Kid" Ballet Suite are conducted
by the composer with the London Symphony Orchestra (422-307-2). The recording venue was Walthamstow Town
Hall, near London, a room famous for
recordings for four decades. Normal
seating is removed, and the orchestra
is placed toward the center of the
room. Just a few microphones are
needed to pick up the ensemble, with
an assist from the dense array of early
lateral reflections in the space. These
1958 performances hold their own with
any of today.
The Eastman Theater in Rochester,
New York was the venue for Ferde
Grofé's "Grand Canyon" Suite and Piano Concerto, also conducted by the
composer, with pianist Jesús Sanroma
and the Rochester Philharmonic Orchestra (422-304-2). The recording
was made in 1960. The Eastman Theater is a quirky room, large and with
particularly disturbing reflections from
the fascia of the balcony and loge.
Under such conditions, a fairly close -in
approach to the orchestra was dictated. This works quite well on the "Grand
Canyon" Suite, with its detailed scoring
and reminiscences of studio writing.
Grofé certainly knew what he wanted
and brought out the best in the Suite.
The Concerto is a lesser work, and
even the consummate virtuoso San roma cannot carry it off.
The fifth release in the series will be
Stravinsky's "Ebony" Concerto, featuring Woody Herman, plus "Petrouchka"
and Symphony in Three Movementsall with Eugene Goossens conducting
the London Symphony Orchestra. I
look forward to a hearing.
As
survey these four releases, it
becomes apparent that the best current recording techniques, as applied
to classical orchestral recording, have
nothing over what was done 30 years
ago. Such men as Bert Whyte, RCA's
Lew Layton, Kenneth Wilkinson of British Decca, and a handful of others set
down the rubrics for those who followed.
Everest has truly been rescaled, and the
view is loftier than ever.
I
416)83'-6933
136
.
Enter No. 41 on Reader Service Card
AUDIO/JANUARY 1990
PUBLISHER'S PRESENTATION
S
P
O
T
L
1
G
N
T
Good Grief, Charlie Brown,
The Peanuts Gang Is Turning Forty
you believe that Charlie
Brown and Lucy, Snoopy, even
little Linus, are in their 40th year?
It's true, and some of the folks at
GRP Records have gotten together to
celebrate the event. The company's recording, happy Anniversary, Charlie
Brown, features such GRP stalwarts as
label co-founder Dave Grusin, vocalist
Patti Austin and musicians David Benoit,
Chick Corea and Lee Ritenour. "These
artists are joined by jazz greats Dave
Brubeck, Gerry Mulligan and Joe Williams, to name just three of the album's
other attractions.
The Peanuts gang originally encountered jazz in 1965, the year producer
Lee Mendelson created the first of his
many TV specials featuring animated
Charles Schulz characters. "I didn't want
to use what was then known as cartoon
music," he commented in a recent interview. "I wanted something unique."
Mendelson, who had inherited a love
of jazz from his father, was driving
across the Golden Gate bridge one day
when the radio station to which he was
tuned began playing the well-known
Vince Guaraldi tune, "Cast Your Fate to
the Wind." The mood of it struck him,
he recalls. After finding that, like himself
and cartoonist Schulz, Guaraldi lived and
worked in the Bay area, he contacted
the pianist-composer about scoring his
new show.
A couple of weeks later, Guaraldi
called and insisted on playing a new
composition (soon to become known as
"Linus & Lucy") over the telephone.
Mendelson's objections to the medium's
fidelity were squelched by the composer's enthusiam. The producer listened
and immediately knew he'd hit upon the
correct choice. "We went on to do 16
shows together," he stated, noting that
Guaraldi's untimely death in the mid
1970s ended a very happy association.
With his groundbreaking eight program series, This is America,
Charlie Brown, Mendelson juxtaposed
Schulz's cartoon characters with historical figures ranging from the pilgrims to
Would
the astronauts. He wanted to continue
the tradition of backing the Peanuts gang
with jazz and thought the scope of the
project, which was network TV's first
animated mini-series, was wide enough
to interest such artists as Dave Brubeck, Grusin and others.
GRP was later approached with the
idea of putting some of the music from
ii
J
Ultimately, 11 selections
were culled from
some 50 pieces of music
spanning a
quarter of a century.
This is America, Charlie Brown on
disc. Larry Rosen. Grusin's partner at
the record firm, felt the idea should be
taken a step further. Why not, thought
Rosen, make it a no-holds -barred anniversary celebration and re-record tunes
from Peanuts gang specials all the way
back to the original 1965 Christmas
show? And why not invite artists from
outside the GRP stable to extend the
album's musical dimensions?
Ultimately, 11 selections were culled
from some 50 pieces of music spanning
a quarter of a century (eight by Vince
Guaraldi, one by Brubeck and two by
Grusin). Then performers most likely to
catch the spirit of each were singled out.
Both Larry Rosen and Lee Mendelson are highly pleased with the result,
which Mendelson calls "a wonderful
marriage between the comic strip and
jazz, both American institutions and both
known around the world." Rosen goes
so far as to affirm that, thanks in part to
the global appeal of this collection of
now -middle-aged kids and their canine
companion (as licensed characters, the
Peanuts gang is second in popularity
only to Walt Disney's clan on a worldwide basis and ranks number one in
Japanl Happy Anniversary, Charlie
Brown could outsell every other title on
his and Grusin's popular label.
Pianist David Benoit, a longtime
Vince Guaraldi fan, gets the album moving with "Linus & Lucy" and is followed
by B.B. King, who steps out smartly on
"Joe Cool." Dave Grusin quickly warms
the atmosphere with his composition,
"History Lesson," and a trio led by pianist Chick Corea turns the mood mellow
with an arrangement of Guaraldi's
Great Pumpkin Waltz." It's a classic sort
of tune, classically played.
"Ihe vocal acrobatics of Joe Williams
turn Guaraldi's "Little Birdie" into a
rhythmic stunt pilot, and Gerry Mulligan's oh -so -sweet baritone sax on
"Rain, Rain, Go Away" really could drive
off clouds. The soprano saxophone of
Kenny G. keeps "Breadline Blues" plaintive yet colorful.
Guitarist Lee Ritenour's "Red Baron"
follows as does silken-voiced Patti Austin's "Christmas Time is Here." A 13 year-old musical prodigy, Amani A. W. -
Murray, plays the "Charlie Brown
Theme" on alto sax and the redoubtable
Dave Brubeck is ably abetted by Bob
Militello's nimble flutework on Brubeck's
own "Benjamin."
The year -long birthday celebration of
the Peanuts gang continues through October 2, 1990. By then, this stylistically
wide-ranging anthology may well have
justified Larry Rosen's lofty expectations. Happy Birthday, Charlie Brown
is a recording certain to appeal to a large
number of today's listeners.
ROCK/POP RECORDINGS
ROCK HOMEWARD, ANGEL
Cry Like a Rainstorm, Howl Like the creamy multi -tracked background vocals).
Wind: Linda Ronstadt
Earlier on, mentioned this album's
Elektra 60872, CD; DDD; 42:39.
bigness, a natural ambience and powSound: A
Performance: A- er not often found in pop music. SomeShelve the big band arrangements. times this grand scale creates drawTuck the lamé sheath dress into the backs. It's difficult, if not impossible, to
closet. Close the lid on those Spanish sound intimate and personal with
guitars and say goodbye to roots rock olé (thanks for the canciónes,
Dad). Let's welcome Linda Ronstadt back to the world of pop.
Ronstadt has been living every
working musician's dream: Play
what you want while the public
and your label support you, no
matter how far into the musical
jungle you trudge. Still, even musicians leading the good life need to
come back to their core audience
and say hello, and with this album,
Linda seems to be saying, "Hi, I'm
back; didja miss me?"
Cry Like a Rainstorm is no fooling around. This is a big album,
big in scope and sound: 12 quality
songs by six sets of quality songwriters, including Karla Bonoff,
Jimmy Webb, and Issac Hayes/
ñ
David Porter. Onboard are a load
of L.A. session stars-Lee Sklar
(bass), Russ Kunkel and Carlos
Vega (drums), Robbie Buchanan
and Don Grolnick (keyboards),
and Dean Parks (guitar). Add the
"Skywalker Symphony Orchestra"
and the Oakland Interfaith Gospel
I
Choir, each with more than 50
members, and cut the affair at George
Lucas' Skywalker Ranch post -production studio, with Peter Asher producing
and George Massenburg recording
and mixing.... Whew! What a cast.
Ronstadt gets substantial help on
four songs from Aaron Neville, the tenor from heaven. Their vocals blend
beautifully. Listen to how closely
matched are their enunciation, phrasing, and feel ("I Need You"; "Don't
Know Much"). Neville is a wondrous
singer, but Ronstadt is fully able to
contribute, not simply hang on for the
ride. She's learned her lessons well,
singing big band and mariachi music.
Her phrasing has been refined; she no
longer has to worry about where the
beat is but can play with it, moving
ahead or hanging back. She even
flows easily into falsetto and back
("Adios," featuring Brian Wilson's
138
scores of players and singers working
away behind you. Eleven of the 12
tracks use the orchestra, two use orchestra and choir, and all this power
can knuckle the lyrics into submission.
It sometimes sounds as if Ronstadt's
vocals were recorded last, with the
singer hearing all the tracks in her
headphone mix; her voice seems to be
pushing too hard in order to compete
with the accompaniment-going for
power when understatement was
needed.
The final piece in this excellent jigsaw is engineer, mixer, and sound designer George Massenburg. This guy
is making unbelievably clean, powerful
recordings: If anyone is presently doing better recording work than Massenburg, let him please step forward.
He uses natural and electronic ambience, for instance, in near -perfect
combination. Plus, he has mixed a
masterpiece: Every instrument, acoustic and electric, can be heard clearly,
even when all parts are playing at
once.
The more you listen to Cry Like a
Rainstorm, the more you realize that of
greater importance than Ronstadt's return to pop/rock is the enormous
musical development that has taken place in this woman. Ronstadt,
Massenburg, and Asher have put
together a candidate for 1989's
best album.
Hector G. La Torre
Freedom: Neil Young
Reprise 25899, CD; DDD; 61:04.
Sound: B+
Performance: A
This is strange.
thought Neil
Young was a vocal political conservative. Yet judging from the
masterful Freedom, he's suddenly
developed a heart of gold.
I'm tempted to call this the album of the '80s. Young opens with
a raucous live version of "Rockin'
in the Free World," bringing up
concerns he fleshes out fully in the
studio version later on, where he
angrily strips away the facade of
our "kindler, gentler, machine-gun
hand." He gives the old standard
"On Broadway" disturbing new
meaning; today, the lines "When
you're walking down the street/
And you ain't had enough to eat"
are no longer starving -artist romantic. On the dark and anxious eight minute opus, "Crime in the City (Sixty
to Zero Part I)," Young gives us a cop
bemoaning his lot; just when we're
nodding our heads and clucking,
"Poor man, somebody ought to do
something," we find the cop is just
rationalizing why he went on the take.
The same strange and awful landscape appears in the sad romance of
"Wrecking Ball," the odd site where
two lovers plan to meet. Though she
wears "something pretty and white,"
they rendezvous at a grimy symbol of
destruction and regeneration. Perhaps, then, Young means something
more abstract by "wrecking ball"-like
a surreal, symbolic party where power broker princes and princesses gather
to dance till dawn.
What makes Freedom such an
achievement is that never has so politiI
AUDIO/JANUARY 1990
ORIGINAL MASTER RECORDINGS,.
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Al Green's Love Ritual
presents unreleased cuts
from the period in which
his imagination was most
fertile. It's a revelation.
cal an album sounded so good technically (it's digital at all stages) and musically, from the dirty sound, rough as
beard stubble, of the live "Rockin' in
the Free World" to the sad and hopeful
horns and piano of "Someday," sprinkling notes like stardust. Like the ideal
it celebrates, Freedom is magnificent.
If this musical and lyrical cacophony
doesn't wake you up to what we're
increasingly in danger of losing, maybe you're better off asleep.
Frank Lovece
Just Lookin' for a Hit: Dwight Yoakam
Reprise 25989, CD; AAD; 35:25.
Sound: B+
Performance: AA word about my Dwight Yoakam
problem.
Of all country music's so-called neo traditionalists, none satisfies me more
than Doo-wight. He makes Randy
Travis sound like MOR treacle, Nancy
Griffith precious, k. d. lang fickle, Ricky
Skaggs bland, and Steve Earle monotonous. He rocks with a lean & tensile
urgency, gots a memorable, instantly
recognizable voice that's just a shade
tinnier than silver (that's okay, country
voices shouldn't go down too smooth),
and's had the smarts, or luck, to hook
up with a clever & pretty courageous
producer who may also be the supplest, most butt -kicking lead guitarist in
country music: Pete Anderson. Guided
by Anderson's enlightened-trad studio
choices (live sessions when possible,
ditto tube gear and real reverb plates
'n' chambers), Yoakam's cut three albums since '86. This here's a best -of,
plus two lagniappes-a k. d. lang/Yoakam duet on Gram Parsons' "Sin City"
and a scorching remake of The Blasters' "Long White Cadillac"-and if
you're looking to make the most informed possible entry into country music, circa 1990, git it.
So what's the problem? Well, the
boy's got a mean streak. There's a
smirking falsity here, a deep-seated
churlishness. Unwilling to stand foursquare behind his real emotions, whatever they are, Yoakam hides behind
mannerisms and a great voice; sometimes he's so stylized he sounds like a
parody ("I Sang Dixie"). And his smarminess can degenerate into real ugliness. Bad enough that he opened his
third album with an anti-Semitic slur,
worse that he shoves the song containing it ("I Got You") in our faces again. If
he's trying to assert his independence
of critics (who rightly jumped on him
the first time), he succeeds only in
looking unlovely.
But no,
ain't turned him off yet.
Offsetting Yoakam's twerpiness is a
devotion to good hard honky-tonk,
plus-one almost hates to admit-a
core of genuine, burning talent. I'm still
a big fan, Yoakam, but any more bigotry, and wham-you're off my shelf.
Tony Scherman
I
Love Ritual: Al Green
Hi/MCA 42308, LP.
Sound: B
Performance: A
Al Green's work in the late '60s and
early '70s rivalled that of his great pre-
decessors Otis Redding and Sam
Cooke. Green's Hi Records material
would become a yardstick by which all
soul singers would be judged, and although he still continues to record,
most followers of rhythm and blues
write off his post -Hi work. There are
140
moments when Green transcends the
confines of pop -gospel, but the fire this
master vocalist commanded so handily with Willie Mitchell and Teenie Hodges at his side was extinguished with
the notorious grits -hurling incident.
This record presents unreleased material from the period during which
Green's imagination was most fertile,
and it is a revelation.
The earliest track is his 1968 version
of Lennon and McCartney's "I Want to
Hold Your Hand," which shows Green
owing much to Otis and not completely
realized as a stylist. His 1970 version
of Mack Rice's "Mustang Sally" (for
which he claims author's credits here,
as "Ride Sally Ride") is a far better
representation of the Al Green we
know and love. And there's a remix of
"Love Ritual" that exposes the rhythmic urgency of the track, lost on the
original.
Enough about the tracks that might
be familiar to Al Green fanatics; some
bona -fide, unreleased gems make this
volume a must buy. "Up Above My
Head," a mid -'70s classic that's never
seen the light of day, has Al doing
smooth improvs over a chord sequence reminiscent of Stevie Wonder's
"I Don't Know Why." Let there be no
doubt: This track slays. "Love Is Real"
has its roots in late Stax and "Proud
Mary," with an approach slightly more
guitar -oriented for Green. Some of the
unreleased cuts here are a bit unfinished, but hearing Green experiment in
the studio beats the daylights out of his
collaboration with Al B. Sure. These
recordings draw the listener in by
sheer force of personality.
As for sound quality, it varies from
track to track. All but one of the selections have been digitally remixed, and
it would have been nice to have Willie
Mitchell participate in the mixes, as the
warmth of the midrange is missing.
There is also some annoying distortion
on the end tracks which surely could
have been avoided, considering the
album is not overlong. In all, the remixes are more sympathetic to Al than to
AUDIO/JANUARY 1990
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Kenny G Dave Grusin B.B. King Gerry Mulligan
Amani A.W.- Murray Lee Ritenour Joe Williams
DIGITAL MASTER
_ World renowned,jazz stars salute the Peanuts gang
on their 40th anniversary performing Charlie Brown
musical themes in a celebration of ...
Available oa
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the kid in all of us...
Includes the hit single "Linus & Lucy"
performed by David Beibit!
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to.
1121441141.1.
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With Suzanne Vega's producer
at the helm, Eric Andersen
weighs in with a raw, intense
album, his best in almost
twenty years.
1
-
the band. This is no butcher job, simply the work of people who weren't
present at the original sessions.
Overall, this is a superior collection
of must -hear work by one of soul music's leading living exponents. It's Al
Green's best release by far in more
Jon & Sally Tiven
than a decade.
a
Ghosts upon the Road: Eric Andersen
Gold Castle D2-71327, CD; AAD;
50:59.
Sound: A
Performance: A
When Eric Andersen first blew into
Greenwich Village, drawn by the brilliance of the young Bob Dylan's songs,
he quickly cut a swath through the Vil-
lage's
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female population. They
couldn't help but notice those dark,
lean, brooding good looks. That tall
guy singing about dusty box -car walls
and thirsty boots was the real romantic
of that impossibly rich crop of folk based singer/songwriters.
His best album was his 1972 major label debut, Blue River (Columbia, just
out on a terrific -sounding budget CD).
Ghosts upon the Road plays like Blue
River's companion piece as it spins
through its cycle of love chronicles.
Sound and production are superb. Eric
co -produced this album with Steve Addabbo, whose work graces both Suzanne Vega albums. (The aggressiveness of Solitude Standing's arrangements is felt here.) Eric's always been
a pretty low-key guy, so his focus and
intensity are a most pleasant surprise.
The title song is clearly the centerpiece. A nearly 11 -minute narrative, it
recalls Andersen's scuffling young and -hungry days in all their grime and
splendor-who was around, who did
what, who survived, who didn't. An ominous piece, it's got a dark, commanding presence, made eerier by the cry
of Frode Larsen's harmonica.
"It Starts with a Lie" stretches from
John Leventhal's African -toned guitar
figure into churning rock, propelled by
the drums of Andy Newmark. In contrast, "Listen to the Rain" is a slow tune
to ease a friend's hurting heart. Shawn
Colvin's harmonies shine (check her
own album, just out).
Throughout, the emotions are exposed -nerve raw, often painfully vivid.
Addabbo's production savvy and Greg
Calbi's fine mastering job are critical to
the project's quality.
It is especially satisfying to hear an
old musical friend doing such vital
work. Ghosts upon the Road is a triumph. The stories here are not all pretty, but they ring true, even if it hurts.
Pain always was Eric Andersen's
strong suit.
Michael Tearson
142
AUDIO/JANUARY 1990
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CLASSICAL RECORDINGS
POWER KEG
Dvofák: Symphony No. 6 in D Major
and Husitská Overture. Milwaukee
Symphony Orchestra, Zdenek Macal.
Koss Classics KC -1001, CD; DDD;
57:55.
The curious and jumbled contents of
reviewer's mail are a constant reminder that, thank God, music and audio still have something to do with
each other. Witness this CD, the first of
at least five releases from Koss Classics, the recent CD -producing offshoot
of Koss Corp., the headphone people.
It is a world -class recording of a very
remarkable performance. You may
know the Milwaukee Symphony (Koss'
home -town band, as it were) from their
a
beautifully recorded concert broadcasts to the nation. The same engineer
who has brought us these warmly recorded and spacious sonics on the air,
Larry Rock, is responsible for the balanced, tonally true, rich sound on this
CD and on the one other have heard
so far. Session producer Evans Mirageas and assistant Mary Gaffney
worked with overall producer Michael
Koss to turn out what can only call a
rather addictive album.
But don't we have several Dvorák
Sixths from established labels and European orchestras that have more cachet than that lakeside city with its
breweries and sports and such? Oh
yes, we do. However, anyone who has
been guest -conducting his way across
this country will tell you, perhaps with a
mild air of wonder, that he can get
flexible playing in the proper spirit from
the many U.S. orchestras that lie between the two coasts. Some former
guest conductors, such as Zdenek
Macal, have settled in as artistic directors and music directors-far from
Prague, Berlin, London, and other
sanctioned cultural capitals. They have
I
I
144
found orchestras bearing the imprint of
previous conductors and with an affinity for, perhaps, one or two broad areas
of music. Orchestras of this sort are
willing and able to mold their sound
and feel to the idiom asked of them by
a communicative baton. And that is
what we have here.
This is Dvorák of the most idiomatic
and luxurious sort. The woodwinds are
full, the strings secure and possessec
of a light, expressive vibrato-except
where broader gestures are appropriate-and the brass department is noble -toned and rich. The incisive bite of
the Prague Symphony (Macal's old
gang at home) and the Czech Philharmonic, both of which recently heard
in their home halls in Prague and can
thus compare quite well with the Milwaukee ensemble, is absent. Also absent is the bright, quicksilver shimmer
of the upper woodwinds, but the more
relaxed, round American sound is very
appropriate for these scores from the
end of the last century.
It costs about one -quarter as much
to record in Eastern Europe as in the
realm of the American Federation of
Musicians, umbrella organization for
the players. So why commit the budget
to tape and issue recordings here
when excellent ensembles in Bratislava, Katowice, Ljubljana, and Prague
can do the same job for much less
hard currency? think the musical results and the ensuing support for a
very fine orchestra, heard to stunning
effect on these first CDs from Koss
Classics, will speak for themselves.
With playing and conducting like this, it
would be arrogant to say "welcome to
the big league, guys"; they are already
there and have been for some time, as
have numerous other U.S. orchestras
not as famous or often -recorded as the
Big Five.
I
I
The production team is from or associated with FM station WFMT, Chicago-long a source of beautifully and
simply produced tapes for broadcast.
Mirageas, guiding hand in the artistic
shaping of this and the other releases
from Koss, has had such success at
WFMT that the Boston Symphony has
recently snapped him up. (Sorry,
WFMT, and hope this will not end his
Milwaukee work.) Michael Koss can be
proud of his company's first CD and of z
the further riches from Milwaukee-the Ú
Dvorák Eighth and Czech Suite, a Bee- Cc
thoven Ninth, and two albums of music o
composed and led by Lukas Foss (Macal's predecessor).
'65
z
A note on the recording should be of
interest to those who follow the techniques used in today's best releases.
Uihlein (pronounced "E -line") Hall, Milwaukee, is problematic for listeners but
not for a resourceful recording team
prepared to use effective, simple multiple miking to achieve their results. The
main microphones were a pair of Sennheiser MKH-20 (string fill) and a B & K
4006 pair (center). The important wind
section (especially in Dvorák!) had a
pair of B & K 4007s, while the double
bass section had its presence enhanced with a Schoeps cardioid; a 20 meter -high pair of Neumann KM83 omnidirectional mikes picked up ambience. There was no processing. Mastering was done, as increasingly these
days, on professional DAT recorders
with a Beta/PCM-F1 digital backup. All,
of course, edited digitally-thus the
DDD SPARS code.
Good on yer, Koss! Since most major stores now carry this and the next
few Koss Classics Compact Discs,
envision something of a run on them as
alert listeners become aware of their
excellence. Bass freaks will note there
is very solid, luxurious bass wherever
I
I
AUDIO/JANUARY 1990
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make for these headphones could con-
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ceivably be more impressive than this simple statement: this year, in
extended listening sessions." As Bob neatly summarized: "Everything
the production of nearly 100 state-of-the-art compact discs, the
sounds as
No claim Sony could
headphones used as
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quality control reference during the critical
mastering stage were the Sony MDR-CD999.
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SONY
THE LEADER IN DIGITAL AUDIO'S
Maestro Giuseppe Sinopoli
has New York's Philharmonic
playing in top form on two
works from Scriabin's later,
"mystic" period.
the orchestra is called on to produce it,
not just in the bass drum eruptions so
wretchedly popular on too many recordings. The music lover and the audiophile will have reason to cherish this
disc and eagerly await further gems
from Milwaukee.
Christopher Greenleaf
Scriabin: "Le Divin Poéme," "Le
Poéme de I'Extase." New York Philharmonic, Giuseppe Sinopoli.
Deutsche Grammophon 427-324-2,
CD; DDD; 69:43.
From both musical and sonic viewpoints, this is one of the best Deutsche
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Grammophon recordings on CD. Alexander Scriabin was something of a
"mystic," a follower of occult beliefs in
the latter part of his 43 -year existence. This is reflected in the dreamlike, sensual, and often phantasmagoric scoring of his Symphony No. 3 ("Divine Poem") and the later "Poem of
Ecstasy." Scriabin often embellished
the mystic aspects of these works with
the simultaneous projection of various
colored lights on a screen-this in
1905 to 1908!
Conductor Giuseppe Sinopoli has
the New York Philharmonic playing at
the top of their form in a lush, effusively
romantic performance of "Le Divin
Poéme," but the gem on this CD is the
searing emotional intensity and passion of "Le Poéme de l'Extase."
Scriabin employs a huge orchestra,
including eight French horns. Yes, the
finale of this work is indeed "ecstatic,"
with the full orchestra building to a
great crescendo, the eight horns playing in unison in an impossibly high
register, all abetted by organ pedal
and concluding on a monumental sustained chord. "Thrilling" is the word!
The sound is very clean and well
detailed, with great weight. The ambience is a little on the lean side, with
reverb about 1.3 seconds. The work
was recorded in the Manhattan Center
in New York City, a venue used by
many record companies over the
recorded Stokowski
years. In fact,
there, conducting the Shostakovich
Fifth Symphony, Prokofiev's "Cinderella" Suite, and others, as well as Carlos
Chávez conducting some of his own
works. In recent years, the Manhattan
Center came under the control of the
controversial Reverend Sun Myung
Moon and his followers. Unfortunately,
they carpeted the wood floor of the
Center, thus greatly attenuating the reverb time. Deutsche Grammophon increased the reverb time in Chicago's
Orchestra Hall by covering the seats
with 4 x 8 -foot plywood sheets, which
were then covered with vinyl sheeting.
Deutsche Grammophon employed the
same technique on the carpeted floor
of the Manhattan Center. In my opinion, the Center sounded better in the
old days, but at least the DG treatment
provided a reverb period of 1.3 to 1.4
seconds, which makes for a really exBert Whyte
cellent recording.
I
46
AUDIO/JANUARY 1990
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Shostakovich's music may
be deeply troubled-and
troubling-but it is also
full of tenderness, as in
these three quartets.
future composers in this respect, he
a master.
Two centuries later, the form served the
purposes of Dmitri Shostakovich, a master of comparable stature but utterly different in temperament and outlook.
Too much has been made of (to
quote the liner notes from the present
Shostakovich: String Quartets Nos. would have to be reckoned
4, 8, and 11. Coull String Quartet.
ASV CD-DCA-631, CD; DDD; 63:41.
It's astonishing how endlessly viable
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nothing more than point the way for
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disc) the "increasing spiritual desolation" of Shostakovich's music, and all
but three of his 15 quartets date from
the last 25 years of his life. In contrast
to Haydn (or even Beethoven), Shostakovich's output is deeply troubledand troubling-but it also is full of wit
and tenderness. And that last quality in
particular shows itself repeatedly in
these quartets.
Quartet No. 4, in D Major, is the most
relaxed of the three, though it was
composed in 1949, a year after his
denunciation (along with Prokofiev and
others) at the Congress of Soviet Composers. The folk -like melodies and
rhythms of the Fourth Quartet seem
almost carefree next to the darker,
more energetic moods of the other two
quartets, though the driving finale has
considerable power.
ASV has chosen to place No. 4 second on the disc, so that it acts as a foil
to each of the others and as a buffer
between them, which is basically a
good idea. Unfortunately, however,
each of the 16 movements on the disc
is individually banded, so to play the
Fourth Quartet by itself, you have no
choice but to program its four bands in
order. Had PolyGram's original guidelines been observed-which even
PolyGram doesn't bother to do-each
quartet would have been banded and
the movements indexed, instead.
Quartet No. 8, in C Minor and composed in 1960, is understandably the
most frequently played of all Shostakovich quartets. It is as beautiful and as
beautifully wrought as any work in the
medium in this century. Each of the five
movements-largo, allegro, allegretto,
and two more largos-has a distinct
character, but there are no pauses between them. The writing ranges from
searing dissonance to haunting, Borodinian lyricism.
Quartet No. 11, from 1966, is in F
Minor and comprises seven movements, several of them less than two
minutes long. Among them are a
a humoresque, but,
though Shostakovich's wit certainly
scherzo and
shows through here, neither section is
exactly jocular. The étude movement
that precedes the humoresque is brutal and crushing; the elegy that follows
it is a touching memorial to a violinist
who had participated in almost all of
the quartet premieres up to that date.
148
AUDIO/JANUARY 1990
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Richard Kapp has a sensible
feel for Bach's concerti,
keeping up a good rhythmic
flow but giving the details
time to get past the ear.
The quartet begins and ends rather
color. In some passages, only outright
virtuosity will do, and the Coull is in its
element throughout. The digital pickup
is very good, though the long reverb
time of the venue (St. Silas, London)
gives a juicier ambience and a more
stentorian feel to these quartets than
would consider ideal.
Robert Long
epigrammatically.
The Coull String Quartet plays these
works with great authority. Incisive articulation takes priority over ravishing
tone in much of this music; elsewhere,
the variety of the writing provides opportunity to display a range of tonal
I
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10
The Speaker Specialists
a1
Bach: Violin Concertos. Philharmonia
Virtuosi, Richard Kapp; Paul Peabody,
violin.
ESS.A.Y. CD -1002, CD; DDD; 63:38.
(Available from ESS.A.Y. Recordings,
145 Palisade St., Dobbs Ferry, N.Y.
10522.)
Seldom do we get to hear these big
baroque works played on records by a
real out-and-out local, U. S. of A. performing group. Most are mixed international from everywhere but heresome competition for our locals! They
do very nicely in this recording from
the company with the inexplicable
name, ESS.A.Y.
Richard Kapp keeps music lovers in
the New York City exurbs busy with a
series of concerts that attracts a very
loyal audience which seldom gets into
the big city for the international stuff.
What matters more is that Kapp has a
very balanced and sensible feeling for
these familiar Bach concerti, including
the overly played E Minor. All too often,
they are blasted out at high tension,
perhaps to match the virtuoso fiddlers
that play them as part of repertory.
Kapp mostly takes the music at par
value, allowing time for the details to
get past the ear but keeping up a good
rhythmic flow. This, mostly, liked.
Paul Peabody, the violin solo, is on
the gentle, soft side, never hacking the
music out stridently as some do. A bit
too soft in the tone for Bach's architecture, but no matter; he communicates.
Not mentioned in the title (lack of
space) are more fiddles for a three violin concerto, excellently transcribed
from a somewhat messy and confusing
three -harpsichord concerto originally
intended for Bach himself and his two
sons. Well, that's one version of the
story and probably out of date, what
with the hectic Bach research that has
been going on recently. Kapp thinks it
is an early Bach.
Anyhow, the three -violin form is easily listenable, much less confusing than
the presumed triple -harpsichord version-if there was such, or is. The thing
that most bothers Kapp (and intrigues
me) is the anonymous possibility: How
many Bach works are actually by the
well-known Anon.?
Still and all, there'smore variety on
this CD than you might think from the
Edward Tatnall Canby
title.
I
150
AUDIO/JANUARY 1990
"For once, an add-on subwoofer actually
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Larry Greenhill
Stereophile, Vol. 12. No. 10. Oct. 1989
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David Hall, President/Founder
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All Velodyne subwoofers are complete systems. Just plug one in to experience the full
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Larry Greenhill
Stereophile, Vol. 12. No. 10
Stereoph i le, Vol. 12. No.
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10
JAZZ &
BLUES
KEYBOARD KWEEN
Reflections: Frank Morgan
Contemporary C-14052, LP.
ti
Sound:
T
A-
Performance: B+
There are those who hail Frank Morgan's 1985 return to the scene as the
second coming of Bird. Morgan's
lengthy drug addiction and three -decade incarceration are well documented; his ability to overcome the odds is,
indeed, remarkable. But enough is
enough. Ultimately, he must be critiqued on the basis of his musical, not
sociological, contribution; don't think
Morgan, or any artist, would want it
otherwise. Not only is Morgan not "the
greatest alto saxophonist alive," as
he's been labelled more than once, but
media hype and heavy-handed hooks
have hurt more than helped him. Today, releasing his seventh disc in five
years, Morgan flirts with becoming a
self -caricature.
There are instances of great music
on Reflections. However, far more often than not, they're the work of Morgan's "accompanists"-tenor saxophonist Joe Henderson, vibist Bobby
Hutcherson, Mulgrew Miller on piano,
Ron Carter on bass, and drummer Al
Foster. Morgan is, in many ways, the
weak link in this ensemble: The most
traditional and predictable and, tonally, the least strong. Whereas, for instance, Henderson's note choice on
Hutcherson's "Starting Over" excites
and tantalizes, Morgan's, I'm afraid,
borders on the constricted. It is, in fact,
Henderson's introspective "Black Narcissus" that forces Morgan to push
I
4
4
P
..`,
y
o
1
Twylight: Geri Allen
Verve/PolyGram 841152, CD; ADD;
43:06.
Sound:
A-
Performance:
A-
Just as the sound of machines grinding to a halt concludes the introduction
to "Stop the World," pianist Geri Allen
launches into a wobbly clave rhythm;
her lines, buoyed by bassist Jaribu
Shihad and drummer Tani Tabal, dart
joyously in the newfound silence. In
fact, most of Allen's new trio album,
Twylight, bubbles with the enthusiasm
of an elaborate hoedown.
Of the young, Brooklyn -based musicians currently trying to expand jazz's
boundaries-Steve Coleman, Greg
Osby, Robin Eubanks-Geri Allen may
be the most extravagantly gifted.
Drawing on influences from Milton
Nascimento to Motown to Andrew Hill,
she plays with a restless energy she is
only beginning to harness. She's been
more successful in blending seemingly
disparate elements with her octet than
with her trio. Until now.
On Twylight, Allen augments the trio
with her own synthesizer, percussionists Sadiq Bey and Eli Fountain, and
(on some tracks) vocalist Clarice Taylor Bell; the additions deepen the orchestral coloration. With the exception
of Bell, whose lilting vocals float right
upfront, Allen's bandmates are sub 152
merged in a subtle groove. They surface to trigger transitions and for solo
spots, only to recede into the swirling
backdrop. This is particularly effective,
since Allen's incorporation of ethnic
musics and natural sounds is finally
beginning to imply something of a cosmology, something beyond mere
genre -hopping and the busy execution
of stylistic gestures. There is a new
coherence to her work. Thus, a song
like "When Kabuya Dances" evolves
from an introspective series of minimalist chords to a whimsical, soulful jaunt.
On several tunes, particularly "Shadow
Series," Allen will suddenly reclaim an
ascent into the ephemeral with an
earthy barrage of blues phases-and
it's all starting to mesh.
Allen's ability to weave familiar
sounds and rhythms into jagged, angular runs makes for fresh, wonderfully
imagistic arrangements. And most of
Twylight swings with a headlong momentum-even the tender "Blue,"
which is played at an expectant crawl
that would make Thelonious Monk and
Delta bluesman Skip James proud.
What's most important, however, is that
Twylight conveys the spirit, liveliness,
and vision of music in the service of a
community. Without resorting to fusion's ready-mades, Allen weds the
conversational and populist with the
abstract-she plays dance music for
the nimble of foot.
Don Palmer
r
Nº 27
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Frank Morgan is good, very
good, but it's time for
him to move forward. In
many ways, he's the weak
link on his own album.
The
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himself. Morgan needs to be prodded;
otherwise, he can sound mundane.
It's not my intention to get on Mórgan's case here. He's good, very
good, and I'm glad "Bebop Lives!" But
it's time for Frank Morgan to move forward. The five consummate musicians
hired to envelop him all but leave him
behind.
Jon W. Poses
5.00
Early Black Swing-The Birth
Band Jazz, 1927-1934: Various
Bluebird 9583-2-RB, CD; ADD;
Performance:
Sound: B
of Big
Artists
67:12.
A to C
If they're well thought out, projects
like this can provide a real aural picture of how pioneering big bands developed a style and sense of swing
years before anyone other than musicians had heard of the term. This new
Bluebird CD has some wonderful recordings, many of which have treasured for years, and it covers an important segment of jazz. Unfortunately,
as produced here, Early Black Swing
does not succeed.
Even if these were the only choices
available, the way they're programmed
makes it impossible to get a real feeling for swing as it was developing in
the late '20s and early '30s. Years ago,
when few had even heard this music in
any form, such programming would
have been acceptable. But today, with
big band jazz rapidly slipping into the
limbo of history as its originators leave
us silently, one by one, a project such
as this compilation demands more
careful planning.
Ten bands were chosen to illustrate
the development of big band swing,
and not all of them are necessarily the
best. Each is given two or three selections. Band after band, moving back
and forth from tuba/banjo to guitar/
bass, and back again ... the effect is
a bit bumpily monotonous.
The set begins with Fletcher Henderson, called the Father of Big Band
Jazz-though this title properly belongs to Don Redman, Henderson's
pint-sized alto saxist and principal arranger. In fact, Redman wrote the majority of Henderson's arrangements for
I
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KOSS
CLASSICS
tare
DIGITAL
For more information on the Koss Classics Library call toll -free: -800-USA -Koss. Koss Stereophones,
4129 N. Port Washington Rd., Milwaukee, WI 53212.
nearly four years, establishing the
brass size and sound (five men-three
trumpets and two trombones) used by
most big bands for the next 15 years.
The choices here are good ones, but
1
Enter No. 27 on Reader Service Card
154
AUDIO/JANUARY 1990
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Buy a CD player and you'll
Don Redman is this reissue's
unsung hero, the pint-sized
arranger to whom the title
"Father of Big Band Jazz"
properly belongs.
need a new music collection...
Buy a new ORTOFON
cartridge and you'll have one.
why fudge by using an after -the -fact
1936 example ("Jimtown Blues"), no
matter how good, when the wonderfully relaxed 1934 recording of "Harlem
Madness" is available?
Bennie Moten's popular and longlasting 1928 recording of "South" is
exuberantly rocking and old-fashioned, albeit with unswinging solos.
The style Moten's orchestra exhibited
on this track was changed somewhat
when Count Basie and Eddie Durham
joined the band in 1929; "Moten
Swing" beautifully illustrates this.
Back to tuba and banjo with McKin-.
ney's Cotton Pickers (1928), now under Don Redman's direction. He has
completed his mastery of big band arranging, now using four saxophones,
and this time establishing the basic
number and sound of reed sections for
the next decade. (By the way, none of
these Redman innovations are mentioned in the liner notes.)
Even though Earl Hines' brilliance as
a soloist shines, and there is some
good Shirley Clay trumpet work, Hines'
1929 sides are stiff and unswinging
overall; he had not yet overcome his
own nervousness and inexperience as
a bandleader.
love the funky, hard -rocking Charlie
Johnson band, with its magnificent,
sometimes overwrought soloists. The
near ecstasy of exultation in the outchorus on "Hot Tempered Blues" simply has to be heard to be believed-no
arranger could possibly score something like that.
I'm fond of almost anything Louis
Armstrong did during this period, and
although "I've Got the World on a
String" and "Basin Street Blues" are
wonder if
certainly good choices,
'Some Sweet Day" or "Honey Do"
might not have offered up a better
sense of his swing. Also, think would
have closed the program, not with
Armstrong, but with the Jimmie Lunceford selections; Lunceford was one of
the most forward -looking of the early
swingmen.
Overall, there is too much emphasis
on bass, which at times makes listening unpleasant. One really ought not to
have to make adjustments to properly
enjoy listening to this music-not at
this stage of the game, with all the
much -touted technology used.
Frank Driggs
2
o
z
N
N
1
D
t7
5
r
Chances are you have a substantial investment in record albums, many
of which will never be available on CD. Replacing your Phono Cartridge
with a New Ortofon model will make these recordings sound better
than ever before. So before spending hundreds of dollars on CD equipment and recordings, why not invest in something to give new life to
your music library? Ortofon cartridge prices start at less than the cost
of 3 Compact Discs! For more information, contact:
Ortofon Inc., 122 Dupont Street, Plainview, NY 11803
516-349-9180
Enter No. 43 on Reader Service Card
Audio has moved
to new headquarters
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at
1633 Broadway
New York, New York 10019
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(212)767-6331/Advertising
(212) 767-6301/Editorial
I
Diamandis CommunicationsInc.
a subsidiary of
Hachette Publications. Inc.
.
156
I
AUDIO/JANUARY 1990
Statement of Ownership,
Management and Circulation
(Required by 39 U.S.C. 3685)
1A. Title of Publication: Audio.
1B. Publication No.: 513-610.
2. Date of Filing: Sept. 27, 1989.
3. Fequency of Issue: Monthly.
Spy Vs. Spy-The Music of Ornette
Coleman: John Zorn
Nonesuch 60844-2, CD; AAD; 41:03.
Sound: B
Performance: B +
Composer John Zorn garnered
much acclaim for his pastiche recordings, The Big Gundown and Spillane,
as well as his works for The Kronos
Quartet. However, he's rarely been
noted for his sax playing. Covering the
music of Ornette Coleman, a musician
who can still stoke controversies about
his style after three decades, is unlikely
to remedy that-but it should. Zorn,
alto saxist Tim Berne, and their group,
Spy Vs. Spy, tackle compositions from
throughout
Coleman's career in
speed -demon, hell-bent forays that are
time -compressed and more tightly
wound than an air-traffic controller at
Chicago's O'Hare.
From "The Disguise" in 1956 to
"Space Church" in 1987, they render
Coleman's pieces in one-, two-, and
three -minute bursts of fury. These are
speed -metal versions, with blistering
reads of Coleman's intricate melodies
followed by cat -fight skirmishes of freely improvised solos that somehow resolve into the main theme before you
can catch your breath.
Zorn (in the past, as likely to pick up
a duck call as fart into his instrument)
and Berne are gifted players who circle around Coleman's melodies like piranhas in a feeding frenzy. They attack
17 tunes in 41 minutes, mainly by overdriving the improvisations; Berne and
Zorn play with the gas pedal to the
floor, circling, jabbing, careening.
Though "Ecars" is taken at a methodical pace and "Feet Music" retains its
jaunty swagger, on "Good Old Days"
Zorn and Berne scream in a cracked
improvisation, Berne alternating between honks and high sustains as Zorn
warbles and scurries.
The rhythm section is like a dam
burst, with bassist Mark Dresser and
drummers Joey Barron and Michael
Vatcher creating a storm of poly rhythms and countermelodies. The two
drummers are overkill, however, often
muddying the bottom of the sound in a
music that needs sonic clarity. It sometimes sounds like they're banging in a
large room, and the album is recorded
with the hollow sound of those early
Blue Note and Atlantic jazz LPs.
AUDIO/JANUARY 1990
Johr
PI
Zorn
a
Spy Vs. Spy is the group's collective
name, anc they have done a service to
Ornette Coleman by giving his music a
place as the repertory work it can be.
Coleman's is a living classical music.
John Diliberto
3A. No. of Issues Published Annually: 12.
3B. Annual Subscription Price: $21.94.
4. Mailing Address of Known Office of
Publication: 1515 Broadway, New York,
NY 10036.
5. Mailing Address of the Headquarters
of General Business Offices of the Publisher: 1515 Broadway, New York, NY
10036.
6. games and Mailing Address of Publisher, Editor, and Managing Editor: Publisher, Stephen Goldberg, 1515 Broadway, New York, NY 10036; Editor, Eugene
Pitts, 1515 Broadway, New York, NY
10036; Managing Editor, Kay Blumenthal,
1515 Broadway, New York, NY 10036.
7. Owner: Diamandis Communications
Inc., 1515 Broadway, New York, NY
If Walls Could Talk: Little Milton
Chess/MCA CH -9289, LP.
Sound: B
Performance: B+
The only thing that's ever been small
about Little Milton Campbell is the size
of his national audience. Blessed with
one of the biggest voices in blues, he
began his career as a guitar -picking
disciple of B. B. King and Bobby
Bland. During the Mississippi -born
bluesman's decade with Chess Records, the label came to realize that
Milton's strength lay not in emulating
King or covering standards but in
squaring off against a big band on
songs tha would showcase his gospel -based singing. Perhaps Chess
sought, more pragmatically, to carve a
new niche for Milton because the label
already had its pick of guitar bluesmen
(Buddy Guy, among others).
If not for its liner notes, few listeners
would realize that If Walls Could Talk
was actually cut in 1969. The performances or this album, with their elaborate but crisp arrangements, percolating rhythms, and contemporary lyrics,
forecast the drift of urban blues toward
the assimilation of soul music. All
tracks are singles -length and feature
Milton's vocal sparring with a group
large enough to merit the description
"studio orchestra." At worst his producers are overly enamored of Milton's
ability to shout down a horn section;
rarely does he get the chance to demonstrate the subtlety he later honed on
his Stax recordings. Milton suggests
his true range as a singer, though,
when he capitalizes on the stop -time
breaks of "I Don't Know."
If Walls Could Talk is among the
least dated of Chess recordings. It's
good to have it back in print.
Roy Greenberg
157
10036.
8. Known Bondholders, Mortgagees, and
Other Security Holders Owning or Holding
1% o More of Total Amount of Bonds,
Mortgages or Other Securities: Hachette
Publications, Inc., 1515 Broadway, New
York, NY 10036.
9. For Completion by Nonprofit Organizations Authorized to Mail at Special
Rates: Does Not Apply.
10. Extent and Nature of Circulation
Average No. Copies Each Issue During
Preceding 12 Months:
A. To:al No. Copies, 214,199; B. Paid
and/or Requested Circulation, 1. Sales
Through Dealers and Carriers, Street Vendors and Counter Sales, 34,550; 2. Mail
Subscription, 109,596; C. Total Paid and/
or Requested Circulation, 144,146; D.
Free Distribution by Mail, Carrier or Other
Means, Samples, Complimentary, and
Other Free Copies, 8,466; E. Total Distribution, 152,612; F. Copies Not Distributed, 1. Office Use, Left Over, Unaccounted, Spoiled After Printing, 2,121; 2. Return
from News Agents, 59,466; G. Total,
214,199.
Actual No. Copies of Single Issue Published Nearest to Filing Date:
A. Taal No. Copies, 208,899; B. Paid
and/o' Requested Circulation, 1. Sales
Through Dealers and Carriers, Street Vendors and Counter Sales, 28,000; 2. Mail
Subscription, 107,639; C. Total Paid and/
or Requested Circulation, 135,639; D.
Free Distribution by Mail, Carrier or Other
Means, Samples, Complimentary, and
Other Free Copies, 5,032; E. Total Distribution, 140,671; F. Copies Not Distributed, 1. Office Use, Left Over, Unaccounted, Spoiled After Printing, 2,228; 2. Return
from News Agents, 66,000; G. Total,
208,899.
11.
certify that the statements made by
me above are correct and complete.
I
Leon Rosenfielo
VP/Circulation
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DTC-M100 .._._..1400.
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2624 Wilshire Blvd.
(213)828-6487
Santa Monica. CA 90403
ftalt:(213)828-8787
FAT JULIAN FS
AUDIO
PRESENTS
FUSELIER
LOUDSPEAKERS
FORMERLY LEGENDARY
NOW LEGENDARY 8 AVAILABLE
FUSELIER SIGNATURE
$800 to $3600 PAIR
ACOU5GT
ADCOM
ARAGON
ARCAM
ARCICI
PROAC
AUDIOTECH
ROGERS
BEYER
ROTEL
CREEK
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it
REGA
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THETA
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VPI
HARMAN/KARDON
JANIS
LINN
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Visit our SPEAKER FACTORY 511011 ROOM
at 3021 Sangamon
Ave.. Springfield, IL 62702
Authorized Dealer:
B8 K/Sonata
Thorens
Sumo
Soundcraftsmen
Parasound
Belles
Fosgate
Audio Dynamics
Audioquest
.r
800-283-4644
call for literature
--
EXPERT ASSISTANCE
INSTALLATIONS
ROSWELL, GA 30075
/PE(IRLI/T/
QUAD
GOLDRING
S. ATLANTA ST.
(404) 587-1900
PROTON
DUAL
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Sat 11am-6pm
RUDIO
SERVICE
(217)344-0805
N CLARK
only
FUSELIER BASIC
WE SELL MUSIC: AUDIO EQUIPMENT
IS SIMPLY A MEANS TO THAT END.
`2236
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$450 to $700 PAIR
CWD
SONRISE
The
one,
Livewire
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VPI
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location.
the'
CHICAGO.
IL
60614
312.883-9500
LEGACY
SIGN.\TURE. II
Reel to Real Designs
AUDIO/JANUARY 1990
DEALER SHOWCASE
0
Audio Research Infinity
Meitner
Oracle
Halter
Vandersteen
KEF
Threshold
Rega Planar
Tandberg
Revox
Nitty Gritty
Snep1
CWD
Sony ES
Nakamichi
©IT
Sme V
Denon
Koetsu
Velodyne
Carver
Monster Cable
Adcom
Rogers
Linn HiFi
Janis
NAD
Perreaux
B&W
Stax
401
SERVING CENTRAL NEW ENGLAND WITH
VALUED PRODUCTS FOR OVER 30 YEARS
ACOUSTAT, AKG, APATURE, ARISTON, ASC,
AUDIO CONTROL, AI DIOQU EST,
BEYERDYNASIIC, BOl'LDER, CAMBER, CARVER,
DUAL, ESOTERIC, FORTE, HAFLER, HARt1AS/
KARDON, KEF, LEXICON, MISSION, SAD, KITTY
GRITTY, ONKYO, ONA'YO GRAND LVTEGRA,
ORTOFON, PARAGON, PARASOI'ND, POLK
AUDIO, REVOX, SOVY, TECHNICS .. AND
MANY MORE AT PRICES THAT SOUND RIGHT.
Aragon ... Apogee ... Audible Illusions
Audioquest ... Audio Research ...
Bryston ... Canon ... Compact Discs
... Counterpoint ... Creek ... CWD ..
Denon ... Dynavedor ... Grado ...
Jamo ... Lexicon ... Livewire .. .
Magneplaner ... Magnum Dynalab .. .
Mariah ... Mark Levinson ... Mission
NAD ... Nova ... Pinnacle ...
Revolver ... SME ... Sota ... Sumiko
...
...
Sumo ... Stax
Symdex
Vandersteen ... VPI ..
And Much More!
..
.
.
.
Worcester
Telephone
Road
The
508
Framingham
ultimate
879
Massachusetts
audio
3556
01701
HI FI EXCIIANqE
O'COIN'S
239 Mill Street Worcester, MA 01602
508-791-3411 x 315
9-6pm
FORESIDE MALL ROUTE ONE
FALMOUTH, ME 04105
M -F 10-9pm, Sat
store.
Natural Sound.
Dealers ... Just
as you're reading
this ad, so are
thousands of
buyers.
For complete
information on
placing your
ad, call
Carol Berman at
(212) 767-6292.
DISCOVER, MASTERCARD, VISA
...
(207) 781-2326
FINANCING AVAILABLE
J
S
J
ttuttxtt
S AUDIO
ttlita
Our own line of handcrafted speakers
Speaker parts Repair Complete
audio & video systems featuring:
LUXMAN
AUDIO DYNAMICS
HARMAN KARDON
HAFLER
PROTON
NEC
and more ...
Come audition NEC's dynamic
PRO -LOGIC Renaissance
surround system
643 Speedwell Ave,
Morris Plains, NJ 07950
201-292-2799
& 3LIt?tcv
The Most In Musical Enjoyment
For The Novice & Connoisseur
Arcici Anna -sphere
Apogee
Audio Prism
AudioQuest Basis
Cardas Cello Chesky
Chicago Speaker Stand Classé
Clearaudio Cogan Hall Creek Distech
Electron Kinetics Eminent Technology
Garrott Garth Lantana Last Magnan
Merrill Mod Squad Mor-ch Nestorovic
Pro Ac QED Rega Reference Recordings
Sequerra Sheffield Lab Sims Souther
Superphon Tara Labs Target
Tice Audio Vendetta Research VMPS
VPI Wadia & More
Benz
287 Clarksville Road
Princeton Jdt., N.J. 08550
(609) 799-9664
THE FINEST IN HOME AUDIO,
CAR STEREO & VIDEO EQUIPMENT
AUTHORIZED DEALER FOR
ADS
ADVENT
AIWA
AKG
ALTEC LANSING
AUDIO CONTROL
AUDIO SOURCE
MONSTER CABLE
MISSION
ONKYO
ORION CAR AMPS
PHILIPS
PINNACLE AUDIO
POLK AUDIO (car)
PROTON
CERWIN-VEGA
CITIZEN
CWD
dbx
DCM
DENON
HAFLER
INFINITY (car)
KEN WOOD
KICKER
MITSUBISHI
SAE
SANSUI
SONANCE
SONY
SOUNDCRAFTSMEN
STAX
TOSHIBA
TRIAD
YAMAHA
wEar
Meadtown Shopping Center
Route 23 South
IQnnelon, N.J. 201
QJ
AUDIO JANUARY '930
(audio
w
Integrity and Service!
SPECIAL EVENT
B&O Multi -Room A/V System
Join us on Wednesday, Jan 17th 6-9pm
as B&O and Audio Experts personnel
demonstrate a fully operational multi room audio/video system in the store.
See what the possibilities are for your
home in time for the home building/
renovation season. Extra! Buy a B&O
9500 or 4500 system and get a 2nd
room of music free. Installation extra.
Reservations suggested. Refreshments
will be served.
We Specialize in Custom Installations.
(914) 698-4444
34
J
875 Mamaroneck Ave.,
Mamaroneck, NV 10543
WE KNOW ELECTRONICS
FROM THE INSIDE OUT
harman/kardon
Hafler vector research
EPICURE JBL
Panasonic. CONCORD'
(CAR AUDIO
maxell.
APATURE
TDK.
sralv'ron
MAIL ORDERS WELCOME
1-800-542-7443
13 Clinton Street
SALES
Plattsburgh, NY 12901
CTY
SERVICE
EI'c'i4ics
159
DEALER SHOWCASE
OHIO
TAKE THE
PPRO
SOUND APPROACH
F OR:
DEALERS
AUTHORIZED
CARVER
ADS
ONIC
ALPHAS
AUDIO
CONTROL
BOSTO TICS
DENON.
DUAL
HAFLER
INFINITY
ORTOFON
ONKYO
& MORE
ACOUS
BANG &
OLUFSEN
VISIT OUR
ROOM
AT
A
OACH
1499.768
THE
5 6P
6067 JERK
COMMACK,
NY
AUDIOPHILES
Ohio's most exclusive and fastest growing
audio store Is MG Audio. Seven private
listening rooms for your comfort and
pleasure. We are very proud to represent
the following manufacturers: Arcici,
Ariston, ASC, Audioquest, B 8 K, Classe
Audio, Clements, Convergent Audio
Technology, Counterpoint, Dahlquist,
Discrete Technology, Ducote, Eminent
Technology, Grant, Kindel, Kinergetics,
Lexicon, Magnum Dynalab, Marquis
Electronics, Merrill, Mod Squad, Morch,
Musical Concepts, PS8, Quicksilver, Rotel,
Soloist Audio, Sonance, Sonata, Sound
Lab, Superphon, Velodyne, and VPI.
Contact Michael Green for sound advice
on your sound Investment.
Arcam
Anston
Audioquest
88K Components
MFA Systems
Stax
Cambridge
Micro Seel
MissionlCyrus
M8K Sound
Straightwire
Sumiko SME
Mod Squad
Oracle
Systemdek
Target
Triad Design
Parasound
Van Den Hui
PS Audio
VPI
Rega Planar
Well Tempered
Celestion
Counterpoint
Dynavector
Eminent Tech.
Goldring
Grace
Grado
Infinite Slope
NAD
Rotel
Royd Audio
Snell
Soundcrattsmen
Sound Lab
Superphon
SOUND SERVICE CO.
8010 Bustleton Ave.
(215) 725-1177-78
Be
Philadelphia, PA 19152
Bank Cards Accepted
as selective
in where you
buy as you
are in what
you buy.
V1uEJ 10
ELECTRONICS
INC.
RLt
S ., Phila, PA 19103
(215) 563-4660
Complete Audio Video Store for
All Levels of HiFi Enthusiasts
Featuring:
ADVENT
GRADO
ARISTON
HAFLER
AUDIO DYNAMICS
JBL
MONSTER CABLE
BOGEN
CAMBRIDGE
CELESTION
PASO
SONY HIFWIDEO
DISCWASHER
...
TECHNICS
MAIL ORDER INVITED
202 Second Skeet, 5. W. - New PMI.dNpNu. OH 44663
Athena
Apogee
u
Accepting Visa 8 Mastercard
We proudly represent:
Rogers
I
2006 Chestnut
(216) 339-4918
OMNI SOUND
Kimber Kable
Kinergetics
Klyne
Koetsu
Lazarus
Maplenoll
--
f0
ft'DAudlo
PHILADELPHIA
AUDIOPHILES
Acoustic Energy
Adcom
160
& PENNSYLVANIA
For the
sound
mind
Analogic Design Group
ASC Tube Traps
Audible Illusions
Audioquest
Avalon Acoustics
Chicago Speaker Stand
Clearaudio
Duntech
Eminent Technology
Forte' Audio
Grado
Jett Rowland Design Group
Kimber Kable
MIT
Monster Cable
Nifty Gritty
Onkyo
Precise Acoustics
Proton
PS Audio
ny hk
Sony ES i2
SOTA
Souther
Spectrum
Spica
Thiel
Threshold
SENSIBLE, PRSONAL H1 Fl ADVICE,
TOLL
DALLAS, TEXAS ... 214/964-6664
19020 Preston Road (75248)
We know they're hard to
resist. Guaranteed lowest
prices in the universe. Every
day's a sale day. Big, bigger,
biggest.
But, buying a serious audio
or video component isn't the
same as buying a
dishwasher or microwave.
And that's why AUDIO
recommends you visit an
independent A/V specialty
retailer when shopping for
equipment.
-FREE
HERE is Vf/MoAT, PEOPLE DEMAND VALUE.
WE DON, WASTE Gus ro n[Rs' rlogf r,
AND NE 'Tare Do TNfSf fol K3.
ARISTON
ADCOM
MOD SQUAD
INCLUDING
No
NAGAOKA
WHARFEDALE
ROTEL
BsW
EQUIPMENT
WARRANTIES ON ALL NEW
CD RA, rw,,
CHARGE
DUAL
MAGNAYOx cD
MONSTER CABLE-
POLK
5- YEAR
CELESTION
HAFLER
GRADO LABS
ORACLE
,111
AND MORE!!
Dnnn,eas, a.,
T Deco,/
roe SN,e[ING.
ne
SCIENTIFIC STEREO
1-800- 456
-
H
I
MA,N Sr.
BRATTLE90A0
VEAMONr 05301
FI
A/V product is the heart of
his business, not a
profitable or trendy"
sideline. That means the
independent dealer will
always be more concerned in
helping you select the proper
equipment than he will be
helping himself to a
commission.
So, be as selective in
where you buy as you are in
what you buy. Support your
independent specialty dealer.
The Equipment Authority
AUDIO/JANUARY 1990
CLASSIFIED ADVERTISING
CLASSIFIED ADVERTISING
LINE ADVERTISING
CLASSIFIED LINE ADS ARE PAYABLE IN ADVANCE BY CHECK OR MONEY ORDER ONLY.
(Sorry, we cannot accept credit cards or bill for line
advertising.) ALL LINE ORDERS should be mailed to:
AUDIO MAGAZINE, P.O. Box 9125
Dept. 346-01, Stamford, CT 06925
ORDERS WILL NOT BE PROCESSED WITHOUT
ACCOMPANYING PAYMENT FOR FULL AMOUNT.
Agency discounts do not apply to line advertising.
CLOSING DATE-First of month two months preceding the cover date. If the first of the month falls on a
weekend or holiday, the closing date is the last business day preceding the first. ADS RECEIVED AFTER
THE CLOSING DATE WILL BE HELD FOR THE
NEXT ISSUE UNLESS OTHERWISE STATED.
GENERAL INFORMATION-Ad copy must be typewritten or printed legibly. The publisher In his sole
discretion reserves the right to reject any ad copy he
deems Inappropriate. ALL ADVERTISERS MUST
SUPPLY: Complete name, Company Name, Full
street address (P.O. Box numbers are insufficient) and
telephone number. Classified ads do not carry Reader
Service Card Numbers. Frequency Discounts not fulfilled will be short rated accordingly.
DISPLAY ADVERTISING
DISPLAY ADVERTISERS should make space reservation on or before the closing date. Ad material (film
or velox) may follow by the tenth. DISPLAY ADVERTISERS MUST SUPPLY CAMERA READY ART.
PRODUCTION CHARGES WILL BE ASSESSED ON
ANY AD REQUIRING ADDITIONAL PREPARATION.
ALL DISPLAY CORRESPONDENCE should be sent
to:
Carol A. Berman, AUDIO MAGAZINE
1633 Broadway, New York, NY 10019
FOR RATES 8 ADDITIONAL INFORMATION:
DISPLAY ADS: Carol Berman (212) 767-6292
CLASSIFIED LINE ADS: 800-445-6066
A
S
B
YOURSELF
Sorbothane- has an incredible ability to absorb energy.
This allows AudioQuest
Sorbothane products to
effectively damp and isolate
all vibration sensitive equipment
CD/laser players and
audio and video electronics.
-
P O. Box 3060
San Clemente, CA
92672 USA
Tel: 714498.2770
Fax: 714.498.5112
a
oudioquest
SUPER DAC!
SUPER linear Premium Chip sets with the fabulous TDA15418 Si
CROWN DAC mated with the SAA7220PI8. Improves resolution on
all 16-bit Philips/Magnavox CD players. Set includes gold-plated,
machine pin
IC
al
sockets. Price: $124.95 plus $5.00 S&H.
Information: 203 431-6434
EUPHONIC
technology
Credit Card Orders: 6800-444.1428
Ridgefield,
CT
06877
ANNOUNCEMENTS
AUDIO CLASSICS
Precision Stereo Components Bought -Sold -Traded Repaired -Modified -Updated -Appraised. AMPLIFIERS:
Audio Research D76 $900; Audionics CC2 $349; Conrad Johnson MV50 ($1685) $1000, MV75 $1000, Premier 16
($5950) $3900: Denon P0A6600 ($1500) $900; Hailer
X1280 ($675) $450-575, XL600 Demo ($1195) $995; Krell
KSA100 11(53650)52500; McIntosh MC6Os 51500, MC225
56-800, MC240 $800, MC250 $400, MC2002 ($1895)
$1500, MC2205 ($1895) $1400, MC2300 $' 700, MC7270
($2295) $1800; Nakamichi PA5 ($1195) $700. CD PLAYERS: Analogic CDB560 ($1200) $600; Denon DCD3300
($1700) $1000; McIntosh MCD7000 $800; Mod Squad
CDB650 ($1200) 5600. CROSSOVERS: Krell KRX1 $930;
Levinson LNC2 $1975. EQUALIZERS: Audio Control Richter Scale 5349, Ten $229, Ten Plus ($329) $295; McIntosh
M0101 599-175, M0102 $60, M0104 ($500) $99-285,
M0107 ($650) $400. HEAD AMPS: Step-up Transformers,
Call; Counterpoint SA2 ($995) $595; McIntosh MCP1
($649)$450. INTEGRATED AMPLIFIERS: McIntosh
MA230 $399; MA5100 $400, MA6100 $500-600. PREAMPLIFIERS: Conrad-Johnson PV1 $375, PV5 ($1485)
$970; Denon DAP5500 ($1400) $840; Haler Iris Demo
($800) $679; Krell KRS1A ($8200) $4900; McIntosh C20
$600, C24 $250, C31V ($1895) $1500, C32 5850, C34V
($2450) $1700, C35 (1999) $1600; Win Jewel $600. PROCESSORS: Many 4 Channel & Surround Sound Processors, call. Audio Control Phase Coupled Activator ($279)
$239; Carver C9 ($249) $150; dbx 110 New ($99) $49, 124
($339) $150, 224 ($275) $175; Fosgate 101A $300; Lexicon
CPI ($1295) $1050, CP2 (5895) $799; Shure HTS5200
$449; Sony SDP505ES $350. RECEIVERS: McIntosh
MAC1700 $450, MAC1900 ($949) $500, MAC4275 ($1798)
$1100. SPEAKERS: Acoustat Spectra 33 (52250) $1999;
Apogee Duetta Signatures ($3735) $2585; DSW Active 1
($3394) $2500, 802 ($2500) $1500, 808 (58000) $4000,
DM100 ($300) $180, Matrix 1 $600, Matrix 3 (2198) 51000;
Castle Durham ($575) $450; Duntech Marquis ($5500)
$3300; JSE Infinite Slope Used 2 ($2295) $1400; McIntosh
ML1C $500, ML2C ($1598) $700, ML4C ($2400)
$900-1800, XL1W ($549) $375, XR5 $750, XR6 $800; Velodyne 1200 ($895) $815, ULD12 ($1195) $1095, ULD15II
($1795) $1669, ULD18II ($2595) $2395. TAPE DECKS:
88.0 9000 ($1299) $600; Crown Royal $400; JVC KDA8J
$200; A77 Ill $700. TEST EQUIPMENT: Audio Control
SA3050A 1/3 Octave Real Time Analyzer ($965) $877;
Crown OC150 $175; McIntosh MPI4 $1400; Sound Technology 1000A $1500, 1701A ($4950) $3250. TONE ARMS:
Denneson ABLT1 ($2000) $1000; Eminent Technology
($600) $300; Grado Signature $225; Monks $90-110; SME
3009R ($350) 210, V ($2250) $999; many more, call.
TUBES: Many major brands. TUNERS: Hafler Iris $450;
Magnum Dynalab AFT101 Demo ($698) $599, 205 Demo
($229) $199, FT t O1 A Demo (51195) $995; McIntosh MR55
$100-350, MR65B 5200-500, MR71 $600-7511, MR77 $700.
TUNER PREAMPS: McIntosh MX110 $250-500, MX112
5450. TURNTABLES: Dual CS5000 ($569) $359, Luxman
PD555 ($2900) $1500; Technics SP1011 ($1250) $625; VPI
HW19 III ($1140) $700. Audio Repairs -Updates Modifications Clif Ramsey, former Senior Service Technician
at McIntosh with over 25 years experience. FREE Catalogue. Layaway Program. Major Credit Cads accepted.
8AM 5PM EST Mon.-Fri., AUDIO CLASSICS, POB 176
Walton, NY. 13856
607-865-7200
-Audio Advertiser
AUDIO/JANUARY 1990
19 Danbury Road
for over a Decade-
Analog
or
Digital?
Why decide?
They coexist beautifully in a
precision quartz timepiece. This
unique compact disc clock will add
rainbows to any room!
To order, send a check or money order for
$24.95 + $2.50 shipping & handling to:
SJClocks, 1730 Elk Street
Piscataway, NJ 08854
NJ residents please add 6% sales tax
ANNOUNCEMENTS
Aaaannouncingggg!! Aaaannouncinggggl!
MOSCODE
HYBRID HAFLER
POWER AMPS-Enjoy the benefits of Moscode'" Tube
Technology with a Moscode" Conversion for Haflers. Call/
Write: SOUND SERVICES, 238 Liberty Ave., New Rochelle,
NY 10805. (914) 633-3039.
ATTENTION
TUBE KIT BUILDERS
We are pleased to introduce the first in a series of
"complete" kit products in the Dynaco tradition with
component quality and performance exceeding that of
the mainstream retail competition. The SFM-75 MONOBLOCK AMPLIFIER has been co -designed with Joe
Curcio (Audio Amateur/Glass Audio) and features a
derivative of his acclaimed inpuVdriver/regulation circuit. The amplifier incorporates the best parts available
and can be configured for all international line voltages.
PROJECTED PRICE: $1495.00 per pair. PROJECTED
AVAILABILITY: January 1990. We also feature upgrade
kits for a variety of tube products including the CURCIO
ST-70 and MK-III re -designs as well as a designer
authorized upgraded version of the DANIEL PreAmp.
WONDERCAP, REL-CAP, SOLEN, WIMA, HOLCO,
VISHAY, CARDAS, VANDENHUL, TEFLON, ALPS,
TKD, GRAYHILL, WBT, TIFFANY, NEUTRIK. GOLD
AERO, ETC. Please CALL, WRITE or FAX for our free
1990 KIT & PARTS Catalogue.
SONIC FRONTIERS
181 KENILWORTH AVENUE, TORONTO, ONTARIO,
CANADA. M4L 3S7. TEL: (416) 691-7877,
FAX: (416) 338-2562.
Audio Abode, Dallas sensible alternative, features prod
sets by Audioquest, Aural Symphonics, BBK, BEL, Chesky,
Clearaudio, Eminent Technology, Focus, Maplenoll, Melos,
Morrison, Quicksilver, Reference, Sheffield, Superphon,
Tice, VPI and others. Auditions by appointment, evenings
and weekends. (214) 369-2092.
High -end and hard -to -find audio components. New and used. Foreign and domestic.
Low, low prices! AUDIO AMERICA
(Virginia). Call 1-703-745-2223.
161
le.«) ef/a
Actbrate. Superb Imaging. Only' $155 Per Pair.
Acoustal
FrInch made AUDAX TITANIUM tweeter
AIDAX 61/2" woofer GOLD plated binding
pasts °Hand soldered, SOLID CORE wiring
15 day home trial program.
5155 PER PAIR plus 510 for shipping.
Cal for information or order
at 512/251-7701
Visa, MasterCard or Money Order
dana
audio
dana audio motet
P.S. Box
1
1
Austin, Tex. 78767
SilstemLine"
4.1.
Apogee Aragon Bnslon A,;ous0[s BOW
Ce'er
Shure
SW
Snell
Sony ES
SOIA
Star Sumiko
,
i
CWD dor
knell Magnum
Ortoton Rotei
Velodyne Well Tempered
Dual Energy Fried Haller In r ly JSE JVC Video K,w' ,
SAD Onkyo
Mennen Mendan MIT Mn 1 Squad Monster
Sound & Music
Saks
&
Ser. ce
151
Pierian' S,
Northampton MA Olnrn ,413 584 9547
ANNOUNCEMENTS
AUDIO RESOURCE HAS MOVED to its new 4400 sq. ft.
store at 3133 EDENBORN AVENUE, METAIRIE,
LOUISIANA 70002. We now have five private listening rooms
where you can audition one of the LARGEST SELECTIONS
of HIGH END AUDIO EQUIPMENT in the country. AUDIO
RESOURCE continues to offer precision -matched tubes,
plus sales, service, and restoration of vintage components.
Call or write for information on our products and services
AUDIO RESOURCE, 3133 EDENBORN AVE. METAIRIE,
LA 70002. (504) 885-6988.
THE BEST WAY TO BUY AND SELL used audio equipment
is thru telephone classified. No charge to buyer. Call (609)
927-2152 anytime.
CASH PAID FOR STEREO/VIDEO EQUIPMENT & CD'S.
STEREO VIDEO EXCHANGE. BUY-SELL -TRADE. AMEX/
DISCOVER MC. 485 ROUTE 1, EDISON, NJ 08817 (201)
985-1616, FAX: (201) 985-7574.
REAL HI-FI
IN EVERY ROOM
Universal
Premium quality
Flexible operation
. Almost invisible
.
:
We will not be undersold:'
©-
Authorized Dealer
OEM Audio S. Video, 9330 Georgia Avenue, Silver Spring,
MD 20910. (301) 589-1191
.
HIGH DEFINITION SPEAKER CABLE. Top quality line
strand ropelay design. 10 guage 95 cents foot A. 12 guage 75
cents/foot. Custom lengths available. (215)551-7060.
.
.
.
.
Local input
Non obsolescent
Video compatible
"THE CONNECTION"
For your free copy of our catalogue contact:
MAY AUDIO MARKETING INC.
P.O. Box 1048,
DUNTECH/MERLIN
Lowest Prices In U.S.
Champlain, N.Y. 12319 - Tel.: (518) 298-4434
in Canada: (514) 651-5707
Professional high definition connector pin for 12 guage to
8 guage speaker cable. Tapered, unique, rectangular shape
with anti -slip connecting notches and treble enhancement
grooves. Precision machined of high conductive brass with
23K gold plating. Fits compression connection size 16 guage
or larger. TREMENDOUSLY SUPERIOR TO STANDARD
ROUND PIN, twenty times more surface contact and five
times more massive (size of 11 guage speaker cable).
Crimpable design. An Inexpensive upgrade that can be
heard. Specify size of cable when ordering. $17.50 per four
pack and $31.50 per eight, include $3 ship hand plus state
sales tax where applicable. Send orders or inquires to: JBA
ENTERPRISES, 10646 West Sundance Mountain, Littleton,
CO. 80127 or phone (303) 973-0292.
We make good amps great.
At Professional Mod Service, we take
your Adcom, B&K, or Hailer amp
and make the bass more powerful and
the mids and highs clearer. By the time
we're through, your amp will sound as
good as amps costing twice as much.
REVAMP
YOUR AMR
How do we do it? We make real
1.
improvements, developed with factory
engineers. We use nothing but premium
materials. And our technicians are real.
pros with years of experience.
Pickup service.
Call us and we'll pick up your amp. Or
send it to us with $199.95 plus $14.95
HOUSTON HIGH END
THE ESOTERIC EAR is your only outlet for the finest in
home audio! Expert consultation, "home -style sound
rooms, no pressure atmosphere. Free newsletter. Fea-
turing: SimplyPhysics-VPI-SOTA-PREMIER-
1-800-334-0295
Amex/VisaA C/Discover
CD's-Audiophile Magazines.
Professional Mod Service, Inc.
225 Oakes SW
Grand Rapids, MI 49503
616-451-3527 FAX 616-451-0709
162
HOUSTON TEXAS
STEREOWORKS is your best source for fine audio components: WELL TEMPERED, VAN DEN HUL, KISEKI,
THRESHOLD, FORTE, SUPERPHON, BELLES. EUPHONIC TECHNOLOGY, MERLIN, CELESTION, EMINENT
TECHNOLOGY, VMPS, TARA LABS and more! FREE
NEWSLETTER! By appointment. MC,VISA. 713-497-1114.
EMINENT TECHNOLOGY-TALISMANAUD IOQUEST-PH (LIPS-MAGNUM-ROTELMELOS-DISTECH-MOD SQUAD-PRODIGYVANDERSTEEN-COUNTERPOINT-KRELLAPOGEE-MARTIN LOGAN-Audiophile LP's &
shipping. We'll revamp your amp, spec
it out, and return it insured.
i
DYNACO 400 MEETS AMPZILL A: GASWORKS, recognized for 11 years for our expertise with Great American
Sound equipment, now offers a rebuild to convert your Dyna
400 410 416 to Ampzilla circuitry. Conversion kits, or installed. Full kits also available. GASWORKS 8675 North view Street. Boise, Idaho 83704 (208) 323-0861
13194 VETERANS MEMORIAL PARKWAY
713-537-8108
MINNESOTA: Sumo Bedfni, Rega, Welltempered, van
den Hul, MIT, Sumiko, Target, Audio Prism, Precision Audio
S. more above -average components. By appointment. (612)
331-3861 AUDITION AUDIO.
AUDIO/JANUARY 1990
ANNOUNCEMENTS
o
o
Y
"LISTENING ROOM" is IBM compatible software which
helps AVOID STANDING WAVE PROBLEMS by determining
the optimum loudspeaker and listening positions for your
room. 529.95 Sitting Duck Software PO Box 130 Veneta, OR
97487 (503) 935-3982
MIDIS
menus
minuets
PURE SILVER
PURE SOUND
99.9999% PURE SILVER
INTERCONNECTS &
SPEAKER CABLES.
MOSCODES, FUTTERMANS, AUDIO RESEARCH SP3, 6
& 8'S MODIFIED & SERVICED BY GEORGE KAYE,
Moscode Designer-Tremendous improvement. Protect
your investment. SOUND SERVICES, 238 Liberty Avenue,
New Rochelle, NY 10805. (914) 633-3039.
A TRANSDUCER FOR THE PERFECTIONIST AUDIOPHILE ONLY. This state of the art speaker (Pat Pend.):
Utilizes no Woofers, Midranges, Tweeters, Ribbons, Electrostatics or conventional Planar Drives. About the only thing
ours has in common with other High-End Transducers, is that
it recreates a near perfect sound stage. For free information
on our product line, write to: A.W.H., P.O. Box 591, Bellport
LEKTRAFILE SYSTEMS INC.
593 PHELPS AVENUE
VICTORIA,B.C.,CANADA V9B 3J2
(604)474.5667(604)479-8828
DEALER INQUIRIES WELCOME.
N.Y. 11713.
FOR SALE
AAA-AUDIO ELITE
IN
WISCONSIN!!!
Low -Cost Accessories
DENON, HAFLER, PS AUDIO, YAMAHA, B&K, JSE, NAKAMICHI, PROTON, CARVER, ONKYO, ADS, VPI, DCM,
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SUMIKO, THORENS, KEF, ADCOM, SUPERPHON,
SNELL, M&K, LUXMAN, BOSE, PHILLIPS, DCM, VELODYNE and any others you desire. (414) 725-4431.
CALL US WE CARE!!!
For Turntables:
Grado ZTE+I
Grado Bma. MCZ, TLX
For Speakers:
Chicago RT-7S
Chicago Hercules
Naiad LS -7000
Monster Cable, Audioquesl.
Van den Hal. Vampire
AAA-CALL US LAST! LUXMAN CARVER, ADS, NAKAMICHL DENON, BOSTON ACOUSTICS, ADCOM, PS
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Tril
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549
Call
Call
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I by, 3 by. 120 dx. 4110 dx
Shipping: 53 fins ¡lent. SI ruth
rvro iron
Call /-.900.233-8375 for specials list
EUROSTAT
Euroetat Corp. 1132 East
AUDIO UNLIMITED
AAA-LOW PRICES-HIGH END EQUIPMENT!!!
DENON, PS AUDIO, HAFLER, YAMAHA, B&K, CARVER,
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fix,",^.s°ry
Ave./La Grande, Oregon 97850
1503) 963-5731
9-6 M-TH
1203 Adams
7160.73-2571
E.trostat (Canada) Inc. 611 Copland Rd.
Sarna, Ontarlo,Canada, N7T 7B2
-
5119-337-7648
KEF, SONOGRAPH, FRIED, NITTY GRITTY, SUMIKO,
BOSE, PHILLIPS, DCM, VELODYNE and any others you
Made In Canada
desire. AUDIO ELITE, (414) 725-4431, Menasha,
Wisconsin.
OUR PRICES CAN'T BE BEAT!!!
AAA-NAKAMICHI, LUXMAN, CARVER, BOSTON
ACOUSTICS, DENON, AR, ADCOM, PS AUDIO, HAFLER,
ADS, B & K, ONKYO, KEF, PROTON, SNELL, DCM,
YAMAHA. INFINITY, VELODYNE, JSE, SPICA, SUPERPHON, M & K, PHILIPS, VPI, BOSE, SONOGRAPH, SUM
IKO. FRIED, THORENS. PLUS A LARGE SELECTION OF
OTHERS 414-727-0071.
AAAAH! FREE UPS SHIPPING! B&K, PS AUDIO, CELESTION, SUPERPHON, ARISTON, ORTOFON, ONKYO,
THRESHOLD AUDIO, 605 HEBRON, NEWARK-HEATH,
OHIO 43056.(614)522-4501.
Audio- Express
Déliviers!
Wider Selection of "Best Buys"
Satisfaction Guaranteed
Faster Delivery -2nd Day Air!
For Records
We have over 565 items.
AA/SOUND ADVICE
Please call!
LOW PRICES/FAST DELIVERY! CARVER, NAKAMICHI, BOSTON ACOUSTICS, LUXMAN, PS AUDIO, HAFLER, ADS. M&K, ONKYO, BAK, PROTON,
DCM, SNELL, BOSE, VELODYNE. PHILIPS, AND
pest buy' turntable arm
Revolcar Rebel
8 Bullet cartridge
538900
Gram
ZTE.1 $19 95 203E 544 00
Others Grades call
MUCH MORE! 414-727-0071.
CALL US!!
Accessories
Navcom Silencers 559 00/ 4
AO Sorbothane Feet $20 9514
Signet 302 Contact Cleaner 522 95
Sone, irs $49 9514) snipped ground)
Tweek $12 95
Tens Pi Antenna 57995
Target Wallmount tTt $10900
Standesign Racks 2 shelves -5145 00
shelves -5249 00 5 shelves -5265 00
4
LP's and CD's
ADS., NAKAMICHL CARVER, BANG OLUFSEN, REVOX,
B&W, KEF, HARMON/KARDON, N.A.D.. LUXMAN, HAF-
LER, TANDBERG, ADCOM, DENON, KLIPSCH, YAMAHA,
D.B.X.; INFINITY, J.B.L. AND OTHER QUALITY COMPONENTS. BEST PRICES-LIVE PROFESSIONAL CONSULTATION WEEKDAYS-AUTOMATED PRICING AND INFORMATION AVAILABLE 24 HOURS. ALL PRODUCTS
COVERED BY MANUFACTURER'S U.S.A. WARRANTY.
AMERISOUND SALES INC., EAST: (904) 262.4000 WE ST:
(818) 243-1168.
ATTENTION HAFLER, DYNA, MAGNAVOX OWNER S
t
Audio by Van Alstine builds complete new higher performance
circuds for you. Nd 'modfications, but original new engineering
designs that eliminate transient distortion, have no on or on
thumps, am durable and rugged, and sound closer to live than
anything else at a rational once. Our complete do-0 -your seR
rebuild kits start at 5200, including all new PC cards. Comp
Complete
wonderfully -musical
si
factory weed amplifiers, preamplifiers, 1tuners. CD players, and a great 599 phorio cartridge. Write on cal
call for
our new illustrated catalog. Audio by Van Alstine, 2202 River HMIs
Drive, Burnsville, MN 55137. (612) 890-3517.
AUDIO/JANUARY 1990
163
Cnes.r Reference Wilson Sheffield Harmon
Mond, Mane other terns availrble
i4
.Kinergetics/BSC System
Stunning
honest
and more important musically
SIeleoamle CES Renesy, Aug 89 We 12. No 8
Compatible with Fried Spica Magnepan WATT
Prodc and more
Kmergebcs KCD40 CD Player 51995 00 ¡or on a
06.9 Cartridge
Highly recommended 5379 00
Ndty Gritty fluids & rec sleeve: - Call
AO and Hunt EDA record brusres 59 951 519 95
Aud,oguest record mat $32 95
Signe
DB Pnmac Pronactor
Cables
Please Can
teas 78756
512.323.5576
Service 512.323.5575
-
Al items are shipped UPS 2nd day an unless
otherwise indicated
524 95
Power Cords
budget lye Kmergel¢s KC0.208 a 51195 001
Kmergehcs KBA75 Class A amp $1495 00
(Shipped ground)
BSC 100 Subvwoters are 200 amp S1532 W
Ishlpped ground)
¡Or the smaller 1005 '-bolero to, 543800 less)
Music Mate stands 5250 00 part (shipped ground)
Call lot exact cables used m CES system above
Call for system or component prices
Interconnect a Speaker.
Audioguesl Aural Cardas dimmer Monte,
TARA MIT Straight Wne
3800 North Lamar Aust n
FAX
Accessories One item 53 95
Turntables and Stands 512 95
Enna Items 5125 Electronics 5895
soled to change Amer add 3°.
Mastercard VISA Discover Arte.
Prices
.-
Vacuum Tube Logic
VTt Maximal Pre -amp $699
VIL 5C/50 amo 5995 00
(shipped ground)
011
w.;-a?~
e
1-800-866-5575
1-800-580-5575 Texas only
Just in time for the holidays:
LOW RESISTANCE
INDUCTORS
LOWEST CLOSE-OUT PRICES
IN THE U.S.-800-438-6040
MADISOUND is pleased to announce that we are
now stocking AIR CORE SIDEWINDER and
FERRITE BOBBIN SLEDGEHAMMER Audio Inductors. These are audiophile grade inductors using 16
gauge wire with the following specifications:
Hard drawn copper for maximum conductivity.
Nylon -Polypropylene coating for maximum
scuff and abrasion protection.
Coating designed to permit easy tinning.
Better than 101.3 % of National Electrical and
Manufacturing Association (NEMA) standard
sample.
CELESTION DL SERIES, CONRADJOHNSON, DAHLQUIST M SERIES, ESB,
JPW, MONSTER CABLE, ROTEL,
SONOGRAPHE, SOUTHER, THREE D
ACOUSTICS, WHARFEDALE AND MANY
ASSORTED "FORGOTTEN"
WAREHOUSE ITEMS.
Sale prices limited to stock on hand.
No refunds or returns.
Power Handling capacity: more than 500 watts
before saturation.
Wire Diameter: .0525 inches; 1.5 mm.
Resistance through skin effect: Better than
248 ft per ohm.
Sidewinder Air Core Inductors
52
Price
.50
.22
$3.50
.60
.24
3.80
2.45
.65
.27
4.00
2.65
.70
.28
4.10
.16
3.00
.80
.30
4.40
.33
.18
3.20
.90
.33
4.70
40
.18
3.35
Q
Price
.1
.10
$2.05
.15
.11
2.25
.20
.14
.25
.15
.30
Mh
Mh
1
ImPROVEs
rl..E
EARS
$24.95
P'
'
;
Wear
Serious
Litners:
BUY
'
'
qua/tV
1eOther
THE
P°h
Great Gift!
FOCus
pcttC
¿ONN1P51
MONEY
CAN
n
CLARITY.'...
aE
AT HOME
CONCERTS
THEATER
LECTURES
ORIGINAL LISTENING ENHANCEMENT TOOL
we guarantee you will near the diflerencel
Send check or money order tor 524.95 to:
Serious Listeners P.O. Box 565 Burlingame, CA 94011
Phone Orders: 800-326-1201 Dealer inquiries welcome
'
FOR SALE
FOR SALE
AFFORDABLE HIGH -END AUDIO. SONUS FARER, ACOUST1C ENERGY, AUDIBLE ILLUSIONS, CLASSE AUDIO, AUDI-
DYNALAB, MERLIN, MISSION CYRUS, THE MOD SQUAD,
NILES, PHILIPS AUDIO VIDEO, REGA PLANAR, STAX,
ARE YOU PLEASED WITH THE SOUND OF YOUR CD PLAYER? Modify your player and reward your ears with a musical,
involving performance. Call us for modifications and accessories
that will transform your player into a liquid, tonally accurate source.
Products include Select D A converters, Digital Filters, Damping
Materials, Power Supply modifications and more. Call
1-801-648-6637 for details and catalog. Soloist Audio 348 Tuttle,
SONRISE CABINETS, SONANCE, SOUND ANCHOR,
S.A., TX 78209.
TIFFANY CONNECTORS TERA VIDEO, TARGET STANDS,
VELODYNE. FOR FREE BROCHURE AND LITERATURE
CALL-301-890-3232 J S AUDIO ONE CHILDRESS COURT,
BURTONSVILLE, MARYLAND 20866 AUDITION BY APPOINTMENT, MONDAY THRU FRIDAY 10AM TO 7PM, SATURDAY 11
TO 5, VISA, MASTERCARD, AMERICAN EXPRESS. FAX
301-890-3819
AUDIO ARCHIVES IN SAN DIEGO. We sell MERLIN SIGNA TORE speakers (Carlos -wired), CARDAS cables, WINGATE
Class -A amps, CONVERGENT SL-1 REFERENCE TUBE PRE AMPS, SOUND ANCHOR stands. Other High -End Items. (619)
OOUEST, ASC TUBE TRAPS, TARA -LABS, B8K SONATA,
CELESTION, DYNAVECTOR, ENTEC, GARROTT, EPOS, KEF
CUSTOM SERIES, KIMBER KABLE, LEXICON, MAGNUM
455-6326.
.d.Sounclwave
i.
Sledgehammer Ferrite Inductors
'
2
SERIOUS
BE! ! F5, B&W SPEAKERS AND STANDS,
Meets standards of American Society for TestInductance value within 5% of value listed.
.
Many items are priced at
DEALER COST!!!!
Choose from: ADCOM, AR, ARISTON,
ing Materials (ASTM).
/
NEW AND IMPROVED EARS BY
MADISOUND
Baffleless Loudspeakers
1.0
.10
$6.75
4.5
.25 $11.45
1.2
.11
7.00
4.7
.26
11.55
1.3
.12
7.20
5.0
.27
11.70
REFLECTION FREE SOUND
1.5
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7.40
5.4
.29
11.85
1.7
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7.55
5.7
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12.00
2.0
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7.85
6.0
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12.20
2.2
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8.15
6.5
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12.40
2.5
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8.50
7.0
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12.55
2.7
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8.75
7.5
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12.75
3.0
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10.75
8.0
.36
12.95
Soundwave loudspeakers have the
open, seamless, and transparent sound
of the best "panel" (electrostatic,
ribbon, and planar) speakers, while
offering the superior dynamic range
and extended bass response of the
best "dynamic" designs. And they offer
a stereo image that is second to none.
3.3
.21
10.85
8.5
.39
13.20
3.7
.23
11.00
9.0
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13.45
4.0
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11.20
10.0
.43
13.85
4.3
.24
11.35
12.0
.47
14.75
Stage
systems,
commerc'al
sound
l
,
A revolutionary patented design,
achieved by the utilization of acoustic
intensity mapping techniques, Sound
wave loudspeakers have a unique "baffleless" enclosure, special drive
units, and a 180 degree radiation pattern. The result is sound so natural
and three dimensional, you'll think there are live musicians performing
in your listening room.
and
autosound application will benefit from using
SIDEWINDER and SLEDGEHAMMER AUDIO
INDUCTORS because the resistance loss within the
crossover is up to 50% less than similar 18 gauge
inductors. This more effectively couples the amplifier
to the speaker to realize the full potential of the power
amplifier's damping factor and results in better
speaker control. In addition, the saturation level of
these coils is much higher than standard types.
4
l
.I,
]
"...The
net result was a big, smooth, open sound, exceptionally free from typical box
-him Stoneburner, Stereophile, Vol. 12. No. 7, July 1989
coloration."
"Soundwave loudspeakers create a breathtaking stereo image, possess extraordinary
dynamic range, and are harmonically correct: they're the most musical I've ever
heard." says Dr. Christopher Rouse, world famous composer.
Madixxmd Speaker Components
8608 University Green
Box 4283 Madison WI 53711
Phone 608-831-3433
For further information, write Soundwave Fidelity Corp.
3122 Monroe Avenue, Rochester, New York 14618
(716) 383-1650 or (800) 752-2445 Fax: (716) 383-1355
Fax 608-831-3771
164
AUDIO/JANUARY 1990
Holida Gift Ideas
.Aroton Amlimprr4
Caution
Euphonic Technolaar
Forte
Er
Gifted
Listener
Audio
Nam Grote
Mirage
Phantom
S
mrve
Mamie,
SOTA
Dnkwr
Premkr
SMrniko
Old Centreville Road
Centreville, Virginia 22020
5866
Monster Sound Rings
RECORD DOCTOR
SME
Woman
Threshold
Koenu
Dyruoenor Lienstve
Books Recordings Memories
Q Jj Q
703.818.8000
08262
machine
08586 Changer/new
04582
25 Rings
SD Rings
..........
chip
(DEMO); LINN LP-121TTOK ARM $1199; MISSION PCM 7000
$699 (DEMO): PERREAUX PMF 2350 $1595, TU 3 $595, SA 3
$925 (DEMO) SOUND EXCHANGE, 5130 SOUTH STATE
STREET, MURRAY, UT 84107. (801) 268-6066.
Torumat Tm -7)M ....16 of
16 02
SuperCleaner
32 oz
1
gal
14 95
.....
220/2409
16.95
LAST Reco
el Power Leaner
R e'esenasul
7 Rep
Cartrdge
Alignment
SPICA ANGELA; WELL -TEMPERED; VELODYNE, MAGNUM;
FOSGATE; BBK, SUPERPHON, MUSIC REFERENCE, SPECTRUM, RAUNA, SOUNDLAB, VPI, MAPLENOLL, SYSTEMDEK, GRADO, GARROTT, VDHUL, MONSTER, STRAIGHT
WIRE. MUSIC CONCEPTS, (714) 861-5413, APPOINTMENT.
loudspeakers
Gauge
Ch«k,
lea
102 Cilio Terry
A3 Pon Woods
Kg) 1198
Roda Drums
Moscow 5essnns set
Serie. Trap Record
140)14 98
Wilson Maio Center Stage
1029 Carer. Ro
MI,, Dan ..
1029 6on1a. Nonstop to Bryn
Rerereno. Recoreng,
E. SWIM lyn CDs
OP) 14 96
lip) 14 98
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RACKSr
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One Pair Bozak 302, Sony TA2000 Preamp Two Sony 3200F
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Kenwood Lab Scope, Tandberg Table with SME Arm. CALL Arnie
(303) 728-66000 OR WRITE, Box 331, Telluride, Co. 81435.
BUY/SELL IN THE MONTHLY AUDIONIDEO TRADER.
SAMPLE $1 4 SASE. FREE ADS! 330 S. MAIN WAKE
FOREST, NC 27587
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(715) 735-9002.
165
49 95
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053
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ulnas
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JJIJJTJI
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1995
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a
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Lash
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Speaker
Switching
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G 052
6995
rurus
12500
Le
9995
12(0.220 1 outlet 2 0111,,1200 wan
120 "21995 220.
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1o, audio and.afo
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Shipping Charges
UPS, Insured, 48 States
Accessories: One Item
Each Extra Item
'Turntables. Stands
'Electronics
Tvpó
1r
ARC
5.O8
ARC S.%
ARC 5119
ARC 5811
ARC Amps
65 00
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can
7
A ILGU
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64 95
109 95
65 00
175 00
:9080
65 00
14995
169 95
Dampers
audio
UPS InternationalAl to the Far East.
Europe. Neww Zealand and Australia
4.95
1.25
12.95
8.95
or
CP SA 20
VPI Brick
Reduces Vibration,
Improves Sound.
39 95
SAA3
Cl SA5
ce SA 12
99 95
output
IC -1000 6outlet 3staw
taco wan output
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269 95
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l i5
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I,
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Jul
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34.95
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2 LPs or CDs please
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BOZAK BI-AMPED SYSTEM. One Pair Rezak 4000 Symphony
CD Feet 14)
Large Feet 14)
SHURE
GAUGE
9995
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BEST TRADES OFFERED. We buy sell, trade, consign most
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ti4t1
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05 SIYAM
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AUDIO/JANUARY 1990
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Your records wdl
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Featuring legendary VANDERSTEEN
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Magnavox. CD Players
Vacuum -powered
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advisor, inc.
SW Grand Rapids MI 49503
616-451-0709 Service -616-451-3868
225 Oakes
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DE IN AND
T
up
ADS., NAKAMICHI, CARVER, BANG OLUFSEN, REVOX,
B&W, KEF, HARMON/KARDON, N.A.D., LUXMAN, HAF-
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D.B.X.; INFINITY, J.B.L. AND OTHER QUALITY COMPONENTS. BEST PRICES-LIVE PROFESSIONAL CONSULTATION WEEKDAYS-AUTOMATED PRICING AND INFORMATION AVAILABLE 24 HOURS. ALL PRODUCTS
COVERED BY MANUFACTURER'S U.S.A. WARRANTY.
AMERISOUND SALES INC., EAST: (904) 262-4000 WEST:
(818) 243-1168.
Á
Convert your old AudioCluest cartridge to one of our
current state-of-the-art models. Our very liberal trade
in policy allows you from 35% to 125% of the value
of your cartridge towards a new AO cartridge. Any
AudioCluest MC cartridge ever made qualifies!
CASH FOR USED PWR/PREAMPS -ARC, Levinson,
Krell, Threshold & Conrad -Johnson. Pickup amps from your
home or lust ship UPS/COD. Call CA (209) 298-7931 Sennie, or Fax (209) 297-0359.
P O. Box 3060
San Clemente, CA 92672 USA
Tel: 714.498.2770 Fax: 714.498.5112
oudhoquest
FOR SALE
'
.
CLASSIC AUDIO, LTD.
CA260 DUAL MONO TUBE AMPLIFIER
-10
DAY
HOME AUDITION-MADE WITH REAL McINTOSH
TRANSFORMERS-SAVE!! FACTORY DIRECT-IN
STOCK-CLASSIC AUDIO, LTD., 238 LIBERTY AVE.,
NEW ROCHELLE, NY 10805. (914) 633-3039.
COMPONENT CLEARANCE, NEW AND DEMO Rega
Planar3 table ($600) $399, Rotel RCD820BX2 CDplayer
($750) $475, Counterpoint SA12 poweramp ($1145) 5795,
Philips CD880 CDplayer ($750) $499, Ouad34 preamp
($795) $495, OuadFM4 tuner ($695) $425 free Quad rack
with both, Kimber KCAG meter interconnect ($350) $229,
VelodyneSA7 subwoofer ($995) $599, used PS Audio4.5
$345. Call for other specials. The King's Stereo, 225 Highland, Springfield, IL 62704. (217) 523-5656.
RIZNED
The mark of a true Denon.
This sticker tells you who is an authorized
Denon dealer and who isn't.
Some people who offer Denon products are
not authorized dealers. That can lead to problems.
First. only authorized dealers offer you the
protection of a Denon warranty with your
purchase: at other dealers. you may have no
warranty at all.
Authorized Denon dealers stock only
components designed for the U.S., and have the
training to help you select the one right for you.
Authorized dealers know Denon technology
inside and out and stock factory parts for your
Denon to preserve true Denon sound.
So before you buy your Denon. look for this
Denon Authorized Dealer Sticker.
It assures you of the authentic Denon technology and support you expect. And nothing less.
To find your nearest
AUTHORIZED Denon Dealer call:
1-201-575-7810
(9:00 am -5:00 pm EST)
DENON
1
AmbianceTM
KloHsseM
Ambiance is an ultra -compact speaker that
proves high performance, small size and low
cost need not be mutually exclusive. Factory
direct from Cambridge Sound Works for $109$129 each (plus freight), depending on finish.
1-800-AKA-Htfl.
In Canada 1-800-525-4434.
154 California Street, Newton, Massachusetts 02158
CASH for USED AUDIO EQUIP. BUYING and SELLING by
PHONE. CALL for HIGHEST QUOTE. (215) 886-1650. The
Stereo Trading Outlet. 320 Old York Road. Jenkintown, PA
19046.
MADE IN ENGLAND
shopping
for an amplifier in
this price range
to audition the
A240SA 11 - it really
is something special
indeed."
"I urge anyone
HI-FI HERETIC
Number Eleven (p.50)
THE AUDIBLE DIFFERENCE
For your free copy of our catalogue contact:
MAY AUDIO MARKETING INC.
166
DON'T COMPARE
Champlain, N.Y. 12919 - Tél.: (518) 298-4434
in Canada: (514) 651-5707
..
.
Musical Concepts compact disc players to others! Compare them to live music! Their transparency and "musical authority" deliver natural, holographic sound. "The
best need not cost the most!" Three models available,
ENIGMA, ERA AND EPOCH. ENIGMA, "An entry level
player that forgot to sound like it!", ERA, "Supercedes
the CD-3'TPS-highly reviewed in TAS°'!", EPOCH,
"Must be heard to understand the possibilities of CD!"
DO COMPARE
FOR SALE
QED HiFí
P.O. Box 1048,
DESK TOP STEREO-Revolutionary Stereo Receiver Installs within IBM Compatibles. Sophisticated software for
graphic display of all controls including digital tuning. Works
in background of your application. Exceptional Sound!
OPTRONICS, P.O.B. 3239, Ashland, OR 97520. (503)
488-5040.
.
our CD players to analog or live music. You'll be
impressed!
MUSICAL CONCEPTS
ONE PATTERSON PLAZA ST LOUIS, MO 63031
314-831-1822
DYNACO ST70 UPGRADES. Gold E134 Sockets. 1215
Microfarad on -board solid state B+, triode output, more.
Complete service. DoReTech Audio Services, Box 6054,
South Hackensack, NJ 07606-4354. (201) 233-2659.
ELECTRONIC CROSSOVERS, SUBSONIC FILTERS for
mono/stereo subwoofers, bi-amp, tri-amp. Free flyer: ACE
AUDIO, #532 5th STREET, EAST NORTHPORT, NY
11731-2399.
HAVE YOU NOTICED?
Reviewers compare our designs against the finest! Our
modifications transcend their modest cost, delivering
unmatched musical transparency! Ten years of expertise ensure your satisfaction!
ADCOM
B&K
HAFLER
Our famous Haller modifications are equaled by our
latest Adcom and B&K redesigns. Stunning bass impact, midrange lucidity and delicate highs set apart
these remarkable designs. Soundstaging and focus
replicate the recording site. Dual -mono operation available.
TEFLON® PREAMPLIFIER
MC -2T1: TEFLON* RIAAline preamplifier board retrofits Haller, B&K, Adcom. MC-2TI supersedes expensive,
unreliable preamps! ACCESSORIES: SuperConnect
III, simply peerless interconnect, money -back guarantee! Toroidal transformers, high density filter capacitors
(new lower prices). superb film capacitors including high
voltage.
MUSICAL CONCEPTS
ONE PATTERSON PLAZA ST. LOUIS, MO 63031
314-831-1822
AUDIO/JANUARY 1990
:SORB
FOR SALE
GAS EQUIPMENT OWNERS: Since 1977 we have provided
expert service on GAS equipment, from repairs to complete
rebuilds. Expert service on ALL high -end equipment. One
year guarantee. GASWORKS 8675 Northview Street,
Boise, Idaho 83704 (208) 323-0861.
HIGH -END, LOW PRICES. ADSBANG
Y
&
Sorbothanea has an incredible ability to absorb
energy. This alloves AudioQuest Sorbothane products
to effectively damp and isolate all vibration sensitive
equipment
CD/laser players and audio and
video electronics.
OLUFSENCARVERDBXDENONH/K
NAKAMICHI AND MANY MORE! FULL MANUFACTURERS WARRANTY. TECH ELECTRONICS SYSTEMS. SINCE 1981. GAINESVILLE. FL (904)
730-3885.
-
JAY'S AUDIO. NEW HAMPSHIRE'S AFFORDABLE AU
DIO DEALER. AMPS, PREAMPS, SPEAKERS, TURN
TABLES, CABLES AND CD PLAYERS. WILL BUY MINT
USED HIGH -END EQUIPMENT. (603) 883-1982.
LIVEWIRE CLOSEOUT SALE! 50% OFF ON AUDIO QUEST TYPE 12 SPEAKER CABLE! LIMITED SUPPLY!
CALL FOR PRICES & ORDERING INFORMATION. HCM
AUDIO. 1-800-222-3465, 1-916-345-1341 VISAMIC/AMEX.
McINTOSH Bought -Sold -Traded -Repaired. FREE Catalogue. See our ad at the beginning of the classifieds. AUDIO
CLASSICS, POB 176MM, Walton, NY 13856.
607-865-7200. 8AM-5PM EST Mon. -Fri.
-Audio Advertiser for over a Decade-
a
P O. Box 3060
San Clemente, CA 92672 USA
Tel: 714.498.2770 Fax 714.498.5112
If You Purchased Any High
End Audio Component
W
We Have a Cap _
For You..
¡
audio-technica
%.0
Without Calling Us
a,dioqucst -
YOUR SEARCH IS OVER!
MCINTOSH: BUY/SELL
WANTED: MCINTOSH, MARANTZ, AUDIO RESEARCH,
DYNACO, LEVINSON, KRELL. ALTEC, JBL, TANNOY, CJ,
SEOUERRA, WESTERN ELECTRIC, TUBE & SOLID
STATE, BUY -SELL -TRADE, MAURY CORB, (713)
728-4343,'2325 Ashcroft, Houston, TX 77035.
MCINTOSH MARANTZ, KRELL, AUDIO RESEARCH,
JBL UNITS, CONRAD JOHNSON. MOST OF USED MCINTOSH AMPS IN STOCK. CALL YANG (201) 935-4026 (NJ).
McINTOSH. JBL (ALNICO), Krell, M. Levinson, and other
high end audio components. Let us find your hard to get
items. Call John Wolff, 313-229-5191 (24hrs. machine)
MIT cables, custom terminations, Camacs, XLR balanced,
hi -flexibility tonearm sets, Shotgun CVT; MIT hookup for
internal rewiring; Athena PolyPhasors: ATMA-SPHERE OTL
amplifiers, CLEMENTS speakers, VENDETTA RESEARCH, VAN DEN HUL GRASSHOPPER, ASC Tube
Traps; Wonder Caps -solder -wire; Resistas; Edison Price,
Odyssey, Tiffany connectors; Simply Physics Tone Cones &
Isodrive; many accessories -mod parts, $1 catalog ($3 overseas); Michael Percy, Box 526. Inverness, CA 94937: (415)
669-7181.
MONSTER CABLE PRODUCTS AT LOW PRICES! CALL
FOR PRICES & ORDERING INFORMATION. HCM AUDIO,
1-800-222-3465, 1-916-345-1341 VISA/MC/AMEX.
NEW: B&K ST -202 $499, Kinergetics KCD-40 $1599,
Merlin, SME 309 $849 Edison -Price, CdSaver $9, Dynalab
Cramolin, Kimber, Tweek $15, AudioPrism, Tubetrap, Audio Quest, Fluxbuster $139, Target. CD/LP's-"Basho's Pond",
BIS, Chesky, Concord, Connoisseur Society, DMP, Dorian,
East -Wind. Harmonia Mundi, Menuet. Nightingale, Opus3,
Proprius, Reference, Sheffield, ThreeBlindMice, Verany,
WaterLily, Wilson. Vector Electronics, Portland, OR (503)
233-2603. VisaiMC/Amex/COD. "SINCE 1976"
NITTY GRITTY RECORD CLEANING MACHINES & SUPPLIES. MOST ITEMS IN STOCK. AUTHORIZED DEALER.
CALL FOR PRICES & ORDERING INFORMATION. HCM
AUDIO, 1-800-222-3465, 1-916.345-1341, VISA/MC/
AMEX.
ORDER TOLL -FREE 1-800-222-3465,
AUDIOQUEST B&K BOSE CELESTION
GRADO SIGNATURE ' HARMAN KARDON
MONSTER
NITTY GRITTY
JBL
PREMIER SONY * SOTA ' STAX STRAIGHT WIRE
SUMIKO
SUPERPHON ' PLUS
MANY ACCESSORIES. CALL FOR FREE
PRICE LIST! HCM AUDIO, 1015 MANGROVE, CHICO, CA 95926 (916) 345-1341
VISA/MC/AMEX
REVOX 6710 MKII, LOW HOURS, 5895. NAKAMICHI
RX202,NEW, $525. PA -7 (Threshold copy), $795. 1000ZXL.
offer. BOULDER 500, $1995. LAZARUS H1A(2), $1995.
QUAD FM4, 5250. ADS DELAY $350. MUST MAN BE
BORN AGAIN? JOHN 3:1-18. (313) 949-4567.
AUDIO/JANUARY 1990
specialize in hard to find
pnono cartridges and original replacement styli only?!
Vie
AUDIO OUTLET
The High End Mail
(800) 221-0906
Order Store
P.O. Box 673
Bedford Hills, NY 10507
(914) 666-0550
a
FREE PRICE QUOTES
AND VISNMC ORDERS
N.Y. STATE 151x) Sai1/12
L
as
--,7-,
SEND SELF ADDRESSED
STAMPED ENVELOPE FOR
QUR FREE CATALOG.
LYLE CARTRIDGES
FOR SALE
ONE PAIR KRELL KMA-100 MARK II, $3800; ONE PAIR
MARTIN LOGAN MONOLITH -ESL, $3200; YAMAHA DSP-1
SURROUND SOUND & AX-5000 AMP, $900. CALL (201)
539-4713.
ºo
CALL TOLL -FREE FOR
Q
A
Dept. A, Box 158
Valley Stream, N.Y. 11582
Phones Open Mon Sal
9
SHU E
0froroi
5
am8 pm
maruron
Your Records will sound better
and last longer.
Audio Advisor's New "Record Doctor" vacuum
cleans records... spotless! Only $169.95
You don't lave to spend $300 or more to cean your records
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Get serious
Senous audiolhlles ALWAYS vacuum -clean heir records-for
less surace roise and fewer ticks and pops. Sound is clearer,
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amplify noise!
Longer record life
Records LAST LONGER because your stylus no longer pushes
particles of dust into soft vinyl grooves. You protect irreplaceable, priceless LPs for years to come. The "Record Doctor" pays
for itself!
Sucks up debris
Record Doctor's powerful vacuum sucks up fluid, safely removing dirt, dust, grease and fingerprints. Debris Is sucked up, NOT
picked up from one part of the record and left on another.
"I can't believe how good my records sound. Record Doctor
gets rid of the grunge that was getting between me and the
music," says D.P.G., Brooklyn, NY.
"You are right. Record Doctor does the job just as well as an
expensive machine," writes D.K. from LA. "And I'd rather rotate
the records myself anyway!" (Expensive mach .nes have an extra
motor to rotate records. Rotate them yourself and save?)
The
Reord Doctor n
You (let the complete package: vacuum machine, professional applicator brush, and cleaning fluid-all for only $169.95
(220v version 5189.95) plus $8.95 shipping & handling in US.
Satisfaction guaranteed-no other machine near this pnce cleans
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Charge
It?
Amex / Discover / MC/ Visa
1-800-669-4434
io
O O_ auc
advisor, inc.
_
225 Oakes SW Grand Rapids, MI 49503
616-451-3868 FAX 616-451-0709
167
Authorized Dealer for:
AMERICAN AUDIO ARAGON ARISTON
AUDIOPRISM
AUDIOOUEST AUDIOSOURCE BEYER
B&W CAMBRIDGE CELESTION CHICAGO
DAHLOUIST
GRADO
COUNTERPOINT CRAMOLIN
MAY AUDIO MEITNER
KOSS MAGNUM DYNALAB
NILES. RATA ROTEL SENNHEISER
MOD SQUAD
SHURE SONRISE SUMIKO SUMO SUMO ARIA
SYSTEMDEK TERK TWEEK VAN DEN HUL
VAMPIRE VPI WBT ZETA AND MORE. ALL MAJOR
AUDIOPHILE RECORDINGS AND COMPACT DISCS. ASK
ABOUT OUR PROFESSIONAL AUDIO DIVISION.
AKG
11
i
800-438-6040
DEBUTS
Featuring
a
host of firsts, beginning
with the new MDT -33, Morel's
FOUR PRIVATE LISTENING ROOMS
1620 South Blvd, Charlotte, NC 28203
704-376-0350
tweeter whose frequency response
falls within an incredible +/-0.6dB.
Paired with the MW-164, Morel's
long throw double-magnet woofer,
FM Reception.
Here finally is a serious indoor FM
antenna for people who demand peak
performance from their tuners and
receivers. The AudioPrism 7500 is
the first full size, half-wave length
OUR MATCHED SYSTEM
(AFFORDABLE HI END)
PREAMP: SUPERPHON CD MAXX, POWER AMP:
SUPERPHON MAXX BOB, CD PLAYER: WAVETRACE
TECHNOLOGIES, TUNER: MAGNUM DYNALAB
FT -11, SPEAKERS: PROAC SUPER TABLETTE,
SPEAKER STANDS: TARGET HJ24/2T.
SYSTEM PRICE -52500
AUDIO EXCELLENCE
LIVERPOOL, NEW YORK. VISA MC. (315)-451-2707
antenna with appropriate
length elements (7'-2") for
optimal FM reception.
PAUL HEATH AUDIO
Designed as a major audio
Audible Illusions, BSK, Classe Audio, Cardas, Theta,
system component, not as a
Iverson Eagle 400, Gryphon, Dynalab, Epos, PS Audio,
compromise accessory, the
Philips Audio -video, Melos, MFA, MIT, Mod Squad,
Merlin, TDL, Quicksilver, VPI, Well -tempered, Linaeum,
AudioPrism 7500:
Precise, Deltec, Kuzma, Mentmore, Townsend Rock
Achieves Higher Gain (5.1
217 Alexander, Rochester, NY 14607.
dchBi) and Clearer Recep-Reference.
(716) 262-4310.
non than All Other Indoor
Antennas
PHONO ONLY PREAMP, highly reviewed, $149 Factory
Direct, FREE Literature, Dept. 2525 Rt. Box 264A, Hender Brings in More Stations
sonville, Tn. 37075, 24hr 1-615-822-2737 Ext. 2525
than Most Cable Systems
Brings in More Distant
PS AUDIO
Stations with less Noise
Fast. FREE shipping! Knowledgeable, friendly service!
than Electrically AmpliAudire, Chesky, CWD, Fried, Grado, Kinergetics, Mirage,
Monster Cable (M -series), Quad, SME, Sota, Spica, Stax,
fled Antennas
Straightwire, Thorens, more. READ BROTHERS STEREO,
Exhibits Superb Rejection
593 King Street, Charleston, South Carolina 29403. (803)
of Multipath Interference
723-7276.
making its debut in a cabinet system.
Followed by the cabinet itself,
DAT with full warranty.
FOR SALE
How to
Achieve Peak
high -efficiency double -magnet
DAT-We have legal
a
radical rhombic design angled up for
greater depth and imaging.
Duet is pure Morel, and pure
performance, from its Hexatech
1
voice coil to its drivers.
-SUPERB!
Call or write for more on Duet
and Morel's full line of home and
auto speaker systems.
Receives Low Angle
Transmitter Signals to
Reduce Flutter & Fading
Has an Omnidirectional
I
Design
.
morel
-
Needs No Con-
stant Tuning Adjustment
Features Coaxial. Twin Tuned, 1/4" Diameter.
Pure Aluminum J -Pole
Configured Elements
Has a Clean. Unobtrusive
Design to Integrate with
All Types of Decor and
Audio Cabinetry. A
Morel Acoustics USA
414 Harvard Street, Brookline, MA 02146
tel. (617) 277-6663 fax (617) 277-2415
Stable Wood Base Uses
Only I s.f. Floor Space.
with Standard
Black or Beige Fabric.
Ask Local Dealers About
Custom Fabric Coverings.
Is Covered
R
f
-
Write, Call or FAX for Brochure. Sug. Retail $149.95
+ $15 Shipping. Dealer
Inquiries Welcome.
-
PLEASE VISIT US AT CES
IN SAHARA Room 7108.
AudioPrism
umnC
A Division
d SF
P.O. Box 1124, Issaquah, WA 98027
Tel: 206.392-0399 FAX: 206.392-8413
168
SAVE 40% ON HIGH -END home speakers,
subwoofers, amplifiers. FREE CATALOG!
Ave., SpringCATALOG, 3021 Sangamon
g
p
g
field, II. 62702. 1-800-283-4644.
Savings to 40%. Nobody beats our prices. Midfi to
highend. Over 150 product lines. Free Shipping. Full US
Warranty. Quality Audio 902-582-3990 7.10pm Eastern Time.
60 YEARS IN BUSINESS...WE MUST BE DOING
SOMETHING RIGHT! If it's a much -in -demand audiophife product, we're likely to have it for immediate
shipment. Consult with one of our quiet experts or just
order U.S.-warranteed components directly. VISA/
MC. Ask for Steve K. or Dan W. SQUARE DEAL, 456
Waverly Ave., Patchogue, N.Y. 11772. (516) 475-1857.
STRAIGHTWIRE CABLES IN STOCK! CALL FOR PRICES
8 ORDERING INFORMATION. AUTHORIZED DEALER.
HCM AUDIO. 1.800-222.3465, 1-800-345.1341 VISA/MC/
AMEX
TRANSCENDENCE THREE-Finally musical reality!
Announcing the stunning original new hybrid Fet-Valve designs from Audio by Van Alstine. The Fet-Valve Ampilifiers,
the Fet-Valve Preamplifiers, and the Fet-Valve CD Players. A
perfect combination of tubes for voltage gain and power fets
for current gain, each used ideally! The result is musical
reality-the closest approach to live music in your home
short of bringing in the musicians. One listen and you will be
satisfied with nothing less. Now ultimate musical enjoyment
is much less expensive. Write or call for our illustrated
catalog. Audio by Van Alstine, 2202 River Hills Drive,
Burnsville, MN 55337. (612) 890-3517.
AUDIO/JANUARY 1990
Smarter Audiophiles
Does your system sometimes sound
different for no apparent reason?
like yourself
are getting inside the best in audio technology with
thousands of fellow Audio Amateur readers, the first
magazine to guide them, step-by-step, through design
modifications of preamps, amps, and CD players and
the first to discuss wire, gold connectors, and capacitors. Treat yourself, four times a year, to an insider's
look at audio's critical issues.
The reason could be your power. A refrigerator
or air conditioner, even In another part of the
house, may cause voltage to vary whenever they
kick on or oft. Or you may be getting line noiseelectrical interference that your preamp icier and
amplifier amplify and send on to your speakers.
Solution? Tripplite LC -1800. It regulates voltage so it's constant-not too low, not too high.
Full voltage-even in brownouts. LEDs show you
what Tripplite is doing!
lllldlOdm(!t(1/I '
PO Box 576 (D.A90)
Peterborough, NH 03458
(603) 924-9464
FAX (603) 9249467
$201year 83512 years
(US $ only, Outside US add 84 per year postage)
(MC/Visa accepted for phone and FAX orders)
Lli
-
`glalr fIDWtrtB
!I-
'-
»
o
-
Tripplite s patented ISOBAR circuits provide
three "banks" of isolation, two receptacles per
bank. You can eliminate interference between critical components. It's like putting your CD player,
preamp, and power amp all on separate lines.
Sonic benefits may be subtle... but real.
FOR SALE
Protection, too
USED AND DEMO EQUIPMENT: Aragon 2004, Audio Research SP-15, Counterpoint SA -11, SA -12 and SA -20, Infinity IRS Gama & Beta, speaker wire and interconnects from
Monster and Livewire. Call Audition Audio for pricing and
details at (801) 467-5918. Visa, MC, Amex accepted.
USED Fosgate 3602ag Surround Sound $798; Infinity
RS -1B Speakers $4,500,; Klipsch Klipschorns $2,000; Linn
Kans $395; PS Audio 4.5 Preamp $399; Tandberg
TPA3026A Amplifier $1,295. Meridian MCD-Pro $695 Call
Terry at 402-391-3842.
VAN DEN HUL DISTRIBUTOR'S 60% of f NEW gold RCA
plogs! #557 ($8) only $3.20 pair. Custom Audio, 1548 Center #25, Novato, CA 94947 (415) 898-1464. Components
And Tripplite prevents spikes and power from
damaging your equipment, This protection is absolutely essential if you leave any of your gear on
all of the time.
Take
a
Power Trippe-No Risk!
Try the Tripplite LC -1800 for 30 days. If not
satisfied with the performance (and protection),
return it for a full refund of your purchase price.
Made in USA by Tdppe Manufacturing Co., Est.
1922. Only $299.00 plus $9.95 shipping in the
US. If you want a clean musical signal, start with
clean, consistent power. Order now.
Charge It! Amex / Discover / MC/ Visa
1-800-942-0220
O O_ audio
advisor, inc.
_
225 Oakes SW Grand Rapids, MI 49503
616-451-3868 FAX 616-451-0709
also.
LOUDSPEAKERS
A&S SPEAKERS offers high-end speaker components, kits
and systems in the Bay Area and mail order. We have all of
the legends: Audax, Dynaudio, Scan -Speak, SEAS, Morel,
Peerless, Focal, Eton, VMPS, others. Free literature. A&S
Speakers, 3170 23rd Street, San Francisco, CA 94110.
(415) 641-4573.
ADS., NAKAMICHI, CARVER, BANG OLUFSEN, REVOX,
B&W, KEF, HARMON KARDON, N.A.D., LUXMAN, HAFLER, TANDBERG, ADCOM, DENON, KLIPSCH, YAMAHA,
D.B.X.; INFINITY, J.B.L. AND OTHER QUALITY COMPONENTS. BEST PRICES-LIVE PROFESSIONAL CONSULTATION WEEKDAYS-AUTOMATED PRICING AND INFORMATION AVAILABLE 24 HOURS. ALL PRODUCTS
COVERED BY MANUFACTURER'S U.S.A. WARRANTY.
AMER 'SOUND SALES INC., EAST: (904) 262-4000 WEST:
(818) 243-1168.
corvadJohnson
is
Impact.
AUDIO CONCEPTS INC. is the leader in fine speaker kits.
Save 50-75%, 30 day full money-back guarantee. 12 models
from $129.90 pair. Call toll -free 1-800-346-9183 for catalog.
Audio Concepts Inc. 901 S. 4th St. La Crosse. WI. 54601.
BEST SELECTION -50 HOME, SUBWOOFER, CAR &
PRO SPEAKERKITS. JBL, B&W, AUDAX, MOREL. PEERLESS, SEAS, VIFA, 24DB ELECTRONIC CROSS -OVER.
40p CATALOG, $2. GOLD SOUND, BOX 141A,
ENGLE WOOD, CO 80151.
TEr
CANTON LOVERS! SELLING BRAND NEW PAIR CA30
BLACK FINISH FOR ONLY $12,000. (SUGGESTED RETAIL PRICE 516,500.) OTHER MODELS AVAILABLE ON
REQUEST. CALL FARHAD'S STEREO: (213) 476-0191.
1990 DYNAUDIO LOUDSPEAKERS & SPEAKERKITS.
We believe SUPERIOR SOUND QUALITY promotes itself,
and invite you to DISCOVER for yourself. ADVANCED
AKUSTIC, 4555 PERSHING, SUITE 33(184), STOCKTON,
CALIFORNIA 95207. Catalog $1 or Call 1-209-477-5045.
FRIED SPEAKERS & KITS
State-of-the-art! Amazing performancerprice! FREE shipping. Knowledgeable, friendly service! Audire, Chesky,
CWD, Grado, Monster, PS, Quad, Sota, Spica. Stax, Thorens, more. READ BROTHERS STEREO, 593 King Street,
Charleston, South Carolina 29403. (803) 723-7276.
AUDIO/JANUARY 1990
the
conradjohnson
group
2800 R
Don Avenue
-
Fairfax,
Virginia
22031
703-698-8581
169
,
.tli
-y
LOUDSPEAKERS
G
LEGACY-1 LOUDSPEAKERS BY REEL TO REAL
DESIGNS: Probably the most accurate speaker system
you'll ever own. Samarium Cobalt leaf tweeter hands off
to a 30mm European dome. Vocals are recreated by the
most remakable cone driver anywhere. A multichambered, slot -loaded dual woofer configuration extends bass response to 16 Hz. Biampable through
Tiffany gold binding posts and high definition cable.
Elegant 43 tower design. Ten year warranty. $1648.pr
shipped prepaid. Ten day home trial. RTRD, 3021 Sangamon Ave., Springfield, IL 62702. 1(800) 283-4644.
I
_
LI,
I)-
THERE'S MORE TO
NEAR AT LYRIC.
LOUDSPEAKER COMPONENTS -KITS. Dynaudio, Morel,
At Lyric, you'll find more great components to choose from. And along with all the brands
and models on display, more knowledge and experience. More service, too. Which explains
why more people around the world make Lyric their choice for high -quality audio.
Eclipse, Focal, Peerless, Eton, Vita, more! Crossover
parts-design books also. Catalog $1. Meniscus, 2442 28th
St. S.W., Wyoming, Michigan 49509. (616) 534-9121.
Let us help improve your system with state-of-the-art models from more than 50 manufacturers. We supply 220 volt equipment, and most speaker models are available for export.
SPEAKER REPAIR & RECONING. Highest quality, lowest prices. Over 15 years experience. NORTHWOODS
AUDIO, 4078 Church Rd., Conover, Wisc. 54519. Ph.
(715) 479-7532.
Classe
Carver
Celestion
B& W
Bryston Cal. Labs
Carnegie
Ariston
Audio Research
Accuphase
Infinity (including IRS) JVC JSE Infinite Slope Koetsu
Dynavector
Entec Goldmund
conrad-Johnson
Mark Levinson Mirage MIT Mod Squad Mondial Monster Cable Motif
Magneplanar M & K Manley
Sonance
Revox
Rogers
Shure
SME
Proton
Quad
Rega
Nakamichi
Oracle
I'ioneer
NAD
Sonogt-aph Sony ES Sota Spectral Stax Vandersteen Velodvne VP! VTL Well Tempered and other fine brands
CD PLAYERS
2005 Broadway
146 East Post Road
212-439-1900
New York, NY 10023
212-769-4600
White Plains, NY
914-949-7500
Lexington Ave.
New York, NY 10028
15 Lyricko
I
1221
iFiY7Vi
10601
COMPACT DISC PLAYERS
Knowledgeable, friendly service! Finest brands. FREE shipping. READ BROTHERS STEREO, 593 King Street, Charleston, South Carolina 29403. (803) 723-7276.
800-848-4981
PHILIPS REFERENCE STANDARD COMPACT DISC
PLAYERS, CDV-CD VIDEO PLAYERS, DIGITAL TO ANALOG CONVERTER'S, AUDIO VIDEO RECEIVERS, DIGITAL INTEGRATED AMPLIFIERS, DIGITAL TUNERS, CASBRANDS AND
MODELS ON DISPLAY
ACTIVE ELECTRONIC
CROSSOVERS
KRELL 00k
BALANCED
LINE PREAMP
O.-á
I
0
DAY SEOUERRA
FM TUNER
MIRAGE M-3
MONSTER ALPHA
GENESIS 2000
MAGNUM DYNALAB
'ETUDE' TUNER
DAHLOUIST D012
MODEL 120 CABINET & NEW 120-R
"RACK AND PANEL" DESIGNS
Made to order in Butterworth bi-amp,
tri-amp, or quad -amp configurations
with optional level controls, subsonic
filters, or summers. Filters, regulated
power supplies, equalizers, are also
available.
New catalog and price sheet. Free!
SONY TAE-1000ESD
/(A\1
HI-FI HEAVEN
1911 S. WEBSTER
GREEN BAY, WI 54301
Eng. Lab.
11828 Jefferson
131.
SETTE DECKS, IDTV IMPROVED DEFINITION
TELEVISION, COLOR MONITOR RECEIVERS, PROJECTION TELEVISIONS, DIGITAL SUPER VHS HI -Fl VCR'S,
CAMCORDERS, FOR INFORMATION CALL301-890-3232
J S AUDIO ONE CHILDRESS COURT, BURTONSVILLE,
MARYLAND 20866. VISA, MASTERCARD, AMEX.
COMPACT DISCS
"AND GOD CREATED GREAT WHALES" (Hovhaness);
Whale songs with orchestra. Cd $16.95, Cassette $10.98
($2./shipping) CRYSTAL RECORDS, Sedro-Woolley, WA
98284.
Culver City, CA 90230
PHONE (213) 397.9668
(414) 437.8727
-
H
T. N.T.
8
5.
- {U NOW YOU
,-B
DON'T
DON
NEED TO BUY
NEW SPEAKERS
8 FOR YOUR
STEREO TV, AND...
,_
,5
YOU DONT NEED
TO RUN YOUR
STEREO TV
THROUGH YOUR
STEREO SYSTEM!
.4
ALL YOU NEED IS
THE SI -2!
WWI
The SI
-2 is a
completely automatic speaker switch
that allows you to connect your stereo TV and stereo
system to your existing pair of hi -0 speakers. You
RADICAL DESIGN
+ ELEGANT APPLICATION
= ULTIMATE ANALOG REPRODUCTION
77 Cliffwood Ave., #3B, Cliffwood, N.J. 07721
Fax: 201-946-8578
Tel: 201-946-8606
170
don't need to buy a separate pair of speakers for your
TV and you don't need to run your TV through your
stereo's auxiliary input. The 51.2 will automatically
detect which component is trying to run the speakers
and lock the other out, thus preventing any damage
to either stereo component or the speakers. The SI -2
is easily installed and Its compact design allows it to
be hidden behind the stereo system to provide years
of reliable use. Call today to order or for the name
of your local dealer.
SI -2 (120 watts max.) $49.95
SI-3 (900 watts max.) $69.95
R.F. Engineering, Inc.
9215
Lowell Blvd., Westminster, CO 80030
(800) 869-5623 or call collect (303) 430-8281
AUDIO/JANUARY 1990
COMPACT DISCS
Y0.111 VARY.'
Free Catalog of CD's.
Same day shipping'if'you order
before 12.hoonEDT..
'1D0 DISCOUNT per disc on orders
of 10 or more.
'250 for UPS Cont. U.S. shipments.
Call Toll -Free to order:
'
BEFORE
ANYTHING
ELSE...
TARGE
1
T
AUU10
1-800-333-4422
P.O. Box 616, Clifton Park, NY 12065
518-383-4855
(01:-/OMPACT
DISC
ENTRE
cNEOK
',
P11ouR
powcE
M
'
ARCHITECTURALLY
DESIGNED
Classical style cabinets, hand -made of solid oak. FREE
brochure. ZEAL HARDWOOD DESIGN CO., Dept. Al,
4 Benjamin Road, Lexington, MA 02173. (617)
861-1705.
THE BINAURAL SOURCE-Exclusive one-stop source
of true binaural recordings for startling headphone listening
(most also speaker -compatible). [See Nov. 8 Dec. AUDIO.]
Classical/jazz/drama/sound environments; in all three formats, from U.S. 8 Germany. Free catalog: The Binaural
Source, Box 1727AU, Ross, CA 94957.
THE
SOUND BASE
TO
YOUR
SYSTEM
For your free copy of our catalogue contact:
MAY AUDIO MARKETING INC.
P.O. Box 1048, Champlain, N.Y. 12919 - Tel.: (518) 298-4434
in Canada: (514) 651-5707
COMPACT DISCS-AT LOW WAREHOUSE PRICES. Now
in our 5th year. CATALOG: Send $2.00. Oz Warehouse,
1575P Hwy 29, Lawrenceville, GA 30244.
DlscTraker. The perfect way to accurately record the
customized play sequence of your compact discs. Slips
neatly into jewelbox. One dozen cards. Send $3.95 to K8 W
Company, 3124 Paseo Robles, Pleasanton, CA 94566.
FREE CATALOG/NEWSLETTER. CD's, DAT, Cassettes,
Reel. Write to DIRECT -TO -TAPE RECORDINGS, 14-R Station Ave., Haddon Heights, NJ 08035.
NEW AGE COMPACT DISC 8 CASSETTES Catalog "Wind
Angels, Shamanic Journeys, Cusco, Inti-Illimani, Tibetan
Choir, Take it to heart." Big selection, Quality Guarantee.
$2.00: BHL, Box 6340Au, San Rafael, CA 94903-0340.
TEST YOUR SYSTEM WITH CD'S from Pierre Verany, CBS
Labs, etc. Catalog, details: DB SYSTEMS, P.O. BOX 460,
RINDGE, NH 03461. (603) 899-5121.
cónrad-
johnson
is
Texture.
WHICH ONE GOT THE RAVES? Catalog of Award Winning Classical CDs. Your handiest guide to outstanding
recordings. $10.00. (Sample pages available) KEN'S KOMPENDIUM, 2400 Hawthorne Dr., Atlanta, GA 30345.
\
``
.
`:
RECORDS
RECORD COLLECTORS SUPPLIES. REPLACEMENT
JACKETS, INNER SLEEVES, 78 RPM SLEEVES, OPERA
BOXES, LASER DISK BOXES, ETC. FREE CATALOG.
CABCO PRODUCTS, BOX 8212, ROOM 662, COLUMBUS,
OHIO 43201.
Soundtracks-Broadway LPs/Vldeomovles.
Soundtrack catalogue-$1.00 Video-$1.00. Rare
Soundtrack -Broadway Valueguide-57.95. RTSA, Box
1,000,000
750579, Petaluma, California 94975.
the'
corirad-
johnson
group
2800 R
Dorr Avenue
Fairfax,
LASER VIDEO DISCS
LASERDISC NATIONWIDE! Discount Sales + Fast U.P.S.
Rentals. WIDESCREEN, IMPORT, NEWEST RELEASES.
Free "FRESH VIEWS" Laser Newsletter. HOLLYWOOD
NORTH ENTERTAINMENT SERVICES. 840 Piner Rd.,
Santa Rosa, Ca. 95403. (707) 575-1225.
AUDIO/JANUARY 1990
Virginia
22031
703-698-8581
171
LOWER
AUDIOPHILE RECORDS
LOUDSPEAKER
AUDIOPHILE ALBUMS!! SIXTH ANNUAL CHRISTMAS
SALE Get Mobile Fidelity's new releases!! (if they're still
available). Pink Floyd-MEDDLE, Jethro Tull -THICK AS A
BRICK. Blind Faith-BLIND FAITH and all other MFSL,
Reference Recordings, Nautilus, Chesky. Also one complete
Audiophile Album collection (1000 L.P.$). SOUND ADVICE,
8215 Grand Ave., Kansas City, MO 64114. (816) 361-2713.
Visa and Mastercard accepted. Show Mobile Fidelity
DISTORTION
4X Oversampling
COMPACT DISC PLAYERS
CDB600
5169.88
5179.88
CDB582'B
CDB610 remote
5199.88
5279.88
CDB630 Deluxe
support-Purchase new releases!
AUDIOPHILE LP'S
AND CD'S
Special prices on closeouts & factory renewed models. Call. We will
not be undersold.
IN PRINT
Mobile Fidelity, Reference Recording, Sheffield Labs,
Chesky, Wilson, M & K, American Gramophone, Proprius, OPUS 3, Gemini, Super Analogue, Concord, ATR
Mastercut, Harmonia Mundi, Linn Re -cut, EMI, Water filly, North Star, Odin, BIS, Hungaroton, Chardos, Hyper ton, Japanese and British Imports (Ips), Many TAS
recommended LPs !
PHILIPS
OUT OF PRINTS
Nautilus, Super Disks, Nimbus, UHOR, Lyrita, MFSL,
Stones. Sinatra Boxes. Direct to Disc by Crystal Clear,
Umbrella, EMI, RCA LSC, Mercury SR, Casino Royal,
CBS Mastersounds, Etc.
NEW 1990 CD MODELS
CD50 $299.88
CD60 $399.88
CD80 & 840 ... CALL
AUDIOPHILE CD'S
MFSL Gold "Ultra Disk", Bainbridge "Colossus", Elite
Visit the world's smallest Hi -Fi shop for new:
The new Special Edition of the VMPS Tower II,
one of the most highly reviewed speakers of the
decade (both
a
"Recommended Component" of
Stereophile magazine Ap 89 and a "Best Buy"
in Audio's full review Jun 891. combines luxury
features and updated cabinetry into a convenient. lowcost system of outstanding musicality. lowbass extension, and dynamic range.
A flushmounted ribbon supertweeter, Focal
"Superdome" inverted harddome tweeter, and
polycone ferrofluid midrange (like the three 12"
woofers designed and built by VMPS in the
USA) form a vertical array in a stunningly finished. roundedge cabinet treated with Sound coat for 10-15dB broadband reduction in
spurious panel vibration. All Wondercap/polypropylene crossovers, hybrid silverplate Teflon
solidcore/large gauge stranded internal wiring.
biamp/biwiring capability, and user ad(ustable
bass damping guarantee maximum performance
and flexibility in any environment and with a wide
variety of associated equipment.
Hear VMPS at the dealers listed below, or write
for brochures and test reports on the floor standing MiniTower Ila ($369ea kit. $479ea
assem), the standard Tower II ($439ea kit,
$599ea assem). the Super Tower/ R ($699ea
kit, $969ea assem), the new Super Tower Ill
($3895/pr kit. $4795/pr assem), our three
Subwoofers, two OSO Series bookshelf
speakers. and John Curl's breakthrough S C P2a
phono preamp ($2250).
VMPS AUDIO PRODUCTS
div. Itone Audio
3412 Eric Ct. El Sobrante Ca 94803
(415) 222-4276
Hear VMPS at The Listening Studio. Boston. Par Troy
Sound, Parsippany NJ Dynamic Sound Washington DC,
Essential Audio. Winchester Va American Audio, Greenville
SC Audio by Caruso. Miami FI, Stereoworks. Houston Tx,
Parker Enterprises, Garland Tx. Stereoland. Natrona Hts
Pa. Audio Specialists South Bend In, Shadow Creek Ltd
Minneapolis Mn. Encore Audio. Lees Summit Mo. High Per.
Audio, Madison Wi, Posh Audio. Lake Oswego Or,
Reference Sound. Eagle Rock. Ca. Sounds Unique. San Jose
Ca Ultimate Sound. San Francisco Ca. Custom Audio.
Novato. Ca. Private Line Home Entertainment Stockton Ca.
'tone Audio El Sobrante Ca. Sound Room Vancouver BC
SONY ES
MAGNAVOX
CARVER
MONSTER
RULER
SOTA
PARADIGM
LEXICON
APATURE
PIONEER Li/
JBL
STAR
AR
ORX
THORENS
AUDIOOUEST
MERLIN
ACOUSTAT
FRIED
SUMIKO
PLC- Pyramid MET-7
PHILIPS
PS AUDIO
HARMAN CAROON
PREMIER
TARGET
GRADO
LUXMAN
Stereo play", Three Blind Mice, East Wind. DMP, plus
the above labels.
ACCESSORIES BY:
Nitty Gritty, LAST, Audio Quest
ALSO: ONE STOP distributor pricing for Audio/Record
store, offering all brands above The LARGEST inventory and FASTEST service!
Q AUDIO
95 Vassar Street
Call for catalog
Cambridge. MA 02139
'617-547-2727-
P.O.
Acoustic Sounds
Box 2043, Salina, Kansas 67402
913-825-8609/FAX 913-825-0156
ORDER DESK: 1-800-525-1630
DECALS/EMBLEMS
AUDIOPHILE WAREHOUSE LIQUIDATION! Direct -to
Disc, Halfspeed, Quiex II Recordings. 2000 available. Grea
Prices-example: Donald Fagen "Nightfly" (sealed) $30
Now $14.00! Elusive Disc, 5347 N. Guilford Ave., Indi
anapolis. IN 46220, (317) 255-3446.
CUSTOM EMBROIDERED EMBLEMS, PINS, DECALS.
Free catalog/quotes. Rush sketch. STADRI, 61AU JANE
STREET, NEW YORK, NY 10014. (212) 929-2293.
ONE OF THE TEN
S BU1 IN AUDIO.
Ymie
xoul:CA,
nCr
euuecair,
1
t
I
1
L
RevelationII Preomp=5749.95
"With the Superphon equipment, the sound is smooth and detailed, and seemingly
effortless. Music has a sense of clarity and openness that is utterly believable,
never sounding strident or harsh ... the Superphon dazzles ... with an unrelenting
music rightness..." -Hi Fi Heretic, Issue #10, "The Best Buys In Audio."
or write: Superphon Products Inc.
1035 Conger #3, Eugene, OR 97402
ié
503-345-4226 FAX 503-345-0704
/INCall
SUPER
-
,=_PHON
Dealer Inquiries Invited
Can
172
AUDIO/JANUARY 1990
WANTED TO BUY
ESOTERIC SOUND
AAAAWAYS PAYING TOP SS FOR TUBE OR S.S. McINTOSH, TUBE MARANTZ AND FISHER, SEOUERRA, M.
LEVINSON, KRELL, C.J., ARC, ALL JBL PRE-1975 PARTS
AND SYSTEMS, EV PATRICIANS, GEORGIANS, EARLY
ALTEC AND??? MFSL, NAUTALUS AND OTHER 1/2 SPD.
MASTERS, 24HR ANS. MACH. 1-800-628-0266, 6-11PM
EST BEST.
We present the components that make the artists' performance possible. We
are dedicated to the pursuit of excellence that justifies that performance.
Always Paying Best For: Studer, CAL, CJ, Levinson,
ALTEC LANSING APOGEE BARCLAY BEDINI COUNTERPOINT HARTLEY JANIS KEF
LEXICON PRECISE PULSAR ROTEL JEFF ROWLAND SHAHINIAN WADIA AND MORE
COVENTRY CO.%(lIONS RTE 347, STONY BROOK, N.Y. 11790, 516-689.7444
High End Components For The Audio Perfectionist
McIntosh, Marantz, Audio Research, Quad, Leak, Sequerra.
Vintage speakers, units, from Western Electric, Tannoy, JBL,
Altec, Jensen, EV. Tel: 818/701-5633 David Yo, P.O. Box
802, Northridge, Ca. 91328-0802.
DON'T CALL First- MARANTZ, MCNTOSH, all tube components, vintage speakers, esoteric hi -end. Outbidding everyone on certain items. N.Y.S.I. (718) 377-7282 afternoons.
HI-FI SUPPLIES-PAYS CASH FOR LEVINSON, ARC,
C.J., KRELL, SPECTRAL, ROWLAND 8 THRESHOLD.
(212) 219-3352, 7 DAYS 10ÁM-6PM (NY)
,
_--
_
=
We have digital audio home, portable and
profess onal cassette recorders and tapes
(blank 8 prerecorded) IN STOCK NOW!
I
WILL PAY RETAIL for all tube MARANTZ or used McINTOSH tube or solid state. Need not work. (504) 885-6988
days.
I
.1
.;.I.
-
We were the first U.S. company to import
both CD and DAT into the U.S. We carry
various DAT decks and offer the latest models
as soon as they become available. We also
carry DAT Rax 60, solid oak Cassette holder.
_
IT'S WORTH IT CALLING ME! MCINTOSH, MARANTZ
TUBE AMP, MCINTOSH SOLID STATE, WESTERN, JBL
HARTSFIELD, EV PATRICIAN, JENSEN, TANNOY, ALTEC,
TRUSONIC, SPEAKER & HORN, OLD EQUIPMENT. WILL
PAY TOP CASH. HENRY CHANG, 115 S. NICHOLSON
AVENUE, MONTEREY PARK, CA 91754. (818) 571-6274.
FAX: (818) 288-1471 L.A.
-
-
TOP PAYING FOR MCINTOSH, MARANTZ TUBE AMP
McIntosh Solid State, Western, JBL, Altec, Tannoy, EV,
-_
AudoTape
Dlgttal
-
Your search for
refi¢ment will end here.
Audio Gallery
(
(213) 829'3429
Brown Electronic Labs
2716 Wilshire Blvd., Santa Monica, CA 90403
2530 Berryessa Rd., Suite 126, San Jose, CA 95132
Jensen, Speakers 8 Hom, EMT Turntable, Ortofon, Arm.
Temma-(516) 997-7633, (516) 496-2973.
WANT-JBL Hartsfield, EV Patrician, Browner Transcendent, Singles OK, McIntosh, Marantz 8 other tube equipment. Larry Dupon, 2638 W. Albion, Chicago, IL 60645.
(312) 338-1042 evenings.
WANTD: MARANTZ,
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SERVICES
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Audio Repairs and Restorations by Clit Ramsey, former
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experience. AUDIO CLASSICS P013 176ÁR, Walton, NY
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INVENTIONS WANTED
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SPEAKER REPAIR. 4" to 18" speakers retorted. Orban
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INVENTIONS/NEW PRODUCTS/IDEAS WANTED: Call
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AUDIO/JANUARY 1990
CAR STEREO
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"STEREO WORLD" is your discount mail
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HELP WANTED
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For information on Koetsu moving coil cartridges, the world's
please contact the exclusive American importer:
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South Military Trail, Deerfield Beach, FL 33442
Telephone: 305-698-6102 Fax: 305-480-6410
712
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EASY WORK! EXCELLENT PAY! Assemble Products At
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AS -ONE"' INTERCONNECT
SALES
Prestigious audio salon seeks a motivated, wellgroomed, professional sales person to Ioin our sales
staff. Extensive knowledge of high -end componentry is
a must. Three
years experience required. Salary cornmensurate with experience.
AUDIO INSTALLATION
MANAGER/INSTALLER
Preeminent audio video retailer seeks a multi -talented,
resourceful person to manage Custom Installation Division. In addition to hands on installation work,you must
be able to interact smoothly w/designers, architects and
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r./ 1,
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FROMMREECORDSÁ NDLCDs!
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stereo reordxt Reco-d with your voice cv perform live
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MANAGEMENT
minimumg lleexperience
ired.
p
Sala co two -years managerial
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Salary commensurate with experience. Full benefits.
Send resume or letter in confidence to L. Ferber, 300
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Conrad
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BUSINESS OPPORTUNITIES
MUS1Cahhty
LET THE GOVERNMENT FINANCE your new or existing
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HOME -STUDY SERIES, AUDIO RECORDING COURSE,
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SKE AUDIO PUBLISHING 1-(600) 284-1258.
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MAIL ORDER
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AUDIO/JANUARY 1990
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~Mr-
Preeminent audio/video retailer seeks a motivated, resourceful person with excellent organization skills and
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IN CANADA INTERLINEAR 105 RIVIERA OR
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An Unli.nithd supply of Backgrounds "rom standard
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VANDERSTEEN AUDIO
DIMENSIONAL PURITY
Vandersteen Audio was founded in 1977
with the commitment to offer always the
finest in music reproduction for the dollar.
Toward this goal there will always be,a
high degree of pride, love, and personal
satisfaction involved in each piece before it
leaves our facilities. Your Vandersteen dealer
shares in this commitment, and has been
carefully selected for his ability to deal with
the complex task of assembling a musically
satisfying system. Although sometimes
hard to find, he is well worth seeking out.
AD INDEX
.
Write or call for a brochure and the
name of your nearest dealer.
VAN DERSTEEN AUDIO
FOURTH STREET
HANFORD, CALIFORNIA 93230 USA
116 WEST
(209) 582-0324
"MAIL ORDER
El
Q
MAIL ORDER
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MODIFICATIONS
Our speaker cables and interconnects bring the music back to you!
Upgrades for Tborens turntables 8 Grado canndges
Corktone Planer Mat, F-1 Dustcover Weight and more
...
Complete catalog 13.00, refundable with purchase.
1925
Massachusels Avenue. Cambridge,
MA (617)354-8933
THE BEST RECORD RACK IN AMERICA. Stackable, portable, oak unhs hold LP's, CD's and tapes. Free Mailorder
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ADS., NAKAMICHI, CARVER, BANG OLUFSEN, REVOX,
B8W, KEF, HARMON/KARDON. N.A.D., LUXMAN, HAFLER, TANDBERG, ADCOM, DENON, KLIPSCH, YAMAHA.
D.B.X.; INFINITY, J.B.L. AND OTHER QUALITY COMPONENTS. BEST PRICES-LIVE PROFESSIONAL CONSULTATION WEEKDAYS-AUTOMATED PRICING AND INFORMATION AVAILABLE 24 HOURS. ALL PRODUCTS
COVERED BY MANUFACTURER'S U.S.A. WARRANTY.
AMERISOUND SALES INC., EAST: (904) 262-4000 WEST:
(818) 243-1168.
High -end and hard -to -find audio components. New and used. Foreign and domestic.
Low, low prices! AUDIO AMERICA
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TARGET
presents
the New
J=
~DUCTS
'T' RANGE
For a stable relationship
with your speakers.
Also new: HS8 and HS 12
HJ10 and HJ15
HJ17 and HJ20
TT5T
S7 and S8 SPEAKER
WALL BRACKETS
For your free copy of our catalogue contact:
MAY AUDIO MARKETING INC.
P.O. Box 1048, Champlain, N.Y. 12919 - Tel.: (518) 298-4434
in Canada: (514) 651-5707
176
Firm (Reader Service No.)
A & M/Classical (1)
Page
51
Acoustic Research (2)
Adcom (3)
Altec Lansing (4)
American Acoustics (5)
Apogee Acoustics (6)
Audio Influx (7)
Audio Research (8)
Audiostream (9)
(10)
Blaupunkt (11)
Cover IV
87-90
52 & 53
129
79
50
111
15
142
B & K
34 & 35
32a&b
BMG
Brystonvermont (12)
California Audio Labs
Cambridge Soundworks (13)
Carver
Celestion (14)
Columbia House
Dahiquist (15)
Denon (16)
GRP (17)
Hailer (18)
Harman Kardon (19)
Hitonics (20)
Hill Products (21)
Infinity Systems Inc. (22)
J & R Music World (23)
KEF (24)
Kinergetics Research
Klipsch (25)
KNI Loudspeakers
Koss (26, 27)
Krell Digital (28)
Krell Industries (29)
Levinson
Luxman (31)
M & K Sound (32)
Madrigal
Magnepan (33)
Maxell (34)
MB Quart Electronics (35)
McIntosh (36)
Mission Electronics (37)
Mitsubishi (38)
Mobile Fidelity (39)
Mondial (40)
Monitor Audio (41)
Music Interface Technology (42)
Naim Audio
Nakamichi
Onkyo
Ortofon (43)
Philips
Pioneer (44)
Pioneer (45, 46)
Polk (47)
17
85
22 & 23
12 & 13
Cover Ill
8, 11, 24 a & b
10
31
141
38
39
37
154
19
46
29
135
77
125
133, 154
117
49
93, 153
123
75
130
Cover
II
103
113
26 & 27
5
6 & 7
139
136
20
.99
9
97
121
156
80 & 81
69
107, 109
70 & 71
Proceed
Proton (63)
119
Reel to Real (48)
131
Seponix (62)
Sherwood (49)
Shure Brothers (50)
124
149
3
8
Sonance(51)
Sony
Sound by Singer (52)
Soundcraftsmen (30)
SSI Products Inc. (53)
Stereo Exchange (54)
Tannoy (55)
TDK (56)
Technics (57)
Technophone (58)
The Absolute Sound '(59)
U.S. Army
Velodyne (60)
Wadia Digital (61)
Wisconsin Discount Stereo
Yamaha
147
43, 145
148
40 & 41
146
143
32
4
45
47
134
1
151
21
155
127
AUDIO/JANUARY 1990
CELESTIOfl
3000 5000 7°00
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THE SCIENCE OF ART
The new Series of Celestion 3000, 5000 and 7000 stand a world apart ton the ordinary.
Acoustic Ribbon Technology matched to a new concept in speaker aesign inirodu'es a new
vision in sound for music lovers.
Celestion Industries, Inc., 89 Doug Brown Way, Holliston, \IA )1746, (508)429-670E, Fah (508) 429-2426
Member Company of Celestion Industries p.l.c.
Enter No. 14 on Reader Service Card
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In the AR tradition, another milestone.
AR's designers and engineers achieve the
ideal:
European Elegance... Exquisite Sound... Affordable
Prices. The quintessence of both sight and sound.
Premiered in Europe - now available in America.
TIMELESS INNOVATION
xTEtFlNtE ACOUSTIC RESEARCH
Enter No.
2
on Reader Service Card
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