To AM' 4 Inside a Tape Decks Super- How It High -Tech Affects You Recording "Studio

.K. £ 1.00 JULY 1982 $1.50 ICD 08398 r

THE MAGAZI :_-)F AUDIO. VIDEO, CLASSICAL MUSIC, AND PCPU _A.R MUSIC

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N=r xclusive! to AM' 4 Inside A Tape Decks Super- How It High -Tech Affects You Recording "Studio

0 8 3 9 8 LINEAR TRAC TH :TURNT

The linear tracking tonearm is without question the ----1!RW- ideal way to recover information from a disc. It can virtually reduce horizontal tracking error to zero, eliminate crossmodulation and significantly minimize stylus and record wear. But until now there hasn't been a linear tracking turntable whose overall performance truly measured up to the technology of linear tracking itself. Pioneer's newPL -L800has changed all of that. THE LINEAR INDUCTION MOTOR ELIMINATES MECHANICAL CONTACT. Unlike other linear tracking tonearms that are driven by vibration -producing rollers, worm 4. screws or pulleys, thePL-L800'stonearm is driven by Pioneer's exclusive linear induction motor. Through a process known as electro- magnetic repulsion, a magnetic field is set up that gently propels the tonearm, allowing it to track perfectly with no mechanical linkages to degrade performance. THE POLYMER GRAPHITE" TONEARM DAMPENS VIBRATIONS. To minimize any tonearm resonance caused by acoustic vibrations, the PL- L800'stonearm has been constructed with an exclusive dampening material called Polymer Graphite The only thing we want you to hear through our tonearm is music. Our Coaxial Suspension System, on the other hand, will absorb vibrations that occur when someone walks or dances too hard in a room, or acciden- tally drops the dustcover. Because inside THE PIO the cabinet is a free-floating suspension system which isolates the tonearm, platter LIDEARTRAC G IINALLYGETS DgSERVES.

-r and motor from the rest of the turntable; vibrations that reach the cabinet are absorbed by tie spriig-coupled in- sulators before they can harm tie reproduction process. THE STABLE HANGING ROTOR DESIGN REDUCES WOWAND FLUTTER. The most advanced turntable platter motor wasn't advanced enough for the PL -L800. So we came up with a new direct drive system called the Stable Hanging Rotor. The problem with the design of conventional moors is that the fulcrum is at the base of the motor, making it impossible for the platter motor's miter of gravity to coincide with the fulcrum. And that results n a wobbling of the platter, known as wow and _Mutter. The Stable Hanging Roto:- system reduces the cause of this wow and flutter. Because the fulcrum lies immed ately below the platter, it coincides with the platter's center of gravity. And as if all this weren't enough, the PL -L800 also is equipped with Pioneer's exclusive moving -coil cartridge. It has such unusually high wtput that even a receiver or amp not equipped tc handle most Tsnoc11- ts, c. 111) nitaINJECII moving -coil cartricges can be used with the PL -L800. - EL_M If you find it hard to believe that a turntable could be as remarkable as the ST11.01, A 1..C1CaTICP4 ST OP PL-L800,we suggest you visit your nearest Pioneer dealer and see and hear the PL -L800, along with our entire line of new turntables, for yourself. No other linear tracking turntable PkL800 deserves you:- attention more. (IDPIONEER G TURNTABLE. We brine A backaive. 1,82 mecrletin.mcs1 ..y% 1.) ry ikach.cA U401 Clral I oa odor-Servka Card WE'RE BREAKING INTO CARS.

III-POWER/AUTO REVI RSE Jvc RS -R7

bit ill...ai tteia1:1M10/1///iAllMffralillEtti.....,,--ZivalgArt( * 14 fiX'-`,- We) o t WAVAME/Ifr.=,."111111.7--:-.41,..-0-" 141.M11±,' 114111,m014vA A, - 1 g_ W is A V. 2 1111,11111.=gr 0,017,7,7,L ..,:stiilliii:-=A011701,-,.. 1 WI" ..--, 8...... --. W.! ImIzsmt 11 a 1 it WitlIell'ff,/l'O --_-.zaiiir ...... 1\icara ,-.. ILNI.--,r -jr="7--"--- - . ' iii/MBIR ii4.----.: --i,/i -/ , I MO 14 H I -!PCYNER /df.1.1,: .1 De digiMPRIPM VormnrialWillik`wail

After breaking ground in so many other areas, we To help keep your eyes on the road, we offer thought it was about time. features like Automatic Station Scan and Seek tuning. So we put the challenge t D, our engineers: Create Auto -reverse. Even Mtr,ic Scan which finds your taped car and o that performs up to the standards of JVC home selections automatically. audio. And create they did. "ou'll appreciate their skills the moment you switch on FM. The music comes through remarkably -www, clean and undistorted. I wr.-- -apes, too, take on the brilliant, virtually noiseless a-,17 n "z't ftT-11 sound of a home system. Compliments of metal tape compatibility and Dolby* noise !eduction. But to fully grasp how extraordinary JVC car audio You want power? There's dough wattage to turn really is, you've got to hear it. And you your ca :s interior into a concert hall. Along with speakers can do just that at selected JVC dealers built to handle it with ease. and car audio specialists. JVC COMPANY OF AMERICA Home Entertainment Division Dolby is ®istered trademark of Dolby Latoratories. 41 Slater Drive, Elmwood Park, NJ 07407 JVC CANADA INC.. Scarborough, Ont HighVOLUME 32 NUMBER 7JULY 1982 Fidelity AUDIO High Fidelity News: Luxman PX-101 turntable; Hegeman Hap: 2 preamp; more 7 CrossTalk by Robert Long Cassette pitch stability; Smart timer; Woofer doubling 10 Basically Speaking by Michael Riggs Turntables: Pros and cons of the three basic drive systems 12 *Sound Viewsby Edward J. Foster How do the new EIA tape recorder standards affect you? 14 The Autophileby Gary Stock Can car -audio designers outwit Murphy's Law? 16 * New Equipment Reports McIntosh C-33 preamp with equalizer, compander, and power amp 19 Shure V-15 Type V phono pickup 25 Hafler DH -500 power amp 29 32 Portable Potpou, Teac X -1000R open -reel tape deck 26 Oracle turntable 30 * You Can Take It With You! by Peter Dobbin The latest portable components combine flexibility and performance 32 The Final Touches by Robert Long Accessories and add-ons that complete the audio banquet 36 VIDEO TODAY & TOMORROW VideoFronts: Vidicraft's processing amp; Sanyo video components 40 * Hands -On Report: Hitachi VK-C1000 Video Cameraby Edward J. Foster Closeup look at this lightweight, tubeless color camera 42 TubeFoodby Susan Elliott New video programming: cassette, disc, pay and basic cable 44 Video Q. & A.by Edward J. Foster 42 Metallic Eye Reception on the fringe; U-Matic video cassette recorders 45 CLASSICAL MUSIC Karl BOhm: The Strauss Opera Legacyby Bryan Gilliam The conductor's passing closed the book on the Dresden tradition 46 A Tale of Two TristansReviewed by David Hamilton Fine recordings of Wagner's great opera and a newer work by Henze 48 Charles Valentin Alkan: The Mahler of the PianoReviewed by Irving Lowens A nineteenth-century master seemingly ripe for revival 50 Reviews: Furie on Schwanda; Schumann's symphonies; Glass's CBS debut 52 Critics' Choice 56 4 A Vocal Jubilee from London by Kenneth Furie London's new midprice label is mightily impressive where singing is concerned 58 50 Forgotten Master The Tape Deckby R. D. Darrell Viva voce; Custom-tailored for "Walkmen"; Another Eroicarejuvenation 64 BACKBEAT/Popular Music *The Power Station States the Artby Crispin Cioe Who says the recording studio business is in trouble? 67 Elton and Paul ReduxReviewed by Sam Sutherland Heartening returns to form for two veteran performers 71 Pop Reviews: Johnny Cash; Motels; Mike Oldfield; Temptations 71 Jazz Reviews: Paul Whiteman; Terry Gibbs & Buddy de Franco; Dick Sudhalter 75 Jazz SpinOffsby Don Heckman Maynard Ferguson; Eric Gale; Freddie Hubbard; John McLaughlin 81 DEPARTMENTS Letters 4 Advertising Index 82 * Cover Story Reader -Service Cards for FREE Product Information 65 reophonic film recordings for Walt Disney's William Tynan. Editor -in -Chief Letters Fantasia in 1939-40. The system used was Shirley Fleming, developed by RCA, a fact that was very strongly Editor, Musical America Susan Elliott. impressed on me by Bell Labs pioneer stereo Managing Editor/ developer Arthur C. Keller during a phone call a Editor, Backbeat James R. Oestreich. Squeeze Play couple of years ago. Keller did not want Bell Classical Music Editor Labs to be blamed for what he felt were record- Michael Riggs. Glad to see you're keeping track of Squeeze, tru- Technical Editor ly a swell bunch as pop groups go and a personal ings that did not approach the quality that West- Robert Maddocks. ernElectric Wide Range Recordings had Director of Graphics pick to click for the here and now (and for years Peter Hemingson. to come, if there's a jukebox in Heaven). achieved by 1939. Bell's sound -on -film system Copy Editor claimed a response of 20 Hz to 14 kHz and could Susan E Fingerhut. Next time, though, don't waste their latest Assistant Music Editor on a space case like your critic, Mr. Sutherland, not be matched by RCA's "Fanta-sound." Per- Janet Wolf, haps if Stokowski and Disney had not switched Mildred Carracho-Castillo, who must have been delirious when he pre- Editorial Assistants viewed their new LP [BACKBEAT. June]. Apart from Bell to RCA, the Disney studio would not Robert Long. have felt it necessary to give a backhanded salute Consulting Technical Editor from getting the title wrong (it's "Sweets from a Edward J. Foster, Stranger," the latter singular, not plural), he to Stokowski's 100th anniversary this year by Consulting Audio -Video Editor seems to have the fevered suspicions of a Calvin- rerecording the Fantasia soundtrack with Irwin Contributing Editors' Crispin Cioe. R. D. Darrell, Har- ist run amok when he interprets His House Her Kostal conducting. ris Goldsmith, Edward Greenfield. David Hamilton. Michael Biel, Ph.D. Dale Harris. Don Heckman, Stephen Holden, Nicho- Home. las Kenyon, Allan Kozinn. Paul Henry Lang. Irving Adultery, my eye. The singer makes it pret- Assistant Professor, Radio -TV Lowens. Robert C. Marsh, Fred Miller. Andrew Por- ty clear his girlfriend's hubby has Gone Beyond, Morehead State University ter. Steven X Rea. Susan Thiemann Sommer. John S. Wilson making her a widow and thus fair game for a Morehead, Ky. Kathleen Davis. relatively aboveboardliaison.Just because Director of Production Americans like to fiddle doesn't mean there Dr. Biel's description of the facts surrounding Randy Brozen, the recording of Fantasia is, indeed, correct.- Audio -Video Production Editor aren't any standards of decency left in Blighty. Lida A. Silverman. Don't let it happen again. Ed. Music Production Editor Susan M. Allyn. Sam Sutherland Circulation Director. Subscription Sales Los Angeles, Calif. Dominic Mustello. Circulation Director, Newsstand Sales Klughing Us In William P. Johnson. Alter reading Crispin Cioe's critique of Earl Circulation Service Manager Celebrated Suzanne Hochman. Kiugh's "Crazy for You" [BACKBEAT, March], I Direct Mail Manager was a little angry. I realize that the review was Steven I. Rosenbaum. Centenarian Publisher I am deeply impressed by and entirely grateful generally favorable, but I really take issue with for Curtis Davis''Stokowski at 100" [April]. Mr. Cioe's assertion that the album is in -the Cover photo. Robert Curtis Mr. Davis has dealt with both the Stokowski realm of doctor's waiting -room music." ADVERTISING accomplishment and the Stokowski legend. He I only hope that Earl doesn't take these neg- New York: ABC Leisure Magazines. Inc.. 825 7th Ave has avoided the almost irresistible inclination of ative comments to heart. He has more creativity 8th Floor. New York. N Y 10019. Telephone (2121285-8360 Sey- and artistry in his big toe than Cioe will ever find mour Resnick, Advertising Director. Raymond Foster, Associate many of the maestro's biographers to highlight Advertising Director. George Dickey. Record Advertising Manag- theeccentric,thesensational,the"golden in his entire being. er. Vella Peltzman. Classified Advertising Manager, Robert Mad - docks, Director 01 Graphics. Kathleen Davis Director of Produc- genius" aura that was a Stokowski hallmark. Jim Parry tion. Janet Cermak. Advertising Production Manager Cecelia Carson City, Nev. Giunta. Administrative Assistant. Midwest: ABC Leisure Magazines. Inc. 415 South idea Avenue. Mt Prospect. III 60056 Telephone (312) 398-7580 P Gordon, Midwest Advertising Manager Mr. Cioe replies: / have heard Klugh' s music in Los Angeles: ABC Leisure Magazines. Inc. 2020 Avenue doctors' waiting rooms and on several all -instru- of the Stars. Suite 245. Century City. Card 90067 Telephone (213) 557-6481 Janet Endnionas, Western Advertising Manager.

mental self-proclaimed "beautiful music" sta- Tokyo: Japan Advertising Communications. Inc . New Ginza Bldg7.3-13 Ginza. Chuo-ku. Tokyo 104 JapanTele- tions. My comment, then, was less opinion than phone (031 571-8748, Shigeru Kobayashi, President fact. For my money, Klugh plays some of the HIGH FIDELITY and HIGH FIDELITY/MUSICAL AMERICA are pub- hippest easy -listening music around. lished monthly by ABC Leisure Magazines. inc. a division of ABC Publishing. Incand a subsidiary of American Broadcasting Companies. Inc ABC Publishing. IncRobert G Burton, Presi- dent. Ronald Stuart, Vice President. Finance ABC Leisure Mag- azines. IncHerbert Keppler. Senior Vice President, Photograph- icPublishing Division: Anthony F Morgan. Vice President. Saving Grace Finance. Ernest G Scartone. Vice President. Graphics and PM-

I want to thank and congratulate HF and Davin ductxpn. Steven I Rosenbaum. Vice President. High Fidelity Group Member Audit Bureau of Circulation. Indexed in Reader s Seay for the accurate and concise overview of Guide to Periodical Literature. Current and back copies of HIGH FIDELITY and HIGH FiDELITYi MUSICAL AMERICA are available on contemporary Christian music [BACKBEAT, Feb- microfilm from University Microfilms, Ann Arbor. Mich 48106 ruary]. To find such an article in a national mag- Microfiche copies of these magazines (1973 forward) are avail- I was young enough to gain an initial azine of your prominence is something I've able through Bell 8 Howell Micro Photo Division Old Mansfield acquaintance with Bach through Stokowski's Road. Wooster. Ohio 44691 anticipated for a long time. It is to your credit that "dreadful" transcriptions. If they were dread- Editorial eorreepondenee should be addressed to The it was done so well. Editor. HIGH FIDELITY. 825 7th Ave . New York, N Y 10019 Edito- ful-and they were never considered so before rial contributions will be welcomed. and payment for articles Ihave operated a Christian record (not the period of baroque purism in the 1950s-they accepted will be arranged prior to publication Submissions must book) store for the past two years and have found be accompanied by return postage and will be handled with rea- were also educating, often ennobled by Stokow- sonable care. however, the publisher assumes no responsibility the contemporary and rock segments of Christian for return of unsolicited photographs or manuscripts ski's perception of Bach's magnificence when music growing faster-in quality as well as translated into the fullest orchestral terms. Sto- HIGH FIDELITY is published monthly al 825 7th Ave New York. quantity-than anyone ever dreamed possible. N Y 10019 by ABC Leisure Magazines. Inca subsidiary of kowski never claimed that his transcriptions were American Broadcasting Companies. Inc Copyright C 1982 by Only five years ago most "contemporary" ABC Leisure Magazines. Inc The design and contents are fully authentic; they were interpretations, not mere Christian music was embarrassingly bad by any protected by copyright and must not be reproduced in any man- readings. ner Second-class postage paid at New York. New York. and at standard. Today, although production budgets additional mailing offices Authorized as second-class mall by the Harold E. Carter Post Office Department. Ottawa. and for payment of postage in are far smaller than those for most non-Christian cash Yearly subscription in U S A and Possessions $13 95. else- Huntington Station, N.Y. albums, the quality compares very favorably. where $1995 Single copies $1 50Subscribers Send sub- scriptions. inquiries. and address changes to HIGH FIDELITY. P 0 George Lazzell III Box 10759. Des Moines, Iowa 50340 Change of Address Give old and new addresses. including ZIP Code Enclose address Anchorage, Alaska label from last issue and allow five weeks for change to become Credit Due effective Postmaster: lend Form 3579 to HIGH FIDELITY, P.O. I would like to correct a mistaken impression cre- Sox 10759, Dss Moines, Iowa 50340. Postal Identification ated in Robert Long's article ["The Way We Letters should be addressed to The Editor, HIGH Number 243820. Might Have Been," December 1981]. The Bell FloEcrry, 825 7th Ave., New York, N.Y. 10019. Telephone Labs and Western Electric had noth- All letters are subject to editing for brevity and ing to do directly with the production of the ste- clarity.

4 Circle 5 on Reader -Service Card O. Beyond quartz, the world's most precise tuning system, lies the extraordinary ability to expand sound. Imagine you're in a room wit- Technics SA -828 receiver. synchro-bias circuitry. What t aloes is constartly send minute What yon rear is beautiful st2reo.Then you activate Technics amounts of power to the arrpiner transistors. And since variable Dimension Control. ncredibly, the sounc begins they can': switch on or off, Slwizching distortion is eliminated. to move. The stereo image widens to the point where the And when it comes to power, the SA -828 has plenty: music begins to surround you You're intrigued by its richness 100 watts per channel minimum RMS into B ohms from and depti.You'reenvelopedby a new experience in sound. 20Hz :o 20kHz with no more than 0.0059E total harmonic That's tie wonder of the patented technology in Technics distortion. Dimension Control. The SA -828 goes on :o scow its sophistication with a Just as wondrous is quartz synthesis, the world's most super -quiet phono equalize( soft touch program selectors, precise un ng system. That's how the SA -828 quartz syn- fully electronic volume con:rol, and a Dimension Control dis- thesizer eliminates FM drift as well as :he hassle of tuning. play that doubles as a power level meter. You car even preset and inst3ntly retrieve 7 FM aid 7 AM Technics SA -828 is par of a full line of quartz synthe- stations,. all perfectly in tune. sized receivers. Hear it for yourself. Beyonc its quartz A-other perfect example of Tech-iics technology is our synthesizer lies a new dinersicn in sound. Technics The science of sound 01982 TDK Electronics Corp.

Normal ACOUSTICDYNDAMICCASSETTESSETTE A D EX9 Position

1-__1_-JL / 1 1 1_1/ 1 -1 J 1 _I 1_ _i 1 I /. E._ I1 1 LE 1_ 1 1

04 TDK Normal Bias 120me Ea AD -X

EXTENDED HIGH END LOW NOISE HIGH OUTPUT

Laboratory Standard Cassette Mechanism

Someone who'saWonder thinks AD -X is extraordinary. As far as Stevie Wonder is concerned,you (or Stevie) press the playback but-tide-based on the same formulation the only thing that's normal about TDKton that the superior quality of TDKthat's made TDK the leader in audio and AD -X is its bias. Otherwise AD -X isAD -X becomes demonstrably clear Thevideo tape technology. extraordinary. brilliance you hear, resulting from Another advantage about AD -X AD -X is engineered to re- the higher MOL and lower biasis the housing it comes in. It's TDK's cord and play back in the normal noise, will make it difficult forLaboratory Standard Mechanism, and bias/EQ position. It's compati- you to believe how muchit's protected by TDK's lifetime war- ble with any cassette deck, AD -X "improves" yourranty. Extraordinary. delivering a wider dynamic deck. Extraordinary. When you add it all up, what TDK range with far less distortion Of course, there'sAD -X gives you is the ideal audio cas- than ever before. Extraordinary. a solid reason whysette for all-round personal entertain- Stevie also knows that AD -X performs soment suitable for any cassette player. even at higher recording brilliantly. It's TDK'sThat's why Stevie Wonder chose TDK levels, the increased Super Avilyn technol-before we chose him. This, too, is headroom in AD -X ogy at work. You see,extraordinary. handles strong sig- AD -X is the first nals easily without normal bias audio over -saturation. cassette to use Extraordinary. TDK's Avilyn DK® But, it's when magnetic par- THE MACHINE FOR YOUR MACHINE

Circle 10 on Roeder -Service Card AUDIO High FidelityNews

New equipment and developments by the Editors elected to leave tone controls and most oth- watts per channel, and the KAC-801, at 50 er non -essential features out of the Hapi 2, watts per side), and four speakers (KSC- r concentrating instead on the basics. Con-70 I B air suspension surface mounts and

trols include a power switch, an input selec-KFC- I60 three-way door mounts). The sys- tor with positions for phono and three high- tem sells for $1,760. level sources, a tape -monitor switch, a low - filter switch, a mode selector (with positions for left, right, mono, and stereo), a loudness -compensation switch, and volume and balance controls. RIAA correction is completely passive, with the equalization Remote network sandwiched between a flat, high - gain phono amplifier and the output stage; Possibilities each phono circuit is individually trimmed Luxman's fully automatic tangential -track- at the factory for best frequency response ing turntable, the $400 Model PX-101, has and gain. Marketed by Adcom, the Hapi 2 an Auto Disc Pause circuit that can shift a is available as a kit for $479 or factory - connected Luxman KX- I01 or KX-102 cas- finished for $650. sette deck fromRECORDING to PAUSEwhen Circle 86 on Reader -Service Card a disc finishes playing, making unattended Revox Revised recording easier. There's also a connector A Mark II version of the Revox B-77 open - that links the turntable to Luxman's RX- reeltaperecorder incorporatesseveral 103 remote -control receiver. The direct enhancements, including a variable speed drive unit is said to have less than 0.045% control that can adjust pitch as much as two wow and flutter (WRMS) and a signal-to- half -tones above or below normal. In addi- noise ratio of better than 70 dB. tion, the transport -control logic now uses Circle 94 on Reader -Service Card four starting pulses for smoother tape accel- Less Is More eration, and the front record -head shield The only controls on Quad's $625 FM -4remains open whenEDITis engaged, mak- FM tuner are seven station -preset buttons, a ing editing easier. The B-77 Mk. li's price power switch, and a tuning knob. A built-in is $1,800. microprocessor governs all other functions, Circle 87 on Reader -Service Card including recalling selected station frequencies from memory, tuning them accurately, and establishing the proper muting and AFC settings. The station -preset memory is nonvolatile; Quad claims that the FM -4 will remember frequencies for as long as five years without power. The tuner's wideband Avid Listeners design is said to yield a very clean, low - Four new speakers with polypropylene distortion signal. Circle 89 on Reader -Service Card woofers and fluid -cooled soft -dome tweeters are now available from Avid. Ranging from the Model 60ab minispeaker, with a 61/2 -inch woofer, to the Model 232ab three- way bass -reflex system, the Avid Audio speakers are priced from $105 to $275 An Opening each. to the Rear Circle 92 on Reader -Service Card An unusual rear -vented midrange driver is used by Clarke Systems in its latest speaker Ne Plus Ultra system, the $330 Precedent II. The 41/2 -inch Kenwood has introduced a complete car poly-hopolymer cone is loaded into a rear - stereo system that it labels The Very Best. firing subenclosure to isolate the midrange All1111116The heart of the system is a KRC-1022 dig- acoustically andtoeliminate standing ital frequency -synthesis tuner and cassette waves. The three-way system also employs Lean, Mean, deck with twelve station presets, an Auto- a1 -inch ferrofluid-cooled dome tweeter matic Broadcast Sensor System that locatesand aI2 -inch plasticized -fiber woofer. and Hapi 2 the nearest available listenable station, and Clarke claims that exceptionally low distor- The latest from Stewart Hegeman is the Dolby B noise reduction. Also included is a tion and high linearity result from the use of Hapi 2 preamplifier. Adhering to the low -KGC-447 five -band graphic equalizer, a Mylar-film capacitors and low -saturation frill school of preamp design, Hegeman has pair of amplifiers (the KAC 901, at 100 (Continued on page 8)

JULY 1982 7 AUDIO High Fidelity News

(Continued from page7) is said to provide fast response and to han- ferrite- and air -core inductors in the Prece- dle high power levels. Olefine is used in dent 11's crossover network. JVC's CS -41. CS -61. CS -69I, and CS -692 Circle 90 on Reader -Service Card speakers. which range in price from $44 to $140 per pair. Circle 88 on Reader -Service Card

1'1 -FM-1

a second motor controls the tonearm, and a Car Tunes third slides the "works in a drawer" in and Kraco is offering three new auto -reverse carout. According to Sony, you can even stack stereo units inits Designer Series. Theother components directly on top of the KGE-803 ($240) has a built-in graphic$400 turntable without impairing its opera- equalizer; the KHP-1087 ($280) incorpo-tion. Wow and Cutler are rated at 0.025% rates Dolby B noise reduction, an amp ratedWRMS. signal-to-noise ratio at 78 dB. at 12 watts per channel, and pushbutton tuning;theupscale ETR-1089 ($350) includes electronic tuning, digital frequen- Standing Tall cy display, and a ten -station (five AM, five Acoustat raises tic injunction "think big" FMI memory. to a high art with its Professional Series Circle 91 on Reader -Service Card speakers. which stand nearly eight feet tall. The $1.875 Model Six and $2.375 Model Eight are based on the same full -range electrostatic elements used in the company's Slimline speakers and are covered by a life- Front -Loading time warranty. Compared to their shorter Disc Spinner Sounds Olefine siblings. they are said to offer improved A microprocessor controls the three motors A new speaker diaphragm material called vertical dispersion, extended low -bass rein Sony's front -loading PS-FL5 turntable. olefin is being introduced in JVC's line of sponse. and a wider dynamic range. A direct -drive BSL motor turns the platter,car speakers. The water-resistant polymer Circle 93 on Reader -Service Card

LX-711/6xlmom Performance tfrough Complete Cotntrct Wit-. the Ne- karrdcni ZX-7 yoJ co rmanc and optimize the vital record para.retcrs--bias. level and azimuth-y.1-1cl- tong to life the true ootent,a1 lying dormant in every cassette. This kind of control, plus the most ao.A.anced technc;oogy and featu.-es in cassette history, male the ZX-7 a sem:Ls rel:crUsts irea-n-come-yue Maximum Perfo.-^ranceThe ZX-7 awatts you .-13w at you- Nakamichi dea'e,

riliNakamichi For mor= nformation carte Nakainic hi U S A Corp1101 CV, rrl rSir 3 NADrica. CA 9040'

Fliktroweer IX -7 c.... "You go ahead. I prefer the Jensen performance'

When it comes to the performance of vocals are reproduced. The result is a sound, Jensen° Car Audio is stiff clearer, more realistic sound across the competition. entire midrange Take the Jensen spectrum. Quadrax° four-way And the Quadrax speaker system for handles power su- example. Naturally perbly, to push that it delivers rich, full sound even further- bass and crisp clear 55 watts per speaker. highs. So if it's the sound But, to add to its that moves you, consider installing superb performance, it also features a Jensen Quadrax speaker system. two separate drivers to define the up- That way, you can go far... just stay- per and lower midrange ing in your car.."Quadrax the registered trademark identifying Jensen Sound signals, where most Laboratories as the producer of the patented 4 -way JENSEN speaker system. CAR AUDIO When it's the sound thatmoves you. c 1982, Jensen Sos Laboriatorie, Birk, Illinois 60176

Male 49 on RNder-Iivrvlcv Card AUDIO CrossTalk

Practical answers to your audio questions by Robert Long by WRMS measurements. 12s, which is actually determined entirely Whose Fault? A wow -and -flutter measurement ofby the physical design of the speakers. 0.08% WRMS might occur on a deck that What the DB-10 does is to improve the I have a problem with pitch stability measures anywhere from, say, 0.1 to 1.0% speakers' deep bass response and (by virtue when I make recordings on my Teac A- by our method-which is fast becoming of its infrasonic filter) reduce their suscep- 420 cassette deck. It's noticeable as a standard worldwide. If your deck measured tibility to distortion induced by extremely quaver in sustained piano notes. If this 1.0% peak, I would expect audible wow or low -frequency record -warp "informa- machine is meeting its wow and flutter flutter on piano tones; at 0.1%, audibility tion." The other is that the doubling you spec of 0.08% (NAB weighted), will might depend as much on the listener as on hear is somehow the result of the R -12s' speed instability be audible? the sound. 2 -kHz crossover frequency, which in fact My repair service says that the has nothing to do with it. Doubling audible BASF Professional 11 cassettes I use are at 2 kHz would be the result of a1 -kHz "not good enough." But I have had signal-a very unlikely circumstance. I similar problems with Sony EHF and Big Bass doubt that you would get significant dou- TDK SA C -90s, and with SA C -60s. You bling from input signals above 100 Hz, don't address this in your reviews of I hope to increase the power handling which would put all the doubling compo- cassettes. Can intermittent drag or capacity and low -bass clarity of my nents below 200 Hz. (Even the third -har- friction cause this problem, and if so, Cerwin-Vega R -I2 speaker. These now monic tripling components would be below shouldn't it be measured and reported? (I handle twice their original rated power, 300 Hi ) realize thatconstantdrag shouldn't show by virtue of the addition of a up as a quaver. complementary DB-10 Bass Turbocharger I clean the drive belts, capstan, and I've installed. Because the R-12 is a two- pinch roller periodically, which helps for way system that crosses over at 2 kHz, All Wet? a time. But what is the long-term there is doubling in the woofer, which solution?-Ben Widmann, Severna Park, mars the midrange during loud low -bass A few years ago, while living in Md. passages. This may be caused by my Germany, I tried a record -cleaning DBX-I 10 Subharmonic Synthesizer and to product called Lenco Kleen, which First-to start at the end-the fact that the the maximum 10 -dB narrowband boost at produced amazing results with the record cleaning helps the problem strongly sug- 30 Hz of the DB-l0. played wet. It is used widely in Europe; gests that the fault lies primarily with the A subwoofer seems to be the my Thorens turntable even has an machine, rather than with the cassettes. solution. The only model suitable for my antiskating calibration for it. It is by far And of the parts you mention, the belt is the listening environment appears to be the the most effective product I've found for most likely source of flutter. A new belt- Cerwin-Vega SW -18 Low Frequency removing noise caused by surface dirt, or even relatively frequent belt replace- Studio Monitor, rated at 600 watts. If I but 1 can't find it here in the U.S. A ments-might be the answer (though in isolate the bass with the recommended representative of a major cartridge that case it's hard to see why the repair ser- CX-2 100 -Hz passive crossover (12 dB manufacturer recently informed me that I vice would have ducked the question). per octave), by what factor will my R - have probably ruined my record But such problems are never confined 12's power -handling capacity be collection by using it. Should I keep solely either to the deck or to the brand of increased? Will this solve the woofer - looking, or should l use something cassette it's driving. Some combinations do doubling problem? Is this audibly feasible else?-Tyrone Collins, Clarkesville, Ga. seem less synergistic than others. Differ- in terms of sound quality, excessive ences in the tape tensioning applied by the power -handling capacity aside?- Our tests of a few years ago seemed to con- deck, for example, stress cassette bearings Wyming Loo, Denton, Tex. firm others that purported to show that play- differently and thus alter thecassette'sfric- ing records wet results in much greater tion behavior from deck to deck. Converse- It should help reduce woofer doubling, groove wear than playing them dry does. ly, differences in static (as opposed to inter- though not by increasing your present sys- By damping stylus motion, the moisture mittent) friction from one brand of cassette tem's power -handling capacity. The capac- seems to prevent you from hearing the hav- to another alter the deck's mechanical ity of the R-12 will remain the same, but oc that's being created, so the bad news is behavior. A measure of one without the you will be asking it to handle less power, postponed until you revert to dry playing. other doesn't necessarily provide results because some of its former input will be As long as you're already committed, you that have any meaning. reassigned to the subwoofer. That should may want to keep playing your old records We have used only the DIN/IEEE/reduce doubling in any woofer; if it also with the wet system. (I'm told that distilled ANSI peak flutter measurement for years, means less reliance on the DB- 10 and the water can be used instead of the Lenco solu- so I'm not intimately familiar with otherDBX-110-each of which will surely add tion.) But the photomicrographs I've seen weighting schemes. Iassume thatthe some second -harmonic distortion (which is have convinced me that I'd rather not get 0.08% you quote is an average measure- what doubling is)-that should help stillstarted with wet playing. Conventional ment. Until recently, at least, tape recorder more. And you needn't worry about "ex- cleaning methods may not sound as super - and turntable manufacturers tended to pre- cessive" power capacity: That's not aquiet right out of the gate, but I'll bet on fer such WRMS (weighted root mean shortcoming. them in the stretch every time. square) measurements, because the DIN There are two misconceptions I want peak technique measures short-term speed - to clear up. One is that the DB- 10 is increas- We regret that the volume of reader mail is too aberration "spikes" that are glossed over ing the power -handling capacity of your R - great for us to answer all questions individually.

10 HIGH FIDELITY MAXELL IS PLEASED TO PRESENT AN EVEN HIGHER PERFORMANCE TAPE.

If you're familiar with Maxell UD-XL tapes you probably find it hard to believe that any tape could give you higher performance. But heanng is believing. And while we can't play our newest tape for you right here on this page, we can replay the comments of Audio Video Magazine. "Those who thought it was impossible to improve on Maxell's UD-XL II were mistaken. The 1981tape of the year award goes to Maxell XL IS." How does high bias XL 1-S and our normal bias equivalent XL I -S give you such high performance? By engineering smaller and more uniformly shaped epitaxial oxide particles we were able to pack more into a given area of tape. Resulting in a higher maximum output level, improved signal-to-noise ratio and better frequency response. "-:o keep the particles from rubbing off on your recording heads Maxell XL -S also has an improved binder system. And to eliminate tape deforma- tion, XL -S comes with cur unique Quin- Lok Clamp/Hub Assembly to hold the leader firmly in place. Of course, Maxell XL 11-S and XL I -S carry a little higher price tag than lesser cassettes. We think you'll find it a small price to pay for higher performance. IT'S \NORTH IT

Maxel1C3rooratcnlArnerIcc 600,IordDrve M Circle 12 on Reader -Service Card AUDIO Basically Speakhlg

Audio concepts and terms explained by Michael Riggs

over belt drive is faster startup (which has sen for our test reports the ones we feel best And the Music won it a niche in the professional market represent the audible performance of turn- beside the rim drives). tables in the home. Because all the reports Goes Round Although each drive system tends to adhere to a single set of standards, it's easy have some generic strengths and weak- to make comparisons between reviewed and Round nesses, both excellent and mediocre turn- components. Unfortunately, the situation tables can be built using any of them. Judg- with regard to manufacturers' specifica- NOTHING ELSE IN THE REALM of music ments should be based not so much on tions is rather chaotic. The various stan- reproduction has come down to us so nearly design as on results. The things to look for dards in use are significantly different from unchanged from its beginnings as the turn- are speed accuracy, low wow and flutter, one another, and the numbers derived by table. Drive springs have given way to and low rumble. means of one are not usually directly com- motors, and many other refinements have The first is the most easily achieved. parable to those obtained by other methods. followed, but the primary task remains the So long as a turntable runs within about 1/2% Unless the specifications for two compo- same as it was in the days of Edison andof the desired speed, you are unlikely to nents indicate the same measurement tech- Pathe: to spin records at a constant, exact hear anything amiss. The only models you niques (and many don't say), you cannot speed. might expect ever to exhibit significant safely make a direct comparison. Matters There are three common methods of speed errors are the few rim- and belt -drive are made even worse by the fact that most achieving that goal: rim drive, belt drive, units with induction motors, whose speed manufacturers use weighted root mean and direct drive. Rim -drive mechanisms depends on the AC line voltage. Line volt- square (WRMS) flutter measurements that use a high-speed motor (about 1,800 rpm, age fluctuates too much in most areas to tend to mask short-term flutter peaks. Cave- usually) coupled to a small rubber ats now all properly in place, I wheel that contacts the inner rim willventuretosaythatyou of the platter. Some good turn- should expect to see average (and tables have been made this way, WRMS) wow and flutter figures but it's not easy. The main prob- of 0.1% or less for acceptability lem is audible low -frequency mo- and of 0.05% or less for premium tor noise, known as rumble. The equipment. Rumble should be drive wheels provide only limited less than -60 dB. attenuation of the motor vibra- One very important aspect tion, which itself tends to be at of turntable performance has frequencies well into the audible nothing to do with the drive sys- band. These days, rim drive turns tem and is not covered by con- up mostly in applications that ventional specifications: acoustic require high torquefor quick and mechanical isolation. When startups and in low -end home a turntable is inadequately isolat- models. ed from vibrations in its environ- Belt drive is another old- ment, itis susceptible to feed- timer. For many years, all of the best man- ensure correct speed with such motors, back.Acoustic feedback occurs when ual turntables used this system, and a good which are superseded today. Synchronous sound waves from the loudspeakers are many still do. A fairly low -speed motor is and electronically controlled motors, such picked up by the turntable base and trans- coupled to the platter by means of an elastic as are used in all good turntables, do not mitted through the cartridge stylus back into belt, which does an excellent job of isolat- suffer from this flaw and can usually be the system and out the speakers again, and ing the platter from motor vibration. And relied upon without question. so on in a vicious circle. Mechanical feed- because the motor turns more slowly than Wow and flutter are very short-term back is similar, but is transmitted through those used in rim -drive turntables, what speed variations caused by inevitable im- solid objects, such as the floor and walls of rumble there is is lower in frequency andperfections in turntable bearings and mo-the listening room. At its worst, feedback more likely to be below the audible range. tors. The fluctuations do not affect a turn- can actually cause a system to howl. One Belt drive has displaced rim drive as the table's long-term speed accuracy, but they approach to turntable isolation attaches the most common motor system for high -qual- can nonetheless be quite audible. Wow, tonearm, platter, and drive motor rigidly to ity automatic turntables and changers. which comprises slow variations, is heard the base, which rests on resilient, shock - The most recent arrival is direct drive: as pitch instability-a sourness in sustained absorbing feet. In addition, some manufac- The platter attaches directly to the spindle tones. Itis especially noticeable on held turers make their turntable bases of special of a motor that turns at the same speed as piano tones. (Most audible wow results not nonresonant materials to help reject air- the platter. For this technique to work, from inadequate turntable mechanisms, but borne vibrations. A better (and unfortunate- motor vibration must be kept to a minimum from records with severe warps or off -cen- ly far less common) solution is to mount the to prevent objectionable rumble. Fortunate- ter spindle holes.) Flutter consists of high- tonearm and platter on a single rigid sub - ly, what rumble does appear tends to be ater -frequency variations and is usually heard chassis, which floats on springs attached to very low, mostly infrasonic, frequencies. as a coarsening of the sound. the base. Properly executed, this technique Although this system is used primarily in Out of the many measurement stan- can do an excellent job of feedback rejec- top -line turntables, its only real advantage dards for flutter and rumble, we have cho- tion. HF

12 HIGH FIDELITY g

Recently there has been a lot Our new Model DA -C1 Digital The convenience features are of stimulating conversation Audio Disc Player utilizes the remarkable. Encoded program- about the newest breakthrough proven principles of laser/ ming information combined with in audio technology...the Digitaloptical scanning found in qualityfeather touch electronic controls Audio Disc player (DAD). An video disc systems, in which enables program repeat; scan- innovative concept which utilizesthere is no contact between thening; pause; skip; rewind and a miniature 43/4" diameter en- disc and the playback head. Byprogrammable electronic mem- capsulated metallized disc cap- eliminating needle or head drag,ory index. A functional LED able of being programmed with wear and the inherent distortiondigital panel displays program, over sixty minutes of stereo are virtually eliminated. The running time and head location. recordings. DA -01 player provides all the In all, the DA -01 player fulfills Until now, the talk has been superb quality for which digital what DAD promises, with a more speculative than factual audio is becoming known, with aquantum leap in digital audio and production has been limitedfull 90dB dynamic range; fre- technology. Look for it soon. to laboratory prototypes and quency response of 20-20,000Hz; demonstrator models. Yet spec-90dB SIN ratio and an impres- ulations and promises are not sive 90dB channel separation. the areas that have enabled Harmonic distortion at less than Kyocera to become a leader in 0.05% is beyond the limits of bringing new concepts of high audibility. technology to the audio market... and the DAD player is no exception.

Cubernet A Division ofgc9OCETa Seven Powder Horn Drive, Warren, N.J. 07060-0227 U.S.A. Telephone: (201) 560-0060 Telex: 642529 CYBERNET WARE © 1982 CYBERNET Circle 59 on Reader -Service Card AUDIO Sound Views

Opinion and comment on the changing audio scene by Edward J. Foster

A significant advantage of the EIA ref- before, so you can expect to see S/N ratios HF Adopts New erence levels is that they make cassette and improve by about 6 dB in our new open -reel open -reel specifications more directly com- reviews, while the MRLs drop by about 6 Tape Recorder parable than they have been heretofore. dB. This change will make open -reel MRLs Because the thicker tape coatings and wider referred to the new standard similar to those Standard recording tracks characteristic of the open - for cassette equipment measured to its ref- reel format theoretically give it an edge, the erence (which will remain 250 nWb/m). committee felt that open -reel decks should For both types of recorders, MRLs of 0 to STRANGE THOUGH IT MIGHT SEEM,there has be tested at higher recording levels to sub- +4 dB will probably be the norm. never been a comprehensive tape recorder ject them to stress comparable to that placed Noise measurements on audio equip- measurement and specification standard in on cassette decks and to demonstrate more ment are usually weighted to reflect the general use in this country. There have been clearly whatever increased dynamic range variation of the ear's sensitivity with fre- fragmentary standards-for equalization, open -reel might provide. quency.Heretofore, we have used A - wow and flutter measurement, and the Signal-to-noise (S/N) ratiowill be weighting for all equipment other than tun- like-but never a complete standard that specified as how many decibels (dB) below ers. (The IHF tuner standard does not pro- dealt with a tape recorder as a whole or its vide for weighting.) Although A -weighting interfaces with other audio equipment. is internationally recognized and is allowed Recently, however, the Electronic Industry by the new tape -recorder standard, the EIA Association (EIA) completed work on just Open -reel and specification calls for a primary measure- such a standard. Once approved by the EIA ment according to the CCIR/ARM tech- membership, the new standard will strongly cassette specs nique. Long championed by Dolby Labora- influence the way consumer tape recorders tories, this method of noise measurement are specified and evaluated. will be more places greater emphasis on noise compo- Starting with this issue, Diversified nents in the region between 2.5 kHz and Science Laboratories and HF are adopting directly comparable. 12.5 kHz than does A -weighting. And the new EIA methodology for all reviews of while the A -weighting technique uses a tape recording equipment. Fortunately, the detector that responds to true noise power, variance between our past practice and the the standard reference level the residual the CCIR/ARM method uses a meter that new standard isn't all that great, so the tran- noise lies. Maximum recorded level (MRL) responds to average voltage-which, with sition should be relatively smooth. Howev- will be defined as how far above the stan- a random -noise signal, may not be the same er, you will need to understand the differ- dard reference level you can record with as a power measurement. Although we are ences that do exist to compare our current "acceptable" (no more than 3%) distor- not ye.t certain just what the difference and future test reports with past ones. Since tion. The algebraic sum of the S/N ratio and between the two techniques' results will be, this issue contains a review of the Teac X - the MRL is the recorder's dynamic range. this much is apparent: When a frequency - 1000R, I'll try to outline the differences Thus, if the S/N ratio is 53 dB and the MRL sensitive noise reduction system such as that apply to open -reel decks first, but many is +3 dB, the dynamic range is 56 dB. Dolby B is used, the improvement in S/N procedures are common to all tape record- Sensitivity will be specified in terms of figures with noise reduction switched in ers, so there is bound to be some overlap the input signal required to record a tape at will probably be greater with the CCIR/ with cassette deck specifications. Next the reference level (rather than at some arbi- ARM method. month, I will complete my discussion of the trary point, such as meter zero). Output will Instead of specifying S/N measure- new testing procedures. Along the way, I'll be specified as the voltage delivered when ments with shorted inputs and atypical con- try to earmark those specifications that will reproducing a tape recorded at reference trol settings, the new standard requires that change in future spec sheets (although it level. all tests be made under typical operating will probably take several years for manu- HF has followed a similar philosophy conditions. It specifies reference levels (0.5 facturers to adopt the new standard fully). for many years, which is one reason why volt for line inputs and 2.5 millivolts for One of the most significant aspects of our test results have often differed from microphone inputs) and requires that the the EIA standard is its adoption of specific manufacturers' published specs. For open - recording -level controls be set so that these tape signal levels to which virtually all reel equipment, we originally adopted the inputs produce a reference -level recording. specifications are referred. Although tape so-called Ampex reference level -185 na- The settings of all other controls are speci- reference levels have existed in the past, nowebers per meter (nWb/m)-but fied just as precisely. Typical input and out- new oxide formulations have made some of switched to a 200-nWb/m reference several put termination impedances are also re- them obsolete-particularly for open -reel years ago. However, this is still less than quired for all tests. Finally, the actual tape equipment. In any case, there were so many the standard cassette reference level of 250 used for testing must be stated in the spec- reference levels that confusion frequently nWb/m, even though open -reeldecks ifications, a requirement that will be of resulted.Although thestandard cannot should theoretically have the greater poten- great help to the consumer. If specifications eliminate the old reference levels, it does tial. As a result, open -reel equipment often are based on only one tape, the EIA recom- insist that if a recorder is to be specified in appeared to have a poorer S/N ratio than mends that it be a C-90 Type 2 (chrome or accordance with EIA standards, the EIA cassette decks, but a greater MRL. The new ferricobalt) cassette or aI -mil open -reel reference levels must be used and that fact EIA open -reel reference level is 400 nWb/m, formulation. The preferred tape speeds are must be stated. or 6 dB greater than the level we used (Continued on page 15)

14 HIGH FIDELITY 7/8 ips for cassette and 71/2 ips (if available) for open reel, although separate specifications for each tape speed for which the deck is designed are strongly suggested. None of these requirements will change our procedures in the least, because DSL has followed this same policy since it began testing for HF. Tape recorder frequency response is measured at a recording level well below the reference level to avoid tape saturation at the frequency extremes. For open -reel equipment, our standard practice in the past was to use a recording level 10 dB below our 200-nWb/m reference. The new standard specifies a recording level that varies accordingtotapespeed.At71/2ips, response will be measured at 15 dB below the new 400 nWb/m reference level. In point of fact, this is almost precisely the same level we have always used (-15 dB re 400 nWb/m is equivalent to -9 dB re 200 nWb/m). The recording level will change 5 dB each time the tape speed is doubled or halved. Thus, 15-ips machines will be tested at -10 dB re 400 nWb/m, 31/4-ips machines at -20 dB, and so on. i Cassette recorders will also be tested at i 25 dB, but with respect to their own reference level of 250 nWb/m. In the past, we have tested cassette decks at a higher level (-20 dB re 250 nWb/m), so you might find treble response a bit more extended in future tests, especially on inexpensive decks. WHAT TYPE Manufacturers following the EIA standard will be required to specify frequency ARE YOU? response as the maximum variation (plus or minus so many dB) with respect to the out- Power has its price. Unfortunately, with many receivers, you put at a specific reference frequency. This should end thepracticeof specifying usually end up paying for a lot of power you may not necessarily response without a tolerance, or with a tol- need in order to get the computerized features you want. erance of, say, ±3 dB when, more proper- At Kenwood, we don't think that's playing fair. ly, it should be +1, -5 dB. The preferred Which is why every one of our new Hi -Speedreceivers reference frequencies are 315 Hz for cas- offers a host of very intelligent engineering advances. sette, 500 Hz for open -reel at less than 71/2 ips, and I kHz for open -reel at 71/2 ips or Like Direct Coupled, Hi -Speed amplifier circuitry for faster. With the exception of cassette decks, absolutely brilliant musical clarity, down to 0Hz. for which we used the DIN -standard fre- And microprocessor controlled Quartz PLL Synthesizer quency of 333 Hz (also allowed by the EIA tuning to give you perfect. drift -free FM reception. standard), our previous practice anticipated We've even included the convenience of our computerized the new standard exactly, so there should be no change. AutoScan tuning. And instant, automatic computer -memory Up to now, relatively few manufactur- tuning of 6 AM and 6 of your favorite FM stations. ers have bitten the bullet and specified fre- 3ut best of all, we didn't restrict all this intelligence to just our quency response with noise reduction on, new KR -850 Hi -Speed receiver. despite the fact that almost every audiophile You can also find it on our new KR -830. uses whatever noise reduction system is built into his deck. We hope that the omis- And our new KR -820. sion of such response figures will end with And even our new Slimline KR -90. the adoption of the EIA standard, which Examine all the possiblities at your Kenwood dealer. With makes response both with and without noise all the choices we offer, you'll find the computerized receiver reduction a "primary" specification. Re- that's exactly your type. sponse with noise reduction is likely to be less broad and less smooth than response At your type of' price. without it, but we heartily concur that you should know how your deck will perform when operated the way you are most likely KENWOOD' to use it. HF The audio company that listens. P.O. Box 6213, Carson, CA 90749 JULY 1982 15 AUDIO The Autophile

Going on the road with stereo by Gary Stock

All of them inject pollutants-heard as stat-level will shift abruptly as the tuner alter- Mobile Music ic, whine, and buzz-into the flow of elec-nately captures and then loses the signal trical power from your battery to your caraltogether. If your car has a built-in wind- Faces Up to stereo system. shield antenna or one that fastens to a sharp- A second major impediment to decently angled windshield pillar, reception prob- Murphy's Law sound is that a car stereo system rarely stays lems may be compounded. These antennas in the same place for very long-unless youwork better in some directions than others, CAR AUDIO OFFERS the clearest illustration I choose to listen to your radio while parkedand when you round a curve you may end can imagine of Murphy's notorious law- in your driveway. Normally, mountains,up with the antenna's blind side turned "Anything that can go wrong, will"-as it valleys, tall buildings, and other elements toward the transmitter and lose the signal. applies to engineering. Every obstacle you of terrain heavily influence which signals Mobile music reception encounters could envision impedes the flow of high - (and their relative strengths) arrive at yourmany other minor problems, but for the quality radio signals from the transmitter to car's antenna from moment to moment. Onmoment I'll skip them and simply sum up your car stereo. In fact, only the intense,the AM band-with its typically narrowby saying that building agoodmusic sinful pleasure of racing along some coast frequency response, long signal wave- receiver for a car is one tough job. But take highway with the radio playing and thelengths and high broadcast power-slightheart-our sideis winning. After forty wind in your hair (or the smug joy of encap- variations in signal strength are almostyears of study, clever engineers in the sulating yourself in a sonic womb whileunnoticeable. The music's volume may design labs have come up with answers for stuck in an urban gridlock) could justify the waver a bit, but topographical surfaces rare- most of the major problems of carbome Herculean efforts that have been directedly reflect or absorb the whole signal. reception. toward designing high fidelity stereo com- On the FM band, however, with its Static hasn't been licked-a car's ponent systems for road machines. wider frequency response, lower noise, andignition simply radiates too much stray Let's examine the hurdles one by one generally higher sonic quality, the effects of energy-but it is being tamed. There are and then see what's being done to surmount moving your car's antenna across the ter- dozens of bypassing devices on the market them. First, there's the vehicle itself. No rain are constantly apparent. The big villain that can be attached to the various static matter how sophisticated its ignition sys- is multipath-a phenomenon that occurs generators to route the noise gremlins away tem, every car is a static generator on when some of an FM signal's relatively from your tuner. Double -shielded spark wheels with bandwidth so wide that no fil- short wavelengths bounce off buildings orplug cables, bypass resistor/capacitor net- ter can block all of its noise. Indeed, the other objects and arrive at the antenna out of works that clip right into auxiliary motors, level of static is so intense that it can affect phase with the main signal. These out -of - and shielded internal wiring are typical radio reception in homes hundreds of feet phase signals partially or completely cancel examples. away. Compounding this basic problem is the primary one, leaving your radio with a Most manufacturers of serious auto- the fact that the ignition is connected direct- signal too weak for stable reception. Themotive tuners have addressed the noise ly to your radio through the power -supply audible result may be "picket fencing" -question, too, with built-in filtering net- wiring that serves as the main electrical an annoying shoo-wop sound caused by the works and heavier steel radio chassis for conduit of your car. Also wired to the pow- radio's noise level rapidly rising and falling better shielding. An Alpine receiver I er supply are the various motors that run the as the passing landscape alternately inter-recently installed arrived with two small engine and heater fans, the window lifts, rupts the signal with multipath and then lets "black boxes" attached to its leads: passive the electric mirrors, and other amenities. it through unscathed. In severe cases, the (Continued on page 18)

*". (4- JT =371177 Direction of Travel Direct Signal Position 3 Position 2 Position I Indirect Signal Relative FM Signal Strength at Car Antenna 0 Terrain elements like mountains reflect FM signals and create indirect signal sources, which cause multipath and picket fencing.

16 HIGH FIDELITY Because Sony redesigned thecar stereo, the auto makers don't have to redesign thecar.

The interior of an automobile is So the highs come across clear and SoundField System simply by add- designed with a lot of purposes in soaring. The midrange, natural and ing one of our lower powered ampli- mind. Unfortunately, great stereo accurate. fiers and the Super Woofers to the sound reproduction isn't one of them. OdS "Boss Orly*" "Sut.Sonic- car stereo you already have. Then Filter Fitter Fortunately, Sony did more than SOS you can slowly build up your system, just tackle this problem. They actu- 10de adding a higher powered amplifier, ally solved it. By designing a stereo reds more speakers. and an equalizer. system that meets the acoustical Non-Directionai : Stereo know, challenges inherent in a car. Frequency Response Frequency Response A SOUND THAT TAKES 10011: 200Nz 20.000N A BACKSEAT TO NONE. INTRODUCING THE SONY The bass frequencies below 100Hz Although the technology of the SOUNDFIELDTM SYSTEM. actually are directed from the rear ofSony SoundFietd System is complex, As the very name of our system the car, where the Super Woofers the reason for it is simple. indicates, we started with the acous- are placed. However, since these It will give you high dB levels with tical sound field itself by treating the frequencies are omnidirectional, theyvery low distortion, extremely pre- entire front of the car as a stage. The seem to be coming from the proper cise stereo imaging, and an amaz- very directional high -end and mid- "stage- location. ingly broad frequency response. In range frequencies emanate from this The result is richer, fuller, and addition, you'll be pleasantly sur- stage in an accurate stereo image. more dramatic bass. prised at just how easily a SoundField Two Super Woofers CONVERT WITH COMPONENTS. System can be installed in your car. in the rear create deep. So come into your local Sony dramatic bass. The optimum SoundField System consists of a powerful amplifier dealer and ask to hear the next gen- (XM-120) driving a pair of 8" Super eration in autosound systems. Woofers (XS -L20), along with a One listen and you'll blow why medium -powered amplifier driving the auto makers don': have to rede- the front speakers. This means full - sign the SONY range speakers can be used without THE ONE AND ONLY risk of modulation distortion. Omnidirectional But you can begin to enjoy the bass frequencies below 100Hz seem to come from the front "soundstage."

O1962 Sony Corporation of America. Sony and SoundField are trademarks of Sony Corporation. Models shown XS -L20 Super Woofers, XS -301 Front Speakers. XF-55 In -dash Cassette/Receiver, XM-E7 Graphic Equalizer/Amplifier and XM-120 Amplifier. (Continued from page 16) antinoise networks matched specifically to itsinternal design.Unfortunately, such antinoise gear is rarely supplied as standard equipment, so you usually have to pay extra for it. Multipath is also yielding to improved tuner design. The superior capture ratios and AM rejection of the latest electronically tuned radios (ETRs) afford better resistance to signal reflections and picket fencing. And because ETRs use computer -style con- trolcircuits (and sometimes even full- fledged microprocessors), they can easily be "taught to think." So some manufacturers have taught them to monitor the quality of the tuned signal and to adjust the unit's receiving characteristics accordingly. By varying a tuner's stereo separation or its IF bandwidth, they can iron out the worst effects of rapidly varying signal strength and multipath reflections (though sometimes there are minor sonic side effects). Some receivers, such as Kenwood's models with Cassette Standby, will even decide when the radio reception is too poor for your earsto endure and automatically switch to the cassette player. ETRs are also solving mechanical and human engineering problems. For example, they contain fewer coils, variable condens- ers, and trimpots that might be knocked out of whack by road jolts. Many models can - scan for stations, fine-tune them, skip on to The Jensen System Series Speakers are other stations, and so forth. Some, like unique. With uniform power response Sony's new XR series, will sample the stations along the entire band, stopping a few and ultra -precise crossovers, they are seconds at each before advancing to the designed to reproduce sound without next. At any time you can command the compromise, without manipulation. At unit to halt and fine-tune a particular sta- Jensen, our commitment is to bring tion. This eliminates the often tricky and sometimes dangerous taskof twisting you exactly the sound that is record- knobs and checking the dial while you're ed. Hear the pure, uncensored, virgin driving. sound at better audio shops. For more At the moment, it's unclear what fur- information and dealer locations, call ther improvements lie ahead. One of the 800-323-0707. best autosound-related ideas of thelast decade-high-quality AM stereo-seems to have been consigned to the technological junk heap by a recent FCC decision. The commission declined to choose among the JENSEN five competing AM -stereo proposals, leav- Circle 4 on Roeder -Service Card ing the situation too unclear for radio manufacturers to risk committing themselves to ORDER -TODAY any one particular approach. The decision BEFORE THE SUPPLY IS is especially disturbing in light of AM ste- EXHAUSTED reo's technical merits; In many regards, it's ABC Leisure Magazines-Dept- A- - - a better medium for mobile music reception 754 4th Avenue Brooklyn, NY 11232 than FM, for the reasons I've already noted. Send me the 1981 Records In Review However, broadcasters and manufacturers for $12.97. are trying to find a solution. Meanwhile, (plus $1.00 for shipping and handling) My payment is enclosed. most manufacturers seem to be concentrat- 0 Check Money Order ing on refinements rather than venturing off No cash please. in new directions, so we may have to wait a Over 400 pages of fine music Name bit for the next big breakthrough in car ste- information for just $12.97. reo. Fortunately, what is currently available Address Apt if (LIMITEDSUPPLY1981 EDITION is already excellent-no matter what Mur- STILL AVAILABLE City State Zip I phy says. NF

18 HIGH FIDELITY AUDIO New Equipment Reports

Preparation supervised by Michael Riggs, Robert Long, and Edward J. Foster. Laboratory data (unless otherwise noted) supplied by Diversified Science Laboratories. 0'11

f",000,E. svo*13011-

An Utterly Unconventional Preamp-Plus From McIntosh

McIntosh C-33 preamplifier, with built-in five -band OUR MINDS WERE BOGGLED when equalizer, compander, and power amp. Dimensions: we firstwe're done, we think you'll agree that the 16 by 51/2 Inches (front panel), 121/2 inches deep plus heard about the McIntosh C-33: a preampli- C-33 seems custom-tailored to an astonish- clearance for controls and connections. AC convenience outlets: four switched (1,200 watts max. fier that, in addition to an unusually com-ingly diverse list of prospective users and total), two unswitchedauto-switching (see text) (100 watts max. total). Price: $2,300. Warranty: "limited," plete complement of features-separateapplications. three years parts and labor. Manufacturer: McIntosh recording selectors, connections for three Laboratory, Inc., 2 Chambers St.. Binghamton, N.Y. 13903-9990. tape decks (one of which can be pluggedThe Basic Preamp

OUTPUT AT CLIPPING 10.5 volts into the front panel), and so on-offers a built-in five -band equalizer that can be used First let's cover the preamp as such, HARMONIC DISTORTION (THD. 20 Hz to 20 kHz) <0.01% both in the listening and in the recording ignoring the extras for the time being. It has FREQUENCY RESPONSE circuit, a compressor/expander that also can back -panelconnectionsforthreetape -1/4 dB. 17 Hz to 24.6 be switched for listening or recording, anddecks, two turntables, and two high-level kHz;

HZ 20 50 100 200 500 1K 2K 5K 10K 20K "built-in outboards." Given the number ofincorporates separate control preamps for features and measurements that must beeach purpose. This enables dubbing from covered, this report (like the product) is sort any deck to any other deck (or decks) while of two in one. (It's for that reason we areeither (or any, or none) of the tape units is printing only four other reports, rather than being auditioned. All the input and monitor the usual five, in this issue.) And whenswitching is electronic, for minimum cross -

JULY 1982 19 AU DIO New Equipment Reports IN talk and noise, as it is in a growing propor- is concentrated in the deep bass, centered tion of top-quality units these days. on 30 Hz. With the control turned up all the As the Diversified Science Laborato- way, response at that frequency is 18 dB ries measurements show, there are really above that in the midrange, while only three filters built into the C-33. Two are about 3 dB is added at the top end, from switchable: the high filter, which hinges at about 4 kHz up. This means that the circuit 8 kHz and is quite effective with high hiss, adds considerable "kick," plus just a shade and the low/rumble filter, hinged at 43 Hz. more sparkle to the sound-exactly what Both have slopes of 12 dB per octavesome of us think a loudness adjustment (which we prefer to the more common, but should do. relativelyineffective, 6 -dB slopes) and TheVOLUMEis a true stepped design both affect the listening, but not the record- using electronically trimmed resistor elements for a rated interchannel accuracy of Compander section ing, channel. If you want to tape a record plagued with audible rumble, you must do better than 1 dB. As a byproduct, theVOL- S N RATIO (A -weighted; re 0.5 V) the filtering in playback (or use the equal- UMEtaper is smoother than those of typical expansion compression minimum ratio (1.0) 88 dB 88 dB izer as a filter). An infrasonic filter-which detented-potentiometer controls, and there maximum ratio (2.0) 89 dB 62 dB often must be used in taping to filter out are no gaps in the progression. Over the top

DISTORTION (THD; at 2 -volt output) signals from record warps that might other- 45 dB of the adjustment range, all steps are "normal" or slow spin., 100 Hz to 20 kHz wise overload the input circuitry of a wide - increments of less than 3 dB. As you turn last setting 5.. 4 7 % at 100 Hz band recorder-is built into all functions. the volume still further down, the step size Power amplifier section It, too, slopes at 12 dB per octave. Though does gradually increase; if you use a very its hinge frequency is relatively low (justsensitive power amp or highly efficient RATED POWER 13 dBW (20 watts),channel below 11 Hz), there doubtless will be dev- speakers, you may find the low-level vol- OUTPUT AT CLIPPING (both channels driven) otees of broadband electronics who will ume gradations a trifle coarse (in which 8 -ohm load 14U dBW (30 watts) channel case, you'd do better to get a less sensitive 4 -ohm load 133/4 dew(233/4 watts) channel regret its nondefeatability. We don't. We 16 -ohm load 121/2 dBW (173/4 watts) channel can neither hear nor measure anything amp than to pass up the C-33). amiss as a result of its presence. We have, The output system is another unusual DYNAMIC HEADROOM (re rated power, 8 -ohm load) +21/4 dBW on the other hand, experienced-whether feature. There are three line -level outputs taping or simply listening-the untoward on the back panel:MAIN, I,and 2. The first HARMONIC DISTORTION (THD: 20 Hz to 20 kHz) <0.01% results that can result from unwanted infra- of these delivers the signal you have select- sonics. ed for the listening channel, no matter FREQUENCY RESPONSE (at 0 dBW) +0, -1/4 dB, <10 Hz to 44.6 kHz; TheLOUDNESSis a true compensation what. (This can, of course, include the sig- -3 dB at 153 kHz control-which is both very unusual and, nal from the recording channel.) The other as it turns out, very welcome. Instead of two are controlled by front -panel on/off S(1,1 RATIO (A -weighted: re 0 dBW) 941/4 dB adding progressively more frequency shap- switches, so you can use them to feed two SENSITIVITY (re 0 dBW) 170 mV ing as you turn it down (counterclockwise), independently -amplified speaker pairs in DAMPING FACTOR (at 50 Hz) 120 it adds compensation as you turn it up. This two different rooms. If the two amplifiers in means you don't have to "calibrate" it toquestion are connected to the back -panel normal maximum listening levels; instead, accessory outlets, the switches for the two it encourages you to use the most appropri- numbered outputs behave very much like ate possible calibration instrument: yourthe speaker -selector switch on a typical ears. And it really does add bass. You don't integrated amp or receiver. If you want to have to juggle the VOLUME and theLOUD- run all the speakers from a single amp-or NESSagainst each other to get the effect you if you want to keep the two amps switched, want. Best of all, to the ears of some of us but find that they exceed the rated power (though a consensus on loudness behavior capacity of the convenience outlets-you is hard to arrive at at HF), the compensation can use McIntosh's optional SCR Speaker

MODESELECT. EQUALIZER

LISTENING SOURCESELECT. VOLUME

BALANCE RECORDING SOURCE SELECT. LOUDNESS ADJUST.

EXTRA TAPE INPUT, OUTPUT COMPANDER MODE COMPANDER (LISTEN/RECORD1 (EXPAND OFF COMPRESS) EQUALIZER (LISTEN/RECORD) COMPANDER RATIO MONITOR (LISTEN/RECORD) HEADPHONES LOW FILTER (ON/OFF) AC POWER HIGH FILTER (ON/OFF) OUTPUT SPEAKERS 1. 2 (ON OFF)

20 HIGH FIDELITY Sansui. The story of high fidelity.

High fidelity was born just a genera- the first Super Feedforward amplifiers, the 1982 tion ago. So was Sansui. In 1947, when the realization of a design that eliminates even NEW transistor was invented, we began as a the Iasi vestiges of distortion that not even TECHNOLOGIES manufacturer of high -quality audio trans- negative feedback could combat.This de- TO COME. formers. Since then, Sansui's dedication to velopment inaugurates a new era in the the sound of music and our extensive reduction of amplifier distortion and firmly 1981 R & D have led to countless technological establishes Sansui as a world leader in this DYNA-SCRAPE breakthroughs and products that have con- important work. Eager to maintain its FILTER. tinually advanced the art and science of technological leadership, now also in DIGITAL high fidelity. Some highlights: video, in the same year Sansui develops EQUALIZER. 1958: The year of the first stereo an ultra -compact gas laser -optical pickup. recordings also brings the release of our some 40 times 1980 first stereo amplifier. smaller than SUPER 1965: As hi-fi widens its appeal, conventional Theory of Super Feedforward FEEDFORWARD. we introduce our first stereo receiver, the detector sys- TR 707A. tems, that LASERDISC 1966: Sansui's U.S. subsidiary, promises to PICK-UP. destined to be outgrown in little more than play a vital role a decade by our new headquarters in in future com- 1979 Lyndhurst. N.J., begins operation. pact digital D -O -B TONEARMS 1970: QS, Sansui's patented 4 -channel audio disc SUPER COMPO. system. gains worldwide recognition. players. 1976: No less a leader in broadcast 1981: Modulation noise, long a prob- than in consumer audio technology, Sansui lem in cassette recorders, is reduced to 1978 introduces two stereo AM systems at the virtual inaudibility by Sansui's patent - G -RECEIVERS. Audio Engineering Society convention. pending Dyna-Scrape Filter. Equalization DD DC AMPLIFIERS. 1978: Psychoacoustic research into that's simple enough for practical home the subtle but very real deficiencies in bass use is realized with Sansui's computerized and in transient response in music repro- SE -9 equalizer, Comparative 1976 duction results in Sansui's introduction of which not only Modulation Noise Reduction AM STEREO. DC amplifiers, the renowned G -series re- achieves pro- ceivers, and our patented Da DC circuitry. fessional re- EMS 11111 These advanced technologies reduce sults in record 11111111111111111 1970 NNW NI distortions whose very existence had or playback, No QS 4 -CHANNEL. been questiored until we developed a but alsc per- straightforward measurement technique to mits storing verify on a meter what listeners' ears had up to four 1966 long told them. ..mou, ;Ds' SOSF instantly - U.S. OPERATION selectable equa ization curves. BEGINS. At the 1981 NY AES, we presented four ma;or papers outlining breakthroughs in both audio and video engineering, each 1965 of which will lead to products to enrich STEREO RECEIVER. all our lives. 7900Z RECEIVER Sansui's story and the story of 1958 high fidelity. They are really one STEREO AMPLIFIER. 1979: Sansui's patent -pending ongoing story, and the future D -O -B (Dynaoptimum Balanced) method is bright for both. of optimally locating the pivot point results in significantly lower tonearm susceptibility AU -D11 to unwanted vibrations. The same year Tu-S9 AMPLIFIER TUNER Sansui introduces the first member of our trend -setting system approach to hi-fi componentry, the Super Compo series. 1980: Developing a theory first suggested in 1928, Sansui presents

SANSUI ELECTRONICS CORPORATION Lyndhurst, New Jersey 07071. Cadena. CA 90248 1947 SansuiSansui Electric Co.. Ltd.. Tokyo. Japan SANSUI FOUNDFP Circle 14 on Roador-forvleo Card AUDIO New Equipment Reports

so.0.01111

1.0 OUTPUTS 1 r- EXTERNAL PROFESSORS INPUTS 020 0 0 010'01r 0200 t OUTPUT TAPE TAEAP TAPE TAR TAPS TAN MOO MAMAIN3 TO PROM TO FROM TUNER AUX ( si3ONk- 2 r. II 0' (_-)` 0.r1 ntr- r) r,,r) P0,"- MO MAI M t 00° Intiptoik !it AMPLIFIER Dunook ("11171441; swnconnection of an optional speaker -control rela speaker connectors for the monitor amp, and a switch for the AUTO -ON. puts 1 and 2 or as Speakers 1 and 2), routing the output of a single power amp to either or both of the speaker pairs and turning the amplifier off when the C-33 is switched off. (Since the amp can be fed from a wall out- let, it can draw as much power as that circuit will sustain.) And there is one more wrinkle to the AC section of the preamp. Instead of the usual unswitched power outlets on the back panel,those on the McIntosh can be Its top cover holds the controls for the sensitivity of the AUTO -ON, for gain and input on the switched toAUTO toturn the C-33 on and monitor amp, and for the speed and output level of the compander. off whenever any equipment powered from them is turned on or off. (Turned toMANU- AL,theoutlets behaveinthenormal to shift the equalization from the regularcial quality to the sound; if it is too slow, the unswitched manner.) A sensitivity adjust-listening channel to the taping channel, to most obvious result can be the audible ment on the top control panel adjusts theinfluence whatever you're recording. This pumping (arbitrary changing of level) of AUTOfunction for turntables (or tape decks, switch can also be used to assess your any noise tails at the beginnings of pauses. though McIntosh's excellent manualadjustments by flicking them in and out of Both the inherent nature (and quality) of the doesn't suggest this use) that draw somethe listening channel for A/B compari- current even when they're turned off (and sons. cessing it has already undergone work to therefore exhibit a relatively little differ- McIntosh evidently does not think of determine the best setting of the switch. ence in current drain betweenONand this control section as a boiled -down loud- The setting of the sensitivity control- oFF). speaker equalizer (a task that requires some which McIntosh designates as a level - If this were all there were to the C-33, fairly fancy footwork with only five bands), matching adjustment-(though obviously it would be an excellent preamp. Distortion but rather as a superflexible set of tone con- the level of the processed signal cannot be is generally unmeasurably low, and eventrols. If that's their thinking, we concur. matched to that of the unprocessed signal at where itis measureable, it is universallyAnd from that point of view, we consider all times, because the compander is contin- below our 0.01% reportingthreshold. the design very successful. uouslyaltering program dynamics)-is Impedances, sensitivities, and so on are all also influenced to some extent by the nature well chosen. Response in the audio range-The Compander of the program. and well above it-is very flat. And, of The main compander control on the course, the switching is superb. But there's Three parameters controlling the oper- front panel consists of two concentric rings. much more to come. ation of the compander circuit are adjust- The outer one is a three -position switch: able: the compression/expansion ratio, the COMPRESS/OFF/EXPAND.The inner ring con- The Equalizer speed with which the circuit responds to trols the compander ratio and is calibrated changes in program level, and the sensitiv- in 0.1 steps over a range from 1.0 (no McIntosh has chosen five bands that ity of the compander relative to the unpro- action) to 2.0 (a doubling or halving of are spaced nearly equally (on an octave cessed signal. The latter two are adjusted at dynamic range).DSL's measurements basis) across the audio range: They are cen- the top panel. In most components, this show the calibration to be reasonably accu- tered on approximately 30,150,500, would imply that these controls are con- rate, though compression and expansion 1,500, and 10,000 Hz in the curves fromceived for set -and -forget use. That's not ratios diverge most (that is, are least nearly DSL. All have a maximum adjustmenttrue with McIntosh's proprietary Paneloc reciprocal) toward the center of the scale range of ± 121/2 dB (give or take 1/2 dB) and mounting design (which we'll explain later (1.5), which is also the least accurately cal- areunusually symmetrical and well- on), though the positioning certainly sug- ibrated part of the range. behaved. gests a subsidiary status to such controls. Swept frequencies indicate that the In terms of listening quality, the five Circuit -response speed is governed by maximum sensitivity of the compander's bands might equally well be identified as, a three -position switch. It's use makes a control circuitry is at about 4 kHz. If a com- respectively, deep bass,midbass, mid-great deal of difference to the subjective pander responds too readily to sonic events range, presence range, and high treble. This effect, particularly in the expander mode, toward the frequency extremes, the result correspondence to fairly well-defined sonic and its setting ideally should be re-evaluat- can be very obvious and arbitrary changes regions makes the array of knobs relativelyed for each piece of program material you in program level in response to extraneous easy to manipulate to create a desiredplay through the compander. If the circuit sounds caused by record warps, radio -fre- effect-or to ameliorate an undesired one. action is too quick in following the program quency interference (RFI) from auto igni- Best of all, a front -panel switch enables you envelope, it can lend a jittery, highly artifi- tions, and the like. Presumably, the 4 -kHz

22 HIGH FIDELITY Here's howwe kiss the hiss goodbye.

And like all BASF tapes, PRO II comes BASF Chrome. encased in our new ultra -precision cassette The world's quietest tape. shell that provides perfect \ alignment, smooth, 4? With BASF Chrome, you hear only what you even r,,fS) want to hear-because we "kissed the hiss goodbye." In fact, among all high bias tapes on the market today, only PRO II combines the world's lowest background noise with outstanding sensitivity in the critical high frequency range for superior dynamic range (signal-to-noise ratio). PRO II is unlike any other FASF designed and developed the tape because it's world's only Measure- made like no ment Reference Tape Cas- sette. And our new Lltra-precision other tape. cassette shell is the logical culmi- Magnified While ordi- nation of that development. 15.000 X nary high bias tape movement, and consistent high fidelity tapes reproduction. are So when you want to hear all of the music and none of the tcpe, turn on to BASF Chrome. It's the one tape that Per- kissed the fectly hiss good- shaped and uni- bye. formly sized particles of pure chromium dioxide provide a magnetic medium like no other tape in the world. made from modified particles of ferric oxide, only PRO II is made of pure chromium dioxide. These perfectly shaped and uniformly sized particles provide a magnetic medium that's truly superior-so superior that PRO II was chosen by Mobile Fidelity Sound Lab for their Original Master Recording!" High Fidelity Cassettes-the finest prerecorded cassettes in the world. PRO II-atape so superior, a cassette so reliable, that it was the one chosen by Mobile Fidelity Sound Lab for thou Original Master Recording'" High Fidelity Cassettes.

For the best recordings you'll ever make. BASF Audio/Video Tapes Circle 16 on Reader -Service Card AU DIO New Equipment Reports channel) and to play it back unexpanded in nected to the main amp. the car. (You'd probably want to experi- Still more suggestions come from the ice- ment with the ratio and shade itto the C -33's back panel and from the manual's dynamic range of the music you are copy- illustrations of its use. The manual specifi- sytoNk- ing for optimum results.) When you played cally suggests inserting a reverb (ambience - the cassette at home, via the C-33, you simulation) device between one preamp 110)00 could turn on the expander. The setting is output and the built-in amp, thus using the probably best arrived at by ear, though a latter to power the back speakers, which DOW.E note of the compressor setting will help you carry the delayed signal. A similar setup is a findtherightballpark on playback. natural for quadriphiles. Simply substitute Because the same device is used for both an SQ or other such decoder for the ambi- processes, mismatches are limited to nonre- ence unit and insertits input and front - band was chosen as the range in which ciprocal ratio and speed settings, which are channel output into the signal -processor human hearing acuity makes the masking of remediable. loop. Or you might just want to use the amp hiss by signal elements the most critical. Be Obviously, the variations and applica- to power a secondary pair of speakers. The that as it may, the compander is remarkably tions of the compander are endless, and we applications are limited only by your imag- free of the egregious effects to which medi- could only try so many of them during the ination. ocre consumer companders are heir. This is weeks we worked with the C-33. We con- The amp has its own level controls not to say, however, that the design fully sider it to be well designed of its type, (one per channel) and includes McIntosh's justifies the manual's claim that "com- handy to have in solving oddball problems Power Guard circuit. With the level con- pressed recordings and broadcasts can be (rather than as a staple of true high fidelity trols at maximum. DSL measured l'/4 dB expanded on playback torestoretheir listening), and particularly useful (as a above the rated 8 -ohm output of 13 dBW dynamic range." No expander we know of compressor) for late -night or background - (20 watts) per channel on a steady-state can do that with full success simply because music listening.In conjunction with the basis and 21/4dBabove it in the dynamic - the kind(s) of compression to which the LOUDNESS in this last application, it restores headroom test-suggesting a maximum program material has been subjected usual- continuity to what otherwise tend to be dis- output equivalent to more than 33 watts per ly can't be ascertained. Even if it could, it jointed wisps of melody. channel with music signals. As inthe couldn't be accurately undone unless by preamp, distortion products are unmeasura- some fluke it were to match precisely the The Power Amplifier bly low except near the frequency extremes built-in behavior of the expander. and never exceed our reporting threshold of Were the shoe on the other foot-that This is the element of the design that 0.01%. Unlike the preamp, the power amp is, if we were trying to correct expanison raised the most eyebrows (or, perhaps, is not band -limited; because infrasonics, for rather than compression-the problem raised them farthest) among our staff. We example. have already been taken care of in would be far less severe. Compression is repeatedly stumbled on the question: If it the preamplifier, there's no need for further relatively hard to perceive, and inaccura- has a power amp, doesn't that make the cies in its correction are therefore of little whole design an integrated amp-and if so. importance, but even small inequities in why did McIntosh couple so skimpy an amp In Sum ... expansion callattentionto themselves, to so formidable a preamplifier section? sometimes with disquieting results. A sing- Thire are so many answers to that question The editorial mindisnot entirely er's attack, for example, can easily be made that we hardly know where to start. unboggled, even after weeks of familiarity, to sound so impulsive as to suggest a karate The manual says, for instance, that by the capabilities of the C-33. It is unique, chop to the region of the diaphragm-an McIntosh wanted adequate signal at the fascinating, and sonically rewarding. And alarming aural image. So, as withall headphone jacks and thus needed some sort it is practical: There's not a single feature expanders we have ever tested, we must of amplification anyway. It's true that many on it that hasn't been thought through in caution you that this one must be used spar- preamps with headphone jacks leave them terms of real utility. (Would that we could ingly if the effect is to be tasteful. In any so undernourished that they're almost use- say that about more products these days.) event, the compander does add distortion, less. McIntosh generously provides two And that brings us back to Paneloc. The raisingTHD(including some significant headphone outputs on thefrontpanel, manual gives you instructions for mounting quantities of odd harmonics) into the 0.1% which further increases the power require- the C-33 in a flush panel (the way all com- range at most frequencies with the 2.0 -ratio ments. And in some systems, the amplifier ponents used to be mounted), using brack- setting and even higher (depending on the probably will be used strictly to power ets supplied with the preamp. When the job speed setting) in the very deep bass. those jacks. is done, the C-33 slips into the brackets and The manual suggests that the compan- The amplifier switching provides locks in place; if you want to slide it out to der can be used as a before -and -after noise some further suggestions. At the top panel adjust the top -panel controls (or to remove reducer (a la DBX or Dolby). Systems engi- you can choose from three inputs: the it altogether for access to the back panel), neered specifically and exclusively for that preamp's listening channel, its recording you simply press the latch buttons at the purpose should prove more satisfactory in channel, and an external source via the lower corners of the faceplate. If you leave general use, but there are applications for back -panel input. These can, of course, be the C-33 standing out on a table or shelf, as which the McIntosh design could prove fed from any of the preamp's three back - most owners do these days, there's no prob- superior. Let's say, for instance, that you panel outputs. giving you a choice of chan- lem in getting at the top panel, which is want to make cassettes for playback both at nelatthefront -panelmonitor switch. toward the front of the unit. (McIntosh home and in your car. Particularly if classi- Indeed, McIntosh calls the power section a includes the usual caution that you provide cal music is involved, that raises the ques- "monitor" amp. You might use it for a sort adequate ventilation, which would argue tion of how much dynamic range you can of "preview" monitoring onauxiliary against stacking another component on top manage without losing quiet passages to speakers if your system is not in the room of it.) But we'd be very tempted to avail engine and wind noises. A solution would with your main listening speakers and you ourselves of the Paneloc feature-perhaps be to compress the signal going onto the don't like making extra trips for readjust- the ultimate touch of class in one of the tape by a ratio of about 1.5:1 or a little more ment. In quasidisco use, it could be used for classiestproducts we've reviewedin (remember that you can switch the compan- cueing up the next record or tape while the years. der into either the listening or the recording current one is playing on the speakers con- Circle 97 on Reader -Service Card

24 HIGH FIDELITY OUR REACTION ON FIRST HEARING the a factor of two, according to Shure. The announcement of the latest in Shure's V- I5 company specifies a staggering 80 centi- series of phono cartridges, the Type V, meters per second at 5 kHz and 60 centime- was: "What more can they have done?" ters per second at 10 kHz. It seems unlikely The four years that have passed since the that any presently available commercial introduction of the now well -established V- disc would cause this cartridge to mistrack. 15 Type IV (test report, June 1978) have Secondismuch flatterhigh -frequency not diminished our enthusiasmforits response in the cartridge's mechanical sys- groundbreaking design. Its frequency re-tem, with the stylus tip resonance moved sponse is virtually ruler flat;it will track from approximately 21 kHz in the Type IV anything on record that isn't ridiculouslyto 33 kHz (well outside the audible range) overcut; and becauseitincorporatesin the Type V, substantially reducing the Shure's Dynamic Stabilizer (which origi- need for response compensation in the pick- nated with the Type IV), it can be matedup's electrical circuit. As a result, the Type with almost any tonearm and still track even V has a lower output impedance than the extremely warped discs without difficulty.Type IV (or most other fixed -coil car- In 1978 it was, as previous V -15s had beentridges, for that matter) and is therefore less Shure's before it, something of a landmark in thesensitive to resistive and capacitive load- evolution of phonograph technology. ing. (The lower impedance will also have Surefooted The Type V seems destined for similarless effect on the RIAA responses of the status. Like its predecessor, the Type V has many phono preamps whose equalizer cir- 1/.15TypeV what Shure calls a Hyperelliptical stylus,cuits are inadequately isolated from the for lower tracing distortion than can beconnected cartridge.) Shure V-15 Type V fixed -coil phono pickup with user - achieved with conventional elliptical styli. Finally, there's the matter of geome- replaceable multiradial diamond stylus. Price: $250 The size of the stylus has been reduced try, which (by way of history) (including Shure's TTR-117 test record). Warranty: is what "limited." one year parts and labor. Manufacturer: somewhat however, for lower mass, and sparked the development of the original V- Shure Brothers, Inc., 222 Hartrey Ave., Evanston, III. has the ultrafine Masar polish heretofore 15. "V" stands for "vertical," as in "ver- 60204. applied only to the styli of Shure's profes- ticaltracking angle"(see"Basically FREQUENCY RESPONSE & CHANNEL SEPARATION sional SC -39 pickups.It also retains the Speaking," June), while "15" represents (test record: JVC TRS-1007 Mk. II) Type IV's most striking innovation, the DB the 15 -degree vertical tracking angle (VTA) 0 Dynamic Stabilizer, which removes dust that was the industry standard for many 5 and static from the record being played and years. When it became evident that mis- 10 damps the infrasonic arm/cartridge reso-tracking causes more audible distortion 15 nance. The Type V also incorporates the 20 than incorrect VTA, manufacturers began 25 .." .0" Side -Guard stylus -protection system first shortening their pickups' stylus cantilevers 30 developed for the SC -39 and M-97 car- toreduce moving mass and thereby

HZ 20 50 100200 500 1K 2K 5K 10K 20K tridge series. And like all other Shure pick- improve high -frequency tracking.In the Frequency response ups, it is a moving -magnet design. process. they increased their cartridges' L Ch +0. -31/2 dB. 20 Hz to 20 kHz What mainly sets the Type V apart R Ch +0. -2 dB, 20 Hz to 20 kHz VTAs, sometimes to 30 degrees or more. Channel separation Z 25 dB. 1.1 kHz to 3 kHz: from its brethren is that its stylus cantileverThe V-15 Type V, with its longer cantile- 20 dB. 20 Hz to 20 kHz is formed of a material other than alumi- ver, reverses this trend, though as we have SENSITIVITY (1 kHz) 0.94 mV/cmsec num. In the face of competition from a mul- already noted, without any significant pen- titude of exotic materials, Shure has stood alty in mass. It is designed to have a VTA of CHANNEL BALANCE (1 kHz) 1-1/2 dB fast behind this lowly metal on the ground slightly more than 20 degrees, to match the VERTICAL TRACKING ANGLE -18* that a properly constructed thin -wall alumi- vertical modulation angles of the majority LOW -FREQUENCY RESONANCE (in SME 3009) num tube will actually be more rigid than a of records now on the market. vertical 7.5 Hz; 3 -dB rise rod or a thick -wall tube of the same length The Type V is also designed to have a lateral 10.0 Hz; 6 -dB rise and mass, even if the material itself has a stylus rake angle (SRA) very close to that of MAX. TRACKING LEVEL (re RIM 0 VU: 1 gram) significantly higher stiffness -to -mass ratiomost cutter styli, again to keep distortion to lateral 18 dB than aluminum. Until now, the company a minimum, and comes with a clever, easy - vertical 12 dB contends, the relatively poor workability of to -use mounting jig, called the Duo -Point WEIGHT 6.7 grams stronger substances (such as beryllium, Alignment Gauge, that makes it a snap to SQUARE -WAVE boron, and diamond) has tended drain them adjust the Type V for optimum overhang RESPONSE of their potential advantage. and offset angle in just about any tonearm. The V -I5 Type V's Microwall/ Be sty- Other setup aids include a Leveling -Align- luscantileverisa very thin -wall tube ment Stylus that fits into the cartridge body formed out of beryllium foil by a newly in place of the regular stylus to enable you developed process. According to Shure, the to twist your tonearm's headshell or to shim result is a cantilever that is simultaneously the cartridge so that its body is parallel to more rigid and much lighter than that of the the record surface, thus ensuring maximum V- 15 Type IV, even though itis slightlychannel separation. The mounting hard- longer.The reduction afforded by the ware includes a pair of nylon nuts that slip smaller stylus and lighter cantileveris over the cartridge's aluminum mounting enough to make the effective moving massears-an arrangement that greatly reduces of the Type V's stylus assembly 40% lower the amount of fumbling around necessary to than that of the Type IV's. install it-and the terminal pins are gold - The benefits of this reduction in effec- flashed to prevent corrosion. In addition, tive mass are two. First, and probably more each V- 15 Type V is packed with an indi- important.isa marked improvement in vidual computer printout showing its sensi- high -frequency tracking ability -by nearly tivity. channel balance. separation at two

JULY 1982 25 AUDIO New Equipment Reports frequencies, and frequency response above high tip resonance frequency-bodes well 1 kHz as measured with a calibrated test for the precision and stability of the Type record. V's stereo imaging. The results of Diversified Science Square waves are well reproduced. Laboratories' tests are uniformly excellent. (The ringing is primarily an artifact of the (All measurements were made at Shure's test record.) The low -frequency arm/car- recommended optimum net tracking force tridge resonance is so well damped by the of 1.0 gram and with the Dynamic Stabiliz- Dynamic Stabilizer that its placement is er engaged.) Although Shure specifies the almost immaterial-although, insofar as Type V's sensitivity as considerably lower one can tell through all that damping, it than that of the Type IV, it measures almost does, in fact, lie in the vicinity of the fre- exactly the same-about average for a quency range we consider ideal. good fixed -coil cartridge and high enough Our listening -room experience with to guarantee a healthy signal-to-noise ratio this pickup has been every bit as pleasing as with typical phono preamps. Channel bal- the lab data. Despite an exasperatingly sket- ance is extremely good. As we expected, chy owner's manual, it is among the easiest the Type V's tracking ability is better thanto install and align of the standard -mount DSL can measure. Distortion is low by car- cartridges we have used-no groping with tridge standards. thick fingers after tiny nuts or tedious eye- Vertical tracking angle, as measured balling of gridded alignment protractors. by the twin -tone IM method, is the lowest And like the other fine cartridges of our we can remember seeing recently. We also acquaintance, it sounds beautiful, most of note with interest that the measurements the time as though it weren't there at all. made with the low- and high -frequency In fact,ithas defeated all of our tones match unusually closely-to within attempts to make it give itself away. Tonal one degree-suggesting that the rake angle balance is superbly neutral, with no empha- is very close to correct, as well (see "A sis of any particular part of the audible spec- New Angle in Record Playing," March trum; imaging is clear and steady with a 1981). good sense of depth; and we can't find any- Loaded according to the manufactur- thing to make it mistrack or even begin to er's instructions with 47 kilohms of resis- soundlikeitmight, even on warped tance in parallel with 250 picofarads of records. That said, and full of the knowl- capacitance, the V-15 Type V has a very edge that it's all too easy to be swayed by a smooth frequency response. The only pretty set of statistics, we'll go out on a limb anomaly isa very gentle droop at the and say that we sometimes think we hear a extreme high end, starting between 5 and slightly cleaner attack and greater overall 10 kHz and reaching a maximum of 2 to 3 transparency on instruments such as cym- dB at 20 kHz. The two channels have nearly bals-a result, perhaps, of the Type V's re- identical responses, and separation is well markable high -frequency tracking ability. maintained across the audio band, all the In sum, this is definitely the finest pickup way out to 20 kHz, where many pickups Shure has ever made, which makes it one of start to give up. This felicitous behavior- the finest ever made, period. undoubtedly a byproduct of the stylus' very Circle 96 on Reader -Service Card

THE TRADITIONAL CHOICEin buying an enables you to place an electronic marker, Have It Both open -reel deck has been between the so-so to speak, at any point on the real-time called semipro models and those loadedtape counter. It can be used to set up repeat Ways with with convenience features for the home operations over any portion of the reel, market. We've documented many attempts though we found it particularly useful for Teac's X -1000R to unite the two-to create a machine thatindexing passages we thought we might would deliver semipro performance and want to re-record, because it involves no Teac X -1000R bidirectional two -speed (71/2 and 33/4 Ips) quarter -track open -reel tape deck, accepting 7- or features together with consumer -oriented tampering with the time indication. There 101/2 -inch reels. Dimensions: 17 by 171/4 Inches (face convenience-but the one set of objectives are separate STC (search to cue) and STZ plate), 83/4 inches deep plus clearance for controls; additional clearance of 23/4 inches minimum required usually interferes with the other so that the (search to zero) buttons, so indexing is at each side and at top for NAB reels; may be used resulting deck satisfies neither goal. Per- unusually versatile and practical. vertically or horizontally. Price: $1,400; optional RM- haps we shall never see a totally satisfying 10 rack -mounting kit, $35; optional RC -100 remote Also very practical in our estimation control,$75; optional WR-100 Dupli-SyncInter- amalgam of the two, but in most respects arethetransportcontrols themselves. connect cord (see text), S45. Warranty: "limited," one the Teac X -1000R represents the most suc- Because of the deck's bidirectionality and year parts and labor. Manufacturer: Teac Corp., Japan; U.S. distributor: Teac Corp. of America, 7733 cessful attempt we've yet encountered. extra features, there are many controls (two Telegraph Rd., Montebello, Calif. 90640. Since the consumer aspect of the play buttons, for example), yet they aren't design has the upper hand, let's address that difficult to master-thanks, in part, to a first. The Teac has an autoreverse transport system of colored LEDs that flash or glow that enables it to record as well as play in or extinguish, depending on what the deck both directions; it also has the usual once - is prepared to do and what it actually is around or continuous -repeat options. Thedoing. When you press theRECORDING - reverse is triggered by stick -on conductive MODEbutton in, for example, an LED in the foil; it is applied to the backing side of the RECORDING -INTERLOCKbutton flashes red tape and is sensed at the left-hand idler. In to indicate that the deck is ready to record; addition, the Teac has a cue system that when you actually begin recording (by

26 HIGH FIDELITY AUTO -SPACERADJUST. TIMER MODE ON OFF (FORWARD. REVERSE)

PITCH ADJUST AUTO -REVERSE MODE REEL SIZE, SPEED im101=1., a'Siff AC POWER 1- TRANSPORT & a ' TAPE -LIFTER DEFEAT ri3a' CUEING CONTROLS MIKE, LINE LEVEL ADJUST r. OUTPUT LEVEL ADJUST. MIKE INPUTS-E330 rouple go C HEADPHONE ...mom aeownr sys

DBX NOISE REDUCTION (ON/OFF) MONITOR (SOURCE TAPE) RECORDING MODE (ACTIVE/DEFEAT) TAPE SELECT. (LH-1.LH-2/EE)

The following tests were performed according to the simultaneously pressing the interlock andduring the blanking process. new EIA standard for tape recorder specification and measurement. (See "Sound Views." page 14.) one of the play buttons), the flash becomes If all this sounds rather complicated- a steady light; when you release the mode and there are a number of control functions PLAYBACK RESPONSE AT 71h IPS (MRL 21T104 test tape; -10 dB re 200 nWb/m) button, for playback -only operation, the we haven't space to discuss here-don't DB LED goes out. worry: The manual is exceptionally clear, 0 Particularly nice is thePAUSEand itseven for Teac, whose practice is far above -5 relatedfunctions.Itretractsthe pinch average in this regard. It patiently explains HZ 20 50 10020D 500 1K 2K 5K 10K 20K rollers slightly without defeating the tape all sorts of things that are glossed over or Lch +21/2,-3 dB, 31.5 Hz to 20 kHz R ch +21/2, -2 44 dB, 31.5 Hz to 20 lifters or otherwise disturbing the mode foromitted altogether in many manuals. It cov- kHz which the deck is set. As a result, stops and ers basics without condescension and tech-

PLAYBACK RESPONSE AT 344 IPS starts are as quick, clean, and wow -free as nical matters withoutsoundingtechnical. (MRL 21F101 test tape; -10 dB re 200 nWb/m) those of most cassette decks (which, with You might be able to figure out on your own DB far less moving mass to control, have a a lot of what the deck can do. given enough 0 AmmniMMIP. vastly easier task in this respect) and even 5 time and previous recording experience, mr1111. better than those of some. It leaves a slight but you shouldn't-and don't-have to. HZ 20 50 100 200 500 1K 2K 5K 10K 20K L cti + -44 dB, 31.5 Hz to 10 kHz gap when used for start -and -stop recording, Among the "professional" features, R ch ±1/2 dB, 31.5 Hz to 10 kHz but is noiseless. There is also a button for we particularly enjoyed the X-1000R's pro: PAUSE RECORD/PLAY RESPONSE AT 71/2 IPS, LN TAPE mute recording. If you press it once while a vision for editing. Because the nei- (-15 dB re 400 nWb/m without noise reduction) recordingisin progress, the deck will ther activates the tape lifters nor mutes the DB record a blank whose duration can be pread- playback hdad, it enables you to "rock" the justed with a slider just above the head cov- 0 tape and listen to its output to locate edit -5 er. When the deck finishes recording thepoints-a function that many competing blank, it automatically goes into the record- decks can't manage, even though editabili- HZ 20 50 100 200 500 1K 2K 5K 10K 20K Lch +2, -V3 dB, 20 Hz to 27.2 kHz ing/pause mode, ready to tape the next ty is one of the legitimate reasons for pre- R ch +114 -1/4 dB, 20 Hz to 27.6 selection. If you have a change of heartferring open reels to cassettes. The X - kHz with DBX noise reduction about the blank's predetermined length 1000R also has a manually operated tape - R ch +4, -3 dB, 25 Hz to 26.5 kHz before it has been fully recorded, you can lifter defeat that enables you to ease the tape PAUSE, RECORD/PLAY RESPONSE AT 71/2 IPS, EE TAPE either press to end the blank manu- toward the playback head in the fast -wind (-15 dB re 400 nWb/m without noise reduction) ally, orMUTEa second time, in which case modes to hear some output, as an aid in DB the deck will continue recording silencelocating the passage you want. 5 until you touch another transport control. Less obviousisthe head design. 0ee` 5 Or you can hold theMUTEdown as long as Instead of using some sort of rotating head you want the first time you press it; the tim-assembly to achieve bidirectionality with a HZ 20 50 100 200 500 1K 2K 5K 10K20K Lch +244,-3 dB, 20 Hz to 32.8 kHz er doesn't take over until you release the single set of heads, Teac has chosen to fit R ch ±3 dB, 20 Hz to 32.9 kHz button, permitting manual extension of its two full sets of fixed heads-erase, record- with DBX noise reduction R ch +7,-3 dB, 25 Hz to 31.9 kHz preset period. If you record a blank at the ing, and playback-for each direction. It end of each selection, the counter will keep has always seemed to us that such a fixed track of the selection number and display it head array should hold its adjustment much

JULY ' 27 AUDIO New Equipment Reports RECORDPLAY RESPONSE AT 33/4 IPS. LN TAPE (-20 dB re 400 nWb/m without noise reduction) 11111111111111111=111111111111111111111V DB 5 0 4= - 5

HZ 20 50 100 200 500 1K 2K 5K 10K20K L ch nwrrr + 61/4, -3 dB, 20 Hz to 20.4 kHz r Dr.; - R ch +51/4, -3 dB, 20 Hz to 20.6 kHz with DBX noise reduction R ch +912.-3 dB, 35 Hz to 20 kHz The X-1000R's convenience features include bidirectional record and playback, plus a RECORD/PLAY RESPONSE AT 33/4 IPS, EE TAPE (-20 dB re 400 nWIlm without noise reduction) real-time tape counter with an electronic cue system for search and repeat functions. DB 5 0 better than a movable one, but it does dou- sine -wave measurement technique (which 5 ble the length of the tape path past the presents the system with a single frequency

HZ 20 50 100 200 500 1K 2K 5K 10K 20K heads. To help control the tape over this at any given instant, rather than with a mul- L ch *41/4, -3 dB. 20 Hz to 23.6 kHz distance, Teac has conceived an unusual titude of frequencies, as in music) makes - R ch + 41/4. -3 dB, 20 Hz to 23.7 kHz with DBX noise reduction closed -loop dual -capstan transport (that is, the response appear worse than it really is R ch + 7, -3 dB, 36 Hz to 21.8 kHz one in which both capstans are driven in under normal recording conditions. When both directions of tape travel). Because the we tried the deck with Scotch 206 (at the S N RATIO (record play; re 400 nWb/m: CCIRARM weighting') "upstream" capstan must rotate slightly LH-I setting), an informal response check with standard LN tape 71/2 ips 33/4 ips more slowly than the one on the takeup seemed to show a flatter top end than the lab no noise reduction 593/4 dB 561/4 dB DBX noise reduction 751/2 dB 691/4 dB side, drive speeds (as well as the direction obtained with UD. If we were buying an with EE tape of rotation) must change when the transport open -reel recorder in this class, we'd want no noise reduction 621/4 dB 601/2 dB DBX noise reduction 781/4 dB 741/4 dB reverses. to pick a tape and then ask the dealer's ser- Then there's the built-in DBX noise vice department to adjust our deck for flat- INDICATOR READING FOR 400 NWB M (400 Hz) reduction system, with separate encoding test response and minimum distortion with 71/2 ips 33/4 ips standard LN tape 1334 dB +31/2 dB and decoding sections for simultaneous that particular brand and formulation. EE tape +6 dB 5 dB monitoring while you're recording. DBX is The primary claim for EE tapes is, of MAXIMUM RECORDED LEVEL (3% distortion at appearing in more home equipment all the course, that they will provide at 31/4 ips the reference frequency: 1 kHz at 71/2 ips, 500 Hz at 33/4 ips) time, but it has been well established in pro performance of conventional tapes at 71/2 re 400 nWb m re meter 0 dB ips. Because they don't cost twice as much LN tape. 71/2 ips +2 dB 54/4 dB and semipro gear for years. Also a cut EE tape. 71/2 ips -1 dB 5 dB above average for home gear is the inclu- as conventional tapes, they're supposed to LN tape. 33/4 ips *1/2 dB 14 dB sion of a three -position tape -matching sys- save you money by enabling half -speed EE tape, 33/4 ips -1/2 dB =451/4 dB tem. Two positions are for conventional use. So far, our tests haven't entirely sup- DISTORTION AT 400 NWB.M (400 Hz) ferric -oxide formulations ("normal" and ported this premise. For example, although 71/2 ips 33/4 ips standard LN tape 1.7% 2.8% "hot," so to speak); the third is for the EE tape does yield a better S/N ratio, it does EE tape 3.7% 3.4% recently introduced EE tapes, which use so at the expense of slightly higher distor-

DISTORTION AT -10 DB Ire 400 nWb ml ferricobalt or chrome pigments and for tion. We therefore remain unconvinced that LN <0.30%, 50 Hz to 10 kHz, at 71/2 ips: which a radically different playback EQ EE tapes fully justify their hefty prices at s0.86%, 50 Hz to 5 kHz, at 33/4 ips curve has been devised to optimize their this state of the art. But the point is admit- EE s0.89%, 50 Hz to 10 kHz, at 71/2 ips; ,50.92%, 50 Hz to 5 kHz, at 33/4 ips performance. And finally, there's the pitch tedly arguable. control-fairly rare in both professional Unless the reverse direction is speci- ERASURE (100 Hz: re 400 nWb-m) <791/4 dB and domestic decks-that can be adjusted fied, all data are for the forward direction of CHANNEL SEPARATION (400 Hz) 613/4 dB more than a halftone (about 81/2%) up or tape travel. DSL measured most parameters

CROSSTALK (100 Hz) -441/2 dB down in both recording and playback. in both directions, but the omitted informa- Some variable -speed decks minimize the tion does not depart significantly from that SPEED ACCURACY (105 to 127 VAC) chance of serious mistakes by defeating the shown in the data column. On average, per- 71/2 ips 33/4 ips forward direction 0.25% slow 0.52% slow ability to vary pitch during recording; Teac haps, the reverse direction measures a hair reverse direction 0.21% fast 0.18% fast does so by providing a pull -to -activate better; in particular, the wow and flutter fig-

SPEED CONTROL RANGE speed control that proclaims its status by its ures are scarcely half the values for the for- + 8.6 to -8.9% at either speed position and can only be defeated acciden- ward direction.

WOW 8 FLUTTER (ANSI IEEE weighted peak: rip) tally, not activated. A machine that will make or play a 71/2 ips 334 ips Diversified Science Laboratories used six -hour recording (on a 101/2 -inch NAB forward direction .0.070% +0.13% Maxell tapes suggested by Teac for its mea- reel of 1 -mil tape at 33/4 ips) unattended and reverse direction +0.043% +0.078% surements: UD (with the LH-II selector set- virtually uninterrupted-and (using DBX) SENSITIVITY (re 400 nWb,m; 1 kHz. EE tape) ting) as the standard tape, and XL -II (with with no audible noise whatever from the line input 150 mV mike input 0.56 mV the EE setting) for those measurements in tape itself-is something of a prodigy. So which we've specified that EE tape was is one that can incorporate so many features MIKE INPUT OVERLOAD (1 kHz) 20 mV used. (Incidentally, although the manual without their getting in each other's way. In MAX. LINE OUTPUT (from 400 nWb m)1.8 V lists only 1-mil/35-micrometer long -play addition to those cataloged in this report (all tapes such as UD 35 and Scotch 207, Teac of which behaved flawlessly in our trials), Unless otherwise specified, all measurements made in forward direction of tape travel. says that the corresponding11/2-mil/50- there's an optional remote control and what micrometer standard -play tapes-such as Teac calls Dupli-Sync: With the aid of an 'With A weighting, S N ratios appear 1-2 dB better than with CCIR weighting. UD 50 and Scotch 206-are equally accessory interconnect cable, you can con- acceptable.) In looking at the response trol from the X -1000R any Teac cassette curves, don't overreact to their tendency to deck accepting an RC -90 remote control. peak more at high frequencies when the And, besides being unusually well thought DBX noise reduction is in use. All compan- out, the deck's design offers Teac's tradi- ders(including DBX) exaggerate such tionally solid construction. effects to some extent, but DSL's swept Circle 99 on Reader -Service Card

28 HIGH FIDELITY Hafler's Big Black Box

Haller DH -500 power amplifier, In metal case. WE PRAISED HAFLER'S first power amplifi- cost of the amp, such protection circuits Dimensions: 19 by 7 Inches (front), 101/4 Inches deep, plus clearance for handles and connections. Price: er, the DH -200 (test report, March 1980), often cause premature clipping or other 5750 (5600 In kit form); DH -502 bridging adapter (not for its combination of value and high per- audible side effects when the amp is con- tested), $25. Warranty: "limited," one year parts and nected to a low -impedance load. The econ- labor, kit, one year parts. Manufacturer: The David formance: Few amps inits power class Haller Company, 5910 Crescent Boulevard. work so well or sell for so little. So when omy of design made possible by the use of Pennsauken, N.J. 08109 the beefed-up DH -500 became available, MOS FET outputs is readily apparent in the RATED POWER 24 dBW (255 watts)/channel offering more than twice the power of the DH -500, which is more than adequately DH -200 for less than double the price, we protected by output and power -supply fuses OUTPUT AT CLIPPING (both channels driven! 8 -ohm load 251/4 dBW (335 watts)/channel were eager to put it through its paces. and by a thermal breaker that shuts the 4 -ohm load 27 dBW (490 watts)/channel According to Hafler, the new model's amplifier down if it overheats: It has no cur- 16 -ohm load 23 dBW (200 watts)/channel basic amplifying circuitry is very similar to rent -limiting circuits. DYNAMIC HEADROOM (re rated power, that found in the DH -200. Both are sym- Nor does it have any frilly features. 8 -ohm load) + 21/4 dB metrical, fully complementary designs with Except for screw holes for rack mounting, a HARMONIC DISTORTION (THD; 20 Hz to 20 kHz) power MOS-FET output devices. (MOS pair of sturdy rack handles, and an illumi- at 24 dBW (255 watts) s0.016% FET is an acronym for "metal oxide semi- nated power switch, the DH -500's front <0.01% at 0 dBW (1 watt) conductor fieldeffecttransistor.")In panel is bare. Its back panel sports a pair of FREQUENCY RESPONSE (at 0 dBW) important respects, MOS FETs operate RCA input jacks, output binding posts, out- +0, -Vi dB, <10 Hz to 32.6 kHz; put fuse holders, and a large exhaust port +0, -3 dB, <10 Hz to 124 kHz very differently from conventional bipolar transistors. These relatively expensive de- for the amplifier's three -speed ventilation INPUT CHARACTERISTICS (re 0 dBW; A -weighted) vices typically switch faster than compara- fan. The fan itself is part of the amp's main sensitivity 145 mV S/N ratio 8934 dB ble bipolars, for example, which tends tointernal subassembly, on either side of make them inherently morelinearat which are mounted the amplifier boards for DAMPING FACTOR (at 50 Hz) 215 extremely high frequencies. the two channels, complete with power Their primary advantage as power out- transistors. Heat -sink fins for the output put devices, however, is their innate resis- devices jut out from the two boards into the tance to self-destruction-a characteristic space between them. The fan is attached bipolars do not share. All transistors heat up behind the heat sinks so that it blows air when they deliver a lot of current, as they over the fins and out the rear of the amp, must to drive low -impedance loads at high thereby cooling the amp's twelve power power levels. When a bipolar transistor MOS FETs. becomes very hot, it tends to conduct even Like most other Hafler products, the more current than when it is cooler, which DH -500 is available either factory -built or, makes it heat up still more, which makes it at a substantial saving, as a kit. The kit ver- conduct still more current, and so on until it sion is delivered with the amplifier module simply burns up. This extreme condition is (the two circuit boards, the heat sinks, and known as thermal runaway. A MOS FET the fan) preassembled and tested. All that behaves in exactly the opposite way. As it remains for the builder is to assemble a heats up, it tends to conduct less current small power -supply board, mount it, the than it would if it were cooler; thermal run- amplifier module, a hefty power transform- away cannot occur. er, a pair of big electrolytic power -supply The most significant practical conse- capacitors, and the input and output con- quence of this difference is that MOS-FET nectors on a large, open chassis, and wire power amps do not require the complicated everything together. current -limiting protection circuits com- Because Hafler has already done most monly found in amplifiers having bipolar of the critical work, a properly assembled output transistors. Besides adding to the DH -500 kit should perform just like the fac-

Report Policy: Equipment reports are based on labora- reports in advance of publication, and no report or por- tory measurements and controlled listening tests. Unless tion thereof may be reproduced for any purpose or in any otherwise noted, test data and measurements are ob- form without written permission of the publisher. All re- tained by Diversified Science Laboratories. The choice of ports should be construed as applying to the specific equipment to be tested rests with the editors of HIGH samples tested. HIGH FIDELITY and Diversified Science FIDELITY. Samples normally are supplied on loan from the Labcratories assume no responsibility for product per- manufacturer. Manufacturers are not permitted to read formance or quality.

JULY 1982 29 AUDIO NewEquipment Reports tory-built units. The assembly manual is any turn -on transients from reaching the About the dBW clear and thorough (it even teaches you how speakers. The relay also kicks in any time We currently are expressing power in to solder), and our admittedly fairly experi- there is excessive DC at the output, also to terms of dBW-meaning power in dB enced kit -builder was able to complete the protect the speakers. Although the cooling with a reference (0 dBW) of 1 watt. The whole project in one long evening. He fan is clearly audible when running at high conversion table will enable you to use speed in a quiet room, we expect this would the advantages of dBW in comparing encountered no difficulties more serious these products to others for which you than a couple of tight corners and no reason be a very rare occurrence. The DH -500 has have no dBW figures. to discourage novices from tackling the to get fairly hot before the fan will switch up job. from its virtually silent low speed, and for The results are certainly worth the the amp to get hot, the music has to be loud WATTS dBW WATTS dBW 1.00 0 32 15 effort, for this is a splendid amplifier. Pow- or the ventilation poor.

1.25 1 40 16 er output handily exceeds Hafler's specifi- Physically, the DH -500 is heavy and 1.6 2 50 17 cations, reaching 251/4 dBW, or 335 watts, awkward to carry, though less so than it 2.0 3 63 18 continuously into 8 ohms and 261/4 dBW, or would have been without fan -assisted heat 2.5 4 80 19 3.2 5 100 20 420 watts, short-term. Into 4 ohms, the sinking. And initially, we were a little con- 4.0 6 125 21 continuous power output is close to 27 cerned that the placement of the power - 5.0 7 160 22 dBW-almost 500 watts. Given these fig- supply fuses inside the amp might prove to 6.3 8 200 23 ures, we see no reason to doubt Hafler's be a nuisance. However, since no supply 8.0 9 250 24 10.0 10 320 25 claim that the addition of the optional DH - fuse blew under the extraordinarily stressful 12.5 11 400 26 502 bridging board will convert the DH -500 conditions imposed by DSLs tests, we're 16 12 500 27 into a monophonic amplifier capable of inclined to think that if one ever did,it 20 13 630 28 more than 29 dBW (800 watts) into 8 ohms. would be a sign either of a malfunction or of 25 14 800 29 Diversified Science Laboratories also abuse-neither of which should be a com- found the damping factor to be quite high, mon occurrence. ensuring thattheamplifier's frequency Like otherfineamplifiers of our response will not be adversely affected by acquaintance, the big Hafler has no identi- loudspeaker impedance variations, and dis- fiable sound of its own, so long as it is not tortion and noise to be very low-welloverdriven: What goes in comes out the below the level of audibility. same, only louder. For the audiophile who In the listening room, the DH -500 wants the quality and value of Hafler's does little to call attention to itself, which is well -established DH -200, but with more exactly what one wants from an amplifier. power, the DH -500 seems like an excellent An output relay mutes the amp for three choice-and at a very reasonable price. seconds after it is switched on, to prevent Circle 98 on Reader -Service Card

HOLD-DOWN

TONEARM -MOUNTING BOARD

Making Records Speak Sooth

Oracle manual belt -drive turntable. Dimensions: 19 by IT COULD BE ARGUEDthat the belt -drive trace their design lineage back to the old AR 141/2 inches (base plate), 61/2 inches high with lid closed; additional 103/4 inches vertically and VA turntable has been in a rut. While direct - turntable, which had an excellent three- Inches at back needed to open lid fully. Price: $1,095, drive designs have evolved through a suc- point spring suspension. without arm. Warranty: "limited," three years parts cession of increasingly sophisticated motor The Oracle is a belt -drive turntable in and labor. Manufacturer: Trans -Audio Corporation, Ltd., 505 Boucherville St., Industrial Park, and speed -control systems, belt drives have the predominantly western tradition and Sherbrooke, Quebec, Canada J1L 1X7; U.S. remained substantially unchanged. All con- therefore shares certain characteristics with distributor: Trans -Audio Marketing, P.O. Box 5909, 2217 Neilson Way, Santa Monica, Calif. 90405. temporary belt -drive turntables use syn- others of its ilk-a Hall -effect DC motor chronous or DC motors for speed accuracy and a three-point spring suspension, to (and stability, within the bounds of reason name just a couple. In other respects, how- and audibility). Japanese models mostly ever, it abandons convention in favor of resemble the direct drives in all ways except approaches that promise more nearly ideal how they make the platter spin; European performance. and (especially) British models most often The most obvious differenceisin

30 HIGH FIDELITY SPEED ACCURACY no measurable error, 105-127 appearance: There is no base in the usualaudible improvement except through elimi- VAC, at either speed sense (to reduce the surface area susceptible nation of such problems as disc resonances SPEED CONTROL RANGE to excitation by sound vibrations and to and acoustic feedback. For that reason, the at 33 rpm +3.3 to -8.5% at 45 rpm +3.4 to -8.6% eliminate the resonances that might occur in company does not specify the turntable's an enclosed, box -like base). The irregularly speed accuracy, rumble, or wow and flut- WOW 8 FLUTTER (ANSI/IEEE weighted peak) ±0.05% average; -0.07% max. shaped subchassis (a seven -layer laminateter. Although we agree that beyond a cer- formed under high pressure so as to com-tain point improvement of these specifica- TOTAL AUDIBLE RUMBLE (ARLL) -69 dB' bine inertness with high rigidity) is support- tions is of no real benefit, we also feel that see teat ed at three points by spring -loaded suspen- Trans -Audio's decision to avoid them alto- sion towers. These towers are mounted on gether is something of an affectation, espe- an acrylic base plate, which in turn rests oncially in light of the considerable attention a set of three adjustable feet. By adjustingpaid to these factors in the Oracle's design. the relative heights of the feet, you can levelIts main bearing is an extremely hard, high- the entire turntable. ly polished tungsten carbide ball riding on a The subchassis (and thus the platterthrust plate of a similar, but still harder and tonearm, which are rigidly supportedmaterial. The bearing shaft is held in posi- by it) can be made level relative to the base. tion by close -toleranceself-lubricating This involves changing the relative heightsbearings that are said to contribute almost of the suspension towers (and therefore the no friction. tilt of the chassis) by turning the adjustment The results are the very good rumble stems that protrude from their tops. This and flutter figures obtained by Diversified process is further aided by a spirit levelScience Laboratories. At its best (-69 dB), attached to the subchassis. The procedurethe Oracle's rumble is about as low as does not alter the compression of thewe've seen-probably limited more by the A screw -on clamp holds records flat against springs or their resonance frequencies. Finerumble in the test record than by the turn- a resonance -damping platter mat. tuning of thesuspension resonanceis table mechanism; at its worst (about -63 achieved by adjusting weights on a carrierdB), it is still very good. Wow and flutter rod attached to the bearing cylinder beneathare also quite low, and on our test sample, the subchassis. By varying the amount ofboth speeds (33 and 45 rpm) were right on weight on the carrier, the position of thethe mark. weight on the carrier, and the direction of Speed is selected by means of a button the carrier itself, it is possible to tune thejust to the right of the power switch on the suspension to the correct 3.5 -Hz resonanceOracle's diminutive controlpanel.Al- frequency and to ensure thatallthreethough both speeds are adjustable, the con- springs respond evenly and identically totrols are on the back of the drive motor and any excitation, thereby helping maintainaccessible only by use of a small screwdriv- the stability of the subchassis. Oracle haser. Clearly, they are not primarily intended further enhanced stability by attaching theas pitch controls, but as trimmers for setting springs in the plane of the subchassis' cen-the motor precisely on speed. ter of gravity, instead of below it, as in most The Oraclerequiresconsiderably other turntables of this type. This arrange-more assembly and initial adjustment than ment is said to prevent the subchassis frommost other turntables: It is definitely a prod- swaying in response to vibration. uct aimed at serious enthusiasts. However, The point of all this attention to thethe owner's manual is clear and thorough suspensionistoprevent acousticorwith plenty of photographs to guide you. mechanical feedback by maximizing theThe only really tricky steps are mounting turntable's isolation from outside forces. the tonearm, changing the spring in the sup- But the designers of the Oracle did not stopport tower nearest the arm mount to match there: They also worked to eliminate any(if necessary) the weight of your tonearm, coloration that might be induced by reso- and the final tuning of the suspension. Nat- nances in the LP disc itself. To that end, theurally, the turntable is delivered with a turntable is supplied with a flat, compliantblank tonearm mounting board, but Trans - platter mat, a tapered spacer that raises theAudio can supply precut boards for most record slightly at the label, and a clamp thatpopular arms, along withappropriate screws onto the record spindle. The clampreplacement springs, when required. is designed so that when it is screwed down Once we got our Oracle assembled and tight, it forces the record firmly against therunning, we encountered no real difficulties mat. This flattens out most warps and in operation. Records do stick tightly to the places the record surface in intimate contact mat and have to be peeled off, but this with a material that tends to damp out any seems a modest price to pay for the advan- vinyl resonances excited by airborne vibra-tage gained. As claimed, rejection of acous- tions or the passage of the pickup stylustic feedback and mechanical vibration are along the record groove. The mat also helpsvery good, and nothing else about the Ora- damp out any resonances in the platter,cle's performance calls attention to itself- which isitself already designed to beall to the good, where turntables are con- unusually inert. cerned. Our capsule opinion, then, is that if The Oracle's manufacturer, Trans -you have the money and want a turntable in Audio Corporation, feels that once a certainthe top rank of performance, the Oracle is levelof basic performance has beenwell worth your consideration. attained, there will be no further significantCircle 95 on Reader -Service Card

JULY 1982 31 You Can Take It With You! The latest generation of portable audio (and video) components combines flexibility and performance. by Peter Dobbin

THE LATEST DEVELOPMENTin portable au- the traveling configuration-a neat vertical gry types use AC only. In any event, my dio and video gear is a hybrid that goes by stack of electronics flanked by speakers on experience with personal portables (the the family name P. Compo. for portable either side-and arrayed horizontally on a Walkman. et al.) shows that even the most components.It'sa remarkable family. bookshelf,forinstance.Attheother highly efficient portable audio gear can composed of some very talented little prod- extreme are several systems whose elec- have an amazing appetite for fresh batter- igies. all with a penchant for traveling. tronic components are permanently locked ies. Rechargeable cells, a rechargeable bat- Styled to resemble home minicompo- together, but even these usually have side - tery pack, or a DC converter should be high nents (front which they borrow their highly mounted speakers that can be separated for on your list of optional extras when shop- efficient power supplies and miniaturized optimum placement. As the family name ping for portable components. tape nansports. among other things). typi- indicates, one attribute common to all of JVC is generally credited with having cal systems consist of an integrated ampli- these is, of course, portability-though not originated the portable component concept, fier. a tuner. a cassette deckand two necessarilybattery -poweredportability. and its PC -5 Quintet system, introduced speakersThe mostflexible ensembles Several of the newest packages will operate less than a year ago in the U.S., is certainly allow each component to be separated from on batteries (anywhere from six to ten D the best known. Unlike the Walkman, Peter Dobbin is a former Associate Audio - cells) or via a rechargeable battery pack as which seemed to spring full-grown from the Video Editor of HIGH FIDELITY. well as on AC, but other, more power-hun- engineering genius of Sony with few histor- ical antecedents, semiportable stereo systems have been available for some time now. Manufacturers have been promoting home minicomponents, offering such options as waterproof cases-and, in the case of Rotel, a canvas back-pack-to transport them in. The systems vary widely in operating flexibility. If you plan to use one both at home and traveling. it should mate suc- cessfully with your stay-at-home turntable. That means that it should have a low-level phono input, not just the high-level aux input common on portables. (Unless otherwise noted, each of the systems discussed here contains such a phono input plus the necessary preamplifier and RIAA equalization circuitry to handle the output of a magnetic phono pickup.) If you are an avid on -location record- ist. look for a truly modular system-that is. one that allows the cassette deck to be used separately from the amplifier and With AC power. a DC-21JP pa ver amp, and ex -equal sp7akers. speakers. Unlike most personal portables. the Ken wood LC -20X (gore) is the heart of a ioaall high fidel- the decks in these ensembles offer both ity iystem: witnout, i, a lute portable (left). recording and playback capability, often with noise reduction. Equipped with optional microphones and a pair of headphones, these decks are capable of recording quality far superior to that of the smaller, hand-held cassette recorders. Of course, to use such a deck as a remote stand-alone, you'll also need portable power-either an external battery pack that connects to a DC input on the deck or a battery compartment built into the recorder. For the all -in -one portable stereo system market-home of the derogatorily (but onomatopoetically accurately) named This: Aiwa miniconyonent system (above), includingr.eassett, deck. "boom box," the arrival of JVC's PC -5 tuner, and integrated arip. becomes a system was good news, indeed. Composed bavery-powered a. -table when of five discrete elements-a 13 -watt -per - mooted in its carry* case heft). channel integrated amplifier, a three -band tuner,afull -functioncassette deck equipped with both ANRS and Super ANRS noise reduction, and two single -driver speakers-the PC -5isstill one of the most flexible packages around. Dressed for travel with its electronics and tape deck snapped together vertically and with the speakers attached at either side, it can be toted about with a clip -on handle, a shoulderstrap.an open -sided carrying case, or even a fully enclosed carrying bag. Since the system's power is derived from eight D cells that load into a compartment in the cassette unit, the deck is a fully portable remote recorder. It didn't take long for other manufacturers to follow JVC's lead. Kenwood's DC -20 is among the most intriguing of current designs. It, too, is built around modular components, with a combination tuner/ preamp/cassette-deck and a separate 20 - In a similar veal sJVC s PC -5. watt -per -channel power amp (with less than which can h? to.ed alma by a 0.1% THD claimed at rated output). The handle (above. rr- disassembled two-way speakers mount on either side of into a stvlisa ktrizont.rl array for home are (.eft). Batteries the electronics for traveling. Realizing that are in the ces..eue only a very hardy soul would consider the entire package truly portable (it weighs in at 27 pounds). Kenwood's engineers built

JULY 1982 33 Portables are stealing tricks from home components: Sanyo' s MW - 75F (above) has dual cassette transports for tape dubbing, while Sony's XF-5000 (left) in- ludes a phono input, along with tuner, cassette deck, and amp.

small monitor speakers into the sides of thedem -transport home cassette deck (the RF- ceiver,and two single -driver speakers cassette/tuner/preamp core for low-level6605, test report, August 19811. With the (each augmented by a passive radiator)- listening on the go. Power for the core is MW -25F, Sanyo goes one step further: tape draws its power from a battery compart- supplied by a rechargeable 12 -volt battery dubbing at both normal and twice -normal ment built into the cassette deck, making pack; to run the power amp and the external speeds by means of two separate tape trans- portable taping possible. In addition, its fre- speakers, the DC -20 uses house current or ports, one for recording and one for play- quency -synthesis receiver edges out most the output from an optional car -battery back. Sanyo, unfortunately, has not includ- of the competition in features: AM, stereo adapter. ed any noise reduction circuitry, but the FM, and two bands of shortwave reception. The cross-fertilization between homeunit does incorporate worldwide multivol- plus presets for twenty frequencies (five in components and boom boxes that spawned tage capability and a pair of adequate little each band). An LCD display supplies fre- the P. Compo concept can be seen in thetwo-way speakers. quency readout and converts to a clock at rapid spread of a feature that just two years Panasonic's RD -D30 also has two - the touch of a button. And with a clock ago was found exclusivelyinesoterictransport dubbing, but onlyatnormal availableSansuicouldn'trefrainfrom home -audio setups. Stereo image -enhance-speed. Here, one cassette compartment is offering turn-on/turn-off programmability ment circuitry, pioneered in the home mar-for playback only, while the other both and unattended recording capability. ket by Carver's Sonic Holography preamp,records and plays back. This arrangement Although I have not attempted to rank moved quickly to a system add-on, and then permits the simultaneous playback of two any of the systems mentioned here on the to a feature included in some receivers.different cassettes through separate head- basis of their audio performance, large dif- Increasing the apparent width of the stereo phone outputs-good news for musically ferences do exist among them. Technics' sound stage is an especially attractive idea mismatched couples. All this is in addition SA -007 stands out as one of the best - withportable components, where theto AM, stereo FM, and a tape -relay system sounding portables I've heard. This non - speakers can be less than 12 inches apart, that automatically switches from one cas- separable vertical ensemble specs out at the and now several companies offer enhance- sette to the other when the first tape ends. top of the list:Its 30 -watt -per -side power ment circuitry in their systems. KenwoodNeither the Panasonic nor the Sanyo unit amp has an FTC rating of no more than callsitsversion an Accusonic control,accepts the output from a phono pickup. 0.4% total harmonic distortion (THD) at while Panasonic's is appropriately named Among more "traditional" designs, full power. Because the system is physical- Ambience. Fisher's PH -492K earns its place in my sur- ly tied to such a large power amp, operation Though Sanyo has a number of veryvey for its inclusion of a five -band graphic from internal batteries is ruled out. A car - creditable portable component systems, Iequalizer in the preamplifier. Should you battery adapter is available, however. was especially taken with one of its non -decide that the speakers that come with this There are several all -in -one, nonsepa- component portables, the MW -25F. It, too, nonseparable vertical array need a bit of rable portables that measure up to P. Com- borrows a special function from the previ-tweaking here and there, the PH -492K po standards infunctions and features. ously exclusive province of home audio: stands ready to oblige. Except for their built-in speakers, Pioneer's tape dubbing. It has been barely a year since Sansui's CP-7 is chock full of goodies. SK -750 and Akai's AJ-525 fully qualify, Optonica surprised the industry with its tan-The four -piece system-cassette deck, re- and both have magnetic-phono inputs to

34 HIGH FIDELITY t tty t.1 1.1.1111U11.1.

-4' IN11111111i - - 0-1A I I 0-44 DU

Shown above, the Akai 7350 portable VCR withstereo sound and Dolbv B, its companion VU-7350US tuner/ timer, and the Toshiba CA - 045 portable color monitor .11111111111M11111111111MIIIMPPHINII with direct video and audio inputs (inset). At right are the Sony SL -2000 portable VCR and HVC-2200 color camera. A built-in vertical turntable makes the Sharp VZ-2000 the most complete portable audio system available (opposite). Two cartridges (circled) mounted on linear -tracking tone - arms enable the VZ-2000 to play both sides of a record without interruption. All controls are on the top panel (above).

accommodate turntables. tuning circuits used on some FM tuners. If zoom lens and an electronic viewfinder. There is one unusual all -in -one porta- you can get by with a smaller screen and Also built into the camera are time and ble-the Sharp VZ-2000-that doesn't black -and -white reception, consider Pana- character generators: the former displays need a phono input: It has a turntable built sonic's TR-1000P. with a I 1/2 -inch screen. elapsed recording time in the viewfinder, right in! And the turntable offers a conve- This little guy comes complete with an AM/ and the latter actually lets you insert titles nience found in only one home unit (also FM radio and weighs barely two pounds. onto the video tape during recording. made by Sharp) I know of: It can play both including a rechargeable NiCad battery. A If you'd like your VCR and tuner/tim- sides of an LP without the record being combination sun hood and magnifying lens er all in one portable package. consider the turned over. It accomplishes this neat trick takes some of the strain out of viewing. Sharp XA-900. Resembling its multifunc- by means of two lateral -tracking tonearms, Several manufacturers are also apply- tion audio cousin (the VZ-2000). this VHS one positioned on either side of the vertical- ing their considerable experience in minia- recorder is as happy operating from its ly oriented disc. The VZ-2000 also has an turization to video cassette recorders and built-in battery pack as it is running on AC AM/stereo FM tuner and a cassette deck. It cameras. In fact, compared to the new mod- at home. A full -function VCR. the XA-900 operates on batteries and on AC. making it els, even last year's lightweights feel like offers high-speed visual search, full pro- a complete portable entertainment center, boat anchors. In the Beta category, Sony's grammability for time -shift recording, and save for one area-video. SL -2000 VCR weighs in at II pounds. Add solenoid -operated controls. As a compan- While portable audio gear is a perfect a LCH-200 Action Pack shock- and weath- ion to the XA-900, try one of Sharp's own adjunct to summer living, even the most er-proof fiberglass housing (less than one color cameras or the JVC Vidstar GX-44, ardent music lover will sooner or later long pound) and an HVC-2200 low -light color one of the lightest color video cameras for a session with the tube to enliven those camera (61/2 pounds), and you have porta- available today.It weighs just over 21/2 long, peaceful (boring?) summer evenings ble. instant -play home movies. When you pounds, consumes only 6 watts of power by the shore. Indeed, with the advent of get the SL -2000 back home, hook it up to a (for lower battery drain and longer record- lightweight portable video cameras and TT -2000 tuner/timer to create a program- ing time in the field), and is equipped with VCRs, a day's outing can become that mable VCR with a full -function wireless an electronic viewfinder, 4:1 power zoom, evening's entertainmentforthefully remote control. and a macro lens that can focus on objects equipped vacationer. Panasonic upholds the VHS banner in as close as 11/2 inches. Startingwith basics-the TV set portables with its PV -5110 VCR. It weighs Finally comes the Technicolor 334T, a itself-Panasonic currentlyholdsthe just over 8 pounds, and that includes its wunderkind of miniaturization that com- record for the smallest, lightest color porta- pop -in rechargeable battery pack, which bines a color TV receiver with a 71/2 -inch ble receiver. The CT -3311. with its 3 -inch provides 100 minutes of recording time screen, a tuner, and a VCR. all in one com- screen, is a remarkably sophisticated piece when used with a Panasonic low -wattage pact housing. Weighing in at 301/2 pounds, of equipment. To keep things compact, it color camera, such as the PK-802. Said to it uses'/4-inch tape in special cassettes, so it replaces bulky tuning knobs and space - function at lower light levels than any other is not compatible with Beta or VHS decks. wasting channel -selector buttons with a sta- Panasonic camera, the PK-802 weighs just But as a truly portable video system. it's tion -scan circuit similar to the automatic over 5 pounds and comes with a power hard to beat. HF

JULY 1982 35 The Final Touches Our new -equipment coverage for the first half of 1982 concludes with those add-ons and accessories that complete the audio banquet. By Robert Long Consulting Technical Editor

ALOT OF THE FUNof high fidelity-and not by a prototype thatis by far the most els, I was particularly grabbed by the one in a little of the fidelity, if you choose careful- impressive of the new signal -processing the SAE 01 Series. Not only is it a paramet- ly-is in the "extras" that put the finishing hardware. It comes from AR, and it's offi- ric equalizer (a type that I find much more touches on a stereo system. Care prod- cially dubbed the Adaptive Digital Signal useful-though usually much more expen- ucts-for records, tapes, recorders, electri- Processor (ADSP). Its basic intended use is sive-than the usual fixed -band variety), cal contacts, and so on-can enhance the for speaker/room response correction. Like but the electronic controls (which the E- I01 fun, though they're more practical than the automatic equalizers already on the shares with other components in the series) enjoyable in themselves. But signal -pro- market, the ADSP supplies a test signal to make possible a memory bank with ten set- cessing components can be endlessly the speakers, captures their output via a tings for each channel. You can, for exam- engrossing, because you can literally hear microphone pickup, and then analyzes the ple, program it for ten different listening what they do when you turn them on and result and supplies a corrective reciprocal to positions. The controls are activated by adjust their controls. any departure from a presumed ideal. There means of pushbars, and the resulting EQ Listeners who taketheextra step the similarity to past models ends. Thesettings are displayed digitally. beyond a relatively basic stereo system tend ADSP converts the signals flowing through Incidentally, SAE insists on calling it to be exuberant about their processor dis- it to digital form for analysis and correction the 01System(notSeries)in recognition of coveries, and that tends to create an atmo- and then returns them to analog for repro- the unified building-block approach that sphere of faddism around their special inter- duction: because all of the "filtering" is runs through the whole line. Its basic elec- ests. In fact, for the casual observer, the done digitally in the time domain, there are tronics include the P-101 preamp, T-101 aura of add-on signal -processing equipment no RC (resistor -capacitor) circuits and the tuner, and A-201 power amp. Along with may have been tarnished by disappointment usual frequency -domain filtering concepts theE-101, new accessory components stemming from past overstatements by(center frequency, bandwidth, Q, and so include the R -I01 real-time analyzer (a nat- believers. But if you approach a new stereo - on) simply don't apply. In theory, this ural adjunct to the E-101) and the S -10I enhancement device or ambience simulator should give the processor almost infinite timer/switching unit, with a seven-day, ten - or noise filter or dynamic range expander, flexibility in addressing the problems of event memory, four signal -processor loops or whatever, with an open mind-with nei- speaker/room behavior,far outstripping (including tape monitors), four high-level ther the jaundice of the previously disap- even the most elaborate of parametric signal inputs, and switched accessory AC pointed nor the bedazzled credulity of a equalizers in this respect. outlets. convert-you can perceive the real engi- Equalizers of the conventional analog Soundcraftsmen has added two equal- neering achievements and limitations inher- sort, meanwhile, remain the most popular izers, each with ten octave -band controls ent in the device you're considering. (and probably the most useful) form of sig- per channel plus level matching. The $300 It's hard not to be bedazzled, however, nal processor going. Among the new mod- E-2214 includes tape -equalization switch -

Signal Processors These devices are the most engrossing of stereo system "extras," perhaps because you literally hear what they do when you adjust the controls. Approaching them with an open mind will help you appreciate the engineering achievements and technical limitations inherent in each.

16.

VON.11111.111111166..

ADC SA -1 Sound Shaper Spectrum Analyzer Soundcrattsruen AE -2000 Equalizer Pioneer RG-9 Dynamic Processor

II. DBX 228 Dynamic Range Expander Audio Control D-520 Equalizer Kenwood GE -1000 Equalizer

36 I IIGH FIDLLITY ing, while the $650 AE -2000 incorporates Soundcraftsmen's real-time Auto-Scan- Alyzer. Both use the company's Differen- Signal Processors at a Glance tial -Comparator circuitryfor calibration accuracy and optimum dynamic range. Stereo image enhancers The first (and still via a decoder. Demodwators and decoders Audio Control's D-520 equalizer in- among the best) of these fascinating products both work with line -level signals and require corporates two provocative novelties: The to arrive on the consumer market was the extra amplifiers and speakers. Carver Sonic Hologram Generator, which controls for both channels are paired in fre- attempts to make ordinary stereo reproduc- Ambiphonics Developed in England, this quency -band groups for easy matching (or tion more closely approximate the theoretical technique addresses all the points raised so deliberate mismatching) of the two, and the ideal. What theory says is that the left ear far, at least to some extent. Using a multiele- bands are not distributed evenly across the should hear only the left speaker and the right ment single -point microphone,itrecords whole audio spectrum. There are three ear only the right speaker. In practice, how- three signals that contain all the information overlapping control bands in the bass- ever, each ear hears both, the nearer speaker necessary to reconstruct an acoustic event centered at 36, 60, and 120 Hz-with a full slightly before the one farther away. faithfully in all three dimensions. (Quadri- ± 16 dB of boost or attenuation in each, The Carver system works to cancel this phonics ignores the vertical.) This informa- "acoustical crosstalk" by inverting the sig- putting maximum controlinthe range tion can be combined or matrixed in any nals from each channel, delaying them slight- where speaker deficiencies and room reso- number of ways, from mono to multiphonics. ly, and crossfeeding them at reduced level Often it is used as an exceptionally accurate nances most often demand frequency shap- into the opposite channel. Precise cancella- stereo source, though matrixed-quad use is an ing. A treble control, centered on 15.5 kHz, tion can occur at only one listening position obvious alternative. So far,it has received also offers ± 16 dB of shaping, while the and only if the speakers are correctly placed. little aaention here, and the mere mention of midrange control, centered onIkHz, is so that the inverted, delayed and crossfed quasiquadriphonic Ambiphonic adapters limited to ± 12 dB. The $130 D-520 also left -channel signal emitted by the right speak- brings protests from admirers who don't want includes a switchable infrasonic filter with a er and the unprocessed signal radiated by the the system tainted by past quad failures. slope of 18 dB per octave. left speaker reach the right ear at the same ADC, which recently redesigned its instant, and vice versa. When this happens, Equalizers The most familiar of all signal the result is uncannily realistic stereo imaging extensive and popular equalizer line around processors should need no introduction here. at the ideal listening spot and often a consid- Most of the available models are graphic integrated circuits (with "IC" suffixes on erably enhanced stereo effect over a fairly equalizers whose controls raise or lower the the model numbers), has added a real-time wide area. Among the intended effects are a level in fixed frequency bands; parametric spectrum analyzer, the $230 SA -1. Ken - broader stereo spread, more unequivocal models alter the shape and placement of the wood has taken a novel tack by adding an localization of voices and instruments on the frequency bands as well. ambience -enhancement system to a graphic sonic stage, and a greater sense of depth. equalizer with twelve control bands per Noise reduction Most familiar are the so- channel. The $440 GE- 1000 has LEDs on Ambience simulators Sometimes (incorrect- called double -ended types that fully or par- the sliders for a visual display of the fre- ly) called ambience -recovery devices, these tially encode (compress) signals to be record- units use signal filtering and delay to simulate quency shaping plus what Kenwood calls a ed and reciprocally decode (expand) them on the reflections from the walls and ceiling that playback to minimize the noise added by the "dazzling display" at the center of the pan- create the kind of reverberant field one expe- recording process. Among outboard units, el to suggest the delay time for which the riences in a club or concert hall. The first DBX is the most familiar. Dolby B and C, unit is set. home models of this sort were the Sound Sanyo's Super -D, and Telefunken's High For some readers, the most important Concepts SD -50 (based on-bucket -bri- Corn also are double -ended systems. though new equalizer of recent years may well be gade" analog circuits) and the Audio Pulse you're more likely to find them built into oth- the $350 GEM -100 from Superex-the Model One (based on digital shift registers). er equipment than in self-contained outboard first model I've seen engineered specifical- Most later units have used analog delay cir- units. For disc use, there are two systems: ly to address the often horrendous problems cuits, though both techniques are well repre- DBX and CX, each available in both out- sented. Extra amplifiers and speakers (either board and inboard form. DBX discs require of TV audio (though it also includes con- or both of which are sometimes included) are DBX decoding; CX discs are recorded with trolsforpicture enhancement). More required to reproduce the delayed signals at less compression than DBX records and with recently, Superex has added the VAP-3 the sides or back of the listening area. no equalization (DBX encoding does involve Video/Audio Processor, with a four -band some equalization), so that they will sound equalizer, a compander, and a nod toward Ambience -recovery devices The Dynaquad reasonably natural even if you don't bother stereo simulation-all for under $450- circuit devised by David Hafler (then at with a decoder. and the $406 AVE-200, with a similar Dynaco) electrically derives a difference sig- equalizer but no compander. nal (left minus right)-which represents pri- Denoisers The so-called single -ended noise Among dynamic -range expanders, the marily ambient, rather than direct sound-to reducers usually alter bandwidth in response drive side or back speakers. (Some adapters DBX 3BX is certainly one of the most suc- to signal properties, filtering out noise (al- for matrixed quadriphonics have a similar most invariably, hiss only) when there's no cessful. Now a Series Two model brings the setting.) The most familiar embodiment of signal present to mask it but allowing the full price down to $550-more than $200 lower this principle works from a power amp's out- signal (and the noise) through when itis than the current price of the original 3BX. put and therefore requires no additional present. Phase Linear's and Carver's Auto- And new to the company's line of noise amplifiers. correlator circuits are among the most com- reduction units is the $500 DBX 228, which plex in this group; DNR (Dynamic Noise acts as a variable program expander as well. Quadriphonics True quad involves four sig- Reduction), a simple dynamic filter built into Pioneer has reintroduced its RG-2 dynamic nals recorded specifically for reproduction a National Semiconductor IC. is based on a processor in updated form as the $195 RG- over four loudspeakers, making possible the Burwen design from KLH. reproduction (not just the simulation or ser- 9; you can buy a matching reverb amplifier endipitous "recovery") of hall ambience. Expanders These devices are intended to in the $195 SR -9, which is the current Because a normal stereo record will hold only undo (more or less) the compression and lim- incarnation of the SR -303. two channels of information, the other two iting to which so much of the audio we hear If you hanker after a state-of-the-art must either be modulated onto a carrier (as in has been subjected. Noise -reducing proper- SQ decoder, Tetrasound, Inc., is selling CD -4 Quadradiscs) requiring a demodulator ties sometimes are claimed for them on the one based on the Tate IC for $700, includ- for full quadriphonic reproduction, or matrix - ground that low-level hiss is expanded down- ing a remote -control unit. Frankly, I hope encoded ( SQ or QS, usually) into the first two ward along with low-level signals, reducing theywillbe steadfast (and successful) channels and recovered (or substantially so) the audibility of such noise. despite the jeers that any mention of quad -

JULY 1982 37 Headphones The personal portable craze has spawned a flock of very lightweight headphones, some with muting switches that let you instantly decrease the volume. Many more conventional designs are also available.

Pioneer SE -L15

Yamaha YHL-005, YHL-007 Koss Sound Partner Realistic Nova 25, Nova 30 riphonics is sure to bring these days. The you insert patch cords only to alter the set- pair), which differs from the original Inter - avid proquad minority may seem like a up. It will handle sixteen pairs of stereo link cable only in price and the slightly less lunatic fringeto the currently antiquad inputs and a like number of stereo outputs. bulletproof construction of its Phonolink II majority, but I do think quadriphonics as a There are also front -panel provisions for RCA phono plugs. The company also has a medium has been too quickly dismissed temporary Iashups and such niceties as new gold-plated,solid -pin banana plug because of the technical and economic gold-plated contacts.If you're not into called X -Terminator ($25 per pair). Audio- problems that came to a head before its quite such heady territory, you may find the Technica has added a heavy-duty audio expressive potential could be adequately Realistic stereo tape control center (Radio insulator foot (AT -606, $30 per set) for explored. Shack catalog no. 42-2105, $25) handy for equipment too bulky for the AT -605; of CM Labs has added a simple PA/disco connecting three tape decks with each other considerably more interest is a vacuum plat- mixer, the $200 CM -607a. Ace Audio's lat- and with a receiver or preamp, using only ter device-the $275 AT -666 Disc Stabiliz- est is a pair of fixed outboard filters: The one set of tape -monitor connections. Radio er-that uses a hand pump to create a firm 4000b (less than $100) cuts infrasonics by Shack also has added the Realistic APM- bond between disc and platter, even with 18 dB per octave below 20 Hz, while the 300 power meter (42-2104, $50). warped records. And Discwasher has intro- 4100-X24b steepens the slope to 24 dB per While we're on the subject of record- ducedthe Dischandler-a devicethat octave and adds an ultrasonic filter rated at ing, there are a number of new micro- reaches inside the jacket to withdraw the 12 dB per octave above 20 kHz. Rus- phones. Beyer has added a $55 omnidirec- recordsafe from theoils on human sound's boldest venture to date is a modular tionalmoving -coilmodelinthe M- hands. sound distribution system of the sort you 55OLMS (or, without an on/off switch, as Keith Monks has added a middle mod-' would need to wire up several rooms from a the $50 M-550LM) and two electret lava- el, the $1,300 CR-501, to its line of record - single source system. Four different mod- lier models. Sony has introduced several cleaning machines. A company called Nitty ules are available, at $30-$150; system mikes,includingthe $60 FV-7ET, a Gritty has two record vacuums. The older, prices obviously depend on how many and dynamic cardioid with built-in circuitry to Nitty Gritty II, has been reduced to $300, what kinds of modules are used. Also new supply echo andvibratoeffects.And while the newer Model III, which is said to are Russound's VS -2 remote speaker/head- Crown has a lavalier version of its PZM operate more quietly,sellsfor$400. phone volume control ($80) and WD -1 mike for $320, including a belt -mount pow- Among the recent record -care additions are speaker control ($70). er supply. Gruv-Glide, an antistatic, antifriction prep- For switchingline -levelsignalsin Frankly,I've stoppedlookingat aration from Trego Sales; Orbitrac, from complex systems-particularly those of speaker stands, there are so many of them. Allsop,which includesa cleaning -pad recordists or quadriphiles who have a vari- But Audiovisual Systems' Pyramount ceil- device, cleaning solution, and an antistatic ety of outboard units and multiple intercon- ing -suspension mount did catch my eye this mat; and Audio-Technica's TechniClean nection requirements-I don't know of time out. Another interesting variant on a (AT -6015, $25), a manual record -cleaning/ anything else as cleverly conceived as "what, another'?" product category is Disc - antistatic device. Audiovisual Systems' Patch Bay PB-289G washer's high -definition cable for, believe Also new from Audio-Technica are ($850). Internal switches enable you to pro- it or not, video systems. Monster Cable's two plug-in phono headshells, one for gram the system's standard configuration; latest entry is Interlink II ($30 per meter per straight and one for curved tonearms. And

38 HIGH FIDELITY Audio-Technica, Allsop, and Discwasher all have new cleaners for tape equipment. Al!sop's, called the Allsop 3 Ultraline Cas- System Accessories sette Deck Cleaner, has been redesigned to There's an almost endless clean more working surface within a cas- variety of accessories available, sette deck and has replaceable wool -felt with record and tape cleaners cleaning pads. Meanwhile, Fuji has rede- leading the way. Other popular signed its Beta and VHS video -deck head items include furniture cleaners. designed specifically for audio In home -entertainment furniture, Cus- and video equipment, speaker tom Woodwork & Design-a company that supports, signal monitoring and impressed me with its solid oak and walnut switching devices, and record models last June-has added some new ones.There arealso someinteresting mats and clamps. designs from Timberline Products of Bur- Allsop 3 Orbltrac Recording Clean ng System bank. Both make "real" furniture at surprisingly modest prices. New designs are available from the larger companies, such as Soundesign and Gusdorf, too: The latter has an entirely new line called Status Prof!. Bush Industries offers relatively massive, credenza -style pieces finished in oak vinyl, as well as a variety of units in the smaller, more popular formats. A very simple equipment cabinet, almost to the point of stark- ness, is Sansui's GX- 155. Among headphones, the Koss Sound Nifty Gritty Ill Record Cleaner Partner-a lightweight model that folds down to breast -pocket size-has been redesigned somewhat for better transducer/ear coupling and is available as the $35 KSP-

S 1. Pioneer's ultralight headsets have a muting button, enabling pedestrian wear- 2950 Status Pro II ers, for example, to kill the music when they're about to cross a street, just in case. Yamaha, Sansui, and Radio Shack are also among the many companies offering new lightweights appropriate for street wear. Discwasher Capstan 8 Pinch Roller Cleaner There also are some heavyweights. Fostex has introduced four new models. (They are distributed with Fostex speakers, rather than with tape equipment, so shops carrying the latter won't necessarily stock the former.) Cybernet offers a wireless stereo model: The transmitter works off AC lines, while the headset uses two AA cells for power. Beyer-a company that was Keith Monks CR-501 Record Cleaner among the first to offer high -quality stereo headsets-has added the $95 bass -reflex DT -660. And Stax, among the Rolls-Royce Audiovisual Systems Pyramoun: companies in the electrostatic -headphone field, has two electret models: the $100 SR - 34 and the $150 SR -84, also known as the Lambda Junior in honor of the boxy, outside, open -back Lambda "earspeakers" Audlo-Technlca AT -660 Disc Stabilizer that caused a sensation when they were introduced and from which the SR -84 is Realistic APM-300 descended. Auoio Power Meter Of course, there's more. It's just not humanly possible to ferret out all the audio accessories introduced in the tumult of the Consumer Electronics Show. But I have tried to include all of the most fascinating items-the ones that could really change the way your system sounds or the way you Audiovisual Systems use it-plus a cross section of interesting PB-289G Patch Bay variations on the theme of system and record care. Somewhere in this final course Allsop 3 Audio Cassette Deck Cleaner of the audio banquet, you're almost bound to find something appetizing. HF

JULY 1982 39 VideoFronts

Latest video news and products by the Editors designed to let you view 35mm color film negatives on your own TV screen in sharp. accurate color (with the help of an optional film holder). The $1,350 camera also includes a character generator that can create titles of as many as sixty letters or num- Latest photo company to offer home videobers. Other features are an automatic fade- components is Nikon. whose new portablein/fade-out circuit that is said to make stu- system comprises the SV-100 VHS VCR, dio -type dissolves; a Newvicon imaging the S-100 color camera, and ST -100 tuner. tube that is more sensitive than a vidicon, Remote control units and remote powerbut less susceptible to picture lag, or streak- ing; and a built-in electronic stopwatch that sources are optional. The camera is Nikon's can display elapsed time on the scene own design and features an f/1.2 Nikkor 6:1 Toshiba's lightweight (under 41/2 pounds) you're taping. The camera's f/1.4 lens has a power zoom lens with macro capability and high -resolution Model IK-1900 is the first 6:1 zoom ratio and will focus as close as 2 a special focusing screen for improved video camera to use a Nikon lens. The f/1.6 sharpness and color balance at the extreme inches. The entire package weighs just 51/2 pounds. Nikkor power zooms from 12.5mm to edges of the picture. A variety of LED oper- Circle 74 on Reader -Service Card 100mm, an 8:1ratio.Also featuredis ations indicators, including one for the lens Toshiba's Tru Image optical viewfinder, opening, are visible in the viewfinder. The said to provide an image that's accurate in VCR's rapid search speed is ten times nor- color and size. The viewfinder image is mal; the tuner can be programmed for as blurred when the camera is out of register many as four events in a two-week period. and clear when accurate focus is achieved, Introduced recently in Japan, the Nikon eliminating the need for split-screen focus- System is scheduled for introduction in the a Ai ails 67k ing. Price is $995. U.S. by early 1983. Prices have not yet .:77; Mill{ iths Circle 82 on Reader -Service Card been determined. MIIIIIMMINEINEM1111

Fisher has expanded its line of VHS video cassette decks with the $900 FVH-510. The deck has a one-day/one-event timer; two-. four-, and six -hour recording capability: twelve preset channels; an electronic tape counter; and a wired remote control with 6 remote pause. A nonabrasive video head cleaner that can be used either wet or dry is available from EVG, Inc. Priced at $30 (for either VHS or Beta). the Cleanmatic uses special Component video competition getsa cleaning ribbon and fluid in a process called boost with the introduction of Sanyo's Pro- Ribbon Planing, which cleans audio and Ponent models, including the AVM -195 video heads, the capstan, and the pinch 19 -inch video monitor and the AVT-95 roller. Video Control System. Boasting a horizon- Circle 86 on Reader -Service Card tal -resolution specification of 360 lines, the A video processing amplifier that givesmonitor incorporates five electronic pro- you control over color saturation, hue, and cessing systems: a contrast limiter, a black - picture contrast both in recording and play-level compensator, a beam limiter, a white - back is available from Vidicraft, a Portland. temperature compensator, and a comb fil- Oregon. company. The Proc Amp's lumi- ter. The monitor is also equipped with a nance -level control enables you to createstereo amplifier rated at 5 watts per channel fades for smooth transitions and clean edits; and a full complement of input and output it also boosts your camera's luminance out-jacks. The AVM -195 monitor will accept put to improve shooting under low -light signals from a VCR or from Sanyo's AVT- conditions. The $350 processor has a 12- 95 Video Control System. The latter has a A positive -to -negative circuitin GE'svolt battery input for field operation and a seventeen -button infrared remote control; a Model 1CVC-3035E video camerais distribution amp that feeds four outlets. pseudostereo Sound Expander circuit; the

40 HIGH FIDELITY ability to tune105 channels (including power converter permitsL.ornectionto DB= cable midband and superband 1:video house current and is priced at $50. inputs for signals from VCRs. video disc Circle 78 on Reader -Service Card players. video games. and personal com- HOT puters: and RF inputs for broadcast and cable television. The video monitor sells for LINE $600. the control system for $400. Circle 75 on Reader -Service Card 1-800-327-0896 Ext. 2 FOR PRICES ON SONY, JVC, PANASONIC, RCA & other famous Mfgs.

COLOR TV'S

Automatic focusing is providedby means SONY COLOR TV'S SOW HT 1111. SONY .4000 MI9 101

lyt NS SONT alo 11651T5 51 of an infrared cell on the Magnavox Model /T2. rn SONY Ka 15,5 sOHT 192 Z: Viditek's "demand loss" video switcher 8249 color video camera. The $1,300 cam- SOH, KT ,>I SR PIP SONY .v -Minas S sn SON,. 700 is designed to deliver substantially higher era also has an f/1.4 macro lens, a 6:1 two - 53. SOTO av 3,4015 SOSO signal levels than "constant loss" switch- speed power zoom, and an electronic view- BIG SCREEN TV'S SC PPP Its SOOT 50 SOTO S2195 finder. Weight is just over 61/2 pounds. POSSSOOPC C r 4S00 a So10 araTta). 1,95 111T5u9.9 5240 ers. The device is now available as a 5 -inch - TT., SOW HP 5040 $21115 520u0 P.. SOS.. VIP IPS . 5219S 055P yff A00 ASV deep shelf unit (the SB-43D) in addition to Circle 78 on Reader -Service Card PP'. PPS . 52295 ow oleo coo y complolo if. of the original 12 -inch -deep Models SB-43A PANASONIC JVC SC s 95,01 SIM.. Coo .00 PP 0506 .41 pot. and SB-43B. All configurations offer 50 dB of isolation, four inputs (pay TV, auxiliary. VCR. and antenna/cable), and three outputs HOME VIDE (TV -I. TV -2. and VCR). The SB-43D in a RECORDERS RA52155 Vti, wood case is priced at $80: the metal -cased SON 505 501510 15.511115 555 SONY 11 MOO 15. S.RCA 152110 R55 1105 MO 56,1 RCA WI.2010145 Alcoa. 119 SB-43A and B are $60. !VC .a.nsow v., RCA VI1410 5r5 5R5 AFC POW neo 30, 55v 1555110,1 .1 555 139 Circle 80 on Reader -Service Card 5555 IR ITS V., 015511150 VMS AOKI,. 151155C 5135 00, 5540. OYASAR 1.110 RiS 4/5 51111105 IY.55O VMS n011IrtY 05SAR 150 Areress Remo.

9C VIDEO CAMERAS

sin Ts raColi VIO,1100 a.. 0 . saas ITAHASHsC Ps 75, . . UN off/XIS G44-0 IS, P ANASONIC P. p.. Ini RCA CCP. so, P APIA.S.MC . '00 .. 1375 RI, CCO1 SI. JVC G. MU PP. OuSSAPI va >PO yb49

JVC GP.. NYS ofySOP VP A, . lb. 11115005111410 o...a 15111505 540 Coo.... IS A high -isolationlocking switchfrom - .,... ',^C.V.,1, .. ,e , mOusIno..... RMS Electronics can help maintain paren- PORTABLE VIDEO A unique alternating wet/drycleaning tal control over TV viewing whether you're RECORDERS IOW 11.3000 liondom. INCA 51110 OM action SORT 545 ;OW 1.040 21111 MCA Kt 179 MS. Se. is the idea behind the HCC-2002 at home or not. The $23 Model ACS- I4 has 111/5515 5400 OHS 5.5 MIWS. SWIM Ion.. 155005 0115210 v.45 5.5 0OAN21VP.M11vO5 Rau,. 1111 (VHS) and HCC-2003 (Beta) video head two RF inputs, one of which can be locked 15115010C 550 vo,169EanNH 196 OWL. 94,13111. 101 15AC5 555 90, - 996 SOS cleaners from SSK Products. Both models with a key to prevent viewing, for instance. SANTO KM VIDEO TAPES CAR offer full tape -path cleaning and use a during homework hours. Supplied security CSI, V.. Woe by SON, YUJI JVC 111ARELL WYCHE. 11C 11HASOONC STEREOS geared,capstan -drivencleaningwheel. shields help keep little fingers from tamper- SCOTCH a TOO tern.15 Ion. A SONY SANTOS n,1 WO VOW Any, 'SC 172 AUIUMI any ay.. Coll lot Covered by a lifetime warranty, the units ingwiththelocking mechanism. I Ago 51115 ny 1120112. 101061PIKOS sell for $30. SPECIALS

MOD CompoDo borne 5- Circle 81 on Reader -Service Card Moat earls oyobra. Iwo VP IS SOW SAP Obb. **mama $69 S., AAAAAA 1 PVC PC SAV Poo Slam, Sys... PM Vie also carry PANASONIC, AKAI, SHARP, BLAUPUNKT, HITACHI, ATARI, SANYO, FUJI, BRAUN, JVC, ADVENT, end much more. For more Information send for a tree catalog bolomplSf Yoga:woo and enclose 92 00 for postage and handling on = Order by phone or by mail send money or certified check Two week delay on personal checks. when paying by charge include card number and expiration date Shipping charges will be added on to credit card Not responsible for typographical errors Prices subject to change internati9iml

Dust and other airborne contaminantson whole:awn A compact, lightweight quartz lampthat your TV screen can dull the picture-a O OF MIAMI, INC. can produce 30 percent more light than con- problem Bib's new VE-15A Antistatic TVI J866 IPCO ROAD (N E5th AVE I ventional unitsis available from Kapco. Screen Treatment Kit is designed specifi- MIAMI ,FL 33162 For FREE 192 pg catalog send $200 for post- The 100 -watt, 12 -volt portable Model L-20 cally to solve. The cleaning fluid comes in a 2-ge and handling K -Beam sells for $100. For lower batterypump spray container. Price is $8. I drain, a 50 -watt bulb can be used. The LP -3 Circle 84 on Reader -Service Card Name Address 16 NM .11 IN Nil1M lEN JULY 1982 41 Circle 34 on Reader -Service Card HANDS.ON REPORT Hitachi's VK-C1000 Color Video Camera Compact and lightweight, this tubeless camera gets high marks for human engineering. by Edward J. Foster Consulting Audio -Video Editor

COMPACT SIZE and remarkably light weight In the macro position, you use the source. With the standard optics, the iris were the first things that struck me about zoom control (not the normal focusing col- closes down completely whenever power is Hitachi's VK-C1000 color video camera. lar) to focus, and the depth of field is some- off, thus protecting the MOS device. (You For those who have struggled with the often what limited. Nonetheless, you can take still must be careful not to let strong light unbalanced bulk of earlier, more conven- interesting supercloseups if you're careful into the viewfinder eyecup lens, because it tional video cameras, the VK-C1000 is a to provide even illumination. (This can be a can burn key parts inside.) welcome newcomer. Fully equipped with bit tricky, because the camera lens itself In use, the iris automatically controls electronicviewfinder,pistolgrip,and may cast a shadow on the subject. I found sensitivity from 100 lux to 100,000 lux, microphone,itweighs justunder33/4 that the lens shade can be removed by light levels that range from a reasonably pounds-that's 2'4 pounds less than the unscrewing it, giving you a little more room well -illuminated room to bright sunlight on camera I usually use. A couple of pounds to adjust the lighting.) a clear day. A lens cap, connected by a may not sound like much, but when you're Should the Fujinon optical system not short string to the sensor cable so you won't taping something over a period of hours, meet your needs (although 1 can't imagine lose it, protects the lens when the camera is such as a sports event, the lighter weight why), you can replace it with almost any not in use. means that your wrist will be noticeably compatible conventional C -mountlens. The Hitachi VK-C1000 is completely less tired and cramped. However, using another lens disables the modular and can be reconfiguredas A new metal -oxide semiconductor auto iris, so you must be extra careful not to required. For hand-held operation, a pistol (MOS) image sensor, which replaces the overload, or "burn," the image sensor by grip with a permanently attached wrist strap conventional vidicon vacuum tube mostaiming the camera toward a strong light mounts to the base of the camera. Between cameras use to convert light to an electronic signal, accounts for most of the weight and size reduction. The sensor, which is about the size of a postage stamp and the thick- ness of a quarter, is at the focal plane of a very fast (f/ I .4) Fujinon lens with a 6:1 (12.5 to 75 mm) zoom ratio. The zoom can be operated either manually, by manipulat- ing the lever on its innermost collar, or electrically, via a power -zoom button on the pistol grip. Using the latter, full zoom takes about eight seconds. The lens focuses down to approximately three feet and also offers a macro position that lets you focus as close as a half an inch. Unlike the recommendation nor- Instead of a vidicon tube, Hitachi's VK-C WOO cam- mally given with 35mm (film) camera era uses a revolutionary postage -stamp -sized MOS zoom lenses-that you focus at the telepho- image sensor (left). You can take vivid color shots to setting-Hitachi suggests focusing the under low -light conditions (above) with this light- Fujinon optic in the wide-angle position and weight camera (less than four pounds, complete). then zooming out to the desired focal length.

42 HIGH FIDELITY Clockwise from left: Zoom control on pistol grip has telephoto and wide-angle positions: macro lens focuses to 1/2 inch; camera can be operated from remote viewfinder; controls are compactly clustered; LEDs in electronic viewfinder indicate recording, insufficient light (illuminated), and low battery.

the grip and camera fitsa bracket for The electronic viewfinder houses a the camera and, with a portable VCR such mounting the electronic viewfinder, which 11/2 -inch monochrome picture tube and as the Hitachi VT -6500A, turns off the can be placed on either side of the camera to three LED indicators, which are all readily head -drum motor to conserve battery power accommodate lefthanded or righthanded visible through the flip -up eyecup-even to during extended pauses. (Power consump- persons. A short multiconductor cable con- those who wear glasses. (On many cameras tion drops to about 0.2 watts-about 4% of nects the viewfinder to the rear of the cam- this is not true.) The rubber eyecup is over- the normal 5.3 watts-under these condi- era.A telescoping boom microphone sized, quite comfortable, and contains ations.) The switch must be returned to clamps to the top of the camera with a magnifying lens adjusted for best focus on NORM about five seconds before resuming knurled screw, and its cable plugs into the the screen. The leftmost (green) LED is recording to allow the system to stabilize. rear of the main housing. constantly illuminated whenever recording The second switch activates the white - Normally, the undirectional electret is taking place. When the VCR isnot balance adjustment system. In CHECK, a microphoneis aimed forward, but two recording, this LED flashes. The centerdivided image appears in the viewfinder alternate positions, angled 30 degrees to the (red) LED activates when there is insuffi- when you point the camera at a white right and left, make room so you can mount cient light for recording. The rightmostobject. You adjust the white -balance con- an optional camera light (VK-CP70) on a indicator (also red) flashes when the porta- trol to maximize the size of the bright area, clip toward the front of the camera. You'll ble VCR's battery power is getting low. turn the system off, and you're ready to also find a second input jack (the submin- You can operate the VK-C 1000 direct- shoot. If you have a color monitor connect- iature phone type) for an external high - ly from the Hitachi VT -6500A portable, to ed, you can adjust white balance for best impedance microphone; when used, it auto- which it connects via a ten -pin plug with color on its screen. If you haven't time to go matically disables the boom microphone outer retaining ring. For use with a tabletop through a white -balance setup, you can get circuit. A subminiature phone jack drives VCR, an optional (A-C70A) AC adapter is a fair approximation by turning the control an 8 -ohm headset, and a small earplug is required. It powers the camera and provides to one of its four light -symbol settings. The provided with the camera. This is handy theseparate pause, video -input,video - white -balance control compensates for dif- when you want to hear exactly what the output, audio -input, and audio -output ca- ferences in ambient color temperature rang- mike is picking up-and what will be bles used with many home VCRs. (When ing from approximately 3000 degrees Kel- recorded on the video tape. the AC adapter is used, the low -battery vin (for halogen or tungsten bulbs) through The entire assembly mounts on a tri- indicator in the camera viewfinder is deac- 6500 degrees Kelvin (typical of the bluish pod via a standard threaded fitting at the tivated.) overcast on a cloudy day). The symbols base of the pistol grip, but you might find it To prevent excessive power loss, Hita- correspond roughly to the various light more convenient to mount only the camera chi recommends against using extension conditions. head on the tripod and use the viewfinder cables between the VK-C1000 and the bat- While the VK-C1000 mates perfectly remotely. This can be done quite readily, tery -operated portable deck. With the AC with the Hitachi VT -6500A with which I since the camera also has a screw socket on adapter, though, a single 33 -foot extension was supplied, I found it adapted quite well itsbase. The pistolgrip then can be cable (VK-CK6 I E) or two 16 -foot cables to my own Panasonic PV -3100 portable. mounted to the base of the viewfinder (the (VK-CK65E) can be used. This might be The only accommodation required was combination will weigh just about one restrictive in some situations, because the resetting a slide switch at the base of the pound) and connected to the camera via an VK-C1000's own cable is only about six camera to make its recording indicator com- optionalextension cable (VK-CK15V). feet long. patible with the Panasonic system. With this lash-up, the pause and zoom con- At the rear of the camera are the white - I was pleased with this camera's per- trols on the pistol grip operate the camera balance control and two slide switches. One formance, especially under low -light con - and recorder remotely. of these-POWER SAVER-Cuts power to (Continued on page 80)

JULY 1982 43 VIDEO TubeFood

New video programming: cassette, disc, pay and basic cable by Susan Elliott (Check local cable listings for availability Bravo:The Bravo Jazz Festival: Dizzy and schedules.) Gillespie at theStation (Wilkes-Barre, Pa., July Arts Cable Programming 1982). CBS Cable:Call Me Betty Carter(inter- OPERA/STAGED WORKS view/performance).Piano Players Rarely Bravo:L'Enfant et les sortilegeswith Ever Play Togetherwith Isidore "Tuts" Stanislas Beaujin and Gerda Daum (French Washington, Henry "Professor Longhair" Radio Orchestra,1967).Nabuccowith Renato Bruson, Ghena Dimitrova, and Byrd. Allen R. Toussaint (1981). Dimiter Petkov, conducted by Maurizio Pay Service Premieres, July Arena (Open Air Roman Arena, 1981, Verona, Italy). Bravo:The Competition; Tracks; Al- CBS Cable:Carmenwith Grace Bum- fredo,Alfredo(subtitles);The Simone bry, Jon Vickers, Justino Diaz, and Mirella Signore Film Festival(all subtitles);I Sent Freni, conducted by Herbert von Karajan a Letter to My Love, Madame Rosa, The (Vienna Philharmonic, 1968, Salzburg Fes- Confession. Diabolique. tival).La Bohemewith Mirella Freni, con- Home Box Office:For Your Eyes Only; ducted by Karajan (Berlin Opera). History of the World, Part 1; S.O.B.; Rag- SYMPHONIC GROUPS gedy Man: Wolfen. ABC Arts:The Great Orchestras of the Grace Booby as Carmen on CBS Cable Showtime:For Your Eyes Only; History World (documentary/performance, two of the World, Part I ; S.O.B.; Wolfen; High segments):The Chicago Symphony,con- ater).The Creation of a Ballet: The Over- Risk; Serial; The Hand; In God We Trust; ducted by Georg Solti;The Philadelphia grownPath (Netherlands Dance Theater). The Gong Show Movie; Fall Line; Outlaw Orchestra,conducted by Eugene Ormandy Bravo:La Sylphidewith Ghislaine Thes- Blues, Lipstick; Strange Behavior; The Fun (includes an interview with Leopold Sto- mar (Paris Opera Ballet. 1972).Romeo and House; La Cage aux Folles 11; Dr. Zhiva- kowski).Mobile Showcase: The Vienna Julietwith Mikhail Lavrovsky and Natalja go; Royal Wedding; Where the Boys Are; Philharmonic, conducted by Lorin Maazel Bessmertnova (BolshoiBallet.Bolshoi Where the Spies Are. Hot Ticket: The Folk (1980, includes performances by the Vien- Theater, Moscow). MusicReunion (Judy Collins, Kingston na State Opera Ballet).Boston Symphony CBS Cable:Gisellewith Nureyev andTrio,Limelighters, Glenn Yarbrough, Orchestra 100th -Year Celebration withltz- Lynn Seymour (Ballet of the Bavarian State Mary Travers, John Sebastian, The Broth- hak Perlman, Leontyne Price,Mstislav Opera House).Petrushkawith Nureyev and ers Four. Taped at Wolf & Rissmiller's Rostropovich, Isaac Stern, and Rudolf Ser- Noella Pontois (Paris Opera Ballet). Country Club, 2/24/82). kin, conducted by Seiji Ozawa. CHOREOGRAPHER PROFILES The Movie Channel:For Your Eyes Bravo:The Houston Symphony withvio- ABC Arts:Sergei Pavlovitch Diaghilev: Only; S.O.B.; Wolfen; Raggedy Man; His- linist Ruben Gonzalez, conducted by Ser- 1872-1929. Frederich Ashton: A Real tory of the World, Part I; Amarcord; The giu Comissiona (1981).The American.5)711 - Choreographer. Odd Angry Shot; McVicar; Don't Answer phony Orchestra withpianist Leon Fleish- CBS Cable:Merce Cunninghamandthe Phone; Kill and Kill Again; Choices; er, conducted by Comissiona (1981).The Company.May O'Donnelland Company. Falling in Love Again; How I Won the War; Brandenburgs(Nos. 2,5, and 6) performed Twyla Tharpand Company in works chore- Blood Beach; Mystery Island; Rude Boy; by The (92nd Street) Y Chamber Sympho- ographed specifically for video. Mysterious Stranger; Survival Run; Prime ny, conducted by Gerard Schwarz.Bravo COMPOSERS and CONDUCTORS Time; Heaven Can Wait; Foul Play; Para- on Campus: The Northwestern University ABC Arts:Leaf Jandeek. dise Alley; The Music Lovers. Symphonic Wind Ensemble,conducted by Bravo:Georg Solti withthe London John Paynter (1980). Philharmonic (1981). (James)Galway in Video Cassettes CBS Cable:The Vienna Philharmonic Japan (1981). CONTEMPORARY FILMS withpianist Rudolf Buchbinder, conducted CBS Cable:Stravinsky in Russia, Stra- Paramount Home Video:Last of the by Karl Boehm.The Emperor Concerto vinsky in Paris, Stravinsky in America Red Hot Lovers: The Gambler. withpianist Arthur Rubinstein, conducted (three one -hour interview/performance seg- by Paul Kletzki (Orchestre de Paris).Rach- ments). JAZZ/POPULAR MUSIC maninoff Piano Concerto No. 2with Alexis JAZZ and POPULAR SONG Video Images:Showtime at the Apollol Harlem Variety Review(1954, three shows: Weissenberg, conducted by Karajan (Ber- ABC Arts:L. A. Jazz atthe Lighthouse Harlem Merry -Go -Round, All -Star Review, lin Philharmonic). Cafe, hosted by Leonard Feather (three seg- SOLO PIANO ments: Carmen McRae and violinist Subra- Showtime in Harlem); Stars of Jazz(1958, ABC Arts:The Sixth Van Cliburn Inter- maniam; Freddie Hubbard Quintet and thetwo shows:Shelly Manne and his West national Piano Competition5/81(three Milcho Leviev Trio; Jimmy Witherspoon, Coast jazz group, Paul Horn Quintet). segments: first round, semifinals, finals). McRae, theMilcho Leviev Trio,the CHILDREN'S PROGRAMMING CBS Cable:Emil Gilels, Pianist. Ahmad Jamal Trio,Subramaniam, the Paramount:Dragonslayer. DANCE Freddie Hubbard Quintet).Making of a Video Gems:Dunderklumpen (alsoavail- ABC Arts:Adam and Evewith RudolfSong (My Funny Valentine)with Bob able in Spanish);The Magic Pony; Pinoc- Nureyev and Daniela Malusardi (Birgit Brookmeyer, and Mel Lewis and the Jazz chio; The Little Mermaid; Mr. Too Little; Cullberg, choreographer).The Lark As- Orchestra.A Night at Asti'swith soprano Legend of the Northwest; Summerdog; cending(Alvin Ailey American Dance The - Ashley Putnam. Once Upon a Time.

44 HIGH FIDELITY VIDEO Q. &A.

Your most interesting video questions answered by Edward J. Foster

I live in a fringe reception area aimed directly at the transmitter tower toaffecting its characteristics. Coaxial cable Q where I can receive several TV receive the strongest signal. With a wide -is often used as downlead because it is easy channels, but with varying degrees of band unit, a rotor is the simplest way toto install, but its signal attenuation is great- quality. There's no prospect of getting point the antenna for the best reception, er than that of shielded twinlead. cable television, and I don't have the especially if the various stations' transmit- money to spend for a satellite TV antenna ters are located in different directions. A and receiver. Are there any ways to im- single -channelYagi should be aimed VIn what way is a U-Matic VCR dif- prove the quality of the signals that I'm toward the station for which it is tuned; if ferent from a Betamax?-Dwight stuck with so that I can at least record you find that intervening obstacles (such asMoore, Abqaiq, Saudi Arabia some programs on my VCR?-Mark Pol- mountains) deflect the signal somewhat, lack, Shaftsbury, Vt. aiming the antenna at a point slightly away A Sony's U-Matic system, which pre - from the transmitter's "true" directionti dates the development of the Beta- AIf you are looking for some sort ofoften gives excellent results. max, is the standard video cassette format magical black box to install between In addition, the antenna should be high for commercial and industrial applications. your tuner and VCR to clean up a noisy enough to clear all local obstructions. ThisLike Betamax, the U-Matic systemis signal, the answer, I'm afraid, is no. Your may require mounting it on a tower support- designed to use a cassette or cartridge rather best bet is to provide the VCR's tuner with a ed by guy wires, though often simply rais- than the open reels of tape used in most TV stronger signal, and that means installing a ing it an extra twenty feet or so will bring stations. better antenna system. about a dramatic improvement. Once your A U-Matic cartridge is substantially There are three considerations: the antenna is in place, you'll need downlead to larger than a Beta cassette and contains 3/4 - antenna itself, its location, and the cable carry the signal to your set. Unfortunately, inch rather than'/2-inch tape. U-Matic oper- that carries the signal from the antenna tothe more downlead you use, the more the ates at a faster tape speed, too -3.75 ips. the tuner. Since you can receive only a few signalstrengthisreduced.Attenuation That's more than four times the speed of channels in your area, you may get best increases with frequency, too, so more loss Beta II and more than six times that of Beta results by using a separate, individually occurs on the high channels (VHF channels III. U-Matic tape is thicker than the tape tuned antenna for each channel.Such 7-13 and all of UHF) than on the low onesused for Beta cassettes -27 micrometers, antennas, known as Yagis, require individ- (VHF channels 2-6). Open lead (parallel as opposed to Beta's 13, 14, or 20 micro- ual downleads, so you must have somewires separated by spacers) exhibits themeters. The video track is also wider in the means of switching from one antenna tolowest loss of all, but itis susceptible toU-Matic format than in the Beta format. another when you change channels. noise pickup and must be installed at a dis- These design differences reflect a dif- Wideband antennas, which cover the tance from any electrically conductive sur-ference in intended use: A Betamax deck is entire VHF or UHF band, are compromise face. Regular flat 300 -ohm twinlead exhib-strictly a consumer product, whereas a U- designs; they provide less gain than a Yagi its low loss when dry, but attenuationMatic recorder is a professional machine that has been tuned specifically for one increases significantly when the wire is wet offering substantially better performance at channel. Nevertheless, you may find thator snow-covered.Tubular, foam -filledsignificantly greater tape and hardware you can buy a wideband antenna with more twinlead is less subject to such losses, butcost. If you're thinking of getting a U-Mat- gain than the one you're using now, and it like any nonshielded lead, it is still vulner- ic, be advised that the maximum tape length should improve reception considerably. able to noise pickup. Shielded twinlead haslisted in Sony's catalog provides only 60 Stacking two wideband antennas (with the slightly greater attenuation, but the signalminutes of recording time. And you should proper phasing bars) will increase gain by 3 loss doesn't increase when the cable is wet. bear in mind that few prerecorded cassettes dB, giving you a stronger signal. It also has greater noise immunity and canare available commercially in the U-Matic A home antenna should normally be be run near conductive surfaces withoutformat.

Video Discs The Great Muppet Caper; The Return of the RCA: The Kids Are Alright (The Who); Pink Panther; Diamonds Are Forever; Bob Welch & Friends. CONTEMPORARY FILMS Blow Out; The Fog; The Amityville Horror; CHILDREN'S PROGRAMMING MCA Videodisc (laser): The ElectricBig Bad Mama; Watership Down; On Gol- Paramount: Race for Your Life, Charlie Horseman; The Four Seasons; Houseden Pond. Brown. Calls; The Island; Jesus Christ Superstar; Twentieth Century -Fox (laser): Annie Pioneer Video Imports: Rainbow Gob- 1941; Play Misty for Me; Private Lessons; Hall; Autumn Sonata; The Rose: The Sailor lins Story. Prom Night; The Sting. Who Fell from Grace withthe Sea; RCA: Big Blue Marble; A Charlie MGM/CBS (CED): Soylent Green; The *M*A*S*H; The Pink Panther; RagingBrown Festival, Vol. 2; Disney Cartoon Street Fighters; Tarzan the Ape Man. Bull; Brubaker; La Cage aux Folles; Histo- Parade, Vol. 2. Paramount (laser): Apocalypse Now; ry of the World, Part 1. Walt Disney Home Video (laser): The Atlantic City; Death Wish; The Fan; Good- STAGE SHOWS/POPULAR MUSIC Black Hole; The Love Bug; Escape to Witch bye Columbus; Heaven Can Wait; Mommie MCA: The Grateful Dead in Concert; Mountain; The Many Adventures of Winnie Dearest; Ordinary People; Paternity; Pop - Mel Torme and Della Reese in Concert; the Pooh; Mickey Mouse and Donald Duck eye; Saturday Night Fever; Serpico; Sho- Peter Allen and the Rockettes at Radio City Cartoons, Collections One and Two (two gun; Starting Over; Three Days of the Con-Music Hall; Sgt. Pepper's Lonely Hearts discs); Pete's Dragon (two discs); Dumbo; dor; Urban Cowboy. Club Band. Davy Crockett and the River Pirates; The RCA SelectaVision (CED): Annie Hall; MGM/CBS: The Charlie Daniels Band: One and Only, Genuine, Original Family Dressed to Kill; Three Days of the Condor;The Saratoga Concert (stereo); Piaf. Band.

JULY 1982 45 served as principal conductor at the Berlin Court Opera from 1898-1918, the Kaiser's reactionary tastes forbade the premiere of Karl Bohm: Feuersnot in Berlin. The Dresden orchestra was a splendid ensemble by then-equal even to Strauss's demands. Furthermore. removed from the distractions of a restless capital. the city offered a more relaxed The Strauss atmosphere. with an audience consisting mostly of friends and patrons. More impor- tantly. as Strauss recalled. "the critics who came to Dresden were in a better frame of Opera Legacy mind toappreciatethe opera undis- turbed." Much of Dresden's prominence as an The conductor's passing closed important opera center in the early twenti- the book on the Dresden tradition. eth century stemmed from the work of the Austrian -born Schuch. He began conduct- by Bryan Gilliam ing at the Royal Saxon Opera in 1882, four years after it reopened following an 1869 fire, and it soon became a leading house in NEXT MONTH MARKS the first anniversary of son. He never held any official musical post Germany. Impressed by Schuch's "in- the death of Karl Bohm, a conductor noted there, as he had in Berlin, Vienna. and spired leadership." Strauss entrusted him for his interpretations of Mozart, Wagner. Munich, yet Dresden had been the site of with the premieres of Feuersnot, Salome, and especially Richard Strauss. The last liv- nine Strauss opera premieres: Feuersnot Elektra, and Rosenkavalier. ing musician to have conducted a Strauss (1901), Salome (1905), Elektra( 1909). After Schuch's death in 1914. Fritz opera premiere. BOhm was also perhaps the Der Rosenkavalier (191 I ),Intermezzo Reiner took over conducting responsibili- last link to the so-called Dresden Strauss (1924), Die agyptische Helena (1928). ties in Dresden, at a time when the war tradition. Arabella (1933). Die schweigsame Frau caused severe financial problems for the The composer often referred to Dres- (1935). and Daphne (1938). Thus Bohm. opera house. No Strauss premieres took den as his "lucky city." and for good rea-who conductedfirstperformances of place there during the war or even shortly Schweigsame Frau and Daphne. inherited a thereafter. In 1921. Fritz Busch succeeded Bryan Gilliam, a doctoral candidate legacy harking back to the days of Ernst Reiner: he sought to broaden the Dresden at Harvard, is completing a dissertation on von Schuch at the turn of the century. repertoire and conducted the premieres of Richard Strauss's operatic compositional But why did the composer choose Intermezzo and Agvptische Helena. Ac- process, based on the sketchbooks. Dresden in the first place? Although Strauss cording to Busch. "Strauss acknowledged my cooperation as a conductor of his op-

eras . . . with extraordinary, almost extrav- agant, warmth." So pleased was Strauss that he dedicated Arabella to Busch and Dresden Generalintendant Alfred Rcucker. But Busch never conducted the Ara- bella premiere. After the Nazi takeover in 1933, lower -level bureaucrats in Dresden demanded that he either follow their new ideological guidelines or face dismissal, and he chose the latter. Goring, who liked Busch, demanded that he be reinstated, but Busch no longer wanted any part of the Dresden post. According to him. Strauss tried to move the premiere to another city. but Arabella was bound by contract to be performedfirstinDresden. Buschleft Germany just as rehearsals began. now under the baton of his temporary replace- ment, Clemens Krauss. A yearlater,two decadesafter Schuch's death, another Austrian became music director at the Dresden Opera-Karl Bohm. At forty. he was no stranger to the works of Strauss. He knew all of the roles for Rosenkavalier and Ariadne auf Naxos from his days as a vocal coach in Graz, and in1923, replacing an indisposed Hans Knappertsbusch in Munich. he conducted his first Strauss opera. Ariadne, without rehearsals. There followed a steady stream of new Strauss undertakings for Bohm: Rosenkavalier in Munich two years later. Salome in Darmstadt (1927), and Elektra in

HIGH FIDELITY Bohm launched this one -act opera, the second part of a double -bill that opened with Friedenstag,first performed in Munich three months earlier. Bohm never cared much for the prosaic Friedenstag, which "made the entire evening ]in Dresden] much too long." Still, the Daphne premiere was extremely successful, and to the sur- prise of the dress -rehearsal audience, the composer's wife got up out of her seat and planted a demonstrative kiss on top of the conductor's head. Bohm remained in Dres- den for four more years. He often described the 1944 eightieth - birthday celebration for Strauss in Vienna as one of his most memorable conducting experiences. Strauss had been in political disfavor in Germany since the Schweig- same Frau episode of 1935; any official celebration of his eightieth birthday had been forbidden in the Third Reich. None- theless, a semiprivate, unofficial celebration was arranged in Vienna. Aside from Strauss's own performances of tone poems A sketchbook for Daphne bearing Strauss's inscription, "To y dear friend Dr. for radio broadcast, the highlight of the cel- Karl Bahm," November 24, 1938, Garmisch: the opera was dedicated to Bohm. ebration was a special performance of Ari- adne at the State Opera with a hand-picked cast: Irnigard Seefried as the Composer, Paul Sehoeffler as the Music Master, Maria Hamburg (1932). But it was Bohm's first Young Conductor" (c.1922), the older Reining as Ariadne, Alda Noni as Zerbinet- Arabella in Hamburg (December 1933)-composer cautioned that itis not enough ta. and Erich Kunz as Harlekin. Visibly five months after the July Dresden pre- that the conductor alone understand the moved by the performance, Strauss gave miere-that first caught the attention of words; the audience-even in the back Bohm a sketchbook to the opera; he had Strauss. That year Biihm received news that row-must understand them clearly, "oralso given him sketchbooks to Schweig- he had been appointed to succeed Busch. they will fall asleep." What a contrast to his same Frau and Daphne after their pre- beginning with the next season. early Elektra days, when, during a rehears- mieres. A recording of the Ariadne perfor- Biihm's first year in Dresden saw a al for the premiere. he reportedly shouted to mance, taken from the radio broadcast, was significant milestone-the city's 200th per- Schuch from the back of the auditorium: released by Deutsche Grammophon in formance of Rosenkavalier. Strauss himself "Louder. I can still hear Frau Schumann- 1964; since deleted, it recently reappeared had conducted the 100th and now gave Heink!" on the German Acanta label (23 309). Bohm the honor of the 200th, part of the With the Schweigsame Frau premiere, composer's seventieth -birthdaycelebra- BOhm found himself in the midst of a What was it about Bohm's conducting that tion. Bohm required seventeen rehearsals nationalpoliticalscandal.Because the made him such a noted Strauss interpreter? with orchestra, supervised by Strauss. and libretto was written by Stefan Zweig. a He doubtless learned much about opera after the successful performance, the com- Jew, Nazi regulations forbade its perfor- conducting from the composer himself dur- poser declared the final trio to be "just as mance, but Strauss used his influence to ing numerous rehearsals in Dresden, for beautiful as the world premiere." secure permission to perform the opera and they shared a number of conducting traits. The next year. Bohm conducted his suffered the political consequences. The Neither embodied the image of "showman first Strauss premiere. Schweigsame Frau. production "closed" afterfour perfor-conductor"-if anything, Strauss's ges- with the composer supervising the final mances, and the opera was not heard again tures were even more restrained-and both rehearsals.Butrelations between them in Germany until after World War 11. maintained a constant concern for proper were not as relaxed as they had been during Two years later (December 17, 1937), balance between singers and orchestra. Rosenkavalier rehearsals. "It seemed that while Strauss was finishing the score to Despite the younger Strauss's sarcastic call he would get up out of his seat at every Daphne at an Italian resort, he sent Bohm for more orchestra in Elektra, the older wrong note or dynamic," Bohm recalled. the following note: "The Sicilian summer master demanded that the orchestra be more "I would occasionally protest, and Strauss weather here is excellent, and I'm working transparent, allowing for greater audibility would answer: 'But Bohm, you know that conscientiously on Daphne. which will be of the singers, and B6hm consistently hon- one must be able to understand the singer.' " dedicated to you and will hopefully give ored that directive. At one point during a rehearsal Bohm had you a small bit of Christmas pleasure." Birgit Nilsson, who sang the roles of had enough. Holding up the score to the This dedication was not only a token of the Salome, Elektra, and the Dyer's Wife under composer and pointing to a rather densely composer's appreciation of BOhm's BOhm, recalls that "he had a heart for the orchestrated passage. he asked. "How are Schweigsame Frau. but a clear signal that singers, he knew every word that each sing- Miss Cehotari's words supposed to be Strauss wanted him for the Daphne pre- er sang. He understood our strengths and understmid?" After the rehearsal Strauss miere. weaknesses and knew how to make the took the score back to his hotel and made As Bohm remembered, the Daphnemost out of them." numerous orchestrational changes in red rehearsals were less strenuous than those Yet he was equally adept with the pencil. for Schweigsame Frau; the felicitous bal- orchestra. Like Strauss, he elicited a rather Indeed, Strauss's interest in the audi- ance between singers and orchestra waslean, transparent sound. Refusing to wal- bility of text increased as he got older. In his built right into the score, with few altera- low in Straussian orchestral splendor, his "Ten Golden Rules for the Album of a tions necessary. On October 15.1938, (Continued on page 79)

JULY 1982 47 A Tale of Two Tristans Wagner's great work and one of its progeny, by Hans Werner Henze, in two worthy new releases Reviewed by David Hamilton

THOUGH RICHARD WAGNER'S Tristan und researches of biographers and musical Isolde is hemmed in by potent biographical scholars. associations-the Mathilde Wesendonck The tendency of more recent compos- affair, the composer's subsequent flight to ers (and Henze is hardly unique in this Venice where he composed the second act, respect) to supply such information may in the long -delayed premiere in Munich under part represent an attempt, similar to Wag- Hans von Billow shortly after his wife had ner's in Mein Leben, to anticipate later given birth to Wagner's daughter Isolde- researchers and interpreters, to get the facts there has never been any question that the right(i.e.,correct) or perhaps "right" opera stands on its own idealistic integrity (i.e., as the composer would prefer them to of vision and realization. Today, we can be known to posterity). But it surely also hardly hear it without some sense of itsreflects the conditions of contemporary position in Wagner's life-or equally, of musical culture, its Babel of languages and the innumerable successor works (and those aesthetics. Wagner's Tristan, though a rad- not only musical) that have confirmed its ical extension of the musical speech of the3 status as perhaps the most influential art- 1850s and of its expressive potential, was work of the later nineteenth century. Yet offered in a context still relatively stable0 Tristan und Isolde was first presented to the and clearly defined, to an audience that world as an autonomous work; only after shared a common background of musical the premiere did Wagner begin dictating toexperience, and it could with some effort be Hans Werner Henze: fine imagination Cosima the full-scale autobiography withcomprehended in that context. Today, that which he would attempt to pre-empt poster- stable context has been shattered,that The protagonist in much of the forty- ity's image of his life. coherent audience is fragmented. Even old- three -minute work is the piano, sometimes These reflections are stimulated by theer music now requires explanatory program alone, sometimes lightly supported by the concurrent presence of a new and interest- notes-almost as much as new works, inorchestra, sometimes embedded in coming recording of Wagner's opera-the firstfact, for our retrospective repertory nowplex textures of orchestral and electronic since Karajan's of 1972, and soon to be fol- embraces as many diverse kinds of music as sounds. The ebb and flow of the writing, lowed by two more-and the first record- does the output of our contemporaries. incorporating passages more or less aleator- ing of Hans Werner Henze's Tristan, subti- Even without the composer's note, ic alongside firmly phrased, quasi -symmet- tled "Preludes for Piano, Electronic Tapes, even without the title, Henze's Tristan isrical material, is always skillful and involv- and Orchestra," a striking and imposing manifestly no exemplar of Hanslickian ing; several groups of style imitations (in- score that is (in the best sense of the word) "absolute music." Its internal references to cluding a "Burla" that Henze labels "cilia derivative of Wagner's opera and its place Wagner's opera are, however, mostly sub- turca" but to me suggests Mahlerian paro- in cultural history. Henze's Tristan, unlike merged and tenuously pervasive rather thandy) are both apt and distinctive. I am not as Wagner's, comes to the world with a thematically specific: The intervals of the consistently convinced by the electronic lengthy program note by the composer, opera's opening phrases-climbing melod- sounds, which seem less finely imagined encompassing autobiography, composi- icsixths and ambiguous harmonicthan the instrumental ones.Still,atits tional information, and "program" in thefourths-and the distinctive disjunction ofextremes of virtual stillness and of expres- traditionalsense,revealingthe"real - string and wind choirs are often present but sionistic tension, and in transit between world" correspondences of the significantdo not coalesce into direct reminiscence. them, Tristan is a vivid and powerful expe- events of the piece. We might choose to The most explicit quotation, in fact, is therience. No doubt the listener who comes to ignore this, but the suggestion is clear thatopening of Brahms'sFirst Symphony, itwithprior knowledge of Henze's we are expected to apprehend Henze's Tris- which twice intrudes strikingly. Near the music-not to mention Wagner's opera- tan not only with our ears, but in the tripleend comes another kind of quotation: Onwill have a head start at orienting himself framework of the composer's emotional the electronic tape, to the background of a within its expressive universe, but that will and intellectual life, the technical and musi- heartbeat, a child reads some lines frombe only a temporary advantage. The record- cal resources at his command, and a "storyGottfried von Strassburg's version of theed performance, dating from 1975, is thor- line" that is imparted to us before we hear Tristan legend, while the strings play, len-oughly convincing, though some of the the music. Note that while traditional pro- tissimo, the opening bars of Wagner's most finely detailed writing emerges slight- gram music supplied the last of these three third -act prelude. This explicitly nonmusi- ly smudged. elements, the other two were not tradition- cal intrusion forms a brutal but effective ally part of the program and the listeningpunctuation after the main body of theGiven that two further recordings of experience-although they have now been piece, imposing a considerable aesthetic Wagner's opera are soon due (led by Carlos made available in many cases through the gulf before the ensuing musical coda. Kleiber and Leonard Bernstein), there is a

48 HIGH FIDELITY Goodall is the best Tristan conductor on records since Furtwangler.

scorn or sarcasm. There can be more than one kind of Isolde, of course; I have been intrigued, recently, to hear some 1950s Munich performances with Helena Braun-nobody's dream vocalist,to be sure, yet a suggestively feminine contrast to the larger -than -life, Valkyrie -like heroine that has, in the decades of Flagstad and Producer Andrew Comall, conductor Reginald Goodall: firstTristanin a decade Nilsson. by sheer vocal splendor dominated our image of Isolde. As yet, Gray isn't fully strong temptation to put London's Welsh a specific contribution to the change ofeither a human or a demigoddess, though in National Opera set on "hold." Yet this emotional color; each of these contributionstime she may well become a considerable recording,froma(literally)provincial is here given full value. Isolde. One is nonetheless grateful for her ensemble, with a cast in which only the The larger shapes are as compellingly very tangible virtues in this recording and King Mark has any sort of international rep- realized, with particular success in the enor- regretfulthatinthe"Liebestod"she utation,isa considerable achievement, mous span of the second act, its many cli- sounds tired and does herself less than com- worthy of recognition on more than local maxes perfectly prepared and graduated. plete justice. terms. The principal focus of interest -We never feel that anything is being held John Mitchinson, familiar from small- indeed, the recording'sraison d'être-isback, yet thereis no question that the er roles in various recordings of British ori- undoubtedly the conducting of Reginaldreunion of the lovers is the loudest peak ofgin (e.g., Bernstein's Mahler Eighth), has Goodall, the British conductor whose live - all and the other points of structural stress in recent years worked himself toward the performance recording of theRingcycle, are not allowed to overreach it dynamically, Wagnerian repertory. On the evidence of sung in Andrew Porter's English transla- acquiring their weight by other means. The this recording, the move is vocally sound; tion, has won much acclaim. Unlikethe tonal balance of the orchestra yields the tra- his tone has the baritonal darkness that we Ring, Tristanwas recorded in the studio ditionalfirmly -weighted -in -the -bass -line associate with many notable Wagnerians, and in German (although Goodall has since Wagnerian sound, within which the care- though not the brilliance on top that the conducteditwith the English National fully rationed interventions of the heavy greatest of them have achieved. He can cer- Opera in Porter's translation); evidentlylow brass are always made to count fortainly cut the part, and he has learned it Decca/London has hopes of reaching a something. well. As yet, his Tristan is more a service- more international market. Although itis clear that the recorded able than an eloquent performance; like Goodall does not disappoint. He is the balance gives the voices a prominence Gray, he is most successful in the second best conductor ofTristanon records since greater than would be natural in the opera act, while in his big scene in Act III we hear Wilhelm Furtwangler, thirty years ago (An- house, it certainly sounds as if Goodall's neither the massive wounded -animal yearn- gel EL 3588 mono, five discs). Though on principals are adequately equipped for these ing of a Melchior nor the more febrile agon- the slow side (his total timing for the opera notoriously difficult roles. The Scottishies of a Vickers or a Treptow-just an ear- is some fifteen minutes longer than Kara- soprano Linda Esther Gray has a substan- nest and capable tenor. jan's not particularly vertiginous reading), tial, rather darkish voice that (unlike such The Brangane of Anne Wilkens is the Goodall's tempos rarely seem so, for they converted mezzos as Martha Modl) rangessingle most impressive performance in the maintain a steady and vigorous rhythmic above the staff with freedom, if not always set; with a voice similar in timbre to Gray's, impulse and a convincing flexibility. Wag- perfect focus. Now and then, the weight ofshe appears to have more clout just above ner'sarticulationsandtransitionsare the voice apparently leads to a slight flat- the staff and succeeds in filling out her (ad- thoughtfully observed; the rare exceptions, ness, especially in the middle range (e.g., mittedly only one-dimensional) character such as the slowing for Isolde's"wie in the dialogue with Brangane about the more vividly. The Kurwenal, Phillip loll, schmerzte tief die Wunde!" inthe second - potions). has trouble with the divisions in his mock- act duet (markedSehr lebhaftby Wagner) As well as sheer voice, Gray brings to ing first -act song but is reasonably plausible are obviously carefully considered resolu- the role enthusiasm, energy, and a goodthereafter. For all the beauty of tone that tions of contradictory necessities. Dynam- deal of force-but not yet much individu-Gwynne Howell brings to Mark's music, ics are equally precise and meaningful; the ality. This may matter less in the secondhis scene makes curiouslylittleeffect. alternation of loud and soft in the orchestra act, where for long stretches the two lovers Among the small roles, the boyish Shep- at"0 blinde Augen"in Isolde's narrative are more like instrumental voices, strands herd of Arthur Davies stands out. The cho- strongly points up a characteristic musical in the grand passionate fabric of "Tristan- rus is first-class. aspect of her anger. Among the passages und-Isolde." The first act is principally Although theperformance of the that Goodall's shaping makes more elo- Isolde's, of course, and here Gray is-orchestral score is in one sense the most quent than usual is the transition from Kur- well, "gray" would be unfair, but certainly compelling aspect of this recording, I am venal's vigorous"im echten Land, im Hei- less detailed and vivid than other Isoldes on bound to add that it is also problematic, at matland"passage in Act III to Tristan'srecord. She doesn't face down Kurvenal least from the standpoint of repeated hear- skeptical"Diinkt dick das? Ich weiss es with a truly commanding attack at"Herrn ings. No question that the Welsh National anders"-asparsesevenbars during Tristan bringe meinen Gruss,"or imbue Opera has put an enormous amount of skill, which each individual line and chord makesthe references to King Mark with much (Continued on page 80)

JULY 1982 49 Charles Valentin Alkan: The Mahler of the Piano Two significant releases may signal a boom for a great forgotten master. Reviewed by Irving Lowens

IN HIS PREFACE to the great Breitkopf edi- positionaltechnique and what should tion of the collected piano works of Franz become a real Alkan boom, it might be Liszt.Ferrucio Busoni proclaimedthat more accurate today to call him "the Mah- master the equal of "the greatest of the ler of the piano." post -Beethoven composers for the piano: This is not the place to detail Alkan's Chopin. Schumann, Alkan, Brahms." Bu- curious career as a virtuoso and the reasons soni's enthusiasm for Liszt is understand- for his reputation as one of the greatest pia- able. but what was the name of Charles Va- nists of the nineteenth century. Those inter- lentin Alkan (1813-1888) doing on that list ested can consultthefirstvolume of of immortals, penned in 1906? Smith's biography. Alkan: The Enigma Busoni meant what he said, and now, (New York: Crescendo Publishing. 1977); more than three-quarters of a century after the long -promised second volume, discuss- he said it, the average music lover has an ing the music, has not yet appeared. Suffice opportunity to test the validity of his claim. it to say that Alkan rarely performed his thanks to this prodigious recording by Ron- own music; in the 1870s. when he returned ald Smith of what is perhaps Alkan's most to the recital hall after a long absence, his astounding composition, the Twelve programs were replete with such oddities as Etudes in all the minor keys, Op. 39. This Couperin. Scarlatti, Rameau, Handel, W. fantastic work, never before recorded com- F. Bach. J.S. Bach, Clementi, Mozart, plete, occupies 277 pages of score; Smith Beethoven, Field, Weber, Schubert. Schu- plays it in just over two hours-twice the mann, Mendelssohn, Chopin, and Field-a time it takes Vladimir Ashkenazy to play all strange mix during that period. And since twenty-four Etudes, Opp. 10 and 25. virtually no one else played Alkan during Alkan's good friend Chopin. Perhaps an his lifetime, he was banished to the archives even more accurate measure of the scope of after his death as an interesting but inconse- Alkan's accomplishment is the fact that quential composer. Ashkenazy plays the entire Chopin Op. 10 His exhumation by Philipp and Busoni in less time than it takes Smith to play the has already been touched upon. but little single Alkan Etude, Op. 39, No. 8. came of their advocacy. The cause was next But there is much more to Op. 39 than taken up by Busoni's pupil Egon Petri, who mere elephantiasis; much more than "mar- was invited by the BBC to give three Alkan velous sonorities and such difficulties as recitals in 1938-39 to celebrate the 125th reach the utmost bounds of piano playing," anniversary of the composer's birth (and the to quote Isidore Philipp. who was in large fiftieth of his death). Petri's performance of part responsible for preserving the Alkan An elderly Alkali, from an oil by Rulnich the "Symphony" and the "Concerto" heritage by persuading the French publisher from Op. 39 sharply divided the London Costallat to reprint all of Alkan's music. "tough, severe, dramatic music, utterly critics, and the coming of the Second World long unavailable, at the turn of the century. unlike anyone else's" (Stanley Sadie. Lon- War in 1939 plus Petri's subsequent poor Kaikhosru Sorabji, that eccentric composer don Times): "as much of his best music is health put an end to the premature Alkan of fantastically demanding piano music, almost unplayablydifficult,itiseasy revival and to the possibility of any Alkan wrote of Alkan's Op. 39 in 1932: "These enough to see why he has never received his recordings. There is no record of any com- amazing works place him among the great due as the most original composer for the mercial 78 -rpm disc of Alkan's music. masters of piano music . . . theprodi- piano of his century" (Roger Fiske. Gram- Smith was thefirst of the pianists gious, teeming richness of invention, the ophone). active today to fall under Alkan's spell, vivid originality, the very individual har- It's true. Having heard the "Alkan though not the first to record him. In 1960, mony, the superb mastery of these works Project" (as Arabesque dubs its American Smith was invited by a small British label. cannot be too highly admired." And if you release of this 1978 HMV issue) and Just Triumph Superfi, to record Alkan (includ- questionthe judgment of Sorabji,an about every other Alkan piano recording in ing the "Symphony" and the "Concer- acknowledged oddball, here are the reac- or out of print. I must concur. Aided by a to"), but before he could do so, the firm tions of a few hardboiled professional crit- few prescient. technically equipped pianists went bankrupt. Shortly thereafter. Ray- ics to their first hearing of part of Alkan'ssuch as Smith. Alkan's time has come. In mond Lewenthal appeared on the scene; he Op. 39 in the 1960s: "Some of the writing the past. aficionados, following the lead of played a sensationally successful Alkan is prophetic, some of it is inspired, all of it Hans von Billow, often referred to Alkan as recital in Town Hall in 1964 and another the attests to a remarkable imagination" (Har- "the Berlioz of the piano," and with good next year in Carnegie Hall. This inspired old C.Schonberg, New York Times): reason. Yet in the light of his unique com- RCA to bring out a disc (LSC 2815,

50 HIGH FIDELITY deleted) that included, among other works, ning almost exactly a half-hour. This is fol- nificently and sweeps the field.Neither the thirty -minute "Symphony" in a fine lowed by an even more astounding concep- Ponti nor Lewenthal approaches the power performance. Smith's turn to record finally tion-a three -movement concerto for pianoof his interpretations. Sonically, Arabesque came in 1969, when EMI released, first, an without orchestra which may well be the easily outclasses those RCA and Candide anthology of short works (HQS 1247), longest work in the solo piano literaturerecordings, now more than a decade old. exhibiting Alkan's genius as a miniaturist, aside from Sorabji's Opus clavicembalisti- There is some slight challenge in Ogdon's and shortlythereafter,the "Concerto" cum. The score is 121 pages long; the firstperformance of the "Concerto" and in (HQS 1204). movement alone, which takesthirty Ringeissen's performance of the "Scherzo In 1971 came the flowering. A new minutes to play. runs seventy-two pages diabolico" -at least in terms of virtuosity, Alkan convert was revealed with John (1,341 measures). Smith goes through the and in Ogdon's case, in terms of poetry. Ogdon's recordingof the"Concerto" Concerto in fifty-two minutes. Unfortunately, Ogdon's engineering (in the (RCA LSC 3192, deleted). Meanwhile, late Here Alkan attempts the nearly impos- American RCA pressing at any rate) is quite in 1969, the French music publisher Heugel sible-to portray the solo piano and orches- inferior.I would very much like to hear had issued a collection of Alkan's music tral roles found in a concerto or, the piano what Ringeissen can do with some of the edited by Georges Beck, which was fol- other etudes; it is a pity that he has recorded lowed (also in 1971) by a Harmonia Mundi only No. 3. Smith's earlier version of "Le recording of selections from that album, Festin d'Esope," performed on a c. 1855 beautifully played by Bernard Ringeissen Erard piano (Op. 39 was publishedin (Musical Heritage MHS 1344). In the same 1857). is fascinating-in some ways even year. Lewenthal recorded a selection of more convincing than his performance on a short Alkan pieces for Columbia (M 30234, modern piano. deleted) and Michael Ponti tackled eight of The added entries on the sixth side of the twelve Op. 39 Etudes for Candide (CE the Arabesque album arc considerably more 31045). than mere fillers. The "Trois Petites fantai- Thereafter, it was all Smith. Around sies," Op. 41. published in the same year 1972, he recorded a number of selections. as the Etudes, Op. 39. are "petite" in including Op. 39, No. 12, on two mid -nine- somewhat the same sense asRossini's teenth-century pianos, a Schneider and an Petite Messe solennelleis;the set runs Erard (Oryx 1803; released here by Musical about eighteen minutes and is hair-raisingly Heritage as OR 174. deleted), and in 1974, difficult,quirky, and quite bewitching. he recorded the Grande sonate, Op. 33, "La Chanson de la folle au bord de la mer" another of Alkan's Himalayan peaks, for ("The Song of the Madwoman on the Sea- EMI (HQS 1326). Finally, in 1978, came shore") does more than illustrate Alkan's the album under review. penchant for peculiar titles-it is a mes- merizing etching in sound of a Hoffmann- Before discussing the recordingitself. esquely wild scene. And the "Allegro bar- some description of the amazing nature and baro,'the obvious inspiration for II:ma's proportions of Op. 39 is essential for the piece by the same name, is a fierce study in reader to comprehend the magnitude of octaves composed in the Lydian mode, one Smith's achievementinmastering and Ronald Smith: a prodigious recording of the best numbers in Alkan's companion recording the entire set. In his regrettably set of Douze Etudes dans les tons majeurs, truncated jacket note, he concedes that alone-and succeeds beyond belief. "The Op. 35-a true etude. "this formidable cycle must . . . have solo piano part resembles that of a Chopin. My one cavil in regard to the "Alkan grown-rather like Frankenstein's mon- Moscheles. Hummel, or Weber concerto Project" has to do with its totally inade- ster-far beyond the confines of its cre- with emphasis on delicate filigree patterns quate jacket notes. In introducing such an ator's original intention. Containing, as it and brilliance of alightsort Cie jeu exotic and little-known composer as Al- does, a sizable 'Overture,' a monumental perle' )-in other words, the solo piano is kan-and for many, this set will be a genu- 'Symphony,' and a titanic 'Concerto.' the the 'ornamenting' factor," wrote Joseph ine revelation-it stacks the deck against term 'study' must seem singularly inappro- Bloch of this work in 1941. "The orchestral composer and performer to skimp on words priate unless one considers these works as part is represented by the massive chords of and pictures. That's being penny-wise and studies in the pianistic translation of orches- which Alkan is so fond, by the characteris- very pound-foolish. The attempt should be tralsonorities.As such,theystand tic orchestral trills and tremolos, and by a to get the potential listener to spin the disc alone. . . ." Only Op. 39, No. 1.an variety of brass and timpani effects. Also, and hear the music, and that takes a bit of incredibly difficult study in velocity and the orchestral part reveals a constant inter- doing. Arabesque should have tried harder. feathery lightness, can be considered an weaving of separate lines, whereas the solo etude in the Chopin-esque sense, but can piano is almost entirely homophonic." Though Alkan was primarilya composer you imagine a Chopin etude that is twenty- Number II, a complex of studies in of music for the piano, that instrument did one pages long? No. 2"in Molossic chords and double notes running to twenty- not monopolize his attention to the exclu- rhythm" (6/4 meter, to the uninitiated) is nine pages and "unified" byitstitle sion of all else. In 1857. the same year that full of heavy sonorities and piquant disso- ("Overture"),isprobably the weakest saw the publication of Op. 39 and Op. 41 nances-an altogether fascinating piece in piece, musically, in the set. The final etude(annus mirabilis! 1, the Grande sonate for the form of a rondo, driven inexorably for- comprises a theme and twenty-five varia- cello and piano, Op. 47, also appeared. ward by an insistent metrical pattern. The tions-an undoubted masterpiece that has Although dedicated to one James Odier, it "Scherzo diabolico." No. 3, the shortest been compared to Brahms's Handel Varia- was first performed by the greatest French piece in the set, almost sounds like a sketch tions and Beethoven's Diabelli Variations. cellist of the day. Auguste -Joseph Franc- for Liszt's Mephisto Waltzes, or an eccen- Here. Alkan-esque grotesquerie and imagi- homme, with the composer at the key- tric Chopin scherzo. nation reach their height, and some scholars board. The piece turns out to be one of The next four etudes comprise a full- consider "Le Festin d'Esope" his finest Alkan's most personal and perfervid com- scale symphony on Beethovenian lines- achievement. positions. The cellopartisbeautifully but for piano rather than orchestra-run- Smith stands up to his colleagues mag- (Continued on page 80)

JULY 1Q52 51 CLASSICAL Reviewed by: John Canarina Nicholas Kenyon Reviews Scott Cantrell Allan Kozinn Kenneth Cooper Paul Henry Lang R. D. Darrell Irving Lowens Peter G. Davis Karen Monson Kenneth Furie Robert P. Morgan Harris Goldsmith James R. Oestreich Matthew Gurewitsch Conrad L. Osborne David Hamilton Andrew Porter Dale S. Harris Patrick J. Smith R. Derrick Henry Paul A. Snook Joseph Horowitz Susan T. Sommer

heard more violinconcertos than you have") encountered here. It's too bad when gifted musicians like Kremer and Schnittke become so bored by the great masterpieces that they begin to seek out perverse ways of making them "interesting." And it's even sadder when cynical critics and gullible audiences roar their collective approval of such antics, as happened at a recent New York performance of Vivaldi's Seasons, which Kremer distorted with garish dynamics, cat -and -mouse tempo changes. and for a final indignity, a second movement of Winter played twice too fast and trampled by stampeding fortissimo pizzicatos. Gidon Kremer plays Beethoven: a prim and proper performance-but for the graffiti Not that it really matters, but Beetho- ven's first edition is followed at two points in the first movement: Kremer plays one phrase an octave higher in the G minor sec- ny. a schnittke of the Brahms violin concer- tion of the development, and cellos and ALKAN: Piano Works; Sonate de to, two schnittkes of Shostakovich's Op. concert, Op. 47-See page 50. basses omit their customary answers to the 99, and some indeterminate rumblings that bassoon in the coda. The digital recording are, I suppose. meant to suggest the Sibe- is compact. clear as a bell, and beautifully BEETHOVEN: Concerto for Violin lius concerto-all, of course, played to a balanced. H.G. and Orchestra, in D, Op. 61. humDRUM accompaniment. (I may have Gidon Kremer, violin: Academy of St. missed a few more goodies while I was COPLAND: Appalachian Spring (orig. Martin -in -the -Fields. Neville Mariner, cond. sulking.) Schnittke's second -movement in- version); Music forMovies. PHILIPS 6514 075, $12.98 (digital recording). trusion is an ungainly transition that not Tape: 7337 075. $12.98 (cassette). London Sinfonietta. Elgar Howarth, cond. only gives away the impending Rondo, but 'Chris Hazel!. prod.] ARGO ZRG 935, $10.98. The title page of this concerto's manuscript compounds the gaffe by trying to undo the COMPARISONS-Appalachian Spring: contains an enigmatic. multilingual pun- damage. (Presumably, the earlier bit of Copland (complete) CBS M 32736 the inscription "Concerto par Clemenza P.D.Q. Bach -like musing in that movement Davies (suite) Sound 80 DLR 101 pour Clement." Franz Clement, of course, isKremer's own doingratherthan The only direct competition to this Appala- was the virtuoso who gave the work its pre- Schnittke's.) The Rondoissimilarly chian Springisthe composer's1973 miere. Beethoven had good reason to plead blighted with an upstart appendage that still recording. from which we learned two for clemency from a soloist who sight-read seems obsessed with the first movement: it things: (I) The piece in its original scor- his part at the concert and entertained him- rants, raves, begins to throw things at the ing-for flute, clarinet, bassoon, piano, self (his audience, too, regrettably) with an music (those damned timpani again!), and and nine strings (increased to eleven in the improvised fantasy between movements- even fails to heed Beethoven's orders to recording. with the sensible addition of a played on one string with the violin held cease and desist. It finally has to be hand- third player on each violin part)-has an upside down. cuffed and taken away. intimacy and instrumental glow even more Atleast Clement had the good These graffiti are blithely superim- haunting than the familiar full -orchestra manners to wait for the first movement to posed on a prim and proper performance. version.(2) The eight -minute "insert" end before indulging himself. No mention played in dainty fashion by a finely adjusted before the final tutti statement of the "Sim- is made of the cadenzas played on that occa- chamber orchestra and aviolinist who ple Gifts" tune as we know it from the suite sion, but they could hardly have been more seems to think of Beethoven's lyricism is by turns chattery, grumpy, and spooky- intrusive than the disastrous ones by Alfredcoolly, as just so much bourgeois formal- wonderfulstuffthataddsyetanother Schnittke that Gidon Kremer (a kind of lat- ism. The approach I can accept: the caden- dimension to the piece. ter-day Clement) plays on this recording. zas I cannot. Unlike the Copland recording, which The first -movement cadenza begins by I am not heartbroken to miss an ump- split the 32:26 Appalachian Spring over picking its way incoherently through the teenth rendition of Kreisler's adornments. two sides (adding a seven-inch rehearsal expected materials, but suddenly we get a But I decidedly prefer their kind of clever- disc as a bonus), this new one fits it on one schnittke of Beethoven's Seventh Sympho- ness to the smart -aleck kid stuff ("I have side. If you're tempted by the resulting con -

52 HIGH FIDELITY tinuity and/or by the coupled Music for You'll have to weigh all these cou-GLASS: Glassworks. Movies, buy with confidence. The perfor- pling (or no -coupling) options for yourself. Philip Glass Ensemble. Michael Riesman, mance is lovely, and the full, clear sound Music for Movies (1942), a five -movement, cond. (Kurt Munkacsi and Philip Glass, prod.] complements it nicely. sixteen -and -one -half -minutesuite drawn CBS FM 37265. Tape: FMT 37265 (cassette). The composer's performance is better, from the scores for The City, Of Mice and [Price at dealer's option.] though. Returning to it and then checking Men, and Our Town, is a minor but charac- As a longtime supporter of the musical aes- the timings, I was surprised to find that the terful work that seems perhaps under - thetic that has come to be known as "min- British performance actually runs twenty- characterizedinthis performance- imalist.."IwishI could muster greater one seconds longer.It sounded quicker, "Threshing Machines" sounds rather likeenthusiasm for Philip Glass's initial CBS which impression I attribute to the London noodling chinoiserie. Logically, if you care offering. While it is encouraging that CBS Sinfonietta's tendencytoglide over enough about Copland's film work to want has shown the foresight to sign this impor- phrases. In contrast, the distinguished solo- Music for Movies, you would in any event tant composer to an exclusive contract- ists who made up this incarnation of the want the composer's recording (M 33586, hell, that any major label has made any "Columbia Chamber Ensemble," in par- which I haven't heard), coupled with The investment in any living composer-the ticular the wind players, bring more person- Red Pony and several short film -related fact remains that Glassworks is the least ality, more imagination, more flair to their pieces. interestingrecording Glass hasever parts. The CBS recording also places more The conclusion we seem to be heading made. emphasis onindividualinstrumental logically toward is a straight Copland/CBS A collection of six short pieces for strands, to excellent effect. ticket. Which shows how little logic has to winds, piano, and abbreviated orchestra, it To confuse matters further, there is do with anything. I know I have no inten- has none of the fervor, intensity, and aus- also Sound 80's splendid recording, by the tion of giving up any of the chamber -scored tere formal beauty that mark the composer's St. Paul Chamber Orchestra under Dennis Appalachian Springs. Still, the CBS is spe- best work. Indeed, the album seems half- Russell Davies, of the suite in the original cial, and I hope that current pressings arehearted and cynical-a calculated attempt chamber scoring. The performance, while better than the noisy originals. The Argoat expanding Glass's already large audi- not as radiant as the CBS, is more so than disc not only sounds good, but is physically ence. This bid for mass accessibility is both the Argo. Point (I). then, is well taken care top-notch. degrading and self-defeating;itisalso of, but not point (2), the "insert" of course Need Iadd that none of the above unnecessary, for Glass may already be the not figuring in the suite. On the other hand should be taken to suggest that the full - most commercially successful composer in (yes, yet another hand), the flip side of this orchestra -suite form of Appalachian Spring the world. disc offers Ives's chamber -orchestra reduc- is other than basic -repertory material? If He is. or course, much more than that. tion of Three Pieces in New England-an you're in the market, the Bernstein record- Though one may marvel that any modern intriguing variant, if no substitute for the ing in any of its couplings or either Copland opera-let alone one with a libretto in San- full -orchestra original. version will fill the bill. K.F. skrit, no love interest, and minimal stage

AURAL TIFICATION.autosound. forperfect by Ten. G yourpassion sterecsystem Satisfy car 8 watts -Wizard.hgh-Performance incredible TheMin packed an impressive ultimate chassis is Arid an It's the equalizer. eventhe sup graphic toplease In Its isfive-band features Adynamic of power. state-of-the-art extraordinary arrayof audiophile. by Ten. to mostdemanding to beperfect Mini-Wizardguaranteed. It has Pie ,(Wand satisfaction, Canada In.. Noiesco Sound In Canada , Ai,ierii-a OF OF AMERICA CA 90502 ( Drive, loirance. InTEN FUJITSU TENGateway TEN Ltd0192. 19281 Pacific by Fujitsu Manutactut?d CLASSICAL Reviews action-can sell out I 1,0(X) seats within a Both the start and-potentially more con- week, as Glass's Satyagraha did in New troversial-the finish of the series are yet to York last fall, statistics do not tell the whole come. story. For Satyagraha is a masterpiece. a Volume 2 confuses the chronology work possessed of an elevated serenity. slightly, for these arc only the Salzburg penetrating grace. and gentle force most products of the years in question; the Italian uncommon in this anxious, secular era.It symphonies written on journeys during the richly deserved the ecstatic press it received same period are not included. This distinc- and would have been a perfect vehicle with tion seems rather misleading, since Mo- which to launch the new Glass/CBS part- zart's style shows a combination of Austri- nership. an and Italian influences at this time, and By any standard. Glassworks is a poor someItalianatethree -movement pieces substitute. Mind you, there are attractive were actually written in Salzburg. But the moments, particularly the melancholy "Fa- Academy's decision to separate the two cades." which features some soulful saxo- types probably concerns performing forces, phone playing from Jack Kripl. There are which were different in Salzburg and Ita- also some vigorous exercises in Glass's ly. standard tonal,repetitivestyle. one of There is some entrancing music in this which ("Floe") incorporates a quotation volume (including sinfonias from the early from Sibelius' Fifth Symphony. Glass's dramatic works), but the Academy's per- performers acquit themselves with distinc- formances haven't acquired enough charac- tion throughout. articulating the fiendishly ter and subtlety to reveal all the delights. As strenuous arpeggiated passages with appar- before, some symphonies go splendidly: Wolfgang Sawallisch: vital Schumann ent ease. The G major, K. 110. has a good. bouncy But although Glassworks may well flow in the first movement and a deft treat- instrumentaccount. The Haffner slow prove to be the popular success CBS is ment of the expressive flat intervals in the movement is a little plodding and uninter- obviously banking on,I can't escape the Andante. The relaxed two-part opening ofesting, and even the last movement lacks feeling that Glass is talking down to histhe A major, K. 114. is nicely captured, some tension. But the opening Allegro con audience. Rock buffs will enjoy the rhyth- with fine horns in the same movement. But spirito (preceded, for reasons I don't fath- mic vitality and modular repetition: jazz afi- then flutes are out of tune in the Andante, om, by a little march) is electrifying, quite cionados will appreciate the virtuosic char- and the final movements have a number of the best thing in the series so far: Attack, acter of the solo writing; and one can even rough moments. Rhythms are often lumpy, tuning, blend, clarity, and lyricism are all imagine a "beautiful music" radio station especially in the minuets (sometimes inter- perfectly matched, to thrilling result. programming the rather saccharine "Clos- minable with all their repeats). and the slow My dissatisfactionwiththeduller ing." Yet too many listeners investigating movementsstillsound unphrased. The moments in these boxes grew when I heard Glass's music for the first time and findingopening of the Italianate C major. K. 128, the rough-hewn liveliness of L'Estro Ar- only pristine safety will wonder why such a is rather plodding, not at all maestoso, and monico's original -instrument performances fuss has been made over him. There are there is some sloppy attack in bar 9; the of Haydn symphonies (Saga Haydn 1, 2). solid reasons for said fuss. angular violin sweeps in bars 39-41 could Let's hope the Academy throws caution to Sarvagraha, please. And quickly. sound far more plangent on the period the wind in its account of the great final Tim Page instruments. (Here, as often, one feels that trilogy. N.K. an easy approach to getting through the music has prevented the taking of risks with SCHUBERT: Octet for Strings and HENZE: Tristan --See page 48. unusual sounds and articulations.) Yet the Winds, in F, D. 803. Andante of this symphony and the whole of Vienna Philharmonic Octet.[Werner MOZART: Symphonies: Vol. 2, Salz- its companion in G major. K. 129, arc real Mayer, prod.] DEUTSCHE GRAMMOPHON 2531 burg, 1766-72*; Vol. 5, Salzburg, successes, especially in the sections allo- 278.$10.98. Tape: 3301 278. $10.98 (cas- I775 -83t. cated to soloists, for they play with poise sette).Chambcr Music Society of Lincoln Center. Academy of Ancient Music; Jaap Schro- and character. [Nathan Kroll, prod.] MUSICAL. HERITAGE SOCI- der. violin and dir.; Christopher Hogwood. harp- Much the same comments could be ETY MHS 4467. $7.75 ($4.95 to members). sichord and dir. [Peter Wadland* and Morten made of Vol. 5, except that here we are Tape: MHC 6467, $7.75 ($4.95 to members). Winding.prod.] OISEAU.LYRE D 168D3*, dealing with some indubitably great music. [From BOOK -OF -THE -MONTH RECORDS 30-5253, $32.94 (threediscs, manual sequence), D In the earlier of these works, one can regret 1978.] (Add $1.60 for shipping; Musical Heri- 171D41'. $43.92 (four discs, manual sequence). the slightly limp Andante in the G major, tage Society. 14 Park Rd.. Tinton Falls, N.J. Tape: K 168K33*, $32.94 (three cassettes). K K. 318, or the rather wet account of the fine 07724.) I 71K441' , $43.92 (four cassettes). COMPARISON: Symphonies: in C. K. 35*; in D. K. 38*; finale of the D major, K. 250. But most St. Martin's Acad. Ens. Phi. 9600 400 No. 9. in C. K. 73*: in F, K. 75*: in D. K. 100*; people will probably buy this box for the No. 12, in G, K. 110*; No. 14, in A, K. 114*; in Linz and Haffner Symphonies. How do they Perhaps no single work is better suited to D minor, K. 118*; No. 15, in G. K. 124*; No. fare? In brief, brilliantly in the large-scale wean symphonic listeners away from the 16, in C, K. 128*; No. 17. in G. K. 129*; in C, movements, less happily in the slow ones. theatrical thrills of large-scale orchestral K. 2081% in D. K. 250$; No. 32, in G. K. 318$; The Linz Andante is very loud and unsub- works to the quieter rewards of chamber No. 33, in B flat. K. 319$; in D, K. 3201'; No. tle, without much grace. The sharp -edged music than Schubert's octet for strings and 34, in C, K. 338$; No. 35, in D, K. 385 (Haff- impact of the first tutti in the finale is mar- winds. It provides an appropriately scaled ner)t; No. 36, in C, K. 425 (Linz)t. velous,however, and that movement and colored way station on the road to still The Academy of Ancient Music's widelyswings along infectiously with perky wind smaller mixed ensembles and eventually to discussed Mozart symphony cycle is ex- solos in the development (brought forward string quintets, quartets, and trios. And of panding outward from the center: Afterby the engineers?). Very noticeable both course, not only is it intermediate between Vols. 3 (D 169D3, May 1980) and 4 (Dhere and in the Haffner are the sharpness the presentation of a wealth of orchestral 170D3, June 1981), we now have earlier and clarity of the sforzando and fp mark- timbres and sonorities and the purity of works in Vol. 2 and later works in Vol 5. ings. quite unparalleled in any modem - small string or wind "consorts," but it radi-

54 HIGH FIDELITY ates unique and irresistible Schubertian enjoyed a steadily successful career, mostly illinoii audio magnetism. in Europe and lately in Japan as well, with There have been many fine recorded only very occasional American appear- performances in the past (this is music dif- ances. These EMI -derived Schumann re- ficultnotto play well), but the two present cordings date from 1973; that they have tak- versions have only moderate appeal at best. en nine years to reach these shores is our One follows a long line of readings in the misfortune. dominant "Viennese tradition"; the other Admirers of the late Rudolf Kempe represents current chamber -ensemble activ- should respond equally to Sawallisch. Here ity by leading New York performers. The are the same feeling fora work's basic pulse former stresses,in both executant and and architecture, the same unfailing integ- recording characteristics, euphoniousGe- rity that presents the work in the best pos- money mutlichkeit; the latteris cooler in both over- sible light, without fuss. muss, or surface time all approach and individual tonal and phras- glitter but with the greatest musicianship SAVE freight ing differentiations. and vitality.Infact, here are the same Between them, the choice is easy. orchestra and production team with which AKAI CASSEIIE DECKS Except to devout fans, the Lincoln Center Kempe made his superb Strauss series, with YODELCSF-33R AUTO -REVERSE DK $244.00 versionwill seem routinely competent the same magnificent results. MODELCSF-14 NEW DOLBY!! B & C 138.00 score -reading, largely devoid of any keen Worth the price of the entire set is the MODELGXF-31 COIFUTER CONTROL 198.00 RhenishSymphony and ADC SOUNDERAFER EQUALIZERS sense of personal involvement -at least disc containing the MODELSS -110 IC NEW EQUALIZER $150.00 until some genuine enthusiasm is mustered ManfredOverture; some single records of MODELSS -2 IC - 12 BAND EQ 217.00 for the final Allegro. That's not to say that extremely ordinary performances aren't all MODELSS -3 IC - TOP OF THE LINE 329.00 there aren't some things to enjoy -notably. that much cheaper. The symphony's first DUAL TURNTABLES - LOW MASS UNITS! Richard Stoltzman's always admirable clar- movement, buoyant, energetic. and briskly MODEL 508 BELT DRIVE, SEMI -AUTO$ 99.00 MODEL 608 SEMI -AUTO DIR. DRIVE 129.90 inet playing, and Robert Routch's horn paced. has irresistible verve and electricity WRITE OR CALL FOR ALL OTHER OVALS!!!!!! part, tonally brighter than the gruffer qual- from first note to last. There is nobility to JVC ELECrRONICS - DEOCS - ETC. ityof his Viennese counterpart, Franz Sawallisch's shaping of the Scherzo (not a MODEL 0-04 SUTERBUY DECK $180.00 Sollner. And the American recording is true scherzo, after all), and his third move- =Km(FC5) CCRIFLETE SYSTEM 349.00 admirably clean, open. and ungimmicked. ment shows tasteful flexibility. He sustains WRITE FOR NEW '82 AND '83 MODELS On the other hand, the Viennese players are the solemnFeierlichsection with great ten- KENICOD DEALS - WRITE FOR OTHER MODELS! much more familiar both with the score sion at a fairly deliberate tempo, and the MODEL KR -720 DIGITAL RECEIVER.$199.00 itself and with each other, and they are jubilation he imparts to the finale, though MUNOZ SFECIALS!! attempted by many conductors, has been SR -8100 SUFER RECEIVER DEAL CALL! more vividly and glowingly recorded. But SR -1000 SFECIAL FURCHASE MICE $148.00 above all, their idiomatic authenticity and achieved by few. The overture is similarly SD -3030 CASS. DECK W/ DOLBY BICWRITE! their obvious relish for this long -known. blessed -a truly surging, exciting rendi- PIONEER DEALS much -loved music give their version a mod- tion. For once, the three imposing opening MODEL TL -2 BELT DRIVE TURNTABLE $ 75.00 erately high ranking in the long line ofedit - chordsreallysound syncopated, each MODEL PL -5 FULL AUTO DIRECT OR. 100.00 MODEL SX-6 DIGITAL QUARTZ RCVR. 210.00 Wienerapproaches to the octet. played with a separate crescendo within the MODEL CT -6R DOLBY B/C AUTO REV. 190.00 Most listeners with Viennese affinities overall crescendo indicated. SANSUI ELECrRONIX it.theSpringSymphony will be completely satisfied. Others, lack- As befits D-350M/B CASSETTE DOCK/BLACK $240.00 ing European backgrounds, may dislike the receives a lighter, more graceful perfor- seamSUTERB RBCEIVER DEAL CALL! CAW occasionaloverurgency and expressive mance than the Rhenish. In the lithe first - 8900206 RECEIVER W/ DOLBY* surges -especially in contrast to the more movement Allegro. Sawallisch does not SONY SUFERDEALS!!! nobly eloquent, more tautly controlled and expand the tempo for the coda beginning at R3-LX2 SEMI AUTO DD TURNTABLE $ 97.00 TC-FX5C CASS. DK. W/ DOLBYINB&C 189.00 integrated reading by the Academy of St. measure 338. Even without such a marking, STR-VX4 SUFER QUARTZ RECEIVER 270.00 that Martin -in -the -Fields Chamber Ensemble. most conductors do slow down at TEACCASSETTEDOCK DEALS!! That 1978 Philips recording -at least in its point, often with heart-warming results. MODEL CX-400 SUFERDEAL CASSETTE $190.00 recent Barclay -Crocker open -reel edition - But Sawallisch shows that the passage MODEL V3-RX DOCK W/ dbx40 305.00 is also a miracle of sheer tonal magic. Its played in tempo can still be satisfying; he MODEL V -70C DOLBY* B&C W.A1C MTR 245.00 shortcoming (and that only for insatiable manages to be expressive and maintain the TECHNICS ELCEIRONICS movement's rhythmic vitality at the same SL -5 NEW LINEAR TRACKING TABLE* $133.00 purists) is the omission of all the fourth - RS -M263 3 HEAD DOLBY* DECK 219.00 movement repeats, so dutifully observed in time. This is typical of the conductor's no- RS -M255X NEW dim* CASSETTE DK. 258.00 both the DO and MHS versions. R.D.D. nonsense approach throughout the cycle; he eschews any temptation to Romanticize. He SEE A BETTER PRICE ? LET US KNOB !!!!I I takes the trios of the Second's Scherzo SCHUMANN: Orchestral Works. strictlyin tempo. for example, forcing Dresden State Orchestra, Wolfgang Sawal- Schumann's many expressive swells on sin- - sendfor free price list lisch, cond. [David Mottley and Dieter -Gerhard gle notes to make their effect very quickly. Name ARABESQUE8102-3, $23.94 (three Worm, prod.) Address _ discs, manual sequence). Tape: 9102-3. $23.94 with no dwelling on them. To his credit, he succeeds without seeming rigid.In that City (three cassettes). State_ Zip Symphonies: No.I.in B flat. Op. 38 same Scherzo, the offbeat phrasing of (Spring): No. 2. in C, Op. 61; No. 3, in E flat, woodwind and string passages is excellent- Op. 97 (Rhenish); No. 4, in D minor. Op. 120. ly handled. The great slow movement. illinoi, audio Overture. Scherzo, and Finale. Op. 52. Manfred 12 East Delaware Place though a trifle cool and lacking in magic at Chicago 60611 Overture, Op. 115. times, such as in the presentation of the two Wolfgang Sawallisch gained international chords preceding the violins' long crescen- Phone Now do, has a nice flow. In the symphony's clos- (312) prominence in the 1950s with a much - 664-0020 admired recording of the Dvotak G major ing measures, Sawallisch resists the temp- Symphony. Music director of Munich's tation to slow the solo timpani strokes. TOLL FREE driving straight through to an inevitably tri- (800) Bavarian State Opera since 1969, he has 621-8042

JULY1982 55 CLASSICAL Reviews

MARTINO: The Greek Passion. Mitchin- Endres Qrt. EURODISC 25 567. April. Critics' Choice son. Tomlinson. Mackerras. SUPRAPHON 1116 SHOSTAKOVICH: Symphonies Nos. 1, 9. 3611/2 (2). April. London Philharmonic, Haitink. LONDON LDR The most noteworthy MOSZKOWSKI: Piano Concerto in E, 71017, May. releases reviewed recently Op. 59. Bar -Man, Antonini. AUDIOFON 2003, STENHAMMAR: Symphony No. 2, Op. May. 34. Stockholm Philharmonic. Westerberg. CA- BACH: Harpischord Concertos (6). Koop- PUCCINI: Tosca. Scotto, Domingo, Bruson, PRICE CAP 1151, June. man. PHILIPS 6769 075 (2). April. Levine. ANGEL. DSBX 3919 (2), March. TANEYEV: Piano Quartet. Cantilena BLOCH, E.; HINDEMITH: Viola -Piano PURCELL: Dido and Aeneas.Kirkby, Chamber Players. PRO ARTS PAD 107, April. Works. Schotten, Collier. COMPOSERS RECORD- Thomas, Parrott. CHANDOS ABRD 1034, May. TCHAIKOVSKY: Orchestral Works. Lon- INGS SD 450, April. RAMEAU: Hippolyte et Aricie: Suite. Petite don Symphony, Simon. CHANDOS DBRD 2003 CAVALLI: Ercole amante. Palmer, Cold, Bande, Kuijken. HARMONIA MUNDI GERMANY (2), June. Corboz. ERATO STU 71328 (3), May. IC 065-99837, June. TIPPETT: King Priam. Harper, Tear, Bailey, CHOPIN, MUSSORGSKY: Piano Works. RODRIGO: Concierto de Aranjuez: Fanta- Atherton. LONDON LDR 73006 (3), March. Schenly. DIGITECH DIGI 108, April. sia para un gentilhombre. Bonell, Dutoit. WEILL: Songs. Stratas, Woitach. NONESUCH DELIUS: The Fenby Legacy. Royal Philhar- LONDON LDR 71027, May. D 79019, Feb. monic, Fenby. UNICORN-KANCHANA DKP 9008/ SCHUBERT: Lazarus: Mass, D. 167. Arm- CENTENARY EDITION OF BARTOK'S 9 (2), Feb. strong.Johnson, Guschlbauer. ERATO STU RECORDINGS, VOL.I. HUNGAROTON DEL TREDICI: Final Alice. Hendricks, Sol - 71442 (2). May. LPX 12326/33 (8), June. ti. LONDON LDR 71018, April. SCHUBERT: Piano Works. Goode. DESMAR GERMAN CHAMBER MUSIC BEFORE FALLA: The Three -Cornered Hat. 13iiliZ. SRB 6001/2 (2, tape only), May. BACH. Cologne Musica Antigua. Goebel. VARESE SARABANDE VCDM 1000.170, June. SCHUBERT: Song Cycles and Songs. Maw 2723 078 (3), Jan. HAYDN: Keyboard Sonatas (5). Marlowe. Hiisch. ARABESQUE 8107-3L (3), March. THE LEGENDARY HOLLYWOOD GASPARO GS 218, June. SCHUBERT: Trout Quintet.Sawallisch, STRING QUARTET. EMI RLS 765 (3), June.

umphant conclusion. Warmly recommended. J.C. No doubt pianists and Le Sacre aficio- The Fourth shares the characteristics nados alike will have a field day investigat- of the others-propulsiveness, buoyancy, STRAVINSKY(arr. Achatz): Le Sacre ingthedifferences between the two straightforwardness. In the Romanze, the du printemps. arrangements. (Raphling's has been pub- dotted eighth- and sixteenth -notes arc made Dag Achatz, piano. [Robert von Bahr. lished, Achatz'-to the best of my knowl- to agree with the triplets (correctly, I feel). prod.] BB LP 188, $10.98 (45 rpm) (distributed edge-has not.) The Achatz strikes me as The interesting Overture, Scherzo, and by Qualiton Records, 39-28 Crescent St., Long more detailed but also more overtly pianis- Island City, N.Y. 11101). Finale, though elegantly played, would tic, which is both a blessing and a curse. benefit from some of the excitement provid- What is it about Le Sacre that makes pia- Unlike Stravinsky's 1921 solo -piano resti- ed elsewhere. Solti's deleted Vienna Phil- nists wish to perform it as a solo work? tution for Arthur Rubinstein of the "Kon- harmonic version is the most convincing Hard on the heels of Dickran Atam- zertstfick"(and two other movements) I've heard of this work. ian's recording of Sam Raphling's two - from Petrushka, Le Sacre is not at all pia- I don't mean to suggest that, in hishand piano transcription (RCA ARC 1 - nistic in conception, and thus Achatz' figu- avoidance of Romantic indulgence, Sawal- 3636, April 1981) comes a new arrange- rations (e.g., the tremolo at cue 138) some- lisch is anything of an automaton. Far from ment by Dag Achatz, who is positively times seem unintentionally meretricious. it, he brings his own personal touches to obsessed with the piece. Ever since he Much of thestunningimpact of each performance, a slight ritard here, a heard it conducted by Ernest Ansermet in Achatz' performance unquestionably de- Luftpausethere.(The Fourth'sFinale Geneva, he has "been unable to live with- rives from theextraordinary recorded begins quite deliberately, only to become out regularly immersing myself in its orgi- sound: rich, resonant, and incredibly dy-

suddenly faster in the ninth measure-not a astic sounds. . . . Like many other instru- namic. This is one of the most awesomely successful effect.) mentalists, I have dreamed of conducting, realistic LPs I've ever heard. Alas, Bis's

In common with James Levine in his but . . . only this work. Partly in order toquality control did not extend to the dis- outstanding release of last year (RCA ARL fulfill this dream, I have played Stravin- tressingly noisy surfaces on my copy. 3-3907, October 1981), Sawallisch demon- sky's own four -hand version with col- CertainlyIwill wish to rehear the strates that Schumann's unjustly maligned leagues, and I have arranged a fuller ver- Atamian and Achatz performances occa- orchestration works if given half a chance. sion on two pianos. 1 was still not satisfied. sionally, as much for their imaginative con- It certainly does when played so idiomati- The best solution was to be conductor and ceptions as for their commanding virtuosi- cally by the great Dresden State Orchestra, instrumentalist at the same time." ty. And I welcome back into the catalog the when heardin such superbly balanced Given Achatz'fixation, we might exciting if tinny -sounding 1967 Michael recordings, and when conducted with such expect him to invest the score with a half - Tilson Thomas/Ralph Grierson account of authority and understanding.All things crazed animus. On the contrary, it is Atam- Stravinsky's own four -hand arrangement of considered, this is not Sawallisch's Schu- ian who plays with such demonic abandon Le Sacre (Seraphim S 60364; notable, too, mann, but Schumann's Schumann. With that one wonders from what realm he ema- for Lawrence Morton's reasoned assess- the number of conductors capable of giving nates, whereas Achatz offers a slower, san- ment of the importance of the composer's meaningful performances of the German er conception-less volatile, far more care- piano version). This of course preserves classics ever dwindling, our orchestras fully controlled. The "Dance of the Ado- more detail than can be obtained from any would be well advised to sign up Sawallisch lescents" and "Mock Abduction" provide two -hand edition, even if it necessarily dic- as a most distinguished guest in this reper- good comparisons. Atamian, with razor- tates a sacrifice of individual control and toire. sharp attacks and kinetic energy of almost precision. Note well, however, that Stra- The set is graced by thoughtful anno- frightening intensity, never lets up; Achatz vinsky made piano arrangements of Le tationsby theEnglishwriterBurnett builds the music unhurriedly, as if it were a Sacre and of practically all his ballets from James-an astute combination of factual Bruckner symphony, with massive, static Firebird to Agon not with intent to create information, "play by play," and personal chords that unfold inevitably into a climax independent concert pieces (the aforemen- reactions to the works and the composer. of tremendous power. tioned Petrushka troika is an exception),

56 HIGH FIDELITY but simply as a rehearsal tool for choreo- graphic production. So while there may indeed be revela- tions to be gleaned from these editions, no amount of rhetoric will convince me that I'm hearing more than a shadow of the real Sacre.(Stravinsky: "I always compose the instrumentation when I compose the music.") That extravagantly imaginative orchestration is an intrinsic part of the piece. You'll excuse me,therefore,if I go immerse myself in those intoxicating colors right now. R.D.H. A Brilliant,New Cartridge TELEMANN: St. Luke Passion. Susan Larson, soprano: Karl Dan Sorensen Designed For Today's and Ray de VoII, tenors: James Maddalena. baritone: Banchetto Musicale. Martin Pearlman. dir. [Ralph Dopmeyer. prod. ] TITANTIC TI 88/9, $20 High Technology Records. (two discs, manual sequence). TELEMANN: Fantasias for Solo Flute At last, a low impedance ccrtr dge which exceecs ( 12). moving coil performance with moving magne- reliability. Barthold Kuijken, flute.[Adelheid and The Stanton 981LZ3 provides tre h ghest level of perkw- Andreas Glatt,prod.] ACCENT ACC 7803, $11.98 (distributed by AudioSource, 1185 Chess mance with very low tip mass, tre widest frequency Dr.. Foster City. Calif. 94404). response and ulsurpassed irac

because the competition includes De los rAVocal Jubilee from London Angeles, Bjoerling, and Beecham working their particular magics in concert (Seraphim by Kenneth Furie SIB 6099, rechanneled). But at the Sera- phim and Jubilee prices, why not have YouWIN SONIL,you lose some. The bad Bohemeconducted by Nino Serafin (JL both? The Jubilee set is certainly superior in news is, or has been, that London Records' 42002). Like the Beethoven solo quartet, overall casting and engineering, which is a last round of budget labels, Treasury and Reiner's Verdi lineup-Leontyne Price, reminder that, sorry as I am to see the young Richmond, has all but disappeared from the Rosalind Elias, Jussi Bjoerling, and Gior- Tebaldi's work disappear with the mono catalog, removing a whole bunch of good gio Tozzi-may have been surpassed on an Richmond issues, her stereo remakes were performances, not to mention good values. individual basis, but not as an ensemble, generally better cast and conducted as well The good news is that London has a new and the performance as a whole has a sense as recorded. midprice label, Jubilee, and at least on the of purpose and dramatic power unmatched In the case of Tosea, London has vocal side it offers cause for celebration. on records. It also remains, to my taste, the bypassed the Tebaldi remake, admittedly Not unreasonably, the initial Jubilee most believable and involving sonic image not one of its vault treasures, in favor of the liststressesbankable Names.Ifthis of the Requiem we've gotten. 1966 recording with Birgit Nilsson and produces up-and-down results on the instru- The same is true of the Boheme. Listen Franco Corelli (JL 42001), both of whom mental side, in the vocal realm London cer- to Rodolfo's play -burning in Act I, and note seem in this case to have responded to the tainly has a formidable roster of Names to the vibrant colors of the Santa Cecilia glare of the microphones by inclining draw on. Consider, for example, Hans orchestra's playing. Of course your atten- uncharacteristically to caution. And itis Schmidt-Isserstedes Beethoven Ninth with tion is likely to be sidetracked from sonics odd to hear these particular singers picking the Vienna Philharmonic (JL 41004). Since as such to the performance-to Serafin's their way through. However, there are Joan Sutherland, Marilyn Horne, James confident, knowing shaping of the score moments, generally in the climaxes, when King, and Martti Talvela are still very much and to the lusty work of the Bohemian quar- they do let loose, and Corelli in particular among us, it may be that you've forgotten tet: Carlo Bergonzi (Rodolfo), Ettore Bas- produces moments of such excitement as to what sounds they made in 1966, in which tianini (Marcello), Cesare Siepi (Conine), constitute an entirely different manner of case you should check this performance out and Renato Cesari (Schaunard). experience from that afforded by more posthaste. "Confident" and "knowing" aren't namby-pamby Cavaradossis. The first movement lumbers a bit, but bad descriptions of the performance, in Dietrich Fischer-Dieskau's alternately the Scherzo is tight and galvanic, and the which it turns out to matter surprisingly lit- hectoring and crooning Scarpia still sounds Adagio singseloquently. The prize, tle that neither Bergonzi, Bastianini, Siepi, fairly silly, though he no longer sounds though, is the finale. Each of the vocal solo nor Renata Tebaldi, the Mimi, is at his or quite so hopelessly miscast when you com- parts has been handled more distinctively her best. Bergonzi sounds fine but is coast- pare the ostensibly more "legit" Scarpias elsewhere, yet no other recording brings ing through, while Tebaldi, Bastianini, and we've heard since-the likes of Manuguer- together four such robust, flexible voices, Siepi are laboring to keep those big, juicy ra, Wixell, Milnes (the second time, for and Schmidt-Isserstedt makes the most of voices in balance. Still, these people had London), and Raimondi. More positive them, keeping the show moving dynamical- enough vocal margin to remain strong pres- notes are Alfredo Mariotti's Sacristan, in its ly, but not frenetically, allowing orchestra, ences even in less than prime condition, and fairly straight way one of the more interest- chorus, and soloists to be heard to rousing in Act III especially we can hear the expres- ing on records; Silvio Maionica's solid effect in London's sumptuous sound-the sive options open to a Mimi of this vocal Angelotti; and Piero de Palma's expert Spo- Sixties were the sonic glory years of the size and lower -range strength. Cesari, by letta. company's Vienna activities.However the way, is close to being the best Schau- Lorin Maazel's heavily inflected con- many Ninths you own, this one looms nard on records, though Gianna d'Angelo is ductingisfilled with interesting ideas, large, and you could do a lot worse if you're a disappointingly ordinary Musetta. The many of which are fun to hear thanks to the having only one. much -recorded Benoit and Alcindoro of responsive playing of the Santa Cecilia I can be even less equivocal in recom- Fernando Corena are heard here in good orchestra. What's disorienting is that the mending Fritz Reiner's 1960 Verdi Requi- representative shape. singers don't seem to be part of the concep- em (JL 42004, two discs) and the 1959 La If I rate this Boheme only No. 2, it's tion Maazel is unfolding. As a result, this

58 HIGH FIDELITY Devil's Amanuensis Heinrich Weber (t) thedimmest awarenessofany least he is less hypocritical than the others First Forester Anton Rosner (t) circumstances other than the most immedi- about his personal and professional objec- Schwanda Hermann Prey (b) ate, and the most convenient. tives, which center around establishing and The Devil Siegmund Nimsgem (b) At the same time, Schwanda serves as operatitg the sort of hell a self-respecting The Magician Alexander Malta (bs) a useful reminder that there is no automatic Second Forester Peter Lika (bs) Devil can be proud of. As far as the estab- Bavarian Radio Chorus, Munich Radio correlation between artistic talent and alishing part goes, he seems to have done a Orchestra,Heinz Wallberg, cond.[George functioningethicalsense. One of the good job of it. When the robber and bon KongoId and Theodor Holzinger, prod.] CBS opera's innumerable ironies is that the hero vivant Babinsky crashes the joint in quest of MASTERWORKS M3 36926 (three discs, manual winds up in hell voluntarily, though the his bosom buddy Schwanda, he makes a sequence) [price at dealer's option]. result he intended was rather different. At point of complimenting the proprietor on Schwanda might be described as the unhar- the end of Act II, backing up his latest lie his swell spread. The only problem is that monious but inevitable coming together of with an invitation to the Devil to take him the establishment isn't attracting the right two people made for each other: Schwanda on the spot, he is discommoded to find his clientele, and the awful truth is that there the Bagpiper and the Devil. Schwanda is invitation accepted in an outburst of thunder isn't a bloody thing to do. Hell is, good the well-meaning soul who manages to suc- and lightning, fire and smoke. Naturally grief, boring. The Devil can't even get up a cumb to every temptation without troubling when we next meet him, inhell, he's decent card game, as not even the guests his conscience by the simple expedient of peeved as all get -out to be there. nominally under his power will put up with neglecting to maintain one. He has extreme Indeed the Devil is on the whole the his outrageous cheating any more. difficulty, in fact, maintaining more than most congenial of the opera's characters. At Eater Schwanda, in such a snit that he

set doesn't crowd the favorite versions 1 accompanied by the Philomusica of London the hometown crowd. Of course it's also listed in my review of the Levine recording under various conductors-in her prime (c. true that the repertory is all of congenially (Angel DSBX 3919, March). All the same, 1958-59), the voice supple and steady, the lyric weight, drawing either on lyric roles for its special virtues, I have found myselfcommunicative impulses direct and unaf- or on lighter -weight excerpts from heavier - returning to it regularly over the years. fected. There is a side devoted to Handel, weight roles. The London folks haven't overlooked all reissued, and the disc's most valuable Luciano is heard by himself as Wer- one of the choicer corners of their catalog. function may be to salvage sixteen minutes' ther ("Pourquoi me reveiller" ), Enzo in Already scheduled are the two best record- worth of Alcina ("Tornami a vagheggiar" Gioconda (the closest I've heard him come ings the D'Oyly Carte company made: the and "Ombre pallide," with their recita- to solving "Cielo e mar"), and Vasco da 1958 Pirates of Penzance and Mikado con- tives) that come not from the later complete Gama in L'Africaine ("0 paradis," in Ital- ducted so delectably by Isidore Godfrey and recording, but from a 1958 Oiseau-Lyre ian). Mirella is heard as Elena in Vespri featuring the remarkable Peter Pratt (the Handel miscellany conducted by Anthony siciliani (the Bolero), the Daughter of the Major General and Ko-Ko) and Ann Drum- Lewis-Sutherland's only contributions, Regiment ( "II faut partir," in Italian), and mond -Grant (Ruth and Katisha),in the in fact. Filling out this side are Galatea's -a terrific role for the Freni of old-Boi- spiffy company of Donald Adams (the"Hush, hush, ye pretty warbling quire" to's Margherita ("L'altra notte" ). Togeth- Pirate King and Mikado), Kenneth Sand-and "Heart, the seat of soft delight" from er they sing the Brindisi and "Parigi, o ford (the Sergeant and Pooh -Bah), Jean the 1959 Acis and Galatea conducted by cara" from Traviata, and two extended Hindmarsh (Mabel and Yum-Yum), Thom- Adrian Boult,which you undoubtedly duets:"Una parola" from L'Elisir as Round (Frederic and Nanki-Poo), and already own. (What? You don't?) Jubilee d'amore and the Cherry Duet from L'Amico Alan Styler (Pish-Tush in Mikado). will, incidentally, have more Sutherland/ Fritz. The latter in particular rouses mixed Note that there's already a Jubilee Boult Handel: their 1961 Messiah-her feelings. Like the rest of the program, it's Pirates (JL 42003), but the initial pressing first, his second. agreeably sung, but it inevitably conjures is of the wrong recording. What itis, as On the other side of the disc, released images of those prodigiously gifted young correctly identified on the album box and for the first time, are eight eighteenth -cen- singers who came together in the late Six- labels, is the 1968 recording with spoken tury arias conducted by Granville Jones, ties to record the complete opera for Angel dialogue, also conducted by Godfrey but which we are told "date from some of the (SBL 3737). What ever happened to them? with the Royal Philharmonic rather than the artist's earliest recording sessions." She I guess we all lose our innocence. New Symphony of London. Perhaps even sings it all very prettily, but I can't say that All in all, Jubilee is off to an impres- by the time you read this, the records will a terribly persuasive case is made for the sive start, and when you think about all the have been made to match the cast given in material, either Italian ("Per la gloriamaterial London has at its disposal, the the booklet. Meanwhile you might want to d'adoravi" from Bononcini's Griselda, prospects become mighty heady-all of take advantage of the temporary availability Paisiello's "Nel cor pii) non mi sento," and this for only $6.98 per disc or cassette. (All of the later recording, which will remain in "Furia di donna" from Piccini's La buona releases are available both ways. Substitute the catalogas London OSA 1277,at figliuola) or English ("The soldier tired" "JL5" for "JL" for cassette numbers.) reduced price.It's an estimable perfor- from Arne's Artaxerxes and three songs The discs, mastered in England and pressed mance in its own right-not as sparkling as from Shield's Rosina). in Holland, are generally of excellent qual- the earlier one and not as imposingly cast, Finally, we have a joint recital by ity. but with a potent attraction of its own (apart Mirella Freni and Luciano Pavarotti (with The packaging is uneven. Recording from the dialogue) in the Mabel of Valerie Leone Magiera conducting; JL 41009), documentation isat best sketchy, more Masterson. which we are told was recorded live at the often nonexistent. The sets contain good The other vocal items in the Jubilee list Teatro Comunale in the singers' home- notes and complete texts, from previous tempt me less. Skipping over the mediocre town, Modena. This disc was published in London issues, of course. The Sutherland 1976 Dorati Phase -4 Carmina burana (JL 1980 by Cime, which suggests a date and Freni/Pavarotti discs have less -good 41006), there are two Name single discs, around 1979. (Earlier such Cime record- notes and no texts. The Beethoven Ninth both containing previously unreleased ma- ings, imported by London, carried record- comes with only a brief anonymous note in terial. ing dates.) In any event, both singers are in English and French. (The packaging is On "The Great Voice of Joan Suther- surprisingly good, relaxed form, perhaps printed in Canada.) But then, everyone land" (JL 41011), we hear Sutherland- feeling no need to put on superstar airs for knows all about the Beethoven Ninth. HF

JULY 1982 59 CLASSICAL Reviews SAVE t ON absolutely refuses, no matter how politely AUDIO 'W VIDEO asked, to provide a bit of entertainment CALL TOLL -FREE with his bagpipes.It could be that he's Though not a dream learned a lesson from the last time he played 800-221-0974 for such a cold house, in Act II, Scene 1, cast, CBS's singers RECEIVERS TURNTABLES when his polka (the polka, that is) melted are good enough to TECHNICS SA -424 1267 TECHNICS SL -5 $132 PIONEER 504 1211 TECHNICS SL -030 1142 the heart of the Ice -Hearted Queen, who AAAAA TZ 564100 CALL DUAL CS -4270 CALL SONY STRNX5 CALL SONY PS1100 CALL consequently conceived such an overpow- qualify this set TECHNICS SA -222 1199 PIONEER PL -7 1119 010010 TX1 CALL AKA( AP -0310 $114 ering urge to marry him that he somehow CASSETTE DECKS CARTRIDGES couldn't find a suitable conversational lull as a discovery. TECHNICS RS -1055X $239 SHURE VISV CALL ARAI OX -F90 $299 SHURE VISIY 640 for mentioning the small detail of already PIONEER CT -F6R 1119 SHURE 141117HE 169 ONKTO TA -000M 1195 PICKERING XSY-3000 644 having a wife, whose unexpected arrival SONY TC-FXC CALL PICKERING KSV-4000 $63 TEAC 1,95RX 1299 PERSONAL STEREO put a crimp in the festive mood. Yes, it BLANK TAPE PANASONIC R X -1950 6129 could be that Schwanda has learned a les- out, the ice -heart protects her from feeling BASF PROS C -I0 61. 1',,126 AIWA CS.11 5149 TOR SA -X499 Box./10 $39 PANASONIC RF -10 659 son. Or it could be that the company of the remorse over the murdered prince. These TOR SAL -90 156.110 MAX ELL UO-XL IC -90 00,112 6119 CAR STEREO Devil, unlike that of the rich and beautiful people have chosen each other, they need MAXELL UOIL 11S C-90 00./12 $49 JENSEN J1033 649 JENSEN J-1037 p 145 and available Queen, has the effect of mak- each other, and they deserve each other. VIDEO JENSEN J1045 01 SIM PANASONIC PV -5500 (VHS) CALL JENSEN 14-425 $239 ing him unable to think of anything but his Schwandais,as you may have PANASONIC PR -1/02(CAMERA) CALL JENSEN RES', 9241 RCA YFT450 (V.Si CALL MITSUBISHI CAR STEREO CALL dear Dorota. guessed, a very funny opera, but not in the SONY SL -2500 ,111 '.CALL PIONEER CAR STEREO CALL CALL or WRITE for your lowest As long as you remember to judge the usual ha-ha way. Certainly none of the par- prices on over 80 major brands! characters of Schwanda not by what they ticipants, with the fleeting exceptions of the ALL MERCHANDISE IS BRAND NEW, say they want, but by what their actions Magician and Babinsky, are likely to see AND FULLY GUARANTEED indicate they do, you should be delighted much humor in their situations. This has the Ouantitles limited. Prices subject to change without notice Write Or Call For Fro. Catalogs by their unflappable pursuit. Does the Dev- happy effect of discouraging performers Call Toll-Frooi il's inability to compel Schwanda to playfrom playing the humor, which is made Night -Owl Una! his bagpipes daunt him? Certainly not. even more difficult by the musical difficul- 800-221-0974 Call Tall-Irreal 1 EXNY. AK After obtaining his grumpy guest's permis- ties of the writing. laromir Weinberger Monday-Saturday 300-327-1531 9am-5:30 pm E.S.T. Monday - Friday sion (there's a right way of doing things, (1896-1967) was thirty-one when the opera OR CALL (212) 253-8888 5:30 - 10Pm E.S.T. after all), he attacks the bagpipes himself, that would prove to be his only enduring STEREO CORPORATION producing a grotesque and hilarious version work was first performed, in his native OF AMERICA of Schwanda's polka. What the hell,it Prague. The year being 1927, we should Dept 207 helps pass the time. hardly be surprised to hear the folk -comedy 1629 Flatbush Ave.,Brooklyn, N.Y. 11210 Once you tumble to the logic of all this heritageof Smetana's Bartered Bride crazy behavior, it all seems a great deal less reheard through the ears of late German Circle 29 on Reader -Service Card crazy-practically veristic, in fact. Consid- Romanticism, as evolved through Wagner er that with a friend like Babinsky Schwan- and Humperdinck and Strauss. The Video Tape/Disc Guide da hardly needs enemies.It'strue that To get some idea of the scale of the Babinsky is constantly rescuing him, but piece, consider the cast the Met assembled VOLUME who lures him from his happy home and from its German -wing stalwarts for the five 3 hearth into royal misadventure in the first performances (plus two on tour) given in place? And when Babinsky retrieves him 1931-32: Friedrich Schorr as Schwanda, ALL THREE from hell, by being a better cheater than the the young Maria Muller as Dorota, Rudolf FOR JUST Devil (whose guard is perhaps lowered by Laubenthal and the young Max Lorenz as his desperation for a card game, with the Babinsky, Karin Branzell as the Queen, $17.95 result that he nearly loses hell, his liveli- Ivar Andresen as the Magician, and Gustav MOVIES hood and life's work), he is motivated pri- Schiitzendorf as the Devil. (From 1921 to SPORTS & RECREATION CHILDREN'S PROGRAMS marily by the desire to show the inconsol- 1935, while his younger brother Leo was able Dorota what a lunk she's married to. plying much the same repertory in Europe, The Video Tape/Disc Guide will guide you every step of the way! He is, in other words, trying to steal his best Schiitzendorf was the company's resident This 3 volume edition is packed with informative friend's wife. Alberich and Beckmesser, also singing articles. glimpses of the future and inside tips to help you get the most of your video system. This merry confusion extends even to many medium -weight German roles and A listing of thousands of titles-available on the Queen and the evil Magician whose backing up first Clarence Whitehill and videotape and videodisc some dating as far back prisoner she seems to be. She certainly then Schorr in their lighter Wagner roles- as 1926 (Yes, even silent films). Have a favorite movie? Sporting event? Children's Program? The thinks of herself as a prisoner, and yet the Wolfram, Kurwenal, Amfortas.) Video Tape/Disc Guide will show you what's available fact of the matter is that she got her ice -heart It's a shame that none of these people and how to get it. in a freely transacted swap: her living heart seem to have made records of this music. Take advantage of this one time offer. All 3 volumes-Movies. Sports & Recreation. Children's in exchange for a diamond scepter, with the Since we no longer have any such people to Programs (A 530.85 value) FOR JUST SI7.95I ice -heart thrown in. (Two for one! Some perform Tannhauser or Lohengrin or Mei- Use the coupon below to order your set. deal.) True, she didn't anticipate that the stersinger, we obviously don't have them arrangement would lead to her murdering a for Schwanda. Still, CBS hasn't done bad- ABC Leisure Magazines-Dept B 754 4th Avenue, Brooklyn, NY 11232 handsome young prince come a -wooing, ly, and what matters most is that the singers but then, anticipating consequences isn't have thrown themselves into it with a will. D Send me the 3 volume edition of Video Tape/Disc Guide for $17.95 one of the higher priorities of the characters The same is true of the orchestra, which is (plus $1.50 for shipping & handling). in this opera. (Believe it or not, there are confronted by writing of enormous scale My Check/Money Order is enclosed. people in real life almost as innocent of the and elaborate development. In contrast to Do not send cash please. propositionthatactions have conse-the mostly leaden singing and playing in Name quences.) Like many such real -life relation- CBS's recent resurrection of Korngold's Address Apt If ships, the seemingly poisonous one be- Violanta, the Schwanda performers are tween the Queen and the Magician turns out clearly turned on by their piece, and their City State Zip to be symbiotic. As the Magician points work is captured in a recording of glowing I - Please- - allow - 6 to- 8 weeks- - for delivery.- - - 60 HIGH FIDELITY immediacy. The sound is genuinely spec- Revox 8795. tacular in detail, breadth, color, and presence-and appropriatelyso,giventhe Short arm, no waiting. nature of the writing. At 11/2 inches, the B795 s tonearmcrawl back before changing re.-;ords Two of the principals seem to me quite is the world's shortEst. In fact, BcaLse. with a flick of your well cast. Alexander Malta, who has all the it's hardly a tonearm at all. fingers, the entire Linatraolc module physical ingredients for a first-rate bass, has been threatening for some years to make a -he secret of our shortness is pivots aside. really first-rate recording. Now he's done Linatrack,' a revolu:iorary linear The 8795 also offers a quartz - it. His inky -black sonorousness makes an tracking system. Guided by an regulated, Hall -effect direct imposing figure of the Magician. ultra -sensitive servo mechanism, drve motor, prec se cueing, Also impressive, at least when the the Linatrack' "torp,arm" glides and saki Germancraftsmanship. music doesn't lie too high,is Siegfried smoothly straight across the disk. Jerusalem's Babinsky. The role is studded -he result? Ideal resonance When it comes to tonearns, with large -spirited lyric effusions to which characteristics. No tracking short is beautiful. Hear Jerusalem'srobust and golden -colored error. And no waiting fcr a the Liiatrack' difference today, midrange is well suited. Predictably, he conventional linear tonearm to at /our Revox dealer. gets into trouble when the writing moves higher (his strained B flats simply don't REVOX complete the voice in the way you'd expect from the sound down below), and he is under fairly constant pressure in the con- frontation with the Devil, where the writing liesconsistently higher, up around the break. Still, his juicy entrance solos and the passionate plea "Dorota, weine nicht!" are fun to hear. Lucia Popp and Gwendolyn Killebrew clearly aren't Muller and Branzell, and I do wonder whether a heftier soprano mightn't REVOX make Dorota seem less passive a kvetch. Europe's premier audio components. Within their vocal limitations, however, both women sing well and with conviction. I'm less happy with the baritones. Maybe Studer Revox America, Inc. 1425 Elm Hill Pike Nashville. TN 37210 (615) 254-5651 it's unfair to Hermann Prey that I can't get Circle 55 on Reader -Service Card the thought of Schorr out of my head, but even without that thought I think I'd find his singing problematically lightweight and self-satisfied. Siegmund Nimsgern would CONSTANTLY actually seem better suited to Schwanda, especially as he doesn't make much of the Devil, a role that strikes me as potentially BETTER fascinating. Not having seen a score, I can't provide chapter and verse in support of my 100 Total QPIONEEll' suspicion that the writing would make more clPriPn SONY. sense for a bass (a Moll, say) or at least a 'Aatts with 5 Band EQ Auto Reverse Supertuner w/Dolby bass -baritone (a Van Dam?) than for any species of baritone, even one of the Alber- s135 ;0111MI!i... (To,'126 111111=N0. ich-Beckmesser sort. Of course Nimsgern X R25 KP8500 isn't even one of the latter, and so he sings through the role in his usual heavy-handed way, trying without great success to push III 's Best SONY.Your the voice down into some semblance of a Choice... darker, weightier sound. Not a dream cast, then, but quite good fir.4 $109 $66ea. enough to qualify this recording as a sub- VIS Type 5 - - stantial discovery. I can't tell what corrup- TA242 STJX3 tions may have been introduced in Max Brod's German translation. Although Brod Weekdays 9-9 was a friend of Weinberger, he was a friend TOLL FREE 800-356-9514 Saturdays 9-S of JanMek too, and that doesn't seem to have guaranteed accuracy in his German Over 100 Brands like: editions of the latter's operas. Anyhow, I'm Techr ics Maxell Sony Cerwin Acutex content to defer consideration of the ques- Pioneer Empire Teac Vega Craig tion until we get a Czech recording-one as Marantz Altec Akai Orkyo Scotch good, I hope. (Note that for sanity's sake Kenwood Sharp Dual Audio B.I.C. I've stuck to German forms of the character Sansui Phillips Koss Technica Stanton WISCONSIN DISCOUNT STEREO names.) Jense Shure TDK Clarion Pickering In the matter of the libretto, I'm far 2417 w badger rd madison, wvi 53713 more disturbed by what CBS has put into its 6G8 271 6 9

JULY 1982 61 Circle 43 on Reader -Service Card CLASSICAL Reviews Schwanda booklet-made in Germany, isolate in most of the other works. Forserial work that makes no such compro- like the terrific -sounding records. I have toinstance, Maurice Wright's Chamber Sym- mises with the past. As in Sparrows, he guess that Dennis Arundell's English trans-phony pairs an "old" piano and a "new"goes out of his way to find odd and often lation is a singing version of the original synthesizer, and William Penn's Fantasyeerie timbral combinations, but here a sin- Czech; at any rate, the English text rarely uses an "old" harpsichord; but both pieces gle expressive mode persists.Withits gets closer to the German than dealing with are thoroughly rooted in the twentieth cen-stretches of quiet intensity struggling with the same general subject matter. Better still, tury. Hardly confined to the current eclecticpointedly forceful gestures. it is thorny, but the parallel French translation is a more or school, this ambitious program surveys anot unattractive. less literal rendering of the English! Could good deal of stylistic ground, much of it Which leaves Rochberg's Electrikalei- this have been someone's idea of a joke? satisfying. doscope to close the set, as Sparrows opens Otherwise the booklet contains a long Most immediately striking is the Penn it, in the fields of eclecticism. It is perhaps background piece by Christopher PalmerFantasy, an aggressive harpsichord solo strange that the works here that use the sim- that once again sounds back -translated from lasting nearly twelve minutes. With a brief- plest musical language seem the most per- German (note:itisn't), plus an amiable ly subdued, contrapuntal middle section plexing, yet when so many unrelated styles reminiscence by Hans Heinsheimer, who as surrounded by brutally percussive chordal are mixed into a single piece. one can only head of Universal Edition's opera division passages, lightning -fast runs, and swirling wonder why. Unlike Sparrows, a collage, playeda decisiveroleinpropagating washes of sound, the piece is every bit as Electrikaleidoscope has five discrete move- Schwanda when it was new. K.F. gripping as Bach's Chromatic Fantasy and ments, each in its own idiom, arranged in Fugue, and in terms of dexterity and stam-an arch: The first and last, energetic and ina, probably more demanding of the play- Forties-ish, sound like a combination of er. Lambert Orkis sails throughitwith Copland's folksiness and Stravinsky's sar- apparent ease. donic neoclassicism. The second and fourth Recitals and Orkis is also soloist in Wright's Cham-are straight-out amplified Fifties -style jazz. ber Symphony, a better than average instru- And in the middle is a lengthy, sometimes Miscellany ment -and -tape piece. So well integrated are sensuous Adagio, in a late -classic, early - the synthesizer and piano parts that both Romantic vein, distorted slightly by a mod- TWENTIETH-CENTURY CON-appear to be played by "live" musicians, ern prism, which eventually breaks down reacting to and playing with (rather than entirely, if only for a moment, into a quo- SORT against, as in many less carefully workedtation from a dance by Renaissance com- Twentieth -Century Consort, Christopher out mixed -media pieces) each other. Theposer Tielman Susato. All told,it Kendall, dir. [Bill Bennett, prod.]SMITHSONIAN is an N 1022. $13.98 ($12.58 to members) (two discs) synthesizer/piano combination makes for entertaining if puzzling score; putting aside (add $1.50 for shipping; Smithsonian Record- variety not only in timbre, but in perspec- the question of what Rochberg is trying to ings, P.O. Box 10230, Des Moines, Iowative: The piano, obviously, is always upsay with all of this, one is left admiring the 50336). front, while the synthesizer's often playful versatility of the players, who seem equally CHENOWETH: Candles. PENN: Fantasy skitterings move between an echo -competent and convincing inallthese for Solo Harpsichord. ROCHBERG: Electrika- shrouded, distant illusion of source, and a styles. leidoscope. SCHWANTNER: Elixir (Consor- clear, close one. There is, however, little In fact, the set as a whole features tium VIII); Sparrows. WRIGHT: Chamber Sym- noveltyin the synthesizer sound itself, phony. playing and singing that are never less than which relies heavily on fairly stock, but not first-rate, and although the pressing has The Twentieth -Century Consort is a six - unattractive,low-passfilter"phasing" intrusive flaws, the recording is clear and year -old, Washington -based, mixed -timbre timbres. warm. The Smithsonian provides an attrac- group, whose apparently elastic member- Lucy Shelton, a young soprano who, tive package, which includes texts of the ship is drawn largely from the National in recent years, has distinguished herself asvocal works, three essays (one on the Symphony. Its aim, according to a note by a versatile and sympathetic contemporary - ensemble, one on the music, and a short percussionist and executive director Antho- music performer in the tradition of Jan piece of Smithsonian salesmanship). plus ny Ames is "to present new music as a seri- DeGaetani and Phyllis Bryn-Julson, is par- short biographies with selective discog- ous but fundamentally enjoyable phenome- ticularly convincing in Gerald Chenoweth's raphies of the five composers. A.K. non." In another, somewhat more rhetori- Candles, a chilling and depressing work cal essay, conductor Christopher Kendall based on images drawn from the poems of and producer Bill Bennett explain how, at C.P. Cavafy, set in often angular vocal VIENNESE SONATAS FOR VIOLIN least in these recordings, the group endeav- lines over a hauntingly understated ensem- AND PIANO. ors to meet that goal: They feel that the cri- ble (strings, clarinet, harp, pitched percus- Norbert Brainin, violin: Lamar Crowson* sis of contemporary musical language is sion). piece, and Lili Kraust, piano. [Leo Black. prod.] BBC The set's other vocal RECORDS 22313. $17.96 (mono: two discs, man- simply another example of the "recurring Schwantner's Sparrows, based on fifteen ual sequence) (distributed by Gemcom. Inc.. adolescence" music undergoes during all unrelated haikus, is a lighter, jauntier work P.O. Box 290007.FortLauderdale.Fla. transitional periods; and they support the that veers between simple prettiness, dra- 33329). implication that we are now in just such a matic lushness, and ungrateful dissonance, BEETHOVEN: Sonata No. 8, in G, Op. transitional era by suggesting that "if there all worked into a smooth and concise flow 30, No. 3.t MOZART: Sonatas: in E minor. K. is a quality unifying the works recordedthat allows these odd juxtapositions to fall 304*: in F, K. 376t; in F. K. 377*: in A, K. here, for all their apparent diversity, itis together painlessly, if not always logically. 526*. SCHUBERT: Sonatina in G minor, D. Ian] impulse to synthesize the old and the References to styles of distant eras, present- 408. t new." ed in parody, melt in and out of other styles,The BBC has been releasing on discs a few That synthesis must be loosely de- sometimes with interludes in which instru-of the many performances originally taped fined, for while Joseph Schwantner's Spar- mental and vocal sounds blur together deli- for broadcast, with some-but not much- rows mixes baroque and Renaissance refer- ciously. But though Sparrows is interestingediting. (According to the note on this ences with patches of atonality and George as a sonic tapestry, the connections between album. there has been a bit of additional Rochberg's Electrikaleidoscope jumps musical styles and the texts they adorn are "touching up" for this more permanent from Copland-esque, to jazzy, to Beethove- rarely made clear; one wonders if there isdocumentation; presumably all the outtakes nian languages and back again, the ele- any rhyme or reason to the choices. of these performances from the mid- 1960s ments of "old" and "new" are harder to Schwantner's Elixir, by contrast, is ahave been saved.)

62 HIGH FIDELITY Norbert Brainin is best-known as the first -violinist of the Amadeus Quartet, and although he rarely appears as a solo performer, his credentials are excellent: Vien- nese -born, he studied first with Rosa Hoch- mann (Artur Schnabel's childhood sweet- McIntosh heart, and mother of his illegitimate daughter), and after going to London, with Carl STEREO CATALOG Flesch and Max Rostal.Braininalso recorded Mozart's Sinfonia coneertante, K. and FM DIRECTORY 364, with his quartet partner Peter Schidlof Get all the newest and latest information on the new and the Netherlands Chamber Orchestra, McIntosh stereo equipment in the McIntosh catalog. In David Zinman conducting (on a budget - addition you will receive an FM station directory that priced EMI disc never available domesti- covers all of North America. cally); but apart from that, these off-the- cuff sonatas are his only recorded endeav- ors outside the quartet. His two cohorts are likewise first-rate. Lamar Crowson, a versatile stylist and the longtime pianist of the Melos Ensemble, is one of England's most perceptive chamber musicians. Lili Kraus, whose playing is somewhat uneven these days, was once a r brilliant international artist;I treasure her McIntosh Laboratory, Inc. H F superb prewar recordings of Beethoven and East Side Staion P.O. Box 96 Binghamton, N.Y. 13904-0096 Mozart sonatas with Szymon Goldberg and an excellent early -1950s complete edition SEND of Mozart trios with Willi Boskovsky and NAME Nikolaus Hubner. ADDRESS The three Mozart sonata performances TODAY! with Crowson are together on the first of LCITY STATE ZIP these two discs. The E minor, K. 304, is an absolute gem, with springy, well -dove- If you are in a hurry for your catalog please send the coupon to McIntosh. tailedphrasing andaperfectbalance For non rush service send the Reader Service Card to the magazine. between instruments (so crucial in view of Circle 56 on Reader -Service Card all the unison writing). The Minuetto, with its slower, more protracted maggiore trio section, is especially magical here. Neither of the other performances is quite on that A DIFFERENT KIND exalted level. In the F major, K. 377, the FREEOF RECORD CLUB first movement's spinning triplets are a bit TREMENDOUS SAVINGS g2A17Intit on every record and tape in print sedate. The piano is rather loudly balanced noagree to purchaseobligations of any Mind and, in the epiloguelike third movement (so NOW YOU CAN OWN ALL DISCOUNTS OF 43% TO 73% anticipatory of the Andante con moto from off mfg suggested list special catalog features hundreds of titles and artists Schubert'sFifth Symphony), too bass - TOP BRAND AU. LABELS AVAILABLE heavy. But the variations have passion and including most impals through special custom profile. And the presentation of the great A ordering service -guarantees satisfaction STEREO COMPONENTS SCNWANN CATALOG major, K. 526, though solid and musician- lists thousands of titles. ly, misses some of the first movement's AT THE SAME PRICE MANY classical, pop.jazz.country. etc finely sprung rhythm and the bravura fina- DISCOUNT DIVIDEND CERTIFICATES Dividend Gifts -certificates le's bracing élan. DEALERS PAY! 12C,000 Customers Coast -to -Coast redeemable immediately for extra discount, Kraus's more delicately graded play- NEWSLETTERS ing (I might as well say it, "feminine") CA_L TODAY 9 A.M. to 9 P.M. informational news and happenings in the FOR FULL COLOR BROCHURES OH world of musicspecial super sale listings imparts a somewhat fleeter tone to the per- PLACE YOUR ORDER FOR DISCOUNT ACCESSORY GUIDE formances on the second disc. These are SAME -DAY DELIVERY Diamond needles. cloths. tape cleaners. etc among the sonatas she did not record with QUICK SERVICE COD OR CHARGE CARD same day shipping on many orders Goldberg, although she did perform Schu- ASK A3OUT OUR NO LEMON GUARANTEE rarely later than the next several days bert's G minor Sonatina with Jean-Pierre CALL 100% IRON -CLAD GUARANTEES Rampal (on flute, of course). In these sona- on all products and services -your total tas, Brainin keeps his vibrato, which some- 1-800-638-8806 satisfaction is unconditionally guaranteed times impedes linear clarity in the quartet, Discount Music Club is a no-obliption membership club DR 1-301-488-9600 that guarantees tremendous discounts onallstereo within tasteful bounds; only the defective records and tapes and lets you buy what you want when pressing (pops, clicks, and multiple track- OR SEND FOR BROCI-URE WITH you want or not at allif you choose. LINES AND PRICES AND TIPS These are lust a few of the money -saving reasons to write ing problems on the review copy; the first ON BUYING BY MAIL -0 for free details. You can't lose so why notfill out and disc was much better) prevents total enjoy- mail the coupon below for immediate information. ment of the symmetrical, vivaciously flu- INTERNATIONAL DISCOUNT MUSIC CLUB, INC. Dept. 8-0782 Off650 Lon Street. ent, and-when needed-dramatic, mu- HI-FI P 0Bor 7000 Neu Rochelle, N.Y. 10101 sic -making. Surface problems aside, the DISTRIBUTORS,Inc. Name mono sound is warm and ambient. On the MORAVIA CENTER INDUS-RIAL PARK Address N.G. whole, highly recommended. BALTIMORE MARYLAND City 21206 State JULY 1982 63 Circle 51 on Reader -Service Card Circle 45 on Reader -Service Card CLASSICAL The Tape Deck

Critiques of new cassette and open -reel releases by R. D. Darrell

Jones, and Pilkington-by the London My conscience thus appeased,I'll Viva Voce Camerata (Hyperion KA 66003, $13.98, stubbornly continue to ignore innumerable via Brilly Imports, 155 N. San Vicente "name" soloists' opera and song recitals, Temperamental affinities, which so insidi- Blvd., Beverly Hills, Calif. 90211). Most which appeal almost exclusively to the indi- ously shape our tastes in music (and every- of the remarkable songs, plus two anony- vidual singers' devoted fans-who neither thing else), largely determine the more ormous lute solos, are relatively familiar, but need nor want critical evaluations. less pronounced "tilts" in listeners' prefer- Glenda Simpson and Paul Hillier are dis- ences toward either vocal or instrumental tinctive of voice and unique for their use ofCustom-tailored for "Walkmen." Philip music. Connoisseurs stoutly deny any such authentic period pronunciations. Glass's CBS debut with his own ensemble biases, and professionals overcome them; Enticingly novel, too, are no fewer inGlassworkspersuasively exemplifies the butit'snot only naive amateurs who than three operas from off the beaten path: ritualistically patterned (or just obsessively instinctively respond more readily either to Jandeek'sCunning Little Vixen, in thelatest repetitive)music -making so much in human voices (and become opera or Lieder Supraphon version, an endearing all -Czech vogue; hereitis given wider appeal by fans) or to instruments (and favor orches- performance conducted by Vklav Neu- bright scoring, some actual tune bits, and at tras, string quartets, pianists, etc.).It's mann (Pro Arte box 2PAC 2012, $19.96); least some merciful restraint in the perpet- sheer stupidity, obviously, to become so Mozart's unjustly neglectedII Re pastore, uation of ostinatos.Itscassette edition one-sided that we totally deny ourselves inthe 1967 Denis Vaughan Neapolitan ver- (CBS FMT 31265, price at dealer's option) enjoyment of either half of the music world. sion once available from RCA Victor (now makes history as the first tape to be "spe- But we should not be ashamed to find our Arabesque box 9050-2L, $16.96); and what cially mixed for your personal cassette keenest personal pleasures in one or the oth- may well be the first complete recording ofplayer." There's no dope on what has been er hemisphere-so long, that is, as we nev- Gretry's wellspring of melody,Zemke et done (indeed no notes or even listing of per- er abandon the ideal of tonal catholicity and Azor,starring Mady Mesple in a 1976 Pattie formers), so I have to guess, from compar- the invigorating stimulus of adventuresome Belgian version conducted by Edgard Don- isons with the undoctored disc edition, that variety. eux (Arabesque box 9060-2L, $16.96). there's some boosting of modulation level So it behooves me to redress, at least Venturing still farther afield, there's and midrange frequencies for accentuated for one month, this column's too frequent invaluable documentation of the "Un- "presence," plus some kind of resonance imbalance (reflecting my own instrumental known Kurt Weill": early songs in which stressing. Certainly the desired mesmeric predilections, if not those of most of my soprano Teresa Stratas carries on, in her effect of this kind of music is enhanced in readers) by featuring some musicassette own way, the authentic Lotte Lenya inter- peripateticalfrescolistening. The programs thatarepredominantlyvocal. pretative traditions. Moreover, she and pia- "straight" disc sonics are much cleaner and The first warrants double kudos, fornist Richard Woitach are digitally recorded more natural, but for once gimmicking has the "Art of Victoria de los Angeles, 1949- with notably vivid presence (Nonesuch DI somegenuine raison d'être-maybe 69"-a generous anthology of some of the 79019, $11.98, lamentably lacking the disc enough to create a best-seller of a special- Spanish soprano's most spellbinding per-edition's fine notes and texts). Deutsche ized sort. formances, especially of Spanish songs andGrammophon does better, with complete zarzuela airs-is also newsworthyfor German and English texts, if no notes, for Another Eroica rejuvenation. Still reeling Angel's shift to compact multiple -cassette its tapings of two great Romantic Liederfrom the shock of last March's startling packaging. Grossly oversize disc boxes are cycles: Schubert'sWinterreiseand Schu- period -instrumentEroicaby the Collegium junked at last for the far more convenient mann'sFrauenliebe and Leben.The former Aureum (Pro Arte PAC 1029), I now find "Prestige" type pioneered by Polygram. In is the latest, and arguably best, Fischer- more of my conceptions of this presumably addition to the present delectable example Dieskau version with pianist Daniel Baren- familiar Beethoven masterpiece shattered (4X3X 3914, $30.94), Angel has adopted boim (DG 3301 237, double -play, $10.98). by Michael Gielen and the Cincinnati Sym- the format for several operas; all have com- The latter, augmented by thirteen other phony. Their electrifying digitally recorded plete notes and texts. Schumann songs, is ecstatically sung by superchrome taping (Vox Cum Laude VCS The grandest recent opera taping is the Edith Mathis with beautifully matched pia- 9007, $10.98) is faster overall, at 44:10, too -long -delayed cassette edition of Her- no collaborations by Christoph Eschenbach than any previous version I know, including bertvon Karajan's1967-70 complete (DG 3301 323, $10.98). Toscanini's and Szell's. But more signifi- WagnerRing(Deutsche Grammophon Finally, we cast off all instrumental cantly, it's so galvanic, mercurial, and elat- 3378 048/9, two volumes of six cassettes, weights to free the airborne sonorities ofed-especially in its first and last move- $65.88 each). Unevenly sung and lacking unaccompanied chorus as the twenty -four - ments-that it, no less than the Seventh the dramatic grandeur and sound -stage strong Clerkes of Oxenford, under David Symphony, warrants the appellation "apo- effects of the pioneering Solti/London ver- Wulstan, bring us rare representations of theosis of the dance." It also documents, sion, this set makes a special appeal to lis- two obscure Tudor masters: John Sheppard by comparison with Gielen's c. 1966 Vien- teners of an instrumental bias withits or Shepherd(CantataMass and a responso- nese/Audio Fidelity version (still available superb orchestral playing (Berlin Philhar- ry) and Robert White or Whyte(Lamenta- in the CCC 36 taping), an astonishing con- monic) and recording. Then, contrasting tions of Jeremiahand four motets); all are ductorial growth in both skill and daring. markedly in size and character, there's a eloquently sung in vibrant 1977 CalliopeGielen has already caused considerable fascinating recital of Elizabethan ayres and recordings with the authentic acoustical consternation in Cincinnati. Now he's like- duets-seven by Dowland, with others by ambience of an Oxford chapel (Nonesuch ly to jolt conservative listeners everywhere Campion, Danyel,Ferrabosco, Hume, N5 71396 and H4 71400, $5.98 each). into a complete tizzy! HF

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Engineer Bob Clearmountain at the new Solid State Logic 48 -track board in Studio C's control room The Power Station States the Art Who says the recording studio business is in trouble? by Crispin Cioe

ONE AFTERNOON LAST WINTER, I was play- and after we had finished the last bit of dou- many state-of-the-art studios in New York ing tenor sax with my horn section for an ble -tracking and trumpet flourishes, pro- and L. A. have been forced to lower their overdub at the Power Station. a Manhattan ducer Steve Burgh's voice came through rates and rely on jingles and soundtracks to recording studio that has just completed its the headphone monitors: "That's it. come stay in business. Yet for several top -shelf first five very successful years of operation. on in and take a listen." As we put our New York rooms-Mediasound, the Hit The tune we were working on was Ya Ya, horns back in the cases, I noticed the bari- Factory, and Sigma Sound among them- from singer/songwriter Steve Forbert's new tone sax player shaking his head. "Roger," business is booming. And in the case of the album. We were in Studio A, a big, open, I asked. "is something the matter?" HePower Station. by far the newest kid on the seven -sided room with a huge, pointed smiled, slowly stared up into the dome, and block, things have never been better. Own- dome built into the ceiling, lots of wood said, "No, not at all-I just can't believe ers Bob Walters and Tony Bongiovi recent- slats on the walls, and a sound that has how good horns sound in this room." ly opened the new Studio C, which, along made regular customers outof Bruce Intheinsular,highly competitive with Studios A and B, appears to be buzz- Springsteen.theRollingStones. Chic, world of recording studios, that kind of ing with clients day and night. Blondie, the Clash, and David Bowie, comment can make all the difference. Since The Power Station doesn't actively among others. The session went smoothly, fewer LPs are being recorded these days, pursue business: It never advertises and its

JULY 1982 67 Co-owner Bob Walters in his office Assistant engineers Barry Bongiovi and Jason Corsaro at Studio B controls owners work very hard to keep its profile without being ostentatious. When you walk One of his trainees was Bob Clear - low. There appear to be two reasons forintothebuilding and up the concrete mountain, now one of the most respected this. One is that Bongiovi and Walters want entrance stairs,it's neutral and kind ofaudio engineersinthecountry. "Bob their clientele to be able to work in an atmo- industrial. You have no idea what you'restarted as an assistant engineer at Media sphere of uninterrupted professionalism. walking into, and we wouldn't change that. when he was nineteen," recalls Walters. The other is that they simply don't want to Years ago when I was at Mediasound, Otto "One day Tony was working on a Kool & risk letting any trade secrets out. TheyPreminger was there to do a soundtrack. the Gang album, and just as the mixing ses- agreed to this feature-the first in any pub-One day he came into my office, which sion was about to start he said, 'I don't think lication-on the conditions that we not takelooked a lot like this one, to use my phone. I'll mix today-Bob, you do it,' and Clear - any photos of the studios themselves andHe looked around the room, smiled, and mountain, on his first solo flight, proceeded that I not get too specific when discussingthen said in his thick accent, 'Very good. to mix a gold single." the mountains of equipment on hand. A pic- You are smart-you spend your money So in 1976, when Walters and Bongio- ture is worth a thousand words, so bear with where you make it, and not in the office.' vileft Media to open their own studio, me. Well, that's been our basic approach hereClearmountain went with them, as did Ed The Studio is located on the far West right down the line. We spend our money in Evans. "We were all eager to get the rock Side of midtown Manhattan in what was the studio, where we make it, and not in the & roll business," says Walters. "We cer- originally a Con Edison power plant. (It'soffice." tainly knew we had the talent to start a busi- no accident that it still looks like a Con Edi- ness of our own." Clearmountain, who son power plant.) Each of the building'sWalters is a friendly, bearded man whorecorded mostly r&b at Media, was also five floors has 7.500 square feet of space, says he was a musician long before he was a eager to work with more rock acts."I connected by a huge 21,000 -pound -capaci- studio owner. "I play trumpet and sing and thought that by building a new studio. ty freight elevator for trucks, cars, andhave been a bandleader for years. I stopped instead of having to break from a history of equipment, and one regular elevator. Theperforming only recently; working at this doing film scores and big r&b productions, ground floor houses a parking lot and a fullyplace is so satisfying that I don't really miss we could start fresh and gather a rock cli- equipped carpentry shop; the reception areait." Walters started in the studio business in entele from scratch." and Studios A and B are on the first floor; 1969 when, along with a couple of partners, on the second are several offices and Studiohe founded Mediasound. That was also "When we found this building." contin- A's dome; on the third are Studio C, tech-where he met Bongiovi. "We hired Tony ues Walters, "and worked out the financing nical manager Ed Evans' workshop and lab,on sight one day in 1970 when he walked in to buy it, we decided to do everything our- and more parking space that eventually may and asked for a job. He already had an selves. We immediately hired two carpen- be converted into a video/film productionincredible reputation, having engineered ters, rather than go through the hassle of area; living quarters for employees who records for Motown when he was seventeen dealing with a contractor, and we still keep burn the midnight oil are on the fourthand later working at [New York's] Record those carpenters on staff, full-time. Tony floor. Plant. Media had been a jingle studio main- had been carrying around these ideas about The interioris uniformly functional ly, though occasionally we would do a studio design for years, so our method was and pleasant, but in no way plush or opu- soundtrack. Two weeks after we hired that he would design the rooms, and then an lent. As Walters explained when he usheredTony, the record business started comingarchitect would come in and draw up the me into his practical.slightly clutteredin. He went on to train the other engineers plans for the carpenters to execute. We office, "We built the place to look goodhow to make records." opened Studio A first, and B was finished

68 HIGH FIDELITY about a year later." "On rock sessions, I'll often put the In the initial planning stages of Studio drums in the middle of the room and utilize A, Bongiovi used a computer to figure out the miking options I've just mentioned. I'll formulas for decay time and so forth. Then, put the other instruments in the glassed -in when it came time to determine the actual areas. That way, I can really get a big drum shape and size of the room, he, together sound without having to worry about leak- with Clearmountain and other staff mem- age to other tracks." bers,laidout one -by -two-inch wooden boards on the floor and experimented with Clearmountain and I talked in a third - various configurations. floor office crammed with reels and reels of If not revolutionary, Bongiovi's de- master tape. When asked, he explained that sign clearly is unique. Clearmountain and his latest project was to weed through sixty - Walters both point to it as the primary rea- odd tapes of Rolling Stones concerts he had son for the studio's early acceptance by recorded when he was on the road with the rock groups. In the '60s, many studios band last year. He showed me a list of four- adopted a basic acoustic principle that went teen songs taken from the fourteen shows, hand -in -hand with the growth of multitrack cross-indexed with comments on each track recording. The theory was, that in order for (e.g., "Mick's vocal fuzzed out"). "We've the engineer to have complete control over narrowedit down to ten song versions each track, particularly in the mixing pro- now," he says. "For two weeks or so I just cess, it was necessary to record each track listened, mostly in Studio C, mostly alone, with its instrument(s) in complete isolation. sorting through them." Once he had picked Many studios therefore were built to be as the best takes, it was time to do some over- absorptive as possible. A lot of good dubbing with the band. "It's hard to get records have been made in these heavily those guys in the studio during the day," he padded, carpeted, baffled, "dead" rooms, continues, "and Billy Squier and Dire so the theory is indeed workable. But it Straits had two of the rooms block -booked doesn't allow for one very important ele- at night, with various clients using the third ment: resonance. Any instrument, even a studio. So when I could, I'd just grab Stu- Clearmountain weeds through the Stones guitar amp, depends in part on what comes dio B at night and get Keith [Richards] in back off the walls to create its total sound. for hislittleoverdubs.Actually,there In the past few years, room sound and res- weren't that many to do. We used almost all since. Clearniountain asserts that this kind onance and the ability to control them have of Mick's vocals intact, except for one or of efficiency is no accident; the engineers become a major factor in studio design. The two places where his wireless mike blankedhave been trained, he says, 'not to burden idea is not only to create a deeper sound for out onstage. We didn't even have to add the musicians with things like getting the records, but also to give each musician the applause-it fell in the right places. So this right sounds on their instruments" for ability to hear his own sounds as he plays really is a live album, which makes me recording. "If they have to spend hours and them-live. happy." hours doing that, how are they going to feel "Basically,"says Clearmountain, Of course, the Power Station didn't like playing anything? I come in before a "this studio was designed with musicians in develop their stellar rock clientele over- session and tune the drums myself. I have mind. For instance, Tony used to ask horn night. How didit happen? "Before the my own snare drum here, which I prefer players what kind of acoustic environment place even opened," Clearmountain ex-drummers use. I'll get all the drum heads they'd like to work in ideally. They would plains, "I was a big fan of a band called the tuned the way I like them, then when the say things like, 'Such and such a studio is Tuff Darts, one of the first New York punk drummer comes in, we'll talk about it, he'll great, but it would be even better if it were a groups. Robert Gordon was the original play them, and if he doesn't like something little brighter.' Those kinds of comments lead singer. When they signed to Sirewe'll both work on it." were taken into consideration, in detail." Records, what with Tony and Bob knowing What Bongiovi did was to elevate the the label people and me being friends with The Power Station's high efficiency fac- concept of a "live" room to a very sophis- the band, they decided to record here. Ian tor is not the sole province of its engineers, ticated, controllable level. "We built Stu- Hunter was also pals with them, and he and all of them credit maintenance chief Ed dio A to be live," continues Clearmoun- came into play some solos on theirEvans for keeping the equipment in top tain, "with the option to isolate very thor- album. working form and for continuously improv- oughly, using sliding glass doors. They can "Ian really liked the studio; he even ing in -studio service. One of his latest inno- create up to three different subrooms within liked the fact that the place wasn't finished vations is the small direct box built into the studio, and two isolation booths. The yet. There was still plasterboard on the each control room's producer's desk. This way Tony planned it, the room actually gets walls, blankets over the door wells, and big way, a bassist or synthesizer player, for more live -sounding the higher up you go. space heaters for warmth in the dead of instance, can record an overdub live in the There are two mikes mounted on a motor- winter. He ended up recording his LPcontrol room without any repatching or ized winch in the room's dome; you can "You're Never Alone with a Schizophren- additional set-up time. Evans is also work- move them up and down. I can close -mike a ic" here, with the E Street Band as his ing on a headphone monitoring system that snare drum, say, on the floor and get a very backing group. They were impressed- would enable each musician to control not tight sound. Then I can also use those ambi- especially !drummed Max Weinberg and only the volume of his own cue mix, but ence mikes in the dome; the farther up I take [pianist] Roy Bittan-so they went back also his instruments' tone and volume inde- them on the winch, the more reflective and and told Springsteen he should check it pendent of the rest of the mix. All of this, bright the sound gets. The wood slats high- out." says Clearmountain, is just a matter of er up are treated with more coats of poly- When Bruce Springsteen came in to "keeping hip" to what the musicians want, urethane. We varied the walls' reflectivity try cutting a song, he got his drum sounds in rather than what theengineerswant. by altering the amount of space between the an hour, and reportedly quipped, "It took Although I must say that being an engineer, wood slats-the farther apart the slats, the three months at the last place I worked at." I couldn't be happier working here." more absorptive the surface. He has recorded at the Power Station ever For engineer Larry Alexander, the

JULY 1982 69 Class photo: assistant engineers Gan Rindfuss. Malcolm Pollock, and Josh Abbey (stand- Engineer Neil Dorfsman with Knopfler ing); pianist Doug Katsouris, Corsaro, engineer Larry Alexander.

road to the Power Station was a bit moreEQ-highs or lows, in other words-on ceivablepieceof outboard equipment circuitous than it was for Clearmountain. In any track or sound. This allows the option stocked in all three rooms, so you never the '70s he had engineered at several studi- of giving the entire recording that warm, have to rent anything from outside. And the os, including Phil Ramone's A&R Record- tube -electronics sound the Pultecs have entire staff, especially the assistant engi- ing (see BACKBEAT, April!. One day late in without really adding EQ. We have a new neers, is so efficient that you never waste '77. he got a call from the Power Station to board upstairs in Studio C, a forty -eight - time: With a good studio drummer. I can program some synthesizer sounds for a track Solid State Logic. We outfitted it with get a drum sound in twenty minutes. At the record date with Clearmountainatthe equalizers similar to the Pultecs because same time, the atmosphere is really relaxed. board. Apparently,it was love atfirst when we ran drum sounds comparing the I once walked into the reception area and sound. "I was sitting there waiting to do my Pultecs with the new board's equalizers, we found Springsteen and Forbert, who were overdub," he recalls, "and between Bob's found the modern ones sounded almost too recordingindifferent rooms, jamming mixing and the overall feeling of the room, perfect. So we modified a new, half -mil- together on acoustic guitars. totally unin- I realized that I wouldn't have changed one lion -dollar board, since we thought the tube hibited and unbothered. thing about the way things sounded." distortion sounded better. "But ultimately," Burgh continues. Through persistence and a very short intern- "Right now," says Larry, "Studio C "it's the sound of the place that's so amaz- ship as an assistant, he eventually landed a is a little like a smaller version of A. We're ing. The way it sounds over the speakers. full-time job at the studio, where he hastaking a lot of time to get it right. Tony s when you know the music is cooking. is the since engineered albums for Diana Ross working with different wall treatments, first way it sounds on the cassette copy I bring and David Bowie. among many others. We getting feedback from musicians,then home to study at night, which is also the sat and talked in a lounge across from Stu- applying more shellac or covering up more way it prints when I take it to be mastered. dio A, where Mark Knopfler of Dire Straits canvas with soft wood and no shellac. The It's just a really good. live -sounding studio. was warming up for his session that was various combinations are designed to doall the time, right down the line." about to begin. "That room," says Larry, things like change the highs or lows or the Yet even though the Power Station has "gets a lot of comment from producers and decay time. But the control rooms are all emerged as one of the most important artists-David Bowie said it reminded him consistent with each other." recording studios in the world. Bob Walters of a Swiss chalet-and its sound character- I asked Clearmountain about the con- assured me that "there will never be an atti- istics lend themselves to all kinds of exper- trol moms' design. "Without giving away tude of complacency here. All our engi- imentation. On Bowie's "Scary Monsters" any of Tony's secrets," he said, "I can say neers-Bob. Larry. Neil Dorfsman, Bill album, producer Tony Visconti would there's little or no concrete used in the con- Scheniman, and James Farber-have been sometimes have me turn the drum mikes trol rooms, so the bass, which is usually the here awhile and are still excited about being way down, boost the room mikes. and then biggest problem in getting the sound right. here. So am I. When we all stop being in flange the combined sound electronically. doesn't reflect at all-it just keeps going awe of what we have, when we stop being "Another thing producers like," he through the walls without coming back." as concerned about dust in the corners as continues. "is the studio's reliability. All Steve Burgh has produced a fairly malfunctioning machinery, we're out of three control rooms are the same size and wide range of artists at the Power Station business." Somehow,afterseeingthe layout. within a fraction of an inch. And and will undoubtedly continue to do so, place in action, that doesn't seem at all fea- they all have special Pultec tube equalizers given his high esteem for it. "Even though sible. For as long as there's a record busi- fitted for each track of each mixing console. it's a relatively expensive studio," he says, ness, you can bet that those hits will keep on Plus, we can run the entire tape through the "it's so efficient and complete that you can pumping right out of the Power Station and Pultec tubes without putting any specific actually save money. They have every con- onto the airwaves. HF

70 HIGH FIDELITY BAC KBEAT Reviews

McCartney's thematic concerns are equally ambitious, as well as being more introspective than most of his recent work. That isn't entirely good news, since he has never been as engaging a lyricist as he is a composer: Coy wordplay too often lapses into mere fuzziness. John, by contrast, proves sharper if only due to the wise mod- esty of his concentration on familiar romantic topics. The death of John Lennon clearly Elton affected both artists deeply, not least of all because of their respective friendships with him. Curiously, while John's closeness was and the more recent (they paired on record several times in the mid -'70s), he elects to comment on Lennon's passing with a formal, symbolic elegy. Empty Garden. It is Paul McCartney who offers the more personal, intimate message (due in part to their pub- licizedestrangement).sidesteppingthe 1` Redux tragedy of Lennon's murder to address the private bond between the two old friends. As such, his Here Today is deeply moving, transforming his frequently mawkish senti- Reviewed by Sam Sutherland mentality into true emotion. Neither album is a grand statement, although "Tug of War" clearly attempts to be. Both, however, are rich pop works and Elton John: Jump Up! shelving Wings and reuniting with producer heartening returns to form for two veteran Chris Thomas, producer George Martin(intheirfirst complete performers some fans had long ago written Beatles), Geffen GHS 2013 album collaboration since the off. HF Paul McCartney: Tug of War McCartney exploits the advantages of a George Martin, producer rotating group of players to yield spacious, lyrical pop/rock that recalls his work onJoe "King" Carrasco Columbia TC37462 "Abbey Road" and his own "Band on the& the Crowns: IT WOULD BE GRATIFYINGenough if eitherRun," tapping symphonic punctuation and Synapse Gap (Mundo Total) Paul McCartney or Elton John could over-studio effects to dramatize his songs. Tony Ferguson, producer turn expectation to regain the power of their John's approach is somewhat differ- MCA 5308 earlier work, so the virtually simultaneous ent, but likewise points directly to his work arrival of strong new records from both of a decade ago. In his second pairing with Will upward mobility spoil Joe "King" offers one of the year's nicer surprises. That producer Chris Thomas, John reassembles Carrasco? Can a major label deal, a Holly- coincidenceisreinforced by elements. the compact. piano -dominated ensemblewood recording session, or garish album musical and otherwise, that point up thesound that provided the core for his best graphics neutralize the personality of a guy shared sensibilities between the '60s super- records. Like McCartney, he couples that who ran naked across the stage at a recent star and a '70s successor who came closest revived attack to a set of songs showcasing Go-Go's concert? Will the Pinky Lee of to matching the Beatles' popular success. his familiar melodic strengths: Brisk, riff - Tex-Mex rock & roll grow up bland, or will Both McCartney and John have longladen rock (the deft Dear John, a joyful he stay absurd? The jury is still out, but the displayed a similar penchant for fusing kiss -off to a lover), neo-soul music (Spiteful evidence of "Synapse Gap (Mundo Total)" ebullient rock and r&b sources with a lush Child and Where Have All the Good Timesis not exactly encouraging. For the most pop classicism and spicing the mix withGone), country inflection (Ball & Chain), part, all the elements that have made Car- traces of more exotic fare like reggae and and pop romanticism (Legal Boys and Blue rasco's sound such a mad mélange are still African high life. Recently, both have faced Eyes) all coexist handsomely. in place: Kris Cummings' cheesy organ charges that their music has become insular McCartney's music here reaches for playing. Carrasco's peppery singing. Still, and shallow; attempts by each to tackle more portentous influences, with Martin's the album doesn't approach the manic, newer styles (as on McCartney's experi- hand as coarranger showing clearly. Stately cross-cultural heights Carrasco is capable mental one-man confection, "McCartney horn fanfares (on Wanderlust and The of reaching. II," or John's late '70s forays into pure dis- Pound Is Sinking), string quartet (Here Some cuts try to capture his patented co) merely squandered their popularityToday), and orchestra (the title song) are spirit (That's the Love, Where We At, Front without creating any durable work in themustered at various points. The only strik- Me Some Love); others go farther afield into process. ing departure from prior solo and Beatles reggae (Rip It Up, Shake It Up, Go Go, Thus, it isn't surprising that their twin arrangements is a percolating pop/funk duetDon't Let a Woman Make a Fool Out of triumphs here are rooted in conservative with Stevie Wonder, What's That You're You); others venture into the early -'60s reassessments of their best past traits. By Doing? instrumental combo sound (Person -Person

JULY 1982 71 BACKBEAT Reviews resembles the B -52's as well as bands in the returns to the more unified synthesizer Ventures mode).Butthe hodgepodge ensemble approach he used for Midnight drags. Carrasco tries to perk things up with Express but has since diluted through too his "ai-ai-ai" Mexicali trilling, and Cum- much emphasis on creating recognizable mings' keyboard playing is always brisk, pop singles for radio exposure (e.g., his but "Synapse Gap" suffers from too much scores for Foxes and American Gigolo). polish and not enough of Carrasco's spon- "Cat People" isn't entirely instru- taneous, one -take quality. mental-the title theme may be David His delightful 1978 debut with the Bowie's most accessible vocal performance horn -dominated El Molino band and his in several years. In contrast to the subtler, frenzied 1980 LP with the Crowns were more convoluted effects and arrangements ideal party music: loose, giddy, predict- Bowie has utilized on his own records, able. There are some enjoyable tracks here Moroder frames the singer's deeply melod- (Person -Person, Imitation Class), but you ic verses and howling chorus readings with never are convinced that he is having a good a more stripped -down, conventionally time; he seems to yelp on cue, and there's rhythmic rock band. an academic feeling to the combination of The collaboration is distinctive thanks mariachi rhythms and bubblegum pop. to Bowie's remarkably concise condensa- Tony Ferguson is credited as the album's tion of the film's basic supernatural premise producer, but for the suppressive effect he into a haunting confession of sexual longing has had on Carrasco's rowdy behavior, he elevated to mythic proportions.Inthe could just as easily be called a chaperon. song's brooding opening, Bowie's subdued MITCHELL COHEN baritone prowls with stately menace against ethereal synthesizer and softlyinsistent Johnny Cash, Jerry Lee Lewis, tabla. The piece goes on to replicate the Carl Perkins: The Survivors film's central image of horrific transforma- Lou Robin & Rodney Crowell, tions as its narrator explodes into the chorus producers. Columbia FC 37961 against snarling, hissing guitars and synthe- Carrasco: The jury is still out. sizer effects. Every quarter -century or so, the original Moroder's work is laudable for that rockabillys from Sun Records get together performance alone, but the real strength of and sing Peace in the Valley. The first time house out of his piano. When he sings "the the score is the way it provides a unifying was in 1956, when Elvis Presley wandered night is as dark as the sea," you know it's a atmosphere for thefilm. Granted,that into a Carl Perkins recording session at night he has seen, and when he breaks Hank pushes the composer to some heavier -hand- which Jerry Lee Lewis was playing pianoWilliams' / Saw the Light wide open with a ed shock effects. (The Autopsy is program- and Johnny Cash happened to be hanging jumping piano solo, he doesn't have to utter matic in its use of sudden dissonances and around. The most recent reunion was at aa word to take over. dramatic shifts in dynamic perspective; a 1981 Cash concertin West Germany, Much of the singing and playing on slice of chase music is just that.) But there where Lewis and Perkins joined Cash on "The Survivors" is ragged, befitting the are some well-rounded, piquant themes at stage. "The Survivors" documents that unrehearsed circumstances; Rodney Crow- work here, particularly that accorded to event and, like the other Memphis pow-ell, Cash's son-in-law, deserves a lot of !rem the feline "love" interest. And the wow, becomes a session on the subject ofcredit for snipping, patching. and mixing sinister theme-subtitled Putting Out piety. The only songs all three sing together the show into a solid album. There's some- Fires-is intelligently interwoven into sev- are inspirational: Can the Circle Be Unbro- thing moving about these three men cele- eral other score segments. ken, I Saw the Light, I'll Fly Away, and ofbrating their own endurance and mourning, SAM SUTHERLAND course, There Will Be Peace in the Valley explicitly and by implication, those who for Me, dedicated to Presley, who sang lead didn't endure. In 1956, the year of / Walk DavidLasley: on that song at the '56 session. the Line, Heartbreak Hotel, and Blue Suede Missin' Twenty Grand There's more to "The Survivors" thanShoes, the "Million Dollar Quartet" sat David Lasley, Willie Wilcox, spiritual togetherness. Each survivor-the around a piano and sang songs like Blessed& Joe Wissert, producers abused term is not inapplicable in this case, Jesus Hold My Hand. Twenty-five yearsEMI/America ST 17066 since booze, pills, and/or disease almost down the line, they're still at it. destroyed them-sings two solo numbers, MITCHELL COHEN Within the industry, David Lasley has made and Cash and Perkins have a pair of country a name for himself as a session singer, duets. Cash does steady -rocking readings Original Soundtrack: Cat People vocal arranger, and songwriter. "Missin' of an early hit Get Rhythm and I Forgot to Giorgio Moroder, producer Twenty Grand," his first solo outing, is Remember to Forget (which Elvis cut in '55 Backstreet BSR 6107 noteworthy in much the same way that at Sun); Perkins takes his turn on Matchbox Rickie Lee Jones's debut was, because it and theinevitable Blue Suede Shoes. In revamping the 1942 fantasy classic Catcombines a high level of vocal and compo- They're both pros, but Lewis is the lastPeople into "an erotic fantasy about the sitional craftsmanship with a very personal great '50s rock & roller, and while he animalinusall,"writer/director Paul approach. Lasley is from Detroit and got his sounds more fragile than usual on this set, Schrader has touched off divided feelings. start singing professionally there during the his flamboyance carries the day. He seems to have a penchant for injecting height of the Motown explosion. The LP's Lewis does two of his themes, Whole Grand Guignol elements of horrific specta- title alludes to that city's-and the era's- Lotta Shakin' Goin' On and Rockin' My cle into virtually every script he fashions. most popular soul nightclub, the Twenty Life Away. Neither is an essential render- No such charges of exaggeration can be lev- Grand. ing; he really builds up steam on the trio eled against the film's music, however: In Though Lasley may indeed "miss" performances. Even when he's singing his second film collaboration with Schrad- the good old days, he is very much a con- God's praises, he can't keep the showboat er, Giorgio Moroder turns in one of his temporary pop artist who, like James Tay- out of his voice or echoes of the whore-most effective scores to date. On it. he lor and Bonnie Raitt (both of whom sing

72 HIGH FIDELITY backup here), has been profoundly influenced by black music. Treat Willie Good rolls along on a good-time, shuffle beat behind Jerry Hey's lush horn arrangements, as the singer advises a female friend about how to keep her man. On Third Street directly recalls Lasley's youth with such lines as "lost my britches on Third Street, cop skips his beat on Third Street," and his incredibly precise falsetto paints the song's dreamlike images with easy believability. On David Loggins and Randy Goodrum's If I Had My Wish Tonight, which is somewhat in the Bee Gees' melodic mold, Lasley's impassioned voice draws out the vowels of the lyrics to attain an expressive range far beyond that of the brothers Gibb. "Missin' Twenty Grand" is not aRock & roll talent Terry Scott: a shake-up for FM radio's playlist masterpiece. Some of the material seems lacking; Roommate, for instance, has an (Waddy Wachtel, Bryan Garofalo, Craig of -fashion instincts. Here we are in the ominous reggae flavor that overreaches the Hull) to gussy things up. Eighties, with most British bands marching story of roommates who don't get along. Still, all is not lost: Take the L ("take to a stark Teutonic synthesizer beat, and And the mix sometimes suffers from athe L out of lover and it's over") boasts Oldfidd isstill dallying with strings and diaphanousness, where one wishes the some suitably spooky keyboards and cymbals and zithers, mucking around with drums would cut through the strings and thumping drum work; Davis' Only the syrupy melodies and overblown arrange- piano more potently. But these are slightLonely is a pretty, downbeat tune (no rela- ments. flaws in an otherwise impressive, panoram- tion to Roy Orbison's), sporting a jazzy sax Oldfieldgets away withallthis ic debut. CRISPIN CIOE break by Jourard; Change My Mind, for all because he's so doggedly into it; his com- its Billie Holiday/Rickie Lee Jones cocktail positions consist of layer upon layer of in- The Motels: All FourOne lounge mannerisms, is a heartfelt ballad tricately worked out musical bits, each ValGaray, producer about the impermanence of love; and the painstakingly mixed together into an un- Capitol ST 12177 cover of the Phil Spector sickie He Hit Me abashedly grandiose whole. The inside cov- (and It Felt like a Kiss), while not as good er of "Five Miles Out" sports a reproduc- Folks in the L. A. rock community haveas the original Crystals' single, still indi- tion of the studio track sheet for Taurus II- been predicting great things for Marthacates a healthy, demented streak of bad Davis and the Motels, ever since the group taste on Davis' part. sound on every one of the piece's twenty- was first granted a recording contract in the It's too early to tell if Garay's Motels four tracks. A partial list of said ingredients flurry of signings that followed the Knack's clean-up will pay off in terms of big hits and includes Uileann pipes (courtesy of the platinum debut. On both their first disc and big bucks, but even if it does "All FourChieftains'Paddy Moloney),brass, the followup, "Careful," lead singer/song- One" remains a compromised, lackluster strings, flute, banjo, bodhran, trombone, writer Davis and her band fashioned acollection.It leaves you wondering what oboe, Hammond Prophet organ, vocoder, sound that mixed the moody dramatics ofthe original "All Four One," now gather- choir, vibraphone, not to mention a spate of the Doors with the brainy nervousness ofing dust in some studio vault, sounds like. guitars (played by Oldfield and Rick Fenn), Talking Heads and threw in a dash of Lotte Odds are, it's better than this. percussion (Morris Pert), and more key- Lenya for good measure. STEVEN X. REA boards (Oldfield and Tim Cross). In the In light of the Motels' previous work, midst of this aural tempest, Oldfield plops a "All Four One" -which was entirelyMike Oldlield: Five Miles Out short lullaby titled The Deep Deep Sound, re-recorded after Capitol executives de- MikeOldfield, producer sung in an angelic timbre by Maggie Reilly. clared the first version was devoid of sin- Virgin/Epic ARE 37983 It's doubtful that anyone will be listen- gles-is a major disappointment. Under ing to Oldfield's music one hundred years Val (Kim Carnes, Kenny Rogers) Garay's The man responsible for the fifty -minute from now. Stripped of their multiple layers slicked -up production, the smokey ambi- electronichippie symphony "Tubular and elaborate arrangements, his composi- ence and tension that once permeated their Bells" is back again. This time, Mike Old - tions are little more than catchy commercial music has been supplanted with a nonde- field's record is called "Five Miles Out," fodder; they don't seem to have enough of script rock approach. And Davis' torchy and it sticks pretty much to the tried-and- an emotional edge or depth to warrant con- punk tunes, rife with allusions to drinks, true formula of its six predecessors. Side I, tinued listening. But played occasionally, drugs, and desolate romance, lack the fired - titled Taurus 11, is a swirling twenty -five - when one's puttering around the house with up urgency of earlier compositions like minute's worth of bouncy, busy instrumen- nothing much to do, Oldfield's musical Danger and Cry Baby. tal music. Side 2 has four tunes: Family meanderings can createa mood that's Part of the problem could be the depar- Man, a spacey rock effort; Orabrdoo, with peaceful and sublime. STEVEN X. REA ture of Tim McGovern, whose taut, reck- music -box chimes and nursery -room ambi- less guitar infused "Careful" with a shad- ence; a sort of Anglo-Peruvian ditty (com- Terry Scott owy, on -edge tone. Replacing him is Guy plete with flutes, recorders, and percussion) Hank Medress & Dave Appel!, Perry, a mainstream rock axe man late ofcalled Mount Teidi; and the titletrack, producers. Elektra E 1-60014 New York's Elephant's Memory. But even which is based on Oldfield's near -disas- the three remaining Motels-keyboard and trous experience copiloting a plane over the It has been awhile since a black musician sax man Marty Jourard, bassist Michael Pyrenees in a violent storm. made it big in the world of hard rock & roll. Goodroe, and drummer Brian Glascock- Partof themulti -instrumentalist's Unfortunately, American FM rock radio have had their roles diminished by Garay, charm-and Oldfield's music can be adheres fairly strictly to white rock acts, who brought in most of Kim Carnes's band charming-comes from his decidedly out - and record companies follow radio's needs.

JULY 1982 73 BACKBEAT Reviews Suchglibcontradictions (fromNever ative interest of label founder Berry Gor- Ceases to Amaze Me)typify the band'sdy-signaled a potential reconstruction of admirable skill at-and continuing success the hitmaking strategy of Motown's halcy- from-mixing the cynical with the ingenu- on days. ous to an infectious beat. That strategy is indeed at work here; Likeitspredecessors, "True Col-Gordy hasreturnedtoa production ours" and "Waiata," "Time and Tide" approach common in Motown's middle applies the group's early eclecticism to a years, one that reinforces individual perfor- more disciplined, post -new wave pop style. mances. But on "Reunion" that creates Melodic warmth remains intact, even amidfrustrating barriers to any sense of coher- intricatecounter -rhythms,synthesizers, ence. The chairman's late '60s ploy of and special effects used to conjure up the allowing multiple producers to work with sometimes cartoon -sized heroes and vil- the same act, with the aim of releasing only lains. The arrangements here cover a wide the best from each collaboration, may have spectrum of generic references, yet Neil fostered a certain healthy internal competi- and Tim Finn's writing style remains sharp- tion. He usually allowed only the most ly defined. Their loosely conceptual frame- effective team to complete an entire LP. work-mirrored in the album's title-is Yet here, as on a number of the label's filled with fables of discovery whose sense recenttop -priorityprojects,thereisa Split Enz: a fondness for the absurd of scope slip from epic tableau to intimate round-robin of studio partnerships. The vignette in the wink of an eye. result is a composite. The writers' fondness for the absurd As such, this reunion suffers from a Yet no one can deny that rock as we know itand for slightly phantasmagorical images is split personality that might reap the hoped - today exists in part because of players likereflected in the set's array of horror stories for single hits, but translates into a garbled Chuck Berry, Bo Diddley, and Jimi Hen- (Dirty CreatureandGiant Heartbeat)and identity for the group. Rick James repays drix. personalhistories(Hello Sandy Allen, the Temps for their guest shot on his "Su- Allof this makes singer/song- about the world's tallest woman, andHaul per Freak" by giving themStanding on the writer/guitarist Terry Scott's eponymousAway).Throughout,kinetic rhythmic Top,an extended funk workout (what else) debut especially gratifying. This is a talent- clockworks give the music a mysterious yet that tries to meld some caustic observations ed black musician who is thoroughly com-downright peppy drive. on success with a more routine advertise- mittedtorockingout.His playingis These voyagesaremostly ocean- ment for funk itself.That tack simply grounded in the styles of Jimmy Page,bound-SixMonths in a Leaky Boatap- doesn't mesh with the grab bag of pop bal- Clapton, and Hendrix, and he sings in apears on Side 2, after many references to lads (I'veNever Been to Me,a cover of the clear,expressive,Stevie Wonder -influ- setting sail on Side I-but some are also five -year -old Charlenesinglethathas enced style. As a writer, his songs here areinterior journeys.Haul Away,perhaps the recently returned from total obscurity) and fairly evenly divided between message most hypnotic and certainly the most per- uptempo, melodic r&b. songs and those that deal in love affairs. Of sonal song, combines Celtic folk and psy- All of which is particularly frustrating the former,In Your Life is themost con- chedelic rock to color its singer's life re- because the committee approach has indeed vincing. A grim warning about the future sume, which candidly outlines growing upturned up some attractive performances, effects of one's present actions, it combinesabsurd in private schools, escaping to the especially those produced by Smokey Rob- biting lyrics with twisting, delicately inter- brave new world of rock, and finally tee- inson and by Gordy. Kendricks, Ruffin, locking guitar and keyboard lines. tering on the brink of nervous collapse. Dennis Edwards, and Otis Williams all Scott's four -man band works fine, Such psychodrama, along with Side shine vocally, as do the other three mem- although at times one wishes the producer I's more fantastic, threatening moments, bers, when given the right material. That had captured more bombastic sounds from might imply a grim self-indulgence, but the includes Robinson'sMore on the Inside, drummer Nelson Jenkins. The group clicks band's musical verve and humor are saving which utilizes one of Smokey's familiar lyr- best on the straight -ahead rockers, sound- constants. This is modern rock for those ic paradoxes, and one of Gordy's choices, ing like an '80s version of crunching, late - who can dance, sing, and chew gum all at Money's Hard to Get. SAM SUTHERLAND '60s hard rock. One of the best examples of the same time. SAM SUTHERLAND this isOver and Over,which slips easily Deniece Williams: Niecy between a pile -driving verse and the chim- Deniece Williams & Thom Bell, ing, anthemic half-time chorus; the lyrics' The Temptations: Reunion producers. ARC/Columbia FC 37952 obsession with love gone bad are deftly Rick James, Barrett Strong, framed in a landscape of shifting power Iris Gordy, Berry Gordy, Deniece Williams'career has included chords. Scott shows a good deal of talent Ron Miller, & Smokey Robinson, extensive album backup vocal work (for here; given the right production setting, he producers. Gordy 6008GL Stevie Wonder among many others), sever- may yet emerge as a strong new voice in al solo recordings, and some duet outings mainstream rock. CRISPIN CIOE The news that Eddie Kendricks and David with Johnny Mathis. Last year she hooked Ruffin would rejointhe Temptationsup with Thom Bell, the near -legendary Split Enz: Time and Tide brought high expectations for this classic Philadelphia soul producer, and the collab- Split Enz & Hugh Padgham, vocal ensemble's new album-its secondoration yielded a hit album ("My Melo- producers. A&M SP 4894 since returning to Motown, the label thatdy") and single (the lovely waltz -ballad Sil- fostered its '60s and early '70s hits. Unlikely). Their second album together reveals an "Let's get into the swing of things, let's its labelmates, the group had always side- even greater affinity for each other's artistic continue the downward trend." So chirps stepped the usual lead -voice dominance, strengths. Bell's work in the '70s with such Tim Finn with incongruous zest in a typical relyinginstead on thegreater rangeartists as the Spinners, the Stylistics, and moment on the new Split Enz album. While afforded by alternating soloists. Still, Ken- Elton John were distinctly Bell produc- that pronouncement certainly captures a dricks and Ruffin had become identified astions. But Williams has a strong artistic global mood, itin no way describes the the Temps' strongest assets. For many fans, direction of her own, and for the most part direction of this New Zealand ensemble. their return-along with the renewed cre-(Continued on page 80)

74 HIGH FIDELITY Jazz The Art Ensemble of Chicago: Urban Bushmen Manfred Eicher, producer ECM2-12I I (two discs)

The Art Ensemble of Chicago's recent recordings have been uneven-brilliantly creative one time, strangely bland the next. One wonders whether the Sixties -based philosophies behind the group's music have become irrelevant in a Reagan-ized decade, whether the Ensemble has, in fact, begun to run out of juice. This new, two -disc set doesn't really answer the questions. Individually, Lester Bowie, Joseph Jarman, Roscoe Mitchell, et Gibbs and DeFranco: coupling fiery drivewith cool technical prowess al. are as superbly creative as ever. Each has established a standard on his instrument Dc Franco's solo style-based ontogether in his touching, funny reading of that has had major impact on younger play- Charlie Parker's-is flowing andbil- Hooray for Hollywood. Rather than subject- ers. But the group is only intermittently lowing. not as sharply accented as Parker's, ing the song to the customary uptempo cohesive. Rarely does one hear the kind of and unlike any other contemporary clarinet- attack, Henderson takes it slow and reflec- sheer tribal passion exhibited by, say, the ist's. Both he and Gibbs are wild swingers, tively, enabling Mercer's lyrics to shine-a Sun Ra Solar Arkestrainitsbetter which they daringly establish by opening chance they rarely get when buried under a moments. Since the very core of this music this, their first disc together, with a Good- hip -hip -hooray approach. isthe creation of a seminal encounter man -Hampton specialty, Air Mail Special. In fact, the rich quality of Henderson's between performer and audience, the fail- Goodman and Hampton were pretty exu- voice, the way he rolls each syllable over ure to generate a collectiveinteraction berant on this number, but De Franco and his tongue. places all these songs in a fresh causes, for this listener, some real prob- Gibbs outdo them, neither one ever sound- light. He is a thinking, creative, and imag- lems. ing like his Swing -era counterpart. inative singer with both taste and wit. As if The Art Ensemble is a performing A few cuts later they move into anoth- all of that were not enough. he gets superb group first, and only incidentally a recorder G. -H. standard, a slow, melodically full backing from Dave Mackay on electric pia- ing unit. There's no doubt that a concert Body & Soul. De Franco abandons the thin, no and Joyce Collins on acoustic piano. disc like this one (from May 1980) is the skittering tone he uses in his boppish pieces Both work with him regularly, and their best way to hear them. And there are in favor of a dark warmth that is pure low - playing is as much a part of his performance moments in Ancestral Meditation and Bush register Goodman. Gibbs turns to the delib- as his own voice. Collins sings occasional- Magic that will come close to turning your erate emphasis with which Hampton ly. contributing background color and even head around. Ultimately, however, "Urban phrases his ballads. It's as if they decided to taking a solo on / Thought About You. Her Bushmen" comes across as the chronicle of demonstrate that they know precisely where sensitivity to vocal shading is as thoughtful an encounter between performers and audi- they are coming from. as Henderson's. JOHN S. WILSON ence rather than as the event itself. The This is a joyous and exciting album. moments in which the Ensemble breaks With the fiery drive of Gibbs behind and Dick Sudhalter and His Primus down the implicit barrier of the recorded beside him, De Franco's cool technical disc are simply not frequent enough to sat- prowess is finally getting the hot foot it Inter Pares Jazz Ensemble: isfy even this receptive listener. needs to reach a nontechnical audience. Friends with Pleasure DON HECKMAN JOHN S. WILSON Richard Sudhalter, producer Audiophile AP 159 Terry Gibbs/Buddy de Franco: Bill Henderson: (3008 Wadsworth Mill Place, Jazz Party-First Time Together A Tribute to Johnny Mercer Decatur, Ga. 30032) Herb Wong, producer Albert L. Marx, producer Palo Alto Jazz PA 8011 Discovery DS 846 Dick Sudhalter is a difficult person to get a grip on. He spent eight years as a UPI news This album brings together two stars of the In February of 1981, Bill Henderson sang correspondentinEurope. during which bebop era, both of whom have been some- in New York for the first time in ten years, time he also wrote one of the most complete what isolated from the jazz mainstream for performing some Johnny Mercer songs at and literate books on a jazz musician-Bix the past thirty years. Buddy de Franco and Michael's Pub. His month -long engage- Beiderbecke-ever published.Then he Terry Gibbs began playing together just two ment was a tremendous success and, when came to New York as a jazz critic and years ago. when they were booked sepa- he returned to California, he recorded part started playing trumpet and flugelhorn in rately into Ronnie Scott's club in London. of the program for this album. clubs around the city. This constituted a They have since become to bebop what Henderson has been building a career conflict of interest, one that Sudhalter was Benny Goodman and Lionel Hampton were as an actor in the past decade, and it shows as aware of as anyone. to Swing. Each epitomizes the bop style on inhis singing.His precise enunciation His way of working out the conflict his instrument-De Franco on clarinet, makes everysyllablefull,ripe,and has been to move more and more toward his Gibbs on vibes. They blend with and sup- endowed with nuances of color. Since his music. His interest in Beiderbeck and Hoa- port eachotherbeautifully,theirfine acting guru wasBill Cosby, he often gy Carmichael resulted in a show called ensemble sound owing a great deal to phrases and accents his lines with pure Cos- "Hoagy. Bix. and Wolfgang Beethoven Gibbs's rhythmic stimulation. by inflections. Both of these aspects come (Continued on page 82)

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78 If [GI' FIDELITY . T,,,,,,,,, OWWIN BOHM/STRAUSS Bohm, Strauss often sanctioned. Yet time The Video (Continued from page47) and again, the composer stated that in prin- SPORTS AND RECREATION, sleek interpretations usually kept a tight ciple he disapproved of all cuts in his music; Tape/Disc rein on the more impassioned moments. He only if absolutely necessary were some p also had an annoyingly keen ear that occa- more conscionable than others. Guide "3-::11:4 sionally made him a tyrant in rehearsal-a To celebrate the 100th anniversary of reputation he did not deny: "I know no Strauss's birth, DG issued a live recording VOLUME compromise in music. . . . I've always of Bohm conductingDaphnein 1964 at the EDITION ,:%'`".9ti4 been extremely precise. I never allow my Theater an der Wien; out of the catalog for a 4,,,,o''.140 musicians the slightest margin for error- number of years, it was recently reissued 1--.a_tAtS,Istrzo- ' 4 - no cheating, no games, no half -measures." (Privilege 2726 090). Conducting the Vien- A $30.85 T4.5LAN One musician at the Metropolitan Opera na Symphony-unfortunately no match for Is observed that not only could Bohm pick out that city's Philharmonic-he makes much Value 00 tlINO I4,1 LAN GUI01 the slightest intonational flaw, but he also of the orchestral playing sound like cham- ' constantly forced musicians to listen to each ber music, and he has excellent voices at his other, not to cover up one another. The disposal: Hilde Gueden as Daphne, James ALL THREE-RAI%MS musician added that Bohm had an almostKing as Apollo, and Fritz Wunderlich as ,,, FOR JUST. i architecturalsense of pacing:"Under the shepherd Leukippos. - Bohm, we never went from moment to Finally, in 1972, Bohm made his last $17.95 , , moment. InDie Frau ohne Schatten,for Strauss opera recording,Capriccio(DG I - example, one always had the sense that as 2709 038) the composer's final opera. The BOhm gave the downbeat, he had the final Bavarian Radio Symphony plays superbly, chord in his mind." especially in the moonlight music of the MOVIES - Although some of the most memorable final scene. There really is no weak link in SPORTS & RECREATION - moments of Strauss opera under Bohm took the cast: Gundula Janowitz as the Countess, CHILDREN'S PROGRAMS place in the opera house, we are fortunate Fischer-Dieskau as her brother the Count, Want some inside information that many of his commercial recordings are Peter Schreier as Flamand, Hermann Prey about video? Want to relive some of still available. Toward the end of his career, as Olivier, Tatiana Troyanos as Clairon, your favorite moments in sports? See a Bohm -led Strauss performance in the and Karl Ridderbusch as the Director. your favorite movie whenever you want? Select the best programs for house usually meant an all-star cast. How- In addition to the 1944Ariadnereis- your Children's viewing? ever, some of his recordings, specifically sue, Acanta has released a two -disc Bohm/ Salome(DG 2707 052) andAriadne(stereo Strauss retrospective under the rubric"Do- The Video Tape/Disc Guide will version, DG, deleted) suffer from curious kumente eines Kiinstlerlebens '(23 280). guide you every step of the way! miscastings-most notably, Gwyneth Most of the selections-fromFrau ohne This 3 volume edition is packed Jones and Hildegard Hillebrecht inthe Schatten, Daphne, Salome, Capriccio, with authoritative and comprehensive respective title roles. Ironically, these two Arabella,andAriadne-wererecorded in information about video. Informative recordings offer some of the finest orches- the'40s. The exceptioninvolves two articles, glimpses of the future and tral playing these operas have enjoyed- excerpts fromDaphnerecorded in1938 inside tips to help you get the most amazingly transparent and full of vitality. shortly after the premiere in Dresden, with of your video system. BOhm's earliest commercial Strauss the same singers-Margarete Teschemach- A listing of thousands of titles opera release was the mid -'50s vintage er as Daphne and Torsten Ralf as Apollo. available on videotape and videodisc Frau ohne Schattenfor London (Richmond A continuing series of releases entitled - some dating as far back as 1926 64503), featuring Leonie Rysanek as the "Bohm in Dresden," in Vol. 4 (EMI Elec- (Yes, even silent films). Want to see Empress, Hans Hopf asthe Emperor, trola 137-53514/9), documents his opera the World Series of 1943? Wimbledon? Schoeffler as Barak, and Christi Goltz as conducting and includes some of the Dres- Wildlife? The Original Popeye? The First Porky Pig? The Video Tape/Disc his wife. This first recording ofFrau stands den selections also on Acanta 1Salorne and Guide will tell you what's available among BOhm's finest releases. Daphne),plus two Sophie -Octavian duets and how to get it. A 1959 Rosenkavalier (DG, deleted) and the Act III waltz sequence fromRosen- reunited the conductor with his Dresden kavalier,and the transformation scene from Sold separately, the 3 editions Staatskapelle. Its highlight is the work of Daphne,taken from the 1938 recording ses- would cost you $30.85. veteran Kurt Bohm as Baron Ochs. The sion. Take advantage of this one time rest of the cast is relatively strong, with a To cap a conducting career of more offer from the publishers of High good performance of Octavian by Seefried, than sixty years, it was somehow fitting that Fidelity. All 3 volumes Movies, Sports a somewhat less convincing Marschallin by Bohm's final project-two months before & Recreation, Children's Programs Marianne Schech, an occasionally over- his death-should have been a Strauss just $17.951 done Sophie by Rita Streich, and a very fine opera, a taping ofElektrafor German tele- Use the couponbelow to order Faninal by Dietrich Fischer-Dieskau. vision. Although he finished it, he had, in your set. Two years later, DG released a top- fact, suffered a small stroke during one of flight first recording ofElektrawith B6hm the sessions. He chose to record the work ABC Leisure Magazines-Dept B once again conducting the Dresden forces with his favorite orchestra, the Vienna Phil- 754 4th Avenue, Brooklyn, NY 11232 (2707 01 I). Inge Borkh gives a stunning harmonic, to which he has given all his 0 Send me the 3 volume edition of performance in the title role-especially Strauss manuscripts.Shortly before his Video Tape/Disc Guide for $17.95 touching is her recognition -scene mono- death, Bohm recalled the finalsession: (Plus $1 for Shipping & Handling). My Check/Money Order is enclosed. logue-and Fischer-Dieskau gives breadth "When I recordedElektra as atrembling Do not send cash please, to the role of Orest. Schech and Jean old man, I went to the podium and said, Madeira sing the roles of Chrysothemis and 'Look at me, I'm an old man. This is prob- Name Klytemnestra. Unforgivable, however, are ably the last time I'll be able to stand before the inexplicable cuts in the second Elektra- you. Please help me to make a happy end of Address Apt tf Chrysothemis dialogue and the Elektra- it.'They played, my God how they Orest scene-stage cuts that, according to played." HF City State Zip Please allow 6 to 8 weeks for delivery. JULY 1982 79 TWO TRISTANS HITACHI VK-C1000 (Continued from page 49) (Continued from page 43) sweat, and dedication into playing the dif- ditions. In fact, the only significant prob- ficult music-but the fact remains that it lem I encountered was ghosting (the cre- isn't a world -class ensemble. Solos are ation of secondary images slightly dis- insecure (e.g., the viola just before Bran - placed from the primary ones) when the One's "dem hehrsten Trank" in Act I, and ALKAN light was very bright and the scene very also in the Act III Prelude), balances are off (Continued from contrasty.I had no difficulty getting good (thehorns do not always playsoftly page 51) pictures with fine contrast and excellent enough), general intonation is imprecise definition and color rendition indoors under (the rising cello lines in the introduction to shaped, and the piano part is as wild as normal daylight conditions-a situation in Act II, or the strings at "Lausch', Geliebt- almost anything in the Op. 39 Etudes. Like which some cameras start to show their lim- er" in the love duet). Undoubtedly the stu- the rest of his music, the cello sonata was itations.I did not make extensive tests of dio conditions have enabled Goodall to get rarelyif ever performed during Alkan's the camera's boom microphone, butits more precision than in the live -performance lifetime after the premiere, and it took an quality seemed up to its intended use. And I Ring recordings, which is all to the good. English scholar and Alkan enthusiast, Hugh was pleased at how well it rejected the whir Unfortunately, it's inherent in the nature ofMacDonald (who wrote the Alkan entry in of the VCR, which was only a few feet to recordingsthatimperfections of detail the New Grove), to bring it back to life by the rear of the microphone. become increasingly distracting on repeat- editing a new edition, which the German For hand-held operation especially. ed hearings, however remarkable the per- publishing firm Barenreiter brought out in the VK-CI000 is a dream. Besides being formance may be in terms of its original 1975. That led to the sonata's first modern light and small, it's very well balanced. The context. performance, by cellist Timothy Eddy and PAUSE and zoom switcheslienaturally The digital recording presents a reso- pianist Raymond Lewenthal in December under your index and middle fingers, and nant but not very warm sound, not much 1975. Since then, there have been few if you soon become accustomed to pressing like an opera -house perspective; as noted, any live performances; this is (to appropri- with the index finger to start and stop the singers are to the fore, but when they ate Sacheverell Sitwell's description of the recording and to rocking with the middle move away (as the Shepherd in Act III), concerto for solo piano) "a monumental finger to zoom in and out. Although steady- they sound as if they go into a different kind work, to which the notice 'Keep Out' ising the camera with your free hand is of space, more churchlike in its audibleapplicable where the unwary amateur is always a good idea, you can operate this aspect. The side breaks, about as well cho- concerned." one singlehanded in a pinch. That, and a sen as possible in this remarkably seamless Fortunately,cellist Yehuda Hanani viewfinder that accommodates both right- score, were obviously planned in advance, and pianist Edward Auer are anything but handed and lefthanded persons and the eye- for some of them entail the disentanglement "unwary amateurs,"and theygivea glass wearer as well as those with normal of textural overlaps. From the markings in superb account of themselves here. Of the vision, leads me to give the VK-C 1000 high the libretto (with Lionel Salter's excellent four movements, the Adagio is perhaps the marks for human engineering. HF translation, once again), the cassette ver- most affecting. Preceded by a Biblical epi- sion (not yet available domestically-Ed.1, graph from the Old Testament (". . . as a BACK B EAT REVIEWS with only a single break in each act, will dew from the Lord, as the showers upon the (Continued from page 74) have advantages in continuity. grass, that tarrieth not for man, nor waiteth "Niecy" sounds more like a smooth meet- Ultimately, the chief value of thisfor the sons of men . . ."),its twelve ing of the minds. recording lies in Goodall's interpretation; minutes are permeated by a rapt, mystical Williams' unforced soprano sweetness even before the arrival of its imminent com- atmosphere. In the central portion, the pia- is somewhat unique in contemporary pop/ petitors. it is not easily recommendable as no floats and shimmers in the stratosphere. r&b, and harks back to such '60s divas as the single recording of choice (though I pre- while erratic pizzicatos in some mysterious Barbara Lewis (Baby I'm Yours) and early fer it in spirit, if not always in detail, to the nonsymmetrical rhythm (perhaps derived Diana Ross.She walks thethinline chilly Karajan, Angel SEL 3777, or the fre- from the rhythm of the epigraph) punctuate between the genuinely sweet and the merely netic Solti, London OSA 1502), but its cen- the singing line. The finale is a wild salta- sugary with confidence, always landing tral distinction ensures that it will always be rello, which taxes Auer (and would tax any firmly in the former camp. Though her worth hearing by any serious student of pianist) to the limit. strong. high soprano can handle Bell's Wagner's great work. HF Finnadar givesitsartists excellent more muscular arrangements withflair engineering, silent surfaces, and an infor- (Waiting by the Hotline), she sounds most WAGNER: Tristan and lsolde. mative jacket note by Lewenthal. This is a comfortable on the ballads, especially those CAST: cherishable release; buy it while it is still Isolde in a lilting 6/8 meter. She wrenches every Linda Esther Gray (s) available. HF Brangane Anne Wilkens (ms) bittersweet truth from the chorus lyric of Tristan John Mitchinson (t) ALKAN: Piano Works. Teddy Randazzo's It's Gonna Take a Mir- Young Sailor John Harris (1) Ronald Smith, piano.[Ronald Kinlock acle (covered in the '60s by the Royalettes A Shepherd Arthur Davies (t) Anderson, prod.] ARABESQUE 8127-3, $20.94 and Laura Nyro with LaBelle), and Bell Kurwenal Phillip Joll (b) (three discs, manual sequence). Tape: 9127-3, plays it straight, letting the song's inherent Melot Nicholas Folwell (b) $23.94 (three cassettes). strength and the singer's interpretation car- King Mark Gwynne Howell (bs) Douze Etudes dans les tons mineurs, Op. ry the weight. On his and Williams' Wait- Helmsman Geoffrey Moses (bs) 39: No. 1, Comme le vent; No. 2, En rythme ing, though, he pulls out the stops; the Welsh National Opera Chorus and Orches- molossique; No. 3, Scherzo diabolico; Nos. 4-7. echoing rhythm tracks caress the voice like tra, Reginald Goodall. cond. [Andrew Cornall Symphonic; Nos. 8-10, Concerto; No.11, an evening mist. and Michael Haas, prod.] LONDON LDR 75001, Ouverture; No. 12, Le Festin d'Esope. Trois $64.90 (digital recording; five discs, manual Petites fantaisies, Op. 41. La Chanson de la folle As a writer, Williams deals in the sequence). au bord de lamer, Op. 31, No. 8. Allegro barba- unabashedly romantic; as a singer she lends HENZE: Tristan. ro, Op. 35, No. 5. her lines an emotionalism that rings true. In Homero Francesch. piano; Cologne Radio ALKAN: Sonate de concert, Op. 47. Bell's sympathetically rich arranging/pro- Symphony Orchestra. Hans Werner Henze, Yehuda Hanani, cello; Edward Auer, pia- duction context small sentiments take on cond. [Otto Nielen, prod.] DEUTSCHE GRAMMO- no. fIlhan Mimaroglu, prod.] FINNADAR 9030, grand proportions, and thereinliesthe PHON 2530 834. $10.98. $8.98. album's charm. CRISPIN CIOE

80 HIGH FIDELITY BAC KBEAT Jazz SpinOffs

In -brief reviews of currentjazz LPs by Don Heckman Stanley Clarke, Chick Corea, Joe Henderson, Freddie Hubbard, Lenny White: The Griffith Park Collection Lenny White, producer Musician E 1-60025

Yes, this is the same group that backed Chaka Khan on a recent Elektra album. Fortunately, they have dispensed with the banshee wails and the inept "jazz" singing in favor of some straight -ahead playing. Hubbard, Henderson, and Corea sound wonderful, as always. One wonders, however, whether White and Clarke have wandered too far down the electronic path to return to the discipline of this kind of music. Ferguson: Can this be jazz? Maynard Ferguson: Hollywood Stanley Clarke, producer Columbia FC 37713 Gale: uncertain outing

Well, the title certainly tells you what to expect. But if there are any doubts, noteesty, have you really been waiting to heartogether for more than the course of a "produced and direct- record date. ed" by Stanley Clarke. Does the cast of Kenny Loggins? thousands (including Dave Sanborn and John McLaughlin: Lee Ritenour) make a difference? NotMarsalis & Freeman: My Goals Beyond much. Having had a hit withRocky,May- Fathers and Sons John McLaughlin, producer nard just naturally gravitated toFor YourStanley Crouch, producer Musician E 1-60031 Eyes OnlyandNine to Five.But jazz? For-Columbia FC 37972 get it. This is a reissue of McLaughlin's marvel- A fine idea. Side 1is devoted to the Mar- Eric Gale: Blue Horizon ous recording of the same name for Douglas salis family, with siblings Branford and Records. Side I showcases his stunning Eric Gale, producer Wynton playing with their father, pianist solo guitar work on pieces like Charles Musician E 1-60022 Ellis. On Side 2, tenor saxophonist Chico Mingus'Goodbye Pork -pie Hat,Miles Freeman plays with his father, tenor saxo- Davis'Blue in Green,and his ownFollow Guitarist Gale's credibility as a blues playerphonist Von. Ellis Sr. plays a discreet back- Your Heart.On Side 2 an early, still very is stretched to the limit in this peculiarlyground role to his rampaging sons, while acoustic -sounding, version of the Mahavi- uncertain outing. Drifting between blues, Von Sr. seems challenged by the interaction shnu Orchestra (with Billy Cobham, Jerry rock, reggae, and pop, Gale doesn't seemwith his offspring. An off-the-wall idea that Goodman, Charlie Haden, Dave Liebman, to have decided where to settle in for the yields results. etc.) plays two lengthy, Indian classical duration. "Special guest" Hugh Maseke- music inspired pieces. A fine and valuable la's flugelhorn floats inconclusively in andMaterial: Memory Serves reissue.Elektra/Musician should revive out of the proceedings. Material & Martin Bisi, producers more of the adventurous Douglas catalog. Musician E 1-60042 Freddie Hubbard: Lee Ritenour: Rio Ride like the Wind Material isaband whose personnel changes Lee Ritenour, producer Jeffrey Weber, producer from one recording to the next. The con- Musician E 1-60024 Musician E 1-60029 stants are bassist Bill Laswell, synthesizer player Michael Beinhorn, and engineer Lee Ritenour may have finally found his I'm sure there must be some sort of Byzan- Martin Bisi. This time out the group's odd metier in the rhythms of Brazil. The best tine financial reason why trumpeter Hub- mixture of rock, street music, and avant- tracksin this generally pleasant collec- bard elected to do such an outright commer- garde jazz benefits enormously from the tion-Rainbow andSimplicidad-werere- cial session for a new label that is allegedlyhighly visible presences of guitarist Sonny corded in Rio with a first-rate Brazilian dedicatedto MUSIC. Hubbard alwaysSharrock, trombonist George Lewis, and rhythmsection.The warm, sensuous manages to play stylishly, more so on trum- violinist Billy Bang. They interact so well, results finally bring out some long -absent pet here than on flugelhorn. But in all hon- in fact, that one hopes they will remain passion in Ritenour's playing.

JULY 1982 81 BACKBEAT Reviews ADVERTISING INDEX

Key No. Page No.

16 BASF 23

59 Cybernet Intl. Inc. 13

51 Discount Music Club 63

53 Discwasher. Inc. Cover IV

8 Fujitsu Ten Corp. of America 53 Whiteman and orchestra: an experiment in making jazz "respectable" Illinois Audio 55 (Continued frompage 75) jazz was. In fact, the concert would have 45 International Hi Fi 63 Bunkhaus," produced in Los Angeles in been long forgotten, save for one rather sig- 1981. The group on this disc, the Primus nificant event. Whiteman had asked George 34 International Wholesalers of Inter Pares Jazz Ensemble (whose name Gershwin, then known only as a musical Miami 41 harks back to Bud Freeman's late '30scomedy composer, to write a piece that Summa Cum Laude Jazz Band) is, except would receive its debut that night. Gersh- for trombonist Dan Barrett, the band he win's contribution wasRhapsody in Blue. 27 J & R Music World 57 used in the show. Barrett is one of the There was, of course, no live record- delights here, a melodist, a colorist who ing of the concert, but the Smithsonian 4 Jensen Sound Laboratories 18 knows how to use a plunger mute with Institutionhas managed torecreateit taste, and, in total, a player Duke Ellington 49 Jensen Car Stereo 9 through various recordings of the pieces on would have loved. the program. Some were made by White- The repertoire is strictly Sudhalter- man, others by dance bands of the time. Kenwood 15 '20s material known and unknown, written Combined with extensive, detailed notes by by Hoagy, played by Bix, or, likeHome, Thornton Hagen, "An Experiment in Mod- Lost, Blue River,simply popular at the ern Music" is an ingenious and fascinating 12 Maxell Corp 11 time. The primary soloists are Barrett, Sud- bit of aural scholarship that gives us a vivid halter, and pianist Dave Frishberg who insight into what "jazz" meant to most 56 McIntosh Laboratory 63 lends a jaunty bit of singing onJamboree people sixty years ago, in the decade that Jonesthat evokes several singers, including has been called "The Jazz Age". Johnny Mercer. JOHN S. WILSON The album includes the Original Dix- Nakamichi 8 ieland Jazz Band playing its definitive ver- Paul Whiteman at Aeolian Hall: sion ofLiven Stable Blues.Zez Confrey, An Experiment in Modern Music who was featured in the concert, plays his 1 Pioneer High Fidelity Cover II,1 Martin Williams & J. R. Taylor, Kitten on the Keys,a classic ofthe "novelty producers. The Smithsonian Collection piano" style of the Twenties. The recording ofRhapsody in Blue isthe very first, made 55 Revox 61 R 028 (two discs) [Smithsonian four months after the concert with Gersh- Recordings, P.O. Box 10230, win at the piano. Whiteman's reading is Des Moines, Iowa, 50336] brisker than most later conductors', bring- 14 Sansui Electronics Corp. 21 ing out the piece's "raggy" qualities- 50 Shure Brothers, Inc. Cover III On February 12, 1924, Paul Whiteman and which audiences of the time equated with his orchestra performed at New York's jazz. Sony Corp. of America 17 Aeolian Hall. The purpose of the concert The concert is wrapped up in three of was to demonstrate to a cultured audiencethe set's four sides. Side 4 is composed of 2 Stanton Magnetics 57 that jazz was more than the collection of encores and expansions: a later edition of raucous sounds than those present presum- the ODJB that, without Larry Shields's 29 Stereo Corp. 60 ably thought it was. To do this, Whiteman clarinet, was missing much of its fire; a played the Original Dixieland Jazz Band's Dixieland group from the 1920 Whiteman 55 Studer Revox 61 Livery Stable Blues-withits animalistic band that provides a hint of what the orches-

squawks, grunts, and shrieks-and con-tra's treatment ofLivery .. .might have 10 TDK Electronics Corp. 6 trasted it with his own polite "jazz" treat-sounded like; an unidentified violinist in ments of such pop tunes of the day asWhis- Confrey's band who really swings; and a 5 Technics by Panasonic 5 pering, Mama Loves Papa,andYes! We 1921 Whiteman recording ofSong of India Have No Bananasand even some semiclas- thatanticipates Tommy Dorsey's 1937 ver- sicalpieces,To aWild Roseamong sion. Though the concert was not the US JVC Corp. 2 them. enlightening event Whiteman had hoped Reportedly, the evening was a preten- for, "An Experiment in Modern Music" tious bore because Whitman failed to com- has given it an educational value that would 43 Wisconsin Discount 61 municate through his program what real have delighted him. JOHN S. WILSON

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