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Nun 44P i I I um 7:1:7,1,2 .16 MIN +14 COMPUTER SEA C 261111 +12 NBC ENS 31111 -- +ID 1 MSS =IS II= + AMP TAPE CUB 2 w 1 NM = = 6 E El= =. mMINI +4 VOLUME = =a 2 = aim =NIsidll= 0 Mr) Winn ittc eksK fiR THE ULTIMATE MACHINE JVC'S NEW R-X500B RECEIVER IS A SUPERB EXAMPLE OF HOW FAR JVC WILL GO TO BRING YOU THE ULTIMATE IN SOUND. Some hi-fi equipment delivers slightly remote equalization and unheard -of -re- higher fidelity. Especially when it's de- finements, it is virtually without equal. signed byJVC: In fact, JVC's entire line ADVANTAGE: A POWER AMP WITH INCREDIBLE POWERS 40.111111.11116. The R-X500B 11111101.11110111101111.."41411b.."%44416.- boasts two of the Jvcf leo 611N11 OM.ma01111114.. Ms NINO highest refinements in power amp tech- I0 : II It "1111 nology available to-
- - - day-Dynamic . 1,1 -)1 E1 - . rnPIri r Super A and Gm Driver. Dynamic Super A improves of high fidelity components is known performance in two significant ways. throughout the world for technological One, it renders music reproduction silky brilliance and painstaking craftsman- and pure by eliminating offensive ship. switching distortion. Two, it capably con- The R-X500B receiver is a case in trols speaker motion by forming an ideal point. With the technology of JVC's interface between the amplifer and the power amp, equalizer and tuner, plus speaker. HIGH FIDELITY SIGNAL LEVEL - TUNER PRESET - /- HIGH 1 MHz MD (_I C I -I LOW EC OUT
UDNESS PRESET STOP LEVEL FM MODE FM MUTE SCAN
JVC's newest technology, Gm Driver, degradation never enter the picture. improves actual in -use performance at ADVANTAGE: A TUNER AS SMART AS A all listening levels, high and low, by driv- COMPUTER
ing the power stage at a con- SPECIFICATIONS The R-X500B puts an stant voltage. AMPLIFIER SECTION advanced microcomput- ADVANTAGE: AN EQUALIZER WITH A Output Power er in charge of the digit- 100 Watts per channel, min. RMS, both GRAPHIC DIFFERENCE channels driven into 8 ohms, from 20Hz al synthesizer tuner to 20kHz, with no more than 0.007% Since 1966, when JVC pio- total harmonic distortion. and references it to the neered equalizers for home Signal -to -Noise Ratio ('66IHF/DIN) accuracy of a quartz use, we have remained in the Phono-80dB/66dB oscillator, making it Video/Aux/DADTTape-100dB/67dB very forefront of equalizer highly versatile and RIAA Phono Equalization technology. ± 0.5dB (20Hz -20kHz) easy to use. The micro-
The computer controlled S.E.A. SECTION computer lets you pre- graphic equalizer in the Centre Frequencies -63, 160, 400, 1k, set 15 AM and 15 FM 2.5k, 6.3k, 16kHz R-X500B is a superb example Control Range- + 10dB frequencies, scan them of engineering to achieve an FM TUNER SECTION ('78 IHF) all for 5 seconds each, end. It combines unequalled 50dB Quieting Sensitivity read out aerial signal Mono-14.8dBf Stereo -38.3 dBf versatility with automatic capa- strength in 5dB incre- Signal to Noise Ratio (IHF-A Weighted) bilities, while maintaining sonic Mono/Stereo-82dB/73dB ments, plus much integrity more. Five equalized responses can be ADVANTAGE: JVC memorized for instant recall at a touch. It is the attention to engineering detail And an infrared wireless and craftsmanship evident in the remote control makes it R-X500B which separates every JVC possible to adjust equali- hi-fi component from all others. JVC zation from your arm- makes changes in design for the sake of chair without sacrificing improvement. Not just for the sake of sound quality. change. And the result is the difference In a further refine- between excellent and average. See, ment, JVC engineers and hear, this difference at your nearest opted for an LSI to han- JVC dealer. dle electronic switching for both channels at seven different control frequencies. The result-electrical loss and tonal Jvc®
JVC COMPANY OF AMERICA. Ugh Fey Drown 41 Slater D. EYnw000 Park. N.J. 07407 JVC CANADA LTD .Scarborough. O0 Sherwoodannouncesthe latest thing in second generation CD audio technology: Affordability
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The compact disc just may be the most heart -stopping sound generates a sampling frequency which must be concept in sound since stereo. But the most heart - filtered out, or distortions will be heard. stopping feature of compact disc players has been their Other CD players use one very steep analog filter, this price. Now, with Sherwood's new CDP-100, you can can cause phase distortion. Sherwood's answer is to relax about money and really get excited about sound. use a digital filter to double the sampling frequency, A tradition of affordable excellence. then use a more gentle type of analog filter for reduced Sherwood is well-known for high -quality audio products phase distortion. The result: better sound at less cost. at affordable prices. And our new CD player is no Easy -to -use functional controls. exception. While others were still on first generation Inserting a disc is easy, thanks to a "smart" motor.zed models, we combined advanced second -generation drawer under microprocessor operation. (It even knows performance with a no-nonsense array of useful, if you accidentally put the disc in upside down.) features. And we did it in a way that not only makes You can easily access any selection, and there's a two - sense, but saves you dollars as well. speed fast forward and backward, so you can listen Three laser beams for better tracking. Most while you quickly locate the spot you want to hear. CD players use only one laser beam. Sherwood put a You can even set the CDP-100 to repeat the entire disc three -beam laser into the CDP-100, because a three - for continuous music. beam system virtually eliminates distortion caused by Find out how advanced, easy to use, and affordable spurious data from adjacent tracks. Sherwood's new CDP-100 really is at your nearest Me filters, not one. Sherwood dealer. To find him, call (800) 841-1412 All CD's require filters, because the decoding of digital during west coast business hours. 8 Sherwood Quality and Innovation You Can Afford
17107 Kingsview Avenue, Carson, CA 90746. In Canada: The Pringle Group, Don Mills, Ontario Immommummommimmilmmummmummi nmni -nommuminwtmumommonmoimun was n riprowrio nr179r-rnr meigrimmin curis g NI II II 11 MI IN k TM= MIN II I I - MI I II II NI I AIM 11111 I 11 II I II MI I II II MI NI I_ MINI 111011:111Whibm. bil111 VOLUME 34NUMBER 9 SEPTEMBER 1984
AUDIO CrossTalk by Robert Long 8 Record -cleaning solutions; Tonearm/cartridge matching; Is your tuner obsolete? The Autophileby Ralph Hodges 10 A skinflint's guide to good sound New Equipment Reports Sansui PC -V1000 Compact Disc player 14 Ortofon OM -30 phono cartridge 24 Soundcraftsmen PCR-800 power amplifier 19 Yamaha A-1000 integrated amplifier 26 Scott 359RS receiver 23
*Special SCES Report: High Tech Goes Pop! Electronics: Microprocessor -equipped receivers dominateby Robert Long and Peter Dobbin 33 Tape and Tape Equipment: Features for the askingby Robert Long 38 Record -Playing Gear: Turntables are quieter and cheaperby E. Brad Meyer 42 Loudspeakers: A trend toward smallnessby E. Brad Meyer 46 Video: VHS Hi-Fi VCRs, and a truly Olympic Sprinterby William Mowrer 50 NEW TECHNOLOGIES Video Lab Test: RCA VKT-650 VHS Hi-Fi videocassette recorder 52 Music Reviews Popular Video: "A Night with Lou Reed"; "Ready, Steady, Go!" 57 Popular Compact Disc: Windham Hill's Shadowfax; "Moonlight in Vermont" by Sonny Stitt 58 Classical Compact Disc: Karajan's atmospheric Turandot; Rachmaninoff s Second, from Ashkenazy 58 CLASSICAL MUSIC A Rubinstein FeastReviewed by Thomas L. Dixon 61 Ten new reissues are examined, including five sets of Chopin. 1985 Annual Preview of Forthcoming Recordings, Part 1: LPs 63 More than 500 expected releases from Angel, Deutsche Grammophon, London, Philips, RCA, and others Reviews: Two recordings of the German Requiem; Jerusalem sings Strauss; American piano music 69 Critics' Choice 72 The Tape Deckby R. D. Darrell 73 Timbre! BACKBEAT/Popular Music T -Bone Burnett: A Musician for Lifeby Samuel Graham 74 The songwriter discusses his future-with or without a recording contract. Jazz Reviews: Tribute to Thelonious Monk; Alive!; John Hicks; Don Sebesky 76 Percussion Sweet and BitterReviewed by Steve Futterman 79 A taste (only) of Max Roach as bandleader Pop Reviews: Marcia Ball; Linton Kwesi Johnson; Bruce Springsteen; Peter Wolf 80
DEPARTMENTS Reader -Action Page 88 About This Issue 4 Advertising Index 88 Letters 4 *Cover Story
HIGH FIDELITY (ISSN 001614551 is published monthly at 825 7th Ave.. New York. N.Y. 10019. by ABC Leisure Magazines. Inc.. a subsidiary of American BroadcastingCompanies. Inc. Copyright C 1984 by ABC Leisure Magazines, Inc. The design and contents are fully protected by copyright and must not be reproduced in any manner. Second-class postage paid at NewYork. New York, and at additional mailing offices. Authorized as second-class mail by the Post Office Department. Ottawa, and for payment of postage in cash. Yearly subscription in U.S.A. and Pos..essions $13.95;elsewhere $19a5. Single copies 51.95. Subscribers: Send subscriptions, inquiries, and address changes to HIGH FIDELITY, P.O. Box 10759. Des Moines, Iowa 56340. Change of address: Give oil and newaddresses, including DP code. Enclose address label from last issue and allow five weeks for change to become effective. POSTMASTER: send change of addrees to HIGH FIDELITY, P.O. Box 10759.On Moines, IA 50345. About This Issue
I KNOW. THERE STILL are four months left Featured in September's classical before 1985. but September somehow music section is an overview of ten Artur HIGH FIDELITY signifies the "new year" in terms of Rubinstein reissues, which represent vir- product introductions. About now you'll tually every period of the pianist's long
be seeing the first of the 1985 audio and and distinguished career. And our Must- video components arrive on your dealer's CAL AMERICA edition includes more than shelves. Most of them were revealed in a dozen record reviews and a roundup of June at the Summer Consumer Electron- Barton Wimble's latest cassette transfers ics Show in Chicago. of historical 78s. a superb group that con- Coverage of the SCES, as it is tains some long -buried treasures. HID 1iC4*7)/ known, is contained in a special 14 -page Our pop music interview takes a section. As our report details, the focus look at ironic twists of fate faced by this year is not so much on any startling songwriter T -Bone Burnett. We also con- COVER DESIGN Skip Johnston new products as it is on making existing sider the pros and cons of jazz reissues as Cover Photo Grant Roberts technologies more accessible and easier illustrated in a two -record set of late - ON THE COVER (clockwise from to use. Part 2 of our SCES coverage will Fifties Max Roach bands. top left) Aka VS -603 VHS Hi-Fi vid- eocassette recorder. Bose Room - appear next month, with reports on car Before closing, a little commercial Mate speakers. Sansui PCV-1000 Compact Disc player. Technics stereo and digital Compact Disc players. for a couple of special magazines HIGH SL -P15 Compact Disc changer Fall is also the time when record FIDELITY is publishing this year. VIDEO companies issue their lists of planned re- & SOUND will be on newsstands from sue in four years, and its contents have leases for the coming season. This year, now through late September. It covers been completely revised to include more HIGH FIDELITY's preview will appear in topics found each month in HF's NEW than 1()0 products: Compact Disc players. three parts-beginning in these pages. TECHNOLOGIES section. emphasizing digi- home video components. and car stereo continuing with a special survey of Com- tal Compact Discs and home video. gear. as well as speakers, cassette decks. pact Discs in October. and concluding in Due on the newsstands in mid -Sep- blank tape. and representatives of all the November. More than 1.000 releases will tember is the tenth edition of HIGH FIDEL- other traditional audio component catego- make 1985 a very musical year. indeed. ITY'S TEST REPORTS. This is the first is - ries.-W.T. Letters
Hale and Hearty However. I feel that the article exaggerate, the risk involved in buying equipment made t) Pinnock and Brendel these companies. Over the past ten years. I have Thank you very much for the glowing review of owned electronics from Acoustat. Audible Illu- Trevor Pinnock's performance of the Four Sea- sions. DB Systems. Precision Fidelity. Conrad - sons [May I.I have heard the CD version on my Johnson. PS Audio. Bedini. and Threshold. brother's Magnavox FD-I000SL player. and it Most of these companies have been in business sounds great. especially the clarity of the harpsi- for at least six years and guarantee their products chord. And regarding Alfred Brendel's plea to for far longer than the 90 days commonly given record music in a "live" situation ("In Favor of mass -market goods. (Typical warranties run tsso Live Records'. ), there is a better way: Record in to five years. and they usually are transferable. ) the way that Telarc does, with a minimum num- Many models are manufacturedtOrseveral ber of microphones (one boo-boo and it's start years-with refinements and updates in some from the beginning again) and in a concert hall cases, usually offered as upgrades to older units with no audience.I prefer this method because at modest cost. When service has been required audience sounds distract me from concentrating on any of the components I have owned, it has on the music (as Mr. Brendel mentioned). Also, been prompt. and there always has been someone the minimal -mike setup isless intimidating to to phone for help with any questions regarding many musicians. installation or operation of the equipment. The Raymond Chuang parts used in most of this gear are of high quality Sacramento. Calif. (close -tolerance metal -film resistors,mil -spec circuit boards, polypropylene capacitors. etc.). We are very happy to report that Frank McIn- and there is much use of discrete components Misguided Review? tosh. cofounder of McIntosh Laboratory, is not instead of integrated circuits. Your rep ie% (,) the Counterpoint SA -7 as a bud- dead, as was erroneously stated in "Audio Elec- I believe that the "cottage industry" Amer- get preamp Duly1 is misleading. The SA -7 is a tronics: American Style" (July). A hale and ican audio electronics companies offer great val- specialized preamplifier for the moving -coil car- hearty seventy-eight. he is pursuing an active ue for the money (the prices of many of their tridge enthusiast. The hallmark of the design- retirement in Ari:ona. products are surprisingly affordable) and that its high gain-gets buried in irrelevant remarks their reliability and service records arc mostly about low headroom, and the sonics are com- A Bum Rap' exemplary. pletely ignored. It's hard to believe that the report George Dickinson was written by anyone who cares about high Regarding J. Gordon Holes article. "Audio New York. N.Y. fidelity or, for that matter. even listened to the Electronics: American Style!" ilulyl, it is good thing. to see some attention paid to the very deserving Warranties for high fidelity audio components HIGH FiDid.rrv's stamp of approval, at least efforts of these small manufacturers. are rarely shorter than one year.-Ed. inthis instance. bespeaks an insensitivity to
4 HIGH FIDELITY 1361 Ze.ce acke.01,0,...eo ce. 5 877.
NewTechnics With CassetteDecks. dbx andAuto-Reverse. Theyeliminate tape noisecompletely. Andplay bothsides A remarkable automatically. achievement: develoJinga line of stereo cassettececks that Because in addition give you more thantne to dbx, you get total noiseelimination of dbx. You get the sta Dolby B and C. They also giveyou the Airy andaccuracy only a two luxury of auto-reverse. So with Techn drive systemcan provide. -motor is more than cs, your music control buttons Microprocessor feather-torch dramatically clean.It's also beautifully g ye you fasteasy switching continuous. AncTechnics goes functions such between on frcm there. as play, stop, rewind.Bias and EQ Direct Music Search(DMS) allows are automaticallyset for any type levels the deck. To vou to program of tape Fromnormal play any selection to chrome to men'There a -e three tape. Automatically. on either side of the FL meters for -color. wide-range precision soundmonitoring And And no matterwhich noise So before more. reduction systemyour you buy any cassettedeck, make tapes are encodedwith, Technics measures up to Technics. sure it R db. is a registered can handle them. * Dolby is a trademarktradertr.trk of of db., Inc D3Iby Laboratories. TechnicsThe science ofsound Letters Sansui's all -new product and listener and a willingness to misin- form. The SA -7 deserves to be heard and Midi System. reviewed in its intended light. Fantastic! That's the word for Jim Goulding Sansui's rlidi ensemble Never before Chicago, Ill. has a m :system offered so much pleasure Vu so little space --with so Counterpoint's description to us of the thinking much ease of Dperation. Oat tone arrr turntable lets you play behind the SA -7 reads as follows: "The purpose behind the design and manufacture of the SA -7 With exclusive One -touch Simul- anycombination of 16 tracks on either sde, VI any sequence, of a record was to offer a preamplifier at a price point typi- witotzt flipping it over. switchirg teat automatically stops one cally reserved for solid-state preamps, thus giv- component and starts anot-er, you can ing audiophiles on a budget a choice." Nothing go from :Lntable-to tuner -to tape deck there's ro better outlet than a pair of in Counterpoint's literature or in the SA -7 own- at the touch of a button. super sounding Sansui speakers. er's manual suggests that the preamp is intended The -nost intriguing component is There's also more to Sansui's M di solely or even primarily for use with moving -coil our dual tore arm turntable that lets you system than meets the ears. With ex - cartridges, although one might infer (as we did) play both ;odes of 3 recorc -without flip- guts to looks tc complement its incred - that the point of its unusually high gain is to cater ping t over to such pickups. However, the gain is still about ble .9oorxi and features, it adds pleasu-e 10 dB lower than usually is provided by moving Anc 3ecause man dces not live by to ycu- room or both levels. - coil inputs and may not be enough for somevery recor is alone, there's a cL al cassette Ycu can zhoose from 3 magnifi- low -output cartridges. Moreover,theinput deck, AK -FM -Liner, and a h gh-powered cent Mir i systems, and maximize you impedance clearly is intended to accommodate integrated mplifier with 5 -band graphic plea 3L re in a rr inimum of space. See fixed -coil pickups, and the specified overload equalize- tailor ng sounc that's flat your Sarsui dealer today. margin (as opposed to what we measured) is out beauti'ul. SANSJI ELECTRONICS CORPORATION, more than adequate for that purpose. Thus, our Ofccurse, all this sensational LynchJrst, NJ 37071; Carson, CA 90'46 comments on headroom are quite pertinent. sound nt.'s& ccme out somewhere. And Sansu Electric Co., Ltd., Tokyo, Japar Everyone here who writes about audio cares a great deal about high fidelity, and we listen to everything that we review. But in the case of electronics, there seldom is anything to say about the sound unless the component is mis- designed,defective, or operated beyond its Undersized. intended limits: What goes in usually is what comes out. When verifiable sonic oddities emerge in our listening tests, we note them in the report. Finally, our test reports should not be con- strued as stamps of approval or disapproval. Their purpose is to detail the operation and per- formance of the product being reviewed, with commentary, where appropriate, on the signifi- cance of our findings to potential users. Deci- sions regarding what you should or should not buy are your own-as they should be.-Ed. "TAIVII" Whammy I saw the theatrical release of The TAM/ Show some 12 years ago and enjoyed it enormously. It had always been my faint hope that someday this vintage material would be made available on vid- eotape. I was afraid that with the trendy razzle- dazzle of MTV, no one would regard its rerelease as worthwhile. Imagine my joy when Media Home Entertainment issued "That Was Rock (The TAMI/TNT Show)." Imagine my pro- found disappointment when I discovered the pro- ducers had eviscerated the heart and soul of a magic live concert by hacking up two very dif- ferent concerts, grafting them together, and then splicing in a bored and irrelevant narrative by Chuck Berry! BillyAltman's review of "That Was Rock" [July] insightfully exposes this thick- headed blunder. I only wish I had read it sooner, before I invited a group of friends over for dinner and the "treat" of seeing what I thought was the original, legendary tape. Apparently some video companies feel they can go around blithely tear- ing the hearts out of authentic performances, and I applaud Mr. Altman and HIGH FIDELITY for being willing to scold the ones that do so. Andrew Teton Santa Barbara, Calif.
Letters should be addressed to The Editor. HIGH FiDEurr. 825 7th Ave., New York, N.Y. 10019. All letters are subject to editing for brevity and clarity.
6 HIGH FIDELITY Consumer Information Series __15f17.5"E'
The Future of Audio. The Cornerstone of Home Entertainment. by John Geheran Vice President. Sales and Marketing
Imagine yourself over the millions of dollars to develop and manu- last 50 years. In the 1930s facture speaker systems which deliver you listened to the radio. the impact and excitement of live perfor- In the 1950s you began mance. That investment can now bring watching TV. In the 1970s movies, concerts, and specials to life in you listened with pride to your compo- your own living room. nent stereo. Experience the excitement avail- Now it's 1984. The growth and devel- able from a combined audio -video opment of video has provided an enor- system. Ask your local Bose dealer to mous increase in the number of choice show you the Bose Music Video. available to you in both equipment Your deaer can also help you decide and programming. You probably ask which components and formats offer
yourself questions like: "Do I want you the enjoyment and convenience
VHS or Beta?" "Should I watch my which best match your lifestyle. favorite program now, or videotape it Bose wants to help you learn more
while I watch the playoffs?" But about the future of audio, and its contri- maybe the question you really should bution to home entertainment. To do so, ask firstis: "How does my audio we're using this year's advertising equipment fit into all this?" You can space to discuss and explain key find the answer by turning down the issues. Knowledgeable experts will volume on the nearest TV set. share information which helps you While video brings new programs get maximum enjoyment from your onto your TV screen, it's audio that home entertainment investment. pulls them off the screen and brings lik For more information on Bose them to life in your home. Whether it's a products and a list of authorized bass drum beating through a classic Bose dealers, write: Bose Corpora- rock concert, or a space ship whizzing tion, 10 Speen St., Dept. HF, through the latest movie, it's audio that Framingham, MA 01701. II creates the mood, generates the excite- ment, and sets the pace for what you see. The introduction of new technolo- gies and products such as stereo TV and hi-fi VCRs emphasizes this fact. The key to exciting, powerful hom entertainment then,is an integrated audio -video system. But how can you logically start building a system which your speakers, more Wan any other lets you enjoy all these new develop- component, determine the quality of the ments? sound you hear. The right speakers, You know that the cornerstone of your then, represent the logical base upon system is the sound. You also know that which to build a modern home entertain- ment system. uvUCU I, palcnl F191115 Istided and/or pending Copyright 1984 Bose Corporation All rionts reserved At Bose; we've invested 20 years and AUDIO/VIDEO CrossTalk
Practical answers to your audio and video questions by Robert Long from extreme scrape flutter, neither is audi- takes a while for the new version to filter Best Solution ble without an input signal and to that extent down to the retail level, where the earlier they can't be compared to tape hiss, whichone tends I use an AIhop Orbitrac record cleaner toremainuntilstocksare is constant. And because there's no agreed for my records and isopropyl alcohol (9/ exhausted. If you're concerned about stay- method of isolating either one from other ing one jump ahead of your VHS buddy. percent) for cleaning the heads and so on forms of noise and distortion-let alone ofdon't worry. VHS Hi-Fi tapes arc coming of my cassette deck. The Allsop solution quantifying it-you won't see measure- smells similar to the alcohol, but possibly out even more slowly, I'm told, because ments of them in reviews. But without the more dilute. Can / use isopropyl alcohol some duplicators insist there arc unsolved masking hiss that DBX and Dolby C have instead, since it's considerably cheaper, technical problems with the format. banished from normal audibility, perhaps without harming my records?-J. the impetus to develop testing standards for Tordeich, Auckland. New Zealand these factors will increase. Weight Loss? It all depends on who you talk to. Bruce I've been told that tonearm/cartridge Maier, the founder of Discwasher (and, as A Big Hiss matching is unimportant with equipment far as I can tell, the world's most exhaustive the quality of my Sansui XR-Q7 researcher of such matters), says that alco- I own on Optonica SA -5207 receiver. turntable. No figure for arm mass hol can leach plasticisers from the vinyl, With my turntable off, the selector set on appears in its specifications. When / ultimately making it less resilient and more phono, and the volume turned all the way contacted the local agents, they referred subject to damage than it would otherwise up. my speakers put out an annoying me to their spare -parts department. be. On the other hand, the Keith Monkshiss. Is this because of the relatively low which thought tonearm mass was a part record -washing machine-widely used by SIN ratio through the phono input (73 of the turntable and asked me how I had libraries and other archives, and hands dB) or the THD of the amp (0.05 percen lost it. My guess is that matching is down themost expensive record -care at 40 watts per channel)? Or maybe my important. Do you know the mass of the device around-is said to use alcohol in its speakers are at fault. What would help. Sansui's arm?-A. N. Firth, GPO, cleaning solution. At minimum, you should short of buying a new amp?-L. Singapore dilute the alcohol with distilled water and Yamada. Cambridge. Mass. take care to use no more than necessary. You're right: Arm/cartridge matching is But I'd rather stick with solutions specially You tempt me to the only half -jocular rec- important, regardless of the quality of the concocted for the purpose by experts who ommendation that you turn down the vol- equipment. Unfortunately, we never tested know more about vinyl chemistry thanI ume to listening level, start your turntable. the XR-Q7, so I'm unable to help you avoid ever hope to. The elixirs may cost more put on some music, and forget about soph- trouble except to suggest that when you're than drugstore alcohol, but they cost a lot istries: The same thing will happen with any considering a new cartridge you might try it less than new records. audio system. A signal-to-noise ratio of 73 out in your arm with a warped record. If it dB isn't at all bad for a phono input, and the has a tendency to hop about on the warps. noise it represents normally will be masked the arm is too massive for the cartridge. In What Noise Annoys? by the music even with the volume turned that case, you need a pickup that is lighter. up as loud as you can stand it. The distor- lower in compliance, or both. I have read that what is thought to be tion is even more likely to be masked. tape hiss in decks incorporating DBX or because it can occur only when a signal is Dolby C noise reduction often is present. A speaker with a rough top end will Obsolete? modulation noise or scrape flutter. If this tend to exaggerate the hiss, and switching is such an important characteristic in models could conceivably help-if. in- With all of the new supertuners at these decks, why isn't it measured and deed, your system needs help under normal seemingly reasonable prices, is there any included in test reports?-Charles Arvin, listening conditions. From your descrip- reason I should consider upgrading my Austin. Texas tion. I doubt that it does. SAE Mk. 6 tuner? It cost $1,200 when 1 bought it new in 1973, and it still works A little background is necessary to under- well and is dependable.-Bill Gross, stand why we don't break these effects out Better Beta Santa Barbara, Calif. separately. Modulation noise is a sort of random dither of the signal, occasioned by I bought a Beta Hi-Fi videocassette The only reason for upgrading, as far as I'm nonuniformities of the magnetic particles in recorder, which puts my friend's stereo concerned, is dissatisfaction of some sort the tape coating and very roughly compara- VHS deck to shame. But I can't find with what you've got. If you're dissatisfied ble to the halo that can be created around tapes recorded in the Beta Hi-Fi format. with the Mk. 6 simply because it's not new, bright objects by interaction between halide Where can you get them?-Douglas so be it. But the "supertuner" with which crystals in photographic emulsions. Scrape Knight, Worms, West Germany you replace it could be measurably superior flutter is created by friction between the in all respects except one that is critical to tape and fixed guides, causing the tape to They keep coming along, little by little- reception in your particular area or to best alternately stick and slip. It is a very high - usually on new releases (almost all of which results with a favorite station. frequency effect and therefore is not picked have Hi-Fi soundtracks, even when they're up in conventional flutter measurements. notsolabeled),with only occasional We regret that the volume of reader mail is too Except for the squeal that can result upgradings of old titles. And even then it great for us to answer all questions individually.
8 HIGH FIDELITY -1- TM -
CO Maxell introduces the better signal to noise ratio tapes now have the ability new XL -S audio cassettes; and a fuller impact of the to record more informa- a series of ferric oxide dynamic transients exclu- tion per unit area than tapes which deliver a level sively inherent to digital ever befOre. of performance that can CD recordings. capture the sound nu- LOWER DISTORTION. ances found on Com- The newly formulated pact Discs more faithfully particles also contribute than other ferric oxide considerably to XL -S's low cassettes on the market. output fluctuation, as well There area number of as its virtual distortion -free areas where this achieve- reproduction, -especially ment is apparent. in the critical mid -range PACKING DENSITY OF frequencies. This, in turn, UNIFORM PARTICLES. DYNAMIC RANGE. accounts for our XL -S Which is why Maxell Through a new formu- tape's enhanced sound high bias XLII-S and nor- lation of our Magnetic par- clarity mal bias XLI-S are unsur- 1 - passed at reproducing ticles, we were able to re DIST RTI N4REOUENCY duce the perceived resid-o ACTERISTICS the sound qualities found ual AC bias noise level by on today's finest record- 5.5- 1 dB in the critical 2 kHz 0 ings. Regardless of to 10 kHz mid -frequency 0 whether your frame of ref- E range. And simultaneous- erence is analog or digi- 0 tal audio discs. ly increase sensitivity and 1 2 Critical Mid -Range For technical specifica- maximum output levels ':requencY(kHz) by as much as 2 dB. Frequencies tions on the XL -S series, write to: Audiophile File, +10 IMPROVED MAGNIETIF PARTICLES. Maxell Corp. of America, 0 oe1=1:1"1" 60 Oxford Drive, MOL (5°. DISTORTION) Our refined particle crystallization process is Moonachie, New Jersey 07074. XLI-S the basis for all of these a) _J AN/ Fira XLII-S accomplishments. Maxell engineers are now able to SW.. Fat ,P.11.1 CA,tIf 0 produce a. more compact maxell. :xu-s 90 54M, A, OW. fMlr.rMl tAS.1If 70 AC BIAS NOISE noodle -shaped Epitaxial magnetic particle of -80 4.111 ill.1 Ili 15 02 .05 192q extremely high unifOrmity. II° Fre Hz) This allowsus to create POSITION WIN
I 1 1 a greater ratio of total sur- 111111 III wAs a result, the dyna- 135m/44011. mic range of each tape face area to unit weight of has been significantly magnetic particles. IT'S WORTH IT expanded. So you get a As a result, our XL -S 01984 Yon.. Corfaa.a6on MenCO. 60 0.460 D6.e. Ntxxxrbo r.1 0701a AUDIO The Autophile
Going on the road with stereo by Ralph Hodges let someone whose hearing is attuned to relatively quick and straightforward). The A Skinflint's such things make the judgment. According company remains quiet about what the to Rich Coe of Alpine. the front end in a additional electronics actually do. but a Guide to $300 -plus factory -installed system proba- guess based on a half day of listening is that bly is good enough to serve as the heart of a the "black box" synthesizes some high and Good Sound high -quality setup. low frequencies that arc not actually present in the source material. This "extra" signal IF YOU DON'T LIKLthe sound of your carAmplifiers. Here is where your existing is then amplified and fed to the new speak- stereo setup. there arc two remedies: Rip front end will probably be weakest. Its little ers. Before you get too excited about the out the whole thing and start from scratch, amp is underpowered to begin with, and concept. however. take a drive' in a Contra - or remove the weakest links in the chain. any speakers you add are bound to require Tech -equippedcar.The ensemble can hoping that the addition of a new set ofmore juice.Additional power can be sound very good. but if the basic system in speakers or a better front end will result in a obtained with a booster amplifier or. asI the demo car is much better than your own. superior system. Thelatteroption,ofsaid earlier, powered speakers. but both there's no way of knowing whether you'll course, seems preferable. but be fore- require some complicated rewiring. Audio- achieve similar results. warned: Unless you're prepared to do some mobile offers a trunk -mounted amp that planning. the scheme that you hoped would derives adequate DC from the wire feeding Summing up: If you're in the mood to do save time and cash may cost more money the trunk light and that is turned on and off something about the sound system in your and aggravation thanif you had startedautomatically by a signal -sensing circuit. car and don't want to rip it all out and start from ground zero. Such an approach is easy. but not cheap. anew, you should approach the problem in Fortunately.aftermarketsuppliers Alternatively. if you can afford only a logical fashion. First, determine where have been keeping an eye on the situation. new loudspeakers at present. ask the install- your system's problems lie:limited fre- and they've worked outa few ways to er to wire a couple of capacitors into the quency response (the speakers), high dis- upgrade systems of at least marginal quality speaker lines. Provided they are of the tortion (the amplifier). audible noise or with a minimum amount of hassle. I spoke appropriate value (which he should be able wow and flutter (the front end). Second. with several of them recently. and here areto figure out), the capacitors will prevent check typical prices for the components their recommendations. the speakers from drawing too much low- you'd like to replace and establish a budget. Speakers. Professionals unanimously con- sider new loudspeakers the first and easiest step in the quest for improved sound. The people at Audiomobile/ American Antenna say it's best to install all new drivers instead of simply adding a couple of woofers and tweeters to your present setup. A good speaker system is carefully integrated. Ask a novice to "design" his own by adding a driver here and a driver there and you are asking for trouble. Audiomobile also rec- ommends triaxial systems. if you have the space for them. An alternative would be powered loudspeakers (i.e., self -enclosed systems with built-in amplifiers).
Front Ends. Most of the aftermarket sup-
pliers I spoke with think the radio/tape ContraTech's System?, 97 lets you add punch and si=le to your presentcar system. players that car makers offer as factory - installed options have few limitations in frequency energy. thus lessening the de- making sure to factor in an additional $100 tape and tuner performance, though niceties mands on your amplifier. When you have or so for the help of a good installer. Third. such as noise reduction and switchable tape the money for an outboard amp, just clip approach several dealers with an organized EQ may be omitted. However, older front out the capacitors. accounting of your needs and means. Look ends may suffer from poor FM reception, for definite signs of understanding and will- noisy electronics, and high wow and flutter System Add-ons. Factory -installed speak- ingness on their part to deal with your prob- during tape play. If you don't trust your ers are reasonable reproducers of midrange lems. If a dealer seems bored or confused own ears to identify and assess these faults, frequencies: it's in the highs and lows that by what you're proposing. walk out and they fall flat. Acting on that premise. a new find someone else. And fourth,unless Ralph Hodges. a frequent contributor to company called ContraTcch has designed you've served as an apprentice to a master these pages, is filling in for regular "Auto- an add-on ensemble that uses everything mechanic, don't even consider installing phile" columnist Gary Stock, who is busy you already have in your system. It consists the equipment yourself.Getting good compiling next month's report on the new of three additional loudspeakers, some pro- sound is one thing. but scarring the interior car -stereo gear introduced at the Summer prietary electronics, and a bill in the neigh- of a car to achieve it is hardly a trade-off I'd Consumer Electronics Show. borhood of $300 (plus installation, which is like to make. HF
10 HIGH FIDELITY 4 out of 5 Sonycar stereoowners wouldgodown the sameroad again. It seems there is one road that most Sony owners would gladlytravel again. The road to a Sony car stereo. In a recent survey, an overwhelming majority of Sony car stereo ownerscontacted gave Sony the ultimate testimonial. Theysaid they would be more than willing to buy a Sony again. As one Sony owner, Ronald Dokken of Minneapolis,Minnesota, vol- unteered, "When there's a car stereo that sounds as good and works as well as a Sony, why would you want another one?" In fact, most Sony car stereo owners when asked went so far as to saythat they would keep their car stereos longer than they'd keep their cars. Or, inthe words of Valerie Roussel of New Orleans, Louisiana: "My car was in the shop for afew weeks. I missed my car stereo a lot more than my car" And Mark Shareof Tempe, Arizona, added, "I have two cars and two kinds of car stereos. I find myselfdriving the car with the better sounding one-the Sony." Which is not at all surprising, considering the fact that Sony car stereos are not just engineered to perform reliably. They are alsoengineered to deliver bril- liant high-fidelity stereo sound. Because they take advantage of the sameexperience and innovative technology that goes into Sony's home stereos. So if you're in the market for a car stereo, it makes sense to godown the same road that 4 out of 5 Sony owners would travel. SONY Buy the Sony. THE ONE AND ONLY. o KIT MO.:on AITIC11,1 ...J11 isa taauegne -,) DIGITAL TDK enters the digital recording era with a BANG! Introducing our exclu- sive HX-S metal -particle formulation for Type II (High -Bias) recorcings. It DYNAMITE delivers everything promised by metal tape-on any cassette deck with a Type II switch. High frequency saturation ceases to FRO `be a problem since TDK HX-S is capa- ble of an MOL of + 4 dB at 110 kHz. HX-S also delivers exceptional high- endresponse. Plus a wider dynamic !range With furtner improvements in overall sensitivity of up to 1.5 dB. POST' 11 These superior recording charac- EXI RA teristics make HX-S perfect or dub- bing high-powered, treble -intensive digital source material with optimum results.
FIRST METAL And TDK makes sure the perform-
FOR MGM nce never fizzles, with our specially engineered, trouble -free Laboratory Standard cassette mechanism for durability and reliability. Plus the assurance of our Lifetime Warranty. So before you try any other cas- sette, pick up TDK HX-S, the first metal particle formulation for Type II EXTENDED HIGH END HIGHMOL HiGHOUTPUT 4High-Bias) and digitally -sourced CASSETTE MEGA recordings. LABORATORY STANDARD It's absolutely dgital dynamite!
THE MACHINE FOR YOUR MACHINE.
(r)1984 TDK Electronics Corp Publisher Steven I. Rosenbaum Editor -in -Chief Associate Publisher William Tynan Editor, Musical America Shirley Fleming Senior Editor Michael Riggs MUSICAL Managing Editor Peter Dobbin The CARVER C- I Sonh Holography Preampifier: Art Director Skip Johnston Appreciated for Musicality Copy Editor Acclaimed fo' Ken Richardson super alive performance, meliculcus Technical Department engineerirg, h c h reliebiln/ a -id finest sonic cualiy, the C-1 Technical Editor: Michael Riggs fulfills the r-=ciu re-nelt 3 of .he most ieranding audioohi e. Electronics Features Editor: Peter Dobbin Assistant Editors: Lida A. Silverman, (Special And mcre Projects), Randy Brozen (Administration) The pro,/ des a very afford ab e way to experience Consulting Technical Editors: Edward J. Foster, Robert Long the sheer mLE cal pleasu-e cf SON C -3LOGRA.P-IY a re- Contributing Editors: Paul D. Lehrman, Gary Stock creatior of =he three-dimeisipnal soLnd field of the origina , Music Department live perfo-mar. Classical Music Editor: Theodore W. Libbey, Jr. Sonic Fiokx has teen acclaimed as a scieitifre and Popular Music Editor: Georgia Christgau Assistant Editors: Mildred Camacho-Castillo, artistic actieveme, -it of sic nificant rren .Solving tt-e problems Susan E. Fingerhut of sonic imager,/ ir heren- in convent': nal stereophonic repro- Contributing Editors: Robert E. Benson, Crispin Cioe, Mitchell Cohen, R. D. Darrell, The Rev. duction, Sonic: HO ograpf .1 presents lining and phase irfcr- Thomas L. Dixon, Edward Greenfield, Paul Hume, mation that 0, ,clts 1-1 stereo program material but is normal y Paul Moor, John Morthland, George Movshon, Steven X. Rea, Thomas W. Russell Ill, inaudible. James Wierzbicki, John S. Wilson With Salic Hploc rap 17, this information emerges in hree- Assistant to the Publisher: Randi Goldman dimensic n Assistant to the Editor -in -Chief: Janet Wolf cp-3ce around the listener who is thus able le establish tie precise loca-ion of the insTuments and voices. Technical Art: Roy Lindstrom, Nina Wallace The Carver C-- is a luality inssu Tent replete wish preci- Production Director of Production: Kathleen Davis sion gcld-banc laser -trimmed resist=r3, life -time lubricated Advertising Production Manager: Janet Cermak Associate Production Editor: Susan E. Fingerhut sealed swit:he3 G-10 glIss epoxy boards, and machined Production Assistant: Paula Ballan solid metal pars; the C-1 prpvides moving coil input soft Circulation touch c:orlrol 3, ar infrasoi c filter, E. headphone amp ifie-, dual Vice President, Circulation Stephen J. Bernard tape monito-s, va- able turnover tole controls, s lent -nuti-ig, and an e>le-ral p-oce,ss)r loop. Circulation Director V.P., Newsstand Marketing Dominic Mustello Its strait] it-wi-e eng neering assures that a watt of input Circulation Director Subscriptions leaves with pst 0.000300251 watts cf distort on. 0- less. Lillian Gmitruk Circulation Subscription Staff: Mary Beth Colucci, If ycu seek new leve s of detai, cpenness and three- Barbara Donlon, Timothy Farrell, dimensiora ity in an aucta Dohile preamolifier we irvite you to William Johnson, Janice Raiford Customer Service: Mary Losi auditioi the CARVER C -t
HIGH FIDELITY and HIGH FIDEUTY/MUSICAL AMERICA are pub. lashed monthly by ABC Leisure Magazines, Inc.. a division of ABC Publishing, Inc.. and a subsidiary of American Broadcast- ing Companies. Inc ABC Publishing. Inc.: Robert G. Burton, President; ABC Leisure Magazines, Inc.: Ronald Stuart, Presi- dent; StevenI. Rosenbaum, Vice President, High Fidelity Group; Herbert Keppler, Senior Vice President, Photographic Publishing Division; Roger Canavan, Controller; Ernest G Scarfone. Vice President, Graphics and Production; Stephen Bernard, Vice President. Circulation: Dominic Mustello. Vice President. Newsstand Marketing. Member Audit Bureau of Circulation. Indexed in Reader's Guide to Periodical Literature. Current and back copies of HIGH FIDELITY and HIGH FIDELITY MUSICAL AMERICA are available on microfilm from University Microfilms, Ann Arbor, Mich. 48106 Microfiche copies 11973 forward) are available through Bell & Howell Micro Photo Divi- sion. Old Mansfield Road. Wooster. Ohio 44691. Advertising Offices New York: ABC Leisure Magazines, Inc., 825 7th Ave.. 7th Floor, New York, N.Y 10019. Tel.: 12121265-8360 James A. Casella, Advertising Director; Richard J. Marino. Associate Director of Advertising; Michael H. Goldberg. Eastern Adver- tising Manager; James R. McCallum. Record Advertising Manager: Cecelia M. Giunta. Classified Advertising Manager: Kathleen Davis, Director of Production; Janet Cerrnak, Adver- using Production Manager. Midwest: High Fidelity, Hitchcock Building, Wheaton, 60187. Tel.: 13121 653-8020. Starr Lane. Midwest Advertis- ing Manager. Los Angeles: ABC Leisure Magazines, Inc., 2020 Ave. C-1 nue of the Stars, Suite 245, Century City, Calif. 90067 Tel.. 12131 557.6482. Rita Weitzen, Western Advertising Manager. Editorial correspondence should be addressed to The Editor. HIGH FIDELITY. 825 7th Ave.. New York. N.Y. 10019. Editorial contributions will be welcomed, and payment for articles accepted will be arranged prior to publication. Sub- CARVERCDRP.MA-BON 19210 Avenue West Lynnwood, v10.98036 missions must be accompanied by return postage and will be POWERFUL MUSICAL handled with reasonable care;however, the publisher ACCJ RATE assumes no responsibility for return of unsolicited photo- graphs or manuscripts. DtsInbuted in Canada ty EVOLUTION AUDIO LTD.
SEPTEMBER 1984 13 AUDIO New Equipment Reports
Preparation supervised by Michael Riggs, Peter Dobbin, Robert Long, and Edward J. Foster. Laboratory data (unless otherwise noted) supplied by Diversified Science Laboratories.
"C=Illw) -
AMONG THE KEY ELEMENTS you must Con- that enable you to cue to the beginnings of Sansui's First siderwhen buying a Compact Disc player bands and to skip a specific number of are its programming and cueing features.bands in either direction according to the CD Player The reason they are so important is the total number of times you tap the appropriate absence of any one-on-one manual control control. You can program a sequence by Sansui PC -V1000 Compact Disc player, with wireless remote control. Dimensions: 17 by 4 Inches (front of CD playback comparable to the finger cueing in this fashion and then pressingSET panel), 113/4 Inches deep plus clearance for lift that owners of simple turntables use to to memorize each selection in the sequence. connections. AC convenience outlet: one unswitched (100 watts max.). Price: 54150. Warranty: "limited," cue (and scratch) their LPs. CD cueing isIf you're not sure which you want to hear, two years parts and labor. Manufacturer: Sansui (like everything else about the medium) all you can pressINTRO SKIP,as Sansui calls it, Electric Co., Ltd., Japan; U.S. distributor: Sansui Electronics Corp., 1250 Valley Brook Ave., Lyndhurst, by the numbers: band numbers, index num- which samples about ten seconds from the N.J. 07071. bers (if the disc was indexed in mastering), start of each band. elapsed -time numbers, time -remaining If the cue point you're looking for isn't numbers. And much of what determines at the beginning of a band, you can use the whether a given model is a joy or a chore to search buttons (one for each direction). use centers on how the features that manip- When you press one of them, the playback ulate these numbers are conceived and exe- level drops somewhat and you get a quick cuted. succession of short musical samples as the We were disappointed at first to findlaser pickup traverses the disc at about that Sansui's PC -V1000 is not among those twice its normal speed. If you keep your increasingly rare players that support index finger on either button for more than a few cueing-a potentially powerful random-seconds, the pace quickens, speeding the access tool that now appears to be atrophy- search but presenting the samples at too diz- ing because of record -company apathy. zying a rate to permit easy identification in Sansui can hardly be faulted: If the discs some music. (It sounds a little like the out- aren't indexed, the cost of the cueing fea-put of a conventional pickup that has been ture can't be justified. sent skipping across an LP.) We soon The random-access features on thelearned how to control the process by player's front panel (as distinct from the removing and resuming pressure on the but- additional ones on its remote control) con- ton, which switches toPLAY,then back to stitute a spare but workable system. There the slower scan speed. are the usual steppers, forward and back, There's one additionalfront -panel
14 HIGH FIDELITY impedemechanicala superior dynamic new and way electricalperformance. to virtuallyItThe vibrationsstarts key eliminate with is Kyocera that a handsome ceramics ceramic technology- -compound reduceheavyfurthercritical duty componentsisolateeddy cutlass currents, vibration. core throughout minimize powerKyoceraIn addition, transformer theflux also circuitryleakagefine uses ceramics toa to encapsulate irregularities.stabilityrigidallresin components. and base immune inert, (actually Because they Becausefrom provide the volume ceramics chassis) ceramics vibration and are that frequency are non--free supports Rated a full 150 wattsOHMSdistinguishand per improve channel at 0.02% this voltage intoextraordinary THD 8 regulation.There from 20-20,000are integrated many other HZ. amp: features that Non-ferrous ceramic withAM/FM-compoundKyocera's adjustable Stereo resin matching T-910feet. base Tuner. PLL Quartz synthesized IntegratedThe new Kyocera Amplifier. A-910 pimpurities.practicallynoferrous, electrical there no hum. mechanicalare noResult: eddy anda currents-so chassis electrical with there's HeavyNew MM/MC duty high equalizer speedamplifierand 80with input MHZ ultra design impedance power low incorporating noise transistors. parallel triple ProgrammableDynamicFluorescent noise digital 16reduction station displayweak precircuitrysignal (low -selects. noise reception. for improvedtype). Single stage push pullband amplifierimprovedpush frequency pull finalcircuitrysignal response. stages to for noise with ratioMOS and FET wide drivers. TwoNarrowMultiplex FM or antenna-programmable &coder wide IF with bandwithcancellingselection. pilot and programmable circuit. birdie selected. noise Pure ithout bad vib w r (201)Drive,KyoceraselectedPerformance Warren560-0060 KyoceraInternational, says New audio it Jersey all. Inc., dealerPut 07060, 7it Powderto now. the test Horn at a . . . . 0 BETTER SOUNDit BASED ON CERAMICS. AUDIO New Equipment Reports
DRAWER. PLAY OPEN CLOSE PAUSE
STOP/CLEAR
AC POWER "INTRO SKIP'
HEADPHONES REPEAT
SEARCH (FORWARD/BACK) "DUAL MEMORY" MEMORY SET (START. END) "PROGRAM" SELECT. (FORWARD. BACK)
All data obtained using the Sony YEDS-7, Technics cueing option: the so-called dual memory. listener that the musical continuity is only SH-CD001, Philips 410 055-2, and Philips 410 056-2 test discs. It will remember a start and an end, each set an illusion), but we were delighted to find by pressing the respective button when that we could avoid them altogether by FREQUENCY RESPONSE ce you're cued to the appropriate spot. This using the dual memory instead. 0 .- -.11r feature can be used for a single run-through Further promoting ease of operation 5 Pc-v,0:9 of a particular section or in conjunction are the convenience outlet and the so-called HZ 20 so 100 200 500 1K 2K 9( 10K20K with the REPEAT (which also can be used on Compu-Edit jack on the back panel. The whole discs or conventionally programmed - L ch +
CHANNEL SEPARATION (at 1 kHz) 881/4 dB back. With the dual memory, this means The fingerwell at the front forces you either stepping to Band 4 (the first movement), to poke the disc up from below with one CHANNEL BALANCE (at 1 kHz) ±-
16 HIGH FIDELITY Thisgroove-andstabilityTo avoid unique is turntable all. inmaterial Steadiness the platterrumble, provides rotation.of humKyocera's the uncommon needleand howling, solution: in the It starts with ceramics. drive3.3andthefeet. lbs.platter uniform Thissystem Add dual and an rotation,to -isolation arm.advancedeliminate For the evenfoundation plattermotor two greater-motor vibrationweighs supports beltstability in and at anceelectricalstabilityresonance. that and feedback.is virtuallyisolation The free of resultmechanical of vibration is a perform- and Straight aluminum tubularOthersteadyyou have low features:as a mass turntablerock. tonearm that is truly- TheFull new Automatic Kyocera PL -701 Thebynatesubchassis base three vibration, has springs fourof the this adjustable within PL subchassis -701.A a rigid sturdy Toshock ceramic further is wood suspended-mounted elimi--compound base. resin forms the MicroStabilizer -computer (.7 Ib) electronicwithtionwith built-in tonearmremovable sensing two -speedcontrol. non carbon -fric- fiber shell. Belt Drive Turntable TintedSignal-to-noiseWow and dust flutter cover ratio ofand 0.03%. frontstroboscope.of convenient 70 pancl dB (DIN control3. soft -B) -touch (201)selectedDrive,KyoceraPerformance 560-0060 KyoceraWarren International, says Newdealer it Jersey all. now. Inc., Put 07060, 7it Powderto the test Horn at a dy as a roc KYOCER2 Welcome to the goldenage of Luxman
Luxman special champagne gold series: The L-400. K-220, T-240, L-210, K-240, L-430
Believing that form follows function, Luxman creates a special champagne gold ( series of sophisticated audio components. c9r-tr"?'' Inside, precise hand-crafted electronics. Outside, elegant, classic design. With pure, clear sound to match. See and hear how over 50 years of refinements and innovations, now backed by The Alpine Touch, ushers in the golden age of Luxman. Start by calling 1-800-257-4631. UXWiN Luymon/Dlyision of Alpine Electronics of America, 19145 Gramercy PI, Torrance. CA 90501 HIGH FIDELITY SYSTEMS AUDIO New Equipment Reports test were quite sensitive to external shock better than that of a fair number. SQUARE -WAVE RESPONSE (1 kHz) and vibration. However, when one of our The PC-V1000's square -wave and im- staffers tried to cudgel a store's demo sam- pulse responses suggest thatit employs ple into skipping, he failed, which suggests oversampling and digital filtering (applied that Sansui may already have solved this before digital -to -analog conversion), there- problem. by allowing the use of a relatively gentle The tracking and error -correction tests analog filterat the output, minimizing also raised a question. The player cleared phase shift and ringing in the audio signal. all the hurdles on the Philips evaluation disc As with other players we have tested that without skipping or clicking-as we might use this approach, there is some very slight have anticipated, given thetriple -beam rippling at the upper end of the response IMPULSE curve, but again, the effect is tiny by com- RESPONSE pickup system Sansui uses. But Diversified Science Laboratories noted some subtle parison to the peaks and other perturbations signs of discomfort on the 600- and 800 -we have come to expect from phono pick- micrometer blackdots,and when weups and utterly negligible from a listening applieda more severetest(a paperpoint of view. "wedge" stuck on the surface of a disc), The PC-V1000's most memorable the results were different for each trial. In quality is its handling of disc programming. general, though, the PC -V1000 was some- The infrared remote control is handy and what more plagued by loud clicks, skips, attractive, and the relationship between its and so on in this test than was one of thecontrols and those on the player itself has best -tracking players we have reviewed. been subtly worked out for optimum com- This is a rather severe comparison, howev- promise between flexibility and simplicity. er, and the Sansui's tracking is as good as In particular, we expect to see more of its that of most models we have examined and "dual memory" approach.
Big Sound From a Small Superamp
Soundcrattsmen PCR-800 power amplifier. Dimensions: 8V2 by 5 Inches (front panel). 13 inches deep plus clearance for connections. Price: S450. Warranty: "limited," 90 days parts and labor, ALTHOUGH SOUNDCRAFTSMEN madeits follows it up, returning to the low -voltage automatically extended to two years if warranty registration card is returned within ten days of name in signal processing (introducing the mode when the peak has passed. purchase. Manufacturer: Soundcraftsmen, Inc.. 2200 first really popular consumer graphic equal- The PCR-800 also aims at increasing S. Ritchey St., Santa Ana, Calif. 92705. izer just over a decade ago), one could efficiency, and again by means of a smart argue that the company's most interesting power supply, but the path taken is the other products in recent years have been its power way around. Called "phase control regula- amplifiers. The lastof thesethat wetion," it strives to use as little power as reviewed was the MA -5002A Class H amp possible from the AC line to maintain a con- (November 1981). "Class H" is Sound - stant power -supply voltage. Thisis craftsmen's designation for a type of signal - achieved with a servo loop that senses the tracking power supply that improves ampli- supply voltage and feeds that information fier efficiency by matching the supply volt- back to the silicon controlled rectifiers age to the input signal. When the input is (SCRs), which convert the alternating cur- small-as it is most of the time-the sup- rent (AC) from the power transformer into ply voltage is maintained at a constant low direct current (DC) for modulation by the level, minimizing power consumption and amplifier circuitry. Unlike the rectifiers in heat dissipation. If the signal rises to a level conventional amps, which are always on, that demands an output greater than the those in the PCR-800 conduct only for as base voltage can support, the power supply much of each AC cycle as is necessary to
SEPTEMBER 1984 19 AUDIO New Equipment Reports RATED POWER maintain the desired supply voltage. Thus, the data, the results are impressive. Output 8 -ohm load 23 dBW (205 watts)/channel 4 -ohm load 242/4 dBW (300 watts) channel the amplifier normally uses just a small is quite high into 8 ohms (slightly exceed- 2 -ohm load 241/4 dBW (275 wafts) channel amount of the power available from the AC ing Soundcraftsmen's specification) and OUTPUT AT CLIPPING (at 1 kHz: both channels driven) line. Only when full output is demandedincreases by almost another 2 dB into 4 8 -ohm load 231/4 dBW (215 watts) channel does the power supply open up and use the ohms. Continuous power into 2 ohms is 4 -ohm load 25 dBW (325 watts),channel full swing. 2 -ohm load 241/2 dBW (290 watts) channel about 1/2 dB less than into 4, but the amp's The payoff is higher operating effi- dynamic power (which more nearly reflects DYNAMIC POWER ciency and reduced size and cost. A single 8 -ohm load 23, 4 dBW performance on music) is the same into 4 -ohm load 25 dBW PCR-800 sells for $450, weighs slightly both. The small difference between the 2 -ohm load 25 dBW less than 25 pounds. and can be mounted dynamic and continuous power figures (and DYNAMIC HEADROOM (re rated power) beside another PCR-800 in a standard 19- the correspondingly low dynamic head- 8 -ohm load r 1/4 dB inch rack-a remarkable achievement for room) is a result of the power supply's very 4 -ohm load 1/4 dB an amplifier rated at more than 200 watts 2 -ohm load +3'4 dB tight regulation. per channel. Cooling is provided by a two - Although the PCR-800 clearly is capa- HARMONIC DISTORTION (THD; 20 Hz to 20 kHz) speed fan that forces air through the chas- ble of delivering plenty of current into low at 23 dBW (205 watts) 5 0.068% - at 0 dBW (1 watt) 5- 0.015% sis,from the back (where thefanis impedance loads, a slight loss of extreme mounted) through the front grille. At its low treble response will occur because of a rap- FREQUENCY RESPONSE 4 0, -V4 dB, <10 Hz to 29.7 kHz; speed, the fan is silent enough to be inau- id rise in the amp's output impedance at +0, -3 dB, <10 Hz to 130 kHz dible when music is being played, although high frequencies. As reflected in the very it can be heard faintly from several feet S/N RATIO (re 0 dBW; A -weighted) 803/4 dB high damping factor, the output impedance away in a quiet room. Diversified Science at 50 Hz is a mere 30 milliohms; at 1 kHz it SENSITIVITY (re 0 dBW) 110 mV Laboratories reports that the only time the is still only 48 milliohms, but by 10 kHz it INPUT IMPEDANCE 23 8k ohms fan kicked into its high-speed mode was is up to 310 milliohms, and at 20 kHz the duringthe measurement of continuous output impedance is 460 milliohms (almost DAMPING FACTOR (at 50 Hz) 260 power into a 2 -ohm load. It remained at the half an ohm). With a 2 -ohm load, this will CHANNEL SEPARATION (at 1 kHz) 88 dB lower speed throughout our listening trials, cause a loss of 13/4 dB at 10 kHz and 2 dB at even at high volume, and the amp never20 kHz, which is enough to be audible on became more than slightly warm to thesome material. The rolloff is not great, touch. however, and it will disappear with more If the amp does somehow begin to typical, higher -impedance loads. overheat, the power supply automatically The only other less -than -outstanding reduces its output until the temperature measurement is the signal-to-noise (S/N) drops to a safe level. And because the out- ratio, which is lower than we are used to put devices are MOS FETs, there is no dan- seeing. This is attributable mainly to 60 -Hz ger of the self-destructive thermal runaway power -line hum anditsharmonics. No to which conventional bipolar transistors noise was apparent in listening, however. are prone when asked to deliver too muchThe remaining data are uniformly excel- current. Thus, there is no need for current - lent,showing perfectlyflatfrequency limiting protection circuits, with their atten- response across the audio band, distortion dant problems. levels well below the threshold of audibili- When the PCR-800 is turned on, a ty, wider than necessary channel separa- green pilot LED at the bottom of the front tion, and an appropriate input impedance panel begins blinking slowly (a characteris- and sensitivity. tic that some may find distracting); if the Performance in the listening room is fan shifts to its high speed, the LED blinks no less satisfying. The weight of the ampli- more rapidly. In addition, each channel has fier is distributed heavily toward the front, a red clipping LED that flickers on when- making it somewhat more unwieldy than its ever the amp is overloaded. On the back size alone would suggest, and the 41/2 -foot panel are standard pin -jack inputs and col- About the dBW power cord may be a little short for some or -coded banana -jack output binding posts. We currently are expressing power in installations, but aside from those minor terms of dBW-meaning power in dB The PCR-800 can be strapped for mono points, setup is a breeze. We were able to with a reference (0 dBW) of 1 watt. The operation (with a rated output of 600 watts, drive our loudspeakers to very high vol- conversion table will enable you to use or 273/4 dBW, into 8 ohms) by means of an umes without overload, and when the amp the advantages of dBW in comparing external bridging adapter, such as the one these products to others for which you does clip, it does so very gracefully. At lev- have no dBW figures. built into Soundcraftsmen preamps. els below clipping, it makes no contribution The PCR-800 is one of the few ampli- of its own to the sound, which is exactly WATTS dBW WATTS dBW fiers available that is rated not only into 8 what one would expect of a fine power 1.00 0 32 15 ohms but also into 4 and even 2 ohms, so amplifier.That, together with compact 1 25 1 40 16 1 6 2 50 17 DSL measured its maximum output before dimensions, exceptional current capability, 2.0 3 63 18 clipping continuously as well as dynamical- and an attractively low price, makes the 2.5 4 80 19 ly into all three loads. As you can see from PCR-800 an excellent value. 3 2 5 100 20 4.0 6 125 21 50 7 160 22 6.3 8 200 23 8.0 9 250 24 Report Policy: Equipment reports are based on labora- reports in advance of publication, and no report or por- 10.0 10 320 25 tory measurements and controlled listening tests. Unlesstion thereof may be reproduced for any purpose or in any 125 11 400 26 otherwise noted, test data and measurements are ob- form without written permission of the publisher. All re- 16 12 500 27 tained by Diversified Science Laboratories. The choice ofports should be construed as applying to the specific 20 13 630 28 equipment to be tested rests with the editors of HIGH samples tested. HIGH FIDELITY and Diversified Science 25 14 800 29 Fimurv. Samples normally are supplied on loan from theLaboratories assume no responsibility for product per- manufacturer. Manufacturers are not permitted to read formance or quality.
20 HIGH FIDELITY NOW YOU DON'T HAVE TO PAYAN ARM AND A LEG FORYOUR EARS. Becoming an audiophile has always had its price. The C-40 uses ZDR in the phono EQ section. For We have a way of lowering it. the purest phono reproduction possible. Introducing two of Yamaha's new high -end And to effectively capture the quieter passages separates-the M-40 power amplifier and the C-40 that today's digital sources are capable of, the M-40 pre -amplifier. has a phenomenal 127dB S/N ratio. Both have the highest state-of-the-art circuitry The result is excep- --0 and features. For the highest quality sound repro- tionally pure and accurate 0 - duction possible. musical reproduction. But at a lower price than ever before possible Which is in keeping with from Yamaha. the C -40's and M -40's Netd) Limped speaker ter minaL make either heavy -gauge audiophile cable For pure sound combined with pure power, the purpose-basic, audio- or standard-gauge cable a snap to connect M-40 uses our exclusive Auto Class A circuitry. It phile-quality sound reproduction-pure and simple. automatically switches from pure Class A opera- And at $350* for the C-40 and $400* for the tion to Class AB when music peaks require high M-40, affordable. power levels. So purity is never sacrificed for power. So visit your Yamaha dealer. And satisfy your To eliminate crossover distortion during ears. Without having to sacrifice any other part switching, as well as transistor non -linearity dis- of your anatomy. tortion, the M-40 has our unique Zero Distortion Rule circuitry. OYAMAHA *Suggested U.S.A. retail prices Yamaha Electronics Corporation, USA, P.O. Box 6660, Buena Park CA 90622
YAMAHA NATURAL SOUND STEREO CONTROL AMPLIFIER C SO
COW 134-NINC)
YAMAHA NATURAL SOUND STEREO POWER AMPURER 40 not just an attitude that canAbsolute be performance is of thenal strongest in multipath sig- an uncompromisingwing azimuthto achieve in zero both - createdbornexpertiseunique out overnight. oflineand 40 success.of years high Audia of end, Clarion's was Audiano com- is an entirely new anddevotice to absolute performance. tuallyconditionsfencing"annoying eliminate noise.to "picket vir- Typically. automobile interiors cyhighwon'tdirections response. end sacrifice frequen- so you amplifiers,andpromiseizers,meet tuners, thereceivers speakers, needsequal-that ranges.lowresponseablecreate frequencyharmonic an The inundesir- 180the Hz. easilysents total interface flexibility. with otherIt wallThe com- entireExtend Audia line lour repre- Limits of Perfection. ofcriticalpurists.Perfecting even carthe audiomost Perti)rmance whileits original it allows deep, the clean amplifier sound, to returnspensationAcoustic the Com- Control bass to accomplishmentthegradeponents, most at anyallowingesoteric time that soundandyou results toto system. createup-Audia. A state of the art System,Clarion, aconstantly feature pioneered monitorsThe byFM Diversity Tuningin the AutomotiveEnvin)nment. thanAzimuthwithrun cooler. justDual aAdjustment -Directionconvenience Automatic is feature.moreThe Auto Reverse Deck performance.from a philosophy of absolute two FM front ends, picking out Clarion Corp. of America, 5500 Rosecrans Avenue, Lawndale, CA 90260 It precisely adjusts the tapehead CAR AUDIO PERFORMANCE UEM .61111111.41.11411111116161
AUDIO New Equipment Reports
MONITOR/DUB TAPE 1. TAPE 2 TAPE/SOURCE. 1.2 SOURCE SELECT (AM/FM/PHONO/ AUX)
1 61
I 61,1 .$66 1161 1
AC POWER VOLUME
SPEAKERS TUNING (UP. (ON/OFF, A, B) DOWN: PRESETS: ii MEMORY) HEADPHONES BALANCE 71eml mommieneemem EQUALIZER LOUDNESS (ON/OFF) TUNING MODE (AUTO/MANUAL) EQUALIZER ON/OFF FM MODE (STEREO. MUTE/MONO. NO MUTE) FILTERS (HIGH. INFRASONIC: ON/OFF)
HERMAN HOSMER SCOTT, who gave his Tuning proceeds in full -channel steps: Top Specs at name to the company, would hardly recog- 200 kHz on FM and 10 kHz on AM. A tap nize today'sinternational enterprise-a on UP or DOWN advances one step; if you A Scott's Price European -owned American corporation hold the button in, the channels race by. that manufactures its wares in the Orient. The automatic tuning mode seeks the next Scott Model 359RS AM FM receiver. Dimensions: 17 But he would recognize the good value rep- receivable station in the chosen direction by 41/4 inches (front panel), 121/2 Inches deep plus clearance for controls and connections. AC resented by the Scott products we've tested and locks onto it. When you come to one convenience outlets: one switched, one unswitched recently: the 558T tuner (November 1982)end of the dial, the tuning automatically (100 watts max. each). Price: $400. Warranty: "limited." three years parts and labor. Manufacturer: and now the 359RS receiver, which com- continues from the other. The presets pro- made in Korea for H. H. Scott, Inc.. 20 Commerce bines medium power and moderate price vide for seven stations from each band. A Way, Woburn, Mass. 01888. with a five -band equalizer and performance ferrite bar AM antenna is attached to the FM tuner section that in some respects rivals that of the head- back panel, where there also are the usual iest models around. screw terminals for external AM and FM STEREO RESPONSE & CHANNEL SEPARATION DB Also traditionalwith Scottisa antennas-including 75 -ohm coaxial FM 0 thoughtfully prepared owner's manual. The lead-in, though the manual discusses only -5 one for the 359RS is very simple, especially the 300 -ohm twinlead options. - 10 - 15 in its language, which enhances the pam- The tuner section's performance is - 20 phlet's directness. No lavish graphics or mostly very fine. Among Diversified Sci- 25 slick paper or extra colors, just useful ence Laboratories' measurements, the most 30 explanation. Only the listing of specifica- striking probably is the capture ratio, which -as - 4o tions has been carelessly produced: In par- is remarkably low-as good as the best we 350PS It ticular,"IHF sensitivity . . . . 10.3/ can recall seeing. Pilot and subcarrier sup- HZ 20 50 100 200 5001K 2K 5K 10K20K Frequency response 1.8dBf ' is both equivocal as to the relevant pression also are exceptionally good. Least L ch +0, -3 dB, 20 Hz to 15 kHz standard and confused in its units (ii should encouraging is the selectivity, which is no R ch +0, -3 dB, 20 Hz to 15 kHz read "10.3 dBf/1.8 pN"). But for neo- better than acceptable. We found that a Channel separation a 38 dB, 70 Hz to 2 kHz; a 291/2 dB, 20 Hz to 15 kHz phytes-the only ones who will really need moderately strong station with a stronger the manual and for whom it obviously was one on the adjacent lower channel had to be FM SENSITIVITY & QUIETING DB prepared-this minor shortcoming is per- tuned manually, because the automatic tun- vies121 haps a nonissue. ing would lock onto it only on the adjacent - 10 The front panel is anything but tradi- channel above (resulting in severe distor- 20 tional. Its most striking feature is a bank of tion) or onto the stronger station below. five equalizer sliders near the center. Input And when the weaker station was correctly 30 selectors are ranged above this section, with tuned, interference from the stronger one 40 further pushbutton controls below it. The was clearly audible. This is not a situation
so readout area near the left end contains a that will confront most urban or even sub- power "meter" (nondefeatable, unfortu- urban listeners, however, so it isn't a major so nately) and a lower panel devoted to tuner concern. indicators. The one for signal strength con- Overall, FM receptioniscleanin DBF 0 10 20 30 40 50 80 70 ao 90 100 sists of six segments, the lowest of which sound and convenient in operation. The stereo quieting (noise) lights whenever either tuner band is select- same is true of AM, except that its freedom mono quieting (noise) ed. This leaves five segments for register- from noise seems to have been obtained ing progressively higher signal strengths with a sharper than usual high -frequency over a well-chosen range: somewhat more rolloff. Incidentally, if you do nonetheless sensitive than average for such indicators encounter a noisy AM station, the high fil- (which are rare, in any event, for the AM ter will not help because the AM response band) so that they concentrate, appropriate- effectively cuts off before the filter action ly, on solving the problems of receiving rel- begins, al 7.5 kHz. atively weak stations. For sources that really contain high -
SEPTEMBER 1984 23 AUDIO New Equipment Reports Stereo sensitivity (for 50 -dB noise suppression) frequency noise, the high filter is reason- 351/2 di31 at 98 MHz, with 0.46% THDIN for instance, the " +6" setting barely ekes (361/2 dBf at 90 MHz; 37 dBf at 106 MHz) ably effective. The infrasonic filter alsoout a 3 -dB boost. But because such controls Mono sensitivity (for 50 -dB noise suppression) does its job efficiently, with little effect atare set by ear, rather than by eye, the dis- 113,4 dBf at 98 MHz Muting threshold 311/2 dBf 20 Hz or above and a steep rolloff below.parity is of no real practical importance. Stereo threshold 311/2 dBf When records are played, its influence addsAnd if you mistrust all tone controls in your Stereo S/N ratio (at 65 d131) 68 dB to that of a low -frequency rolloff built into Mono S/N ratio (at 65 dBf) 711/2 dB search for sonic purity on signals that don't the phono preamp. Phono response is down'need them, you can cut them out of the cir- CAPTURE RATIO 3'4 dB 1/2 dB at 55 Hz and is still only 21/2 dB down cuit altogether. SELECTIVITY at 20 Hz, but the slope increases to 6 dB or The 45 -watt power rating, which is alternate -channel 521/2 dB so per octave in the infrasonic range. Thus, quite impressive for a $400 receiver with adjacent -channel VA dB the total warp -control factor, so to speak, this many features, actually is quite conser- HARMONIC DISTORTION (THD 1 N) amounts to a very effective 20 dB or morevative. Midband sine -wave clipping occurs stereo mono per octave. The phono response also at 100 Hz 0.20% 0.070% at a level3/4 dB higher, and the pulsed at 1 kHz 0.08% 0.072% shelves slightly in the treble, going from waveform used for the dynamic test clips 3/4 at 6 kHz 0.20% 0.12% flat at 1 kHz to -3/4 dB at 2 kHz and -3/4 dB dB higher still. Thus, on most music, the STEREO PILOT INTERMODULATION 0.15% from 10 kHz up. 359RS is capable of the equivalent of about The loudness compensation strikes us70 watts into 8 -ohm loads and even more IM DISTORTION (mono) 0.026% as distinctly heavy-handed. In our listeninginto 4 ohms. The receiver isn't rated for AM SUPPRESSION 531/4 dB room, it begins to kick in at what we con-operation into 2 ohms, but the lab ran it sider to be fairly loud listening levels. By PILOT (19 kHz) SUPPRESSION >80 dB through the dynamic power test with that the time we're down to moderate levels, load, too. The waveform doesn't hold up as SUBCARRIER (38 kHz) SUPPR. >80 dB where we would expect little compensa-well as it does into 8 ohms, but it's very Amplifier section tion,the bassisboosted considerably close, indicating that the 359RS doesn't go (about 10 dB at 50 Hz) and the extremeinto severe current limiting under such RATED POWER 161/2 dBW (45 watts)%channel treble is up as well (6 dB at 20 kHz). And circumstances, as some other receivers OUTPUT AT CLIPPING (at 1 kHz; both channels driven) the boost continues to increase at lower vol- do. 8 -ohm load 1734 dBW (60 watts) channel ume settings. 4 -ohm load 181/2 dBW (71 watts), channel If you spend your audio dollar careful- Fortunately, the five -band equalizerly, this Scott receiver must be among the DYNAMIC POWER (at 1 kHz) makes it easy to roll your own loudness models to consider, particularly if you pre- 8 -ohm loop 181/2 dBW 4 -ohm load 191/4 dBW compensation. The indicated center fre-fer a simple equalizer to conventional tone 2 -ohm load 181/4 dBW quencies-marked 60 and 250 Hz and 1, 4, controls.Allofitssectionsarewell DYNAMIC HEADROOM (re rated power, 8 -ohm load) and 16 kHz-are reasonably accurate in the designed, and though the FM reception + 2 dB two bottom bands, very accurate in thestands out, there are no substandard sec- remaining three. Also quite reliable is the HARMONIC DISTORTION (THD; 20 Hz to 20 kHz) tions that must be put up with in "compen- at 161/2 dBW (45 watts) 5 0.032% spec for the total adjustment range in each sation." Itis, simply stated, a well-bal- at 0 dBW (1 watt) <0.01% band: ± 12 dB. The intermediate markingsanced, practical receiver that offers good FREQUENCY RESPONSE are not so dependable. In the I -kHz band,value. +0, -1/2 dB, 11 Hz to 18.1 kHz; +0, -3 dB, <10 Hz to 61 kHz
RIM EQUALIZATION +0, -212 dB, 20 Hz to 20 kHz; INPUT IMPEDANCE EQUALIZER ADJUSTMENT RANGE -123,4 dB at 5 Hz aux input 160k ohms phono input 50.8k ohms; 115 pF SENSITIVITY & NOISE (re 0 dBW; A -weighting) DB sensitivity S/N ratio +10 aux input 24 mV +5 82 dB OUTPUT IMPEDANCE (to tape) phono input 0.40 mV 771/2 dB 0 from aux input 1,000 ohms from tuner section 820 ohms -5 PHONO OVERLOAD (1 -kHz clipping) 180 mV from phono input 10 560 ohms MORS 131 INFRASONIC FILTER HZ20 50 100 200 5001K ZK 5K 10K 20K -3 dB at 17 kHz; 4.15 dB/octave DAMPING FACTOR (at 50 Hz) 120 HIGH FILTER -3 dB at 7.5 kHz; 12 dB/octave CHANNEL SEPARATION (at 1 kHz) 55 dB individualsliders set at max. and mm.
No COMPANY HAS APROUDER history, effort is what Ortofon calls its Optimum An "Optimum where phonographic transducers are con-Match (OM) cartridges-so named be- cerned, than Ortofon. Since shortly aftercause they are designed to reproduce opti- Match," from World War II, it has been making profes- mally the behavior of modern record -cut- sional cutterheads and state-of-the-art pick-ting styli. Ortofon ups-including moving -coil models, with The series consists of six pickups: which its name was virtually synonymous three "OM" models with conventional Ortofon OM -30 fixed -coil (moving -iron) phono at one time. Its work on the Variable Mag- cartridge, with multiradial diamond stylus. Price: screw mounts and three otherwise almost 5225. Warranty: -limited." one year replacement. netic Shunt principle (a type of moving -ironidentical "OMP" models with plug-in P- Manufacturer: Ortofon Manufacturing AS, Denmark; design) sought to create fixed -coil car- Mounts. The progression of stylus options U.S. distributor, Orlofon, Inc., 122 Dupont St., Plainview, N.Y. 11803. tridges whose reproduction quality would in each group is one of decreasing tip mass rival that of the company's moving -coiland increasing compliance and sophistica- models without their hand assembly andtion of construction. Model numbers end- therefore increasingly prohibitive manufac- ing with "10" denote a conventional ellip- turing costs. The current legatee of thistical diamond tip, those with "20" a nude
24 HIGH FIDELITY TEAC DRIVES THE REELS OF INDUSTRY
Not c..x y are there computers inside of many Teacs, there are Teacs inside of many computers. Teac has built tape transports for some of the foremos: names in the computer ir_dustry. Computer builders come to Teac for a very reasor_. Nobody builds tape components like a company that has specialized single-mindedly in tape recording for thirty years. And because computer downtime can be at the least expensive, and at the most disastrous, our reputation Six ruggedness and reliability in the extreme carries a lot of weight. So when you're in the market for a tape deck, just think.: When the engineers wanted muscles for their brains, they picked Teac. TEAC. MADE IN JAPAN BY FANATICS. COPYRIGHT 1983 TEAC CORPORATION OF AMERICA 7733 TELEGRAPH ROAD, MOW HELLO, CA *064C AUDIO New Equipment Reports diamond of smaller tip mass, and "30" a The cartridge successfully negotiated nude multiradial"fineline" diamond. the tracking -test bands of the CBS STR-100 Thus, the OM -30 is at the top of the stan- and STR-120 test records at the Ortofon's dard -mount group. minimum recommended vertical tracking Because the mass of P -Mount pickups force of 1 gram and the progressive levels is dictated by the Technics standard, the of STR- 112 at 1.25 grams (the median of OMP models all carry some ballast to bring the recommended VTF range).Italso their weight up to the specified 6 grams. tracked without difficulty all of the music But standard -mount arms are a very mixed records we handed it, some with readily bag, and to accommodate their vagaries visible warps. Ortofon has built a tiny weight into the top The vertical tracking angle (VTA) of the OM mounting bracket. If you want Measures 19 degrees, using the low -fre- FREQUENCY RESPONSE & CHANNEL SEPARATION the full mass (a shade less than 5 grams), quency tones on the DIN test record. This is test record: JVC TRS-1007 Mk. II) you simply leave the weight in place when virtually spot-on the DIN standard of 20 DB you install the pickup; if you want less, youdegrees-an unusual feat, in our experi- 0 41' -5 pop out the weight first and thereby cut the ence. Here,in particular,the lab data 10 mass almost in half. appear to corroborate Ortfon's claim to - 15 However, one might challenge on the- matching cutterhead behavior. However, 20 oretical grounds Ortofon's instruction that the test tracks with the higher tones yielded 25 you use the weight with heavy arms and 30 a reading of 22 degrees, suggesting that the OW JD omit it with low -mass models. If your tone - stylus rake angle (SRA) is very slightly HZ 20 50 100 MO 500 1K 2K 5K 10K 208 arm's effective mass is greater than about off. Frequency response L ch 4 1 V2. -1/2 dB, 20 Hz to 20 kHz 15 grams, the additional weight of the insert Perhaps the most impressive aspect of R ch +3/4, -1/2 dB, 20 Hz to 20 kHz will drag the low -frequency arm/cartridge the OM -30's performance is its frequency Channel separation dB, 100 Hz to 7 kHz; resonance down below 8 Hz, into the dan- response, which is extraordinarily flat. The .>18 dB, 100 Hz to 18 kHz ger region where record warps (which clus- very mild rise at the extreme top of the audi- SENSITIVITY (at 1 kHz) 1.09 mV/cm/sec ter around 5 Hz) can disrupt tracking and ble range (and the accompanying deteriora- CHANNEL BALANCE (at 1 kHz) + 18 dB could pull the resonance too far up toward have resonances close enough to the audible vertical .+12 dB the audible range, causing a rise in the deep rangeto causesevere high -frequency DYNAMIC COMPLIANCE (vertical) bass response and perhaps some tracking peaks, with sonic consequences that we're -20 x 10-6 cm/dyne difficulty on passages that are heavily mod- pleased to note don't apply here.) Separa- RECOMMENDED EFFECTIVE TONEARM MASS' ulated at very low frequencies. If you're intion is excellent up to very high frequen- optimum acceptable without weight -10 grams 6 to 17 grams doubt, we would suggest that you try the cies, well beyond the range where it con- with weight -8 grams 4 to 15 grams cartridge without the weight first. tributesmateriallytolocalizationand, But the deciding factor may not lie therefore, to stereo imaging. WEIGHT' without weight 2.5 grams with theory. In both Diversified Science Earlier we used the phrase "no hint of with weight 4.85 grams Laboratories' SME 3009 Series 11 Im- misbehavior." Those four wordsfully SQUARE -WAVE proved tonearm (whose effective mass is characterize our experience of the OM -30. RESPONSE (1 kHz) approximately 15 grams) and the SME- Though that may seem faint praise, it actu- workalike we used for our listening tests, ally is the highest of accolades for a phono the counterweight adjustment range was not pickup, which should be as transparent as great enough to accommodate the OM -30 mountain air on a fine fall day. Any empha- Emado without the ballast insert. So we carried out sis-any special zing or growl or roar or on yam':ice all our evaluations with the weight, which whisper-though it may lend excitement to put the resonance on the low side of thethe sound, is by definition misbehavior. desired range but caused no hint of misbe- And no pickup we know minds its manners havior. better than this one. 'See text.
MANY AUDIO MANUFACTURERS have a spe- Yamaha separatesattheirverybest. A Good cialty that lends them a sense of identity, Indeed, its control section is very similar to even though they may offer products thatthe C-70 preamp (test report, April 1983), Combination, fall well outside that realm. Yamaha seems while the power -amp stage harks back to to have two such areas of specialization: past Yamaha Class A designs. From Yamaha receivers that concentrate on fine music A totally Class A amplifier rated at reproduction first and electronic virtuosity 120 watts per side would be a real mon- only as a means to that end, and perfection- ster-as would your electric bill if you used ist separates-of which we've tested sever- one. (Although, the heat generated might al superb examples over the years. As ansave a little on the oil bill.) This is because integrated amplifier,the A-1000 might Class A circuitry confines the signal swing appear to fall nearer the first category, but it to the transistors' linear operating region, actuallyis more like a combination of placing the average (and therefore the no -
26 HIGH FIDELITY PERFORMANCE3 -HEADAt READYTHE Aiwa,CASSETTE NEW FOR we AIWA believe DECK: AD being-F990 THE DIGITAL AGE. signedautomatedthewhylead, AD best.our not to -F990:engjnee meet.meansfollowing. cassette the ther3 taking developed firstdemandsdeck That's fully thede- Virtuoso of the compact. digital disc. clusiveyou'llProfessional be amorphous stunned. and Dolby Aiwa's combi- ListenFREQUENCYFIX ex- to the ADRESPONSE! -F990 and 20-21000Hz FLAT compromise...orfaithfullyfarperformancenationrecorded that head the reproduce programs A1)have parameters effort.-F990 extended digitally wit can so hrmt AIWA. aand uniqueF990 machine, presents "keyboard." the its Aiwa controlsTo That's Al) perfectly onA TRIUMPH integrate IN mail HUMAN ENGINEERING TimeshowsAutolector,Levelnew! Remaining So Tape Control,Auto all is our Selector,tapeI )emagnet DisplayAuto operation NRRecordDigital thatizing, De soundready"topdisplaymode:4, of our ofcassettefor andnewthe all future,alinefunctions. floury:went decks. of "digital Thetoday. The Aiwa Al) -F990: the SIMPLY ADVANCED AIWA AMERICA INC., 35 Oxford Drive, Moonachie, New Jersey 07074.IaCimilliu.Mao (Cessils)14141. Acoustic Research introduces three essentials for the ultimatesystem. 1 Our new line of nine different computer -designed speakers, ranging from the economical, space -saving AR8B bookshelf model to the awesome AR9Ls with its Dual DomeTM mid -high range driver and thunderous Bass Contour Chamber.
2 A new three-point suspension turntable whose predecessor was a legend among audiophiles ten years ago. So much of a legend we decided to bring it back in a totally updated version-re-designed from the dustcover on down. With your choice of universal tone arm mounting plat- form, or AR's own new medium mass straight arm.
3 Our new AR compact remote
control unit employing ultra- sophisticated microcircuitry. From wherever you sit or stand, you can control stereo balance and work a wide range of functions on your iamp for maximum convenience and ideal sonic performance.
Hear what you've been missing. leTELEDYIE ACOUSTIC RESEARCH 10 American Drive, N. AUDIO New Equipment Reports
"DIRECT" (ON/OFF)
- - _
AC POWER Tli MUTING (0/-20 DB)
- .0111114 I VOLUME
SPEAKERS (ON/OFF: A, B) M NITOR/SELECTOR: TUNER/ BEHIND DOOR HEADPHONE JACK BASS. PHONO/"DAD" (CD PLAYER)/ TREBLE, BASS TURNOVER, TREBLE TURNOVER; AUX/TAPE 1/TAPE 2 LOUDNESS ADJUST.; BALANCE ADJUST.; FILTERS ON/OFF: RECORDING SOURCE SELECT.: PHONO SENSITIVITY & LOADING SELECT.
Yamaha A-1000 integrated amplifier. Dimensions: 17 signal condition) at the midpoint of thelittle"-a kind of super Class AB. This by 5 inches (front panel), 151/4 Inches deep plus clearance for controls and connections. AC range so that the transistors are always con- increases the heat that must be dissipated convenience outlets: two switched (200 watts max. ducting no matter what the signal is up to.and, as the owner's manual points out total), one unswitched (200 wafts max.). Price: 5590. Warranty: "limited," two years parts and labor. The more efficient Class B circuits allow(though itsintelligibility here and else- Manufacturer: Nippon Gakki Co., Ltd., Japan; U.S. each transistor in a push-pull pair to remainwhere falls short of Yamaha's usual high distributor: Yamaha Electronics Corp., 6660 quiescent much of the time, conductingstandard), makes good ventilation impera- Orangethorpe Ave., Buena Park, Calif. 90620. only when presented with its half of thetive. Should this pose a problem, a front - RATED POWER 203/4 dBW (120 watts).channel waveform. panel switch gives you the option of cutting
OUTPUT AT CLIPPING (at 1 kHz; both channels driven) This avoids the major problem inher-back the bias point to a more conventional 8 -ohm load 22 dBW (160 watts):channel ent in high -power Class A amps: dissipating value for Class AB operation. 4 -ohm load 224/4 dBW (190 wattsychannel all the extra heat generated in the output Diversified Science Laboratories DYNAMIC POWER stage. But there's a catch. At the moment ofmade most of its measurements in the "auto 8 -ohm load 231/4 dBW turning on or off, the Class B transistorsClass A" mode. The distortion figures 4 -ohm load 24 dBW 2 -ohm load 213/4 dBW aren't in their linear operating range. And shown in our data column therefore theoret- the smaller the audio signal, the more timeically represent Class AB operation at rated DYNAMIC HEADROOM (re rated power, 8 -ohm load) +21/2 dB they spend outside it and the higher the dis-power and Class A at 0 dBW (1 watt). As tortion in the output. Class AB circuitry- you can see, they are exceedingly low at 0 HARMONIC DISTORTION (THD; 20 Hz to 20 kHz) which by far dominates audio-patches updBW, only very low at full power. When at 2041 dBW (120 watts t 0.026% at 0 dBW (1 watt) <0.01% Class B by raising the bias to turn on the the lab checked the distortion with the amp idling transistors just a little, so that thein the AB mode, it detected only marginal FREQUENCY RESPONSE +0, -1/4 dB, <10 Hz to 31.2 kHz; amplifier behaves like Class A for very increases, and in just a few of the figures. +0, -3 dB, <10 Hz to 126 kHz small signal values. It therefore isn't as effi-Those for 0 dBW remained below our 0.01 -
RIAA EQUALIZATION cient as Class B (though it's far more so percent reporting threshold-that is, so low fixed -coil phono +1/4, -0 dB, 20 Hz to 20 kHz; than A), and it doesn't achieve the ultralowas to be of absolutely no significance. -V4 dB at 5 Hz In listening, we likewise could discern moving -coil phono 1,3/4 dB, 20 Hz to 20 kHz; distortion of Class A (though it comes far -84/4 dB at 5 Hz closer than B). no unequivocal difference between the two Several companies have devised clev-operating modes, both sounding equally SENSITIVITY & NOISE (re 0 dBW; A -weighting) sensitivity SIN ratio er ways of building large quasi-Class Aexcellent. This observation also applies to aux input 13 mV 87 dB amps that vary the bias current according to theDIRECToption, which bypasses the tone - fixed -coil phono 0.21 mV 79 dB moving -coil phono 13 p.V 78 dB the signal level, thereby minimizing the control, loudness -compensation, and high - inefficiency associated with keeping the filter circuitry altogether for ultrapure lis- transistors operating constantly in their lin- tening. (The infrasonic filter, whose use the ear region. Yamaha has taken a somewhat manual recommends whenever you're different approach in the A-1000. With the playing LPs, remains active inDIRECT.) Class A option engaged, only the first 10 The infrasonic filter has very little watts of the output are pure Class A. When influence on the audible frequency range. the signal requires more output (which is Its response is down less than1 dB at 20 very seldom in most listening) the ampHz, and there is some rise (no more than automatically changes to Class AB opera- about 1/2 dB) in the very deep bass. Below tion. When the signal descends to lower the 15 -Hz inflection point, the filter's initial levels, the amp reverts to Class A. slope is about 14 dB per octave. It delivers In effect, Yamaha appears to be rais-effective warp -signalsuppression with ing the amplifier's bias point so that the fixed -coil phono cartridges (and high-level idling transistors conduct more than "just a sources) and adds substantially to the infra -
SEPTEMBER 1984 29 AUDIO New Equipment Reports PHONO OVERLOAD (1 -kHz clipping) sonic attenuation (almost 9 dB at 5 Hz) built there is a second, somewhat higher, capac- fixed -coil phono 165 mV moving -coil phono 10 mV into the moving -coil head amp. The high itance option; for high -output moving -coil filter has very little effect because its inflec- models, there is a setting that introduces no INPUT IMPEDANCE tion point is unusually far up (near 11 kHz) aux input 46k ohms additional gain but provides a load of about fixed -coil phono 47k ohms; 290 or 390 pF and its slope only moderate (initially. 8 dB 100 ohms; and for low -output moving - moving -coil phono 10k or 100 ohms per octave). It evidently is intended only to coils, there's approximately 25 dB more OUTPUT IMPEDANCE (to tape) take some of the edge off very high hiss, gain and two terminations-I00 and from aux input direct which it does. 10,000 (10k) ohms. Except for the shunt from phono inputs 450 ohms The tone controls have dual, switch - capacitances, which are marginally higher DAMPING FACTOR (at 50 Hz) 200 able inflection points, which are marked in than the ratings, these numbers are con- terms of the ±3 -dB points with the boost/ firmed exactly by the lab measurements. CHANNEL SEPARATION (at 1 kHz) 631/4 dB cut knobs at maximum rotation. The bass Yamaha preamps regularly have two HIGH FILTER -3 dB at 10.8 kHz; 12 dB/octave shelves at about ± 10 dB below 100 Hz in input selectors: one for the source to be INFRASONIC FILTER-3 dB at 15 Hz; 12 dB/octave its 500 -Hz setting and below 20 Hz in its monitored and another for the recording 125 -Hz setting. The treble appears to shelve source. This arrangement enables you to in the ultrasonic region; in the 2.5 -kHz listen to one while you dub another. One position, it just reaches ± 10 dB at 20 kHz, difference, however, is that the A -1000's while it manages only about ±7 dB at that taping switch has no off position to prevent frequency in the 8 -kHz setting. The calibra- a recorder that's not in use from loading tion of the knobs (-5 to +5) refers to theirdown the circuit, even though the tape out- clickstops, each of which represents rough- put is unbuffered. Most recorders won't ly 2 dB of additional boost or cut within thepose any problem in this respect, but the shelving portions of the various curves-omission is surprising in so perfectionist a behavior that is somewhat more symmetri-product. The switch does make possible Tonearm/Cartridge cal and predictable than usual. dubbing in either direction between the two Matching Graph The loudness compensation is quite decks for which switching is provided. And RESONANCE FREQUENCYIN NI out of the ordinary. It has its own knob, so it among the source options are both aux and can be "calibrated" to your room, listening "DAD" (the latter specifically for a Com- lih.1116. h. .'8 habits, and speakers. With it set to "flat," pact Disc player), so you have somewhere 25 'DEB SR Ainionseil you advance the VOLUME until you have full to plug in the audio from a videodisc or 20____glint.___ INIT 1111111.1113Tommi..44.444 ma az moar am =Om In TEmomio,. Imoo listening level. For reduced levels without Hi-Fi VCR-or an audio -video switch- 4.41111SIMIENMMINEMIEINSOMIS 1141111141041411441, IMIRMNI114411111111011EIML MM. 4 01111104,411Ams a 1511444114444114111.144011144411011116,41. 1111114ININIMI TN compensation, you lower the VOLUME once box-without unplugging something else. INIMISIMENINIIIIMIIIIIILIBLIIII124114 ,0141filit: 11111111MMEN1111111111011011111 again; for compensation, you use the LOUD- 2 111111111111111111MINUM111111/0110111 'Uri Yamaha says that the "less used" con- 111111111111111111111.111111111111111111111M WM 'MOM NESS, which attenuates the midrange more 01111111111M1111111111111111111110110121111 1011 iii trols normally are hidden behind the flip - IIIIIIIIIIIIIIIIIIIIIIIIIIIIOINIIILII. MON than the extremes, following a complex for- 1111011111012111111111111111111111121.1131 NOM down door along the lower portion of the I MISPINIMIMMIMIMilitila\ Nilq mula. Over the first five or so of its ten front panel. Perhaps Yamaha's segregation MMINIMMOOMiiiiiihNi.40. 1 Ns ai 111111111M1111 11110111M ' attenuation settings, maximum cutisat criteria are reasonable, but some of the hid- MEM MIN HH ' 'ft G MU IS 20 0 40 SO around 500 Hz; as you rotate the knob far- den controls are not unimportant, and we TOTAL E FECTIVE MASS IN GRAMS ther from "flat," the maximum attenuation wish they were more easily visible. The By means of this nomograph, you can quickly and easily shifts to about I kHz and amounts to almost tiny lettering in gray against a black back- determine the compatibility of any cartridge and tonearm we have tested. Ideally, the arm cartridge resonance fre- 22 dB for the ultimate setting (10). Mean- ground might require squinting even if it quency (indicated by the diagonal lines) should fall at 10 while, attenuation in the extreme bass has weren't recessed into the panel-which Hz. but anywhere between 8 and 12 Hz will assure good warp tracking and accurate bass response. (It is usually been inching upward-by a total of only 6 also prevents reading of some lettering alto- okay to let the resonance rise as high as 15 Hz, although dB at maximum: The highs above 15 kHz gether unless you have the amp at some- we don't normally recommend this.) are cut by similarly tiny steps at first, then Begin by looking up the weight and dynamic com- thing approaching eye level. The functions pliance shown in the cartridge report and the effective drop down 3 dB for each of the last twoof the controls ("bass." "balance," and so mass listed in the turntable or tonearm report. Add the clickstops, yielding a total maximum atten- on) are marked along the inner surface of weight of the cartridge to the effective mass of the tone - arm to get the total effective mass. Then find the point on uation of about 13 dB. the door, however, and are thus visible the graph where the vertical line for the total effective Viewed with respect toIkHz, thisfrom above. And as you learn your way mass intersects the horizontal line for the cartridge's dy- namic compliance. For a good match, this point should amounts to whopping boosts of 15 dB in the around the A-1000, you have decreasing fall in the white region, between the 8- and 12 -Hz diago- extreme bass and almost 10 dB in theneed of the fine print. nal lines. extreme treble for the lowest setting of the When necessary, you can back -figure compliances For a "Class A" amplifier of any and effective masses for cartridges and tonearms tested LOUDNESS. Particularly in light of current description, the power figures are impres- before we began reporting these figures directly (in Janu- research, which suggests that no treble sive. The luxurious dynamic headroom (21/2 ary 1983). For cartridges, look up the vertical resonance frequency (measured in the SME 3009 Series II Improved boost whatever is in order, this looks down- dB) means that the equivalent of more than tonearm) and the cartridge's weight. Add 15 grams (the right gross on paper. We were startled to 200 watts per channel is available on music. SME's effective mass) to the cartridge weight to get the total effective mass. Then find the intersection of the ver- discover, therefore, that the aural effect is Output is somewhat less into 2 -ohm loads, tical line representing that mass with the diagonal line unusually convincing. Why this should be, but not by enough to pose difficulty in driv- representing the measured resonance frequency. Now we're not sure; perhaps Yamaha has done you can read off the compliance from the horizontal line ing simultaneously the two speaker pairs for passing through the point of intersection. some psychoacoustic homework of whichwhich there is parallel switching. Indeed, in For tonearms, look up the vertical resonance fre- the conventional wisdom is as yet unin- this respect the Yamaha is distinctly better quency as measured with the Shure V-15 Type III car- tridge. Find the intersection of the diagonal line for that formed. than average. frequency with the horizontal line representing the Also distinctive (though quite similar We are heartily impressed by the A- Shure's dynamic compliance of 22.5 x 10-6 cm/dyne. Reading down the vertical line on which the point of inter- to that of the C-70) is the phono-input set- 1000-as we have been by many of Yama- section lies will give you the total effective mass of the up. Phono 2 is just for fixed -coil (moving - ha's essaysinvery high-performance arm with the Shure V-15 Type III mounted in it. Then magnet and moving -iron) pickups that need subtract 6.3 grams (the weight of the V-15 Type III) to get audio. And we think it an excellent value, the tonearm's effective mass. to be loaded by 47 kilohms and about 230 as well, considering the quantity and qual- Because of differences in measurement tech- picofarads. Phono 1 (on which the measure- ity of the sound it makes available and the niques. manufacturers' specifications for compliance and effective mass often differ from our findings and may ments shown in the data column wereflexibility and attention to detail with which therefore yield inconsistent results if used with this graph. made) is adjustable. For fixed -coil pickups, it does so.
30 HIGH FIDELITY MOST PEOPLE WOULD CALL IT OVERKILL.
The new ULTRX'" R100 receiver of noise in CD digital recordings. isn't for everybody. With the dbx, any cassette deck You don't really need 100 watts can make virtually noise -free re- per channel* of virtually distortion -cordings, while the DNR "cleans less power. Unless you like listen- up" existing noisy signals. ing to today's ultra -high quality Unless you're a nut abort video recordings at "live concert" sound sound quality, too, you won't have levels. much use for the TV/VCR inputs And a remote -controlled digital and stereo synthesizer circ-Jit. tuner with 20 -station memory is The R100 is packed with features probably more than enough-un- that are best appreciated by an less you're a dedicated FM listener audio perfectionist. It may be the with wide-ranging tastes. best -equipped receiver ever built. Likewise, most people could get Get an ULTRX dealer to put an along without the built-in dbx and R100 (or one of our other new re- DNR noise reduction systems. ceivers) through its paces for you. Except those few who've become Some people might call :t over- spoiled by the almost eerie absencekill. But you'll call it overwhelming.
arrikonorammooto
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Beyond the Ordinary.
'Minimum Contiiuous Average Power per channel, both channels driven into 8 (Alms, from 20-20,000Hz, with no more than 0.009'4 Total Harmonic Distortion. 01984 ULTRX dbx is a trademark of dbx, Inc. 4
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MORE THAN 200 HOT NEW AUDIO AND VIDEO COMPONENTS FROM THE SUMMER CONSUMER ELECTRONICS SHOW
DOBBIN MEYER
"A couple of years ago I read that most people own at least six or seven cassette tape trans- ports-an absurdly high number, until you count the phone answerer, car deck, home recorder, headphone -based portable, and so on. After this SCES, I'm covinced that people will soon own an even larger number of microprocessors-but they won't be aware of them. The era of the 'smart' component is upon us, with microprocessors cropping up in almost every electronic en- tertainment product. Perhaps that's the real direction of the home computer revolution: appli- ances with the 'brains' to get the job done."
Peter Dobbin, Electronics Features Editor
"The current wave of audio -video receivers may look as antediluvian in five years as the first, tubed stereo models do today. Then, as now, the first consideration was simulcast reception-independent AM and FM tuners with switching to feed each to its own channel. But until the dust starts to settle, the destiny of network and direct -broadcast stereo TVand the equipment to receive it remain cloudy."
Robert Long, Consulting Technical Editor
"The expansion of the audio business into new places in our lives-the car, the jogging track, the TV room-has until recently entailed the sacrifice of sound quality for convenience and small size. The Compact Disc broke this pattern. And now, as experienced audio designers tackle these new markets, even the smallest speakers are sounding good."
E. Brad Meyer, Recording Engineer and Consultant
33 ELECTRONICS somewhat lesselaborate5- X1100 ($800) is rated at 100 watts. Sansui is also selling the IT WAS ONLYABOUT four years 55 -watt S -X1070 ($380), with ago that the first microproces- decoding for all four stereo AM sor -equipped audio receiver ap- systems. peared. Poorly accepted at the Onkyo's TX -85($620, time, its manufacturer (Eumigrated at 80 watts per side) and TX -65 ($485, 60 watts) are the first receivers in the company's Integra Series of "affordable Akai AA -A35 receiver high -end components." Both include Automatic Precision Reception (APR), which con- trolskey tuning parameters: high blend, RF sensitivity, se- lectivity, reception mode, and DNR (dynamic noise reduc- tion). The TX -85 has built-in DBX encode/decode circuits Sansui S -X1100 receiver that enables you to play DBX- of Germany) eventually retired encoded discs and that converts it and a similarly equipped cas- any recorder attached to the sette deck. In retrospect, one tape jacks into a DBX model. might say that Eumig (which Perhaps the most thorough has since abandoned the con-audio -video receiver an- sumer audio business entirely) nounced at the show isthe was a couple of years ahead of Technics SA -850, which incor- Yamaha R -90B receiver itstime,for the number ofporates a VHF TV tuner with receivers displayed at the Sum-built-in multichannel TV audio Slope Control, which automati- mer Consumer Electronics decoding. Its Computer Drive cally adjusts the receiver as sig- Show that depend on micropro- New Class A power circuitry is nalstrengthvaries.The R- cessors for their convenience rated at 100 watts per channel. X350VB ($370) and R -X350 features and basic functions is The SA -850 shares "stereop- ($330) are 55 -watt units with staggering. lex"stereosimulation forfive -band equalizers; the VB Onkyo's TX 85 receiver Surprisingly absent from mono TV soundtracks with two model adds three video inputs represents a continuingeven the top models of manyother receivers, the $450 SA -and switchingtoreceive or trend in audio electronics. A linesare separate CD -player 550 (rated at 70 watts) and therecord simulcasts in stereo. inputs, separate TV audio in- $320 SA -350 (40 watts), each Marantz'sflagship, "smart" component, it uses the puts (for videodisc players or with a mono VHF -TV tuner and $640 SR -940, is rated at 100 a microprocessor to assessHi-Fi VCRs), and stereo AM a New Class A power amp. watts per channel and has built- FM signal conditions and todecoders. Manufacturers, it ap- (Multiplex TV decodersfor in decoding for Motorola -for- modify tuning parameters pears, are waiting for consumer these models are available asmat stereo AM broadcasts.It demand to grow before building options.) The SA -150 ($180, and the $500 SR -840 (70 watts) for best reception. And, in such "extras" into their prod- 25 watts, with digital tuning) come with wireless remote con- addition to offering justucts. On the other hand, a few and the mechanically tuned SA - trols and include eight presets about every "standard" companies are jumping into au- 120 ($160, 35 watts) are audio - per tuning band;thelatter dio -video equipment with both only units. achieves stereo -AM decoding receiver feature, it has feet. The two top receivers from with an optional plug-in mod- built-in DBX circuitry that Sansui's blockbusters, for JVC have SEA equalizer cir- ule. enables you to make and instance, are two receivers that cuitry based on the digital sig- Akai offers what it calls incorporate the company's new nal -processing and memory ca- "direct access" volume con- decode DBX recordings as X -Balanced DC amplifier cir- pabilities of the separate SEA - trols in three models: AA -A45 well as play DBX discs. cuitry and include provision forM9 equalizer. (For details on($450, rated at 65 watts per stereo AM and TV audio as well the SEA -M9, see "Signal Pro- channel), AA -A35 ($350, 48 as conventional audio sources. cessors," page 37.) Both the R- watts), and AA -A25 ($260, 32 The S -X1130 ($950), rated at X500B ($650, 100 watts perwatts). The system is touch - 130 watts per channel, has pre-channel) and the R -X400 sensitive, switching directly to sets for eight radio stations on ($500, 70 watts) include seven - the appropriate volume level, each band, an FM IF -band- band versions with five memo- and incorporates a maximum - width selector, a built-in mov- ries,inverse -response switch- level memory thatprevents ing -coil head amp, and line/ ing, and multiband signal -anal- turning it higher than the preset mike mixing-this last, in part, ysis metering. Both also incor- volume. to fill out an extensive array of porate presets for 15 stations on Adding to its "01" line of video dubbing facilities. The each tuning band and Quieting "computer -based" compo-
34 HIGH FIDELITY nents, SAE has introduced the healthy complement of standardters and controls enable you to New Class A circuitry and a R-102 ($500) receiver, rated at preamp features (including tone adjust input impedance to the specialcircuitthatTechnics 50 watts per side.It has two controls, tape dubbing facili- exact requirements of the pick-says ensures flat frequency re- tone -control memories and al- ties, and fixed- and moving -coil up.Itwill come with a test sponse into even demanding phanumeric readoutsforall phono inputs), plus a subwoof- record and should cost aboutlow -impedance loads. Last in functions. NAD checks in with er output. Kenwood has ex- $250. our discussion of integrated three new models: the 55 -watt panded its Basic Series preamp According to reports from amps, but certainly standouts in 7155, 40 -watt 7140, and 25 - line with the C-2 ($295). The several manufacturers, integrat- features and performance, are watt 7125, each rated for 3 dB new model is designed to match ed amplifiers are getting moreJVC's three new units: the A- of dynamic headroom and fitted the rest of the Basic Series in popular inthe U.S. market, X900B ($550, 120 watts), the with an impedance switch to appearance and offers a full raft where receivers have tradition- A-X500VB with TV audio in- help you make the most of your of control functions. ally dominated.Interestingly, puts and switching ($500, 100 speakers. Hitachi's entries are Yamaha applies its Zero the shift in preference seems to watts), and the A -X400 ($300, the 60 -watt HTA-6F ($470) and DistortionRulecircuitryto have little to do with increased 70 watts). 40 -watt HTA-4F ($340), both three new preamps. The C-80 flexibility or performance: rath- It's amazing how often Bob with ten presets per band. ($750)isitstop -of -the -line er, say manufacturers, the high Carver steals the show ata Protonisofferingthe model and comes equipped visibility of one -brand rack sys- CES. His hastily called press Model 930 ($360), a 30 -watt with a two -band parametrictems (the majority of which receiver said to be stable with equalizer, normal and inverting contain an integrated amp and 2 -ohm loads and provided with outputs, and a low -noise mov- separate tuner)is raising the memory for five stations on ing -coil input stage. The less "component consciousness" of each band and a moving -coil costly C-60 ($500) omits thea huge segment of the market. phono-input option. And Sa- parametric equalizer and invert- Be that as it may, if you are nyo's new premium Ultrx line ing outputs, butis otherwise shopping for an integrated amp consists of five models, headed similar in design and perfor- this year, you'll have lots to by the R-100 ($550), which is mance. Even less expensive is choose from. Yamaha C-40 primosp rated at 100 watts. It has DBX the C-40 ($350), a unit intended On1cyo's Integra Series of encode/decode noise reduction for the first-time audio sepa- "affordable high -end" compo- circuitry and a stereo synthesiz- rates buyer. Kyocera's C-910 nents is joined by the 100 -watt er for mono TV, plus a moving - ($1,200)reflectstheparent A-8019 ($495). Sansui seems coil head amp. company's long history as a very intent this year on gaining Robert Leag manufacturer of fine industrial more visibility in high -end elec- Kenwood C-2 preen" ceramics. A ceramic compound tronics. Its AU-G99X integrat- Amplifiers resin base, a cutless-core ce- ed amp pumps out a heady 160 ramic power transformer, and a watts and contains an imped- fullcomplement of controls ance -matching step-uptrans- PREAMPS AND OTHER high -end make the new Kyocera unit aformer for moving -coil pick- audio separates are usually the truly unique item. ups.Unusualforamplifiers province of smallspecialty The original Apt/Holman thesedays,the AU-G99X companies, but at this SCES it preamp and power amp set new ($800) and the less expensive Kyocera A-910 integrated was the large, mainline compa- benchmarks in audio design,AU-G77X ($500, 110 watts) butfinancial have back -panel switching that conferences have editors dash- problems forcedenables you to match them to ing off to crowded hotel suites the company toeither8-or 4 -ohm speaket to see the fruits of his fecund haltproduction loads.Sony has broughtits imagination. This time it's a of these fine audio signal processor (ASP) 180 -watt power amp measuring products and the concept to a new line of fairly less than 4 inches wide by 41/2 more recently inexpensiveintegrated amps. inches deep and weighing only introduced Apt 2 The ASP, which contains cir- 21/2 pounds. Carver says the preamp. Wayne cuitry for microprocessor con- "Cubelet" actually will pump Friedrichs, trol of all preamp and switching out 250 watts per side into 2 - Apt's new presi- functions, including tone -con- ohm loads, but don't run down Luxman M-05 power amp: Class A dent,told me trol memory and LCD display to your local hi-fi store just yet: and more than 100 watts per side thatproduction functions, is responsible for the It's still just a prototype and will on the entire line sleek, knobless faceplates ofeventually wind up as the pow- nies that generated most of the had started up again and dem- the TA-AX360 ($210, 50 er -amp section in a new receiv- action.Luxman's C-05onstrated a prototype phono- watts) and the TA-AX410 er. ($1,800) is about as purist asonly preamp that he plans to($290, 50 watts, plus optional Also extraordinary (though you can get, handcrafted withintroduce shortly. Intended for remote). presented with a lot less razzle- oxygen -free copper wiring people who are displeased with Two new integrated ampsdazzle)isLuxman's M-05 throughout and relatively de- the phono sections of their make their debut from Technics (built to complement the C-05 void of convenience features. Ifreceivers or integrated amps, this year. Both the 65 -watt SU- preamp mentioned earlier).If you need a bit more control the device delivers a line -level V4X ($300) and the 100 -watt you think it's easy to build a flexibility, Luxman also sells signal to an unused set of aux SU-V6X ($390) containthe Class A power amp capable of the CX- 100 ($500).It has a inputs. Built-in calibration me- company's Computer Driveproducing 105 watts per chan-
SEPTEMBER1984 35 nel, then you also might think that the $2,800 price is exces- sive. A bit much in our view THE LOGIC OF POWER would be to run a pair of these amps in a bridged mode, but Luxman says it can be done, for Receiver and amplifier manufacturers continue to rate (and price) their productson the basis of a power output of 300 watts per power output, expressed in watts. Though there is nothing inherently wrong about this (such side. Sansui's contribution to ratings are mandated by the Federal Trade Com- basic power amps this season is mission), HF believes that a more useful measure the B-2101. Said to embody WATTS dBW WATTS dBW everything the company knows of power is the dBW (decibel-watt)-a unit based 1.00 0 32 15 about amplifier technology, this on a logarithmic scale, with 0 dBW equaling 1 1.25 1 40 16 behemoth is rated at 200 watts 1.6 2 50 17 watt. Keep in mind that a 10 -dB increase in loud- and seems rather modestly 2.0 3 63 18 priced at $800. Yamaha has ness is heard as a doubling of volume; a 1 -dB 2.5 4 80 19 3.2 extended the reach of its power - change in loudness is about the smallest percep- 5 100 20 amp line with three new units- 4.0 6 125 21 the M-80 ($950, 250 watts), the tible increment. Thus, choosing a 125 -watt amp 5.0 7 160 22 M-60 ($650, 160 watts), and instead of a 100 -wafter simply on the basis of the 6.3 8 200 23 8.0 the M-40 ($400, 120 watts). 9 250 24 former's higher power ratingiswasteful: A 10.0 10 320 25 Each uses Yamaha's Zero Dis- glance at this conversion table will tell you that 12.5 11 400 26 tortion Rule design and Auto 16 12 500 27 Class A circuits. Technics's lat- you'd be netting a mere 1 dB of additional loud- 20 13 630 28 est brute is the SE -A5 Mk. 2 ness from your speakers. 25 14 800 29 ($800). Rated at 150 watts per side, it has separate power sup- pliesfor each channel, two the circuit at the factory finally maha's T-80 ($400),which pairs of switchable speaker ter- forced NAD and Proton (two contains a fine-tuning circuit minals, and power meters. Schotz licensees) to abandon it. that lets you do what other fre- Peter Debbie Instead, the tireless Mr. S has quency -sy nthesis models come up with a dynamic high - don't-deliberately mistune in Tuners blend circuit that responds not 0.01 -MHz steps to help elimi- just to the signal strength, but Harman Kardon TU-910 nate certain types of interfer- also to the modulation level of ence. Harman Kardon has two THE CONTINUING improvements the broadcast. Thus, with the new slim -line tuners, the TU- in tuner design still surprise me. new Dynamic Separation cir- 915 with digital readout for A few years ago, it seemed that cuit, NAD's Model 4155 $365 and the TU-910 with an tuners had reached a plateau of ($350) and Proton's Model 440 analog tuning scale for $235. sorts; frequency -synthesis cir- ($270) tunersshould reduce Onkyo's 1-9090 tuner takes cuits, adjustable IF bandwidth, noise (and stereo separation) Yamaha T-80 pride of place in the Integra and high -blendcircuitsthat only during quiet musical pas- series. The $600 unit has an could rescue noisy stereo recep- sages and pauses between se- automatic reception system that lections-the analyzes an incoming signal places where and adjusts the tuner to the noiseismost appropriate settings for five re- bothersome. NC T -X90011 ception parameters: local/DX, Less"intelli- IF bandwidth, FM feedback gent" dynamic level, stereo/mono, and high blend circuits blend. JVC's T-X900B ($350) simply "mon- A high -blend noise reducer that "lis- also offers computer control of oize" the highMI= several tuning characteristics. tens" in NAD's 4155 AM/ FM tuner frequencies of Proton 440 Luxman's T-240 ($230) differs any broadcast from most AM/FM units with tion by reducing the "stereo- that comes in at less than a pre- companies that lack the facili- memory presets, allocating 16 ness" of the signal were the set signal strength. ties to design their own tuners. memory locations for FM fre- state of the art. Then came Bob I'm also looking forward(By the way, if you're in aquencies and eight for AM. Carver's novel signal -process- to the first consumer incarna- weak -signalarea and you're Sansui's TU-D99X ($350) uses ing approach that"recon- tion of a tuner subassembly looking for an RF amplifier, I a newly designed digital decod- structed"thesignal,cutting designed by Magnum Electron- heartily recommend Magnum's er that is said to make it audibly noise while preserving the am- ics of Canada. Built to extraor- new FM Power Sleuth. In New superior in weak -signal areas. bience of stereo. dinarily high standards (prelim- York City, the extra 70 dB ofAnd Technics continuesto Larry Schotz's interesting'inary specs give it an alternate - selectivity I get with it makes a broaden its offerings with two sensitivity -enhancing circuit channel selectivity of 70 dB), big difference.) new tuners-the $400 ST -G7 also shook things up for a Magnum is offering it to a num- Other tuners that look in- and the $220 ST -G5. while, but problems in aligning ber of American electronics teresting this year include Ya- Peter Debbie
36 HIGHFIDELITY Signal Processors ± 12 dB. JVC's more conven- is the VQ-130 ($270) from Vec- microphone jack are provided. tional ten -band SEA -66 ($300) tor Research, which also offers Duplicate VCR B jacks on the also has a built-in pink -noise the ten -band VQ-110 at $110. front panel simplify temporary JVCSTANDS OUT among signal - generator and supports three Yamaha's GE -3 ($150) controls connections. You can adjust processor manufacturersthis tape decks with dubbing (theten octave bands per channel processing to control sharpness, year forits$1,200 graphic SEA -M9 accepts two). and incorporates tape monitor-detail, hue, and "solarization" equalizer. The SEA -M9 uses a AudioSource hasim- ing and equalization. (edge emphasis with reduced National Semiconductor digital proved a popular model, now The complexity of the on- detail within picture areas). Pic- called the EQ- going courtship between audioture and sound can be faded in One SeriesII and video makes computer (oror out or crossfaded with verti- ($430).Ithas computerlike) control of multi-cal or horizontal wipes. Fur- ten octave -band ple functions and processingsthermore, stereo can be synthe- controlsper particularlyattractive. Mean-sized from mono audio, and channel and in-while, there's the Sansui AV - DBX noise reduction can be eludes a built-in 77 ($350), which offers several applied to audio for recording. pink -noise gen- kinds of switchers and proces- Whew! erator and a cali- sors in a single unit. It enables DBX, too, is entering the bration micro-you to dub in either direction video field with three TV -sound JVC SEA -M9 equalizer: spectral phone for use as between two VCRs or to tapeprocessors, each designed to a real-time ana- from a videodisc or camera, forsell for about $150. The SX-10 analysis and automatic contouring lyzer. A similar which a ten -pin connector and Dynamics Enhancer is an ex- equalizer, with- pander that addresses the whole processor chip and otters12 out mike or generator, is avail- dynamic range-making cre- control bands per channel.It able as the EQ-Seven ($250), scendos louder and pianissimos stores five sets of equalizationwith dual inputs and an equal- softer. The SX-20 Impact Re- data and, at the touch of a but-ized -recording option. The storer expands attacks to refresh ton, generates the reciprocal ofRTA-One ($200) drops the oth- the punch squeezed out by any curve it is set for. Used with er shoe, so to speak, by supply- broadcast limiters, and the SX- Akai EA -A7 its built-in pink -noise genera- ing a real-time analyzer compa- 30 adds dynamic boost at low tor, the SEA -M9 gives you real- rable to that of the EQ-One but frequencies. time spectrum analysis(forin a battery -portable package The company's regular au- which two decay times andthat contains a mike; optional dio line has a number of new freeze -display are available). It accessories include the PNG- products aswell. The DBX will display the inherentre- One pink -noise generatorNNW120X Subharmonic Synthesizer sponse of a tape deck or (with ($45),the RTA-One remote AudioSource EQ-One/ II ($250) includes a built-in cross- the supplied calibration micro- mike ($25), and an AC adapter over and level control for a sub - phone) a room, which can then ($13). woofer and is said to restore an be corrected by equalization The ten -band Pioneer SG - octave in the deep bass that is with the reciprocal of the mea- 50M ($260) includes a pink - normally sacrificed by record- sured curve. The control range noise generator, a mike, and a ing processes. Updating previ- in each band is divided into 25 real-time analyzer. Similar in 1111111111 ous dynamic -range expanders, steps,which can be spreaddescription, though with sepa- theI BX Series III ($230) and across a range of either ±6 orrate controls for each channel, Pioneer SG -50M 3BX Series III ($600) both offer impact restoration on tran- sients. For simultaneous DBX encoding and decoding plus CD PLAYERS SORTING OUT THE RICHES disc decoding, there's the rack - mount 224X ($250). (Though The Technics SL -P15 (pictured here and on the not strictly signal processors, two new DBX Program -Route cover) was the most novel Compact Disc player Selectors are available for re- introduced at the SCES. A CD "record changer," cordists who have multiple pro- the 51,500 device can handle 50 discs with a cessors: the 200X ($130) and degree of programmability that puts analog the 400X ($230). jukeboxes to shame. Though the SL -P15 was Technics, whose audio - video receivers are documented the only CD changer on display, there was no elsewhere, has introduced an lack of intriguing new models to marvel at. In outboard stereo TV decoder, fact, so diverse is the new crop of players that the SH-4090. Compatible with we decided toforgo a mere cursory description of them in favor of a full buying guide that will the Technics AV receivers or appear in these pages next month. Organized by price and features, our analysis of the bur- with TV receivers or tuners having pin -jack multiplex out- geoning CD player market should prove an invaluable shopping companion. puts, it is fitted with tape -mon- itor jacks. Robert Long
37 TAPE EQUIPMENT seems to be supplanting manual416C ($270), with Dolby C. selectors, except in models oc-The same four noise -reduction cupying the two priceex- combinations are represented in THE BYWORD INcassette record- tremes-budget units and per-the Standard Series, which ers this year is features-user fectionist decks (in which auto- ranges from the V -530X ($350) conveniences that simplify ev- matic selectionis sometimes to the V-330 ($200). There are erything from finding a musical accompanied by a manual over- two quick -reverse models in selection to calibrating a deck ride to accommodate thein- Teac's Audio SpecialistSe- creasingly rarecassettesthat ries-the R -999X ($530), with don't have the appropriate key-dual direct -drive motors, and ways). the R -777X ($395).Joining Dual -transport dubbingthem are two consumer open - decks continuetomultiply. reel models. Both the X-2000 High-speed (usually33/4-ips) ($850), with closed -loop dual - duplication is fairly established, capstan drive, and the bidirec- though a few companies aretional X -2000R ($900) are going for thebetterperfor- equipped with DBX I (the pro- mance of real-time dubbing. fessional version, and therefore Performance has also become a lacking disc decoding) as their hot topic with the bidirectional only noise reduction system and decks. Manufacturers seem in-with random-access and repeat creasingly concerned with functions. mechanisms that assure correct Tandberg, whichisex- (and therefore consistent) headpected to announce a profes- azimuth in both directions ofsional open -reel model this fall, for a specific tape. Most decks, tape travel and with how quick- is offering two professional ver- for example, now have some ly they turn the tape around (de- sions of the TCD-3014 cassette sort ofSEEKfunction and a termining both how much mu-deck (see test report, August). RECORDING MUTEto lay down sic you'll lose in recording and Among other things, both have the necessary blank interval. how big a pause you'll experi- ultra -accuratetime indexing You'll also discover that many ence in playback). The termand an optional serial comput- high -end models, particularly "quick reverse" usually speci- er -interface port for use in auto- bidirectional ones, are equipped fies that the deck senses the mated radio stations. The TCD- withBLANK SKIP(handy for leader at the end of the cassette 910 is the recording deck; the going from the end of Side 1 to and changes direction while the TCD-911 isits playback -only The Marantz PMD-430 is a the beginning of Side 2 no mat- heads are still in contact with ter how the tape is laid out) or the magnetic pigment. standout in cassette decks BLANK CUE(to facilitate adding Akai, hands down the this year. A battery -opera-more material to a partially most consistent innovator in the ble portable, it gives you recorded tape).MEMORY RE- fieldof automatic -reverse three -head monitoring, WINDand evenMEMORYPLAY decks, is adding three cassette appear on all models in some models with quick reverse in DBX and Dolby B, plus a lines, though you may not find both recording and playback, Akai GX-R66 three -position mike atten-them inrock -bottom budget all with Dolby C. The GX-R66 uator control. Line -level in- decks. And REPEAT is only a lit- ($420) offers DBX noise reduc- tle less commonplace. tion and Super GX twin -field puts and outputs can make Dolby B noise reduction glass -and -crystal -ferrite heads, it part of your home systemappears in every deck that har- plus a host of convenience fea- as well. bors any pretense to high fidel- tures.The simpler GX-R55 ity status, and is assumed in all ($360) shares the Super GX Profess 720 the product descriptionsthat heads, while the HX-44 ($300) follow. The majority of models uses a high -density permalloy also include Dolby C, and a head material. For the budget - growing number (usuallyat minded, there are the unidirec- fairly high prices) have DBX tional HX-A2 ($160), also with instead of or in addition to Dol- Dolby C, and the HX-A1 JVC VR9 by C. Before the Summer Con- ($140). sumer Electronics Show,I Teac has two new unidi- counterpart. would have bet on the Dolby rectional lines. The Proprietary Sony's top two introduc- HX Pro headroom -extension Series ranges from the V -518X tions-the. unidirectional TC- system as a hot featurefor ($340), with Dolby C and DBX FX705 ($360) and quick - 1985, but it has attracted just a noise reduction, to the V-316reverse TC-FX7O7R ($430)- few adherents. Automatic tape - ($235), with Dolby B only. In include an audio signal proces- type selection (using the key-between arethe V -5 15Xsor with automatic attenuator waysinthecassetteshell) ($307), with DBX, and the V - and a level monitor that sets and
38 HIGH FIDELITY CONCORD. THE DIFFERENCE IS WORTH THE DIFFERENCE.
Despite the fact that the The result? Superior speed you can get in a car stereo without Concord HPL-532 is ingeniously accuracy, lower wow and Putter, add-on amplifiers. designed to fit everybody's car, and over double the motor life. it's definitely not for everybody. OTHER IMPORTANT As Stereo Review said, Concord AMORPHOUS CORE TAPE HEAD DIFFERENCES "... is truly an audiophile's car stereo!" We've also engineered a new With its exclusive signal makes it so different? match -phased processor circuitry the HPL-532 amorphous core will easily handle anything you 4 -GANG FM TUNER tape head design, wart to plug into it. which means a L ke Concord's Dolby* C. For extraordinarily clear FM revolutionary Or dbx** adaptors. reception, the Concord HPL-532 improvement in Even imagers or equalizers. has an exclusive 4 -gang digital tape frequency And with lighted switches and tuner that provides exceptional response out to 20,000 Hz. function indicators the Concord station sensitivity & selectivity. It's an improvement you'll have HPL-532 is as easy to play at night And to make selecting your to hear to believe. as it is to play in the daytime. favorite stations even easier it has And because of its front load a 10 -station preset memory. TWO WAY/FOUR WAY AMPLIFIERS mechanism, it's even easier to load. But, as Concord's 22 years of All things considered the innovative stereo design would And wait until you hear the Concord HPL-532 is an extra- lead you to expect, that is only authentic high fidelity sound ordinary car stereo. the beginning. reproduction of the HPL-532. It Of course at around $600 it's delivers an impressive 12 watts per not inexpensive. channel into 4 ohms 30-20,000 Hz DC SERVO DRIVE MOTOR But when you add up all its with less than 0.8% THD. features you might say this. We've designed an exclusive In addition, it can deliver 5 watts The difference is worth the electronically controlled DC servo per channel into each speaker of difference. tape transport drive. a four speaker system, because of *Dolby is the registered trademark of Dolby Labs. an ingenious two way/four way "dbx is the registered trademark of dbx. configuration and a front/rear low level fader. All in all it's the greatest full CONCORD bandwidth power at low distortion Anything else is a compromise. CONCORD. A PENRIL COMPANY. 6025 Yolanda Avenue, Tarzana, California 91356 (818) 344-9335
SPECIFICATIONS: Tuner Section Sensitivity: 30dB Quieting 1.0 Microvolts 11.2dBf, Stereo separation: min. 35dB, Frequency responses: ± 2dB, 30-16,000 Hz Tape Section Frequency response: -±-2dB, Standard tape: 30-15,000 Hz, Metal tape: 30-20,000 Hz, Wow & flutter: 0.08% WRMS Amplifier Section Maximum power: 25 watts/ch, Two-way power: 12 watts min. RMS per channel into 4 ohms, 30-20,000 Hz with 0.8 THD max, Four-way power: 5 watts min. RMS per channel into 4 ohms, 30-20,000 Hz with 0.8 THD max ®Concord Systems. Inc. displays the recording level in new JVC line. to sport large VU meters. built-infive -band recording/ 1 -dB steps. The Sony decks are A feature I hadn't encoun- Marantz builds allthree playback equalizer. The auto- also equipped with Dolby C and tered before is "car equaliza- noise -reduction options into its matic -reverse VCX-450 ($330) a memory system that will store tion," designed to optimize the top model, the automatic - and the VCX-250 ($190) com- two sets of data on five param- bass response of recordings for reverse SD -440 ($330). The plete the line, which offers Dol- eters for each of four tape types. car acoustics.It'sbuiltinto DS -340 ($280) also is bidirec-by C throughout. Rotel is back, Both Dolby circuits appear as Yamaha's K-600 ($380), along tional but omits DBX, as does with the RD -860 ($300) and well in the undirectional TC- withbidirectionalrecording, the SD -242 ($190). A budget RD -850 ($200)-both with F3 I 0 ($190) and in two moder- the same sendust head used inunit, the SD -142, costs $130. I Dolby C. Sanyo's new premi- ate -pricebidirectionaldecks: the company's top decks, andwas most intrigued, however, um line,Ultrx(yes,that's the $280 TC-FX510R, with aDolby C. Yamaha's two otherby the latestin the Marantz spelled right!), includes three Laser Amorphous head, and theentries are even more modestly series of AC/DC three -head ste- bidirectional and four unidirec- $230 TC-FX410R, with auto- priced. The K-520 ($300) of-reo portables-the PMD-430tional models-the latter rang- matic reverse in both recording fers Dolby C, a sendust head, a ($495), with DBX and Dolby ing from the RCD-61 ($270) to and playback and switchable real-time counter, and a number B, fine bias adjustment, and the RDC- I 1($150), all with reversing before the end of theof convenience features. The pitch control.Itweighs31/2 Dolby C and all but the 11 with tape. All three are designed tosimpler K-320 ($220) has a pounds and is about the size of aDBX as well. The top reversing work with any of several Sony hard permalloy head. hardbound book. A NiCad bat- deck isthe RDR-81 ($330). remote controls. Onkyo includes Dolby C tery pack, RB-430, is available with Dolby C and DBX; the Aiwa incorporates what itin allits new cassette decks. for $50. other two arethe RDR-5 I callsthe"world's fastest" The TA -2090 ($800) in the Eso- Dolby Laboratorieshas ($220). with Dolby C. and the quick -reverse mechanism (0.2 teric Separate Series also has been working with NAD on a RDR-3I ($170). A dual -trans- second for turnaround) into the DBX noise reduction and Dol- user -adjustableequalizerto port Ultrx, the $220 RDW-201, three -head AD -R650 ($395)by HX Pro headroom exten-tweak the top two octaves of also has Dolby C. and the two -head AD -R550 sion, plus a three -motor direct -response before Dolby decod- Reber, lame ($300), both with Dolby C and drive transport with dual cap- ing in cassette playback. This HX Pro headroom -extension stans and the company's Auto- deck -based tone controlwill circuits. Technics's new flag- matic Accubias tape -matchingenable you to compensate for a Blank Tape ship is the $850 RS -13100.It circuit.Manual Accubiasis variety of things that can make a features a closed -loop dual -cap- built into the TA -2056 ($395), a recording sound dull-from az- stan drive, a separate monitor- three -motor, three -head model. imuth misalignmentto what IN AUDIO CASSETTES,Sony's ing playback head, and tape cal- The automatic -reverse TA -R33 might be called "magnetic fa- changes are the most sweeping. ibration with a built-in oscilla- ($315) is offered in both black tigue" of stressed tapes. In theAHF is discontinued, leaving tor, plus Dolby C and DBX.and silver finishes, as are two meantime, NAD has introduced HF and HS -S (which replace Two inexpensive models alsounidirectional models-the the Model 6050C deck ($240). LNX and BHF, respectively) as offer both noise reducers: the TA -2036 ($260) and TA -2026 with Dolby C RS -B50 ($230),with Tech- ($210). and bias adjust- nics's AX amorphous (noncrys- Among the Computer Di- ment. talline) alloy heads, and the rect Line recorders from SAE is For a mod- automatic -reverse RS-B48R a rack -mount model, the C -I01 erate -price dub- ($260). A dual -drive deck, the($650), with three heads and abing deck,the $220 RS-B11W, can dub atmanual two-tone bias and EQ Pioneer CT - twice thenormaltransport adjustment system. Luxman's 1050W ($300) is speed. two additions have both Dolby unusual in offer- JVC's introductions focusoptions. They are the K-240ing a pitch con- on its new U -Turn quick auto- ($300),with various conve-trol in the play- matic -reverse system (rated fornience features and a fine bias backtransport. a turnaround time of less than adjustment for tape matching, It and the CT - Audiotapes for special situations half a second) and Flip Reverse and the K-220 ($200). 501 ($160) have head assembly. Ceramic -clad Head azimuth can be ad-Dolby C. The are becoming popular. Fuji's Type 2 SA (Senalloy) heads are used injusted individually for each di- simplest new Pi- "chrome" follows last year's ferric. the top models-the DD-VR9rection of tape travel in twooneer is the CT - ($800), equipped with the com- Hitachi automatic -reverse 301 ($135); Sherwood's budget Sony's Type I (ferric) offer- pany's B.E.S.T. automaticdecks. The D -X10 ($660) in-entry is the S-90 ($150). New ings. In Type 2 ("chrome"). tape -matching system, and thecludes an automatic tape -models from Fisher arethe UCX and UCX-S have under- DD-VR7 ($500).Both offermatching system. a brushless, automatic -reverse CR-277 gone minor reformulations. but Dolby C; so do the KD-V6coreless,slotless DC direct -($250) and the CR-27 ($130), remain basically unaltered. And ($350), a three -head unidirec-drive motor, and separate, tita- both with Dolby C. metal C -90s,dropped some tional deck, and two inexpen- nium -coated recording and Proton enters the cassette time ago, are again available. sive U -Turn models-the KD-playback head elements. It anddeck market this year with the Fuji has reformulated FR -11, a V300 ($220) and KD-V200the simpler D -X6 ($290) have Dolby C-equipped Model 720 Type 2 tape that uses the com- ($165). A $130 deck (KD- Dolby C. The unidirectional D - ($240). A totally revamped line pany's Beridox particle. Alto- V 100) and the dual -transport E4 ($170) is equipped with Dol- from Vector Research includes gether new is GT-II, a Type 2 KD-WII0 ($250), with double - by C,too,and the D -E12 the VCX-650 ($450), a three - version of the GT cassettes that speed dubbing, complete the($170) is one of the few models motor, three -head deck with aFuji has designed specifically ao HIGHFIDELITY YOU'RE LOOKING AT ME SIX BEST AUTO -REVERSING DECKS YOU CAN BUY.
:TUNED DC AMPLIFIER- THREE HEADS WITH TAPE AKA', NAKAMICH1, SONY TEAL MONITORING CAPABILITY - SPECTRUM ANALYZER AKA', NAKAMICK JVC ENCOMPASSING MOL DISPLAY- kKA1
ALAI
4.1142. "1111MIINIMMINF
AUTO MONITOR- AKAi SUPER GX HEADS - COMPUTER RECORD LEVEL 410.1 PROCESSING SYSTEM - kKAI
BI-DIRECTIONAL RECORD/PLAYBACK - TWIN DIRECT -DRIVE CLOSED LOOP AKA]. SONY NC, PIONEEKTEAC DOUBLE CAPSTAN TRANSPORT - AKA. \AK vo(
Staying ahead of the competition in auto - display, which displays frequency response with reversing cassette decks has been an AKAI greater accuracy. AKAI's exclusive Auto Moni- tradition for the past 14 years. Now we're intro- tor. And our super GX heads. So super, they're ducing the all -new GX-R99, a deck that has guaranteed for 171/2 years of continuous play. so many advanced features you'd have to buy It's easy to see why the GX-R99, just one of six other auto -reversing decks to get them all. four great AKAI auto -reversing decks, is called Features like our Computer Record Level the Dragon Slayer. And to find out why it's getting Processing System, that sets a tape's bias, more praise than all the equalization and tape sensitivity, measures a other guys combined, write tape's MOL, then sets the optimum recording to AKA1, P.O. Box 6010, Dept. level. A Spectrum Analyzer encompassing MOL H9, Compton, CA 90224. for car stereo use. Both the sion for electronic news -gather- shells and the magnetic coating ing. HGX Pro takes advantage RECORD -PLAYING GEAR are engineered with high tem-of the latest and best of Max - peratures in mind. ell'smagnetic formulations, FOR ALL THE EXCITEMENT it has TDK's Type 2 metal-atape manufacturing techniques, generated, the Compact Disc tape whose metal alloy "pig-and shell designs. does not yet pose a serious ment" is formulated for use Another new group of cas- threat to the turntable market. with chrome andferricobalt settes is being offered for porta- Wisely, the manufacturers of bias and recording EQ, giving itble VCRs-separate recorders exceptional headroom-hasor integrated camcorders. been renamed HX-S. This shift These blanks presumably use from its original HX designa-high -quality oxide (so you can tion avoids any confusion with dub tapes with minimum pic- Dolby's HX or HX Pro head- ture -quality loss), long -life tape room -extension circuits. (so you can reuse the cassettes), and extra means to inhibit the accumulation of dust and grime (because you'll be taking the tapes into the field). The 3M people say they have addressed all of these factors in Scotch Camera Cassettes, which use the company's HGX Plus for- mulation,with anantistatic Fuji's Super X6 back -coating, wound into high - impactantistaticshells.The cassettes have red doors and hubs (to identify them as spe- cial) and are packed in a dust - resistantplasticstorage"al- bum." (So far, only the most popular lengths-T-120s and TDK's Type 2 metal L-750s-have beenan- analog reproduction gear (most nounced.) Sony is also taking of whom also produce CD play- this approach with its Betacam ers) are responding by making cassettes. record players that are both qui- Many manufacturers are Though most Japaneseeter and cheaper than previous branding some tapes with the companies continue to re-designs. Some of the same pro- term "Hi-Fi" to suggest that duction techniques and econo- they are engineered for VHS or fine direct -drive turn-mies of scale that contribute to Beta Hi-Fi recorders. JVC's tables, Yamaha breaks with$500 CD players are helping newest Dynarec videotapes, for tradition in the PF-1000. Abring down the prices of turn- example, are called "VHS Hi- belt -drive design with atables with such nicetiesas Fi" and use a titanium oxide quartz -locked drivemotors, surface coating that is said to act softly sprung suspension,servo -drivenlinear -tracking as an antistatic agent, to aid in the table comes with a two -tonearms, and infrared sensors keeping heads clean, and totube arm-one pipe each forautomated cueing and pro- improve overall durability of grammed play. Models with the tape. Five lengths are avail- for the left- and right -chan- some or all of these features are Scotch's camera tape able, from T-30 to T-120. Sim- nel signal leads. now widely available for less ilarly, 3M has Scotch HGX than $250. Nomenclature is also prov- Plus Hi-Fi, Fuji has Super HG At the very bottom of the ing problematic withvideo- Hi-Fi, and Memtek has Memor- price scale are turntables selling tapes. The increasing populari- ex HG Master, which is being for $100 or less-including ty of the HG (High -Grade) des- marketed as a Hi-Fi tape. As far cartridge-from Pioneer, ignation is making it more diffi-as I know, the only major com- ADC, and Parasound. The cult than ever to sort out the dif- pany to introduce a new super - ADC LT -32 ($100) even sports ferences among premium and premium videocassette not tied astraight -line -trackingtone - superpremium formulations. In to a concept of professionalism, arm. Panasonic's "Home 'n' some instances, however, the portability,or Hi-Fiperfor- Go" ($80) is a portable belt - new labeling has real meaning. mance is Fuji, with Super XG. drive unit with a built-in RIAA Maxell has introduced HGXUndoubtedly ahigh-perfor- phono preamp for connection to Pro half -inchvideocassettesmance formulation, its name at any small portable system. specifically to be sold throughleast bucks the trend. But most of the turntablea its Professional/Industrial Divi- Robert Leas action at the Summer Consumer ui
42 HIGHFIDELITY CLASSICAL RECORDS BY MAIL OR BY PHONE
%ion. - F-1. 1-800-833-240010arn to Iprn In Virginia, call 800-572-2224 Are you looking for imported, hard -to -find, or rare recordings? Your search ends here!
PAT H E MARCONI- France CHANDOS - England ACANTA - Germany COLOSSEUM - Germany Albert ROUSSEL:Padmavati/Horne, Ged- BARBER, SHOSTAKOVICH: Cello ORFF: Orpheus/Orff; Prey; Popp; Munch REGER: Concerto & Suite in Old Style da; Toulouse Capitol Orch, Plasson Crti/Simon; Eng. Cham. Or, Wallfisch Radio Cho. & Orch, Eichhorn op. 123 & 93/Nurnberg Sym, Neidlinger 173 1773 (2 Digital LPs) $17.98 ABRD 1085 (1 Digital LP) $8.99 40 23378 (1 LP) $8.99 SM 542 (1 LP) $8.99 DEBUSSY:Pianoduets:6Epigraphs Valley of Song/Rossendale Male Voice WOLF -FERRARI:Sly/Bader,Reen; Christmas Music/soprano, piano, organ, etc./Michel Beroff, Jean -Phil. Collard Choir, Ernest Tomlinson Hanover State Oper. Cho. & Orch. Nurnberg Symph., Thom. Baldner 2C069 73132 (1 Digital LP) $8.99 ABR 1023 (1 LP) $8.99 40 23501 (3 Digital IA) $26.97 SM 555 (1 LP) $8.99 2C269 73132 (1 Cassette) $8.99 ABT 1023 (1 Cassette) $8.99 FONO - Germany Vincent 2d D'INDY: Sym- SHOSTAKOVICH: PianoTrio 2; WERGO - Germany phony/ToulouseCapitolOrchestra Quintet/Borodin Trio, Mimi Zweig, Horne Oboe/HarpRarities:Donizetti,Brod, Michel Plasson. LIGETI:Requiem;Lontano;Con- ABRD 1088 (1 Digital LP) $8.99 Bochsa, Pasculli/Lencses, Talitman 2C069 73100 (1LP) $8.99 tinuum/Poli, Bour, Bavar, Radio Choir,& c. FSM 63408 (1 LP) $8.99 2C269 73100 (1 Cassette) $8.99 BAX: Symph.4:TINTAGEUUIster Or- WER 60045 (1 LP) $8.99 D'INDY: Jour d'ete;Foret enchantee; chestra, Bryden Thomson FRANCK: Mass in A op. 12/Wiens, Mat- DEBUSSY: 6 Epigraphes; Lindaraja; Blanc tre, Ingram; Swab. Philh, Beck Tableaux/Or. Phil. P.de Loire, Dervaux ABRD 1091 (1 Digital LP) $8.99 & Noir/ Kontarsky Piano Duo 2C069 16301 (1 LP) $8.99 FSM 63410 (1 LP) $8.99 WER 60 008 (1 LP) $8.99 ROSZA: Piano,cellocrtiop. 31-32 POULENC: Intermezzi;NazeIles; VOCE - U.S.A. Ravel, deFalla, Bartok, Bialas, Hiller /Pennario;Starker;Bay.Radio;Munich Villageoises; Valse; etc.fracchino, piano songs/Sakkas,barit;BernStr. Qrt; Phil 2C069 73101 (1 Digital LP) $8.99 DONIZETTI:EmiliadiLiverpool piano. FSM 53901 (1 LP) $8.99 2C269 73101 (1 Cassette) $8.99 /Sutherland; Liverpool Ph, Pritchard WER 60 083 (1 LP) $8.99 Bach, Koetsler, Genzmer, Heilmann/Ar- POULENC: Novelets; Nocturnes; French VOCE 30 (1 Mono LP) $8.99 min Rosen, trombone; Lehrndorfer, organ $8.99 Suite; Presto; etc./Tacchino, piano ROSSINI: La Donna del Lago/Horne, von ARIOLA - Germany FSM 53407 (1 LP) 2C069 73134 (1 LP) $8.99 Stade, Houston Opera, Scimone R. STRAUSS: Songs/Rene Kollo,tenor; 2C269 73134 (1 Cassette) CALLIOPE - France $8.99 VOCE 64 (3 LPs) $26.97 Hesse Radio Orchestra, Stalling SCHREKER: Die Gezeichneten/No. Ger. 200 591 (1 LP) $8.99 12th Cent.: The Play ofDaniel; The Clerkes of Oxenford/David Wulstan HYPERION - England Radio, Zillig; Krebs, Lear, Crass 400 591 (1 Cassette) $8.99 CALLI 1848 (1 LP) CRUSELL: Clarinet Concerti 1 & 3/Thea VOCE 68 (3 LPs) $26.97 $8.99 J. BAYER:DiePuppenfeeballet/Sta. CALLI 4848 (1 Cassette) $8.99 King; London Symphony, Alun Francis Philharmonie Rheinland, Eichhorn A 66055 (1 LP) $8.99 203 387 (1 Digital LP) $8.99 BACH: Goldberg Variations BWV988, KA 66055 (1 Cassette) $8.99 CHRISTOPHORUS - 1-15/Mireille Lagace, harpsichord SUPPE: Die schone Galathee/Motfo; CALLI 1652 (1 LP) $8.99 Songs of Iona, Skye, Mull, Scots & Irish Germany Bavar. Radio Cho. & Orch, Eichhorr airs/Philh. Chamber Choir, Temple 87 583 (1 LP) $8.99 BACH: GoldbergVariations BWV988 REUBKE: Psalm 94 Sonata in c; REGER: 16-30/Mireille Lagace, harpsichord A 66064 (1 LP) $8.99 Op. 52,2/Hubert Meister, organ KA 66064 (1 Cassette) $8.99 GLUCK:IphigenieinAuiis/Dietrich CALLI 1653 (1 LP) $8.99 SCGLX 73957 (1 LP) $8.99 Fischer-Dieskau, Anna Moffo; Eichhorn MUSSORGSKY: PicturesatanExhibi- 86 271 (2 LPs) $17.98 Damare, Genin, Donjon/Lieaumadier, tion/Arthur Wills, Ely Cathedral organ Flute & Guitar/Hans Martin Linde fl. & piccolo; Koerner, piano (Grand Prix) recorder; Konrad Ragossnig, guitar A 66006 (1 LP) $8.99 CALLI 1867 (1 LP) $8.99 SCGLX 73849 (1 LP) $8.99 THOROFON - Germany Echoes of a Waterfall: 19th c. romantic French 17-c. organ music: Roberday, Spanish Renaissance Music/Ancient Con- harp music/Susan Drake RACHMANINOV: Elegiac Trios: 1 in g, 2 Bourges etc/Andre Isoir (Grand Prix) sort Singers & Instrumental Ensemble A 66038 (1 LP) $8.99 in d op. 9/Gobel Trio, Berlin CALLI 1903 (1 LP) $8.99 SCGLX 73919 (1 LP) $8.99 MTH 252 (1 DMM LP) $8.99 Canticles,anthems,etc/ElyCathed. BEETHOVEN: Hammerklavier op 106; HAYDN: Lira Cncrti 2 in G, 4 in F; Organ Choir, Wills; S. lePrevost, organ Volkslieder:Schubert Lindenbaum; Bagatelles op 126/Michael Rudy, piano Cncto in C/Hugo Ruf; Lehmdorder A 66012 (1 Digital LP) $8.99 Brahms Lullaby; Kein Feuer,. &c. &c. CALLI 1686 (1 LP) $8.99 SCGLX 73894 (1 LP) $8.99 $8.99 Abbess Hildegard of Bingen FTH 220 (1 LP) $8.99 CAW 4686 (1 Cassette) Hymns/Gothic Voices, E. Kirkby, C. Page Bach, Busoni, Chopin, Milhaud, Poulenc A 66039 (1 Digital LP) $8.99 SCHWANN - Germany 2-piano/Bauer-Bung Duo OFFER EXPIRES MTH 206 (1 LP) $8.99 SEPT. 30, 1984 CHANDOS - England MOZART: Magic Flute overture; Piano ALLOW 6-8 WEEKS FOR DELIVERY duet;Fantasia K608; MENDELSSOHN: $1.95 postage & handling
Hamilton HARTY: Irish Symphony; Com- 2 -piano Sy. 1 in c/A. & J. Paravatore COLOSSEUM - Germany for the first record or edy Overture/Ulster Orch, Thomson VMS 1031 (1 LP) $8.99 BRUCKNER: Mass in C; Psalm 146 in cassette, plus .85t for ABRD 1027 (1 Digital LP) each additional recording $8.99 John GAY: Beggar's Opera/Stevens, Acad. 4/Nurnberg Sy, Riedelbauch; Sach Ch. if shipping U.S. mail MX: 4 Tone Poems/Ulster, Thomson Monteverdi Cho. & Orch., soli SM 548 (1 LP) $8.99 S1.95 postage & handling ABRD 1066 (I Digital LP) $8.99 VMS 2038 (3 IN) $8.99 RUBINSTEIN;PianoCrto 5, op. for the first record or
ELGAR: Youth Wand Suites 1 & 2; Musk of the Bible in the tradition of Old 94/Adrian Ruiz;NurnbergSymp, Z. cassette, plus $1.10 for Nursery Suite/Ulster Orch, Thomson Hebrew Songs Deaky each additional recording ABRD 1079 (1 Digital LP) $8.99 AMS 1508 (1 Mono LP) $8.99 SM 544 (1 LP) $8.99 if shipping UPS. TCHAIKOVSKY: Cello & orch. music/G. HAYDN: Time of Day Symphonies, H. 1, Borodin: Sy. 3; Glazunov:Stenka CANADIAN ORDERS Simon; Eng. Chamb. Orch, Wallfisch 6-8 Morn, Noon, Eve/period inst'. Razin; Tcherepnin: Symphonic Prayer PLEASE ADD $2.00 PER RECORD OR CASSETTE TO THE LISTED SM 543 (1 LP) $8.99 ABRD 1080 (1 Digital LP) $8.99 VMS 2085 (1 LP) $8.99 PRICES.
2425 Bowland Parkway CALL NOW FOR OUR FREE MONTHLY CATALOGUES P.O. Box 8310 OVER 650 IMPORTED & DOMESTIC LABELS Virginia Beach, VA 23450 ANDRE U.S.A. MORE THAN 30,000 TITLES 525 St. Joseph WE ARE NOT A RECORD CLUB P.O. Box CP250 NO MINIMUM PURCHASE NECESSARY -NO OBLIGATION PERRAULT St. Hyacinthe, Que. 125 5K3 Canada INTERNATIONAL VISA ACCEPTED THE NUMBER 1 CLASSICAL RECORD MAIL ORDER HOUSE IN THE WORLD Electronics Show was inthe sure the turntable is built to take company's own arm) is a very $100 to $200 bracket. The Sony it. compact table whose subchas- PS-LX55 Mk. IIoffers auto- The most successful sis-except for the arm -mount- matic disc -sizeselectionfor American turntables have al- ing platform-is entirely con- $165. Many new models in this ways been belt -driveunits tained within its 12 -inch cylin- price range have linear -tracking equipped with a softly sprung drical base. arms set into the lid-the so- subchassis carrying the platter Some Japanese manufac- called "clam -shell" configura- and tonearm. The big Japanese turers are still refining direct - tion first introduced by Techni- companies, on the other hand, drive designs. Denon's DP -61 F cs in 1980. Of these, the Sher- have tended to favor direct - ($500) has a high -torque AC' Marmots TT -240 wood ST -900 ($170) includes drive motors and rather stiff motor and a servo -controlled programmable track selection suspensions. Now from Yama- warp -fightingtonearm.San- and infrared disc detection; the ha comes a pair of softly sprung sui's "synchrotor" technology, Akai AP-M33S ($200) has a belt -drive models, the PF-800 in which a separate rotor and microprocessor -controlleddi- ($450) and PF- 1000 ($650). motor cancel the inertia of the rect -drive motor and automatic These are strictly manual units speed corrections applied to the size/speed selection; and the except for an end -of -side arm main platter, once required an Technics SL -12 ($200) is a 12 - lift. Both include disc clamps, a unusually deep turntable base. inch -square linear tracker with cartridge -alignment grid The company's new XP -99 of- a scan/search feature that plays molded into the underside of the fers the synchrotor feature in a JVC 0L-Y66F the first few seconds of each cut turntable mat, and a twin -pipe table of normal depth at the until you findthe one you tonearm in which each tube reduced price of $400. ADS's want. carries the signalleads from new Atelier Series model, the The P -Mount cartridge only one channel. European -designed P-4($500), body seems to be gradually tak- Harman Kardon'sbelt - is a direct -drive unit with three ing over in all but the high end drive models have been upgrad- motors-one for the platter and of the market. Most new inte- ed this year. The T -65C ($575) one each for cueing and hori- gratedturntables,including comes with a disc clamp and zontal arm movement. All con- units from Pioneer, Kenwood, has a new tapered tonearm with trols are outside the cover. tans %NI Akai, and Yamaha, are either a weight -and -wire antiskating Cartridgeintroductions built for P -Mount cartridges or mechanism. A control knob en- have definitely slowed down, Hannan Kardon T -65C come with an adapter for them. ables you to add an additional though things are still bubbling And if the adapter isn't included 100 or 200 picofarads (pF) to along in the upper price brack- with the turntable,it may be the signal cables' 70-pF capaci- et. Linn showed its Karma low - supplied with output moving -coilpickup the cartridge, as ($725). Audioquest has a new is the case with line, ranging in price from the Stanton's new AQM- I($95), a moving -mag- line of P -Mount netmodel,tothe AQT-7 pickups. ($500), which has a solid sap- One of this phire cantilever. Mission's new year's popular Solitaire cartridge is a moving- Keeweed KD-7700 features used to magnet design with an elliptical be available stylus ($99). only as an after - Dynavector has added the market accesso- 17-D2MR (the "MR" denotes ry-a clamp de- a Micro -Ridge stylus) with a signedto keep diamond cantilever for $480, as the record in in- well as a high -output moving - The Dewy PS-LX511 Mk.II: lateral- timate contact coilmodel,the DV- I OX4 with the turnta- tracking towearm and automatic ($160). The new Alpha 2 low - ble mat. Clamp- output moving -coil pickup from Saltsul XP -99 ing the record is supposed to tance. Kyocera is adding three Monster Cable ($675) is also deaden both external acoustic belt -drivetableswithsoftly equipped with a Micro -Ridge feedback and any vibrations sprung subchassis. The PL -910 stylus. ADC's latestisthe generated in the vinyl by the has a solid ceramic platter and TRX-3 ($300), a fixed -coil de- stylusitself asittraces the costs $2,000 without arm; the sign with tripole armature and groove. Most clamps are sim- others are the PL -701 and the taperedberylliumcantilever. ply cylindrical weights that sit PL -601 ($450 and $350, re- And Audio-Technica is bring- on the label of the record. In the spectively, including tonearm). ing out the 200 Universal Series past, some heavy ones caused Micro-Seiki's BL -61,a belt - of cartridges, which are com- concern about the possibility ofdriveunitwith a four -point patible with either P -Mount or excessive platter bearing wear. floating suspension,sellsfor standard arms, at prices from But when the weight is supplied$500. Walker's CJ -61($180 $50-$135. by the manufacturer, you can be without arm, $330 withthe L Brod Meyer Kyocera PL -910 44 HIGHFIDELITY Saveup to$25 during the Shure 60th Anniversary Rebate Sale.
Buy a genuine Shure Save $10 to $25 on a quality Shure phono cartridge. cartridge or replacement stylus Cartridge Your rebate between September 1 and October V15 Type V -MR $25 31,1984 and get a hefty cash V15 Type V -B $20 rebate direct from our factory. Just ML140HE $15 supply the information requested below, mail it to Shure and earn ML120HE $15 up to a $25 rebate on a quality M110HE $10 phono cartridge-up to $10 on a stylus. Save up to $10 on a genuine Shure replacement stylus. A Shure cartridge is the Stylus Compatible with this Your best investment you can make to model Shure cartridge rebate improve the sound of your VN5MR Upgrade for V15 Type V $10 system. And a Shure replacement VN5HE Replacement for V15 Type V $10 stylus will reduce record wear, VN45HE Replacement for V15 Type IV $ 5 extending record life. Remember, N97HE Upgrade for M97ED $ 5 with Shure, you're getting 60 Replacement for M97HE years of audio experience. Get N95HE Upgrade for M95ED $ 5 all the details on this offer at a Replacement for M9SHE Shure dealer near you or write N95ED Replacement for M95ED $ 5 Shure Rebate Offer, 222 Hartrey N91ED Upgrade for M91E $ 5 Ave., Evanston, IL 60204. Replacement for M91ED
Earn up to a $25 rebate during the Shure 60th Anniversary cartridge and stylus sale. To receive your rebate on selected Shure phono cartridges and replacement styli, send: (1) your dated sales receipt (non -returnable), (2) the complete outer Icarton from your Shure cartridge or stylus, and (3) this completed request to: I Shure Rebate Offer- Dept. 63, 222 Hartrey Avenue, Evanston, Illinois 60204.
Name
Address
City State Zip
Phone (Area Code) (Number) Offer valid only on purchase made between September 1.1964 and October 31.1984 All requests must be postmarked by November 15.1984. Limit of one rebate per household. and/or consumer regardless of number of Shure cartridges or styli purchased. This .s a consumer rebate offer only Shure dealers. companies and employees of Shire and their advertising agencies. distributors and retailers are not eligible. This offer may not be used in conjunction with any other rebate rom Shure Shure is not responsible for late. lost or misdirected mail. Offer good only on purchases made in USA Void where taxed of orolit.ited by law Allow 6-8 weeks for delivery of check
You'll hear more front us. HF 9/84 11.. 1M ME MEI NM LOUDSPEAKERS mentary magnet assembly on and is said to be capable of pro- each driver, thereby canceling ducing an undistorted output of its external field. Three compa- more than 120 dB-a capabili- CHECKING OUT NEW loudspeak- nies have so far adopted this ty the company insisted, with ers at the Summer Consumer approach:Boston Acoustics, only mild apology. on demon- Electronics Show was both in- with a magnetically shielded strating to the press. The 180 - teresting and frustrating. The version of its A-40; Polk Audio, pound system has two woofers, real surprise (as always) was whose VS models are built to two midrange drivers, and one complement the dimensions of 25-,19-, and 12 -inch video monitors; and B&W, which placed a monitor between a pair of its new VM-ls ($150), one with compensating magnets and one without, to show the effec- tiveness of the shielding. Many other companies in- troduced small speakers not di- rectly oriented to video. Fourier Systems' Model 44 ($350 per Boston Acoustics A -40V pair) is reported to deliver "an honest 67 Hz," a refreshingly conservativespec.The new 30B from Acoustic Research is available in bookshelf or floor - standingversions ($215 and $230, respectively). And Tan- noy's smallest system carries an how many demonstrations actu- incongruous name, the Titan ally sounded good despite the ($260 per pair). But the prize variable acoustics of hotel for the most charmingly eccen- rooms and exhibit halls and the tric monikers goes to Tannoy's often appallingly high back- new line of larger speakers: the Ilamaha NS-SOOM ground noise from air condi-Surrey Series. Each model is tioning equipment-not to named after a city from Surrey mention other speaker manu- CountyinEngland-Esher, facturers in the vicinity. Dorking, Chertsey,Bradley, An obvious trend toward and Albury. Prices range from smaller models derives much of $850 to $2,000 per pair. itsimpetus from therecent The nearly universal claim approval of stereo TV broad- of "digital -readiness" in loud- casting. Because most people speakers nowadays refers most- don't have a lot of extra space ly to higher sensitivity ("effi- near their television sets, TVciency") and greater power - speakers must be small while handling capability. To provide maintaining reasonable bass ex- better heat dissipation, Ameri- tension, output, and sensitivity. can Acoustic Laboratories, Satellite/subwoofer systems are Sherwood, Mission,Infinity, well suited to these require- and B&W-to name buta ments, and new ones are avail- few-are using ferrofluidin JILL 1-350A (TLX Series) able from Desktop Systems and tweeter or midrange magnet as- The AC -powered BosoBozak, whose three-piece sembliesforthefirsttime. RoomMate speakers aro MSS -1000 sells for $950. Infinity's EMIM midrange unique for their ability to To overcome space limita- drivers and EMIT tweeters have tions while producing a stereo lighter diaphragms for greater generate room -filling lev- image that's comparable in size efficiency, and the company's els from the headphone to the picture, many people will new woofer is equipped with a output of a personal -porta- want their TV speakers right longer voice coil for greater next to their sets. But the mag- control at long excursions. ble. A built-in power amp netsin many high -quality Of course, you can always plus E0 and distortion -lim- speakers are strong enough to get additional output by making iting circuitry contribute to smear the color in the picture. the cabinet bigger and the driv- One way out of this problem ers more numerous. Such is the the sound of these little that doesn't compromise per- case with the B&W Model 808, speakers. formance is to install a supple- which has a sensitivity of 91 dB lhodusles 1111-M1
46 HIGH FIDELITY THE WORLD'S QUIETEST TAPE If you won't settle for anything less than pure music, accept nothing SWITCH TO less than BASF Pure Chrome audio tape. Unlike ferric oxide tapes, BASF Pure Chrome is made of perfectly shaped chromium dioxide particles. And the exclusive Chrome formulation delivers the lowest BASF CHROME background noise of any tape in the world, as well as outstanding sensitivity in the critical high frequency range. And this extraordinary tape is designed especially for the Type II Chrome Bias position. So AUDIO TAPE make sure you're hearing all of the music and none of the tape. Make the BASF switch today to the world's quietest tape. BASF Chrome. Chrome Audio & Video Tapes tweeter. If your speakers are limit- ed by your power amplifier, a DRAMATICALLY D FFERENT FROM KEF separate amp for the woofer will help, but it need not be in a separate cabinet. ADS has aThe KEF 104/2 (S800) is an entirely different power amp module thatfits speaker from its immediate predecessor, the inside its 1290 and 1590 tower 104aB. Frequencies above 150 Hz are handled speaker systems. And Revox by a vertical array consisting of a small dome includes three100 -watt(20- tweeter mounted between two identical mid- dBW) amplifiers and a motion- range cones. Their specially contoured and al -feedback woofer in its new Agora B system ($1,200). damped subenclosure is resiliently mounted to Exotic diaphragm materi- the front of the main cabinet, which contains als that combine lightness with two upward -facing bass drivers, each loaded rigidity are also in evidence this by its own sealed subenclosure-one at the year. The speakers in JBL's new TLX series (five models bottom of the cabinet, the other at the top. The from $100 to $320) have mid- woofers radiate into a central cavity connected range and low -frequency driver to the outside world by a 5 -inch tuned circular diaphragms constructed of aport, whose dispersion matches that of the plasticized layer laminated tomidrange drivers. KEF says that this novel paper. For the tweeter, a layer of titanium replaces the plastic. arrangement combines the advantages of Sansui's XL -900C has a tweet-acoustic suspension and bass reflex designs er diaphragm of solid titanium, while avoiding their drawbacks, yielding ex- a ceramic midrange dome, andtended bass response with low distortion and a carbon -fiber woofer cone. high efficiency. Yamaha's NS -500M ($385) The in -line configuration of the bass driv- also has a carbon -fiber woofer, but the midrange driver uses ers requires that they be driven out of phase with each other, so as to create a sort of bellows titanium with an additional lay- effect within the reflex chamber. (Otherwise, they would move in the same direction at the same er of titanium carbide, while the time and there would be no change in air pressure within the enclosure and thus no output.) KEF tweeter diaphragm is beryllium. has taken further advantage of this aspect of the design by connecting the magnet assemblies of Pioneer uses ribbon tweeters the two woofers with a metal bar, so that inertial forces are canceled instead of being transferred thatareinherently burnout - resistantina new series of to the cabinet and radiated into the room. The company contends that such spurious radiation is speakers, the largest of which isthe source of the "boxy" sound associated with most conventional speakers. Another, less obvi- the $300 CS -705. ous innovation is embodied in the crossover, which is designed to present an almost pure, non - Increasing numbers of Jap- reactive 4 -ohm load, making the 104/2 loudspeakers unusually easy for an amplifier to anese speaker systems now sport flat woofers and midrange drive. drivers,some of which are round-like those in the Tech- nics SB-M3 ($900) and the complete setup sells for $2,500. weighs 140 pounds, and coststrene bass and midrange drivers smaller SB-M5 ($400)-while At $300, the new Ohm Walsh 1 $1,750 a side. A new company with an electrostatic tweeter in others are square, like those in offers the smallest and cheapest called Dynam is importing a its DEI ($1,850 per pair). Dahl- the new models shown by Sony version of the company's omni- series of speakers using corru-quist has formally introduced and Mitsubishi. directional Walsh driver tech- gated flat -panel magnetic driv- the DQ-20 (about $1,900 per Vivid and precise stereonology, and Polk Audio now ers, named Dynapleats. Prices pair), an upgraded version of its imaging is one of the hallmarks has a bookshelf model in its line range from $600 to $5,000 forhighly regarded DQ-10. Im- of a fine speaker system, andof separation -enhancing SDA the pair. provements in Infinity's drivers several manufacturers are pro-speakers, the Compact Refer- Many speakers can use ahave been carried over into a moting their designs on thatence System ($400). Cerwin- littleassistanceinthe deepnew version of the $30,000 - basis.Chief among them is Vega's new 2000 Series speak- bass, and you can add extraplus IRS system.But the DBX, whose Soundfield Oneers (three models from $400 to low -end capability with a vari-show's most expensive speaker has 14 drivers per enclosure in $700) have vertical midrange etyof separate subwoofers.is from a newcomer-the Guss an elaborate phased array. Aarrays for wide horizontal and This season you can try the new Monitor, which has 31 drivers separate signal -processing box narrow vertical dispersion. Janis System 3 ($500) or the in each main cabinet (including controls both the frequency re- Some high -end companies Shahinian Acoustics Diapason six 15 -inch woofers) and two sponse and the imaging of theare following the trend to small- ($550) on up to the servo -con- "satellite"cabinetsfor en- system, which maintainsits er speakers, though in the case trolled Velodyne ($3,850, in- hanced imaging, each with 20 tonal balance and stereo imageof Apogee Acoustics, "small" cludinga 350 -watt powerdrivers. The complete systems almost regardless of where you is strictly relative. Its all -ribbon amp). sells for an even $50.000 sit in the listening room. TheScintilla stands 57 inches high, Dennesen combines bex- E. Brad Meyer
48 HIGHFIDELITY THE MOST BEAUTIFUL SOUND NEXT 10 SIIENCE NOW REALIZED ON ECM COMPACT DISCS
Available from ECM Records on compact disc: Chick Corea Children's Songs Chick Corea and Gary Burton In Concert, Zurich, October 26, 19792,,,2 Charlie Haden Ballad Of The Fallen 23749 Keith Jarrett Koln Concert2,,,, My Song 2'',F Changes Pat Metheny 80/81 Offramp Pat Metheny & Lyle Mays As Falls Wichita, So Falls Wichita Falls2.,,,c Oregon Oregon 223796 Steve Reich Music For 18 Musicians; '77,9 *Contains "Addendum," written for piano (Corea), violin (Ida Kavafian) and cello (Fred Sherry). Available only on CD format.
ECM Manufactured and Chstrtbuted try Warner Bros Records Inc c 1984 ECM Records GmbH and beyond. ware), you'll be happy to Most of us covering the learn that the prices of prere- NEW video scene were delighted at corded cassettes may take a the number of VHS Hi-Fi vid- nose dive this year. The rea- TECHNOLOGIES eocassette recorders on dis- son is Sprinter, a high-speed play. Back when Beta Hi-Fi duplication system developed stole the headlines with PCM- by Sony that enables a full- like audio performance in length feature film to be cop- what had been a decidedly ied in 11/2 minutes (compared low-fi medium. VHS suppliers to the current real-time dub- churned out a profusion of an- bing process that forces dupli- nouncements heralding the im- cators to operate at numbingly minent appearance of a rival inefficient rates). The system version. Well, it took more gains its speed from a contact than a year and a half for "printing" process in which a JVC, Matsushita. ct al., to mirror -image master tape is catch up, but for VHS fans drawn across a continuous reel the wait was worth it. [For a of blank tape. The video in- complete buying guide to the formation is transferred to the new Hi-Fi VCRs, see "Super blank tape via magnetic induc- VIDEO FOR A NEW AGE Stereo VCRs" in last month's tion. After the dubbing is HIGH FIDELITY.] complete. all that's left is to However, none of this load the tape into shells. Will WHETHER YOU'RE A videophile year's Hi-Fi VCRs (VHS or Sprinter work for VHS as or just a casual viewer, 1985 Beta) are equipped to decode well? Sony isn't pushing the should prove a very good multiplex TV audio broad- idea, but the technology may year. That's the inescapable casts. The FCC's approval of be transportable. conclusion from my inspection the Zenith/DBX system Actually. video dubbing (stereo plus a separate mono isn't the only thing that channel) came too late for Sprinter could be used for. 'ft It's no secret that Sony is pro- a the appropriate decoders in moting the concept of rotary - their designs. Some decks. head digital audio cassette however, are equipped with decks (as opposed to the mul- multiplex output jacks. so it titrack fixed -head designs fa- should be possible to retrofit vored by some other Japanese them for stereo reception. A companies). An adequate sup- newcomer to the VCR busi- ply of prerecorded digital au- ness, Harman Kardon, was dio cassettes would be crucial the only manufacturer to an- to the success of the format. nounce that its VHS Hi-Fi Sony's proposed system, deck (scheduled for delivery which is based on a microcas- in November) will contain a sette-size tape capable of stor- multiplex decoder. ing three hours of digitally en- Unfortunately, prere- coded music, would be a corded VHS Hi-Fi software is nightmare for duplicators still scarce. As of this writing, forced to make copies in real CBS/Fox is the sole major time. Sprinter, however. supplier of VHS Hi-Fi films might cut the dubbing process and concert programs. Rumors to a couple of minutes (maybe abound as to the reasons. less). Some contend that the original But back to video-spe- duplication equipment sup- cifically. stereo broadcast TV. plied by Matsushita was de- which has all the hallmarks of of the video offerings present- fective; others claim that du- a typical chicken -and -egg situ- ed by nearly 200 manufactur- plicators resisted switching to ation. Consider the economic ers at the Summer Consumer the higher -quality tape that realities facing the broadcast- With the success of music Electronics Show. It's impos- Hi-Fi recording demands. Not ing industry. Both ABC and sible to mention, much less to worry, though: The soft- videos on tape and via ca- NBC have announced their in- detail, all the goodies intro- ware floodgates are bound to tention to begin multiplex ble and network broad- duced at the McCormick Place open with a torrent of new re- broadcasts this year. mainly to casts, it's not surprising that convention center in Chicago, leases. take advantage of the third au- but here's a quick rundown of In fact, if you own a Pioneer would introduce a dio channel for second -lan- the most significant new prod- Beta Hi-Fi VCR (for which guage soundtracks. But all video jukebox. ucts and trends for this year there is an abundance of soft- network fare is relayed to
50 HIGH FIDELITY your antenna from local affili- market 8mm camcorders. continue to supply CED titles. High-speed videotape du- ates-most of whom keep a while Hitachi repeated its oft - CBS announced that it would plication has been the holy close eye on expenses. espe- heard complaint that the for- no longer support the format. cially in small markets. It's mat is confusing and point- Laserdisc video, on the other grail of the video industry naive to assume that an affili- less. Polaroid's demonstration hand, was very much in evi- for years. Now Sony says ate would invest in the equip- of an 8mm system and Sony's dence. that its Sprinter machine, ment to rebroadcast stereo TV post-CES statement of its Pioneer introduced a se- programs unless he were sure plans to introduce an 8mm ries of eight -inch discs intend which uses a magnetic ver- there were enough stereo - camcorder only muddy the ed primarily for music video sion of contact printing, ready sets out there to receive waters further. I suspect the programs. The eight-inchers can copy a full-length his signal. situation will be clarified if will be offered throughtradi- movie in 1'/2 minutes. The But the stereo -ready sets and when Kodak's camcorders tional music outlets and as introduced at the SCES are all come to market this fall. fodder for a new generation ofproduction economies top -of -the -line models-typi- One of the marvels of video jukeboxes. And specula-brought by such a system cally, 25 -inch monitor/receiv- consumer electronics this fall tion is rampant that the next could mean lower prices ers, in which the additional was supposed to be DBS. or generation of optical videodisc expense of a built-in multiplex direct broadcasting to the hardware will be capable of for prerecorded fare in decoder accounts for just a home from high -power satel- handling both sizes of videod- '85. small part of the total cost. lites. Home satellite reception iscs, as well as audio -only Only when decoders start has existed for the past five Compact Discs. Such combo showing up in mass -market years. but it requires an in- players may be available next 19 -inch receivers will the vestment of several thousand year. stage be set for wide -scale dollars for an antenna as much Still too early to speak of stereo -TV broadcasting. as 14 feet in diameter and as a trend, but interesting Add-on decoders might complex receiving equipment. nonetheless, is the appearance become popular accessories DBS. on the other hand. of one -brand audio -video sys- next year. and so far General promised to provide subscrib- tems. Among these are JVC's Electric. Zenith. and Sony ers with five or six satellite - XM-900AV Crossmedia and have introduced such devices relayed broadcasts receivable Pioneer Video's Foresight (which can be used only with with roof -based dish antennas 700. each containing a video receivers equipped with multi- just 18 to 36 inches in diame- monitor and associated video plex output jacks). Larry ter and costing $200 to $300. and audio components in a Schotz, the FM tuner designer A pilot project actually single rack setup. Prices for responsible for groundbreak- began last fall in Indiana. withsuch integrated systems can be ing audio receivers from NAD Radio Shack stores selling as high as $2,500, depending and Proton, has an idea for an small (in this case. four -foot) on the ingredients. Fully load- outboard decoder that would dishes to those subscribers ed, Pioneer's Foresight 700 not need any direct electrical who chose to buy them out- includes a 25 -inch color moni- connection to a TV receiver. right instead of renting equip- tor, a 50 -watt stereo amplifier. His plan is to make use of the ment from the programmer. a TV tuner, a pair of three- stray IF radiation generated by United Satellite Communica- way loudspeakers, an AM/FM a typical TV tuner. The de- ions. USC had hoped to ex- stereo tuner, a Laserdisc play- coder would just have to be tend its DBS coverage to the er, an audio cassette deck, a placed close enough to your entire Northeast by this fall. surround -sound processor. and TV set to get a strong reradi- and last year Toshiba, Pana- a rack to hold the whole thing ated signal. Will it work? sonic, General Electric, and together. And it's all remote Schotz says that it does, but Uniden demonstrated DBS re- controllable. completion of his design will ceiving gear at the CES. Finally, as if to prove have to await the start of Alas, at this show only that bad ideas sometimes are stereo broadcasts. Chicken Toshiba included DBS equip- the only constants, Pioneer and egg, did you say? ment in its exhibit. Uniden, has resurrected the Bodysonic Portable camera -recorders whose two satellite receivers concept. You may remember (camcorders) using 8mm-wide were said to be capable of its earlier incarnation as a car tape were the big news at last processing both DBS and con- stereo seat -and -back cushion January's Consumer Electron- ventional satellite signals, equipped with little speakers ics Show. Kodak garnered the didn't mention the topic at all. that caused your bones to vi- lion's share of publicity then And General Electric and Pa- brate along with the music. for being the first to embrace nasonic quietly dropped it Now it's in a lounge chair the new format. RCA and GE from their high-tech product (with matching ottoman) that were quick to follow suit, but displays. enables you to experience by this CES the future of Less than two months be- television viscerally as well as 8mm video seemed cloudy, fore the SCES, RCA pulled visually. Price is a not incon indeed. GE and RCA publicly the plug on its CED videodisc siderable $800. announced that they are tem- system. Though several soft- porarily shelving their plans to ware companies say they will Williams Meaner
SEPTEMBER1984 51 VIDEO EQUIPMENT REPORTS
RCAVKT-650 VHS HI -Fl VCR
RCA Selectavision VKT-650 VHS videocassette recorder, with one-year/eight-event tuner/timer, on -screen programming, wireless remote control, and VHS Hi-Fi stereo audio. Dimensions: 17 by 4'/2 inches (front panel), 143/4 inches deep plus clearance for connections. AC convenience outlets: one unswitched (300 watts max.). Price: $1,295. Warranty: "limited," one year parts, 90 days labor. Manufacturer: made in Japan for RCA Consumer Electronics, 600 N. Sherman Dr., Indianapolis, Ind. 46201.
CRT COUNTER AUDIO DUBBING DISPLAY ON/OFF (ON/OFF) COUNTER RESET TRANSPORT CONTROLS AUDIO LEVEL TIMER ON/OFF DISPLAY ON/OFF AC POWER DISPLAY ICLOCK/COUNTER)
1.1% I EJECT I U DISPLAY TIME REMAINING VCR/TV EJXUPSRTE S S RECORDING - VIDEO DUBBING (ON/OFF) AUDIO LEVELAD. INDEX -CODE RECORDING (ON/OFF) BEHIND DOOR: HEADPHONE: OUTPUT LEVEL MEMORY REWIND (ON/OFF) ADJUST.; SPEED (SP/LP/EP). TRACKING. SHARPNESS ADJUST.. INPUT. AUDIO MODE SELECT HIGH FILTER, 8 -HR. MODE. ALC. DIMMER ON/OFF; CHANNEL PRESET ADJUST.
RCA'S TOP -OF -THE -LINE, front - VHS speeds (SP, LP, and EP) with a loader is the most feature -laden full complement of special effects that VCR we've reviewed to date. To work best in the EP mode but function start with, there's VHS Hi-Fi recordingreasonably well in SP and are by and (in stereo, of course) as well as edge - large useful even in the intermediate track (linear) recording for compatibilityLP mode (although RCA makes no with older decks. Although the edge claim to this virtue). BesidesAUDIO track records only in mono, RCA says DUB,which enables you to overlay the that the VKT-650 reproduces stereo audio edge track with a new recording, edge -track recordings in stereo, so there'sVIDEO DUB,which permits you nothing is lost if you have a library to rerecord the video without affecting of Dolby -encoded VHS stereo tapes. the audio edge track. (Because the It records and plays at all three VHS Hi-Fi information is recorded on 52 HIGH FIDELIT 1111 111111111111111111111111111111111111111111111111111111111111111111111111111111 NEWTECHNOLOGIES
the video track, it's not possible to You program the VKT-650 for VCR SECTION rerecord video information without unattended recording in a similar Except where otherwise indicated, data are for all speeds-SP. LP and EP MP) All measurements were made at the direct removing the Hi-Fi audio or to rerecordmanner, guided by a series of on- audio and video outputs. with test signals applied to the direct audio and need inputs For VHS Hi -Fr. the 0 -dB reference input Hi-Fi audio without erasing the screen prompts. Selecting "2" from level is the voltage required to produce 3 percent third -harmonic distortion at 315 Hz. for the standard audio recording mode. it is picture.) the main menu displays "NORMAL 10 dB above the voltage at which the automatic level control PROGRAM-PROGRAM 1 2 3 4 5 6 IALCI produces 3 dB compression at 315 Hz The 0 -dB reference output level is the output voltage from a 0 -dB input brU CAN SEARCH forward or 7 8" followed by the instruction VHS HI-FI RECORD/PLAY RESPONSE (-20 dB; stereo) backward for a particular program"SELECT PROG NUMBER." When ce y pressing FAST FORWARD or you have done this, the machine goes 5 REWIND from PLAY, or, if you had the on to ask for the channel number, the VNT81) (1, HZ 20 50 100200 500 1K 2K 5K 10K20K index feature on during recording, start and end times, and finally the date + (or current) program at even higher eight selections over a period as great Devp17.10 speed by pressing FAST FORWARD or as a year. (If you program a date prior r 5 to the current date, the year will REWIND from STOP. This feature works HZ 20 50 100 200 500 1K 21( 5K 10K200( by recording a special cue signal at the change automatically to the following SP +0.-3 dB, 80 Hz to 9.3 kHz start of each recording session. When one.) DAILY PROGRAM enables you to LP 1/4, -3 c113, 70 Hz to 5.8 kHz - - - EP 44. -3 dB. 66 Hz to 3.1 kHz the cue signal is detected, the deck record the same program each day of AUDIO S,N RATIO (re 0 -dB output; R/P; A -weighted) enters FORWARD SEARCH for about ten the week (except Saturday and standard VHS Hi-ff seconds so you can check the program, Sunday), while WEEKLY PROGRAM SP 4747 dB 843/4 dB then races to the next one. When you enables you to record the same LP 43 dB 841/4 d13 463/4 dB It dB find the selection you want, you can program on a specific day of each EP INDICATOR CALIBRATION (315 Hz; VHS Hi -F) stop the search by pressing PLAY. For week (including Saturday and Sunday) for 0 -dB input >+8 dB the less adventurous, there's also a with a single entry. PROGRAM REVIEW tor -10-dB input +3 dB MEMORY REWIND that returns to counterdisplays each of your commands DISTORTION (THD at -10-dB input, 50 Hz to 5 kHzL standard VHS Hi -14 "9999" and stops. (starting with the lowest program SP lc 2.10% ' 00% You'll search in vain for a number) for ten seconds, after which it LP < 2.70%' < 098% conventional tape counter, however: steps on to the next. CLEAR enables EP 5 3.09%* S 0.98% the VKT-650 has its own you to correct an error or change the CHANNEL SEPARATION (315 Hz; VHS Hi-Fi) 69 dB microprocessor and video display programming while TIMER sets the 'Not reliably measurable above 3 kHz in LP or 1 kHz in EP system that presents such information system for automatic turn -on; the on the monitor. There is a front -panel system retains its memory for as long clock, but even this information is as 60 minutes in case of a power presented on the monitor as well. In failure. fact, you set the clock and program Whenever you press DISPLAY, the timer with the infrared remote control mode, channel number, and tape rather than with front -panel buttons. position are superimposed on the top of (The VKT-650 comes with its own the screen, while the date, day of the remote, but RCA says that the Digital week, and time appear along the Command Center included with its bottom for about ten seconds. In fact, ColorTrak 2000 monitor/receivers can whenever you press a major mode serve the same purpose, so if you have button, the new mode and tape position an all -RCA system, you need juggle appear momentarily on the screen. You only one controller.) Pressing PROGRAMhave several choices of how the tape displays a computer -like "menu" on position is displayed: by elapsed time the screen. It gives you five choices: from the beginning of the tape, time clock set, normal program, daily remaining, or counter number. Which program, weekly program, or program will be displayed depends on how review. Press the appropriate number you've programmed the VCR. on the ten -key pad, and you're in COUNTER switches the display from business. time to counter and vice versa. For example, pressing "1" (clock (MEMORY REWIND functions only in the set) changes the display to "CLOCK counter mode.) TIME REMAIN puts up SET TIME - -." Enter the current the time remaining on the tape. time via the keypad, and the display Topping off all this automation is a indicates the time and asks whether it front -panel button labeled "XPR" that is AM (1) or PM (2). Tell it, and it will turn off the VCR at a preselected Laboratory data for HIGH FIDELITY's video equip- asks for "DATE -/-/-." Enter the time. Each press of the XPR button ment reports are supplied by Diversified Science month, day, and year in numeric adds 30 minutes to the time remaining Labosatories. Preparation is supervised by Mi- fashion, and the VCR figures out what before turnoff, up to a maximum of chael Riggs, Peter Dobbin, and Edward J. Foster. All reports should be construed as applying to day of the week it is and displays that four hours. the specific samples tested. HIGH FIDELITY and as well! To end the clock -setting In addition to programming, the DiversifiedScience Laboratories assume no sequence, you press PROGRAM again. remote governs recording, playback, respc nsibility for product performance or quality. SEPTEMBER1984 53 111111111111111111111111111111[11111111111111111111111 1111111111111111111j11111111111111I1J11111111111 1 1 1 11 11 11 1 1 1 1 1111 11 11 1 1 1 1 NEW TECHNOLOGIES INDICATOR "BALUSTICS" Response time 4.2 msec Decay time +.1E13 msec Overshoot +3 dB FLUTTER (ANSI weighted peek; R 'P) standard VHS Hi-fi SP 0 17% avg 0 01% 1 -0.20% avg <±-0.01% EP 0 25% avg -001% SENSITIVITY (for 0 -dB output; 315 Hz) mike hne VHS Hi-Fi NA TAT standard mT/ AUDIO OUTPUT LEVEL from 0 -dB input, 315 Hz) VHS Hi-Fi I 75 volts standard 0.42 volt AUDIO INPUT IMPEDANCE line (VHS Hi-Fi) 68k ohms mike - 34k ohms MIKE INPUT OVERLOAD (1 -kHz clipping) 38 mV COLOR CONSISTENCY for the VKT-650's recorder section running at the SP speed VIDEO RECORD/PLAY RESPONSE (left) and for its TV tuner (right). (The results for the VCR in LP and EP are virtually SP U EP identical to those in SP, so we have omitted the vectorscope photos for the slower e t 500 kNz -1V4 dB -11/4 dB -1 dB speeds.) In each case, the ideal world be for the cluster of dots toward the left edge at 1.5 MHz - 53/4 dB -6 dB -53/4 dB of the grid to be a single dot at the intersection of the nine -o'clock axis with the e t 2.0 MHz -8 dB -8 dB -744 dB et 3.0 MHz -13 dB -16 dB -14 dB circumference. The radial spread of the dots indicates chroma differential gain, e t 3.51 MHz - 20 dB -21 dB -31/7 dOt which is a measure of how much chroma level (color saturation) varies with et 42 MHz to rt it changes in scene brightness (luminance). The angular spread shows the chroma SHARPNESS CONTROL RANGE differential phase, which tells how much chroma phase (hue) shifts with changes in at 500 kHz + 144, -11/4 dB brightness. Both the tuner and the VCR perform well in this test although the former at 1.5 MHz 4 33/4. -3 dB shows a large differential gain at the highest luminance level. et 2.0 MHz s CA -93/4 dB 30 to 42 MHz no measurable effect LUMINANCE LEVEL SP 2% nign LP 3% high EP high pause, stop, fast -wind, and search. generates its own video synchronization GRAY -SCALE NONLINEARITV (worst Lase From PAUSE, you can advance the tape signal, enabling you to take advantage CHROMA LEVEL a frame at a time or enter slow motion, of VHS Hi-Fi's wide dynamic range SP CIS with up and down buttons to vary the LP dB low and smooth frequency response for EP --VA dB low speed. You can also view at double - audio -only recording. In playback, you CHROMA DIFFERENTIAL GAIN -10% speed or in reverse. There are even can choose to listen to the VHS Hi-Fi CHROMA DIFFERENTIAL PHASE +4° tracking control buttons on the remote, track (FM), the edge track (line), or a MEDIAN CHROMA PHASE ERROR as well as a button that enables you to mix of the two for sound -on -sound. SP +4° switch between antenna and VCR LP +6° A novel and well -considered EP 4 5* output to your TV tuner or receiver's feature is a switchable high filter that 'Uocay time for peak -hold cursoris approximately 1,000 VHF terminals. works only on the edge track, to milliseconds lone second) The VKT-650's built-in tuner tUnstable. This is a peak reading suppress tape hiss, and there is an ALC ttToo low to measure scans the VHF and UHF bands and as that sets recording level automatically many as 63 cable channels. As many on both the edge and VHS Hi-Fi as 80 of them can be programmed into soundtracks when it is invoked. Six memory for sequential access via the buttons are used to program the desired up/down channel switch on the front channels into the 80 -station tuner panel or the remote. Or you can tune memory. A dimmer switch tones down any channel directly via the remote's (rather too much, in our opinion) the keypad. lighted displays. Behind a front -panel door are a The back panel is comparatively number of secondary controls and a simple. There are the normal coax F headphone jack (with its own VOLUME) connectors for VHF antenna input and for private listening. Among these are output to a conventional TV, twinlead a recording speed switch (which we screw connectors for 300 -ohm UHF would have preferred outside the input and output, pin jacks for direct door-a quibble considering that audio and video inputs and outputs, a playback speed is selected standard mono phone jack for automatically) and tracking and microphone input, and a miniature sharpness wheels. The latter phone jack for remote camera pause. accentuates or softens picture detail, Two switches select between the VKT- but only in playback-not recording. A650's own remote unit and the unified recording mode switch chooses the RCA Digital Command Center remote- camera input, the built-in TV tuner, or control system and between broadcast a special mode in which the VKT-650 and cable RF input. 54 HIGH FIDELITY 1111111111111111111111111111111111111 111 11 1 111 11111 1 11 111 111 11 11I11 1111111111111111111111 NEW TECHNOLOGIES Considering the VKT-650's wide range of features, the owner's manual leaves something to be desired. Although it's well written and in good English, it fails to explain some of the unit's eccentricities. (But perhaps we're being unduly critical, for the peculiarities we found seem calculated to simplify operation for the average user.) Only by contacting RCA could we confirm some of Diversified Science Laboratories' findings: that the sharpness control affects only playback, that the microphone input is monophonic and always is controlled by the ALC independent of the ALC VCR COLOR ACCURACY is very good and nearly the same at all three speeds. (The switch setting, that the microphone vectorscope photos shown here are for SP, which is tie fastest.) The left-hand photo input records only on the edge track, shows the uncorrected color. A.-dB increase in chroma gain and a 4 -degree clockwise phase rotation puts all six color vectors ( he small white blobs near the that the high filter affects only edge - circum'erence of the grid) onto or very near their targets, as shown in the right-hand track playback, that the recording level photo. This simulates the best results one could ootain using the color and tint controls must be advanced to get signal controls on a monitor. The diffuseness of the color vectors is caused by chroma from the direct audio outputs (unless noise, which would show up in a video image as fl 3cks of colored snow. Chroma the ALC is activated), and that cables noise is lowest in SP and considerably grewer in EP, which is the slowest speed. must be connected to both left and This is the usual pattern, and in no case is the noise worse than average for a right audio inputs and outputs if the videocassette recorder system is to record and play in stereo. (If only one input cable is connected, the same information is recorded on both channels; if only one output cable components. One caution, however: If is connected, the L+R sum is fed to you turn the recording level controls all the stereo system.) the way up when listening to a broadcast with ALC off, the output VKT-650's measured circuit will clip on fully modulated THEperformance is quite good. Tuner signals. Keep the recording level video response holds up within indicator on scale, and you'll have 23/4 dB to the color -burst frequency nothing to worry about. (3.58 MHz) and shows substantial The VCR's video performance is dropoff only at the resolution limit of about par. Response holds up the NTSC system (4.2 MHz). Chroma reasonably well to 2 MHz at all three differential gain and phase are speeds, implying a horizontal picture negligible except for some loss of colorresolution of about 160 to 200 lines. In saturation at the highest luminance the EP (SLP) mode, response rises at (brightness) level. Chroma level (color 3.58 MHz, but the output at that saturation) is a trifle low to begin with, frequency is too unstable to be reliable. and chroma phase (hue) accuracy also The SHARPNESS has maximum effect at is slightly off the mark, but both can 2 MHz, although there is measurable be corrected with a monitor's tint and effect at lower frequencies as well. In color controls, so that the final result is fact, advancing theSHARPNESSmakes excellent. Luminance level is only a the response quite uniform all the way trifle high-again, easily corrected- to 2 MHz, a feat few VCRs can match. and gray -scale linearity is very good. This makes a noticeable improvement The tuner's audio performance is in picture detail, albeit at the cost of not quite up to its video prowess, but some increase in noise (snow). Gray - it's adequate. There's a gradual rolloff scale linearity is perfect at all three below 100 Hz, and though the signal- speeds, chroma differential gain and to-noise (S/N) ratio is good, it's phase are negligible, and chroma level certainly not in the "excellent" range. and phase accuracy are notably good. The horizontal -scan component is Except for some improvement in reasonably well suppressed, and chroma noise, there's no reason to distortion is a bit lower than average. choose SP or LP recording over the Output impedance is low enough and tape -saving EP mode-especially since the level high enough that there should the VKT-650's special features work be no problems mating the unit to other best at that speed. VHS Hi-Fi 55 SEPT E MBER 1 9 84 NEW TECHNOLOGIES TV TUNER SECTION All measure Irrect audio and video outputs AUDIO FREQUENCY RESPONSE 08 VICT460 0 5 HZ 20 50 100200 500 18 211 511 10K 2015 +0. -3 dB. 110 Hz to 20 kHz AUDIO S N RATIO (A -weighted) best case Ino video signnll 49 dB worst case dominance staircase) 33 dB RESIDUAL HORIZONTAL SCAN COMPONENT (15.7 kHz) -37 dB MAXIMUM AUDIO OUTPUT (100% modulation) ALC off 1 78 volts ALC on 041 volt AUDIO OUTPUT IMPEDANCE 350 ohms TUNER COLOR ACCURACY is very good. The vectorscope photo at left indicates low VIDEO FREQUENCY RESPONSE color saturation (chroma level) and a small amount of hue (chroma phase)error. The photo at right et 500 kHz -1/2 d8 made with 21/4 dB additional chroma gain and approximately 6' 7 al 1.5 MHz -1 dB degrees of clockwise phase rotaticn -simulates the best resultsone could obtain all 2.0 MHz -11/2 dB using the color and tint controls on a monitor. This adjustment brings all six color at 3.0 MHz -2 dB vectors (the small white dots near the circumference of the grid) onto or at 3.58 MHz - 244 dB very near at 42 MHz -153/4 dB their targets, which is excellent performance. Indeed, the actual spread is TL -2' degrees or less. LUMINANCE LEVEL 17% high GUY -SCALE NONLINEARITY (worst case) 11% CHROMA LEVEL ce low CHROMA DIFFERENTIAL GAIN 40% CHROMA DIFFERENTIAL PHASE +5" CHROMA PHASE ERROR performance is virtually identical in all provides the least dynamic range, but it red + 6° three modes, with unmeasurably low can be brought almost up to parity with magenta + 6° blue +4° flutter, almost perfectly flat frequency the others with the high filter. cyan +9° response across the audio band, signal- Frequency response and flutter are only green +7° +6 to-noise ratios of more than 80 dB, and a trifle better in LP than in EP, and the median error +61/2° distortion that is quite low at our special features work least well in the uncorrectable error )+2W "standard" test level, remaining at or LP mode, so there's little reason to below 1 percent from 50 Hz to 6.3 choose it. kHz and only just nudging 21/2 percent Our hands-on evaluation confirmed at 10 kHz. To check the tracking the bench tests in all essentials. Audio accuracy of the VHS Hi-Fi noise performance with VHS Hi-Fi recording reduction system, DSL measured the is about all you could ask for-a giant frequency response at a number of step above "linear" recording, which recording levels, ranging from 10 to 40 is better than average on this deck. The dB below the midrange 3 -percent THD tuner proved to be reasonably sensitive (total harmonic distortion) point. in our fringe area, especially on the Although not perfect, the tracking upper VHF channels. Chroma noise is accuracy is well within the realm of lowest with SP recording, but except acceptability. for this, we'd adopt the longer -running DSL also measured the audio EP mode for all normal use. There's performance of the standard edge track,little discernible difference in picture although it's rare that you'd resort to it resolution between EP and SP with VHS Hi-Fi available. Compared recording and none in sound quality with that of other VHS decks, the with VHS Hi-Fi, yet EP is more VKT-650's edge track audio is economical and provides better (almost somewhat better than average, perfect) special effects. The VIDEO pus especially in the SP mode, where worked well during our trials, but we response holds up quite well to 10 kHz found it somewhat difficult to use and the noise and flutter are not too accurately. Undoubtedly, practice high. The noise figures are almost as makes perfect, and if we'd had longer good for EP recording, but flutter is to work with the deck, it might have about 50 percent worse and the high - become second nature. frequency response is cut in half. At We're impressed with the RCA both speeds, engaging the high filter VKT-650, and in light of its vast array (which is about 3 dB down at 6 kHz) of features (the on -screen improves the signal-to-noise ratio by 4 programming, especially), we think it's to 5 dB. a steal. Certainly it deserves your Inexplicably, LP recording careful scrutiny. HF 56 HIGH FIDELITY POPULAR VIDEO A NIGHT WITH LOU REED. Boggs Baker Productions, Inc. RCA, L ME VIDEO BE 91090 18,' f. 92. VH 91090 IVHSI. $29.95 ANight with Lou Reed" is exactly that. A few dark shots down these mean streets support a two -sentence voiceover introduction claiming Reed is "the single most pervasive influence on the new wave and rock music of today." I certainly can't argue, though it's not my justification of choice for watching this videotape. Almost immediately we are backstage in Manhattan's sold -out Bottom Line, April 1983. Reed, founder of the Velvet Underground and a rock and roll demi- legend for nearly two decades, paces the mirrored dressing room blowing smoke. Not exactly the average guy of "The Blue Mask," but close. Lou heads for the door. and the tape cuts to the stage, where an REEL His legendary status was beside Vie point at this histor c 1983 ccncert. enthusiastic crowd greets the best band Reed has ever assembled: Robert Quine, the only "scientific" guitarist I care about, wears a sport jacket, button-down shirt, shades, and no discernible expression; City in the summer of 1970. Neither overly And oh, the chords! fretless bassist and fusion sessionman dramatic nor obviously self-conscious, he Women, sung for maximum Fernando Saunders and Material drummer concentrates on presenting a great song as if suggestibility and graced by a slow, regal Fred Maher are cuter, though not exactly it were just that, not a revered ruin, a fossil feedback solo from Reed, and Waves of dressed to kill. Lou strides out in a short freighted with lurid imaginary history. And Fear, with enormous chords and an extreme black -leather jacket and jeans, dressed for oh, the chords! I'm Waiting for My Man, Quine-Reed exchange. precede a work, and kicks right into Sweet Jane. For also from the Velvets, follows, and I'm straightforward and respectful Walk on the the next hour, one of America's most transfixed by my TV. Somehow singing Wild Side. Lou's postmodern blues guitar important songwriters showcases much of heads are riveting after a year of dwarfs and on Turn Out the Light surfaces from a his best music with a superb and garter belts, the false pregnancy of MTV. crystalline place somewhere between Crazy sympathetic band. The legion of people he Quine's solo builds the tension as the band Elephant (remember Gimme Gimme Good has influenced is entirely beside the point leaps from the mid -Sixties to the mid - Lovin'?) and the Bobby Fuller Four. Then. this night. Lou Reed is as vital, as Eighties on Martial Law, with expressive in an exalted New Age, Reed demonstrates commanding, as he has ever been.. facial grimaces and string -bending solo -less the extraordinary power and beauty of And oh, the chords! Complex vocal drone, and a speedy Don't Talk to Me barely singing. I can see him thirty years on phrasing and elisions compensate for Reed's About Work (both from last year's in a grand armchair on a stage somewhere. loss of range and make Sweet Jane as lively "Legendary Hearts.") AR internalized but huskily talk -singing his way through his and clear as I remember it from the palpable intensity continues to grow out of remarkable repertoire: the Mabel Mercer of Velvets' vaunted last stand at Max's Kansas the material, the playing, and the singing. rock and roll. Kill Your Sons, with an SEPTEMBER 1984 11 I 11 11 11 111 11 11 11 11 11 11 11 NEW TECHNOLOGIES appropriately threatening Quine-Reed drone the moderate volume levels dictated by the duel, gives way to "Transformer" 's POPULAR music, which is only slightly more forceful Satellite of Love taken as a tender ballad. COMPACT DISC than the ambient Windham Hill standard. which it actually is. The Velvets' finale. -SAM SUTHERLAND White Light/White Heat, and the anthemic Rock and Roll are prime examples of chord SHADOWFAX: SONNYSTITT: worship at its most transcendent. The crowd Shadowdance. Moonlight in Vermont, is exhausted. Lou is chipper. "I thought Chuck Greenberg, producer. Vas .n' Hat WD 1029 (analog record- ing. digital Compact Disc)LP WH 1022 K. Yoshimura, producer. Divas 38C38 7046 (fully digital Compact that was short and delicious," he crows at Disc) LP 1? 135 the dressing room camera. Me too. While this fusion sextet shares the "A Night with Lou Reed" is a reflective mood of most Windham The most eloquent examples of early remarkable tape. Consider it a companion Hill artists, its merger of folk and jazz is I stereo recording were straightforward piece to his import LP, "Lou Reed Live in live performances-not, ironically enough, Italy," recorded a few months after the the spectacular demonstration pieces usually Bottom Line shows. Add his latest, employed to dramatize stereo imaging. By somewhat poppier studio product, "New reproducing a soloist or small ensemble Sensations," and a summer tour with his with a realistic spatial perspective, wonderful band, and you've got a major producers offered a more practical and artist at mid -career, buoyed by the best of enduring argument for the new technology his earlier songs and building memorably than their knob -twirling peers. from there. This is a great concert that That's proving to be true of digital comes home intact. No posture, just stature. audio, too, if the first true digital CDs by See for yourself. -JEFF NESIN jazz artists arc any indication. This 1978 session by Sonny Stitt utilizes vivid presence, lifelike imaging, and immaculate detail: In short. "Moonlight in Vermont" is READY, STEADY, GO! (Vol. 1). a best -case scenario for the format. Dave Clark, producer.DAVE CLARA INTERNATIONAI PRODUCTIONS/PICTURF Although he's supported solidly by Ters/TuonN E.M.I. Vora TXF 2195 (Beta). $29.95: NE 2195 (VHS). $29.95 drummer Tony Williams, bassist Reggie Workman, and pianists Barry Harris and Ready, Steady, Go! (Vol. 1)" is a Walter Davis, Stitt doesn't carve out any delightful hour-long collage of new terrain stylistically here. The program performances by 14 charter -member British of standards tends to emphasize his kinship Invasion bands who appeared on this mid - with other pop -bop tenor saxophonists Sixties English teen television show rather than distinguish him from them. But modeled after American Bandstand. What's everyone's playing is enhanced by the most striking about watching the program nuances of digital sonics anyway. As with today is that the excitement these acts Denon's classical CDs, acoustic character generate is barely diminished by the fact retains warmth while gaining clarity, that almost all of them lip-synched their particularly in regard to Stitt's own rather songs. Because most groups were presented dry timbre and his alternately angular and that way on television 20 years ago, the buoyant phrasing. Williams's drumming is performances seem perfectly natural for the STITT: ideal CD circumstances predictably fluent, and the piano sound is time frame involved. open and well realized. The video is expertly assembled by American labels may soon be changing Dave Clark Productions (yes, as in the their minds about offering jazz on Compact Dave Clark Five, who sneak into this tape Disc. Programs such as this one can only for two non -Ready, Steady, Go! songs that quite a departure from the music of the encourage them to do so quickly. -s s are innocuous enough to be easily digested acoustic soloists who dominate that roster. amidst the bountiful surroundings). It begins Coleaders Chuck Greenberg on lyricon, sax, with 1964 carefree, fresh -faced Beatles, and flute and G. E. Stinson on guitars give CLASSICAL climaxes with 1966 borderline -psychedelic the group a lot of its charm. Rolling Stones, and rarely allows one room The label's high -quality analog COMPACT DISC to breathe in between-what with versions are already solidly produced, so appearances by Dusty Springfield, the Who, this Compact Disc falls short of spectacular PUCCINI: Georgie Fame, the Searchers, the Animals, revelations. There are refinements. Turandot. Lulu, Van Morrison and Them, and even however: The exotic spectrum of PRINCIPAL CAS; comedians Peter Cook and Dudley Moore. percussion, played by Stuart Nevitt and four Turandot Kama Ricciarelli is) Especially engaging are the show's guests who appear on different songs, is Lib Barbara Hendricks 141 often hysterical interviews: George Harrison even more delicately realized here. Calaf Placido Domingo (t) deadpanning that his "favorite girl film especially in quiet passages. Greenberg's Vienna State Opera Chorus, Vienna Choir Boys, Vienna Philhar- monic Orchestra, Herbert von KarMan, cond. [Michel Glou and star" is Margaret Rutherford ("A real piquant reeds and Jamii Szmadzinski's Gunther [Freest. prods 1 DEUTSCHE GRAVISIOPHON CD 410 096-2 (fully digital Mod!" yells John Lennon), and Eric Compact Disc) LP 2741 013 (three discs) reviewed 6/83 Cassettes 13) various acoustic and amplified violins are 3382 013 Burdon explaining that his band got its immaculately rendered; Stinson's chiming name because "we look like animals." All 12 -string chords ring with added presence. U erbert von Karajan's Turandot (as one in all, "Ready. Steady, Go!" is a great Analog tape hiss is moot, given both I I is forced to call it), which reveled in treat, and well worth the money you'll be the superanalog quality of the master and the lush exoticism of Puccini's luxuriant saving by not buying "That Was Rock (The orchestration (three kinds of gong!), would TAMI/TNT Show)" (see review, July]. For additional reviews of Pop and Jazz recordings, seem to be a natural for Compact Disc. So, -BILLY ALIA; \ see BACIMAT. more or less, it proves. 58 HIGH FIDELITY In his recent operatic efforts. Karajan The bestway has paid far less attention to the voices themselves. Singers have sometimes seemed curiously irrelevant to his palette: A showy to putbagethera profligacy in filling the minor roles-Agnes Baltsa as the Zauberflate second lady. Katia Ricciarelli as the Aida priestess-is oddly matched by an undercasting of the leads. In an apparent attempt to escape stale opera house conventions, Karajan has often chosen to work with younger singers. souprorjdsysfessiont emal unseasoned in a given role. Sometimes this leads to genuine discovery (Hildegard Behrens, his Salome). more often to is tolet stretching younger voices (Jose Carreras in Aida) or lighter ones (Mirella Freni in the same) up to and even beyond their limits. So it is with Ricciarelli, leaving professionals do it. Karajan's production as headless as most of the icy Turandot's other suitors. A The professicnals at Toshioa VVi-h their incredible temptingly lyrical opening to "hi questa Systen 55. reggia" seduces, only to turn edgy, but And what a syster-.inckdes an integrated amplifiF never powerful. never thrilling, never with E5 watts per channel', a cirect drive -.urntable, a digit terrifying. The final surrender is built-in: syntnesized t_ner, a full auto -reverse cassette deck, a set of This voice encodes from the start its own lack of conviction at imperial utterance. But 3 -way spe5ke-s, plus the ootiors of a compact disc player ani Ricciarelli's shortcomings have been a 2C -band graphic equalizer. Al erclosei in an elegant anatomized superbly by Matthew cabinet wi-h glass door and top. Touch with Tomorrow Gurewitsch in the June '83HIGH FIDELITY, Tcshipa's System 55. It'; so I will not belabor. one of the sc undest investmentsTOSHIBA Elsewhere, better luck, down to the Toshiba Ametica, he .112 Totowa Road. Wayne. NJ 3707. best (most Gozzi-like) trio of councillors on you'll ever rrEke. *85 watts per :halve!, Iv, mum WAS power intoahem, . record. Placido Domingo, who has from n tc 21,-1001-z mil no more than 0.059E 1110 occasionally seemed like more tenor than is strictly necessary for Puccini, a Radames rather than a Rodolfo, trumpets a power far stronger than anything thrown in his path here. In this role the steel in his voice is welcome. There's genuine fury in his "Prineipessa di Bela" response to Liirs death, but also a seductive warmth, almost teasing, in his challenge to Turandot to "Dimmi ii mio name," and an abundant lyrical energy in "Nessun donna." Barbara Hendricks, she of the lambent highs, offers a Liu of tempting plangency and =3T-13LI7t 4 Ott VW vulnerability. Her exchanges with Calaf are loving but deferential, her suicide a slave's pledge of a love otherwise unattainable. That suicide is one of the production's finest moments, the shocked crowd more saddened than angered, its pianissimo grief (played off against solo violin) a surprise ...4-etett .. EF1+1."-IE after its earlier unslakable thirst for blood. - Perhaps that surprise is misplaced. however. for this is a score in which Puccini really " lei/Jai/MI seems to deny himself nothing: organ. boys' chorus, enough percussion to keep a whole union happy-you imagine the composer's disappointment at merely simulating that first -act choir of departed spirits. Sometimes the Orientalism does get a bit back -lot MGM, the effect more Chun -King than bone china, but isn't that the nature of musical impressionism? In intent. the canned Chinoiserie is really no different For additional reviews of classical recordings, see Classical Reviews. EMBERMBE R 1984 NEW TECHNOLOGIES from the "fire music" that comes when the conductor's Berlin venue than of its wider range of color, particularly on those Rodolfo burns his manuscript, merely more own playing under more genial masters. ethereal choruses, but seems to lose a hair's skillful. Deutsche Grammophon captures the worth of detail on the brass climaxes. As Karajan and the Vienna Philharmonic orchestra's sonic splendors with cunning always, CD offers a rock -solid bass, while really have a field day here, from gong and transparency. Between CD and LP the both formats have a hint of that edge the brass to the gauzy, muted strings and differences are subtle, and they could be digit -bashers find unbearable (but less of it chimes. Seldom have delicacy and power obscured by the idiosyncrasies of an LP than in many previous Deutsche been accorded such equal shares in so rich front end. As so often, the Compact Disc Grammophon releases). Overall, first-time and pungent a tapestry. Karajan once again will seem like a more astonishing success purchasers would probably prefer the proves himself the finest colorist of the when counterposed against a garden-variety Compact Disc, while owners of the album podium since Stokowski, and the orchestra turntable, arm, and cartridge, less so against might as well hang on to what they've got. plays with a precision reminiscent more of better. The CD does offer an apparently DG's fold -out plastic box, complete with legible CD -size libretto, is the most elegant solution I've seen to packaging the silver saucers. -THOMAS W. RUSSELL III Polk's True Stereo SDA Speakers Sound RACHMANINOFF: Symphony No. 2, in E minor, Op. 27. Amsterdam Concertgebouw Orchestra, Vladimir Ashkenazy, cond. 'Andrew Cordall. prod I LONDON 400 081 2 LH (fully digital Compact "Spectacular" "Astounding" Drscl LP LIN 71063 Stereo Review Magazne High Fidelity Magazine Vladimir Ashkenazyis recording all of Rachmaninoff s orchestral works with The Nation's To) Audio Experts Agree: the Concertgebouw Orchestra, and, with the Polk SDAs Always Sound Eetter Than Conventional Speakers exception of the concertos and Paganini Rhapsody, the task is virtually complete, with only a few of the relatively minor works not yet available. As of this writing. however, only the three numbered symphonies and the Youth Symphony New SDA Compact Reference System - fragment are available on Compact Disc. The World s Best This recording of the Second was the Sounding Bookshelf first to be issued on LP, and it has been Loudspeaker 5395 generally well received in that format. While there are many admirable qualities to it. the engineers surely have not captured the true sound of the Concertgebouw wilitoorgeo Orchestra. Decca/London's old monophonic LPs of the orchestra with Eduard van Hear the Remarkable Sonic Benefits Now! The Newest "Mind -Boggling" SDA Fits Beinum conducting-particularly the discs 'You owe it to yourself' Beautifully on Your Bookshelf! of Sibelius's En Saga and Tapiola, High Fidelity Magazine Polk's AudioVideom Grand Prix Award win- Schubert's Rosamunde, and Mendelssohn's Listeners' jaws drop when they hear the ning SDA technology has been called the Midsummer Night's Dream-were far better huge. lifelike. three-dimensional image pro- most important fundamental advance in balanced and sound superior to this new duced by the SDAs. Stereo Review said 'The loudspeaker design since stereo itself. Now digital effort. (Of the later recordings in the result is always better than that achieved the dramatic audible benefits of Polk's exclu- present cycle, those of the First and Third by conventional loudspeakers.' High sive True Stereo SDA technology are avail- Fidelity agreed. -An amazing experience able in an elegant new loudspeaker which Symphonies offer a more satisfactory sonic . . . Mind -Boggling . . . Astounding . is ideal for bookshelf placement, the SDA perspective of the orchestra, although they. Flabbergasting . . . We have yet to hear any Compact Reference System. Write us or use too, are not all they could be.) stereo program that doesn't benefit." the readers service for information and the The digital mastering provides a very silA name of your nearest Polk dealer. wide dynamic range, but the string tone is 111e1141111 /Digital Disc Ready surprisingly thin, the distant pickup is unflattering to the woodwinds, and the brass lacks that unique Concertgebouw "bite" that distinguishes most of its recordings. There is also considerable evidence of "dial twiddling." Unfortunately, Ashkenazy is a grunter. as Glenn Gould was, and his audible vocal contributions to this recording are annoying, particularly at the beginning of the Scherzo. There are many felicities of orchestral performance to enjoy here (curiously, a surprising trumpet mishap at the end of the Polk audio Scherzo that should have been remade for The Speaker Specialists' the LP is barely noticeable on the CD), but this is hardly a definitive recording of Polk Audio. Inc1915 Annapolis Rd Rachmaninoff s most romantic symphony. Balimore. MD 21230 -ROBERT E. BENSON HIGHFIDELITY 11111111111111111111111111111111111111 A Rubinstein Feast Reissues of recordings by this grandest of 20th -century pianists will delight you whether you're a gourmet or a first-time sampler. Reviewed by Thomas L. Dixon Life means living,not escaping. People go to doctors and ask, "What vitamins shall I take?" What good are vitamins, I ask you? Eat four lob- sters and a pound of caviar. Live! -Artur Rubinstein WHAT A SPREAD! What afeast of Rubinstein in ten new reissues from virtually every period of his amazingly fer- tile career as a recording artist. But also, what a formidable subject for review. The solution? Why even bother to review (at least in the narrow sense of that term) these magnificent, gilt-edged musical securities? Why not provide what may be more suit- able to the occasion . . . a joyous medita- tion on this portion of Rubinstein's great legacy. Let us begin with the Chopin. The four Seraphim reissues have been available for quite some timeas German Electrola imports. An examination of each record reveals little difference between the imports and the new domestic pressings; the trans- fers and surfaces sound extremely close in quality. (However, a comparison between this latest edition of the 1936-37 Nocturnes and an HMV reissue from the mid -1950s suggests that not as much progress has been made in 78 rpm transferring as is commonly supposed.) When one passes beyond such mundane matters to consider which Rubin- stein performance of any work stands out most, one had better be prepared to write a book, not a review. Case in point: Rubin- stein recorded the Chopin F minor Concerto four times. (There is yet a fifth version to iY come, a 1960 Polish performance of which Rubinstein himself was said to have been It was hot work if you could get it; Rubinstein got it year after year. very fond.) Each of the four has its merits, but how can anyone really choose between Rubinstein and Sir John Barbirolli, or Wil- almost all downhill after the 1930s-I as provocatively as it is by such a re -cre- liam Steinberg, or Alfred Wallenstein, orwould suggest thatRubinstein's career ative artist as Alexis Weissenberg. Eugene Ormandy? pasied through several interesting phases, RCA's digitally remastered recording With that much said, let us welcome none of which I could place above the oth- of the Nocturnes and Waltzes, the first vol- these samples of pre-World War II Rubin- er. Curiously, listening to these earlier per- ume in a projected long series, presents any stein as the fine recordings they all are, formances convinces me of the validity ofRubinstein addict with two problems, one without exception. They may not be his Rubinstein's pioneering Chopin interpreta- minor. the other quite major. First, the greatest Chopin discs, but again, who is to tions as against, say, the interpretations ofminor issue: Is the cost of this new digital decide which ones are? Unlike Samuel Lip- Alfred Cortot and others. But the musical version justified, especially to those collec- man-who in a recent, warped assessment reactionaries of those days apparently tors who already own the original mid - of Rubinstein's career in Commentary (inregarded Rubinstein's playing with much 1960s discs? Absolutely! To my ears these quite severe contrast to his normally acute the same prissy horror as do the reactionar- newly remastered performances sound sim- sense of pianists) maintained thatit was ies of today when Chopin's music is played ply marvelous. If this volume is a faithful SEPTEMBER 1984 61 preview of what we may expect, no true B flat, for example, falls far short of per- ing to play them better. But the first ver- Rubinstein collector can possibly be with- fection. Still, what vitality is present in this sions remained the best" (page 499 of M out them. 1929 effort (and what a startling contrast to Many Years). The Beethoven Fourth is also However, this thought leads directly to the recent Vladimir Ashkenazy /Bernard a wonder,if for no other reason than the major problem: A recent statement from Haitink performance. so finished, so pol- because Rubinstein and Sir Thomas Bee- RCA suggested that the label plans to carry ished, so poetic. so dull). cham present us with a refreshing view of its Rubinstein series only as far back as Indeed, this setis welcome almost this refined work, so different from some 1950. One must take great exception to that beyond measure because it finally restores ponderous Germanic efforts. One is almost and urge the powers -that -be to move their the legendary Rubinstein/Barbirolli collab- tempted to second the conclusion of Lionel date yet further back, to 1940. Now that oration in the Tchaikovsky Concerto, per- Salter, who first reviewed this performance EMI Electrola has almost exhaustedits haps the one major performance that bears in the October 1949 Gramophone: ". . holdings. RCA remains the only source forout what Rubinstein himself said in his nobody need bother to record this concerto certainRubinsteintreasures, many of book about his recordings: " . . . I made again"! which have never seen the light of LP. For several recordings of each. every link' try- (Continued on page 87) instance, what about the great 1942 Grieg Concerto with Ormandy? What about a prime Rubinstein rarity, namely the single 45 rpm disc entitled "Artur] Rubinstein A Selection of Rubinstein Reissues Plays [Anton] Rubinstein" (RCA 45 EP, Compiled by Mildred Camacho-Castillo ERA 205)? One might ask even more: Why CHOPIN: Polonaises (7) and Scherzos (4). not combine those two items with his in C minor: Op. 63, No. I. in B: Op. 33. No. 2. in D: Amur Rubinstein. piano. )Recorded 1932 -35.1 Berceuse in D flat. Op. 57. GRANADOS: Goyescas. uniquely flamboyant 1947 Liszt E flat Con- SERAPHIM IB 6131 (two discs). Cassettes (21: 4X2G No. 4 ("La Maya y el nsisenor"). VILLA -LOBOS: certo, done in Dallas with Antal Dorati 6131. (Distributed by Angel Records. 1750 Vine St.. Prole do bebe. No. I: "Moreninha.- "A Probesinha." (long unavailable on LP)? What a special Hollywood. Calif. 90028.) "0 Polichinello." Polonaises: Op. 26. in C sharp minor and E flat issue that would make! How about it. RCA minor: Op. 40. in A and C minor: Op. 44. in F sharp ARTUR RUBINSTEIN: Piano Works (22). . . . as long as you're atit.in heaven's minor; Op. 53. in A flat: Grande polonaise. Op. 22. in E Artur Rubinstein. piano. (Recorded 1928-47.1 name, why not dig deeper? flat. Scherzos: Op. 20, in B minor; Op. 31. in B flat EMI ELEcntor A IC 151-03 244/45 51 (two discs) (dis- While on the subject of such old gold. minor: Op. 39. in C sharp minor: Op. 54, in E. Polo- tributed by German News Co.). naise-fantasie. Op. 61, in A flat: Andante spianato. Op. ALBENIZ: Suite espatiola. Op. 47. No. 3 ("Se- one may as well examine the EMI issues, 22. in G. villa"): Navarra. BRAHMS: Capriccio in B minor. Op. beginning with the disc of Rubinstein 76. No. 2: Rhapsody in G minor. Op. 79. No. 2: Wie- encore performances and the two -record set CHOPIN: Mazurkas (51). genlied, Op. 49. No. 4. CHOPIN: Waltz in A flat. Op. of various piano works. Obviously, what Artur Rubinstein. piano. [Recorded 1938-39.1 34. No. I. DEBUSSY: Prelude. Bk. I. No. 10 ("Li appears on these German discs should also SERAPHIM IB 6132 (two discs). Cassettes (2): 4X2G Cathddralc engloutie'); Suite: Pour Ic piano: Prelude. 6132. FALLA: El amor brujo: -Danse rituelle du feu." be made available in the U.S. on Seraphim: Op. 6, Nos. 1-4: Op. 7. Nos. 1-5: Op. 17. Nos. "Danse de la frayeur." LISZT: Liebestraum in A. No. meanwhile, for those unafraid of import I -4;0p. 24. Nos. 1-4; Op. 30. Nos. I -4; Op. 33. Nos. 3. Op. 62: Hungarian Rhapsody in E. No. 10: Conso- prices (actually quite reasonable), here is 1-4:0p. 41, Nos. 1-4: Op. 50. Nos. 1- 3: Op. 56. Nos. lation No. 3. in D. RACHMANINOFF: Morceaus de the story. The three records present the wid- 1-3: Op. 59. Nos 1-3: Op. 63, Nos. 1-3; Op. 67, Nos. fantasie: Prelude in C sharp minor. Op. 3. RAVE'.: l.e 1-4: Op. 68. Nos. 1-4; Mazurka in A minor. Op. Tombeau de Couperin: Forlane. ANTON RUBIN- est possible view of the expanse of Rubin - Posth.: Mazurka in A minor C 'Notre temps''). STEIN: Valse-caprice in E flat. SCHUBERT: Sonata in stein's sympathies, yet something more: G. D. 894: Menuetto: Impromptu in A flat. I). 899. No. testimony to the fact that he. more than any CHOPIN: Nocturnes (19). 4. SCHUMANN: Romanzen in F sharp. Op. 28, No. 2: other pianist who comes to mind, never Artur Rubinstein. piano. 'Recorded 1936-37.1 Myrthen, Op. 25. No. I ("Widmung"); Kinderszenen. Op. 15, No. 7 ("Traumerei"); Arabeske in C. Op. made a dull record. The same observation SERAPHIM IB 6133 (two discs). Cassettes (2): 4X2G 6133. 18. might just as easily be made of the two -disc Op. 9. Nos. 1-3: Op. 15. Nos. 1-3:0p. 27. Nos. Electrola set of chamber music, which 1.2: Op. 32. Nos. 1.2: Op. 37. Nos. I. 2; Op. 48. Nos. BRAHMS; FRANCK: Chamber Music. 1, 2: Op. 55, Nos. I.2; Op. 62. Nos. I returns to active circulation (at last!) the . 2:0p. 72. No. I Artur Rubinstein, piano; members of the Pro Arte Brahms Piano Quartet and Rubinstein's (Posth.). Quartet*: Paul Kochainski. violint: Gregor Piatigorsky, only collaboration with the lamented Paul violoncello: Jascha Heifetz, violin **. [Recorded 1932- Kochanski. Incidentally, the sound on allCHOPIN: Concertosfor Piano and Orchestra: 37.1 EMI ELECTROLA IC 137 1544553 (two discs). No.1, in E minor. Op. 11; No.2, in F minor, BRAHMS: Quartet for Piano, Violin. Viola. and these EMI transfers is wonderful. They car- Op.21. Violoncello, No. I, in G minor, Op. 25*: Sonata for ry the same musical message to these cars Artur Rubinstein.piano: London Symphony. Piano and Violin, No. 3, in D minor. Op. 108t: Sonata that fine, restored antique furniture conveys Orchestra. John Barbirolli. cond. [Recorded 1937 and for violoncello and piano. No. I, in E minor, Op. 38'. to the hands and eyes: the honored past is 1931.1 SERAPHIM 60381. Cassette: 4X6 60381. FRANCK: Sonata for violin and piano, in A**. once again made useful and vibrantly effec- CHOPIN: Nocturnes (19) and Waltzes (14). ARTUR RUBINSTEIN: Concertos for Piam tive. The Brahms Cello Sonata certainly Artur Rubinstein. piano. 'Recorded 1965 and and Orchestra (5). needs no further recommendation, and the 1963; Max Wilcox. prod.' RCA RED SEAL ARL 3 5018 Artur Rubinstein.piano; London Symphom incandescent Franck Sonata with Jascha (three discs, digital remaster). Cassettes (2): CRK Orchestra. John Barbirolli* and Albert Coatest. conds. Heifetz makes one regret that this was their 5018. RoyalPhilharmonicOrchestra. Thomas Beecham Nocturnes: Op. 9. Nos. 1-3; Op. IS. Nos. 1-3: cond.':Philharmonia Orchestra.Walter Susskind only duo collaboration. (The reason why is Op. 27, Nos. I, 2:Op. 32. Nos. I. 2:Op. 37. Nos. 1, 2: cond.** (Recorded 1929-47.1 EMI Electrola IC 137 revealed on page 541 of the second volume Op. 48, Nos. I. 2; Op. 55. Nos. I. 2: Op. 62. Nos. 1.2: 1544273 (three discs). of Rubinstein's memoirs.) Op. 72. No. 1 (Posth.). Waltzes: Op. IS, in E flat; Op. BEETHOVEN: No. 4. in G major. Op. 58° The highlight among all these EMI 34, Nos. 1-3: Op. 42, in A flat: Op. 64. Nos. 1-3: Op. BRAHMS: No. 2. in B flat. Op. 83t. MOZART: No 69 (Posth.), Nos.I.2; Op. 7(1 (Posth.). Nos. 1-3: 23. in A, K. 488*. RACHMANINOFF: Rhapsody on i reissuesisthesetof concertos. What Waltz in E minor (Posth.). Theme of Paganini. Op. 43 *'. TCHAIKOVSKY: No delights await anyone buying this three -disc 1. in B flat minor. Op. 23*. treasure trove -but first, a word of caution. ARTUR RUBINSTEIN: Encores ( II). The orchestralcollaborationsarenot Artur Rubinstein. piano. 'Recorded 1928-34.1 RACHMANINOFF: Concerto for Piano and EMI Electrola IC 027 1435551. (German News Co.. always what we assume these days: in fact. Orchestra, No. 2, in C minor, Op. 18; Rhap. 220 E. 86th St.. New York. N.Y. 10028.) sody on a Theme of Paganini, Op. 43. there is a rather rough-and-ready quality ALBENIZ: Suite Iberia. Bk.I: "Evocacion": Artur Rubinstein, piano: Chicago Symphon' about some that may well annoy inexperi- Suite Iberia, Bk. 2: "Triana"; Cantos de Esparia. Op. Orchestra, Fritz Reiner. cond. 'Recorded 1956: Join enced collectors. The cooperation between 232: "Cordoba." BACH: Toccata. Adagio. and Fugue. Pfeiffer. remaster prod.) RCA ARP 1-4934 (halt -spew Rubinstein and Albert Coates in the Brahms in C, B.W.V. 564. CHOPIN: Mazurkas: Op. 56, No. 3. remaster). Cassette: ARK 4934. 62 HIGH FIDELITY Preview of the Forthcoming Year's Recordings, Part 1: LPs Because of the enormous volume of Compact this was the intention of the issuing label or dis- Choir), St (State), Op (Opera), Ac (Academy), E Discs slated for release during the coming year, tributor. Nor can we claim that our preview is a (Ensemble), Qr (Quartet), Qn (Quintet), Fest HIGH FIDELITY has decided to spread its annual complete accounting of allrecordings to be (Festival), or their foreign -language equivalents. preview of forthcoming recordings over several released by the companies represented here. For voice ranges: lower-case letters without issues beginning this month with the first of ourPlans change, and there will always be that very parentheses.For production and packaging: LP listings. In October, we will devote this space special album or CD that we weren't told about. Where knowri, number of records in multidisc to CDs. (Beginning in November, HIGH FIDELITY lists sets is given in parentheses at end of listing; other As always, we have tried to be as accuratenew domestic CD releases as they appear.) parenthetical symbols includes(single disc as our industry sources and our own good sense Please note the following use of abbrevia- rather than set), r (domestic reissue), h (histori- allow. The fact that a recording is listed here does tions, alone or in combination. For performingcal), d (digital recording), m (mono),I(live not, however, guarantee that it will be released in forces: P (Philharmonic), R (Radio), S (Sympho- recording). Initials and first names appear only as the coming months-only that as of press time, ny), 0 (Orchestra), C (Chamber), Ch (Chorus, needed. strong (*). King's College Ch, Cambridge; English CO, Cleobury Id). ACl1-.7%.I (Belgium Sousa Marches, Vol.IL Royal Marines Band. (distributed by AudioSource) Hopkins. Christmas at King's. King's College Ch, Cam- bridge; Cleobury (d). Bach:Complete Works for Lute.Junghanel (2). Angel Records, 1750 North Vine Street, Holly- Beethoven:Symphony No. 7 (arr. wind nonet). wood, Calif. 90028 Dombrecht. Octophoros. (*) indicates that the recording uses Direct Metal ASTREE (France) Kuijken, W. Kuijken, (distributed by AudioSource) Corelli:Violin Sonatas. S. Mastering (DMM) andispressedin West Kohnen. Germany. Schubert:Goethe Lieder.Soderstrom, Badura- Leclair:Complete Sonatas for Transverse Flute Skoda Id). and Continua.B. Kuijken, W. Kuijken, Kohnen (2). AUDIOSOURCE ANGEL See Accent, Astree (France), Denon, TR Records. Auber:Fra Diavolo.Mespld, Berbie, Gedda; Mon- AudioSource, 1185 Chess Dr., Foster City, Calif te Carlo Op, Soustrot (*). 94404. Bach:Violin Concertos; Concerto for Violin and Oboe.Perlman, Still; Israel PO (*). Beethoven:Overtures.London PO, Tennstedt (1. CAMBRIA Brahms:Violin Sonatas.Perlman, Ashkenazy (*). The Crown Years: The Historical Recordings of Donizetti:Luciadi Lammermoor.Gruberova, Concert Pianist John Crown, 1940-1953. Kraus; Royal PO, Rescigno (*). The Songs of Mary Carr Moore.De La Rosa. Ru- Dvot4k:Symphony No.9. Berlin PO, Tennstedt dat, Lenz. (*). Gershwin:An American in Paris (world premiere). Cambria Records and Publishing. Box 2163, Palos K. and M. Labeque. Verdes, Calif. 90274. Gounod:Romeo and Juliet.Mahan°. Kraus; Tou- louse 0, Plasson (1. Gounod:Saint Cecilia Mass.Hendricks, Dale, La - CONSORTIUM RECORDINGS font; Nouvelle OP, Pretre (*). See GSC Recordings and Laurel Record. Consor- Handel:Water Music.Linde Consort (*). tium Recordings, 2451 Nichols Canyon, Los An- Handel:Fireworks Music.Linde Consort (P), Trevor Pinnock conducts Handel organ geles, Calif. 90046-1798. Khachaturian:Suites: Spartacus, Gayneh.Royal PO. concertos on Archie. Temirkanov (.). Mahler:Das klagende Lied.Hodgson, Tear, DENON (Japan) Doese, Rae; City of Birmingham SO&Ch, Rattle (distributed by AudioSource) (*). ARCHIV Strauss, R.:Ein Heldenleben.Dresden StO, Blom- Violin Concertos.Perlman; Mendelssohn; Bruch: (released by Deutsche Grammophon) stedt (d). Concertgebouw 0, Haitink (*). Monteverdi:Vespers (1610).Taverner Consort. Bach:The Art of The Fugue; Goldberg Canons. Parrott (*). Musica Antique Köln (d). DEUTSCHE GRAMMOPHON Prokofiev:Peter and the Wolf.Perlman (narrator). Bach:Concertos (3): after BWV 1060. 1055, 1044. Rachmaninoff:Piano Works.Gavrilov (*). English Concert, Pinnock (d). Bach:Lute Suites.Sollscher (d). Rachmaninoff:Piano Concerto No. 2; Rhapsody Bach:The Well -tempered Klavier.Gilbert (dl. Bach:Mass in B minor.Monteverdi Ch; English on a Theme of Paganini.Ousset; City of Bir- Handel:Concerti grossi, Op. 3.English Concert, Baroque Soloists. Gardiner (d). mingham SO, Rattle (*). Pinnock (dl. Bach:Violin Sonatas and Partitas.Mintz (d). Rachmaninoff:Symphony No. 2.Los Angeles P. Handel:Organ Concertos, Opp. 4,7. Preston; En- Beethoven:Piano Sonaas, Vols. 1, 2. Barenboim Rattle (*). glish Concert, Pinnock (d). (dl. Ravel:Shiherazade.Duparc:Songs with Orches- Mozart:Piano Concertos 12-15.Bilson, Gardiner: Beethoven:Violin Sonatas, Nos. 4, 5.Kremer, Ar- tra.Te Kanawa; Brussels Op 0. Pritchard (*). English Baroque Soloists (d). gerich (d). Saint-Saens:Carnival of the Animals.K. and M. Vivaldi:Concertos. English Concert. Pinnock (d). Bernstein:West Side Story.Cast to be announced Labeque; Israel PO, Mehta. Trevor Pinnock: The Harmonious Blacksmith and (d). Wagner:The Flying Dutchman.Van Dam, Moll, Other Harpsichord Works (d). Brahms:Double Concerto; Academic Festival Vejzovic, Hoffman; Berlin PO, Karajan (*). Overture.Kremer, Maisky; Vienna PO, Bern- Walton:Shakespearean Film Scores.Royal Liver- stein (d). ARGO Brahms:Lieder.Norman, Barenboim (d). pool PO, Groves (*). (released by London Records) Music of 16th Century Rome.King's College Ch, Brahms:Piano Concerto No. 2.Zimerman; Vienna Cambridge (*). Franck:Organ Music.Hurford (d). PO, Bernstein (d). Popular Schubert Lieder.Popp (*). Mozart:Coronation Mass; Missa Solemnis.Mar- Bruckner:Symphony No. 8.Vienna PO, Giulini Popular Mozart Arias.Allen; Scottish CO. Arm- shall. Murray, Covey -Crump. Wilson -Johnson: (d). SEPTEMBER 1984 63 Haydn: Symphonies Nos. 88,92. Vienna PO. Bern- New York. N.Y. 10019. Leppard (d). stein Id). Janitek: Dances for Orchestra; Symphonic ex- Mahler: Symphony No. 7. Chicago SO, Abbado cerpts from opera. Rotterdam PO, Conlon (d). Id). DISCOCORP Liszt: Faust Symphony. Aler; Rotterdam PO, Con- Mahler: Das klagende Lied. Popp, Fassbaender, lon (d). Araiza, Allen; London Philharmonia, Sinopoli Bruckner: Symphony No. 9. Berlin PO, Knapperts- Liszt: Dante Symphony. Rotterdam PO, Conlon Id). busch (I, 1950). Id). Mendelssohn: A Midsummer Night's Dream. Schu- Chopin: Piano Sonatas Nos. 2, 3; Encores. Cortot Liszt: Sonata in B minor; Ligendes (2). Duchable bert: Rosamunde (excerpts). Chicago SO, Le- (h). (d). vine (d). Schubert: Lieder Recital. Hotter. Raucheisen (2: h, Mahler; Strauss: Quatuors avec Piano. Quatuor Mozart: Divertimento K. 563. Amadeus Qr (d). 1942-44). Ivaldi 1d). Mozart: Kegelstatt Trio; Duos. Kremer, Kashka- Wagner: Gotterdammerung excerpts.Flagstad, Mendelssohn: Elijah. Wiens, Watkinson, Lewis, shian, Afanassiev (d). Melchior, Janssen, Thorborg, Weber: Covent Luzon; O&Ch de la Fondation Gulbenkian de Mozart: Piano Concertos (continuing cycle). Bil- Garden Royal OpCh&O, Furtwangler (2.I. Lisbonne, Corboz (3. dl. son; English Baroque Soloists. Gardiner (d). 1937). Mozart: Arias. Baker; Scottish ChO, Leppard (d). Mozart: Sinfonia Concertante; Violin Concerto Wagner: Die Walkiire. Act ///. Flagstad, Bockel- Mozart: Symphonies Nos. 25, 40. Scottish ChO, No. /. Kremer, Kashkashian; Vienna PO, Har- mann, Muller: Covent Garden Royal OpCh&O, Conlon (d). noncourt (d). Furtwangler (I, 1937). Mozart: Symphonies Nos. 38, 39. Scottish ChO, Mozart: Symphonies 38, 39. Vienna PO, Bernstein Conlon (d). (d). Poulenc: Concertos (complete). Duchable, Collard, Mozart: Symphonies 40, 41. Vienna PO, Bernstein Alain, Koopman; Rotterdam PO, Conlon (2. d). Id). Purcell: King Arthur. Smith, Fisher, Priday, Staf- Mozart: Violin Sonatas. Perlman. Barenboim (d). ford, Elliott, Varcoe: Monteverdi Ch: English Mozart: Violin Concerto No. I; Rondos. Perlman: Baroque Soloists, Gardiner (2. d). Vienna PO, Levine (d). Scarlatti: Stabat Mater. Monteverdi Ch; English Mozart: Violin Concertos Nos. 2, 4. Perlman, Vi- Baroque Soloists, Gardinei (d). enna PO, Levine (d). Tosti: Songs. Raimondi; I Solisti Veneti. Scimone OrIf: Carmina Burana. Anderson, Creech, Weikl; (d). Chicago SCh; Glen Ellyn Children's Ch; Chicago Vivaldi: Catone in Utica. Gasdia, Zimmermann; I SO, Levine (d). Solisti Veneti, Scimone (2, d). Pergolesi: Stabat Mater. Marshall, Valentini-Ter- Vivaldi: Motets (complete). Gasdia; I Solisti Vene- rani; London SO, Abbado (d). ti, Scimone (3. dl. Puccini: Manon Lescaut. Freni, Domingo. Bruson; London Philharmonia, Sinopoli (d). Rachmaninoff: Piano Concerto No. 3. Argerich; Boston SO, Ozawa (d). GSC RECORDINGS Rachmaninoff: Symphony No. 1; 'Fantasy', Op. 7. Berlin PO, Maazel (d). (distributed by Consortium) Ravel: Daphnis et Chloe. Vienna PO, Levine (d). Paul Hindemith Anthology, Vol. 8: Quartet for Ravel: Piano Concertos. Argerich, London SO, Clarinet,Violin, Cello, Piano; Oboe Sonata; Abbado (d). Eight Pieces for Flute; Canonic Sonatine for 2 Scarlatt(: Guitar Recital. Yepes (d). Raymond Leppard conducts Haydn and Flutes; Concertpiece for 2 Alto Saxophones. Schubert: Symphony No. 9. Chicago SO, Levine Gray, Kamei, Solow, Smith, Ellis, Stevens. Mozart on Erato/RCA. Id). Stokes, Warkenton, Pittel, Rotter. Schumann: Symphonies. Vienna PO, Bernstein (d). Paul Hindemith Anthology, Vol. 9: String Quartets Sibelius: Finlandia, Op. 26; Valse Triste, Op. 44; Nos. 1, 2. Los Angeles Qr. Swan of Tuonela; Tapiola. Berlin PO, Karajan The Art of Lotte Lehmann. Songs and arias by Mozart, Beethoven. Schubert, Schumann, Wolf, Paul Hindemith Anthology, Vol. II: String Quar- (d). tets Nos. 5, 6. Los Angeles Qr. Strauss: Lieder. Fischer-Dieskau, Sawallisch (d). Wagner, with pianists Bruno Walter and P. Ulan- owsky (I, 1938-50). Paul Hindemith Anthology, Vol. 12: Septet; Trom- Strauss:Der Rosenkavalier.Tomowa-Sintow, bone Sonata. Peebles, Carno. Baltsa, Moll, Perry, Hornik; Vienna StOCh&O, Discocorp, Inc., P.O. Box 771. Berkeley, Calif. Karajan. 94701. Strauss: Sinfonia Domestica. Vienna PO, Maazel Id). Stravinsky: Suites: Firebird; Pulcinella. Israel PO, ERATO/RCA (France) HARMONIA MUNDI GERMANY Bernstein (d). (distributed by Intersound) Stravinsky: Symphony in 3 Movements; Symphony Albinoni: Le Triomphe de L'Aurore. Anderson, in C. Israel PO, Bernstein (d). Zimmermann, Browne, Klare, Yoshihisa; I So- Bach, C.P.E.: Symphonies. Collegium Aureum (d). Tchaikovsky: Capriccio italien; Marche slave: listi Veneti, Scimone (2. d). Handel: Alessandro. La Petite Bande, Kuijken (3, Waltz and Polonaise from 'Eugen Onegin' ; Bach: Christmas Oratorio. Equiluz. Watkinson, dl. Hamlet Overture. Israel PO, Bernstein (d). Schlick, Brodard; Lausanne Vocal E&ChO. Handel: Judas Maccabaeus. Gonnenwein; Lud- Tchaikovsky: Symphonies Nos. 4, 5, 6. Vienna PO, Corboz (3. d). wigsburger Festival 0 of Germany (3, d). Karajan (d). Bach: Suites for Orchestra. English Baroque Solo- Mayonne: Organ Works. Stanbridge (d). Verdi: Arias. Domingo; Sinopoli, Orchestra to be ists, Gardiner (2. d). Schubert: Symphonies Nos. 3, 6. Cologne RSO, announced (d). Berio: Sinfonia. Orchestre National de France, Wand (d). Verdi: Don Carlos. Domingo, Ricciarelli, Nucci, Boulez (d). Schutz: Sacred Choral Music. Hannover (3, d). Raimondi, Valentini-Terrani; Ch&O of La Scala. Bizet: Carmen (highlights). Migenes-Johnson, Do- Schatz; Ward: Sacred Works. Consort of Musicke Abbado (d). mingo, Raimondi, Esham; Orchestre National de (d). Verdi: 11 Trovatore. Plowright, Fassbaender, Do- France, Maazel (d). Victoria: Responsories and Lamentations. Esco- mingo; Santa Cecilia, Giulini (d). Chabrier: Le Roi malgre lui. Eda-Pierre, Hen- lama Montserrat (2, d). Verdi: Requiem. Vienna PO, Karajan (d). dricks, Quilico, Raffali, Lafont: French National Von Bingen: Symphonae. Sequentia E (d). Vivaldi: Recorder Concertos. Copley, Camerata R&TCh; Nouvel Orchestre Philharmonique, Du- Contemporary German Music, Vols. 8-10. (9, d). Bern (d). toit (d). Cupid and Death. Masque Consert of Musicke (d). Wagner: Orchestral music from 'The Ring'. Or- Charpentier: Medee. Norman; Orchestre de L'O- Musikwettbewerb. Works by F.P.Zimmermann, T. chestre de Paris, Barenboim (d). pera de Lyon, Corboz (d). Zimmermann, A. Schmitt. (5, d). Wagner: Operatic Overtures. Berlin PO, Karajan Chopin: Sonatas Nos. 2, 3. Duchable (d). Passionsspiel. Aus der Carmina Burana. Schola Id). Corelli: Christmas Concerto. I Solisti Veneti, Sci- Cantorum Basiliensis (d). Widor: Symphony No. 5. Vienne: Carillon de West- mone (d). Pastoral Masses. Augsburg Cathedral Boys Ch (d). minster. Preston. Dukas: Orchestral Works (complete). Orchestre Wedding Music from Danzig. Works by Biber, et. Placido Domingo: Arias from Aida. Nabucco, Tur- National de France and Orchestre de la Suisse al. Institute for Eastern German Music (3. d). andot, Manon Lescaut, 1l Trovatore, Don Ca- Romande, Jordan (5, d). los. al). Enesco: 2 Rhapsodies roumaines; Poeme roumain. Gdran Sollscher: Cavatina and other popular Monte Carlo PO, Foster (d). Handel: Organ Concertos (complete). Koopman pieces. (d). INTERSOUND Christmas Carols. Westminster Abbey Ch, Pres- (5. d). ton (d). Handel: Messiah. Amsterdam Baroque 0, Koop- See Harmonia Mundi Germany, Pro Arte, Sinfo- man (3, d). nia, Supraphon, Teldec. Intersound, Inc., 14025 Released by Polygram Classics, Inc., 810 7th Ave.. Haydn: Symphonies Nos. 94, 98. Scottish ChO. 23rd Ave. N., Minneapolis, Minn. 55441. 64 HIGH FIDELITY Mozart: Piano Concertos (continuation of series). Chailly (di. LAUREL RECORD Ashkenazy (d). Tchaikovsky: Romeo and Juliet; Francesca da Rimi- (distributed by Consortium) Mozart: ldomeneo. Pavarotti, Baltsa, Popp, Gru- ni. Cleveland 0, Chailly (d). berova, Nucci; Vienna PO, Pritchard (4, d). Tchaikovsky: Symphony No. 4. Chicago SO, Solti Adler, S.: Piano Trio No.2 (world premiere). West- Mozart: Piano Sonatas, Vols. 4, 5. Schiff (d). (d). ern Arts Tr. Pachelbel: Kanon. Albinoni: Adagio. Bach; Handel; Verdi: Un Ballo in Maschera. Pavarotti, Price, Baker, D.N.: Cello Concerto; RSVP; Struttin' Gluck; Boccherkii; Haydn. Instrumental Works. Bruson, Ludwig. Battle; National PO, Solti (d). (world premiere). Starker; David Baker's 21st Stuttgart CO, MUnchinger (d). Wagner forMilitary Band.Philip JonesE. Century Bebop Band. Puccini: Tosca. Te Kanawa, Aragall, Nucci; Solti Howarth (di. Bart6k: Rhapsody No. I for Violin and Orchestra. (2, d). Lefkowitz; London PO, Freeman. Released by Polygram Classics, Inc., 810 Seventh Ravel: Ma Mere L'Oye; Pavane pour une infante Avenue, New York, NY 10019. Bloch: Piano Quintet No. 2 (world premiere). defunte; Le Tombeau de Couperin; Valses No- Karp, Pro Arte Qr. bles et Sentimentales. Montreal SO, Dutoit (d). The digitally remastered Solti Ring will be reissued Bloch: Violin Concerto. Leflcowitz; London PO, Ravel: Gaspard de la Nuit; Valses Nobles et Senti- on 16 records. It will also appear on CD. The Freeman. mentales; Pavane pour une infante defunte. Solti Mahler Symphonies will be issued in one Bloch: String Quartets Nos. 3. 4, 5. Pro Arte Qr. Ashkenazy (d). box. Two recordings by the guitarist Eduard Fer- Cave, M.: Ecclesiastes for 2 Sopranos, String Rodrigo: Concierto de Aranjuez. Moreno-Buendia: nandez, one consisting of works by Legnani, Quartet, Oboe, Horn, Piano. Harp Concerto. Robles; Philharmonia 0, Dutoit Guiliani, Diabelli, Paganini, and Sor, the other of Lab: Piano Trio No. 3. Western Arts Tr. (d). works by Rodrigo, Falla, Albeniz, Turina, Gra- Lazarof: Chamber Works. Stokes, Winter, Gray, Schoenberg: Moses and Aron. Mazura, Langridge, nados, and Torroba. Also, historical CDs: Fer- Thomas, Camo, Schwarz, Vasa Qr. Haugland; Chicago SO, Solti (2. d). rier's Das Lied von der Erde, a Backhaus/Bohm Mkhelet: Piano Trio No. 2 (world premiere). West- Schubert: "Trout" Quintet. Schiff; members of Ha- Brahms 2nd, BOhm's Bruckner 4th, and Anser- ern Arts Tr. gen Qr (d). met's Scheherazade and La Mer. CD compila- Muczynski: Chamber Works (world premiere). Schumann: Piano Concerto. Chopin: Piano Con- tions wil include such titles as Immortal Clas- Lurie, J. Baker, Muczynski. certo No. 2. Schiff; Concertgebouw 0, Dorati sics, Pomp and Circumstance, Brass Splendor, Rirnsky-Korsakov: Piano Trio in C sharp minor. (dl. Famous Waltzes, and Ode to Joy. Western Arts Tr. Shostakovich: Cello Concerto No. 1. Bloch: Sche- Rubinstein, A.: Piano Concerto No. 4. Syme; Lon- lomo. Harrell; Concertgebouw 0, Haitink (d). don PO, Freeman. Shostakovich: Piano Quintet; Seven Poems of Alex- MMG Smart: Piano Trio "The Encantadas" (world pre- under Blok. Soderstrom, Ashkenazy; Fitzwil- (released by Moss Music Group) miere). Western Arts Tr. liam Qr (d). Encores. Music by Poulenc, Doppler, Saint-Sains Szymanowski: Symphonic Concertante for Piano Shostakovich: Symphonies Nos. 6, I 1 . Concertge- and Orchestra (Symphony No. 4). Syme; Lon- and others. Baxtresser, flute. A. Davis, piano bouw 0, Haitink (2, d). (d). don PO, Freeman. Sibelius: Symphonies Nos. 3, 6. Philharmonia 0, Van Dieren: String Quartets Nos. 1, 2 (world pre- A Festival of Folksongs, Vol. 2. Gregg Smith Sing- Ashkenazy (di. ers, Srrith. miere). Pro Arte Qr. Strauss, R.: Rosenkavalier Suite; Die Frau Ohne Villa -Lobos: String Quartet No. 6. Pro Arte Qr. Gershwin: Fascinatin' Rhythm. Baxtresser, flute, Schatten Fantasie. Detroit SO, Dorati (d). Baker,flute, A Davis, piano; Toronto CE (d). Western Arts Trio, Vols. 8, 9, 10. World premiere Stravinsky: The Rake's Progress. Dean, Pope, recordings of trios by Borroff, Castillo, Harris, Langridge, Ramey, Walker, Dobson; London Scharf, Ding Shande. Sinfonietta, Chailly (3, d). MOSS MUSIC GROUP All Laurel Record recordings are analog. Stravinsky: Symphony of Psalms; Chant du Ros- signol: Fireworks; Zvezdoliki. Berlin RCh&SO, See MMG, Vox/Turnabout, Vox Cum Laude. LONDON Bach: Cantatas Nos. 80, 140. Fontana, Hamari, Tandberg's world-famous audio Winbergh, Krause; Hymnus Cliorkpaben Stutt- products, highly regarded by professional gart, Stuttgart CO, MUnchinger (d). musicians as well as discriminating Bach: Cello Suites. Harrell (2, d). consumers for more than 50 years, now Bach: Two- and Three-part Inventions. Schiff (d). LISTEN Bach: Partitas. Schiff (2, d). include two of the most advanced high Bart6k: Violin Concerto No. I. Berg: Violin Con- fidelity components available today: the certo. Chung; Chicago SO, Solti (d). TO WHAT TIA 3012 Integrated Amplifier & TPT 3001A Bartok: Miraculous Mandarin (Complete); Music Programable Tuner. for Strings, Percussion and Celesta. Detroit SO, These units, which were individually Dorati (d). Beethoven: Piano Concertos (5). Ashkenazy; Vien- 50 YEARS OF given a "rave" review by AUDIO magazine, na PO. Mehta (4, d). can be joined together with their optional Beethoven: Quartet, Op. 132. Fitzwilliam Qr (d). rosewood sidepanels to become "...the Beethoven: Quartet, Op. 130, Grosse Fuge. Fitz- finest 'receiver' we have ever tested" william Qr (d). EXPERIENCE Beethoven: Symphony No. 7; Egmont and Coriolan (HIGH FIDELITY) and "a receiver of Overtures. Philharmonia 0. Ashkenazy (d). exceptional quality" (STEREO REVIEW). Berlioz: Nuits d'ete. Ravel: Sheherazade. Behrens; CAN SOUND It is a stereo receiver capable of Vienna S, Travis (d). exceeding the demands of today's... Canteloube: Songs of the Auvergne, Vol. 2. Te Kanawa; English CO, Tate (d). and tomorrow's most advanced digital Chopin: Piano Works (conclusion of series). Ash- LIKE.... program material. kenazy (d). For literature, test reports and the Dvotik: Slavonic Dances, Opp. 46, 72; American name of your local dealer, contact: Suite. Royal PO, Dorati (2, d). Giordano: Andrea Chenier. 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Parmalee. torin, Piavko, Arkhipova, Masurok, Sokolov; Persichetti: Tenth Piano Sonata; Eleventh Piano USSR TV&Radio Large SO, Fedoseyev (4). NEW WORLD Sonata; Serenade No. 7. Burmeister. Ravel: Daphnis et Chloe. Netherlands CCh, Neth- New Music for Clarinet. Works by Subotnick, Os- erlands Vocal E, Concertgebouw 0. Kondrashin Barber: Antony and Cleopatra. Hinds, Wells, borne, Miller, Toensing, Olan. Kireilis. (I). Grayson, Halfvarson; Wettminster College Ch; Reich: Variations for Winds, Strings, and Key- Spoleto Fest. 0, Badea (3). Owl Recordings. Inc., P.O. Box 4536. Boulder, boards. Adams: Shaker Loops. San Francisco Carpenter: The Collected Works for Piano. Old- Colo. 80306. SO, de Waart (d, first recordings). ham (2). Rossini: Maometto Secondo. Anderson, Zimmer- Crumb: A Haunted Landscape*. Schuman: Three mann, Palacio, Ramey, Dale; Ambrosian OpCh, PHILIPS Colloquies for Horn and Orchestra. Myers; New Philharmonia 0, Scimone (3, d). York P, Weisberg*, Mehta (d). Bach: Three Concertos after Vivaldi; Fugue in B Rossini: Petite Messe Solennelle. Ricciarelli, Zim- Lieberson: Piano Concerto. P. Serkin; Boston SO, minor (on a theme of Corelli). Chorzempa (d). mermann, Carreras, Ramey; Ambrosian Sing- Ozawa (d). Bach: Organ Works. Chorzempa (d). ers, Sheppard, Berkowitz, Nunn, Scimone (2, Martino: Fantasies and Impromptus. Sessions: Bach: Magnificat, Motet "Jauchzet Gott in Allen d). Second Sonata. Hodgkinson. Landen". Kirkby; Monteverdi Ch; English Ba- Schnittke: Concerto No. 2 for Violin and Chamber Henry Herford: Song Recital. (works by Corig- Orchestra*: Piano Quintet. Kremer, Basler SO, liano, Shepherd, B. Weber, Suss). Holliger*; Bashkirova, Kremer, Rabus, Causse, The Albany Symphony Orchestra. (works by Car- Iwasaki (d). penter, Hadley, Mason, Q. Porter). Hegyi (d). Schubert: Symphonies (10). St. Martin's Ac, Mar- The New Music Consort. (works by Cage, Foss. riner (7, d). Soilberger). Schubert: String Quartet "Death and the Maiden". 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Dvotik: Suite, Op. 98b, Ac (d). Festival March. Rochester P, Zinman (d). Telemann: Horn Concertos. Baumann, T. Brown. Kodaly: Sonata for Unaccompanied Cello; Duo for Neville Marriner conducts Saint -Sans' s Hill, I. Brown; St. Martin's Ac (d). Violin and Cello. Grossman, Phillips (d). Danse macabre on Philips. Verdi: Macbeth. Zampieri, Bruson, Lloyd, Ali- La Barbara: Vlissingen Harbor; October Music; berti,Shicoff,Ahnsjo,Salomaa,Nikolic, Solar Wind. Schmidt, Neubert; Deutsche Op Berlin, Sinopoli Subotnick: Last Dream of the Beast. La Barbara; rogue Soloists, Gardiner (d). (3, California E.A.R. Group, Mosko. Beethoven: Piano Sonatas, Opp. 10 No. 3; III. Verdi: Overtures. Vienna PO, Sinopoli (d). Mozart: Wind Serenades in Eflat and C minor. Los Arrau (d). Wagner: Scenes and Arias. Estes. Bundschuh, Angeles CO Winds (d). Beethoven: Piano Sonata, Op. 111. Gulda: Winter- Reeh; Berlin State Op 0, Fricke. Mussorgsky;Tchaikovsky:Songs.DeGaetani, meditation. Gulda (d). Famous Overtures -works by J.Strauss, von Kalish. Berlioz:RakoczyMarch.Chabrier:Joyeuse Suppe, Auber, Smetana, Offenbach, Sullivan. Schrecker: Chamber Symphony. Hindemith: Kam- marche. Debussy: Prelude d l'apres-midi d un St. Martin's Ac, Marriner (d). mermusik No. I. Smoak Concertino for Clarinet faune. Dukas: Sorcerer's Apprentice. Ravel: Pa- Gulda Plays Gulda (d). and Orchestra.Shifrin; Los Angeles CO, vane pour une infante defunte. Saint-Ssens: "Sentimental Me -music of Gershwin, Ellington, Schwarz (d). Danse macabre. Loveday; St. Martins' Ac, Mar- Porter. Ameling, Clayton, Van Dijk (d). Schubert: Piano Works. Goode (r). riner (d). "Serenata". Ameling. Jansen (d). Schwantner: Magabunda. Schuman: American Brahms: Four Ballades; Pieces, Op. 76. Bishop- Kovacevich (d). Released by Polygram Classics, Inc., 810 Seventh Hymn. Shelton; St. Louis SO, Slatkin (d). Avenue, New York. N.Y. 10019. Scriabin: Complete Piano Sonatas. Laredo (3, r). Brahms: Piano Works, Opp. 116, 117, 119; Scherzo String Quartet in B minor; String Quartet Op. 4. Bishop-Kovacevich (d). No. I. Sequoia String Qr. (d). Bruch:SwedishDances; Symphony No.2. PRO ARTE American Flute Project. Wincenc, Sanders (d). Gewandhaus 0, Masur (d). Early American Vocal Music, Vol. II. Western Chausson;, Ravel: Piano Trios. Beaux Arts (d). (released by Intersound) Wind (d). Debussy: Piano Works. Koscis (d). Bach: Magnifica: in D. Hoffmann (attrib. Tele. Spanish Golden Age Music for Trumpet and Or- Dvotik: Piano Quintets, Opp. 5, 81. Richter; Boro- mann): German Magnificat.Bryden,Baird. gan. Tarr, Kruger. din Qr (2, d). Gall. Hoffmeister, Opalach; Bach E, Rifkin (d). Lanner; Strauss, Johann Sr.; Klauser: Waltzes; EXPLORER SERIES Bach: Brandenburg Concertos. Bach E, Rifkin (2, Polkas. Kremer, Guth, Kashkashian, Flortnafel d). Drums of Korea. Samul-Nori. (d). Bach: Brandenburg Concertos. Leonhardt E (2. r). Liszt: Piano Works. Brendel (4, r). Bach: Mass in B minor. La Petite Bande, Kuijken Nonesuch Records, 9229 Sunset Blvd., Los Ange- Mahler: Symphony No. 4. Alexander; Concertge- (2. d). les. Calif., 90069; 665 5th Ave.. New York, N.Y. bouw 0. Haitink (d). 10022. Bach: Suites for Unaccompanied Cello. Bylsma (3, Mendelssohn: Violin Concerto; Octet. Zukerman, r). St. Paul ChO (d). Barber: Violin Concerto; Overture to The School Mozart: Piano Works. Uchida (d). for Scandal; Essay for Orchestra No. 2; Prelude OISEAU-LYRE Mozart: Divertimentos, K. 136, 137, 138; Sere- and Intermezzo from Vanessa. Utah SO, Silver- (released by London Records) nade, K. 239. I Musici (d). stein (d). Mozart: Piano Quartets. K. 478, 493. Beaux Arts, Has: Fantasy on Five Polish Carols. Hoist: Four Bach: Brandenburg Concertos. Ac of Ancient Mu- Giuranna (d). sic, Hogwood (2, d). Carols. Rutter: Carols. Vaughan Williams: Fan- Mozart: String Quartets K. 575, 589. Orlando Qr tasia on Greensleeves. Bel Canto Voices; Plym- Bach: French Suites. Hogwood (2, d). 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Pachelbel Canon and other Baroque Favorites. SINFONIA Collegium Aureum (d). (released by Intersound) Bach: Organ Works. Brunelle (d). Beethoven: Symphony No. 4; Leonore Overture PROTONE No. 2. Dresden PO, Kegel (d). Kraft: Music of William Kraft. New Music E. Eva Marton sings scenes and arias Beethoven: Symphony No. 9 ('Choral'). Hargan, Constance Keene Plays Rare and Familiar Pi- from works of Wagner on Sefel. Walther. Buchner, Kovats; Berlin Ch; Leipzig ano Sonatas. RCh; Dresden PO, Kegel (2, d). Judith Pearce Sings Irish Classics. Brahms: Symphony No. 2; Tragic Overture. North German RSO, Wand (d). Protone Records. 970 Bel Air Rd., Los Angeles, vine (d). Brahms: Symphony No. 3. North German RSO, Calif. 90077. Verdi; Tchaikovsky: String Quartets. Guarneri Qr. Wand (d). Wolf; Strauss, R.: Songs. HagegArd, Schuback (d). Brahms: Symphony No. 4. North German RSO, A Hundred Artists at the Met-A Centennial Cele- RCA GOLD SEAL Wand (d). bration (8, h, m). Gabrieli: Renaissance Music for Brass. Chicago C Bach: Goldberg Variations. Landowska (r, m). Artur Rubinstein: The Chopin Collection, Vol. 2: Brass (d). Bach: Great Organ Works. Fox (r). Mazurkas; Vol. 3: Scherzos, Ballades. Sonatas; Gershwin: Rhapsody in Blue; 3 Preludes; Songs. Beethoven: 'Eroica' Symphony. London SO, Sto- Vol. 4: Polonaises, Impromptus, Barcarolle; Schoenfield, piano (d). kowski (r). Vol. 5: Works for Piano and Orchestra. New SO College Fight Songs and Military Themes. U of Bizet: Carmen Suites 1,2; L'Arlesienne Suite No. of London, Skrowaczewski; S of the Air, Wal- Minnesota S Band, Bencriscutto (d). 2. Philadelphia 0, Ormandy (r). lenstein; Philadelphia 0, Ormandy. (12, r). Digi- Brahma: Piano Concerto No 1. Rubinstein; Chica- tally remastered. go SO, Reiner (r). Enrico Caruso: The Complete Caruso, Vol. 16 (r). Digitally remastered. SUPRAPHON (Czechoslovakia) Enesco; Liszt; Smetana: RCA SO, Stokowski (r). (distributed by Intersound) Orff: Carmina Burana. Mandac, Kolk, Manes; Isao Tomita: two releases: one an adaptation of Boston SO,Ozawa (r). Stravinsky's Rite of Spring. Beethoven: Piano Concerto No. 1, Op. 15; Sonata Mahler: Symphony No. 4. Della Casa; Chicago SO, James Galway: two releases: works by Schubert, No. 14. Op. 27, No. 2. Kamenfkova, Prague CO Reiner (r). and a classic pop LP with Henry Mancini. (d). Mahler: Das Lied Von Der Erde. Forrester, Lewis; Julian Bream: Music of Spain, Vol. 7: The Spirit of Bruckner, A.: String Quintet. Malt, Kocian Qr (d). Chicago SO, Reiner (r). Segovia. Two more volumes to be issued in 1985. Dvotik: String Quartet Opp. 106, 108. Panocha Qr Mozart: Violin Concertos Nos. 4, 5. Heifetz (r). Richard Stolzman: Clarinet Concerto by Copland; (d). Schubert: Symphony No. 9. NBC S, Toscanini (r, Bach Chromatic Fantasy. Also, a jazz LP with Dvorak: Requiem. Czech PO&Ch, Sawallisch (d). m). Eddie Gomez. Mich: Symphony No. 1. St Philharmony, Vronsky Strauss: Also Sprach Zarathustra. Chicago SO, William Kapell: Works by Khachaturian, Prokof- (d). Reiner (r). icy, Liszt, Chopin (r). Jamtiek: Amarus. Martino: Field Mass. Czech Tchaikovsky:'Pathetique' Symphony. Chicago PO&C1, Sawallisch (d). Jan:reek: Operatic Suites. Czech PO, Jflek (d). SO, Reiner (r). SEFEL (Canada) Tchaikovsky: Symphony No. 4. Boston SO, Mon- Martino: Czech Rhapsody. Prague SO, Belohlavek teux (r). Bach: Suites for Unaccompanied Cello. Starker (3, He(fetz: Violin Showpieces. RCA SO (r, m). d). Martina: Halftime; La Bagarre; The Rock. Brno Bach(arr.Bused);Scarlatti;Brahms: Piano Sip. Jklek (d). All recordings are digitally remastered. Works. Saarinen (d). Martino. Piano Concerto No. 4. Leichner, Czech RCA Records, 1133 Avenue of the Americas, New Beethoven: Middle Quartets. Orford Qr (2, d). PO, Neumann (d). York, N.Y. 10036. Brahms: Double Concerto. Starker, Verhey; Am- Martina.. Piano Quintet. Palenicek, Smetana Qr (d). sterdam PO. Joo (d). MysliveCek; Stamitz, A.K.: Sonatas. Ars Redivia, Brahms; Chopin: Piano Works. Hai-Kyung Suh (d). Munciinger (d). RCA RED SEAL Dvornic: Symphonies Nos. 7, 9. Amsterdam PO, MysliveCek; Benda: Harpsichord Sonatas and Di- Beethoven: Sonata in F minor, Op. 57; Sonata, Op. Joo (2, d). vertimenti. Bala (d). 31 No.3. Adelman. Dvotitk: Violin Concerto. Verhey; Amsterdam PO, Myslivetek: Violin Concertos in C, E. F. Dvorak Brahms: Sonatas for Cello and Piano. Ma, Ax (d). Joo (d) CO, Petek (d). SEPTEMBER 1984 67 Novak: Slovak Suite; South Bohemian Suite. Buchbinder (d). Cathedral of St. John the Divine, Rose (d). Czech PO, Vajnar (d). Beethoven: Piano Trios Opp. 97, 121a. Haydn Trio Poulenc: Stabat Mater. Honegger: Christmas Can- of Vienna (d). Towerhill Records, 6000 Sunset Blvd., Holly- tata. Czech Ch&O, Petek (d). Beethoven: Quartet, Op. 130; Grosse Fugue, Op. wood, Calif. 90028. Rejcha: Grand Quintet for French Horn and String 133. Quartet. Klasnka, Panocha Qr (d). Bruckner: Symphony No. 8. Frankfurt RSO, Inbal Suk; Dvotik: String Serenades. Czech PO, Petek (d). TR RECORDS (U.S.A.) (distributed by AudioSource) (d). Chopin: 4 Ballads; 4 Scherzos. Katsaris (d). Suk: Summer Tale. Czech PO, Neumann (d). Haydn: Quartets Opp. 75-80, Op. 76, No. 1, 3. Eder Britten: Song Cycles. Michael Sells, tenor; Evan Suk: Ripening. Czech PO, Neumann (d). Quartet Id). Solomon, piano (d). Tomitek: Sacred Works. Prague CO, Sawallisch Mendelssohn: Concertos: For Violin and Strings in Piano Trios. David Ashley White, Henry Cowell, (d). D minor; For Piano and Strings in A minor. Ze- Paul Reale (d). Vent: Trans. Marriage of Figaro. Collegium Musi- hetmair, Katsaris, Franz Liszt CO (d). cum Praguense, Vajnar (d). Monteverdi: 11 Combattimento di Tancredi e Clo- Zelenka: Works for Chorus and Orchestra. Mail: rinda; Madrigals, Hollweg, Schmidt; Concentus VOX/TURNABOUT Czech PO&Ch, Neumann (d). Musicus, Harnoncourt (d). (released by Moss Music Group) Zemlinsky: String Quartet. Webern: Five Move- Mozart: Clarinet Quintet. Klocker; Eder Quartet ments for String Quartet. Berg: String Quartet. (d). Bach: Brandenburg Concertos, performed on origi- Kroft Qr (d). Mozart: Piano Concertos Nos. 23, 26. Gulda; Con- nal instruments. Mainz CO, Kehr (2). Beriaclortl: Operatic recital II. certgebouw 0, Harnoncourt (d). Bart6k: Transcriptions of Italian Baroque music by Pipers in the West Bohemia: Traditional Piper's Mozart: Serenade No. 9. KV 320. Dresden StO, Della Ciaia, Frescobaldi, Marcello, Rossi, and Band (d). Harnoncourt (d). Zipoli. Sandor. piano. Treasures from the Citoliby Castle. Prague CO; Mozart: Symphonies: Nos. 39, 32. Concertgebouw Beethoven: Sonata No. 27 in E minor, Op. 90. Czech Broadcast Ch Soloists (di. O. Harnoncourt (d). Brahms: Intermezzi, Opp. 117,118, No. 2. Mozart: Symphonies: Nos. 40, 4/. Concertgebouw Franck: Prelude, Chorale and Fugue. Moravec. 0, Harnoncourt (d). Chopin: Nocturnes. Simon. TELDEC Handel: Orlando (highlights). Solists, Ch&O of Vi- (released by Intersound) Rossini: String Sonatas and Serenades. Franz Liszt CO (dl. enna Volksoper, S. Simon. Bach: Vol 35: Cantatas BWV 140, 143-145. Vol. 6: Pachebel Canon and Gigue, et. al. Franz Liszt CO Mozart: Songs. Fischer-Dieskau, Barenboim. Cantatas BWV 21-24. Concentus Musicus Wien. (d). Verdi: Arias. Tomova-Sintow; Sofia St Philhar- Harnoncourt; Leonhardt Consort, Leonhardt Werner Hollweg, tenor. Arias from Idomeneo: monia, Raychev. (d). Jephtha and Messiah. Consentus Musicus, Har- Jussi Bjorling alias Erik Odde. Popular songs re- Bach: Magnificat in D, BWV 243. Handel: Te noncourt (d). corded 1932-33. Deum. Concentus Musicus Wien. Harnoncourt La Guerre Comme a la Guerre. Battle music by (d). Byrd, Dandrieu, F. Couperin, Balbastre. Prefon- Bach: Overtures Nos. 1, 2. Concentus Musicus taine, harpsichord. Wien, Harnoncourt (d). TOWERHILL Love's Old Sweet Songs. Arrangements of love Bach: Violin and Cello Suites Nos. 5, 6. Baumann songs from Rennaisance to modern times. New Chopin: Piano Works, Vol. 1. Richner. York Vocal Arts E, Beegle. (d). Mozart: Piano Works, Vol. 3. Richner. Bart6k: String Quartets Nos. 2, 3. Eder Quartet Ravel: Transcriptions for Guitar. De Chiaro. (d). "Cathedrales"--organ music of Sibelius, Liszt, VOX CUM LAUDE Beethoven: Piano Sonatas Opp. 109, 110,I 1 . Vierne, Dupre, Brahms, Mendelssohn. Organ at (released by Moss Music Group) Bach, J.C.; Graupner; Vivaldi: Bassoon Concer- tos. Smith; English CO,Ledger. Beethoven: "Archduke" Trio. Zukerman, Du PM, Music in the round. Barenboim (r). Beethoven: String Quartet in A minor, Op. 132. Concord Qr. Beethoven: Symphony No.6. Cincinnati SO, Gielen (d). With B.E.S. speakers, Brahms: Sonata No. 3 for Violin and Piano. Bloch: Baal Shem. Bartok: Romanian Folk Dances. Oli- veira, McDonald (d). Brahms: Secular Choral Works. Indiana Universi- center stage ty Singers. Harrington. Brahms: Piano Trios. Kalichstein-Laredo-Robin- son Tr (2, d). Brahms: String Quartets. Tokyo Qr (2). Braluns: Variations on a Theme by Haydn.Elgar: is everywhere. Enigma Variations. London SO, Mata (d). Busoni: Turandot Suite; Sarabande and Cortege The computer -designed dia- from "Doktor Faustus". Cincinnati SO, Gielen (d). phragm of every B.E.S. speaker Chopin: Scherzos (4). Moravec (d). radiates sound in a near -perfect Dvotik: Symphony No. 7. London SO, Mata (d). spherical pattern, not in a narrow Kodily: Miry Jdnos Suite. Enescu: Romanian beam like ordinary cone -and -box Rhapsody No. 2. Alfven: Swedish Rhapsody. Baltimore SO, Comissiona (d). speakers. Liszt: Transcendental Etudes. J. Rose (d). So wherever you decide to place Schubert: Songs. Opalda, Vallecillo. your B.E.S. speakers-and Schubert; Mendelssohn; Chopin: Piano Fantasies. wherever you sit-the musical Schub (d). Strauss, R.: Metamorphosen; Death and Transfig- image is three-dimensional and uration. Cincinnati SO, Gielen (d). lifelike, as in a concert hall. Vaughan Williams: Mass in G. Kodily: Missa Bre- Suddenly, center stage is vis. New York Ch Society, De Cormier. wherever you are. Vivaldi: Sonatas for Cello and Harpsichord. Rob- inson. Newman. An International Salute. Cincinnati Pops, Kunzel (d). B.E.S. Bach's Leipzig. Carroll, Brewer; NY Trumpet E (d). Music in the round. SM 275 Future issues on Vox Cum Laude include Madeira c 1984 by B.E S 345 Fischer Street, Costa Mesa. Ca. 92626 (714) 549-3833 Bach Festival, Avery Fisher Prize, and Van Cli- burn International Piano CoMpetition recordings. 68 HIGH FIDELITY CLASSICAL bly affects performance. I believe all this explains the disparities between these two sets. The Munichers perform it en famine; the Chicagoans approach it as they might New York's outsized Cathedral of St. John the Divine. Anyone familiar with James Levine's work knows that, for all his manifold bril- liance, some sort of black spell seems to descend upon him whenever tempo mark- ings drop below andante; the last movement of his Mahler Third. for instance, marked simply "slowly," gets unnervingly close to stationary, and a visitor to Bayreuth reports that Levine's Parsifal there lasted even longer than Hans Knappertsbusch's, which hardly seems humanly possible. This same misfortune touches, and sometimes afflicts, five of the seven Requiem movements- particularlythesecond ("Allfleshis grass"). which he turns into a dirge, a dead march. with two climaxes so melodramati- cally overwrought that one expects, next, nothing less than the crack of doom. (The last trump-in Luther's German, "the last Haitink: His concert performances of Mahler's Seventh had more intensity (page 70). trombone" -does in fact turn up, but not BACH: The French Suites (6), B.W.V. Axel Nehrle, Dieter Sinn, and Diether G. War - until four movements later.) 812-817. neck, prods. ] ORFEO S 039842 H (digital record- Wolfgang Sawallisch, for valid musi- Ton Koopman. harpsichord. [Hans H. Till- ing, two discs) (distributed by Harmonia Mundi, cal reasons, takes his opening and closing manns, prod.] CALIG VERLAG CAL 30 442/43 U.S.A., 2351 Westwood Blvd.. Los Angeles, movements somewhat slower than Levine, (digital recording; two discs) (distributed by Calif. 900641. but nowhere even in them does the music Organ Literature Foundation, 45 Norfolk Rd., BRAHMS: A German Requiem, Op. 45; lapse into the lugubrious; his pacing in all Braintree, Mass. 02184). Songs (8). the other five movements adheres to a much KathleenBattle,soprano*; HfikanHa- more vital tempo, which lends the entire In recent years the Dutch harpsichordist gegard. baritonet: James Levine, piano': Chica- Ton Koopman has emerged as one of go Symphony Orchestra and Chorus, James Lev- work a cohesive strength the Chicago set Europe's most authoritative early music ine. cond. [Thomas Z. Shepard. and J. David lacks. In all important details Sawallisch specialists, and his position will only be Saks. prods.] RCA ARC 2-5002 (digital record- shows respect for the score. However, at strengthened by his readings of Bach's ing, two discs). Cassettes (2): ARE 2-5002. bar 172 in the third movement (where that French Suites. For this superbly produced Songs: Op. 6, No. 4*°: Op. 107, No. 3*°; endless pedal -point on D begins), Solo- German album he uses a copy (by Martin Op. 63. No. 5*°: Op. 96, No. 2*°: Op. 49, No. mon's statement that "The souls of the Sassmann) of a 1728 Christian Zell instru- 41', Op. 63. No. 8t°: Op. 43, No. It°; Op. 86, righteous are in the hands of God" sudden- ment currently housed at the Museum of No. 3t°. ly, from one bar to the next and with no Art and Industry in Hamburg. Its crisp A comparison of these two quite different indication whatsoever in the score, gooses sound complements the articulate playing, interpretations requires consideration from him into a wildly accelerated tempo. In and its tuning system (based on one of the standpoint not only of music but also of spite of this single, truly inexcusable lapse, Werckmeister's unequal but nonetheless semantics, psycholinguistics, and phenom- Sawallisch keeps more closely than Levine well -tempered formulas) is ideally suited to enology. It all starts with the word as spo- to Brahms's explicit published intentions, the open sonorities that characterize the ken-or, in this case, sung. Brahms desig- winning his interpretation preference here. left-hand figures of so many of the Suites' nated this work as "German" not for any In addition, the Munich acoustics make the dance movements. There's a wonderful nationalistic reasons (he told Karl Rhein- choral voice -leading more pronounced and feeling of spontaneity in this recording; thaler, director of music at the cathedral in transparent, and-an important point-the Koopman's flawless technique and elegant Bremen, that he would have gladly dis- recorded level of the Munich chorus never flair for ornamentation are accompanied by pensed with "German" and called it simply swamps the orchestra, as frequently hap- a bounty of rhythmic energy, and because A Human Requiem), but to make it clear he pens in the Chicago set. the silences between movements are so hadturned away from the petrified, alien As for the soloists, Kathleen Battle pure. one gets the impression that he tossed Latin liturgy in favor of the vernacular. and Margaret Price both have heavenly off these tasteful virtuoso performances in Little has changed in spoken German voices, the former light and ethereal, the single takes. JAMES WIERZBICK1 since Martin Luther made the translation of latter more substantial without ever becom- the Bible that isstill standard today; for ing heavy. Between the two admirable bari- BRAHMS: A German Requiem, Op. 45; German ears, Brahms's text, selected from tones, it seems to me a toss-up. Variations on a Theme by Haydn, Op. that translation, has an immediacy-an In both sets, the fourth side offers unusual attractions. With Levine a prodi- 56a. unaffectedfolksiness,if you will-for Margaret Price, soprano; Thomas Allen. which we Anglo-Saxons. accustomed for gious (at times almost authoritarian) partner baritone; Munich Hochschule fiir Musik Cham- generations to all those thee, thou, ye, dost, at the piano, Battle and Halm Hagegard ber Chorus; Bavarian Radio Symphony Orches- and canst archaisms, have no real Biblical each sing four Brahms Lieder in a manner tra and Chorus. Wolfgang Sawallisch, cond. IF. equivalent.German-speaking audiences close to perfection. In the other set, Sawal- hear, in this work, the same language they lisch and his hometown band provide about For additional reviews of classical music hear in the Supermarkt; other audiences- as good a performance of the (we now on Compact Disc and videodisc, see NEW and musicians-have to deal with a foreign know) misnamed Haydn Variations as you TECHNOLOGIES. idiom that, imperfectly mastered, inevita- can expect to hear. PAUL MOOR SEPTEMBER 1984 69 CLASSICAL Reviews HAYDN: String Quartets: in F, Op.3, spurious compositions. Its curious genesis that's all explained in the liner notes- No. 5; in D minor, Op. 76, No. 2; in C, notwithstanding. the quartet is still a charm- they're in Japanese, which is Greek to me. Op. 76, No.3. ing piece, and since there is no othercon- In any case, these are dashing performances Philharmonia Quartet Berlin. IToru Yuki. venient pigeonhole in which to drop it, per- prod.!DENON that hold firmly to the mainstream interpre- OF 7094 ND (digital recording) formers as well as record companies contin- (distributed by Audio Source. 1185 tive tradition, with most of the grace notes Chess Dr.. ue to group it with certified Haydn prod- Foster City. Calif. 94404). played before the beat and most of the well- ucts. blended sonorities coated with a moderate For years authorities have agreed that the Here it shares vinyl space with the Op. veneer of vibrato. The Philharmonia Quar- famous "Haydn Serenade." and the quartet 76. No. 2 Quinten Quartet (so called tet has a rich bottom sound. excellently in which it's imbedded, is the work not of because of the prominent descending fifths projected on this very clean pressing. Haydn but of his neighbor and admirer in the first movement) and the Op.76,No. JAMESWIERZBICKI Roman Hoffstetter( 1742-18 15), and in 3 Kaiser Quartet (so called because its NeL The New Grove Dictionary of Music and and movement is a set of variationson 11:t 11I,ER: Symphony No.7,in E Musicians the beloved F major Quartet- Haydn's Gott erlzalte Franz den Kaiser, a minor. once known as Haydn's Op. 3. No. 5. hymn that 20th -century listeners knowas Amsterdam Concertgebouw Orchestra, H. 111:7-is consigned to the appendix of the German nationalanthem).Perhaps Bernard Haitink, cond.PHILIPS 410 398-I (digi- tal recording, two discs). Cassettes (2): 410 398- 4. CDs (2): 410398-2. Better sound fromevery record you The Mahler tradition in Amsterdam is long and lustrous. Willem Mengelberg and the own, with the new Signet TK1OML! Concertgebouw Orchestra eagerly champi- oned Mahler's music, playing everynew symphony as it appeared, scheduling regu- lar Mahler festivals. There was evenone occasion in October 1904 when Symphony No. 4 was presented twice on the samepro- gram, with Mahler himself conducting, the better to acquaint the Dutch audience with the wonderful "new" music. Some collec- tors may have heard the incredible Mengel- berg -led concert recording of this sympho- ny made in 1939, once available on Philips (PHM 500 040). The Mahler tradition was carried on by Eduard van Beinum, and by Bernard Hai- tink, who has recorded all of the sympho- niesexceptthelast,apparentlynever accepting the Deryck Cooke or other ver- It's somethingyou can't get sions of the incomplete Tenth. With the exception of Symphony No. 8. those earlier with any other technology. Philips recordings were generally of excel- lent sonic quality, fairly well capturing the rich sounds of this orchestra playing in its Until you hear the Signet TK1OML, you maySo grooves sound new, long after other styli not fully appreciate how superb today'sare threatening irreparable damage to your own hall. Now, with the advent of the dig- analog recordings can record collection. ital age, there is talk of Haitink and the Con- be. And how much may Each Signet TK1OML certgebouw rerecording many or all of the be lost by going all - MicroLine stylus is cre- digital. ated from a whole, Mahler symphonies. The single most sig- natural octahedral dia- This first release in what may become nificant advance in the mond,orientedfor a digital cycle offers the Symphony No. 7, Signet TK1OML is its longest life, and with a in E minor. In the fall of 1982, Haitink and unique new MicroLine square shank to pre- the Concertgebouw toured stylus ... with the long- cisely fit the laser -cut theUnited est, narrowest "foot- hole in our unique, States with the Seventh as one of their fea- print" ever achieved I ultra -rigid low -mass tured works. Those who were fortunate Its scanning radius is a mere 2.5 microns, half boron cantilever. You enough to attend the Kennedy Center con- get perfect alignment. cert in Washington or the one at Carnegie that of the best ellip- Period. ticals, while its vertical But the proof of qual- Hall in New York heard a positively stun- contact footprint is three times longer thanity is in the playing. With the new Signet ning. incandescent performance of this the elliptical. The Signet MicroLine stylusTK1OML, older records literally come back rather mysterious symphony. impeccably tracks very high frequencies better-atto life. New records transcend the limits of lower groove pressure-than any otherordinary technology. Your entire system played, with a quiet kind of orchestral bra- design. gets a new lease on life. vura that one seldom encounters in the con- Even with repeated playings, the Micro- Visit your Signet dealer. Peek into his mi- cert hall.I wish I could say that the new Line stylus maintains its shape, with- croscope to see this fantastic stylus. out "spreading" like all other tips. Philips release conveys the magic of those Then get therealproof. Listen. performances, but it does not. Haitink is always at his best in live concerts; his Dutch reserve usually appears when microphones are present with no audience, which is what siignet.-iL. has happened here. That is not to suggest SIGNET, 4701 HUDSON DRIVE, STOW, OHIO 44224 that this is not a fine performance. It is note- perfect. but that extra touch of concert -hall excitement just isn't there. 70 HIGH FIDELITY Philips's digital recording is disap- music is infused with countless moments of performance available of this sparkling. pointing. The dynamic range is wide, but great originality and poignancy. The sec- sunny music. K.ROBERT SCHWARZ the famed Concertgebouw strings sound ond movement, a gorgeous set of variations thin here (they surely didn't that night inin D minor, is especially startling, being STRAUSS, R.: Orchestral Songs (12). Washington!), and the bells at the conclu- unusual for a divertimento both in its mode Siegfried Jerusalem. tenor. Leipzig Ge- sion of the symphony, which in the hall and in its sinuous chromaticism. wandhaus Orchestra. Kurt Masur, cond.PHILIPS were the tintinnabulation of heavy metal, Itis hard to imagine a better perfor- 6514 321. Cassette: 7337 321. sound tinny. My dissatisfaction with this mance than this one by the Academy of St. Heimliche Aufforderung: Traum durch die recording does not diminish my admiration Martin -in -the -Fields Chamber Ensemble. Diimmerung: Liebeshymnus; Frcundliche Vi- for Haitink's earlier analog account, which unless you insist on an original -instrument sion;Waldseligkeit;Verfiihrung:Standchen: Morgen!; Zueignung: Ich trace meine Minne: to me remains the finest recorded statement approach. The listener is immediately cap- Das Rosenband; Des Dichiers Abendgang. of the work. The reproduction of the earlier tivated by the spirit of the playing-viva- set is highly acceptable and conveys the cious, energetic, never imposing a trace ofSome famous, case-hardened English critic Concertgebouw sound more accurately undue Romanticism. But there is more than (Ernest Newman?) summed up one aspect than the new digital version. Fortunately. mere spirit here. The ensemble is precise. of a long, taxing life of concert- and opera - even though most of Haitink's first Mahler the intonation perfect, and the performance going tribulation with the melancholy theo- cycle has been deleted, that earlier record- studded with jewel-likeinterpretive rem. "The higher the voice, the smaller the ing of the symphony is still in the catalog touches: once a slight cadential hesitation, brain." In mentioning it in connection with (Philips 6700 0036, two discs). It is worth another time an added dynamic inflection or this impressive recording, let me stress that searching for. ROBERT E. BENSON a spontaneous manipulation of the phras- it definitely does not apply to the German ing. tenor Siegfried Jerusalem. The jacket tells MOZART: Divertimento in I).Is.334: Obviously, in a work of this sort the us nothing about him at all, but I once read March in D. K. 445. success of the performance depends to a in a Berlin concert program that he had Academy of St.Marlin -in -the -Fields great extent on the talent of the principal begun a successful career as a bassoonist Chamber Ensemble. PHILIPS 411 102-I (digital violinist. Kenneth Sillito proves to be an before musical colleagues encouraged him recording). Cassette: 411 102-4. excellent player, ably handling the concer- to risk the professional plunge as a singer. In the Divertimento in D, K. 334 (1779- tante elements, avoiding sentimental slides In these admirable interpretations, the solid 80). recorded on this disc together with its and shifts, and possessing great interpretive musicianship so necessary for the sym- introductory March. the first violin carries insight. phonic instrumentalist completely displaces the melodic weight of almost the entire Philips has outdone itself yet again: the aural narcissism that makes many sing- work and is entrusted with concerto -like This is one of the most silent pressings I ers with a beautiful organ and little else so pyrotechnics, from arpeggios and rapidhave ever encountered on a conventional much of a bore. Jerusalem does indeed have scales to the use of high positions. Yet, disc, and the digital sound is both faithful a rich, vibrant voice, but he also shows Mozart being Mozart. even this "light" and crystal-clear. There is simply no finer uncommon musicality and intelligence. In This new storage system for theCompact Disc is a unique method of housing your expa iding record collection. Discbox modules may be arranged in rows or stacks, using the exclus ye interlocking feat ire. Each module, which may beshelf o wall mounted, holds up to ten Compact Discscomplete with their ti cases. Quick, easy access to your Compacts is assured no matter how large your library grows. DISCBOX SYSTEM*. GROWS WITH YOUR COLLECTION. INTERNATIONAL BOOK &RECORDDIST. ilor 40-11 24th Street L.I.C., N.Y. 11101 CLASSICS (212) 784 - 3929 Circle amount h,low Total 1 I 4 Discboxes ..056.98 E-ch. Shipping 51.75 $29.67 I 8 Discboxes. [email protected] E-ich. Shipping $3.00 $54.84 I 16 Discboxes.015.98 Each. .Shipping $4.75 $100.43 24 Discboxes 015.48 Each. .Shipping $7.75 $139.27 I Kindly enclose check/honey order or complete charge I I card informatiox below. I *Registered Design. I Name We also acce 3t American Express!' 410, I A IIr I COMPACT I I I Charge Card N i U00 Trade enquiries Invited. Signature Exp L 1 CLASSICAL Re\ Critics' Choice Recitals and The most noteworthy releases reviewedrecently Miscellany BENNETT LERNER: BARBER: Concerto for Cello and Orchestra. Carlo Philharmonic,Jordan.ERATO NUM American Piano SHOSTAKOVICH: Concerto for Cello and 75059, June. Music. Orchestra. Wallfisch; English Chamber Orches- CHOPIN: Mazurkas, Waltzes, and Polo- Bennett Lerner. piano. [Klaas A. Posthu- tra, Simon. CHANDOS ABRD 1085. June. naises. Moravec. Vox Ci.M LAUDE D-VCL Illa, prod.] ETCETERA ETC 1019 (digital record- BLOCH: String Quartet No. 1*. String Quar- 9059, July. ing). Cassette: XTC 1019. (Distributed by Qual- tet No. 2; Prelude; Night; Two Pieces forDUNSTABLE: Motets.Hilliard Ensemble. iton Imports, 3928 Crescent St.. Long Island String Quartett. Pro Arte Quartet. LAUREL LR Hillier. ANGEL. S 38082, Aug. City. N.Y. 11101.) 120*. LR 126t. Aug. HAYDN: Symphonies: No. 91, in E flat, Hob. BARBER: Ballade for Piano. Op. 46. BRAHMS: Liebeslieder Waltzes (18), Op. 52; 1:91: No. 92, in C, Hob. 1:92. Concertgebouw BERNSTEIN: Touches. BOWLES: Six Preludes Neue Liebeslieder Waltzes (151, Op. 65; Three Orchestra. Davis. Minim 410 390-1, July. for Piano; Six Latin-American Pieces: Huapango QuarteLs, Op. 64*. Sixteen Waltzes, Op. 39; HAYDN, NI.: Symphonies: No. 19 in C, No. No.I.El Bejuco. Tierra Mojada, Orosi. La Variations on a Theme by Schumann in E flat. 23 in 135; No. 21 in C, No. 37 in B flat. No. 41 Cuelga, Huapango No. 2. COPLAND: Procla- Op. 23; Souvenir de Russlet. Mathis, Fass- in Ft. Bournemouth Sinfonietta. Farberman. mation for Piano; Midday Thoughts. RAMEY: baender. Schreier. Fischer-Dieskau. Engel, Sa- TURNABOUT D -TV 34902*; D -TV 34903+. Piano Fantasy. THOMSON: Two Sentimental v.allisch*.Alfons Kontarsky, Aloys Kontar- June. Tangos; Two Portraits: Bennett Lerner (Senza skyt. DG 2532 094*. 410 714 -It. Aug. LUTOSLAWSKI: Variations on a Theme by espressione), Phillip Ramey Thinking. BRAHMS: Songs and Romances. Musics Paganini. RACHMANINOFF: Suite No. 2. Barber's1977 Ballade and Bernstein's Sacra, Wcstenbcrg. RCA RFD SEAL. ARC )- Op. 17. RAVEL: La Valse (arr. two pianos). 4916, Aug. 1980 Touches were written for the fifth and Argerich, Freire. PHILIPS 6514 369. July. sixth installments of the Van Cliburn Inter- BUSONI: Fantasia contrappuntistica for Two MOZART: Concertos for Violin and Orches- Pianos. BEETHOVEN: Grosse Fuge for Pia-tra: No. 1, in B flat, K. 207; No. 5, in A, K. tnational Piano Competition, respectively, no, Four Hands. Op. 134. MOZART: Fanta- 219. Brown; Academy of St.Martin -in -the -1but almost everything else on this Dutch sia for a Musical Clock. K. 608. Jacobs, Melds. LONDON JUBILEE 411 707-1. July. recording owes either its creation or its Oppens. NoNEsucti 79061-I. July. RENAISSANCE MUSIC IN NAPLES. Hes- resuscitation to Bennett Lerner. Copland. CHAUSSON: Songs. Norman. Dalberto; Monte p&ion XX, Savall. ANGEL S 38083, Aug. tor example, completed the sketches for both the Proclamation (begun in 1973) and Midday Thoughts (begun in 1944) in 1982 conjunction with Kurt Masur and Leipzig's las, cond. 'Brian Culverhouse. prod.] Just at Lerner's urging. Thomson's Two Senti- great old Gewandhaus Orchestra, he pro- LEM ATD 8306 (digital recording). mental Tangos (1923) had gathered dust for vides us with some memorable Strauss. This clearly compelling performance is the decades before Lerner discovered them, He runs quite a gamut. In the almost third and newest recording of a work that and shortly after he performed them in Car- too familiar Serenade, he sidles in close to Stravinsky undertook in 1905 yet did not negie Hall in September of 1983, the pianist the mike, mezza, almost sotto voce, con- finishuntil 1907-and then overhauled posed for one of Thomson's ongoing series vincingly evoking (for once) the pickle of seven years later. His own indifferent, even of musical portraits. At least four of Paul the glandularly ardent midnight swain try- dessicated recording of 1966 with a CBS Bowles's Six Latin-American Pieces ing to wake up his girl but not her old man. session -orchestra has been missing from (1937-48) were given their world pre- He easily encompasses the ecstatic excite- SCHWANN for some time; but no loss. Sir mieres by Lerner last year; one of Lerner's ment of the Secret Invitation, the exaltation Alexander Gibson's of 1981 with the Scot- 1983 recitals also featured thc first perfor- of the Hymn of Love, and the quiet, survi- tish National Orchestra is part of a Chandos mance of the Piano Fantasy (1969-72) of vor's will to pick up the pieces and go on album issued in honor of the Stravinsky Phillip Ramey, the composer -critic who sat that so movingly infuses Tomorrow. centenary that year, which also includes the for a Thomson portrait just a few days This recorded selection strikes me as a Ode, Symphony in C, and the Symphony in before Lerner's recording sessions took judicious balance between more and less Three Movements. SCHWANN continues to place. familiar songs. Among the latter, I particu- ignore its existence, as well as a domestic Thomson's portrait of Lerner is subti- larly call your attention to the forthrightly counterpart from Musical Heritage Society. tled "Senza espressione." That may de- entitled Seduction, Op. 33, No. I -at 7:02 But again, no loss-especially now. Al- scribe the pianist's personality, but it hardly the longest on this record. Ever since hear- though Gibson goes everywhere faster than applies to his musicianship. These are very ing Evelyn Lear. some years ago, sing the Dalia Atlas, with afive-minute difference in colorful performances: engagingly jaunty spots off the demanding, imposing Song of the Largo movement alone, he doesn't and jazzy in the Bernstein Touches and the the Apollo Priestess (Op. 33, No. 2) with make Stravinsky's Opus I sound any better dance pieces by Bowles and Thomson, the Hannover Radio Symphony, I have than scraps from Tchaikovsky's table with expansively lyrical in the Copland works longed for some label to excavate, revive. crumbs from Glazunov's mixed in. and the Bowles Preludes (1934-45). ele- and record all four big songs comprising Atlas not only has the best orchestra. gant and wistful in the Barber Ballade, that opus number-conceived for large but a respect for the work far beyond the forcefully declamatory in the Ramey Fan- orchestra, unperformable with piano, and composer's own at age eighty. If nothing in tasy. The last-mentioned is the only one of as a result virtually unknown today. One the piece is preparation for The Firebird these pieces that comes close to profundity, inconvenience: The poems make two of just two years later, its timid conservatism and that's more because of the music's them women's songs, the other two men's. and trivial invention don't deter the Israeli bracing harmonic language and aggressive I herewith nominate, in collaboration with maestra from imprinting her strong person- gestures than because of its structure or Masur and the Leipzigers, Jessye Norman ality on the Royal Philharmonic musicians. working -out of materials. For the most part and Siegfried Jerusalem, all of them Philips They play passionately in response. While this is deliberately charming repertoire, and artists. Well? PAUL MOOR the recording, technically, sounds a shade Lerner handles it well. The recorded sound less vivid than its recent date of 1982 (or its is slightly bass -heavy, but otherwise this STRAVINSKY: Symphony in E flat, digital encoding) prepares one to hear, this release is a smoothy produced showcase for Op. 1. could very well be remedied on a Compact some fine piano playing. Royal Philharmonic Orchestra. Dalia At- Disc in the future. ROGER DETTMER JAMES WI ERZB ICK I 72 HIGH FIDELITY CLASSICAL The Tape Deck Critiques of new cassette and open -reel releases by R. D. Darrell pretation of Richard Strauss's Oboe Con- time duplication and available in variously Timbre! certo with the recorded debut of Lutostaw-encoded cassette and reel formats) from ski's rhapsodic, provocatively (rather than Direct -to -Tape Recordings (14Station MUCH OF MUSICS FASCINATION Comesfrom repellently) avant-garde Double Concerto, Ave., Haddon Heights, N.J. 08035). I've diverse, vividly "present" personalities-in which harpist Ursula Holliger is the co-never heard "realer" harp tones than in the not only those of performers and compos-star. (The work was specifically composed digitally recorded "Concert Harp" recital ers, but those of particular instruments.for them.) [See review. JulyMUSICAL. (DTR 8381, $12) by Jude Mollenhaur, a Individual compositional idioms and exec- AMERICA edition.] pupil of the late great Carlos Salzedo. She utant styles help shape our sense of musical After HeinzHolliger,Bernhardplays (on a Salzedo instrument) mostly his "personality," but so (perhaps even moreGlaetzner may seem a bit small -toned at little pieces and arrangements, of scant powerfully) do the sonic qualities usuallyfirst, but his distinctive personality andmusicalinterest but inexhaustible tonal classified as timbre-or in German. moreuncommon agility soon hold one spell-charm. Eileen Grycky's and Christiaan accurately, asKianglathe. bound in a brightly recorded, musicallyTaggart's "Romantic Music for Flute and It may be easiest to evaluate timbral delectable oboe concerto program withGuitar" DTR 8315, $13) is slightly less effects by listening to varicolored perfor- Hartmut Haenchen's Berlin Chamber Or-appealing, but its mostly novel works (by mances of abstract music or by comparingchestra (Spectrum SC 275). Although Tele- Luigi Legnani, Marinus de Jong, and Ben- different instrumentations of the same com- mann's great F minor Concerto and Vival-jamin Godard) are enhanced by a sparkling- position. Both approaches are possible withdi's fine R. 448 and 461 have been recorded ly "live" acoustical ambience. The one the latest recording of Bach'sWell-Tern- before, these new versions are a joy inanalog recording here-Thomas Murray's pered Clavier,Bk. I, a work best known in themselves, and one's delight is redoubledTrinity Church (Boston) organ derange- piano versions. but which (since clavier = in the less familiar E minor and C minorments of pops -orchestral favorites-is, if keyboard) is equally if not more suited toconcertos that so eloquently belie those whoanything. even more stupendous technolog- theclavichord,harpsichord.or organ. would demean Telemann as no more than a ically, and thus all the more an aesthetic We've had earlier recorded examples of the prolificroutinier. travesty (SK 277, $13). firsttwo,butthe American expatriate But even Telemann's imaginative ex- Titillating as these audiodisiacs may organist Daniel Chorzempa is the first I've ploitations of timbre were anticipated bybe, I soon yearn for more substantial musi- heard to utilize all three (Philips prestige - Vivaldi-as can be heard in the inspiredcal satisfactions, such as those in the first box digital/chrome 7654 106). JSee review, accounts of six double concertos starringreel -taping in many years of Smetana'sMd August. I The choice for each prelude/fugue various St. Martin Academy soloists under Vlast(Musical Heritage/Barclay-Crocker pair is arbitrary but usually justified: ten for Neville Marriner (Philips digital/chromedouble -play MHS 4495, $16.95) and the clavichord, nine for harpsichord, five for7337 379). Those for paired flutes, horns, latest volume in the Fitzwilliam ensemble's organ-true period instruments as beautiful mandolins, and oboes, also R. 545 for oboeseries of complete Shostakovich String visually (in booklet illustrations) as they are and bassoon, have been recorded before,Quartets (Oiseau Lyre/B-C LOL 28, fascinating aurally. Chorzempa's readings but rarely as well, and the R. 563 for two$9.95). Zdenek Kotler is no Vaclav Talich, range from gloriously invigorating to me-trumpets and violin is a welcome changeand his Slovak Philharmonic not the most chanically routine, but what matters most from the popular R. 537. refined orchestra, but their Czech cycle has are the magical sounds-and thefresh Our own young West Coast "Musicalthe right accents and its 1977 Opus record- stimulation they give the however -familiar Offering" ensemblealsouses moderning is gleamingly clear. Furthermore, Sho- music itself. instruments, but has yet to acquire thestakovich's Quartets Nos. 3 and 11 are as British Academicians' Baroquian exper-profoundly moving as those in the four ear- The bitter-sweet double-reeds. Of all tim- tise. Yet the players are so aurally bewitch-lierreelissues (two more arestillto bres. few are more distinctive or appetizing ing and radiate such infectious feeling that come). than the spicy piquancies of the oboe and its even a crotchety purist like me can delight Other currentreelsfrom Barclay - siblings: oboe d'amore, English horn, and in their novel Vivaldi program (Nonesuch Crocker (313 Mill St., Poughkeepsie, N.Y. bassoon. Present tapings are dominated, as digital/ferric 79067-4) of three orchestra - 12601) are programs I've praised earlier in usual, by the matchless Heinz Holliger. In less chamber "concertos"-R. 94.95, andcassetteeditions:Pro Arte'sdigitally two Philips digital/chrome releases, he's 107. all new to me-plus two occasionallyrecorded Odeon Trio versions of the Dvot- ideally accompanied by the Academy of St. recorded sonatas: R. 53 for oboe. R. 83 for Second and Fourth (Dumky) Trios (PRO Martin -in -the -Fields. The first (7337 304) violin and cello, both with continuo. The0130, $9.95) and the two great Schubert offers the same three Bach oboe and oboe almost tangibly "present" players all arePiano Trios (PRO 0202 double -play, d'amore concertos recorded last March (indeft, but bassoonist Kenneth Munday and$18.95). Also Vols. I and II of the incom- slightly different Joshua Rifkin reconstruc- harpsichordist Owen Burdick project espe-parable Academy of Ancient Music period tions) by Stephen Hammer for Pro Arte. On cially engaging tonal personalities. instrument Mozart Symphonies and Sinfo- the second (7337 311). Holliger takes over nias (Oiseau Lyre/B-C LOL D 167D-3 and from lona Brown as conductor, while vio- Open Reels.Audio technologyatanD 168D-3, $27.95 each). linist Gidon Kremer solos in Vivaldi's R. extreme stretch can achieve a kind of Hard as it may be for nonreelists to 582 Concerto and costars with the oboist in super-realism-soundinexcelsis,asit believe, all these sound better than ever in Bach's S.1060 and Vivaldi's R. 576.were-of awesomely palpable presence.reel format, which also eliminates some of Then, with Michael Gielen's CincinnatiansFor the specialized study of timbres, noth-the inconvenient turnovers in the two Schu- (Vox Cum Laude D -VCS 9064). Holligering can be more illuminating than some ofbert cassettes and the three -cassette Mozart couples a remake of his memorable inter- the astounding programs (boasting real-collections. NF SEPTEMBER 1984 73 have also been dropped by the label recent- ly, though in T -Bone's case the decision was particularly incongruous. But Joseph Henry "T -Bone" Burnett has been doing a good deal more lately than swingin' and being cool. He has toured almost incessantly as a solo act, including several dates with Elvis Costello. As a pro- ducer, Burnett is working with Los Lobos, a superb Mexican -American band from Los Angeles, on their second album together. He's also writing songs and developing a film score. So far, however, T -Bone's adventures as a recording artist have not been the stuff of which dreams are made. At thirty-six, Burnett has been playing the record game for nearly 20 years. A native of Fort Worth, Texas, he grew up on a diet of local country and r&b, from Willie Nelson to Jimmy Reed. He learned to play guitar when he was ten years old, worked in various bands, and by the time he was seventeen co -owned Clifford Herring Sound, a Fort Worth stu- dio noted for such pop classics as Hey Pau- la and The Last Kiss. "I pimped to buy it," he deadpans. "Actually, you didn't need that much money to buy a studio. And you didn't need much experience to be an engi- neer-it was just at the beginning of the technological boom. I went in there and started plugging things in. I spent days and days experimenting, making horrible records." Burnett kept on producing and engi- neering in Fort Worth, bert McClinton, Lou Ann Barton, Betty Buckley, and others; he also had his own B-52 Band (no, not those B -52's). But by the mid -Seventies,he'dleft Texas far o behind for the greener pastures of Los Angeles and New York. In '76, Burnett was playing with longtime Bob Dylan cohort Bobby Neuwirth when Dylan him- self showed up and invited the band to join his Rolling Thunder Revue. "It was my firstweekly paycheck," says T -Bone, "and the first time I'd ever gone out on the road for six or eight weeks at a stretch." It A Musician for Life was also the period of Dylan's much -publi- cized conversion to Christianity, an event in which Burnett was said to have played a significant part. T -Bone Burnett was The Next Big Thing in With two other Rolling Thunder mem- bers, Steven Soles and David Mansfield, 1983. Then, suddenly, no record contract. Burnett went on to form the Alpha Band and signed with Arista, an arrangement he later called "a marriage made in Forest by Samuel Graham Lawn." Sometimes brilliant, sometimes merely obscure, their three albums for the label failed to sell, despite considerable critical acclaim. "THIS IS A NEW KIND of interview," says to the press, and he has a right to feel that That same pattern has continued into T -Bone Burnett. "I'm only gonna use two way. Three excellent releases in three years Burnett's solo career. "Truth Decay" is a words: swingin' and cool. So if you ask me earned this musician the Songwriter of the rare combination of brains and brawn, wit what I've been doing, I'll say I've just been Year award in the national Rolling Stone and insight-smart music that also rocks. swingin'." Burnett is a little tired of talking Critics' Poll last winter. The same week But the album suffered from poor distribu- that news appeared, Warner Bros. coinci- tion. That wasn't a problem for "Trap Samuel Graham is a free-lance writer dentally failed to renew his recording con- Door" or "Proof Through the Night," but based in Los Angeles. tract. Bonnie Raitt and Jonathan Richman despite some fine songs, guest appearances 74 HIGH FIDELITY by Pete Townshend, Richard Thompson, bad, so I could just play and sing. But that's Backbeat:Well, let me putit this way. On Ry Cooder, and others, those records didn't a hard person to find, especially since pro- "Truth Decay," you had House of Mirrors. sell much either. Somewhat bloodied but ducing is primarily what I do. a talking blues in which you identified what unbowed. Burnett is now laying low, plot- Backbeat: Do you like "Trap Door" better you thought were basic falsehoods about ting his next move in the vinyl wars. than "Proof"? the way some people live, the sheep men- Burnett: I don't know. . . . I listened to tality and all. Backbeat: How's life without an album "Truth Decay" two or three weeks ago; I Burnett: That song's very funny, too. contract? like that. I think the next one will be simi- Backbeat: It is, but two records later. The Burnett: Well, there're a few offers. I'm lar, in that I'm gonna try to do it inexpen- Sixties says the same sort of thing. Hefner listening to everybody . . . I've learned a sively and quickly, with few musicians. and Disney is also fairly high-minded. As a lot.Ihave some idea now of what I've There's probably one really good song listener,I got tired of that. done, and what I've failed to do. I'm learn- on every record-Shut It Tight (on "Proof Burnett: As I said, they're all basically the ing how to be generous and humorous Through the Night"); Power of Love and same album, starting with Quicksand and onstage; my records come off very serious I'm Coming Home (both on "Truth ending with Shut It Tight. I know their spirit and severe, and I'm not really like that. Decay"); and Trap Door. There isn't a is benevolent. They're for the individual; Backbeat: You're not in a hurry to record really bad song in the lot. But those three their goal is to encourage the individual to again. records were pretty much written at the go on. It is a lot to swallow. I do agree with Burnett: I don't think there is any hurry. same time, and they're all about the same what you're saying; I wrote Shut It Tight Backbeat: Is that a change in attitude? thing. The new songs area lot more positive because I knew it was time to end that chap- Burnett: Not really. I've been that way my and funny, and they also have a lot to do ter. The new songs are more obviously whole life. At first I was terrified of record- with what I've learned about communicat- affirmative; one's called Let's Clean Up ing, so I wasn't in a hurry. Now I'm just ing from the last couple of years of perform- This City. trying to take considered action. ing. The studio's such an insular place. Backbeat: What about the music? Backbeat:It was ironic that you were Backbeat: When "Proof' came out, you Burnett: It's simpler, and more melodic. named Rolling Stone's top songwriter the were called "the quintessential artist of the Backbeat: I hear you've written something same week your contract came to an end. Eighties"; another quote from the press with the band U2 called Having a Wonder- Burnett: That's the publicity genius of said you were like Dylan in his "John Wes -ful Time, Wish You Were Her. That's an Warner Bros., you know. .. .I really love unusual collaboration. How didithap- their people. they're decent. There is a pen? touch of irony in what I just said, but I think Selected Discography Burnett: We were staying in the same hotel was and we ran into each other in the bar. 1U2 they want to see me do well. Leaving T-BONE BURNETT vocalist! Bono is a great guy, and an amaz- pretty much a mutual decision. Truth Decay. Takoma TAK 7080; 1980. Backbeat: Perhaps you didn'tsec eye. to Trap Door. Warner Bros. 23691-I; 1982 ing rock and roll singer. Idon't know eye. (EP). who'll record that, although it's on a real Burnett: They helped me tremendously. Proof Throigh the Night. Warner Bros. standard subject-pretty broken-hearted. But they need a different record right now 23921-I: 1983. It's supposed to be funny, too, but you have than I'm prepared to make. to be careful with humor; you start writing Backbeat: What do you think of "Trap With BOB DYLAN novelty songs if you don't watch it. Part of Door" and "Proof Through the Night"? Hard Rain. Columbia 34349; 1976. the failure of "Proof Through the Night" was that some of the funny songs were tak- Burnett: The production on "Proof'got With THEALPHA BAND overblown. Live, Hefner and Disney is The AlphaBand.Arista AB 4102; 1976. en too seriously. very funny; on the record it sounds a little Sparkinthe Dark.Arista AB 4145; Backbeat: Such as? Moody Blues-ish. 1977 Burnett: Hefner and Disney. primarily. It Backbeat: I agree. The demos I heard of Statue Makersof Hollywood. AristaAB is an allegory, but I didn't mean it as an Pressure and Baby Fall Down had more 4179; 1978. epic.It'sjust a littlesong. The Murder impact stripped -down, almost like rocka- Weapon is about the tongue: "It can kill billy;they reminded me of "Truth from any distance, but you never seeit Decay." Icy Harding" period. Those claims must strike/There isn't any warning, no blinding Burnett: Yeah, they got overproduced. It's have been pretty hard to live up to. flash of light. . . ." On the record, people my fault, ultimately, for letting it get past Burnett: I don't think all that stuff matters think it's about nuclear weapons or some- me. But at the time, I was preoccupied with much. What makes a difference is if the thing. singing well. music is really good and generous. Backbeat: How has playing solo helped Backbeat: Who's Jeff Eyrich? Backbeat: Why do you suppose your you focus yourself? Burnett: I don't know. records failed to connect with a larger pub- Burnett: It has forced me to get down to the Backbeat: Didn't he produce "Proof"? lic? heart of what I'm doing. Backbeat: Not to be cynical, but playing Burnett: Yeah. . . . Uh, he did Million Burnett: What I'm doing and talking about Miles Away by the Plimsouls. He's okay. is not part of a trend. It's not mass -popular- solo has its financial benefits. Backbeat: Why didn't you act as produc- ity music. There aren't a lot of eight -year - Burnett: That's not cynical, just practical. er? olds who are gonna understand what I'mA lot of people can make money for a year Burnett: The deal we had with Glyn Johns talking about in Trap Door. The audience isor a few years, but it's the very rare person fell through, but we already had the musi- growing, but slowly, person to person. who can actually be a musician for life. cians booked in England, and if I hadn't Backbeat: Isit also possible that, to the That's what you have to come to grips with. gone into the studio, the record wouldn't people who did understand, you were a bit If you are, what's it gonna be? What are you have come out until this year. So Eyrich preachy, because you wrote so many point- willing to do? was there, and my managers said, "Try this ed, sarcastic commentaries? Backtseat: What are you willing to do? guy." I wasn't happy about it, but it wasn't Burnett: Maybe. I don't think of them that Burnett: I think I can continue what I've anyone's fault. way, but people probably have some pre- been doing this year. Backbeat: Did you want to be on your conceptions about me. 1 know that any dis- Backbeat: Playing solo, and writing? own? cussion of morality begins with oneself- Burnett: Yeah, if worst comes to worst. Burnett: No, I wanted a producer, really that's about all I'll say. HF SEPTEMBER 1984 75 BAC K BEAT Reviews Make Mine Monk Various Artists: That's the Way I Feel Now Hal Willner, producer A&M SP 660 (two discs) Thelonious Monk died in 1982. Memorial concerts and LPs quickly and rightfully canonized this modern jazz titan as a found- ing father; but along with Duke Ellington, Charlie Parker. and Miles Davis, Monk Thelonious Monk inspired everyone from Carla Bleyto Joe Jackson to NRBQ (above). deeply affected all postwar pop. Delicately spare melodies that toyed with dissonance that segues into NRBQ's roadhouse version ented collaborations may not go down well and densely clustered, highly emotional of Little Rootie Tootie. Pianist Terry Adams with bebop purists; indeed, some cuts are harmonic voicings were just two startling is a devout Monk aficionado, and his per- better than others. Spedding's restructuring revelations of his musical personality; he formances here and on In Walked Bud (with of Work into a hard -rock stomp sets up also incorporated shifting dynamics in his trombonistRoswell Rudd and Monk's Frampton's ersatz -flamenco solo nicely; rhythms as effectively as any 20th -century longtime rhythm section of bassist John Ore one suspects that Spedding's discovery of composer. and drummer Frankie Dunlop) alternate his own resonant inner harmonies would "That's the Way I Feel Now" (the close attention to detail with the boogie- have made Monk smile in approval. Todd original working title of the famous Monk's down abandon that is NRBQ's stock -in- Rundgren, hearing Four in One as a delib- Mood) is a lovingly constructed, generally trade. The duo of guitarist Steve Kahn and erately cheesy, drum -machine shuffle beat, brilliant two -disc set that brings together a Fagen on synthesizer turns in a pretty. mut- stuffs a sound effects barrage in between wide spectrum of rock and jazz players and ed performance on Reflections. Fagen's the notes of Gary Windo's lurching alto arrangers, who grew up in the '50s and '60s long, thoughtful solo is the kind you always solo, with hilarious results. and felt Monk's influence strongly. Two wish he'd take on his own albums but never Shockabilly, led by New York City years ago producer Hal Willner (who has does. In contrast, Dr. John's rolling, unac- avant-garde guitarist Eugene Chadbourne, been Saturday Night Live's musical coordi- companied Blue Monk isunadulterated contributes the controversial Criss Cross, nator for the past four seasons) was respon- New Orleans funk. Soprano saxophonist which features caterwaulingdistortion, sible for the success of a similar concept Steve Lacy, also a former Monk sideman, feedback, and the barest hint of melody. LP, "Amarcord Nino Rota," a tribute to is featured on four cuts, but his special Ba-Lue-Bolivar-Ba-Lues-Are, as reshaped Fellini's longtime musical collaborator by affinityfor the music, and differences by the Detroit production team Was (Not artists ranging from Blondie's Chris Stein between settings here, justifies his frequen- Was), slightly less iconoclastic, revolves to jazz heavy Carla Bley. Willner, a Monk cy; his duets with both Elvin Jones and vet- around a space-age New Orleans funeral fan since childhood, felt that the tribute eran Monk tenor saxophonist Charlie Rouse march beat and Sheila Jordan's wafting, concerts he attended "lacked a diversity of are spontaneously telepathic. ethereal scat -singing. musicians," so he decided to record some The two big -band arrangements are But if one accepts Willner's premise himself. Donald Fagen, Joe Jackson, gui- particularly stunning-each inits own that "Monk and Miles Davis, as jazz musi- tarist Chris Spedding (who quickly enlisted way, of course. Jackson's approach to cians, have had the most far-reaching effect his friend Peter Frampton), and NRBQ 'Round Midnight is lush and impressionist- on rock," then even the more bizarre were interested immediately. ic; strings and woodwinds swirl around his arrangements here can be heard as revealing Stylistic variationisthe album's lean, dramatic piano lines. Oliver Nelson testaments. "This kind of album allows one theme, starting with a short, chiming cho- appears to be an influence, if Jackson's to hear such a different aspect of a pop/rock rus of trombones arranged by Bruce Fowler stark reed voicings and cinematic approach musician," Willner says. "There's just not on Thelonious, followed by a train wreck to tone color are any indication. Bley's take that pressure to sell a million records." on Misterioso is a virtual tour -de -force of Because he encouraged these pros to pay effects;behind Johnny Griffin's jam- homage to Monk in their own idioms, For additional reviews of Pop and Jazz packed tenor solo she alternates stop -time music on videodisc and Compact Disc, "That's the Way I Feel Now" succeeds passages with leisurely singing horns. see New TECHNOLOGIES. wonderfully as an album, and as a tribute. The album's more left -field, rock -ori- CRISPIN CIOE 76 HIGH FIDELITY Alive!: City Life Helen Keane. producer Alive! 543 (1000 Navarro Bluff Rd.. Albion. Calif. 95410) Toss together heavy doses of scat singing. feministlyrics rarely heardinthe jazz world, and mix into a base of African and Latin polyrhythms. That's Alive!, the Bay Area's jazz collective, whose "City Life." its third offering in seven years, maintains the quintet's claims to eclecticism. But unlike its performances and previous live album, the too -brief cuts on "City Life," all averaging around four minutes, don't permit the instrumentalists to take creative solos, and too often their energetic ensem- ble playing starts cooking as the song ends. Despite the group's "politically cor- rect" workstyle of collective arranging and equality for all five core members-Janet 8 Small (keyboards), rhiannon (lead vocals). 0 Barbara Borden (drums), Carolyn Brandy (congas and percussion), Susanne Vincen- ft za (bass and cello)-rhiannon is highlight- Small, rhiannon, Borden, Vincenza, and Brandy of Alive!: a collective that works ed here, as exemplified on the winning title track. Her frenetic scatting spree. accelerat- tive cymbals and a saxophone solo from mentalAfreaka.And while Small has ed by the percussion section. lists the hectic guest artist Mary Fettig: rhiannon's punchy emerged as a first-rate writer, the ethereal schedule of a modern mother who rushes phrasings against Small's piano accent the arrangements on herHappy Endingresem- the kids to school, dashes onto the freeway, upbeat philosophical lyrics. ble meditation music rather than jazz. puts in a busy day at the office, but still The Brazilian beats ofSkindo Le Le Anouman-Lazy Afternoon,the album's finds time to make love, take a sauna, and area perfect vehicle for Brandy's and Bor- other ballad, also suffers from a draggy listen to Amazons calling. Small's bouncy den's explosive jamming. But Fettig almost melody and overly spaced -out vocals. 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BACKBEAT Reviews collective displaysitsknackatsliding ken, there is a certain payoff. virtuosic display. through a grab bag of styles; this Brandy - Through imaginative and thoughtful Because heisso dependable and Small compositionstarts with anairy production. Hicks has been able to trans- adaptable, we tend to take Hicks for grant- kalimba and classical cello and ends with a form what could well have been another ed. Now is the perfect time for that to funky sax riff. professional blowing session into a modest change; "John Hicks" is the sleeper of this For thoseunfamiliar withAlive!, event. He avoids both horns and the basic year's ten best jazz albums. "Call It Jazz," the group's live second piano -bass -drums rhythmsection.Four STEVE FUTTERMAN album, with its longer instrumental solos tracks feature the unusual grouping of piano and consistently stronger lyrics, might be a with vibes (Bobby Hutcherson) and bass Don Sebesky: Full Cycle better place to begin. But for those already (Walter Booker), one tune is a piano duet Don Sebesky, producer converted to these five musicians. "City with wife Olympia Hicks, and the remain- GNP Crescendo 2164 (8400 Sunset Life" is just fine. KATE WALTER ing cuts are solo performances. This mate- Blvd., Los Angeles, Calif. 90069) rial avoids the obvious. The Hicks originals John Hicks and tunes by Hutcherson, Walter Davis. Along with those of Slide Hampton and John Hicks. producer and composer Paul Arslanian complement Willie Maiden,thecompositions and Theresa TR 119 (1300 Solano Ave., the selection of a little -played Billy Stray- arrangements of trombonist Don Sebesky Albany, Calif. 94706) horn gem, The Star Crossed Lovers. and gave Maynard Ferguson's late '50s band a one standard, That Ole Devil Called Love, strong identity. After a year there, howev- Pianist John Hicks, a perennial sideman, is which areusually not associated with er. Sebesky gave up the trombone to devote beginning to think like a leader. His new LP instrumentalists of Hicks's generation. The himself to writing and conducting. With may not be his first foray on his own, but its novelty of the material generates swinging producer Creed Taylor he created "the CTI unexpected delights make it come off like a aggressiveness in everyone's playing; this sound," providingclassicaland jazz - new start. This success is attributable as is chamber jazz thathas meat onits inspiredsettingsfor many performers, much to what Hicks doesn't do as to what bones. including Wes Montgomery and George he does. Hicks is not an innovative pianist. His Benson. It's the rare mainstream second -string. influences -a little McCoy Tyner. a bit of Now, at the age of forty-seven. Sebes- er who will opt for more than the standard Duke Ellington. a lot of Bill Evans -are ky is finally fronting a band. His arrange- horns plus rhythm lineup in the studio. The always apparent in his playing. But his ments derive from Gil Evans, but he's chosen material is usually as predictable: a straightforward. unpretentious stylesets much more disciplined -less inclined to let few standards, a couple of blues, and if him apart. He lets the music reveal itself, a soloist ramble on into eternity and more we're lucky an original or two. Such a stating beautiful melodies with an ease that concerned with involving the whole ensem- familiar setup is no reflection of the final is free of affectation or cluttered embellish- ble. As a result, he consistently achieves product; the playing can be quite inspired in ments. His ruthlessly driving improvisa- the kind of personalinterpretationthat a comfortable, no -risk sort of way. But tions are never independent of the compo- Evans's overly laidback attitude tends to when the rules have been deliberately bro- sitions: tunes are never mere excuses for dissipate. 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UPS rates apply on these units Prices and Availability Subject to Change - send for free price list - Mimi/ Quern Name 12 E. Delaware Pl.. Chicago 60611 4):0 Address Hours: VISA Phone Now 10:00-5:00 TOLL FREE IMMEM City Mon. thru Sot. 1-800-621-8042 State Zip or use your address label 1.1 14: I an mo co so IM1 SO CM IMO GB Mt IMIt 1M) IMO 4MI EMI GNI IMI MID fffillt 01111 MO IMO MD MB MO tbeg) M. 1NE fIM IMO 4IM an a an im 1M1 sip 1M/ MO MI an an mo an om Percussion Sweet and Bitter Reviewed by Steve Futterman Max Roach: Standard Time Jim Fishel, producer Polygram EmArcy Jazz Series 814 190-1 (two discs) Trumpeter Booker Little (left) with bandleader %hi in5.\ r ,npered radicalism FEW MAJOR BANDLEADERS have been given Brown had it all: gorgeous tone, effortlessthat remain a high premium in the genre. more lip service from critics and less archi- execution, and singingly melodic ideas. His The Brown mold was finally broken in val support from the record industry than playing leaves you with a rush of elation- 1958 when Roach put together a new band drummer Max Roach, who formed two of everything seems to be within his grasp. No whose tempered radicalism mirrored the the most exciting and innovative bands musician since Armstrong has been able tochanges that were taking place as the Fifties around during that most fertile of jazz eras coax such radiant joy out of his instrument. ended. Although this music is now no more from 1954 to 1960. Brown -Roach Inc., the Brown was an Olympian talent untouched than a historical footnote, it incorporated cooperative unit he co -led with trumpeter by hubris. His was the sound of pure con- some of the most cogent aspects of the pia- Clifford Brown from 1954 to '56. was the fidence. no -less freedom and tonal experimentation greatest of all hard bop bands; Roach's Playing the hardest hard bop, BRI'sof Coleman, and the modal expansions of 1958-60 association with another brilliant favorite and most comfortable tempo was Davis. By hiring young musicians like Lit- trumpeter, Booker Little, produced music up, way up. Roach took the band's moniker tle and changing the instrumentation (he that can stand with the post -bop explora- seriously; his drums were part of the front replaced the piano with a tuba, for exam- tions of Miles Davis and Ornette Coleman. line right alongside the horns. When the ple), Roach was able to completely revamp Want to hear this stuff? The BRI material is music got hot, as it does on Blues Walk (this his group's sound and identity. Of the two available in this country only through Japa- album's only Brown entry and a previously cuts presented here, only Monk's Bemsha nese imports, and Roach's work with Little unreleased outtake), the pace was just ridic- Swing gives an indication of the inventive- is either on obscure independent labels or ulous. But the musicians maintained anness of this band. Principal soloist and totally out of print. inward repose;atfullthrottle, Brown - occasional composer/arranger, Little is a So my feelingsabout "Standard Roach Inc. were lyric poetry delivered with giant whose best music still goes unheard. Time" are ambivalent. This grab bag of the collective force of a Mack truck. He took Brown's bop technique and drive studio outtakes and random selections from When Brown was killed in a car acci- and brought it into the post -bop era. His use previously released but now unavailable dent in 1956, the group sound he had helped of tonal manipulation, off -center time, and albums is a tease-or at best a mixed bless- mold hardened into formula. Certain de- dissonant orchestral voicings-as a player ing. Hearing such assorted gems from a vices of the original unit-pitting two and a composer-sounds daring even today golden age only reminds us that the bulk of horns together for climactic effect, occa- (that is, if you can locate his records). But these treasures, and the most important sional forays into waltz time, uptempo ren- what immediately and irrevocably sets him ones, are out of reach. Finding a lost track ditions of standards and Ellington num- apart from Brown is his profound sorrow. from BRI while the "Jordu" LP isstill bers-all these were retained for Brown's Even at his most effusive moments, Little's unobtainable on an American label is like replacement, Kenny Dorham. "Standardsound is disturbing inits dire intensity. discovering a forgotten Chaplin short while Time" devotes the greatest amount of space With hindsight it could be called foreshad- The Gold Rush is out of circulation. to this transitional band, whose primaryowing: Three years after joining Roach, This neglect only adds to the obsessive recordings are (need I say it), for the most Little died of uremia at age twenty-four. folklorethatfeeds jazz record buying. part, unavailable. "Standard Time" hints at these vari- "Sure," the rabid collector sneers, "if you One of jazz's great underdogs, Dor- ous bands, which is reason enough to buy think that's great, you should have heard ham did an admirable job of coping with a it. For the Roach novice, the album makes a the one that got away." I usually bristle at no -win deal, ultimately emerging as one of fineintroductionto great music that, that cliquish attitude, but in Roach's case the finest stylists of his generation. "Stan- because of its unavailability, has already it's perfectly justified. Nearly everything he dard Time" helps chart this development. acquired iconic status. For collectors, the did in the last half -decade of the Fifties is Knowing he couldn't touch Brown's chops, oddities (an entire side of intense but over- great, and all of it deserves to be heard. Dorham concentrated on the more impor- long jamming) and randomness of the By hooking up with Brown, Roach tant lesson of the master-form and sub- selections (the drummers' battle Rich ver- formed a classic band on hisfirsttry. stance. His solos on Mr. X, Minor Trouble, sus Roach) are anything but a drawback. and Valse Hot, while never approaching the Still, the whole thing seems a bitself- defeating. Without access to this album's Steve Futterman is a free-lance writer who magnificent architecture of Brown's, are contributesregularlytoMusician and still ingeniously crafted. Dorham's playing sources, "Standard Time" is like an adden- Record. is always lean, crisp, and convincing, traitsdum to nothing. HF SEPTEMBER 1984 79 BAC K B EAT Reviews piano, uses the instrument judiciously, for others', and she does this very well. But her added color. heartfelt. She's no fantasy. And she just style is loping, not charging;even at her may be too honest to stick. On this debut he has chosen a half- beltingest she retains a softened, laidback, LESLIE BERMAN dozen standards by six stars: Miles Davis's hot -night laziness. Without obvious dia- All Blues, John Lewis's Django, Bud Pow - phragmatic pressure. her hardest notesarc ell's Un Poco Loco, Bill Evans's Waltz for Detroit Gold. Vols. I and 2 miles away from the Sturm-und-Drang of 011ie McLaughlin & others, producers Debbie, Freddie Hubbard's Intrepid Far, blues -rocker Janis Joplin. though Ball's and John Coltrane's Naima-managing, Solid Smoke SS 8021 & 8022 (P.O. Box crooners arc punchier and more energetic 22372, San Francisco, Calif. 94122) miraculously, to improve on even the best (and more believable) than the light and of these in their original form. All Blues feathery insinuations of Bonnie Raitt,to In any city that supports an active local becomes an even more compelling mood whom she bears a slight vocal resemblance. piece; various instrumental lines drift and scene, there will be artists not quite consis- On "Soulful Dress," which treads the fine tent enough to make it onto the chief label, float like smoke rings, sometimes resolving line between hot and harmless, we find sen- but capable of delivering a fewstrong in solos. Sebesky hears Django asa mourn- suality(Souffill 'Dress, Soul on Fire), ful Spanish theme, using Lew Soloff records. They usually wind up witha small- s betrayal (Jailbird, Made Your More Too er company. Thus, Memphis rockabillys trumpet, Alex Foster's flute, and a doleful Soon), and promises (My Mind's Made unwanted by Sun went to Meteor; guitar played by his son, Ken, to bring out a decade Up) -a more than satisfactory blend fora later, soul artists who couldn't cut it with the full sense of sadness. On the other hand, debut blues LP. Un Poco Loco, a crisply tumultuous series Stax-Volt usually worked for Goldwax. In But something is missing. It's not the Detroit,during of solos and challenges accented by Jimmy theSixties heyday of genre's sexy blues undercurrent. Where Motown, they went to three labels Madison's drumming. enlarges on Powell's run by many women aim for the coy and arch to get 011ie McLaughlin: Karen, Carla, and Moi- familiar solo. JOHN. S. WILSON sexuality across. Ball's deft phrasing and ra. The two volumes of "Detroit Gold" midrange soprano convey credible passion. gather the best of their efforts. There's And it's not a lack of originality. Ball'sver- enough here for one dynamite set (a la Pop sion of Jailbird, with its promise "I'llnev- Meteor's "Hillbilly Bop, Memphis er hit another man." and her decision to Style"), but spread over two albums, the Marcia Ball: Soulful Dress choose only one lover in the self -penned My Denny Bruce, producer pickings are slimmer. Mind's Made Up, arc inventivetwists. Rounder 3078 What's immediately obvious is the What makes this singer utterly real, and clout Motown itself exerted, inevitably. what will probably undo her, is her straight- What makes Marcia Ball so atypical over any recording artist. Though some of as a forward simplicity. Joplin succeededas soul woman is her Texas roadhouse -bred these sides also show the influence of Curtis caricature. Raitt succeeds as nice -girl-goes - Mayfield's Chicago soul sound,a cut like matter-of-factness. She works in saloons naughty. 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J1405 HR-101EU $39.95 5A-8105319.95 5X-50 5239.95CT -50R 5219.95 RSB-68R CALLCD -73 $719.95CALL FOR CLARION, ADS, SANYO, HR-201EU $59.95 $199.95 SX-60 5329.95CT -10405259.95 RSB-78R CALLSony compact discs sal INFINITY, YAMAHA , VISONICS, 574.95 SA -350 HR -301 E U CALL RSB-11W5199.95only within ISO milt radiusPHILLIPS, PANASONIC AND EPI LS-580LT $129.95 SA -450$219.95 SX-V90 CALLCT -A9 of ow location. PIONEER AM/FM CASSETTE CAR STEREOS SANYO .r. ;r BL ACPUNK T KE-A880*147=11:11CONCORD FTE-25 HPL-516 TUCSON Dutton De'nikynel: 'a"1."Sul'.""e it In dash, auto reverse c ..... te wan Am -fen ssss tv.Dolby, 25w per 1./8.1per channel, tarter, new $upertuner III & 2 way high tuner, $239.95 $269.95 channel,directinputor DBX $239.95rmds 5339,95 ewe., fun auto reverse total power,Ill decoder. flex fader control $149.95 n . auto rvers, musk FTU-42 FTC -120 5189.950 search [Selby. fader. seek t scan HPL-122R S249.95 HPL-101 5139.95Aspen 5219.95 Seattle1189.95 CL FTU-22 S129.95FTX-1405209.95 5149.95HPL-5255309.95 HPL-5C2 New York $549.95 Houston !.439.95 5139.95 K E -A330$149.95 KP-A500 $189.95 FTX-160 5219.95 5169.95HPA-51 $179.95 Washington $439.95 BPA-430 s219.95 .F1 -1 -11U -4c5; exK E -A430 $179.95 KP-A700 5159.95 PA -6100 0 $199.95HPA-71 5159.95 HPL-532 CALLRichmond 5219.95 BPA-260 .219.95 ''-- S119.9 K E -A6305219.95 KP-A750 FTC -1 $49.95PA -6110 ie 5139.95 K PA -600 5164.95HPA-26 589.95 HPL-520 CALLManhattan 5219.95 bEA-155 5129.95 $139.9 K P -A400 .95 BPA-415 $89.95FTU-12 $89.95 ccK P -A450S149.951 K E-7200 5229.95HPQ-89 $79.95 HR Q- 90 $89.95Sacramento 5279 IP MITSUBISHI' C.? PANASONIC Clarion JENSEN %CAR AUDIO sa "- CQS-788 8500R Sri _ElMr RE -520 RX-735 eeAmfrnstereewithelectronictun m.tm cassette, digital elect tun. Electronic am4rin "%Se.stereo. no cassette player. a way balance Ann.tm, 0.041 scan tunerU0105, auto never .e,auto tap. scan. auto sontrol,fader,dailypriority ss $179.95 auto0seek""ng' 11. 1" ''''' """: $209.95 tations, metal tape, more. $219.95 troth, Sep- base .1 treble SOP bate d treble, fader. $211.95.0program swItch, Isw. fader CQS-768 $219.95 4350R 589.95 6900R 1- $169.95ATZ-100 $219.95 RE -518 $209.95R X-707 5154.95 R X-755 $169.95 CQS-763 $209.95 CQS-747 5189.95 5100R $119.95 6950RT $169.95ATZ-200 5249.95 R-408 1179.95R X-726 5129.95 CZ -757$249.95 CQ5-951 $319.95 CQS-717 5164.95 6300R $129.95 7500R $189.95ATZ-300 $279.95 R-708 $179.95R X-723 S 99.95 CZ -727$159.55 5129.95 CV -23 S 89.95 CQS-903 5279.95CQS-668 6100R 5129.95 8550R $179.95ATZ-400 $309.95 R-220 $129.95R X-909 $209.95 P. CY-SG100 $149.95 ATZ-501 $339.95 589.95R X-737 $239.95 CV -251 599.95 CQS-818$209.95209.95 6700RT 1159.95 200 EQB2 599.95 EQA-5000 $199.95 CV -231 5119.95 CQS-760 CQS-793 8100R 5159.95 300 EQB3 5129.95 A35Amp sz9.95 R X-733 5199.95 se - MAXELL BLANK TAPES (RADAR DETECTORS 54.99 SA -C90 12.29 T-120EHG 58.95 UDXL-II-C60 51 .89 MX -90 Metal WHISTLER UDXL-II-C90 52.29 T120 $6.95 MINIMUM SAX -C9012.99L750 T120 . MP:4 Spectrum kemote 5229.95 7.4 XL -I IS -C90$2 99 T120-HGX 58.95 10 TAPES 56.95 L750-HXG $13.9.! 30 day return poliesAll returns must be phoned in for prior authorization. All products must be returned in original factors packaging clean and unscratched. Do not write, tape, or deface manufacturers original cartons Please -include blank warrant', cards BACKBEAT Reviews AKAI SONY NAKAMICHI AIWA DENON LUXMAN horns playing a generic Motown chart, YAMAHA GRADO ADS DBX way too long. The nadir comes on the 8:48 gives away the record's origins immediate-John Coltrane Stereo Blues, which is full of rHI END AUDIONIDEO EQUIPMENT ly. So does the tambourine underpinning offalse buildups and crescendos intended to AT LOW END PRICES!!! the Firestones' Buy Now and Pay Later manufacture excitement not inherent in the (Vol. AIWA AKAI I) or the Marvin Gaye homage ofsong or arrangement. Session keyboard CASSETTE DECKS CASSETTE DECKS Jimmy Delphis's Almost (Vol. 2). Still oth- man Tom Zvoncheck, primarily a noodling ADF-220 CALL HI -1 S 98 er cuts bear a resemblance to non -Motown ADF-330 5165 HX-2 125 technician, is also called on for solos; his ADF-660 265 FIX -3 135 Detroit artists, such as Little Willie John break on Armed With an Empty Gun actu- ADF770 289 HX-R5 165 ADF 990 339 GX-R6 195 (the Volumes' Ain't Gonna Give You Up, ally takes the meat out of the music. The ADW X110 CALL OX 7 239 Vol. 2) and Wilson Pickett (Delphis's Mrs. ADW-X220 CALL GXR99 475 background vocals add nothing to lead sing- MATCH SYSTEMS RECEIVERS Percy, Vol. 2). Overall, the arrangementser Steve Wynn's patented Lou Reed, Mick V-1100 CALL MR-;; $159 tend to be sparser than Motown's-proba- Jagger, or Jim Morrison imitations (which V-1000 $689 MR -32 185 V-900 CALL MR -42 265 bly as much a matter of economicsas aes- didn't used to seem such self -parody). V-700 CALL MR -25 CALL thetic choice -and more rhythmically var- V-300 CALL MR -35 CALL The band doesn't exactly help itself, YAMAHA AAR-45 CALL iegated. either. Burn and Merritville are portentous RECEIVERS DENON Volume I gets the nod chiefly by vir- mumbo -jumbo, and Dream Syndicate's R-30 $165 CALL ON PRICE AND tue of Barbara Lewis's Hello Stranger, the R-50 CALL AVAILABILITY ON ALL DENON preoccupation with gun lore and other sym- R-70 335 MODELS most wistful girl -group ballad by a solo bols of rural American life seems contrived. RR -10900 CALL NAKAMICHI singer this side of Carla Thomas's Gee Only Still Holding On to You and Daddy's CASSETTEDECKS WE CARRY COMPLETE LINE OF Whiz, and Deon Jackson's Love Makes the NAKAMICHI CASSETTE Girl survive as songs. But these K-300 guys 5185 DECKS CALL FOR PRICE K-500 AND World Go 'Round, a sweet Sam Cooke- 235 AVAILABILITY weren't great songwriters to begin with; K-320 FOR MORE meets -Motown derivative. (-520 CALL INFO PLEASE CALL NY Jackson also they got by on energy and commitment, CALL TEL [PHONE K-703 CALL reveals a marked debt to Smokey Robinson qualities that appear to have been muffled K-1000 c.Au. (212) 686-0631 on Ooh Baby, while Woods's three cuts K-2000 CALLLESLIE by business pressures. JOHN MORTHLAND Call for Prices and Availability of N `I s Largest Selection show off an unfettered gospel voice. of Compactisc Players Too much material from Delphis, a E. Urd TYPEWRITER &ELECTRONICS singer somewhere between Gaye and Jr. 42 E. 33rd SI. N.Y. 10016 OPEN 7 DAYS A WEEK' Mon Thru Fri 9 OOam-7 OOpm Sat 10.4pm Sunday 12-4pm Walker who had no idea what to do with his Not Responsible for Typographical Errors own raw voice, weakens Vol. 2, and the (118) 686-1631 belabored M -C Twine by Matt Lucas, the (DoersOnly 1.100.223-3201Any 6°. For Stuppmg a Handion Bank C6ects of Ca,n),11/, Min S H S4 All Items Subiect to Avaliab,iity sole white artist represented, doesn't help, either. But it's partially redeemed by the MITSHUBISHI NEC 'TOSHIBA PANASONIC SANYO inclusion of the Capitols' Cool Jerk, a HITACHI SANSUI DIATONE SHARP PiC RCA trash -dance classic. "Detroit Gold" may not offer the constant revelations of a com- parable Motown anthology, but the two Cartridges & Styli albums have their share of small and sus- I it to 1(arranged by increasing price order. taining pleasures. It's just a matter of weed- STANDARD MOUNTS ing them Osawa out. JOHN MORTHLAND Z 1 12.95 EEAudio -Technics ATI05 .14.95 Shure M44E 1 18.95 ladAudio -Technics AT110E 1 18.95 The Dream Syndicate: Medicine Show ..e.Ortolon OMIO 1 24.95 Audio -Technics AT120E 1 26.95 Sandy Pearlman, producer V Audio-Technica ATI2SLC 1 32.95 '1r Bang & Olufsen MMCS 1 39.95 A&M SP 6-4990 Li. Ortolon 0M20 144.95 _.. ADC XLM Mk III 1 45.95-.4 Audio -Technics ATI4OLC $ 47.95(0 This can't be the same Dream Syndicate Ortofon VMS20E Mk II 1 53.95"., Audio-Technica AT3OHE (ME) * 58.95 Kr" that emerged a couple years back playing = Bang & Olufsen MMC4 1 59.95 ("'"11 Linton Kwesi Johnson never forgets. CD Aud,o-Technica AT31E (MC) t 63.95 ..w. obvious Velvet Underground derivations ADC ZLM Improved 1 69.95 10111 Ortolon VMS30 Mk II 1 73.95 with drive, abandon, and guilelessness Linton Kwesi Johnson: Making History AKG P1OED (with free heal:LAO]) 1 79.95 Lc5Audio -Technic. ATISSLC 1 82.95 while bands all around them were failing Linton Kwesi Johnson & Dennis Bovell, Ortofon 0M30 1 82.95 Bang & Olufsen MMC3 with the same ploy. "Medicine Show" co 1 99.95 producers. Mango MLPS 9770 AKG PISMD (with free headshe0) 1 99.95 sounds more like a studio band shaped by Audio -Technic. AT3100E (MC) 1109.95 (14 E. 4th St., New York, N.Y. 10012) Audio -Technics AT3200XE (MC) $112.95 an outsider, producer Sandy Pearlman. And Ortoton MCIOOU (MC) *149.95M Bang & Olufsen MMC2 _cc.) 1149.95 if their version of bargain -basement L.A. What with the conventions and the stump- Technics EPC205C Mk HI 1154.954 AKG P2SMD (24 or 35) 1159.95 psychedelia is still harsher than most, this Ortoton MC2000 (MC) 1199.95 ing, this is shaping up as the Summer of a)Bang & Olulsen MMC1 Grad. free 1.18105R) $249.95 album remains very much a corporate prod- "10 best" P -MOUNT CARTRIDGES Talk. How opportune, then, that Linton Audio-Technics uct, with the urge for radio airplay subsum- O ATII2EP $ 14.750 Kwesi Johnson's "Making History" Ort Mon OMP 10 1 25.951.0 ing the music. Audio -Technics AT122LP 1 28.95 should come out now: An album ofmono- Ortoton OMP20 $ 44.95% J Telltale signs are everywhere. Bassist AT152LP (gold) 1 82.95 ch logues that never feel like speeches, it's all (13 Ortolon OMP30 1 82.95 Kendra Smith, whose murky undertow had unforgettabletalk. A second -generation AKG P4DP 1 99.95 , % Audio-Technica AT312EP (MC) 1109.95 more to do with the group's sound than aJamaican journalist and activist in England, %-.1 Technics EPC-P205C Mk III , 1149.95". 0 Ortolon TMC200 (MC) 1199.95 bass line usually does, is gone, replaced by Johnson is, distantly, reggae's Studs Ter- SLI200 Mk 11 1265.00 the more precise timekeeper David Provost. Ortoton LM Pro 1 47.00..--. kel. He grew up working-class and then he Aurora Sp -7 Sticko < DJ's 1 84.95 ,--- This cuts deeply into the momentum Dream TOOPIl IP/ MN* rsrorw changed, but he has never forgotten-or diediarpasiskoducAmsealliwwwwthwiempiretimmonukre Syndicate always built up in the studioas innewooldwil watblint$82 9511.01111.4111F stopped reminding anyone who'll listen- (Cartridges & Styli (Needles) well as live, which not only diminishes our about working-class problems. Johnson For quotes & COD Orders OK 241u. Shipment) O IA sense of them as a group, but puts too much doesn't theorize -so much as mobilize. Then 0 1-800-431-3232 0 pressure on lead guitarist Karl Precoda. His he jams on it, repeatedly, to skewedreggae (212) 438-6400 three basic solos sound as though they've backings as muscular as the street tussles he for advice and service C been dropped in almost at random to fill writes about. audiottn space, because most of these tunes go on P.O. BOX 37. Brooklyn. NY 11204 Johnson hasn't come close to match- V: Hours 10AM - 6PM EST Free Catalog: send sell addressed stamped envelop. 82 HIGH FIDELITY ing his militant, piercing "Dread Beat an' Blood," released in the States in 1982. But WE DELIVER SAVINGS there's not a weak cut on "Making Histo- SLB 100 End Of Summer S'AVC) Digital ry"-he talks with more feeling, more Technics DAD -8 Super HOT Special Disc Player rhythm, and more sense than most singers know about. He never raises his boggy. $49 CONCORD 122 R impersonal voice; it has the gravity (though with CALL FOR PRICE notthedeceptiveclarity)of a BBC Cartridge announcer. Johnson's broadcasts are the Purchase Buy Now DC Servo Turntable Get 5 FREE Discs$369 kind of current events that BBC declines to cover; the title cut, for instance, reveals the DW-9 Tbchnics SA -450 lie of the official British explanation for All Products AM /FM Receiver with recent black and Asian riots. Di Eagle an' CALL FOR PRICE We Sell Carry TV Band Di Bear concerns the plight of Third World Our Famous CALL people too busy worrying about food to Buyer FOR Protection 1111w 1PRICE fight against the arms race. One of The Best Plan 50 Watts channel The band behind Johnson usually sup- Dubbing Decks portsitsleader, reggae crooner Dennis BoveII, but Johnson takes it places Bovell CARTRIDGECARTRIDGE SPECIALS EM 2.0 CALL FOR TAPE SPECIALS has never seen. And he takes it places reg- PRICE Case Quantities Only Audio Technics gae rarely goes: There's up -front blues on Super AT 140C SSS Maxell V/99 Wat About Di Workin' Class?, even a ref- Special ea. erence to Italian movie music in Reggae Fi USXLII S-90 Shure Designer Accoustical TDK Series MA -I0 $44 $190 Rodni. Loading SA -90 ea There has been a tsunami of good talk Sphere Tweeters Stanton 881E $57 all for all our Tape Secials lately, none of it generating from the cam- paign trail: the slick-schmooze of the New TOLL FREE 800-356-9514 York rappers on these shores and a wave of dub poets revolutionizing reggae in Jamai- Weekdays 9-9 ca. But the original is still the best. John- Saturdays 9-5 son's too much of a left scholar, and too We Sell Every Major WISCONSIN DISCOUNT STEREO damned good a poet, to claim he's just Brand of Audio -Video **Power rating from another face in the street. And yet, there is cr.T!r-7-1": eri.mi C.O.D. 2020KHZ with no more 2411w badger rd madison, wr 53113 his voice: deliberate and burdened, as unin- than .009% THD. dividual as a complaint from a crowd. That hardened, resolute voice is "Making Histo- ry" 's greatest success. RJ SMITH Bruce Springsteen: Born in the U.S.A. THE AUDI411,4111LYVPICS Bruce Springsteen, Jon Landau, Chuck Plotkin. & Steve Van Zandt, producers. Columbia QC 38653 USA vs The Orient On "Nebraska,"hisrecorded -at-home There's an amp from the Orient with an American sounding 1982 solo LP, Bruce Springsteen stripped name that received a high rating from a West Coast audio away both myth and melody to make an magazine. As a response from the U.S. we offer the Belles One album that was stark and unremittingly sad. While it didn't quite succeed on its own amp. All you need do is compare the sound quality. terms-his bare -bonesnarrativeswere The Orient is well known for making good reliable audio more depressing than cathartic-"Nebras- products. But if you wanted high quality, high performance ka" marked a crucial break from Spring- steen's pop -operatic past. He seemed to U.S. components you had to pay more-up till now. The above have grown weary of his rock -as -redemp- mentioned amplifier from the Orient sells for about $900 - tionfablesandlarger -than -lifeimage; the Belles One is substantially less expensive. Isn't that a wel- unlike the average star, he tried to be self- come change of events. Superior U.S. quality at a lower price. effacing. a demigod wanting only to be a regular guy. He jumped off his pedestal by If at that price you're wondering about Belles' quality - flinging his version of life in the face of his don't.Belles Research tests, calibrates and matches alltran- fans as if it were a bucket of cold water. sistors.Expensive polyester and polypropolene capacitators As "Born in the U.S.A." proves, that album was a turning point, not merely a bypass all electrolytics just like the finest U.S. made amplifiers pause. in his career. No longer the romantic costing many times the price of the Belles One. renegade, Springsteen reapproaches rock Up till now America was known for high quality, high cost with a folksinger's storytelling power and just the right distance from the glory days of audio components. Now we'll also be known for high quality, his long-term adolescence. What links his low cost audio components. Price$675. work old and new is the well -muscled play- ing of the E Street Band, which transforms Fat Julian's Audio, 5600 Roswell Rd., Atlanta GA 30342 (404) 255-7015 these hard -luck tales of blue-collar life into Belles Research Corporation, 875 Merrick Avenue, Westbury, NY (516) 683-3000 bracing, full-blown drama thatis grand SEPTEMBER 1984 83 BAC K BEAT Reviews instead of grandiose. Springsteen's anger is GUARANTEED* stinging (on the thunderous title track). his humor rollicking (on Darlington County), LOWEST Prices, his sense of personal regret palpable (on Bobby Jean, a poignant. veiled message to ex -band member Steve Van Zandt)-and BEST Service the pain accumulated hereis ultimately exorcised. As Springsteen points out, danc- ing in the dark has its therapeutic effects. Ironically, now that he has captured the voice of the common man, the renewed vigor of "Born in the U.S.A." might turn Buy Panasonic, RCA, Quasar the Boss into an across-the-board pop star. and Magnavox BELOW No sweat, though. Think of it this way: one Wholesale. Shipped by UPS of us made good. MICHAEL HILL within 24 Hours. Audio Video Center features a full line of video equipment from vrsA Panasonic, RCA, Quasar and C.O.D. Il we can't beat any price on Panasonic or RCA video Magnavox. Our three locations give equipment we'll send you a free Alsop Head Cleaner us tremendous buying power that FREE - a $29.95 value. translates to big savings for you. A note on "800" numbers... Toll Free numbers are not free. Their cost shows up Call us last for our price on the in the price of your video gear. Use them to SHOP. recorder or camera of your choice. but not to BUY. Call us with your best price. We'll beat it and deduct $5.00 from the price of your Satellite Earth Station Headquarters purchase. for Birdview and Regency. Dealer Inquires Welcome. CALL ONE OF OUR THREE CONVENIENT LOCATIONS! c7gudi_c VLdEo CEntEx, ilnc. 4128 S. Florida Ave. New Jersey 4816 Interstate Dr. Lakeland, Florida Sales Office Cincinnati, Ohio (813) 644-4546 (201) 297-2744 (513) 777-8800 Little Steven: Big Bruce wasn't enough. McIntosh Little Steven: Voice of America Little Steven, producer STEREO CATALOG EMIAmerica ST 17120 and FM DIRECTORY On "Voice of America," Little Steven- Get all the newest and latest information on the new a.k.a. "Miami" Steve Van Zandt-moves McIntosh stereo equipment in the McIntosh catalog. In off the streets and into the jungle. "Men addition you will receive an FM station directory that Without Women" was an elegiac ode to his covers all of North America. urban roots and the redemptive qualities of rock and roll; "Voice" is a political call to arms.Unlikehis former boss,Bruce Springsteen, Van Zandtwritesabout groups rather than individuals, direct issues instead of metaphorical situations. "Amer- ica" for Van Zandt spans both Latin and Northern regions; his new songs are explicit r 1 attacks on threats of fascism, terrorism, and McIntosh LaboratoryInc. HF984 impending war that know no boundaries. East Side Station P.O. Box 96 With its ten sober, anthemic flag- Binghamton, N.Y. 13904-0096 wavers, whosetitlesinclude Justice, SEND Among the Believers, and I Am a Patriot, NAME "Voice of America" may bring to mind the ADDRESS ranting pontifications of the Clash at their TODAY! worst. Fear not, "Voice" is no "Sandinis- CITY STATE ZIP ta!" Van Zandt escapes self-righteousness (Continued on page 87) 84 HIGH FIDELITY High LOWEST POSSIBLE PRICES ANY- FACTORS' ORIGINAL DIAMOND WHERE! FULL WARRANTY -FAST DE- NEEDLES & PHONO CARTRIDGES. Fidelity LIVERY AUDIO -VIDEO -CAR STEREO - MOST POPULAR LINES AT DISCOUNT COMPUTERS -SOFTWARE VIDEO PRICES. FOR FREE CATALOG SEND Classified GAME -TELEPHONE -MORE!! SELF ACDRESSED STAMPED ELECTRIFIED DISCOUNTERS 996 ENVELOPE. LYLE CARTRIDGES. MAIL TO: 825 7th Ave.. 6th Floor. New York, N.Y. ORANGE AVE.. WEST HAVEN, CT BOX 691-. BROOKLYN, NY 11218. CALL 10019. Phone' 1-800-ABC-MAGS. In New York call: 06516 -MC VISA 203-937-0106 TOLL FFEE (800) 221-0906, N.Y. (212) 265.8360 GENERAL: all copy subject to publisher approval. Users of P.O. Box MUST supply permanent (718) 87' -3303. VISA MC. address and telephone number before ad can run. CLOSING DATE: 1st of second month preceding cover BANG & OLUFSEN FULL LINE, ADS, date.15 Word minimum No charge for Zip Code. CLASSIFIED RATES: regular type. per word: lx -$2.75: Quallorg Tapes B&W AND BOSE SPEAKERS AND 3x-$2.65. 6x- $2.55, 12x-$2.45. Words in caps- 15C OTHER QUALITY PRODUCTS AT extra each. IMPERIAL type, per word. lx -S3.75; 3x- Below Vholesale Specials! REASONABLE PRICES. SOUNDCREST, 1DK SA 90 1.95 51 XIII II/5111 a' 2.15 $3.65; 6x-$3.55; 12x-$3.45. Words in caps -150 1131: SA 60 IA5 kIN 11 I1 1/X1II 60 1.85 11)K SAX 90 1.75 51551 II. XI 0\90 2.79 INC. (717) 774-2618 extra each. Minimum 15 words. Box numbers. $3.00 DK SAX AO 2.49 NIAM 11. MX )A1 1.69 additional per insertion to cover cost of handling and Irk MA 90 4.19 5IAX/ 1.I.1)90 1.95 IA( MA 60 3.119 MAX1-1.1. 1'1)60 1.85 postage. Display. per inch: lx -$350: 3x -$340: 6x 01: MAR `01 5.99 MAXF.I.1 I.N NI 1.25 ESCAPE AUDIO MADNESS. We have Ilk SIMI 60 4.79 MAMA II.N NI .05 $330: 12x-$315 PAYMENT WITH ORDER: Send 105 MIX go 2.55 MAX1.1 1I'D 15.90 4 95 ,J the highend equipment you want at check. M.O., MASTERCARD or VISA No. and expiration 1,1) AO 90 1.79 SI MU II XI 1 15.900 OK A1)141 1.45 MAXI I 1 T.I20 prices you can afford. Call before pay- date to Classified Dept.. HIGH FIDELITY. 825 7th Ave.. Dl. 1.05 MAXI! I1120Hi,S 611 95 SONS 1-(-\A40 2 25 6th Floor, New York, NY 10019. 1,K1 X IS `Al 5.15 MINI 11 90 1.99 ing too much. Catalog S1. Audio 1.05 1)15I X I, 'AIN 5.115 %ON 11 N 1)K 10)111 DI. MAO 12.75 MIN \'1 N Ni .115 Advisor, Inc. (616) 451-3868. Box 6202, 11)K 1-12111)R I '511 599 SONY 1 ,110 4.99 TOK 1-120 OR I"15111:% H(,7.95 SONY 5.4AI Grand Rapids. MI 49506 Amex. MC, DISCWASH1X INSCI:IT 32.95 SON1 I 7.95 DIM-WAS/1TR SNSTr.M 8.79 ' ONY 1IV' 5.9)4 1)1SMASHI-14 INSCiII.1 16.49 It'll AR MI -1 Si'a, .4.69 Visa. For Sale DISCIAASHIR 16 of 1-1.1111)9.99 14'11 tit 1I90 2 19 CALI. 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X831 FREE COMPACT DISK catalogue. Wholesale prices. Huge selection of 3.1 0040 1. a1"ala Classical. Jazz. Rock. and Country.- Miscellaneous DIGITAL AUDIO WAREHOUSE. 3909 SHOW ALBUMS -Rare, out -of -print Ips. 64 -page list TERMPAPER catalog -306 pages -15.278 academic Rusty Dell. Fort Worth. TX 76111 $1.00. Broadway -Hollywood Recordings. Georgetown. topics! Rush $2.00. RESEARCH, 11322 Idaho. .206HR. CT. 06829. Los Angeles. 90025. (2131 477-8226 DISCONTINUED RECORDS. CLASSICAL. POPULAR. FREE ALBUMS All Speeds, Free Lists. Fred Steinmetz. One Seaview CLASSICAL MUSIC LOVERS EXCHANGE Avenue, Massapequa. NY 11758. Nationwide Link Between Unattached Music Lovers. Write CMLE. Box 31. Pelham. NY 10803 IN EXCHANGE FOR YOUR OPINION HUGE 73 PAGE CATALOGUE) We need Record Raters. Your opportunity to build a substantial album collection. Small Every Available Title! Immediate Service. Low Prices. membership feeWrite EARS. Dept.HF. $2.00. National Music Sales. 23115 (H). Ostronic. 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Harman Kardon, S. Wabash. Chicago. IL 60604 ters! Free information. BROADCASTING. Kenwood, Mission, Nakamichi, Quad. COMPACT DISCS -15% DISCOUNT Box 130-D9. Paradise. CA 95969. Revox. Rogers, Spica, Sumo. Walker. Yamaha and much more. For more in- All domestic titles available. For free catalogue or to ELECTRONIC REPRESENTATIVES NEEDED!! place order, call (301) 731-0099, or write to: Washington formation call or write to: THE SOURCE. Lowest Possible Prices!! Over 100 Brands! Audio -Video- CD. PO Box 44005, Washington DC 20026. MasterCard Car Stereo -Computers. Electronic Experts. 1000 Orange 745 Alexander Road. Princeton. NJ and Visa accepted. Ave., West Haven. CT 06516 08540. 1-609-987-1111. 86 111)11 111 BACKBEAT REVIEWS them. "It's my life, baby/Let me live it like Peter Wolf: Lights Out (Continued from page 84) I please." he announces in a defiant growl. Michael Jonzun & Peter Wolf, and diffuse humanism by exposing his soul. Now on an independent Chicago label and producers. EMI America SJ 17121 not some book of slogans. An unembar- backed by some of the Windy City's finest rassed idealist who, at the same time, is players. Winter is completely in his ele- The name of the game in pop culture these filled with self-doubt and failed expecta- ment. days is Mix and Match the Genres. Whether tions, Van Zandt is a revolutionary who Of all the blues -influenced guitarists it's movies like Gremlins, or a record like hasn't lost touch with his frailty and human- who emerged as rock stars in the late '60s the Style Council's "My Ever Changing ity."If you are a fighter." he asks his and early '70s. Winter stuck closest to the Moods," all past styles are open for use rebellious lover in Out of the Darkness, foundations: to Delta. Texas. and Chicago and/or abuse, thrown together to create "hold me a little bit tighter." blues. Although he made some rowdy, new and often startling syntheses. This Cui- The sound also reflects Van Zandt's abrasive rock, he never came up with his sinart approach may not have seemed the new defensivestance. "Men Without "Layla."his"Electric Ladyland." an easiest way for Peter Wolf, onetime singer/ Women" was the apotheosis of the tough album that took off from the blues but spun focal point/ wildman for a little band known but elegant r&b that he crafted for South - in a personal orbit. In a spotty career, his as J. Geils, to step out into the spotlight as a side Johnny and the Jukes: "Voice" is most notable achievement was probably his solo act. No one would have blamed the loud, bolting hard rock. He has dropped the work asproducer of thelate Muddy guy if he had played it safe after being cut horns and put new emphasis on guitars and Waters's final batch of LPs, beginning with loose. percussion, having memories of both the "Hard Again." Yet "Lights Out" works so well Jukes and Springsteen far behind. If his "Guitar Slinger" may have been because it never retreats and hides behind sound is reminiscent of anyone, it's the inspired by the success of Stevie Ray the old forms. The key is the chemistry Rolling Stones of last year's "Undercov- Vaughan's 1983 "Texas Flood." which between Wolf and his coproducer, Jonzun er." Besides their similar themes, both revitalized the blues trio format. Of these Crew honcho and fellow Bostonian Mi- albums share a metallic chordal texture ten unfamiliar but classically styled songs, chael Jonzun. This producer and songwrit- meshed with cutting Latin -funk rhythms. Earl King's Trick Bag, a sly commentary er/musician challenges Wolf sintuitive Because of the thrust of his band's attack, on domestic one-upmanship. may be the feel for most black pop of the postwar years Van Zandt is able to turn his serviceable best known, but Kiss Tomorrow Goodbye is (including the last crucial half -decade) by voice into a real means of expression. the real find. with a chord progression that creating the hottest tracks for the man to matching their roar with his own unbridled has graced countless soul numbers. The howl on. Whether Wolf and Jonzun are passion. album is designed as a guitar handbook: scratching behind a flute solo, as in the With the concurrent release of Spring- some Elmore Jamesian slide playing, some scorching 0o-Ee-Diddley-Bop. or follow- steen's "Born in the U.S.A.," "Voice" Texas shuffle, some dirty Chicago howl- ingthatwithaheavily synth -textured might get buried, which would be too bad. ing' and tumblin'. (It's missing Delta blues, attempt at Billie Holiday's Gloomy Sunday, In any of his incarnations, Van Zandt is a but there's plenty of that on the LP Winter the songs use the past to illuminate the compelling individualist who demands torecently produced for harmonica player present and vice versa; the best numbers- be taken seriously. This album the title track, sage arc to be avoided at your own risk. Although thematically "Guitar Sling- Billy Bigtime, Baby Please Don't Let Me STEVE FUTTERMAN er" treads on reactionary ground when it Go-almost seem a culmination of what comes to male -female, um, relationships r&b has been pointing to for years. Johnny Winter: Guitar Slinger (murder is actually threatened on Boot Hill. It should be noted that, with 11 songs Johnny Winter, Bruce Iglauer. for example). the album has the cut -loose totaling over 40 minutes, "Lights Out" & Dick Shulman, producers spontaneity of a jam session without a jam loses some of its overall impact: Side 2 does Alligator AL 4735 session's haphazardness; bassist Johnny B. meander a bit. But just imagining how Wolf (Box 60234, Chicago, III. 60660) Gayden and drummer Casey Jones know will reproduce its vibrant quality in concert how to keep things anchored. Adhering to proves how little he needs Geils to make a On the aptly titled "Guitar Slinger," John- the axioms of the blues is a smart move for great record. "Great Googa-Mooga," cries ny Winter comes out looking for a fight. Winter: Its boundaries prove liberating for Wolf in Crazy. "I'm crazy, crazy, that's laying down guitar solos like rows of him, because this music goes to his core. what I am." We hear you. Pete-go get barbed wire and daring anybody to cross MITCHELL COHEN 'em. WAYNE KING RUBINSTEIN FEAST (especially when compared to . . .), try this finding out in detail what might yet remain (Continued from page 62) on for size-and enjoyment. (The playing to be reissued. The performance with Walter Suss - of the Second Concerto is also fine, if not To conclude, the best thing one could kind of Rachmaninoff s Rhapsody on a on the same level as the Rhapsody.) RCA's say about all these discs (and everything Theme of Paganini also presents a fascinat- half -speed remastering contributes greatly else Rubinstein recorded, for that matter) ing contrast when compared to the collabo- to making these wonderful past perfor- would be to endorse what was expressed by ration less than a decade later with Fritz mances seem alive and present. and to mak- a few of Rubinstein's own words from a Reiner, newly reissued by RCA in its .5 ing them sound superior to records made 1977 PBS telecast: "There is a certain thing series. The first is an extremely effective decades later. . . . which goes outfrom my emotions- virtuoso run-through, and quite satisfying If your interest has been piqued by any 'from the feeling'-if you like to call it, on its own terms. But hearing the Chicago of this, there is something else to anticipate: soul. . . ." To that I would add an invita- version, one realizes afresh just how much the publication in the current issue of thetion, again echoing Rubinstein himself: Rubinstein must have thought and matured, Beecham Society magazine, Le Grand Bat- Come and feast, or, as you will, come and all at an age when most pianists are only too on, of a complete Rubinstein discography sample . . . but, in any case, certainly do content to relax and repeat (if possible)by Donald Manildi.If nothing else,it come-to a supreme pianistic celebration, former glories. If there is any performance should reveal to any doubters the full extentall graciously presided over for our lasting that contradicts the oft repeated charge that of Rubinstein's contribution to our musical pleasure by the grandest pianist of our the great "Artoor" was slightly superficial life. One looks forward to seeing it and to time. HF SEPTEMBER 1984 87 111111111111111111111111111111111111111111111111111111111111111111111l1111111111111111111111111111111111 READER -ACTION PAGE Many manufacturers who advertise in HIGH FIDELITY offer additionalliterature on their products free of charge to our readers. For more informationon specific products advertised in this issue, drop a postcard, care of Dept. HF-984 unlessotherwise noted, to the addresses listed below. If an address does not appear, literature isavailable through the company's dealers only Acoustic Research, LaBelle Camera & Stereo of Maine, 10 American Dr., Norwood, MA 07066, Att: 155 Main St., Biddeford, MA. 04005, 800-341 Advertising Index Dept. HF 984 0783, In ME, HI, Alaska 207-281-1401, Att: AIWA America, Inc., Dept. HF 984 35 Oxford Drive, Moonachie, New Jersey, McIntosh Laboratory Inc., Page 'o. 07074, Att: Dept. HF 984 East Side Station, P.O. Box 96, Binghamton, 28 Acoustic Research Audia, NY 13904, Dept. 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HF 984 2 Sherwood J&R Music World, Yamaha Electronics Corp. USA, 45 Shure Brothers 23 Park Row, New York, NY 10038, Customer 6660 Orangethorpe Ave., Buena Park, CA. Service Dept. HF 984 90620, An: Dept. HF 984 11 Sony Corp. of America Kyocera International Inc., 77 Stereo Corp. of America 7 Powder Horn Drive, P.O. Box 4227, Warren, NJ 07060, Att: Dept. HF 984 65 Tandberg of America, Inc. 12 TDK Electronics Corp. 25 Teac Corp. of America 5 Technics Advertising Offices 59 New UN: ABC Le sure Magarines Inc Toshiba . 875 7th Ave7th floor. New York. N Y In Aageler ABC Leasure Magazines. Inc 2070 Avenue of the Stars. Suite 245 10019 Tel17171265 8360 James A Casella Advenrsang Director. Richard J Marano. Century CityCalif 90067Tel12131 5516482 Rita WerIzen. Western Advertising 31 Ultrx Sanyo N.111011.11 Air mans Manager. Michael Goldberg Eastern Advertising Manager James Manager R McCallum Record Advertising Manager Cecelia M Grunta Classified Advertising Naas! In.: Kathleen Charla Kathleen G Ghana Associates 21000 W our- 49 Manager Kathleen Sacs Director ut Produchon Janet Cemak Advertising Produchon Warner Brothers ECM teen.Mrle Road Bornangnam Mach 48010 Tel13131 6473182 hank LaVerne frank Manager laVerne Associates 977 Crenshaw BlvdLos Angeles. Calif 90019 12131 932-1747 Midwest high FidelityRatchcock Building. Wtieuieri belie!TiiinRl 55.1 83 Wisconsin Discount Tea w Japan Advertising Communrcahons IncNew Gull° Bldg. 7-3-13 Girva 8078 Starr lane Midwest Advertising Manager Chuo-ku Tokyo 104 Japan Tel1031 571-8748 Stegeru Kobayashi President 21 Yamaha ...like Captain Brooke Knapp, is dedicated to nothing less than excellence in its performance. Capta n Brooke Knapp is soaring to new heights, DreakTig every flight record in the books-currently 103 records b her credit, including the fastest time ever around the world-and championing the worldwide UNICEF charity for the world's children. That's what being the best is all about. It means out- performing the competition. Going above and beyond the expected. And knowing that "good enough" never is. That philosophy is behind every Hitachi product. Which is why it was no surprise we were the first to introduce a consumer color camera with no tubes. Powered by an MOS image sensor chip, we rev- olutionized video camera performance forever. Our color televisions are among the finest in the world, due in great part to "Signal Tracker Control," another Hitachi exclusive. For better video recording, we developed our 5 -head PORTADECK VCR, Hitachi's smallest, lightest, most advanced ever. It's a portable VCR that truly is one. And our Com- pact Disc Player is a technological breakthrough in audio history. Virtual perfection in sound reproduction This is just the beginning. We're setting a new standard in quality home electronics. And it's all up from here. 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