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MINS +8 D =MI AMP TAPE DUB 2 N.. 1 = +6 +4 E =MC aM =I VOLUME = NMIMI! = +2 0 asin NUM IEM MEI MR MIMI NMI MEN amamam 1K 2.5K 6.3K 16K dB 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 by JVC` In fact, JVC's entire line ADVANTAGE: A POWER AMP WITH INCREDIBLE POWERS The R-X500B boasts two of the highest refinements in power amp technology available today-Dynamic 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 Watch for the JVC Jazz Festival on PBS. Check local listings. DAD SIGNAL FM LEVEL -TUNER PRESET 0 rlIGH IC. 1_11_1 -1 I MHz MID I....I C ii LI I LOW EC OUT

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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 advarced 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/DAD/Tape-100dB/67dB very forefront of equalizer highly versatile and RIAA Piono 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-82dBf73dB ments, plus much integrity. more. Five equalized responses can be ADVANTAGE: JVC memorized for instant recall at a touch. It is the attention to enginee-ing 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

_ 'ME FOCA HO FxMillv Ckvemon -I Saw E Park N J 07407 JVC CANADA LTD. Sr-Wpm:ugh. OM "Sherwood products offer excellent performance atveryreasonable prices:' Leonard Feldman, Audio Magazine

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The occasion of Mr. Feldman's comment was his Sherwood models, yet missing from many other review of our S2680-CP top -of -the -line receiver. His brands, regardless of price. statement was sparked by the fact that, while quite Certified Performance. Sherwood is the only affordable, the S2680-CP, like all Sherwood receivers, ismanufacturer to test and certify the performance of designed and built with the care, precision and innova- each individual receiver. On the outside of every carton tion which have become Sherwood trademarks. you will find a certificate showing the measurement A tradition of affordable quality. More than threedetails of the power amp, phono preamp and FM tuner decades ago Sherwood was founded on this philoso- sections of each receiver. These are not just the rated phy: Through innovation, make quality audio equip- specs; these are the actual measured performance data ment more affordable. That philosophy has been of the individual unit, so you know exactly what nurtured throughout Sherwood's history and is the you're buying. foundation of our newest line of receivers. Find out what the experts say. Get the whole We never cut corners on sound. All five story on why Sherwood receivers-in Mr. Feldman's Sherwood receivers deliver true high-fidelity perform- words-" ...offer excellent performance at very ance. Even our budget -priced S2610-CP sounds better reasonable prices." than many separate components. And the entire group To get your own copy of his review of the is laced with features that can make significant differ- S2680-CP and to find out just how much quality and ences in your listening enjoyment. Ultra -low -bass EQ, innovation you can afford, visit your nearest Sherwood multi -deck dubbing, auto -scan digital tuning and dis- audio specialist today. To find him, call (800) 841-1412 crete phono preamp circuitry are standard on several during west coast business hours. Sherwood Quality and Innovation You Can Afford.

13845 Artesia Blvd., Cerritos, CA 90701In Canada: The Pringle Group, Don Mills, Ontario 1ll1M1111r11111111111111111-ffirl IEEE II 11111"r11 IEEE 11 I II 11.11 u In IIIII II II 1111 NI II II II 1IVIII I 11 11

VOLUME 34 NUMBER 11 NOVEMBER 1984 AUDIO CurrentsEdited by Peter Dobbin 10 Stereo TV goes on the air; A sophisticated commercial -killer for VCRs CrossTalkby Robert Long 19 Input shortage; Assessing product reliability; Speed vs. quality in dubbing The Autophileby Gary Stock 20 CDs and stereo AM: Is there merit in the new media? Basically Speakingby Michael Riggs 23 Phase shift in the digital age: Can you hear it? New Equipment Reports DBX Soundfield One loudspeaker 24 Canton CT -2000 loudspeaker 33 Marantz DR -80 loudspeaker 29 Technics SB-R200 loudspeaker 34 Innovative Techniques ITC -1 loudspeaker 30 NEW TECHNOLOGIES *The Linkby Peter W. Mitchell 37 Easy ways to get wide -range sound from broadcast or taped video progamming * The Nifty Nine.by Frank Lovece 44 A collection of TV sound enhancers and stereo TV decoders Video Lab Tests Pioneer SD -25 monitor and SD -X5 TV tuner 46 Polk VS -19 Videosound shielded loudspeaker 52 Music Reviews 56 Popular Compact Disc: "Hotel California"; "The Ballad of the Fallen"; "Born in the U.S.A." Classical Compact Disc: Beethoven's Opus 111 and Appassionata; Reich's Music for 18 Musicians New Compact Discs: More than 75 pop and classical releases arrive on dealers' shelves. 69 CLASSICAL MUSIC * Seventeenth Annual High Fidelity/International Record Critics Awardsby Theodore W. Libbey, Jr. 70 The nominees, the winners, and the story behind the judging in Granada, Spain 1985 Annual Preview of Forthcoming Recordings, Part 3: LPs 74 More than 400 expected releases from BIS, CBS Masterworks, EMI, Hungaroton, and others Reviews: Sondheim's Sunday in the Park; Bartok Divertimento from Budapest; Te Kanawa recital 80 Critics' Choice 83 The Tape Deckby R. D. Darrell 85 BACKBEAT/Popular Music * The Concert -Video Shell GameReviewed by Joyce Millman 86 Improve your chances: A guide to souvenirs, straight shoots, and statements Pop Reviews: Public Image Ltd.; Bangles; John McCormack; Neville Brothers 88 Jazz Reviews: Four percussionists on "Pieces of Time"; Heath Brothers; Roach and Taylor 90 I, James BrownReviewed by John Morthland 92

DEPARTMENTS Reader -Action Page 100 About This Issue 7 Advertising Index 100 Letters 7 *Cover Story

HIGH FIDELITY (ISSN 0018-1456) is published monthly et 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 Possessions $13.95;elsewhere $19.95 Single copies $1.95. Subscribers: Send subscriptions, inquiries, and address changes to HIGH FIDELITY, P O. Box 10759, Des Moines, Iowa 50340. Change of address: Owe old andnew addresses, including ZIP code. Enclose address label from last issue and allow five weeks for change to become effective. POSTMASTER: send change of address to HIGH FIDELITY. P.O. Boa 10753.Des Moines, IA 50345. Publisher Steven I. Rosenbaum Editor -in -Chief Associate Publisher William Tynan Editor, Musical America Shirley Fleming Senior Editor REDEFINITION. Michael Riggs Managing Editor Peter Dobbin THE CARVER RECEIVER: Redefines your expectations of receiver perform- Art Director ance with the power you need for Digital Audio Discs plus virtually noise -free Skip Johnston stereo FM reception. A receiver with astonishing performance incorporating two Copy Editor highly significant technological breakthroughs: Bob Carver's Magnetic Field Ken Richardson Power Amplifer and his Asymmetrical Charge Coupled FM Detector. Technical Department Technical Editor: Michael Riggs ESSENNAL POWER:Your system needs an abundanceof power to reproduce, Electronics Features Editor: Peter Dobbin Assistant Editors: Lida A. Silverman, (Special without distortion, the dynamic range of music on Digital Audio Discs and fine Projects), Randy Brozen (Administration) analog recordings. Consulting Technical Editors: The Magnetic Field Amplifier in the CARVER Receiver gives you 130 Edward J. Foster, Robert Long watts per channel* of pure, clean power with superbly defined, high fidelity Contributing Editors: Paul D. Lehrman, Gary Stock reproduction. The Magnetic Field Amplifier produces large amounts of power (absolutely Music Department Classical Music Editor: Theodore W. Libbey, Jr. necessary for the accurate reproduction of music at realistic listening levels) Popular Music Editor: Georgia Christgau without the need for heavy heat sinks, massive transformers, and enormous Assistant Editor: Mildred Camacho-Castillo power capacitors required by conventional amplifier design. Photo Editor: Susan E. Fingerhut Contributing Editors: Robert E. Benson, Crispin Unlike conventional amplifiers which produce a constant, high voltage level Cioe, Mitchell Cohen, R. D. Darrell, The Rev. at all times, irrespective of the demands of the ever-changing audio signal (Even Thomas L. Dixon, Edward Greenfield, Paul Hume, when there is no audio signal in the circuit at all!), the Magnetic Field Amplifier's Paul Moor, John Morthland, George Movshon, power supply is signal responsive. Highly efficient, it produces exactly and only Steven X. Rea, Thomas W. Russell III, James Wierzbicki, John S. Wilson the power needed to carry the signal with complete accuracy and fidelity. Art Department The 130 watts -per -channel* CARVER Receiver is about the same size and Assistant Art Director: Pamela Byer weight of conventional receivers having merely 30 watts per channel! Technical Art: Roy Lindstrom, Nina Wallace NOISE -FREE RECEPTION: The AM -FM CARVER Receiver gives you FM Assistant to the Publisher: Randi Goldman stereo performance unmatched by that of any other receiver. Assistant to the Editor -in -Chief: Janet Wolf As it is transmitted from the station, the stereo FM signal is extremely vulnera- Production Director of Production: Kathleen Davis ble to distortion, noise, hiss and multipath interference. Advertising Production Manager: Janet Cermak However, when you engage CARVER's Asymmetrical Charge Coupled FM Associate Production Editor: Susan E. Fingerhut Detector circuit, the stereo signal arrives at your ears virtually noise -free. You Production Assistant: Paula Ballan hear fully separated stereo with space, depth and ambience! Circulation Vice President, Circulation "This receiver combines the best elements of Carver's separate tuner and Stephen J. Bernard amplifier...The Carver Receiver is, without question, one of the finest products Circulation Director V. P., Newsstand Marketing Dominic Mustello of its kind I have ever tested and used. Bob Carver is definitely an audio and r.f. genius" Leonard Feldman, Audio Magazine, June 1984 Circulation Director Subscriptions Lillian Gmitruk "I consider the Carver Receiver to be the "most" receiver I have yet tested Circulation Subscription Staff: Mary Beth Colucci, in terms of the quantitative and qualitative superiority of almost all its basic Barbara Donlon, Timothy Farrell, William Johnson, Janice Raiford functions." Julian D. Hirsch, Stereo Review April 1984 Customer Service: Mary Losi

The CARVER Receiver has been designed for fidelity, accuracy and musi- cality. You will want to visit your CARVER dealer for a personal audition of this remarkable instrument. oyo *130 watts per channel RMS into 8 ohms, 20 Hz to 20 kHz with no more than 0.05% total harmonic distortion. HIGH FIDELITY and HIGH FIDELITY/MUSICAL AMERICA are published 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. 08106. 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 Cermak. Adver tising Production Manager. Midwest: High Fidelity, Hitchcock Building, Wheaton, III. 60187. Tel.: 13121 653-8020. Starr Lane. Midwest Advertis- ing Manager. Los Angeles: ABC Leisure Magazines, Inc., 2020 Ave- nue of the Stars, Suite 245. Century City. Calif. 90067. Tel.: 12131 5576482 Rita Weitzen, Western Advertising Manager. CARVERCORPORATION PO. Box 1237. Lynnwood. WA 98036 Editorial correspondence should be addressed to The Editor, HIGH FIDELITY, 825 7th Ave., New York, N.Y. 10019. POWERFUL MUSICAL ACCURATE Editorial contributions will be welcomed, and payment for articles accepted will be arranged prior to publication. Sub- missions must be accompanied by return postage and will be handled with reasonable care;however, thepublisher assumes no responsibility for return of unsolicited photo- Distributed in Canada by Evolution Audio, Ltd. graphs or manuscripts.

4 HIGH FIDELITY *EP

'Technics Linear Tracking and Quartz Drive. If your next turntable giwsyou less, you're settling for less of a turntable. To create a turntable with either linear tracking or The new Tecf-nics SL -J2 offers completely automatic quartz drive is an achievement in itself. But to create a operation automatic speec wlectior, automatic disc turntable with both linear tracking and quartz drive size selection, automatic start, stop, return and more. is pure Technics. There are front -panel cont-D15 Including a digital A Technics turntable with linear tracking gives you a display of the track number you're listening to. Anc tonearm that moves straight across the record. The way all of this technology has teen placed in z- turntable the record was originally cut. So you get none of the about the size o: a record jac

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Unmatched FM Stereo/AM Stereo reception and video control makes them fantastic. X -Balanced circuitry makes them phenomenal. Sansui's 130 watt S -X1130 and 100 watt S -X1100 Quartz PLL Audio/Video receivers are so far advanced, they even have a special decoder that lets you receive broadcasts of all AM stereo systems. What's more, their unique X -Balanced circuitry cancels out external distortion and decisively eliminates IHM, for the purest all-around listening pleasure. But the advantages don't stop there. Both receivers are complete Audio/Video control centers that are radically different-and significantly more versatile-than any others on the market. The S -X1130 delivers all the highly advanced audio and video performance of the S -X1100, with the added bonus of sharpness and fader controls for enhanced video art functions. And both units offer additional audio dexterity with multidimension" for expanded stereo or simulated stereo, plus sound mixing capabilities. For more brilliant, innovative ideas, check out our full line of superior receivers. You'll know why we're first, the second you hear us. There's more worth hearing and seeing from Sansui. Write: Consumer Service Dept., Sansui Electronics Corp., Lyndhurst, NJ 07071; Carson, CA 90746; Sansui Electric Co., Ltd., lbkyo, Japan. P-ateig Akre Re 1.AStaid. About This Issue

WIDE -RANGE TELEVISION SOUND.Until easier to obtain than ever before. You'll recently, its existence was one of the probably be surprised how simple it is to HIGH FIDELI1! best -kept secrets in home entertainment. hook your TV set into your stereo Actually, it has been available in a system. In "The Link," regular primitive state since the 1950s and with contributor Peter W. Mitchell provides a higher quality since the late 1970s. But comprehensive overview of the subject for 99 percent of you, TV sound and explains how to assemble an audio - probably means the pinched, distorted video system that's right for you. output of the squawky 3 -inch speaker in Meanwhile, in "The Nifty Nine," your television set. contributor Frank Lovece surveys some AUDIO VIDEO I first discovered how good (and of the new stereo TV decoders and a " bad) TV sound can be almost 20 years variety of signal processors dedicated to COVER DESIGN Skip Johnston ago, when I moved to an area with a upgrading video sound. And our video station broadcasting on Channel 6. Quite lab tests this month include a report on a Cover Photo: Grant Roberts by accident, I found that the audio "video" loudspeaker-one of the new ON THE COVER A pair of Polk Audio VS -19 shielded loud- portion of Channel 6 is transmitted at breed designed from the ground up to be speakers provides the sound in an audio -video system com- 87.7 MHz, which can be picked up at theused next to a TV set or video monitor. prising a Pioneer SD -25 moni- very bottom of the dial on any home FM Full-length pop concert videos are tor. Denon DRA-750 AM/FM receiver. and Quasar VH-5845X0 tuner or receiver. The advantages of one source of programming for your VHS Hi-Fi videocassettere- pulling in the sound on a good tuner were corder. Odeon chair and table- audio -video system, but they vary widely top courtesy of Conran's. obvious, but it soon was equally apparent in content. As Joyce Millman points out that merely bypassing the TV's built-in in "The Concert -Video Shell Game," thelisting of more than 400 LPs. And our speaker and using a high -quality speaker best advice is to rent and view before MUSICAL AMERICAedition offers two in its stead also made a substantial buying. views of the dynamic conducting of improvement. Headlining our classical music Arturo Toscanini-one in an excerpt In the last few years, improved section are the Seventeenth Annual High from a new book by B. H. Haggin, the broadcasting techniques, Hi-Fi Fidelity/International Record Critics other in Bill Zakariasen's review of an videocassette decks, and (most recently) Awards for the best releases of 1984. all -Russian program taken from stereo television sound have presented Classical Music Editor Theodore W. broadcasts of 1943. new audio options to the home video Libbey, Jr., takes you behind the scenes Rounding out our music coverage is audience. These developments and audio - at the judging in Granada, Spain. Also a listing of more than 75 new popular video equipment designed to take this month, we conclude our three-part and classical Compact Discs that have advantage of them make good TV sound preview of forthcoming recordings with a just arrived on dealers' shelves.-W.T.

I enjoy your record reviews, but 1 find your not in March 1951. as asserted. Letters CD reviews limited in number. Your classical The noted change in style was due far more andBACKBEATsections usually include catalog to the change in personnel than to any coercion numbers of both records and cassettes, but rarely on the part of Fred Rose. Williams and Don those of Compact Discs. I expect the reason for Helms were merely resuming a long-standing More CD Reviews! the lack of identification is the inability of record personal and musical relationship, forged while Compact Discs are expensive. I cant afford to go companies to manufacture CDs for simultaneous working the honky-tonk circuit in and around into a record store and randomly buy one, hoping release with their LP and cassette counterparts. southern Alabama. Thus, an affinity of style had it will be a good recording and performance. In This will continue until more CD manufacturing long since been established. Besides, Rose was recent issues,HIGH FIDELITYhas reviewed about plants come on line to fill the demand. Mean- far too intelligenta producer to attempt to two or three classical and four or five pop CDs- while, it would be helpful if you would list pm- "force" an artist to do anything, preferring to sometimes even fewer. Walk into a good store, viously reviewed recordings that are now avail- guide and suggest. and you may find yourself looking at 300 CD able on Compact Disc. Finally, in discussing various lead guitar - titles, with more coming in every week. Your Chris Johnson ists, mention should have been made of Sammy publication should be reviewing at least two doz- Nepean, Ontario, Canada Pruett's immediate successor, the talented Bob en Compact Discs in every issue just to keep up McNett, whose distinctive contribution can be with the new recordings appearing, let alone the In our October issue, we began expanding our heard on such selectionsas Long -Gone, Lone - reissues of old recordings now coming out on CD coverage. This month, you will find a corn- some Blues, Why Should We Try Anymore?,and CD. plete listing of all newly released popular, jazz. Crazy Heart. Equipment reviews are important. Soare and classical CDs. Future issues will include a Ted Lisle reviews of new technology, articles on buying greater number of reviews.-Ed. Louisville. Ky. hi-fi and video gear, and articles on how to make use of it. But the most important thing you are John Morthland replies:The Drifting Cowboys doing is evaluating the software: We need more Hank's History unit formed in 1949 was at first strictly a road reviews of the recordings, audio and video. The review "Hank the Drifter" [July] contains band: Rose felt they weren't ready to record. Howard Ferstler several historical errors. Throughout his careeras However, he did have them attend Hank's ses- Tallahassee, Fla. an entertainer, Hank Williams led several groups sions so they could watch and learn from the of Drifting Cowboys. However, the war years studio pros, and he gradually worked them into I recently acquired a Compact Disc player and brought a hiatus in his professional activity; the recordings until by 195/ the final lineup of have been extremely impressed with its perfor- hence, he had no regular road band when he Drifting Cowboys plus selected sidemen was in mance. The Compact Disc certainly proves itself began recording. in the fall of 1946. Thelast place. Whether Rose "forced" or "suggested" when compared to records in terms of distortion, Drifting Cowboys unit was formed in July 1949 that Helms play in a higher register is a question flutter,dynamic range. and began recording immediately thereafter- of semantics: In separate interviews, both Helms

NOVEMBER 1984 7 and Jerry Rivers have described how Rose explained to the steel player what sound he wanted and Helms then provided it. / refrained from mentioning McNett not because he lacked The bestway talent, but because 1 lacked space. toputtgethera Kudos I enjoyed your comprehensive, in-depth coverage of the Summer Consumer Electronics Show [September, October]. The articles were infor- sional mative and well done-and particularly useful now that your principal competitor seems to have lost interest in covering these shows. It's up to sound system you to carry the torch. Keep up the good work! Roger Mason is tolet Avondale Estates, Ga. My compliments on your circulation increase ["About This Issue," July]. HIGH FIDELITY is the professionals do it. best sound magazine, and as a subscriber since June 1978, I can say I always look forward to reading it. Much continued success. The professionals at Toshiba. With their incredible Paulo Fernando A. Terra System 55. Sao Paulo, Brazil And what a system. It includes an integrated amplifier with 85 watts per channel*, a direct drive turntable, a digital With great interest and pleasure, I read the first synthesized tuner, a full auto -reverse cassette deck, a set of issue [August] of my subscription to the "new" HIGH FIDELITY. I was a reader of your magazine 3 -way speakers, plus the options of a compact disc player and many years ago, and I must applaud your efforts a 20 -band graphic equalizer. All enclosed in an elegant on the '84 version. cabinet with glass door and top. In Touch with Tomorrow Like many audiophiles, I have switched to Toshiba's System 55. It's digital sound. Your reviews on Compact Discs one of the soundest investments TOSHIBA are very useful and most appreciated. It is diffiult Toshiba America. Inc82 Totowa Road. Wayne NJ 07470 to find good information on the quality of partic- you'll ever make. ular CDs. Please try to include more reviews. *85 watts per channel, minimum WAS power into 8 ohms, And like many other audiophiles, I, too, from 20 to 20,000 Hz wrth no more than 0 05% THD. have become a videophile and am making the jump to Hi-Fi (VHS). In one issue, you have given me more information about the available VHS Hi-Fi machines and their features than appeared in the last several issues of the two major video magazines put together. Good work. Barry L. Smith Jackson, Ohio

Thanks for "Safe Listening" ["The Autophile," August]. Ilive outside Chicago and drive I1 miles on a six -lane highway to my job in the city. I have witnessed a few accidents and many close cffiicrirz) CiTeti ; calls caused by drivers flipping over tapes, hunt- ing for their favorite radio stations, or adjusting EQ levels.I would like to post your article at work so everyone can have "safe listening." , _ Thanks again! M. C. Stone Crestwood, III. - Miff- - I -it - 1 Thank you for the Compact Disc articles by Sam :1,),Ii4411i1J111,14,114,144:3 Sutherland and E. Brad Meyer in your March issue. They are the first articles I have read in any audio magazine that are well informed, docu- mented, unbiased, and directed to the heart of the matter. The people at Sheffield Lab should frame copies of them and hang them in their working place. William R. E. Locke Hialeah Gardens, Fla.

Letters should be addressed to The Editor, HIGH FIDELITY, 825 7th Ave., New York, N.Y. 10019. All letters are subject to editing for brevity.

8 HIGH FIDELITY Introducing the Canton bronze and white lacquers CT 2000 floor standing and now a premium finish, speaker - our first using gloss mahogany. For at proprietary vent technol- Canton, we believe speak- ogy. The result is sound ers shoulc look as good as reproduction so fast, natural they sound. and free of coloration you And who' about the CT must hear it to appreciate 2000's technical specs? the acoustic achievement We think you'll find these it represents. solid as well: Engineered to meet the Efficiency: most exacting demands of 92dB(1 meter/1 watt) digital technology, the CT Frequency Response: 2000's superior dynamic 18-30KHz range, resolution and tran- Power Handling: sient response stem from 300 Watts (music Canton's solid technical spectrum) expertise. Distortion: And, like the entire Canton 0.1% (DIN Standard) product line, every element Dimensions (WxHxD): of the new CT 2000 is 14" x 38" x 14" designed, engineered and Sold acoustic technology manufactured within & design principles, solid Canton's factory...this gives detailing & quality. For you us the solid quality for it means it means a solid which we are known investment. Visit your local worldwide. Canton dealer today. Solid Detailing goes into every Canton speaker as Canton well. That's why we offer our North America, Inc speakers in a variety of fine 254 First Avenue North finishes, like walnut and oak Minneapolis, MN 55401 veneers, rich black,

G1NTON tic reine Vusik AUDIO/VIDEO IF YOU'RE OBSESSIVE Currents ABOUT DIGITAL AUDIO,New products and new technologies Edited by Peter Dobbin WELCOME enables itto communicate with specific Stereo TV Taxis makes and models of VCRs (via their infra- TO THE CLUB. For Takeoff red remote sensors), and one that monitors It's the Sony Digital Audio the video and audio signals to identify dis- Club. The world's first club dedi- As stereo (or stereo -ready) television gear tinct broadcast segments. According to cated to creating awareness and begins rolling off the assembly lines, atten- Vidicraft, the analysis procedure is far more tion is turning to the other, equally impor- sophisticated than that used by earlier edi- understanding of the remarkable tant side of the equation: broadcasting. technology behind compact disc tors.Itcan,forinstance,differentiate Those BTSC decoding circuits won't be between the fade -to -black used to introduce players-from the company most worth a plugged nickel if no one is trans- qualified to provide it. a commercial and the occasional darkening mitting the necessary signals. So far, HF'sof the picture that occurs during programs This year, to welcome you to intrepid video sleuths have turned up three the club, you'll receive special (in both color and black -and -white broad- stations that are broadcasting instereo: casts). promotions on compact discs; dis- KIRO, Channel 7, Seattle (CBS); WTTW, The CCU- 120 does not cause the VCR counts on digital accessories; our Channel 11, Chicago (PBS); and KCTA,to pause during commercials; rather, once a quarterly newsletter, "The Sony Channel 2, Minneapolis/St. Paul (PBS). commercial has been identified and record- Pulse"; The Sony Book of Digital And we have reliable, but unconfirmed, ed, the device orders the VCR to backscan Audio Technology (over 300 pages reports that KTLA in Los Angeles, KPLR tothe beginning of the segment, and of facts and details); a 30" x 40" in St. Louis, WBZ in Boston, KRBK in recording beginsagain.Because every digital audio poster; a digitally - Sacramento, and WFSB in Hartford are just VCR differs in its backscan rate, the read- recorded compact disc; and ex- about ready to go. only memory (ROM) chip that contains the tensive information about the appropriate infrared control codes also is latest advances in digital prod- Editing Out programmed to compensate for these vary- ucts from Sony-the leader in di- ing speeds. But Vidicraft says that even gital audio. Mammon with these measures, a typical 30 -second To become a member, sim- commercial will create a 9- to 12 -second ply mail the coupon below, along /Mr blank between program segments, and a 2 - minute commerical will result in a blank of with a check or money order for - ONO 11111 - - from 14 to 22 seconds. The company esti- $15 * to Sony Digital Audio Club, UM IN mates that average program loss due to P.O. Box 161, Lowell, Mass. 01852." accidental deletions and return -to -program And join the thousands of peo- The idea of automatic commercial -cutters delays will average less than 60 seconds per ple who are already well on their has always been intriguing: Imagine settingrecording hour. If the CCU -120 intrigues way to satisfying their obsessions. your VCR for unattended recording, thenyou, make sure that a unit compatible with playing back a feature-length film fromyour VCR is available. You can request this Name which all commercials have been deleted. information from Vidicraft, Inc. (0704 S. A few years ago, several such editors were W. Bancroft St., Portland, Ore. 97201). Address on the market, but their popularity waned when disgruntled tapesters discovered what City a mess they made of their recordings. TheirAccuphase correct operation depended on the broad- Supertuner State Zip caster transmitting a second or so of complete black or dead silence before and after 4=mmINMENN\_ * $3.00 additional for postage and han- a commercial. But broadcasters are notori- dling outside the U.S.** Please allow 4-6 ously inconsistent, and it was not uncom- weeks for delivery. mon for the automatic editors to keep the VCR in the pause mode after a commerical ended (if it caught the beginning at al;). Radical circuitry in both its AM and FM After five minutes of this, the VCR would sections is said to give the Accuphase T- simply shut itself off to protect the tape 106 tuner exceptionally low distortion. The from breaking. The situation with black - FM section uses a new differential -gain lin- and -white movies was, to put it mildly, ear FM detector, and the flat group delay of even weirder. the IF filtering further enhances linearity. A Now, however, Vidicraft claims to synchronous AM detector completely re- have solved many of these problems, and jects interference, according to Accuphase its CCU- I20 ($400) is said to be 98 percent Laboratories. The $1,050 tuner has a 14 - effective thanks to some fancy on -board station memory plus manual tuning that SONY computing. The device actually has three simulates the comforting feel of an old- THE LEADER IN DIGITA: AUDIO'" microprocessors: one that takes over the fashioned variable capacitor.For more VCR's own clock/timer functions (for 9- information, contact Madrigal, Ltd. (P.O. day/12-event programmability), one that Box 781, Middletown, Conn. 06457). HFM-11/84

10 HIGH FIDELITY f 11,

47-

DIGITAL TDK enters the digital recording era with a BANG! Introducing our exclusive HX-S metal -particle formulation !or Type II (High -Bias) recordings. It DYNAMITE delivers everything promised by metal lape-on any cassette deck with a Type II switch. High frequency saturation ceases to FROM TDK. In be a problem since TDK HX-S is capa- pie of an MOL of + 4 dB at 10 kHz. HX-S also delivers exceptional high - end response. Plus a wider dynamic -ange. With further improvements in overall sensitivity of up to 1.5 dB. These superior recording charac- msisinGmaEXTRA .enstics make HX-S perfect for dub - Ding high-powered. treble -intensive digital source material with optimum -esults. 0 Fsr vert.201INE FOILLItei And TDK makes sure the perform- R)01 mouco ance never fizzles, with our specially 1 - engineered, trouble -free Laboratory Sri/- Standard cassette mechanism for durability and reliability. Plus the >< assurance of our Lifetime Warranty. .::"1" I< FiX817. So before you try any other cas- CO pick up TDK HX-S, the first O metal particle formulation for Type II EXTENDED HIGH END HIGH MOL MXIMOUTPUT :High -Bias) and digitally -sourced CASSETTE NIVANEN -ecordings. LAIIORAIORY STANDARD It's absolutely digital dynamite!

&MKTHE MACHINE FOR YOUR MACHINE. AUDIO/VIDEO Currents into exotica. With the recent hiring of Win nite baffle," shaped to minimize interac- Genesis Renewed Burhoe, a speaker designer renowned for tion between the drivers, the cabinet, and his innovative work at AR, KLH, and EPI, room boundaries. Genesis also claims that the Genesis approach is undergoing some it has paid much attention to cabinet bracing radical updating. Burhoe's first project for and diaphragm fabrication in an effort to Genesis is the Model 44, a two-way system eliminate unwanted resonances. For more with a I -inch inverted -dome tweeter, an 8 - information,writeto Genesis Physics inch woofer, and a 10 -inch passive radiator. Corp. (Newington Park, Newington, N.H. The tweeter handles an unusually wide fre- 03801). quency range-from 1.1 kHz on up-but the low crossover frequency is said to minimize cancellation effects while enabling Nak's Newest Quietly turning out speakers in the fastness the woofer to operate more comfortably of New Hampshire, Genesis Physics was (i.e., with less breakup) over its range. The never a company known for daring forays 44's enclosure is described as a "quasi infi-

The Nakamichi BX series of cassette decks is now topped by a high-performance model sporting many design elements heretofore found only in the company's most expensive models. The BX-300 ($650) is a discrete three -head design with off -tape monitoring, an asymmetrical dual -capstan transport, and a direct -drive capstan motor. A pitch control enables you to vary playback speed, and a bias fine-tuning knob gives you the ability to adjust the deck to the requirements of various tape formulations. Like all other Nakamichi decks, the BX- "1:1101111r 300 has separate bias and EQ switches. In addition, the deck is equipped with both Dolby options, master fader and output level controls, and an automatic repeat function.For more information,writeto Nakamichi U.S.A. Corp. (19701 South Vermont Ave., Torrance, Calif. 90502). Good -Buy Kenwood A/V Receiver NEW from DALI: High Quality European Speaker System...and an Opportunity to Make Money in Your Spare Time! Denon, NAD, Micro Sciki, DALL Cerwin importer. distributor markup, the -`1, to 10 - Vega... these are just a few of the well- sales -representative commission, and the The most intriguing of three new Kenwood known brands we have been successfully '0% to 120% retailer profit markup. We've quartz -tuned AM/FM receivers provides marketing in Europe for several years. Now replaced all of that with an operating margin for TV sound as well as conventional audio. Danish American Ltd.. Inc. (DALI) offers our of only 30%! The $305 KVR-A50 sports connections for well -proven direct to consumer marketing DALI offers four world class systems, all concept to you. sold on an unconditional. 30 -day. risk -free two VCRs (or videodisc players), with We sell factor direct, offering high -qual- guaranteed -satisfaction hasis...or your switching for A -to -B dubbing.Similar ity, European manufactured. real -wood money hack. More, we offer every DALI accommodations are made for two audio walnut veneer speaker systems at prices you customer an opportunity to become a DAI decks. The tuner section has 16 station pre- simply will not believe. Yet DALI does not distributor. compromise on quality. These systems use For your free brochure describing sets, and the power amp is rated at 45 watts the same superb drivers found in other brand our systems and the opportunity to (161/2 dBW) per channel. For more infor- name speakers selling for 5250 and more! combine your hobby with a chance to mation,writeto Kenwood Electronics How can DALI charge so little for so earn additional income in your spare (1315 E. Watsoncenter Rd. , Carson, Calif. much quality? Because we design. manu- time asaDALI distributor, complete 90745). facture, import. and sell only through our andmail thecoupon today. Or call own organization. We eliminate the 30% (805) 252-7203. Double -Speed

Mail Coupon to: DALI P.O. BOX 55386 VALENCIA, CALIFORNIA 91355 Redux Please send me full details about: Though double -speed cassette decks caused 0 DALI Speaker Systems. Money -making opportunities as a DALI distributor. a flurry of excitement some years back, the extra high -frequency headroom that came NAME ADDRESS with a tape speed of 33/4 ips didn't strike the CITY STATE ZIP PHONE (

12 HIGH FIDELITY Unless you're listening to Panasonic Tri-phase-car stereo speakers, you may notbe hearing all ofyourmusic.

Tri-phase ;peakers from Panasonic They're design helps create a stereo image that is breathtaking really three speakers in one. So they leliver rich, in its defirition and mus cal clarity. accurate s:.und. Not just from the high and low Panasonic -ri-phase speakers have a powerful, high-energy magnet. Tfts, coupled with the use of rug- frequer cies. Bu: also from the critical midrange. ged mate-ials and advancJ technology, means these speakers are efficientAnd can hand ,e the kind of The ulti -late test of a car sterec sp-aaker is how power that today's music d-ar ands. effective wi s c-eates E stereo "image': an accurate And you can have tlis high-energy music in almost uciol of -the original live performance. Its any car. Because Panasonic car spea

Panasonic

Panasonic, just slig-t y aheac of our time. AUDIO/VIDEO Currents of the original Sapphire table (test report, $170 processor offers control over the May 1983), with a continuous vacuumdegree of enhancement provided, to com- hold-down system that keeps records inplement room acoustics and the specific 11111111 intimate contact with the platter mat, there- sound system in which it's used. For more average user as sufficient to warrant the by flattening warps and deadening vinylinformation, write to Sci-Coustics, Inc. tradeoff in recording time, and every com- resonances. The vacuum pump is housed in(Tenth Floor, 1275 K St. NW, Washington, pany making such decks quietly droppeda separate enclosure, and the amount ofD.C. 20005). them. ADS, however, feels that the special vacuum pressure can be adjusted to obtain demands of Compact Disc recording war- only the minimum amount necessary to do rant a return engagement, andits C-3 the job. Like the standard Sapphire, theSony Personal ($800) seems bound to win a followingnew model is a belt -drive design with aPortacorder among demanding tapesters. Designed to four -point spring suspension. It will accept complement the Atelier series of Eurostyled a variety of tonearms, and an ample supply components, the C-3 gives you both nor- of lead buckshot is provided so that you can mal- and double -speed operation, separate adjust the mass of the tonearm/platter/sub- recording and playback heads for off -tape chassis system to achieve a suspension res- monitoring, and Dolby C. The new deck onance of slightly less than 3 Hz. For more has a front -loading cassette drawer, equal- information, write to Sota Industries (P.O. ized peak -reading meters, and a music - Box 7075, Berkeley, Calif. 94707). search function. For more information, Heading the newest personal portables from write to ADS, Inc. (One Progress Way, Sony is the $350 WM-D6C, a stereo cas- Wilmington, Mass. 01887). Imaging sette deck with line inputs and outputs for connection to a home system. The quartz - Enhancement, locked tape drive is rated at 0.04% wow and An Analog Delight Sci-Coustics Style flutter, WRMS (a relatively flattering measurement technique, though the figure is swwwwwelAW111111.111,11t still impressive for a pocket portable). Dol- by B and C noise reduction, switchable playback EQ, three tape -type options, manual recording -level control, and variable playback speed all are included. The WM- E D6C comes with an MDR -40L stereo headset, a carrying case, and a shoulder strap. A Accordingtoitsdesigners,the IMX rechargeable battery pack, AC adapter, and Dimensional Enhancer will increase the car battery cord are optional. For more illusion of spatial reality in any stereo sound information, write to Sony (Sony Dr., Park source without resorting to extra speakers Ridge, N.J. 07656). or amplification channels. Through a pro- At $1,450 in oak and $1,600 in Koa wood, prietary (and, so far, undisclosed) juggling the Sota Star Sapphire is one of the priciestof phase relationships between channels Correction turntables around, but if you're after state- and frequency shaping within them, ambi- In our guide to "Super Stereo VCRs" (Au- of-the-art (sota, for short) design, then thisence information is enhanced-with results gust), we cited the wrong price for Akai's unit deserves your consideration. Basical- that are claimed to be more readily appre- VS -603 VHS Hi-Fi videocassette recorder. ly, the Star Sapphire is an enhanced version ciable than with competing techniques. TheThe correct price is $1,195.

HEYBROOK's NewII-2 series 2 Turntable THE REFINEMENT OF A MUSICAL INSTRUME N.' The new Heybrook TT2 Turntable keeps acoustical and mechanical resonances to an absolute minimum, while the extreme solidity of the design allows the arm and cartridge to track the record without being adversely affected by external sources. The resulting sound is clean, detailed, and dynamic, withsatisfyingsolidity and weight. Detail resolution is excellent and stereo imagery is precise and with good depth, allowing the listener to appreciate fully all aspects of the music. Truly a musical instrument - Heybrook's TT2 series 2 Turntable comes complete with the Heybrook tonearm or an arm - board to suit the tonearm of your choice. Available in black or walnut finish.

The new TT2 from Heybrook ... Made For Music.

D'Ascanio Audio 11450 Overseas Highway, Marathon. Florida 33050 OHINF HEYBR )OK COMPONENTS. WRIT PHONE (305) 743-7130

Presenting HighBias1V the Ultimate Tape Guarantee. Memorex presents High Bias II, a tape so extraordinary, we're going to guarantee it forever. We'll guarantee life -like sound. Extraordinarily flat frequency response at zero dB recording levels, combined with remarkably low noise levels, means music is captured live. Then Permapass:m our unique oxide -bonding process, 'locks each oxide particle-each musical detail-ionto the tape. So music stays live. Not just the 1st play.; , Or the 1000th. But forever. We'll guarantee the cassette. We've engineered every facet of our transport mechanism

, to protect the tape. Our waved -wafer improves tape -wind. Silicone -treated rollers insure precise alignment and smooth, safe tape movement. To protect the tape and mechanism, we've surrounded them with a remarkably; cassette housing made rigid and strong by a mold design unique to Memorex. ' YOU'LL FOREVER WHOM We'll guarantee them forever.

' If you ever become dissatisfied with IS IT UV( . Memorex High Bias II, for any reason, simply mail the tape back and we'll ,.:-Ire . replace it free. NUS It.

.r MEMO Mitsubishi Brings New MeaningTo The Term Stereo Separation. What separates the Mitsubishi E-404 fromcon- FUNCTION ? Selections are entered via the ventional systems istit the fact that it includesa C System Commander touchpad. digital audio disc player, or a linear -trackingprogram-PHON0 When a command is given, the func- rFlipp mable turntable, or a dual -transport cassette It tion requested is visually displayed recorder, or, for that matter, a digitally -synthesized FPI 81E - on the tuner/receiver, accompanied tuner/receiver with graphic equalizer. PM 5 30 by an affirmative "beep" response No, what makes this system unlike any other is (if a mistake is made, two "beeps" are sounded). a full -function wireless remote control, providing Once the E-404 has been programmed, play- total access, total control of an astonishing number back is fully automatic, randomly selecting the cuts of operations, all from the comfort ofyour easy chair. you've chosen from the source you've chosen-be it phono, cassette, or compact disc. AUDIO TECHNOLOGY TAKES A GIANT S1 EP BACKWARDS. HEARING IS BELIEVING. The E -404's detachable control panel, calledappro- If you're impressed by what the E-404 can do, priately enough the System Commander, integrates you'll be equally impressed by how it does it. the convenience of infrared remote control with the The E-404 is designed to interface witha intelligence of micro- personal computer. It even offers a self -testpro- processor technology. gram that lets you know if every function is (The result is performing properly. not unlike having a computer run your stereo The AM/FM stereo receiver, delivering 35 for you.) watts minimum RMS per channel? offers auto With the System Commander cradled conven- search with 18 station presets. iently in your lap, you can select a "program" ofup The compact disc player employs a three -beam to 9 cuts from the phonograph. Or you can punch optical pickup (in place of the conventional single in a 9 -selection program from a pre-recorded beam) ensuring stable, error -free tracking. audio cassette. And from the compact disc,you can Its speakers are three-way bookshelf choose a program of another 9 selections. capable of frequency response

From any of these sources, you can pick your from 40 to 25,000 Hz. TackA Tape B selections to play in any sequence you wish-last The E -404's twin cassette decks feature Dolby' cut first, first last, whatever. B noise reduction with logic -controlled transport You can even arrange to have a program of up and cassette -to -cassette dubbing at double speed. to 9 selections recorded on a blank cassette, each With its completeness and full programmability, cut evenly spaced for professional sounding results. you can guess the price of the Mitsubishi E-404 audio system. Or you can visit your Mitsubishi A MEANINGFUL DIALOGUE. audio dealer. Though the possibilities presented by the E-404 And be very pleasantly surprised. may at first seem overwhelming, its operation is, in fact, quite simple. JatirrsuBisii Mosuboht Deane Sales Arnenca. Inc 3030 E VIctona St.. Rancho Dommettez, CA 90221 Dolby as a rest stered trademark of Dolby Laboratones. *35 atom perchannel, nun RMS. both channels down into 8 ohms from 50 Hz to 20 kHz ttIth no more than 0 3% total harmonse thstortlon THE EXPERTS SAID THEY HEARD EXCELLENT FREQUENCY RESPONSE, A HIGHER MOL, AND GREATER DYNAMIC RANGE. BUT NOT IN THOSE WORDS.

Wicked lows. Manic highs. Nasty passages. AC bias noise is reduced by 1dB. And maximum output levels are It all translates the same. increased by L5dB on XLI-S and 2dB on XLIS. Music sounds better when it§ recorded As a result, XL -S delivers a signifi- on Maxell XL -S cassettes. cantly expanded dynamic range. A That§ because we've improved our crys- noticeably improved signal to noise ratio. tallization process. So we can now produce And a fuller impact of dynamic transients. magnetic particles that are both smaller So if you want to hear your music the in size and more uniform in shape. Which way it was meant to be heard, put it on allows us to pack more of these particles Maxell XL -S. on the tape§ surface, in turn, making it Because recording tapes just don't possible to record more information within get any better. a given area of tape. Or any badder. IT'S WORTH IT AU DIONIDEO CrossTalk

Practical answers to your audio and video questions by Robert Long

quencies is almost always flatter thanit that higher speed means improved sound Input Shortage looks in the swept -tone graphs, which rep-quality.-Theodore Floyd, Tampa, Fla. I find myself with a shortage of inputs. I resent worst -case testing. So don't try to have a Beta Hi-Fi VCR, a Pioneer equalize for what you see on the printedIn general, the higher theplaybackspeed, Laserdisc player, a Compact Disc player, page-only for what you hear in playback. the higher the quality. In other words, all a turntable, an open -reel tape deck, and If there really are audible response dif- else being equal, a tape recorded for play- a cassette deck-and I want to add a ferences between source and playback with back at 3% ips usually will sound better stereo TV set. The only receiver I can your setup, an equalizer can help. If youthan one recorded for playback at 1'/s ips. find that might satisfy my needs is the equalize the signal before itis recorded,High-speed dubbingisanother matter. new Pioneer SX-V90. Is there anything comparing playback withthe pre-EQ Potentially,itcan compromise quality, else?-Glen Grisham, Studio City, Calif. source until the two are as close as possible, though whether you will hear the difference then the recording should always soundwill depend on the specific model you use Don't despair-help is on the way in theright for that setup. But there's no readilyfor the dub and the quality of the original. form of a whole new generation of audio - apparent reason for the response irregulari- video receivers spawned by the presumed ties, and they may disappear when you play imminence of stereo TV broadcasting inthe tapes in a different system. From that Watts Up? this country. point of view, you'd be better off equaliz- My Yamaha R -I000 receiver is rated at Meanwhile, there are relatively inex- ing the sound in playback, for whatever pensive switching boxes that will let you equipment you're using. 100 watts into 8 ohms. The manual says, "4 ohms, 1 kHz, 0.5% THD, clipping feed several stereo leads into one high-level power: 120 W." I prefer the Klipsch (aux) input to expand the capabilities of a Heresy loudspeakers, which handle only receiver. Or, for even more flexibility, you Crystal Ball could go for the fancier switching units 105 watts. I've read up on speaker Your April 1983 test report on the Akai impedance and power handling, but I from the likes of Niles Audio or Russound. AA -R42 calls it "a thoroughly can't figure out how far I can turn up my And there are more specialized switchboxes respectable receiver." How about its receiver without damaging the speakers. (those from DBX come to mind) that might repair record? I'd like to buy one, but Is 120 watts what my receiver will push serve your purposes, depending on just how I'm concerned about reliability.-Iry into 4 ohms, or is it the efficiency of the you plan to interconnect this melange. Paster, San Diego, Calif. sound?-Harlow F. Henry, APO, San Another, perhaps better, alternative is Francisco, Calif. to use the audio -video switching capabili- Ouch! For years this has been a sore spot ties built into most TV tuners and monitor/ because we recognize the importance ofThere are times when I wish speaker man- receivers for routing the signals from your such information but have never been able VCR and videodisc player. The audio out- ufacturers had never dreamed up that to come up with a dependable, rational, fairalmost meaningless "power handling" put from the tuner/switcher would feed a way to test for it. The brand-new models we spec. It's anybody's guess how it's arrived single aux input on a conventional amplifier or receiver. For more on this subject, see test have no repair records as such. Compa-at for a given model, and it misleads many "The Link," page 37, and "The Nifty nies do (if you can reliably determine whatreaders down the sort of garden paths Nine," page 44. they are), but it's unfair to tar a new modelyou're lost in. Your figures are all within with the failures of its predecessors. By the the 20-dBW (100 -watt) ball park, so you time statistics on a given model might behave nothing to worry about. Soup -Up amassed, it often is withdrawn or scheduled If there were a gross mismatch-say, for demise in favor of others with the cur- 10 dB. or a factor of ten if the power is Can an equalizer be used to compensate rently "hot" features, so the record noexpressed in watts-there might be reason for frequency irregularities induced by longer is of much interest to potential pur- to ponder a bit. If the amplifier figure is DBX noise reduction with a cassette chasers. And the cost of buying and subjec- higher, it raises the question of what hap- deck?-Jerry Hall, Porterville, Calif. ting to accelerated use enough samples ofpens if you drop the tonearm onto a record every model we evaluate to permit valid with the volume turned all the way up, for If you mean to imply that such irregularitiesconclusions would be prohibitive. Some- example. Maybe you'll blow a driver, may- arenecessarilyintroduced by DBX noisetimes the lab or listening tests turn up wor- be not. If the speaker's handling figure is reduction,Isuspect that your ideas arerisome specifics, which we pass on to you, grossly larger than the amp's output, you more influenced by your eyes (in looking at but otherwise any assessment of reliability may drive the latter into clipping before the response graphs) than by your ears. The is largely guesswork. speaker shows signs of distress, and the swept tones that we-and just about every- resulting distortion could blow a tweeter, body else in the audio world-use for test- whose power handling invariably is far less ing don't affect compander noise reduction Speed vs. Quality than the rating might lead you to suppose. systems (DBX or Dolby) the way music You simply can't make any hard-and-fast does. At any given instant, the sweep is at Will the reproduced sound quality of assumptions. In most home settings, how- one frequency only,whereas musical copies made on one of the high-speed ever, there's no cause for concern. sounds invariably contain more than that, dual -transport decks match that of the even when only a single instrument is play-original? I was told that the dubbing We regret that the volume of reader mail is too ing. The response with multiple signal fre- decks introduce distortion, but I thought great for us to answer all questions individually.

NOVEMBER 1984 19 AUDIO The Autophile

Going on the road with stereo by Gary Stock

of car speakers just about precludes such the Federal Communications Commission CDs, Stereo AM: sounds from reaching your ears. Highly (FCC) refused to endorse a single system, directional, they arc absorbed by the first leaving it up to broadcasters and hardware Merit in the soft object they encounter-usually the manufacturers to choose among four com- upholstery or, with door -mounted speak-peting transmission methods. The result is New Car Media? ers, your midriff. That's not to say that high that each of the systems has won some sup- frequencies arc impossible to hear in a car, port from broadcasters, leaving receiver AS GUEST "AUTOPHILL. columnist in June, but rather that proper reproduction has more manufacturersreluctanttoput John Bishop presented a strong case for the to do with speakers and their placement incompatible decoders in their AM radios. Compact Disc as a mobile music format. than with the source. Then came Delco, the huge electronics Though his argument is a cogent one, I dis- Another issue is whether CD -player arm of General Motors. Its support of the agree most heartily with his conclusion- technology has evolved to the point where Motorola stereo AM system and announce- namely, that "the Compact Disc's immi- truly roadworthy systems can be made. The ment that 1985 GM cars can be bought with nent arrival on the car audio scene signals preproduction Sony CDX-5 tested by HF a decoder -equipped radio/tape player (the major advancements in an environment mistracked four times over a 2I -mile stretch Equalizer 5) were enough to cause Pioneer, where high fidelity reproduction currently of potholes and hairpin curves. A tape play- a giant in the aftermarket car -stereo busi- comes only with great expense and care." er may well have reacted poorly over the ness, to swing its allegiance to Motorola. As someone who has beenintimatelysame run, but if the new format is to gain And others are sure to follow. involved in the design and installation ofcredibility as a mobile music source, it must What this means is that you finally many autosound systems,Icontend that do better than tape in this respect. And I'll have a chance to hear for yourself what cassettes and CDs are sonically equivalent pass quickly over reports coming out of stereo AM sounds like. All you have to do as mobile music sources and that cassettes Japan that describe as extremely road -sen- is go to a GM dealership and snuggle into a will continue to be the preferred medium sitive the Fujitsu Ten CD player beingcar equipped with one of the new radios. for the road. offered by Toyota as a factory option in Delco assures us that most dealers will have To justify his support of CDs in the some domestic cars. (Fujitsu Ten may also the Equalizer 5 on display. car, Bishop is careful to explain why the feel that frequency response accuracy in a There are well over 125 stations cur- medium's dynamic -range capabilities car is less than vital: The model the compa- rently broadcasting with the Motorola sys- would not threaten typical car amps andny introduced at the recent Summer Con- tem, and though we would like to cite them speakers. In fact, his argument-that much sumer Electronics Show has a three -posi- all, we have room for only a few: classical music never exceeds 60 dB or so tion switch that enables you to tailor the Calif.: Los Angeles. KFI (640 kHi) and KPRZ response differently for rock, jazz, and (1150): San Francisco. KSFO (560) of dynamic range and that pop recordings Colo.: Denver, KLZ (560) rarely exceed 20 or 30 dB -points up just classical music.) Fla.: Miami, WCMQ (1210) how much overkill car CD players repre- Finally, will CDs themselves survive III.: Chicago. WAIT (820) sent. A decent car tape deck is capable oflife on the road? If you own a home CD Ind.: Indianapolis. WIRE (1430) player, you know that the little silvery sau- Ky.: Louisville. WHAS (840) reproducing a dynamic range of more than La.: Shreveport. KOKA (1550) 65 dB, and those equipped with Dolby C orcers are not totally immune to dust, grease, Mass.: Boston. WBZ (1030) DBX can easily top 70 dB. So there has got and scratches. The instructions packed with Mich.: Detroit. WJR (760) to be something else very special about the them caution you not to touch their optical Mo.: St. Louis. KSD (550) surface or to leave them in conditions of Nev.: Las Vegas. KMJJ (11401 CD system to justify the added expense of N.J.: Paterson. WPAT (930) digital hardware and software. extreme heat or cold. In fact, Deutsche N.Y.: Buffalo. WKBW (1520):Rochester. Supporters of car CD players say thatGrammophon states, "In storing and han- WPXY (1280) the "something else" is accuracy, and sure dling the Compact Disc, you should apply N.C.: Chapel Hill. WCHL (1360) Okla.: Oklahoma City, KXXY (1340): Tulsa. aswith conventional enough, they're right. HIGH FIDELITY'S test the same care KRMG (740) report last month on the Sony CDX-5 play- records." That is, keep them out of dusty, Ore.: Portland. KGW (620) er disclosed that this car unit is the equiva- overheated, or refrigerated environments Pa.: Allentown. WSAN (1470) lent of home CD decks in basic perfor- like a car. And how long do you think a CD Tenn.: Memphis. WKDJ (980): Nashville. WSM will remain pristine when you're trying to (650) mance-flat frequency response, no mea- Texas: Dallas. KRQZ (570) surable wow and flutter, and so on. Indeed, extract it from its case while barreling down Utah: Salt Lake City. KBUG (1320) if you were to choose between Compact the road at 55 miles per hour? The car pho- Vt.: Burlington. WDOT (1390) Disc and tape on the basis of measure- nographs of the early '60s were failures in Va.: Norfolk. WTAR (790) part because people were unwilling to risk Wash.: Seattle. KMPS (1300) ments, there would be no contest. But you Wisc.: Madison. WISM (1480) don't listento a car stereo system at ruining their records in the hostile environ- home. ment of a car. And records were relatively To get the full list, send us a stamped, self- It's true that good car speakers cancheap then. With CDs going for about $15 addressed envelope, and we'll mail it off to reproduce a very broad frequency range, aeach, are you willing to risk ruining even you. If your local GM dealer is within 100 capability not often put to the test by tape one of them when you can dedicate a $2 miles of a transmitter, reception should be players whose head -alignment problemscassette copy for car use? okay. If it sounds good, let us know. Ditto almost invariably result in some high -fre- for awful. Believe it or not, we've been just quency rolloff. But how important is super -Though you've probably heard about as frustrated as you in assessing the impact extended high -frequency response in a car? stereo AM, chances arc you've never actu- of what once promised to be a revolution in It would be nice to have, but the placement ally heard it. To avoid flak from the losers. AM broadcasting. HF

20 HIGH FIDELITY Until you experience a B/a upunkt car stereo system, you'll never know how alive sound can be. That's why B/a upunkt car stereo systems come as standard equipment in some of the finest cars in the world. Yet it's surprising how easy it is to afford one. For the Blaupunkt dealer near ycu, call 7-800-228-5333 In Nebraska, 7-800-642-8788. But not only does the SX-V90 have the best PERHAPS THE ONLY PIECE connections in the business, it also has ingenuity. OF HOME ENTERTAINMENTBecause as well as reproducing video sourced signals (such as MTV), it creates simulated- stereo imaging from any mono signal (such as EQUIPMENT THAT CAN'T regular TV). BE CONTROLLED BY THE In short, it turns your television into a stereo. As for the quality of the stereo, with its SX-V90 RECEIVER. advanced DDD tuner technology, and 125 watts of power One look at the diagram to the right should per channel CD AU% convince you that the SX-V90 audio receiver isritminimum VIDEO DISC merely an audio receiver. (at 8 ohms, 2 r VCR In fact, it might just be the most revolu- from 20- tionary piece of equipment in the entire home 20,000 Hz entertainment revolution. with no GAME, Because it serves as a control center for more than more pieces of audio and video equipment than0.005% any other competitive product of its type. THD), the SPEAER Through the SX-V90, you can channel two SX-V90 ranks at the top of audio receivers. VCRs (of any format), one TV monitor, one Which is a very important point. regular TV, one video disc, one compact disc, Because there's no sense in investing in a o cassette decks, two turntables, and one control center, only to have it sound like it has a game or one computer. built-in popcorn popper.

h bummmtil Immr1 , ,

---"--m-, I - 9 IS 0 =111.1111111 1111111M11111111111111101M11

. . . NMI. exam MOAB. 4s.4... CD PIONEER Because the music matters.

HS4 Plotleer Electrontes (USA) Inc (8(X)) 4474700 AUDIONIDEO Basically Speaking

Audio and video concepts and terms explained by Michael Riggs Phase Shift

A RECURRING EOCUS of controversy, phase shift has once again emerged as a hot topic among engineers and audiophiles. Current debate centers on whether the high -frequency phase shift introduced by the steep ultra- sonic filtersin almost alldigital audio equipment is audible. The answer is (as we shall see) pretty cut-and-dried, but there are other, less glamorous cases in which the question of phase shift's effect on sound quality is harder to resolve. 500 Hz An audio signal can be analyzed into a collection of simple sine waves of various frequencies and amplitudes. Each complete cycle of a sine wave-from zero to a peak, Any given delay creates a phase shift proportional to the signal frequency. back down through zero to a low point, and then back to zero-covers 360 degrees, with the peak at 90 degrees, the trough at will affect the sound within a single chan- ments have been reported in which as many 270. and the crossing between them at 180. nel. Although filters normally are designed as nine such filters were strung together, A sine wave's instantaneous phase isits to alter the frequency response, they also one after the other, without anyone being present point in this cyclical progression. change the phase response unless special able to hear them. Consider two 250 -Hz signals, one measures are taken. In the case of a typical My own experiments and those of oth- starting exactly a millisecond (thousandth low-pass (high -cut) filter, for example. the erssupportasimilar conclusionwith of a second) after the other. Each completes signal will be delayed by an amount that respect to infrasonic filters (those with cut- 250 full cycles per second, or one cycle increases with frequency; the steeper the fil- offs in the vicinity of 20 Hz and below), every 4 milliseconds (msec). Thus, a 1 - ter slope, the faster the delay will rise. which do not seem to cause any audible millisecond delay puts the later signal 90 Thus, a complex input signal, such as degradation of music signals. On the other degrees behind the first. This difference is music, will emerge at the output with its hand, there is evidence that phase shift may the phase shift between the two signals. various frequency components dispersed in be at least a small factor at middle frequen- There certainly are conditions under time relative to the same signal unfiltered. cies on certain types of signals. It has been which the relatively simple sort of phase Naturally. these delays also manifest them- observed, for example, that polarity rever- shift described above will be audible. For selves as phase shift. sal is occasionally audible on some materi- instance, if two signals of the same frequen- The experimental evidence regarding al.Polarityreversal(sometimes called cy are mixed together, they will combine whether such phase shift is audible-and if absolute -phase inversion) amounts toa into one with an amplitude determined by so, at what threshold and to what degree- 180 -degree phase shift atall frequencies the phase angle between them. If there is nois mixed. Nonetheless, it is possible to draw without an accompanying delay. It is most phase shift, the output will simply double; some tentative conclusions. What data are easily achieved by swapping the hot and if they are 180 degrees out of phase, they available support the notion that phase shift ground leads on both the speakers, so that will have equal but opposite amplitudes and is harder to hear at the extremes of the audio the driver diaphragms move out when they thus cancel each other out. band than at middle frequencies. This also normally would move in, and vice versa. Another situation arises if the signals is what one would expect. since hearing But its not easy to hear, and even when are not mixed together, but are instead acuity of all kinds seems to be best in the they can tell the difference, subjects are reproducedseparately throughdifferent range of human speech. And present theo- rarely able to discern which is the "cor- loudspeakers. Then, if the signals are below ries of how we hear virtually rule out anyrect" setting. (This is not to be confused 1.5 kHz or so. the brain will interpret them significant phase sensitivity at very high with wi-ing speakers out of phase with each as a single sound coming from somewhere frequencies. Among other things. this seri- other, which would be quite audible.) between the two speakers and will take the ously weakens the argument against the Experiments with simulatedloud- phase shift as a clue to the location of the types of filters commonly used in digital speaker crossover networks have some- phantom sound source. (Above about 1.5 audio circuits, which affect primarily the times given positive results on certain types kHz, the ear can no longer actually follow very top of the audio spectrum. of program material. In all such cases, how- the waveform and therefore loses the ability Even more convincing are the experi- ever. the effects have been very subtle. to determine its precise phase.) This is one ments that have been directed specifically Moreover,itappears that among audio of the bases of the stereo effect. to this point. I was involved earlier this year components. only loudspeakers and per- But these are not very enlightening in a test in which such a filter was switched haps some analog tape recorders have the cases from the standpoint of the phase -shift in and out of the circuit while music was potential to generate enough phase shift at debate, where the question is primarily one being played. No one present could reliably the right frequencies to make an audible of how the phase shift introduced by a filter detect any difference in the sound. Experi- mark. HF

NOVEMBER 1984 23 AUDIO New Equipment Reports

Preparation supervised by Michael Riggs, Peter Dobbin, Robert Long, and EdwardJ. Foster. Laboratory data (unless otherwise noted) supplied by Diversified Science Laboratories.

A Sit -Anywhere Loudspeaker 0 From DBX 1

DBX Soundfield One floor -standing loudspeaker SO MANY LOUDSPEAKERSare introduced system, in particleboard enclosures with walnut or ventional approach to loudspeaker design. oak veneer finish, with SFC-1 Soundfield Imaging each year that it's hard to imagine how any- The first stage involved empirical research Controller. Dimensions: 141/2 by 42'/a inches (front), one could possibly come up with a genuine- to determine exactly what the Soundfield 141/2 Inches deep; SFC-1, 18 by 13/4 Inches (front panel), 73/4 inches deep plus clearance for controls ly new idea. And yet it continues to happen. One's radiation pattern should be to achieve and connections. Price: $2,500 per stereo system. Perhaps the most interesting recent example the desired result; the second was to make it Warranty: "limited," five years parts and labor on SFX-1 speakers, two years on SFC-1 controller. is DBX's first loudspeaker, the Soundfieldhappen. The technique adopted was origi- Manufacturer: DBX, Inc., 71 Chapel St., Newton, One, which attempts to reconcile two clas- nally developed for radar. A number of dis- Mass. 02195. sicallyconflicting goals:precisestereocreteradiating elementsareclustered imaging and a large optimum listeningtogether, with the amplitudes and phases of area. their individual outputs adjusted so that The Soundfield One achieves this bytheir collective output has exactly the trading off the intensity and timing cues that desired "shape." This is called a phased the ear uses to determine where a sound is array. coming from. Its radiation pattern is shaped The Soundfield One's array consists of so that as you move closer to one speaker, 14 drivers-four 10 -inch acoustic suspen- its output in your direction gets weaker sion woofers, four 4 -inch midrange cones, while the other speaker's gets stronger. The and six 1/2 -inch dome tweeters-connected far speaker's loudness advantage offsets the and controlled through an elaborate com- longer time required for its output to reachputer -designed crossover network. The your ears. bass and midrange drivers are in vertical Although this sounds simple, it com-arrays on the four sides of the main enclo- pelled DBX to adopt a thoroughly uncon- sure. A hexagonal turret on top of the cab -

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

24 HIGH FIDELITY 1110511211C

I 1

dbx 1 AC POWER I

AUTO BYf UN UI i LOW BLEND ON/OFF AMBIENCE ADJUST AUTO STEREO BALANCE MONITOR (SOURCE TAI ADJUST. (ON/OFF) LOW FILTER (20/32 HZ) SPECTRA- BALANCE ADJUST. HIGH FILTER (15/20 KHZ) -LOW -FREQUENCY EO

ROOM RESPONSE CHARACTERISTICS inet holds the tweeters-with one facing preamp output and power -amp input. DB directly inward and another directly out- Diversified Science Laboratories' measure- +10 ward, toward the side wall. These twoments confirm the roughly bowl -shaped +5 equalization curve published in the owner's 0 --.<..Y tweeters are in the same vertical plane as the 5 in-and out -facing lower -range drivers, manual. The EQ pulls down the output in -10 while the remaining four are at 60 -degree the midrange and lower treble, by a maxi- HZ 20 50 100 200 500 1K 2K 5K 10K20K angles to the vertical plane passing through mum of about 11 dB at 1 kHz, while boost- boundary -dependent region the middle of the front and back baffles. ing it 10 to 12 dB at the frequency extremes. on -axis response The net effect is that the speaker is driven oft -axis (30 ) response Perhaps because the output to the inside (toward the other speaker) is greater 15 to 20 dB harder at 20 Hz and 20 kHz than SENSITIVITY (at 1 meter; 2.8 -volt pink noise. than on any other axis, the inward -facing it is at midband. 250 Hz to 6 kHz) 88 dB SPL* tweeter is slightly different in construction This is very aggressive equalization, AVERAGE IMPEDANCE (250 Hz to 6 kHz) from the others. The lowest outputis and it will demand more power from your 5.5 ohms toward the outside, with intermediate val- amplifier than our sensitivity figure (mea- SFC-1 Controller ues at angles between these two extremes. sured over a band that excludes very high ordinarily would OUTPUT AT CLIPPING (at 20 Hz) 6.36 volts (Below about 150 Hz, the pattern becomes and low frequencies) omnidirectional, but at such low frequen- imply.Fortunately,thedistribution of MAXIMUM INPUT LEVEL (at1 kHz) 6.66 volts cies our ability to localize sound sources is musical energy partially offsets potential S N RATIO (re 0.5 volt; A -weighted) very poor, making the transition inaudible.) effect of the EQ curve, so the demands normal settings 811/2 dB When plotted out, it looks something like amade on the speaker's power -handling worst -case 63 dB distorted ellipse. This isquite different capacity are less severe than they might INPUT IMPEDANCE 240k ohms from the basic radiation patterns of conven- seem at first glance. Nonetheless, DBX has incorporated a OUTPUT IMPEDANCE 465 ohms tional loudspeakers, which tend to fall into three categories: direct radiating, in which number of safety features, the most impor- 'See text. the output shifts gradually from omnidirec- tant of which is what it calls a power mon- tional at low frequencies to a narrow beam itor. Leads connected from your power in the high treble; bipolar (like most elec- amp's output terminals to a set of spring trostatics), in which the output is a figure clips on the SFC-1's back panel enable its eight that narrows gradually with increasing circuitry to keep track of the amp's output. frequency; and omnidirectional, in which When it detects what it considers excessive the output is approximately equal in all power, the SFC-1 automatically reduces its directions at all frequencies. gain enough to prevent damage until the Instead of restricting the Soundfieldcondition is corrected. The power moni- One's output to the front hemisphere, DBX tor's status is shown by a set of three LEDs elected to make its rearward response a mir- on the SFC- l's front panel: a green one that ror image of its forward radiation. This is lights under normal conditions, an amber intended to emulate the basic radiation pat- warning lamp, and a red light that comes on tern of most performing groups and to allow when the output is cut back. A steep infra- the reflected sound from the wall, which sonic filter prevents the speakers (and your arrives at the ears a few milliseconds later amplifier) from being overloaded by pulses than the direct sound, to enhance the sense from record warps or other garbage in the of depth and ambience in the reproduced range below 20 Hz. music. The wooden top of the Soundfield Also included are switchable low and One's bonnet is designed to prevent unde- high filters. The former moves the infrason- sirable reflections off the ceiling. ic filter's cutoff up slightly, so that response The crossover dividesthesignal begins tofall off below 32 Hz and is among the three driver ranges (at 450 Hz approximately 3 dB down at 26 Hz. The and 3.15 kHz) and shapes the speaker's high filter's effect begins at about 12 kHz, overall radiation pattern, but it does not reducing the output by 3 dB at approximate- attempt to flatten the frequency response. ly 18 kHz. These also are intended to keep This task is left to the SFC-1-an external spurious out -of -band information out of the equalizer and control box with wood end system, and since their effect within the caps designed for placement in a processor audible band is so small (and restricted to or tape monitor loop or between your frequencies where there usually is little or

NOVEMBER 1984 25 AUDIO New Equipment Reports no musical energy), DBX recommends that erberant recording or accentuate a center - they normally be left on. In our listening stage soloist. tests, we were almost never able to detect DSL performed a number of tests on when the filters were switched in or out, so the controller alone to determine whether it we would concur with DBX's suggested might present any interface problems. The settings. input impedance is more than adequately Among the SFC-1's remaining fea-high, and the output impedance is quite tures are a switchable tape monitor loop to low, so neither should present any matching replace the one occupied by the processor problems. Overload margins are generous and an option for automatically bypassing enough to forestall clipping under any con- the processor's circuitry when no signal is ceivable normal operating condition. And present at the power monitor terminals. with typical control settings, noise is very This assures that you will not inadvertently low. However, a worst -case combination of equalize a pair of headphones or remote adjustments degrades the signal-to-noise speakers into oblivion. Also handy is a (S/N) ratio by about 18 dB, which might rumble suppressor that blends the two chan- cause audible hiss, particularly if the con- nels below 100 Hz to cancel vertical turn- troller is inserted between the preamp out- table rumble or acoustic feedback. This puts and power amp inputs, rather than into does virtually no damage to the stereo a processor or tape loop. image, especially on LPs, which are almost DSL conducted its usual loudspeaker universally mono at the low end to prevent tests with the Soundfield One placed sever- vertical overcutting. One rather odd control al feet out into the room. Although DBX is the one for "auto balance." DBX says its says the maximum setting of the high -fre- purpose is to keep the two channels in bal- quency compensation control will deliver ance when you switch from source toflat response, the lab's curves showed a source. slightly rising characteristic. Centering the The most important-and most fre-slider in the designated "normal" range quently used-controls are those for low -eliminated this effect, so DSL used that and high -frequency compensation. Basical- position for all further measurements. ly, these are tone controls, but with unusual As you can see from the curves in our characteristics. The bas's compensation isdata column, the room -corrected third - effective only below about 150 Hz, produc- octave response at this setting is remarkably ing a maximum boost of 10 to 15 dB on top extended, as well as very flat and smooth- of that already present and a maximum cut particularly off axis, where the curve is of 5 to 10 dB. Its purpose is to adjust thewithin a 10 -dB envelope over essentially speaker's low -frequency response to thethe entire audible range. Response is flat acoustics of your listening room. However, down to the 25 -Hz band, which is excep- even the owner's manual cautions against tional performance for a loudspeaker. The overdoing the boost. We would happily rise in the upper treble appears to be caused give up a little on that side for more flexi- by a pronounced tweeter resonanceat bility in the cut settings, which have most of approximately 16 kHz. their effect below 60 Hz, leaving the middle The curvesalso demonstratethe and upper bass (where most of the really Soundfield One's pre-eminent feature: the annoying problems pitch camp) un- carefully shaped radiation pattern that gives touched. the speaker its unique imaging characteris- The high -frequency compensationtics. The off -axis curve lies several dB slider actually is a spectral -tilt control. Itsabove the on -axis plot, indicating that the nominally flat position is all the way up; asoutput level in that direction is greater. DSL you turnitdown, the response pivotsalso measured the response on the speaker's around the 160 -Hz region, pushing up the inward -firing axis (not shown), which came output at 20 Hz by as much as a few dBout at an overall level several dB higher while reducing the output at 20 kHz by as still.Thisisexactly thepattern DBX much as 10 dB. This is a very useful sort ofdescribes as having been its design goal. tone control that we previously have seen Almost equally remarkableisthe only on the Quad preamps. DBX hasSoundfield One's impedance curve, which marked an area in the middle of the slider's is perhaps the flattest we have ever seen. Its travelas "normal," saying that many maximum value is 7.3 ohms at approxi- recordings balanced to sound right on con- mately 3.2 kHz, its minimum 4.5 ohms at ventional loudspeakers will sound best onthe top of the audible band. (This is, by the the Soundfield One when settings in thatway, the first time we can recall seeing no range are used. impedance peak at the fundamental woofer A third slider, to the left of the otherresonance.) The speaker thus presents an two, is labeled ambience. When it is cen- almost purely resistive load at all audio fre- tered, the processor delivers a normal stereo quencies, making it very easy for any good signal. Moving it to the right increases theamplifier to drive. This is particularly note- proportion of L-R informationinthe worthy in a loudspeaker having so many midrange, to open up the stereo image.drivers and a complex crossover network. Pushing the control in the other direction Because of the speaker's unusual radi- has the opposite effect, reducing the sepa-ation pattern, our standard on -axis mea- ration in the midrange to dry up an overrev- surement techniqueprobablyyieldsa

26 HIGH FIDELITY THE AUTOMATION OF neersdiscretemeansthing designedto a listenerslistenlot more. theto. that V-11(10.For It's AiwaMusic. others,for thoseengi- To it some it's just some- MICROPROCESSORS It'smusicalresultthatvidually also work is atextures more designedsystem together than youthat componentsas the everConsidereliminates one. richest heard. The the symmetry of indi- video.includingrecordcomplicated fromAt CDthe upwiring. (compacttouch to 4 components,Andof adisc) letsbutton. andyou THE PERFORMANCE OP range.fulpoweramplifier bass that and and translates plenty hear ofthe Liatento dynamic kindpower- to of the BXSEPARATE 110 power COMPONENTS there'sfrequency.totala 7 -band control the graphicTX over -110 everyequalizer. quartzForThe musical GX-110flawlesstuner. For pre FM amp reception includes phisticatedstations.theTXJustlocks -110next touch any automatically available elements onea button of 12 arestationPerhaps pre-settable and searchesits multi the orthe V -1100's most so- andletsthere'slinearfunction the you LX trackingsyncro recordwireless 110X-90 programmable recordingany turntable. remote au selection. to reversecontrol, which Plus In cassette deck, better.systemuwanyready order The will for Aiwa it,make it's V-1100. readyit soundStill Iffor asyou're evenyou. good as all this soundstlX12 three way speaker 0: Aiwa's most sophisticated, most powerful audio system ever. 35 Oxford Dr. Moonachie, In Canada, Shriro (Canada) Ltd. N.J. 07074 Music just met its Master.

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1984 Proton Corporation. 737 West Artesia Boulevard Compton, California 90220. 213-638-5151. Dolby' B and Dolby', C are registered trademarks of Dolby Laboratories. Inc. AUDIO New Equipment Reports slightly understated sensitivity figure. Pow- For the majority of our auditioning, we er -handling capability appears to be ade- used approximately the same placement quate, if not outstanding. On our 300 -Hzthat DSL did, but the speaker's perfor- pulse test, audible distortion set in 24 volts mance seems to be relatively noncritical in peak-equivalent to181/2 dBW, or 72 this regard. Most recordings came off best watts, into 8 ohms-for a calculated peakwith all three control sliders at their center sound pressure level (SPL) of 1061/2 dB at positions. The resulting sound was as one meter. Distortion measurements essen- smooth, clean, and neutral as we have ever tially confirm this finding. At a moderately heard from a loudspeaker. And in terms of loud 85 dB SPL, total harmonic distortiondeep bass extension, the DBX has few (THD) averages about '/4 percent from 100peers. Hz to 10 kHz. At 95 dB SPL, THD aver- The Soundfield One's trump card is its ages approximately 1/2 percent from 100 Hz imaging, which is extraordinary. It is capa- to 4 kHz. (At higher frequencies, and belowble of a very big, open, "unboxed" sound, 50 Hz, the SFC- Icontroller protected the but always well focused and with good speaker by reducing the levels, thus pre-depth of field when the recording permits. venting measurements.) And at100 dBNothing is more astonishing than to stand SPL, the average distortion is up to 2 per- right next to one speaker and still hear a cent from 100 Hz to 2.5 kHz, with theproper stereo image between it and the oth- speaker protecting itself at higher frequen-er. The image really does remain stable cies and below 80 Hz. Too much should notalmost regardless of where you sit or stand. be made of this behavior, however. We No other loudspeaker that we know of can were able to play the Soundfield One very perform this feat. With the Soundfield One, loud in our listening room without tippingyour living -room layout need no longer be a itinto audible distortion,triggeringits stave to your stereo system. That, in itself, protection circuits, or clipping our am-constitutes a significant advance in the state plifier. of the art.

M ARANTZ HAS CHOSENto call its latest loud- higher in frequency-centered on about Good Value speakers the Digital Reference Monitor 160 Hz and covering the whole midbass Series. That may seem a somewhat over- region, at some expense in response below In Marantz bearing title for the DR -80, the least expen- 100 Hz. sive of the three models. Nonetheless, this Listeners complained of an unnatural Bookshelf speaker is a good value at an unpretentious "chestiness" when we played music price. through the DR -80s in this floor -standing The two-way bass -reflex system has a position. When we put the speakers on I -inch soft -dome tweeter (a standard fea- stands (approximating the response shown ture of the DR Series) and an 8 -inch woofer in the graph), the heaviness disappeared. with a translucent Low Noise Plastic (LNP) For a model of so moderate aprice, cone. With the enclosure standing vertical- response, directivity, and imaging were all ly, the woofer is centered in the lower halfjudged subjectively good. of the baffle panel; the ducted port is higher Total harmonic distortion (THD) aver- up and to the left, the tweeter still higher ages about 1/2 percent above 100 Hz at a and to the right. All are covered by a knit moderately loud 85 dB sound pressure level black fabric stretched over a wooden frame. (SPL), increasing progressively to about 2 On the back panel are spring clips for thepercent at 100 dB SPL. These figures are signal leads. higher than usual, and the consistently high Diversified Science Laboratories mea- measurements, plus noticeable signal com- sured third -octave response with the speak- pression, at frequencies above 1 kHz (and er in several positions. Our graph shows particularly at 4 kHz) suggest undue flexing what happened with it on an I8 -inch stand, of the soft -dome tweeter diaphragm. In our 39 inches out from the wall. With respect to 300 -Hz pulse test, the DR -80 accepted the the on -axis average, response is within equivalent of 251/2 dBW (approximately -±31/4 dB from the 80 -Hz band to that cen- 350 watts) into 8 ohms without audible dis- tered on 16 kHz on -axis and +21/4, -31/4 dB tortion or buzzing. off -axis, which is quite good. Placing the Sensitivity is, perhaps, slightly higher speaker on the floor with its back near athan average for a system of this descrip- wall or on the stand and against the wall tion. Impedance varies between 26 ohms (at increased deep -bass response but tended to woofer resonance, near 63 Hz) and about Marantz DR -80 loudspeaker system, in particleboard enclosure with wood -grain vinyl finish. Dimensions: overemphasize the 100 -Hz region. Similar 4'/2 ohms (between the port and woofer res- 121/2 by 23 inches (front), 9 inches deep. Price: 5150 results were obtained with the speaker on onances and at the woofer's minimum, near each. Warranty: "limited," five years parts and labor. 170 Hz). From 2 kHz up, the impedance Manufacturer: Marantz Company, Inc., 20525 Nordhotf the floor and out away from the wall, except St., Chatsworth, Calif. 91311. that the emphasized region was somewhatcurve is quite flat, remaining between 5 and

NOVEMBER 1984 29 AUDIO New Equipment Reports ROOM RESPONSE CHARACTERISTICS 8 ohms. Although we would not expect any speaker of traditional "bookshelf' size DB good amplifier to have trouble driving a sin- (approximately two cubic feet), you might +5 0 gle pair of DR -80s, it probably is best todo well to consider the DR -80, which is 5 avoid running another set of speakers in more compact, less expensive, and at least 10 parallel with them. as "musical" as most of its direct compet- HZ 20 50 100 200 500 1K 2K 5K 10K 20K If you're looking for a good buy in a itors. Give it a listen. boundary -dependent region on -axis response off -axis (301 response

SENSITIVITY (at 1 meter; 2.8 -volt pink noise. 250 Hz to 6 kHz) 92 dB SPL

AVERAGE IMPEDANCE (250 Hz to 6 kHz) 9.1 ohms

Lt` -J

IT NO LONGERis remarkable when a tiny resistive-and therefore exceptionally easy An Innovative speakeriscapable of more than punyto drive-above 200 Hz. The relatively sound. Yet the Innovative Techniques ITC - high average impedance (9 ohms over our Minispeaker 1 is remarkable. The "bigness" of its usual test range, about 121/2 ohms across the Innovative Techniques ITC -1 loudspeaker system, in sound results, in part, from the arrangement entire audio band) also helps in this regard, particleboard enclosures with wood veneer finish. of the drivers. In the first place, it's a three- and we would not hesitate to run two pairs with BDR (Bass Distortion Reducer) EC) filter unit. way (not two-way) system. Second, while Dimensions: 71.4 by 12 inches (front). 71 4 inches of ITC -1s in parallel. However, it does deep: BDR, 7 by 2 inches, 4 Inches deep plus the tweeter and midrange driver face out- exact a toll in sensitivity, which is lower clearance for connections. Price: $800 per stereo ward in the usual fashion, as does the slot than average, even for so small a system. system. Warranty: "limited." three years parts and labor. Manufacturer: Innovative Techniques Corp., that serves as a vent, the woofer-which Diversified Science Laboratories' measure- 703 Revere Dr., Herbedsville, N.J. 08723. appears to reproduce everything up to about ments indicate that these speakers require I kHz-fires upward. We suspect that the several dB more power (that is, about twice ROOM RESPONSE CHARACTERISTICS resulting reflections from walls, ceiling, DB as much) to deliver the same output as more +5 and furniture contribute to the size and sta- typical models. bility of the stereo image, which is quite Included with the stereo speaker pair is -5 I) impressive. a dedicated equalizer, designed for use in a 10 ITC -I Because it comes in at such a high fre- processor or tape loop or between your pre- HZ 20 50 100 200 500 1K 21( 5K 10K 20K quency-in the neighborhood of the sopra- amplifier and power amp. Innovative Tech- boundary -dependent region on -axis response no high C-the "midrange" driver handles niques calls the device a Bass Distortion off -axis (30°) response the overtones, rather than the fundamen- Reducer, or BDR. The name is apt to the tals, of most musical tones. Its range thus extent that the equalizer filters out infrason- might be better described as the lower tre- ic and extremely low bass information that ble. The tweeter's output appears to overlap the speakers cannot reproduce cleanly. The that of the midrange driver in the octave BDR also serves as part of the bass align- between 3 and 6 kHz and to take over comment system.Itintroduces no response pletely only at very high frequencies. change (just a gain of about 1/2 dB) down to Astonishingly, the impedance curve below 500 Hz. Response rises very gradu- gives no clue to the presence of either cross- ally in the bass, picking up steam below 80 over. It clearly shows the twin bass reso- Hz (where it is up 3 dB), peaking sharply (at nances characteristic of ported systems (the +6 dB) in a narrow range around 55 Hz, impedance rises to 48 ohms at about 25 and and dropping off steeply (at about 18 dB per 80 Hz) but is otherwise almost perfectly octave) below. flat, lying between 7 and 12 ohms. This DSL measured overallsystemre- implies that the speaker is almost purely sponse with the speaker on a 24 -inch stand,

30 HIGH FIDELITY The Sound of Nakamichi

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441, AUDIO New EquipmentReports SENSITIVITY (at 1 meter; 2.8 -volt pink noise. as suggested by ITC, and at several dis-which may be more a question of tweeter 250 Hz to 6 kHz) 86,2 dB SPL tances from the wall behind it. Our graph roughness than of a response tilt. AVERAGE IMPEDANCE (250 Hz to 6 kHz) shows the result with the speaker against Total harmonic distortion (THD) aver- 9 ohms the wall, which produced the most extended ages less than I percent from 80 Hz up for APPROX. TWEETER CONTROL RANGE (re "flan bass response. On -axis response is between sound pressure levels (SPL) of less than 95 +4, -6 dB at 10 kHz +41/2 and -3 dB from the 50 -Hz band up; dB. That drive level, which puts average APPROX. MIDRANGE CONTROL RANGE (re "flat") off -axis response is between +41/4 and -11/4 distortion a bit over the1 -percent mark, + 3, -5 dB, 1.6 to 6.3 kHz dB over the same range except atthe was the highest to which the lab subjected BDR (supplied equalizer/Infrasonic filter) extreme top, where tweeter directivity takes the ITC -1with steady-state signals. (A some toll. speaker as small as this one-particularly OUTPUT AT CLIPPING (at 1 kHz) 8.9 volts Moving the speaker eight inches from with its low end boosted-can easily be S/N RATIO (re 0.5 volt; A -weighted) 107 dB the wall introduced a mild peak centered damaged by such sine -wave testing, even if near 630 Hz, with dips an octave above and it can produce high volumes on music.) In INPUT IMPEDANCE 34k ohms (especially) below-all evidently resulting our 300 -Hz pulse power -handling test,it OUTPUT IMPEDANCE 0.17 ohm from interference between the direct and the accepted the lab amp's full peak output- reflected sound. Moving it well out fromequivalent to 261/2 dBW (450 watts) into 8 the wall (40 inches) noticeably weakened ohms-delivering a calculated peak sound deep bass response and reshuffledthe pressure level of 113 dB at one meter on - midrange roughness a bit. axis. This is very good performance, espe- Some response adjustment can be cially for a speaker of this size. made at the tweeter and midrange controls The sound does strike us as best with on the back panel. (The signal -lead binding the speakers standing well above the floor posts are in the same area, which is both and away from side walls. Bass response is recessed and rather cramped, making greatest (but not necessarily best) when attachment of bared wires difficult.) Thethey are against the "proscenium" wall, midrange control has a roughly shelving though the sound still is impressive when action; that for the tweeter tilts response upwe move them out into the room-where or down. The lab set both at their (uncali- the attractive spaciousness of the stereo brated) median settings, following ITC's image seems even more apparent. But the basic recommendation. We mostly fol- latter position sometimes interpolates a lowed the same practiceforlistening, slight throatiness into string tone. Our over- though for some placements we preferred a all impression is that the ITC -1 is among the little more tweeter attenuation. One reason finest minispeakers available and one of the for the preference, however, was the speak- few that don't cry out for an add-on "sub - er's tendency to emphasize ticks and hiss, woofer" to do what the woofer should.

IN THIS COUNTRY,Canton probably is bestsays this yields a desirable combination of Canton's known foritsminispeakers.Standing extended bass response and high sensitivi- slightly more than three feet tall, the CT - ty-a claim that Diversified Science Labo- Maxispeaker 2000 is a far cry from that. Everythingratories' measurements bear out. Canton CT -2000 floor -standing loudspeaker system, about this speaker suggests a remarkable DSL plotted the CT -2000's room -cor- In particleboard enclosure with white, walnut, or attention to detail. Most obvious is the fur- rected third -octave response in two posi- gloss mahogany finish. Dimensions: 14 by 381+2 Inches (front), 14 Inches deep plus clearance for niture -grade finish of the enclosure. Our tions: with its back a few inches from a wall connections. Price: $1,000 each in white or walnut samples were covered in a fine mahogany and several feet out into the room. All of the finish, $1,125 In mahogany. Warranty: "full," five years parts and labor. Manufacturer: Canton veneer, sanded smooth, lacquered, and pol- information shown in our data column Elektronik GmbH & Co., Germany; U.S. distributor: ished to a deep, reflective shine. It is with- refers to the latter placement, which gave Canton North America, Inc., 254 First Ave. N., out doubt the most beautiful cabinet workthe smoother curves. As you can see, the Minneapolis, Minn. 55401. we have ever seen in a loudspeaker. Otheron -axis response rises gently from -51/2 dB ROOM RESPONSE CHARACTERISTICS nice touches include a large pair of color - in the 40 -Hz band to +6 dB at 20 kHz. The DB coded screw -down clamps on the back pan- off -axis curve tracks it quite closely except +5 el for attaching amplifier cables and an at very high frequencies, where the tweet- 0

5 attractive perforated steel grille that covers er's increasing directivity pulls down the 10 the drivers. CT.50C0 output slightly, yielding a slightly flatter HZ 20 50 100 200 500 1K 2K 5K 101< 20K The CT -2000 is a three-way system, overall response. The series of small peaks boundary -dependent region witha121/2 -inch woofer,a41/4 -inch and dips between approximately 150 Hz on -axis response midrange cone, and a 1 -inch titanium dome and 1.2 kHz probably is caused by interfer- off -axis (30°) response tweeter in a vertical array. Crossovers are at ence from reflections off the floor, but near - SENSITIVITY (at 1 meter; 2.8 -volt pink noise, 400 Hz and 3 kHz. Unlike previous Canton field measurements of the output from the 250 Hz to 6 kHz) 92 dB SPL speakers, it is a bass reflex design, instead midrange driver suggest that an irregularity AVERAGE IMPEDANCE (250 Hz to 6 kHz) of acoustic suspension, so the enclosure is in its response is responsible for the peak 6 ohms vented, rather than sealed. The woofer is centered on the 2.5 -kHz band. "tuned" by a pair of ducted ports that Although the CT -2000's bass response exhaust out the rear of the cabinet. Canton is unusually extended,itfalls off very

NOVEMBER1984 33

uutyt.a c v UM, as urc twm 0435-1C50- the floor. These measurements were takennance frequencies characteristic of ported with the tweeter control at maximum (the and passive -radiator systems (here, about normal setting, according to the manual). 53 and 100 Hz) and in the crossover range Turning the control all the way down kills (near 2.5 kHz). If you were to parallel two the tweeter output altogether-an option pairs of SB-R200s, most amplifiers would too extreme to be of practical use. take the load in stride. Sensitivity is about With the treble full up, the response average. has a rising character that yields an over- In effect, the SB-R200 is a bookshelf bright-even harsh-sound. We finally speaker that you can hang on a wall. That is settled on a cut of two major divisions (the to say, Technics has focused its ingenuity control's markings are uncalibrated) and on solving practical problems of loudspeak- were then quite pleased by what we heard. er design more than theoretical ones. The The deep bass is not strong, to be sure, and result makes for satisfying listening without we detected no special properties of propa- qualifying as a major sonic breakthrough. gation or imaging attributable to the flat - However,itwill permit good stereo in diaphragm design. But neither did we per-many rooms that defy satisfactory place- ceive any of the colorations or oddities of ment of traditonal speakers, and certainly it directionality that have compromised so eliminates one of the major problems in set- many previous flat -panel designs (particu- ting up a surround -sound or ambience sys- larly inexpensive ones). tem-where to put the back speakers. In its In our 300 -Hz pulse power -handling own way. that is a breakthrough.

NOVEMBER1984 35 AUDIO New EquipmentReports slightly below 100 Hz when the speaker is V: percent from 100 Hz to 10 kHz at a mod- placed out in the room. Moving it backerately high volume of 85 dB SPL and is against a wall reverses this effect, causing still less than 1 percent at a very loud 100 the output to bump up somewhat. ThedB SPL. Moreover, the distortion is low resulting curves have a distinctly sway- even in the very deep bass, where most backed appearance but are otherwise v_rtual speakers start to give up-only 2 percent at clones of those shown here. We did no: find 30 Hz for 100 dB SPL. the difference nearly as apparent in listen- We did most of our listening with the ing as it is on paper. speakers placed as they were for testing, Canton has not bought the CT -2000's well away from room walls, but other posi- excellent deep -bass response at the expense tions gave similar results. As the response of sensitivity, which is notably high. The curves suggest, the CT -2000 has a bright, speaker's impedance reaches a maximum vivid sound. However, itis very smooth of 20 ohms at 50 Hz. Over the rest cf the and completely free of harshness. The audible range, it remains between 4.5 and 8 effectis more one of forwardness-as ohms, except for a sharp dip to 2.6 ohms at though you were sitting up close to the 3.5 kHz. That could be trouble for iome musicians-than of a tilt in the spectral bal- amplifiers, but most should take it in stride. ance. This can lend an enhanced sense of We would not recommend running a pair of immediacy, especially to good, clean jazz CT -2000s in parallel with another set of recordings, but is rather fatiguing on mate- speakers, however. rial with any distortion or built-in treble In our 300 -Hz pulse power -handling emphasis. Female voices are rendered par- test, the Canton accepted without distress ticularly well, and there is no lack of bass YOU'RE LOOKING AT THE SIX BEST AUTO -REVERSING DECKS YOU CAN BUY.

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THEHOW TO GET WIDE -RANGE SOUND FROM LINKYOUR TV OR VCRBY PETER W. MITCHELL

FROM ANTENNA OR CABLE RF (ANTENNA) INPUT

MONO VIDEOCASSETTE RECORDER

AUDIO LINE OUTPUT TELEVISION SET Y -CONNECTOR

Getting Started

Although the fidelity of a

conventional (non-Hi-Fi) VCR's AUX TAPE CASSETTE tape playback may be low, the DECK quality of the audio line output from its TV tuner can be remarkably good. So even if you're starting out from the STEREO AMPLIFIER bottom, with an old television set and a budget VCR, the simple hookup shown here can provide wide -range TV IF YOU'VE RESISTED connecting your video and audio gear together, I have some advice for you: Try it, sound-and facilitate taping it on audio cassette. you'll like it. Laserdiscs. Iii-Fi videocassettes, and network television broadcasts are remarkable

experiences when reproduced properly. Trouble is, even relatively sophisticated audiophiles can run

aground when confronted with the task of integrating two media that have heretofore occupied dis-

tinctly separate worlds. Before tackling the fine points of what's involved in making a successful

NOVEMBER 1984 37 THELINK

HI-FI Advanced Systems VIDEOCASSETTE RECORDER

This is one way of connecting a moderately complex audio - DETAILER/ ENHANCER video system so that a Hi-Fi

VCR can be used both for AUDIO INOUT VIDEOOUT television-recording from its ;4101400---- built-in tuner/timer-and as a high -quality audio -only recorder. (Some VCRs automatically disengage their internal tuners when cables are plugged into their line - level input jacks, so it may be necessary to unplug the audio input cables to permit off -the - AUDIO air taping.) The system CASSETTE DECK includes a separate TV tuner to allow viewing of one program while another is TAPE 2 OUTIN being recorded from the VCR's marriage between two such 'TAPE 1 0UT IN \kik sm. STEREO tuner. very different personalities, should point out that even basic AMPLIFIER - - (i.e.,mono) TV sound has "). undergone some dramatic improvements-changes that most of you have been unaware of simply because the three- inch speaker in your TV set can't communicate the difference between a cannon blast and a cap -gun crack without help from the visuals. ly movie theater sound was It'strue that TV sound improved in the past decade by used tobe afflicted withlimited the widespread adoption of the bandwidth and high levels ofvideo for microwave or satelliteDolby Stereo process. Its sig- distortion and noise.But indistribution. At the same time,nificant innovation, however, 1978 the old method of distrib- program producers and localwas not stereo or surround - uting network programs fromstation engineers started payingsound, both of which had been New York tolocalstations, attention to audio quality: Theavailable in first -run movies for using a microwave relay for thewhistles, hum, and harsh clip-30 years.(InDolby Stereo video but telephone lines for theping, which had been annoy-films, most of the dialogue and sound, was replaced by a newingly endemic in TV sound,all of the low bass are still "diplexing" system. This an- gradually disappeared. monophonic; only the music ticipatedthe conversionto So during its last few pre -and special -effects sounds are stereo by allowing two channels stereoyears, TV audio hasin stereo.) The great impact of of wide -range, low -distortionbecome a high fidelity mediumDolby Stereo was due mainly to audio to be combined with thecapable of providing clean,its noise reduction (accommo- Peter W. Mitchell, a frequentwide -range sound. And this, dating a greater dynamic range) contributor to these pages, has arguably, is a more importantand to the included one -third - been listeningto TV sounddevelopment than the imminent octave equalization of each the- through wide -range audio sys- addition of stereo. To appreci-ater's sound system. The EQ tems for 15 years. ate why, recall how dramatical-flattens and extends the sys-

38 HIGHFIDELITY TELEVISION TUNER

AUDIO OUT VIDEO OUT video and audio components. The main limitation of the The impact of a wide -range vid- basic one-piece TV set is that eo soundtrack heightens dra- signals can enter only through matic tension, tends to keepits antenna terminals. For this your attention focused on thereason, every VCR and video- screen, and makes the programdisc player contains an RF (ra- VIDEODISC a more involving and satisfyingdio frequency) modulator, gen- PLAYER experience-even without two - erating a mock broadcast sig- channel reproduction. So don'tnal, usually on Channel 3 or 4, VIDEO IN let any slowness on the part ofwhich is fed to the antenna ter- broadcastersin implementing minals. If the same sort of thing stereo TV stop you. UDIO IN were done in hi-fi, every turntable would have an FM modula- Component Video tor, and when you wanted to play records you would tune in The methods for connect-the turntable at an unused fre- ing your equipment together,quency on the FM band. Of dr, and the consequent limitationscourse, thisisnot the case: on your flexibility in using theEvery stereo receiver has direct LINE -LEVEL system, will depend mainly oninputs for audio signals, by- VIDEO what sort of video gear youpassing the tuner. SWITCHER have. So let's begin with the Not surprisingly, quality AUDIOOUT fundamentals. can suffer in the process of VIDEO OUT A conventional all -in -one modulating the audio or video TV set can be separated intosignal up to RF and then VIDEO three sections: a tuner, whichdemodulating it back down in MONITOR selectsthe desired broadcastthe TV tuner. The resulting pic- channel, amplifies it, and thenture flaws may not be noticed will have more to do with thedemodulates itto extract theon a 12 -inch set, but the larger basic sound quality of all pro- audio and video signals; a videoand better the video monitor, grams than with the spatial per- monitor, consisting of a picturethe more significant they be- spective of the few that are intube, display circuitry, and con- come. stereo. Much atmospheric de- trols; and an audio section, usu- If you have more than one tailand musicalscoringin ally containing a 2 -watt ampli-device feeding RF signals to the mono -only programming goesfier and a small speaker. The TV (such as a VCR, a videodisc unheard throughtypical TVminimum goal is to replace theplayer, a computer or video speakers. Even late -nightre- puny audio system with a larger game, and the antenna or tent's frequency response by anruns of ten -year -old Columbo amplifier and a full -range loud-cable), you'll need an RF selec- octave or two at each end, pro- episodes gain in entertainmentspeaker. Naturally, most video-tor switch to choose the desired viding powerful bass and crisp value when heard through aphiles will want to upgrade fur- source for viewing. Unfortu- highs. wide -range audio system. ther to obtain improved picturenately, the high frequencies in- In a similar vein, the bene- This, in a nutshell, is why quality and greater operatingvolved (Channel 3isat 60 fits of an audio -video match -up it makes good sense to combineflexibility. MHz, for example) make it dif-

ILLUSTRATED RADIO

When you patch TV audio into your component stereo system, one of the first benefits is the ease with which TV soLndtracks can be recordedon audio (not video) cassettes. This approach-taping audio instead of video-may be especially helpful to those VCR owner! who find that they are recording more

programs than they have time to watch. Indeed, in many cases, listening to TV shows (on the car stereo or with a personal -portable tapeplayer) can be just as enjoyable as watching them. If this seems unlikely, think about the nature of television: Most programming is just illustrated radio. Although much of the

cost of TV production is devoted to the video, most of the show's information is conveyed by the lowly audio track Often, the picture ismerely a means of holding your attention while the real program content is fed to your ears. If you're still doubtful, try a simple experiment: Cover the TV screen and listen to an assortment of programs. Some comedies and action series depend on visual references, but the bulk of TV programming-news, talk shows, soap operas, documentaries, and most dramas-may work quite well as radio. For comparison, turn the sound off and try to watch TV: Without narration and dialogue, most shows are incomprehensible.

N U 39 Surround -Sound On a Budget

Ralph Hodges, in our November 1983 issue: "A dedicated Dolby Stereo decoder is not essential for demonstrating to yourself that there is surround -sound information on many stereo video films. If you have a four - channel matrix processor (SQ or QS) left over from the '70s, STEREO SURROUND -SOUND SPEAKERS {AMBIENCE) SPEAKERS

LISTENING AREA

PROJECTION TV

AMPLIFIER try it as a decoder. The sound may not be exactly right, but it POTENTIOMETER will be close enough to make (5-WATT/25-OHM RATING) you sorry that you never tried it before. "If you don't have an old quad decoder but can scare up a second pair of loudspeakers, a simple homemade Hafler dematrixing circuit-consisting of a length ficulttoavoidinterference eo to go with your audio,it bends or kinks in the cable. of lamp cord and a caused by crosstalk within the would be better to avoid inter- Within a couple of years, potentiometer to control the switch. For good results, the posing any switches, splitters, however, the traditional RF- or other devices in the RF signal only TV set will be obsolete- level of the rear speakers- switch should have a rated isolation of at least 60 dB between path. Connect the antenna orreplaced by a hybrid in which will put you in business. Total inputs-but thetechniques cable lead to the tuner's RF ter- the video tuner and monitor are parts cost is well under S5. used to achieve such isolation minals, and feed demodulatedfunctionally separate but usually result in a loss of several video signals directly to the housed together in one cabinet. The diagram shows you how dB in signal strength (which monitor and audio signals to theAt first glance, such a monitor/ to wire everything together. may cause some picturesto audio amplifier. Any source receiver looks like an ordinary become annoyingly grainy or switching must therefore beone-piece TV set, but closer Note that you do not need an snowy). Moreover, itis diffi- done at "line level" in the same inspection reveals the important extra amplifier for the rear cult for these switches to main- way that switches in a stereoinclusion of one or more direct speakers: The out -of -phase tain the constant impedance that receiver select among phono, audio -video inputs and the cor- is required-either 75 or 300 tape, aux, and tuner. responding line -level input se- surround information and the ohms for coaxial or twinlead Still, if you are not ready lector switches. This kind of set power necessary to drive the wiring,respectively.Mis- to replace your old TV set, you provides, at least in principle, to may have to continue using RFthe same potentialflexibility back speakers are obtained matched impedances tend produce color smearing and :onnections. For best results,and signal quality as separate by tapping the amplifier's ghosts (closely spaced to thekeep the signal path simple. video components. But moni- positive speaker outputs and right of the image) as signals Where possible, use 75 -ohm tor/receivers span a broad range bounce back and forth along the coaxial cable rather than 300 - of performancelevels:Al- wiring the rear speakers' length of the RF cable. ohm twinlead. Make secure though some actually consist of ground terminals together." So, if you want clean vid- connections and avoid sharp top-flight separates packaged in

40 HIGH FIDELITY THELINK

one cabinet for economy, some Hz to 4.2 MHz, with the highest to your amplifier, for few amps practice of using small speakers others contain the same circuit- frequencies correspondingto and receivers today have for TV, with little bass below ry used in standard TV sets, and fine details in the picture.) A enough line -level inputs to ac- 100 HZ, is shortsighted. TV mostfallsomewhere inbe- stabilizerrestoresthe 60 -Hz commodate all the new sources. audio and filmsoundtracks tween. sync pulse to prevent picture Indeed,yourfirstaccessory often contain lots of deep bass. The ideal approach, where rolling when you're viewing purchase may well be a line - Infact, my subwoofer gets cost permits, is to split the TV tapesthathave been Copy - level switchbox or patchbay. much more daily exercise from tuner and video monitor into guarded toprevent unautho- If your speakers are cur-TV sound than from records physicallyseparate compo- rized duplication. A proc (pro- rentlystraddling afireplace, and CDs. nents. As in audio, this ap- cessing) amp gives you flexible picture window, or cabinet, Surround -sound has obvi- proach enables you to upgrade chairside control over the pic- making it impractical to place ous appeal in a home video the- an individual segment of the ture'sbrightness and color the TV screen between them, ater, since encoded spatial in- system to obtain the latest tech- characteristics. And with an RF are you willing to move them formation is already present in nology and highestperfor- modulator, you can putthe (to a sonically inferior location, the video versions of Dolby Ste- mance. And itis usually true selected and processed signal perhaps) for the sake of the vid- reo films, waiting to be ex- that new developments in cir- onto Channel 3 for distribution eo? The more serious question tracted and used. This is a fer- cuitryappearfirstinsepa- to a one-piece TV set anywhere is whether you even want a TV tile field for experimentation. rates. in the house, so that the picture set in the same room as your The optimum placement of the Individual components of- from the VCR or videodisc primary music -listeningsys- loudspeakers, for example, de- fer convenience as well. The player can be viewed in the bed- tem. The uses of video are con- pends not only on the shape of TV tuner and other program room or kitchen, too. tinually expanding (teletext in- your room butalso on the sources (VCR, videodisc play- Equipment technologyis formationservices may be equipment you use for extrac- er, etc.) can be housed with evolving so rapidly that design- next), and eventually they may ting the surround signal. The your audio gear on shelves or in ers are having to play catch-up leave little or no time for purely possibilities range from a pas- a cabinet-perhaps within to keep pace with video compo- audio enjoyment. sive Hafler/Dynaquad setup arm's reach of your favorite nent applications. For instance, If you livealone, such (with rear speakers bridged be- chair-keeping theintercon- signal -routing selectors let you scheduling conflicts are yourtween the main left and right necting cables short and neat, select among several program own to deal with, and it makes "hot" speaker terminals,as while the monitor can be nes- sources and send the chosen sense to have everything in one shownintheillustration), tled between the stereo speakers video signal to a VCR for taping room so that your video sound through a revived mid -1970s across the room. Most TV tun- or to a monitor for viewing can have the full benefit of the quadriphonic decoder, to Fos - ers have auxiliaryinputsto while routing the audio to a ste- effort and money you have gate and SSI products sold for accept line -level audio and vid- reoamplifier.But withthe invested in setting up a fine ste- this purpose [see test reports, eo signals from tape and disc, advent of Hi-Fi VCRs, which reo system. But in households November 1983 and August so that the tuner can serve as a may be used for both videotap- with two or more people, the 1984, respectively]. master video -controlcenter. ing and high-performance au- ideal approach may be to keep Back in the '50s, there was With such a device, you need dio -only recording, additional the audio -dominated and video - a serious proposal that the two only one video output cable to input switching is needed at the dominated functions separate, channels of stereo be used to carry the selected picture signal VCR so that it can record either reservinga room for each. reproduce a different sort of to the monitor and just one set from a video program source or However, this involves not only sonic perspective from what we of audio cables to pipe all vid- from your stereo system's tape - the costly redundancy of two are accustomed to now with the eo -related sound to an auxiliary out jacks. stereo systems but also the dif- accepted left -right system. One input of your stereo amp. ficulty of acoustically isolating speaker was to be placed in With a simpler TV tuner, Putting N Together them. front of thelistener for the you may need a separate audio - Your true priorities may direct sound and the other in video switchbox to handle the For many people, the most come to light when you allocate back for spatial ambience. The selection, routing, and dubbing difficult challenge in the mar- the equipment. Which system idea didn't get far, but I am of line -level audio and video riage of video and audio is not gets the more powerful amplifi- reminded of it when Iuse a signals. And, as in audio, once electronic but tactical: Where er, the larger speakers, the sub - time -delay ambience -synthesis you have access to line -level does the equipment go? The woofer, the four -speaker sur- system with monophonic TV video signals you can insert customary assumption isthat round -sound array? Some an- sound. Though the system is processing equipmentinthe you will simply move the TVswers are easy. For instance, not appropriate for all program signal path to improve the final set or video monitor to a loca- regardless of the theoretical sig- material, the result has been so result. tion midway between yournal-to-noise ratio of a Hi-Fi good sometimes thatstereo For general-purpose use, present stereo speakers, rear- VCR or the BTSC (Zenith/ seemed quite unnecessary. De- video signal processors accom- range the furniture accordingly, DBX) system for stereo TV, no lay systems have met with only plish four basic tasks. A detail and route all video -related au- video soundtrack islikely to limited success among audio- enhancer is a video equalizer dio to your stereo amplifier'shave the dynamic range of a philes, but as the technology that boosts and shapes the high auxiliary input. Compact Disc.Therefore,a comes down in price, the home frequencies to sharpen the pic- That plan may fall apart medium -power amplifier usual- video theater may be just the ture. (A composite video signal quickly if you have already con- ly will suffice for TV sound. On place for a revival of the con- spans a frequency range of 60 nected a Compact Disc player the other hand, the growing cept.

NOVEMBER1984 41 THELINK

8 FT

tr I

IMAGING: A QUESTION OF ANGLE 10 FT. The idea of the home video the- number between three and ater makes obvious sense when four. the video monitor isa big - Thus, the preferred view- screen projection set, but how ingdistancefora19 -inch 15 do you make the concept work screen is between 57 and 76 OPTIMUM with a normal -size screen? How inches. If you watch from far- VIEWING DISTANCE can you resolve the sensoryther away than 61/2 feet, you 61/2 FT. conflict that occurs when the can't see all of the fine detail in 45' ears hear a stereo image 8 feet the picture; if you sit much clos- wide while the eyes see a 19 - er than 41/2 feet, you begin to inch image? Conversely, if you see blurry contours and the tri- hang small,magnetically color phosphor dots or stripes in shielded speakers on the sides the screen itself. If your speak- of the TV screen, how can you ers are 8 feet apart, you proba- get any stereo spread? bly are sitting10 or 12 feet The sensible approach is to away from them, which is too consider angular spread,not great a viewing distance for aworks quite well for video. If linear width. For good stereo, 19 -inchscreen. The screen TV audio engineers follow the Matching Images speakers are usually set up to should be moved forward, clos- example of their Hollywood subtend a total angle of about 45 er to your chair, which will counterparts, music will occupy degrees, as seen from the listen- increaseitsapparent angular thefullwidth of the stereo With an 8 -foot speaker er'sposition.(The normal width, reducing the disparity stage, but dialogue will be kept spacing and a 10 -foot range is from 30 to 60 degrees, between the visual and sonic near the middle-well within with 45 degrees a typical val- images (as shown). the TV image area. If the engi- listening distance, a 19 -inch ue.) A bitof trigonometry neers fall into the trap of pro- screen may seem tiny. Moving The angular width of a TV shows thatatthe optimum ducing ping-pong sound with the monitor closer, to the picture depends on your view- viewing distance, the apparentdialogue leaping back and forth ing distance. The optimum dis- angular width of any TV screen between extreme left and right, optimum viewing distance, tance is obtained by matching is about 15 degrees (even with the result will be objectionable reduces the disparity between the visual acuity of the normal big -screen projection sets). But with almost any speaker spac- human eye (three minutes ofas noted earlier,the normal ing. visual and sonic images. The arc) with the limited resolution angular spread for stereo speak- By the way, the magnetic "ghost" speakers in the of NTSC-standard video (about ers is from 30 to 60 degrees. If field of a speaker can distort the 330 lines)-that is, by deter-you have a wide -stage stereocolor in a video monitor, but diagram show where you mining the furthest point fromsetup with an angle of 45 to 60 you needn't worry aboutit might place special video the screen at which your eye can degrees between your speakers, unless you want to put the speakers for a more resolve the finest details that the the disparity between visual and speakersrightnexttothe setis capable of displaying. sonic image width may indeed screen. A spacing of 2 feet convenient match between There is a simple formula for prove bothersome. But a stereo between the near edge of the sight and sound. this: Optimum viewing distance spread of 30 degrees, whichspeaker cabinet and the TV is equal to the nominal (diago- many listeners find adequate for screen is completely safe, and I nal) picture size multiplied by a music,is a compromise that foot is usually satisfactory. iw

42 HIGH FIDELITY ADVERTISEMENT Consumer Information Series -"

Getting the most from compact discs. Can your system really keep pace with digital audio? by J. Robert O'Connell Recording Engineer

As an audio enthusiast, pact disc, it's the difference between the speaker must also have high power han- you've probably read red curve and the noise floor of the room. dling capability. There's no sense feeding a many articles on compact So obviously, compact discs can offer more higher level signal to a speaker if the result discs. Most have stressed available dynamic range. will be 'blown" tweeters rather than a more the dynamic range avail- This increased dynamic range and enjoyable experience. Finally, and per- able and the consistent sound qual-decreased noise floor places new haps most importantly, the speaker must ity, play after play. Both of these be able to create the lifelike impact topics are important. But what also DYNAMIC RANGE COMPARISON BETWEEN A COMPACT DISC AND AN LP and flawless clarity captured by the must be considered, and is all too 120 disc. often ignored, is the impact of this 110 N At Bose® we've invested 20 years new format on your present audio 100 developingDirect/Reflecting® system. 90 speaker systems to deliver spa- Look at the three horizontal lines 80 cious, lifelike sound. We've also at the bottom of the accompanying 70 60 designed them to meet the graph. The top of the three repre- 50 demands of lifelike recordings, such sents the noise floor (minimum 40 as the compact disc (our 901® noise level) of a conventional LP. 30 Series V system, for example, is The middle one represents the 20 rated for unlimited power handling). 10 ambient noise floor of a typical room. 100 200 300 400 500 600 700 800 But the only way to evaluate our The bottom line of the three repre- (time, in msec) speakers, or anyone else's, is to lis- COMPACT DISC - - NOISE FLOOR OF CONVENTIONAL RECORDING sents the noise floor of a compact CONVENTIONAL AMBIENT NOISE FLOOR OF A TYPICAL ROOM ten to them. For help in property Of f disc.It's evident that, for the first evaluating speakers, we refer you to time, the noise content of a recording (the demands on your audio system. Remem- article #2 in this series, "Why didn't they disc) is lower than that of the room itself. So ber that each 3 dB of additional dynamic sound like that in the showroom?" by John with a compact disc, the recording doesn't range requires double the amplifier power Carter, Chief Engineer. limit the softest sounds you can hear, the to reproduce it. So, compared with conven- For reprints of article #2, as well as more ambient room noise does. tional recordings, compact discs require information on Bose products and a list of Now look at the two curves on the top of higher amplifier power. But amplifier power Bose authorized dealers, please write: the graph. The red curve shows a signal is only one of the criteria which determines Bose Corporation, Dept. HF, 10 Speen played from a compact disc. The black the quality of compact disc sound Street. Framingham, MA 01701. 0 curve shows the same signal played from a reproduction. conventional LP. Note that the peak output Extended dynamic range also places from the disc is substantially greater than previously unheard of demands on your that available from the LP. speakers. And, after all, speakers, more In a real -life situation, the difference than any other component, determine the between the noise floor and the peak out- quality of sound you actually hear from a put of a recording is the audible dynamic compact disc. The higher the speaker's range in a listening room. In the case of the sensitivity, for example, the less the neces- conventional recording, it's the difference sary amplifier power to reproduce the between the black curve and the noise peaks in source material captured by a floor of the record. In the case of the corn - disc. But consider more than just sensitivity. To reproduce the incredible dynamic Covered by patent rights issued and/or pending range available from compact discs, a 0 Copyright 1984 Bose Corporation All rights reserved ADVERTISEMENT Nowthat wide -scale stereoGeneralElectric (Mail DropRhoades, a company official, component setup means lots of TV broadcasting is imminent#20,Portsmouth,Va. maintains that "proprietary cir- boxes and a snake pit of inter- (or a reality if you live in Chi-23705). cuitry" in the device does just connect cables. Sansui's AV -77 cago, Seattle, Minneapolis, or The Technics SH-4090 de-that. Caveat emptor. Examin- audio -video processor ($350) Boston-see "Currents," pagecoder (approximately $180) ising a photo of the device, we addresses the problem by com- 10), how do you upgrade yourbeing marketed as a comple-could see no SAP switch, sobining a host of functions on system to receive it? If your TVment to the company's audio -bilingual reception probably is one chassis. The unit has direct set, TV tuner, or VCR has anvideo receivers (the SA -550,not included. For more infor- video and stereo -audio connec- MPX (multiplex) jack, then allSA -450, and SA -350, eachmation, write to Rhoades Na- tions for a TV tuner, a videodisc you'll need is an outboard MTSequipped with a VHF -band TVtional (P.O. Box 1052, Colum- player, a video camera (includ- (multichannel TV sound) adapt-audio tuner), but Technics says bia, Tenn. 38401). ing microphone), an audio tape er. it is compatible with any VCR, deck, and two VCRs. Front - Zenith, a codeveloper withTV tuner, or TV set that has an Peed. 11 Up panel switching makes it possi- DBX of the BTSC stereo broad- MPX output. The device, ble to route any input to a VCR casting technique,is offeringwhich will decode SAP sound- Though TV broadcasters canfor taping or to dub from one the CV -524 decoder ($180).tracks, has no built-in amplifi-cite chapter and verse on whyVCR to another. Also included When it is used with a Zenither. For more information, write they use so much compression are DBX noise reduction for TV set or VCR equipped withto Technics (1 Panasonic Way,and limiting, the net result fortaping stereo soundtracks, a de - the company's proprietary Rea -Secaucus, N.J. 07094). discriminating listeners is flat, hisser for cleaning up non-Hi-Fi di -Plug MPX system, installa- Sony's MLV-1100 decod- dull sound. DBX lets you undoVCR sound, and a stereo syn- tionTHE is a quick, simple do -it - er ($200)NIF is unabashedly gener- someTY of the damage with a TVNINE - thesizer circuit. A contingent of PLUG INTO THE NEW WORLD OF STEREO TV SOUND. BY FRANK LOVECE yourself job. The adapter has a ic. Though styled to resemblesound peak unlimiter, the SX- video "art" controls enables set of fixed -level outputs forthe rest of the company's Pro -20 ($150). The device's effect you to blend colors, enhance routing the stereo audio through feel line of video components,is said to be most apparent on picture sharpness and detail, an outboard amplifier, but a it has standard phono plugs, andloud transients, where its 12 dB and do vertical and horizontal tiny built-in stereo amp (2 watts hookup to video tuners and TVof adjustable impact restoration wipes. For more information, per channel) and variable -level sets (with an MPX jack) is easy.can jolt you right out of yourwrite to Sansui (1250 Valley outputs enable you to drive aA built-in 5 -watt stereo ampseat. The SX-20 accepts the Brook Ave., Lyndhurst, N.J. pair of speakers directly. Thewith bass, treble, and balanceaudio output of a VCR or TV 07071). unit will also decode a BTSCcontrols makes the unit fairlytuner(stereoor mono) and broadcast's second audio pro-flexible should you decide tofeeds the processed signal to an Plicer-Upper gram (SAP) for reception ofdrive a pair of speakers from it. outboard amplifier. bilingual soundtracks. For more (The other option is to use its Another DBX device ad-Radio Shack's Archer Video information,writeto Zenith fixed -level outputs and a larger,dresses compression rather than Sound Processorisalittle (1000 Milwaukee Ave., Glen-outboard amplifier.) An SAPpeak -limiting. The SX-10 gem-and at $80, a bargain to view, III. 60025). switch enables you to tune in($150) can increase dynamic boot. Hook it up to your stereo General Electric takes abilingual broadcasts. For morerange by as much as 18 dB- receiver's tape -monitor jacks (it different tack with its SBA -800information,writeto Sonygiving loud sounds an extra 6gives you a duplicate set to adapter. This one lacks user(Sony Dr., Park Ridge, N.J.dB of oomph and decreasing replace the ones it occupies), controls, switching, and ampli- 07656). soft ones by 12 dB. The netand a front -panel switch en- fication; in fact, you can use it And now for somethingeffect of such expansion, when ables you to choose the audio only with GE television sets and completely different-theused with moderation,isin- source to be processed (VCR/ monitor/receiversthat haveRhoades TE-800. A combina-creased naturalness. And with TV or stereo receiver). For non- MPX jacks and front -paneltion stereo/mono audio switcher noisy reception, you'll find that Hi-Fi mono VCR sound, you stereo/mono and SAP controls. (three in, one out), BTSC stereo a bit of downward expansion might want to activate the unit's The unit clings to the back ofdecoder, and stereo synthesiz-serves as a useful and unobtru- DNR noise reduction, which the TV set by Velcro strips. Aser,it seems a good value atsive noise suppressor. For more has an adjustable threshold so is customary for GE, there is no$200. Our only reservation isinformation,writeto DBX, that you can cut the hiss without suggestedretailprice,butthat we don't quite buy the man-Inc. (P.O. Box 1000, Newton,totally obliterating the treble. you'll probably see the SBA -ufacturer's claim thatitwill Mass. 02195). Or you can switch in the stereo - 800 in the stores for about $100. decode stereo from either MPX synthesizer circuit and enjoy a For more information, write toormono audioinputs. A monoVideo "Nom* Coehle bit of ersatz two -channel repro- signal simply does not contain duction. The Video Sound Pro- Frank Lovece is a free-lancethe information needed to de-The current trend is to audio -cessorisavailableatlocal writer specializing in video. rivetruestereo.But David video separates, but a complete Radio Shack dealers. IQ

44 HIGH FIDELITY fn ys

/ S 4i-' t9' 02' ,.-% . 1 ...0 c,0 , 0 g? i/-. .,§' ,4,; ,

NOVEMBER 1984 45 VIDEO EQUIPMENT REPOR TS

PIONEERSD -25 MONITOR AND SD -X5 TV TUNER Special features: wireless remote control, audio -video switcher with stereo audio inputs, built-in stereo loudspeakers, surround -channel audio outputs, and slots for a TV tuner and one other input module. Dimensions: 25 by 22 inches (front), 20 inches deep plus clearance for connections; screen, 25 inches (diagonal). Price: SD - 25, $1,200; SD -X5, $150. Warranty: "limited," two years parts and labor on picture tube, one year on all other components. Manufacturer: Pioneer Electronic Corp., Japan; U.S. distributor: Pioneer Video, Inc., 200 W. Grand Ave., Montvale, N.J.

THE PIONEER SD -25 is one of video sources (VCRs, TV tuners, and the most versatile (and expensive) the like). And in addition to line -level 25 -inch monitors we've examined. audio outputs (for feeding an external Besides functioning as a high- preamp, amp, or receiver), the SD -25 performance video display, it serves as has a built-in 10-dBW (10 -watt) stereo a switcher with direct inputs for a power amp and a pair of tilt -out videodisc player and two other audio - speakers, permitting almost completely

46 HIGH FIDELIT 11111111111111111111111111111[111111111[111 111111111111111111111111111

N E W TECHNOLOGIES

self-contained operation. graph display that suggests relative SD -25 VIDEO MONITOR To convert the SD -25 to a full- level. Pressing the remote's MUTE All measurements made through the direct video inputs.

fledged television receiver, you need changes the color of the volume HORIZONTAL RESOLUTION >300 lines only purchase the SD -X5 TV tuner display from blue to red and kills the INTERLACE perfect pack, which slips into a dedicated slot sound. Another press restores the audio OVERSCAN -8% at the far right of the SD -25's main and cancels the display. CENTERING control panel (behind a flip -down Sharpness, color saturation, hue, horizontal left -2% vertical down --OVA door). Another slot, just to the left of contrast, and brightness all are BLOOMING negligible the one for the tuner, accommodates remotely adjustable via a PICTURE either of two $70 auxiliary packs. The button and an up/down bar. Each press SD -R5 module provides an RGB input on PICTURE advances one step through that you can hook to the video outputs the function sequence. You know what of some personal computers, for high - you're adjusting by the legends and bar resolution color graphics, or perhaps graphs that appear on the screen. These eventually to a DBS (direct broadcast are accompanied by nomenclature that from satellite) receiver, for enhanced suggests which side of the bar to press color television reception. The SD -K5 for a desired effect. For example, in Karaoke module contains a reverb amp the tint mode, "down" makes the and microphone hookup so that you picture more purple, "up" more green. can sing along with music -video You can always return to the factory programs on special Pioneer settings by selecting the appropriate Laserdiscs. Virtually unknown in the functions and pressing the remote's West, this novel form of entertainment STD button. is all the rage in Japan, and Pioneer is The first press on the remote's not alone in trying to introduce it here. sleep -timer button establishes a 60 - For review purposes, we equipped minute countdown to automatic turnoff. the SD -25 with its matching SD -X5 Pressing SLEEP twice in succession sets tuner module and treated it as a up a 30 -minute countdown, and a third monitor/receiver. Although this press cancels the sleep timer. At any configuration will not decode stereo time, you can check the current input, TV broadcasts, it does provide a set of channel, and time remaining on the back -panel jacks for connecting an sleep timer by pressing the remote's external multiplex adapter. Unlike most display button. other component TV tuners, the SD -X5 VHF and UHF inputs are via 75 - is not "cable ready." Out of the box, ohm coaxial F connectors on the side it is set to receive VHF Channels 2 of the SD -25, beneath a small plastic through 13, but you can use the front - cover. Direct audio and video panel pushbuttons to reprogram the connections are via standard pin jacks memory for your choice of 12 UHF on the back panel, with the Video Iset and VHF channels. The remote has up/ duplicated on the front for down buttons that enable you to scan convenience. The front -panel jacks through the programmed stations have priority over the rear ones, so you sequentially in either direction, or you can leave whatever you have hooked can simply punch up the one you want up in back and temporarily connect a directly on a keypad. The buttons are second VCR to the front. Similarly, labelled A through L, but Pioneer inserting a plug in the front -panel provides a set of tiny stick -on numerals headphone jack switches the sound that you can affix to aid your memory. from the speakers to the headset. A set Whenever you change stations, the new of back -panel tape output jacks (video channel number appears on the screen and stereo audio) permit recording momentarily. from any source except Video 2. You can choose your viewing In addition to the tape jacks and a source via a front -panel button that pair of fixed -level audio outputs, there steps through the TV, Videodisc, are four surround -sound outputs (front Video I, and Video 2 inputs, or via and back pairs) and a mono output. four discrete pushbuttons on the The SD -25's VOLUME does control the remote. The name of the source you've levels at the surround outputs, so if selected appears on the screen, along you wish, you can use its internal with the channel number if you've speakers (or amplifier terminals) for the chosen TV. Volume can also be locally front pair of a four -channel system and or remotely adjusted via up/down your regular stereo amplifier and buttons. In either case, the legend VOL speakers for the back. appears on the screen along with a bar - The internal speakers are at the THE SD -25's wireless remote control NOVEMBER 1984 47 NEW TECHNOLOGIES

SD -X5 TV TUNER MODULE sides of the cabinet, near the neck of "standard" SHARPNESS setting. The All dleasurenlunl,, were lake, at ne dar,I audai and video the CRT, and fire to the left and right. control's effect is greatest at the high outputs The tuner blanked on sustained test signals at 100 percent modulation,so 50 percent modulation was used You can pivot them to direct the sound video frequencies (3 to 3.58 MHz), but instead Results may therefore not be directly comparable with those reported for other tuners somewhat more towards the front some influence is apparent as far down

AUDIO FREQUENCY RESPONSE without increasing the monitor's overall as 2 MHz. It has enough range to

09 width. Although they sound better than soften the snow in a noisy picture or to 0 average for built-ins, they're no match increase the detail of a quiet one. for a good pair of separate high fidelity Gray -scale linearity is excellent HZ 20 50 100 200 500 1K 21( 5K 10K 20K +3/4 -3 dB, 30 Hz to 13 kHz loudspeakers. A back -panel slide with the factory settings, but black AUDIO S/N RATIO (A -weighted) switch disconnects them and directs the retention is less than admirable. best case (no video Biondi 57 dB output from the internal amplifier to a wont case (multiburst 421/4 dB Cutting back a notch or two on the RESIDUAL HORIZONTAL SCAN COMPONENT (15.7 kHz) .43 dB

MAXIMUM AUDIO OUTPUT 0 405 volt

AUDIO OUTPUT IMPEDANCE 4,670 ohms

VIDEO FREQUENCY RESPONSE at 500 kHz + Vz dB et 13 MHz +Vo d8 et 2.0 MHz flat it 3.0 MHz -Vo dB at 3.50 MHz -No dB et 42 MHz -17 d8

CONTROLS, an extra set of audio -video inputs, a headphone jack, and two slots for special input modules are behind a f ip-down door just below the SD -25's screen. The right-hand slot is shown here with the SD -X5 TV tuner in place.

set of external speaker terminals. Or, BRIGHTNESS improves it to excellent, for best performance, you can use one but at the expense of compressing dark of the sets of front -channel line outputs areas to an almost uniform black. At to drive an external amplifier. standard brightness, chroma differential As a monitor, the SD -25 gain is very low, so color saturation performed very well in Diversified remains solid even in the brightest Science Laboratories' standard tests- scenes. There is, however, some especially considering its large screen chroma phase shift in dark scenes, area. Overscan is minimal on both which causes a slight color shift. We axes, and the picture is well centered, find the factory COLOR setting a bit too especially horizontally. Geometric intense for our taste and the TINT linearity-often a sore point on a 25 - setting a little too far to the orange, but inch CRT-is exceptionally good, and these are readily adjustable via the convergence also is better than average controls on the remote. for such a large screen. There is a The SD -X5 tuner module slight error across the top and left of presented some problems on the test the screen (and very slight bench. Both of the samples we checked misconvergence over portions of the refused to accept a fully modulated lower right quadrant), but it is multiburst signal for long enough to unnoticeable at normal viewing permit accurate measurements. After a distance. second or so, the screen would go Transient response, vertical black and the TV Channel Number interlace, and raster purity are all legend would appear. The problem excellent, and "blooming" is disappeared at 50 -percent modulation, negligible over the full contrast and so DSL made its video frequency brightness range. Horizontal resolution response measurements at that level. is better than 300 lines at the Consequently, the results may not be 48 HIGH F I DE L I T Y 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 ceck You don't really need 100 watts can make virtually noise -free re- per channel* of virtually disbrtion-cordings, while the DNR "deans less power. Unless you like listen- up" existing noisy signals. ing to today's ultra -high quality Unless you're a nut about video recordings at "live concert" sound sound quality,it3o,you won't have levels. much use for tree TV/VCR inputs And a remote -controlled digital and stereo syntiesizer circuit. tuner with 20 -station memory is The 8100 is packed with features probably more than enough-un- that are best appreciated by an less you're a dedicated FM listeneraudio 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 o'f our other new re- DNR noise reduction systerrs. ceivers) through its paces for you. Except those few who've become Some people might call it over- spoiled by the almost eerie absencekill. But you'll :311 it overwhelming.

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LUMINANCE LEVEL 11% high directly comparable to those in maximum boost centered at GUY -SCALE NONLINEARITY (worst case) =II% previous reviews. approximately 100 Hz. Perhaps this CHROMA DIFFERENTIAL GAIN -28% With that'reservation, we can anomaly is a purposeful effort to CHROMA DIFFERENTIAL PHASE =±5° report that video frequency response is improve the bass response of the SD - CHROMA ERROR level pkoso excellent-almost flat to the color - 25's internal speakers, but you should red V.1 dB +r - burst frequency (3.58 MHz), implying be aware of it if you intend to use the magenta -1h dB +5° a horizontal resolution of more than internal power amp to drive other blue -1/2 dB +2. cyan -34 dB +r 285 lines. Luminance level is a trifle speakers. TheBASSprovides as much green -14 dB +5° high, chroma level a tad low, but both as 6 dB of boost and 9 dB of cut at 50 yellow -3/4 dB +7° median error -46 dB +4W are well within reasonable bounds and Hz relative to the "flat" setting, the uncorrectable error ..-1,11 dB can easily be corrected. Gray -scale TREBLE,an 8 dB boost or 101/2 dB cut linearity and chroma differential phase at 10 kHz. A peculiar characteristic of are quite low, and the 28 percent these controls is that adjusting either chroma differential gain occurs largely one also changes the overall output at the brightest scene level, where it is level. least important. Hue (chroma phase) is In about ten hours of receiving off the mark by a bit more than normal real broadcasts (rather than test but can be corrected quite well by signals), the SD -X5 never "squelched" 'touching up the SD -25's tint control. as it did on the bench. Reception was, Audio response droops at both in fact, quite good and the colors frequency extremes but is otherwise pleasing after we turned theCOLOR quite good. Noise is low, and the down a notch or two and adjusted the horizontal scan whistle is well TINTfor a somewhat cooler picture suppressed, especially for a tuner that than the factory settings provide. In our does not use a trap to remove it. Audio fringe area-not served by cable-we output level is adequate, but the output were not hampered by the limited impedance is a bit high. number of channels that the set can One surprise is the frequency receive. If you're in a similar boat and response of the SD -25's built-in audio like the flexibility that the SD -25's amplifier, which is far from flat at the modular approach do tone controls' center settings: +41/4, -3well to give this system serious dB from 22 Hz to 20 kHz, with the consideration. HF

I POLKVS -19 VIDEOSOUND SHIELDED LOUDSPEAKER

Type: compact, magnetically shielded bass -reflex speaker system, in particleboard enclosure with black or silver finish. Dimensions: 8'/2 by 17 inches (front), 11 inches deep. Price: $150 each. Warranty: "limited," five years parts and labor. Manufacturer: Polk Audio, Inc., 1915 Annapolis Rd., Baltimore, Md. 21230.

ROOM RESPONSE CHARACTERISTICS IN THE PAST several years, powerful magnets whose stray fields television sound has improved can cause color fringes or even markedly, and with the advent of geometric distortion if the speakers are stereo broadcasting, we can expect placed too near the picture tube. And even more enjoyment. Right now, that may be exactly where you want to 1 HZ 20 SO 100 200 `,00 1K 2K SK OK20K Laserdisc players and Beta and VHS put them, because if they're too far boundary -dependent region Hi-Fi VCRs are capable of sonic from the screen, the audio and video on -axis response performance rivaling that of first-class off -axis (30°1 response images may conflict. There's nothing audio -only equipment. If you're still quite so annoying as watching a mouth SENSITIVITY lit I meter; 2.0 -volt pink noise, 250 Hz to kNz) listening on the 3 -inch toy speaker in move and hearing the sound come from 911/2 dB SPL your TV set, you're missing a lot. (Seefive feet away. AVERAGE IMPEDANCE (250 Hz to 0 kHz) 9.1 ohms "The Link," page 37.) Polk's Videosound series- Designing a good speaker for TV designed to match 12-, 19-, and 25 - use isnot as straightforward as it inch monitors and receivers-seeks to seems. High -quality drivers have overcome this problem. The middle 52 HIGH FIDELITY Add Stereo and Dynamic Noise Reduction to Your Present TVorVideo System

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If you're still listening to TV the old way, through out jacks also let you use -he VSP with your audio your set's built-in speaker, you're missing a lot of components. great audio from videos, movies and specials. The Video Sound Processor. It's not just a tech- And even if you've connected your TV or VCR to nology breakthrough, it's an incredible price a stereo system, you're still getting monophonic break through too! Come in and hear the differ- sound that's probably very high in noise. But now ence. Sold only at Radic. Shack. #15-1277. you can get soundtrack -quality audio, along with noise reduction and image expansion, from most video equipment. With our Video Sound Proces- Radio thaek A DIVISION 0= TANDY CORPORATION sor your room will come alive with full -range audio excitement from video tapes, video discs, cable and over -the -air TV. Mail cot. pot to Radio Shack, Dept 85A-877, Send for 300 3n Ta idy Center, Fort Worth, TX 76102 The processor takes any monophonic signal and Our FREE creates a 2 -channel simulated stereo output for 1985 Name Address your stereo system. Plus, the VSP has a built-in Catalog Apt. No. City State Zip DNR* Dynamic Noise Reduction system, with a "stereo expander" control that lets you adjust the PrIce applies at participating Radio Shack stores and dealers. apparent locations of sounds. Tape -in and tape - DNR is a trademarl. of Na tonal Semiconductor Corp NEW TECHNOLOGIES

child in the family is a ported two-way remaining within ±2 dB from about 70 system with drivers similar to those Hz to 2 kHz. The vent's maximum employed in the company's regular output is from 40 to 80 Hz, but the line. The main difference is that the hole is too small to provide really VS -19's drivers have dual magnets- useful radiation. Its purpose is more to one that works with the voice coil as tune the system and load the woofer the diaphragm motor and a second that than to extend response to the nether is arranged to cancel as much of the reaches. Above 2 kHz, the woofer cuts first's external field as possible. The off rapidly and the tweeter takes over. whole structure is then enclosed in a Its response is equally smooth and free shield to further reduce flux leakage. of resonance-within -±-11/2 dB from (Without a "bucking" magnet, the 2.5 kHz to about 13 kHz. main magnet might saturate the shield Although it's not the best and destroy its usefulness.) approach, you can drive the VS -19 We checked the effectiveness of with a low -power amplifier, like those the Polk approach by placing the VS - built into most monitors. The speaker 19 directly against the side of our 19 - is sensitive enough to deliver adequate, inch monitor and flush with the front, if not generous, output for TV viewing as it most likely will be used. There with even a little 5 -watt -per -channel was no picture distortion, and the slightamp. Although the system's impedance misconvergence that we could find drops as low as 5 ohms and is less than (with a test pattern) affected only the 8 ohms from 100 Hz to 900 Hz, it outer half -inch of screen nearest the averages a healthy 9 ohms over our woofer. Frankly, it was so slight that standard test band, which suggests that we doubt you could see it in a normal a pair of VS -19s should be an easy picture, and when we pulled the load for an amplifier to drive. speakers an inch away from the CRT it At a moderate listening level (85 disappeared entirely. dB sound pressure level), total For its standard tests, Diversified harmonic distortion (THD) is1 percent Science Laboratories placed the VS -I9 or less-often much less-from 200 on a 25 -inch stand to simulate the Hz to 10 kHz and less than 2 percent height at which they will most often be to below 100 Hz. It essentially doubles used. Measurements were made with for every 5 -dB increase in loudness. the speaker's back panel flush against a Although the VS -I9 will not produce wall and with it pulled forward nine ear -shattering levels with unmeasurably inches to bring its baffle flush with the low distortion, it acquits itself very front of a I9 -inch monitor. The room - well for a speaker in its class, and the corrected third -octave response is distortion it does generate consists somewhat smoother with the wall largely of the relatively benign second placement (shown in our data column), harmonic. When driven with 300 -Hz but the differences are minor and pulses, it accepted the full peak output unlikely to be audible. of DSL's test amp (equivalent to 261/2 On -axis response is within ±-41/4 dBW, or 435 watts, into 8 ohms) for a dB from the 50 -Hz band to beyond 20 calculated peak sound pressure level of kHz, which is remarkably good for a 118 dB. small system. And the output is even Although we started off listening smoother off axis-within ±4 dB from to the VS -19s in our video system, we 50 Hz to almost 16 kHz, the range quickly moved them to our usual you're likely to realize from an listening room for a more taxing excellent broadcast. The dip in the audition. For their size and price, they lower midrange and the small peak that could be highly recommended as follows it probably were caused by conventional stereo speakers. Bass is interference between the direct sound not as extended or clean as in some and energy reflected off the floor. larger systems, and there's a slight Thus, their frequencies and amplitudes tubbiness in the low registers of piano will depend on where the speaker is recordings (although it's by no means positioned and where you sit in relation as severe as with many other vented Laboratory data for HIGH FIDELITY's video equipment reports are supplied by Diversified Science to it. systems we've auditioned). But they Laboratories. Preparation is supervised by Mi- The Polk's noteworthy far -field image well, their response is smooth chael Riggs, Peter Dobbin, and Edward J. Foster. response can be attributed to excellent and extended, and the upper midrange All reports should be construed as applying to drivers and an intelligently designed the specific samples tested. HIGH FIDELITY and and highs are admirably clean. To say DiversifiedScienceLaboratories assume no crossover. Near -field response of the that we're impressed would' be to put it responsibility for product performance or quality woofer is quite smooth and extended, mildly. HF 54 HIGH I- I D E L I T Y Kenwood Basic components. And both give you patented Look into the remarkable, They give you all the audio features that are uniquely Kenwood.digital -ready Basic components. technology you need. Whether For example, Sigma Drive, the Whatever size you choose, you're looking for full-size com- ingenious amp -to -speaker negative you'll find everything you need for ponents, or record -jacket size feedback device that insures sonic the best possible sound. components like our HD (High clarity. Density) series. Or, Dynamic Linear Drive Both offer you pure sound and (DLD): super -efficient, dual -output high power at easy -to -handle prices.amplifier technology that produces Both provide perfectly power, purity and a dynamic range matched components that provide wide enough for Kenwood's amaz- KENWOOD the ultimate in individual perfor- ing full and jacket -size CD players. Shaping the future of sound. mance, too. Pop and classical music releases on videodisc, videocassette, and digital Compact Disc

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EAGLES: Hotel California. Bill Szymiczyk, producer. ASYLUM 103-2 (digitally mixed analog recording, digital Compact Disc). LP103-Y

The Eagles' penultimate, 1977 studio album surprised even their detractors with its unsparing, seldom sympathetic depiction of the Californian "good life." Less obviously, it also summarized the achievements of West Coast pop/rock to that date. In fact, its fans called the album an apotheosis of the genre, an opinion clarified most pointedly in this successful CD version. The centerpiece, of course, is the CHARLIE HADEN: This bassist arranger is a committed player and listener. extended title and leadoff song. Bill Szymczyk's burnished production, with its careful stereo placement and measured dynamic shifts, emerges with an even cleaner sheen here; its acoustic and electric seems to be playing on tiptoes. Elsewhere, guitars, layered vocals, and shimmering CHARUE HADEN: the orchestra can have a cocky, offbeat, drums and cymbals are a testament to the The Ballad of the Fallen. German beer -band sound, but mostly the Manfred Eicher, producer. ECM 23794-2 (fully digital Compact Disc). songs and arrangements are appropriately, close-miked techniques of the day. The LP: 23794-1. reviewed 2/84. transfer to a digital medium has dried up and beautifully, mournful. (The Spanish the recording's already somewhat clinical Ballad of the Fallen"-the title manage to sound resigned even in protest.) ambience, but that is a minor complaint. Thecomes from a poem found on the body Cherry's shattering pocket trumpet solo The gain in stereo separation, already of an El Salvadoran student killed in a followingIf You Want to Write Mecontains pronounced in the original analog LP and demonstration-is bassist Charlie Haden's the only hint of anger on the record, but it bettered by Mobile Fidelity's half -speed second record of songs connected with the is not monochromatic. Mick Goodrick's version, is dramatized by the set's frequent Spanish Civil War and the political acoustic guitar introducesLa Pasionaria, displays of double lead guitar. On the more struggles of El Salvador, Chile, and which bursts into a quick, dancelike 6/8;La driving tracks, enhanced stereo imaging Portugal. The first, "The Liberation Music Santa Espinahas a sprightly Virgil combined with the expected reduction in Orchestra" (on Impulse and out of print), is Thomson feel (compare it to the beginning surface noise provides considerable punch. an acknowledged classic of the new jazz. of "The Mother of Us All"). The Compact One objection to "Hotel California" Orchestrated by Carla Bley for a rich - Disc sounds only marginally fresher than may be the meticulous attention paid to the sounding big band-French horn and tuba the excellently recorded digital LP, but it finished sound of it. But this subjective included-"The Ballad of the Fallen" does give the orchestra somewhat more issue has to do with the original master, not presents strong Spanish melodies whose presence, and it more cleanly defines the subsequent CD premastering. Because the basic harmonies are relieved by passages of notes of Haden's bass. -MICHAEL ULLMAN album emphasized multitrack techniques freeblowing solos by Haden, Don Cherry, (and their insistence on isolation between trombonist Gary Valente, and others. individual tracks to permit flexibility during Haden has a deep, naturally lugubrious BRUCE SPRINGSTEEN: mixing), the CD version sounds the least tone. He is a careful player and a Born in the U.SA. "live" of all. Fans of studio precision will committed listener who seems to prepare Bruce Springsteen, Jon landau, Chuck Plotkin. end Steve Van Zandt, producers. COUNIKA CK 38653 (digitally mixed analog recording, hardly mind, however. -SAM SUTHERLAND each note; it's not surprising that his only digital Compact Disc). LP. CC 38653, reviewed 9/84 composition here isSilence.This stately For additional reviews of Pop and Jazz recordings, version is introduced by the trumpet of 0 imultaneous release in all three formats see BACKBEAT. Mike Mantler over a poised brass choir that 11,7 must be imminent for major albums: 56 HIGH FIDELITY

I I Luxman brings music home to Burt Bac"arach and Carole Bayer Sager

I For those whose lives are musc, the -e is Luxman Uncompromising Luxman. Precise, elegant Luxman. The Luxman of le gendar inno'iction 0" 0 and handcrafted qualty; of scund k pure, rich and real. If you value such music, Luxman belongs in your I fe. For the dealer nearest you, call 1-800-257-4631. HIGH FIDELITY SYSTEMS I.uxman/Division of7Npine Electronic; of America, 19145G, mercy PI Torrance. CA 90501 NE W TECHNOLOGIES

The Compact Disc version of Bruce chameleonlike effect. control associated with the Masterworks Springsteen's new album appeared just a The band's Sturm and Drang, which classical division and Mastersound month or so after the LP and cassette. Yet tends to make any added headroom to the audiophile lines. That treatment was the recording itself inherently minimizes dynamics a moot point, translates only justified: These gently rhythmic, spare any vivid sonic differences among the three slightly more vividly to CD than it did to arrangements are designed to showcase the configurations. Columbia's analog LP. Ticks and pops are, shimmering timbres of the leader's Springsteen and his production allies, of course, absent, and there's the expected "electracoustic modified pedal harp," along Jon Landau and Chuck Plotkin, have improvement in deep bass and imaging. If with various plucked guitars, synthesized refined a style that depends on deep-dish no unpleasant anomalies are incurred in the flutes, and otherworldly steel drums. The echo, splashy percussion, and impassioned digital transfer, neither are there any dynamics of the music insist on nuance; vocal textures. Sonically speaking, their welcome revelations about the music. -s.s. they seldom rise above piano. perspective is the audio equivalent of a long Though it sounds almost insufferably shot, emphasizing the sweep of the E Street saccharine on paper, "Cavema Magica" is Band's thundering guitar/keyboard/sax very nearly irresistible. It's also a terrific equation. Even ballads are thick with ANDREAS VOLLENWEIDER: Compact Disc, dotted with dreamy stereo atmosphere. "Born in the U.S.A." Caverna Magica panning effects, surreal murmurs both vocal continues this tradition with some revisions. (... Under the Tree-In the Cave...). and instrumental, and, of course, the rich Andreas Vollenweider. producer. CBS MK 37827 (digitally mixed Roy Bittan and Danny Federici have added analog iccoiding. aigital Compact Disci. LP FM 37827. tonal colors of the various instruments, synthesizers to their piano and organ playfully camouflaged. Because of its backdrops, providing an orchestral U ere's one release where you can judge reliance on low-level, ambient sounds. the complexity once achieved with occasional 1 the CD by its cover, which pictures an success of this digital transfer was by no string arrangements. upscale version of Yoda's pad-split-level, means a shoo-in; yet the CD preserves the But this album risks its formal no less. It's an appropriate setting for analog version's detail and grace, exploiting aesthetic by varying the mixes from track to pixieish Swiss composer and pedal harp the utter absence of surface noise and tape track. There are shifts in the balance player Andreas Vollenweider's charming hiss in the bargain. For listeners attracted to between vocal and band, and between instrumentals, a lacy amalgam of melodic a singular instrumental vision, and for those distant echo and drier "close-ups" of pop and chamber music. who are partial to a little magic, this Springsteen's voice and guitar. Clear though In its analog LP release on CBS's recording can be recommended on both their vision may be, the producers of "Born green label, "Caverna Magica" benefitted technical and musical merits. in the U.S.A." have created an odd, from heavier pressings and the quality (Continued on page 61) TEAC'S GOT THE GOLD

AND THE SILVER, AND THE BLACK. THE PINKS, THE GREENS, AND THE BLUES. Now Teac's got tape to match your mood, or the mood of your music. Record Punk on Pink, Jazz on Blue, Classics on Black, Soul on Silver, Oldies on Gold, and Country on Cow Pasture Green. Teac Sound 52. Quality, high -precision metal mini -reel cassettes. TEAC.MADE IN JAPAN BY FANATICS. COPYRIGHT 1984. TEAC CORPORATION OF AMERICA. 7733 TELEGRAPH ROAD, MONTEBELLO, CA 90640 CHECK OUR REFERENCES. First trust your ears. Then trust the experts. That's ais made of the same material that goes into the soundboards reliable way to judge speaker systems. Especially referenceof our fine pianos. Its titanium carbide dome midrange and monitors. tweeter produce crisp, clear highs. And We make this point because of the response our studioits low -loss cross over makes sure signals 4 11111 monitor speakers have received from recording engineersget to the drivers unscathed. at top studios like A&M, A&R, The larger NS-500M's 12" woofer AM u_ Hummingbird, Universal andis made from our exclusive carbon fiber 1, Nan Westlake. As well as Yamaha'stechnology. The result is a near -perfect own music research and devel-balance between damping, rigidity and IMO21711""1.1111'dm opment facility and professional strength -to -weight. Which translates toOur monitor speakers can give you the level of accu- studio in Glendale, California.remarkably natural bass response. two and retliBM tiros have And that response has Our titanium carbide midrangecome to expect.

Known for its exceptional accuracy been extraordinary. Here's why: approaches perfection in transient and frequency response, and consistent response over a wide accurate reproduction. without break-up. And our beryllium dome tweeter repro- range of frequency. beryllium is the material 4 choice for our NS -.500M Which brings us to theduces extremely high frequencies with ease, accuracy and tweeter dome. new NS -200M and NS -500M.natural realism. The NS -200M is compact without compromise. It So check our references. Both the speakers and can easily handle the wider dynamic range and frequencythe experts. You'll like what response of today's sources. Its 10" pure spruce woofer coneyou hear. 0 YAMAHA Suggested U.S.A.retail prices-NS-500M. $385 each. NS -200M. $285 each. Yamaha Electronics Corporation, USA, PO. Box 6660, Buena Park, CA 90622

YAMAHA Be part of it. )

e leaders from Betty Ford, Reggie many fields toJackson, Barry Goldwater, address severalDavid Hartman, Coretta Scott questions: King, Henry Kissinger, Dinah 010 Why do soShore, Harry Belafonte, many Americans choose not Edward Kennedy, Joan Lunden, Make your voice heard to vote? Can we reverse theRafer Johnson, Donna on November 6th when trend? How do we begin? de Varona, Dom DeLuise, George we choose America's leaders. In answer, ABC and its McGovern and many others The health of our affiliated stations have work-gave their time and thought democracy depends on the ed throughout this election to TV, radio and print messages participation of every man year to encourage greater urging all Americans to register and woman. Yet voting levels voter participation. and vote. have been dropping ever sinceABC Television, ABC Now, it depends, 1960. Radio and ABC Pub- as it always did, In recognition of this lishing have enlisted on you. As we problem and the threat it the support of promi- move closer to poses, the American Broad- nent politicians,enter- Election Day, let's casting Companies and tainers and athletes all remember: Harvard University sponsoredto join them in this one vote does a symposium entitled "Voting effort. make a difference. for Democracy." There, former Presidents Jimmy Carter Leonard H. Goldenson and Gerald Ford met with Chairman of the Board

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(Continued from page ) transposed. A great last sonata it is: gentleman: assured, punctilious, never energetic valedictory to the genre Beethovenraising the voice unless strictly necessary, CLASSICAL had ennobled 31 times, and a work of the and, in Oscar Wilde's phrase, never rude very widest scope and severest import (loud, insistent, demanding) except by COMPACT DISC whose forbidding topography has scared off intention. all but the most hardy. Its hawk -like range, Of the CDs at hand, Carol BEETHOVEN: from hazy glimpses of the empyrean to a Rosenberger's is a considered traversal Sonata for Piano, No. 32, darkling brooding over the vast abrupt, without a particularly sharp interpretive in C minor, Op. 111. would seem to make it a natural for profile. Yet if her second movement lacks SCHUMANN: Compact Disc; the medium has in any case that degree of lnnigkeit found by the work's Symphonic Etudes, Op. 13; responded gratefully to the solo piano. principal champions, her first is admirably Toccata in C, Op. 7. where CD's deep dynamics and rock -like weighty. and she remains faithful to the Ivo Pogorelich, piano. IHanno Rinke. prod ) DEU1S0* GRAPARIONON steadiness come without the price the tricky most obvious features of the work's 410 5202 (fully digital Compact Discl. LP 2532 036 digits exact elsewhere. argument. I arm less convinced by the eager BEETHOVEN: These first two CDs offer only a spotlight Delos throws on her Bosendorfer. Sonatas for Piano: No. 32, glimpse into the run of Opus Ills available The mike is thrust right in the bowels of the in C minor, Op. 111; on record. The ideal performance might No. 23, in F minor, Op. 57 beast, but the gain in authority is costly. At ("Appassionata"). include nods to Lateiner (the most ethereal), that distance, even the quieter and more Carol Rosenberger, piano. (Amelia Haygood. prod" ChiosD/CD3009 Ashkenazy (the most gracefully sculpted, legato sections sound oddly percussive. (fully digital Compact Dist) LP DMS 3009 with a convincing shaping curve that lingers each note distinct, punched out as if from a BEETHOVEN: long in memory), and, of course, Schnabel. teletype. From that melodramatizing Sonatas for Piano: No. 23, In the second movement in particular, it is perspective, the BOsendorfer simply does in F minor, Op. 57 I-Appassionata"); Schnabel-with half the technique of the not seem to have as part of its register the No. 3, in C, Op. 2, No. 3. others-who makes the second variation true"malt° semplice"demanded by the Andni-klichol Schub, piano.(Max Wilcox, prod ] Vox CUM Loom MCD 10009 (fully digital Compact Disc) LP D-VCL 9062 (6/16) really swing, who conveys (by Arietta. varied weighting and discrete overdotting) Ivo Pogorelich is another kettle of fish The odd subtitle Delos attaches to Carol the brio of the third (12/32). and whose entirely, and this disc by the celebrated Rosenberger's disc of Opus 111. supple flexibility within a phrase remains loser of the 1980 Warsaw competition is a "Beethoven's last great sonata"-as if the most subservient to the larger contour he bouillabaisse of pianistic vices and virtues composer went on to write other, more limns with matchless clarity. that helps explain not only the Warsaw doddering works in the form-is surely Temperamentally, this is the playing of a judges' scowling, but also Martha Sound Perfection.You can't get any closer than this. Power. Purity. Startling realism and depth. This is the sound you demand. And no one delivers it quite like Kenwood.

I ...."" os0.6.." -411111-1,-/- KENWOOD STEREO FOR YOUR CAR

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Argerich's resignation in protest at his EtudesSurely it is in the variations acard rather than play it. There are failure to make the finals. I'm with her. themselves that the deeper implications of moments very close to genius here, sections Yes, there is occasional exaggeration here, the subject are to be found, and not in its he plays with more technical finesse, and a distension of the line, taffy -pulling of initial uttering.) more searching temperament, than anyone tempos, and one interpretive gaffe: after the But these are the faults of youth. The at all in my experience of this work. triple -trill section of the second movement, reservations I have apply most often to the To begin with, the skill in those a ruthlessly "meditative'. treatment that exaggeration of effects, not to the musical fingers is really prodigious. The frequent makes nonsense of Beethoven's dynamics. intent itself. (For one thing, Pogorelich fugal writing of the first movement can (A similar cauterizing touch, in a avoids all the first movement's temptations hardly have been more cleanly articulated, performance overall more Eusebius than to youthful melodrama.) The extravagance or more subtly weighted. Pogorelich has a Florestan, probes more deeply than will pass as the pianist comes to trust his Gould -like ability to bring out individual necessary into the theme of the Symphonic obvious ability to suggest an effect, to flash lines, to shape by pace and accent the various competing voices. At first hearing, in fact, one seems to detect a Gouldian affinity for a ratherserer),detached style of playing, underpedaled at times even against the composer's instruction. Closer attention reveals such distortion to be only "Spectacular" "Astounding" momentary. Indeed, the great fourth few() Miigarni High Fidelity t aJane variation of the second movement has rarely sounded more probingly ruminative, from early contemplative chords through the later The Nation's Tcp Audio E

The oft -recorded Appassionata offers a different challenge: The work's very clarity of shape presents, while hindering, the demand to "make it new." But here the choice on record is wider. For sheer terror, we have the hair-raising Richter. No one else convinces me that he has stared so deeply into the whirlwind, discovering a crushing necessity all the more remorseless for being so absolutely without malice. Richter's brazen, percussive power comes not merely from his massy weighting of the "The result is always better than would be acbieared by connetional speakers: work's cascading fortes-that terrifying .lereo R6velvlilagerie Presto coda!-but from his ability to point and shape even those ride -the -wind "Theytruly represent i bre: kthrough." Hear the Remarkable Sonic Benef ts Now' moments. There is daring elsewhere, too, as Rating stone Magazine Polk s e(clusive True stereo SDA te: hr o ogy in his nervous Macke way with repeated Polk s Audio Video" Gard Prix Award win- resu is in spectaci a -ly th-ee- notes, shooting them out with a rigorous ning SDA technology has been called the dimensonal sound. Stereo Review said. evenness that is finally chilling. most important fundirrental advance in "Lite alld a new dimension in sour dHVI For a tender, luxuriantly phrased loudspeaker design in the list 25 yearsIn Fidel.ty said, "Astouving Mind -bog- Andante sandwiched between two graven fact. Polk s remarkable SDAe are the wor d s gling Flabbergacti ig 'An amaz ng images of the utmost quiet power, there is first and only 'rue Steno loLdspeakers expeler ce You Nye it to ycurse f to Moravec. No pianist finds more subtle ways audition them of shaping the first movement's motto Polk Audio. Inc.. 1915 'Annapolis Road phrase-as a slight crescendo, or with a Baltirmye. Maryland 2230 Polk audio suggestion of a diminuendo; with a different For nearest dealer call 1 -80C -843-38C0 The Speaker Speoa Isis" shape for the phrase rising than falling; here a slight breath on the first note, there a bit of a rush through the second; and so on. No 82 HIGH FIDELITY

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RECEIVERS TAPE DECKS TURNTABLES TECHNICSSA 550 329.95 TEACV900X 445.95 TAPES(Min 10) TEACV300 TECHNICSSI QX 219) 149.95 AUDIO TECHNICSSA 120 119.95 129.95 TECHNICStit B (On SANSUISX 1070 279.95 SANSU1 D 990 439.95 89.95 Maxon tIDX1.1190 2.19 TECHNICS til DI r, SANSUI D290 169.95 129.95 Noxell )(LDS90 2.75 SANSUISX 1130 669.95 JVC IA 120 69.95 JVCRX-500B JVCDO VR 9J 499.95 TDK I, .99 429.95 JVC(71 Y r,r1 299.95 JVCRK 100 119.95 JVCKD V100,1 99.95 SonyI NX 90 .99 TECHNICSRSB 18 139.95 SANSUIXRQ 7 349.95 VIDEO AKAIAAR 22 129.95 SANSUIXI' 9q 299.95 TECHNICSRSB 12 TDK 1 120 AKAIAAR 32 219.95 95.95 SANSUI PD I I 5.69 TECHNICSRSB 48R 179.95 89.95 JVCI 120 6.29 HI Fl VIDEO Maul,T 120 5.99 VHS VIDEO SPECIALS KRAMER PROFESSIONAL Fuji 1121) 6.39 PANASONICPV1730 959.95 SANYOBETA 4400 269.95 ENCHANCERS Maui!, TOIL PANASONICPV 9600 Port 1090.95 NECBETA 40 339.95 Fuji, JVCT 120 High Grad, 8.29 JVC 1151) 725 925.95 SHARPVHS 481 VS 1010 STEREO A V TON. JVC HiFIT -120 11.49 ZENITHVR 4000 359.95 399.95 895.95 MAGNAVOX VHS SonyI 5(X) 5.29 BETA 369.95 VS 10EX MONO A / V 365.95 PANASONICVHS 1231 419.95 Sony 1.500 HG 6.29 SANYOVCR 7200 519.95 JVC VHS D-120 429.95 VX 18 VIDEO ENH 255.95 SonyL 750 5.99 TOSHIBAVS 36 649.95 PANVH5 1530 589.95 Sony I.750 HG 6.99 NECVC 739 659.95 FULL LINE IN STOCK Mosel!T 120,.,751)(;,.1, 10.95 EXTENDED HOURSMON.-THURS.THE 9 AM M-360-MIDNIGHT SAT. NIGHT 9 PM- MIDNIGHT MOTION PICTURE SOUND EFFECTS Ever wish you r mildDECOZER experience 0 :110l.012 at [1011112 With the same sound One of only three products chosen by both Video Magazine effects as in the theatre To actually feel the action and Video Review in their 1984 Best Equipment of the Year issues. as ifit were live. Or would you finally like to get the all out ofyour audio system and make "If there is a standout, it is the M-360 Surround SoundDecoder." Video Magazine. Best Equipment of the Yearissue. February 1984 listening to a record or tape sound like a live concert. Well theSurround Sound M-360 and an extra set of speakers will convertyour armchair into the best seat in the house The M -360's uniquecircuitry decodes the nor mally undecoded Dolby Rear Channel Sound Effects laiddown in most TOO major movies. - It also has a built in audio time delayer to enhance the spatial presence of your sound room making 1 z any size room sound like the

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TO ORDER - Dial Toll Free 1-(800) 232-1818 and order with either your Visa or MasterCard. Or send a certified check or money order to: EVEREST ELECTRONICS, INC. Pleaseinclude approximate shipping, insurance and handling charges Inquiries and customer service please call 438-3007. All prices and availability subject to change without notice FAST DELIVERY Specialexpress service availableAll merchandise is brand new and with manufacture's warranty DEALER AND VOLUME INQUIRIES INVITED. No sales tax foi out-of-state ordersNot responsible for typo errors EVEREST ELECTRONICS, NC. 160147th St. Bresklya, N.Y. 11204 N E W TECHNOLOGIES pianist finds more ominous hints-the against dramatic inconsistencies. One Brahms's scoring as thick and stodgy? To slightest hesitation-on the first tolling of evening's dazzling Beethoven Ninth be sure, some of the details enlighten: the the four -note knocking motif. None has so challenges puzzled reports of an enervated wonderfully depressed quality Tennstedt poetically charged an Andante, its ending broadcast the previous day. In London, gives the descending figures around bar (slowed to the speed of the opening theme colleagues routinely lament the failure of 282, the sense of disintegration conveyed it echoes) evoking a circling of the wagons Tennstedt's recordings to capture what by the fragmented phrasing around bar 458. before the attack of the finale. they've heard in the concert hall just days Even without a first movement repeat. the On first hearing (right after Richter's earlier. picture is one of constant struggle. In Cossack charge), Andrd-Michel Schub's This Brahms First will do little to Brahms's already highly pointed lines. poetic rendering-pointing phrases, settle the issue. For me, initial uncertainty Tennstedt inflates the frequent rapid lingering lusciously over details as if led finally to grudging admiration. Yet crescendos and diminuendos, emphasizes sucking on a chocolate truffle-seems since Angel's production team here serves (by weight and slight overdotting) the aimed more at Warsaw than Vienna (or at up an ugly, clotted sound. the pros and varied accent marks, and holds onto the earlier Vienna of his poised version of cons are hard to disentangle. and dissonant climaxes-all to the point that Beethoven's Opus 2, No. 3). But the conclusions must be cautious. Are phrases break off from each other, and performance finally convinces. It remains conductor and orchestra responsible for the forward motion seems almost to stop. true that what stay in the mind are the Instead of the teleology of Mehta's majestic moments of particular delicacy, the fragile confidence. Tennstedt offers stasis in its trills. the tapering out of a rising phrase, the deepest Greek meaning of something like recoil from rather than the windup to action. civil war. In a line so fragmented. there can Schub takes the third movement be no anticipation of a goal. The C major (Allegro) slower than we're used to- close comes only as welcome haven. attending seriously to the "ma non roppo" unearned respite. qualification-but his playing is not without The sense of struggle returns sinew. Indeed, it is here that Schub's throughout the last movement, where it pianistic intelligence is perhaps most produces its major interpretive payoff. The crucial, for he finds subtle means of emphasis is on the competition rather than maintaining pulse and pressure even at this the victory-on the effort required to beat speed. Despite early softenings and back the intrusive energies of C minor, to hesitations, the line refuses to sag, as a .contest the jagged rhythmic and harmonic remarkable urgency of articulation keeps the echoes straggling in from the first tension increasing. The final Presto's movement. Never is there a sense of opening chords are more mysterious than energies winning out so as to vanquish the usual jackhammers; here. Schub offers conflict itself, nor any hope that death shall skeletons dancing. have no dominion. Tennstedt's account Throughout. he demonstrates exudes none of the deep joy some intelligent control of a great range of touch conductors find in the return of the massive and of pedaling effects. What's missing in brass chorale at letter N. that deep -breathed the moments of fury is not so much confidence that success has finally been Richter's thunder as his silhouette -like won; for him, there is only an exhausted clarity of articulation. Elsewhere, Schub Music for 18's composer Reich pause before the battle begins again. Where lacks only Moravec's subtlety of rubato, the Furtwangler's energies after that moment Czech pianist's ability to convey a ritard by are like epic funeral games, mere ritual holding just a hair on one note of a phrase. echoes of what went before, for Tennstedt without upsetting the broader shaping pulse. shaggy string tone? Maybe, but Angel the fight isn't over yet. -T.W.R. ttt Rosenberger's respectful performance offers no sure confidence that they've is simply not in this league, hindered by a produced more than a police sketch of the REICH reticence of individual personality real thing. (Symptomatic: The main Music for 18 Musicians. Rudolph Werner, producer. ECM 1129-2 (analog recording, digital amounting to a refusal to stake out the high difference between LP and CD is that the Compact Discl LP ECM 1129-1 ground. Great Beethoven performances. at latter truncates from the front the opening least of works from the Eroica on, would chord. We hear no attack of bows on C teve Reich's Music for 18 Musicians is seem to demand an authority, a willfulness strings, only a full-blown, mid -stroke noise. 10 a natural for Compact Disc. Its 56 in league with the composer's own. That is That kind of edit, not the first from this minutes fit neatly, and the work-scored what we get from a Furtwangler, a label, is a minor scandal.) for two strings, two clarinets, four voices, Toscanini; we meet it even under the velvet There are, to be sure, some easy occasional maracas, and a variety of glove of a Schnabel. Schub and especially pleasures. Tennstedt's view of the second keyboard instruments-gains by the CD's Pogorelich are taking confident steps toward movement, with a particularly warm solo slightly improved imaging. Although Reich that rocky grove. -THOMAS W. RUSSELL III violin, is lighter, less troubled than some tells us that the piece is inI Iparts, plus the have found it (Giulini in particular. beginning and ending that he calls the BRAHMS: wonderfully so). while his treatment of the "Pulse," it is continuous and wavelike, SymphonyNo. 1, in C minor, Op. 68. third is relaxed, swinging, affectionate. presenting sometimes barely perceptible Landon PhilharmonicOrchestra, Klaus Tennstedt, cond. !John Still, it is in the first and last shifts in tone, texture, and rhythm. It \Wan, prod .I ANGEL EMICDC 7-47029.2 (fully digital Compact Disc) LP. sounds best without the annoying DS 38091 movements that a conductor must do final LP COPAPAIUSONS: battle with Brahms-and in the first that interruption necessary to turn over an LP, Vienes/Mehta London CS 7017 Tennstedt's approach is most perplexing. A and certainly without the "ghosts" I heard LA./SWAM Deutsche Grammophon 410 023-2 ponderous opening (he's hardly alone in when listening in the traditional format. Berlin/Fultweepler Deutsche Grammophon 2530 744 that) leads to an Allegro that is constipated Music for 18 Musicians remains Aperplexing conductor, Klaus Tennstedt, without being really weighty. Does the Reich's most popular piece. It is built -on II with hints of greatness seen in collage conductor subscribe to the older view of chords and proceeds over a steady but 64 HIGHFIDELITY

III Even this Infinity RS11 speaker

varying beat created by the pianos and mallet instruments-xylophones, marimba, and what is called a "metallophone," a vibraphone with the motor taken out. In his notes, Reich almost boastfully reports that there is more harmonic movement in the first five minutes than in any other complete work of his, an assertion hardly likely to placate the naysayers of minimalism. Indeed, this movement is relatively undramatic, and not as striking as the introduction of new instrumentation: The has the soul entrance of the maracas seems a major of our $32,000 event, while the opening chord inversions do not. Infinity Reference For all the intricacy of its planning, Standard and the ponderousness of its theoretical All our home and auto

speakers share technokvi de- explanation, the piece seems charming and veloped for our nc-compsomue lightweight. It's a pretty exercise in elusive sta:e-of-the-art systems. textures and changing rhythms with limited And every Infinity ach eve- expressive value. -MICHAEL ULLMAN ment - from polypropvleme comes and domes :o our work - STRAUSS, R.: famous EMIT tueete- - Concerto for Oboe shares the goal of grea:er and Small Orchestra. mt_sical accuracy. The way the mLsicians meant you to hDari . LUTOSLAWSKI: Double Concerto for Oboe, Harp, and Chamber Orchestra. Infinity, Heinz Holliger, oboe; Ursula Holliger. harp: Cincinnati Sympho- We get you tack to what ny Orchestra, Michael Gielen. cond. Marc Aubort and Joanna Nick. it's all about. Music tent, ernes let,tCoLAJPI MCD10(06 fully digital Compact Disc) LP. D-VCL 9064 Cassette D.VCS 9064

The meticulous, needlecrafted character of Lutoslawski's scoring in this arresting double concerto, in which oboe and harp interlock with delicacy, requires the utmost clarity in recorded sound, and it Heavenly CD's says much for Vox Cum Laude's splendid digital recording that it works just about as well on LP as on CD. (For a review of the former, see July MUSICAL AMERICA edition.) With surfaces so clean, and the from Angel sharp impact of Lutoslawski's vast array of percussion instruments captured so clearly, LP owners can rest content. In both formats all the wonderful and startling sounds of xylophone, vibraphone, marimba, bells, STRAVINSKY PREVIN CONDUCTS GERSI- t °NOON SMINION`ORCNESfu woodblocks, tom-toms, and the like are THE FIREBIRD MAHLER laser sharp and right there in your living OZAWA BOSTON Symphony room, not overdone but nevertheless as No.1 in D distinct and bright as they must have been Riccardo in the Cincinnati Symphony's live MUT1 performances. Philadelphia This is a riveting work and a riveting

performance by Heinz and Ursula Holliger, r_1R for whom the piece was written. Since its premiere in 1980 it seems to be working its CDC -47017 way into the repertory despite the boggling CDC -47021 CDC -47032 difficulties of the oboe part: It turned up at GRIEG Tanglewood in 1984, successfully DIMITRIS SGOUROS PEER GYNT Rachmaninoff Cto. No.3 negotiated by another pair of soloists. BRAHMS DIGITAL Symphony No. 1 MARRINER Berlin Philharmonic - Simonov Strauss's leisurely, loose-limbed Academy °1St. Maren-in-the-Fields TEN NSTE DT concerto, one of his last works, requires an London abrupt shift of gears for the listener, but it Philharmonic rewards the effort with an outpouring of melody, which Heinz Holliger delivers to perfection. -SHIRLEY FLEMING

For additional reviews of classical recordings, see Classical Reviews. CDC -47029 CDC -47003 CDC -47031

NOVEMBER 1 98 4 65

111 THIS YEAR GIVE THE SPECIAL GIFT FOR THEIR SPECIAL INTEREST This year give a gift they'll remember all year long ... a MUSICAL AMERICA WITH HIGH FIDELITY: gift that will help them enjoy their special interest more Two magazines in one. Contains the technical fully and at truly significant savings for you. information of High Fidelity with the most A SEASONAL CARD WILL ANNOUNCE EACH GIFT. comprehensive information on classical music in MODERN PHOTOGRAPHY: AmericaIt is the classic in its field. Your best bet for the best in cameras, equipment, One Year (12 Issues) just $13.97 (regular rate $27.94) processing and photo techniques. What to buy and YOU'LL SAVE ON EACH 1 YEAR GIFT SUBSCRIPTION. where...it's all here. And if you give just one gift you can extend your own One Year (12 Issues) just $6.99 (regular rate $13.98) subscription or subscribe yourself at the same low rate. HIGH FIDELITY: Just fill in the card. Make sure to indicate which The magazine for sound and video enthusiasts. magazine(s) you wish to give to each recipient. Features in-depth analyses of equipment and best ways to use it-including in-depth information on FOR FASTER SERVICE CALL TOLL FREE automotive sound systems. One Year (12 Issues) just $6.98 (regular rate $13.95) 1-800-247-5470 PLEASE CALL ONLY IN THE CONTINENTAL UNITED STATES McCALL'S NEEDLEWORK & CRAFTS: IN IOWA CALL 1-800-532-1272 The gift that can instruct, inspire and delight. Easy to follow instructions make their projects come to life. Crewell, needlepoint, beading, macrame and more ... It's all here Leisure Magazines CIRCULATION DEPARTMENT One Year (6 Issues) just S9.97 (cover price $15.00) 825 7TH AVE. NEW YORK. N.Y 10019 1111111111111111111111 11111 MUSIC REVIEWS

NEW COMPACT Discs Because no store we know of carries every new CD, each month we will present a list of the latest -eleases. Most retailers can order your selections, even if they don't stock them. The list is compiled for us by the editors of THE NEW SCHWANN RECORD & TAPE GUIDEfrom CDs that they have received-not from a record company's roster of scheduled releases, which may or may not be available. In the classical listing where works by more than one composer appear on a disc, the dagger symbol CO is used to show the coupling.

KING CRIMSON SCORPIONS ELLA FITZGERALD & COUNT BASIS BIZET POPULAR Three of a Perfect Pair Blackout On the Sunny Side of the Street. w Carmen iselectionsi .'071.2 Mc-cury 818 852-2 Quincy Jones (sham. Mrgenes-Johnson Domingo ABC Low at First Sting Verve 821 576.2 Raimondr Maazel, Orch Nat'l, B ossily Stab KOOL & THE GANG Mercury 814 981-2 Radio France Cho [Ft (excerpts TOMMY FLANAGAN Mercury 814661-2 Celebrate from complete recording, Tbelonica DECO 9518 BRUCE SPRINGSTEEN ECD-88037) Enra 311224 2 HERB ALPERT Born in the USA Erato ECD-88041 Swum Session Bullish JAMES LAST KW- 11K 38653 En1a 311229 A&M CO 5022 Classics, Vol. 4 The Wild, The Innocent & BRAHMS Concerto No. 2 in B flat for Piano, Polydor 821 111.2 The E Street Shuffle STAN GETZ Op. 83 LAURIE ANDERSON Vol. 5 CBS CK 32432 Au Go Go, w. Burton Gilberto Mister Heartbreak Polydor 821 115-2 Verve 821 725 2 hkenazy, Haffink. Vienna Phil nn 41019a H-1 In the Mood for Trumpets STATIERS DAVE GRUSIN German Requiem, Op 45 Pnlydor 821 117-7 Atlanta Blue Mountain Dance ADAM ANT Mercury 818 652.2 Strip JERRY LEE LEWIS 0-951(17 & Chu (GI Night -Lines Telarc CD -80092 CBS EK-39108 18 Original Sun Greatest Hits DONNA SUMMER GRP Um.' Hawn= Dances 1211 Rhino RNCD 5255 She Works Hard for the Money N.Y./LA. Dream Band Abbado, Vienna Phil. BANANARAMA Meni,rry tr: - GRP GRP , Bananaraima MANTOVANI Deutsche Grammophon 410615-2 GH London 820 036-2 More Golden Hits ANDY SUMMERS & ROBERT FRIPP GERRY MULLIGAN FRANCK London 800 037-2 Bewitched Little Big Horn Fantaisie in A; Pastorale B ERLIN i A&M CD -9S01' GRP GRP Murray tJongen Symphome Love Life PAUL MAURIAT GERRY MULLIGAN & ACKER BILK Conceffante for Organ & Orchestra Geffen 4025-7 Digital Bast TALKING HEADS De Waart, San Francisco Sym. Polydor 811 170-2 Romantic Clarinet for Lovers. w Fear of Music others Telarc CD -80096 J. J. CALE Magic Ph lips 818 272-2 Troubadour Polydor 810 012-2 HANDEL On Stage Mercury 810001-2 TURTLES OSCAR PETERSON Music of Handel MI, 1,,810 025-2 Greatest Hits Night Train JUIlt, Brass insArrival of the CAMEO FINCD-5160 verve 821 724-2 Queen of Sheba. Minuet, from She's Strange SERGIO MENDES Berenice, Harmonious Blacksmith, TONY SCOTT Atlanta Artists 814-984-2 Confetti March. from Occasional Oratorio. VANGELIS (Papathanassiousl Music for Zen Meditation China Largo. from Xerxes. Royal Fireworks . . 117209-2 ERIC CLAPTON Music. Water Music: Suite GLENN MILLER lot 813 653.2 461 Ocean Boulevard JIMMY SMITH London 411930.2 LH 050 811697 2 In the Digital Mood ROGER WATERS The Cat MOZART The Pres & Cons of Hitch Hiking Verve 810 046-2 ELVIS COSTELLO Serenade No 10 in B flat for 13 VAN MORRISON My Aim Is True SPECIAL EFX Wind Instr , K. 361 CBS CK 35037 Moondance Special Efx hat Vienna Mozart Winds Warnor Bros 2.3103 MATTHEW WILDER GRP GRP-D-95C5 ahrniten 842981 I Don't Speak the Language Symphony No. 25 in g, K. 183; RANDY CRAWFORD ANDREAS VOLLENWEIDER NENA Symphony No. 40 in g, K. 550 Nighttime IELECTRIC HARPI 99 Luftbelloons iihoncourt. Concertgebouw Orch WarnerBIOS23976-2 Behind the Gardens Behind CRS EK 39794 Teretunken 842935 the Wall Under the Tree DENNIS D.YOUNG ALDO NOVA PROKOFIEV D awn Mean Aldo Nova Under the Owen and Juliet (excerpts) A&M CD -5006 JAll Caverna Magica I Portrait RK-37498 Tree In the Cave Levi. Cleveland Orch Telarc CD -80089 DIRE STRAITS COUNT BASTE & QUINCY JONES JANE OLIVOR Piano Somata No. I is A. Op. U Cammuniipai 1,11 01 Groovemaker Stay the Night DINAH WASHINGTON Pogorelich 1Ravel Gaspard de la nuit Warner Bros 3330 . What a Difference a Day Mahn Deutsche Grammophon 413363-2 OH Mercury 818 815-2 DAVE BRUBECK EMMYLOU HARRIS VAN DYKE PARKS RACHMANINOFF Time Out Profile: Beat 01 Jump! Symphony No. 1 in d, Op. 13 Warner Bros. 3258-? CBS CK-08192 3.1rner Bros 23829.2 -zgebouw Orch

EUGEN CICERO CLASSICAL HEART PRETENDERS Classics in Rhythm. Bach. Mozart, SCHUMANN Passianwarks Learning to Crawl Chopin. Tchaikovsky, w Iazz BACH, J S Arabeske for Piano. Op. It CBS EK-38800 Sire 23980-2 interpretations Chorale Settings for Organ IvarMus) Symphonic Etudes. Op 13 JANICE JACKSON VI,'IMPS 817 924-2 Pullin, PSYCHEDELIC FURS Telarc 6, D ream Street Deutsche Grammophon 410916-2 Mirror Moves Passacaglia & Fugue in c .or A&M co -4962 LARRY CORYELL GH CBS CIS -39278 Organ, S. 582; Toccata. Adagio & B oloroiSchsherazada Fugue in C for Organ. S. 564; SIBEUUS JAM COMPACT SNAP Milked Verve 810024-2 DEMIS ROUSSOS Toccata & Fugue in d for Organ, S. Symphony No. 1 in a, Op. 39 version of the LP) L'Oiseeu de Fau/Patrouchka Denis 565: Toccata & Fugue in d for Levi, Cleveland Orch Pniknni tr1 712-2 Verve 812864-2 Mercury 800 040 2 Organ. S. 538, "Darien - Telarc CD -80095

JON & VANGEUS RUSH MILES DAVIS STRAUSS, JOHANN Private Collection Grace Under Pressure D ecoy Waltzes Polydor 813 174-2 Mercury 818 476-1 CBS CK-38991 BEETHOVEN Kunzel. Cincinnati Pops. Tales from Symphony No. 3 in E flat. Cp. 55, the Vienna Woods. Blue Danube. TOM JONES SANTANA AL DIMEOLA "Erma"' others actin' Shaman Elegant Gypsy Dohnanyi, Cleveland Orch Telarc CD -80098 Mercury 818 814 CBS CK.38122 PK-34461 Telarc C0-80090 Symphony No. 8 in F, Op. 93 VNALDI BURT KAEMPFERT SCANDAL KEVIN EUBANKS Dohn anyi Cleveland Orch Four Seasons, Op. 8, Nos. 1-4 Spanish Eyes The Warrior Sundance tSchuberl Sym 8 Hogwood, Acad Ancient Music

. m 800 107.2 CBS CK 39173 GRP-13-9506 Telarc CD -8009" I Oiseau-Lyre 410126-2 OH

N O VE M B L H 984 69

II Seventeenth Annual High Fidelity/International Record Critics Awards by Theodore W. Libbey, Jr.

Montreal Symphony Manager Zarin Mehta (third from 1.) accepts for his orchestra. Flanking him (I. to r.) are Halbreich, Michot, Maribel f (Falla's niece), Martin, Perez de Arteaga, Isabel Garcia Lorca, Libbey, and Greenfield. SPAIN, ESPECIALLY ANDALUSIA, has in- going on a pilgrimage, I went to Granada at league from the Ministry of Territorial spired its share of the world's music- the end of June for the judging of the 1984 Administration (and fellow music journal- and often from a distance, for many of the International Record Critics Awards, which ist), Santiago Martin-the meeting and the works that bear the region's stamp took had been planned to coincide with the open- many extracurricularactivities on our shape in the imaginings of fascinated non - ing of the city's 33rd Annual Festival ofschedule went without a hitch.Indeed, Spaniards.Seville,Andalusia'slargest Music and Dance. Thanks to the generosity those who had served on past juries (this city. holds the distinction of being theof Spain's Ministry of Culture-and the was my first year) said that they had never favorite setting in all of opera: Where else extraordinary efforts of our Spanish judge. before been made to feel so welcome by a can one meet Carmen, Figaro, Don Gio- Jose Luis Perez de Arteaga, and his col- host city and its festival. vanni, Almaviva, and Florestaninthe course of a week's visit? (And not find a single character in any of their operas who speaks Spanish!) But it is a smaller city to Serge and Olga Koussevitzky the east that has probably had the most music written about it (with the possible International Record Awards exception of Bethlehem). That city is Gra- nada. Its Moorish architecture and scenic beauty are captivating and no doubt why the place has been celebrated so often in the music of foreigners. Yet Granada is the city most beloved of Spanish composers as well. There is something mysterious there. something in the atmosphere to be savored and recalled, something almost secret. The evocations-which include Isaac Albeniz's bewitchingly beautiful serenata from the Suite espatiola and Manuel deFalla's impassioned remembrance of a night in the Generalife-are among the most compel- BOULEZ: Rituel; Eclat/Multiples. En- LOEVENDIE: Flexio. Residentie Or- ling and personal in music. semble InterContemporain, BBC Sym- chestra, Eiitvos. DONEMUS COMPOSERS' With all that in mind, and possessed phony Orchestra, Boulez. CBS M 37850. VOICE 8301. with the reverent purposefulness of one

70 HIGH FIDELITY We were treatedlike gentlemen- quite literally, in fact. The splendid Palacio de la Madrassa was made available to us for Award -Winning Recordings the duration, and our sessions took place in a spacious oak -paneled chamber called the Sala de los Caballeros. Tribunal -like, we Alherk.\I.q sat at a massive table on a dais at the front of SNAIPHONIE CHANTIIAERRE the room, under a striking portrait of the Virgin and Child that had been emblazoned NIArod in gilt with the crests of Ferdinand and Isa- bella (the monarchs who in 1492 expelled the Moors from Granada). Amid such sur- roundings, even an earthquake-which set the place rattling for a few seconds one afternoon-failed to shake our minds from the work at hand. What did divert us from time to time were the festival events and the prodigal displays of hospitality on the part of our FALLA: The Three -Cornered Hat; El MAGNARD: Symphony No. 4, Op. Spanishhosts.There were lunches- Amor brujo.Tourangeau, Hoenich; 21; Chant funebre, Op. 9.Orchestre du impressive three- and four-hour affairs in Montreal Symphony Orchestra, Dutoit. Capitole de Toulouse, Plasson. PAmE extraordinary settings, one offered by the LONDON LDR 71060. MARCONI 1731841. Mayor of Granada at the Palacio de los Cor- dobas, another by the Ministry of Culture. N,Vilhelm Stenhammar Department of Music, on the terrace at the Parador de San Francisco. A third was given in our honor by the Regional Govern- Licia Nor Goldberg ment of Andalusia at a splendid country res- Iriknkel taurant named El titer Schiewer Molino, which had Kam ,Moll opened on the site of an old mill in the foot- te. ()chum die hills of the Sierra Nevada. This was no mid- 1.nAn RAI day meal, but a seven -course curriculum of Benord a lunch, upon the completion of which we f la onk were awarded individual diplomas. The nights were devoted to concerts: The fare included everything from a Lieder- abend in a courtyard of the Alhambra to a STENHAMMAR: String Quartets STRAUSS: Daphne.Popp, Goldberg, choral -orchestral gala featuring Montserrat Nos. 1-6.Fresk Quartet, Gotland Quar- Wenkel, Schreier,Moll; Chorus and Caballe in Falla's La vida breve at the Pa- tet, Copenhagen String Quartet. CAPRICE Orchestra of the Bavarian Radio, Hai- lacio de Carlos V. Bernard Haitink and the CAP 1201-03. tink. ANGEL EMI DSBX 3941 (2). Concertgcbouw Orchestra played a program of Mozart and Mahler the night I arrived, and there were several evenings of Bavarian Biergarten." Alain Fantapie, the breich raved over Sinopoli (citing his suc- ballet danced by a company from Basel. French judge. and PierreMichot,the cess in capturing Schumann's "fever"), But the finest concert of the festival was Swiss, further blasted Carmen-Fantapie but said that with Pogorelich "we are in the given in the Centro Manuel de Falla imme- describing it as "un disque iii fig, ni rai- realm of cheap theatrics." The Pogorelich diately following our awards ceremony: sin." and Michot extending the food -and - was ultimatelyscrapped;theSinopoli Jesus Lopez Cobos conducted Nights in the drink metaphor by crediting mezzo-soprano remained in the running but failed to win Gardens of Spain and several unpublished Agnes Baltsa with making "a cheese of the many votes. works of Falla-including El eorregidor y French." Bernard Haitink's traversal of the After taking a straw poll. we came up la molinera, the score which, in its revised Shostakovich Eighth with the Concertge- with a short list of eight top contenders, in form, became The Three -Cornered Hat. bouw, one of my personal favorites, was addition to the Sinopoli: Strauss's Four criticized as being "a little too civilized"Last Songs onPhilips ("an excellent IT WAS A BANNER YEARfor IRCA in terms by Harden and "too Dutch" by the Bel- recording" -Bengt Pleijel);Boulez's a the sheer number of records dis- gian, Harry Halbreich. All agreed that the Eclats-Multiples on CBS ("in 20 years, this cussed. Following a procedure that had sound on Decca's recording is superb. will stand out as one of the recordings we worked well in the past, we began with a Marilyn Horne's singing of Handel remember"-Fantapie); Pathe Marconi's round -table discussion of each nominated arias on Erato put Michot in mind of "a Magnard disc ("very worthy"-Ted recording. This immediately winnowed out camion on the main road," while Peter half the field-and provided our sharper - Hoffman's contribution to the Bernstein tongued judges with ample opportunity to Tristan on Philips elicited an "unaccept- exercise their wit. Two entries from Deut- able" from Harden. The records that creat- Judges sche Grammophon, Von Karajan & Co. (in ed the most controversy were the Pogore- Alain Fantapie.France both cases, the Berlin Philharmonic) were lich and Sinopoli, each coming under dis- Edward Greenfield, Great Britain Harry Halbreich, Belgium quickly dismissed: Ingo Harden, the Ger- cussion for nearly an hour. The iconoclastic Ingo Harden, Germany man judge, found the accounts of Tod and personalities of both performers, and the Theodore W. Libbey, Jr., United States Verklarung and Metamorphose,: "highly individuality of their interpretations, struck Pierre Michot, Switzerland polished" on the surface but "irritating" in us in different ways. I thought the Pogore- Jose Luis Perez de Arteaga, Spain their lack of depth, and said that Karajan's lich was marvelous (I nominated it), but Bengt Pleijel, Sweden conducting in Carmen sounded "like ahad my doubts about the Sinopoli. Hal-

NOVEMBER 1984 71 Greenfield); the quartets of Stenhammar on the first occasion Haitink has shown his Caprice C 'extraordinaryto discover"- hand in this repertoire. and what a hand! Michot); Dukas's Ariane et Barbe-bleue on The Bavarian Radio Symphony plays to Erato ("Erato doesitagain!"-Green- dazzling effect under his direction. All of us field); Teldec's Bruckner symphonies C 'as hope there will be more from him in this performances these are superb. and beauti- line-the late Strauss operas arc worth it. fullyrecorded"-Halbreich); Strauss's The sleeper of the session was the Daphne on EMI ("an interpretation of great magnificent boxed set from the Swedish beauty and coherence" -Libbcy); and Fal- label Caprice offering the six quartets of la's Three -Cornered Hat and El Amor brujo Wilhelm Stenhammar, recorded two apiece on Decca ("the best thing I have heard from by three very fine Scandinavian ensembles. Dutoit"-Perez de Arteaga). The music was new to me. as I suspect it To the surprise of the veterans on the was to most of the judges, yetit spoke panel, the final judging went more smooth- immediately. While the language is scarcely this year, with fewer disruptions and dis- ly innovative-neither particularly daring agreements, than in any past session. Per- in its harmonic excursions nor especially sonalities appeared to have mellowed, and coloristic-it is fresh, and not in the least the passions of yesteryear were replaced by derivative or excessively imitative. Some an eagerness to find common ground. A of the strategies clearly come out of Bee- consensus quickly emerged. thoven, but the individuality of the expres- The strongest agreement came on the sion, the liveliness and impulse in every one opera recording to receive our endorse- page, is invigorating. I was happy to cast a ment, EMI's beautiful two -disc set of Rich- vote for the set, and grateful to Pleijel, the ard Strauss's Daphne, coproduced with the Swedish judge and founder -editor of Musi- Bavarian Radio and conducted by Bernard krevy, for having slipped it over on us as a Haitink. One reason it appealed to us was personal choice. that it is the first complete recording of this What is one to make of a French com- marvelous opera-the long -standard ac- poser with the curiously Wagnerian first count with Hilde Gucden and Karl Bohm name of Albcric, who was burned to deathKIRA co -winner Theo Loevendie having left some pages out. The new ver- (along with several of his manuscripts) by a sion has a cast to rival, if not surpass, that company of German cavalry that caught indication-a composer of considerable earlier effort, with a lovely -voiced Lucia him defending his home in the first days ofindividuality, in spite of both influences. A Popp in the title role, Peter Schreier as a World War I? Alberic Magnard was an new Pattie Marconi recording of the sym- very fine Leukippos. and Rainer Goldberg. admirer of Wagner's music, a student of phony, by Michel Plasson and L'Orchestre in unusually good form, as Apollo. This is d'Indy, and-if his Symphony No. 4 is any du Capitole de Toulouse (offering the earlier Chant funebre as filler), emerged as one of our choices after being brought to our attention by Halbreich. It was not a case of Nominating Committee love at first hearing, as the Stenhammar had AUSTRALIA Mario de Luigi, Musica e Dischi been, for this is a work that initially leaves Ian Woodward. Spins 'n' Needles one somewhat confused-struck byits JAPAN unusual and distinctive gestures, but aware BELGIUM Toshio Oka, Stereo Sound of frequent padding and puzzled by a feel- Kenji Tsumori, Asahi Shimbun Harry Halbreich, Harmonie. La Croix. Belgian ing of aimlessness. Yet the piece gained in Radio THE NETHERLANDS esteem with successive hearings, as Michot BULGARIA Jan de Kruijff. Elseviers. HiFi Video Test pointed out. British judge Greenfield called Dimiter Zenginov, Bulgarska Muzika it"one of the great discoveries of the ROMANIA year." My own impressions were that the CANADA Alfred Hoffman, Muzika, Romania Literary) score has merit but needs stronger advocacy Barry Edwards. Music than Plasson and company manage on this Rick MacMillan, Music. The Music Scene SPAIN recording. Admittedly, the Toulouse or- Jose Luis Perez de Arteaga. Resent', El Pais, chestra sounds better here than it has on a FRANCE Spanish Radio number of previous outings, but it is still a Alain Fantapie, Diapason Opera International, provincial ensemble. Medias et Langage SWEDEN Camilla Lundberg. Expresser' By this time we were all becoming GERMANY Bengt Pleijel, Musikrev' aware of a peculiarity in our choices. Each Ingo Harden. Preis der deutschen Schallplatten- of the recordings we had selected so far was kritik SWITZERLAND of music written by a composer born in the Wolfgang Seifert. Musikmarkt, Die Musikfor- Pierre Michot. Journal de Geneve, Gazette de 1860s or 1870s. As it turned out, that con- schung, West German Radio Lausanne nection carried through in our awarding the Gerhard Wienke, Fono Forum. South German final prize to the Decca/London disc of Fal- UNITED STATES Radio la's Three -Cornered Hat and El Amor bru- John Ardoin. Dallas Morning News jo, by the Montreal Symphony Orchestra GREAT BRITAIN Harry Haskell, Kansas City Star Edward Greenfield. The Guardian. Gramo- Paul Hertelendy, San Jose Mercury News under thedirection of Charles Dutoit. phone Theodore W. Libbey, Jr., High Fidelity Greenfield had championed the account George Movshon, High Fidelity from the start, rightly pointing to the out- ITALY David Patrick Steams, USA Today standing quality of Decca's recording as I .uigi Bellingardi, Nuova Rivista Musicale. Ital- James Wierzbicki, St. Louis Post -Dispatch one of the issue's chief merits. He received iana, Stereoplay, Il Mondo della Musica Bill Zakariasen, New York Daily News strong support from panel president Perez de Arteaga, who, without putting too fine a

72 HIGH FIDELITY point on it. called it (were our arms being popular appeal. Record Award upon a living composer for a twisted?) "by far the hest Three -Cornered In what was surely a fitting conclusion first recording of a work written for orches- Hat I have heard in my life." Others were to the judging process, the awards were pre- tra or large ensemble (16 or more players). warm intheir endorsements, as was I. sented at a ceremony in the Centro Manuel The funding for the $2,000 prize is provid- though I did not find the interpretation quite de Falla. a beautiful facility halfway up the ed by the Musicians Club of New York -of as exciting as some of the other things Alhambra and just a few feet from the house which Olga Koussevitzky was president for Dutoit has done recently. in which Falla lived for many years. We the last 15 years of her life -and HIGH So there we were: 'bur awards to were pleased to have the assistance of FIDELITY. This year there were about 15 recordings of music by composers horn Maribel Falla, the composer's niece, and works to consider, about half of which had between 1864 (Strauss) and 1876 (Fa11a). Isabel Garcia Lorca. the poet's sister, in the been nominated by members of the panel. Nevertheless, we felt the choices had merit. conferring of awards, and no less pleased at Here we ran into the most serious split In awarding the laurel (so to speak) to the attendance of recipients Zarin Mehla, of the session: A majority of judges. myself Strauss's Daphne. we had recognized an managing director of the Montreal Sym- included. felt that the Koussevitzky award underappreciated work by a well-known phony, andClaireVlach, anieceof ought to go to Pierre Boulez for Eclat -Mul- composer. In selecting the Stenhammar and Magnard. tiples, as recorded under his direction by Magnard offerings, we had responded to the Ensemble Intercontemporain for CBS. music of outstanding merit by two less FROM THE BEGINNING, the IRCA panel It was simply the most striking work of the familiar masters. Finally, with the Montre- has been charged with an additional and lot, we felt. Challenging this view was a alers' recording of FaIla, we had found a very important task: conferring the annual contingent led by Halbreich. who over the winning treatment of music that has great Serge and Olga Koussevitzky International years has been the IRCA panel's chief advocate of, and often its conscience for. contemporary music. These judges feltit Other Nominees was pointless to give the award to a composer as established (and as little in need of our recognition) as Boulez. They rallied IRCA behind what was clearly the best of the BIZET: Carmen.Baltsa, Carreras, Van Dam. 40, 41. Schroder; Academy of AncientMusic, Ricciarelli; Paris Opera Chorus. Berlin Philhar- Hogwood. DECCA D I72D4. works by an other -than -famous compos- monic, Karajan. DEUTSCHE GRAMMOPHON 2741 RAVEL: Gaspard de la nuit. PROKOFIEV: er -a piece for large orchestra entitled 025 (3). Piano Sonata No. 6, Op. 82.Pogorelich. DEUT- litho by the Dutchman Theo Loevendie. BLOCH: Works for String Quartet.Pro Arte SCHE GRAMMOPHON 2532 093. Without bringing the issue to a vote. Quartet. LAUREL. 126. ROSSINI: The Barber of Seville.Allen, Balt- the panel managed to satisfy both fac- BOULEZ: Rituel; Eclat/Multiples.Ensemble sa, Araiza. Lloyd. Trimarchi. Burgess; Ambro- tions -thanks to a stratagem worked out, in InterContemporain. BBC Symphony Orchestra. sian Opera Chorus, Academy of St. Martin -in - typically Gallic fashion, by Fantapie and Boulez. CBS M 37850. the -Fields. Marriner. PHILIPS 6769 100 (3). implemented in his absence (he had to leave BRAHMS: Symphonies Opp. 68, 73, 90, 98. HISPAVOX SANZ: Works for Guitar. Bitetti. Granada the night before the balloting in Vienna Philharmonic Orchestra,Bernstein. (90) 197 302. order to attend a government function in DEUTSCHE GRAMMOPHON 2741 023 (4). SCELSI: Quartets; Duos. ArdittiQuartet. FORE BRITTEN: War Requiem. SoderstrOm,Tear. 80 /13-14. Paris). Alain left an absentee ballot, marked Allen; CBSO Chorus. Boys of Christ Church SCHUMANN: Symphonic No. 2; Manfred for Boulez. with instructions that if the pan- Cathedral. Oxford, City of Birmingham Sym- Overture, Op. 115.Vienna Philharmonic Or- elfelt two awards should be made, his phony Orchestra,Rattle. ANGELEMI DSB chestra, Sinopoli. DEUTSCHE GRAMMOPHON 410 choice for the other was Loevendie. How 3949. 863- I . neat that idea proved to be. With Fantapies BRUCKNER: Symphonies Nos. 3, 4, 8 (firstSHOSTAKOVICH: Symphony No. 8.Con- suggestion hovering over us, we voted versions). FrankfurtRadio Symphony Orches- certgebouw Orchestra. Haitink. LONDON LDR equal $1.((X) awards to Boulez and Loe- tra, Inbal. TELDEC 6. 35642. 71121. %endie, thus doing honor to a composer of DESPREZ: Motets and Chansons.The Hil- STRAUSS: Four Last Songs. Norman; Ge- liard Ensemble. ANGEL EMI S 38040. wandhaus Orchestra, Leipzig. Mason PHILIPS indisputable stature while recognizing a rel- DUKAS: Ariane et Barbe-bleue.Ciesinski, 6514 322. atively new figure and, we hope. directing Paunova, Bacquier; Chorus and New Philhar- STRAUSS: Metamorphosen; Death and some attention his way. Loevendie came monic Orchestra of Radio France, Jordan. Eakro Transfiguration.Berlin Philharmonic Orches- from Amsterdam to accept his award, and NUM 75069. tra.Karajan. DEUTSCHE GRAMMOPHON 2532 proved to be no less appealing in person FERNEYHOUGH: Cassandra's Dream Song; 074. than in his music. HF Unity Capsule.Artaud. STIL 3108 S83. WAGNER: Tristan and Isolde.Hofmann. HANDEL: Hercules.Tomlinson, Rolfe -John- Behrens, Minton, Weikl, Sotin; Bavarian Radio son, Walker. Smith, Denley. Savidge; Monte- Symphony Orchestra. Bernstein. PHILIPS 6769 Musicians Club verdi Choir, English Baroque Soloists, Gardiner. 091. of New York ARativ 2742 004 (3). I heMusicians Club of New York, which Marshall. Robbin, Brett, HANDEL: Messiah. administers the Koussevitzky Award of the Rolfe -Johnson, Hale, Quince; Monteverdi Choir. KIRA American International Music Fund and pro- English Baroque Soloists.Gardiner.PHILIPS HARMONIA MUNDI. CHAYNES: Erzsebet. vides the cash prize jointly with HIGH FIDEL- 6769 107 (3). DJOUROV: Symphony No. 1.BALKANTON. ITY. was founded in 1911 "to bring about a HANDEL: Opera Arias.Home; 1 Solisti Ven- GAUSSIN: Eclipse.CALLIOPE. better understanding and closer fellowship eti, Scimone. ERATO NUM 75047. SCHWANN. GORECKI: Symphony No. 3. among musicians and lovers of fine music." HAYDN: Symphonies Nos. 21, 37, 41; 19, 23. IBARRONDO:Seno. HARMONIA MUNDI. Comprised of professional musicians and Bournemouth Sinfonieua, Farberman. TURN-JOSEPHS: Symphony No. 5.UNICORN. amateurs. its goals remain: to cultivate a ABOUT D -TV 34 902/3 (2). LENOT: Pour memoire 2.HARMONIAMUNDI. more .ively interest in music; to aid young Soderstrdm, Randova, Vox JANAtEK: Jentifa. LUTOSLAWSKI: Double Concerto. musicians through sponsorship of concerts Popp. Ochman, Dvorsky; Vienna Philharmonic CUM LAUDE. and competitions; and to focus attention on Orchestra.Mackerras. LONDON LDR 73009 MARBE: Serenata.ELECTRECORD. the American composer and performer. Its (3). OLIVES: Variations on a Theme by Berg. president is Bruce L. Kubert; past presidents MAHLER: Songs.Baker, Parsons. HYPERION A ENSAYO. have included Walter Damrosch. Norman 66100. PENDERECKI: Te Deum.ANGEL EMI. Dello Joio. and -from 1961 to 1975 -Olga MOZART: Symphonies Nos. 31, 35, 38, 39, YUN: Clarinet Concerto. CAW -RATA Koussevitzky.

NOVEMBER 1984 73 Preview of the Forthcoming Year's Recordings, Part 3: LPs

This is the third and final installment in HIGH Please note the following use of abbrevia- For production and packaging: Where known, FIDELITY'Sannual preview of forthcoming tions, alone or in combination. For performing number of records in multidisc sets is given in recordings. Because of the enormous number of forces: P (Philharmonic), R (Radio), S (Sympho- parentheses at end of listing; other parenthetical Compact Disc titles planned for release during ny), 0 (Orchestra), C (Chamber), Ch (Chorus, symbols include s (single disc rather than set). r the coming months, we devoted our entire Octo- Choir), St (State). Op (Opera). Ac (Academy', E (domestic reissue).h(historical),d (digital ber preview section to CDs. The September issue (Ensemble), Qr (Quartet). Qn (Quintet), Fest recording). m (mono), I (live recording). Initials carried the first half of our LP listings. (Festival), or their foreign -language equivalents. and first names appear only as needed.

olm CE (d). Ahronovitch. ANION Tubin: Symphony No. 9; Estonian Folk Dances: Carlid: Mass for Strings. Nystroem: Sinfonia Con- (distributed by Qualiton Imports) Toccata. Gothenburg SO. larvi. certante for Cello and Orchestra. Stockholm Tubin: Violin Sonata: Saxophone Sonata; Ballade PO. Kamu. Beethoven: Songs. Partridge. Burnett (dl. for Piano. Sparf, Savijoki. POntinen. Eklund: Lamento for Chamber Orchestra. Linde: Beethoven: Violin Sonatas Op. 47; Op. 30. No. 3. Vivaldi: The Four Seasons. Sparf: Drottningholm Piano Concerto No. 2. Gaevleborg SO, Nilson. Holmes, Burnett (dl. CE (d). Hermanson: Lyrisk Metamorfo.s. Nystroem: String Mozart: Clarinet Quintets K. 581. 580b. and 516c. Brass Music. Stockholm P Qn. Oslo Brass Qn id). Quartet. Webern: Fire Pieces for String Quartet. Hacker, Salomon Qr (d). Children's record with works by Dukas. Johanson Berwald Qr. Guitar Collection. North (d). in Swedish. RangstrOm: Symphony No. 4"; Partita for Violin Elizabethan Songs. Hogman. Lindberg (d). and Orchestra**. Stockholm PhO. Ahrono- "4 -Feet Organ." Fagius, Sanger Id). vitch'. Slatkin'. ARABESQUE French Lute Music. Lindberg. Rosenberg: Concerto for Cello and Orchestra. No. Balaklrev. Piano Works. Smith. German Lute Music. Lindberg. 2. Karlsson: Swedish RSO. Westerberg. Kreisler; Strauss: String Quartets. Portland Qr (d). Kroumata Hits Again -Works for Flute and Per- Stenhammar:Saangen (theSong).Swedish Mozart: Piano Concerto No. 20; Variations in C cussion. Wiesler; Kroumata Percussion E (dl. RSO&Ch. Bolmstedt. minor. Lubin: Mozartean Players (d). Lute Duets. Lindberg. Odette. Wikiund: Piano Concerto No. I: 'Summer Night Gilbert & Sullivan: Princess Ida. D'Oyly Carte Op Recorder and Lute -English and Italian music. and Sunrise' -a Symphonic Poem. Edgren: Company (h). Pehrsson, Lindberg. Gothenburg SO. Panula. A Victor Herbert Souvenir. Dryden 0 of the East- Roland POntinen Plays Russian Piano Music td). man School of Music. Hunsberger KO. The 1786 Olof Schwan Organ. Fagius. A Vicorian Christmas. Robert De Cormier The Virtuoso Trombone. Lindberg. POntinen (d1. I. Bs kS 1 1..101 (IRKS & 0 (d). Bach: Brandenburg Concertos. P Virtuosi of New Country Capers: Music of John Playford. New York. Kapp. York Renaissance Band (d). BOURG RECORDS (distributed by Qualiton Imports) Bach: ChristmasOratorio. Auger. Hamari. Arabesque Recordings.1995 Broadway. New Schreier, Fischer-Dieskau. Nimsgern: Billing York, N.Y. 10023. Bizet: Carmen. Merentie. Affre. Albers: Ruhlmann (3). (3. h). Bach: Favorite Choruses. Mormon Tabernacle Ch Gounod: Romeo et Juliette. Gall. Affre: Ruhlmann (21. (4. h). BIS (Sweden) Bach: French Suites. Gould (2, r). (distributed by Qualiton Imports) Massenet: Manon. Heldy. Ponzio, Marny: Russel - Bach: Goldberg Variations. Gould (recorded 1955. (3. h). 19821. Bach: 18 Chorales. Fagius (d). Offenbach: La Creole. Boulangeot, Dachary, Len- Bach: Mass in B minor. Rilling (31. Beethoven: Piano Works. Nagai (d). oty. Hamel. Doniat: French R&TO (21. Bach: Music of Jubilee for Organ. Trumpets and Bends; Stamitz: Flute Concertos. Helasvuo: Hel- Offenbach: Vile de Tulipatan. Granger. Saint Chamber Orchestra. P Virtuosi of New York. sinki CO. Saraste (d). Clair: Koch (2). Kapp. Crumb: Four Madrigal Books: Fire Piano Pieces; Suppe: Galathee. Gresse. Morlet: Archainbaud (2. Bach: St. John Passion. Fischer-Dieskau: Rilling. Makrokosmos III. Male, Lindgren. (2. dl. hl. Bach: St. Matthew Passion. Auger. Hamari, Mur- Englund: The Complete Piano Music. Heinonen Coloratura -celebrated arias sung by Renee Doria ray. Nimsgern: Id). (31. Bach: Selected works for organ. Biggs (3. O. Mozart: Symphony No. 39; Eine Kleine Nachtmu- Bach: Unaccompanied Cello Suites. Ma. sik: Divertimento No. 2. Stockholm New CO. Bach; Fasch; Torelli: Music for Trumpet. Gruber - BRIIR.1 RECORDS Berglund (d). ova. Marsalis; English CO. Leppard. Mozart: Piano Concertos. Westenholz; Collegium Wuorinen: New York Notes. Maxwell Davies: Ave Bach: Schemelli Liederbuch. Prey: Billing. Musicum Copenhagen. Schonwandt (d). Maris Stella. New York New Music E. Black. Beethoven: Piano Sonatas Nos. 7, 23. Perahia. Nummi: Songs. Hynninen, Piipponen. Haverinen. New Music with Guitar, Vol. 2. (Works by Carter. Beethoven: Sonatas for Piano and Cello. Vol. 3. Gothbni (2. d). Del Tredici. Kolb. Lennon. Takemitsu.) Staro- Ax. Ma. Ponce: Guitar Works. Savijoki. bin. Palma, Rees. Beethoven: Symphonies Nos. I. 2. 8. 9. English Ravel: Piano Works. Nagai (d). New Music with Guitar, Vol. 3. (Works by Martin. CO. Thomas. Roman: Violin Concertos, Symphonies. Sparf: Or- Lennon.) Starobin, Felty, Mason. Bolling: Big Band -Traditional Jazz. feus CO (d). Speculum Musicae: 15th Anniversary Album. Bolling: Jazz d la francaise. Bolling & Trio. Schubert: Winterreise. Talvela. Gothoni (2. cll. (Works by Wuorinen, Shifrin, Lieberson.) Spec- Brahms: Symphony No. I. New York PO, Mehta. Sibelius: Complete Orchestral Works, Vols. 4, 7, 8. ulum Musicae. Chausson; Gounod: Symphonies. 0 deParis, Gothenburg SO. Jarvi (d). Barenboim. Sibelius: Complete Orchestral Songs. Hynninen. Bridge Records, GPO Box 1864. New York, N.Y. Chopin: Impromptus; Berceuse; Barcarolle: Fan- Haggander; Gothenburg SO, Panula (d). 10116. tasy. Perahia. Sibelius: Piano Works, Vols. 5, 6. Tawaststjerna. Debussy: La Damoiselle Blue. Berlioz: Nuits d'ete. Stravinsky: The Firebird (arr. piano). Tchaikovsky: CAPRICE Von Stade; Boston SO, Ozawa. The Nutcracker (arr. piano). Achatz (distributed by International Book and Record) Glass: Danceworks. Telemann; Vivaldi: Double Concertos; Concertos Glass: Satyagraha. Keene. for Baroque Bassoon and Recorder. McCraw. Blomdahl: A niara (complete). Swedish RSO&Ch. Glass: Song Album. Pehrsson; Drottningholm CE (d). Westerberg (2. h). Handel: Rosalinda. Mackerras. 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74 NOVEMBER 1984 Ives: Symphony No. 3: Orchestral Set No. 2. Con- Beethoven: Trio for Flute. Bassoon and Piano: Ser- Mozart: Oboe Quartet. Loeffler: Two Rhapsodies certgebouw 0. Thomas. enade Op. 25. Graf. Thunemann, Canino, Gulli. for Oboe. Viola, and Piano. Mack (r). Mahler: Symphony No. 4.Battle: Vienna PO. Giuranna (d1. Saint-Sainis: Clarinet Sonata. Gaubert: Fantaisie. Maazel. Devienne: Quartets for Bassoon: Sonatas for Bas- Messiger;Jean -Jean: WorksforClarinet. Mahler: Symphony No. 7; Symphony No. /0 (Ada- soon and Piano. Thunemann, Dahler Id). Harman. gio). Vienna PO. Maazel. Falla: El Corregidor ). Ia Molinera. Berganza: Lau- Ceremonial Trumpet Music. Giangiulio, Riedo: Mahler: Symphony No. 9. Vienna PO, Maazel. sanne CO. Lopez-Cobos (dl. Dallas Trumpets Id). Mendelssohn: Sonata, Op. 6; Variations serieuses Handel: Organ Works. Sonnleitner. Douglas Hill. horn. Works by Hindemith. Hamil- Prelude and Fugue, Op. 31. 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NOVEMBER 1984 77 Open Sky Records. Meher House. 10735 Vernon, MOVE (Australia) Huntington Woods. Mich. 48070. QUALITON IMPORTS (distributed by Fifth Continent Music) See Amon Ra. Bis. Bourg. Claves. Dynamic. Et- cetera. Fidelio. Gallo. Hungaroton. Matchbox Bonighton: Derivations III; In Nomine: One Two OPUS ONE Three. Australian Percussion E. Blues Series. Opal, Pearl. Saydisc. Simax. Tima Conyngham: String Quartet. Tibbits: String Quar- Adams: Nightpeace: A Northern Suite. Atlanta Club. Qualiton Imports. 39-28 Crescent St., Long Island tet No. 2. Petra Qr. Singers, Culver: Artic CO. Wright. Ravel: Mother Goose Suite (piano four hands). Allen: Wind Songs for Wind Quintet. Bates: Fire City. N.Y. 11101. Stravinsky: Le Sacre du Printemps (piano four Movements for Bass and Vibes. Lifchitz: Affini- hands). Ronald and Rosslyn Farren-Price. ties.Clarion Wind Qn; Masuzzo. Moersch; Lifchitz. SAYDISC Sculthorpe: Piano Works. Hannan. Sculthorpe. (distributed by Qualiton Imports) Peter Clinch: Rhapsodie. Saxophone works by Cage: Credo in Us. Macbride: Gageego. Shields: Capdevielle. Dubois. Eychenne. Platti, El's Aria. Smith: Gifts. Gageego. The Perfect Triangle (A tribute to the music of Billy Vellones. Creshevsky: Celebration. Leon: Haiku. Pigg, Tom Clough, and Jack Armstrong by Rich- Full Spectrum: Australian Digital Music by Cary. Gerber: Songs from 'The Wild Swans at Cottle': ard Butler. Northumbrian Small Pipes). Clynes, Conyngham. Grainger. Two Lyrics of Gerard Manley Hopkins. Martin: The Roaring '20s (from 78s and pianolas) Songs. The Three Disc Symphonion (and other music Gulda: Prelude and Fugue. Martin: Eight Preludes boxes). NORTHEASTERN for Piano. Shields: Rhapsody for Piano and Bauer: Sonata for Viola and Piano. Op. 22. Beach: Tape. Schubel: Klish Klash. Liepa. Invocation. Op. 55. Boulanger: Nocturne: Cor- lannaccone: Aria Concertante. Martin: Sonata No. SIMAX tege. 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Krebs: Chorale Preludes and Fantasias. Swan - The Southern Cross label will devote its 1984-85 born. Tinsley, Valentine. Ortiz -Alvarado: Amor, Cristal y Piedras 124 East 107th Street. Hellwitz, Thomas. Wade: Univer- releases exclusively to original soundtracks and Paine: Sonata for Violin and Piano: Cello Pieces. scores of films released during this period. Op. 30: Trio for Violin, Cello, and Piano. Silver- sity of Buffalo Percussion E. stein, J. Eskin, V. Eskin. Robb: First Sonata for Violin and Piano: Second Piston: String Quartets Nos. 1-4. Portland Qr (2). Sonata forViolinand Piano.Templeton. SPECTRUM Silsbee: Spirals. Vercoe: Herstrr II. The Boston Gunning. Musica Viva, Pittman. Rosenblum: Harp Quartet. Speculum Musicae. Handel: AcisandGalatea.With original Sims: All Done from Memory: Two for One; --and, Palma. instruments. as I was saying...; Sextet. Dinosaur Annex Mu- Rosner: Sonata for Cello and Piano. Neuman, Schubert: Winterreise. Hirst. sic E. Stein. Stradella: Carissimi Cantatas. Pilgrim. Sullivan: Songs (poems by Shakespeare. Tenny- Schrader: Trinity. Todd: Emergence: Voicemask. Szymanowski: Songs. Stark. Garvey. son. Burns, Kipling, and others). Ommerle, Syl- Tucker: Indian Summer. Unknown Droldk Songs. Ciesinski. van, Wedow. Opus One. Box 604. Greenville. Maine 04441. Fifteenth Century Spanish Sephardic. Romances. Zemlinsky: Trio for Clarinet, Cello and Piano. Op. Ganz. 3: Twelve Songs, Op. 27. Brezniak. Sher. O'Ri- Spectrum. Division of UNI-PRO Recordings. Inc.. ley, Morgan. PATHS MARCONI Harriman, N.Y. 10926. Zwilich: Passages: String Trio. Felty: Boston Mu- (distributed by International Book and Record) sica Viva, Pittman. Composers in Red Sneakers: Bourland: Stone Beethoven; Haydn; Mendelssohn; Schubert; Schu- TELARC Quartet.Aldridge: Combo Platter.Carnes: mann: Trios. Cortot, Thibaud. Casals (3. h). Fantasy Music I. Cornell: Passage. Lee: Depart- Caplet: Mask of the Red Death. Debussy: The Fall Beethoven: Piano Concertos (5); Choral Fantasia. ed Feathers. Stowens: Anemocorde. Weiss: of the House of Usher. Schmitt: The Haunted R. Serkin: Boston SO. Ozawa (3. d). Strange Melodies. Boston area musicians. Palace. Barbaux, Lafont. Le Maigat. Le Roux. Berlioz: Requiem. Atlanta SO&Ch. Shaw (d). Camdreling; Monte Carlo 0. Pretre. Brahms: Ein Deutsches Requiem. Verdi: Te Decor). Northeastern Records, 17 Cushing Hall. North- Chabrier: L'Etoile. Alliot-Lugaz, Gauthier. Bac- Auger. Stilwell; Atlanta SO&Ch. Shaw 12. dl. eastern University, Boston. Mass. 02115. quier, Raphanel, Damonte. Le Roux: Lyon Handel: Messiah. Erickson. McNair. Hodgson. OpO&Ch. Gardiner (2). Humphrey, Stilwell; Atlanta SO&CCh. Shaw ODE (New Zealand) Wagner: Scenes and Arias (including legendary (2, d). (distributed by Fifth Continent Music) second art from Die Walkiire). Flagstad. Husch. Handel: Messiah (highlights). Jourriet, Leider. Schorr, Fuchs. Hotter. 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78 HIGH FIDELITY Ettore Bastianini )h). Instrumental Music of 1600. Concentus Musicus. the Devil.' Pierce. Jonas; Utah SO. E. Bernstein Renato Bruson (2). The World of Scott Joplin, Vol. II. Morath. (d). Gina Cigna 'Live' (h). Madrigals of Thomas Morley. Deller Consort. Music from Alfred Hitchcock Films. Utah SO&Ch, Mafalda Favaro (h). Homage to Henn Purcell. Deller Consort (2). Ketchum (dl. Onelia Fineschi Homage to Erik Satie. Utah SO. Abravanel (2). Giovanni Malipiero (h). Solid Gold Straass: Greatest Waltzes and Polkas of Gates. Korngold. and Rozsa are world premiere Carmen Me (h). Johann Strauss. Jr. Vienna State OpO. Paulik. recordings. Magda Olitwo (h). The Three Ravens: Songs of Folk and Minstrelsy Lina Pagliughi (h). out of Elizabethan England. Deller: Dupre. ANDANTE DIGITAL LPs Mariano Stabile (h). Domenico Viglione-Borghese (h). Vanguard Recording Society. Inc., 71 W. 23rd St.. Beethoven: Symphony No. 8. Mozart: Symphony Giacomo Lauri Volpi & Maria Ros (h). New York. N.Y. 10010. No. b. SO del Estado de Mexico': Royal PO. 'Voices of Rome': collection including Cotogni Batiz (d). More.schi, Marconi (h). Menotti; Barber: Violin Concertos. Ricci: Pacific VARESE SARABANDE SO. Clark (d). Saint-Sains: Symphony No. 3 ('Organ'). Rawsth- VANGUARD Gates: Promised Valley (highlights). Utah SO. orne; Liverpool PO, Tjeknavorian Gates Id). lhotlik: String Quartet in F. Op. 96 ('American'): Works by Liszt. Reger. Reubke. The Liverpool Ca- Korngold: Sinfonietta for Large Orchestra. Berlin thedral Organ. Rawsthorne (dl. String Quartet in E flat. Op. 51. Slovak Qr. RSO. Albrecht (d). Mozart: Clarinet Quintet in A. K. 581. Weber: Clar- Rozsa: Spellbound Concerto; New England Con- Varese Sarabande Records, Inc.. 13006 Saticoy inet Quintet in B flat, Op. 34. Kuptaeik: Slovak certo; Overture from 'The World. the Flesh, and St.. N Hollywood, Calif. 91605. Qr. Schickele: Bestiary*: Quartet for Clarinet. Violin, Cello. and Piano. Calliope; Shifrin: Sato: Sher- ry: Oei. Baroque Trumpet Concertos: Telemann: Concerto BostonAcoustics in D. Fasch: Concerto in D. Handel: Suite in D: Concerto No. I.in D. Bernard: Slovak CO. Warchal. Klezmer Conservator Band, Vol. 3. A400 Solid Gold Strauss: Greatest Waltzes and Polkas of Johann Strauss. Jr. Vienna State Op0. Paulik. CASSETTE REISSUES Beethoven: Music from Egmont. Op. 84. Davrath: Royer: Utah SO, Abravanel. Beethoven: Sonatas: Op. 3/. No. 2 ('Tempest'): A100 A;50 Op. 26 (*Funeral March). Hungerford. Beethoven: String Quartet No. /4. Op. 13/. Yale Qr. Berlioz: Requiem. Bressler: Utah SO. Abravanel (2). Bizet: L'Arlesienne Suite No. I; Carmen (orchestral Ycu don't suite). Vienna State Op0, Rossi. A70 Brahms: Hungarian Dances (complete). Vienna State Op0, Rossi. have to Chopin: Scherzos (4): Nocturne, Op. 27. No. 2. Darre. Dvorak: Slavonic Dances: Op. 46, Nos. 1-8; Op. spend 72. No.s. I, 2. 5. 7. Vienna State OpO. Rossi. Handel: Judas Mac cabers (highlights). Young: more Shirley -Quirk: Harper: Watts; Amor Artis Cho- rale: Wandsworth School Boys' Ch: English CO, Somary. Haydn: Symphony No. 44 'Traver': Symphony No. .440 45 'Farewell.' SO of R Zagreb. Janigro. for a Hummel: Trumpet Concerto. Albinoni: Concerto 'Saint Marc.' Torelli: Sonata a Cinque No. 7. Haydn: Trumpet Concerto. Berinbaum: English Boston CO. Somary. Ives: Orchestral Works. Royal PO. Farberman. Lalo: Symphonic espagnole, Op. 21. Mendelssohn: Acoustics Violin Concerto. Op. 64. Elman: Viena State OpO. Golschmann. Mahler: Symphony No. 2 'Resurrection.' Sills: Ko- Speaker pleff: Utah SO. Abravanel (2). At Boston Acoustics, Purcell: Dido and Aeneas. Thomas: Sheppard: we mar ufacture Watts: Dales: Bevan; Tear: Lester: Oriana Con- high-performance Only you :an ecide what cert Ch&O. Deller. Purcell: The Masque in Dioclesian. Deller Consort: loudspeakers that sell from makes sense fo you to than Concentus Musicus of Vienna. $75 to $450 each. While spend on loudspeakers. Rimsky-Korsakov: Capriccio espagnol; Russian each costlier model Easter Overture. Tchaikovsky: Capriccio italien; Once you have, be sure to makes 1812 Overture. Vienna State OpO, Rossi. provides a genuine visit your Boston Accustics Rossini: Seven Great Overtures. Vienna State improvement over the modeldealer and audi ion tie sense OpO. Rossi. below, trey are all designed Sibelius: Symphony No.1.Op. 39. Utah SO. appropriate Boston system. Abravanel. and bui t to the same high We think you'll te genuinely to you. Tchaikovsky: Serenade in C for Strings, Op. 48. standards. As a result, each and pleasantly Eurpr sed at Prokofiev: Classical Symphony. Arensky: Varia- tions on a Theme by Tchaikovsky, Op. 35a. En- model provides long-term what you hear - both in the glish CO, Somary. listening satisfaction store and for years Varese: A meriques: Nocturnal: Equatorial. Bybee: unprecedented in its price Utah SO. Abravanel. afterwards at home. Vivaldi: L'Estro Armonk°. Op. 3. Tomasow: Vien- range. na State OpO. Rossi (2). *Suggested retail prices. Actual selling prices are determined by your Boston Acoustics dealer Favorite Encores of Mischa Elman. Elman; Seiger. Boston Acoustics, Inc. 247 Lynn field Street Peabody, MA 01960 (617) 532-2111 NOVEMBER 1984 79 CLASSICAL Reviews Sondheim's Sunday: A Digital Work of Art

Reviewed by Peter McWilliams

Producer Thomas Z. Shepard (left) and composer Stephen Sondheim during the sessions

SUNDAY IN THE PARK WITH tress, and on his relationship with his art. great leap forward. GEORGE: Original Broadway cast re- Act II picks up the themes of Act I with his The same is true for Sondheim. Listen- cording. great-grandson, also named George-also ing to his dozen or so previous shows, one Music and lyrics by Stephen Sondheim. an artist, also troubled. The two characters finds the elements so admired in Sunday in Paul Gemignani, cond. [Thomas Z. Shepard, share a mirror image of the same problem: the Park: the sensitivity, wit, intelligence, prod.] RCA HBC 1-5042 (digital recording). George knows exactly what he wants but the sheer beauty of it all. This new score is Cassette: HBE 1-5042. CD: RCD 1-5042. can't always get it because he is not good the masterwork of a man who has spent the with people; his great-grandson knows how last 30 years writing for the American musi- Sunday in the Park with George is a state- to get just about anything but doesn't know cal theater. Just as La Grande Jatte did for of-the-art musical, and here is a state-of- quite what he's after. Seurat, Sunday in the Park represents for the-art recording of it. Don't be put off by Fortunately, seeing the play is not a Sondheim a bold and creative statement, the word "musical": This is not a collec- prerequisite to enjoying this album. The lin- one that embraces and yet goes dramatically tion of vapid Jerry Herman show tunes, er notes will tell you as much as you need to beyond his earlier achievements. brassily performed and harshly recorded. know-but you should also know that the Sondheim could not have chosen a bet- Rather, Sunday in the Park with George is liner notes are not very good. Couldn't ter collaborator than Lapine. A brilliant musical theater at its finest, a sensitive, wit- RCA have commissioned Lapine to write a playwright and a sensitive director, he has a ty play by James Lapine that is deepened synopsis of his own play? Instead, we have steady grasp of character, color, and shad- and expanded by the words and music of a C -minus junior -high-school composition, ing. It is fitting that this musical play about Stephen Sondheim. "My Trip to the City to See a Play." One of two artists be written and directed by a man The play concerns Georges Seurat, the the better sentences reads, "George goes with his sensibilities. On the recording, French impressionist who, roughly 100off and returns with Dot, his mistress and Lapine's presence shines in the dialogue years ago, invented what could be called model, who wears a traditional 19th -centu- that knits the songs together, in his con- digital painting. He discovered that dots of ry outfit, heavy and with a large bustle." Is cepts, and, significantly, in his choice of primary colors placed next to each other Dot heavy, or the "outfit"? God knows; cast. would, at a certain distance, be fused by the the prose is as heavy as it comes. Lapine selected a company of singing eye and become secondary colors. And All other aspects of this recording are actors and actresses who are individually those secondary colors emerged with a bril- excellent. The score is the best Sondheim and collectively superb. Heading the cast liance-a shimmering-unobtainable by has ever written, a perfect balance of words are Mandy Patinkin, as the two Georges, mixing pigments on the palette. In this way, and music, thoughts and feelings, fun and and Bernadette Peters, in the roles of Dot Seurat strove to "paint with light." profundity. Comparing Sunday in the Park and the modern-day George's ninety -eight - Seurat spent two years on a work that to anything that has come before is diffi- year -old grandmother, Marie. Patinkin is, would introduce his method of digital paint-cult. Not as weighty as opera, as frivolous as The New Yorker pointed out, "Seurat to ing, or pointillism. The result of that artis- as operetta, as dense as Lied, or as predict- the life." Using his remarkable voice in a tic/scientific project was A Sunday After- able as pop, it is an original-as fresh and way that is both musical and expressive, he noon on the Island of La Grande Jatte, aastounding as Seurat's canvas. can switch seamlessly between singing and large canvas depicting two dozen middle- Looking over Seurat's career, one sees speaking several times within a single line. class Parisians enjoying an island park on a La Grande Jatte as an obvious extension of He also has the gift of the purest male sopra- summer's day. all his earlier works: Over the years his no this side of the Vienna Choir Boys; it is The first act of Sunday in the Park with brushstroke became smaller and more pre- used sparingly on the album, and to great George follows painter and subjects cise until pointillism was the next step. And effect. Patinkin does justice to both Seurat through the last year of the work, focusing although La Grande Jatte was a logical pro- and Sondheim. on George's relationship with Dot, his mis- gression for Seurat, it was nonetheless a If your memories of Bernadette Peters

80 HIGH FIDELITY are of the second -banana Kewpie doll inbetween analog and digital for the spoken for melodic embellishment and full realiza- any number of movies and TV shows,word is the difference between acting on tion of harmonies only implied in the orig- there's a pleasant surprise in store for you:film and acting on stage. inal versions. The performances, however, On this album she reveals herself as a singer If you're a Sondheim fan or a follower do not support that argument. and an actress of remarkable depth and abil- of musical theater, this album is a must. If A nice balance between flute and mut- ity. Although Peters was slightly hoarse onyou're curious about the state of the art in ed harpsichord is achieved in the slow one of the recording days, she-as they say the American musical, and the recording of movement of the Fourth Sonata, but usually in the theater-"used" her hoarseness toit, this is the album (preferably in CD) to the sound of the plucked strings is overly further deepen the character. It adds vulner- investigate: It's the most exciting thing to copious and not a little clangy, and only in ability and charm, especially when she is happen since stereo metMy Fair Lady.The the most thinly scored sections is there a playing Marie. The rest of the cast is excel- digital bits, one by one, create something as clear delineation of the imitative melodic lent, too, and Barbara Bryne, Dana Ivey, shimmering and alive as Seurat did when he strands. The Sonatas Nos. 3 and 5 are per- Judith Moore, and Robert Westenberg mustpainted an enormous canvas, one dot at a formed with organ; surprisingly, Newman beindividually praised for their contribu- time, of Parisians strolling through a park more ()hen than not opts to use flute stops, tions. one Sunday afternoon. and-except in those passages cast in dia- Now thereallygood news for audio- logue form-the organ's persistent high - philes: All of this wonderful musical theater BACH (arr. Waltraut and Gerhardregister chirping fairly absorbs whatever has been digitally recorded for RCA byKirchner after Organ Sonatas B.W.V. subtleties may be contained in Eugenia Zuk- Thomas Z. Shepard and is also available on 525-530): Sonatas for Flute and Key- erman's playing. Compact Disc. Shepard is without doubt board (Nos. 1-6). The recording sessions took place in the master of recording musicals, a mantle Anthony Newman, harpsichord and organ: the recital hall of the State University of he inherited from his mentor, Goddard Lie- Eugenia Zukerrnan, flute. [Thomas Frost, prod.] New York at Purchase. Apparently, that's a berson. The combination of Sondheim's Vox CUMLAUDEVCL 9070. Cassette: VCS very resonant room, and the vapory rever- finest score, Lapine's sensitive direction, 9070. beration is consistent with the quasi - the cast's brilliant performance, Shepard's Anthony Newman's reasons for wanting to Romantic flavor of the interpretations. expert guidance, and the clarity of digital commit to disc these utilitarian transcrip- JAMES WIERZBICKI technique yields a recording nothing short tions of Bach's Organ Sonatas are presented of spectacular. in theapologiasection of his liner -note One of the revelations here is how well essay: not simply because they're there, as BARTOK: Divertimento; Music for thespokenword comes across. With the Hillary might have said had he been a pro- Strings, Percussion, and Celesta. Franz Liszt Chamber Orchestra (Buda- added crispness of digital sound, single lific recording artist in search of new/old words speak volumes. Listen to what Peters pest), Janos Rolla, cond. [Tibor Erkel, prod.] repertoire, but because Newman believes HUNGAROTONSLPD 12531. CD: HCD 12531-2. does with the word "harmony," or Patin - they allow for greater independence of the (Distributed by Qualiton Imports, 39-28 Cres- kin with "possibilities." The difference two upper lines and offer more opportunity cent St.. Long Island City, N.Y. 11101.) urco TRY & BEAT OUR

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CLASSICAL Reviews The late Swiss conductor Paul Sacher had his musical limitations, but he also had 0iistz. sect - Gobs Oil OPEN SUNDAY 10-5 taste, intelligence, and an extremely rich vik% 0.;45. FOR CUSTOMER SER &IN11.21FO wife. Those last three factors enabled him to found and maintain the Basel Chamber 5 gP°441S CALL (718) 387-7770 CLOSEDOCTVICE Store Hours: Mon Thurs: 9 to 6; Frl: 9 to 2;Sun: 10 to 5; Sat: closed Orchestra and, on its behalf, to hand out commissions to some of this century's greatest composers. As a result, we owe to $ CALL = UP TO 50% OFF SUG. RETAIL!! him the existence of some of their finest works, including both these masterpieces VCR'S (VHS) QUASAR VC5245 SCALL VCR's (SETA) PANASONIC PV 1225 361110 OUASAR 5646 16-11I {CALL SANYO VCRUIDO 24/.1X by Bartok. 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Another Sacher commission JVC 100220 174-00 HITACHI VISA SCALL NEC VCNW AN 00 JVC HRD223 57500 HITACHI 5P S CALL NEC VCN7235KTK 6.10 00 resulted in BartOk's Sonata for two pianos JVC HRD120 AM CO HITACHI IP S CALL WE ALSO CARRY A FULL LINE OF BRAND JVC HR0725 VAIII SCALL G.E.IVCRS032% SCALL and percussion the following year. BartOk's JVC HRS ILO OW. 75600 G E IVCR503.3% {CALL NAME CASSETTES, TRIPODS. DUST SHARP VCMI 7400 O.E.ivCRSOIOX !CALL COVERS. LENSES, FILTERS, HEAD music then became more melodious, easier SHARP VC311.5 41111.00 0 E. lifCRSOI X SCALL CLEANERS AND OTHER VIDEO SHARP VC3611 MAN CLE IVCR5014X SCALL ACCESSORIES AT MAJOR SAVINGS' to assimilate. He composed the joyous SHARP VCA62 30.00 G.E IVCRsoillX ALIO SCALL SHARP VC4133 4111.00 Gs icvesonx toom CALL CAMERAS (VHS) Divertimento for strings, rich with Hungar- SHARP VGA. 06 II) 11111.00 G.E.1CVP502/11 WWI {CALL PANASONIC PK 551 63600 SHARP VC 766400 13614.1 MOO NEC VC14131 46.00 PANASONIC PKISI 75600 ian folk influence, at the Sachers' Swiss SHARP VC31300054 SCALL NEC VCNI133 WOO PANASONIC PK975 SCALL RCA VKT275 11 CµL NEC %THIAMIN II) SCALL PANASONIC PK470 451.00 estate in only two weeks in 1939. Two short RCA YAM., {CALL PANASONIC PK450 575.00 RCA VKT4110 !CALL JVC GIN70 750.00 weeks after that, the happy part of Bartok's RCA VKTS501h1-111 SCALL CAMERAS (SETA) JVC GANT SCALL RCA VKT4160 SCALL SANYO VRC100 Me co JVC 02S5U 701.00 life abruptly ended: World War II broke RCA VKP170 Wove wireMss nrm part.S CALL SANYO VS01100 WAD locus. 900 00 RCACKC1117 SCALL RCA VKPI/60 SCALL SONY MC 110 WM CO RCA CKC(116 !CALL out, and there followed emigration to New RCA VKPW01por1 SI III SCALL SONY IIMC2301( SCALI. RCA CI(C019 SCALL QUASAR VHMM1 S CALL SONY HVC2500 926 00 RCA CKCO20 SCALL York, his wife's madness, their poverty, QUASAR VH5045 SCALL SONY wicnco 2seoc RCACKCO21 SCALL QUASAR VH5145 'CALL NEC BkiliE 22300 G E ICVC50363 SCALL andhis own earlydeath,with only ASCAP's emergency fund to take surrepti- ELECTRONICS & APPLIANCES tious care of his medical bills. For obvious reasons, one can regard n NOW IN OUR 15th YEAR! these clean, vigorous performances as eth- 187 Ross St Brooklyn, NY 11211 nically authentic, and Janos Rolla, the con- Master ChargeVisa 8 COD s acceptedcredrt card accounts chirped al ductor, infuses them with energy, wit, and time of orderAdd shippinghandling & insurancePrices subject lo Change without notice We are not responsible lor typographical errors life.Hungaroton's digital recording can hold its own with Western European and American competitors. The small number of string players -22 in the Music, 16 in the Divertimento, with Rolla his own con- certmaster in the latter-keeps the texture lean and clear. The jacket and label call the Music in the round. performing band the Liszt Ferenc Chamber Orchestra, but don't let that confuse you. Hungarians put their surnames first, but The unique gift their almost deified Liszt Ferenc (after whom they have also named their national Academy of Music in Budapest), whenever he left his homeland, used the name all the of B.E.S. sneakers. rest of the world came to know: Franz Liszt. PAUL MOOR BEETHOVEN: Quartets: No. 5, in A, 18, The gift is freedom. Freedom to move about any- Op. 18, No. 5; No.6, in B flat, Op. where in the room and enjoy natural 3 -dimensional No. 6. stereo. Freedom to design your room for living Gabrieli Quartet. [Paul Myers, prod.]LON- DON411 855-1 (digital recording). Cassette: 411 instead of for speakers. 855-4. The contemporary, elegant design of B. E.S. speakers produces These are two of Beethoven's more jolly sound in every direction-unlike quartets, penned in the halcyon days when highly directional bulky box speak- his hearing was good and his temperament ers. Wherever you sit, wherever even enough to seek self-expression mostly B.E.S. speakers sit, you hear the in nice, bright major keys and comfortably same magnificent result: Music steady rhythms.(Inlight of hislater in the round. plunges into dark emotional states, Beetho- Give the gift that's uniquely ven's subtitle for the Adagio introduction to gifted. the finale of the B flat Quartet-"La Mal- inconia"-seems likehyperbole,indeed.) B.E.S. Although their photograph portrays them as awfully grim fellows, the members of the Gabrieli Quartet have the right idea Music in the round: SM 255 Mark

c 1984 by B.E.S.. 345 Fischer Street, Costa Mesa. Ca. 92626 (714) 549-3833 82 HIGH FIDELITY about the spirit of this music. In those relatively few instances where intensityis warranted, it's provided in full measure. but what is most memorable about these Critics' Choice interpretationsisthe ensemble's zesty, The most noteworthy releases reviewed recently playful sense of rhythm. Vigor never gives way to roughness of sound or phrasing, and BACH: The French Suites (6), B.W.V. 812-Fields Chamber Ens. PHILIPS 411 102-I, Sept. the feeling of buoyancy is present as much 817. Koopman. CALIG VERLAG CAL 30 442/43.SATIE: Apercus desagreables; La belle Ex- in the accompanimental figures as in the Sept. centrique; En Habit de cheval; Parade; Trois leading lines. First violinist Kenneth Sillito BLOCH: String Quartet No. 1*. String Quar-Morceaux en forme de poire; Trois petites tet No. 2; Prelude; Night; Two Pieces forPieces montees. Jordans, Doeselaar. ETCETERA sometimes plays his upper -register notes a String Quartett. Pro Arte Quartet. LAUREL LRETC 1015, Oct. bit on the high side; otherwise, the perfor- 120*. LR 126f. Aug. SCHUMANN: Conzertstuck in F, Op. 86; mances are quite flawless, and very cleanly BRAHMS: Liebeslieder Waltzes (18), Op. 52;MENDELSSOHN: Concerto for Piano and recordedinLondon's lushlyresonant Neue I.iebeslieder Waltzes (15), Op. 65; ThreeOrchestra, No. 2, in D minor, Op. 40. Frank!: Kingsway Hall. JAMES WIERZBICKI Quartets, Op. 64*. Sixteen Waltzes, Op. 39;Cincinnati Symphony Orchestra, Nelson. Vox variations on a Theme by Schumann in E flat,CUM LAUDE VCL 9071. Oct. DEBUSSY: Rends dans ['eau. RAVEL: Op. 23; Souvenir de Russiet. Mathis, Fass-RAMEAU: Orchestral Suite from "Les Indes Sonatine. SCHOENBERG: SixLittle baender, Schreier. Fischer-Dieskau, Engel. Sa- galantes." Orchestre de la Chapelle Royale. Piano Pieces, Op. 19. STRAVINSKY: wallisch*. Alfons Kontarsky, Aloys Kontar- Herreweghe. HARMONIA MUNDI HM 1130, Oct. Sonata (1924). skyt. DG 2532 094*, 410 714- I t, Aug. STRAUSS, R.: Orchestral Songs (12). Jerusa- DOWLAND: Lute Music. O'Dette. AsTREE ASlem; Leipzig Gewandhaus Orchestra. Masur. James Boyk, piano. [James Boyk, prod.] 90, Oct. PHILIPS 6514 321, Sept. PERFORMANCE RECORDINGS PR 4 (distributed by QUNSTABLE: Motets.Hilliard Ensemble,THE EARLY VIENNESE SCHOOL. Hollig- Harmonia Mundi U.S.A.,2351 Westwood Hillier. ANGEL S 38082, Aug. er, Furi, Demenga; Camerata Bern. Fiiri. ARCIIIV Blvd.. Los Angeles. Calif. 90064). HAYDN: Symphonies: No. 91, in E flat, Hob.410 599-1, Oct. This disc was on the turntable when the 1:91; No. 92, in G, Hob, 1:92. ConcertgebouwBENNETT LERNER: American Piano Mu- phone rang; the caller happened to be some- Orchestra. Davis. PHILIPS 410 390-1. July. sic. ETCETERA ETC 1019. Sept. one connected with one of the major labels, MOZART: Divertimento in D, K. 334; MarchRENAISSANCE MUSIC IN NAPLES. Hcs- and the first words out of his mouth were. in D, K. 445. Academy of St. Martin -in -the -perion XX, Savall. ANGEL S 38083, Aug. "My God! Is that a real piano?" The sound of James Boyk's Steinway is indeed cap- mended, as arethe other LPsinthe mance and the sound pins your ears back. (I tured with almost incredible fidelity on this series. ROBERT E. BENSON got the impression that Lorin Maazel must immaculately pressed "All -Tube" analog have asked himself how Arturo Toscanini recording. For this listener, though, what is PROKOFIEV: Alexander Nevsky, Op. might have performed this music had he far more impressive is the integrity of the 78 had his NBC Symphony's virtuosic strings performance. Boyk makes no attempt to Irina Arkhipova, mezzo-soprano; Cleve- available, plus Nicola Paganini, redivivus, conceal his virtuoso abilities here, yet the land Orchestra and Chorus, Riccardo Chailly, to play the solo part.) Maazel doesn't so point of his playing seems to have less to do cond. [Paul Myers, prod.] LONDON 410 164-I much wield a baton here as crack a whip. with pyrotechnics than with moods, tex- (digital recording). Cassette: 410 164-4. CD: 410 Except in the slow movements sandwiched 164-2. tures, and personal visions of the compos- into each of these four short concertos, he er's messages. Sergei Eisenstein's descriptive film of the inclines toward positively febrile tempos. It The rhythms in the Debussy and Ravel life of Alexander Nevsky gave Prokofiev also sounds as if he has used the full com- pieces are generally straightforward, but ample opportunity for imaginative scoring. plement of this orchestra's fine string play- the nuances are the epitome of subtlety. The The section entitled "The Battle on the ers. instead of keeping his forces down to movements of the Stravinsky Sonata, for all Ice," with its massed choral and orchestral something near the number customary in their formality, just glisten with insouci- textures, has always been a sonic show- Vivaldi's day. ance, and Schoenberg's delicate miniatures piece. London's new recording is of high For some reason, Maazel has also cho- are made to radiate a near -hypnotic magnet- quality interpretively, but the engineers sen to divide the solo violin part, movement ic energy. This recording was done before a have opted for a close-up, very dry aural by movement, between Patrice Fontanaro- live audience at the California Institute of picture with a wide dynamic range, an sa, Regis Pasquier, and himself, in no par- Technology; the auditors are cooperatively approach that is particularly detrimental to ticular order. Maazel more than proves his silent, and they withhold their applausethe sound of the excellent chorus. And after ability to hold his own as a violinist, partic- until the very end. JAMES WIERZBICKI more than three decades on the concert ularly in the allegro movement that closes stage, Irina Arkhipova offers little more the entire work. A sharp ear, though, can KODALY: Nary Janos Suite; Szinhazithan routine authority in her brief solo. perceive stylistic differences between the nyihiny ("Theater Overture"); Ballet Claudio Abbado's London Symphony ver- three violinists; using only one-and I have Music. sion on Deutsche Grammophon (2.531 202) never before even heard of anyone using Budapest Philharmonic Orchestra. Arpad is preferable, as is Fritz Reiner's spectacu- Job, cond. SEFEL SEFD 5015. more than one-would have made more lar Chicago Symphony account (sung in sense, at least from the standpoint of aes- This is one of a series of fine Kodaly record- English), which until recently was available thetic consistency. ings recently issued by Sefel, all led by theon RCA Gold Seal (AGL 1-1966). As an ensemble, the orchestra (espe- young Hungarian conductor Arpad Job ROBERT E BENSON cially its violin section in the upper register) (pronounced Are -pod Yoe). His readings of has a pronounced wiry, bright sound here, his countryman's music are imaginative,VIVALI)I:l heFour Seasons, Op. 8, leaving the listener with the impression that and while the Budapest Philharmonic does Nos. 1-4. Maazel consciously decided to eschew gut not have the rich sonorities of some of the Orchestre National de France, Lorin Maa- strings-and period authenticity-in favor major orchestras,theyplay very well zel, cond. [Georges Kadar, prod.] CBS MASTER. of dazzling, up-to-date, high-tech razzma- indeed. A definite plus is the sonic quality WORKS IM 39008 (digital recording). Cassette: tazz. This country has produced very few IMT 39008. CD: MK 39008. of this digital recording: It offers totally nat- artists as prodigiously gifted as Maazel, and ural perspectives, space. wide dynamicFrom the very beginning of this recording, on that basis alone he deserves our respect- range. and tonal beauty. Highly recom-the extreme brilliance of both the perfor- ful consideration of anything he does, for

NOVEMBER 1984 83 CLASSICAL Reviews he does not have a reputation for flash and KIRI TE KANAWA: Arias and Songs. mance and from a fine solo by the London sensationalism.If you like your Italian Kiri Te Kanawa, soprano; London Philhar- Symphony Orchestra's (unnamed) concert- Baroque to stab you like a laser beam, by all monic Orchestra, John Pritchard, cond.*; Co- master; the orchestra does much to enrich means have a go at this. If you don't, caveat logne Giirzenich Symphony Orchestra, John Prit- the second Strauss song as well. Andrew chard, cond.t; Paris Opera Orchestra, Lorin emptor! PAUL MOOR Davis conducts sensitive accompaniments Maazel, cond.°; London Symphony Orchestra, in both, but Te Kanawa mars the second by Andrew Davis, cond.**; Richard Amner, pia- nott. CBS MASTERWORKS M 39208. Cassette: breathing, unaccountably, before the last Recitals and MT 39208. word in the phrase "Deine Stiirme gingen FAURE: Apres un reve, Op. 7, No. 1, in C wild" -a niggling point, I grant, but one minortt. HUMPERDINCK: Hansel and Gretel: that Paul Myers, the responsible producer, Miscellany Der kleine Sandmann bin icht. MOZART: Don ought to have rectified. Giovanni: Ah! fuggi it traditor°; Mi tradi°. PUC- I have a definite personal weakness for THE CAMBRIDGE BUSKERS: Music CINI: Tosca: Vissi d'arte*; Gianni Schicchi: 0 William Walton's music, but I also have Appreciation 101. mio bambino caro*. SCHUBERT: Gretchen am misgivings about the wisdom of including The Cambridge Buskers. [Dr. Steven Paul, Spinnradett. SCHUMANN: Myrthen, Op. 25, No. 24 ("Du bist wie eine Blume")tt. these pieces here. The first and last he has prod.] DEUTSCHE GRAMMOPHON 413 339-1 (digi- arranged, with a sung vocal line, from the tal recording). Cassette: 413 339-4. STRAUSS, R.: Morgen!**; Ruhe, meine original versions (included in Facade) for Seele**. VERDI: La Traviata: E strano . . . Ah! There is more than a touch of whimsy to this fors' e lui*. WALTON: Old Sir Faulk"; Daph- reciter and chamber orchestra; in view of the recording, which offers unique capsulized ne"; Through Gilded Trellisestt. aesthetic of Edith Sitwell's xylophonic versions of no less than 20 classical favor- poems, I find the originals more successful ites -all given in the distinctive style of Throughout the considerable gamut of this and enjoyable. "Daphne," a true song (also Michael Copley, playing flutes and record- selection of arias and songs (taken from five to a Sitwell poem), stands up better, but the ers, and Dag Ingram, accordionist. The best previous releases), the listener can revel in choice of all three items still perplexes is a Kurt Weill treatment of Mahler's Sym- the sheer sensuous beauty of one of the love- me. phony No. 4, lasting only 31 seconds. liest voices around today. Hearing Kiri Te CBS has printed all the texts and trans- Some of the others are rather quaint and Kanawa's accounts of the six operatic arias, lations on one side of the page in a typeface catchy, some pretentious and unworkable. I get the feeling that Lorin Maazel made the calculated to put your eyes out -and left the There is music of Tchaikovsky, Prokofiev, highest demands upon her, and that she rose other side completely blank. Typographical Rossini, Sibelius, Schubert, Mozart, Dvof- brilliantly to the occasion. The first Mozart errors (e.g., "So,pre" for "Sempre") pol- ak, Suppe, Stravinsky, Mendelssohn, Bee- aria shows off her voice not only as liquid lute the English as well as the Italian, Ger- thoven (Symphonies 1-9 in slightly more and pure in tone color, but also as incisive man, and French. CBS obviously needs a thanthreeminutes!),Ravel,Richard and dramatically intense. sharp-eyed editor, whom it certainly did not Strauss, Elgar, Grieg, Haydn, and Brahms. Strauss's "Morgen!" benefits both have as of the publication of this disc. Excellent sonics. ROBERT E. BENSON from Te Kanawa's outstanding perfor- PAUL MOOR 6:Minoru audio SAVE MONEY TIME FREIGHT ON NAME BRAND STEREO 5' Ike COMPONENTS HEADPHONES AKAI AAA -35 NEW! AM -FM DIGITAL RECEIVER (48x2) 5225.00 KOSS PORTA PRO NEW HEADPHONE 544.95 11 1.1 AKA1GX-7 3 HEAD DOLBY B&C CASSETTE DECK ... 259.00 SONY MDR-CD5 'NEW DIGITAL READY 65.00 AKAI GXR-99 NEW AUTO -REVERSE 3 HD COMPUTER RECORD .. CALL 1.1 1.1 SENNHEISER HD -414 LIGHT WT, OPEN AIR 44.00 ALTEC LOUDSPEAKER SALE SAVE 50% OR MORE TAPE -AUDIO & VIDEO 1.1 KENWOOD KR -950B COMPUTERIZED HI -SPEED RCVR. (80x2)... 278.00 1,1 SONY UCXS-90 NEW HIGH BIAS CASSETTE TAPE... 26.00 10 KENWOOD KR -930B 60x2 HIGH-SPEED RCVR. SPECIAL 200.00 SONY FECR-90 HIGH BIAS PREMIUM CASSETTE 20.00 10 1.1 ADC SS -315X 10 BD PER CH. EQUALIZER with ANALYZER 1.1 CALL TDK SA -90 SUPER AVILYN CASSETTE TAPE 19.00 10 SANSUI DW-9 SANSUI'S BEST DOUBLE CASSETTE DECK CALL TDK SAX -90 DOUBLE COATED 'SA' TYPE CASSETTE 30.00 10 1.1 1.1 SANSUI Z-7000 (90x2) AM -FM DIGITAL RECEIVER 425.00 TDK D-90 LOW NOISE CASSETTE TAPE 15.00 10 TEAC EO-A10 10 BAND CHN. EQUALIZER WiANALYZER 1.1 90.00 BASF PRO 11-90 "WORLD'S QUIETEST HIGH BIAS TAPE 21.00 10 1.1 TEAC EO-A20 SAME AS ABOVE WITH MORE FEATURES 110.00 FUJI M-90 METAL CASSETTE 34.00 10 1.1 TEAC V-909RX AUTO -REV. DOLBY B. 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RECORDER 110.00 COMPACT DISC PLAYERS 11 AUTOMOTIVE TECHNICS SL -P7 COMPACT SIZE CD PLAYER CALL 1.1 JENSEN RE -520 AM FM AUTO REV DIGITAL W CLOCK 229.95 TECHNICS SL -P8 WIRELESS REMOTE, PROGRAMMABLE CALL JENSEN EOA-5000 7 BAND GRAPHIC EQUAL. 40 WATT AMP 1.1 11 89.95 FREE ASK ABOUT REBATE ON TECHNICS CD PLAYERS 100.00 VALUE JENSEN J-3033 6x9 TRIAX SPEAKERS (PAIR) 79.95 1.1 1.1 SANYO FTE-D7 'NEW' AM FM. DOLBY B&C. CASSETTE DECK 218.00 8 BRANDS OF CD PLAYERS IN STOCK CALL FOR INFORMATION SANYO FTU-52 AM FM CASS.W DOLBY B&C, METAL CAPABLE 145.00 1.1 VIDEO RECORDER SEE A BETTER PRICE? CALL US! WE WANT YOUR BUSINESS!! UPS wins apply on these uri,t, Prices and Availability Subject to Change 1.1 SANYO VCR -7200 BETA HI-FI STEREO W WIRELESS REMOTE 550.00 tO 11 - send for free price list - Name audio Address

12 E. Delaware Pl.. Chicago 60611 5.1 VISA Hours: City 1.1 Phone Now 10:00-5:00 TOLL FREE State Zip 1-312-664-0020 Mon. thru Sat, 1-800-621-8042 or use your address label ) OM ,11141 =Van MD IIINVIM:11:011:11,11:111:111110:1M IMIMMI:=1:11,11.1.111.1 CLASSICAL The Tape Deck

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

Crocker, 313 Mill St., Poughkeepsie, N.Y. linist, Daniel Stepner. However, they know Singularities 12601). What's lacking in both music and the music so well that they make those playing is the electrifying sense of revela- ingenious divertissements on camp -meet- tion-the sky watcher's thrill "when a new ing Woes irresistibly engaging. And they "REVOLUTIONARY MASTERPIECES" IS planet swims into his ken." augment the usual four sonatas with a fifth, scarcely a term we ordinarily apply to Schu- Mendelssohn's considerable gifts, es- reconstructed from the original violin/piano mann's piano works, but Charles Rosen-pecially in his vivacious scherzo vein, are sketches for theHolidaysSymphony (Mu- in words and performances-justifies thisdemonstrated by veteran virtuoso Shura sical Heritage/Barclay-Crocker MHS 4501, arresting rubric for his set of six early exam-Cherkassky in dazzling, if sonically light- double -play open reel). ples, four in their rarely heard (or recorded)weight, versions of the fine Opus 28 Fanta- The 18th -century fiddle/harpsichord original versions (Nonesuch digital/ferricsia, familiarRondo capriccioso,and unfa- duo is more tonally homogeneous: Witness 79062-4). Even in standard editions, he miliarRondo d capriccioso,coupled with the pairing of Sergio Luca's 1733 Sanctus makes the familiarCarnaval,no less thanLiszt showpieces: Tarantella,Liebestraum Seraphin and Malcolm Bilson's Belt replica the experimental First Sonata, Op.11, No. 3, and melodramatic Hungarian Rhap- of Mozart's own Walter fortepiano in the seem glowingly fresh, and he proves that sodyNo. 12 (Vox Cum Laude digital/ first digitally recorded period -instrument there were distinctive details suppressed in chrome D -VCS 9048). But it's a younger set of Mozart's Mannheim/Paris Sonatas, the later revisions of the Opus 5 Impromp- supervirtuoso, Jorge Bolet, and more ring- K. 301-6 (Nonesuch 79070-4, two ferric tus,Davidsbundlerginze, Kreisleriana,and ingly solid sonics that reveal the "greater" cassettes).Unlike theearlier keyboard the great Opus 17 Fantasia-now heard in Liszt of the mighty B minor Sonata, as well solos with violin obbligatos, these transi- its initial conception asPoems for the Pia- as the lesser but notably versatile composertional works give the fiddler a more nearly no: Ruins, Triumphal Arch, and Constella- ofa Valse impromptu,all threeLiebes- equal role and, in the present near -ideal tion, witha last -page return to the end of thetreiume (foronce without schmaltz), and the realizations, are sheer joy. first movement. amusinglysilly Valse chromatique(Lon- Other variances may not be as evidentdon digital/chrome 410 115-5-Vol. 3 of aE pluribus unum. A foursome of instru- or significant to casual listeners, and cer-series in progress). Then there's virtuosity ments from the same family is probably the tainly there have been grander, more virtu- to spare, but scant real character, in Oxana smallest group fusible into a single entity. osic recordings ofCarnavalandKreisleria-Yablonskaya's Chopin recital: the B flatCertainly the best string quartets possess na.But the restoration of Schumann's most minor Sonata, Second Scherzo, etc.(In individual"personalities." That of the daring quirks, the empathy with which the Sync chrome C 4139). Here, as in Yablon- Juilliard Quartet has changed considerably, introverted(Eusebius) and extravertedskaya's recent early Beethoven Sonatas (C along with the personnel, between the (Florestan) alter egos are both differentiated 4127), the singularity is the awesome real-ensemble's acclaimed Beethoven series of and melded-above all, Rosen's impas-ism of the recordedsound. the '60s and '70s and its new Library of sioned personal involvement-make this For something more nearly revolution-Congress series, also for CBS Master- the most inspired major contribution to the ary in music, one must go back to marvel at works. 1 haven't yet heard the "Early" and whole Schumann discography. It also is one how Haydn in his later years struck out for "Middle" sets, but the "Late" ones (pres- of the most effectively executed: Excepthimself in his works for the keyboard.tige -box, digital/chrome I4T 37873) are when Rosen's impetuosity tempts him intoAlfred Brendel's magisterially virile andfervently eloquent, matured readings in overvehemence (with consequent tone -probing readings of Sonatas L. 58, 60, andimpressively rich and warm sonics. Still, hardening), his playing is captured as viv-61 (Philips digital/chrome 7337 317), cap- they exhibit the disadvantages (brief ap- idly and persuasively as if he were presenttured in vivid sound, command so much plause at each work's end) as well as the in one's living room. And unlike his Bee-eloquence (and humor, too) that for once I communicative benefits of "live" record- thoven middle -period Sonatas of 1982, thiscan't regret the choice of a modern rather ings. And, however profound this music three -cassette set doesnotdeny tape collec-than period instrument. Leonard Bernstein, may be, does ithaveto be so portentously tors the illuminations of polymath Rosen'showever,is oddly non -ebullientinhis serious,vehement, and grimly humor- detailed annotations. But such a milestonemostly miniature piano works. Soeven less? release warrants prestige -box packaging! James Tocco's delectably played and For the relish the Juilliards once had, Just how singular early Schumannianarecorded complete set (Pro Arte digital/ and for more vital playing and acoustics, is-in the dictionary sense of "distinctive,chrome PCD 109) is likely to appeal only toone must turn to the youthful Alban Berg exceptional, or unusual, in contrast to whatfans of the tone -portrait subjects and offoursome in Young -Lion Beethoven's early is common or general"-may be betterLenny himself. Opus 18 Quartets. These six, usually over- realized in historical perspective. Compare, shadowed by the superb middle -period and for example, Mendelssohn's series of 48Dualities. When two players of disparate transcendental late -period works, actually Songs Without Words, long as popular (or instruments join forces, the contrast ofareextraordinarily innovative-never more so) among home pianists. Edmundsound and personality may be more evident more so than in the present galvanically Battersby's straightforward performance- than true fusion. The violin/piano combina- exhilarating readings and gleaming, soni- the only complete set available on tapetion is tricky even when one partner doesn'tcally lightweight analog recordings (Sera- today-shows how charming most of thesetend to overpower the other-as in the Ives phim boxed 4X3G 6121). unjustly belittled miniatures actually areViolin Sonatas, where pianist and Ives For myself, I'll never attempt to deny (Musical Heritage/Barclay-Crocker MHSauthority John Kirkpatrick generally domi- my preference for being electrified rather 4528, double -play open reel, from Barclay -nates his lighter -toned, less projective vio- than benumbed! NF

NOVEMBER 1984 85 The Concert -Video Shell Game Is this the visual memento you always wanted of your favorite star? Choose your tapes carefully, and rent before you buy. Reviewed by Joyce Millman

BEFORE RECORD COMPANIES discovered the mid -Seventies, it seemed as if no show was Big SurandLadies and Gentlemen, The promotional value of music video, a rock complete without a camera crew scamper- Rolling Stones,were slapdash jobs that performer's best chance to achieve film ing back and forth across the stage, immor- exploited an audience of rock video inno- immortality was as the subject of a rocku- talizing every puff of dry ice and ten-minute cents and then vanished from theaters after mentary. In fact, from the late Sixties to the drum solo. Of the resulting feature films, a two-week runs. As mere filmed concerts, handful, such asWoodstockandThe Last these movies just couldn't compete on fea- Joyce Millman, who lives in Boston, writes Waltz,won critical and popular acclaim. ture film standards, and they could only be regularly for theBoston Phoenix. Most of the others, such asCelebration at counted on to appeal to a small segment of

86 HIGH FIDELITY moviegoers. But concert videos have final- sulation of Bowie's career. And Bowie, THE STRAIGHT SHOOT ly found a niche in the home market. with his alabaster skin, cold eyes, and vul- In its purest form, the concert -lengthpine smile, is an ice -blue icon, a riveting Ostensibly, this is the simplest type of video is exactly that-a concert, to be visual presence. There are no dead spots ofconcert video, but judging from the gener- enjoyed in the comfort of one's home,applause; instead, the next song's title and ally disappointing quality of most of these where the viewer always has a better -than- release date flash on the screen under aplain old taped concerts, it must be the front -row seat. These programs usually run Bowie photo from that year. the Serioustrickiest. The performance is key, so it's upwards of 60 minutes and range in price Moonlight Tour being Bowie's summationtime that record and video companies real- from $29.95 to $39.95. Since their artistic of his story till now. The video is a smartize that neither stage gimmickry nor plati- and technical qualities vary greatly, the purchase for the historically -minded fannum album sales guarantees a scintillating smart shopper will rent a tape first; you'd be setting up a concert library. Heck, I spent live show. For instance, on "Herbie Han- surprised how many of them, even those by more than $39.95 for tickets and gaso-cock and the Rockit Band," Hancock loads performers you admire, don't hold their line. the stage with the hydraulic -powered robots charm. Concert videos must be judged for "The Who Rocks America:1982 from hisRockitsong video, but the gizmos watchability (as any film would be) and for American Tour." on the other hand, is a can't enliven this competent yet uninvolv- the quality of the music (as any album ing performance. "Hall and Oates: Rock would be). The best enhance a performance and Soul Live," a run-through of fifteen of with sharp direction and editing; make you the duo's engaging pop hits (beautifully think about the artist in a new way; offer Selected Videos recorded by Hugh Padgham), can't be more than just note -for -note duplications of saved by Hall or Oates, neither of whom is David Bowie: Serious Moonlight. Concert studio tracks-although there aren't many an even remotely exciting performer. They that manage to pull it all together. For fond- Productions International, producer. Mu- sicMedia M 441(VHS & Beta), receive no cosmetic help from director Mar- ness of alliteration and consumer conve- $39.95. ty Callner, whose edit is slowed even fur- nience, I've divided concert videos into Culture Club: A Kiss Across the Ocean. ther by endless boring shots of the audience three types: the souvenir, the straight shoot. Hugh Symonds. producer. CBS/Fox 6659- applauding; we even have to wait with them and the statement. Two words of advice: Be 34 (VHS), $29.98; 6659-24 (Beta), for the encore. picky. $29.98. There are many dynamic live perform- Dexys Midnight Runners: The Bridge. ers who would be perfect for this format: THE SOUVENIR Siobhan Barron, producer. RCA/Colum- Bruce Springsteen, Van Morrison, bia VH 91055 (VHS). $29.95; BE 91055 the (Beta), Clash, Talking Heads, R.E.M., Prince. For This release, always by an enormously $29.95. Hall and Oates: Rock and Soul Live. Dan- now, though. Culture Club's new concert popular artist, is a sort of visual keepsake ny O'Donovan, producer. RCA/Columbia video. "A Kiss Across the Ocean," joins for fans.It usually commemorates a tour VH 91065 (VHS), $29.95: BE 91065 "A Night with Lou Reed" and "Roxy and often contains interviews, hit conceptu- (Beta). $29.95. Music: The High Road" as the best of the al song videos, or other goodies. One of the Herbie Hancock: Herbie Hancock and the straightshoots. "A Kiss Acrossthe best souvenirs is "David Bowie: Serious Rockit Band. Lexy Godfrey. producer. Ocean" catches the band in a sparkling per- Moonlight," a 90 -minute tape of a Vancou- CBS/Fox 6619-34 (VHS), $29.98; 6619- formanceatLondon's Hammersmith ver concert from the singer's 1983 tour 24 (Beta), $29.98. Odeon. Augmented by two horn players, a Joni Mitchell: Shadows and Light. L. A. (originally aired as a Home Box Office spe- keyboardist, and backup singer Helen Ter- cial). Perhaps the main reason for its suc- Johnson, producer. Warner Home Video 34057 (VHS & Beta). $29.98. ry, Culture Club plays with confidence and cess is that director David Mallet was work- The Who Rocks America: 1982 American zest, adding new twists to old hits, throw- ing from Bowie's concept-and Bowie had Tour. Jack Calmes. producer. CBS/Fox ing in their unrecorded racial unity anthem, as strict a hand in the look of his video as he 6234-30 (VHS), $39.98; 6234-20 (Beta), Melting Pot,and-in the cases ofBlack had in the design of his stage set. Four giant $39.98. MoneyandChurch of the Poison Mind- Roman columns filled with white light and offering live versions that surpass their stu- watched over by a sparkly crescent moon dio takes by a mile. Boy George is in fine, give the impression of an ancient amphithe- supple voice, and he shows off his unerring ater, of classicism and endurance. This drabsouvenir. The Toronto performancesense of soul phrasing and his rare ability to stunning set played to the last rows of are- waserratic, and postproduction directoremote without seeming corny.There's nas, and it plays even better on TV. Phil Tweedy didn't exert himself seekingplenty of visual stimulation, too. The stage The camera also does justice to the ways to punch up the tedious spots. In con-backdrop changes every few songs, as does subtle pantomimes with which Bowie and cert. the Who may unleash an earthquake ofBoy George's costume.It'ssnowing his backing singers interpret songs. (Suchsound (presented in all its glory, in Dolby, indoors forVictims;some audience mem- skits were lost in huge arenas like the one I by Glyn Johns), but the band isn't much to bers dressed in Boy George -drag jump went to, which didn't offer a wide-screen look at. Repeated shots of Roger Daltrey onstage during one song and dance in a cir- simulcast.) For instance,duringChina marching in place, Pete Townshcnd wind -cle around their ecstatic idol. Girl,the singers and horn players sit on milling at his guitar, and John Entwistle Throughout, director Keef alternates crates, smoking cigarettes. playing cards, impersonating a sleeping bass player areshots of Boy George and his hysterical fans and miming eating and arguing, to suggest visually D -U -L -L. The video's only clever(many of them weeping teenage girls), viv- the raucous atmosphere of noontime China- use of special effects-and its only attemptidly portraying the rapport between per- town. Mallet captures all the stage action. to reflect the spirit and meaning of this fare- former and audience. Keef also knows an but the frame never seems overcrowded. He well tour-comes duringWon't Get Fooledevocative moment when he sees one. Dur- refrains from trite shots of fist -waving fansAgain,when an animated pinball machineingChurch of the Poison Mind,he fixes on or grimacing guitarists, and he uses specialspews a montage of pictures spanning the Boy George and Terry singing to and danc- effects wisely and sparingly-freeze framegroup's career. "The Who Rocks Ameri-ing with each other in the spotlight, captur- for the serratedRebel Rebel,slow motion ca" is just your basic gargantuan rock showing in an image what Culture Club is all for the dreamyLet's Dance.Through brisk by a warhorse band, not a visual memory ofabout: a boy in makeup and a dress, a hefty editing and superb, clean sound (remixedthe Who I'd want to keep forever. Rent thisgirl in white sequins, claiming the pursuit by Bob Clearmountain), this arena specta- one; buy Jeff Stein's celebratory 1979 doc-of stardom, glamour, and romance as an cle becomes an intense and intimate encap- umentary, "The Kids Arc Alright." (Continued on page 96)

NOVEMBER 1984 87 BACKBEAT Reviews

This Is Progress

Public Image Ltd.: This Is What You Want This Is What You Get John Lydon & Martin Atkins, producers Elektra 60365 Public Image Ltd.: Commercial Zone Keith Levene, producer PIL Records XYZ 077

Originally a nucleus of John Lydon (a.k.a. Johnny Rotten), Keith Levene, and Jah Wobble, Public Image Ltd. simplified and energized a bunch of ideas that had been floating around in underground rock and the avant-garde, alluding to everyone from the John Lydon of Public Image Ltd.: rilv! fool chronic laziness Velvets to Can to Big Youth to Hawkwind. Difficult to classify, they remained devi- and Lydon's solid, hard mixture of naiveté begs, and seduces. ously obvious and as concerned with sound and enthusiasm. "Real" musicians "First Issue" and "Metal Box" arc as they were with power. In public they imi- wouldn't be caught dead putting most ofbetter records, and "Paris Au Printemps" tated subversion and constantly mocked the this stuff on vinyl: completely amateurish is probably as good; inspiration, in its pure rock industry. (and completely appropriate) bleats and sudden -light -bulb -over -head form, may be But PIL was made up of individual tal- scratches of saxophone.violin,piano. lacking. but this is still a great album. ents as much as it was made up of a unifying synths, etc. Yet it's a more coherent, better "Commercial Zone"isnot much idea, and personal laziness dogged them produced. and more inspired effort than more than a curious companion piece. If throughout.After two studio albums, PIL's laststudio record; for them,it's you believe that Keith Levene's work on 1978's "First Issue" and 1980's "Metal progress. There's plenty of aggressive rep- the first two PIL albums made him a musi- Box" (released in the U.S. as. "Second etition here, and what I'd call minimalism cian to watch, this is going to be a letdown. Edition"), and one live set. "Paris Auby default: dense patterns of sound built His guitar and synthwork is very ordinary. Printemps," bassist Wobble left. Follow- with just a few instruments. And vocals, a simultaneously too arty and quite common. ing 198I's "Flowers of Romance," the lot of 'cm, used for rhythm, melody. or tex- Bad Night,thesole Lydon vocalthat "band" moved to New York City. where ture; percussion. along with the vocals. is appears exclusively,is the most normal they drank a lot, mouthed off, and eventu-way up in the mix. The rest of the instru- thing Lydon has done since the Sex Pistols ally recorded This Is Not a Love Song. mentation forms a tight, gray web droning covered Johnny B. Goode, and at least they which was a No.Ihit in Britain. in the same simple patterns. Atkins and trashed that. Only on Lou Reed Pt. 1-a Then drummer Martin Atkins and Lydon never imitate funk; they absorb it drony, western -flavored acoustic and elec- Lydon picked up some studiohacks, and make it their own. This is dance music tric instrumental with an infectious Wob- toured, put out a duff live album, and went that's forceful, redundant, and rhythmic, blesque bass run-and Lou Reed Pt. 2 into the studio for a major label to make the same qualities that have been a constant (called Where Are You on "This Is What "This Is What You Want This Is What You in all of their work, especially the master- You Want"), does Levene unveil his re- Get." Levene-who departed after Love piece. "Metal Box." Only the new version knowned scratchy.harmonic, heavy Song and still owns half the PIL name- of This Is Not a Love Song is less than style. simultaneously released, in a white -sleeve exemplary; the skeletal playing of Levene If the Elektra record didn't exist,I bootleg format, the (mostly finished) album and Jones on the original has been replaced might speak more highly of "Commercial that he, bassist Pete Jones, Lydon, and by slick horn parts and unnecessary over- Zone"; it would have been an adequate if Atkins were working on when he left the production. Unfortunately, this single lapse anticlimactic offering from some very tal- band. His record, of dubious legality,is is a pretty visible one. ented people. But as it is, this release sup- "Commercial Zone." As for the feature object itself, the pliessubstantialevidence of Levene's "This Is What You Want" is Atkins Lydon voice,it remains one of the most mediocrity (at least within the context- distinct,powerful, and creativelyused confines?-of P1L), leading us to the con- For additional reviews of Pop and Jazz instruments this critic has ever heard. From clusion (unthinkable prior to these two LPs) music on videodisc and Compact Disc, shrill whine to basso swoon to blubberythat PIL is better off without him, at least in see NEW TECHNOLOGIES. conversationalrap.itmocks,accuses. the short run. TIM SOMMER

88 HIGH FIDELITY The Bangles: All Over the Place fab four format the Bangles have chosen to with whom he was good friends, McCor- David Kahne, producer explore, but on Dover Beach, when Hoffsmack's repertoire was rooted in classical Columbia PFC 39220 sings, "If I had the time, I would run awaytradition: he was a master of Handel and with you," she makes it clear that for work- Mozart librettos, a scholar of Schumann, With their stunning major -label debut, "All ing women in 1984, professional ambitionDonizetti and Bizet. Over the Place," the Bangles fulfill thecan overshadow emotional pleasures and He was also a superstar. Immensely promise they showed on 1982's indepen- obligations. On Restless, Vicki's mellow popular in America, McCormack was one dent EP, "The Bangles" (which soldalto rises up to challenge the double stan- of the recording industry's first million- 35,000 copies). and as the backup act for dard, and on James, Hoffs expresses disap- selling artists, and his tours -which fea- the English Beat's last American tour. Hey, pointment, and anger. at having let a mas- tured a mix of classical songs with pop bal- you don't get this good overnight! All fourochistic relationship go on too long. ladsandIrishtraditionaltunes -were women, now in their mid -twenties, came of It's points of view like these that make standing -room -only affairs. age in the Los Angeles area, where they dug the Bangles more than a girl group with gui- The 21 selections on "The Irish Min- the Beatles. the Stones, the Everly Broth- tars. As Vicki pointed out recently, '60s strel," released as a "centennial tribute" ers, the Seeds, and the Mamas and the "girl groups." more often than not, simply (McCormack 'sdates:1884-1945),arc Papas. Peterson sisters Vicki. on guitar and reiterated the male perspective on female mainly popular pieces: lilting Irish airs, vocals, and Debbi. on drums, began play- roles in relationships. So while the Bangles' melancholyballads,heartyupbeatan- ing together in the mid -Seventies and met accessibly poppy sound (softer than, say. thems. Their audio quality is not good; guitarist -vocalist Susanna Hoffs in1981 the Go-Go's' "Talk Show") seems des- although they've been remastered and elec- through a "musicians wanted" ad in an tined to break the Top 40, it remains to be tronically enhanced, they still sound like L.A. paper. A year later, bassist Michael seen whether there is a mass audience for scratchy old records from more than a half - Steele.a woman who hadpreviously attractive,competent. pop craftswomen century ago. which is exactly what they worked in the studio with Slow Children. who, in their words. "won't feel bad at all are. replacedtheBangles'originalbassist. when the hero takes a fall." Let's hope In a way, though. the steady rustling Annette Zilinskas (now singing with Blood so. ROSEMARY PASSANTINO surface noise is half the LP's considerable on the Saddle). charm. Listening to the sweet melody of Musically, the Hoffs-Peterson song -John McCormack: The Irish Minstrel Down in the Forest -while a tinny orches- writing team comes up with a sweet pas-John Pfeiffer, reissue producer tra ushers up gusts of rhythm and sweeping tiche that pays homage to the guitar -and - RCA ARM 1-4997 embellishments and McCormack warbles at vocal -oriented pop of the mid -Sixties: but full throttle -is the musical equivalent of their lyrics, sung in soft. full-throated har-John McCormack was Ireland's answer tositting in a house filled with exquisite mony. arc decidedly the result of postpunk Enrico Caruso -a near -legendarytenor antiques. The mood established is both lux- female bonding. There's no place for overt who wowed music lovers the world over uriously beautiful and completely of anoth- flag-waving amidst the pleasantries of the with his robust, emotive style. Like Caruso, er time.

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Accom- before, and the set was full of familiar and well ,09 pop panied solely by Edwin Schneider's dili- personal references to Longhair. Little Wil- gent piano. McCormack infuses the music - lieJohn, Duke Ellington,and Bobby for the corn! hall tune By the Short Cut to the Rosses with Womack. Along with a nonpareil reading Xllsop iinproN es sight, son a sense of slightly reckless reverie. of Aaron Neville's 1966 hit Tell It Like It Is. ...ancl taste! Buy an award - Today no one could get away with the these referencesareillustrativeof the p. winning Allsop 3 VHS or Beta cleaner and get your cornball patriotism of Ireland. My Sireland band's rich heritage. hands on afire 3 oz. bag of and Ireland, Mother Ireland. the sappy lyr- The Nevilles push percussion to the theatre quality Video PopIN icism of Love's Secret, the lush poesy offoreground. mess around with the beat, and popping corn. Tennyson's Now Sleeps the Crimson Petal. hang back with the clatter, to create a sound It's the perfect treat for inter- But then, no one is trying to. Yet there's that's loose, but not too loose. Their konk- mission! Pop in your Allsop ka-klonk precision on Mojo Hannah is like 3 VCR cleaner-the something good and fine about the fact that specially formulated these songs were once rendered with such the Coasters gone south; Womack's Wom- solution and non-abrasive rib- gusto and charm by a voice both melliflu-an's Gotta Have It keeps things lively; and bon remove harmful contam- ous and keen. And that they have been pre- Fear, Hate, Envy, Jealousy makes nuclear inants from critical VCR parts. proliferation sound like a way to ruin a per- Reach for the best cleaner served. around and the tasty Video RCA's Red Seal division has issuedfectly good party. On Aaron's ballads. Pop1M popping corn and set your - several other McCormack collections. The they're able to connect '50s doo-wop. '60s sights for better video enjoyment. best of these is "John McCormack: A Leg- soul, and '70s Afro -funk without coming Look for Allsop's hot, new display at your endary Performer" (CRM 1-2472). which across as forced or self-consciously eclec- video dealer's. Act now, the show's about was digitally restored. It retains some of the tic. to begin! tinny audio quality while brightening the In New Orleans r & b, the Nevilles arc performances with a more resonant sound theFirstFamily (literally-the group texture. You may prefer it;I don't. includes brothers Art, Aaron, Charles, and STEVEN X. REA Cyril, plus Aaron's son Ivan), and with GOO roots in the Hawkettes. the Meters, and oth- The Neville Brothers: Neville-ization er famed N.O. bands, they have come to

1 2k."' 2 S. Hammond Scott, Art Neville, & represent traditionin a city where that ) W. Barry Wilson, producers counts for a lot. On this LP. they pay tribute Black Top 1031 (distributed by Rounder) to the past without being trapped by it. Down at K -Paul's in New Orleans, World Leaders in Hi -Tech Care Products "Neville-ization" is a winding, scenic tour you can enjoy a Cajun martini, which is made by marinating jalapeno peppers in gin - through the blue highways of soulful funk. New Orleans's Neville Brothers have been overnight. "Neville-ization" has a similar making sweet, strutting music for three kind of hot/cool kick; this music travels decades, and this album-recorded live in very well. MITCHELL COHEN jazz

Gene Bertonciniand Michael Moore: Rachmaninoff, and Gershwin. So far this Close Ties eclecticism may sound like one of those Gene Bertoncini, producer musical shotgun weddings proposed by OmniSound, GJB 334 (P.O. Box 128. Claude Boiling, but "Close Ties" has less Delaware Water Gap, Pa. 18327) pretentious and more practical aims. Ar- ranger Bertoncini isn't out to "jazz the clas- The guitar -bass team of Gene Bertoncini sics," or find the missing links between the and Michael Moore isn't going to beat you high and popular arts. He and Moore don't over the head to get your attention. They treatthe classics with kid gloves; they approach them as beautiful melodies to be o have a quiet, penetrating sound, with a sophisticated repertoire to match. Compo- played and improvised on. sitions by Ellington and Strayhorn arc "Close Tics" may be mellow in tone,

. -" r mixed with reworkings of Bach. Ravel. but itisn't ruminative; there is plenty of A I.L.SOP, INC., P.N. licix 23.1kIlingha (061714-91190. Telex if -211)l /Allap WA I. 90 HIGH FIDELITY solid and involving playing. There are no upon the momentum of bass drum and cym- baldi Isle is a compositional extension of "big" moments, but attentivelistening bal riffs for his guttural chants. Clarke, the hisironic garage -sale percussionstyle. always reveals flashes of remarkable instru- man who helped to invent bop drumming Cyrille's two compositions, No. II and mental prowess. Although he uses the clas- by liberating the instrument from the stric-Drum Song for Leadbelly, are both remark- sical guitar almost exclusively, Bertoncini tures of swing. is a lyrical finesse player. able for their animated tap-dance rhythms. studiously avoids the acoustic camps of He develops a theme, repeats it. shrewdly Moye's pan bass drums, Graves's bongo both the old guard (Charlie Byrd) and the disassembles it. and hits his bass drum atpatter, and Clarke's steady, insistent cym- young lions(Ralph Towner. John frequent butirregularintervals without bal are an earthy support for Cyrille's hes- McLaughlin). His playing will not satisfy dropping a beat. itatin'-funk-meets-African-ring-game solo anyone looking for frenetic fretwork; his is Each player also brings a composition on No. 11. The rimshot vamp, guitar rag a rush not of technique, but of feeling. to the session. Clarke's fast -paced bebop rhythms, and hollow cardboard box tone of grace, and intelligence. march, Laurent. is based around four -barLeadbelly successfully evoke the writer and Moore is his low -register counterpart. exchanges between soloists and ensemble. his songs. Graves's Energy Cycles harkens He gets a tawny. sensual tone from hisThe unifying theme is Clarke's patented back to the days of the furious avant-garde. instrument unlike that of any other bassist. "Klook-a-mop" figure and chorus -endingBut Graves is able to create clarity and sus- His bowed solo on the "funk" section ofcymbal flurries. Moye's atmospheric Ni- tain a focus while mixing an assortment of Gershwin's Piano Concerto No. 2 is a great example of his art: The phrasing is low- down and dirty. but each note retains its clarity and richness of sound. SONEX looks In its audacity, piquant romanticism. and sense of intimacy between the two as good as it players. "Close Ties" can be compared to the legendary Bill Evans -Jim Hall duets. sounds. Bertoncini and Moore are too good to SONEX traps sound four times remain the best -kept secret in jazz. STEVE FUTTERMAN better than rich, thick carpeting, so just a few squares can tune your room like recording engineers tune Andrew Cyrille, Kenny Clarke, their studios. It's easy to hang, Famoudou Don Moye, & and it looks good. Write for our Milford Graves: Pieces of Time color brochure, or try a box Giovanni Bonandrini. producer today. Four 24" squares per box. Soul Note/PSI SN 1078 Send $39.95 plus $3 shipping/ Contemporary musicians who explore the handling to: 3800 Washington potential of the drum ensemble quickly Ave. No., Minneapolis, realize that a gaggle of thumpers, whack- MN 55412. ers, rollers, and clunkers can neither reproduce the rhythmic complexity and unity of the African drum choir nor approach the albrudc sheer virtuosic presence of the other instruments without some serious work. Drum- mer Andrew Cyrille, the nominal conceptu- alizer of "Pieces of Time," has devoted much of his career to developing an orchestral and conversational approach tohis NOW AVAILABLE instrument. Like Max Roach's structured, songful THE NEW percussion ensemble M'Boom and Jerome 4, A Cooper's one -man -band, blues -bush con- de coctions, Cyrille and associates-bebopper 4 SCHWANN Kenny Clarke.thebewitched Milford 4411! Graves, and Art Ensemble percussionist / ARTIST Famoudou Don Moye-have wedded elements of jazz improvisation, African com- munalism, and blues immediacy with com- ISSUE position. And though the quartet is com- The unique classical music guide. posed of individual dialects, it has only one Presenting over 25,000 classical collective voice. recordings listed by orchestra, trio, The title tune, a series of two -minute quartet, conductor, soloist, vocalist, solos, clearly presents the nuances of the choral group and operatic company. four players. Cyrille, the most physical of tr: the four, incorporates marching band and Reserve my copy of the new SCHWANN ARTIST ISSUE rculation Dept825 Seventh AveNew York. NY 10019 funky chicken licks into sequential themes Schwann Mist Issue. NAME in a stutter -step rhythm. Moye builds his I enclu.,e just $6.95 (plus $1 for solos fastidiously from the ground up, start- postage and handling) for each ADDRESS APT # ing with bells and ending with a full trap copy. Number of copies_. CllYSTATE ZIP set. Like a preacher who needs his congre- Amount enclosed gation. Graves is a trance player dependent PAYMENT MUST ACCOMPANY ORDER PAYMENT IN U S CURRENCY ONLY PLEASE ALLOW 6-8 WEEKS FOR DELIVERY SAM

NOVEMBER 1984 91 I, James Brown

James Brown and the Famous Flames: sive tone and timbre. Brown delves into The Federal Years ... Parts 1 and 2 Latin cross -rhythms to fill out his back -to - Rico Tee & Marty Arbunich, compilers Africa new -beat. The interplay between Solid Smoke SS 8023 and SS 8024 horns, guitar, drums, and voice onLet The James Brown Story: Yourself Go,the tug between bass drum and Ain't That a Groove, 1966-69 voice onMoney Won't Change You,the Cliff White & Cheesesteaks Unitd., booming downbeat of/Don'tWant Nobody reissue producers. Polydor 821 231-1 to Give Me Nothing (Open the Door, I'll The James Brown Story: Get It Myself),the rumbling piano and Doing It to Death, 1970-73 drums set against the chinking guitar on Cliff White & Cheesesteaks Unitd., Ain't That a Groove-alldrive the point reissue producers. Polydor 821 232-1 home. That scratchy guitar is the glue holding these rhythms together, providing coun- EVEN ON HISearliest songs, the moment terpoints to the drums and fractured bass was sometimes there. Those were conven- line ofGet It Together,providing the hook tional rhythm-and-blues records, with little for the demonic /Can't Stand Myself When improvisation, and James Brown sang the 9You Touch Me.ByGive It Up or Turn It lyrics straight. But once in a while, he Loose,it's also apparent that Brown is would break suddenly from the arrange- improvising his materialinthestudio,

ment and begin sputtering, "I . .I. . . I searching for that endless groove. 0 Which he finds on most of "Doing It I, James Brown. Has anyone else in to Death," an unabashed celebration of his popular music poured out more of his self own vainglorious self. He and his band, the while still clinging to it so tenaciously? Reviewed by JBs, are down to one chord now, and the These four reissues document most of John Morthland drums are there not just to carry it, but to the important stages of Brown's career. The give it resonance and coloration: rhythm for first two albums gather 30 of the 36 sides he its own sake. Lyrics, if any, are an after- cutforFederal,the King subsidiary,tight ensemble playing. The Famousthought. When a soloist is spotlighted, as between 1956 and 1960, before he moved Flames are subservient but alwaysright organist Bobby Byrd is onMake It Funky, up to the parent label. The third picks upthereas backup singers. The themes usually Part2, he plays his own hypnotic rhythm right after his polyrhythmic "brand newcome from blues, but even at this stage, track on top of the band's. But most of the bag" breakthrough and spans 1966-69. Brown is not singing blues so much as he is time, as onBrother Rapp,the JBs throb And the fourth covers the urban Americannascent soul. His vocals, derived from along as a single instrument, rushing to the voodoo incantations of 1970-73. those of the Rev. Julius Cheeks of the Sen-bridge, itself only a slight variation on the Brown first hit in 1956 withPlease, sational Nightingales, are direct and unvar- main theme. Please, Please(not included here), but nished, blatantly sexual. From the baleful- The albums that yielded the sideson didn't score again until two years later withnessof Wonder When You're Coming "Death," as well as the sets that followed Try Me.His earliest influences ranged from Hometo the deep (and deep -voiced) hurts throughout the Seventies, had a lot of filler; contemporaries such as the "5" Royales,ofWhy Do You Do Me tothe confused ulti- Brown lost his own edge just as his tremen- Little Willie John, and Hank Ballard and matums ofI'll Go Crazy,he is edging intodous influence was becoming evident in the Midnighters to jump blues godfathers vocal and/or thematic territory new to popdisco and in the music of Parliament-Funk- Wynonie Harris and Roy Brown and cock- music. And onGood Good Lovin'he lays adelic and other street funk bands. His most tail bluesman Charles Brown. Thus,No, the groundwork for his future style: Therecent in a series of "comeback" singles, No, Noand /Feel That Old Feeling Comin' horns are percussive, the guitar is percus- Unity,with hip -hop figurehead Afrika Onfrom the Federal reissues offer onlysive, the Flames are percussive, and the Bambaataa (Tommy Boy TB 847), finds minor, if dynamic, variations on the jump drum fills keep kicking the song up anotherthe common ground between the two gen- blues format, whileThat Dood !tfollows notch. Even the squawky sax solo is unusu- erations by uniting his crisscross rhythms, the novelty blues vamp of something likeally rhythmic. riffing horns, and scratching guitar with the Johnny "Guitar" Watson'sGangster of He cashes in on that formula withechoing, machine-gun beat and slicing Love.In his quest for follow-ups, BrownBring It Up(1966) from "Ain't That asynths of 1984. Brown and Bambaataa was not above cannibalizing his own orGroove." There is no blues left in these deliver vocals halfway between singing and anyone else's prior successes;I've Got torhythm and blues;itisall rhythm andrapping. Their impact is frittered away by Change, I Won't Plead No More,andItexhortation. The trademark screams, for- Bambaataa's possessive attempts to dupli- Was Youcrib freely fromPlease, Please, merly thrown in at random, are now whatcate Brown vocally, by their decision to PleaseorTry Me,just asLet's Make Itthe song is built around; often, theyarethe include six barely different variations on quotes the horn riff from the perennial r&bsong. The Flames are gone, and Brown is one 12 -inch record, and by some between - warmup/ workout, Bill Doggett'sHonky delivering his cocksure message-whethersongs mutual backslapping obsequious Tonk. literally onDon't Be a Dropoutor figura- enough to make Sammy Davis, Jr., cringe. Though there are obligatory horn solostively onLicking Stick-alone. But it remains a thrill to have the 50 sides of and an occasional solo bridge provided by Along with its assertiveness, the em- bedrock American music on these four reis- guitar, these Federal sides are marked byphasis of his voice now focuses on percus- sues finally back in print. NF

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"Historic Concerts," 80 minutes of unin- STEREO CATALOG terrupted improvisation by pianist Cecil Taylor and drummer Max Roach recorded and FM DIRECTORY at Columbia University in 1979, isn't the Get all the newest and latest information on the new cross -generational dialogue it purports to McIntosh stereo equipment in the McIntosh catalog. In be. Although he has incorporated postbop addition you will receive an FM station directory that elements into his style, Roach still defines covers all of North America. the crisp momentum and off -center synco- pations of bebop drumming. Only eight years his junior, Taylor is nonetheless a father figure of the free jazz era and its fol- lowers, who rebelled against the formal constraints of bop. In theory, an encounter between the two should have found common ground somewhere in the middle: Tay- r lor might delve into structured time and har- McIntosh Laboratoryinc. HF1184 East Side Station P.O. Box 96 mony for a change, Roach could loosen his Binghamton, N.Y. 13904-0096 strict rhythms and play with unmetered freedom. SEND But "Historic Concerts" is a meeting NAME on Taylor's terms. He might be an icono- ADDRESS clast, but that's what's limiting about him: TODAY! you can't share being unique. Forced to CITY STATE ZIP step beyond self-imposed boundaries, L

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,w 1030 SPECIAL PURCHASES or ALTFC 310 on ALL VHS and Beta Ht-Fo's our $107ea CA LL WDS ChoiceGiant Floor - Standing FOR THE BEST 3 -Way Speakers DELIVERED PRICE * We Discount Most Major Brands r:7-7 maa C.O.D. * Oldest Mail Order And Best Consultants In The Country * All Products We Sell Carry Our Famous Buyer Protection Plan * Call For Prices On Other Specials or Call 608 271-6889 TOLL FREE 800456-9514 Weekdays 9-9 Saturdays 10-6

Cecil Taylor meets Max Roach, sort of OUR 18th YEAR IN ELECTRONICS

TOSHIBA inward approach makes Roach's instinctive WALK MANS KTRS I AM/FM Auto Rev Rec response that much more thrilling. To Dolby 96.95 SONY NEW KTS1O Smalle match Taylor's richness and variety, he TCS 350 79.95 player in the world 99.95 emphasizes the distinct parts and sounds of SRF 33W AM&FM AIWA compact HRS01 Headset 37.95 his drum kit. You become aware and listen 39.95 WM II Executive . 89.95 HRS02 Headset New44.95 for his choices. WM 8 Cass. w/FM 35.95 CR01 Mini FM 39.95 Part One(each part encompassing a WA 100 w/Stereo F4S,1300 Auto Reverse AM/ FM VIDEO HIFI Speakers 139.95 cass 114.95 side)is an all-out energy warmup that. The Ultimate in Audio WM 16 Auto Reverse 59.95 HSJI 10 Auto Reverse Visual Equipment WM F8 Cass. w/AM -FM99.9 5 w/Detach Speaker 119.95 while energizing,is the least involving HSPO2 MK11 Dolby Auto BETA MOVIE WA 200 Auto Rev section for me. The fun really begins on 1 20.9 5 Rev 87.95 Everything all in one Record Part Two,when the duo quiets down a little camera. Now only WMF 5 Water Proof 89.95 AUDIO TAPES SRF 5 Water Proof. 46.95 SPECIALS OF and starts experimenting with rhythms. 849.95 WMDC6 Pro w/ Sold with nattery & AC THE MONTH Roach accompanies and reacts to Taylor's Dolby C 239.95 Maxell UD XLII C60.... 1.99 PANASONIC WM 10Small cass . 59.95 multidirectional jabbing by setting up mut- PV 1730 VHS HiFi 4 head Rmt Maxell UD XLII C90...1.95 WM FIO Small cass TDK SA C90 1.88 Reverse. Play CALL w/FM 90.95 ed African cross -patterns. Then he varies RCA TDK D 60 .89 the mood by turning to his high -hat, offset- VKT 550 5 heads. VHS, HiFi, PANSONIC TDK D 90 .90 AM & FM Auto Reverse MIL tingthepianist'srumbling Wireless Rmt. Deluxe CALL Sony. CHF 60 .79 twists and VKT 650 5 heads. H,Fi. I year Tape. Dolby. Ultra rnm.68.95 Sony. CHF 90 .89 turns. program on Screen SANYO Sony Audio Head Off -kilter lyricism marksPart Three. Display CALL MG 27 w'AMFM 32.95 Cleaner 1.59 VKP 900 799.95 MG 41 w,AM-FM 38.95 Minimum order 12 tapes as Roach abandons his kit for hand percus- WE CARRY A FULL LINE VIDEO 45 MUSIC TO YOUR EARS EYES sion. With Taylor caressing pointillistic fig- OF VIDEO EQUIPMENT. Michael Jackson The M.. tof Thriller 23.90 ures, Roach rattles, twirls, and shakes. The CALL FOR THE LOWEST David Bowie.... 13.95 Sheena Easton ..13.95 PRICES IN TOWN. Elton John 13.95 Kim Carnes ... 13.95 tempo then quickens as waves of tom-toms Phil Collins 13.95 Ashford Simpson . 13.95 wash over more quicksilver piano. Iron Maiden 13.95 Lionel Hampton 13.95 t Billy Joel 22.95 Duran Duran 13.95 The only solos are onPartFour. Tay- LARGEST BETA INVENTORY IN THE COUNTRY lor begins by treating us to an unexpectedly HIFI NEVER SOWNOCCE At L PRICES IN Ti.,1` A-1 FOR MAIL ORDER ONL LOOKED SO GOOD. tonal ballad. Roach's equally beautiful fea- Large selection of ture is memorable for its pacing and care- stereo televisions with Call Toll Free fully sculptured use of space. Cueing into prices 9 -at can't be beat. SONY. RCA, each other again, the two build to a dynamic ZENITH. SHARP, 1-800-223-3411i:. PANASONIC. (718)871-7600 Commodore 64 Comp,... 174.95 with purchase of peripheral NOVEMBER 1984 95 Ikk SEND FOR OUR NEW and triumphant climax. Ere. bandleaders, Shaw became interested Not every moment of "Historic Con- in and stimulated by the beboppers who certs" is riveting; almost an hour and a halfevolved out of 1940s jazz. At times he FREE 40 PAGE of intense, unstructured playing can wearsounds like Buddy DeFranco, thefirst down both player and listener. It might not bebop clarinetist, although the distinctive HI-FI DISCOUNT be the encapsulated history of postwar jazzoutlines of his playing are unmistakable. that some expected; still, it forces us to con- The 1954 group included Hank Jones, CATALOG No.65 sider musical boundaries, and how easilyTal Farlow, and Joe Roland and primarily they sometimes can be broken. played enlarged versions of older pieces. STEVE FUTTERMAN Tape allowed the soloists to develop their Lowest prices thoughts more fully than the original three - on audio components! Artie Shaw: A Legacy minute 78 -rpm records did, as Gene Lees Fast service! Book -of -the -Month -Club Records 71-775 points out in his insightful notes. Shaw's Fully insured! (four discs or two cassettes) playing on Dancing in the Dark, for exam- In factory (available by mail only; see text) ple, is richer, warmer, and more probing. sealed But sometimes hishead seems tobe cartons! This Artie Shaw "legacy" is not concernedcrammed with songs of the '20s and '30s, with his big bands or the small group, thefrom which he keeps quoting pointlessly. Gramercy Five, that came out of them. ItJones and Farlow, at early stages in their has nothing to do with the big band he's careers, are consistently lean and thought- (('Itiuna currently sponsoring. Instead, "A Legacy" ful. The best piece is the sextet's sole ad- documents the beginning and the end ofventure, Shaw's then -new Sunny Side Up. LREPRODUCT10111,inc. Artie Shaw's career as a leader (he quit the Hearing him apply tone and technique to (201) 227-6720 music business 30 years ago), and shows Mozart and ride herd on the elephantine CLIP & MAIL TODAY! him in unusual settings. Whiteman orchestra are added treats. "A gismEmmimmiemsmeem.rfAmi These are revealing performances. We Legacy," both a curiosity and a revelation, 0Sound Reproduction. Inc -7 hear the way he started, by leading a string shows what Shaw was getting into when he I 7 Industrial Rd.. Fairfield. N.J.07006 Iquartet and a rhythm section in a perfor- walked away from his career. I Please rush your tree Hi -Fl Discount Catalog I mance of Interlude in Bflat ata jazz concert ["A Legacy" is available by mail in NewYork in 1936. The sensitivity of hisorder only from Book -of -the -Month -Club I Name shading with the strings, his clean, silvery Records, Camp Hill, Pa. 17012; $27.95 I Address tone, and the tumbling loops of his phrasing (same price for discs or cassettes) plus are all there. And we hear how he finished; $1.75 shipping and handling; New York ICity I three quarters of "A Legacy" is devoted toand Pennsylvania residents add sales tax.] I.....State Zip his 1954 sextet. Unlike his fellow Swing JOHN S. WILSON CONCERT VIDEOS cert with In France They Kiss on Main

(Continued from page 87) Street ("In the war of independence, rock inalienableright. "A Kiss Across theand roll rang sweet as victory"); this is a Af° Ving Ocean" is a delight to watch over and over; succinct equation of a teenager's identity Be sure and send us your new it may turn out to be as essential a rockstruggles and those of a strong-minded, address 8 weeks before you move artifact as The TAMI Show in expressing the hopelessly romantic artist. It's a shame that so you won't miss any copies of flavor of its time. Mitchell's intelligent and ambitious video HIGH FIDELITY. statement is virtually one of a kind. And please include an old mailing THE STATEMENT Another largely untapped potential of label from our magazine when concert -length videos is their usefulness in writing us about your subscription. So far, only a few pop artists haveintroducing relatively unknown perform- Write to: HIGH FIDELITY, regarded the concert video like an album: a ers. Dexys Midnight Runners is probably P.O. Box 10759, Des Moines, Iowa 50340 chance to make a statement. Joni Mitchell'sthe least -known group to release a concert Change of address. "Shadows and Light," which the singervideo ("The Bridge"). The band is flawed Enter new subscription. 1 yr. $13.95 directed and co -edited, is more than just the but enjoyable on record. In this show, how- payment enclosedCI bill me visual sequel to the live concert album ofever, leader Kevin Rowland is so pompous Add'i postage: S6per year outside U.S., its pons the same name. Mitchell enriches an excel- (not to mention off-key) that the video is AFRX LABEL lent date from her "Mingus" tour withoften annoying. Record and video compa- pithy, well -placed snatches of video; the nies ought to choose powerful performers It you have no label handy, print OLD address here effect is comparable to seeing a performerwho can win instant converts, such as Joe in concert and suddenly understanding how Ely, T -Bone Burnett, and Los Lobos. all the pieces of her career fit together. But the most tantalizing potential of 1 This particular show was held out-concert videosisthe opportunity they doors at dusk in the Santa Barbara County afford to bring home a truly special perfor- Bowl, and the calm natural lighting is well mance, not only to those of us who missed L_ ... suited to the tranquil earthiness of Patout, but to those of us who want to cherish it New Address Metheny's guitar and Jaco Pastorius's bass and puzzle over it. How nice it would be if name (the sound is lovingly mixed by Andythis medium could be responsive to the please print address Johns). Opening with a scene from Rebel great expectations of consumer -fans and to Without a Cause-James Dean stalking in their small prayers as well. Of course I'd be front of a flickering TV set-the video cuts happy with a video of the Jacksons' "Vic- tory" tour, but I'd be even happier if Elvis ziPcode to a clip of Frankie Lyman and the Teenag- ers singing I'm Not a Juvenile Delinquent, Costello's recent solo acoustic dates had FOR EVEN FASTER SERVICE then jumps to Mitchell launching the con- been preserved for posterity, too. HF CALL TOLL FREE 14800)-247-5470 G3031 96 HIGH FIDELITY High FACTCRY ORIGINAL DIAMOND Quality Tapes NEEDLES & PHONO CARTRIDGES. Fidelity This Maruh s Super Specials MOST POPULAR LINES AT DISCOUNT sA140 1.05 MAX1-1.1. 01301. 11 90 IDE SA 60 TIO MAXFJ_L UDXL. D 9 PRICES. FOR FREE CATALOG SEND IDE SAX 90 2.49 MAXELL XL 11 590 Classified TDK SAX 00 2.49 MAXEU. 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Nsi S 9.99 TEAC CRC 90 HO Ina, Reel 99 .119 Write McGee Radio Electronics 1901 McGee Street. ON I APE. CARI SI 11.49 5101/0 TAPI 01.1 A. AN date.15 Word minimum No charge for Zip Code. Kansas C.ty. Missouri 61408 TDE MAXELL ex SONS T.II or 1..754 5.49 CLASSIFIED RATES: regular type, per word: 1 x--$2.75; IDE or MAXELL on SONY T.110 or 1.750 MO Grade 7.49 3x-$2.65. 6x- $2.55: 12x-$2 45 Words in caps -156 ORDER .90140 CALI. 714434/3417 FROM ANYWHERE! HALKAAAICI-11 XOETEIll ACCUP.ASE LUX %MICRO BEIKI 11/ ORDER 53 MAIL: IN CONTINENTAL L S. ADO 53.51 FOR extra each. IMPERIAL type, per word: lx -$3.75; 3x- SHIPPIA1; ORDERS CP TO 570. IF ORDER LS OVER 870. ADO 5% t ALL JAPANESE HIGH -END Of TOTAL. ORDER ELSE% HERE. IN U.S. ADD P.00 OS ORDERS UP 53.65; 6x-53.55; 12x-$3.45. Words in caps -15C TO 570. O OVER ADD 104. FOREIGN ORDERS ADD 510.50 ON extra each. Minimum 15 words. Box numbers: $3.00 ORDERS1. 13 TO 570, OVER ADD 15%. ISAMASTERCARD DISCOUNTED ADDITIONAL 3% HANDLING. America's Largest Selection g additional per insertion to cover cost of handling and 0 QUALITY TAPES OVER 100 CARTRIDGES, 50 TONEARMS, postage. Display. per inchlx$350. 3x-$340: 6x- swt F.act 7th Street. Dept. 11111. lirookhr. NV 11230 6 30 TURNTABLES, 100 ACCESSORIES, 6 MORE a Lic, PAGE CATALOG - 5 3 00 $330: 12x-$315. PAYMENT WITH ORDER: Send n 4 check. KO.. MASTERCARD or VISA No. and expiration JAPANESE STEREO i > 930 N. Lt. Gmr.ayas Blvd. n date to: Cecelia Giunte, Classified Dept.. HIGH THEY DON'T DISCOUNT IT? WE DO! C LE Angeina,CA 90009 (213)669.8650 0 HAEC NIONP1-101,11C BONY EH EIEIPMIT ENTRE /TAX FIDELITY. 825 7th Ave.. 6th Floor, New York, NY 10019 GET LOW PRICES on ALL types of audio equipment -including high -end ELECTRO-VOICE DEALER -Speaker Components. For Sale and even esoteric products not Interface, Sentry. Professional Microphones, Mixers, normally discounted! Now we can save Equalizers. 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Hans Stereo Pro Audio Pyramid Audo Stereo Town CA 90038 Team Elect ARKANSAS Stereo Bun TENNESSEE Coliege H, F HI Fl SYSTEM TEST RECORD. System frequency ARIZONA Lindsay Ward Jerry s Audo Sound Concept response, separation, cartridge separation, rumble, white CAUFORNIA XAS Absolute Audio Audio CenTEter noise and more. Professional quality, mastered at1/2 Ametron CORPORATION Audio Video Audio Consurtants FLORIDA IOWA MISSOURI Sound Chamber Austin Audio One. Inc speed. $9.95 each. Check. m.o. or C.O.D. 10P. Suite #43, Audio Gallery AIL Pro Sound A...sExrrturn Antech Labs Iry Sound Odyssey Beaumont Sound Acid. Speciatry Audio Encounters Best Sound Sound Stage AudiAudio B M Electronics 2395 Oakland Road. San Jose, CA 95131 Audio Today Audio Labs Hawkeye ElectronKs Stereo Bud Square DealBranchBr Patton Calif Sound Works Audio Spectrum Inn. Stereo Lab Conlon, Sound Catania Audo Tech Pa nwa ectoncs VdeoW sOpor Stereo Plus Electric Ear Century Stereo Audio Video Sound World Radio Thaka it, FI El Centro Sound JAZZ BLUES, BUDGET ROCK. BELOW LIST. Free Cat- CAM Stereo Unkm.ted Brandsmart Stereo Sound Sludros Transcendental Audio Herod s Ektrctromcs Dexter s H, F. BrOadCaSI internatana, MONTANA Une

98 HIGH FIDELITY ELECTRONIC REPRESENTATIVES NEEDED!! Compact Discs Equipment for Sale Lowest Possible Prices!! Over 100 Brands! Audio -Video - Car Stereo -Computers. Electronic Experts, 1000 Orange HIGH PERFORMANCE AUDIO PLUS Ave., West Haven, CT 06516 COMPACT DISC CENTER CAR STEREO AT A LOW. LOW PRICE. TELEPHONES: Earn at least 30%, start your own phone P 0 Box 616. Clifton Park. NY 12065 Featuring: ADS, Advent. Aiwa, retail business at home or in your store. Send $3.00 for (518) 664.2550 Alphasonik Alpine, Amber, AR. Audio our wholesale catalogues of all the major brand tele- Many Discs S13.99 Source, Blaupunkt, Bose. Celestion. phones. refundable with first order. A.D.S. Distributing, Quantity 10 and over only S12.99 Clarion-Audia, Concord, DBX, Denon, Dept. HF245, 245 Salem Street. Woburn, MA 01801. 52.00 Cont. U.S. shipping FREE CATALOGUE Dual, Dynavector, Energy, Grace. Grado, SEEKING A DYNAMIC OPPORTUNITY? Harman-Kardon, JBL, Kenwood. Nationwide Company offers secrets to financial success! Kyocera, Mitsubishi, Monster -Alpha, Details. Newlife Enterprises, 70-34 72nd Street -A, Glendale, NY 11385 COMPACT DISCS & ACCESSORIES. Onkyo, Pioneer, Pyramid. Robertson Call TOLL FREE 1 -800 -ALL -DISC (in Audio, Scott, Sherwood, Signet, Inventions Wanted Connecticut 1-452-0203) For FREE Soundcraftsmen, Sound Dynamics, CATALOG M -F, 10-8, Saturday 10-7. Sony, Systemdek, Tandberg. Thorens, Invention::, ideas, new products wanted for presentation Sunday 10-4. All Disc Music Inc.. 133 Vampire Wire, Wharfedale Diamond, to industry and exhibition at national technology exposi- tion. Call 1-800-528-6050. Arizona 1-800-352-0458. X831 Wheeler Road, Monroe, CT 06468. Walker. others. Providing: professional advice, personal service, "no rush" COMPACT DISCS AS LOW AS $9.99. Miscellaneous Single CD's -Warners $9.99. ECM, Nonesuch $10.99. showroom, prompt shipments, free CBS. RCA, A&M. Verve $11.99. London -DG -Philips delivery and set up trade-ins, extended -ERMPAPER catalog -306 pages -15,278 papers $12.99. Every Label Discounted. Order By Artist, Title, warranty. RETAIL -MAIL ORDER - available. Rush $1.00. RESEARCH, 11322 Idaho, Label. Send MC 'Visa (Include Expiration Date), MO. a206HT, Los Angeles. 90025. (2131 477-8226 Check. Add $2.25 Shipping 1st Disc, .50c Each EXPORT. Call 12 Noon to 7PM E.S.T., or Additional. Or Send $2.00 For Catalogues And $25.00 Of write today (regarding specific make National Consumer Music magazine in- Discount Coupons. Classic Diversions, Box 1923. and models), HAROLD MINTO, terested in obtaining classical and Dept. HF, Evanston, IL 60204, (312) 475-4010 PERFORMANCE AUDIO VIDEO LTD. 365 opera photographs. Rush reply to: Pho- JAZZ COMPACT DISCS - South Bayview Avenue. Dept. HF, to Research Department. High Fidelity, Recorded totally digital -Free Catalog-DMP. Box 2317. Freeport. LI., NY 11520. (516) 378-4389. 825 Seventh Avenue, New York, N.Y. New York. NY 10185 Financing, MC VISA, AMEX. NO SALES 0019. COMPACT DISCS -Most $11.99-$13.99. TAX CHARGED TO OUT OF STATE CLASSICAL MUSIC LOVERS' EXCHANGE. 1,400 Plus Titles in Stock. Free Catalog RESIDENTS. Nationwide Link Between Unattached Music Lovers. Write Plus Monthly Updates. OZ Records. DJ S. BANDS. NIGHTCLUBS CMLE, Box 31, Pelham, NY 10803. 5246H Memorial Drive, Stone Mountain, Disco -Stage Lighting and Effects (Fog, Bubbles, Etc.). GA 30083. (404) 292-5452. Professional Sound Equipment. Send $1.00 For Large What a GREAT Idea to Use CLASSIFIED Catalog. R&M Productions Inc., PO Box 20395-H, Advert sing to INCREASE YOUR SALES! COMPACT DIGITAL DISCS exclusively -in stock -classical. Bowling Green. Kentucky 42102. (502) 781-2448 The HIGH FIDELITY Reader is a opera, jazz, film -catalog $1.00. refundable with order - Ethel Enterprises, P.O. Box 3301, Dept. HF, Falls PURCHASING PACESETTER Who Church. VA 22043 Instruction Depends on HIGH FIDELITY Each Month for the Most In -Depth & Complete COMPACT DISCS! FREE CATALOG - BE A RECORDING ENGINEER! New Classes quarterly. Coverage Available in the Home Over 2,000 Titles Listed. Same Day INSTITUTE OF AUDIO.VIDEO ENGINEERING. (213) EntertEinment Industry. YOU Can Shipping. Laury's Records, 9800 North 666-3003 1831 Hyperion Dept. C, Hollywood CA 90027 Capture the Sphere of our Pacesetters Milwaukee Avenue, Des Plaines, IL for asittle as $36.75 each Month (12 60016. (312) 296-0420. Business Opportunities Time Rate)! For More Information on COMPACT DISCS!! All Imports And Domestic Titles YOUR OWN RADIO STATION! AM, FM, this Marketing Opportunity, call Available. Imports 15% Discount. For Free Catalogue Or licensed, unlicensed, low cost transmit- Cecelia Giunta, 212 887-8451. To Place Order, Call (301) 731-0099, or Write To: Washington CD, PO Box 44005. Washington DC 20026 ters! Free information. BROADCASTING, Classified Deadline: January '85 issue MasterCard and Visa Accepted. Box 130-D1 I, Paradise. CA 95969. closes November 1st in New York. COMPACT DIGITAL DISCS & PLAYERS, MITSUBISHI, SAE, HAFLER. NAKAMICHI, KLIPSCH, THORENS, QCan I get "digital" dynamic range from FRIED. ADCOM, MIRAGE, PROTON, my existing records and tapes? More. Immediate, FREE Shipping! READ BROTHERS STEREO, 593-C King Street. Charleston. South Carolina A.Yes, 29403. (803) 723-7276. with any of the dbx dynamic -range expanders. They increase music dynamics COMPACT DISCS. $9.95. Introductory Offer. Free Lists. of your present analog records and tapes Dy up to 50%, and also restore No Problems Airmail Service. Europadisc, 91 North sonic impact that's lost in recording. The result is music realism that's Street. Sudbury. Suffolk. UK. more than just "digital"! Write for details. Better yet, visit your dbx dealer.

"COMPACT DISCS!!!! Prices from $12.99. Send $1 00 For Catalogue (Refundable with Order). DISC HAVEN. d6x... High -PerformanceOptions or Home Stereo Systems dbx Inc., Dept. HBXK. 71 Chapel St. Newton. Mass. 02195 Tel 617-964-3210 Box 16H. Storrs, CT 06268." VIDEO/FILMS

AFFORDABLE PRICES: All Ratings VHS. Beta. Over 3500 Titles To Choose From. Send $5.00 For Catalogs! Renault Sound Video, P.O. Box 7098, Dept. H, Minneapolis, MN 55407. (612) 721-7772. We Sell Albums, Too!

NOVEMBER 1984 99 READER -ACTION PAGE

Many manufacturers who advertise in HIGH FIDELITY offer additional literature on their products free of charge to our readers For more information on specific products advertised in this issue, drop a postcard, care of Dept. HF-1184 unless otherwise noted, to the addresses listed below. If an address does not appear, literature is available through the company's dealers only

AIWA America, Inc., LaBelle Camera & Stereo Of Maine, 35 Oxford Drive, Moonachie, New Jersey 07074, 155 Maine St., Biddeford, MA 04005, 800-341-0783, Att. Dept HF 1184 In ME, HI, Alaska 207-281-1401, An. Dept. HF 1184 Advertising Akai America LTD, McIntosh Laboratory, Inc., 800 W. Artesia Blvd., Compton, CA 90020, Att: Dept. East Side Station, P.O. Box 96, Binghamton, N.Y. HF 1184 13904, Att: Dept. HF 1184 Index Allsop Electronics, Mitsubishi Electronics Sales, P.O. Box 23, Bellingham, WA 98227 Att: Dept. HF 3010 East Victoria St., Compton, CA 90221, An: Page No. 1184 Dept. HF 1184 27 Aiwa America, Inc. Alpine Luxman, Nakamichi USA Corp., 19145 Gramercy Pl., Torrance, CA 90509, Att: Dept. 1101 Colorado Ave., Santa Monica, CA 90401, Att: 36 Akai America, LTD. HF 1184 Dept HF 1184 90 Allsop Electronics Audiofon, Panasonic, 57 Alpine Luxman P.O Box 37, Brooklyn, N.Y. 11204, An: Dept. HF 1184 One Panasonic Way, Secaucus, N.J. 07094, An: DALI, Dept. HF 1184 65 Angel Records P.O. Box 55386, Valencia, CA 91355, Att: Mike Polk Audio Inc., 93 Audiofon Gerutto, Dept. HF 1184 (805) 252-7203 1915 Annapolis Rd., Baltimore, MD 21230, 301-837- BES, 4300, AttDept. HF 1184 82 BES 345 Fisher Ave., Costa Mesa, CA 92626, Att: Dept. Proton Corp., 21 Blaupunkt HF 1184 19600 Magillan Dr., Torrance, CA 90502, An: Dept. 43 Bose Corp. Blaupunkt, HF 1184 Sound so alive you can feel it. For information call Radio Shacklandy Corp., 79 Boston Acoustics 1-800-228-5333 300 One Tandy Center, Ft. Worth, TX 76102, An: 9 Canton North America Bose Corp., Dept. 85A-877 4 Carver Corp. 100 The Mountain Road, Farmingham, MA 01701, Regency Electronics, Inc., Att: Dept HF 1184 7707 Record St., Indianapolis, IN 46226, Att: Dept. 12 Danish American LTD, Inc. Boston Acoustics, HF 1184 13171 545-4281 14 D'Ascanio 247 Lynnfield, Peabody, Mass. 01960, Att: Dept. HF S&W Electronics, Cover III Denon America, Inc. 1184 187 Ross Street, Brooklyn, N.Y. 11211, An: Dept. HF Canton North America, 1184 Cover IV Discwasher, Inc. 254 First Avenue North, Minneapolis, MN 55401, Sansui Electronics Corp., 63 Everest Electronics, Inc. 612-333-1150, Dept. HF 1184 Lyndhurst, NJ 07071, 201-460-9710, Carson, CA 213- Carver Corporation, 604-7300, Att: Dept. HF 1184 95 Focus Electronics P.O Box 1237, Lynnwood, WA 98046, An: Dept. HF Sherwood, 32 Ford Electrical & 1184 17107 Kingsview Ave., Carson, CA 90746, An: Dept. Electronics Division D'Ascanio Audio, HF 1184 11450 Overseas Highway, Marathon, FL. 33050, Att. Sony Corp. of America 91 illbruck usa Dept. HF 1184 Sony Drive, Park Ridge, New Jersey 07656, Att: 84 Illinois Audio Denon America, Dept. HF 1184 65 Infinity Systems, Inc. 27 Law Dr, Fairfield, New Jersey 07006, An: Dept. Stereo Corporation of America, HF 1184 1629 Flatbush Ave., Brooklyn, N.Y. 11210, 212-338- 96 International HiFi

Discwasher, 8555, MI Dept. HF 1184 Cover II, 1 JVC Co. of America 1407 North Providence Rd., P.O. Box 6021, Colum- TDK Electronics Corp., 89 J&R Music World bia, MO. 65205, 314-449-0941, An: Dept. HF 1184 12 Harbor Park Dr., Port Washington, N.Y. 10050, Everest Electronics, An: Dept. HF 1184 55,61 Kenwood Electronics 5024 Fort Hamilton Parkway, Brooklyn, N.Y. 11219, TEAC Corporation of America, 94 LaBelle Camera & Stereo An: Dept. HF 1184 7733 Telegraph Rd., Montebello, CA 90640, An: Focus Electronics, Dept HF 1184 18 Maxell Corp. 4523 13th Ave., Brooklyn, N.Y. 11219, An Dept. HF Technics 93 McIntosh Laboratory, Inc. 1184 One Panasonic Way, Secaucus, NJ 07094, An: 15 MEMTEK illbruck/usa, Dept. HF 1184 3800 Washington Avenue North, Minneapolis, Min- Toshiba, 16,17 Mitsubishi Electronic Sales nesota 55412, An: Russ Leighton, An: Dept. HF 1184 82 Totawa Rd., Wayne, N.J. 07470, 201-628-8000, 31 Nakamichi U.S.A. Inc. (612) 521-3555 AttDept. HF 1184 13 Panasonic Illinois Audio, Ultrx Sanyo, 12 East Delaware Place, Chicago, III. 60611, 800- 1200 West Artesia Blvd., Compton, CA. 90220, An: 22 Pioneer Electronics U.S.A. 621-8042, An: Dept. HF 1184 Dept. HF 1184 62 Polk Audio Infinity Systems Inc., US JVC Corp., 28 Proton Corp. 7930 Deering Ave., Canoga Park, CA 91304, Att: 41 Slater Drive, Elmwood Park, N.J. 07407, An: Dept. HF 1184 Dept. HF 1184 53 Radio Shack International Hi Fi, Wisconsin Discount Stereo, 77 Regency Electronics Moravia Industrial Park, 6330 Frankford Ave., Balti- 2417 W. Badger Rd., Madison, WI 53713, 800-356- 82 more, MD 21206 Att: Dept. HF 1184 9514, AttDept. HF 1184 S&W Electronics J&R Music World, Yamaha Electronics Corp. USA., 6 Sansui Electronics Corp. 23 Park Row, New York, N.Y. 10038, 6660 Orangethorp Ave., Buena Park, CA. 90620, Att: 2 Sherwood Customer Service Dept. HF 1184 Dept. HF 1184 Kenwood, 10 Sony Corp. of America 1315 East Watsoncenter Rd., Carson, CA 90745, An: 81 Stereo Corp. of America Dept. HF 1184 11 TDK Electronics Corp. Advwtislag Offices 58 Teac Corp. of America Now York: ABC Leisure Magazines Inc825 7th Ave7th floor New York. N Y Lae Angeles: ABC Lenore Magazines. Inc.. 2020 Avenue of the Stars. Suite t45. 5 Technics IW19 Telt2,21565 8360 James A Casella. Advertising Director. Richard J Manna Century CO Cale 90067 Tel- 12131 557.6482 Rita Wertzen. Western Advertising National Accounts Manager Michael Goldberg. Eastern Advertising Manager James Manager 8 Toshiba R McCallum Record Advertising Manager. Cecelia M Giunta Classified Advertising National Reps, Kathleen China Kathleen G Chada Associates. 21000 W Four- 95 Manager KathleenDavis.Director of Production, Janet Cermak. Advertising Prod. - teen Miie Road. Birmingham. Mich 48010 Tel13131642-3482 Frank LaVetne. Frank Wisconsin Discount ban Manager LaVeme Assocrates. 922 Crenshaw BM .Los Angeles. Calif 90019 12131 932-1742 51 Ultrx Sanyo Midwest: High fidelityHitchcock Building Wheatenill60187Tel13121053 Telles: Japan Advertising Communications. Inc. New Grua Bldg7.3-13 Give. 9320 Starr Lane Midwest Advertising Manager Ouro-ku. Tokyo 104. Japan. Tel1031 571.8748. Shrgeru Kobayashi. President 9 Yamaha 100 H GH F DELITY

1111 DENON RECEIVERS DO NOT COMPROMISE ADELITY FORCONVENIENCE. Most receivers are designed as if the person desiring a compact, The tuner section stores up to 16 AM a FM station:, or any convenient component obviously cares less about sound quality. combination tiereof (DPA 350; 5 AM/FM preset memory tuning). The DRA-Series Receivers, like all Denon prodLcts, place sor ics The DRA-750 incorporaaas Denon's ?.XC Jsive Supe- Seacher quality above all. Their power sections incorporate Non -Switching tuning circuitry which el minates the pri is pie caues of distortion Class -A circuitry (with no negative feedback on the DRA-750) and without sacrificing stereo separation. heavy duty power supplies, temperature -controlled by liquid - Whether, ycu choose E 70W/CH DRA-750, a 50W/CH )RA -550 cooled heat sinks.lnfinitely variable loudness control now ensures or a 36W/CH DRA-350, is uncompriomosed perforna-ice will full listening pleasure at all volume levels. convince you -hat Denor products share more than neme alone.

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DESIGN N T E R IT Y Side panels included on ORA- 750 only. Dentin America, Inc Lao Drive, Fareeld. NJ 07CD6 (201) t 75-7810 New technologies will provide ma records without leaving behind residues which advances in recorded music, b can affect a record's sound. nothing can replace your favorit records. But total care doesn't stop with a clean record surface. A diamond Protect them as people have been stylus, contaminated with vinyl doing for well over a decade. with stabilizers and dirt, can actually Discwasher record care products. reduce thelifeof your records by The Discwasher- D4+- Record Care System two-thirds. safely cleans records without reducing their The DiscwasherSC -2, Stylus Care System, dynamics and fidelity. The highly active D4+ fluid with its exclusive nylon-fibered brush and is able to lift and suspend contaminants on the scientifically safe fluid, effectively loosens and record surface to be removed by the directional wipes away abrasive stylus contamination for fibers of the D4 pad; and the D4+ System cleans longer record life.

Protect your records with Discwasher'care.

1407 NORTH PROVIDENCE ROAD P 0 BOX 6021. DEPT HF COLUMBIA. MO 65215 discwasher A DIVISION OF JENSEN an ESMARK Company