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Changers Disc Speakers Monitor Compact of Roundup A Speakers Memorex Receiver A/V Technics MUSIC MARATHON Changer CD Sony Up? Stack Systems TEST REPORTS Recording Tape and Disc New the Do How DECISIONS DIGITAL

FIDELITY HIGH INCORPORATING US 199' 0C1OBER $2.95 CANADA E2.00 UK S2.50 ES Presenting The Distinctive Acoustics Of Seven Different Environments In One Distinctive CD Carousel Changer.

01991 Sony Corporator, of Amer.. Al r Oft le5eIved Sony Custom F ile FCC C and The Leader Nee Audro are trademarks ot Sony StralocasIO/ ,s a regrsicrol toderrart, ol Fender kAusaca1Instruments Corpolahon 'YOu can look n op Ai Er9neenng Society Prep.. No 2586 Is a study rang obpectrve and stye lire measures per turned by kopshotz and Vanderkooy at the L./nov..1y 04 waterloo SONIC i'mr"* " H'I"'""111!

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Why accept a machine that can only change your incorporate an advanced complementary HDLC`" discs, when you can own one that will also change converter system. It overcomes low-level non -linearity your acoustic environment? Introducing the CDP-C87ES, -the number one sonic shortcoming in CD players, a 5 -disc carousel changer with Digital Signal Process- So the sound of these changers is not only rich, it's ing (DSP). Thanks to DSP equalization and DSP reverb, refined. this remarkable CD Changer can actually replicate the Sony ES matches this technological enlighten- acoustic environment appropriate for just about any ment with an enlightened three-year limited warranty music. So you can hear Haydn in a Hall, a chorale in a on parts and labor. See your authorized ES dealer for

Church, and a Stratocaster' in a Stadium. Which gives details. To find that dealer, call 201-930-7156 during even the most familiar CD's a newfound richness of East Coast business hours. And discover that in music ambience and texture. at least, you really can improve the environment.

And once you choose the right environment for a Buy either the Sow CDP-C87ES, C77ES, or C67ES

CD, store itin the CDP-C87ES Custom File' memory. between August 1 and October 31, 1991 and Sony will

The changer will then automatically recall your pro- give you a boxed set of four glorious CD's to play on it. grammed environment every time you play that disc. It's the Digital Masterpiece Collection, featuring the

Sony engineers can count among their distin- very best music from American Gramaphone, GRP, guished inventions the CD carousel, the CD player, Telarc, and Windham Hill. This offer is only available even the CD itself. It's no surprise then, that the C87ES from your authorized ES dealer, who can provide you and its fellow DSP changers, the C77ES and C67ES also with all the details.

ES SONY THE LEADER IN DIGITAL AUDIO'" __17176E"

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EQUIPMENT Buying Time 17 Receivers-first in a series on the practical business of buying audio Cover equipment by Ian G. Masters The WC XL -R304 compact disc changer is one of many new players that Hirsch -Houck Labs Equipment Test Reports 31 are making it easier than ever to program an Sony CDP-C67ES Compact Disc Changer, page 31 evening's background music or your own concerts on CD. For more, see page 49. Memorex Triumph TS -5 Loudspeaker System, page 35 Technics SA-GX505 Audio/Video Receiver, page 38 Photograph by Dan Wagner Computer imaging: Monitor Audio MA700 Gold Loudspeaker System, page 43 Ed Flynn and Dan Wagner CD Changers 49 In current models, the emphasis is on flexibility and even greater playing time by Glenn Kenny

LETTERS 6 Digital Decisions 54 How does DAT compare with the new digital recording NEW PRODUCTS 9 formats, DCC and Mini Disc? by Michael Riggs

SIGNALS 16

TECHNICAL TALK 27

CLASSICAL MUSIC 72

GOING ON RECORD 86

POPULAR MUSIC 91

THE HIGH ENO 107 MUSIC

COPYRIGHT C 1991 BY HACHETTE MAGAZINES. Joe Ely INC. All rights reserved. Stereo Review, October 1991. Volume 56, Number 10. Stereo Review (ISSN 0039-1220) "The theme always seems to go back to that place in is published monthly by Hachette Magazines, Inc. at 1633 Broadway. New York. NY 10019; telephone (212) west Texas. .. . And the wind" by Alanna Nash 767-6000. Also publishers of Car Stereo Review. Sound & Image. Stereo Buyers' Guide. Compact Disc Buyers' Guide, and Video Buyers Guide. One-year subscription Best Recordings of the Month rate for the United States and its possessions, 513.94; Canada. 518.94; all other countries. $21.94; cash orders Bonnie Raitt, Mozart Sonatas for Violin and Piano, only, payable in U.S. currency. Second-class postage paid at New York. NY 10001, and at additional mailing Eric Gales, and Beethoven's Ninth Symphony offices. Printed in the U.S.A. Authorized as second- class mail by the Post Office Department. Ottawa, Can- Page 61 ada, and for payment of postage in cash. Canadian GST number126018209. POSTMASTER/SUBSCRIPTION SERVICE: Please send change -of -address forms and all subscription correspondence to Stereo Review. P.O. Box 55627, Boulder, CO 80322-5627. Please allow at least eight weeks for the change of address to become effective. Include both your old and your new address, enclosing, if possible, an address label from a recent issue. If you have a subscription problem. write to the above address or call (800) 876-9011. PERMISSIONS: Material in this publica- tion may not be reproduced in any form without permis- sion. Requests for permission should be directed to: The Editor. Stereo Review, Hachette Magazines, Inc.. 1633 Broadway, New York, NY 10019. EDITORIAL CON- TRIBUTIONS must be accompanied by return postage and will be handled with reasonable care, but the publish- er assumes no responsibility for return or safety of unsolicited art. photos, or manuscripts.

VOL. 56 NO. 10 STEREO REVIEW OCTOBER 1991 3 Stereo (Review® ice President, Editor in Chief LOUISE BOUNDAS Executive Editor MICHAEL RIGGS Art Director SUE LLEWELLYN Director, HirsehHouek Laboratories JULIAN HIRSCH Popular Music Editor Classical Music Editor STEVE SIMELS ROBERT RIPPS Managing Editor DAVID STEIN Senior Editors REBECCA DAY, GLENN KENNY Associate Art Director MINDY BALL Assistant Editors JAE SEGARRA, MARYANN SALTSER Editorial Assistants BARBARA AIKEN, ROCCO MATTERA

Senior Contributing Editors WILLIAM WOLFE, ROBERT ANKOSKO, WILLIAM GOLDMAN, ELISE MARTON Editor at Large WILLIAM LIVINGSTONE Contributors: Robert Ackert, Chris Albertson, Richard Freed, Phyl Garland, Ron Givens, David Hall, Bryan Harrell (Tokyo), Roy Hemming, Ralph Hodges, Stoddard Lincoln, Ian Masters, Alan.. Nash, Henry Ileasants (London), Ken Pohlmann, Parke PuterBaugh, Charles Rodrigues, Eric Salzman, Craig Stark, David Patrick Stearns

Vice President, Group Publisher NICHOLAS MATARAZZO Consumer Electronics Group Advertising Advertising Director: Chub L. P. Watson 1212) 767-6038 Group Sales Manager. East SesU Coomantine 1212) 767.6346 Regional Account Managers. East Carol Berman. 1212) 767-6292; To.. McMahon, (212) 767.6025 Assistant to the Publisher: Nadine L. Goody Operations Manager. Sylvia Correa Advertising Coordinator: Linda Neuvreiler JS9400 Receiver CD9500 CD Receiver Saks Assistant: Yvonne Telesford Classified Advertising: (800) 445-6066 Group Saks, Midwest, Arnold S. Hoffman. Jeffrey M. Flamer. (708) 679-1100 Usually, you keep your four tires on the ground. Suddenly, Group Saks. West: Robert Meth. Paula Mayeri, 12131 739-5130 out of thin air comes a wave of sound that practically sweeps you Western Sales Assistant Lisa Posen Production Manager Vicki L Feinmel off your seat. It's the latest magic from Jensen. A state-of-the-art Production Doer ior. Patti Bunn Business Services Director: Greg Ropers CD player, new receivers and our powerful U.S. made speakers. Newsstand Saks Ulterior: Margaret HaS110100

They quickly dispel another Stereo Review is published illusion: that for sound this real, by Hachette Magazines, Inc. you need to spend a fortune. Chairman and CEO: Daniel Filipacchi JENSEN® Executive Vice Presideni/Editorial Director: Jean-Louis Ginibre The most thrilling sound on wheels. Executive Vice President/Publishing, COO: C lororpotiod David J. Pecker Senior Vice President. Director of Corporate Marketing: Paul DuCharme Senior Vice President. Director of Cross -Media Sales: Gerald S. Wroe Vice President. General Counsel: Catherine Flickinger FREE CAR AUDIO INSTALLATION GUIDE. Vice President. Circulation: UM Rosenfield Vice President, Manufacturing St Distribution: Anthony Romano Get the colorful QUICK GUIDE TO AUTOSOUND SYSTEM Vice President. Magnin Development Marcia Suisse Vice President. Special Marketing: Bette Rockmore INSTALLATION and new product brochures free, just by calling to find Vice President. Research: Susan Smolk-ns Vice President. Controller: John Miky out the dealer nearest you. This valuable guide features easy -to -folio Vice President. treasurer: John O'Connor Vice President. Corporate Communications: detailed instructions on installing a variety of autosound systems Jodie Cross Doyle beginning with upgrading your speakers. Call 1 -800 -67 -SOUND. the 31)1 In Canada, call SCL Products 604-273-1095 (Vancouver); 416-890-0298 (Toronto). Offer expires 1/31/92 or while supplies last. Command Performance.

Introducing thenew Adcom GIP -500 II Tuner/Preamplifier.

Only a few years ago, Adcom announced the dawn and the use of state-of-the-art component parts. of a new era by introducing its GTP-500 tuner/ Adcom's unique, low -impedance RIAA compensation preamplifier. Together with any of Adcom's critically provides lower noise and distortion in the phono input acclaimed power amplifiers, this unique audio product stage. To further reduce noise and distortion in all has given thousands of cost -minded, serious music stages, all switching devices are buffered. lovers a quality alternative far superior to the common Long term adherence to circuit design objectives is receiver. The new, evolutionary GTP-500 II offers accomplished by utilizing 1% Roederstein resistors in a meaningful expansion of convenient features and all critical applications as well as a new low -loss, printed sonic performance. circuit board. Through a careful balance of sensitivity and selectivity, Full Command Of Your Music System the GTP-500 H optimizes FM performance whether Control your system's power on/off, select you're in an urban or rural area. Design parameters, pre-programmed FM and AM stations, scan the FM including an improved IF stage, have been optimized dial, adjust volume level and select different sources... to translate into lower distortion. In fact, the quality of all with Adcom's wireless remote controller. With FM stereo reproduction through the GTP-500 H is as optional Adcom remote sensors and additional good as the broadcast itself. loudspeakers, you can also enjoy your Adcom music system in other rooms throughout your home. More Sound, Less Money For total music system integration, the GTP-500 II Adcom stereo components have established a remote sensors will also receive and retransmit reputation for sounding superior to components costing commands to a majority of remotely controlled two and three times as much. The new GTP-500 II components, regardless of brand. This remarkable promises to keep faith with this tradition of more design gives you full command of your entire music sound for less money. system throughout your home and offers the ultimate Its ability to command your entire music system by flexibility of integrating the remote features of remote control, and its exceptional sonic performance components manufactured by others. are why so many experts consider the GTP-500 II to be Adcom's Value Measured By Performance command 7 The overall performance of the new GTP-500 II is performance. 0 demonstrably superior through its evolutionary design 8 details you can hear

11 Elkins Road, East Brunswick, NJ 08816 U.S.A. (201) 390-1130 Distributed in Canada by PRO ACOUSTICS INC. Pointe Claire, Quebec H9R 4X5 LETTERS

What we need is either a decent import Mrs. Jay's August entry) obviously gen- Sound Investment service or some means of convincing erates. Or is this just sour grapes? I must take issue with a statement conservative American labels to give us MARK S. BIANCO made by Daniel Kumin in his "Sound back the full range of music available Syracuse, NY Investment" in August. He wrote that before the advent of the compact disc. "an $800 system's compact speakers, THOMAS G. UNTERBURGER Low -end losses and high -end dispersion driven by a small receiver with modest New York, NY irregularities are probably measurable power reserves, simply won't put out when a system designed to be floor -stand- viscerally moving volume levels." Why Two items on Marc Mickelson's wish ing is elevated as in the August "Sys- "viscerally"? I rely on my ears, not my list, Lou Reed's "The Blue Mask" and tems," but whether these effects would be guts, to tell me whether a system is "LegendaryHearts,"arecurrently noticeable or,if noticeable, objection- playing loud. available on CD, as are Reed's other able, is another matter. Many variables Aside from the nuance of language, his RCA albums, but I haven't yet seen any are involved, and the ultimate effect on advice is incorrect. My receiver puts out of his Arista albums in the format. Distri- the speaker's sound might even be to 55 watts per channel into bookshelf bution seems to be a problem with CD's make it more pleasing to its owners. But speakers I purchased for $100 in the of alternative music. The titles may be you are certainly right that these effects Sixties. If the volume control is turned available, but finding them is another should be considered if a nonstandard more than a quarter of the way up with matter. placement is planned. most CD's, the sound becomes intoler- BILL CLEARY As for the effect of heat and vibration on ably loud. Martins Ferry, OH wine stored near or in an entertainment GEORGE NUSSBAUM center, loudspeakers themselves generate New York, NY "Legendary Hearts" was reissued on CD no heat and should generate no cabinet this spring, but according to RCA head- vibration if they are properly installed, Some listeners, particularly to rock and quarters, a CD of "The Blue Mask" has and a system's power amplifiers should dance music, actually do want to feel the not been released in the U.S. If you have a always be well ventilated precisely to pre- sound as much as hear it, and that re- copy, it must be from somewhere else. vent any substantial heat build-up. quires a volume level that many other listeners find "intolerable." While itis true that you can achieve high volume Pink Floyd Eric Andersen levels from compact speakers and a mod- Regarding Richard T. Colombotti's I was doubly surprised at the review of est receiver, the kind of "viscerally mov- question about pink noise and Pink Eric Andersen's "Stages" CD in the ing" levels Mr. Kumin mentioned require Floyd in August "Letters," my father August issue-both because this materi- more power and bigger speakers. claims to have shared more than a few al was finally released and also because rounds of "pink floyds" in Hong Kong it was being reviewed in a mainstream bars during his participation in a naval- magazine. I hope that Alanna Nash's Green Packaging exchange program with his Australian very positive review will create new fans Congratulations to Bonnie Raitt and counterparts in the late Sixties. Any for Andersen's music and, as she sug- Capitol Records for their environmental- connection? gests, finally gain him the acclaim he has ly conscious approach to packaging her J. BYRON DAVIS deserved for many years. new CD, "Luck of the Draw." Un- Mesquite, TX I was disappointed, however, at the opened, the box is approximately the erroneous claim that "Stages" would same size and shape as those of other Most likely the drinks were named After have been Andersen's second album if it CD's and should be equally effective at the band, which had its first hit record in had been released in 1973. It would have discouraging shoplifting. But except for Britain in 1967. been his second album on Columbia, but a narrow throw -away plastic spine on he released five on Vanguard and two on either side and the cellophane outer Warner Bros. before 1970. Most of the wrapping, the entire package is made of "Systems" Trade -Offs Vanguard tracks are better than any in recycled cardboard and folds into a stan- The professional installations depict- his first Columbia album, "Blue River," dard -size CD case with no waste. Inci- ed in the "Systems" features in STEREO which Ms. Nash mentioned in her re- dentally, the music is also wonderful. REVIEW often show fine speakers de- view. Songs such as Thirsty Boots, Vio- ROBERT WADSWORTH signed for floor placement (such as the lets of Dawn, and Come to My Bedside Richmond, VA Infinity 9 Kappas in the August issue) need to be heard by anyone who would elevated to seemingly incorrect heights be an Eric Andersen fan. See page 66 for a review of "Luck of the and buried in large custom cabinets. I DICK SCHNEIDERS Draw." would tend to think that in such positions Salina, KS there would be a noticeable loss of low- end response and a potential for high- We regret that through an editing error CD Reissues end dispersion irregularities because of the qualifier "on Columbia" was omitted At least some of the albums mentioned the unusually elevated tweeters. Is this from the reference to Andersen's "second in Marc Mickelson's CD wish listin not a trade-off of performance for aes- album." Critic Alanna Nash was not at August "Letters" are, in fact, available thetics? fault. today on compact disc. You need only In addition, incorporating wine racks fly to Japan to get them. For whatever in entertainment centers seems to be a reason, Japanese labels have found it in popular practice, but I can't help but We welcome your letters. Please address their interest to transfer just about any- wonder if Baron Rothschild wouldn't correspondence to Editor,STEREO REVIEW, thing you can name to CD, from the turn in his grave if he knew that a bottle 1633 Broadway, New York, NY 10019. dubious commercial successes of early of his Chateau Lafite were being subject- You should include your address and Devo and Was (Not Was) to cult artists ed to the vibration and heat that any telephone number for verification. Letters like Scott Walker and Robyn Hitchcock. large, enclosed system (such as Mr. and may be edited for clarity and length.

6 STEREO REVIEW OCTOBER 1991 In 1987, critics said Bose changed theway people thought about loudspeakers.

"Superb sound and virtual invisibility." `!..side by side with speakers costing three to five times as much, the AM -5 consistently produced the more exciting and listenable sound.: Julian Hirsch, Stereo Review, 1987

Now, they're saying it aboutour Lifestyle musicsystem.

"No visible speakers, no stack of components, nothing that looks like sound equipment." "Hit the start button and suddenly the room fills with music of exemplary clarity and fullness." Hans Fantel, The New York 'Times*, 1990

Call us today to arrange for a personal audition at a participating dealer near you. Try the Lifestyle music system in your own home for two weeks. Then part with it, if you can. For more information and a free Lifestyle music system video, call; 1-800-444-BOSE Ext. 12 8:30AM-9:00PN1 (ET). In Canada call I-800-465-130SE 9:00AM-5:1.XTM __817.5"F Better sound through researc`i.

01991 Sow C:arnationn Copy* 199C br the New York Taw (*.gown R .,,.dh permeonro When the RX 950 is used with Manua 33 lbs. other Yamaha Up/Dou 4 oz Introducinga receiver p:ets RS -compatible Tuning components, the entire system withsomuch going forit! Record a can be controlled by a single Selector ark Thdden there's hardly.enou remote control you to reco Auto one SCUM Control while listen Panel /' toanothe. room todo it justice. Tuning2 Motor -driven The RX950 fea- input selector and Due to Yamaha's patented A massive 11 lb. Front RI tures Ye -ART A tolume controls HCA Circuitry the RX-950 6 oz power Head" new system design with LED indica- delivers pure Class A transformer Pure Direct Jack performance, yet runs that virtually / tors A superior ensures Switch bypasses eliminates systemwhich elim- exceptionally cool The high output all tone and bal- SpeakertE amplifier in Yamaha's new interference inates the noise power even ance controls and connectors audio -dedicated receiver between channels and distortion,/ when driving low - the pre -main cow heavy gau and delivers inherent in elec- will never degrade to Class impedance loads. for °PH, maximum signal Pier to maximize/ tronic switching. AI no matter how high \ \ signal purity resin the output purity

,

YAMAHA 1.4111.1.1.l. !IMP,. STEREO RECENER

?kss Sk rote Tit 'trol (Fri Ren Con.

10- nent nal slily 'ter I L' To keep output \ The RX-950 delivers 120 impedance to a mint\ For signal purity The thick base of the watts RMS per channel into mum, speakers are RX950 has excep- 8 ohms from 20-20,000 Hz exceptionally thick 1.6 Offers 4 dedi- switched in front of mm high quality wire tional anti -resonance, cated audio at no more than 0.015% their terminals, is used to mute signals anti -magnetic and THD. Or 180 watts RMS \inputs and 2 rather than at the through the amplifier superior damping \ video inputs. per channel into 4 ohms switch posijon. \ characteristics. from 20-20,000 Hz at no Dimensions: Ideally suited for more than 0.03% THD. (Wx multiple speaker Tuner features 1 175iinHxD)chesx installations. Up to Yamaha's Direct PLL 6%inches x Continuously !ass and i The new RX950 six different zones IF Count Synthesizer 173inches variable loudness treble conbines the perfor- can be controlled at a microprocessor - control maintains turnover mance of the finest E one time through controlled tuning sys- Integrated natural tonality requency separates with the additional amplifiers tem to lock onto the Multi -Function even at low control convenience of a connected to the two weakest broadcast volume levels. receiver extra pre -amp outs. /WD Display frequencies. The RX-950 is designed to High Gain The heavy chassis and extra large C 1991 Yamaha Electronics roe as the core component of AM Loop feet of the RX950 are designed for YUMMY NEVPRODUCTS

Hughes The Hughes Sound Retrieval System (L + R) and difference (L - R) compo- (SRS), first offered in certain Sony TV nents of a stereo signal to enhance the sets, is now available as a standalone cues the ears use for source localization. component, the AK -I00. The unit can be SRS does not add any information not plugged into any audio or audio/video found in the recording, nor does it re- system to produce what Hughes de- quire listeners to stay in a specific posi- scribes as three-dimensional sound from tion to enjoy the full effect. Price: $449. a pair of conventional stereo loudspeak- Hughes Aircraft Co., Microelectronics ers. SRS is based on the way the human Systems Div., Dept. SR, 29947 Avenida hearing system determines where a de las Banderas, Rancho Santa Margari- sound comes from. It processes the sum ta, CA 92688.

Memorex The CDX-8100 compact disc player is part of Memtek's new line of personal portables. The player has a three -beam laser pickup, an eight-times-oversam- pling digital filter, and a 16 -bit digital -to - analog converter. Operating features in- clude twenty -one-track programming, resume play, shuffle play, auto power - off, and repeat. It has a built-in battery recharger and comes with an AC adaptor and a carrying case. Dimensions are 51/4 Yamaha x 7 x 11/4 inches. Price: $250. Memtek Products, Dept. SR, P.O. Box 901021, The Yamaha TX -950 AM/FM tuner manual fine-tuning selector to improve Fort Worth, TX 76101. features an alphanumeric display that reception in crowded areas. The preset enables users to assign four -character tuning memory retains the fine-tuning names or keywords for up to twenty-four frequency, IF mode position, RF-atten- stations. There is also a conventional uator status, stereo or mono mode, an- forty -station preset memory. The TX - tenna -selector setting, and blend setting 950 features Yamaha's Absolute Linear for each preset station. A remote control Phase IF amplifier circuitry and comput- is included. Price: $399. Yamaha, Dept. er servo -lock tuning. Alternate -channel SR, 6722 Orangethorpe Ave., Buena selectivity is given as 85 dB. There is a Park, CA 90620.

Sparkomatic The Sparkomatic STW-800 Bass Can- non is an amplified car subwoofer rated for 100 watts maximum power. Its dual - voice -coil, 8 -inch, long -throw woofer is built into a rear -ported tube. Frequency response is given as 30 to 250 Hz. The Bass Cannon is designed to be mounted behind a seat or in the trunk or hatch- back of a car or truck, and it is said to be compatible with all car stereo amplifiers, cassette receivers, radios, and CD play- ers, facilitating do-it-yourself installa- tion. Dimensions are18 x 9 inches. Price: $300. Sparkomatic, Dept. SR, Milford, PA 18337-0277.

STEREO REVIEW OCTOBER 1991 9 NEW PRODUCTS

Sherwood Sharp Sherwood's RV -5010Raudio/video audio and three video inputs, and the Sharp's RX-P1 portable DAT player/ receiver features discrete -transistor am- AM/FM tuner has thirty presets. Addi- recorder comes with all of the accesso- plifier stages and complementary metal - tionalfeaturesinclude afront -panel ries needed for use at home, in the car, or oxide -semiconductor (CMOS) switch- camcorder input, a motorized volume outdoors. A 64-times-oversampling I -bit ing. It is rated at 85 watts each for the left control, video dubbing capability, and a outboard analog -to -digital (A/D) convert- and right front channels and 15 watts sleep timer. The RV -5010R comes with a er is provided for recording from nondigi- each for two rear channels. It has Dolby remote control and is compatible with tal sources. The 35/8 x11/2 x 47/8 -inch Surround decoding circuitry plus The- Sherwood's Digi-Link remote system. player incorporates a 1 -bit digital -to -an- ater and Stadium surround modes for Price: $300. Sherwood, Dept. SR, 14830 alog (D/A) converter with a 256-times- nonencoded programs. There are four Alondra Blvd., La Mirada, CA 90638. oversampling digital filter. A gooseneck car mounting device, a carrying case, a wired remote control, a coaxial connec- tion cord, an AC adaptor, and recharge- able batteries are also supplied. Price: $1,500. Sharp Electronics, Dept. SR, Sharp Plaza, Mahwah, NJ 07430-2135.

R. F. Engineering The R. F. Engineering AC -8 is a pro- power -on and power -off to enable se- grammable, current -sensing power pan- quential switching of equipment. An ex- el capable of detecting the activation of ternal control link enables the AC -8 to be two different pieces of electronic equip- activated by home -automation and mul- ment, such as a receiver or a TV set. tiroom audio/video systems. Additional Westlake Audio Eight switched outlets for auxiliary com- features include surge suppression, line - ponents can be programmed to turn on noisefiltering,andsolid-statezero - Westlake Audio, a manufacturer of when either of the key pieces of equip- crossing power switching. Price: $299. studio monitors, has introduced a line of ment turns on. Each outlet can be inde- R. F. Engineering, Dept. SR, 9215 Low- loudspeakers for the home. The BBSM- pendently programmed for delays in ell Blvd., Westminster, CO 80030. 6 three-way system has two 6 -inch bass - reflex woofers, a 31/2 -inch midrange driv- er in a separate sealed enclosure, and a 1 - inch dome tweeter. Frequency response is given as 60 to 18,000 Hz ±3 dB, sensitivity as 82 dB sound -pressure level at 1 meter. Nominal impedance is 4 ohms (2 ohms minimum). Crossover frequen- cies are 600 and 6,000 Hz. The BBSM-6 comes finished in an oiled walnut veneer with brown grilles or painted black with black grilles. Dimensions are 22 x 103/4 x 13 inches. Price: $2,400 a pair. Westlake Audio, Dept. SR, 2696 Lavery Ct., Unit 18, Newbury Park, CA 91320.

10 STEREO REVIEW OCTOBER 1991 THE RUSSIA HOUSE 7392012

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BIRD ON A WIRE * 4973052 BULL DURHAM 2360002 PRESUMED INNOCENT 9621002 MAN WHO WOULD BE KING * 0858032 ROMANCING THE STONE 0894092 BATMAN 119891 * 6425042 -arts/Vsorawric---- THE BLUES BROTHERS 2117062 Ike Sound 011Arsie* Star Wars* i(indergaren Cop j THE DRIFTERS 3830002 10311152 0564082 5234072 PREDATOR 3649012 E T ' THE EXTRA-TERRESTR AL * 6811062 THE RIGHT STUFF 6043062 ALIEN 0002082 ALIENS 3609092 2001 A SPACE ODYSSEY 0025012

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EXCALIBUR 6021022 The Empire Strikes Back* Goodfelias BLUE VELVET * 5150072 Patton* 0910092 0043092 9698082 SCARFACE 119831 2168042 Got some movie fans on your Chnsmas automatically.If you'd prefer an SUPERMAN. THE MOVIE * 0013052 list? Then do your holiday shoppinc with alternate selection, cr none at all, just SUPERMAN II 6015002 the Coltrnbia House Laserdisc Club. mail the response card always provided Just write in the numbers of tie 3 by the date specified. And yoJ'll always AN AMERICAN TAIL 2184042 laserdiscs you want for $1 00 each plus have 14 days to decide; if not, you may JAWS 1000082 shipping and handling. In exchange, you return the selection at our expense. IROBOCOP 2350022 simply acree to buy two mare laser-iiscs There's a money -saving Bonus Plan. ROBOCOP 2 8040052 in the nod year, at regular Club p -ices If you continue your membership after (currently as low as ¢29.95, plus fulfilling your obligation, you'll be eligible AN AMERICAN WEREWOLF IN LONDON 7140062 shipping and handling)-and you may for our generous bonus plan. It enables cancel membership at any time after you to enjoy great savincs on the DIRTY DANCING 4955072 doing so. movies you want-for as long as you F/X 6502002 Every four weeks (up to 13 braes a decide to remain a member! 0 It A 3807092 year), you'll receive a Club ma ling, And there's a 10 -day risk -free trial. MAD MAO 7109052 reviewing our Director's Selection-plus We'll send details of the Club's scores cf alternate choices, incleding operation with ycur introductory BILLY JOEL EYE OF THE STORM 9683052 many lower -priced laserd scs. Anc you package. If not satisfied, return may also receive Special Selection everything within 10 days for a full MICHAELJACKSON. mailings up to four times a year. (That's refund and no further obligation. MOONWALKER 4686032 up to 17 pitying opportunities a yea-.) For fastest service, use your DOCTOR ZHIVAGO * 0026002 Youuy only what yoJ want --when credit card and our toll -free number. Call 24 hours a day: THE COLOR PURPLE * 6301032 ou want it!If you want the Dire:tor's Dept. Selection. do nothing-i: will be sent BEN.HUR 119591 * 2603072 1-800-538-2233 T17 r RAIN MAN 2869062 Columbia House LASE RDISC CLUB TANGO & CASH * 6474042 Dept. TI Z P.O. Box 1112 , Ter -e Haute, Indiana 47811-1112 LETHAL WEAPON 6308062 Yes, please enroll me under the erms outlined in this advertisement. As a member, LETHAL WEAPON 2 * 6427022 I need buy only 2 more selections, at regular Club prices, within the coming year. BORN ON THE FOURTH Send ms these 3 lasercius for S 1 CO each plus SI 50 eoch shipping and hondling(tosol $7.50) OF JULY * 4891042

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NATIONAL LAMPOON'S Please Check How Paying: My check is enclosed ANIMAL HOUSE 2115082 20Y/20Z Charge my introductory lase -discs and future Club purchases to: FIDDLER ON THE ROOF * 0551032 MasterCard Diner, Club AMEX VISA ONCE UPON A TIME IN AMERICA 6058082 THE DEER HUNTER * 2124072 Acct No. Exp. THE DAY THE EARTH Signature STOOD STILL 0576042

AROUND THE WORLD IN ED DAYS 6036052 Name THE AFRICAN OUEEN 0511022 Address Apf. AMERICAN GRAFFITI 2113002 THE EXORCIST 6003042 City State THE BIBLE * 0747082 Zip Ph me No. ( ROAD WARRIOR 6028052 Letterbox Note membership n I,mned end Columba House Laserdisc Club reserves Ore right to reject or cancel any t.-7) 1991, The Columbia House Company BLUE STEEL 119901 6965002 membership Offer limited toonhnensol (excluding Alaska) Applicable saks tax added to all orders NEW PRODUCTS

Jensen The flagship component in Jensen's random play, repeat, and intro scan. The line of car stereo CD receivers, the re- tuner section features electronic noise movable CD -9500 is rated at 10 watts suppression, twelve FM and six AM each into four channels. It also has a presets, automatic storage of the six separate preamplifier output, for use strongeststations,andpresetscan. with an outboard power amplifier, and There is a built-in battery for the clock bass and treble tone controls. Compact memory. Price: $429. International Jen- disc features include dual 16 -bit digital - sen, Dept. SR, 25 Tri-State International to -analog converters, multibeam laser Office Center, Suite 400, Lincolnshire, tracking, an antishock disc mechanism, IL 60069.

Infinity The Infinity Reference E -L bookshelf loudspeaker has a 51/4 -inch polypropyl- ene -cone woofer and a 1/2 -inch polycar- bonate tweeter. The crossover frequen- cy is 5,500 Hz. Frequency response is rated as 70 to 20,000 Hz ± 3 dB, sensitiv- ity as 89 dB, nominal impedance as 6 ohms. Recommended amplifier power is 10 to 60 watts rms per channel. The Reference E -L measures 111/4 x 71/2 x 65/8 inches, and the cabinet is finished in simulated oak or black -ash woodgrain Billy Bags Designs vinyl. Price: $170 a pair. Infinity Sys- tems, Dept. SR, 9409 Owensmouth The Billy Bags line of audio/video are optional. The finish is a black -pow- Ave., Chatsworth, CA 91311. furnitureusestubular -steelsupports der coating. The Eurostyle Model 2621 with table tops and shelves made of high- TVNCR stand shown here measures 26 pressure laminates. The table tops can x 18 x 21 inches; the adjustable speaker swivel 360 degrees for viewing flexibility stands are 10 x 8 x 10 inches. Prices: TV/ and are available with straight or beveled VCR stand, $399; speaker stands, $149 edges. The units come fully assembled each. Billy Bags Designs, Dept. SR, and will support up to 500 pounds. Leg 1637 Pacific Ave., Suite 135, Oxnard, vibration dampers are included; tip toes CA 93033.

Blaupunkt Blaupunkt's BMA 200 five -channel car stereo amplifier is rated to deliver 25 watts into four channels and 50 watts into a fifth, subwoofer channel, all with no more than 0.1 percent distortion. Improved bridged transformerless cir- cuitry in the satellite channels is said to result in higher output power levels and greaterstabilityintolow -impedance loads. The subwoofer output is driven by a powerful single -ended push-pull ampli- fier. The Sallen & Key crossovers, said to be phase coherent at the 100 -Hz cross- overpoint, have 12 -dB -per -octave slopes. A switchable 15 -Hz infrasonic filter is included. The inputs can be used with a floating or common ground. Price: $330. Blaupunkt, Dept. SR, 2800 S. 25th Ave., Broadview, IL 60153.

12 STEREO REVIEW OCTOBER 1991

The Expensive Sound of (ultra -low viscocity) magnetic fluid which enables the Affordable Monitor Series the SL 2500 to exceed normal listening levels In 1972, Polk Audio created a new standard without loss of performanceor reliability. The for high performance and affordability with the resulting dynamic range is dramatic, indeed introduction of its original unique for speakers in this price range. Monitor 7 loudspeaker. The compact Monitor 4 featuresan all Audiogram Magazine said, new tweeter, the SL 1500 hemispheri- "we were so impressed we cal, 1" soft dome driver.It delivers could not believe the superb definition and smooth extended prices...they'rea steal." response, all resulting from Polk's Also referring to the exhaustive testing and computer -aided Monitors, Musician design analysis. Magazine said, "If you're The performance of all the Monitor shopping for stereo,our Series 2 Loudspeakers at high frequen- advice is not to buy speakers cies results in a sound that is easy to lis- until you've heard the ten to, hour after hour, without fatigue. Polk's." And their extremely wide dispersion char- Today, Polk Audio fur- acteristics greatly reduce the need for crit- thers this tradition of offer- ical placement withinyour listening room. ing state-of-the-art sound The original at affordable prices with its Polk Monitor 7 that Better Bass Than Ever Before new Monitor Series 2 started a sound revolution in I972. The Polk Monitors have always beenrecog- Loudspeakers. All of these affordable speakers nized for their exciting bass performance. The haveone thing in common- the unmistakable, Series 2 loudspeakers sound even better. Each exciting sound of Polk. low frequency systemwas redesigned to provide Expensive Sound, Affordable Price

Polk's high Performance deeper,more realistic bass. The 4, 4.6 at High Frequencies and 5jr+ have greater internal cabinet Featured in the Monitor 4.6, 5jr+, 5, 7, 10 volumes than the previous models, clearly and 12, the SL 2500 makesa major contribu- making them the biggest sounding book- tion to the improved performance of the Monitor shelf speakers available. Series 2. Sharing much of the technology of the Moving up to the Monitors 5, 7, 10 and incomparable SL 3000 tweeter used in the Polk 12, the bass gets deeper and fuller, each flagship SRS series, the SL 2500 isahighly being more capable of filling largerrooms refined, technically advanced driver. with bass energy thatyou can feel as well The voice coil, wound aroundan aluminum as hear. voice coil former, is cooled by an exotic ULV There'saPolk Monitor opment, Polk has introduced an entirely new That's Right _or You series...the Monitor Series 2. Youare invited to Polk offersseven Monitor Series 2 loudspeak- your nearest Polk Audio dealer for a demonstra- ers ranging in size, performance, and price. All tion of these remarkable new loudspeakers. You feature Polk's proprietary trilaminate polymer will hear the expensive sound of Polk...atvery diaphragm midbass driver for excellent transient affordable prices. response and reduced midrange coloration. You will hear the next generation of Starting with the Model 4, each subsequent loudspeaker:. Monitor Series 2 speaker gets larger,more effi- cient, handles more power, has greater dynamic range and delivers better bass response.They are an excellent choice for multiple speaker sys- Spealeerpeciali tems throughout your home. 5601 Metro Drive Baltimore, MD 21215 1 -SA Listen to the Next (301) 358 - 3600 Generation of Monitors Polk Audio starteda sound revolution in the early 70s with its first Monitor 7 h offering state-of-the-art sound ata rea- sonable price. Today, after nearly two decades of refinement, research and devel-

Where to buy Polk Speakers? For your nearest dealer, see page 101. 01991, Polk Audio. Inc. All rights reserved. SIGNALS hen C . Pohlmann

quality and greater user convenience: would be impossible to transmit linear DAB. Instead of using analog signal - digital audio signals because the band- modulation methods such as AM (am- width requirements would be ex- plitude modulation) or FM (frequency treme. Thus, DAB must use compres- modulation), DAB would transmit au- sion to reduce the amount of data that dio programs digitally. The audio fi- istransmitted. Although telephone delity could be comparable to that of a companies have employed data com- CD, the signal would be immune to pression for years, this technology has many kinds of interference, and sub - only recently entered the domain of carrier channels could convey addi- high fidelity, where the performance tional, nonaudio information. DAB is demands are enormously harder to even cheaper to put on the air. An meet. Once a DAB system is selected, analog transmitter might consume it will be carved in stone for decades; if 100,000 watts, whereas a DAB trans- its data -compression scheme has un- mitter of equal range would consume fortunatelyaudibleartifacts, we only 1,000 watts. That could add up to would like to discover them before the power -bill savings of $7,000 a month. system is mandated, not after. So Long, FM. Broadcasters everywhere are clam- All the opportunities, and pitfalls, of oring for DAB, but there are a number DAB are being debated by broadcast- of tough problems to tackle. First, it's ers, but it is the Federal Communica- Hello, DAB. not clear how digital audio should be broadcast. Some companies advocate MAGINE that you are driving down a satellite system in which programs the highway. You push a button and are uplinked to geostationary satel- The fidelity of Digital crystal-clear,high-fidelitysound lites, then downlinked directly to con- Audio Broadcasting would comes forth. It isn't from a cassette, sumers, creating national radio broad- a CD, or a DAT (or even a DCC or cast services. Such a system would be comparable to that of MD). It's pulled directly out of thin provide great coverage to rural areas, a CD, and the signal air, at no cost to you. but insuring good signal strength in Well, big deal, you say. It's called difficult areas such as urban canyons would be immune to many radio, and it's been around for eons. wouldrequiresupplementallocal But listen more carefully. The signal transmitters, or "gap fillers." kinds of interference. fidelity is exceptional-CD quality, in Other companies advocate a contin- fact. When you drive in the shadow of uation of locally originated broadcasts a skyscraper, there is no signal degra- in which independent stations use ter- tions Commission that must ultimately dation from multipath. And there's restrial digital audio transmitters. Al- decide how, and when, DAB will be more. As you're listening to music, a ternatively,digitalaudio programs implemented in the U.S. There are soft voice breaks in to alert you about could be transmitted over home ca- dozens of proposals before the FCC, an accident ahead and suggest an alter- ble-you'd be able to get perhaps thir- each with its own merits. nate route. What is this? ty CD -quality channels for a $7 month- The European Broadcasting Union Itis digital radio, more properly ly fee. Of course, cable doesn't work is expected to approve a DAB stan- calledDigitalAudio Broadcasting for mobile applications. In the long dard based on the Eureka 147 format (DAB), and its time is coming. Audio run, a combination of all three systems this year; production of consumer re- media such as tape and disc have will probably be employed. ceivers is planned for 1995. In the undergone tremendous changes in re- Another complication for the non - U.S., Stanford Telecommunications cent years. With the announcement of cable systems is locating the DAB has developed a system for CD Satel- Philips's DCC (Digital Compact Cas- band in the broadcast spectrum. The lite Radio with one hundred DAB sette) and Sony's MD (Mini Disc), spectrumisalready jammed, and channels-sixty-six satellite and thir- even greater change is soon to come. many interested parties, such as cellu- ty-four terrestrial-that is said to be Meanwhile,radio has remained, lar telephone services, are lobbying cheaper and to use less bandwidth and well-static. AM and FM broadcast- hard for more space. Can new space power than the Eureka system. Mean- ing hark back to the earliest days of be found for DAB, or should it occupy while, Digital Music Express, Digital audio, and the last successful evolu- the spectrum presently used for AM or Cable Radio, and Digital Planet have tionary step, stereo FM, took place FM? And what will happen to AM and inaugurated digital cable services. almost forty years ago. The technol- FM when DAB is introduced? On So when will you be able to drive to ogy gap has become increasingly obvi- some New Year's Day will we all have work enjoying CD -quality digital ra- ous, to the point where sales of tuners to junk our current radios and buy new dio,confidentlynavigating around have started to decline. DAB models, or can AM, FM, and traffic jams before you hit them? Five The solution is a new, more compet- DAB co -exist? years, or sooner. Unless the FCC has itive broadcast format of higher audio Still other questions loom large. It a flat tire. 0

16 STEREO REVIEW OCTOBER 1991 ILA The Black Crowes: Madonna:: Shake Your The Immaculate Moneymaker52142 Collection 541E4

Chris lsaak: Heart Shaped World73735 The Doors/Original Sounctrack 54289

Wilson Phillips 00726

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I'll Give.W P1 G: L There Was A Way Basie Orchestra To You The Cole Port Songbook: NI I 645 oars Fears: (Reprise) 64310 Big Boss Band 51603 WarnerBM'. 13519 Day (Verve) andy Travis: The Seeds 01 Love Bruce Hornsby & The ort: Short (Fontana) 33653 Quincy Jones: Keith Whitley: Heroes And Friends Range: A Night On The Back On The Block Dog's In The Hots Hits (RCA: 10 (Warner Bros.) 74597 Paul Simon: Graceland Town (RCA) 63689 (Jive54304 (Warner Bros.) 72315 (Warner Bros (64116 : Gra The Jeff Healey Band: Contraband Boogie Down Deee-Life: World Clique Greatest, Gospel3e tilts cos ) 72 Hell To Pay (Impact/MCA) 32031 The B -52's: Cosmic Productions: Live (Elektra) 52050 Anstal 00544 Thing (Reprise) 14742 Hardcore Worldwide U2: Rattle And Hum Bon Jovi: New Jersey 44584 Neil Young: Ragged Ethel:LN: Gh (Island) 00596 Robert Plant: (Mercury) 00516 Guns N' Roses: Glory (Reprise) 34621 A Dog Olen) 73923 Manic Nirvana Appetite For Destruc- Lila Ford: Stiletto Grateful Dead: Built To (Es Paranza) 54122 Big Band Bash tion (Geffen) 70348 (RCA) 63893 Kentucky Headhunters: Eric Clapton: Last (Arista) 72230 (Compose10458 Pickin' On Nashville Journeyman Big Daddy Kane: A Take 6: So Much 2 Say Jasmine Guy (Wooer Bros I53940 Patsy Cline: 12 Greatest Twin Peaks/TV (Warner Bros I54384 (Mercury) 24740 Hits (MCA) 53849 Taste Of Chocolate Soundtrack (Reprise) 53580 Anita Baker: Carly Simon: Have You (Cold Chillin') 01095 (Warner Bros63540 Alannah Myles Lit, Ford: Lila Seen Me Lately? Gipsy Kings: Allegria King's X: Faith, Hope (Atlantic) 30045 (RCA) 24793 Compositions (Arista) 20912 (Elektra) 11178 Hank Williams, Jr.: (Elektra) 00921 Love By King's X Pure Hank The Cure: Jimmy Buffett: Greatest (Atlantic) 74229 Don Henley: The The Glenn Miller Vince Gill: (Warner Curb) 60351 Kiss Me, Kiss Me. Hit(s) (MCA) 42157 Orchestra: In The Pocket Full 01 Gold Kiss Me End Of The Innocence Digital Mood (MCA) 73599 Spyro Gyra: Fast Jeffrey Osborne: Only Tracy Chapman (Geffen) 01064 Forward (GRP) 00829 (Elektra) 42404 (GRP) 43293 Human(Arista) 00545 (Eektra) 53582 Chick Corea Akoustic James Taylor: Greatest Band: Alive Hits (Repose) 23790 (GRP) 10721 START SAVING NOW MAIL TODAY! Ratli Evergreen r Bob Marley: Legend Everblue (MCA) 10492 (Island) 53521 NEVI MGM Mail to: BMG Compact Disc Club/P.O. Box 91412/Indianapolis, IN 46291 Lionel Richie: Hi -Five The Composer COMPACTYES, please accept my membership in the BMG Compact Disc Club and send my first four CDs (check box (Jive) 10542 (Motown) 24700 Mine Oa below for cassettes) as Ihave indicated here, under the terms of this offer.I need buy just one more CD at The Bonnie Raitt Lenny Kravitz: Mama DM04/4% regular Club pnces dunng the next year - after which i can choose 3 more CDs FREE! That's 8 CDs for the Collection Said(Virgin) 10041 CLUB -M price of one ... with nothing more to buy, ever, ;A shipping/handling charge is added to each shipment.) (Warner Bros )00569 Solti: Tchaikovsky, RUSH ME THESE 4 CDs NOW Suzanne Clan': 1812 Overture Pianissimo (Indicate by number) (Private Music) 11047 tit (London) 25179 tit INSTANT Clint Black: KIllin' Time I am most interested in the musical category checkec here - butI am always free to choose from any (check gm only): Technotronic: Pump Up (RCA) 01112 The Jam -The Album (SBK) 34781 En Vogue: Born To 50% -OFF 1 0 EASY LISTENING 2 D COUNTRY 3 ID HARD ROCK 4 POP/SOFT ROCK Sing (Atlantic) 14187 Hank Williams, Jr.: BONUS DISCOUNTS! Bette (Alder Clint Black ZZ Top Madonna America (The Way I See Paula Abdul: Shut Up Barry Manilow Reba McEntire Aerosmith Elton John It) (Warner Bros 120612 And Dance (The Dance Mixes) (Wpm) 80326 it's the WAG 50CLASSICAL 60JAll 7 0 HEAVY METAL Van Helen Luciano Pavarotti Kenny G AC/DC (Warner Bros.) 14620 Sinead O'Connor: difference! Vladimir Horowitz George Bensoi Slaughter The Cars: Greatest Hits I Do Not Want What You earn INSTANT Mr (Elektra) 53702 I Haven't Got (Chrysalis) 33512 50% -OFF BONUS O Mrs Metallica: ...And Justice Talking Heads: DISCOUNTS 0 MS First Name Initial Last Name (PLEASE PRINT) For All(Elektra) 00478 Stop Making Sense every time you buy Address Apt Jeff Lynne: iSae) 24560 aCDat regular Armchair Theatre The Police: Every (Reprise) 00803 Club price.Ina nut- City State Zip Breath You Take-The shell .. buy 1, take Dirty Dancing/ Singles (ABM )73924 another a: half pnce. Original Soundtrack Telephone (RCA) 82522 Lisa Stansfield: With other clubs. you I 0 I PREFER CASSETTESI'2' Affection (Arista) 34196 Area code Pat Benatar: Best Shots must first buy 6 or (You may choose The Robert Cray Band: Signature cassettes with the same (Chrysalis) 44319 Midnight Stroll more at full price and become a We reserve the right to request additional inform ition or reject any application 10 -day, no -obligation ZZ Top: Afterburner (Mercury) 73659 Limited to new members, continental USA only One membership per family. (Warner Bros )64042 "Preferred Member" privilege. Full member- America: History Local taxes. if any, will be added ship details will follow.) before you earn sav- Skid Row (Greatest Hits) '''Cassette members will be serviced by the BMG Music Service. current Music (Atlantic) 01038 (Warner Bros (23757 ings Use this! Service members are not eligible AKTFX AS tlt Selections marked (S) not available on Cassette Londonbeat In The Blood 44569 Start with 4 COMPACT DISCS NOW 111111 nay only shipping 8 handling with membership Ntiokst Buy just 1 smash hit in one year's time

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For What We Are About To Receive Getting to the heart of a system-the first in a series on the practical business of buying audio equipment

HERE'S a lot of fantasy in audio and video. you should come pretty close to what you want without Sure, some people can walk into a store, flattening your wallet unduly. You may have to postpone point to a rack, and say, "Gimme that some elements of your dream setup, but now's the time to one," but for most of us choosing a system figure that out. Whatever you decide you want to spend, it's begins with research into what's available. not a bad idea to build in a little flexibility to permit some This can take the form of talking to friends, reading hi-fi magazines, visiting local stereo shops, or- usually-all of the above. At some point, however, we have to decide which of the thousands of components on the shelves will suit our needs and tastes ... and fantasies. In the coming months, we will look at each of the major equipment categories and suggest what you need to consider (or not) in order to make a sensible choice. This month, we start with the heart of most audio systems, the receiver. But while you're considering each of the various compo- nents, don't forget that an audio/video system is indeed a system, and no part should be thought of in isolation. So before you begin to choose, say, a receiver, you will have to know whether you want a receiver at all. And if you do, the perfect choice on paper may turn out to be less than ideal because of availability or price or the requirements of other components in the system. In short, don't consider specific models until you have built a context to put them in. But take heart; the process is fairly simple. WHAT DO YOU NEED?First, what do you want your system to do? If you have a basement full of vinyl recordings, for instance, you will probably want to include a turntable. If you're considering a home theater setup, however modest, you will probably need video -switching impulse buying. Also, by the time you add in cables and functions, and you may have to take into account the stands and sales tax and suchlike, things always cost more possibility of the speakers interfering with your TV monitor. than you think they will. Be prepared. Maybe you'll want your system to do absolutely everything, but it's a good idea to start with the minimum and build WHAT'S IN A NAME?No brand of audio (or of expansion capability into what you choose. anything else) is an absolute guarantee of quality, but you shouldn't ignore the manufacturer of the equipment you buy WHAT CAN YOU SPEND?Setting a budget can be a entirely. A major brand name may offer the security of sobering experience; trying to match the system you want to prompt service today and continued existence tomorrow, what you have in the bank may make the whole project seem and economies of scale may result in lowish prices, but its impossible. But cost is a pretty uncertain guide to quality, products may not satisfy special technical requirements or and excellent equipment is available in all price ranges, so even simply your desire to own something special or unusu- B Y I A N G. M A S TER S

STEREO REVIEW OCTOBER 1991 17 B UltrtNitiTIME al. Brands of whatever stripe that consistently garner good different outlet, but that's usually not the best policy. A reviews in the audio press are good bets; those that your store that sells you the whole works is likely to give you a friends like are even better. Either way, check that whatever price break, and it may offer to come and set the system up if you want to buy is available locally. It is relatively easy to you want that. Also, a knowledgeable dealer will be able to buy from a faraway company, and the possible savings help you choose components that work well together, and might be attractive, but you usually can't listen to your you will be able to audition all of them together before you choice before purchasing it, and shipping a broken compo- lay down your money-an absolute must. Don't be too nent back for service can be a real hassle. concerned if the store doesn't carry all the models you have chosen; almost all components (except, perhaps, speakers) WHERE DO YOU BUY? Choosing the right store to have equivalents that will fit your system as well as what you deal with is easily as important as picking the equipment selected initially. If the store's staff knows its stuff and has itself. You might, of course, buy each component from a an attractive service and returns policy, stick with it.

THE more rarefied sort of hi-fi en- variety of forms, from simple low - receivers offer quite advanced sur- thusiast tends to be somewhat power two -channel stereo jobs to mul- round circuitry, only a handful come sniffy about the receiver, prefer- tichannel surround -sound units capa- close to the performance of free-stand- ring separate components that can be ble of handling numerous inputs, both ing decoders. It may be preferable to mixed and matched-and replaced- audio and video, and driving up to five use the receiver to control all your to his taste. But most audio systems in speakers at a time. So making a choice signals, but to use external equipment this country have been built around isn't easy, but it's not impossible if for the more complicated sorts of sig- receivers for decades, whatever the you have a clear idea of what you want nal processing. The receiver's own self -designatedcognoscenti might right from the start. amplifiers can still be used for the main think. A receiver is, after all, a very stereo signals and for reproduction of convenient thing, containing most of Decide whether you even want vid- straight music signals. the electronics you need for audio eo capability. If not, you can consider enjoyment. Hook up a couple of an audio -only receiver-but simple Analyze your room, speakers, and speakers and you can listen to FM video switching doesn't add a lot to a listeninghabitstodeterminethe radio; plug in a turntable or CD player receiver's cost as long as it's not too amount of power you are likely to and you can program your own mu- elaborate, so it may be wise to provide need, at least for the main signals. In sic-or switch back and forth between for the future by choosing a model that order to get the output you require, it radio and recordings. Connect a cas- handles atleast one or two video may be necessary to put up with a few sette deck and make your own record- sources. If you know that yours will be features you won't use-functions and ings. Very flexible. an audio/video system, however, you output power tend to increase hand in And with the marriage of audio and will probably want a receiver that is hand as you go up the price scale-but video systems, the all -in -one control fairly flexible when it comes to routing extra switches and knobs usually center becomes even more attractive. video signals. Still, you may not re- don't cost a lot. By the same token, But the very flexibility of the format quire surround -sound capability built you may be forced to buy more power means that receivers exist in a huge into the control unit. Although the top than you really need in order to get

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some features you want. Although nels and line -level outputs for the sur- that might mean higher cost, it never round channels (you have to supply hurts to have a little extra power: another amplifier for these). More ad- better too much than too little. The Lingo vanced models also include rear -chan- nel amplifiers and often an amplified The physical aspects of receiver de- center -channel output, usually associ- sign-looks, size, and so forth-have ated with a Dolby Pro Logic decoder little to do with quality, although they EVERYpart of audio has its own built into the receiver, and occasional- may become important if it comes to vocabulary. Although the receiver ly separate line -level outputs for driv- trying to fit a large unit into a small shares terminology with other ing one or more subwoofers. More and space or if your system will be promi- components. just as it shares more receivers include five channels nently displayed. Very small compo- functions, there are a couple of of amplification, but for subwoofing, nents are becoming more and more distinctive words and phrases. you're still on your own. popular, and using them rarely means any compromise in sound quality. RECEIVER. Don't be fooled. A VIDEO CONNECTIONS. Any re- Minireceivers suffer mainly from low "receiver" isn't just something that ceiver that calls itself "audio/video" power (large amplifier sections do take picks up radio broadcasts: That's a will have some provision for control- up space) and restricted functions (a tuner. A receiver does include a tuner, ling video signals, but these are almost smallpanel simplyhasn't enough to be sure, but only if it also has a all simply a matter of switching. Only a room for a lot of controls). If your control section (a preamplifier) and handful of models have any provision system requirements mean you have two or more power -amplifier channels for modifying the video signal (usually to buy a big, ugly receiver, there's no is it a receiver. Anaudio/videoorA/V just simple sharpness enhancement). reason it can't be hidden from sight. If receiveris almost entirely an audio Most receivers duplicate one tape - that causes a problem with your infra- device with a few video -switching monitor loop in video, so either an red remote control, extensions are options thrown in-it certainly doesn't audio deck or a VCR can be controlled available that will enable you to use receive any video. by that switch. Some offer extra tape your remote even when you can't see loops to permit video dubbing; others your equipment (or, more important, provide input switching for connec- when it can't see you). SURROUND SOUND. Any tion of a play -only videotape machine receiver with the word "surround" in or a laserdisc player. All provide line - WHAT MATTERS its designation will provide some sort level video outputs to feed a monitor. A receiver does a lot of things, and of ambience enhancement, but how The most elaborate units offer not only the manufacturer's literature typically this enhancement is accomplished a wide selection of video -switching outlines performance and features in varies widely and may have an effect options, some tied to audio switches, exhaustive-and exhausting-detail. on the other equipment you choose: but also duplicate the standard com- But actually only a few specs and You may, for instance, have to posite -video jacks with S -video con- features matter when it comes to your provide extra amplifiers and anywhere nectors. Not all of these features are buying decision. from two to five extra speakers. immediately obvious from a cursory Positioning of the speakers may be look at the front panel, so make abso- POWER OUTPUT. All receivers affected as well. Receivers with simple lutely sure that the receiver you are combine many functions, but most of "surround" or "enhance" functions considering can accommodate your them are similar when it comes to FM usually detect out -of -phase requirements without too many frills. performance and control options. One information and feed it to a pair of rear of the most important ways receivers speakers. Dolby Surround does much REMOTE POSSIBILITIES. An in- differ is in the amount of power they the same thing, but according to a frared remote control can be a real can deliver to the speakers, and mod- standard designed specifically for the enhancement to a receiver, or any els are available ranging from a couple reproduction of Dolby -encoded movie other component for that matter, but of watts output to more than a hun- soundtracks. Dolby Pro Logic is an not all remotes are created equal. dred. Find out how much power you advanced version of Dolby Surround Some are so complex that graduate need, and then make your choice from decoding that provides a dedicated engineers stare at them in abject bewil- the receivers that can deliver it. center -channel output and improved derment, so before you pick a receiv- channel separation. Both Dolby er, look closely at the remote control NUMBER OF CHANNELS. For systems usually sound best with the that comes with it. It may be that the many systems, the traditional two - surround speakers beside, rather than remote is simply too confusing, or that channel stereo receiver is enough, but behind, the listeners. its buttons are too small, or that its if you are integrating audio with video, A receiver equipped withdigital markings are illegible, or-too often- you may want to take advantage of the signal processing,or DSP, uses digital all of the above. On the other hand, a surround signal included in the sound- techniques and multiple speakers to verysimpleremote may notdo tracks of many movies. For this you simulate specific acoustic enough, or it may commit you to a will need extra outputs. The simplest environments as an enhancement of a table full of remotes, one for each surround -sound receivers provide am- standard stereo signal. component in the system. One keypad plification for the main stereo chan- for your whole system is an attractive

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The sound quality and per- accurately reproduces all the spades. It offers a 32 track mem- formance features that have madeliveliness and air of the original ory plus programmable, disc Denon Single -play CD players recording. sequential and full random play widely regarded as the best In multi -disc players, the modes; all terrific features in a sounding have now been incor- transport is an important key to multi -disc machine. Plus, there porated in Denon's first Carouselperformance. The superior trans-is a full -function remote control CD player. port technology which has madewith direct track selection from The 5 -disc DCM-350 fea- Denon famous in both CD and the remote's keypad. Recogniz- tures the same 8X oversampling,turntable categories is found in ing that the DCM-350 will find 20 -bit digital filter and dual the DCM-350. Its integrated laserits way into many of the most Super Linear Converters found intransport and disc carousel not sophisticated systems, Denon Denon's top -rated models. only provides outstanding acous-has even provided a coaxial Denon's dedication to perform- tic and mechanical isolation, it digital output. ance means that each Super also allows uninterrupted play Carousel CD changers have Linear Converter is hand -tuned while two of the five discs are been out for a while now But the for lowest noise and best linearity.changed. DCM-350 is the first to carry the This advanced digital signal pro- If the essence of a CD Denon name. Which again proves cessing and conversion system changer is convenience, the Denon's belief that being best is fully resolves musical detail and DCM-350 covers this base in more important than being first. For Product Information 34502

Call 1-800-346-8774 DENON Denon America Inc., 222 New Road, Parsippany. NJ 07054 (201) 575-7810 The first name in digital audio. B U Y I N G.

option, but beware: Some multicom- mother's attic and enjoy some real old- ponent remotes work only with prod- fashioned sound. ucts from one manufacturer; others, such as some of the "learning" re- GRAPHIC DEGRADATION. Al- motes, are more flexible but are diffi- though minimalist manufacturers and cult to program and use. So take the audio purists eschew tone controls, remote control into account when you they can be helpful in correcting minor choose your equipment, and take the anomalies in a listening room (or tam- time to figure it out. ing an over -bright recording). An ex- tension of tone controls is the built-in WHAT DOESN'T equalizer with five or seven bands-or Essentially, receivers are very similar, even more-at an appropriate cost. which makes it hard for those trying to But if you really need drastic modifica- sell them to promote one over another. tion of your sound, you need some Mostly they resort to touting things method of measuring both what's that you can safely ignore. wrong and the effect of the corrections you make, neither of which facility is MOST SPECIFICATIONS. Audio provided in a receiver. A built-in equal- was built on specs, and they are still izer simply asks for trouble; most peo- important, but with receivers many of ple overuse equalizers and end up with them can be taken more or less for worse sound than without them. granted because the differences are minute and any distortions are well GET WITH IT below audibility, even with inexpen- Almost by definition, a receiver is a sive models. Power output does vary, rind 4)111 how' self-containeddevice and requires and that's important, and some as- fewer accessories and add-ons than pects of performance may merit atten- other parts of an AN system. Still, tion depending on your needs and cir- much power you you will require cables to hook it up to cumstances. You should consider FM the others. In most cases, source com- sensitivity if you live in a fringe recep- need, and ponents are supplied with patch ca- tion area, for instance, or phono per- bles, but you may feel you want some- formance if you have a large vinyl thing different, or you may simply collection (although, even here, differ- then make your require longer leads (but not too long, ences tend to be fairly small). Other- please), and you will certainly also wise, buy a receiver on features and need speaker wire of some sort. price. choice from Depending on where you will be listening, it may be necessary to re- FANCY SCHMANCY. Audio the receivers that place the simple dipole FM antenna companies love to give their amplifier padked with the receiver with some- circuits exotic -sounding names, most- thing more advanced, but that's best ly to give the impression that they are a can deliver it. left until after you have set up your form of Class A device or that they system and discovered if you have any have done away with some feature of reception problems to correct. normal amplifiers, like negative feed- Otherwise, a damp cloth to keep the back. In all cases these innovations do THE VEGAS LOOK. Many receiv- panel clean and perhaps some contact indeed represent some form of unusu- ers sport status displays on their front cleaner to spritz the jacks and switch- al design wrinkle, but they almost nev- panels that are bright enough and have es occasionally are about all you'll er pay any sonic dividends that matter. enough elements that you can read by need to keep a receiver happy. Ditto for gold-plated contacts and ex- them. Such displays may look terrific otic internal wiring. Buy them if you in the store but can be distracting-or want, but don't feel that you have to downright annoying-when you are get them to achieve good sound. More enjoying a quiet evening in the soft ONCE you have made a tentative orthodox designs and materials tend to light of your living room. The hopping choice of receiver, take some time to be cheaper. and bouncing orange or green displays play with it in the store before you can sometimesbeturnedoff or plunk down your hard-earned money. RADIO PRESETS. Most of us lis- dimmed-in which case, why have This will be the operations center of ten to two or three radio stations most them at all? Things like power meters your system, after all, and if you find it of the time, with only the occasional tell you nothing you need to know, and awkward or confusing to use, or if it excursionintonewterritory. So as for source indicators, if you can't won't do something that you need

there's not much point in paying for tell whether you are tuned to FM or done, it's not for you. the two or three dozen presets many listening to a CD, perhaps it's time to receiver manufacturers offer. dig out the Stromberg-Carlson in your NEXT:Buying a cassette deck.

STEREO REVIEW OCTOBER 1991 23 O 1991 Maxell Corporation of Amenra

THE HIGHER THE PERFORMANC Compare Maxell's XLII-S to an ordi- greater rigidity and durability. with Black Magnetite-a higher nary cassette. An obvious difference The shell itself is a compound energy magnetic material harnessed is the size of the windows. Remember: of ceramic and polymer resins. With by Maxell engineers. there are no bay windows in rockets, but 1.4 times the specific gravity of stan- It contributes to the sound CD in houseboats there are. dard cassette shell material, it's anti - Review magazine described like this: That tiny little slit of a window resonant, absorbs vibrations that can"Bass response that doesn't stop, allowed us room to build additional cause modulation noise. staggering dynamics, real music:' And support into the cassette shell for Inside, the tape is formulated in their review of Type II tapes, they E,THE SMALLER THE WINDOWS. rated XLII-S, "Head, shoulders and torso above the rest!' Of course, an XLII-S cassette is going to cost you more than one with big, low -performance windows and matching sound. But not so much more that you have to go to Congress for it. TAKE YOUR MUSIC TO THE MAX. YouONLY GET WHAT YOU PAY FOR.Right? Well, not Add to this a seamless dividing network and the results are always.PARADIGM,the leader in speaker performance/value, has outstanding! Musical, three-dimensional, theTITANoffers done the impossible - made a speaker system that is an absolute performance that belies its astonishing low price. audiophile delight for an incredible $199/pair... the TITAN! YouWON'T FIND PARADIGMspeakers everywhere. Product WHAT DOES IT TAKEto build the finest speaker at this price? this good requires the expertise of a qualified audio specialist. Quite simply, better design execution and better materials. So, before you buy any inexpensive speaker, visit your So, rather than typical inferior cone -type tweeters, the MAN uses AUTHORIZED PARADIGM DEALERand listen to the amazing TITAN. a wide -dispersion dome tweeter complete with high -temperature What you will hear is music.. for a song! voice -coil, aluminum former and ferrofluid damping and cooling. Instead of lesser paper -cone -type woofers, theTITAN FOR MORE INFORMATION CALL1-800-553-4355 Ext. 41274 or woofer uses a polypropylene cone with a high compliance write:AUDIOSTREAM,MPO Box 2410 Niagara Falls, NY 14302. suspension, high -temperature voice -coil and kapton former. In Canada:PARADIGM,569 Fenmar Drive, Weston, ON M9L 2R6. TECHNICAL TALK by Julian Hirsch

age audiophile-both listed for about and the tube models were dropped $200, a large sum in 1958. shortly after. The birth of a new company, Dyna- The early Dynaco amplifiers quick- co, was roughly contemporaneous ly achieved a "classic" status despite, with the introduction of the AR -1. or perhaps because of, their modest Founded by David Hafler (who was cost. They were excellent products, later responsible for numerous ad- and their performance was difficult to vances in hi-fi product design), Dyna- beat at almost any price. Reliability co at first made amplifier kits. Kits was another of their merits. I still have were very popular in those years, the Mark IV that I built more than when they provided worthwhile cost thirty years ago, and it works perfect- savings as well as the pleasure of "roll- ly, with all its original parts and tubes. ing your own." The Dynakit Mark II, In the1970's, David Hafler sold at $69.75, delivered 50 watts with less Dynaco and went on to found the than I percent distortion. The Dynakit company that bore his name and Mark III, at $79.95, was rated at 60 earned a similar reputation in its own watts. right. Dynaco later went through sev- The Audio Clearly, anyone spending $185 for eral changes of ownership, most re- an AR -1 (remember, stereo was yet to cently becoming a part of Panor, Inc., come) would prefer to spend $70 or of Hauppauge, New York, which de- Time Machine, $80 for an amplifier kit, plus a few cided to reissue the classic Dynaco hours' work assembling it, to buying a Stereo 70 in a form as close to the $200 amplifier. Dynaco and AR be- original as possible. The result is the Part II came the key components of a large Dynaco Stereo 70 Series II, which we number of hi-fi systems in the second have tested and will report on fully in M( )RE than a year ago (June half of the 1950's. Although I am just an upcoming issue. 1990) I described in this col- guessing, I suspect that today's dollar Unpacking our test sample of the umn the experience of retest- figures are inflated about tenfold from Series II awakened feelings ofdéjà vu ing my old Acoustic Research those prices, which were not insignifi- in rie. Unlike the resurrection of my AR -1 speaker, circa 1955, with cant at the time. own AR -1, this was not exactly a today's equipment and tech- By 1960, Dynaco had added the "time machine" trip. It was more like niques. As it turned out, the venerable Mark IV amplifier, rated at 40 watts, meeting an apparent clone of a living AR -1, which was one of the major for $59.95, and the Stereo 70 (with two being from the past and finding that its milestones in the development of mod- 35 -watt channels) for $99.95, as well as genes had been subtly altered, leaving ern high-fidelity loudspeakers, acquit- preamplifier kits. The Stereo 70, its it recognizable but not quite identical ted itself admirably at the advanced first stereo amplifier, remained in the to its original form. age of thirty-five. line for about eighteen years, last ap- Some of the changes in the Series II By the standards of the mid -1950's, pearing in STEREO REVIEW's 1978Ste- are evolutionary, in the interests of the AR -1 was extremely inefficient reo Directory and Buying Guide(still in survival. Certain tubes used in the old (today it would rank at least average in kit form, at a list price of $169). By that Stereo 70 are no longer available; for- that respect). The popular Williamson time, there were a number of powerful tunately, the 6CA7 output tubes are. amplifier, in many ways one of the solid-state amplifiers in Dynaco's line, Even if the old rectifier tube had been finest of its day, delivered perhaps 10 available, it played no direct part in the watts. Although it could (and did, in electrical performance of the original my system) produce some excellent amplifier and was one of its least reli- sound driving the AR -1, the speaker TESTED THIS MONTH able parts. Clearly, replacing it with simply could not play loudly enough to solid-state diodes would have been compete with the more sensitive, pub- desirable even if the 5AR4 tubehad lic -address -derived home speakers of Sony CDP-C67ES been available. Similarly, a huskier the time. Compact Disc Changer and higher -rated power transformer The AR -1's inefficiency was a seri- was justifiable and desirable, especial- ous problem for dealers attempting to Memorex Triumph TS -5 ly since a perfect recreation was no demonstrate the new speaker, since Loudspeaker System longer possible. few amplifiers at that time could deliv- Probably thesine qua nonof the Technics SA-GX505 recreation process was using the origi- er more than 20 or 25 watts. A few Audio/Video Receiver "high -end" amplifiers, such as the nal output transformers, which have a

McIntosh MC -60 and the Marantz Monitor Audio MA700 Gold great deal to do with the performance power amplifier (which had no model Loudspeaker System of the amplifier. Luckily, the design number) could be and were used, but specifications and data for the original they were a bit expensive for the aver - transformer were available to Panor's

STEREO REVIEW OCTOBER 1991 27 TECHNICAL TALK

engineers, and the heart of the Stereo ly different. And in every case we 70 was accurately replicated. could see, the differences appear to be The only significant circuit change improvements. in the amplifier itself was the elimina- Our test data fully justify that con- tion of its phase -correction network, a clusion. As I have said on more than resistor/capacitorcombinationthat one occasion, I have little nostalgia for rolls off the high -frequency open -loop the "good old days" of tubes. They gain within the overall feedback loop were hot, power -wasting, noisy, and to insure stable operation. Panor engi- ultimately unreliable devices. They neers consulted with the well-known designer Frank Van Alstine, who has Lase1016C moo,. created many Dynaco modifications The early Dynaco power that have succeeded in making already fine products even better. Van Alstine amplifiers quickly suggested the use of a simple bandpass filter at the input to the amplifier, achieved a "classic" limiting its bandwidth to the audio status despite, or perhaps range of 20 to 20,000 Hz. This is In claimed to reduce distortion at the because of, their modest 100 + frequency extremes while retaining cost. They were excellent pages, adequate bandwidth for music repro- you'll products, and their see the duction. latest in Finally, when the original Stereo 70 performance was difficult home and was created, printed circuit boards car stereos, were crude phenolic affairs subject to to beat at any price. video and environmental effects of all kinds. It telephones. was logical, therefore, to use a high - Crutchfield's quality fiberglass board in the Series still are. But I must admit that when one -of -a -kind II, reflecting the advances in manufac- the tube amplifier is new and as well catalog brings turing technology over the past few designed and constructed as this one, you quality brands like Sony, decades. any imperfections it might have are Pioneer, Kenwood, So the Dynaco Stereo 70 Series II, not audible (to me, anyway). Advent, Bose, AR, whose kinship to the original is imme- It was a pleasant surprise to see how and many others- diately obvious to the eye and whose well a thirty -year -old design, translat- all at discount prices. performance would be difficult to dis- ed into modern technical idiom, could You'll see each component in tinguish from that of the original, ei- perform. Combined with my similar detailed color and get Crutchfield's ther by ear or by instrument, is really a experience with the AR -1, it renews exclusive comparison charts of specs skillful copy that adheres closely to my respect for the designers of the and features. Our techni9I staff and the spirit of the original even though landmark products from theearly writers highlight the unique benefits some of its physical features are slight- years of high fidelity. of every product, so you can choose the model you like best. Call or send this coupon now for your free catalog 800-336-5566 Ram - Midnight (Eastern time) 7 days a week

Name

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Optional - Are you in the market for: O PC/Office products[1 Security products "The voice coils of these speakers here were wound CRUTCHFIELD counterclockwise for use below the equator." 28 STEREO REVIEW OCTOBER 1991 1 Crutchfield Park. Dept. W. Charlottesville, VA 12906 Introducing the New Bose Acoustimass -5 Series II Speaker System.

Thepart you see Your eyes wont believe your ears. When you place an Acoustimass-5 speaker system in your home, all you see are two tiny cube speaker arrays (shown left). You can easily hide the compact bass module (lower left) anywhere in the room, out of view. You may find it difficult to believe the small size be- cause of what you hear: sound so spacious and lifelike, it approaches the realism of a live performance. The cube speaker arrays feature Bose Direct/Reflecting` speaker technology. They can re-create a natural bal- ance of reflected and direct sound that conventional speakers cannot match. Rotate the arrays to cause big rooms to sound more intimate, or small rooms more spacious. You can listen from almost anywhere in the room and still hear full stereo. All the music, even the lowest bass notes, appears to come from the small cubes, regardless of where the bass module is hidden. The Acoustimass bass module contains technology Thepart youdontsee. unlike that of any conventional speaker. It launches

Three acoustic masses sound into the room by an air mass, rather than directly provide 36dB/octave acoustic New system from a vibrating surface. Some benefits of this patented crossover rolloff! protection circuit. Bose technology are shown in the pictorial on the Benefit: More system Benefit: Soundstage determined lower left. by cube speakers. Complete protection at high output freedom to hide the bass module volumes. Increased anywhere in your room. reliability. Compare the sound to conventional speakers costing far more. The best way to appreciate the benefits of this technol- ogy is to ask your dealer to demonstrate it side by side with conventional speakers costing far more. For more information about Bose products, and names of Bose dealers near you, call toll -free; 1-800-444-BOSE Ext. 28 USA 8:3OAM-9 OOPM (ET) FAX 508-872-9657 I hrec cionottc Canada 1-800-465-BOSE 9:OOAM-5:OOPM compression chambers. Benefit: Reduced cone motion providing virtual elimination New elliptical toroid conduit for of audible distortion. the radiating air mass provides for laminar air flow. Benefit: No audible noise caused by turbulence, even at .E111.5"E' high loudness levels. Plextglass model for illustration purposes mily) Better sound through research.

©1991 flow (....orpt11,111011 CAN TUBES

Plus our proprietary Soft EQ circuitry which com- pensates for variables in spacial (L -R) information WARM UP CD and midrange equalization found in many CD's mastered from analog tapes.

BRING YOUR TWO BEST CRITICS TO A CARVER DEALER. It's tempting to further regale you with how well SOUND? we think the SD/A-490t's tubes and Single Bit D/A How a very old technology can make a brand new compact circuitry improve the sound of a compact disc. But disc player sound extraordinarily good your own ears should be the final arbiter of quality. Bring them to a Carver dealer and compare tube output with solid state designs costing $1000 or Our ultra - THE SD/A-490ES OUTPUT SECTION. advanced new more. Suffice it to say that almost all critical listen- Our new CD player uses two 6DJ8 dual triodes SD/A-490t ers not only are able to hear a difference, but prefer placed between the digital -to -analog converter and includes two the sound of the remarkably affordable SD/A-490t's a motorized volume vacuum tubes dual triode transfer function. control. Operated whose classic design at less than has remained 30% of unchanged for over 35 years. We and many other critical listeners believe that this anachronistic addition to an already excellent CD player design significantly enhances its sound. THE AMPLIFIER THAT DOESN'T AMPLIFY. Between a CD player's D/A converter and external outputs is circuitry called a buffer amplifier which actually doesn't boost the signal strength at all. Instead, the buffer amp is a unity gain device which their maximum $Te6h Ca gSgDes/Ate-d490retta. increases output current, and acts as a sort of elec- capacity, the tubes il tronic shock absorber, isolating the relatively fragile achieve a highly linear$500 less than the nearest com- THE SD/A-490t petitor with tube output.' D/A chip set from the nasty outside world of output voltage with Dual 6DJ8 Vacuum Tube Output Stage demanding analog components. very low static and transient Over -sized Disc Stabilizer Transport 24 -Track Programming with Music Calendar TUBES VERSUS SOLID STATE. distortion while providing very high dynamic Display and 21 -key front panel and More than 98% of all CD players use solid state headroom. remote input devices for buffer amplifiers. A handful of hard -to - And because Indexing find, esoteric designs in the $1200 to $2500 range they're "loaf- Random Play employ one or more tubes instead. As does our ing" at 1/3 Motorized Volume Control readily -available $699 SD/A-490t. their rated Time Edit/Fade Taping Feature with In ultra -expensive preamplifiers and power current capa- user -variable time parameters amplifiers, tube sound is subjectively described as 2 to 10 Second Variable Length Fade "mellower", "warmer", "more open and natu- bility, the SD/A-490t's tubes Optical and Coaxial Digital Outputs ral" or simply `less harsh than solid state". are designed to last the life of the CD player without replacement or need for adjustment. Exclusive Carver Soft EQ Objectively, it's safe to say that tubes: 1) Produce even -order distortion versus transistors' odd -order AN ARRAY OF FEATURES AS RICH distortion, particularly 3rd harmonics which are AS ITS SOUND. especially unpleasant to the ear, 2) Act as a pure We've designed the SD/A-490t to be both useful Class A device when used in a buffer stage (Class A and easy -to -use. 21 -key front panel or remote pro- output is considered the optimal amplifier configu- gramming. Fixed and variable output. Program- ration) 3) "Round off" the waveform when they ming grid display. Random "shuffle" play. CARVER CORP., LYNNWOOD, WA, U.S.A. Call1 -800-443-CAVR for information and dealer listings. clip, while over -driven solid state devices cut off Variable length fade. Automatic song selection to fit sharply, causing audible distortion. any length of tape. Even index programming for 'Source: 1990 Audio Magazine Annual Equipment Directory. classical CD's. TEST REPORTS

being programmed, and the player can Sony CDP-C67ES also perform a similar function auto- matically,selectingthemaximum number of tracks that can be accom- Compact Disc Changer modated on a given tape length. In addition,the PEAK SEARCH feature Julian Hirsch, Hirsch -Houck Laboratories scans a disc for the maximum level recorded on it and repeatedly plays 4 seconds of the peak -level program to THE CDP-C67ES, a new member hers and speakers; the ambience sig- simplify setting the recording gain. of Sony's ES series of deluxe nals are simply added to the regular For all the versatility of the C67ES, audio components, is an excep- program being played through front its front panel is relatively uncluttered tionallyversatile compact disc stereo speakers. and not difficult to use. The instruc- changer. As many as five discs The C67ES offers a variety of play- tion manual is complete and specific, can be loaded on its carousel, ing modes, including consecutive play but it is likely to be needed only for which rotates to place the selected of all tracks on a disc, random -order mastering some of the changer's spe- disc into playing position. It also has a shuffle play, a programmed sequence cial features. Ordinary playback is full complement of programming fea- of up to thirty-two tracks in any order, perfectly conventional. tures for dubbing discs to tape or sim- and repeat play of any selected track The C67ES is a fairly large CD play- ply for listening convenience. or group of tracks. Each of these er. The carousel drawer, extending A unique feature among current CD modes can include tracks from any or across most of the width of the front players is the C67ES's digital signal all of the discs on the carousel. panel, opens and closes at the touch of processing (DSP) circuitry, which can There are several features designed a button at the upper right of the panel. add a number of delayed and equalized to facilitate making tape dubs from A smaller button, labeled DISC SKIP, signals to a stereo program to simulate CD's. A FADER button reduces the advances the carousel to the next posi- multiple room reflections for added audio output level to zero over a peri- tion for loading or removing discs. realism in conventional two -channel od adjustable between 2 and 10 sec- Large buttons control the transport playback. In addition to a "flat" mode onds (5 seconds is the default setting) functions (play, pause, stop), and small- (normal stereo operation), there are and puts the player into pause mode. A er buttons below them operate the five DSP modes, simulating acoustic second touch on the button resumes track -skip and fast -search functions. environments as diverse as a church playback and slowly returns the out- Another group of square buttons at and a disco. The level of the added put level to its original value. The the upper left of the panel, numbered 1 effect signalsisadjustable. Unlike PROGRAM EDIT feature displays the cu- through 5,selects the discs to be typical add-on DSP processors, this mulative playing time of a series of played. Smaller buttons below them one does not require additional ampli- selections to be taped, as they are are marked CONTINUE, SHUFFLE. PRO -

STEREO REVIEW OCTOBER 1991 31 TEST REPORTS

GRAM,andPEAK SEARCH.TheCONTIN- signals in the audio output. At the information on the player's current UEbutton selects continuous play of lower right of the panel is another operating state. Numbers across the either a single disc or all of those small knob, which controls the level at top of the window represent discs in loaded,SHUFFLEit.itiates random play the variable analog outputs in the rear the corresponding carousel positions. of the tracks on the selected discs, and and at the front -panel headphone jack. The numbers are initially surrounded PROGRAMis used to select a sequence (There is also a fixed -level analog out- by red circles, which disappear after of tracks. SmallCHECKandCLEAR put and an optical digital output.) a disc has been played; a white bar buttons for programming are located The music -scan feature automati- appears under the number of the disc below the carousel drawer. cally plays the first 10 seconds of each currently playing. A twenty -selection Other small buttons in a row at the track on a selected disc. If more than music calendar shows the remaining bottom of the panel provide direct one disc is loaded and none is selected, unplayed track numbers on the cur- access to any numbered track, and it will play the first 10 seconds of each rent disc. Other indications include larger buttons select the various DSP disc. the current mode (pause, stop, play), programs. A small knob adjusts the The display window at the top cen- the status of the various taping and level of the delayed and processed ter of the panel provides complete editing functions, and the usual dis- play of track number and elapsed or remaining time. The instruction manual lists a few of FEATURES the player's performance specifica- tions but makes no mention of its Five -disc carousel changer; can play Displayoftrack and disc numbers, circuit or technical design features. 3 -inch CD's without adaptors elapsed or remaining time, numbers The front panel does indicate, how- Can program up to thirty-two tracks ofunplayed tracks on current disc ever, that the changer uses Sony's of HDLC 1 -bit digital -to -analog (D/A) for playback, from one or several (music calendar), statusspecial discs functions converter. The Sony CDP-C67ES measures 17 Track skip and manual search with Musicscan (first 10 secondsofeach track or disc) inches wide, 151/4 inches deep, and 5 sound incheshigh,anditweighs 151/2 Fader automatically fades program Repeatofdisc, track, or programmed pounds. It is finished in black, with sequence out and pauses play; resumes play gold panel markings. The remote con- with fade in trol furnished with it duplicates virtu- Shuffle play Peak -level search locates maximum ally all its front -panel control func- Digital signal processing (DSP) signal level on disc to set recording tions. Price: $380. Sony Corporation circuits to simulate acoustic level of America, Dept. SR, Sony Dr., Park environmentsofa disco, stadium, jazz Ridge, NJ 07656. club, church, or hall Fixed- and variable -level analog outputs, optical digital output Lab Tests Can select tracks to fit a desired total time Headphone jack with volume control The frequency response of the CDP- C67ES was exceptionally flat, within +0.04, -0.02 dB from 20 to 20,000 LABORATORY MEASUREMENTS Hz. The de -emphasis error was a max- imum of -0.17 dB at 16,000 Hz. Chan- Maximum output level: 1.95 volts Maximum interchannel phase shift: nel separation was 100 dB from 100 to Frequency response: +0.04, -0.02 - 0.2 degree at 20,000 Hz 1,000 Hz and decreased only slightly dB from 20 to 20,000 Hz Linearity error: -0.35 dB at - 70 at higher frequencies, to 94 dB at 10,000 Hz and 89 dB at 20,000 Hz. De -emphasis error: -0.17 dB at dB, -0.53 dB at -80 dB, +0.3 dB at -90 dB, -1 dB at -100 dB Interchannel phase shift was -0.2 de- 16,000 Hz gree at 20 Hz and within ± 0.05 degree Channel separation: 100 dB at 100 Defect tracking: tracked 1,000 - from 1,000 to 20,000 Hz. and 1,000 Hz, 89 dB at 20,000 Hz micrometer errors on Pierre Verany #2 An analysis of the output noise test disc spectrum from an unmodulated test Dynamic range (A -weighted): 97.6 dB Stewing time: 2 seconds track showed random noise decreas- Distortion (THD + N): at 0 dB, ing from -125 dB in the 5,000- to 0.0027% from 20 to 2,000 Hz, Cueing accuracy: A 20,000 -Hz range to -140 dB between 0.0033% at 10,000 Hz, 0.002% at Disc -change time: 8 to 9 seconds 500 and 1,500 Hz. There were two 20,000 Hz; at 1,000 Hz, 0.0017% from Impact resistance: top, A; sides, A power -line hum components, -119 -80 to - 20 dB, 0.0024% at 0 dB dB at 180 Hz and -116 dB at 60 Hz. Signal-to-noise ratio (A -weighted): Total harmonic distortion plus noise (THD + N) at a 0 -dB level was 0.0027 117.5 dB percent from 20 to 2,000 Hz, rising slightly to a maximum of 0.0033 per- cent at 10,000 Hz. At 1,000 Hz, THD

32 STEREO REVIEW OCTOBER 1991 Mmrigh Carey (Columbia) Paula Abdul -Spellbound 407.510 (Virgin) 420.257 Madonna -Immaculate C 6 C Music F-actory - Collection (Greatest Hits) Gonna Make You Sweat (WarnerBIOS/Sire) (Columbia) 416.933 414.557 Michael Bolton -Time, R.E.M.-Out OtTime Love & Tenderness (Warner Bros) 417.923 (Columbia) 415.711

Tice Doobie Brothers - Neil Young And Crazy Brotherhood (Capitol) Horse -Ragged Glory 421.297 (Reprise) 412.528 George Thorogood And The Destroyers -Boogie The Who --Who's Better, People (I MI) 418.061 Who's Best (MCA) 44/.4' API Wad '` 376-657 White Lion -Mane Peabo Bryson -Can You Guy - The Future (MCA) Vanilla Ice -To The Deee-Lika-World Clique Attraction (Allantic)418.038 Marvin Gaye -Greatest Hits (Motown) 367-565 Stop The Rain (Col(anty(i) 413-963 Extreme (SBK) 413-203 (Flektra) 412.742 Tanita llkarain- 418-723 Bette Midler-Some Phil Perry -The Heart Of Everybody's Angel B est Of The Doors Jesus Jones -Doubt Eric Clepion-Journey- (Elektra)367-616/397.612 Peoples Lives (Atlantic) Man (Reprise) 400.457 The Man (Capitol) 421.560 (Repose) 418-004 (SEW) 417-691 Roig Stones -Sticky 411.934 Motley Crue-Dr Feet - EMF-Schuten Dip (EMI) Nils Loigren-Silver Garth Brooks -No good .F lektra) 387.944 421.487 Angora (14011ing Stories Lining (Ryipcisr )417-501 Bet) 350.645 Fences (Capitol) 411.587 Contraband Impact/MCA) Paul McCartney - Billy Joel -Storm Front 421271 Warrant -Cherry Pie (Columbia) 387.902 Van Morrison- Tripping The 'sin (Columbia) 411-389 Kelly Willis -Bang, Bang Moondance (Warner Fantastic -Highlights The 13 -52's -Cosmic (MCA) 421.263 Tolo-Past To Present Thing (Repose) 383-877 Bros) 349.803 (Capitol)417-477/397.471 1977-1990 (Columbia) The Warterbcys-The B uddy Holly -From The The Rembrandts Atco) 411.371 Rceratie-Look Sharp, Best Of The Waterboys Ong- Master Tapes (MCA) 417.378 The Vaughan Brothers - (EMI) 381.939 (Chricialls) 421.040 348110 Ricky Van Shetton- Family Style Bonnie Raitt-Nock Of Julien Cope -Peggy Backroads (Columbia) (Epic/Assx-Aated)411-306 Time Capitol) 381.087 Suicide (Island) 421.016 Bad Company -10 From 6 416.909 Divinyis (Virgin) 417.519 (Atlantic) 341-313 Greet While -Hooked Living Colour -Time's Up Depeche Mode -Violator Indigo Girls -Back On The O' -lays -Emotionally A Decade Of Steely Dan (Capitol) 416.784 (Epic) 410.357 (Sore/Reprise) 406.423 The bus Y' MI (Epic) 420-968 Yours (EMI) 417.709 (MCA) 341.073 David Lee Roth -A Little 'hinge (Median.) 410-266 Pretty Women -Original Soundtrack (EMI) 405.407 Fleetwood Mac - Then Best Offal King Elton John -Greatest Hits Ain't Enough (Warner Alias (F MI) 409- 789 Bros) 416.610 Greatest Hits (Warner Coie Trio-June:en' Al (MCA) 319.541 Brehm*: The 3 Violin SMead O'Connor -I Do Bros) 375-782 Capitol' (Rhino) 421-982 Roger licGuinn-Back Sorg-itzhak Penman Not Want What I Haven't Sawn Wonder -Ong. From Rio (Arista)416.149 and Darnel Barenborm Got (Chrysalis) 405-001 U2 -Rattle And Hum Ntanni-Reflections 01 Musiquanum I (Greatest (Sony Classical) 409.367 (Island) 374.017/394-015 Passion (Private Music) Hits) r1.1ITIli0 The "Amadeus" Mozart M.C. Hammer -Please 421.685 314.997/394-999 -Music featured in the hit Alexander O'Neel-All Hamner, Don't Hurt 'Em The Bernstein Frank Sinatra --Capitol film (CBS) 416-123 True Man (Tabu) 409.169 (Capitol) 403477 -Selections from Creedence Clearwater Side Story, En The Town, Collectors S. in, (Greatest Eddie Money -Greatest Hits) (Capitol) Revival -20 Greatest Hits Nigel Kennedy -Vivaldi' Poison -Flesh & Blood etc_ (CBS) 371-088 421-651 The Four Seasons, (Canitoli) rugmat408.963 Hits Sound 01 Money (f arlia..y) 308-049 REO Speedwegon- Arethe Franklin -What English Chamber Orch Jane's Addiction -Ritual (Columbia) 403.428 You See Is What You Led Zeppelin IV (Atlantic) (Angel) 414.672 Greatest Hits (E Inn:) 291.435 De Lo Habitual Basis -London Warsaw Sweat (Arista) 421-123 New work (Epic) 401.752 367.672 Alan Jackson -Don't Fishbone-The Reality Of (Warner ) 407.09e Eagles -Greatest Hits My Surroundings Pretenders -The Singles Rock The Jukebox (Arista) Bed Coymbrospan -Holy Dionne Warwick - 1971-1975 (Asylum) (Columbia) 414-631 (Sire) 362.541 420.935 287.003 Water (A1C0) 406.694 Greatest Hits (1979-1990) Miclori-Lye At Carnegie The Sammons Sing The (Arista) 401.679 Huey Lewis And The Fleetwood Mac - Winger -1n The Heart Of News -Fore" (Chrysalis) Hatt (Sony Classical) Blues (Getter) 413.971 The Young (Atlantic) Kenny G -Live (Arista) Rumours (Warner Bros ) 401- 505/391 50E1 347.965 420.570 286.914 Sheens Eason -What 406.678 The Ahem -Raw (IRS ) Comes Nat u: ally (MCA) Vladimir Horowitz -The ZI Top -Eliminator The Cars -Greatest Hits 420.547 Linda Ronstadt - 413-955 Last Recording (Warre, Bros) 319.624 (Elektra) 339.903 Greatest Hits (Asylum) The Traveling Wilburys- (Sony Classical) 405.985 Barba Streisand-A Roger Nornngton- 286-740 Billy Joel -Greatest Hits Mozart Syrn Nos 39 8 41 Vol 3 (Warner Bros / Bangles -Greatest Hits Collection: Greatest Hits Vols. 1 & 2 (Columba) L °niacin Classical Players The Best Of /2 Top Wiltxiry) 413.872 (Columbia) 405.977 & More (Columbia) 401141 336-396(396.390 nn), 420.513 (lVarnle, Bros) 279.620 Joe Walsh -Ordinary Paul Simon -The Rhythm Duren Duren -Decade Boson (E pic) 269.209 Average Guy TruTedh, T3lessedftntlYlaelisea) 01 The Saints (Warner Keith Washington -Make 401869 Time For Love Ells Conallo-Mighty (E pic/Associaled)418.012 413.518 Bros 412.809 (Cannot) (Ovrest/Warnei Bros ) Like A Rose (Warner Bros ) 420-679 420.182 MORE SELECTIONS ON THE OTHER SIDE. Whitney Houston -I'm Your Baby Tonight. Chris Isaak-Heart Shaped World. Wicked Londonbeat-In The Blood. I've Been Thinking Gloria Estefan-Into The Light. Coming Tale cut plus more (Arista) 411.710 Game. many more (Reprise) 386.144 About You, etc (Radioactive/MCA) 419.150 Out Of The Dark, etc (Epic) 415.943 AND A CHANCE TO GET ONE MORE CD -FREE! ANY 8 CDs FOR A PENNYSee details below. INXS-"X" (Atlantic) Nelson -After The Rain Grateful Dead -Without A Wilson Phillips (SBK) Journey -Greatest Hits Aerosmith-Greatest Hits 412-106 (tX/Cl 411.009 Net (Arista) 406.793 (Columba) 375.279 (Columba) 306.225 410.365/390-369 Bee Gees -High Steelheart (MCA) 418.095 Willie Nile -Places I Have Dread Zeppelin - Jeffrey Osborne -Only Civilization (Warner Bros ) Human (Arista) 411.637 Hank Williams, Jr. - Never Been (Columbia) 5.000,000 (1 R 5 1420-943 420.091 Bodeans-Black And 421.289 White (Reprise/Slash) America (The Way I See It) The Essential Little Sheila E. -Sex Cymbal The Replacements -All Richard (Specialty) 417.949 (Warner Bros /Curb) Junior -"Stand Strong" Shook Down (t i'sr") (Warner Bros) 419.762 (MCA) 418.467 A1.4.113 Throwing Muses -The 414.136 412-668 Real Ramona Violent Femmes -Why (Warner Bros /Sire) 417.931 Do Birds Sing'? George Strait -Chill Of 420-166 An Early Fall (MCA) ALL THIS JAZZ Mighty Lemondrops- 417.634 Various Artists -Garfield: The Gary Burton Quartet Sound (SaelRepri'4, Original Soundtrack - Am I Cool Or What/ (GRP) -Cool Nights (GRP) 420-141 Dances With Wolves 421.206 420.984 Hank Williams, Jr -Pure (Epic/Associated) 417.436 Spyro Gyra-Collection Don Grusin -Zephyr Hank (Warner Bros /Curb) Vern Goodin -Out Of My (GRP) 420-950 (GRP) 420.976 420.109 Rolling Stones- The Doors -Original Heart (Columbia)416.917 Dave Koz (Capitol) Paul Simon -Negotia- Soundtrack n inlara) Earl Klugh-Midnight In Flashprint (Rolling Tangier -Stranded (Arco) 420.539 San Juan (Warner Bros ) tions And Love Songs 417-915 1971-1986 (Warner Bros ) Stones Rec ) 418.715 416.883 Jean Luc Ponty- 416.776 Freddie Jackson -Do Me 400.721/390.724 Dan Fogelberg -Greatest Grand Funk Railroad - Tchokolaplc) 420224 George Howard -Love Hits (Full Mnon/E pic) Again it 413.542 David Bovine- Capitol Collectors Series Special EFX-Peace Of And Understanding 317.149 416.792 Changesbome (Greatest Digital Underground - (Capitol) The World (GRP)419.960 (GRP) 416.644 Hits) (Rykodrsc) King's X -Faith Hope This Is An EP Release Todd Rundgren-2nd Yellowjackets-Green- 412.247 Love (Allanlic/Megalorce) 419-101 The Crusaders -Healing Wind (Warner Bros ) The Wounds (GRP) house (GHP) 416.198 413.039 416-719 Lenny Kravitz -Mama Enuff Z' Ruff -Strength 419-952 The Chick Corea Said (Virgin) 418.814 Elvis Costello -Girls Girls 418806 Steve Morse -Southern Girls (Columbia) Dianne Reeves -I Altoustic Band -Alive The Law (Atlantic) 418.657 Boogie Down Steel (MCA) 416.636 Remember (Blue Note) (GHP) 416.081 412.619/392-613 Productions -Live. The Godfathers -Unreal 418.756 Diane Schuur -Pure Joe Jackson -Laughter Cheryl "Pepsii" Riley - And Lust (Virgin)420.240 Chapters (Coiumbaa) Hardcore 8 Worldwide World (Epic) 416.602 John Scofield -Meant To Scriuur (GRP) 415.331 I-ICA) 418.574 411.330 Dangerous Toys- Be (Blue 418.749 Joe Sample -Ashes To Another Bad Creation- Vince Gill -Pocket Full Of L.L. Cool J -Marna Said Hellacious Acres Joey DeFrancesco-Part Ashes (Warner Bros) Coolin At The Playground Knock You Out (Del Jam Gold IMCA1 418.459 (Columbia) 416.321 414.151 Ya' Know' (Motown) III (Columba) 417-790 Columbia) 411 1 419.903 Marty Stuart -Tempted Wynton Marsalis- George Benson - (MCA) 416.305 Intimacy Calling - Big Boss Band Featunng John Lennon/Yoko Ono Moay Hatchet -Greatest Standard Time, Vol 2 The Count Baste Orchestra -Double Fantasy (Capitol) Hits (Epic) 416.099 If olumtkal 417.675 (Warner Bros) 412.478 380.774 Stevie Wonder -Jungle The Cure -Mixed Up Heart -Brigade (Capitol) Grateful Dead -Skeletons Fever Soundtrack IE iektra) 413.492 405.555 From The Closet ik (Motown; 412.130 (Warner &OS ) 378.406 E P Ilfl D -Business As Levert -Rope A Dope w Motorhead-1916 Usual (Def Jam, Style (Atlantic) 413-575 Roy Orbison-The All - (WTG) 415-950 Columbia) 415299 Dolly Parton -Eagle Time Hits, Vas 18 2 The Pogues-Hell's Ditch When She Flies (Columba Speclal Prod ) ZZ Top-Recycler Yes -Union 415.661 Echo And The Bunnymen 417.824 (Island) -Reverberation (Columbia) 412.17' 377.945 (Warner Bros ) 418-491 Ralph Tresvant (MCA) (Warner Bros /Sire) 414-540 The Rascals' Greatest Simon 8 Garfunkel - Danny Gatton-88 Elmira 415.547 Hits -Time Peace Samantha Fox -Just One St (Elektra) 418.426 Firehouse (Epic)414.318 Greatest Hits (Columba) Night (Jive/RCA) 411.694 Devo-Greatest Hits (Atlantic) 411.322 219.477 The Fixx-Ink (Impact/ (Warner Bros) 415.455 Dwight Yoakarn-If There Morrissey -Kill Uncle Foreigner -Records Luther Vandross-Power MCA) 418.202 Was A Way (Reprise) (Sire/Reprise) 416.750 (Atlantic) 318.065 Of Love (Epic) 418-848 B Angie B (Bust II/Capitol) 414.243 George Michael -Listen 422535 Harry Connick, Jr -We Smecnons with Iwo reenters mown 2 CDs and can as 2 -so write in Ode nkente., Without Prejudice. Vol I AC/DC-The Razor's Anita Baker -Composi- Are In Love (Columbia) (Columbia) 411-181 Edge (Arco) 410.662 tions (Elektra) 408.989 406.645 HERE'S HOW TO GET YOUR 8 CDs FOR 14...

Just mail the coupon together with check or money Send thews e CDs for 1e. COLUMBIA HOUSE, 1400 N. Fruitridge Ave. Marne muter n each tax order for $1.86 (that's 1a for your first 8 CDs, plus $1.85 P.O. Box 1129, Terre Haute, Indiana 47811-1129 for shipping and handling). You agree to buy just six more selections in the next Please accept my membership application under the terms outlined in this three years. at regular Club prices (currently $12.98 to advertisement. I am enclosing check or money order for $1.86 (that's' 1C for the 8 $15.98. plus shipping and handling) -and you may cancel CDs indicated here, plus $1.85 for shipping and handling).I agree to buy six membership at any time after doing so. selections, at regular Club prices, in the next three years -and may cancel Free Music Magazine sent every four weeks (up to 13 membership anytime after doing so. times a year). describing the Regular Selection for your listening interest. plus hundreds of alternates. And Special My main musical interest is (check one) :(But I may always choose Selection mailings up to six times a year (total of up to 19 Hard Rock Soft Rock Modern Rock Light Sounds buying opportunities). Carly Simon, Rolling Stones. George Michael. R.E.M . Buy only what you want! If you want the Regular or ZZ Top Michael Bolton The Cure Bette Meier Special Selection, do nothing -it will be sent automatically. Heavy Metal R813/Soul Easy Listening Dance Pop If you'd prefer an alternate selection, or none at all, just JudasPriest. Luther Vandross, Frank Sinatra. C&C Music Factory. mail the response card always provided by the date Warrant Guy Ray Conniff Sheena Easton specified. Jazz Country Classical You always have 10 days to decide; if not, you may return the Selection at our expense. Mr. Half -Price Bonus Plan.If you continue your Mrs. A94 membership after fulfilling your obligation, you'll be eligible Print First Nome Yuba! lost Nimin Extra Bonus Offer: Miss P1also send one more CD for our money -saving bonus plan. It lets you buy one CD now, for which I am enclosing at half-price for each CD you buy at regular Club price. Address AFC an additional $6.95. 10 -Day Risk -Free Trial. We'll send details of the Club's operation with your irrroductory package. If not satisfied, return everything within 10 days for a full refund op, and no further obligation. ..and I'm entitled to get Extra Bonus Offer: you may take one additional CD Skis LP this extra CD FREE! nght now at the super -low price of only $6 95 --and you are Do you have a VCR? (04) Yes No then entitled to take an extra CD as a bonus FREEi And Do you have a credit cord? (03) Yes No 354/P91 youll receive your dist-hunted CD and your bonus CD with Note we weave re reahl b need any applocaton a cancel any merrewshp These oilers nal wobble es APO. FPO, your 8 introductory selections -a total of 10 CDs in all! Aireka. Hawes. Redo Rm. wee Si. details al erawreeve its Candler rosorras aenbe0 awn Tomb. 3SB-8F -RN Applicable slew tax added lo at orders © 1991, The Columbia House Company COLUMBIA HOUSETerre Ilauie, IN 47811 TEST REPORTS

+ N was less than 0.0017 percent from disc defects was adequate but not out- but the DSP feature is, at least for the -80 to -20 dB, rising to 0.0024 per- standing. It was able to track defects present, unique to this and some other cent at 0 dB. The linearity of the D/A of 1,000 micrometers from the Pierre Sony changers. And it really worked, converters was superb. The output Verany #2 test disc but mistracked at producing a plausible sensation of the amplitude error did not exceed 0.5 dB the1,250 -micrometer level.Italso selected environment. Although the down to -90 dB and reached a maxi- mistracked when a 1,000 -micrometer ambience was not distributed spatially mum of 1 dB at -100 dB. defect was combined with a nonstan- around the room, as in a typical sur- The slewing rate of the laser track- dard track pitch or when the same size round -sound installation, the DSP cir- ing servo was good, only 2 seconds of defect recurred in rapid succession. cuits effectively added qualities that from Track Ito Track IS of the Philips the CD's we played previously lacked. TS3 test disc. The time required when Comments The DSP circuits cannot subtract a disc had to be changed was about 8 to The Sony CDP-C67ES is clearly a any ambience that is already present- 9 seconds from the first track of the very fine CD changer whose overall it cannot convert the recorded sound first disc to the last track of the second measured performance ranks with that of a spacious concert hall to that of a (it varied with the number of disc of the best players we have tested, and more intimate listening environment. positions the carousel had to turn). the functional grouping of its controls But the reverse is possible, and if the The headphone volume was good makes it surprisingly easy to use. To feature is used discreetly, the results with medium -impedance phones; low- be sure, if you expect to avail yourself are quite pleasing and natural. er -impedance, more sensitive phones of all of its features, a bit of study and The Sony CDP-C67ES offers to- would provide even more volume. The practice will be required, but you will day's state of the art in CD reproduc- player had very good isolation from be amply rewarded. tion technology and extensive facili- physical shock, requiring a hard slap Many of the features (and much of ties for taping from discs, combined in on the top or side to cause a momen- the performance) of the C67ES can be an attractive and easy -to -operate five - tary dropout. found in other fine CD players, though disc carousel changer. It's an impres- The player's ability to track through not necessarily in any single model. sive achievement. 0

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CD. He had hooked the whole thing up so the CD system worked right through a frequency on his regular FM radio, with a 6 -disc CD changer tucked away in the trunk. Cool!'

Pioneer 6 -Disc CD Changers can be added to any car or truck with an FM radio, or by installing a tuner/cassette/CD controller in the dash. And, the 6 -disc CD magazine is compatible with the(1,0 PIONEER Pioneer 6 -Disc CD Changer for home. To receive more information please call 1-800-421-1603. The Art of Entertainment 1991 Pioneer Electronics (USA) in< . Long Beach. CA TEST REPORTS

weighs only 2 pounds). The flat bot- toms of the satellites also allow for shelf, table, or stand placement. The TS -5 subwoofer is also unlike those of other three-piece systems. It is shaped like an obelisk, measuring 36 inches high, 10 inches square at the base, and 51/2 inches square at the top. Attractively finished in a semigloss black, it weighs 28 pounds. Mounted in a vertical row on one face of the obelisk are two 61/2 -inch and two 51/4 -inch long -throw woofers, all of which share the same enclosure volume. Each channel drives two of the woofers, one of each size, in the frequency range below 120 Hz. The 61/2 -inch drivers are mounted nearer the bottom of the cabinet and the 51/4 - inch drivers closer to the top. Spring -loaded connectors are on the bottom of the cabinet, which has an integral base about an inch high that is slotted to allow passage of the speaker wires. The side of the obelisk that contains the drivers is protected by a removable cloth grille. Surprisingly, the wiring exits on the same side, which may seem inappropriate for a highly visible component such as this, but the instructions suggest placing the bass module so that its drivers face the wall and are about a foot from it. Apparently the grille serves more for protection than as a cosmetic feature. The system crossover components are located in the bass module. Ac- cordingtothespecifications,the Memorex Triumph TS -5 crossover from the satellites to the subwoofer is at 120 Hz, with 12 -dB - per -octave slopes for both sections. Loudspeaker System The specifications also include a fre- quency response of 32 to 20,000 Hz Julian Hirsch, Hirsch -Houck Laboratories ±3 dB, sensitivity of 91 dB sound - pressure level (SPL), and recommend- ed amplifier power in the range of 15 to THE Memorex Triumph TS -5is er, which is stepped back slightly for 100 watts. The nominal impedance is 8 a three-piece subwoofer/satellite proper time alignment with the larger ohms. Price: $650. Memtek Products, loudspeaker system that differs in driver. A second 1/4 -inch tweeter is Dept. SR, P.O. Box 901021, Fort several respects from its competi- mounted on the back of the enclosure, Worth, TX 76101. tion. Although it is like most oth- facing rearward and upward at an an- ers in that it consists of two small gle of about 10 degrees. The crossover Lab Tests satellite speakers and a separate bass from the midrange to the tweeters is We set up the Triumph TS -5 system module (the "subwoofer"), the com- at 3,000 Hz, with 12 -dB -per -octave with the bass module placed behind ponents do not follow the usual design slopes. the right -channel satellite, a foot from pattern for this increasingly popular The plastic satellite enclosures have the wall behind it and 4 feet from the speaker configuration. fixed perforated -metal grilles to pro- side wall. The satellites were on stands Each of the black, pear -shape satel- tect the drivers. Spring -loaded con- about 3 feet in front of the wall, 3 feet lites measures 7 inches high, 5 inches nectors, which accept stripped wire above the floor, and 8 to 10 feet apart. wide, and 31/2 inches deep, just large ends, are recessed into the rear of the The system's room response was 5: enough to enclose a 4 -inch cone mid- cabinets, and keyhole slots are provid- quite uniform, within ±3 dB, from 500 range driver and a 1/4 -inch dome tweet- ed for wall mounting (each satellite to 10,000 Hz. Output rose at higherF.

STEREO REVIEW OCTOBER 1991 35 TEST REPORTS frequencies, to about +8 dB at 14,000 ohms at 25 Hz and 15 ohms at 180 and surements confirmed these reactions Hz, before returning to the midrange 1,600 Hz. Although the impedance and clarified their significance. level at 20,000 Hz. Below 500 Hz, remained greater than 8 ohms from 180 This system sounded more like a there was a cyclic variation in output: to 2,900 Hz, possibly justifying the good conventional single -box speaker It rose to about +5 dB at 250 Hz, fell manufacturer's 8 -ohm rating, not all than anyothersubwoofer/satellite to -7 dB at 180 Hz, rose to a maxi- amplifiers will take kindly to actual system we have tested. Its sound stage mum of +10 dB at 80 Hz, and fell off loads of 3 ohms or so at certain fre- was spatially unified, with never a hint steeply at lower frequencies. quencies (each satellite alone, without that the bass was coming from the We also measured the response of the crossover system, has a minimum black obelisk near the wall. Its lateral each driver in the system, using close impedance of 2.7 ohms at 10,000 Hz). and vertical imaging, with the Chesky microphone spacing. In particular, we Sensitivity, measured at 1 meter JD37 CD, was possibly the very best were trying to establish the anechoic with one satellite placed on top of the we have heard from any speaker. response of the subwoofer, or bass bass module, was 88.5 dB SPL with an The TS -5's low -frequency response module. The responses of its different - input of 2.83 volts of pink noise. Dis- anomaly was subjectively a hole in the size woofers were virtually identical tortion measurements at an input of octave from 100 to 200 Hz. Below that except that the level was 2 to 3 dB 3.3 volts (equivalent to a 90 -dB SPL) range, the bass was emphasized, but to lower from the smaller cones. The showed readings of 7 to 8 percent total no greater degree than with a large response of all four woofers peaked at harmonic distortion plus noise for ei- number of conventional speakers we 86 Hz and fell off at about 24 dB per ther size woofer at 45 Hz, falling to 1.5 have tested. The high -frequency peak octave above 100 Hz and at 12 dB per was also real, though it is too high in octave below 80 Hz. the spectrum to change the tonal bal- The low -frequency response of the ance of a program. Upper harmonics midrange driversinthesatellites In deep -bass performance, and transients were emphasized, but dropped at 12 dB per octave below 300 the Memorex Triumph not to an unpleasant degree. Hz. The response above 300 Hz was As with any speaker, every person very flat, within 1.5 dB overall up to TS -5 clearly outpointed has to listen and form his own opin- 1,500 Hz (the highest frequency to ions. Our views concerning the Tri- which we could make valid close- all of the others to which umph TS -5 changed considerably as miked measurements). we compared it, providing we lived with it.Its frequency -re- The big problem was splicing the sponse aberrations were certainly au- separate response curves to develop a a solid 32 -Hz output. dible in side -by -side comparison with composite frequency response. Using some other speakers, but it was not the clues provided by our other mea- easy to decide which was "better." surements, plus measurements on the percent at 60 Hz, 1 percent at 90 Hz, That judgment, as always, depended same units supplied by Memorex (tak- and 0.3 to 0.4 percent in the 95- to 110 - strongly on the program material, and en under different conditions, with Hz range. The midrange satellite driv- the TS -5 was as likely as not to be the differenttest equipment), we were er had very low distortion, less than speaker of choice. able to create a composite curve that 0.4 percent from 500 to 1,800 Hz and One point where there was little closely resembled the way the system less than I percent over its full range of competition was in deep -bass perfor- sounded in our test room. 300 to 3,000 Hz. mance. The TS -5 clearly outpointed The resulting curve was very flat The satellite's horizontal dispersion all of the others to which we compared and smooth from 250 to 4,000 Hz, was moderately good, but above 2,000 it, providing a solid, room -filling 32 - sloping down about 5 dB over that Hz there were appreciable changes in Hz output that seemed to belie our range. There was an unmistakable overall frequency response (not mere- bass measurements. Actually, those "hole" in the response between the ly a high -frequency rolloff) between measurements are effectively anecho- upper limit of the subwoofer's range the on -axis measurement and one 45 ic, and room interaction with a bass and the lower limit of the satellites' degrees off the forward axis. module can make a huge difference. midrange coverage. The hole reached The51/4 -inch subwooferdrivers The bottom line is that the Memorex a depth of -10 dB at 180 Hz and reached the limits of their suspensions Triumph TS -5is an unconventional affected the response between 100 and before the larger drivers showed audi- three-piece speaker system that man- 250 Hz. The output at 90 Hz was about ble signs of distress, with a 100 -Hz ages to sound a lot better than any 5 dB greater than the midrange aver- pulse input of 300 watts into the sys- measurements we could make would age, and itfell to 3 dB below the tem's 4.1 -ohm impedance. At higher indicate it should. It offers an attrac- midrange level at 45 Hz. The output frequencies, our amplifier clipped be- tive alternative to the now -conven- was 2 to 4 dB below the midrange level fore the speaker was overloaded. tional "black box" bass module that is from 5,000 to 10,000 Hz, and it rose to intended to be hidden from view. Sys- a +8 -dB peak at 14,000 Hz. Comments tems with such modules are usually The system's nominal impedance, At first listen we felt that the Mem- very satisfactory performers, but we following conventional rating meth- orex Triumph TS -5 had a tendency have heard none that can deliver the ods, was 3.4 ohms at 90 Hz, and it toward "sizzle" at the highest fre- low bass of the TS -5. Yet it is not much reached as low as 3.1 ohms at 10,000 quencies and a somewhat exaggerated greater a visible presence in a listening Hz. The maximum impedance was 16 upper -bass range. Subsequent mea- room. 0

36 STEREO REVIEW OCTOBER 1991 RS646 Audio/Video Receiver with Dolby Pro -Logic"' Surround Sound

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Dolby and Pro Logic are registered FISHER trademarks of Dolby Laboratories Licensing Corp. ...Trust your senses. TEST REPORTS

lects one of three tuning modes, indi- Technics SA-GX505 cated by LED's. In auto mode, a slight turn of the knob in either direction starts a frequency scan in the same Audio/Video Receiver direction that continues until a receiv- able signal is intercepted. In manual, the tuner frequency shifts (in steps of Julian Hirsch, Hirsch -Houck laboratories 100 kHz for FM and 10 kHz for AM) in the corresponding direction as the THETechnics SA-GX505 is a com- quency response while equalization is knob is turned. The lock mode effec- pact, powerful stereo receiver being adjusted. tively disconnects the tuner knob from that provides switching control The center of the front panel con- the synthesizer circuits, preventing and connections for two VCR's tains a large display window, a row of thetunedfrequencyfrombeing and a video monitor in addition to ten buttons for setting and recalling changed by an accidental touch on the audio control capabilities for a the preset tuner channels (each preset knob. CD player, a tape deck, a turntable, can be used for either AM or FM), and Other buttons in this section of the and its own built-in AM and FM tun- largerinput -selectorbuttonsfor panel select AM or FM tuning, mono ers. It includes Dolby Pro Logic sur- VCR1, VCR2, tape/DAT monitoring, or automatic stereo FM operation, and round -sound decoding circuits and CD, tuner, and phono. Between the memory scan, which tunes in each of amplifiersfor drivingreareffects tuner controls and the input selectors the preset channels in turn, stopping speakers and a center (front) speaker. are a number of controls that affect when the button is pressed again. The A special Dolby 3 Stereo mode uses surround -sound operation. They se- SA-GX505 also has a convenient auto- the center -channel signal and speaker lect either Dolby Surround or Dolby 3 matic -memory mode, in which it tunes to fillin the center of two -channel Stereo mode, set the center -channel automatically through the AM and FM stereo programs. mode to off, normal, or phantom (for bands, storing the frequencies of all The SA-GX505 has impressive au- use in Dolby Surround operation with- receivable signals (this can also be dio features, including a digital -syn- out a center speaker), adjust the levels done manually). Small knobs control thesis AM/FM tuner with thirty sta- of the center and rear speakers, and channel balance and surround input tionpresetsandanoveldigital switch on a noise test signal that steps balance, and a button engages the response -control system with conven- automatically through the channels for loudness -compensation circuit. tional bass and treble tone controls as setting relative volume levels. The left side of the panel contains well as a parametric equalizer that The right side of the panel contains the power button, individual speaker allows the frequency response to be the tuning and volume -control knobs. switches for the two sets of front - adjusted separately at fifteen different The volume knob is motor -driven channel outputs, and a headphone center frequencies. A fifteen -channel when the remote control is used and jack.Other controlsincludetwo real-time spectrum analyzer constant- has an illuminated red index marker. knobs (free to rotate continuously) ly displays the program spectrum dur- The tuning knob sends pulses to the and fourteen small buttons dedicated ing normal operation and instantly frequency -synthesizer circuits as it is to frequency -response modification. switches to show the amplifier's fre- turned. A small button next to it se- The knobs are markedCENTER FREQI

38 STEREO REVIEW OCTOBER 1991 The Big Klipsch Sound Is Now Small In Size And Price You've always expected to set a new standard for bass cabinet of virtually every competi- KLIPSCH to give you a big, quality and authority in a system tive system is wrapped with vinyl dynamic sound. Yet KLIPSCH has of this size. The voice coil of this which merely imitates wood. The never been known for making woofer is vented for increased kg' gives you the real thing. small speakers. power handling and effortless Yes, though quite small in Well allow us to introduce reproduction of dynamic musical size and price, the kg' is very big in the new KLIPSCH kg'®. Here passages. performance and value. Your is absolute proof that big perfor- The tweeter uses a special investment in this system will be a mance can come from a very small ferrofluid cooling system to give lasting one. Hear and see the new speaker system. The kg' fills your you increased output, power KLIPSCH kg' at your nearest listening room with the presence handling, dynamic range, and KLIPSCH dealer. and dynamics of a live performance.reliability. Yet it's so small that it sits comfort- And the elegantly -styled To find him, look in the Yellow Pages. ably (and inconspicuously) on a cabinet of the kg' is hand finished Or call toll free 1-800- 395-4676. bookshelf. Technology is the in your choice of genuine wood reason why. veneers to make this speaker as The woofer cone, for beautiful as the music it repro- _17klipsch A LEGEND IN SOUND' example, is carbon graphite filled duces. In this price range, the P.O. BOX 688 HOPE, ARKANSAS USA 71801 TEST REPORTS

BASSandLEVEL/TREBLE,correspond- ing to the parametric -equalizer and tone -control modes, and either func- FEATURES tion can be selected by toggling the P.EQ/TONEbutton. TheP.EQ SYSoff/on Digital frequency -synthesis \V INI Balance control button controls the entire audio re- tuner with thirty presets Switchable loudness compensation sponse -control system, regardless of Auto -scan and manual tuning with Connections and switching for two the mode in use. knob pairs of front speakers In the tone mode, the two knobs behave like conventional bass and tre- Inputs for CD, phono, two VCR's, Inputs for 75- and 300 -ohm FM audio tape deck ble tone controls, but their effects antennas, AM loop antenna appear graphically in the display win- Video monitor output (supplied) dow. The horizontal frequency scale Dolby Pro Logic decoder System remote control supplied has fifteen calibrated steps from 40 to 16,000 Hz, with a vertical amplitude Dolby 3 Stereo mode for enhancement Jack to connect compatible Technics scale of ±10 dB. In theP.EQmode, of non -surround -encoded programs components for unified control buttons markedEQI, EQ2, EQ3,andEQ4 Five amplifier channels Front -panel display of complete select the frequency bands into which Parametric equalizer with fifteen system operating status the audio spectrum is divided, and the bands (centered at 4.0, 63, 100, 160, Volume -control knob motor -driven CENTER FREQ/BASSknob shifts the cen- 250, 400, 630, 1,000, 1,600, 2,500, in remote operation ter frequency of the equalizer within the range of the selected band. The 4,000, 6,300, 10,000, 12,000, and Cooling fan with automatic variable 16,000 Hz) other knob(LEVEL/TREBLE)varies the speed gain of the amplifier, indicated by the Bass and treble tone controls Two switched AC outlets vertical position of the blinking light bar corresponding to that frequency, over a -±-10-dB control range. The LABORATORY MEASUREMENTS FINEbutton slows the scanning rate and makes it easier to select the de- Tuner Section (all figures for FM Clipping headroom* (relative to sired frequency. only except frequency response; rated output): 1.17 dB There are three preset equalization measurements in microvolts, or µV, Dynamic power output*: 162 watts responses (plus flat), which can be referred to 300 -ohm input) into 8 ohms, 100 watts into 4 ohms, selected by a button on the panel and Usable sensitivity: mono, 15.5 dBf 144 watts into 2 ohms displayed graphically. Three user -de- 13.3 µV); stereo, 27 dBf (12.3 µV) signed frequency -response character- Dynamic headroom*: 1.7 dB istics can also be stored and recalled 50 -dB quieting sensitivity: mono, 24 Maximum distortion* (20 to 20,000 later.Finally, a button toggles the dBf (8.7 µV) Hz into 8 ohms): 0.057% at 1,000 Hz frequency -response display between Signal-to-noise ratio at 65 dBf: mono, and 110 watts output itsP.EQand spectrum -analyzer func- 74.5 dB; stereo, 77.5 dB tions (with a choice of line or bar Sensitivity (for a 1 -watt output into 8 displays). Harmonic distortion (THD + N) at ohms): CD, 28 mV; phono, 1.8 mV The SA-GX505hasabuilt-in 65 dBf: mono, 0.1%; stereo, 1.05% A -weighted noise (referred to a 1 - "demo" mode that simplifies using its Capture ratio at 65 dBf: 1.9 dB watt output): CD, - 77.5 dB; phono, parametric equalizer to full advantage. AM rejection: 45 dB - 72.2 dB Pressing the demo button for 3 seconds Phono-input overload (1,000 -Hz initiates an automatic program that Pilot -carrier leakage: 19 kHz, - 38 introduces a wide variety of equal- dB; 38 kHz, -40 dB equivalent levels): 200 mV at 20 Hz, 88 mV at 1,000 Hz, 90 mV at ization responses, shifting smoothly Hum: - 75 dB 20,000 Hz from one to another so that the user can hear the effect on any program Stereo channel separation at 100, Photo -input impedance: 43,000 material while watching the shape of 1,000, and 10,000 Hz: 30, 39, 35 dB ohms in parallel with 100 pF the response curve in the display Frequency response: FM, + 1.4, Tone -control range: 100 Hz, + 4.8, window. -0.2 dB from 30 to 15,000 Hz; AM, - 6.2 dB; 10,000 Hz, +9, -10 dB Althoughthedisplaywindow's +0.5, -6 dB from 90 to 2,950 Hz most prominent feature is the equal- Loudness -compensation range: 50 ization and spectrum -analyzer dis- Amplifier Section Hz, +9 dB; 10,000 Hz, 0 dB play, it actually presents a complete 1,000 -Hz output at clipping*: 144 Parametric equalizer range: overview of the receiver's operating watts into 8 ohms, 94 watts into 4 ohms ±10 dB status. This includes preset channel number, frequency, band, tuning lock, - main fonil channels only and stereo/mono information for the tuner section, large letters showing the

40 STEREO REVIEW OCTOBER 1991 The Audio Curve Solution! Stereo Equalizers with Center Channel Outputs!

Model 7005 15 -band,1/2 octave 4-) Model '006 31 -band, Vt octave

:".) EC THESE TWO NEW EQUALIZERS WERE SELECTED FOR DISPLAY AND RECOGNITION IN THE EXCLUSIVE INNOVATIONS 91 DESIGN AND ENGINEERING EXHIBITION HELD AT THE JUNE, 1991 SCES IN CHICAGO. With an Autotek 15 or 31 band e.q. you don't fuss over the odd handful of system peaks and dips . . . youcompletely reshape the audio curve from top to bottom. With the audio spectrum split into this many slices you go beyond correcting glitches - into architecture of the audio curve. The Autotek 7005 and 7006 both have center channel outputs, input and output gain controls, isolated power supplies, and a whopping 9 -volt maximum output signal for extra juice at preamp level for hard competition. The Autotek 7005 and 7006 equalizers are both Stereo units, so they take up less space, cost less, and are a lot easier to install than mono units. AUTOTEK® 855 Cowan Rd., Burlingame, California 94010 phone: (415) 692-2444, fax: (415) 692-2448 TEST REPORTS selected input source, smaller letters outlets. A jack allows interconnecting The basic ("flat") frequency re- for the VCR or tape -monitoring func- the SA-GX505 with certain other sponse of the front channels was +0, tions,loudness compensation, and Technics components so that they can -0.9 dB from 20 to 20,000 Hz. The muting (a volume reduction accessible be operated from the receiver's re- center -channel response was +0, -3 only from the remote control). The mote control. dB from 20,000 Hz to 100 Hz, drop- selection of either the Dolby Surround Most of the buttons on the remote ping off to -17 dB at 20 Hz. The Pro Logic or Dolby 3 Stereo mode control supplied with the SA-GX505 loudness compensation boosted the (and submodes such as normal and are dedicated to other system compo- response below 1,000 Hz, to a maxi- phantom center) is clearly shown, and nents, including TV, VCR, CD player, mum of +9 dB at 20 Hz, at volume a small horizontal scale shows the and tape deck, but it does operate the settings of - 30 dB and below. relative level setting for the center or power, volume, muting, surround, and Thetone -controlcharacteristics rear speakers, as applicable. The com- rear -level functions of the receiver. were somewhat unusual. The bass plete status of the P.EQ/TONE system Consideringitscapabilities,the control affected the output only below controls and its preset characteristics Technics SA-GX505 is a relatively in- 200 Hz, to a maximum of +9, -11 dB is presented. expensive, compact, and light receiv- at 20 Hz. It also produced a slight The SA-GX505 is a very powerful er. Attractively styled and finished in opposite effect between 200 and 1,000 receiver, at least in its main front dark gray with contrasting gold mark- Hz, with a magnitude of -1, + 2 dB. (stereo) channels. It is rated to deliver ings, it measures 17 inches wide, 12 The treble control's characteristics 110 watts into each of these channels, inches deep, and 51/2 inches high, and it were similar, with the response above with both driving 8 -ohm loads, from 20 weighs 22 pounds. Price: $499. Tech- 3,000 Hz varying over a range of +10, to 20,000 Hz with no more than 0.05 nics, Dept. SR, One Panasonic Way, -11 dB and an opposite ±I -dB varia- percenttotalharmonicdistortion Secaucus, NJ 07094. tion between 700 and 1,500 Hz. (THD). Although it does not carry The parametric equalizer is able to specific 4 -ohm ratings, the receiver is Lab Tests create almost any desired response designed to drive loads of 4 to 6 ohms The SA-GX505's main front chan- shape if the user's patience is equal to safely when a small switch on the rear nels delivered144 watts to 8 -ohm the task. The control range in each apron is moved from its normal 8 -ohm loads at the clipping point, corre- band measured ±10 to 11 dB, and the setting to the 4/6 -ohm setting. This sponding to a clipping headroom of center frequencies were close to the switch apparently reduces the DC sup- 1.17 dB. For driving 4 -ohm loads, we indicated values. The "Q" of the ply voltage to the output transistors to set the impedance selector to its 4/6 - equalizer's response was slightly over prevent damage from excessive heat ohm position. The clipping -level pow- 1 in the broad setting and roughly 4 in dissipation. The surround (rear) chan- er was 94 watts per channel. Dynamic the "steep slope" setting. nels and center (front) channel are power output was 162 watts into 8 The FM tuner section had a mono each rated at 10 watts into 8 ohms with ohms (dynamic headroom = 1.7 dB) usable sensitivity of 15.5 dBf (3.3 mi- no more than 0.8 percent distortion. and 242 watts into 4 ohms using the crovolts, or 1.1,V, at the 300 -ohm anten- The SA-GX505 is protected against high -impedance load setting. With the na input). The mono 50 -dB quieting overheating by an unusual cooling fan impedance selector set to 4/6 ohms, sensitivity was 24 dBf (8.7 µV). The whose speed is proportional to signal the dynamic output was 100 watts into stereo threshold (and usable sensitiv- level. Normally, the fan does not turn, 4 ohms and 144 watts into 2 ohms. ity) was 27 dBf (12.3 µV). At 65 dBf, but when the receiver's output ex- The center -channel amplifier deliv- the distortion was 0.1 percent in mono ceeds its threshold the fan comes on at ered about 18 watts output into 8 and 1.05 percent in stereo, with re- a low speed, and its speed then follows ohms at its rated 0.8 percent distor- spective signal-to-noise ratios of 74.5 the average output level. It is not likely tion between 80 and 20,000 Hz. We and 77.5 dB. to be audible in use, because any out- did not measure the rear channels, FM frequency response was +1.4, put level that turns on the fan will whose ratings are identical to the cen- -0.2 dB from 30 to 15,000 Hz, and certainly be generating a very high ter channel's. channel separation was 39 dB in the sound level in the room. We measured the total harmonic midrange, decreasing to 20 dB at 30 Hz The rear apron of the receiver con- distortion (excluding noise) of the and 34 dB at 15,000 Hz. Capture ratio tains all the audio and video signal main front channels by spectrum anal- was 1.9 dB, AM rejection was 45 dB, input and output jacks, binding -post ysis. At 100 watts output the distortion and image rejection was 43 dB. Selec- antenna inputs for 75- and 300 -ohm was 0.0063 percent, and at1 watt it tivity was 67 dB for alternate -channel FM antennas and the supplied wire - was 0.017 percent. spacing and 5.8 dB for adjacent chan- loop AM antenna, and speaker -output Power -bandwidth measurements nels. The 19,000 -Hz pilot -carrier leak- connectors (which accept only the with 8 -ohm loads showed that the age into the audio was - 34 dB, and stripped ends of wires) for two pairs of front channels delivered about 140 the 38 -kHz signals were at -40 dB. front speakers, a pair of rear speakers, watts at 0.1 percent THD plus noise Hum was -75 dB. The only measure- and a single center -channel speaker. (THD + N) between 50 and 20,000 ment we made on the AM tuner sec- There is also a center -out jack, at line Hz, falling to 127 watts at 20 Hz. At tion was of its frequency response, level, for driving speakers through an 0.05 percent distortion the output was which was +0.5, -6 dB from 90 to external power amplifier. about 123 watts over most of the fre- 2,950 Hz. There is a socket for the removable quency range, decreasing to 102 watts The phono preamplifier overloaded AC line cord and two switched AC at 20 Hz. at 1,000 -Hz -equivalent inputs of 200

42 STEREO REVIEW OCTOBER 1991 TEST REPORTS

mV at 20 Hz, 88 mV at 1,000 Hz, and 90 mV at 20,000 Hz. Its input imped- ance was 43,000 ohms in parallel with a100-pF capacitance. The RIAA equalization error was +0.15, -0.8 dB from 30 to 20,000 Hz and down to -2.1 dB at 20 Hz. Comments Our measurements show that the Technics SA-GX505 has an average AM tuner section, an FM tuner typical of many moderately priced receivers, but probably quite adequate for the majority of users, and a good, very powerful main amplifier section. The center- and rear -channel amplifiers, though rather low -powered compared to those of more expensive A/V re- ceivers, are nevertheless adequate for an installation in an average -size lis- tening room with speakers of normal efficiency. When it comes to the very important matter of user -friendliness (ergonom- ics), the SA-GX505 is nothing less than outstanding. Not only does it have possibly the most versatile fre- Monitor Audio MA700 Gold quency -responsemodifying system we have seen in a receiver (at any price), but it is remarkably easy to use. Loudspeaker System True, one would be advised to study the superb instruction manual, whose fifty-seven pages leave nothing to the Julian Hirsch, Hirsch-Hou:k Laboratories imagination, but the display window shows at a glance the status of every MONITOR AUDIOof Cambridge, cooling. The dome is formed from function of the receiver. England, is a long-established aluminum alloy and gold -anodized to We used the SA-GX505 part of the manufacturer of high -quality increase stiffness and damping. The time in a modest surround -sound sys- speakers, though its products tweeter's resonanceissaidto be tem. Although our impression was are not as well known in the around 28,000 Hz, well above the level that it did not quite match the "you are United States as in Britain. of audibility. there" quality of some far more ex- The company is somewhat unusual in The Monitor Audio MA700 Gold pensive A/V amplifiers and receivers, that it manufactures all its own driv- has a nominal impedance of 8 ohms it acquitted itself admirably for a re- ers, crossovers, and cabinets (and it and a rated sensitivity of 89 dB sound- ceiver that costs a fraction of the price supplies cabinets to many other Eng- pressure level (SPL) at I meter with a of other A/V control centers we have lish speaker manufacturers). 1 -watt input. It is recommended for used. But most of the time we used the The MA700 is the smallest model in use with amplifiers rated between 20 SA-GX505 simply as a stereo receiver, Monitor Audio's Gold series of audio- and 100 watts per channel. The rated and it left little to be desired in that phile -quality speaker systems. It is a frequency response is 45 to 30,000 Hz role. Its Dolby 3 Stereo mode definite- two-way system with a rugged 61/2 - within 3 -dB limits. ly produced a more solid, stable stereo inch woofer constructed on a die-cast The cabinet is finished in matched - image than ordinary two -channel op- chassis and operating in a vented en- grain wood veneer, in a choice of eration. closure. The woofer cone is formed of Santos rosewood, black ash, Califor- The least expensive A/V receiver a polypropylene copolymer, with a nia oak, or American walnut Its inside we have seen,the Technics SA- molded -rubber edge surround, and a surfaces are also veneered, to balance GX505 offers a competent tuner sec- concave dust cap is said to increase the stress on the panels and insure tion, a rugged and very powerful ste- the rigidity of the voice coil. Wound on against warping with time. It measures reo amplifier with a first-class cooling an aluminum former, the voice coil is 133/4 inches high, 81/2 inches wide, and system, and a uniquely versatile and cooled by vents in the pole piece. 10 inches deep, and each speaker easy -to -use equalization system. It all There is a 6 -dB -per -octave cross- weighs 171/2 pounds. The black cloth amounts to an impressive value in over at 3,900 Hz to a 1 -inch metal - grille unsnaps to reveal a finished today's market. dome tweeterwithmagnetic -fluid speaker panelwithflush -mounted

STEREO REVIEW OCTOBER 1991 43 You'venever heard itsogood. Ford was the first car maker to offer compact disc capa- bility in our high performance automotive sound systems. It's not surprising that for 1991, no other car company has more ways for you to enjoy the wide-open sound of compact discs. You'll also find advanced technical features like dynamic range compression for optimum listening pleasure no matter what the road or driving conditions may be.

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Compact Disc Radio*

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AUDIO SYSTEMS The Sound of Quality TEST REPORTS driversand agold -coloredmetal pletely consistent with the manufac- tent with our measurements except in screen protecting the tweeter dome. turer's ratings. the low bass, where it was clearly The rear panel of the cabinet con- The system's sensitivity, with a full - more accurate than our woofer mea- tains the woofer port and two sets of range pink -noise input of 2.83 volts, surement would suggest.It had a gold-plated binding posts, normally was 86 dB SPL at 1 meter. Impedance silky -smooth sound that gave no audi- joined by jumpers. By removing the reached a minimum of 7 ohms at 200 ble hint of its small size. The bass was jumpers, the system can be operated Hz, with peaks of 20 and 19 ohms at 32 clean and useful down to well below 50 in a biwired or biamplified mode. The and 95 Hz, respectively, and a maxi- Hz, and there was practically no up- connecting posts accept either single mum of 29 ohms at 2,300 Hz. It aver- per -bass coloration of voices. Only a banana plugs or wire ends. Price: aged well above the rated 8 ohms over slight tendency toward warmth (at $1,200 a pair. Distributed by Kevro most of the audio range. With a con- least in our listening room) gave away International, Dept. SR, P.O. Box stant drive level of 4.5 volts (corre- what was probably a modest emphasis 1355, Buffalo, NY 14205. sponding to our standard 90 -dB SPL of the lower octaves. reference level), the woofer distortion In comparing the MA700 Gold with Lab Tests was between 0.1 and 1 percent from some other speakers of comparable We installedthe Monitor Audio 1,000 Hz down to 90 Hz, increasing to size and frequency -response range, MA700 Gold speakers on 26 -inch 3 percent at 70 Hz and to 7 to 8 percent but considerably lower price, the most stands, 3 feet from the wall behind between 25 and 30 Hz. striking difference we found was in the them and about 7 feet apart. The aver- The speaker's horizontal dispersion sense of space generated by the aged room response from the two was excellent. The on -axis and off - MA700 Gold. The "air" it created was speakers was quite uniform from 60 to axis response curves remained within unmistakable, making the other sys- 20,000 Hz except for a peak between 5 or 6 dB of each other up to 8,000 Hz tems sound somewhat pinched and 200 and 300 Hz that was evidently and diverged smoothly above that artificialincomparison.Although caused by a floor reflection. point, differing by less than 10 dB at there are no obvious features of the The close-miked (quasi-anechoic) 20,000 Hz. Quasi-anechoic FFT mea- MA700 Gold that would explain its frequency response of the woofer was surements showed a prominent tweet- sound qualities, it seems likely that flat within 5 dB from 85 to 1,600 Hz. At er resonance at 26,000 Hz, with an they were achieved by a number of higher frequencies the output dropped amplitude of about 18 dB. techniques, including flush -mounting rapidly, which seemed inconsistent The MA700 Gold performed im- the drivers for minimum diffraction at with the uniform room -response mea- pressivelyin pulse power -handling the front -panel boundaries, as well as surement and a crossover at the speci- tests, although the speaker's relatively good basic design of the drivers them- fied 3,900 Hz. (Our impedance mea- high impedance made the amplifier the selves. surements also suggested a crossover limiting factor. The speaker absorbed Whatever the reasons, the listening closer to 2,000 Hz than to almost 4,000 320 watts at 100 Hz, 450 watts at 1,000 quality of the speaker was truly excel- Hz.) After correcting for the relative Hz, and 720 watts at 10,000 Hz with- lent. We have heard a number of larger diameters of port and cone, we com- out damage or audible overload. speakers in the same general price bined the frequency response at the range that also deliver this caliber of port output with the woofer -cone re- Comments sound, but the compactness of the sponse to create an overall bass fre- The sound of the Monitor Audio MA700 Gold sets it apart from its sonic quency -response curve that reached MA700 Gold was completely consis- peers. its maximum at 70 to 80 Hz and ex- tended downward to the vicinity of 30 Hz. At first, splicing this bass response to the room response curve appeared to be straightforward, as there was more than an octave's overlap be- tween them. But the result-an elevat- ed bass response broadly peaked be- tween 50 and100 Hz-was not consistent with what we heard from the speakers and was probably open to question below 200 Hz. The output was smooth from 200 to 20,000 Hz, however, varying a mere ±2.5 dB. Although the low frequencies were not as prominent as our measurements suggested, listening tests confirmed that the speaker's useful bass range extended well below 50 Hz, with a notable lack of audible distortion at "You're right, it sure does give you plenty of controls for the money. reasonable listeninglevels-com- Say, what are these two buttons-lire-on' and 'post -off?"

STEREO REVIEW OCTOBER 1991 45 SONY SHAKES UP THE MUSIC WORLD WITH AN AUDIO TAPE THAT DOESN'T. Suddenly other audio tapes are all shook up. Because Sony Recording Media has perfected a daring new technology to create a unique anti -vibration shell for audio tape.

L I J And in doing so, we've unmasked the music from the "noise," so you hear more and feel more. By combining two special materials that absorb and resist vibrations from both internal and external sources, new ES series audio tape brings music out of its shell, and reduces modulation noise dramatically. So hear what other audio tapes are missing. Try startlingly clear Sony ESin the sleek, new anti -vibration shell. Because vibrations should come from your music. Not your tape. SONY Anti-Vit ration Amillbration Mechanism

ONLY ON SONY RECORDING MEDIA It'snot justhow it's made, it's how well it's made. Whether you're on a budget or just range. Denon's discrete output transistors seeking maximum value, don't be fooled and substantial transformers give the by bargains that sound cheap at the store-DRA-335R and DRA-435R the power to they just might sound cheap when you get drive even the most "difficult" speakers. home. At Denon lower cost need not pre- Even Denon's most economical clude important features. Both the DRA- receivers, such as the DRA-335R and 335R and DRA-435R feature Variable DRA-435R, preserve sound quality first. Loudness and full Integrated System (IS) (This is Denon's Design Integrity princi- remote control of a CD player, CD chang- ple.) Both of these receivers employ elec- er and cassette deck. The 16 -station pro- tronic switching and elegant circuit grammable tuners of the DRA-335R and topology for the most direct signal paths. DRA-435R feature improved AM NRSC This not only lowers noise and distortion; deemphasis. it greatly enhances reliability. Even though the Denon DRA-335R For superior audio quality, the finestand DRA-435R receivers pack in so many components are used throughout the sig- features for the price, never forget the real nal path, including polypropylene and reason to buy a Denon: Sound. polystyrene capacitors and metal film resistors. Competitive receivers use For Product Informsoon skimpy transformers and IC output stages, DENON which restrict your system's dynamic The first name in digital audio. Cell 1-800-346-8774

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elleas Ji Iknon America. Inc.. 22' w. Road. Parsippany. NJ 07051(201) 575-7810 UP until recently, CD changers-players that can handle multiple compact discs for uninterrupted extended play-have been of two types, magazine and carousel. In a carousel configuration, up to five discs can be laid on a large, flat platter that feeds each disc into the player mechanism in a clockwise progression or any other order you program into the changer. In the magazine configuration, multiple discs are loaded onto individual trays stacked in a single, removable magazine or cartridge and then played from top to bottom or, again, in any order programmed. The carousel and magazine configurations still dominate the world of CD changers, but they're no longer the only games in town. And manufacturers that are still using the tried-and-true designs are adding new twists to them all the time. Changers that have broken away from the magazine/carousel pack include Nakamichi's CDPlayer2 and CDPlayer3 and Sansui's CR-280. The MusicBank system in the Nakamichi models doesn't employ a removable magazine but an internal stacker that stores six discs while allowing you to play a seventh. Sansui's CR-280 features what the company calls a Robot changer. It uses three "wells"- one where five CD's are loaded, another where single CD's are played, and a third where already -played discs are stored. An arm lift moves each disc to the appropriate well in order or according to your programming instructions. This method saves space, enabling the Robot changer to fit nicely into the "minisys- tems" that are now so popular with music lovers who don't have the room for large components. In current magazine and carousel chang- ers, the emphasis is on greater flexibility and even longer playing time. Since a CD can hold more than 70 minutes of music, a five -disc carousel changer can yield about 6 hours' worth, and a six -disc magazine changer can play for 7 hours. Pioneer's PD- TM1 ups the ante substantially-the player accepts three magazines of six discs each, for a total of eighteen discs and more than 21 hours of music. You may protest that no one has that kind of time on his or her hands, and you'd be right, but continuous play is just one option here. The greater the number of discs loaded, the greater your programming flexibility. With the recent advent of multidisc boxed sets highlighting the classic tracks of great artists, genres, and even labels, loading up several maga- zines and hitting the random -play button is one way to create an instant party mix, and for this use the more discs the merrier. Another advantage claimed for maga- I\IGE113 zine changers is the use of the magazine itself as a semipermanent storage unit for discs. With extra magazines relatively affordable (most cost from $10 to $25 apiece), you can store discs of a particular genre in the same magazine and label it ("jazz," say, or "classical" or "thrash") so you can pop in a supply of CD's to match your mood. Changers in Mitsubishi's Home Theater Systems feature a video output that displays the title you've given a magazine when it's inserted in the machine. Of course, storing discs in a magazine means storing them away from the jewel boxes, which means away from the liner notes, which means away from any pertinent information about what you're listening to, which is certainly not an advantage. A few carousel changers, which make no pretense to storage, give you the option to build your multidisc program in increments-or to change your mind without interrupting the music. Models from Yamaha, Denon, and Technics let you add, subtract, or substitute discs in any of the four other positions on the carousel platter while the current disc keeps playing. Similiar machines from other manufacturers allow you to change only one or two discs. Even changers that don't have such special features often have their own inventive touches in programming options. Practically every major manufacturer offers at least one CD changer. The selected models shown on these pages represent the range of choices, in terms of both versatility (sometimes there's actual- ly an embarrassment of riches) and price. SYGF IL NJ KLIl ilif STEREO REVIEW OCTCBEF 1991 49 47 PI CHEERS

Carrera's CD -3400 six -disc _ _ magazine changer (S250) features )91 1.11B. dual digital -to -analog converters and comes with a thirty -four - function remote control. PAIMMOIMMIlltwitiTo"""W0100._

111=11111

Breaking away from the pack. Carver's TLM-3600 (S700) features a magazine that holds ten CD's instead of the usual six and the company's switchable Digital Time Lens circuit to smooth out harsh -sounding recordings.

The Denon DCM-320's five-d,sc carousel rotates in either direction for fast access and allows replacement of any disc that s not playing. The changer has three random -play modes. Price: S300.

The TL8600. a top -loading five - disc carousel changer from Harman Kardon. has a number of deluxe features, including gold-plated output tacks. A remote control is supplied. Price: 5700.

50 STEREO REVIEW OCTOBER 1991 JVC's XL-M705TN (S480) has a s x -disc magazine as well as a s-- single -disc tray. Proprietary pulse -edge -modulation 1 -bit digital - 1 0 to -analog converters are said 11111 t r r ri I

to insure accurate reproduction 116.4111 at all signal levels.

NAD's Model 5060 is a six -disc magazine -type changer featuring auto -pause, which suspends play after a selected track. A remote control is supplied. Price: S450.

NE kamichi's CDPlayer3 (S500) dispenses with a loading magazine and stores up to six discs internally. A seventh disc can be loaded and played independently of the stored CD's. A special disc stabilizer clamps onto the disc that's playing to guard against external vibration.

The DX -C310 features Onkyo's Accubit digital -to -analog converter, which is said to eliminate distortion at low signal levels. The six -disc magazine changer also has four repeat modes. Price: S360.

STEREO REVIEW OCTOBER 1991 51 Cl) CHANGERS

The Optimus CD -6200 (S250) is a five -disc carousel changer with a supplied remote control and thirty -two -track programming capability.

Accepting three six -disc magazines. Pioneer's PD-TM1 (S510) expands programming flexibility as well as playing time. More than 21 hours of music can be loaded at once.

Neither carousel nor magazine, Sansui's CR-280 five -disc Robot changer uses a mechanical "arm" to move discs between its playback and storage "wells." The unique design saves space, enabling the changer to fit comfortably in a minicomponent system. Price: 5240.

52 STEREO REVIEW OCTOBER 1991 The DX -C1800 (S290) from Sharp is a six -disc magazine changer that has thirty -two -track random- access programming.

Sierwood's CDC -3010R is a live -disc carousel changer with a disc -intro feature that plays :he first 10 seconds of each ilsc in sequence. Price: S225.

The Technics SL-PC705 (S220) allows any of the four discs visible under its plastic cover to be changed while a fifth disc is playing. A Spiral Play feature plays the first tracks of all five CD's in sequence, then the second tracks. the third tracks, and so on.

All of Yamaha's carousel changers permit any of four loaded discs to be re3laced while a fifth is playing The

CDC -715 shown here also features tour preset digital equalization modes and Program ED File, which can store individual programming and El) settings for as many as a hundred CD's. Price: S430.

STEREO REVIEW OCTOBER 1991 53. 1 4 1111 01W101, By the end of next year there will be three digital recording formats to choose from. How do they compare? b' Michael Riggs

JUST a few years ago, the future of home digital recording seemed obvious: We were all going to buy digital audio tape (DAT) decks. How limes have changed. First came the DAT debacle, as a fearful music industry battled fearful audio manufacturers to a marketing impasse. By the time DAT was officially launched in the United States, several years later than initially expected, the wind of industry and consumer excitement had gone out of its salts. Manufacturers were still wary, mindful of relatively weak demand in other markets and of a lawsuit brought against Sony (characteristically, the first in the door with the new machines) by a music -industry group. Potential buyers of the technology were confused and perhaps a bit put off by still high prices, limited product availability, and the near total absence of prerecorded DAT titles. Another important factor was a rumor of a new digital recording format front Philips that would be compatible somehow with ordinary analog cassettes (an earlier Philips development and now by far the most popular music -distribution medium in history). At the beginning of the year, Philips confirmed the existence of this system, called the Digital Compact Cassette, or DCC, now expected to be introduced around June of 1992. A few months after the Philips revelation, Sony announced the development of another digital recording system, called Mini Disc, or MD, to be available around the third or fourth quarter of next year. So where once there was only DAT-a real, here -and -now home digital -recording for- mat-and the relatively distant prospect of some sort of recordable CD, we now have DAT and two close -on -its -heels competitors. What's a person to do? It's a situation guaranteed to engender many cases of what might be called (somewhat mean -spiritedly) the I -bought -Beta syndrome-a para- lyzing fear of committing to something that eventually turns out to have no future. We have no magic palliative for such anxieties. We can, however, help you understand a little better the pros and cons of the various alternatives soon to be before you. and knowledge is the essential foundation of a sound decision.

54 STEREO REVIEW OCTOBER 1991 MARIAN CAREY

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WA:I alma has gaps for analog as well as digital Door Number 1: DAT playback. Since the transports will be Digital audio tape has the unique mechanically compatible with both advantage of being availableright DCC and analog cassettes, DCC decks now. It is also very likely to survive, if will be able to play both, enabling only because it is so deeply en- users to ease into the era of digital tape trenched in the world of profession- recording. This compatibility and the al audio and so unlikely to be dis- system's relative mechanical simplic- lodged by either of theupstarts. ity, which should help keep manu- Because DAT's digital encoding pro- facturing costs down, are its big- cess is essentially identical to that gest selling points. used for compact discs, its sonic DCC's cueing accuracy should be performance is almost by defini- excellent, and though it won't be quite tion the same as that of the CD Digital as nimble as DAT, it should be quite a system. You can make digital bit better than analog cassettes in this audio tape dubs from CD to DAT that are bit - regard. A weakness it will share with for -bit identical to the original (a claim is here now. both DAT and the analog cassette is an neither DCC nor Mini Disc can make). inevitable susceptibility to physical Cueing is much faster and more pre- damage in normal use, which is not a cise than on analog cassettes, though that Philips calls PASC, for Precision concern with optically read media not quite a match for CD's in raw Adaptive Sub -band Coding. Although such as CD and Mini Disc. speed. DAT cassettes are also very the ins and outs of how PASC works But DCC's most controversial fea- compact-almost to a fault, as they are rather elaborate, the basic idea is ture, at least among audiophiles, is have little room for labeling and are simply notto record sounds that sure to be PASC. People who leapt to definitely easier to lose than CD's or would be masked by louder ones at their feet in righteous indignation at analog cassettes. nearby frequencies and thus never be the idea of chopping an audio signal Their size also imposes certain tech- heard anyway. We experience mask- into lots of little pieces will probably nical obstacles. Data density on DAT ing of one sound by another every keel right over at the thought of throw- is extremely high, which means that day-when trying to converse or listen ing most of those pieces away. Doubt- the tape must be capable of storing closely to something in a noisy envi- less it will worry others, too. Digital large amounts of information in a small ronment, for example-but taking ad- recording actually works very, very area, have an exceedingly low dropout vantage of this phenomenon in the well, however, and it should likewise rate, and be better protected from the way PASC does without introducing be possible to make a compression elements than the tape in an analog audible distortion is tricky and re- systembasedon psychoacoustic cassette. These requirements tend to quires very sophisticated signal analy- masking that does its job without leav- make DAT cassettes relatively costly. sis and processing. Further compres- ing dirty fingerprints on the sound. The recorders that use these cassettes sion is achieved by coding the data on Philips says its DCC design team went must be capable of writing and reading tape using a floating-point system that to great lengths to make sure that data at extraordinarily high rates and is more efficient than the straight 16 - PASC's effects are entirely benign, densities, and the overall system must bit coding used for CD's and DAT's. putting each new revision of the sys- incorporate powerful error -correction The end result is about a 4:1 reduction tem through batteries of controlled strategies to compensate for the many in the amount of data that must be listening tests with trained, experi- small tape flaws that will inevitably stored on tape. enced auditors until none of them crop up. Reducing the data rate so drastically could hear any difference between At the time the DAT format was relaxes the constraints on the design of music before and after compression. designed, the only practical way of the recording system. PASC enabled Finding out just how good PASC is meeting these needs was to employ a Philips to build DCC around tape or isn't will be the first order of busi- rotary -head mechanismlikethose transports of the kind already used in ness when we finally get our hands on used in VCR's. In fact, DAT trans- analog cassette decks, moving rela- a real live DCC deck, but Philips's ports are very similar to camcorder tively conventional tape past a fixed own demonstrations of the system so tape transports, which has helped head at the familiar PA inches per far have been impressive. At the very bring down the prices of DAT decks. second (ips). The head, however, is a least,it seems clear that DCC will These mechanisms are inherently fair- multitrack "thin-film" type much like offer performance that is both better ly complex, however, and relatively those employed in computer hard -disc and significantly more consistent than delicate, so the cost of manufacturing drives, and the cassette itself, though that of the analog cassette, the format DAT decks will probably always be the same size as an ordinary analog that Philips says DCC is designed to greater than the cost of building CD cassette, does not flip over and has a eventually replace. players or DCC or MD recorders. metal shutter that closes to protect the tape inside when it is not in use. Since Door Number 3: MD Door Number 2: DCC the cassette does not have to be turned In at least one respect, Mini Disc is The Digital Compact Cassette bene- over, one side can be used entirely as to CD as DCC is to DAT: It is a format fits from its relative youth, drawing on label area. Information is recorded in based on data compression as opposed advances in several fields since the both directions of tape travel, how- to one that uses straight 16 -bit linear time when the DAT format was final- ever, so all DCC decks will autore- PCM (pulse -code modulation) digital ized. Most significant among these verse at the end of a "side." encoding. The primary purpose of advances is data compression. The The slickest thing about the whole compression in this case is not reduc- DCC format incorporates a system design is that the head in a DCC deck tion of data density per se, but physi-

56 STEREO REVIEW OCTOBER 1991 How the Formats Stack Up

Compact Disc DAT DCC Mini Disc Analog Cassette

Recording method Linear PCM Linear PCM Floating-point PCM PCM with ATRAC Analog with PASC data data compression compression

Sampling rate 44.1 kHz 48, 44.1, or 32 kHz48, 44.1, or 32 kHz44.1 kHz Not applicable

Maximum About 74 minutes About 120 minutes Initially, about 45 About 74 minutes Typically 45 to 50 recording time (times approaching at highest sampling minutes in each minutes in each 80 minutes are rate direction (about 90 direction (90 to 100 possible, but only by minutes total) at minutes total); about violating CD track - highest sampling 60 minutes in each pitch standard) rate; later, about 60 direction (120 minutes in each minutes total) with direction (about 120 thinnest tape minutes total)

Dynamic range Approximately 98 dBApproximately 98 dB 108 dB (claimed) 105 dB (claimed) 65 to 75 dB

Frequency Essentially flat to Essentially flat to Essentially flat to Essentially flat to Depends on tape, response 20,000 Hz 20,000 Hz at 48 - 20,000 Hz at 48 - 20,000 Hz adjustment of deck, and 44.1 -kHz and 44.1 -kHz and other factors, sampling rates, to sampling rates, to but typically within 14,000 Hz at 32 -kHz14,000 Hz at 32 -kHz ±3 dB from 30 to sampling rate sampling rate 18,000 Hz with good equipment

Channel Typically 90 dB or Typically 90 dB or Typically 90 dB or Typically 90 dB or Typically 40 to separation more, limited only bymore, limited only bymore, limited only bymore, limited only by50 dB at low analog electronics analog electronics analog electronics analog electronics frequencies

Distortion Extremely low Extremely low Said to be extremelySaid to be extremelyTypically low (less low in conventional low in conventional than 0.5 percent at measurements measurements normal recording levels) but can reach several percent on peaks

Wow and flutter Unmeasurable Unmeasurable Unmeasurable Unmeasurable Typically between ±0.05 and ±0.15 percent on good decks

Input/output Analog or digital Analog or digital Analog or digital Analog or digital Analog (output only)

Vibration Moderate to low, Low to very low Expected to be low Expected to be low Low to very low sensitivity depending on player to very low to very low design

Durability Excellent Good Should be good to Should be excellent Good to very good very good

Overall Superb Superb Said to be at least asSaid to be nearly as Fair to excellent reproduction good as CD good as CD accuracy Sony's Mini Disc is about a quarter the size of a CD.

Decks that record Philips's Digital

Compact Cassette will be able to play analog cassettes, which are the same size.

(Photos not to stale) cal miniaturization. An MD can store becomes available later next year. format). Now that the audio and music as much music as a CD on a disc just Mini Discs will come in two variet- industries have settled their differ- slightly more than half the diameter. ies: playback -only prerecorded discs, ences with a proposed royalty com- Sony says it developed the Mini which are made of aluminized polycar- promise, the competitors at least have Disc to serve as a high-performance bonate in the same way as CD's, and a clear field of battle. A great deal medium for portable audio, hence the recordable magneto -optical discs that undoubtedly depends on how much desire for miniaturization.It might can be erased and reused many times. support Philips and Sony can round up seem DCC could serve that purpose Both will be housed in protective plas- for their respective entries from rec- (indeed, portable use is clearly one of tic cases like those used for 3V2 -inch ord companies and other equipment the applications for which it is intend- computer floppy discs. Although this manufacturers, as well as on the prices ed), but Sony felt a small optical disc is basically a good idea (and probably charged for equipment, commercial would offer advantages over a tape - should have been done for the CD), it recordings, and blanks. DCC appears based system, such as true random- does make it next to impossible to to have an early lead on all these fronts access cueing and the greater durabil- build a single -transport deck capable at the moment, but that could easily ity of a noncontact medium. But if you of playing both compact discs and change as the introduction of Mini have a portable CD player or have Mini Discs. On the other hand, the MD Disc draws nearer. And DAT seems followed the history of car CD players, was designed from the ground up for now to lack strong support from any you know that vibration -induced skip- portable use, and we can imagine direction as a consumer format. ping can be a problem. This led Sony some novel exploitations of its charac- In the end, it could even turn out to develop what it calls Shock -Proof teristics-in-dash multidisc changers that so many people are satisfied with Memory-a small memory buffer that for the car, for example. the combination of CD's and analog stores about 3 seconds' worth of com- cassettes that none of the digital re- pressed data from the disc. If the laser Picking a Winner cording systems makes it as a mass - pickupismomentarily jarredoff - In the table on page 57, we've sum- market consumer format. CD is still course, data from the buffer will keep marized some of the basic characteris- the best format for prerecorded music the music flowing until the pickup tics of the three digital recording sys- in the home, and we are convinced it finds its bearings again. tems-DAT, DCC, and MD-as well will remain the leading system in that Although Sony's Adaptive Trans- as the compact disc and the analog role regardless of how DAT, DCC, form Acoustic Coding (ATRAC) com- cassette. The information given for the and MD fare in the marketplace. But pression system is similar in principle DCC and the Mini Disc is necessarily we also think the time is ripe for a high- to PASC, it is executed differently, in based on what we've been told to performance recording system to re- part to achieve a higher compression expect, and in some categories, such place, or at least supplement, the ana- ratio-approximately 5:1 as compared as vibration sensitivity, the listings for log cassette. As good as cassettes can to PASC's approximately 4:1 ratio. All all of the formats are somewhat impre- be (which is really very good when else being equal, the greater the degree cise. Nonetheless, it is evident that everything is tweaked up just right), of compression, the more likely it will each of the three digital recording sys- maintaining consistent sound quality have audible side effects. It may be tems has particular benefits and draw- is difficult, especially when cassettes significant, therefore, that Sony's per- backs compared with the others. are recorded and played back on a formance claims for MD are some- It is too soon to tell which system number of different decks.Digital what less ambitious than Philips's will win out, if indeed it is correct to decks, in whatever form, can make claims for DCC: sound that is"almost think in those terms, and it is possible that kind of variability a thing of the CD -quality" rather than "atleastCD - that more than one will survive (cer- past and provide a higher level of quality." Again, this is something we tainly DAT seems destined to live on, performance in the bargain. We can will have to assess when the product if only as a professional and semipro hardly wait. 0

58 STEREO REVIEW OCTOBER 1991 U

O

Afternoons at the secret fishing hole of the Little Meadows Hunt Club, and the smooth mellow taste of George Dickel. Airit Nothiri Better. .4164 Pir JAMO SHEDS NEW LIGHT IN THE LOUDSPEAKER

MIN

C1111811E1a more enlightened approach to the louc spec ker-JAMI Discree-ly and -csteklly, ATMOSPHERE combines the clarity of a l" dome tweeter with the response of c 5 IR" waofer. Uniquely, its rece3.5ed top r Lrface houseshalogen light that makes it the only sconce/speaker trul7 suitable fore discrimina:ing home envirinmerr. Ir back or white :acguer finish. How's that fora bright idea? Jam() "The theme always seems to go back to that place in west Texas.... And the wind. The wind that always blows."

ASbest he can figure it, Joe Ely was about twelve when it happened. His parents, who'd moved only a couple of inches down the dry, flat map of west Texas from Amarillo to Lubbock, took their son to a local Pontiac dealership ("Come bring the kids!Freeballoons!")tohear a hopped -up,piano -pumpingsinger from Ferriday, Louisiana, named Jer- ry Lee Lewis. The Elys, good Texas Baptists that they were, knew nothing about the Lewis kid's musical brand of hellfire. They only heard the announcement on the radio, and figured on a free gander at the new models gleaming on the Pontiac lot and a brief respite from the hard -country sun, which baked all cot- ton -farming creation to a crusty brown when the elements didn't have some- thing else in mind. But the elements, indeed, had some- thing else in mind that day, or maybe Jerry Lee had simply brought it in on a tailspin of his own. Either way, Lub- bock found itself swirling in one of its by Alanna Nash

STEREO REVIEW OCTO 3ER 1991 61 famous dust storms, a wall of dust ahead of his time-his early work was number of "Best of 1990" lists, receiv- raging through the town at 60 miles an filled with such imagery asCornbread ing a respectable amount of radio air- hour. MoonandBecause of the Wind,in play. But Ely was re-signed to MCA in "I'll never forget that vision of my which he equated the memory of a part because of the success of such childhood," says Ely, relaxing the day former love to the west Texas wind artists as Yoakam and Steve Earle, after a house -burning acoustic set at and himself to the border trees bent whose work, an intelligent amalgam of the Birchmere in Alexandria, Virginia. down by those gales-he nonetheless country and rock and lyrical but un- "You could hardly see across the looked up from his guitar one day in sentimental vignettes of small-town street, and then here's this madman up the early Eighties to find his time in the life, is a natural outgrowth of the style there pounding on the piano. The wind spotlight had faded like a fingernail Ely pioneered as early as 1972. With a was blowing so hard that it would blow moon on the Texas horizon. number of artists now covering his the microphone over. Jerry Lee would songs-Kelly Willis recordedSettle be singing and the microphone would for Lovefor her new "Bang, Bang" go thump! And somebody'd run over album, and Marty Stuart had a shot at and pick it up, and it would fall over Me and Billy the Kid,a wonderfully again. It was like a vision from hell. evocative Western tall tale about the But it was so wonderful, because it punk who brought down William Bon- seemed like it fit, with the wind and the ney-Ely's enjoying something of a static electricity in the air.I always renaissance, as a new generation of look back to that moment as the very country -rock fans discovers his work. beginning, the spark that made me And because there isn't much room consider doing this as my life." for grudges in his let -it -roll personality, Thirty-two years later, Ely still tries Ely harbors no bitterness toward the to capture that moment every time he guys who borrowed his eclectic ideas steps on stage or pulls out his writer's and got the lion's share of the acclaim. notebook. He makes no attempt to "Oh, no, not at all," he offers in his hide his debt to the Killer with his distinctive west Texas ramble, suck- exaggerated vocals in such uptempo ing down a Coke and sporting a lubri- songs as the rockingMusta Notta cious rockabilly hairdo, his jeans and Gotta LottaandFingernails. boots temporarily traded for pink Bu- And ask him if he thinks any one gle Boy shorts and black running theme runs through all of his work, "That's probably the shoes. "I feel kind of honored. I think from the lyrical ballads to the Texas - that's probably the best compliment style rock-and-roll, and the forty -four- best compliment you you can pay someone, to take things year -old Ely, shy and pockfaced as a from their music. BecauseItook cactus, stammers a bit before finally can pay someone, to things from people's music. That's answering. "It always seems to go what makes the world go 'round, back to that place in west Texas, be- makes things change. Makes 'em in- tween Lubbock and Amarillo," he take things from their teresting." says in a voice that is, like his songs, at Ely's own hybrid style of music was once tender and tough. "And the music. That's what far more "interesting" than anything wind. The wind that always blows. his middle-class parents had in mind That seems to be the main theme." when they started their elder of two After some thirteen albums and makes the world go sons on violin lessons in the second twenty years of critical acclaim, Ely grade and encouraged his participa- remains a cult artist whose commer- 'round, makes things tion in the First Baptist church choir. cial success has yet to catch up with But violin and church singing soon lost his reputation as one of the foremost change. Makes 'em out to steel -guitar lessons and a totable practitioners of Texas country -rock. six -string when young Ely dialed his Technically, however, his music is not radio to XERF, the powerful 100,000 - country -rock, not truly country, nor interesting." watt radio station just across the bor- essentially rock, but an accordion - der in Mexico, where Wolfman Jack and -steel -guitar -laced brand of per- Yet perhaps Ely's luck is about to slipped Bo Diddley, Muddy Waters, sonal music that reflects the ghosts of change. MCA, the label that distribut- and Lightnin' Hopkins records in be- other west Texas musicians who came ed his work from 1977 to 1985, has re- tween the gospel hour and Mexican before him, notably Buddy Holly, Roy released his first four studio albums, rancheros tunes. Orbison, and Waylon Jennings, with a "Joe Ely" (1977), "Honky Tonk Mas- In retrospect, Ely says he felt very little blues from Mississippi son Jim- querade"(1978),"Down onthe close to the Mexican culture and mu- mie Rodgers for good measure. Drag"(1979),and "Musta Notta sic, especially since as a part-time "The godfather of cowpunk," as Gotta Lotta" (1981), as well as a 1989 worker in his father's used clothing Dwight Yoakam likes to call him, Ely concert recording, "Live at Liberty store, he sold cheap garments to the has the dubious distinction of being Lunch," named after the noisy Austin migrant workers who came in to chop revered more by his fellow singer- club in which it was taped. In addition, the cotton in the outlying fields. On the songwriters-who have long been in- the label re-signed him to the roster for weekends, he filtered back down into fluenced by his mix of honky-tonk, future studio albums. the lower part of downtown Lubbock, ballads, and Tex-Mex-than by the "Live atLiberty Lunch," Ely's where theconjuntoserenades blared public. And although he was always most recent record, showed up on a out of the Mexican bars and poolhalls

62 STEREO REVIEW OCTOBER 1991 and the streets were alive with work- such as Hancock's poeticBoxcarsand tal and ultimately disastrous electron- ers so drunk on tequila that they had She Never Spoke Spanish to Meand ic album that was originally conceived one foot in Saturday night and the Gilmore's bluesyDallas. as the soundtrack to a never -released other in Sunday morning. No matter how strong the lure to video, seemed amputated and ill-con- return home, however, Ely would ceived. And "Dig for Love," now HEN he got old enough, Ely soon strike out again-to pick fruit referred to as the "lost" album- slipped across to the border with the migrants, to test his luck in meaning MCA chose not to release towns to hear the Mexican New York (he auditioned at all of the it-was buried in an avalanche of sounds that eventually made famous folk clubs, none of which back-up singers and strings. their way into his own musical booked him for a regular gig), and to In 1985, his MCA contract can- synthesis, and soon he began join the circus, where one summer he celed, Ely watched helplessly as his sitting in with the Mexican bands. The shoveled elephant waste and played band fell apart and his career crumbled music had both a therapeutic and a nursemaid totheworld'ssmallest into dust. Two years later, tired of rejuvenating effect: His father had horse. watching videos on MTV, here- died when he was twelve, and feeling The Ringling Brothers experience grouped to take a number of songs somewhat of an outsider, he spent his convinced Ely that his future lay more suchas Rich Man, Poor Boy, Settle for days struggling through school and in dance halls than in big tops, and one Love,andDig for Love(retitled asDig practicing with his band, and his nights day in the mid -Seventies, sitting in a All Night)from the failed albums and playing for change and washing dishes coffee shop near Lubbock's Texas rerecord them, along with such gems and cooking short-order at a little Tech University, Ely decided the time asMe and Billy the Kid, My Baby grease joint called the Chicken Box to had come to get a band together and Thinks She's French,andSilver City, help keep the family afloat. start playing his songs. A week later, for two hard -driving albums, "Lord of Ely's mother didn't share her son's he and most of the band that played on the Highway" (1987) and "Dig All musical taste-she had always partic- his MCA debut were ragging out songs Night" (1988) on the independent la- ularly disliked country music-but around Lubbock, Dallas, and neigh- bel Hightone Records. Later, he hired nonetheless, "She was real supportive boring New Mexico. A year later, in a mobile truck and taped a live set that of my playing," Ely remembers, his 1977, he had his record deal and began includedDrivin' to the Poorhouse in a face dissolving into a dimpled smile. cutting his classic country honky-tonk Limousine,an ironic song about life as "She'd run the cops away from the albums. an itinerant musician, and more of the door when they'd come to tell us to For a time, Ely, who now lives in "lost" songs, includingCool Rockin' turn down when we were practicing." Austin, got lumped in with all the other Loretta,for "Live at Liberty Lunch," And she understood when her seven- migratory Austin acts such as Willie the album MCA eventually picked up teen -year -old son took off to play Nelson, Waylon Jennings, and Jerry to launch his return to the label. dives and beer palaces in Houston, Jeff Walker, although his roots were Dallas, and eventually Los Angeles. far more authentic than most of his TODAY, it seems, things are finally For the next seven years Ely lived a compatriots'. But radio programmers on the upswing. With a new band perfect Woody Guthrie fantasy, hobo- and record stores found that his music in place-"bigger, for more tex- ing around California, existing hand- slipped through the cracks-that it tures and stuff"-Ely's currently to-mouth, playing guitar for handouts was too hard to categorize for mass writing songs for an MCA studio around Venice, California, and, in consumption, "too country" for rock- album, having recently complet- general, just knocking around. He ers and "too rock" for country fans. ed a collaborative writing project with learned to befriend the brakemen in In the U.S. that made him a cult John Prime and Dwight Yoakam ("I the old freight yards and rode the rails figure, but in Europe it made him more know the chorus, but Dwight's got the back and forth in between the major like a star. In 1980, when his music lyrics folded up in his pocket some- West Coast cities. Eventually, he even edged closer to rock, he toured Eu- where") and the soundtrack for a John went to Europe with a theater troupe. rope with the punk -rock band the Cougar Mellencamp movie. And with Yet, no matter where he rambled, Clash, an association that cost him a a new regime in charge, MCA is even his wanderlust always pulled him back portion of his more conservative coun- thinking of releasing tracks from the to Texas, where the small-town isola- try audience. The spirited rockabilly lost LP. tion and the vastness of the landscape album of 1981, "Musta Notta Gotta But Ely is adamant that he won't be conspired to produce some of his most Lona," his next release after the dis- disappointed if MCAs muscle doesn't memorable early work. At one point, appointing "Down ontheDrag" catapult him into a major star or radio around 1970, he joined up with fellow (1979), was a startlingly original work act outside of his native Texas. Texas songwriters Butch Hancock and his resulting stage show a white- "You hear everybody bitching and and Jimmie Dale Gilmore to form a hot wonder. His "Live Shots" con- moaning about this label stuff, and "living -room band," a country -folk cert recording, which was recorded in what kind of music you make and how trio called the Flatlanders. In 1972, England in 1980 but not released state- you're pigeonholed," he shrugs. "But they recorded a seminal but ill-fated side until after "Musta Notta Gotta I don't care about it any more. I really albumforShelbySingleton'sre- Lotta," made him a ripe -and -ready feel like I'm fortunate to keep making vamped Sun label. The record, now opening act for both Tom Petty and the records. I love to make music. The available on a Rounder CD, wasn't Rolling Stones. radio isn't as important to somebody released until Ely attained notoriety Ely should have been able to write who's established and stubborn and on his own, although the alliance his own ticket after that, but a series of knows what he wants to do. I never would cement a triumphal friendship albums that might have established looked at making music as making among the three, Hancock and Gil- him as a brilliant fusion artist went records. I always looked at it as, 'This more continuing to supply Ely with awry, derailing his career in the pro- is what I'm gonna do with my life.' For much of his most evocative material, cess. "Hi -Res" (1984), an experimen- me that's all that counts." 0

STEREO REVIEW OCTOBER 1991 63

Stereo Review's critics choose the outstanding current releases

Bonnie Raitt Tells the Hard Truth

IHEmorning after Bonnie Raitt roadhouses had closed and her small, thoritative voice the right distance won her slew of Grammy awards but loyal, cult of followers had gone from her spare but crack players (in- for her eleventh album, 1989's home. cluding Richard Thompson on electric "Nick of Time," a few jillion That's why it's no surprise that her guitar and drummer Ricky Fataar), Americans asked the question, new album, "Luck of the Draw," Raitt also draws on a handful of song- "Bonnie who?" And further- makes no sudden hairpin turns or de- writers who have helped shape some more, "Where didshecome from?" tours down blind alleys. Raitt contin- of her best work. These include John Raitt came from where she's always ues to do what she's always done- Hiatt, Mike Reid, and Raitt herself, been-smack in the middle of a per- play marvelously expressive, earthy who wrote or co -wrote four of the sonal synthesis of urban and rural music that manages to stir the loins album'smostemotionallyintense blues, commercial r -&-b, pop, rock, and the soul at the same time. The tunes-and the ones that set its tone folk, funk, and reggae. It's a sound she album is loose and playful, and yet and theme: that adult romantic love pumped out night after night for twen- seductive in a serious, subtle way. cannot thrive without commitment ty years on the road, her slide guitar Working again with producer Don and emotional honesty. As she sings in still humming long after the clubs and Was, who keeps her increasingly au- Tangled and Dark,a sexy piece of deep-dish funk that calls for love with no holding back, "Gonna tell the truth about it/Honeythat'sthehardest part." "Luck of the Draw" is a travelogue of emotions. Beginning with Shirley Eikhard's flirtySomething toTalk About,in which a male -female friend- ship stands ripe to blossom into some- thing more, the album profiles a pair of lovers who filter in and out of each other's lives, running headfirst into trouble inGood Man, Good Woman,a saucy Cecil and Linda Womack tune thatRaittrepriseswithDelbert McClinton. Something about this duet doesn't work, however, and Raitt is far more effective in the next tune,I Can't Make You Love Me,a dead - serious ballad about truth and vulnera- bility in love. In one of her most gor- geous,powerful,andunderstated deliveries, Raitt asks her lover simply to hold her close and not to patronize her-she's there to take her comfort without illusions. Fittingly, the record soon begs the emotional relief ofCome to Me,a cocky stretch of reggae that calls for a man with "the guts to stick around," and John Hiatt's quirkyNo Business,a sort of natural sequel toThing Called Lovein "Nick of Time." Raitt stays the balance with other celebrations of love -gone -right,most notably Paul Brady'sNot the Only One,a hallelujah that climbs to a resounding gospel finish, andPapa Come Quick (Jody and Chico),Billy Vera's amusing skiffie-

66 STEREO REVIEW OCTOBER 1991 The Legen

The Legacy.

'tom Jazz 10 Blues to Rock, the Legacy seriesisdedicated to presenting the definitive portrait of an artist's work or career. All Legacy -eleases are enhanced by state-of-the-art audio technology, detailed booklets, extensive biographies, personalnotes, and rare photos. "Forty Years: The Artistry Of Tony Bennett"

'rank Sinati-a call: him "the best singer in the business.'" This career- ;panning D 51uxe Eox Set fea:ures 81 Tony Bennett performances-

nclud ing a I hisFits- on 4 C)s or 4 Cassettes. "The Byrds" he ultimate collection from ore of the most influentialaauds of the 60's. Over 4 hc urs of music featuring all their chart hits, unreleasec tracks, and 4 newly recordei songs. "Chicago: Group Portrait"

17 Top -20 hits)), one of the mos: successful recording act:ofalltine are among the S3 songs included on this 4 CD or 4 Casette Boxed !et covering the years 1969-1980. LEGACY For a Legacy catalog write: Legacy, P.O. Box 5000, "Billie Holiday: The Legacy Box 1933-1958" Cranbury, New Jersey 08512. For a Legacy 10 minute 1 he lady sings the blues like only she can on this 10 song COLUMBIA CD Sampler featuring a wide range of musical styles, retrospect.we of her illustrious career. featuring all her bes- loved enclose $4.00 to cover postage and handling.

'COISsusbsl," -E p." "lepq" aed . Reg U SYoe & FrOft Mace Regmnda/ songs, plus3 unreleased tracks and 1alternate cakes. epic a ita trademarl, of Sony MUSK Entertainment Inc./©199 I Son Mott Enterummem Mc laced story of the elopement of an album's, and life's, biggest chal- _ice sphere-she has written her law empty-headed young girl and her Chi- lenge: gathering the strength to go " YP on the heart. Alanna Nash cano boy friend. Half the fun of the on in the face of adversity, finding the tunecomesfromRaitt'sspritely hope in the most hopeless of situa- BONNIE RAITT:Luck of the Draw. Bon- nie Raitt (vocals, guitars, electric piano); acoustic -guitar work, which mocks tions. Delbert McClinton (duet vocal, harmon- the subject as it sets the music's pace. Such eloquence does not come from ica); Bruce Hornsby (pianos); Benmont In the end, though, it's Raitt's re- the "luck of the draw," of course, but Tench (organ); Kris Kristofferson (back- peated examining and questioning that belongs to survivors, like the screen - ing vocals); John Hiatt (vocals, guitars); sticks in the mind-the ambivalence of writing waitress, who plug on and on Richard Thompson (electric guitar); Bil- the complicated lovers of One Part Be to "keep the flame burnin' " and to ly Vera (electric tremelo guitar); Ricky My Lover, the despair and hope of the "write their fire in the sky." Raitt's Fataar (drums); other musicians. Some- waitress of the title song, who writes voice may not be as sweet now as it thing to Talk About; Good Man, Good screenplays on the side; and the palpa- was in the Seventies, but in the occa- Woman; I Can't Make You Love Me; Tangled and Dark; Come to Me; No ble ache of the mother of All At Once, sional frayed or grainy note she simply Business; One Part Be My Lover; Not the at her wits' end after repeated fighting reveals the road -weariness of her per- Only One; Papa Come Quick (Jody and with her daughter. This last piece of sonal journey. After twenty years, Chico); Slow Ride; Luck of the Draw; All remarkable songwriting, Raitt's most Bonnie Raitt has done more than just at Once. CAPITOL ® C2-96111 (54 min), mature and impressive, presents the seen her fire blazing in the strato- © C4-96111.

Irresistible Mozart Sonatas

iISTENERS sometimes have good have actually been performing the Mo- years ago, and neither they nor DG has cause to be skeptical when super - zart sonatas for violin and piano to- felt any need to hurry their completion virtuosos are recorded together in gether for years, bringing to their per- of the cycle, which has proceeded chamber music. There have been formances a commitment built on a more orlesschronologically. The more than a few cases in which self -renewing sense of discovery rath- fourth disc, recorded five years ago such projects have been dreamed er than allowing themselves to fall into but issued only now, is clearly the stuff up by promoters and undertaken with- a comfortable acceptance of what they of which legends are made. Its pro- out more in the way of "seasoning" were able to accomplish the first time gram comprises three of the sonatas than a handshake in the studio. But out. They began recording the sonatas Mozart composed in 1781-K. 378, Itzhak Perlman and Daniel Barenboim for Deutsche Grammophon several 379, and 380-works that may not be on many short lists of "the best" or "the greatest" but which here are so downright irresistible that such no- tions become meaningless. This is musicmaking that takes ab- solutely nothing for granted, that rep- resents a whole greater than the sum of even the extraordinary parts involved. Barenboim has not given us more beautifulplaying, whether insolo works, chamber music, or concertos. Perlman, whose very mastery of his instrument can sometimes tend to make his performances seem a little uneventful, has never seemed more "inside" any music he has played. The mutual commitment of these two exceptional musicians, and the stimu- lation each draws from the other as well as from the music itself, insure that the beauty is never merely skin- deep. DG's production team has re- Daniel sponded in kind, with a surpassingly Barenboim attractive sonic frame. Richard Freed (left) and MOZART:Sonatas for Violin and Piano Itzhak in B-jiat Major (K. 378), G Major (K. 379), Perlman and E-jiat Major (K. 380). Itzhak Perlman (violin);DanielBarenboim(piano). DEUTSCHE GRAMMOPHON ID 423 229-2 (52 min). WIMPY CAR STEREOS NEED CAR STEREO REVIEW.

REVIEW. SifilE0 CAR NAGIC BUS IRE Vial STAIRONEN1SMPROMS, BIGqfilDRES ROCKFORD Si ALL SLOOP Tired of wimpy woofers, tinny CELLULAR So, before you plunk down tweeters, and hissing cassette your hard-earned cash, check decks? out Car Stereo Review and you're sure to come out with Want to upgrade your car the best possible system. At stereo to a state-of-the-art the best possible price. system with all the bells and whistles? Shift into high gear and save! One Year just $16.98. Then look no further. Turn to Car Stereo Review and To get home delivery of Car tune in studio -quality sound. Stereo Review, simply detach No other magazine brings you: and mail the attached care

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CAR STEREO REVIEW,. Eric Gales: Guitar Natural

THEmore I listen to the volcanic rock treatises on love and the world debut album from the Eric Gales condition. And there is a band: Eu- Band, the harder it is for me to gene Gales (Eric's brother) sings and believe that guitarist Eric Gales is plays bass, and Hubert Crawford, Jr., only sixteen years old. No one plays drums. But Eric Gales takes the I'veheardinthe twenty-one music to another level. He doesn't years since Jimi Hendrix's unfortu- play as much as erupt, using distortion nate death has coaxed such incredible to create a nearly palpable sense of musical richness out of a guitar. Gales fury and using controlled feedback to has all the raw power of the master- leaven the intensity with achingly fluid his deep, muscular rifling hits like a runs. More than anything else, how- natural force-and a lot of his poetry ever, he constantly surprises us; he'll as well, with breathtaking leaps up and punctuate a blazing solo with long, down the frets and a quivering, sweet agonizing arcs of feeling, or switch the way with feedback. But Gales doesn't timbre of his instrument from warm seem like a Hendrix clone as much as a and thick to super -hot and needle- well -schooled devotee beginning to sharp. In High Anxiety, the shifts are explore some ideas of his own. At a so breathtaking that it almost sounds time when the rock world seems over- like two different guitarists are playing stuffed with fast -fingered demigods off each other. who toss off arpeggios as if they're Gales plays so hard that, at first, you being paid by the note, Gales knows worry that his fingers are going to THE ERIC GALES BAND. The Eric what to leave out. He knows how to bleed. Then you realize that your sym- Gales Band (vocals and instrumentals). flow, in magnificent, fiery bursts, but pathy is better directed at his guitar. Resurrection; No One Else; Sign of the Storm; High Anxiety; Fed Up with You; he also knows how to ebb. He's a At sixteen, he's got a lot of time to Place and Time/World for Ransom; Noth- wizard. grow-and a lot of instruments to pun- ing to Lose; Give and Take; Changes in Oh, yes, there are songs in "The ish. Remember the name: Gales. As in Emotion; Piece of My Soul.ELEKTRA Eric Gales Band": pile -driving hard - force of nature. Ron Givens 61083-2 (43 min), © 61083-4.

Giulini's Big Beethoven Ninth

Nterms of what might be called the reading especially comes to the fore in "humane -classicist"approachto the introductory pages of the finale. Beethoven's Ninth Symphony, Car- The only weak point is the bass recita- lo Maria Giulini's new Deutsche tive, in which Simon Estes is no rival Grammophon recording is for me for a Matti Salminen or a Richard among the top half -dozen recorded Mayr. The chorus, soloists, and or- realizations. He gives the work an chestra all acquit themselves hand- unabashedly big -orchestra treatment somely otherwise, working wonders in a ritual -ceremonial performance intheunusually slow-pacedfinal whose broad -scale conception recalls fugue and the beautifully executed vo- Furtwangler to some degree but also cal quartet. The recording as such is shows a good touch of Toscaninian splendid as far as the orchestra and Classical discipline. soloists are concerned but puts the The titanic opening movement is chorus just a shade too far back. stern in pacing and gripping in dynam- While there are plenty of excellent ic power, notably at the climactic reca- recordings of the Beethoven Ninth pitulation. The scherzo is no hell -for- readings to choose from, this new one leather affair butis carefully con- conveys a genuine sense of occasion. trolledin tempo to elucidatethe David Hall polyphonic textures. The slow move- ment is deeply felt and meditative but, BEETHOVEN: Symphony No. 9, in D for all its slowness, never merely rumi- Minor, Op. 125 ("Choral"). Julia Varady native. The fanfare climax of the (soprano); Jard van Nes (mezzo-sopra- movement, anticipating in its conclud- no); Keith Lewis (tenor); Simon Estes (bass); Ernst Senff Choir; Berlin Philhar- ing measure the "von Gott!" in the monic Orchestra, Carlo Maria Giulini choral finale, is awesome. cond.DEUTSCHE GRAMMOPHON ©427 The solemnity underlying Giulini's CarloNlaria 655-2 (76 min).

70 STEREO REVIEW OCTOBER 1991 HOLOGRAPHIC IMAGING IS SO EXTRAORDINARY IT EVEN SOUNDS GORINTAPER.

:ma 40111104A. ..40-..%.041111ka ...71inrill..""'""m-

And Julian Hirsch wrote it In Stereo Review he said IF 4.41 IhP The woofers are mounted in an amistic suspen- Holographic Imaging offers "perhaps the most natural sion enclosure (which we invented) that fires into a musk sound stage.. .wehave heard from any conventional or filtered chamber. The Filtered Suspension provides tight unaided speaker'' bass response with dynamic, efficient performance. No wonder. AR Holographic Imaging Speakers are more focused than conventional speakers so you SOUND DESIGN DICTATED COSMETIC DESIGN. FIG.A. pinpomt ments with striking Here, 'form follows function: Specific physics and accuracy. The music psycho -acoustic principles determined every facet of ))))',..75;:5)))- is recreated in its the look. A look befitting this startling new proper perspective. dimension in stereo listening. We combined better Hirsch concluded WI represents "one of the focus with more spacious, natural ambience best values in today's speaker market. These days that envelops you in the Spatial SoundstageT." so many products seem to be equal to each other (Fig. A) The effect is so three dimensional, that it is refreshing to find one that is strikingly Hirsch heard "much of the depth, width, and more equal' than most of the competition." height that we associate with a live performance." FREE CD OFFER. Receive a free Nova CD when you hear STARTLING SOUND BECAUSE WE the extraordinary H/I demo at selected AR BROKE THE VERY RULES WE MADE. dealers. If you have questions about the In the H/I Series, Ml thru M4 have the WI Series or Holographic Imaging call woofer set at an angle towards the top of the 1-800-969-AR4U. cabinet. This placement controls acoustic roll -off and thus mini- FIG B mizes crossover WE CAN BREAK components, leaving THE RULES AIR BECAUSE WE MADE nothing between you ACOUSEIC RESEARCH THE RULES. and the music. Hirsch said the speakers "rarely appeared to be the 0 1991, AR, Holographic Imaging, source of the sound we heard." The offset dome Spatial Soundstage and WI Series are registered tweeter adds strong, precise imaging in a broader trademarks of Acoustic Research. 'Stereo Review. June '91 review of AR H/I Model M4. sweet spot. (Fig. B) In the M5 and M6 we've mounted the midrange driver at an angle at the top. The narrow speaker cabinet (Minimal Baffle Design) cuts reflected information and produces an enormous sound from a surprisingly small amount of space. "The music came from that end of the room...but never seemed to emerge from those small black boxes," Hirsch added. 1111 ClassicalMusic

compared to 9:33 for Oistrakh and Szell. paradoxically, extremely intimate. With Recent discs and \ The finale, which Kennedy traverses one exception, this is all 3/4 Chopin-no with stunning verve and virtuosity, is salon waltzes but a series of lyric and cassettes reviewed by well within normal time parameters at narrative poems that ponder,suffer, 8:18. I would like to have been a fly on sing, and even dance a bit in a flowing Robert Ackart, Richard freed, David Hall, the wall to hear the discussion between three. The recording, made in the unlike- Kennedy and conductor Klaus Tenn- ly precincts of a Victorian music hall in Eric Salzman, and David Patrick Stearns stedt leading to the slow tempos in the Troy, New York, enhances the effect first two movements. The adagio does with a dark, quiet sound. Moravec's not suffer too much, but the opening playing is not note -perfect; in fact, he allegro (!) becomes decidedly episodic, really doesn't deliver the notes (the way BARTOK:Music for Strings, Percussion with no grand line. I find no new insights those post -Romantic fellows string out and Celesta; Divertimento for Strings; The resulting from the Kennedy-Tennstedt the pearls) but rather the phrases, the Miraculous Mandarin, Suite.Chicago approach, nor do I find Kennedy's use of expressive verses and stanzas. It doesn't Symphony Orchestra, Georg Solti cond. his own cadenza for the first movement shake the rafters, but it does shake the LONDON ® 430 352-2 (69 min). any improvement over the familiar ones soul. E.S. by Joachim and Kreisler. Performance: Thrilling Musical considerations aside, the son- COPLAND:Music for theTheatre; Three Recording: Ditto ics and balances are first-rate. But even Latin-American Studies; Quiet City; Appa- This is a very thrilling recording-a natu- though 46 minutes is unusually long for lachian Spring.Saint Paul Chamber Or- ral for Solti, the Chicagoans, and the CD this concerto, it adds up to pretty short chestra, Hugh Wolff cond. TELDEC medium. The showoff piece is the Mirac- measure for a full CD. D. H. 2292-46314-2 (76 min), © 2292-46314-4. ulous Mandarin suite for full orchestra, Performance: Elegant, thoughtful Bartok's attempt to rival The Rite of CHOPIN: Scherzos: No.1, in B Minor, Recording: Stylish, clear Spring and one of his few works built Op. 20; No. 2, in B -flat Minor, Op. 31; No. largely on orchestral effect. But the most This is a charming collection from the exciting and fully realized music here is popular -Americana side of Copland's actually the Divertimento. The players, work recorded in mid -America by a Ger- given separate billing as the Chicago man label. Music for the Theatre from the Symphony Strings, deserve the spot- mid -Twenties is the best of his early jazz light, too; this is a virtuoso performance period. Quiet City is a moody, touching with tremendous energy and depth. The instrumental work for trumpet, English once -popular Music for Strings, Percus- horn, and strings made out of incidental sion and Celesta, many times recorded in music written for an Irwin Shaw play in the LP era, comes off particularly well in the Thirties. Appalachian Spring is, of the finale, often the weakest -sounding of course, the great 1943 Martha Graham the four movements but here a resound- ballet-not the familiar suite but the full- ing (andI mean resounding) capper. length ballet in its original, and highly Clarity and a huge dynamic range are effective, thirteen -instrument scoring. features of both the performance and the The Latin American Studies constitute a recorded sound. E.S. genuine Copland rarity. They reflect Copland's early interest in Latin materi- BEETHOVEN:Symphony No. 9(see Best als but were, in fact, written rather late in of the Month, page 70) his life. Two movements are from 1959 and one from 1971. Minor Coplandiana BRAHMS:Violin Concerto in D Major, certainly, but lively and perfectly au- Op.77. Nigel Kennedy (violin); London thentic in their way. Philharmonic, Klaus Tennstedt cond. I would characterize all the perfor- EMI ® 54187-2 (46 min), © 54187-4, 0 mances as elegant rather than energetic 54187-1. or gutsy. It is beauty of motion rather Hugh Wolff: elegant Copland than high energy and drive, thoughtful- Performance: Highly individual ness and intensity rather than playful- Recording: Very good 3,in C -sharp Minor, Op. 39; No. 4, in E ness and humor, that take center stage What could Nigel Kennedy, who has Major, Op. 54. Etudes: C -sharp Minor, here. Copland turning into an old master given us such fine performances of the Op. 25, No. 7; A -flat Major, Op. 25, No. I. before our very ears! E.S. Elgar, Sibelius, and Walton violin con- Mazurkas: E Minor, Op. 41, No. 2; F certos, have been aiming at with this Minor, Op. 68, No. 4; C Mcdor, Op. 7, DIAMOND:Musicfor Shakespeare's disconcertingly elongated reading of the No. 5; C Major, Op. 56, No. 2.Ivan "Romeo and Juliet"; Psalm; Kaddish for Brahms? Standard running time for the Moravec (piano). DORIAN © DOR-90140 Violoncello and Orchestra; Symphony No. first movement is about 22:30; here it's (57 min). 3.Janos Starker (cello); New York 26:17. The slow movement runs 11:19, Chamber Symphony (in Romeo music); Performance: Soulful SeattleSymphony, Gerard Schwarz Recording: Quiet, dark cond. DELOS C) DE 3103 (73 min). C.> A Romantic piano buff, hearing this from Performance: Admirable Explanation of Symbols the next room, came running in to ask, Recording: First-rate "That's a reissue, isn't it? Who is it?" @=Tape cassette Of course, Ivan Moravec is nobody's ThissecondinstallmentinGerard o=LP record reissue, but he does play like the old Schwarz's survey for Delos of the or-al @=Compact disc (timings are Romantic masters-big gulps of music chestral works of David Diamond ranges g tothe nearest minute) with a scale and sweep whose effect is, from the Psalm of 1936 to the Kaddish of a

72 STEREO REVIEW OCTOBER 1991 1989. The Third Symphony and Romeo The Berlin Philharmonic responds to one extended scene, with Santuzza, is a and Juliet (a concert work, by the way, Levine not only with its expected bril- focal point of the opera to which she not incidental music for the play) come liance but with a quite unexpected and contributes considerable intensity and from the middle 1940's. While Romeo wholly ingratiating bloom on its collec- suspense. Juan Pons, as Alfio, is attrac- and Juliet has had two previous record- tive sound. One senses, and shares, a tively brash in his entrance and darkly ings, all the others here are "firsts." genuinedelightinthemarvelsof menacing upon hearing from Santuzza of Psalm-dedicated to Andre Gide but Haydn's score-its numerous touches of his wife's infidelity; he uses his supple conceivedasa memorialto Oscar wit and humor as well as grandeur and baritonetovividdramaticeffect Wilde-is a highly dramatic piece re- intimacy. The Swedish choruses are ex- throughout. Lola is the least developed flecting the composer's study with Na- cellent, and so, without exception, are role in the opera. Perhaps it suffices that dia Boulanger in Paris. The minatory the well -matched soloists, who deliver she be only a symbol of physical attrac- opening tuba solo is followed by an convincing characterizations as well as tion, but Susanne Mentzer uses every - orchestral outburst and a run of motoric beautiful singing. The tastefulness, the gesture music redolent of Roussel. sense of proportion, and the all-round The Third Symphony has a propulsive convictionthatilluminethisperfor- opening movement with fleet and fluid mance add up to something well beyond polyphonic writing. The slow movement the norm. The continuo keyboard instru- suggests Faure, and the scherzo is a ment is a fortepiano played by Frank brilliantly virtuosic study in orchestral Maus; it is heard only when it needs to textures. The Faure atmosphere returns be, effectively underpinning the musico- in the last movement, a quietly tender dramatic fabric rather than calling atten- elegy with lovely solo passages for first - tion to itself. The vivid, full-bodied re- chair oboe and clarinet. cording puts all these elements in the The five movements of Romeo and very best perspective, and a comprehen- Juliet have a touching lyricism that befits sive essay by H. C. Robbins Landon sets a story of young love. The final move- the seal on what amounts to an outstand- ment, built on a ground bass, is especial- ing presentation. R.F. ly effective. While Kaddish reflects Dia- mond's movement over the past two MASCAGNI:Cavalleria Rusticana. Ag- decades away from the Neoclassical nesBaltsa (mezzo-soprano), Santuzza; style toward a more chromatic idiom, it Placido Domingo (tenor), Turiddu; Vera represents even more a harking back to Baniewicz(mezzo-soprano), Lucia; his Jewish roots. A sense of synagogue Juan Pons (baritone), Alfio; Susanne cantilation is evident in the solo cello Mentzer (mezzo-soprano), Lola; Chorus Agnes Baltsa: a moving Santuzza line, tellingly played by Janos Starker, of the Royal Opera House, Covent Gar- and the restrained early pages work to- den; Philharmonia Orchestra, Giuseppe thing there is in the score and libretto to ward an impassioned climax. Sinopoli cond. DEUTSCHE GRAMMOPHON create a credible character. In all, this is The performances by the Seattle Sym- 429 568-2 (68 min). an uncommonly gripping recorded per- phony and the New York Chamber Sym- Performance: Very satisfying formance. Recommended. R.A. phony are all resplendent, and Delos has Recording: Opulent provided sonics to match. D.H. MOZART:Arias.Die Entflihrung aus This handsomely recorded performance dem Serail: Marten aller Arlen. Die Zau- HAYDN:The Creation.Kathleen Battle is possibly Giuseppe Sinopoli's best op- betflOte: Ach, ich fahl's; 0 zittre nicht; (soprano); GOsta Winbergh (tenor); Kurt eratic offering to date. The raw theatri- Der Halle Rache. ldomeneo: Oh smania! Moll (bass); Stockholm Radio Chorus; cality of the plot and of portions of Le Nozze di Figaro: Dove sono; Porgi Stockholm Chamber Choir; Berlin Phil- Mascagni's score lend themselves to the amor. Don Giovanni: Mi tradi. La Cle- harmonicOrchestra,James Levine driving intensity that characterizes one menza di Tito: Non phi di fiori. Cosi Fan cond. DEUTSCHE GRAMMOPHON ® 427 aspect of Sinopoli's conducting, and the Tune: Come scoglio. Cheryl Studer (so- 629-2 two CD's (112 min). hauntingly lyrical sections of the piece prano); Academy of St. Martin in the evoke from him a totally different and Fields, Neville Marriner cond. PHILIPS Performance: Outstanding Recording: Vivid equally effective treatment. The Chorus ® 426 721-2 (55 min). of the Royal Opera House and the Phil- Performance: Admirable Haydn has not been neglected in this harmonia Orchestra respond fluently to Mozart year. Since January, in addition Sinopoli's sensitive direction. Recording: Crisp, delicate to numerous recordings of various sym- As Santuzza, Agnes Baltsa uses her This program of unusually demanding phonies and string quartets, there have limpid mezzo-sopranoeffectively,in music is sung expressively, accurately, been no fewer than four new ones of The turn spinning out lovely legato lines with and stylishly by Cheryl Studer, who Creation, bringing the current total to beautifully warm, soft tone and rising continues her impressive risein the more than a dozen versions. Two or with passion to moments of musical in- ranks of contemporary sopranos. Tech- three are sung in English, the rest in tensity. She makes an unusually moving nically she is very strong; my one reser- German; some are with orchestras of Santuzza whose sense of sin and hope- vation about her voice is the sometimes period instruments, most with modern less love are fully communicated to the slightly steely brilliance that occasional- ones. James Levine's German perfor- listener. Placido Domingo has twice be- ly creeps into the upper register. It is mance, with a trinational team (Swedish fore recorded Turiddu; I am happy to apparent, for instance, in the taxingly tenor and choruses, German basso and report that his voice sounds as youthful difficult "Oh smania!," but there is no zorchestra, American soprano and con- today as it did on those other occasions hint of it in "0 zittre nicht," which is sung ductor), does not use "original instru- and that his musical characterization of (I am tempted to say "tossed off") with ments," but it does reflect current schol- the role is even stronger. breathtaking agility and tonal beauty. arship-and it goes straight to the top of The Mama Lucia of Vera Baniewicz is Not content with extraordinary vocal- the list. well delineated and strongly sung. Her ism alone, Studer creates living charac-

STEREO REVIEW OCTOBER 1991 73 ters, making of each aria a dramatic written in his simplest style, and it's macabre Songs and Dances of Death 'and vignette. The Countess's sense of defeat amazingly forgettable. the powerful yet compassionate vocal- culminating indetermination ("Dove The Requiem itself receives quite a ism of Leningrad -born Sergei Leiferkus. sono"), Elvira's complexity of conflict- distinctive performance here. Conduc- The highly colored, almost cinematically ing feelings ("Mi tradi"), and Fiordiligi's tor Andrew Parrott prefers to put choral atmosphericorchestrationreachesa bigger -than -life "heroics" ("Come scog- works in their liturgical context, which chilling climax with the concluding song, lio") are just three notable examples of in this case minimizes the theatricality of Field Marshal Death. Full text and trans- the artist's individualization of the mate- the Requiem. He scales down its musical lations are regrettably lacking. rial. Her thoughtful performances are gestures and the weight of its textures The conductorYuriTemirkanov, ably supported by Neville Marriner and into something like what we're used to whose interpretive style tends toward his fine orchestra. R.A. hearing in a Baroque cantata. It's as if he the freewheeling, finds the song cycle wants us to forget about the death -haunt- right up his alley. His reading of the MOZART: Piano Concerto No. 22, in E - ed Mozart and appreciate the piece's lovely Khovanshchina prelude, how- flat Major (K. 482); Piano Concerto No. Bach -like counterpoint. The result is the ever, tends toward the splashy side as 23, in A Major (K. 488). Andras Schiff most extreme Mozart Requiem available the music gains in volume and texture. (piano); Camerata Academica of the in terms of "authentic" performance The performance of the Ravel version of SalzburgMozarteum,SandorVegh practices.Parrott employs a twenty - Pictures has its moments, particularly cond.LONDON ®425 855-2 (63 min). voice choir, as compared to the twenty- from "Catacombs" on, but it lacks the Performance: Superb eight used by John Eliot Gardiner in his kind of bite and sharp characterization Recording: Exemplary recording on Philips, which remains the that Giuseppe Sinopoli and the New best all-purpose recording on historic York Philharmonic offered in their re- Andras Schiff and Sandor Vdgh pursue instruments. Parrott's tempos are often cent Deutsche Grammophon recording. their unhurried course through the Mo- faster than Gardiner's-which are con- The acoustic of All Saints Church in zart piano concertos in what continues sidered in some quarters to be at the Tooting, London, is on the bright and to be one of the most distinguished such outer limits of briskness. Somehow, reverberant side in the orchestral works, projects since recording began. To re- though, Parrott's performance doesn't but Walthamstow Town Hall offers an port that the standards of the previous seem rushed. Some may find it under- ideal ambience for the songs. D. H. installments are maintained in this one nourished and perfunctory, but others may seem faint praise, but those are may hear the piece with new ears, find- PROKOFI EV: Peter and the Wolf, Op. 67; imposingstandards. Inthesetwo ing a lightness, a texture, and a less - March in B -fiat Major, Op. 99; Classical works-both among the most glorious histrionic eloquence than we're accus- Symphony, Op. 25. Sting (narrator, in Mozart left us in instrumental music- tomed to. D. P. S. Peter); Chamber Orchestra of Europe, there is once again that enheartening Claudio Abbado cond. Overture on He- sense of chamber -music intimacy and MOZART: Three Sonatas for Violin and brew Themes, Op. 34b. Stefan Vladar give-and-take, without in any way delim- Piano (see Best of the Month, page 68) (piano).DEUTSCHE GRAMMOPHON ®429 iting the grandeur that is also part of the 396-2 (50 min). essential design (in No. 22 in particular). MUSSORGSKY: Khovanshchina,Pre- Performance: The best Peter As always, Schiff's unselfconsciously lude (orch. Rimsky-Korsakov); Songs and beautiful tone production is a joy in Dances of Death (orch. Shostakovich); Recording: Fresh itself, as is the almost otherworldly level Pictures at an Exhibition (orch. Ravel). I grew up on Peter and the Wolf, and I can of the wind playing, but the overall satis- Sergei Leiferkus (baritone, in songs); say that this is easily the best version of it faction goes far beyond the sum of the Royal Philharmonic Orchestra, Yuri Te- I have ever heard. Sting-who, by the component parts-among which must mirkanov cond. RCA ® 60195 -2 -RC (64 way, edited the translated text without be counted the exemplary recording min). betraying the original in the slightest- quality. Schiff plays his own tasteful delivers it with no trace of cutesiness, a cadenza in the first movement of No. 22, Performance: Colorful total lack of a patronizing attitude, and his revision of one by his teacher George Recording: Bright and spacious none of the usual "Time for culture, Malcolm in its finale, and Mozart's own, The focus of musical interest here is the kiddies" tone. The fact thatallthe of course, in No. 23. R.F. 1962 Shostakovich orchestration of the voices-Peter, the bird, the cat, the

MOZART: Requiem (K. 626); Freemason Cantata (K. 623). Jane Bryden (soprano); Mary Westbrook-Geha (mezzo-sopra- no); William Hite, William Bastian (ten- or); William Sharp (baritone); Stephen Richardson (bass -baritone); Boston Ear- ly Music Festival Chorus and Orchestra, Andrew Parrott cond.ALIARE/DENON 81757 9152-2 (55 min). Performance: Baroque Recording: Good live job Mozart's last year (1791) carries a spe- cial fascination, no doubt because of the romantic image of the desperatelyill genius struggling to finish what he was convinced was his own Requiem Mass. However much this image may be fic- tion, the music of that year does seem polarized between works of profound feeling and far lighter pieces he tossed off to make money. Finished weeks before his death, the "Freemason" Cantata (set to words by Magic Flute librettist Eman- uel Schikaneder) is an occasional piece Claudio Abbado and Sting rehearsing "Peter and the wolf -

74 STEREO REVIEW OCTOBER 1991 _17osF7 WORLD'S LARGEST EXPRESS SMALL STE RECORD CATALOG

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RACHMANINOFF:Songs(see Collec- tions-Dmitri Hvorostovsky) Audio Hall of Fame member, Henry Noss ROSSINI:Overtures: La Scala di Seta; 11 All Cambridge SoundVVorks products are designed by Signor Bruschino; L'ltaliana in Algeri; II our co-founder and chairman, Henry Kloss, who created Barbiere di Siviglia; La Gazza Ladra; Se- the dominant speakers of the '50s (AR), '60s (KL1-1) miramide; Guillaume Tell. London Clas- and '70s (Advent). Our high performance, high -value sicalPlayers, RogerNorrington cond. speakers and systems are all manufactured in our EMI (1) CDC 54091-2 (60 min). factory in Newton, Massachusetts. Performance: Adorable Recording: Sparkling Ensemble II performance for half the Bose price. The Italian opera house was, until Ver- Ensemble® II is the latest version of the subwoofer- di's day, the last bastion of Classical satellite speakers Audio magazine said "may be the best style and Classical performance prac- value in the world:' Unlike the Bose® system, it uses tice. 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Recording: Spacious 154 California St., Newton, MA 02158 1-800-AM-HF1 (8a)-2524434) Schubert's two delicioussets of im- Fax: 617-332-5936In Canada: 1-800-525-4434 Switchboard: 617-332-5936 promptus, both written in 1827, are neat- O 1941 farad,* SoundNbrks Ensemble is a reload nadernark of Cambridgr SourdWyks. Bose Is a registered tradernark of Bow Cap. AR & &Kent arc t -ad nscfbmmadonal Icy. Ur. ly and expressively played here by Lam- bert Orkis on a piano ("fortepiano" if Find out how good we are: experts on call 8AM-midnight (ET) every day 1-800-AKA-HIFI you wish) made by Conrad Graf in Vien- Thomas, the CSO's founder, conducted na in 1826 and recorded in the Gothic the U.S. premieres of Till Eulenspiegel Vleeshuis (the House That Wool Built?) and Ein Heldenleben, and Strauss him- in Antwerp, Belgium, where said piano self was the orchestra's enthusiastic first now resides. The instrument has a strong guest conductor, in 1904. All the conduc- and clear bass as well as a soft, textured tors who followed Thomas to the Chica- FREE whisper of an una corda stop, and it is go podium were identified with Strauss's very responsive to contrast in touch and music-particularly Georg Solti, who dynamics. These qualities are perfect for stepped down this year after twenty-two Schubert and sensitively exploited by years at the helm, and Fritz Reiner, who Audio Catalog Orkis. In some ways this music sounds preceded him. The two works on this At Cambridge SoundMrks we manufac- conventionally "better" on a modern disc, then, were well chosen for one of grand, but it was clearly conceived for a the CSO's first post-Solti releases, sym- ture speakers and music systems designed piano like this one, and Orkis knows how bolizing history and continuity as Daniel by Henry )doss (founder of AR, KU -I & to make the most of it. E.S. Barenboim takes over to begin the Chi- Advent), and we sell them from our factory cagoans' second century. in Newton, Mass. V* also sell selected SIBELIUS:Symphony No. 4, in A Minor, The orchestra is glorious, the sound audio components from brands like Philips, Op. 63; Symphony No. 5, in E-jlat Major, excellent. The performances, though, Pioneer and Denon. Because we sell factory - Op. 82. San Francisco Symphony, Her- are a little low in energy. In the bigger direct, you can save hundreds of dollars on bert Blomstedt cond. LONDON ® 425 work, Ein Heldenleben, Barenboim's components and systems. V* sell nothing 858-2 (68 min). Hero seems given more to meditation but "the good stuff." Our knowledgeable and philosophizing than to derring-do. Performance: Rather low voltage audio experts help you make the right Recording: Very good The adrenaline doesn't really get pump- ing in the opening section, though the choices, without being pushy. And you can Herbert Blomstedt has twice recorded Adversaries in the succeeding one are call toll -free for advice or "hook-up help" the complete symphonies of Denmark's incisively characterized. That portion, 365 days a war-even holidays. This is the Carl Nielsen, but this appears to be his the love music, and "The Hero's Works simplest way to get the right deal on stereo first try with Nielsen's Finnish contem- of Peace" come off best. The famous components...and there's virtually no risk. porary Jean Sibelius. The readings are battlefield episode is perfunctory; the Call toll -free for factory -direct savings. well conceived, well played, and hand- conclusion misses the intensity needed somely recorded, but there is no tensile to lift it from the mundane to the enno- Save hundreds on components and strength in the phrasing or dynamics to bling. Ein Heldenleben was the very first systems from Cambridge SoundWorks, match that of the Nielsen recordings. work Reiner recorded in Chicago, back Philips, Pioneer, Denon and others. Sibelius's uniquely austere and in- in March 1954; his remains the most vital tense Fourth Symphony remains one of and compelling performance we are like- Audio Experts will answer all your the most challenging works in the reper- ly to hear, and the recording has as- questions, beforeandafter you buy... tory. The curiously menacing first move- tounding richness and brilliance in its 8AM-midnight (ET), 365 days a year. ment can become heavyhanded. Sus- CD incarnation (RCA RCDI-5408), 30 -day total satisfaction guarantee. taining the big line in the slow movement which also includes the last of Reiner's and conveying a sense of inevitable con- three Don Juans , a good deal more fetch- tinuity in the seemingly capricious, bird - ing than Barenboim's laid-back Till Eu- Save $70 On The Acclaimed Original cry haunted finale demands exceptional lenspiegel. R.F. Ensemble * System By Henry Kloss prowess of both the conductor and or- chestra (particularly the first -desk play- TCHAIKOVSKY:Songs(seeCollec- Our first sale ever on the ers). Vladimir Ashkenazy, Simon Rat- tions-Dmitri Hvorostovsky) system Audio said "may tle, and Herbert von Karajan all meet the bethe best value in the work's demands with notably more suc- WAGNER:Siegfried Idyll. Members of world." Laminated cess in their recordings. the TorontoSymphony Orchestra, subwoofers. The Fifth Symphony has its hurdles, Glenn Gould cond. WAGNER(trans. Reg. $599. too. It's not easy to handle the transition Gould):Die Meistersinger, Prelude; Got- from the moderately paced first half to terdammerung, Dawn and Siegfried's the faster second half with its headlong Rhine Journey; Siegfried Idyll. Glenn conclusion, and keeping the central vari- Gould (piano). SONY CLASSICAL © SK ation movement from going dead in its 46279 (71 min), © ST 46279. tracks is no easier. The shortcomings of this performance are evident in compari- Performance: Curious sons with those by Jukka-Pekka Saraste, Recording: Close focus Rattle, and Leonard Bernstein. And Si- This chamber version of the Siegfried belius purists will also object to Blom- Idyll, Glenn Gould's one and only re- stedt's use of tubular bells in the finale cording as conductor, was taped just a rel 7117. instead of glockenspiel. D.H. few months before his sudden death on the eve of his fiftieth birthday, in Octo- STRAUSS:TillEulenspiegelsLustige ber 1982. and never previously released. 1-800-AKA-HIFI* Streiche, Op. 28; Ein Heldenleben, Op. 40. The piano transcriptions all date from 24 hours a day, 365 days a year (800-252-4434) Chicago Symphony Orchestra, Daniel 1973 and were originally issued on a Barenboim cond. ERATO ® 2292-45621-2 Columbia LP. (63 min). Standard performance time for the CAMBRIDGE Performance: Laid-back Siegfried Idyll ranges from 15 to 18 min- SOUNDWORKS Recording: Excellent utes. Gould takes 23:31 for his piano A new kind of audio company transcription and 24:28 for the chamber with factory -direct savings. As Phillip Huscher points out in his version, which seems more of a rumina- notes for this disc, the music of Richard tion on Wagner's delicate masterwork 154 California St., Suite 102S, Newton, MA 02158 Strauss has been a prominent thread than a convincing realization, despite 'In Canada call 1-800-525-4434. Pax. 617-332-9229 Outeide US.or Canada617-332-5936 of continuity throughout the Chicago some wonderful wind playing in the final 0391 CambridwSoundwzdaC)Ensemble is a regstered trademark of Symphony's hundred years. Theodore pages. Only in the middle section is there QintricgeSouidftia. ARaAdwrn are trademarks of InternabonalJensen.

STEREO REVIEW OCTOBER 1991 77 an approximation of normal tempo. The orchestra recording is on the close-up side, with wide lateral imaging. 711,% TheMeistersingerandGOtterdiimmer- ungtranscriptions are tours de force, The response has giving the polyphonic writing a startling clarity and brilliance, occasionally with proven superb. the help of overdubbing. It strikes me thatcontrol is thename of the game "Few speakers at its price would be throughout. Whether it all amounts to a likely to equal it, much less surpass it. PP valid musical experience is a matter of Julian Hirsch, Stereo Review taste. D. H. on Model V620

"...surprisingy hefty bottom. The rest of the spectrum is just right, too - smooth, sweet and accurate. If Collections Hans Fantel, Roiling Stone on Model V62 ALFRED BRENDEL:Theme and Varia- tions, Vol. 1.Mozart:Variations on a "...excellent highs and very good imaging and sound stage. II Minuet by Duport (K. 573).Mendelssohn: Harry Somerfield, San Francisco Chronicle Variations Serieuses, Op. 54.Liszt:Vari- on Model V630 ations on "Weinen, Klagen, Sorgen, Za- gen."Brahms:Theme and Variations "The stalingY powerful bass makes from String Sextet, Op. 18.Alfred Bren- drums sound magnificent PP del (piano). PHILIPS ® 426272-2 (50 min). Richard Warren, Warp Mine on Model V620 Performance:Stimulating Recording:Excellent Prove it for yourself at select audio retailers. Better yet, hear it straight from In his own notes for what appears to be the source. the start of a series of collections of 84C America, 895E, Hampshire Road, works in variation form, Alfred Brendel Stow, Ohio 44224, Telephone 2169282011 observes that "Variations can relate to their themes in a variety of ways." There can be a "psychological dependence" as 000Amerda' well as relationships based on technique and form, he says, and the four works on this disc "share the feature that they are Distributed in Canada exclusively by Linear Marketing Corporation, 2197 Dunwin Drive, Mississauga, Ontario L5L 1,12 motivated by the character of their themes." The character Brendel finds in the respective themes is perhaps not what most listeners would expect: the BBE Reveals all the Sound intellectual vitality of the Mozart rather than its easy charm, the substance of the Liszt rather than its virtuoso gestures, the credible passion of the Mendelssohn You've Never Heard ,,f7 rather than its mere urbanity, and, in the Brahms, a thorough transposition from one idiom to another, a stunning exam- ple of how a born composer of variations could use the device to create and sus- tain an effect of deepest intimacy. 49119.-mIlk.01111111111111111111111( Whatever the rationale for it, this is an POWER imaginative program, superbly realized. OM AIM IR WWI JAW OOP Perhaps juxtaposing these pieces in such stimulating performances does make SONIC 1 1 them add up to a bit more than the sum of their remarkable parts, but the listening is just as rewarding if you take them one axsoutioNC MODEL 1002 at a time. Excellent sound, too. R.F. HOLLYWOOD BOWL ORCHESTRA: Hollywood Dreams.Schoenberg:Fanfare "New layers of detail were revealed...the soundstage was deeper and for a Bowl Concert.Stravinsky:Firebird more three dimensional ...proved totally addictive to these ears!" Suite, Lullaby and Final Hymn.Proko- Andre Evernrd, High Fidelity, UK viev:Semyon Kotko, The Southern Night. Rodgers:Carousel, Heaven Effect and Available at fine retailers such as: Visit Your Local Electronics Store and Hear the Superb New Waltz.Steiner:Gone with the Wind, Main Tops Appliance, NJ AIWA Theme.Waxman:A Place in the Sun, Sound City, NJ Audio Products Featuring BBE High Definition Sound. Suite.Bernstein:On the Waterfront, Love Or order direct: (800) 233-8346 Hear the BBE car stereo model at autosoundApecialistsi Theme.Stothart/Arlen:The Wizard of 1 Oz, Concert Suite.Korngold:The Adven- BBE Sound 5500 Boise Ave.. Suite 245, Huntington Beach. CA Card# E.p Date tures of Robin Hood-Fanfare and Love 92649. Send me BBE 1002 unit(s) at $229 each. Measures Signature Theme; Battle,Victory, and Epilogue. 16.5' X 9' X 1.75% (US currency only. Calif. residents add sales tax. Name (pent) Includes UPS ground charges. UPS overnight$19. 2nd day - $9.) Address Williams:E.T., Flying Theme.And four Enclosed is a check for $ City/State.71p others.Hollywood Bowl Orchestra, Charge to my: Visa 1 MasterCard 1 AMEX 1 Area CodePhone No. GET SAMPLER CD CD'S SAMPLER FOR THE PRICE OF BONANZA ... or$4.99 each ALLEGRO IMPORTS with nothing more to buy ...ever ! complete money back guarantee!

n Colrfrr r dui COLLINS CLASSICS:This sampler pro- JVCVIORLO 50UrSC5 Nothr.111... vides an excellent introduction to Collins Classics one of England's leading independ- ent classical labels. COL PROMO 9002

DORIAN SAM- CBC RECORDS: CONIFER RECORDS: PLER VOL.II: NEWPORT CLAS- JVC: The ethnic sound Canada's premier clas- It was in 1984 that America's fastest SIC: A trailblazer from of JVCs Ethnomusic Conifer launchedits sical music label pres- growingaudiophile the very start, Newport Collection series fea- own record label. One ents a fine selection of label has set a standard Classic continuesits tures music recorded at of the very firstre- its excellent catalog of that few can equal and cutting edge reputa- a variety of locations leases went on to win a world class Canadian which no one has sur- tion with its latest sam- aroundtheworld. artists and their music. "Gramophone Record passed. pler of digital pearls. Forty tracks of out- CBC PROMO 09 Award". DOR PROMO 90002 NM' PROMO 40019 standingdigitalre- OM PROMO 201 cordings. JVC PROMO 1009

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PICKWICK CLAS- IMP CLASSICS: Here IMP CLASSICS: Brit- MARQUIS MASTERSOUND: VERONA: 17 tracks SICS: Hailedby is a delightful collec- ain'sbrightestand RECORDS:This sam- Featuredartistsin- of music from Ver- Gramophone maga- tion of highlights of re- most innovative classi- pler gives the listener clude Erich Kunzel, ona's excellent catalog zine for its outstanding cordings by the Lon- cal label, presents se- an excellent taste of Ofra Hamoy, John of live opera record- recordings, the Pick- don Symphony Or- lections from its award some of Canada's most Arpin, and many oth- ings and other vocal wick samplerisan chestra. winning classical cata- important soloists. ers. works. excellent introduction IMP PROMO 3 log. MAR PROMO 9010 MSEPROM02 VER PROMO 2700 to this mid -price label. IMP PROMO 2 PIC PROMO 1140 SAVEBuy all 12 and get 75% off 75% !the regular retail price! EXTRA OFFER! Mail to: Sampler Bonanza/Allegro Imports, 3434 SE Milwaukie Digital Test Ave., Portland, Or. 97202-2749 (payment must accompany order)

Please send me all 12 samplers for $48.00 2 Disc Set _CBC PROMO 89 _PIC PROMO 1140 CFR PROMO 201 _IMP PROMO 3 $31.99 _DOR PROMO 90002 _IMP PROMO 2 COL PROMO 9002 MAR PROMO 9010 _NPT PROMO 60016 _MST PROMO 2 _JVC PROMO 1009 VER PROMO 2700 Pierre Verany Please send only the Samplers that The true and natural restitution of music is the one and only I have checked for $4.99 each. aim of a CD player and of every high fidelity system. This Please send me the Test Discs for $31.99 2 CD set contains 106 tracks of musical and technical tests Name: and demonstrations, in pure digital, with which to test yourAddress: system. The 65 page booklet contains comprehensive in- City/State/Zip: structions on how to complete the many technical tests of (No P.O. Boxes, include $3.00 for shipping / handling) this CD set. PVY PROMO 788031 Check or money order VISA Mastercard To order by phone, call 1-800-288-2007 Card #: Exp Date: This offer expires December 31, 1991 Signature: John Mauceri cond. PHILIPS ® 432 109-2 ago. John Mauceri conducts his new (Defending Your Life).There are also (76 min), © 432 109-4. ensemble with more crisp -lined verve sometoo -long -neglectedgems from and bounce than John Williams has been Leonard Bernstein'sOn the Waterfront, Performance:Auspicious showing lately in his Boston Pops re- Franz Waxman's APlace in the Sun,and Recording:Bright and clean cordings. Alfred Newman'sHow to Marry a Mil- This first recording by the newly orga- The debut program, naturally enough, lionaire(whichprincipallyreutilizes nized Hollywood Bowl Orchestra (sepa- leans heavily (but not completely) on Newman'searlierthemeforStreet rate for the first time from the Bowl's movie themes. It neatly balances some Scene,unmentioned in Mauceri's own long-time mainstay, the Los Angeles Hollywood chestnuts by Max Steiner somewhat scattershot liner notes). An Philharmonic) bodes well for the future (Gone with the Wind)and Erich Korn - extended suite fromThe Wizard of Oz of orchestral pops on records-some- gold(The Adventures of Robin Hood) combines several of Harold Arlen's fa- thing that has been uncertain since Ar- withnewer scoresby JohnBarry miliar themes with Herbert Stothart's thur Fiedler's death more than a decade (Dances with Wolves)and Michael Gore fine original underscoring in a first re- cording since the original soundtrack. The inclusion of pieces by two great composers who were long-time Holly- wood residents (even though they had little to do with the movie industry) is understandable in the case of Schoen - berg's minor but appropriateFanfare for a Bowl Concert(1945). But I don't see why Mauceri and his producers settled TU IT.ST LOWER OP OR JUST for two overplayed excerpts from Stra- " IT.CHANGE ON ADIFFERENT vinsky'sFirebirdwhen they might have IT. REPLAY ROOM OR OR START YOURE INA DIFFERENT OTHER IN more appropriately given us the themes EVEN IF VCR OR YOURSTEREO. he wrote in the Forties forThe Song of FLOOR FROM PRODUCTS! T YOUR BernadetteandThe Commandos Strike at -CONTROLLED REM . . REMOTE . . Dawn,which he later worked into his ANY INFRARED. . JUST AIM Four Norwegian Moodsand Symphony TRANSMITTER... POWERMID ' in Three Movements. The only other nonmovie piece, Prokofiev's haunting The Southern Nightfrom his operaSem- yon Kotko, isideal for a pops concert and ,/ well played. If Mauceri and the new Hollywood Bowl Orchestra can main- nfr a peg, s$ tain the impressive standard set by most , aft of this album, pops lovers have real waves cause to cheer. Roy Hemming 1c/bean! 0'°lio tbro DMITRI HVOROSTOVSKY:Russian "/Is, Romances-Songs of Tchaikovsky and s.n., ?tairs fr,,,74/ Raclananinoff.DmitriHvorostovsky (baritone); Oleg Boshniakovich (piano). 4.4 Ao. tothe PHILIPS ® 432 119-2 (52 min). up at' s Performance:Eloquent 11.,,e, Recording:Clear, good balance 4'pa 11 CO OkaCed Iunderstand that Philips has further recordings scheduled for Dmitri Hvoros- °1c7'.11' 11 I n"Re('k. tovsky and look forward eagerly to II C 1.1 r them. His voice is of unusual richness (' tiIII i) 01 111. and color, produced with seeming effort- THE SIGNAL lessness, and admirably focused. The RECEIVER WILL CONVERT STOPPED. THE MUSIC'S OR eighteen songs here, divided equally be- ...THEN THE PRESTO! PROGRAMMING INFRARED. WIRELESS tween the two composers, offer a recital BACK TO NOINSTALLATION,THE ORIGINAL REWOUND. POWERMID - SCATTER of interestingly contrasted melody and THE MOVIE'S AND YOU CAN NEEDED. mood. The technically commendable re- WIRING IS SOAFFORDABLE EXPENSIVE SYSTEM - IS cording achieves good balance between REPEATER THE HOUSEI REMOTE ALL AROUND the voice and the sensitively wrought IllttsSIi TRANSMITTERS accompaniments of the pianist Oleg Boshniakovich. Call today and GET THEPOWERMIDIN YOUR HOME! INCLUDES Hvorostovsky sings with unaffected TRANSMITTER & RECEIVER sincerity; there is no artiness in his deliv- Ask about our special 1 800 U WANT IT ery. You feel his belief in these songs and prices for additional 1 8 0 0 8 9 2 6 8 -I 8 Transm liters, MO' his desire to communicate their mean- Full 30-dat atone, - backguarantee ing. His beguiling youthfulness is appar- if notsatisfied INTRONICr ent not only in the freshness of his voice tee INNOVATIVE ELECTRONICS 1 but also in his approach to the songs. I Threw Open Copyright 1991 Intronics Corporation Among my favorites are swam Features and specifications sublect to change without notice. Radio frequency and infrared transmissions are gas, the WindowandNone but the Lonely inherently affected by varying physical conditions. FCC ApprovedUL Certified (Des) Patent Pending. Heart ofTchaikovsky (who would be- lieve that the latter could be sung with a freshness making it sound wholly new?) andLet Me Not Hear You SingandChrist Is Risenof Rachmani noff. R.A.

St STEREO REVIEW OCTOBER 1991 NOBODY EVER LISTENS TO US.

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TO ORDER By MAIL SEND MONEY ORDER. CERTIFIED OR CASHIER'S CHECK, MASTERCARD, VISA, AMERICAN EXPRESS or DISCOVER CARD (Include Intereank No. expiration date & signature.) TO, AIR MUSIC WORLD, DEPT. SR1091, 59.39 QUEENS -MIDTOWN EXPRESSWAY, MASPETH, QUEENS, -NY 11.778. Personal and business checks must clear our Authorization Center before processing. Shipping, Handling & Insurance Chage is 5% of Total Order with a $4.95 minimum. (Canadian Orders Add 15% Shipping. with a $9.95 minimum charge.) For shipments by atr. please double these charges $25 MINIMUM ORDER. DO NOT SEND CASH. SORRY, NO C.O.D.'s. NEW YORK RESIDENTS PLEASE ADD SALES TAX. LLMNED® ORDERS SUBJECT TO VERIFICATION AND ACCEPTANCE. ALL MERCHANDISE SHIPPED BRAND NEW, FACTORY FRESH, AND 100% GUARANTEED. CopyrIgnt 1991 J&R Music World GOING ON RECORD loN William Livingstone

Angel label were Elis- operetta excerpts, and opera arias. abeth Schwarzkopf Schwarzkopf's favorite role was that and Victoria delos of the Marschallin in Strauss's Der Angeles. Angel's reis- Rosenkavalier, and her authoritative sues of those dazzling interpretation of itis preserved on artists not only serve Angel CD's in a performance conduct- to introduce them to ed by Herbert von Karajan. newaudiences,but I was privileged to hear Maria Callas also give those of us at every stage of her international ca- who heard them live reer, beginning in Mexico in 1951. an opportunity to reas- Fortunately, I don't have to convey in sess their work. Were words themystery of her rather Callas, Schwarzkopf, strange vocal quality, her musicality, and De losAngeles or her unparalleled genius for combin- so great? Were they ing musical tone and color with the worth getting so excit- meaning of words. It's all there in her ed about? recordings of Norma, Lucia, Tosca, Ithink they were. Ballo in Maschera, and other operas. Each of thesethree John Ardoin has updated his guide had a voice with a to her recordings, The Callas Legacy unique, instantly rec- (Scribner's, $14.95), to include CD ognizable timbre. Not reissues, and itis due in stores on just great singers, they September 23. In a foreword to the were greatinterpret- new edition, the playwright Terrence ers, and each had a McNally writes: "Callas speaks to us different temperament when she sings. She tells us her se- and personality. crets-her pains, herjoys-and we tell Victoria de los An- her ours right back. 'I have felt such geles, a Spanish sopra- despair, such happiness,' Callas con- no whom I first heard fesses. `So have I, so have I!' we Divas of My Youth attheUniversity of answer. It is ourselves we recognize in Puerto Rico in the late Violetta or Norma or Lucia when we ADANCER friend of mine once told 1940's, could produce some of the listen to Callas sing them." me thatwhenever sheper- most beautiful sounds I've ever heard I think you will experience this un- formed a classical role she was come from a human throat. She radiat- canny ability to communicate feeling competing not so much with her ed charm and femininity, and in Mas- in the latest EMI/Angel Callas CD contemporariesaswiththe senet's Manon at the old Metropolitan reissues-Cherubini'sMedeacon- ghosts of ballerinas that mid- Opera in the early 1950's she could ducted by Tullio Serafin (formerly dle-aged dance critics had fallen in make audiences forget that Manon is available on Mercury LP's), a live love with when they were young. It's really not a very nice girl. Her record- performance of La Traviata with her the same with opera singers and music ing of Manon with a French cast and great colleagues the tenor Giuseppe di critics.I haven't completely figured orchestra conducted by Pierre Mon- Stefano and the conductor Carlo Ma- out the enormous power that female teux is among Angel's finest CD reis- ria Giulini and one of Lucia di Lam- sues. De los Angeles was also an in- mermoor with Di Stefano and Karajan. performers exert on young men, but I E suspect it's hormonal. comparable recitalist. A multilingual The Lucia is an especially important In any case, I felt it strongly in my CD compilation,"OnWingsof phonographic document. youth and gave my heart to Maria Song," demonstrates her mastery of I'm not so loyal to sopranos I fell in Callas and several other powerful di- the art song and her joy in singing. love with when young thatI can't vas. I remain loyal to the memory of Elisabeth Schwarzkopf was a differ- enjoy today's Dawn Upshaw, Kath- those singers today, but as Itotter ent kind of artist. A very beautiful leen Battle, or Jessye Norman. In Don through middle age I try not to bore woman, she was as calculated, artifi- Giovanni at the Met last season the younger vocal fans with my recollec- cial, and glamorous as Marlene Die- youngAmerican sopranoCheryl tions of performances that thrilled me trich, and her singing was often too Studer sang the best Donna Anna I to the marrow back in the 1950's and mannered for some tastes, but she had have ever heard. And I was thrilled at 1960's. After all, singers of that period a great career in the recital hall as well the New York recital debut of the were well documented on recordings as in the opera house. The range of her Italian mezzo Cecilia Bartoli. My that have been transferred to CD, and artistry is well displayed in a five -CD heart beat faster, and my blood pres- people today can judge Callas and her set issued by EMI/Angel last Decem- sure rose. She made me feel like a contemporaries for themselves. ber in honor of her seventy-fifth birth- young man again. I suppose it's some-

Among her contemporaries on the day. It contains a variety of lieder, thing hormonal.

86 STEREO REVIEW OCTOBER 1991 arb= SAVE MONEY, TIME AND FREIGHT ON FAMOUS BRAND STEREOEQUIPMENT

isnot, alocrio(800) 621-8042 (312) 664-0020 Hours: Monday thru Saturday 9-5 12 E. DELAWARE PLACE CHICAGO, IL 60611 1.1 LOUDSPEAKERS CASSETTE DECKS CD PLAYERS 1.1 =2EZEIMII 11 1:1 11 11 TECHNICS SL-PG300 1.1 TEAC W-995RX TECHNICS SA-GX505 Programmable Double Cassette Deck Quartz Synthesized Compact Disc Player 11 AMIFM Stereo Receiver Auto reverse Full function wireless A new generation of CD plover using tie remote Dolby' BC dbx N P 110x2IrDnt 1042 rear 10 cenii MASH Digital -to -Analog converter 11 One touch dubbing Dolby' Pro -Logic Surround 10 key direct access on front panel 11 TECHNICS SBL-40 & remote control Powerful List CALL FOR PRICE 11 11 Loudspeaker System $799 03 SALE $45995 CALL FOR PRICE Linear Phase 2 Way System Large 1.1 11 TEAC V285CNX List Dram 10' Woofer Anti -resonance cabinet Dolby'131C HX Pro 14595 sALE589" SA-GXN710SA -0X710 WINO D Annschye Woodqrain Finish 12542 front. 20x2 rear. 1.1 TEAC W450R 20 center. Dolby' B. Oversampling. remol, CALL FOR PRICE 11 CALL FOR PRICE Dubbing A/R. List Pro -Logic Sur-ound CALL FOR PRICE Dolby B & C 289 95 sALE515995 TECHNICS 1.1 JENSEN 3120 Usl TECHNICS SL-PS700 11 TECHNICS 1 bit Mosh CALL FOR PRICE ir 3 way 139 95 SALE S74.95, RSTR-212 SA-GX 700 1.1 100 watt, ch . chigitof Lrst JVC XLZ-441 11 Dolby' B Deck 41 tuning 49995 SA -E $349" g IX al t i List auto -rev 11495 sA1E5149" 1 bit DAC 416- 2 way 150 00 SALES90t3 8x Oversampling CALL FO t PRICE 1.1 11 JVC TDR-441 JVC JBL 3800 List Dolby' BtC HX-Pro RX 305 TN TECHN00 ICS 8" 3 way 279 00 smrs 149V. Auto rev CALL FOR PRICE ch aV remoteList SL.P01 1.1 Ps Link 26000 SALE0169' Mash digital to 11TECHNICS SIL-60 TECNICSHAi0 analog converter CALL POt PRICE 10" 3 -way bass reflex CALL FOR PRICE sv-D TECHNICS SA -OX 100 1.1 11 DA. DAT-Deck. 40 watt ch . A'V TEAC AD -1 AIL 62T List Mash D A Converter CALL FOR PRICE remote control CALL FOR PRICE r70 Cass combo. 6" 2 way 11500 SALE 8699et , B L29995 SALE516996 11 JVC TD -W505 JVC RX-SOEV Twin auto reverse. Dolby T:EHNICSC HX.Pro, BIC N.R.CALL FOR PRICE BOx2 front, 40x2 rear. SLPC-505 1.1 PORTABLES Dolby' Surround CALL FOR PRICE CD changer. 5 Disc, TEAC V -970X Mash `21).95SALE159" Dolby' HO -Pro 3 HD list JVC RX-905V remote 080 79905 SALE Dolby' Pro -Logic, 1.1 Digital Sound Processing CALL FOR PRICE 151129s 1 bit. Mash, front loading 11 AUDIO TAPE VIDEO remote ,,,,,,, CALL FOR PRICE JVC XLM-505 11 MAXELL XLII 100 blt DAC 'term.- CALL FOR PRICE High Bias 10 '22" -11C-X12.611 1.1 11 Dual 15 bit. DAC List MAXEU.R600M Digital outputs 00 SALF1279"1.1 1.1 Digital lope MAXELL MXS-90 PIONEER CLD-1080 1.1 Mehl Bias 1o.$2790 Laserdisc 'ICD Player TURNTABLES 1.1 SONY WM-FX33 All Disc Talents High Quality Picture AMIFM Stereo Radio 1DK SAX -90 High Bas 100,819" High Quality Sound 8% Oversampling 11 Casette player 20 bit compact OEIC Remote Contra 1.1 Auto reverse with direction and SONY SR -90 mode selectors Variable Mega Boss 10b$14r 1.1 Ultra -light MDR headphones ' CALL FOR PRICE os MAXELL HGX-M List PG -60 JVC HRD-970 List 1.1 $84 95 $311.9 HiFi. 4HD. Jog,Shuttle 699.00 SALE 1499.5 *4t SALE $4995 1 Hr -8 mm SONY SLV-585 TECHNICS SL-QD33 1.1 HEADPHONES Remote Control VHS HiFi, so SONY D33 Videocassette recorder CALL FOR PRIC E Quartz Direct Once Discmon Port List Turntable 11.1 CD Player 179 95 SALES1399S SONY MDR-CD6 List $11945 SONY MDP-333 Automatic dual motor system Digital Stereo Remote Mul.i.disc Gimbal suspension tone awn SONY CFD-50 Headphones SALE $6995 CALL FOR PRICE AMIFMiCD'Cass. List CALL FOR PRICE mic mixing 199 95 SALES149" A$ONICPANASONIC List PV -S4167 List se SONY CFD460 AKG K-55 50 00 SALOP) S -VHS with shuttle 74900 SALE5599" TECHNICS SL 120011 CD/Coss AM FM, List Quartz -locked direct Dubbing. 3 pc... 289 95 SALE 518995 List AUDIO -SOURCE drive manual turntable es AZDEN DSR18 6995 SALE 53995 SS -3 with tone arm CALL FOR PRICE JVC PCX-200 We- DalbyPro -Logic CAL. FOR PRICE AMIFM/CDiCast list SONY MDR -M66 List List 3 -pc 399 95SALE $27500 Music Mar 9495 SALES5995 NEW WALE 14995 SAt 57N JVC-HRS6700U Tis CxrASS KOSS JCK-200 S -VHS, HIF i, 4 HD CALL FOR PRICE AUDIO TECHNICA AT 155LC Wireless headphoneList List Linear contact. List Port CD 249 95 SALES i 69" system 150 00 SALE58995 PANASONIC LX -200 Spec buy 29995 SALI5119" Remote Laser Disc SONY MDR 1F5K CD Player. Auto -rev Cordless List Loser format Headphones 199.95 SALE599" DI SYSTEMS AUTO Optical Output 9b1; 00 sAu$599" 1

ytl 9500 illinoii audio I PANASONIC C41 -DP 30 12 E. Delaware Pl., Chicago 50611 AM FM CD 1 bit Mosh 22x2 Amp PANASONIC SC -CHID CALL FOR PRICE lifestyle Component System NOTE. This is lust a partial listing of our exten- Dolby Pro logic CD player Quarts sive inventory Please call for quotes on oddi- synthesized AEAFM stereo tuner w 26 tionai items or to request a free price list presets S band gr eq. Dbl auto rev cass List deck 3 way spkr sys. 35 key full remote JBL T-900 $9995 SALE $790' Prices in this ad are tor RETURN POUCY: Equipment received within the CALL FOR PRICE I mail-order only. Freight 14 days from date of shipment may be returned to SANYO ER -500 charges not included in us for repair or replacement at no additionoi AM FM Cassette List SONY MHQ-1600 Dolby' AR 249 95 SALE S12995 prices All merchandise Charge' After the 14 day period it is the -nanufac Hi -ti mini stereo system shipped brand new. fac tutees resonsibility to repair or replace an item Amplifier, Tuner, Dbl auto tory fresh with lull war- through their US. warranty. NOTE: Certain manufac 'every cassette deck. ranty. Not responsible for turers require all returns to be processed direct' CD player CALL FOR MCI typographical errors. through them and not through us so please ask FR Prices and availability when making your purchase. All cancellation-, JVC MX -70 10 27995 SALES179" Midi system 00000 00 SALI $679' P subject to change are subject to a service charge. .2 Doos not Include shipping fees 111111HIMPWW411111WOM41.1,11MO:W:MD:11M.IMI:ell IIM:=1:1=1.0"111M:WIND1M1 M1MI:011 0111,11111.11.:WOMPIIMIWIF ;(1.140:1MIMID:fti:IMPMEDIEM1:61..1101:11,1MD IMP 111,1 IMF.M.:611,6111:1=i MIPI ALLISON AL115 2 Way Bookshelf Speakers Acoustic Suspension Handles 150 Watts

SONY STR-AV1070* ALL PRICES PER PAIR $296 ACOUSTIC RESEARCH M-4646 JBL LX -55 576 120 Watts P/C AN Receiver ACOUSTIC RESEARCH 570.266 JBL L100t3 6111 Ave Priced!! AM/FM Presets Remote ALLISON AL -120 426 KEF C-65* 466 7 -Band Ea Dolby Pro Logic$4 BOSE 2.2 186 KEF C-85* 726 BOSE 4.2 286 KEF 102.2' 846 ONKYO TX -904' 296 CARVER HR 732' 376 BOSE 10.2 SII 846 KEF 103.4* 1266 CARVER HR 742' 456 ONKYO TX -906' 376 BOSE 901 CONCERTO CALL KEF 104.2' .. 1666 CARVER HR 772' 596 ONKYO TX SV5OPRO 456 B. ACOUSTIC HD -7" 156 KEF 105.3' 2756 DE NON LIRA -335R' 216 ONKYO TX-SV70PR0 596 B. ACOUSTIC HD -8" 226 KLIPSCH KG -3' 416 Di NON ORA-435W 266 ONKYO TX-SV9OPRO 776 B. ACOUSTICA70S11' 196 KLIPSCH KG -4' 496 DENON DRA 635R' 376 SONY STR-AV570' 176 B. ACOUSTIC T-830 386 MUSE 1800 TOP RATED! DENON DRA-835W 546 SONY STR-AV970' 326 B. ACOUSTIC 1-930" 566 NHT 1.3 TOP RATED! DENON DRA-103513" 736 SONY STR-D2070* 746 B. ACOUSTIC T-1030 796 NHT 2.3 6111 Ave Priced!! DENON AVR 810' 566 SONY STR-GX57EW 426 CELESTION 3 &5 IN STDCK OHM 3X0 1156 DENON AVR 101T 726 SONY STR-GX67ES 526 CELESTION SL-6SI Top Rated! PINNACLE PN5+...... 146 396 TANDBERG 1PR 3080A CALL JVC RX805V TN CELESTION DL -12 SII 686 PINNACLE PN8+ . Lowest Price! JVC RX705VIN 6th Ave Priced!! TECHNCS SA-GX710 516 NFINITY REFERENCE 2'256 POLK AUDIOMonitor 4.6 SII*226 LUXMAN R114' 396 TECHNICS SA-GX910 666 NFINITY REFERENCE V 416 POLK AUDIO 5JR+SII* 276 LUXMAN R117' 766 YAMAHA RX-450' 236 NFINITY REFERENCE 5'516 POLK AUDIO Monitor10 SII* 536 NAD 7000' 476 YAMAHA RX -S50' 316 NFINITY KAPPA 7' 976 POLK AUDIO RTA1ITL* 726 NAD 7400' 816 YAMAHA RX-750' 396 NFINITY KAPPA 1266 POLK AUDIO RTA15TL* 996 316 YAMAHA RX-V850' 646 NAKAMICHI RECEIVER 3' NFINITY SM-122' 696 POLK AUDIO SRS-3.1TL 1496 YAMAHA RX V1050' .946 NAKAMICHI RECEIVER 1' 726 JBL 3800 Best Buy! 276 VELODYNE 6th Ave Priced!! TAPEDECKS JBL LX -44 456 WHARFEDALE DIAMOND IV 246 POLK AUDIO Monitor 12S11* 3 Way Speaker Power Handling 400WP/C moN

NAKAMICHI CASSETTE DECK1*$726 Discrete 3 -Head System Bi-Directional Auto Search 6E16 Dolby B&C Reg. Power Supply AIWA ADF-810 286 NAKAMICH RX-202' 696 BOSE SE -5 OR AM -5 AIWA ADM 616 166 NAXAMICHI DRAGON' 1896 Subwoofer/Satellite System AIWA ADWX-717 186 ONKYO TARW 404' 236 CARVER TOR 2400' 396 ONKYO TAR -301' Acoustimass Bass Module CARVER 1D 1700' 436 PHILIPS FC-415 396 DENON ORM 510' 196 SONY 10C-D3'11Ar 646 YOUR$599 DENON ORM-700V 306 SONY DTC-700' "Mr 636 GIOICE DE NON DRM-800A 376 SONY TCW-R875'...... 376 BOSE AM3 BEST BUY! 399 INFINITY INFINTESIAAAL 4' 396 DE NON DRW-830' 286 SONY TCK-870ES' 466 BOSE AM5SII 749I INFINITY INFINTES MICRO' 376 Di NON DRW-850' 376 TECHNICS SV-DA10 'sow .. 716 B. ACOUSTICS SUB SAT6' '376 JBL PRO III PLUS 496 DE NON DTR-2000'ur 726 YAMAHA KXW-332' 346 DESIGN ACOUSTICS PS -3 296 POLK AUDIO RM-3000' 566 NAD 6300' 686 YAMAHA KXW-952' 566 NAKAMICIII CASSE I II2' 316 YAMAHA KX 930' 476 DENON DCD-2560* 20 Bit 8X OS Digital Filter 20 Bit Lambda Converters 546 BOSTON ACOUSTICS 360** - Direct Track Access Repeat Handles 5-60 Watts rms ADCOM GCD-575' 466 NAKAMICHI CD PLAYER 4' 276 2 -Way Speakers CARVER SDA-450' 396 NAKAMICHI CD PLAYERr466 CARVER SOA-4901' 496 ONKYO DX -702 . 176 DENON DCD-670* 226 ONKYO DX -704' 256 DENON DCD-970' 306 PHILIPS CD -80 646 $266 DENON DCD-1560* 466 PHILIPS LHH-500 REFERENCE ADCOM GFA-555MKII* ADS C -3001S 276 INFINITY ERS-600* 246 DENON DOD -3560' 1096 SONY CDP-591* 176 200 Watts P/C Power Amplifier ADS C -4001S 396 INFINITY ERS-800' 396 LUXMAN D1-111' 266 SONY COP -991* 286 BOSTON ACOUSTICS 325" 136 JBL S3 6th Ave Priced!! MAGNAVOX COB -624.._ 286 SONY CDP-X222ES 356 Hi -Current Hi -Voltage BOSTON ACOUSTICS 350" 216 POLKAUDIO AB -500 196 ARCAM ALPHA CD IN STOCK SONY COP-X555EW 716 Minimized Distortion BOSTON ACOUSTICS 380 376 SONANCE 618 Ave Priced!! NAD 5000' 386 YAMAHA CDX-550* 216 ADCOM GFA-535L 316 MUSE 100 618 Ave Priced! INFINITY ERS-500* 196 NILES FULL LINE IN STOCK NAD 5340' YAMAHA CDX- 750' 296 AOCOM GFA-545MKI1' 426 NAD1600' 316 ADCOM GFA-565' 676 NAD2600A" 596 ADCOM GFP-565' CALL ONKYO ASV -810 PRO' 866 ARAGON 2004 MKII 1046 PARASOUND HCA-1200MKII746 ARCAMBLACK BOX II CALL PHILIPS AV -1001 REFERENCE 101 CARVER C1-17' 656 PROTON SD -1000 346 BOSE SONY D-303 CARVER C1A-1090' 436 SHURE SURROUND SOUND CALI Music Monitor Mini Speakers Mega -Bass CARVER TFM-6C' 236 TECHNICS S11200MKII Toriboble 366 Handles 60 Watts Per Channel CARVER TFM-45' 646 THORENS TD280MKII Ternieble 276 1 BitTechnology$276 DENON PMA860' 316 YAMAHA MX 830' .536 SONY 0180K 216 DENON DCP-50' 186 DENON AVC 3020' 746 YAMAHA TX -540' 246 $146 SONY 0-202 186 DENON DCP-150' 316 DYNACO ST70MKII TUBE AMPYAMAHA AX 550' 346 BOSE 121 199 JBL PRO III 216 SONY D-35 266 JVC XLP-50 166 LEXICON CP1' 996 YAMAHA DSP-A1000' 1226 AUDIOSOURCE LS1 116 IMEMOREX VM200 96 SONY D555 346 JVC XLP-70 CALL

Ir. 4C 10 -DAY MONEY -BACK GUARANTEED DELIVERY RETAIL ONLY RETURN POLICY ON ALL ADVERTISED ITEMS Returns accepted witnin 10 days (must be called in for prior authorization) We do our best to have sufficient inventory l'oduas must be in original condition. Returns subject to restocking fee, on all advertised products. at Iry irST shipping and handling not refundable -3, NJ 30 -DAY SPEAKER TRIAL HOURS:- 6 DAYS A WEEK MON THRII SAT 1041 NEXT DAY SERVICE OVERNIGHT ANYWHERE IN THE We want you to be acoustically satisfied. It the U.S., PUERTO RICO & USVI speakers you buy don't sound as good as we sald they 201-489-0666 CALL FOR PRICES SE HABLA ESPANOL would, then lust send them back for an exchange. PICTURES ARE FOR ILLUSTRATION ONLY. NOT RESPONSIBLE FOR TYPOGRAPHICAL ERRORS. AD REPRESENTS A SMALL CD PL.'" SUNY_KV27XBR51 1 rOG .A5P 27' Trinitron XBR Tube 1.0M, .1.010111. Stereo Sound Remote PIONEER KEHMB200 NAKAMICHI Detachable Speakers AM/FM Casselle Receiver MOBILE CD TUNER 1* Removable Faceplate Removable CD Tuner 4X OS Dolby BBC CD Controller Dual 16 Bit D/A$586$796 1 ALPINE 7618' 456 Converters JVC C-1321 266 SONY KV-20EXR20 446 JVC AV -2081S ALPINE 7192' .. 266 ALPINE 5903' 366 436 SONY KV-27EXR20 656 ALPINE 72925' 296 ALPINE 7803' 426 JVC AV -2771S 696 SONY KV-27EXR90 876 ALPINE 72945' 436 ALPINE 7915' 426 MITSUBISH C52611R 486 SONY KV-27XBR55 986 ALPINE 7380' 276 ALPINE7800' 486 MITSUBISH C52725R ... CALL SONY KV-32XBR55 ...... 1636 ALPINE 7516' 356 MITSUBISH ALPINE 7909' 766 CE.3515R ...CALL SONY KV-32XBR51 . . 1586 BLAUPUNKT VANCOUVER 346 CLARION 5670CD 346 MITSUBISH CS3506R .... 1846 TOSHIBA CF3060K 796 CLARION 9771 236 DENON DCC-8770' 496 MITSUBISH C53525R . CALL TOSHIBA CZ3299K "IOW' CLARION 3770 286 DENON DCC-9770' 566 PHILIPS 3K391SB 1496 TOSHIBA CF3566A .35" TUBE KENWOOD KRC-430' 226 JVC KS -M(835 ...... CALL RCA F20705DG ....TOP RATED TV VCR COMBOS KENWOOD KRC-730' 306 JVC XL -G4500 CALL RCA G35350WI: 35" TUBE KENWOOD KRC-830' 346 KENWOOD KDC-85R' 446 PANASONIC PVM-1328 496 NAKAMICHI TD540' 526 KENWOOD KDC-95R' CALL SHARP 25RT59 25" TV .. 316 PANASONIC PVM-2028 576 NAKAMICHI TD560' 686 NAKAMICHI CD -760' 896 SONY KV-137E44 246 QUASAR W-8213 526 NAKAMICHI Tuner Deck 1' 646 PANASONIC CO-DP35 296 SONY KV-197S20 336 SONY GV-200 786 NAKAMICHI Tuner Deck 2' 466 PIONEER DEH-760 IN SONY KV-20T527 366 SONY GV-300 CALL NAKAMICHI Tuner Deck 3' 326 PIONEER DEH-770 STOCK FULL MANUFACTURERS USA WARRANTY SONY XR5500' 216 PIONEER CDX-4 . _ CALL SONY XR7600' 376 SONY CDX5040' 316 F SONY XR7070' 266 SONY CDX5080' 346 SONY XR7180' 316 SONY CDX7560' 346 SONY XR7280' 366 SOUNDSTP CD 308546 SHARP VISIONXV120( SONY DTX-10'DAT' 696 20-100' LCD Video Projection S STREAM TC303' 296 -7HANt. VEC. RESEARn- .'.' 2?0P 246 View From Any Angle PROOFS - -44mpt. $500 UM -s SHARP VISION Xd 100 .500MANUFACT REPS REBATE SHARP VISIONxV 101 .750MANUFACTURER'S REBATE AL.1 5952V' FULL MANUFACTURERS USA WARRANTY ALPINE 3331' 6 CD Changer Cornpacl 11 Band Graphic Equalizer- 4X OSDual D/A$386 Adi Subwooler Comfier Output Fader$206 ALPINE 5957' 426 ALPINE 5959' 646 ASK ABOUT ADS 642CSI 186 JVC XL-MK1200 CALL ALPINE 3319' ...... 106 KENWOOD KRC-C300' ALPINE 3339' CALL 6TH AVENUE'S 336 KENWOOD KRC-C400' 516 AUDIO CONTROL 2XS 96 NAKAMICHI CDC101' 686 AUDIO CONTROL 4XS 166 SONY CDX-A15' 306 XTENDED WARRANTY AUDIO CONTROL E00 286 SONY CDX-A15RF 396 CLARION DSP-959E ...... CALL SONY CDX-A4ORF' 466 PANASONICPV- bo CI CONCORD CEO -7...... __166 SONY CDX-A100 486 4 Head Hi-Fi Stereo MTS HI FONICS EPSILON 146 PIONEER CDX-FM45 CD CHANGERS KENWOOD KGC-9042' IN 326 PIONEER CDX M40 STOCK On Screen Programming NAKAMICHI EC200' 186 $3 SONY XEC-500' ...... 116 Full Function Remote Control 16 SONY XEC-1000' 186 GO VIDEO GV-2000 646 MIISUBISHI HS U82 1196 SONY XE-700' CALL JVC 11RD 910U 396 PANASONIC PV -4110 246 SONY XE-90 MKII" 166 JVC IIHD-940U 426 RCA VR 665111 6th Are Priced! SONY XE-8MKII 246 JVCliRD 970U 456 SONY SLY -585111 436 TECHNICS CYDA-3000 ...CALL JVCliRS 67000 656 SONY SEV- 686UC 476 MIISUBISHI HS U34 316 SONY EVS-550 BMA 686 B. AC OUSTICSP MITSUBISHI HS U54 426 SONY E VS -900 HAM 1596 SON CDP-C715* MITSUBISHI HS U65 786 TOSHIBA SV-1990 Tir . CALL 5 Disc Carousel CD Changer 170 Walls P/C 6' Woofer FULL MANUFACTURERS USA WARRANTY 8X OS 45 Bit Digital Filter 1' Tweeter Track Program Remote $326 Crossover Inc $296 R.FOSGATEPUNCHThilD'ADS 2001S' 216 DENON LA 2001' DI NON DCM 320' 246 ONKYO DXC 510' 346 Overload/Thermal Proleclion ADS 300IS 276 546 PHILIPS CDV-600 IN STOCK ADS 3201S' DENON IA 3001' DENON DCM 420' 336 SONY CDP C315' 196 Hi-Current/Power 416 696 RCA LDR 3001 SIT ALPINE 6056AD' .. 176 LASER KARAOKE IN SIOCK SONY MDP 333' 376 DI NON DCM 450' 346 SONY CDP C515' _ 246 Bridgeable Amp B. ACOUSTICS 797" 156 Di NON DCM777' 526 PANASONIC LX 200 646 YAMAHA CDV1700* 496 SONY COP C67LS* 326 ADS PH -15' 496 146 JVC OEM 5051N B. ACOUSTICS 841" 236 TECHNICS SLPD 807 196 ADS P0-8' ..... 176 B. ACOUSTICS 861" 166 JVC XLM-705IN CALL YAMAHA CDC 615' _ 246 ADS P0-10' 366 B. ACOUSTICS 861" 176 NAD 5170' 566 YAMAHA COG -715' 326 ADS P0-20' 546 B. ACOUSTICS PRO 4.2" 256 NAKAMICIII CD PLAYER 2' 626 YAMAHA CDC -815' 396 ALPINE 3544 446 B. ACOUSTICS PRO 5.2" 276 ALPINE 3566' 496 B. ACOUSTICS PR010.0LF 196 CARVER M20201'.. 126 BAZOOKA ' Authorized Dealer CARVER M20501' 276 INFINITY RS -693K' 176 CARVER M40501' 436 INFINITYRS-DS10' 276 HIFONICS ...Authorized Dealer INFINITY CS -1A 346 SONY CCD-F501 NAKAMICHI PA202' ...... 246 INFINITY CS -5' 196 10.1 Zoom Superimpose NAKAMICHI PA302' .....366 JBL 1500GT1 CALL Macro Auto Focus 2 LuxA4" NAKAMICHI PA304' _386 JBL TO6 106 =2.1.,...-BOSELifestyle ORION Authorized Dealer KENWOOD KFC-6992' 156 PIONEER GM3000 ...... CALL MB QUART 0M215CS' 236 CD Player AM/FM Tuner PPI Authorized Dealer MB QUART 0M218CS* 266 200 Watts of Power $876 YV.'. R. FOSGATE PUNCH 45HD'226 MB QUART 0M328CS' 436 Direct/Relecting Sound SONY CCD-TR6 686 R. FOSGATE PUNCHI5OHD*396 NAKAMICHI SP1010' 146 CANON L1 Top 01 The Line! R. FOSGATE POWER300 CALL NAKAMICHI SP65C" .. 256 AIWA NSX-810_. 466 NAKAMICHI MINI SYSTEM' . CALL SONY CCD-TR7 766 JVC GR-AX5U 736 SONY XM 5540F' ...... 376 ORION XTR WOOFERS CALL AIWA NSX-05 _ 596 ONKYO PCS-O5'.796 SONY CCDF401 696 JVC GR-3030 746 S. STREAM D10011 .266 POLK AUDIO MM6930' 186 DE NON 0-200' 1146 PANASONIC SCCIL10 796 SONY CCDV701 1046 PANASONIC PV21 696 S. STREAM D20011' 376 PYLE FULL LINE IN STOCK DENON G05' 626 P13010N A1300011 696 CANON Al DIGITAL 1356 PANASONIC PV -750 926 S. STREAM MC 140X' .376 R FOSGATE SPP124 276 JVC UX 1 ..Iliallest Mini System SONY MIIC-36000D' CAIN FULLMANUFACTURERS USA WARRANTY S. STREAM MC 300' 636 S.STREAM SS10* 176 JVC MX -30 ...... 396 YAMAHA YSICII" . 626

PRODUCTS COME WITH 1 -YEAR 6TH AVENUE 24 HOUR FAX ORDER LINE ELECTRONICS WARRANTY ONLY ** 6TH AVE RETAIL ONLY - ELECTRONICS IS NOT AN AUTHORIZED DEALER OF 201 489-1396 BOSTON ACOUSTICS MERCHANDISE AND THE PLEASE INCLUDE NAME. PHONE NUMBER & ADDRESS 1024 & 1030 MANUFACTURER'S WARRANTY DOES NOT APPLY CUSTOMER SERVICE 7NUE, 201 489-1792 HOURS: 7 DAYS A WEEK MON-SAT 10-6:30 SUN 11-5 im1210 HOURS: MONDAY - FRIDAY 10 AM - 6 PM WE ARE PLEASED TO ACCEPT THESE MAJOR CREDIT CARDS PLEASE DO NOT CALL THIS NUMBER FOR PRICES 212-391-2777 PERCENTAGE OF INVENTORY. CONSUMER AFFAIRS LICENSE NEW YORK # 805697 8.11 816928. PRICES VALID THRU11/1/91 MRSTER RECORDING- ULL:311,

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Jame Popular Music

Recent discs and romance, too, but even though he has high -quality contemporary pop and her the bravery to admit he's a male who father's sophisticated jazz -based styl- cassettes reviewed by dreams of a wedding, he's more con- ings and sweetly romantic lyric readings. cerned with philosophical unions and Her performances are consistently ap- Chris Albertson, Phyl Garland, marriages of the soul. Ghost Train may pealing, with traces of the swinging qual- or may not be about a mother who died ity essential to numbers like Paper Moon Ron Givens, Roy Hemming, Alanna Nash, young, leaving a baby with a bottle and Orange Colored Sky. She even dares "filled with lightning and rain." Silver a bit of spicy scatting in Ellington's Parke Puterbaugh, and Steve Simels Thunderbird is an enchanting memoir of buoyant Don't Get Around Much Any- a father who took a daily spin in his more. She also tastefully reinterprets heavenly auto, even if "it looked just some of the golden ballads in her father's like the Batmobile." And Strangers in a repertory. She's particularly effective, MARC COHN. Marc Cohn (vocals, Car uses the same metaphor to draw a even moving, in the pensive opener, The acoustic guitar, piano); James Taylor darker portrait of love and life. Very Thought of You, and in Smile (which (harmonyvocals);othermusicians. Cohn's album has a little more instru- Charlie Chaplin wrote for Cole and per- Walking in Memphis; Ghost Train; Silver mental fleshing out than a lot of others by sonally delivered). On the other hand, it Thunderbird; Dig Down Deep; Walk on the current crop of acoustic musicians, seems odd to hear anyone else, and Water; Miles Away; Saving the Best for the writer himself sketching out big, especially a woman, singing some of Last; and four others. ATLANTIC ® moody chords on the piano or guitar, these selections, so closely identified are 82178-2 (46 min), 0 82178-4. with such instruments as French horn they with Nat "King" Cole's stylings Performance: Stylish and mandolin taking care of the finer and the unique texture of his voice. Recording: Very good points of embellishment. Acting as co- Much of the album's success is due to producer with Ben Wisch, Cohn was the arrangers who have recast these In Walking in Memphis, the first song in careful to put enough space between the Marc Cohn's impressive urban -folk al- musicians and his ravaged voice, a kind bum, Cohn recounts his spooky visit to of Tom Waits via Joe Cocker rasp. There the land of the Delta blues, where he are times when he evokes other musi- walked on air above Beale Street, fol- cians, such as Bruce Hornsby (in Dig lowed the ghosts of Elvis and W. C. Down Deep), but for the most part he just Handy, and shadow-boxed with a gos- borrows here and there to make his pel -minded piano player named Muriel. highly personal music fit the tunes. Cohn "Tell me, are you a Christian child?" should know, though, thatuniversal Muriel asked after Cohn belted out a truths need never fear rejection. Looks song from his heart. Came the Jewish like he'll have a long career in which to boy's honest reply, "Ma'am, I am to- figure that out. A.N. night." With just this one album, Cohn stands NATALIE COLE: Unforgettable. Natalie head and shoulders above most of his Cole (vocals); instrumental accompani- competition among the new poetic, ment. The Very Thought of You; Paper acousticsinger -songwriters.Cerebral Moon; Route 66; Mona Lisa; L -O -V -E; yet tuneful, he can be as accessible as the This Can't Be Love; Smile; Lush Life; and r -&-b number 29 Ways, which takes the fifteen others. ELEKTRA 61049-2 (73 opposite tack from Paul Simon's classic min), © 61049-4. song 50 Ways to Leave Your Lover. In- deed, Cohn's got all these paths to make Performance: Timeless it to his baby's door: "I got one in the Recording: Very good basement/Two down the hall/And when It took more than a little courage for the going gets tough/I got a hole in the Natalie Cole to make this recording of wall." songs associated with her famous father; Cohn's real forte, though, is revealing he would be a tough act for any offspring the larger picture-and asking the bigger to follow. By the time he died of lung Cole: tasteful tribute questions-behind the seemingly innoc- cancer in 1965 at the age of forty-five, uous events of everyday life. Walk on Nat "King" Cole had become an inter- songs in up-to-date settings that retain Water, for example, starts out with a pair national superstar, crossing over into the some of the flavor of the originals. John- of loversstrolling around an ocean musical mainstream as no other African - ny Mandel, Michel LeGrand, Bill Hol- sound but quickly changes into an ex- American artist had before him. A gifted man, Ralph Burns, Andre Fischer, and amination of religious faith. And Saving jazz pianist who was considered an heir Marty Paich are veterans who can han- the Best for Last details the writer's ride to Earl Hines in his early days, Nat Cole dle everything from a small jazz combo in a New York City cab where the Orien- was a master of musical time and space, to big -band and full -orchestra arrange- tal driver "started talking about heaven/ a quality that carried over into his sing- ments-and who also know when to Like it was real." ing. Even when he shifted to the com- keep it simple. Predictably, Cohn is concerned with mercial fare that accounted for his great- But the biggest attention grabber here est hits, he retained the same superb is the technological marvel that con- sense of phrasing, dramatizing the lyrics cludes the album, a duet between Nat- with immaculate articulation and color- alie and her father in Unforgettable. It's Explanation of Symbols ing them with his inimitable black -velvet the sort of tribute Nat Cole might have voice. © = Tape cassette wanted, for in making this album Natalie Wisely, Natalie Cole has not attempt- Cole has reaffirmed the timelessness of 0 = LP record ed to duplicate her father's interpreta- her father's art and helped introduce a = Compact disc (timings are tions of these songs. She has sought a new audience to one of the great masters to the nearest minute) middle ground between her own genre of of American music. P.G.

STEREO REVIEW OCTOBER 1991 91 with more than a little reason. His work has the proper brooding quality, the sen- sitive poet's turn of phrase, the richness of detail,theinteriorreflection,the quick stab of humor, and the right mix of songs about love and "important sub- jects," such as his tough working-class neighborhood in Bethlehem, Pennsylva- nia. What this neo-folkie doesn't have, however, is a strong sense of melody or an awareness of when he's repeating himself-there are two songs here about that neighborhood, for example. Accompanied by his acoustic guitar, the harmony vocals of Shawn Colvin and others, spare sketches of electric and acoustic bass, and the occasional addi- tional instrument, Gorka lends his sono- rous baritone to a number of memorable word portraits and indelible images, in- cludingHouses in the Fields, a paeanto rural America and the farmers who've been forced to sell their land to pay off the loans. He's also effective inThe Mercy of the Wheels,in which he yearns .0a) a to ride a train back in time to visit his The Innocence Mission: daydream believers long -dead father, to show him a photo of his girl friend and to let him know his life ALICE COOPER:Hey Stoopid.Alice styles of a variety of producers, it's less has turned out fine, and inSemper Fi,yet Cooper (vocals); vocal and instrumental of a cluttered hodgepodge than her last another morosely nostalgic song about accompaniment. HeyStoopid; Love's a few releases. his dad, which recounts how the wound- Loaded Gun; Snakebite; Burning Our The set blasts off with an incendiary ed Marine received a blanket from Elea- Bed; Dangerous Tonight;and six others. resurrection of Sly Stone's classicEvery- nor Roosevelt. Epic OO EK 46786 (56 min), © OET day People(which is also reprised at the All this is fine and good, and more than 46786. end). This Sixties goodie has always had a little moving at times. But where's the Performance:Rote an irresistible charm, and it makes a relief? Gorka almost never relaxes his Recording:Okay perfect vehicle for Franklin, who invests intensity. And there's only one tune, it with the same surging energy that Good, alist of everything he's good at, Alice Cooper may have paved the way marked her last big hit,Freeway of Love. that lifts the mood or boosts the rhythm for much of what we now call heavy Elsewhere, she transforms the inspira- to midtempo. metal, but that was two decades ago. tionalI Have a Dream(fromLes Misera- Better in short spurts than in long Thein -your -facetheatricalityand bles) intoa gospel anthem with a searing- visits, Gorka could be sensationally naughty -but -nasty attitudes that made ly dramatic reading, then turns playfully good with some fine-tuning, such as in- Cooper a hero for today's hard -rock romantic in a duet with Luther Vandross jecting a bit more life into his production. heavies-such as guitarists Slash, Steve in hisDoctor's Orders.And her own Meanwhile, he's worth checking out as a Vai, and Joe Satriani, who appear as pieces, You Can't Take Me for Granted much -acclaimed voice in the Nineties guest artists in this album-seem pretty andWhat Did You Give,demonstrate urban -folk revival. A . /V. tame now. Besides the cultural shifts once again that Franklin is a talented that have left Cooper behind, at forty- composer in her own right. THE INNOCENCE MISSION:Umbrella. five he seems a little old to be recycling While a few of the songs here should The Innocence Mission (vocals and in- the basic hot -to -trot attitudes of hard never have been recorded-including strumentals).And Hiding Away; Sorry rockers toward women. When Cooper the title song, which makes no sense at and Glad Together; Umbrella; Every sang "I'm eighteen and I like it," it was all, andMary Goes Round,a noisy dud- Hour Here; Evensong; Now in This Hush; believable even though he was then the album as a whole is a step in the right Beginning the World;and five others. twenty-one. Now, despite the bluster of direction for the Queen of Soul. P.G. A&M (;) 75021 5362-2 (45 min), © 75021 thisalbum,themiddle-agedAlice 5362-4. doesn't really sound as if he likes it much THE ERIC GALES BAND (see Best of the Performance:Mercurial any more. R.G. Month, page 70) Recording:Good ARETHA FRANKLIN: WhatYou See Is JOHN GORKA:Jack's Crows.John To appreciate "Umbrella" fully takes What You Sweat.Aretha Franklin (vo- Gorka (vocals, acoustic guitars); Shawn some patience. It won't attack you all at cals); vocal and instrumental accompa- Colvin, Lucy Kaplansky, David Wilcox once; rather,itwill seduce you over niment.Everyday People; Ever Changing (background vocals); Darol Anger (bari- several listenings. You may fall under its Times; What You See Is What You Sweat; tone violin); other musicians.Silence; spell, entering a hypnotic daydream of Doctor's Orders; You Can't Take Me for Treasure Islands; Jack's Crows; Houses sounds and syllables, but you might just Granted; What Did You Give;and four in the Fields; The Mercy of the Wheels; as easily be bored by its tendency to others.ARISTA ©ARCD-8628 (44 min), Good; Semper Fi;and six others.HIGH meander without highs or lows. The © AC -8628. STREET ®72902 10309-2 (50 min), 72902 Innocence Mission's music falls some- 10309-4. Performance:Some choice moments where between the languid folk/New Recording:Very good Age meditations of 10,000 Maniacs and Performance:Intense the dreamlike impressionism of Cocteau Despite some poor -quality material, this Recording:Very good Twins. It's not as interesting or original new recording offers some of the best John Gorka's name seems to come up as the work of either of those bands, but singing we've heard from Aretha Frank- whenever the idea of breakthrough sing- it does conjure up some intriguing at- lin in years. And although it reflects the er -songwriters gets bandied about, and mospheres. Karen Peris's trancelike, le -

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ONLY authorized dealers offer you the protection of a manufacturers warranty with your purchase: at other dealers, you may have no warranty at all. Authorized dealers stock only components designed for the U.S., FACTORY AUTHORIZEDand have the training to help you select the right one for you. 201FOR INFORMATION 838 CUSTOMER 3444 SERVICE Meadtown Shopping CenterOrder By Fax 201.838.2516 Route 23 Kinnelon N.J. 07405 VISA Not responsible for typo IMPS Shipping charges are not refundable No soles lox on out of state purchase Honest price, friendly service Noe comrerssioned salesman gato singing, the pianistic guitars, and here were written by others. Among the ing soft soprano and liberal use of hu- the muted pulsing of the rhythm section most satisfying are the slow or midtempo mor-MacColl never fails to hold one's combine in a mesmeric stream of con- items like This Ls Love and Where Would interest. Certain aspects of her style take sciousness in Sorry and Glad Together, I Be, which emphasize Knight's dramat- a bit of getting used to, however, namely And Hiding Away, and Flags. The group ic vocals instead of pedestrian dance her use of the country -music idiom (He comes from a rural part of Pennsylvania, rhythms. The highlight of the set, how- Never Mentioned Love, Maybe It's Imag- and it seems rooted in the good earth and ever, and the reason why many will buy inary) mostly to convey humor and her able to translate that bond into music. it,is the trio of Patti LaBelle, Dionne frequent choice of "happy" rhythms to There's also some elliptical self-analy- Warwick, and Knight in Superwoman. undercut the seriousness of her lyrics. sis, with Perk revealing much about Trading off the verses, they unite for The rhythmic clash is particularly no- herself in a few words in the exquisite some dazzling vocaleffectsinthe ticeable in Children of the Revolution, Beginning the World: "Always the same choruses. This number is so sensational where accounts of murder and warfare underdog stance under the same happy - that Knight can be forgiven for releasing chug along to a mindless beat, and All sad sky, eternally crying, 'AmIstill an album with few other moments that Ever Wanted, where a harmonica dances shy?' " Walt Whitman and Sylvia Plath reach that level. PG. to the story of a neglected wife who would be proud. P.P. drinks herself into a stupor. KIRSTY MAcCOLL:Electric Landlady. No matter what stylistic quirks Mac - JOEJACKSON: Laughter & Lust.Joe Kirsty MacColl (vocals, guitar, auto- Coll displays, she wins you over with the Jackson (vocals, keyboards); other mu- harp, keyboards); vocal and instrumen- wry,autobiographicalThe One and sicians. Obvious Song; Goin' Downtown; tal accompaniment. Walking Down Mad- Only, in which she admits, "Sometimes Stranger Than Fiction; Oh Well; Jamie ison; All I Ever Wanted; Children of the your life isn't going too well/Sometimes

G.; Hit Single; and seven others. VIRGIN Revolution; Halloween; My Affair; Lying it reads like a postcard from hell/... @ 2-91628 (52 min), © 4-91628. Down; and six others. CHARISMA ® Maybe I'll always be the one and only 91688-2 (52 min), © 91688-4. Performance: Solid girlfor me." Yet nothing else here touches the power of the album's open- Recording Very good Performance: Across the board er, Walking Down Madison. With a jazzy Recording: Very good "Laughter & Lust," thetitle of Joe beat throbbing under layers of percus- Jackson's new album, seems like a joke The daughter of Scottishfolkartist sion, guitar, and synthesizers, the song on himself, a poke at his obsessive need Ewan MacColl (The First Time Ever I captures all of New York City's anxiety to comment on the follies of life and the Saw Your Face), Kirsty MacColl is full of and ambiguity, driven home by a rap by inevitability of passion. The title works surprises. In this album, titled with a tip Aniff Cousins portraying the conscience both literally and ironically, and so does of the hat to the famed Jimi Hendrix of the city. the album. Jackson can be deeply, un- record, MacColl moves with ease among Like many British artists, MacColl ashamedly romantic, as in the goo-ily jazz, country, samba, salsa, and tradi- isn't afraid to match up seemingly dispa- direct Jamie G., but at his best he exam- tional pop rhythm numbers, mindful that rate instruments in one song-mandolin ines love with a little perspective. It's All her lyrics mean something-about eco- and ocarina and Southern American Too Much looks at the way a soured logical reform, about the hopelessness of sounds, for example. It's that kind of affair can make life seem impossible: New York's street people-instead of instrumental freedom, combined with a "It's all too much for me to bear/What just being fodder for the beat. free -ranging creativity, that makes her kind of shampoo suits my hair/It's all too For these reasons-plus her enchant - more than a casual player. A.N. much to struggle thru/Especially without you." Some of the melodies here sound fa- miliar, and a few of the lyrics are a little sloppy, but of the thirteen songs in the album, six are terrific and none a real clinker. In "Laughter & Lust" Joe Jack- son delivers quantity and quality. R.G.

GLADYS KNIGHT:Good Woman. Glad- ysKnight (vocals); Dionne Warwick, Patti LaBelle (vocals, in Superwoman); other musicians. Men; Meet Me in the Middle; This Is Love; Where Would I Be; Superwoman; Give Me a Chance; Mr. Love; and four others. MCA @ MCAD- 10329 (54 min), © MCAC-10329. Peformance: Sensational trio track Recording: Good Gladys Knight is such an extraordinary singer that the Pips have been merely incidental to her success, and this new solo outing lets her assert her individual- ity more than she can in the group. This is particularly the case in the several songs she co -wrote for the album. Since Knight places more emphasis on lyrics than melody, the better original songs contain a little story or message, such as the title track, Good Woman, a tribute to the old-fashioned marital values of her parents. But it is unlikely that Knight's writing talents will ever compete with her singing, and by far the best selections Jackson: cynical romantic

STEREO REVIEW OCTOBER 1991 95 TAJ MAHAL:Like Never Before. Taj weirdly experimental Squat That Rabbit. mentals); other musicians. She Needs to Mahal (vocals, guitar, harmonica, pi- But I, for one, like Taj Mahal best when Get Some; Ain't Gone Go for That; I Love ano); vocal and instrumental accompani- he digs into the blues, as in Little Wal- You Like You Are; No Matter What Hap- ment. Don't Call Us; River of Love; Scat- ter's Blues wih a Feeling and a rousing pens; Love Is So Strange; Girl I Saw You; tered; Every Wind (In the River); Blues romp called Big Legged Mamas Are Back Til I Met You; and five others. MCA @ with a Feeling; Squat That Rabbit; Cake- in Style. This is the kind of music that will MCAD-10327 (55 min), © MCAC- 10327. walk into Town; and four others. PRIVATE sound just as good next year, or next Performance: Repetitious MUSIC ® 2081-2-P (47 min), © 2081-4-P. decade, as it will next week. PG. Recording: Good Performance: Wonderful Recording: Very good RIC OCASEK:Fireball Zone. Ric Oca- Though there is less to Ray Parker, Jr., sek (guitars, keyboards, vocals); other than meets the eye, he does have a knack Taj Mahal, that irrepressible eclectic, musicians.Rockaway;Touch Down for coming up with catchy little licks that stands up to all the forces that would Easy; Come Back; The Way You Look appeal to the mass market. His latest dare to lock popular music into tight little Tonight; Over and Over; Flowers of Evil; effort is a concept album addressed to a airlessboxes.Disdainingtimeand They Tried; and five others. REPRISE C) female object of affection. As usual, trends, he reaches into far corners and 26552-2 (55 min), © 26552-4. Parker has composed all the music and dusty closets of the collective memory to plays most of the instruments. At times create music that titillates, amuses, in- Performance: Moody and intriguing Recording: Excellent he stretches himself a bit in developing trigues, and ultimately satisfies. Though his musical ideas, coming across as a he performs with regularity all over the During a decade together, the Cars made sort of lightweight Marvin Gaye, but for tiworld, this is his first new album in five hooky radio pop spiked with an under- the most part the sheer repetition is F years. A host of admiring colleagues current of tension. On his own, Ric numbing. Strictly for fans. P.G. joined him for this handsomely produced Ocasek, the disbanded group's leader, and musically excellent recording, in - plays up the tension, but if anything he's TOM PETTY AND THE HEART- eluding Daryl Hall and John Oates, the more listenable than ever in "Fireball BREAKERS:Into the Great Wide Open. Zone" because there's nothing insincere Tom Petty and the Heartbreakers (vo- or contrived about his pop instincts. The cals and instrumentals); other musi- album has a lot going for it: Ocasek's cians. Learning to Fly; Kings Highway; terse bullets of lyrics are like urban Into the Great Wide Open; Two Gunsling- haiku; there's excitement and immedi- ers; The Dark of the Sun; All or Nothin' ; acy in the music, thanks both to Nile and six others. MCA © MCAD-10317 Rodgers's sparkling production and to a (44 min), © MCAC-10317. more animated performance by Ocasek Performance: Easy listening than has previously been caught on rec- ord; the sound is so vivid and dynamic Recording: Very good you can almost chomp down on it; and Listening to Tom Petty is a nice, relaxing the songs are varied and full-blooded, experience-and I mean that as a com- each a scene in a kind of loose, theater - pliment. He writescatchy,pleasant of -the -absurd musical about good and songs with an undercurrent of sadness evil set against a backdrop of urban and despair, then performs them like an decadence. old storyteller sitting in a chair rocking In many songs here Ocasek seems to and spinning a tale. But not really rock- be summoning someone back from a ing at all. The tunes in "Into the Great dark chasm of self-destruction. Nearly Wide Open" flow effortlessly, taking all of them have a jittery, wayward feel, their own sweet, chimy time. This is the kind suggested by the words "going Petty's first album back with his long- through commotion, slipping on the time band, the Heartbreakers, follow- stepping stone" from thetitletrack. ing his hugely successful solo release, There are oblique references to the "Full Moon Fever." The difference be- harms an unspecified "they" have done tween Petty alone and Petty in a group is to the person Ocasek's addressing, such not great. Like the unfeverish "Fever," as, "They tried to tear you away/They the not -so -wide-open "Wide Open" re- tried to lie in your face/They tried to tip sembles the work of Petty's other band, you off sweetly" from They Tried. Then the Traveling Wilburys. It's no wonder he tosses a disarmingly idealistic curve that Petty fits in so well with his elders in in All We Need Is Love, whose anthemic that group-he's really at home making strains actually recall the Beatles song music like an older guy. Tom Petty has Ocasek: this year's model with which it nearly shares a title. definitely been Wilburied. Thankfully, there are no dirges. The The laid-back pleasures of "Into the Pointer Sisters, and Mac (Dr. John) Re- songs surge purposefully, leaving an in- Great Wide Open" are many. The sweet bennack. But itis Mahal himself who candescent glow as striking as neon riff that is the spine of Learning to Fly makes this set so special. script. Particularly noteworthy are The blends perfectly with the what -me -wor- Moving from rock to reggae to the Way You Look Tonight, Flowers of Evil, ry attitude of the lyrics: "So I've started blues, and mixing them alltogether and Keep That Dream, which recall the out for God knows where/I guess I'll find whenever he feels likeit, Mahal has brief period a decade or so back when out when I get there." The title cut is a drawn from some of his best past tunes New Wave and urban dance rhythms sly commentary on every budding rock- as well as new material. Playing an as- collided in records like Blondie's Call er's dream, telling the story of a "rebel sortment of instruments and singing in a Me. Ocasek manages to impart an elec- without a clue" who moves to Holly- rasping voice, he serves up his folklike trifying aural sorcery to his tales of the wood, becomes a rock star, and eases fare with the sort of earthy sincerity that urban demimonde in "Fireball Zone," a into the superficial world of show biz. makes it all ring true. consistently engaging album from a for- Petty tells the story in such an offhand, Every selection here is a musical ad- mer Car who hasn't run out of gas. P.P. matter-of-fact way thatit seems both venture, from the Delta funk of Every natural and surreal. The lyrics here, and Wind (In the River) to the ominous reg- RAY PARKER, JR.:I Love You Like You in the other tunes, offer tiny insights, gae -lacedlines of Scattered and the Are. Ray Parker, Jr. (vocals and instru- quiet mysteries, mild pronouncements

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FOR CUSTOMER SERVICECALL:696-6531 CONVENIENT FAX # We ship within 24 hours. All prices quoted include manufacturer's standard acces sories & U.S.Warranty. All units are factory sealed. Shipping & handling extra. (200633-1476 -and Petty delivers them with restraint. The performances by the Heartbreakers are equally low-key, interrupting the ba- sic tunes only for quick but evocative solos by lead guitarist Mike Campbell. This keeps the focus on the songs, which take on a cumulative resonance. "Into the Great Wide Open" is fun the first time around and gets better with each listening. R.G. BONNIE RAITT: Luck of the Draw (see Best of the Month, page 66) CLAUDIA SCHMIDT: Essential Ten- sion. Claudia Schmidt (vocals, guitar, dulcimer); other musicians. Racer; Black Crow; Coming Clear; New Beltane Boo- gie; Gotta Get Down (to Get Up); Per- Van Halen: leers from the locker room sephone's Song; Right from the Start; Visitor on Solstice Eve; and four others. vocals); Michael Anthony (bass, vo- last blast from the young trumpeter was RED HOUSE ® RHR CD 38 (46 min), @ cals); Alex Van Halen (drums, percus- his work inSpike Lee'ssuperficial RHR C 38. sion,vocals). Poundcake; Judgement glimpse at the jazz world, Mo' Better Performance: Rewarding Day; Spanked; Runaround; Pleasure Blues, a film whose shortcomings Blan- Recording: Very good Dome; In'n'Out; and fiveothers. chard's music overcame. Before that WARNER BROS. ® 26594-2 (52 min), © there were excellent albums with saxo- Claudia Schmidt has been around a 26594-4. phonist Donald Harrison. Now, after while, although she's known mostly to taking some time off to rethink his direc- fans of independent labels, listeners to Performance: Tedious tion, Blanchard is back with his most quirky radio shows, and appreciators of Recording: Thick as syrup inspired album to date. No wonder he nongeneric "thoughtful" music. "Es- Take the firstletters of Van Halen's calls it simply "Terence Blanchard," a sential Tension" is ample proof that she latest album title and you've spelled title one might expect to find only on a deserves a larger audience. out-wow !-a dirtyword. Probably debut release-it's a rebirth of sorts. Armed with a big, muscular voice that dozens of twelve -year -olds are snicker- Blanchard is one of the most gifted of can soar or drop into a reedy alto, ing over it right now in mall record stores the crop of young players who came Schmidt sometimes moves her clear to- from coast to coast. That little bit of north in the wake of Wynton Marsalis's nality toward the disparate, impassioned locker -roomhumor,however,says success, and this album of quartet and sounds of Diane Schuur, Holly Near, or more about the paucity of ideas of these quintet performances (plus a brief unac- Joni Mitchell. And yet she sounds main- aimless middle-aged metal vets than any companied trumpet solo) approaches the ly like herself, a vocal force field em- critical analysis could do. Without real- intensity of Miles Davis (before he dilut- bracing a variety of topics here, particu- izing it, they've reviewed themselves, ed his artistry) and the fervor of Roy larly ecology (Black Crow), Third World saying, in effect, "We have nothing to Eldridge. Tenor saxophonist Branford despair (Visitor on Solstice Eve), and say." Or play. Sure, Edward Van Halen Marsalis, who appears on three particu- knotted romance (Anniversary). uses his amazing facility on guitar to larly potent tracks, shares with Blan- Her sound nicely fleshed out here create pterodactyl howls and to hammer chard an urgency that makes their col- compared with her early days, Schmidt on with typically blinding speed, but it's laboration quite compelling. Sam New- operates now from a jazz -cabaret -pop all as pointless as a decorative paint job some plays tenor in the other three quin- instrumental base, and she's generous on a plywood outhouse. Although the tet selections, giving them a somewhat enough to let her musicians-particular- compressed, Godzilla-like lurching of different but no less satisfying character. ly keyboardist Don Stille, bassists Jay Poundcake and the uptempo rocking out My favorite is I'm Getting Sentimental Young and Gordy Johnson, and sax and of Runaround are good, hard fun, the rest over You, the old Tommy Dorsey theme, clarinet player Kathy Jensen-flourish of the album proves that guitar pyrotech- which Blanchard and Newsome have ef- as the co-stars of her album. Sometimes nics alone are not enough. P.P. fectively accelerated. If you like meaty, they play all-out, as in the humorous, inspired jazz, don't pass this up. C.A. big -band -likeInvitationto the Weep. More often they provide sophisticated THE CLAYTON-HAMILTON JAZZ and feathery dressing for Schmidt's in- ORCHESTRA: Heart and Soul. Jeff Clay- trospective,hard -truthlyrics.Even Jazz ton (flute, soprano, alto, and tenor saxo- without Steve Barnett's jazzy charts for phones); Jeff Hamilton (drums); other Black Crow and Invitation to the Weep, TERENCE BLANCHARD.Terence musicians.Soupbone;EasyMoney; much of the material has a "Prairie Blanchard (trumpet); Branford Marsa- Heart and Soul; Come Sunday: Take the Home Companion" feel to it. It's offbeat lis, Sam Newsome (tenor saxophone); 'A' Train; and four others. CAPRIOO and inventive, both melodically and lyri- Bruce Barth (piano); Rodney Whitaker 74028-2 (53 min), © 74028-4. cally, even if the tales her songs tell don't (bass); Jeff Watts, Troy Davis (drums). always resolve comfortably or logically. Motherless Child; Wandering Wonder; Performance: Polished big band All in all, Schmidt demands a lot of her Tomorrow's Just a Luxury; Goodbye; Au Recording: Excellent listeners, but she ultimately rewards you Privave; and four others. COLUMBIAOO Bassist/composer/arranger John Clay- with the goose -bumpy pride and experi- CK 47354-2 (57 min), © FCT 47354-4. ton, Jr. wrote the chart for the Arista ence of having survived a winding and label'sfastest -sellingsingle, Whitney intricate journey to the hidden chambers Performance: Torrid Recording: Very good Houston's overly hyped act at Super of the heart. A.N. Bowl XXV. But making sense out of that Terence Blanchard's bristling trumpet vocal obstacle course we call our nation- VAN HALEN: For Unlawful Carnal work has attracted a steadily increasing al anthem is not his only accomplish- Knowledge. Sammy Hagar (vocals); Ed- following among jazz fans for ten years ment. Far more meaningful is the big ward Van Halen (guitars, keyboards, now, and he keeps getting better. The band he co -leads with his brother, saxo-

STEREO REVIEW OCTOBER 1991 99 phonist Jeff Clayton, and former Woody tive than "Ask the Ages," but it's just as Index to Advertisers Herman drummer Jeff Hamilton. "Heart fascinating. B.G. and Soul" is the band's second album, a Page nine -track set consisting mostly of bur- TOUGH YOUNG TENORS:Alone To- Advertiser Number nished Basie-like arrangements, almost gether.James Carter, Todd Williams, half of which are John Clayton originals. Herb Harris, Tim Warfield, Jr., Walter InTake the 'A" Train,featuring Jeff Blanding, Jr. (tenor saxophone); Marcus Acoustic Research 71 Clayton's alto sax, the Duke's uptown Roberts (piano); Reginald Veal (bass); Adcom 5 train has never moved so slowly, but the Ben Riley (drums).Jim Dog; Just You, Allegro Imports 79 snail -like tempo is quite effective. That American Audio 93 Just Me; Stevie; Chelsea Bridge; The A utotek 41 radical slow -down aside, this is not inno- Eternal Triangle; Blues on the Corner; vative music; it lacks the sophistication and five others. ANTILLES © 422-848 and creative complexity of Toshiko 767-2 (65 min), © 422-848 767-4. Akiyoshi's or Gil Evans's work, and it is BBE Sound, Inc 78 Performance: B.I.C. America 78 accessible to a fault. Still, it has a certain In the grand tradition BMG CD Club 16 a,b freshness, the driving, sprightly arrange- Recording:Excellent Bose 2. 7. 29, 108, Cover 3 Bose Express Music 75 ments follow a comfortable logic, and Ever since Coleman Hawkins poured it the band is as smooth asice. C.A. into the jazz mold, the tenor saxophone has been a major jazz voice. Producer CBS/Columbia House 11 SONNY SHARROCK:Ask the Ages. Billy Banks has assembled five young Cambridge Soundworks 75, 76 Sonny Sharrock (guitar); Pharoah Sand- tenors for 'Alone Together," an aptly Carver 30 ers (saxophones); Elvin Jones (drums); named album that gives them a chance to Columbia House CD Club 32 a,b Crutchfield 28 Charnett Moffett (bass).Promises Kept; demonstrate their talent, alone as well as Who Does She Hope to Be?; Little Rock; together. Only the final selection, Sonny As We Used to Sing; Many Mansions; Stitt'sThe Eternal Triangle,features all Denon 22. 48 Once Upon a Time.Mum © 422-848 five tenors, the other ten tracks being George Dicke] 59 957-2 (45 min), © 422-848 957-4. solos or duets. It is a duet by Walter Blanding, Jr. and Performance:Powerful Recording:Good James Carter that starts things off. The Electronic Wholesalers 98 tune,Jim Dog,follows a familiar formu- SONNY SHARROCK AND NICKY la, a series of solos sandwiched between SKOPELITIS:Faith Moves.Sonny Shar- a simple riff, but this is a meaty sandwich Fisher '17 rock (guitar); Nicky Skopelitis (guitars, in which both tenors show a remarkable Ford Audio 44 bass, baglama, saz, coral sitar, tar).Who affinity for the tradition they uphold. Are You; Becoming; Mescalito; Venus; In Blanding has gained valuable big -band and Gallo 64-65 the Flesh; Sacrifice; First of Equals; experience with Cab Calloway and the Geneva/Museatex 81 two others. CMP OO CD 52 (38 min). Count Basie Orchestra, but thisset Performance:Thoughtful marks his recording debut; his tempered Recording:Good tenor contrasts nicely with the pungent, Illinois Audio 87 Ammonesque sound of Carter, a twenty- Intronics 80 Sonny Sharrock's two new albums show two -year -old player from Detroit. Carter the extraordinary range of his guitar goes it alone in Billy St rayhorn'sChelsea talents. 'Ask the Ages" takes Sharrock Bridge,adding some interesting embel- J&R Music World 82-85 back to his avant-garde jazz past, reunit- lishments in an approach that maintains Jana 60 Jensen 4 ing him with his former boss, saxophon- a touch of Ben Webster's tenderness but Jockey International 21 ist Pharoah Sanders, in music that shows is not as well oiled. Blanding's solo the liberating influence of John Coltrane effort, Thelonious Monk'sAsk Me Now, on both men. Aided by one of Coltrane's is a more polished ballad reading that Klipsch 39 most prominent drummers, Elvin Jones, clearly shows the depth of this young and the young bass phenom Charnett man's talent. Moffett, Sharrock and Sanders play ag- At twenty-three, Todd Williams al- Maxell 24-25 gressive, sometimes harsh music that ready has a fine track record as a mem- Mobile Fidelity 90 moves quickly from beautiful, unsenti- ber of Wynton Marsalis's group; to hear mental melodies to controlled, almost him garnishJust You, Just Meis to mathematical solos to raw, keening free- understand why. Williams hits another Paradigm 26 Pioneer 19,34 for-alls. For the most part, Sharrock groove inStevie,Duke Ellington's trib- Polk 13-15 uses a crisp tone with just a slight nasty ute to his nephew, Stephen James. Wil- Proton Cover 4 edge, although when the music heats up, liamsdeliversahalf -dozen punchy, he often bursts into a strumming frenzy. Trane-ish choruses and is joined by Tim The same aural duality-sweet, peal- Warfield, Jr., for the closing ensemble. 6th Avenue Electronics 88-89 ingnotes versus massiveswirlsof Warfield comes front and center to per- Sony Cover 2. I. 46-47, 67 Sound City 94 sound-can be found in Sharrock's al- form with splendid vigor and imagina- Sunstone 33 bum of duos with Nicky Skopelitis, al- tioninHank Mobley'sThe Break though the range of the performances is Through,and he shares honors with somewhat limited. Nearly all of the Herb Harris in a laid-back version of the Wisconsin Discount Stereo 97 tracks in "Faith Moves" are improvisa- spiritualCalvary.Harris also teams up tional. Sharrock begins with a basic with Carter for the album's title track phrase and then plays with it-exquisite- and, accompanied only by Roberts's pi- Yamaha 8 ly taking it apart and putting it back ano, gives a sensitive solo reading ofYou together in different ways-before he Go to My Head. loses musical interest. What he does is There is something for every mood in sublime, but the structure of the perfor- this 65 -minute album. From easy start to October mances is a bit repetitive. Because Sko- rousing finish, it demonstrates that even pelitis provides subtle exotic support, if jazz does not take another radical turn, "Faith Moves" seems more contempla- it has a promising life ahead. C.A.

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was to shed some light on why the tion distortion measurements just for players appeared to sound somewhat the fun of it', my analyzers being primi- different to me, at least with certain tive by today's standards. But here recordings. another shock was in store. The noise Player A is a spanking -new machine difference between the two players with proprietary 1 -bit processing tech- was generally evident, yet the test nology. Player B is a second- to third - instruments' readings were so c'ose to generation 16 -bit veteran with many their rated residuals as to make them hours of service and some (relatively both astounding and, probably, fic- minor) repair work on it. Both players tional. One thing seems clear, how- are, or were when purchased, at the ever: In terms of distortion, the combi- top of their respective manufacturers' nation of the CD -1 test disc and a good lines. CD player is better than any audio Signal-to-noise ratio (S/N) came generator I've used. first. In an unweighted measurement, From Old Colony Sound Lab (P.O. player B came in at 92 dB and player A Box 243, Peterborough, NH 03458), at 98 dB. The latter figure is right at the the CBS CD -1 costs $45 plus $2 ship- The CBS CD -1 theoretical limit of the CD medium. ping and handling, which is not a lot to The frequency response of player A pay for a lot of precision. Since many measured dead flat up to 4,000 Hz and of the twenty-one tests can be per- Test Disc then shelved downward about 0.1 dB formed with nothing more than an AC at 8,000 Hz and above. Player B began voltmeter, you can easily take your lab IHE CD -1 standard CD test disc, to trough at about 2,000 Hz, reaching into the store when you're shopping conceived under the auspices of -0.3 dB at 8,000 Hz and then rising for a new player and test cut the the now -defunct CBS Technol- again to the reference level at about merchandise on the spot. ogy Center, was designed by a 16,000 Hz. Player B's response curve Which finally brings us to the ques- committee composed largely of was reminiscent of the response "sad- tion of how useful the CD -1 can be in engineers, equipment reviewers, dle" exhibited by most phono car- pointing up audible player differences. and audio writers. Committees can be tridges. Small though the irregularity As I try to correlate what I measured hazardous to scientific endeavors, but is, it spans three important octaves, with what I hear from players A and B, this one seems to have done its work and controlled listening tests have I look askance at some of the linearity well, with a good comprehension of its shown that such aberrations are audi- errors, but I rather think that frequen- mission. With more than 71 minutes of ble, although not necessarily recogniz- cy response is the principal culprit- playing time available, there was room able for what they are. notnecessarilythe frequencyre- on the disc both for the usual test tones The CD -1 includes comprehensive sponse referred to above, however. recommended by the Electronic In- tests for converter linearity, including The CD -1 makes it easy to check the dustries Association and for some op- undithered signals descending in steps responseofde -emphasiscircuits. tional test tracks. from 0 to -90 dB and dithered tones While player B's circuitry is hardly Where appropriate, thetestfre- from - 70 to -100 dB. The -100 -dB ideal, player A gets considerably fur- quencies employed are numerically tone is theoretically below the resolv- ther out of whack, and at frequencies prime relative to the CD format's 44.1 - ing power of a I6 -bit linear system, but such as 4,000 Hz. This you will hear. kHz sampling rate. This avoids any the disc shows that, if properly dith- I've asked, and nobody is sure how simple mathematical relationship be- ered, such a tone can be recovered. many CD's exist that were made with tween test frequencies and sampling In the undithered linearity tests, the pre -emphasis (which a player's de - frequencies, thereby exercising the performance of player A was strong emphasiscircuit isautomatically maximum number of levelvalues throughout, but player B was a bit switched in to cancel). Its use is op- available from the digital -to -analog ragged from the start, although its tional for a disc's producer. Estimates converter under test instead of causing errors were not alarming until the are that many earlier discs have it and just a few values to repeat for every noise floor was approached. With the that only a few being made right now waveform cycle. Track timings and dithered tones, player B improved in do, but its use is on the rise again as index points are elegantly worked out, linearity and player A remained basi- more material recorded on DAT turns and the risk of suddenly jumping from cally the same (there was not much up for transfer to CD. -100 to 0 dB is small because of good room for improvement) until the low- I cannot tell for certain without mea- organization and sequencing. est levels were reached. There, an suring inside a player, but I'm sure I All of the test tones on the CD -I are interesting swap of positiontook have acquired many pre -emphasized computer -generated, and they are said place, with player B erring by 10.8 dB CD's over the years, and I nay ac- to be very clean. Determining just how at -100 dB and player A by 11.8 dB, quire many more in the future. There- clean they are was one objective of even though it had a full 6 dB more of fore,I would not buy a CC player measurements I recently performed S/N to work with. without accurate de -emphasis. The on two CD players. Another objective I made harmonic and intermodula- CD -1 assures that I won't. 0

STEREO REVIEW OCTOBER 1991 107 SERIES VI DIRECT/REFLECTING SPEAKER SYSTEM Themost y acclaimed loudspeaker. Then andnow.

ilifiislenjteview at New pork antel-) Ntlir' YORK SPNDAY. MARCH 25. 1494,

1968 1990 ._I must say that I have r.e,)er hearda speaker system "The Bose 901, fortifiedegainst the rigors of the digital ir my own horse which could surpass,or even equal, age, still makes the listerffig room seem to expend." the Bose 901 for ove.-all 'rediism of sound.' "It is apparent from the frst note whyso many ltsmers -Julian Hirsch, Smeo Review 1968 are captivated by this speaker." - Hans Fantel, Tke New York limes 1990

Atthe Massachuse:ts nstitute of Technology, How is the 901systan different? ar inquiring young assistant professor named .11111.%During a ive performance, most ct tie Amar Eose began a research project in the sound you hear is reflected off the walls, '11r; m d -1950's. Twelve years later, he introduced i,41140 floor and ceiling before reaching your the Bose' 901' DirectiFeflecting' speaker ears. Oily a small amount of sourd energy travels to you directly. system, which soon began to win the highest acclaim ever accorded a loudspeaker. Conventional speakers send most cf their Today, the 901 Series VI system continues to sound drectly into the room, ike a flashlig it beam, ming you full stereo earn that acclaim. The result of a commitment 1 only in a small area. to excellence spanning 25 years, this new 901 system nco-porates hundreds of changes from Bose Cirect/Reflecting speakers :he original. Bose engineers work continuously re-create a natural balance of direc- and 7C develop and improve new audio technologies reflected sound, approaching the ooen spacioJsness of a live performance, :his and other Bose products. giving vou full stereo anywhe-e you sit in The new 901 Series Nil Classic system is the listening area zompr sed of an unp-ecedented number of Hearing is believing. patented audio technclogies, including Direct/ Reflec-ing' system technology, Acoustic We invite you to compare the 901 loudspeaker Matrix " enclosure, Active Equalization, and with any other, regardless of size or price. For e giteen -range He ical Voice Coil Drivers. the name of your nearest Bose dealer, or for more information, call: And since the 901 Classic system has virtu- a y unlimited power dandling capabilities and a 1-800-444-BOSE Ext.33 wide cynamic range r releases the excitement USA 8:30AM-9:00PM (ET) =AX 508-872-9657 and full impact of today s digital compact discs. Canada 1-800-465-BOSE 3:00AM-5 OOPM

DOSEBetrer sound through research.

Copyright 1991 Bose Corporation. The Mountain. Framingham MA 01701-9168 USA Vision, Sound and Time:

Redefined.

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For a free brochure and the name of your nearest Proton retailer, call 800-829-3444. Or write us at 5630 Cerritos Avenue, Cypress, CA 90630 Industrial Design of the Proton 400 Series and RS -325 Clock Radio: Reinhold Weiss Design, Chicago.