High-Fidelity-1951-W

WINTER ISSUE VOL. 1 NO. 3 Published by Milton B. Sleeper Price $1.00

Devoted to the Interests of Audio-phi/es

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Only TWO reasons why it should be 1v the new Webcor C ustom irstollotion by Voice 8 Vision, Inc. \

Your hi- fidelity installation deserves / those components that provide the "ex- tras" which, when combined add up to 1 pride of ownership and 2 truly fine high fidelity reproduction. The new Webcor 106 -27 HE Diskchanger gives you both. The features your installation must have to perform at its best are those that are found exclusively in a Diskchanger made by Webster- Chicago. Plays all three speeds, all three sizes auto- \ matically. Absolute minimum rumble. \ Extra -balanced weight turntable for "flywheel" action and speed constancy. Retractable idler wheel eliminates flat spots on drive surfaces. Plug -in head takes popular magnetic cartridges. Au- \ tomatic muting switch between records. Super electrostatic flock turntable. Easiest changer to install.

// If it's made by Webster -Chicago, it's Webcor

. and if it's Webcor

i \ it is the finest i

*Webcor is a registered trade name for products manufactured by WEB STE RN CHICAGO 7

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outdoor tower for exacting sound measurements -

Jensen . . . foremost in advanced- design loudspeakers

Jensen's history is the history of the sound reproduction art Itself. Dedicated to the purpose of making fine loudspeakers, Jensen engineering has led in the introduction

of new basic developments, types and models . . . has been first most often throughout almost 25 years of progress in sound.

Typical of the engineering tools brought to bear on loudspeaker research, is Jensen's outdoor tower ... high in the a4, away from reflecting surfaces . . . used for precise measurements of acoustic performance.

G -610 3 -WAY SYSTEM JENSEN MANUFACTURING COMPANY 6601 S. LARAMIE, CHICAGO 38 Muter Company Export Department at the Factory World's Finest Loudspeaker Divisior of Me 1

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POLYPHASE 11- reproducers

hri,ig lu nu 4.8311 ul 1381 .. . e o arS dosfrllctÍoll Thousands of Audax users are acclaiming POLYPHASE REPRODUCERS as "indispensable for superb quality from disc -recorded music." Not since the advent of the Electronic pickup itself, (built by Audax back in 1926) has there been anything like it ... Never before such EAR -QUAL- ITY, such FAITHFUL REPRODUCTION ... This remarkable achievement is now crowned by the further development of the New CHRO- MATIC stylus system, which, for the first time in 75 years, totally eliminates the ugly factors that have caused untold record destruction and dis-

tortion. BECAUSE . . . you and ONLY YOU can decide what sounds and best and most pleasing to you ... see it, HEAR it, compare it with any reproducer at any price and ... you be the judge. Yet POLYPHASE costs no more than ordinary pickups.

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www.americanradiohistory.com AUTHORitatively Speaking

On the cover this month is an outstanding (no pun intended) example of the originality HigJt-Jidclitq of the custom installation work being done by Voice & Vision in Chicago. Photo- graphs of other installations by this organiza- THE MAGAZINE FOR tion appear on pages 49 to 55. AUDIO-PHI LES

There was an item in one of the magazines Volume 1 Number ; Winter 1951 a while ago about the consternation created in its editorial offices when the publisher CHARLES FOWLER, Editor appeared and announced that he wished to write a piece for the magazine. Publishers. they felt, were a strange breed for whom the "no loitering" sign in the editor's office was specifically prepared. this story is typical, CONTENT'S If then HIGH- FIDELITY can consider itself a magazine indeed out of the ordinary, because its publisher is As the Editor Sees It 4 distinctly literate and always a welcome contributor. When readers have finished Noted With Interest 7 the article by Milton Sleeper, which begins Readers' Forum 9 on page 13, we are sure they will agree. 15,000 -Cycle FM Broadcasting, by Milton B. Sleeper 13 Discussion among audio hobbyists as to An experiment on WABF that answers some questions about which piece of equipment is the most im- high fidelity programs, and indicates potential sources of fine portant in a high fidelity installation usually music for FM. goes on into the wee hours of the morning. The Loudspeaker and the Ear, With characteristic originality, G. A. Briggs by G. A. Briggs...... 17 approaches his subject of sound reproduction This noted authority on sound reproduction begins a series of articles with a non -technical discussion in the home with the conviction that the of the most important factor of high fidelity sound reproduction: the human ear. most important aspect of hi -fi is the one which is least often discussed: the human Prescription for Better Bass: the Air -Coupler, by Charles Fowler 22 ear. Thus the first in his series of articles A detailed discussion of experimental work which led to the de- ti for HIGH- FIDELITY begins with The Loud- velopment of an improved Air -Coupler. Photographs and draw- speaker and the Ear, on page 17. His ings show how to install the unit for best results. thesis is that since the whole purpose of List of FM Stations in the United States . realistic audio reproduction is to please the .... 29 A new compilation, prepared from ear, we had better start any discussion of latest FCC records. the subject by understanding exactly what Record Compensators and Preamplifiers, by Victor Brociner 31 this thing is which we are trying to please. Correct use of this type of equipment is essential to achieving best A thesis which, for us, seems wise indeed. sound reproduction from phonograph records. The author provides complete data on turnover frequencies, treble preemphasis, We do not understand at all why we were and compensation requirements. so rash as to undertake to experiment on the RECORDS AND MUSIC SECTION 33-48 Air -Coupler, to edit and publish this maga- Opera Buffa on Records, by C. G. Burke zine, and to prepare a considerable amount 33 of equipment for the Audio Fair in New The author continues his informative discussions with a review York all simultaneously! Our foolish- of what is currently one of the most popular forms of opera on - records. ness has practically wrecked our health and Record has made us late getting this issue of HIGH - Critic's Home Listening Equipment. 38 FIDELITY off the presses. Nevertheless. Records of the Great 89 excellent progress was made with the new Complete Information about LP Record Manufacturers. .41 design of the Air -Coupler, the magazine is finally in print, and the Audio Fair was Records in Review, by J. F. lndcox and C. G. Burke 42 an overwhelming success. We admit that Home Installations Which Make You Stop, Look, and Listen 49 our sense of humor wore a little thin at A portfolio of the latest custom designs, times during the long hours spent working devoted to the proposi- tion that a hi -fi installation should be as handsome in appearance with the Air -Coupler, and we got very tired as it is fine in performance. of trips to the hardware store to buy more Tape Recording, Part l'6 by to flat -head screws .. , but in the II, by Alan C. Macy. 56 Continued on page 79 Continuing the detailed discussion of tape recording for the home enthusiast.

Published by: AUDIOCOM, INC. at 264 How Transcription Pressings are Made 61 Main Street, Great Barrington, Mass. Tel. Great Barrington 500. A picture story showing each step in the processing of these HIGH -FIDELITY is issued quarterly in records. April, September, November and February. Single copies $1.00- Subscription rate: $6.00 Equipment Reports: for three years. $3.00 for one year in the U S.A. -Canada, add 50c per year postage- foreign, Brociner Preamplifier and Record add $1.00 per year postage. Compensator 80 Editorial contributions will be welcomed by Fairchild Transcription Arm and Cartridges 82 the Editor. Payment for articles accepted will be arranged prior to publication. Contribu- Exhibitors at the Audio Fair in New York 84 tions will be neither acknowledged nor returned unless accompanied by adequate postage, Traders' packing, and directions, nor will HIGH - Marketplace 85 FIDELITY Magazine he responsible for their safe handling in its office or in transit. The cover design and contents of HIGH - FIDELITY magazine are fully protected by MILTON B. SLEEPER, Publisher U. S. copyrights, and must not be reproduced in any manner or in any form without written permission. Copyright 1951 by Audiocom, Inc.

Entered as second -class matter April 27, 1951 at the Post Office, Great Barrington, Maas., under the Act of March 3, 1879. Additional entry at the Post Office, Pittsfield. Mass. Printed in the U. S. A.

www.americanradiohistory.com AS THE EDITOR SEES IT ADOZEN times a day, by phone and by mail, we are Not so common was the person who had heard them asked the simple question, "Which piece of audio all, and arrived at a decision as to which he liked the best. equipment is best ?" But then, so often that it ceased to be amusing, would The fact that such a question arises so often for every- come the conflict: one person would announce his deci- one, from audio hobbyist to casual music listener, seems sion and a second, overhearing it, would come in with significant because, in audio, we are dealing with equip- a "You thought that was best? Why, I thought such and ment which is rated by a number of technical standards; such was much better!" we are presumably dealing with a science. But are we? This is the quandary of the audiophile. For the advanced Is sound reproduction a science? hobbyist, it is half the fun of the hobby, changing and Before we consider that question, let's go back to the experimenting, to determine what improvement he can original one. How far can we go toward deciding which make in the final result: his listening pleasure. For the piece of equipment is best? person just becoming acquainted with the possibilities of In our opinion, there is no conclusive answer. Certainly, high fidelity reproduction of sound, the problem is baffling a piece of equipment can be put through its electrical and sometimes discouraging. He has been led to be- paces. A transformer rated at go watts can be tested to lieve, perhaps, that by a judicious selection of components, determine at what point it will collapse from overload. each rated by engineering measurements, he can achieve Intermodulation distortion in an amplifier can be measured a degree of perfection limited only by his pocketbook. with a high degree of accuracy. These determinations of How is it there can be such confusion in a science? quality mean much - but not everything. They must not be underestimated, nor taken as the final answer. For one thing, although the question may be stated as: PERHAPS the time has come for a long look at the de- "Which amplifier is best ? ", the question is, in fact: "Which velopment of the audio art. And perhaps the last word amplifier, when used in conjunction with the other pieces in that sentence is the key to the present problem: sound of equipment which I have in my system, and operated reproduction is not only a science; it must also be recog- at the particular volume level which I enjoy in my living nized as an art. room, will sound best to my ears at my age and at the Not long ago, an improvement in the technical rating time of day when I usually listen, which is when I am of an amplifier indicated an improvement in sound re- moderately tired after a day's work in a noisy office ?" production which was clearly audible. Today, the en- Even though many factors are incorporated into the gineers have developed amplifiers to a point where there statement of that question, there are still more. Yet, is little audible difference between any in a given price altering any one of those factors may affect the decision class. There may be an indefinable and subtle difference as to which piece of equipment is best for the system which is audible, but it does not seem to correlate with under consideration. It is, of course, the old story of differences in engineering specifications. the chain and all its links. Should we therefore stop talking and writing about It is also much more. For in sound reproduction, factors audio systems, with the idea that they are something enter in which, so far, no one has been able to analyze and scientific which we know all about and can discuss in clean - correlate with finality. Some of these factors vary so widely cut scientific terms? Should we face the fact that audio that they are too complex for convenient analysis. Others reproduction has outgrown science and entered the realm are as yet undetermined. of art? Has the turning point arrived? Are we beginning For example: even though every link from studio micro- to deal with a musical instrument? Shall we look forward phone to living room loudspeaker were perfect, there to the day when a phonograph player is chosen by ear would still be the extremely complex problem of room alone, as musical instruments are selected? acoustics. And then the final link in the chain - there The scientist can analyze the sound and construction is the almost complete unknown: the human being. of a violin and he can reproduce the instrument, but the Thus, satisfactory and pleasing sound reproduction is chances are indeed slim that the facsimile will sound not only .1 matter of highly complex engineering but also exactly like the original. There will be something missing of physiology and psychology. - and that something is the contribution of the violin - We harp once again on this subject because its impor- maker's art. tance was brought home to us very forcefully at the Audio So too with audio. We are tremendously indebted to Fair in New York and because we may need to reexamine the scientist and the engineer; they have made possible our perspective. the achievement of the present, and they have much still We hesitate to estimate how many hundreds of audio- to accomplish. But should we not acknowledge the philes came to our exhibit room -- a sort of last port of broadening of our horizon and consider music listening call - dazed, bewildered, and probably slightly deaf! systems no longer a matter solely of audio engineering One after another said, "Well, I've heard umpteen ampli- but also of musical art? To put the audio science in this fiers. They may all be flat from to to roo,000 cycles. perspective will restore the balance of importance between But they don't .round alike at all!" the ear and the engineer,

www.americanradiohistory.com Minimum cabinet space required is 15'q" long 131/4. wide with 5f, clearance abois aad 31/w"..derewee \slew fop of motor board.

PUSHER TYPE PLATFORM: Adjusts simply to 7 "- 10` -12' re oras regardless of diameter or size of spinale hole. No record changing mechanism has been developed to equal the Der tormance of the precision pusher platform. For records with standard center holes, the pusher platform is the only method that gives positive gentle record operation.

TWO INTERCHANGEABLE SPINDLES: Easily inserted, the two Garrard spindles accommodate all records as they were made to be played. (If user prefers one spindle can be used throughout simply by plugging cen ter hole of 45 rpm records). a) Typical Garrard spindle for stand. ard center holes. b) Easily inserted wide spindle, for 45 rpm records, remains stationary when record is played. Only a small collar revolves, assuring longer cen ter hole and record wear.

HEAVY DRIVE SHAFT: A unique feature! Exclusive with Garrard! Drive shaft for 331/3 rpm and 45 rpm is heavy, thus obtaining more consistent quality at critical low speeds. Wows and wavers eliminated.

BALANCED TONE ARM: Parallel lift tone arm construction guarantees true tangent tracking. Disturbing resonance eliminated.

AUTOMATIC STOP: Insures positive and unrailing action at end of any type of record and returns tone arm to rest position.

TRIPLE SPEED SWITCH: Speed changes are clearly marked, easily made. The RC 80 plays 331/3, 45 and 78 rpm. Records are places on the player and simple settings made. Action is then completely au tomatic, including automatic shut -off after last record of any size.

INTERCHANGEABLE PLUG -IN HEADS: Carefully engineered to accommodate user's choice of crystal, magnetic or variable reluctance cartridges for standard and microgroove reproduction, such as Astatic. Audak, C.E. I Variable Reluctance, Pickering, Garrard Magnetic, etc.

HEAVY DUTY SILENT MOTOR WITH ABSOLUTELY NO RUMBLE: Speed maintained throughout a wide variation in line voltage.. There is PLAYS no appreciable speed variation op. ALL 3 SPEEDS erating unit "cold" with a full load, or with automatic ' "hot" one record, regard - -fully with 3 less of weight, thickness or diame- automatic stop. ter of records.

WEIGHTED TURNTABLE: A RC -80 turntable is heavily weighted triumph of engineering, to give flywheel action. No turntable rumble. No "wows ", no wavering with every feature tested reproduction. for finest performance.

MUTING SWITCH: No sound while changer operates on run -in or runoff grooves. Continuity of music undisturbed by noises. York f 3 Duane St., New F -11 164 SIMPLE INSTALLATION: CORP. Dept. GARRARD SALES Mounting holes' are identical with former Garrard models, so that replacement is very simple. Unique Gentlemen: NAME.... spring suspension. in learning mon I am interested Garrard "TriumPh" ADDRE55. about the Please record changer. CONVENIENT START -STOP- REJECT LEVER: 3 -speed where ZONF with no obligation.it CITY. Start, stop and reject lever are com in my ana. bined and hear it and located conveniently I can sae away from tone arm.

Changer operates on 100'130 and or 200'250 volts, 60 cycles, A.C. 150 cycle bushing available.) D.C. model also now available.

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No finer music outside the concert hall enjoy all the features of this better FM, itself- the clear, uninterrupted, static -free plus famous Zenith Long- Distance AM music you enjoy on Zenith FM. And now, reception, too. See them now at your with Zenith's amazing new Super- Sensi- Zenith Radio and Television dealer's. tive circuits, your enjoyment of music World's Finest Record Playing, Too! soars to even greater heights! New Zenith "Super- Symphony." Super - Reaching far beyond the usual FM range, New Zenith "Cobra- Matic" ... first and Sensitive FM. Long - Distance' AM. powerful Zenith Super- Sensitive FM only record player that lets you play every Most sensational tone and reception ever in a Zenith table radio. New -type brings in more stations, more programs. record all records at the exact speed at - - Broad Range Tone Control. Walnut And, with Zenith's larger, finer speaker which they were recorded ... enables you plastic cabinet. design brings you a revelation in full, rich to adjust for perfect pitch, tempo and tone 991 glorious tone. New, superior Zenith tun- quality. Lets you play not only 331, 45 ing circuits prevent station drifting or fad- and 78 R.P.M. but all intermediate speeds ing. Tune easier ... and stay tuned. No between 10 and 85, including the coming antenna is needed in primary signal areas. new 16 R. P. M. Your insurance for the fu- Only in Zenith table radios and striking ture of record playing. Yours only in radio -phonograph combinations can you Zenith radio-phonographs!

Zenith Rodio Corporation, Chicago 39, Illinois Over 30 Years of "Know-How" in Radionics' Exclusively Also Makers of Fine Hearing Aids

www.americanradiohistory.com Not CI. J \s' 411 I ntere.tit:

Highlights of the Audio Fair The audio orgy of the year is over, done with, and put to bed. At least 8,000 audiophiles are recuperating from had aural hangovers and. without doubt. a goodly proportion have become temporary audio- phohes. Both the hangovers and the audio- phobia will pass; enthusiasm will return. and - heaven help us! -- New York's Audio Fair next year will be bigger and better than ever! We have not yet assembled our thoughts into coherence; the percussion of Varèse's Ionization on EMS label is not yet stilled. But perhaps random impressions will be in order. for the benefit of those unable to attend . . - Strongest impression: the battle of the Midgets and the Giants. Electro -Voice produced the biggest giant, the Patrician, and also the smallest midget, the Baronet. The latter is a corner enclosure about 18 ins. high and occupying barely a square foot of floor space! It housed an 8 -in. loudspeaker, radiating direct from the front, horn loaded u la Klipsch at the rear. For an 8 -in. unit, astonishingly good reproduction, probably the best balanced of any of the midgets. Other midgets were the R -J and the Hartley. The R-J was demonstrated with ear -shattering volume (by no means the only unit guilty of such conduct!) which certainly dug deep but stirred up a little mud in the extreme low -frequency region. Future development of the R -J is well worth watching carefully. as is the entire trend toward disproving the axiom that good bass reproduction requires giant size. The Hartley was extremely clean from middle C on up. Both the R -J and the Hartley bring to mind the days in the mid -thirties when it was fashionable to house an 8 -in. Western Electric speaker in a tightly closed box, I cubic foot or less in size, using anything in sight to fill the back of the box to deaden The shell ... back radiation from the speaker. mingled chords of tuning -up . Giants included the Electro -Voice Patri- .. cian, grandest and most impressive sonical- the last- minute rush for seats . ly of the lot; the Altec 820, clean and then the thrill great music bright, whether operated pianissimo or super - - of borne out upon the night. This moment /ortitsinto; the Jim Lansing, attractive in de- is relived each time Magnecord Tope Recorders bring the "living sound" sign and exquisite in sound particularly of musical artistry into your home. "Presence" when demonstrating the Magnecord bin- and full -range reproduction make aural system; the Brociner corner design, Magnecorder the leading tape recorder among sound con - which sounded wonderfully restful to the noisseurs.Easily mounted in your custom -built cabinet or installation'', ears (partly due, no doubt, to the fact that Magnecorder places at your fingertips the exhibitor's door was kept closed and an unlimited repertory of fine tape volume level kept blessedly low, and -- recordings ... See and hear for yourself the features, flexibility brand new the McIntosh sawed - -off cor- and fidelity of Magnecorder of your electronic distributor's today! ner enclosure. Its .square footage of space occupied was high, but its cubic footage * Cabinet pictured above not sold by Magnecord low: it stood only waist -high. Bass was full and good; an efficient tweeter would have improved it for us. Another colossus: WRITE the Jensen back -loaded horn. FOR NEW CATALOG A prize of a large bunch of wilted carna- tions goes to the well -known manufacturer Name of a certain tz -in, speaker, which was housed in one of the largest enclosures in Address captivity, and which produced the loudest and most persistent one -note bass at the Fair. We refrain from mentioning the name, Zone Stole because we know the unit was not being 360 NORTH MICHIGAN operated properly. In fact, reports had it AVENUE INC. CHICAGO 1, ILL. DEPT. that, at one time, it continued to produce HF -11 Professional Tape Recorders Continued on page 8

www.americanradiohistory.com Noted with Interest

Continued from page 7

its one -note beer barrel boom even after the record had finished. Engineers had to scramble under tables to disconnect wires before the booming stopped! At the high- frequency end of the spectrum, the Jim Lansing acoustical lens deserves special attention. A report will he forthcoming in HIGH -FIDELITY. Practically all of the jobber -dealers managed to cram an unbelievable quantity and variety of equipment into relatively cramped reproduce fa' quarters, thus impressing us, at least, with possible to the seriousness of the problem of the audio- your great favorites - - -- classics or phile who must select from this over- abundance. At least one exhibitor in this in your own home, reflect category kept most of the people outside his demonstration room by stationing a par- ing original concert -hall performance. ticularly lush blonde in the hallway with a

supply of lapel tags . . Island Radio of ASSEMBLE YOUR N/ON- QUALITY Hempstead, Long Island, cleverly personi- "service" by garbing its attendants in AROUND fied MUSIC neat work clothes, clearly signifying a FSYSTEM readiness to climb the roof to fix the FM antenna, or crawl into the closet to reestab- lish a cooperative spirit between amplifier and speaker. Congratulations to them for a smart idea, and for recognition of a pressing need on the part of many audiophiles. As Victor Brociner points out elsewhere in this issue of HIGH- FIDELITY, time was when only a few hard -bitten audio hobby- tuaaau wu , ists knew the function of record compen- "'1MIII IIIIGI,III Ilei sators and preamplifiers. This year's Fair ended that era for good: everyone in sight had a pre -amp -compensator unit. Note- worthy new editions were announced by Pickering, Radio Craftsmen, H. H. Scott, and Altec- Lansing. What to do with Messrs. Fletcher and Munson with their curves of hearing characteristics, troubled some in this group of manufacturers. A few progres- ALL TRIODE HIGH QUALITY sives bluntly admitted the existence of Fletcher -Munson curves, and used a loud- AUDIO AMPLIFIER ness control on their preamps. Others, such as Waveforms and Radio Craftsmen, adopted a take- it -or- leave -it attitude and incorporated a switch to throw the loudness control feature in or out. Oddments: a pick -up operating with only one gram pressure, instead of the customary 6 to 8 grams, exhibited by Weathers Indus- tries ... Some ultra -smart custom installa. tions by Electronic Workshop of New

York . . the Acoustical Corner Ribbon speaker, an English product which gave

sound reproduction an Oxford accent . . . Rek -O -Kue s excellent and complete line of turntables ... the Magnecord binaural demonstration, adding startling dimension and definition to individual sound sources... Concertone's new professional Network

model tape recorder . Browning Labs, continuing to present its consistently fine line of FM and FM -AM tuners ... Cook Labs, normally best -known for its test records, disrupted the show by releasing a record called Rail Dynamics. It was not long Detailed information and free booklet, "Eettel 4ete uti, after opening time the first day before the first copy of this record put in an appear- on request. Dept. FM -1 available ance at our demonstration room. From then on, Rail Dynamics was brought in by one person after another. It's an exciting, superbly recorded sound -effects record; 34 DeHART PLACE, ELIZABETH 2, N.J. Continued on page 72

www.americanradiohistory.com Readers' Forum

SIR: r I have now read and enjoyed two Issue of 1 HIGH -FIDELITY, but have bought only one piece of equipment: an amplifier. I cannot follow your advice to buy on the basis of listening tests because there are no demon- ß C JJ A./ stration rooms within hundreds of miles. After reading letters from your subscribers, it appears that I am not the only one will- tone ing - nay, anxious - to have your maga- ...from the flashing sunlight zine do some of the listening and testing for us. I believe most of your readers would of Mozart to the storm of like detailed information such as that given Shosta kovich in the Fall issue on amplifiers, but even more important, accurate data on performance. This information should not, and need not, be highly technical. However, articles such as Alan Macy's on Tape Re- cording are educating your subscribers to the point where some technical information is meaningful and highly desirable. Concerning the discussion about reviews of popular music and the Music Between, I 4E1 cannot complain of the lack of opportunity of making listening tests on popular records, what with the omnipresent radio and juke box. An expansion into the field of Music Between sounds interesting, especially if it could include music from all times and places, the unusual, and even, occassionally, the bizarre. All this, of course, provided it entails no restriction of the present classical f reviews.

G. M. Connally PERMO FIua Floresville, Texas ROYAL EIGHT WITH THE FAMOUS How do readers feel about the Equip- BLUE CONE ment Reports on pages 8o -83? - Editor

SIR:

I took your suggestion made in the first issue and wrote letters to the FM stations to which I listen. Most of them answered and seemed to be very glad I had written. It might not be a bad idea to repeat your suggestion in the next issue. For those of us with FM sets, three cents and a little time is a small amount to pay to help pro- tect an investment of usually more than one hundred dollars.

A. E. Fotter Tyndall Air Force Base, Fla. ROYAL EIGHT"

SIR: AUDIOPHILES the country over acclaim the clean, brilliant, life -like It would be interesting to hear from musical reproduction of the Permoflux Royal Eight"... the 8" Speaker readers using Magnecord Tape Recorders comparable to any 12 "! Combined with the new Permoflux Corner Amplifiers, if they have con- and McIntosh Baffle, Model CB -8 -M, the Royal Eight" re- creates original programs sidered the advantage of a plug -in pre- with even superior sensitivity and fidelity -every instrument in full - amplifier for their McIntosh. This pream- ronge tonal Here's Bog plifier might use a 1zAX7 with bass equaliza- balance. Speaker Performance in o small, tion rising slowly from 1,000 cycles to a eosyto- install frame ut o sensible price. ($22.50 list, less Boffin). maximum of 20 db. boost at 20 cycles, to See you, Radio Parts Distributor or write to Permoflux today for correct deficiencies in the tape. In this manner, instead of feeding the McIntosh full information about the complete Royal Blue line of 6" to 15" from the 16 ohm output of the tape re- Speakers and Baffle Combinations Ask for Permoflux Catalog J20 3. corder, a low -level signal can be amplified out of the bridge -in jack following the first "Sound in Design!...Sound in Price!" 12SJ7 stage in the Magnecord. Granted that a Magnecord using live. PERMOFLUX CORPORATION 4916 -K W. GRAND AVE., CHICAGO 39, ILL. 236 S. VERDUGO RD.. 5. Continued on page r t GLENDALE CALIF. Conad;on licensee-Campbell Mlq. Company, Fotoni , Canada

www.americanradiohistory.com VE R SAT LLITY .I

NewÇ/ 108-B Arm for all records has new suspension principle for perfect tracking without tone arm resonances

Perfect tracking of records and virtual elimina- 45 r.p.m., and assures correct stylus pressure tion of tone arm resonances are only two automatically. GE or Pickering magnetic pickup advantages of this versatile, specially- designed cartridges are interchangeable and slip into place arm - the finest yet developed! It satisfies every quickly and easily. Maintains perfect contact with requirement of LP reproduction. permits instant had records, accommodates records up to lb" changing from 78 r.p.m. to LP (microgroove) or in diameter.

106 -SP Transcription Arm - Gray Equalizers - Assures fidelii of tone for every speed record. Used as standard professional equipment by leading Three cartridge slides furnished enable GE I -mil, broadcast stations, these specially- designed equal- 21, or 3-mil, or Pickering cartridges to be slipped izers assure highest tonal quality ... new record into position instantly, with no tools or solder. reproduction from old records ... constant velocity Low vertical inertia, precisely adjustable stylus frequency response for conventional or LP records. pressure. Uses GE or Pickering cartridges.

Please write for bulletins describing the above equipment. GRAY RESEARCH

illiiiiiiiand Development Co., Inc., 16 Arbor St., Hartford 1, Conn. t r, .ufrnr Division of The GRAY MANUFACTURING COMP. IY- Originators of the Gray Telephone Pay Station and the Gray Audograph

www.americanradiohistory.com Readers' Forum

Continued from page 9

pickup orchestral tape sounds excellent when For those who played into a 2 or 3 -way Lansing or Air - Coupler system, it is immediately evident that additional realism has been added when insist on the the tape recorder is run at idling level with the recorder gain at 9 o'clock, letting the McIntosh handle the dynamic range from thundering bass to shimmering cymbals. By using a plug -in preamplifier as suggested. we would be by- passing the unnecessary 6SN7 and 6V6 stages in the recorder with its feedback loop.

F. W. Anderson Waterfall, Alaska

SIR:

So far the only comments I have to make about the magazine are as follows: Drop the hyphen in HIGH -FIDELITY, and in audio -phile. With respect to record reviews, I would suggest that you expand them consider. ably, that is, cover more records per issue; minimize comment and annotation of the work itself, information on which is elsewhere available; concentrate on performance and recording quality. Ample proof of the surpassing William W. Hartuey performance and fidelity of Bridgeton, N. J. Ampex is evident throughout the world of professional pro- SIR: gramming. Ampex records with

such faithful fidelity and sure - One of the reasons why I am so interested cess that it has supplanted in your magazine is that I have heard that most ether there are a large number of new record methods for recording companies in the U. S. which specialize in broadcast material and for mak- LP records. Would you have a list of such ing original masters from which companies, or can you tell me how to obtain disc records are made. Complete catalogues of their releases? information on request.

(Mrs.) Peggy Boyesen London,. England

See listing on page 41 of this issue - Editor.

SIR:

I do have one problem and I would appreciate it very much if you could give me some help. I have purchased and have been using in a temporary arrangement the Precision various components commonly employed. However, I would now like to have a cabinet Performance or group of cabinets to house the equipment and to provide for future expansion. Having just moved to Princeton, N. J. from Boston, Mass., I find that I am in a quandry as to where to find a reputable cabinet maker who has had previous ex- V perience along these lines either in the - ,I/Pk' . / WB !C//J t N. J. area or in New York City. I would / appreciate very much if you know of any such cabinet makers, if you would give me their addresses. .TANDARD (W THE GREAT RADIO SHOWS

Dr. Leon Lapidus Princeton, N. J

See "Noted With Interest" in this issue. - Editor. Ampex Elettri( Corporation Redwood City, California

www.americanradiohistory.com J VARIABLE RELUCTANCE CARTRIDGE "ovatusAa OTHER ,NA,rs COn1s/ga":

Reports ARNOLD DEUTSCHMANN Vice President, RADIO SHACK Corporation Boston, Mass.

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www.americanradiohistory.com 15,000-Cycle FM Broadcasting

Is it true that listeners don't want rf,000 -cycle tone quality on FM? Here are some significant facts that many people don't know about, and others have forgotten, together with a report on listeners' opinions of a musical program using original, full-range tape recordings.

BY MILTON B. SLEEPER

TO UNDERSTAND the present status of FM broad- con for the local Advertising Club at the Hotel Statler.l casting, and the possibilities of future improve- Today, we hear that advertisers are indifferent to the use ment, it is necessary, and very interesting, to turn of FM broadcasting, but I recall, because I was there, back to 1940, the year the FCC formally recognized FM. that the members of the Boston Advertising Club ap- The invention of FM by Major Edwin H. Armstrong plauded the artists who performed for them by FM with was the result of his search for a method of eliminating more spontaneous enthusiasm that I ever knew such a static. Important as that was, FM listeners back in 1940 group to show before or since that occasion. were more impressed by its startling quality and realism. They didn't identify what they heard as the beginning In those days, there was much more live -talent broad- of high -fidelity reproduction, but that is what it was. casting than there is now. You may remember that NBC They only knew that this was totally different and superior had a strict rule, in those days, against the use of phono- to any radio reception they had ever heard before. In graph records. And all the early demonstrations of FM the discussion that followed, there were various com- were made with live talent. ments to the effect that FM had ushered in a new era Actually, FM provided the first source of high- fidelity in broadcasting, when sponsors would increase the effec- music. One of the most impressive programs on the air tiveness of their programs and multiply their audiences, was the broadcast of the New York Philharmonic con- because such startling realism opened up new horizons of certs on Sunday over Major Armstrong's FM station at radio entertainment that would attract a still larger num- Alpine, N. J. They were fed to Alpine over a special ber of listeners. telephone line by CBS. An account of one incident will point out the exceptional quality of those broadcasts. I had tuned in the Philhar- THAT WAS the status of FM on Dec. 7, 1941, when, monic Orchestra for some friends who had come to visit without warning, scheduled programs were suddenly in- me. They brought their daughter, age four, to whom terrupted and cancelled so that radio stations could carry radio was nothing more than voices and music made by the news of the attack on Pearl Harbor, and the rapid suc- people who were somewhere else because they were no- cession of events that followed. By April, 1942, manu- where in sight. When I first turned on my FM receiver, facture of all home radio sets was stopped by Government Deems Taylor was speaking. After a moment, the little order. FM audiences were growing at a furious pace at girl turned to her mother and said: "Mommie, it sounds that time, but they were still numerically small, com- as if the man is right inside that box!" pared to AM listeners, when the supply of receivers was That comment, coming from a child, was the most im- cut off. So, of necessity, the broadcast stations put aside pressive testimonial I have ever heard as to the realism their plans for the expansion of FM service. that can be provided by FM. I never did find out why. But why didn't the progress of FM pick up at the point but not long after that incident, CBS stopped furnishing where it had been stopped, as soon as the production of the Philharmonic concerts to Alpine. radio receivers was resumed? What happened to those Probably the first formal presentation of FM to a large .Details of this event were published in FM Magazine for December, 1940. group of advertising managers and executives occurred Among those who displayed particular enthuisasm over the demonstration were Craig Smith of Gillette, George Chatfield of Lever Bros., E. C. Favorite at Boston, in October, 1940, when the late John Shepard of Atlantic Refining. Artie. Rogrow of Sean Roel.vek, Philip McAteer, vice- president of the Advert-. Federation of Anvr'ra, Herbert Claridge of Ili and Paul deMars put on a demonstration from Pax- Salads Tea and Ray 11g. the National Shawmu' Eìank.

www.americanradiohistory.com to the reactions of people listening to live -talent FM programs under normal home circumstances. However, the results of the tests were publicized widely. Broadcasters quoted the report to explain their abondonment of good musical programs, and as a reason for not making available the full capabilities of FM. With nearly three times as many AM stations on the air as before the war, set manufacturers were forced to narrow the pass band of their IF amplifiers, reducing upper- frequency response to as low as

3,500 cycles, in order to limit whistles caused by inter - station interference. Under such circumstances, there was no justification for making expensive AM sets, since the difference in audio performance would not justify higher prices. So they were pleased to accept and pass IVABF announcer Bob Bigham, left, has done an excellent job of on the word about the public rejection of high -fidelity. the commercials for High - Fidelity. He has an effective, low -key Just when it began to seem that the set manufacturing style, well suited to FM. business would be limited to the production of cheap magnificent live- talent programs? How about the i5,000- table models, television got under way. Sets priced up cycle networks that A T & T said they could furnish? Is to $1,000 or more began to sell faster than the factories it true that, as broadcasters and set manufacturers widely could turn them out. In time, as competition brought assert, the public today doesn't want high -fidelity recep- the prices down, the demand increased. FM receivers tion? Or if people do want the kind of audio quality that were forgotten in the stampede to produce TV sets. characterized FM before the war, why aren't they getting it? Furthermore, the advertising agencies saw a golden Well, in the years following the war, many things hap- opportunity in television. Their revenue is a percentage pened to bring about a decided deterioration of audio of what they spend for their clients. If an audio pro- quality on AM, and to reduce FM to the same low level. gram costs $5,000 and a television show costs $20,000, In fact, FM was affected so adversely that only during it's easy to see why the agencies are inclined to he so the past two years has it shown definite signs of progress enthusiastic about TV, and indifferent toward attempting toward recovering its position of preeminence as a high - to develop the art of audio programming. fidelity service. In the perspective of time, it now seems clear that, among the many contributing factors, FM was hurt most SO MUCH for the adverse influences that brought by 1) the antagonistic attidude of the Federation of Musi- about the deterioration of audio quality on AM broad- cians, 2) the CBS report on listener preferences, and 3) casting, and that so severely limited FM. It was an un- the advent of television. That FM has survived these ad- fortunate situation, but all the cards were not stacked verse influences is the most definite assurance as to its against FM and high -fidelity programs. Far from it! future progress. Actually, many influences were at work to stimulate By the way of keeping the record straight, as Major interest in high- fidelity, and to draw new devotees into Armstrong would say, it's worth while to look back on this group of enthusiasts. To recall a few: There was the three factors just cited to see just what effect they had Jerry Minter's paper on intermodulation, delivered before on the audio quality of FM broadcasting. the Radio Club of America back in 1945.' Lincoln Walsh First came the refusal of the musicians' union to parti- stirred up wide interest in the possibilities of better audio cipate in programs transmitted on both FM and AM quality by bringing out the Brook amplifier. Then, from unless they received additional pay. Since, economically, England, came the London FFR Records, followed by that was out of the question, FM stations were forced to Columbia's development and promotion of LP record- limit their musical programs to the use of records and ings. Norman Pickering contributed a pickup that took transcriptions. Later, the union withdrew that refusal more from records than had been heard before. Paul hut, in the meantime, they had increased their scale of Klipsch, answering the criticism that extended treble wages by such an amount that many musical shows on response alone sounded too shrill, provided an extension the networks were dropped, and in their place came soap of musical bass response. Further audio developments operas, disc -jockey shows, crime stories, and mystery followed fast and furiously. dramas. As for the independent stations, both AM and Meanwhile, parallel progress was being made in another FM, they had to depend on recorded music. direction. When most of the larger set producers dropped Then came the CBS report that, as determined by ex- FM to devote their efforts to television, Zenith Radio went haustive engineering research, listeners did not want high - into TV, too, but Commander Eugene McDonald took fidelity music."- This conclusion was completely contrary this opportunity to move in as the No. I manufacturer of FM receivers. And Zenith's Chicago station WEFM is "Tonal -Range and Sound -Intensity Preferences of Broadcast listeners" by H. A. Chinn and P. Eisenberg. Proc. of the I.R.E., Sept. 1945. This was followed one of the oldest in the Country. by a further report: "Influence of Reproducing System on Tonal -Range Prefer- ences" by H. A. Chinn and P. Eisenberg, Proc. of the I.R.E., May 1948. Back in 1940, Browning Laboratories came out with

www.americanradiohistory.com what was then a new idea. Instead of making complete we made no point of the high -fidelity feature, except to receivers, they produced FM tuners to which individual explain that we were using original 15,000 -cycle Mer- purchasers could add whatever audio amplifiers they pre- cury tapes. Then our announcements were changed to ferred. Immediately after the war, Browning added FM- ask the listeners if they noticed any difference in the quality AM tuner designs, promoting their sale aggressively and of this musical series and that of other programs with successfully. Meissner, Radio Craftsmen, and Espey fol- which they were familiar. The replies expressed a degree lowed suit. Terminals and switches were provided for of enthusiasm beyond anything we expected. For example: connecting phonographs. Robert W. Cushman, Newtown, Pa. - Were If in the Interest in high -fidelity reproduction spread most rapid- movie business. my comment on the broadcast from tape ly in areas where there was good FM broadcast service. of the Bartok work would be "stupendous ". One feature

Naturally, the hi -fi enthusiasts built FM tuners into their I have noticed in this and in the previous programs in- systems so that, at least, they could have interference -free volving passages for strings is the fact that I heard the reception, and once in a while a live- talent program. "shimmer" of the strings as bowed in a way I haven't In addition, although the AM broadcasters don't seem heard since I used to listen to the studio programs from to know it yet, there are many sections of the Country W65H (now WDRC -FM in Hartford, Conn.] in the where there is no primary AM coverage, but an excellent early forties. choice of FM programs. H. L. Hawthorne, Suffern, N. Y. -- I wish to congratu- late you on the performance last Sunday night of the master tape recording by the Chicago Symphony Orchestra THAT WAS the situation a year ago, when we were of the Block Concerto Grosso. This was indeed a thrill- making final plans to bring out HIGH- FIDELITY Magazine. ing experience, and I hope there are many more to come. Since then, despite the tremendous and fast -spreading inter- Charles L. Mudge, Crawford, N. J. - My father and I est in hi -fi reproduction that made this publication an would like to express our appreciation for the splendid immediate success, a great many well- informed individu- work you are doing in broadcasting 15,000 -cycle tape re- als in the industry have held forth at great length, in cordings. Please give us all you possibly can of it. person and by letter, concerning the public rejection of Rebecca A. Merrilus, Westport, Conn. - I heard your full -range audio quality, as evidenced by the fact that tape- recorded program last Thursday. There was a strik- many FM stations are being programmed mostly with ing difference between it and the conventional recorded well -worn records, and the best are carrying 5,000 -cycle programs. Will it ever come to pass that there will he network shows. more programs like that? There was no doubting their sincerity, and I had no Albert Taxson, Long Island City, N. Y. - If I had evidence to prove they were wrong. Still, looking back not known that it was a tape recording, I would have over the events of the past two years, it seemed to me been positive that I was listenting to a live program. that circumstances, rather than the preference of the Eric C. Lambert, Jr., no address given - The composi- listeners, were responsible for the present low standards The Ampex tape machine used for our IVA8F shows is as easy to of audio broadcast quality. This subject came up during handle as a turntable. David Hall's program notes are also re- a staff discussion at a time when it was proposed that corded, and added to the Mercury tapes. we use some spot announcements on a recorded program over WABF New York, as a means of acquainting their audience with HIGH- FIDELITY Magazine. That idea was dropped, however, because our staff was unanimously opposed to program quality inconsistent with the name of the Magazine! Soon after that decision had been reached. I mentioned it in the course of a discussion with Leon Wortman, of A -V Tape Libraries. He said: "How would you like to put on a show with 15,000 -cycle tape. using an Ampex machine and original Mercury tape recordings ?" As a result of his suggestion, an arrangement was worked out with David Hall for the use of the tapes, and to have Mr. Hall handle the show on two half-hour periods each week. The Ampex machine was duly installed at WABF. and the program started at the end of September. This. as far as I know, was the first radio show to offer orchestral masterworks of 15,000 -cycle tape quality. Here was our chance to find out whether or not listeners would notice any difference in audio quality and, if they did. whether they would like it or not. For the first month, 'This paper. entitied "Audio Distortion in Radio Reception" was reprinted from the Radin Club Prorreedings in the March. 104fí issueof FM and TELE VISION.

www.americanradiohistory.com tion to which I have been listening is not my favorite All programs not related to time can be recorded well piece, by far, but I have been listening to the most realistic, in advance of the actual date of transmission. That is most beautiful musical reproduction I have ever heard! being done now, in many cases, but the tape shows are Ben Resnick, New York City - I have never heard any- being put over 5,000 -cycle lines. In point of expense, thing like it on radio before. Let's have more of it. it would be cheaper to make tape copies and to distribute Edgar C. Leaycraft, Jr., New York City - Your Mer- them by mail, even to a large number of stations. It is cury master tapes on WABF are spectacular. On my FM not necessary to use telephone lines for distributing such set there is no comparison with standard programs. programs. And all the larger stations have tape equip- Martin Heinemann, M.D., New Haven, Conn. - Corn - ment now. pared to your programs, the conventional presentation is That would not improve AM, but it would make it no more than an unreasonable facsimile. Thanks. Let's possible for all FM stations to furnish the full -range have many more of these gems. quality that has so impressed the audience on our WABF Richard Stewart, Larchmont, N. Y. - It truly was a shows. Even the soap operas and the mystery plays would revelation to hear your high- fidelity recording of Bartok's be made more interesting by the live quality of the voices, work, even on my Zenith and the realism of the table model receiver. The Unseen Audience By WEBSTER sound effects. Hubert Prince, New More important to many York City - The hi -fi re- listeners is the improve- OASES LOADED -TWO make all the dif- SHUT OFF THOSE ment possible in musical cordings OUT- AND HERE COMES ference in the world. That TACICIC. DON'T GO GADGETS AND Be programs. The relatively music popped right into 'WAY, FOLKS. THE few shows that employ STRETCH TE PITCH - QUICK ABOUT IT!! my living room as if by CCRACK!) ITS GOING - live talent could be taped. magic. I guess it is magic GOING- ITS - BZ- of course. Think what it GR- - wonderfully alive and Z-Z-Z-Z- would mean, for example, vibrant. R-R-R -R -R- if FM stations could get P. Hafstein, New York 15,000 -cycle tapes of the City - The medium of current NBC Symphony full -fidelity tape is a de- programs, with Toscanini cided improvement over conducting. Such music the generally badly -worn could be repeated several recordings that serve as the times a year. Instead, it is core of too many otherwise available only once, and well -planned programs. then over 5,00o -cycle lines! We have reams of simi- On the other hand, lar letters and postcards, efforts to improve audio and they are still coming AT THIS POINT AN ELECTRIC quality do not rule out RAZOR, A MIXER AND A VACUUM in. But typical quo- transcriptions and some these CLEANER START OPERATING records. The serious troub- tations confirm my long- C -,r ç.,, "31, New T N.nL ToA.., Iv. standing conviction that le with such music is that course, when from static is more im- the interest in and appreci- There are times, of freedom the discs are used too portant than tone quality, as indicated in this cartoon published ation of full -range pro- recently in the New York Herald Tribune. many times. Here, again. gram quality is actually far tape offers a solution, be- greater today than it was in 1940. What is lacking now is cause it can be run repeatedly without evidencing audible program material of such quality as to evoke the enthusiastic signs of wear. Thus, if a record or transcription is run response represented by those letters. Broadcasters, not just once to make a tape, the original quality can be pre- listeners, have rejected high -fidelity. served. A few stations are doing that now, but most Of course, we have only used the formal music for our use their discs until needle scratch competes with the music. WABF programs as has been available through the gen- In short, broadcasters have at their command right now erous cooperation of Mercury Records. It might be said the means for furnishing programs of io,000 to 15,000 - that full -range quality would not be a factor in plays, cycle quality for immediate use on FM stations affiliated where music is incidental. That was not the case in the with the networks. Similarly, the independents can im- early days of FM, when I heard several live -talent shows of prove their audio quality to a considerable degree, and that kind. Mr. G. A. Briggs, in his article in this at a small, extra expense that would be covered quickly issue of HIGH -FIDELITY points out that lack of realism by attracting added sponsors. is more noticeable in sound effects than in music. I re- Well, there you have the picture of audio program call hearing a play on FM in which there was some shoot- quality as it was, as it is, and as it can become. But if ing. The sound of the shots and the reverberation fairly listeners want full -range programs, they must take a per- took me off my chair. But with 5,000 -cycle quality, a sonal interest in the operation of their local stations. revolver makes a noise like a cap -pistol. They must make their desires known. Broadcasting will Today, tape offers the simple answer to better quality. only improve to the extent that listeners demand it.

www.americanradiohistory.com the LOUDSPEAKER

and the E A R

ky G. A. BRIGGS This is the first of a series of four articles by the noted authority on loudspeakers and acoustics, G. A. Briggs. Subsequent arti- discuss Room Acoustics, the Loud- cles will to as broad a range of loudspeakers as possible. To that speaker, and Loudspeaker Mounting. end, the relevant characteristics, such as flux density, cone resonance, and diameter of the units used in the tests will be stated. This neutral line is fairly easy to follow in my case, because my factory is small and is usually fully loaded with orders. And, being on the wrong side of 6o, I am not interested in enlarging the works and turning grayer they are. ISHOULD like to begin by saying that I was extremely my few remaining hairs even than pleased to receive an invitation from the Editor of The general position in relation to sound reproduction this journal to make a contribution to its pages, for was neatly summed up in the Editorial of the July 1951 two main reasons: t) In the present disturbed and un- issue of Wireless World in the following words: "Among certain state of the world, any move, however small and the many branches of electricity, electro- acoustics is unique however remote from politics, which tends to bring our in that it has attracted a large band of fervent devotees. two countries into closer contact, is to be warmly wel- The reasons for this are not far to seek: the quest for unattain- comed. 2) As a result of the American demand for my perfect reproduction amounts to chasing the books, "Loudspeakers" and "Sound Reproduction ", I able, and so offers a constant stimulus to human instincts. have received many friendly letters bearing U. S. post- Again, art enters into it quite as much as science. Interest a at the marks, and I appreciate this opportunity to write more in the subject was never at higher pitch than directly for American readers. present time; according to correspondents in the U.S.A., There is one more personal point that I should like the same applies in that country, where hi -fi tends almost to raise. I am actually a maker of loudspeakers. My to displace television." activities in this field provide facilities for making tests I think that America, Canada, and Great Britain are and experiments which help me in writing on kindred the countries which show the keenest interest in this topics; but it will be my endeavor to preserve an impar- question, followed by certain South American countries, tial attitude toward all types and all makes, so that the South Africa, Australia, and New Zealand. I am not in principles and ideas which are considered can be applied a position to speak about conditions in Germany, but

www.americanradiohistory.com other European countries still show a good deal of apathy. is less confusion when speech and noise effects are repro- During a recent visit to Holland and Belgium I was sur- duced. I have an excellent "bathroom" recording (free prised at the generally low standard of sound reproduc- from the commercial curse of preemphasis at high fre- tion which is still accepted. quencies), made by Cecil Watts of Sunbury-on- Thames, giving life -like reproduction of the sound of water run- ning into a wash basin. I generally fall back on this record Now it seems to me that there are four variable and - figuratively speaking - when I want to convince a uncertain elements in the domestic reproduction of sound. visitor that a certain loudspeaker is better than its fellows. These are: There are two main reasons for the success of such a r. The human ear noise test. The first is that many changes to the har- 2. The listening room monic structure and resonance of music are possible 3. The loudspeaker without destroying its appeal. whereas similar mutilation 4. The method of mounting the loudspeaker, for of noises often destroys the natural quality, due mainly coupling elements 2 and 3 together, to give maxi- to the enormous frequency content of the noise. The mum satisfaction to number r. second is that the distraction of music and its dynamic To expect all listeners to agree about items 3 and 4 would and aesthetic appeal are removed. be equivalent to converting all the Conservatives and I have more than once been asked why a visitor's opin- Socialists in this country to Liberalism. (Even this miracle ion as to which is the best reproduction of music should would leave a smattering of Communists). For, although not be as good as mine. How do I know that my tonal differences of opinion on quality of reproduction are judgment is so wonderful? And so on. One reply is often looked upon as questions of taste, they may be due that if I really set about' a visitor and apply the heat for in fact to differences in what is heard, depending on the half an hour and draw attention to such factors as obvi- personal characteristics of the ears of the individuals con- ous resonances, I can usually bring him round to my cerned. This involves the faculty of tonal discrimination, way of thinking. But the best reply is that my judgment, which is probably most highly developed in recording while not infallible, is constantly being checked by tests engineers, who must constantly exercise this faculty by of response range, frequency and intensity of resonances, comparing reproduced music with the original. performance of units under transient impulses, purity of Strangely enough, musically gifted people do not neces- output at low frequencies, and intermodulation products. sarily shine in the tonal department; I have often noticed If, after these tests, my choice of what sounds best did that a fine musician may be a poor judge of loudspeaker not in a general way agree with what should be best, I performance, and I am astonished at the low standard should naturally have to revise my ideas and suspect of reproducing equipment which is tolerated in the homes my judgment. of many famous pianists and other artists. The musician is impelled by instinct and habit to concentrate on the How The Human Ear Hears music, and on its interpretation by the performers, whereas these vital qualities must be totally ignored if concentra- A brief study of the ear from the physiological aspect tion on quality of reproduction is to be ensured. would not be out of place here. The best summary I The B.B.C. recently ran a series of programmes on have come across is in the interesting book "Wave Motion "Records I Like ", by famous musicians, which con- and Sound" by R.W.B. Stephens and A. E. Bate,2 from firmed this view. Of those I heard, only one musician which three diagrams have been taken. made any reference to quality of recording. This was The human ear is made up of three compartments, none other than the great Sir Thomas Beecham himself, shown diagramatically in Fig. r. Sound vibrations pass who played a pre.electric recording of a song and came through the air of the outer ear, through the solid bone out with the amazing remark that very little progress had of the middle ear, and then through the liquid of the been made in recording the human voice during the last inner ear. The transfer of sound energy, from the ear 40 years. Sir Thomas is never dull - he is always lively drum to the oval window through the middle ear, is per- and entertaining when he speaks - but he surely never formed by the lever action of the small bones called wide!, said anything funnier than this! The record in question depicted in Fig. 2. The area of the oval window is much sounded exactly as though the singer was bellowing into smaller than the ear drum, and it is stated by Stephens a horn, which of course he was One can only conclude and Bate that the middle ear acts as a step -up acoustic that the pronounced recording resonances in the middle transformer, the pressure variations of the sound waves register did not worry Sir Thomas Beecham's ear; his being stepped up by 5o or 6o times. At the same time, musical genius must be a talent quite distinct from this the low acoustic impedance of the air is matched to the problem of tonal judgment. high impedance of the liquid of the inner ear. The main portion of the inner ear consists of a coiled Comparison Of Speakers tube or shell, known as the cochlea, represented uncurled and diagramatically in Fig. 3. Pressure on the oval win- When comparing the performance of a variety of loud- dow passes through the liquid and is relieved by a small speakers, it often happens that different listeners select 'For audiophiles who do not speak English, Mr. Briggs means "go to work on." different types as the best, particularly on music. There Edward Arnold & Co., London, 1950.

Ió

www.americanradiohistory.com gap, the helicotrema, and consequent outward pressure Fig. 2. Sound energy HINGE HAMMER ANVIL of the round window. The most interesting item of all is transferred from the complicated details of the ear is the basilar membrane. the outer to the in- OVAL EAR WINDOW It is calculated that this membrane contains some 30,000 ner ear by means of DRUM SOCKET JOINT ROUND fibres of varying length and tension, which transmit small bones, called rA WINDOW impulses of frequency and intensity of sound to the brain. ossicles. STIRRUP In order to complete this short description of the working of the ear, I must quote from "Theory of Hearing" by E. G. Wever,3 in which the volley theory of hearing is at low frequencies where the sound amplitude is greatest. put forward as a combination of the resonance and place Paradoxically, it is also stated in some quarters that theories. According to the volley theory, the area of the the ear is not worried by distortion at low frequencies at reasonable levels in reproduced sound. CONCHA In order to test these ideas, a pure tone, set at o.5 watt \J EAR OVAL Fig. r. A simplified 500 was fed fre- DRUM WINDOW at cycles, into various loudspeakers at sketch of the human quencies from 25o cycles down to 3o cycles, and a micro- OUTER (../ MIDDLE NER ear, showing the phone was placed in front of the unit under test. I listened (AIR) (AIR) (LIQUNID) 1 three compartments: carefully to the sound emerging from the speakers, while MEATUS -) ROND outer, middle, and my confederate watched the wave form on an oscilloscope. inner ear. and I had no difficulty in detecting the first signs of dis- EUSTACHIAN TUBE tortion - usually frequency doubling and trebling. In other words, what I heard agreed with what the observer saw. basilar membrane and the number of fibres which are It is interesting to compare the results from different used vary according to the frequency involved, as shown units and cabinets, tested in a room about 15 ft. by 14 ft., in the following table: with facilities for facing any loudspeaker unit through a hole in the wall into a large, quiet field for free -field con- TABLE I ditions. The wave -form of any note was the same which- FREQUENCY SPREAD DENSITY SCORE ever way the unit faced, which shows that although an % cells spread X per mm. density enclosed space makes an enormous difference to the in- 3o 49.0 t 16 5,684 tensity of low notes, it does not affect the actual quality too 46.0 173 7,958 from a single -tone source. 200 45.0 787 35,415 500 41.5 1,150 47,725 It is regretted that the following diagrams, Fig. 4, are 1,000 31.5 1,225 38,587 not actual photographs because the main oscillograph 3,000 12.0 1,140 13,88o 5,000 7.o 1,025 7,175 (with camera attached) started to go up in smoke during Io,o00 4.3 975 4,192 the course of the tests, and we were compelled to bring 20,00o 3.7 179 662 on its understudy (with no camera). My confederate, It is interesting to note that the largest number of fibres Mr. E. M. Price, M.Sc.Tech., a Senior Lecturer at Brad- or cells are brought into play at the middle frequencies ford Technical College, has approved the diagrams as where the sensitivity of hearing is well known to be high- presenting a reasonable picture of what happened. It is est, thus accounting for the normal threshold -of- hearing important to note that there was no trace of distortion or curve. harmonic content in the output from the oscillator at the These brief details of the ear are adequate to remove power and frequencies used; the input to the speakers any surprise at the fact that human beings vary enor- was a pure sine wave in every case. The point of maxi- mously in what they actually hear under identical condi- mum interest is the frequency at which distortion com- tions. Indeed, it is surprising that there is so much unani- menced. mity that an outstanding voice, such as Gigli's, can achieve The power of the ear to recognize non -linearity at fre- world -wide recognition. quencies below too cycles. even at low volume levels, is beyond dispute. It is satisfactory to note at the same Distortion time that the loudspeakers which produce the best low - frequency wave forms also sound best when reproducing It is often stated that distortion is produced in the ear music which contains the lower frequencies. at low frequencies by the non -linear lever action of the bones of the middle ear, but I am inclined to think that this statement should be accepted with reserve. It is of Fig. 3. The basilar course clear that distortion sets in when the intensity of membrane, shown in sound is unduly increased; this is obvious where very the accompanying loud speaker output is used to surmount a high level of sketch of the cochlea background noise in a factory. The ear interprets distor- is estimated to con- tion and suffers accordingly, although the amplifying tain some 30,000 equipment may be blameless. Such distortion is heaviest fibres of varying HELICOTREMA 3John Wiley & Sane, Inc., N Y., 1949. length and tension.

1 9

www.americanradiohistory.com Masking one tone on the presentation of another. Interference occurs between any pairs of tones at any frequency, but is When two tones of different frequency are produced, again most pronounced for tones to which the ear is most increasing the power of one of the tones may, at certain sensitive, so far as the frequency of the interfering tone is frequencies, mask the other tone and render it inaudible. concerned. Very loud sounds are required to produce Such masking occurs only where the frequencies are noticeable interference by listening tests; volume levels fairly close together - say within a range of two or three of 5 or 6 watts from the oscillator have no serious effect octaves - and is most easily produced in the region of on other low -level tones. Soo to 8,000 cycles, where the sensitivity of hearing is The interference caused by background noise is of greatest. The masking tone may be higher or lower in course a common experience. Percussion sounds, such as pitch than the tone under test, the effect being due to the clicking or hammering, have a much stronger interference spread of the action of the masking tone on the basilar value than steady tones. Few people can listen to music membrane. with equanimity if accompanied by constant banging, A test with two loudspeakers and two audio frequency even when the sound level of the noise is below the sound -oscillators gave the results shown in Table II. In each level of the music. On the other hand, this phenomenon case, the speaker under test was fed with o.5 watt from the accounts for the clarity of the piano against quite a large oscillator. It was found necessary to use the full output of orchestral background, which in turn accounts in no small 6 watts from the second oscillator before any total mask- degree for the enormous popularity of the piano concerto. ing effects could be produced. No attempt was made to Another interesting aspect of interference is that uneven increase the power of the masking tone above 6 watts, be- frequency levels are almost as objectionable as sudden cause we are concerned here only with what happens to the changes in intensity. Factory noise often comprises ear under normal conditions, and 6 watts with units of severe frequency changes as well as peaks of intensity, reasonable efficiency is too loud to be comfortable. which make the satisfactory reproduction of speech and music much more difficult than would be the case with TABLE II: Test for Masking steadier conditions. In other words, the nature of the SPEAKER No. t SPEAKER NO. 2 noise may be quite as important as the over -all volume io,000 cycles at 0.5 watt masked by 6 watts at 3,000 cycles level. To return home, the same problem applies to sur- 5,000 ee et 2,500 2,000 et te 1,100 face noise from records, where pronounced resonances in 1,000 700 pickups and loudspeakers often intensify the annoyance. 1,000 1,200 500 et te et Goo and the pop -gun effects of some early LP records loomed up as a serious threat to the survival of the system. The masking tone was started at a remote frequency, In order to check the actual masking effect of needle and was made to approach the frequency under test until scratch, a test was made by playing the centre groove of the latter became inaudible. It was vet), difficult to make a worn 78 -rpm. record through a wide -range, two -speaker reliable tests, because all sorts of beat effects, difference system. It was found necessary to increase the volume tones at lower frequency, and summation tones at higher to a room level of 78 db. above the threshold of hearing, frequency were produced, and these often persisted after according to the noise meter used. This level cannot he the tone under test was actually inaudible. In such cases, guaranteed as an absolute statement of fact, but it is about it was assumed that complete masking in the ear had not equal to the volume of sound produced by playing a been effected. piano fir. When heard in the form of needle scratch, it No doubt masking effects in music are of sufficient is a lot of noise and, in this case, was sufficient to drive importance to account for the difference in the tone of my secretary headlong out of the room, after she had a musical instrument played solo compared with the same withstood the pure -tone masking rests previously des- instrument heard in an orchestra, but I think the effects cribed. Another loudspeaker was then connected to an -may be safely ignored so far as domestic loudspeakers oscillator, and could be clearly heard at all frequencies are concerned. Unfortunately, it has often been stated above 6o cycles up to io,000 cycles with an input of no by people who ought to have known better - includ- more than o.5 volt into 15 ohms (only about .02 watt). ing yours truly - that high notes are masked by very At 5o cycles, the speaker became inaudible with this input. low ones, thus accounting for the excess of bass and lack Although rather astonishing, these results do little more of "top" which is sometimes noticed when reflex loading than confirm that masking and interference effects at is applied to a single loudspeaker. Any such lack of balance domestic power levels are of small consequence. (I would is not due to masking. It is, I suppose, simply due to hardly advocate this amount of needle scratch as a cure lack of balance. for 50- cycle4 hum). Surface noise is also intensified by cabinet resonance. Interference A simple but illuminating test is easily made with the help of an ordinary electric kettle. When water reaches The effect of interference is rather different. According a temperature at which singing is heard, place the kettle to Weyer in "Theory of Hearing", it is due to electrical first on the carpet, then directly on the floor boards, and activity of the cochlea, rather than overlap in the basilar membrane, and produces a reduction in the magnitude of '50 -cycle AC is used in England, instead of the U. S. 60 -cycle standard.

www.americanradiohistory.com A. 8.in. unit on an 18 -in. B. Some unit as at A but C. Same unit as at A but at D. Same unit as at A but baffle at 100 cps. The dis. taken at cone resonance at 50 cps. Worse than B; note taken at 30 cps. The sound tortion was just discernable 85 cps. Distortion was se- how distortion increases as the was a noise, not a note! to the ear. vere and easily heard. frequency is lowered.

E. 8 -in. unit in matched re- F. Some unit as at E, but G. Some unit as at E, but H. 10.in. cloth- surround heavy flex cabinet, at main cone taken at 50 cps. The distor- at 30 cps. Poor wave form, cone on 18 -in. baffle. Taken cabinet resonance: 70 cps. tion evidenced in the tracing but much better than in test D at 60 cps., which was the main Distortion was barely audible. was easily heard. at some frequency. cone resonance.

I. Same unit as at H, but J. Same unit as at H, but K. 15 -in. cloth- surround unit L. Same unit as at K but at taken at 45 cps. Not bad: taken at 30 cps. Results poor. in 9 -cu. ft. brick enclosure at 30 cps. Distortion barely distortion audible, but reflex Compare set -up G. 40 cps. No distortion audible audible. Cone -esonance of at 50 cps. is better. or visible. 15 -in. unit is at 35 cps.

Fig. 4. Oscilloscope tracings showing output ware from various combinations of speakers and enclosures at low frequencies.

then on a hollow wooden cabinet or table, and observe fact, it is an old dodge of a certain British loudspeaker how the intensity of the sound, especially at the lower maker to condemn all his competitors as being owners of frequencies, is amplified by resonance. The singing of cloth or tin ears. Such descriptions of the ear get us no- the kettle is somewhat similar in frequency content to needle where, and I feel that the time has arrived when it should scratch, although the latter contains more of the lows. he possible to assess the value of the interpretation which The main point is that these random noises consist of an the individual places on the sounds he hears, in addition infinite number of frequencies which are sure to find the to the existing tests of ear efficiency by audiometer. fundamental or harmonics of the natural resonances of I also think that regular concert-going is a necessary surfaces which they excite. The acoustic coupling is part of the equipment of any sound enthusiast or engineer. very strong in the case of the kettle, as there is actual How else shall he know what is good? I am still regularly mechanical contact, but it should be remembered that shocked by the difference between music at first hand surface noise from records is only troublesome during and the same at one remove. Much of what we hear today soft passages of music, where even the slightest increase from gramophone records is at two or three removes. caused by resonance is objectionable. The effect of cabinet For instance, recorded music goes from a concert stage resonance on the reproduction of speech or music is of through a microphone, through a tape recorder, to a disc, course much more pronounced. through a pickup, and finally through a loudspeaker before it can be heard in the home ... and then it goes Conclusion through the ear.

NOTE: This is the first of a series of articles by Mr. Briggs. The importance of the vagaries of the human ear has long The second, on room acoustics, will appear in the next issue been recognized in connection with high fidelity. In of HIGH -FIDELITY.

www.americanradiohistory.com Prescription for better bass:

THE HWHHPLEH

By CHARLES FOWLER

IN THE first issue of HIGH- FIDELITY, the article "How As a specific and amusing instance of such scientific To Achieve Full Bass Response" told about a method confuddlement, we recall the visit to our workshop of of speaker mounting which provided a remarkable an engineer representing a company which manufactures improvement in the reproduction of low frequencies - a particularly well -known loudspeaker, which we shall simply, and at relatively low cost. The article created call "XY ". We were using a 12 -in. XY speaker in the Air - wide interest, and many requests for further information. Coupler at the time, and demonstrated to our visitor the In this article, we shall provide additional details about wonderful, floor- shaking response we were getting at 20 the device used for bass reproduction: a speaker cabinet cycles. This engineer insisted that we could not be using which we call an Air -Coupler. In addition, we shall re- the XY speaker, because 12 -in. XY units could not report on a series of recently completed experiments which produce 20 cycles! have brought about a substantial improvement in the powerful bass reproduction already made possible by the What is the Air-Coupler? Air -Coupler. Complete technical details on the experiments are given in RADIO COMMUNICATION Magazine, As has been discussed in previous articles in HIGH -FI- beginning in the October x951 issue. The articles are DELITY, one of the great problems in the reproduction replete with charts, graphs, frequency response curves, of low frequency sounds - bass notes - is that of coup- and other impedimenta'. ling a large body of air to the cone of the loudspeaker. In HIGH -FIDELITY, we shall discuss the Air -Coupler The device under discussion performs that function in without getting involved in technicalities which, to be an effective if somewhat unorthodox fashion. The Air - entirely honest, relatively few people understand anyway! Coupler is a low frequency reproducing unit which utilizes The system works, as a very large number of people have any good 12 -in. speaker, and which can be used with proven to their own entire satisfaction. Let's not, there- any good amplifier. It improves bass reproduction greatly fore, examine too closely into why the system works; when added to an existing amplifier and system of speakers. far better technical minds than the author's have pondered It is neither complicated nor expensive. the question at considerable length, only to conclude As can be seen from Fig. 1, the Air -Coupler is a long, that, in theory, it cannot produce the results that are rectangular box whose inside dimensions are 701/2 by 141/2 by obtained in practice! 41/2 ins. The speaker is mounted on the back panel, and faces into the box. The front of the Air -Coupler is totally .For those to whom such things are delight, copies are available at 35 cents for a port or opening. each from Radiocom, Inc., Great Barrington, Mass. enclosed except

www.americanradiohistory.com The Air -Coupler is usually fabricated from 3/ -in. plywood, but it can also be made from other, thicker woods. Ie Because the speaker tends to make the whole enclosure vibrate at low frequencies, the joints should be tightly glued and screwed together. The Air -Coupler can be disposed of in any number of ways so long as it is heavily weighted or well anchored to the floor or wall. From the interior decorating point of view, one of its big advantages is that the small port is the only necessary opening into the room. For people

who do not mind cutting a hole 14' by 5 ins. in the floor, preferably near a wall, the Air -Coupler can be mounted under the floor as in Fig. 2. Since floor joists are cus- tomarily spaced 16 ins. on center, a net inside space is available 14 of to 141/2 ins. This corresponds to the in- Tz" side width dimension of the standard Air -Coupler. There- fore, the back panel, on which the speaker is mounted, can be cut to slip between the joists, and screwed to a t by z -in. strip attached to the inside edges of each joist. The Air -Coupler can be mounted between studs in a room wall, in a closet, or in the ceiling. In all these arrangements, the low- frequency speaker and its enclosure are completely out of sight. Io.Z If, as is often the case, structural changes to the house are not possible, the Air -Coupler can be laid on its 6 -in. PORT side so that there are 2 to 5 ins. clearance from the back of the speaker to the room wall. It can then be covered with a heavy board, and used as a magazine and book FRONT shelf, or the board can be covered with cushions and VIEW BACK VIEW used as a bench or seat. MATERIAL OF CONSTRUCTION- 34.PLVW000 OR HEAVIER Further thought will suggest other ways disposing of Fig. r. The original Air -Coupler was a lang, rectangular box. of the Air -Coupler. The only important points are that it must be firmly anchored, and the port must face into the room, though its exact location in the room is of speakers in the system. Since it is a general rule of thumb little importance. that baffle or enclosure size is not important above 25o From the decorating point of view, an indirect advan- cycles, even a t5 -in. coaxial speaker can be tucked away tage of the Air -Coupler is that the remainder of the speaker in a 3 -cu. ft. enclosure. system can be housed in almost any cabinet. It is customary to think that a good loudspeaker system requires What Other Equipment Is Necessary? a large enclosure. This is quite true - but only insofar as the reproduction of low frequencies is concerned. It was stated above that frequencies below 35o cycles With an Air -Coupler, the frequencies below .35o cycles were fed to the speaker on the Air- Coupler, and that are fed into the speaker on the Air- Coupler. Only fre- those above were handled by the other speakers in the quencies above this point are carried by the rest of the system. To divide the frequency spectrum into these two sections, a crossover, or divid- Fig. 2. Dimensions of the Air -Coupler are such that be it can mount ed between floor joists. ing, network must be used. This is It may be necessary to mount the cover between the beams, so as to m ake the inside depth of the Air -Coupler not more than 4' ins. the only equipment, other than a speaker and the wood for the Air - Coupler, required for a complete installation. Easily assembled components for dividing networks operating at 35o cycles are available commercially, and at reasonable cost. Only two coils or inductances, and two capacitors are required. The coils can be designed and wound by the home experimenter, if desired. Complete details on their construction were given in the December

www.americanradiohistory.com 1950 issue of RADIO COMMUNICATION.1 Our group at HIGH- FIDELITY and RADIO COMMUNICA- It should be pointed out that dividing networks can TION has continued to experiment. Milton Sleeper, our be designed to operate at any desired frequency. It has publisher, started the first wheels turning, a long time been found that best results are obtained with the standard back, and then withdrew from the battle to devote his Air -Coupler if a crossover frequency of 35o cycles is used. attention to other matters. Roy Allison was most instrumental in the early work, and was just about to get Experimental Work With Air -Couplers his slide rule going again when the Navy remembered him from days gone by. Apparently, the Navy tired of So much for the background of the Air- Coupler design. hearing about Air -Couplers, for they released him last Built exactly according to instructions, and combined August. Now, as Editor of RADIO COMMUNICATION, his with a middle -range speaker and tweeter, or with a co- return to the fold will be felt by all Air -Coupler enthusiasts axial speaker and connected to the amplifier through the when they begin reading the series of articles in his publi- proper dividing network, the Air - cation, describing the changes that Coupler will provide an astonishing have been wrought in the basic improvement in bass reproduction. Air -Coupler construction. Any professional carpenter or mod- During Allison's absence, the erately skilled hobbyist can con- writer continued his experimental struct the case. The rest of the efforts, using an approach quite assembly is simplicity itself. unorthodox from the engineering On the other hand, those who point of view. An examination of are experimentally inclined can the original design reveals that the have many hours of audio fun work- sound from the back of the speaker ing with the basic Air -Coupler is "wasted ". In a floor or wall idea. Fundamentally, it draws installation, it is totally lost. It upon three different principles of seemed logical to try to utilize this loudspeaker enclosure design: air sound by bringing it around to the column, Helmholtz resonator, and front, where it could reinforce acoustic labyrinth. Each of these the sound from the Air- Coupler basic principles has been thorough- port. A reflex coupler, Fig. 3, was ly explored from the theoretical designed and promptly named, be- viewpoint. But when the three cause of its bulk, the "telephone are combined into a single unit, booth ". Results were quite aston- it requires an analog computer to ishing; the sound certainly poured determine in advance, what result forth in a way not previously ex- may be expected. Hence, the prac- perienced. This design was de- tical way to make progress with the scribed in the May 1951 issue of Air -Coupler is by guess and by RADIO COMMUNICATION, as an gosh . This means that the non- experimental model. Allison technical hobbyist is just as likely promptly advised us that it wouldn't to make a radical improvement as work, since the radiation from the the man with fourteen academic back of the speaker would cancel degrees after his name. that from the front. This may be Since the original series of articles true in theory, and it may be true on the Air -Coupler started in the at one or two specific frequencies, October 1950 issue of RADIO COM- but the overall effect was fantastic. MUNICATION, hundreds and hun- Pedal notes on organ records such dreds of people have worked with as the Bach Toccata and Fugue in D it. Some have followed the basic Minor shook the entire room. design to the letter, and secured The next undertaking was to results which they usually described reduce the telephone booth to by "never heard anything like it ". reasonable size by designing a Others have gone far afield. O. C. corner enclosure. Hoggren, in Chicago, has managed At that point, Alan Macy en- Fig. 3. A reflex enclosure for the Air -Coupler to fold the Air -Coupler so that it tered the picture as an enthusiastic, is more compact; he is one of the spare -time worker, and Allison re- few to develop a successful folded design. L. C. Gal- turned from the Navy. A major redesign job was under- lagher, in Dallas, has a 14 -ft. Air -Coupler in his floor. taken and this time, the technical approach was followed And so it goes. throughout. Thus Allison read the orders of the day, Macy and the writer did the carpentry and generally noise. 2Reprints are available at 10 cents each. provided background

www.americanradiohistory.com Equipment Used for Tests room acoustics. For the first frequency run, we had the microphone set up 5 ft. away from the "telephone booth ". A large amount of measuring equipment was brought At several frequencies in the 20 to 200 range, the meter together for the tests. The photograph, Fig. 4, shows indicated almost no sound. Yet, at those same frequen- it assembled in one corner of our library- workshop. In cies, we could very definitely hear sound and lots of it! essence, the test set -up was this: a Sylvania audio oscil- If the microphone were moved to a different position, the lator provided pure sound from 20 cycles on up to 20,000. frequencies at which there was "no sound" would change. This was fed into a Williamson -type amplifier, previously This phenomenon can bring the most careful work of a found to have the necessary flatness of response in the design engineer to naught. Even if every link in the chain range under examination. The output of the Williamson of audio reproduction could be made absolutely per- was connected to whatever speaker was being tested. fect -- flat sound source, flat amplifier, and flat speaker It is quite simple to measure the impedance of a speaker and enclosure -- still, the frequency response heard at voice coil over a range of frequencies, and it is often as- any given spot would not be flat. The frequencies at which sumed that actual frequency response follows the impedance sharp peaks and valleys occur will change drastically, curve. However, it has been shown that there is not neces- depending on the microphone location in the room, sarily any continuous correlation between the impedance the shape and size of the room, the number and position of the voice coil and sound power output of a speaker of its furnishings, and the degree to which the walls are and its enclosure. Hence, we approximated, as closely covered with drapes and other sound -deadening or de- as possible, the test set -up used by speaker manufac- flecting materials. turers and acoustic laboratories. This is not the time to go into a study of room acous- The actual sound output of various experimental Air - tics. That subject will be dealt with in future issues of Couplers was picked up by an Altec 21 -B microphone HIGH -FIDELITY (in the next issue, for that matter, by no (used because of its exceptionally flat response even at less an authority than G. A. Briggs), but the point is

Fig. 4. Equipment used to test frequency response of experimental Air -Couplers included a Sylvania audio oscillator which was fed into the Williamson -type amplifier, directly above it in the illustration. Power supply for the Altec 21-B microphone is shown to the right of the Williamson. The microphone unoved near the equipment for photo- graphic reasons) was connected to a Pickering preamplifier. which was modified to remove buss compensation circuits. This, in turn. w rs fed into the McIntosh 50-W-2. at right on desk. Out- put of the 50-W -2 was measured on the Hickok VTVM.

very low frequencies), amplified by a McIntosh 5o -watt brought out here to emphasize once again the importance amplifier, the output of which was read from the Hickok of adapting and adjusting a high fidelity system to the vacuum tube voltmeter. Frequency runs were made on conditions under which it will be used. each piece of equipment separately so that compensa- For our tests, room acoustics forced us outdoors, to tion could be made for even slight deviation from flatness. operate under "free field" conditions. Literally, we took all the equipment to a location where there were no near- Room Acoustics by buildings or other objects which would reflect the sound from the speaker back to the microphone. Dozens For our first test, we set up the microphone and other of Air -Couplers were built, tested, torn down, rebuilt, and equipment right in the workshop, and began taking read- retested. Allison gave off with the theories, and the two ings over a frequency range from 20 to 200 cycles. Here carpenters struggled furiously to keep up. At one point, we ran into a phenomenon which causes engineers who theory got so far ahead of human frailty that though the design equipment for home use to turn grey prematurely: meter reading was splendid, no sound could be heard!

www.americanradiohistory.com At another point, the carpenters got ahead of the de- door, or on its narrow side as a bench or magazine shelf) sign engineer, and Allison was hard put to it to come up as the original design. with theories which would account for the various results achieved. A port size would be changed, "just to see Corner- Mounted Air-Coupler what happens ". "Such and such will happen ", Allison would say. If it didn't, he would think fast and decide, It still seemed logical to try to use the sound from the "Well, that was based on the assumption that the results back of the speaker to reinforce that from the front. With would follow the behavior pattern of an air column. the old Air -Coupler mounted in the "telephone booth ", If you had given me time to think, I would have realized a marked improvement in total sound power output had it would follow a Helmholtz resonator pattern, which, been achieved. It was logical to hope, at least, that the of course, accounts for the results achieved ". Then the same result could be secured with the Duplex. How- carpenters would make some more background noise, and ever, since we wanted also to redesign the telephone the tests would proceed. booth into a more compact corner -type enclosure, we started our experiments with this design in mind. The Final Design It is obviously more complicated to design such a structure, because cancellations can occur between the One day, when rainy weather necessitated a postpone- sound from the main opening and that from the reflex ment of our outdoor tests, Allison got all his theories port. Furthermore, a whole series of new enclosure charac- going at once and developed the design shown in Fig. 5. teristics must be taken into consideration. Another air The overall size of the Air -Coupler was not changed, column is involved; so is another Helmholtz resonator. but partitions were to be placed inside Once again, the problem was ap- the unit in such a way as to produce proached from a try-it- and -see view- 141/Z two tubes or air columns, one 7 ft., - point. Corner -mounted Air -Couplers 4%3 the other 9 ft. long. Thus, instead of were built, tested, redesigned and re- -111 41/3 -- a single 6 -ft. air column with a resonant tested. The design which has produced peak at approximately 46 cycles, the the best result so far is shown in Figs. new design called for two air columns 6, 7, and q. The photographs in which would resonate at 3o and at 40 Figs. 6 and 7 are of the test model. cycles. The result should be smoother The internal structure of the Duplex response at very low frequencies, and Air -Coupler is clearly visible in Fig. 6; added sound power output at these the overall front appearance is shown frequencies. in Fig. 7. The type of construction Subsequent tests confirmed Allison's shown in these two illustrations is hopes in every detail. Overall response adequate for experimental purposes, in the range from 20 CO 200 cycles but it should not be followed in a was considerably improved. Response final set -up, because it is impossible was flatter and cleaner. Screwing 72' to keep the three front panels, as the front and back panels to the in- shown in Fig. 7, from loosening up ternal partitions strengthened the Air - after a few hours of use. Coupler and reduced the possibility Therefore, the construction method of panel resonance. Low frequency shown in Figs. 8 or 9 should be fol- response between 20 and 40 cycles lowed: a Duplex Air- Coupler should was improved. be built and then screwed and glued Total sound power output on or- to a large front panel, 35%4 ins. wide chestral selections seemed to be greater, and at least 78 ins. high. This panel though actually it was slightly less. can then be attached directly to the The apparent increase was due to the 2214; walls of a room, as in Fig. 8, or two fact resonant peaks were flattened, back panels constructed and the front thus producing better balance through- panel attached to them, as in Fig. 9. out the frequency range of the Air - All tests of this type of design Coupler. indicated that total sound power out- The dimensions of the outside case, Fig. 5. The drawing shows the dimen- put was greater than with the Duplex sions and arrangement of inside parti- as given in Fig. 5, are the same as for Air -Coupler by itself, but the frequency tions added to the standard Air -Coupler. the original design. The change lies response curve was not as smooth. only in the addition of the partitions However, (and Allison was chided which form the two air columns. Readers who have about this!) efforts to achieve a smooth frequency response Air -Couplers can add the partitions very simply. Others curve can reach a reductio ad absurdum: a point where are urged to follow the new design from the beginning. frequency response is perfect, but there isn't any sound! The Duplex Air -Coupler, as we named it, can be installed The final design represents a compromise between flatness in exactly the same locations (floor, wall, ceiling, closet and sound power output.

www.americanradiohistory.com Reducing the size of the reflex port to 3 ins. will im- Conclusion prove flatness but cut down total sound level; increasing the port size to 9 ins. will improve sound power output There are now four Air -Coupler designs: the original 6 -ft. noticeably, but exaggerate the peaks and valleys in the unit, the Duplex 6 -ft. Air -Coupler, the "telephone booth ", frequency response curve. and the Triplex corner arrangement. A fair comparison of the four versions is difficult to make. A visual com- Construction of a Free -Standing Enclosure parison - that of the meter and the frequency response chart - shows that the Duplex 6 -ft. Air -Coupler, installed The- design shown in Fig. 9 should be followed if a free- in the floor, wall, or ceiling, will produce the best balanced standing corner enclosure is desired. The unit is com- bass, but not the greatest volume of sound. Beyond pletely enclosed by the two back panels, so it can be this, no flat- footed statement can be made, because other moved around and put in any convenient corner. comparisons must be made on an aural basis. And there If a permanent installation is possible, the two back may be a considerable difference between what a meter panels can be omitted. The front panel is then attached shows when a speaker- and -enclosure is tested in an open very firmly to two walls which form one corner of a room. field by near- perfect equipment with pure sound - and Note that it will be necessary to notch out the lower what a human ear hears when the same speaker- and -en- corners of the front panel to fit snugly over the baseboards. closure is tested on symphonic music (far from pure sound!) A triangular piece of plywood or heavy board is fitted reproduced from an imperfect phonograph record on to close the top of the unit, between the front panel and average equipment in a room which, acoustically, is prob- the walls. The bottom of this board should be exactly ably poorly designed. In other words, it is to be expected 78 ins. from the floor, so that the correct reflex port size is that the visual and the aural comparison will correlate. maintained. However, the total height of the front panel But, it does not always happen that way. is immaterial so long as the minimum dimension of 78 ins. The concensus of those who have heard various ver- is maintained. Thus, the entire corner of a room, from sions of the Air -Coupler in the author's workshop -library floor to ceiling, can be closed in, and the front panel (a room roughly 15 by 15 ft. in size) is this: papered or painted to match the rest of the room. Best all around results, and best balance between smooth

Fig. 6. Left: By mounting the new Du- plex Air -Coupler in a corner enclosure, sound power output was improved considerably. For experimental purposes, two 9-in. panels were attached to each side of the Air -Coupler. In the photograph, the 16-in. front panel of the Coupler has been removed to show the internal construction.

Fig. 7. Right: Experimental corner Air- Coupler with all panels in place. For final construction, a solid piece of wood should be used instead of the 3-panel construction shown here. In this way, not only neater appearance but more solid construction is achieved. In the experimental model shown here, the two back panels are 84 ins. long, to permit adjustment of reflex port size.

www.americanradiohistory.com frequency response and sound power output, will be achieved by installing the Duplex Air -Coupler in the floor, wall, or ceiling. The original 6 -ft. unit, installed in a similar location, will give greater sound power output from 40 cycles up. On an occasional orchestral selection, one with single notes at very low frequencies, the hills and valleys in its frequency response curve may be noticeable. In 98 cases out of loo, the overall results will be called extraordinary. Similarly, the Duplex Air -Coupler in a corner enclosure will give greater sound power output than a floor -mounted Duplex, provided the reflex port is kept around 6 ins. in height. For optimum sound power output, still as judged by the ear and not by the meter, the telephone booth in conjunction with the original Air -Coupler is the answer. However, this design is likely to give an overpowering bass, so strong and dominant that steps must be taken to cut it down to proper balance with the rest of the frequency spectrum. However, as was stated at the beginning of this article, the last word on Air -Coupler design is yet to be written. For the experimentally inclined, any number of modifi- cations can be tested. It is sincerely hoped that readers working with the Air -Coupler will report their results to the author. These will be published in future issues of HIGH- FIDELITY for the benefit of all who have, or plan to have, Air -Couplers.

Fig. 8. Above: The front panel of the Triplex Air -Coupler can be mounted in the corner of a room. The two back panels can be omitted, as can the triangular _ - 3544 - _. piece which forms the bottom. The front panel can be extended to ceiling height if desired, then 3r papered or painted to match the TIri rest of the room. A

353/4 Fig. 9. Left: Complete measure- z" ments for the construction of a free -standing corner Air -Coupler. Wood at least 3/4 in. thick should be used, and all joints should be securely screwed and glued together. Dimension "A" should be at least two inches, and can be ]B" made large enough so the front 43/4 r 34 PLYWOOD BASE c panel reaches to the ceiling. 28

www.americanradiohistory.com Elgin* 88.1 .01 WEPS N Orleans 105. 3 156 WDSU-FM Elmwd Pk 107.1 .95 WLEY N Orleans 107.5 8.6 WJBW -FM FM Stations in the U. S. Evanston 88.5 .01* WDLJ N Orleans 97.1 61 WRCM Evanston 105.1 36 WEAW N Orleans 102.7 55 WSMB -FM Evanston* 89.3 .01 WNUR N Orleans 95.7 55 WTPS -FM This list. of FM broadcast stations has been compiled from latest Freeport 102.5 9 WFJS N Orleans 100.3 12 WWLH FCC Harrisburg 99.9 4.2 WEBQ-FM Shreveport 101.1 11 KRMD -FM records. We would sincerely appreciate reports from readers Herrin 98.5 20 WJPF-FM Shreveport 94.5 13 KWKH -FM on those stations in their area which are programming worth- Jacksonv'le 100.5 7.3 WLDS-FM LaSlle -Peru 106.9 13 WFMX MAINE while music hours. Mattoon 96.9 23 WLBH-FM Bangor 93.1 11 WGUY -FM Mt Vernon 94.1 15 WMIX-FM Lewiston 93.9 13 WCOU -FM New Haven 100.7 20 WBIB Oak Park 102.3 1 WOPA-FM MARYLAND Stations are listed alphabeti- New Haven 92.1 .87 WELT -FM Peoria 92.5 16 WMBD-FM Annapolis 99.1 17 WNAV -FM cally by cities and states. New Haven 99.1 19 WNCH -FM Quincy 105.1 8.9 WADI-FM Baltimore 95.5 20 WBAL -FM An asterisk after name of city Stamford 96.7 .65 WSTC -FM Quincy 99.5 53 WTAD-FM Baltimore 102.7 20 WCAO-FM Rockford 97.5 16 WROK-FM indicates that station is non. Baltimore 93.1 15 WCBM -FM DELAWARE Rock Island comm-rcial educational. 98.9 37 WHBF-FM Baltimore 104.3 20 WITH-FM Georget'n 101.5 20 WJWL -FM Springfield 102.9 25 WCVS-FM Baltimore 106.7 20 WKRE Second column is frequency. Wilmington 96.1 20 WAMS -FM Springfield 103.7 6.7 WTAX-FM Baltimore 94.7 20 WMCP Third column is effective radi. Wilmington 93.7 * -FM St 20 WDEL Charles 106.3 .23 WEXI Bethesda 106.3 .50* WBCC -FM ated power in kw. Urbana* 91.7 .10 WIUC Asterisk Bradbuy Hts 96.7 .42 WBUZ before call letters DISTRICT OF COLUMBIA Urbana 103.3 2.4 WKID-FM Cumberind indicates Washingtn 102.9 2.5 WCUM -FM construction permit. 97.1 15 WASH Waukegan 106.7 12 WKRS Cumberind 106.9 2.5 WTBO Washingtn 99.5 -FM 20 WCFM Woodstock 92.1 .83 WILA Frederick 99.9 2 WFMD-FM Washingtn 107.3 20 WMAL-FM Hagerstwn 104.7 1.5 WJEJ -FM ARIZONA Washingtn 101.1 20 INDIANA WOL-FM Salisbury 97.5 12 WBOC -FM Phoenix 88.5 .Ol KFCA Washingtn 103.5 19 WQQW-FM Anderson 106.3 .35 WCBC-FM Silver Sprg 102.3 .44 WGAY -FM Thatcher' 88.1 .01 KGIA ashingtn 93.9 20 WRC-FM Blmington 90.9 33 WFIU Silver Sprg 95.9 .59 WOOK -FM Columbus 93.7 71 WCSI ARKANSAS Washingtn 96.3 20 WTOP-FM Washingtn 98.7 20 W W DC-FM Connersvle 100.3 9.8 WCNB-FM MASSACHUSETTS Blytheville 96.1 21 KLCN -FM Crwfrdsvle 102.9 13 WFMU Conway 97.7 .97 KOWN Boston* 90.9 .38 WBUR FLORIDA Elkhart 100.7 33 WTRC-FM Boston Ft Smith 94.9 14 KFPW -FM 92.9 20 WBZFM ,aytona Bch 94.5 8.5 WNDB-FM Evansville 104.1 19 WIKY-FM Boston 100.7 20 WCOP Ft Smith 107.1 .32* KFSA -FM Evansville -FM Ft Laudrdle 106.5 9.2 WGOR 94.5 20 WMLL Boston 103.3 20 WEEI Jonesboro 101.9 8 KBTM -FM Evansville* -FM Gainesville 104.1 12 WRUF-FM 91.5 1.9 Boston 88.1 .01 WEBS Little Rock 95.9 .39 KVLC -FM Ft Wayne Jacksonville 95.1 11.5 WJAX-FM 106.1 24 WKJG-FM Boston* 89.7 20 WGBH Silom Spgs 105.7 2.6 KUOA -FM Ft Wayne 96.1 16.5 Jacksonville 96.9 32 WJHP-FM WOWO-FM Boston 94.5 20 WHDH -FM CALIFORNIA Jacksonville 96.1 63 WMBR-FM Greencstle 91.7 .01 WGRE Boston 98.5 29 WNAC Hammond -FM Alhambra 107.1 .37 KSJW Lakeland* 88.1 .01' WFSI 92.3 9.3 WJIZ Brockton 97.7 .80 WBETFM Huntington 88.1 .01 Bakersfield 94.1 9.8 KERN -FM Miami 96.3 27 WGBS-FM WVSH Cambridge 96.9 5 WXHR Bakersfield 92.5 4.7 KMAR Miami 97.3 53 WIOD-FM Indianaplis 91.9 .82 WAJC Chicopee 100.3 3.2 WACEFM Miami 94.9 Lafayette 95.1 12 WFAM Berkeley 104.9 1 KPFA 60 WOAM-FM Greenfield 98.3 1 WHAI Marion -FM Berkeley 102.9 6.8 KRE -FM Miami 91.7 .40 WTHS 106.9 34 WMRI Haverhill 92.5 20 WHAVFM Miami 101.5 PB-FM Michigan Cy 93.5 I WIMS-FM Beverly His 106.3 1 KSRT 8.5 Mt Holyoke 93.1 3.2 WHYN -FM Muncie 104.1 Chico 101.1 9.8 KVCI Miami Beach 93.1 285 WKAT-FM 7.4 WMUN Lawrence 93.7 20 WLAW -FM Muncie* 91.5 Eureka 96.3 4.6 KRED Miami Beach 93.9 13 WLRD .01 WWHI Lowell 99.5 12 WLLHFM N Albany 88. 1 .01 WNAS Fresno 101.9 7.4 KARM -FM Orlando 92.3 34 WDBO-FM Lynn 105.5 .52 WLYN -FM New Castle 102.5 4 WCTW Fresno 97.9 7.3 KMJ -FM Orlando 96.5 59 WHOO-FM N Bedford 97.3 20 WBSM -FM Fresno 93.7 70 KRFM Palaka 98.3 .42* WS PF-FM Shelbyville 101.3 4.7 WSRK N Bedford 98.1 20 WFMR Terre 101.1 Glendale 101.9 9.9 KUTE Palm Beach 97.9 22 WWPG-FM Haute 20 WBOW-FM Paxton 99.1 5 WGTR St Petrsbrg 97.9 16 Terre Haute 99.9 7.4 WTHI-FM Hollywood 94.7 58 KFMV WMLD Pittsfield 94.3 1 WBEC -FM Warsaw 107.3 34 WRSW Hollywood 101.1 4.8 KHJ -FM St Petrsbrg 102.5 37 WISP-FM Springfield 97.1 20 WBZA -FM Washingtn 106.5 14 WFML Hollywood 97.1 58 KKLA Tallahassee 103.9 .71 WCSP Springfield 94.7 3.2 WMAS -FM Tampa Hollywood 93.1 59 KNX -FM 105.7 26 WDAE-FM IOWA Springfield 101.9 10 WSFLFM Inglewood 92.7 Tampa 93.3 53 WFLA-FM .38* KEFM Ames 95.5 4.3 KASI -FM Springfield 97.9 13 WSPR -PM Inglewood 105.5 .75 KHOA -FM W Yarmouth 94.3 1 WOCB -FM GEORGIA Ames' 90.1 15.5 WOI -FM Long Beach 102.3 1 KFOX -FM Worcester 96.1 10 Boone 99.3 .31* KFGQ-FM WTAG -FM Long Beach* 88.1 .01 Athens 99.5 4.4 WGAU-FM KLON Burlington 92.9 52 KBUR-FM Long Beach 103.1 KNOB Atlanta 90.1 .40 WABE MICHIGAN .32 Cdr Rapids 96.9 50 KCRK L Angeles 95.5 3.8 KECA Atlanta 103.3 50 WAGA-FM Ann Arbor 98.7 2.2 WPAG -FM -FM Clinton 96.1 13 KROS -FM L Angeles 104.3 Atlanta 97.5 44 WAIL-FM Ann Arbor' 91.7 44 WUOM 8.8 KFAC -FM Council Blfs 96.1 9.3 KFMX L Angeles 105.9 16 KFI Atlanta 95.5 14 WBGE-FM Battle Crk 102.1 45 WELL -FM -FM Davenport 103.7 47 WOC -FM L Angeles 100.3 72 . Atlanta 94.1 345 WGST-FM Bay City 96.1 41 WBCM -FM KMAU Des Moines 94.1 260 KCBC -FM L Angeles 98.7 49 KMGM Atlanta 98.5 52 WSB-FM Benton Hrbr 99.9 9.2 WHFB -FM Des Moines 104.5 2115 KRNT -FM L Angeles 96.3 15 KRKD -FM Cedartown 96.1 5.5 WGAA-FM Dearborn 100.3 7.7 WKMH -FM Des Moines 97.3 15 KSO -FM L Angeles 91.5 2.9 KUSC Columbus 107.9 10 WDAK-FM Detroit 101.9 52 WDET-FM Des Moines 100.3 400 WHO -FM Marysville 99.9 4.7 KMYC Columbus 95.1 9 WGBA-FM Detroit' 90.9 2 WDTR -FM Dubuque 100.5 45 KDTH -FM Merced 97.5 KVME Columbus 93.3 46 WRBL-FM Detroit 93.1 30 KJBK -FM 8.9 Dubuque 103.3 15 WDBQ Modesto 103.3 11 KBEE Gainesville 103.9 .30 WDUN-FM Detroit 97.9 4.3 WJLB -FM Ft Dodge 102.7 10 KFMY Modesto 104.1 4.7 Lagrange 104.1 1.3 WLAG-FM Detroit 96.3 24 WJRFM KTRB -FM Iowa City 91.7 16.5 KSUI Oakland 101.3 20 KLX -FM Macon 100.7 15 WBML-FM Detroit 97.1 48 WWJ -FM Keokuk 102.7 3.7 KOKX -FM Oceanside' 89.7 .01 KOEN Macon 99.1 3 WMAZ-FM Detroit 101.1 30 WXYZ -FM Mason City 101.1 16 KGLO -FM Ontario 93.5 .31 Macon 96.9 41 WNEX-FM E Lansing* 90.5 9.7 WKAR KEDO Muscatine 99.7 9.3 KWPCFM -FM Pasadena 98.3 .33 KWKW -FM Newnan 96.7 .33 WCOH-FM Flint 107.1 .40 WAJL Rome Sioux City 94.9 360 KSCJ-FM Redding 103.9 1 KVRE 106.5 1.1 WRGA-FM Grd Rapids 92.5 10.5 WFRS Storm Lake 101.5 8» KAYL -FM Riverside 97.5 20 KPOR Savannah 94.3 .08 WDAR-FM Grd Rapids 93.7 550 WJEF -FM Waterloo 105.7 17 KXEL -FM Sacramento 96.1 11 KCRA -FM Savannah 100.3 15 WSAV-FM Grd Rapids 96.9 50 WLAV -FM Savannah Sacramento 96.9 5.4 KFBK -FM 97.3 43 WTOC-FM KANSCS Kalamazoo 91.1 .40 WMCP Toccoa 106.1 Sacramento 107.9 12 KXOA -FM 10 WLET-FM Grant Twnsp 94.5 40 KIMV Mt Clemnts 106.3 .34 WMLN Valdosta 92.5 7 WGOV-FM Salinas 94.5 3.2 KSNI Hutchinson 93.1 1.5 KWBW-FM Muskegon 106.5 4.7 WKBZ -FM San Bruno 100.5 250 KSBR Oak Park 95.5 20 WLDM IDAHO McPherson 103.1 .16 KNEX -FM San Diego 94.1 33 KFSD-FM Wichita 100.3 11 KFH Owosso 103.1 1 WOAP -FM Meridian 101.9 2.5 KFXD-FM -FM San Diego" 91.7 3.3 KSDS Wichita 89.1 .Ol KMUW Pontiac 99.5 20 WCAR -FM San Diego 104.7 .96 KWFM Pocatello 96.5 1.8 WSEI-FM Port Huron 99.1 22 WITH -FM S Francisco* 91.7 1.2 KALW Twin Falls 99.7 3 KTFI-FM KENTUCKY Royal Oak 104.3 18 WEXL-FM S Francisco 103.7 44 KCBS-FM Ashland 93.7 4.1 WCMI -FM Saginaw 98.1 1.7 WSAMFM ILLINOIS S Francisco 106.1 50 KGO -FM Bwing Gm 101.1 8.4 WBON Summit Twp 92.3 16 W I BM -FM S Francisco 97.3 10 KGSF Alton 99.9 9.1 WOKZ-FM Henderson 99.5 20 WSON -FM Wyandotte 103.1 I WJJW S Francisco 98.9 Bloomingtn 101.5 15 WJBC-FM 35 KJBS -FM Hopkinsvle 98.7 8.7 WHOP -FM MINNESOTA S Francisco 99.7 45 KNBC-FM Blue Island 94.3 1 WRBI Lexington' 91.3 2.3 WBKY Duluth 92.3 62 WEBC S Francisco 96.5 44 KRON-FM Canton 100.9 .65 WBYS-FM Lexington 94.5 2.9 WLAP -FM -FM Mankato 103.5 47 KYSM S Francisco 94.9 16 KSFH Carmi 97.3 11 Louisville 100.7 30 WBOX -FM Minneaplis 97.1 WTCN San Jose 92.3 340 KRPO Centralia 96.5 2.4 WCNT-FM Louisville* 89.3 .01 WFPL il -FM Champaign 97.5 27 WDWS-FM Minneaplis 105.9 5.3 WTIS-FM San Jose 95.3 1 KSJO -FM Louisville 99.7 24 WHAS-FM Chicago 93.9 28 WAAF-FM Minneaplis 91.7 4À KUOM-FM Santa Ana 96.7 1 KVOE -FM Louisville 95.1 17 WRXW Chicago 97.1 13 Northfield 95.7 49 WCAL -FM S Monica 89.9 .46 KCRW WBBM-FM Louisville" 90.3 .O1 WSDX Chicago* 91.5 15 WBEZ St Cloud 104.7 50 KFAM -FM Sausalito 102.1 33 KDFC Madisonvle 103.1 1 WFMW -FM St Paul 102.1 57 KSTP -FM Stockton" 91.3 3.4 KCVN Chicago 96.3 19 WBIK Owensboro 92.5 60 WOMI -FM St Paul 99.5 90 WMIN Stockton 92.9 1.4 KGDM -FM Chicago 99.5 30 WEFM Owensboro 96.1 45 WVJS -FM -FM St Paul* 89.1 .01 Chicago 97.9 15 WEHS Paducah 93.3 32 WKYC WNOV COLORADO Winona 97.5 55 Chicago 94.7 25 WENR-FM Paducah 96.9 17 WPAD-FM KWNO -FM Denver 97.3 21 Chicago 93.1 WFJL KFEL -FM 29 MISSISSIPPI Denver 94.1 5.3 KLZ -FM Chicago 100.3 33 WFMF LOUISIANA Greenville 101.9 19 WJPR -FM Denver 95.7 43 KOA -FM Chicago 98.7 35 WGNB Alexandria 96.9 11 KALB-FM Gulfport 101.5 3 WGCM Chicago 101.1 24 WMAQ-FM Alexandria 99.7 4.7 KVOB-FM -FM CONNECTICUT Hattiesburg 97.9 2 WFOR -FM Chicago 95.5 46 WMBI-FM Baton Rge 104.3 3.2 WAFB -FM Greenwich 95.9 Jackson 102.9 50 WJDX -FM .46 WGCH Chicago 102.7 40 WMOR Baton Rge 98.1 7.6 WBRL Hartford 93.7 7 WDRC Meridian* 88.1 .01 WMMI -FM Chicago 105.9 9.3 WOAK Baton Rge 101.1 3 WLCS -FM Hartford 96.5 Meridian 98.5 3.6 WMOX -FM 8 WTIC -FM Chicago 101.9 30 WXRT Baton Rge 91.7 1.8 WLSU Meriden 95.7 7 IhMMW -FM Chicago Hts 95.9 .25 WCHI Lafayette 96.1 15 KVOL -FM MISSOURI N Britain 103.7 20 WFHA Decatur 102.1 31 WSOY-FM Monroe 104.1 17 KMFM Cp Girard'u 95.7 8 KFVS -FM New Haven 95.1 20 WAVZ -FM E St Louis 102.5 55 WTMV-FM N Orleans* 89.3 .01 WBEH Cp Girard'u 97.7 .29 KGMO

www.americanradiohistory.com Clayton 99.1 58 KFUO -FM Charlotte 107.7 7.7 WAYS -FM Oretech 88.1 .01 KTEC TEXAS Farmington 100.1 .30 KREI -FM Charlotte 99.9 277 ' WBT-FM Portland 92.3 56 KEX -FM Amarillo 100.3 3.4 KFDA -FM Jefferson Cy 98.5 9 KWOS -FM Charlotte 104.7 50 WIST Portland 101.1 48 KOIN -FM Beaumont 99.5 14 KRIC -FM Joplin 96.1 70 WMBH -FM Charlotte 103.5 38 WSOC-FM Portland 97.1 1.5 KPFM Belton 97.1 12 KMHB Kansas City 94.9 54 KCMG -FM Durham 105.1 36 WDNCFM Portland 98.7 44 KPOJ -FM Cleburne 94.3 .33 KCLE -FM Kansas City 98.1 9.7 KOZY Elkin 100.9 .35 WIFM Portland 95.5 3.4 KWJJ -FM Dallas" 91.7 .78 KVTT Kennett 98.9 6.9 KBOA -FM Fayetteville 98.1 12 WFNC -FM Dallas 104.5 34 KIXI -FM Poplar Bluff 94.5 16 KWOC -FM Forest City 93.3 1.5 WBBO -FM PENNSYLVANIA Dallas 92.5 40 KRLD -FM Sedalia 99.7 15 KDRO -FM Gastonia 101.9 11 WGNC -FM Allentown 100.7 6.9 WFMZ Dallas 107.9 86 KYBS Springfield 94.7 11 KTTS -FM Goldsboro 93.3 35 WEAR Allentown 106.3 .78 WKAP -FM Dallas 101.1 68 WRR -FM St Louis' 91.5 12 KSLH Goldsboro 105.5 .41 WFMC Allentown 99.9 8 WSAN -FM Dallas" 89.3 .01 St Louis 93.7 71 KXOK -FM Greensboro 97.3 23 WFMY Altoona 103.7 3.6 WFBG -FM Denton 106.3 .76 KDNT -FM Greensboro 100.3 37 WGBG -FM Altoona 100.1 .13 WJSW -FM Edinburg 104.9 1 KURV -FM NEBRASKA Greensboro'. 89.9 .01 WGPS Bethlehem 95.1 10 WGPA -FM El Paso 88.5 .01 KVOF -FM 10L5 6.9' KJSKFM Columbus Henderson 92.5 9 WHNC -FM Braddock 96.9 6.9 WLFM Ft Worth 100.5 50 WRAP -FM 102.9 22 KFOR -FM Lincoln Hickory 102.9 210 WHKY -FM Butler 103.9 .72 WBUT -FM Galveston 98.7 8 KLUF -FM 98.7 8.7 KBON -FM Omaha High Point 95.5 37 WHPE -FM Butler 97.7 .56 WISR -FM Goose Creek 92.1 .87 KREL -FM 95.9 .70 WCHA -FM 102.9 KPRC -FM NEVADA High Point* 89.3 .01 WHPS ChambrsbrgButler Houston 57 Dubois 102.1 9.5 WCED -FM Houston 101.1 29 KTRH-FM Las Vegas 103.9 .36 KENO -FM High Point 99.5 38 WMFR -FM Laurinburg 96.5 8.8 WEWO -FM Easton 98.3 1 WEEX Houston 91.3 9.6 KUHF NEW HAMPSHIRE Leaksville 92.7 .82 WLOE -FM Easton 107.9 11 WEST -FM Houston 96.5 14 KXYZ -FM Claremont 106.1 1.5 WTSV -FM Lexington 94.3 30 WBUY -FM Erie 97.1 2.5 WEEL Longview 105.9 9.8 KLTI -FM Manchester 100.1 1 WKBR -FM Marion 106.9 325 WMIT Erie 99.9 9.7 WERC -FM Lufkin 95.5 2.9 KRBA -FM Manchester 95.7 3.3 WMUR -FM Mayodan 933 .38 WFMB Erie 97.9 7.8 WLEU -FM Plainview* 88.1 01 KHBL Nashua 106.3 1 WOTW -FM Raleigh 96.1 25 WNAO -FM Harrisburg 100.9 1 WABX Sn Antonio 99.5 250 KISS -FM Raleigh 94.7 15 WPTF -FM Harrisburg 97.3 4 WHP Sn Antonio 92.9 48 KONO -FM NEW JERSEY Raleigh 101.5 54 WRAL -FM Havertown" 89.3 .01 WHHS Sn Antonio 101.5 15 KTSA -FM Alpine 93.1 6 WFMN Reidsville 102.1 1.6 WREV -FM Hazleton 97.9 7.6 WAZL -FM Temple 107.5 1.9 KTEM -FM 94.3 1 WJLK -FM 11 -FM 98.1 40 KCMC -FM Asbury Pk Roanke Rpds 983 16 WCBT -FM Johnstown 105.3 'WARD Texarkana 14 -FM -FM Atlantic Cy 100.7 WBAB Rocky Mt 100.7 33 WFMA Johnstown 953 8.3 WJAC Tyler 101.5 4.3 KGKB -FM Atlantic Cy 98.5 15 WFPG -FM Rocky Mt 92.1 .27 WEED -FM Lancaster 101.3 3.8 WGAL -FM Vernon 98.7 8 KVWC -FM 9 WSNJ -FM -FM Bridgeton 98.9 Salisbury 106.5 20 WSTP -FM Lancaster 96.9 20 WLAN Wichita Falls 99.9 9.7 KWFT -FM 1 WPOE Elizabeth 96.7 Sanford 103.1 .33' WSNS Lebanon 104.1 4.7 WLAB WAAT-FM -FM Newark 94.7 13.5 Sanford 105.5 .49 WWGP -FM Lebanon 100.1 /2 WLBR UTAH Newark 91.1 2.5 WBGO 96.1 2.6 WONS -FM Lewiston 97.9 2.3 WLTN Ephraim 88.9 .01 KEPH -FM Shelby Newark 102.7 20 WNJR Statesville 105.7 2.4 WSIC -FM Meadville 100.3 10 WMGW -FM Mt Pleasant 88.1 .01 KSNA 1 WCTC -FM -FM N Brunsw'ck 98.3 Thomasville 98.3 .45 WTNC -FM McKeesprt 104.9 .50 WMCK Salt Lke Cy 98.7 .90 KDYI-FM 1 WDHN -FM N Brunsw'ck 93.5 Wilmington 96.3 13 WMFD -FM New Castle 101.1 3 WKST Salt Ike Cy 100.3 5.9 KSL -FM WPAT -FM Paterson 103.5 17 Winstn -Slm 93.1 34 WAIR -FM Philadlphia 98.1 11 WCAU -FM 1 VIRGINIA Plainfield 1019 WXNJ Wnstn -Slm 104.1 48 WSJS -FM Philadlphia 102.1 10 WFIL -FM So Orange' 89.5 2 WSOU Philadlphia 95.7 20 WFLN Arlington 105.1 2.9 WARL-FM -FM Trenton 973 14 WTOA OHIO Philadlphia 105.3 20 WHAT -FM Crewe 104.7 14 WSVS 97.9 -FM Akron 97.5 15 WAKR -FM Philadlphia 94.1 17 WIBG -FM Danville 32 WBTM NEW MEXICO -FM Harrisnbrg 100.7 36 WSVA -FM Alliance 101.7 1 WFAH Philadlphia 93.3 20 WIP Albugrque 89.1 .35 KANW 97.5 3.7 -FM Ashland 101.3 10 WATG Philadlphia 102.9 20 WPEN -FM Lynchburg WLVA 100.1 .94 WWOD -FM YORK Ashtab)la 103.7 52 WICA -FM Philadlphia 90.1 .01 WPWT Lynchburg NEW 96.3 2.7 WMVA -FM 93.9 2.1 WROW -FM Athens 88.1 01 WOUI Pittsburgh 92.9 9 KDKA -FM Martinsville Albany Nws 96.5 38 WGH -FM Auburn 96.1 18 WMBO -FM Bellaire 100.5 20 WTRF -FM Pittsburgh 98.1 20 KQV -FM Newprt 43 WHDL -FM Canton 92.5 14 WAND -FM Pittsburgh 96.1 12 WCAE -FM Norfolk 1023 8.2 WRVC Alleghany 95/ 97.3 50 WTAR -FM 92.7 .33 WINK -FM Canton 94.9 1.7 WCMW -FM Pittsburgh 91.5 2.7 WDUQ Norfolk Binghamtn 99.7 100 WSAP -FM 100.5 12 WNBF -FM Canton 94.1 25 WHBC -FM Pittsburgh 99.7 24 WJAS -FM Portsmouth Binghamtn Richmond 98.1 34 WCOD 105.9 19 WBRO Cincinnati 105.1 10 WCPO -FM Pittsburgh 93.7 20 WKJF Brooklyn 21 WLEE -FM 91.5 20 WNYE 101.9 13 WKRC -FM Pittsburgh 101.5 19 WPIT -FM Richmond 102.9 Brooklyn' Cincinnati 50 WRNL -FM 106.5 105 WBEN -FM Cincinnati 101.1 9 WLWA Pittsburgh 94.5 20 WWSW -FM Richmond 102.1 Buffalo 94.5 25 WRVB 92.9 48 WBNY -FM Cincinnati 102/ 15 WSAI -FM Pottsville 953 5.1 WPAM -FM Richmond Buffalo 94.9 41 WDBJ -FM 104.1 7.7 WWOL -FM Cleveland* 90.3 10 WBOE Pottsville 101.9 2.8 WPPA -FM Roanoke Buffalo 103/ WROV -FM 103.3 4.6 WXRC Cleveland 103.3 14 WCUO Reading 92.9 9 WEEU -FM Roanoke .28 Buffalo Roanoke 99.1 4.7 WSLS -FM Vly 101.9 1.4 WVCV Cleveland 98.5 11 WERE -FM Scranton 93.7 2.8 WARM -FM Cherry Suffolk 107.7 10 WLPM -FM Coram 97.5 15 WFSS Cleveland 100/ 11 WHK -FM Scranton 101.3 1.8 WGBI -FM Winchester 92.5 13 WRFL Corning 106.1 4.2 WCLI -FM Cleveland 104.1 19 WJW -FM Scranton 92.3 1.8 WQAN -FM Cortland 99.9 14 WKRT -FM Cleveland 105.7 14 WTAM -FM Scranton 88.1 .01 WUSV 102.9 26 WPIC -FM WASHINGTON Twp 105.1 1.3 WVCN ClvInd Hgts 95.3 1 WSRS -FM Sharon DeRytr 103.9 .41 KWLK -FM Endicott 101.7 .54 WENE -FM Columbus 92.3 33 WCOL -FM Sunbury 94.1 4.4 WKOK -FM Longview Pasco 103.9 .58 KALE- FM Floral Pk 90.3 .35 WSHS Columbus 97.1 4.1 WELD Uniontown 105/ 1.5 WMBS -FM 92.1 35 WNAE -FM Seattle 98.1 15 KING -FM 98.3 1 WHLI -FM Columbus 98.7 15 WHKC -FM Warren Hempstead 100.7 4.5 KIRO -FM 105.3 8.3 WWHG -FM 96.3 15 WLWF Washingtn 104.3 6 WJPA -FM Seattle Hornell Columbus KISW 97.3 40 WHCU -FM 89.7 14 WOSU -FM Wilkes -Brre 98.5 2.2 WBRE -FM Seattle 99.9 2.1 Ithaca Columbus 98.9 14 KOMO -FM 91.7 .01 WITJ Columbus 94.7 52 WVKO Wilkes -Brre 96.1 3.1 WILK -FM Seattle Ithaca 10 KTNT 93.3 93 WJTN -FM Dayton 99.1 19 WHIO -FM Wilkes -Brre 103.3 3.1 WIZZ Tacoma 97.3 Jamestown Tacoma 91.7 3.5 KTOY Lockport 99.3 .75 WUSJ -FM Dayton 97.5 18 WLWB Williamsprt 105.1 3.2 WLYC Massena 105.3 13 WMSA -FM Dayton 104.7 43 WTWO Williamsprt 100.3 3.2 WRAK -FM 105.7 13 -FM WEST VIRGINIA 93.5 1 WGNR -FM Elyria 107.3 15 WEOL -FM ork WNOW N Rochelle Beckley 101.3 35 WCFC 993 18 WARF Findley 100.5 8.2 WFIN -FM ork 98.5 8 WRZE New York Beckley 993 34 WJLS -FM 106.7 10 WALK Fostoria 105.5 .45 WFOB ork 103.3 20 WSBA -FM New York Charleston 98.5 5.2 WGKV -FM 101.1 5.8 WCBS -FM Fremont 99.3 1 WFRO -FM New York HODE ISLAND Charleston 973 22 WKNA -FM New York 107.5 20 WEVD -FM Hamilton 103.5 8.7 WMOH -FM rovidence 95.5 14 WJAR -FM Clarksburg 95.1 2 WPDX -FM York 104.3 17 WFDR Kent 88.1 .01 WKSU -FM New rovidence 107/ 20 WLIV Fairmont 92.3 4.8 WJPB York 90.7 3.5 WFUV Lima 102.1 15 WIMA -FM New rovidence 105.1 20 WPJB Huntington 100.5 53 WHTN -FM 101.9 10 WGHF Lima 103.3 25 WLOK -FM New York rovidence 92.3 20 WPRO -FM Huntington 102.5 41 WPLH -FM York 95.5 6.5 WJZ -FM Marion 106.9 2.3 WMRN -FM New rovidence 913 2.9 WPTL Logan 103.3 2.7 WLOG -FM York 92.3 11 WMCA -FM Mt Vernon 93.7 3.2 WMVO New Woonzockt 105.5 .39 WWON -FM Martinsburg 94.3 .81 WEPM -FM New York 100.3 18 WMGM -FM Newark 100.3 8.5 WCLT -FM Morgantown 99.3 1 WAJR FM York 97.1 1.6 WNBC -FM 88.1 .01 WMUB New Oxford SOUTH CAROLINA Oak Hill 94.1 19 WOAY -FM 93.9 18 WNYC -FM Portsmouth 7 WPAY -FM New York 104.1 Anderson 101.1 41 WCAC 106.5 8.9 WPAR -FM 98.7 WOR -FM 103.5 2 WSTV -FM Parkersbrg New York 3.4 Steubenvle Charleston 96.9 36 WCSC -FM 97.3 16 WKWK -FM New York 96.3 11 WQXR -FM Toledo 101.5 20 WSPD -FM 95.1 WTMA -FM Wheeling Charleston 49 Wheeling 98.7 15 WWVA -FM Niagara Fls 98.5 46 WHLD -FM Toledo* 91.3 .73 WTDS Columbia 94.5 L3 WIS -FM -FM WTOL -FM Ogdensbrg 106.1 14 WSLB Toledo 104.7 50 Greenville 923 12 WESC -FM WISCONSIN Oswego 104.7 3 WOPT -FM Toledo 99.9 8.8 WIRT 93.7 160 WFBC -FM Greenville 51 WHKW Pghkeepsie 104.7 2.3 WHVA Wooster 104.5 13 WWST -FM Chilton` 89.3 Greenville 94.9 79 WMRC -FM 88.3 50 WHWC Rochester 98.9 20 WHFM Worthington 97.9 340 WRFD -FM 8.6 WCRS -FM Colfax Greenwood 95/ Delafield 90.7 52 WHAD Rochester 97» 7.7 WRNY -FM Youngstwn 105.1 50 WFMJ -FM Rock Hill 97.5 9.4 WRHI -FM Eau Claire 94.1 60 WEAU -FM Schenectdy 101.1 3.5 WBCA Youngstwn 98.9 18 WKBN -FM 100.5 11 WDXY Spartanbrg Greenbay 101.1 14 WJPG -FM Schenectdy 99.5 6 WGFM 98.9 4.9 WSPA -FM Spartanbrg Greenfield 94.9 37 WWCF S Bristl Twp 95.1 1.3 WVBT OKLAHOMA 88.1 .Ol WSPE Durant 107.3 2.9 KSEO-FM SOUTH DAKOTA Holmen 90.3 25 WHLA Springvlle 99.9 15.5 WCLO -FM Syracuse 88.1 .69 WAER Enid 102.7 5.2 KCRC -FM Rapid City 94.7 16 KOTA -FM Janesville KBIX -FM Madison 104.9 .93 WFOW Syracuse 102.5 8.5 WNDR -FM Muskogee 983 3.3 KMUS TENNESSEE Madison 101.5 207 WIBA -FM Syracuse 943 9 WSYR -FM Muskogee 101.5 8/ -FM Troy 91.3 .46 WEVR Norman' 90.9 7 WNAD -FM Bristol 96.9 10.4 WOPI -FM Madison 98A 52 WISC -FM 92.3 5.4 WFLY Oklhma Cy 94.7 176 KOCY -FM Chattanooga 96.5 42 WDOD -FM Madison.' 88.7 9.3 WHA-FM Troy 98.1 4.2 WVUN 103.9 .25 WDLB -FM Troy 102.7 3.5 WTRI Oklhma Cy 105.9 3.3 KOMA -FM Chattanooga Marshfield KTOK -FM Jackson 100.7 50 WTJS -FM Merrill 100.7 20 WLIN -FM Utica 96.9 9 WIBX -FM Oklhma Cy 104.3 4 KSPI Johnson Cy 100.7 9.7 WJHL -FM Milwaukee 94.1 35 WEMP -FM Utica 105.7 4.3 WRUN -FM Stillwater 93.9 3.9 -FM Kingsport 98.5 44 WKPT -FM Milwaukee 102.9 55 WISN -FM Watertown 100.5 14 WWNY -FM Tulsa 955 93 KAKC -FM Knoxville 93.3 2.8 WBIR -FM Neenah 98.5 3.2 WNAM FM Wethersfld 107.7 L3 WFNF Tulsa 97.1 1.2 KTUL -FM 1.1 Knoxville 97.3 76 WROL -FM 92.9 3.5 WOSH -FM White Pins 103.9 .12 WFAS-FM Tulsa 903 KWGS Oshkosh Knoxville 91.9 3.4 WUOT Racine 100.7 15 WRJN -FM NORTH CAROLINA OREGON Lenoir City 100.3 8.8 WLIL -FM Rice Lake 96.3 4.4 WJMC -FM Asheboro 92.3 10 WGWR -FM Albany 101.7 .71 KWIL -FM Memphis 106.9 17 WHHM -FM Sheboygan 100.3 15 WHBL -FM Asheville 104.3 9.2 WLOS -FM Eugene 90.1 AO KRVM Memphis 99.7 260 WMCF Waukesha 95.3 .23' WAUX -FM Burlington 101.1 34 WBBB-FM Eugene 99.1 8 KUGN -FM Nashville 97.5 71 WSIX -FM Wausau* 91.9 114 WHRM Burlington 93.9 2.8 WFNS -FM Grants Pass 96.9 3.1 KGPO Nashville 103.3 66 WSM -FM Wis Rapids 103.3 2A WFHR -FM

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1. This is the basic chart for all the 2. If each note on the piano could be 3. For technical reasons, the recording sketches in this series. struck with exactly the same intensity, a equipment introduces bass droop. The low- "frequency response" chart would look er the note, the less its recorded intensity. like this.

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What they are .. . What they do .. . rather low output, of the order of one one -hundredth that of a crystal pickup. In order to use these pickups Why they are needed it is necessary to provide additional amplification to increase their low output so that it is comparable to that of a radio tuner, and sufficiently strong to be fed into the regular amplifier. This is the primary function of the phonograph preamplifier. It will be recalled, from previous articles in this publica- AFEW years ago, only a handful of audio hobbyists tion, that the average audio amplifier increases the strength had ever heard of "record compensators and pre- of a given signal from a point of bare audibility in a pair amplifiers". Today, such units are to be found on of earphones, to one which is great enough to fill an over- every phonograph system designed to justify the name size room with the sound from the loudspeaker to which "high fidelity ". This article will describe th'function of it is connected. Thus a preamplifier is a supplementary these units and will explain how the need for them has amplifier, used not only with magnetic pickups but also arisen. with equipment such as microphones, which builds up For many years, phonographs have been equipped almost the output of these devices to a point where it is sufficient exclusively with crystal pickups. Even today, the low to drive a power amplifier. cost and the simplicity with which crystals can be con- On the other hand, an equalizer or compensator (the nected makes them the favored unit for commercial and two words are used synonymously) does not provide portable radio -phono combinations. any amplification; in fact, it introduces a loss in power. When a crystal pickup is used in phonograph equip- Rather, an equalizer balances the frequency response of a ment, its connection to an amplifier is relatively simple: pickup so that compensation is provided not only for it can be plugged into the same input as the radio tuner. the characteristics of the pickup but also for "falsifica- This is because its output voltage is of the same order of tions" of sound used in phonograph recording. magnitude as that of the tuner. A given setting of the While only perfectionists use equalization (or compen- volume control would produce approximately the same de- sation) with crystal pickups to improve reproduction of gree of loudness from the radio as from the pickup. high frequency sounds, every user of a magnetic unit must The last few years have seen the introduction of several employ equalization to achieve correct frequency response high -quality magnetic pickups. These are characterized by at the low frequency end of the spectrum. Thus, an un- extended frequency range and very low distortion, but equalized crystal pickup sounds somewhat muffled and

3 1

www.americanradiohistory.com Lowm Lag Loud ' L \\ _ mmnlrO4'l so. Soft » Lo. Wtn Lo. High I ow Hqn 6. "A" is the turnover frequency. The 7. This is the frequency response curve 8. Thus, by combining sketch 5 with 7, height "B" at 10,000 cycles is the amount of a record compensator. It is the exact we get back the original music, as shown of preemphasis. opposite of that shown in sketch 5. in 2, and scratch becomes almost inaudible.

boomy whereas an unequalized magnetic pickup sounds siasts played back these records with equipment capable thin because of its rapidly decreasing response below C of reproducing this full range, they found that surface above middle Cl. The absence or attenuation of the lower noise, or needle scratch, became quite noticeable and, to register is a much more serious fault to one's ears than most ears, extremely objectionable. Since this problem lack of sufficient treble; hence the matter of equalization was the greatest single obstacle to the acceptance of is much more important with magnetic than with crys- wide-range reproduction from records, a considerable tal pickups. amount of work was done to effect a solution. It may be of interest to inquire into the necessity for The use of better materials from which to make pressings equalization in the first place. From the viewpoint of the helped a great deal. It was also found that improving the reproducing system, the simplest recording characteristic quality of the reproducing system made the surface noise would be a flat one. If all frequencies could be recorded much less objectionable. But the greatest improvement with equal intensity, no equalization of magnetic cart- was achieved by increasing or exaggerating (pre- emphasiz- ridges would be needed. It happens that this is not only ing) the high notes as the pitch or frequency increased. impossible but, in some respects, undesirable. To consider By using preemphasis, the high frequency musical sounds the first aspect: the recording process is such that, with are made much louder than the background scratch. If a flat frequency characteristic, the amplitude or width of records so made are then played back through an audio the side -to -side stylus motion cut into the record increases system which incorporates the correct degree of de-em - as the frequency decreases, for a given power. It can phasis, the high frequency musical sounds will be repro- be demonstrated mathematically that this would result duced at their correct relative loudness, but needle scratch in such large amplitudes near the lower end of the musical will become almost inaudible. scale that record grooves would have to be spaced impracti- The phonograph preamplifier for magnetic pickups cally far apart to avoid intersection of adjacent grooves. must, then, not only provide enough gain to increase the More important still, no practical recording cutter could feeble output of the pickup sufficiently to drive the main cut such a groove and no pickup could follow it. amplifier, but it must also boost the bass to compensate This problem is solved by recording the bass end of the for the characteristic used in making the recording. It is scale with intensity progressively decreased as the fre- also desirable that it enable the user to "roll off" the quency decreases, and then playing it back with the inverse treble range when playing modern records, to counteract characteristic, that is, with equipment that progressively preemphasis. increases the intensity as frequency decreases. Above a In order to simplify the discussion up to this point, two certain frequency - called the turnover frequency - -- it is important problems have been omitted. One is that, un- feasible to record with a flat characteristic. fortunately, there has never been universal agreement on Without going into a long discussion of the electro- what recording characteristics should be used. Each mechanical characteristics of the various types of pickups, record manufacturer has simply gone ahead and used what- it can be stated that crystal cartridges do not need to em- ever degree of low frequency droop and high frequency ploy low -frequency equalization. On the other hand, preemphasis its engineers (or sales department) thought magnetic cartridges do require equalization. best, and has not hesitated to change its mind on occasion. This has brought about a situation in which 78 rpm. records in a given collection may have turnover frequencies WHAT of the high-frequency, or treble, part of the of 300, 500, or Boo cycles, with no preemphasis of high The scale? Until recently, recording engineers had all they frequencies, or with various degrees of preemphasis. re- could do to record all the higher notes with equal inten- most nearly perfect phonograph in the world cannot it is sity. Nevertheless, they were able to push the range produce all these records properly unless equipped up to 8,000 to io,000 cycles. When high- fidelity enthu- with some means of adjustment for the recording characteristics of the records themselves. 'Incidentally, it should be noted that middle C, corresponding to approximately With the advent of LP records, it appeared that a standard 256 cycles, is generally considered to be in the bass range by the audio engineer, although it certainly is not low- pitched note from the musician's point recording characteristic would at last Continued on page 66 of view.

www.americanradiohistory.com c. burke discusses Olpe'.;'

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AATORDS and phrases of alien speech are received into buffa, although it meets the conditions of our definition. all languages and many become naturalized. Mozart himself gagged at such a qualification and called Some are not retained; and the process of selec- it a "dramma giocoso", needing a new term for an un- tion and rejection could produce an entertaining study by precedented offering. somebody else somewhere else. We are not philologists In the United States, we are considerably troubled by here, although anyone who has thought about it must the nomenclature of the musical stage: we are inclined to have wondered why beau idéal and non de plume were both call anything "grand opera" if it is played at the Metro- received with apparent equal favor into English, although the politan Opera House, and when Die Fledermaus prevails first is useful and would seem clumsy in translation as "ideal there, we find in this grand operetta a perplexity and an beautiful "; while the second seems to serve no purpose and anomaly. The term "grand opera" in fact extorts a measure is neither French nor English. What confronts us here is a of contempt, which plain "opera" or "music- drama" does word, "buffa", which is plainly akin to buffoon, which has not. The grand implies the spectacular, and Aida is con- not been taken into our language except by the moderately jured, with an emphasis on elephants, lions and other learned, but which implies something for which we have big beasts. no exact English equivalent. When we use this word we For well more than a year the most arresting aspect of do so as a tender abbreviation for "opera buffa", a phrase the phonographic repertory has been the issuance of of restricted currency. It means something to us; it is complete operas (grand, comic, music -drama, singspiel, certainly literally translatable as "comic opera ", yet is seria and buffa) on LP, the majority recorded for the first definitely not to be translated properly by that very fragile time, some never publicly performed in this country and art form. A translation will not be attempted here. Readers at least one - Haydn's Orfeo -not previously performed any- must be contented with a clumsy definition, accurate where in its entirety. Judging entirely by memory, disdaining nonetheless, and based on musico- dramatic studies rather research when the examples are recollected spontaneously, than lingual. "Opera buffa" describes opera with a farcical one can cite the recent appearance of an opéra comique by bias, the bent being slight, or great, but always present Auber, another by Donizetti, a lyrical tragedy by Cilea, and sometimes predominant. The Barber of Seville is buffa a buffa by Rossini, seven stage works by Mozart expres- and so is its stupendous predecessor, The Marriage of sive of four kinds of opera, the three most famous works Figaro. Formally Falstaff almost blatantly illustrates the of Richard Strauss and three delightful, thoughtless mas- meaning: but we cannot admit the operettas - the comic terpieces of Johann Strauss, three tremendous dramas by operas, light operas, the burlesques with music - of Offen- Wagner with five more announced, a dozen from Verdi, bach to this category, and instinctively we revolt at de- both hackneyed and obscure, the most enduring of stage claring the fervent and exalted turmoil of Don Giovanni comedies, La Serva Padrona; and one less buoyant but

www.americanradiohistory.com older, Alessandro Scarlatti's Trionfo deli' Onore, Cimarosa's effect of such a commendable production is to make us deft masterpiece, The Secret Marriage, Webei s unique, wish for a better. The good established a criterion, and captivating and horripilous Freischütz, and, as if to sym- where in one part or another perfection is approached, bolize how incredibly ratified the discal repertory can be- we are discontented because it is not attained everywhere. come, Hugo Wolf's neglected Corregidor. By playing our imaginations and putting the phonograph into action we envision the perfect Marriage of Figaro, with every sparkling implication, every subtle allusion, THE phenomenon is large. It must be assumed that a every dexterous glimpse of mood apparent to our closed great number of these editions have been successful or we eyes without any uncomfortable awareness of over -effort. should see the flood waning toward discontinuance. Basi- We play the records of Figaro and Falstaff so that we may cally, opera in an uneconomic society would be the most see them better. We play the records of Trovatore and widely popular of the arts, since it contains all seven; but Siegfried so that we will not have to look. in this multiplication of phonographic operas, this endowment of ten thousand private opera houses, so to speak, across the continent, we find not true opera which is NO musical form has been untouched by recording fleshed and visible, architectural and alive, but only what engineers. Buffa is abundant on records. The form has in is audible of it. the course of its near 25o years of existence undergone Of course, it is possible to be jocular here about the ad- many mutations and is now quite unfixed, but the genius vantages of an exclusively aural Trovatore over the stupe- of good buffa is quite unseizable by contemporary corn- fying spectacle of this lamentable puzzle on the stage. posers. The phonograph presents the form in all its great- Siegfried and Brünnhilde, as we habitually are forced to est periods, one company, Cetra- Soria, having spread a see them, meet the magic of the music prepared for them recorded panorama through time to embrace its origin, its only by a majestic bulk, or by a supremacy of bathos in marvelous development and its rough -house culmina- efforts to characterize ineffable personages. tion. The value of such a presentation, to students of In expressing this jocular point of view, that it is often opera and of buffa particularly, is obviously enormous easier to stomach the sound of opera than the sight of it, since three of these important comedies are almost never it is quite likely that one is expressing the simple truth. heard in America, and the value, in pure enjoyment, to Certain operas - these most often of a serious or weighty music -lovers, is probably higher because purer. sort - are not truly performable although we see attempts to perform them. Without dwelling on the highly variable histrionic ability of singers we may say that in the grandest operas the best singers lack semblance of grandeur: we ALESSANDRO SCARLATTI: Il Trionfo deli' Onore, or have no one who looks like Siegfried, or Salomé, or Rha- Ii Dissoluto Pentito. dames, or Alberich or Fafner. We begin to find semblance Opera buffa in three acts to a text by Francesco Antonio in operas portraying a more common humanity, as in Tulio. First performance in Naples in 1718. Recorded Freischütz, Meistersinger, Traviata and Louise, all of which in 1951 by Cetra -Soria on two double -sided LP records, can be seen in customary performance without pain. Thus, No. 1223. I hr. 21 mins. Cast: Amedeo Berdini (t). according to this point of view, Trovatore and Götterdäm- Amalia Pini (ms), Ornello Rovero (ms), Eugenia Zares- merung would realize a completer necessity on records chan ka (c), Mario Borriello (bs), Rossana Zerbini (s), Sante Freischütz or Manon, although as a matter of fact all are Messina (t), Afro Poli (bne). Orchestra of Radio Itali- to be found on records. ana conducted by Carlo Maria Giulini. In buffa - that form of musical play tinted with farce, It has long been conveniently assumed that La Serva rarely exclusively homey and almost never spectacular - Padrona was the first opera buffa. This is untrue and a we have circumstances which do not prevail in other types cursory glance at musical history shows it to be untrue; of opera. Even in inexpert performances, buffa generally but convenience is reluctantly abandoned in favor of presents someone or something amusing to look at; con- truth or anything else. Perhaps we shall never know ventionally there is a bubbling action, a light -hearted in- what was the first buffa, the records of musical antiquity consistency of situation, that can compel attention and being incomplete and often obscure. We do know that interest over a good period of time. this Triumph of Honor was one of the first and almost cer- The trouble with buffa as a practicable stage form is the tainly the first written to a formal - as opposed to dialec- patent inadequacy of a large part of the cast as farceurs. tal - Italian text. Alessandro Scarlatti - like the first No opera house in the world has at its command a complete Johann Strauss, a great musician outshone by a greater company of singing actors and actresses gifted in their son - composed more than a hundred operas of which stage conduct with the deft unselfconscious grace required the present is one of the latest and has proved the most for the highly special quality of lively buffa. It is possible enduring. The material is simple and the means fragile. to see very good performances of Figaro, the Barber and The stock in trade of later operas is already pretty well Falstaff,. but it is impossible anywhere to see perform- established: we have sets of lovers contrasted in serious ances of these excellent right down the line, perfect in and comic situations with artificial obstacles interposed every characterization and every tonal utterance. The to their sentimental union long enough to delay the Metropolitan Opera House mounts a good Figaro: the denouement for the necessary three acts. A desirable

www.americanradiohistory.com soubrette appears, and although the cunning of this one vivacity always newly fresh and much nearer Mozart, not yet does not reach the rich development of such later marvels born, than Alessandro Scarlatti, only a few years dead. as Serpina, Suzanna and Despina, Scarlatti's Rosina must The disc is ably contrived. Both singers are adept in duly be acknowledged as the prototype of her wonderful their characterization and at home in the tripping vocal sisters. An ancient lecher pursues this wench and is thwarted style. Simonetto permits no faltering of the pace and ex- by an ancient termagant. In the course of the succeeding torts both warmth and diversity from his small band of two centuries such characters became integral parts of a instruments. The recording, as such, is first -class. venerable tradition. What matters is how librettist and composer have put them into action. Scarlatti has managed well with the in- MOZART: Le Nozze di Figaro. cipient form and has left us a tasty broth lively and of Opera buffa in four acts on a text by da Ponte after brave melodies interspersed against a steady rhythmic Beaumarchais. First performance in Vienna in 1786. drive from the orchestra of strings and harpsichord. In Recorded in 1951 by Cetra -Soria on three double - these early buffas, all the action is indicated by the recita- sided LP records, No. 1219. z hrs. 29 mins. Cast: Italo tivo tecco; at some convenient point all action stops to Tajo (bs), Alda Noni (s), Fernando Corena (bs), Miti allow the participants a melodic expatiation of the emo- Truccato Pace (ms), Jolanda Gardino (ms), Sesto Brus - tion suggested by some phrase in the recitative. What cantini (bs -bne), Angelo Mercuriali (t), Gabriella Gatti they sing is not necessarily relevent to what they have (s), Cristiano Dalamangas (bs), Manfredi Pons de Leon been doing. A certain number of set pieces for the singers (t), Graziella Sciutti (s). Orchestra and chorus of Radio in solo and in concert is required, and Scarlatti, master of Italiana conducted by Fernando Previtali. tender, sentimental canzone, supplied a good deal of decorative, if not pertinent, musical matter. Recorded in 1951 by Columbia on three double - The Cetra -Soria edition is the only recording ever made sided LP records, No. SI. 114. I hr. S7 mins. Cast: Erich of this agreeable pioneering comedy. It contains some ex- Kunz (bne), Irmgard Seefried (s), Marjan Rus (bne), cellent singing, particularly from the men, and most Elisabeth Höngen (c), Sena Jurinac (s), George London particularly in the skillful exposition of a limpid antique (bs), Erich Majkut (t), Elisabeth Schwarzkopf (s), bel canto. The conductor maintains control over a decided- Wilhelm Felden (bs), Rosl Schwaiger (s), Hilde Czeska ly baroque creation, and most of the credit for euphonious (s), Anni Felbermayer (s). Vienna State Opera Chorus recapture of a rare and almost forgotten style belongs to him. and the Vienna Philharmonic Orchestra conducted by Herbert von Karajan. Recorded in 1935 by RCA Victor (HMV) on 33 sides PERGOLESI: La Serva Padrona. of 12-in. 78 rpm. records and announced for re- issuance Opera buffa in one act to a text by Jacopo Angelo Nelli. on LP but not received at this time. 1 hr. 54 mins. Cast: First performance in Naples in 1733. Recorded in 1950 Roy Henderson (bne), Aulikki Rautawaara (s), Audrey by Cetra -Soria on one double -sided LP record, No. Mildmay (s), Willi Domgraf- Fassbänder (bne), Luise 50036. 42 mins. Cast: Angelica Tuccari (s), Sesto Helletsgruber (s), Constance Willis (c), Heddle Nash (t), Bruscantini (bs). Orchestra of Radio Italiana conducted Norman Allin (bs), Winifred Radford (s), Fergus Dun- by Alfredo Simonetto. (There is also a version on Vox.) lop (bs), Morgan Jones (t), Italo Tajo (bs). Orchestra The incredible thing about this utterly impeccable gem and Chorus of the Glyndebourne Festival 1934, con- is that it had no predecessors. It happened. It was born ducted by Fritz Busch. out of the proportioned instinct of its youthful composer Seventy-five years of buffa preceded the Marriage of without anyone to point the way. The difference in dra- Figaro and nearly one hundred and seventy-five have fol- matic and musical style between this and II Trionfo deli lowed it; and it is hard to say which fact is the more amaz- Onore cannot be accounted for by anything that had ing - that so short a time could suffice for the culmina- happened in the fifteen intervening years. La Serva Padrona tion of a musical form, or that anyone, having heard this, has, in its beguiling simplicity, a classic nicety of plot and could dare to enter a field already harvested to perfection. action, a bright musical illumination of character and Into the hurried and shabby libretto degraded by da phrase and unconventional use of embellishment unheard Ponte from Beaumarchais' play, Mozart concentrated an and unimaginable in the earlier work. The story of this intensification of all the facets of a musical genius uni- "intermezzo" has a classic eloquence in its meager touch- versal in its sensitivity and always, everywhere, directed ing realization of a single human aspiration put to test. by the surest instinctive taste known to art. Serpina, soubrette, tires of working for her master without In da Pontés hands the witty and bitter social satire achieving status. She resolves to marry him, sets up a of the dramatist (who outfitted privateers for use against strategem to befuddle him and carries him victimized, the British in the American Revolutionary War) becomes reluctant, eager and doting, to the altar. There are two a commonplace and vulgar farce of sexual intrigue, pushed singing characters and a silent one. The orchestra holds at too rapid a pace and thus crammed with puzzling stagy no more than strings and harpsichord. With this little expedients. What is commendable in the dialogue is assemblage the composer, through recitative, aria and translated direct from Beaumarchais, but there is not duet, carries the hapless Uberto to his inexorable destiny much of it. We know that da Ponte had no concept of under the relentless control of the tactician Serpina, with a the nature of the Mozartian genius. We can apprehend

www.americanradiohistory.com the essence of that genius even more awesomely when seem to float often, ethereal and even, as if an emanation we hear how the tired phrases of the librettist have been without propulsive force. Rare is the woman who can transmuted into a musical comedy of manners irresistible do it beautifully with the invisible carry necessary to reach in its wit, compelling in its intensity and overwhelming an audience. Figaro is full of this kind of vocal difficulty, with a unified finesse unique and almost frightening. and the recitative which maintains much of the play re- The central figure in the currents of intrigue is the quites agility, distinction and intelligence. The recitatives soubrette, Suzanna, sketched by da Ponte as a resource- for the men denote extraordinarily their character, and fully shrewd young woman, vain in her resourcefulness require a thorough mastery by singers of the first quality. and pert in displaying her vanity, a little incredible and Thus the Marriage of Figaro has exceptional demands a little repellent in da Ponte's careless presentation. Illum- to make of the members of its cast, and in three recorded inated and glorified by the magic of Mozart's musical versions we have the remarkable feature that there is not logic she becomes the greatest woman in the world -- a bad singer in the lot. A few are no more than adequate, wise, tolerant, witty, spiritual, tender, exacting, humble, but the majority are emphatically more than good and calm, assured; a treasure and a prodigy, and a justification some are so rarely good that we have reason to give of the Count Almaviva's overwhelming need to have her. thanks that so many could be found to appear together. He, the Count, in this exquisite transfiguration of base The earliest version, Glyndebourne, has been since its motives, becomes likeable and ingratiating even, in a issuance a true phonographic classic. It is delivered in a melodic bitter display of his wounded pride, hopeless most consistently delicate-styled way by a completely lust and ever -failing, half -hearted efforts to restore him- unified company under the direction of the regretted Fritz self, to restore his own respect and that of his inferiors Busch. There is no escape from modal integrity in this who dominate his impulses. performance, which more than the others emphasizes the The adolescent eroticism of the page, Cherubino, hurled symphonic aspect of the opera. As Figaro, Willi Domgraf- into convulsive, timid then bold, centrifugal cascades of Fassbänder has the richest voice, and is perhaps, as a whole, sketchy attempts to abate its torment, is surely in his the best of the three. The Glyndebourne Almaviva, Roy music, necessarily given to a woman, a supreme triumph Henderson, handles recitative better than any of the men of human imagination; while the Figaro -a strong and in any part in the three versions, and his consistently aristo- vigorous figure impressed even on da Ponte's imagina- cratic intonation -a dramatic necessity - has a most tion - is in the composer's incarnation supplied with a easy and natural color. The women are more than com- moving humanity in full compensation for his over-sup- petent, particularly excellent in point of style. The notes ply of slick sharp wits. originally accompanying the three albums of this edition, Countess Almaviva is a lay figure if a libretto ever showed by Walter Legge, are not unworthy of the work. one. In the greatest uninterrupted sequence of imperish- The fault of the edition is its age. The technical quali- able, unbelievable stage music ever written - the finale ties of the recording in 1934 are very superior for 1934; of Act II - Mozart takes this rather quiescent victim of a and even now the 78's are highly listenable, with good husband's waywardness into complicity with vivacious, timbre, fair definition and very good balance. We should disingenuous, cunning and ruthless mendacity, altering call the range narrow today, but this will not he noticeable her flaccid habitual contour into a delightful and appealing, on many phonographs. The LP's have not been heard intimidating human guise. This woman and Suzanna, by the writer, but it is assumed on the basis of the re- defending themselves with all their weapons against just vealed proficiency of the Victor engineers, that the LP's and unjust suspicions, befuddling and anguishing the will be tonally somewhat superior to the prototypes, al- males they love, twisting with exquisite desperation to lowance made for some increase in low- frequency hack - escape the catastrophe imminent from their indiscretion, ground noise. have been painted life -size, fragile and tough in an un- The new Columbia edition by members of the Vienna forgettable music incomparably illustrative of transcendent, National Opera lavishes an amazing vocal opulence. The luscious, perfumed and elegant unconquerable bitchery. It women particularly are unsurpassed, with sure technique is an impossibility for a sentient man to hear the second carrying the round endowment of their voices to near act of Figaro without acquiring a deepened respect for perfection. The men are little behind them; for if George the resources of womanhood. London's Almaviva has less distinctive style than Hender- In writing the vocal parts for Figaro, Mozart, who son's, it has a greater warmth and breadth of essential wrote in a multitude of styles, maintained in this opera voice while Erich Kunz, Figaro, cannot be reproached for more than anywhere else a manner which, although he de- anything. The orchestra is very rich, Karajan's direction veloped rather than invented it, we think of as Mozartian. of it not dissimilar at any important point from Busch's This features an utterance, particularly from the women, leadership of the Glyndebourne band. The recording as of supple and fluent purity of line, and an avoidance of such belongs to the best current standards, with a very obvious bravura display (which for other dramatic effect conscientious insistence on repressing the voices into he used aggressively elsewhere, notably in the Magic Flute coöperation with the orchestra. Definition is naturally and the Seraglio). It is significant that in Don Giovanni superior to that of the older version. and Figaro, the greatest of operas, tenors who are capable The qualities specified form a basis for the most capti- of the greatest vocal excesses, are used only in subordinate vating performance of Figaro this writer has ever heard. roles. In Figaro the feminine voice must most especially Columbia here was right on the brink of producing a

www.americanradiohistory.com masterpiece of the recording art, quite possibly an im- edition the "unaccompanied" (secco) recitatives are ac- perishable classic. At this point some of those wondrous companied by a piano, in the Cetra, by a harpsichord. strategists whose subtlety concocts phonographic de- Librettos in both Italian and English are furnished with cisions of a kind so recondite that music lovers can never the three editions, the Glyndebourne translation by Faith hope to understand them, intervened determinedly to pre- Mackenzie, the Cetra by Edward J. Dent and the Colum- vent the calamity of integral triumph. A decision of the bia a singing version of older vintage. utmost spectacular boldness was taken, in accordance with Which is the most desirable? Well, the Glyndebourne what abstruse rationale no music lover will ever understand. is the most expertly stylized by Busch's unified concept. The recitativo secco, borne by all the characters, bearing the The Columbia is the most superbly sung. The Cetra, hum- plot and expressive of minutiae of sentiment and impulse, bler, is also the most human. With all its wonder the has been cut out; from beginning to end, all excised. What mutilated Columbia will presumably be unacceptable to is left is a senseless and formless monster of exceptional, Mozartians. The re- recorded tonal values of the Glynde- continuous and clashing beauty, a parade of disconnected boume may fall too far short of the convincing realism wonderful essays on the art of singing; flesh and blood of the Cetra. It would be prudent to compare Victor and without bones and sinews: a gorgeous tragic monu- Cetra side by side. Presumably either exclusive choice ment to Olympian ineptitude. will produce regret for the one excluded. Compared to the rival editions Cetra -Soria is deficient in vocal ripeness. Without exception, the five principals from Vienna and the five from Glyndebourne have a native CLMAROSA: Il Matrimonio Segreto. beauty of tone superior to that of the corresponding Opera buffa in two acts to a text by Giovanni Bertati singers from Italy. And yet the latter are all good, and after a play by Colman and Garrick. First performance not deficient in dramatic brio compared to the others. in Vienna in 1792. Recorded in 1951 by Cetra -Soria on Furthermore, Tajo's Figaro, less sensuously suave than his three double -sided LP records, No. 1214. Cast: Sesto rivals', has a forcefulness as frequently appropriate as Bruscantini (bs), Ornella Rovero (ms), Alda Noni (s), Domgraf- Fassbänder's insinuance. Gatti is a very per- Giulietta Simionato (ms), Antonio Cassinelli (bs), suasive Countess although her soprano has not Schwarz - Cesare Valletti (t). Orchestra of the May Festival, kopf's round splendor; and the versatile intelligent intona- Florence, 195o, conducted by Manno Wolf- Ferrari. tion of the Suzanna, Alda Noni, is unmatched. There will Buffa, an Italian art -form, was glorified beyond con- be surprise and intermittent discomfort at Previtali's oc- currence by the Bavarian Mozart, but human vanity and casionally relaxed direction, which at first can seem the temerity allowed many men, some very talented, to con- product of indifference. It becomes apparent after a time tend for his laurels. But the formula for making Mozarts that this is not so: the conductor's retarded tempos are is unique and remains unknown. What the best of his suc- employed for dramatic contrast and to heighten emotion, cessors achieved was a reflection of his manner and a and skill of a high order is evident in the ordered equability modicum of his essence. The most brilliant reflection was with which the orchestra adheres to the slowing down of Domenico Cimarosa's Secret Marriage, produced with such moving measures as the introduction to Porgi amor. enormous success in the city where Mozart's successes Here and elsewhere the treatment is effective and admir- had been without substance, the year after the composer able; in some places a brisker movement seems preferable. of Figaro had died there in misery. If there is some loss of sparkle accompanied by some Il Matrimonio Segreto has been steadily maintained in dents in the formal outline there is an increment of warmth, the operatic repertory ever since. If it is not Mozart, it a revelation of hidden harmonic detail. This edition has is a good superficial facsimile. It exhibits in abundance the imposing merit of sounding better at the third play- those qualities popularly considered the core of Mozart - ing than at the first. ness: grace, elegance, lofty taste and refinement. (This The sonic registration is peculiarly excellent. In naked estimate of Mozart gets to the heart of the composer by engineering terms the Columbia has fewer faults and is scratching his finger; it appraises the handwriting and somewhat brighter, whereas the Cetra has some variations not the message.) Cimarosa's masterpiece is actually bet- in volume, a few moments' difficulty with concerted voices ter than a pale imitation of Mozart's method. It shows an and some saliency of Tajo's voice on one side of a disc. instinctive sense of form, with a lively invention shaping But overriding these slight defects is the solid capture of the brightly varied melodic geometry. Cimarosa could an orchestra in perfect balance with a remarkable realiza- not reveal and forever fix a character unforgettably as tion of string tone as heard in the theatre. The recording Mozart could, but he could imply it, and the implications, emphasis is centered at a somewhat lower point in the if not profound, are apt and pungent. cyclic range than the Columbia engineers preferred, and The Secret Marriage is froth, high comedy relieved by this deepening of response coalesces very aptly with Previ- low in the light farcical tradition. Impediments are put tali's graver direction. in the way of desires in the first act and tumultously re- All three versions observe some cuts conventional in moved in the second. The desires are familiar, concerned performance besides Columbia's sensational elimination with love, fortune and prestige. An anxious spinster rela- of all the recitative. Glyndebourne makes the most ex- tive replaces the customary soubrette (after the miraculous tensive cuts of accompanied music and also omits some Despina of Cosi fan tutte, composed two years earlier, had relatively unimportant recitative. In the Glyndebourne left practically nothing for a soubrette to do). Young

www.americanradiohistory.com love thwarts the comic concupiscence of one of the first Hitherto the buffas we have examined are comedies of of a long procession of opulent stage milords. manners by eighteenth -century composers disciplined by The Cetra version of this engaging and spirited fluff the niceties of the most elegant of centuries. Falstaff was is the only one recorded. The performance is one of composed at the twilight of a century progressively bruti- highly stylized distinction, but unfortunately the technical fying itself, and its setting is a middleclass milieu in Eliza- qualities of the discs fall below the Cetra standard. In- bethan England, an uncouth spot in an adolescent empire termittently there is both vocal and orchestral opacity, in a rough era. Verdi's historical instinct, and Boitó s, and long extents of the music are burdened with thudding were as quick as their historical interest. The baseness in background noises. Were there another edition this one Falstaff is in itself no more atrocious than the baseness would not be considered, but another lacking, it was felt in Figaro; but the expression of baseness must aesthetically that the only recorded example of post -Mozart Mozartian and historically coincide with the manners of a period which buffa could not be ignored. differed as much from Mozart's as the north wind from the south. There is no delicacy in Falstaff. The comedy is brandished. The characterizations are burly and im- VERDI: Falstaff mutable. The action is breathless, and the orchestral Comedy in three acts to a text by Arrigo Boito after commentary browbeating. There is no time here for the "The Merry Wives of Windsor". First performance in set -pieces of conventional Italian opera, no insinuating Milan in 1893. Recorded in 1949 by Cetra -Soria on three melody justified by its own insinuation. The crowded double sided LP records, No. 1207. I hr. 54 mins. Cast: concerted scenes overwhelm with the accumulation of Giuseppe Taddei (bne), Saturn Meletti (bne), Emilio confusion inherent in the medley of primitive impulses. Renzi (t), Gino Del Signore (t), Giuseppe Nessi (t), There is an immense musical babble proportioned to Fal- Cristiano Dellamangas (bs), Rosanna Carteri (s), Lina staff's belly, and the subtle individual comments will not Pagliughi (s), Anna Maria Canali (ms), Amalia Pini be clear at the first hearing or the third. This endows (ms). Chorus and orchestra of Radio Italiana con- the work with some of the durability of a Beethoven ducted by Mario Rossi. symphony, in which there is always something new to This mighty 'musical monument to hilarity is not general- be heard. ly classed as buffa because neither composer nor librettist The Cetra edition is very good. A full- bodied and termed it such; but it seems to meet the definition to per- brazen recording expresses both the tumult and the detail fection, and no scruples of terminology are going to with shattering realism; and in this opera, where above deny the greatest Italian comedy in music by an Italian its all others the conductor is boss, Rossi drives his capable bustling place in this outline. subordinates relentlessly through their boisterous paces. The magic old man was nearly eighty when he composed It is entirely a credit to all concerned, and not likely soon his masterpiece to one of the finest librettos ever presented to become obsolete. to a composer of any quality, and easily the best musical adaptation of a Shakespearean text we have. Boito was a latter -day E. T. A. Hoffmann with profundity substi- This survey may be reproached for omitting Cosi fan tuted for fantasy - poet, historian, composer, journalist, tutte and The Barber of Seville. But the first does not exist librettist and soldier. He translated Wagner and the late on LP, and the second, in spite of its easy -going excellence, influence of the gigantic German must have influenced is so terrifyingly inferior to Figaro - exploiting the same Boito to influence Verdi to a readjustment of his operatic characters - in all the miraculous perceptions that make way, especially with the old composer already piqued - Mozart incomparable, that the writer felt himself simply but not resentful - by his German coeval's contemptuous unable to do justice to Rossini in a discussion center- reference to the Verdi orchestra as "a gigantic guitar". ing on Mozart.

Record Critic's Home System Several readers have suggested that criticism of the sound on phonograph records would have greater validity if the type of equipment used by our record critics were indicated. The suggestion is a good one, but hard to answer specifically. For instance, the accompanying illustration shows one end of C. G. Burke's living room at the time when he was reviewing records for this issue of HIGH -FIDELITY. The other end was occupied by a group of five speaker enclosures! We admit, this "mess" is not customary. Burke has been in the throes of collaborating on a book, "The Saturday Review Book Of Recorded Music and Sound Reproduction" which will be published shortly. He wanted to conduct comparative listening tests and, as is more than evident, equipment manufacturers cooperated wholeheartedly! By comparison, John Indcox strikes a note of complete simplicity. His equipment includes a Pickering cartridge and preamplifier, custom -built amplifier, and a three speaker system which uses an Air-Coupler for the low frequency end.

www.americanradiohistory.com RECORDS OF THE GREAT

Last August, House Beautiful devoted an entire issue dudes music not found in the recordings by Ormandy to the subject of music in the home. It was a most (Columbia LP: ML 20S4) or Van Beinum (London stimulating issue, full of worthwhile suggestions and LP: LLP 214) ideas. One feature in particular caught our attention: Charpentier Louise Ten famous artists prepared for House Beautiful a Vallin, Thill etc., Columbia Set MOP 12 (78 rpm.). De- brief tabulation of those selections which he or she leted this month from the Columbia catalog, but still avail- would choose to form the core of a record library. able in many stores. This is an abridged version made However, no particular recordings of recommended when both Vallin and Thill were at their best. selections were specified. In some cases, as many as twelve recordings of a single work are available! JAN PEERCE, tenor So we put the question to John Indcox, asking him Brahms Concerto No. 2 to supplement the House Beautiful lists with his Serkin, Ormandy and Philadelphia Orch., Columbia LP: recommendations as to which of the available re- ML 4014. I prefer this to the bravura performance of cordings he considered the best - best, from the Horowitz and Toscanini, recently reissued on Victor LP: point of view not only of musicianship but also of LCT 1025. recording technique. Here are his suggestions and Sousa Stars and Stripes Forever comments (in italics): Toscanini, NBC Symphony Orch., Victor 1 r -9188 (78 rpm.) Bach Concerto for Two Violins and Orchestra Heifetz, RCA Chamber Orch., Victor LP: LM torr Grieg Concerto for Piano and Orch. JENNIE TOUREL, mezzo -soprano Rubinstein, Dorati and RCA Symphony Orch., Victor Mozart "Ach, ich fuhls" from The Magic Flute LP: LM ror8 Tiana Lemnitz, Victor LP: Album LCT 6ro1 Rimsky -Korsakov Scheherazade Verdi "Ave Maria" from Otello Monteux, San Francisco Symphony Orch., Victor LP: Rosa Ponselle, Victor LP: LCT 10 LM 1002 Albéniz Ibéria Bach Arias Claudio Arrau, Columbia LP: ML 4194 Very large number available Schubert Die Schöne Müllerin Romberg Gems from Sigmund Romberg Shows No domestic recording is entirely satisfactory and it is Selections from this composer's many operettas and musical necessary to turn to the Aksel Schiotz performance on comedies may be found on Victor LP: LM 74; LM 89; HMV 78 rpm: DB 9113 -9122 LM 93 Verdi "Addio del passato" from La Traviata Rodgers Selections from Oklahoma Claudia Muzio, Columbia LP: ML 4404 Original cast recording, Decca LP: DL 8000 Moussorgsky Pictures at an Exhibition Chopin Ballades Vladimir Horowitz, Victor LP: LM 1014 On LP records the most satisfactory recording is that by Casadesus on Columbia LP: ML 2137 ... though it DOROTHY KIRSTEN, soprano does not compare with the old Cortot performance on Vic- Puccini Madame Butterfly tor DM 399, now deleted from the catalog and quite Complete opera by Metropolitan, Columbia LP Album difficult to find. SL1o4 Debussy La Mer Ravel Daphnis et Chloé -both suites Ansermet, Orchestre de la Suisse Romande, London LP Ormandy and Philadelphia Orch., Columbia LP: ML LLP 388 43 r6 Gershwin Porgy and Bess ANDRE KOSTELANETZ, conductor Anne Brown, Todd Duncan etc., Decca LP: DL 7006. Haydn Symphony No. 88 in G Major Although this is an abridged version of the Gershwin Ormandy, Philadelphia Orch., Columbia LP: ML 4109. work, the and recording dates from the late thirties, I The Toscanini performance on Victor LP: LCT 7 it one prefer it to the recently issued Columbia version on LP: of bis least successful recordings. SL 162 Verdi Requiem Handel Water Music Suite There is no recording currently available of this choral Bales, National Gallery Orchestra, IVCFM LP -2. In- masterpiece, Victor: DM 734 with Pinza, Gigli, Stignani,

www.americanradiohistory.com Caniglia, Chorus and Orch. of the Royal Opera of Rome performance and recording, vastly superior to the version under Srafin, dating from the thirties, having been deleted. on Victor: LM 6zoo by Shaw, RCA Victor Chorale Mozart Eine Kleine Nachtmusik and Orch. Munchinger, Stuttgart Chamber Orch., London: LPS 385 Beethoven Quartet No. 5, Op. 18 Stravinsky The Fire Bird Suite Paganini Quartet, Victor LP: LM 1052 I find it hard to choose between the Ansermet, Orchestre Ravel Quartet de la Suisse Romande on London: LLP 300, and the Stuyvesant Quartet, Philharmonia LP: 104 Stokowski and Orch., Victor LP: LM 44. I would be Schubert Die Winterreise quite happy with either. Hans Hotter, Decca LP: set DX 11r, two 12 -in. records Rodgers South Pacific Mozart G Minor Quintet Original cast recording, Columbia LP: ML 4z 8o Griller Quartet, Gilbert, viola, London LP: LLP 132 Gershwin Concerto in F Stravinsky Petrouchka Levant, Kostelanetz and Orch., Columbia LP: ML 4025 Ansermet and Orchestre de la Suisse Romande, London LP: LLP 130 EUGENE ORMANDY, conductor Chopin Either the Etudes, Nocturnes, R. Strauss Death & Transfiguration Mazurkas, or Ballades Mengelberg and Amsterdam Orch., Capitol LP: P 8zoo. Etudes, Brailowsky, Victor LP: set LAf 6000 two 12 -in. Though the recording is not up to present day standards, Nocturnes, Rubinstein, Victor LP: LM 6005 two 12 -in. the Mengelberg performance is excellent. Mazurkas, Rubinstein, Victor 78 rpm., albums DM 626 Brahms Symphonies No. z and 4 and 656 Symphony No. z - Stokowski and Hollywood Bowl Orch., Ballades, Cortot, Victor 78 rpm., album DM 399 Victor LP: LM 1070 No. 4 - Krips, London Symphony Orch., Lon- LILY PONS, soprano don LP: LLP 208 Donizetti Lucia di Lammermoor Beethoven Symphonies No. 3, 5, 7, 9 Pagliughi, Malipiero etc., Cetra LP: set 1205 Symphony No. 3 - Walter, New York Philharmonic Orch. Debussy La Chevelure Columbia LP: ML 4228 Jennie Tourel, Columbia LP: ML 2184 No. 5 - Walter, New York Philharmonic Orch. Mozart Requiem Columbia LP: ML 4297 Krips Soloists and chorus, London LP: LPS 230/231 No. 7 - Munch, Boston Symphony Orch., Vic- Songs of the Auvergne tor LP: LM 1034 Madeleine Grey, Columbia 78 rpm., set MM 758. I No. 9 - Walter, New York Philharmonic understand that Columbia is releasing this on LP in De- Orch., and soloists, Columbia LP Set cember. SL 156, two 12 -in. records J. Strauss Voices of Spring Franck Symphony in D Minor Krauss, Vienna Symphony Orch., Capitol LP: P 8o6, Monteux, San Francisco Symphony Orch., Victor LP: LM 1065 SIGMUND ROMBERG, composer Debussy La Mer Schubert Unfinished Symphony Ansermet, Orchestre de la Suisse Romande, London LLP 388 Krips, London Symphony Orch., London LP: LPS .209 Debussy Ibéria J. Strauss Tales from the Vienna Woods Reiner, Pittsburgh Symphony Orch., Columbia LP: ML Ormandy, Philadelphia Orch., Columbia LP: ML 2041 4021, while superior to the André, INR Symphony Orch. Wagner "Liebestod ' from Tristan und Isolde on Capitol LP: P 8132, is none too satisfactory, and I am Kirsten Flagstad, Victor 15964 ... contained in Victor reluctant to recommend it. A new recording by Ormandy 78 rpm.: set DM 644 and the Philadelphia Orch., on Columbia LP is due to Debussy Clair de Lune be released in December. The beautiful Gieseking performance on Columbia 78 rpm., record z7166 -d disappeared in the recent slashing of the HENRI TEMIANKA, violinist Columbia catalog. If you can find it, buy it. George Schumann Quintet Copeland's on MGM LP: E 526 is satisfactory, but lacks Rubinstein and Paganini Quartet, Victor LP: LM 1093 the magic of Gieseking's playing. Beethoven Violin Concerto Gilbert & Sullivan Selections from H.M.S. Pinafore Heifetz, Toscanini, NBC Symphony Orch., Victor LP: D'Oyly Carte Company, London LP: LLP 71/72 LCT solo Dvorak Largo, from the New World Symphony Haydn Cello Concerto You will have to take the complete symphony to get this 2nd Feuermann and Orch. under Sargent, Columbia 78 rpm.: movement of the Dvorak work, and I would suggest the Album MM 262. Deleted this month from the Columbia Stokowski and Orch., Victor LP; LAI 1013 catalog. Probably still available. DeFalla Fire Dance Bach B Minor Mass This is but one section from DeFalla's ballet score El Amor Scherchen, Vienna Symphony Orch., Akademie Kammer - Brujo, best performed by Stokowski, Hollywood Bowl Orch., chor, Westminster LP: 50- S7/58/S9. A magnifient Victor LP: LM 1054. A good performance of the Ritual

www.americanradiohistory.com Fire Dance is available on Victor 12-0977, done by the Gershwin Concerto in F Boston "Pops" Orch., under Fiedler. Levant, Kostelanetz and Orch., Columbia LP: ML 4025 Herbert Selections of Victor Herbert Music Brahms Violin Concerto in D Kostelanetz and Orch., Columbia: ML 4437 Rybar, Moltkau and West Austrian Radio Orch., Concert Gershwin Selections of George Gershwin Music Hall LP: CHS i 113 Kostelanetz and Orch., Columbia: ML 2026 R. Strauss Der Rosenkavalier For the complete opera Urania LP: set 201, is available, RISE STEVENS, mezzo -soprano though I am not exactly hypnotized by the work of Baumer Bach Brandenburg Concerto No. 2 in F or Lemnitz. On Columbia LP: ML 2126, are some ex- Munchinger, Stuttgart Orch., London LP: LPS 226 cerpts from the work beautifully sung by Schwarzkopf and Mozart Jupiter Symphony Seefried, which I can recommend. Beecham, Royal Philharmonic Orch., Columbia: ML 4313 Beethoven Fidelio Wolf "Mignon" The only available recording is the Oceanic LP: set 3o1 . . . There is no recording of this work currently available in another rather disappointing performance by Baumer, any domestic catalog. For those who share Miss Stevens' makes it less than acceptable. enthusiasm for the Wolf songs: No. 1 ... Heist mich nicht reden CLAUDIO ARRAU, pianist No. 3 ... So lasst mich scheinen Mozart The Magic Flute are both contained in the HMV Hugo Wolf Society Album This month's release of the Berger, Lemnitz, Roswaenge Volume 6, sung by Marta Fuchs. Husch, with Beecham and the Berlin Philharmonic Orch. No. 2 ... Kennst du das Land and Chorus, Victor LP: set LCT 61o1, restores to the cata- sung by Kirsten Thorborg on Victor 18079 is very hard log a gem, long admired. to find, having been cut out of the catalog for some time. Verdi Act III Duet from Rigoletto Smetana The Moldau Pagliughi and Sved, Cetra LP: 50003 I prefer the Szell, New York Philharmonic Orch., Colum- Debussy Reflets dans L'Eau bia LP: ML 2177, to that of Toscanini, NBC Symphony Gieseking, Columbia LP: ML 2188 Orch., Victor LP: LM is 18 Schubert Sonata in D Major Debussy Pelléas et Mélisande Ifyou can find the old Schnabel recording on Victor 78 rpm., Joachim, Jansen Cernay etc., Victor LP: set LCT 6103 DM 888, I would suggest you take it. three 12 -in. records, Victor has just issued this marvelous Rossini "Una Voce Poco Fa" work in a fine performance by French artists A superb performance by Supervia is to be found on Decca Puccini La Tosca LP: DL 9.533 No recording is available of this opera. Columbia's old Fauré L'Horizon Chimérique 78 rpm. set MOP 6 having been deleted. It is just possible You will be well rewarded if you can discover the deleted that Cetra will get around to this soon. Victor album DM 476 by Charles Panzera.

This list includes only those companies which are currently active and about which we LIST OF LP RECORD MANUFACTURERS bave up -to -date information.

Academy Records, 201 West End Ave., Capitol Records, 1507 N. Vine St., Holly- Decca Records, 5o West S7th St., N. Y., N. Y., N. Y. - Classic piano wood, Cal. - Large catalog of records of N. Y. - Cover all folds Aladdin Records, 451 N. Canon Dr., Beverly all types Dial Records, 52o West 5oth St., N. Y., N. Y. Hills, Calif. - Race records Cetra -Soria Records, 38 West 48th St., Records of modern composers Alco (Musart Record Co.), 8373 Melrose N. Y., N. Y. - Principally but not exclu- Discovery Record Co., 707 N. Irving Blvd., Ave., Los Angeles 46, Calif.- Serious sively: an impressive lut of Italian operas Los Angeles, Cal. -Jazz and race music in contemporary idiom Circle Records, 778 Tenth Ave., N. Y., N. Y. EMS, Record Producers, 1847 Broadway, Allegro Music, 2 Columbus Circle, N. Y., Jazz and Dixieland; Jelly Roll Morton's N. Y., N. Y. - Tiny list of good records N. Y. - Considerable repertory of discs repre- Library of Congress records Esoteric Records, 75 Greenwich Ave., N. Y., senting all periods Classic Editions, 47 Norfolk St., N. Y., N. Y. N. Y. - Obscure and esoteric items; Charley Apollo Records, 457 West 45th St., N. Y., Classical music and some operas Christian guitar recital; Muzio re -issue N. Y. - Modern Jazz; some race Colosseum Record Co., 27 William St., Eterna Records, 778 Tenth Ave., N. Y., N. Y. Artist Records, 1653 North Argyle, Holly- N. Y., N. Y. - Russian music principally Re -issue of old German Odeon; Tauber, wood, Cal. - Mainly modern music Columbia Records, 1473 Barnum Ave., Skzak, Schwarz Atlantic Records, 234 W. 56th St., N. Y., Bridgeport, Conn. - Instigator of LP; ex- Festival Recordings, 125 Mr. Vernon St., N. Y. - Modern piano specialists; some race tensive repertory of all kinds of music Boston, Mass. -A few records of great Bach Guild Records, 799 Broadway, N. Y., Commodore Record Co., 136 East 42nd St., choral music N. Y. - The name reveals the specialty N. Y., N. Y. -Jazz, swing and Dixieland Folkways Records at Service Corp 117 Banner Records, 33 Union Sq. West, N. Y., re- issues West 46th Sr., N. Y., N. Y. - Ballads and N. Y. - Musical comedy tunes; some jazz Concert Hall Society, 25o West 57th St., folk songs Bartok Records, 309 West 37th St., N. Y., N. Y., N. Y. - Sizeable and growing cata- Goodtime Jazz Record Co., 707 N. Irving N. Y. - Devoted almost exclusively to the log of music of every epoch Blvd., Los Angeles, Cal. - Modern Dixie- works of Bela Bartok Continental Record Co., 263 West 54th St., land; Firehouse Five plus two Bibletone Records, 5o East rrth St., N. Y., N. Y., N. Y. - Some operatic recitals; also Handel Society, 25o West 57th St., N. Y., N. Y. - Sacred music popular records N. Y. - Two oratorios Blue Note Records, 767 Lexington Ave., Coral Records, 48 West 57th St., N. Y., N. Y. Haydn Society, 30 Huntington Ave., Bos- N. Y., N. Y. -Jazz re-issues Popular music; some jazz re-issues ton, Mass. - An unprecedented catalog of Brunswick (Decca Records), 48 West 57th Dana Music Co., 120.3 8 ;rd Ave., Kew St., N. Y., N. Y. -Swing and jazz re -wuues Gardens, N. Y. - Polkas Continued on page 48

www.americanradiohistory.com RECORDS

fuAt\ J. F. INDCOX C. G. BURKE

NOTES ABOUT easily cowed by a mighty organ - to put are presented here, with the composer at this organ completely to rout. In fact, all the piano. This is number three of the RECORD REVIEWS the instruments used in the orchestra appear new Columbia series "Meet the Composer ", to be at least Soo ft. nearer the listener and by all odds the most interesting. To facilitate reference to this section, than the organ ... definitely poor micro- Never before have as many of these short all classical LP releases are arranged phone balance, to our way of thinking. E. studies been available on records, and they alphabetically by composer. Miscel- Power Biggs plays as he always has and, should prove of the greatest value to stu- laneous collections, not normally identi- apparently, always will: punctiliously, pre- dents interested in the style and technique cisely, intellectually, without ever raising of modern composition. fied by composer, are collected at the his voice (or that of the organ) in even a Columbia has done a remarkable job of end of the record review section. faint glimmer of emotion. We do not be- transferring these to LP, since they were Where two or more composers appear lieve that Bach never wept, never shouted. originally made around 1942. The piano The recording is unexciting, technically. on one record, the reviews are cross - tone approximates much that is being re- Hi -fi fans looking for rolling pedal notes leased referenced but not repeated. today, and the composer is in re- will not find them on this recording. - D. A. markable form. Playing time is reported for each re- Surfaces are excellently quiet. -J. F. I. lease and, unless otherwise indicated, is BACH, J. S.: Italian Concerto Four the total for both sides of a single disc Duets Aria with Ten Variations BEETHOVEN: Piano Sonatas No. 9 in in the Italian Style E, 14, z or, in the case of albums, is the total Op. No. No. 24 in F Rosalyn Tureck, piano. Allegro 12 -in. Sharp, Op. 78 No. 3z in A Flat, for all records in the set. AL I I7. 42 mins. total. Op. zio The Editor welcomes suggestions for Kurt Appelbaum. Westminster 12 -in. This is the sixth LP in the Allegro series of wt. 509o. 14, t o and 21 min. improving the Records in Review sec- Bach recordings by Miss Tureck. Even- tion of HIGH- FIDELITY. tually, this accomplished Bach authority This is an amusing diversification of Beetho- will record all of the works in Bach's Cla- ven and virtuoso playing of a very musi- vieruebung. cianly sort, completely controlled by a No fault can be found in the musician- solid conception, biting in staccato and fluid BACH, J. S.: Music of Jubilee ship, and but little in the recording tech- in legato. Good piano sound in this best - E. Power Biggs, Organ. Columbia nique. In this group of reviews, we had to -date of the Appelbaum series of the Chamber Orch.; Richard Burgin, occasion to listen to an unusually large thirty -two sonatas. - C. G. B. cond. Columbia 12 -in. ML 4435. number of piano recordings. This disc 4o mins. comes closest of any to matching the hard, BEETHOVEN: Piano Sonatas No. iz in clean, and crisp tonality of the Liszt Sonata B Flat, Op. 22 No. 14 in C Sharp twelve A collection of Cantata movements in B Minor on London. The Allegro piano Minor (Moonlight) Op. 27, No. 2 and Organ Chorale -Preludes: Sinfonia to has the same definition, the same overall Kurt Appelbaum. Westminster 12 -in. Cantata No. 29; Chorale- Prelude, in Dulci balance of tone reproduction, but it sounds WL 5078. 26 and 16 min. Jubilo; Chorale-Prelude, Rejoice, Beloved thinner and lacks to a small degree the Christians; Concerto and Chorale "Alleluia" presence of the London Liszt. This may Beethoven entitled No. 14 very carefully from the Christmas Cantata No. 142; well be a difference in pianos, rather than "Sonate quasi una Fantasia ". A contem- Chorale, Jesu, Joy of Man's Desiring from in recording technique, and it will be a porary's moonshine tagged it "Moonlight". Cantata No. 147; Chorale- Prelude, In Dulci matter of personal taste which is preferred. The tag is convenient, not particularly in- Jubilo (Fantasia); Chorale: Now Christ The piano here is slightly wavery in spots, appropriate, and is certainly going to last. doth end in triumph, from the Christmas a hazard of tape recording, and the surfaces Mr. Appelbaum plays the eponymous open- Oratorio; Duet, My Spirit Be Joyful, from of the record tend to be crackly. Aside ing adagio with an undeviating restraint to the Easter Cantata No. 146; Sheep May from these rather minor flaws, this is a sec off his prim allegretto and tumultuous Safely Graze, from the Birthday Cantata worthwhile piano recording, particularly finale. This way is worth imitation: we No. 208; Chorale -Prelude, Now thank we since some of the music is given its LP usually have an opening tone -poem trailed all our God, from Cantata No. 79; Sonata to première. - D. A. by two subsidiary irrelevant additions. The Cantata No. 182; and Chorale, Awake thou recording is above average for the instru- wintry earth, from Cantata No. 129. - We BARTOK: Mikrokosmos (excerpts) ment, and this is probably as good a ver. list here the various selections because some Bela Bartok, piano. Columbia 12 -in. sion as the phonograph has vouchsafed. of them are out of the ordinary and seldom ML 44 19. 46 min. No. ii is a superb indication that the found before on records. Otherwise, there old sonata, as Beethoven had found it, is nothing unusual about this disc, except Of the one hundred and fifty -three pieces was about to burst under his virile imagina- possibly the ability of the flutes - usually that go to make up the six volume work of tion. This one has been neglected mainly thought of as rather timid instruments Bartok's known as Mikrokosmos, thirty -five because Beethoven wrote thirty-one other

www.americanradiohistory.com sonatas. Here we have it in a fluid, under- that has added to his stature as a pianist. perial show. The values of this recording - standing and direct statement - pursuasive Nor will this release do anything to change another example of WCFM's sharp pro- indeed; while the piano is reproduced with the status quo, being marred by affectation, gram sense - are throughout somewhat an exactitude unsurpassed by many rec- odd tempos, and exaggerated dynamics. It above average. Tonal quality is good, the ords. -- C. G. B. is all the more disappointing since we need soloists are efficient and the chorus well- a good modern recording of these pieces. trained. The trumpetry of Lloyd Geisler BLOCH: Schelomo The Novaes, of recent issue, appealed only is spectacular. For an ultimate performance slightly more to me than this - some pe- it would have been preferable to have more See SAINT-SAENS. culiar liberties with the work having been drive, more contrast and a greater sense of taken by her. dramatics; but this is a Te Deum, designed BOCCHERINI: Flute Quintet in E Flat On the recording as such, Columbia has to be sung in churches, and this is a per- ever See HAYDN done a rather handsome job, fine full tone, formance better than most churches occasionally slightly percussive, but the have. - C. G. B. piano seems rightly placed. I notice some No. r G BRAHMS: Sonata in major for flutter on my copy, and the surfaces are violin and piano FRANZ JOSEF HAYDN: Divertimento not as quiet as one expects today. F. I. Isaac Stern, violin. Alexander Zakin, -J. in C Four Marches piano. Columbia Io -in. ML 2193. MICHAEL HAYDN: Divertimento in C 27 min. DEBUSSY: Nocturnes Afternoon of a Faun Clair de Lune BOCCHERINI: Flute Quintet in E Flat This is a tender and lyrical sonata ... dark Women's Chorus, trained by Robert London Baroque Ensemble; Karl Haas, and introspective in mood. An undercur- Shaw. Leopold Stokowski, and Orch. cond. Westminster 12 -in. WL 5o80. rent of humor runs throughout; the third RCA Victor I2 -1n. LM 1154. 26, Io 4o min. (all) movement is gay and utterly charming. and 5 min. al. Stern's approach is just right, both in The Eighteenth Century on holiday, tempos and dynamics. Playing with gleam- A ripe and blooming reproduction of a though the general lightness of the music beauti- ing tone and spirited affection, he gives the splendid orchestra, sensuously and was created with the skill that is never seen a direction straining, principal work is best performance I have heard of the work. fully responsive to of until pointed out. The B. The recording is remarkable for its faith- lingering and over -ripe languor. - C. G. the Boccherini who, thanks to Westminster, ful transference of violin tone: full, suave, is becoming known as a man of stature. at times glistening, but never edgy. Zakin GRIEG: Concerto in A Minor For Piano, The Franz Josef Haydn Divertimento is the gives excellent support at the piano. Op. r6 only piece that can be called familiar, since Surfaces are none too quiet, and the Walter Gieseking. Philharmonia the composer drew its material from the works already - piano might have been a little nearer the Orch.; Herbert von Karajan, cond. deep spring of his own corn are invariably mike. -J. F. I. Columbia 12 -in. ML 4431. 29 min. posed. The performances expert, and sonic quality is first-class. In poised and proportioned articulation, in - C. G. B. BRAHMS: Symphony No. r in C Minor, an innate sense of interval and the hands Op. 68 to assert it, Gieseking has no peer at the No. 3, Op. 22 Berlin Philharmonic Orch.; Joseph keyboard. The distinctness of his attack HINDEMITH: Quartet Keilberth, cond. Capitol 12 -in. persists even when he is most vigorous, PROKOFIEV: Quartet No. 2, Op. 92 P 8153. 43 min. and the incised refinement of his utterance Hollywood String Quartet. Capitol is notable in everything he plays. The qual- This is a massive recording, 12 -in. P 8í5r. 24 and 22 mins. with very heavy ity, deftly complemented by Karajan 's bass and forward treble, both correctable sharp direction of the excellent Philharmonia RAVEL: Quartet in F Major by flexible amplifiers, presenting what is Orchestra, restores some of the gloss to Juilliard String Quartet. Columbia certainly the best realization of the monu- this unique concerto so ruthlessly man- 1O -in. ML 2202. 28 mins. mental architecture of this Symphony yet handled in recent years by the predators of to have appeared on LP's. It is a two discs are juxtaposed for review granite Tin Pan Alley. It is preferable in perform- These structure that the conductor in order better to compare the and orchestra ance to the other versions, but the repro- purposes re-create, and the somewhat It has been axiomatic deliberate tem- duced sound seems vaguely incomplete. It sound reproduction. pos and heavily- blocked chords the piano is the hardest instrument to are part is not specifically faulted, but there is a that of the scheme discs tend to refute to make the edifice ever- persisting, indefinite obscuration of orches- record correctly; these lasting. C. G. B. axiom and to give top honors ( ?) to - tral detail, not flagrant, but discomfit - that Perhaps it is not only that the C. G. B. the violin. clog. - even harder CHAUSSON: Poème (for violin and orch. ) violin is hard to record, but reproduce: it taxes the pickup and the Op. 25 Te Deum to HANDEL: Dettingen tweeter. -SAENS: of the SAINT Introduction and Rondo Vocal Quartet, Chancel Choir On the Columbia, the two violins, viola, Capriccioso, Op. 28 National Presbyterian Church, Na- and 'cello are clean, distinct, and well - Zino Francescatti, violin. Philadelphia tional Gallery Orch., Washington; sonically, from one another. The Orch.; Eugene WCFM 12-in. separated, Ormandy, cond. Both Richard Bales, cond. balance is good. The plucked strings, on Columbia I ML o -in. 2194. 16 LP 6. 44 min. toward the end of side r, are unusually and 9 min. This magnificent pomposo acknowledgement realistic. But the violin has a razor -sharp A neat opportunity for violin and orchestra of God's benevolence to British arms is edge. Adjustment of treble deemphasis dulling to display their versatile virtuosity, since the most enduring monument to the lucky did not alleviate the edginess without the ensemble. The feeling the first of these short concertos is all in- victory over the French at Dettingen during the brilliance of trospection and the second, all dash. It the war of the Austrian Succession, a cam- of presence - of the quartet being in the is excellent. Possibly, sharp is a bold recording in which the violin is paign which was led by George II in per- living room - big and the orchestra bigger. Francescatti son and which was the last time an English attenuation by means of a treble cut -off specializes expertly in these things which monarch took the field. No one expresses control would be the answer - but we do are child's play for the Philadelphians. Good the might of Godhood - even periwigged not have such an adjustment and do not in all respects, after unusually drastic treble more powerfully than Handel, and if the feel that we should be required to use one. - other hand, the violin on the reduction has been effected. - C. G. B. Dettingen Te Deum is a little less flamboyant On the in its worship chan the Royal Fireworks, Capitol is much less wiry and more listen - CHOPIN: Preludes after all the King was more tangible. Basi- able - but the four instruments as a whole 24, op. 28 presence. The separate Claudio Arrau, piano. Columbia cally, a Te Deum is a paean congratulating lose brilliance and 12- are not as distinct as on the in. ML 4420. 4o min. the Father for His wisdom in making us tonalities victorious, and the alternations of solemn Columbia; the feeling is that the quartet In recent years Arrau's excursions into the devotion with showy acclaim dominated is playing in the living room while we sit recording studio have produced nothing by high trumpets produce a splendid im- and listen in an adjacent room.

www.americanradiohistory.com Further, though the Capitol is better on piano as the most difficult instrument w Mozart, are at their best in the latter work the extreme highs, the Columbia is better record and reproduce realistically. This tending to a somewhat portentous expres- on the middles and lows. Columbia was record is evidence that the problems of sion in KV 242 that its simplicity does not played back with a turnover point of 300 piano recording can be overcome to a very justify. cycles. With the same setting, the Prokofiev large extent indeed. The piano tone is In its original form, it was written for side of the Capitol was so weak that we bold, clear, and true, giving an exception- three pianos. - C. G. B. brashly turned the control up to 800, really realistic facsimile of a hard -tuned con- gretted our haste, and settled at Soo. The cert -grand Steinway. Even in the bass MOZART: Concerto No. bass was better on the Hindemith 20 in D Minor side; we there is no appreciable blur or indistinctness; for piano and orchestra (KV 466) cut back again to Soo. However, the highs the vibrant quality of the very low notes is piano. further into Rudolf Serkin, The Philadel- slipped oblivion, and we quite audible. Balance between highs and phia Orch.; Eugene Ormandy, cond. turned the deemphasis control up from i6 lows is good; a turnover of 30o and deem - Columbia 12 -in. ML 4424. 3o min. to 8 db. Even so, there was less feeling of phasis of 12 db. worked well for us. Dy- presence on the Hindemith side of the namic range is above average, varying from Some clean, thoughtful, well phrased and Capitol than on the Prokofiev side. a whisper to a shout. This is a piano record finely executed playing by Serkin, which This is the dilemma of the recording en- which may well be added to the library for me is so coolly detached, dispassionate, gineer; it is also - and more so - the as something against which other record- and devoid of any warmth as to make this dilemma of the audiophile. Here are two ings can be compared. Not all will like it; release a disappointment. This, the most recordings, which should sound identical the richer, more mellow piano tone repro- popular of all Mozart concertos for piano, when reproduced. Yet they definitely don't. duced by Westminster may be preferred by still awaits an entirely satisfying recording. And not only that, but two sides of the some. The Kraus (Westminster WL 5054) and same record sound different. The reviewer, Magaloff does a very able job. He may Haskill (Vox PL 6290) are both plagued by too, is in a quandary because, considered perhaps be criticized for almost too much pianistic idiosyncracies that make them un- solely from the point of view of sound re- of a range between - well, whisper and rewarding. In general, the recording is production, a recommendation of "best" shout, again ... too much violence, too beautiful. Surfaces are slightly buzzy, and would depend on the reproducing system. much tranquility, and from one to the the piano is a little out of balance - it Given a system tending toward hardness other with too much abruptness. Never- could be closer. - J. F. I. and brilliance, the Capitol is to be pre- theless, it's a wonderful recording. - D. A. ferred; given a "soft" system, the Colum- bia is best. MOZART: Concerto for Horn and Orches- MESSIAEN: La Nativité du Seigneur No. 3 Flat To help resolve this problem, these rec- tra in E (KV 447) Robert Noehren, organ. Allegro t t- Rube Sanft Exsultate, ords were reviewed side by side. D. A. Zaide - - in. ALG 3030. 4o mins. Jubilate (Motet), (KV 165) Mason Jones in the Barbara HUMPERDINCK: Moorish Rhapsody We recommend that hi -fi fans, conscious of Concerto; Gewandhaus Orch., Leipzig; Hermann low frequency reproduction, go right out Troxell, soprano, in the aria and the Abendroth, cond. Urania I2-in. 7020. and buy this record ... regardless of whether Motet; National Gallery Orch., Wash- 4o min. they like or dislike Messiaen's work. It is a ington; Richard Bales, cond. WCFM I 2 -in. LP 8. 15, 6 and 15 min. record to disprove once and for all the oft - This is an exceptional record in its orches- bruited statement that "you can't record Three delectable items in the best sonic tral naturalness; particularly in view of the 16 -ft. pedal notes, anyway". Let these elaborate and subtle Wagnerian scoring realization yet obtained by this conscien- doubters try bands 3, 4, 5, 7 and 9 -3 tious small musical company. Jones is an employed by the composer in this lush, in particular. leisurely and heated tour. The orchestral insinuating master of his difficult instru- Aside from this one aspect of the disc, is well by the playing is splendid. A very superior disc ment and supported orchestra it is a splendid organ recording of an in for those whom superficial North Africa an eloquent reading of the Concerto. especially fine organ, that of the Grace of Miss Troxell's big, young will not cloy. C. G. B. The exuberance - Episcopal Church in Sandusky, Ohio. Al- soprano frequently eludes her control in legro gives interesting details of the organ both the lovely aria from the abandoned IPPOLITOV - IVANOV: Caucasian in its liner notes, and is to be commended sing -spiel and the more familiar Motet. Sketches for so doing. The organ tone is full and - C. G. B. TCHAIKOVSKY: Sleeping Beauty (hve vibrant. It reminds this reviewer of the old excerpts) and great organs of Europe, and is startling in comparison with some of the other organs MOZART: The Magic Flute (complete) Paris Conservatory Orch.; Roger Jurinac Désormière, cond. London 12 -in. recently heard on records. Anton Dermota (t), Sena (s), that even adamant Mes- Riegler (s), Else Schürhof (ms), LLP 44o. 23 and 17 min. We also suspect Friedl siaen dislikers will weaken after listening to Erich Kunz (bne), Wilman Lipp (s), More of the Sleeping Beauty has been more certain ones of these Nine Meditations for Peter Klein (t), Irmgard Seefried (s), richly done by Stokowski on Victor LM Organ, particularly after the third or fourth Hermine Steinmassl (s), Eleonore torn, but Désormière's new presentation of playing. - D. A. Dörpinghans (ms), Annelles Stückl the familiar Caucasian Sketches is admirable (c), George London (bs -bne), Erich if not arresting. The conductor is restoring MOZART: Concerto for Two Pianos in E Majkut (t), Harald Prögihoff (bs), this music to a musical condition. We have Flat (KV 365) Concerto for Two Ludwig Weber (bs), Ljubomir Pants - known it for years as a display vehicle for Pianos in F (KV 242) cheff (bs), Emmy Loose (s). Chorus virtuoso orchestras, whereas Désormière, in Paul Badura-Skoda, Reine Gianoli, of the Friends of Music, Vienna. reducing speed, lengthening phrases and pianists; Vienna State Opera Orch.; Vienna Philharmonic Orch.; Herbert curbing excess of dynamics, has brought Hermann Scherchen, cond. West- von Karajan, cond. 3 I2 -in. Columbia about an emanation of melancholy from minster' 2 -in. WL 5095.26 and 24 min. SL 115. 2 hrs. 8 min. these paintings, a suggestion of grimness of the Victor 78 -rpm. cata- in the pomp, that most other conductors Good performances of. both exist on an The four glories for years been four Mozart operas, do not evoke. Aside from background old LP, Columbia ML 4098. This new edi- log have including a superb performance of the Magic rumble, the disc is technically first -rate and tion has its principal point of superiority Flute recorded in 1939 with principals of the the strings of the Paris Conservatory Orches- in Scherchen's perceptive and finely -de- National Opera and the Berlin Phil- tra are very effective in velvet cantabile. tailed direction of the Concerto in E Flat, Berlin -C.G.B. by far the greater work, and in the more harmonic Orchestra conducted by Sir robust recording of this Concerto, which Thomas Beecham. Some assaults have been made upon these glories. The Haydn Society B Minor employs a larger orchestra. In the slighter LISZT: Sonata in in an effort to displace the Glynde- Nikita Magaloff, piano. London lo- Concerto in F, with a reduced band, there is failed improvement in all -around tonal values, bourne Don Giovanni despite a vast improve- in. LPS 392. 2411 mins. some although not so much as we should have ment in recording technique over the old We have suggested in another review in this expected from Westminster at this date. version, and Columbia has fired two barrels issue that the violin may well supplant the The piano brace, palpably proficient in in an attack on the Magic Flute and the

www.americanradiohistory.com Marriage of Figaro (examined in the article help hearing individually trombones, flutes, tonally rich except in the higher reaches of Opera Dula elsewhere in this issue). 'cellos and violins playing simultaneously. the violins, which are accompanied by thin The Victor Magic Flute is nearly thirteen The cymbals are intimidating and the drums foreign harmonics very hard to subdue. years old and has not frayed in the aging. as solid as ordnance. The record repro- - C. G. B. -- It has been announced for re -issue on LP, duces well at low volume and well at mid but up to this writing has not appeared in volume. At high volume it is perhaps ROBERT SCHUMANN: Concerto in A Piano and Orch., Op. microgroove form. The estimate here of dangerous - the slight music has a witty Minor jor 54 the relative values of the Columbia and argument and a clever orchestral texture. Dinu Lipatti, piano. Philharmonia Victor editions is perforce based on the 78- Dr. Scherchen plainly has an affinity for it, Orch.; Herbert von Karajan, cond. rpm. albums of the latter. and the orchestra disports itself with en- Columbia 10 -in. Mt, 2195. 29 min. are sung and played with thusiastic brilliance. C. G. B. Both editions - The finest version of this popular Concerto mastery by nearly everyone con- stunning currently available on records. For some with first things we find a cerned. Starting RACHMANINOFF: Symphony No. 2 in E time, European critics have been loud in basic similarity of concept in the direction, Minor, Op. 27 their praise of Lipatti, who died last Decem- a little gayer in gay passages with Beecham Philadelphia Orch.; Eugene Ormandy, ber at the early age of 33. That such praise and less grave in grave passages somewhat cond. Columbia I a -in. ML 4433 was well- founded and deserved, this beauti- Karajan, but the differences are of than 46 min. ful performance proves. It shows him to be detail, and not in general tendency. Both an artist of rare sensitivity and communica- are excellent, with the Vienna be the completest statement orchestras This seems to tive powers, fleet of finger, clean in execu- band more lingeringly luscious, less spar- of the wonderful actuality of the Philadel- tion, and a molder of lovely phrases. I klingly loquacious, than the Berliners. The phia Orchestra on records. The work is was hardly prepared to find his playing as rich appeal of the Vienna Philharmonic is lyric, with a very long line to its tunes upon virile, thinking the ravages of the disease emphasized by the modernity of dwells with no cloying of course which Mr. Ormandy from which he died, leukemia, might well recording which is unfailingly but with a proud knowledge of the Columbia emphasis, have robbed him of such digital power. I faithful and expansive, whereas the Victor the of his muscians. The en- capabilities was mistaken; his playing is forceful though definitely in advance of the stand- have been able to imprison on this version, gineers not rough, at other times affecting but its time, could naturally not do persuasion the ards for disc much of the silken of not sentimental. to the Berlin Philharmonic not a in entire justice Philadelphia strings, commonplace The Philharmonia, under von Karajan's recording. As a demonstration of the potential. LP discerning leadership affords him excellent Similarly, direct comparison of the singers Rachmaninoff Second Symphony this is hors support, in a recording that for its age, (it engaged in the two versions, when each concurs and likely to remain so indefinitely. was made in April 1948) can easily stand group has approximately equal merit, risks C. G. B. - comparison with some recent Columbia doing injustice to some in the older record- releases. ing: Lemnitz, for example, whose voice in RAVEL: Quartet in F Major Surfaces are quieter on this than many the former edition does not show the bloom- recent Columbia recordings. J. F. I. ing beauty of Seefried's in the present. The See HINDEMITH - Strienz of that period was a Sarastro superior SCHUMANN: Quintet in E Flat jor even to Ludwig Weber, and Hüsch's con- SAINT -SAENS: Concerto for 'Cello, No. r Piano and Strings, Op. 44 descending Papageno had a lush appeal of in A Minor Clifford Curzon and the Budapest no recording inade- BLOCH: Schelomo wonderful voice that I2 -in. ML Rose, New York Quartet. Columbia 4426. quacy could thwart. Berger, then, may Leonard 'cello. 31 min. have been superior to Lipp now, as Queen Philharmonic -Symphony Orch.; Dimi- of the Night, but the evidence of the disc tri Mitropoulos, cond. Both on In general Schumann 's most spontaneous favors Lipp, while Rosewiingé s fine Tamino Columbia I2 -in. Mt. 4425. 19 and and transparent work in any form makes an must yield precedence to Dermota's sen- 22 min. identical appeal - since it has nothing to suous mastery. hide to musicians. The shape of one per. Substantial and expansive recordings em- - Music -lovers would be wise to await the formance is much like another, only the phasizing orchestral totality with some detri- re- issuance of the Victor version on LP, details tending to differ in accordance with ment to detail, and with consistent over- even if it seems unlikely that it can match the abilities or conceits of the players. Of statement of Mr. Roses 'cello, almost a the all- around merit of the new edition. the three well -played LP recordings of this venial fault in view of its steady power and As in the Columbia Figaro, all parts not Quintet Curzon -Budapest on Columbia suave song. A metallic shimmer has been - orchestrally accompanied have been omitted ML 4426, Rubinstein -Paganini on Victor gratuitously added to his treble string; if from the recording, but whereas the dramatic LM 1095, and Serkin -Busch on Columbia this is reduced in the amplifier the high and formal flow of Figaro was evilly dis- Mt. zo81 the palm goes to this one be- winds lose much of their quality. It is - torted by this cavalier treatment, the amor- cause the engineers have more thoroughly equally hard to commend or reject this disc phous and episodic Magic Flute endures it expressed the sinuous resonance of the five whole -heartedly. C. G. B. without important damage. The complete - men than was true for the preceding ver- text is furnished in both German and sions. - C. G. B. English. - C. G. B. SAINT-SAENS: Introduction and Rond., Capriccioso STRAVINSKY: Petroucbka New York Philharmonic-Symphony PROKOFIEV: Quartet No. 2, Op. 92 See CHAUSSON Orch.; Dimitri Mitropoulos, cond. See HINDEMITH Columbia I2 -i.0. ML 4438. 36 min. SCHUBERT: Octet in F, Op. i66 PROKOFIEV: Lieutenant Kije Suite, Vienna Konzerthaus Quartet aug- The severe opposition here is by the excellent sensational at issuance version Op. 6o Scythian Smite, op. 20 mented by clarinet, bassoon, horn and - - of Vienna Symphony Orch.; Hermann string bass. Westminster I2 -in. wI. Ernest Ansermet for London, recorded two Scherchen, cond. Both on West- 5094 54 min. years earlier. The developments in that The records of the Vienna Konzerthaus period make us expect improvement, and minster 12 -in. WL 5091. 22 and z I mins. group, particularly of Schubert, have been there is some, but not enough to justify an successful and with reason. There are some exchange on the basis of tonal values alone. This is the best orchestral recording ever reasons for this one to enjoy a smaller The performances are generally similar, made. It is so exceptionally effective that esteem: the slow Konzerthaus tempos with the salient differences mainly in the we face the dismal prospect of hearing threaten the melodic sense of this engaging recording emphasis. The greater solidity of Lieutenant Kije as a test recording on all music without being able to realize a pro- the Columbia version suggests that Mitro- sides until all manufacturers have attained fundity of emotion which simply is not poulos' orchestra was larger than the Suisse the same standards. The disc triumphs there. The four additional instruments jibe Romande for this occasion, and the New above all in distinctiveness of timbre and softly with the familiar euphony, balanced York Philharmonic also has more concerted differentiation of choirs and instruments, phrasing, and unanimity of attack which cohesion than the Geneva band. The prin- whether in solo or in mass. Auditors cannot characterize the Quartet's records. It is cipal points of Columbia's superiority are

www.americanradiohistory.com in a decided improvement of brass timbre to the recent Pra Diavolo in the slight effect Gearhart arrangements, some well co- ordin- and a more even distribution of the choirs, of distance and careful intimation of rever- ated key board work, and the diversity of plus the solider mass mentioned. - C. G. B. berance which give a strong impression of the music, this makes for thirty minutes of presence in the theater. From time to time, enjoyable listening. TCHAIKOVSKY: Souvenir de Florence some of the singers are closer to the micro- The arrangement of the Debussy Fetes, -- Strings of the Vienna National Opera phone than we would prefer, a little injuri- while interesting and courageous, seems to Orch.; Henry Swoboda, cond. West- ously in some of the concerted pieces. have been ill- advised. The limited tonal minster 12 -in. wL 5083. 39 min. Were it not for these detriments, which capacities of the piano simply will not cope are not consistent, this could be esteemed with the coloring of this masterpiece of Fragile, not without a recurrent charm, so technically the peer of any operatic re- orchestral writing. The remainder are quite resourcefully written for the instruments - cording. successful, particularly the Fauré and Tailla- originally violins, violas and 'cellos doubled The performance by orchestra and chorus ferre works. It might be mentioned that - that it suggests a completer ensemble. is sagacious, bright and nervous; Kurt the latter and the Poulenc were not ar- This least-known of the composers larger Böhme is a very fine Kaspar and Irma ranged by Gearhart. works receives here more massive recording Beilke a good Aennchen. Elfride Trötschel The playing has considerable charm, spirit, than is customary for strings in an orches- has a voice not without beauty, but in- and well controlled dynamics, their fine tra. In fact, from the technical aspect, it is sufficiently developed to realize all the de- tone being well reproduced on surfaces that probable that never before have we been mands made upon it by Agatha. Bernd are rather noisy. -J. F. I. able to hear so many strings so well repro- Aldenhoff is a miserable Max. The minor duced, both in definition and solidity. parts are capably sung. Enough of the The string playing is exceedingly skillful, dialogue is retained to preserve the dramatic BIZET: L'Arlesienne Suite; Nos. r and 2 so that this disc will evoke expressions of continuity, but the cuts in the dialogue André Kostelanetz and his Orch. admiration for everything it contains ex- are not indicated in the German text sup- Columbia I 2-in. ML 4409. 39 min. cept the musical idea. Not that the music plied, which is tormented by a shuffling It is possible that we are witnessing is slighted in Swoboda's energetic perform- English translation. Continuing its laudable an attempt to put Mr. Kostelanetz in ance: it is eclipsed in impression by the practice, Urania dates the recording, credits the position so long and honorably occupied by technical excellences. C. G. B. the engineers and editors, and states the - Arthur Fiedler as a cheerful propogandist duration of each disc (although some of for the most immediately likable works in TCHAIKOVSKY: Sleeping Beauty (five these durations are given a little inaccurate - the orchestral repertory. Persons familiar excerpts) ly). C. G. B. - with Mr. Kostelanetz' way know that he See IPPOLITOV -IVANOV savors this kind of music without delineat- ing; assuming that it is light, he is inclined WAGNER: Die Walküre, Act I to make it lighter. His performances are Lotte Lehmann (s), Lauritz Melchior easy to hear and they are not durable. There (t), Emanuel List (bs). Vienna Phil- is more in the Bizet Suites than he cares harmonic Orch.; Bruno Walter, cond. to project, and one is compelled to say that in this big, brilliant, fairly harsh RCA Victor 12 -in. LCT 1033. I hr. MISCELLANY recording with a curiously dry resonance, the famous This is a dubbing from the celebrated and Kostelanetz string tone is often adulter. noble sixteen sides issued sixteen years ago. ated. - C. G. B. One must grant a respectful admiration to the Victor engineers who have accomplished the transfer with a success that must tran- CHRISTMAS CAROLS scend anyone's expectation. The copy is The Randolph Singers. Westminster an improvement over the original, in its ADAM, BOIELDIEU and HEROLD: 12 -in. WL 5100. 33 min. day a splendid recording of an unforgettable Famous Overtures Nineteen performance wherein Lotte Lehmann and London Philharmonic Orch.; Jean carols, from the most familiar Adeste Fideli& to the rather Bruno Walter were at their best and the Martinon, cond. London 12-in. LLP recondite Lullay My Liking, madrigalized others more than competent. If, compared 351. 31 min. (all) and sung with pretty precious skill in a recording of to a modern original microgroove, this startling, Let us not sneer at these four bright, melo- intimate proximity. An interesting recording has less ringing brightness, it has innova- masterpieces. Boieldieu particularly, is by no intimation of soprano shrillness and dious tion suggested the booklet of words here represented by the deathless overtures and music issued in with metallic violins. It is not high-fidelity, but conjunction the to La Dame Blanche and the Caliph of Bagdad record, so that those inclined may join in those negative aspects it is superior; was not less a great composer for being their voices to the Randolphs', and Lehmann and Walter no longer are in not neces- easily assimilable. Martinon guides this sarily with the same ability. C. G. B. posture to give us their magic in a completely - bright swinging vivacity with loving re- new version. C. G. B. - spect, nor is there anything offhand in the exciting, uproarious reproduction. If occa- SONGS FOR CHRISTMAS WEBER: Der Freischütz (complete opera ) sionally we have some impression of con- Nelson Eddy, baritone. Paul Weston, Bernd Aldenhoff (t), Kurt Böhme (bs), certos for triangle and tambourines, no his Orchestra, and an unnamed Chorus. Elfride Trötschel (s), Irma Beilke (s), real harm is done, and the engineers must Columbia 12-10. ML 4442. 27 min. Karl Paul (bs), Heinz Krämer (bs). have been delighted with this superficial Chorus of the Dresden National declaration of high -fidelity, not superficial Thirteen favorites: Jingle Bells; Joy to the Opera, Saxon National Orch.; Rudolf elsewhere on the disc. - C.G.B. World; Good King Wencelas; Away in a Kempe, cond. Urania 3 12 -in. 403. Manger; God Rest Ye Merry, Gentleman; 2 hr. 3 min. AMERICANS IN PARIS O Holy Night; O Come All Ye Faithful; GERSHWIN, An American in Paris. O Little Town of Bethlehem; White Christ- Nothing is so essentially true to the tradi- DUKE, April in Paris mas; Hark! the Herald Angels Sing; The tions of German folklore as Weber's rich, LENOIR, Parlez-moi d'amour First Noel; Deck the Hall with Boughs of dark masterpiece. Why it never had a com- POULENC, Mouvements perpétuels Holly; Silent Night, Holy Night. plete recording until 1951 is as much of a TAILLAFERRE, Le Tirelitentaine Nelson Eddy brings his rich and full voice phonographic enigma as the appearance in DEBUSSY, Fetes to a group of long -time favorites in a re- one month of three editions of Die Fkder- FAURE, Nocturne cording that is outstanding for brilliance and mans. This Dresden version is remarkable RAVEL, Pièce en forme de Habanère balance. When played back moderately first of all for the extraordinary clarity of OFFENBACH, Can -Can loud, the volume level of the orchestra the recording, wherein every instrument Morley & Gearhart, duo -pianists. seems entirely normal and is steady through- and every choir retain their full volume raised Columbia to-in. ML 2197. 3o min. out - not and lowered depending with a startling distinctness and in very on whether or not Eddy is singing. The judicious balance. There is a resemblance Thanks to the tasteful and imaginative bass is full and rich, the treble clean and

www.americanradiohistory.com bright. The middles are a little weak, but reasonable limits, has moments of absorb- eloquent testimony to the startling ad- use of the Soo position on the turnover ing interest. vances in that field. control will correct this condition. The Acoustically, this is a superb recording, The extended highs and lows, plus an singer has also been recorded wide open, with a balance that is uncannily correct, so even greater sonority in the middle register, but at an evenly higher volume level. The that the blending of the instruments is add further lustre to the already rich tex- overall effect is unusual and startlingly marvelously clear and free from any thick- ture of the orchestrations favored by this different from the familiar orchestra-ac- ness of sound. Surfaces almost entirely conductor. Whether some of the simple, companying- soloist recording practice, free of noise. - J. F. I. but lovely, melodies that Herbert wrote wherein the soloist may be entirely natural, can sustain these orchestral trappings, I but the accompanying group held back and GERSHWIN: Porgy and Bess doubt - for their great charm lies in their obscured, as if by a veil or curtain. Lawrence Winters (bne), Camilla very simplicity, but lovers of the lush, vel- As background music, the recording is Williams (s), Inez Matthews (s), vety Kostelanetz treatment will thoroughly adequate but needs a loudness control or Warren Coleman (bne), Avon Long enjoy this. bass and treble boost to preserve the fre- (t) and cast. J. Rosamond Johnson Surfaces were rather gritty. -J. F. I. quency balance observable at high volume Chorus, and unnamed orchestra; Leh- levels. man Engel, cond. 3 Columbia t 2 -in. SONGS OF VICTOR HERBERT We wish we knew the name of the record- Set st 162. 2 hrs. 9 mins. Eleanor Steber, soprano. Percy Faith ing engineer here, as we would like to com- with his Orchestra and Chorus. Co- pliment him on an excellent job of micro- Another feather in Columbia's operatic cap. lumbia 10 -in. ML 2192. 25 mins. phone placement and control. - D. A. The rapidly growing library of complete operas opens endless new vistas to music Included: Sweethearts; Ah! Sweet Mystery lovers unable to attend live performances. of Life; I'm Falling in Love with Someone; CORINNE CHOCHEM'S COLLEC- Porgy and Bess is a case in point. For so Thine Alone; Kiss Me Again; A Kiss in TION OF FOLK DANCES: Four many, it has been a work read about in the the Dark; When You're Away; and Italian Ho rab Dances (For orch. and chorus) Sunday theatre sections of metropolitan Street Song. Music arranged by Leonard Bernstein, newspapers, and heard only in snatches of A nice enough collection of old favorites, David Diamond, Darius Milhaud, particularly popular songs. Now, for the sung with artistry and ability, accompanied Ernst Toch. Larry Adler, harmonica first time, anyone with even an inexpensive by an orchestra and chorus which suffered solo; Victor Young, cond. LP record -player attachment can hear all of rather badly in the recording. Cutting the Porgy and Bess and will, no doubt, find many preemphasis to produce a natural tone in Other Folk Dances (3) for orch. and a song or melody which will become better the voice kills the brilliance of the orchestra, chorus. of those previously in the and nothing except drastic reduction of the Music arranged by David Diamond, loved than some bass control will eliminate a Ernst Toch. Max record library. As a matter of fact, the tone luscious Trude Rittman, beer barrel boom noticeable in some cond. Alco to -in. oo9. listener to these records will hear some of the Goberman, sections which the average theatregoer has bands, particularly (and unfortunately) in 21 min. not heard; some sections of the original No. 1 on Side 1 ! This record is not for Not knowing a thing about the music of score, omitted on the stage, have been re. background music; play it as near to wide Palestine, I can only report that this record- instated. open as the neighbors will permit. - D. A. ing of folk dances interested me for the The man with a hi -fi listening system will surging rhythmic impact of its music, some be rewarded indeed, for the sound on these THE ITALIAN MADRIGAL splendid choral work, and for the excellence discs is typical of what can be done when a The Vassar Madrigal Singers; E. of the recording. According to the liner record manufacturer decides to do its best. Harold Geer, cond. Accompanied by notes, the Horah is often compared to the And this best can be, today, wonderful to unnamed instrumentalists and instru- American square dance ... to my ears the hear. The voices throughout are natural ments. Allegro 12-in. ALG 3029. folk dances of Russia seem to be much and full . . . resonant for the baritones, 35 mins. closer in feeling and rhythm. I would like never edgy or sharp for the sopranos. Fre- to hear these done without benefit of the quency range and frequency fidelity are As the excellent liner notes with this disc orchestrations of the above eminent com- equally well preserved for the orchestra and point out, the term "madrigal" has been posers. Folk music is seldom improved by chorus. The bass is very good; it is well applied to secular part songs of various such attentions, and this certainly has balanced by middles and highs. There is types. Its earliest use was by Italian corn - enough strength to stand on its own. no noticeable fading in and out of theorchestra posers of the 14th century, at which time Alco has done a remarkably good record- when soloists are singing, thus preserving the madrigal, caccia, and ballata were the ing job ... fine balance ... good orchestral for the listener the effect of being in the most characteristic expression of the Art reproduction, the wind instruments being recording studio. Recreation of the original, Nova. A hundred years later, composers particularly well recorded. The surfaces are in the home, is the goal Columbia set for returned to the madrigal. The earliest known extremely quiet, as I have had occasion to itself and, as with several others of its opera collection was published in 1530. This point out previously when reviewing Alco recordings, has achieved this end to a re- record includes three madrigals, a caccia, releases. -J. F. I. markable degree. and a ballata from the 14th century period, Columbia is also to be congratulated on and nine selections from the 16th century. a very deft handling of sound effects. The Vassar Madrigal Singers treat the FRENCH WOOD WIND MUSIC: These sounds - walking, doors closing, music with delicacy and erudition. We have IBERT, Trois pièces brèves. coins dropping - are held to naturalness; the feeling that they are recreating the MILHAUD, Two Sketches. the stage is not suddenly stilled, a door original as correctly as possible. The BOZZA, Variations sur un thème slammed with a crash, and then the actors music is intriguing and interesting, the libre. brought back to life again. Thus the aural record worth having as a specialist's item TAFFANEL, Quintette. illusion of being present is helped by the or as part of a library representative of New York Woodwind Quintet. Eso- visual illusion, and reality is recreated. musical history. The sound reproduction is teric 12-in. ES 505. 50 min. The album is furnished with a complete good but not startling. Balance is good, text, but this is hardly necessary since the microphone placement good. The occasion. This will be caviar to the general, but to diction is clean and clear from beginning al instruments which support the singers the connoisseur of wood wind music, a de- to end. The voices are competent, the in- are in proportion. - D. A. light. The quintet, a truly wonderful en- terpretation sincere and true. - D. A. semble, plays with exquisite style and re- PINEAPPLE POLL, a ballet based on markable technique. It is unfortunate HERBERT: Music of Victor Herbert the music of Sir Arthur Sullivan. that such ability seems wasted on the two André Kostelanetz and his Orch. Sadler's Wells Orch.; Charles Macker- arid pieces of Ibert and Milhaud. Of much Columbia I2-in. Mt 443o. 33 min. ras, cond. Columbia it 2 -in. ML 4439- more import is the Quintette by Taffanel, a 44 mina. charming and ingratiating work, in both its A "Second Edition" of Columbia's ML writing and performance. The Bozza, 4094, re- processed by the use of new sound The score is derived from operettas by though it seems stretched beyond its recording techniques, and a release that bears Sir Arthur Sullivan: The Mikado, Trial

www.americanradiohistory.com by Jury, The Sorcerer, Patience, The at the opening of the last band on side 2. Gondoliers, The Pirates of Penzance, Try a compensator setting of 500 turnover Ruddigore, Princess Ida, Iolanthe, Pina- PUCCINI ARIAS and 16 db. preemphasis. - D. A. fore, and The Yeomen of the Guard. Dorothy Kirsten, soprano. Metro- The ballet was first performed in London politan Opera Association Orch.; SONGS OF SCANDINAVIA 13, 1951 where, according to the on March Fausto Cleva, cond. Columbia Io -in. Tii Niemela, soprano. Pentti Koski- liner notes, it "evoked such rapturous out- ML 2200. 26 mins. mies, piano. WCFM 12 -in. LP -5. cries from the press as one of the gayest 41 mins. end -pieces since Gait( Parisienne ". included in this group are: Gianni Schicchi, In listening to the recording, we have the O mio babbino caro; Tosca, Vissi d'arte; Four songs by Edvard Grieg, four more by feeling that it evoked rapturous cries from Mme. Butterfly, Un bel di, vedremo, and Tu, Jan Sibelius, and two song cycles by Yrjo the recording engineer. For, since the score tu; La Rondine, Ore liete divine; Turandot, Kilpinen are sung by Tii Niemela, one of was derived from 12 operettas, it was logical Tu che di gel sei cinta; Manon Lescaut, Sola, Finland's best known lieder singers. She that he should be supplied with 12 micro- abbandonata. - If you are one of the many toured this country in 1949 and again in phones through which to derive this disc. Kirsten admirers, and like her in three - 1951 and was enthusiastically received. She 12 microphones, 12 control knobs . minute snatches, this will be as good a receives excellent support from her accom- what more can a recording engineer ask for? record as any - provided you also like the panist- husband. But the listener may well ask for a good volume way up. The orchestral accom- We find the songs delightful and inter- deal less. Try out the beginning of side 2. paniment is well recorded, but its volume esting. They are tender, quiet, sometimes There is some wonderful sound here, brasses level has its ups and downs in order to introspective, occasionally somber, often are full and brassy, the woodwinds true to avoid conflict with Miss Kirsten. The having the quality of a wistful lullaby. Mme. life. The murmuring in the background sharpness of the voice will be helped by Niemela's voice seems admirably suited to will soon be recognized as the strings, keeping the record compensator down to this type of music. Her artistry is delicate, temporarily relegated to a position some- 16 and possibly 20 db. - D. A. thoughtful, restrained and yet rich. where behind the backdrop. In a moment, it is especially interesting to contrast the however, knob 4 will be turned up, and SONGS: Russian, Spanish and Portu- effect of playing the disc at high volume the strings will soar in full beauty. In guese level and then at low level, just above audi- another minute, all the knobs except No. 12 Jennie Tourd, mezzo -soprano. George bility. In the first case, a concert hall performance will result. lieder will be turned down. The entire orchestra Reeves, piano. Columbia I o -in. ML The become will scurry under the stage, while the harp 2198. 26 mins. dynamic and powerful. At low level, the -- usually barely audible - will override a wistfulness and tenderness are emphasized. large orchestra, or whatever was used. A group of six Russian and six Spanish and This is an interesting test to make, one Perhaps it is not as bad as we picture, but Portuguese songs, ranging from typical which very few artists and recordings can this is the kind of "phony" recording which Russian songs to an unusual and cute imita- withstand successfully. Kudos to both irritates us (obviously!). The overall tone tion of a cat meowing, conceived by Villa - Mme. Niemela and to Warren McDowell, is exceptional, with a tendency toward full Lobos. Miss Tourd seems more at home the recording engineer. bass. We might have had an outstanding with the lively Spanish and Portuguese songs Small points: the liner notes are excellent, job here, if the recording engineer had been than with the Russian numbers. either the full song or a résumé being given sick that day. Recording only fair. The voice is often in English, as well as a brief discussion of And it was all so unnecessary! Compare edgy; the piano is backgrounded in custom- the composers' works. Record is a bit our comments under CHRISTMAS CAROLS ary singer- accompanist fashion, but even crackly, but otherwise it will reproduce with Nelson Eddy - also a Columbia so the weakness of the bass is noticeable, well with the compensator set at LP and disc. -- D. A. and the treble has its troubles, particularly 12db -D.A.

LP RECORD COMPANIES New Records, 141 East 44th St., N. Y., N. Y. Rondo Records, 220 Locust St., Chicago, ill. Colonial and early American music; some Mostly organ by Ken Griffin Continued from page 4r rare classical recordings Roost Records, 20 East Elizabeth Ave., Oceanic Records, r 5 Park Row, N. Y., N. Y. Linden, N. J. -Jazz Records Haydn plus leading works of Mozart and Bach Not many tides yet but very impressive ones Savoy Record Co., 58 Market St., Newark. Horace Heidt Records, 119 Fifth Ave., N. Y.. Oiseau -Lyre Records, 778 Tenth Ave., N. Y., N. J. - Be -bop; Erroll Garner and race N. Y. - Mostly accordian music N. Y. - French; a few rare items distributed records Imperial Records, 6425 Hollywood Blvd., by Period Seeco Records, 1395 Fifth Ave., N. Y., N. Y. Hollywood, Cal. - Folk dances Oxford Recording Co., 49 West 55th St., Latin American music Jazz Panorama (Century Record Co.), 7;7 N. Y., N. Y. - Minor classics, mainly Spanish Music SMC, 1291 Sixth Ave., N. Y., Fox St., N. Y., N. Y. -Jazz re- issues woodwind music N. Y. - Spanish and Latin American dance Jazz Time Records, P. O. Box 246, Flushing, Parade Records Co., 107 Lorimer St., music - some authentic N. Y. - Dixieland and jazz re -issues Brooklyn, N. Y. - Popular; show and film Standard Phono Corp., 163 West 23rd St., Jolly Roger (Paradox Industries Inc.), 139 music N. Y., N. Y. - Miscellaneous popular; East 47th St., N. Y., N. Y. - Re- issues of Paradox Industries, 139 East 47th St., N. Y., foreign language records jazz, Dixieland and band vocalists, includ- N. Y. - Modern jazz Stinson Trading Co., 27 Union Sq. West, ing Bessie Smith Period Music Co., 778 Tenth Ave., N. Y., N. Y., N. Y. - Mixed catalog includes Jump (The Turntable), P. O. Box 622, Holly- N. Y. - Tendency towards lesser known jazz at the Philharmonic Vol. I, to Burl Ives wood Station, Hollywood, Cal. but not obscure classics Stradivari Records, 79 Buff Rd., Tenafly, Swing re- issues Prestige Records, 754 Tenth Ave., N. Y., N. J. - Rare chamber music Key Records, 1457 Broadway, N. Y., N. Y. N. Y. - Modern Jazz Tempo Record Co., 8540 Sunset Blvd., Choral and organ music Program Records, 778 Tenth Ave., N. Y., Hollywood, Cal. - Covers many fields London Gramophone Corp., 531 West 25th N. Y. - Mainly chamber music Urania Records, 667 Madison Ave., N. Y., St., N. Y., N. Y. - Creator of FFRR; huge Rachmaninoff Society, 778 Tenth Ave., N. Y. - Has suddenly produced a startling and rapidly expanding array of recordings in N. Y., N. Y. - Works of Rachmaninoff on affluence of large works, many in their first all serious fields subscription only editions Lyrichord Records, 464 West 51st Sr., N. Y., Rainbow Recording Corp., 767 Tenth Ave., Vanguard Recording Society, 799 Broadway, N. Y. - Comparatively few discs; the rather N. Y., N. Y. - Flanagan and similar bands N. Y., N. Y. - Classical music - Handel, remote and the quite recent in music RCA Victor, Radio Corp. of America, RCA Bach, Mahler Magic -Tone Records, 545 Fifth Ave., N. Y., Victor Div., Camden, N. J. - Huge reper- Vox Production, 236 West 55th St., N. Y., N. Y. - Shakespeare songs; short classical tory of records of all types N. Y. - Impressive catalog representing records for piano, violin and 'cello Remington Records, 264 West 54th St., many schools Mercury Record Corp., 839 So. Wabash N. Y., N. Y. -A growing list, principally WCFM, t 120 Connecticut Ave., Washing- Ave., Chicago, ill. -A large general catalog of standard classics ton, D. C. - Small but intelligently com- MGM Records, lot Seventh Ave., N. Y., Renaissance, 778 Tenth Ave., N. Y., N. Y. piled list of classics N. Y. - Popular in the main; a few records Records of considerable interest in musical Westminster Recording Co., 233 West 42nd of serious import history St., N. Y., N. Y. -A phenomenon of National Record Co., 1841 Broadway, N. Y., Rexford Record, 1440 Broadway, N. Y., growth whose expanding catalog is a monu- N. Y. - Mostly race records N. Y. - Some modern classical music ment to musical discrimination

www.americanradiohistory.com In the installation above, the television chassis is built into a wall, and can be swivelled for viewing in either room.

Home installations that make you

stop, Look and Listen!

VERSATILITY is the keynote of the custom installa- ing and often limited space. At the other extreme, he tions shown on these pages. Not only are these home may be called upon to work with an architect in plan- systems designed to fit into the general decor of the ning the basic design of a house. living quarters, but some have been constructed as an An example is shown of the completely unobtrusive integral part of the house at the time it was built; others type of installation, at the lower left on the next page. have been installed into existing surroundings. When the cabinet doors are closed, there is no visible evi- The problems facing the custom installation designer dence of radio, phonograph, or television in the room. are manifold. First, he must provide the finest in listen- The two pictures at the top of this page illustrate not ing enjoyment for his customer. Second, he must ac- only construction of the system as an integral part of complish this within the limits of a budget. Third, his the house, but also a unique feature of many of these design must fit into the furnishings of the house so that custom installations: the television tube or chassis which it is either completely unobtrusive - or, exactly the op- swivels so that correct viewing angle can be maintained. posite, it must become a focal point in the decorative The amount of swivel may be small, as in the photo- scheme. Fourth, he may have to use considerable ingenuity graph on the next page, or can be a full 18o° so that the in fitting the desired audio and video facilities into exist- screen can be watched from either of two rooms. When

www.americanradiohistory.com the TV screen can be turned from one room to another, a major saving is effected because one chassis does the work of two. In many of the illustrations, the decorative scheme is definitely modern. Very interesting use is made of cabinet -partitions. Some of these are of the built -in type, forming part of the house structure. Others are built -out; they are movable cabinets, shelves, and storage walls. Some of the installations are essentially simple, as the one at the lower left on page 52; others, such as the one at the top of page gr, are complete in every detail. All photographs for this section are of custom installations which have been designed and installed by Voice and Vision of Chicago, whose work in this field has earned a well - deserved reputation for its versatility and originality.

The specially designed living and dining area divider cabinet shown above has 16-in. TV, FM -AM radio, and phonograph on the living room side, and storage space for china, crystal, and silver on the dining room side. In the illustration below, the TV chassis swivels for optimum viewing angle; tuning controls are located across the room.

www.americanradiohistory.com 4 The two photographs at the right show open and closed views of a system which includes, FM, AM, TV, phono, and- above the TV picture tube - a motion picture screen which pulls down like a window shade. Servicing of the equipment is made easy The ri ft. bleached mahogany by mounting TV and cabinet, below, houses DuMont amplifier equipment on TV-FM chassis, record changer a sliding drawer which and, in the extreme right hand can be pulled forward, section, a bar. and to which the front panel is attached.

The installation at the left n'as made after construction of the house had been finished, by cutting out an area in the partition and setting in a prefabricated cabinet. Note that both record changer and tape recorder are mounted on pull- out drawers.

www.americanradiohistory.com The illustration above shows an along-the- wall arrangement which includes a McIn- tosh amplifier, Altec 6o4 -B speaker, Lincoln record changer, Crestwood tape recorder, and Radio Craftsman FM -AM tuner. Bass reflex speaker enclosure is fitted into a for- merfireplace. The small photograph in the upper right shows the arrangement of some of the equipment in the cabinet. Compare the arrangement shown here with the one on page 54.

In the installation above, radio, television, and phonograph equipment is built in as part of the house. Storage and desk space is also provided in this modern arrangement.

Cabinets and bookcases at the left were added as built -out furniture. FM -AM, phonograph and amplifier cabinet, which also incorporates desk space, may be separated from the speaker cabinet should furniture rearrangement require it.

www.americanradiohistory.com 7", ......

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In the photographs above and right, the radio and TV installation has been made in a storage -wall partition between living room, above, and dining- den area, right. The television chassis swings completely around so that it may be watchedfrom either room. Separate speakers are used in each room.

A completely detached cabinet, made of dark mahogany veneer, houses a 3 -speed record changer, FM -AM tuner, 20 -inch. TV chassis, and the loudspeaker. All doors are operated by spring catches which release when the door is pushed inwards gently.

'! www.americanradiohistory.com In the illustration at the left, a DuMont 19-in. TV and FM chassis, with an Altec 6o3 -B speaker, has been installed in a large built -out cabinet which also serves as a writing desk and for general storage. In the installation pictured below, a unique feature is the flour -bin arrangement for the Craftsman FM -AM tuner. The loudspeaker is an Altec mounted above the 20 -in. Radio Craftsman TV tuner. Note ven- tilation louvres above and below TV receiver.

In the long, narrow living room shown below, all equipment has been installed in a single cabinet along one wall. The picture tube on the TV set swivels out 45° to correct viewing angle. The small photograph shows the appearance with all cabinet doors closed.

www.americanradiohistory.com In the illustration above, period cabinets flanking the living room doorway house all FM, TV, and phonograph equipment. Record changer and tuner are at the left; television chassis and speaker are at the right. Below, in an across -the -room installation, the I speaker is mounted in one corner of the room at ceiling height, while the FM -AM tuner and record changer are installed in a built -out record storage cabinet, left.

www.americanradiohistory.com i PART 2

By ALAN C. MACY

JN THE previous issue of HIGH- FIDELITY, we reported Selecting the Microphone on the various types of tape recording equipment and on our experiences with the installation and opera- Before we discuss the actual recording of live music, tion of a typical unit. Methods of recording programs the selection of a microphone must be considered. Micro- from radio and television stations, and from phonograph phones are supplied with many of the tape recorders listed records, were discussed in detail. In this article, we shall in the preceding article. Most of these recorders are tell of our experiences with a microphone: the record- packaged units. That is, they are provided with micro- ing of live program material. phones and built -in power amplifiers and loudspeakers. Our experiences have been many and in some cases, Purchase of such units reduces to a minimum the problems puzzling and even alarming! The first time we turned on discussed in this article. However, our work was con- all the equipment, and before we had an opportunity to ducted with a Concertone,' which is particularly well speak so much as "test- one-two -three" into the micro- adapted for addition to an existing high -fidelity system. phone, we were subjected to an ear -splitting wail which Most of the reasons for its selection have already been rapidly grew in intensity until we were almost deafened. reported. Also, we wanted to go through the experience

REPRINTED BY SPECIAL PERMISSION OF SATURDAY EVENING POST. COPYRIGHT ISM BY CURTIS PUBLISHING CO. of selecting and connecting, as well as using, a microphone. In other words, we wanted to meet and surmount every problem which might confront an audiophile under similar circumstances. To help in the selection of a microphone, we wrote to three manufacturers, asking: "What one or two microphones would you recommend for use with tape recorders in each of the three brackets: under $2oo, $zoo to $500, and over $goo? Why do you make these recommendations? What are the specific applications, advantages, and disadvantages of each microphone recommended as compared with the others ?" The answers which we received are reproduced on this and the following pages, along with illustrations of the particular microphones under discussion. It should be pointed out that these manufacturers were selected because they pro.

I Berlant Associates, 4917 W. Jarman Blvd., Los An- geles 16, Calif.

www.americanradiohistory.com duce a wide range of microphones, from inexpensive to Microphone Recommendations top quality instruments providing optimum fidelity. Hence, they were in a particularly good position to make From ELECTRO -VOICE suggestions to purchasers of new tape units, whether they cost $200 or $1000. In general, the recommendations of these manufac- A survey of the tape recorder field reveals that your choice of three divisions or turers can be summarized as follows: if the tape recorder classes of tape machines is quite apropos, is supplied with a specific microphone, it will be well although we invite your attention to the to use this or a very similar unit, because the microphone first price break of $2oo. A review of the will have characteristics balanced to those of the tape catalogs discloses 1159.50 as the top price of the competitive 712 ips. machines on the recording and playback equipment. When no micro- market. This is the portable class. In the phone is supplied, and if the recorder incorporates an next bracket we find only one machine - - in the neighbor- equalizing circuit, it is wise to choose the best micro- selling for $345. Starting Model 915. Crystal. hood of $500, we consider ourselves in the High impedance. phone which the budget will stand. Of course, the uses semi -professional and professional class Go to 7500 cps. to which the microphone will be put should be borne combined, as there seems to be no distinct in mind. line of cleavage until the S800 mark is reached. Although many audiophiles purchase machines over this sum, such models Preamplification for the Microphone are actually intended for professional use. CLASS I: $100 to $160. There seem to be no units under Poo. In the Poo to 1í6o Almost without exception, modern microphones are low bracket we find all machines are of the output devices. The situation is analogous to that of packaged type, highest tape speed 71 ips., some with 33/4 ips. optional. Other signifi- phonograph pickups. The crystal cartridge is a high cant features are that they have small output device; it can be connected to the same terminals speakers of the low-fidelity type and, insofar on the amplifier as an FM, AM, or TV tuner. Magnetic as we have investigated, none employs tape cartridges are low output devices, and preamplification equalization. These factors are important in the choice of microphones. The curve is required in order to drive an average power amplifier. of 71/2 ips. unequalized response shows Model 9.20. Crystal. Similarly, microphones generate very low voltages and, rapid attenuation after 6,5oo cycles. In the High imp. Omni- therefore, require preamplification. In nearly all tape other direction, attenuation is at the rate of directional. 6 db. per octave. This sets the prescription recorders, this preamplification is already built in or comes for the microphone: a compact, a highly - as part of the basic equipment. The Concertone, for tooled, low -cost, high -value item, with instance, has two input connections. One is marked response which exceeds the limits of the recorder. The recommended all- around Low GAIN, the other HIGH GAIN. The low gain input microphone is our Model 915 crystal. is used for high output devices such as radio and tele- Without exception this Class I tape ma- vision tuners, and for crystal cartridges. The high gain chine is supplied with a microphone by the manufacturer. However, an individual is for such as circuit low output equipment microphones. seeking a replacement microphone for his Let it be noted here that the preamplifier required for recorder will in most cases take the oppor- better. this magnetic phonograph cartridges cannot be used as a tunity to buy something In case he will find the Model 92o of advantage microphone preamplifier, at least without modification. because it is non-directional. A still better Conversely, a microphone preamplifier cannot be used unit is the Model 911. with a magnetic pickup. The reason is that considerable CLASS II: 116o to $500. Most familiar machine in this class is the Berlant "Concer- bass boost is incorporated in the circuit for the magnetic tone', at $345. It is the only non- profes- pickup preamplifier, whereas a microphone preamplifier sional machine which currently delivers a should have no comparable bass boost. For instance, 15 ips. tape speed, as well as 71/2 ips. More- Left: model 911. over, these speeds are equalized. According- in the article on the Air -Coupler tests, elsewhere in this Crystal. High imp. ly, the microphone recommendation here Right: model 636. issue of HIGH- FIDELITY, mention is made of a modified calls for a unit with response range paral- Dynamic. High or Pickering preamplifier. The modification was the re- leling the tape response. Because such a low imp. 6o to 13,- tape machine is used for making listenable the 000 cps. moval of bass boost circuit. music recordings, both vocal and instru- This point is emphasized lest someone try attaching mental, as opposed to "home documentary" the output of a magnetic phonograph cartridge direct to the transcripts, the microphone must be versatile. The Model 636 is excellent for all high gain connection on the Concertone or similar recorder. music and dialogue applications, and is In our own case, we used two microphones. One was non -directional. an Electro -Voice Model 65o, which is described in the The Model 63o is probably the highest quality, highest value, most versatile "work - section on microphones. We connected this microphone horse' in the entire E -V line. It is mildly through an impedance matching transformer (impedance directional, has better chan usual response matching will be discussed later) to the high gain input range, and is rugged. Strongly recommended for Class II. For applications involving terminal on the Concertone. The other microphone with highly reverberant locations, such as halls which we experimented was an Altec 21 -B. This is a and large living rooms, the Model 95o broadcast type which was, for us, more or less special crystal cardioid solves the problem of discriminating against random and reflected Model 63o. Dy- equipment, since it was being used in conjunction with sound, while preserving the widest range namic. Both high laboratory work which required exceptionally flat response response. and low imp.models.

www.americanradiohistory.com Microphone Recommendations, cont. at very low frequencies. It is non -directional, as compared with the directional Electro -Voice model 65o. Altec requires not only the usual pre - CLASS III: $500 to $800. Semi- profes- The microphone sional and professional types include the amplification mentioned above, but also a special power Magnecorder, and the Ampex. These supply for a tube mounted as part of the base of the micro- operate at 71/2 and t5 ips. The true audio phone. The power supply is part of the accessory equip- enthusiast, having spent over $t,000 on a tape recorder and other components, ex- ment supplied with the microphone. It is shown on pects and deserves professional results. page 25, Fig. 4, along with the Altec microphone. Just one type of microphone won't do what As has been stated, most tape recorders come equipped this Class Ill person will insist upon. Purely instrumental pickups with to pieces with sufficient preamplification to accommodate nearly or more, or vocals with piano accompani- all microphones. If this feature is not already built in, ment, permit a single microphone pickup it is almost certain to be available as accessory equip- technique. The E -V professional microphone, Model 654, would cover this re- ment. However, if desired, a standard preamplifier for quirement. While this Model 654 is a ver- magnetic phonograph pickups can be used provided it is satile microphone, it is of the overall pickup modified to remove the bass 'boost circuit. To find out type, and is most suited for omnidirection- ,Hode! 95o. (.ardi- al use. exactly what happened in this case, we took out the bass oid. Directional. In order to record dance bands with pro- boost circuit in a Pickering unit. Then a comparison High impedance. fessional accuracy, an accent microphone was made between the position of the master volume must be employed on the rhythm section (drums, piano, bass fiddle) of the band. control when recording speech over the microphone, and This microphone must be highly directional when recording speech from a radio broadcast. With in to isolate the rhythm section order and an FM tuner connected, a master volume control setting permit control and balance. The ideal unit in this category is the Model 726 cardioid. at about 7 resulted in normal volume on voice, and was Too, the cardioid subdues the effect of ample for recording purposes. When the microphone was reverberation in bad locations. used with the Pickering preamp, modified only to the extent The case of a vocalist with orchestral accompaniment unequivocally demands a of removing the bass boost circuit, the setting for the separate microphone of the 726 cardioid master gain control had to be reduced to 21/2 for a volume type. The 654 is used as the overall orches- level comparable to that from the FM tuner. Therefore, tral mike, and faded out as the 726 "singer" mike is faded in. This is almost mandatory. the Pickering was further modified to reduce its overall Otherwise, the singer cannot overcome gain to a point where the output was approximately equal orchestra level, particularly the high sound to that of the FM tuner. Of course, when this special pressures from the brass section. The 726 is at right angles, pickup -wise, to the preamplifier was used, it was connected to the low gain Left: model 654. orchestra, allowing the band to balance the input of the Concertone not the high gain input. Omni - directional. - vocal. More signal from the 654 is available Lou, imp. Right: Subsequent experiments included connecting the Altec for balance if necessary by simply turning model 726. Dy- directly to the high gain input of the Concertone, with- namic. Directional. up the mixer control. For highest quality, wide -range appli- High or low imp. out using the modified Pickering preamp. Likewise, the cation, the Model 65o dynamic offers a Electro -Voice 65o mike was connected first through the higher signal -to -noise ratio than any other into E -V microphone. Pickering into the low gain input, and then directly the high gain input without the Pickering unit. It was found that with these two microphones, the gain of the preamplifier section of the Concertone was about equal From SHIJRE BROS. to that of the Pickering, before reducing its gain. Assuming that the price of a microphone should be in pretty much of a ratio with the price of the recorder with which it is being Output Level of Microphones used, we have selected our recommendations accordingly. Listed below are the This brings up the subject of the output voltage of a groups by price range, and the recom- basic fact that micro- mended microphone for use with each: microphone. In addition to the phones are low output devices, some have lower output Model 65o. Dy- Recorder Recommended namic. Semi- direc - Price Microphones than others. The output is usually expressed, technically, tional. Lou, imp. relative to a given amount of Less than $200 5 t oC, 51 oS, 7 r oA, 7 r oS as minus so many decibels, O $200 to $500 51, 737A, 55S, 55 sound pressure. This method of rating is a complicated Over $500 5565, 556 matter. It is enough to say that cursory examination of The 5to series uses an internal unit based one microphone manufacturer's catalog shows a range on our new controlled reluctance magnetic from minus 55 db. to minus 46 db. Both the Altec 21-B principle. They feature exceptionally good voice reproduction with extremely rugged (with its associated power supply and amplifier) and the construction. In addition to having a high Electro -Voice 65o are relatively high- output microphones. output level, the 5to series is also tropicalized, making it practically immune to heat and humidity. These microphones Impedance Matching are extremely popular in the southeastern Models 510 and 710. part of the country, and in the export The impedance of a microphone is another important heat and humidity are quite 5ro is magnetic; 7to market where Microphones i, crystal. prevalent. characteristic which must be considered.

www.americanradiohistory.com generally fall into two classes: high or low impedance. Microphone Recommendations, cont. High- impedance units should be connected to a high impedance input, such as the grid of the first tube of the The model 710 series are crystal -type preamplifier. For example, the high gain input connec- microphones featuring high level, good tion on the Concertone is for a high impedance input. Other general response, and low cost. They are microphones are low impedance devices. and connecting excellent microphones for use in areas where so- normal year -round tem- input as requires called them to an such that on the Concertone peratures prevail. a matching transformer. The next price bracket - $200 to $500 Specifically, the Electro -Voice 65o is a low impedance - is quite a spread. Our recommendations unit. In order to connect it either to the modified Pick- are based on both price and performance. We say performance because, in this price ering preamp, or to the high gain input of the Concer- bracket, more often than not, the recorder tone, we had to use an impedance matching transformer. is used in areas and for applications where a is essential. Such units are available from most transformer manufac- highly directional microphone Therefore, the grouping features three direc- Model 51. Dy- turers. They have a series of connections on the primary tional microphones with the model 51 being namic. Semi-directional. Lou, side to match 5o, 300, or 600 ohms. Usually there is a the only conventional, semi -directional and high impedance. similar series of connections on the secondary side, one microphone. Notice also that three are moving coil dynamics with the model 737A of which will match 50,000 to 70,000 ohms. In high being the only crystal microphone. fidelity applications, care should be taken to purchase a The model 737A is quite a unique micro- unit which has good frequency response characteristics. phone. It is the only super -cardioid crystal microphone available on the market. It In all applications, the transformer must be designed to has an excellent general-purpose response, minimize hum level. Hum level is a specification which high output level, and a highly directional front -to -back ratio (14 to I). In addition, is usually stated in manufacturers' literature. The UTC it uses a tropicalized crystal element. The A -11 and the Peerless K221 -Q are typical impedance crystal is wrapped in a special metal foil matching transformers. and additionally sealed with a plastic solu- The Altec microphone presents a peculiar situation which tion. This processing gives the metal -seal crystal several times the life of the conven- the audio -phile may encounter: it is actually a high im- tional crystal element. pedance device. But, because most broadcast stations So, while the 737A is a crystal, it over- have standardized on low impedance input lines, Altec comes the objection to the use of a crystal device in hot, humid areas. This micro- provides an impedance matching transformer designed Model 737A. Swper- phone is recommended for all applications cardioid. Direc- where a directional microphone is a must, to work into 5o, 300, or 600 ohms. tional. Crystal. where price is a major consideration. To summarize: the purchaser of a microphone should and The model 51 is slightly more expensive, determine first whether the input to his tape recorder but differs in many respects. It, too, fea- is of a high or low impedance type. Then an impedance tures a high output level, but is a moving - matching transformer can be acquired if necessary. coil dynamic which has the conventional semi -directional pickup pattern, with an exceptionally smooth peak -free response Connection of a Single Microphone which, of course, is ideal for use with ex. pensive recorders where top quality repr to the Recorder duction is a number one consideration. In other words, the model 51 is recom- Once the impedance question has been settled, the micro- mended in all cases where a good quality phone can be connected to the tape recorder. If the cable moving -coil dynamic microphone is required and where the pickup pattern is coming from the microphone has three wires (or if con- not a major consideration. nections at the microphone are for a three -wire cable), Models 55 and 55S are recommended it is likely that the unit is of low impedance. One of whenever the requirement is for top quality with a directional pattern, as for public ad- wires is a shield; the the three other two should be con- dress work. Its highly directional super - nected to the correct taps or lugs on the primary of the cardioid pattern makes it ideal in all appli- Model 55 and 55S. impedance matching transformer. Such a transformer cations where acoustic feedback is a prob- Dynamic. Direc- lem, or where the cancellation of extraneous tional. usually has an extra lug or connection, going to an in- and unwanted background noises is neces- ternal shield. This should be connected to the shield sary. In addition, its smooth, peak -free on the microphone cable, as should that tap on the second- response makes it suited for use with all types of better -than- average quality recorders. ary of the transformer which goes to ground. Further, The new, small model 55S embodies all the shield on the cable from transformer to tape recorder of the desirable features of the 55. In addi- input should be connected to the common ground. tion, it has a slightly improved overall frequency response and a slight difference in The input connection to the recorder will probably the pickup pattern which offers not only have two terminals, one grounded for connection to the considerable cancellation at the rear of the cable shield, and the other for the hot wire. microphone, but also a wide -angle pickup across the front of the microphone. It is is If the microphone cable a two -wire type, it is prob- recommended for applications similar to the ably a high -impedance microphone. This would be con- 55, and especially where small size is im- nected directly ro the tape recorder terminals. portant. For the last category of recorders, we may be a problem. Connectors The input connection recommend our broadcast-type 556, and the Model 6oX. Crys- on the Concertone, for instance, is an RMA plug, familiar small model 556S. These microphones tat 70 to 7,000 cps.

www.americanradiohistory.com COPPER BACKING: To provide a metal layer of the required strength, additional copper plating, to a thickness of .o6 in., is necessary. This is done in a sealed chamber containing acid copper electrolyte. The circular copper anode is spaced close to the disc, and the two are rotated in opposite directions. In this way, a metal matrix (negative copy of the surface of the master STRIPPING: record) is built-up. The matrix is finally stripped off the The matrix must be strong enough that it can master record, disclosing a be stripped off the master record bright gold or silver sur- without being damaged. face that is an exact negative copy of the record grooves. Great skill is required in this operation. used only when destruction of the master record can be "mother" is made by plating the matrix. The mother is an risked during the stripping stage, and no more than zoo exact duplicate of the master recording, from which addi- pressings will be needed. tional matrices or scampers can be produced at any time. If a larger number of pressings will be needed, or if These illustrations were made available through the the master must be kept intact for future use, a metal courtesy of Audio Devices, Inc., manufacturers of the blank

ELECTRO- CLEANING: After stripping, the matrix is cleaned thoroughly by immersion in a strong alkaline solution, agitated by an electric current. CHROME FACING: In this way, Vinylite plastic ma- impurities can be removed without damaging the delicate nega- terial tends to stick to silver or gold. Therefore, tive copy. One particle might cause a click when the record is played. a thin coating of chromium is plated on the gold. If silver is used. it is removed, and chromivm is dep.,sited on the surface of the copper prepl rte. The coat of chromium is so thin that it does not affect the highest frequencies recorded, bvt it is hard enough to withstand 2,000 pressings without wearing away. This is the last step in preparivg the working surface for pressing copies of the master record.

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ARISTOCRAT 11 Includes E -V Model 111 DeLuxe 800 cps Separate 2 -way Speaker System completely wired and installed in ARISTOCRAT folded corner horn cabinet enclosure. 29'/ "high x 19 "wide x 16'/ "deep. Net wt. 91 lbs. List Price: Mahogany, $340.00; Blonde, $346.50 Model 111 Deluxe 800 cps Separate 2- Way Speaker System Consists of 12W L -F Driver, T -25 H -F Driver, 8 -HD Hoodwin Diffraction Horn, X -8 Crossover Network, AK -1 Accessory Kit of mounting hardware and black flat baffle with cut ports. 27 "h. x 18 "w. x 131/2"d. Net wt. 48 lbs. List Price, less cabinet $255.00

ARISTOCRAT I Includes E -V Model 108 Economy 800 cps Separate 2 -Way Speaker System, completely wired and installed in ARISTOCRAT folded horn cabinet enclosure. 291/2" h. x 19" w. x corner Send Now Bulletin 189 161/2" d. Net wt. 72 lbs. for List Price: Mahogany, $265.00; Blonde, $271.50

Model 108 Economy 800 cps Separate 2- Way Speaker System Consists of 12BW l -F Driver, T -10 H -F Driver, 8 -HD Hoodwin Diffraction Horn, X -825 Crossover Network, flat black baffle -1 Kit mounting with cut ports and AK Accessory of STREET hardware. 27 "h. x 18"w. x 121/2"d. Net wt. 29 lbs. 425 CAQROLL list Price, less cabinet $165.00 r Suppliers to the Radio and TV Networks ARISTOCRAT (Klipsch- Licensed) Folded Corner Horn Enclosure for single 12- full range speaker. HI -FI SPEAKERS MICROPHONES PHONO PICKUPS TV BOOSTERS Mahogany, less speaker. List $ 99.50 Export: 13 East 40th Street, New York 16, U.S.A. Cables Arlob Blonde, less speaker. List $106.00

fi i

www.americanradiohistory.com CENTERING: The center hole is located precisely with a dial indicator. An error of afew thousandths of an inch would cause objectionable wow when a BACK back record is played. TURNING: The of the matrix must be ground or A metal center -hole insert is sol- turned perfectly smooth, since dered to the matrix, any high spots in the plating would for use in the molding press. deform the matrix during the pressing operation.

discs from which the master recordings are made. The Hence the much higher cost of transcriptions. For example, photographs were taken at the K. R. Smith division of every tenth transcription pressing is played all the way Allied Record Manufacturing Company, New York. This through on special monitoring equipment. Thus, any company specializes in producing transcriptions for broad- imperfections which may develop in the stamper during cast stations, and other uses where exceptionally high audio successive pressings are detected promptly. quality is required. Standards of quality control and in- This company has published a handbook entitled "Sug- spection are very much higher than in plants devoted to gestions for Professional Recording ", which is available big -run production of commercial phonograph records. without charge. The address is 619 W. 54th Street, N. Y.

PRESSING: Two matrices are mounted in the press. Then a preform of Vinylite MOLDED TRANSCRIPTION: When the press is closed, the Vinylite material is put is between the stampers, and the press is closed. heated and subjected to 1,800 to 2,000 lbs. pressure. A cycling control releases the press after 25 to 75 seconds, depending upon the size of the disc and the kind of material being molded. Excess material is squeezed out around the edges. Therefore, the final operation is to trim and polish the circumference of the disc. Since the labels are molded onto the disc during the pressing opera tion, the disc is ready, after it is trimmed, to be packed and shipped.

www.americanradiohistory.com engineers choose leading audio FM -AM TUNERS BROWNING listeners for discriminating audio engi- installations, For custom the most they must please neers know the serious of high -fidelity - too, severe judge know, These engineers music listener. resources the best engineering that only performance. such gratifying can produce audio en- is why leading And that BROWNING from these in- gineers choose custom their exacting models for stallations. TUNER RJ -20A FM-AM MODEL 20 db 4quieting FM circuit; and Armstrong Separate microvolts with with 6' AFC on FM bands selec- Oon AM bandwidth OFF switch kc. Drift- compensated and ± db. tion. 9 kc. cycles IV: 15- 15.000 sell- FM audio bass boost db treblee 20 and contained po FM-AM TUNER MODEL RJ -12B circuit; 20 Armstrong FM db Separate 10 microvolts with less than AFC on ate on both bands r.f. and t.t. ritt AFC nsatM switch pe 5 db with ON /OFF cycles db audio =~3 FM 1520-6600 cycles AM audio i.f. Triple -tuned FM TUNER RV-10A 10 MODEL less than FM circuit; Armstrong limiting AFC for complete microvolts switch 2 -stage /OFF - FM with ON Drift on Tuned r.t. stage limiter output. cascade High impedance compensated for Browning full specifications per- Learn the for complete write these and data on curves formanceor mancence models.

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www.americanradiohistory.com RECORD COMPENSATOR

Continued from page 32

he adopted. However - and unfortunately such has not been the case, and a wide range of characteristics is in evidence. How important are all these factors, anyway? To the user of the average commercial phonograph they may be of little im- STEPHENS TRU -SONIC SPEAKER SYSTEMS ARE SUPREME portance, because, in the first place, many of them use crystal cartridges which have a Drooping high frequency response and, in the second place, few commercial phono- --; Acceptance by the leaders both in the commercial and custom set build- graphs have a sufficient degree of high -fidel- ing fields has been the award most prized by Stephens engineers through ity to make these recording characteristics noticeable. To the audio -phile, who would the years. They know this recognition is a verdict of the truly discrimi- be scandalized at the thought of buying an amplifier that was more than a fraction of a nating ear and it serves as a spur in Stephens' never -ending search for decibel away from fiat response over the range from 20 cycles to well above 20,000 new peaks of perfection in sound reproduction components. cycles, the answer is that the difference due to preemphasis alone can be as great as io db. (to times, in power) in certain ranges of frequency. And to the music lover who Stephens proudly presents ... doesn't know or care what a decibel is, the answer is that if he has a good loudspeaker THE 106AX COAXIAL 2 -WAY SPEAKER for full, rich, natural sound and amplifier, the difference is decidedly across the entire tone spectrum at all volume levels. One compact as- audible. sembly combining a cone-type, low- resonant, low -frequency unit with multi -cellular type, wide-angle high -frequency dispersion (eight cells, THERE is a point which should be clari- with amplifiers incorpor- 40° x 80 °). A 1200-cycle crossover network channels high and low fied in connection ating phonograph preamplifiers, and with watts. tones to units designed to reproduce them. Power rating -20 preamplifier design in general. It is relatively Impedance - 16 ohms. Frequency response - 40 to 12,000 cps. Diameter expensive to design a preamplifier that is compensated correctly in the extreme bass - 15í/s ". Baffle opening -131 ". Depth behind mounting panel - 101 ". range, especially if the hum level must be Weight - 30 lbs. Recommended for broadcast monitoring, motion kept low, as it certainly must. Since careful picture sound, and - especially - FM and record reproduction. design at this point is thought to be either unimportant or not appreciated, many preamplifiers are equalized fairly accurately down to 5o, 6o or even 8o cycles, and then +*/ /////////////////A! IA' allowed to "droop" rapidly. This leaves /iE l f,/ Ì1ñRbilAAI\°.IIN/iir71111:`!i1!tirC1:t///I./! t/.///! // out at least an octave of the bass range, IIitfSlCOEtaQDlI which removes much of the richness and power of the music to be reproduced. It is aril sometimes argued that this procedure is 0 Orr YN[ ..5CHARACTERISTIC r desirable because t) it reduces rumble from ...is_ E s aE u u- ____ IN PER SECOND . over- a rRE000NCY CYCLES K. 2) pU y\'Or °..1US,E 1 phonograph turntables, it avoids loading the average loudspeaker, and ;) _ . the loudspeaker cannot reproduce the ;o to 8o -cycle range anyway. And Perhaps so, but the concern here is with cxcellent amplifiers and excellent loud - .peakers. And in any case, how does the MODEL 418 CORNER CABINET, the THE argument explain the application of this finest custom -quality home reproducer in design theory to expensive amplifiers? Who the Stephens TRU-SONIC line. It features needs an amplifier that can handle full power at 40 cycles if the preamplifier does with two 15" permanent magnet speakers not permit 40 cycles to get to the amplifier? extended range for low tones, plus the full Regarding adjustments for turnover and arises: why not use coverage in the high ranges afforded by roll -off, the question bass and treble tone controls to accomplish the use of a Model 824H 2x4 800 -cycle the same result? The answer is that they horn, a Model 108 high -frequency driver, can be so used after a fashion, but the results are quite imperfect because they are and a Model 800X crossover network. designed for a different purpose. The tonal Cabinet dimensions: Width -41 "; Depth ranges over which they are effective are not - 23 "; Height - 36 "; Weight -155, lbs. the same as those requiring compensation for recording characteristics. For example, Available in blond of mahogany. if a preamplifier equalized for a turnover frequency of 40o cycles is used with a record that requires an 80o cycle turnover, the thin. If the bass WRITE FOR FREE LITERATURE TODAY, music will sound rather tone control is now turned up, the drums STEP"ENS MANUFACTURING CORPORATION Continued on page 68 8538 WARNER DR., CULVER CITY, CALIF. .

www.americanradiohistory.com You don't have to look, because

THERE ARE NO SPLICES in *

...but this "transparency test" shows some other important things about Audiotape quality

When you hold a reel of plastic base Audiotape up to the NO OTHER TAPE OFFERS YOU ALL light, notice its extremely uniform translucency- free from dark OF THESE EXTRA -VALUE FEATURES: rings or fuzzy areas. You can see your fingers right through it, sharply outlined against the light. This is proof of the clean, Splice -Free Reels. All 1250 and 2500 foot reels of straight line slitting that makes Audiotape track and wind abso- plastic base Audiotape are guaranteed to be free lutely flat. There are no rough or turned -over edges which would from splices. lift the tape away from the heads, causing loss of high -frequency Unequalled Uniformity. Plastic base Audiotape is response. guaranteed not to exceed ±'/4db within the reel Of course this test also proves that the tape is entirely and ±' /2db from reel to reel. free from splices. But with Audiotape you can be of sure that Output Curves in every 5 -reel package of plastic without looking. For all 1250 foot and 2500 foot reels of plastic base Audiotape show actual measured output of base Audiotape are guaranteed splice -free! the tape contained in the package. You can see the output uniformity of Audiotape, too. For Maximum Output with Minimum Distortion. Oxide every 5 -reel package includes an Esterline-Angus output chart, formulated to give high output at bias which results in low harmonic distortion. showing the measured output of the entire length of one of the Safe -Handling Package for reels in the package. And since all 5 reels are slit from 2500 and 5000 foot reels the same permits loading onto turntable without danger of roll after coating, the chart actually measures the uniformity spilling tape from hub, simplifies attachment of of all the tape in the package. This gives positive visual proof reel flanges, and provides safe storage without of Audiotape's unequalled output uniformity. flattening bottom of roll. 'Trade Mark AUDIO DEVICES, Inc. 444 Madison Avenue, New York 22, N. Y. Export Dept.: 13 East 40th St., New York 16, N. Y, Cables "ARLAS"

www.americanradiohistory.com RECORD COMPENSATOR The ONLY Continued from page 66 truly high - fidelity high - performance tape recorder in the popular price begin to sound louder, as do the double - The basses and the tuba, but something seems field! to be missing in the middle register, about an octave above middle C. Why? Because the need is for a fixed increase in response Magic from the very lowest frequency up to 800 cycles. What the bass control gives us is a great deal of increase at the very bottom RECORDER of the range, more than we need, and prac- Number is tically no correction in the middle register. where it is most noticeable. To summarize, turnover and roll -off compensation counterbalance the so- called recording characteristics incorporated into phonograph records by the manufacturer. 113 By providing a series of different turnover and roll -off frequency characteristics, the ideal of exact compensation for the various recording characteristics in common use today can be approached. The result is the best possible facsimile of exact reproduction of the music as it was played in the The magic of music is recording studio. now available on 113 different LP labels TAPE RECORDING

Continued from page 6o Model WE CARRY THEM ALL 1401 Recorder installed in Model 501 carrying cas. types of microphones with alarming success. We encountered a practical example Equalization conforms to NAB recom- of this in our experiments. Recorder motors mended standards.Extended frequency = tend ro make a grinding noise, particularly response, 50 to 15,000 c.p.s. 2 db. when they are new. In the Concertone, Tape noise down to random level. is 3 ft. away2 and can be picked Three dynamically balanced motors. this audible We can send you any record- Separate heads for high frequency up by a sensitive microphone even 6 ft. erase, record and playback. Simulta- distant. In our early experiments, this ing, currently listed in the neous monitoring from tape while background noise was quite annoying, until Schwann LP catalog the recording. Instantaneous choice of we that putting a rug under - discovered 7.5" or 15" per second tape speeds. the metal base of the mike stand eliminated same day your order is re- All controls interlocked to prevent most of it! Transmission of the sound was spilling or tearing tape. ceived. not through the air, direct from the Concer- - MODEL 1401- BASIC RECORDER Ready tone to the microphone, but through the for custom installation, includes drive base of the Concertone cabinet, through the mechanism, power supply, erase. floor, and up through the microphone stand. preamplifiers, record and playback Again, the user of a tape recorder is urged all mounted on rigid base plate. to experiment. Some microphones are more You - Professional Users Net Price, dual or can solve your small sensitive to mechanically -transmitted sound single track heads $345.00 label than are others. problem with us, quick- Available with hysteresis synchronous External noises can be very troublesome, motor on special order. ly and efficiently. Records and sometimes difficult to control. Trucks MODEL 501 -CARRYING CASE Complete rolling by the front of our house produced are mailed postage prepaid with monitoring amplifier, high fidel- appreciable background noise. In fact, it ity 8" speaker, and all connections for on receipt of your check or was so real that when neighbors came in to portable system. Professional Users hear some of our tapes, they looked out money order - or C. O. D., Net Price $82.50 the window to see what was going by! Without monitoring amplifier and if you prefer. And the dog, walking on the bare floor, set speaker, for professional usage $47.50 up a considerable clatter with his toe nails MODEL 1702 - CONSOLE CABINET All -- until we got the microphone up on a metal construction. Features rack panel shock mount. set -up for mounting a complete sound system. Completely enclosed. Profes- sional Users Net Price . . . $97.50 Positioning the Microphone Write For Bulletin x106 There is only one way to determine the V-1-0c -11) Ií54S 'Box best position for a microphone: take a SiManvfarlurea By 279 Main Street reel of tape and experiment. Long articles Berlant Associates Continued on page 69 Great Barrington, Mass. 4917 W ler letson Boulevard f c.Jrsr L. Anyele, ld. Calilor nia Gee our discussion in the previous article about shock mounting to deaden this noise

www.americanradiohistory.com TAPE RECORDING

Continued finar page 68

have been written on the subject for the benefit of studio engineers, yet they operate under relatively ideal conditions. In the home, room acoustics play havoc with the recording of live sound. There is not much problem with the recording of one or two speaking voices, because the microphone can be positioned within, say, a few feet of the individuals and the input level control turned down to a point where reflections from the wall are too feeble to be picked up. But try recording a piano! That is one of the toughest instruments to record correctly even under the best acoustic conditions. In the home, repeated experimenting is necessary to find the best spot for the mike. Strangely enough, the ear is no guide to locating that position. No doubt the piano sounds best, to the ear, near the big chair in the corner. But put a microphone over there - particularly a non -directional model - and the result is likely to be horrendous! Certain notes will stand out like the proverbial sore thumb, completely out of balance with the rest of the musical scale. Others will be almost inaudible. Still others will echo and re -echo. We still Years ahead in listening pleasure have to locate the best spot in our workshop, (if there is any such!), but so far we When you own a Newcomb amplifier you own find that being un- equally far from every- more than just a carefully built piece of electronic thing is a good rule. The exact center of equipment that measures up to the most exacting the room is bad; directly on the center line mechanical requirements. You also own ... what of the piano is bad; corners are very bad. you really want ... the phonograph amplifier that's designed to give you the most in listening quality. Model HIP-14, 14 watt Phonograph Amplifier Using the Playback Head Let your own ears be the judge. When you listen for Monitoring to a Newcomb you hear your favorite recordings or radio and television shows come gloriously to With something of an evil gleam in our eye, life. These superb amplifiers are subjected to rig- we have postponed a discussion of monitor- orous testing procedures throughout their producing, or listening to what is being recorded, tion to insure mechanical and electrical perfection. in the nasty hope that our readers would BUT ...more than that ...they must meet the enjoy the experience for themselves, un- most critical listening quality tests. Model P10A, 10 watt forewarned. Phonograph Amplifier in the previous It was pointed out article Newcomb Model KXLP-30 is a 20-20,000 cycle, that, in the Concertone and many other low distortion, 30 watt phonograph amplifier pro- tape machines, it is possible to monitor viding the reserve power to make full use of its what is being recorded while the recording special tone control circuits. Superbly balanced elec- is being made. The tape feeds past the trical design, the result of many years experience, erase head, then the record head, and finally gives you remarkable listening quality. The the playback head. Thus, when the func- Magic Red Knob four stage record condition com- tion selector is in the record position, and pensator frees tone controls from the function of Model R -12, Three Speed the tape is passing through the recorder, controlling surface noise. Thus any desired tonal Portable Phonograph can be advanced the playback gain control balance may be obtained under any condition of is recorded on the until what being tape operation at any volume level. Adaptable for use can be heard on the loudspeaker. with AM -FM radio tuners, TV, wide range loud- system works excellently when the This speakers and magnetic or crystal pickups, it is is from a recording being made phonograph engineered for your listening pleasure. record or from an FM, TV, or AM tuner. We were naive to think that it would work Write for complete descriptive literature equally well with a microphone. We con- Model RC -12, Three Speed Portable Phonograph nected the microphone, started the recorder, began to talk into the mike, and then turned up the playback level control so we could hear how the recording sounded. For about one second, everything was wonderful. there came out of the speaker a series Then T H E S O U N D T H A T Q U A L I T Y B U I L T of sounds like a Les Paul echo effect gone completely out of control. It took us a Model B100 Radio while to figure out what was happening. The sequence of events was this. Address - NEWCOMB AUDIO PRODUCTS CO., DEPT. W, 6824 LEXINGTON AVENUE, HOLLYWOOD 38, CALIFORNIA Continued on page 70 MANUFACTURERS OF P.A, PHONOGRAPH, MOBILE, INSTRUMENT AND WIRED MUSIC AMPLIFIERS PORTABLE SYSTEMS, PHONOGRAPHS, RADIOS, TRANSCRIPTION PLAYERS AND RACK EQUIPMENT 69

www.americanradiohistory.com FAR MORE than an TAPE RECORDING Continued from page 69

Type 210.0 AMPLIFIER ing the microphone, DYNAURAL we spoke one word: Amplifier "Test ". A fraction of a second later, "test" was played back through the speaker. The microphone picked it up, re-recorded it, played it back all over again - and the process kept repeating itself. If a whole sentence is spoken, instead of just the word "test ", the result is the worst mess of gobbledegook man ever heard. It is also likely that a microphonic wailing will start in before long, adding its racket to the overall bedlam. Distance of the microphone from the speaker, and the playback volume level, alter the results - should anyone want to try deliberately to achieve this effect. If the sound from the speaker reaches the microphone at a level louder than the original (close mike or advanced playback control), the volume will gain momentum until it becomes deafening. If the sound . it's a complete music -control system from the speaker reaches the mike at a lower volume level than the original, every- Frankly. whether you buy H. H. Scott amplifiers thing will fade out - eventually. or second -best. your wisest investment is as To summarize, we found it impossible versatile an amplifier as you can afford. Why? to monitor program material being recorded In operation, you must cope with many recording with a microphone, unless the loudspeaker characteristics and all kinds of records - old. was in an entirely different part of the house, new, noisy, quiet. clean. distorted. The real test so that the sound from it could not be picked of amplifier quality is superb music under all up by the microphone. conditions. poor as well as good. H. H. Scott This difficulty would be overcome if amplifiers give exactly that. headphones could be used. However, no

A provision is made on the Concertone control system No other amplifiers have any of the exclusive for connecting headphones, but certain other H. H. Scott control and compensating feature.. A compensating system recorders do provide this facility. There Wide -range listening flexibility of ... seems to be no theoretical reason why a A superb amplifier unique continuous 3- channel tone con- headphone jack could not be added to the Full year warranty trols Concertone. We plan to make this change ... New automatic loudness control com- and will report results in the next issue pensating for the different response of of HIGH -FIDELITY. your cars to high and low notes at different volumes Conclusion ...The amazing DYNAURAL noise sup- Tape recording is a lot of fun and a most pressor which virtually eliminates fascinating experience. The recording of record scratch and LP hiss without program material from FM or TV tuners, losing music, combined with or from phonograph records, is an opera- ... A record-distortion filter and a pickup tion which can be mastered in a very short level adjustment time, but it opens up endless possibilities In all- around performance. H. H. Scott amplifiers for experimenting. Recording live pro- stand unique in the field. Write us for the name gram material is definitely more compli- of your nearest distributor. cated, but boo much more complicated de- pends almost entirely on the degree of perfection or professionalism it is desired Hear these amazing amplifiers to achieve. Experimenting is in order, again. a t the Audio Specialists below: It is hoped that the foregoing discussion has been not only entertaining but instruc- tive and helpful. We would sincerely ap- NEW YORK CITY CHARLOTTE, N.C.. CHICAGO LANSING, MICH. preciate reports from our readers Leonard Radio, Inc. Shaw Dist. Co. Ofenheuer on their Federated Purchaser Allied Radio Corp. Co. 69 Cortlondt St. 205 W. First St. 227 W. Washtenau experiences with recording in general, with 66 Dey St. 833 W. Jackson Blvd. St. Terminal Radio Corp. PITTSBURGH CINCINNATI ROCHESTER, N.Y. specific equipment, and with special types 85 Conlandt St. BOSTON Camaradio Lafayette Radio Lafayette Radio 963 Liberty Ave. Steinberg's, Inc. Rochester Radio of recording problems. 633 Walnut St. 114 St. Paul St. 100 Sixth Ave. 110 Federal St. Tydings Co. Hudson Radio Radio Shack Corp. 5800 Baum Ave. HOLYOKE, MASS. WASHINGTON, D.C. Tel- Sound EDITOR'S NOTE: Space limitations have 48 W. 48th St. 167 Washington St . PHILADELPHIA OWire Shrader Mfg. Co., Inc. Grand Central Radio DeMambro Radio Air Tone Sound 2A Newton Place 2803 M St., N.W. prevented us from including additional ma- 124 E. 44th St. l' II Commonwealth 1527 Chestnut St. terial by Mr. Macy, discussing his experiences with recording outside the home, the construction of a special carrying case for the Concertone and associated equipment, and a method for recording two program sources by fading each one in and out as PACACAGEO ENGINEERING- desired. Therefore, his series will be continued in a forthcoming issue of HIGH - FIDELITY.

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The Only True High Fidelity - High Perform- ance Tape Recorder in the Popular Price Field! FAMOUS vg,ua5-úgg Pe#LiJtLQsíCe 7u4 Seaaatc'opcal 'Value Eid i4we at HUDSON OMICCAttellt TAPE RECORDER audio - pacific of Comparison It Is °`--' By Any Standard TRUE HIGH FIDELITY AMPLIFIERS The Best Buy in the Tape Recorder Field Performance at a price everyone can afford! The Concertane meets Startling -, a new concept to the all professional require- These famous amplifiers give phrase Hi- Fidelity. They have been rated "Superb" by sound _ ments, yet is priced Es- ' 0 engineers who know! -` ceptionally Low! Equali- NAB Leading consumer research organizations have found zation conforms to is Recommended Broad them very conservatively rated! The frequency response 20,000 cycles within .1 Db. cast Standards. Extended from 18 to well beyond is reproduction is rich, Frequency Response is Presence effect truly astounding, brilliant and crisp. Noise, hum and harmonic distortion 50 to 15,000 cps 2 basic amplifier of medium 15" per second MODEL 4 LH -The have been reduced to the vanishing point, - 85. Db .be- db at gain for use with tuners and as studio monitors, speed. Tape Noise down low 20 watts. etc. Expressly designed for tuners incorporating Harmonic distortion is only Vz% at 19.6 watts (40 watts to random - level. Also bass and treble controls and pre -amplifier stage Db feed back. Hum, and noise measure has 7.5" sec. Speed. peak), with 40 per for phono. Tube compliment, 1.615, I -6SN7, a Pre -aligned heads quick- less than 1 milli -volt across 10 ohm load. 2.6L6G, 1 -5U4. Size 7 "W x 8'H x ly interchangeable for w 11" L. Net price $64.00v ..- Dual or Single Track Recording. Total Harmonic Dis- it + Ile Wes ^eM tortion less than 2% at normal maximum signal level. Has 3 dynamically balanced motors, separate heads for .0v Simultaneous monitoring MODEL 4 -Same as above with with re- recording, erase, and playback. mote control panel on which while recording. Instant choice of 7.5" or 15" from tape is located a master level con- Fast Forward, Rewind, and Reverse rt!' per second speeds. trol, four position selector per min.). All controls are interlocked to (2500 ft. switch, and a low level listen- prevent spillage or tearing of tape. Size of basic below panel. Use ing control designed to allow recorder: 22 x 14 x 5" mtg. depth full round, rich with any good quality amplifier. tone at whisper AVAILABLE AS BASIC UNIT WITH CARRYING CASE OR levels. Tube CONSOLE CABINET compliment 1- mechanism, sup- 615, 1 -6SN7, 2- BASIC RECORDER, 1401D: Drive power 3 MODEL 3 -Same as c LH but with an addi- mounted 6L6G, 1 -5U4. Size ply, erase, record, and playback preamplifiers, 1 -615 for the bass and treble boost 4 as above. tional on base plate, ready for installation. controls which are incorporated. Size same With Dual Track Heads. No. A16147, Net $345.00 as Model 4 LH. $ Model 14015, same with Single Track Head,. Net $345.00 Net price .. 68.00 Net price $85.00

NEW! BOGEN Model HO -10 -FI TUNERS FAMOUS COLLINS HI TRIODE POWER AMPLIFIER High Fidelity At Its Best! ALL FAMOUS MAKES IN STOCK All the technical skill and GE S12010 12 High Fidelity Speaker Net $19.95 RXPX craftsmanship possible western Electric 728B 12" Speaker Net 35.70 with Model have been incorporated RCA 515S1 15 " Duo -Cone Speaker Net 35.57 High Fidelity into Collins Audio Prod- RCA 515S2 15" Duo-Cone Speaker Net 48.50 ucts. As a result these Altec- Lansing 6048 15" Dia -Cone Spkr. Net 140.00 Remote Control units closely approach Altec- Lansing 6038 15" Dia -Cone Spkr. Net 75.00 custom -built quality, which University 6201 12" Coaxial Speaker Net 44.10 is apparent upon inspec -- New Bell 2122A Amplifier Net 49.45 Lion and demonstration. New Bell 2145A Amplifier Net 175.52 198.00 COLLINS FM -11 FM TUNER. Surpasses the performance of Brook 12A3, 10 Watt Amplifier Net any unit in its price class. 9 miniature tubes, plus tuning All Preamps, Equalizers, Cartridges, Arms in Stock! eye and rectifier. 1914 x 12 x No. A3001 NET $59.50

ALL STANDARD 500 AMPLIFIER WE STOCK AND DEMONSTRATE Features HO -10: 10 Triode RADIO CRAFTSMEN AND AUDIO EQUIPMENT Wott Amplifier. MAKES OF ELECTRONIC Distortion at rcted output 20. 20,000 Williamson All- Triode Circuit High Fidelity Tuners, Amplifiers, Speakers, -I.3% CPS-35% at 1000 CPS. Cathode follower, 99.999% Distortion -Free and Accessories, Record Pickup Arms Cartridges, damping factor 25. Terrific Performance! This Changers, Tape and Disc Recorders, Cabinets, Features RXPX: Used as remote up to 25 ft. new 12 -watt "Ultra- Fideli- Replacement Parts, Tubes, Television Chassis ty" amplifier uses the fa- and Components, etc. by such famous names as Provides remote control of Power, Selector, Volume and Separate Bass and Treble. Pre. mous Williamson All- Triode ASTATIC ALTEC -LANSING amplifier inputs for al magnetic cartridges. circuit to set a new high AUDIO( BELL in audio fidelity. Frequen- BOGEN BROOK Gain: HO -10 75 db, with RXPX at 80 db. cy response: ± 0.1 db, BROWNING COLLINS Frequency response at 10 watts: HO -10 .02 20. 20,000 cps. ± 2 db 5 CLARKSTAN ELECTRO -VOICE db from 10 to 20,000 CPS. HO -10 with to 100,000 cps. 12 watts ESPEY GARRARD RXPX 1.5 db from 10 to 20,000 CPS. -H 2 db, 10 to 50,000 cps. GENERAL ELECTRIC GRAY Tubes (81: 1.6SL7GT, 2 -65FS, 1- 65N7GT, distortion JENSEN Total harmonic HALLICRAFTERS I -6848, 1.655GT, 1 -5V4G. less than 0.01% at average listening level below 1 watt. MARKEL MASCO Tubes: 2.6SN7GTA, 2 -KT66, 5V4G rectifier. One chassis, RCA Output impedance -12 ohms. HUM FUND. - PICKERING 70 db MAX. db. uses the finest component to produce unexcelled listen- RADIO CRAFTSMEN REK -O -KUT -60 At this price ing quality with practically no distortion. H. H. SCOTT STEPHENS NET PRICE MODEL HO -10 $94.08 nothing UNIVERSITY WEBSTER No. A10964, List $166.00 Net $99.50 Etc. WESTERN ELECTRIC. NET PRICE MODEL RXPX $53.37

alREVOLUTIONARY NEW SOUND STUDIOS! our uptown store features the most advanced installation anywhere! Relax in an easy chair select and operate ANY Combination of world famous high fidelity UPTOWN: components by PUSH -BUTTON Remote Controls. IUWSO sound technician and CORP. 48 West 48th St., New York 19, N. Y. Every music lover, engineer, & TELEVISION high fidelity enthusiast will be fascinated by this RADIO York DOWNTOWN new ingenious approach to audio -comparison, Inc.. of New Electric Co., Sound studios at Both Stores. formerly Newark 212 Fulton Street, New York 7, N. Y.

PHONE: Circle 6-4060 www.americanradiohistory.com s °-.. NOTED WITH INTEREST Continued from page 8 "'At%/r:lra. .. trJrtxl/iccfion even those not living near the RR tracks NO OTHER CARTRIDGE CAN can have a lot of fun astonishing their friends with its realism. PERFORM A LIKE PICKERING And last - but we hope by no means least - HIGH- FIDELITY'S own exhibit, which boasted the only sound -retarding partition at the Fair, and the corner Air -Coupler described in this issue. Both partition and / patented demiryn Air -Coupler were a great success; the partition kept our sound in, the sound of others, out. The Air -Coupler gave off with plenty r of full- bodied bass even at low volume levels. " "" "°° MIMIC COMM* The Fair was, in short, colossal ... two throughout full Boors of the Hotel New Yorker . . . /he en/ire audible range 8,000 to lo,000 attendance during the three - day period nearly double Qbll- inforint,I engineers and technicians. schooled in - last year's. * DYNAMIC the science of electro-tnechanics, know that only wide- Eighty -three exhibitors (listed on page 84 COUPLING .-range frequency response provides hull transient re of this issue, so those who were not among ASSURES sponset the elects. .'phenomena which enables the the lo,000 can write for latest information constant stylus contact reproduction of orchestral nussir with all the subtle on the new equipment exhibited). For us, with the record grooves sounds that give each nussicaI inst ru itspelt its individual it was one of the most rewarding and en- over the entire audio character. couraging experiences in many years. To spectrum (20- 20,000 cps) the thousands of HIGH -FIDELITY readers full frequency Pickering engineers and designers Itac but one objec- response who came to meet us, to comment on the full transient response tive ... to produce products that will please the music lover' insatiable appetite for the flawless recreation of Magazine, and to discuss their audio prob- NO RESONANCES recorded -ir.. . for Ihr ut t in quality insist upon lems, our most heartfelt appreciation of

NO MISTRACKING Pickering %udist C I nL, their good wishes, their enthusiasm, and their sincerity. NO GRINDING OF GROOVE WALLS Plans are being formulated now for a 1952 audio show in Chicago and, with the fast - Pickering Cartridges transmit spreading interest that is developing from all of the sounds in the musi- Seattle down to Houston, we expect to hear cal spectrum, without loss of definition, lust as a fine opti. that there will be a West coast show, too. cal lens passes all of the col. t COMPANY, INCORPORATED These will be entirely apart from the estab- ors in the rainbow. OCEANSIDE, NEW YORK lished trade and engineering conventions, For literature address H Dept since the purpose is to acquaint the general public with the use of audio equipment for home entertainment. The music you love sounds better Continued on page 74 with a CHRISTMAS GIFT RATES If you have enjoyed High -Fidelity why not spread this enjoyment by giving gift subscriptions to your friends at Christmas? Each gift will be acknowledged to the re- 50W-2 Amplifier World's Most Efficient Amplifier cipient with an attractive Christ- 50 Watts (Peek 100) mas card bearing your name as Unsurpassed for performance and Reaches audio peaks from 200 to donor. Rates are as follows: your 400 times the average power of quality - entire record collection Orw I -yr. gift $3.00 Throe I -yr. gift, speech and music (either tape or disc) will reproduce $6.00 Two I -yr. gifts 55.00 Four 1 -yr. gifts 57.00 better with lifelike reality through this Less than 1% distortion at peak Five or more I -yr. gifts 51.60 each power new amplifier circuit. CANADA: Add SOc per yr. Unequaled for quality reproduction of FOREIGN: Add $1.00 per yr. I Works perfectly with variable any sound source, the McIntosh offers Use the handy gift order card I impedance load OVER 65% EFFICIENCY; DYNAMIC RANGE OVER 70 db.; FREQUENCY bound between these pages and, 1% intermodulation distortion at RESPONSE to make sure the acknowledge- peak power 20.20,000 cps. Music lovers agree that McIntosh gives ment reaches the recipient in time superlative audio reproduction! for Christmas, send your order today. Remember also, your remittance must accompany the order. 20W.2 AE2 BstageAmplifier Equal- Amplifier izer perfectly matches the Send to: 20 Watts stable, distortion -free ampli- (Peak: 40) fier performance. CM{ /ST .I/.4S GIFTS Send for Free Catalog High-Fidelity Magazine McINTOSH ENGINEERING LABORATORY, Inc. ( ;real Barrington, Mass. 320 WATER ST. DEPT. D -11 BINGHAMTON, N. T.

772

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BROWNING LABS FM -AM TUNER PICKERING ARM, DIAMOND STYLI REK -O -KUT ? -SPEED TURNTABLE

WORKSHOP FM AN- TENNA AND MAST

FIRST AWARD INCLUDES ALL THE EQUIPMENT ILLUSTRATED HERE

H. H SCOTT 210 -B AMPLIFIER GARRARD CHANGER, AUDAK PICKUP ALTEC 6048 SPEAKER 8 NETWORK FREEComplete Equipment for a $700.00 Hi -Fi Radio -Phonograph Installation

As a means of encouraging high -fidelity enthusiasts, the largest number of subscriptions to HIGH - eight of the leading manufacturers of fine FIDELITY, in accordance with the Rules below. audio equipment have joined HIGH -FIDELITY Maga- Awards will be made immediately after the close zine in offering 16 Awards to those who send in of the contest, on February 29, 1952. FIRST AWARD The First Award comprises the equipment illustrated above, valued at $7Go, including a Browning FM -AM tuner, H. H. Scott amplifier, Pickering tone arm with 2 diamond- stylus pickups, Rek -O -Kut turntable, Garrard changer and Audak Polyphase pickup, Altec 6o4B coaxial speaker and network, and a Workshop Associates FM antenna.

2nd AWARD - - $100.00 CASH 4th AWARD $25.00 CASH The Second Award, of $ioo.00 in cash, will be paid by The Fourth Award, of $25.00 in cash, will be paid by HIGH -FIDELITY Magazine for the second highest score. HIGH -FIDELITY Magazine for the fourth highest score. 3rd AWARD - $50.00 CASH 5th to 16th AWARDS - $10.00 The Third Award, of $5o,00 in cash, will be paid by HIGH - Fifth to Sixteenth Awards, of $1o.00 in cash, will be paid FIDELITY Magazine for the third highest score. by HIGH- FIDELITY for the 5th to 16th highest scores.

Rules of the Hi -Fi Awards Contest to add 5oc for each year on Canadian subscriptions, and $1.00 for each year on foreign subscriptions. Only orders The Hi -Fi Awards Contest is open to everyone except sent in at the above rates will be credited to your score. subscription agencies and members of the High -Fidelity To count on your score, orders must be postmarked Magazine staff. In case of a tie for any Award, duplicate November 25, 1951 to February 29, 1952, inclusive, and Awards will be presented. addressed to Hi -Fi Awards Contest, Great Barrington, Each participant will be rated on a score of points for Mass. In addition, each subscription must be marked new or renewal subscriptions for HIGH -FIDELITY Magazine, "Credit to .. " followed by your name and address. as follows: One Point for each I -year subscription; Scores will be tallied daily, and the Awards presented Three Points for each 3 -year subscription. immediately at the close of the Contest. Names of Subscription orders must be accompanied by checks contestants. in the order of their scores as of January 2nd, or money orders for: each I -year subscription. S3.00; will be published in the February issue of HIGH -FIDELITY. each 3 -year subscription, S6.00. NOTE: it is necessary Names of the winners will be published in the April issue. (REAT BARRINGTON, HI-FI Awards Contest MASSACHUSETTS

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Continued from page 72

Another Concert Station October 6th saw the birth of FM station WGBH in Boston, operated by the Lowell Institute Cooperative Broadcasting Council as a non -profit, educational undertaking featuring wonderful FM listening, such as live broadcasts of the Boston Symphony. WGBH operates on 89.7 mc. with a power of 20,000 watts. Write to the Lowell Institute, 28 Newbury Street, Boston i6, Mass., for complete information about its schedule and programs.

Help for the Tape Recording Enthusiast Response to the article on tape recording in the Fall issue of HIGH - FIDEUTY indicates that interest in the subject is a lot more widespread than we had anticipated. We'll continue to cover it regularly, but meantime, tapesters (if we may call them that) should make certain that they are on the list to receive the "Audio Record ", a bulletin published by Audio Devices, Inc., 444 Madison Avenue, New York 22, New York. Audio Devices makes fine tape, and is also an alert organization, ready to help with users' problems in the tape recording field. Those considering the purchase of tape recording equipment will find the August - September 1951 issue of the "Audio Record" particularly helpful: it contains a detailed summary of specifications on all currently available recording equipment. The bulletin will be sent to HIGH- FIDELITY readers without charge. Also on the Audio Devices publication list, and just off the presses, is "Funda- mentals of Magnetic Recording," which is The new ALTEC two -unit a semi- technical publication containing a wealth of information on the subject. It amplifier system... is also available to our readers. Engineered to the Altec standard of perfection, this new system is the finest Pre- recorded Tapes quality, most flexible and most practical home amplifier ever produced. The More on we had a long talk remote "fingertip" unit, finished in beautiful brushed brass, has comprehensive At the Audio Fair, with D. W. Perry, of East Lansing, controls for variable bass and treble rise and droop for the selection of the - Michigan. Perry is just beginning to get proper record crossover and equalization for the any of three - selection of his feet under him in the pre -recorded tape input channels and for volume control. business. He has imported a whole series 3o ips. by the Connect this compact control unit to the "hidden" power amplifier and any of new tapes recorded at Orchestra and other sound system will sound better. Of course, it takes an Altec speaker to fully Bremen Philharmonic European groups, covering a wide range of realize all the marvelous potential of this wonderful new amplifier system. classical and semi -classical compositions. * 27 watts, less than 5% total harmonics; 20 watts, He plans to make the tapes available either less than 2% total harmonics; less than 1/2% on a direct sale basis at something under at 15 watts! $10 per 6o -min. reel (71/2 ips.) or on a tape - -month basis. His tapes can be se- * + 0, - 1 db, 20.20,000 cycles; flat to 3 db to of- the 100,000 cycles! cured on special order, at 314 or 15 ips. The list which he showed us included 29 reels * Listen to this latest Altec achievement at your available. nearest dealer. which are currently Perry wants all the help and suggestions he can get from HIGH -FIDELITY readers. He A -333A "hidden" amplifier. needs to know the type of music wanted, preferred tape speed, suggestions on his idea of a tape -of- the -month club arrangement, how many of our readers would be interested in pre- recorded tape, and so on. Since this information will be helpful to us in preparing editorial material, we agreed to 9356 Santa Monica Blvd., Beverly Hills, Calif. act as a clearing house for Perry. So will 161 Sixth Avenue, New York, New York readers please give us the benefit of their Continued on page 77

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world's largest stocks of all famous makes ALLIED'S ALTEC LANSING MAGNECORD famous AUDAX MARKEL Hi -Fi AUDIO DEVELOPMENT MASCO Auditioner 1 BELL MEISSNER BOGEN McINTOSH BROOK PFANSTIEHL we are BROWNING PICKERING specialists CLAR KSTAN PRESTO CO NCERTONE RCA in high -fidelity 4 Pm CRAFTSMEN REK -O -KUT ELECTRO -VOICE H. H. SCOTT Photo above shows our Hi -Fi Auditioner, a push -button con GENERAL ELECTRIC STEPHENS trolled console capable of demonstrating more than 350,000 GROMMES THORDARSON combinations of audio components. All equipment is sub- JENSEN UNI -MODE jected to complete tests by ALLIED engineers. Our staff of KNIGHT UNIVERSITY Hi -Fi specialists is ready at all times to assist you in selecting JIM LANSING V -M CORP. audio components to meet your individual requirements. LEAK WEBSTER- CHICAGO Whether you are planning a new custom installation or mod- LIVINGSTON WESTERN ELECTRIC ernizing old equipment -write us for complete information.

ALLIED RADIO CORP., Dept. 49 -L -1 FREE 1952 CATALOG Chicago 7, Illinois Write today for our complete Buying Guide Send FREE 1952 ALLIED Catalog. listing the world's largest selection of High - Fidelity components. Obtain all of your audio equipment from one dependable supplier, I am interested in the following equipment with the specialized knowledge and experience that will help bring you optimum high - fidelity reproduction. If it's Hi -FI, you'll find it in your Send for it. ALLIED Catalog. Name

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www.americanradiohistory.com N SOUND TECHNICIANS AUDIO ENGINEERS CUSTOM BUILDERS VOLUME 3! HOWARD W. SAMS' "AUDIO AMPLIFIERS"

Full Analysis of CROSSOVER NETWORKS .. . 50 Important Audio Amplifiers If you are now using a single speaker - or a coaxial -of any and 22 Popular type, you can get richer, deeper bass response a by adding single FM &AM Tuners cross -over network and an Air -Coupler. Based on Actual G. A. has both. Study of the To get immediate delivery of a cross -over network operating at Equipment 350 cycles, order our No. 4 to match a 16 -ohm low frequency woofer. To match an 8 -ohm bass speaker, order our No. 8. Either one Covers Latest Audio Equipment is only $17.50 complete with inductors, Latest volume in the SAMS'"AUDIO AM PI.IFI FRS" capacitors and level con- Library. Provides detailed, clear, uniform trols, f.o.b. South Egremont, Mass. Add 75 cents and we'll ship by analysis of 50 important audio amplifiers, and parcel post prepaid and insured to any part of the United States. full coverage of 22 FM and AM tuners, produced during 1950. Each unit is thoroughly analyzed in from 4 to 10 pages; includes circuit Actually, by a judicious selection of associated components, the diagrams, design data, parts information, full three values of network inductors on which G. A. has standardized technical coverage described in uniform detail enable our customers to secure low -cost crossover networks which and profusely illustrated by photographs and will operate at 14 different crossover frequencies! They are described diagrams. Based on study of the actual equip- in full in the instruction sheet which is sent without charge with ment. Entirely new material, continuing audio every order for networks. you equipment coverage begun in Vols. 1 and 2 If would like a copy, just send us (see below). Never before available in a single 10 cents in stamps or coin to cover mailing charges and we'll get complete, accurate compilation. Indispensable it off to you by return mail. These networks, by the way, can be to public address and sound technicians, used with systems employing two to eight speakers. custom installers, BC engineers and students -a "must" for everyone in the field of Sound. 362 fact- packed pages; 8!: x 11 "; sturdily bound. ORDER AA-3. Only $395 AIR -COUPLERS e e e We can ship you an Air -Coupler completely assembled! Yes, the new design developed by the group at Radio Communication and High -Fidelity gives much better results but it is also more complicated to build. The internal partitions must be positioned in exactly the right places and it requires a lot more screwing and gluing. So we have arranged to carry them completely assembled, VOL. 2. Covers 104 well -known audio amplifiers and with a hole cut for a 12 -in. speaker, everything ready for you to 12 important tuners produced during 1949. Includes uniform, detailed circuit and design data based on put into immediate operation. They are made out of selected original lab study of the actual equipment. Profusely 31-in. plywood, all joints are glued and screwed together. The illustrated. 368 pages; 85¡ x 11 "; durably bound. cost is only $47.50, f.o.b. South Egremont, Mass. ORDER AA-2. Only $3.95 VOL. 1. This is the initial volume covering audio equipment produced after the war, through 1948. AND -- if you have the time and inclination to put everything Covers 102 audio amplifiera and FM tuners, plus together yourself, the new Air -Coupler is data on important wire and tape recorders. 352 pages; also available in knock- fully illustrated; in sturdy binding, 8j. x 11" down form, all parts precisely cut and carefully matched, for only ORDER AA-1. Only $3.95 $34.50. Immediate delivery on either knock -down or completely OWN ALL THREE VOLUMES FOR A assembled models. COMPLETE, AUTHORITATIVE SOUND LIBRARY

HOWARD W. SAMS & CO., INC. MISCELLANY we continue to carry in stock... Alter 600 -012 -in. speakers,a best buy under any circumstances. a must for Air -Couplers; only $46.50; Peerless S -2300 output transformers $26.00; Order from yo .r Parts !o' ber today, or Peerless R -560A power transformers. $16.00; Peerless C-455A power chokes, $10.00... A new supply write direct to HOWARD W. SAMS & CO., of the English KT .66 tubes (specified for Williamson amplifiers) has just been received; they're INC.,2201 East46th Street,Indianapolis only $4.95 each. There's no exact U. S. equivalent. 5,Ind My (check) (money order) for $ enclosed. Send the following books: AA -3. AA -2. AA -1. $3.95 each General Apparatus Co. Name Address

South F grenlont, Mass. City Zone... .State

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Continued from page 74 Jhe aLJi:scriminafing eventually n `f thinking - he it on a postcard or a 3 -page Corne to oCeorcard letter - and address it to HIGH -FIDELITY Magazine, P. O. Box boo. Great Barring- ton, Mass.

New Books

Designed primarily as a text book for students of music, "Creative Harmony and Musicianship "I is a valuable addition to the serious music lover's bookshelf. The book contains the material presented in first year college harmony, keyboard, ear - training and music -reading classes. Only a knowledge of notation and of keyboard design is necessary as a basis for Chapter I; even this is summarized in an appendix. Subsequent chapters are arranged on a weekly assignment basis for college students. The advanced layman, following through these pages and the accompanying assignments for writing, playing, listening, and analysis, will develop an understanding of the structure of music SOUND STUDIO which will enhance his enjoyment and ap- "A" ONE OF THREE preciation. The authors analyze the structure of music and harmony from the point ll°by do most people prefer to do business with but one organization? of view of chords, rather than of scales. An This exceptionally large number of illustrations, question has plagued merchandisers ever since an enterprising snake first sold Adam the proverbial apple. Time and again, we have seen the same in the form of music fragments, are included. familiar faces return to Leonard's. The high standards we set upon our mer- chandise had something to do with it; but we knew that this in itself could Help Wanted Column not be the reason. Then, what was the inducement that brought them back? Suddenly we came upon the answer. It was not what we sold ... it was what We have received a number of requests we gave! It has long been a conviction at Leonard's that the kind of SERVICE from all parts of the country for names we render our customers is as essential to our success as the quality of our of reputable CARPENTERS and cabinet makers wares. Our growth is only important because it enables us to give near -perfect who have had at least some experience build- service to the largest purchaser ... and nothing less to the smallest. ing shelves and simple cabinets for audio We don't expect to wind up occupying a niche in anybody's hall of fame. But equipment. We'd like to start a card file, we do get a kick out of knowing that throughout the country, people interested so we can answer these requests by return in fine music reproduction are using our sound equipment ... and that it is mail. Will readers please send us the names contributing a little bit more to their happiness. Added to this, of course, is the we when once we of individuals or concerns with whose extreme pleasure get again hear that oft repeated phrase, work and capabilities they are familiar? "We Like To Do Business With Leonard's" Give us some sort of a rating - excellent cabinet maker, careful carpenter, or whatever. ocloutese,sciwf the all ofewi aaclici C4aliame4s

- e500 Carefully Speaking Here at last, is the amplifier audiophiles From now on, we'll have to watch our have been waiting for! Based upon the now famous Williamson circuit, the amazing per- language. As of July 31, 1951, the American formance of this instrument will amaze even Standards Association approved standards th_ most severe critic. Power output - 15 of Acoustical Terminology, so that we now watts. Frequency. Response - ±0.I db, 2.) have a dictionary of terms used in acous- to 2;),000 cps.; ± 2 db 5 cps. to 100,00 cps. tics. Henceforth, we'll do our best to write Total Harmonic Distortion -less than 0.1 %r with exactitude. Others who would do at 10 watts at mid -frequencies. Tube Com- likewise can secure a copy of Acoustical plement-6 SN7GTA amp. and inverter, C, Terminology from the American Standards SN7GTA push -pull driver, (2) KT66 power Association, Inc., 7o East 45th St., New output, 5V4G rectifier. York 17, N. Y.. for S1.5o per copy. NET $99.50

Christmas Shopping Guide You will want our new High Fidelity catalogue.

If you are faced with a Christmas gift prob- Write Dept. A lem, just send us your shopping list and we'll take care of everything. If you have TELEPHONE: CORTLANDT 7 -0315 5 or more on the list, our charge is only $1.6o per person ... and each and every one will receive an attractive gift card plus a I full year's subscription to HIGH- FIDELITY. For complete details, back up to page 72, 000ard please! the house ,"Creative Harmony and Musicianship" by H. A. built on Murphy and E. J. Stringham. Prentice -Hall. 1951 680 pages 8,.4 by 5% ins., 240 illustrations. $6.65 SERVICE

www.americanradiohistory.com Now you, too, can own the ultimate in high -fidelity. The world's finest component parts. combined with Voice and Vision's "exact cubic -content" loud speaker chamber, provides incomparable reproduction. Birch. ebony. bleached oak, bleached walnut, or mahogany. Write for brochure or order direct. the award -winning PROFESSIONAL SERIES by the nation's most acclaimed custom- builder Pre-Recorded on

PROFESSIONAL SERIES I $695

PROFESSIONAL SERIES II . $875

PROFESSIONAL SERIES III.... . $1250 ,/Lfagpetíc Zape! PROFESSIONAL SERIES CABINET only -install your own cornoonen,s $260

51 Voice and Vision, inc. Here Is the A-V TAPE LIBRARY ... it's 316 N. MICHIGAN AVE. CHICAGO I, ILL. An 3.3891 new ... it's exciting ... it's recorded music on magnetic tape, the modern recording method that brings you the most life -like reproduction of sound with none of the disturbing needle scratch and crackling noises of disc recordings. . - . designed by A -V TAPE LIBRARIES magnetic tape PROGRESSIVE recordings are unbreakable. They can be played over and over for thousands of ENGINEERING! delightful times without wearing out. LOUDSPEAKERS Radio stations and professional recording companies all over the world ... where quality sound is a must ... use magnetic tape for recording purposes. The individual programs are available on Dependability reels which fit all home model tape re- Quality and corders and most professional tape re- Every UNIVERSITY corders and are recorded in two different ; single MODEL 6201 COAXIAL SPEAKER product is built to speeds: 3.75" and 7.5" per second You'll find no compromise in the model 6201 - traditional standards of track or double track. All home model TRUE coaxial system, completely self - quality that have earned tape recorders operate at one or both of contained with LC network and attenuator, at these speeds. 45 a world -wide reputation two a sensible price. Full range response 0 15,000 cps, power capacity 25 for absolute depend- The program -reels are individually en- watts. Highest quality construction ability. Highest quality closed in handsome and durable boxes. Alnico V hroughout - separate materials, skillfully fab- The boxes arc compact, only half an inch driver, exclusive UNIVERSITY tweeter ricated, result in unsur. W" shape Alnico V "woofer" deep and fit neatly on any shelf or book- magnet, special cone edge treatment passed performance and case between book ends. The 14 pro - or longer life, minimum distortion, extra reliability. "Pro- gram -reels listed in the initial catalog famous UNIVERSITY and even the gressive Engineering" wide angle "Cobra" tweeter horn contain a total of 7 hours of music and or uniform dispersion of the assures the latest design require only 8 inches of shelf space. Variable attenuator adjusts 'highs." improvements in every Send the latest 'balance" to personal preference. now for your free copy of piece of UNIVERSITY A -V TAPE LIBRARIES CATALOG equipment. and the name of the dealer nearest you. WRITE FOR FREE Write: Dept. HF

,,.,,, MOM HI- FIDELITY >o ss as SOO WOO .0 s. f+ CATALOG TODAY Fully explains the use and advantages of UNIVERSITY s- HI -FI equipment Tape Libraries in easy to under- Aï stand language. INCORPORATED Covers the cons - plete line, gives Uli11YERSITY full application 730 FIFTH AVENUE, NEW YORK 19, N. Y. e INC and installation PLAZA 7 -3091 LOUDSPE.lKERS details. Write 80 S0. KENSICO AVE., WHITE PLAINS, N. Y. Desk 29.

www.americanradiohistory.com AUTHORitatively Speaking Continued from page 3 article on the Air -Coupler. page 22, we have A tried to recapture some of the humor as well as the more important aspect of the work - the improvement of bass reproduction in a simple, inexpensive. and incon- spicuous way.

As every Audio Fair visitor knows, Victor Brociner is best known for his loudspeaker enclosures. He became involved with preamplifiers and record compensators - about which he writes on page 31 - more or less by mistake. There wasn't much sense, he felt, in constructing a good enclosure for a speaker if the equipment preceding the speaker fell short of best possible reproduction. So he started work on a major link Send for Yours Today in the chain of equipment from phonograph record to loudspeaker, and designed a record compensator which would meet his rather severe requirements. So many of his friends and customers liked this unit that he redesigned it and made it available commercially. Thus his background and experience with the problem make him particularly FREE qualified to tell readers why record compensators and preamplifiers are a must, if TELLS ALL the things you optimum reproduction from phonograph want to know about Hi -fi records is desired. HOW to get concert hall We are glad to report that regular contributor C. G. Burke is recuperating rapidly from realism ... in the home a severe attack of audio -phobia. WHAT makes a Hi -Fi System For the past several months, he has been EVERY new enthusiast ...every advance every imaginable type of audio high- fidelitist..,will want this interesting, testing HOW to select custom equipment as preparation for writing a book. helpful, illustrated GUIDEBOOK! It pre- The resultant mess in his living room components with economy sents a wealth of factual, authoritative in- (pictured on page 37) and the everlasting SHOWS various installations formation on modern HIGH FIDELITY noise (sorry, "music") almost cost him his that's easy to understand. It shows the way health, his wife, and even the devotion of LISTS a complete range to new musical enjoyment...from the sim- his three Great Danes. In spite of the commotion, he managed to prepare his ex- of famous -name Hi -Fi units plest to the most elaborate system of custom cellent article on "Opera Buffa' , beginning components or ensembles to suit your taste on page 33, and to review a large number and budget. Send for your FREE High of records for this issue. Fidelity GUIDEBOOK today! Warning: please do not correspond with Leave him strictly alone. He Mr. Burke. SELECT FROM FAMOUS -NAME COMPONENTS has agreed to continue his series on the AT CONCORD: Altec Lansing Audak Bell recorded works of the great composers with - rein Brooks Browning Electro -Voice Espey a report on the master of masters: Beetho- NO Fairchild General Electric Garrard Hall ven. He says he can have it ready for the Hallicrafters J Leak McIntosh Spring issue of HIGH -FIDELITY - provided Meissner Pickering Precision Radio Craftsmen he has the time. Since there are over 200 Rek -O -Kut RCA Stephens Tru -Sonic University Webster- Chicago Wharfedale LP's in the Beethoven catalog as of Novem- w ber ist, Burke is undertaking a monumental work, one which has never been done before. We want nothing to interfere with this project, even for a minute! VISIT CONCORD'S CONCORD This item should start with a "Whereas. HI -FI SALON RADIO CORPORATION know all men by these presents, etc." be- When in Chicago take cause we are announcing in it our proposal 901 W. JACKSON BLVD. CHICAGO 7 advantage of our that Alan C. Macy be a candidate for presi- personalized Hi -Fi Salon Pioneers in Hi -Fi for over 25 years dency of the Magnetic Tapeworm Society ... service. Pictured above or whatever the organization for tape re- is a portion of the BL-Sl cording addicts is called. As our readers Opt. convenient Selector CORP., will recall, he started out to write a short 1, 111. Rack that makes RADIO resumé of the art of tape recording, com- CONCORD Blvd., Chicago possible countless W Jackson Guidebook in one article. The subject proved 9O1 plete so combinations of H'9" Fidelity and also so broad, that he FREE fascinating, Hi -Fi components o Rush spilled over into a second installment, which for critical listening begins on page 56. Since reader reaction to and comparison. Nome. the first article has been highly enthusiastic, we are glad to announce that Macy is still SEND FOR FREE - Scots Address one- spilling: he will continue his series in a GUIDEBOOK NOW forthcoming issue. City --

www.americanradiohistory.com Equipment Report

The Brociner Model A -loo preamplifier - the amplifier: a power take -off plug is in- equalizer is designed for use with magnetic serted under one of the output tubes such KLIPSCHORN 3 speakers with a comprises cartridges and serves the purpose oft) raising as a 6L6, in the power amplifier. The other tonal range from below the organ low -C to the output level of such cartridges suffici- model has a self -contained power supply. the ultrasonic range. Freedom from dis- ently to drive an average amplifier to full Since no AC on -off switch is provided, the tortion and uniformity of response are output, and 2) compensating for deviations self -powered model should be connected achieved only by the Klipsch corner horn from flat frequency characteristics imposed to the main AC switch for the amplifier, which offers such performance in a size on phonograph records at the time of their or plugged into the AC outlet on the back amplifier such a connection ideal for homes. Klipschorns are complete recording.' of the audio if Two models are available. One draws its is provided. Power requirements are 6.3 with all components, rated at 50 watts, operating voltages through connections to volts at 0.45 ampere and approximately 16 ohms. Finest materials and craftsman- 200 volts at 5 ma. ob- ship assure longevity to match low .A description and explanation of the function and The connection for the pickup is a need for such preamplification and equalization is solescence. Style 7 is finished to delight given in an article beginning on page 31 of this issue. standard RMA jack. A s -ft. shielded the most discriminating taste. Prices, $516 to $696. MEET THE FINEST audio amplifier ever built, at any price. Its name: the Craftsmen 500, with the famous Williamson alltriode REBEL is a corner horn, without driver, for back -loading 15 inch and 12 inch coaxial circuit. We had to invent a new word to describe its 99.99 %* speakers. Rebel offers reduced distortion distortion -free performance. The word is ULTRA -FIDELITY. Hear an octave more bass than ordinary and know why. "baffles ". Prices $83 to $156. the "500" and you'll

C500 Amplifier Features Freq. response. +0.1 db., 20 cps to 20,000 Total H Distortion: Leu thon 0.1% st 10 watts, cps: ±2 db., 5 cps to 100,000 cps. at mid-treas. Power response: 12 watts ±2 db., 10 cps to 0.01% at ay. listening level below I watt. 50,000 cps. Tube complement: (2) 65N7GTA; (2) KT66 Dower output: 5V4G rectifier.

For name of nearest dealer and data, write for information, write

KLIPSCH & ASSOCIATES THE RADIO tsIllt;IPINCORPORATED Phones 7 -6795 and 7 -4538 Cr a Hope, Arkansas Dept. H -10, 4401 N. Ravenswood Ave., Chicago 40, III.

www.americanradiohistory.com cable is furnished for connection to the droop at to,000 cycles, in steps of 4 db. input of the power amplifier. Although the The 16 -db. position corresponds to that instruction sheet does not specify lengths used in recording Columbia LP records, The TURNTABLE to which this cable may be extended, the and is also the NAB standard for transcrip- manufacturer advised us that the following tions. The 12-db. droop position corres- lengths of cable can be used without caus- ponds to the play -back characteristic recom- is the HEART ing a loss of more than t db. at t o,000 cycles. mended by the Audio Engineering Society. Only one input connection is provided. of your RG 62 t' coaxial cable 3o ft. For audio -philes who have more than one RG 59 U coaxial cable 20 ft. pickup, a rotary switch of the shorting HIGH FIDELITY Belden 84o t cable t5 ft. type, such as the Mallory 3,15-J, can be used. The selector arm of this switch should, of SYSTEM Extension of cable to these lengths means course, be connected to the preamplifier; as that the unit may be mounted at the listen- many different inputs as necessary can be wired ing position, even though the main amplifier to the contacts on the switch. To You may own the finest pickup, amplifier and is near the speakers and, therefore, at some avoid any danger of hum pickup, it is ad- speaker that money can buy. ..yet you'll get distance from the phonograph. visable to mount the switch in a shielded poor reproduction if your TURNTABLE has ex- The lead from the preamplifier- compen box, and to connect together with a com- cessive wow, hum or rumble! Bator should be kept away from the AC mon wire the shields on input and output power transformer; special care should he leads, grounding the common wire to the box at one REK-C7-KUT taken not to make a loop or partial loop point. Manufacturers around a power transformer, lest hum be The Brociner preamplifier-equalizer is de- of Turntables for the Broadcast Industry picked up. signed with an input load of 51,000 ohms. .. offers a complete range of 12" Turntables, includ- No additional loading is required for GE ing models to match your individual amplification The amplifier is a three -stage unit, employ- system and your individual pocketbook. Not every ing a special izAY7 dual triode for the first pickup cartridges. For Audak, an .0008 mfd. sound system requires the most expensive Turntable capacitor should be added in parallel with .. your Turntable must be chosen to match your other two stages and a 6C4 for the output stage. equipment ... Each REK -0 -KUT Turntabie Specification The input tube, intended specifically for the two pickup wires. With Pickering rates the DB Noise Level to enable your sound installa- cartridges, a 62,00o -ohm resistor should he tion specialist to select the appropriate Turntable to preamplifier service, has a low hum and match your other components. The quality and work- noise level, and is non -microphonic. The wired in parallel. Fairchild cartridges require manship of every REK -O -KUT machine, from our most gain the amplifier is too the use of a matching transformer such as economically priced model to our highest priced proof times (4o db.). fessional job is identical ... price differential is de- A Peerless A gain control, adjustable by means of a the UTC -ti or the K- 22t -Q. pendent solely upon the type of materials used. screwdriver slot, is provided at the rear of One relatively small mechanical feature the chassis so that the output can be ad- affords special convenience in mounting the MODEL LP -743 justed to the level required for various instrument. The escutcheon is attached to 3 -Speed 12" Turntable the chassis with four long bolts, and the Induction type motor, pickups and amplifiers. designed for smooth, Four turnover positions are provided: 300, two control shafts are extra long. This vibration -free operation. 500, and 800 cycles, and the special low- means that the chassis can be installed be- Instantaneous speed changes without stopping hind a panel up to t/ the escut- frequency curve used on Columbia and -in. thick; turntable or removing many other LP's. The roll -off control has cheon and the control knobs can still be disc $54.95 Net positions: from 20 Continued on page 88 six at response to db. MODEL CVS -12 All - Speed Continuously - Variable Turntable Plays all records, 6" to 16" and broadcast transcriptions, not only at the three normal speeds, BUT AT Ready Now! ANY SPEED from 25 to 100 RPM. You play your records at the EXACT SPEED at Guide" which they were recorded, Fidelity or at any variation of speed faYette's "High or pitch which gives you maximum pleasure. A New 1952 Edition "must" for serious music lovers pro musicians, schools, dance studios, etc. $84.95 Net In these pages 32 devoted exclusively to MODELS T -12H & T -43H

high fidelity you will find such features as: 2 -Speed 12" Turntables -speed turn. What is high fidelity The only 12" dual Contains a complete listing of all standard tables that meet the standards WOW makes of audio equipment including such fa- What constitutes a high fi- for speed regulation and mous names as: Altec Lansing Audax delity system content specified by the Na- tional Association of Broad- Audio Development Bell Bogen Brook The economical way to select casters. Browning Clarkstan Craftsmen Electro- components Recommended for use with ULTRA HIGH FIDELITY Voice Amplifiers and Speaker Systems. Espey General Electric Jensen Ideas on where to install your Jim Lansing Leak Livingston Magnecord hi -fi system Markel Masco Meissner MODELS MOTOR SPEED PRICE McIntosh Illustrations of wall Pickering Presto RCA Rek-O-Kut typical installations T -12 H Hysteresis 78.33íh $119.95 H. H. Scott Stephens Thordarson Uni- Synchronous Ready made cabinets for your Hysterronesis T -43 45.33!5 Mode University V -M Webster -Chicago custom installation H Synch ous 3119.95 4 Pole Complete packages shown for T -12 Induction 7B33% 384.95 the budget -wise, as well as 4 Pole T43 45.33V5 $84.95 FOR YOUR deluxe ensembles including TV Induction FREE COPY Famous for finest r -MAIL THIS nelirery limited to short supply of Hysteresis motors. in high- fidelity COUPON radio for nearly TODAY TO Name See ... hear ... compare REK -O -NUT Turntables, DEPT. WK Phonographs Professional Disc 30 years. Visit Address and Recorders at High Fidelity Hall leading Music Stores, Audio -Visual Dealers and Radio Parts Jobbers...or write at any Lafayette City Zone State for latest, free Catalogue. Branch and compare the performance of any com- 13 REK-O-KUT CO. TO bination of hi -fi a ECR 3 8-01 A Queens Long Blvd., Island City, N. Y. Components on our w Olv RADIO°w RI sIOH. INC. High - Fidelity (,Poet Dieses 45New N e cur, u s. A. In N. Y. High Fidelity Hall is open Wed. till 9. Sot. till 5. Conveniently CANADA ATLAS RAVI! CORP. LTD 560 Ron. St W.. !pronto 26. !nano Selector Rack. reached by 6th, 7th, 8th Ave. subways, Canal SI. Station. Other High Fidelity

Centers al 24 Ccormi Ave . Newark and 110 Federal St., Boston. J 81

www.americanradiohistory.com YOU'VE WAITED FOR THIS! RADIO SHACK CORNER HORN Equipment Report

bY ® icensea PqU4 W. IMSC NET PRICE ONLY S132.50

Add SIS for crating for shipment

At last! A r pletely assembled folded corner The Fairchild phonograph arm pictured automatic stylus force adjustment can be horn enclosure at a price no higher than above is intended primarily for use by disabled so that all three positions can be many 15" bass reflex cabinets! Ours alone! Licensed by Mr. Klipsch, under his original broadcast stations and recording studios, used with standard 18 -gram pressure. It is patent, when he was in Boston a short (time but it is finding its way into more and more also possible to adjust the LP cartridge ago. Built in Boston under rigid quality standards set up by Radio Shack's technical staff. custom installations where only the best is pressure slightly by means of an adjustment Designed for 15" woofer and the utmost in low good enough. The arm, model 200, has screw located in the middle of the arm. In frequency response. Standard multi- plywood, stained dark mahogany brown. 45' H, 2S" two features which are particularly note- the photograph, this screw hole can be seen D, SSIÇ" W. 150 lbs. Radio Shark also supplies worthy. First is the cartridge turret which just above the point where the arm and the an eptional complete speaker system. takes one to three cartirdges. These are edge of the turntable intersect. brought into position by turning the small The arm can be used with other cartridges, lever at the extreme left tip of the arm, as but relocation of mounting holes, weight RADIO SHACK seen in the illustration. adjustment, and rearrangement of connec- head is specifically designed pins makes such use unwise except 167 Washington St., Boston 8, Mass. The turret ting for Fairchild cartridges. With these cart- under special circumstances. The other ridges in place, one turret position provides feature of the arm itself is the method by a weight of 6 to 8 grams for LP records; which it is supported: it floats in damping Shack's new 1952 audio and F lectronirs parta eatalog. 192 pages. the other two positions provide a stylus "goo" (fluid is not the right word; the Profusely illustrated. A "must" for force 15 to 18 grams. If necessary, the material, called Damp -X, is not sticky but audiophiles. Write for your copy of R E E etoday! FIRST AND ONLY LOW -COST C«4ed sCepagce G. E. Magnetic Cartridge PLAYBACK EQUALIZER

ORDER BY MAIL TODAY

TYPE HL -1 -6 PRICE $11.95 For foreign, domestic discs UNI -MODE CABINETS For 18, 33 1/3, 43 rpm speeds e»4í`4C4t-4úíe A "must" for record lovers Pre -cut for your radio, phono and TV components

Radio Shack's 6 -step Playback Equal- Decorator designed Superb finishes Sectionalized izer gives a professional touch to your audio system. Closely duplicates record If your distributor does not handle UNI -MODE, order direct manufacturers' origtyf, recording curve. from Russellcraft. Write for complete new catalog. Does what tone co'ntrols can't do! Designed for G.E. pickups using standard 500 -cycle turnover preamp. Order now from Radio Shack Corp., exclusive national distributor. $11.95. lit e R USSELLCRAFT corstpaHy, . RADIO SHACK 2633 WEST GRAND AVE. CHICAGO I2, ILL. 167 Washington St., Boston 8, Mass. FORMERLY MFD. BY GRAND RAPIDS WOODCRAFT CORP.

www.americanradiohistory.com it is decidedly un.fluid). The arm base is as can be seen from the photograph), and simply a shaft which can be adjusted for the mounting distance from center of turn- correct height. At the top of the shaft is table to center post of arm base is 13% ins. a cone with its base up and apex down. On the arm proper is a metal ball, about an inch in diameter. When the unit is installed, Fairchild cartridges the cone is filled with the viscous damping any material and the ball set gently into it. The Fairchild manufactures four cartridges, fit arm described above. They result is a floating ride, if we may call it that. of which the fit other arms, or The arm moves in any direction with equally can also be adapted to Technically, A FULL little resistance. Most arms move only Garrard or Webster changers. moving coil de- vertically and horizontally, but the Fair- they are of the dynamic or devices. Non. LENS child can even be twisted or rotated. sign and are constant -velocity ACOUSTICAL reproduction from Use of this method of mounting makes technically, the sound is extraordinarily clean, FOR LOUD for perfect tracking, but it also means that phonograph records operating conditions clear, and ... well, the best word for it is must be perfect. For "bell -like". They do not have the bright- SPEAKER brittleness which characterizes some instance, we tried ness or USE! one LP record which units, nor the softness of tone of others. sound reproduction seems to be en- had a small but sharp Overall Distributing a hump in it. The tirely free from peaks or resonances, and uniform sound pickup went up the the frequency response range exceeds any- wave over the entire hump without thing on phonograph records. This, as far audio spectrum, the new trouble, but dropped as we are concerned, adds up to perform- Jim Lansing acoustical lens back down slowly ance which justifies the relatively high price. smooths out the high frequencies and gives them a mellowness that your ear and tended to skip a groove. On the other The four cartridges are essentially the same except for radius of the diamond stylus. will appreciate instantly. Unlike the hand, no similar trouble occurred with a horn, which performs well No. 210 is for microgroove (LP) records; multicellular bumpy 78 rpm. record, and an LP which at some frequencies but beams or dis- 78's; 212 is designed for was badly but gently warped was tracked 211 is for new tributes very poorly at others, the new without difficulty. old 78's; 213 is for vertical transcription lens is not sensitive to frequency...be- Another aspect of perfection is that the records. cause the band width is wider than the All cartridges have the same output. spectrum with which it is used. Fairchild arm rides so lightly that great care audio This output is extremely low, in the niegh- The new lens and horn is for use with must be exercised to install correctly the of 3 millivolts, requiring either a the Jim Lansing #175 high frequency wires which run from the head through the borhood preamplifier with an exceptional driver. base plate, since the stiffness of these wires special of gain, or a transformer wired be- TRANSPARENCY CAN BE MEASURED! will cause the arm to tip, or make it skip amount the cartridges and a standard pre- Tran,parenty or ab,orption grooves. tween amplifier. For purposes of rough compari- in the new Jim Lansing The overall length of the arm is 19 ins. acoustical lens (in a straight line; it is curved slightly, Continued on page 84 is measured in the same way as it is in the optical lens -by index of refraction. The percentage of sound ab- sorbed by the Jim Lansing acoustical lens is less than the "towards perfection..." percentage of light absorl-ed by the finest optical L -i.. W -I -D -E DISTRIBUTION ANGLE! Output, I0 watts at less than 1 The angle of distribution which is con- distortion. trolled by curvature and index of refrac- Frequency Response: 20 to 40,000 tion can now be varied between wide cps } I db. limits...permitting the sound to be con- Selector switch for phono and radio. centrated or diffused. The 175 ILH Remote control panel incorporating preamplifier. shown above (driver, lens and horn) Infinitely variable bass and treble distributes over a 90° solid angle. controls.

Listen to Arrow's radio ENTERING LIGHT OR-" program WABF, 9 to - LIGHT OR SOUND WAVES to every Friday night. SOUND SPREADING.. WAVES OUT EVENLY

Beyond Comparison at $99ve.50r The MA10 has been designed and built by Lowthers of England A graphical diagram or ray tracing of the discriminating American audio -phile, using the operation of the Jim Lansing acous- specifically for tical negative lens showing focal point standard parts and American tubes. As everything Arrow sells, it and diffusion angle as controlled by and index of refraction. has undergone rigid laboratory tests. Results show its value to be curvature Ask your audio dealer unsurpassed ...its reproduction to be far above any other amplifier for demonstration of in the 10 watt class ... its stylish remote control unit to be ideal the new Jim Lansing acoustical lens today I for custom -building. Arrow has in stock and on demonstration, in its large modern sound B. studio, a complete selection of fine high fidelity equipment of all JAMES LANSING manufacturers. SOUND, INC. Write for catalogue 113 -B \ 2439 FLETCHER DRIVE ARROWLELECTRONICS, INC. LOS ANGELES 3 9, CALIFORNIA 82 CORTLANDT ST., NEW YORK 7, N. Y., DIGBY 9.4714 4.ee9oltii-d IFIRST IN FINE SOUND

www.americanradiohistory.com EXHIBITORS AT THE AUDIO FAIR Cook Laboratories, R2, Stamford, Conn. Permoflux Corp., 4900 W. Grand Ave., Chicago, Ill. Recording cutters and heads, recording systems. Loudspeakers, headsets "Sounds of Our Times" recordings Plonstiehl Chemical Co., 104 Lake View Acre Products Ave.. Co., 369 Shurs Lane, Phila.. Pa. Cowan Publ. Corp., 67 W. 44th St., N. Y. C. Waukegan, Ill. - Pickups and related acces- Output Transformers Technical publications sories, preamplifiers, tonearms, cartridge holders. Alpha Wire Corp., 430 Broadway, N. Y. C. Denby Radio Corp., 100A S. 21st St., Phila.. Pa. needles Wire and cable Corner horn speaker systems. custom amplifier Pickering and Co., Inc., Oceanside, N. Y. Aline Lansing Corp., 161 Sixth Ave.. N. Y. C. The Davon Co., 191 Central Ave.. Newark, N. J. Pickups, amplifiers, equalizers, arms, loud- 9356 Santa Monica Blvd., Beverly Hills, Cal. Attenuators, potentiometers, lab equipment speakers Power transformers and chokes. amplifier kits, Duotone Co., Inc., Locust St.. Keyport, N. J. Presto Recording Corp., P. O. Box 500, Hackensack, microphones, amplifiers. preamplifiers. loud- Magnetic recording tape, recording blanks. cut- N. J. Disc and tape recording speakers, - and trans- FM -AM tuner ting sapphires, diamond replacement needles. cription equipment, amplifiers, and blank re- Ampex Electric Corp., Redwood City, Cal. phono accessories. cording discs Portable, console, and rack mounted magnetic Electronic Workshop, 351 Bleecker St.. N. Y. C. The R -J Co., 10 West 86th St., N. Y., N. Y. tape recording equipment. Custom Built radio -phonograph systems. A -20 -5 Speaker enclosures Amplifier Corp., 396 Broadway, N. Y. C. audio amplifier Rodio and Television News, Radio -Electronic En- Tape recorders, phono amplifiers, electrical Electro- Voice, Inc., Buchanan, Mich. gineering, 366 Madison Ave., N. Y.. N. Y. test equipment Microphones. pickups, cartridges. loudspeakers, Technical publications Audak Co., Inc., 500 Fifth Ave., N. Y. C. loudspeaker cabinets and enclosures, components, Radio Corp. of Americo, RCA Victor Div., Pickup cartridges Front lk and arms and TV boosters Cooper Sts., Camden, N. J. -- Microphone. Audio Devices, Inc., 444 Madison Ave.. N. Y. C. Fisher Radio Corp., 41 E. 47th St., N. Y. C. speaker. professional tape recorder, broadcast Recording discs, recording and playback points. Preamplifiers, receivers and amplifiers turntable, 16 -mm magnetic projector magnetic recording tape and film. Gates Radio Co., Quincy, Ill. The Radio Craftsmen, Inc., 4401 N. Ravenswood Audio Engineering Society, Box F, Oceanside, N. Y. Broadcast station studio control consoles of Ave.. Chicago, III. AM -FM and TV tuners. Audio Instrument Co., Inc., 133 W. 14th St., N. Y. C. various types, remote amplifiers, etc. amplifiers Bridgers. loggers, meters, intermodulation sets. General Electric Co., Electronics Park, Syracuse. Radio Magazines, Inc., 342 Madison Ave., N. Y. C. midget condenser microphones, preamplifiers. N. Y. Cartridges, loudspeakers, preampli- Technical Publications ultra -speed recording systems fiers, tonearms, phono accessories Radio -Music Corp., Port Chester. N. Y. Audio Master Co., 341 Madison Ave.. N. Y. C. Gray Research & Development Co., 16 Arbor St.. Pickups, broadcast reproducers, amplifiers, Recording equipment, microphones, playback Hartford, Conn. - - Transcription equipment turntables. and pulse transformers machines H. A. Hartley Co. Ltd., 152 Hammersmith Rd.. Rongertone, Inc., 73 Winthrop St., Newark, N. J. Audio & Video Products Corp., 730 5th Ave., N. Y. C. London W.6, England - - Speakers. box baffle. Magnetic tape recorders High- quality audio components preamplifier, amplifier, audio components, and Reeves Soundcrafl Corp., 10 E. 52nd St.. N. Y. C. A -V Tape Libraries Inc., 730 5th Ave., N. Y. C. "Selected Record Catalogue" Recording discs, tape and film Tape recording and recording services, pre- High -Fidelity Magasine, Great Barrington. Mass. Rek -O -Kut Co., 38 -01 Queens Blvd., Long Island recorded magnetic tape library of music Jensen Mfg. Co., 6601 S. Laramie Ave., Chicago, Ill. City, N. Y. - Recorders, variable and 3 -speed Bell Sound Systems, Inc., 555 Marion Rd.. Colum- Loudspeakers and accessories phonographs, cutting mechanisms, transcription bus, Ohio - Amplifiers and tape recorders Langevin Mfg. Corp., 37 W. 65th St.. N. Y. C. and recording turntables, record players B odoni Associates, 4917 W. Jefferson Blvd., Los Amplifiers, power supplies. transformers Hermon Hosmer Scott, Inc., 385 Putnam Ave., Cam- Angeles, Cal. -- Tape Recorders James B. Lansing Sound Inc., 2439 Fletcher Dr., bridge, Mass. -- Amplifiers, noise suppressors, David Bogen Co., Inc., 663 Broadway, N. Y. C. Los Angeles, Cal. - Speakers and enclosures preamplifiers, sound level meters. vibration Amplifiers, cabinets and enclosures Mognecord, Inc., 360 N. Michigan Ave., Chicago, Ill. meters, noise generators R. T. Bozak,.90 Montrose Ave.. Buffalo, N. Y. Professional tape recording equipment Sonocraft Corp., 115 W. 45th St., N. Y. C. Loudspeakers Mark Simpson Mfg. Co., Inc., 32 -28 49th St.. Long Sound and recording equipment British Industries Corp., 164 Duane St., N. Y. C. Island City, N. Y. -- Magnetic tape recorders. Stephens Mfg. Corp., 8538 Warner Dr., Culver Garrard record changers and phonograph motors. transcription players, amplifiers, sound systems City, Cal. - Loudspeakers, microphones, speaker Wharfedale speakers. Vitavox speakers, Leak McIntosh Engineering Lab., 320 Water St., Bing- systems and components "Point One" amplifiers, KT66 tubes hamton. N. Y. Audio amplifiers Tech Lobs., Inc., Bergen & Edsall Blvds.. Palisades B rociner Electronics Lab., 1546 Second Ave.. N. Y. C. Measurements Corp., Boonton. N. J. Park, N. J. - Attenuators, potentiometers, Corner reproducers, phonograph preamplifier - Electronic test equipment switches, bridges. reverberation generator, and equalizer, square wave tester Maynard Electronics, Inc., 7608 So. Phillips Ave.. tape splicing block Browning Labs., 750 Main St., Winchester, Mass. Chicago, III. - Amplifiera, preamplifiers and The Tetrad Corp., 62 St. Mary St., Yonkers, N. Y. FM -AM tuners electro- acoustic devices Diamond phonograph needles C B H Woodwork Co., 75 N. 11th St.. Brooklyn, N. Y. Music Masten Co., 55 W. 47th St., N. Y., N. Y. Triad Transformer Mfg. Co., 2254 Sepulveda Blvd., Radio -phonograph and television cabinets Phonograph record sales Los Angeles, Cal. - Transformers, reactors. Collins Audio Products Co., Mountainside. N. J. Ohio State Univ., Acoustics Dept., Columbus, Ohio toroidal coils, amplifier kit (Mailing Address -Westfield, N. J.) Fm tun- Research and education, pulse -type University Loudspeakers, FM - audio- Inc., 80 S. Kensico Ave., ers. -AM tuners, FM tuner kit metry and audiometers White Plains, N. Y. - Speakers. speaker systems U. S. Naval School of Aviation Medicine, Acoustic Lab.. Naval Air Station, Pensacola. Fla., Audiometric research, pulse type, relative to : hearing losses due to noises, audiogrametry United Transformer Co., 150 Varick St., N. Y. C. FIRST S1 50651 Transformers, amplifiers, kits and filters I117 PHONY(WL Waveforms, Inc., 333 Sixth Ave., N. Y. C. IT'S Amplifiers. audio oscillators, tuners. education equipment, speaker enclosure -YnY` , - Weathers Industries, 510 Richey Ave., West Colling- u wood. N. J. - Wide -range FM pickup

Mail Order Supply Houses I[l.,lSlr Dealers and Distributors 2 =kOl[S.I Arrow Electronics, Inc., 82 Cortlandt St., N. Y. C. KOF7F ;S Federated Purchaser, Inc., 66 Dey St., N. Y. C. Pt ONO Harrison Radio Corp., 225 Greenwich St., N. Y. C. CONCE Harvey Radio Co., Inc., 103 W. 43rd St.. N. Y. C. It TO Hudson Radio 8 television Corp., 48 W. 48th St., N. Y. C. !Wt 5068) Island Radio Distributors, Inc., 412 Fulton Ave., Hempstead. N. Y. Lafayette Radio (Radio -Wire -Television) 100 Sixth Ave.. N. Y. C. Leonard Radio, Inc., 69 Cortlandt St., N. Y. C. J. B. Smyth, 3440 Schute, Montreal. Canada Sun Radio d Electronics Co., Inc., 122 -124 Duane St.. N. Y. C. Terminal Radio Corp., 85 Cortlandt St.. N Y. C.

EQUIPMENT REPORT Continued from page 83

son, it may be pointed out that G -E cartridges have 3 times the output of the Fair- child; Audak output is 6 to 7 times greater; and Pickering's is roughly 20 times greater. In our installation, we used a transformer. This should be of the impedance matching variety such as the UTC A -11. The primary is connected to the cartridge, the secondary to the input of a standard preamplifier. ONLY WESTMINSTER Wires from the transformer to the preampli- HAS "NATURAL BALANCE" fier should be kept as short as possible; Continued on page 85

www.americanradiohistory.com EQUIPMENT REPORT Cnrtinus d 1 row page 84 Features the J wires from the pickup to the transformer

may be 3 to 4 feet long without intro- ducing losses. 1 ARVEY Finest Brands When using a transformer, hum pickup is a serious problem. With other installations, we have found that hum level may he Williamson HR -15 noticeable but not objectionable as long as Amplifier Kit shielded wires are used between pickup and preamplifier, and between preamplifier and amplifier input. For test set -ups, we have never bothered to ground the phono motor, the amplifier chassis, or anything. Magnecord Series 6 But with the Fairchild and a transformer, Recorders and Amplifiers we had to ground everything in sight, in- PT6 -JA Recorder cluding the phono motor, transcription - and Amplifier . . . the only combination that offers such high professional arm case, and even the amplifier chassis. quality at such a low price. Includes PT6 -A Re- Finally, we had to mount the transformer corder plus Amplifier with low impedance microphone and inside a completely enclosed and grounded bridging inputs, 10 watt audio amplifier with monitor, speaker and jack for metal box. all this done, hum disap- external The famous Williamson HR -15 omplifier cir- With speaker, 600 ohms balanced line output terminal. cuit . now available with the original peared, but with any one of these precau- PT6 -JAH Mognecord - Combination with Partridge transformers built to Williamson's tions omitted, hum was decidedly notice- high speed forward $564.00 specifications. Build this kit in 3 hours or able and objectionable. PT6 -AH Recorder with high speed - less, and enjoy sound of a cuality you In spite of this particular problem, the forward $316.00 never heard before.The HR -15 is a 2- Chassis PT6 -J Amplifier final result of using a Fairchild cartridge is - $248.00 power amplifier for use with tuners or other worth the trouble: sound reproduction PT6 -P - Lightweight Portable Amplifier, includ- front ends having own volume and tone ing o record playback remote amplifier and from phonograph records is exceptional. power controls. All American triodes, 2- 6SN7GT, supply for use with the PT6 -A Recorder. $462.00 2 -807, or 6BG6G in PP output, 5V4G rectifier. Response -.5 db, 10- 100,000 cycles. McIntosh Amplifiers Output impedances 1.7 to 109 ohms in 8 steps. Absolute gain 70.8 db. of feedback We hove McIntosh Amplifiers in stock for i TRADER'S MARKETPLACE mediate delivery. Full information on request, o around 4 stages and the output transform- come in (if you're in town) for a demonstration. ers. Kit is Complete with Tubes, Punched Here's the place to buy, swap, or sell 20-W-2 - Amplifier $149.50 Chassis, Pre -wired Resistor Board, Sockets, audio equipment. Rates are only 20e a 50-W -2 - Amplifier $249.50 Genuine Partridge Output Transformer, and All Necessary AE -2 -A Pre Parts $75.00 word (including address) or $20 an inch, - Equalizer -Amp . . S 74.50 and your advertisement will reach 20,000 * * * to 40,000 audiophiles. Remittance must Complete Line of CANNON Plugs and Connectors carried HR- 1ST -A Williamson Kit with all TRIAD accompany copy and insertion instructions. TRANSFORMERS in stock for immediate delivery. .. , including power trans- CANNON plugs have been standard former, chokes and specially designed out- equipment for more than 15 years wherever a high put transformer which is completely sealed quality connector is required for low level sound in tar. - 2 db. 10- 100,000 cps. Harmonic transmissions or for general ATTENTION! WHY PAY MORE ??? electrical and elec- Distortion less than .1 % - 10 watts output. tronic use. You'll find them in quality micro- AUDIOPHILES DISCOPHILES MUSIC LOVERS Output impedances 4 -8 -16 ohms . $69.50 We specialize in 30% segment phones, sound systems, radio and TV stations, etc. that of the Both HR -15 and HR -15T Kits available with general LP Catalog that can be considered by CANNON is definitely a 'must" for you. Write KT -66 tubes at $3.00 additiono , technical standards as high fidelity, high musi- for literature and prices for connectors to fit your cal quality material at prices that are kind to requirements. your pocket book. That means mostly releases * h * from the catalogs of London. Westminster, Columbia. Haydn Society, Handel Society. Bartok Society, Rachmaninoff Society, Urania. Vox, Renaissance, Period, Program, L'Oiseau Lyre, Stradivari, Philharmonia, Vanguard. Bach Guild, and A -440. Send S.25 in stamps If it's or coins (refundable) and a self-addressed GOOD...HARVEY has it! stamped envelope for details to: SALISBURY GRAMAPHONE HARVEY'S immensely RECORD SALES & ELECTRONICS UNLIMITED. popular AUDIO -Torium is a mu- Dept. HF Box 172 Falls Village, Conn. Resi- sical paradise for high fidelity sound enthusiasts. Here dents of Mass. and Conn. interested in custom installations are cordially invited to contact us. you can see, hear, enjoy the products of 59 leading manufacturers. And from our working display, we can instantly "custom match," for your direct compar- CUSTOM WILLIAMSON AMPLIFIERS! Finest extra- ison, any combination of components and rated components, power for pre -amp. Hi -Fi Haiti - equipments rafters AM, FM, SW chassis S -47 -C. Perfect condi- ... from the least expensive to the "best in the tion. Dr. Nicely, Kenton, Ohio. world."

Get our prices on PICKERING EQUIPMENT' Skala - If you would like to receive future HARVEY sound equipment bul- mere, 435 East 74th St., New York City. letins . .. or if you want detailed information on specific products ... or if you want assistance in planning your own installations, Pickering Amplifier and Record Compensator, Audio Pacific Amplifier, Hickok 203PR Electronic Voltmeter, please write to DEPT. HF -3. No obligation, of course. Heathkit Audio Generator and Impedance Bridge. Owner died without using. Donald Sampson, Cen- tral City, Nebraska.

FOR SALE! 6 -ft. Air Coupler with 12 -in. Jensen VISIT THE NOTE: In view of the "Concert" speaker, $39.75. Also 8 -ft. Air Couper, Telephone Umbel 21500 n $28.50. Both carefully built of . plywood to AUDIOTORIUM rapidly changing mar.

specifications in s "High -Fidelity". Robert Gates, Come in ket conditions, all Montrose, New York. and visit our new sound de- prices shown are sub. partment...all these ject to change items and many with- THE AUDIO EXCHANGE buys and more sells quality on working out notice and are high fidelity sound systems and components. display Guaran- at all times. teed used and new equipment. Ca'alog. Department RADIO COMPANY, INC. Net, F.O. B., N. Y. C. HF, 159.19 Hillside Avenue, Jamaica 32, New York. OL8 -0445. 103 West 43rd St., New York 18, N. Y.

www.americanradiohistory.com OFFERS YOU QUALITY UNITS FOR INSTALLATIONS OF BEAUTY

AMPLIFIERS RADIO SPEAKERS CRAFTSMEN RC -10 ALTEC FM -AM tuner with LANSING built -in preamplifier compensated for G.E., FLOOR Pickering and crystal CABINET phono cartridges. Altec s finest 15 -inch Continuously variable for con- duplex speaker bass and treble home or studio use. re- trols with flat Reproduces entire 20 to sponse from audible range from 20,000 cycles. Auto. 30 to 16,000 cps with matit frequency con- spine-tingling, life- trol entirely elimi- like clarity. Separate high frequency and ion°drift. $131.50 low frequency speakers in one convenient unit. Signal capacity BROOK -30 watts. Input impe- 15 Model 12A3, 10.watt, remote control cabinet with dance 16 ohms. pre amplifier, channel selector, tone and volume diam., Ilya" depth. Supplied complete controls. 3 inputs, 2 equalized for í19Ó.O0 G.E., Pickering, end similar pickups. $ with N -10008 dividing network, which, correctly distributes high and low Ire quencies to each speaker $159.00 section.

605A A distin- guished furniture speaker console for IS" speakers. Rich mahogany or walnut finish. All interior RADIO CRAFTSMAN 500 joints screwed and The new Craftsman 500 "ultra- fidelity' audio am- glued to eliminate plifier using the famous Williamson alltriode spurious rattles. 38" BELL 2145 circuit. The chassis represents the ultimate in high, 30" wide, 16 All Triode with 100% Negative Feedback. Fre- practically distortionless wide -range amplifiers. quency Response:-20-30,000 cycles; plus or minus íISOplb.. $150.00 0.25 db. Output 20 watts at less than 2% distortion. Six inputs; (2 radio, crystal, mic, G.E., ALTEC 4008 and Pickering). Controls: Remote unit: Volume. Altec dia -Cone, 8 Bass, Treble, and record equalizer inch. Recommended switch. ____.___..______._...._..._ _. _..__ $175.52 for applications where quality and small size go together. Delivers HIGH high output with excellent quality. Power capacity is 12 watts. dia. 8y4 inches, depth. 3% inches, voice coil dia.: I1/4 inches, voice coil im- FIDELITY pedance: 8 ohms. $22.50 PERMOFLUX ROYAL EIGHT Model 8T -8 -1 -th speaker that amazed them at w ze the audio fair. It's new and we challenge it BELL 2122 against any 12 inch speaker. Response is 50 to Medium priced, high fidelity, many important 12,000 cycles, and its power capacity is 8 watts. features. Inputs radio tuner, crystal pickup, 2 Very high efficjncy with low distor- magnetic pick -ups (built in pre -amp). Bass and tion. 8 ohm voice coil. _..- _.._.__.__ $13.50 Treble controls, equalized inputs. Gain 74.110 db; output 10 watts; response plus or minus Y4 db, 30- 15,000 cycles. Complete with $49.45 tubes. _....._.__. _ _. ___...... ___..._._ PICKERING CARTRIDGE This cartridge mounts in practically any arm; gives professional quality to a home phonograph. Linear response to over 10,000 cps. Available with .003 $9.90 sapphire

GARRARD RECORD CHANGER All prices are net, F.O.B., N.Y.C. and subject to change without notice. Distortion free reproduction! Built with watchlike precision, it accurately reproduces the or;ginal RC -200 tonal quality of the original performance. Heavy RADIO CRAFTSMAN play- Here, at last, is a TV -FM high fidelity audio motor and drive shaft guarantee consistent high ing quality-even at critical low speeds -and receiver, which in one chassis combines true Has 5 watt push - eliminate wows and wavers. The exclusive Garrard fidelity 1V and FM reception! tNc. and coverage of FM U TORS tone arm mounting assures true- tangent tracking, pull hi fi audio system band. Continuous type tuner and tuning eye T 1 Where sensitive prevents disturbing resonance. Phono. R n o t ° ° t S are used, there is no risk permit one knob control of TV, FM, or reluctance cartridges in of objectionable hum because of the exclusive Chassis finished in polished chrome. Come this 4 -pole motor and the steel plate welded on the and see masterpiece. 412 FULTON AVE. top of the turntable, which acts as a $39,00 shield. ____._...._.._....____.._.. .. __ ... ___._ _ HEMPSTEAD, L. I.

www.americanradiohistory.com ADVERTISING Startling r INDEX Allied Radio Corp.. ..75 REALISM

Altec Lansing Corp.. . 74 Ampex Electric Corp. 11 Realism in music reproduction is not merely a collection of laboratory specifications, however Arrow Electronics, Inc. 83 superb. The final judgment comes front listener Audak Co 2 appreciation and the ability to enjoy uncounted hours of music without ear fatigue. Audio Devices, Inc.. 67 A -V Tape Libraries, Inc. 78 Nor does the purchase of lop quality components insure a ported "instrument" unless it Berlant Associates. 68 embodies the engineering knowledge. combined Brociner Electronic Lab. 87 with true music appreciation. required properly lo integrate a custom -built music system. Brook Electronics, Inc. 8 Browning Laboratories, Inc. 65 Brociner phonograph and radio reproducing systems are completely and studiedly integrated Columbia Records Back Cover and can be built into your cabinets, storage walls. Concord Radio Corp.. 79 closets ... or supplied in their own cabinets tilting your personal decorative requirements. Electronic Workshop .88 Electro- Voice, Inc.... 63 Literature describing Brociner radio- phonographs, Espey Mfg. Co., Inc. 87 the Corner Reproducer and other components will Highest quality radio be sent you on request. phonography complote with Garrard Sales Corp.. 5 cabinet from $506 General Apparatus Co. 76 General Electric Co. 12 Gray Mfg. Co. 10 Harvey Radio Co. 85 High -Fidelity Magazine 73 PREAMPLIFIER BROCINER Hudson Radio & TV Corp. 71 EQUALIZER ELECTRONICS LABORATORY for finest phonograph reproduction Island Radio Distributors 86 1546 Second Avenue, New York 28, N. Y. Jensen Mfg. Co. 1 Klipsch & Associates 80 Lansing Sound Corp. 83 ATTENTION! AUDIOPHILES Leonard Radio, Inc. 77 `People who enjoy the entertainment provided by fine audio reproduction. Magnecord, Inc.... 7 McIntosh Engineering Lab. 72 NOW YOU CAN AFFORD HIGH QUALITY PERFORMANCE AT The Music Box . .. . 68 Newcomb Audio Pdts. Co. 69 MODERATE PRICES BY SELECTING AN ESPEY AM -FM CHASSIS OR Permoflux Corp.... 9 TUNER. CUSTOM BUILT 1.1ODELS FOR ALL APPLICATIONS. Pickering & Co., Inc.. 72 Radio Craftsmen, Inc. 80 The NEW ESPEY model 511 -B FEATU RES Corp.. 82 Radio Shack I. AC Superheterodyne Ahi -FM Receiver. Wire Television, Inc. 81 2. Improved Frequency Modulation Circuit, Drift Radio Compensated. Rek -O -Kut Co. 81 3. 12 tubes Alas rectifier, and electronic Tuning Indicator and Pre -Amp. Tubes. Russellcraft Co., Inc. 82 4. 4 dual purpose tubes. 5. Treble Tone control. Sales 85 6. 6 -gang tuning condenser. Salisbury Record 7. Full -range bass tone control. W. Sams & Co., Inc. 76 8. High Fidelity AM -FM Reception. Howard 9. Automatic volume control. Hosmer Scott, Inc. 70 10. 10 watts (max.) Push -Pull Beam Power Audr, Herman Output. Stephens Mfg. Co. 66 II. 12 -inch PM speaker with Alnico V Mag-et. :2. Indirectly illuminated Slide Rule Dial. Sun Radio & Electronics Co. 88 13. Smooth, flywheel tuning. SPECIFICATIONS 14. Antenna for AM and folded dipole antenna Terminal Radio Corp. for FM Reception. Supplied ready to operate, complete with tubes. 15. Provision for external antennas. Inside Back Cover antennas, speaker and all necessary hardware for 16. Wired for phonograph operation with switch for crystal or reluctance -up. mounting in a table, cabinet or console, including pick 17. Multi -tap output trans., 4 -8.500 ohms. Traders Marketplace. 85 Power consumption watts. escutcheon. -105 18. Licensed by RCA and Hazeltine. 19. Subject to warranty, Loudspeakers, Inc. 78 Chassis Dimensions: 131/2" wide x 81/2" high x 10" RMA registered code University deep. symbol 2`174.

Voice and Vision, Inc. 78 17 pounds each. Net Weight: Makers of line radios since 1928. Webster Chicago Corp. Sold through your favorite parts distributor.

Inside Front Cover FOR -11 WRITE CATALOGUE HF .. TEL. TRata Igor 9.7000 Westminster Records 84 CONTAINING PRICES AND COMPLETE MANUFACTURING DETAILS OF ALL MODELS COMPANY, INC. S2E EAST 72nd STREET. Zenith Radio Corp. 6 NEW YORK 21, N. Y. , .

www.americanradiohistory.com in every phase of custom EQUIPMENT REPORT building - Continued from page RI mounted on the front of the panel. Audio- philes who have tried to detach the panels on some audio equipment, so that the mark- ings and knobs could be transferred to the front of their especially-built cabinets, will the criterion appreciate this feature. Here is the latest information on recording characteristic curves for the different makes of LP records, as listed by Brociner:

Frequency Frequency cabinetry design Roll-ofR Columbia LP 16 audio engineering London LP 16 -20 RCA Victor SOO 12 custom service Bartok 300 12 Capitol 300 12 Decca LP 16 Haydn LP 16 M 300 12 LP 16 Manufacturer Low High the electronic workshop All things considered, we like the Brociner preamplifier very much indeed. We find that it is carefully designed and well made. There is no audible hum. Its equalization characteristics are sufficiently flexible to meet the compensation needs of almost any record. It provides adequate amplification, even with low -level pickups, such as the GE. We like the removable panel and the extra length to the panel screws and the control shafts. bleecker at tenth :Uses the AES curve: actually 400 -cycle turnover and 12 -db. pre -emphasis at 10,000 cycles. new york city 14 'Some at 12. oregon 5 -2631 custom builder's brochure upon request STATEMENT OF THE OWNERSHIP, MAN- AGEMENT, CIRCULATION, ETC., RE- QUIRED BY THE ACTS OF CONGRESS OF AUGUST 24, 1912, AND MARCH 3, 1933 Of High-Fidelity. published quarterly at Great Barrington, Massachusetts. for November 15, 1951 Verret, State of Massachusetts fedde Naar, ss. 7a of Berkshire. County Before me, a Notary Public in and for the State and county aforesaid. personally appeared Milton B. Sleeper. who having been duly sworn Sun Radio's Original according to law, deposes and says that he is the publisher of the High -Fidelity Magazine and that "Audio Equipment Handbook" the following is, to the best of his knowledge and belief, a true statement of the ownership, manage- ment. etc., of the aforesaid publication for the date shown in the above caption. required by the Act of August 24. 1912, as amended by the Act of March 3. 1933, embodied in section 537, Postal Laws and Regulations, to wit: 1. That the names and addresses of the publisher. editor. managing editor. and business manager are: Publisher. Milton B. Sleeper, Mon- terey. Massachusetts; Editor, Charles Fowler, So. Egremont, Massachusetts; Managing Editor, none; Business Manager, none. ..- 2. That the owner is: Audiocom, Inc.. Great Barrington. Massachusetts. 3. That the known bondholders, mortgagees, and other security holders owning or holding I per cent or more of total amount of bonds. mortgages, or other securities are: Ethel V. Sleeper. Most Widely Read Milton B. Sleeper, and Charles Fowler. 4. That the two paragraphs next above giving Most Widely Imitated the names of the owners. stockholders, and security holders. if any, contain not only the list Most Widely Requested of stockholders and security holders as they appear upon the books of the company, but also. in cases where the stockholder or security holder appears upon the books of the company as trustee Again SUN RADIO brings you a oc., or in any other fiduciary relation, the name of the person or corporation for whom such trustee edition of this valuable handbook ac is acting, is given; also that the said two para- claimed by thousands of Music hovers graphs contain statements embracing affiant'a full knowledge and belief as to the circumstances as the "Bible" for high- fidelity home and conditions under which stockholders and music reproduction. security holders who do not appear upon the books of the company as trustees. hold stock and 132 pages of down -to -earth informa- securities in a capacity other than that of a bona tion on "How To" assemble, install or tide owner; and this affiant has no reason to be- & ELECTRONICS CO., INC. lieve that any other person. asso_iation, or cor- improve music reproducing equipment poration has any interest direct or indirect in the in the home. Clear, non -technical text 122 -124 DUANE ST. NEW YORK 7, N. Y. said stock. bonds, or other securities than as so RArcley 7.1840 stated by him. written for the layman. New Ideas -- (Signed) Milton B. Sleeper New Methods -- New Systems. Write Sworn to and subscribed before me this Fifteenth today to F Open Daily 9 -6, Sal. 9.4:30 day of Nobember, 1951. Dept. for your Free Copy'. (Seal) Lillian Bendross, Notary Public Commission expires July I. 1954.

www.americanradiohistory.com ve p *000 rs't°t ° N9 Vp°as ioost DARR, RD 0$60 RC-8 A "Triumph s The Garr RAso - o RECORD of -80 fully automatic CHANGER wGarrar record quality reproduction oti of machined diameterr records-33'a, and sfni by (du _ 10" shed' Concert of lly _ 05 and 7 Concert after lost ) or size of rpm-regardless clearance recordecord is above, 1 spindle hole. $huts EE mounting 3'z" clearance 15' W, off auto. *ell Payed.below °" 13'/2" ing template. 2 plug-in base. Supplied complete RGP 15pKE cartridges) with SI". and mount. rraget , `, G O N E 3980 0 vO- t P`N\G rovrde°seete9e5e fV\\ ePg áP;épó á ó`ótCo Yft VISIT V fU epc 25 Stis ts °cpsVn's m sócapo5\55\' _AL7¡iET TERMINAL'S w¡tb raue vo¡ce o er / FAMOUS w¡thcY es. \hen p00 m . hs SOUND ,-/kam \2 e 9 DEPARTMENT! nse s ¡roP rnPu `6 ¿h m RADIO CRAFTSMEN RC -10 "e"1°sts -in Preamplifier FM -AM TUNER with Built Pickering and crys- RC-80C-Same Compensated for G.E., -me . variable RC- as above, tal phono cartridges.Continuously SOPD but equipped , with flat response bass and treble controls tory ground turnover Automatic fre- diamond from 20 to 20,000 cycles. RC-SOPS- styli tchedpa r d ,0l crystal cartridge. entirely rs of quency control .7 matched Ernest reproduction. with 0 drift. RC.80R2 -With pair Pickering labora-abors eliminates station Net Wiih standard 'saphired sapphire Audok using polyphasecartridges sapphire 100.70 RC-80L6 leering pick-up styli. RC -2 Wide Range Amplifier With head, equipped Precision Audak with 4.70 tuner, or any high polyphase for the RC -10 AM -FM studio Companion unit less than RC.SOGEDhire . head PRICES 10 watts output with stypoir' equipped fidelity application. Over =tnse. 42gDNet incorporating of 20,000 cycles frequency r SUBJECT TO 1% distortion. 20 to Precision diamond cartridges AUTHORIZED R á80d With breluctancestyli. '73 er cartridges pair of \-/ ri^ equipped variable CHANGES NEW! RC-EquippedPPed w'th reluctance79.66 Model A -800 sapphire styli. sapphire with .44 double-needleG.E. RPJf.051 INPUT ridge 0 AMPLIFIER for standard cart - Here in one compact unit is a four. mircrogroove. and stage preamplifier with inputs for 48.00 PERMOFLUX fine wide -range phono cartridges such as Pickering Royal Blue G.E., and Collaro; radio tuner input and crystal car- TERMINAL'S KABINEt tridge. Has RNER- 8" PM Speaker separate bass and KO on amazing treble tone controls. will make loud- -8 -1. The magnificent Especially de- UTILITY nets any Model 8T new br reproduction of at the signed for high quality amplifier uses amazed visitors chamber speaker that power Terminal's in ththe reflex ses is 50 tsoo12,000 ocps, such enclosed extension Audio Fair! Response as the famous 50 improvementThe full size ntic horn of speaker. os ° g g°Sturdy 8 walls. Efficiency Net speaker. the room forced 8 ohm voice coil. Williamson. 37 of diameter, walls fen' the response. properly Unfin- '123 UTC- WILLIAMSON give Amplifier Kits plywood and Suppliedtone 17 Net y,' thick resonance Incomparable audio reproduction in an sound absorbing easy -to -build style! Chassis speakeready or board, are drilled ished¡shed si de.l ß.O UNIVERSITY and punched each for all components. Only movable 23" hardware. 32" across, side 21 00 6201 12 -inch UTC's famous linear standard transform- pods and 24" high. each Speaker ers used in audio section. Wired sample speak, 32" across, Coaxial For 36" coaxial on demonstration in our Sound Depart- KK -8 of 15 speakers Full -range 25 watt 12" speakers. 000 cps. ment. Chassis available speaker, 45 to 15, KK-12 Also 2000 cycle and transformer Complete with , and kit priced at 4410 A equipment furnished for cross -over network A Instruction operation on 105-I 20 volts, 60 cycles AC. high frequency attenuator. manual25C wonderful buy!441 0 Net l FREE! test stroboscope to Sylvania phono turntable! speed of your on this item! the phone orders no mail or Sorry, P.D.Q i of Terminal's erminal adio C or y ou heard Have P.D.Q.P Bulletin! Terminal's Send for 85 CORTLANDT STREET, NEW YORK ï, N.Y. www.americanradiohistory.comWOrth 4-3311 SOS

ßtCOS, to Mp `sere St Sp *Pt1 COOPot E01 0O

AUDIO ENGINEERING SOCIETY DEMONSTRATIONS!

Mr. R. D. Darrell selected the following Columbia qualities, and distortion characteristics of sound Records as part of a special group of LP records con- systems. They were demonstrated at the September taining musical and technical qualities especially use- meeting of the Audio Engineering Society: ful in car -testing frequency, transient, and technical Masterpieces by Ellington Duke Ellington and his Orchestra ML 4418 Listen to: The Tattooed Bride, side 2 Schumann- Brahms Recital Gyorgy Sandor (piano) ML 4375 Listen lo: Papillons, side / Music of Irving Berlin (Say It With Music; Remember; Blue Skies; Top Hat, White Tie and Tails; How Deep Is The Ocean; This Is The Army; Oh, How I Hate To Get Up In The Morning; Soft Lights and Sweet Music; What'll I Do; Always; The Song Is Ended; The Piccolino; Cheek To Cheek; White Christmas; The Girl That I Marry; Say It Isn't So; Mandy; Give Me Your Tired, Your Poor; God Bless America). Andre Kostelanetz and his Orchestra ML 4314 Listen to: Mandy, side 2 Age of Anxiety (Bernstein) Leonard Bernstein conducting the Philharmonic- Symphony Orches- tra of New York, Lukas Foss (piano) ML 4325

l Oren to: Mo oo, . 'isle 2

Concerto in G Minor (Poulenc) E. Power Biggs, Organ and Columbia Symphony Orchestra conducted by Richard Burgin ML 4329 If you would like to "audition" two superb examples of HIGH Listen lo: 32 ít. pedal tones FIDELITY recordings, we will mail you a free 7" LP record (331/3 RPM) containing excerpts from two new Columbia Carmen -Suite (Bizet). Capriccio Italien, Op. 45 releases. This offer is limited and may be withdrawn at any time without notice. ( "Italian Caprice ") (Tchaikovsky). Sir Thomas Beecham, Bart., conducting the Columbia Symphony Orchestra ML 4287 Listen lo: Carmen, Bands 6 and 7 Columbia Records, Inc. 1473 Barnum Avenue Twilight Concert -No. 1 Bridgeport 6, Conn. Please Artur Rodzinsk i cond. the Columbia Symphony Orch. with Leonard send ms the free LP record for Audiophiles. Pennario (piano) and Martha Lipton (mezzo- soprano) ML 4311 Listen to: l('illiam Tell and Rachmaninolf. side I t :a m^ Have you heard Columbia's sensational TATI -TATI? Ask your dealer for a demonstration of this amazing HIGH FIDELITY Street recording by Werner Janssen and the Columbia Symphony Orch. City Ze,,r__ State

The World's largest library of long playing records i The exclusive trade -mark of Columbia Long Playing Records -symbol of highest quality. Look for it! Trade -Marks "Columbia," "Masterworks,' en, 19 Reg. U. S. Pat. Off. Marras Registradas