High-Fidelity-1954-M

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www.americanradiohistory.com Quality is a word often loosely used. "High Fidelity" is a term also often exploited by manufacturers of every type of sound reproducing equipment taking advantage of the present public interest. In most cases this equipment produces neither quality nor faithfulness of performance justify- ing use of the term. High fidelity sound reproduction has long been a specialized science and art practiced by too few manufacturers having a history of leadership, progress and intrinsic sense of dollar value. You may judge the validity of present claims to the classifi- cation "High Fidelity" by determining whether the manufacturer has a history of sound practice and integrity in the art. Such developments as the Jensen Model 530 Coaxial loudspeaker typify these histories. At one hundred and twenty -nine dollars and fifty cents this finest of 15 -inch coaxial speakers is acclaimed as a milestone in speaker engineering. Cost has not been a factor, though experience in design and production facil- ity have kept the price within reach of all. The low frequency unit is newly designed for smooth transition in the crossover region. The crossover network is included as a separate more efficient unit. The new compression driver has been developed as a perfect match for the high frequency divided cellular Hypex horn. Wide range extension, unusual smoothness and outstanding balance of response guarantee an impressive professional realism unique in two way systems. This new Jensen 530 adds to the many reasons why in loudspeakers Jensen has been the world's quality standard for more than a quarter century.

Other fine Jensen Coaxial speakers are: Model H 520 15" speaker at sixty -nine dollars and fifty cents. Second only to the 530 in performance with combination driver high frequency unit loaded with multi- cellular Hypex formula horn -crossover network with controls is built -in feature; its extraordinary high power rating and efficiency are due to the advanced design Alnico 5 P M magnetic structure. Model H 222 12" version of the H 520 at fifty -four dollars and fifty cents is ideal when speaker and enclosure area is limited. Model K 310 15" Coaxial at thirty -seven dollars and sixty cents. Model K 210 12" Coaxial at twenty -four dollars and eighty -five cents. Feature built in frequency division system, piston type high frequency unit noted Jensen diaplane radiator, lower power rating- designed for low cost application these two speakers outperform many costing twice as much. Before you choose your high fidelity system write for the Jensen Brochure 1030, a simple survey of all hi -fi components and advice on their selection- remember Jensen designed and developed world's finest loudspeaker, the Jensen G 610 Triaxial. Jensen speakers $2,375.00 to $24.85. MANUFACTURING COMPANY Division of The Muter Company

,Jefl4cfl6600 S. LARAMIE AVE., CHICAGO 38, ILLINOIS Burton browne advertising In Canada: Copper Wire Products, Ltd., Licensee www.americanradiohistory.com INTRODUCING MODEL TL /10, AN ENTIRELY NEW AMPLIFIER-PRE-AMPLIFIER COMBINATION

BY QAittu E A ONLY $109.50 NIET F0 tafr COMPLETE WITH "pow OHE,. ever AMP`lt,R eonom¡cat combination built by LEAKA REMOTE CONTROL ' PRE- Nusk of notactUrer Britain's finest audio equIpmO

This great amplifier maintains, in every respect, the MODEL world- renowned Leak reputation for precision engi- TL /10 neering, custom assembly and fastidious wiring. It is Bottom AMPLIFIER a superior product through and through, built by con- view of scientious craftsmen, to give flawless performance TL /10 chassis, over many years, with complete satisfaction to the showing home listener and professional communications engi- all neer alike. Model TL /10 incorporates the newest, components ultra -linear 10 -Watt Circuit, including two of the latest mounted in push -pull. on terminal type KT-61 beam power output tetrodes board for The high damping factor of 23, and the low hum level easy of minus 76db. below full output, are ordinarily found servicing... as in the only in far more expensive amplifiers. most Since low harmonic distortion is far more important expensive to obtain than high power output (not a scientific and difficult laboratory major factor in home music reproduction), the effect and of the achievement of reducing distortion to an insig. government nificant two tenths of one percent at 1000 cycles. for equipment. a power output of 8 watts, can readily be imagined, and will become apparent in listening to this fine amplifier.

This is a new improved design of the famous Leak unit which set unmatched performance standards at the B.B.C. and other world renowned broadcast studios REMOTE CONTROL laboratories. In its new version, it is the ideal and "POINT ONE" PREAMPLIFIER, electronic complement to the TL /10 amplifier. It is a WITH MASTER CONTROL UNIT two -stage feedback unit of distortion so low as to be virtually unmeasureable, and in which resonant circuit filters are NOT used. The "Point One" unit will operate from any phonograph cartridge now available, including Audak, Electro- Voice, Fairchild, General Electric, Pickering, Sonotone; from any microphone; from any radio unit or tuner; and with the greatest convenience, from any tape recording machine. It provides the best features of all previous models, and every desirable refinement suggested by users in Britain and the U. S. Amolilier Dimensions: 11" wide a 9" deep x 6 -a" high. These include the greatest variety of equalization adjustments ever provided on a Leak amplifier ... all Pre Amplifier Master Control that ere required, without unnecessary flourishes, for Unit Dimensions. fullest satisfaction in listening to today's wide range 10" wide x 3" high x 2i a" deep. of recordings under home acoustic conditions. Power: 105 Volts -125 Volts. All controls on a handsome, highly polished gold 50 to 60 Cycles AC escutcheon plate with jeweled pilot light. The entire plate removes for panel mounting, when desired. plus tape recorder jacks (input and out)ut) on FOUR MASTER CONTROLS handsome front pane i t e

Tape Recording Jacks An Exclusive Feature) Control ;1 Input selector Readily accessible jocks, for re- S.0 positions: Tuner, Tape, AES, tape, Control #2 Treble Control #3 Boss Control #4 Volume cording and playing bock NARTB, FFRR, COL. LP. The variable gain ... are provided, on front panel The latter four positions provide Eight indicated stages... ove Eight indicated stages... over Continuously without plus switch. for instantaneous use. equalization for all records. a 23 db range, without dis a 23 db range... all "OnOff' tortion. boom iness. replaceable Industries Group... and carries the Seal of B.I.C. endorsed quality... British Industries All valves The Leak TL 10 amplifier is a product of the British with Standard U.S. tubes. Audio Products made in Britain, import and introduce them, and Corporation is an American Company, whose function is to seek out the finest largest company of its kind, and offers you its own endorsement of Prices and specifications keep them welcome in homes throughout America. B.I.C. is the oldest and extensive B.I.C. service and parts faci ities are always at subject to change the quality of each product it sponsors. In addition, and even more important ... the with at least the same assurance as if it were made in The U. S. without notice. your disposal, so that you can purchase any British Industries endorsed product

WRITE FOR A COPY OF "SOUND CRAFTSMANSHIP" British Industries Corporation 164 Duane Street. New York 13,5.T Britain's finest Dept H F-3 16 pages illustrating and describing l Send my copy of Sound Craftsmanship. reproducing equipment ... facts you'll want for Name music planning improvements and additions to your set. 1 Address

1 City Inne Vale BRITISH INDUSTRIES CORPORATION 164 DUANE STREET NEW YORK 13, N.Y. www.americanradiohistory.com fliült JideliIq

T H E M A G A Z IiE F O R MUSIC LISTENERS

Volume 4 Number I March 1954

This Issue. By hard - AUTHORitatively Speaking 5 pressed magazine -editors, time is usually re- Noted With Interest 7 garded as hostile, but not always. James Readers' Forum z8 Deane covered the Missa sessions for us last As The Editor Sees It 33 March. For a year thereafter, Maestro Tos- Toscanini Records the Missa Solemnis, by James G. Deane 34 canini withheld approv- Deane An eye- witness account of epochal session. al of the tapes, while an RCA Victor's editors worked furiously, After Binaural -What? by Thomas I. Lucci i7 patching and copying. Finally they produced a finished sequence that pleased Anyone who thinks the audio frontiers are exhausted - read this! him - just in time for us to choose a March cover, and for the records to be scheduled for issue on the anniversary of Custom Installations 38 Beethoven's death, March 27. Deane received test disk -pressings early enough to Lieutenant Bettini's Musical Spider, by Roland Gelatt 40 write a review, which appears in the rec- The piquant story of the unlikely inventor of the device that ord section. made the talking- machine musical.

Next Issue. Mr. C. G. Burke, the indomi- When the Hum -Bugs Move In, by Irving M. Fried 43 table discographer, brings the good news You say your wonderful new music system hums? Sputters? from Ghent (N. Y.), that he is plowing Squeals? Here's what to do . . . through the microgrooved works of Richard Strauss at record (joke) speed, and should Adventurers In Sound, by John M. Conly 45 have a discography of same ready for the G. A. Briggs of Wharfedale April issue. Other future discographic prospects include a possible Stravinsky, by In One Ear, by James Hinton, Jr Alfred Frankenstein, and the chamber works 47 of Brahms, by Paul Affelder. Records In Review 49-85 Enclosures For Loudspeakers, Part IV, by G. A. Briggs 86 Tested In The Home 89 Approved V-12 FM -AM Tuner CHARLES FOWLER, Executive Editor JOHN M. Comm, Editor Crestwood Tape Recorder Associate Editors Browning Binaural FM -AM Tuner ROY H. HOOPES, JR. ROY F. ALLISON Craftsmen CA Assembly Roy LINDSTROM, Art Director Contributing Editors News of the SME, by Lisbeth Weigle 96 C. G. BURKE JAMES G. DEANE Professional Directory 124, I 25 JAMES HINTON, JR. EDWARD T. WALLACE Traders' Marketplace 126 MANSFIELD E. PICKETT, Director of Advertising Sales Advertising Index 127 WARREN B. SYER, Business Manager FRANK R. WRIGHT, Circulation Manager

High Fidelity Magazine is published monthly by Audiocom, Inc., at Great Barrington, Maas. Telephone: Great Barrington 1300. Editorial, publication, and circulation offices at: The Publishing House, Great Branch Offices (Advertising only): New York: Barrington, Maas. Subscriptions: $6.00 per year in the United States and Canada. Single copies: 50 cents Room 1209, 6 East 39th Street. Telephone: each. Editorial contributions will be welcomed by the editor. Payment for articles accepted will be ar- Murray Hill 5 -6332. Fred C. Michalove, Eastern ranged prior to publication. Unsolicited manuscripts should be accompanied by return postage. En- Manager. - Chicago: 5449 W. Augusta Blvd. Tele- tered as second-class matter April 27, 1951 at the poet office at Great Barrington, Maas., under the act phone: Columbus 1 -1779. Charles Kline, Mid - of March 3, 1879. Additional entry at the post office, Pittsfield, Mass. Printed in the U. S. A. by The Western Manager. - Los Angeles: 1052 West 6th Ben Franklin Press, Pittsfield, Mass. Copyright 1954 by Audiocom, Inc. The cover design and contents Street. Telephone: Madison 6 -1371. Edward Brand, of High Fidelity magazine are fully protected by copyrights and must not be reproduced in any manner West Coast Manager. or ;n any form.

MARCH, 1954 3

www.americanradiohistory.com adiaDiGi+ie LEONARD RADIO SERVICE CO. OF PENNA., INC. RADIO SHACK 69 Cortlandt Street High Fidelity and Commercial Sound Studio CORPORATION NEW YORK CITY 709 Arch Street Philadelphia 6 Pa 167 Washington St., Boston 8, Mass. S COrtlandt 7 -031 Phone Lombard 3 -7390 Lafayette 3 -3700

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HIGH FIDELITY MAGAZINE

www.americanradiohistory.com AUTHORitatively Speaking A year ago, contributing editor James G. Deane assigned himself to a Toscanini recording session in New York, with results apparent on the cover and on page r! e/ lé( Alain./ Cn/JÓe72/lQ N.úfi2Cl4n 34. But Deane would not like anyone to think he attended the session simply to [JI%ZCCt lOn cover it for HIGH FIDELITY, or for the e/Í/ff Washington Star, where he is a reporter and record -columnist. He has been making Toscanini- pilgrimages to New York at least STYLING once a year since 1937, when he was in his teens. He skipped only one year: In 1946, de ri%le while in training at the Fort Monmouth /`" Signal Corps School, he wrote to NBC for two tickets to a Toscanini performance. They werewaiting for him when he arrived in Korea with the U. S. occupation forces. Deane offers a correction on the last reference made to him in this column. He is a Washingtonian but not a native Wash- ingtonian. Born in Hartford, Conn. Around Philadelphia, Irving "Bud" Fried is known as a maniacal audio -perfectionist. He first began digging bugs out of music - systems while still a law student at Har- vard, in 1946. Although he received his degree and is a member of the Pennsylvania bar, he takes only a couple of cases a year. The rest of his time is very fully occupied by running Lectronics, a high -toned audio - installation house he owns at City Line Center, Philadelphia, and by serving as ACOUSTICAL consultant to the Messrs. Rudy Bozak and Victor Brociner. Fried thinks an hour's worth of precise adjustment and intelligent maintenance can contribute more to listening satisfaction than dollars and dollars spent on more elaborate equipment. In this ellintinspo issue (page 43) he begins a series of articles Silaidex and qhtt;t designed to transform you, painlessly, into Wald your own audio serviceman. Gracefully Styled Here is Roland Gelatt will be remembered for the finest in contemporary amplifiers, to Match the Decor brilliantly styled and finished in harmonious neutral "The Sun Never Sets on EMI" (September tones to add functional beauty to your home. of Your Home 1953), an article which grew out of a The new Acoustical QUAD II Amplifier trip to Europe year. - last He made the trip Effortless FingerTlp with its simplified yet superbly versatile Q.C. II to dig up some obscure facts for a history Control Unit combines many new Control - and exclusive of the phonograph he is writing, to be design features for better performance, better published late in 1954 or early in 1955. Full Range Fidelity appearance in your home than any other amplifier at any price. Gelatt, who is feature editor of the Saturday 10 to 60,000 cps - Review, became curious about the evolution within i db Only QUAD provides plug -in matching to your of the phonograph some years ago, but found choice of pick -up. This automatically corrects for he couldn't read about it, since almost Ruill-In Pre -amp; source and load impedance, characteristics and level - nothing had been written. Hence his de- Inputs 1.5 mV Upwards provides the best possible reproduction with lower cision to write a book himself. He has noise. And QUAD gives you adjustable bandwidth Push-Button Recording promised us three articles based on the work, and slope of roll off, for wider range with Equalization and lower all replete with little -known lore. The first distortion; harmonic filtering, for independent bass and treble control begins on page 4o. next will Program Channel - perfect musical balance The appear in without distortion or loss of higher harmonics. May. Selection See the beautifully styled, richly finished Perfect Plug-In QUAD - Thomas I. Lucci, whose outlandish formu- hear and judge for yourself its perfect musical Matching lae for "better" and "perfect" listening are to your performance. You'll agree that hére is truly a set forth in "After Binaural - What ?" on Choice of Pick -Up new standard in listening satisfaction ... and a page 37, is a 6 -foot, 35-year -old paterfamilias new high in functional hi -fi styling Complete Low Distortion, of Avon Lake, Ohio. He serves as assistant engineering data sheet on request Also send Independent of Accurate branch manager of a corporate service firm, for free brochure on new Beam "Stentorian' -range whatever that is, while not puttering with Tube Matching full loudspeakers. audio equipment or listening to music. Unique Stability, with Q. C. 11 Control Unit Alone $120.00 net He acquired a Dimensions: 101 "x 31/2"x 61/2". taste for the classics while in Less than 0.1% Europe with the Army, where he also won a QUAD 11 Amplifier Alone $130.00 net Total Distortion battlefield commission. His captain had Dimensions: 13 "x 4% "x 61/2". the only radio in QUAD 11 Amplifier and Q. C. 11 Control Unit company headquarters, System Complete $237.50 net and the captain was a three -B's man. Lucci became one. Lucci is married and has two U. S. children. The elder, Tom, Jr., 21/2, developed Agents: musico- audiophilia at z6 months, and has BEAM been pictured in these pages, operating a INSTRUMENTS CORPORATION rig made for him by Tom, Sr. 350 FIFTH AVENUE NEW YORK, N. Y.

MARCH, 1954 5

www.americanradiohistory.com IWinfesh There's More Tb/ad, from record with the

C -108 Professional Audio Compensator

The abundant flexibility of the beautiful new McIntosh C -108 Professional Audio Compensator assures you of the most listening pleasure from all of your records. Five bass turnover switches and five treble attenuation positions as well as variable bass and treble controls compensate for all recording curves - those in use today and any that may be used in the future. A rumble filter diminishes or completely eliminates turntable rumble, especially annoying when listening to older records. An Aural Compensator Control maintains proper bass and treble loudness when you play your system at low volume level. The C -108 for the first time combines beauty and abundant flexibility with ease of operation.

,.t FREE BOOKLET Sand for illustrated brochure on record company compensa- LABORATORY, INC. tion curves. 322 Water Street Binghamton, N. Y. IWinfosk Export Division: 25 Warren St., New York 17, N.Y. 6 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com high fidelity is NOT expensive wriTtialgoillutovAvot .

Information, Please ± 0.75 db There's just enough binaural broadcasting 20 to 40,000 CPS being done these days so that we wish we UNCONDITIONALLY GUARANTIED FOR ONE FULL YEAR knew more. Hence, a call for help: will readers let us know what stations in their area have done binaural broadcasts and which, if any, are on a fairly regular schedule? THE FINEST FOR LESS. This is the am- output (60 cps and 7 kc tones; 4:1 ratio). Naturally, we hope the broadcasters them- plifier designed to provide optimum per- Hum and noise: 80 db below rated output. selves see this item. We'll publish the formance in limited- budget home music Speaker out. imp.: 8 and 16 ohms. 4 in- schedules, etc., of those which are on the systems. Delivers very wide response puts: 1 magnetic phono, 1 high -imp. mike, with extremely low distortion; has plenty 1 tuner, 1 aux. (for crystal phono, tape, air regularly with binaural (like WQXR in of reserve power for authentic reproduc- TV, etc.). Controls: Off -on- volume; Bass New York City). tion of peaks. Important features include: (calibrated from +16 to 16 db); Treble We have had many requests for this in- specially designed output transformer ( +16 to 16 db); Input -Equalizer Selector formation, and now that HIGH FIDELITY is with interleaved windings for virtually (Aux, Tuner, Mic, Flat, AES, and input for mike; on a monthly publication schedule, we can distortionless output; NARTB). Controls at top of chassis: selector switch for proper loading of G.E. G.E.- Pickering input switch; also bias, out- render some services which hitherto were or Pickering cartridges; equalizer for put balance, hum balance controls (screw- impossible. For example, now it will be accurate playback of all records; separate driver type). Tubes: 3- 12AX7, 2 -6L6; worthwhile to collect data on future pro- bass and treble tone controls. 5Ú4G rect. Entire chassis is beautifully grams of special interest. While such in- Specifications. Rated output: 24 watts. finished in satin-gold. Size: 8 x 14 x 9' formation is of local interest, nevertheless response: ±0.75 db, 20 to deep. Complete with tubes, connectors, - Frequency instructions; with control shaft extenders a 40,000 cps at rated output. Harmonic dis- enough "locals" make nation. and removable lucite panel. For 110-130 tortion: less than 1% at rated output. lbs. Intermodulation: less than 0.5% at nor- v., 50-60 cy. AC. Shpg. wt., 30 mal listening level, less than 2°4 at rated 93 SX 321. Net $79.50 February t this year was marred by the death of Edwin H. Armstrong, who fell "GOLDEN KNIGHT" HIGH FIDELITY MUSIC SYSTEMS from a window of his thirteenth -story apartment in New York City. COMPLETE PHONO SYSTEM A super -value, true high fidelity phono It is safe to say that no other man had system, ready for custom installation. In- such a tremendous influence on all kinds cludes color -coded cables, plugs, hardware electrical communication as did Major and instructions for quick, easy hookup. The of complete system includes: the "Golden Armstrong, inventor of the regenerative Knight" amplifier (described above); the detector, the superheterodyne receiver, famous Electro -Voice SP12 -B 12' Radax and the FM system of broadcasting. Yet Speaker (with built -in "Whizzer" high - he was at least as well known for his frequency radiator); the precision -built Garrard RC -80 3 -speed record changer, and personal integrity and his unswerving the General Electric RPX -050 triple -play devotion to what he knew to be right. cartridge with dual -tip sapphire stylus. These He is justly honored. top-quality matched components form a superb high fidelity installation at a truly modest price. For 110 -120 volts. 60 cycle AC. Shpg. wt., 60 lbs. The Overloaded Cone 94 SX 127. Net, only $161.75 FM -AM -PHONO SYSTEM Ralph Glover of Jensen Manufacturing Same as above, but includes the new (loudspeakers, of course) sent us a while ago ttxtotrr Model 727 FM -AM High Fidelity a copy of a letter the Jensen repair depart- Tuner for complete radio -phono entertainment received. We got a chuckle and think ment. Tuner has dual built-in antennae, FM RF stage, minimum drift. Shpg. wt., 76 lbs. you might, so here it is: 94 SX 128. Net, only $214.50 "You will find I am sending you, under separate cover, one of your fine speakers i which was returned for repair about three ALLIED RADIO CORP., Dept. 49-C -4 FREE 268 -Page Catalog years ago. At that time the cone had failed 100 N. Western Ave., Chicago 80, Ill. with the application of five watts of audio Write today for ALLIED'S Send 24 -Watt Amplifier Spec. Sheet in the form of a 31/2-year old boy and his complete guide to the world's largest selection of High 11/2-year old pup. Send FREE 1954 Catalog "Time has increased the audio level around Fidelity home music systems, amplifiers, tuners, speakers, our home to about 141/2 watts. We now have Ship the following changers, recorders and a 61/2-year old boy, a 31/2 year old boy, and accessories. If it's anything in Hi -Fi, it's the 41 -year old pup. Your last repair job S enclosed in stock at ALLIED. Send for our FREE very well until a withstood the strain sudden Catalog today. crescendo was applied to the cone, in the Nome a baseball. This interrupted Mr. form of Address Mantovani and he will no longer play for us. ALLIED RADIO Everything in High Fidelity Continued on page 8 City Zone State

MARCH, 1954 7

www.americanradiohistory.com NOTED WITH INTEREST

Continued from page 7

"At your earliest convenience, please per- suade the musicians within the speaker to play for us again." We'd like to add our thoughts to this: Mr. Glover should have suggested replacing the speaker with one of the bigger 5o -watt jobs, since the present 141/2-watt peak load is likely to increase rapidly as the years roll by. We also predict that intermodulation distortion is going to rise rapidly.

KV.' to KV. 626 Up north of us, the Canadian Broadcasting System believes in being thorough. Or so it would seem if we are to judge from a letter from Allan Sangster, who has recently been assigned by the CBC to produce a show (Wednesday nights, t r to xz midnight, EST) which will present "absolutely every- YOU thing of Mozart's which has ever been recorded, proceeding roughly in chronological order." Quite an undertaking ... more ARE ' power to the CBC and Mr. Sangster. Incidentally, Mr. Sangster sent us a copy of the Canadian Forum, a monthly publica- THERE tion in which he has authored a column "On the Air" for several years. His Decem- ber x953 column was devoted to the high WITH fidelity phenomenon - and a right good piece it was, too. Took out after the CBC for not using its FM transmitters, among STEPHENS other things. Live FM in Chicago Too late for publication in the January- Tuve Fde/ity February issue came a note from WFMT in Chicago saying that they were launching a weekly series of Sunday evening chamber SPEAKERS music concerts utilizing the Fine Arts Quar- tet, thus, according to Rita Jacobs, making WFMT the only Chicago -area FM station to put live music on the air. For emotionally satisfying... thrilling new sound sensations, Colorful Tape 206AX MODEL music critics choose Stephens Immediate reaction to this item is likely List price; Tru -Sonic True Fidelity Speak- to be, "Why didn't I think of that ? ". This item is: Audio Devices now manufactures 2O6AX 15" coaxial ers. Made by the Nation's number one recording tape in colors (green and blue 16 ohm $166.00 pioneer in High Fidelity reproducing as well as the usual brown), and also makes 500 ohm $179.00 equipment, these outstanding Speakers plastic reels in colors. Bringing color to will give you years of distortion -free listen- tapes and reels will help in the ever-present FEATURES ing pleasure. problem of identifying reels quickly, and Producing pure, clear tones of mellow then finding where you are in the middle * 71/2 lbs. Alnico Magnet of a tape. Colored reels are the same price richness, Tru -Sonic Speakers are a creation is Heavy Die -cast Aluminum as clear plastic ones; colored tape slightly * higher than standard. Frame of advanced design and master craftsmanship. Frequency response is smooth and Low Frequency Cone * distortion -free from 30 to 18,000 c.p.s. More about Tape Resonance -35 c.p.s. in the tape field Frequency Response The International Standard. Write for Certainly lots going on * these days Ampex has a new 8 -in. reel 18.000 c.p.s. descriptive literature and specifications. ... 30 to which holds tzoo ft. of tape and uses the standard NARTB hub. All metal; $2.50. And Cousino, Inc. has announced a tiny tape splicing block. Made out of plastic, size is /8 by 2V2 in.; has single, angled, cutting slot; holds tape in place by pressure on edges, caused by tight fit of tape in tape slot. And this is cute: the back of the splicer is covered with adhesive material.

STEPHENS MANUFACTURING CORPORATION 8538 WARNER DRIVE CULVER CITY, CALIFORNIA Continued on page it

8 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com FOR PERFECTION IN SOUND

Made to match the renowned quality of Bell High Fidelity Amplifiers. This precision -built, high fidelity tuner features a continuously variable AFC (Automatic Frequency Control) that provides complete control of drift on FM reception to allow both broad tuning of local stations and sharp tuning on more distant stations. It also features high sensitivity, selectivity and excellent stability. This 11 -tube marvel incorporates every desirable requirement for high fidelity AM -FM tuning and, as a new companion to Bell's complete line of quality high fidelity amplifiers, upholds the traditional Bell standard of "the best in sound." Write for details. W Bell Sound Systems, Inc. 555 -57 Marion Rd., Columbus 7, Ohio

Export Office. 401 Broodwoy, N. Y. 13, N. Y. A Subsidiary of Thompson Products, Inc.

MARCH, 1954 9

www.americanradiohistory.com Born to the service of true sound

TAPE RECORDER'

FREQUENCY RESPONSE OF MODEL T -10, OVERALL The development of the Revere "Balanced -Toner t:-rr-..IIIMI Tape Recorder was dictated by one standard -the 8>_811 reproduction. Bril- /1111111118/11aa 87l'18>81IIIIMMt\I attainment of accurate sound I \ M111 liant success is proved with every true -tone re- V 81 8l\©M. MI11 n I ONMEINI ----11\1 cording. From opera and concert stage to Basin I MN 81IIIII{f 1 1 as Street, each sound is reproduced with remarkable {JÁ818i 111iïiiI depth of tone, breadth of range and incomparable ao IMMIMMII1=1118M IMM88>INRIO881MI\I o I In WO no 10 a 5 Y) am fidelity heretofore achieved only with costly studio

FREQUENCY -CYCLES PER SECOND equipment. Yet Revere is priced conveniently low,

Recording made from typical Revere production T -10 recorder with constant 1 volt its keyboard operation the easiest of any recorder. to phono input. Level set to just strike "normal" indicator at 15kc. Playback into See, hear, a Revere Tape Recorder at dealers 3 ohm load at extension speaker jack. everywhere. REVERE CAMERA CO. CHICAGO 16, ILLINOIS

Revere T-700 -"Balanced -Tone" Tape Recorder. 2 hour recording per reel. Complete with microphone, radio at- 2 reels (one with tape) and case tachment cord, carrying BASS -REFLEX SPEAKER -An $225.00 exceptionally fine 12" Alnico TR -800 -Same as above with built-ih radio $277.50 V Speaker, acoustically matched to the 16 "x22 "x13" T Studio Model, 7.50 Speed -Complete with micro. -10- Bass Reflex Cabinet. Provides phone, radio attachment cord, 2 reels (one with tape) and exceptional bass response and carrying case $235.00 wide range.Unit designed asa TR -20 -Same as above with built -in radio $287.50 console base for the recorder. Light -weight; portable. With plug and 25.ft. cable $49.50

IO HIGH FIDELITY MAGAZINE

www.americanradiohistory.com NOTED WITH INTEREST iIIIIIITIITTITTIIIItITIIIIITTI(11T1111T111

Continued from page 8

Just press the splicer onto tape recorder A or workbench, and there you are. Costs SI.oc and comes complete with a razor blade and two dozen pre-cut splices. Another tape announcement: Reeves Soundcraft has developed a magnetic recording tape which is "unconditionally Must' guaranteed never to break or curl when used under normal conditions of recording and FOR EVERY playback." Compared to standard cellulose acetate base tape, it is claimed to have 21/2 times the break strength, 20 times the impact RECORD strength, 5 times the tear strength, and Soo times the flex life. Prices are above standard, but not much. COLLECTOR Minnesota Mining and Manufacturing z. has announced a pressure -sensitive labeling THE FISHER HI -LO FILTER SYSTEM MODEL 50 -F tape called "Scotch write -on tape No. 48." A roll provides 4o printed labels, printing being Date, Reel No., and Subject. Finally, Audio Devices has a new 7 -in. reel with a 2t/ -in. hub, instead of the 23/ -in. ones used formerly ... which should help keep the tape from spilling off the outside edges. In our opinion, the big hubs which were introduced for 7 -in. reels were nice FISHER from some points of view, but, for home use, their engineering advantages were lost when compared to the nuisance of tape spilling Hi -Lo Filter System that much more easily. Here it is at last- America's first electronic sharp cut -off Filter System. Bozak Combination Suppresses turn -table rumble, record scratch and distortion, etc., with the absolute minimum loss of frequency response. Separate low and high fre- preamplifier, amplifier, etc. Bozak has a new -type unit - the well - quency cut-offs. Can be used with any tuner, known woofer with a pair of tweeters lined No insertion loss. Uniform response 20- 20,000 cycles, ± 0.5 db. Self- up in front, the whole mounted on a panel powered. All-triode. Beautiful plastic cabinet. Only $29.95 15 in. square. The publicity release which accompanied the photograph is a real credit to the William Hill Field advertising agency which prepared it. We see a stackful of such releases; this one contained a lot of factual and practical information (often rare) such as a paragraph on how to secure best performance (9 cubic foot enclosure optimum) and how to build FISHER the enclosure (extremely rigid, > -in. plywood or better, screwed and glued, lined with I -in. damping material, etc.). Readers will be interested in knowing that specifica- Preamplifier- Equalizer tions for enclosures designed especially for the various Bozak speaker systems are avail- Now, professional record equalization facilities are within the reach its brother able for the asking - write R. T. Bozak of every record collector. THE FISHER Model 50 -PR, like big Co., 114 Manhattan St., Stamford, Conn. (Model 50 -C) is beautifully designed and built. Only $22.95

THE FISHER PREAMPLIFIER- EQUALIZER MODEL 50 -PR OUTSTANDING Understanding High Fidelity FEATURES is the title of a new 48 -page booklet Independent switches for ... low- frequency turnover and produced by David Bogen Co. If enough high frequency roll-off. 16 new explanations of hi -fi phenomena are combinations. Handles any published, eventually they ought to be clear low level magnetic pickup. to one and all. This one contributes well Hum level 60 db below 10 my to the general clarification ... it's available, input. Uniform response 20- 20,000 ± 1 in exchange for 25 from cycles, db. cents, David Bogen Two triode stages. Full low direct or through its dealers. frequency equalization. Output lead any length up to 50 feet. Beautiful plastic Complete Sets of HIGH FIDELITY cabinet, etched brass control panel. Completely shielded Two readers have advised us they have chassis. Built -in AC switch. complete sets of HIGH FIDELITY, but for Jewel indicator light. one reason or another they are shy about having their names published. If anyone Write for full details is interested send a letter to Alice Huston FISHER RADIO CORP. FIDELITY at HIGH and we'll forward it. 45 EAST 47th STREET N. Y. Continued on page 12 -IIIIIIIIIIIIttIIIIIIIIIIIIIIIIIIIIIII11111 -

MARCH, 1954 II

www.americanradiohistory.com NOTED WITH INTEREST Exciting Neu Performance . . . Superb Cabinet Craftsmanship Continued from page r r

THE PERMOFLUX Record Data

There is a lot of space on the back of an LP record jacket, and there's a lot of in- 2 -Way Speaker System with "DUAL DRIVING POINT" Horn Design formation we'd like to see thereon. We Now Brings You like to know about the composer, the FIDELITY music, the artists, the recording characteristic FULL RANGE HIGH used, when and where the recording was At Either Low or High Volume Level made, and so forth. Certainly, the most important thing is the music on the record, but the more we know about what might be called the secondary aspects, the more interesting listening becomes. So a warm pat on the back to Columbia for a recent innovation: "Facts about this record," which tells when and where was made, and adds pertinent Perfection the recording bits of information about composer and in Cabinets artists. by eemetewKfr 4 Model Change

Fisher Radio has announced that, in order to avoid confusion, they are calling their in new tuner the model 7o-RT, instead of the or Mahogany 5o -RT as originally announced. The 5o -R Korina Blonde. is the one we "tested in the home' in the September- October 1953 issue of HIGH FIDELITY. The 7o -RT is the same basic tuner with the addition of a loudness control, which can be disabled to operate as a standard volume control, and a phonograph preamplifier with four equalization positions on the switch: AES, RCA -Ortho, LP, and NARTB. Unique "New Dual Driving Point" Enclosure Design, employing Dual Eight inch woofer system, surpasses bass and mid -range performance of finest conventional 12 and 15 inch systems. Satin smooth highs are Record Storage Cabinets added by specially designed Super Tweeter. of Beautiful modern cabinet styling ... precision constructed carefully Some issues ago, we ran a short item about selected veneers hand rubbed to a lustrous enduring finish ...... how the Hubbell Mfg. Co. has a neat record storage caginet. Apparently, many readers Neu... Diminutive) 2 -Way Speaker System wrote Hubbell; at least, enough wrote in to convince Hubbell's advertising department that HIGH FIDELITY would be a good THE PERMOFLUX advertising medium . they started a campaign in the Jan. -Feb. issue. Now, along comes word of a totally dif- made Exclusive New De. ferent type of storage rack, this one black steel rods, of modern design. s sign . . combines of It full high fidelity available from Holiday House, Upper Mont- performance with clair, N. J., for under 820. Holds zoo LP's minimum cabinet or 4o albums. size and low cost. Angled speaker mounting assures More Cardboard, Please! correct distribution regardless of sound This is a plea to manufacturers and mail - of placement. Per- fect for Binaural order dealers; we sincerely hope they read when used in pairs. it, search their consciences, and see what they can do to improve an unfortunate situ- Two Royal 6 inch Speakers and Super Tweeter ation. housed in choice of Mahogany or Well start off by saying that there is Blonde enclosure. just about nothing quite so disappointing as to open a long- awaited package of hi -fi See your Hi -Fi dealer for demonstration; also hear the has dam- New Super Royal Speaker 18, 12 and 15 inch sizes). equipment and find that it been aged in transit. We know "damaged in For complete descriptive literature write to . . transit' is a major problem for shippers of all types of merchandise. The mad in- geniousness of post office, express, freight, and other handlers seems to defy circumven- CORPORATION r- tion. Yet we do think that greater care 4916 West Grand Avenue Chicago 39, Illinois should be taken - by some shippers in all in some cases. West Coast Plant cases, by nearly all shippers guess that at least one - 4101 San Fernando Road Glendale 4, California For example, we'd Continued on page 14

I2 HIGH FIDELITY MAGAZINE

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936t /F High Fidelity Record Charger attachment. 569.95 «..Node/ 93511E Changer. /same less nidalpan! Exclusive 4 -pole, 4 -COIL S 59.95 * , "al/ the music is all you hear." motorv assures silent, steady speed, eliminates electronic V -A1 offers you an unequalled combination of high hum and rumble. fidelity tonal reproduction and luxurious record HF playing convenience. The V -Ai 936HF is the first V- M 936 record changer attachment specifically designed to meet the high standards of discriminating lovers of high fidelity music. It plays records of all three HIGH FIDELITY sizes and speeds automatically or manually, as you desire. The V -11 45 Spindle is included. Gold RECORD CHANGER hase plate and burgundy accessories are richly Gentle tri -o -matic spindle pro- handsome in any setting. , tlade by Ii-11 Corpora- tects records, eliminates tion. world's largest manufacturer of phonographs holders that grip record ATTACHMENT and record changers. grooves. * Pre- amplification stage required with magnetic t ypep ickups UL APPROVED *`Slightly higher in the west.

V -M high fidelity t 1 A i C PORTABLE P -A SYSTEM

Powerful 8 watt package, 10" Jensen V -M CORPORATION PM speaker with 25' cord, "slide -out" Benton Harbor 1, Michigan amplifier stays near automatic record Please send rue illustrated folder, changer. Matching leatherette cases. 'Bring Concert Halls U Whin Your H ul/s." Model 960 record changer $64.50 * *. NAME_ Model 160 amplifier $66.50 * *. ADDRESS -.

CITY___ STATE

MAR( I1, I9í4 13

www.americanradiohistory.com NOTED WITH INTEREST

Continued from page 12

still setting the standards third of all the equipment shipped for our "Tested in the Home" reports is received in damaged condition. Some is just stupidly packed; some is expertly and elaborately boxed, but postal and other handlers devise a new break -it-up technique. Its annoying for us. It's annoying for many of you. But just how utterly frustrating bad packaging can be was brought home by a four -page wail from subscriber John Randolph, an Associated Press correspondent stationed in Tokyo. We'd like to print his whole letter but obviously can't. Just a couple of short excerpts: "I ordered a Na- tional SW -54 receiver from -. It was mailed in the manufacturer's carton, in the new H. H. Scott`\121 t tEqualizer Preamplifier spite of my request for special packing for which I would pay extra, willingly. It We believe the new "121" control unit to be the finest ever offered. For the arrived badly smashed. A replacement was connoisseur. the "121" affords complete control and compensation for any sent eventually. Elapsed time: five months. record and record condition, past, present and future. Rolloll frequency and "I ordered a Wharfedale to -inch speaker. both turnover frequency and extent of boost are continuously adjustable for The mail order house took it out of its any equalization curve. The amazing DYNAURAL Noise Suppressor gives you original carton (which is a good British actual concert presence by virtually eliminating turntable rumble and record job) and put it in an incredibly sleazy scratch or hiss. The improved rumble suppression is essential if you are to pasteboard box. It arrived with the cone enjoy fully the range possible with new extended -bass speaker systems. Self - ripped away from the frame at all points, powered, finished in durable hand -tooled leather, the new "121" DYNAURAL the cone folded and bent, and with corro- control unit offers even- refinement possible at this state of the art. sion damage from water. "I ordered a S i oo - speaker. To begin with, the mail order house misread its catalog and sent me one worth $12. They sent the one originally ordered, in the carton supplied by the manufacturer. It had been thrown around so badly that it had bent its heavy retaining bolts and was al- 220 -A Power Amplifier most ready to tear loose. Elapsed time: four months." Well - can we do anything about it? 120 -A We realize that packaging costs a lot, but Equalizer as Mr. Randolph says, "high fidelity is Preamplifier essentially a quality industry" and he, for 21011 DYNAURAL Amplifier one, is willing to pay to have that quality 214 -A Remote Control Amplifier delivered intact. What about special over- seas packing, with an extra charge for it? From earliest days of high fidelity. H. H. Score amplifiers have consist- We have better luck getting stuff in one and performance standards. Rated "first choice" by ently set design piece from England than we do from Burke in "Saturday Review Home Book." they have been C. G. the New York! commended as finest on the market by experts such as Harold Weiler. author of "High Fidelity Simplified ". In 1951, the John H. Potts Memorial Medal of the Audio Engineering Society was awarded to H. H. Scott for Landlords to the Rescue important contributions to audio science. One of the world's leading manufacturers of laboratory- standard sound measuring and analyzing instru- Reader James E. Spates caught this pitiful ments, H. H. SCOTT. Inc. received the 1949 "Electrical Manufacturing" appeal in the Washington D. C. Evening Star Award for outstanding instrument design. and sent it along to us so we, too, could The patented DYNAURAL Noise Suppressor is unique. So are many sympathize with the advertiser's problem. fundamental features sometimes difficult to rate in specifications. But From the "Apartments Wanted" section: these contribute to that essential difference separating the superb from "YOUNG COUPLE to be married, desirous other units. Listener- designed loudness compensation, lowest beat -tone of obtaining one -bedroom apt. Interest in intermodulation, 3- channel tone controls, the self -balancing phase inverter music, and high fidelity amplifier, make which automatically balances output tubes (standard on all H. H. Score guesthouse or over - garage apt. desirable. amplifiers for 6 years) - these are but a few of the reasons for the pre- Call..." story! eminence of H. H. SCOTT amplifiers. Wish we knew the end of that The Why and How of Hi -Fi

Although a good many books have been written about high fidelity, about what it is FREE BOOKLET HF3 -54 and how to achieve it, there always is room for more information on the subject. A 16 -page 81/2 by II inch booklet published HOSMER S C O T T, INC. by Electro -Voice (Buchanan, Mich.) called Tools for Building Temples of Tone gives a 'PACA'AGEO ENGINEERING" concise and clear description of sound 385 PUTNAM AVE. CAMBRIDGE 39, MASS. Continued on page 16

14 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Equipment manufacturers are in a constantly ascending search for the highest fidelity. But what good is a system that will pick up the magnificent overtones of a string section if it also picks up the rumble and wow of a faulty turntable. Hi -Fi is Lo-Fi without the proper turntable. And the choice of the most discriminating Hi -Fi fans is the new Presto 15 -G. This is a 12" cast aluminum table built to professional standards ... a quiet, rumble -free instrument that is miles ahead of ordinary phonograph equip- PRESTO 15 -G Turntable ment. A precision rim drive mechanism allows instant selection of 3 speeds ... and its price is a low $53.50. If you're interested in putting the "Hi" back in your Hi -Fi system, you'll order your 15 -G today. Mail this coupon today! r PRESTO RECORDING CORPORATION, HIGH FIDELITY SALES DIV. PARAMUS, NEW JERSEY

Please send me illustrative data and specifications on the new Presto 15-G. Ï1JRECORDING CORPORATION NAME PARAMUS, NEW JERSEY ADDRESS

Export Division: 25 Warren Street, New York 7, N. Y. CITY Canadian Division: Walter P. Downs, Ltd., Dominion Square Bldg., Montreal ZONE STATE-

WORLDS LARGEST MANUFACTURER OF PRECISION RECORDING EQUIPMENT AND DISCS

www.americanradiohistory.com Dual 6" -1 SPEAKERS 1 HEATHKIT NOTED WITH INTEREST for diffused nee room-filling sound Continued from page 14 1, DUAL / RECORD SPEAKERS phenomena and the tools of sound reproduc- HERE AND tion. Write for one; they're free, and they HERE will answer the first barrage of questions PLAYER KIT from friends whom you introduce to high fidelity. Electro -Voice is to be commended for not HIGH QUALITY NEW making this a sales pamphlet; their name TWIN appears only on the front cover as the pro- SAPPHIRE ducer the treatise; they do not CERAMIC MODEL RP -2 of mention CARTRIDGE anywhere that they manufacture loudspeakers. This is keeping things on a pretty high level.

ATTRACTIVE TWO -TONE Tape Storage CABINET 6950 SHIPPING WT. Minnesota Mining and Manufacturing's new 33 LBS. "Library Pack" tape album is neat. Comes in two sizes, for 5 or 7 -inch reels, holds three reels (which you buy in the "Pack" at a FOUR TUBE WEBSTER- savings over single -reel price), is covered PUSH -PULL CHICAGO TWIN SAPPHIRE STYLUS in simulated leather, has a space the AMPLIFIER SEPARATE THREE -SPEED on TONE AND RECORD A wide tonal range ceramic cart- backbone for brief indexing and on the VOLUME CHANGER CONTROLS ridge features an ingenious side for complete information. "turn- under" twin sapphire DUAL MATCHED SPEAKERS stylus for LP or 78 records providing A 5-Watt Bouncing A new economical introduction to high quick selection of the correct stylus with- quality record reproduction. A simple - out turning the cartridge. An enthusiasm for high fidelity can lead to most anything, as demonstrated by the to-operate, compact, table -top model SIMPLIFIED CONSTRUCTION with two matched speakers in an acous- announcement (below) recently received. tically correct enclosure reproduce all of Simplified, easy -to- assemble four tube We still haven't figured out whether the the music on the record. amplifier features compensated volume Lipsons have been visited by the stork or control and separate tone control. Proxy - an audio salesman. DIFFUSED SOUND lin impregnated beige and saddle tan Because of the diffused non -directional fabric covered cabinet supplied corn - properties of the dual speakers, listening pletely assembled. You build only the to fine recorded music is a thrilling new amplifier. experience through naturally clear, lifelike reproduction of sound at all tonal EASY TO BUILD levels. No specialized tools or knowledge re- HIGH QUALITY PERFORMANCE quired as the construction manual has The performance level of the Dual is been simplified to the point where even vastly superior to that of the ordinary the complete novice can successfully con- LULL BY phonograph or console. Automatic struct the Heathkit Dual. The price in- changer plays all three sizes at all three cludes cabinet, record changer, two 6" speeds with automatic shut -off after last PM speakers, tubes and all circuit com- record is played. ponents required for assembly. THE LIPSON FAMILY ANNOUNCES : OTHER 7444t4«4 -+f HEATHKIT AMPLIFIERS HEATHKIT sTC.94 FIDELITY AMPLIFIER KIT THEIR NEWEST IN I.1OME CMUSIC ?0 THE HEATHKIT 6 WATT MODEL A -9B C! REPRODUCTION. AMPLIFIER KIT $35so 4JJrJe...Jaeekeeeis/' MODEL A -7B $15so Shipping Wt. lö n,s. A 20 watt high fidelity ¡SPECIFICATIONS) Shipping Wt. 101bs. amplifier especially designed for custom The Heathkit Model installations. Low A -7B Amplifier fea- hum and noise level 9 pin miniature duo MO.EL : ELLIS LIPSON tures separate bass NCR. triodes in preamplifier and tone control cir- S LBS, and treble tone controls -two compensated cuits. Four switch selected inputs, frequency PICKUP WT-: r Oz. inputs -three output impedances 4, 8 and 16 response ± 1db 20 to 20,000 cycles. Output AMPLIFICATION: CovERS response ± 155db from 20 to ohms- frequency impcll:mtes of 4, H, I and LOO ohms. 20,000 cycles - push -pull beam power output VOICI RANGEANGE at f u l l 6 watts. NOISE: UNLIMITED Heathkit Model A -7C $1750 with preamplifier stage DIMENSION.9: 19 tt LENGTH HEATH COMPANY ENGINEERS: GLORIA AND HERB oRITE /7 - FOR ¡fie COPY BENTON HARBOR 8, L IPSON of audio booklet "High Fidelity TESTED: Fispecially for You." Also new MICHIGAN PRoviDENGE HOSPITAL " -. 1984 cataschelog- 1.iata all kits, epes:ili- cations, matics, etc. WASHINGTON J D C. SEPT. Io, 1953 YOU SAVE BY ORDERING DIRECTLY FROM FACTORY li HIGH FIDELITY MAGAZINE

www.americanradiohistory.com *Listening Quality

The prime function of your hi -fi TONE ARM

For TRUE reproduction of concert quality High Fidelity music, depend on the Gray Tone Arm. It gives you perfect compliance and tracking for all records ... new or old ... at lowest stylus The GRAY pressure. Virtually eliminates tone arm resonances. Today, more and more High Fidelity viscous- damped 108 B enthusiasts are achieving TRUE musical realism with the Gray 108 B Tone Arm. Specifically TONE ARM designed to meet the most exacting listening Gray offers a radical departure in tone demands. arm design to assure the ultimate in performance from new and old recordings ... 33 %, 45, and 78 RPM ... up to 16" in diameter. The NEW suspension principle"damps "vertical and horizontal movement of the arm ... stops Gray 106 SP Gray 103 S groove jumping and skidding ... pre- Transcription Arm Transcription Arm vents damage if arm is dropped. Instant Chosen by profes- Leading audio engi- cartridge change Pickering, GE, sionals for superb neers recognize the ... tone reproduction true tone reproduc- Fairchild ... with automatic adjust- ... for every speed tion. Specifically de- ment to correct pressure. record. signed for 78 RPM records.

Visit your nearest. High Fidelity dealer today . examine the precision construction of Gray Tone Arms . . . hear them reproduce perfect Hi -Fi performance. GRAY RESEARCH & DEVELOPMENT CO., INC. F Hilliard Street, Manchester, Connecticut. D) Please send me complete descriptive literature on RESEARCH Gray Tone Arms. L. . AND DEVELOPMENT CO. Inc.. Hilliard St.. Manchester. Conn. Name Division of the GRAY MANUFACTURING COMPANY Originators of the Gray Telephone Pay Station and the Address Gray Audograph and PhonAudograph. City State

MARCH, 1954 17

www.americanradiohistory.com SIR: For God's sake don't send me any more of those cute letters your ill- advised advertising agent makes you sign. The first one had THE STANDARD such an unhappy effect on my disposition I threw it away. This latest is even worse, STRI R WHICH OTHERS but I am nevertheless sending along $8.00 for two years of your journal which, in spite of the coy comments which I pass over The incomparable KLIPSCHORN -as quickly, does contain some good musical Canadian language the majestic in sound as it is in appear- criticism. (In the word 'good' is the equivalent of what that ance. From the "ting" of the triangle advertising man of yours would call 'fabu- the 64 -foot organ to the "feel" of lous'). Please don't credit your letter -writ- pipe KLIPSCHORN reproduces the ing technique with success on landing a original sound with startling fidelity. two -year subscription - except in reverse. There is no compromise in perform- I would have sent $5.00 but the extra three ance, styling, or value in the au- preserves me, I hope, from another one of awful letters for twenty -four thentic KLIPSCHORN. those bloody months. I strongly recommend that you not send any more of that form letter to your subscribers north of our inadequately defended frontier. We are a dour people. Your fellow citizens probably like having their chins chucked, and you no doubt know your own market. Chacun à son Out. 7412, J. W. Holmes Ottawa, Canada

Sus: I have been trying for some time to obtain some recordings of Herbert L. Clark, one of the greatest cornetists of all time. I have questioned many people here in Pittsburgh and have even written to RCA in New York but have had no success. I thought perhaps you might know of some PERFORMANCE PLUS ECONOMY source for his records, either new or second- hand. He played with John Phillip Sousa s the KLIPSCH quality at lowest band from about 19 to to 1922 and recorded possible cost -incorporating, of for RCA Victor. He was a featured soloist course, the original corner with Sousa for many years. horn concept. Naturally, the I would certainly appreciate any infor- his records. KLIPSCHORN and REBEL repre- mation you could give me about for your attention. sent the maximum advances Thank you Mrs. Howard R. Seaman of the art. In other words, tra- 33 Seenridge Ave. ditional KLIPSCH quality. Pittsburgh, Pa.

FOR DETAILS WRITE, WIRE OR PHONE: SIR: The November -December issue was fine, as are all your issues. I was particularly interested in the article by Warren B. Syer. Mr. Syer is a very fine writer, and knows how to inject the right amount of humor. KLIPSCH & ASSOCIATES However, I was somewhat amazed at the article, as I did not know that there was O P E A R K A N S A S H anything new about recording weddings. I have been recording all the weddings at this Church as a matter of policy. I have half a dozen microphones, but I Continued on page 21 7 -5514 *TRADE MARKS Phones: PRospeet 7 -3345 I'Itprrt 7-1; IS Pltspert 7 -5575 PRospert MAGAZINE Ió HIGH FIDELITY

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Sound engineers know that the selection of a fine amplifier, pickup and speaker system is only part of the story; that unless the turntable is of equal quality, music reproduction must suffer. That is why they insist upon such high standards for turntable performance. do as the professionals do...

Rek -O -Kut precision turntables are made to con- form to the highest standards in the professional field, and they certainly represent the finest you can use in the home. A Rek -O -Kut turntable will make all the difference in the world. The finer your /á t=1 Gi11i1 O present system, the more apparent the improvement will be. Whether you select the deluxe T -12H or the standard LP -743, the entire performance of your sound system will become a new and thrilling use a experience.

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MAGAZINE 20 HIGH FIDELITY

www.americanradiohistory.com READERS' FORUM Continued from page:t8 AVAILABLE HAVE YOUR OWN I too am partial to Altec 21B. May I suggest NOW! that one excellent place to use it "at any wedding where you do not move to differ- COMPLETE HiFi ent locations in the Sanctuary" is on a stand below waist level between the minister and the bride and groom. I have never had any difficulty with the SYSTEM wedding party being jittery about the recording, perhaps due to the fact that our AT MODERATE people are so used to seeing microphones COST around the Church that they would feel uncomfortable without them. Robert L. Bullard First Presbyterian Church START NOW WITH THE Kingsville, Texas

SIR: Permit me to submit some observations 400's on the tracking of some long -playing rec- At right ords that have caused us no end of grief -Model 401 (Recorder -Preamplifier) here. We (engineers and myself) hope your $199.50* technical staff can give some definitive in- Not shown -Model 402 formation with respect to the problem. (Power Amplifier- Speaker) $100.00* About a year ago I scheduled for broad- Tries not included. Prices slightly higher cast on one of our radio concerts the Borodin in Mountain and West Coast States. Second Symphony under the Mercury label. Playing the disk through for timing, we HERE'S HOW! The Crestwood 401 is an extremely stable tape recorder (wow and flutter found that the stylus was violently kicked less than 0.3 %) with a full fidelity preamplifier (frequency response 30. 13,000 cycles *2db). over the final chords by a particularly violent It has separate inputs for microphone, radio-TV and phonograph, which are connected orchestral tutti. Mercury's Music For Strings, to A selector switch. etc., by Bartok suffered in the same way The Crestwood 402 is a high impedance input, 10 watt power amplifier (frequency response somewhere in the middle of the work. Pro- 20. 20,000 cycles 2db) with an 8" extended range dynamic speaker, specially housed to curing other copies of the disks, we were produce exceptional frequency response for a compact unit. able to play them through and broadcast IT'S EASY! With Crestwood models 401 and 402, here's all you do to complete your the music as scheduled. Not much thought IIiFi system: was given to the incident and we chalked it 1. AM -FM tuner (of your choosing) ** is plugged into radio -TV input. up to the possibility that our original rec- 2. Record changer (of your choosing) ** is plugged into phono input. ords had been played on a poor machine Both may be permanent installations because of the selector switch, which allows choice with a bad arm. of inputs or tape playback. Not long afterward, the bad -tracking * *Certain AM -FM tuners and magnetic pickups may require special handling. Information disease broke out in epidemic proportions. supplied on request. A whole series of London records proved absolutely unplayable, the stylus skipping YOUR HI -FI SYSTEM IS READY TO USE! By use of the selector switch you can INten about after hitting grooves containing large to either radio or records. And, by merely' pressing the Record button, whatever you're listening to volumes of sound. Another factor was will be instantly recorded on tape-accurately, faithfully, just as you're hearing it The same selector switch noticed also: the characteristic "cracking - controls microphone input, allowing your own program arrangement. splitting" noise of distortion was present in quite a number of London, Victor, CAN BE USED WITH PRESENT SYSTEM, TOO! The Crestwood 401 is an and Capitol Mercury records. As a matter cxlh,nl unü t.. I ,,,h, ,, r ln,._, nl IIiFi system. Full fidelity and complete dependability. of fact, the Peters -Rosen recording of Mozart sonatas on London LL-674 has a noticeable FEATURES INCLUDE SEE YOUR DEALER "crack" in the pre-echo at the start of the Full Fidelity Two Speeds Two -Track Recording record! Separate Monitor and Record Volume Controls FOR FULL INFORMATION We attempted a variety of remedial Exceptionally Sharp Magic Eye Record Volume Indi- measures consisting mostly of checking our calor Simplicity of Operation 10 Watt Power OR equipment. We use Gray to6SP arms on Amplifier Precision Engineering Modern Styling RCA 70-B transcription tables. Weight SEND COUPON and levels were thoroughly checked and found perfect. The diamond styli were replaced with new, accurately -checked tips Crestwood Div,,ion of Daystrom Iles ric while new copies of many of the records Corp. Dept. HF -2, P ughkp.t., N. Y. were procured from the distributor, thus Please send complete information on the new. insuring they had never been played. In t:reatwoods. some cases, the disks played through with- Am interested in setting -up my own Hit', out trouble; in others, the same results. system. Here is the case history of just one record: BY DAYSTROM Am interested in HiFi tape recorder only. the London copy of van Beinum's Schubert- Mendelssohn on u. -662. A terrible wow was TAPE RECORDERS New. present in our initial copy at the start of Open a Brand New the Rosamunde music, dipping a whole , World of Recorded Sound tone. In the allegro section of the overture Car Z. Sy. we found it to be impossibly loud with the stylus jumping and skittering over the record. We received two new copies about Awarded MEDAL OF MERIT for: Excellence of Product, Quality of Engineering, Continued on page 23 Beauty of Design - by International Sight and Sound Exposition, Chicago, 1953. MARCH, 1954 2I

www.americanradiohistory.com The PICKARD & BURNS Enclosure

Write for Brochure PICKARD & BURNS, INC. 240 Highland Avenue Needham 94, Mass.

www.americanradiohistory.com READERS' FORUM Continued from page 21

three weeks later, in absolutely mint condition. The wow was gone! The original harshness had disappeared and each of the new copies played through with all the clarity and smoothness we have come to expect from London. Coincidentally, I noted in a number of reviews of the record that a harshness of sound seemed to impress the reviewer. We give since conducted a variety of tests with records that cause bad tracking and the general concensus in our control room seems to be this: unless production -control methods are adhered to unfailingly by the manufacturer, too much volume may be transferred from tape to disk resulting in tracking troubles. We would appreciate a line from you with respect to this matter. Morton Blender Providence, R. I. "Of the very best!" A comment oit the foregoing from with- -HIGH FIDELITY MAGAZINE in the record industry:

SIR: Thanks for the copy of the letter from Mr. Blender. He writes of a real problem and what appears to be a constant one with certain individuals utilizing certain types of equipment. What can I say to answer him truthfully FISHER and straightforwardly, as is the FFRR manner? "The stylus skipping about after hitting SERIES "50" grooves containing large volumes of sound" It is only natural that more than one manufacturer will claim his and he finds this on disks emanating from product is the best. For that reason it remains for you to be the judge. at least four major organizations! We say- demand the specs. Then check workmanship, performance I have spent 23 years in the recording and beauty of appearance. If you do all these things, the answer will industry and the only thing I have ascer- inevitably be ... THE FISHER SERIES "50." There is no finer made. tained that has consistency in it is this. Every time anyone has trouble with a gramophone record, the blame is automatically F SHER put on the disk - hardly ever on the Master Audio Control 50 CS machine being used to play it! It was the "One of the finest units yet offered to the enthusiast or audio engineer." same on 78 RPM, is more common on -Radio and TV News. Can be used with any amplifier. IM distortion virtu- 331, RPM and probably was a problem ally non- measurable. Complete, professional equalization settings and tone in the days of the cylinder, though I wasn't controls; genuine F -M loudness control; five inputs, five independent input around to vouch for its happening. level controls, two cathode follower outputs. Self- powered. If I state that I never have had a problem Chassis, $89.50 With blonde or dark cabinet, $97.50 of jumping grooves with any company's product, I would be accused of avoiding the MODEL 50 -R issue, so let me state this. I have always F SHER FM -AM Tuner MODEL 70 -RT believed that the record manufacturers do a brilliant job of making the disk but until Features extreme sensitivity (1.5 my for 20 db of quieting); low distor- recently they were completely asleep as to tion (less than 0.04% for 1 volt output); low hum (more than 100 db below caring what equipment it was played on. 2 volts output.) Armstrong system, adjustable AFC with switch, adjustable It is not an uncommon thing to find AM selectivity, separate FM and AM front ends (shock- mounted), cathode a purchaser spending as high as Sao for a follower output, fully shielded, aluminum chassis, self -powered. $164.50 thrillingly complete operatic recording, mak- Model 70-RT, same as Model 50-R, but including tone controls, phono- ing use of every conceivable technical graph preamplifier- equalizer, and loudness balance control. $184.50 asset available, and then taking it home to play on a record player selling for less than $20. To make it funnier, the player some- FISHER 50 -Watt Amplifier 50 -AL times is labeled "High Fidelity!" At the recent Audio Show, I saw more than one Truly the world's finest all- triode amplifier, yet moderately priced. odd happening. Equipment manufacturers 100-watt peaks! Less than 1% distortion at 50 watts (.08% at 10 watts.) were demonstrating hi -fi merchandise by IM distortion below 2% at 50 watts. Uniform response within .1 db from playing the latest "weird pop disk," though 20 to 20,000 cycles; 1 db, 5 to 100,000 cycles. Hum and noise more than 96 db below full output. Quality components throughout. $159.50 I never heard of anyone spending as high as St000 to play this type of record offer- Prices slightly higher west of the Rockier ing. One party had even dubbed one of WRITE TODAY FOR COMPLETE SPECIFICATIONS our disks onto tape, for he thought it better FISHER RADIO CORPORATION 45 EAST 47Th STREET N. Y. Continued on page 24

MARCH, 1954

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Continued from page 23

new idea that way, though he was playing it back through a typical phonograph loudspeaker setup and, furthermore, had obviously used for music lovers! a defective turntable in making his transcription. When I told him the actual pitch of the music was wrong, he shrugged his shoulders as if it didn't at all matter. There is, also, a lot of talk today about recording characteristics, but how many phonograph -makers really plot these accurately? I know of more than one outfit which has worked our own out without asking us, though it is no secret. When we point out certain errors there we get more shrugs. The path of the pioneer is a tough one; we at FFRR have become tough accordingly. I doubt that there is anybody around today to deny that we have changed a few view- points in the manufacture and merchandis- ing of recorded music. Let us get back to Mr. Blender, who can be answered only on the following terms which he must accept. 1) Are there any perfect records? The answer is NO. 2) Is any disk NEARLY as good as the actual performance? Again NO. 3) Is there really good equipment around capable of doing justice to the best modern recordings. The answer is YES BUT IT IS NOT CHEAP. Now, what should a manufacturer do about his offerings? 1) He should make them as excellent as possible. FFRR does this. 2) He should stand fully behind each and every offering and make good on all those that cause trouble. FFRR is The new craftsmen constantly recutting disks that may cause difficulties on certain machines and nobody yet has complained of receiving dissatisfaction when a complaint is voiced. 3) DO INTENSE PROPAGANDA WORK TO SEE THAT HOME EQUIPMENT COMES UP TO THE high fidelity home music system LEVEL OF THE RECORDING TO BE PLAYED ON IT, THUS MAK- SURE THAT FAULTS, IF DID YOU KNOW that buried away in ... two new Craftsmen speakers coaxially ING THEY ARE FOUND, ORIGINATE your own phonograph records there's a mounted and 3 -speed record player with IN THE RECORD ITSELF. It is treasure of beautiful music you probable dual sapphire magnetic pick -up ... many sad to have somebody hear the sup- have never heard? It's true! Today's High accessories, too. posedly "bad" record play perfectly Fidelity recording (and broadcasting) The Craftsmen "ASSEMBLY" is waiting on our office equipment and tell you techniques bring you music with a clarity for your critical ear in the sound rooms he paid $400 for his beautiful and tonal range never before possible of a Radio Parts Supplier near you. Drop in Blond Mahogany and outside the concert hall. in today for a demonstration of dLrtinaly the man assured him it was the latest To enjoy this full measure of realism, better listening. thing in HIGH FIDELITY! you need an instrument capable of repro- 4) Convince the public that no two ducing all the music without distortion - Send for this booklet on High Fidelity pieces of music sound exactly the a High Fidelity home music system. by DEEMS TAYLOR same way and therefore will not be Now, in one package, the world's most Ask your Supplier for reproduced the same way. It should respected name in High Fidelity brings a copy of this 24 -page therefore not be surprising if 90 a complete perfectly matched you system of booklet by Deems records will sound absolutely fine but ASSEMBLY." units -the Craftsmen Taylor -or write to us, that the 91st may cause problems. the performance - proved enclosing 10f to cover You get 5) MOST IMPORTANT. STOP THE mailing. Craftsmen FM -AM Tuner and Amplifier handling and DAMN NONSENSE ABOUT HIGH FIDELITY AS THERE IS ABSO- s LUTELY NO SUCH THING. WE ARE IN THE MUSIC BUSINESS high fidelity by craftsmen means distinctly better listening AND OUR EFFORTS HAVE AL- WAYS BEEN DIRECTED TO- The Radio Inc., Dopt. HA, 4401 N. R wood Ave., Chicago 40, Illinois Craftsman, Continued on page 27

24 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com N OW Soundcraft brings you tape perfection! \the revolutionary new

magnetic LIFETIMEtjcJ ecording tape

Here is news of monumental importance to every recording perfectionist. It is the all new Soundcraft LIFETIME Tape. We've called this amazing high - fidelity tape "LIFETIME" because ... 'twill last, to the best of engineering knowledge, forever!` Your recording machine will never break it. Neither will careless handling. Because LIFETIME Tape is fully a third as strong as machine steel. It ends tape shrink- age and stretch when your home or studio air is dry or humid. It will never cup or curl. You can forget about storage problems. All this means that for the first time you can preserve your important recordings, capture and keep those precious moments of music and the spoken word, for generations to come - in all their original fidelity! LIFETIME Tape owes these new and permanent qualities to its new magnetic oxide coating, and to its base of DuPont "Mylar" polyester film. For both are free of plasticizers whose gradual loss from ordinary tapes limits their useful life. LIFETIME Tape is indeed the biggest development in tape since the tape recorder itself. Your serious recordings de- serve it. Order LIFETIME Tape today.

REEVES Like all Sounderaft magnetic product.. LIFETIME Tape is Micro-Polished®, assur- ing maximum high -frequency response. It provides uniformity of ±'4 db. within a SOUNDCRAFT ±% reel, and db. reel -to-reel. It is splice - free I0 600 -, 1200- and 2400 -toot reels. CORP. Dept. F -3 10 East 52nd Street, New York 22, N.Y.

*LIFETIME GUARANTEE. Sounderaft unconditionally guarantees that Soundcraft LIFETIME Recording Tape will never break or curl, and that the magnetic oxide will never flake or crack, when the tape is used under normal conditions of recording and playback.

MARCH, 1954 25

www.americanradiohistory.com FIDELITY Fidelity and Simplicity are synonymous in the

TITONE TURNOVER CERAMIC CARTRIDGE

Only through the magic of the Titone ceramic principle average measured output at 1000 cycles on the RCA -an original development of the Sonotone Laboratories 12 -5 -51V test record is 0.95 volt. -may record reproduction have the advantage of both NO EQUALIZERS Fidelity and Simplicity. The typical frequency response -with no equalization Now your finest records may be flawlessly reproduced -is flat within ± 3 db from 30 to 15,000 cycles on the without equalizers, preamplifiers, oscillators, polariz- new RCA 12 -5-51V test record. Similar flat outputs ing voltages -or any of the other cumbersome, erratic are obtained from records cut to LP, NAB, AES, and and costly accessories heretofore deemed necessary. other modern characteristics. NO SPECIAL COMPONENTS NO PREAMPLIFIER The high output voltage and the ceramic structure This tiny new Titone reproducer utilizes barium tita- provide the highest signal -to -hum ratio available, nate in a high compliance design to provide one volt eliminating the need for special motors, turntables or output on modern microgroove records. For example, mu -metal shields.

TITONE TURNOVER List Prices

9980 -S (Dual- sapphire) 59.50 9980 -SD (.001 Diamond) 20 50 100 200 500 1K 2K 5K 10K (.003 Sapphire) 34.00 FREQUENCY IN CYCLES 9980 -D (Dual Diamond) 56.00 TITONE TURNOVER RESPONSE ON RCA 12 -5 -51V RECORD

Electronic Applications Division SONOTONE CORPORATION Elmsford, New York

26 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com READERS' FORUM

Continued from page 24 let

WARDS AN INTELLIGENT MIN - NORITY WHO DO NOT NEED CIGARETTE -TYPE DUBBINGS;:w OR DESIRE CAMPAIGNS TO ASSURE THEM THAT MOZART, HAYDN OR you the simple, accurate way to BEETHOVEN CAN SOUND WON- DERFUL. The truth is that most record manufacturers are sincere and honest in their PLOT YOUR OWN FREQUENCY CURVES attempts to perpetuate the great performances of our time with the best justice pos- THREE NEW TEST METHODS sible. They and their hard -working staffs WITH have enlarged our musical horizons to art undreamed of degree. Naturally, as a result, we have our growing pains and a THIS IS WHAT MUSIC LOVERS CAN NOW DO! few unscrupulous get- rich -quick characters. They won't last - but Beethoven and Haydn will, and so will recorded music. "THE MEASURE OF YOUR As for intelligently questioning people PHONOGRAPH'S PERFORMANCE" like Mr. Blender! Bring your problems to us when they concern an FFRR product. Check frequency response (30- 12,000 cps You will find us glad to help to the best of flat response). Check for Rumble, Hum, You are our business and our knowledge. Flutter and Wow Check stylus compliance we don't forget it. I suggest you write before dropping in, however, as I am leav- and tone arm tracking ability. ing the country for a spell and after this letter, perhaps it is just as well. Remy Van Wyk Farkas PLOT "THE MEASURE OF YOUR PHONOGRAPH'S Director -Artists & Repertory own London FFRR D -101 TEST RECORD EQUALIZATION "... Plot your $4.95. recording characteristic curves for Columbia We agree that enlightenment might re- LP, AES, NARTB, RCA's "New Orthophonie". sult if Mr. Blender checked his recalci- trant records with Mr. Farkas. We are also inclined to agree with Mr. Farkas that records too often are blamed for the with the TEST LEVEL INDICATOR misconduct of equipment - especially pickup cartridges, of which certain vin- Calibrate your equalizer for flat response tage models have strange idiosyncracies. on all recording characteristic curves. However, there also exists reason to sus- Calibrate your amplifier tone controls pect that "overcutting" is not always, detected in lacquer test -pressings of to double for an equalizer. records and sometimes shows up only when vinylite prints are made. None of the HIGH FIDELITY staff has had any WITH PRECISION...WITHOUT disks behave quite as Mr. Blender's EXPENSIVE VOLTMETERS... have done, though, and hence tend to regard his pickup cartridges (unidenti- Watch for a revolutionary, new TEST TAPE fied) with a certain amount of suspi- cion. - Ed. D -110. "THE MEASURE OF YOUR TAPE RECORDERS PERFORMANCE." For the first time you SIR: will be able to measure signal to noise ratio, I am the manager of the record depart- azimuth alignment, frequency response, ment in Porter's Music Store in Lima, Ohio. I write a column on records for the Sunday flutter, wow and timing. paper. Perhaps you would be interested in this one. DEAR CUSTOMER: I am a Long Playing, Microgroove Record. order from Enclosed is Check Money Order for ... may recognize me by my sleek, shining You D.100 TEST RECORD @ $3.50 surface with the delicate grooves. Those your local D -101 TEST RECORD @ $4.95 $._...... who have my best interest at heart always dealer or 0.500 TEST LEVEL INDICATOR @ $3.95 $ ...... treat me with the utmost respect - I respond so well to kind treatment. Personally, mail this Postage and Handling $ .50 I shudder when careless human hands TOTAL t drag me forcibly from my container without coupon to: FASE! even bowing the envelope, and grab me HI -FI CATALOGUE RECORDING SERVICE BULLETIN "B' firmly on my aforesaid delicate grooves Name without paying any heed to the trail of DUBBINGS co., INC. finger prints left on my once spotless DEPT. 3 Addrru plastic sides. Then to make matters worse, 41 -10 45 ST., L.I.C.4, N.Y. STillwell 4 -7370 City these same hands slap me on the turntable Kr+w M,Mf Continued on page 28

MARCH, 1954

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Continued from page 27

(scratching my label that tells who I am) and without using sense or eyesight or regard for my starting groove. drop the new GE pickup somewhere near the beginning of the music. But that is just the prelude - always these peculiar two -legged humans are in a hurry. Naturally, the only concern is to listen to snatches. So what do they do? Now begins the first sampling. Up comes the pickup, and down it comes several grooves later, but does it stay there? No, a thousand times no. In less time than it requires to say "microgroove," up it comes again to explore another passage. This same procedure happens at least four or five times on both of my sides. I protest! Illegal use of hands. But this isn't the end. Now, this crazy mixed up kid hastily exits from the record listening booth, and I brace myself for the inevitable question - "Do you happen to have another copy of this record; this one seems to be scratch. ed." Now, I wonder how in the name of high fidelity that ever happened. .Nary Porter Lima, Ohio

SIR: I want to express my deep admiration for Frederic Ramsey's superb article on Huddie Ledbetter, and your handsome presentation of it. Looking at the American scene from up here, I feel that the significance of a man like Ledbetter most richly merits the attention you have given him, and the understanding with which Mr. Ramsey treated his story. CONFUSEDABOUT CROSSOVERS? The life (what I have read of it) and the music (what I have heard and read of it) Several characteristics are used by recording companies of this unique man seem to me to constitute when they make records and many companies have changed a special chapter in the musical history of the United States. recording from time to time. standards V. A. Pope and Weekly Star Altec simplifies the problem of accurate reproduction of these Family Herald Montreal, Canada various recording characteristics with the A -433A control unit. This unit does not SIR: require on instruction book for the playing Do you think somebody might invent a of every record. Its simple three crossover cough -filter for the microphone, as now that winter is nearly here we shall be getting the selector, used in conjunction with continuously usual bronchial barks and dropping of variable tone controls, allows you to play any type of record as it spectacle cases from the concert-hall broad- should be played, with easy and uncomplicated adjustment casts. Audiences seem to take fiendish delight in supplying a loud obligato to to the proper setting. Prominent FM music stations have found that pianissimo passages. Those who design re- the use of more than three crossover selectors is not necessary ceivers would make sure of a terriffc selling for high quality sound reproduction. point could they devise a cough eliminator which might be switched in when required. You can depend on Altec for the finest in home music systems "You have been listening to barkless Bach, a Every member and Altec equipment is well worth waiting for. Altec fidelity is highest a cantata without cough. of the audience was supplied with Chiseler's fidelity without compromise. See your Altec dealer soon, Coughdrops." or send for illustrated booklet. G. Baring Gould Isle of Wight England

9356 Santa Monica Blvd., Beverly Hills, California SIR: ALTEC Why not an article - or a continuing New York 13, New York 161 Sixth Avenue, series as a permanent feature of the magazine - dealing with hi -fi AM and PM reception in rural areas, and by rural I don't page 3o A SOUND REPUTATION SECOND TO NONE! Continued on

28 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com HIGH -FIDELITY

MEANS LIST ORCHESTRA -HALL IN LIVING- ROO

REGENCY has had John M. C only, noted High Fidelity authority, prepare a brochure on the finest in sound reproduction. It is yours on request front For those who can afford the finest 2liN

PROFESSIONAL HIGH FIDELITY ENSEMBLE 7900 Pendelton Pike, MODEL HF1000 - $1,000 Indianapolis, 26, Indiana

MARCH, 1954 29

www.americanradiohistory.com READERS' FORUM Continued from page 28

mean the suburbs of nearby large cities and broadcasting centers. To be specific: I live on the side of a mountain, outside a ghost town in the old gold mining country of California. Sacra- mento and Stockton, the nearest cities (and they're relatively small; the population of each is about 125,000) are both 6o miles away, in different directions; San Francisco is about 15o miles. Along with other hillbillies, I'm interested not only in the best possible record reproduction but also in the best possible reception of broadcast music and other worth- A NEW WORLD IN SOUND BY "BRAINARD" while programs. And I'd like to nudge you into the realization that there's a lot of

THE NEW "BRAINARD" A -200 BINAURAL AMPLIFIER ! America outside of New York, Washington, Detroit, N'Awlins, Hollywood and even "THE MASTER OF ALL YOUR HI -FI NEEDS, PRESENT & FUTURE !" Great Barrington, and that a considerable part of the Nation's total population lives Power - Dual Channel, 18 Watts Each or Single Channel, 40 Watts. in all these Wide Open Spaces. Individually, real small towns (the population of Volcano Perfect Reproduction 15 to - 50,000 cps. plus or minus 1db., is 124 by an accurate, neighbor -counting .5 °c Distortion. finger- census) may not be important; but Dependibility - Highest Quality Parts, Triad H.F. Transformers. in the aggregate we are - in spite of the fact that Bugs Baer once said that when you Dual Controls, 8 inputs, 11 Tubes, Two 10 Position Record Compensators, get zo mins. outside of New York every- for All Recordings. Chrome Chassis. thing is Bridgeport. Beautiful, Removable Etched Bronze Face Plate for Easy Mounting. Also, you're not non -technical enough, for me at least. Or for my wife. We don't One Switch on Front Panel Gives You (a) Channel No. 1 or (b) No. 2, or know the difference between a short wave (c) Channel No. 1 & No. 2 for Binaural, or (d) Output Tubes Off and Ear and a long wave; we don't in fact know Phone Outlets on for True Binaural, or (e) One what a wave is, and were completely baffled Channel 40 Watts. $189.50 Net about the mystery and miracle of radio and electronics and good music reproduction - but - we accept it, and are interested in doing everything we possibly can to get the most out of our records and radio. But when you or any of your contributors, who presumably are all real experts, talk to us we want 'em to talk our language and not an assumed simplification of their jargon, or yours. I lack the knowledge and, therefore, self -confidence to make decision,. Our set is a Hoffman "Heirloom ", Model 538, AM -FM. Maybe you or some of your contributors - or advertisers - will go to the trouble of familiarizing themselves with it and then tell me what to add or what I can do to get better results HERE, where I live. A mountain is a mountain is a mountain and trees are trees are trees. A friend who's a hi -fi filbert tells me that trees contain mois- ture which affects reception. What do I do "DR4 about external antennae? How high and /HARD #T -200 BINAURAL AM -FM TUNER how long should my AM and FM aerials be? What kind and size of wire should I use? A New Star in the "BRAINARD" Galaxy of High Fidelity Components What, exactly, should I do about the lead -ins? Our water comes down the hill above us by AM or FM, or AM and FM Simultaneously ! gravity from a big redwood tank and our pipe system is different from what you city New RF Amplifier Design Gives Virtually 100 to 1 Signal to Noise Ratio. slickers enjoy. What kind of a ground Excellent Reception in "Fringe" Areas Automatic Frequency Control should I use, and precisely how do I connect 9 kc Band Width on AM - 25 kc on FM. it and to what part of the set; and how do I Dual Audio Outputs -2 Volts, Double Tuning Eye. Indicator Lights. identify that part? (Remember always I'm a child lost in the high fidelity woods and Beautiful Etched Bronze Face Plate. Removable that my wife thinks Fm wonderful when I for Easy Mounting $119.50 Net connect the wires to the socket of a bridge lamp!) And what about my speaker system? BE FIRST. ORDER NOW! MASTER ELECTRONICS CO. What kind it it? What can I add to improve 8586 -90 Santa Monica Blvd. it? How much will it cost me? (There isn't SEE YOUR Los Angeles 46, Calif. Continued on page .115 LOCAL HI -Fl DEALER or WRITE TO Dealer Inquires Welcome

30 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com PARTIAL SPECIFICATIONS

POWER OUTP1 T: 10 watts at less than 1% total harmonic dis- lortion. Frequency response 20 ro 20.000 cps. =I db. HUM LEVEL: 70 db below lull rated output. There is a hum balance control on the chassis. REGULATION: Less than 2 db from no load to full load with a damping factor of 10:1. PANEL CONTROLS: Treble Control and Power Switch: 12 db boost, 20 db droop at 10,000 cps. Bass Control: 15 db boost, 20 db droop at 30 cycles. Loud-

ness Control: three section control to boost bass and treble as No. AR -410 amplifier. volume is decreased to follow the Fletcher-Munson curves. INPUT SELECTOR SWITCH: 5 position: Microphone. Foreign Records. American Records, How to modernize Radio, Auxiliary (television. your Hi-Fi tape recorder or crystal phono). ... and not spend a fortune !

Stromberg-Carlson pioneered the idea of perfectly matched units for the Audiophile who wants top quality hut can't buy everything at once. FOR INSTANCE ... You can start with the amplifier and bring your equipment entirely up -to -date for only $79.95.

If medium power (10 watts) will suit your listening needs. here's how to do the best possible job at the least investment. Assuming that your present pick -up, speaker and speaker housing are adequate, the Stromberg- Carlson "Custom 400" 10-watt amplifier will do more to improve performance than any single unit you can buy. And its low price makes this a practical way to start bringing your installation to true Hi -Fi quality.

STROMBERG -CARLSON Sound Equipment Division SEND COUPON FOR COMPLETE ENGINEERING DATA

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Name

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MARCH, 1954

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www.americanradiohistory.com AS THE EDITOR SEES IT

BECAUSE of the increasing interest in tape recording, tape people will do the same; we would just like to urge we have been planning ahead for a series of "Tested them to hurry up. People are waiting to buy their wares, in the Home" reports on this type of equipment, in large quantities, as soon as it looks safe. with emphasis on the new crop of home -type, 71/2-inch- per- second recorders. The first step is, of course, to col- RUMOR has it that the Federal Communications Corn - lect the equipment and so, right now, the office bears a mission is giving serious heed to the requests of the mobile close resemblance to a display room. As a result, practi- communications services to lop off some of the FM cally everyone on the; HIGH FIDELITY staff is having a tape recording holiday. broadcasting band so that the mobile services can expand. The growth of these latter services during Holiday? Sometimes it seems more like a nightmare. the past few years has been phenomenal; a rough idea Just before Christmas, Circulation Manager Frank can be had from two figures: in 1948 there were about 300,000 Wright reported that one of the local churches was going to civilian transmitter- receivers licensed by the FCC; have a particularly good Christmas Eve choir recital. He in 1953, the figure stood at 740,000 an increase of 5 would like to tape it, and did we have some equipment - zsh times in years. More or less hand in hand with this growth, engineers to spare? Certainly ... why not use that recorder over in have learned how to utilize higher and higher the corner? It was a good one, compact and convenient. frequencies for radio propagation. Nevertheless, there never And how about a microphone? There were several avail- seems to be room enough in the radio spectrum for able at the moment. One was outstandingly the best, but everyone. The band of frequencies allocated it was the wrong impedance and wouldn't work with the to FM broadcasting is, in view of its present utilization, more tape recorder we had decided upon. We had changed the than generous. The band is not crowded with stations in any part connections on another mike so it would work with a of the country. Perhaps it could be compressed and recorder which used Cannon input sockets. A third micro- the stations crowded together more compactly. Whether phone was equipped with a two-wire -plus -shield type of or not such an action is desirable depends almost entirely plug; we required an ordinary one -wire- plus-shield phone on the answer to one question: will FM broadcasting expand plug. So, out of four microphones, only one would fit in the years to come? the available tape machine. It was not as good a micro- For those of us who know and appreciate phone as some of the others and we were sorry to have the superiority to use it. of FM over AM, the answer seems indubitably yes. But to others well, they talk in terms This story ends happily because, in spite of these handi- ... of the impact of television, which was supposed caps, the recording came out very well. to (and may yet, we admit) replace radio completely, and the However, when another member of our staff wanted to apathy of the American public in general to something which is hear this same tape, he discovered when he got home that said to be merely an improvement over something already "good the recorder he had taken from the office used a special enough." We ourselves do not know (and unusual) type of external speaker connection which the answer, though we in- cline somewhat to the view that TV will replace AM he couldn't match ... he wound up with a rig of paper network radio, and that independent clips and toothpicks, so he could connect the output of the and small- relay -network FM broadcasting will grow to fill need for tape recorder to his own hi -fi system. the broadcast music and other purely aural matter. At any rate, We're quite ready to admit that one tape recorder to a we do feel strongly that so long as there is family is probably enough and that therefore few people any doubt at all about the future needs of FM broadcasting are going to be much bothered by this lack of standardiza- services, the band of frequencies tion. But it would be nice if one could, without misgiving, assigned to those services should be left alone. If lost now, there won't be a chance in a order a new and better microphone, or borrow one from a million of regaining them. We suggest neighbor with some feeling of certainty that it would that anyone who feels - the same way readily fit one's recorder. say so in writing to either: The Honorable Rosei H. Hyde, Federal Communications And while we're on this subject, will someone please Commission, Washington, D.C.; or, The Honorable Edwin tell us why some tape recorders have the supply reel on the C. Johnson, Senate Office Building, Washington, left, unwinding to the take -up reel on the right, while D. C. others reverse this arrangement? Its the old, old question of standardization. Generally, Music at Home is the name of a new magazine which it is insignificant; at times, annoying out of all propor- is scheduled to make its appearance in the very near future. tion. Every new industry seems to 'go through the same It will, according to advance publicity, be devoted to the process. Not long ago, every amplifier that came out interests of the build -it- yourself group in the hi -fi field. was equipped with new -fangled input and output con- Its publisher, Milton Sleeper, was formerly associated with nections. Today, there are still variations from standard HIGH FIDELITY Magazine. As sincerely as one can wish practice, but most manufacturers have settled down. The a competitor success, we wish it for him. - C. F. MARCH, 1954 33

www.americanradiohistory.com This eye- witness account, prepared last March, has waited through a year

of tape - editing, needed before the Maestro would approve his version of the Missa for release. The disks will be issued this month.

TOSCANINI RECORDS THE MISS''M''Î'S

by James G. Deane

BEING still bathed in the afterglow of the epochal It isn't really popular. Some people flatly express dis- 29 wrote chiefly about 1952 Toscanini recording of the Beethoven Ninth Sym- like. Virgil Thomson last March music phony, one would not have expected, in March, 1953, to Toscanini's performance that it was loud. About the be enriched so soon again with an evocation on the same he declared acerbically: "The work itself is one this or thinking about to re- creative level. Yet one would not have expected, either, reviewer has long preferred reading friend that Toscanini just turned 86 would choose for cele- actually hearing." Samuel Chotzinoff, Toscanini's - - retirement bration to conduct Beethoven's monumental Mass in D, and the man who retrieved him from premature very much and so informed the Mina Solemnis. in 1937, likes parts of it now he recall Both of these things occurred twice. The first oc- the maestro after the recent broadcast. But can - Chotzinoff casion was on Saturday evening, March 28, when the mighty an earlier exchange. "Fifteen years ago," him and said, Beethoven stanzas of faith were sung and played stirringly told me, "I had to review it, and I went to He replied, 'Because you and memorably before a visible audience that paid gener- 'Tell me why I don't like it.' ously to charity and an invisible one that heard through are stupid!' " Hall last March 28 numberless unseen radio speakers. The second was on There were a lot of hearers in Carnegie evidently didn't share Monday, Tuesday and Thursday, March 3o, 31 and April 2, who - at least on this occasion - part, a more exciting again in Carnegie Hall but this time for an audience proxied the doubts, though. For my own Thomson's less uncom- by recording technicians. The first performance is now his- affirmation - to use one of Mr. that Saturday is almost tory; the second is history about to be made, for the new plimentary terms - than the one at the subsequent record- Toscanini Mina Solemnis is to be released by RCA Victor unimaginable. And rehearings, confirmation to the original impres- this month. ing sessions, lent only same impression is Recording the Ninth in 1952 was the biggest record - sion. History will be made if this to the thousands making task Toscanini, up to then, ever had undertaken. communicated through the recording Symphony but don't know, or It was a special personal challenge, one which - faced in who now like the Ninth Mass. three unrelenting playing sessions - was met surpassingly. don't yet appreciate, the in the mere fact that such a The recording itself is the proof. But the Mina Solemnis There is already history attempted by any man past 86. presented a challenge even greater, and it is just possible mission could even be the recording of the Ninth that the result will turn out to be even more historic. Two years ago, witnessing marveled that Toscanini There are several reasons for suggesting this. In the Symphony, I and others present participant whose energy appeared least first place, the 9o- minute Missa is extremely difficult. The should be the one seemed only reinforced by the last movement of the Ninth is choral music, and it is to flag, whose dedication re- creation of the Missa Solemnis notoriously hard to put across, although Toscanini did it. advancing hour hands. The there were nearly 200 partici- The mass, entirely choral, amounts to the Ninth's finale was no less remarkable. Again figure was the one that multiplied by five. It was, incidentally, composed at pants, and again the presiding almost the same time as the Ninth. seemingly never tired. HIGH FIDELITY MAGAZINE 34

www.americanradiohistory.com Soloists in the taxing Missa are Eugene Conley, tenor; Lois Marshall, soprano; Nan Merriman, mezzo -soprano, and Jerome Hines, bass.

Between a concert and a recording session there is for air of a man disclosing a well -kept secret. He didn't know Toscanini little difference. He never sits down while con- whether even Toscanini had noticed, he said, because the ducting. The knee ailment which temporarily disabled him orchestra and chorus make the organ hard to hear anyway, several years ago seems to have been of little annoyance and besides the stage drapes and back wall cover up prac- lately, although his carpeted podium still bears a conces- tically all the pipes. "The sound comes through a few sion to it in the form of a velvet- covered railing on three holes in the proscenium arch," Mr. Crook observed, with sides. Toscanini lays his left hand on it only rarely. He a reproachful glance toward a couple of them. But he conducts from memory. Usually the sc9re is within reach seemed cheerful enough, notwithstanding. on a music stand at the left of the podium, but almost in- By this time the other musicians were beginning to file variably it is shut. I have seen him consult it very seldom. in, so I went up to the control room, which is at the top This is a prodigious fact: merely scan the list of concerts of a stairway to the right of the stage, completely enclosed, and the catalog of recordings, all but letter -perfect, amassed with no view at all of what occurs below. (A nearby under his baton in the last half-dozen years. glassed -in radio control room affords a vantage point He also continues to demand a degree of concentration when somebody wants it.) Richard Mohr, the recording and effort - both group and individual - that I have director, and Jack Pfeiffer, his assistant, had just arrived, never seen equalled under another conductor. But the de- Mr. Mohr with a miniature score and Mr. Pfeiffer with a mand - which he imposes impartially on himself as well full -size one. Robert Shaw, who trained the chorus, came as those before him - rarely, nowadays, erupts in any in a moment later, also with a score. There was a big fireworks. And rarely are they needed. His musicians loudspeaker facing the table at which these gentlemen anticipate, catch and treasure his every slightest cue. ranged themselves. Mr. Mohr had a microphone in Neither Toscanini nor RCA Victor is very tolerant of front of him, for communicating with the people on onlookers during recording sessions. Carnegie Hall's tiers stage, and also a stopwatch. Lewis Layton, one of the of seats are darkened, and for the most part they are kept technicians, sat next to him in front of a mixing amplifier empty. with some meters and knobs, and another man stood near- I arrived for the start on the Musa Solemnis early Monday by to tend a pair of big professional -size 3o- inch -per- morning, having made sure with Walter Toscanini pre- second tape recording machines. Another pair of these viously that the intrusion would be unchallenged, and was in an adjacent room. found technicians already on hand, setting up microphones The combination lounge- dressing room used by Tos- on the big stage and tape recorders canini and the soloists was just across and other paraphernalia in a control a landing from the control room. room backstage. George Crook, the Toscanini, trailed by Walter, arrived organist, was the only musician to just after 9:45, trudging up the stair- have arrived. He was involved in an way purposefully and disappearing into earnest conversation with a man in a his room. Down on stage, which now leather jacket. Mr. Crook explained was bustling, most of the choristers that the man was going up into the had taken their places on tiers behind loft to keep an eye on a pipe that had the orchestra. Some of the men had misbehaved during Saturday's broad- already taken their coats off, and in- cast. The pipe, a low G tuba har- dividual choristers and instrumentalists monic, had started playing when it were practicing here and there. Alto- wasn't supposed to and Mr. Crook gether it made quite a din. hadn't been able to make it stop. Just before to the violin section "I finally had to shut the motor off suddenly launched into a perfect mimi- couldn't play at all the last half of - cry of the sing -song "la- la- la -la" warm - the performance," he said with the Nowadays, the fireworks are very rare. up used by the chorus, bringing a big

MARCH, 1954 35

www.americanradiohistory.com laugh. "A good start," said Robert Shaw with a grin to Riverdale, at the edge of the Bronx. The host and his those in the control room. At approximately one minute guests - Mohr, Pfeiffer, Shaw, Layton and Victor's chief past co the white -haired maestro, clad in his customary engineer Albert Pulley, with Chotzinoff sitting in - striped formal trousers and buttoned -up black rehearsal listened to all the day's tapes, with Walter Toscanini jacket and carrying his baton, stepped out and, followed and NBC Symphony violinist and audio hobbyist David by the four singers - Lois Marshall, Nan Merriman, Sarser operating the Toscanini tape equipment. Between Eugene Conley and Jerome Hines - descended briskly takes Toscanini chatted genially. One topic was the number toward the stage. Mr. Mohr announced over the PA of his Missa performances. He said (rather surprisingly) system: "Quiet, please, Maestro is coming down," and a that all told it was just six. The maestro also had Walter moment later he asked for a few bars of the music to bal- pull out two unscheduled encores - unreleased, magical ance the microphones. After listening closely for a few tapes of Weber's Freischütz and Oberon overtures, which he moments, the recording director announced: "It sounds conducted happily from his chair. A new tape recording very good, Maestro, except can we have Mr. Conley in was made, too - of the entire evening's proceedings, a about one pace." Then, as a little custom of Walter's designed to red light went on in front of the make Toscanini comments pro and podium, he called out, "Stand by, con available for ready reference. Missa Solemnis Kyrie, A- take," and (What a fascinating record release at io:o6 the arduous task began. one of those tapes would make!) The Kyrie took to minutes and When Toscanini stepped our of 28 seconds. When the red light his dressing room to go back to went out, Mr. Mohr (whom Tos- work again at 7:3o the next night, canini calls Dick) went to the po- he had on some comical little dium and asked the maestro if he spectacles. He glanced around would come backstage to hear the quizzically for a moment and, playback. Toscanini preferred to spotting my smile, he ..smiled a stay on stage. A musician lifted a moment himself. chair onto the podium and he sat He took.the spectacles off before down. For a moment or two he stepping,down the stairs again, and sat quietly, his head bent down, ,00n the music again was under listening. Then his hands began to way. The Sanctus went without move. Presently he arose noiselessly incident. Next was the Agnus Dei. and stepped forward, his eyes From front to rear: Tape- editor Dick Mr. Mohr's voice called for readi- Gardner, Richard Mohr, Jack Pfeiffer. coward the musicians but apparent- ness, Toscanini poised his baton, ly not seeing them, his hands ready for the light. It failed to go on. sweeping, beckoning, giving cues, pleading. The 181 Toscanini tapped his stick impatiently, and at that moment musicians watched in spellbound silence, while the music the tardy light responded. But of course laughter came poured obediently from the loudspeaker, and Toscanini instead of music, and the start had to be repeated. The matched his musical intent against what it had produced. next 14 minutes also were without incident, except that In a few minutes the spell was over. Toscanini spoke near the very end Toscanini, wishing one group to play briefly to Dick and then to the soprano soloist, 26 -year- less loudly, shouted suddenly - and then shot his hand old Miss Marshall. Mr. Mohr returned to the control remorsefully to his forehead for having forgotten himself. room, announcing with a twinkle: "Maestro doesn't want At 8:3o, during a break, Alex Williams, the first clarinet- to do it again, but he's going to do it as a favor to me." ist, came backstage with.his music to ask a question about a The others laughed. The second Kyrie took co minutes passage in which the clarinets had been assigned to rein- and 4 seconds. force the oboes. Toscanini took the music and without Next came the triumphant Gloria. It consumed just over bothering to put his glasses on began looking determinedly 16 minutes. Toscanini declined to hear a playback this for the notes in question. The pages couldn't have been time, and went on to the Credo. This section brought 'more than three inches from his nose. "Ah!" he exclaimed momentary consternation in the control tomb. Mr. Mohr .finally, looking up, and he hummed how it should go. asked for a few bars to check the volume level. Toscanini Me. Williams took back his music with a "thank you, obliged - but then instead of stopping, his baton went on Maestro," and departed. swinging. Hastily the engineers started the tape wheels The Sanctus was repeated. This time it went in 16 min- spinning, and on went the little red light. When, at the utes, 3o seconds -- a full minute faster than the first end, Toscanini was asked to go back to pick up those first time, which seemed to please the control room group. r5 or zo measures, it brought the day's only real explosion. Next the Agnus Dei was taped once again. It didn't go "Oh, Dio!" he cried, and then there was a stream of Italian. right, the chorus and orchestra seeming to drown out the But he complied. Then the session ended -a little after quartet, so there was a conference and Mr. Shaw told the noon. chorus to hold back a little. The two women soloists That night a whole crew of people set up shop for three used the break for an impromptu dressing -room duet. hours in Toscanini's go- by -go, two -story living room in This time before the music resumed Continued on page 97

HIGH FIDELITY MAGAZINE 36

www.americanradiohistory.com 4FTER BlIVAIIRALag WHAT

,>',

tinGtE TO/I48' CABINET By THOMAS I. LUCCI

RECENTLY it occurred to me that I had not yet made speaker enclosures. The walls of the enclosure are con- a major contribution to the art of audio, a saddening structed of soundproof material to insure protection thing to have to admit to one's children in later years. against outside noises and, for the sake of privacy, a door Some people might not have seen any urgency about this, that can be locked from the inside is provided. For a since my children are now aged 21/2 years and 14 months, relatively small investment, the audio enthusiast can be- respectively. However, young Tom lately learned to say come the owner of a miniature, but very efficient music "conducted by Dimitri Mitropoulos," and who can tell room. what may happen next? Anyway, I decided not to delay. There are several advantages to the Yogi Enclosure To my relief, I found that not quite all the problems other than privacy. Because of the confined area, the of high -fidelity music listening have been solved to every- problem of sound diffusion is virtually eliminated. The one's satisfaction. I was afraid they had been, after read- small listener -enclosure properly loads the front of the ing all the advertisements. speaker cone without an eight -foot horn. The entire audio As a starter, I decided to tackle a problem which the system loafs at negligible distortion level, since very low audio industry has meticulouslT avoided - the problem volume is ample to fill the enclosure. For convenience, of the home. the amplifier controls are placed in the enclosure. After having parted with our hard- earned cash, we trun- The most interesting feature is that the listener's en- dle away an audio system that seemed, in the showroom, closure acts as a bass reflex cabinet. The resonance is practically perfect. To be precise, we trundle it home. controlled by an adjustable slot over the listener's head. There we deposit it - in a room which promptly mars its (The slot also provides ventilation and allows your wife sound with resonances, gaps and voids. As if this were to slip you a sandwich now and then, and warn you in the not enough, by day the room is filled with the joyous event of fire.) The listener is not outside the music, squeals of our children. By night, it is filled with our but literally right in the middle, feeling every note. wife's reminders that the little angels are asleep, but Having dealt so successfully with the problem of the won't stay that way if the volume isn't kept down. home, I next turned to another It is possible, I know, to start thinking about this neglected component in the art problem and wind up paying off a large mortgage. Happily of music listening - the lis- there are solutions simpler than buying a new house with tener. sound -conditioned rooms. One is what I have christened Again, I decided to approach the "Yogi Endosure." the subject from a radically new The Yogi Enclosure is a speaker -cabinet, unique in angle. The logical place to start, that it holds not only the speaker, but also the listener. I thought, was the ear. I care- The speaker is placed in a conventional corner enclosure fully avoided reading any ma- and the listener sits in his own enclosure which is an ex- terial on the ear, so as not to be tension of the speaker enclosure. To conserve space, the hamstrung by prior thinking on listener assumes the Yoga position, cross- legged in front the subject. of the speaker. Through this compromise with comfort, After scientifically observing the entire enclosure need be but 4o inches high, 42 wide ears for a week, I came to the and 32 deep - not much larger than some contemporary Continued on page 99

www.americanradiohistory.com The tilted modern equipment cabinet above belongs to J. N. Dyer, of Oak Ridge, Tenn., who used the off-vertical angle to yield width enough to house his record turntable. Clever! At right is an installation by Vector Labs, New York, which separates living and sleeping sections of a studio apartment.

The photo at the left doesn't show it, but the equipment cabinet is angled slightly out from the line of the left wall, and the TV tube yet a little more, for good viewing from mid -room. The sound is fed across the room to a Klipschorn, not shown.

www.americanradiohistory.com :u :+bn:n

1. 1. *.

Above is what a competent technician can do for himself in his own home. The technician is electrical contractor Ches Watkins, of Fort Pierce, Florida- and he has presented a minor mystery. How does his inset Electra -Voice Aristocrat II speaker system make use of its rear-of- speaker reinforced bass tones? Behind closed doors are other impressive pieces of sound equipment -a McIntosh 5o -watt amplifier; a Presto turntable --moophi with Pickering arm and cartridges; a Concertone tape recorder. - At left is an elaborate corner-wall control and equipment installation, made in the San Francisco area by Hal Cox.

MARCH, 1954 39

www.americanradiohistory.com LL&ttQ.WAt BettiriA Mu,eaL Sp

This tale of an 1890 man -about-town who made the first recordings of Melba and Calve, among others, is adapted from a forth- coming history of the phonograph, to be published by Lippincott.

by ROLAND GELATT

SIX DECADES ago a cavalry officer in the Italian Army, phonograph was only a memory. Even Edison had lost newly come to "America, succeeded in transforming the interest in it. phonograph from a humble talking machine into a musical When the phonograph was revived in the late 188o's, instrument. His name was Gianni Bettini. Posterity has with wax cylinders substituted for tin -foil blanks, it was treated him shabbily; his very name is unknown to all a far more capable instrument. But its proponents showed ti, but a handful of record collectors. And yet posterity little interest in its musical potentialities. Instead they cannot be blamed too severely. Of the great pioneers in were captivated with its prospects in the world of com- the history of the phonograph, Bettini is by all odds the merce. A vast organization was set up to market the most elusive. The bare facts of his life and work have phonograph as a dictating machine. It failed miserably. remained unchronicled, and by a strange miscarriage of From the debris of this ill -timed and overambitious effort historical justice the products of his enterprise have almost came the coin -in- the -slot phonograph, which dispensed disappeared from the face of the earth. entertainment of a sort in saloons and ferryboats, drug- To appreciate what he accomplished we shall have to stores and brothels. Brass bands, Irish tenors, profes- look at the phonograph from the vantage point of the early sional whistlers, "coon" singers, and comic monologuists 189o's. If we do, we shall discern an instrument of pallid could be heard at five cents a selection. All America and undistinguished attainments. The phonograph had went crazy over coin -slot phonographs. The average never quite recovered from the first riotous six months "take" per machine was fifty dollars a week. And then, of its infancy. No sooner had its birth been announced just as the coin -slot business began to decline, a new de- (in December 1877) than a company was formed to ex- velopment burst on the scene: the introduction of cheap, hibit it to an avid and incredulous public. James Redpath, spring -motor phonographs which brought the entertain- the founder of a well -known lyceum bureau in Boston, ment of recorded cylinders right into the American home. took charge of the operation and began assigning terri- From 1895 on, magazines were inundated with advertise- tories to a group of showmen, who were trained in the ments touting the virtues of "the machine that talks - technique and care of the phonograph, provided with an and laughs, sings, plays and reproduces all sound," a instrument and a quantity of tin -foil "blanks," and sent machine "so simple that even a child can make it pour forth out to cultivate their designated terrain. For a while business the most enchanting selections of the world's greatest prospered magnificently. As a show property the phono- Musicians, Singers, Actors, and Speakers." graph won an immediate success. To audiences through- For the "pleasures of music" promised in the advertise- out the country it provided an evening's ments, one could choose from the catalogs entertainment always fascinating and of at least a dozen different companies. usually diverting. It would talk in The Norcross Phonograph Company, of English, Dutch, German, French, Spanish New York City, listed numerous record- and Hebrew. It would imitate the bark- ings by the Metropolitan Band, con- ing of dogs and the crowing of cocks. ducted by Signor G. Peluso, with the It could be made to catch cold and cough accent on potpourris of Italian opera. and sneeze "so believably [according to Reed & Dawson, of Newark, featured the a contemporary reporter] that physicians efforts of T. Herbert Reed, "maker of the in the audience would instinctively begin only successful violin records." Edison's to write prescriptions." But it could National Phonograph Company issued a not make listenable music, and before varied assortment of popular ballads, long the phonograph seemed to have shot marches, and talking records - both BET" MAN ARCHIVES in its bolt. The exhibition business withered The Spoken Word: the great Sarah humorous and inspiring. But this away. By the end of 1878 the tin -foil Bernhardt hears her own famous voice. field the Columbia Phonograph Com-

40 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com pany for a time eclipsed all competitors. The catalog published by this company in 1898 reads like a who's who of the recording stars of early cylinder days: leafing through its 32 closely printed pages, one gets a good notion of what the average phonograph owner of the late '9o's was likely to hear when he gathered together a selection of cylinders, grouped his family or some friends in a small semicircle in front of the metal horn, and settled down to an evening of recorded music. There were marches by Gilmore's Band and Sousa's Grand Concert Band, piccolo solos by George Schweinfest, banjo solos by Vess L. Ossman, "Casey" dialogues by Russell Hunting, songs by George J. Gaskin, Steve Porter, Dan Quinn and Minnie Emmett. There were over 80 cylinders by the Columbia Orchestra, an ensemble specializing in "Descriptive Records." If you ordered No. 15064, "Down on the Suwanee River," from the "Descriptive" Ex- cavalryman Bettini with the most musical of early phonographs. category, you were certainly getting your 5o cents' worth, for in the space of two minutes it provided the excitement missioned an officer in the cavalry. If nothing else, young of "Pulling in the Gang Plank, Steamboat Bells, Whistle, Bettini was handsome and a good rider, and these ap- and Dance on Board with Negro Shouts and Clogs." parently were sufficient qualifications for the Italian Army But with all the talent marshaled together in Columbia's of the 188o's. Certainly, army life was not very rigorous. 1898 catalog, and there is no belittling the particular artistry Bettini spent much of his time in Paris, parading up and of a Russell Hunting or a Vess Ossman, only one performer down the boulevards in his splendid uniform and attend- with any claim to serious musical standing was represented ing the elaborate social functions to which his family in its pages. He was Bernard Bégué, a young baritone from status gave him admission. At one of these soirées in Paris France who had already sung minor roles at the Paris Opéra he met a rich young American socialite named Daisy and was later to have an uneventful career at the Metro- Abbott, whom he followed to New York and married. politan Opera. Among Bégué's 10 Columbia cylinders Just how he terminated his army career is not clear; he was were some honest -to- goodness operatic arias: "Vision known, at all events, as Lieutenant Bettini for long after fugitive" from Hérodiade, "Adamastor, roi des vagues," from he had settled in the United States. L'Africaine, the Prayer ( "Je to bénis") from Rossini's Guil- In 1888 Bettini bought an Edison wax -cylinder phono- laume Tell, and the Toreador Song from Carmen. It was a graph, one of the first that were offered for sale. Being a rewarding musical oasis, but its fruits could hardly be member of New York high society as well as an Italian, he described as "the most enchanting selections of the world's was a confirmed and enthusiastic operagoer, and he lis- greatest singers," which was the verbal bait Columbia tened to the phonograph with a trained, critical ear. What employed to lure prospective buyers of the phonograph. he heard did not please him. But instead of putting the In truth, however much the advertisements prated of phonograph aside and forgetting about it, Bettini sur- "a musical education to the young" or of a "repertoire prised everyone by setting out to improve on Edison's ap- as limitless as the realm of melody itself," the phonograph paratus himself. He had had no scientific training and still showed all the earmarks of a cultural pariah. Colum- had shown no special technical talent. Nevertheless, in bia and Edison had made a few tentative infiltrations 1889 Bettini was able to patent an "Apparatus for the Re- into that vast domain of great music which was supposed cording and Reproduction of Sounds" based on Edison's to envelop the American home in an aura of uplifting art, wax -cylinder phonograph but embodying several important but the bulk of their efforts pointed in the direction of modifications. He called his machine the Micro- Phono- pure home -grown "corn." With one exception, the early graph, and in June 1890 described it in a short article, entrepreneurs of the phonograph demonstrated no more which he wrote - being a good Continental - in French. than a cursory interest in the musical potentialities of the He began by detailing the defects of the early phono- wax cylinder, being content that it amused and gratified graphs: one could never be sure of getting an audible im- a not -too -discriminating public. A latter -day commentator pression in the wax cylinders, and even if one did the has no cause to berate them for this attitude, but he may quality of reproduction lacked the clarity of timbre which be excused for by- passing their work and concentrating allows one to distinguish one voice from another. Further- instead on the one man who took a loftier esthetic view of more, he complained, it was unpleasant to listen to music Edison's invention. through rubber hearing tubes, and if one discarded them A less likely candidate for the part than Gianni Bet - and substituted a metal horn the reproduction was en- tini can hardly be imagined. Born in 1860 in Novara, Italy, tirely without character, the tones being faint, indistinct the scion of a wealthy land- owning family, he had left and lacking in musical quality. In his Micro -Phonograph, school early, after failing to show any glimmerings of Bettini wrote, he had endeavored to obtain "a clearer, more scholastic aptitude, and had been sent off to the army. natural reproduction, with a volume sufficient to obviate There, thanks to his family connections, he was com- the necessity of using hearing tubes" and he had tried es-

MARCH, 1954 41

www.americanradiohistory.com pecially to "avoid a metallic timbre" in the reproduced offices in the Judge Building, t to Fifth Avenue, and sound. invited members of the press to hear his Micro- Phono- His researches had taught him that the results he de- graph and his recordings. A reporter from Leslie's Weekly sired could not be obtained with the recording and re- wrote a glowing account of the "bright and cultured producing elements supplied by Edison. Edison employed a young Italian" who, "working patiently for three years, crystal diaphragm with a single stylus projecting from unassisted by skilled mechanics, and himself untrained its center; Bettini favored a mica diaphragm, and in place in the mechanical arts, has seen his Micro- Phonograph of Edison's straight stylus he substituted a "spider" improve day by day until at last it has reached a startling with radial legs of varying length bearing against the degree of perfection." A writer from The Microcosm was diaphragm at a number of points surrounding the center "enchanted with the matchless exhibition of new acoustical and culminating in a single recording pin. "A diaphragm," wonder. Compared with this latest and grandest of talking Bettini explained, "vibrates over its whole surface, but machines, the Edison phonograph, even as recently per- at varying degrees at different points. The study of a- fected, becomes a second -rate device." Bettini's first move coustics teaches us that a diaphragm contains acoustically was to manufacture his "spider" recording- and -reproduc- dead areas where the vibrations will be feeble or nonex- ing attachment for use either with the Edison Phono- istent. If the stylus is anchored to only one point of the graph or the Columbia Graphophone. "To obtain perfect diaphragm [as in Edison's apparatus], that point may reproductions from your talking machine," he advertised, often be acoustically dead, or nearly so; such a diaphragm "use the Bettini Micro- Attachment. It refines the sound, might sometimes make a good recording, but there would eliminating all metallic resonance, screech, rasp, and harsh- be many other times when it would record very imperfectly. ness. It is the clearest and loudest made. A novice makes Suppose, however, that a 'spider' with legs of different perfect records with this attachment. Try it." lengths be anchored to a diaphragm at several points; two Bettini's Fifth Avenue studio became a favorite meeting- or three of these points may be acoustically dead at times, place for his musical friends. It was a good spot to ex- and consequently incapable of transmitting sound 'vibra- change gossip and to talk shop, and it was useful to make tions, but the other legs will be able to actuate the record- recordings there. Useful because a singer could thereby ing pin nevertheless. The 'spider' has other advantages: listen to his own voice, analyze its strengths and weak- it transmits sound vibrations with greater force to the re- nesses, and compare it with the voices of other artists cording pin, and because of its many supports that pin is who had similarly recorded for Bettini. A reporter from held more rigidly. To sum up, I catch the vibrations of The Phonoscope visited the studio in i 896 and came away a diaphragm at several different points, and with the aid dazzled by the cylinders he had heard: of independent conductors I concentrate these vibrations The collection [he wrote] is unequaled anywhere. on a single recording pin." The results he modestly There are songs by Yvette Guilbert, who sang into described as "perfect." The same "spider" principle was the phonograph on her recent visit to this coun- employed in the reproducing attachment, and with the try. When the writer visited the studio lately, same indicated results. Yvette s voice sounded from the phonograph, one Such was the Micro- Phonograph. What Bettini did with of her English songs, "I Want You, My Honey." it is of considerably more significance than the invention Then the voice gave "La Soularde" and an imi- itself. At the time the Micro- Phonograph was developed, tation of Bernhardt's style of delivery in a favorite Bettini and his wife lived in the Sherwood Studios at character. Then followed a selection from "Izeyl," the corner of Fifty-seventh Street and Sixth Avenue, a by Bernhardt herself, with all the passion in building much frequented by musicians. which the passage was recited on The Bettinis kept open house there for A True ffir ror of Sound the stage . . . labeled visiting celebrities of the opera and the AIA The next cylinder was one theatre; they were vivacious, agreeable itV: "Melba," which was truly wonderful; INI the phonograph reproducing her hosts, and their elaborate parties at- Mkro- tracted many of the great stage personali- Phonograph q wonderful voice in a marvelous man - Maphrmms Mr which ties of the day. Inevitably, at these parties ner, especially on the high notes the Micro- Phonograph would be brought itsoared away above the staff and were out and made to perform. And since it 2 rich and clear. Mark Twain inter- Ira rupted the singer with a few remarks was a remarkably good apparatus for its '..F.u time, Bettini's famous guests would them on the experience he had had in trying want to make recordings on it themselves. to make practical use of the instru- on his Slowly the young Italian inventor began ment. The humorist is now the world and building up an impressive collection of 1111,r,m,..I, lecturing tour around in celebrity recordings. He kept them for the record he made was taken himself; they had been made on a friend- December 1893 .. . ßF:f[I\I IIIIU\HIial'II L.ICnll.ITolil It would be tedious to name all ly basis, with no thought of commer- nu FIFTH AVENUE. NEW YORK soor 10. w... in the collec- cial use. 4.I...... til.,,.r, the artists represented tion. Some, however, should be Late in 1891, Bettini decided to go The ji began rising in the 1890's, Continued on page tot into the phonograph business. He rented and so did the advertising claims. mentioned. Among

HIGH FIDELITY MAGAZINE 42

www.americanradiohistory.com WHEN THE }IUM-BÙG MOVE IN

A Philadelphia expert gives some By M. FRIED basic guidance on how to make your IRVING sound -system trouble -free to start with.

LET US suppose that you are an ardent music lover bad that one of your friends, sensitive to you and your love, living in a small town somewhere in the United States, still has dared to say that it wasn't just perfect. or in the Americas, far away from major cities with their The sober fact is that you are not alone, but one of a audio display rooms and their audio specialists. Suppose number of fellow -sufferers all too large. The writer of that you have been reading about high fidelity, have been this article, after some years of contact with such problems, indoctrinated in its wonders. You have sent for all the feels that they are more the rule than the exception on catalogs of the mail order houses, which have provided home music systems which are not sold and installed by you with long hours of rapturous reading and dreaming of competent service personnel. He knows, for instance, of a "silky smooth highs," "gorgeous lows," "the concert certain loudspeaker enclosure which, when coupled with a hall in your home," - all to be provided by purchase of certain amplifier, will always generate "squealing "; of cer- certain components. tain tweeters which will not match with certain woofers - You have read and reread catalog descriptions, trying despite glowing catalog assurances. And he has heard to make up your mind which tweeter, which woofer, plenty of hum from even extremely expensive equipment. which power amplifier, etc., was the most potent. You If you happened to buy these wrong combinations, you even have written to one or two "authorities," asking their are in real trouble, though the following hints may be help- opinions. ful. If your troubles result from mistakes in setup or main- Now, finally, you own all the components of the widest - tenance, you may through the following be able to obtain ranged, highest -fi system you could conjure up. You have a part of the enjoyment you thought you were auto- a woofer, a squawker,* a tweeter, a "folded corner horn," matically acquiring with your high fidelity system. a guaranteed 6o -watt amplifier, a superlative tuner, and a Hum and noise are, as indicated, fairly universal prob- real music lover's cartridge. Everything has been "pre - lems, either at first or later, when parts have aged and de- wired, pre- tested, pre -selected" to ensure "musical per- teriorated. You have probably read in the instruction fection." sheets of proper grounding techniques, of proper place- But, when you feverishly opened the cartons, you ment of components, and the like. And possibly you have found one or two of the tubes of the preamplifier lying read somewhere that reversing AC plugs in their sockets loose from their sockets, and other signs of violent ship- may get rid of a persistent hum. Remember, when you ment. And, though the assembly worked when hooked try this, that what matters is the orientation of the plugs up, you aren't sure that you have as yet gotten the concert with respect to each other. One plug can be left alone, hall in your home - though you seem to have then, and the others changed; if you have several other phenomena. You are conscious three AC- powered devices in your audio system of a certain prevailing hum (one reason your there are four possible combinations of the old low -fi set is now in the attic was because two plugs that will be varied, and eight com- it hummed atrociously); there seems to be an binations of three plugs in a four -plug system. amazing lack of correspondence between highs Reversing AC plugs is simple and fast, however, and lows; and, whenever you try to open up and it is relatively easy to try this - even the volume to "concert hall level," there is an though it isn't likely to help much if the eruption of squeals. In fact, the situation is so equipment is well- designed to begin with. But no instruction sheets point out that *In three -way systems, the mid range speaker is getting to be known, deplorably enough, as the squawker. - Ed. rough shipment can damage components, par-

MARCH, 1954 43

www.americanradiohistory.com ticularly tubes, so much that a unit which performed (b) Air vibration (the actual sound waves) by put- properly on the manufacturer's test -bench may be in- ting the pickup and preamp in a closed com- tolerably noisy by the time it reaches your home. Tubes, partment. alas, are fragile beasts, at their best as variable as the 3) Move the speaker to a different corner or different winds, and your $25o amplifier is just as likely to have a section of the room, where the tendency for it to bad tube in it as is a $5o one. sound "brassy" will diminish. So, if the hum you still have, or the swishing noises, 4) Check preamplifier stages for microphonic tubes, by won't go down when you jiggle wires, move around parts, tapping them gently. Any that bongs too loudly in but will disappear when you turn down the preamplifier the speaker should be immediately replaced. volume control, rush out (or send) and buy a new pre- 5) Rework your speaker enclosure, particularly if it is amplifier tube, of the sort that is in that first tube socket. of the tuned or resonant sort, to control the peak in The first preamplifier tube can usually be identified easily response at the resonant frequency. Standard texts from the schematic diagrams always included with hi -fi suggest such approaches as decreasing the port components. You may not be able to understand the dia- opening, sealing cracks, mounting the speaker on gram, but it isn't necessary. The tubes will be situated on rubber shims, reinforcing the walls of the enclosure, the diagram in logical order - i.e., from left to right be- and so on. Incidentally, you may be amazed to ginning at the top. Consequently, the first preamplifier find that your "corner horn" is only a resonant tube is the one at the top left of the diagram; since there is device! usually only one of that type, it can be located physically Let us suppose you have conquered the squeal. You are in your equipment. now ready for the subtle adjustments, such as getting a balance between tweeter and woofer. A perfect balance, Most hums and assorted noises can be traced back to incidentally, is considered impossible by the writer (if tubes in the early stages of preamplifiers, where a minute you want to be very strict and subtle about it). But, malfunction from perfect will be amplified by the later if you have your woofer, your squawker, your tweeter and tubes. In the writer's experience, about go96 of internal your "balance" controls already, you have two problems: hum and noise troubles stem from either the phono- output and phasing. The first attack should be on the graph preamplifier tube, or the tube just before the tone output level. You will hardly ever have it full on, hardly controls. This one can be found in the same way - ever have the tweeter full off (though the writer knows one it will be the tube in your diagram just to the left of the person who bought a famous three -way system, and found tone controls, which are zig -zag lines identified as "BASS" in his home he liked it best with the tweeter cut out!). and "TREBLE." You will have the units somewhere in between, as deter- noise, and if there is no If tubes won't correct the mined by hours and hours of listening to all sorts of pro- (you often can trust a one local whom you can really trust gram sources definitely not frequency test records! You repairman in these matters), - crackerjack radio or television will find, after some time on solo instrument, voice, full you have wisely just pack it up and return it. (Of course, orchestra, that your most natural settings will all tend to kept all the original packings.) merge, surprisingly enough, far away from your original Let us suppose your hum and noise have been cleared tentative positions. up. But the squealing persists, when you increase the The phasing required you will do on this basis. Dis- volume and /or the bass response. What it comes from connect the tweeter. Put on music, reverse the squawker usually is a coupling between the loudspeaker and the leads, until you are sure that in one position the bass input of your high fidelity system, known as acoustic and treble notes seem to "hang together" better than in feedback, which can arise from various sources. The the other. Then, connect the tweeter, and reverse those cure you will effect, and this you can only do by trial and leads until you get the most Continued on page 107 error, is to break or minimize the sound -chain between the beginning and the end of your system, so that self - induced oscillations cannot occur. (If your phonograph will lapse into them under any conditions, you have a system that is either poorly designed or very poorly installed.) The following methods have all been used, more or less, by the writer, in knocking out acoustic feedback in systems installed by him, or on which he has been called in as consultant. If you have a squeal, try all of them - you may be surprised by which one works: t) Move the phonograph and the preamplifier farther away from the speaker, or even a short distance in either direction (toward or away from the speaker), or even turn it away from the direct blast of the lows. 2) Shield the phonograph pickup and preamplifier from: (a) Wall and floor vibration (directly transmitted) by placing foam rubber insulation under them;

HIGH FIDELITY MAGAZINE 44

www.americanradiohistory.com ,mDVffMMERâ BUY OtlaoÌ

WO O FE RS O N THE W HA RFE

by John M. Cooly

G. A. Briggs,

G. A. Briggs, whose first two names are Gilbert Arthur, small firm in this line. It was also increasingly evident is a fresh- complexioned, blue -eyed, white- haired York - that he had picked the wrong trade at the wrong time. shireman of 63, who has begun three careers in his life - Textiles were entering a long slump. Briggs began to one in textiles, at the age of 15, one in loudspeaker -manu- wonder seriously if there might not be a better livelihood facturing, at 43, and one as a writer (and publisher) of in something he had long engaged in as a hobby. The books, at 56. Careers II and III are both doing very hobby was sound -reproduction. well indeed. As a child, he had taken piano lessons. These gene- The four books he has written in the last five years rated in him a durable interest in piano playing (which have sold a total of 81,5oo copies, yielding author -pub- he began studying again at the age of 5o) and in music. lisher Briggs a gratifying profit. And, since three of His favorite composers now are Handel, Mozart and Ber- the books have dealt in whole or in part with loudspeakers, lioz. More immediately, however, he became fascinated they also have brought manufacturer Briggs some rather with the way in which pianos produced sounds. Later he productive publicity, not that he really needs it. There was to write a book about this (Pianos, Pianists and Sonic-5), is a waiting -line on either side of the Atlantic for all the but his early experimental opportunities were somewhat loudspeakers he can manage to produce. limited. Few owners of Steinways and Bechsteins seemed Indeed, many an anguished dealer, in Britain or Ameri- willing to have their instruments dissected by a 12-year- ca, has written to ask Briggs why, in the name of several old boy, no matter how scientifically curious. netherworld deities, he cannot turn out more loudspeakers. The interest stayed with him, though necessarily latent Briggs' invariant reply is that he could turn out more loud- while he met the exigencies of a textiles career, World speakers if he wanted to, but in that case some of them War I and the wooing of the girl who was to become Mrs. might have to be shipped without having been mounted G. A. Briggs. By the time he had a home of his own and in baffles and subjected to individual listening -tests opportunity to tinker, there. was a new phenomenon in by either Briggs himself or his works -foreman, E. R. the realm of sonics - thé phonograph or, as the English Broadley. Such conditions never, never, never shall pre- prefer to call it, the gramophone. In his garage, Briggs vail, Briggs makes clear, at the Wharfedale Wireless began to amass gramophones and gramophone-parts. He Works, Bradford Road, Idle, Bradford, Yorks., England. was particularly interested in the final stage of their sound - Customers who want Wharfedale speakers, built and production - the horns. Some fairly advanced ex ri- warranted according to this philosophy, must wait their ments in acoustic horn -loading took place in ; turn. People who want quickly mass -produced loud- garage. speakers can seek elsewhere. Most customers - including In the late 1926s, electric recording began, and work the British Broadcasting Corporation - manage to wait, al- on mechanico -acoustical research stopped, both in the though none too patiently. Briggs could easily make a industry and in the Bradford garage. By 193o, electro- fourth career out of answering letters on this single subject. magnetic loudspeakers were appearing on the consumer The rag trade, as Briggs irreverently describes the market. Briggs, reading of some for sale in Wireless World, textile business, was quite naturally the first way -sta- went down to London and bought three. They were Ger- tion in his progress. He was born in Bradford, a city man speakers and, Briggs recalls, cost 7s.6d. each. whose name is synonymous with British woolens, and "I played about with them," he says. "One day I told brought up there. He was sent to boarding school, but my wife I thought I could improve them." He did, too, quit when he was 15 and went to work, though he con- by dint of replacing practically everything but the magnets tinued several years to study foreign languages at night and the frames. He wound new voice-coils, by hand, and school. He intended to get into textile exports, and tried a variety of papers for the cones. Finally he gave up he did. At 4o he had become a partner and director of a any pretense of "playing about," went to Sheffield and

MARCH, 1954 45

www.americanradiohistory.com came back with a sizable assortment of magnets, wire However, there are only 3o employees, and no effort is and paper, and began to make loudspeakers like fury. made to increase the output of loudspeakers above 300 - Every one he made, someone wanted to buy. Apparently odd a week. That's as many as Briggs and Broadley can here was a product which was, unlike textiles, salable listen to and check out. even in depression times. He told Mrs. Briggs and his "We like to think of ourselves," Briggs tells people, business partners that he intended to abandon textiles "as the smallest loudspeaker manufacturers in the world." for loudspeakers. In a sense, loudspeakers got worse before they got Neither offered any objections. Mrs. Briggs was pre- better, Briggs maintains. The early ones had soft leather occupied with the approaching arrival of their second "surrounds" for rim suspension, and thus low fundamental - daughter, Valerie. The business partners were glumly resonance points, giving clean bass. The years of the table pleased to see someone else escape, even if they couldn't, radio and the undersized console, however, brought a from the bogged -down cloth trade. Briggs rented one demand for speakers with attributes now abhorred by floor of a building and, almost exactly 21 years ago, high -fidelity enthusiasts and always abhorred by Briggs - started the Wharfedale Wireless Works. high fundamental resonances and plenty of frequency - The Works are not in Wharfedale, actually. Two rivers doubling below. Since the tiny open- backed cabinets run through the Bradford suburbs, the Wharfe and the could not produce real bass, their makers depended on Aire, each with its valley, or dale. Briggs lives in Ilkley, shuddery resonances to simulate it. Wharfedale loftily which is in Wharfedale. The factory is in Idle ( "Where ignored this demand, and prospered gently just the same. we all work very hard," explains Briggs) which is in Aire- Knowledgeable Britons, in increasing numbers, heard of dale, and in which the well -known breed of terriers origin- Briggs' speakers and tracked them down, though they ated. "To avoid confusion," Briggs says, "I chose the remained almost unknown in America. name Wharfedale, though a woman suggested to me One day in 1948, Briggs was in Webb's, a retail once, after a lecture I gave in Canada, that we missed radio shop in London, when a man came in and asked the something good in not using the name Airedale for our proprietor for a book on loudspeakers. There wasn't any. woofers." "Why don't you write one ?" Webb asked Briggs. Briggs picked a staff cautiously, a man at a time. Three "How many would you buy ?" Briggs asked him, twink- of his first employees are still with him z 1 years later, ling, "A half- dozen?" one of these being Broadley, the foreman of the plant "Half a gross," said Webb stoutly. So, as Briggs tells and the only man (except himself) whose ear Briggs will it, he went right home and wrote a book. It was to be trust to distinguish, at one hearing, which is which among a paperback, and sell - Webb insisted - for no more three loudspeakers whose fundamental resonances are 5o, than 3s. 6d. This was all right with Briggs, who was pri- 6o and 7o cycles pers second. Work at Wharfedale in marily intrigued with finding out if he could write, a line those days was a labor of faith. The first year consumed of endeavor that hadn't occurred to him before. As he pro- half Briggs' money, and the next two years also showed ceeded, he was rather pleased with his prowess, and so losses, though smaller ones. The fourth year they broke was Webb. The latter's pleasure was dampened, however, a little better than even. "I'm pleased to say," Briggs by the discovery of a more mundane publishing problem, says, beaming, "that we haven't made a loss since. The the acute British paper shortage. The only paper Briggs early losses were largely due to ignorance of manufactur- could buy was fine art -grade stock. Determined that his ing methods, costs and so forth." At the Wharfedale creation should not obsolesce unseen, he bought the Works, they still make the tools for the die-casters who expensive paper and himself published the book, the manufacture their parts, and still wind all their own coils, price of which promptly went up to 5s. Webb still took some of them by hand. The factory has spread until his half- gross, but not without misgiving. it occupies eight small buildings, more o1 less connected. At this juncture, Briggs came to America, largely through the urgings of two Sheffield men who made some of E. R. Broadley and G. A. Briggs fondly palpitate a Wharfedale. his magnets. They had engaged a three -berth stateroom on the Queen Elizabeth, and needed a third man. It suddenly occurred to Briggs that affluent Americans might buy loudspeaker -books for five shillings without the slightest hesitation, so he packed a set of galley- proofs and went along to New York. "I hawked the book all over the city," he says ruefully. "No publisher's outlet would touch it with a barge pole." Finally someone said to him: "The man you want to see is Leonard Carduner." Leonard Carduner was (and is) top man at British Industries Corporation, a New York firm at that time almost solely engaged in importing British Garrard record changers. He knew how to market "British craftsmanship" in electrical machinery, but he was dubious about promoting a book. Also, he Continued on page 107

HIGH FIDELITY MAGAZINE 46

www.americanradiohistory.com Yn o21/Ci BY JAMES HINTON, JR.

The Day of an Artist

Not many - hardly any at all, really - of the great Satie, great composer or no, was a singularly energetic towering figures in the history of musical thought seem and colorful personality whose derangement (if that it to have been very engaging people in a positive way. was) had a timely zealotic quality. Maybe what I mean by "engaging" is "pleasantly insane." Born in 1866 of a French father and a Scots mother (a Insane, yes; pleasantly insane, no. Plenty of composers combination of blood strains that may well account for have been more or less off their rockers but not in very the odd flavor of his personality), he grew up at a time attractive ways, and plenty have died mad, with melan- when French composers were turning to their own special cholia in one form or another the leading complaint. brand of Wagnerian romanticism. This, decided Satie, Among those who come readily to mind are Lassus, was an un- Gallic manifestation. Schumann, Wolf, Smetana, and so on. Plenty more have If he had gone about promoting his anti -Wagner doc- been borderline cases, and almost every really creative trine in the usual way -- if he himself had been a usual innovator has been at least accused of mental imbalance animal - the future and present of French music might by less imaginative contemporaries. have been different. Both parents were composers of If overt indications of being slightly buggy are signs sorts, and he studied music at home. When he was 17 of genius, then Erik Satie was one of the greatest com- he spent a year at the Paris Conservatoire, then gave posers who ever lived. To coin an aphorism, only time up his formal studies to become a sort of professional will tell and posterity dictate the place ultimately to be academophobe. At 40, he enrolled himself at the Schola assigned Satie in the compositional galaxy. With only Cantorum to learn counterpoint, and took a degree in r 908. five 12- inchers to his credit in the current Schwann, he But let no one think that because - or while - he was doesn't twinkle very brightly yet on LP. Yet if the im- deficient in counterpoint he composed not. He did, and portance of a composer is to be gauged by his influence the music is charming - not as charming, however, as on other composers, he was, and is, one of the most im- the titles and the directions for performance. These lose portant figures of the first half of this century. some of their piquancy in translation, and some are vir- His own output was not large -a handful of piano tually untranslatable. Perhaps his best known title was ar- works - and although his Gymnopédies and Parade, at bitrarily assigned in oblique answer to a criticism that taxed least, appear in the orchestral repertoire, you will look his work with lacking formal discipline: Troir pièces en in vain for his name in popular guides to the "great com- forme de poire - Three Pieces in the Form of a Pear. Then posers." Yet from Debussy through Ravel on to the pre- there are the Cold Pieces and the Dessicated Embryos. In sent day there is scarcely a French composer or an Ameri- 1912 he saluted his recent degree with a set of three Veri- can composer trained in France (as almost all of those in tables preludes flasques, written without the bar lines of the middle -aged generation were) who does 'not owe him conventional rhythmic skeletal structure. at least a nod of acknowledgement. The Satie debate still The point of all this musical fauvism was anti -Romantic rages on occasion in certain circles, and there are those -a revolt against emotionalism in music. Satie's pieces whose opinion deserves to be carefully weighed who are in the nature of memoranda pointing out the fact maintain that Satie was himself a great man, a great com- that the basic materials of music are not emotions but poser. sounds. Not unnaturally, he was constantly at war with The reason for this devotion would seem to be that the critics and once landed in jail for a night because

MARCH, 1954 47

www.americanradiohistory.com of a particularly vituperative note written to one employed the page that the recording angel checked up on, and by a Paris newspaper. when the composer passed away in his little circular bed Satie's score markings are as remarkable as his titles in 1925 he no doubt descended into heaven, where his - even more remarkable than those in the music of the bearded self sitteth. But his memory lives on. Moral: eccentric American, Charles Ives. A note prefatory to If you are going to be insane, spread it out; if you save Heures séculaires et instantanées reads: To whom it may up, they take you away, but if you are a little unbalanced concern: I forbid the reading aloud of the text during all the time people will tell stories about you and say the performance. Any neglect of this proscription will what a character you were, and the people they tell will result in my righteous wrath against the presumptuous say how much fun it would have been to have known you. transgressor." The "text" referred to consists of his And maybe it wouldn't have been at all. markings on the score, so numerous as to constitute a running commentary on the performance - "Wait," Anniversary "Inhale," "Slow down politely," "Go Ahead." And elsewhere, "Look twice," "Once again," "Don't go In a book mostly about himself and his piccolo, Meredith higher," "Come down," "Don't frown," "Suck in," "The Wilson tells about the time Willem Mengelberg introduced bass is tied [with a slur marking], isn't it ? ", and so on. a young soloist - "an anemic high school sophomore in An extension of this special brand of lightheadedness a pink shirt ... sniffling from a runny nose" - to the is to be found, in Satie's description of a typical day in apathetic members of the New York Philharmonic, who his life; it appeared in a French music magazine (presum- were left cheering at the end of the rehearsal. The passage ably in answer to a request from the editors) in 1913. ends: "Horowitz had played in Carnegie Hall for the first "An artist must regulate his life. time." Horowitz has played in Carnegie Hall several times "Here is a timetable of my daily activity. since, too, but last year he played a recital there that "I rise at 7:18. I am inspired from 10:23 to 11:47. was something more than the usual occasion: It was the I lunch at 12:11 and leave the table at 12:14. A 25th anniversary of a pianist generally regarded as the healthy ride on horseback around my estate follows most formidable virtuoso in the larger -than -life tradi- from 1:19 to 2:53. Another session of inspiration tion of the nineteenth century. RCA Victor thought from 3:12 to 4:07. From 5:00 CO 6:47, various occu- it was special, too, and recorded the whole event (less pations (fencing, contemplation, immobility, visits, intermission observances backstage and in the bar) for reflection, dexterity, swimming, etc.). Dinner is commercial release. A unidirectional microphone was served at 7:16, and I finish it at 7:20. From 8:09 to there, suspended 200 feet from the center of the audi- 9:59, symphonic readings (aloud). I go to bed regu- torium; the engineers were there, but hidden. The audi- larly at 10:37. Once a week (on Tuesdays) I awake ence was not aware that their rustlings and applause with a start at 3:14 a.m. were being taped along with Mr. Horowitz. In all, Victor "My only nourishment consists of food that is white: used up 16,000 feet of tape. Why so much? Well, Mr. H. r eggs, sugar, shredded bones, the fat of dead animals, doodled and practiced and played on the stage for two and veal, salt, cocoanuts, chicken cooked in white sauce, a half hours the afternoon before the recital. Ill- disposi- mouldy fruit, rice, turnips, sausages in camphor, tioned audiophiles, arise! Polish up your golden ears pastry, cheese (white varieties), cotton salad, and and see whether you can catch the engineering magi certain kinds of fish (without the skin). I boil my slipping a practice- session splice into an on- the -spot wine and drink it cold, mixed with a fuschia juice. recording. I haven't the vaguest notion whether they did I have good appetite, but never talk while eating or not, but it is interesting to reflect once more that musi- for fear of strangling. cal history can be altered by a razor blade and a bit of "I breathe carefully, a little at a time, and dance scotch tape. only rarely. When I walk I hold my ribs and look steadily behind me. My expression is very serious; Carmen Jonah when I laugh it is unintentional, and I apologize very politely. Nobody seems to be able to say why, but Carmen is the "I sleep very soundly, with only one eye closed. opera above all others that is accident prone. For every My bed is round, with a hole in the middle for my story about a mishap in any other repertoire opera there head to go through. Every hour a servant takes my are at least two for Carmen. If you like excitement, make temperature and gives me another. it a rule never to leave a performance of Carmen (except "I am an old subscriber to a fashion journal. I a recorded one) before the final curtain falls. The odds wear a white cap, white socks, and a white waits - are that something at least a little out of the way will coat. happen. "My doctor has told me to smoke. 'Do smoke, The most recent Carmen contretemps to break into print dear friend,' he advises; 'otherwise someone will came during the New York City Opera Company's mid - smoke in your place'." western swing in November, when David Poleri, the Don Even in his delicate Mast for the Poor, Satie could not José, stalked off the stage of the Chicago Civic Opera be entirely conventional. One phrase in the score is House in a fit of pique over tempos and left Gloria Lane, marked to be sung "Very Christianly." No doubt that is the Carmen, to finish the last act Continued on page rte

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*cords In 'l2ew

Reviewed by PAUL AFFELDER C. G. BURKE JOHN M. CONLY RAY ERICSON ALFRED FRANKENSTEIN JAMES HINTON, JR. ROY H. HOOPES, JR. J. F. INDCOX ROBERT KOTLOWITZ DAVID RANDOLPH JOHN S. WILSON EMMA DICKSON SHEEFIY

Classical Music, Listed by Composer 49 The Best of Jazz 68 After Five Years: Uniform Equalization 5o The Spoken Word 7o Building Your Record Library 63 Children's Records 7o Collections and Miscellany 64 Dialing Your Disks 71 The Music Between 66 Mozart on Microgroove, Part VI 72

CLASSICAL Bach lovers may be surprised to find that BACH the entire opening " Sinfonia" of this can- English Smite No. 6, in D Minor - See tata is nothing more or less than the com- Schumann. BACH, Johann Christoph plete first movement of the famous concerto in D Minor. BACH Variations for the Harpsichord: Sarabande That concerto, moreover, exists in two forms Partita No. 6, in E Minor See Handel. duodecies variata and Aria Eberliniana - for both clavier and - violin. Its appearance pro dormente Camillo, variata here gives us one more BACH insight into Bach's attitude in fBuxtehude: La Capricciosa, partite the matter Sonatas for Flute and Harpsichord; of reusing his musical material. Here the No. r diverse sopra una aria d'inventione in B minor; No. 2 in E flat major; No. 7 solo part is given to the organ. Thus, the in G minor Finn Viderö, harpsichord. same music now exists on records in three HAYDN SOCIETY HSL -3069. 12 -in. $5.95 versions, all from Bach's own pen. (Those Poul Birkelund, flute; Finn Viderö, harpsi- who argue against the modern practice of chord. This is an excellent record, not only for de- "arranging" music for other than the original HAYDN SOCIETY HSL 3067. 12 -in. $5.95. votees of the harpsichord, but also for those instruments might take note.) These are fine performances, who are interested in the study of the varia- well recorded. Aside from the organ, which has most of A tion form. There are some truly surprising comparison with the Decca album in its say in the long opening movement, this which Julius Baker and moments in each of the works. Moreover, Sylvia Marlowe have cantata features the four vocal soloists. recorded six sonatas Bach as Mr. Videro points out in his jacket notes, of for flute and The chorus appears only in the second harpsichord reveals the it is likely that Johann Sebastian Bach wrote following (at least movement, and, of course, in the brief in the works which his Goldberg under the influence both sets have in corn- Variations closing chorale. Again, those interested in mon). Birkelund of these three works. The theme of the and Viderö tend towards studying the ways in which Bach adapted slower tempi than Buxtehude work actually appears in Bach's do the Americans. In his own music for different purposes will the Decca recording, variations. It should be noted that the the instruments are find it extremely rewarding to investigate placed at quite a distance from Bach represented on this disk is Johann the micro- this second movement. It consists of the phone; the Haydn Christoph (1642 -1703), an uncle of the Society brings them slow movement of the above -mentioned noticably closer, famous Sebastian (not his but without losing any Johann son, concerto, with choral parts added, or liter- Johann Christian). of the room resonance. Therefore, in terms ally superimposed. of intimacy Both the performance and the recording of "presence," the Haydn The solo writing is graceful, and very well Society recording would leave nothing to be desired. D. R. seem preferable. set forth by the four singers. Special men- One other tonal difference should be tion should be made of the feeling with noted: Baker's tone is more open and BACH which Anny Felbermayer invests her recita- "flutelike"; Birkelund's is darker and richer, tive and aria. There is a rather rollicking making the instrument Cantata No. 146 ( "Wir Massen Durch almost suggest the Viel duet for Trubsal in das Reich Gottes eingehen") the tenor and bass solos. tone of an oboe at moments. However, I The recording is vibrant and spacious, with must confess that I cannot tell whether the Anny Felbermayer (s); Erika Wien (a); due prominence always given to the soloists. difference is due to the characteristics of Hugo Meyer Welfing (t); Norman Foster If any fault could be found, it is in the the respective instruments and players, or (bs); Kurt Rapf, organ and cembalo. change in the position of the chorus, which whether the greater "openness.' of tone in Choir of the Bach Guild and the Vienna is very distant during the second movement, Baker's case is due to the considerably State Opera Orchestra, Felix Prohaska, cond. but very close during the closing chorale. greater distance at which he has been re- BACH GUILD BG -525. 12 -in. $5.95. D. R. corded. D. R. MARCH, 1954 49

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BACH -WALTON Artur Schnabel; Philharmonia Orchestra, Wilhelm Kempff; Berlin Philharmonic Or- The Wise Virgins- Ballet Suite. Issay Dobrowen, cond. chestra, Paul van Kempen, cond. tScarlatti- Tommasini: The Good Hu- RCA VICTOR LCT 1131. 12 -in. 32 min. DECCA DX-125. Three 12-in. 37, 30, 35, mored Ladies - Ballet Suite. $5.72. 33, 38 min. í17.55 Vienna State Opera Orchestra. Franz Lits- Schnabel died in 195r and Dobrowen last All previous editions have allotted two sides chauer, Cond. year. These were men, but we know them per concerto, and in order to provide the VANGUARD VRS 440. 12 -in. 4o min. $5.95. as talents, and revivification is an exultant economy of six sides instead of an expected and not an ironical word when it is applied 10, Decca has utilized the space after the An LP first for the Bach -Walton ballet score, to a talent that we can still hear. The conclusion of each concerto to start another, which is notable for the elegant and winning poetry of Schnabel, obtained by almost im- so that only sides t, with the first two move- Walton arrangements of Bach music from perceptible mutations from an expected ments of the First Concerto, and 6, with the some of the German masters' cantatas. musical motion, is in its best evidence here, last two movements of the Fifth, are res- Particularly felicitous are those for the lovely joined to an orchestral complement not tricted to one work. Distribution over one "Sheep may safely graze" and the ecstatic quite so poetic, but featured by a hearty rather short and five very long sides obvi- "Praise be to God." string tone and bluff punctuations. Trans- ates interruption within a movement, that In somewhat lighter vein, but equally fer from SP has served reproduction well, early sin of LP which seems now to have adept, are the Tommasini settings for the for it has more truth than several versions been exorcised; and thus we have no more Scarlatti music an enchanting score of - made only for LP, although the piano is than the customary irritation of turning one much grace and delicacy. They are not fully uncertain in the treble. Several editions are disk to have an entire concerto, although to realized by Litschauer in these performan- more desirable, but Schnabelians will not select the right one some little skill is re- ces, which are on the stolid side. C. G. B. quired to place the stylus in the blank fron- in care. Extremely bright sound throughout, tier band. The pressings are in automatic recording, which another very close -to -mike sequence, and in order to have one concerto tends occasionally to become piercing. BEETHOVEN complete, the discophile must have parts of J. F. I. The Five Piano Concertos: No. I, in C at least two others. If he wishes the Second Op. Iv No. 7, in B Flat, Op. Iw No. 3, in Concerto he must accept fragments of four, BEETHOVEN C Minor, Op. 37; No. 4, in G, Op. 58; willy-nilly. The three disks must be regarded Concerto for Piano No. 4, in G, op. 58 No. 5, in E Flat, "Emperor," Op. 73 as an indivisible unit.

After Five Years: Uniform Equalization Early in February something was accomplished for which perfection, then switched to what amounted to an NAB turnover and an tionist record -listeners have been hoping for a long, long time. AES treble boost, or something close to it. Other companies varied The Engineering Committee of the Record Industry Association of to suit their own taste. America decided on an industry-wide recording characteristic, or The curve now recommended by the RIAA's Engineering Com- curve. The only dampening factor (pun intended) in the joy inspired mittee, and approved by the Board of Directors, is essentially the by their announcement was (as Decca engineer Charles Lauda pointed "new orthophonic" RCA Victor characteristic. The turnover point out) that this should have been done five years and /or 10,000 is 500 cps; the treble boost is 13.5 db at 10,000. This also has recording sessions ago. been adopted by the NARTB and the AES. (As C. J. LeBel, secre- A good many otherwise estimable musico- audiophiles have tary of the AES points out, the new curve is within the deviation - stoutly resisted all attempts to explain recording characteristics to tolerances of the old AES curve.) them, particularly when the explanation was launched with the RCA Victor, of course, has been recording to this curve since velocity." infuriating phrases "constant amplitude" and "constant its adoption of the New Orthophonic trade -mark, somewhat more lateral record- Actually, the subject isn't very complicated. When than a year ago (among the first recordings it made with the new ing began - meaning that the cutting -needle inscribed tonal vi- characteristic were the Toscanini Beethoven Ninth and the Horo- were brations by swerving from side to side - two things prompt- witz "Emperor" Concerto.) Capitol, echoing Mr. LeBel's assurance ly discovered. One was that surface -noise consisted mostly of that the new curve differed only slightly from the old AES, which high tones. Accordingly, most record and transcription makers, they had been using since the inception of their "FDS" (Full Di- as they recorded, governed their recording amplifiers to beef up mensional Sound) series, shifted to the new curve in the middle systems the high tones of the music. Home music reproducing of last summer (without advising HIGH FIDELITY, to permit a (i.e., phonographs) were then designed to lower the highs' volume change in the Dialing Your Disks listing of various companies' back to normal. In the latter process, the surface noise also was equalization-settings.) Westminster, likewise without announcing lowered, of course, almost below audibility. the change, adopted the new curve in early autumn. The second discovery was that a loud bass passage made a re- Mercury was still on the "old" AES standard at the time of take an outsize lateral swing. Indeed, it often swung cording stylus this writing, and when they would change to the new standard had that it cut back over the last groove it had cut, thus so widely not been decided. Columbia was still using their modification ruining the recording. Therefore the custom arose of lowering of "old" NAB (the modification lies in the bass range from 150 the volume of bass in recordings progressively, curbing the stylus down). According to Columbia's top engineer, William S. home amplifier also drew the job of restoring this lost cps swing. The Bachman, Columbia intends to make the change to the new curve bass volume. "gradually." He did not amplify nor explain. Presumably the minor Both these techniques were helpful. The trouble was that of labels whose disks Columbia presses will follow the Columbia ex- were altogether too individualistic. Hardly recording companies ample, for the most part. The same applies to the minors pressed by on the same amount of treble -boost or bass -droop. two settled RCA Victor and Capitol. London's curve almost matches the new make of record, played at an equalization- setting worked One one, but for the fact that its treble boost is only 10.5 db at 1o,000 out for another make, would sound shrill, or dull, or boomy. cps., requiring a little additional treble from tone controls. Customers fumed, and manufacturers of preamplifier -equalizers had a field day, selling control systems with a dozen or more com- The change, at this late date, is a source of both annoyance binations of equalization -curves stencilled on their scutcheons. and sly gratification on the part of preamplifier -equalizer manu- The most common and stable curves were the "old" National facturers - they'll have to incorporate a new setting in their de- Association of Broadcasters' (NAB, now NARTB) and the Audio signs (most already have the setting, although not by the new Engineering Society's (AES). The NAB curve incorporated a treble RIAA -AES -NARTB title), which is irksome. On the other hand, boost amounting to 16 decibels at to,000 cycles per second. Its they cannot help being glad that some millions of microgroove turnover -point (below which bass is progressively weakened) records, requiring varied equalization, have been issued before was Soo cps. The AES treble boost was 12 db at to,000 cps; its uniformity prevailed. As Manufacturer Avery Fisher says, "People turnover point was 400 cps. Columbia used a modified NAB. will be needing equalizers for some time yet." Presumably, few RCA Victor and London started out with curves of their own inven- people will throw away their old disks.

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. Prof. Kempff may almost be taken for make is that at times she is slightly sharp. granted. This remarkable pianist only un- Miss Merriman sings strongly and accurate- dertakes to record music equally translatable ly. Mr. Conley's tenor most of the time by his hands and his head. The unfailing sounds disappointingly thin and distant, symmetry of contour and dynamics, and the and Mr. Hines also is almost inaudible at unique sense of time always noticed in his times, though his voice is fine when it records, give to the most robust romanticism can be heard. a glow of polished logic. Even when the It must be said, despite the deficiencies of concept surprises, as in the poised and equ- balance, that having the quartet subordin- able gentility of the opening of the Fourth ated is far preferable to having it dominant, Concerto, and the restraint applied to the and the balance indeed may be close to sport of the First, the emerging finish of proper in relation to the large forces in- design effects its own temporary conviction. volved. The total effect doesn't suffer The singing exultation of the first move- much, in any event. ment of the Third makes this performance The NBC Symphony not only plays the best on records, and after the grave, wonderfully but also manages to be heard imperturbable poetry of all the slow move- impressively despite the competition from ments the infinite variety of the rondos Mr. Shaw's chorale (the matter might also may seem like the greatest achievement, be put the other way around, i.e., the or- as it is certainly the least usual. The orchestra doesn't drown out the chorus, either). chestral collaboration is creditable and often On occasion there are details that one gets excellent, in line with the pianist's thought only an inkling of, but the record isn't but naturally less flexible, similar in phrase made yet that will encompass - and expose but less decisive in accent. - everything in such a big concentration The faults are in a perplexingly variable Toscanini listens at home. "It is bard of sound. It is remarkable what does come sound rich in both beauties and blots. Side to imagine more exalted music -making." through. Both the engineers and the re- 3 is defective, producing strange noises cording director had plenty of problems, where the music has been incompletely and they solved most of them satisfactorily engraved. Possibly this calamity indicates invariably cites the "inhuman" requirements - even that of the solo violin in the Bene- that the Deutsche Grammophon originals imposed on the singers. For such critics, dictus, although a sharp ear will detect some were made on disks, then transferred to tape the Ninth's finale and much, at least, of erraticism in the volume level thereabouts. to be rerecorded on disks by Decca, a long the Mista are unsatisfactory. The high points in the performance are process beset by hazards. The noise mars There is an interesting fact about these numerous. There is no doubt, I suppose, the end of the Second and the beginning dissenters, however. Expose them to a per- that the Agnus Dei is the most inspired of of the superbly played Third Concerto. The formance of the music, and they sometimes the five major parts; it contains, in the Dona latter also has an unfortunate excess of will change their minds. The change may nobis pacem, one of the most beautiful echo. The piano is imposing in the bass not be permanent, but it holds good at melodies in existence. But the whole work throughout, and often in the treble, but the least until the memory of the concert pales. is full of inspirations, accumulating on a treble does occasionally bell, and is often In our time the concerts where this phenome- steadily ascending scale from the Kyrie to hard when loud. There is no consistency in non has occurred most often have been the end. And the performance slights none. it: for long passages its sound is faultless. those of Arturo Toscanini. The electrifying start of the Gloria and of The Fifth Concerto opens with a brittleness What Toscanini has been able to do in the surging Credo, the incomparable Et in the composed cadenza, and thereafter the concert hall ephemerally may now be vitam venturi fugue - one of the most ex- enjoys first -class reproduction. String tone, accomplished permanently. A little over a citing things ever recorded; the lovely generally acceptable, deviates into moments year ago Toscanini gave us a Ninth Sym- adagio, Et incarnates, and the whole of the of harshness and moments of real allure- phony recording of invincible quality, with Benedictus, with its haunting violin solo - ment, in the Fifth and especially in the a choral finale that tingled the spine as it is hard to imagine more exalted music - Fourth Concerto. The winds are equally Beethoven must have wished. Now we making. likely to lose their timbre in the mass or to have a Misty Solemnis in kind, and another It is the guiding hand, of course, that assert it brilliantly. At no time does the landmark for posterity. makes this recording what it is. Beethoven equilibrium between soloist and band vio- The Mista and the Ninth, written con- created the Mista, like the Ninth, with de- late propriety. currently, are complementary. In the Ninth, votion, and Arturo Toscanini has done his The only living pianist who seems in a Beethoven expressed his faith in man. The best to re- create them in the originator's position to challenge Prof. Kempff in all Missy affirms his faith in God. Toscanini image. The two recordings will stand as five is Walter Gieseking, who via Columbia approaches the one as he did the other. The parallel monuments to two orders of genius. has given us One, Four and Five in unfor- Mists performance is a marvel of pulsing, JAMES G. DEANE gettable versions. Recordwise, there is no vibrant, intensely earnest and expressive satisfactory way of comparing those sepa- music- making, from the majestic, measured BEETHOVEN rate disks with this inseparable integer. phrases of the opening plea for mercy to Symphony No. 3, in E Flat, "Eroica," C. G. B. the final sublime supplication for peace. op. 55 The first detail with which one is con- Vienna Philharmonic Orchestra, Wilhelm cerned is the quality of the singing. On the Furtwängler, cond. BEETHOVEN part of Robert Shaw's choristers, is it mag- RCA VICTOR LHMV 1044. 12.in. min. Missa Solemnis in D, Op. 123 Shaw's always 52 nificent. singers are splendid- $5.95. Lois Marshall (s); Nan Merriman (ms); ly drilled, but on occasion they have lacked Eugene Conley (t); Jerome Hines (bs); the something in spirit. Here they have caught Two admirable points -a glowing or- Robert Shaw Chorale and NBC Symphony fire just as they did in the Ninth. The chestral synthesis, especially in the Funeral Orchestra; Arturo Toscanini, cond. soloists are less spectacular, but judgment March, and a jubilant military final coda. RCA VICTOR LM 6013. Two i2 -in. 75 min. here is complicated for a mechanical reason. Elsewhere the hero is bandaged. C. G. B. $11.44. In numerous recordings the solo voices, by being made too prominent, practically steal BEETHOVEN Beethoven's Ninth Symphony and Missa the show. Here, the case is the other way Symphony No. 6, in F, "Pastoral," Op. 68 Solemnis both occupy, in one sense, a around. The quartet has been relegated Vienna Symphony somewhat peculiar position. Most hearers the background. Orchestra, Willem van somewhat to Otcerloo, cond. have ranked each among music's supreme Soprano Lois Marshall seems well placed; EPIC LC 3011. 12 -in. 42 min. achievements. A minority, however, has her voice soars prettily over the proceed- $5.95. expressed dissent. This is the minority that ings. At the public performance and re- A healthy, muscular and in fact excellent presumes Beethoven had only contempt cording sessions Miss Marshall seemed performance whose indomitable sturdiness for the human voice and never learned ade- rather tense, but this is not noticeable on has its own good value, and its sonic value quately how to employ it. This minority the record, and the main criticism I would is equally impressive, with both the bulk

MARCH, 1954 51

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There is a WCFM disk of the Mozart in its With the release of this recording, the, original form. The Boccherini is the syn- Brahms Third is now represented an even thetic Concerto, with movements from two, dozen times in the catalog. For me, none of which has four other recorded editions. Mr. the newer versions measure up artistically to Starker here, as usual, is imposing, and the those by Koussevitzky (RCA Victor) and sound of his instrument is as rich as we can Ormandy (Columbia). Böhm gives a some- hear it, and unsurpassed in registered real- what stiff, unimaginative reading to this ism; but this is offered at the expense of the often impassioned score; and there are a orchestra, distant and ineffectual in a sad few spots, particularly in the first movement, destruction of balance. C. G. B. where careless balancing of the orchestral voices - probably the fault of the conductor, not the engineers - causes the music BORODIN to sound wrong. Otherwise, the recorded Dances Prince Igor: Polovetsian sound is agreeable. P. A. fGlinka: A Life for the Czar: Ballet Music Bolshoi Theatre Orchestra and Chorus; A. BRAHMS - and S. Samosud, conds. Melik Pashaieff Trio No. r in B Major, Op. 8 COLOSSEUM CRLP IOI IO. 12 -in. $5.95. Jean Fournier, violin; Antonio Janigro, The jacket that encloses this record bears a 'cello; Paul Badura- Skoda, piano. curious legend: First Printing 1951; Second WESTMINSTER WI. 5237. 12 -in. $5.95. Printing 1952; Third Printing, Complete New High Fidelity Edition 1954. Now BRAHMS Badura- Skoda: Fournier, Janigro and he just how a recording or tape not originally Trio No. r in B Major, Op. 8 edged out a veteran trio of Brahmsians. hi -fi goes about achieving the blessed state Isaac Stern, violin; Pablo Casals, 'cello; is not quite clear; even less clear is what it Dame Myra Hess, piano (Casals Festival at achieves fidelity to, high, low, or otherwise. and the detail of the orchestra fatly stated. Prades, Vol. III). The performances are as before - pre- Untroublesome string -tone, snapping wood- ML 4719. 12 -in. sumably authentically Muscovite in feeling, COLUMBIA $5.95 winds and a clear, assertive bass put this in competently conducted, with tempos gauged No. 2 in C Major, Op. 87 the class of the Scherchen recording on Trio to theatrical practicability rather than maxi- Westminster WL 5108, but Mr. van Otter - Joseph Szigeti, violin; Pablo Casals, 'cello; mum brilliance of effect, played (and, in the loo's interpretation is less mannered than Dame Myra Hess, piano. Prince Igor, sung) industriously rather than Dr. Scherchen's and has more pastoral ex- COLUMBIA ML 4720. 12 -in. $5.95. especially well. The new "fidelity" seems in pansiveness. Perhaps the new one is second this case to have been sought in the bowels only to Otto Klemperer's heartfelt paean on }Schumann: Trio No. r in D Minor, Op. 63 of an echo chamber and to consist of shriek- Stücke Op. foe Vox PL 696o. C. G. B. Fünf im Volkston, ing highs and plenty of synthetic boom - Alexander Schneider, violin; Pablo Casals, boom. An extra added annoyance on the Mieczyslaw Horszowski, piano, in BIZET side devoted to the Glinka is the sudden 'cello; the Trio. Pablo Casals, 'cello; Leopold L'Arlesiernne Suites Nos. r and 2. deadness that sets in at the end of each band Mannes, piano, in the Flint Stricke. and the fact that both the Mazurka and the Orchestre des Concerts Lamoureux, Jean COLUMBIA ML 4718. 12-in. $5.95. Fournet, cond. Polonaise are cut off abruptly before the resonance dies. J. H., Jr. (The above Columbia disks also available EPIC LC 3o18. 12 -in. 38 min. $5.95. in si.-184. Three i2 -in. $17.85.) two lovely suites are excerpted from These BRAHMS Here is an embarrassment of riches for the the 27 pieces of incidental music Bizet Clarinet Sonata No. s in F Minor, Op. 120, chamber-music lover. Volume Ill in this composed for Alphonse Daudet's drama, No. r season's release of Casals Festival record- L'Arlésienne. Though the play was a failure, Clarinet Sonata No. 2 in E flat Major, ings - actually the 1952 Prades Festival - Bizets music left a strong impression, and Op. 120, No. 2 is among the most notable of the entire that make he later arranged the four pieces series, for the great 'cellist is here heard Leopold Wlach, clarinet; Joerg Demus, up the Suite No. 1. His good friend, Ernest performing in all four works in the set piano. - Guiraud arranged No. 2. Both suites are also occasionally adding vocally to the inter- orchestration and WESTMINSTER WL 5236. 12 -in. $5.95. filled with melody, vivid pretations with a characteristic grunt or the composer's ability to create a strong feel- Brahms' final four chamber works owe their hum. His impeccable musicianship domin- ing of atmosphere, in this case that of existence to the clarinetist Richard Miihl- ates all of the performances here, but is Southern France. feld, whose playing inspired the composer particularly evident in the Schumann suite. Though this performance has a Gallic re- to create four masterpieces employing this The same composer's Trio in D Minor is also finement, occasionally overrefinement, it instrument - the Clarinet Trio, Op. r 14; delivered with great warmth and lyric beau- manages to suffuse a glow and warmth Clarinet Quintet, Op. 115, and the two ty. Brahms is treated more broadly, with essential to the score, and is particularly Clarinet Sonatas, Op. 12o, recorded here. The some of the tempi - particularly in the effective in the last section of each suite - music in these sonatas is a magnificent Trio in C Major - decidedly on the slow the Carillon and Farandole. combination of lyrical beauty and noble side. In the last -named work, in fact, one Soundwise this is merely fair to good. sobriety. As set forth on the present well - finds a certain lack of focus, much as if the Experimenting with the recording, I found recorded disk by Wlach and Demus, only three artists had sat down for a cursory run - it to sound much better on an ordin- the surface of this wonderful music reaches through of the music. Elsewhere, however, ary commercial machine than on high fi- the listener. On the other hand, Reginald there is nothing but concentrated interpre- delity equipment. J. F. I. Kell and Mieczyslaw Horszowski, on a tive wealth. Mercury record issued several years ago, Westminster's distinguished and carefully BOCCHERINI get beneath that surface for a much more matched threesome - Fournier, Janigro and now done a Concerto for Cello and Orchestra in B Flat sensitive and revealing interpretation. Both Badura -Skoda - have good deal of recording together, so their perform- Major - See Vivaldi. the label and the jacket of the present disk the Trio in B Major is somewhat insist that the Sonata No. 1 is in F Major; ance of of course, it is in F Minor. P. A. brighter and more assured. The reproduc- BOCCHERINI tion is also brighter and more spacious Concerto for Violoncello in B Flat than in the Casals set, where the micro- t Mozart: Horn Concerto No. 3, arranged BRAHMS phones have been placed closer to the per- as a Cello Concerto Symphony No. 3 in F Major, Op. 90 formers. Janos Starker; Castle Hill Festival Orchestra, Vienna Philharmonic Orchestra; Karl Böhm, Those who love the B Major Trio, a gem Maximilian Pilzer, cond. cond. of a work, will want to compare - and own both versions. P. A. PERIOD 579. 12 -in. 22, 19 min. $5.95. LONDON LL 857. 12 -in. $5.95. perhaps -

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BRITTEN CHOPIN name is Robert E. Blake, and he is a great Diversions on a Theme for Piano (Left Complete works for piano. Vol. s: Four man. So is Aaron Copland. So is Webster Hand) and Orchestra, Op. 21 - See Ballades; Four Impromptus; Four Scher- Aitken. The Copland of the broad, thought- Strauss, R. zos; Barcarolle ful, sonorous, but rhythmically rich sonata Gaudio Arrau, piano. pleases me the most, but there are those who prefer the spare, ascetic BRUCKNER DECCA DX -13o. Two 12 -in. 38, 22, 41, plangorousness of the variations, and they are entitled to their Symphony No. 9 in D Minor 9 min. $11.70. views. The Passacaglia is one of Copland's Pro Musica Symphony Orchestra; Jascha Mr. Arrau is said to have a repertoire large earliest works, one of his least personal, Horenstein, cond. enough to fill 86 recital programs and 65 but a fine one for all that. Aitken's past - Vox PL 8040. 12 -in. $5.95. orchestral appearances, and at one time or mastery of piano playing emerges from the another he has devoted series of recitals to first note. A. F. This is Anton Bruckner's last symphony, the complete keyboard music of Bach, left unfinished at his death. For the average Beethoven, Weber, Ravel, Chopin and COUPERIN listener, it is one of the most accessible of Schubert. Now he is in the process of Pieces en Concert for 'Cello and String Or- his scores rich in melodic - inspiration, recording for Decca all of Chopin's piano chestra See Vivaldi. concisely constructed, - controlled in its music and all of Mozart's piano concertos; wanderings from key to key. Perhaps the the first volume of the Chopin cycle is here DEBUSSY work is for better not having been completed; under consideration. Estampes; Images See Ravel. it is in - often Bruckner's final movements The kind of voracious, energetic, restless that he loses the inspirational spark. When intellect that Mr. Arrau apparently has DEBUSSY the listener hears the Ninth Symphony - seems to respond most sympathetically to Suite Bergamasque perfectly balanced as it is he yearns for - the more formally complex music, and it is tRavel: Gaspard de la Nuit more, instead of being surfeited. the F Minor Ballade that receives the out- One ask for Friedrich Gulda, piano. could no more sensitive, standing performance on these two disks. warm -hearted interpretation LONDON LL 754. 12-in. than that ac- When faced with the melody that begins $5.95. corded the symphony by Horenstein and the F Major Ballade, the pianist fusses and Young his fine- orchestra. Vox keyboard wizards with lots of tech- sounding has pro- toys with it as if its simplicity did not give vided nique and not much musicianship are no some of its best recording, too -a him enough to think about. On the whole, tone, scarcity on the concert and record markets clean string good balance and just these are serious, mature interpretations, the amount today. But when one of these youngsters proper of hall resonance, with generally admirable and worthy of study, the microphones comes along whose startling technique is placed neither too close yet lacking the intuitive poetic sense that nor too far away. overshadowed by sensitive musical taste, it would make them wholly satisfying. is time to sit up and take notice. The jacket notes go to some length to Such a Mechanically the recording is excellent, phenomenon is 23- year -old Friedrich discuss the complete original version of this Gulda. for the piano tone sounds clean, natural and Up till now, he has symphony and the truncated version been heard on disks in by ringing. The amount of hall resonance nothing more modern than Ferdinand Löwe, but neglect to state which Chopin, so it around the piano varies, being strongest is arresting to hear what he of the two is employed here. Fortunately, does with De- (and slightly annoying) in the Impromptus bussy and Ravel. Never anywhere have I it is the composer's original that is used, and happily absent in the Ballades. heard the Suite Bergamasque- especially allowing us to hear it as Bruckner con- the Now that it has begun this project, it is Menuet and Pauepied played with ceived it. P. A. - such to be hoped that Decca will see it through. elegance and appreciation for its classical None of the as yet unrecorded Chopin foundations. Neither do the fierce technical BUXTEHUDE works are masterpieces, but they have a good demands of Gaspard de la Nuit hold any La Capricciosa, partite diverse sopra una deal of period charm and historical interest terrors for Gulda, who meets them and has aria d'inventione - See Bach, Johann and will repay listening. R. E. technique to spare - at the service of art Christoph. and drama. Add to these qualities first - rate reproduction and you have a piano disk COPLAND no one in his right mind will ignore. Even CHERUBINI if you already have recordings of these two Pater Nosier (1834 Appalachian Spring; El Salon Mexico (two versions) works, you had better hear this one. If tTartini: Sinfonia in A major for Strings do, and you you probably will buy it. P. A. Harpsichord Vienna State Opera Orchestra; Franz Lits - tLully: Marche pour le Regiment du Roi chauer, cond. DELLO JOIO (167o) VANGUARD VRS 439. 12 -in. $5.95. Epigraph See Green. tPhilidor: La Marche Royale (1679); - La Marche pour le Roi de Chine (1679); Boston Symphony Orchestra; Serge Kous- sevitzky, cond. Marche du Prince d'Orange (1688) Aaron Copland: concatenation RCA VICTOR LCT 1134. 12 -in. $5.72. a of great The London Baroque Ensemble. Karl Haas, men makes his sonata recording special. cond. Koussevitzky remains the old master. A. F. DECCA DL 4081. 10 -in. 27 min. $2.50. A most appealing little disk and, at its price, a real bargain. The works are little -known COPLAND but charming examples of Baroque music, Passacaglia, Piano Variations Piano mainly for the oboe and bassoon family. Sonata An exception is the Cherubini Pater Noster, Webster Aitken, piano. a grave and lovely piece, played with great WALDEN 101. 12 -in. $5.95. beauty by Pougnet. The little marches of Lully and Philidor are not in the least The writer of this review has been listening martial in spirit, nor are their tempos similar to phonograph records, man and boy, since to the march as we know it today, being the early days of the Taft Administration, more leisurely and less strongly defined. In- and in that time he has heard more thousands cidentally Philidor's Marche du Prince of piano recordings than any one human ¿Orange turns out to be our old friend being should admit. Of them all, this is Lilliburlero. probably the most perfect. Every phrasing, The recording varies considerably in nuance and remote subtlety of color is quality. The Cherubini, taking up one present on this marvelous disk, which repre- side, is quite excellent, the obverse side sents an almost unparalleled creative col- is weaker, and at the bottom very dead, laboration of composer, interpreter and re- particularly in the sound of the drum. J. F. I. cording engineer. The recording engineer's

MARCH, 1954

www.americanradiohistory.com DIVUS one that will supersede the old, but still un- tMennin: Concerto for Orchestra Voices of the Night surpassable Casals interpretation for RCA Mello Joio: Epigraph Victor has yet to be made. P. A. Hyla Crucifer (s), Acris Gryllus (ms), Rana - American Recording Society Orchestra; Hans Sylvatica (a), Bufo Cognatus (t), B. Ameri- Swarowsky, cond. canus Holbrook (t), R. P. Pipiens (bne), R. DVORAK ARS 31. 12 -in. 23, ro, 12 min. $5.35 (bs); A capella Chorus of the Violin Concerto in A Minor, Op. 53 Catesbeiana Ray Green, head of the American Music Spring and Summer Festival, A. tGlazunoff: Violin Concerto in A Minor, Stillwater Center, is represented for the first time A. Allen, cond. (Paul Kellogg, recording Op. 82 on disks with a persuasive symphony in- Phil- director.) David Oistrakh, violin. National spired by and in some respects directly based RECORDS. 38 min. CORNELL UNIVERSITY harmonic Orchestra; Kiril Kondrashin, cond. upon shape -note psalms and other old $6.75. COLOSSEUM CRLP 137. 12 -in. $5.45. American hymns. The titles of his five Essentially a rondo complicated both by movements are "Fuguing Tune," "Help Me obvious ele- FALLA to Sing," "Help Me to Quietude," "Help fragmentary sonata form and Baetica; Ritual Fire Dance; four this often heard but little Fantasia Me to Joy," and "Exit Tune." The sym- ments of rhapsody, Espagnoles: Aragonesa, Cabana, becomes more perplex- Pukes phony is in the great tradition begun by understood music Mountanesa, Andaluza; Serenata An- with each of its occurrences, hearers Charles Ives, with his works on American ing des/size showing a progressive indifference and in- liturgical themes composed 6o years ago, deed complete lack of understanding of its Menahem Pressler, piano. but Green is closer to his material, handles meaning, origin and beauty. Once this was MGM E 3071. 12 -in. 13, 3, 3, 4, 5, 5, 3 it somewhat more literally and with less not true: people accepted and admired the min. $4.85. individual mastery of form than Ives. Still incredible mixing of polytonality and aton- and all, this is a most attractive work. The Hard on the heels of the recent recordings ality, of obscure modes and naive mono - Mennin is rather less attractive and is not a devoted to Falla's piano music comes this tonalism, as the creation of a universal first -rate example of its composer's dis- disk, red cover and all. Cheaper than its Composer; but we are all specialists now, tinguished talent. There is something about rival, with José Echaniz as have been taught to decry universalism Westminster the emotional impact of a reading of Moby who pianist, the MGM entry offers consider- as incompatible with the aspiration of Dick in the program notes, but the music in repertoire and sheer playing (stet) man for a concatenation of ably less sounds as if it proceeded from the aural im- modren time, although the transcriptions of or- Cadillacs. It is certainly not the candid lust pace of Hindemith's Mathis der Maler. The chestral works on the Westminster do not of this continuous serenade that offends us Dello Joio piece, however, is extremely amount to much. Mr. Pressler is the better Americans complaisant to the exultant eroti- lyrical, yet reserved and beautifully shaped. technician, produces a better piano tone, of Rosenkavalier and Tristan: it may be A. F. cism with more lyricism perhaps to our angered knowledge that these and plays - just the point of sentimentality. The sound will singers are not civilized and manufacture do, and there is less surface noise than on GRIEG cash. Like the untoppled tree, the un- no Mr. Echanii s restrained, Violin and Piano Sonata No. 3, in C Minor, stream, the unslaughtered heron, most MGM disks. polluted versions seem in better style, unblasted hillside and the highway with- astringent Op. 45 the however, and Westminster's recording en- tSchubert: Violin and Piano Sonata No. billboards, they mock our progress. out are peerless, so that the whole aura of 5, in A, Op. 162 (Duo) The present performance is perfect. gineers - is much superior to that on the one deviation from correct pitch, not performance Fritz Kreisler, violin; Sergei Rachmaninoff, Not MGM record. If you want the extra reper- sloppy intonation. Miss Crucifer will be piano. one Westminster disk is easily worth if not identified, and Mr. Cates - toire, the RCA VICTOR LCT 1128. I2 -in. 23, 20 min. remembered the additional dollar it costs. R. E. beiana is in magnificent voice. Some are $5.72. but their work should be studied. strangers, dubious in which involved personal dis- GLAZUNOFF There have been some entries The sound, Victor's Treasury of Immortal Per- to conductor and recording direc- Violin Concerto in A Minor, Op. 82 - RCA comfort formances, but this one fully deserves a is distinct and seizing; and the surfaces See Dvorak. tor, place in the series. Regardless of the quality are free of noises not planned. Warmly to those who know what of reproduction, which is at least adequate, recommended' GLINKA the Kreisler- Rachmaninoff version of the are buying: an admirable production, A Life for the Czar: Ballet Music See they - is an exciting example two subversive. C. G. B. Grieg sonata of but probably Borodin. matching talents. Kreisler's wife recommends it especially great performers An editor's vibrant, passionate, rich -toned exposition warmly for chilly winter evenings, whose GOUNOD of the violin part is superbly balanced by atmosphere it dispels with fine sum- dismal Ballet Music from "Faust" - See Tchai- the urgent, unsentimental, bejeweled pian- conviction. mery kovsky. ism of Rachmaninoffff. They are in thorough agreement on matters of tempo and phrasing, DONOVAN GREEN and their rapport in Grieg's rhapsodic music Quartet for Woodwinds- See Gruen. Sunday Sing Symphony is a complete joy. I have reservations about in American Recording Society Orchestra; Max Rachmaninoff's playing the Schubert is but some- DVORAK Schoenherr, cond. sonata, which often charming overly suave and superficial. I have 'Cello Concerto in B Minor, Op. 104 times none whatever about Kreisler's performance, Antonio Janigro, 'cello. Vienna State Opera at once songful and deeply felt. The Schu- Orchestra; Dean Dixon, cond. bert is listed as being recorded in 1928. WESTMINSTER WL 5225. I2 -in. $5.95 The Grieg, bearing no date, sounds to be vintage, although the piano comes one of the cornerstones of the the same This concerto, with more clarity. is given a rather unortho- through cellist's repertoire, The tones of the instruments sound sur- interpretation by Janigro. Everything dox prisingly full and the balance is excellent, clear both in his superlative execu- is crystal only occasionally favoring the violin. R. E. tion of the solo part and in the careful orchestral accompaniment directed by the American conductor, Dean Dixon. In an however, GRUEN effort to achieve that clarity, Pomes Penyeach, Thirteen Ways of Looking soloist and conductor have often broadened at a Blackbird the tempo and phrasing to an extent that work of its fire. As usual, West- Patricia Neway (s), John Gruen, piano. robs the DAVID G. ALLEN minster has provided vividly clear, moder- Holbrook, tenor: "Not one deviation tDonovan: Quartet For Woodwinds ately dose -to reproduction. But the de- B. A. pitch, not one sloppy intonation." tKraehenbuehl: Canzone for Woodwinds finitive modern recording of this concerto - from HIGH FIDELITY MAGAZINE 54

www.americanradiohistory.com RECORDS

Yale Woodwind Quartet. WESTMINSTER WL 5215. 12 -in. $5.95. CONTEMPORARY, INC. AP 121. 12 -in. $5.95. Both aesthetics and musicology are well John Gruen is a young New Yorker who served by this fine disk. It is gratifying to specializes in writing songs. His Pomes see realized in actual sound some of the Penyeach is a cycle of seven songs on texts works by that army of older composers who, from that celebrated collection by James for so many years, have been encountered Joyce, and his Thirteen Ways of Looking at a only in the indexes of books on music his- Blackbird is actually one long song on a tory. Isaac, who has been called Izak, Ysack collection of 13 miniaturistic verbal implica- or Isaak, was born in 1450, the same year tions by Wallace Stevens. Both cycles are that marked the birth of his better known superbly effective, which is extraordinary, contemporary, Josquin Des Prez. He has for all the poems are really too good to be been referred to as the "most versatile com- set to music. But Gruen has successfully poser of his time," and is considered the interlined the Irish nostalgia of Joyce with first in the distinguished line of Germany's new emotional resonances, and he has contrapuntal masters. handled the Stevens with equal pointed If the music contained on this recording subtlety, suggesting the Oriental sources of is typical of his output, then Isaac was a the Blackbird without any Orientalisms at very sophisticated composer, indeed. This all. He has a magnificent assist from Miss is music of great technical finesse and polish, Neway; singing like hers would convince as well as feeling, and it is a pleasure to one that anything is a masterpiece, and report that it is sung with a completely when she has really fine things like these sympathetic approach. is Haydn: from the Schneider foursome and There an over -all to sing, so much the better. The wood- sense poise in equally dedicated engineers, a treasure. of the performance, which wind quartet by Richard Donovan, long a seeks out the beauties of the score without member of the Yale faculty, is spirited, ever becoming dry or musicological. The witty, reservedly lyrical in its slow move- great Quartets and a good one, woven by sounds themselves fall gratifyingly on the ments, and extremely adroit in its handling the most professional of composers, at the ears, and a special word should be said of the medium. The piece by David Krae- zenith of his invention in his late 6ós, out about the fine pianissimi that Mr. Gross- henbuehl is a good, solid affair in the of a serenity of experience and skill into mann draws from the chorus. Renaissance tradition of the canzona for music of enchanting and inimitable apparent It occurred to this listener, after he had winds. Woodwind ensembles usually record simplicity. Four of the Quartets have heard the work, that all his thoughts had well, but this one records exceptionally gathered distinguishing nicknames, almost been devoted to the music itself and to the well. A. F. invariably a sign of first -quality Haydn; performance, and hardly at all to the re- and the first of the group, Quartet No. 69, cording as such. What greater compliment has suffered some neglect because a name can be paid to the recording, though, than HANDEL has not been found for it. With its de- to say that it permitted the music to come Suite No. 5, in E votional second movement, frisky scherzando through, without calling attention to itself. tBach: Partita No. 6, in E Minor of a minuet and the charming foolery of its D. R. tScarlatti: Five Sonatas: Longo 443, in C- finale it is not secondary to its brethren. 275, in E Minor; 23, in E 413, in D Minor Contrarily, Op. 76, No. 6 is of smaller dis- JOHNSON (Pastorale); 424, in D tinction. The repute of the others does not Concerto for Piano and Chamber Orchestra Walter Gieseking, piano. need explanation. The Schneider Quartet, in two incarna- John Kirkpatrick, piano; Rochester Chamber COLUMBIA ML 4646. 12 -in. 8, 22, 13 min. Orchestra; Robert Hull, cond. $5.95 tions, have now recorded 35 of Haydn's quartets for the Haydn Society. For the tHonegger: Symphony for Strings Devoted to the triumvirate of musical giants first time on their route towards completion who were born in 1685, this disk should of all 77 the Schneiders encounter col- Rochester Chamber Orchestra; Robert Hull, need no recommendation. The superb leagues in posture to dispute their pro- cond. music - the Scarlatti assortment is a very prietorship. The " Quinten" by the Galimir CONCERT HALL SOCIETY 1189. 12 -in. $5.95. one is heard in performancess of choice - Quartet on Period 504, the "Sunrise" by Hunter Johnson's concerto is a rather re- the utmost stylishness, from a candid ac- the Budapest Quartet on Columbia ML markable work, immensely strong in its of the Handel suite (with the so- called count 4216, and the "Largo" by the Vienna Kon- rhythms, quite complex in its structure, ex- Blacksmith variations), Harmonious through zerthaus Quartet on Westminster WL 5034 ploiting elements abstracted from jazz, but a beautifully ordered Bach partita, to some in are excellent and some respects to be with a profoundly serious over -all cast that ravishingly colored Scarlatti. Mr. Gieseking preferred to the equivalent Schneider ver- gives the piece great distinction and charac- does not produce the beautiful tone that is sions. There are points of insight and deter. The famous Honegger symphony a hallmark of Robert Casadesus' pianism in tails execution, not easy to of evaluate, scarcely needs discussion. I suspect that a similar cluster of Scarlatti sonatas, nor which shift admiration from one edition to Honegger is the Tchaikovsky of the 1907's, he play with such chill exactitude, does another; but where the Schneiders win de- wherefore we had better enjoy his music in bring a welcome warmth but he does and cisively is in the quality of the engineering the 1950's for such freshness and dramatic flexibility to his interpretations. Recorded granted to them - analytic and pure, with interest as it may possess. It possesses a in 1951, these performances fare better than a carefully estimated, unobtrusive resonance good deal of both if one does not work it some other recent Gieseking releases on and great regard for proportions, the whole too hard. The recorded sound is intimate Columbia. The tone is relatively full and and eminently unmistakably quartetish, in and insistent. A. F. rich, and it emerges distinctly. R. E. the first class of recording for the four traditional instruments. The sonic leadership gives the Schneiders overall leadership. KRAEHENBUEHL HAYDN C. G. B. Canzona for Woodwinds - See Gruen. Quartets (6), op. 76: No. 69, in G; No. 7o, HAYDN in D Minor, "Quinten"; No. 71, in C LULLY Toy Symphony -See Mozart. "Emperor "; No. 72, in 13 Flat, "Sunrise;" Marche pour le Regiment du Roi (167o) No. 73, in D, "Celebrated Largo;" - See Cherubini. No. 74, in E Flat. HONEGGER Symphony for Strings - See Johnson. Schneider Quartet. MARAIS HAYDN SOCIETY HSQ -L. Three 12 -in. 19, ISAAC, Heinrich Suites for Viola da Gamba and Harp- 19, 22, 22, 21, 23 min. $18.50. Missa Carminum sichord

This is the opus- number with the most Wiener Akademie Kammerchor; Ferdinand Ernst Victor Wolff, harpsichord; Eva Hein - fantastic generosity in chamber music: five Grossman, cond. etz, viola da gamba.

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EMS 8. 12 -in. $5.95. is concerned because women nowadays are measure, and everyone will agree that the frigid to their lovers and have developed a Weingartner lucidity, so favorable to form, Two completely non -musical considerations casual contempt for his arrows. Venus agrees has not been favorable to the romanza in might serve to fix in our minds the name of (possibly because she is in the same racket) quickening it. The Toy Symphony is tender Marin Marais, who makes his first appear- that this is an insupportably bad situation, and understanding beyond compare, but ance on microgroove with this disk. One, and they drop down to tell Pluto. He, too, the review pressing was terribly off pitch, too years the fact that he was born exactly perhaps a freak of an eccentric copy but, before Mozart - in 1656. Two, the fact if not, fatal to this part of the disk. The that he shared with his younger contem- transfer is sonically acceptable and the sound porary, Bach, a certain fecundity, not only easy, but this is of less importance with in the creation of music, but in the crea- Weingartner records than with any others, tion of children as well. Bach's children since this man who had to die too soon has numbered from 20 to 24, depending upon given us criterions of re- creation of per- which authority is consulted. Marais ran manent value to those who want to under- a very close second, with 19. stand and love music; wherein dignity and Musically, the works recorded here are passion are not incompatible. C. G. B. charming. They serve, moreover, to give us an insight not only into the creative mind of Marais, but into the viola da MOZART gamba as well. There seems to be a certain Five Contra- Dances; Two Adagios "rightness" about this music when per- London Baroque Ensemble, Karl Haas, cond. formed on the gamba. Its more subdued DECCA DL 4055. to -in. 7, 4, 7 min. $2.50. tone quality matches the spirit of the music better than does the brighter, more virile More of Decci s enterprise in bringing out tone of the modern 'cello. Miss Heinetz for the first time pleasantries by the greater has for some time been one of the leading Claudio Monteverdi: Even in r6o8 composers. This is sinewy playing, without performers on the instrument. The record- ungrateful ladies went to Hell. particular polish, undue except in the little ing itself is of the "close -to," studio Adagio for English horn and strings. Grati- no variety. D. R. agrees that it is scandalous for women to fying sound: full and close, sparkling, C. G. B. ignore Amor, so he brings out a sample lot problems. MENNIN of ungrateful beloveds. While they dance Concerto for Orchestra - See Green. a ballet he delivers a lecture to the audience MOZART on the after -life plight of the chilly female. Divertimento No. r5, in B Flat, KV 287 MONTE V ERDI As the ungrateful return to their tortures Vienna National Opera Orchestra, Felix Il Ballo delle Ingrate they chant the moral: "Learn pity, dames Prohaska, cond. Jan Tomasow, violin. and damsels." Claudi Carbi (ms), VANGUARD 444. 12-in. 37 min. $595 Emma Tegani (s), Amor; No one knows for sure just how works Venus; Luigi Sgarro (bs), Pluto. Orchestra like this were originally scored; and even if Divertimento No. 17, in D, KV 334 da Camera di Milano and chorus; Ennio were known, the instruments the scoring - Vienna National Opera Orchestra, Felix Gerelli, cond. not to mention people who could play 12 42 min, sec. Prohaska, cond. Jan Tomasow, violin. Vox PL 8o9o. -in. 35 $5.95. them would be nearly impossible to - VANGUARD 441. 12-ín. 45 min. $5.95. When the members of the Florentine camer- come by. Anachronism is a necessary con- ata invented opera just before the end of the dition of performance, and each arranger An earlier version having been withdrawn, sixteenth century, they believed that they has to take his chances. The notes on the No. 15 is now represented only by this new were restoring the ancient glories of Greek envelope do not give Mr. Gerelli's instru- recording, although another has been an- drama as originally presented. To this end, mentation, but a fair guess would be that nounced by the Haydn Society. Seven they chose classical subjects for their texts he has used Vivaldi -like forces. The results, members of the Vienna Octet have done and in setting them rejected the elaborate right or not, are very lovely, and the singers No. 17 well for London (a-235), and there polyphonic style of (for example) Palestrina deal quite respectably with the unaccus- are some points of superiority in the ani- has a in favor of a linear, declamatory style aimed tomed declamatory lines. The jacket mated playing of that record, particularly in entirely at the support and enhancement of libretto with a good English translation. the superb second minuet. But few will the words. What Peri and Caccini began Recording: very clean, with voices close demur that these Divertimentos are most Monteverdi raised to the level of high except when effect of distance is explicitly effectively given with a modest multiplica- theatrical art; at the same time he overcame required; small -hall presence. tion of the strings, and it is conventional, as the austerities of their pure declamation with In case anyone is going to Italy in April, it was in Mozart's time, to put the concert- expressive melody that not only served the Il Ballo delle Ingrate is to be done then at master forward in concertante style. This is poetry but enriched it, thus sowing the La Scala, Milan, in a double bill with Honeg - done in both Vanguard disks, with the leader, seeds from which opera as we know it has ger's Joan of Arc at the Stake - Ingrid Berg- Mr. Tomasow, slipping in and out of the grown. man as Joan. J. H., Jr. body of strings with disarming informality. This outline is perhaps too pat and cer- Mr. Prohaska conducts as he generally does tainly vastly oversimplified. The music MOZART Mozart, with a mellow, full phrasing quite must be heard. Il Ballo delle Ingrate is not Symphony No. 39, in E Flat, KV 543; divorced from stress, while the vivid repro- No. 13, in G, "Eine kleine exactly a central work in the history of Serenade duction - too vivid without adequate treble opera, but it is an instructive one because it Nachtmusik," KV 525 reduction - gives us the phonographic comes early in Monteverdi's theatrical career (Haydn: Toy Symphony rarity of horn -tone nearly entire. C. G. B. - 16o8, the year after his first opera, Orfeo; London Philharmonic Orchestra, London the same as the lost opera Arianna, from Symphony Orchestra and a Symphony Or- MOZART which the great Lament, his most -sung chestra respectively; Felix Weingartner, Horn Concerto No. 3, arranged as a Cello music today, alone remains. It combines cond. Concerto - See Boccherini. purely mythic subject matter with the kind COLUMBIA ML 4776. 12 -in. 25, 13, 7 min. that was to of noble human expressivity $5.95. MOZART make L'Incoronazione di Poppea so great a Sonata No. 14, in C Minor, KV 457; thirty -odd years later. The Symphony in this manly interpretation work Sonata No. 15, in icy See for the is famous for its impartial delivery of its C 545 - Il Ballo delle Ingrate, composed Schumann. wedding celebration of the heir to the Duchy ambiguity: is it exigent? is it bland? The of Mantua, is a sort of Renaissance-classical conductor who had such a large responsi- moral exercise in dance- operatic form. Really bility in making the phonograph respectable MOZART Eine Symphony No. 35, in D, "Haffner," KV 385 more a pageant than an opera, it has noth- makes it both exigent and bland. Symphony No. 8, in B Minor, ing that could be called a plot except by Kleine Nachtmusik has an admirable sym- (Schubert: the broadest definition. Amor (i.e. Cupid) phonic performance, without one maudlin "Unfinished"

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Berlin Philharmonic Orchestra, Fritz Leh- For Orff has understood in his own fashion Le Gibet and to Scarbo than Mr. Gieseking mann, cond. (Mozart); Concertgebouw what distinguishes the medieval arts from does, and thereby contributes the better Orchestra, Amsterdam, EugenJochum, cond. the arts of other times: their combination version of the two. R. E. EPIC LC 3006. 12 -in. 20, 27 min. $5.95. of maximum density in texture with maximum energy in movement. This is an ex- SAINT -SAENS Building the foundations of repertory at tremely difficult formula for any modern Samson et Dalila this date, Epic earns compassion in present- man to cope with, but Orff handles it more Hélène Bouvier (ms), Dalila; José Luc - ing two presentable efforts too late. The successfully than anyone I know of since cioni (t), Samson; Paul Cabanel long -drawn "Unfinished," in tenderly beauti- Rabelais. His unfailingly delightful and (b), High a Priest of Dagon; Henri Médus (bs), ful string -playing and good recording little entertaining score is superbly performed and An bass, Old Hebrew; Charles Cambon (bs), Abi- weighted in the and the sprightly has been quite well recorded. A. F. "Haffner," unerring but rather hard, are melech. Orchestra and Chorus of the Paris Opéra; Louis Fourestier, good demonstrations but better have been PAGANINI cond. noted here. C. G. B. Vox PL 8323. Three 12 -in. $17.85. Perpetual Motion - See Sarasate. Saint -Saëns' Samson et Dalila has had a NOVACEK PHILIDOR peculiar history, and this recording is only Perpetual Motion - See Sarasate. La Marche Royale; La Marche pour le Roi its most recent chapter. Proposed originally de Chine; Marche du Prince d'Orange - as an oratorio, Samson et Dalila was composed See Cherubini. as an opera to a French text; had its première ORFF some to years later in a German translation Burana Carmina RACHMANINOFF (Weimar, 1877); was praised by Hans von Bülow as finest Elfride Trötschel (s); Hans Braun (b); Paul Piano Concerto No. 2, in C Minor the of modern "German" Kuen (t); Karl Hoppe (b). Bavarian Radio operas; had great currency in concert per- Cor de Groot, piano. Hague Philharmonic Chorus and Orchestra; EugenJochum, cond. formances without being staged very often; Orchestra; Willem van Otterloo, cond. DECCA DL 9706. 12 -in. 45 min. $5.85. waited 15 years before it was produced at EPIC LC 3009. 12 -in. 33 min. $3.93. the Paris Opéra, where it has been a fixture Carl Orff's reputation as one of the leading ever since; and has had a long and successful The new Epic firm seems intent on bring- contemporary composers of Germany rests career in this country despite strictures by ing water to a drowning public. Surely very largely upon this extraordinary work, those convinced of its untheatricality even new versions of the Rachmaninoff C Minor which has all the earmarks of a success - though a stage performance involves the and Tchaikovsky B Flat Minor Piano Con- piece and actually is a smash hit of a rather destruction of a proscenium -filling temple. certos are totally unnecessary when they are overwhelming kind, but was not introduced Actually, Samson et Dalila is a perfectly neither cheaper nor musically better than to American audiences until January to, legitimate French opera (with enough choral their many predecessors. Aurally this re- 1954, when, in the seventeenth year of its writing to make it adaptable as an oratorio) cording furnishes a remarkably transparent age, it was performed by Giovanni Cama- compounded of Meyerbeer -cum orchestral texture, surrounding without -Gounod, jani and his Schola Cantorum from the Massenet, and such classical models blanketing the solid, ringing, stunningly real as University of San Francisco. Handel, all subsumed and modified by tone of the solo piano. I did, however, find The original Carmina Burana is a collec- Saint -Saëns' own musical it impossible to eliminate the booming from cultivation. If he tion of poems, all, apparently, secular to had been a great original like Moussorgsky, the orchestral bass. The soloist, about an extremely high degree, which were Saint -Saëns might have composed different- whom I know nothing, plays like a young written by anonymous wandering scholars ly. But, conservatory trained and by tem- man, for the performance is high -tensioned, and college- campus bohemians of the 13th perament no man to flout le bon go t, almost overenergetic, and unsubtle. The he century. Some are in Latin and some in wrote an opera that is at once a synthesis orchestra plays extremely well in the same German; on the whole, they exude the same and a personal creation, that for all its gen- sharp, extrovert way. R. E. atmosphere of roistering bitterness that one tility makes its dramatic points skillfully finds in the works of Francois Villon, al- and well, an opera that given good per- though they lack Villon's technical mastery RAVEL forming elements can be effective, if not and daring. Gaspard de la Nuit - See Debussy. cathartic, theatre. At its best - and the Orff selected 25 of these poems for his best, to me, is in the long -lined exhortations setting, and his work consists of 25 extreme- RAVEL of Samson in the first act, the big Meyer - ly short movements divided into three sec- Gaspard de la Nuit beerish duets in the second, the religious tions, the first dealing with the cruelty of ¡'Debussy: Estampes ( Pagodes, Soirée dans ritualism of the third, rather than in the Grenade, Jardins sons la pluie); Images fate, the second with the delights of spring, famous airs of Dalila - Samson et Dalila can and the third with the delights of eating, (Reflets dans l'eau, Hommage à Rameau, still be pretty exciting. drinking, and fellowship in all its aspects, Mouvement; Cloches à travers les feuilles, This recording, the first or second to including the most fleshy. At the end the Et la lune descend sur le temple qui fut, appear on LP, depending on how you view invocation to fate returns. Poissons d'or) it, has a peculiar history, too. The per-

The composer has loaded his texts with Walter Gieseking, piano. formance is the same as that released on color in the most lavish and extravagant 785 by Columbia just after COLUMBIA ML 4773. 12 -in. 17, I t, 24 min. the war, and on fashion, the small exploiting color of $5.95. LP (st. 107) in October 1950. Exactly a year choruses and large, the color of solo voices, later they withdrew it. Now, apparently, and the color of the orchestra handled with Mr. Gieseking's recording of the Images is they have sold the masters to Vox - or, blazing virtuosity, but above everything he still available on a to-inch disk, but Colum- perhaps, the tapes, for a good deal of en- relies upon the color of melody, in which bia has seen fit to reissue it on a 12 -inch, gineering hocus -pocus has been worked on department his invention seems completely coupled with the Estampes and with a 1939 the sound, which was only so -so on the inexhaustible. A little of his melody recalls version of the Gaspard de la Nuit. The De- 78s. The results (obtained, a good guess medieval church chant and art song, but bussy performances require no comment, would be, by extensive use of the echo mostly it recalls folk song. The conven- seeming as incomparable as ever, and they chamber) are quite surprising - more reso- tional "medieval" devices, which is to say are adequately reproduced. The Ravel is nance, more illusion of space, fuller tone in the 18th century counterpoint on which, mechanically poor, with the piano sounding the solo voices. Orchestral and choral since Die Meistersinger, every composer far away and muted, and there is consider- passages seem to have benefited somewhat has relied to evoke any century from the able surface noise. What remains sounds less. It may or may not be hi -fi - whatever fifth to the fifteenth, are totally absent. miraculously beautiful, particularly the On- that is - but I doubt if most listeners will The total effect is brawling, brilliant, and dine. Mr. Gieseking takes it slightly faster be conscious of complainable deficiencies in as exhilarating as were the Polovetsian Dances than does Robert Casadesus in his definitive the sound of the Vox set. of Borodin the first time you heard them. recording; the music coheres more, and The performance remains - as before - Furthermore, like the Polovetsian Dances, there is a wonderful suppleness in Mr. most notable for the imperious High Priest Carmina Burana stands up; it invites and Gieseking's outlining of the melody. But, of Paul Cabanel and the powerful and im- sustains repetition as do few "conserva- as far as one can tell under the circum- pressive Samson of José Luccioni. Both tive," tuneful pieces of the present day. stances, Mr. Casadesus gives more bite to men have the solidity of voice and strong

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yet malleable line to phrase their music, No. 1. But No. 4 also exhibits a kind of and both project dramatically in real opera - classicism; composers the world over had house fashion. HéRne Bouvier is an equally discovered the classic suite in the 1920's, good artist as Dalila, but all the echo and its influence is clear in the forms and chambers in the world could not take the textures of this work. hard edge off her upper tones. In her scenes The second, third, and fourth quartets with the High Priest she is enormously each fill one side, and the final side is filled effective, but when seductiveness is in out with two short works by Schoenberg's order she inspires a burdensome amount of major pupils Anton von Webern's her mezzo- - disbelief, and soprano voice Five Movements for String Quartet and the does not flow easily in the downward ca- first quartet of Alban Berg. The Webern dences of Printemps qui commence, which is a masterpiece of concentration, intensity, wants a real old -fashioned contralto. and foreboding, and is also a complete hand- The venerable Charles Cambon is an ex- Schoenberg: to an ear both informed and book of the string devices favored by Scho- cellent Abimelech, and a voice as fine as innocent, the music is strongly emotional. enberg and his school. The Berg is a splen- that of Henri Médus in the music assigned did example of that composer's lyricism and the Old Hebrew seems sheer lagniappe. "traditional" outlook, especially by com- Louis Fourestier's conducting is capable and 1936; there is one quartet for every parison with Webern's unprecedented in- and musicianly but a little on the unem- decade of the composer's career except the dividuality. phatic side. All in all, a worthwhile invest- last, and the series as a whole provides a Performances are vital, authoritative, and ment in style for listeners attracted to the uniquely synoptic view of Schoenberg's completely satisfactory, and the recording content. J. H., Jr. development. is excellent. The soprano, Uta Graf, does The first quartet is the longest. It lasts wonders with the extremely difficult songs SARASATE about 4o minutes, fills two LP sides, and of the second quartet, and her voice has Zigeunerweisen yet is in only one movement. It belongs been integrated with the strings to create fPaganini: Perpetual Motion. with those other extremely long, single - the kind of unity Schoenberg must have tNauacek: Perpetual Motion. movement creations of Schoenberg's early, dreamed of but could seldom have heard. romantic phase, Verklärte Nacht and Pl1- The annotation of the set contains some very Michael Rabin, violin; The Columbia Sym- leas et Mllisande; it resembles Verklärte Nacht interesting quotations from the composer phony Orchestra; Donald Voorhees, cond. in many ways, including its progress from but is otherwise extremely faulty. Its ex- AL 10 -in. 15 min. $2.85. COLUMBIA 38. D minor to D major, but is considerably planation of the 12 -tone system is close to Good spacious sound from Columbia's more involved in structure and contains nonsense, and the writer's consistent misspel- engineering department and capable playing none of the tonal scene -painting which ac- ling of the name of René Leibowitz, from from young Michael Rabin combine to counts for the popularity of the earlier work. whose book on Schoenberg he frequently make this lightweight fare pleasant, relax- Tonal, romantic, and beholden to Brahms quotes; is symptomatic of the whole. A. F. ing listening. R. L. and Mahler though it may be, it nonetheless exhibits some qualities of Schoenberg's style SCARLATTI which are to remain throughout the series. SCHUBERT Among these are its wide melodic skips Five Sonatas See Handel. Quintet in G op. 163 - and leaps; its lavish employment of coloris- tic devices like harmonics, pizzicato, and Isaac Stern (vn), Alexander Schneider (vn), SCARLATTI-TOMMASINI: The Good the nasal sound of playing "ad ponticello "; Milton Katims (va), Pablo Casals (vo), Humored Ladies - Ballet Suite. - See and its extremely intricate rhythms, which Paul Tortelier (vo). Bach Walton. ML 12 frequently resolve themselves into a kind COLUMBIA 4714. -in. 46 min. $5.45 - of Brahmsian waltz. Trio No. 1, in B Flat, Op. 99 SCHOENBERG It is not for nothing that the scherzo of Complete String Quartets. the second quartet contains a reference to Eugene Istomin (pf), Alexander Schneider, romantic waltz is Pablo Casals. Juilliard String Quartet. Ach, du lieber Augustin; the still with us, although the tonal texture COLUMBIA ML 4715. 12 -in. 37 min. $5.45- COLUMBIA SL 188. Three 12 -in. $17.50. strains at the leash. Mahler -like, the second Trio No 2, in E Flat, Op. zoo A quarter of a century ago, when Schoen- quartet contains two songs, to intensely berg first came to the United States, he lyrical and impassioned texts by Stefan Mieczyslaw Horszowski (p)f, Alexander batted around the country giving lectures George, and with the second of these, on the Schneider, Pablo Casals. on his 12-tone system which ended on what opening line, "I sense the air of other COLUMBIA ML 4716. 12 -in. 43 min. $5.45- was for many a surprising note: a plea planets," the music takes off into the ether- A, Op. 162 that his music be heard, like any other, for eal stratosphere of atonality from which the Duo for Piano and Violin, in its expressive values and its purely acousti- composer was not to return for 3o years. Dame Myra Hess, Joseph Szigeti. cal effect, regardless of the theories that The atonality of the second quartet, how- went into its making. Schoenberg, of ever, is not theoretically established; it is Variations on "Trock'ne Blumen," Op. 16o course, was right; it was necessary to es- an exploratory, programmatic kind of aton- Leopold Mannes (pf), John Wummer (fl). the t 2-tone sys- ality, while in the third quartet one enters tablish the groundwork of COLUMBIA ML 4717. 12-in. 23, 20 min. $5.45 - tem in the public mind, but 12 -tone analysis into the 12 -tone realm in its full, self-con- no more "explains" Schoenberg than the scious application. The third quartet was This startling heap, containing three great diatonic scale explains Beethoven. The Schoenberg's first large-scale work in the masterpieces and two lesser seducements, time has now come when the assumptions 12 -tone system, and for that reason, per- is deposed here because Columbia makes it of the Schoenberg system have been ab- haps, it is considerably more austere in available in an album, SL 183, unified as the sorbed into our habits of hearing, so that feeling than any of the others. It is scrabbly Schubert production of the Casals Festival we can listen to this composer with an ear and hard, and in it one feels the application at Prades, 1952. Let it be said at once that which is both informed and innocent at of theory far more than in the fourth. the unit need not be feared as such: every- once, and it immediately becomes apparent Nevertheless I find it significant that, about thing is good, if not equally near the level that Schoenberg's work as a whole is as to years after the third quartet was written, of the best of the opposition. For the first unified and as varied as that of any other Schoenberg told me he could no longer time there is a major confrontation of the great composer; the notion that the 12 -tone remember the 12 -tone row on which it is disdainful Westminster hegemony in the system represents a complete break with the based. chamber music of Schubert. past and an embarkation upon totally un- The fourth quartet is also a 12 -tone piece, The wonderful Quintet on the new disk explored territory does not stand up in the but it is readily accessible for its expressive from Prades, well served by several record- light of the total picture. values and even for a kind of melodicity; ings and especially by the Westminster Nothing shows this better than Schoen - its slow movement is one of the loveliest version from the Vienna Konzerthaus, in berg's four string quartets, which were things Schoenberg ever wrote, and it carries this opinion attains preeminence over all. composed, respectively, in 1905, 1910, 1927, us back somewhat to the mood of Quartet As profoundly passionate as the Konzer-

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thaus edition, that of the Casals fellowship humidity, the dust, the smoke - were it of dem Wasser zu singen; Nachtviolen; Der is free of the rubato striving that is at once a jaune or even a Gauloise bleue - must be Musensohn.) C. G. B. the glory and a defect of the Viennese. At what they were. The furnishings must not Prades there is surrender to Schubert's ur- be displaced one centimetre; and if domestic SCHUBERT gency of feeling, at Vienna some inclination animals were displacing so much air and Symphony No. 8 -See Mozart to prolong an emotional bask. The Vien- expiring so much carbon dioxide, they must nese have long -bent passages of supreme be wheedled into attending the next session. SCHUBERT revelation, juxtaposed to others where we Transfer from tape to disk must be ac- Violin and Piano Sonata -See Grieg all feel that the embrace could have been complished by the same technicians in the curtailed. And the tone itself - the noise same mood of devotion. SCHUMANN made by an actuated string without regard For the record sounds the piano with a Carnaval, Op. 9 to meaning - sides with Columbia, while naturalism a few times equalled and never ¡Mozart: Sonata No 14, in C Minor, the recording of that tone is admirable in excelled. KV 457; Sonata No. 15, in G KV 545 both versions, rich with a discreet rever- And the evocation of the hundred moods Walter Gieseking, piano. beration for Westminster, and definite crisp of this beautiful chain of improvisations, COLUMBIA ML 4772. I2 -in. 29, 8, to min. for Columbia. the Sonata, and of the startling uniqueness $5.95. The First Trio, in B Flat, the better- known, of the three neglected "Piano Pieces," has the lesser of the two, now has five editions an understanding poetry that we have not Davidsbündlertänze, Op. 6 still imperiously led by Westminster WL heard since Schnabel was alive. Walter Gieseking, piano. 5188 in a silken and exact recording of the There are many more masterful mechani- URANIA URLP 7106. 12 -in. 33 min. $5.95. performance of Messrs. Badura -Skoda, cians of the piano than Mr. Jolies, whose Fournier and Janigro -a performance whose fingers do not always obey his Schubertian Kreisleriana, Op. 16 easy lilt of elation is not emulated by the heart, but we have nowhere on records such tBach: English Suite No. 6, in D Minor. group from the Pyrenees and whose sound a temper between interpreter oneness of Walter Gieseking, piano. is not equalled by any of the recorded and the most wonderful and the saddest of URANIA URLP 7107. 12 -in. groups. The Columbia sound disappoints. melodists. The inevitability of the phrasing, 27. 18 min. $5.95. In the Second Trio, a sidereal and en- the punctuation and accent, and above all chanting dirge, Prades returns to a serious of the meaning, is not pianism and cannot This trio of Schumann performances by assault with a different pianist and vastly be admired as such: it is Mr. Jolles's ac- Mr. Gieseking are well nigh indispensable, improved sound. This too has been a ceptance of slavery to his master; and that even though the recorded sound varies from Westminster citadel, WL 5121, manned by is how music should be, when the master poor to only good. Guiomar Novaes' play- as in 1. is the same trio that still control of No. Schubert. C. G. B. ing of the Carnaval on a Vox disk is in its Control has been lost in No. 2, by two or way just as fine as Mr. Gieseking's, but there three thin shades. With little difference SCHUBERT are no competitors where the Davidsbündler- in fundamental interpretation, Prades have Songs (12) tänze and the Kreisleriana are concerned. the finer delineation, the nicer detail, the Elisabeth Schwarzkopf, soprano; Edwin It is hard not to grow repetitious in praise more pertinent dynamics; in no great mea- Fischer, piano. of the German pianist. In the Carnaval the sure for any, but perceptibly. The sound is fast ANGEL 35022. 12 -in. 42 min. $5.95 sections go faster than ever, to suggest clearer and more immediate than West- the breathless gayety of the title, and the minister's, which is very good sound. The There are those who insist on a raw voice Paganini section is a truly stunning tour de accumulation of small superiorities makes as a requisite for lieder- singing, and indeed force, both technically and musically. Yet Columbia's the better record, but by a mar- some of the best specialists in this province the caressing tenderness of the Eusebius gin hardly wide enough to justify replace- had unenviable vocal instruments: Miss section would melt a stone. In the same ment the older. of Schwarzkopf, with one of the glowing so- way, the Davidsbändlertänze offer a study in The Duo is a personal triumph for Mr. pranos of our day, fails this test gloriously. Schumannesque contrasts; gusto and vigor Szigeti, in sentient phrasing and completed Her lovely voice, guided by taste and alternate with the most intimate and touch- articulation that outbalance tenuity of tone. knowledge and supported by Mr. Fischer's ing moods. The Kreisleriana, which can Dame Myra obviously follows the violinist's eloquent accompaniments, gives us de- seem dull and protracted in less expert power a lead, with plenty of but less pointed finitive versions of some of these great hands, is exciting and moving as it is in conviction. A compelling example of a songs, and valuable ones of the others. A turn puckish, melancholy, rash, or lyric. a resourceful musical brain forcing fiddle to couple of rare stumbles in pitch startle Mr. Gieseking is, fortunately, just as obedience. First class recording, fairly more than they hurt. - German texts are superb a pianist in the formalities of Bach close, with little noticeable reverberation. printed without translation. (An die Musik; and Mozart as he is in the impetuosities of The Variations descend a few cubits in Im Frühling; ,Pehmuth; Das Lied im Grünen; Schumann (or for that matter in anything musical quality, but fervents of Schubert Ganymed; Gretchen am Spinnrade; Nähe des he chooses to play). The English Suite welcome what seems be a will to first re- Geliebten; Die Juno,' Nonne; An Sylvia; Auf sometimes seems to go a shade too fast, cording ever, of a familiar Schubert tune but the structural balances are always main- with equally Schubertian embellishments, tained, for the pianist can keep varicolored their exigencies projected with aplomb by voices going at no matter what speed. The John Wummer and sounding clear for his Mozart sonatas represent a remarkable con- flute, muffled for the piano. C. G. B. 11;-k trast between an early, simple and a late, complex style. Mr. Gieseking treats them ° ti Ii; SCHUBERT appropriately, the one as innocently as pos- Sonata for Piano, No. 18, in G, "Fantasy," sible, the other as profoundly. Op. 78 The piano tone in the Carnaval, recorded Three Klavierstucke, Op. Posth. in 1951, is somewhat dull and the reproduc- Henry Jolies. tion only adequate. The Mozart sonatas, recorded HAYDN SOCIETY 81. 12 -in. 33, 6, 8, 5 min. in 1949 and 1938, come through $5.95. less clearly and, in my copy, with occasional pitch wavers. The Davidsbündlertänze repre- An appeal to the Haydn Society: Sirs - sents the best of the three records, in me- when next you record the piano, be sedu- chanical terms, with the piano tone given lous in restoring every tiny condition preva- fuller, clearer reproduction. The Kreisleriana lent when you recorded this one. Go to disk has a comparable clarity, but the piano Paris, to the same room with the same piano sounds harsh in loud passsages. R. E. in the same place, with the same microphone in the same place. Use the same SCHUMANN director and the same engineer and an Trio No. 1 in D Minor, Op. 63; Fünf identical raw tape. If there were hangers -on, Pablo Casals: in one package, three great Stücke in Volkston, Op, 102- See requisition them again. The heat, the Schubert masterpieces, two lesser gems. Brahms.

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SIBELIUS Jensen, with his fairly straightforward - Quartet No. t in E Minor (From My Life), Four Legends for Orchestra, Op. 22 and occasionally boring - reading. Be- this first recording of his Second Quartet sides, the Philadelphia Orchestra has a will come as a surprise. For, though it Danish State Radio Symphony Orchestra; richer, fuller sound than the Danish or- bears many thematic, harmonic and stylistic Thomas Jensen, cond. chestra, and Columbia's recording en- similarities to the earlier work, making it LONDON LL 843. 12 -in. 85.95. gineers have taken full advantage of this fact. almost equally appealing, it is seldom, if The fidelity of the present disk, however, is ever, performed on this side of the Atlantic. Despite the different titling of the records, excellent, with the microphones placed at The E Minor Quartet is still the more at- this disk contains the same music as Colum- a moderate distance from the players. P. A. tractive of the two, but this D Minor work bia's recent Lemminkäinen Suite by Ormandy will inject a refreshing and worthwhile note and the Philadelphia Orchestra. It includes, of novelty into any chamber music collec- therefore, the popular Swan of Tuonela and SMETANA tion. The performance by the Smetana Lemminkäinen's Homecoming, along with the Quartet No. 2 in D Minor Quartet, a Czech ensemble, is correct and less familiar Lemminkäinen and the Maidens Smetana Quartet. firm; the reproduction adequate, if not Tuonela. With of Saari and Lemminkäinen in SUPRAPHON LPM 74. t o-in. startling. The record labels indicate cor- his more sumptuous, more expressive in- rectly that the Quartet is in the key of D terpretation, Ormandy "sells" this dramatic To even the most informed chamber music minor, but the jacket insists on E Minor. music much more forcefully than does lover, who is familiar only with Smetana's P. A.

One Way of Writing Opera in English ..

STRAVINSKY: The Rake's Progress reasons, the way in which to re- create clas- is to good music Hilde Gueden (s), Anne Trulove; Blanche sical opera today compose shift, so to Thebom (ms), Baba- the -Turk; Martha Lip- and let the sentences speak, ton (ms), Mother Goose; Eugene Conley for themselves. deal has been made of the bad (t), Tom Rakewell; Paul Franke (t), Sellem; A great in Certainly Mack Harrell (b), Nick Shadow; Norman prosody The Rake's Progress. in the usual sense, for the relation- Scott (bs), Trulove; Lawrence Davidson it is bad music and text is such that (bs), Madhouse Keeper. Metropolitan ship between unless you follow with score or libretto, Opera Orchestra and Chorus; Igor Stra- more than half of the words are in- vinsky, cond. closely, comprehensible. Yet there is substantial COLUMBIA sL -125. Three 12 -in. $17.50. reason to doubt that this is the result of As those who heard it last season either in linguistic ineptitude on the part of Stravin- the Metropolitan or over the radio will sky, and plenty of internal evidence that Progress is the kind most of the incomprehensibility results recognize, The Rake's Stravinsky at the Rake's recording. The that tempts one whose business it from the fact that he simply didn't give a of score gloved hand belongs to Blanche Thebom. is to state an opinion to pass over its qualities tinker's damn whether the words could be as "problematic" and then go on to other understood or not. W. H. Auden's and matters. The work is tremendously complex result is - as an opera - radical in the ex- Chester Kallman 's libretto seems to have both in itself and in the aesthetic considera- treme. served him as a stimulation to compose mu- tions it forces; and since it is new there is Stravinsky's acceptance of classical for- sic and as a framework for music, without, no traditional framework within which a malism is an acceptance of the externals however, arousing in him a complementary performance can be assessed with justice. without an acceptance of either the rules sense of responsibility to make the words One thing I am certain of: The recording is that governed or the ideals that guided the understood. The words may have inspired a fascinating possession. composers who furnished his models. The the music, but the music does not flow out Problematic The Rake's Progress surely is. Rake's Progress is "like" classical operas of the verbal rhythms. All other opera corn- It is a difficult score to hear; "difficult," only in that it represents Stravinsky's ex- posers have concerned themselves in vary- though not in quite the same sense that, tension of his own highly personal ideas of ing degrees with setting a text. Stra- say, Berg's lVozzeck is. Stravinsky's music what classical operas are like. vinsky has concerned himself with com- is not like that, that savage, vertically After all, the totality of an opera involves posing music that reflects his sense of the crowded, seeming cacaphonous twentieth - both words and music. In the beginning, text, that takes its over-all duration and century composition whose impact over- with Monteverdi, the words were con- shape from the text, but not with making whelms the unpracticed ear with sound sidered the most important element; and the text itself comprehensible to the people combinations not easily relatable to common although in the later baroque there developed who are listening. And the only answer to musical experience. The difficulty is rather a school of opera largely given over to vir- the question "why ?" - if you are unwilling opposite. The music is linear, direct, and tuoso vocal display, this was an aberration to grant the validity of thia aesthetic view easy to listen to the first time. Only on suc- rather than a trend. The whole history of - is "perversity." cessive hearings, however, does the ear begin opera from Gluck onward has been a history The text that Stravinsky has treated so to apprehend and fit into place the infinite of concern for textual values. Whatever the wrenchingly is interesting enough in itself, tiny harmonic and rhythmic complexities. point of Mozart's operas seems to be now, for as literary craftsmanship it is superior Stravinsky directed his practically in- relative to the operas of, say, Puccini, the to any but the finest librettos. The use of finite powers of craftsmanship to the making working aesthetic of Mozart as an opera English is sensitive and subtle, the style of an opera in the classical mold, and be- composer did not rest on the premise that Cultivated. Some of the words set down and cause externally The Rake's Progress defers to only the music was significant. The libret- ordered by Mr. Auden and Mr. Kallman this tradition, because of the music's baroque tist's first responsibility was to provide the seem merely facile, even precious, but there attitudes, many have been content to ac- composer with a text that had contours is in The Rake's Progress much that is very cept the expressed intention for the fact suitable to understandable treatment within real - and sometimes quite moving - and have described the opera as being "like" closed musical forms. As classicism gave poetry. Mozart, only with a characteristic spicing of way to romanticism, both librettist and Judged as a work for the stage, its as- Stravinskyan harmonies. This is only in a composer gained freedom in their choice of sessment could not be so high. The fact measure accurate, at best. And insofar as materials and forms, but that is not of im- that it is episodic as a play has little to do the description implies that The Rake's mediate concern here. with the case, since that is part of the nature Progress is somehow either merely reaction- In The Rake's Progress, though, it is as if of librettos in general. And although it is ary or a sure return to classic ideals it comes Stravinsky. looking back on the operas of true that the characters never seem much close to being downright false. Whatever Mozart, had reached the conslusion that more than symbolic types, there is no law the starting point may have been, the end since they persist today for mainly musical requiring librettists to provide rounded,

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realistic, developing people for the com- of the broadcast from the opera house, for is as superbly secure a musician as always poser to work with. But the text is difficult that matter. This is not because of a bigger and whose rather light- colored voice gains to comprehend in many places - would be orchestra, but because the recorded per- in commanding presence from the micro- difficult even if spoken from the stage in- formance was miked close -to and, it would phone. Eugene Conley is actually better stead of sung to Stravinsky's music, which is be a safe bet, with a system of multiple than he was in live performance last season full of odd accentuations of syllables and pickups. The results are good and clear, - surer in his attack on the really cruel words and which seldom parallels the and if some balances seem unexpected, musical problems and with the role fitting poetic rhythms. some instruments right on top of you, more easily into his not particularly attrac- The theory in some quarters is that since there is the advantage, once you have ad- tive voice. Blanche Thebom, even with the audiences who listen to Italian opera in this justed to the perspective, of being able to composer's beady eye on her, manages to country can't understand the words but are really hear the details of the music. This make more words understood than anybody still content to listen to the music, they will would be wrong for some operas, but not, else, but accomplishes this by the process of be willing to accept The Rake's Progress on I think for this one. barking out her lines with variable regard similar terms. Perhaps so. But there is a It is common knowledge that Stravinsky for the pitches scored and with what may be difference between not understanding any- is not the world's best conductor. However, (but I don't think is) a commendable will- thing and settling back to listen to the music this is one of his better efforts as a batonist ingness to jiggle rhythms around. The and being able to catch frustrating snippets on records, and his exposition of his own least attractive performance is that of Hilde of vernacular language here and there. scores always has high documentary inter- Gueden, who really does have enough tech- Whatever may turn out to be the ultimate est. His performance of The Rake's Progress nique to sing the very difficult, wide -skipping place of The Rake's Progress as an opera, the differs considerably in conception and detail music of Anne but who apparently is un- music certainly has fascinations in seemingly from those Fritz Reiner conducted at the able to conceive of it in terms of more than inexhaustable profusion. Hearing it on Metropolitan. Stravinsky is rhythmically a bar at a time. When she is not making records is quite a different experience from stricter than Reiner and even less yielding mistakes, she simply gives a colorless, literal hearing it in the Metropolitan, with (ad- about tempos, which are, in some places, account of what is on the page before her. vantages of actual visual presence aside) brisker. Not everything comes off perfectly The others are acceptably in control of the advantage to the records. in the orchestra, to be sure, but the lean, their music; only Paul Franke, in his long In the first place, there are chamber - angular contours of the music are never scene as the auctioneer, makes much of a music intricacies in the music that get lost (well, almost never) interfered with by the personal contribution. in a big auditorium. Most of the time the fuller recorded sonority. In the Reiner per- As noted before, the engineering provides scoring is severely economical, with a single formances the conductor gave way occasion- sound that is close, well defined, and quite woodwind or a pizzicato tone single serv- ally to allow the singers to make words fit live. The sound during Miss Gueden's aria ing structural functions that are extremely at the end of Act I sounds deader and rhythms. Not so Stravinsky; he sets a tempo lower important. Even in a smaller house than the in volume level than the rest of the record- and keeps it going, and to hell with words, Metropolitan these subtleties might well ing; perhaps it had to be remade under singer, and anything but the musical idea. pass unheard, but they are most faithfully altered circumstances. As a whole, the presented on the records. The total re- The recorded cast is that of the Metro- recording is a good job, and the music is corded sound is not as transparent as the politan premiere. The most satisfactory, most certainly worth owning in this form sound of the opera -house performance, or as in the opera house, is Mack Harrell, who J. H., Jr

STRAUSS, Johann and Josef typical Strauss touches that are the precur- character. The adventures of the chivalrous Polkas: Feuerfest; Freikugeln; Eljen a sors of Till and Don Quixote. schizophrenic provide the orchestral spec- Magyar; Trisch - Trasch; Vergnugungs- The it variations for the left hand, writ- tacle without which a Strauss tone poem zug; Aus der Ferne; Leichtes Blut; Unter ten in 1940 for the disabled pianist, Paul would be frustrate, and a good conductor, Donner und Blitz; Pizzicato Polka; Wittgenstein, have moments of fire and in giving full heroic force to the illusory Frauenherz; Annen Polka; Ohne sorgen. imagination but, in spite of the brilliance of glory, must imply satire, compassion and Vienna State Opera Orchestra; Anton Paulik, the writing, the work appeals more as conflict all at once. This seems to be what pianistic cond. challenging tour de force than as Dr. Krauss has eminently accomplished, with satisfying musical entity. VANGUARD vas 438. 12 -in. 39 min. $5.95. his soloists in line: he has clarified the con- Rupp's performance is competent, but fusion of the poor old knight, and by a A very choice collection of twelve frolic- the support from Rother is tinged with plotted distribution of emphases made the some polkas by the Strauss brothers, Johann, some edgy playing, and the recording is joke tragic and the tragedy bearable. In Jr. and Josef, in which the balance between merely adequate, unnecessarily shrill and orchestral massiveness and sweep London the well -known and more obscure pieces poorly balanced. J. F. I. has registered to her best standard, and de- has been nicely observed. Under the high - tail too is good. The faults are in balance - spirited direction of Anton Paulik, they are STRAUSS forward high woodwinds, cautious brass, a given brilliantly buoyant performances in Don Quixote, Op. 35 little too much of the solo cello - defects the traditional Viennese manner. Vienna Philharmonic Orchestra, with Pierre hardly apparent until a second or third Vanguard, in a very close -to recording, Fournier, cello, and Moraweg Ernst, viola; hearing. C. G. B. has invested them with sound of extreme Clemens Krauss, cond. purity and fidelity. Side one, band one . TARTINI .. LONDON LI. 855. 12 -in. 42 min. $5.95. the dashing, clanging Feuerfest is a convinc- Sinfonia in A Major for Strings & Harpsi- ing introduction to the later pleasures of This is the sixth of Richard Strauss's tone - chord - See Cherubini. this excellent disk. J. F. I. poems to be recorded by Dr. Clemens Krauss, who has also made records of four TCHAIKOVSKY STRAUSS, R. other Strausses. This obvious predilection, Francesca da Rimini Symphonic Fan- Burleske - which has encouraged a vast experience, is tasia, Op. 32 Elly Ney, piano. Symphony Orchestra of based on something more substantial than Romeo and Juliet - Overture- Fantasia a mere partiality for rhyme, and a hearing Radio Berlin; Arthur Rother, cond. St. Louis Symphony Orchestra; Vladimir of the present Don Quixote imposes a respect Golschmann, cond. (Britten: Diversions on a Themefor Piano for the understanding that clarifies the com- (Left Hand) and Orchestra, Op. 21. CAPITOL P 8225. 12-in. $5.70. poser's tender lampoon so naturally. Rosen - Siegfried Rupp, piano. Symphony Orches- kavalier is Strauss's most human work, but This, the seventh Francesca da Rimini and tra of Radio Berlin; Arthur Rother, cond. Don Quixote is most sympathetic to human- the 19th Romeo and Juliet, ranks with the its URANIA URLP 7101. 12 -in. 45 min. $5.95. kind, and monstrous orchestral mockeries poorest interpretations of both. Golsch- require a compensation of gentleness to mann has some fantastic ideas about tempi, Even the formidable technical prowess of make the picture entire. The tone poem is most of which are too fast for either the the veteran Elly Ney fails to breathe much in variation form complicated by elements of music or his orchestra. In addition, the life into this early Strauss work, which is a double concerto whose soloists represent fairly limited range reproduction is not up strongly Brahmsian in flavor, with a few the principal characters and must be kept in to Capitol's usually high standards. P. A.

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TCHAIKOVSKY III: Ali, si ben mio; Di quella pira. Act IV: Fehringer (t), Karl Liebl (t), Robert Titze Piano Concerto No. r in B Flat Minor, D'amor saltali rosee; Ah, the la morte ognora; (bne); Chorus and Orchestra of the South op. 23 Mira d'acerbe lagrime; finale. German Radio, Hans Müller-Kray, cond. A- 12 SPL 12 -in. 1 hr. Shura Cherkassky, piano. Berlin Phil- CETRA 50153. -in. $5.95 PERIOD 575. Two 37 min. $11.90. harmonic Orchestra; Leopold Ludwig, cond. As the catalog stands now, you have to deal DECCA DL 9605. 12 -in. $5.85. with Capitol if you want a single disk of Inevitably, Weber's last opera has found in highlights -type excerpts from It Trovatore. disks a hospitality foreborne in the theatre Reproduction -wise, this is one of the most for a few revivals. Discophiles realistic piano concerto disks ever made. If you must, you must, but you had better except sparse a have waited a for what they might Balance, perspective and tonal fidelity are not be musical perfectionist. Of the two, long time this is to the anomaly that Stella reasonably have expected to arrive much almost ideal. But the interpretation is so preferable They may now reasonably be ex- individualistic, with so many strange tempi, Roman allowed to blemish her reputation, sooner. it s pected to wait a little longer for a better retards and stretched phrases, that the but isn't any bargain. Caterina Mancinï big, walloping voice is exciting even when effort. listener is more apt to be annoyed than she uses it rashly, and Carlo Possibly this recording would have been pleased. This is a pity, for Cherkassky is Tagliabue, in the first two parvenu years an immensely gifted pianist, and the solo venerable though his voice sounds, is an acceptable of LP, when much was taken gratefully that and ensemble playing of the Berlin Phil- exceptionally honest stylist. But Miriam Pirazzini is run -of- the-mill, and so is Alfredo has since been repudiated. Good records harmonic is on a high plane of excellence. and although there have Perhaps those who have tired of the more Colella. Giacomo Lauri -Volpi, never noted must be planned, from orthodox interpretations of the Tchaikov- for his grasp of matters musical, still oc- been some successful recordings broadcasts, the singspiel, with its special demands sky Concerto will want to try this one for casionally sounds quite brilliant, but pretty badly shot the rest of the time, and he has ignored, must fail on disks in a radio pre- variety. I fear, however, that it will not his The dialogue, good for one oc- wear well. P. A. troubles with pitch. Fernando Previtali sentation. is generally a good conductor, but this casion, becomes an insufferable bore in dis- doesn't stop the singers from indulging in cal repetition unless it was written by a TCHAIKOVSKY some very odd rhythmic dipsy -dó s. Re- consummate poet. But we must have some Piano Concerto No. r, in B Flat Minor cording: typical, close, medium -grade of it to preserve dramatic form and meaning. Alexander Uninsky, piano. Hague Phil- Cetra. The true Verdi fancier may find This means keen editing, and Period has harmonic Orchestra, Willem van Otterloo, enough things to admire and enough things not provided it. Instead, the dialogue has cond. to amuse for the investment to be worth- been entirely excised, and we have a suc- EPIC LC 3oro. 12 -in. 31 min. $5.95. while. Otherwise, not recommended. J.H., Jr. cession of musical tableaux without any sense. Further, the opera is sung in German, a very dashing account Mr. Uninsky gives of VIVALDI although it was composed to an English the Tchaikovsky concerto, healthy, techni- E text. would Concerto in minor for Cello and String cally proficient, one that seem more Orchestra The singing is bad. Only Friederike impressive if it had not been preceded by so ¡Couperin: Pieces en concert for Cello and Sailer, a mermaid, and Hanne Minch, many other recordings of equal or greater String Orchestra Fatima, are at the level of their parts. The merit. The orchestra functions with dis- tBoccherini: Concerto for Cello and Or- choruses needed further training, and al- and in its overaccentuation in fast patch chestra in B Flat Major though the orchestra as a whole is effective, movements achieves a winning jazzy effect. there are many imperfections that should As in other Epics heard here, the orchestral Pierre Fournier, cello; the Stuttgart Chamber have been erased and corrected. Background sound is full, brilliant and sharply defined Orchestra; Karl Munchinger, cond. noise is obnoxious and continuous, and but, with a too -heavy bass. The piano sounds LONDON LL 687. 12-in. $5.95. although the rather distant sound of the beautiful, however. R. E. This disk contains some superb playing by orchestra, swallowed in the auditorium, can made and even impressive, Mr. Fournier. The Boccherini concerto is be good the TCHAIKOVSKY familiar; the Vivaldi and Couperin are less operation requires an increase of volume Romeo and Juliet (Overture- Fantasia) commonly heard, and quite beautiful. Re- that few will tolerate. Some commendation is owed to the for making a lively, Overture r812 cording is excellent. D. R. conductor Capriccio Italien cheerful and even musical display with what he has. The grand aria, "Ocean, Thou Concertgebouw Orchestra of Amsterdam. VIVALDI Mighty Monster," of the heroine Rezia, and, Paul van Kempen, cond. Concertos and Sonatas: Concerto for Fl., in fact, everything that Rezia emits, are EPIC LC 3oo8. 12 -in. 15, 13, 14 min. $5.95. Ob., Vn., Bn., and Hpcd., in D; Sonata calamitous. C. G. B. for Fl., Bn., and Hpcd., in A Minor; Blistering performances of all three works Concerto for FL, Ob., and Bn., in G by Van Kempen and the famous Concertge- WEILL Minor; Sonata for Ob. and Hpcd., in C who whip up a veritable tempest Kleine Dreigroschenmusik See Copland. bouw, of Minor; Concerto for Fl., Vn., Bn. and - At first hearing it's almost over- sound. Hpcd., in F. powering. A careful second listening dis- WILBYE closes some disquieting features, for while Jean- Pierre Rampal (fl); Pierre Pierlot (ob); Madrigals (r7) the lows are real growling, rumbling lows, Robert Gendre (vn); Paul Hongne (bn); and the highs have a razor -sharp quality, Robert Veyron -Lacroix (hpcd). The Randolph Singers; David Randolph, the middle sounds shallow and thin, almost HAYDN SOCIETY 82. 12 -in. 10, 12, 9, 9, cd WonEST. MINSTER WL 5221. 12 -in. 42 min. as if part of the orchestra had retired to [o min. $5.95. another hall. On my review copy, there $5-95. the only substantial was an unreasonable amount of distortion Discophiles compose modern audience for music scored like this, Wilbye is the most admired of the English towards the inner grooves of the Capriccio and the phonograph has been lavish with madrigalists, but this is the first considerable Italien. J. F. I. rare instrumental combinations. This is presentation of his music on LP. Taste and one of the best records of the type, the reticence are primary in the style of the VERDI French players absolutely de luxe and the Randolph Singers, who have restored an Il Trovatore (excerpts) sound combining transparency, crispness and intimate informality of communication savorable only by the participants, by guests (s) Leonora; Miriam Piraz- expansiveness as we hope to have them Caterina Mancini in small rooms, or by owners of records. Giacomo Lauri -Volpi (t) combined. Many aspects of the consum- zini (ms) Azucena; These will recognize the address of this disk, Carlo Tagliabue (b) Count di mate talent of Vivaldi, including several Manrico; in the clarity of the interwoven lines, the (bs) Ferrando. Or- appropriated by Bach. C. G. B. Luna; Alfredo Colella maintenance of fair proportion, and withal Radio Italiana (no chestra and chorus of in the subtle emphasis on telling phrases. Fernando Previtali, cond. WEBER city specified); Westminster has achieved a complementary Oberon Act I: Di due figli through Abbietta zingara; registration, cool and near, soft and un- Tacea la notte placida; Act II: Anvil Chorus; Helene Bader (s), Friederike Sailer (s), difficult, and has printed the complete Stride la vampa; Mal reggendo; Il balen. Act Hanne Minch (ms), Paula Bauer (a), Franz texts. C. G. B.

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building your record library

number six PAUL AFFELDER SUGGESTS TEN BASIC CHAMBER WORKS

In the introduction to Cobbett's Cyclopedic Survey of Chamber Music, disk, the "Emperor" variations, in particular, will give you the the late Sir W. H. Hadow wrote a most expressive appreciation of feeling that you've run into an old friend. this fine art. It is," he said, an art as pure as sculpture and as Speaking of old friends, you'll meet two more on the next record, enduring. Again, it is, among all forms of music, the happiest in a coupling of Borodin 's Quartet No. 2 in DMajor, with its presentation; the ideal for conditions hearing it imply comfort and hauntingly beautiful Nocturne, and Tchaikovsky's Quartet No 1 in ease and an undisturbed content ... There is enough volume of D Major, Op. r t, with its thrice -familiar Andante Cantabile. tone to fill the ear without overcharging it; there is enough variety Besides, those who heard the songs from the current Broadway of texture to excite interest without distracting it; we can hear musical, Kismet, will smile more than once with recognition during what every voice is saying and so follow both its part in the dialogue the Borodin music which, incidentally, allots considerable promin- and its bearing on the general plot ... This is not to belittle or dis- ence to the 'cello. The Hollywood String Quartet has done very parage the statelier forms of music; to them be all love and honor; well by both these works, and has been excellently recorded, though but when we have paid our tribute to them and received their royal I disagree with a few of the tempi (CAPITOL P 8187, 12 -in.). gifts in exchange, we may find on our return home something that Two quintets for piano and string quartet might next be investi- lies even more intimately round our hearts." gated. One is Schumann's Quintet in E fiat Major, Op. 44, If the use of this eloquent excerpt sounds like a sales effort the most sensible and well -balanced - if not the newest - version for chamber music on my part, it's because that is just what it is. of which is that by Rudolf Serkin and the Busch Quartet (COLUM- For a variety of reasons, this intimate form of musical expression BIA ML 2081, to -in.). The other is the Brahms Quintet in F Minor, is usually the last to catch on with the average record -listener - Op. 34 delivered in fine style by Joerg Demus and the Vienna despite the fact that it was written for living rooms and can be Konzerthaus Quartet (WESTMINSTER WI. 5148, 12 -in.) and admirably reproduced there with more exact lifelikeness than almost any reproduced. Both works have great inner strength, a good deal of other kind of music. dramatic impact and plenty.of wonderful themes. In selecting these to basic disks, the prime consideration was the Effective employment of the folk style in chamber music may music, then the quality of performance, and lastly the reproduction. be found in two works by nineteenth century Bohemian composers Entering this magic world of intimate sound through the proper - Bedrich Smetana's Quartet No. 1 in E Minor ( "From My portals is, in my opinion, far more important than whether those Life "), highlighted by an irresistible Polka and a haunting musical portals be gilded with brilliant sound reproduction. Some of the realization in the Finale of the composer's tragic deafness, and disks, then, may not be ideal from all angles. But it is the music Dvorak's Quartet No. 6 in F Major, Op. 96 ( "American ") which, that counts, so that if better recorded versions should come along, though written in this country, is marked more by nostalgia for the they can very well be substituted for those listed here. composer's homeland. Both works receive appropriately vigorous I can think of no more appealing piece of chamber music to serve treatment from the Koeckert Quartet ( DECCA DL 9637, 12 -in.). as an introduction to this art than the Mozart Clarinet Quintet Debussy and Ravel each wrote only one string quartet, but each in A Major (K. 581). Its form is clear and easy to follow; its is a masterpiece of modern French music, drawing some beautifully themes are ingenuously simple and everlastingly beautiful, and the diffused new tone colors from the four instruments. The Debussy blending of the clarinet's liquid tones with the string quartet lend is the more immediately appealing of the two, so should be ap- varied color to the music. The recording by that intensely sensi- proached first; but one work seems to complement the other. The tive clarinetist, Reginald Kell, with the Fine Arts Quartet of the Budapest Quartet's recordings (COLUMBIA ML 4668, 12 -in.) of De- American Broadcasting Company ( DECCA DI. 9600, 12 -in.) is not bussy's Quartet in G Minor, Op. to and Ravel's Quartet in F perfect, but is as good as anything else around. Major date from the early 1940's, yet still remain the ideal inter- In case you're timid about plunging headlong into the limpid pretations, and do not show their age. pool of chamber music, you might at least get your feet wet at no The most important, all -embracing chamber music composer of great expenditure of time or money with two miniature master- them all - Beethoven - I have left till last, and with good reason. pieces, Hugo Wolf's lilting Italian Serenade and Schubert s dra- No other composer has covered so much ground in his music. matic but tuneful Quartettsatz (Quartet Movement) in C Minor, His 16 string quartets embrace all three of his main creative periods, performed competently enough by the Koeckert Quartet (DECCA ranging from the Haydnesque quartets of Op. 18 co the deeply DL 4044, 10 -in.). introspective personally communicative quartets of Opp. 127, 130, Assuming that the Schubert morsel has whetted your appetite 131, 132 and 135. You need not wait until this point to acquire sufficiently, you can go on to more extended music by that master, the disk I have selected -a couplirg of the Quartet No. 9 in C singing some of his most glorious melodies in his Trio for Violin, Major, Op. 59, No. 3, and the Quartet No. r t in F Minor, 'Cello and Piano No. r in B flat Major, Op. 99. The most satis- Op. 95, both interpreted with tonal solidity, perfect ensemble fying interpretation and the brightest recording is that by Jean and great insight by the Budapest Quartet (COLUMBIA ML 4581, Fournier, Antonio Janigro and Paul Badura -Skoda (WESTMINSTER 12 -in.). These two immensely powerful and attractive works of WL 5188, 12 -in.). his middle period show the transition to a more personal style, Perhaps the simplicity and elegance of the Mozart style has with an injection of dissonance and a fascinating fugue in the C caught your fancy; then why not sample a pair of string quartets Major Quartet and a feeling of drama, plus a concentration and by Haydn, the man who first brought order, cohesion and equality economy of means, in the F Minor work. It may be, however, of voices to this particular form of musical expression? From the that by now you will feel you have been "converted" to chamber 83 quartets by this prolific composer, I have chosen the Quartet in music, and will want to build a larger recorded library. In that C Major, Op. 76, No. 3, and the Quartet in B flat Major, Op. case, you could make no wiser move than to acquire the three 76, No. 4, both played in clear, authoritative fashion by the Schnei- Columbia sets containing all 16 Beethoven quartets, recorded by der (HAYDN Quartet SOCIETY HSQ 35, 12 -in.). The former work is the Budapest foursome in that Mecca of chamber music, the Li- known as the "Emperor" Quartet because its slow movement is brary of Congress in Washington. a series of variations on the Austrian National Hymn, also com- Unquestionably, there will be many who will disagree with my posed by Haydn, and well known to practically everyone. The choice of basic material. Such an immense field cannot possibly other quartet bears the nickname "Sunrise" because of the manner be encompassed in only to records. But it's a start, at least, with in which its opening movement unfolds and brightens. On this plenty of fascinating new territory to be discovered in the future.

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AND listener not to be aware that there are any. FOLK SONGS FROM THE SOUTH- COLLECTIONS Comfortable, soft reproduction without sting ERN APPALACHIAN MOUNTAINS impact, kind to the violin and agreeable MISCELLANY of Tom Paley, with guitar and five -string in sum. C. G. B. banjo. ELEKTRA EKL 12. IO -In. 33 min. $4.45 DISTINGUISHED CONCERTI FOR ANNA RUSSELL SINGS, AGAIN? WIND INSTRUMENTS - VOL. 2 The tremendously brilliant recording of both Anna Russell; John Coveart, piano. tCimarosa: Oboe Concerto in C Minor guitar and five-stringed banjo, either as COLUMBIA ML 4733. I2 -in. 45 min. $5.95. (trans. Benjamin) solo instruments or accompanying the singer, fBach: Concerto for Oboe d'Amore and is the really outstanding feature of this have induced Miss Russell to Columbia Strings in A Major (trans. Tovey); fine collection of folk songs. This is not her amusing observa- record for posterity Sinfonia from Easter Oratorio (arr. meant to deprecate the really accomplished own Gilbert tions on "How to write your Whittaker) work of Paley as a singer in these songs, Opera," an analysis of "The and Sullivan Marcell(); Oboe Concerto in C Minor which are prevailingly of British origin, of the Nibelungs" and an "Introduc- Ring tHandel: Oboe Concerto No. 3 in G Minor though somewhat transformed in their tion to the Concert by the Women's Club transplanting to the Southern Appala- all with un- Leon Goossens, oboe and oboe d'amore; President." She attacks them chians. He has a real feeling for them, but with Philharmonic Orchestra; Sir Mal- bridled gusto, a good deal of corn and Liverpool as he states in his excellent notes, he has is in Cimarosa and unconcealed relish, though the result colm Sargent, cond., the always tended to stress his instrumentals, hardly as hilariously funny as when she con- and here is evidence to prove how right he is. fined her talents to subjects of smaller scope. The sounds of the instruments are astonish- Her analysis of "The Ring" seems almost ingly keen, clean and plangent and, to my as long as the original, and gets pretty knowledge, unequalled on any other record. threadbare towards the end. Her Gilbert J. F. I. and Sullivan sketch is maliciously bright and inventive, easily her most successful project, and one in which the artist ap- FRENCH TRADITIONAL SONGS pears to be having as much fun as her en- Sung by Shep Ginandes thusiastic audience. Women's Club presi- ELEKTRA 9. 10-in. $4.45. dents seem fair game for every satirist. Miss Russell pushes her points a little heavily Shep Ginandes is a widely- travelled Boston here, but since everyone present seems to be physician who collects and sings folksongs. thoroughly enjoying himself, I don't sup- For his latest album, he has gathered eleven pose I should quibble. This was recorded songs that belong to the French tradition of at an actual performance, the audience re- Voix -de- Ville. The Voix -de -Ville date from action helps considerably to add "liveness" Carlos Montoya: the ultimate in Flamenco the 16th century and to quote from the to the recording. J. F. I. virtuosity, in Emory Cook high fidelity. notes, "were born, for the most part, in crowded cities. They obtained their first BEETHOVEN Bach Sinfonia; Basil Cameron, cond., in the successes and were injected into the national Sonata for Piano and Violin, No. 5, in F, Handel. Philharmonia String Orchestra; consciousness in noisy cabarets and dives, tradi- "Spring," Op. 24 Walter Süsskind, cond., in the Bach Con- whence they have spread through oral areas imbedded certo and the Marcello. tion toward the rural to get in of the people." SCHUBERT COLUMBIA ML 4783. I2 -in. $5.95. the minds and memories Duo for Piano and Violin, in A, Op. 162 They are, in general, flippant, sentimental, The English oboist, Leon Goossens, has ironic, and often lusty. Mr. Ginandes TARTINI many admirers in this country, among whom, sings them in a pleasant, flexible tenor that I am not numbered. Though is the best possible technical treatment Sonata for Violin and Keyboard in G unfortunately, given I find his Elektra people. An attractive little Minor, "Devil's Trill" I respect his sincere musicianship, by the tone unpleasantly uneven. Nevertheless, booklet containing both the original lyrics David Oistrakh, violin, with V. Yampolsky this varied collection of eighteenth- century and their translations accompanies the ( Tartini) and Lev Oborin (others), piano. music for oboe makes interesting listening. album. R. K. PERIOD 573. 12 -in. 23, 22, 15 min. $5.95. The Bach Concerto, in which Goossens plays the oboe d'amore an alto oboe is a Oistrakh is nine years younger than the - - ITALIAN CLASSICAL SYMPHONISTS Mr. transcription by the late Sir Donald Francis Soviet Union of which he is one of the most (Albinoni, Boccherini, Brunetti, et al) Tovey of the Clavier Concerto No. 4 in A prepossessing monuments. That he is one Fifteen Works Major; the Handel is erroneously marked world's great violinists we know of the "Concerto Grosso." Since most of these Italian Chamber Orchestra; Newell Jenkins, from his previous records, issued under (pf. & hpcd.); recordings were made in England in the early cond. With Carlo Bussotti five different labels, but the present is the (vn.); Marilyn Tyler (s); 1940s, the reproduction is not Antonio Abussi exhibition of his talents and middle most comprehensive of the highest quality. In some instances, Maria Amadini (a); Alfredo Bianchini (t); to appear. We knew the flash of his virtuo- Rossi (horn). too, the surfaces of the 78 rpm disks from and Pasqualino which the "Devil's Trill" reiterates, and SOCIETY HSL -C. Six 12 -in. 3 hr. sity, were made provide a HAYDN variety of sound he can which the dubbings the exceptional hissing background. P.A. 14 min. $35.70. bow from his instrument, but the warm lyricism in the slow movement of this This cool issue would have occupied 6o o- "Spring" Sonata and the heed to the ro- PATTERNS IN FLAMENCO 78's if 78's had reached that point in reper- where it have seemed to mantic vagaries of the Duo are less dazzling, Carlos Montoya, guitar. tory might expedient issue The Haydn Society seems to but perhaps better, than we would have ex- COOK SOUNDS OF OUR TIMES 1028. Io -in. them. know nothing of expediency, and thus is a pected. The objection to these is a minor $4.00. disparagement of the piano, a traditional darling and a despair of critics. (Her con- vice in the Sonata; but in the Tartini, where There is no more exciting or virtuosiy in- cession to commercialism cunningly takes the keyboard is properly a serf - and which terpreter of Flamenco guitar music than the form of a I7th Eine Kleine Nachtmusik is a far nobler piece of music than its nick- Carlos Montoya. On this record, promising- and an 18th "Unfinished" to counterbalance name implies - the Oistrakh exploit is ly labeled Volume I, he provides some of his the weight of the seductive light things formidable beyond remembrance, for the most stirring interpretations, complete with assembled in the album under discussion.) violinist overcoming the satanic hazards dizzy runs, tricky rhythms and percussion Never has scholarship descended upon makes them immanent in the train of logical effects. In a fairly close -to recording, Cook the phonograph with a lighter step. The musical expression, whereas their more gen- has provided spectacularly faithful repro- 15 works here apparently recorded for the eral effect is of crimson neons in a temple. duction that emphasizes the stringy, percus- first time have no chill of austerity beyond He glides into these difficulties, and he sive qualities of the instrument. This disk their unfamiliar titles. Even the music with is to have a slides out; and it is quite possible for a is also available in a binaural edition. P. A. a tragic intent too buoyant

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www.americanradiohistory.com tragic effect, and the most persistent emana- Now they have patched together a score from show has been recorded with a feeling of tion is one of airiness. (The exception is the provocative melodies of Alexander closeness and immediacy; it's so real you feel Cambinï s cantata "Andromaque," the pathos Borodin and attached it to the old, old that you could be sitting in the prompter's of whose recitative is not superficial.) The story of Kismet. In the raucous brawl that box. R. K. title of the collection, "Italian Classical results, Borodin wins hands down. No mat- Symphonists," is a catch -all serving conveni- ter how Wright and Forrest twist tunes, ence, for the composers represented, from distort fierce Polovetsian Dances into banal LEADBELLY'S LAST SESSIONS Corelli to Viotti, span 172 years and con- waltzes, or tumble vigorous Oriental rhy- Ninety-four songs by Leadbelly, recorded nect five musical epochs. Whoever guided thms into jive tempos, Borodin's warm, by Frederic Ramsey, Jr. selective research had an instinct the and powerful melodies stand out, emerging from Folkways: Vol. I. PP 241. Two 12 -in. $11.90. for the elements in music which furor eye com- the surprisingly fresh and apparently Vol. II. FP 242. Two 12 -in. $11.90. municate themselves with quickest enjoy- impervious to any onslaught. They are ment to the ear, and it is hard not to admire helped no end by two of the most resource- In the November -December, 1953, issue of the adroitness of an accomplishment that ful singers on our musical stage: the stylish HIGH FIDELITY, Leadbelly's recording Bos- gives the satisfaction of exploration, the Alfred Drake and the sweet- voiced Doretta well, Frederic Ramsey, Jr., told at great odor of learning and the caress of simple Morrow. Drake is forceful enough to make length of Leadbelly's last recording sessions pleasure, all at once. you listen to a song as downright dull as and of the events that led up to them. There There are too many good things to note Fate; when he bites into Rhymes Have I, is really very little left to tell except that adequately. A virile, restless C Minor Sym- which at least gives him a chance, he is the resulting records are everything Lead - phony and another in G Minor by Brunetti, superb. Doretta Morrow, too, holds the belly admirers could hope for. They add of a stunning originality and very little attention; her singing of Baubles, Bangles, up to nearly four hours of pure Leadbelly; resemblance to any other composer, a lively and Beads is tasteful and elegant and hers is not Leadbelly of the cold recording studio, and sweet double concerto by Viotti and a the only voice to come out of And This Is but Leadbelly of the Greenwich village bar, Giordani piano concerto of mobile feminine My Beloved (an adaptation of the third singing, chanting, talking, telling stories blandishments are compelling at first stroke; movement of the D Major Quartet) with and punctuating most of the four hours three works by Sammartini are outstanding credit. Also around are Richard Kiley, a with the contagious beat of his 12 -string and durable, and nothing seems to be trash, tenor who has pitch trouble, and Joan guitar - on which, incidentally, he is an although a good deal of Pergolesi's Orfeo Diener, a magnificently -proportioned young honest -to -God virtuoso; too little attention recalls La Serva Padrona, a bland incon- lady, who shows off a voice that seems as has been paid to this facet of his musical gruity. big as it is mobile. talent. No one is permitted to abuse criticism by The orchestra sounded enormous to me, I say most of the four hours, because the dogmatic asseveration of values in first per- as did the chorus. There were moments recording session actually got started a formances - which is what these records when I thought a cast of at least a thousand little ahead of schedule, on a night when amount to for us. One is expected to state was participating in the festivities. The Leadbelly had left his guitar at home. Con- predominant impressions, and those are here of gusto and enthusiasm and good knowledge of style, without much gloss. PARTCH clangor, and deep resonance, but, as is The orchestra varies in size according to the Plectra and Percussion Dances usually the case with microtonal music, the requirements of the music, but is never Gate 5 Ensemble. novel excitements of the color do not, in large, and contains strings notably mellow Gate 5 Ensemble PL I. 12 -in. $8.00. the long run, compensate for the losses and individual. Mr. Bianchini s tenor is which the rigid limitations of microtonality a musical refinement astonish- This record, which is produced by the controlled by impose. Partch's melodic tissue is a series tenors. Mr. Bussotti is a musi- composer and sold by him for $8 at 3030 ing in good of reiterative short phrases in rather monot- cian at either keyboard. Bridgeway, RFD 67, Sausalito, Calif., em- onously reiterative rhythms; harmonic and The sound is clear but close, persistently bodies some of the results of Harry Partch's contrapuntal interest is slight, and the few on the dry side. (The string playing is interest in a scale he has invented which particularly commendable, since the good contains 43 notes to the octave. The scale efforts at sustained melodic line do not demands instruments off. But the satiric tone is not aided by acoustics.) Stringent of its own, which come literature on the Partch has treble reduction is required, and in a few provided, and they are instru- back of the record sleeve is almost worth places cannot throttle a foreign shimmer. ments of enchanting, tingly timbre, bold the price of admission in itself. A. F. On good equipment the piano will bell. Detail and balance are commendable. Here are the works, in order of their presentation: Albinoni, Concerto for Orchestra, in D Minor, Op. 5, No. 7; Corelli- Geminiani, Concerto Grosso No. 2; Sammartini, Violin Concerto No. 2, Symphony in G, Lenten Cantata; Pergolesi, Orfeo; Cambini, Andromaque; Galuppi, Overture No. 2; Giordani, Piano Concerto; Valentini, Oboe Concerto; Brunetti, Symphony in C Minor; Viotti, Concerto for Piano and Violin; Brunetti, Symphony No. 22, in G Minor; Rosetti, Horn Concerto in E Flat; Boccherini, Symphony in F, Op. 35, No. 4. C. G. B.

KISMET Music from Alexander Borodin; Musical Adaptation and Lyrics by Robert Wright and George Forrest. With Original Broadway Cast: Alfred Drake, Doretta Morrow, Joan Diener, Henry Calvin and Richard Kiley. COLUMBIA ML 4850. 12 -in. $5.45. Undaunted and unbowed, the two leading "classic- adapters" of the American musical Its microtortal! Surrounding experimental composer Harry Partch are instruments his comedy stage are Robert Wright and George works are scored for. More or less from left to right: Diamond marimba, cloud- chamber Forrest, best -known for Song of Norway. bowls, marimba eroica, bass miramba, harmonic canon, kithara and, lastly, chromelodeon.

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sequently, on the first record of Vol. I To drop back to earth, this record was an; It Ain't Necessarily So; I Got Plenty O' Leadbelly sings accompanied only by an apparently drawn from studio capes made Nuttin'; There's A Boat Dat's Leaving' Soon occasional stomping of a foot or clapping under concert -excerpt broadcast conditions. for New York. of hands. It is, however, a truly remarkable On that level it is quite satisfactory tech- performance. I daresay there are few singers nically, but the end of Act III of La Bohème This Gershwin album was recorded in Eng- land first 78 rpm Columbia who could be so entertaining sitting in does sound odd without Musetta and Mar - and released on front of a microphone with such informal cello. J. H., Jr. Masterworks Records in 1938. Now en- equipment. gineered onto LP, it looks, unhappily, bet- it As a matter fact, there With or without guitar, Huddie Lead - MOZART ter than sounds. of better was a rare isn't much to listen to at all, and its exciting folksinger, perhaps the DOHNANYI greatest America has produced. He was also moments are few indeed. To its credit is a personality of gargantuan proportions; WALDTEUFEL Larry Adlei s blithe, nonchalant performance of 'S Wonderful, a short, snappy dialogue the kind of figure that has inspired legend HELLMESBERGER building. In this case, the legend -building as Gershwin plays and Astaire dances Half will be unnecessary; thanks to Mr. Ramsey Concert Dances Of It, Dearie, Blues, during which they shout encouragement to each other, and Gersh- the real man has been preserved. R.H.H., Jr. Three German orchestras, three German win s rhythmically sophisticated playing of conductors. Sweet and Low Down. Added up, this DECCA DL 4064. 10-in. 4, 6, 4, 5 min. $2.50. MARIA CEBOTARI: Puccini Scenes amounts to no more than a few minutes. Brilliant, close recording of an unwarranted For the rest, there is Hildegarde sliding La Bohème: Act I, from entrance of Mimi to hodge- podge, with superb brass timbre in through The Man I Love and one whole side end; Act III, Mimi's farewell to end. the Munich Philharmonic's playing of devoted to a mild, rather dull British per- Madama Butterfly: Act I, from beginning of Hellmesbergei s showy and inane Dance of formance of excerpts from Porgy and Bess. love duet to end; Act II Un bel di. (All in the Devils. C. G. B. Incidentally, contrary to the notes Colum- German.) bia has provided for the record, it is Larry Maria Cebotari (s) Mimi and Cio -Cio -San; MOZART Adler and not Astaire who handles 'S Wonder- Peter Anders (t) Rodolfo; Helge Roswaenge ful. Christopher Stone does the "narration" (t) Pinkerton. Radio Berlin Orchestra, NICOLAI on the first side, and I'm afraid the doings Arthur Rother, cond. SMETANA he describes are a disappointment. Dull, URANIA URLP 7105. 12-in. $5.95. tubby sound, too. Operatic Arias dissent.) No doubt this disk was If Urania were never to release another re- (Partial cording, those who love singing would be Walter Ludwig, tenor; Württemberg State put together initially, in England, as a after his death. forever in debt to that company for helping Orchestra, Stuttgart; Ferdinand Leitner, tribute to Gershwin soon make the voice of the late Maria Cebotari cond. This should lend it a certain solemnity. DECCA DL 4073. Io -in. 16 min. $2.50. has aspects which will more than a legend. Her career was not However, side two long -time record long, as lifetimes go, but she left an ex- be hilarious to certain Don Ottavió s two arias from Don Giovanni, to traordinary impress. Born in Bessarabia, enthusiasts. The soloist chosen sing labored and inflated; an overweighted aria Porgy and Bess selections, probably be- she was trained as an actress and travelled the from The Merry Wives and an acceptable bit he was available, is Webster Booth, a to Germany while still in her teens as a cause from The Bartered Bride, with fat accom- tenor long known for his peculiar excel- member of a Russian theatrical company. paniments badly balanced and shrill in the Her voice attracted attention, and she was lence at Handel oratorios. His Handelian treble. C. G. B. and British voice, applied offered a subsidy to study singing while manner churchly an effect serving an apprenticeship in the Dresden to It Ain't Necessarily So, produce TANIDOS DE GUITARRAS weird and wonderful, if not exactly what opera -house chorus. She accepted, stayed both had in mind. J. M. C. on in Germany, and in 1931 made her debut Luis Maravilla, guitar. Gershwin as Mimi. From then until 1949 she was WESTMINSTER WL 5194. 12 -in. 56 mins. - JR.: Waltzes and the beloved favorite of audiences and col - $5.95 - JOHANN STRAUSS, Berlin, and Polkas leagueslinj.Vienna,'Salzburg, Mr. Maravilli s second record, Guitar was s Munich. She still in her 3o' when Sounds, is an exciting mélange of Spanish CAPITOL P -8222. 12 -in. $5.70. she died. dance music most of it gypsy in style. Happily married and devoted to her - William Steinburg conducting the Pitts- The performer commands the flamenco art burgh Symphony Orchestra. children, she never came to this country, of seeming to improvise while being con- and was known here mainly through travel- stantly in full control of delicate tonal Acceleration Waltz; Adele Waltz; Emperor ers' glowing accounts and occasional show- shadings and abrupt rhythmic shifts. His Waltz; Pizzicato Polka; Perpetuum Mobile; ings of her several European motion pic- versions of the Tricorne farruca and Lecuona's Tritsch- tratsch Polka; Annen Polka; Cham- tures. It is only too easy to lec sentiment Malaguena are styled for dance accompani- pagne Polka; Thunder and Lightning. color judgement in describing the qualities ment; to their benefit they emerge consider- of an extremely beautiful woman who died ably slower and less high -pressured than in GRADUATION BALL: Johann Strauss before her time, particularly if she sang so- piano -recital performances. Again West- (Complete Ballet) prano. But listen to the records - this one, minster's recording is completely realistic; the earlier Urania releases of excerpts from Anatole Fistoulari conducting the New the microphone doesn't miss a thing, in- Symphony Orchestra. La Traviata and miscellaneous arias, the cluding the guitarist's breathing. R. E. Mozart aria selected by Irving Kolodin LONDON LL 883. 12 -in. $5.95. for inclusion on his wonderful Critic's Choice disk for Victor. There have been Both Steinberg and Fistoulari offer en- voices as beautiful, controlled by techniques chanting music here, aided enormously by as secure. There still are. But very few THE MUSIC BETWEEN Capitol and London engineers, respectively, singers are as moving, not because of any The Pittsburgh Symphony and The New vocal histrionics imposed on the music from GEORGE GERSHWIN SymphonyOrchestra, respectively, and, above outside but because the music (notwithstand- Sung by Hildegarde, Danced by Fred all, by Mr. Strauss. Mr. Steinberg's selec- ing the incongruous sound of a German text Astaire with George Gershwin at the tions are unhackneyed, gay, and always in in Puccini or Verdi) is realized from the Piano. high spirits. He returns the high spirits in so personally com- abundance and gets everything he can out inside out and ever Played by Larry Adler, George Gershwin municated. It is not possible, I think, to of the music. Mr. Fistoulari, too, gives as and Carroll Gibbons and his Orchestra. has a admire a Cebotari performance abstractly. good as he gets; his Strauss, perhaps, COLUMBIA AL 39. to -in. $2.85. than There is always the sense that it is happen- little more lilt and a shade lighter beat ing only for you, that it has never happened The Man I Love; Do, Do, Do; My One and the gentleman's from Pittsburgh. But who before and will never happen again, that Only; 'S Wonderful; Half of it, Dearie, can quibble? Both men have done the best way justi- only you are listening. And I am not habitu- Blues; Fascinating Rhythm; Sweet and Low they can, and the results in every ally a soprano -lover. Down; Summertime; Bess, You Is My Wom- fy the effort put in.

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I might add that the score Antal Dorati course of a day's activities. They range A CONTINENTAL COCKTAIL put together for Graduation Ball includes from a dream of escape to an incoherent Liane with the Boheme Bar Trio several of the selections on the Steinberg- fantasy about a man and a woman, both VANGUARD VRS -7002. Capitol record. If this makes choosing be- apparently demented, who live on a pink IO-In. $4.00. tween the two even more difficult, let me houseboat and talk to angels before break- Om es tu, mon amour?; Madrid; Ich hab say further that if you are familiar with the fast. Also rising to the surface along the mich so an dich gewöhnt; Hello, wer ist ballet itself you may possibly enjoy the Fis- way is probably the most offensively morbid dort an der Tsir.?; Polka; Warum hast du toulari- London recording a little more than mir weh getan; Melodies of Old Vienna; a the Steinberg. But only little more. Pa da m ... Pa da m , . . ; Would I love you; Spanish Dance. TCHAIKOVSKY FAVORITES Joseph Fuchs, Violin with Camarata and LE BING: Song his Orchestra. Hits of Paris DECCA DL 5499. lo -in. $3.00. DECCA DL 4082. Io -in. $2.50. Mademoiselle de Paris; Embrasse-Moi Bien; Autumn Song; Song Without Words; Swan Mon Coeur est un Violon; La Vie en Rose; Lake; Serenade Mélancolique; Melodie. La Seine; Au Bord de L'Eau; La Mer; Tu Showing both commendable enterprise and Ne Peux Pas Te Figurer. respect for the buyers pocketbook, Decca Two continental canaries, who between continues its low- priced 4000 Series with them can almost show off just about this Fuchs -Camarata collaboration on five the entire range of the human voice, go to Tchaikovsky melodies. The Fuchs violin work here on a mélange of European tunes, is resonant and sweet and the Camarata among them Spanish, French, German and orchestra supports it with finesse. You Hungarian. Liane, a throaty- voiced Vien- may feel that the Swan Lake excerpt is nese, is actually the polylingual member of played much too fast; its easy to imagine the group; Le Bing sings only in French. a stageful of breathless swans chasing the The former's recording is a pleasant if un- orchestra and soloist in near- panic. Other- distinguished affair. Her singing style is wise, though, the mood throughout is "sophisticated" in the New York supper - properly melancholy, and the sound is ex- Anatole Fistoulari: club fashion. That is, little voice but ceptionally clean, with Mr. Fuchs, in particu- a lilt and a light touch in Strauss' gay plenty of charm and world weariness. Back- lar, getting the benefit of intelligent en- Graduation Ball. ing her stylized efforts is the Bar Boheme gineering. At $2.50, this is a bargain, if Trio (piano, bass, guitar alternating with there ever was one. item on records: The Caretaker's Dream. This accordion); they tinkle away merrily in the sequence is concerned mainly with the para- background but the few numbers they have doxes that lead to and from the graveyard. to themselves show little PLAY, GYPSY! Among them: character. Le Bing, who by now must have more Edi Csoka and his Gypsy Orchestra "I live among the dead, aliases than any singer alive (they include VANGUARD VRS -7003. to -in. $4.00. Among all the friendly dead, El Bingo, Der Bingel, to say nothing of I'll die among the living, Folk Dance; Hungarian Song and Czardas; Bing Crosby), does consistently fine work But I live among the dead." Srba; Sina Hora; Roumanian Folk on his group of Parisian songs. He is al- Concert The music, too, I'm afraid, meanders along Song; Gloomy Sunday; Roumanian Canary. ways relaxed and not a bit self -conscious of just as aimlessly: undeveloped, unmemor- his French, which struck me as being first - able. The cast sounds spirited or portentious Plenty of heel- stamping and rhythmical rate. Of the two records, I thought Le Bing's as each dream may require, and, in addition, head- shaking here, particularly on the Con- effortless work outshone by far the more surprisingly unconfused by the material cert Srba, a number so rousing that it prac- it earnest accomplishments of Liane and the is called upon to sing. That's I tically brought down the roof of my house. more than Bar Boheme Trio. Both singers get good, can say for myself. I was not Also fun was Gloomy Sunday, that old only con- close engineering. Vanguard promises two fused, I standby inexplicably displaced to Salzburg, was depressed. The sound is more Liane records for the future. Mr. Csoka s present caravan quarters. Mr. stunning. Csoka and his men do some strange things to the melody, such as repeating it an in- MORTON GOULD: TAP DANCE ERROLL GARNER terminable number of times; nevertheless CONCERTO and FAMILY ALBUM they ought to have you in tears by the COLUMBIA CL 535. 12 -in. $3.95 - The Rochester "Pops," Morton Gould second groove. I liked best of all Roumanian Caravan; No conducting. Danny Daniels, dance Greater Love; Avalon; Lullaby a happy little beast, it turns out, Canary, soloist. of Birdland; Memories of You; Will You full of lusty rhythms and chirps echoing Still Be Mine? Enesco's Roumanian Rhapsody. The whole COLUMBIA ML 2215. 10 -in. $4.00. record, as a matter of fact, is filled with For its sound, this ranks among the best About his Tap Dance bravura playing and a generally devil-may- Concerto, Morton Gould piano recordings ever made. It's incredibly has written that he has care attitude that may please you a great "utilized the tap true; there's no thump, no bong, no echo, dance deal. Two more albums are promised for medium as an integrated rhythmic and just piano. Musically, its superlative at its dynamic the near-future. part of the orchestral texture." best, first -rate at its least. The least of it is Fortunately, Mr. Gould's music is a good Garnei s playing of No Greater Love in which deal less heavy- handed - or footed - than he states the theme in an overly fussy way. SEVEN DREAMS his verbal approach to it. It has wry melodies The best of it is what is left Jenkins, conducting. - five pieces Gordon and a sharp rhythmical accent throughout, recorded at an improvised session by a superb A Musical fantasy with Bill Lee, Laurie and it seemed to me that it could stand very pianist, unerringly backed by two sympa- Carroll, Jeanette Nolan, John McIntire, well by itself, particularly in its middle two thetic gentlemen named Ruther and Heard Beverly Mahr, and the Ralph Brewster movements, without the help of a tap dancer. on bass and drums. singers. Danny Daniels, however, does what he has Almost everything that Garner does here DECCA DL 9011. 12 -in. $5.85 to do with what sounds like style and a sure seems right: his light -headed gaiety in foot. Lullaby of Birdland; the sudden dramatic Gordon Jenkins' Seven Dreams, if you can On the other side is Mr. Gould's Family flurries in Memories of You, as though he were believe its lyrics, was conceived as a protest Album, a group of conventional, nostalgic impatient with the whole affair; the delicate against the dullness of reality. Unfortu- compositions about such out -of -date under- buoyancy of Will You Still Be Mine ?; the nately, however, the dreams that are musi- takings as outings in the park and horseless skyrocket speed of Caravan; the spoofing in cally dramatized here are far duller than the carriage rides. Both scores have been re- Avalon; the hesitations, the progressions, prosaic events I usually run across in the corded with taste and understanding. the lush chords.

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SOPHISTICATED SWING deal of piquant humor to a warhorse that Ace in the Hole; Silver Dollar; The Torch; Les Elgart and his Orchestra could use it. But I liked Mr. Weston's Frankie and Johnnie. quiet playing of all the twelve songs he CL 536. 12 -in. $3.95. COLUMBIA chose. His magic may be paler than Mr. BOB SCOBEY'S FRISCO BAND, Vol. 2 Sophisticated Swing; The Gang that Sang Kostelanetz's, but, somehow or other, it Heart of my Heart; Bendix Bounce; Soon; seems a good deal more durable. Columbia GOOD TIME JAZZ L -14. Io -in. 23 min. $3.00. The Weasel Pops Of; Geronimo; I Never has given Mr. Weston's orchestra excellent South; Sailin' Down Chesapeake Bay; Melan- With Knew; Why Don't You Fall in Love engineering, but the art -work they have put choly; Chicago; Peoria; All the Wrongs You've Sophisti- Me?; Conlin' Through the Scotch; on the cover is pretentious, garish, and Done to Me; Do You Know What It Means to cated Lady; The Turtle Walk; Time to Go. empty. Miss New Orleans?; Blues My Naughty Using an orchestra that sounds more his orchestra Sweetie Gives to Me. Columbia calls Les Elgart and compact than either the Kostelanetz or Prom Favorite." If "America's College Weston group, Leslie Bridgewater s Music The San Francisco branch of the jazz tradi- is it shows that stu- the claim true, simply To Relax By offers a series of tunes in the tionalists has checked in with three fine col- in the dent tastes have not changed much light classic genre. Mr. Bridgewater gets lections of its members' work. The emphasis past ten years or so. For this is prom stuff his effects with the means at hand; he wastes in all three, whether by design, coincidence in early forties, as I remember it, back the nothing. I found his selections, however, or the caprice of record manufacturers, is on beat, and even a little later: deliberate tenuous, wry, and rather monotonous. Some vocalizing. Murphy's Good Time Jazz Spivak manner, rather polite in the Charlie of it is diluted Stravinsky, some of it is disk, for instance, is notable primarily for its ar- easy to dance to. The band and diluted Prokofieff, and the rest seems to be three numbers featuring Claire Austin, a for rangers also seem to have a sure feeling straight movie music. Well-balanced sound, Sacramento housewife who patterns her sense. orchestral color and a neat dynamic though. ROBERT KOTLOWITZ singing on that of Bessie Smith. Miss playing My only complaint is that their Austin has a vigorous, shouting style which or, never really threatens to get out of hand, carries her a long way toward her goal for that matter, very exciting; it is all so but she lacks Bessie's depth and warmth. sophisticated and smooth that, in the end, She achieves a rich, bluesy quality on the In no one seems to be having much fun. THE BEST OF JAZZ slow Oh Daddy, punches hard on her copy of any case, I think you will find the band's Bessie on Hot Time in the Old Town, but finds old Gershwin tune, Soon, playing of that JOE SULLIVAN Cakewalkin' Babies a little too fast for corn- mellow. The sound should extremely Fats Waller First Editions. fort. Wolverine Blues, a solo showcase for please you, too. It's clean and well-balanced. clarinetist Bob Helm, provides a rousing EPIC LG 1003. to -in. 23 min. $3.00. demonstration of his rough, soaring style remaining four num- MAGIC Joe Sullivan, piano; Walter Page, Bob and broad tone. The BLACK all instrumentals, Andre Kostelanetz and his Orchestra Casey, bass; George Wettling, drums. bers are Murphy originals, If You Can't Be Good, Be Careful; Can't We all of only moderate interest. COLUMBIA ML 4741. 12 -in. $5.45. Get Together; Never Heard of Such Stuff; There'll On Bar-Room Jazz, Murphy takes over as a treatment That Old Black Magic; Mad About the Boy; Come a Time When You'll Need Me; Breezin'; vocalist, giving rugged, earthy earthy material. His gravel - Our Waltz; Little Girl Blue; Some Day; An Armful of You; What's Your Name ?; to this rugged, takes up most of the disk Out of This World; Easy to Love; Limehouse Solid Eclipse. lunged shouting and, with Helm and cornetist Don Kinch Blues. Fats Waller was widely recognized as a churning things up in back of him, he gen- prolifically creative talent when he died all erates a mood and a kind of nostalgic ex- DREAM TIME MUSIC BY PAUL too young a decade ago. But apparently he citement that isn't caught very often on WESTON was even more prolific than had been realized, records. The group has been recorded with for here are eight previously unpublished, a big, echoing sound. CL 528. 12 -in. $3.95. COLUMBIA unrecorded and otherwise forgotten Waller Scobey's collection features the singing S'posin; Over the Rainbow; I'll See You compositions which have been dug out of of banjoist Clancy Hayes who doesn't Again; Embraceable You; This Can't Be music publishers' files. These are no "dogs" work as hard as Murphy but is frequently Love; Together; How High the Moon; You but good, solid tunes with that rollicking more effective. Urged on by Scobey's Were Meant for Me; Wonderful One; Why melodiousness that was typically Waller. It forceful trumpet, this group shows a stronger Shouldn't I ?; Sweethearts; Pennies from would be hard to imagine anyone more ensemble punch than does Murphy's and Heaven. capable of giving these tunes a first public backs up Hayes with a joyous vigor, par- presentation than Joe Sullivan. He is a ticularly on Chicago, Peoria and Sailing Down marvelously rhythmic pianist with a strid- Chesapeake Bay. The sound, once again, is MUSIC TO RELAX BY ing beat which is very much in the Waller big and lively. Leslie Bridgewater and the Westminster vein. There are, as there should be, echoes Light Orchestra of Waller throughout his playing on this JAM SESSIONS No. 3 and No. 4 WESTMINSTER WL 4008. I2 -in. $4.95. disk but the styling is essentially Sullivan. He is at the top of his form on these pieces CLEF MG C -4003 and MG C 4004. Two 12-in. Ballroom; Polka Grotesque; The Enchanted and the result is some superb jazz piano work. $4.85 each. Fountains in a Shaded Square; Intermezzo is aptly intimate, with the bass The recording Wardell Gray, Stan Getz, tenor saxophones; and Serenade; Danse de la Pouppée; Pukinel- and drums cuddling closely to the piano. la; Nocturne in Silver; Valse Lègère; Lonely Willie Smith, Benny Carter, alto saxophones; Harry Edison, Shepherd; Blues and Fox Trot. MURPHY'S JAZZ BAND, Vol. 4 Buddy De Franco, clarinet; TURK trumpet; Count Basic, Arnold Ross, piano; Mr. Weston walks off with the honors here GOOD TIME JAZZ L -18. Io -in. 24 min. $3.00. Freddie Greene, guitar; John Simmons, for several quite simple reasons: his ar- bass; Buddy Rich, drums. Cakewalkin' Babies; Oh Daddy; Hot Time in rangements are unpretentious and straight- 3 Apple Jam; Ballad Medley (Indian the Old Town; Wolverine Blues; Minstrels of No. - forward, they can be danced to, and they Summer, Willow Weep for Me, If I Had You, Annie Street; Little John's Rag; Bay City; never offer an effect for an effect's sake. of a Chance, Love Walked In, Body and Mesa 'Round. Ghost Andre Kostelanetz's Black Magic, on the Soul, Nancy, I Hadn't Anyone 'Til You). other hand, is practiced with such a heavy No. 4 Oh, Lady be Good; Blues for the Count. had finished TURK MURPHY AND HIS JAZZ - hand that when the record BAND playing, I had the feeling, literally, of having Any ensemble which includes both Count been pounded over the head. It is full of Bar -Room Jazz. Basie and Buddy Rich in its rhythm sec- and gratuitous dishar- tion is off to a good start. And it is the pregnant pauses COLUMBIA EP B -1686. II min. $I.6o. monies; the sound is too big, too full, rhythm section, in fact, which is the con- two and sometimes shrill. Of the eight popular Turk Murphy, trombone and vocals; Bob sistent star of these two disks. On the Be Good, and Apple songs Kostelanetz plays, I can say that I Helm, clarinet; Don Kinch, trumpet; Wally uptempo numbers, Lady irresistible liked only Limehouse Blues. It's filled with Rose, piano; Dick Lammi, banjo; Bob Short, Jam, it produces an insistently sudden rhythmic changes that add a good tuba. beat which carries the listener happily

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through some of the less stirring solo work. Be Good, they reveal a bouyantly rough and Morpo; Powder Put. Bunny; Mambo Del Beyond that, Buddy De Franco's pretty yet vigorous style that contrasts sharply with Crow; The Pesky Serpent; Diablo's Dance; vigorous clarinet is consistently interesting their delicate playing of the dirges. The Pirouette; Indian Club. and Willie Smith and Wardell Gray are warm recording was made outdoors in a partially and swinging in most of their appearances. enclosed New Orleans courtyard and, con- SHORTY ROGERS AND HIS OR- The happiest side of the lot is Lady Be Good. sequently, is limited in range and occasion- CHESTRA FEATURING THE Basie, who is unaccountably given rela- ally distorted but, under the circumstances, GIANTS - Cool and Crazy tively little solo space, is allowed his this actually seems to contribute to the VICTOR greatest leeway - three choruses - to get particular atmosphere of the disk. LPM 3138. 10 -in. 26 min. $3.15. this one going and from there on it rocks Featuring Shorty Rogers, trumpet; Milt straight through. All four sides suffer Bernhart, trombone; Johnny Grass, french somewhat from an overdose of saxophonists horn; Jimmy Giuffre, Bob Cooper, tenor and on the slow Blues for the Count this be- saxophone, Art Salt, alto saxophone; Bud comes a definite detriment. The recording Shank, baritone saxophone; Marty Paich, is sharp and well balanced with the soloists piano, Shelly Manne, drums. caught close up while the ensembles echo Coop de Graas; Contours; Tale of an African roomily. Lobster; Infinity Promenade; Short Stop; Chi - quito Loco; BoarJibu; The Sweetheart of Sig- MARY LOU WILLIAMS mund Freud. CONTEMPORARY C 2507. 10 -in. 24 min. HOWARD RUMSEY'S LIGHTHOUSE $3.00. ALL -STARS Mary Lou Williams, piano; Ken Napper, CONTEMPORARY C 2501. IO -in. 28 min. bass; Tony Scott, bongos; Alan Ganley, $3.00. drums. Koolbongo; For You; Don't Blame Me; Lady Anonymous trumpet; Milt Bernhart, trom- Bird; Titoros; They Can't Take That Away bone; Jimmy Giuffre, Bob Cooper, tenor From Me; 'Round About Midnight; Perdido. saxophones; Russ Freeman, piano; Howard Rumsey, bass; Shelly Manne, drums. Left to her own devices, Mary Lou Williams Luau; Comin' Through the Rye Bread; Taking is one of the a Chance on Love; most predictable of jazz Percy Humphrey. A vigorous style for the The Big Top; The Duke musicians. You Unless she is muffled by sur- stomps; a sense of dolor for the dirges. Say; Sunset Eyes. rounding instruments or mangled by short- cut recording methods, she can be trusted All three of these disks feature more or less to produce piano jazz of the highest order BILLIE HOLIDAY the same personnel, a group which is de- - creatively conceived, impeccably played An Evening with Billie Holiday. veloping that sense of teamwork which has only recently become a recognizable and intrinsically swinging. This disk, re- CLEF MG C -144. 10 -in. 24 min. $3.85. ele- corded in England, provides her with the ment in the work of modern jazz combina- Billie Holiday, vocals; Joe Paul proper conditions and is, accordingly, top Newman, tions. Strangely enough, the merits of the drawer. More than that, it reveals various Quinichette, Flip Phillips, saxophones; three LPs are quite varied. The Rumsey facets of her playing the hard -swinging Charlie Shavers, trumpet; Oscar Peterson, disk has one side that is sparkling, alive - piano; Ray Brown, bass; Barney Kessel, and style on Lady Bird and Perdido, a rather thoroughly interesting, a side on which guitar; J. C. Heard, Alvin Garneresque romanticism on Don't Blame Me Stoller, drums. saxophonist Bob Cooper glistens through and They Can't Take That Away from Me, Stormy Weather; Lover Come Back to Me; My several smoothly flowing, creative solos. Man; He's Funny That Way; Yesterdays; the Afro -Cuban approach on Koolbongo and The opposite side is a dud. Cool and Crazy Tenderly; Can't Face the Music; Remember. is Titoros and, in a departure from strict tempo, marked by Johnny Graas' facile handling a of the french horn, occasional snatches of beautifully developed, unaccompanied Billie Holiday's move to the Clef label is Marty Paich's Basie -like piano and some solo on 'Round About Midnight. The rhythm apparently going to get her back on a re- intriguing Shorty Rogers ideas. group supports her closely. cording level that she hasn't enjoyed since Shorty Rogers and his Giants is distinguished her earliest years in studios. On this disk, princi- pally by Hampton Hawes' forceful piano she has been given tunes, treatments and EUREKA BRASS BAND work. The only overall consistent contribu- accompaniment which are exceptionally well New Orleans Parade. tion to these erratic recordings is made suited to her expressive and personal style. by trombonist Milt Bernhart, a very PAX 9001. 12 -in. 28 min. $5.45. The ineffable sadness that she can impart profes- to sional, polished and forthright musician. a torch tune comes through strongly on Percy Humphrey, Edward Richardson, trum- Some gesture of approval and encourage- these essentially torchy numbers. She is pets; Sonny Henry, Albert Warner, trom- ment should be directed toward the mock- bones; Red caught close to the mike so that the vocal Clark, sousaphone; George ing ear of the person who thought up one Lewis, clarinet; Ruben Roddy, mannerisms which have always spiced her alto sax; splendid title, The Sweetheart of Sigmund Manuel Paul, tenor sax; Arthur Ogle, snare work don't have to be exaggerated to make Freud. drum; Robert Lewis, bass drum. themselves felt and are, consequently, kept Sing On; Garlands of Flowers; West Lawn in proper balance. This is a more mature, CHARLIE PARKER Dirge; Lady Be Good. a more experienced and, possibly, a more philosophical Holiday than the girl who used Alternate Masters, Vol. 2. This report on a few of the dirges and to blithely punch out raucously lilting lyrics DIAL 905. 12 -in. 44 min. $5.95. stomps that traditionally accompany New to almost anything, but she is also a more Ornithology; Yardbird Suite; Orleans funerals, as played by one of the Moose the Mooche; artful singer and one capable of a greater A Night in Tunisia; The Famous last remaining brass bands assembled for Alto Break; variety of nuances than she appeared to be This Is Always; Birds Nest (r); that purpose, is one of the most interesting Bird's Nest before. The accompanying group plays (2); Drifting on a Reed; Charlie's and moving of all "roots of jazz" record- Wig; Crazeol- with a taste and inventiveness that is rarely ogy; Dexterity; Dewey Square; ings. The two dirges in particular, Garlands Home Cooking found in support of singers these days. (I); Home Cooking (2). of Flowers and West Lawn Dirge, have a compelling fascination. Their slow, de- SHORTY ROGERS AND HIS GIANTS In its determination to get the greatest pos- liberate tempos with the instruments play- sible mileage out its files, VICTOR LPM 3137. 10 -in. 25 min. $3.15. of Dial is throw- ing over muffled drum rolls, the primitive ing some pretty rough stuff out on the splendor of some of the massed brass pas- Shorty Rogers, trumpet; Milt Bernhart, market. Some shabby material will be found sages and the serenely soulful solos build an trombone; Johnny Graas, french horn; on this disk (made from masters cut in the inescapable sense of dolor that is touched Jimmy Giuffre, tenor saxophone; Art Salt, mid -Forties) but along with it is a lot of with unusual beauty. When the aging alto saxophone; Hampton Hawes, piano; Charlie Parker's exciting and flowing saxo- musicians who make up this band shift to Gene Englund, tuba; Joe Mondragon, bass; phone work played at a time when he was the stomps, Sing On and, surprisingly, Lady Shelly Manne, drums. one of the principal figures in turning the

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jazz world upside down. As long as the in their opinions, been "particularly in- the record jacket) developed by a Mr. recording is reasonably clear - and most spiring and practically helpful." Although Joseph A. Kennedy. The concept: of it is; only three bands are really bad - the beliefs here offered might occasionally "Relaxation is NOT Something You Do. Parker s horn comes shining through with be described as "inspiring," just how "prac- It Is Something You Don't Do." This is, some fantastic exercises in the then new tically helpful" they are is questionable. in other words, a How -Not- To -Do -It jazz technique. For the most part, interest If, for instance, you purchase these records record. centers entirely on Parker although A Night in the hope that Mr. Baruch, at the age of Side t contains a formula for relaxation, in Tunisia is a well -developed ensemble 82, is going to drop a few helpful hints explained by David Ross, a narrator who number and Billy Eckstine turns up singing on how to become a millionaire by the age somehow combines the vocal attributes of This Is Always with Erroll Garner behind of 3o, you are going to be sadly disappointed. Mr. Anthony and Bela Lugosi. With sepul- him on piano, while Garner takes off on a Mr. Baruch says: "I believe above all else chral geniality, he lures you into a reclin- fine fast solo on the second version of in reason." Inspiring, perhaps, but hardly a ing position on your favorite couch and Bird's Nest. This disk is a grab -bag and it formula for financial success. He has been then proceeds, muscle -by- muscle, to put has the qualities to be expected of a grab - quoted elsewhere as saying, "If I were a you in such a state of relaxed bliss that you bag, including a few juicy plums. young man today, I would go to Canada, begin to wonder if those last 15 sales were JOHN S. WILSON which is probably more "practically helpful." worth it, when - click, - the record chan- But this is not serious criticism. "This I ger goes off and your limp muscles immedi- Believe' does, however, raise a problem of ately tighten in anticipation of the trip a on the THE SPOKEN WORD credence: When person appears across the room to turn the record. Side 2 radio and "strips down all the way to his is a lecture on the "Way to Certain Sound innermost beliefs," as Ralph Bunche put it, WILDE, OSCAR Sleep" - and again the same problem. is he going to tell you what he actually be- The Importance of Being Earnest Off you go to sleep, only to be awakened at lieves, or, rather, what he wants 39 million 2 a.m. by the angry mutter ofa hot, neglected Sir John Gielgud, Pamela Brown, Dame people to think he believes? Perhaps Carl amplifier. Mescalin anyone? R. H. H., Jr. Edith Evans, Celia Johnson, Roland Culver Sandburg has the answer: "The man who and others. Produced and directed by Sir sits down and searches himself for his an- John Gielgud. CHILDREN'S RECORDS ANGEL 3504B. Two i2 -in. $12.50 (Factory- sealed album) or $11.50 (Thrift pack). Adventures of Muffin (Children's Record The Importance of Being Earnest, a three -act Guild: two Io-in. $2.45). Two of the finest was Wilde's last play, written in comedy, records for the very young child that have was at the time involved in very 1895. He been produced. Originally published by insoluble troubles, which were serious and the Young People's Record Club about eight to dog him to his death five years later. years ago, they have become a record classic Yet this is one of the gayest plays ever and so it is good news to have them back one of the funniest. written, and certainly in circulation. Margaret Wise Brown wrote It is more than that: it is cheerful. Each the story about a little dog Muffin who character in it, through the course of the got a cinder in his eye and who was treated fights a hilarious losing battle against plot, by the dog doctor. But even though his his better self. The story, in case anyone eyes were bandaged Muffin could hear. No know, concerns two eligible young doesn't child from two to five should miss these. men -about- London in the 1890's. Each has invented, as an excuse to escape dull Train To The Ranch (Children's Record duties, a fictitious ailing character (one a Guild. To-in. $1.24.) This record con- brother, the other a friend) to whose side tains an appealing collection of lively songs he must rush from time to time. Mischief about cowboys and ranches. Children from Algy decides to im- is set in motion when Sir John Gielgud brings some fine Wilde about three to seven, who have not forsaken 'brother." Sub- personate "Earnest," Jack's' wit to records in the saga of Earnest. the wide open spaces for the outer spaces, sequent developments are better enjoyed will find it very enjoyable. than described. swer to the question, "what do I believe ?" The rest of the dramatis personae includes Aladdin (Children's Record Guild: two- is either going to write a book or a few (naturally) two diabolically demure girls - Io-in. $2.48.) Another fine addition to well chosen thoughts on what he thinks it and a comically formidable society matriarch. CRG's record library of musical plays set to might be healthy for mankind to be think- The latter is played by Dame Edith Evans, the music of Rimsky- Korsakoff's Schehera- ing about in the present tribulation and who hams the role almost to the point of zade. Sensitive arrangement, good narration turmoils." spoiling the record. All the others are, and good musical production recommend As the historical repository of a few well - however, pluperfect at their parts. Also, these two records. For children six years of chosen thoughts of to renowned living Gielgud has directed and played in "Earnest" age and older. Americans, Volume One of "This I Be- all over the world, and knows as no one else lieve" is acceptable. Unfortunately, the Hunters of the Sea (Children's Record does how to dig every last chuckle out of it. same cannot be said for Volume Two. Guild: io -in. $1.24.) A "dictionary" of The reproduction is all very clear and in- Briefly, it is the summation of the beliefs of sea language on the envelope is a helpful telligible. J. M. C. 10 "immortals" prepared in each case by a addition to these swinging songs about sea life. are THIS I BELIEVE recognized authority and read (as if by the These authentic songs sung immortal) by an appropriate actor or, in with spirit. Bernard Vol. 1: The personal philosophy of some cases, a relative of the immortal. Thus, The King's Trumpet (Young People's Baruch; Helen Hayes; Ralph Bunche; a monologue written by historian Paul Records: ro -in. $1.24.) This record tells Charles Percy; Mrs. Marty Mann; Eleanor Angle and read by Raymond Massey is sup- the story of the trumpet from biblical days, Roosevelt; Louis B. Seltzer; Helen Keller; posed to represent what Abraham Lincoln when shepherds called their sheep with a Will Durant; Carl Sandburg; Vol. 2: per- would have said had he been able to speak ram's horn, to its use in the modern or- sonal philosophy of 10 immortals. on "This I Believe." This I didn't be- chestra of today. COLUMBIA SL 192. Two 12 -in. $11.90. lieve. R. H. H., Jr. Anyone familiar with the radio program (or Singing Time with Burl Ives (Columbia. the book) "This I Believe" needs no intro- HOW TO RELAX AND LIVE 98e.) Done especially for children this is first duction to these records, or at least the Spoken by David Ross and based on a book sure to be a hit for the grownups too. Burl volume. From the nearly goo people who Relax and Live, by Joseph A. Kennedy. sings "The Lollypop Tree," "Two Little have been heard on the program, Commen- SPEECH ARTS STUDIO. 10-in. Owls," "The Little White Duck" and "The tator Edward Murrow and editors Ray- Little Engine That Could." As usual his mond Swing and Ward Wheelock have This record is the by- product of a "revo- sense of timing is superb and these are truly selected to Americans whose beliefs have, lutionary concept" (or so it is described on delightful songs. Highly recommended.

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Singing Time with Rosemary Clooney Explorations of Pere Marquette: Lewis (Columbia. 98e.) In lively junior "pops" and Clark Expedition; and Monitor and style Clooney sings "Little Red Monkey," Merrimac: Lee and Grant at Appomatox "Little Sally One- Shoe," "Me and My Teddy (Enrichment Records. Io -in. $3.56 each.) NOBODY .. . Bear" and "Kitty Kats Patty." She enunci- These are the latest releases in a series based ates clearly and sings within the range of the on great historical events as told in the young child's voice. Landmark Books. And they are decidedly but NOBODY the best. The authenticity of the setting, Peter and the Wolf and Carnival of the the way in which the script is arranged and Animals (RCA Victor LM 1761. I2 -in. the quality of narration make history come can give you better, $5.72.) Alec Guiness, a happy choice as alive with remarkable vividness. narrator, and the Boston Pops Orchestra faster, personalized under the direction of Arthur Fiedler do a Child's Garden of Verses (Esoteric lo- fine job with Prokolieff's bewitching musical in. EsJ -5. $4.00.) Seymour Barab has set mail order service tale. On the reverse side the piano team to music twenty -four of the best known Arthur Whittemore and Jack Lowe take us poems by Robert Louis Stevenson. A into the "musical zoo" of Saint -Saens' thoughtful and sensitive musical production on all makes of LP Carnival of the Animals. Munro Leaf's which will probably have more appeal to animal musical notes on the jacket are grownups than to children. records than charming. Highly recommended. An Elizabethan Songbag for Young Songs About Woodwinds (Golden Rec- People (Esoteric Io-in. EsJ -6. $4.00). Of THE MUSIC BOX ords Extra -Play. 350) A sparkling little special interest to children interested in record made up of well -known selections part singing, this record is a delightful in- played by each of the orchestra's wood- troduction to music of the Elizabethan winds. As musical as it is entertaining. period. EMMA DICKSON SHEEHY A service featuring:

All records guaranteed brand Dialing Your Disks new and unplayed copies.

Long -play records are made with the treble American Recording Soc." NAB Ortho4 Carefully inspected for visible range boosted to mask surface noise, and Bartok 6292 16 dba imperfections, before mailing. the bass range attenuated to conserve Blue Note Jazz AES AES groove -space and reduce distortion. When Boston COL NAB Dusted and cleaned to elimin- records are played back, therefore, the treble Caedmon 6292 11 db7 ate possible dust damage, while must be reduced and the bass increased to Canyon AES AES in transit. restore the original balance. Unfortunately, Capitol AES AES the amount of treble emphasis and bass de- Capitol -Cerra AES AES Carefully packed to reach you emphasis employed varies widely on rec- Cetra -Soria COL NAB in perfect condition. ords of different manufacture; hence the Colosseum AES AES need for individual and variable bass (turn- Columbia COL NAB over) and treble (rolloff) compensation Concert Hall AES AES All orders over $6.00 mailed controls. Contemporary AES AES POST FREE to anywhere in Some records follow the NAB curve, for Cook Laboratories'. NAB AES the U.S.A. Under $6.00, please which bass turnover is Soo cycles and treble Decca COL NAB add 40 cents for postage and compensation is 16 db at Io,000 cycles. EMS' AES AES packing. Others follow the AES curve, with turnover Elektra 6292 16 db3 at 40o cycles and only 12 db treble compen- Epic COL NAB ALL RECORDS ENCLOSED sation. Some combine the two, like RCA Esoteric NAB AES IN CELLOPHANE ENVE- Victor, which requires NAB turnover and Folkways (most) 6292 16 dba LOPES, FOR ADDITION- AES rolloff. Another important group is Good -Time Jazz AES AES AL PROTECTION. that following the LP (also called ORIG. Haydn Society COL NAB LP or COL) curve, for which equalization London COL LON* We will gladly mail you a copy is identical to NAB except in the extreme Lyrichord*, news 6292 16 dba of the Schwann LP catalog .. . bass range. Mercury' AES AES ABSOLUTELY FREE on re- One -knob equalizers should be set for M -G -M NAB AES quest. correct bass equalization according to the Oceanic COL NAB table below; if the treble is not correct Philharmonia AES AES We will be glad to supply infor the record, then the treble tone control Polymusict NAB NAB formation on any record of any should be used to adjust further. Either RCA Victor Orthos Ortho4 speed ... American or European. boost or cut may be required, according to Remington NAB NAB the equalizer curve available and the roll - Tempo NAB Ortho4 When ordering, simply enclose off needed for the record: remember that Uranias, most COL NAB your check or money order to COL, LP, ORIG. LP, NAB, and LON roll - Urania', some AES AES cover cost of records only ... or off is 16 db, and LON, ORTHO (RCA), and Vanguard Bach Guild COL NAB - . . if you wish . we ship AES rolloff is about 12 db. Remember also will Vox* COL NAB them C.O.D. that the proper setting is that which sounds Westminster, old NAB NABS best to the ear, regardless of what it is sup- Westminster, new COL AES posed to be. It's perfectly legitimate to use bass and treble tone controls to make the ,Binaural records produced by this label are re- music sound right - that's what they are corded to NAB standards, on the outside band. On the inside band. NAB is used for low frequencies, intended for! but the treble is recorded flat, without preemphasis. Asterisks (below) mean record -maker lists 2NAB position on equalizer is close match. instructions jacket. WAS position on equalizer is close match. on 'Use LON position on equalizer, or AES with slight $11, TURN- treble cut. M,otc fox .Some older records of this Inbel were recorded to LABEL OVER ROLLOFF COL curve, others to AES. Great Barrington, Mass. Angel NAB AES ',Very close to NAB on lows. 'Very close to AES on highs; boost treble slightly. Atlantici NAB NAB ',Unless jacket indicates AES.

MARCH, 1954 -1

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HIGH FIDELITY DISCOGRAPHY No. 8

ozart on microgroove

By C. G. BURKE

Part VI: Sonatas; Instrumental Addendum; Postscript

INSTRUMENTAL MUSIC -Joseph Fuchs, vn.; Lillian Fuchs, va. -Alfred Kitchin. REMINGTON 149 -22. DECCA DL 8510. 12 -in. (with Martina: 3 10-in. (with Po. Sonata 15). 15 min. $1.99. (Music for one or two instruments, alpha- Madrigals). 17 min. $4.85. -Lili Kraus. DECCA DL 9525. 12 -in. betically noted.) (with Conc. 9). 13 min. $5.85. FANTASY FOR PIANO, IN C MINOR, KV 396 ADAGIO FOR PIANO, IN B MINOR, KV 540 (2 Editions) FANTASY AND FUGUE FOR PIANO, IN C, (3 Editions) A resolute, victorious piece originally com- KV 394 (4 Editions) The two statements of unruffled but not posed for piano and violin, and its repute It is remarkable that three of these very flaccid grace from Mr. Badura -Skoda offer obscured by the grand Fantasy KV 475 in real reproductions are of the sound of ar- a chance to compare tone as an absolute the same key, KV 396 has a performance of chaic instruments, and it is interesting that integer with the other elements of music. proportioned finesse from Mr. Firkusny and those three do not sound much alike. Mr. There is a delicate exactitude in the repro- one of less regularity, more underlining, Kirkpatrick's has overtones like a harp'si- duction of the sound of both pianos, but from Mr. Maier, who as teacher was making chord's, and the others have a more apparent the record of the older instrument should be points here. (The envelope bears his in- kinship to the modern piano, but a differently played at reduced volume... On the third structions to pupils.) Excellent sound for F soft and less imperious vibration. Both men record Miss Kraus is not at her best and and satisfactory for M. are defter manipulators than Miss E. in this the piano is ailing. -Rudolf Firkusny. COLUMBIA ML 4356. archaic salute of Mozart to Handel, and the -Paul Badura -Skoda (1785 piano). WEST- 12 -in. (with Po. Sonata 14 & Fantasy, KV question of who is preferable is unusually MINSTER WI. 5153. 12 -in. (with a Mozart 475)- 7 min. $5.95. academic in view of the dissimilar music miscellany). 9 min. $5.95 -Guy Maier. BANNER 1001. 10 -in. associated with the Fantasy and Fugue on -Paul Badura -Skoda (1952 piano). WEST- (with a Mozart miscellany). 6 min. $3.85. the various disks. MINSTER WI. 5154. 12 -in. (with the same -Ralph Kirkpatrick (piano type 1780). miscellany as the record above). to min. FANTASY FOR PIANO, IN D MINOR, KV 397 BARTOK 912. 12 -in. (with Po. Sonata 16 $5.95. (1 Edition) & Suite, KV 399). 10 min. $5.95. -Lili Kraus. VOX PL 7300. 12 -in. (with Well called a fantasy, since half of these few -Paul Badura -Skoda (piano type 2785). Conc. 26). 9 min. $5.95 minutes are without hope and half without WESTMINSTER WI. 5153. 12 -in. (with a significance. Played small by Mr. Maier, Mozart miscellany). 8 min. $5.95 ANDANTE WITH VARIATIONS FOR PIANO with a becoming wistfulness, with the piano -Paul Badura -Skoda (piano type 1952). FOUR HANDS, IN G, KV 501 (1 Edition) reproduction on the whole above average. WESTMINSTER WL 5154. 12 -in. (with the Well molded playing and very agreeable -Guy Maier. BANNER 1002. Io -in. (with same miscellany). 8 min. $5.95. piano sound carry the easy weight of a a Mozart miscellany). 5 min. $3.85. -Lonny Epstein (piano type 1785). SPA 6. pleasant trifle. 12 -in. (with a Mozart miscellany). 9 min. -Paul Badura -Skoda, Joerg Demus. WEST- FANTASY FOR PIANO, IN C MINOR, KV 475 $5.95. MINSTER WI. 5069. 12 -in. (with Sonata for (4 Editions) KV 574 (1 2 Pos. KV 488 &J. C. Bach: Sonata for 2 Pos.). Its intractable desperation won for KV 475 GIGUE IN G, Edition) 8 min. $5.95. many years ago surprised attention from Stiff playing, accurate but unspacious sound. scholars who thought it a naughty debauch -Guy Maier. BANNER toot. to -in. (with a Mozart miscellany). I min. DUO FOR VIOLIN AND VIOLA No. I, IN G, for Mozart, and their surprise and the des- $3.85. KV 423 (2 Editions) peration itself have kept the long improvisa- Vigor from the Persingers and elegance tion among the most frequently played of MINUET IN D, KV 355 (2 Editions) from Goldberg -Riddle oppose the obstacle Mozart's piano works. It allows wide liberty There is a certain pungency of discomfort in of music built drab. Brighter and closer to executants, and the four on records have the fragrance of this sophisticated brevity, sonics help the Persinger style, but the utilized the freedom in different ways, but aromatic both in the reflective style of Miss Decca sound is entirely satisfactory. without excesses. Mr. Chasins broods the Epstein and the spirited attack of Mme. -Szymon Goldberg, Frederick Riddle. darkest and Mr. Firkusny the lightest - Landowska, the old piano of the first and the new harpsichord of the second impres- DECCA DL 8523. 12 -in. (with Po. Sonata and the smoothest - while Mr. Kitchin's sive in vital recording. 13). 15 min. $4.85. gloom is the most purposive and Miss RCA VICTOR LM -Louis Persinger, Rolf Persinger. STRADI- Kraus's has most suspense. None of these -Wanda Landowska. 12 Treasury Harp- VARI loot. Io-in. (with Prokofiev Sonata ways seems to falsify the spirit of this in- 1217. -in. (part of "A of sichord Music "). 2 min. for 2 Vns). 15 min. $4.75. vulnerable music. The basis for choice $5.72. might best be piano- sound, and there Mr. F -Lonny Epstein. SPA 6. 12 -in. (with a miscellany). 3 min. Duo FOR VIOLIN AND VIOLA No. 2, IN has outstanding registration, with the others Mozart $5.95. B FLAT, KV 424 (t Edition) capable. This is easier to like than the preceding Duo, -Rudolf Firkusny. COLUMBIA ML 4356. MINUET IN D, KV 594 (1 Edition) gay in an unimportant way, and played with I2 -in. (with Po. Sonata 14 & Fantasy, KV 396). Extraordinary music in its clash of two facets adamantly exposed by a a natural acceptation of its spirit by a team I min. $5.95. of heartbreak, that makes everything smooth, with sister -Abram Chasins. MERCURY 15031. ro-in. pianist of understanding and no grace. Maier. BANNER toot. Io -in. (with perhaps a little too submissive. Comfortable (with Bach: Chromatic Fantasy and Fugue). -Guy sound. 13 min. $3.85. a Mozart miscellany). 2 min. $3.85.

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THE FIRST RELEASE OF EDITIONS LOISEAU=LYRE LONDON IT is with great pride that London now announces details of the first American release of the Editions de l'Oiseau -Lyre long playing records. Arrangements have been concluded under which these long playing records, which have gained a world -wide reputation among musical connoisseurs, will in future be pressed and distributed in England and many other countries by FFRR. The great interest aroused by the works recorded on the Oiseau -Lyre label, by the scholarship which has been put into the preparation of the music and the performances, and by the quality of the recordings, makes it quite certain that the making available of these records in the United States will be hailed as a development of the first importance, and as another example of the enterprise of the FFRR companies. The star item among the first records to be announced is undoubtedly a finely recorded performance of the Monte- verdi Vespers. The utmost trouble has been taken to produce a complete and really authentic score. Leo Schrade, Pro- fessor of the History of Music at Yale University, went back to the original manuscript, and prepared a score especially for this recording and the result is that the Vespers are presented in a light hitherto unknown. MONTEVERDI VESPERS OF 1610 ( Vespro della Beata Virgine et Magnificat) MARGARET RITCHIE (SOpr.), ELSIE MORISON (SOpr.), RICHARD LEWIS (Tenor), WILLIAM HERBERT (Tenor) and BRUCE BOYCE (Bar.) with THE LONDON SINGERS and GERAINT JONES (Organ) and ANTHONY GERLIN (Harpsichord) and L'ENSEMBLE ORCHESTRAL DE L'OISEAU -LYRE conducted by ANTHONY LEWIS OL 5002I /2 $1I.90

J. S. BACH FOUR CONCERTINOS MENDELSSOHN Christmas Oratorio for String Orchestra and Harpsichord Sonata No. I for Organ and GUNTHILD WEBER (Sopr.), attributed to Pergolesi Sonata No. 3 for Organ; LORE FISCHER (COIMr.), Concertino No. 5 in E flat major and Sonata No. 6 for Organ and HEINZ MARTEN (Tenor) and Concertino No. 2 in G major; Prelude and Fugue in ç minor HORST GUNTHER (Bass) with Concertino No. 6 in B flat major and JOHN EGGINGTON at the organ of THE ORCHESTRA AND CHOIR OF Concertino No. 3 in A major The Chapel of l'Institut des Juenes Aveugles THE DETMOLD ACADEMY OF MUSIC L'ORCHESTRE DE CHAMBRE DES CONCERTS OL 50°13 $595 and the COLLEGIUM PRO ARTE LAMOUREUX WITH RUGGERO GERLIN IONAZ PLEYEL conducted by KURT THOMAS (Harpsichord) Fifth Concertante Symphony for Flute, OL 5°001 -2-3 $17.85 conducted by PIERRE COLOMBO Oboe, Horn, Bassoon and Orchestra OL 50010 $5.95 MEMBERS OF THE FRENCH WIND QUINTET BLOW JOHN PURCELL and L'ENSEMBLE ORCHESTRAL Venus and Adonis Suites for Harpsichord Nos. I.8 DE L'OISEAU -LYRE MARGARET RITCHIE (SOpr.), ISABELLE NEF (Harpsichord) conducted by LOUIS DE FROMENT MARGARET FIELD -HYDE (SOpr.), OL 50011 $5.95 CARL DITTERS VON DITTERSDORF GORDON CLINTON (Bar.) J. S. BACH Three Partitas with L'ENSEMBLE ORCHESTRAL DE Prelude and Fugue in G major and for Flute, Oboe, Clarinet, L'OISEAU -LYRE Toccata, Adagio and Fugue in C major; Horn and Bassoon: conducted by ANTHONY LEWIS Prelude and Fugue in E minor and in F major and in A major and in D major OL 50004 $5.95 Chorale Prelude: Ach bleib bei uns, THE FRENCH WIND QUINTET J. S. BACH Hen Jesu Christ; Fugue in D major OL 50014 $5.95 Trio Sonata in G major for Flute, Violin JOHN EGGINGTON at the organ of MOZART and Continuo and the Church of Sainte Radegonde, Poitiers Cassazione for Oboe, Clarinet, Sonata in E minor for Flute and Continuo; OL 50012 $5.95 Horn and Bassoon; Sonata in G major for Violin and Continuo LOEILLET Quintet in E flat major for Piano, Oboe, and Trio in D minor Four Sonatas Clarinet, Horn and Bassoon, K.45a (a) for Flute, Oboe and Continuo GEORGES ALES (Violin), PIERRE ('Cello) MEMBERS OF THE FRENCH WIND QUINTET THE COLLEGIUM PRO ARTE RUGGERO GERLIN (Harpsichord) (a) with ROBERT VEYRON -LACROIX (Piano) OL 50015 $5.95 OL 50018 $5.95- OL 50016 $5.95 411:00/17 EDITIONS DE L'OISEAU -LYRE

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RONDO IN D, KV 485 (5 Editions) discontent, regretfully contemplated and we note a definite expansiveness of tone The superbly poised spacing and accentua- then denounced by the central andante, and the expected admirable agility, without tion of Mr. Guldá s rippling notes, in a hardly to be anticipated from the urbane exaggeration of either, allied to correct but sinuous line without one gross projection, utterances of the earlier works, and yet easy -going phrasing, as if the musical points are close to perfection for the airy distinc- clothed in raiment of the most ostensible are hardly work making. The skill is off- tion of the familiar music. Mme. Landow- refinement. The three recorded versions hand, habitual; impressive but not flashy, ska, with the more brilliant articulation of compel respect, although the immaculate but disappointing. Not a new recording: her machine, is not far behind, but the others, fluency of Mr. Guida may evoke impatience not bad, but ligneous. after the exemplary Guida, seem just to for its long restraint. This is planned for -Vladimir Horowitz. RCA VICTOR LM plod. Good sonics in every case, particu- contrast and hence is justifiable, but seems 1027. 12 -in. (with Beethoven: Sonata 14). larly for Miss Epstein and for Mr. Badura- less effective than the more virile attack of 14 min. $5.72. Skoda's modern piano. the regretted Dinu Lipatti, and a good deal -Friedrich Guida (piano). LONDON LL less moving than the more instinctive, the No. 13, IN B FLAT, KV 333 (1 Edition) 756. 12 -in. (with Po. Sonata 8 & works by simpler eloquence of Miss Kraus, who here Miss Kraus emphasizes the puckishness of Bach). 4 min. $5.95. is more prepossessing than in any other of an ingenious work - perhaps too much in -Wanda Landowska (harpsichord). RCA her postwar records that the writer can the last movement - with nimble address, VICTOR LM 1217. 12 -in. (part of "A Treas- remember. Furthermore, she enjoys the but the basically pleasant small sound of the ury of Harpsichord Music "). 6 min. $5.72. clearest sound although her disk is not new piano is bothered continually by a faint -Paul Badura -Skoda 1952 (piano). WEST- now, and the override has been more ra- buzzing. MINSTER WL 5154. 12 -in. (with a Mozart tionally chosen. Sonically both Columbia -Lili Kraus. DECCA DL 8523. 12 -in. (with miscellany). 5 min. $5.95. and London are pretty good, the first a Duo z). 17 min. $4.85. -Paul Badura -Skoda (1785 piano). WEST- little harsh forte, and the second somewhat MINSTER WL 5153. I2 -in. (with the same oblique in the bass. No. 14, IN C MINOR, KV 457 (I Edition) miscellany). 5 min. $5.95. -Lili Kraus. Vox PL 63ío. 12 -in. (with The loftiest revelation of Mozart's genius -Lonny Epstein (1785 piano). SPA 6. Sonata sr). 18 min. $5.95. may be in the Concertos, the Operas, the 12 -in. (with a Mozart miscellany). 5 min. -Dinu Lipatti. COLUMBIA ML 4633. 12 -in. Quintets or perhaps elsewhere, but no one $5.95. (with 5 works by Bach). 13 min. $5.95. has ever asserted that it was to be found in -Friedrich Gulda. LONDON L 756. 12 -in. the piano Sonatas, in general a collection of SONATAS FOR PIANO (with Rondo, KV 485, & 2 works by Bach). commendable professional pieces. Perhaps No. 1, IN C, KV 279 (1 Edition) 17 min. $5.95. Mozart chafed at their respectability: at A mobile, ornamental and superficial work any rate he demolished its integrity in 1784 in a neat, small -scaled performance of con- No. 10, IN C, KV 330 (2 Editions) by injecting into their tranquil company siderable charm, recorded with close realism. The flip cheerfulness of a Sonata without the mysterious, imaginative and beautifully -Florencia Raitzin. RES 4. 12 -in. (with hurt to anyone, one of the most easily intemperate C Minor Sonata, an apparition Sonata 2). i6 min. $5.95. assimilable of all, is better served by the of Pallas Athena at the YWCA. Its grandeur hands of Mr. Balsam than by the apprecia- is isolated and was unomened. What it No. 2, IN F, KV 280 (1 Edition) tive head of Mr. Maier, although neither means no one may say, but there is no peace Basically simple in structure and melody gives the full scoffing measure of dash that in its weird beauty. under the embellishments, the Second the recipe orders. Sound for Mr. M. is It is curious that there is only one re- Sonata has a thoughtful adagio and a rakish good at a low volume, harder when the corded version available, and lucky that Mr. finale. Accurately played in a modest de- volume is raised, better for Mr. B. through- Firkusny plays it so well. (Columbia has precatory fashion, and alive in a close re- out, with a warmer bass (which may be the announced a record by Walter Gieseking, cording of sharp clarity. result of a stronger left hand). not yet arrived, and a disk by Leonid Ham - -Florencia Raitzin. REB 4. 12 -in. (with -Artur Balsam. CONCERT HALL CHS 1116. bro evaded our quest.) The brooding and Sonata r). 19 min. $5.95. 12 -in. (with Conc. r3). 13 min. $5.95. rebellious Sonata is elastic to excesses, but -Guy Maier. BANNER I00I. IO-in. (with Mr. Firkusny is chary of any, and in fact No. 3, IN B FLAT, KV 281 (1 Edition) a Mozart miscellany). 13 min. $3.85. might have struck more tempest into the Fastidious and aloof playing of a Sonata finale without injury to form. He has primarily more characteristic of its era than No. I1, IN A, KV 331 (2 Editions) chosen a quieter intensity and produced an of its composer, courtly but not compelling. Has a reputation debauched by concentra- unmistakable lucency, particularly in the Excellent sound; indeed, the restricted key- tion on its finale, the rondo alla turca whose wonderful adagio and the multi -featured board of these works offers few terrors to prim giddiness can hardly fail to delight foreboding of the peremptory first movement. the engineer. and which is often played separately in dis- Excellent, retentive bass in the piano and a -Jacqueline Blancard. LONDON LL 529. dain of the great variations and the erratic clear, clean upper treble contribute their 12 -in. (with Sonatas 5, 15 6' r6). It min. minuet that go before. Informality provides ration to the most desirable record of a $5.95. a charm of its own in a Sonata which is Mozart piano Sonata. really a suite. Mr. Hambro s pleasant play- -Rudolf Firkusny. COLUMBIA ML 4356. No. 4, IN E FLAT, KV 282 (1 Edition) ing and the good tone supplied by Reming- 12 -in. (with Fantasies, KV 396 & 475). 17 An interesting and attractive little Sonata ton have the misfortune to oppose Miss min. $5.95. owing much to Haydn, intelligently ap- Kraus in sparkling form and Vox with a praised and rather lumpily fingered by the very realistic registration of her piano. No. t 5, IN C, KV 545 (2 Editions) pianist. Easy, natural reproduction. -Lili Kraus. Vox PL 631o. 12 -in. (with Mr. Kitchin has more individuality, and -Guy Maier. BANNER 1002. Io -in. (with Sonata 8). 22 min. $5.95 yields more to the disarming simplicity - a Mozart miscellany). 8 min. $3.85. -Leonid Hambro. REMINGTON 199 -135. he yields too much - of an enchanting xi-in. (with 2 Haydn Sonatas). 23 min. miniature than Miss Blancard's classic recti- No. 5, IN G, KV 283 (z Edition) $2.99. tude will permit. The feeling in this must More individual and recognizably Mozar- be hinted lest taste be affronted, and so the tean than its predecessors, KV 283 receives No. 12, IN F, KV 332 (I Edition) lady has it, not needing the superior help from both Miss Blancard and London the The nature of Mr. Horowiti s formidable of the sound accorded by London. The cool proficiency that distinguish the four renown puts him at a disadvantage whenever music has the soft glow of a small perfec- Sonatas on the disk. he essays tasks essentially musical rather tion, not at all contaminated by the seizure -Jacqueline Blancard. LONDON LL 529. than primarily acrobatic. Music -lovers of the main subject of its first tiny move- 12 -in. (with Sonatas 3, 15 & z6). to min. expect his prowess to obliterate whatever ment for enduring broadcast as "In an or some- $5.95. is not inflated, and in fact that often happens. Eighteenth -Century Gold-Mine" But often it does not, and despite the lazy thing like that. No. 8, IN A MINOR, KV 310 (3 Editions) reluctance of criticism to abandon cosy -Jacqueline Blancard. LONDON LL 529. Three years further into time than the pre- formulas, this pianist has the same right as 12 -in. (with Sonatas 3, 5 & z6). 9 min. ceding Sonatas listed here, this in A Minor any other to have his work examined after $5.95- leaps forward a decade in development. its production instead of before. In the -Alfred Kitchin. REMINGTON 149 -22. The terminal movements express a febrile simple but rather twisted Twelfth So9ata Io -in. (with Fantasy, KV 475). Io min. $1.99.

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THE COMPANION PIECE TO THE "NINTH"

RCA VI CT() R Roberta THE COLORATURA Peters DISCOVERY YOUNGEST .IIE3IL'EK OF .-1 GREAT TRADITION OF A DECADE

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\lissa Solemnis is one of Beethoven's Roberta Peters- Youngest Member of a most sublime works. Toscanini here gives Great Tradition. In this unusual album you us new insight into the heart of this master- hear the brilliant young star perform in her piece as he did in his famous recording of first complete operatic program on RCA the "Ninth." NBC Symphony; soloists; Victor records. Miss Peters sings 7 dazzling Robert Shaw Chorale, Robert Shaw con- arias from Lucia, Puritani, La Sonnambula ducting. "New Orthophonie." High Fidelity and Linda di Chamounix. "New Ortho- Sound. On 33 %% and "45 EP" $11.44. phonic" High Fidelity Sound. On 33'rá $5.72.

Prices suggested list. including Federal RCA ICTOR Excise Tax. Add local tax. FIRST IN RECUR DIO MUSIC

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No. 16, IN B FLAT, KV 57o (3 Editions) swift matter -of- factness is adequate but INCOMPLETE SONATA IN F, KV 533 The rhapsodic elements in this loose -jointed deserves no encomiums as a reproduction of (2 Editions) Sonata invite a freedom of interpretation today's piano. The interlacement of values, This is generally played, as it is here, with authorizing every interpreter to make what further twisted by considerations of other the KV 494 Rondo as its finale. The expedi- he can of it. Discophiles are offered a music occupying the disks, will not be ent is satisfactory, although not, as the challenging choice among Mr. Kirkpatrick, disentangled without help from individual distinguished harpsichordist Fernando Va- hot, and Miss Blancard, cold, with Miss prejudices, of which the writer's are indi- lenti says, in succumbing to automatic Epstein both in alternation. These pianists cated by the succession below: stereotyping in the accompanying notes, play three dissimilar pianos, of which Miss - Jacqueline Blancard. LONDON LL 529. "sanctioned by centuries of practice." The B's is that of today, Miss E's that of the 12 -in. (with Sonata! 3, 5 & 15). 12 min. Sonata is one of those which inflame pianists late XVIII Century but surely a piano, and $5.95. more than listeners, by reason of its poly- Mr. K's one of the same earlier period but -Lonny Epstein. SPA 6. 12 -in. (with a phonic exploitation of the keyboard. to a degree a mandolin. Digitally, of these Mozart miscellany). 16 min. $5.95 - The record is a baffling one, for three, Miss Blancard is first and Miss Ep- -Ralph Kirkpatrick. BARTOK 912. 12 -in. with each successive playing the sound stein last, sincere but angular. Soundwise, (with Fantasy & Fugue, KV 394, & Suite, seems better and the pianist less at ease, SPA has given a transparency close to per- KV 399). 18 min. $5.95. although he has an assurance with the fection to angularity and Bartok's endow- modern piano not apparent with the 1785 ment of clarity to Mr. K's heated piano - No. 17, IN D, KV 576 (2 Retired Editions) reconstruction. The fault is probably with mandolin bespeaks first -class engineering, Mentioned for completion's sake. Both the reviewer, who finds the music dull and while London's engraving of Miss B's disks have earned title to retirement. has already declared the sound disappointing (which it does not seem now to be) and the performer comfortable (although the impression is in this later notice one of uncertainty). Critics are aberrant and should First Prize, International Music Competition, Geneva not be trusted. (:rand Prix du Disque -Paul Badura- Skoda. WESTMINSTER WL 5154. 12-in. (with a Mozart miscellany). 22 min. $5.95. for the first time, Now, -Paul Badura -Skoda (1785 piano). WEST- MINSTER WL 5153. 12 -in. (with the same 10 RECORDS COMPLETE on HIGH FIDELITY miscellany). 22 min. $5.95.

SONATAS FOR PIANO, FOUR HANDS No. I, IN D, KV 381 (2 Editions) THE COMPLETE Köchel's chronology was inexact for the five Sonatas composed by Mozart for four STRING QUARTETS hands on one keyboard, and the order given here is that of their composition as Of revealed by later research. KV 38r, the first, is irresistible at once in its cheerful porn - posity and bright panoply of unimportant pageantry. The honors of performance go easily to the Westminster team, who excel in élan, flexibility, force and agility, and are KLAUS G. ROY with analytical notes by not inferior in teamwork. The rather cush- ioned reproduction of their instrument is 3 1e' IISQ -N THE EARLY QUARTETS ISoxed, i18.50 also to be preferred to the harder piano 3 12" IISQ -0 also available on single records: wrought by Columbia. THE MIDDLE QUARTETS Boxed, $18.50 OPUS 18, No. 1 in F -Paul Badura -Skoda, Joerg Demus. WEST- also available on single records: No. 2 in G IISQ-43 OPUS 18, MINSTER WL 5060. 12 -in. (with Po. 4 Opus 59, No. 1 in F ( "Rasoumowaky" No. 1) 1ISQ -41 OPUS 18, No. 3 in D Sonatas 2 & 3). 15 min. $5.95. OPUS 18, No. 4 in C minor IISQ-44 -Vitya Vronsky, Victor Babin. COLUMBIA Opus 59, No. 2 in E minor ( "Rasoumoweky" No. 2) OPUS 18, No. 5 in A ML 4667. 12 -in. (with Po. 4 Sonata 2). Opus 95 in F minor Onus 18, No. 6 in B flat IISQ-45 20 min. $5.95. ( "Quartett Serioso") HSQ -42 OPUS 59, No. 3 in C No. 2, IN B FLAT, KV 358 (2 Editions) ( "Rasoumowsky" No. 3) Haydn Society /Collection Discophilm Français OPUS 74 in E flat ("Harp") I ISQ-40 More serious than the first, and less arresting, the Sonata is still comedy- drama, better 4 12" HSQ -P served by the lithe- fingered sophistication THE LATE QUARTETS Boxed, $24.45 of Messrs. Badura -Skoda and Demus than alxu available on single records: by the weightier preoccupations of the Opus 127 in E flat OPUS 135 in F major IISQ-46 others. The soft and fairly distant West- minster sound butters the glibness nicely, I ISQ-4 Opus 130 in B flat and the clearer, more brittle Columbia re- Opus 131 in C sharp minor production widens the difference between OPUS 133 in B flat (Grosse Fuge) the versions. -Paul Badura- Skoda, Joerg Demus. WEST- Ores 132 in A minor MINSTER WL 5060. 12 -in. (with Po. 4 Sonatas s & 3). 13 min. $5.95 -Vitya Vronsky, Victor Babin. COLUMBIA ML 4667. 12 -in. (with Po. 4 Sonata s). 18 444, min. $5.95.

No. 3, IN G, KV 357 (I Edition) Complete colalog We have inherited only the first two move- available on re9ucsl ments of this music, and the andante needs Society a finale to resolve the .perplexities of its violent contrast of travesty and nobility. 30 IIGN1'INGTON AVENUE, BOSTON 16, MASS. The ambiguity is enlarged by the spacious clarity given by the players in the only

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edition, allowing equal value to the buffoon- their quicker tempo in the quick movements, KV 501 & I. C. Bach: Sonata in G). 22 min. ery and the dignity. which better expresses the inherent brilli- $5.95. -Paul Badura- Skoda, Joerg Demus. WEST- ancy; in the eloquent roughness of some -Amparo Iturbi, José Iturbi. RCA VICTOR MINSTER WL 5o6o. 12 -in. (with Po. 4 significant interjections, in a graver and more LM 1135. 12 -in. (with Chabrier: 3 Romantic Sonatio 1 & 2). 12 min. $5.95 significant phrasing in the slow movement, Waltzes). 20 min. $5.72. and in a stress illumining some episodes IN F, KV 497 (1 No. 4, Edition) that seemed trivial before it. The pianos SONATAS FOR PIANO (OR HARPSICHORD) Far from the earlier clowning, although within this emerge from the disk a little hard AND VIOLIN out a suggestion of tragedy, are the long and will have to have more bass supplied. and fastidious intricate amiabilities of KV The favorable estimate here for the Reming- (There is no satisfactory solution to the 497, an extraordinary exploitation of musical ton team is based upon their musical con- problem of numerating these. Five or six resources to portray contentment. To the cept: the greater refinement and gloss of systems, all somewhere conjectural, have writer, the coalesced skill and sensibility the Westminster version will certainly en- been used, and the numbers found on of the players in this and the last Sonata tice adherents. records may depend from any of those sys- seem beyond surpassing, and it is a pity -Pierre Luboschutz, Genia Nemenoff. tems. Mozart wrote apparently at least 32 that as they separately achieve renown, they REMINGTON 199 -147. 12 -in. (with "En- piano -violin sonatas, and it is possible to will inexorably be inclined to discontinue cores" by 3 composers). 21 min. $2.99. credit him with 45, according to what their efforts in common. -Paul Badura -Skoda, Joerg Demus. WEST- definition serves for "sonata" and how much MINSTER WL 5069. 12 -in. (with Andante, credence is placed in evidence that certain No. 5, IN C, KV 521 (1 Edition) The only record is the override of No. 4, and although the Fifth Sonata is stockier in its substance and more sharply defined in its episodes, there is no lapse in the four- handed mastery of the performance. Vir- t B%HE , / tuosity from io fingers is familiar enough to tire us, but disciplined sentience like this from 20, managed by two hearts and two heads into one individuality and one agility, 13LERO & bound to intelligent musical subservience, 0"LA VALSE," can be heard perhaps a few times a decade, ET unless we have records. And when we have "DAPHNIS records like this, and hear the invisible players devoted exclusively to freeing music CHLOE SUITE" from its print, it is fair to realize that a good part of the entertainment of four -hand music, ON ONE RECORD, the involved and special writhings of the players trying not to be raveled on their AT A PRICE little bench, and failing sometimes; this YOU light embarrassment difficult contiguity CAN of AFFORD! that people come to laugh at sympathetically, O is not in evidence to punctuate the strain of listening, and the music must be made doubly good to compensate for the pillage SENSATIONAL NEW of the other ugly pleasure. 3so -Two of the prime pillars supporting HI -FI REQUEST SERIES the Mozart discography. RAVEL -Joerg Demus, Paul Badura -Skoda. WEST- BOLERO Symphony Orth. of Radio Berlin, Arthur Rothe,. tond. MINSTER WL 5082. 12 -in. 23, 24 min. $5.95- LA VALSE Regular Series DAPHNIS ET CHLOE SUITE Ne. 2 Symphony Orch. of Radio Leipzig, SONATA FOR TWO PIANOS, IN D, KV 448 Ernest Borsemsky, cond. (3 Editions) UR-RS 7 -28 -1 12" -53.50 HAYDN DVORAK One of those extremely rare works in music, SYMPHONY Na 4 IN O MAJOR, Op. SR like the Schubert Quintet in C and Die Symphony Orch. of Radio Leipzig, Pflüger, THE Bach's Concerto for Two Violins, Gerhard cond. CREATION Winterreife, UR -RS 7.29 -1 12 ' -$3.50 Soloists, Chorus and Orch of Radio Berlin Beethoven's "Archduke" Trio and Mo- GRIEG Helmut Koch, cond. zart's own Clarinet Concerto, which lead NORWEGIAN DANCES, Op. 35 NOLBERG SUITE, Op. 40 Complete on Two Records their own field by an immense distance al- Symphony Orch. of Radio Leipzig, Gerhard Wiesenhütter and URLP 235-2 12" -$1190 most without dispute, the brilliant and ap- Rolf Kleinert, cond. pealing galanterie of KV 448 is exhibited so UR-RS 7 -30 -t 12"-$3.50

often that all music -lovers must have heard CLASSICAL BALLET MUSIC Resenmuller -SUITE Ne. 1 in CELLO CONCERTO IN D MAJOR Lely-M.ttl- IAILET SUITE MINOR Ir.m "STUDENTEMMUSIK" it. Like several of the masterpieces cited Ludwig Hölscher, cello, Berlin Philhar Leipzig Symphony Orch., Ger- manic Orch., Clemens Krauss, cond. Telemann-SUITE IN D MAJOR above, its preeminence has chilled rivalry hard Pflüger, cond. into prudent reticence. Its use in concerts BACH M..rt -Les PETITS RIENS Corelli -CONCERTO GROSSO IN VIOLIN AND 010E CONCERTO Idle Music, K.2Nb F MAJOR, Op. k, Ne. IS by two pianists is taken for granted, like IN D MAJOR Symphony Orch. of Rodio Leip. Collegium Musicum of the the national anthem at prizefights. Marc Hendrike, violin, Hermann rig, Gerhard Pflüger, cond. Saxon State Orch., Töttcher, oboe, Chamber Orch. betMen- Kurt Liersch, cond. In comparing the versions let us start by Radio Berlin, Helmut Koch, cond. MUSIK IU EINEM RITTERRALLET URIP 7113 -1 12" -$5.95 thanking the Iturbis for trying. Their work UR -RS 7-31 -I 12" -33.50 Symphony Orch. of Radio Ber- MOZART lin, Heine Karl Weigel, cond. Ieetheee- is brilliant, brittle and curiously uninterest- CASSATION No. I IN G MAJOR, URLP 7111 -1 12" -$5.95 "JENA" SYMPHONY IN C MAJOR K. 63 Symphony Orch. of Radio Leip- ing, not helped by shallow piano- sound. Mdieien- VIOLIN CONCERTO Chamber Orch. of Radio Berlin, zig, Rolf Kleinert, cond. Most of the laurels are for Messrs. Badura - Fritz Kirmse, violin, Herbert Hearth, cond. Symphony Orch. of Radio Mendelsohn- Skoda and Demus, with the warmest tone, SERENADE No. I I Leipzig, Rolf Kleinert, cond. RUT 1LAS OVERTURE, Op. tS IN E FLAT K. MAJOR, 37S Rek.- VIOLIN CONCERTO (1144) THE DESTRUCTION OF DOFTANAS the most seductive fluency and the most Munich Philharmonic Wind Ensemble Soschko Gavrilov, violin, Symphony Orch. of Rodio Ber- obvious poise. Furthermore their pianos UR -RS 7.32 -1 12" -$3.50 Symphony Orch. of Rodio lin, Walter Sthartner and Rolf as such, although perhaps too sweetly Berlin, Arthur Rother, cond. Kleinert, cond. chastened by environment to be entirely URIP 7112 -1 12" -$5.95 URLP 7114-1 12" -$5.95 natural, have been given the most agreeable reproduction. To this reviewer the inter- pretive results demonstrated by Luboschutz- U RA N I A RECORDS 50 -15,000 Nemenoff are decidedly more convincing, in \ 1953 MARCH, 77

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ones are spurious. ,.There is evidence also used here, but the former are cited No. 24, IN C, KV 296 (4 Editions) that the same ones 'are genuine, leaving the in the following text. Such conflicts are If fluff is well woven it can last forever; and reader to his own opinion. de rigueur in music, and have saved thou- KV 296, at which everyone sniffs, has a (The numeration used here has nothing sands of musicologists from the relief rolls, tough inner workmanship that has stjffened much to recommend it beyond the necessity simultaneously expanding the vocabulary its stuff into a fabric indifferent to criticism. of having a system and the fact that this sys- of vituperation.) The keyboard still dominates in this transi- tem is reasonably anchored to KV 296, tional Sonata passing from its predecessors long familiar as No. 24. The latter figure No. 20, IN E FLAT, KV 58 (I Edition) wherein the violin was an echo or an em- was obtained by descending from KV 296 A dear little thing with no weight at all, one bellishment to those in which the bow was all the way to the first Sonata, KV 6, and in- of the disputed ones, played with tender and given equality with the fingertips. - cluding on the way every sonata attributed thorough musicianship by a team from whom Space is narrow: three versions are of vari- to Mozart, of which one assuredly was not more will be heard in the course of these ously beautiful performances representing composed by him and six are in dispute. Sonatas. Sound of a living exactitude. J.C.W.T.S. Mozart, while the fourth repre- Above KV 296 three fragments have re- (The first two movements sould like the sents the cruel, complex proportion: Hei- ceived numbers (but are not recorded) Mozart we might expect between 1 and fetz -Bay is to. Mozart as Heifetz to Bay. and three have not (of which the infinitesi- 17.) Kraus -Goldberg gives us the free -winged mal KV 404 occupies a few record- grooves). -Paul Badura -Skoda, Walter Barylli. WEST- glory of a great Mozart team at its best, The numbers on the records, except the MINSTER WL,5145. 12 -in. (with Sonatas when Miss Kraus's nimbleness was all in Köchel numbers, seldom coincide with the 29 & 35). 8 min. $5.95. instinctive order; but this classic performance, reprinted from 78's, is lifeless in sonics. Badura- Skoda- Barylli is less animated but excellent and beautifully recorded; and Kirkpatrick- Schneider, with a harpsichord instead of a piano and the coarsest tone of SHOWCASE JAll the four violinists, has a bumptious, galli- THE VANGUARD vanting verve irresistible to this listener and an incisive sound as good in its way as the most important Westminster sound in its rounder way. - One of the The controversy over which is better, piano jazz history! or harpsichord, should not be translated as events in which is right, an acrimonious question best left to the tranquillity of musicological in- vective, but ignored in favor of individual preference: which do I prefer? of -Ralph Kirkpatrick (harpsichord), Alexan- HETSERIESFIRSTRS der Schneider. COLUMBIA SL I52. Two 12 -in. (with Sonatas 26, 30, 36 & 37). 14 min. $11.90. -Paul Badura -Skoda, Walter Barylli. WEST- MINSTER WL 5130. 12 -in. (with Sonatas ElITyJLZ OGH FID Y CONTR I QUALITY 25 6. 28). 16 min. $5.95. VANGUARD BEAT" (Recorded with magazine -Lili Kraus, Szymon Goldberg. DECCA with "DOWN DX 103. Three 12 -in. (with Sonatas 35, 36, Issued in cooperation 37, 38 & 40). 15 min. $14.55. -Emanuel Bay, Jascha Heifetz. RCA VIC- TOR LM 1022. 12 -in. (with Beethoven: JOHN HAMMOND SAYS: Sonata 5). 12 min. $5.72. Labeled "Son- "In these first releases, there is a sense' of excitement ata No. 8." That is almost overwhelming ... as soon as the first test tape was played back, everyone, musicians, engineers and No. 25, IN G, Kv 301 (I Edition) producers alike, knew that recording history was made." A wisp of summer breeze, blown with re- COUNT BASIE SAYS: laxing euphony into ears that need not be attentive but are beguiled, given with un- ,nl The sound is colossal and the groups are terrific . .. pretentious gentility and a sound as good Vic Dickenson is the greatest." as any we have of the type. HERE ARE THE RECORDS... -Paul Badura -Skoda, Walter Barylli. WEST- FEATURING THE GREATEST NAMES IN JAZZ! MINSTER WL 5130. 12 -in. (with Sonatas 24 & 28). 12 min. $5.95- VIC DICKENSON SEPTET Russian Lullaby; Jaspers Creeper.. Edmond Hall- clarinet; Ruby B,aff- trumpet; Vic Dick trombon.; Steve Jordan- guitar; Walter Page -bass; Sir Charles Thompson- piano; les 26, IN E FLAT, KV (1 Edition) Erskine -drums. 1- 10"-$4.00 -20 minutes -VRS -8001 No. 302 Has an exciting first movement and a sec- VIC DICKENSON SEPTET I Cover the Waterfront; Sir Charles at Home; Keeping Out of Mischief Now. ond in plaintive, aspiring contrast, played Some combination as VRS-8001. 1.10 " -54.00 -20 minutes-VIM-8002 with broad enjoyment by the violin and SIR CHARLES THOMPSON SEXTET Bop This; Memos.. inadequate weight from the harpsichord, s of You; For th. Ears; Oh Joel suggesting that a piano could have done Pete Brown -alto sox; Joe Newman -trumpet; Benny Powell -trombone; Gene Romey -boss; Sir Charles Thompson-piano; Osie Johnson -drums. better. A delight nevertheless. 1.10 " -$4.00 -25 minutes- vas -8003 -Ralph Kirkpatrick (harpsichord), Alex- MEL POWELL SEPTET Its been So Long; I Must Hove That ander Schneider. COLUMBIA SL 152. Two Man; You're Lucky To Me; 'S Wonderful; SONATINA for piano. Played and composed by Melvyn Powell. 12 -in. (with Sonatas 24, 3o, 36 & 37). 11 Edmond Hall- clarinet; Buck Clayton -trumpet; Henderson Chambers-trom- min. $11.90. bone; Steve Jordan -guitar; Walter Page -boss; Mel Powell- piano; Jimmy Crawford- drums. 1.10" -$4.00 -70 minutes- VRS -8004 Recordings supervised by the noted jazz authority, John Hammond, and No. 28, IN E MINOR, KV 304 (I Edition) in cooperation with "DOWN BEAT" magazine. No. 26 and this one are good correctives These performances were recorded with the VANGUARD DUALITY CONTROL technique that has mode VANGUARD classical rel he most citing for the respected notion that all but two sound on discs. Pressings ore on pure vinylite, noise -free surfaces. or three of the piano and violin sonatas are childlike. No. 28 is entirely mature in its writing and tense, anxious, in its inquiry. yen vta.r Mr. Badura -Skoda is lively, crisp and res- RECORDINGS FOR THE CONNOISSEUR ponsive, admirably set off by the even

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Boris Goudonov: Death of Boris (Moussorgsky) The Walk to The Paradise Garden (Delius) Don Carlo: Phillip's Air (Verdi) - Raphael Arie, On Hearing The First Cuckoo in Spring (Delius) bass, with Orchestra. LD -9018 - Anthony Collins - The London Symphony Or- Academic Festival Overture Tragic Overture chestra LD -9067 (Brahms) - - Eduard van Beinum - Concertge- Dia Geisha - Vocal Highlights (Jones) bouw Orch. of Amsterdam LD -9038 Im Weisen Rossi "The White Horse Inn" (Benatzky) Espana -- Marche Joyeuse (Chabrier) - Soloists, Chorus and Orchestra of the Municipal P (Ravel) - Ernest Ansermet - L'Orchestre Opera, Berlin, conducted by Hansgeorg Otto de la Suisse Romande LD -9039 LD -9068 Johann Strauss Polkas - Clemens Krauss - The Songs and D f Death (Moussorgsky) - Heinz Vienna Philharmonic Orchestra LD -9044 Rehfuss, Baritone; Hans -Willi Haeusslein, pf. LD -9070 Orb and Sceptre (Walton) Coronation March, 1953 (Brix) - Sir Malcom Sar- Hungarian D Nos. 1, 2, 3, 5, 6, and 7 (Brahms) gent London Symphony Orchestra LD -9046 - Hans Schmidt -Isserstedt - Hamburg State Ra- dio Symphony Orchestra (NWDR) LD -9071 Rhapsodies Nos. 1 and 2, Opus 79 (Brahms) - Wilhelm Kempff, Piano. LD -9048 Four Last Songs (Richard Strauss) - Lisa della Casa, Soprano with the Vienna Philharmonic La Source Ballet Music (Delibes) Orchestra - conducted by Karl Bohm LD -9072 Vols. Triste (Sibelius) - Praelidium (Jarnefelt) - Victor Olof - L'Orchestre de la Suisse Romande Arias From Russian Opera (Sadko; Life for the Tsar; LD -9049 Eugen Onegin; Prince Igor) - Raphael Arie, Bass, Carmen: "Parlez moi de ma mere" (Bizet) with the Paris Conservatory Orchestra conducted Carmen: Final Scene (Bizet) - Libero de Luca by Alberto Erede LD -9074 (Don Jose); Janine Micheau (Micaela); Suzanne Juyol (Carmen) with the Orchestre de l'Opera Sonata in D Minor For 'Cello & Piano (Shostakovitch) Comique, Paris conducted by Albert Wolff. - Emanuel Brabec, 'Cello; Franz Hollachek, pf. LD -9052 LD -9075 Puccini Operatic Arias (from "Madama Butterfly" Aida: Radames and Amneris Duet and Final Scene and "La Boheme ") - Renata Tebaldi, Soprano, with (Verdi) - Mario. del Monaco (Radames); Renata the Orchestra of L'Accadamia di Santa Cecilia, Tebaldi (Aida); Ebe Stignani ( Amneris) with the Rome conducted by Alberto Erede. LD -9053 Chorus and Orchestra of l'Accadamia di Santa Cecilia, Rome conducted by Alberto Erede Slavonic Dances Nos. 1, 2, 3 and 16 (Dvorak) - Hans LD -9077 Schmidt-Isserstedt - Hamburg State Radio Sym- phony Orchestra (NWDR) LD -9063 Psyche - Symphonic Poem (Franck) Eduard van Beinum The - The Flying Dutchman: Overture (Wagner) - Concertgebouw Orchestra of Am- sterdam -9081 Die Waikato: The Ride of the Valkyries (Wagner) LD - Hans Knappertsbusch - The Vienna Philhar- Le Cid - Ballet Music (Massenet) - Robert Irving monic Orchestra LD -9064 - The London Symphony Orchestra LD -9089

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linearity of the violinist. This Westminster but a difficulty in their work makes the No. 3o, IN D, KV 306 (1 Edition) series of eight sonatas is notable for the Westminster product preferable. The Co- Well -made and discursive in bright but not graciousness of its reproduction, the violin lumbia recording is bright, and very fre- important ideas, and enlivened by a finale devoid of wire and the piano of bell, both quently harpsichord and violin coalesce in of unexpected trickery, KV 3o6 in its scope instruments vividly present, needing only the treble in such a way that the tone of one and its more useful employment of the standard NAB correction to show their is absorbed by the other, which is altered in violin - although still subordinate to the best values. the absorption. Not only does this com- keyboard - points to the later classic -Paul Badura -Skoda, Walter Barylli. WEST- pound a disagreeable sound -a tinny sonatas. The harpsichord is impressive MINSTER WL 5130. t2 -in. (with Sonatas violin or a whining harpsichord - but it here, and if Mr. Schneider's spirited bowing 24 & 25). 12 min. $5.95 disturbs the musical line. A pity, but a is not absolutely true to pitch or free of practical demonstration of the superiority fuzziness, the lapses are not grave. No. 29, IN A, KV 305 (2 Editions) of the piano over the harpsichord for this -Ralph Kirkpatrick (harpsichord), Alexan- It is hard to see how the different visages Sonata. der Schneider. COLUMBIA SL 152. Two of gaiety displayed in the two perform- -Paul Badura -Skoda, Walter Barylli. WEST- 12 -in. (with Sonatas 24, 26, 36 & 37). 19 ances of a gay Sonata could establish a MINSTER WL 5145. 12-in. (with Sonatas min. $11.90. superiority for either. Kirkpatrick - 20 & 35). 15 min. $5.95 Schneider are exuberant, broad in their -Ralph Kirkpatrick (harpsichord), Alexan- No. 34, IN F, xv 376 (z Edition) antitheses, bounding in phrase where the der Schneider. COLUMBIA ML 4617. 12 -in. The violin is at last admitted to equality others are relatively subdued, and the K -S (with Sonatas 34 & 41). 12 min. $5.95. with the keyboard in a teasing Sonata that manner is the way the writer prefers it; Labeled "Sonata No. 1." starts in a philosopher's cell and ends in the nursery. The archaicism of the harpsichord further complicates the flavor, and the vivid recording (not without a persistent faint low -frequency noise) of the performance preserves it neatly for us to taste. Year, after year, after year -Ralph Kirkpatrick (harpsichord), Alexan- der Schneider. COLUMBIA ML 4617. 12 -in. (with Sonatas 29 & 41). 16 min. $5.95. the finest recordings Labeled "Sonata No. 7."

No. 35, IN F, xv 377 (2 Editions) are on VOX U. H. F. In spite of the evident superiority of the recent and excellent Westminster sound over the old but capable Decca sound, the supremacy of the Kraus -Goldberg per- THE ULTIMATE IN SOUND... PERFORMANCE... PACKAGING... formance must prevail. The abilities of 1954 VIVALDI Messrs. Badura -Skoda and Barylli are ap- Lo Stravaganza, Op. 4 (12 Concerti for Solo Violin, parent but cannot challenge the realized Strings & Continuo) susception of the others in the decisive and Reinhold Borchet, violin Helms Elsner, harpsichord Pro Musics String - - first really big Sonata of Mozart for piano Orchestra, Stuttgart Rolf Reinhardt, conductor 3 -12" DL 103 1953 - violin. Kraus, a DE LUXE EDITION with Illustrated Book by Dr. Joseph Braunstein, Music and Miss superb Mozart Division, New York Public Library pianist when this record was made, impresses herself into memory with the incisive ele- 1952 NOVAES' GREATEST CONCERTO RECORD- gance of a bold and sparkling leadership ING OF TWO FAVORITE WORKS very rare in the performance of these son- GRIEG atas, wherein the modern inclination to Piano Concerto in A Minor, Op. 16 overdo the violin part usually prevails in 1951 DE FALLA spite of obvious and laudable efforts to Nights in the Gardens of Spain prevent it, so resistant are the habits formed Guiomar Novaes, piano - Pro Musica Symphony, in playing other masters' works. Vienna Hans Swarowsky, conductor 12" PL 8520 - -Lill Kraus, Szymon Goldberg. DECCA 1950 HI FIDELITY SAYS: "IMPACT OF THE PERCUSSION IS ALMOST DX ro3. Three t2 -in. (with Sonatas 24, 36,

TERRIFYING . . SOUND DEPTH AND OF IMPOSING SUBSTANCE." 37, 38 & 40). 17 min. $14.55 - RAVEL -Paul Badura -Skoda, Walter Barylli. WEST- 1949 Bolero -Alborada Del Gracioso -La Valse- Rapsodie Espagnole - MINSTER WL 5545. I2-in. (with Sonatas Pavane For A Dead Princess 20 & 29). 21 min. $5.95 Orchestre RadioSymphonique de Paris - René Leibowitz, conductor 12" PL8150 No. 36, IN B FLAT, KV 378 (3 Editions) ]918 FIRST RECORDING OF A DELIGHTFUL OPERA Kraus -Goldberg emerge from the old Decca CIMA ROSA transfer with a rubbery perversion of tone II Maestro Di Capella (The Conductor) (Comic Opera in 1 Act) hardly tolerable in direct competition with Carmelo Maugeri, boss - Orchestra da Camera di Milano - Ennio any reasonably able modern presentation. 1947 Gerelli, conductor Zakin -Stern, another pressing of old vin- Il Matrimonio Segrete (The Secret Marriage) tage, has to a smaller degree the same disad- (Overture & Excerpts) vantage, in the suffocation of the overtones Elda Ribetti (Carolina) - Amilcare Blaffard (Poolino) - Orchestra da that would have given Mr. Zakin's piano 1946 Camera di Milano Ennio Gerelli, conductor 12" PL 8450 - a crisp instead of a blurred life. After these ECHOES OF PARIS, VIENNA AND ITALY the realism of the sound accorded to Kirk- GEORGE FEYER, piano with rhythm accompaniment patrick-Schneider is almost frightening. 1945 De Luxe box. Illustrated booklet. 3 -10" VX 633 As experience has made us expect, the last 'Ultra High Fidelity two play with more color and dash than the others, very successfully in the com- monplace rondo that needs imaginative VII VI I V _II animation. An interesting effect of the harp- MI =MI MIA sichord is to translate the romantic andantino, \ WI& /W which with a piano seems to belong to say w 1805, back to 1700, inviting both the pleasure and the pain which anachronism 236 WEST 55th STREET, NEW YORK 19, N. Y. can inflict on those aware of it.

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-Ralph Kirkpatrick (harpsichord), Alex- ander Schneider. COLUMBIA SI. 152. Two 12 -in. (with Sonatas 24, 26, 3o & 37). 16 min. $11.90. -Alexander Zakin, Isaac Stern. COLUM- BIA ML 4301. 12 -in. (with Haydn: Vn. Cone. 1). 19 min. $5.95 Labeled "Sonata No. 26." -Lili Kraus, Szymon Goldberg. DECCA DX 103. Three 12 -in. (with Sonatas 24, 35, 37, 38d & 40). 20 min. $14.55 No.r37, IN G, KV 379 (3 Editions) The ravishingly expressive arpeggios drifted up by Miss Kraus in the long, compassion- ate introduction of this wonderful Sonata acquire for her and Mr. Goldberg a leadership steadily thereafter sacrificed on the sad altar of dated, incomplete and depressing sound. It is assumed by this department that however magnificently instruments may be manipulated, their music is stricken when their voices are parodied. The best registration is that of Columbia for Kirkpatrick - Schneider, but the warmth of the Barylli tone and the grave musicianship of Mr. Badura -Skoda in Westminster's adequate but not first -class recording are more convincing than the shriller excitement of K -S. -Paul Badura -Skoda, Walter Barylli. WEST - Opera's MINSTER WL 5109. 12 -in. (with Sonata 39). most f 20 min. $5.95. amour couple -Ralph Kirkpatrick (harpsichord), Alex- FERRUCCIO T'AGLIAVINI ander Schneider. COLUMBIA SL 152. Two 12 -in. (with Sonatas 24, 26, 3o & 36). 16 min. $11.90. togetherand PIAas Werther TASSINARI -Lili Kraus, Szymon Goldberg. DECCA an DX 103. Three 12 -in. (with Sonatas 24, 35, in Massenet's French Charlene 36, 38 & 40). 15 min. $14.55. Lyricac A new recording Opera. No. 38, IN E FLAT, KV 38o (1 Edition) from Built like a concerto, KV 38o with a fine slow movement and a rondo of many hues gives prominence to Mr. Goldberg, toned and CETR4® fluent like quicksilver. It is a pleasure to report that the registration is surprisingly Album C1 crisp and clear for both instruments, quite 245...Three 12 "Records. unlike that of the same musicians in the Complete sonata immediately preceding. Libretto in -Lili Kraus, Szymon Goldberg. DECCA and French DX 103. Three t2 -in. (with Sonatas 24, 35, English 36, 37 & 40). 19 min. $14.53. bring CETRA RECORDS No. 39, IN B FLAT, Kv 454 (4 Editions) you Italy's The highly organized glibness of the Sonata finest voices must have persuaded Messrs. Rosé and El- man that it is empty, for their work is of a chilling mechanical proficiency empty of expression. Close, overbright sound with a steady low -frequency noise maintains the curiosity -value of a true oddity. The other lind New Sing /es from WETRq® three have strong claims to favor. Both Londons have excellent sound, a TWO little better than the Westminster sound, THREE UNUSUAL 12 SINGLE RECORD RELEASES ADDITIONAL 12" SINGLE RECORD here burdened with a slightly percussive Arias from the Opera by 'HIGHLIGHT'. ALBUMS piano. Mr. Barylli has by far the most sen- Ferruccio Tagliavini .. A -50155 These recordings by Ferruccio Tagliavini have A and appealing violin. Mr. Rosen's Tosca -50152 II Trovatore . . A -50153 suous never been available on domestic Cetra discs mobile and perceptive pianism is the out- before. They were primarily responsible for the standing individual accomplishment among world -wide attention this artist has since re. For the first time ceived, and are now issued for the first time in the six men. The Taylor-Grinke team this country in response to inrumerable requests. SINGLE EXTENDED PLAY RECORDS present a subtle, small -scaled and indomi- excerpts from the Cetra Opera Library tably poetic interpretation with the pianist Donizetti Arias by Cesare Valletti . . A -50154 he be A collection of arias by an established Italian `TREASURED MOMENTS FROM TiE OPERA a little less in evidence than should lyric tenor who has made impressive debuts with sound. Mr. the Metropolitan and San but with the juiciest piano- Francisco Opera Com- Aida; The Barber of Sevil e; la Blheme; Cavalleria panies this season. Peters is less telling than the other violinists. Rusticana; The Force of Destiny, Lucia Di Lam- A stability of opinion is impossible in this mermoor; The Marriage of Figaro; Pagliacci; Tosca; Overtures from the Opera .. A -50151 contest of differences. The ordination below An album of five overtures taken from some of II Trovatore FAP 70(0 through 7009 the most successful has no qualitative significance except for Cetra Sets. *Casts and performances as in full- leng-h sets. the low position earned by Rosé -Elman. -Kendall Taylor, Frederick Grinke. LON- Catalog at Record Shops or from Dept. H H Capitol Records, Inc. 1730 Broadway, New ork 19, N. Y.

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DON L 739. 12 -in. (with Sonata 41). 21 min. $5.95. Labeled "Sonata No. 32." Every Record Collector -Paul Badura -Skoda, Walter Barylli. WEST- Wants Them. MINSTER WL 5109. 12 -in. (with Sonata 37). Over 23 min. $5.95. -Charles Rosen, Reinhard Peters. LONDON Every Record Collector L 674. 12 -in. (with Sonata 40). 22 min. 500,000 $5.95 Labeled "Sonata No. 32." Deserves Them. -Wolfgang Rosé, Mischa Elman. RCA VICTOR LM 1208. 12 -in. (with Paganini: Every Rhapsody Cus- Caprice 24). 22 min. $5.72. Labeled record tomer Gets Them. "Sonata No. 4o." No. 40, IN E FLAT, KV 481 (2 Editions) collectors Gets What? How can one assess the merits of performance in music that seems excessively tire- Why, some and pointless? Both sets of players read here are very capable at stating the individual phrases, and Rosen - Peters are very well re- THE FINEST corded, the others satisfactorily. "schwann's -Charles Rosen, Reinhard Peters. LONDON VIRGIN L 674. 12 -in. (with Sonata 39). 23 min. $5.95. Labeled "Sonata No. 33." UN-TOUCHED -Lili Kraus, Szymon Goldberg. DECCA long playing DX 103. Three is-in. (with Sonatas 24, 33, UN- HANDLED 36, 37 6. 38). 21 min. $14.55. record UN-MAULED No. 41, IN A, xv 526 (2 Editions) This Sonata enjoys a large and respectable respect. It was written in the year of Don catalog" MINT-CONDITION Giovanni. It is in the key of the "Kreutzer" Sonata. It has an advanced counterpoint. BRAND-NEW It is the last (but one, conveniently forgotten) of the piano and violin sonatas. every month CAREFULLY- One critic finds the first movement empty, the second solemn and hollow, the third a INSPECTED brilliant manipulation of cheap and irritating before material. Such a critic does not know what WONDERFUL to look for in performance except craftsmanship. Both braces of players in these buying. QUALITY versions have plenty of that, and both have been given excellent sound. Taylor - LP's Grinke are quieter and so render the Sonata less distasteful to the critic cited. are you one They ever put a needle to, -Kendall Taylor, Frederick Grinke. LON- DON L 739. 12 -in. (with Sonata 39). 19 min. $5.95. Labeled "Sonata No. 34.E of them? THAT'S WHAT. -Ralph Kirkpatrick (harpsichord), Alex- ander Schneider. COLUMBIA ML 4617. 12 -in. How about you? (with Sonatas 29 fr 34). 20 min. $5.95. Available Labeled "Sonata No. 17." Securely packed and at your SONATA FRAGMENT IN C, KV 404 record dealer promptly shipped An andante- allegretto of great charm, left unfinished in 1782, here beautifully now. played and poorly recorded. ANYWHERE -Lili Kraus, Szymon Goldberg. DECCA DL Pick up your the mail can go .. . 8505. is -in. (with Po. Conc. r8 & Schubert: Ldndler). 4 min. $4.85. copy today.

Their quality is guaranteed SUITE FOR PIANO, IN C, KV 399 (1 Edition) Mozart completed only three movements of this music written while he was studying Handel and composing fugues. This gives write or wire us an epigrammatic and nimbler Handel, a schwann hybrid of antipathetic eras, and the old piano used by Mr. Kirkpatrick, to our un- accustomed ears itself a hybrid of piano and long RHAPSODY harpsichord, seems particularly apt to express the ambiguity. The instrument has playing RECORD SHOP been registered with tingling clarity. -Ralph Kirkpatrick. BARTOK 912. 12 -in. 1723 North Highland Ave. (with Sonata r6 & Fantasy and Fugue, KV record Hollywood 28, Calif. 394). io min. $5.95. catalog HI- FIDELITY RECORD VARIATIONS FOR PIANO KV 354 (I HEADQUARTERS ON "Je SUIS LINDOR," Edition) 131 Clarendon St., Boston 16, Mass. The theme is a light air from Paisiello's

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Barber of Seville, and the ornate variations are inventive and sparkling. Mr. Balsam has a nice flitting way with the lighter Mozart, PERFECT and the piano- sound, in its light and not im- at last .. . LONG PLAYING RECORDS mediate way, is good too. -Artur Balsam. CONCERT HALL CHS 1405. 12 -in. (with Conc. 16). 15 min. $5.95. Since we are not a retail record store, great music we can guarantee our records to be in ON "Ah, vous- dirai -je, Maman?", KV 265 perfect condition. These records do (1 Edition) a shop -worn stock, but not come from The amusingly florid metamorphoses of a especially to on TAPES! are custom ordered fill simple nursery -tune everywhere known, your order. We guarantee the quality upon his to be the highest obtainable. which Adam built famous coloratura hurdles, performed by fingers recalci- trant to its fluid demands. -Guy Maier. BANNER 1002. Io -in. (with RECORDS a Mozart miscellany). 7 min. $3.85. FOR THOSE WHO COLLECT ON "Salve Tu Domine," KV 398 (1 Edition) HIGH -FIDELITY LP's ONLY A short and vigorous set on a sturdy tune, painstakingly played on an old piano of ALL LP's LISTED ARE $5.95 Each soft eloquence, which has been recorded with exceptional and full- bodied distinct- Symphonie Ponastique (Berlioz) Op. 14 London Symphony, Scherchen-WMminster 5268. ness. Philharmonic, The Planets (Hoist) London -Lonny Epstein. SPA 6. 12 -in. (with a Sir Adrian Boult - Westminster 5235. Belshazzar's hast (Walton) London Phil., Sir Mozart miscellany). 7 min. $5.95. Adrian Boult - Westminster 5248. 1512 Overture /Romeo L Juliet (Tchaikovsky) Epic 3008. Now enjoy great music Amsterdam Concertgebouw - ON "Unser Dummer Pöbel Meint," KV 455 Symphonic Metamorphoses (Hindemith) Chicago ... permanently captured on AV Symphony, Rafael Kubelik - Mercury 50027. (2 Editions) Symphony In D (Franck) Detroit Symphony, The resemblance of the tune from C. W. full fidelity recorded tapes! Paul Paray Mercury 50023. - - vous B eethoven Quartets, Opus 59, No. 3 /Opus 74, von Gluck's only baia - to "Ab, dirai- Vegh Quartet -Haydn Society HSQ -40. je" will be noted at once. The variations SoIM for Orchestra 1 L 2/3 a 4 (Bach) Hewitt Society 90/91. form a brilliant display -piece, with the theme Orchestra - Haydn lust Released ! Trok Symphony /Unfinished Symphony (Schu- repeatedly returning in recognizable guise bert) Hewitt Orchestra - Haydn Society 89. Fifth Symphony (Beethoven) Eugen Jochum, amidst its alterations. Both recordings are Berlin Philharmonic - Epic 3002. coupled with more important works which P athetigus Symphony (Tchaikovsky) Van Kem- pen, Amsterdam Concertgebouw - Epic 3003. are more likely to determine choice, which is Horn Concerte/Trumpet Concerto (Haydn) Koch, hard anyway. Mr. Foldes has more breadth dvorak Wobitsch, Vienna Syrnph. Haydn Society 1038. - and resolution and a sound to match, and Symphony No. 4 brilliantly Requiem (Mozart) Soloists & Chorus, Vienna there is no compelling reason to believe that performed by the Cincinnati State Opera. Scherchen - Westminster 5223. De Folio Pane Music (complete) Jose Echaniz this is better or worse than the lighter and Symphony Orchestra, Thor "Best Piano LP of '53" - Westminster 5218. more shapely patterns of Mr. Seemann in Johnson, Conductor. Scythion Sula /lieutenant KIN (Prokofietf) Vienna Symphony, Scherchen -Westminster 5091. a more reticent but somewhat more distinct No. 1026, 7t/.ß i single or dual Wagner Program (Lohengrin Preludes, Tann- reproduction. Either choice will be satis- track -7" Reel $9.75 hauser Overture, Ride of Valkyries, Die Miester- singer Prelude) Detroit Symph., Paray - factory. Mercury 50021. -Andor Foldes. Vox PL 681o. 12 -in. (with Concertos for Harpsichord i Orchestra (Bach) Numbers 1,4,5 FinnVidero Haydn Society 92 Conc. 27). 14 min. $5.95. - Variations, B ach Organ Music (Chorale Preludes. -Carl Seemann. DECCA DL 9568. 12 -in. sibelius Six Fughettas) Finn Videro, Soo Organ "The two greatest organ LP's" Haydn Society 66/94. (with Conc. 25). 12 min. $5.85. Tone Poems (Liszt) (Les Preludes. Masepps, Choral and Orchestral Works etc.) Philharmonic Symphony of London - Featuring: Helsinki University Westminster 5269. MISCELLANEOUS Vaughan Willams Fantasias (Greensleevea, Chorus and Cincinnati Sym- Theme of Tallis, etc.) Houk - Westminster phony Orchestra, Thor John- 5270. "THE EIGHT -YEAR -OLD MOZART" son, Conductor. Scheherozede (Rimsky- Korsakov) Argeo Quadri, Twenty -three of 43 little pieces entered in Vienna State Opera Orch. - Westminster 5234. The Origin of Fire, Tone Poem at an Exhibition (Moussorgsky- Ravel) Mozart's sketchbook at London in 1764. Pictures Epic for Baritone, Male Chorus and The Moldau (Smetana) Concertgebouw - Their historical interest is apparent, and Orchestra, Opus 32. Sulo 3015. there is a naive appeal to the music of some Saarits, Baritone. ALBUM OF THE MONTH of them, an appeal suddenly breathtaking Song of My Heart (a cappella) THE MESSIAH (Handel) Margaret Ritchie, when we think of what grew out of these ob- Choir, Finlandia (a cappella) London Symphony & Philharmonic long blocks. Miss Epstein is just right, and Hermann Scherchen - Westminster 308. Pohjola's Daughter, A Sym- $ 15.50 her XVIII Century piano is startlingly phonic Fantasy, Opus 49. present in a recording outstanding even No. 1027, 7>% steady in noise. ips, dual-track- though background 55 Reel $7.75 POSTAGE FREE -Lonny Epstein. SPA 35. 12-in. 37 min. ON ALL DOMESTIC ORDERS $5.95. *Also available on binaural. S i .00 deposit with C.O.D.'s. Prices on request.

We mail to any place in the world. "18TH CENTURY GLASS INSTRUMENT" MR NO (1 Edition) Four of the thirteen things in this At leading music and tape re- curiosity corder dealers or write Dept. SPECIAL are by Mozart. We all know that in the best HI -FI JAZZ LP's F4 for complete catalogue. Lists of XVIII Century men tried everything and and TEST LP's. composers disdained nothing. Gluck playing the musical glasses in public to establish a precedent for this record. Unfortunately OMEGA ELECTRONICS the microphone was in continuous revolt at 12012 WILSHIRE BOULEVARD the harmonics of this glassware, and the is A -V Tape Libraries, Inc. LOS ANGELES, CALIFORNIA only pleasure in the disk that of humor. -Einar Hansen. BANNER 2000. 10-in. (A division of Audio & Video Products Corp.) 15 min. $3.85. I 730 Fifth Ase. New York 19

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appreciative performance by the Loewenguth Mozart Postscript Quartet. This is a woolly old recording, but 1 ecos N h1A-Rkcr the only version of a charming work; and During the interminable progress of this the other side is occupied by a splendid Mozart discography, the author has more collaboration between the late Jacques Thi- D 0 than once been pleasantly reminded that he baud and the Lamoureux Orchestra con- =9 ducted by Paul Paray in the Third Violin =IThe "Hammerklavier" Period was a fool to have undertaken it. This Concerto (24 min.), an accomplishment at BEETHOVEN there can be no disputing, but with such a thing begun, conscience compels foolhardi- once of extreme aristocratic distinction and manliness in spite of many flaws Variations Op. 105 and 107 ness to complete it. However, when there spirited are so many sources of so many records, it of registration. for Flute and Piano (first recording) No. 18 and especially No. 14 is not usually possible to receive every rec- Quartets P 8106 are Six Bagatelles Op. 126 ord in time, and some do not arrive at all. (26, 24 min.) on Capitol ($5.7o) poetry by the Calvet Furthermore, the commencement of a displayed with surpassing D Five Small Piano Pieces Op. Post. D feeble cography seems to stimulate manufacturers Quartet in an oddly recording, not Wallace Mann. Flute tonally unpleasant, but wispy and without Richard Dirksen, Piano to prodigies of fecundity in new recordings of the composer under study. Such records viscera. Quartets 22 and 23 by the Barchet Score and separate flute part included. PL 24, 22 min. always continue to stream in abundance Quartet (Vox 826o, $5.95) ES525/6 2-12" with :core $11.90 from after the categories in which they belong are given more style than customary Score alone 2.20 $ have already been detailed in print. In the this group, and the sound is spacious al- gingery with bass. Barchets do ESOTERIC RECORDS, Inc. case of the Mozart discography, many of though The not assume leadership with these interpre- 11 West 18 Street New York City 11 these supplementary disks have been de- but the disk is good enough for a D D scribed in the section of HIGH FIDELITY tations, assigned to current records. But others fair hearing. ® Short Masses, the Mivae Two galloping 2 ORGANS have accumulated, besides a number of KV 194, C, KV 220 ("Spar- older disks which arrived late. Brevi: in D, and 2 SYMPHONIES 2 ORGANISTS with The newest of these are considered in the row-Mass "), both lusty Mozart's plus 1 ENGINEER minus any monitoring healthy deprecation of ceremonial restraint, odd up to another aural thrill on current record section of this issue, while the Vox PL 7060 (22, 20 min. in Classic Editions Set CE 1012 511.90 list older ones are described hereunder in the are on $5.95) The Gothique and Romane Symphonies of rather haphazard fashion prescribed by the performances by soloists, the indefatigable Charles Marie Wider are here recorded for Akademie Choir and Vienna Symphony Or- the first time in their entirety by Clarence irregularity of their arrivals. It is hard to Wafters at the Trinity College Organ and organize when the contents of organization chestra conducted by Ferdinand Grossmann. William Self at the All Saints Church Or- is lusterless the "Sparrow" a It curious how - gan, two of the finest examples of French are not known, and impossible to revise styled organs in the United States today. completed text with the arrival of every the brighter work - appears in comparison 16 to 16,000 Reproduction a by same Wide Rangs Cycle piece of new material. Still it was felt that with performance the people of High Fidelity means nothing without Cool Music! Kv 194, vehement the obligation of fullfilment required refer- the less strongly scored difference be en- ence, even if cursory, to all these records. and rousing. The cannot tirely attributed to some dullness of sound in KV 220 not apparent in the other: Mr. CLASSIC EDITIONS Quartet No. I I, E Flat, KV 171, is found Grossmann used a soft beat. on Vox PL 6420 (17 min. $5.95) in a warmly 15 18 206f West 80th St. New York 24, N. Y. Piano Concertos No. and were Write for oor complete free catalogue represented, until the appearance of a disk by Vox (PL 83oo, 24, 3o min. $5.95) containing both, by two bad recordings. In 30 MINUTE "Los Angeles' finest the new edition Miss Ingrid Haebler is the Q.t 124,t. Ampex Recorded able if not ultimate pianist, and the orchestra HI -FI TAPE high fidelity led by Hans Hollreiser is ebullient. The piano is real and palpable except for some "Musical record shop" clatter when loud in the middle octaves, Comedy Hits and the orchestra, very bright, would have Thru the Years" been excellent if the choirs had been dis- at ONLY tributed to obviate an effect of varying distance. Naturally this record displaces the $985 two old ones. Unique, scintillating, organ -piano POST RCA Victor has revived from a rather re- combo (no cal). New exclusive PAID Division of Weingarten Electronics superb medley 30 minutes of sheer joy! Specify mote but brilliant past four of the greatest whether 71 ," or 3I4" per second speed desired. Sat- of the piano concertos, played by Edwin isfaction guaranteed, or money back. FREE list of *./e mil arufcuJie other new topes. Fischer with the assistance of several or- 7556 MELROSE AVE. chestras under several conductors, includ- Swain P.O. Box 2384 -H LOS ANGELES 46, CALIF. ing himself. It contains the sensational, Mack Sarasota, Florida celebrated, imaginative and aggressive No. 2o, which the pianist and Sir Malcolm O tp Sargent made one of the most stunning A TRIUMPH collaborations on disks, but it is shrilled up COLLECTORS' ITEMS IN HIGH FIDELITY for this transfer to cover some of the sur- ORGAN RECORDINGS face noise and is fiercely harsh. Contrarily Unusually fine Hi -Fi Mood No. 24, in another striking alliance, this Catharine Crozier, Organist time of Mr. Fischer with Lawrence Coiling- Music records made in LP4551 Organ Music of Bach wood, is recorded to a standard that we I.P4554 Reubke Sonata 94th Psalm should not think poor today. No. 17, Europe and America LP4553 French Organ Music made very brisk and clever, has acceptable O Recorded in Kilbourn Hall O Eastman School of Music small sound, and No. 22, a calmer interpre- 78 RPM Vynilite 1.1'4554 Sowerby G Major Symphony tation than the rest, has points of nice 1.P9555 American Organ Music timbre in its favor and not much against it or high grade shellac 10" disks Recorded in First Baptist Church Longview, Texas except the restrictions of its age. Two noble Write far free catalogs, Dept. HF -2 12" LP Red Vinylite ... $5.95 each performances, three unusual: they should be Sealed in Plastic Bag heard by music -lovers; and whether they THOMAS J. VALENTINO, INC. KENDALL RECORDING CORP. should be owned by discophiles would be 75 Greenfield Lone Rochester 10, N. Y. determined by individual tolerances for 150 West 46th st., New York 36, N. Y. Write for Catalog O1 li il u i0 freckled sound. (Concertos 17, 20, 22 and

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24. 25, 29, 31, 28 min. RCA VICTOR LCT 6013. Two 12 -in. $11.44.) DECCA DL 4065 ($2.50) assembles four arias from Figaro with the bass Josef Greindl and the sopranos Elfride Trötschel and U\!ltUJlt P21111111 Annelies Kupper to sing them. The results are a ringing "Non piu andrai," an absurdly hastened "Venire, inginocchiatevi' and two IMPORTANT ANNOUNCEMENT FOR ALL HI -FI FANS so -sos. Cetra has made a lamentable trans- ference of "highlights" from her nearly ANOTHER MERCURY FIRST -THE FIRST COMPLETE RECORDING OF complete Figaro to a 12 -in. disk (Á5o141, 34 min. $5.95.) The original flesh -and- blood has become bran and water. Neither TCHAIKOVSKY'S U, IllitlituR Decca nor Cetra has supplied printed texts. The bass -baritone George London, with an orchestra conducted by Bruno Walter Ballet. Op. 71 (COLUMBIA ML 4699, 40 min. $5.95), sings five arias from Figaro in a little tour de force ANTAL DORATI conducting the MINNEAPOLIS SYMPHONY ORCHESTRA of versatility and three of the late concert arias. The latter will be considered the cream 2 records, deluxe illustrated album OL -2 -101 of the record, for however much we may admire a voice that can project music of the One of Tchaikovsl y's most colorful and delightful scores - Count, Figaro and Bartolo with as little One of Domes most distinguished performances- - strain as this, and as much intelligence, we One of Mercury's most brilliant and spectacular will find specialists to surpass it. The cate- HIGH FIDELITY LIVING PRESENCE. recordings gory is special, that of the recital, and belongs rather to a discography of Mr. Lon- Ms,DO1WELL Second ( "Indian ") Suite, Op. 48. NOMNEGIA1l POP CONCERT. Oslo Philharmonic Or- Eastman- Rochester Symphony Orchestra, chestra, jlivin Fjeldstad, conducting. Mg10150 don than of Mozart. Dr. Walter's accom- Howard Hanson, conductor. WNW SAEVERDD Rondo Amoroso, Galdreslatten, Sin - paniments are to be noted, all alive with fonia Dolorosa; VALEN The Cemetery by the SALTEDO Eight Dances for Harp: La Joyeuse Sea, Michelangelo Sonnet, The Silent Island. human sensibility and musical responsive- (Rameau); Gavotte (Martini): Play of the Oslo Philharmonic Orchestra, Oivin Fjeldstad, ness. No printed texts. Winds (Dandrieu); Spinning Wheel (Mendels- conducting. MG10141 For months this critic has been postpon- sohn); On Wings of Song (Mendelssohn); MEG Incidental Music to Ibsen's PEER GYNT Spanish Dance No. 5 (Granados); Clair de lune (Original Stage Version). Oslo Philharmonic ing the terrible duty of assessing the quali- (Debussy): Steel (Salzedo). Carlos Seized() and Orchestra. Odd Gruner- Hegge, conducting. ties of the Masonic Music produced by In- Lucile Lawrence, harpists. M410144 1116101411 diana University in an album of two 12 -inch disks in performances by the University's School of Music. If this is acceptable to , úvIÑG freemasons the aesthetic decline since the PRESENCE masons Mozart and Haydn is perpendicular. E\ It may interest those who are scrutinizing the American higher education of today. Only the pen of a Donatien A. F. de Sade could pleasurably review these records. - The glory of Indiana University is still her basketball team, scholars 10 or 12 feet tall, untainted by Mozart. On the reverse of an Alessandro Scarlatti Cantata, Colosseum has put the little (2 min.) March KV 335, and the vocal recitative and FREE! rondo "Mia Speranza adorata," KV 416. ANY ONE OF THESE The Scarlatti Orchestra of Naples has been recorded in a public performance, and the soprano, Teresa Stich -Randall, is nearly as HI FIDELITY RECORDINGS ngf. beautiful as a soprano can be until she has 11° to leap for the high ones. Then the ups (i0 1 5.00 ( lac,/ U become her downs. (1035, $5.95; 2, I 1 min.) Serenades No. i t and 12 (Vox PI. 7490; 25, 20 min. $5.95) commence with such a broad spaciousness of throbbing sound, BEETHOVEN IJYi both, that the hearer may be forgiven an ' "Egmont" and "Coriolanus" Overtures initial enthusiasm. When solo passages begin for the horns, enthusiasm gives way to regret. - The only recording of the OR OR sweetly melodious Serenade No. 4, KV 203 BIZET BACH Concertonbu" rg is of a public performance by the Scarlatti ''Carmen'' Suite Orchestra of Naples conducted by Bern- HERE is an amazing offer to lovers of fine offer. But it may have to be withdrawn soon. So rush hard Paumgartner (CoLossEuM 1033; music! Yours FREE -any one of these coupon to: The Musical Masterpiece Society, 35 magnificent recordings-brilliantly performed Inc., Dept. 113, 250 W. 57th St., N. Y. 19, N. Y. min. $5.95.) This is a soft stylization of by the celebrated Netherlands Philharmonic indubitable charm, and the registration of Orchestra, under the baton of the distinguished The Musical Masterpiece Society, Inc. Dept. 113, 250 W. 57th St. the first side has unusually pleasant string - British conductor Walter Goehr. These recordings, pressed New York 19, N. Y. tone and comfortable balance. There is also from the purest "Vinylite" Plastic, Please send me the high -fidelity L. P. records represent the last word in HIGH FIDELITY a low -frequency noise in the background. checked: 0 BEETHOVEN 0 BIZET BACH reproduction. Each has remarkable beauty of NOTE: If you have checked ONE record. It is About a third of the second side is damaged tone and virtual absence of surface noise. Yet FREE - simply enclose 25c to help cover coat of special packing and shipping. If you have checked by pronounced flutter. you may have any one of them FREE! OR -you ALL THREE. enclose SI. (WE pay postage.) may have ALL THREE records for ONLY $1. Also send me your FREE brochure describing other fine Musical Masterpiece recordings avail. We make this amazing offer to introduce you to able for less than one third the usual price. This is the sixth and final (Praise the superb new Musical Masterpiece Society recordings. We will also send you our FREE Name God, saith Mr. Burke) installment brochure telling how you can get other brilliant of the Mozart discography. We can recordings of the world's greatest music -for less Address than ONE THIRD the usual retail price! only add, "Amen ". State There are no "strings," attached to this generous LOty---- -ZZone J

MARCH, 1954 85

www.americanradiohistory.com ENCLOSURES FOR LOUDSPEAKERS

PART IV : Loudspeaker Directional Effects By G. A. BRIGGS

SINCE writing part HI of this series I have had the main to be dealt with. A typical loudspeaker curve is pleasure of visiting the Audio Fair in New York reproduced in Fig. 40 to show that they are mainly located (October 1953) and meeting in person a number of readers in the frequency range above 2,000 cydes. of this journal, and the gentlemen responsible for its It is interesting to observe how the peak in output policy and production. I hope the Editor will allow between 2,000 and 5,000 cycles is confined to the axis; me a few lines in which to say how much I enjoyed the this is quite a usual effect and explains why the peak as- experience. I suppose most people on the wrong side of sociated with most cone type speakers is not so objection- 6o would agree that it is foolish to go about expecting able in practice as it appears on paper. Listeners do not as new thrills; it is better to settle down and cool off a bit, a rule find themselves placed with one ear directly on the and try to enjoy life at one or two removes through the axis of the loudspeaker in both the horizontal and vertical medium of young people. At least, this was my belief planes, but even then it is easy to move one's position before I forced myself to embark on the long journey to avoid the strongest beam. (A drop of oil on the casters across the Atlantic. I cannot pay a greater compliment of the chair may help.) Alternatively, the loudspeaker to American and Canadian audiophiles than to admit that could be tilted or turned sideways. Far be it from me to I have altered my views and am looking forward to an- condone or excuse the presence of resonance peaks in other visit. loudspeakers, but to complain unduly about beam effect I was impressed by the keen interest which is shown is equivalent to sitting deliberately in a draught and com- today in high fidelity in the North American continent, plaining about a stiff neck. but after allowing for the difference in population I do We are here referring to the nuisance value of strong not think such interest is any greater than in the British directional effects, mostly located in the region of 2,500 Isles. I must, however, confess that I was slightly per- to 6,000 cycles. At higher frequencies the overtones turbed by the tendency in some quarters to look upon become weaker; the power is reduced; the ear is less high fidelity as something new. It must be 20 years sensitive; and the average loudspeaker falls off in effi- since I first listened to a demonstration of an exponential ciency. I had one correspondent who complained about horn by P. G. H. Voigt, in which the reproduction of a resonance in his 5 -in. speaker at 1z,00o'cycles. I do not human voice was compared with the live performance know whether his hearing or his imagination was his on the spot - with remarkable success. The quest for strong point, but I suspect the latter. (Perhaps aural natural reproduction has been diligently pursued by indigestion with spots in front of the ears is another many investigators during the intervening decades, on new disease.) A pick -up resonance at 12,000 cycles would both sides of the Atlantic. be a different kettle of fish, because this would be the It is to be hoped that the words "high fidelity" will main resonance of the vibrating system, whereas the not be used as a tag or label to boost the sale of mass - main resonance of a 5 -in. speaker is in the loo to 200 produced equipment, in which the furniture appeal is cycle region, and is completely avoided by using a cross- rated higher than the frequency response. (Not that over network. frequency response is the be -all and end -all of good re- The question of good tonal balance still remains. I production: good transient response with absence of think it would be fair to say that a cone type loudspeaker distortion and resonance are at least of equal importance.) which gives out excessive "top" on the axis could be satisfactory in other positions where the absorption and Directional Effects reflection characteristics of the room are more in evidence to the ear. It is of course universally appreciated To return to the business in hand, directional effects re- today that the average living room plays havoc with so- called flat response.

*10 Reflection w 12/CS 10 way all unpleasant is o A simple to avoid directional effects -10 to use two or three speakers and mount the middle and /or :t treble units facing upwards. The oscillograms in Fig. 41 Ern >£ 11111§1 111 CYCLE! PEN MONO show at A the output from a 5 -in. unit at 5,000 cycles with the cone facing out towards the microphone which Fig. 40. Typical curves to show difference between axial response of 12 -in. speaker and response 30° off axis. was moved in an arc of 90 °. The speaker was then faced

86 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com MIC the overall result and intelligibility. There is a loss in output of about 2 db with a slot of reasonable width. w It should hardly be necessary to add that the slot must A be mounted vertically, as shown in the drawing, in order to achieve wide dispersal in the horizontal plane. MI C --- Horn Loading 8 Exponential horns can of course be designed to be directional Fig. 41. Effect of horizontal mounting of 5 -in. speaker (cone or non -directional at certain frequencies, according to re- diameter 31/2 in.) over an arc of go °. Frequency 5,000 cycles. A: quirements. The principles involved are fully covered by Cone facing microphone; B: Cone lacing upwards. Dr. Olson in his "Elements of Acoustical Engineering," from which Figs. 43-46 have been selected. upwards and the same movement of the microphone was To anyone interested in acoustic problems this book is gone through, with the result shown at B. a never -failing help in time of doubt. The following If the loudspeakers are mounted on a small open baffle extracts give a good illustration of the directional patterns the sound waves from both sides of the cone are used to of cones of different sizes, and exponential horns of good effect and all boxiness is avoided. different mouth diameter and flare shape. At t,000 cycles, Another arrangement is to face the loudspeaker(s) to- where the wavelength is approximately 12 in., the results wards a wall or corner, so that the sound waves are re- from a tz -in. cone are about the same as those from a flare flected into the room. This effect is greatly appreciated with a t z -in. mouth, but as the frequency goes up and by many listeners. the wavelength is reduced the directional pattern of a horn It must be admitted that a solo voice sounds more is wider than that of a cone of similar diameter, until at natural when the sound appears to emanate from a point to,000 cycles a given horn with a mouth diameter of tz in. source, but instruments like the piano or organ, and could equal the radiation pattern produced by a 311 -in. chorus or orchestral music, always sound better from a cone. In spite of this it will be seen that at frequencies wide source. If the loudspeaker could for once articulate above 2,o0o cycles horn loading is still directional, thus on its own it would probably say with Othello . . . accounting in some measure for its efficiency. I do perceive here a divided duty.

Slot Diffuser 4,

One of the best methods of diffusing the output from a cone type loudspeaker at high frequencies is to fit a ,1000 K -B Slot Diffuser, as illustrated in Fig. 42. Fig. 43. Directional characteristics of a loudspeaker with a rio° cone, in. a large baffle. The length of the slot should be the same as the piston i6 in diameter, mounted in diameter of the cone; the width should be determined in accordance with the frequency range involved. Out -of- phase effects are avoided when the width of the slot is less than the wavelength; thus a slot t in. wide will answer for frequencies up to 13,5oo cycles. Fitting this diffuser in front of a cone has no harmful effects on the performance of a treble unit where the crossover frequency is not below 40o cycles, but if fitted in front of a bass unit with a good performance at very low

frequencies the baffle would ,000... 14000 no - WOO,. to restrict the cone move- tend Fig. 44. Same as Fig. 43 but with cone diameter reduced to 4 in. ment, as shown in Part III, Note that the radiation pattern at i5,000 cycles is now better Fig. 35 /E. On the other than at 5,000 cycles with i6-in. cone. hand, with cabinet speakers of small size, as used in many N.B. It is possible to widen the directional pattern of 0 PA installations, the bass a cone by making it shallower, but the difficulty of retain- output is already restricted ing stiffness and lightness which are necessary for high Fig. 42. Slot diffuser. Design and the addition of a slot frequency efficiency is thereby increased. by Kolster- Brandes Limited. diffuser would make little The directional properties of a horn will vary with difference to the low frequen- frequency just as efficiency varies; hence the difficulty cy performance. In classrooms or seaside concert halls of designing for optimum results over a range of more with a lot of glass about, the reverberation is often very than three octaves and avoiding horn coloration. The troublesome. The fitting of slot diffusers greatly improves mouth diameter of a flare must be nearly half a wavelength

MARCH, 1954 87

www.americanradiohistory.com maximum input in relation to the amount of distortion produced, and the published figures usually depend on the view taken by the maker. The same unit could easily be rated by one maker at 4 watts and by another at 8 watts. The important point is that a well -made speaker of 8 -in. or more diameter is rarely overloaded today under domestic conditions with high quality input. With a speaker of high flux density - say 13,000 lines or more - the efficiency is such that a peak input of more than 5 watts becomes in- tolerably loud. During a recent demonstration to the Society of Music Enthusiasts in Toronto, with an audi- of Fig. 45. Directional characteristics of three exponential horns ence of over three hundred, it was calculated that the different length with the same rate of flare and throat diameter of 5/8 inch. The number at the right of each diagram indicates the power from the amplifier did not exceed 5 watts, the diameter of a circular piston which will yield the same directional volume level from the three -speaker system being at times to o° is the axis characteristic. The direction corresponding very high. It is of course desirable to use an amplifier of the horn. with ample reserve of power in its output stage, so that there is no risk of distortion on the loudest passages of music, but a rating of 8 or 10 watts is generous. It has already been shown in these articles that the type of enclosure affects the power -handling capacity of a loudspeaker. As the sensitivity or efficiency of the unit also affects the required input level for a desired output, it is clear that the precise rating of loudspeakers in watts to match amplifier watts is quite impossible. It is, however, most important to remember that a loudspeaker - whether designed for 1000,. 2000, 4000, 7000, 10.000H cone or ribbon - which has been carefully Fig. 46. Same as Fig. 45 but with uniform mouth diameter and maximum high frequency performance can be quickly over- different rates of flare. loaded and damaged by low frequency input. The efficiency at high frequencies depends on very light construction to avoid distortion from reflected waves. Thus a diameter (in addition to high flux density) and such speakers should of 6 in. is quite satisfactory down to 1,000 cycles, but never be tested on a radio set or amplifier without first it would be advisable to cut down the input at lower fre- inserting a high -pass filter. A simple capacitor or 2 or quencies with such a horn by using a crossover network in 4 mfd in series with the voice coil affords adequate pro- order to avoid the possibility of distortion. tection for a 10 to 15 ohm unit. In order to obtain a picture of the division of power Summary between the speakers in a 3 -way system, the following test was made, using a half section crossover at 800 cycles There are many peculiarities and shortcomings associated with a further high -pass filter for the tweeter. with home reproduction of sound which are out of the con- The crossover unit was connected to a gramophone trol of the amateur, unless he is prepared to undertake amplifier, and was duly loaded by three loudspeakers. major alterations on his equipment. Fortunately, direc- The input to the crossover was first connected to an oscillo- tional effects are usually easy to deal with, and a listening graph, and a certain passage of music was photographed. test enables the user to find the arrangement best suited to The same passage of music was then photographed as it his room conditions. was going to the bass, middle and tweeter units. The record used was HMV BLP 1002, Pictures at an Power Distribution Exhibition, Chicago Symphony Orchestra. The tutti passage is the main theme played by full orchestra at r min. It has been stated in an earlier section that the risk of 12 sec. from the start of the record. The crash of the distortion from overloading a treble speaker is very slight, drums, followed immediately by cymbals, comes at 1 min. provided the input is limited to frequencies above 800 25 sec., or 13 seconds after the start of the tutti passage. cycles or thereabouts, most of the power in music being Assuming that the peak input to the crossover is 5 watts, dissipated at low frequencies. For this reason, bass en- and that the traces in the picture represent voltage levels, closures must be rigid to avoid resonance, but treble it is calculated that the division of power is as follows: cabinets or baffles can be of light construction. BASS MIDDLE TOP TOTAL There is often a good deal of confusion in the minds of Tutti 3.4 1.4 .2 5 watts newcomers to the hobby of better reproduction on the Drums 4.7 .3 .03 5 watts question of watts. Some believe that a 10 watt amplifier Cymbals 3.25 1.25 .5 5 watts must be coupled to a loudspeaker also rated at to watts. No accuracy is claimed for this method of measurement, There is a lot of variation in the power rating of loudspeakers but the findings may throw some light on the question of because there is no established method of calculating the division of power in music throughout the audio range.

88 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com These reports may not be quoted or reproduced, in part or in whole, in any form whatsoever, without written permission from the publisher

Approved V -12 FM-AM Tuner to increase it. On the fringe stations, the Approved could not be expected to pull them out of the soup as SPECIFICATIONS (furnished by manufacturer): FM -AM tuner easily as one of the (comparatively) high -priced, super- with separate power supply; utilizes double limiters in Armstrong FM circuit; tuned, separate RF stage ahead of separate FM sensitive jobs. So we suggest for the suburbanite and and AM IF stages. Sensitivity: 15 microvolts required for 20 metropolitan city dweller: a good buy; you will be pleas- db of quieting. Output: cathode follower. Controls: on -off, antly surprised by how much you get per dollar of in- tuning, FM -AM selector. Power requirements: 6.3 volts AC at vestment. 4 amperes, 190 volts DC at 55 ma. Separate power supply available. Size: tuner, 8% wide by 5 3/8 high by 8 in. deep; Connections are provided at the rear of the chassis for power supply, 3% wide by 4 5/8 high by 8 in. deep. Weight: separate AM and FM antennas. There is also a standard tuner and power supply each 7 lb. Price (from Radio Shack, Boston, Mass.): tuner $41.95, power supply, $12.05. Address: phono jack for output to amplifier. Note that there is no Radio Shack Corporation, 167 Washington St., Boston 8, Mass. volume control (and no tone controls, either); this makes for a convenient unit to use with standard amplifiers This tuner, plus its power supply, costs a total of $94.00. which incorporate volume and tone controls. A quick perusal of the radio catalogs indicates that this A three -foot cable attached to the tuner and terminated is within a few cents of the least expensive FM -AM tuner in a plug facilitates installing the power supply in shelves, generally available. Yet its performance belies its cost. cabinets, and so forth. It can fill a very real spot in the FM -AM tuner market; Tuning is extremely sharp; a very slight motion of the it cannot be expected to compete with tuners costing two knob pops a station in and out, so use care, particularly and three times as much. since no tuning eye is provided (plenty of more expensive We tried it out in an area where there are one or two tuners omit this feature, too!). The tuning scales read nearby, powerful stations and many weak, distant ones as from right to left, and which one is in use is indicated by well as a couple of medium- distant, medium -power trans- a little neon glow lamp. Tuner drifts slightly during first mitters. The tuner worked best on the latter; quieting was few minutes of operation, then becomes stable. Ade- excellent, frequency response fine, though there was a quate ventilation is, of course, essential. - C. F. barely noticeable tendency to soften the highs. On the very powerful stations, we got better results with a piece of twin -lead tacked to the wall. With our normal antenna (a highly sensitive affair necessary in fringe areas), the Crestwood Tape Recorder tuner sounded as if it were being overloaded just too ... SPECIFICATIONS (furnished by manufacturer): portable tape much signal being delivered to the antenna terminals. recorder with separate power amplifier and speake-. Speeds: However, the average FM listener isn't very likely to 7% and 334 ips. Maximum reel sixe: 7 in. Frequency response: r 2 db from 30 to 13,000 cycles at 7% ips. speed. Distortion: have a pair of stacked yagis on his roof and it's far - less than 2 %. Wow and flutter: 0.3% or lower at 7% ips. Inputs: easier to reduce the sensitivity of an antenna than it is microphone, high -level radio, and magnetic phonograph. Out- puts: headphone monitor and output to power amplifier. Con- trols: record level, monitor -playback level, speed change, tone balance, tape forward- reverse, pause and high -speed forward. Record level indicator: magic eye. Power amplifier: 10 watts output, frequency response t 1 db 20 to 20,000 cycles, 8 -in. speaker, distortion less than 2 %. Sizes: recorder, 9% by 13% by 16 in.; power amplifier, 91 by 13% by 16 in. Weights: recorder, 24% lb.; power amplifier, 211 lb. Prices: recorder, $199.50; speaker and power amplifier, $100.00. Address: Daystrom Elec- tric Corp., 837 Main St., Poughkeepsie, N. Y.

Tape recording equipment can be classified roughly into three categories: semi -professional and professional, units available without power amplifiers, and packaged units. Into the first class fall the big, expensive units such as Ampex, Presto, Magnecord, Concertone. Into the third Approved tuner is in the minimum -price class but performs well. class falls a considerable array of equipment ranging in

MARCH, 1954 89

www.americanradiohistory.com price from less than $too up to 8250 or so. Characteristic of judgment is this: we set up a typical system, including this group is that the units are completely self-contained very good grades of the following: pickup cartridge, and include a speaker and power amplifier. Many of these preamplifier-control unit which had a tape output con- units have excellent response characteristics and most can nection, power amplifier, and 15 -in. coaxial speaker. We be used in conjunction with existing hi -fi systems, but connected the tape output of the control unit to the connections to the hi -fi system are nearly always made at radio input of the 401; we connected the output of the the output of the power amplifier section. 401 back into the control unit. Then we selected a record The second class indudes very few entrants at the present of known wide -range characteristics and recorded it on time, and the characteristic here is that connections to tape at 71/2 ips. We had several of the staff come out to a hi -fi system may be made ahead of the power amplifier the workshop and played tape and record simultaneously. stage (if one is provided). The point is: a person with a By flipping a switch on the control unit, either original or hi -fi system has probably spent from $50 to $3oo for the recorded version could be put through the hi -fi system. "power amplifier" section of his rig and it is likely to be And the question asked most often was: "Which one far superior to that incorporated into a "packaged" tape is that ?" That is high praise. We must qualify it by recorder. saying that after a while, listeners could distinguish tape The Crestwood falls into this new, intermediate class from original disk version, particularly on the highs. The and is, therefore, of considerable interest to the person record edged the 401 but only by a tiny bit (the record who already has a hi -fi system and plans to use a recorder was extremely wide -range, by the way). And we're not in conjunction with it. The Crestwood system includes sure but that we should qualify our qualification: we may the 401 tape transport mechanism and the 402 power not have had the "tone balance" control on the 401 per- amplifier. Combine the two units, and you have a two -case fectly adjusted. As readers know, finding the flat position portable "package" recorder with a superior power ampli- on a continuously adjustable single -knob bass and treble fier and speaker arrangement. Use the 401 alone, and you tone control is a tedious job; we spent more than an can plug its output directly into a high -level (radio, etc.) hour on it and believe that our red crayon mark at approxi- input connection of a hi -fi set -up. mately so o'clock position is just about the right spot for Let's clear away the 402 power amplifier first, since it flat reproduction - but we might be off. Incidentally, is relatively uncomplicated. It is a so -watt power am- this control operates in playback and in record position when the input selector on the 40s is turned to "phono." It is out of the circuit when recording in radio or microphone positions. Now let's run down the features. The machine operates at either 33/4 or 7' ips.; speed change is by means of a flush- mounted button which can be turned with a dime or nickel. Changing speeds changes equalization characteristics. At the back of the case are connections for an AC cord and an output cable to power amplifier or hi -fi system control unit. The output connection is a standard phone jack. On the top of the recorder mechanism is another phone jack labelled "phones." Except that the volume level is cut by a resistor, this "phones" connection is identical with This tape recorder has a separate power amplifier and speaker. the "output." Volume level at both jacks is controlled by the "monitor volume" knob at the extreme left on the plifier housed in a sturdy case with a good -quality 8 -in. tape chassis. When recording, material being fed to the speaker, totally enclosed. It uses a pair of 6V6's, with recorder can be monitored from either jack and loudness feedback, plus a 12AX7 and a 6X5 rectifier. Completely adjusted by this control. Playback loudness is also con- self-contained, the only control is an on -off switch. There trolled by this knob. is an input jack (phone type) which is normally con- Also at the back of the case are phone jacks for radio and nected to the output of the 401 recorder mechanism. An phono input. The radio jack is simply a high -level input; external speaker jack disconnects the built -in 8 -in. speaker the phono jack is equalized for magnetic cartridges. This so that an external (as in a hi -fi system) speaker can be is an unusual feature. According to the instructions, the used when desired. Considering how small and compact phono input impedance is approximately correct for GE this unit is, sound output if of quite good quality. Using and Audak cartridges; a Pickering cartridge requires a an external wide -range speaker, of course, makes a de- 15,000-ohm resistor for correct match. We made a quick cided improvement. By the way, the 402 is not limited to check with a Fairchild (without transformer, under which use with the tape recorder; it can serve, for instance, as the conditions it has low output) and found gain entirely amplifier and speaker section of a portable public ad- adequate. Since in the phono record position the tone dress system. balance control is in the circuit, this control should be Now for the 401. The $64 (or rather, $199.50) question adjusted for best sound. When the 401 is used with a hi- is: how good is it? We'd say, very - and the basis of Continued on page 92 9° HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Quality is an elusive thing. Engineers measure it... copywriters glorify it ... salesmen describe it. But the final test is actual performance. If a product is the best in its field, those who know quality will accept no other. That is the story of Pickering's new 260 Turnover Cartridge. Introduced only months ago, it is already a leader among magnetic cartridges. It has won that position because it is the nearest thing to perfection yet produced. Here are the combined advantages it offers:

4e nearest qirig to erf Betion

1. HIGHER OUTPUT,--,Better overall signal -to -noise ratio. 2. LOWER OVERALL DISTORTION -.Less intermodulation distortion with A simple flip of the handy lever and wider frequency response. you're ready to ploy any favorite that fits your mood -whether it's 3. MINIMUM TRACKING FORCE standord or microgroove. .--Lowest practical tracking force for both microgroove and standard recordings. 4. HIGHER COMPLIANCE,- Compliance of moving elements is the highest practical, consistent with best -quality transcription arms and changers. 5. LOWER MOVING MASS ,Lowest of any comparable magnetic cartridge. 6. TWO DIAMOND STYLI For longer record and stylus life and greatest economy. These design features have real meaning to those who understand that quality reproduction depends on components which meet professional standards. If you want the best that high fidelity can offer, ask your dealer to demonstrate the new 260 Turnover Cartridge. You, too, will hear the difference!

PICKERING and company incorporated Oceanside, L. l., New York PICKERING AUDIO COMPONENTSh,

... Demonstrated and sold by Leading Radio Ports Distributors everywhere. For the one nearest you and for detailed literature; write Dept. H-4

MARCH, 1954 91

www.americanradiohistory.com TESTED IN THE HOME Continued from page 90 When in forward, a second lever -type control can be used. It's located just below the left-hand reel. Normally, this lever is in its "normal" position. Push it to the left one fi system, we'd recommend feeding the tuner and phono notch, and you have a pause; i.e., the transport mechanism sound sources through the preamp-control unit and con- stops but the "press to record" button does not snap out necting the preamp's tape output jack to the radio in- as it would if a pause were effected by moving the main put on the 401. This makes available the flexibility of equal- (central) control to "stop." Push this same extra lever one ization and tone control provided by the hi -fi system. notch further to the left and you have high speed forward. While on the subject of phono input: if you get or have A 7 -in. reel winds fast forward in OA min. and rewinds in a now one of the earlier 401'5, be wary of the instruction few seconds less. Pressure is removed from the tape heads book packed with it! It says, on page 2, that the phono in both cases. Supply reel is on the right, take -up on input is equalized but then says (same page) to connect the left. the output of your phono preamplifier to the phono jack. Best indication of overall frequency response of the 401 Do not do this; connect a magnetic cartridge direct to the was given in our opening paragraphs. If you get that phono jack, or connect the preamp or control unit output tone balance knob spotted in the right position, you can to the radio input jack. check out the 401 flat within the specified 2 db plus or There is a microphone input jack on top of the recorder minus through the range of 35 to 12,000 cycles or so, but mechanism. Standard equipment furnished with the Crest- you have to keep the input level low. If you start over- wood (at an extra charge of $30) is an Electro -Voice model loading the tape at high frequencies (due to standard 630 dynamic microphone. Right nice unit, this - but the pre -equalization), which may occur if you aren't careful, recorder is better, and money will not be wasted (in terms you'll cut high -frequency response somewhat. Crest - of frequency response utilization) if more is invested in wood's test level is o.15 volts to radio input. Recom- microphone equipment. Be sure that the mike is of high mendation: if you operate the 401 from the tape output impedance or, if low impedance, that a good matching connection of a hi -fi front end unit, adjust the level so transformer is used. that, with the record level control of the 401 full on, the The tape transport controls are of the manual type (as eye blinks noticeably on loudest passages only. opposed to the somewhat more convenient push- button So ... a very nice unit which should meet with much solenoid- actuated variety). There is a basic forward, stop, approval from owners of hi -fi equipment. It fits in nicely, reverse switch centered between the two tape reels. To both into the budget and into the system, and does a very record, you push a special button and go into forward. fine job. - C. F.

Browning Binaural FM -AM that the FM and AM sections can be operated independently and because all we received in the carton by way of instruc- Tuner tions, specifications, and whatnot was a sheet of scribbled notes from Free Spindell'. Ours was one of the first units. SPECIFICATIONS - omitted; see below. On the front of the tuner there are three knobs. The left -hand one is the selector switch, having these positions Well, here it is the first (at least the first we have - proceeding clockwise: AC off, AM, FM, FM with AFC, received) binaural tuner. We've had binaural amplifiers, and Binaural. The center knob is AM tuning, the right - preamps, records, tapes, tape recorders, and most everything hand knob tunes the FM section. In the binaural position, except tuners. Browning fills this gap -and beautifully, too. the tuning and audio output sections are separate; in the We omitted specifications because this, the RJ -48, is AM and the two FM positions of the switch, tuning is essentially the same as the RJ -42 FM -AM tuner, except separate, of course, but the signal is fed to both audio outputs so that the two amplifiers and speakers required for binaural listening are (or can be) both used for monaural listening. The tuning eye operates normally for monaural listening; in the binaural position of the selector switch, it indicates AM tuning. FM in this position operates with the AFC circuit cut in, so that the tuning eye is not required. On the back of the chassis is a neat arrangement of output connections. Two are provided for AM and two for FM. In each case, one of the two is a straight output connection while the other of the pair is tied into a level control, mounted near the output jacks on the back of the 'Freeman Spindell is the engineering genius at Browning Labs.; he also wrote in one of the early issues of HIGH FIDELITY on "How to Select an FM Here is the first binaural (or stereophonic) FM -AM tuner chassis. Tuner ".

HIGH FIDELITY MAGAZINE 92

www.americanradiohistory.com Oliver Read licenses Angle Genesee to build Fold - a -Flex Speaker Enclosures

Fold -a -Flex principle permits compensation for any speaker characteristic Optimum setting, possible with any combination of speakers, affords maximum listening pleasure

Angle Genesee Corporation in Rochester, New York, by arrangement with Oliver Read *, D. Sc., designer of the unique "Fold -a- Flex" speaker baffle system, is building the new enclosure pictured here. In the same general style as other fine Angle Genesee high fidelity equipment cabinets, this new one also incorporates all the usual Angle Genesee construction features. It har- monizes perfectly in the same room with other Angle Genesee cabinets, either as a corner speaker, or flush against a side wall. Moreover, it does far more than house a speaker system. The Fold -a -Flex may be used as a folded horn, infinite baffle or bass reflex enclosure, and changed from one type of enclosure to another almost instantaneously, and as often as desired. The Fold -a -Flex provides an optimum setting for every speaker system, every room and every type of sound. Folded Horn -Two hinged doors or ports, A and B, are The new Angle Fold -a Genesee -Flex enclosure is not completely sealed by gaskets against passage of air, in either destined for early obsolescence. of two open positions (See figures 1 and 2). Pushed inward, Diagrams elsewhere on the page illustrate the Fold -a -Flex ports A and B become extensions of inner horn structure, principle. The cabinet (Model 33) comes in contemporary forming the mouths of the folded horn. blonde oak and traditional mahogany. Available in other Angle Genesee finishes at modest additional cost. For information about this and other Angle Genesee cabinets and name of dealer near you, write Angle Genesee Cor- poration, 108 Norris Drive, Rochester 10, N. Y.

E s FIGURE 2 (NOT TO SCALE) Infinite Baffle - Closing ports A, B and C makes the A B enclosure an air tight infinite baffle, trapping approximately / - "-- 10 cubic feet of air which is sufficient to properly damp / F \ 12" or 15" speakers.

1 I Bass Reflex - Position of slide D (figure 1) is easily o \ / o adjusted by loosening two knobs. Instructions for accurate \ -- -- ,/ settings are furnished with each cabinet. Compartment E is isolated mechanically and acoustically from cabinet partitions, and is provided with a separate front panel to accommodate mid -range horns and C tweeters either at time of initial installation or later as system is r expanded. Space is also provided for mounting crossover networks. Cut out F on main baffle is for mounting a 15" IA D , speaker ... removable sub baffle is provided for mounting 1 - , 12" speaker. *Author of the basic text. "Recording & Reproduction of Sound". FIGURE 1 Patente Pending (NOT TO SCALE) - 4dvertisement -

MARCH, 1954 93

www.americanradiohistory.com up even in a confused TESTED IN THE HOME Continued from page 92 is better than monaural, and it shows arrangement of equipment such as we used: a home -built Williamson, a McIntosh 5o -W, and a pair of Jensen Duettes. chassis. Note that there are no volume controls on the Using matching speakers seems more important to us than front of the RJ -48 chassis. matching amplifiers, particularly since the two amplifiers Also on the back of the chassis are separate terminals we used had no tone controls or other variables with which for FM and AM'antennas. If a jumper wire is run between to complicate matters. If the speakers had had widely dif- them, the FM lead -in serves as an AM antenna. A pair of ferent characteristics or tonal qualities, it would have been AC outlets (not switched) complete the back of the chassis. difficult to compensate for them. With the RJ -48 it was Up in the Berkshire Hills, where we used and tested this easy to compare true binaural and what might be called tuner, binaural reception is hard to come by. WQXR in half-binaural; i.e., one -eared listening to a binaural broad- was New York City is the nearest regular binaural broadcaster. cast. The difference was quite noticeable. The cello To get the AM side, we have to go direct; the FM half can in one spot, the violin in another; heard binaurally, they be picked up from several stations which relay WQXR blended together with a definite sense of presence and programs. From the author's location, the best of these is perspective. WFLY in Troy, New York. We fussed and fiddled until Some bonus flexibility: if you're in a tangle as to which we had WQXR -AM almost entirely in the clear, with only of two programs to hear, both on the air at the same time, in- slight marginal interference and static. Then, still work- you can get them both. Listen to one on AM, for ing well ahead of the scheduled binaural broadcast, we stance, record the other via FM on tape ... then listen tuned in WFLY on FM. Thus we had sort of a double to the tape when convenient. Or, if the family disagrees monaural broadcast - which, in case you're interested, about which program to listen to, rig up an extra speaker didn't sound any different from an ordinary broadcast ex- in another part of the house. In other words, in its bin- cept that one speaker (the AM one) crackled and popped aural position, the RJ -48 behaves precisely like two high - oper- a bit. quality tuners but has the advantage of maximum This is no place to discuss the pros and cons (if any) ating convenience. of binaural listening. Nearly everyone agrees that binaural To Browning, a low bow for this exciting first. - C. F.

CA1 Assembly simple and quite respectable sound is obtained for the Craftsmen money. Our test set came to us in good working order; SPECIFICATIONS (furnished by manufacturer): Matched as- none of the items was damaged, and no tubes were defec- following C10 sembly of hi -fi components consisting of the - tive. This is more remarkable than it may seem, since tuner with built -in preamplifier and control unit; FM -AM items involved. It bears out the manu- C30 3 -speed record changer with GE RPX -050 triple -play car- there were four major tridge and precut mounting board; C400 10 -watt amplifier; facturer's claim that each assembly is tested before ship- C20 coaxial speaker; all required interconnecting cables; in- ment. Furthermore, every item was individually packaged instructions. Tuner: five controls; bass, off-on- volume, stallation in single large box the selector switch (FM- AM- PH -TV), tuning, treble. FM sensitivity, carefully before being placed the 5 microvolts for 30 db quieting; AM sensitivity, 5 microvolts assembly was shipped in. for .5 volts output. Drift negligible with AFC; t 20 kc. after Central control point of the systelm is the Cro tuner without AFC. Bandwidth on FM, 190 kc.; AM, 8.5 10 secs. wel as b ass, treble, and kc.; whistle filter on AM. Cathode- follower outputs direct from which has switching facilities as detector and also after tone controls; maximum output 2 volts volume controls. The tone controls worked well and met at %% distortion. Bass control variable from 16 db boost to the specifications given on the instruction sheet. Flat cut at 60 cycles; treble 15 db boost to 15 db cut at 10,000 14 db was exactly at the center of cycles. Equalized phono preamplifier, 31 db gain plus 22 db position on the treble control compensation. Twelve tubes; 3 -6CB6, 2- 12AT7, 2 -6AU6, the control's rotation, Continued on page 120 1 -6ALS, 1 -6AV6, 2- 12AX7, 1 -6X5. Changer: magnesium tone arm with turnaround reluctance cartridge, 2 sapphire styli. Craftsmen assembly is complete excepting speaker baffle, cabinets. Automatic motor shutoff after last record; records can be played manually. Four -pole shaded -pole motor. Neutral position on speed switch isolates rubber idler wheel. Amplifier: Rated output, 10 watts, at input of .7 volts. Response t 1 db, 10 to 30,000 cycles at IA watt, 15 to 20,000 cycles at 10 watts. Har- monic distortion 1% (10 watts) at mid -frequencies; intermodulation 5% (10 watts), 60 and 7,000 cycles 4:1. Hum and noise 70 db below 10 watts. Negative feedback 13.5 db; damping factor 4:1. Output impedances 4, 8, 16 ohms. No controls. Tubes, 1 -6J5, 1 -6SN7, 2- 6V6GT, 1- 5Y3GT. Speaker: coaxial; 12 -inch cone with 24 -ounce magnet and 2 -inch voice coil, single - cell horn tweeter with 6-ounce magnet and %%inch voice coil. Response 40 to 16,000 cycles in horn- loading enclosure (not supplied). LC -type crossover network, built in. No tweeter adjustment. Price: $275. Address: The Radio Craftsmen, Inc., 4401 North Ravenswood Avenue, Chicago 40, Ill.

Craftsmen has consistently held a reputation for producing high -quality equipment at reasonable prices, and this assembly measures up to the same standard. Installation is

HIGH FIDELITY MAGAZINE 94

www.americanradiohistory.com PORTABLE H A BUEY MagneCordette Combines the famous PT6-AHX mechanism, the P76-G recording amplifier together with the PT6.K amplifier - speaker unit. Features include: separate erase and record- playback heads, fast House of speeds. Frequency the Audio forward and rewind response: SO to 15,000 cycles ±3 db of 15 inches /sec., and 50 to 7,000 cycles ±2 db at 71/2 inches /sec. Mechanism is driven by hysteresis mo- GARRARD tor, and induction motor is used for rewind. The PT6 -K unit has two wide range loudspeakers. Separate boss "Triumph" Model RC -80 and treble controls provide means for continually variable boost and attenuation. May be used with microphone, phono pickup, or tuner, 3 -SPEED and as PA system. Power output is 10 watts with less than 1% distortion. Power requirements: 117 volts, 60 cycles AC, 85 watts. 8549.00 RECORD CHANGER Complete portable MagneCordette Fully automatic, the "Triumph" ploys oll PT6 -AHX Recording Mechanism only 339.00 record types at all speeds now in use. PT6 -G Recording Amplifier only 110.00 Switches "off" after lost record and returns tone arm automatically to rest PT6 -1C Speaker Amplifier Unit 112.00 position. A special spindle is provided for 45 rpm records. Tone arm plug -in heads a and accommodate practically all standard cartridges. Featsesinclude: universal 4-pole motor for min hum pickup The NEW Model C900 weighted turntable for constant -speed flywheel action without rumble run -off . . . muting switch to eliminate clicks and noise o run-in and grooves simple lever control for "start," "stop,"n and CRAFTSMAN "reject" with easyocting knob switch for speed selection. $46.00 FM TUNER New and advanced circuit design gives The NEW this high quality tuner exceptional per - tormonce. Through the use of a cascade duol. triode RF amplifier, one microvolt sensi ELECT1 {O -VOICE tivity is attained with 20 db quieting. Amplified AFC is 100 times more effective in reducing station drift. Effective rejection of spurious images, and reduction of oscillator REGENCY radiation is achieved through the use of 20.6 me IF channels. Frequency response: 20 to 20,000 cycles ±.5 db. Cathode follower output permits SPEAKER SYSTEMS long lines without frequency discrimination and provides a It /t volt signal with less than .1% distortion. Front panel provides 3 controls is - The Regency is a Klipsch- licensed for AFC, tuning, and volume with on /off switch. Power supply self corner horn enclosure, suitable for e either corner or flat wall location. Superlatively styled in lowboy design,, CompleteC omplmpl with tubes $.507799 the Regency is available in either hand -rubbed mahogany or blonde Korina, and may be used with single 15" speakers, two -way, or three way systems. with The Regency 11 consists of the Regency enclosure together the EV 114A two -way system composed of a 15W -1 LE driver, on X -8 B00 RIVER EDGE cycle crossover network, and a T -25 25 watt treble driver with 8 -1.1D P Hoodwin diffraction horn. The Regency 111 consists of the Regency LOWBOY Model -1260 enclosure together with the EV 1148 three way system, composed of a T -25 treble For TV and Hi -Fi 15W -1 lF driver, on X -8 800 cycle crossover network, a e. } driver with 8 -HD Hoodwin diffraction horn, an X -36 3600 cycle cross- ---+hP A sturdily constructed, handsomely over network, and o 1.35 Super Sono. VHF driver. 1/10*-- finished 60 -inch cabinet designed ' and Hi Fi com- (enclosure only) Mahogany. $120.00 to house TV chassis REGENCY tubes up to 21- inches with 15 -inch Blonde Korino 129.00 ponents. Accommodates picture loudspeaker, and 27 -inch tube with 12.inch speaker. When 1S-inch record storage compartment, shown in illustration, is with 2 -Way System Mahogany 310.20 speaker is used, REGENCY II heavy and lumber, treat. Blonde Korina 319.20 eliminated. Made with perma- bonded plywood ed with protective lacquer, and hand -rubbed. Styling is modern and REGENCY III with 3 -Way System Mahogany 355.20 matches any decor. Blonde Korino - 364.20 Model P -1260 in Cherry or Cordovan Mahogany $195.00

THE NEW Ëw CORONATION 30 -watt McINTOSH Supra- Linear Model C -108 AMPLIFIER PROFESSIONAL AUDIO and PREAMP An advanced version of the William- COMPENSATOR son with al o' important circuit A complete front end unit providing extreme flexibility with ease of modifications. Through the use of operation. A 5- position switch permits input selection of AM, FM, matched, high -quality components, Phono, Microphone, TV, Tape, or any other sound source. A rumble and an output transformer, specially filter is incorporated to minimize or completely eliminate ble designed and wound for the unit, the noise. Five sliding switches act as turnover controls. They are used Coronation has achieved unusually individually or in combination thereby permitting at least 11 turnover fine performance. points from 280 to 1350 cycles. Another series of five sliding switches, at least 11 different roll -off characteristics to Frequency Response: 10 to 100,000 cycles ± 1db. Power Response: 20 to similarly used, allow match almost any record pre -mphasis curve. In addition to a conven- 20,000 cycles±.25db.lntermodulotion Distortion is less than .15 %, and tional volume control there is a 5- position aural compensator which Harmonic less thon .1 %, 15 watts. A -1 operation. Distortion at Class maintains proper bass and treble loudness at low volume levels. Power Power supply is self -contained, with outlet for furnishing to a pre power is obtained from the main amplifier or from a separate supply. amp unit. Uses KT -66 output tubes. May be operated from tuner, preamp, high -level pickup, tape recorder, Complete with tubes in attractively or other sound source. Operates any speaker system, 8.16 ohms. Hum and styled cabinet $96.50 noise level is 96ób below full output. Dimensions: 15 x 41 7t/ inches. Less Cabinet 88.50 Complete with tubes $92.50 Visit the HARVEY AUDIOtorium If you want to See and Hear the finest ... the widest RADIO visit selection of high fidelity equipment ... be sure to COMPANY, INC. the HARVEY AUDIOtorium. It will thrill you. HARUE to change without notice. NOTE: Prices Net, F.O.B., N.Y.C. Subject 103 W. 43rd Street, New York 36, N. Y. JUdson 2 -1500

MARCH, 1954 95

www.americanradiohistory.com NEWS OF THE SME

Hail and Farewell . . . Many months ago, when the SME was first thought of, and the first ground work laid for its organization, it was conceived of as an independent, non-profit organization. This, it turned out, was a noble but somewhat impractical idea. Even high enthusiasm on the part of many people for an organization like the Society is not sufficient; bills have to be paid, a staff assembled, office space and equipment provided. Thus TRANSIENTS HIGH FIDELITY Magazine undertook to sponsor the Society, to provide it with the necessities of life, so to speak, to promote and help it in all possible ways through its formative period. Organizations, like children, have a way of growing up. The SME is doing so. It has, currently, some 5o Chapters throughout the world. And non -profit organizations, again like children outgrowing the weekly -allowance age, flourish best when they are on their own. It is to effectuate this conviction on the part of HIGH FIDELITY Magazine that we this is now take leave of SME. The corporation, the James Audiocom, Inc., which publishes the Maga- zine, has officially dissolved its SME Divi- B. Lansing sion. Larry Epstein, who has given so much 175DLH High of his time and energy, as Managing Direc- Frequency Unit tor, to the furthering of the Society, has given us his resignation. I, of course, have -a three -part held no position in the SME. adventure in the Let me reassure present and future members of the SME, first, that this decision vicinity of perfection. has the support of those currently most Part the first is a high active in SME affairs, and, second, that Magazine will continue to precision driver. At its heart HIGH FIDELITY do all in its power to further the best in- -a delicate aluminum terests of the Society. diaphragm hydraulically formed As we wish a strong and prosperous future to the SME, we want to say a word of thanks curvature, and a complex to perfect to one person who, through these past three-section phasing plug meticulously months of growing pains, has been worked so hard to vitalize the Society: its Executive machined from a solid billet of absolutely Secretary, Lisbeth Weigle. All SME mem- pure iron. The plug maintains a constant bers know her as well as we, through her and phase relationship as it channels sound to the many letters to individual members Chapter Chairmen, and through the several proves its horn throat. The driver immediately Society bulletins which she has produced. superiority by its masterful handling of transients. All are aware, I am sure, of her very real contribution. The sonorously shaped mid-section is a carefully The Society is, in many ways, our "baby," engineered exponential horn machined from a solid aluminum and we are simultaneously both sorry and up and go out on its casting. The unit is climaxed with the one and only Jim Lansing proud to see it grow own ... Good Luck! Koustical Lens. Designed to eliminate the phase interference Charles Fowler present in all types of horns (including multicellularl, the Koustical Executive Editor HIGH FIDELITY Lens is a true 14- element diffusion lens operating in accordance The SME, a rather recent recruit in the is distributed into with the most advanced optical -acoustic theory: Sound field- forces of music and high fidelity, has the listening area over a solid 90' angle with equal intensity regardless now completed its "basic training." In circles military this period would have of frequency. Measure its output with instruments. Or measure been fraught with friction, readjustment, its performance with a dispassionately critical ear. In either case you and frustration, but the Society has been extraordinarily lucky we had a patient will find a smooth, flat, linear response which is not just "high fidelity," but ... and kindly sergeant - HIGH FIDELITY Maga- verbatim reproduction. zine. We wish to say 'thank you' for putting us on the right path, and we promise to the koustical lens is manulactured only by work our heads off so that you will always be pleased with us. JAMES D. LANSING SOUND Inc., 2439 /[etcher drive, í.a.39 You, the readers, who have kept track of the SME on these pages, may be curious Continued on page 124

HIGH FIDELITY MAGAZINE 96

www.americanradiohistory.com MISSA SOLEMNIS Continued from page 36

by Bogen there was some energetic rehearsal. The Member. Audio Engineeringng Society highlight was a brief solo by Toscanini - Vice President, David Bogen Co., Inc. consisting of one wobbly note for the benefit of Miss Merriman. Next the Kyrie over again, and a few minutes later, repeating the Gloria, the lighthearted maestro treated the chorus to a vigorous "Ya da da, ya da VIVE LA DIFFERENCE! da!" and then a hearty, if slighdy cracking, "Glo- o- o -ria!" twice. When Mr. Mohr Consider for a moment the different This factor alone, we felt, called for took the risk of interrupting at one point to Conditions that will affect the relation- the flexibility ask the of a separate and ac- chorus to sing more staccato, the ship between you and your amplifier: cessible Loudness maestro in sarcastic Italian replied: Contour Control. "It's The different easy equalization curves used by In addition, the Bogen DB20 has a for you to say that over the micro- the various record manufacturers. phone!" which gave everybody 7- position record compensator for LP, - another The difference in room laugh. acoustics. AES, NAB, AM78, EU78, FFRR and Pop The difference in taste and By this time the cumulative exertions hearing sen- records. Of course, it also offers wide - were sitivity of the listeners in the room. beginning to be felt, and Mr. Mohr began range treble and bass controls. And especially, the difference in suggesting tactfully at what you each break that the can hear at different volume levels. (The Performance is brilliant: 20 watts maestro might like a to call it day now. Fletcher -Munson curves show that, as with a distortion of only 0.3 %, and a But the maestro each time showed only you turn the volume down, your ear tends response of 20 to 20,000 cps ±0.7 db. more enthusiasm. After the first Gloria he to lose the highs and lows more quickly When you discover that the price of came bounding up than the stairway faster than the middle registers.) the DB20 amplifier is only $99, you will at any time earlier, grinning at his chauffeur, This explains why critical listeners readily understand why it is a best Luigi Gaddoni, as he breasted the top. At soon begin to think in terms of an am- seller in its class. 10:20, starting back down again for another plifier offering extreme flexibility of try, he announced to several bystanders - control, such as the Bogen DB20. but speaking apparently as much to himself - "There's plenty of time to do the Gloria right." During the intermissions, he chatted variously with Mr. Shaw, the soloists, Mr. Mohr, and Guido Cantelli, who spent most of the evening in the dressing room but at one point made some forceful suggestions to the crew at the control table. I couldn't tell whether he was heeded. Maestro Cantelli Companion FM -AM Tuner said he was studying up to do the Mitta in is the Bogen R604 England a couple of years hence. This unit fills a real need in the At 10:37, however, Mr. Mohr once again market for an FM -AM tuner with asked whether it wouldn't be all right to solid circuitry and excellent perform- postpone the A different approach to the remaining retakes to Thurs- loudness -contour problem ance to sell for under $100. Sensitivity day. Toscanini, after a pause, finally said is 6 microvolts for 30 db quieting. FM yes, and everybody else breathed relief. The Bogen DB20 features a separate Loudness frequency response is 50- 15,000 cps Toscanini himself didn't look tired until a Contour Selector developed ±l db. Stability is exceptionally good, large, by our effusive character in sporty garb own engineers, which permits with Automatic Frequency Control bounded unannounced up the stairway and, you to select the properly-compensated and temperature frequency -stabilized oscillator grabbing the perspiring conductor's hand response for each volume effectively preventing drift and elimi- and pumping it enthusiastically, proclaimed: level. Five step -type positions are pro - nating warm -up period. Price: $97.35. "I'm a friend of Alfred Wallenstein, Maestro, vided, corresponding to the Fletcher - and I flew all the way from California just Munson curves. Have to see you conduct!" At that moment you sent for a copy of the I would like to tell you why our "Understanding High Fidelity "? maestro looked both tired and bewildered. engineering department decided Wednesday night to de- Louis there was another three - velop a separate Loudness Biancolli and I have Contour written 48 and -a -half hour listening session in River- Selector instead of using this -page book dale, and Thursday afternoon the final go the cus- with the idea of providing, tomary type of selector which in about z hours' reading at recording. Walter declined to invite an is activated by the volume control. time. a theoretical and prac- outsider to the playback session - "We've tical ground -work for the never had one maybe its a superstition," We felt, for one thing, that the com- - bined man who is serious about he explained. I didn't get to the last Car- loudness compensator and vol- custom hi -fi. For a copy of negie session, either. But according to ume control did not adequately take "Understanding High Fi- report, everything went smoothly. into consideration the problem of non - delitt,", mail the coupon and 24f. (If you already From the technical standpoint, the Mina standardization in the recording in- know dustry. Record your theory and application, recording embodies a possibly significant manufacturers display send for the free Bogen innovation on RCA Victor's part. Until the same rugged individuality in the catalog.) 1952, when the Ninth was taped, everything matter of record output level as they was still geared to 45 rpm sides - although do in equalization curves. There are of the extended-play readily apparent variety - so that each audible differences David Bogen Co.. Inc.. Dept WC of the four movements for recording pur- in output level not only in records of 29 Ninth Ave., New York 14. N.Y. poses was broken up into approximate the different companies, but even be- Send "Understanding High Fidelit >" ( for seven -minute takes. For the Mass this tween records bearing the same label. which I enclose 250), and free catalog. arbitrariness was abandoned. While the name editing process flexible - so with magnetic address tape - still may produce an end result which is technically a composite, there is a city_ one- stata`_ Continued Send on page 99 AUDIO,9e free catalog only. QUIPMENT MARCH, 1954 97

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Beauty Styling Response Newest and best High Fidelity Amplifier by the makers of Bri- Presence tain's finest audio equipment. Lat- est Ultra- Linear, to Watt Circuit. Amplifier, with Pre- Amplifier- Control Unit, for easy installation. Lack of harmonic distortion is far more important than high power All in One Complete Unit! output; thus, the reduction of distortion to only two tenths of ) %, at A cabinet . . . styled by A high fidelity speaker system i000 cycles for a power output of MAURICE that will complement ... designed by UTAH to pro- 8 watts, is a noteworthy achieve- and grace your decore- excite the duce clean, sparkling, brilliant tone ment .. . envy and admiration of your friends. covering the entire audio spectrum Four Master Controls: (1) 6 -Posi- with minimum phase distortion clean, tion Input Selector- Equalizer, AES, In addition to its startling beauty smooth fundamental bass and bright, NARTB, FFRR, COL. LP.; (2) -the new Utah Brillante marks an clean highs. Treble, 23db range of control; epoch in the design and engineering of control; of a high fidelity sound enclosure - In the new Brillante speaker sys- (3) Bass, 23 db range the latest (4) On -Off Volume .. For tape because the name Utah -a pioneer tem are incorporated all recording - jacks on the attrac- in the field of sound reproduction developments and improvements in tive front panel of the pre -amplifier, -assures you the finest in design, the field of high fidelity sound re- are easily reached ... Tube com- engineering, production and per- production -all the engineering pliment includes two KT66 Beam formance. It is right because it is knowledge acquired by Utah's ex- made right by Utah. Power output tubes in push -pull. pert sound engineers over a period 1 1 -in. wide Amplifier Dimensions: Glowing with the splendor and of 30 years of outstanding achieve- x 61/2-in. high. Pre - x 9 -in. deep lustre of fine woods-hand rubbed ment in the field -a knowledge Amplifier Dimensions: to -in. -how. to a rich patina of fine furniture- backed up by production know x 3 in. high x 21/2 -in. deep. wide the new Brillante sound enclosure - and Complete amplifier and is either genuine honduras mahog- Design, engineering, quality $101.30 in the pre-amplifier combined any or blond korina -is a master performance are built right achievement in the art of wood- new Brillante speaker system. Americo's Largest Visit ASCO - working. Tape Recorder Center Come in and see our wide selection of tape recorders . . Ask for your FREE copy of "Sound Advice," 148 Pages of new Hi -Fi See the Brillante of your local Hi Fi Headquarters data, by Irving Greene. Or send coupon enclosing 10c (or stamps} for handling. or write for the Brillante brochure

ASCO SOUND CORP., 115 -117 W. 45th St. High Fidelity Depf. New York City Please send me copy of "SOUND ADVICE ". Enclosed 10c for handling LEAK TL /10 Remote Control Pre -Amplifier $107.30 INC. N AMF RADIO PRODUCTS CO.,

I I H U N T I N G T O N , N D A N A ADDRESS------HIGH FIDELITY MAGAZINE 98

www.americanradiohistory.com MISSA SOLEMNIS Continued from page 97

likelihood that this change will produce a more integrated recorded performance. As compared with the Ninth, there was also a difference in microphoning. For the Ninth, Mr. Pulley deployed five. For the Mass, he started with two and wound up adding a third as reinforcement for the solo singers. The end result here also remains to be judged, but the evidence from the monitoring loudspeaker seemed felicitous. rte4etaincj, Choral music is, of course, just about the most difficult to record, and Toscanini's Misa, for all its precision and transparency, REVOLUTIONARY posed delicate problems of balance, volume HIGH FIDELITY'S MOST and so on. But the maestro, with his late - career sympathy for such concerns, was /1 gratifyingly co- operative, and Mr. Pulley « _1.. and his aides worked hard, so there are grounds for happy expectations. The organ, incidentally, gave no trouble during the CtliCn recording sessions. Toscanini's approach to this particular task was even more devoted, I believe, than to the Ninth. This is an assertion hard to support, but such is the feeling that arises from watching both endeavors and weighing them against one another. The 86 -year -old conductor seemed more intent, more com- NEW! TONE ARMS posed, more confident than the one of 85. He was certainly at the summit of his in- Cartridge terpretive powers. And there is no question Finger Tip "slide -in" design that he was more devout. Preparing to Record Setting\ descend to the stage at Tuesday night's re- Friction -Free 90° Cartridge Head Tilt: Bearing System cording session, he quickly but plainly ,E a. Simplified Stylus made the figure of a cross against his breast. Adjustable Height Ins peel. en b. Fast Cartridge Change And at the final rehearsal, on the previous ... up to 2 inches Friday - when the finishing touches for the Precision Bol recording as well as the public performance Bearings... dustproof were devotedly applied - the old man, Spherical Base -and lubricated seeking to inspire in his singers the feeling Mount ...perfect for o lifetime lateral balance essential to communicating Beethoven's Tilt Instantly Is Calibrated Stylus reverent Samar, said gently in Italian: Retrieve Head.. .s Pr ... 4 to 14 grams "This must go slowly and mysteriously, as stylus and record wear if coming from Heaven; imagine you are in church, receiving the benediction by praying." And he poised his hands before bowed his head. him and First the General Electric variable reluctance cartridge now It wasn't theatrical. It was a beauti- and ful moment. this G -E "Baton" tone arm ... two of the most important contributions toward improving high -fidelity reproduction in many AFTER BINAURAL WHAT? years. The advanced tone arm design sets new standards of performance places new emphasis on pickup Continued from page 37 ... balance with no perceptible torsional resonance. astounding conclusion that the average human ears are incorrectly placed for direct Friction -free bearings minimize groove wall damage ... provide hearing. In their normal position, they welcome assurance of even stylus wear! Used in your system ... tone serve more as direction- finders than devices for transforming the energy radiating arm bass distortion disappears ... you'll enjoy ideal response from from a loudspeaker cone into a Brahms 20 cycles up! Examine all of its features. Here is the one tone arm you symphony. It will be noted that the average should own! Available in both 12" 16" person's ears lie fairly close to his head. and in transcription sizes.

When he faces a direct radiator, most of the e , sound waves move past his ears. The sound that he receives directly is a mere sampling. Order Your G -E "Baton" Tone Arm Today! Local Anyone who has talked for several min. Dealers can now supply them. Or, write us, for litera- utes in an acoustically dead room will testify ture and additional information : General Electric Com- that human ears are highly dependent on reflected sound. A simple subjective test pany, Section R5434, Electronics Park, Syracuse, N. Y. is as follows: place a good recording on the turntable, adjust the volume until the sound just fills the room, adjust the treble until the sharpness of the highs drops off slightly, GENERAL Continued on page tot ELECTRIC

MARCH, 1954 99

www.americanradiohistory.com Leonard Radio One of 1,,neriea's Leading audio Distributors "First with the Finest"

"best amplifier for the money I've ever owned" Other owners say: (owners comments on returned guarantee tags) "amazed at its performance -idea of fully encasing the amplifier is brilliant -a group of twelve persons, Acro Livingston upon hearing this amplifier, Transformer Markel judged it the best An Expert Says: Altec Lansing Martin dollar for dollar buy on the market "the little Scott, amusingly designed Audio Devices Masco Audok Meissner - more than satisfied - to resemble a control unit alone, Bell Sound Newcomb I am sure every owner is as proud has few rivals in the feature of Bogen Pederson as I am of his 99 -A amplifier." flexibility, regardless of price." Bozak Pentron C. G. Burke, New TRENDS IN AUDIO Pilot FREE BOOKLET Brociner "Saturday Review" Dec. 26, 1953 Browning Pickering Brush Presto Concertone Q.U.A.D. HERMON HOSMER SCOTT, INC. 385 PUTNAM AVENUE, CAMBRIDGE 39, MASSACHUSETTS Cook Radio Dubbings Craftsmen Electro -Voice Rek -O -Kut Fairchild River -Edge Fisher R -J Garrard Scotch Tape G & H Wood Shure Prod. Stephens General Electric Super -Horn .Ç Grey Research Tannoy Grommet University t Hollicrafter V -M H. H. Scott Weathers Jensen Wharfedale i ,tae' Leak ETC. et to Write Leonard TODAY for Your FREE 1954 HI -FI CATALOGUE Manufacturer's Specifica- Full symphonic level tion Sheets Available high -fidelity sound from the amazing BARUCH -LANG corner loudspeaker system. Famous for Competitive Prices The phenomenal BARUCH -LANG high fidelity corner loudspeaker system is the successful result of research t one of the Personal Attention leading university acoustic laboratories to achieve a high quality, $19.95 wide -range response in a compact, low -cost unit. Immediate Delivery Shipped by express Complete, ready for connection to any amplifier, radio, or tele- only, shipping charges vision set, this amazingly efficient speaker system is ideal not collect. Weight 14 lbs. only as the main high -fidelity speaker in your living room, but C.O.D. if you wish. also as a second or third speaker at other points in your placed Specify birch or for installation, this unit is home. Designed exclusively corner mahogany moulding, only 13, u'' high and 193s" across the front. 69 Cortland, Street 4 or 16 ohms NEW YORK 7, N. Y. impedance. Only from KLOSS INDUSTRIES, the original manufacturer of COrtlandt 7-0315 this famous, nationally advertised speaker, can you buy direct and thus save dealer markup. Kloss industries offers you an unconditional 10 day refund guarantee in order that you may listen to the KLOSS BARUCH -LANG system in your own home without obligation. K LOSS INDUSTRIES 10 Arrow Street, Cambridge 38, Mass. Dept. I,

I00 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com AFTER BINAURAL WHAT?

Continued from page 99 / If you're an then sit in a chair several feet in front of the speaker. After listening for a minute, cup your hands over your ears and the highs will make a dramatic appearance. This can audiophile be explained partially by the fact that cupping the hands over the ears increases the sound collected and results in raising the highs over the threshold of audibility. What is more difficult to explain is the amaz- with limited finances, ing difference between cranking up the highs electronically and aiding your ear to hear those highs already in space. Even read this more amazing is the fact that if, after a minute or two of cupping your ears, you drop your hands, you will swear that the sound is coming from a point directly behind you. Making use of my observations, I de- No need to sell Corr on the advantage of high You'll hear exciting "room presence" mu- signed my "Air- Coupling Ear -Horns". Placed fidelity sound. More likely your audio sic, faithful to the live performance. in the ears, these horns will properly load purchases are the ear diaphragms for maximum acoustic governed by limited funds. You'll like these professional features: reception. With the horns in place, the That's why Pentron's high fidelity equip- Record -erase pole pieces are as easily re- listener can adjust for treble response by ment is specially designed for budget con- placed as a phonograph needle, saving you merely turning his head - directly towards scious hi -fi fans. 8o% of the cost of a complete head replace- the speaker for maximum treble and at right Pentron's tape recorder mechanism and ment. Pentron's head design is comparable angles for minimum treble - and all this without leaving his chair. You may literally matching pre -amplifier bring you the full to those used on the costliest professional look like the devil in these horns, but they tonal range between 5o and t 1,5oo cps. equipment. Available with full width, certainly do bring in those delightful yet This range is enough to satisfy the true single track heads for use with broadcast elusive highs. audiophile, since probably 99% of all re- equipment. In closing, I will add that every benefactor corded sounds fall within this span. It For of humanity has his critics, and several complete specifications and informa- people already have pointed out a certain gives you every ounce of fidelity that can tion on professional Pentron equipment mail incomparability between my two inventions. be achieved without disproportionate cost. coupon today! I admit that it might be difficult and even dangerous to get into a Yogi enclosure wearing Air -Coupled Ear -Horns. However, t'tis was never intended. In fact, I designed P E N T R O N hi tape recorder the horns as a palliative for people who -fi considered the Yogi anti- social.

LT. BETTINI Continued from page 42

them were Victor Maurel, the well -

known baritone singer; . . . Tomaso Salvini, who rolled out a grand passage Model 9T -3M 2 -speed Model Pre -7 Model PMC from "Othello" in the Italian transla- Tope Mechanism. $59.75 Matthing Pre- Amplifier. $39.75 houses both unit -. S114.50 tion; M. Coquelin, the famous French actor, whose visit to this country will be remembered; Pol Plancon and Mme. Professional features of a price you con afford Saville, the beautiful Frenchwoman, Push -pull speed change 3.75' and 7.5' Ips. who warbled a bit from the opera of Up to 2 hours recording and playback. "Rigoletto," and another from the Wind or rewind 1200 ft. in 40 seconds. opera of "Carmen." ... Signor Nicolini Flutter 0.3% at 7.5', 0.5% at 3.75'. Install Pentron equipment, has a cylinder to which he sang on his Frequency response: ± 3db, 50 to 11,500 cps at 7.5 custom- style, in your own last visit to this country with Mme. ¡pt; ± 3 db, 50 to 6,500 cps at 3.75 Ips. cabinets. Or, carry it as a Patti three years ago. Nicolini was Inputs: radio, phonograph, micfophone. Outputs, audio amplifier, headphones. portable combination ready to never much of a singer and the phono- Industry's most complete line of accessories. plug into any sound system. graph of today does not give him even justice, as it has been considerably worn from repetitions given to those who wanted to hear Mme. Patti's husband THE PENTRON CORPORATION sing. Sigrid Arnoldson's voice was 221 East Cullerton St., Chicago 16, III. ()Apt. HFa heard in a cylinder to which the artist Please rush complete specifications years sang three ago. and information on your High Fidelity All in all, The Phonoscope called Lt. Bettini's equipment. cylinders "a revelation to those who have only heard the phonograph in the ferry NAME houses and saloons." Sometime in the mid -1896s, when panto- NO OBLIGATION ADDRESS graphic duplication of wax be- cylinders Send this coupon Continued on page zo2 CITY ZONE_

MARCH, 1954 101

www.americanradiohistory.com LT. BETTINI LISTEN Continued from page rot ... began offering re- came feasible, Bettini cordings for sale. He published a r2 -page catalog in 1897 and a 32 -page catalog in and you'll hear 1898 - the latter listing over 200 recordings of serious music, many of them by artists of celebrity rank, plus another 200 recordings in the popular category. Bettini's roster included several artists from the Metro- politan Opera, among them the sopranos Frances Saville and Marie Engel, the tenor Dante del Papa, the baritones Mario An- wond il cona and Giuseppe Campanari, and the r basso Pol Plancon. Yvette Guilbert was represented by six songs; there were four cylinders by the violinist Henri Marteau; and there were dramatic excerpts read by In your search Bernhardt, Réjane, and Salvini. Prices for the wonderful ranged from two dollars to six dollars per cylinder - at a time when other companies listening of high were offering cylinder recordings at 50 fidelity reproduction, cents each. The 1899 Bettini catalog, 55 only craft components pages long, added more Metropolitan singers to the roster: the contralto Eugenia meeting the most meticulous Mantelli, the tenors Albert Saléza and standards will satisfy you. Ernest Van Dyck, the basso Anton Van Rooy. At the end of the listing came an When you choose Newcomb excitement, appetite-whetting announcement: "We have Amplifiers and Tuners for your the name Newcomb in our collection many records from cele- home music system, you get pre- is your assurance of true brated artists, not mentioned in this catalog, cision and we are constantly adding new ones." craftsmanship backed by 17 high fidelity performance. Did this mean that for a consideration years of leadership in developing Visit your high fidelity dealer. Bettini would make duplicates of his rarest the finest electronic equipment. Listen to Newcomb and com- recordings? If so, there were some treasures ... to be had. It is believed, from documentary Whether you are a high fidelity pare. Let your own ears confirm evidence, that in addition to the artists pioneer or have just succumbed to what science has proved - the listed in his catalogs Bettini owned re- this nation -wide cordings of Sigrid Arnoldson, Emma Calvé, superiority of Newcomb Ampli- Nellie Melba, Lillian Nordica, Marcella fiers and Tuners. Sembrich, Ernest Nicolini, Italo Campanini, Francesco Tamagno, Jean and Edouard de NEWCOMB components from $44.75 Reszke, Jean Lassalle and Victor Maurel. to $269.50 Bettini did not aspire to a mass- produc- WRITE FOR tion business. He duplicated cylinders to "Modern Classics in Sound," order, and he was at pains to make clear handsomely illustrated booklet on that his specialty was "High -Grade Records, high fidelity, and name of your nearest Newcomb distributor. High -Class Music, and only by Leading Department W , Newcomb Performers and World -Famed Artists." At Audio Products Co. the prices he charged, only the most affluent 6824 Lexington Ave. Hollywood 38 music -lovers could afford Bettini merchan- California dise. An item in The Phonoscope for May 1897 reported that William K. Vanderbilt (one of the original Metropolitan Opera Sate the Cost stockholders) had purchased three Bettini OF CABINETRY Micro -Phonographs and "over coo records of famous artists," which represented a with NEWCOMB total investment of at least $500. Mr. "Classic 25" Vanderbilt could afford it; the average Handsome remote control unit, owner in the 1890's could not. Amplifier with furnished with the Newcomb Classic 25 phonograph Amplifier, offers beauty and flexibility of control you never Considering Bettini's prices and the small TRUE dreamed possible, as for as 100 feet from your equipment scale on which he operated, it is doubtful Remote Control center. For superb reproduction, for the utmost instollotion whether he sold more than a few hundred eose, for permanent low distortion with exclusive "Audi - copies of any one recording. Balance," choose the Classic 25 Amplifier. No cabinetry In no other way can the fact be explained necessary with beautiful remote control unit - your savings that today Bettini cylinders are even rarer will pay for this superior amplifier! than Gutenberg Bibles or Shakespeare True High Fidelity Since 1937 quartos. A group of them were discovered in 5945 in Mexico City - none of them, unfortunately, by singers of eminent sta- ture - and sold to a collector in Boston. N EWC®M B I know of no other authenticated Bettini HIGH FIDELITY AMPLIFIERS cylinders in existence; Gianni Bettini's own priceless collection of "originals" was The heart of your home music system. Also Playbacks for stored in a French warehouse in 1914 and Schools Commercial Sound Systems Mobile & Portable Public Address Systems. © 1953 Continued on page 105

IO2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com C ((idj, AtLasti you can hoar ccm& THE SPEAKER THAT PRODUCES lift/éir,ore_ NoSound

Fiddles, trumpets, drums ... these are musical instruments. They produce sound. And resonances are deliberately created to give the sound timbre and identity. Tho The loudspeaker, however, is not a musical instrument. Its specific func- CLARKS'TAN RV 20/ tion is to reproduce sound. It must magnetic pickup with sapphire in no way add to the sound it repro- stylus: net price $15.00 duces. It must be free from resonance, Discover for yourself the truly exciting and free from distortion. difference a Clarkstan Magnetic Pickup gives to your music enjoyment -a difference you can hear. If your ear is tuned The HARTLEY 215 has no resonance... to the finest in sound, you'll want the vivid, life-like reproduction obtainable and produces no distortion. only with the Clarkstan RV 201 Variable Reluctance Pickup -over 15,000 cycles Laboratory measurements have con- of low distortion, flat response is yours. firmed this fact, time and time again. Ask your hi -fi sound jobber to let you hear this difference. Then you, too, will AB comparison listening tests have join the growing thousands of discrimi- likewise revealed the superior perform- nating music lovers who buy only the best in pickups RV 201. ance of the HARTLEY 215. -the Clarkstan a sound investment... Treat yourself to an earful. Type -Magnetic, variable reluctance with removable stylus. Substitute a HARTLEY 215 in any Armature - Stylus is armature; weight 31 mg (.031 g) system. Instantly you will hear the Response -Flat to over 15,000 cps. difference ... clean bass, smooth highs Stylus - Sapphire with standard .003" and radius ball point or .0012" as desired. ... a sense of realism and presence Styli are interchangeable and replace- that will amaze you. able. Other sizes available. Needle Force -5 to 7 g for LP micro- (DUTY PAID) Only ;65 groove; as low as 9 g for standard records. Output -80 my at 1000 cps with lateral displacement of .001 ". Recommended Termination - High impedance. Electrical Characteristics - Inductance 350 milihenries at 1000 cps; 'Q' 1.05; DC Resistance 1450 ohms. NOTE: Because t e new Mounting- Standard holes 34" between Hartley 215 has no : res nee, centers, 3 -48 screws. a non -resonant baffle ould THE NEW f Weight -30 grams. be used. The bass -re i`, : nd other conventional ene osures SEE YOUR HI Fl SOUND JOBBER OR WRITE FACTORY are tuned resonant systems. r For best results the Hartley HARTLEY _ J Pacific Transducer Corp., Dept. t .34 BOFFLE Enclosure is recom- 11921 West Pico Blvd. Los Angeles 64, California mended...available in single, Send me tree literature on the dual, and 4- speaker models, in Clarkstan RV 201 Magnetic Pickup. kit form or finished, and At franchised dealers or Write to: priced from $35.00. H. A. HARTLEY CO., INC. NAMF 521 EAST 162nd ST., BRONX 51, N. Y. ADDRESS LUdlow 5.4239 CITY

MARCH, 1954 103

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COLUMBIA "360" SMEtwood The Finest in Remote Control Television Receivers with High Fidelity Audio Output Complete 2- chassis system featuring the New 27" Rectangular Picture Tube ALSO AVAILABLE FOR 21 AND 24 INCH PICTURE TUBES For the finest in television picture of the Super Cascode type, com- quality, with the convenience of pletely adaptable to UHF by sim- electronic remote control, enjoy ple interchange of strips. UHF pro- SWITCH IT ON AND THE the many features of the Fleet- vision on tuner dial. Four I. F. wood. A complete two chassis, full Stages and full 4 megacycle band - remote control television system, pass. Separate cathode followers WHOLE ROOM PLAYS! built to professional standards for audio and video. Audio Outputs: America's leading dealers recommend which provides high fidelity audio 4 watts for loudspeaker; both high this instrument 5 to I over all other outputs to match the finest home impedance and cathode follower makes! The smallest, lowest priced high music systems. for connection to existing amplifier. fidelity phonograph ever developed. The separate tuner chassis, with Both Tuner and Picture Chassis Plays all records automatically. Built edgelit dial and individual channel attractively finished in gray and and guaranteed by Columbia Records. pilot lamps, includes off -on, vol- black baked enamel. $139.506 in mahogany. Hear a demon- ume, picture channel selection and Also available without remote control. stration in your own home before you fine tuning controls. The tuner is SEE YOUR LOCAL JOBBER OR WRITE pay far more for custom equipment. Columhie- Reg. T. M. Mere.. Reg. 360 T.M. Higher in the West C O N RAC, INC. Since 1939 Glendora, California

104 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com LT. BETTINI

from page 102 Continued REASONS WHY

destroyed by bombing during World War HI -FI FANS DEMAND II. Thus, barring a lucky find in an attic or junk shop, posterity will never hear the THE FAIRCHILD voices of those singers who recorded only for Bettini (such as Italo Campanini) or hear in their prime those singers whose SERIES 215 later records give evidence only of de- clining vocal powers (such as Ernest Van DIAMOND CARTRIDGE Dyck). But we must not romanticize unduly the legacy that has been lost. Despite Bettini's claims for perfection, the record- WITH HIGH COMPLIANCE ing technique of the 1890's sounds dis- couragingly primitive to our ears, and the Instantly - there's a startling improvement in sound when 215. deterioration of the 55 -year -old wax cylin- record collectors switch to the FAIRCHILD Series and sea- ders would only serve to compound the Listeners who have just discovered high -fidelity - soned audiophiles both hear a new presence in recordings. initial deficiencies. Neither should we let imagination run riot and ascribe an un- Only FAIRCHILD's moving coil design can give such un- documented galaxy of recording artists to equalled performance. Compare - and you too will agree Bettini's enterprise. It was chronologically that the start of any high -fidelity system must be the high possible for Bettini to have recorded such Compliance FAIRCHILD Series 215. personages as Christine Nilsson, Pauline 1 - Brings true-to -life color to high piano chords. Lucca, Milka Ternina, Etelka Gerster, and 2 - Releases new low frequency tones. Queen Victoria, but it is only wishful 3 - Smooth linearity - lower apparent surface noise. thinking to assume that he did so. 4 - Reduces tone arm resonance greatly. Bettini's business flourished in New York 5 - Preserves record quality - reduces stylus wear. until 1902, when he sold his American 6 - Eliminates -completely -listening fatigue caused by patent rights in the mica diaphragm to tracking distortion. Edison, closed his Fifth Avenue studio, and All of this at an unbelievably low price - $3750 moved to Paris. There he established the Société des Micro-Phonographes Bettini, And investigate these FAIRCHILD products, too! with headquarters at 23 Boulevard des Capucines. For a few years he continued to The NEW Model 240 Balanced -Oar Preamplofier- make and sell recordings, phonographs Equaliser offers typical and attachments. One of his coups was a FAIRCHILD quality. series of recordings of Pope Leo XIII, wide latitude of control, extreme operating s made at the Vatican shortly before the plicity, correct record Pope's death in 1903. But Bettini as a equalization and decorator styling. Net to user - $98.50 businessman was neither determined nor particularly astute. As the cylinder de- The NEW Model 280 Plug-In Type Pickup Arm brings professional quality into the home with clined in public esteem, so did his interest. unusual pivoting He made a shy at breaking into the disk method, low e bearing friction field, but it never gained momentum. By and accepts all standard makes of cartridges. Net to user - $29.50 1908 he was out of the phonograph business altogether and busy promoting two new inventions, the Bettini Motion- Picture SEE YOUR AUDIO DEALER or for free folder writer Camera and the Bettini Multiplex Camera, neither of which proved to be very successful. In 1914 he served as a front -line war correspondent for Le Gaulois. Three years IRC/Hhiß EQ %PMENT° later he was back in the United States, 10th AVENUE 8 154th STREET, WHITESTONE, L. I., N. Y. with a military mission from the Italian Government, and he stayed here until his FAIRCHILD ADDS NEW HI -FI ITEMS death in 1938. Bettini's inventive faculties never ceased to function. A mirror -like Months of engineering went into the Model 240 Preamplifier- Equalizer with surfacing for cloth, a golf- practice device development of the Model 28o to pro- Balanced -Bar Control was designed measured the distance, height that and duce a pickup arm small enough for with a specific goal: extreme simplicity curve of a hit ball, a cigarette lighter (manufactured and sold for some time by Cartier) home use and delivering Fairchild proof operation for the serious non- - his fertile brain kept spawning new ideas fessional performance. No appreci- gadget- minded music lover; complete to the end. He did not seem unduly bothered flexibility of by the realization that not one of his inven- able change in stylus pressure during control for the highly in- tions had ever struck real pay dirt. He was rise and fall of arm, is a unique fea- formed audio engineer; style for decor- an indifferent entrepreneur, an expert in ator acceptance in the living room. savoir vivre, not in making money, and at ture. Low bearing friction, low hori- Every control required of a quality the time of his death the combined Bettini - zontal position and optimum groove preamplifier- equalizer is available, yet Abbott fortune had suffered serious de- tangency assure accurate tracking for pletion. normal operation may be obtained by all kinds of records. Its plug -in end Had he possessed the commercial acumen use of only two knobs if desired. Ex- of Thomas Edison or of Victors Eldridge takes any standard cartridge including Johnson, we would all be more aware today clusive adjustable Balanced -Bar fea- stylus of his name and his achievement. Bettini dual types. A built -in self - ture indicates proper matching or came along with the right idea at the right operating decent eliminates need for acoustical characteristics of your room Continued on page 107 arm rest. when in unbroken horizontal position.

MARCH, 1953 I05

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Your Music System Hi-Fi Housed Within A Furniture Setting

techniques Here's a bookcase cabinet that tape provides ample room for the is the housing of a record changer. TAPE RECORDING MAGAZINE tuner, amplifier and speaker... - only publication in this entire, fast plus a music library. growing field which is devoted exclusively to tape recording. Each issue Model 90: Overall dimensions: 351/1 48 "W., le D. Tuner features the latest techniques in cap- "H., compartment: I 1 "H., 29 "W., turing the full tonal range of every sound 15 "D. Baffle area: 5 cu. ft. equal tape - and no other medium can Model 91: Similar in size to recording in frequency response - no Model 90. Contains adjustable other is so free from scratch and dis- record shelves in place of speak- tortion. er baffle at no extra charge. TAPE RECORDING is packed full of meaty articles that tell you how to Finished $ 25 net make your own expert recordings either Handsomely styled in the Finest woods, both $96" net live or off the air. It tells you how to models are available in Mahogany on White Birch, Unfinished Birch. Natural Birch or Unfinished Birch. Net prices, slightly higher West use the new recording projectors to and South add sound to old or new movie films - how to place your mikes to get the most from every instrument in an or- Precision Manufactured High Fidelity Cabinets of Character chestra - how to create your own sound effects. It is the only magazine G & H WOOD PRODUCTS CO. that presents intelligent, authentic re- 75 NORTH 11th STREET, BROOKLYN 11, N.Y. views of the new, pre-recorded tapes which you can play on your own equip- PIONEERS IN RADIO FURNITURE FOR HIGH FIDELITY EQUIPMENT ment. It shows you how to use a recorder most effectively in your home, your business, school or church. Issued bi- monthly, TAPE RECORD- ING costs you only $2.00 a year and it don't gouge is backed by a money -back guarantee. If, after reading the first issue, you are not convinced that it is a magazine of that groove! real interest to you, your money will be returned in full - and you keep the copy you have received with our compliments. You do not risk a penny - use coupon below and get your $2.00 into the mail to -day. i, -,.m worn "7°47=V FILM & MAGNETIC needles are chisels! After just 60 play- hours, needle point flattens to chisel sharpness -cuts away record grooves; destroys sound pick -rips stop ruining your records! Always replace any needle (except a Jensen diamond) before I-TAPE RECORDING, Severna Park, Maryland it has been played 60 hours -and be sure to replace it with IHere's my $2.00. Please send me I a genuine Jensen needle! I TAPE RECORDING under your I money -back guarantee offer. Get a genuine Jensen needle from your favorite record store or radio service dealer. I'hurtle Iddreee t4e.9 INDUSTRIES, INC., 329 So. Wood St., Chicago 12, III. State L----Crty, Zane and ------(You can write us for the name of your nearest dealer) Io6 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com LT. BETTINI

Continued from page 105

time. He knew that the phonograph was a worthy medium for great music, and he realized that world- famous celebrities could be induced to perform for it. With proper New! management the Bettini enterprise might well have become a leading power in the burgeoning phonograph industry. Instead, it coasted downhill while others appropri- And ated the idea of celebrity recordings and turned it to profitable account. In the hurly- burly of the marketplace Gianni Bettini was soon eclipsed. It is time that this in- Terrific! novator emerged from the shadows.

HUM -BUGS

Continued from page 44

"integrated" setting. The writer has found that, short of using reverse signal methods, which require laboratory FISHER equipment, the mentioned system of phasing by listening for musical integration is the most satisfactory SERIES "70" one that can be devised by the home en- When the FISHER 50 -R Tuner and 50 -A Amplifier first appeared, thusiast. two things promptly happened. We were besieged with orders; as well as We have now succeeded in the initial with requests (from those with limited space) for a tuner with audio con- debugging of your system. You are now trol facilities and preamplifier. Many also wanted a low -cost, high out- prepared for years and years of listening put, quality amplifier. It took us time, but here they are. And they're tops.' to the great advance in listening pleasure you have just purchased, satisfied at last. But, like all newcomers to the art, you will soon be concerned with how your repro- FISHER FM -AM Tuner 70R7L ducer stacks up with the best that can be assembled today, and how your present Features extreme sensitivity: (1.5 20 works equipment can be adjusted to its optimum. mv for db of quieting), where others fail. Armstrong system, adjust- In a succeeding article the writer will try able AFC plus switch, adjustable AM to help you, with rule -of -thumb indices of selectivity, separate FM and AM front audio quality, how to judge it and how to ends. Complete shielding and shock- improve it. mounting on main and subchassis. Dis- tortion less than 0.04% for 1 volt output. Hum level: better than 90 db below 2 volts output on radio, better than ADVENTURERS 62 db below output with 10 mv input on phono. Two inputs. Two cathode - Continued from page 46 follower outputs. Self powered. Six controls: BASS -AC, TREBLE, VOLUME. pointed out frankly, he was pretty sure the LOUDNESS, CHANNEL and EQUALIZA- Americans were far ahead of the British in TION. TUNING. $184.50 loudspeaker- design. However, he said, if Briggs would leave his proofs, Carduner would have a couple of authorities read the opus and pronounce on it. FISHER 25 -Watt Amplifier 5 013 Briggs, who had made touch with some The FISHER Model 70 -A Amplifier offers more clean watts per dollar distant relatives in Detroit, went to Michi- at its price than any amplifier made -25 clean watts for only $99.50! The gan for four days. When he returned he had 70 -A costs no more than "basic" I0-watt units, but has 150% greater power! dinner with Carduner, who said without High output (less than delay: "Send me a thousand." Apparently 1/2% distortion at 25 watts; the experts had reported favorably. Briggs 0.05% at to watts). IM distortion less than 0.5% at 20 didn't faint. Instead he asked Carduner: watts; 0.2% at 10 watts. "How about some loudspeakers, too ?" Uniform response ±0.1 db, 20-20,000 cycles; 1 db, 10- Carduner smiled genially. a "Not chance!" 50,000 cycles. Power output he replied. constant within 1 db at 25 Two years later, Briggs had an unsolicited watts, 15- 35,000 cycles. Hum order for speakers from and noise virtually non - Carduner. The measurable (better than 95 book - Loudspeakers, the Why and How of db below full output!) Four Good Reproduction - had caught on ex- separate feedback loops, unique cathode and screen tremely well. Sometimes Carduner's orders feedback circuit. Outstand- had gone as high as a thousand a month. ing transient response. s and And more and more people wanted to try 16 ohm outputs. ME : 61/s" x 101/2" x 61/e" high. $99.50 the speakers made by the man who had PRICES SLIGHTLY HIGHER written the book. Now British Industries WEST OF ROCKIES Corporation sells all the Wharfedales it Write for lull details can get. The first book, Loudspeakers, has sold FISHER RADIO CORP. 45 EAST 47th STREET N. Y. Continued on page ro8

MARCH,. 1954

www.americanradiohistory.com ADVENTURERS Continued from page 107

37,000 copies, nearly half in the United States. Briggs' third book, Sound Reproduc- tion, has done nearly as well. Briggs pro- fesses to be at a loss as to why sales of his books should be so good. "I wrote them for technical people," clay he says, "but the general public seems to some be buying them, heaven knows why." Actually, no celestial information is necessary to explain his sales. For one thing, the high -fidelity boom, so- called, broke you'll own just as the books hit the market. For another, Briggs was not educated as an engineer, and thus never had to unlearn a fH0 EN the dreadful jargon in which too many engineers, both British and American, actually learn their craft. Even when discussing It will be a day in technical phenomena unfamiliar to his readers, he discourses in good grammati- which you have come to cal English, and somehow conveys the know the impressive assurance that if the reader will stay with him just a few paragraphs more, all will superiority Thorens become clear. He also dots his technical pages liberally with highly literary quota- affords you in recorded tions, mostly poetical, thus establishing a sound. Record players rapport with the intelligent non -technicians who form so large a part of the high -fidelity _ and record changers by home -music army. He humanizes his data, ilhorens have no end but too. It is not uncommon for him to use terms like "innocence and beauty" to de- Lein own perfection in scribe the oscilloscope image of an undis- totted r,000 -cycle note. roviding silent operation Moreover, he is irrepressibly droll and illd unwavering speed whimsical, in his writing as in his conversation. In Sound Reproduction, for instance, "ularity. Their rich he explains how to produce a perfect loudspeaker. A speaker's suspension softens 1, are waiting ... and improves with use, he points out. In .ho care Airedale, he has a to-inch speaker in constant use. To begin with, its resonant fre- eery finest. quency was 6o cps. In three years, it has gone down to 45 cps. This is a rate of 5 cps' improvement per year. Extrapolating (completely deadpan), he calculates that in another nine years the fundamental resonance will have reached zero, thus yielding a loudspeaker with absolutely no bass distortion. Despite his sense of humor, Briggs acts like, and is, a dedicated man. His dedication is to the better transduction of electrical impulses into sound, in which loudspeakers are the central factor. However, he emphasizes, a loudspeaker is not a complete entity. It is part of a system which also includes an enclosure and a listening room. In the chain of sound reproduction, it is this terminal system (not the speaker alone) which is the weakest link, being beset with the famous the hazard of resonances. About listeners' Thorens direct -drive, rooms, of course, Briggs can do nothing but motor offer counsel. As to enclosures, he thinks governor -regulated .. be adaptable as possible, which heart of all Thorens record they should is why he likes bass -reflex cabinets* - they changers, players and can be tuned. The best that can be done transcription turntables about speakers themselves is to keep their . , . Swiss Craftsmanship resonance - points down out of the range of at its very finest. room -sound complications, and to make the speakers as easy as possible for amplifiers to hold in absolute control. To this end, Continued on page r r r For information on the complete Thorens line, see your dealer, or write: -- á *Preferably of concrete or brick, or at least embodying sand- filled double-panel baffle. Briggs hates THORENS COMPANY, Box 166G, New Hyde Park, N. Y. baffles that "flap.,,

108 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com (tr}ìn9 4h6 Vu+ IS FOR With the new Revolutionary FM Tuner INDIANS... The C900 by Craftsmen Inc. NOT

FM DRIFT: Negligible with Automatic Frequency Conrtol. Without AFC, ± 20 kc. after 10 sec. Phono Needles! warm up. AUDIO OUTPUT: 11/2 volts at less than 0.1% distortion from cathode follower. FREQUENCY RESPONSE: 20 to 20,000 cps. ± 1/2 db. $9952 DISTORTION: Less than .05% intermodulation (60 cps, 7000 cps, 4:1) 30% FM. 0.5 V. output. With such radical advancements in design as: HUM AND NOISE: 60 db. below 1t /2 volt output. * photo -etched, high -capacity if coils. POWER REQUIREMENTS: 110.120 volts, 50/60 cps., 50 watts. SIO? 20.6 mc. if channel rejects spurious images, reduces oscillator radiation. SHIPPING WEIGHT: 12 lbs. amplified afc. reduces drift 100 times less. DIMENSIONS: 131 x 7 x 83/a deep, plus 11/4 for continuously variable af, control eases tuning knobs. of weak stations. Chassis finished in polished chromium for lasting cascade double-triod rf amplifier makes pas- beauty and durability. sible 1 vv. quieting sensitivity. Furnished complete with folded dipole antenna, attractive polished less than .05% 1M distortion through receiver. brass and black escutcheon, MOVICIN The extreme sensitivity and suuperlative FM listening are and matching brass -inlay knobs. made possible by the advanced circuitry. Additional features that insure minimum distortion Include almost complete (Mail Orders Accepted: absence of regeneration and adequately wide IF bandpass 25% Deposit, Balance C.O.D.) and discriminator linearity. The use of large valued f60 0 silver mica IF transformer tuning capacitors plus Open Daily and Saturday 9 to 6:15 P.M. three high- traafeonductence IF tubes 160 B6) makes possible STATI -CLEAN tube replacement without the realignment usually essential after serving an FM receiver. Tube Complement: 11 tubes including rectifier... CONTROLS: (1) AFC, (2) tuning, (3) Off -On Volume. Anti- Static SENSITIVITY: 1 microvolt for 20 db. quieting. New 195Hondbook11í-F1 down-to-ea.,- Record Spray should a hile Arrow Electronics 104 P s the suli- information and 'Ruin of Record Gr / /0 Plus illustrationsHi -Fi ito'P- by Ground -In Dust know. quality OU[ ions of sell 1{ o[ V1ait / 0' / bca Dept copy ment. Wcite Pia Dust is the LP's greatest enemy BEAUTY IN SOUND foc Your Sound Studios -the major cause of record and 65 CORTLANDT ST., NEW YORK 7, N. Y. needle wear. Commercial tests show a tenfold increase in record life where dust has been eliminated. And the experts agree with thousands of satisfied users- Walco STATI -CLEAN is the record owner's best defense against dust! This miracle anti- static spray cleans the disc surface, stops static A CLEAN SWEEP electricity that attracts dust, static created by handling and "dusting" discs. Stati -Clean lasts dozens of plays -no need to reapply each time. Tested by leading laboratories. Reports and user testimonials on request. Comes complete FOR 1954 with new, self- impregnating applicator cloth. and after you Spray Safe, Play Saht And every year to come! play «'ith an 1Li1:i 0WORLD'S GREATEST NAME IN REPLACEMENT PHONOGRAPH NEEDLES "DL Needles can become instruments of torture to R record grooves. No Record needle is "permanent ". The Wisest Investment of Your Hi- System The average needle is rated only 15 to 40 hours. After a "flat" develops, it becomes a chisel, shearing the highs, ruining groove walls. Keeps records clean autom: 'tally during Protect your record investment, by periodic the` replacement with high -quality play. Operates indepen tly Walco needles. entire of tone There's one for every make of phonograph and arm. Has no effect on turntable spee .. crust- cartridge. (Walco needles are first choice of able for all automatic and manual turntables: major phonograph manufacturers.) Best of A one time buy that lasts a lifetime. Does not all, there's the superb Walco Diamond -the press dust or other microscopic particles into most economical of needles ... it lasts hun- the record grooves like ordinary brushes, cloths dreds of hours, is safest for records. Ask and sprays. The bristles of this brush are of your Walco dealer to show you proof of diamond's the finest imported camel hair. superiority. GET STATI-CLEAN AND WALCO NEEDLES RECORD DEALER'S TODAY! sale at r ading s .res et' ry- AT YOUR ere or rite /o name your can't supply you, send us his name. AND of nea st dea r. R L PRODUCTS Lod. Mane of 6.drovs: Co. he 7533 Malvern Ave., Phila. 31, Pa. rddealer PAT. PENDI G L.:.tr. 60 Fraaklie St., EestOreage, NJ.

MARCH, 1954 I09

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the When selecting an amplifier for the heart of a fine high - fidelity audio system, investigate the outstanding advantages beautiful Ràufa7Jd offered by the Heathkit Williamson type Amplifier. Here is an amplifier that meets every high -fidelity audio requirement and makes listening to recorded music a thrilling new LIBRETTO remote control experience through naturally clear, lifelike reproduction of sound at all tonal levels. Wide acceptance of the Heathkit Now you can have Williamson type Amplifier by the most critical p6rchasers complete remote con- clearly demonstrates that high -fidelity can be coupled with trol of your present low cost. For factual information regarding the Heathkit High Fidelity Music Williamson type Amplifier, consult "CONSUMERS RE- SEARCH ANNUAL CUMULATIVE BULLETIN 1952 -53" System with the This outstanding amplifier is offered with the optional E.EBRarro! This amazing control is choice of the ACROSOUND output transformer or the PEER- completely self -powered and capable - LESS output transformer. ACROSOUND features ULTRA- of operation several hundred feet from ,' LINEAR circuitry, which is the exclusive development of the PRICES OF VARIOUS COMBINATIONS the amplifier. Uniquely fashioned in Acro Products Company and provides a greater margin of W.2 Amplifier K it (Incl. Mall Amplifier reserve power efficiency and increases power output. PEER - with Peerless Output Transform the form of a luxuriously bound book Power Supply and WA -PI LESS features additional primary taps to permit the optional Preamplifier Kill (only 8% z 11 z 2' thick). Backbone choice of either the extended power cucunry, now enjoying weight 39 Ibo. Shipped express lifts for easy access to controls. Op- current popularity. or all of the advantages of the original W -2M Amplifier Kit (Incl. Main Amplleer erates in either horizontal or vertical Williamson type circuit. .etth Peerless Output Transformer position. Controls: 1. Crossover; 2. The construction manual has been simplified to the point .ind Power Supply) 549 where even the complete novice can successfully construct Weight 29 lbs. ShippedShipping express Roll -off; 3. Volume; 4. Bass; 5. Treble. uy. the amplifier without difficulty. Write for a free catalogue Adapter available for simple connec- W -3 Amplifier Kit (Incl. Main Amplifier containing complete specifications and schematics of the with Arroeound Output Trans- tion to your present system. Gives Heathkit Williamson type Amplifier. ( orrner. Power Supply and WA. Pramplifier Kit) Shipping See950 you the ultimate in luxurious Hi -Fi. weight 39 Ibs, Shipped press 'mly. Vutp W-3M Amplifier Kit (Incl. Main Amplifier See your Hi -Fi Dealer with Acrosound Output Trans- and for a thrilling demonstration of ping Weight 29 lbs. Shipped ex- HEATH COMPANY / Wi. only. LIBRETTO remote control operation. WA-P1 Preamplifier Kit only. Shipping Weight 7 lbs. Shipped express BENTON HARBOR 8, MICH. or parcel post. $191.5

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IIO HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ADVENTURERS Heee fíry Q/lPi.r. Continued from page 1o8 CRUIIM1I\G the switches and controls you read about in the January issue of AUDIO See "Preamp with Presence" Briggs places most of his reliance in flexi- in the January issue. 1C.IIIEIH,IIH,IT ble "surrounds" and a high density of magnetic force -lines in the gap between the voice -coil and the magnet. He has a few unconventional notions, based 11 on ex- LISTEIIIu perimental discoveries - for instance, he prefers cone tweeters to diaphragm- and -horn types, and he always recommends that they PLE1RRE be used unbaf led, in the open, and facing straight up. This eliminates beaming, among other ills. ., In establishing standards of performance for his speakers, he resorts to oscilloscope s I # 'r photos extensively. He and his long -time associate, E. M. Price, a faculty- member at Bradford's Technical College, have made Th more than r,5oo oscilloscope photos. But the final test of a speaker at the Wharfedale plant is by ear. And ear -owners Briggs and LnrLinatí Lln a Dv IAetTCOOCrroONlCc Broadley make point of listening to a good deal of live music, to keep their standards high. As a matter of fact, Briggs makes the transition from the working -day to the evening's leisure by playing the piano for a half -hour, which he says is even more relaxing than a "gin- and -It" (a British con- SENIOR coction most easily described as a warm sweet martini). When his mind is off audio COMPENTROL* matters, he does a good deal of reading. He likes certain American mystery -thrillers with level -set since, as he says, they contain excellent sardonic humor and terse language. In a Combination volume còntrol more serious vein, he is addicted to auto- biographies, particularly musical ones. His and Printed Electronic Circuit* current favorite is Sir Thomas Beecham's A Mingled Chime, which, it may be pointed out, also contains considerable There's nothing else like it! Lets LLA)3 A-I sardonic humor, although its language could hardly you set your own compensation! WILLIAMSON CIRCUITRY be called terse. Don't be a slave to someone else's tastes. Now, Centralab's new Senior Compentrol SUPRA -LINEAR Briggs also spends a good deal of time with level -set lets you control bass and planning the protection of his garden against treble range to suit yourself - and finer than you can with an ordinary compensated the annual assaults of the sheep which roam volume control. A universal unit, Senior 30 ij att mplifier Ilkley Moor between shearings. They Compentrol replaces any value without ad- descend whenever the whim takes them, ditional amplification. And you get its extra advantages from your Centralab distributor usually in early summer, seeking what they without extra cost - net price, $4.50. It's new! There's nothing like it. may devour. "My impression," says Briggs, Centralab also has a Junior Compentrol. "is that the grown sheep like to take the It is furnished in and 1 meg., plain and It's the very finest quality ampli- switch types, for use in radio sets 15 or lambs around and show them where the more tubes, AC or DC), audio amplifiers, fier combining every desirable best meals are to be obtained." Several or phono combinations. feature: high power, versatility, times this gustatory tour has included the Send coupon for 16-page booklet 42 -182 Briggs garden. They (the telling the whole Compentrol story. minimum distortion, and the low- sheep) couldn't stomach the rose blossoms, Briggs reports B-1654 est cost ever. bitterly, so they just bit them off and Also mentioned dropped them on the ground. More tragic in the article. Switches and controls available Ultra compact, was what happened in the raids on special COMPARE: to Mrs. order through your Centralab distributor precision crafted throughout, with Briggs' garden, three -quarters of an acre of ORDER polished chromium chassis. Plug -in beautifully fostered vegetables, before the electrolytic condenser, terminal Remanded! Tone Control C3 -300 woolly marauders were driven off. Mrs. Dual Switch and Control Comb.. SPB 3001 board for all circuit components, Briggs also raises pigs, in substantial num- Dual Concentric Switch SPP 3002 sealed multi -section grain oriented bers, in a field she rents some distance output transformer, -66 KT output from the house. So far, the sheep haven't tubes. Frequency response 10 to molested them. Seemingly, there is 100,000 cycles 1 db; intermodu- an lation distortion at 15 watts 0.15%; affinity for animals on the distaff side of hum and noise level 96 db below the Briggs family, for the older daughter, CENTRALAB full output; preamp power. Ninetta, is a veterinarian married to an- A Division of Globe -Unlon Inc 9390 E. Keefe Ave., other veterinarian. The only Milwaukee 1, Wis. Hear The C tion soon at your Briggs son Send me copy of 16 -page Compentrol booklet. dealer, or write direct. Dealer was killed in World War II. inquiries invited. Briggs' younger daughter, Valerie, 21, Name refers to her father as "the famous writer ... '14NTERELECTRONICS of whom few people have ever heard," Address which is probably as good a description as C O R P O R A T I O N 2432 Grand Concourse, New York 58, N. Y_, Continued on page t t 2 City ( ) State....._.._ J

MARCH, 1954 111

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PHONOMATdoes 7 vital jobs: Cushions your records Eliminates record slip Reduces motor rumble Saves needle and record wear Eliminates pull of pickups on records.. indispensable for Fairchild cartridges.. important for Pickering Covers worn turntable surfaces Washable ... Keeps record cleaner. PHONOMATspecifications: 10" diameter for record changer, 14" thick virgin foam rubber, or 12" diameter, '8" thick for professional turntable. Both with All Hi.Fi and television cabinets available standard 5, 16 center hole. Direct from manufacturer to you for in Traditional, Modern and Provincial styles only $1.75 postpaid. Send check or money order. (No C.O.D.'s in 15 hand rubbed decorator finishes. 10 Speaker enclosures are horn loaded and please.) day money back guarantee. bass reflex type. ,t,01141 1 Combination equipment- speaker cabinets available with original 121 enclosure or Mo *';: the AUDIO EXCHANGE inc. Proud "Flex.o -Port'

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MARCH, 1954 113

www.americanradiohistory.com TERMINAL first fòrVaIwiI e YOUR PRESENT CONSOLE PHONOGRAPH Because Terminal Stocks MORE of the World's Finest TO HI -FI! WITH THE H_ Fidelity Audio Equipment P FAN -TONE DIRECT FACTORY DISTRIBUTORS FOR ALL MAJOR LINES P ICKUP KIT 11.11111 For Thrilling New Performance from Your II Records, Old or New! 32895 Enjoy the magnificence of high -fidelity record -reproduction on the complete kit console phonograph you now own ... with the new, perfected, low - for 3 -speed chçnger cost PFAN -TONE STRAIN- SENSITIVE PICKUP! Installed in II your present set's tone -arm, the Pfan -Tone Pickup faithfully repro- $2645 complete kit duces delightfully balanced high and low tones for truly pleasurable for single -speed listening . .. without screeching or stridency. changer EXCLUSIVE MODULATED -VOLTAGE principle of C-108 $3095II operation ... electronically far superior to any other method McIntosh 3 -speed kit . enables Pfan -Tone Turnover Cartridge to extract accurate PROFESSIONAL AUDIO COMPENSATOR with Magnavox re- electrical image of all sounds on your record. (Actually Beautiful...flexible...easy to operate. Gives you great- placement arm modulates current from preamplifier.) est listening pleasure from any record. Rumble filter FREE FROM almost completely eliminates turntable rumble espe- (All Prices Consumer Net) DISTORTION, RUMBLE, or HUM ... cially when playing older records. Five bass turnover II no coils to pick up induced current from turntable motor. switches and five treble attenuation positions as well as variable bass and treble controls compensate for all Order TODAY... or Writ. for FREE INFORMATION to Within the capabilities ofyour amplifier or .speaker recording curves. Aural compensator control maintains proper bass and treble loudness when you play your You can Install the Plan -Tone Pickup Kit system at low level volume. Has radio and auxiliary input. Yourself! ... No soldering necessory. Chassis only... net $86.50 Complete with Cabinet ...net á96.50 CHEMICAL COMPANY Dept. HF -344, Waukegan, Illinois lllllnfosh A -I16 We Feature the T -200 30 WATT AMPLIFIER j1Binaural Tuner 99 96 /100% Perfect Amplification "BRA /NARD SELF- POWERED McIntosh patented circuit guarantees less than s/z distortion at all frequencies 20- 20,000 cycles, even at AM or FM -or AM and FM full power output. Together Because of the unique design of Good Reception Output Transformer and resultant highest efficiency in Fringe Areas. audio amplification, you can now have perfect repro- Signal to Noise Ratio Nearly 100 to 1. duction of music from the softest passages to peak crescendos. Amplifier overload in your home music Dual Audio Outputs, 2 Volts. system is completely eliminated. Net $139.50 Double Tuning Eye for AM 8 FM. Indicator Complete Lights for AM 8 FM. 9000 cps. Bond Pass on AM. Line of 15 to 25000 cps. Band Pass Magnecorders on FM. Beautiful Etched Bronze Face Plate. in Stock Removable for Easy Mounting $119.50 Net "BRA /NARD 11A -200 Binaural MagneCordette 5 -Way Amplifier Medium priced professional quality recorder for the best home music ensemble. Custom serves amplifier as "THE MASTER OF ALL YOUR HI -Fl NEEDS a recording amplifier and as a playback pre -amplifier for reproduction through your high fidelity audio sys- PRESENT AND FUTURE! tem. Dynamic full frequency range 50 to 10,000 cps at 71 ips and 50 to 15,000 cps at 15 ips. Two 18 Watt Channels. In blonde or mahogany cabinet...net á449.00 Dual Controls, 8 Inputs. 10W" Reel Drive for above ... only $39.00 Two 10 Position Record Compensators. SEE, HEAR and COMPARE 11 Tubes Triad H.F. Transformers the Latest Audio Equipment at One Switch gives Monoral 1 or 2, Binaural, TERMINAL SOUND STUDIOS Earphone Binaural, or 40 Watts Single Channel .5', Distortion $189.50 P WOrth 4-3311 Net l- T. 8 W.. ELECTRONIC CONSULTANTS 5430 W. 118th PL, Inglewood 2, Calif. WE CUSTOM ENGINEER AND INSTALL ALL I Please Ship Tuner Amplifier Mina! 25', With Order Balance C.O.D. flhone: MAJOR HI -FI COMPONENTS. RADIO CORP. Freight Paid on Cash Orders Phone OSborne 6 -0774 - FRonteer 4 -0927 85 Cortlandt St. New York 7, N. Y.

I 14 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com IN ONE EAR PILOT anty Continued from page 112 , r,41' M velye PADi A! Hif The last really walloping second act of Tossa at the Metropolitan came several seasons ago, when Ljuba Welitch sang her For the ultimate in first performance of the opera there, with Lawrence Tibbett as Scarpia. As the hus- HIGH FIDELITY band of a secondary soprano in the com- Not jus records, but the finest ... service pany said happily in the lobby: "She stab which aves you money and disappointment. TUNERS him like a real Sicilian (bringing his hand Send us your next order, or the coupon below. up from the knee in a violent and alarming the AF -824 FM gesture) in toglione." She had, too, and -AM then kicked him after he was dead into the bargain. u s, 40 PILOTUNER Still, on the whole, Carmen is the most öö0 dangerous of operas. Records do have 00o - 0 o their advantages, of that there can be no doubt, yet no matter how good the recorded Hi-fi components ... chosen for musical and performance may be you miss such little technical perfection ... at distributor's prices. extra added attractions. But, then, you don't get all bloody, either. Charivariety -i A few measures after the start of $1 19.50 the third movement of Sibelius' D minor 10 tubes, with two stage pre-amplifier concerto, Jascha Heifetz signalled Walter equalized according to LP NAB, AES and Hendl to stop the Dallas Symphony; while foreign recording standards selected by the audience sat wondering, they started Switch. Three magnetic phono and crystal over again. Questioned by reporters after and AUX. inputs. Two stage audio ampli- the concert, the violinist told the truth: fier with cathode follower output. Sensi- "I just forgot." Nothing like that happens tivity on FM -AM 10 MV. Audio frequency on records. Might be more fun if it did.

response ± T /zDB, 20 to 20,000 cps. Hum Just once in a while, to wake up the arm- level 80DB below one volt with hum bal. chair dozers and remind them of the human ancing adjustment provided. Controls: agency behind performances however per- Volume, Equalizer, Treble, AM -FM- fect. PHONO -AUX, Bass, Tuning and AFC on. off. Built -in antennas for FM and AM. Our own exclusive line of fine cabinets, in many styles, woods and finishes ... the ideal FM -607 FM PILOTUNER READERS' FORUM solution to most hi -fi "housing problems." Continued from page 3o

a first class serviceman within miles of here.) How can I decide? I read about rumbles. About cubic feet for the speaker enclosure; to what extent does space apply to my speaker? There's We did not jump on the hi -fi band wagon a compartment in my set for records; it's just lately ... we have been in the front seat separated by a partition from the speaker. I for the last fifteen years! Today, we have $59.50 can't take out the partition without messing the most complete facilities ... from design up the entire construction of the cabinet - and drafting. consultation with your architect 8 tubes incl. Rectifier with two stage but - can I put other speaker units in the or decorator, engineering and installation, cabinet oudio Amplifier and Cathode Follower record compartment; and if so, what then work and maintenance, lo the building of an outstanding record library. Output for use with up to 100 feet of about the cubic footage, with a thick board connecting cable. Audio Distortion .2% separating the two areas? We invite you lo visit us, or to send for full details on the many advantages enjoyed at 1 volt output, Frequency Response And so on, and so on. ±.5DB, only by customers the to 20 to 20,000 cycles. Sensitivity Arthur Robinson of Gateway Music. 5 microvolts for 20DB quieting with hum Volcano, Calif. Pone .Dot level 70DB below 1 volt. Slide Rule dial ® MI with illuminated scale and self- contained Are there any kind -hearted souls among tÁ yAssdsc front panel assembly with beautiful our readers who will give a hand in gold aa wtita/A.:v. Q6J. finish enables unit to be left open on writing) to Reader Robinson? shelf or easily mounted in cabinet. Three simple controls: On -Off Volume; Selector SIR: r Switch GATEWAY T O for FM, FM with AFC, or Phono; I am both a regular reader of HIGH F1- M USI C and Tuning. 3089 Wilshire Boulevard, Los Angeles 5 Built -in line cord antenna. Drury and a subscribing member of the Write for free brochure American Recording Society, and I was Tell me how I can benefit by ordering my disappointed to find a sorely such sketchy records and hi -fi equipment from you. article on ARS in your last issue. Surely Mr. Frankenstein could have given indi- Name PILOT vidual (if brief) comments on the technical RADIO CORPORATION THE and musical aspects of each record, or better Street STANDARD OF EXCELLENCE yet, have given the latter in each issue LONG ISLAND CITY, N. Y. of City Zone Continued on page rr6 L

MARCH, 1954

www.americanradiohistory.com FORUM READERS' MAXIMUM TONAL REALISM NOW! A Hi fi Speaker System Continued from page z 15 In Minimum Space that is HEARD ...NOT SEEN Cost! Hi -Fi as he got the records instead of At Minimum lumping them all into one short article. f,T,IIII After all, ARS has been sending records LV ,T.ltlllJl through the mail now for almost two years! IIII'Iiulill'I Be as it may, I have some additional that Milli! 111011111111 information concerning ARS and its opera- CINCDOM 1 tion which apparently Mr. Frankenstein SOUND COMBINATION could not obtain from Mr. Grenell. First of all, the "American Recording featuring Speakers Society Orchestra" which ARS is very close- mouthed about, has been repeatedly identified by H. C. Robbins -Landon of the Haydn Society in reports from Vienna printed in the Saturday Review, as consisting of members of the Vienna Symphony Orchestra. One would only have to note the soloists and conductors on the latest records to realize at least the locale of the recordings. As to the technical side of the recordings, I have been informed by Mr. Grenell and another ARS official, Matilda Rothman, that the Dean Dixon records, which suffer from varying degrees of sonic anemia, for reasons of economy had to be recorded (by RCA i Victor technicians, incidentally) in the "Symphonia" studio of the Vienna Konzer- G thaus, a locale fine for chamber music, but, if the sound of several commercial LPs (e.g. the Vox recording of Mozart's "Haff- ner" Serenade) is to be believed, sheer hell for any large -scale orchestral recording. Those ARS LPs whose sound indicates Uiluml>u01 sufficient "presence" and hall resonance were made in either the Grossersaal of the Konzerthaus or in the Brahmssaal of the Musikverein. As far as I know, a couple of the purely

orchestral records were made in this country; Here is a scund combination that mates music come alive hsme. The acoustically - engineered KINGDOM again ARS will not say which ones. I have In every the Problem of CABINET Is made of Hardwood kV thick. Reproduces both Solves also been informed that ARS has officially high and low frequencies with full tenal realism. Small In size. Versati e and DecorElee . . . B ends with modern or SOUND - SPACE- COST ceased recording activities in Vienna. Like traditional Interiors. Furnished compl_telyy assembled with The Lorenz SOUND CORNER the amazing cor- Society, apparently ARS has no LORENZ 11-215 WOOFER LORENZ LP-6S TWEETER AND - the Haydn KINGDOM NM NIGH PAST FILTER (Shown below). All per- ner -wall two way speoker system is an ingenious further wish to put up with the hectic re- fectly matched and balanced to bring You all the musical horn design of triangular cross section which uses charm and enchantment of the original performance . . cording conditions which have prevailed Natural, clew and crisp up to 16,000 cycles. the walls of a room corner as two of the three there since the "American Invasion" of COMPLETE KINGDOM SOUND COMBINATION cabinet with rigid boundaries, the speaker baffle being the speaker system. Size: 13" s 16" s 19 ". Available in colors 1950, and with "well over 50,000 members," to harmonize with the t2llowing finishes: Mahogany or third. The SOUND CORNER uses no floor space Net Unfinished as Mrs. Rothman put it to me, I suppose Olonde $69.50 $67.00 . is as easy to install as hanging a picture on that with their money coming in each KINGDOM CABINETS ONLY for 8" speakers or 2 -way systems: the wall, and is perfectly low -priced to harmonize Mahogany or Blonde. Net Unfinished with any budget. month that ARS now can afford to "come $26.95 $24.45 to an understanding" with the illustrious CNAIRSIDE STAND Net $6.95 QUALITY COMPONENTS PLUS SOUND DESIGN Petrillo. Built around the LP 215 Mr. 'WOOFER' LOUDSPEAKERS "Woofer" loudspeaker, famous Last of all, (and this is for Mr. Franken- for its clear tonal quality, and AND TWEETERS the brilliant high frequency LP stein's benefit) the early American works 65 "Tweeter ", the SOUND COR- pressed on ARS No. 32 and No. 33 are re- Mode Expressly for KINGDOM Products NER reproduces the full range The LORENZ Speakers have been tested and found from 31 to 16,000 cycles with prints by special permission of New Rec- excellent with the KINGDOM CABINETS, the Rebel breathtaking Concert Hall ords of material from their catalogue. No IV CABINART and ELECTRO VOICE BARONET. Other "Presence," from the smooth well. designed cabinets Should work equally well fundamental bass of theOryy is made this in the monthly Pedals to the sparkling "high"s mention of of the Piccolo, the SOUND preview folders which members receive, LPi5 CORNER adds the Miracle et Lilt to the Magic of Music but perhaps credit is given on the jackets. LORENZ theuperl ti complement to Recording Society Chorus' TWEETER finest high fidelity equip- The "American ment and custom installations. featured in the recording of Horatio Par- Carries the highs- Clean, clear is and Cnsp up to 16,000 cycles. The SOUND CORNER blends deftly with any decor ker's oratorio flora Novittima actually Power: 2 watts. Impedance: ohms. Sim 21" du . can be painted easily to harmonize with any the Weiner Akademiechor. I suppose that 5 Net $0.50 color scheme. If desired, a lamp mounting can be William Strickland recorded this perform- added with to provide indirect light- LORENZ little effort ance for ARS while he was in Vienna to HP.l KINGDOM LP.215 ing. With an overall height of only 31 ", the 'WOOFER' LOUDSPEAKER conduct a representative program of con- NIGH PASS FILTER env CORNER tapers down from a top width of A masterpiece of sound SOUND temporary American music in April 1952 Used with the LORENZ LP-65 ovnnE. Performs smoothly 271/2' to a mere 113/4" at its base. TWEETER it will extend the over the Full range Response under the sponsorship of the Fulbright taw of the 40- 13.500 cycles. Power S SCL SOUND CORNER complete ready for con- of auá :bIiñyoe Impedance: 4 ohms - a partly available on Vox from 4.000 CPS up Saltsite ma. Act, program 81/2" Net $22.50 nection to your amplifier. Avail- Io 16.000 CPS Net $4.95 PL -7750. Oh yes, and the unidentified able in Blonde wood only. nets5MS 50 soloist in John Powell's "Rhapsodie Negre" Write for Detailed Specifications Write for Detailed Specifications is somebody by the name of Lawrence Davis. Robert F. Duguay KINGDOM PRODUCTS, Ltd. Hartford, Conn. KINGDOM PRODUCTS, Ltd. 23 Park Place, New York 7, N. Y. WOrth 4.8585 23 Park Place, New York 7, N. Y. WOrth 4 -8585 Continued on page z1 Specify Emitron KT -66

116 HIGH FIDELITY MAGA Z1NE

www.americanradiohistory.com HERE- Ata you k.ceu.. . . at Weingarten's we will play YOUR HI -FI your favorite recordings* through your choice RECORDING SYSTEM of components. IS ONLY AS GOOD

Now that you are ready for Fisher ... have compared speci- AS YOUR MICROPHONE! HEAR how they fications ... admired the printed sound through illustrations ... Now that you have decided that only Fisher the superb all- triode equipment will meet your standards, come to Wein- %keae esetezta.Ceieaeurcee FISHER garten's where you can see, compare, listen to THE COMPLETE arce eke aeaaercd wky ele laboratory standard FISHER LINE. On display at all RAI model 50 -A times are Fisher tuners, Master Audio Control, Hi -Lo Filter Sys- audio amplifier tem, and Fisher amplifiers - GRADIENT'tt300tt the 50 -watt 50 -A, as well as the sensational new 25 -watt 70 -A. HIGHER FIDELITY MICROPHONE is used by leading recording artists aA separate library is Here ends your quest for the best: Hi -Fi enthusiasts for maintained for audition and consistently only. Records you buy superlative reproduction: are fresh, unplayed.

Send us your order by nail. If desired, we will WEINGARTEN ELECTRONICS REDUCES REVERBERATION and pick- advise you how but to up of unwanted noises by 66 %! coordinate Fisher compo high fidelity equipment at net prices nenfi with your present 7556 Melrose, Los Angeles 46, Calif. WAInul 5403 VOA 3872 equipment. SMOOTH FREQUENCY RESPONSE -40. 15,000 c.p.s. VIII-DIRECTIONAL PICKUP PATTERN -enables you to arrange the artists around microphone to obtain the best balance between the different musical components. /VOICE-MUSIC SWITCH- for utmost flexibility in achieving highest quality recordings. HIGH OUTPUT -eliminates hum problems - by allowing recorder to be operated at normal gain settings. MULTI- IMPEDANCE SWITCH for LOW, MEDIUM or HIGH IMPEDANCE -pro- Model vides added 300" flexibility. Br t so dramatically different, it's a new LIST PRICE concept in amplifier design. Model $135.00 533 so functionally compact, it simpli Desk Stand fies any installation. list Prise $15.00 o exceptionally attractive, it captivates at first glance. tg-wan But, FOREMOST, so genuine in HIGH QUALITY AUDIO single-chassis power and pre. PERFORMANCE, despite it's unprecedented low cost. a.p8der ceni;a11o SHURE BROTHERS, Inc. SEE and HEAR the New Model 22.1.1 your local dealers Sound Department Microphones and Acoustic Dorien Dept. FA-4 225 West Huron St., Chicago 10, Illinois soon. A listening treat a,eaits you. Write today for free technical information. Cable Address: SHUREMICRO

Please send me FREE Microphone Catalog 77A and list of Shure Distributors in my BROOK locality. ELECTRONICS, INC. Name.

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www.americanradiohistory.com READERS' FORUM

Continued from page 116

SIR: Win a As a charter subscriber to HIGH FIDELITY I could not, of course, get along without it. My one regret is that the whole field has become just another impersonalized extension of Big Business. We "originals" will continue to buy and enjoy the new products, knowing at the same time that something rather priceless has gone. Does Amplifier and Compensator anyone else feel that same way about it? Hugh B. Scott Grundy Center, Iowa

SIR: It seems to me your magazine now has sufficient prestige to make it an effective cash`! agent for improving the practices of record and manufacturers, that is, for bringing pressure 500 I Mac needs your help! He needs a on them. think they should be urged to state clearly on each record, or at least name for the famous McIntosh out- the envelope, to what curve it was cut. put transformer circuit. Just by Also, as a minor matter which frequently naming it you can win one of six aggravates me, they should indicate in large big prizes. Names may be either numerals the two sides of the record. One technical, for example, "Bicoupled", is often looking at records in poor light or non -technical like "Perfectone ". and the markings should be conspicuous. Your McIntosh dealer can supply On some Columbia records, such as the you with a folder that tells all about the McIntosh circuit. Get Beethoven quartets, there is no marking at all, only the tiny numerals which indicate one, it will make it easy for you to win. Your entry blank is in the movements. the booklet. From my experience I would say that your advertisers make a mistake when they do not Six Big Prizes! quote prices. One simply assumes that they i st prize, a McIntosh 50W2 50 watt Amplifier, a McIntosh C -108 are very high. But if they are justifiably Audio Compensator and $500 cash *; 2nd prize, McIntosh 50W2 high the price helps determine quality class. More important, people 50 watt Amplifier and C -108 Audio Compensator; 3rd prize, seriously interested in buying like to read ads with a pencil A 30 Amplifier and C -108 in McIntosh -116, watt Audio Compen- hand to compute the cost of complete sys- sator; 4th prize, McIntosh A -116, 30 watt Amplifier; 5th prize, tems; without prices they simply turn to McIntosh C -108 Audio Compensator and D -101 Power Supply; ads that do have them. This has happened 6th prize, McIntosh C -104 Audio Compensator and D -101 more than once when I have been advising Power Supply. friends planning to buy. They like to see *If you are the first prize winner, McIntosh's Chief Engineer will install the latest possibilities, and your ads are your equipment and assist you in the selection of other components. taken as an authoritative listing. Kenneth Lehenring The McIntosh Circuit Ann Arbor, Michigan. At right is a drawing of the patented McIntosh output transformer circuit SIR: which is not available on any other am- I would like to take issue with J. Sinnard plifier. See your Hi -Fi dealer and find writing to you from Quebec in your issue of out why McIntosh amplifiers guarantee November -December. The subject of the substantially less than 1/2% distortion at Victor jacket decoration for the Toscanini all frequencies 20- 20,000 cycles even at recordings of the Beethoven Symphonies full power output. Hear the difference - is one on which I heartily agree with C. G. the difference can be your suggested Burke; but M. Sinnard's letter (upholding name. All you have to do then is name it, RCA Victor's use of Toscanini's picture and you can have it . . . IF you're one and omission of Beethoven's) raises a of the lucky winners ! question which goes beyond advertising "Name the McIntosh Circuit" Contest Rules artwork. I. S.r w e There and will no to the try bearing the earliest Enthusiasm is a wonderful quality whether d nao buy. y.'br. each ust be mailed ark. All entries become the property of by an . McIntosh Laboratory. Inc. and not applied to music or philosophy or planation 'oand hword. will be knitting, 5 oaccompanied 4. The test Is open think this name fits the circuit its performance. to all residents of the but a little sober reflection i should reveal the Entries may °1be on postcard. plain heel of U.S. andnd °Canada only. and valid only where better till. the entry in the i State laws. blank Your m st be postmarked notno plater than error into which M. Sinnard has fallen booklet available our i -ri dealer. If you win. midnight, - i at: your dealer. so be stare to March 31. 1854. an error many music lovers Include his name with Your entry. 5. Employees of McIntosh Laboratory. Inc.. their seem to share. re e tatives. advertising agency or families 2. All entries are to be mailed to: McIntosh are not eligible. Toscanini is a dealer in music, so is Casals, Cleveland, Ohio, rby °mtid fight Mich 31, 1954. e Winners will be announced In MION FIDELITY is Magazine May so Hindemith, so is Britten. The fact that 3. Entries ill be judged on the basis of aptness and A list f winners `bee to you originality. decision of the CContest aboutMay 15. 1954. if obsessed. stamped the first pair of names is much more familiar will be final. In the event of a tie. r1- the envelope I. enclosed with your entry. to today's "music lover" than the second brings me to my main argument. In the LABORATORY, lax language of today all four are considered INC. "musicians," but what is to become of the Illintosh BINGHAMTON, N. Y. distinction between the creator of music and Makers of the World's Finest Amplifiers and Compensators the re- creator of it? Certainly the perform- Manufactured under patent numbers 2.646.407; 2.545.788; 2.654.058; 2.477.074 ances of Toscanini and Casals reveal new Continued on page 120

I 18 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com OWN THIS GREAT LIBRARY for complete authoritative analyses of all important r AUDIO AMPLIFIERS CANADA'S FIRST HIGH- FIDELITY RADIO, PHONOGRAPH, RECORD AND TELEVISION CENTRE Only data of its kind available on hundreds Complete stock of Stromberg- Carlson, Fisher, Hallicrafters, of important audio amplifiers. Complete, Concertone, Columbia, Pilot, River Edge, Sonotone, Electro- Voice, uniform, detailed analysis of each unit, RCA Victor and General Electric Hi -Fi equipment. based on actual laboratory study of the equipment. Includes circuit diagrams, Prompt attention to mail orders -- We ship from coast to coast chassis in Canada, aircargo, photo views, parts data, full techni- express or freight. cal coverage. Available in four profusely illustrated volumes absolutely indispensable to - VfGdem2 ciQw?.d ermi //IÓf.Q92 XiI,CL. audiophiles, engineers and students. VOL. 4. Covers 75 audio amplifiers and impor- 390 Eglinton West Telephone HUdson 1 -1119 Toronto, Ontario tant tuners produced during 1951 and 1952. Never before available in a single compilation. 352 pages, 8y¡ x 11 ". ORDER AA -4. Only $3.95 VOL. 3. Covers 50 audio amplifiers and 22 FM and AM tuners made during 1950. Detailed data on design and servicing. 352 pages, 8j, x 11 ". ORDER AA -3. Only $3.95 VOL. 2. Covers 104 amplifiers and 12 tuners produced in 1949. 368 pages, 8 x 11 ". ORDER AA -2. Only $3.95 VOL. 1. Covers 102 post -war amplifiers and --from tuners produced through 1948. 352p, 83. x 11 ". any ORDER AA -1. Only $3.95 angle A challenging answer "The Recording and to low cost, wide -angle Reproduction of Sound" high fidelity reproduction. Only complete reference on AUDIO! New second edi- Diffusicone -12 is a newly tion -over 800 pages. engineered speaker with Chapters on sound wave exclusive dual concentric behavior; recording methods; the decibel; phono cone design, which diffuses reproducers; cutting stylii; the normally beam-like high microphones; loudspeakers; dividing networks; attenuators; mixers; ampli- frequencies. Results in excep- fiers; tuners; home music systems-hundreds tionally uniform response . . . of other subjects. The great Audio book by Oliver Read -largest- selling in its field. assures full range reception over ORDER RR-2. Only $7.95 the entire listening area. HOWARD W. SAMS & CO., INC.

Write today for Bulletin 62N73 Order from your Parts Jobber today, - address inquiries to Desk 62. or write direct to Howard W. Sams 8. Co., Inc. 2213 East 46th St., Indianapolis 5, Ind. THE NEW S enclosed. Send following books: AA- 1($3.95) AA- 3($3.95) RR- 2($7.95) AA -2 ($3.95) AA -4 ($3.95) DIFFUSICONEI 2 Name Address UNIVERSITY LOUDSPEAKERS INC. K s idiCeuestede 80 So. Kensico Ave., White Plains, New York City Zone... State J

MARCH, 1954 119

www.americanradiohistory.com READERS' FORUM CRAFTSMEN ASSEMBLY

Continued from page z z 8 Continued from page 94

beauties in familiar works and in this limited but the knob was not installed on the shaft sense are truly creative. But just as each so that the marker pointed up in this posi- generation writes its own history, so each tion. However, the knobs can be pulled off generation will certainly make its own in- easily, and when the tuner is installed the terpretation of the music of the past; and knob can be reset correctly. As for the bass in time the recordings of today's interpreters control - if, when the shaft is rotated full will become only the cherished mementos clockwise (all the way "on ") the knob is of that inevitable band who decry the pressed on so that the marker points straight present in terms of the past. Just as surely down, then the flat position of the control as the work of our favorite interpreters will will be obtained when the marker points suffer future eclipse, the work of our crea- directly up. tors of music will continue to reward and It is unfortunate that variable record inspire future generations as long as music equalization was not provided. Even so, lasts. Paganini may have performed the by fiddling with the tone controls we could Beethoven Concerto to the roaring approval make about any record we played sound of his audiences, but his inevitable "inter- properly equalized. For those who desire polations" would leave today's audiences precision, and can do without TV, a sepa- roaring with derision. rate preamp- equalizer for the record player Music obviously requires both composers can easily be plugged into the Cto's TV and performers. Through the eighteenth input. century these were usually the same indi- Sensitivity and fidelity of the tuner on FM viduals, and music was the richer for it. are both excellent, and in these respects the Since their paths divided in the mid -nine- Cto can be rated high. On AM, a whistle teenth century, there has been a constantly filter is of real value in making listening growing tendency to glorify the performer more enjoyable. and ignore the composer. The record player is simple to mount And now someone writes: "He is the and operate; the cartridge, AC cord, and greatest living conductor," (debatable, but signal lead are already installed. It isn't I would agree and so would the Maestro) necessary to plug the power cord into the "the greatest musician of our time," (NON- Cto, because the motor shuts off after the last SENSE) "and perhaps for any time . . . record plays. Also, when records are being (good God!) played manually, the motor is turned on Alfred Folsom Chicago, Illinois Continued on page 122

This is a modern dynamic microphone all right ... with Alnico V Magnets and moving coils for maxi- for every note mum sensitivity to voice and music. Wide response range and outstand- iia--P in the score- ing sound characteristics make it ideal for tape recorder, PA, or commercial broadcasting use. Its design is certainly modern, too .. . BOZAK trim, handsome, functional. presents And about that price. We call it "old- fashioned" because it's so much lower than you would expect to B -207 pay in these expensive days. Only $35.00 list. The famous Bozak B-199A Bass Speaker with a Frequency response, 70 to 10,000 coaxially.- mounted B-200X cps; output level, -58 db; 20 ft. removable grey plastic cable set; .r_---- direct -radiating Dual Tweeter. standard 5/8" -27 coupler; Mounted and wired complete with high impedance wired single ended filter, ready (single conductor shielded cable); "slow" crossover 50, 200, or 500 ohms wired for for installation in an infinite balanced line (two conductor baffle or suitable horn -type enclosure. shielded cable). About 8Y2" high. Minimum Harmonic, IM, and Transient Balance over ADA 95D. List Price Distortions - superb 535.00 40 to 20,000 cps range - 120 °spatial ADAS 95D. List Price coverage at 10 kc Resonance below 40 cycles. with slide switch $3e.50 - The Very Best in Sound, in a compact package. See your Dealer or write ... THE COMPANY 942 17th St., N.E., the R. T. Co. Cedar Rapids, Iowa BOZAK CANADA: Canadian Marconi Co., Toronto, Ont. and Branches EXPORT: Ad. Auriema, Inc. 114 Manhattan Street Stamford Connecticut 89 Broad Street, New York 4, N. Y.

120 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Here is an amplifier that looks v as good as it sounds. The McGOHAN 30* WATT o WA -325 combines the superb z audio quality of the well - ULTRA -LINEAR known Ultra -linear William- son Circuit with an attractive- HI -FI AMPLIFIER ness unequaled at any price. only $109.50 net You won't need a cabinet for ON O this beautiful chassis, finished _ in metallic maroon, with white HIGH lettering and chrome plated z transformers. FIDELITY The perfect preamplifier for z the WA -325, or any other When you deal with amplifier, the -300- - WA pre Radio Laboratories, amp and tone control unit World VCos with self- contained power sup- you can easily afford the o 0 ply. Compare its features, High -Fidelity compon- listed at the left, with similar, ents of your choice. a more expensive units. The WA -300 is only $49.50 net. Speakers, amplifiers, WA -325 Ultra-Linear Amplifier o w Frequency Response-20.60,000 cps, 1 db. tuners, changers, pre - at 25 watts ñ amps everything for Intermodulotion Distortion -Less than 1 % at 30 - watts, equivalent sine wave power. ó the handyman, ama- Harmonic Distortion -Less than 0.5% at 25 watts. Feedback -20 db. teur, and serviceman! Hum and Noise Level -85 db. below 25 watts. Ó Output Impedance-8 and 16 ohms. a. Tubes- 2.6SN7GT, 2 -KT66, I.5V4G. Dimensions long, 71/2' high. n TRADE -INS We offer the -14' deep, 6' These fine McGohan products 2 -AC Outlets were most liberal allowance on awarded the Medal of Merit for WA Preamp and Tone Control ç out- -300 standing your present equipment. Five Position Selector Switch for radio or auxiliary o design and performance at inputs and for LP, AES and Foreign record com- N the International Sight and Sound Let us know what you have pensation. A Exhibition. Seven Inputs -high and low gain radio, high and . . . you'll be amazed at low gain auxiliary and three phono inputs for GE, our generous trade -ins. Pickering and Audax pickups. IMMEDIATE DELIVERY Calibrated Tone Controls -Bass, +17 to -15 FROM STOCK AT db: treble, -,15 to -18 db. Frequency Range -20.20,000 cps, w 1 db TERMS Pay as little as Tubes-124X7, 12ÁU7 ARPIO SALES, Inc. 3 -AC Outlets 4305 N. Lincoln Ave., Chicago 18, III. 10% down ... convenient Dimensions -11 s%s' long, 51/2' deep, S %' high. terms to fit your Hi -Fi budget. No red tape - we finance our own paper - name your own terms! % eg, //ji O/ heard right! /e ali= ed !rod! 0rr u 'nos,. per JeeehOusu. vi ILL Jib MODEL 1502 1954 $445.00 hot hp

( "... just like being there..." C 11C(,`l ( ll(, lets you hear them all THE ONLY WORLD Radio TAPE RECORDER UNDER $1000 WITH ALL 3415 W. Broadway THESE PROFESSIONAL FEATURES: Council Bluffs, la. Laboratories Separate playback head permits monitoring direct from .lO-/4f tape while recording. derft Uses 101/2 inch professional reels without extension arms. World Radio Laboratories, Dept. H Three motors for superb tape motion. 1 1 3415 W. Broadway - Council Bluffs, la. 1 1 DESIGNED SPECIFICALLY FOR CUSTOM SOUND SYSTEMS 1954 WRL Radio -TV Catalog High -Fidelity Catalog Get complete details now. See your Audio Distributor or 1 1 U. S. Radio Map -25c write for Bulletin Number 2M02. 1 1 Name Berlant Associates I Address 1 U 4517 W. Jefferson Boulevard Les Angeles 16, California I City State 1

MARCH, 195.E I21

www.americanradiohistory.com F.M. STATION DIRECTORY

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CRAFTSMEN ASSEMBLY 95 Continued from page 12o MINIATURE TUBES and off by moving the arm away from and 'Plus germanium diode AM detector! back to its rest. The manual -play feature is worthwhile, and so is the neutral position of the speed- change switch, on which the DUAL CASCADE LIMITERS! idler wheel is disengaged from the drive pulley. No flat spots can develop if the NO7' ratio detector but true 111(.11- 1'IUELITY Arm- strong -type FM, plus sensitive AVC AM. Twelve - user remembers to shift to neutral; he not 8 - miniature tubes. 30. 15.000 cps cathode fol. SIMPLIFIED POWER should take pains to remember, because the louer output! Dual FM -AM band indicating lamps. SUPPLY Ultra compact to fit anywhere: 81/4 W x 53/a H a 8" noise level of the player is fairly low when deep. The model V -12 tuner comes less power sup- new. ply, requires 6.3V AC Surprisingly good performance was ob- TUNED RF STAGE FM, AM! @ 4 amps, 190V DC a - @ 55 ma. Available tained from the C2o speaker in small rear Yes! Tuned RF stage and separate RF and IF stages on from us, 100% wired, loaded horn enclosure, driven by the C400 both FM and AM. Rugged 6 -GANG condenser! for just 512.05. Hundreds now in use Order by appreciative music lovers No. 36.207RN. 7 lbs. amplifier. This combination exceeded the from coast to coast. Attach to any amplifier, radio. TV set or sound system. immediate delivery! requirements of the price range, in our opinion. Since there are no controls of any kind on the amplifier, its power cord should the AC outlet on the back DIAMOND -SAPPHIRE for G -E RPX be plugged into L u ,a - -050 of the Cio, which is controlled by the Big savings on a limited quantity of the EXACT tuner's on -off switch. RPX -050 replacement stylus with diamond tip Speaker enclosure drawings are given in for LP and sapphire tip for 78's. Here's a bar- the general installation directions and LIST gain every hi -h fan will recognize, for America's both most popular magnetic pickup, the G -E triple in the speaker instruction sheets. No level Guaranteed first play! quality; and the LP dia- is provided for the tweeter; if it is mond is a genuine South African whole stone, control $31 a 1295 not a fragile chip or splint. Immediate deliver) too bright for some installations, add few on mail orders, while they last! Order No layers of grille cloth. NOTE: include est. postage R- 6008 -HF. Mounting hardware and interconnecting ORDER BY MAIL, PHONE, WIRE! FREE 224 -PAGE CATALOG! cables are supplied for all the equipment. Instructions are generally complete and clear. Well worth the price for anyone coming into hi -fi cold, but it should be mentioned that a RADIO SHACK CORPORATION system of greater flexibility, particularly insofar as record equalization is concerned, 167 Washington St., Boston 8, Mass. (Dept. HF) may be desirable and can be assembled from other Radio Craftsmen components. - R. A.

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no special arm needed A DISC'S accepts all standard cartridges tracks both Binaural and standard BEST LP's adaptable to standard arms AND FRIEND" CHANGERS

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In stock at your dealers ® Records worth buying ... are For full information on converting to records worth protecting. Only a Binaural, write to, diamond needle has a tip so perfectly rounded ... so durable that it gives you thousands of plays without damage to your records. COOK LABORATORIES STA FORD, CONN. What causes damage to a record? One play with a worn needle is only the beginning ... when you can hear it, the record is already ruined. - ® How fast do needles start to wear and damage records? The facts -an osmium (precious metal) needle gives about 25 safe plays. A sapphire gives about 50 safe plays. A diamond, giving thou- PURE toned POWER! sands of safe plays, is 90 times more durable than sapphire. Yet 20 WATT °NL, a Duotone diamond costs but one - HIGH FIDELITY $6950 ninth the' price of 90 sapphires. AMPLIFIER This means true economy for you Also available with newly designed, a uinunusl> Lariablc .. - lasting protection for your "loudness control' 873.50. Control, fully described on records. page 54, Oct., Radio and Television Neu -,, compensate, Remember, whatever you perfectly for hearing deficiencies at low volumes of sound use there is reproduction. ... no such thing as a permanent needle. And when Pre -Amplifier Stage Is Included you think of needles think In This FULLY GUARANTEED Unit. ... of Duotone whose reputation for Now you can enjoy both quality crophone and tuner provide mu- and economy in your high fidelity sical balance with any source of quality is based on performance. music system. This properly engi music. 20 to 20.000 cycle frequen Duotone has the correct replace- neered, compact 20 Watt amplifier cy response ± 1 db. 4. 8, 16 and is specifically designed for finest 500 ohm output impedances. Con- ment needle for any record player custom installations. Four switch- structed from Heathkit A -9B, by selected matched inputs for mag- electronic experts, on your order. , at your dealers now. netic pickup, crystal pickup, mi- Shipping Wt. 17 lbs. PLACE YOUR ORDER TODAY With your order, please Write for prices and all information on enclose check or money custom- construction of any amplifier, order. Shipped express only pre -amplifier or phonograph kit . . . F.O.B. Benton Harbor. assembled, tuned and tested by experts. 2,;;;;;ieOOZOnE KEYPORT NEW JERSEY

MARCH, 1954 I ,

www.americanradiohistory.com SME PROFESSIONAL Continued from page 96 DIRECTORY DIAMOND about the "new" Society. We will give you NEEDLES but a brief picture here, but you may write FOLLOW THE LEADER for complete details. IN FIDELITY The SME now is incorporated as a non- HIGH commercial, non -profit membership or- Visit Our Ultra -New Sound Studio ganization under the laws of the State of for All Your Ili -Fi Requirements 5P0USPOSTAGE New York, and headquarters will be located in New York City. Mr. Owen A. Higgott, THE TRANSCRIBER COMPANY OF prominent in financial circles, who has OLYMPIC ELECTRONICS served as the SME's Comptroller, now will 7636 Santo Monica Blvd. BOSTON, pioneers in diamond re- assume the Presidency of the Society. He Los Angeles 46, Calif. Hollywood 4 -9144 tipping of phonograph needles feels strongly that the SME has a real mission and the first in this highly special- to perform in the world of music and is ized field, will retip your present contributing generously to make certain Dr. needle with a genuine whole dia- that the Society will be successful. ALL MAKES TAPE RECORDERS Ronald R. Lowdermilk, former National mond (not chips or splints) for Largest stock tape splicers, Chairman, will serve as Honorary Vice - $10.50 plus 25 cents for handling President; Mr. M. Warren Troob, well - splicing tape, microphones. and postage. known attorney, will act as Secretary; and The West's largest distributors the former Executive Secretary will become Today, diamond needles are ac- Vice-President and Editor. cepted as the only way to protect The By -laws of the Society have been re- Ricoutem valuable, finely grooved long -play- vised slightly. One change will be that 7120 MELROSE ME LOS ANGELES 41, CATIE. ing records and to obtain distor- Junior (Free) Memberships originally offered to children of members are available to the tion -free reproduction. age of 12 instead of the former 16 years. 12 will be Chances are your record player Over the age of such members "E J ERYTIII NG eligible for "Family Membership" at the in high fidelity is equipped with a sapphire or rate of one -half the yearly dues. The basic From Primary Components osmium -tipped needle, which has dues remain $3.00 per year. However, no to Completed Custom Installations an average life of from 20 to 3o reduction can be made to SME members VISIT OUR NEW "AUDIO -PHILE HAVEN' or write to hours of playing time. Beyond who are also subscribers to HIGH FIDELITY Magazine. As you recall, this special rate that you run the risk of serious KIERULFF damage to your records. A dia- Continued on page 126 sound asp. mond tipped needle can be used 820 Wes! Olympic Bled. Lea Angeles 15, Calif. Richmond 7-0271 ZEnilh 0271 safely for approximately 1000 hours. When you retip your needle with a diamond you save, because "WE HAVE IT" diamonds cost you less per play- POURS! IT'S Hi -Fi Components Exclusively ing hour and records last longer. THE VERY BEST IN HIGH FIDELITY needle Send us your replacement Hal Cox Music assembly now -today. Let us retip Custom it with the highest quality genuine 2598 Lombard I I I ELECTRONICS AVENUE diamond stylus -exactly the same 7460 MEIROSE San Francisco 23, California LOS ANGELES 46, CALIFORNIA as we make for leading radio sta- WEst 1-3134 NET WEst i -3135 WEbsler 3-8208 tions the country over. You pay only $1o.5o for a genuine diamond from Transcriber because For you deal directly with a leading High -Fidelity House and -/ manufacturer of diamond stylus Offering the World's Finest Home comparison /f ° of all the for broadcast use. Music Systems, created by experts with years of experience. Stars in Sound, visit Our diamond tips are uncondi- High Fidelity is our only business- Figart's Sound Un -Ltd. guaranteed and are made not a sideline. Complete stock of every tionally worthwhile component at all times. Ra,. t hero California's finest Audio !Edgers. for long -playing or standard rec- Opposite Carthey Circle Theater 536 South Fair Oaks, Pasadena 1, Calif. ords. Send check or money order 6320 Commodore Stoat Drive SY 5-4118 RY 1 -8171 Los Angeles 48, California YO -6218 for $10.50 plus 25c for return postage with your needle assembly or complete cartridge if you cannot CONN. remove the replacement needle WESTPORT, N assembly (except Pickering non - ^\W INCRTf _ Ili -fi sales and installations at replaceable type) to: LECATRONIC lowest prices. All popular brands. VABORATORIES Cook wide range recordings. INC. Room or write THE TRANSCRIBER CO. 7556 Melrose A , Los Angeles 46, California Viril our Audio WALnut 5405 York 3872 Diamond Styhrs Manufacturera Music Systems of Westport, Inc. The ultimate in high Fidelity Dept. H Boston 30, Mass. Post Road Capitol 7 -9695 Westport 172 Orcen St., at net prices.

124 HI81-1 FIDELITY MAGAZINE

www.americanradiohistory.com PROFESSIONAL DIRECTORY

RECORDING TAPE ( PLASI IC BASE) SPECIAL!!! WHERE ELSE WOULD THERE WASHINGTON M agnetic CUSTOM SOUND D. Now, for the first time, JUNIOR AIR -COUPLERS C. BE MORE ED TAPE? for true bass reinforcement are available 200 ft. featuring plastic tape with plastic reel included direct from the original designer- manufacturers, Each reel individually boxed. Choice of nation and at a c price. Described in the May - Selected British 8 American units ally famous top quality brands such as: Reeves June, 1953 r issue of HIGH FIDELITY, these are Special demonstration facilities SPN- 12)3.20; Webtor (2906) 3.20;Audio (1251) mode of fine selected and ready to 3.23; plywood are Scotch (111-A) 3.25; Irish, Professional finish. Completely assembled except for speaker. Cabinets to your specifications ade, (211 RPA) 3.30. New empty plastic reels in boxes for easy la- PRICE $29.50 CRAIG AUDIO LABORATORY beling-3"-10c; 4 -22c; 5 -24c; 7 -30c each. " " " Shipped crpro 'l,rt. No COD'S, please. 12 Vine Street Rochester, N.Y. EMPTY BOXFS, 3 " -3e; 4 " -5e; 5 " -5e; 7 " -10c. BAker 1345 PLEASE INCLUDE SUFFICIENT POSTAGE RAM COMPANY "a stylus to a Ritpschorn' COMMISSIONED ELECTRONICS CO. P. O. Box 221 Great Barrington, Mass. 2503 Champlain St., N. W., Washington 9. D. C.

In Atlanta, Ga. for SUPERIOR In Westchester it's SOUND and SERVICE Finest foreign and domestic Quality Ili -P'i Equipment equipment at catalog prices No Charge for Installation fIIIESTLAB Liberal 'Trade -In Allowance for light Inquiries Invited Dept. ll fidelity Studio Open Evenings CONSULTATIONS COMPONENTS SERVICE CUSTOM INSTALLATIONS CREATIVE AUDIO 1429 PEACHTREE ST., N.E. ASSOCIATES 1587 Central Avenue 150 S. Harrison Street Yonkers, N. Y. EMerson 2156 Atlanta, Ga. East Orange, N. J. ORange 6-5229 SPencer 9.6400

I. CINCINNATI AND IN CHICAGO WE 9 -3495 TANNOY SPEAKERS rlli. TRI -STATE AREA AVAILABLE Hi -Fi NEW YORK AREA Quality Servicing * COMPETENT ENGINEERING by BOHN offers complete custom high * COMPONENTS AT NET PRICES fidelity Phonograph- radios. We * FINE CABINETRY Audio Workshop, Inc. feature TA N N O Y loudspeakers * SERVICE ON ALL RI -FI COMPONENT, designed for MUSIC 725 S. LaSalle St. LISTENERS. Hear a typical home installation. etrr.Jtaa a. Hi -Fi Consultations, Sales, ,tac. BOHN MUSIC 2259 Gilbert Ave. Capitol 3153. Cincinnati 2, Ohio Installations SYSTEMS 550 Fitth Ave., N.Y.C. PL 7 -8569 "A Component or a Complete System"

Contemporary American Furniture TRUVOX in the PHILADELPHIA area Speaker Enclosures YOUR COMPLETE SUPPLIER is CABINET MAKERS Equipment Cabinets Specializing in Hi Fidelity SERVICE CO. OF PENNA., INC. Write Nearest for Dealer HIGH FIDELITY A COMMERCIAL 725 S. La Salle, Chicago III. SOUND STUDIO 5, TRUVOX MFG. CO. WE 9 -2868 709 Arch St., Philadelphia 6, Po. 208 East 47th Street New York, N. Y. Phone: LOmbord 3 -7390

VOICE AND VISION SERVICE ;(112 the G'o.r..roidd¢.at . . . HI -FI SPECIALISTS FOR YOUR HI -FI EQUIPMENT COMPONENTS Factory- Fresh, Selected LONG Specializing in Cuslont Equipment PLAYING RECORDS, Tested CUSTOM DESIGNING and Installations since 1947. Calls on the Fi nest High- Fidelity INSTALLATIONS made in N. Y. C., Westchester, Long SERVICING Island. Equipment. SOUTHWEST RECORD SALES 53 EAST WALTON CHICAGO 11, ILL. VECTOR LABORATORIES 4710 Caroline Houston 4, WHitehall 3.1166 217 3rd Ave., N.Y.C. GR -3 -7686 Texas

SOUND EQUIPMENT UNUSUAL PERSONALIZED CANADA'S FIRST 5c 4 -ü? (.(.PIL rVnvnq HI -Fl SERVICE HIGH - FIDELITY WE OFFER You Your Entire Hi -Fi RADIO, PHONOGRAPH, RECORD AND TELEVISION CENTRE THE LISTENING PIET Unit Custom Designed and Installed- Repairs on Your Present Equipment. Stromberg-Carlson "Custom 400" 161 Newbury Street Boston Hallicrafters Hi -Fi, Short Wave & T -V ELECTRONIC CONSULTANTS Fisher Radio - Concertonc Tepe Recorders New England's New Audio Center 171.08 Northern Blvd., Flushing 58, N. Y. All Makes of Hi- Fidelity Records INdependence 1 -2200 Component, Systems Tope LIONEL BYALIN - Cabinet Maker CIrsá10On so...ad Ind ?Junon Ltd. Telephone 7 -7530 COpley for prompt free 5 Northern Blvd. Greet Neck, N. Y. 390 EGLINTON WEST TORONTO, ONT. deliveries In our area GReat Neck 4 -9262 Phone HUdson 1 -1119

MARCH, 2954 125

www.americanradiohistory.com SME "TAB" Continued from page 124 /f's New! was available only because the SME's THATS A BUY bulletin was to have been bound into copies of the Magazine going to member -sub- "FOAM DISC" DIAMONDS AN "LP'S" BEST FRIEND Protect your records that's "sound" scribers, thus saving substantially on pro- advice. Mail your cartridge. we reduction and mailing costs. The member- place styli at cost of diamond only. The Original A. Diamond single styli for Asiatic, ship requirement for local Chapters has been J:pPhike, Magnavox, RCA, Shun 8 Web- lowered from 20 to 15 members. stet $12.00 Foam Rubber B. Diamond (.001) LP & sapphire An Advisory Council, Board of Direc- for RPX047, 050, 051 514.00 tors, and National Council will be added to Turntable C(.003)Same except diamonds $24.00 Cover C. Diamond single (.001) or (.003) for the organizational scope of the Society, G.E. RPX040, 041, 042, 046 $12.00 and persons well-known in the fields of "Apli bat the %leca4d" AUDIO COMPONENTS music, radio, recording, and high fidelity Electrovoke Triplay Cartridge $ 1.98 will be asked for their active cooperation, GE RPX040 /78RPM Goldtone 5.25 GE RP X041 /MG Goldtone 5.25 aid, and support. GE RPXOSO /Dual Triplay 5.25 With such strengths added to the already A "MUST" FOR THE HIGH GE RPX052 /Dual .001 Die. & .003 So 17.75 GE RPX053 /Dual .001 & .003 Diamonds 25.98 enthusiastic and consecrated support of FIDELITY RECORD PLAYER. GE RPX061 /LP .001 or RPX063 /Std..003Dia 15.95 present SME members, it is not difficult FOR L.P.'S Garrard RC80 6 RPXO50 Dual (S) 47.70 A NATURAL Garrard RC80 8 RPXO53 Dual Diamond 66.70 to predict that the voice of the Society of Garrard RC80 8 RPX052 Dual D & S 59.70 Music Enthusiasts soon will be heard and FOAM DISC is a latex foam 3 "I' In "tIII -FI AMPLIFIER appreciated by the countless thousands who rubber disk /ls -inch thick, Unusual hi -fi performance Low in price believe that music can be more than a surfaced with suede, precision - 3 Inputs source of mere personal satisfaction and made to fit the turntable of FRED: 21 a pleasure. It can rank with atomic energy any record player or changer. HUM; -80 db 1 as a welcomed means for spreading warmth, It slips over the spindle of DIST; 15i% - goodness, understanding and hope to our BW level on (,. , your turntable as easily as a Baas & : . world still filled with fear. Treble J' 1 record. It comes in exciting 4- Lisbeth Weigle OUTPUT; '-_ colors: red, Kelly green, rus- 8 -16 ohm -. Vice-President and Editor Similar "Grommes" 142 "TAB" Special $34.98 set, fawn, and dark winter- HI -FI PACKAGE Special, above amplifier, VM or green. Webcor 3 -speed changer, Hi -Fi crystal duel cart., 8 -in. coaxial PM speaker 575.00 "TAB" 10 WATT HI-FI AMPLIFIER CHECK THESE IMPORTANT The most popular amplifier in the audio field. Low priced but high quality. Power; 10 watts. FEATURES! peak 20w. Frequency: 20- 20,000 eye. 4 channel input. Calibrated bass & treble controls. Cushions your record 6 tube, 115 V 50 cyc. Shpg. Wt. 14 lbs. Similar TRADER'S MARKETPLACE Baffles surface noise and Grommes 50PG. "TAB" Special $48.95 HI-FI PACKAGE, amplifier, Garrard RC80, G.E. Here's the place to buy, swap, or sell motor rumble RPXO50. 12 -in. coaxial speaker $108.00 audio equipment. Rates are only 20c a Reduces the "hidden pull" ` COAXIAL SPEAKERS word (including address), and your ad- of certain magnetic car- O. All 8 ohm V.C., Alnico V magnets & inbilt network, famous Hi -Fi vertisement will reach 30,000 to 50,000 tridges on steel turntables Mfgrs. audiophiles. Remittance must accom- Stops record slippage 15" coaxial & 5 -in. tweeter 25 watt /20 to 17,500 CPS, ship wt. pany copy and insertion instructions. Saves record and needle 13 lb. Special P25C0 $23.75 wear 12" coaxial & 3h -in. tweeter 12 watt/45 to 15,000 CPS, ship. wt. 8 lbs. PI2UO 512.85 Audio engineers attest 8" coaxial & 254 -in. tweeter 8 watt/70 to 15,000 more output CPS. "TAB" special PECO $8.95 SWAP CAMERA OR HI -FI equipment for other new or GE /A1 -600 new 12 -in. Hi -Fi 8 ohm coaxial 25 used equipment. All major linos. VARSITY CAMERA, Keeps records cleaner watt/40 to 15,000 CPS. Special $36.00 804 S. Crouse Ave., Syracuse. N. Y. GE /51201A 12-in. 50 to 13KC $18.130 Replaces worn turntable TAPE RECORDERS, Topes, Accessories, unusual values. surface FM TUNER Dressner, 624K E. 20th St., N. Y. C. Automatic drift compen- Prevents expensive needle sation. Built in power 134 FOR THE PERFECTIONIST - system response 30- 20,000 supply. Hi -gain plus 'S cps, 30 equalizer positions, bass and treble controls breakage selectivity. Out- performs calibrated in db. Write for data. Nicely Associates, by audio higher priced 10 or 12 Kenton, Ohio. Recommended tube sets. Handsome , manufacturers and broad- mahogany cabinet. WILLIAMSON AMPLIFIERS buy direct from manu- Model TUC $41.90 Model T11 less cab. 536.90 facturer and enjoy faultless reproduction at reasonable cast studios cost. Long Island Sound Co., 19 Bennett Place, Amity- "TECHMASTER" WILLIAMSON AMPLIFIER ville, N. Y. Techmaster Williamson type ultralinear ampli- ORDER YOURS TODAY! fier model TM -15A. Rated; 15 watt. Freq; 12- SELL MEISSNER 9 -1091C Tuner 5100.00. W. J. Send check or money order: 50.000 cy /10 watt, 8- 80,000 cy /5 watt t 1 DB. McKnight, Brookville, Po. Output; 6, 8, 16 ohm. Input; Hi- impedance. add 30¢ mailing charge. List Finest quality components, full detailed in- FOR SALE Near new Alter 800 speaker system, structions. Shpg. wt. 27 lbs. Kit $49.95 amplifiers, recorders, changers, and pickups. Write your name, address, diameter Wired Ready to Play $61.00 for list. R. L. Woodburn, 915 Washington, Iowa City, color you Iowa. of your turntable, "TECHMASTER" PRE -AMP KIT TM -15P prefer, maker, 45 rpm slip -on 4 inputs, tuner, crystal as magnetic pick- THE AUDIOPHILE BULLETIN, monthly confidential up or recorder. Selector; 3 pos turnover & roll -ofr. consumer hi -fi equipment reports. Years subscription. spindle yes or no. Bass & Treble controls. All components and 52.00. Deportment A, 1379 East 15th, Brooklyn 30, N.Y. instructions. Shpg. wt. 4 lbs $ 19.95 DISC Wired Ready to Play $31.00 FOAM PRICES: Williamson Ultra Linear Amplifier & Pre -amp & 5 ELEMENT YAGI FM Ant . Cut to your specifi- Diameter up to 10 -in. $2.50 Gerrard RC80 & G.E. RPXOSO $110.00 cation. All Seamless aluminum tubing 59.95 prepaid. Wholesale Supply Co., Lunenburg, Mass. Diameter up to 12 -in... $3.50 BUY RIGHT! "TAB" WRITE! PRICE RIGHT! Headquarters leading hi -fi manufacturers. Be- BROOK 12A4 Remote Control Amplifier. Perfect Diameter over 12-in. $4.50 fore buying consult "TAB" for your audio condition. $150. Paul Haigh, 87 -10 37th, Jackson needs. Outline your problems and we will help Heights, New York. in selecting, trading, exchanging, or buying TURNTABLE hi -fi equipment. Write and be convinced. WILL SWAP Concertons 1501 with 504 Carrying Case WRITE FOR "TAB" HIFIGRAM for Magnecordette. Kenneth Rauscher, 420 Marguerite PRODUCTS CO. Ave., South Floral Pork, Long Island, New York. LIBERTY 285 Willow Ave. NEW Y. LIKE NEW Alter- Lansing 604B. R. C. Alsip, 1549 Lyndhurst, New Jersey "TAB " PHONE: Racier 2-6245 Hood St., Chicago 26, III. DEPT -NF2 Exclusive manufacturers of FOAM DISC

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com the audio exchange exchanges audio ADVERTISING INDEX the audio exchange exchanges audio the audio exchange exchanges audio Advance Electronic Co. 128 Magnecord, Inc. 1 1 2 the audio exchange exchanges audio Allied Radio Corp. 7 Magnetic Recorders Co. 124 the audio exchange exchanges audio' Altec Lansing Corp. 28 Master Electronics Co. 30 Angle Genesee Corp. 93 McGohan, Don, Inc. 121 the audio exchange exchanges audio Arrow Electronics 109 McIntosh Laboratory, Inc 6, 118 the audio exchange exchanges audio Asco Sound Corp. 98 Mercury Record Corp. 85 the audio exchange exchanges audio Audio Devices, Inc. Inside Front Cover Music Box 71 Audio Exchange, Inc. 113, 127 Musical Masterpiece Society, Inc.... 85 he audio exchange exchanges audio Audio Workshop, Inc. 125 Music Systems of Westport, Inc. 124 the audio exchange exchanges audio AV Tape Libraries, Inc. 83 Newcomb Audio Products 102 Baker Fidelity Corporation 125 Olympic Electronics 124 Beam Instrument Corp. 5 Omega Electronics. .. 83 Bell Sound Systems, Inc. Say What's so spacial 9 Opera Magazine.... 110 - Bogen, David, Co., Inc. 97 about you people? Orradio Industries, Inc 19 Bohn Music Systems 125 Pentron Corp. the ser- Bozak, R. T., Co. 120 101 Well, you know - Permoflux Corp the liv nq Brociner Electronic Lob. 128 12 vices and facilities; Pfanstiehl Co. atmosphere and no h qh Brook Electronics, Inc. 117 Chemical ...... 114 room Pickard & Burns, Inc pressure, and all that' o Brooklyn High -Fidelity Sound Center 128 22 Pickering & Co., Inc. 91 o you Capitol Records Bock Cover Pilot Radio Corp. 115 Yes - but what makes o Centralab 111 Presto Recording Corp. 15 REALLY different? Cetra Records 81 Professional Directory 124, 125 o Clarkston 103 Oh, you mean our trading R & L Products 109 EX- o Classic Editions 84 operations. THE AUDIO RAM Co. 125 the trading or- Colloro 104 CHANGE is o RCAVictor Division 75 in the hi fidelity Columbia Records, Inc. 104 ganization Radio Craftsmen, Inc. 24 field. This means that you Commissioned Electronics Co. 124 Radio Electric Service Co. of Pa., Inc. 125 can trade in your hi fidelity Concertone Recorders, Berlant Associates 121 those items Radio Shack Corp. 122 equipment for Conrac, Inc. 104 you really want, and you can Rauland -Borg Corp. 110 Contemporary American Furniture 125 purchase used guaranteed Record Market 84 - Cook Laboratories, Inc. 123 hi fidelity equipment at bar- Reeves Soundcraft Corp. 25 also Cox, Hal, Custom Music 124 gain prices. You can Regency 29 present com- Craig Audio Laboratory 125 trade in your Rek -O -Kul Co. 20 ponents for the new equip- Creative Audio Associates 125 Revere Camera Co. 10 ment on the market. Crestwood Recorder Division 21 Rhapsody Record Shop 82 Customcrafters, Inc. 125 River Edge Industries 113 But I live in Iowa and Custom Sound & Vision, Ltd. 119, 125 don't get into New York Sams, Howard W., & Co., Inc. 119 Dubbings Co., Inc. 27 Schwann, W. 82 Duo to ne 123 Then correspond with THE Scott, Herman Hosmer, Inc. 14, 100 EXCHANGE about Electronic AUDIO Consultants 125 Shure Brothers, Inc. 117 your problems and let us do Electro- Voice, Inc. 32 Sonotone Corp. 26 business through the mails. Esoteric Records 84 Southwest Record Sales... 125 Fairchild Recording & Eqpt. Corp. 105 Stephens Mfg. Corp. .. 8 First, I'd like to find out Figart's Sound Un -Ltd. 124 Stromberg- Carlson Co.... 31 more about you people. About what you have in the Fisher Radio Corp. 11, 23, 107 T. & W. Electronic Consultants 114 way of new and used equip- FM Station Directory 122 TAB 126 ment, and also about guaran- Tannoy, Ltd. G & H Wood Products Co. 106 113 tees and everything. Garrard Sales Corp. 2 Tape Recording Magazine 106 Terminal Radio Gateway to Music 115 Corp. 114 Write us (Dept. HF) and General Electric Co. 99 Thorens Co. 108 we'll send you our free peri- Gray Research & Development Co. 17 Traders' Marketplace 126 odic catalog which gives you Transcriber Co. 124 oll the information you will Hack Swain Productions 84 Truvox Mfg. Co. 125 want on the services offered Hartley, H. A., Inc. Co., 103 Turner Company by THE AUDIO EXCHANGE. - 120 Haydn Society 76 Turntable, The 84 HarmanKardon Inc. 4 Turntable Products Co. 126 Harvey Radio Co., Inc. 95 ange ex( anges Cu o Heath Co. 16, 110 Universal Service Co. 123 High -Fidelity House 124 University Loudspeakers, Inc. 119 the audio exchange exchanges audio United Transformer Co.....Inside Back Cover Hollywood Electronics 124 the audio exchange exchanges audio Urania Records, Inc. 77 Interelectronics Corp. 111 the audio Utah Radio Products Co., Inc. 98 exchange exchanges audio Jensen Industries, Inc. .106 the V -M Corp. 17 audio exchange exchanges audio Jensen Mfg. Co. 1 Valentino, Thomas J., Inc. 84 the audio exchange exchanges audio KEAR 122 Vanguard Recording Society, Inc. 78 the audio exchange exchanges audio Kendall Recording Corp. 84 Vector Labs 125 Kierulff Sound Corp. 124 Voice & Vision, Inc. 125 the audio exchange exchanges audio Kingdom Products Ltd. 116 Vox Productions, Inc.. 80 the audio exchange exchanges audio Klipsch Associates 18 WFMT 122 the audio exchange exchanges audio Kloss Industries 100 WXHR 122 Lansing, B., James Sound, Inc. 96 Walco (Electrovox Co., Inc.) 109 159 -19 Hillside Avenue Leonard Radio, Inc. 100 Weingarten Electronic Laboratories. 117, 124 Jamaica 32, New York Listening Post 125 Westlab 125 Olympia 8.0445 London Gramophone Corp 73, 79 World Radio Laboratories 121

MARCH, 1954

www.americanradiohistory.com Music Lovers: Custom Engineered ladc4[13® FM Antennas Model FML is designed to cover the entire FM band. The two loops are separately phased to produce a 36o° field pattern of uniform intensity. Prier-FML -antenna only -512.S0 FML Antenna Kit-$22.50 Includes - FML antenna Ra!, rl by 6 ft. aluminum mast 6o ft. coaxial cable C. G. BURKE' mounting accessories Mr. Reciew Saturday instructions Author of The Aftasic Recorded B of Home Relsroduction, and sound nntong thp9e Model FMY is a 5 element yagi designed to give maximum signal for your Apart I favorite station frequency. Specify sta- "lu a Class tion and frequency when ordering. the Others antonna From All Pries- FMY- only-514.50 flex¡ble FMY Antenna Kit -$24.50 ¡n Their Includes - FMY antenna 6 ft. aluminum mast Go ft, lead -in wire \ Resourcefulness" mounting accessories instructions Adelco FM antennas are rigidly constructed of seamless aluminum tubing supported I by aluminum castings - insuring corrosion resistant permanent installations. complete ADVANCE ELECTRONICS CO., 8510 NORTH END AVE., OAK PK. 37, MICHIGAN AUDIO CONTROL $99t CENTER

24 RECORD-PLAYBACK CHARACTERISTICS to o:dth SEE THE every possible record. UNIVERSAL PICK -UP COMPEN- rooklyn hiIi SATION to accommodate all makes of high quality pick -ups. TREBLE CUT -OFF FILTER... a professional range selector to give you the best possible results from imperfect as well as flawless program mate- A rial. ADJUSTABLE LOUDNESS CONTROL... a true )11100X level compensator easily adjustable for all require- SAVOY ments ... and other features too numerous to mention, presented in complete, factual form in EQUIPMENT CABINET our bulletins. cabinet. Mahout MAHOGANY, WALNUT or BLACK

A POWER AMPLIFIER 144 Worthy of in elegance the Truvox SAVOY accom- the name! Unsurpassed beauty and modates all standard combinations of tuner, amplifier and phono- $129 graph. Bench made of fine African mahogany the SAVOY represents the ultimate in design and craftsmanship. Mock drawers and tapered 30 WATTS at 1% intermodulation. ULTRA - legs are highlighted by solid brass accessories. Finished on all four LINEAR CIRCUIT using the famous Acro TO-300 sides the SAVOY is suitable for placement against a wall or chairside. output transformer. KT66 OUTPUT TUBES. 20 db feedback over 4 stages. Engineered for easy Among its many noteworthy features are ease of installation of components. installation. F.qulv.lent sine wave power. Platforms for tuner and amplifier allow these components to be simply slid in or out of place. Prices slighty higher on West Coast

AVAILABLE H_sOAytV ' AT BETTER Df 2128 CATON AVE. HIGH FIDELITY DISTRIBUTORS. Irooklyn Brooklyn 26, N. Y. LITERATURE ON REQUEST Q BROCINER ELECTRONICS LABORATORY fvo, BUckminster 2-5300 344A East 32nd Street New York 16, N Y.

I28 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com EW «M" TYPE TOROIDS Mñimum S ze

UTC Permalloy Dust Toroids have been the standard of the industry for over 1S years. The MCI series of coils provide the highest Q factor in their class (see curves below), with miniaturized dimensions. All units ule hermetically sealed to MIL-T -27 Specifications. The stability is excellent. For the MQE -7 the inductance change is less than 1% for voltages from .1 to 3 volts. The MQA -13 change is less than 1% for applied voltages from A to 20 volts. The MOB-5 change is less than 1% for applied

voltages from .1 to 50 volts. DC is permissible through the coil (values listed below). Inductance is virtually independent of frequency temperature and vibration. Hum pickup is extremely low due to the toroidal winding structure, with windings uniformly spread over the core. The case is of high permeability, affording additional shielding such that close spacing of units can be eff:lted, the coupling attenuation being approximately 80 DB. Other values of inductance than those listed are available on special order at the price of the next i gher listed value.

TYPICAL Q CURVES

RO . 250 ------1MMIIIIIfI\11111 o o 10 IiG : ',=I1\\11M11111111 60 go MOB- 1IIMIQIICI111M 60 m m I12=1116 MQE CASE KC 01 KG Iim111111 1 45 I o 25 3 A 5 10 q 25 35 3 5.1 1 5 10 5 20 25 30 0 J .5 10 20 30 0 FÑ Length 11/16" \ Width '/2" Height 17/32" 150 250 140 Unit Weight 1.5 oz. Im 200 ISiiM1 o a Kw 150 MOB-5 ^II\ 60 K!0 11\11111\ w m KC 30 K C IllI\ IMINIf3a111 731 5 o 6 m 25 025 3 0 253.251 3 5 3 a 1\i3 5 K1 n m' 25 30 35 40

200 Im 140 RO =VIEW= ti8 1 140 1111--- 90 IIIMIIM 90 - IIMIMI o 100 6o II IMIIIMI 60 rI MOB 60 MQA CASE 50 II 30 11 m LI KG Length 19/32" 0 25 _'KI 3 3731 s ü 25 O 25 3 75 3 5 s a m Width 11/16" Height 123/32" Unit Weight . 4 oz.

90 70 o 0 60 50 MO -17 .D 30 w

lo 10 KC O 25 225 3 0 1S as 0 25373 3 5 1 9 u a

MQA TYPES MQB TYPES MQE TYPES

Type No. Inductance 'DC Max. Type No. Inductance 'DC Max. Type No. Inductance *DC Max.

MOA1 7 mhy. 250 MO11.1 10 mhy. 400 MQE1 7 mhy. 135 MOA.2 12 mhy. 200 MQB2 30 mhy. 250 MOE-2 12 mhy. 100 MQA -3 20 mhy. 150 MQB -3 70 mhy. 170 MQE-3 20 mhy. 80 MQA -4 30 mhy. 125 MOB -4 120 mhy. 120 MQE-4 30 mhy. 65 MQA -5 50 mhy. 100 M0B -5 .5 hy. 60 MQE-5 50 mhy. 50 MQA-6 70 mhy. 80 MQB.S 1 by. 40 MQE-6 70 mhy. 40 MQA-7 120 mhy. 60 MQB.7 2 hy. 30 MQE-7 100 mhy. 35 MQA -8 .2 hy. MQB.8 3.5 hy. 22 MQE-8 150 mhy. 30 50 MLB CASE MQA-9 .3 hy. 40 MQB.9 7.5 hy. 16 MQE-9 .25 hy. 22 MQA-10 .5 hy. 30 MOB -10 12 hy. 11 MQE-10 .4 hy. 17 MQA 11 .7 hy. 25 MOB 11 18 hy. 9 MQE-11 .6 hy. 14 Length 29/16" MQA -12 1 hy. 20 M11B 12 25 by. 8 MQE12 .9 hy. 12 Width 113/16" MQA -13 1.5 hy. 17 MQE-13 1.5 hy. 9 Height 213/16" MQA-14 2.5 hy. 13 MQE-14 2 hy. 8 MQA-15 4 hy. 10 MQE-15 2.8 hy. 7.2 Unit Weightg t 14 oz. MOA -16 6 hy. 9 MQA -17 10 hy. 7 MQA-18 15 hy. S MQA -19 22 by. 4

This value of D.C. (MA) will drop the coil inductance 5 %. Values of D.C. below this will show proportionately (linear) less inductance drop. For ex. ample, MaE -1 will drop I/2% In I. with 13.5 MA. .4011/ /".%)P., ,(' 150 VARICK STREET // NEW YORK 13, N. Y.

EXPORT DIVISION: 13 EAST 40th STREET, NEW YORK 16, N. Y.. CABLES: 'ARLAB"

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