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SEPTEMBER 1982 VOL. 66, NO. 9

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NOW YOU CAN HAVE DIGITAL RECORDING WHERE YOU WANT IT MOST: AT HOM E. There are moments when a musician is so inspired he stops making music and starts rr-a!ing magic. And, as most Lrtists agree, these peak periods of supreme inspiration dcn't always occur in the clinical conditions of the recording studic Which explains why Sony, the inventor of digital audio processirg, has just created the world's smallest, lightest =nd most compact digital audio processor-the PCM-F I. Already touted iy every major audio magazine, the PCM-Fl leaves one awestruck by its vital statistics' Its level ' f performance surpasses that of even :he most sophisticated analog recording studios - _ Its unique 3 -way power supply allows you to use it anytime, anyplace. la ni And because Sonycw consciously designed it without a built-in VCR, it can be '- "' 011 " used with any VCR -1 or 41 incr. Cl us gm bra But perhaps its greatest feature is its price. *It Obviously, we ran go on and on about the brilliance of this new machine, but by now we figure you've heard enough about it and you're ready to go to your T Sony dealer and hear it for yourself. SONYY The one and only. 'Features and Specifications: Wo. and flutter -unmxaurable; dynamic range -greater than 90dB: distortion -per than 0.005%; frequency respatse- 10-20.000 Hz. 0.5 cB. Netght -9 Ib.; height -3k"; depth - 12"; wlit-8iá': 14. and 16dt quantization. 01982 Sony Corp. of America. Sony is a tagistered trademark oft le Sony C trF Enter No. 26 on Reader Servi:e Card Paradox. 1uJÍo Quad products incorporate manufactured by a company Editor the same traditional values of which for 45 years has been Eugene Pitts III engineering and craftsmanship unremittingly devoted to the Technical Editor which have made early Quad cause of excellence in music Ivan Berger products collectors items. Executive Editor reproduction, a company in Gerald Astor Quad products incorporate which respect for tradition Assistant Editor innovative ideas which put them and a quest for improvement Kay Blumenthal ahead of their time and set go hand in hand to produce Editorial Assistant standards for the industry. Andrea Lynne Hecker products which represent an Art Director Paradoxical? Not if you think investment in musical Cathy Cacchione about it. Quad is designed and enjoyment. Production Manager Elaine S. Geiger Quad ESL 63 Electrostatic Loudspeaker - Associate Editors: successor to the legendary Quad Electrostatic, Edward Tatnall Canby, Bert Whyte uses concentric annular electrodes fed via Senior Editors: a sequential delay line to produce a sound Richard C. Heyser, B. V. Pisha pressure pattern which Howard A. Roberson approximates to that of an Contributing Editors/Artist: ideal point source. Tom Bingham, Herman Burstein, Ted Costa, John [Alberto, Leonard Feldman, Joseph Giovanelli, Edward M. Long, C. G. McProud, Quad 405 Power Jon Sank, Walter I. Seigel, Donald Spoto, Amplifier - with current Michael Tearson, George W. Tillett, dumping, an ingenious Jon & Sally Tiven circuit developed by Vice PresidenVExecutive Publisher Quad using feed - forward techniques, Charles Stentiford the merit of which Publisher is Jay L. Butler now widely Associate Publisher recognized Marlene Jensen

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Inc . 1515 Broadway. New York. N.Y, 10036. Robert J. Krefting. President George H. Allen. Senior Vice President/Magazines I111II1111N Michael Brennan. Vice President and Gen Manager Leon Rosenfeld. Circulation Marketing Director John J. Miller. Group Business Manager James Slockbower, Associate Business Manager Karen L. Rosen, Production Director Quad FM4 Tuner - ADVERTISING SALES superb ergonomics t.r1 Audio. 1515 Broadway. New York. N Y. 10036 and a level of 1 I Jay Publisher .1 8 L Butler, performance limited Telephone (212) 719-6330 only by the quality r Stephen W Witthoff, Eastern Adv Mgr. I : of the incoming signal. Telephone (212) 719-6337 i West Coast Sales Office: Audio, 3807 Wilshire Blvd., Suite 1201 I Los Angeles, Calif. 90010 Jay Martin. Western Adv. Mgr. Telephone (213) 487-5880 lo Classified Advertising: "V ji Audio. 1515 Broadway, New York. N.Y. 10036 i Laura J. LOVeccho. Classified Adv. Mgr. I 1 Telephone (212) 719-6338 "' England: The Paul Singer -Lawrence Media Group. _ 54 Burton Court, London SW SY4, 3 England r Telephone, 01-730-3952 AUDIO is a registered trademark of CBS Inc. O 1982. CBS Publications. The Consumer Publishing Division of Quad 44 Preamplifier - uses a system of modular CBS Inc All rights reserved inputs to permit the owner to tailor the system to Dewey Decimal Number 621 381 or 778.5 his own needs and tone controls which enable Editorial Contributions are welcomed but should be more enjoyment to be obtained from more records. accompanied by return postage. Submissions will be handled with reasonable care, but the publisher assumes no responsibility for safety or return of manuscripts, photographs, or artwork. The Publisher, in his sole Music systems for thinking people discretion, reserves the right to reiect any ad copy he For further information on Quad products and a list of deems inappropriate. Printed in U.S.A. at Columbus. Ohio. Second Class authorized dealers please write to: postage paid at New York. N.Y. 10001 and additional QUAD In Canada: mating offices 425 Sherman Avenue U.S. Subscription Rates: 1 year $13.94, 2 years $22.94. May Audio Marketing Ltée, Ltd. 3 years 529 94. Palo Alto, California 94306 Longueuil, Quebec J4G 1P8 Other Countries: Add $6.00 per year. Back Issues, when available, $5.00 postpaid. Audio Publishing, Editorial and Advertising Production offices, 1515 Broadway, New York. N.Y. 10036. Audio Subscription Offices, P.O. Box 5318. 1255 rvr Portland Place, Boulder, Cob. 80322 QUAD& Postmaster: Send change of address to P.O. Box 5316, for the closest approach to the original sound 1255 Portland Place, Boulder. Cob 80322. ©1982 QUAD

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t June 14, 1949. Lee Petty part of the career of the man career, Petty never finished ventures the family Buick out who first made the name lower than 6th in the Grand onto the dirt track of the old "Petty" become synonymous National standings. Charlotte Fairgrounds in the with stock car racing. And just three years after very first NASCAR Grand Lee Petty went on to become Lee's retirement, his son National race. NASCAR's first three -time Richard won his first Grand The dynasty begins. Grand National Champion. National Championship - on And Goodyear is proud to be a During his 12 -year active Goodyear racing tires. Today, Richard Petty holds 1' virtually every possible "! Cá . -y NASCAR record. And he's the only driver in NASCAR history to win the National 0 Championship more than three times-he holds seven Winston Cup titles. _ 4.. This year, King Richard is going for his 200th career victory. He'll be on Goodyear racing Eagles. Of course. But stiff competition may just --- come from another Goodyear ., driver - the King's own son, . ~Si ' Kyle. With three years on the Grand National circuit already under his belt, 22 -year -old Kyle Petty plans an all-out schedule of Winston events on . Ili _ Pl" Cup - Goodyear racing Eagles. wwPwe Goodyear runs in the family.

a THE PETTYS ARE fl AT HOME WITH GOODYEAR. When the Petty family rides home to Randleman, N.C., they ride on radials from the same company they trust on the track - the Goodyear family of radials. Goodyear Radials are designed to deliver the kind of performance you need. No matter what you drive. Or where you drive. When you need tires you can

To trust, come up to I cow uv G00E7IEAR 1 Goodyear. And 600011EAR our family of c radial tires. [w1IEY & INNOVATION G O OD Quality and _Innóvai on AUDIO ETC EDWARD TATNALL CANBY

BINAURALLY SWAMPED

In one week's mail I recently re- _ `==r-.,_-_-_,-,- ceived eight glossies, showing , _-r,_ eight attractive new -model hi-fi re- _=_ _-...a,_J`=- _ =._ r.`` a.:_= producers. - sy Seven of these were mini -,W--_-_-.`_,z_,.r= r headphones; One was a mini -speaker. g---.,r f.-=_7 `_-- .T"-.r_-j-,-= i' -S7...--- --u.- It seems we are not quite finished with - - 1^ ----. ...._ -` -.4%.----. the headphone revolution. Nor, per- -- _'. yc=_v+` N J ,':,4..L...-o force, am I. _=_ IL_ i`4 . _-i-- ..--.-.. "__r_-r , So far, and in a - spite of few claims, -_-= -`_.7---. --- "E- _ . 'e i -_yi. virtually 100% of the sonic material we -,--7-- - - - a- .,2--__-,.- - -..--_r - = s.r , Z._ hear through these phone systems is - - _-7r.-- - - loosely speaking, stereo. It sounds fine -+u- _ +e 1-- on loudspeakers and was largely in- -___.r-_.W= `.,;1i- _-- .t- -u-21.._- tended for them, embodying all that -.,...._=...,,_=- - - enormous know-how we have accu- -_ mulated over so many years of record- _ -t,.-,.-_ 1_+--_ ing. But it often sounds better, and - _ = different, through the little _ _ phones. ,i-- .["r - .,rt. - - - Happy situation! (Though not for the - =t.,= _ _ -..- - speaker manufacturers.) We can have _ - our stereo either way. - Ala - - - - But, so far, we have not discovered 4- - _. the really radical sound effects that are - via what is --' available still called binau- -= - =-- - _a =c ral recording, intended for phones -, only. The stuff will play on loud- in serviceable mono. Instead, out of The other sound was short, almost in- speakers but it sounds awful. Or just that swamp came a grand mishmash stantaneous; I think it was a gnat. It dull, noisy, confused, unfocused, unin- of noise, undifferentiated, all the sound flew suddenly into my left ear and just telligible. In this MUST case, there be that was, so to speak, floating as quickly, without a thought, I a clean distinction. If you record for around-including, as was the intent, slapped at it. OW! That hurt! I had phones, then you must listen through a host of the feathered creatures, slapped my headphones. phones. So different! some of them quite rare. This was their Does that give you an idea of what Last spring one of our readers sent natural sonic environment, just as the binaural can do? I am very familiar with me a cassette copy of an outdoor re- swamp was their living place. recorded insects of this sort, whizzing he had cording made, mostly at night, After awhile, let me tell you, I was in flies, bumbling bumblebees, hovering in the depths of a Florida swamp. It that swamp. It grows on you. When mosquitoes, for it is this unexpected was a nature preserve; they come that two big owls let loose, hoot -hooting at kind of sound that gives binaural such way in Florida. The recording lasts all each other, one of them some distance uncanny realism. You must hear to be- of 30 minutes, with breaks, but this off, the other terrifying close overhead, lieve-as with every sort of other sonic was only a sampling; he stayed in that the very hair on my neck (I have none mishmash, from swamps to cocktail swamp an entire night, until morning, on top of my head) rose up. Brr! By the parties. You'd get the same sort of mix, taking down a more or less continuous end of the recording, things were get- binaurally, if you were chasing Fords document of its sonic ambience for ting almost too realistic, for I'm one of and Chevrolets and GM buses in the future reference. Document of what? those people who get scared when middle of New York. Very convincing. Well, in particular, birds. Also alliga- strange animals make noises in the But not for loudspeakers. tors, autos, insects and everything dark. Atavistic. Of course, I am very Now I am not sure at all that this else that happended-and every bit civilized, but each time a new bird let phenomenon is, in the usual sense, contributing to the wonderfully eerie go, especially with some wild and sav- "commercial." That is, able to be ap- atmosphere of this recording. It is, of age cry, I found I wanted very much to plied to commercially released "prere- course, binaural. Couldn't be done any walk, not run, to the nearest exit. corded" material for sale alongside other way. The two most impressive sounds, our present discs and cassettes. Infor- Now I am no birdologist, nor yet an however, were not birds at all, though mality, the unexpected, is the soul of

ornithologist, but I listened to all 30 both had wings. The first was an abso- binaural. Noise is its greatest virtue. I minutes and was enthralled even lutely thunderous monster jet which mean "real" noise, not the kind that though I recognized only the owls and had the gall to interrupt the natural Dolby and dbx go after. (In fact, noise a cardinal. Such super -realism! sounds of this preserve by flying di- reduction, as per last month, is abso- This was not the usual pro docu- rectly over it. Shook the daylights out lutely essential for proper hearing of mentary, all neatly in order, bird A fol- of me. (The only comparable record- the genuine noises.) Leisure, length, is lowed by bird B, one at a time and ing I know was of the Concorde taking another strong point. Ten minutes of isolated (via parabolic sound reflector) off, made at the edge of the runway.) that swamp on loudspeakers, and your

8 Illustration: Philip Anderson "We are not quite finished with the headphone revolution. Nor, perforce, am I."

attention span would be strained. An member Mr. Murphy. For his second Sony ads for their small two -channel hour is nothing for binaural. You lose law, he opined that what can be done cassette.recorder, placed in the mid- yourself in it-just as people already will be done. So, sooner or later, we'll dle of a large corporation board meet- do via Walkman -type equipment. have something. ing table instead of all those separate All of this runs entirely counter to Meanwhile, right on our doorsteps, mikes they often use? The Sony idea is those techniques we have built up for is another binaural area that maybe simple: Play the recording on phones. loudspeaker recording, in all their you hadn't thought of: Do-it-yourself. You can understand everything any- enormous variety. Binaural recordings, Remember the Kodak. And home body says, even when they all talk at I assure you, will not ever duplicate, let movies. Not to mention Polaroid. Let once. Now if you want to read all about alone replace, the billions of regular the consumer make the recordings. that, please refer to the same issue of stereo recordings we already have on He buys the equipment, the know- our mag, December, 1974, p. 18. Old hand. Binaural is NOT going to help how, and the tape from his dealer. prophet -for-profit Canby, that's me. the standard repertory, pop or classic. Everything is in place! We have the Here's a P.S. I'm beginning to feel No use even thinking about it. Instead, equipment. With minor modifications, strongly that we should go along with it will have to be developed with wholly or gadget -like additions, it's all ready current usage, no matter how con- new and utterly different sources of to go. Any portable "stereo" recorder fused at the moment, and-in the play- material, completely removed from all will do. (You need to move around and back-speak of headphone stereo as that we know as standard recording. get away from the a.c.) Mini -recorders an alternative to loudspeaker stereo. To begin with, at least, a sort of novelty are fine. Use the built-in mikes (not Save the word binaural for the record- area, unusual, intriguing specialties. binaural, but better through phones ing technique. For headphones only. than speakers) or any pair of external It's only reasonable. For one thing, Not, for instance, a symphony! mikes. Cardioids are OK, but omnis what we now hear through phones is Much better a rehearsal of a sympho- are better. They pick up more noise. indeed conventional stereo in all its ny, such as a few that have appeared Spacing them on a dummy head isn't forms, good also for loudspeakers. on disc. Much more interesting. And de rigueur. Even two inches apart More important, the word "stereo" sim- terrific for binaural, with all the inciden- gives some effect. More than three ply means in the round, with shape in tal sounds you can get. Same for a feet, and the sound goes out of binau- space. Thus, loudspeaker stereo and play-a run-through with side com- ral focus, becomes stereo. And then- headphone stereo are equally accu- ments would be fascinating. Famous the playback. Mini -phones, of course. rate terms. Both are clearly heard in actress, a few feet off to your right, Or maxi -phones if you wish. No loud- the round, with spatial effect, just as forgetting her lines and laughing. Acid speakers. the term implies. comments from the producer, over on It's a terrific hobby thing, if you ask Binaural-"two-eared"-is obviously your left. Try that again, pullease! Give me, and all you need to know is how to out of place in this playback context. it more guts! do it. Which, at this point, almost no- Of course we use two ears! For both How about a panel discussion, with body can tell you. But we'll learn. It's loudspeakers and phone listening. famous people, sitting around you in a so simple, once you detach yourself And it we use that other favorite, "3-D," circle á la TV? That would be a lallapa- from standard recording. And do not we would be even further off the beam. looza in binaural. think that sheer amusement is all there Those dimensions, after all, are entire- You could even release that swamp, is to this consumer do-it-yourself. All ly arbitary, abstract, merely tools for with maybe a bit of editing to pull sorts of practical and useful functions, geometric measurement, like a line (no things together for better cohesion like taking down lectures at school, for width) and a point, (no dimension at (but not too much!). No, you would not later listening-from anywhere in the all). "Stereo," though, says exactly remove the jet plane. Nor, for that mat- hall. You'll get every word in the play- what we want to say. ter, the gnat. Part of the effect. "Birds back. Or seminars: let 'em all talk at On the other hand, at the opposite in a Florida Swamp." For headphones once, you can still understand. Group end of things, binaural is very properly only. It might sell. therapy? Consciousness raising? Bin- used for a recording technique that To be sure, all of these suggestions aural might be a bit hairy here, as lis- does, in fact, use two microphones as are to give you an idea of what binau- tened to later on. But still, useful. two substitute ears, at a head's dis- ral recording involves, or would involve Now, I could go on but you will find tance apart, for strictly headphone if it were to become part of the record an extensive discussion of all this way playback. The recording process is biz. Exciting but, on the whole, in spe- back our December, 1974 issue in definitely, two -eared. And I suppose Even cialized. rock and disco would this space. In all conscience, I can't that, by extension, a binaural record- be the same. A rehearsal, session ex- rewrite that article and expect the Boss ing is one that is specifically produced cerpt, anything informal, would be to pay me for it a second time. (Why with this technique. useful. But not a straight recording. not? You do it with every other article. No doubt we'll continue to cross -mix Stereo does better. And, remember, it -EP) So I refer you thereto. It was this these terms, as we always do. But sounds good on phones. piece, incidentally, that put my from here on I'll refer to all general Still, like Everest, binaural sound is swampy friend onto the idea of record- playback through phones as head- there. And, now that it is technically ing that Florida preserve. phone stereo. It's already in general practical, and so easy to listen to, re- And, have you seen the quite recent use among recording people. A

AUDIO/SEPTEMBER 1982 9 AUDIOCLNIC JOSEPH GIOVANELLI

A Touchy Situation ble, adjust these devices so that they sometimes be eliminated with not too O. My stereo system consists of can extract all available signal from the great a degradation of musical fre- turntable, cartridge, tonearm, amplifi- strings of the particular instrument you quencies in this region. Even so, er, tuner, and loudspeakers. Some- are using at the time. The better the powerline voltage is not sinusoidal, times while listening to the tuner, I lose coupling between the pickup and the thus it is often relatively rich in harmon- the sound when I touch the knobs or strings, the higher the electrical output ics, which are hard to remove. face plates of the electronics. The mu- from the system will be. Because the sic comes back when 1 no longer ambient background noise will be Weak Shielding

touch the equipment. This does not more or less constant, this will mean Q. 1 am experiencing a most per- happen when I listen to records. What an improvement in signal-to-noise ratio plexing problem with r.f. interference is the cause? -R. A. Buc, North Holly- without taking any further measures. in my audio system. On the recom- wood, Cal. You may find it best to use a mike to mendation of a friend, I installed 13 - A. It sounds to me as though your pick up the sound from your instru- foot long Belden 8421 spiral -wound FM signals sometimes disappear be- ments, placing it in front of the speaker shielded cable between my preamp cause of insufficient signal strength. of the amplifier rather than wiring it and my power amp. Even when the

My guess is that you are using an in- directly into the recorder. I have found volume control of the preamp is turned door dipole antenna. The combination that this often reduces annoying hum. down fully, I receive a modulated sig- of both your physical position with re- It also allows you to record the sound nal from a local FM station whose fre- spect to this antenna and the capaci- of your instrument as it is heard by an quency is 107 mHz. By substituting tance to ground which comes into play audience, rather than the flat, often in- another cable, Belden 8401 (braided when you touch the equipment pro- sipid sound produced by a direct feed shield), which is four feet long, interfer- duces the loss of signal. into a recorder, and then later, played ence vanishes. Using an outdoor antenna should re- back on good speakers. Keep in mind What mystifies me is why a shielded solve the problem, but at the least find that part of the character of electric cable of low capacitance, such as Bel- a better location for the antenna you guitars is the vibrato, echo and reverb den 8421, could pick up this interfer- are now using. which aré often available only through ence in the first place. By the way, the the loudspeakers. The peaky quality of 13 -foot cables are terminated with Direct Noise Pickup loudspeakers is definitely a part of the Switchcraft RCA -type miniplugs which Q. I have been recording for a few overall sound. are supposed to be resistant to r.f. years and have spent a considerable Beyond this, use good filters which inter ference.-Richard A. Links., San amount of money on my equipment. can be set to roll off below the lowest Francisco, Cal. Being a musician, I have tried to find frequency of interest and above the A. Basically, it isn't a question of information on noise reduction for di- highest frequency of interest. A good one cable type vs. another, but rather rect -line recordings from my guitar to graphic or parametric equalizer can of a 13 -foot long cable vs. a 4 -foot my recorders. often be used for this purpose. The cable. You should always use the I have some knowledge of electron- two stereo channels can be connected shortest length of cable possible if r.f.i. ics and have attempted, on my own, to in cascade, with the output of channel is a problem. The longer the cable with devise a system of filters to eliminate A feeding into the input of channel B. less than 100% effective shielding, the hum and noise. Although I have been The actual program input, then, is the more area is exposed to the possibility moderately successful, I am fanatical input of channel A; the actual, usable of r.f. interference.

about sound and have not yet attained output is taken from channel B. Where In stubborn cases of this kind, I sug- the ultimate. Can you he/p?-Darrell any given band can be either cut or gest that you use Belden's Beldfoil ca- Francisco, Karn's City, Pa. boosted some 12 dB, now, with the ble. It will probably eliminate interfer- A. If you're getting noise and hum, it two devices cascaded, you have a to- ence from this source. Its shield is a often comes directly from pickups, tal of 24 dB boost or cut. This is good solid foil, not braided, and hence it contact mikes and similar devices. enough in many instances for the kind doesn't have any openings through Certainly no noise -reduction system of of filtering we are discussing here. which r.f. can enter. the kind most generally associated With most electric guitars, the harmon- The Switchcraft connections are

with this concept will work. (By this I ic content is rather slight above the fine. With any RCA -type connector, mean that the processing systems by fundamental musical tones (except for however, the area exposed to r.f. is dbx or Dolby Laboratories won't help some "fuzz"). By limiting high frequen- small relative to the area exposed by your particular problem.) Your task is cies, some "buzzy" sounds and hiss the braided shield of the cable. You to keep noise, now present, from en- can be eliminated. may, thus, be able to get away with tering the recorder, and the dbx or Keep your instrument separated connectors of lesser quality. A Dolby systems won't know the differ- from the rest of the electrical equip- ence between the music and extrane- ment, insofar as it is possible, to re- If you have a problem or question about audio, ous noise. hum induce the likelihood of being write to Mr. Joseph Giovanelli at AUDIO Maga- Obviously, your first attack on this duced into the pickups. zine, 1515 Broadway, New York, N.Y. 10036. All problem must be to use the best pos- If you have a notch filter, the funda- letters are answered. Please enclose a sible pickups and mikes. Where possi- mental component of the 60 Hz can stamped, self-addressed envelope.

10 AUDIO/SEPTEMBER 1982 T - e

" 95954 . I r -

In our zeal tó build superb tape recording equipment _r. the extreme, we at

Teac are sometimes driven to steal; From» ourselves. - The extraordinary X-I000R illustrates this very well.. In it, we have incorporated professional features originally designed for our TASCAM recording studio equipment. - These include a linear LF.D counter which measures tape in hours, minutes, And seconds. A Search To Cue (STC) and Search To Zero (STZ) capability. In addition, there's Auto Reverse in both directions, in play or record.. The. X-I.0100R, as is current professional practice,. employs DBX*. noise reduction. An exclusive in home reel-to-reel. And also, as in .professional recording equipment, full -tension servos guarantee high.stability and accuracy. And low wow and flutter specs of just .03% 4 7V IPS. All of which add up to an impressive collection of features, we think you'll agree. And if we happened to borrow a lot óf them from our professional des_gns, well that shouldn't bother you one bit. TEAL MADE IN JAPAN BY FANATICS. COPYRIGHT 1982, TEAC CORPORATION OF AMERICA. 7733 TELEGRAPH ROAD, MONTEBELLO, :A ?0640 * db%.IS THE REGISTERED TRADEMARK OFdb%, INC., NEWTON-, MA. Enter No. 29 on Reader Service Card AUDIOPHILE RECORDINGS

POLISHED ANTIQUES

ducting the Philadelphia Orchestra. MY 37768. This one is a little hissy by compari- r`1 .r son with many of the others, and the overall sound seems to have been boosted for more "presence" than Wren, needed. This music is, of course, V:rfur something that Ormandy and the Philadelphians do very well. Produced l rTCIs 77,S by Thomas Frost. Tchaikovsky: Symphony No. 4. Leonard Bernstein, conducting the New York Philharmonic. MY 37766. iy4is SR A recording of recent (quiet) vin- y tage, and expansive in the usual Bern- stein fashion. To my ears, there is a little too much reverberation. The third movement is taken at a breath -taking 4 Eplefilw clip, and the fourth explodes in fury. oR"EDEsrN Produced by John McClure. Beethoven: Piano Concerto No. 4. Mozart: Piano Concerto No. 25. Leon Fleischer, Piano; George Szell conducting the Cleveland Orchestra. MY 37762. Masterful performances by a vir- tion to the regular catalog numbers, tuoso pianist no longer playing in pub- Columbia's "Great Performances" each entry has a simple number, start- lic. The recordings are quite old and Series ing at one and enabling the beginning often show their age. However, in mat- In this unfortunate age of rising man- collector to keep track of the entire ters of balance and interpretation, they ufacturing and recording costs, it is series. may be hard to beat. (When did you gratifying to see a major label reach Most of the discs date from a period last hear a concerto recording with the into its vaults and reissue significant when three or possibly four tracks re- piano in proper balance with the or- recordings from the '60s and '70s, giv- presented the available channel ca- chestra?) Produced by Howard Scott. ing them the benefit of up-to-date pacity in classical recording practice. John Eargle transfer technology. The original multi- Partly as a result, there is less depend- track masters have been remixed ence on multi-miking and in general a down to two -track, via Dolby -A pro- more natural and warmer sound than The Digital Fox, Volume One: Virgil Fox, cessing, thus cutting out a layer of we are accustomed to hearing from organ noise present in the original two -track the major labels today. Here are some Ultragroove UG-9001, $14.98; dbx mix -downs. These new tapes have re- capsule reviews: encoded No. PS -1020, $18.00. ceived the benefit of current cutting Haydn: Symphonies No. 93 and The Digital Fielder: Arthur Fiedler and technology, with its greater headroom 94. George Szell, conducting the The Boston Pops and more effective variable pitch and Cleveland Orchestra. MY 37761. Ultragroove UG-7003, $14.98; dbx encoded No. PS depth control. While not equal to the A quiet retransfer with a nice sheen -1021, $18.00. best of imported pressings, these to the strings. Flawless playing. Pro- The Digital Fox represents the com- discs are certainly competent enough duced by Paul Myers. ing together of several musical and and probably represent the best of Stravinsky: The Rite of Spring. technical ingredients, and the results what can be expected from a major Pierre Boulez, conducting the Cleve- are absolutely stunning. For once, the domestic company. Packaging has land Orchestra. MY 37764. particular Fox brand of organ playing been kept simple, with a single gener- This one was done multi -track, and is given the important ingredient so

ic theme on uncoated stock. The inner highlighting of inner details is often often missing, dynamic range. I raved jackets are plastic -lined, and, best of overdone. This complex score can about this disc, and its companion Vol- all, the prices have been kept low. A take that kind of treatment in stride, ume Two, when they were released by recent flyer from Publishers Central however. Probably a Dolby -A original Crystal Clear as direct discs in 1977. Bureau offers the line at less than with very low tape noise. An electrify- At those sessions, a Soundstream $6.00 per record. ing performance. Produced by Thom- digital recorder was running as For those interested in developing a as Shepard. backup, and this disc was encoded basic library of classical music, this Tchaikovsky: Symphony No. 6 from it. Interestingly, the liner notes tell series is worth the investment. In addi- (Pathetique). Eugene Ormandy, con- us the digital sampling rate at that time

12 AUDIO/SEPTEMBER 1982 (ELLIS t LA PLEASED TO PRESENT ANEVEN HIGHER PERFORr-. `CE TAPE.

4 /

I 6{ . i d

111 :.01 . ."111 .. r3

. --+F

g- acell

If you're familiar with Maxell UD-XL tapes you probably find it hard to believe that any tape could give you higher performance. But hearing is believing. And while we can't play our newest tape for you right here on thspage, we can replay the comments of Audio Video Magazine. Those who thought it was impossible to improve on Maxell's UD-XL II were mistaken. The 1981 tape of the year award goes to Maxell XL II -S" How does high bias XL IS and our normal bias equivalent XL I -S give you such high performance? By engineering smaller and more uni on rely shaped epitaxial oxide particles we were able to pack more into a given area of tape. Resulting in a higher maximum output level, improved signal-to-noise ratio and better frequency response. To keep the particles from rubbing off on your recording heads Maxell XL -S also has an improved binder system. And to eliminate tape deforma- ° tion, XL -S comes with our unique Quin-Lok Clamp/Hub maXell Assembly to hold the leader firmly in place. Of course. Maxell XL II -S and XL I -S carry a little higher price tag than lesser cassttes. A We think you'll find it a small price to pay for higher performance. IT'S WORTH IT. Mo.ell Capoaean of Ar,eneo, 00 (.a t.ne Moaoche, N J 07074 Enter No. 18 on Reader Service Card "The awesome low - frequency response of the originals has been preserved intact."

hopes that a dbx-encoded Volume high -frequency boost, but this would Two is not far behind. surely cause an increase of surface The Digital Fiedler is another Crystal noise. Doubtless, some listeners will Clear direct -to -disc original with perceive the spectral difference be- Soundstream digital backup. It was tween the two issues as some kind of made some three months after the Fox proof that direct is better than digital- sessions, and during the short interval or is it the other way around? As in the the sampling rate had jumped up to case with the Fox album, the low end 42.5 kHz, with frequency response out has been preserved, and overall bal- to 18 kHz. The originals were sonically ances are quite musical. warm, but they lacked sheen in the Thanks to dbx and to Crystal Clear Arthur Fiedler upper strings. This has been "correct- for making these classic recordings ed" in the present release by adding a available in this format. Not only do was 37.5 kHz, yielding an upper cutoff high -frequency boost roughly equiv- they provide something of a chronicle frequency of 15 kHz. The notes also alent to the difference between the of the development of Soundstream's state that the performances and fre- random incidence response and the technology (now up to the 48 to 50 quency balances in this disc are not on -axis response of the B & K instru- kHz sampling rate with response in ex- the same as in the direct -to -disc origi- mentation microphones used at these cess of 20 kHz), but they show us the nal. Those who are familiar with the sessions. The result of this equaliza- skilled hand of the master himself, Bert originals will note that a bit of artificial tion adjustment is better overall bal- Whyte, as recording engineer. Now, if reverberation has been added to the ance and delineation of inner voices. we can just have the Crystal Clear naturally dry ambience of the old Gar- Of course, a similar correction is possi- London Symphony Orchestra record- den Grove Community Church (now ble in playing the direct -to -disc origi- ings made by Whyte, issued in this supplanted by the Crystal Cathedral). nals simply by adding an appropriate format! John Eargle In general, this extra signal processing is, welcome; however, the reverberant decay of final tutti chords reveals a bit too much midrange overhang, at least for my tastes. Handled a little more deftly, the effect would have been perfectly natural. The awesome low -frequency response of the originals has been preserved intact, and, if you have a good set of subwoofers, you will be amazed :51Z by the 32 -foot contrabordone stop in Fox's unorthodox treatment of the tran- , ' t: w. sition between the adagio and fugue in ` Bach's Toccata, Adagio and Fugue in C -major. This stop is electronic, that is to say, there are loudspeakers producing the sound in the church. But there are enough of them, and they are ade- ti 4 quately powered, so that the resulting air volume velocities are equivalent to G ' a large set of 32 -foot Bourdon pipes. the One of the secondary virtues of 11 dbx process is the reduction of re- \ quired modulation space on the disc. like Mickey Curry and G.E. Smith and Abandoned Luncheonette: Hall & This comes about because of low -fre- before such studio -perfected hits as Oates quency attenuation in the encoding "Sara Smile." Even then, these two Mobile Fidelity MFSL-1-069, stereo, process, and the happy result is that guys almost knew their way around a $14.98. the ending modulation diameter is song, and they were able to get by, B B somewhat larger than on a standard Sound: Performance: - slowly building a base of East Coast stereo disc. This will always result in Abandoned Luncheonette was re- fans who were dying for them to have cleaner sound. garded as a classic in its day. But that a hit. Bach's Toccata and Fugue in d -mi- was during Hall & Oates's long, lean The songs on Abandoned Lunch- nor and Jongen's finale to the Sym- period when their main claim to fame eonette sound dated and contrived. phonie Concertante complete the disc, was being a white act from Philly, be- The album barely stands the test of a fine tribute to the late Virgil Fox. One fore they were joined by heavy hitters time as a collection of eclectic tunes,

14 "A Night At The Opera is music ward' ti > st classic album which won over their worst critics." s are made

hardly worth Mobile Fidelity's remastering. The new version's expanded range only further reveals the generally thin and shrill edge of the recording. This wasn't a recording act, then, so much as a couple of songwriters looking for a hit, before they found the sound that's since made them the chart -toppers of the '80s. With the exception of "She's Gone" (which actually made the charts, thanks to Tavares' 01982 TDK EieCronics C,rp. cover version), there isn't much time- less music here. "She's Gone," on the Like any fine musical instrument, cassette in any bias category. other hand, sounds very good and not TDK Professional Reference audio TDK's genius is just as evident unlike their current material. Hall & cassettes and open reel tapes are in SA/EE (Extra Efficiency) and GX Oates stuck with the sound the public products of genius. At TDK, it's the open reel tapes. SA/EE is the first liked, leaving behind many areas of genius of constantly -advancing audio open reel tape based on TDK Super music they'd pursued in their formative technology. Like the technology you'll Avilyn technology. GX is the master's years-and for good reason. find in our newly -reformulated MA -R mastering tape with its ultra -wide Jon & Sally Tiven metal, SA -X high bias and AD -X dynamic range and high MOL. normal bias cassettes. Each has been manufactured to incredibly strict, new A Night At The Opera: Queen audio standards. The result is a degree Mobile Fidelity MFSL-1-067, stereo, of clarity and sound quality $14.98. DK® unmatched by any competitive THE MACHINE FOR YOUR MACHINE Sound A Performance: B+ Enter No. 28 on Reader Service Card Although not Queen's best perform ance by a longshot, this is the one which launched them into the super- star category and won over their most An vehement critics. Masterfully produced invitation by Queen and Roy Thomas Baker, the for discriminating listeners. sound of its original pressing was hampered, somewhat, by the limiters If you wish to own the world's finest audio components, and it and EQ employed in the cutting proc- you are willing to pay accordingly. we invite you. to clip the ess, all of which have been dispensed coupon below. In return, we will promptly send you, via Fiirst with here. The sounds of all the instru- Class mail, a complete packet of information on our Swiss ments, particularly Mercury's key- and German -made Revox audio components, including_a boards, have the clarity and presence 24 -page color catalog and a list of Revox dealers. Write missing from the regular record. today, and learn the full story behind Europe's premier But Queen Il-a far better record audio component manufacturer.

even more brutally butchered in the REVO7% I cutting-would have been the defini- J tive choice for a Queen album to bring up from the depths. The songs on A Night at the Opera were somewhat 40.30 "' substandard for the group, even IJL 4L_ though two of them, "You're My Best Friend" and "Bohemian Rhapsody," became enormous hits. This record, made by Queen while it was separat- ing from its management, is haunted by a certain despair and by indiscreet references to business hassles. Mail to: REVOiC Queen was, and is, a great group. In Studer Revox America,1425 Elm Hill Pike, Nashville, TN 37210 the minds of the late -to -be -initiated, A Name Night At The Opera is a classic album, but a close examination of both early Address 'hone and later work proves this to be merely a transition piece. Jon & Sally Tiven City State ZIP

AUDIO/SEPTEMBER 1982 15 ROCK/POP MICHAEL TEARSON JON & SALLY TIVEN FEAR LASHES OUT

why. They make bouncy tunes which you might easily find yourself idly hum- ming as the day goes by. There is a certain melodic resemblance to : the

o 's^ music of the Police but without the high -gloss production values. . r.- Thus, Business as Usual has a straightforward, no -gimmicks sound. The band seems satisfied just playing their songs. Their appeal emanates from a wonderful, quirky, reggae -

INUIPP... tinged sense of rhythm and Colin Hay's very Sting -like voice. Add intelligent, thoughtful songwriting, most of it involving Hay, and Men at Work begins to sound like a band that could take hold here in the States. As debuts go, this is classy. Michael Tearson

Avalon: Roxy Music Warners/EG 23686-1, stereo, $8.98 Sound: B- Performance: C+ cording job that downplays guitar dis- The Record: Fear tortion and doesn't fully convey the Calling Bryan Ferry's latest band Slash SR -111, stereo, $8.98. power of drummer Spit Stix, Fear Roxy Music is like calling Ian Hunter's Sound: C+ Performance: A+ comes across. If the Ramones and new band Mott the Hoople-you've The Pistols provided entertainment for got the same lead singer, but all the Forget the notion that Fear is the you and you're waiting for the next other elements with any personality most dangerous band in America. Dis- step in articulate, high-energy, antago- have been replaced by "good play- regard whatever you've heard about nistic rock, Fear is absolutely indispen- ers." Paul Thompson, the drummer the Los Angeles Punk Scene. This sable. Absolutely. Jon & Sally Tiven and keystone of the Roxy Music quartet makes the most outrageous sound, has been replaced by Andy and energetic music since The Sex Newmark, a fine session drummer Pistols. They also can actually play Business as Usual: Men at Work from New York. Eno is long gone, and their instruments extremely well, and Columbia ARC 37978, stereo. there is no substitute. Founding mem- instead of the being figment of some Sound: C Performance: B bers Phil Manzanera (guitar) and Andy manager's machinations, they have Mackay (saxophone) remain in the minds of their own and a matchless Men at Work have become one of band to keep up appearances and sense of humor. Rather than Clash - Australia's favorite home-grown create atmosphere, but Neil Hub - styled political consciousness with bands, and it is not hard to understand bard's guitar is the most noticeable. stern faces, these guys' politics are up front but they aren't afraid of having a Men at Work good time.

They've got a solution to the popula- r . tion explosion: "Let's have a war," sings Lee Ving. "So all of you can die. Sell the rights to the networks." This generally sets the tone for the record's lyrical approach, which is laced with language not heard on television. Not to downgrade The Sex Pistols, who -r were certainly needed in their day and .7 v1 _á - - an exciting kettle of fish, but all that e stuff looks pretty tame next to Fear. There are bushels of intelligence, musical ability, and integrity behind Fear, I and the 14 songs on their debut album I f show a great deal of consistency as well. Despite a somewhat clean re-

16 1 ' t . . r,.. h. -F `! }' ,y"1° t 1}ír._j T 1 .< u - t. Y j ñrJ)T 1 . nr What was once a fairly important art R1 \ - 4 ., . band has become a groove establish- ment, producing anonymous dance music, punctuated only by Bryan Fer- ry's droll delivery. The latest Roxy Music album Avalon "e could well be described as cocktail music for the terminally hip. Ferry seems to be so laid back that he might as well have skipped the session. The music has some pleasant Byrds-like textures, but it bears more resemblance to Fleetwood Mac than Roxy ,...,.r - .7r Music. Caveat emptor. .'' Jon & Sally Tiven r

One on One: Cheap Trick Epic 4281, stereo, $8.98. Sound: B Performance: A Aesthetically speaking, Cheap Trick has a hard row to hoe. In terms of financial returns, critical acclaim, and influence on contemporaries, C.T. is a

music biz institution. The task for the It you'd Ike to .now more about Jack Daniel's Whiskey, drop us a line group, however, is to preserve the musical essence that won such a vast WOODSMEN DROP IN from all around audience while continuing to expand. Major ingredients of the C.T. formula Tennessee carrying truckloads of maple for are Beatle-like chord sequences done in a heavy metal mode and a broad - Jack Daniel's. ranged vocalist whose access to high notes never relies on falsetto or whine. It has to be hard, Throw in guitarist/songwriter Rick Niel - sugar maple taken from high son's prankish sense of humor (his ground. Our Jack Bateman him stage garb and persona appropriately (that's saying are modelled after the Bowery Boys' hello to the driver) will split it and stack ít Satch) and you've got the flavor of this supergroup in a nutshell. and burn ít to get charcoal. And nothing One on One proves C.T. to be greater than the sum of its parts, for, with smooths out whiskey like this special charcoal the exception of one number which is more of a jam than a composition, all does. Of course, none of of the songwriting is outstanding, the these playing sizzles as usual, and the vari- woodsmen work reg- ety of material provides a pleasant sur- ular hours. So you never CHARCOAL prise. "Time is Running," for instance, has a relatively complex structure and know when they'll drop MELLOWED suggests a composer trying to stretch out from his formula. However, the ex- ín. But after a sip of Jack 'sir o cellence of this tune owes less to its DROP component variations than to its su- Daniel's, we believe, perb melody and harmonies. Two fu- o turistic tunes, "I Want Man" you'll know why they're Be and BY DROP "Saturday At Midnight," give a nod to always welcome. the synthesizer sector of the New Wave without losing C.T.'s rhythmic base, while "po La La" is a chugging Tennessee Whiskey 90 Proof Distilled and Bottled by Jack Daniel Distillery rock 'n' roll number whosé '50s Lem Motlow, Prop., Inc., Route 1, Lynchburg (Pop. 361), Tennessee 37352 Placed in the National Register of Historic Places by the United Stares Government. AUDIO/SEPTEMBER 1982 17 6F /44 r

Still Life (American Concert 1981): 1 The Rolling Stones Rolling Stones COC 39113, stereo, $8.98. Sound: C - Performance: B That the new live Rolling Stones album contains a single record, rather than a pair, emphasizes the rotten state of the economy. Face it. This, the fourth live album by The Rolling Stones, is chiefly a souvenir for the multitudes who crammed into all those sold -out stadiums and hockey arenas last year. The Stones do not blaze new trails here. In fact, nostalgia is the album's big drawing card, what with four chestnuts from the '60s including- "Under My Thumb," "Time Is on My Side," "Satisfaction" (all three date Cheap Trick back to the first live Stones album, Got feel and horn section suggest there's a Steve Miller Roy Wood fan in the band. The strong- est song may well be "If You Want My Love," the closest approximation of a ballad these boys will ever perform. Despite its grandiose production, the lyrics sound "real," and singer Robin Zander proves he can pull off a deli- 1 cate vocal with style. - Cheap Trick has surprised all the cynics by putting out what is possibly their finest album after a somewhat fal- low period without resorting to sell-out, lowbrow appeal or any major revamp in style. Jon & Sally Tiven s . C. !1 . -r.....I 0 Abracadabra: The Steve Miller Band _a s Capitol ST -12216, stereo, $8.98. Sound: C+ Performance: C Rebounding from the disastrous 1981 album, Circle of Love, which marked a return to action after a three- year hiatus, we now have Abracadab- ra. It is your standard Miller time with most of the album in that middle tempo that Steve uses so frequently. And there is the usual supply of Miller's spacey tricks, goofy electronic sounds and lots of Ping-Pong effects for the headphone set. The sound is traditionally clean but remarkably punchless (are those powder puffs or drums?). The songs are harmless and smooth enough. Certainly they are not going to threaten or offend anyone. Cotton can- dy never does. Michael Tearson

18 AUDIO/SEPTEMBER 1982 You've had your hair blown... your glasses shattered.'..

Have you ever heard a cassette sound .like real music?

u DENON'S 70 YEARS OF EXPERIENCE DYNAMIC DISTORTION: RECORDING LIVE MUSIC. THE FIRST TRUE MEASUREMENT It shouldn't be surprising that most tape manufacturers OF TAPE SOUND QUALITY. describe their in products terms that have little to do with The reason conventional tape testing measurements do not real music. After all, they are basically industrialists and tell the whole performance story is that they are based on marketers. single test tones rather than complex musical signals. Denon, Denon, on the other hand, is in music has the business and on the other hand, adopted a means for measuring Dynamic been for over 70 years. Our vast range of recording experi- Distortion, the distortion created on the tape by actual music ence includes supplying professional equipment to most of signals. By specifically developing formulations to reduce Japan's recording studios and radio stations; the recording Dynamic Distortion, Denon was able to significantly improve and distribution of the world famous Denon PCM record DX -Tape's ability to accurately recreate the sound of real music. library (using the process which we digital developed) and Thus, by satisfying conventional "static" and Dynamic Dis- over 14 years specifically devoted to the manufacturing of tortion parameters, every formulation of Denon DX -Tape cassette tape. including normal (DX -1, DX-3), FeCr (DX-5), Chrome (DX -7), Denon DX Series Tape Cassette is not someone else's pro- and Metal (DXM) delivers the type of satisfying musical per- duct that we place name our on to capitalize on Denon's formance that is making Denon DX -Tape the first true "audio- success in other categories. We manufacture every single phile's" cassette. element of our DX -Tape from the dual coatings (each designed for a specific portion of the bandwidth) and the precision half- shells (which exceed the I.E.C. specifications by 300%) to the non-abrasive, self-cleaning leader provided on each and every DX cassette. DENON °x7/60 CASSETTE TAPES, LIKE COMPONENTS, CAN MEASURE ALIKE AND STILL SOUND DIFFERENT. Serious audiophiles know that components with identical DENON specifications can sound noticeably different. Conventional 60 measurement techniques do not explain this phenomenon, so words such as "musical" are often used to describe sound creczg that possesses the "life -like" characteristics of real music. En=_Gni=rewrz..v^.ai

Nippon Ceiumbla Co., Ltd., No. 14-14, 4-Chome, Akasaka, Minato-Ku. Tokyo 107, Japan DENON imagine what well do next.

Enter No. 10 on Reader Service Card Live If You Want It) and "Let's Spend the Night Together." In addition, there are three they didn't write-"Imagina- tion," an Eddie Cochran oldie "Twenty Flight Rock," and Smokey Robinson's "Going to a Go Go." That leaves only "Shattered," "Let Me Go," and "Start Me Up" to represent the post -sixties Jagger/Richards songbag. How are they playing? Well, spirits are high and everyone seems to be having a fine time, even guest sax player Ernie Watts. The band is loose Madness and occasionally they swing on the old tunes. For these vets, that says a lot. absolutely swept England in 1979/80. Madness is perhaps the best exam- "Still Life" is nice light fun, most suit- All you had to do was blink. ple of the syncopated, high-stepping, able as a party record; no more, no The movement produced a couple wacky, nearly -out -of -control ska less. Michael Tearson of definitive albums, in the English sound. For Complete the reprogram- Beat's debut I Just Can't Help It and ming of the selections is superb as the live performance -cum -film sound- they segue neatly one to the next so Complete Madness: Madness track album Dance Craze featuring the that Madness' wild antics never stop Stiff (U.K.) HIT-TV1, stereo. English Beat, the Specials, Madness, until the side is complete. In addition, Sound: C+ Performance: B+ Bad Manners, the Selector, and the the remastering has yielded a rounder, Bodysnatchers. To those two can now fuller sound than the original albums It wasn't hard to miss the impact in be added Complete Madness, a gen- had, so these songs have never America of the ska revival craze that erous, 16 -selection "best of" album. sounded better. On the back cover the

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Enter No. 31 on Reader Service Card 94 El_A-vrow T

1 members of the band have taken turns commenting on how the songs came to be and what they mean to the band, remarks that add depth and context to the project. the perfect combination... Rare is the retrospective that actual- The musical accuracy of Bryston components is a ly adds to one's perspective of a band. revelation. Every note emerges with perfect Complete Madness does that and clarity from a background more. It is the best Madness album by of silence, then vanishes. far. Michael Tearson The progression of musical events seems real, tangible, almost visual in its presentation.... Bryston believes there is a need for reference Kim Wilde standards of musical accuracy. That is why we EMI -America ST -17065, stereo, $8.98. designed our Models 28, 3B and 4B power ampli- Sound: B Performance: B+ fiers, and our Model 1B preamplifier. Their only Kim Wilde is already an established reason for existing is to provide the most faithful hit -maker in Germany, Holland, Eng- electronic rendition of a musical signal possible land and Australia, and with this album within the bounds of available technology. Write she takes aim at America. to us and we'll tell you how we do it, and where Her material is fine, she has a sure you can listen to our perfect combination. sense of putting it across, and she gets solid support from her uncredited IN THE UNITED STATES: IN CANADA: band. "Kids in America," "Water on 1152/J3Q(3CuVERMONT Glass" and "Our Town," the first three 'ii'f'SZtI MARKETING LTD RFD°4, Berlin, Montpelier, Vermont 05602 57 Westmore De, Rexdale Oct., Canada M9V 3"6 songs, provide a snappy 1-2-3 intro- 1802)223-6159 (4161746-0300 duction to what Kim Wilde is about - Enter No. 5 on Reader Service Card namely smart, bright, poppy songs. The Debbie Harry comparison, I' AUDIO Cel,. begged by her blonder-than-Blondie ORDER TOLL MEE: IN NEW YORK Ieool m s3so C : m21 7328E03 cover shots, is pushed only on the reggae -tinged "Everything We Do," a MUSIC number that sounds perhaps too close THE ULTIMATE to "The Tide is High" for comfort, but WORLD] Wilde's supple and touching vocal PLAYBACK SERVICE 6RE 011113 THIS MONTHS measures up just fine. "You'll Never Be SYSTEM SUPER SPECIALS So Wrong," is a very mature, some- CARTRIDGES. HFF1 All of AUDIO's 1981 issues have been 1139 6.0« S914Ke0en 5)9 what nearly hid- º646 V19T9> V 1199 complex composition %U99 VII Tv. M near7U0e' 11S Bound into an sy.w9 V11) sV0atTr9ck) 9).95 6roM06 etl K.6 Deck) attractive and durable 'xº5 60.9990 569 1166.0 MnO, 659 den in the middle of the second side. 'S9 95 65969 volume. AUDIO gives rapid .1595 190665 53.103 RumUo.6 1509 '81 you º1Mi11i1 17 b,o 51!0'0t'6 MNqC5 Kim Wilde is neither brilliantly new 9TAMT019ISIS **playback" of valuable, easy access to vital nyrtor,,4190 S3M MOWSx«s 7.7 600119K.0/1000 '17 95 7eclr.cs 9113179 Kasss Deck) 699 71.0.006 WItennii nor startling. But it is a quality piece of .K,ps.¢ 613000 5S(p0!.01.3 1115 /6.99 facts, figures, reviews, and articles. 19010 0/9115.1 71.0920950311 SONY 3169,.31, 04 )10, 31a,.mar 1)19 ~9 móE 199 work that makes satisfying listening ~Owl /602 'ii3.n SONY 5111165 .63666 Refresh your knowledge of speaker 91.95 0.101. áó..ºmonn5c 'i)s99 9195 10111 11.1111 CossDDeck 6.61 KO. '419 amid an eminently attractive setting. technology, construction projects, distortion 7H'MC.- 9115540 'º9 95 ú01.69 0,.5 Deck) AUDIO 'Sº vs AMR Y-9000 0163166 1)º 9u06 116409U AT1101C Du. 627055*WO 169 Michael Tearson theory, and more. SAM. 3900I 459 Et> MIXERS /LIKES APe9T30K131 DK,u Only a limited quantity is available. A few Í.9-1011060E0 6OK01.510.500.961160.6 119/6a '329 Oa 011.141,',SC,aV6, ere911< C 1S1159N1 6 b>t,16nOM9099' 90YC< sets also remain from 1975, 1977, 1978, ]Bar'O :;m It's first 462,.9.9 ,.OBan* '3T'194 Asia 1979 and 1980. come, 'irst served, N1.4R951.11900 ..M .199 á49A4 061550,M,.N, )19 0r1CwAW61 p119M '5199 so place your order now. w 0,5(31A5.,E. 02 90º0111 999 Geffen GHS 2008, stereo, $8.98. WU91ºLM1Mq6000616 6'92999 .K31AS..E9.1Cioos '1195 WV.9º6 ))00veC006M N O1Cw45..E. L0,06,15 Send a check or money order for $30.00 .u.1197911.036.1.36.0 '141.95 '6 95 5. .1995 1A 7311er ).95 '11.95 Sound: B+ Performance: C 5.6M1 SSKATE 1Y04oupBul M.e1 '195 plus applicable sales tax. 7lA[ 3.11,1I0,51Trl, s.,.e '» 95 m601 DO NOT HEADPHONES SEND CASH! 69 95 '31 95 110w4199 6p333 0,01e0 Am The debut album by Asia is an at- 53162 t.000.110, WOW 6902. 4).91 Price includes handling in 9055 61610 4400011.60 '319 95 5059 )1.35 shipping and the CO3U,.µh tempt for some recycled 5.61.1.0.93.1 916.909 S» "superstars" U.S.A. only. 56.06009.7 MDR 101ATMI,FMY to put AUDIO TAPES so-called "progressive music" DE. 13 TA56F r '3.)7 60-39.,101.310, 00119 C 20 N1Y 7 r Y0 A c. 3.79 back on the charts. The recycled 3.05 ).,3AC-10 ones 61VOn1PODN9C-10 kW '119 AUDIO, CBS Publications, 1515 Broadway, 4ú.0 1s4 v 645 C90 '0 º9 T0906)1.109TD6 COO '9 59 l4/1.61 MIS Or SUS C10 .3 99 '10.59 include Yes alumnus Steve Howe, Carl '3.)9 New York, N.Y. 10036 SO.IYCISS9C10 Y ;flul11111;09' 1.40. 660 Ci0 Palmer of "Emerson, Lake &" fame, 6.661 0,1 95-1929 '19; 99 '3.79 ,4.a1D/3510 ];» :w66Ó p1C90 3.19 1981 1977 44A.951 6u 55.100 1979 11R0.sO -1 Yes/Buggies graduate Geoff Downes, 9001106% 5'..Xe5M1 O6 1m w 4D.9 "Ph-- 1980 1978 1975 wow TO 0601. n Ma .00 Y ryCFRVC and journeyman John Wetton who has c0077500.5 ~DI 30 C95.0 COCCI VS* 6E0W't .60 9~55 O(4 0o date 4( 0 %Wueas r , 00 007 MID CAM survived Family, King Name 00(0.E 6806551, 51100,, oaocoop B Crimson, UK, 0406 6.6 MAO Ou. 0a9e TO 31ma Ss 95 , 14 1'46 CÓrile 0.603 5% 0. 1.60,6 . . 61060 9K0 MO CYU10.pple.1 Roxy Music ,10+407% 51.1 NAY.. and even Uriah Heep. 1,0070% 5k) 00,x9 ~L.006 Deno Oou00 Mew 0110. .01+ ST.TE 1Y19NR Address 9/710,9n11 0V 1 w41 Ye0A2*251 W'666044.0 They play their music well 3 fib 4005A,E5TA. 10.91 0(50.1 enough, 7431, 6AC14Y Rem moo lees. amour's, NY 10038 23 PARK ROW, DEPT. A9, NYC City State_ Zip CATALOG :::SEND FOR FREE 240 PAGE AUDIO/WORD AUDIO/SEPTEMBER 1982 21 l J Enter No. 14 on Reader Service Card but their compositions are from hun- - ger, woefully dumb, drudgy, pedestri- an efforts. Fortunately they elect not to bury their work beneath the endless instrumental excess of a Yes or EL&P. - r Their more direct approach is smart. If only their stuff wasn't so vapid... . ¡- . Even their production is surprisingly I ': Asia simpleminded for technicians of their calibre. The Quiex II pressing of the early copies is superb, giving them ex- AvEWo cRirics cellent clarity and definition. Asia is not really bad, just terribly RAVE ABOS/r rWE average, and in this case that is a V/S Ví major disappointment. Who'd have rrPE was so to Kansas? thought Asia close Michael Tearson

Frogs For Snakes: John Hammond Rounder 3060, stereo, $8.98. Sound: B Performance: A- ? John Hammond is a blues purist whose limitation as a composer (if he does write, he doesn't record his own tunes) is more than compensated for SHURE by his execution of other people's ma- i=--t {.[. terial. The man's musical integrity is probably his greatest attribute, though 1. J. Not cif, as a vocalist he truly excels. far from Willy Deville in the blackness of his vocal sound, Hammond's emotive "Our tests show that the "... (The V15 Type V) design not only from the delivery shows us the blues is a spirit- a rich white kid Shure V15 Type V not is definitely the FINEST beginnings of micro - ual state even could fall victim to. only lives up to the pickup Shure has ever groove technology but If he displayed more confidence in claims made for it, but in made, which makes it well into the future of the his guitar playing, the instrumental virtually every respect one of the finest ever LP disc"- FM Guide portions of these tracks could have OUTPERFORMS the best made, period."- High (Canada), June, 1982 been as exciting as the vocals, but as cartridges we have pre- Fidelity, July, 1982 "... It may be safe to say is, most of these tunes cry out for viously tested....lt is hard that this cartridge's excel- "... In a world of some lead guitar work. Apparently, to imagine how the V15 lent tracking ability is audiophile discs with Hammond is used to playing guitar un- Type V could be NUMBER ONE in the demanding tracking because the drumless improved significantly. world. Provides exquisite accompanied requirements, the Shure acoustic numbers on this LP are the It offers the MOST PER- and elaborate sound:'- V15 Type V KEEPS AHEAD most ferocious. He allows himself to most Swing Journal (Japan), FORMANCE in the of the times.."- stretch out on the fretboard and does areas, plus the most con- Rich May, 1982 Warren, Chicago a good job of it on "Step It Up and Go" venience and safety in Sun -Times, June 4, 1982 Find out why the critics and "Mellow Down Easy." His instincts Send for installation and opera- "(The V15 Type V) are so excited: on electric guitar are good, especially tion"- Julian Hirsch, REDEFINES its maker as free fact -filled brochure to create a mood for "Louisiana Blues" Stereo Review, June, 1982 a pioneer in cartridge AL694A. and "Got to Find My Baby," but he permits his axe to be mainly a punc- tuative component of the vocal. Given the considerable feel for the genre he's displayed over the past 20 years, Hammond might want to showcase his own instrumental/arranging/songwrit- Call for the name of ing talents a bit more on his next re- the dealer nearest you cord. As it is, he serves as a keeper of 800-323-6556. Ask for Dept. R15. the flame for blues forms that have yet In Illinois: 800-942-6345. Ask for Dept. R15.

Shure Brothers Inc., 222 Hartrey Avenue, Evanston, IL 60204 22

Enter No. 24 on Reader Service Card to be popularized on anything greater 11.1" .... 'Sr ,.Oi than a cult level. With a guitar foil to J drive his vehicle further on up the road-his previous sidemen include a ~ r..: Jimi Hendrix and Robbie Robertson- . :°.: 71, Hammond could easily become as much of a household word as Johnny PsY Winter, George OQ Thorogood, or any of P O 1_ i t¡, i.. i..I . the second/third generation bluesers The Blasters ._ who have kept blues alive on the radio . and in the clubs. Jon & Sally Tiven The Blasters FOB ES EEC Slash/Warner Bros. BSK 3680, stereo, $8.98. Sound: B - Performance: B + The explosion of rockabilly cat DV: OF MUSIC bands the last few years has impacted mostly in England, where bands like Long Island expatriates The Stray Cats as well as homegrown products like The Linn Sondek The Polecats, Rockats and others The master link in a delicate have carved a successful niche. The States have ignored the trend/fad with chain of superb sound retrieval. nearly total success. But now we've A turntable of such remarkable got an American band that's got these distinction that it can transform poseurs beat hands down, The Blast- recorded sound, and enrich ers from Los Angeles. the capabilities of your entire The Blasters play American music system. with style and that magical, usually Linn Sondek. It must be heard. missing ingredient, "swing." Singer Phil Alvin has the master's touch and a demon -possessed style heightened by Wewis n you the best razor-sharp timing. Particularly on the a cappella passages. And in person he is an astonishing performer. Drum- mer Gene Taylor is both anchor and propeller, the throb that everything else is built upon. Songwriter/lead gui- r - ors'- tarist Dave Alvin is another wonderfully -4 charismatic figure. Dave's songs at their best are magical. They aren't 24 years old; they just sound it with perfect authenticity. One of them, "Marie, Marie," has been a smash in England and Europe for the relatively wimpy Shakin Stevens. Don't miss the original here. And with it The Blasters' anthem "American Music," only one of the best car radio songs in years. And their Chuck Berry -licks song "So Long, Baby, Goodbye." And some inspired covers to round out the set, stuff like "I'm Shakin' " and "High- way 61." For further Information contact: The Blasters are the real thing, AUDIOPHILE SYSTEMS L D., 6842 HAWTHORN PARK DRIVE, the INDIANAPOLIS, INDIANA, genuine No USA 46220 article. museum piece ALDBURN ELECTRONICS LTD.. 50 ROLARK DRIVE. here. They are alive and most definite- SCARBOROUGH. ONTARIO, CANADA M1R 4G2 ly lively. Michael Tearson

AUDIO/SEPTEMBER 1982 23 Enter No. 3 on Reader Service Card CLASSICAL .REVIEWS EDWARD TATNALL CANBY

MUSICAL COLLAGE

ticks than there should be (today) in the recording and some unfortunate groove pre -echoes when the composer's dramatic silences come up. Tough job, though, to record and to cut Roch- berg. He gives the engineers no consideration at all; he writes "live" music, like most composers of his generation!

That's his privilege, is all I can say.

Weber: Der Freischütz. Behrens, Donath, Kollo, Moll, Brendel, Meven, Symphony Orchestra and Cho. Bavar- ian Radio, Kubelik. London OSA 13136, three discs, stereo, $35.92. This sensational German opera, the first Romantic opera of all, sprang full- blown in 1821 out of the earlier Sing - spiel, the popular German -language musical show which had combined rustic characters, ordinary speech and fancy operatic singing all in one. Mo- zart's Magic Flute took the half -sung, half -spoken format into high and serious matters, as well as comedy, but Weber launched the era of spook, the musical horror show, and it has never ended, as we all know. Such goings-on you cannot imagine ' here, more than a stage would seem to make possible (but right in the Wagner lage, and, indeed, Rochberg actually track)-deep, dark, spooky black for- George Rochberg: Quintet for Piano composed made out of est, magic all over the place, hideous and String Quartet. (1975) Alan collages pieces of older music, back in earlier wild beasts, visions, ghosts, howling Marks; the Concord String Quartet. days. He is too good, too fertile, for wolves (quite literally), banshees, you Nonesuch N-78011, stereo, $8.98. that; now he makes up his own. And it name it, plus a pagan monster -god Sound: B+ Recording: B+ is remarkably good music, no matter named Zamiel, the Devil himself in Surfaces: B - what the style. German, and out to do in our hero and George Rochberg is an original, as The unusual thing, which surely is his gal, purest of the pure. ... It's a they say. He is no spring chicken, be- the envy of many another living com- marvelous show and the music is quite ing in his 60s, but plenty of younger poser, is that this crazy mixture works. lovely. "contemporary" composers (isn't It sounds out, it flows, it coheres, as Curious-the spoken word (often everyone contemporary?) respect his one. Now that takes skill! shouted or bellowed at full voice, may-

ways and maybe stand in a bit of awe The way I see it, this is ultra -logical, be I should say bayed, like a hound) is of them. Who else would dare -? since in this day our music listening so thoroughly mixed in with the sung Not what you think. What this man habits are precisely the same - we music that on occasions a conversa- does is really startling. He brashly jump wildly from one period to another, tion has one person speaking, the oth- combines extreme dissonance, "con- old and new cheek to jowl, as no mu- er singing. There is no separate, for- temporary" stylings, with plain all-out sic listeners have ever done before. So mal speaking cast here, an evil in too old-fashioned Brahms or Schumann. why not compose music that way? many opera recordings. The mix of No halfway measures! Some of this That is, if you can. speech and singing is astonishingly Quintet sounds like Bartok (clearly a A lovely, well -felt performance, too, easy on the ears; few other operas do

big influence, as the greatest modern tastefully impassioned. I particularly it so successfully. Romantic), sometimes like Brahms, liked Alan Marks' piano, whether in the This opera, of course, virtually re- early Brahms, a la Schumann. There Bartok/Stravinsky segments or the quires an all German cast, and this are segments, too, of late Beethoven, Brahms. These performers understand recording is predominantly of that sort,

and of early -middle Stravinsky, just as Rochberg's idea. a rarity in these international days. I openly. This is a kind of musical col- Sorry to report that there are more found it a lively, lean, exciting perform -

24 AUDIO/SEPTEMBER 1982 The Kyocera R-851 AM/FM Tuner/Amplifier... Beneath the sleek styling lurks the devastating power of an MOS/FET output Unsurpassed technology. Uncompromising.quality. From beginning to end. "Never design solely for the sake of Having satisfied the first goal, Both MM and MC phono inputs design, never change solely for the Kyocera advanced on the second, combined with two-way tape dubbing sake of change." This is the philos- "Never change solely for the sake of and monitoring produce the versa- ophy that has kept Kyocera at the change." The 3 -band parametric tility required by today's component forefront of technology in sophisti- equalizer proved vastly superior to enthusiast. A flip -down control cated audio components. A philos- conventional tone controls.. Quartz access panel insures that once vital ophy that led to the Kyocera R-851. locked electronic tuning provided controls are adjusted, they're not precise station selection with the easily tampered with...and the It utilizes Kyocera's unique MOS/ added convenience of 14 station refinements continued, each satisfy- FET output supported by uniform programmable memory (7 AM and ing a specific goal...improve'per- negative feedback at each frequency 7 FM) and automatic scanning and formance! stage. The result...high power, a full station seek. A direct reading LED 85 watts/channel* with low distor- digital flouroscan panel v vidly Please stop by your local audio tion. An amazing low 0.015% TIM/ ' presents you with accurate frequency retai.er and see why once you get THD; a slew rate of 70v/i sec and a and mode indications. past the sleek styling, the Kyocera rise time of 0.9 ijsec. A successful R-851 is just one of a distinguished Kyocera design with brilliant audi- series of devastating audio com- ble results. ponents and systems.

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Seven Powder Horn Drive, Warren, N.J. 07060-0227 U.S.A. Telephone: (201) 560-0060 Telex: 642529 CYBERNET WARE. Enter No. 7 on Reader Service Card "There is a pleasing excitement in Bartók played by two native Hungarian orchestras under a young emigre to the U.S."

ance, though the orchestra, under Ra- ance is the thoroughly modern audio, ,e1 phael Kubelik, is a bit on the sluggish and particularly the microphone setup, side. You get a complete German text which places all those big German and translation, though they don't say male voices (and one major female \ which is sung and which is said. As I part, the blushing girl, Agathe) out on say, not much difference anyhow. the stage where they belong and For us who listen via recording, per- where we can place them easily in haps the biggest asset of this perform- space, even as to right and left. No

Raphael Kubelik

The ALLSOP 3 close-up bellowing here! It would be fatal in this loud -voiced opera. You cassette deck cleaner.. . may find this is the easiest listening recommended by FISHER opera yet, big voices or no. Bartók "100"-The Major Orchestral Works. 100th Anniversary release. Bu- dapest Philharmonic & Symphony Or- mom chestras, Arpad Joó. Sefel SEFD 5005/5, five digital stereo uaoMM.z.. um discs, $79.90. (Available from Sefel, 201 S. Cherokee Street, Denver, Colo. Ma . M 80223.) a..,....,. .w. Just how a Colorado record label am l moved into modern Hungary, with F, .,. a ' Soundstream digital in attendance, to . _.. M . record this fantastic r. v_`,EggM and monumental UMU five -LP album, is beyond me! But here _' _ .w a it is, opulent, beautifully turned out, au- I. thoritative, and surely one of the most ! _ . ^M -_ '` important -- --- ó documents of Bartók's 100th - u year (he died in 1945). The recording 1 -- ~ - - is particularly unusual because it is a B. a- Mali kind of orchestral retrospective of Bar- a tók's work in the purely orchestral medium, taking us from the very early MM "Kossuth" of 1903, a Symphonic Poem MMMaa much after Richard Strauss, all the way The makers of high quality Fisher audio products, like the DD -300 cassette deck, to that final orchestral work so well know that abrasive dry cleaningM methods can damage their precision tape heads. known by now, the Concerto for Or- That's why they recommend ALLSOP 3. Fisher knows the patented, center wiper chestra, composed in the U.S.A. in maintains a constant and complete swabbing action across the entire tape head. 1943. Moistened with a specially _ formulated solution, the virgin wool pads It is a revealing history, since most lift oxide and other residue H -F \ that distort sound quality. Plus, the two GRANC of Bartók's works with orchestra heard outer cartridges clean AWARD components of dirt that can lii today are with solo instrument, notably ruin valuable cassettes by snarling and "eating" the the fabulous tape. ALLSOP 3 and Fisher Two big names in audio qual- piano concerti. Virtually ity, two great partners for the best sound around. all of the music on these five discs, the Concerto for Orchestra aside, will be unknown to most listeners, and the more interesting for it. What a strong, 14 prolific, forward -moving composer! I I - } One had the impression that Bartók 6 w personally was intense but inward. Not World Leaders In Fidelity Cleaning. 40.5.0P by any means in his earlier music, which lays itself out to absorb every ALLSOP, INC. new influence that comes along and P.0 Box 23, Bellingham, WA 98227 U.S.A. (206) 734-9090 Telex 15-2101 Allsop BLH spreads it wide and far in brilliant orchestral forms. Strauss, Debussy, Stra-

Enter No. 1 on Reader Service Card PROTECT YOUR VALUABLE RECORDS

vinsky! You'll hear them all, but in such an original and intelligent borrowing- is not all the greatest art based on tradition from the immediate past and so on back? Now we can understand, via this album, how far, and how freely, Bartók moved from late Romantic straight ST p s through the Roaring Twenties and the V R REC Ó r most potent dissonance, into the mel- Yp Y° lowing that came in the last works. It is stHlusLneedlel,vt11degrade Y0VR precious an immense evolution in a short time NO diamond s+`s,ii1\ruin at leas t and only here, REPLACE explained, as by sheer -crafted may rne prolificacy. Bartók learned by precision vnav,ornit no doing, Even a yostYluoeon the getting all-out and magnificently. eventuaycone Howe insistassured of There is a pleasing excitement in the stn9ePlaY1 necessary. h` { systTssaund° andbe cartridgeguide playing of the two native Hungarian in Pono records ondrePlaced Shure orchestras, under the leadership of a a Yeor rePlocernentstY\usyour the once your comPt young Hungarian conductor who in on en,oYrnent {or A`635A, o Send 1968 emigrated to this country for an "Shute"u1ist1ng I American musical education. Now he the to produce. is invited back, and brings new things designed 1 to his countrymen concerning music toSrest`/1\ by their own finest composer; one can Shure Brothers Inc., 222 Hartrey Ave., nston, IL 60204 sense the interest and fire in the per- Eva formances, though there are even Enter No. 25 on Reader Service Card rough spots perhaps due to unfamiliar

ity. I have never heard the Concerto for Orchestra more enthusiastically played, in particular the wicked take- off of Shostakovich's Seventh Sympho- ny, with the woodwind screams of laughter. Bartók could not stand that Ott pompous, if dedicated, war -time mon- strosity; these players obviously get McIntosh the point and relish it. They surely have had to play the monumental Seventh, STEREO CATALOG the "Leningrad." (As usual, the liner notes ignore this. I got it from Peter and FM DIRECTORY Bartók, the composer's son.) Soundstream digital! Why are so Get all the newest and latest information on the new many fine recordings attached to this McIntosh stereo equipment in the McIntosh catalog. In you will receive FM firm? addition an station directory that After all, they merely run the ma- covers all of North America. chines; others do the recording. Yet it happens. Maybe Soundstream picks the right musicians and engineers? A This is superb, and no further word is I -iYT. 6 ttóóó Ó i needed. Surfaces, too, are so good _ that dynamic range seems larger than I.:cy,_o bL,=_' ,.1 o,on normal LP, not far from digital itself. If you think big companies still have the lead, you had better sample this r 1 McIntosh Laboratory Inc. A album. Music included: "Kossuth" East Side Station P.O. Box 96 (1903); Four Pieces, Op. 12 (1912); Binghamton, N.Y. 1 3904-0096 Suites Nos. 1 and 2 (1905, 1907); Mi- SEND raculous Mandarin Suite (1919/27); NAME Dance Suite (1923); Concerto for Or- chestra (1943), and some shorter ADDRESS works. Bartók wrote no purely orches- TODAY! CITY STATE ZIP tral music between 1923 and 1943. L

If you are in a hurry for your catalog please send the coupon to McIntosh. AUDIO/SEPTEMBER 1982 27 For non rush service send the Reader Service Card to the magazine. Enter No. 17 on Reader Service Card HOWARD ROBERSON BASICS OF

Tape tests and comparisons are aimed at pointing up performance differences between specific tapes. But the fundamental similarities between tapes are worth examining, too; they are the forest of context for these individual magnetic "trees."

Magnetic Properties The most fundamental diagram of tape performance is the hysteresis loop, which shows the tape's response to magnetizing and demagnetizing

1 i forces. Figure shows loops for three , cassette formulations (loops for open - reel tapes have the same basic shape). The plots show flux density as a function of magnetizing force. For each tape there is a saturation point, where the flux density is at a maximum (Bmf, and further increases in the applied field will not induce more flux. If the applied force is reduced from the saturation point to zero, the flux on the tape does not return to zero. This residual flux density (Br) is called retentivity; without it, there could be no tape recording, as the flux would disappear from the tape when the recording force was removed. The B,,, and Br points are marked for the metal tape, and the corresponding 't points for the other two tapes are easily seen. The "squareness" ratio listed on many technical data sheets is the simple ratio Br/Bm. If a magnetic field of reverse polarity is applied, the flux will be reduced-all the way to zero, if this negative force is sufficient. The force required to reduce flux to zero is called the coercive force, or coercivity, and is designated as - He. We can see the possible advantage in having high saturation flux densities, though that requires higher magnetizing force-a possible challenge to the recorder designer. Coupled with a high squareness ratio, a high Bm provides high retentivity. The high Bm of metal tape (more than twice that of the

28 other tape) is quite noticeable in the

figure. Quite a few Type I (normal ferric) tapes, however, have retentivities that match those for Type II (high bias) tapes. Metal (Type IV) tape's advantage extends to its much greater resistance to erasure; Type II tapes are also su-

perior to Type I formulations in this respect. Coercivities are on the order .=r of 1100 oersteds for Type IV (metal), 350 to 650 for Type II, and 280 to 375 oersteds for Type I. These figures are ! actually developed with d.c. magnetization and demagnetization. Figure 1 also includes two dashed, demagnetization -loss lines, showing the extent to i which the saturation loop's Br might be reduced at higher frequencies by short -wavelength demagnetization effects such as self -erasure. Because of its low coercivity, Type 1 tape is much t. the most vulnerable to erasure of high frequencies by small magnetic fields such as might come from magnetized heads. ri While Fig. 1 shows the tape's performance as it is cycled through saturation, it is, of course, common for magnetization and demagnetization to occur with smaller magnetic fields, resulting in lower flux densities, as in = normal recording. A series of nested hysteresis loops, at flux densities from zero to saturation, form the natural magnetization curve. It is most linear in its central region, away from both zero /1 and saturation. A.c. bias effectively lin- earizes the magnetization curve, and this linear range covers about ±0.3 Bm. In the 10 -dB range from ±0.3 Bm to ±Bm (saturation), the curve is nonlinear, and overload distortion increases with increasing level. Exami- nation of the signal-to-remanence curves of several tapes showed researchers that these curves were a nearly exact match, when normalized. From this, an equation was derived have a headroom of 10 dB between the point where the level of third har-

AUDIO/SEPTEMBER 1982 29 "The fundamental tape performance diagram is the hysteresis loop showing response to magnetizing and demagnetizing forces."

monic distortion (HDL3) was 1% to Effects of Bias current is varied. As bias is increased saturation. This does not mean that all It is common knowledge that high - above 1.2 mA, the 3% distortion limit tapes have the same distortion level frequency response and distortion (MML) at 400 Hz increases steadily, vs. recording levels; it does say that change with bias level. So do several but the MOLs (maximum output levels changes in recording level will cause other tape characteristics. Figure 2 or saturation limits) for 15 and 20 kHz the same relative changes in distor- shows how the characteristics of one drop a great deal. Distortion at 400 Hz tion. tape. Nakamichi SX, change as bias with a flux level of 200 nWb/m de- creases very sharply at first, then more gradually, reaching a minimum at about 2.9 mA of bias, then rising as Fig. 1-Hysteresis bias is increased beyond that. Bias - loop character- noise level changes very little with bias istics of three current. cassette tape It is not surprising that many audio- formulations. philes get somewhat confused when they see such a data sheet, because it's hard to reconcile the idea of flat response with the great discrepancies .rP 1 between the 400 -Hz MML and the 15 - GMup and 20 -kHz MOLs. In actual recording and playback, though, equalization is used to flatten the response. The main point to keep in mind here is that bias is a fundamental factor in frequency response and distortion.

Frequency Response In general, the perfect amplitude response vs. frequency curve would be exactly flat with no deviations over the entire audio range. (There's little advantage, of course, in responding to frequencies below the lowest musical frequencies-music-search systems excepted-or to noise frequencies above the audio band.) In the past, tests have Fig. 2-Effects of shown that by adjusting (and it bias change on bias equalization), was possible to make the frequency rte,. Nakamichi SX tape. respose of almost all tapes of any given type (I, II or IV) almost exactly the same for a given deck. It seems quite impossible, therefore, to state that any one tape does or does not have flat response. While both bias and equalization affect frequency response, recorders which offer front -panel equalization trim adjustments are a rarity, with designers leaving manual EQ adjustment _ ± } to the manufacturer or service techni- Ir. 01Si0R110R 000 w, 200.wEi..1 cian. The deck comes with bias and -N-1000.0 equalization either set up for the manu- RCC..1CpU: R-s. BIAS : .5>w facturer's choice of tape or under the I PlCO : i0w? f control of an automatic Ij t adjustment circuit. If a user control is included, it will I 1 probably be a bias trim adjust; and if the user needs to do a little response trimming, he will probably use bias to do it.

30 "High -frequency response and distortion as well as other tape characteristics change with bias level."

But bias affects some inter -related region. The Hall and Oates record had As a first step, let's consider how problems. First, bias level has a direct energy distributed across the audio recording level meters respond to relationship with distortion levels, and band, with the region around 500 Hz broadband signals such as music or, there is no direct indication of what is more elevated. It can be seen that if for testing purposes, pink noise. A me- happening to distortion when bias is the same high -end criterion is used for ter that will register a zero -dB level used to trim the response. Another po- all three cases, the mid -band levels when fed 0.5V at 400 Hz, might regis- tential problem is that, with many cas- will differ greatly for each-and if lev- ter -3 dB for pink noise at the same sette decks, the best noise -reduction els are set for equal mid -band energy, 0.5V level. The reason is this: The me- tracking may be obtained with the re- high -frequency levels will differ just as ter will read all the energy in a discrete sponse somewhat un -flat. Recording greatly. How, then, can the user set tone, as long as that tone is within the sensitivity also affects noise -reduction levels correctly to prevent distortion at meter's bandwidth. But if the signal's tracking, of course, which is a further the high -frequency end? bandwidth is wider than the meter's, or complication in selecting tapes and compensating for the differences from the manufacturer's set-up tape. The "I rn Fig.3-Music spectra, user is often best advised to try tapes 14', after Cabot et al. which match the set-up tape's bias 1 1 I (solid line) and Queen needs and sensitivity, to minimize re- 41 (dash line). sponse deviations when using noise reduction.

Recording Media Requirements Matching the recording medium to the characteristics of the material being taped is a basic challenge. Figure 3 shows two curves of music spectra. One is an average of measurements FREr.U. 1'4Cr - Hz made by Richard C. Cabot and others of levels and spectra in rock music. The other is based on measurements ; -"MT Í

by Daniel Queen of maximum levels in I ' Fig. 4-Maximum live music. Placed somewhat arbitrarily `. f, octave -band levels on the figure's reference levels, nota- from rock -music ble similarities can be seen between --+- station (solid line), the curves. Of particular interest is the - ,.. \\ and Mobile Fidelity fact that the fall -off in levels above \ versions of roughly 1 kHz is close to a -6 dB/ `` Resplghi's "Feste octave rate. Tape MRLs show the --{ Romane" (dash line) .same slope, as we noted previously. ``` -.h' and Hall and Oates's Work on orchestral instruments by Abandoned :177 _. q 11-1-19! David A. Luce has shown that 1 their - - ..;1L _ LJ11'" - 1 _ Luncheonette (semi upper spectral envelopes have roll - 00 on . dash line). offs of 10 dB/octave and more, with FREQUENCr - 4z corner frequencies as high as 1300 Hz. An averaging of his curves would show a rough correspondence to Fig.

3, but a steeper roll -off above 1 kHz. Figure 4 plots maximum octave - Fig. 5-Spectrum band levels of a rock -music FM station analysis of pink -noise and two Mobile Fidelity recordings. response at +14, +8, The plots (made with an Ivie _fib- +4,0, -10 and -20 dB IE-30A albs ' analyzer in its accumulate mode) were recording level. deliberately shifted vertically to place their upper -end slopes close to the same reference -6 dB/octave line. The broadcast signal appears rolled - off at both ends. The opening of Re- spighi's "Feste Romane" contained - considerable low -frequency energy, with a general drop in level above that 20 40 80 160 315 630 1.25k 2.5k 5k 10k 20k

AUDIO/SEPTEMBER 1982 31 "Although the meter will indicate the total energy in the music, knowledge of its spectral distribution helps prevent problems."

20 SX TAPE falls partially outside it, the indicated ing levels. (Even harmonics are usually ZX TAPE level will be lower. not characteristic of tape recording. The total level for a wide -bandwidth HDL2, though, does show up regularly iiii.. réii signal is the sum of the power levels of in testing, probably from poor bias whatever individual bands (octaves, waveforms, though possibly from leaky o ....n -40 third -octaves, etc.) we are consider- capacitors or magnetized heads as ~~§~~~~.~.~.1 ing. This fundamental fact is one of the well.) The relative third -harmonic level reasons that sine -wave testing is of (HDL3) is a square function; when plot- limited use in testing for headroom. ted in dB versus recording level, we .. The high -frequency test tone exists can expect a 20 -dB change in distor- ZEE 60 without the presence of energy across tion for every 10 -dB change in record- 111111 the band, as would occur in music. ing level. Figure 5 shows a recorder's record/ Figure 6 shows measured HDL3 vs. .11111111itiiti playback response for pink noise re- recording level for SX and ZX tapes on corded at levels from - 20 to + 14 on a Nakamichi 700ZXL recorder. Note 0rn -eo the recorder's meter. Some high -end how close the measured distortion -.4 -t0 WI0 t4 roll -off is apparent by 0 dB, and the curves (especially that for ZX tape) are RELATIVE RECORD LEVEL - dB overall compression is obvious by to the theoretical 20 -dB change (verti- + 14 dB. At meter zero, the actual lev- cal axis) for each 10 -dB change in Fig. 6--HDL3 as a el in each band was close to -15 dB; level (horizontal axis). Note also that function of recording with 30 bands, the total level is 14.8 dB the curves are still straight, even at at 1 level kHz with above each individual band. -14 dB record level and a distortion Nakamichi SX and ZX Referring back to Fig. 4, with the of only about 0.01%. tapes on 700ZXL levels set as indicated by these plots, Figure 7 shows a similar plotting for recorder. the rock station produced a + 10.5 -dB three recorder and tape combinations: reading, the "Feste Romane" record The Philips N4504 open -reel deck with got an indication of + 11.5, and the TDK Audua, the Nakamichi 582 with Hall and Oates recording showed -3 ZX tape, and the Aiwa M700 with TDK dB. Considering the MRLs of severa' AD -X. The results are plotted for two O PHILIPS N4504 WITH TOE tapes, we would say that reducing the frequencies. All recorders showed a AUDUA AT 200Hz rock station's input level to normal me- in A NAKAMICHI 582 WITH 21( considerable increase distortion O AIWA M700 WITH TOE AD -S ter indications should give us plenty of with the frequency shift from 200 Hz to PHILIPS N4504 leeway on the high end. A similar re- 4 kHz, though the increase varied from NAKAMICHI 582 AT 4kHz AIWA M700 duction would be called for with "Feste deck to deck. Even so, there is a gen- 10 20 Romane," with the possibility that eral agreement with the 2:1 slope, es- some recorders would still distort its pecially with the 582 deck. lowest frequencies. The Hall and It is interesting that the two cassette Oates record is the deceptively chal- decks have lower distortion than the lenging It CD one: has such a nice, open -reel machine for the same flux e smooth -40 I sound that the width of its level. This is also demonstrated by Fig. -J spectrum is not obvious. We can see, 8, which shows > the distortion products LIJ however, that J increasing its recording from recording a 1 -kHz tone on the w level even up to just zero would prob- Philips (top) and > Nakamichi (bottom) F- ably cause some loss at the highest recorders. The open -reel deck had frequencies. much 6 W higher second, third and fifth ...._ Cc To summarize this section: Although harmonic distortion, as well as some the meter will indicate the total energy fourth harmonic not seen in the cas- in the music being recorded, know- sette deck's output. As the vertical ledge of its spectral distribution should scale is 20 dB per division, HDL3 was ool . -eo help prevent problems at the band lim- about 7% for the open -reel deck and -to.n. 0 +8 . its. Listening carefully to the playback 1.1% for the cassette unit. Let it be RELATIVE RECORD LEVEL- dB will help in setting record levels high said that no concerted effort was enough for good signal-to-noise ratios. made to try other tapes with the open - Fig. 7-HDL3 vs. reel machine or to optimize its bias for recording level at 200 Hz Distortion the tape used. and 4 kHz for three As many readers know, third -har- Figure 9, made with the same set- recorder -tape monic distortion is a fundamental char- tings on the spectrum analyzer, shows combinations. acteristic of magnetic tape. Fifth and three runs made with the 582 deck higher -ordered odd harmonics also with ZX tape. First, a sweep was made make their appearance at high record- with a zero -level 300 -Hz tone. Then, a

32 "The recordist must steer between the Scylla of distortion and the Charybdis of tape noise."

second sweep was overlaid (top tape over the other. In the low -frequen- Type II tapes had shown that switching traces) with a 1.5 kHz tone. Both tones cy MRLs, however, the choices were to 120-µS EQ eliminated the S-ing, in- produced third harmonics, and there's much clearer, and the data did show creasing the headroom available; how- some HDL2 with the 1.5 kHz. that the formulations with the best low - ever, the change in equalization also Finally, both tones were fed in at the frequency MRLs were also best at the leads to an equal increase in noise, so same time, with the levels reduced for high end, albeit by small amounts. there is no increase in dynamic range. the same meter reading. The results, in There are other facets of these plots On each of the figures is a -6 dB/ the bottom of the figure, show both worthy of attention. The dashed line in octave reference line from + 10 at 2 expected and unexpected things: Fig. 11 indicates the much poorer per- kHz to - 10 at 20 kHz. We can see that Note how the 1.5 kHz appears to have formance of two discontinued tapes. all MRL curves fall off at close to this three upper -frequency sidebands, 600 This figure and Fig. 12 show a gentle rate, which our earlier discussions Hz apart. Its own second and third S -curve in the high -end MRLs, be- showed to closely match the roll -off in harmonics do not appear, somehow lieved to be caused by the 70-1.1S re- a number of music spectra. Figure 13 suppressed by the added lower tone. cord equalization. Previous tests with shows the MRLs obtained with the This points out that the generation of distortion products becomes very Fig. 8-Distortion complex when more than one tone is products for 1 -kHz involved and there are many more signal at 200 nWb/m. than that with complex musical wave Top: Philips N4540 forms. The recordist must accept the open -reel recorder with fact that the fundamental approach to TDK Audua (see text). controlling the generation of distortion Bottom: Nakamichi 582 products is to avoid high levels as far deck with ZX tape. as noise considerations permit.

Maximum Record/Output Levels Most people use the criterion of 3% distortion as the maximum allowable output level, which is, of course, tied to 20 40 80 160 315 630 1.25k 2.5k 5k IOk 20k the maximum allowable record level for any particular deck. It has been our practice to use MRLs, rather than Fig. 9-Distortion with 300 -Hz and 1.5 MOLs, mostly because it tells the re- -kHz cordist what limits are imposed on the tones. Top: Tones signal being recorded. The MRLs are recorded separately, Bottom: Tones recorded always a bit higher than the MOLs, perhaps a dB or so, reflecting the simultaneously. compression that appears at higher distortion levels. At the lower frequencies, the MRLs are based upon HDL3 = 3%. Above a few hundred Hz, however, more accurate data is obtained using a twin -tone signal and measuring TTIM (twin -tone intermodulation) distortion, with 3% 20 40 80 160 315 630 1.25k 2.5k 5k 10k 20k used as the limit. In last the year or so, certain charac- rr teristics of the MRL curves have - Fig. 10-Range of maximum recording emerged, mostly because of more +1% careful data taking and the inclusion of levels for seven ta\ Type I tapes with other decks in the test process. Fig- I I II¡` Nakamichi 582 deck. ures 10, 11 and 12 are plottings of the , Lev 4 E . range of MRLs for tape Types I, II and 1L +}t IV, respectively, on a Nakamichi 582 deck. Note that in all cases the spread in levels for the 3% distortion points was greatly reduced above 1 kHz or nnn pI so. A basic conclusion was this: In any one tape type, there was little basis in 20 100 - CR + k the high -frequency MRLs to select one FREDUENGY - Hz

AUDIO/SEPTEMBER 1982 33 "Bias should be set high enough for low distortion without unacceptable high frequency losses."

Fig. 11-Range of same Type I tapes on an Aiwa AD3600 1111 1111111 deck. The low -frequency MRLs are 1 MRLs for five Type II 11 1111111 tapes. nearly the same as for the Nakamichi ` in Fig. 10, 111 582 though spread a bit

DOLBY more, and the high -frequency MRLs LEVEL are a couple of dB lower. One of the questions on distortion that remained unanswered was: What is the shape of the constant-percentage -distortion curves at less than 3%? Figure 14 presents the results of tests

10 20 100 I k o, "31- with the 582 and ZX tape from 0.25% to 2% distortion. The curves FREQUENCY - Hz had quite a consistent shape, but there is some shifting, caused by the onset of compression. It is quite apparent that if a lower percentage of distortion is se- 1111111111 Fig. 12-Range of ,o MRLs for five Type IV lected as the allowable limit, record 111111111 0 tapes. levels must be lower or the spectrum of

r * 111111111111 the music cannot be very wide -band. 11111111111111111111111 Tape Noise wO DOLBY 1111111111111111111111111 LEVEL To some extent the recordist may 111111111111111111111111 Q very well feel that he is continually try- 1111111111111111111111 ing to steer his way between the Scylla M111111111111111 :111 ' ' I of distortion and the Charybdis of tape 11111111111111111111111 1111 noise. There is no doubt that there is 10 20 10k .u` lower noise with 70-1.S EQ, and noise reduction has been an essential part of the cassette format in particular for some time. Figure 15 shows tape noise , 10 spectra with the 582 and ZX tape for Fig. 13-Range of three conditions: 120-µS EQ without MRLs with I \ Type NR, 70-4 EQ without NR and then tapes on Aiwa with Dolby B NR. There is no doubt AD3600 deck. about the successive reduction in DOLBY LEVEL noise, and Dolby B shows benefits down to 400 Hz. Figure 16 shows the L) results of the same tests, but with BASF Professional II tape. The improvement over ZX tape is obvious in IMIII11 all three cases, with some reduction all 111111iM1Iu 1 the way down to 200 Hz. The benefits loo IOk 20k increase with frequency, up to about 4 FREQUENCY - Hz dB at the high end. In fact, the BASF tape had about the same spectrum with 120-µS EQ as the ZX + 10 tape did "TT^ Tr Fig. 14-Output with 70-1.15 EQ. There HDL3=2 : are differences i levels for constant in noise from one tape to another, and distortion percent- the dynamic range at higher frequen- ages, using cies could very well be determined by DOLBY 0.5 Nakamichi 582 deck tape noise. The low -noise BASF tape LEVEL 0.25% and ZX tape. would be a candidate for recording with 120-µS EQ for higher MRLs, albeit -5 bringing up noise the same amount. 1111 -'0 111111111111 Bias Adjustment I 1111IIIIIII1111 As we stated earlier, there are rela- IDO tively few recordists who adjust EQ as FREQUENCY - Hz any sort of regular process. Adjusting

34 "Distortion becomes very complex when more than one tone is involved, and in music there are many."

bias, however, has become a common Fig. 15-Tape noise practice for quite a few cassette deck spectra with 582 deck

owners to get the most of whatever 11.1» and ZX tape. Top: 120p.S tape is tried. Figure 17 is provided as EQ without NR. Middle: an aid to understanding the interrela- - 70-4 EQ without NR. tionships of levels and distortion as the Bottom: 70-4 EQ with bias is changed. The figure is actually Dolby B. a time plot with bias being turned up { from minimum to maximum during the dal sweep. The results shown are to be expected: The 315 -Hz and 10 -kHz lev- 1 els increase with bias, but a point is reached where the high -frequency lev- 20 40 80 160 315 630 125k 2.5k 5k IOk 20k el is dropping rapidly, and the low frequency has reached its highest -level plateau. The 10 -kHz level was at - 20 dB, so the marked operating point has Fig. 16-Same as Fig. produced flat response. A short way 15, but using BASF up the bias -level curve, HDL3 drops Professional II tape. sharply, but then rises to a peak of MEIP over 3%. At the operating point, HDL3 is slightly under 1%. Further increase in the bias does lower the distortion - 01. ow further, but with a severe drop in the 10 -kHz level, and the 315 -Hz level is .1~ am starting to drop. The general guideline is that bias should be set high enough to get acceptably low distortion with- CPI» r.r. out unacceptable losses at the highest 20 40 80 160 315 630 1.25k 2.5k 5k 10k 20k frequencies and without any bringing down of low -frequency levels. While this article is quite lengthy, some areas have not been gone into in Fig. 17-Variations great detail. We hope that what has DOLBY LEVEL in 315 -Hz and been presented will provide a frame- 315-Hz LEVEL, 10 -kHz levels and work to understand better the com- 315 -kHz distortion monalities in tape recording. A with changing bias level (Maxell XLII -S Bibliography -a tape Nakamichi Kraus, John D., and Keith R. Carver, 582 deck). "Electromagnetics," McGraw-Hill, 1973. Jorgensen, Finn, "The Complete Handbook of Magnetic Recording," TAB Books, 1980. HDL3OF 315-Hz Vogelgesang, Peter, "Performance of (ABSOLUTE LEVEL)r--- High -Energy Magnetic Materials in ) 1 1 Audio Cassette Recording Tapes," -- --- Audio, September, 1978. ' Cabot, Richard C., et al., "Sound Lev- OPERATING els and of Rock Music," AES POINT Spectra -- -1 Preprint No. 1358. I 1 5d6 21mV Queen, Daniel, "Distribution of Maxi- r-- - -$- e - mum RMS Spectrum Levels in Live Music Samples," AES Preprint No. BIAS LEVEL 1082. Luce, David A., "Dynamic Spectrum Changes of Orchestral Instruments," 1 I--- 1- t- 1 Jour. of the AES, Vol. 23, No. 7 (Sep- 1 tember, 1975). _L l I, I

AUDIO/SEPTEMBER 1982 35

ON DEMAGNETIZATION

HERMAN BURSTEIN

Must you really demagnetize (which can magnetize the erase and formed, is based on ritual rather than your tape deck's heads (and record heads), or improper use of a necessity: "The theory of the asymmet- other metal parts contacting head demagnetizer (the extreme case rical waveform, which is supposed to the tape) every so often? being that of unplugging the demag- be responsible for head magnetiz- The answer which emerged from the netizer while it is in contact with the ation, is difficult to accept. Would this various views expressed in my round- head). In these cases, a demagnet- not mean that the electronics in our up on the subject in the April, 1981 ized head can change into a magne- recorders must be capable of passing Audio is that the need varies with dif- tized one in a fraction of a second, the d.c. component resulting there- ferent decks and situations. assuming that current is in mid -cycle from? Yes, the audio signal may be We invited reader comment, and and therefore flowing through the de- asymmetrical, but only in that a brief many illuminating letters have come magnetizer or the head. strong positive spike is followed by a in but still none so illuminating as to "Slower magnetization does occur longer but weaker negative half; the reveal one clear, shining, completely from asymmetrical waveforms, wheth- areas under each are equal, with no

unassailable truth. The different viewer audio, bias, or erase. For example, I d.c. component. points do increase our understanding have found that recording a signal with "In querying the younger generation

of the matter, and here they are: a 10% second -harmonic component- with experience in audio, I find that To begin, Phil Sutterlin, of Ampex, hence an asymmetrical waveform- they have never come across a situa- Cupertino, Cal., suggests how the causes magnetization." tion where demagnetization is neces- problem occurs: "Heads can be mag- My April, 1981 article stated that a sary. Yet, they carry on the practice of netized by an applied magnetic field magnetized head produces noise and regular demagnetization because this or a current applied to a head's wind- treble loss. Sutterlin, rightly and impor- is what they have learned from the ing if this field or current is asymmetri- tantly, points out that it also causes older generation." (Earlier in his letter, cal, thus containing a d.c. component, distortion. "Magnetized heads cause Borner agreed that the tape decks or if it is symmetrical but abruptly an increase in second -harmonic dis- used by the "older generation" did fre- changes magnitude; Fourier analysis tortion. Since third -harmonic distortion quently require demagnetization.)

tells us that there is also a d.c. compo- (caused mainly by the tape) is usually "In essence, I don't believe that nent in the latter case." dominant, a spectrum analyzer is re- magnetism in the heads is something Sutterlin continues: "Magnetic fields quired to measure the second har- that creeps up with time, like head can be applied to heads by recorded monics. If a tape deck has very low wear. It is something that may happen tapes, head demagnetizers, or other distortion in its electronics, it is very as the result of careless handling of less common sources. Magnetizing easy to measure any performance magnetized tools, or it may be caused currents applied to a head winding degradation caused by magnetized by design shortcomings, for example: can originate in purposely applied sig- heads by measuring second -harmonic A d.c. surge through the record head nals, namely audio, bias, and erase; distortion. Noise and treble losses due when it is connected to the record d.c. leakage from the amplifier con- to a magnetized head are also meas- electronics, solenoids which create a nected to the head, and transients urable with a spectrum analyzer." strong magnetic field near the heads, which occur when turning the deck on I. W. Borner of Revox (Regensdorf, or suddenness of the oscillator's at- and off. Switzerland), is dubious that the asym- tack (and possible decay). Since we "In my experience, heads are most metrical waveform encountered in usually don't know how a recorder be- often magnetized suddenly by mis- audio produces significant magnetiz- haves in such respects, we have an takes such as: Turning the tape ma- ation, and suggests that routine de- uneasy feeling that an important re- chine off while in the record mode magnetization, although widely per- cording may not come out as well as it

36 Illustration: Kurt A. Vargo -

Oto Ly..-7 a

rim- Ili/ 11111111111l11111111 sivvvvv,4 @CIO 0000 111111115.11H}

0O. 00000 op o o 6;1 acewee C) 0000 0 0000 Q000000 00 cccoap

is\

AUDIO/SEPTEMBER 1982 37 "One professional machine actually showed an a.c. field, caused by a misplaced solenoid, of 34 Gauss."

to a prominent cause of head magne- on materials used and type of con- tization and stresses the need for an struction, some heads may be more efficient demagnetizer. "In my experi- subject to magnetization than others. ence, first as an amateur and then as a We are reminded that not only professional recordist, the most seri- heads but also other metallic compo- ous cause of head magnetization is nents may become magnetized and the transient which occurs when the endanger our recordings: The Stand- deck is switched into the record mode. ard Tape Manual, published by Stand-

I had one machine, which didn't last ard Tape Laboratory, Inc. (26120 Eden long on the market, that would some- Landing Rd. #5, Hayward, Cal.), times magnetize its head with just one states that magnetization is possible in should. The routine of demagnetizing actuation of the record button. But "the guides, the capstan, and any me- heads is therefore performed with the since 1970, many machines have in- tallic surface which contacts the tape. same regularity as paying insurance cluded time -delay circuits in their bias Even 'stainless' materials called 'non- premiums." oscillators to soften this effect. magnetic' are capable of retaining Like Borner, John W. Dana (Ham- "No discussion of head demagnet- some field and are therefore suspect." den, Conn.), is disinclined to believe ization is complete without mentioning that normal operation of a tape deck the need for a really effective demag The Manual goes on to warn of produces significant head magnetiz- netizer. I've found that most of the de- stray a.c. fields which may ation; rather, he feels that normal op- magnetizers sold for consumer use cause erasure for which the eration tends to demagnetize the are too weak to do any good, and the user may blame the heads. "Many top heads. "Unless d.c. is accidentally fed persons using them usually have no selling machines have been designed

to the heads, I don't see how they can way of knowing whether demagnetiza- without any consideration by the engi- become more than minutely magne- tion has been accomplished or not. neering departments as to a.c. mag- tized, no matter how much the machine The R. B. Annis Company of Indianap- netic field contamination." As a horri- is used. Magnetically recorded tape olis, Ind. sells heavy-duty demagnetiz- ble example, "one professional ma- contains alternating north and south ers that really do the job, and it also chine actually showed an a.c. field, magnetized bits of equal and opposite sells magnetometers to measure head caused by a misplaced solenoid, of 34 intensity. If a head or guide were mag- magnetization." Gauss (in nontechnical language, a netized, it would be demagnetized by Some types of heads appear to be helluva strong field-H.B.). ... The the alternating north and south magne- more susceptible to magnetization field was concentrated at the supply tized bits as the tape is played. than others. Nakamichi, in its "Techni- reel side of the transport at the flutter

"Along this line of reasoning, I be- cal Bulletin 4" published a few years idler guide." lieve that two -head decks, which use ago, states: "Perhaps one of the most Further, "a poorly filtered d.c. supply the same head for record and play- disturbing properties of ferrite heads is may carry enough a.c. ripple to do a back, would have no problem with the spontaneous build-up of magne- lot of damage to a tape passing near a head magnetization if the machine is tism.... There are many stresses im- solenoid or relay coil." used for recording at least once in a posed on ferrite during the cutting pro- We are indebted to Mike Hardwick while. The alternating signal going cesses because of its great hardness. of Westronix Hi -Fi (Salem, Ore.), for through the head would create a The high temperature process of melt- calling our attention to the above infor- strong alternating magnetic field, ing the crystal glass onto ferrite, fur- mation in the Standard Tape Manual. which would remove any residual thermore, compounds the stress. Even In closing, John J. Swetko (Glen magnetism, so long as the recording after cooling, the ferrite head is under Oaks, N.Y.), writes: "During 18 years signal is strong enough to drive the VU constant stress because of the differ- of tape deck ownership, which has meter into the red. One could occa- ing coefficients of expansion of ferrite ranged from tape manglers to top-

sionally record FM interstation noise, and crystal glass. ... Whereas ... it notch decks, I have experienced only turn up the recording level so that the was once believed that physical shock one episode of tape degradation.

VU meter goes into the red, and was required to induce magnetism in When I first opened my TEAC I imme- gradually reduce the record level to ferrite heads, it is now known that the diately played a tape, and in one pass

zero." constant stresses caused by changing I immediately destroyed it. After that Assuming that a strong a.c. signal ambient temperature have the same event, I have never failed to demag- through the record -playback head is effect as shock." netize after moving a deck. Other than an effective demagnetizer, Dana's ex- On the other hand, there is reason to that, my demagnetizing has been hap- pedient strikes me as unnecessary. believe that the disadvantage of ferrite hazard yet without ill effect." Bias current is such a signal; its mag- heads, with respect to magnetization, The correspondence indicates that nitude is roughly 10 times that of the may have been overcome to a signifi- what was once a definite threat is now peak audio signal ordinarily fed to the cant extent, as demonstrated by Naka- less of a problem. Nevertheless, head head. michi which does use ferrite heads in magnetization can occur and caution Dan Dugan of Dan Dugan Sound its decks, although not for playback. should be exercised when conditions Design (San Francisco, Cal.), points Still, the point remains: Depending put recordings at risk. A

38 AUDIO/SEPTEMBER 1982 BASF Chrome. The world's quietest tape is like no tape at all. Today, only one high bias lied particles of ferric oxide, movement and consistent All BASF tape tape is able to combine out- Professional II'is made of high fidelity reproduction. ()FA cassettes standing sensitivity b the pure chromium dioxide. With Professional II, you'll E come with a critical high frequency These perfectly shaped and hear all of the music and lifetime guarantee. Ehould range with the lowest back- uniformly sized particles none of the tape. And isn't any BASF cassette ever ground noise of any oxide provide a magnetic me- that what you want in fail-except for abuse ar tape in the world. dium that not only delivers a tape? mishandling -simpLy That tape is BASF's an absolute minimum of return it to BAS for afree Professional H. background noise, but out- replacement. II Professional is like no standing high frequencies Mobil. Fidelity Soutd Lab. other tape because it's as well. BASF Professional II b so supe.orit was chosen by Mobile Fidelity Solndlab for made like nc other tape. Like all BASF tapes, Pro- their Original Maste- Pecordng' High While II Fidelity Cassettes Trtese stateol- he -art ordinary high bias fessional comes encased 35 65 125 515 ik It S. l58 prerecorded cassettes are - in lime duplicated in tapes are made from mod the new ultra -precision real time (I I) trom tie original recording cassette shell for perfect The difference in noise level be ween studio master tapes of some o the most PRO II and ordinary high bias tape is prominent recording artists otou- time. alignment, smooth, even greatest where the human ears most sensitive (2-6 kHz).

b)I tr i g1 l 90

4), ()..1,lit 11 ilk[) L1 to] 1, oo 4 so/ l,' ÍWC6 r04 1 --__ ; I ,, SF ofessionalll 90 Roesi° all iebÓue 15

iTT() L. 1 i y f . . i ' i,_ ..

/ For the best recordings you'll ever make. BASF Systems. Craby Dnve. Bediod. Massachusetts 01730 Enter No. 4 on Reader Service Card ONE -BRAND SYSTEMS JVC SYSTEM .; l o -

Y_ .. 41:.'p Fl rü « `i+s r. ' `'1 ` lot \

IIn creating their component sys- receiver and turntable can be pur- more than a $200 savings vs. the cost tems, JVC seems to have over- chased separately as Models R -X40 of the individual components. come an objection voiced by many and L -A31. Suggested price for the Equipment designed to be sold sep- prospective purchasers, the lack of receiver is $350 while the turntable arately must meet tougher standards freedom of choice. Earlier one -brand carries a suggested price of $180. than those items designed expressly systems offered by many manufactur- Speakers recommended for the S-40 for use in a specific system, since ers were take-it-or-leave-it proposi- system and available optionally are stand-alone components can't rely on tions. You had to buy the speakers, JVC's model SK -404s, which have a other parts of the system correcting or you had to buy the tape deck (even if suggested price of $140 each. These compensating for their shortcomings. you had no desire to ever make a tape are three-way systems with 12 -in. That JVC makes these components recording), and you had to buy the woofers. While any of JVC's cassette available separately suggests that -electronics in whatever form they decks can be used with the system (all they were designed to stand on their came. have been sized and styled to match own. In the case of the JVC S-40 (and the receiver's front panel), we checked In the cases of the R -X40 receiver other systems in the JVC line), the out the S-40 using JVC's recommend- and the KD-D30 cassette deck of this obligatory items are kept to a mini- ed deck for that system, the Model system, that certainly proved true. mum. Specifically, the receiver and KD-D30, which has a suggested price Each is a fine component that would turntable system (with cartridge al- of $215. Purchased as a system, the earn good marks if examined on its ready mounted) are included, as is the S-40 has a suggested price of $1100, own. The turntable system fared al- furniture or rack itself. However, the including cabinetry. This represents most as well in our tests, but the car -

40 Photograph: Susanne Buckler tridge supplied by JVC left more than The tuner section employs frequency - sence of rotary controls on the front a little to be desired and we would synthesis 'or completely accurate tun- panel makes for a very clean looking strongly recommend that buyers of ing, and allows you to preset a total of design. Instead of conventional bass this system replace it with something 12 AM or FM favorite stations for in- and treble tone controls, JVC has in- better right at the outset. stant recall. As with all such tuning corporated a five -band graphic equal- The R -X40 receiver of this system schemes, tuned -to frequenc'es are di- izer, which they still insist upon calling incorporates much of the advanced gitally displayed and manual as well S.E.A. (for Sound Effects Amplifier). In technology JVC has developed for as automatic scanning provisions for addition to providing more accurate their most sophisticated components. tuning are provided. The total ab - tonal compensation for room acoustics, poorly equalized program material and personal taste, the equalizer ONE -BRAND SYSTEM RATINGS can be applied to the tape -recorder outputs, so you can equalize your tape Manufacturer: JVC Model: S-40 Price: $1,100.00. recordings as you make them. Cabinet Dimensions: 36V8 in. (917.5 mm) H x 16-15/16 in. (431 mm) D x not 19-5/16 in. (491 mm) W. Though as apparent as the panel -activated features just described, Component & Specification Claimed Measured Rating JVC's "Super -A" power amplifier cir- Power Amp Section (R -X40) cuitry is a welcome part of this receiv- Power/Channel, watts 40 62 fJ")n er. The circuit reduces some of the Rated THD, % 0.008 0.008 fj'1)..h more subtle forms of distortion com- Preamp/Control Section (R -X40) monly found in so-called Class -B am- Freq. Response, Phono RIAA ±0.5 dB RIM ±1.0 1': plifieis, without sacrificing Class B's Phono S/N, high efficiency. Three-way pro- dB 71 75.5 .11 circuit tection in this amplifier circuit ensures FM Tuner Section (R -X40) against speaker or amplifier damage. 50 -dB Quieting, Stereo, dBf 38.3 41.0 f Power output capability and signal-to- S/N, Stereo, dB 73 73 .1)ff noise ratios both exceeded published THD, Stereo, 1 kHz, % 0.2 0.35 specifications (see Rating Chart), and Separation, 1 kHz, dB 45 46 tnf harmonic distortion was inaudibly low, Alt. Chan. Selectivity, dB 65 65 as claimed. Deviation from perfect fre- Turntable/Cartridge Section (L -A31) quency response in the phono mode Freq. Response, Hz -kHz, ±dB 10-20k 20-20k was slightly more than specified, but (See text) (No tolerance) not enough to be audibly distracting. While Separation 1kHz, dB 25 38 J M1 measured stereo -FM character- Rumble, DIN B, dB 75 75 f;^ n istics, such as 50 -dB quieting sensitiv- Wow & Flutter, % wtd. rms 0.03 0.03 , nf ity and distortion, were slightly poorer than for Cassette Recorder Section (K0-030) claimed our sample, they were nevertheless more than Freq. Resp., Hz -kHz, ±3 dB acceptable from a listening standpoint, and both Normal Tape 30-14 22-14 nf,t, separation and signal-to-noise ratios Chrome Tape 30-15 22-13.5 ffj, (in stereo) were excellent. Metal Tape 30-15 22-15 A . A The S/N, Best Tape, with NR, dB 74 (Dolby C) 75.4 (Dolby C) optional KD-D30 cassette deck

A features both Dolby B and the newer, Wow & Flutter, % wtd. rms 0.05 0.04 .... Rating System more effective Dolby C noise reduction circuitry. Styled to match the other = Poor; j).1) = Good; t, t,f = Very Good; n; r n = Excellent; components of the system, the deck f f n = Superb. General Comments has ro rotary controls, and all tape Receiver: Excellent amplifier section with reliable protection circuitry and transport controls are of the light - relatively low heat generation. Sound quality very good for all program touch, logic -controlled type. A "music sources, through phono response a bit off, partly because of preamp equali- scan" system allows you to quickly find zation, partly because of poor cartridge supplied. Tuner section easy to tune the beginning of the next recorded and to store favorite stations. Stereo station tuning a bit critical, but no selection on a tape or the beginning of problem when tuning in scan or preset selection modes. Cassette Deck: Very the previous one. Record/play fre- fine layout, well -calibrated Dolby B and C noise reduction systems. Performed quency response for normal -bias and best with standard high-grade tapes and with metal tapes. Turntable: Excel- metal tapes proved to be exactly as lent as such, but cartridge should be replaced with better type. claimed but, in my sample, overall frequency response for the high -bias Overall Comment: I admired the "graphic equalizer" incorporated into the tape formulation receiver. An unusual feature at this price level-and a good one. (I used TDK SA in my Overall Rating: nj,1, tests) was slightly poorer than Continued on page 43. 6_

AUDIO/SEPTEMBER 1982 41 IVAN BERGER THE WORLD'S MOST EXPE SIV SS CK

Nakamichi's 1000ZXL Limited: The glitter is for the show, but the gold inside makes better music.

Jaws don't usually drop at the sight of a stereo component around here. But they did, wholesale, when we un- wrapped Nakamichi's 1000ZXL Limited. At $6,000, the Nak Limited is probably the world's most expensive cassette deck. But you don't have to know its price-or anything about audio, for that matter-to be impressed by its appear- fl- ance. Where the regular 1000ZXL is a sober, techni- n--- cal black, the Limited has a ~ WW1 4./1 r=- : o rr front panel of gleaming : - : : gold, set off by a cabinet of . 4y polished rosewood. If you're _ bored with equipment which

JJ:f { ia merely sounds exquisite, -, - i..1 the Limited is expressly for i you. To prove it, your Limit- 1.t_ ed will come with a person- .r ..-1, 11 ally engraved name plate ' 1y -` ' _Jr

. which fastens just below the 4r- M ! I tape well. (Our sample was .:. engraved "Nakamichi," a

subtle reminder to send it r.. ',+ r right back.) Gold plating is also used '#11'1.""".a.'.'Ij.,.,.,1.( b liberally inside the deck, where it serves functional instead of merely psychologi- cal or esthetic purposes. All internal connectors (not just the input/output jacks, as on the standard version) are gold-plated, for low contact Performance Comparisons: Nakamichl 1000ZXL Limited Vs. 1000ZXL resistance which should last a lifetime without tarnish or Manufacturer's 1000ZXL Limited Standard 1000ZXL corrosion. The tape head Specifications Inspection Sheet Audio's Measurments1 shields are gold-plated, too. Frequency Response 20-20,000 Hz,±0.75 dB Same 17-22.000 Hz, ± 0.75 dB According to Nakamichi, 18-25,000 Hz, ±3 dB Not Measured 12-25,700 Hz,±3 dB2 gold's superior conductivity Wow and Flutter - Less than 0.04% wtd. rms 0.03% wtd. rms 0.03% wtd. rms Signal -to -Noise 72 dB (Dolby C) 74.5 75.5 not only improves their elec- dB dB2 66dB (Dolby B) 70dB 68.5 dB im- trical shielding but also THD @ 400 Hz, 0 dB 0.8% 0.65% 0.40%3 proves magnetic shielding Erasure 60dB @ 100 HZ Not Measured 74 dB @ 100 Hz by shunting surface eddy Tape speed Not Specified ±0% ±0%

currents. Even the power - Channel Separation Not Specified 42.0 dB @ 400 Hz 50 dB @ 1 kHz heat supply sinks are gold Notes: 'Audio, June, 1981 unless otherwise specified. plated, to enhance their 2Audio, August, 1982 thermal as well as their elec- 3Rose to approximately 0.52% at middle frequencies. trical conductivity.

42 "Gold plating is also used liberally inside, for functional, not just esthetic purposes."

Where gold is not the best material with an individual frequency response lections, and store up to 30 commands to use, of course, Nakamichi uses oth- graph and test sheet. According to the for playing and repeating those selec- er substances. The tape transport measurements accompanying our tions in any order. Uniquely, it encodes chassis has been surface -treated with sample, the Limited exceeded its pub- selection numbers on the tape, togeth- black alumite, to damp its already well - lished specifications. On the other er with the EQ and NR settings with damped resonance and to increase its hand, so did the 1000ZXL we tested in which the recording was made. In corrosion resistance. The main chassis our June, 1981 issue. (See box.) playback, the system automatically is also treated for improved corrosion The most clear-cut area of perform- duplicates those settings, regardless resistance, this time with a substance ance improvement was lower noise, of front -panel control settings. Even called black chromate. due to the inclusion of Nakamichi's the recording -level meter display is out Critical circuit components are NR -100 Dolby C adapter, a $230 op- of the ordinary, with a full 56 segments hand -selected, to make sure they're all tion on the ordinary model. (Reviewed for finer level discriminations than is not only within tolerance but well within in our August, 1982 issue.) possible with most "bar -graph" me- it. This ensures against cumulative er- The Limited naturally has all the ters. And, being a Nakamichi, the deck rors which can occur when compo- standard 1000ZXL features. It contains has three microphone inputs-left, nents bunch up at one end of the toler- two separate microcomputers: The right and center blend. ance range. The flywheel is turned one which serves as the A.B.L.E. There's one area of response we from solid brass instead of the regular (Automatic Bias, Level, Equalization know the Limited will enhance: your model's alloy, and is checked for opti- setting) computer tests the tape at four friends' reactions to your system. It's mum balance. frequencies (400, 2.4k, 7.2k and 20k not just as if you'd bought a new Mer- How much difference does all this Hz) instead of the one or two frequen- cedes, but more as if you'd parked tweaking make in the 1000ZXL's per- cies typical of such systems; bias can one in your living room. A formance? The Limited's published also be manually varied ± 12.5% from specifications are the same as for the the automatically -chosen settings. Ivan Berger, a well-known normal unit, save for its weight (1.1 The other computer is for R.A.M.M. writer on audio for 20 years, pounds heavier). But that may not be or Random Access Music Memory. It has just joined Audio's staff the whole story. Each Limited comes can identify up to 15 programs or seas Technical Editor.

JVC ONE -BRAND SYSTEM Continued from page 41

claimed, indicating perhaps that the machine was not perfectly adjusted for this brand and formulation of tape. ur Wow and flutter was extremely low for a cassette deck in this price category, measuring an inaudibly low 0.04% ¡ -'IC4.3 - wtd. rms. And, as might be expected, .111~.... best signal-to-noise ratio, obtained Mal Wig ZOE Mal while testing with metal tape and with . _ ._ Dolby C noise reduction, was a very high 75.4 dB-even higher than the 74 claimed by JVC. My chief criticism of this JVC system has to do with the phono cartridge supplied with the otherwise excellent Instead of conventional tone controls the JVC R -X40 has a five -band graphic equalizer. L -A31 automatic -return, direct -drive turntable. My measurements disclosed dealer install a better one for you. It will stigma associated with one -brand sys- that this cartridge has a severe peak at be a very worthwhile improvement at tems. the approach taken by JVC (and around 13 to 15 kHz, which results in small cost. The table itself, with its low one or two others) should help to dis- overly bright reproduction, and there is wow and flutter and low rumble (- 75 pel such negativism. The system is diminished stereo separation above 8 dB, DIN B) deserves a better pickup, easy to assemble, looks good in its to 10 kHz, where the peak first be= in my opinion-preferably one that can cabinet and is easy to operate. Best of comes apparent. The peak reaches a track at less than the 2.0 grams speci- all. it delivers crisp, full-bodied sound maximum of 6 dB (which accounts for fied for the supplied cartridge. equal to or better than many systems our perhaps overly generous specifi- From what I was able to judge, JVC consisting of mixed and matched cation of "plus or minus 3 dB" in the did not compromise in their design of components in the same or higher rating chart). As we suggested earlier, these components. If there has pre- price categories. Leonard Feldman replace the cartridge or have your viously been any snobbish, negative Enter No. 98 on Reader Service Card

AUDIO/SEPTEMBER 1982 43 GRAHAM BANK

1 crophones in an anechoic chamber, 7:1lb T - this test gauges the sound pressure of a speaker's output across the audible frequency range. Ideally, a speaker should emphasize all frequencies equally, resulting in a "flat" response curve and, theoretically at least, reproducing all of the music signals with perfect accuracy. However, if a speaker flunks its amplitude response test, showing a curve Graham Bank is the that resembles the jagged peaks and Technical Director for Celestion valleys of an EKG, the designer still International, Ltd. in Ipswich, does not know the reason for the fail- 4 England and is responsible for ure. Furthermore, even if the speaker the company's research, produces a perfectly flat response including the design and curve, that's no guarantee that it will development loudspeaker of actually sound good. How many times systems for professional and have read a a home use. you review of speaker- or heard one-whose musical performance flew in the face of the tests? Also, quite frequently two speakers For the past 50 years, the mov- with similar amplitude response curves ing -coil speaker has probably sound completely different. changed least of all major audio For years, scientists sought a more components and we have learned very direct way to evaluate speaker per- little about basic speaker behavior formance. Early experiments included during this period. dumping lycopodium powder onto op- Essentially, a speaker is a sound - erating loudspeakers and then observ- producing vibrator which attempts to ing the patterns that developed on dia- recreate, mechanically, the sound phragm surfaces with a stroboscope, waves made by a person's voice or a techniques borrowed from general musical instrument. The goal of a man- theories on vibrating bodies. Such re- ufacturer is a speaker which correctly search made possible mathematical imitates the vibrations of live sound. models that could predict vibrational But if the vibrations cannot be seen or modes with a fair amount of accuracy. measured, how is it possible to make With the advent of computers, these sure they are mechanically correct? mathematical models formed the basis Until recently, the measurement for more sophisticated tests. But the techniques for evaluating speaker per- methods were not wholly satisfactory, formance have been indirect, analyses and very often there were anomalies in of the sound created rather than of the performance that defied the comput- process that results in the sound ers' mathematical intelligence. waves. The most famous of these indi- In the 1970s, the development of ho- rect measurements is, of course, the lography made possible a new kind of amplitude response curve. Using mi- analysis. A hologram can be consid-

44 Fig. 1-Holograms can reveal microscopic problems, but without depth or direction.

ithaIar

AUDIO/SEPTEMBER 1982 45 L.11"41

Fig. 2A-At 8kHz, this asymmetric surround Celestion engineer Gordon Hathaway 19mm plastic -dome resonance. also uses conventional amplitude tweeter shows severe response plots to supplement the animated computer plots.

Fig. 2B-Ultra hard metal Fig. 3-At 780 Hz., this irregular bell modes and dome shows asymmetric conventional bass/mid- an asymmetric surround decoupling of its range unit shows four problem. surround at 8kHz.

Fig. 2C-Copper alloy Fig. 4-A severe dust - treble unit at 8 kHz is dome problem shows up correctly controlled, in the bass/mid unit at 1.3 nearly a perfect piston. kHz.

ered as a three-dimensional measure- scopic level, but they pose some frus- blurry and indistinct. Worse, they are ment made by bouncing phase -coher- trating limitations. They can be used only two dimensional, and it is impossi- ent light off a moving or three-dimen- only with small speaker diaphragms ble to see whether the vibrations are sional object and then comparing or and displacements. Another drawback moving up or down. Using a laser and interfering it (hence interferometry) is that holography is analogous to con- a specially programmed computer, a with a reference beam that is also tour map illustrations. As Fig. 1 shows, group of researchers at Celestion have phase -coherent. The technique cre- you can see where the problems occur created a system that shows speaker ates a "beat" frequency which is trans- only via line intensity or thickness. The vibrations in animated form, clearly posed onto film or another two-dimen- burden of determining where the prob- and unambiguously. sional recording medium to produce a lems occur on the diaphragm itself The laser -computer system operates hologram. and the level of displacement, was left in three steps. First, at the command of Holograms provided the first glimps- to the engineer and his imagination. our computer, a neon -helium laser es of speaker behavior on a micro- Furthermore, holograms are at best scans the surface of a vibrating speak -

46 SEEING SOUND WITH A LASER

r.- -+- - r... -.TT. 1: :--.--.. . r, I-:,;: 1

_ ..- ti . .

f.._..

-- I t-- -- l ..t . .

,.. r, ,Y 1¡elso I e.. ,.a - _ _ __L.-.-- ..c - - -i'_----

Fig. 5A-In the amplitude a sharp dip occurs at 1 Fig. 6A-Sharp 14- and Mylar tweeter, which response curve of a 5 -in., kHz. 21 -kHz dips mark is relatively flat from 1.1 paper -cone midrange unit amplitude response of a to 28 kHz.

,A7--,,./`_. -1J :

Fig. 5B-At 1022 Hz, caused by the mass of Fig. 6B-A high - laser -computer animation the lead-in wires. resolution plot at 14,274 reveals a rocking mode, Hz shows a severe, four - pole bell mode.

Fig. 5C-A high - "leash" effect even more Fig. 6C-At 21,031 Hz, the resolution plot at 2.4 kHz dramatically. bell mode is eighth -order, shows the lead-in wires' but with less effect than the 14,274-Hz mode.

er diaphragm, gathering information of the laser scan. Successive plots are able to shrink yourself to about a fifth on diaphragm motion at more than stored in the computer and can be of a millimeter in height, and hover a 32,000 points. The computer instructs displayed later on an oscilloscope as a bit above and to the side of an operat- the laser how to scan, either straight three-dimensional diagram, providing ing loudspeaker. across or in an arc, and at any fre- a clear indication of the direction of Rendered graphically in this fashion, quency in the audio range, from 20 Hz surface waves moment to moment. speaker vibrations begin to make a to above 100 kHz. Second, a phase - At first glance, a single frame from greal deal of sense. And speaker mis- sensitive detector gathers the data the animated plot might resemble a behavior becomes apparent even to and relays it into the computer, where topographical map of a bizarre, far-off untrained eyes. Good sound-that is, it is processed and fed to an X/Y plot- planet. Actually, what one sees is sound born of perfectly formed vibra- ter. Third, the plotter draws a three- speaker diaphragm displacement or tions-is produced when the dia- dimensional picture of the diaphragm velocity, magnified thousands of times phragm rises up in the form of a movement as it appeared at the instant and frozen in time. It is as if you were broad, flattened piston. Depending on

AUDIO/SEPTEMBER 1982 47 SEEING SOUND WITH A LASER

"The laser computer has found problems in many of the most accepted techniques."

the frequency, the surrounding area What it takes for granted is that what or dip, depending upon the moment at will either be flat and unmarked or we see at one moment of measure- which the measurement was recorded, ringed with a circular, moat -like inden- ment is true over time. In fact, this is but would not begin to illustrate the tation. Departures from this ideal "to- not so. By using the laser computer to dynamics of the problem. Designing pography" represent varying degrees animate vibration modes, we have this problem away using conventional of sound distortion. been able to see how energy moves test techniques would be time-con- Examining both test speakers and through a drive unit over time, and lo suming, to say the least. actual, marketed models, our engi- understand the dynamic relationship After considerable observation of neers believe they can confirm much of the speaker's parts. such plots in animation, we have real- of what had long been theorized about For example, a critical problem to ized that a basic theme underlying speaker vibrations. More interestingly, solve is how a woofer cone can be speaker behavior problem is complex- they've found that many of the prob- terminated by its surround so that en- ity: Too many parts, too many joints lems existing in speakers, their own as ergy which is not propagated into the and boundaries, each vibrating more well as competitive brands, arise from air as sound (but travels sideways into or less differently from the other and design features that have been con- the cone instead) can be stopped each more or less contributing to a ventions of moving -coil speakers for dead by the time it reaches the woofer whole that only approximates vibra- decades. basket. As the woofer is driven at high- tions as they occur in live music. One of the areas Celestion has re- er and higher frequencies, a smaller Dust caps are notorious-and al- searched is the materials speaker portion of its surface is occupied with most every woofer has one. They pin cones and domes are made of. New delivering the source sound, and the the cones at their outer diameter, ab- diaphragm materials like Bextrene, edges of the cone are left behind to sorb some of the sound radiating from polypropylene and Mylar are a feature "ripple" as energy flows rapidly out- the coil, and are likely to take off com- of each new generation of loud- ward from the center. Ideally, this en- pletely independently of their cones speakers. But now there are concrete, ergy is quickly slowed down by the (see Fig. 4). This can be a real prob- quantifiable means of judging their surround and will decay completely by lem if the speaker has been basically performance. the time it reaches the edge of the designed and a "cosmetic" dust cap Consider for example the laser com- basket. If the surround does not prop- is put on later. puter plots in Figure 2. The first, Fig. erly-and symmetrically-damp this The laser computer has illuminated 2A, shows a 19mm plastic dome energy, it radiates back into the cone, problems in many of the most accept- tweeter at 8 kHz, with a severe asym- where it can be released -into the air in ed speaker assembly techniques, metric surround problem, distorting delayed fashion, coloring any new such as bringing the signal lead wires the sound well within the audible sound being generated in response to from the top of the voice coil through range. The second, Fig. 2B, shows an the drive signal. This phenomenon is the diaphragm. A typical five -inch, pa- ultra -hard dome tweeter whose dia- known as a "standing wave," and it will per -cone woofer of this type has been phragm is behaving; but this unit also continue going back and forth in the measured (Fig. 5A). Its amplitude re- has a surround problem. Its smooth, cone until all of the energy is eventual- sponse shows a sharp dip-5 to 8 dB piston -like response is conclusive ly released. across a narrow range centering at proof that the new, harder material is As standing waves occur in the mid- about 1 kHz. Seeking the culprit, we able to withstand higher frequencies range, where the ear is most sensitive took some laser plots. At 1022 Hz, we without distortion. But as with most to sonic aberrations (and where vocals discovered the severe rocking mode conventional drive units, surrounds and the fundamental energy of most shown in Fig. 5B. In animation, this and suspensions can lead to many musical instruments are generated), it appeared as if the cone were tilting or mechanical problems-few of which can be said to be responsible for a rocking from side to side. With the are evident on amplitude response major coloration effect of loud- computer in high -resolution mode, curves. The third plot, Fig. 2C, is a new speakers. magnifying our view of velocity over copper alloy tweeter with no major dia- To illustrate how the laser "sees" the 20,000 times, we pin -pointed at 2.4 phragm or surround problems. woofer surround, we have shown in kHz the "tether" or "leash" effect of the Configurations of drive units can Fig. 3 a woofer driven at 780 Hz, hav- lead -out wires, slowing the cone's ve- also be scrutinized for distortion -pro- ing bell modes and a severe edge - locity. The leads' additional mass, un- ducing flaws, and this is an area where termination problem. At the moment il- evenly applied to the vibrating cone, the laser computer has far outdis- lustrated, the energy is concentrated caused the rocking mode. Such a tanced other measurement tech- on the right-hand edge of the sur- problem will not only limit the speak- niques. The standard amplitude re- round. With the computer in animation er's overall output, but will create lobes sponse curve has for many years en- mode, we can see the cone rising first in the polar response until the energy abled us to see the acoustic effect of on one side, then the other, as this is "sucked out" at the sides. Propo- one particular moment of speaker mo- undamped energy "swishes" back nents of this lead -out wire configuration over a range of frequencies; or, by and forth until it finally decays. Clearly, tion have often found it necessary to averaging amplitude responses at dif- this surround is not properly damping apply eyelets or other damping materi- ferent angles from the speaker, to the cone. A response curve of this al where the wires come through the build a polar curve at one frequency. phenomenon might show a slight peak diaphragm. Such devices can only

48 _ n. 1111...~.

7.111. ,1

With his eves shielded, Gordon Hathaway positions a speaker for i mapping by a laser.

compound the problem of unequal bly, transmitted through the glue joint. mass. Once again, the joining of unequal ma- Sometimes problems of complexity terials at a critical stress point caused show up on amplitude response a problem, visible primarily with the curves, and sometimes they don't. A laser, a problem which will limit both subtle example of this not -so -subtle performance and reliability of this oth- challenge in speaker design shows up erwise fine tweeter. when'/ we measure a relatively good, The task facing us, now that our abil- 3 -inch Mylar dome tweeter. The re- ity to understand speakers has taken a sponse curve would lead us to judge step forward, is to find ways of making this tweeter a very good one (Fig. 6). speakers vibrate simply, purely and, It's within ±4 dB from 1100 Hz to 28 most of all, more faithfully to the origi- kHz with only a slight dip, on the order nal sound. The ideal loudspeaker sys- of 11/2 dB, at 21 kHz. A closer look at tem is still far in the future; but we the "wobble" area under the laser, believe it will incorporate drive units however (Fig. 6B), reveals a severe, whose vibration modes are well -con- four -pole bell mode at 14,274 Hz. With trolled. Such a system will not require a high -resolution plot (Fig. 6C), we can elaborate crossover circuits to correct trace the eighth -order bell mode to the drivers, since two wrongs do not 21,031 Hz. While it is more evident on make a right-not even in physics. We the response curve, this eighth -order have seen, in the lab, woofers whose mode is less critical to speaker per- uncontrolled resonances may be formance in its redistribution of energy equalized out, only to reappear if they than the 14 -kHz wobble, which was are mechanically excited by the tweet- minimized in the response curve. er. The cause in this case is a reso- These are just some of the aspects Celestion's SL -6 is tfie first system nance set up in the glue joint between of speaker design that Celestion has to use driers designed with the voice -coil former and diaphragm. The been able to investigate with lasers. As Nomex former is folded at that point, an analytical tool, it paves the way for aid of lase -computer animations. and the wrinkles at the fold put local- further improvements and a whole new ized stress on the diaphragm assem- generation of loudspeakers. A

AUDIO/SEPTEMBER 1982 49 EQUIPMENT PROFILE

41. _- 101

40 ----

. ele _

20 40 80 160 315 630 1.25k 2.5k 5k 10k 20k 20 40 80 160 315 630 1.25k 2.5k 5k 10k 20k

Fig. 1-"Loudspeaker" Fig. 2-"Tape recorder" ADC Sound response before (top) response before (top) and after (bottom) and after (middle) Shaper SA -1 equalization. (Vertical equalization, with actual scale: 10 dB/div.) equalization (bottom). Real Time (Vertical scale: 10 dB/ Analyzer div.) Manufacturer's Specifications Frequency Response: 31 Hz to 16 kHz ±0.5 dB at line input, ±3 dB at microphone input. Filter Center-Frequency Accuracy:

31 Hz to 1 kHz, ± 10%; 2 to 16 kHz, ±5%.

Amplitude Accuracy: ± 1 dB at 12 - dB range, ±2 dB at 24 -dB range, and ±3 dB at 36 -dB range. Input Sensitivity: Line, 150 mV; mike, 0.5 mV. ANALYZER Input Impedance: Line, SPECTRUM REAL TIME FREQUENCY 100 kilohms. Mike, 33 kilohms. 71 m Pink -Noise Output Level: 150 mV. M0 r 69 1,6 'A6 Microphone Type: Electret condenser. 41Q Pickup Pattern: Omnidirectional. Dimensions: 17 in. (435 mm) W .2/ x 3% in. (86 mm) H SW' x 9'/2 in. (240 mm) D. Weight: 6.5 lbs. (2.9 kg). Po`NER Price: $230.00. T

50 In the Sound Shaper SA-' , ADC provides an octave -band levels do not change what is held. "Peak Hold" is sort of a real time analyzer (RTA) with a built-in pink -noise source misnomer in ways. but it's quite useful just the same. The and a matched test microphone at a most -attractive price. "Mode" selector allows feeding in just left or right channels, The front panel is black with white designations, which are or both together with a push in of both buttons. The micro- easy to read in any type of lighting. The display consists of phone phone jack is just below the mike/line switch. columns of horizontal -bar LEDs for each of the 10 octave On the back panel are phono jacks for left and right line bands (31 Hz to 16 kHz), plus one that shows the average in and a pair for the pink -noise generator output. A slide of the 10 bands. Each column is 12 LEDs high for a total switch allows inserting 26 dB of attenuation to prevent range of 12, 24 or 36 dB as selected with a rotary switch, overloading the line inputs if connection is made to power corresponding to 1, 2 or 3 dB/step, respectively. There are amplifier outputs. This is another useful feature, quite unex- scales at the ends of the display to aid in checking relative pected in an inexpensive unit. There is also an unswitched levels. A nice feature is the white, side -lighted graticule with accessory a.c. outlet. Removal of the steel top and side horizontal lines every 2 dB which make reading the display cover revealed a large, almost chassis -size p.c. board with especially easy, much better than most such units. a neat, orderly layout and quality components. All parts and There is a "Calibration" pot, which is really just a level -set adjust pots were clearly labeled. The pots are trimmers for control for shifting the display up or down. Each bar graph 12-, 24- and 36 -dB ranges and for 1-, 2- and 3 -dB initial of turned -on LEDs shows the level in its respective band. steps. These are potentially useful for the owner or service- There are push-button switches for "Pink Noise" on/off, man for maintaining long-term accuracy. Soldering was "Mic/Line," "Peak Hold," "Left" and "Right Mode," "Slow/ very good, with a little flux residue in spots. Interconnec- (Normal) and "Power" on/off. The peak -hold switch acts to tions were made with multi -conductor cabling (soldered) or hold whatever is in the display, and subsequent higher wirewrap. The hardboard back and bottom panels of the SA -1 contribute to its light weight, albeit giving it a possible vulnerability to interference from strong fields. The provided test microphone is powered by a type -N battery, and close to shelf life should be possible if the switch is at "Off" whenever the mike is not in use. The cable is about 16 feet long, and extension is possible.

Performance The first series of tests were on the filters of the analyzer. With a CW test tone, the peak responses of the 10 filters were within ±0.4 dB. very good performance. The center frequencies were within 7% for the lower bands and within 4% for the upper bands, better than most such units. The crossovers from one band to the other were down 4.7 dB -4.100G WCIALN< pWn NOSE which is quite acceptable. The adjacent -channel response to a tone at center frequency was about -9.8 dB on the average, adequate for the intended purpose of the unit. By the centers of the second bands, the responses were down 17.5 dB (acceptable) and the final slopes of 6 SLOW dB/octave PE AN ,-0LO were established. With an vie IE-20B as the pink -noise source, the band responses were all within ± 1 dB, with the minor exception that there were some "4-2" indications occasionally in the vi bands below 500 Hz, particularly when in fast mode. In switching to "Slow," the lower bands shifted down slightly (less than a dB), and the upper bands shifted up a dB. All bands were still within ± 1 dB. The "Average" indication appeared to be a rough average, and it was most accurate when band levels were fairly close to each other. It did indicate relative total power correctly as -3 dB when a bandpass filter was used to drive just half (five) of the filters to reference level. (Reference level energy in half of the filters equals one-half the power for the 10 filters at reference level, or 3 dB less.) "Peak Hold" maintained whatever was in the display at the time of switching for a long period of time, whether the signal was removed or not. Tests of the vertical display thresholds were run, using "8" on the 12 -dB range as the reference. All of the thresholds were very close foí all three ranges, with most within

AUDIO/SEPTEMBER 1982 51 "With its low price, the ADC SA -1 analyzer is undoubtedly an excellent value."

0.3 dB, which is excellent performance and quite superior In -Use Tests to a number of other units. Total -range errors were less than The instruction manual makes the point directly that the 0.9, 0.2 and 1.3 dB for the 12-, 24- and 36dB ranges, analyzer is designed as a complement to a graphic analyz- respectively-also excellent results. The line input sensitiv- er. The text is not detailed in most places, and some of the ity (with "Calibration" at maximum) was about 23 mV for English would have to be classified as rather clumsy. The pink noise to turn on the botto`m row of LEDs. For a mid - statements on white and pink noise are confused and con- display 12 -dB -range "6," 45 mV was needed. An input of 90 fusing, but there are good points made about avoiding mV got a "12" on the 24 -dB range, and 180 mV produced excessive bass boost and the desirability of some high -end an "18" with the 36 -dB range. With a 1 -kHz test signal, "6" roll -off. A full schematic is included, which is good; the (12 dB range) turned on at 20 mV input. Input levels up to addition of a block diagram would be helpful for the neo- 25 V were controllable with the level -set pot. The "-26 dB" phyte. A short time was spent doing some music monitor- switch on the back panel shifted the 1 -kHz sensitivity (pot at ing, and the unit did give good average -spectrum indica- maximum) to 0.5V, and that would facilitate matching the tions. The unit's sensitivity was not quite high enough to voltage levels from even high -power amplifiers. show the lower levels with classical music from a particular Attention was then turned to acoustic tests with the sup- FM station, but there was no such problem with pop -rock. plied microphone. By comparison with an Ivie IE-30A, it was The advantages of the SA -1 were demonstrated much determined that first indications on the display occurred at more completely with two simulated tests. In the first, a about 58 dB SPL. This was not a reliable level for measure- speaker -like response was generated with an MXR 1/3 -oc- ments, however, both from the standpoint of system noise tave equalizer. An MXR octave -band EQ was added to the and external effects. The level from the reference loud- output of the Y3 -octave EQ, feeding the SA -1 in turn. To speaker was increased to 85 dB SPL, which is a good level show what was involved, the Ivie IE-30A was operated in for such tests. It is higher than what many would prefer for octave -band mode and its output fed to a storage scope. classical music, and it is lower than what might be desired Using the ADC unit's display, the MXR octave -band EQ was for rock music. The Ivie IE-30A was operated in octave - adjusted to flatten the response. No reference was made to band mode to allow direct comparison with the ADC analyz- the IE-30A response until the task was considered com- er results. The tests were conducted in the direct field of a plete. Figure 1 shows the original response with a boost at

single loudspeaker to eliminate two -source and room ef- 125 Hz, a crossover dip at around 1 kHz and a peak around fects. The hold functions of both analyzers were used to aid 4 kHz. Also shown is the result after using the SA -1 to make in making the response comparisons. In the main, the SA -1 adjustments. The improved response is obvious. showed close agreement with the known, excellent per- In the second test, the same approach was used, but the formance of the Ivie. The 31 -Hz band (of the SA -1) was up response of a tape recorder was simulated:-a rise at the perhaps 3 dB relative to the other bands, and the 8- and 16 - low end, some droop around 2 to 4 kHz and a definite rise kHz bands were slightly high. The supplied microphone did around 8 to 16 kHz. Figure 2 shows the set-in conditions, show some directivity, and the flattest response in the direct the response after adjustments per SA -1 display and the field, was obtained with the microphone at close to grazing EQ that was introduced to effect the change. It usually incidence (not pointed at the loudspeaker). In a reverberant seemed best to start adjustments in fast mode to speed up field, such as might exist at a listening position, the pointing removal of the major deviations. Then, "Slow" was used of the microphone would be less significant, but the user with a more expanded scale for less display shifting and should avoid pointings that cause a sharp 16 -kHz rise. better resolution. The line input impedance was 86 kilohms over most of "Peak Hold" was very useful a number of times, and it the band, down to about 48 kilohms at 10 kHz. These had very little drift over long periods of time, except at the figures are somewhat lower than the specification, but they lowest -microphone levels. It was définitely much better than are more than high enough for any possible application. A indicated by a statement in the manual to the effect that it 1 -kHz tone burst was used to check the analyzer's dynamic would drift after 10 seconds. The bar graph form of the responses. In fast mode, a burst of 200 mS duration was display made it particularly easy to read, but somewhat dim needed for a 20 -dB change in indication, with a decay time lighting seemed best for quick assimilation of the data of about 7 seconds. In "Slow," the on -time required was presented by the red LEDs. 355 mS, and the decay time was about 18 seconds. The It would probably be helpful to most users if ADC had decay times are particularly long, but they are quite accept- given some general guidelines in the manual as to what able for the purposes of equalizing a sound system. They settings of the so-called calibration control would give cen- are limiting, however, for any sort of music monitoring, ter -display indications at various SPLs. Our tests showed except to observe general spectral patterns on an averag- that SPLs would be high enough with the pot near its center ing basis. of rotation or above. A quiet environment might permit The pink -noise generator output level was 200 mV, drop- somewhat lower settings. ping to 140 mV with a 10-kilohm load, indicative of a 4.2- All in all, the SA -1 octave -band RTA is a well -performing kilohm source impedance. The spectrum, as indicated on instrument, and it will give good results with octave -band or the analyzer display, was within ± 1 dB, with the exception parametric equalizers in smoothing sound system re- that the two lowest bands were at +2 dB. Or it could be sponses. With its low price, the ADC SA -1 analyzer is said that the 16 -kHz band was the sole exception at -2 dB. undoubtedly an excellent value. Howard A. Roberson Either way, the results were really quite good. Enter No. 90 on Reader Service Card

52 EQUIPMENT PROFILE

Manufacturer's Specifications Power Requirements: 108 to 132 V, Power Output: 250 watts continuous 60 Hz, 10 A. per channel into 8 ohms, 20 Hz to 20 Power Consumption: 240 watts at 0 kHz. output, 1,200 watts at rated output. Rated THD: 0.025%. Dimensions: 19 in. (48.07 cm) W x TIM: Less than 0.03% (3.18 kHz 7'/e in. (18.03 cm) H x 171/4 in. square wave and 15 kHz sine wave, (43.64 cm) D. 4:1, measured at full power output). Weight: 50 lbs. (22.72 kg). Frequency Response: 20 Hz to 20 Price: $599.95 (kit only). kHz, +0, -0.2 dB; 3 Hz to 100 kHz, +0, -1dB. SMPTE-IMD: Less than 0.02%. Dynamic Headroom: 2.5 dB. Damping Factor (Low Frequency): HEATHKIT More than 100. Hum and Noise: 85 dB, A weighted,

AA -1800 below 1 watt. Input Sensitivity: 110 mV for 1 -watt STEREO output (1.75 V for rated output). Input Impedance: 20 kilohms, shunt- POWER AMP ed by 50 pF.

Menem

17.~911' itereo x Kw{,er AA -1800

pd+yeM prornectSon hM, idi powa.

AUDIO/SEPTEMBER 1982 53 Amazingly high headroom permits peaks of 500 watts per channel or more before encountering noticeable clipping.

If you think that the audio industry has rejected the idea 0 lo 60 8 -OHM LOADS of ultra -high powered amplifiers for use in home audio BOTH CH. DRIVEN ft1 systems, consider this power amp from those innovative I kHz --»- SMPTE-IM creators of Heathkits in Benton Harbor, Michigan. By far the W most powerful amplifier ever offered to audiophile kit - > z w builders by Heath, the AA -1800 not only boasts a rated 2 00' -80 I - L- i power output of 250 watts per channel into 8 -ohm loads, o .. -rte > but upon testing dynamically, it shows a dynamic head- Q a W room of just about 3 dB. This means under short-term CC musical signal inputs it can deliver around 500 watts per itii channel, or a total of a kilowatt or more. This amplifier is 0001 100 01 1 10 0 100 0 10000

available in kit form only, though I was supplied with a unit POWER / CHANNEL (WATTS) assembled by Heath personnel. Interestingly, once it is fully assembled, Heath does not recommend shipping the unit anywhere with its power transformer installed. Instead, the Fig. 1-Distortion vs massive power transformer is equipped with locking -type power output, Heath AA -1800 multiple pin connectors which can be easily disconnected power amplifier. should it ever become necessary to transport the unit. The amplifier, therefore, arrived in two cartons! To protect the preamp's on -off switch, the AA -1800 can be turned on a built-in relay, a - 0.10 60 by activated by second, low iiffiiiiiii=-liiii:i-EE. 250 ~CH. current power cord connected to the pre -amp's switched, .....t....n ' ...... 1...... n.1 8 OHM LOADS BOTH CH. DRIVEN a.c. receptacle, - 3311 33IIM convenience as well as by its own, rear INN= 1111 Iilftitii panel power switch. 18 1111111111f 11111 The black front panel is a single, wide expanse of metal interrupted only by four tiny LED indicators. One of these 001 IÍÍn1lÍlllll11111 _ 80 ?.0:::::IC::::::'.::' .....11::::: lights up when power is applied. Another is a protection ...... n ...... 1 ..... 1111111111111 circuit indicator, while the remaining two are peak power lu 1 LED indicators which are activated when a full 250 -watt 11111:111 output level is reached. 0001 100 The rear apron of the AA -1800 is equipped with individual 10 00 Ik 10k 20 input level controls (one per channel), left and right phono- FREQUENCY - Hz tip input jacks, five -way color -coded speaker connection binding posts, a fuse -holder which houses the main 10-A line fuse, and a three -position switch. The two required Fig. 2-THD vs. frequency power cords also emanate from the rear apron. at rated output.

Circuit Highlights Aside from the major power supply parts, such as the aforementioned power transformer and two large 13,000-µF electrolytic capacitors, most of the other electronic parts of this amplifier are mounted on three major circuit boards, with an associated integrated circuit. If voltage remains two identical output amplifier boards and a circuit protec- outside a "safe region" for more than 50 mS, the complex tion board. circuitry disconnects the outputs from the speakers, and in The output stage for the positive -going signal consists of addition, two circuit breakers function as temperature sensi- multiple emitter -follower transistors and a parallel -connect- tive switches. At normal operating temperatures, these ed pair of transistors. Another pair of transistors completes switches are closed. If the temperature of the heat sink ever the series -parallel output configuration, which is biased by exceeds 90° C, outputs again automatically disconnect a pair of common emitter -follower transistors. This configu- from the speakers. ration has each of the main output transistors sharing half the output current and half the power supply voltage. The Measurements output stages for the negative half of the signal are identical With 8 -ohm loads in place, the amplifier delivered over in operation to those of the positive half and are symmetri- 300 watts per channel before rated harmonic distortion of cal and 180° out of phase. Additional circuit blocks handle 0.025% was observed, using a 1 -kHz test signal. At the 20 - speaker turn -on delay, peak power indication, and speaker Hz test frequency, power output for rated THD reached 287 protection. watts; at 20 kHz the reading was 265 watts. A plot of power An interesting method is used to protect speakers from output versus THD is shown in Fig. 1. When input levels potentially damaging signals, whether due to amplifier mal- were reduced to produce exactly the rated 250 watts per

function or improper input signals, and is based on one channel (again into 8 -ohm loads), I observed what amount-

transistor serving as a safe voltage detector in conjunction ed to test -equipment residual distortion levels at 1 kHz and

54 AUDIO/SEPTEMBER 1982 The rough or edgy kind of high response associated with solid-state circuitry seems absent with the Heathkit AA -1800.

20 Hz of just under 0.003% and approximately 0.02% at 20 opening up the amplifier while driving my fairly efficient KEF kHz. SMPTE-IM distortion measured 0.014% at the equiv- 105 II reference loudspeakers, but the latter have their own alent of rated output. Damping factor at 50 Hz measured protection features with a control that can be set as high as 185, well above the 100 claimed by Heath. the Using Otalla 200 watts per speaker. That's the way I ran the amplifier method of TIM measurement, I was unable to detect any during extended listening tests, and I can report the sound amplifier -produced IM products over a dynamic range of 75 was clean at those peak levels and that with many musical dB on a spectrum analyzer, which means that if there were test records, including some wide dynamic range dbx- any TIM it had to be less than 0.018%! encoded discs, it is not at all unusual to come up to such Dynamic headroom was amazingly high, measuring a full peaks, however briefly. 3 dB. This, as said earlier, means that when driving the The amplifier's sound might best be described as on the amplifier with music program signals, you can expect to tight and bright side, delivering the kind of tight bass that reach peaks of 500 watts per channel or more before characteristically occurs with amps having high damping encountering noticeable clipping of the waveforms. Distor- factors and traditionally high overall loop feedback. The tion versus frequency, for rated output, is plotted in Fig. 2. somewhat rough or edgy kind of high response that one Frequency response for a -1.0 dB roll -off extended from also associates with this kind of solid-state circuitry seemed around 3 Hz to 110 kHz. absent, providing further correlation between low TIM and Signal-to-noise ratio, as measured in accordance with the absence of irritation when listening to high -frequency tran- new IHF/EIA Amplifier Measurement Standards (0.5 V in sients or other high -frequency program material. Still, some and level controls adjusted for 1 -watt output, with an A - adherents of vacuum -tube sound may find the highs from weighting network in series with the measuring instrument), this amplifier to be just a bit too brilliant, however clean they was 88 dB. Worst -case channel separation over the entire may also seem. audio band was never poorer than 65 dB. Physically, the AA -1800 needs a lot of space and adequate ventilation, but given those things it operated without Use and Listening Tests even getting warm to the touch when reproducing music Heath makes a point in their well -written instruction man- programs at the levels previously mentioned. Although I did ual about never connecting input grounds to output not construct the amp, I did read the construction manual, grounds when using this amplifier. This caused some grief and as usual it is written, in the typical Heath manner- when testing the unit on the lab bench (I had to "float" much meaning just about anyone who can hold and use a solder- of the equipment that ordinarily shares a common ground), ing iron and can read English should have no real trouble but once that was worked out things went quite smoothly. assembling this power amplifier. They may, however, have When I transferred the unit to a listening installation, I en- a bit of trouble lifting it into its final resting place, in which countered no such problem, of course, since my reference case that plug-in power transformer can always be loudspeakers are hard -wired individually to the test setup in dropped into place last. Leonard Feldman the listening location. I was a bit fearful at first about really Enter No. 91 on Reader Service Card IMF the standard ELECTRONICS by which others are judged .. loudspeakers - "One of the most druwa &rde/ musical sounds" e - "Spectacularly wide in dynamics" ege"eá, - "Pristine clean" Special Application Control Monitor - "Sharp and precise transient response" Reference Standard Professional Monitor Mk VII - "Aliveness and spatial Professional Monitor perspective" Studio Monitor

Bert Whyte / Audio Magazine 5226 State Street / Saginaw, Michigan 48603-3714 / Telephone (517) 790-2121

Enter No. 13 on Reader Service Card EQUIPMENT PROFILE

YAMAHA P-850 1 TURNTABLE Manufacturer's Specifications Motor: Direct -drive, quartz -lock PLL. Speeds: 331/3 and 45 rpm. Wow & Flutter: 0.015% wtd. rms. Rumble: Better than -77 dB (DIN -B). Arm: Static balanced, sliding weight. Anti -Skating: Spring type. Suitable Cartridge Weight: 2.5 to 10 g. Cable Capacitance: 100 pF. Dimensions: 17% in (44.1 cm) W x 143/4 in. (37.5 cm) D x 5'/e in. (13.0 cm) H. Weight: 161/2 lbs. (7.5 kg). Price: $360.00.

VA MAMA ,»Ca f1 6amiumi1 .a p'

Yamaha's new P-850 is a typical example of modern ners and is adjusted by a small knob. The actual tracking turntable design, with its sleek, low -profile styling and im- force is set by a sliding weight in front of the pivot. The arm peccable performance. It uses a direct -drive servo-con- is calibrated from 0 to 3 grams in 0.1-gram steps, on a trolled motor, while its arm is controlled by two separate scale which extends almost up to the carbon -fiber resin motors. The arm itself is a straight tubular type, mounted on headshell. a platform at the rear, which extends the full width of the The shell is secured to the arm by a set -screw, eliminat- unit. A neat rectangular counterweight slides on two run- ing one potential source of trouble. Length of the arm is 83/4

56 and right, record "Size," "Cut," and "Play." Indication for record size (12 and 7 in.) and the first three functions is given by tiny illuminated "windows" at the side of the push- buttons. The drive motor is a d.c. brushless, coreless eight -pole type, and the aluminum diecast platter weighs 31/2 lbs. It is unusually deep, with the top of its highly polished edge about an inch above the base and its mat extending nearly '/4 inch above that. I noted with approval that this mat is of rubber with no ribs or projections that could form cavities. The base is made from a Bulk Molding Compound finished in a satin silver.

Measurements For test purposes, Shure V-15 Type V was mounted in the shell (which has a very low mass), and both tracking force and anti -skating adjustments were set to 1.25 grams, affle making due allowance for the Shure stabilizer "brush." Arm resonance was measured at 9 Hz with a broad rise of less than 2 dB. The cartridge was aligned with the Shure two - point gauge (supplied with the cartridge), and checked with the Dennesen protractor; it was found to be right on the nose. The actual error figures were -1, +2 degrees, a little better than claimed. So full marks to Shure for an easy- to-use device which enables even the most ham-handed to achieve remarkable accuracy. Wow and flutter measured 0.025% (DIN 45-507) while rumble was - 63 dB. using the ARRL weighting. By employ- ing the Thorens Rumpelmesskoppler (which allows measurements to be made via the center spindle), the figure increased to - 70 dB. Both vertical and lateral arm bearing friction were extremely low, with no sign of irregularities. The tracking force calibration was found to be within 5% down to 1 gram. Speed was less than 0.1% fast. The unit is fully automatic: after the "Play" button is depressed, the arm moves to its correct position and the motor is switched on. Before the stylus is actually in the lead-in groove, a speed lock indicator, positioned next to Is the "Repeat" switch, lights up. At the end of play, the arm returns to its rest, taking about five seconds. The three cue buttons give complete control over the arm via the two independent motors. If the left or right button is only slightly depressed, the arm will move slowly; but pressing harder will increase the speed. If one of these two buttons is depressed while a record is being played, the arm will rise, just as if the center Up -Down button were used. Because there are so many conflicting requirements, there is no "right" way to deal with the problem of acoustic feedback and Yamaha has elected to mount the arm and motor to the base to provide "mass" instead of isolation. The unit is mounted on four resilient feet, and tests showed that it was not particularly susceptible to airborne or vibrational feedback. inches (222 mm) and effective mass is stated as a low 11 Although the P-850 does not boast a variable speed grams (without the cartridge). The spring-type anti -skating control, digital readout or other eye-catching features, it control is located in front of the arm base, to the right of the does offer fine basic performance. It certainly deserves a arm rest. top-flight phono cartridge. preferably a high-compliance The operating controls are in the form of nine pushbut- type to match its remarkably low -mass arm. tons lined up at the front. From left to right they are: "Power" George W. Tillett (On -Off). "Speed," 'Repeat " arm movement left, vertical Enter No. 92 on Reader Service Card

AUDIO/SEPTEMBER 1982 57 EQUIPVIENT.PROFILE

Manufacturer's Specifications Recommended Pre-Preamp Load: Frequency Response: 10 Hz to 60 125 ohms minimum. kHz, +0, -.5 dB. Stylus Type: Conical. Channel Separation at 1 kHz: 34 dB. Stylus Radius: 0.65 mils. Channel Separation at 10 kHz: 30 Stylus Compliance: 12 x 10 -6cm. dB. Tracking Force: 1.5 to 1.75 grams. Output Voltage: 0.33 mV at 1 kHz. Vertical Tracking Angle: 20°. Impedance: 4 ohms. Weight: 5 grams. Recommended Transformer Imped- Price: $350.00. ance: 3 to 4 ohms. Recommended Load Capacitance: 30 pF. FULTON RS -1 MOVING -COIL r,l PHONO CARTRIDGE

FULTON MC -1 MOVING -COIL TRANSFORMER z Input Impedance: 3 to 4 ohms. Frequency Response: 5 hz to 65 kHz. Gain: 28 dB. FULTON Price: $289.00.

Fulton Musical Industries (FMI), manufacturers of the Ful- While there are certain theoretical advantages to the ellip- ton Premier loudspeakers, have introduced a high perform- tical or Shibata shapes, Fulton engineers believe that those ance miniature transducer to their .line-the Fulton RS -1 advantages are seldom realized in the conventional phono moving -coil phono cartridge with matching transformer. In playback system. Both elliptical and Shibata designs as- general, it is not unlike other moving -coil cartridges except sume a perfect tangential -tracking tonearm to constantly that its stylus has a spherical (conical) tip. keep the cantilever at right angles to the radius of the The stylus is a nude diamond with a square shank and a record groove. However, since most tonearms are pivoted, spherical tip having a radius of 0.65 mils. Fulton elected to they have only two points where the cantilever is perfectly use a spherical tip because they believe that both elliptical tangent to the record groove. On all other points across the and Shibata shape styli are subject to forces that twist them record, the cantilever will labor with as much as two de- as they pass over modulated groove walls. Further, this grees of tracking error imparted by the tonearm. Lateral twisting motion of the stylus is transmitted down the cantile- tracking error plays havoc with an ellipitcal or Shibata stylus ver and is reproduced as distortion by the phono cartridge. due to its shape, but is never much of a problem with There is much less extraneous torquing of the cantilever by spherical -shaped styli, according to Fulton. its stylus with a conical tip: At 5 kHz, Fulton engineers have It is claimed that a modern spherical design, with lighter measured three times the distortion with elliptical and Shi- tracking and higher compliance, does not have a problem bata styli than with a conical. Accordingly, the tendency of with record wear. In fact, Fulton claims that a 0.65-mil an elliptical or Shibata stylus to twist or torque indicates that spherical tip provides some of the same advantages as a the nuances of music are lost and, at the same time, distor- 0.3 x 0.7 -mil elliptical stylus. The stylus assembly is not tion in the critical.2- to 9-kHz frequency range is added. A user -replaceable, but must be returned to the manufacturer conical tip apparently sidesteps this problem. or dealer for replacement, as with many moving coils.

58 Measurements Fig. 1 -Response I mounted the Fulton moving -coil cartridge in a Technics to a 1 -kHz headshell on the Technics EPA -100 tonearm on a Technics tone burst. SP -10 Mk II turn -table. Voltage step-up for the cartridge was provided by a Fulton moving -coil cartridge transformer. Wherever necessary, I made measurements using this transformer; its measured frequency response was +0, -1.5 dB from 48 Hz to 20 Hz. The measured gain of the transformer was 28.3, and the square wave rise time at 1 kHz was 9p.S. The cartridge was oriented in the headshell and tonearm with the Dennesen Geometric Soundtracktor. Laboratory tests were conducted at an ambient temperature of 76°F. ± 1° (24.4°C) and a relative humidity of 58% ±3%. The track- - j,, f r - T -1--r ing force for all reported tests was at the optimum force of 1.6 grams, with an anti -skating force of 1.85 grams. As is f+ Ir 1 r {+ - my practice, measurements are made on both channels, - Í but only the left is reported unless there is a significant i Irfi -- L1 ' I difference between the two channels. i ' I T , ^ r - , Frequency response, using the CBS STR-170 test record, is flat within + 1 -0.5, dB from 40 Hz to 20 kHz. Separation t' T' u - t +I ' ¡l * is 22 dB at 1 kHz, 23.5 dB at 8 kHz, 22.5 dB at 10 kHz, 18.6 dB at 15 kHz, and dB at 20 kHz. From these data, it is n evident that the Fulton cartridge has an excellent frequency r r

response and a most satisfactory high-frequency separa- -t , tion for a well-defined stereo effect on playback. We might i111.1L _ _t_..._ comment that the separation for the right channel was id ido )k 'J slightly less than that for the left channel. FUOUV Wi;.N - H The 1 -kHz square wave is typical for most moving -coil Fig. 2 -Frequency cartridges, showing ultrasonic ringing indicative of is wide response and bandwidth which can reproduce the 43 -kHz cutter reso- separation. nance on the test record. The cartridge -arm low -frequency lateral resonance was at 9.4 Hz and of 4.8 dB amplitude Use and Listening Tests with the Technics EPA -100 tonearm. The vertical resonance The following equipment was utilized in the listening eval- was about 12 Hz in the same arm. uation of the Fulton moving -coil phono cartridge: Technics The following test records were used in making the re- SP-10 Mk II turntable, Technics EPA -100 tonearm, Nikko ported measurements: Shure TTR-103, TTR-109, TTR-110, Beta 1 preamplifier, Crown IC -150 preamplifier, Audionics and TTR-115; Columbia STR-170, STR-100, and STR-112; Space and Image Composer, Audire DM -700 power ampli- Deutsches Hi -Fi No. 2; Nippon Columbia Audio Technical fier, Audio Innovation LED 2C Dynamic Power Display, and Record (PCM) XG-7002, and Ortofon Direct -Cut Pickup a pair of stacked Duntech DL -15B speakers in each chan- Test Record 0001. nel. Each pair of speakers was connected to the Audire Wt., 5.1 g; opt. tracking force, 1.6 g; anti -skating force, DM: 700 power amplifier wth Monster Cable. The turntable 1.85 g; output (without transformer), 0.048 µV/cm/S; output was equipped with the Hiraoka Disk-SE22 turntable mat. (with transformer), 1.21 mV/cm/S; IM (4:1) distortion +9 dB As usual, I performed listening tests both before and after lateral, 200/4000 Hz, 0.65%; +6 dB vertical, 200/4000 Hz, measurement. During this period, I was particularly im- 4.6%; crosstalk (using Shure TTR-109), 24.5 dB; channel pressed with the cartridge's ability to track extremely balance, dB; 0.5 trackability: high freq. (10.8 kHz pulsed), warped records without affecting reproduced sonic quality. 30 cm/S, mid-freq. (1 kHz + 1.5 kHz, lat. cut), 31.5 cm/S, Without a doubt, the Fulton moving -coil cartridge acquitted low freq. (400 + 4000 Hz, lat. cut), 24 cm/S; Deutsches Hi - itself very well, especially in superb transient response (in- Fi No.2 300 -Hz test band was tracked cleanly to 77 microns cluding percussion transient response), excellent applause (0.0077 cm) lateral at 14.5 cm/S at +8.7 dB and 55.4 definition, sonic clarity, and transparency of sound. The microns (0.00554 cm) vertical at 10.32 cm/S at +5.86 dB. bass was sonically well-cefined and tight, with a good The latter measurements are relatively good, especially the reproduction of the 19.2 -Hz organ pedal note. The Fulton vertical one. Few cartridges can track the higher velocity cartridge introduced no apparent coloration nor audible 300 -Hz bands on this test record. distortion to the music being played. The human voice was The Shure Obstacle Course -Era Ill test record offered reproduced particularly well, especially the male voices. no challenge to the Fulton cartridge. On the Shure Obstacle All in all, the Fulton moving -coil cartridge should be Course-Era Iv test record, the cartridge passed all test considered as an excellent choice for anyone desiring a bands except for the level -5 harp and harp -and -flute test top-notch moving -coil phono cartridge. B. V. Pisha bands, where just a hint of mistracking was heard. Enter No. 93 on Reader Service Card

AUDIO/SEPTEMBER 1982 59 EQUIPMENT PROFILE

Manufacturer's Specifications Battery Type: UM3 (AA) (or Mallory Element: Back plate electret, perma- MN1500 Alkaline). nently polarized. Battery Current: 200 microamps. Polar Pattern: Unidirectional (cardi- Battery Life: Up to 5,000 hours. oid). Weight: 6.5 oz. (185 grams). Frequency Response: 20 to 20,000 Dimensions: 8 in. (204 mm) long; 2 in. Hertz. (51 mm) head diameter, 13/16 in. Sensitivity: - 55 dB (0 dB =1 mW/10 (21 mm) body diameter. dynes/cm2). Cable: Model ÁT8302, 16'/ ft. (5.03 Open -Circuit Sensitivity: 0.28 mV m) two-cond. shielded, vinyl jacket, (- 71 dB) re: 1 v/dyne/cm2. with Switchcraft A3F connector at EIA Sensitivity: -149 dB. microphone end, '/4 in. phone at out- Impedance: 600 ohms nominal, put end. matches 150 to 1,000 ohm inputs. Accessories Furnished: Model AUDIO- Maximum Input Sound Level: 125 AT8201 Slip -in Stand Clamp for 5A- dB. 27 threaded stands, carrying case, TECHNICA Signal -to -Noise Ratio: Greater than battery. $110.00 AT813 50 dB at 1 kHz, 1 microbar. Price: MIKE

J.1

+T_w?"'

The Audio-Technica Model AT813 is a carctioid unidirec- handle includes a professional -type three -pin output con- tional electret microphone powered by an internal battery. It nector and a power on -off switch. The output is balanced was designed for audiophile or professional recording ap- and low impedance. The cable supplied with the mike has a plications, or sound reinforcement. The large metal screen 1/4 -inch phone plug on the output end, for use with many on the head end encloses an integral wind/pop screen. The models of cassette and open -reel tape recorders.

60 A slip -in stand clamp as well as a padded carrying case ated a by third position on a power switch. An internal . are supplied with the AT813, and many other accessories equalizer and "voice -music" switch is desirable on all direc- are available. The Line Matching Transformer (AT -8201) will tional microphones exhibiting proximity effects, unless they match the low impedance of the microphone to recorders are used only in recording studios where equalizers are having high -impedance inputs, and the accessory cables available on every microphone channel. The curves shown permit connection to three -wire balanced inputs. A snap -in in the data sheet show substantial proximity effects, be- stand clamp and a shock mount are available as alterna- cause the response is shown to be flat for sources at 12 tives to the fitting supplied with the microphone. inches or farther. Our measurements show that the re- The Audio-Technica data sheet is unusually complete, as sponse at 12 inches and farther is rolled off so that proxim- it includes a detailed schematic with component values and ity -effect bass boost is tess drastic than the data sheet very clear illustrations on wiring of the output connectors. indicates. The text explains the virtues of the so-called "back-electret" design which, in theory, should yield performance similar to Measurements more the expensive air condenser (externally polarized) The impedance -versus -frequency curve (Fig. 1) shows a microphones. nominal 600-ohm impedance throughout the midrange. The The data sheet indicates that the electret element is impedance rises to about 1,400 ohms at 70 Hz, which internally shock -mounted, and the accessory shock mount appears to be a resonance between the microphone trans- may be used also for additional isolation with stand or boom former inductance and the coupling capacitor. As with oth- mounting. Most electret elements are extremely resistant to er microphones I've tested, I "mismatch" the 600 -ohm im- shock and vibration, an advantage for microphones which pedance to the 150 -ohm output of the broadcast -type may be handled (or dropped) by performers. The handle preamp in my test rack. This is an "unloaded" input with a and head of the AT813 are all metal and sturdily construct- center -tapped transformer. The actual input impedance ed, and the low -reflectance gray finish is highly scuff -resis- varies from 1,000 ohms at the extreme low and high fre- tant. The power on -off switch is recessed so that it is not quencies, to several thousand ohms at mid -band. Since our easy to operate accidentally. The battery is easily replaced frequency response graphs are corrected to open -circuit by unscrewing the head from the handle and is the readily conditions, it is necessary to show loading effects on a available alkaline penlight type. I noted that the rated bat- separate chart (Fig. 2). With most 150- or 200 -ohm mikes, tery life (5,000 hours) is longer than that of a recently loading effects are negligible, but with 600 -ohm mikes, reviewed low-cost electret microphone which has no on -off some nonlinear responses are encountered. The loading of switch. Many audiophiles will obtain shelf lifetime from the our preamp on the AT813 caused a 3 -dB "valley" centered cell (two to five years) and ought to remove the cell from the at 70 Hz. Loading could be more severe with other equip- microphone if it's not to be used for a week or more. ment rated at 150/200 ohms; however, the loading general- Therefore, the switch could be omitted, with a possible ly acts to reduce bass response and compensate some- improvement in reliability and a cost saving. Any power what for proximity effect. "Low -impedance" inputs of tape switch which can be finger -actuated by the performer may recorders vary from about 200 to 2,000 ohms, the rating occasionally be misused as a "push to talk" switch, so that based on the microphone impedance. The AT813 will work AT813 should not be just handed to the user without also satisfactorily with most of these recorders; however, if the giving them a briefing. One alternative idea would be to user is bothered by loss of bass with a 200 -ohm input, or change the switch to a type which must be actuated with a high noise (usually hiss) with a 2,000 -ohm input, a line pointed tool. matching transformer may correct the problem. The Audio- The data sheet states that the AT813 is designed for vei y Technica AT8201 line transformer may only be used with high input sound levels, but the rated SPL is only 125 dB. high -impedance inputs (approximately 50,000 -ohms rating) is to 10 This 5 dB lower than the ratings of other electrets I though lower-ratio transformers are available from other have reviewed, but some of those are internally powered by manufacturers for line matching in the 200-2,000 ohm 6-V batteries or externally by 9- to 48-V power sources. range. Naturally, the peak -to -peak output voltage swing cannot We would also recommend that, to prevent pickup of exceed the supply voltage. The instructions do not indicate radio stations or power line noise, a balanced circuit be higher that voltage batteries may be used to obtain higher used for applications requiring more than the 161/2 -ft. cable input SPL/output voltage capability. (I would think that most supplied with the microphone. This will require cables with FETs in microphones could withstand 6 volts, which could A3 connectors (such as AT8303), plus a suitable line trans- result in up to 12 dB higher SPL rating.) former located near the recorder. The frequency -response proximity effect (bass boost with The measured frequency responses (Fig. 3) of two AT - close talking, which is inherent with most types of cardioid 813 microphones show smooth and flat characteristics from microphones) is cited as an advantage: If the microphone is 100 to 5,000 Hz, which ircludes the entire range of voice used with a flat -response audio amplifier, the effect adds frequencies. This is a desirable response characteristic for "warmth" which may be desired by the performer. If an many voice and music pickup applications, and the bass external bass roll -off equalizer is used, the voice sounds rolloff (for plane waves or distant sources) is useful to natural, and distant low -frequency noise, such as room attentuate room noises. The dips at 6,500 and 10,000 Hertz "rumble," is attentuated. My choice would be to nclude were initially thought to indicate a defective microphone such a roll -off filter in the microphone which could be actu- (unit #1). A second microphone (unit #2) was furnished by

AUDIO/SEPTEMBER 1982 61 "The AT813 can be used in very quiet studios without introducing noise into the audio."

voice reproduction, but could add undesirable coloration to very high frequency musical sounds. Thus, the designers of the AT813 may have traded some music pickup quality to obtain pop -free vocals. Ó 1k }4 WI e00 The curves of the two microphones (Fig. 3) fall within a ±2 dB (4 dB wide) envelope. If these units represent 400 O i extremes of manufacturing tolerance, then the variations z 200 conform to acceptable limits for professional microphones.

100 However, the audiophile is advised not to buy a pair of J AT813s off the shelf, assuming they are matched well 20 00 10M 20k enough for, say, orchestral recording, because the mis- FREQUENCY - Hz match between our two units would be easily heard. We do Fig. 1-Impedance vs. not usually test two microphones, but our review of the frequency. Shure SM-81 (Audio, August 1980) shows an example of frequency response curves of two units. Those curves match exactly except for 1- or 2 -dB differences below 100 Hz. The AT813 is a much less expensive microphone, but since electret elements are manufactured by automatic ma- chinery (at a cost of a few dollars each), we would expect to find close -tolerance elements in microphones that sell for more than $100.00. The low -frequency response of the AT813, similar to other cardioids, varies with distance, more or less in accordance with theory (Fig. 5). However, none of our curves shows an essentially flat response down to 50 Hz, as the data sheet - 111 and the A -T strip chart do. We think that the observed bass 100-t ' 10k 20k rolloff (plane wave) is proper for a microphone which has no FREQUENCY - Hz integral voice -music feature, because this results in flat Fig. 2-Frequency response at 6 to 12 inches on voice. It also aids in reduction due to response loss of room noise. loading of our The directional frequency -response curves (Fig. 6) show microphone preamp. a pattern which tends toward hypercardioid. A hypercardioid has more rejection than a cardioid at 90° (greater than 1 -1T -T T T I 1111111 717- 6 dB) but less at 180° (less than 15 dB). The greatest 1 i j- 1 I{ii rejection for a hypercardioid is at approximately 135°. We _[ 1111

I `} 0 dB. -50dBV/P° OPEN CIRCUIT UNIT.I 1 are very impressed by the 8 -dB rejection at 100 Hz and 90°. Rejection at 90° is important in sound reinforcement appli- are frequently placed in 90° , UNIT. 2 - ' cations because speakers the I plane. Hypercardioids, in these circumstances, will allow . higher system gain before feedback than cardioids will. The directional characteristics are uniform and well-behaved over the entire audio range, and the peaks and dips at high II_,_1_11 i111 10k 20k frequencies simply reflect the response curves at 0°. FREQUENCY - Hz The measured spectrum of microphone noise (Fig. 7) shows a pronounced hum peak at 60 Hz which could be F ig. 3-Plane wave frequency responses for extraneous noise pickup in the circuitry, and is perhaps related to high microphone impedance at Hz. This two AT813 samples. the 60 had relatively little effect on the overall "A" weighted noise level, which is 20 dB equivalent SPL. The AT813 can, Audio-Technica with a custom -drawn frequency response therefore, be used in very quiet studios without introducing strip chart (Fig. 4). The vertical scale of the chart was not* noise into the audio. marked, but as a 50 -dB potentiometer is supplied with B & The peak output voltage (clipping level) on speech is K recorders, we assume that the chart is 50 dB wide. This is ±0.2 volts. The equivalent rms input sound pressure level more compressed than our scale, but the response may be is 127 dB. This is adequate for most applications, but on correlated with our curve (Unit #2 in Fig. 3). Such response extremely close and loud vocals, some clipping may occur. variations at extreme high frequencies were not found in Also, the AT813 may clip if placed extremely close to high- electret microphones previously reviewed. (See Audio, Au- level musical instruments or instrument speakers. gust 1980 for an example.) We suspect that they may be a The total dynamic range or maximum S/N of the micro- function of geometry, that is, of the large head of the AT813, phone is 127 - 20 or 107 dB. The specifications refer to which includes pop noise blast filters. They will not affect S/N relative to one microbar, accounting for the large differ -

62 "More dynamic range than specified ... adequate for both analog and digital audio recording."

ence between rated and measured values. Based on one microbar, rated noise is 74 - 50 or 24 dB, and total rated ----``n/\^; dynamic range is 125 - 24 or 101 dB. The microphone

tested, therefore has 6 dB more dynamic range than _ _ _ __-_, . . speci- --i------_ fied. This is adequate for both analog and digital audio recording. Last, but not least, the phasing test showed pin #2 positive, as per the specifications. Fig. 4-Frequency response curve supplied Use and Listening Tests by manufacturer for For comparison purposes, we used a Nakamichi CM -700 sample #2. electret microphone with a cardioid capsule as a reference. The reasons for the choice of the reference microphone have been stated in previous reviews. The AT813, with distant music and speech sources, O dB= -50dBV/Pa 24" sounded very similar to the reference mike, but the AT813 audio was, pleasingly, freer of disturbing low frequency

room noise (air -conditioner sound). The sound quality of the 'PL4NE WAVE ! AT813 does not vary significantly on or off axis, same as the i t reference mike's. When used for closeup speech, the AT813 sounds much "heavier" than the reference, with the latter in Lo -cut mode. The overall sound quality with close _ talking is duller than the reference microphone's. FhG)UE Cr Magnetic hum pickup is very low, about 10 dB less than the reference. Pop or breath blast sound with the AT813 Fig. 5-Frequency was about 5 dB higher than the reference. In this test, the response vs. distance reference mike was on Lo -cut with the accessory wind- from source (sample screen. We conclude that the integral pop filter may be #1). doing a good job, but a bass-rolloff equalizer or voice filter . . is required to achieve higher pop noise reduction. Vibration and handling noise is much less (approximately 20 dB) than the reference, so the AT813 is well designed in this regard. Except for the previously mentioned potential problem

with the accessible power switch, I find that the AT813 has

excellent feel and balance for hand-held use. I think that most performers would find the microphone to be attractive- ¡ ly styled. - I As a final test, I listened to the AT813 with one of two test 1 preamps connected for unbalanced input (one line ground- 101 0It ed) and compared the sound to other rREQUENCY - Hz the preamp which is Fig. 6-Frequency connected for a balanced, center-tap grounded input. response vs. angle There was no difference in sound quality, audio levels, or noise. (sample #1). -r r - Conclusions II! I I i think that the AT813 is a good choice for a wide variety a, -- } t i 1 of speech and music recording and sound reinforcement I OVERALL NOISE LEVEL IN 15,000 Hz BANDWIDTH '1t FLAT applications. It is RESPONSE: 26 dB an excellent microphone choice where A WEIGHTING, 20dB 20 feedback immunity is required. For close-up speech or r - vocals, a bass-rolloff equalizer may be desired by many users. Also, for sound V , system use, additional treble boost 10 -4 ¡ - t.-.. may be desired because of the flatness of the AT813's -- -+ - frequency response. 1 - The AT813 is a good choice for close- _ i 1 I miking in popular music recording if the SPL limits are 020 I^' n InIt 211 adhered to, though it is not our top choice for highly critical FREQUENCY - Hz classical music recording using two microphones in Fig. 7-Microphone stereo. The dynamic range of the microphone is excellent. noise spectrum (one- Jon R. Sank third octave bands) of Enter No. 94 on Reader Service Card AT813.

AUDIO/SEPTEMBER 1982 63 WHAT'S: NEW

¡Seta., Ab - .. BB k _ -

\Ir . r fogiscsvosher ''IDEO1 II O 15

-, Technics Receiver per channel, 20 Hz to 20 The Model SA -206 quartz kHz with no more than synthesizer digital receiver 0.04% total harmonic uses an autoscan tuning distortion. There are input l Vl1(ihfbQ/Maindi.rwoar.er. system that audibly jacks for phono, tape and samples each station in auxiliary, and two -speaker Discwasher VCR tape path-including turn before stopping at the system connection Video Head Cleaner both the video and the selected one. The unit capability with A or B and Video Head Cleaner is a audio heads. The offers memory preset for six A & B. nonabrasive, dry system manufacturer suggests that stations on both FMand Price: $240.00. available for both VHS and the cleaner be used after AM, and it delivers 25 watts Enter No. 102 on Reader Service Card Beta formats. A special every six to eight hours of fiber grid removes tape videocassette recording oxides in 30 seconds, and and playback. Price:$20.00. it cleans along the entire Enter No. 100 on Reader Service Card

t-- - -- r Quad Tuner as opposed to higher The only controls on the selectivity. Station FM4 are preset buttons, a frequencies entered into power switch and a tuning the tuner's memory will knob, because a remain there almost microprocessor handles all indefinitely, up to five years other functions. The design even if the unit is reflects emphasis on using disconnected. Price: wide bandwidth for the $625.00. lowest possible distortion, Enter No. 103 on Reader Service Card

Sony Color Console TV audio output jack permits The 26 -inch KV -2649R TV sound to be plugged features the Trinitron one - into a hi-fi system. An Panasonic GiV paDto gun, one -lens system and antenna switch enables a frequency synthesis tuning user to shift between direct for quartz -locked accuracy. cable TV reception through The console is equipped the TV tuner or scrambled with 10 -key Expréss Tuning pay -TV through a converter Panasonic using a cable decoder - to allow a viewer to punch box, and it controls access CATV Adaptor tuner box. Standard in a particular channel or to regular TV/cable The PV-CT2 permits a antenna cables, supplied search mode, while reception, video games or viewer to record one with the unit, are used to frequency synthesis VCR. The KV -2649R comes channel while watching connect the cable tuner provides easy cable in an oak veneer wood another, and permits box, VTR, and television to adaptability plus instant cabinet. Price: $1,399.95. programming a VTR's this adaptor. Price: $129.95. access to 107 channels. An Enter No. 101 on Reader Service Card channel change when Enter No. 104 on Reader Service Card

MI OE RMS Electronics Acoustic Research Lock Switch Loudspeaker The ACS -14 has two r.f. The AR58s is a three-way inputs, one of which may acoustic suspension be locked with a key. This bookshelf speaker with a will prevent the viewing of 12 -inch woofer, 11/2 -inch video program material dome midrange, and 7 - IfigisOCR.~O. which parents, for example, inch dome tweeter in a may consider inappropriate vertical array. The speaker for their children. The lock produces 87 dB SPL at one switch also has security - watt/meter and requires shields to prevent minimum power of 15 watts tampering that could defeat per channel. The oiled the locking mechanism. walnut veneer cabinet Price: $22.45. measures 271/e x 14 x Enter No. 105 on Reader Service Card 10% inches. Price: $325.00. Enter No. 107 on Reader Service Card

Zenith Component TV The system includes the CV1950 19 -inch color video WI BASF monitor, CV510 TV tuner, CV540 source selector, 1098 m CV520 stereo audio 3602' amplifier, and CV150 - Allegro speaker system. , ,,..,., The TV monitor features the ...v- + -a exclusive EFL electron gun to min 90rt>rt and Tri-Focus picture tube _ ::., EE aas >a,;, Í t and is equipped with direct

, video/audio inputs for - I , improved picture and r s a sound performance. For BASF .. _S rr,f'? teletext and microcomputer EE Open -Reel Tape display, the monitor has Low noise and distortion, direct red, green and blue outstanding high -frequency - --- . . fi`~M inputs. The TV tuner has a sensitivity, and greater - ,/ quartz -controlled, dynamic range are said to ..1 microprocessor -based be afforded by the new EE electronic tuning system. LPR 35 Cr tape, to be used The stereo amp offers 20 on open -reel recorders watts per channel, from 20 having the Extra Efficiency Hz to 20 kHz into 8 ohms (EE) bias/E0 position. The with 0.2% or less THD. The tape's high-coercivity 1 Allegro speaker system is a chrome formulation offers bookshelf unit. Prices: Color performance at 33/4 ips monitor, $469.95; TV tuner, previously available only at $279.95; source selector, 71/2 ips. Prices: 1800 feet, $169.95; stereo amplifier, $18.99; 3600 feet, $49.99. $149.95; Allegro speaker Enter No. 108 on Reader Service Card system, $99.95. Enter No. 106 on Reader Service Card

AUDIO/SEPTEMBER 1982 65 DEAR EDITOR

Sybaritic Style cause it was an advanced publication, efficient (gamma) is found from the fol- Dear Editor: not a beginner's "where does the plug lowing: Er RL - Zo I enjoyed Mr. Fantel's sensitively go" publication. Right now you seem r= written boyhood remembrance in the to assume we are teenagers. E1 RL + Zo December issue. This style of writing Lastly, the "interview" with Todd Where E, is the reflected voltage, E, is seems to be strangely out of place in a Rundgren is as much out of place as the incident voltage, RL is the load re- magazine which panders shamelessly an article on how to fix an Oldsmobile sistance, and Zo is the characteristic to aural Sybarites. Mr. Canby is very diesel. Does not CBS know anything impedance. much your type of writer. He hasn't but television and TV cameras any- Since the characteristic of the inci- anything of great importance to say, more? Todd may be your friend, but he dent that we are observing is reflected

but he says it so well. is of no interest to me. If I were to read with resistance, it stands to reason that Larry Mark an article about him, I'd assume it since the source impedance is not Mississauga, Ont. should be in an art magazine. Why not equal to the characteristic impedance an article on computers? After all, digi- of the cables (Z0), reflection will occur Win Some ... tal technology, not cheap out-of-date from the load end of the line back to- Dear Editor: video technology (as in "Video - ward the source.

I would like to commend you and Scenes") is the wave of the future. Now, it is known that any receiver your staff for the excellent job done on I subscribe to a large number of below the specification of the Ultima the November 1981 Todd Rundgren magazines in many different subjects. One will amplify these reflections in the

interview. I do feel, however, that the I am sorry to say that the arrival of form of noise. Hence the product was whole idea of a two-way multi -media Audio is becoming a depressing inaccurately tprmed a demodulator system in my home sounds a bit 1984- event. Shape up! when in fact it acts as a modulator. ish to me. Albums will be around for a George H Conklin A copy of this letter is concurrently long time and will be more immediately Durham, N.C. being sent to the Federal Trade Com- replaced by purely audio laser discs. mission, for obvious reasons. Standards for these discs are being Up with Noise Peter S. Jasion decided upon, and if all goes well, Dear Editor: Succasunna, N.J. expect to see them sometime in 1982. On page 76 of your April 1982 issue, David Smith you carry an advertisement for the Our Number's Up Angola, Ind. Lirpa I Distortion Demodulator. I can- Dear Editor: not believe that a publication of your What a disappointment! I have been ... Lose Some high standards has the audacity to reading the "For Sale" columns over Dear Editor: print the claims of Lirpa Laboratories and over again, issue after issue, and

I I am writing to say that am very with respect to this product. I what do find? Well, I'll tell you, I found

recent in a I disturbed by developments Having owned Lirpa receiver for a Lirpa 1 Distortion Demodulator, the way Audio is being edited. several years, I am more than willing to that's what. I note that in the November 1981 its attest to superiority over any other I carefully studied the Lirpa ad with edition that Audio has apparently de- audio product available. (As you well a 50X magnifying glass. After three cided to publish frequency response know, this receiver was initially market- days with no sleep, I finally gave the of cassette recorders only at the unre- ed by Ultima Electronics-see Audio, ad to my wife, she gave it to my 11 - alistic level of - 20 dB. The reader is April 1975, pg. 54.) However, I must year -old daughter, and she gave it to thus left with the impression that the take exception to the claims made for my 7 -year -old son. None of us left the Sony TC-K81 deck under review gives the Distortion Demodulator. confines of home for a week. ruler flat response. Maybe it but Having a does, purchased unit myself at I am now under a doctor's care and only at -20 dB. The previously pub- the suggested retail price of $13.11, I the rest of the family won't associate lished tables and charts were not only rushed home to further improve my un - with me. The problem is that the ad for more easy to read, but also included improvable receiver. After carefully fol- the Lirpa did not contain any tele- the 0 dB levels. Feldman's statement lowing the enclosed instructions and phone AREA CODE. (p. 54) that "The Sony TC-K81 is one hooking up the input cables as direct- My hi-fi is totally dismembered and cassette deck that has taken proper ed, I sat back and heard NO AUDIBLE my component rack is lying sideways advantage of the metal -tape formula- DIFFERENCE. After a careful scientific on the floor ready to receive the Lirpa.

tion" is neither nor refuted investigation, I supported came to the conclusion I have sworn off music and have re- by the published graphs because of that the only thing that saved my sys- fused any food for two weeks. If Audio the dB level of the graphs pre- tem was the inherent -20 0.0003% distor- has any heart, I implore you, send the sented to the reader. You can't tell tion level in my Ultima One. telephone area code. whether or not it's a good machine. The reason the Lirpa unit does not Milton Michelstein Secondly, I resent the sharp decline function properly is quite simple. Re- Ozone Park, N.Y. in the level of technology presented to fering to basic transmission line char- Editor's Note: We suggest you try look- the reader. While technology is not my acteristics (i.e. the input cables), ing in old cereal boxes for a decoder

occupation, I subscribed to Audio be- everyone knows that the reflection co- ring.

66 AUDIO/SEPTEMBER 1982 o

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into a professional sound studio

Now available for the first time to the keep the neighbors happy). Finally, dred to several thousand dollars." home audiophile, SONEX was originally SONEX gives your room a true profes- Mike Shotts, Owner, The Soundtrack, developed for use in professional sound sional look and feel, while helping you to Auburn, AL. studios to help engineers create the best achieve better sound reproduction. "SONEX has been the missing firm in possible recordings. SONEX has also SONEX is manufactured into its unique home audio reproduction. It is the one been used by many major component wedge shape from a highly advanced product desperately needed by home manufacturers for the development and open -cell urethane material. Both the audio enthusiasts. We recommend it evaluation of their products. In fact, sev- "cells" and the shape of this material aid highly." Doug Johnson, Executive Vice eral loudspeaker manufacturers incor- in the absorption of soundwaves. These President, Sound Connections Intl., porate SONEX in the design of their "cells" are highly effective in converting Tampa, FL. .speaker systems. sound energy into heat energy, while the "SONEX is extensively used in our engi- SONEX is an acoustical treatment mate- wedge design "captures" the soundwave neering soundroom. It is invaluable for rial designed to help you achieve the fin- and keeps it from reflecting back into the the testing and listening evaluation of est sound quality possible from your room. This wedge pattern also creates our state-of-the-art electronic compo- audio system. SONEX is highly attractive, more surface exposure of these "cells" nents." Rich Larson, Chief Engineer, very durable, easy to install, and can be allowing for up to 300% more absorptive Audio Research Corp., Minneapolis, MN. placed virtually anywhere. And, unlike surface area than on flat material. SONEX will soon be available at retail many other audio components, you can SONEX has been used by hundreds of audio dealers across the country. How- begin with just a few sections of SONEX, people in businesses that depend on gradually building your listening room ever, you do not have to wait to enjoy the high quality sound. Here are a few of their benefits of SONEX in your own listening into a truly professional sound studio. comments: room. SONEX can be purchased directly SONEX improves your sound in these "I highly recommend SONEX for home from our factory. Each carton of SONEX important ways. First SONEX corrects use. It has been instrumental in helping contains 16 square feet of material and stubborn room problems such as our salesmen properly demonstrate loud- includes an application manual to help "boomy" bass, overly bright highs, and speakers in our sound rooms." Geoff you achieve the best possible sound "slap echo." Secondly, SONEX smooths Court, Owner, Audio Auditions, Minnea- reproduction from your system. SONEX out frequency response problems polis, MN. is also perfect for use with holographic caused by room interaction with your hi-fi and other image enhancers. "1 SONEX to all of my cus- units system. SONEX also reduces ambient recommend noise, allowing your system to achieve tomers that have room problems. the sys- greater dynamic range and allowing you SONEX can improve sound of several hun- to listen at reduced levels (which helps to tems ranging in cost from

Carton(s) of SONEX in grey at $39.95 each for a total of $ (Include $1.50 for postage & handling per carton). Carton(s) of SONEX in brown at $39.95 each for a total of $ (Include $1.50 for postage & handling per carton). NAME STREET ADDRESS illbruck/ usa CITY STATE ZIP P.O. Box 24470 VISA or MASTERCARD # Exp. Date MasterCard N"nneapolis, Minnesota 55424 Checks and money orders also accepted. (612) 934-6179 Enter No. 12 on Reader Service Card CLASSIFIED ADVER11SING

CLASSIFIED FOR SALE FOR SALE AAA SELECTION OF ESOTERIC AND QUALITY COM- HOW TO ANSWER BOX NUMBER ADVERTISING ADS PONENTS, speakers, cartridges, tonearms, turntables, ac- When to an Box replying Audio Number Ad, cessories, or whatever. Write or call, you'll be glad. Ask for please use this address Box No. Audio, RATES - Go specials list. Many surprises. Audio Unlimited, 17988 1515 Broadway, New York, N.Y. 10036 BUSINESS ADS -75e per word, minimum charge Technology Drive, San Jose, CA 95110 408)279-0122 1- 56.00 per line for spaced ads specifying five or less 6pm M-Th words per line. First line set in bold face type at no extra charge. words Extra set in bold face type $1.00 1.800-245-3986 ASS SPEAKERS has raw drivers, kits and high -end auto per word. One ruled point box, extra charge 58.75. TAPE WORLD speaker systems. Specializing in polypropylene and bex- ORDERS WILL NOT BE PROCESSED WITHOUT TDK: MAR -C90 6.99 trene cone drivers, our brands include Audax, Dalesford, ACCOMPANYING CHECK OR MONEY ORDER TDK: MA -C90 4.49 Jordan, Dynaudio, SEAS, JVC, Philips, Becker, Falcon - FOR FULL AMOUNT. TDK: SAX -C90 3.59 Acoustics, Stratheam and Peerless. Featuring the "Bill NON BUSINESS ADS -50c per word, minimum TDK: ADX-C90 3.29 Reed" Signature kit and Jordan module. Free price list. charge 54.00 per line for spaced ads specifying five or TDK: SA -C90 2.59 ASS SPEAKERS, Box 7462A, Denver, CO 80207. (303) less words per line. First line set in bold lace type at TDK: SA -C60 2.09 399-8609. no extra charge. Extra words set in bold face type TDK: AD -C90 2.09 51.00 per word. One point ruled box, extra charge TDK: 0-C90 1.49 ABARGAIN: GRACE F9E $110., 707 MKII $153., 747 TDK: $8.75. ORDERS WILL NOT BE PROCESSED WITH- T-12OHG 14.99 $189.; PENNON DL -103D $185., DL303 $247., DL -305 OUT ACCOMPANYING CHECK OR MONEY OR- TDK: T-120, L-750 11.99 $350.; DYNAVECTOR DV -23R $189., DV -17D $389.; AC- DER FOR FULL AMOUNT. MAXELL: XL I or IIS-90 3.89 CUPHASE AC -2 5299.; GRACE F11L 5189.; KOETSU MAXELL: UDXL I or IIC90 2.99 SA -1100D $489; TECHNICS EPA-100 $289.; ALL UN- FREQUENCY DISCOUNT -3 times, less 10%. 6 MAXELL: UDC -90 2.19 times, less 15%. 12 times less USED (212) 784-2939 EVENINGS 20%. (line copy ads MAXELL: UD35-90 5.39 AGENCY only). DISCOUNTS DO NOT APPLY TO Sony: UCXS-C90 3.29 ADS. ABARGAIN: GRACE F111. 5310, Koetsu SA-11000, LINE BASF: Pro IIC90 2.69 $499, All unused; want McIntosh tube amps. (212)-784- FUJI: FX I or II -C90 2.69 DEADLINE -1st of month two months preceding the 2939 evenings. cover date. If the first of the month falls on a weekend Fuji: Metal C90 4.99 or holiday. the closing date is then the last business TDK: HD-01 (Head Demag.) 13.99 day before the holiday or weekend ADS RECIEVED LORAN, MAXELL VIDEO CALL ABARGAIN: Grace 747 unused $200, series -20 crossover AFTER THE CLOSING DATE WILL BE HELD FOR WE WILL HONOR ANY PRICE IN THIS BOOK. 3.50 new $495 (212) 784-2939 evenings NEXT ISSUE UNLESS OTHERWISE STATED. Shipping any size order in US. Visa, MC, COD no extra charge. Orders shipped within 4 days by UPS. A BETTER DEAL BLIND ADS -Box numbers may be used at 55.00 Personal checks 1 week delay. PA add Sales Tax. AUDIO DISCOUNTS OFFERS A QUALITY SELECTION extra for handling and postage. 220 Spring SL, Butler, PA 16001, 412-283-8621 OF AUDIO COMPONENTS AT DISCOUNT PRICES. FOR GENERAL INFORMATION -Ad copy must be type- SPEAKERS, RECEIVERS, CASSETTE-DECKS, TO written or printed legibly and received on or before the TURNTABLES, CARTRIDGES, ETC., OR A NEW CAR 1st of the month, two months preceding the cover AAAAAAH AUDIOPHILES-FINALLY FOUND YOU! We STEREO. GREAT PRICES, SERVICE AND OUR date. Display advertisers must make a space reserva- are an AMERICAN enterprise specializing in the direct FRIENDLY SALES STAFF WILL BE GLAD TO ASSIST tion on or before the closing date, material (Camera sale of JAPANESE cartridges tonearms transformers YOU. FOR MORE INFORMATION MONDAY THRU SAT- Ready Only) may follow by the 10th. The Publisher, in cables Interconnects (yes-BANSEI available) accesso- URDAY, PLEASE CALL 301-593-8224-301-593-8244 his sole discretion, reserves the right to reject any ad ries etc. All manufacturers -lowest prices. Advise your OR WRITE TO AUDIO DISCOUNTS, 1026 McCENEY copy he deems inappropriate. All advertisers must requirements-we'll quote immediately. INTERSONICS, AVENUE, SILVER SPRING, MD 20901. WE HONOR supply: Complete name, Company name, Street ad- PO Box 113, Toyohashi 440, JAPAN. VISA 8 WC AND C.O.D. FOR YOUR CONVENIENCE. dress (P.O. Box is insufficient), and telephone number before ads can be published. Classified ads are not AAA -COMPONENTS FOR THE AUDIOPHILE. O LC acknowledged and do not carry Reader Service Card GOODWIN'S GROWS Audio has the O LC Bass Module, Haller, Marcof, PS - Numbers. - Frequency contracts not fulfilled will be Audio, Audire, Amber, Adcom, Vandersteen, Precision Fi- Goodwins Music Systems proudly announces short -rated accordingly. Ads submitted for a 3 time delity, Grace, Lustre and much more. All at reasonable frequency or less are unchargeable. Classified ads a new expanded location. Goodwin's now fea- prices. Call or write O LC Audio. 1006 Berkshire Road. payable in advance BY CHECK OR MONEY ORDER tures larger listening rooms, additional staff, Dayton, Ohio 45419 (513) 293-7287. ONLY. (Sorry, we can not accept credit cards.). Addi- and more of the very finest audio components. tional information available upon request. Contact: Goodwins Music Systems offers sales and ser- Laura J. LoVecchio, Classified Adv. Mgr., 1515 Broad- AAAAHH AT LAST -POLYPROPYLENE DRIVERS, Rib- vice for Mark Levinson, Quad, HQD, Linn, Gold- way, NYC 10036... Direct Dial (212) 719-6338. bon Tweeters, Xovers, Horns, Plans, Replacements. New 1982 mund, Bryston, NAD, MIT, Tandberg, Symdex, MAIL ORDER AND DISPLAY CLASSIFIED RATE Catalog $1.00. SOUNDBOX, Dpt. A, 411 South Car- lisle St., Philadelphia, PA 19146. Pyramid, Futterman, Magnepan, Stax, Celes- 1 col x 1' $175 tion SL -6, Rega, Koetsu, 1 col x 2" 5275 Oracle, B&W, 1 col x 3- $375 Soundlab, Astatic, Cotter, Janis, FR, Dynavec- AAA QUALITY AUDIO EQUIPMENT at distributor prices. 2 col x 1" 5275 Call or write: Stereo Brokers, 3012 Bandolino Lane, Plano, tor, Grace, Spectral, VPI, Dan Queen, Keith 2 col x 2" $475 Texas, 75075, 214-596-4464 (evenings or weekends). Monks, Monster, D&K, Esotech, Vandersteen, ADVERTISER MUST SUPPLY COMPLETE FILM Mirage, Live Wire, Hafler, and more. Goodwin's NEGATIVE READY FOR PRINTING FOR DISPLAY dedication to purity AAA RATED supplier for microphones, mixers, amplifiers, the and integrity of music ADS. PRODUCTION CHARGES WILL BE AS- reproduction is widely SESSED ON AD REQUIRING ADDITIONAL PREP- speakers, and supplies from EV/TAPCO, NEI, OSC, AT- acknowledged. ARATION. LAS, PYLE, AUDIO-TECHNICA, MXR, WHIRLWIND, Goodwin's is unique in New England, repre- SESSIONS HARDWARE, SWITCHCRAFT, NUMARK, senting products of classic quality, value and AUDIO Magazine AUDIO CONTROL, etc. For over 7 years now, we have 1515 Broadway performance. If you would like to avoid the specialized in fast and reliable service with competitive planned New York, N.Y. 10036 prices. Send or call for free list. SONIX CO., INC., Box 58- obsolescence of most stereo compo- A, Indian Head, MD 20640. Phone (301) 753-6432. nents and are interested in the finest music reproduction, please call or come visit. 16 ELIOT ST EXPORT SPECIALISTS MOVING COIL CARTRIDGES HARVARD SQUARE MAIL CAMBRIDCE AND PHONE SUPERB MUSICALITY MASSACHUSETTS ORDERS WELCOME

CA02138 BLES 492-1140 TO ORDER RGENI- GOODWINS

DIRECT SOUND 150 FIFTH AVENUE SUITE 516 NEW YORK, N.Y. 10011 MUSIC SYSTEMS

68 FOR SALE FOR SALÉ FOR SALE

ABARGAIN LINN ITTOK 5445 unused (212) 784-2939 ACOUSTAT PRODUCTS AVAILABLE AT Affordable "State of the Art" audio is now available for your evenings GENE RUBIN AUDIO (213) 571-1299 (PAC) audition in the relaxed, comfortable atmosphere of our listening rcom. We feature: A BETTER WAY TO BUY YOUR AUDIO AND VIDEO ACOUSTIC ELECTRONICS "WONDER AMP" AT CSA Dynavector Thiel Sony COMPONENTS. Consider the following-DIRECT AUDIO! PS Audio Grace SME SOUND MARKETING can provide you with virtually any Fidelity Research Denon AKG brand audio Audio linear Onkyo DCM of or video components (including the esoter- ADD IT UP-BEST PRICES. Some trades accepted. COD Audible Illusions Grado Epicure Ics) at extremely competitive pricing, on an in -stock basis. shipping. Help with any service problems. Most brands Moreover, Pyramid Amber Genesis we maintain a complete service facility to han- available. Best Value. Call Component Discount (616) 457- Rogers Marcof dle any service problems. So, if you're looking for a price, 6465. Thorens selection, fast shipments, in-house service and competent Micro Acoustics Supex Hailer advice we have it all, and more. Before you buy anything Satterburg Shure Mayware ADIRONDACK AUDIOPHILES-Northern New York State please call us at (404) 233-9500 for more information. free shipping anywhere in U.S. House of Hi -Fi is now open with McIntosh, Denon, Polk Or write to DIRECT SOUND MARKETING, 3095 Bolling ONE MORE STEREO STORE -408946-0500 Audio, Nakamicht, NAD, Apt Holman, Haller, Marcoff, Way N.E., Atlanta, GA 30305. For your convenience use 1231 E. Calaveras Blvd, Milpitas, CA 95035 Sota. Alpine, Sonex, Harman Kardon, RG Dynamics, JBL, your Mastercard, Visa, or Amex for fastest service. Sales Mariah Acoustics, Shahinian Obelisk, DCM Time Win- tax is charged to Georgia residents only. dows, Sony, Fidelity Research, Conrad Johnson. Monster ATTENTION DYNA AND HAFLER OWNERS: Cable, Peerless. Mail or Phone inquiries promptly an- Frank Van Alstine can rebuild most Dyna units and ABSOLUTE AUDIO: AMBER, ASTATIC, ORACLE, CON- swered. HOUSE Route OF HI-FI, 9-Miller Road, Glen Haller DH -200 amps with all new internal circuits. We RAD JOHNSON, DYNAVECTOR, LEACH, MISSION, MU- Falls, New York 12801, (518) 793-6639. transform Dyna St -80, St -120, ST-150, ST-300, ST- SICAL FIDELITY. NAD, REVOX, RGR, THIEL, VPI. etc. 400, ST -416, and Audio File. 1202 South Congress. Austin, Texas 78704. SCA=800, Haller DH -200 amps ADS SPKRS Pair. (512) 443-9295. L1530 51250 215-LO7.4626 Eve. Into state of the art quality rugged POWER MOS-FET amps with new PC cards, precision parts, mos-fet ADS MODEL 10 ACOUSTIC DIGITAL TIME DELAY SYS- output circuits, huge low inductance power supplies, ABSOLUTELY BEST AUDIO OFFER EVER. Buy direct TEM complete w/ADS speakers. Excellent shielded ground plain construction, totally free of tran- superb new model Mayware MkIV tonearm including free condition. $550. (415) 820-0267 after 7 PM. sient distortion. We install new circuits in PAT-5, PAT - super MC -2V moving coil cartridge 'Vital' stylus complete 4 and PAS -3 preamps, complete with precision con- MC 5175. -2V sold separately 579. As good as the most trols, exact RIAA equalization, matched precision ALLISON ESW, MINT, (813) 526-3678. expensive. Paying more is totally wasteful. VISA/MC ac- 5145. parts, and achieve complete freedom from transient cepted. 51 Literature bill. Mayware P.O. Box 58, Edgware, overload, even on Digital source material. Audiogram Middx. England. ALL MAJOR BRAND AUDIO Co WHOLESALE. A8T says our complete new circuits for the FM -5 8 AF -6 AUDIO, SPRINGFIELD, MA 413-737-6227. make the world's best sounding FM tuner. We offer a ABSOLUTELY THE FINEST VALUES IN AUDIO! 30 day satisfaction guarantee or your money back on CONRAD- PS AUDIO AMBER ALL QUAD ELS OWNERS obtain improved accuracy, our 599 super phono cartridge. Why pay for expensive JOHNSON definition 8 extended bass with proven update. 5140/pr. new equipment when we can make your Dyna units HAFLER NAD TANDBERG No risk, 30 day trial. For information send SASE to John better than new, for much less than new prices? We DENON GNP DENNESEN Koval, Linear Acoustics Labs, 11521 Cielo PI., Santa Ana, ship worldwide and have new 120 volt and 240 volt BOSTON ROGERS REGA PLANAR CA 92705. (714) 838-6555. equipment available. Write or call us for our descrip- ACOUSTICS tive catalogue. COUNTERPOINT DYNAVECTOR ESOTECH STEREO ARC D79B, 52600. (Includes T -Adaptors and extra tubes); JENSENS SHOP ASTATIC VPI GRACE 2202 RIVER HILLS DRIVE Sumo Gold, S1500.; ARC SP6 C-1, $1500. (Includes T - FREE SHIPPING ANYWHERE IN USA. BURNSVILLE, MINN. 55337, (612) 890-3517 COMPLETE Adaptors and extra tubes). All in excellent condition. (216) EXPORT FACILITIES. REFERENCE AUDIO SYS- 491-8877. TEMS, 18214 Dalton Avenue, Gardena, CA 90248. (213) 321-8445.

ACOUSTAT 2+2's ON DISPLAY AT CSA AUDIO! WHEW! HERE'S WHAT HAPPENS WHEN ACOUSTAT 4, MINT, 51500. (813) 526-3678. YOU GIVE THE WORLDS FIN ESTAUDIO

ACOUSTAT MODEL 2A SPEAKERS, MINT $850., Audio ENGINEERS CARTE BLANCHE. ° Research D-79, $1700., SP -8-2 $1250., SP -6B improved Provide a team of inspired audio eñgineers with virtually unlimited $1000, Klyne MC Head Amp improved $400. Tom, 216- 524-1185. resources and, in return,they will prcvide you with uncompromised audio equipment. ACOUSTAT MODEL 3A's, mint w casters, $1275. Louis, With a line of components'that captures the entire width, depth and eves 201-671-5584, NJ. height of the stereo stage image. ACOUSTAT SPEAKERS-SUPERB! With the first cartridge to feature a stylus and,cantileve_cantilever sculpted by In stock. Free Shipping, READ BROS STEREO, 593 King a - laser from single diamond. Street, SC 29403, (803) 723-7276. With copper wiring whose oxygen content has been reduced to'an astonishing one -thousandth of one percent SPCECUSGEHB S505 Mini Monitor In other words, they will provide you with Esprit. For more information write Sony Esprit, 2300 Peachford Rd_ ., NE, Suite 1150;.Atlanta, Georgia 30338.

's' d'. r. ta4 aw 1 0' ® .;,It. s~r Accurate, Smooth and Musical a' MaOr SPECIFICATIONS rNt

FREQUENCY RESPONSE: 60Hz - 20KHz ± 3dB POWER: Min. 15 watts, Max. 200 watts contin. M. SIZE: 10" x 63/4" x 61/2" PRICE: 5250.00/pair ALTERS' tN AUDIO PARIS Aí910 PO;OFISSP)NAL PRODUCTS RECORDER CENTER 17th 12401 ir 3213 Street Wilshire Blvd. AUDIO CErTFR 2003 North Henderson Metairie, LA 70002 Los Angeles. CA 90025 4964 Fairmont avenue Dallas, TX 75206 FOR LITERATURE, REVIEWS AND DEALER (504) 834.7772 (213)820-2578 Bethesda, MD 20014 (214)826-8700 INFORMATION, PLEASE CONTACT: (301)657-2141 D S AUDIO PARK AVENUE AUDIO THREE PHASE AUDIO ORPHEUS . 545 Penn Avenue 425 Park Avenue Soulh 104 Foreman Drive 87 South Sixth Street West Reading. PA 19611 New York, NY 10016 Lafayette, !.A 70503 Locust Valley, N.Y. 11560 (215) 376-4917 (212)685-8101 (318)981-4951 C 1982 Sony Corp of Amenes. Sony Orne. fart. Ridge. New jersey 07156. Sony i. a registered trademark of the Sony Corp.

AUDIO/SEPTEMBER 1982 69 FOR SALE FOR SALE

A.R.C. EQUIP FOR SALE

D-90 (new) $1385.; D 52(B) $695.; D -110(B) 51590.; D- ATTENTION NY -NJ! ! ! 350 $1475.; 0-350(8) $1895. ACOUSTAT DCM MUSIC OTHER EQUIP ACOUSTICELECTRONICS OENON REFERENCE LOWER McIntosh L-22, L-14 walnut cases $30.; Sfax SR -44 head- AUDIORESEARCH FUTTERMAN HAD phones w/amp $80.; Levinson ML -1, oak case (new) 550.; BAO HAFLER ORACLE LOUDSPEAKER Precision Fidelity M-7 amp (new) $595.; C-4 preamp $450. BOSTONACOUSTICS WINMC-10 PETERSON CALL 317-283-1361, 8-4 M -F, DAVE. B8w rcENWOOD AUOIOPURIST RGR .CARVER UNNPRODUCTS StiELL DISTORTION ARE YOU INTERESTED IN QUALITY PREOWNED C J W'ALxER MONSTER SUMO moreoniy AUDIO EQUIPMENT? PLAY IT AGAIN SAM is north- DAHLOUISTanA al eastern Ohio's largest dealer In quality, preowned audio equipment. We buy sell, trade and consign NA- AUDIO TIONWIDE. Call or write for details -Open every Y/ll The Audio Professionals since 1972 Only knowledge day Visa & Master Card accepted -List available. and experience equal superior sound and service PLAY IT AGAIN SAM Discover high performance with 12611 MADISON AVENUE Stereo complete customer satisfaction For information LAKEWOOD, OHIO 44107 orders and (serious inquiries by prone only) 201-744-0600 AS CONFUCIOUS SAY: "MAN WHO BUYS VIBE VISA Master Charge Accepted ACOUSTICS NEBULA SUBWOOFER BUT LOSES WIFE CSA AUDIO AND CHILDREN IN PROCESS, STILL AHEAD OF 193 Bellevue Avenue GAME." THE NEBULA SUBWOOFER. ONLY $450 DI- Upper Montclair. NJ 07043 RECT (NO DEALER MARKUP!) FOR INFORMATION OR Sound system consultations to home music lovers. APPOINTMENT, WRITE VIBE ACOUSTICS, 107 MAN- professional theatrical arts and the audio industry.. CHESTER DRIVE, STATEN ISLAND, NY 10312 ATTENTION OWNER'S OF RACK MOUNT A SUBWOOFER CAN EXTEND THE BASS RESPONSE COMPONENTS AND LOWER THE DISTORTION OF YOUR STEREO At last hardwood cabinetry Is available for all your rack SYSTEM. Our unique Dual Driver Complimentary Symme- mount components. Cabinets are designed to fit individual try Subwoofer System lowers distortion and improves tran- pieces of rack mount components and are available in your sient response for tight, solid, and accurate bass. Our Bass choice of walnut, oak, teak, and rosewood. Send for free Amplifier is designed specifically for driving subwoofers. It details. Wood Tailoring, BOX 11314. Portland, Ore 97211. has a 25 Amp output current capability for the high current headroom that subwoofers need. Our Subwoollers and ATTENTION TUBES WANTED: MCINTOSH,MARANTZ, Bass Amplifiers are kits and provide high performance at ARC,WESTERN ELECTRIC ETC. 713-728-4343 MAURY modest cost. The kits are simple to assemble. No soldering CORB,11122 ATWELL, HOUSTON,TEXAS 77096 is needed. All of the electronics are fully assembled and tested using high quality components. Call or write today for complete information. SONTEK, 332 E. Hope St., ATTRACTIVE PRICES: LINN ITTOCK, ASAK, DYNA- Mesa. AZ 85201, (602) 969-1419. VECTOR DENON, GRACE, FULTON, KOETSU, LUS- TRE, BRB SYSTEMS, QUAD 63. ALSO SOTA SAP- PHIRE & TUBE CLASSICS. C.O.D. SHIPPING. S.A.S.E. AT LAST, YOU CAN BUILD YOUR OWN HIGH DEFINI- QUOTES. 713 728-4343 MAURY CORB 11122 ATWELL TION TUBE PREAMP!! S N rivals that of the quietest HOUSTON,TX. 77096 solid-state preamps. Super wideband buffer circuit inter- faces with all amps. Schematics and instructions only $10.00. Send' to: Classic Audio. 85-10 120th SL, Kew AUDIO BARGAIN SAE2200 100 -WATT AMP, $200. Gardens, New York 11415. SAE2100L Preamp, 5400. SAE2401 250 -watt Amp, $525. All MinVoriginal cartons. Call 212-924-7843 evenings. ATTENTION: AUDIOPHILES IN SOUTH TEXAS, MEXICO. Concert Sound specializes in quality hi-II AUDIO CONCEPTS FEATURES STRATHEARN. A push- gear previously unavailable in this area: Acoustat, Am- pull ribbon loudspeaker unit capable of generating a de- ber, Berning, Citation, Goldring, Harman/Kardon, Mis- tailed, accurate, coherent, dipolar line source from 175hz to 20Khz. The VMPS Tower Il is a six -way, high efficiency, sion Electronics, Ohm Walsh 2, PS Audio, Polk Audio. Add woofers and crossover. (we'll help), and enjoy true state-of-the-art musical In your extremely linear home reproducer with many of Rega, SOTA, Thorens, Vandersteen-plus variety of performance home. Catalogue $1.00 Includes Dynaudio, Daleslord, the features and most of the performance of our specialty cables, accessories, etc. Pro service on all lines we carry. Concert Sound 6104 Broadway Peerless, electronic crossovers by Shadow, audio capaci- highly acclaimed Tower Ila/R San Super system. Antonio, Tx. 78209/(512) 822-1224. tors, cabinets and much more. Fast, helpful service at The Tower II generates no more than 0.7°10 THD lowest prices. MCNisa. (608) 788-0366. 1919 S. 19th St. LaCrosse, Wi. 54601 from 22Hz to 30kHz with 1W input. Sensitivity is ATTENTION SOUTHERN AUDIOPHILES: Nakamlchi, 99dB/1W/1m, and maximum undistorted output Bang & Olulsen, Polk Audio, Dahlquist, Carver, V.P.I., capacity an enormous 126dB/1m. High perfor- Ortolon, Jensen, Fultron, Visonik, Kloss, Sanyo. Mail or- ***AUDIO EMPORIUM, MILWAUKEE -a progressive mance and great operational flexibility are afforded ders welcome. Free shipping. Sound Advice, Village Plaza, alternative. Free catalog. 6914 W. Brown Deer Rd., Mil- Ruston, LA 71270.318-255-8000. by three level controls with 50d8 of adjustment waukee, Wi. 53223. 414-354-5082. range, single -amp or switchable biamp operation with no external crossover required, a minimum o' phase, completely nonresonant driver/enclosure 4i1 Oo\ P GaJat- 1eo`e E\a V se design with separate 12" subwoofer (slot -loaded), TS #14.<0 polypropylene 12" lowbass and midbass drivers, GoP0a$FOJ+ye\. O\5.4Ooao. polypropylene cone midrange, dome tweeter and V r- Podoearol`leo \acPs00oe"al., c your choice of flat -screen piezo or optional ribbon DIN do ObC..e. ate,'. (-3d8 at 50kHz) supertweeters. PS PQ, a oA Hear the Tower II and the other floor -standing 10Qs.oa pGJd.\oe 0 `aaa.\,aGr.P VMPS systems, including the Mini Tower II 5 P ce S kit, 0e O, G\1e,e.'1"1a VP ,\C" ($309ea $439ea assem), Super Tower/R ocs e ,pg 5P ($649ea kit. $969ea assem), and the Super o PGyF e1Gacp. ,Q . P Tower 11 a / R ($999 -1199 ea kit, $1499 -1699 ea :).10:).10 s\,c ` assem) at the dealers listed below, or write us for full information and copies of test reports from `dáewPG Pc°J e S° Q Bert Whyte, B. V. Pisha. Hifi News & Record 50 "P Review, and Hifi Buyers Guide. S GP °°` Q PO` 61. *Vao r 5 VMPS AUDIO PRODUCTS a division of (tone Audio 1016 Contra Costa Drive, El Cerrito. CA 94530 PAP (415) 526-7084 \G 0 \ 1Q ``h* Hear VMPS at: The Listening Studio, Boston; Mike Hilliard SP PPG o>" Audio, Shreveport. LA; Star Audio, Oklahoma City; Odin Sound. Longmont, CO; Bedini Electronics. Sylmar, CA; A- 177 Sound Beach Avenue, Old Greenwich, CT 06830 Vidd Electronics. Long Beach. CA: Sounds Unique. San Major credit cards honored. Open 10 AM -6 PM Mon -Sat. Jose. CA: The Listening Post. San Francisco: The Long Ear. Big Bear Lake CA; (tone Audio, El Cerrito, CA. 70 FOR SALE FOR SALE

AUDIO CONNECTION A UNIQUE HIGH END IN NORTHERN NEW JERSEY Audio Pro Helius PS Audio EQUIPMENT SOURCE We will help you purchase quality equipment in all Benchmark J.A. Michell OLN price ranges to build a system that is musical and cost Belles Research Leedh Cables Rogers effective. Our emphasis is on personal service. Almost Clarke Systems Leach LSR&D Sota quality product accessory is available at con- Denon LeonardiLurne Spica any or savings to you. Call us before you buy. Electrocompaniet Magnum 95 FM Thiel siderable Audio, Bold Bidder Dr.. Lexington. Fuselier Nagatron Vandersteen Bluegrass 3640-41 KY 40502. Phone 606-273-8877 Grace Grado Promethean VPI R. Cleang For information, please send SASE to BARGAIN HUNTERS BEWARE. Anyone trying to repre- .d 615 Bloomfield Ave.. Verona, NJ 07044 sent a GRACE F -10L as being identical to an F -11L is 201.239-1799 Ikl either misinformed or lying. It took us two years of R & D to from the F -10L. the whole story develop the F-11 L old Get 1 AUDIO HOUSE-FLINNT MICHIGAN before investing your bucks. Joe Abrams, Sumiko Inc. 415- '--- 1 ACOUSTAT CONRAD-JOHNSON LEACH 843-4500. ROGERS REVOX SOTA MORDAUNT-SHORT AMBER BASS REPRODUCTION AT ITS BEST. The newly devel- Big 12 gauge twisted Gonza speaker wire 50c per ft. oped Or LC Bass Module is Incredibly accurate, cosmetical- Sample $1.00. 4304 Brayan Swartz Creek, Mich. 48473, ly beautiful and reasonably priced. Call or write for more 313-655-8639 by appointment. information on this outstanding product. O/LC Audio. 1006 Berkshire Road, Dayton, Ohio 45419 or (513) 293.7287. AUDIO INSIGHT on the PREMIER LMX: No lengthy Dealer inquines welcome. - description could tell you what PREMIER'S new LMX moving coil sounds like. But we will say It sounds BEAUTIFUL PINE SPEAKER STANDS. Lift speakers more like music than any other cartridge in the $200 6', tilts speakers back 7 degrees. Money back it not price class. Let your ears give you the insight. AUDIO satisfied. $14.95 + 1.00 P&H by cheque or money INSIGHT, The Promenade at Bay, 6286 N. Federal order to: Glen Henderson, R.R. 1. Port McNicoll, On- Way, Fort Lauderdale. FL 33308. tario, LOK 1RO. BENCHMARK -4 you are into "time delay", this one is it! Powerful Audio (201) AUDIOPHILE CASSETTE INSERT CARDS Set up & stocked at Connection 239-1799 Improved design! Don't reuse those old cards, replace

them. 1 pack of 10 cards $2 (Ca. residents add 692% BEST TRADES OFFERED. We carry ACOUSTAT, sales tax). Or send a SASE for a free sample to: BERNING, COUNTERPOINT, FUTTERMAN, P.S., THIEL, RECORDING INDEX SYSTEMS REGA, SOTA, VPI. AMBER, DYNAVECTOR. etc. Audio Performer P.O. BOX 1624, LAFAYETTE, CA. 94549 Doctor, 5731 North Pine St., Davenport, Iowa 52806. 319- 386-8794. POWERLINE by MONSTER CABLE BILL REED BILL REED BILL REED allows your sound system to audio renaissance, inc. SPEAKER KITS recreate your favorite perform- audio research * music reference * linn products {r Stereo House, 86 Joya Loop, Los Alamos NM 87544 ance with an accuracy not possible mordaunt-short * dynavector meridian * revox (505) 672-9263 kef with ordinary speaker wire. canton * grace O ps audio O spectrum -r rega & more BLACK ACOUSTICS "THE NIGHT" SUPERB AT CSA Powerline's unique four conductor we stock one of the largest AUDIO! configuration allows the magnetic collections of audiophile albums in mid-america fields traveling in opposite directions try our modifications for improved high end CALL 141 Ft BUYS (ATLANTA) for Acutex, Adcom. Aiwa, bryston mod -amplifiers * it * dahlgwst dg10 mod Apt, AR, BBO, Carver, DCM, Dynavector, Haller, Harman to cancel themselves, dramatically come in to audition audio research's new high gain Kardon, JVC. Linn, Mirage SM-1, Mission, Mitsubishi, reducing dynamic distortion. preamp. the sp10 is now available!!! NAD, Nakamichi. Onkyo, Oracle, RGR, Scny, Thorens, The result? 4122 broadway. kansas city, mo 64111 3-D Acoustics, Vandersteen, and more. Free shipping, fully (816) 531-3261 insured, in the Continental U.S. Just call 404.261-4434 for Smooth, easy to listen to highs, more information. tight, well articulated bass, precise AUDIO RESEARCH D-160 NEW AT CSA AUDIO! imaging, with all the dynamic impact CARTRIDGES 40% to 50% off retail: Grace F9E's, Accu- of the original musical event. Re- CROWN VFX2 variable frequency electronic filter cross- phase AC -2, etc. No price list. Audioworkshop. 3303 East over. $140. 413-534-7094. Denny Way. Seattle, WA 98122, 206-323-4987 after 5 pm. vitalize your system simply by from your AUDIO SHOP-A SPECIALTY STORE WITH a few select changing current speaker lines for your musical pleasure: GRACE, FR, C.J. WALK- CELESTION SL-6 SPEAKERS, as new $575. pr., $800. wire to Powerline. The price of ad- list, Lours, 201-671-5584, eves. NJ ER. SOTA, Michell, Coloney, Rega: Audire. PSE, Conrad - mission? Much less than you would Johnson: Vandersteen. Sound Labs, Daybreak. Inquires Welcomed. The Audio Shop, 1124 East Elizabeth Street, C.J. WALKER TURNTABLE "MIRACLE" AT CSA pay for similar improvements in a Fort Collins, CO 80524. (303) 221-1496. AUDIO! pre amp, better speakers, or even a better cartridge. And it's easy to install! Your Monster Cable dealer is pre- ACOUSTIC ELECT. HILL PLASMATRONICS PSE APRES AUDIO JANIS POLK AUDIO pared to custom cut your Powerline AUDIO PULSE KEITH MONKS PRECISION FIDELITY. to your exact requirements and ter- AUDIO STATIC ESL KOETSU PROMETHEAN B&W LAST PYRAMID ' 1 minate the ends with any of Monster THE DAVID BERNING CO. LINN SONDEK, SNELL ACOUSTICS ' Ii ! Cable's famous gold connectors. CRAMOLIN LIVE WIRE SPATIAL DAHLOUIST LUSTRE SPICA Rated no.1 by critics and profes- DENON MARCOF STAX DYNAVECTOR MONSTER CABLE SUMO ELECTRIC sionals, Powerline establishes a ELECTRO RESEARCH MUSIC REFERENCE SUPEX new standard of performance and FULTON NAD TANDBERG NAKAMICHI THETA ELECTRONICS GOLDMUND I,l value in state of the art speaker ca- GRACE NITTY GRITTY VPI GRADO PLATTER MATTER YAMAHA bles. All at a price you can afford. HAFLER The next powerful performance begins at your place, with Powerline. the listening room Won't you join us? 590 Central Park Avenue. Scarsdale. N Y 10583

Mon Thurs . 10-9 P M Tues . Wed . Fri . 10-7 P M i Sat . 10-6 P M Ample Free Parking Credit Cards Accepted We Ship FREE Anywhere in the Continental U.S.A. w -mo' ILff$l 914-472-4558 -- Monster Cable Co. 101 Townsend St. San Francisco, CA 94107 (415) 777-1355 AUDIO/SEPTEMBER 1982 71 FOR SALE FOR SALE FOR SALE

BRB SYSTEMS Model 1B Moving Coil Amplifier-Finally, a truly state-of- AUDIO's COMPRESSORS-UTILIZING SSM2020 V.C.A.S db modest opinion on THE ARM: Using all the-art moving coil amplifier at a reasonable A the latest price. Class Fully assembled P.C.B.s. Features; 20-20,000 geometric tools, test equipment, and the design, Class A sound. Ultra quiet. Battery life of 2500 finest ears, we find no 0.5db. 0.5% THD. - 90db noise. Adjustable threshold, can fault with THE ARM. Come hours. 200kHz bandwidth. Adjustable gain and load imped- listen to David W. Fletcher's THE ARM attack, release. Jumper selects 2:1 or 20:1 ratio, both at db AUDIO, ance. Steel enclosure for magnetic as well as electrostatic soft knee. Balanced or unbalanced input. Overload 2578 Shattuck Ave., Berkeley, CA 94704. shielding. Auto-biasing; no trimpots to adjust. Retail price Indicator. Model CX-5 is a strapped stereo version. 5139.95. Model CX-7 is a single channel version with "output" DB SYSTEMS ALLOWS INCREASED SYSTEM FLEXI- Model 10 Preamplifier-A full function preamplier based and "gain reduction" meter outputs. (V.U. meter not BILITY. The DBP-2J Switch Box selects between up to on the use of custom linear modules for the amplification of included). Either unit $79.95 plus 53.00 shipping. 90 lour phone Inputs. Can be used for comparing four turnta- moving coil, moving magnet, and high level signals. All day warranty. Requires a 12 to 15v. STELLATRON, bles, monitoring four tape recorders, or loading cartridges Class A circuitry using dual differential stages for maxi- 4942 Whitsett-205. N. Hollywood, CA 91607 (213) with the DBP-6 or DBP-6MC. Front panel switch is silver mum power rejection. Fully regulated power supply supply. 506-0415 plated brass with excellent wiping action (same as in DB- transformer. -complementary Semitoroidal Quasi outputs 1A) and jacks are nickel plated brass (gold optional). Send for exceptional current drive capability under the most for applications article. DBP-2J ... 543.95, DBP-2JAU .. . demanding conditions of load and drive. Ultra high speed. COTTER CM -2 PRE -AMP, power supply, phono modula. $52.95. Available at stereo shops or directly (add 52.50 low noise circuitry. 5529.95. New. $1950. Threshold Stasis 3, 6 mos. old. $1450. Levin- handling) from DB SYSTEMS, Main St., Rindge Ctr, NH Model 120 and Model 200 Reference Amplifiers-Final- son ML -1, Lemos, $1250. Quad 63s, in sealed cartons, 03461 ly, A performance has Class been achieved without com- $2800. (215) 631.9642. KEEP TRYING. promising efficiency, reliability, and high power output. The DEMOS, CLOSEOUTS. Audio Research SPEC BRB Reference Amplifiers operate Class A up to rated $1295; D60 5795: D120B $1295. Carver C4000 C500 output and have low TIM, low static distortion, high slew CROWN BADAP-1 PROGRAMMABLE ACOUSTIC ANA- 5500, $600, 5395, also M400, M500, C-1. KEF 105.4 $1095. Mission rate, and are unconditionally stable when driving the most LYZER, third octave RTA. Rt 60, digital frequency source, arm -cartridge $400. Rogers LS3r5A $380, Studio One difficult speaker loads. They run cool to the touch. These shock mounted flight case. $4000.00. Dan Grogan 619 $695, Used Spendor BC -1 Audio 118 N. Wal- are the only amplifiers that eliminate Transient Thermal Harter Dallas 75218 214-328-8914 - $495. Ltd., nut, Champaign, Illinois 61820. 217-359-3774. Debiasing Distortion (TTDD), a major cause of transient crossover distortion in ANY design that is not PURE Class CROWN DISTINCTION SERIES SA -2, $1100. Nakamichi A. 5599.95.and $899.95. High-com $230. Both mint. (702) 451-0598, eves., Ed. DESIGNATRON invites you to audition the remark- To find out more about the full line of products from BRB able new PREMIER LMX moving coil phono cartridge. Dynamic, accurate, transparent, Systems, send for full product information and the name of CROWN NEW AND DEMO SALE detailed, and afford- the nearest able. Now playing at DESIGNATRON'S, 260 Old dealer you. Dealer inquiries welcome. BRB SA 2 amplifiers $1175., DL 2 preamplifier 51775., EO 2 Country Rd., Hicksville, NY 11801, DESIGNA- Systems, P.O. Box 2235, Sunnyvale, California 94087. equalizer S795., D300A-2 amplifier $695., PL1 amplifier TRON'S, North Country Rd., Setauket, NY 11733. (408-730-1363). $325, SL1 preamplifier $395., D 75 amplifier $295. New factory warrantee, limited quantities. 207-623-2424. DIAMOND NEEDLES and STEREO CARTRIDGES at CALL TOLL FREE 1-800-826-0520 FOR ACOUSTAT, DISCOUNT PRICES for SHURE, PICKERING.STANTON, CARVER, NAD, POLK, 3D, ONKYO, AUDIOCONTROL, AUDIO RESEARCH MCP -2 STEP-UP AT CSA AUDIO! EMPIRE. GRADO, AUDIO TECHNICA, ORTOFON. ACU- BBW, AMBER, BEDINI, MICRO-SEIKI. DAHLOUIST, TEX and ADC, SASE free catalog. LYLE CARTRIDGES, DENON, HAFLER, dbx, TANDBERG, VANDERSTEEN, Dept. S., Box 69, Brooklyn, NY 11218. For fast COD DCM, GRACE, DYNAVECTOR, AND MORE! THE DCM TIME WINDOWS, 5550,pr. Mint. 703-591-8823. service Toll Free 800-221-0906. N.Y. State (212) 871- SOUND SELLER, 1706 MAIN St., MARINETTE. WI 3303. 9AM - 8PM except Sunday. 54143. (715) 735-9002. DEMONSTRATOR SALE: Snell Type A speakers (walnut), 51650 pair; Snell Type 1s, $890; Rega Planar 3 with DIGITAL AUDIO CASSETTES Limited Editions of only CONRAC "FLEETWOOD" CLASSIC TELEVISION, Magnepan Unitrac 1 tonearm, 5565; Thorens TO -126 with 100 serially numbered VHS or BETA tapes per title. Free 1955, tuner in custom cabinet, $400. offer. Dynaco Mark II, Mission 774 tonearm, $810; Meridian 103D power amplifi- Information-Aesthetic Audio, Box 478-D, Carlin. Nevada Stereo -70 amplifiers, Electrovoice "Georgian" speaker, er, $580; Nakamichi High-Com II noise reduction, $345. 89822 Reasonable offers. Maxwell Strange. 11710 Wayneridge Audio Concepts 2200 Southwest Freeway. Houston, Tex- Court, Fulton, MD 20759, (301) 725-3858. as 77098.(713)'527-0774. DISTRIBUTOR PRICING! Audio Research, Robert Gro- dinsky Research, Haller, Electrovoice, B and W. Meridian. Vandersteen, OnkyO, Technics. Snell, 3D Acoustics, and more ... For information: P. K. Audio, 4773 Convention Street, Baton Rouge, LA 70806 or (504) 924-1001.

DO -10 REBORN. Modified Panasonic Leaf Tweeters. anti - Audio by Caruso diffraction felt and complete instructions. Dramatic improvement 5150. NEW YORK ACOUSTICS. 578 Nepper- han Ave., Yonkers, NY 10701, 914-476-4900. ACCUPHASE ACOUSTAT ANDANTE ARISTON AUDIO INTERFACE AUDIO PRO AUDIO PURIST AUDIRE BEARD BERNING B8 W CM LABS CONRADJOHNSON COUNTERPOINT DAYTON WRIGHT DENNESEN DYNAVECTOR ELECTRO RESEARCH ELECTRONIC PROTECTION DEVICES FINAL AUDIO RESEARCH FRIED GRACE GRUV GLIDE DYNACO 416 AMP with two C -lee's, 5900. HAPI one HAFLER HELIUS KEITH MONKS KRELL LAST LEACH LIVE WIRE LUMLEY LUSTRE MICHELL MARCOF MICRO preamp with HAPI two specs. $375. MARCOF PPA-1 pre - MUSIC REFERENCE MUSICAL CONCEPTS NAD NESTOROVIC PINK TRIANGLE POLK AUDIO PREMIER PROTON amp, 5100. All mint. Dr. Turner, 714-538-7620 PS AUDIO NOR SHAHINIAN SOLAR TRADING SONEX SOTA SOTA SAPPHIRE SPICA STAX STRAIGHT WIRE SUMIKO (The Arm) SUMO SUPEX SYRINX TANDBERG THIEL THRESHOLD VPI WIN LABS DYNACO OWNERS: 60,000 LBS PARTS FINISHED 13831 South Dixie Highway, Miami, Florida 33176 (305) 253-4433 GOODS! Complete inventory list: 51.00. Amplifier, Call or write for Ilisretu eon specific Items. tuner, preamp, equalizer "Parts Packs" ... PLUS rackmounts. meters. fans, cabinets, speaker drivers, manuals, etc. NEW: (tube) power output transformers, McKAY SETS THE STANDARD FOR filter caps. SCC, Box 551, Dublin, Ohio 43017; (614) COMPACT AM RECEIVING 889-2117, Noon -6. ANTENNAS ELCASETTE DECKS DA100D OUTDOOR ANTENNA USED Attention ElCasette of America and and Club ElCasette Lovers! DA9-DL4 LOOP ANTENNA Hifi from Bob Heenan. ElCasettes are still alive, and we have them-All brand For specs & details contact these dealers new with a Sony full -warranty. Sony ElCasette Model EI-4, HARVEY RADIO & BARRY ELECTRONICS We. York C,ly $99.95. Sony has all the tapes you need-see Audio Mag- HENRY RADIO Los Angeles CA GILFER ASSOCIATES Perk Ridge NJ NAD 3020 $149. azine, December, 1981-Page 20. Shipped free In Conti- EDMOND SCIENTIFIC CO. Barrington NJ HAFLER ELECTRONIC EQUIPMENT BANK V,enna VA (DC Areal DH101 $129. nental USA-Add 5% New Jersey sales tax, where appli- PROMAR Tampa Fl REVOX A77 from $459. cable. Visa. Master Charge and money orders accepted. FRANK L. BEIER RADIO INC. Jefferson LA THE BASE STATION C. 'word CA DYNA POWER AMPS from $99. SPECIFICATIONS: Tape Type: ELCASET 4 tracks, 2 - JMAR ELECTRONICS Toronto Canada channel; Tape Speed: 33/4 ips; Heads: 2; Motor: 1; Servo INTERNATIONAL RADIO WORLD INC Vancouver QUAD ESL rebuilt from $799. Canada System: frequency; Drive System: single -capstan with THRESHOLD SL -10 S499. 800/854-7769 Local 714'621-6711 scrape filter; Fast Winding Time: (LC -60) 100 sec; Wow & MARANTZ except Telex 910-581-4990 NINES $1200. Flutter: (weighted RMS) 0 06%; Frequency Response: CaiH.. Alaska, Hawaii a Thousands of high end and tube products In (FeCr) 25Hz-20kHz a 3dB, (Fe) 25Hz-18kHz 3dB; Input G. E. McKAY 8 CO. stock and on display, from basic to Sensitivity & Impedance: microphone (phone jacks)- 111 S. College Ave 0.3mV low, Line (phono jacks) -0 095V 100k ohms; Line PO Box 5000 esoteric°. At incredible prices( Output Level & Impedance: (phono jacks)' --0775V max., SINCE 1932 Claremont. CA 91711 BUY SELL TRADE 10k ohms; Headphone Output Impedance 8-32 ohms; Bias Frequency: 160kHz GENERAL SPECIFICATIONS: Power BROKER CONSIGN Requirements: AC 120V. 60Hz, 30W; AC Convenience Outlets: 1 unswitched; Dimensions: 634"H x 17W x 12%"D. I 171i 95 Vassar St. Cambridge, MA 02139 THE SHOW SPOT INC. 617-547-2727 572 Main Street Fort Lee, NJ 07024 4-- We Ship Anywhere. Telephone: 201-947-2360 Allow 4-6 Weeks for Delivery

72 FOR SALE FOR SALE FOR SALE

ELECTROCOMPANIET-Audio Connection, (201) 239- HAFLER-NEW PRODUCTS 1799 GAS We are stocking the following: DH101K $199.95, DH101A $299.95, DH102 $55.00, DH103 $19.95, DH104 524.95, ELECTRONIC X-OVERS: 6, 12, or 18d&octave. Kits from FACTORY SEALED-LIMITED QUANTITIES DH105 534.95. DH106 519.95, DH110K 5299.95. DH110A 597.00. Also transient -perfect crossover model 6000-6, $399.95. DH112 574.95, Equalizers: DH160K $299.95. 5175.00. Free folder with reviews. ACE AUDIO CO. 532- DH160A $399.95: DH2O0K 5329.95, DH2O0KE $339.95, 5th Street, E. Northport NY 11731-2399. (516) 757-8990. THALIA II PREAMP $225 DH200A $429.95, DH200AE $439.95. DH2O1 $24.95, DH202 $24.95, DH203 (200,500 mod kit) $11.95 for 1, $9.95 each for 2 or more; DH500K 5599.95, DH500KE FIELD EQUIPMENT: UHER and Sony Portable Record- $619.95, DH500A 5749.95, DH500AE $769.95. By appt. ers. Sony and AKG Professional Line Microphones. Senn- GRANDSON 40 W/CH AMP S225 =ree shipping in US & PR. We ship WORLDWIDE. heiser Full Line Microphones. Audio-Technica Micro- GOLD PLATED CABLES (SFr PAIR) 510 Visa & MC. OXFORD AUDIO CONSLTS., INC., Box 145, Oxford, phones (In Quantity). Send SSAE (Specify models and OH 45056, 513-523-3333, ITT tlx: 427791 quantity). J.A. Carpenter (sound), P.O. Box 1321, Mead- ville, Pa. 16335-0821. SLEEPING BEAUTY CARTRIDGES 5150 SUPER ELLIPTICAL CARTRIDGE $100 HAFLER SUPERMOD PREAMP BY SPHERICAL CARTRIDGE 575 MUSICAL CONCEPTS FINEST AUDIO COMPONENTS.PHONE OR MAIL OR- ALSO AUDIO METRIC HEAD AMP $80 Audlogram says "The sound of the Super Mod tran- DER. LOW -LOW PRICES, PREPAID SHIPPING. EXAM- SHIPPED FREE IN CONTINENTAL U.S. scends it:: or gin, its parts. and its piddling cost, fulfilling our PLES: KEF 103.2, S749., QUAD ESL 63, $2900., LINN VISA-MASTER CHARGE-MONEY ORDERS musical expectations ... for the here and now, this is the ISOBARAK WN. DMS 53200., ITTOK S495., ASSAK $299. one." AND MUCH MORE! ALL STOCK FRESH! RAPID SERV- THE SOUND CENTER ICE AND DELIVERY. MONEY ORDER. PERS. CHECK. 8033 The Super Mod is available as a kit for installed C.O.D., VISA, MC. SATISFACTION GUARANTEED!! SUNSET BLVD.. SUITE 194 $200. or WEST HOLLYWOOD CA 90046 for 5250. Also available are an am mod kit for the DH 200, B&K IMPORTS. 24160 TWIN VALLEY CT., FARMING - OR CALL and a more modest preamp mod kit for 5100. TON, MICH. 48024. 313-471-3076 OR 313-553-0508, 5:00 (213)650-0060 to 10:00 PM EST. Musical Concepts c 1060 Fifth Plaze FM/SCA ADAPTER GIVES PLEASING TONE ON MU- GRACE F9E 5116.00, RS9 Ruby Stylus $116.00,Immedi- Florissant, MO 63031 SIC, TALK BROADCASTS. Plays on 3.5 to 16v DC found ate Delivery. AOT, Box 12315, Jacksonville, FL. 32209 (314)831-1822 Dealer Inquiries welcome. In almost all radios, receivers. Tune in hidden subcarrier programs. $10 kit; $17 assembled FM Atlas, Adolph MN HAFLER IN THE SOUTH! 55701. JANIS WOOFERS In stock, the superb Hailer DH -101 preamp and DH200 are the best universal subwoofers available. Hear them amp. kits & factory assembled. Also new models. Immedi- together with the Interphase crossover amp at OXFORD F. M. STEREO MULTIPLEX TRANSMITTER P.C.B. ate free shipping. Also Fried (Speakers, Kits). Carver, Van- AUDIO CONSLTS., INC., Box 145, Oxford, OH 45056, 1,5 KIT, range up to mile. Frequency response 20- dersteen, NAD, Mirage, Audire, PS, Klipsch, more. READ 513-523-3333, telex: 427791. cable: OXAUDCON. Free 15.000 hz 1db. THD 0.5%. Crystal controlled 19 & BROS STEREO. 593 King Street. Charleston. S.C. 29403 shipping in U.S. We ship WORLDWIDE. 38 khz subcarriers. 16 -turn trimpot finely tunes ultra (803) 723-7276. stable oscillator anywhere within 88-108 mhz. Accepts any line level audio source. Operates from : 12V. Kit KEF, POLYDAX, DALESFORD-546.80rPAIR for U.S. 4.5 includes all parts and 18 -page assembly and technical INFINITY SPEAKERS 52.000 or best offer; perfect manufactured equivalent 8 inch (11 VC -20 oz.) with SOTA manual. Model FX-2, $89.95 + 3.00 shipping. Model condition, Luxman T-110 tuner, 516-931.7039. copolymer cone an rubber surround. Immediate delivery. FX-2A. 95% assembled -tested version (requires Only Distributors/OEM's pricing available, inquiries invited. r.f. osc assembly), 5109.95 + 3.00. STELLATRON, "I'VE GOT THE MUSIC IN ME", Sheffield Lab 2. Best SEYMOUR SOUND SYSTEMS, 705 N. Bowser, Suite 103 4942 Whitsett-205, N. Hollywood, CA 91607 Offer. (612) 835-3690 Richardson, Texas 75081 (214) 644-7206

FREE SPEAKER CATALOG! Woofers. mids, tweeters, hardware, crossovers, grille cloth, plans, kits, information, much more. Discount THIS IS A SPEAKER AD. Prices! UNIVERSAL SOUND, Dept. AO, 2253 Rin- glIng Blvd., Sarasota, Ha. 33577 (813) 953-5363. We all know what speakers are. Mostly round FREE SPEAKERKIT CATALOG -16 proven designs, using JBL + EV. Also available: 200 drivers' specifications, things of paper or plastic driven by coils of wire, or Thiele data. $3. GOLD SOUND, Box 141A, Englewood, ultra -thin plastic sheets propelled by electrostatic Co. 80151. (303) 789-5310 or electromagnetic forces. Unfortunately, the FRIED SPEAKERS & KITS laws of physics dictate that it is impossible for State-of-the-art sound. Try our prices! Fast, free shipping. READ BROS. STEREO, 593 King St., Charleston, S.C. any speaker, no matter how constructed, to 29403. (803) 723-7276. Also Hailer, PS Audio, NAD, Cam' recreate the sound of real musical instruments er, more. without adding a substantial noise of its own FULTON FMI -100's with FMI -6 electrostatic tweeters, very (Spurious Simple Source Emissions or 3SE for natural sound, $575 pair, bargain, (305) 723-2047. short). If you are interested in further details FUSELIER 3'S & BELLES SEPARATES-a stunning mu- about it, send for a short dissertation. sical experience. Audio Connection, 201-239-1799 211,1-11 At BSC we deal in the exact reproduction of the FUSELIER, ELECTROCOMPANIET, DAVID BERNING, sounds of music. Rather than attempt to rewrite SOTA SAPPHIRE, PS AUDIO, BELLES, PYRAMID. AU- the laws of physics we have DIOSTATIC, NITTY GRITTY, VPI, SPICA, CJ WALKER. designed an analog The Mountain Ear. Box 774, Aspen, CO 81612. (303) 963- microprocessor to match each speaker with its 3269. surrounding acoustic environment. The net result' GENE RUBIN AUDIO-LOS ANGELES is music in all its clean -etched clarity without the PS AUDIO LINN SONDEK ACOUSTAT "" NAD REGA PLANAR THIEL annoyance of a background hoot added by the HAFLER PYRAMID LS3I5A speakers themselves. If you are interested in PREMIER GRACE SPENDOR OED DYNAVECTOR CHARTWELL hearing this sound as well as reading about it. ask Pre -paid shipping (213) 571-1299 (Pacific time) us for the address of your nearest dealer.

GRACE-NEW RUBY CANTILEVER & LUSTRE We offer the Grace 747, 707MK2 (Linn Mods for each), TM 704, F11 L, F9E, RS9 (ruby replacement for F9E) & Lustre GTS801. By appt. Free shipping in US & PR. Visa & MC. OXFORD AUDIO CONSLTS., INC., Box 145. Oxford. OH compusound° 45056, 513-523-3333, ITT tlx: 427791 bsc SPEAKER SYSTEMS

HAFLER DH -110K, DH -200K, UNBUILT $525.00 JBL L- 6Elf1ETT IOUf1D CORPORRTIOf POST BOX 565 112 $750.00 PR, NEW SAE 3000 PRE. 2200 AMP, OFFICE 5550.00 BOTH BIAMP SYSTEMS TC-120 AMP $350.00 RESEDA, CALIFORNIA 91335 TELEPHONE (213) 345-1608 ALLISON FOURS $415.00 PR, NEW, 203-777-1476

AUDIO/SEPTEMBER 1982 73 FOR SALE FOR SALE FOR SALE

JBL: HARTSFIELD + WHARFEDALE "WARWICKS" LEVINSON ML -1 PREAMP w/JCI-Db boards, factory re- 408-379-7965, Box 1211, Campbell CA 95009 worked $2,000.; WSW DM 2/II speakers -white, 31/2 years GNP warranty, $850.; Denon amp PMA-550; Denon TU -530 JBL RARE C-50 OLYMPUS W/S8R $1,400.00, LE15-A tuner $190; Yamaha T-70 tuner, $240.; Audio Research amplifier $500; Technics Demodula- A PROGRESS REPORT 5275.00/Pr., 375 5600.00/Pr., 075 $150.00 Pr., LX 5 0-100, SH-400 CD -4 As part of program, we our continuing expansion 5100.00 Pr., N-1200, N-2400, N-7000 580.00'Pr., match tor. $85.; RH-260 Dolby, $40. Call Don (913) 236-8724. recently exhibited at the Summer CES In Chicago. We set 150-4 32 ohm 2 pair $600.00. 313-229-5191 E. S. T. our suite with Stan Klyne of Klyne Audio Arts, shared Eves. & Wknds. LINN DISC SYSTEM ALWAYS IN STOCK! GENE RUBIN and the combination of our loudspeakers and his su- AUDIO (213) 571-1299 (PAC). perb electronics made for what many experienced listeners described as (once again) one of the finest JIM FOSGATE PRESENTS THE ULTIMATE BLACK LINN ARM AT AUDIO! sounding exhibits at the show. BOX! A TRUE SECOND GENERATION TATE DE- LV-X CSA As might be expected, we received a large number CODER. THE MOST PSYCHOACOUSTIC COR- of inquiries from prospective new dealers, especially RECT WAY TO HEAR RECORDED MUSIC. THROW LINN PRODUCTS MODIFICATIONS & NAIM from the Midwest who seemed to dominate the attend- AWAY YOUR TIME DELAYS, AMBIENCE RECOV- We are pleased to offer the complete line of Linn & Naim ance at this year's show. In addition, we received a ERY AND IMAGING DEVICES, WE SOUND BET- products: LP12, Asak, Itlok, Basik, PMS, DMS, SARA & significant amount of interest in our loudspeakers from TER... 35 dB TO 50 dB SEPARATION IN ALL KAN; Nirvana & Valhalla mods for LP12: Naim electronics. both European and Asian distributors, who are known FOUR DIRECTIONS FROM YOUR "STEREO" RE- By appt. Visa & MC. OXFORD AUDIO CONSLTS., INC., for being exceptionally selective and demanding about CORDS, VIDEO LASER DISCS, FM, TAPE, OR SO Box 145, Oxford, OH 45056, 513-523-3333, ITT tix 427791 the new products they represent. We are carefully MATERIAL. IN FACT, YOU WILL HAVE TO HEAR IT TO BELIEVE IT. QUAD MAGAZINE SAID: "IT'S PER- screening the applications we received from dealers LMX-LMX at AUDIO -AUDIO. It must be the "cutter FORMANCE IS CHARACTERIZED BY SMOOTH- and distributors alike, for our growth plans call for a analogue" FGV stylus that makes the PREMIER LMX NESS OF OPERATION, INCREDIBLE DEPTH AND gradual expansion of our production capability while moving coil outperform anything in its price class. DIMENSION, AND STARTLING SEPARATION". paying strict attention to maintaining our rigid quality Resolution, tracking, and detail like you'd never expect EVOLUTION MAGAZINE SAID: "IF I WAS BLIND- control standards. We hope that by the time you read in a $200 cartridge. Hear, hear at AUDIO -AUDIO, 42 FOLDED, I WOULD NOT BELIEVE THAT I WAS this column, a local dealer may have our loudspeakers Canal St., New York, NY 10002. available for you to personally audition. ACTUALLY HEARING AN ENCODED RECORD- IT We were also pleased to meet with many more of SOUNDED MORE LIKE A DISCRETE 4 -CHANNEL MAGNUM 95 FM PREAMP/SLEUTH for impeccable FM the noted "underground" audio journalists, all of whom TAPE". TETRA MODEL 101-A INTRODUCTORY reception. Audio Connection, 201-239-1799 were so impressed by our speakers that they immedi- PRICE: 5474.95, REMOTE CONTROL $74.95: ately requested review samples. But as these review- WRITE OR CALL FOR INFORMATION. FOSGATE ers realized, our first obligation is to our customers to RESEARCH, INC., 714 CLUBHOUSE DRIVE. PRES- MARK LEVINSON ML -1, Mark Levinson ML -9, Mark Lev- satisfy their demand for our speakers. You can be COTT, ARIZONA 86301 (602) 445-6999 inson LNC.2, Mark Levinson JC1-AC, Stax DA80M, Stax assured, however, that we will provide review samples DA -80, Stax CA -X, Dayton -Wright SPA -1, Amber Pre-Amp as soon as possible. I, Apt/Holman Power Amp, Thalia Pre -Amp, Luxman 5L15, Luxman R1050, Luxman PD1210, Luxman C1000, Yam- Clearly, these are most peculiar times in the audio Jim Gala on the PREMIER LMX: Gala Sound's goal Audio Research Symmetry ACS Mi- industry. We continually hear reports from our fellow has always been to provide the highest level of musi- aha B-6, D-100, -1A, chaelson & Austin TVA -1, B&W 802, DM16, B&W manufacturers and retailers that the uncertain state of cal reproduction while representing the very best val- B&W DM 7/MK II, B&W DM2/MKII, Acoustat Model Three, Sat- the economy has severely depresssed audio sales. ue to the consumer, That's why the new PREMIER terburg WS2 Vandersteen 28, Linn-Sondek LP12, Oracle, And yet our GNP loudspeaker business Is Increasing LMX moving coil cartridge is so exciting. The LMX Devon DP -2000, Decca Ribbon Tweeter, Yamaha PX-2. daily, Perhaps this demonstrates that a superior, qual- outperforms many cartridges costing much, much Most units are new in box with full factory warranty. Call ity product can transcend the difficult conditions of more. Ready for your audition at GALA SOUND, 650 Kent or Lloyd at 913-341-3500 during business hours or uncertain times. Monroe St., Rochester, NY 14607. For further information on the complete line of GNP 913-764-6482 nights. loudspeakers, see your local dealer or write: MARK LEVINSON ML -1 #3158 with A-3, A -4e and D-6 LEACH AMP, SUPERAMP & THE NEW PREAMP: ready GNP Loudspeakers, Inc. phono boards. Will accept virtually any output cartridge. to treat you at Audio Connection, 201-239-1799 1244 E. Colorado Blvd. Plus complete set of silver coated LEMO to RCA cables. Pasadena, CA 91106 Both an enjoyment and an investment. $1600. YAMAHA (213) 577-7767 not ashamed LEONARD TURNTABLE -a French beauty B-6 pyramid amp, $700. B8 W DM -7 speakers, teak, $680, to lift her veil - .. Audio Connection, 201-239-1799 pr. (605) 335-1859.

MCINTOSH, MARANTZ, ARC, WESTERN ELECTRIC, TUBE EQUIPMENT WANTED. MAURY 713 728-4343

McINTOSH MC -2300 $1,300.00 MC 2205 $1,200.00, MC ÁYAud 2105 $550.00, MC 2505 MC 502 5600.00, 5425.00, C-32 a new store with a fresh¡ø7©nl view .. on the audio and video horizon $1,300.00, C-28 $425.00, C-26 $250.00, C-24 $175.00, MR -80 $1,600.00, MR -78 $850.00, MX 113 $575.00, MPI- Al Audio Vlslona you will find the very latest In technology, combined with truly old-fashioned hospitality 4 $1,250.00, MI -3 5300.00, 313-229-5191 E. S. T. Eves. & Within your budget, which speaker will sound the best in YOUR listening room? Which cartridge will work best Wknds. in your turntable? AudioVisions specializes in balanced System Packages, offered in "SOUND SENSE" price ranges heard about our seminars with noted musicians and engineers? Ask for our free newsletter Have you NAKAMICHI 700, Meticulously maintained $600.; Nakami- THREE LARGE AUDIO ROOMS WE LOVE MUSIC. DO YOU? IN -HOME SPEAKER TRIALS AVAILABLE chi 682 ZX immaculate $1200.: dbx 128 $120., (413) 732- 5240, 533-9218 electronics loudspeakers tables I cartridges, tape decks ADCOM BRYSTON DENON ALLISON DAHLOUIST ADC ASTATIC DENON HAFLER MITSUBISHI DESIGN ACOUSTICS GRACE GRADO NAKAMICHI PLEXUS TOSHIBA INFINITY AUK PREMIER SUMIKO WALKER TAMANTON THIEL BRYSTON and AudloVlslons. Which amplifier will we recommend to our most discerning customers? For a store such as Audio Visions, the question takes on a lice all its own. Audio Visions recently requested, and received, various sample amplifiers (Including several that carried much higher price tags than the BRYSTON models) from leading manufacturers. 1.Q Are you smart enough to Over 100 hours was then devoted to detailed comparative auditioning. The Audio Visions staff was joined at the auditions by several customers and friends to whom invitations had been extended. All agreed that the BRYSTON preamplifier WIN A (model 18) and the three BRYSTON power amplifiers (models 2B, 3B, and 4B) achieved a purity of music that made them, DYNAVECTOR RUBY DV23R CARTRIDGE a $310 Value were forgotten (the amplifiers themselves seemed no simply, seem to disappear. Thoughts about amplifiers completely answer the follow,rig Questions Correctly longer to exist in the listening room) and, Instead, the auditioners found themselves thinking about the music. A miracle! But isn't that, ultimately, what your audio system is really all about? Perhaps you will want to read the test report on the 1B I WHO designed the PYRAMID MET 7 loudspeaker? preamp in the November. 1981 Audio, in which Len Feldman noted that "phono repioduction was as perfect as I have ever 2 WHAT es a GRADO GTE l7 4B remains a sort of reference product whenever I test or listen to power experienced" and also noted that "their amplifier 3 WHERE are HAFLER amplifiers made? amps." Mr. Feldman states that he regards the BRYSTON Company "with a great deal of respect and admiration." That's 4 WHEN is a PS Model 2 amp 160 watts? how we, the Audio Visions staff, also feel, and we are pleased, and proud, to have BRYSTON amplifiers in our store. Come and listen to a BRYSTON amplifier ... No! - .. Come and listen to YOUR FAVORITE MUSIC, at Audio Visions. 5 HOW did the KRELL brand name originate? 'In the event of several correct entries, a winner will matters. Making its debut at Audio Visions is a brand-new five way Yes, it's the music - nothing but the music - that be selected by a random drawing speaker called the HOMONYM (even its name sounds like music) that is the product of three years of Intensive research by TAMANTON SOUND WORKS. That research, plus generous amounts of love and dedication, has yielded a handsome Deadline August 31, 1982 sloped cabinet coated inside with layers of monothane, ground limestone, and rubber. Capacitors in the highly sophisticated crossover network are polypropylenes bypassed with polystyrenes. The result? Together with a BRYSTON Q Audio model 3B, the HOMONYM speakers make very beautiful music indeed. Unique in all the world. 95 Vassar St. Cambridge, MA 02139 real wood select AUDIO CABINETS large selection of AUDIOPHILE RECORDS Monday -Saturday 10-8 617-547-2727 phono needles headphones microphones by AKG Discwasher Monster cable Send 12 for our NEW, expanded catalog. Charge Cards convenient to the Southern State Pkwy. and to the L.I,R.R, FlnanceAmerica MASTERCARD & VISA WELCOME 1067 MONTAUK HIGHWAY WEST BABYLON NEW YORK 11704 (516) 661-3355

74 FOR SALE FOR SALE FOR SALE

MCINTOSH TUBE EQUIPMENT -MINT PARASOUND MAKES EQUALIZERS MC60's, C22, MR71, MR67, MC40, MC30, MR55, C8. and other exciting new products whose startling perfor- PROTECT AND ORGANIZE YOUR AUDIO, OR VID- Heath tuner AJ-15. Muirhead 13 octave audio wave analyz- mance results from Superb design and conscientious EO TAPES with a hardwood cabinet. Shape Cassette - boxes hold your tapes, with a touch its ejected into er. Thorens TD -124 never used. RCA MI9354 Class A tube craftsmanship -at surprisingly low prices. For information - is of amps. Best offers. SP3-A absolutely mint $550. 609-767- closest dealer: PARASOUND PRODUCTS 680 Beach St. your hand. The cabinet your choice oak, or 9093, Joe. SF CA 94109 415 673-4546 walnut. Smaller audio cabinets come with carrying strap and hardware for underdash mounting. Larger videc cabinet holds Beta and V.H.S. tapes. Five sizes MODIFIED PANASONIC LEAF TWEETERS. POWER TO THE PEOPLE. 55 PAGES, 15,000 + words in audio, three in video. Capacity is the number follow- The best super tweeter under $500. and sells for $120. per on laboratory quality power supply voltage regulators for ing the letter C, or V. AUDIO: C-24 regular price $49. pair. Crossovers available. NEW YORK ACOUSTICS, 578 tubed equipment. Includes schematics, PCB layouts, wir- now $35. / C-36 reg. $69. now $45. / C-48 reg. $89. Nepperhan Ave.. Yonkers, NY 10701. 914-476-4900. ing diagrams, extensive parts availability listings and all now $55. / C-60 reg. 5109. now $65. / C-72 reg. $129. necessary information for constructive B + , B , fillament - now $75. VIDEO: V-16 reg. $79. now $60./ V-20 reg. MUSIC MAT and cascaded sub regulators. Eliminate NFB in preamps. $105. now $75.1 V-24 reg. $130. now $90. Order info: Build a power amp regulator (less than .03% fluctuation A SOUND INVESTMENT at Example; To order an audio cabinet with 60 tape clipping) for $20.! PTTP $15. MEGACABLE 300MHz pre- AVAILABLE AT LEADING HI-FI DEALERS capacity made of oak, you would order: "One C-60. cision video cable for Audio Interconnects Ultra low loss, oak." Send check, or money order only. Shipping is capacitance; 99.6% shielding. Finest small transmission NAD PRODUCTS AT $4. for audio, $6. video. Illinois residents include 5% line produced. Affordable prices! Send SASE for regulator/ GENE RUBIN AUDIO (213) 571-1299 (PAC) sales tax. INTERFFACE SOUND 1433/ Forty-third cable information. prices. MIDWEST AUDIOPHILE SUP- Street Rock Island, Illinois 61201 PLY, BOX #3, EMERSON, NE 68733, (402) 695-2509. NAIM AUDIO AVAILABLE AT GENE RUBIN AUDIO (213) 571-1299. PREMIER at PINKERTON'S The new PREMIER LMX PS AUDIO IN THE PACIFIC moving coil has the coherence, dynamic contrasts, The complete line of PS Audio electronics is available at NAKAMICHI 100011 tape deck + Hi -Corn II noise reduc- and accuracy that let you listen through the equipment Hawaii's finest audio store. tion system, $1200. (717) 421-1741 to the underlying musical reality. Pretty good for a AUDIO REFERENCE SYSTEMS moderately priced cartridge, huh? Ready for your au- MANOA MARKETPLACE NAKAMICHI: New, Used. Demos, Bought. Sold, Traded. dition at PINKERTON'S AUDIO, 4132 Manzanita HONOLULU, HAWAII 96822 (808) 988-3305 AudioWorkShop, Box 18009, Seattle, WA. 98118 (206) Ave., Carmichael, CA 95608. 323-4987 PS AUDIO PS IV PREAMP WITH BUILT IN HEAD AMP. PREMIER LMX in Hawaii. Some people don't like the NITTY GRITTY AT Sounds more musical than transistors ought to. Available PREMIER LMX. They love it. PREMIER'S "cutter 409 GENE RUBIN AUDIO (213) 571-1299 (PAC) at Threshold Audio S. 22nd Street. Heath, Ohio analogue" LMX moving coil has all the advantages of 43055,614-522-3762. the "hi tech" stylus designs while treating your records "NOW APPEARING LIVE" AT gently. Unmatched performance in a moderately - PS AUDIO=SUPERB VALUE AUDIO -AUDIO priced cartridge. Listen to it at SOUND ORIGINALS, GENE RUBIN AUDIO AUDIO CONTROL ELECTRO VOICE 1502 Spreckels St., #403, Honolulu. HI 96822. (213) 571-1299. BLAUPUNKT CELESTION ORTOFON PREMIER PROMETHEAI!-new at Audio Connection, 201-239-1799 QUAD ESL -63 S2850 PR. -NEW, used 3 mos. Quad 405 THORENS LUXMAN amp, $?95., used 11 yrs. 203-846-0349. LUSTRE ALPINE PS AUDIO -FANTASTIC! GRACE BEYER In stock! Fast, free shipping. READ BROS. STEREO, 593 QUAD ESL -63 STANDS AIWA LAST King St., Charleston, S.C. 29403. (803) 723-7276. Also Handcrafted from solid teak and shaped to cradle the DNR OED FRIED KITS. contoured bottom base of the Quads. The stands DUAL SONY securely elevate the speakers by about 12' above the KOSS TEAC floor (nevertheless can be custom cut to your specific PS AUDIO IN LOS ANGELES! AMBER SUPEX height needs) with Physically and sonically, PS Audio is stunning. Monetarily, overall audible benefits: tighter NAIAD NIKKO bass extension, cleaner midrange and whole open- it represents the finest value In American audio today. For AUDIO -PRO OPTONICA ness end. Introductory literature and information, call REFERENCE AUDIO SYS- of the treble price: S340. pair. DYNAVECTOR 3D ACOUSTICS Eko, P.O. Box 656, Hampton, Va. 23669 TEMS, (213) Freight prepaid In USA. We VAMPIRE WIRE MONSTER CABLE 321-8445. ship worldwide. & OTHERS 110.220 VOLTS REALISTIC SOUND REPRODUCTION ORACLE SPEAKS AT CSA AUDIO. NEW MODELS WITH AFFORDABLE ESOTERICA. SHURE V15 -IV -$50. (404) 633-3822 evenings. NOW! Open 7 Days, 11 am-6:30pm EST.

42 Canal St., New York, NY 10002 ORANMIIN nKrS (212) 925-5868. Mastercard 8 Visa

ONKYO, JBL, SONY CAR STEREO, PIONEER, TECH- NICS -The Stereo Factory. Box 1326, Huntington, W. Vir- ii,;17MU` ginia 25714. Phone, 304-522-8031. MC & VISA OK. when you care to listen to the very best ... and RADIO SHACK MODEL 3,2,16: Disc Drives, Printers, Etc. GRANT LUMLEN. available at substantial savings: 203-777-1476. appreciate the finer GAVID MAILER things, the sensible JA MITCHELL ULTRA CRAFT k MINI MONITOR AT ORPHEUS CSA AUDIO! INCREDI- way to enjoy IACRO.SEIE BLE! Irr Audio Art Is I sTAa IAA COTTER REVOR OR with products/Fr SYSTEMS PS AUDIO at Audio Connection, Verona. NJ ... a rare MARCO, DYNAVECTOR example of superb sound combined with great price. from our PYRAMID BANG 6 OLUFSEN 201-239-1799 unique APT CORP. JANIS ae Ir, TMRESuoLD KEY AIWA audio I HARMON KARDON CROWN LUX ACOUSTIC TEST INSTRUMENTS salon. SOUND CONCEPTS NAG GRACE USE TO ADJUST EQUALIZERS. OPTIMIZE DEMON SIGNET M6K BEVER SPEAKER PLACEMENT, ETC. FIDELITY RESEARCH POLK ORADO

Complete Test Set $499 Connoted Sound Lever Meter $199 e fractional Octave PIRA u e \.;.> Norse Generator $339 FRANKLIN LAKES STEREO CENTER ; Handbook on Acoustic Testing S10 TM FRANKL NAVENUE. FRANKLIN LAKES NEW JERSEY (101).1-9145 9 % C ,; free brocb HAIL ENGINEERING. Dept D5 We Fro. rn,ownA,, IDv wOeld. P 0 Box 506. MarlinSWlp, NJ 011836 J 1201) 611-0377 F

f; V's . ok Tired of poor LP quality? But the "audiophile" LP's . are too expensive? --THE Not any more!! The Music Club's unique rental program offering all the labels makes the "audiophile" --MUSIC-- LP affordable for every serious listener.

-CLUB Send for free information or send $1.00 for descrip- 1570 PACHECO SUITE E-16 SANTA FE NM 87501 tive catalogue to The Music Club, 867 S. Colorado 505-989-5056 Blvd., Suite C-650, Denver, CO 80222 LOUDSPEAKERS

AUDIO/SEPTEMBER 1982 75 FOR. SALE . . FOR' SALE FOR SALE

QUAD ESL -63 S2800ipr. Janis W1 with Interphase 1A REGA PLANAR TURNTABLES IN STOCK! SPEAKER BIBLE. Over 20 pages of vital information for 52000,pr. Mark Levinson ML -3 H564 $3500, ML -7 (L3A) GENE RUBIN AUDIO (213) 571-1299 Pac. the speaker builder. Send $2. to NEW YORK ACOUS- $3000. Goldmund Studio -T3 $3600. Koetsu Black (new in TICS, 578 Nepperhan Ave., Yonkers, NY 10701, 914-476- box) $450. Keith Monks record cleaning machine $1650. 4900. (405) 341-7980. SAVE 60% TO 75%, BUILD YOUR OWN SPEAKER SYSTEMS. P/C CROSSOVERS, WOOFERS, MIDS, TWEETERS, INSTRUCTIONS. COMPLETE SELECTION, SPENDOR SPEAKERS AT QUADRANGLE'. STANDS FOR CLASSIC QUAD ESL HI-FI, M.I., PRO, DISCO AND AUTO SYSTEMS. SEND GENE RUBIN AUDIO (213) 571-1299 (PAC) AND QUAD ESL-63. Dramatic Aesthetic and Acoustic Im- $2.00 FOR CATALOG REFUNDABLE WITH PUR- provement. Send $2 for Pictures and Literature to: Re- CHASE. DKI AUDIO, BOX 284, DAVIS, IL. 61019 source Recovery Systems 1101.1 E. Ash Ave. Fullerton, Ca 92631 (714) 738-1326. "Built Not At A Price, But To THE FINEST Express An Ideal" SIMPLY SERIES 20-FACTORY SEALED. M-22. $275. C-21, $175. Spectral, Conrad -Johnson, Futterman, Sumo, Ray Lum- PLC -590 w Signet XK-50 arm, $450. F-26 In wood case, ley's new dual mono amps, Altarry dual mono pre -amp and $425. Negotiable. (212) 595-7494. amps, Sound Lab A-2 electrostatics, Pro -Ac, Daybreak, Raise your standards. SOUND BY SINGER presents Celestion SL6, SKS, Delphi, Sota, Syrinx, Pink Triangle, the phenomenal new GRACE F -11L moving coil. Walker. Koetsu, Accuphase, Brochures available. When your reference is live music, when your commit- SHURE VN45HE STYLUS -525. (404) 633-3822 eve- Used Mint At Best Offer ment is to excellence, you set your standards high. nings. ARC D-90, D110B, Krell 100, Beard P50, Eleson Class A, Raise your standards. Listen to the GRACE F -11L at Thresham SR402, Quatre SG 500, Quad 63, Audio -statics, SOUND BY SINGER, 227 Lexington Ave., New York, Metronome 2WS, LS35A, Spendor SA1, Harbeth, RG NY 10016. SILVER + TEFLON + GOLD = SWL's QUICKSIL- preamp, Futterman OTL-3 mono amps. Logic turntable, VER INTERCONNECT CABLE. Fine strand silver Systemdek turntable, Spectral MS one, Kenwood KD600, coated copper cable with teflon dielectric and outer Many others. Paul Heath Audio, 3047 W. Henrietta Rd., RARE JBL AMPLIFIERS SG 520 5680.00; SE460 jacket. Low capacitance, hi cond. & propagation vel. Rochester, NY 14623. 716-424-4916 or 716-454-2000. $380.00; SA 600 $350.00 (201) 232-3283 Highest quality commercial duty heavy gold plate RCA plugs machined to exact tolerances. Available in 92, 1, 2 meter stereo sets (525, $30, 545 respectively. Add RAW DRIVERS, ACCESSORIES, and lotsa help! Catalog & $2 S&H. TX res. add 5% sales tax). Custom lengths & SONY EL -7 ELCASET FACTORY SEALED 5299, EL -4 25c. Meniscus Systems, 3275 Gladiola, Wyo. MI 49509. receiver mint: connectors, VISA & MC also. Send SASE for com- factory sealed $139: McIntosh 1500 $300 plete product listing. STEPHEN WORSHAM LABS Sony 1800 U-Matic $650, 100 60 minute U-Matic tapes ROGERS SPEAKERS AND ELECTRONICS AVAILABLE 3720 Maplewood Dr., Dallas, TX 75205, Ph. 713-763- $11 each: 250 quarter track pre-recorded Mr call, write for in Houston. Call Alexis Torres, (713) 937-8810. 6061. list $5.00(a. Marantz M6 stereo adaptor 5200: Blonder Tongue Audio Baton mint 5150: Altecs-1570B 165 watt tube power amp $200 each, 1592A mixer amplifier $225, R.P. MILLER AUDIO has a new rising star: The hand - 1591A compressor amplifier $100: Quarter Inch profes- PREMIER LMX moving coil cartridge. This new SPENDOR-MORE NEW SPEAKERS & LOWER PRICES built sional tip -ring -sleeve cables various lengths $2.00 each: cartridge retrieves more inner detail from the record In addition to the SA1, SA2, SA3 & BC1 we now offer 2 Bruel & Kjer 2005 voltmeter $400: Soundguard cleaner grooves and tracks those grooves better than the best NEW Spendor speakers: LS3/5a & Prelude. Remarkably and preservative kits 1h price: Denon PCC1000 crosstalk we've All this for $2007 for appointment. low prices on all Spendors. By appt. Free shipping in US & tested. Call eliminator factory sealed $150: Shure M64 phono preamp WORLDWIDE. AUDIO CONSLTS., 2585 E. Flamingo, Las Vegas, NV 89121 (702) 732- PR. We ship OXFORD $40, Audio Master w/rackmount $140: Hartley H300 de- INC., Box 145, Oxford, OH 45056, 513-523-3333, ITT tlx 9945. mos $350, H100 demos $125: Tannoy Royale 85's $650: 427791. KLH 9's rebuilt w/carton perfect $1100: Genrad 716C, capacitance bridge, 1269A power supply, 1211C unit oscillator, 1232A tuned amplifier null detector, 1554 sound, vibration analyzer: Bozak B199A $150 pair: Marantz 2's mint $800: Dyne Stereo 70 5100, Mark 2's $150 pair: PAM Vs $30 pair: SCA50 $50, SCA35 $50, FM3, $50, cabinets Astonishing. $15: Thorens TD124MK2 w/large base $150: I'm moving by January must sell everything. Martin Gasman 779 Worcester Street. Wellesley, Mass. 02181 617-CEL-TICS.

u. SPECIAL SALE SPECIAL SALE SPECIAL SALE We are offering the following items in our SPECIAL SALE. The states are as follows: N = new, U = used, D= demo. All items subject to prior sale. 'ed items will be shipped freight collect. Otherwise shipping is free in continental US. Au- dionics LK1 N 550, Audionics PZ3 Pro D 350, Audionics Space & Image Comp. N 1000, Chartwell PM210 D 725, Denon AU310 50, Dynaco MK Ill Modified (pair) N 600, Dynaco mono amps U (write for details), GU FRA1 (pair) U "The sound of this diminutive speaker is ,WI D110 400, Grace 704 N 225, Grace 707 (Linn Modfd) U 100, nothing less than astonishing. Janis W2' & Interphase 1' D 750, Lecson AP3 MK II N 300, Lentek Prepreamplitier N 120, Linn SARA & stands D "Listen to the Four if you possibly can. 1300, Nairn 42'110 D 1000, Rega Planar 2 (marred cover) It is worth hearing even if you are not - CSR N 395, Rogers A75 S2 D 375, Rogers A100 N 800, Rogers a -50 III shopping for a speaker -just for dem- XA75 N 600, Rogers L3561/XA75' D 1800, SAE MK CM' onstration of how good a small box HERD RTPLIFIER U 125, Spendor BC1 & stands D 650, Theta 1A D800. can sound." OXFORD AUDIO CONSLTS., INC., Box 145, Oxford, OH STEREO REVIEW June, 1978. More Than a Simple Step-up Device 45056, 513-523-3333, ITT tlx: 427791 Copyright Ziff -Davis Publ. Co. The CSA-50 Head Amplifier is an active step-up for For literature and information call (800) 225-4791 or send coupon. use with any moving coil cartridge, and is a critical SPICA AUDIO CONNECTION link in the audio chain. The CPC design eliminates the maintaining its musical charm: the well-known SC -50i, The Allison: Four-costs $280 each in conventional loop NFB circuit configuration and TIM come hear it in Verona NJ. 201-239-1799. oiled walnut, $290 in oiled oak cabinet. distortion. Specifications include: Pure class A operation, fre. quency response of 1.2Hz to 540KHz, distortion less STEREO REPRESENTATIVES NEEDED!!! LOWEST than 0.008% (1KHz, lv rms out) and selectable car- POSSIBLE PRICES!!! OVER 100 BRANDS!! KRASCO ALLISON tridge loading. Rep -AO, 998 Orange Ave., West Haven, CT 06516 We created the CSA-50 with one very specific goal: to preserve musical integrity and invite you to audj- ACOUSTICS tion the CSA-50 at your Audio Interface dealer's SUB WOOFER SYSTEM-Hartley 24" in transmission line. Excellent with Mognaplanors & Electrostatics. Tacoma ties en Tech Circle/Natick, MA 01760.U.S.A. showroom. Suggested retail price: $250.00 206-857-6635.

Name For more information, AWDII© please write to: TANGENT SPEAKER SALE Excelsior $200/pr, RS2 Address II0.IfrM/.J«e $350/pr, RS4 600/pr, PS6 800/pr, SM4 Mirage 5750 pr. 400 P.O.Box 7369,Van Nuys,CA91409 213/901-0747 Woodburn Sound Service Highland Court, Iowa City, City State Zip Iowa 52240.

76 FOR SALE FOR SALE FOR SALE

SYMDEX LOUDSPEAKERS THIEL LOUDSPEAKERS AT VACUUM TUBES ARE ALIVE AND WELL. Want proof? We are pleased to introduce the further Improved GENE RUBIN AUDIO (213) 571-1299 (PAC) Our plans, kits, mods, and innovative designs are the most Symdex Sigma and the new companion subwoofer, a cost effective you'll find anywhere. These include every- three-way system of unparalleled accuracy and low thing from subpreamps to power amps, and a variety of coloration. This reference system, which sets new formidable speaker enclosures. We also buy, sell, and THRESHOLD (4000, SL10), Watson 10, Lynn-Sondek, standards for definition and transparency, is a result of trade used equipment. Interested? Send 51.00 to: Audio Dayton -Wright pre-amp, Fulton Gold, Technics EPA 100, thorough optimization of all design factors plus con- Syntax, Bethel, Pa. 19507 for details. Dynavector Ruby, Fontek (A4, C4), Grace 070711, Supex struction and components of a quality never before SD -900E. 201-991-6311 (5PM-9PM). used in loudspeakers. The sonic results of this effort have been described by listeners as a redefinition of VANDERSTEEN IN THE SOUTH! the state of the art of dynamic loudspeakers. In stock, the superb new Mod. 2C. Fast, free shipping. For further information, contact: Symdex Audio Sys- THORENS NEW AND DEMO SALE. TD110C, 5225., TD READ BROS. STEREO tems, Inc., P.O. Box 8037, Boston. MA 02114, 617- 115C, $295., TD 126111C 5495. New factory warrantee, 593 King St., Charleston, SC 29403 (803) 723-7276 938-8180. limited quantities. (207) 623-2424. 8 M/C OK. Carver, Haller, PS, Mirage Current Symdex owners note that factory updates are available.

THRESHOLD AUDIO is offering Conrad Johnson, Dyna- WE TAKE CARTRIDGES SERIOUSLY at HCM vector, Pyramid, PS Audio, Grado, Sony, Marantz, Infinity, TAD -4 TIME DELAY UNIT, hardly used, new, AUDIO. We spend a lot of time auditioning and com- 5650. $520. Stax, VPI, YSL and more. Prepaid shipping. Trade-ins or offer, 919-779-3019 paring That's why we're so impressed with PRE- welcome! 409 S. 22nd Street, Newark, Ohio 43055. (614) MIER'S new LMX moving coil with the "cutter 522-3762. analogue" stylus. Amazing resolution In a moderately priced cartridge. HCM AUDIO, 1363 Longfellow Ave., Take a step up in musical accuracy. dynamics, and Chico, CA 95926. clarity without having to stomp all over your budget. VANDERSTEEN-now In New Jersey at For about $200, the new PREMIER LMX moving coil Audio Connec- tion in Verona NJ, 201-239-1799 delivers the sound quality you'd expect out of a much more expensive cartridge. Move up to UPSTAIRS AUDIO, 200 Meeting St., West Columbia, SC 29169. RECORDS

Tom Houghton on David Fletcher's THE ARM: Im- pressive. I've never before seen this level of integrity AUDIOPHILE TANDBERG NEW TD20A (high speed), 9000X open reel. RECORD GALLERY discounts ultra sound to construction. Matches perfectly to a broad range of direct Call Shane 402-483-4511 disc, digital, halt mastered, Japanese Imports, morel today's best cartridges. THE ARM is the pest pivoted Free Catalog. P.O. Box 2668, La Mesa. CA 92041 or P.O. tone arm available today. On demonstration at AUDIO Box 1073, Vienna, VA 22180. THRESHOLD, 36633 Gratiot St., Mt. Clemens. MI 48043. THE ARM The BEST. Could any tone arm be worth "FRESH AIRE" limited offer $13.95 each. All four volumes $1200? More, when it's this good. David Fletcher's available (add $2/album to Canada) Visa, M C, AmX, hand is revelation WHOLESALE PRICES: -made arm a of design, craftsman- Pioneer, Concord, Sanyo, Tech- C.O.D., check. Free update on new audiophile recordings. ship, and precision, and it's a musical revelation in nics. JBL. Bose, Savard, Rich Acoustic. Call 205-792-0706 Complete descriptive catalog with over 500 titles: 52.00. your top-notch audio system. you for quote or write Savard Sound, Mail Once audition THE Order Dept 260, Supersound Record Service. Box 82-A, Forest Park, IL ARM, will Ross you know why we're this enthusiastic. EAR- 2413 Clark Circle, Dothan, ALA. 36301-Visa-MC- 60130. (312) 366-1300. DRUM, 148 E. Route 59, Nanuet, NY 10954. COD.

THE CLASSIC UP -DATE DRT-1 RIBBON TWEETER KIT $249.00 "ICC PRC-1 POLYPROPYLENE c/ CAPACITOR KIT 5169.00 MB -1 MID BASE KIT 5159.00 DF -2 FELT KIT $15.00 Send for our Dahlquist DO -10 catalog. We use Rell Accuphase is a group of "Wonder Caps" In our Polypropylene Kits. Postage Audio Specialists dedicated to the highest standard paid in the U.S. Visa. M.C. or check. of quality. Its products are produced in a limited quantity to be sold through a RANDALL RESEARCH (714) 760-1539 limited number of audio specialist stores. Every single piece of equipment 719 Femleal, Corona Del Mar, Ca. 92625 we develop is engineered for long life and long term user satisfaction.

THE MERRILL AR TURNTABLE MOD KIT, complete with new suspension chassis and bearing. makes your old AR "state of the art" and allows new - PAMt tone arm accommodation -554.00. Additional AR in- Precision Stereo Control Center MEAS FET Stereo Power Amplifier novations-Solid oak AR base -5125.00. AR record weight -57.00. In this top quality amplifier, each amplification The P-400 is a DC servo controlled power am- UNDERGROUND SOUND performance mod kit for stage consists of a Class A push-pull DC the Haller DH -200-$27.00. amplifier using a MOS FET output stage, a high plifier circuit. Except UNDERGROUND SOUND speed switching device.. This for volume con- 2125 Central Ave., Memphis, TN, 38104 design employs two mono- (901) 272-1275 trol and balance ...... - . ... . phonic amplifiers which fea- adjustment. all -- ture completely separate inde- the functions in pendent power supplies for the front panel _ "THE TEMPEST" ' the left and right layout are operated RR -10 is here! Professor Johnson's first orchestral record- by.a unique ' channels, Switch- array Push ing, highlights from Paul Chihara's tuneful ballet, is receiv- of Switch Buttons. ing to "pure" ing universal praise. This half -speed mastered JVC press- The C-240 was honored with -. Class A mode is ing contains more than 53 minutes of orchestral music- at the highest awards-the State , done electronically. 45 rpm! Thrill to the natural string tone, three-dimensional of the Art Prize and the' Grand The P-400 delivers sound stage and complete dynamic range of Keith John- Prix- by the most authoritative Japa- high power with high son's newest and best analog recording. Order from Refer- nese Audio Magazine. This component proudly sound quality 200 W,channel at normal opera- ence Recordings, Box 77225X, San Francisco, CA 94107. represents the finest in Japan's advanced tion and 50 W/channel during Class A mode 408-289-1462. Only $15.00 postpaid. VisaMC welcome. technology. 120 Hz -20 kHz into 8 ohms, not exceeding Dealer inquiries invited. Watch-for our next release com- ing soon! 0.01% TH01. This amplifier was also awarded a Grand Prix

THRESHOLD'S HOMETOWN DEALER, KEITH YATES AUDIO, can have your new -generation Stasis amp or FET For more information and dealers near you, contact Stasis preamp shipped DIRECTLY FROM THE FACTORY TO YOUR DOOR. Also: Bryston, Linn, Michell Gyrodec, D & K IMPORTS KEF, Acoustat, Pyramid, NAD, Denon, VPI, Koetsu, Dyne - vector. Technics Pro. more. 2209 Ninth Avenue, Sacra- 146E. Post Rd. White Plains, NY 10601.914-946-3031 Dealer inquiries invited mento 95818. (916) 441-0443.

AUDIO/SEPTEMBER 1982 77 RECORDS RECORDS WANTED TO BUY OR TRADE

IMPORTED & DOMESTIC CLASSICAL RECORDINGS. ULTRA FIDELITY LP's, Cassettes. Excellent prices! Cata- A BETTER DEAL for your McIntosh, Marantz tube compo- Also JazzJGifs/Books. Full 64 page catalog. 51.00 (refund- logues-$1.00. Aesthetic Audio, Box 478-A, Carlin, Nevada nents. 713-772-4653 or 713-726-9070. able). MUSICAL CONCEPTS, Box 53AA (7,8,9), Cedar- 89822. hurst, N.Y. 11516.

SHEFFIELD DIRECT -DISC S-10 FACTORY SEALED CALL ME FIRST ABOUT SELLING YOUR HIGH $400, LAB-1 PLAYED ONCE $300, LAB -2, $100 POST- END ESOTERIC TUBE EQUIPMENT, KLIPSCH JAPANESE IMPORTED RECORDS EXCLUSIVELY. PAID. J. ADAMS, BOX 712, PROVIDENCE, RI 02901. HORNS, E. V. PATRICIANS, HARTSFIELD, AND 10,000+ TITLE MAILORDER CATALOG. $3.00 POST- 401-421-7430. WESTERN ELECTRIC. CONTACT KURLUFF ENT., PAID. YSL RECORDS, BOX 8330-A, Van Nuys, CA 4331 MAXSON RD. EL MONTE, CA. 91732 (213) 91409. 444-7079.

WANTED TO BUY OR TRADE MERIDIAN RECORDS. Critically acclaimed natural re- EICO 3150 AMPLIFIER 3200 TUNER, KLH 18 TUNER. cording, superbly pressed, a must for serious listeners. 212-438-5714 eves. (714) 438-1282. AAAAH! TUBES WANTED: MCINTOSH,MARANTZ, ARC,W.E. 713-728-4343, M.CORB,11122 ATWELL, HOUSTON,TX. 77096 ELCASET TAPES, NEW/USED. 312-787-5544. 1560 No. PROTECT YOUR LPs. POLY SLEEVES FOR JACKET Sandburg #3315, Chicago, 60610. 120. SQUARE BOTTOM INNER SLEEVES 7c. POLY LINED PAPER 15e. WHITE JACKETS 35c. POSTAGE $2.00. HOUSE OF RECORDS, HILLBURN, NEW YORK AAA -TOP PRICES PAID: McINTOSH and MARANTZ 10931. Vaccum Tube Equipment. NAKAMICHI Cassette Decks, MARANTZ MODELS 2, 3, 6, 7, 8, 9 & 108; McINTOSH C- Phone (206)323-4987 or Write. AudioWorkshop, Box 22, MC240, MC275 & MC3500. Sam Aberst, P.O. Box 18009, Seattle, WA. 98118 5455, Beverly Hills, CA 90210 (415) 889-7729. RECORD -TAPES! Discounts to 73%; all labels; no purchase obligations; discount dividend certificates; 100% guarantees. Free details. Discount Music Club, 650 Main St., P.O. Box 2000, Dept. 14-0982, New Rochelle, New 12" triax- York 10801. ASIA AUDIO ASSOCIATION needed; MCINTOSH or WANT OLD SPEAKERS: Goodmans axioms, MARANTZ tube type amps, tuners -10B. TURNTABLES: ioms. Stentorian 15" coaxials. Racon (N.Y.C.) 15" 15 HTX, full range Trusonic (Ste- EMT 927DST, 93OST. THORENS TD-124. GARRARD X -B, 12" HTX. Norelco 8'-12". phens) full range 8"-12". RCA 15"-12" coaxials. Jensen 12" THOUSANDS OF LIKE NEW LP's and prerecorded 301, 401. RCA Victrola Credenza. ARC D-75, D -76A. SG300, 223, 222. Calrad 8" coaxial CR -8X, 12" TX -4,1. tapes. of Records, New WESTERN ELECTRIC tubes (used OK), amps, networks, Catalogue-$2.50. House Hillburn, Singles No B. tweeters, drivers, speakers, horns, mixers, microphones, G.E. 12" coaxial #1A-401. OK. cabinets. York 10931. 792- parts. Tel: 213x576-2642 David Yo PO Box 832 Monterey Kalish, 565 Walnut Av., Redlands, Calif. 92373. (714) Park, Ca. 91754 0220.

II n DI 11 I11111 II II II II 11 II 11,11 II II II 11.111111,11.11,1111°II II= In New WE WILL Accurate w im rr. or Audio r 1117. I.ft-.-ffFv1~1111~~1 ~PE fi1 =NOT BE BEAT! WE TAKE YOU TO THE CONCERT, NOT TO THE CLEANERS n9/11 SUPER SELKTION- FULL WARRANTY FAST DELIVERY = Although there are some audio products at very exhorbitant prices, MI^' products at very low prices, and HI-FI, HIGH END& VIDEO there are also some great audio that's what we're all about-finding those low priced products and

, . . telling you about them. We realize flow Important music can be to '1' 1, '1 , , 11 r " Gtr% it Is we you what we feel III' i .1:l, people's lives, as to ours, and enjoy giving _ C[. is the very best sound possible for your money. No hyperbole just the kind íi - I DCM, NAD, PYRAMID. r DENON, PSE, SUMO, HAFLER, ROGERS, of knowledge, creativity and DYNAVECTOR, PETERSON. ANDANTE. KINDEL, _ 4. LIVEWIRE, GRACE. dependability you expect from 4rí: STAX. PROTON, MARCOF, MUSICAL FIDELITY, VPI, MISSION a dealer who represents these `c hi' .. SANTA MONICA (213) 399-HIFI STUDIO CITY (213) 766.7478 manufacturers. = viSA CALL (203) 934-5291 HOW! MAC PASADENA (213) 792-4444 VALENCIA (805) 255-2487 Acoustat KLH (714) 494-2030 LAST AUDIO PEOPLE LAGUNA BEACH ADS * * t027 N Coast Hwy , Laguna Beach, CA 92651 Of angle Ave., , CT 06616 ADSPro Magnepan ^ 1000 Wt By appointment 7 days a week Apt -Holman Marcof ,= I 11:1111 lrfrnn if ii 11II II lru 11 11 WI! II 11 II II II II II 11 I1 Audel M&K Audio Pro Monster Cable Bryston NAD Carver Nakamichi Adc orn Dynavector John Marovskis Nifty Gritty Cotter Nitty Gritty Ampex Esotech Audio Oracle Dahlquist Oracle Here are Aot Holman Electrocompaniet KEF Proton Denon Pyramid Bang & Olufsen Fidelity Kyne Pyramid DCM Signet Dynavector Supex Braun Research KMAL Quad Electro - Fidelity Research Threshold Bryston Fourier Koetsu acoustics Gem Vandersteen Celestion Goldmund Last Ram Labs Grace V P I Daybreak Grado Linn Products Rega Research Hatter Win Labs CJ' DCM Haller Magnepan Rogers Keith Monks Yamaha Dennessen Hartley Mark Levinson Sequerra KEF & more... reasons for Denon H.Q.D. Reference Milab Snell Acoustics D&Klmpors System Monster Cable Sound Connections 5 listening rooms ... New England's largest Audiophile yIsltln Discwasher Insync Musical Fidelity Spectral Audio record dealer ... Keith Monks NAD Stax record cleaning... In-store Nairn Audio Symmetry service ... All shipments pre -paid Soun Components Nakamichi Tandberg and insured in the continental U.S. by Peter McGrath. Plus a record room featuring a large collection of imported pressings and specialty recoros Plus complete international export facilities Spanish spoken Plus American Express. Diners Club, Master Card 2710 Ponce de Leon Blvd , Coral Gables, and Visa accepted Florida 33134 Open Tuesday -Friday 11AM-8PM Saturday 11AM-5PM Closed Sunday and Monday 105 Whitney Ave., New Haven, CT Sound Sales (305) 446-1659 (203) 777-1750 omponents,lnc. Service (305) 448-6553 Mon., Tue., Wed., Fri. 10-6, Thurs. 10-8, Sat. 10-5

78 WANTED TO BUY OR TRADE TAPE RECORDINGS SERVICES

WANTED: HARMAN KARDON 430 RECEIVER-Call T. OPEN REEL TAPES from studio masters Philips, Argo, DON'T REPLACE THAT BLOWN SPEAKER!!! Have it Moore collect 702-293-4795 Telefunken, Vanguard, Unicorn, MHS. Catalogue $1.00. reconed for little as $2.00/inch! Guaranteed Work. Call Barclay -Crocker, Room 1470-A, 11 Broadway, NYC (315) 468-4031 or write ASTRC, 527 Charles Avenue, 10004. SPEAKERS Solvay, NY 13209

JORDAN MODULES. Immediate shipment of gem 50 mm STYLUS RET1PPING DIAFIX 99, Maple Stream Rd. TDK SA C-90, 52.75; SA C-60, $2.15; AD C-90, $2.35; 0 modules, 5140rpair. Free specs and price list. $3 for the 40 Hightstown, N.J. 08520. 609443-5765. C-90, $1.59: Fuji Metal, 54.75; One 8 Two. $2.75; Maxell page Jordan manual. Opus Rager, P.O. Drawer H Forest- UD-XL 18 II C-90, $3.15: XL 18 II C-60, $2.49; XL-IIS C- hill, Calif. 95631. Russ 916 367-3218 PDT. days 90, $3.90; Discwasher D-4 system, $9.95; Alsop cassette head cleaner, $4.95; TDK cassette head demagnetizer, MISCELLANEOUS $15.95; Audio-Technica cartridges 120E, $27.95; 125LC, $34.95; 130E. $32.95. WILL MEET OR BEAT ANY PRICE TAPE RECORDINGS SHOWN IN THIS ISSUE. Minimum orde-, $10.00; add THE ULTIMATE PLAYBACK SYSTEM $3.75 shipping any size order; New York residents add All of AUDIO's 1981 issues have been bound Into an 81/4 % sales tax. Visa, Mastercard, American Express ac- attractive and durable volume. AUDIO '81 gives you raped cepted. Send certified check or money order for fastest "playback" of value-easy access to vital facts, figures, A TRUCKLOAD AMPEX AUDIO TAPE SALE service; two-week delay on personal checks. Moonshine reviews and articles. However, only a limited quantity is High quality open reel 1800' or 2400' on 7" reels, Records, 212-91 26th Avenue, Bayside, N.Y. 11360 available, A few sets also remain from 1975, 1977, 1978, used once, unboxed. Case of 40, $45.00. Cassettes (212)224-1870. 1979 arid 1980. Its first come, first served, so place your available. Valtech Electronics, Box 6-A, Richboro, Pa. orders now! Send a check or money order (DO NOT SEND 18954 CASH) for $30. plus applicable sales tax to: BOUND VOLUMES SERVICES AUDIO MAGAZINE CBS PUBLICATIONS 1515 BROADWAY CROWN RECORDERS. We upgrade SX-824 with installa- AUDIO PULSE REPAIR SPECIALISTS. Modification Kits NEW YORK, NY 10036 tion of DBX-150. Gives lower distortion and 90dB SN. available for Model One's. WALTS AUDIO SERVICE, 398 Prices include shipping and handling in the U.S.A only. Be Permits use of Crown mixer. Full tape monitor. Crown Granada Street, Rialto, CA 92376, (714)-875-0776. sure to indicate the year of the volume you want. service our speciality. Ideal Acoustics, 110 Willow Road, Starkville, MS 39759. 601-324-1020 anytime. Sony Car Stereo XR25 1149 00 Sony Car Stereo 5977 131900 AUDIO PULSE SERVICE. Factory trained technicians. For Sony Car Stereo 5935 179 00 Sony Car Stereo 0970/708 26900 reservations/information, write to White Labs, 10528 Lower Sony Car Stereo XR55 239 00 Sony Car Stereo XM120 21901 Azusa Rd., Suite 192A, El Monte, CA 91731. Sony Car Stereo X953/506 20800 Sony Car Stereo XME7 13900 Sony Car Speakers XS3 2200 Sony Car Speakers X5301 5900 Sony Car Speakers XS211S 3900 Sony Car Speakers XS613S 5801 Sony Car Speakers XS101 3901 Sony Car Speakers XS66 9900 Sony Car Speakers XS102 4900 Sony Car Speakers 12900 C-10 CASSETTES FOR HIT SINGLE RECORDINGt Man- CUSTOM RECORDING XSI20 SERVICE, Tapes, discs, and cas- Jensen Car Stereo 0E518 8800 Jensen Car Speakers J1242 8901 ufacturer Prices! Fully Guaranteed. Superior Quality. 24 - settes. Stereo and mono. Live and copies. Editing. Masters Jensen Car Stereo RE512 22900 Jensen Car Speakers J1065 8900 Pak with Custom Cases, 89c each. $3.00 UPS. TOLL - and pressings. High quality at reasonable rates. Joseph Jensen Car Stereo JR115 15600 Jensen Cat Speakers J1033 4500 Jensen Car 8210 12900 Jensen Car Speakers CO FREE 1-800-426-4747 Ext-480. MICRO -80 INC. Busby Giovanelli, Audio-Tech Laboratories, 1158 Stewart Ave- Stereo .12013 69 Road, Oak Harbor, WA 98277. Jensen Car Stereo 8200 9800 Jensen Car Speakers J2037 6901 nue, Bethpage, NY 11714. (516) 433-0171 Caned Car Stereo HPLtot 14901 Concord Car Stereo HPL115 26900 Concord Car Stereo HPL112 16969 Concord Car Stereo HPt118 22900 BlaupunktCar Stereo CR201 2 209 00 &aupunkl Car Stereo CR2010 269 00 Altec Car Speakers 6x9 4A 11908 Atec Car Speakers 6x9 4C 86 03 Altec Car Speakers 6x9 48 15000 Altec Car Speakers 592 6900 Panasonic CParaStereo COS9J0 319 03 Panasonic Car Stereo COS 756188 E0 REEL TO REEL TAPES-mostly Ampex, used once, NASHVILLE RECORD PRODUCTIONS WILL PRESS Whistler Rad Del 01000 20901 Fox Supedos Remote 72900 unboxed, 1800'. 50 Reels $48.00; Sample Reel $2.00. HIGH PURE Pioneer Car Stereo KP4500 11918 Pioneer Car Speakers TS1C6 3900 QUALITY VINYL RECORDS FROM YOUR Pioneer Prices include shipping. Free boxes while supply lasts. Car Stereo 10P55C0 12900 Pioneer Car Speakers TS108 4500 TAPES, SEND FOR SAMPLE RECORD AND PRICE Pioneer Car Stereo KP6503 13900 Pioneer Car Speakers TSt622 4000 COD orders accepted. Paragon Sales, Inc. P.O. Box LIST. ALSO FINEST DISC MASTERING. 469 CHESTNUT Pioneer Car Stereo UKP4200 12900 Pioneer Car Speakers TSt644 6000 2022, Joliet, IL 60434. 815/725-9212. ST., NASHVILLE TENNESSEE 37203 Pioneer Car Stereo U105200 145(0 Pioneer Car Speakers TS411 4900 Pioneer Car Stereo UKP5600 16900 Pioneer Car Speakers TSB% 950) Pioneer Car Stereo KF51C0 X900 Poser Car Speakers TSX6 7500 Clarion Car Stereo 750011 520900 Clarion Car Stereo 31508 $7918 Canon Car Stereo 5/01H 19900 Clarre' Car Steno 25008 19901 Cation Car Stereo 56508 14900 Clarion Car Stereo 21018 59 03 Clarion Car Stereo 53008 14900 Clarion Car Stereo RE436A 7501 Clarion Car Stereo 51509 11900 Clarion Car Stereo 300E0P3 12500 turnan Clarion Ca Stereo 37008 11900 Clarion Car Stereo 150E082 10)0) ADS Carson Car Stereo 35508 10300 M$K N Clarion Car Stereo 100E084 6600 Haller FINALLY, The OSCOUN- WORLD. PO BOX 191 MINEOLA N Y 11501 516-2946136 Tandberg Shipping charges are b 01 per order to continental USA We accept Wharfedale Dramatic Final money orders, cashiers a terrified checks Personal checks 3 week Thorens rct /44 Audio delay Write for FREE catalog 3-O Acoustics Grace improvement. Audio Control Demon Affordable Cartridge BQ NAD Hitachi Ortolon Onkyo price. AIWA SME J Call for informed Rarer MXR We Deliver FREE 01119©LA'S D R E,!M! Kenwood Sherwood Anywhere in the audio advice on the Mitsubishi it Many More. Continental USA world's largest selection TVE ;r-áir-r1 of esoteric components and accessories. Catalogue-$1.00. REMOVES [ DST Sij5MO'DI8C8 the SOUNQ4ppioacl The Tiompson Vocal Eliminator can actually remove most or VISA/MasterCard/Am. Exp. virtually all of a solo vocalist from a standard stereo record and 6067 Jericho Tpke., Commack, N.Y. yet lease most of the background music untouched! Not an The Audio Advisor, Inc. equalixar! We can prove it works over the phone Write or call Charge it...Call 516-499-7680 Ext-82 fora brechLre Box 6202. Grand Rapids. MI 49506. 616-451-3868 and demo record below. COST: $349.00 YOU SHOULD SEE US

For: wLy. liima iDelay/Ambience Studio Echo/Reverb LEGENDS AS US UAL. Tape Noise Reduction These highly respected names can be found at Chestnut Hill Audio Acoustat. Adcom. Amber, Parametric Equalization Apature. Ayres. Audio Pro. B&W. Berning, Cabaasse. Cotter, Dahlquist, Dayton Wright, Electronic Crossovers Denon, Discwasher, Dynavector. Fid elity Research. Fourier, Gilmore. Grace. Compressor/Expanders Grado. Haller. Impulse. Janis. Kenwood Purist. Leach, Marco!, Marlah, Monster Cable, MicPreamp/Mixers

PS , Mordaunt-Short. NAD. Oracle, Audio. Quad . R G A Rogers. Signet. Spendor, Stax. Symmetry, Tandberg, Theta 3D Acoustics. Thor ens, Threshold. VPI, Vandersteen We menu allure a lull line o1 high qua i y audM1Tr^9Rb' ng equipment. 311 Cherry Street. Philadelphia, Pa 19106 (215) 923-3035 You will probably have to pay twice as much elsewhere b obtain comparable quality. Only Direct Sales make our prices and quality possible. Write or call for a 24 page brochure and demo record. CHESTNUT III. I, AUDIO I:l'l). WUte xd: LT Sound, Dept. AU, P.O. Box 338, Stone Mourtái..GA 30086, Phone,(4041493.1258

AUDIO/SEPTEMBER 1982 79 i1111A1/aLi1le, aL1Ai0 Music for your home. We make It simple. AD INDEX We are experts dedicated to musical excellence Our demonstrations of audio and video components otter personal attention and unlimited time for evaluation Our extensive library of quality recordings will help you decide which components are a perfect match to your home environment Out service policies provide continued satisfaction Trade ins accepted

APT-HOLMAN, AUDIO RESEARCH, BANG & OLUFSEN, BEDINI, BOSTON ACOUSTICS, B & W. BRYSTON, COTTER, DAHLQUIST, DENON, DYNAVECTOR, FIDELITY RESEARCH, GRADO, INNOTECH, KLIPSCH, KLOSS NOVABEAM, KOETSU, LS315A, LINN SONDEK, MISSION, NAD, NAKAMICHI, OBELISK, OHM, PYRAMID, QUAD, RE VOX, SIGNET, SUPFX, ETC. 182 HENRY STREET BROOKLYN HEIGHTS, NY 11201 (212) 596-0888 t ACTIVE AMERICAN Firm (Reader No.) Page ELECTRONIC Service AUDIOPHILE CROSSOVERS Allsop (1) 26 where the difference Plug-in Butterworth (maximally flat) fil- is musical accuracy ters in 6 db., 12 db., or 18 db., per octave Audiophile (3) 23 attenuation, any frequency specified. Systems and the goal is Filters flat beyond 100 KHz. to satisfy Complete crossover in attractive metal BASF (4) 39 Partial listing of the quality cabinet with all tetminations and regu- products we lated power supply; carry: Bryston Manufacturing (5) 21 B&W NAD BI -AMP DCM NOVA STEREO S139 DENON PS AUDIO Tri-amp, quad -amp, and monaural types Carver Corp. (6) 2 DYNAVECTOR RGR available at comparable prices. Other GRACE SOTA available features: Summer for "single JANIS TANDBERG woofer" systems, Subsonic noise elimina- Cybernet (7) 25 LEACH THETA tion filters supplied with or without bass MARIAN VANDERSTEEN boost, level controls. MORDAUNT-SHORT VPI FOR OEM'S AND Denon (9, 10) Cov. Ill, 19 AR TURNTABLE modifications HOME ASSEMBLERS AMERICAN AUDIOPHILE 500 Series dual filters and/or plug-in fil- Discwasher Coy. IV 716 Madison Ave. New York, N.V. 10021 ters, regulated power supplies. (212) 751-9733 FREE & PRICE SHEET 5 Sunrise Plaza, Valley Stream, N.Y. 11581 CATALOG Goodyear 6 & 7 (516) 561-7114 I,,desWrite to: All insured shipments prepaid and /A/ Illbruck FREE throughout continental U.S. Deemo, ENGINEERING LABORATORY (12) 67 MASTER CHARGE B 11828 Jefferson 81. Culver City, CA 90230 VISA ACCEPTED 1, Phone 12131 3979668 IMF (13) 55

Jack Daniels 17 m, ,1~` J&R Music World (14) 21 Retailers-put ;t..ey JVC 83, 85 ' 1l1.. McIntosh (17) 27

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80 TAPE GUIDE HERMAN BURSTEIN

Head Demagnetization As a result, persons like you find that tor, and perhaps a resistor too, wired Q. In demagnetizing tape heads, I recording time is cut in half and seek into an appropriate part of the deck, wonder how important the speed of to compensate by using extra -thin usually across the pause switch. How- withdrawal is. If one withdraws the de- tape, namely C-120. The net result ever, your wisest course is to contact magnetizer in only a few seconds rath- tends to be that worse performance is the deck's manufacturer for the solu- er than extremely slowly, will the heads obtained at 33/4 ips than at 1'/e ips. Not tion he thinks best. Or you can contact still be demagnetized? How important all change is progress. an authorized service shop for your is it to demagnetize the capstan? Does The chief advantage of 33/4 ips over deck. If the shop charges fair prices, the deck need to be demagnetized 17/s ips is greater headroom in the tre- the modification should not be expen- after eight hours of operation or eight ble range-that is, less tendency to sive, but it is a good idea to ask for an hours of recording? Do tape players saturate the tape when recording high- estimate. (car or home) need to be demagnet- level treble frequencies. But this head- ized?-Randy Webb, Pullman, Wash. room can be substantially restored by Metal Tapes for Open Reel? A. The advice typically given about such expedients as metal -particle Q. I would like to know if and when withdrawing a demagnetizer slowly tape, the Dolby HX system, and other metal tape will become generally avail- from the heads implies that this is noise -reduction systems (which signify able for open -reel decks, and whether done in a few seconds, say three to that one can record at a lower level there will be a new generation of open - decks can meet the bias and five. I doubt there would be any differ- and avoid saturation, yet without dete- reel that ence in the results if one took, say, 30 rioration in signal-to-noise ratio). other requirements of metal tape.-Jim seconds. Finally, let me point out that at least Boros, Euclid, Ohio. Typically, one is advised to demag- one manufacturer, Nakamichi, has A. As yet I have heard no reports netize all metal objects encountered gone in the opposite direction by that metal tape and metal -capable by the tape, which includes heads, bringing out a cassette deck which re- decks are to be available for the open - guides, mechanical filters, tension cords at 15/16 ips in addition to the reel format. arms, the capstan, etc. If demagnet- standard 17/s ips. The benefits of metal tape tend to be ization is required, it should be done more audible at the low tape speeds after about every eight hours of use, Second -Hand Deck than at the high ones. Thus, metal tape a welcome in the cas- whether recording or playback. Tape Q. 1 plan to buy a cassette deck finds greater players are not exempt. and am trying to make up my mind sette format with its 17/8 ips speed than between two units. One is a new deck in the open -reel format, where the Longer May Not Be Better that sells for $258. The other is a used speed is customarily 33/4 ips and up- Q. I am presently using 90 -minute deck whose original price is substan- ward. Inasmuch as metal tape costs tapes with my cassette deck, which tially higher, but that is offered to me substantially more than the other types can operate at 1'/e or 33/4 ips. Many for $150. Which do you think is a better (so far), few recordists would be willing retailers are discounting the 120 -min- buy?-Dan Scanlon, Detroit, Mich. to pay a premium price for a minimal in Fur- ute tapes because of warnings that A. On general principle. I advise improvement recording quality. these cassettes may cause a loss of against buying a mechanical compo- thermore, there have been improve- fidelity and may strain the deck's mo- nent on a second-hand basis because ments in ferric oxide and cobalt -modi- tor. If I buy the C-120 cassettes, I there is so much that may soon need fied (EE) tapes which have narrowed would gain about 15 minutes of re- replacement or repair-heads, belts, the performance gap between them cording time when operating at 33/4 etc. New heads alone could cost in the and metal tape. So there is still less ips. Would I have the same problems vicinity of $150. call for metal tape in the open -reel for- with C-120 cassettes at 33/4 ips as at mat. 1'/e ips?-Donald McHugh, Brooklyn, A Clunker? On the other hand, some open -reel N.Y. Q. I have cassette tapes recorded decks do provide a 1'/a ips speed and A. Use of a C-120 cassette would off radio with a Panasonic deck. I want they could benefit somewhat from met- be just as disadvantageous at 33/4 ips to transfer them to open -reel tapes us- al tape. If there are a substantial num- as at 1'/e ips. The disadvantages con- ing an Akai 1722. But no matter how I ber of such decks, if the price of metal sist not only of possible motor strain do it, there is always a "clunk" as I tape relative to other tapes continues but also of more dropouts and poorer release the pause button on the Akai to descend, and if makers of open -reel signal-to-noise ratio due to the very to start recording. Suggestions to decks with the 1'/e ips speed are will- thin oxide, greater distortion, and eliminate this sound would be appreci- ing to make their machines metal - greater wow and flutter owing to sus- ated.-Farrel Sveslosky, Long Beach, ready, we might find metal tape avail- ceptibility of the tape to stretching. Cal. able on open reel. A Obiter dicta: In view of the remarka- A. Regretfully I cannot give you 1'/a for the ble performance possible today at specific instructions eliminating If you have a problem or question on tape ips with cassette, and the continuous "clunk" sound. This is a problem recording, write to Mr. Herman Burstein at improvements at that speed, I find my- whose best solution tends to vary from AUDIO, 1515 Broadway, New York, N.Y. 10036. self in opposition to those who are pro- one deck to another. Often the solution All letters are answered. Please enclose a moting the use of cassettes at 33/4 ips. requires only an inexpensive capaci- stamped, self-addressed envelope.

AUDIO/SEPTEMBER 1982 81 VIDEO SCENES BERT WHYTE

CES: GAME SHOW

At the SCES in Chicago, video in ZIMM all its multi -faceted diversity clearly dominated. The scope of the video product offerings was simply mind -boggling: Color TV sets; component TV monitors and tuners; projection sets; VCRs big and complex, portable and complex, or small and simple; color cameras; processors; enhancers; lighting equipment, and videodiscs. And, of course, video games, where the scramble to climb aboard the game bandwagon is just incredible. The established game companies-Atari, Mattel, Bally, Acti- vision-are being challenged by new- comers like CBS and 20th Century -

Fox. I would be only mildly surprised if IBM joined the fray! It is easy to understand the lure; in a depressed economy, video games are selling like hot - cakes and the profit margins are very comfortable. In the less frenetic world of the videodisc, second- and third -generation players are part of a concerted effort to revitalize this segment of the video not met RCA's expectations, new low- are duplicated on the player itself. In industry. RCA now offers four models er prices for the players have helped, addition, the player has controls for of its CED videodisc player. The top - and RCA now claims CED discs are slow-motion speed adjust and for the of -the -line SGT -250 features stereo selling at a very satisfactory level. In CX noise reduction system. playback with CX noise reduction and fact, RCA expects to sell over 10 mil- The LD-660 has many of the LD- such refinements as infrared remote lion CED videodiscs by the end of 1100's control functions, but no remote control for visual search (16x normal 1982. control facilities. However, it does speed, with picture but no sound), rap- The optical videodisc forces, al- have CX noise reduction. Pioneer is id access (120x normal speed, with no though plagued by quality control making much of the S/N capabilities of picture or sound but with a digital dis- problems with their laser discs, appear the CX equipped units, claiming 70 dB play indicating elapsed playtime), and to have weathered the "glitch" storm (IHF A wtd.). They also quote frequen- a pause control. The unit is priced at with some drastic disc manufacturing cy response as 40 Hz to 20 kHz $449.95. The Model SGT -200 also fea- realignments and the acquisition of ±3 dB. Both models have new, slim- tures stereo playback with CX noise new disc manufacturing facilities. Now mer styling and smaller overall pack- reduction. It too has visual search, rap- Magnavox is out with a new Model aging. For those who own the original id access and pause, but no remote 8010 laser disc player equipped with Pioneer Laservision player, there is control. Price is $399.95. There is an CX noise reduction, priced at $750, now an add-on CX decoder, the R- updated version of the original model, while Pioneer has two new models, the 1000. This $80 unit has a switchable the SGT -100, now at a price of top -of -the -line LD-1100 ($800) and the input level to make it compatible with $349.95, and finally, what RCA calls a lower -priced model LD-660 ($600). Magnavox or any other brand of laser - "leader" model, the SGT -075 with visu- One of the optical videodisc's disc player. al search ($299.95). Stereo CED discs boasts is the degree of control possi- JVC's VHD videodisc, as you prob- available include "The Jazz Singer," ble with this system. The remote con- ably know, has been delayed several "Popeye," "Eubie" and "Pippin" and trol included with the LD-1100, for ex- times, but it was supposed to finally music with such groups as Pink Floyd ample, selects left and/or right audio debut at this SCES. However, disap- and The Who. As further support for channels (both for stereo, either for bi- pointing overall sales of the competing CED, Toshiba introduced its new play- lingual discs), and has random-access videodisc systems and the current er, which also features stereo play- frame or chapter search, forward (60x) poor economic climate have delayed back with CX noise reduction. It is re- and reverse (30x) fast scan, slow mo- VHD's introduction once again, this ported that the CX encoding improves tion (forward and reverse), plus freeze- time to the summer of 1983. Some signal-to-noise ratio by about 14 dB, frame and single -frame advance-not trade papers unkindly reported that which certainly is worthwhile. While it to mention the play, pause and reject this decision was "somewhat of a re- would appear that though sales of controls. Most of these controls, ex- lief," but strangely, the VHD system both the players and the discs have cept for the random-access keypad, garnered much interest at McCormick

82 Illustration: Cameron Wasson "Videodiscs have come of age, with second and third generations common."

Place. At the McCormick Inn, I was The VR-200 is priced at $1295. ticularly versatile new Sony Trinitron given a special showing of the VHD Two of Japan's photographic giants, camera and HVT-3000 Photolab disc's capabilities, including chapter Pentax and Canon, chose portables adaptor not to mention an Akai camera frame and -by -frame display. Interest- for their entries into the VCR market. It introduced last year. As a long-time ingly, a European PAL -system VHD was an obvious move, since video col- photography buff, I once had my own disc could be played directly on our or cameras are usually a part of the color photo lab with the ability to make NTSC player and vice versa. This, of portable package. Pentax's portable large C -type and dye -transfer color course, would obviate the need to im- unit has a four -head recording drum prints. This negative to positive color port PAL tapes and process them to and a companion tuner/timer, which reversal process, I feel, is a very excit- NTSC in discs this country. can program eight events over a three- ing development. It has been around a I must honestly state that there are week period. Canon has gone "all out" while, but now is much easier to ac- more than a few people who feel that to field a particularly complete system. complish. all videodiscs will ultimately fail in the Their VC -10A color video camera fea- Sony is also offering an HVS-2000 marketplace. This opinion is based on tures an f/1.4, 11- to 70 -mm zoom lens special -effects and character gener- the fact that the videodiscs are a play- with auto focusing. The VR-104 is a ator which, among other things, has a back -only medium and historically, the full -function VCR, weighing only eight number of color filters. These can be playback -only tape formats fell by the lbs. The VT -10A tuner/timer has interposed with the color negative to wayside. But the VHD player's ability 105 -channel capability and 8-event, provide some degree of color correc- to also play the AHD digital audio disc, 2 -week programmer. There's even an tion. I am going to test one of these may yet prove a strong survival factor. adaptor which can convert 35 -mm col- units, and see if there is some way of As we have come to expect at al- or negatives (via a reverse polarity using this system to determine the cor- most every CES, videocassette re- switch on the camera) to positive col- rect printing filters for color negatives. corders continue to proliferate and are ors for viewing on the TV screen. This The price of the Sony Photolab unit is continually updated with ever more ability to convert 35 -mm color nega- $179. Next month, a look at the new TV features and refinements. The big ex- tives to color positives is also a feature component systems and some other citement at this SCES was the provi- of a new GE color camera and a par- interesting items. sion of stereo record and playback facilities, usually combined with Dolby . s noise reduction. Akai r started the ster- .. eo ball rolling in this country, and more recently JVC incorporated Dolby B stereo on its new HR -7650 VCR. ,Rt. .. -, . , Ole At this SCES, there were stereo - 0 equipped VCRs from the likes of GE, RCA, Hitachi, Panasonic, and Quasar. _ ' 7i Y ii A number of portable VCR's offered stereo facilities, and in fact, portables - Nttlii%ivj in general are being accorded most of -J the engineering and desirable convenience features of their big brothers. Full function infra -red wireless remote control is particularly favored. n Virtually all stereo equipped VCRs are VHS models, and the more than ^., 200 stereo prerecorded videocas- _ 2 settes now on the market are available only in the VHS format. The one excep- If you're tion to the VHS stereo domination is about to make a Marantz's new VR-200 Beta format VCR which not only features stereo re- substantial investment, cording, but uses Dolby C noise reduction as well. we'll give you some sound advice. Early next year Marantz will have a Beta portable with stereo and Dolby C. Free. Marantz admits to the lack of Beta - format stereo prerecorded video -cassettes, but counters this with a special input on the VR-200 which permits the recording of simulcasts from FM stereo tuner and stereo cable broadcasts. TheJVC Select Component Series. Write for free 12 page color brochure: JVC COMPANY OF AMERICA, High Fidelity Division, Consumer Relations Dept., 41 Slater Drive, Elmwood Park NJ 07407. AUDIO/SEPTEMBER 1982 83 C BEHIND THE SCENES BERT WHYTE

CES: THE LULL BEFORE DIGITAL

he 1982 Summer Consumer Electronics Show in Chicago T opened on June 6th, and by the time the Show closed on the 9th, over 70,000 attendees had filed into the cavernous spaces of McCormick Place, and the exhibit rooms at the McCormick Inn and the Conrad Hilton hotel-or so claims the EIA, which states that this is a new high in attendance, some 19% above last year. However encouraging these attend-

ance figures may appear, I heard considerable grumbling from manufacturers who said they didn't see many dealers and thought there was a par- 120211:M=10= ticular dearth of West Coast dealers. After the opening day, more grumbling (especially among audio manufacturers) was generated by the obvious concentration on video in general, vid- - eo games in particular. There was little doubt that video games were prolifer- O ating like the proverbial rabbits, and Philips flashed its compact system for digital discs. there was a Klondike frenzy to get to the video -game gold fields. Many feel plained about the small size and the Show with a lot of buying activity. this product category hasn't even be- generally atrocious acoustics of their There were no technological break- gun to reach its high-water mark; more demonstration rooms. This reporter throughs that might have stimulated

than a few also believe the boom will can certainly confirm both. I went into the industry. Oh, yes-there is the

prove to be a short-lived phenomenon demo rooms where speakers I know to promise and undoubted potential of

and go the way of CB radio. I dunno, be of excellent quality sounded like digital audio. Some people thought a (ellas-there are an awful lot of kiddies screechy caricatures of their usual few maverick companies might jump with indulgent parents in this country. selves. the gun and make an unscheduled Quite a number of the audio contin- As a general observation, the Show early foray into the digital lists, but gent in the Conrad Hilton (new head- was not a gloomy reflection of a reces- such was not the case. There were quarters for "high -end" audio) corn - sion, but neither was it an upbeat indeed DAD (digital audio disc) player Sony showed off its DAD. prototypes from most of the larger Jap- anese manufacturers. There even was a working demonstration of the Sony/ Philips DAD unit playing Phonogram (Decca, DGG and Philips) digital compact discs. On Sunday, June 6th, Sony gave a special briefing on the status of the DAD for some members of the BONY audio press corps. They had on hand such luminaries as Mr. A. Suzuki, Gen- eral Manager of the Consumer Digital Audio Project in Tokyo, several other audio department heads from Tokyo m- and Mr. Roland Martin, Senior VP of Sony of America. Although a bit disap- 0 ,f pointed in the briefing's limited scope, we were made privy to some interesting points about the DAD. For one thing, Sony and its licensees have all made successful DAD players in modest quantities. Sony/CBS in Japan is

` scheduled to set up DAD "cutting"(it is really a photo -etching process) and pressing plants by September of this

84 AUDIO/SEPTEMBER 1982 year. Phonogram is to said be stock- must keep in mind that, with the DAD recording of the "Great Gate of Kiev" piling DADs in its new plant in Han- impervious to most scratches, dust, from Mussorgsky's "Pictures at an Ex- over, Germany, drawing on the hun- fingerprints and even gloppy soft hibition." The great climaxes came dreds of digital tape masters in their drinks, and with the "no -wear" charac- over very cleanly, with huge impact; in Decca, DGG and Philips catalogs. ter of the no -contact laser playback, rests and quieter spots, not a trace of The official launch of the Sony/Phil- the discs can last forever. hiss was heard! However, one must ips DAD is of this September year in The negative aspect of the Sony note that the complete lack of noise on Japan. Sony stated there will be many meeting was their admission that nei- the DAD unmasks every detail and models of the DAD players. plus soft- ther RCA, CBS, WEA nor any Ameri- makes the excesses of multimiking ware, at the Japan Audio Fair in Octo- can record company had indicated it technique even more objectionable. ber. European introduction will be would set up DAD cutting and press- Still, this is not a reflection on the tech- roughly the same time, with the U.S. ing facilities. With a depressed record nical excellence of the DAD system. market to be opened in early 1983. industry, warehouses bulging with un- There was other digital activity at the Although it would appear that Sony sold analog discs, and a huge capital SCES. Sony showed their PCM-F1, could market the DAD systems much investment in conventional pressing and Hitachi exhibited their digital sooner than the above schedule, they facilities, the advent of the DAD is not audio recorder, priced at $3,500, while are acutely aware that the DAD system arousing much record -company en- Sansui exhibited their TriCode PCM must work flawlessly from "Day one, thusiasm. I would also point out that digital audio processor. The Sansui Play one." Any form of the glitches the total number of digital tape mas- processor uses the standard EIAJ which so plagued the laser videodiscs ters thus far produced by American digital encoding of 14 -bit linear quanti- would be disastrous. record companies is fairly limited. zation and 44.056k sampling rate. The Sony revealed the that typical DAD Sony gave me a good demonstra- TriCode has the unique feature of re- players will retail for about $1,000 with tion of the DAD via their player repro- cord and playback of digital tape at the cost of the discs between $15 and duced through their Esprit compo- one-third normal VCR speed-the EP $18-in other words, somewhat on the nents. Larry Poor, who heads up the speed in the VHS format and Beta order of present audiophile discs. One Esprit program, played a Phonogram Three in the Betamax format-without il It's almost like getting a new VCR for the cost of a tape.

JVC

NewJVC High GradeVHSTape Now trom JVC, the originators of the VHS -system, comes High Grade VHS video tape. A tape so advanced, so perfected, that alone it can make a signif cant difference in the quality of your VCR's performance. JVC High Grade. A video tape that's ultrasmooth, ultrarefined, ultra- sensi-ive. With it, you'll possess all ulir the advanced qualities required for consistent, maximum recording and Nnk playback excellence. 'z 6 What's more, there is no software anywhere that performs better in to- r day's world of punishiig "slow -speed" VCR eatures like six hour recording, !11 slow motion, and freeze frame. Plus, JVC High Grade reduces the possibility of droo-outs to an all time low. ..NC High Grade comes in both 60 and 120 minute lengths. It's the one new videotape no VCR should be without. See it at your JVC Vidstar dealer today. C' JVC COMPANY OF AMERICA Home Entertainment Division 41 Slater Drive. Elmwood Park. NJ 0:407 JVC CANADA INC.. SCarbor ough. Ont. "Digital recordings, using Sansui's TriCode, might well cost less than recordings made using metal cassettes."

deterioration of the signal. Signal-to- cording is less than that for metal -par- processor. This unit also uses the noise ratio and dynamic range is ticle cassettes and that the price of the standard EIAJ digital encoding, and it quoted as 84 dB, with d.c. to 20 -kHz TriCode PCM would be "comparable" can be used with VHS, Beta or any frequency response and THD of less to some of the other PCM processors other videocassette format. It is about than 0.007%. Sansui pointed out that on the market. the same size as the Sony F1 but is a at one-third of normal VCR speed, the A great deal of interest was shown in bit lighter, weighing about 8 lbs. with cost per minute of TriCode digital re- the new Technics SV-100 digital audio battery. One of the main reasons for the keen interest in this PCM unit is its anticipated price of approximately $1,000. It is said there will be production models at the WOES in January. JVC again showed its PCM unit 4Nt Give the gift ofmilk. which uses metal -particle audio cassettes. Here we have a rather offbeat ns sampling rate of 33.6k, which gives bandwidth to 16 kHz, with a recording 117e gOtir Mil u time of 60 minutes. There's no further Orchestra Symphony word on production, yet. Optonica also -Boston showed an experimental PCM cas- SegiOzd 1io/in sette recorder using metal -particle Joseph Silverstein audio cassettes. This is a multiple - scan system utilizing 18 tracks, a number of which are redundant, that is for error correction. No other details or indications of production of this digital recorder were available. In the face of all this digital recording activity, the analog open -reel recorder might seem like a dying breed. However, there have been significant improvements in several models of open -reel recorders which make them newly attractive. For example, Tand- berg has a new 101/2 -inch reel unit that, with their Dyneq circuit and running at 15 ips, achieves a signal-to- noise ratio close to 78 dB at 0 -VU. Revox has updated their B-77 recorder with more convenience features and with improved circuitry for wider frequency response, less distortion, and STEREO DG -10070 better S/N ratio. Teac and Akai also have a number of new open -reel mod- I n the friendly spaces of Houghton best be described in a single word Chapel on the campus of Wellesley honest. From the selection and precise els, some with EE tape capability. College, the Boston Symphony Orchestra location of the three microphones used, While these units can't match the digi- conducted by Seiji Ozawa, with their to the final pressing, Telarc has done tal recorders in a number of areas, concertmaster Joseph Silverstein as nothing for effect... but everything to there is one facility the open -reel units solo violinist, combined to create a maintain the integrity of the music and have that is likely to keep them on the of "The Four its performance. It takes experience, distinguished performance scene for quite a long while to come: Seasons" by Antonio Vivaldi. And Telarc dedication, and a high level of crafts- The to razor blade was there. manship to realize this elusive goal. ability easily edit via The crystal clarity and musical co- But the results speak for themselves. cut -and -splice technique. This is vitally hesiveness of this new recording might Listen. important to many semi -pro and even amateur recordists. Present digital re- Look for these recent Telarc releases wherever great records are sold! corders using videocassettes cannot Boston Symphony Orchestra. Seib Ozawa, con- Michael Murray, organist, at Symphony Hall, ductor, Rudolf Serkin, plano: Beethoven Piano Boston: "Encores a la Francaise" Couperin, be edited at all or can be spliced only Concerto #4 DG 10064 Dupré, Franck. Bach, others DG 10069 with great difficulty. The chances of a reasonably priced digital editor appearing on the market are quite remote at this time; pro editors cost around audiotechnicam $40,000. A AUDIO-TECHNICA U.S., INC., 1221 Commerce Drive, Stow, Ohio 44224 86 AUDIO/SEPTEMBER 1982 Enter No. 30 on Reader Service Card Sansui. The story of high fidelity.

High fidelity was born just a genera- the first Super Feedforward amplifiers. the 1982 tion ago. So was Sansui. In 1947, when the realization of a design that eliminates even NEW transistor was invented, we began as a the last vestiges of distortion that not even TECHNOLOGIES manufacturer of high -quality audio trans- negative feedback could combat. This de- TO COME. formers. Since then, Sansui's dedication to velopment inaugurates a new era in the the sound of music and our extensive reduction of amplifier distortion and firmly 1981 R & D have led to countless technological establishes Sansui as a world leader in this DYNA-SCRAPE breakthroughs and products that have con- important work. Eager to maintain its FILTER. tinually advanced the art and science of technological leadership, now also in DIGITAL high fidelity. Some highlights: video, in the same year Sansui develops EQUALIZER. 1958: The year of the first stereo an ultra -compact gas laser -optical pickup, recordings also brings the release of our some 40 times 1980 first stereo amplifier. smaller than SUPER 1965: As hi-fi widens its appeal, conventional FEEDFORWARD. we introduce detector sys- our first stereo receiver, the LASERDISC tems, that TR 707A. PICK-UP. 1966: Sansui's U.S. subsidiary, promises to destined to be outgrown in little more than play a vital role a decade by our new headquarters in in future com- 1979 Lyndhurst, N.J., begins operation. pact digital D -O -B TONEARMS 1970: OS, Sansui's patented 4 -channel audio disc SUPER COMPO. system, gains worldwide recognition. players. 1976: No less a leader in broadcast 1981: Modulation noise, long a prob- than in consumer audio technology, Sansui lem in cassette recorders, is reduced to 1978 introduces two stereo AM systems at the virtual inaudibility by Sansui's patent - G -RECEIVERS. Audio Engineering Society convention. pending Dyna-Scrape Filter. Equalization DD/DC AMPLIFIERS. 1978: Psychoacoustic research into that's simple enough for practical home the subtle but very real deficiencies in bass use is realized with Sansui's computerized and in transient response in music repro- SE -9 equalizer, Comparative 1976 duction results in Sansui's introduction of which not only Modulation Noise Redaction AM STEREO. DC amplifiers, the renowned G -series re- achieves pro <- 11111111~11111111111 ceivers, and our patented DD/DC circuitry. fessional re- These advanced technologies reduce suits in record 1970 distortions whose very existence had or playback, -a_ _ M*MI OS 4 -CHANNEL. been questioned until we developed a but also per- to mits storing -A- straightforward measurement technique

-11111;4 .17.5 verify on a meter what listeners' ears had up to four m. . 1966 wrlOW soso .m+ 51,5f .---- long told them. instantly - _ U.S. OPERATION selectable equa ization curves. BEGINS. At the 1981 NY AES, we presented four major papers outlining breakthroughs in both audio and video engineering, each 1965 41 ", f of which will lead to products to enrich STEREO RECEIVER. H,- in] all our lives. 79002 RECEIVER Sansui's story and the story of 1958 high fidelity. They are really one STEREO AMPLIFIER. 1979: Sansui's patent -pending ongoing story, and the future D -O -B (Dynaoptimum Balanced) method is bright for both. of optimally locating the pivot point results /L .f -11 NI" AU -D11 in significantly lower tonearm susceptibility TU-S9 ` rr u AMPLIFIER to unwanted vibrations.The same year TUNER ` Sansui introduces the first member of our trend -setting system approach to hi-fi u componentry, the Super Compo series. 1980: Developing a theory first I suggested in 1928, Sansui presents . _ - -_ ao.. SANSUI ELECTRONICS I I I 1 CORPORATION Safts-iii Lyndhurst, New Jersey 07071, Gardena, CA 90248 1947 Sansui Electric Co., Ltd., Tokyo, Japan SANSUI FOUNDED Enter No. 23 on Reader Service Card -1 THE BOOKSHELF .®

SUBSCRIBER I MUCH ABOUT MIKES i SERVICE Bauer, Olson, Wente, and Thuras are noted, but the list is too brief. Addition- MICIiO90 al contemporary articles should have i been included. For instance, Bob Pac- quette's 1979 in AUDIO is Place Label Here article an excellent source of information on mi- 1,J crophones of the '20s and contains many photographs. The patent literature which provides a 100 -year history of microphones shows details of con- MOVING? struction and technical descriptions of Please give us 8 weeks advance notice. microphones which may not be found Attach label with your old address, and elsewhere. A representative list of pat- write in new address below. ents should have been included in the Bibliography. I RENEWING? The quality of the articles in this anthology is generally excellent. Most of Check box below and attach label with Microphones-An Anthology of Arti- the papers apparently have been ref- correction marked. if any. cles from the Pages of the Journal of ereed I the Audio Engineering Society, Vol. 1- and are consistent with the pre- SUBSCRIBING? 27 (1953-1979) Audio Engineering So- sent-day level of articles in the Journal. ciety, New York, 1979, $22.00. The early articles from 1953 are written Check box and fill in coupon. For gift in a different style, and probably were subscriptions attach a separate sheet This book is one of the continuing not properly refereed. For instance, series of anthologies published by the Souther's article on page 73 contains AES. Others include Loudspeakers, some remarks comparing moving -coil I Send Audio for I year at $13.94 Sound Reinforcement, Quadraphony, to ribbon microphones which are writ- and Disc Recording-Volume 1. ten in a style resembling advertising New subscription Renewal Microphones includes most of the copy, and some of the claims are erro- O Payment enclosed Bill me important papers that have been pub- neous. I lished on the subject since 1953. Prior Outside the U.S. add $6.00 per year. Payment must Present day Journal articles are di- accompany order. to that year, AES articles were pub- vided into "Papers" and "Engineering lished in Audio Engineering magazine Reports." Product development and which, of later I Name ¡Please Print) course, became other less "scholarly" articles appear AUDIO. A reader interested only in as "Engineering Reports." In earlier Address present-day microphone technology years, this distinction was not made, City will find Microphones a comprehen- so there are quite a few "report -type" sive reference that includes ample his- articles in Microphones mixed with the State Zip 52555 torical background. Our file of micro- more scholarly papers. For example, For faster service call loll -free any business day. phone articles from 1953-1979 shows the early article by Burroughs is a one - 7:00 A.M.-7.00P.M. Mountain time. that AUDIO is the best alternate refer- page item that describes how to make ence source. The Journal of the a windscreen. Other examples include 800-525-9511 Acoustical Society of America and the Kaufman on a wireless microphone, tin Colorado 303-447-9330) IEEE publications have carried rela- Schulein et al. on an amplified micro- Audio and other direct mail advertisers tively few articles on microphones in phone, and Burwen on a capacitor mi- take great care to send information about recent years. crophone system. The Schulein-article products and services only to those Virtually all of the history of electret format appears to be similar to present people interested in them. Products and microphones, miniature microphones, day "reports" but is not so labled. services offered to our readers in the past and microphone electronics is con- Many readers of AUDIO will enjoy have included merchandise and publica- tained in Microphones, because re- the report -type articles because they tion offers. We believe the distribution of cent developments have concentrated are less technical and therefore easier such information is of benefit to our in these areas. The reader, who has subscribers but we do respect the wishes to read than the "Papers." of any subscriber who does not want to some interest in microphone history Aside from these few remarks about receive such promotional literature. from earliest days to the present, will editorial organization, I find little to find that Harry Olson's historical arti- in is Should you wish to restrict usage of your criticize this book. -It the best col- name simply check here cles in Section C, "Directional Micro- lection of information on microphones Please attach a mailing label in the phones," provide sufficient informa- that has been published since Olson's indicated area and mail to address below. tion. For more details on the micro- Acoustical Engineering. As the latter Audio phones of the '30s and '40s, consult was published in 1957, Microphones the references in the Bibilography. Im- makes an 1255 Portland Place excellent companion vol- portant papers by such authors as ume. R. PO. Box 5318 Jon Sank Boulder, CO 80322 L MIIMM 1111~1 11~ J 88 AUDIO%SEPTEMBER 1982 DESIGN INTEGPJTY. The same pick-up technology developed for our $1,000. DL-1000 Low Mass Moving Coil Cartridge...

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The perhaps ultimately low effective tip mass of Denons most expensive cartridge establishes new standards for cartridge tracing and m nimal record wear (the recommended stylus force is a mere 0.8g). Yet the' basic design configuration of the CL -1000 is common to many Deno, cartridges. For example, an amorphous deposition Bcron cantilever (with the highest rigidity/ weight ratio known) isalso used on Denon's new DL -207, as is Denon's Driginal dual damping mechanism, which effectively cancels resonances in the two critical portions of the musical bandwidth. More amazing, perhaps, is the fact that Denon's least expensivec¿rtridge, the DL-300, aenefits from much ci the technology that has made Deron Moving Coil Cartridges the world's -ettoil su rd for Like the ioDL-1000,nd it featl:res a cross- toil armatu-earmaetu-e (for bet:er stereo separation and imagery), a poleless magnetic structure (fo- vastly reduced weight), and a sing e -point can- :ilever suspension system (for maximum compliance and strength). DENON Deno, products share more than name alone_ gine what IMeCi0111?XÍ

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