919X Auto Reverse Stereo Cassette Deck PEMOTE SENSOR Marlboro Red Or Longhorn 1110'S- You Get a Lot to Like

MARCH 1S90 --''-I.- IC-I

i-o-o-o 4- 0- o - ê I I -I INCORPORATING HIGH FlOILITY' 0-.1.-1,.0 1.0 0.0.-1.,1, 0041 r- ti 61 1'8 4-.41 4-11 4.14 if 0.1..1,1,0, 0,1.-1 I 0. 4 00 4 4 4 1 I 8 , 1 1 - 2-111 C.1.1-111-11 0.444-4,110,411.11,11.-108-1.-1.1- 4111-14 C-0t,11 4 .`,1 4 .1, 1,9 +.1,0..1,1.10 o -o- I p 4 0 40040-40-4 1.'0 t-4.-$--I.-I- 1-4,10.401000.11.-1.-1.11, 140.40,4041.-4,4,11.-1...0,1,101 N1,011-4'10-1,8 I- 8,1.-1-1,1,1 Nq 0.4 t4o e-s.a r a .1I .-4,40,11,110.11.1,-8,1.0.1..-1.-11I r-ro vie too ,oo .^4^0.-4.-1...5.1,1,-4,1,1,1-A Id OILL11 0.1 - .40-0041.-4,1,1-4,6.4.1,1-1,-1, 1,1

CHOOSING A CUSTOM INSTALLER J"410.1.1-4.-4.8.-1,11.11.- I -411, # I 4"..0 I .11, -1,..11.1,1..0 -10.0,10.1.1.- 414.41-.1...4.-1,14.1,4,1...... 8..8...p 4.0 1.4 0.4 -4 .4 0'.I ...11.4 I 10. a - I TEST REPORTS: YAMAHA RECEIVER, .5,5 0,4 0-1..0,.8.8..10-1,11-0,...0.1.. ROTEL CD PLAYER, BOSTON ACOUSTICS ".4:1,1181411,1-11,14.1c.14-4, SPEAKER SYSTEM, MORE...

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DOUBLE ACCULIGN ROTATING -1EAD SYSTEM TIMER PLAY OJT REC

BI-DIRECTIONAL AUTO REVERSE RECORD! PLAYBACK

R -919X Auto Reverse Stereo Cassette Deck PEMOTE SENSOR Marlboro Red or Longhorn 1110's- you get a lot to like. -*P1111111.16. Philip Morris Inc 1990

SURGEON GENERAL'S WARNING: Smoking Causes Lung Cancer, Heart Disease, Empiysema, And May Complicate Pregnancy. BACARDI AND THE BAT DEVICE ARE REGISTERED TRADEMARKS OF BACARDI F. COMPANY LIMITED 1990 BACARDI IMPORTS INC. MIAMI FL RUM 400o ALC BY VOL

Su iii

Having good tasteis knowing what tastes good. Stereo Review. Incorporating High Fidelity®

BULLETIN 5 TECHNICAL TALK 32 LETTERS 10 POPULAR MUSIC 83 NEWPRODUCTS 13 BACKBEAT 90 SIGNALS 25 CLASSICAL MUSIC 93 AUDIO Q&A 28 THE HIGH END 112 EQUIPMENT A USER'S EVALUATION 19 At home with the Proton 600 Series by David Simon HIRSCH-HOUCK LABS EQUIPMENT TEST REPORTS 37 Yamaha RX-530 Receiver, page 37 Boston Acoustics SubSat Six Speaker System, page 42 PAGE 66 Rotel RCD-855 Compact Disc Player, page 48 Ortofon PPA600 Power Amplifier, page 52 Linn Kaber Speaker System, page 56 How To BUY A CASSETTE DECK 58 Decide what you want it to do, and be prepared to test the candidates by David Simon TAPE BUYING GUIDE 63 Features, specs, and blank tapes THE BASICS 69 Making waves-the device that turns electricity into sound by Ian G. Masters CHOOSING A CUSTOM INSTALLER 72 How to have it your way by Rebecca Day MUSIC ROSEMARY CLOONEY 66 "If you can just hang on long enough, you get to be woven into the fabric of people's lives." by Alanna Nash BEST RECORDINGS OF THE MONTH 77 di John Cale, American violin masterpieces, the O'Kanes, and Mozart piano works 0 RECORD MAKERS 110 The latest from Narada Records, Aerosmith, James Galway, Gary Burton, Pat Metheny, and more

Cover: Teac's top cassette deck, the R -919X, loaded with TDK's high -bias SA -X100, represents one of the many options for fine tape recording; see page 58. Design by Sue Llewellyn, photo by Roberto Brosan.

COPYRIGHT © 1990 BY DIAMANDIS COMMUNICATIONS INC. All rights reserved. Stereo Review, March 1990, Volume 55, Number 3. Stereo Review (ISSN 0039-1220) is published monthly by Diamandis Communications Inc. at 1633 Broadway. New York. NY 10019: telephone (212) 767-6000. Also publishers of Car Stereo Review, Stereo Buyers' Guide, Compact Disc Buyers' Guide, and Video Buyers' Guide. One-year subscription rate for the United States and its possessions, $13.94: Canada, $18.94; all other countries. $21.94, cash orders only, payable in U.S. currency. Second-class postage paid at New York, NY 10001, and at additional mailing offices. Printed in the U.S.A. Authorized as second-class mail by the Post Office Department. Ottawa, Canada, and for payment of postage in cash. POST- MASTER/SUBSCRIPTION SERVICE: Please send change -of -address forms and all subscription correspondence to Stereo Review, P.O. Box 55627, Boulder, CO 80322-5627. Please allow at least right weeks for the change of address to become effective. Include both your old and your new address, enclosing, ifpossible, an address label from a recent issue. If you have a subscription problem, write to the above address or call (800) 876-9011. PERMISSIONS: Material in thispublication may not be reproduced in any form without permission. Requests for permission should be directed to: Editor, Stereo Review, Diamandis Communications Inc., 1633 Broadway, New York, NY 10019. EDITORIAL CONTRIBUTIONS must be accompanied by return postage and will be handled with reasonable care, but the publisher assumes no responsibility for return or safety of unsolicited art, photos, or manuscripts.

VOL. 55 No. 3 STEREOREVIEWMARCH19903 Conceived in total dedication to the pursuit of eX cellence, the time required to develop the research grogram for this system has spanned at least two decades. The elusive combiiation of variables required to yield a uniform field has been tantalizing -..-.-searchers for many years. Finally, after McIntosh 7uilt one of the most advanced and best instru- -nented acoustical laboratories in the world was it ---ossible to follow the many theoretical leads to :heir conclusion. Then, after this extensive effort of analyzing so many different approaches to uni- formity of field, was it possible to snythesize all of this knowledge and in one flash of intuitive genius tne director of our acoustical laboratory saw a seemingly simple solution in the correct matching of diameters, masses ar d compliances End 14Iaat evolved is a new measure of accuracy d realism. The ii- b-llectual and emctional experience of listening to the XR 1052 is szJmething you simply no 1st enjoy in you- own tic me.

For information on McInt3sh products and product reviews ple.c send your name, actress and phone Dumber to: McIntosh Laboratory Inc. Departm.Ent 2905 STEINWAY & SONS. STEINWAY and the LYRE Ectice are PO Ite3x 96 East Side Station Registered Trademarks of Steirtsra). Inc. and S.einwi.y & Bingtamton, NY 13904.0096 Sons. and are used with permission of Steinsta:%. Inc. CIRCLE NO. 29 ON READER EEFVICE CARD Handcrafted with pride in the United States by dedicated, highly trained craftspeople. Bu L LET I N

by Rebecca Day and new shows are a concert by Joan redeemable for a Fuji/Enigma William Livingstone Baez with Jackson Browne as T-shirt featuring Red Flag and guest star (March 3) and a XYZ.... BASF's "Playback - DAT AT LAST? special Austin City Limits Payback" promotion will run from Following previous false starts featuring Lyle Lovett (March 8). May through June, offering by Marantz, Casio, and others, The Great Performances Series customers three chances to win manufacturers of digital audio will feature Mozart in Salzburg cash (up to $1,000) with the tape equipment are again poised (March 9) with James Levine purchase of selected to hit U.S. streets with DAT conducting the Vienna videocassettes. recorders in the next few months. Philharmonic and soloists Jessye At a press conference held a day Norman, Anne -Sophie Mutter, and MUSIC NOTES before the Winter Consumer Murray Perahia. Patti Page will Estonian conductor Neeme Electronics Show in Las Vegas in host Jukebox Saturday Night II Jarvi has been named music January, Sony said it would (March 10) with such singers as director of the Detroit Symphony. market a DAT recorder (at an Teresa Brewer, Julius La Rosa . . Rumors persistthat Lee undisclosed price) in the first half and Margaret Whiting. Many Atwater, guitarist, Republican of 1990, with a portable to follow country artists, including Dwight Party Committee Chairman, and by the end of the year. Both Yoakam and Minnie Pearl, will lead vocalist, will be recording an machines will be equipped with perform on The Hank Williams album for a major company.... the Serial Copy Management Tradition (March 12), and a show And are you ready for the return System (SCMS), which limits the will be devoted to The of Iggy Pop? According to making of digital copies of digital Unforgettable Nat King Cole authoritative sources, he will star tapes. (March 13). In the movie Crybaby produced by The following day Technics said Other new shows this month Ron (Cocoon) Howard and it would have its SCMS-equipped feature great moments from the directed by John (Pink SV-DA1O DAT recorder in stores Metropolitan Opera (March 14), Flamingos) Waters. The cast is "by summer" at a price of $1,200 music by Richard Rodgers (March said to include Polly Bergen, Patty to $1,300. JVC and Denon 16), and a Julie Andrews concert Hearst, Troy Donahue, and followed suit, disclosing plans to (March 18). Among repeats are ex -porn queen Traci Lords. The introduce DAT recorders with programs by Linda Ronstadt and mind reels. SCMS at $1,100 and $1,000, Louis Armstrong (both March 2), respectively, early this summer. Gregory Hines (March 8), and BREAKING BARRIERS ON CD others throughout the month. For Daniel Barenboim conducted DOLBY S UPDATE complete listings and show times the Berlin Philharmonic in an Dolby S, the consumer version check local PBS stations. impromptu concert when the of Dolby Laboratories' Berlin Wall came tumbling down professional Spectral Recording INCENTIVES toward the end of 1989, and in system, appeared in several The Koss Gift Pack ($19.99) December Leonard Bernstein prototype analog cassette decks at couples the TD/20 stereophones conducted the Bavarian Radio the Winter Consumer Electronics with the Koss Classics CD of Symphony, augmented by players Show. Teac tentatively set this Beethoven's Symphony No. 9 from many other international spring for introduction of a performed by the Milwaukee orchestras, in an "Ode to $1,500 Dolby S deck in its Symphony.... Customers who Freedom" concert celebrating the Esoteric line, and Denon set June buy two-, five-, or ten -packs of collapse of the Wall and other as the projected in-store date for Memorex's 100 -minute HBS II East-West barriers. Both concerts its $750 Dolby S deck. Pioneer and cassettes between March and were recorded live and have been Harman Kardon also June are eligible for a free processed for release on CD some demonstrated Dolby S recorders Memorex car shade. A free time this month-the Bernstein but did not disclose prices or cassette carrying case comes with on Deutsche Grammophon, the marketing dates. Sony, however, 100 -minute HBS II five -packs Barenboim on Sony Classical. which manufactures the circuit during the same period, and for Dolby, said that it would not Memorex SL 40 headphones are introduce a Dolby S recorder, free with the purchase of the choosing instead to concentrate company's MPS minispeakers... . on developing "a new generation The second in a series of Enigma of digital recording products." Records/Fuji samplers is included with five -packs of Fuji's new MUSIC ON PBS FR-IIx cassettes and four -packs of Music looms large in PBS FR-IIx Pro 90 -minute cassettes. programming for March, with Customers who buy three many new shows and repeats of two -packs of Fuji DR -I, DR -II, or favorites from the past. Among FR-IIx cassettes will get a coupon

S Ih Rh(RI.V11- MARCI I 1990 5 n designing the new LS 400

luxury sedan, Lexus engineers 1were as preoccupied with fre-

quency response and harmonic distor- A remote 6 -CD auto -changer is tion as horsepower and handling. Their optional.

aim, you see, was to create car audio as

advanced as the LS 400 itself. Tweeters are located high and forward for accurate imaging The Engineers At LexusWere Just As Concerned With Impressing Stereo ReviewAs Road & Track. They began by setting perfor-

mance goals beyond the best premium

level systems available. In the end, 4 door -mounted extended -range speakers are they'd created two of the finest audio housed in bass -reflex enclosures systems ever engineered for the for superior power automobile. handling.

The first is the standard Lexus

7 -speaker high -output audio system

with bi-amplified subwoofer. Its

continuous average *Into 4 OHMS, 20-20,000 Hz, at less than

of both the casual listener and the

confirmed audiophile.

The optional Lexus/Nakamichi

The Lexus LS 400 output is 65 watts: with a maximum of Premium Sound System is simply car

140-enough power to please the ear audio without compromise.

For more information, call 800-USA-LEXUS. 1989 Lexus, A Division of Toyota Motor Sales, US.A., Inc. Lexus reminds you to wear seat belts and obey all speed laws. Car audio without POWER -VOL compromise: the 1,nrsINakarnichi ANTI.THEFT .TE CE1 A380 r Nakamid, PAEMIUm SOUND 57511, Premium Sound System. Lexus is the first to offer AM F M1/2 TAPE CD N ' hi as orig-

0,5 . MAX inal equipment. --cry rairrn r 1 51 _Ad FM t -oak_ I U

PROD REV FF APS SKIP APT

TUNE SCAN 1 2 3 4 5 6 The power mast SEEK antenna even SCAN DISC < TRACK > FF RPT RANDOM adjusts to 3 posi- BASS MID TREBLE BALANCE FADER tions for ideal AM and FM reception. '+

The LS 400 audio system is pre - BASS equalized to the interior's unique acoustics. The Premium ETR radiolauto- reverse cassette includes an FM diversity tuner with dual antennas.

The Lexus/Nakamichi system is even equalized for the difference between cloth and leather trim. A bi-amplified 8 -inch subwoofer punches out deep, tight bass.

I 2 r; :.;-4,-prow,,p :1.r.1 ; -- -.4.4. '611:41af0ArItill se0

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7 speakers are ideally -located for accurate balance and sound staging. Electronic cross -over networks feed specific frequencies to each.

Its RMS output power is nearly And with its more sophisticated But then, doing what's never been

doubled to 126 watts: with a maximum specifications, refined circuit design done before is what Lexus is all about.

of 220. The result? Bass response and advanced speaker technology, so deep, so tight, you don't just hear it. you'll hear sound reproduction like LAEXLIS You feel it. you've never heard before in a car. The Relentless Pursuit Of Perfection.

CIRCLE NO 154 ON READER SERVICE CARD AUDIO Stereo Review LoulSE BOUNDAS Editor in Chief MICHAEL SMOLEN IS Executive Editor SUE LLEWELLYN Art Director YOUR CHRISTIE. BARTER WILLIAM WOLFE Music Editor Technical Editor DAVID STEIN CLASSICAL Managing Editor REBECCA DAY, WILLIAM GOLDMAN MUSIC ROBERT ANKOSKO Senior Editors ARINDA J. SEGARRA SUFFERING Assistant Editor CATHERINE FLEMING FROM Assistant Art Director BARBARA AIKEN, Rocco MAYFE.RA MARYANN SALTSER POOR Editorial Assistants MICHAEL RIGGS HOUSING WILLIAM LIVINGSTONE. Editors at Large CONDITIONS? Contributing Editors: Robert Ackart, Chris Albertson, Richard Freed, Phyl High resonance housing will put any tape in a nasty mood. Garland, David Hall, Ron Givens, OTIDKTREAL Especially when pests, such as modulation noise, gnaw on the Bryan Harrell (Tokyo), Roy Hemming, purity of digitally sourced music. Julian Hirsch, Ralph Hodges, Stoddard Lincoln, Ian Masters, Louis Meredith, At TDK, we believe the formula for perfect reproduction Alanna Nash, Mark Peel, Henry includes not only technologically superior tape, but housing that Pleasants (London), Ken Pohlmann, enhances its performance. Parke Puterbaugh, Charles Rodrigues, Eric Salzman, Craig Our incredible new SA -X, for example, features an ultra Stark, David Patrick Stearns low resonance SP-ARII mechanism. By utilizing our unique co- Production Director: Karen L. Rosen molding technique, the unified two -layer shell realizes maximum Production Manager: Michele Lee total rigidity to improve reliability Which drastically reduces modulation noise-an enemy of clear, pure sound that even WINSTON A. JOHNSON Vice President and Publisher noise reduction systems are powerless against. AnvEitTisiNG This undesired "noise" is also attacked by SA -X's rev- Advertising Director: Nick Matarazzo olutionary magnetic characteristics and smooth,flat tape National Manager: Charles L. P. Watson surface.First,there are the densely packed and uniformly (212) 767-6038 distributed ultra fine Super Avilyn magnetic particles.Then, Consultant: Richard J. Halpern there is the advanced dual coating technology. (212) 767-6940 Account Manager: Sharon Dube Together, the result is an unbelievably quiet tape with an (212) 767'6037 Corporate Account Manager: Tom McMahon exceptionally low bias noise of - 61.0 dB. Plus, low and high (212) 767-6025 frequency MOLS of + 5.0 dB and - 6.5 dB respectively. Assistant to the Publisher: Nadine I.. Goody Classified Advertising: (800) 445-6066 And SA -X, which provides transparent reproduction of the Midwestern Managers: Arnold S. Hoffman, Jeffrey M. Plaster, (708) 679-1100 most powerful digital sources, is available in convenient lengths Western Managers: Robert Meth, of 46, 60, 90 and 100 minutes. Paula Mayen. (213) 739-5130 Tokyo Office: lwai Trading Co., Ltd. 603 Ginza Sky Heights Building. 18-13, 4 Ginza 7 -Choate, Chuo-Ku. Tokyo, Japan 104 Japan Representative: J. S. Yagi, (03) 545-3908 TDK L11, KAMM Pi.11C130. AM!! 1.11,4,1141CII ussnn01.C.4....or vt_jr ....,.. 3111% IECII ;TYPE II HIGH POSITION STEREO REVIEW is published by Diamandis Communications Inc.. a subsidiary of Hachette Publications, Inc. President & CEO: Peter G. Diamandis Is,,utier Vi(President: Robert F. Spillane Senioi V i.. President, & CEO: Arthur Sukel Senior Vice President. Manufacturing & Distribution: Murray Romer Senior Vice President. Operations & Administration: Robert ). Granata Vice President, Controller: David Pecker Vice President, General Counsel: Catherine Flickinger Vice President. Circulation, Leon Rosenfield ice President, Communications. Phyllis Crawley Gates Vice President. Marketing, Anthony F. Incalcatera Vice President. Research. Bride GeYshlield EXTRA HIGH loo SAXRESOLUTION/ RESOLUTIONEXTREMEMENT ELEVEE Aftreitranewmare,

CIRCLE NO 119 ON READER SERVICE CARD State Of The Art That Leaves Room For The Art.

Now it's perfect. The final touch. High-fidelity, in -wall speakers from Sonance. They addadimension throughout your home that enhances fine art, compliments decor and completes an environment that delights all your senses. Music. Music that is startlingly accurate. Rich. Dynamic. A total audio ambienceproduced by these compact but powerful speakers. Sonance is the leader in ArchitecturalAudio,TM with the world's most complete, single -source line of speakers, switchers, wires, and accesscries. Learnhow easy it is to fill your home with audio art while leaving room for yourvisual art. Contact the Sonance dealer nearest you. Call 1-800-582-7777. Outside the U.S.A. 714-661-7558, inCanada 604-873-4475. Or, write: Sonance, 32992 Calle Perfecto, San Juan Capistrano, CA 92675, Fax 1-714-240-4995.

. . . 5A 0 NI426.NI C El I. 1 . . . THELE ADE RINARCHITECTUR A LAUDICY" CIRCLE NO. 59 ON READER SERVICE CARD LETTERS

the result of all that misguided research. the CD in the ad, No. 7, in C Major, but Making a Dzfference Yes, it sounds fine. But do 1, as a casual No. 8, in B Minor. Julian Hirsch's December "Technical listener/hobbyist, need these expensive JAY AUSTIN Talk" column, "Does It Make a Differ- components to enjoy music? Frankly, I Harker Heights, TX ence?," was one of the very best I have was just as pleased with my former ever read. He is a very wise man. Our components. The new ones are good, all Maxell's copywriter inserted a hu- society would be well served if everyone right, but I'm no happier having spent morous parting shot implying that you read and understoodhisthoughts, the money. need its hundred -minute cassettes to which pertain to much more than audio Thanks to Mr. Hirsch's column, my record Vivaldi's best-known work or purchases. peace of mindis once again more elseitwill be the "Three -and -a -Half CHARLES LEWIS important to me than playing follow the Seasons." I have two recordings ofThe Buffalo, NY leader. I am now going to undertake my Four Seasons,one by Ozawa on Telarc new audio/video hobby my way, with and the other by Hogwood on L'Oiseau- Congratulations to STEREO REVIEW my tastes, my ears, and my prefer- Lyre. Both last well under forty-five and Julian Hirsch for his December col- ences. minutes, so you can fit either of them umn. Sanitydoesmake a difference! M. WEBBER on one side of a standard ninety -minute CARLOS E. BAUZA Poplar Bluff, MO cassette. San Juan, PR WILLIAM G. NABOR Mission Viejo, CA I wish I had read "Does It Make a Unfinished Difference?" a few months ago. Anx- On page 61 in the January issue, the ious to upgrade an already good set of Maxell Corporation presents an adver- Rodrigues Rerun audio components, I launched into a tisement that would be very clever but May we conclude that the reappear - spec -reading, brochure -ordering, price- for some errors. Schubert's reasons for ante on page 50 in the January 1990 comparing,audition -hungry frenzy. never completing theUnfinishedSym- issue of the cartoon on page 78 in the Why? Because I chose to swallow the phony are still unknown, but it had December 1989 issue is the result of elitist fodder of "underground" audio nothing to do with his demise; it was two-times oversampling? publications. left unfinished long before his death. J. M. WHALEY Now displayed in our living room is And the symphony is not, as shown on El Dorado, AR

MasterMind. Finally, A Universal Controller That Doesn't Requirea Rocket Scientist to Operate. Before MasterMind, it took hours of needed to operate infra red controllers frustration to program a universal used with over 1(X)0 top components. controller for your system. Now you can MasterMind can instantly control TV, kiss all your old remotes goodbye! CABLE, VCR, CDV, TUNER, AMP CD Everything is easily under control and DAT. with the MasterMind PreProgrammed No other controller is remotely Memory Remote Control. MasterMind comparable. For your nearest has already memorized all commands MasterMind dealer call 516-496-3400. CIRCLE NO 40 ON READER SERVICE CARD

CABLE VCR CDV TUNER AMP CD ABLE VCR CDV TUNER A' P CD DAT TV CABLE VCR CDV TUNER AMP CD DATTV CABLE VCP TUNER AMP CD DAT TV CABLE VCR CDV TUNERAMP CD DAT r 1,%44), LETTERS

Did you ever have that feeling of deft) Month") of Linda Ronstadt's latest, few. Even Ruben Blades, who is Pana- vu? Come on, guys, it's a good car- "Cry Like a Rainstorm, Howl Like the manian, got his first big break from sal- toon-it's not a great cartoon. Wind": Don't get me wrong. I like Lin- sa great Willie Colon. STEVENJ.HALLER da Ronstadt-great career, someCOM- ROBERT GUZMAN Oak Park, MI mendable risk -taking, strong perform- Buffalo, NY ances, etc. But calling this "the first true We think all of Charles Rodrigues's car- pop -rock album"?! Please! There are loons are great, but the encore was unin- many candidates for that, er, honor, but Corrections tentional. Ms. Ronstadt's disc is certainly not In February's test report on the Grun- among them. It's a pretty good pop dig Fine Arts CCT-903 cassette deck, album, but there's not an ounce of rock the curves inthe playback -onlyre- Best Bruckner in it. My vote would go to the Beatles' sponse graph on page 55 were incorrect - David Hall's review of Herbert von "Please Please Me." Now there was a ly identified. The red curves are for Karajan's last recording of the Bruckner true synthesis of the genres. Deck B, the blue curves for Deck A. Eighth Symphony (January "Best Re- DAVID ARGENTIERI Ortofon, which distributes Dual com- cordings of the Month") listed the ver- Silver Spring, MD ponents as well as its own brands, was sions by Giulini and Haitink as rivals. inadvertently omitted from the "Direc- Having listened to all three versions, 1 tory of Manufacturers" on pages 137- must recommend an even greater per- The Real'Salsa 138 in February. Its U.S. address is 122 formance, the one by Gunter Wand December "Record Makers" says that Dupont St., Plainview, NY 11803; tele- with the North German Radio Orches- David Byrne's most recent album, "Rei phone (516) 349-9180. Also, Rogers tra (RCA 60365 -2 -RC). Momo," pays homage to "Mexican" Loudspeakers has moved. The current CHARLESFORD salsa. The salsa genre is mostly Puerto address and phone number are P.O. Portland, OR Rican, not Mexican. For the past thirty Box 381, Highland Lakes, NJ 07422 - years (since the fall of Cuba in 1959), 0381; (201) 764-8958. And Thorens almost all of the salsa greats have been turntables are no longer distributed by Rocking RonstacIt? from Puerto Rico: El Gran Combo, La Epicure/EPI but by BLR Electronics, Regarding Ron Givens's December Sonora Poncena, Fania All Stars, Rey Inc., 84-03 Cuthbert Rd., Kew Gardens, review (in"Best Recordings of the Barreto, and Willie Colon, to name a NY 11415; (718) 441-2696. U

harman/kardon

AMP CD DAT TV CABLE VCR CDV TUNER ,CR CDV TUNER AMP CD DAT TV CABLE VCR C AT TV CABLE VCR CDV TUNER AMP CD DAT TV CA Now that the digital Compact Disc isamusical triumph, Sonypresents theencore.

SONY vat loaf 11.11 aim - 11E7L B`d - NEN immtl DILiITRL2 SION =MI Ili, OM= 1111111 ENV

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VICIE03 BALANCE 0 000 (1 Ma COMM.00111.0114 , EMSTaRE0/"..-Ala REC.1.0 STR-02010 a 1

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n ro s acing e wor . sirs in ony s 'eceiver, 1' rep aces conven- Digital Signal Processing Receiver. tional tone controls with the pinpoint precision of a digital Sony has news for the millions of music lovers who parametric equalizer. We've equipped our Dolby Surround hailed our invention of the Compact Disc. That was merely circuitry with digital delay and digital noise reduction for our first act in digital audio. Now comes the world pre- eye-opening playback of movie soundtracks. And DSP miere of Act II: Sony AM/FM Stereo Receivers with DSP. places your music into a choice of Hall, Stadium and Live DSP stands for Digital Signal Processing, a Sony rev- soundfields. Direct digital inputs for your Compact Disc olution that gives you note -by -note control over every player, digital dynamic suppression, and 130 watts per aspect of your music.Yet with all this control, DSP actually channel (front) plus 15 watts per channel (rear) combine to maintains the Compact Disc's sound quality throughout reserve a place in hi-fi history for the D2010.* your high fidelity system. This is technology no analog To audition the STR-D2010 with DSP and the entire component can equal, resulting in sonic purity no analog line of Sony Receivers, visit your Sony high fidelity dealer. component can match. And be prepared to applaud. SONY THE LEADER IN DIGITAL AUDIO

Copyright 1989 Sony Corporation of America All Rights Reserved Sony and f he Leader in Digital Audio ore trademarks of Sony. Dolby is a trademarkof Dolby Laboratories licensing Corp 'For those who read footnotes, the 02010 also has audio/video switching, programmable remote control. Sony's low -noise Direct Comparator FM tuning, discrete output transistors and front power output of 130watts per chcont RMS, both ch driven into 8 ohms, 20-20,000 Hz, 0 008%1110, rear power output of IS watts per coot RMS, both ch driven into 8 ohms, 20-20,000 Hz, 0 0 8% THD CIRCLE NO. 106 ON READER SERVICE CARD GOLDSTANDS Goldstands speaker stands, made of medium -density fiberboard finished in satin black lacquer, come completely assembled. Rubber pads on top of the pedestals protect and grip speakers. The bases are available in walnut, oak, or whitefinish.Optionsincludebase spikes and sand or lead -shot filler for the uprights. The smallest stand is the 4 -inch -high,singlepedestal GSM -1 (lower right in photo), the largest the 22 - inch -high, multipedestal GS -5 (lower left). Prices range from $24.95 a pair for the GSM -1 to $174.95 a pair for the GS - 5 (plus shipping). Goldstands, Dept. SR, 229 Nassau Rd., Huntington, NY 11743. Circle 125 on reader service card

CARRERA The Carrera CD -3200 compact disc and total harmonic distortion as 0.01 player uses a double-oversampling digi- percent. It can repeat a track or disc. tal filter and has a digital output. The Price: $199.95. Distributed by Trans specifications giveitsfrequencyre- Pacific Marketing, Dept. SR, 1230 Calle sponse as 20 to 20,000 Hz ±0.5 dB, sig- Suerte, Camarillo, CA 93010. nal-to-noise ratio as greater than 95 dB, Circle 126 on reader service card

ALTEC LANSING Each satellite speaker in Altec Lans- 90 dB sound -pressure level atI meter ing's three-piece System 3 has two 3 - with a1 -watt input. Nominal imped- INFINITY inch woofers with polypropylene -car- ance is 4 ohms, and recommended am- The ERS 800 ispart of Infinity's bon cones and a1/2 -inch ferrofluid- plifier power is 10 to 100 watts. Dimen- Environmental Reference Standard se- cooled dome tweeter. The nondirec- sions are 113'4 x 91/2 x 1934 inches for the ries of flush -mount in -wall speakers. It tional Multipath Subwoofer, which can subwoofer and 81/2 x 4 x 414 inches for uses a shallow, minimum -diffraction, be anywhere in a room, has two 8 -inch each of thesatellites. System price: injection -molded baffle and patented long -throw polypropylene -carbon woof- $600. Altec Lansing, Dept. SR, Milford, mounting hardware that's said to pro- ers. Frequency response of the system is PA 18337. vide maximum rigidity and ease of rated as 30 to 20,000 Hz, sensitivity as Circle 127 on reader service card installation. The driver complement includes Infinity's own 8 -inch long -throw woofer and EMIT K tweeter, which can be rotated for optimum frequency response and dispersionwhether the speaker is mounted horizontally or vertically. Frequency response is rated as 50 to 45,000 Hz ±3 dB and sensitivity as 85 dB sound -pressure level at I meter with aI -watt input. Nominal impedance is 4 ohms. Price: $552 a pair, $48 for the bracket kit.Infinity Systems, Dept. SR, 9409 Owensmouth Ave., Chatsworth, CA 9131 I . Circle 128 on reader service card

STEREO REVIEW MARCH1990 13 The SRS Series

SRS 2.3 tl 111111111111111M111111111111111111

"The sound is superbly balanced and totally effortless."Stereo Rote% Nagaroo "Matthew Polk's SRS Speakers Bring You the Ultimate Listening Experience"

"Spectacular... it is quite an experience."Stereo Review Magazine

The Joy of Owning the Ultimate Dream Polk Audio's SRS: The Quest for Perfection Speakers The goal of Matthew Polk's Signature Reference System (SRS) speakers is to bring an unparalleled Music lovers who are privileged to own a pair of level of life -like musical reproduction to your home. Perfect musical reproduction, long the dream SRS's will share in Matthew Polk's dream every time of every speaker designer, is approached so closely by Matthew Polk's SRS's that it will seem as if they sit down and enjoy the spine -tingling excite- the musicians are performing right in your listening room. This stunning achievement combines ment of listening to their favorite music. Demon- technology and creative insight to bring you a listening experience that you will never forget. strating them to admiring friends ultimately increases their pride -of -ownership. "Awesome is 1. Patented SDA True Stereo Technology - The first and only speaker systems to maintain the word most often used to describe the sound offull stereo separation all the way from the source to your ears. an SRS system. They are capable of playing at live SRS speakers seem to disappear as musical images fill your listening room and seem concert levels for long periods of time, with a sur- to immerse you in a fully three-dimensional prising lack of effort and without producing ear - soundfield of startling realism. fatigue.

The bass response can literally move your body any 2. Multiple Driver Arrays - The use of time the music requires it, yet they perfectly repro- multiple drivers allows each separate element to duce all of the subtle nuances of a string quartet and work less hard and lowers distortion even at live are just as enjoyable at a low volume level as when concert levels. Power handling is increased to played loud. Music and ambience surround the 1,000 watts per channel, providing a seemingly listener in an almost 360 -degree panorama of sonic limitless dynamic range. splendor that is, in the words of High Fidelity magazine, "Mind-boggling....Astounding....Flab- 3. Time -Compensated Driver Alignment- bergasting." But words alone cannot possibly de- Time-coherent driver placement insures that the scribe the experience of listening to these ultimate entire spectrum of sounds reaches your ears at the speaker systems, you simply must hear them. same time. The sound is better focused, balanced and less fatiguing. SRS 1.2 tl 4. Wavelength Optimized Line -Source - Ver- fieo time Audio Video Grand Prix Winner tical driver arrays focus the sound waves into the The ultimate expression of Polk technology, this room in a way which greatly reduces floor and limited production flagship model sets the industry ceiling reflections. Progressive reduction of the Matthew Polk with the ultimate standards for imaging, detail, dynamic range. and expressions of loudspeaker tech- bass reproduction. acoustical length of the arrays maintains constant vertical dispersion nology: The SRS 1.2 tl and SRS 2.3 ti. and eliminates "comb" filtering effects that limit other multiple driver systems. The result is extraordinary clarity and detail, great flexibility SRS 2.3 tl in room placement and precise stereo imaging from virtually any Audio Video Grand Prix Winner place in the room. This scaled -down version of the SRS 1.2 tl incorporates all of flagship's design innovations without sig- 5. Planar 15" subwoofer - SRS bass performance is breathtaking. The use of small active nificantly compromising its awesome performance. drivers (eight in the SRS 1.2 d, six in the SRS 2.3 tl) coupled to a huge sub -bass radiator achieves a bass response that is extraordinarily tight, fast (no boominess), deep and distortion free. In fact, the distortion at 25 Hz is lower than that of many audiophile -quality tube amplifiers. 6. Bi-amp Capability - The optional use of separate amplifiers for the high and low frequencies further improves clarity, lowers distortion and increases dynamic range.

7. Hand -Crafted Limited Production -The one-at-a-6me attention that goes into the production of every Polk SRS speaker system means that your pair will sound and look as good as Matthew Polk's own. Where to buy Polk Speakers? For your nearest dealer, see page 104. polk audio IN.*caker ,4,Riahst, CIRCLE NO 90 ON READER SERVICE CARD 5601 Metro Drive Baltimore, Maryland 21215 OM 358-3600 NEW PRODUCTS

SANSUI

'111111b- The remote -controlled Vintage AU - X6 II AV from Sansui is an 80 -watt -per - channel integrated amplifier. The audio NIUMISO w..,,.n w X611AV section has remote input and output 11111111111111111111 switching, a source -direct switch to by- passthepreamplifier, a high -gain phono equalizer, and a three -position record selector. There are four video inputs, two of them with parallel S -video terminals, and three video outputs with parallel S -video terminals. The use of a pair of wide -band (8 -MHz) video buffer amps is said to insure a superb signal-to-noiseratio and exceptional picture brightness. There are separate transformer -coil windings for the audio and video sections for better isolation. Price: $750. Sansui Electronics, Dept. SR, 1250 Valley Brook Ave., Lynd- hurst, NJ 07071. Circle 129 on reader service card

DYNASOUND Dynasound Organizer's Model 53002 entertainmentstoragecenterisde- signed to hold up to sixty CD'S, forty- two audio cassettes, or thirty Nintendo video game cartridges. Measuring 161/2 x 10 x 4314 inches, it can be placed on a TV set, shelves, a bookcase, or a desk. It is made of solid oak with a lacquer finish. Price: $29.95. Dynasound Organiz- er, Dept. SR, 2516 Wabash Ave., St. Paul, MN 55114. Circle 130 on reader service card

QED AUDIO PRODUCTS QED's line of mini amplifiers is de- BLAUPUNKT signed to provide several useful features The trunk -mounted CDC 01 is Blau- fifty selections in any order from any that are often left out of today's better punkt's first car CD changer system. The disc. The Commander also controls vol- audio and video equipment. The head- trunk unit holds up to twelve CD'S in ume, balance, fader, bass, treble, and phone amplifier (top in photo), for use two six -disc magazines. The remote loudness compensation. A preamplifier with preamplifiers or TV sets that lack a Commander, measuringabout 634 control interface links the Commander headphone jack, is driven from a tape inches wide, 2 inches high, and 1 inch and the trunk unit to the rest of the car or line -level output. The microphone deep, is designed to be mounted almost stereo system. There are also preamp amplifier(middle)providesmicro- anywhere inside the passenger compart- outputs for direct connection to a power phone inputs for tape recorders that ment. Connected to the trunk unit by amplifier. Prices: $629.95 for the chang- lack them, with switchable sensitivity cable, the Commander operates and er, $249.95 for the remote Commander. and impedance characteristics to suit programs the changer. The CDC 01 fea- Blaupunkt, Dept. SR, 2800 S. 25th different microphones. The R.I.A.A. tures repeat and random -play modes Ave., Broadview, IL 60153. preamplifier (bottom) is designed to and can be programmed to play up to Circle 132 on reader service card permit a turntable to be used with a passive preamplifier or other control component thatlacks phono stages.It boosts a cartridge's output to line level and applies the correct phono equalization. All three amps measure 7 x 43/4 x 11/2 inches, and all require a 12- or 24 - volt external DC power supply. Prices: $160 each. Distributed in the U.S. by May Audio, Inc., Dept. SR, P.O. Box 1048, Champlain, NY 12919. Circle 131 on reader service card

16 STEREO REVIEW MARCH 1990 DISCS, DISCS, DISCS, DISCS! PICK ANY 8 CDs FOR A PENNY PLUS A CHANCE TO GET ONE MORE CD -FREE! plus shipping handling with membership Details on other side

TON PETTY

Paula Abdul -Forever YourRolling Stones -Steel Wheels.lfacy Chapman -Crossroads.Tom Petty -Full Moon Cher -Heart Of Stone. If Motley Crue-Dr. Feelgood. Girl. Cold Hearted; Straight Mixed Emotions, Sad. Sad. Sad: Title cut plus Bridges; Subcity; Fever. Free Fallin'; I Won't I Could Turn Back Time, plusTitle cut plus Without You; Up, more (Virgin) 374.637etc (Rolling Stones Rec.) 387.738This Time: etc. (Elektra) 30951Back Down; etc. (MCA) 382484 more (Geffen) 383.893TnT; etc (Elektra) 30944

Belinda Carlisle - The Best Of Luther Bob Dylan -Oh Mercy Rickle Lee Jones -Flying Taylor Dayne-CE n't Fight Placido Domingo -The Runaway Horses (RCA) Vandross-The Best Of (Columbia) 389.262 Cowboys (Geffen) 388-199 Fate (Arista) 388.017 Unknown Puccini Dave Grusin -Migration (CBS Master) 387.829 400.788 Love lFplcl The Best 01 The Dregs - Eagles -Live (Elektra) The Front (Columbia) 400 -473/390476 400.713 (CRP) 400.044 The Best Of Tim Curry Divided We Stand (Arista) (PAM) 388.926 400.903 The Band -To Kingdom 386.979 Elton John -Greatest Hits Jack Bruce -A OJestion (MCA) 319.541 Of Time (Epic) 389.981 Barry White -The Man Is Pia Zadora-Pia Z Come (Capitol) 388.181 Best Of The Doors 401.703 SOS Band -Diamonds In Back! (ABM) 388.843 (CBS Associated) (Elektra)357-616/397.612 The Babys-The Babys Best Of Cher (EMI) Anthology (Chrysalis) The Raw (Tabu) 389.973 Liszt: Piano Sonata; Dionne Warwick - 381.509 Rolling Stones -Exile On 3 Petrarca Sonnets. more Greatest Hits (1979-19901 312.256 Ferrante And The Bo Diddley Is A Main Street Phantom (Bainbridge) Vladimir Feltsman, Piano (Arista) 401.679 (Rolling Stones Rec ) Creedence Clearwater Gunslinger (Chess) Revival -20 Greatest Hits 389.957 (CBS Master) 388.538 Loverboy-Big Ones 379.677 350.652 308049 Jethro Tull (Columbia) 401.661 N.R.B.O.-Wild Weekend Crosby, Stills, Nash and Rolling Stones -Sticky 389.882 (Chrysalis) 388-157 Fingers (Rolling The Best Of Emerson, (Virgin) Pat Benatar-Best Shots Young -So Far (Atlantic) Neil Young -Freedom (Chrysalis) 401-646 Stones Rec) 350.645 Lake 8 Palmer (Atlantic) Harry Belafonte Live 378.745 306 969 (EMI America) 389.775 (Reprise) 388.132 Neville Marriner, Cond.- Roy Orbison-The All - Jethro Tull -Aqualung Lou Gramm -Long Hard Handel. Water Music (Chrysalis) 345.157 Best Of The Grateful Randy Travis -No Holdin' Time Hits. Vols. 18 2 Dead (Warner Bros ) Back (Warner Bros ) Look (Atlantic) 388.108 Academy Of St. Martin -In - (Columba Special Prod ) Best Of Procol Harum 291.633 389.767 Yo -Yo Ma/Stephane The -Fields (Angel) 401.638 377.945 (Mkt) 344.457 Yo -Yo Ma -Great Cello Best Of The Dooble Bros. Molly Hatchet -Lightning Grapelli-Anything Goes. The Who -Who's Better. The Byrds-Greatest Hits (Warner Bros) 291.278 Strikes Twice (Capitol) Mostly Cole Porter Tunes Concertos (CBS Master) Who's Best (MCA) 376.657 (Columba) 342.501 387.845 401:604 Beethoven -Symphonies 389.346 (CBS) The Very Best of Poco Bad Company -10 From 6 Nos. 4 And 5. Norrington, The Islay Brothers - Schumann: Carnaval Best Of The Canadian (Epic) 367.623 (Atlantic) 341.313 Spend The Night Papillons; etc. Andrei Brass (CBS Masterworks) London Classical Players 401.596 Joni Mitchell -Court and A Decade Of Steely Dan (Angel) 400.184 (Warner Bros) 389.148 Gavrilov(Angel) 387.837 Spark (Asylum) 367.102 (MCA) 341.073 Ars-Truth In A Structured Young Mc -Stone Cold Maze -Silky Soul Jimmy Buffett -Off To (Warner Bros ) Form (Imagine) 401.539 Traffic -John Barleycorn Best Of Kansas' Rhymin' (Delicious Vinyl) 389.098 See The Lizard (MCA) Must Die (Island)364.935 (CBS Assoc) 327.742 400.085 The Cars-Greatast Hits 387.340 Survivor -Greatest Hits Foreigner -Records (Scott, Brothers) 401.521 Van Morrison -Saint Joe Cocker -Greatest Lee Rittenour-Color Rit (Elektra) 339.903 Dominic's Preview Hits (A8M) 320.911 (GRP) 400.051 Elton John -Sleeping (Atlantic) 318-055 Next Of Kin -Ong. Sound (Warner Bros) 364.927 With The Past (MCA) Joe Cocker -One Night Track .mbia)401.323 Gold & Platinum Volume Yellowlackets-The Spin Little Feat -Dixie Chicken Six (Realm) 388-355 (MCA) 388-173 387.993 Of Sin (Capitol) 387.084 (Warner Bros ) 363.515 Joe Setriani-Flying In A r Blue Dream (Relativity) 400.655 NO POSTAGE Original Sound Track - Strait No Chaser Music NECESSARY Yom the Motion Picture IF MAILED rhelonious Monk Columbia) 400.614 IN THE leorgia Satellites -In UNITED STATES The Land Of Salvation And Melissa Etheridge -- 400.598 Brave And Crazy nslarsi) Sin (Elektra) 388.090 Charlie Daniels Band - BUSINESS REPLY MAIL Bruce Willis -It It Don't Simple Man (Epic) 400.523 FIRST CLASS PERMIT NO. 660 TERRE HAUTE, IN Kill You, It Just Makes You Reba McEntire -Live Stronger (Motown) 401.182 (MCA) 400-739 Do The Right Thing - Original Sound Track POSTAGE WILL BE PAID BY ADDRESSEE Featuring: Branford Marsalis (Columbia) 401.117 Bros -The Time (Epic) 400.895 Billy Ocean -Greatest CBS/Columbia I louse Hits (Jove/RCA) 400-879 Carpenters-Love)ines 1400 NORTH FRUITRIDGE AVENUE (PAM) 388.942 Brahma: Violin Concerto, Stephen Bishop - Bruch: Concerto No 1 TERRE HAUTE, IN 47812-9202 Bowling In Paris (Atlantic) Nadia Salerno - 400.762 Sonnenberg. Edo De Waart and Minnesota Paul Simon -Negotiations Orch.(Angel) 400.135 And Love Songs (Warner Bros ) Michel Camilo-On Fire

(Epic) 389.999 1 1 1 400.721 1.1..111 1 1 II11 I11 II 1 1.11.11 III 1.111 ..... 1.1.1.1,1

wow. wor.sor-s.mommomm Linda Ronstadt-Cry Like A Rainstorm Howl Janet Jackson -Rhythm Nation 1814. Aer,:sinith-Farrp. Love In An Squeeze -Frank. Dr Jazz. Rose I Said. Like The Wind. ( Elektra) 389.874 Miss You Much. more (ABM) 388.913 Elevator, more. (Geffen) 388.009 Peyton Place more (ABM) 388.058 NyAN D A CHANCE TO GET ONE MORE CD -FREE! ANY 8 CDs FOR APEN plus shipping/handling Ziggy Marley & The Pat Metheny Group - Fine Young Cannibals - Melody Makers -One Letter From Home (Geffen) Milli Vanilli-Girl You Bright Day (V1rgfn) 386.987 The Raw And The Cooked Know It's True (Arista) 383.901 379.214 George Clinton -The On The Cutting Edge 379.610 Michael Bolton -Soul Rachmaninoff : Piano Cinderella Theory Provider (Columbia) Steve Reich: Different (Pa,siey Park) Concerto No 3. Rhapsody Trains - Kronos Quartet / 387-134 383.083 On Theme The B -52's -Cosmic Sugarcu'oes-Here Today, Electric Counterpoint - Pat Dave Edmunds -Closer Stravinsky: Firebird; Of Paganini. Vladimir Metheny( Nonesuch) To The Flame Thing (Reprise) 383-877 Tomorrow, Next Week Jeu de Cartes. Esa-Pekka (Elektra) 388.900 Feltsman: Zubin Mehta. 380.071 (Cacao!) 387.126 Salonen, Philharmonia Paul Carrack-Groove Israel Philharm. (CBS Master) 385.203 Approved (Chrysalis) Big Audio Dynamite- (CBS Master) 383.315 401.257 Megatop Phoenix Clarence Clemons -A Youasou N' Dour -The (Columbia) 388.215 Lion (Virgin) 384.362 Kate Bush -The Sensual Night With Mr C World (Columbia) 401.232 (Columbia) 383.067 Anderson, Bruford, Jot -in Hiatt-Y'all Caught Wakemen, Howe (Arista) Camcuflage-Me thods 01 (Green) 388.116 Johnny Mathis -In The 384115 Silence (Atlantic)400-929 Still Of The Night Camper Van Beethoven (Columbia) 383-042 Dr. John -In A Jonathan Richman -Key Lime Pie Sentimental Mood (Rounder) 400861 388-074 Berlioz: Symphonie Fan- tastique Norrinton. (Warner Bros) 384.040 Jane Siberry-Bound By Syd Straw -Surprise The Beauty (Reprise) London Classical Players Harry Connick:Jr. Terence Trent D'Arby- Diana Ross -Working (Virgin) 386.995 (Angel) 382.747 Overtime (Motown) 400.804 When Harry Met Sally - Neither Fish Nor Flesh Chris !seek -Heart Liza Minnelli-Results Original Soundtrack (Columbia) 389.726 383.984 The Psychedelic Furs - Shaped World (Reprise) (Enc) 382-333 (Columba) 386.821 The Beach Boys -Still Tin Machine (EMI) Book Of Days (Columbia) 386.144 L.L. Cool J -Walking With Warrant -Dirty Rotten Cruising (Capitol) 387.092 383.976 400.689 Paul Kelly And The Exene Zervenka-Old A Panther Filthy Stinking Rich Paul Shaffer -Coast To Batman -Original Messengers -Sc Much (Del Jam f Columbia) (Columba) 379.644 Coast (Carato,1 386.276 Soundtrack (Warner Bros.) Wives Tales (Rh:no) Water So Close To Home 400.622 381.988 Skid RowIAranr Boogie Down 383.885 (A.F.V; 384.321 The Alarm -Change The Dirty Dozen Band - 379.602 Productions -Ghetto Beastle Boys -Paul's Bryan Ferry / Ro-,,,y Music Voodoo .mtial Music: Blue Print 01 Hip Boutique (Capitol) 383.786 (I R S ) 400465 -Street Life ;Renisel Madonna -Like A Prayer 381.962 (Sire) 379.594 Hop (Jive/RCA) 386.193 Billy Squler-Hear And Indigo Girls -Strange Fire 384-230 The Neville Brothers - Hooters-Zig-Zag Now (Capitol) 383.760 (Ppm) 400.333 Bodeans-Home Yellow Moon (ABM) (Columbia) 379-396 Ackson Browne -World Max 0 400.077 (Reprice.Slash) 384.206 381.889 In Motion (Pektra) 383.752 The Residents -The King The Call -Let The Day Branford Marsalis-Trio Spyro Gyre -Point Of And Eye (E^:gire) 400036 Begin (MCA) 384.156 Jeepy (Col,imbia) 381.830 View (MCA) 383.737 Joe Strummer - Peter Gabriel -Passion Todd Rundgren-Nearly Larry Carlton -On Solid Earthquake Weather (Epic) (Getter? 383.810 Human (Warner Bros I Ground (MCA) 383.661 400010 Lloyd Cole & The 381.780 Reba McEntire -Sweet Nick Lowe-Basher The Commotions-1284-1989 Miles Davis-Amandla Sixteen (MCA) 383.562 Best OF Nick Lowe (Capitol) 383.778 (Warner Bros) 381-756 (Columbia) 400.002 k.d. tang And The Queen -The Miracle Pixies -Doolittle .Elektra) Grateful Dead -Built To Vitamin Z -Sharp Stone 382.887 Reclines -Absolute Torch Last (Arista` 388.025 (Cap.,I) 383.547 Rain (Geffen) 389-601 & Twang (Sire) 381.624 Babyface-Tender Love Jean Luc Ponty-In The David Byrne-Rei Momo The The -Mind Bomb Stevie Nicks -The Other Storm Front (Columbia) 387.902 (Epic) 386.177 Fast Lane nr:::mhia; (S -e) 389-494 (Epic) 382.382 Side Of The Mirror 383.521 Marshall Crenshaw - Red Hot Chili Peppers - The Cure -Disintegration (f.1,-)klern 381.103 Enrico Caruso -Opera Good Evening Bonham -The Disregard Mother's Milk (EMI) (Electra) 382-093 Jody Watley -Larger Arias and Songs. Milan 01 Timekeeping 1902.1904 (Angel) 379.255 (Warner Bros) 386.110 389.205 10,000 Maniacs -Blind Than Life (MCA) 381.061 (WTG) 383.497 Steve Stevens Atomic The Ocean Blue Man's Zoo (Elektrai Dolly Parton -White Portrait Of Vladimir Horowitz -Mozart. Playboys (Warner Bros ) Mozart: Flute Concer- (Si fc onse) 389.197 382.077 Limozeen (Columbia) 386.086 tos; Adante: Rondo. China Crisis -The Diary 380.725 Beethoven. Chopin, etc. Jean-Pierre Rampal And Debbie Harry -Del, (CBS Master) 378.604 Jefferson Airplane (Epic) Dumb 8 Blonde of a Hollow Horse (ABM) Zubin Mehta, Israel Phil. Wynton Marsalis-The Cyndi Lauper-A Night To 385-906 (CBS Master) 383.364 (Sire/Repr-e) 383.130 381.897 Indigo Girls (Epic)381269 Majesty Of The Blues Remember (Epic) 377.887 Pete Townshend-T he Haydn: Piano Sonatas Thompson 11ivins-Big (Cn.lim ha) 380.394 Iron Man (Atlantic) 385.724 Trash (Warner Bros ) Debbie Gibson -Electric 33, 38, 58, 60. Emanuel Ax R.E.M.-Green Youth (Atlantic) 377.275 RIppIngtons-Tourist In (CBS Master) 383.331 389.114 (Warner Bros ) 375.162 Jeff Beck , ) 380-303 Paradise (GRP) 385658 Guns N' Roses-GN'R Don Henley -The End Of The Chick Corea Lies (Geffen) 376.087 Soul II Soul -Keep On The Inneccnce (Ge'lJn) Richard Marx -Repeat Gloria Estefan-Cuts Akoustic Band .Cirrr.: Journey's Greatest Movin' (Virgin) 386.037 383.802 Offender (EMI) 380.915 Both Ways (Epic)382.341 379-891 Hits(Columbia) 375.279 c 1990 CBS Records Inc SEND NO MONEY -JUST MAIL POSTPAID CARD Anytime you can get 8 CDs fors penny -that's a sound investmentl Send these 8 CDs for 14 That s right -as your introduction to the Club. you can choose any 8 CDs CBS/Columbia souse, 1400 N. Fruitridge Ave. listed in this ad -all 8 are yours for only K. plus shipping and handling. P.O. Box 1129, Terre Haute, IN 47811-1129 And in exchange, you simply agree to buy 6 more CDs (at regular Club prices) in the next 3 years -and you may cancel your membership Please accept my membership application under the terms outlined in this anytime after doing so advertisement. Send my 8 Compact Discs and bill me only 4 plus :3 -hipping How the Club works: About every four weeks (13 times a year) you'll and handling. I agree to buy six selections at regular Club prices in the coming receive the Clubs music magazine, which describes the Selection of the three years -and may cancel membership at any time after doing so. Month -plus many exciting alternates. new hits and old favorites from My main musical interest is (check one): (But l may always chcose from any category) every field of music. In addition, up to six times a year. you may receive offers of Special Selections. usually at a discount off regular Club -noes. 1Hard Rock LlSoft Rock 1Modern Rock Li Pop for a total of up to 19 buying opportunities Rolling Stones. Tina Turner, Sugarcubes, Big Barbra Streisand. If you wish to receive the Selection of the Month. you need do Aerosmith Gloria Este fan Audio Dynamite Barry Manilow nothing -it will be shipped automaticallyIf you prefer an alternate Heavy Metal Li Black Music i .1Easy Listening Li Country selection. or none at all.fill in the response card always provided and Mbtley Crue. Babyface. Johnny Mathis. 0 Jazz mail it by the date specified. You will always have at least 10 days in Skid Row Soul Ii Soul Ray Conni II 0 Classical* which to make your decision. If you ever receive any Selection without Mr. having 10 days to decide. you may return it at our expense. Mrs. The CDs you order during your membership will be billed at regular Miss Club prices, which currently are $12.98 to $15.98 -plus shipping and handling. (Multiple -unit sets may be somewhat higher) Al ter completing Extra Bonus Offer: your enrollment agreement you may cancel membershp at any time if Address Apt LJ also send one more CD you decide to continue as a member you'll be eligible for our bonus plan right now, for which I will be It buy one CD at half price for each coyou buy at regular Club bulled only $6.95 prices City 10 -Day Free Trial: Well send details of the Clubs operation withyour introductory shipmentIf you are not satisfied for any reason, return L everything within 10 days and you will have no further obligation. State Zip and I'm entitled to get Extra Bonus Offer: As a special offer to new members. takeone Do you hove o Vc111 (04) 0 Yes 0 No 202/890 this extra CD FREEI additional CD right now for only $6.95 This discount purchase entitles Do you hove o craft cord? (03) 0 Yes 0 No you to choose an extra CD as a bonus FREE And you'll receive your Note we reserve ire hgnt 10 reieC1 any application or cancel any men, discounted CO and your bonus CD with your 8 introductory selections bef snip ()nets nor avallable in APO GPO Alaska Hawaii Puede Rico -that's 10 CDs in all' Send no money now -lust mail the postpaid card. write tor details xi alternative oiler Canadian omdents sennced from Toronto applicable Sales tag added 10 ad orders 'ClaaNcal members Selections with two numbers contain 2 CDs and count as 2 -so write in both numbers serviced by the CBS Cass cal Club XE5 r-6 XE659 4K2/ZX 4K3,18 (:BS(' MBIlk )1 SE: Terre Haute. I \ -f7811 NEW PRODUCTS

SPEAKERLAB The Auricle RD57 from Speakerlab is a planar -dipole ribbon driver rated for a response from 145 to 20,000 Hz ± 3 dB. A notch filter is recommended to shape a mild resonance at 6,000 Hz, and a totalbafflewidth of12inchesis required. The Auricle has a 54 -inch - long Kapton diaphragm, corrugated to eliminate surface standing -wave reso- nances and laminated with pure aluminum; it uses ten pounds of ceramic bar MARAN1'Z magnets. The purely resistive imped- The Marantz Century RS -3559 re- ty station presets and a preset -scan fea- ance is 4.5 ohms, and sensitivity is rated ceiver has five channels of amplifica- ture. The three video inputs all switch as 90 dB sound -pressure level at I meter tion. The main front channels are each composite video signals as well as ster- witha 1 -wattinput.Weightis25 rated for 125 watts rms, and the rear eo audio. The supplied remote control pounds. Price: $499.95 each finished in channels are each rated for 20 watts. can also operate the Marantz Century dark -gray, catalyzed -polyurethane ena- There is also a mono center channel for CD player and cassette deck. Finish is mel; $650 each in brushed stainless dialogue. The receiver provides Dolby brushed -gold aluminum with optional steel.Availablefactory -directonly. Pro Logic decoding and has Marantz's lacquered -rosewoodsidepanelsor Speakerlab, Dept. SR, 6307 Roosevelt own Acoustic Variable Space Enhance- matte -black aluminumsides. Price: Way N.E., Seattle, WA 98115. ment digital delay system. A CD Direct $1,000. Marantz, Dept. SR, P.O. Box Circle 134 on reader service card switch enables users to bypass all signal - 2066, Aurora, IL 60507. processing circuitry. The tuner has thir- Circle 133 on reader service card

JACKSON LOUDSPEAKER Jackson's Auralight series of speaker impedance of 8 ohms for the satellites, 8 systems all use a patented sealed enclo- ohms per input for the subwoofer. sure that is said to provide better tran- Dimensions are 131/2x 71/2x 41/4 sient response than earlier "air -suspen- inches for the AU -3, 171/2 x 111/2 x 73/4 sion" designs. The series consists (left to inches for the AU -6, and 18 x 171/2 x right in photo) of the two-way AU -3 181/2 inches for the AU -20. Prices: $929 and AU -6 satellites (the AU -6 includes and $1,799 per pair, respectively, for All product information is provided a supertweeter) and the AU -20 sub - the AU -3 and AU -6, $899 for the AU - by the manufacturers and does not woofer. Specifications include a sensi- 20 in the standard Navajo -white finish; represent the results of tests or tivity of 87 dB for the satellites, 90 dB optional satin, enamel, and custom fin- evaluations bySTEREO REVIEW. for the subwoofer; frequency response ishes cost more. Jackson Loudspeaker Suggested retail prices were current (± 3 dB) of 85 to 20.000 Hz for the AU -3. Company, Dept. SR, 1326 N. 32nd St., as of press time but are subject to 48 to 20,000 Hz for the AU -6. and 33 to Phoenix, AZ 85008. change without notice. 125 Hz for the AU -20; and average Circle 135 on reader service card

S I ERE() REVIEW MAIO:111990 17 Denon Studio A: All our components reflect lessons learned It stands to reason that the cassette decks in the recording studio. built most like studio tape recorders will produce the highest quality home recordings.

The benefits of building home cassette decks with recording studio technology are even greater when the technology is your own.

Since 1910, Denon has been involved in every step of sound reproduction: recording music, making records and CDs, building studio tape recorders and producing open reel and cassette tape. In fact, Denon built the world's first digital studio tape recorder. Denon builds this expertise into every cassette deck. Denon's proprietary clutchless Non -Slip Reel Drive produces constant tape tension, reduces distortion, wow and flutter and maintains superior performance over time. SF combination heads, in concert with Dolby B, C and HX Pro,® extract the most from today's digital sources by extending headroom and eliminating noise. Lest you fear that Denon reserves this tech- Why do Denon cassette nology for its esoteric models, all these features decks sound better? Perhaps, it's because Denon are found for under $400 on the three -head has been making only one thing for over 80 years. DRM-700, the DRW-750 Dual Cassette and the Music. DRR-680 Auto -Reversing Cassette Decks DENON DR M-700 shown with the optional side panel, available for most Denon model,. Prices quoted are manufacturer's suggested retail prices and may vary. DC11011 America. Inc 222 New Road. Parsippany. NJ 07054 CIRCLE NO27 ONREADER SERVICE CARD At Home With The PROTON 600 SERIES

Now almost ten years old, supplied back plates, you can obtain the Proton brand name a neatly dressed cabinet back (see first became known to au- photo on page 22). dio/videophiles by way of The remote controller,packed the company's stunning, all -black with the amplifier, is elegantly sim- 600 Series of video components. ple. It rests easily in the palm and With exterior designs by industrial provides control over the primary designer Reinhold Weiss and video functions of all four components. performance on a level rarely seen Although it does not include a nu- before in consumer products, the meric keypad for direct track access Proton600Seriesestablished on aCDor direct station tuning, it benchmarks both for utter simplici- provides fullCDsearch capabilities ty of appearance and for technical (except index search) and both tun- excellence. er preset selection and up/down So itis very likely no accident seek tuning. When a switch on the that the firm's new audio system, side is slid to the v position, the which marks a reunion of Proton remote unit will control basic func- and designer Weiss, also carries a tions of Proton video components: "600" designation. Consisting of volume,channelup/down,and four basic components-the AM - mute. 656 integrated amplifier, AC -620 The remote master volume con- CDplayer, AT -670 tuner, and AD - trol is a well -designed rocker switch 630 autoreversecassette deck- joined by a mute key, a source plus a receiver, the AV -646 (which selector, and anUNDObutton. This we did not evaluate), the series has last is a handy feature since source the Proton hallmarks of dramatic selection-both from the remote appearance,simple,no-nonsense control and at the AM -656 amp industrial design, and logical, high - itself-is a "paged" affair; you must bang -per -buck technical design. cycle through each available source The 600 Series is Proton's first in order to reach the one you want. audio line to provide seamless inte- (This arrangement may be awk- gration.First and foremost,the by David Simon ward, but it does save numerous components arevisuallyalmost buttons, both on the amp and the identical. Each is built on the same remote.) TheUNDObutton lets you basic chassis, a bottom "pan" of small white type on the black pan- quickly toggle back and forth be- sheet metal with a wrap -around els, but that is a labeling style that is tween the current source and the metal top/side cover. On each front endemic in hi-fi today. The multi- preciously selected one. Neat. panel is the components' most sa- colored displays are quite legible, lient common feature:a motor - though the ones on both the ampli- The Integrated AniplOer driven, disappearing secondary con- fier and the cassette deck quickly Proton's new AM -656 integrated trol panel for less -often -used func- become a bit busy -looking as multi- amp ($700) is rated for 60 watts per tions that rotates around a horizon- ple features are engaged and indica- channel from 20 to 20,000 Hz, both tal axis, concealing the "extra" con- tors light up. Several control mark- channels driven, into 8 ohms. It trols. ings seemed a bit cryptic at first, also has a whopping IHF dynamic - The revolving control panel may requiring a check of the manuals to headroom spec of 6 dB thanks to seem rather a trick doodad for such decipher. Proton's Dynamic Power on De- high-tech designs, but the effect, The rear panels are conventional mand (DPD) power supply and am- when it is closed, is to give the com- enough, with standard RCA jacks plifier design. This means that the ponents unusually sleek and clean for all audio connections. (The amp amp should be able to provide up to front panels. Each has a single large does not provide for switching of four timesitsratedsteady-state knob (except theCDplayer, which is video signals.) A "mains control" power for short peaks -20 millisec- knobless), a central display window, linking systemisprovided: The onds or less every half -second or so. and a few primary control keys. The units can be daisy -chained so that The AM -656 even maintains this amp has four smaller knobs for the all respond to a single turn -on com- headroom into 4- and 2 -ohm loads, tone and balance controls and some mand from a designated "master" for a maximum potential peak pow- toggle switches. Its volume knob is component. er of 600 watts. also equipped with an LED -illumi- Unique to the 600 Series is a We found nothing in our listening nated green stripe. small channel cut into the rear of teststhatwouldgainsaythese In general, control layouts are each component. By running all of claims. The AM -656 is quite a pow- clear and well marked. Some people thecables throughthesecenter erfullittle amplifier.It drove the may finditdifficult to read the channels and then bolting on the rather inefficient Celestion SL -700's

STEREO REVIFIW MARCH1990 19 Luka Bloom makes music the old-fashionedway.

Get a Luka Bloom "Up Close- limited edition CD. This five song sampler is available by sending your name. address. telepione number and a checkor money order for S 3 to corer shipping and handling to

Songwriter Luka Bloom that Luka's tight, percussive creates some ground -break- technique, and you have a ing sounds thanks to a Accurately reproducing single guitar playing four a recording like Riverside souped -up electro-acoustic takes a speaker with discemable parts. Close true musicality, such as our T930. It typifies the guitar and a pyrotechnic listening reveals a percus- playing style sive "drum" part, warm bass,

Take, for example, distinct midrange and a "Delirious; a gritty, infec- bright guitar sound on

tious guitar and vocal cut the high -end. from his debut album, Irish-born Luka Bloom Boston sound: tight, Riverside.On it, the highs clean, smooth. You can also has a softer side On hear the layered nature and lows of Luka's guitar of Luka's guitar with "Rescue Mission:' the sound clarity because of the were broadened to create a is more layered and "orches- three -voice effect. Add to tral" in nature Here, each He burns it.

ka7 Dept. SI. PO Box 625, Holmes, PA 19043 Allow 4-6 weeks for delivery. Offer is good until March 31, 1990 or while supplies lastLuka Bloom's Riverside is available on Reprise Records

string on Bloom's rhythm sung. Audiences that have guitar was recorded sep- seen him tour with bands many steps we take to tolerance of within 1 dB. create Boston Acoustics arately and its sound ex- Which no one else does. like Hothouse Flowers and speakers. We design Finally, we test every every tweeter, midrange, panded using equalization. The Pogues will find that When mixed back together, Riverside has all of the raw they created subtle har- energy and power of his monic overtones. The result: live performances. a sound with the edge of an Visit a Boston Acoustics electric guitar and the ring dealer and ask to hear Luka of an acoustic. Bloom on a pair of Boston woofer and crossover ourselves. Few others But the guitar isn't single speaker with two T93&) towers. do. And we manu- very sensitive instruments. facture each one to a the only focus of Bloom's A computer. And our ears. Music this good passion. His songs are art- should be heard on speakers fully crafted and powerfully this good.

III close to their maximum comfort- best tuners to have crossed my able level with ease. The Snell Type threshold. With strong signals it fur- A, which presents a rather severe nished clear, musical reception, and and inefficient loudspeaker load, it pulled in at least a half -dozen also played at surprisingly satisfying weak stations that few other tuners output levels. could make listenable. Results with the Small Advents- Itssuperiority was particularly a notoriously reactive, low -imped- evident in the sub -92 -MHz band, ance load-were equally fine, even where noncommercial radiosta- played in parallel with the Snells at tions broadcasting with power lev- moderate levels. All this seemed to els ranging from a few kilowatts to confirm Proton's claims of high - the full 50,000 watts crowd together, power and high -current capabilities often only 200 kHz apart. The AT - and stability into low -impedance 670 made stationsIwas barely loads. When the amp did clip, it aware of quite usable, even where seemed to do so quite benignly, a high -power station was 20 miles to although the upper limits of avail- the north of me and another station, able power were clearly audible. A only 0.2 MHz away on the dial, had horizontal bar in the AM -656's dis- its low -power transmitter 50 miles play window, which flashes at high- out jacks for creating preprocessed to the south. er output levels, indicates operation tapes. In order to listen directly to Iobtained these results in my of the DPD circuitry, though no ref- "live" Aphex-processed sound, you semi -rural location with a multi -ele- erence to it appears in the user's mustsetthe AM -656'srecord ment, rooftop antenna. Results with guide. sourcetothecurrentplayback a conventional dipole -type indoor Somewhat surprisingly, the AM - source and monitor the tape deck. antenna (rabbit ears), though less 656's headphone -amp circuit was Doing so yields a noticeable in- dramatic, were still remarkable. Ei- not up to the standard set by its crease in treble "liveness" and "air" ther way, this is an impressive tun- main amp section: Driving a quite as well as a perceptible increase in er.Severalreception -optimizing common Sony headphone during brightness. This may prove useful features are included. A narrow/ cp's of piano music, the AM -656 under some conditions, particularly normal switch that modifies selec- clipped rather hard and audibly at with old or historic recordings. tivity provided some dramatic im- relatively modest listening levels. I do have a few gripes. Most of the provements on weak signals adja- This engineering oversight, while toggle switches, such as LOUDNESS cent to stronger ones. Another, la- fairly inconsequential, was disap- and BASS EQ, caused audible pops- beled SNR for Schotz noise reduc- pointing nonetheless. occasionally quite loud ones. A tion, effectively reduced noise on The Proton amp provides six in- rather nasty turn-off thump oc- very low signals, with only moder- puts, including a phono input with a curred, oddly, every two or three ate audible changes in frequency re- switchable moving -coil pre-preamp, turn-offs, and the motor -driven vol- sponse and stereo separation. Final- two tape loops,CD,tuner, and au- ume knob ran too fast during rely, when all else fails, a mono/stereo dio/videoinputsandoutputs. mote adjustment, making it tough switch can throw the tuner into There arepre -out and main -in at first to avoid overreaching the mono mode. jacks, joined by jumper bars, and desired level. (Proton has told us Conveniencetouchesinclude two sets of speaker outputs-nice, that the control's taper has been twenty-seven presets, eighteen FM five -way binding posts, my favorite redesigned.) Overall, however, the and nine AM, which can be mixed in type. As mentioned, alistening AM -656 was a fine -sounding, easy - any order, and both manual and source is selected by keying through to -use integrated amplifier. auto -seek modes for the up/down the available inputs. A similar key tuningbuttons. A conventional sets the source sent to the record - The Tuner large, round tuning knob is also out jacks, so different programs can The circuitry in the AT -670 tuner included. In the manual mode, the be heard and recorded at the same ($400) is the latest creation of audio knob tunes in the usual way, but by time. engineering wizard Larry Schotz. 50 -kHz increments to permit delib- Extra goodies include an infra- Dubbed a Schotz II tuner, the AT - erate"off" -tuning,which some- sonic filter, well -designed bass and 670 has an RF front end based on a times improves reception of very treble controls, a bass-EQ circuit to gallium -arsenideFET(field-effect weak signals with heavy interfer- boost signals below 60 Hz by 3 dB transistor) in place of the commonly ence. In the auto mode, a tweak of (helpful with small loudspeakers), used MOSFET (metal -oxide -semi- the knob clockwise causes the AT - and switchable loudness compensa- conductor FET). The GaAs FETiS 670 to seek up the dial to the next tion. The most unusual feature of said to provide substantial gains in station;counterclockwise motion the Proton amp is its AX switch and stereo sensitivity (3 dB) while at the starts a downward seek. A nice sys- associated mix knob, which engage same time improving selectivity tem, and my only complaint is that the on -board Aphex Aural Exciter, a and overload resistance (a 20 -dB the knob should have a heavier, sonic"sweetening"circuitpur- wider dynamic range) compared more flywheel -coupled feel. ported to enhance musical "pres- with conventional MOSFET front Signalqualitywith reasonably ence and realism." ends. strong antenna input was consist- Curiously, Aphex processingis And the proof is in the pudding: ently excellent, with every indica- available only at the amp's record - The AT -670 was clearly one of the tionof unlimitedfrequencyre -

22 STEREO REVIEW MARCH 1990 Command Performance.

Introducing thenew Adcom 61P-500 II Tuner/Preamplifier. nly a few years ago, Adcom announced the dawn and the use of state-of-the-art component parts. 0of a new era by introducing its GTP-500 tuner/ Adcom's unique, low -impedance RIAA compensation preamplifier. Together with any of Adcom's critically provides lower noise and distortion in the phono input acclaimed power amplifiers, this unique audio product stage. To further reduce noise and distortion in all has given thousands of cost -minded, serious music stages, all switching devices are buffered. lovers a quality alternative far superior to the common Long term adherence to circuit design objectives is receiver. The new, evolutionary GTP-500 H offers accomplished by utilizing 1% Roederstein resistors in a meaningful expansion of convenient features and all critical applications as well as a new low -loss, printed sonic performance. circuit board. Through a careful balance of sensitivity and selectivity, Full Command Of Your Music System the GTP-500 II optimizes FM performance whether Control your system's power on/off, select you're in an urban or rural area. Design parameters, pre-programmed FM and AM stations, scan the FM including an improved IF stage, have been optimized dial, adjust volume level and select different sources.. to translate into lower distortion. In fact, the quality of all with Adcom's wireless remote controller. With FM stereo reproduction through the GTP-500 H is as optional Adcom remote sensors and additional good as the broadcast itself. loudspeakers, you can also enjoy your Adcom music system in other rooms throughout your home. More Sound, Less Money For total music system integration, the GTP-500 II Adcom stereo components have established a remote sensors will also receive and retransmit reputation for sounding superior to components costing commands to a majority of remotely controlled two and three times as much. The new GTP-500 II components, regardless of brand. This remarkable promises to keep faith with this tradition of more design gives you full command of your entire music sound for less money. system throughout your home and offers the ultimate Its ability to command your entire music system by flexibility of integrating the remote features of remote control, and its exceptional sonic performance components manufactured by others. are why so many experts consider the GTP-500 II to be Adcom's 0 Value Measured By Performance command The overall performance of the new GTP-500 H is performance. demonstrably superior through its evolutionary design details you can hear

11 Elkins Road, East Brunswick, NJ 08 816 U.S.A. (201) 390-1130 Distributed in Canada by PRO ACOUSTICS INC. Pointe Claire, Quebec H9R 4X5 CIRCLE NO. 60 ON READER SERVICE CARD sponse within the bounds of the FM and up/down buttons for both audi- much like track programming on a system. Quieting was also excel- ble fast search and index search. CD player-can be set to play as lent-the AT -670's rated A - Most controlsworkedasex- many as twenty selections in any weighted signal-to-noise ratio (s/N) pected, though track access was a bit order. An A/B repeat function will is 74 dB in stereo (with a 65-dBf slower than on many competitive continuously repeat a particular sec- antenna input). Most of the rest of units. In addition, I found it a bit tion of tape-an unusual feature for its specs are equally impressive. surprising that the unit's display in- a cassette deck. Playback can be set The AM reception appeared to be dicates only track and index num- for only one side, both sides, or a rather better than usual from cur- bers and elapsed time on the current continuousloop,andthere's a rent hi-fi tuners, though it was less track; no provisionis made to switchableauto-play/stopfeature obviously superior than the AT - switch to elapsed time on the disc, that kicks in when a tape returns to 670's FM performance. Sound quali- remaining time on the track or disc, 00:00 on the AD -630's digital coun- ty with strong signals was noticeably or total time. ter. The counter is a numeric dis- better than average. The AC -620's conics were entirely play of elapsed time in minutes and All in all, it's a great tuner, free of free of audible vices.Indeed,it seconds. It maintained fairly good glitches save one:Astonishingly, appeared to be an excellent -sound- accuracy through several rewind- even when the tuner was turned off; ing CD player in every respect, with ings but sometimes drifted off by 10 tuner signal could be heard (admit- silent backgrounds, fine dynamic seconds or so. tedly, about 60 dB down) when the reproduction, and an extended yet Audio performance was generally tuner was selected on the amp. This smooth and unexaggerated top end. good, confirming such specs as a 30 - was a first in my experience. Nev- to18,000 -Hz frequency response ertheless, the AT -670 is very well The Cassette Deck ( ± 3 dB) and a 75 -dB record/play S/N designed, and atits price it's an The AD -630 cassette deck ($800) with Dolby C and chrome -type above -average value as well. is a bit unusual in that the tape is tape. Treble was open and clear, loaded horizontally in a motor -driv- high-level peaks were recorded with The Compact Disc Player en drawer, as in a CD player (or a minimal limiting or distortion, and The CD player of the 600 Series, a DAT deck), rather than in the usual flutter and modulation noise were straightforward, single -disc model, verticalcassettedoor. The two - both at acceptably low levels. is the AC -620 ($700). It's based on head, autoreverse unit works with A rather unsettling sonic distur- the familiar Philips TDA1541 dual the drawer either open or closed, bance was caused by the deck's bar - 16 -bit digital -to -analog (D/A) con- and it can extend or withdraw the graph level display-an attractive, verter and SAA-7220 quadruple- drawer without interrupting play- legible design calibrated to +16 dB. oversampling digital -filter chip set, back or recording; it even shuts the Unfortunately, it induced a pitched which are well known to provide drawer automatically if you power noise component at a few kilohertz excellent performance even com- down while it's open. in both channels that rose and fell in pared with recent 18 -bit (and high- Control layout on the AD -630 is level as meter segments lit up and er) converters and eight -times -over - somewhat different, too. The rather turned off with changing signal lev- sampling filters. small transport -function keys are els. Though low in level (about -60 The single -beam disc-drive/pick- found on the drawer front, but all dB to my ear), this interference was up-assembly is also made by Phil- other controls reside on the disap- quite audible above the usual tape ips. Though a bit plastic and light- pearing secondary control surface. hiss with headphones-and even weight in appearance, this drive has Record levels for both channels are over loudspeakers at high volume good resistance to impact and vibra- set with a large knob at the right; a settings in quiet musical passages. tion, and it demonstrated excellent second ring manages record bal- This effect is something I've never tracking of disc defects up to and ance. This system is less common encountered before and quite possi- beyond 2 millimeters in size. than dual level controls, but I prefer bly was a characteristic of our test The AC -620 carries such specs as it since it discourages unintentional- sample, which was a very early pro- a frequency response of 20 to 20,000 ly misbalanced levels. duction unit. Hz ±0.3 dB, an S/N of 100 dB, and Buttons on the secondary panel The Proton 600 Series represents total harmonic distortion of 0.003 include those for programming, re- technical achievements thatpro- percent at 1,000 Hz. A quick trip to verse and repeat modes, an auto - vide a very high level of sonic per- the test bench confirmed that the bias optimization system, and noise formance, with excellent amplifica- Proton player easily met or ex- reduction-Dolby B, Dolby C, and tion, fine CD playback, outstanding ceeded these manufacturer's bench- dbx are all available. The auto -bias radio reception, and competitive marks, and others. system works by recording a series tape recording and playback. Indi- Convenience features include the of test tones on a short section of vidually, the 600 Series components standard set: twenty -track random- tape, then repeatedly rewinding and offer purehi-fiperformance -per - access programming,introscan, playingit.Thisisa successive - dollarratiosranging fromwell shuffle play, and auto -repeat of ei- approximation system, as is neces- above the norm to rather below it. ther the entire disc or the pro- sary with a two -head deck. The But taken as a complete, standalone grammed sequence. Controls are whole process takes a bit over a system of audio electronics, the 600 equally familiar. Front -panel keys minute and seemed to work quite Series offers a unique blend of dra- manage play, pause, track skipping, reliably. matic appearance,unusual (and and stop, and behind the revolving A few other features of the AD - generally ergonomically effective) secondary panel are the program- 630 deserve mention. A Program industrial design, useful system in-

ming keys, a ten -key numeric pad, Preset System (PPS)-managed tegration, and fine sound.

24 S FEAR) R EV I FW M A RCI I 1990 DEUTSCHE GRAMMOPHON RCA PHILIPS ARCHIV L'OISEAU-LYRE ANGEL NEWPORT CLASSIC

ler It t 1CTI COMPAC

SSETTES plus shipping and handling FOR JUST with Club membership

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Vivaldi, Concerto "L'Amoroso;" 5 more Barry Douglas: Brahms. Piano Corcerto Ute Lemper Sings Kurt Weill Mack The Stravinsky, Petrouchka; Song Of The The English Concert Pinnock luscious No. 1 London Symphony Orchestra Knife. Speak Low. fm A Stranger Here Myself. Nightingale; 4 Studies Montreal Symphony !sound]."Billboard Archly 25187*Skrowaczewski. RCA 00732 11 more London 15163 Orchestra Dutoit London 15331

Heifetz: The Decca Masters, Vol. 1 Copland, Billy The Kid; Rodeo (Complete Into The Woods Bernadette Peters 8 Humoreske. Clair de lune, Golliwogs Andres Segovia Plays Bach Chaconne. Ballets) StLouis Symphony Slatkin. original castTitle song. No One Is Alone. Sicilian°. 3 Pieces For Lute. Gavotte en Ron- Cakewalk, many more MCA 00604 "Brilliant "Gramophone Angel 41491 many more. RCA deau. more. MCA 63600 61656 Respighi: The Pines Of Rome; The Foun- Amazing Grace-All tains Of Rome; Roman Festivals The Salerno -Sonnenberg: Mendelsso In, Violin Time Bagpipe Favorites Cliburn Philadelphia Orch Muti Angel 34443 Concerto; Saint-Saens, Rondo canriccioso Title song. 1E more Liszt 8 Gneg Rachmaninov, Symphony No. 1 Con- Angel 34670 Pro Arte, Fanfare 24616* Piano Concertos certgebouw Orchestra Ashkenazy. "Full Krystian Zimerman: Chopin, The 4 Prokofiev. Peter And The 00606' of churning, driving energy."-Fanfare Ballades Plus Barcarolle & Fan-asie in F Wolf; Tchaikovsky, London 15347*Minor "Dramatic.'Gramophone DG 15332 Nutcracker Suite Dud- The Academy-By Request Academy of ley Moore. narrator. St, Martin -in -the -Fields Marnner. Sheep May Ravel, Bolero; La Valse; Rapsode Espag- Boston Pops Williams. Safely Graze, more. Angel 54094 nole; Alborade del Gracioso Montreal Philips 15137 Symphony Orch. Dutoit. London 15199 Beethoven, Symphonies Nos. 2 6 8 Lon- Handel, Music For The don Classical Players Nornngton. Jascha Heitetz: Bruch, Violin Corcerto No. Royal Fireworks Concerti a Due Con Nos. executed." -Opus Angel 00466 1 6 Scottish Fantasy: Vieuxtemps. Concer- 2 6 3 English Concert Pinnock Archly 25375 Rhapsody In Electric Blue Jeffrey Reid to No. 5 RCA 44363*Classic Marches St. Louis Sym Slatkin. Strauss, Don Quixote; Burleske Janigro. Baker, synthesizers. Rhapsody In Blue, 3 Rakoczy March. Turkish March. Wedding cello. Janis, piano. Chicago Symphony Preludes. more. Newport Classic 34647 Ravel, Piano Concerto; Concerto For The Orchestra Reiner. RCA 63643* Left Hand Argench & Beroff. pianos. London March. Radetzky March, more RCA Emanuel Ax: Beethoven, Piano Conc. Nos. Symphony Abbado. DG 15468 Ashkenazy: Rachmaninov, Piano Concerto 1 & 2 Previn, cond RCA 83469 Adams, The Chairman Dances P'us Chris- tian Zeal And Activity, more San Francisco No. 3 Concertgebouw Orchestra Haitink Beethoven, Symphony Pavarotti At Carnage Hall Symphony deWaart. Nonesuch 00491 "Fabulous.'- Hi-Fi News London 25157 No. 6 (Pastorale); Songs and arias by Schubert. Beethoven, Symphony No. 6 (Pastorale); 2 Gregorian Chant Schola of the more Royal Phil. Verdi. Flotow. Liszt. Scarlatti. Hofburgkapelle Philips 15434 Previn. RCA 43612 others. London 15311 Overtures Academy of Ancient MUSIC Hog. wood. L Oiseau-Lyre 25397 Nazareth, Brazilian Waltzes & Tangos D. Scarlatti, 7 Sonatas; Arthur Lima. piano. "Record of the Year, Larghetto; more Nar- Dvorak. Mozart. Clar. Conc.; Horn Conc. 1 6 4 -Stereo Review Pro Arty ciso Yepes. guitar "New World" Neidich. Jolley Orpheus Chamber Orchestra 83731* DG 15497 Sym. DG 1548' Handel, Water Music The English Concert Tchaikovsky, leveland Van Cliburn: Rachmaninoff, Piano Sonata Pinnock "The playing is everywhere fresh and Symphony No. 4 Dohnanyi No. 2; Prokofiev, Piano Sonata No. 6; vital. Ovation Archiv 15306 Chicago Symphony 15018 more RCA 0060**Stravinsky, Petrouchka; Song Of The OrchestraSolti Nightingale; more Montreal Symphony, London 25038* Dutoit. London 15331 Hoist, The Planets Montreal Symphony Orchestra Dutoit. London 15448 Dvorak, Sym. No. 8; more Dohnanyi Cleveland Orch London 15042 Rossini, Overtures Barber Of Seville. more. COMPLETE AND MAIL THIS CARD TODAY! Orpheus Chamber Orch. DG 15527 Mahler, Symphony No. 4 Concertgebouw Orchestra Bernstein. DG 15526*

Vivaldi, 9 Concerti a Ouattro I Musicmust Clie&releaNa/464~.J.84ete " Fanfare Philips 15313 YES! Please accept my membership in The International Preview Society and send me, for 10

Saint-Saens, Symphony No. 3 (Organ) days FREE examination, the 3 selections r have indicated below. under the terms of this offer. I Montreal Symphony Dutoit. London 15529 may return them after 10 days and owe nothing, or keep them and pay only $1 (shipping and Bach, Brandenburg Concertos Nos. 4-6 handling added to each shipment).I understand that I'm not obligated to buy anything...ever! The English Concert Pinnock. Archiv 25417* Please send selections on: Compact Disc Cassette Berlioz, Symphonic: Fantastique The Philadelphia Orchestra Muti. Angel 54244 Write Selection Accardo: Bach, Violin Conc. Chamb Orch Numbers Here- of Europe. Philips 25162 Vivaldi, 4 Seasons Simon Standage. ; _I Mr. English Concert Pinnock. Archiv 15356 CI Mrs Perlman: Brahms, Sonatas for Violin 8 CI Miss First Name .nitial Last Name (PLEASE PRINT) Piano; more Angel 33760 Mozart, Piano Concertos Nos. 20 & 21 Address Apt Malcolm Belson. fortepiano Archiv 25208 Tomita's Greatest Hits The Planets. Bolero. Pachelbel Canon, more. RCA 53955 City State Zip Suppe, Overtures Light Cavalry. more Montreal Sym. Dutoit London 25219 Telephone f Ashkenazy: Mozart. Piano Concertos Area Code Nos. 8 (Lutzow) 6 9 (Jeunehomme) London 15418 Signature Beethoven. Triple Concerto Mutter. Ma. Zeltser. Karaian conducts DG 05319* Members who choose CDs will be serviced by the BMG Compact Disc Club and will receive CO Discovery 19 times a Newman: Bach, Organ Works Prelude & year (about every 3 weeks). Full membership details will follow with the same 10 -Day no -obligation. no -minimum Fugue in C, more. Newport Classic 34604 purchase privilege. Current BMG CD Club members not eligible for tnis offer. Limited to new members continental U S A only one membership per family We reserve the PJ BF IPS 6550 E 30th StIndianapolis. IN 46219 right to request adds onal information 01 reject any who! on Local taxes't any will be added ZCPO4 IPS 536 *Note: Selections marked (-) are available on CD only. DEUTSCHE GRAMMOPHON . RCA PHILIPS ARCH IV L'OISEAU-LYRE . ANGEL NEWPORT CLASSIC

Horowitz Play, COMPACT Mozart 15436 DISCSOR

CASSETTES plus shipping and handling Pictures At FOR JUST with Club An Exhibition membership Montreal Sym.. Dutoit 25314 Tchaikovsky. 1812 Overture With No Obligation To Buy Anything... Ever! iSotti 25179 James Galway & Kazuhito Yamashita: ltzhak Perlman: Brahms, Violin Concerto Italian Serenade Charming pieces by Chicago Symphony Orch. Giulini A Grammy Paganini. Rossini, Bazzini. others. RCA 73824 Award Winner, Angel 63343 The Movies Go To The Opera Great Opera Mozart, Serenade No. 3; more Academy of Beethoven, Symphony No. 9 (Choral) themes from Moonstruck. Fatal Attraction, Ancient Music Hogwood. "Played with... Kenny, Walker, Power. Salomaa. London Raging Bull. more. Angel Kiri to Kanawa Sings Gershwin Somebody 14806.style."- Fanfare LOiseau-Lyre 15000*Classical Players Norrington Angel 00467 Loves Me. I Got Rhythm, The Man I Love, Dvorak, Symphony No. 7 Syncopated Clock & Other Leroy Anderson Summertime, more. Angel 70258 The Cleveland Orchestra Favorites Fiddle Faddle, more. Kunzel Dohnanyi 'One of the Viennese Rochester Pops. Pro Arte 24767.Michael Feinstein: Pure Gershwin S'Won- finest."- Diaital Audio Bonbons Maazel der t ul .Embraceable You. Liza. more. London 15018 t5287'Ravel, Mother Goose (Complete); Le Tom - Elektra. 54173 Strauss, Also sprach beau de Couperin; Pavane; more Montreal Zarathustra; Der Rosen- Symphony Orch Dutoit. London 25197 Mozart, Eine kleine Nachtmusik Plus kavalier Waltzes; more. The Pearl Fishers Golden Age perfor- Pachelbel, Canon. more. Academy of St Mar- Chicago Symphony mances by Jussi Bioerling with Robert Merrill tin Marriner. Philips 15530 Orchestra Reiner. RCA 63627. Licia Albanese, others. RCA 00992 ltzhak Perlman: French Violin Rags And Riches David Canadian Brass: More Greatest Hits Showpieces NPhil. Mehta. Carmen -Fan- Dusing Singers Bill Bailey Barber. Adagio. Bach. Wachet Auf. more by tasy. Tzigane, Havanaise. more. DG 15457 Won't You Please Come Home: many more. Gershwin. Bizet, others. RCA 64348 Anything Goes Broadway revival cast. Title Newport Classic 01036 Andres Segovia Plays Rodrigo, Ponce .1 Ashkenazy: Rachmaninov, Piano Concerto song. I Get A Kick Out Of You. Friendship. Vladimir Ashkenazy: Mozart, Piano Con- Torroba Fantasia para un Gentilhombre. No.1; Rhapsody On A Theme Of Paganini many more RCA 43950 certos Nos.11 8.14 Philharmonia Orchestra Castles 01 Spain. more. RCA 63579 Haitink conducts. London 25153 Ashkenazy. London 25424 Bach, Brandenburg Concertos Nos. 1-3 Andrew Lloyd Webber, Variations; William The Mystery Of Bulgarian Voices Simon Rattle: The Jazz Album Rhapsody Lloyd Webber, Aurora Julian Lloyd Webber. In Blue. Ebony Concerto, more London Sin- English ConcertiPinnock "Among the best Bulgarian State Radio 8 TV Female sounding CDs ---Fantare Archiv 15541.cello. Maazel cond. Philips 15473 Choir. "Absorbing...haunting."--Fanfare tonietta. others. Angel 72226 Nonesuch The Legendary Enrico Caruso 21 favorite The Digital Fox Organist Virgil Fox plays By Request The Boston Pops Williams. arias including Vest, la giubba. La donna e Toccata 8 Fugue in D Minor, Widor, Toccata. Fete a la Franyaise Montreal Symphony more. Bainbridge Orchestra Dutoit The Sorcerer's Apprentice. Olympic Fanfare, many more. Philips mobile, more. RCA 34274. 62889 more. London 25235 ltzhak Perlman: Mozart, Violin Concertos World's Greatest Overtures 1812. Poet 8 Nos. 3 8 5 Vienna Phil. Levine 'Extraordr Peasant. Die Fledermaus, Egmont, Academic. nanly rich.-Fanfare DG 15146 Flying Dutchman. more Pro Arte. 24789. INSTANT HALF-PRICE BONUS PLAN James Galway's Greatest Hits The Man Rachmaninoff, Piano Concerto No. 2; With The Golden Flute plays Memory. Angel 6 Etudes -tableaux Evgeny Kissin. piano. O1 Music. Greensleeves. more RCA 73233 London Sym Gergiev RCA 00915 Unlike other clubs, you get Copeland, Appalachian Spring (Complete); SAVE Cortege macabre (from Grohg); more St 50% off Bonus Savings with This remarkable $1 offer is being Louis Sym. Slatkin. Angel 54176 epvriecreys,CeDffeycotiuvebwirth at fregularfirst Mozart, Overtures Magic Flute, Marriage 01 0_ made to introduce you to an Figaro. Don Giovanni. more. Academy of St your outstanding classical music Martin Marnner. Angel 34267 membership-with never any Gershwin, Catfish Row: An American in Ufull -price purchase! Paris, Cuban Overtures, more Slatkin obligation to buy. St. Louis Symphony. Angel 14877 IPS f,3f, You'll find hundreds of outstanding albums in each issue of the Society's magazine, which will be sent to you approximately every 4 weeks. That gives you 13 convenient, shop -at-home opportunities a year, NO POSTAGE but there is no obligation to accept any NECESSARY offering at any time. IF MAILED You choose only the music you want! IN THE It you'd like to accept the Main Selection, UNITED STATES you need not do a thing.Itwill be sent automatically.It you'd prefer an alternate BUSINESS REPLY MAIL selection or none at all, just mail back the FIRST CLASS PERMIT NO. 5071 INDIANAPOLIS, IN Notification Card by the specified date You'll always have at least 10 days to POSTAGE WILL BE PAID BY ADDRESSEE decide. But if you don't, you may return your Main Selection at our expense. You may cancel your membership whenever you wish, simply by writing to us. Or, re- )3't ritekkfia, main a member and take advantage of future money -saving bargains. 4eof,;,e4arie, 3 Compact Discs or Cassettes for just $1! PO. BOX 91406 Begin your membership now by choosing INDIANAPOLIS IN46209-9755 any 3 albums shown here for just $1, plus shipping and handling. Send no money now. We want you to judge for yourself before you decide to buy. 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is made. In many cases, this may real time using the standardCD' 1 by Ken C. Pohlmann take three to five weeks for turn- audio format. At the end of the around from a commercialCD recording, the system writes a lead - pressing plant, Although a digital out area and ejects the finished disc. audio tape could be used instead, Errors are noted during recording, DATplayers are not yet commonly and the process is halted if the disc available, and producers feel most is diagnosed as defective. comfortable having an exact refer- As the system currently works, enceCD. the recording must be made contin- The solution may lie in the intro- uously; you cannot start and stop f duction of a professionalCDrecord- the disc once a recording isini- er,usingCD -R (compactdisc - tiated. In addition, reports are that recordable) hardware invented by CD'Srecorded with PDS equipment Philips and commercially devel- are playable on only about 90 per- oped by Yamaha. While optical recent of consumerCDplayers; the corders are commonplace in com- reflectivity of a PDS disc is margi- puter applications, they are notCD - nal relative to the Philips Red Book compatible.Yamaha'sProgram- standard, and some players are un- mable Disc System (PDS) produces able to read the discs. But a new aCDthat is functionally equivalent type of dye -polymer disc can also be to commercialCD'S,complete with used in a PDS recorder, after its las- subcode information. A testCDcan er power is decreased, and the high- be produced in the mastering studio er reflectivity of these discs is said in about two hours. to make them virtually 100 percent The PDS recorder mainly consists compatible with existing CD THE MISSING LINK of two pieces of hardware, an encod- players. OINMINgrati4-Ssigt111404,4411141111111{AMOBBWAINWESIM er and an optical recorder, along This audio mastering system is with a computer controller. The en- configured for the professional au- ASTER1NG isone of the coder accepts stereo digital audio dio market by New York City's Go- trickiest parts in the re- and control information (word -sync tham Audio (working with Har- cording chain that and SMPTE time code), then per- monia Mundi Acustica). The Go- stretches from the stu- forms eight -to -fourteen modulation tham system, called the CDR -90, dio microphones to your home (EFM) coding and sends the audio sells for $49,500, and blank discs, loudspeakers. During mastering, the data and controlsignalsto the manufactured by Fuji, cost about finished recording is transcribed to recorder. In addition, a controller $80 each. Mastering studios charge a medium that will ultimately form card plugs into an IBM AT -class the client about $375 for a reference the basis for the replicated copies computer; it controls the encoder CDproduced by the system-a rela- made available to the consumer. It and hence the transfer of data to tive bargain. is also the last chance to perform disc. The recorder contains a main There are other applications for anynecessarysignalprocessing. laser to "write" data, a tracking la- the system as well. For example, Mastering engineers work with rec- ser to follow the pregrooved disc, radio broadcast recordings are often ord producers, subtly applying gain and a third laser to detect any tilt in distributed among stations in a be- control, equalization, and compres- the disc. wildering variety of formats-PDS sion. It is at this crucial point in the PDS is a record -once system us- would provide an instant standard. chain thatCDrecorders have made ing ablative technology: The disc is Commercials and jingles could be their debut in the audio market- made of several layers, including a easily produced and distributed on I place. metal recording layer and protective a PDSCD.With a couple of record- Historically, producers and rec- layers placed on a polycarbonate ers, an optical -disc editing system ord -label executives have made cas- substrate. To record data, a laser could be designed. A consumer sette tapes or referenceLPlacquers (with a healthy1/2 watt of power) model? Surely that's only a matter in the mastering studio and audi- blasts permanent pits directly into of time-and volume. tioned them over a variety of home, the metal recording layer. To begin For now, for the first time, pro- car, and portable systems to test a recording, the operator enters a ducers and record executives can their listenability in consumer envi- table of contents containing the conveniently audition all of their ronments. While that's okay for an number of tracks and index points. future products as the consumer LPor cassette release, neither type of This information is used to create a will hear them, then make optimal working copy duplicates the sound subcode file and to write data in the mastering decisions prior to mass of a compact disc. The problem lead-in area on the blank disc. replication. In short, with the intro- isn'ttrivial: Some artists, keenly After the lead-in area is written, duction of professionalCDrecorders aware of potential problems, have the system instructs the source to such as the PDS, the chain from clauses in their contracts prohib- begin sending data to the recorder, recording studio to your home just

itingCDreplication until a test run which writes the data on the disc in got stronger.

STEREO REVIEW MARCH 1990 "Cambridge SoundWorks HaveThe Best Value InThe World. AWinner David Clark -Audio Magazine Sept. '89 Cambridge SoundWorks has where the speaker is placed in the created Ensemble, a speaker sys- room. If you put a conventional tem that can provide the sound speaker where the room can help the "Verymuch once reserved for the best speakers low bass, it may hinder the upper in the under laboratory conditions. It vir- ranges, or vice -versa. tually disappears in your room. Your listening room works HenryKloss And because we market it directly, with Ensemble, not against it. Ensemble costs hundreds less than tradition... Ensemble, on the other hand, hi-fi it would in stores. takes advantage of your room's another acoustics. The ear can't tell where milestone7 bass comes from, which is why Ensemble's bass units can be Review tucked out of the way-on the floor, atop bookshelves, or under furniture. The satellites can be hung directly on the wall, or placed on windowsills or shelves. No bulky speaker boxes dominate your living Hen or Kloss, creator of the dominant speaker models of the '50s (Acoustic Research), '60s space, yet Ensemble re- (1CW and '705 (Advent), bringsxu Cambridge produces the deep bass SoundRirks, a genuinefr new kind of speaker that no mini speakers can. company for the '90s. The best sound comes in Unlike seemingfr similar satellite systems which use a single large four small packages. subwoofer; Ensemble uses two Ensemble consists of four separate, compact bass units. speaker units. 1Vvo compact low - They fit more gracefully intoyour living environment, and help frequency speakers reproduce the minimize the effects of the deep bass, while two small satellite listening rooms standing waves. units reproduce the rest of the music, making it possible to reproduce just the right amount of energy in each part of the musical range without turning your listening room into a stereo showroom. No matter how well a speaker performs, at home the listening room takes over. Room acoustics emphasize and de- emphasize various parts of the musical range, depending on "Ensemble & Ambiance are trademarks of Cambridge SDuniWorks, Inc. Not all the differences are as You get to listen for hours with- obvious as our two subwoofers.out a salesman hovering nearby. Unlike seemingly similar three- If after 30 days you're not happy, piece systems, Ensemble uses pre- return Ensemble for a full refund "A listeningtest mium quality components for (we'll even reimburse the original maximum power handling, individ-UPS shipping charges in the conti- leftno doubt ual crossovers that allow several nental U.S.). wiring options and cabinets rug- At only $499-complete with that thissystem gedly constructed for proper acous-all hardware and 100' of speaker tical performance. We even gold-platecable-Ensemble is the value on ranks with the all connectors to prevent corrosion. today's speaker market. An even bigger difference is how best inits we sell it. price range": "You get amonth to playwith the Elie Neuf VorkLimes speakers before youhave to either return them or keep them.But you'll keepthem:' Try them risk -free for 30 days. Call 1-800-AKA-HIFI' Cociubtic (1-800-252-4434) Itu can put Ensemble's low frequency units Our toll -free number connects exactly where they should solar superb bass. you to a Cambridge SoundWorks Hsu can't do this with conventional speakers audio expert. He or she will answer becauseyou have to be concerned about the upper frequencies comingfrom the same all your questions, take your order enclosures as the low ones. (you can use Visa, MasterCard or American Express) and arrange Thousands agree: the best surface shipment via UPS. Your showroom is your living room. Cambridge SoundWorks audio Choosing a loudspeaker after a expert will continue as your per- brief listen at a dealer's showroom is sonal contact with us. We think like deciding on a car after one you'll like this new way of doing quick trip around the block. So we business. make it possible to audition Ensemble 'In Canada, call 1-800-525- Introducing Ambiance 4434. Audio experts are on duty the right way-in your own home. by Henry Kloss. In fact, Ensemble is sold only by 9 AM to Midnight, Eastern Time, Cambridge SoundWorks directly Ambiance'" is an ultra -compactseven days a week. Fax #: 617- from the factory. speaker that proves high perfor- 332-9229. mance, small size and low cost need not be mutually exclusive. GM SOUNDWORKS-1 desey were Ambiance is ideal for bedrooms, i.)2m 154 California St., Newton, MA 02158 dens, dorm rooms...or for use as igned toplay Send more information and test reports. make an extension speaker or in sur- Send Ensemble risk -free for 30 days, for $499! music-andmusic. round -sound systems. While no Send_ (qty.) Ambiance (Nextel), for $109 ea! itsound like speaker of its size can provide the -I Send (qty) Ambiance (Primed), for $109 ea! This theydo very same low bass and total volume as 1_1 Send (qty) Ambiance (Oak), for $129 ea! well, in amost our Ensemble system, Ambiance I'm paying by CI Check El MC Cl VisaI=1 AmEx way,e has more output in the 40Hz region unobtrusive Acct. Number Exp pric... than any "mini speaker" we've Signature at abargain encountered. Indeed we know of toimagine Name it's hard no compact speaker that outper- Address goingwrong forms Ambiance, including those 'Ensemble': costing hundreds more. Ambiance City State Zip with Phone (Area Code) Number Review is only $109 per speaker in Nextel Stereo or primed for painting; $129 in solid FOR IMMEDIATE SERVICE: 1-800-AKA-HIF1 MA residents add 5% sales tax. oak,*and comes with our 30 day *Plus freight (Ensemble $7-$25, Ambiance $2-$12) money -back guarantee. L Delivery time usually 2-7 days. CIRCLE NO. 157 ON READER SERVICE CARD AUDIO O&A

If none of that does the trick, you will speaker's sound can be picked up with by Ian G. Masters probably have to go for a whole new sufficient intensity to cause feedback, mechanism. Often it's simpler, and not and a video monitor should not be that much more expensive, justto placed so close to unshielded speakers replace the whole cassette. that their magnetic fields disturb the picture. Positioning is always important, how- Speaker Wear and Tear ever, for speakers. Speakers and their QSevere damage to a speaker system surroundings form a single acoustic sys- is usually obvious because one or tem, and how you position both your more elements cease to work. But is it speakers and yourself can have dramat- possible that operating a speaker near its ic effects on the sound quality you get. limits could alter its response without So far, no one has come up with a actually causing it to fail? If so. is there speaker that is completely insensitive to any reliable way of detecting whether position, although a number of scien- there is such damage? tists and designers are working on just PAUL G. ALTHAUS that. Until they succeed, you should Stony Brook, NY experiment to find the optimum placement for your speakers, starting with No, short of shipping the speaker the manufacturer's recommendations. back to its manufacturer for comparison with an engineering prototype. But it's very rare that damage will result Amplifier Preservation in changes so subtle that they aren't QA local audio dealer has told me immediately apparent. Sometimes a that leaving my amplifier on at all mechanical buzz will appear. Or some times will make it sound better and last portion of the spectrum-usually the longer. Is this true? high frequencies-will become attenu- KELVIN BURTON ated or distorted. Or the sonic charac- Fort Macleod, Alberta Dried -Out Cassettes teristics of the two speakers in a stereo I own a number of cassettes, and pair will suddenly become quite differ- AThat's a firmly held belief on the 0although the quality of the tape is ent (it's unlikely that the problem will part of many audiophiles and fine, the cassette mechanisms are "dry- affect both sides in exactly the same some manufacturers-there are even ing out" and their plastic parts are very way). However it manifests itself, a some amplifiers on the market that squeaky when I'm playing or rewinding problem caused by pushing your system omit a power switch for this reason- them. Is there any substance I can apply toitslimit will quickly make itself but any difference the practice makes is that will eliminate this noise without known. likely to be small. Certainly the surge of gumming up the heads of my tape On the other hand, alteration of a power that courses through an amplifier deck? speaker's performance because of nor- when you turn it on does it no good, SHELTON R. WEBER mal wear and tear is much more diffi- although whether it does it any harm is Louisville, KY cult to detect, because its onset is gradu- open to debate. But a good amplifier, al and it does tend to affect both chan- properly handled, will last for decades; A Messing about inside a cassette, or nels more or less equally. Although prolonging its life beyond that would Pi squirting anything into it, is a risky speakers are fairly hardy, certain ele- seem to be pointless. business at best and should be avoided. ments (cone surrounds, for instance) As for sound quality, any degradation There are replacement shells available can degrade over time, even with the that might be caused by switching the into which you can transfer (carefully!) most careful use, and that may eventu- power on and off would be so minute, the contents of a faulty cassette, and you ally change the sound. If you suspect and so gradual, that you can safely might give these a try. this is happening, the only solution is to ignoreit.If you're worried that you If you decide to attempt repairs, begin return the speakers to the manufacturer might already have caused some dam- with these steps. Before you even con- for a checkup and, if necessary, a refit. age, take the amplifier back to the dealer sider opening a shell, fish out enough and compare its sound to a fresh sam- tape to let you get at the pressure pad ple. I doubt you will hear a difference behind it; using a toothpick, try to loos- Equipment Placement even in a direct A/B comparison. And en any oxide that may have been depos- QIs there such a thing as hi-fi equip- with modern designs, there is no reason ited on the pad and blow it away. Some ment that is unaffected by room that the sound might improve as the squeaks are caused by friction between size or furniture placement? amplifier warms up. On the other hand, pad and tape, so removing oxide from DAVE BUELL leaving an amplifier on usually won't the pad and fluffing up the felt often Quincy, MA hurt it, unless there is insufficient venti- cures the problem. If that doesn't work, lation and heat is allowed to build up carefully open the shell, trying not to ASure, almost all of it. As long as over time. That might well shorten its disturb the position of what's inside (if you take some precautions, such as useful life. 0 the shell is welded rather than screwed, making sure you can get at the controls forget it; you'd have to break the shell to and that there is adequate ventilation open it). Put the tiniest drop of contact for the power amplifier, you can safely If you have a question about hi-fi, cleaner in the center of the roller tape put most of your components practical- send it to OCA, Stereo Review, guides, making sure that none of it can ly anywhere. There are some excep- 1633 Broadway, New York, NY come into contact with the tape. Then tions, of course: Turntables should not 10019. Sorry, only questions chosen flip the plastic slip sheets over and reas- be placed where floor vibrations can for publication can be answered. semble the cassette. cause the stylus to skip or where a

28 STEREO REVIEW MARCH 1990 The most remarkable breakthrough in digital technology since the introduction of compact disc players. That's 3D Bit Stream. Exclusively from 33,868,800Harman Kardon. 3D Bit Stream turns digital data into musical experience at 33,868,800 times per second. timespersecond. (100 times faster than conventional CD players.) That's new OBIT STREAM The 3D Bit Stream CD players offer unsurpassed linearity, low-level accuracy, and freedom from technolo phase irregularities. Or, quite simply, 3D Bit Stream lets the music flow.

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1.4'0 Let bovileovu,

From the delicate sound of a classical Spanish guitar to the driving rhythm of a bass, 3D Bit AmoreStream captures all the dynamics, dimension, and drama of a live performance. Harman Kardon has a history of firsts: musicalfrom the world's first high fidelity receiver. The first cassette deck to incorporate Dolby*. The introduction of the active tracking tuner. experience.And now, bit stream technology with totally discrete analog circuitry in compact disc players. That's Harman Kardon. Pioneering technology for people who love music. That'sTake your favorite CD to your Harman Kardon dealer. Listen. And experience the music as you never have before. Harman Kardon.Also ask for a detailed explanation of 3D Bit Stream, or write: Harman Kardon, Engineering Dept., 240 Crossways Park West, Woodbury, NY 11797. harman/kardon H A Harman International Company

CIRCLE NO. 40 ON READER SERVICE CARD It's the one compact disc player designed and dedicated to the true music lover. Clearly Pure and simple? when your only design criterion is musical Hardly the worts you'd expect to de- excellence, there's no place for compromise. scribe what may well be one of the world's This single-minded devotion to the most technically superior compact disc music purist has yielded a number of refine- players. ments in both construction and circuitry But while you may find the Elite PD71 of the PD 71. For example, it employs a true compact disc player's specifcations impres- 18 -bit converter with linear envelope technol- sive, we think you'll truly appreciate its ogy to provide the highest accuracy at even reason for being. the lowest signal levels. panel displays and controls are testimony to elegant simplicity. Significant advancements are also evident The Elite PD -71 compact disc playeE Now in the new laser pickup on the PD -71, in- nothing can come between you and your cluding a specially designed floating base for music. That's the pure and simple truth. cleaner reproduction. And shorter optical For your nearest Elite dealer, call paths to ensure a distortion -free signal. 1-800-421-1404. Sonic purity is further enhanced by extensive anti -resonance construction and direct wire connections throughout the unit. The PD71 also features dek.atable display circuitry, full random play, and full remote control. Even the ergonomically designed C 1909 Pioneer Ekctronks (USA) Inc.. Long Beach. (.A CIRCLE NO31 ON READERSERVICE CARD TECHNICAL TALK

speakers, whose size and weight bookshelf; they were almost invisi- byJulian Hirsch made them unsuitable for place- ble if placed among real books. At mentonordinarybookshelves. 100 Hz there was a crossover to a Smaller speakers based on similar "hideaway" bass module that could principles would fit on a real book- be placed anywhere in the room. I shelf, but inevitably the lower bass remember being amazed by the sys- registers had to be sacrificed in the tem's sound, especially since neither process, and such speakers have not the satellites nor the bass module been widely accepted for serious hi- could be spotted without consider- filistening. As a result, speakers able searching! today are usually placed on the floor Introduced at only $119.50, the (sometimes on stands), pretty much Weathers system was expanded to as their larger ancestors were.I include larger components and even would guess that a substantial ma- powered speakers when transistors jority of high -quality home systems became available. Unfortunately, it today fall into this category. was not widely accepted, and the Althoughdyed-in-the-woolau- company was gone by 1964. diophiles may find it hard to under- The next time I encountered a stand, there are many people who three-piece speaker was about twen- appreciate the sound quality of a ty years after the appearance of the good music system but are not will- Weathers system. In the April 1981 ing (or able) to sacrifice the floor issue ofSTEREO REVIEW,I reviewed space required by a pair of full - a $400 system from 3D Acoustics range speakers or to adjust room whose performance excited me in a decor to achieve the speakers' best way that very few speakers have, THREE-PIECE acoustic performance. There are at before or since. The satellites were SPEAKER SYSTEMS least two ways to deal with this situ- somewhat larger than those of to- ation: built-in wall speakers and the day's three-piece systems, and the so-called three-piece system. For a bass module, whose finished cabi- MOST loudspeakersys- variety of reasons, many people are net stood 2 feet high, was obviously tems are,and always reluctant or unable to install speak- not a hideaway unit. have been, designed as ers in their walls, although the qual- In January 1982 I reviewed the full -rangereproducers, ity of speakers designed for that pur- ADS SS -2300, whose powered bass complete in a single unit. This is the pose is constantly improving and module was large and heavy-and most logicalconfigurationfora can be quite satisfying to most lis- highly visible at 2 feet square and 16 speaker, asitplaces the various teners. A three-piece speaker system inches high. The satellites were ex- drivers in the correct physical rela- can be an attractive alternative. cellent minispeakers, and the sys- tionship for a proper blending of The first three-piece system that I tem's price of $1,650 clearly placed their acoustic outputs. And it makes canrecall was manufactured by it in a different category from that of sense,bothin convenience and Weathers Industriesin1959 or most previous three-piece systems. acoustic performance, under most 1960, coinciding with the appear- Although now out of production, conditions. ance of the stereoLP,which realty the SS -2300 was the finest such sys- Before stereo, good speaker sys- created the need for such a develop- temIhad heard, easily rivaling tems tended to be large, heavy, and ment. It had a pair of tiny satellite comparablypricedconventional expensive.Audiophilesofthe speakers shaped and styledlike speakers. 1940's and 1950's were willing to books and small enough to fit on a Over the years, despite the very put up with the expense and incon- creditable three-piece systems that venience of dominating the listen- have occasionallyappeared,the ing room (often the family's living concept never seemed to win wide- room) with a large and not always Tested This Month spread popular acceptance, and it attractive speaker cabinet. Stereo re- was largely ignored by most speaker production required two identical manufacturers. The logjam was fi- speakers, and the mono dinosaurs Yamaha RX-530 Receiver nally broken by the appearance of were soon replaced by much smaller Boston Acoustics SubSat the Bose Acoustimass 5 in 1987. (and frequently better) "bookshelf" Six Speaker System The market impact of this system speakers.EdgarVillchur's AR -1 was so impressive that a number of acoustic -suspensionspeaker,and Rotel RCD-8 5 5 other manufacturers have now en- the competing products thatfol- Compact Disc Player tered thefieldwith competitive lowed, set the standards for the next products (and Bose has added an- couple of decades. Ortofon PPA600 other model in the same category). Actually,"bookshelf" was an Power Amplifier In fact, hardly a month goes by inappropriate description of these Linn Kaber Speaker without another three-piece system

32S FERE.° REVIEW MARC', 1990 EXCELLENCE DEFINED

'1.1Prigf

31 OPTIMLIS The New, Quality Name in State -of -the -Art Audio New Optimus brand audio equipment offers Built-in Dolby Surround* brings you thrilling you the very best combination of high technol- "movie theater" presence from encoded video ogy, innovative features and superb styling- tapes and discs. Hall !Effect adds auditorium - backed by in-depth lab testing and quality style ambience to near y any stereo source. contra that's second to none. You also get wireless remote, 30 -station mem- Flagship of the new Optimus line is our ory, h,gh-tech alphanumeric LCD display and STAV-3200 digital -synthesized stereo receiver dubbing facilities for two VCRs and two tape with Dolby/Hall Effect Surround. Its high - decks. For only $549.95. See and hear the power main amplifier is rated 100 watts per new Optimus components today.

channel at 0.05% THD, and there's a separate Price applies at participating Radio Shack stores and dealers 'TM. Dolby 25 -watt amplifier for the rear channel. Laborato-ies Licensing Corp. Receier power measured per FTC rules. CIPTIMLIS Exclusively atRath. ihaeli The Technology Store A DIVISION OF TANDY CORPORATION TECHNICAL TALK

being submitted for review. In recent months we have reviewed the Cambridge SoundWorks Ensemble (which has four pieces, with two separate bass modules, but the prin- cipleisthesame),theDesign Acoustics PS -3, the Boston Acous- tics SubSat Six (see page 42), and the Polk Audio RM-3000, and we

All the three-piece systems we hazY tested are capable of deliveringfull-range sound quality rivaling that of The only thing missing conventional two-piece systems. was Denon Hi-Fi. are in the process of testing others. Oenon's DT -400 is a two-piece, table -top stereo system which brings the electronic technology, ease of use and performance characteristic of Denon's acclaimed Several of these systems, like the home stereo receivers to a space efficient design. The DT -400's outstanding com- Bose models, employ very small bination of ergonomic design, convenience, features satellites that are easily concealed or and high fidelity make it the system of choice for music are inconspicuous if in the open, lovers who want great sound in places - like a home and most of the bass modules arc office or kitchen-where conventional systems just won't fit. ENON simple black boxes that can be hid- CMS Its Read. Parsippany, P1.107054 (201, 5715-76113 den from view under or behind fur- CIRCLE NO. 27 ON READER SERVICE CARD niture. Since they do vary in size, that is one of the specifications that should be checked if bass -module concealment is planned. A DIFFERENT KIND Every one of these systems, which "Shure's most recent FREEOF MUSIC CLUB carry list prices from $500 to $750, version of its top model, is capable of delivering full -range, TREMENDOUS SAVINGS musical sound quality rivaling that the V15 Type V -MR... INCLUDING COMPACT DISCS ... on every record, tape and CD in print- of conventional two-piece systems strikes this listener no "agree -to -purchase" obligation of any kind. in the same or even much higher DISCOUNTS OF 20% TO 73% price brackets. That is not to imply as perhaps the most oft mgf. suggested list ... special DMC catalog lists thousands of titles and hundreds that they sound alike-as with any musical -sounding of artists in all musical interests ... speakers, they all sound different phono cartridge Super Sale Specials! MOST LABELS AVAILABLE from each other. In particular, al- ever made." including most imports though most of them use dual - -satisfaction guaranteed chamber bass modules (as do the Hans Fantel FREE SUBSCRIPTION Bose Acoustimass systems), there to quarterly newsletter are numerous design variations that The New York Times CUSTOM ORDERING & SEARCH SERVICE Thru our special custom service you can order give different characters to their any title or artist whether listed in our catalog or not .. We'll search and custom order for bass reproduction and the way it you if available! blends with the satellites' outputs. QUICK SERVICE I am pleased to see the three-piece same day shipping on many orders ... rarely later than the next several days. concept finally catching on asit 100% IRON -CLAD GUARANTEES should. The versatility of these on all products and services-your total speaker systems makes their excel- satisfaction is unconditionally guaranteed lent sonic qualities available in even Discount Music Club is a no -obligation membership club that guarantees tremendous dis- thesmallestor most unusually counts on all stereo records, tapes and CD's and lets you buy what you want ... when you shaped rooms, and theirprices want ... or not at all if you choose. bring them within reach of anyone These are just a few of the money -saving contemplatingamusicsystem. reasons to write for free details. You can't lose so why not fill out and mail the coupon below They should not be viewed as inferi- for immediate information or systems, fit only for a den or child's room, but as legitimate vari- SHUT E° an DISCOUNT MUSIC CLUB, INC. 009-0390 481 Main Street, New Rochelle N.Y. 10801 ations onthe more established For product literature, cal -800-257-4873 NAM(' (In Illinois,1-800-624-8522) forms of speaker construction. 0 Address _

City . CIRCLE NO. 104 ON READER SERVICE CARD State Zip I CIRCLE NO71 ON READER SERVICE CARD THE SHOCKING TRUTH! Speakers are the most important part of your stereo system. It is the speaker that turns amplifier signal into sound and so ultimately determines what you sear. If your speakers do not perform well, your stereo system will simply not sound like music. The search for musically satisfying speakers, however, can lead tosome very expensive products. And if you have already bought those high priced speakers, then you better not listen to Paradigms. But if you haven't, better not miss them. Why? Because from the time they were first introduced, Paradigm's sheer musical ability utterly amazed listeners.... but what caused even more amazement was the unprecedented low price. The shocking truth is, you no longer have to amass a small fortune to buy speakers that will satisfy your love of music. Simply visit your authorized Paradigm dealer.... and listen.

The critics agree:

"... ,atural, open and clear...excellent depth__ lots of hall sound... big, expansive soundstage... well defined... a rare achievement for any loudspeaker, but when price is taken into account the Paradigm's performance must be considered as nothing short of remarkable." - Sound & Vision Magazine

"... we can't think of anther speaker at or below this price that manages to match the Paradigm's overall sense of balance and competence... exceptional value." - Hi Fi Heretic Magazine

iSound&VisioriMArci iii (..... CRITICSCHI517EAWARD ... -I music above all.

In the U S AudioStream MPO Box 2410, Niagara Falls, New York 14302 in.Canada: Paradigm Electronics Inc., 457 Fenmar Drive, Weston, Ontario M9L 2R6

CIRCLE NO 97 ON READER SERVICE CARD SIX high performance satellite speakers with neodymium magnets for optimum Dual 6 x 9 subwoofers reproduction and low extend the low frequency distortion. response to 25 Hz for deeper bass.

,.,sm. MO I.

Optional Ford compact disc player for the ultimate in sound reproduction.

BM LOC VOLUME SCAN -Ant

BALANCE

Two separate power amplifiers deliver a combined 145 watts of total system power. Not just another pretty face It's the totally integrated sound system from Ford and JBL. Beyond the face of the optional ultimate in sound reproduction. Ford JBL Audio System lies a truly The end -result is not just another incredible sound system. With 145 car sound system, it's one watts of total system power Six of the most impressive audio acoustically positioned speakers. systems on the road. Hear it for Two sub -woofers. Bi-amplification. yourself at your local Ford And an optional CD or Lincoln-Mercury player for the dealer

AUDIO SYSTEMS The Sound of Quality TEST REPORTS

0 trols are either single or dual rocker - YAMAHA RX-530 RECEIVER type pushbuttons. Besides the functions already re- Julian Hirsch, Hirsch Houck Laboratories ferred to, there is a pair of buttons that independently activate the two sets of speaker outputs on the rear yAMAHA'S compactand EIA dynamic power ratings into apron and another that turns on the moderatelypricedRX- loads of 8, 4, and 2 ohms are 81, Bass Extension circuit, a low -fre- 530 has all the features one 138, and 112 watts, respectively. quency boost intended to enhance would expect in a modern The RX-530 has center-detented the deep -bass performance of most stereo receiver. Its digital frequen- knobs for the bass, treble, and bal- small speakers. Center -pivoted cy -synthesis AM/FM tuner has eight ance controls, a large volume knob, rocker switches step through the preset buttons that are switchable and a loudness -compensation con- various input sources and tune the for access to sixteen station memo- trol of the type introduced by Ya- receiver in either direction. There is ries, each assignable to an AM or FM maha in the 1970's (and still a fea- also a front -panel headphone jack channel. The tuner operates in man- ture nearly exclusive to Yamaha). and a power button. ual mode (single -channel steps) or Operating independently of the vol- The display window is informa- auto -scan mode. During manual ume setting, the loudness knob's tive without being confusing. The tuning,receptionisinmono, counterclockwise rotation reduces station frequency (and preset num- switching to stereo(if available) the midrange (1,000 -Hz) level by as ber, if applicable) are displayed in once a station is tuned in. much as 40 dB, with a lesser reduc- large red numerals. Smaller read- The input sources are identified tion of bass and treble levels. The outs indicate the tuning mode and as tuner, CD, phono, video/auxilia- result is a family of curves resem- reception of a stereo signal as well as ry, DAT/tape 1, and tape 2. There is bling those of many conventional the selected input source. A signal - also a CD Direct mode, which con- loudness controls, except that the quality indicator shows the relative nects a CD player directly to the system lets the compensation be ap- strength of a received signal. amplifier input regardless of the reg- plied to any desired degree without The rear apron contains two sets ular source selection. In CD Direct, regard to the volume -control set- of speaker outputs whose spring - only the volume control is in the ting. In practice,itis capable of loaded connectors accept stripped circuit; tone controls and all other much more realistic sound at any ends of speaker wires, similar con- signal -modifying circuitsareby- listening level than the usual com- nectors for a 300 -ohm FM antenna passed. bined volume/loudness control. and the supplied wire -loop AM an- The power -amplifier sectionis A six -position REC OUT switch tenna, and thesignal -input and rated to deliver 50 watts per channel feeds any of the input sources to the tape -output phono jacks. One of the into 8 -ohm loads from 20 to 20,000 tape-recording output jacks on the two AC outlets is switched. Hz with no more than 0.02 percent rear apron, regardless of the source The infrared remote control sup- total harmonic distortion (THD). Its selected for listening. All other con - plied with the RX-530 can be used

STEREO REVIEW MARCH 199037 TEST REPORTS

to switch it on or off, select the The black -finished Yamaha RX- thesis tuning and IF alignment were input source or preset channel, and 530 measures 171/8 inches wide, 111'8 not precisely matched, so that a adjust the volume (the receiver's inches deep, and 5 inches high, and slight readjustment of the signal - volume knob is motor -driven dur- itweighs12 pounds,5ounces. generator frequency (to 20 kHz high- ing remote operation). Available Price: $399. Yamaha, Dept. SR, er than the receiver setting) im- only through the remote control is a 6722 Orangethorpe Ave., Buena proved the usable -sensitivity read- "sleep" mode that automatically Park, CA 90620. ing to 13.5 dBf (2.7 AV). The 50 -dB shuts off the receiver after an hour. quieting sensitivity in mono was The remote also has a number of Lab Tests 13.5 dBf (2.6 AV), and in stereo it buttons that can be used to operate The RX-530'sFMtuner section was 35 dBf (30 0). compatible YamahaCDplayers, had a usable sensitivity of 14.5 dBf The FM tuner distortion with a turntables, and cassette decks di- (2.9 microvolts, or of). As with 65-dBf (1,000-µv) signal was 0.1 per- rectly or through the receiver. mostFMtuners, its frequency-syn- cent in mono and 0.38 percent in stereo.The signal-to-noiseratio FEATURES (s/N) was 81 dB in mono and 77 dB in stereo. Frequency response was Digital frequency -synthesis O Display of tuner frequency, down 0.7 dB at 10,000 Hz and 3.9 dB AM/FM tuner with sixteen presets preset number, relative signal at 15,000 Hz. Channel separation

Detachable wire -loop AM strength, selected input, tuning was 47.5 dB in the midrange, 26 dB antenna mode, stereo reception at 30 Hz, and 40 dB at 15,000 Hz. O Manual or auto -scan tuning O Connections for two pairs of Although the capture ratio was on Inputs for tuner, phono, CD, speakers with independent video/auxiliary, and two tape front -panel selection the high side at 2.5 dB, AM rejection decks O Wireless remote control for was a very good 70 dB. Selectivity El CD Direct mode to bypass all power, preset and input controls except volume selection, and volume (using was average: 61 dB with alternate - O Dubbing from either tape deck motorized volume knob); can channel spacing and 4 dB with adja- to the other operate some Yamaha tape cent -channel spacing. Image rejec- O Independent selection of sources decks, turntables, and CD players tion measured a rather poor 43 dB. for recording and listening directly O Front -panel headphone jack O Sleep mode (from remote) to The AM tuner section's frequency O Bass and treble tone controls shut off receiver after 1 hour response was +0.5, -6 dB from 50 with center detents O Supplied cables and connectors to 2,300 Hz. O Continuously variable loudness for Yamaha RS components to The preamplifier's bass control compensation independent of enable system control through volume setting remote unit boosted the response by a maximum of 10 dB at 60 Hz and cut it by 10 dB between 20 and 40 Hz. The LABORATORY MEASUREMENTS treblecontrol had a maximum range of ± 10 dB at 20,000 Hz. Its 0 Tuner Section (all figures forFM 0 Amplifier Section response curves were hingedat only except frequency response; measurements in microvolts, or 1,000 -Hz output power at clipping: about 3,000 Hz, while the bass con- µv, referred to 300 -ohm input) 62 watts into 8 ohms, 80 watts trol'sturnover frequencyvaried into 4 ohms, 100 watts into 2 from 50 to 300 Hz. Usable sensitivity: mono, 14.5 dBf ohms (one channel driven) (2.9 Atv) Clipping headroom(relative to The loudness compensation pro- 50-ds quieting sensitivity: mono, rated output): 0.9 dB at 8 ohms videdfairlystandardresponse 13.5 dBf (2.6µV); stereo, 35dsf Dynamic power output: 110watts curves as the control setting was (30 µv) into 8 ohms, 180 watts into 4 lowered. At the minimum setting, Signal-to-noise ratio at 65dBf: ohms, 248 watts into 2 ohms the 1,500 -Hz output was lowered by mono, 81 dB; stereo, 75.4 dB Dynamic headroom: 3.4dB at 8 Harmonic distortion (THD ohms 42.5 dB while the output dropped noise) at 65 dsf: mono, 0.1%; Maximum distortion(20 to 20,000 only 18 dB at 20 Hz and 35 dB at stereo, 0.38% Hz into 8 ohms): 0.024% at 20,000 Hz. The Bass Extension cir- Capture ratioat 65 dsf: 2.5 da 20,000 Hz and 50 watts output cuit had no effect above 300 Hz but AMrejection: 70 dB Sensitivity (for a 1 -watt output into provided a 3 -dB boost at 100 Hz and Selectivity: alternate -channel, 61 8 ohms): CD, 20 my; phono, a maximum of 9 dB at 40 Hz; the dB; adjacent -channel, 4 dB 0.33 my Stereo threshold: 30dBf (17 µv) Phono-input overload: 100 to 118 boost returned to zero (reference Pilot and subcarrier leakage: 19 my from 20 to 20,000 Hz level) at 20 Hz. kHz, -48 dB; 38 kHz, -80 dB A -weighted noise(referred to a The RIAA phono-equalization er- Hum:-76 dB 1 -watt output):CD,-83.6 dB; ror was only +0.2, -0.3 dB from 20 Stereochannel separationat 100, phono, -80.2 dB to 20,000 Hz. Phono-input imped- 1,000, and 10,000 Hz: 35, 47, Phono-input impedance:46,500 ance was 46,500 ohms in parallel 41 dB ohms in parallel with 80 pF Frequency response:FM, +0.1, Tone -control range: 100Hz, +8.5, with an 80-picofarad (pF) capaci- -3.9 dB from 30 to 15,000 Hz; -7.5 dB; 10,000 Hz, +9, -8 dti tance. We also measured the re- AM, +0.5, -6 dB from 50 to Bass Extension range:+8.5 dB at sponse through the regular CD in- 2,300 Hz 60 Hz, 0 dB at 20 and 300 Hz puts and in the CD Direct mode. The most obvious difference was a

38 STEREO REVIEW MARCH 1990 More For My Money

I'dalways thought you needed big speakers to get good sound. So every couple of years, some department store would have a sale and I would buy the biggest speakers I could find for the money. Then I moved across the country to take a new job.I left my old speakers behind. I was sure they wouldn't fit in my new apartment and I was ready for new ones anyway. After the move, I went shopping for new speakers at a specialty hi-fi store near my apartment.I told the salesman to show me something under $500. He took me into a room full of all kinds and sizes of speakers. The first speakers he demonstrated were fantastic. The bass was big and tight. The stereo image was beautiful. Surely it was the biggest pair in the room. "I don't have the room for those big speakers,"I said. "And besides, I'm sure I can't afford them." He stopped the demonstration to show me a KLIPSCH' kg2., a compact and elegant model."Yeah, this is more my size," I said, "let's hear a pair of these." "You just did," he said. I bought those kg's.I paid a iot less than I had planned. And, believe me, I got a lot more for my money.

For your nearest KLIPSCH dealer, look in the Yellow Pages or call toll free, 1-800-395-4676.

A LEGEND IN SOUND P.O. BOX 688 HOPE, ARKANSAS USA 71801 CIRCLE NO2 ON READER SERVICE CARD TEST REPORTS

slight gain change (CD Direct sig- large majority of mainstream audio- purpose.The low -frequencyre- nals were about 0.2 dB higher in lev- philes. Although the measured per- sponse of most small speakers rolls el). There was also a minute differ- formance of its FM tuner was not off below about 70 or 80 Hz, and ence in frequency response between particularly outstanding, it sounded this circuit injects enough boost be- the two, with a slight upward slope fine in our installation. In a couple low that range to add a feeling of to the CD Direct signal acfoss the of respects, such as image rejection bass without exceeding the ampli- full audio range as the frequency and capture ratio, its measurements fier's capabilities or adding any un- increased. The total relative change were marginal, and near an active natural coloration. If you believe from 20 to 20,000 Hz, however, was airport its image rejection might not that a CD Direct connection is ben- a mere 0.02 dB, surely an insignifi- be adequate. On the other hand, the eficial, you also haveitinthis cant amount.Alltheobserved tuner noise level was very low for a receiver, but in our lab and listening changes clearly derived from by- product in this price range. In ex- tests it had essentially no effect on passing the tone -control, loudness, tended home use, I never found the the sound. balance, and Bass Extension circuits slightest reason to criticize its per- Every bit as important as the RX- -a testimonial to their inherent formance. As a bonus, its AM quali- 530's performance, though not so neutrality. ty was among the best I have heard easy to quantify, is its ease of opera- Audio sensitivity, for a 1 -watt ref- in years, in spite of a characteristi- tion. I found its ergonomic aspects erence output, was 20 my through cally limited bandwidth. The sup- to be above average, with a reason- the CD input and 0.33 my through plied wire -loop AM antenna (in con- able mix of basic and extra features. the phono input. The respective A - trast to the usual ferrite -rod anten- You won't have to keep the instruc- weighted noise levels (referred to 1 na) did not pick up the noise and tions handy when using this receiv- watt) were very low, -84.6 and hash from nearby power wiring that er, since almost every control does -80.2 dB. plagues most AM tuners I have used. exactly what you would expect, and Harmonic distortion into 8 -ohm With a low noise level, even AM can they all had a smoothness and tac- loads was typically between 0.008 be a listenable medium. tile feedback that appealed to me. and 0.004 percent between 20 and In these days of super -power am- The only shortcoming of its front - 10,000 Hz at power outputs from 5 plifiers, 50 watts may not seem like panel design is the placement of the to 50 watts. The maximum distor- much, but actually it is plenty for tuning, band, mode, and other but- tion of 0.024 percent was measured most people. Certainly that is the tons. They are marked with very at the rated 50 watts, with both case if the amplifier can drive low - small, hard -to -see characters, and channels operating, at 20,000 Hz. At impedance speaker loads, and espe- they are largely hidden by the pro- 1,000 Hz, the distortion was less cially if it has the considerable dy- trudingrow of presetselectors than 0.005 percent from a few watts namic headroom that we measured above them unless viewed from di- to 60 watts, and the output clipped on the RX-530. With speakers of rectly in front. at 62 watts into 8 ohms. Driving 4 - average or better efficiency (sensi- With that as my most serious crit- ohm loads, the amplifier clipped at tivity of 87 dB or greater), this icism of the Yamaha RX-530, it 80 watts, and distortion remained receiver can play as loudly and clearly ranks as an excellent value, less than 0.005 percent to beyond 70 cleanly as one could wish. an affordable receiver that does a watts. With a 2 -ohm load, we drove The RX-530 is well endowed with lot, does it very well, looks and only one channel, and the output features. If you use a loudness con- sounds great, and doesn't take up an clipped at 100 watts. Even under trol, it has one of the best. The Bass undue amount of space. this severe condition, the distortion Extension circuit is superb for its Circle 140 on reader service card remained less than 0.01 percent to beyond 80 watts. In dynamic power tests, the amplifier delivered 110 watts per channel into 8 ohms, for a dynamic headroom of 3.4 dB, increasing to 180 watts into 4 ohms and 248 watts into 2 ohms. The slew factor was greater than 25. In a power -band- widthmeasurement(withboth channels driven into 8 ohms), the output at 0.1 percent distortion was between 61 and 63 watts per channel from 45 to 20,000 Hz, falling off slightly to 56 watts at 20 Hz. COMMIlitS The Yamaha RX-530 is a lot of receiver for its price. It is safe to say that it would meet the needs of a

40 STEREO REVIEW MARCI11990 YOU DON'T HAVE TO.

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tion flexibility. The satellites can be placed on stands, tables, or shelves. Moreover, each satellite has a rear - panelkeyhole opening forwall mounting as well as threaded inserts for use with an optional swivel bracket. Because its output drops rapidly above about 150 Hz, the PowerVent module can be located almost anywhere without being heard as a separate sound source. In general, it is preferable to put it at the same end of the room as the satellites, and Boston Acoustics also suggests corner placement (with the vents facing the corner) for the deepest and most uniformly distributed bass output. Price: $499.95 for complete system. Boston Acoustics, Dept. SR, 70 Broadway, Lynnfield, MA 01940. Lab Tests With thesatellites on 26 -inch stands and the PowerVent bass module about midway between them, the averaged room response of the SubSat Six was unusually uniform across the full audio range. BOSTON ACOUSTICS There was very little difference between the response curves of the left SUBSAT SIX SPEAKER SYSTEM and right channels (measured one at ,30PAMMIEliN* a time from a microphone position 'than Hirsch, Hirsch -Houck Laboratories on the axis of the left channel), and from 500 to 20,000 Hz the averaged output varied only ± 2 dB. THE Boston Acoustics SubSat mon sealed chamber and facing into The close-miked response of the Sixis a compact speaker a common vented chamber. The PowerVent module was flat within system built in the increas- vents open through 2 -inch -diameter ± 1 dB from 50 to 130 Hz, falling off inglypopularthree-piece tubular ducts that are flared at both at 18 dB per octave above that fre- format. It consists of a pair of small, ends to eliminate noise from turbu- quency and at a precipitous 60 dB two-way satellite speakers and a lence at high levels. The PowerVent per octave between 50 and 35 Hz. separate PowerVent bass module. design provides a low-pass cutoff of Output rose slightly from 35 to 26 Each satellite weighs 4 pounds and 18 dB per octave without using any Hz and then continued its descent measures 8 inches high, 47,inches crossover components, and since to our 20 -Hz measurement limit, wide, and 43'8 inches deep, and each each satellite contains its own high- where it was some 25 dB below the contains a 4 -inch cone woofer oper- pass crossover filter,the satellite woofer's reference operating level. ating in a sealed enclosure and a and bass -module driver for each To form a composite response 3/4 -inch dome tweeter. The black vi- channel are simply connected in curve, we used a close-miked meas- nyl -finishedparticleboardenclo- parallel and then to the amplifier urement of the satellite cone (mid- sures have spring -loaded connectors output. range) driver to bridge the region on the back panels; normally meant The system's specificationsin- betweenthebassandtweeter to accept wire leads, they are also clude a frequency response of 46 to ranges. The resulting curve was flat- compatible with dual banana plugs. 20,000 Hz ± 3 dB, a nominal imped- ter than could probably be justified The black metal grilles are not read- ance of 4 ohms, and sensitivity of 87 in view of the numerous external ily removable. dB sound -pressure level (sPL) at 1 variables that can affect the balance The PowerVent module, also fin- meter with a 2.83 -volt input. It is between lows and highsin any ished in black, weighs 171/4 pounds recommended for use with ampli- room. Suffice it to say that the re- and measures 131/2 inches high, 71/4 fiers rated to deliver between 15 and sponse of each driver (bass, mid- inches wide, and 161/2 inches long. It 100 watts per channel. range, and treble) in its operating contains separate 6 -inch woofers for Like other three-piece systems, range wasflatenoughtohave each channel, rear -loaded by a com- the SubSat Six offers great installa- passed for an amplifier response not

42STEREO REVIEW MARCH 1990 Anywayyoulook at it,orlisten to it. Proton's 600 Series Stands Apart.

Sculpted for dramatic impact, and designed for The series includes the AM -656 Integrated ease of use, Proton's 600 Series components fit Amplifier, the AT -670 Tuner, the AV -646 AM/FM elegantly into any environment. Seldom used Receiver, the AD -630 Auto Reverse Cassette controls are concealed, yet revealed at the touch Deck, the AC -620 Compact Disc Player and the of a button. Cables, hidden by rear panel covers, matching AB -600 pedestal. Each component can disappear into the pedestal of this sleek, free- be controlled with the versatile AH-681 remote, standing unit. which also controls select Proton video products. And naturally, the sound is pure Proton. With Proton's new 600 Series. A rewarding high performance technologies like Dynamic investment for the discerning listener. Power on Demand"' (DPD), the new Schotz II From every point of view. tuner circuitry and the exclusive Aphex® Aural Exciter'," 600 Series components provide absolute clarity and realistic reproduction for incomparable listening pleasure.

For Product Information

Call 1.800.888-8237 For a free brochure and the Protob retailer nearest you, call (800) 772-0172 - In California, (800) 428-1006. Or write to 5630 Cerritos Ave., Cypress, CA. 90630. PROTO CLE ARLY THE B E

Aphex and Aural Exciter are trademarks of Aphex Systems,Ltd. 600 Series indusirial deign-Reinhold Weiss Design, Ine,Chicap) CIRCLE NO. 93 ON READER SERVICE CARD Bose engineers use advanced design systems to bring the benefits of new technologies to the constantly -refined 901 Direct/Reflecting speaker. The Intergraph InterAct 32 CAD/ CAM system (above) at Bose Corporation's Framingham, Mas- sachusetts worldwide headquarters is part of this commitment to "better sound through research" The Bose® 901° Direct/Reflecting® speaker system: A technological breakthrough 20 years ago pushed to the edge of today's technologies.

Twenty-five years ago Dr. Amar Bose directed a become part of the Bose 901 system. In today's era of research program at the Massachusetts Institute digital sound, with hund-eds of engineering and of Technology on the physical acoustics and psy- design improvements over the original 901 system, choacoustics of sound reproduction. The results the 901 Series VI Direct/Reflecting° speaker system of this effort provided the theoretical is the technological flagship of Bose basis for the design of the first Bose 901 Corporation. Direct/Reflecting° speaker system five years later. Its introduction in 1968 was "The 901 VIs sound live and exciting greeted with the highest critical acclaim the moment you fire them up...There ever accorded to a loudspeaker. are more than a few music lovers "... Imust say that I have never heard who won't Esten to anything else..." a speaker system in my own home -Daniel Kumin, Digital Audio 1988 which could surpass, or even equal, the woo We submit that the research and development behind the Bose 901 system make Bose 901 for overall "realism" of sound!' it the most advanced, lifelike sounding -Julian Hirsch, Stereo Review 1968 000b speaker you can buy. But you must be the "There is no doubt that the much - final judge. Ask your dealer to give you an "A -B" demonstration comparing the Bose abused and overworked term, 'break- 901 system to any other speaker, regard- through; applies to the Bose 901 less of size or price. system and its bold new concepts:' -Bert Whyte, Audio 1969 "Many people swear by these speakers as the ultimate!' -Complete Buyer's Guide to Stereo Hi-Fi Equipment 1975 But this was just the beginning. Bose research continued to focus on the 901 system, incorporating the latest technology as it was developed. For example, in 1976 two new innovations were brought to the system to dramatically improve its efficiency and power handling. These new technologies-the Acoustic MatrixTM enclosure and the Helical Voice Coil driver-alone represent a significant investment in research Live music is a combination of direct and reflected and development. As a result sound energy. of this commitment, the rave reviews continued. "... it has a total sound that soars, with a brilliance that We invite you to audition the Bose line at a dealer nearest defies description:' you. For more information, -Modern Hi-Fi & Music 1977 call 1-800-444-2673 be- Bose engineers work continu- tween 9 a.m. and 5 p.m. EST. Bose Direct/Reflecting® speakers accurately repro- ously to develop and perfect duce live music's natural new audio technologies with balance of direct and one common denominator: if reflected sound energy, in full stereo (blue area) they demonstrate the potential throughout the room. to improve performance, they ..1717.5W - Better sound through research. TEST REPORTS

too many years ago. The only signif- Comments separate origin. Best of all, there icant deviations were a slight em- were no obvious gaps in the spec- phasis (about 3 dB) in the octave Our measurements suggested that trum, especially between the ranges from 10,000 to 20,000 Hz and a 2.5 - the Boston Acoustics SubSat Six covered by the PowerVent and the dB peak at the lower limit of the was a good speaker system, especial- satellites. The position of the Pow- PowerVent bass module's operating ly in its price range, and our listen- erVent unit was never detectable by range (50 Hz). ing tests fully confirmed that judg- listening. In fact, the smoothness of The satellite's frequency response ment. When the PowerVent module the overall sound was superior to varied only moderately through a was midway between the satellites that of most conventional two-piece 45 -degree angle about its forward and a couple of feet from the wall, systems we have used. Compared axis, and the deviation was not the low bass, while adequate most with some other speakers, the Sub - much greater above 10,000 Hz than of the time, fell short of our expecta- Sat Six also sounded a trifle crisp, in the lower treble range. We no- tions. Moving it into a corner (a few an effect we approve of and tend to ticed in the close-miked PowerVent feet to the right of the right speaker), attribute to its wide dispersion and response curve that a measurable with the vents closest to the corner, slightly emphasized output in the amount of signal was radiated at fre- as recommended by the manufac- top octave. quencies between 500 and 1,500 Hz. turer, made an impressive differ- After extended listening to the These leakage signals were at least ence in the system's bass perform- SubSat Six and direct comparisons 20 dB below the bass output, howev- ance when playing musical selec- with some very good conventional er, and in actual use were never tions with appreciable energy below speakers, we felt that it more than audible. The satellite's phase linear- about 80 Hz. held its own. No one walking into ity was very good, with an overall The sound, overall, was typical of the room would have the slightest group -delay variation of less than what we would expect from the very inkling that its two tiny satellites 0.2millisecondfrom1,000to finest three-piece systems. Output were delivering the bulk of the 20,000 Hz. in the lowest part of the system's sound he was hearing. That is the The system's measured sensitivi- range (around 50 Hz) could befell as principal quality of a good three- ty was 90.5 dB SPL at 1 meter with a well as heard. The higher frequen- piece system, and the SubSat Six pink -noise signal of 2.83 volts rms. cies were seamlessly joined to the has it in full measure, at a highly The impedance presented to a driv- bass range, giving no hint of their competitive price. 0 ing amplifier depended greatly on the measurement conditions (such as whether the satellites and the PowerVent module were paralleled and whether both channels were being driven). Paralleling the satellite and bass modules and driving only one channel gave the worst results, with the impedance reaching a minimum of 3 ohms at 90 and 450 Hz and remaining less than 6 ohms from 54 to 1,300 Hz. The system's maximum impedance was19.5 ohms at 34 Hz. The totalharmonic distortion (THD) plus noise of the PowerVent bass module with a drive level of 2.67 volts (equivalent to a 90 -dB level in a sensitivity measurement) was 1 percent at 70 Hz and fell to 0.4 percent or less from 75 to 200 Hz. At lowerfrequenciesthedistortion rose rapidly, reaching 4 percent at 50 Hz and 20 percent at 45 Hz. In high -power pulsetests,the PowerVent cones bottomed loudly at 562 watts into their 3.2 -ohm impedance at 100 Hz. At 1,000 and 10,000 Hz, the amplifier clipped before the satellite speaker limits were reached, at respective power levels "I'm running a little tight on my credit cards. Could you of 1,250 and 825 watts into 5 and 7 put the left speaker on my Visa, the right one on my Master- ohms. Card, and the CD player on my American Express . . . ?"

46 STEREO REVIEW MARCH 1990 .0 , . kr

FAD. PIP or. MOH DWJER FM/AM CD PLAYER 4X OVERSAMPLINO CD -3 111VMMIDI. "."4

ILL BAL BASS TREBLE LOUD SF RELY PROC LOUD_r 1 r R P T GSM L Fm2 44 14. LO DE ST MO ; PIN. SCAN 5PCVAD AllIvoo rL...I DX OA ST RESET

6 RPTASNI CD.T 11.4F 5 -

Engineered for the sophisticated audio enthusiast, the Coustic CD -3 represents a remarkable achievement in advanced mobile audio technology and system design.

COUStK a col Ind frit, omprIL 4260 Charter Street Vernon, CA 90058-2596 1-213-582-2832 CIRCLE NO 188 ON READER SERVICE CARD TEST REPORTS

the display shows its total number ROTEL RCD-855 of tracks and total playing time. The RCD-855 comes with a wire- COMPACT DISC PLAYER less remote control that duplicates allits front -panel controls except Julian Hirsch, Hirsch -Hauck Laboratoriec the power button and open/close button. In addition, it has numerical keys that provide direct access to THE Rotel brand name is (s/N)is specified as 100 dB, the any track. The rear apron contains a probably better known in dynamic range as 96 dB. Channel coaxial digital output as well as the Europe than in this country, separation at 1,000 Hz is rated as usual pair of analog output jacks. but a broad line of Rotel hi- 100 dB, and total harmonic distor- The Rotel RCD-855 measures 171/2 fi components is currently available tion (THD) plus noise at 1,000 Hz is inches wide, 13% inches deep, and in the United States. The RCD-855, given as 0.0025 percent. 31's inches high and weighs about manufactured in Taiwan, is a rela- In the features department, the 151/2 pounds. Price: $349. Rotel, tively low-priced CD player whose RCD-855 offers such amenities as Dept. SR, P.O. Box 653, Buffalo, performance ratings and features shuffle play, a scan mode that plays NY 14240. make it comparable to many more the first 10 or 20 seconds of each expensive models. track, programmed playback of as Lab Tests Althoughnotablyfreeof the many as twenty tracks in any order, The RCD-855's frequencyre- "bells and whistles" that adorn so and repeat of an entire disc or a pro- sponse was flat within ± 0.025 dB many of today's audio products, the grammed sequence. The player also from 15 to 20,000 Hz. Also well Rotel RCD-855 is by no means has the usual track -skipping func- within the specified performance spartan or "minimalist" in its con- tions and two -speed fast search with limits were the interchannel phase ception and execution. It has dual audible output. shift (between 0.35 and 0.25 degree 16 -bit digital -to -analog (D/A) con- The front -panel display window, from 5,000 to 20,000 Hz), the A - verters and four -times (176.4 -kHz) unlike most, is small and mono- weighted noise level (-115 dB), and oversampling, and its specifications chromatic, but its white fluorescent the dynamic range (98.8 dB). The are the kind you would expect of a numerals and letters are large and quantizationnoise was a good new CD player. For example, its bright. The display normally shows -94.5 dB. Channel separation was rated amplitude linearity over the only the current track number and 108.5 dB from 100 to 1,000 Hz, 20- to 20,000 -Hz range is ± 0.05 dB, elapsed time, along with a small box about 105 dB at 10,000 Hz, and 95 with a phase shift of less than ± 0.5 for the status of various operating dB at 20,000 Hz. degree. The signal-to-noiseratio modes. When a disc is first loaded, Low-levellinearitywas good,

48 STEREO REVIEW MARCH1990 Simple Impression. Ergonomically simple, technologically impressive.

Our new 700 Series car radio/ cassettes epitomize Coustic's commitment b PRODUCT EXCELLENCE. A balanced syn-

thesis of technology, functionality Sa:AM PIE and ergonom cs aptly describes -2 n C rJr the 700 Series, which is the best ILI -I. -I selection of car radio/cassettes available today. A full range of models boast- RX-738 CAR RADIO/CASSETTE ing the technologically Advanced and delivers a 3 -dimensional Blending technology and sim- FM Optimizer IV Circuitry incor- "life -like" sonic performance. plicity the 700 ODIDOLBY BC NRI porating a QUASI 4 -GANG series feature HI -GAIN, LOW NOISE TUNED THERE IS MORE... Preset Scan, Dolby B & C Noise FRONT END. This circuitry Reduction Systems, Tape Pro- con:inuously monitors FM signal Cellular Phone Interrupt - You gram Search (TPS), Metal Tape strength to selectively adjust will never miss a call on your Equalization (MTL), CD/AUX Input for digital pro- _ICOmpACT gram source, Radio 0 [1§M Monitor (R.MON), -G" T41/111010 Active Bass & Treble Tone Controls, Front/Rear Pre -Amp Outputs for flexible system expansion and removeable chassis option. A custom oversized Liquid RX-728 CAR RADIO CASSETTE Crystal Display (LCD) provides

.12 VOLTS easy stereo separation and audio identifi- bandwidth. Automatically "SCAN ME RELAY cation eliminating signal overload and (NOT PROVIDED) day or FM? inr n the picket -fencing effect of multi - night D _s LOUD ST path interference to produce the of fre- BLUE CALL MOBILE RX-738 LCD DISPLAY YELLOW CELLUAR best stereo performance and WIRE ALERT PHONE quency FEATURE... cleanest FM reception possible. S OW settings and each accessed The Autc- N NE AU I 0 function such as TPS, MTL, DO, Aligned Azi- AllALIGNED CD, etc. AZIMUTH SYSTEM muth (A3)TM The 700 Series - simply System is s'andard on all 700 impressive! Series auto -reverse cassette mechanisms. This unique A3 CELLULAR PHONE INTERRUPT System employs a 2 -track (instead of mobile phone (with "Call Alert") a fixed again' Our new I-SENS'`' Cir- TAPE HEAD t RAISES & four - cuitry instantaneously mutes the caustic LOWERS 4 track, audio system when it detects an ....a sound investment.

crosstalk incoming call. 4260 Charter Street prone) tape head that shifts Vernon, CA 90058-2596 linearly (up or down) into per'ect 213-582-2832 azimuth alignment whenever tape directijn is changed. This 1.11111.0"1"11111.11.11w*""" - --.mum m nimizes high frequency loss I TPS Orl 2 3 ?Owl 4 Dolby is a registered trademark of Dolby Laboratories RX-738 MULI-FUNCTION CONTROLS Coustic 1989

CIRCLE NO. 113 ON READER SERVICE CARD MOST LASERDISC PLAYERS ARE MISSING TEST REPORTS AN IMPORTANT COMPONENT. with less than 1 dB error in the re- (2,500 -micrometer datainterrup- produced level of a -80 -dB test sig- tion) without audible effects and nal. At -90 dB, however, the out- mistracked only on Track 37 (3,000 - put was 5 dB low. The noise spec- micrometer interruption). trum in the player's output was between -120 and -130 dB from Comments 30 to 20,000 Hz. Distortion (THD In past years, we found that Rotel plus noise) with a 0 -dB signal was products consistently offered a bet- between -85 and -93 dB from 20 ter than average value for the mon- to 12,000 Hz, increasing to -55 dB ey, and the RCD-855 follows in that at 20,000 HZ. At 1,000 Hz, the THD tradition. Not only did its perform- plus noise varied with level from a ance live up to and usually exceed minimum of about -99 dB (0.001 its specifications, but it ranked with percent) at -90 dB to -91.5 dB some of today's best (and much (0.0027 percent) at -10 dB and costlier) CD players. It also sounded reached a maximum of -86 dB as good as any player we have Now thousands of n'iovies, concerts, and (0.005 percent) at 0 dB. The fre- heard. operas are just a phone call away. Find quency (speed) error was +0.0025 The only things lacking in the out what's missing. Pick up the phone. percent. RCD-855 that we occasionally find The opening and closing of the useful were a headphone jack, an disc drawer were somewhat leisure- "A -B" repeat function, and a dis- ly compared with the pace of several play of the remaining time on a 1 800 322 2285 other CD players we have tested track or disc. These are admittedly LaserDisc Fan Club" recently. So was the slew time of the very minor considerations, and they laser mechanism, which took about really emphasize how complete and 4 seconds to travel from Track 1 to versatile this unit is and how much

CLoser°. Fon Chub 1990 Track 15 of the Philips TS4 test it does without a complex or hard - disc. On the other hand, the RCD- to -learn array of controls. Our test 855 was able to withstand moderate results speak eloquently for the true impacts on its top and sides without quality of the RCD-855, which is mistracking, and its error correction certainly one of the best values we was exceptional. It played Track 36 have seen in a CD player. of the Pierre Verany #2 test disc Circle 142 on reader service card IT'LL MAKE ANY LASERDISC PLAYER THOUSANDS FEATURES OF TIMES BETTER. Dual D/A converters Track skipping and two -speed Four-times-oversampling fast scan (with audible output) in (176.4 -kHz) digital filters either direction Display of current track number Shuffle play and elapsed time in track, Intro scan of first 10 or 20 operating status of disc seconds of each track mechanism and other features Repeat of entire disc or (shows total tracks and time at programmed sequence loading) Analog and (coaxial) digital Programmable to play as many output jacks as twenty tracks in any order Infrared remote control with numerical keypad for direct trackaccess LABORATORY MEASUREMENTS Maximum output level:1.995 volts Frequency response: ± 0.025 dB Total harmonic distortionat from 15 to 20,000 Hz 1,000 Hz: less than -94 dB Low-level linearity error:less (0.002%) from -40 to -90 dB, than 1 dB down to -80 dB, -5 -86 dB (0.005%) at 0 dB dB at -90 dB Free shipping, free membership, Signal-to-noise ratio (A -weighted): Cueing time:4 seconds discount prices, the best selection, 115 dB Impact resistance:top and sides, and a monthly catalog, all just a Channel separation: 108.5dB B+ below 1,000 Hz, 105 dB at Defect tracking:tracked phone call away. 10,000Hz, 95 dB at 20,000 Hz 2,500 -micrometer defects on Maximum interchannel phase Pierre Verany #2 test disc shift (5,000 to 20,000 Hz): 0.35 1 800 322 2285 degree at 5,000 Hz LaserDisc Fan Club'

50 STEREO REVIEW MARCH1990 C los.000c Fa, Club 1990 CIRCLE NO 173 ON READER SERVICE CARD Impressyoursystem. Andyour systemwill impress you!

Impress your car audio system Your power amplifier will with our Power Logic series of be pleasantly surprised to component speakers and your find that POL YMIDE DIA- system WILL impress the discrimi- PHRAGMS are built into the nating you. tweeters to ensure structural integrity and significantly minimize distortion when subjected to high power. Your system will concur with our research

findings that HIGH 606. HT DENSITY, POLYPRO- PYLENE -LAYERED, AIR- sponse and lower distortion. DRIED, DOUBLE -RIGID PA- The Power Logic component PER CONE carries the lowest speaker series rigorously pro- second and third harmonic duces. in an anti -acoustic automo- distortion characteristics, tive environment, crisp high fre- manifesting

Nr.el 9 v the best Copennagv,, From 15" monstrous subwoof- sound quality. 95 dB ers, to powerful mid/woofers, to This cone 90 an 111111IPM,IIIIIIiiiill super tweeters and multi -driver material is IC METRICAL speaker systems. our Power standard on all !85 dB 11111rAiiiiiiirala E LOADING NIOUE Logic component speakers are Power Logic -,3.FF AXIS ready for any frequency response component 113 Inill "c and sound pressure level (SPL) speakers. P51111 111115047iii1E1 requirements with minimum Your power "" 11X81 2000 5000 distortion. amplifier sys- Frequency Response (Hz)

6,030 0 tem will certainly appreciate the combination quency response, sumptuous of HIGH TEMPERATURE ALU- midrange, tight and distortion -free MINUM VOICE COIL and HI -EN- low bass, superb instantaneous ERGY STRONTIUM MAGNET power handling and precise STRUCTURE built for maximum stereo imaging. In short, the illu- heat dissipation and extreme sion of life -like musical perform- Your system will be wowed by power handling capability, with ance with superior clarity and our SYMMETRICAL WAVE more accurate cone displacement 3 -dimensional imaging. LOADING TECHNIQUE on the resulting in faster transient re- Our Power Logic component Power Logic compo- speakers will no doubt impress nent tweeters which your system. All it takes is for your produces crisp high system to impress YOU. frequency performance even when mounted "off -axis

.1111111P COUSIK. 4260 Charter Street Vernon. CA 90058-2596 213-582-2832

-615, HT -608, HT -612

CIRCLE NO 98 ON READER SERVICE CARD TEST REPORTS

0 also screwed to the chimney to help ORTOFON PPA600 conduct heat away from the amplifier circuits. POWER AMPLIFIER The thermostatically controlled fan does not begin operating until Julian Hirsch, Hirsch -Houck Laboratories the heat -sink temperature reaches 35°C (95°F). Its speed increases with temperature, and in the event that THE Ortofon PPA600 profes- inputs of a number of amplifiers. theinternal temperature reaches sional power amplifier is a The PPA600 has separate ground- 70°C (148°F) the affected channel rugged, powerful unit capa- ing terminals for the amplifier cir- shuts down, resuming operation ble of delivering high -power cuit and the metal chassis; these are when the temperature drops to 60°C outputs to low -impedance loads for normally joined by a wire link, but (140°F). extended periods without overheat- they can be separated for multiam- The front panel has separate LED ing or damage. Although it is rela- plifier installations that require iso- status lights for each channel. The tivelycompact,theamplifier's lated grounds. green POWER lights come on when weight of almost 50 pounds reflects A good fraction of the amplifier's the amplifier is turned on. When a its solid construction. internal volume is occupied by a signal is applied, the green SIGNAL The PPA600 is built on a steel huge toroidal power transformer. lights glow, and if the amplifier is chassis and has a steel cover plate, The manual indicates that the two driven into clipping, red OVERLOAD retained by eighteen screws, that all channels operate as independent lights flash. They may remain on for by itself is as heavy as some full-size mono amplifiers, and from our ex- a few seconds if the amplifier's cur- CD players. Handles about .1/4 inch in amination of the interior it looked rent limits are exceeded and also diameter are mounted on both the as if the power transformer has two remain on if a constant (DC) voltage front panel and the rear apron, windings connected to separate rec- appears at the output terminals. A where their 2 -inch depth allows the tifiers and filter capacitors that sup- pair of green BRIDGE lights show amplifier to stand upright without ply the two channels. that the amplifier has been set to its damage to its output connectors. Although the front panel is deeply bridged mono mode by a switch on The front panel, slotted for rack grooved to resemble a heat sink, the rear apron. mounting, measures 19 inches wide, this is largely a matter of appear- The front panel also has separate 51/4 inches high, and it inch thick ance. The power -output stages are level controls for the two channels. (thinning to 116 inch at the outer assembled as a unit with a square They are detented, operating in 1 -dB edges). The amplifier extends 131'4 cross section to form a horizontal steps near their maximum settings, inches behind the panel, and its rear chimney, one end of which is open 2 -dB steps over much of their range, apron contains two pairs of heavy- to a 4 -inch hole at the left side of the and 5-, 10-, and 20 -dB steps at their duty binding -post speaker outputs panel. Behind the rear opening of minimum settings. and line -level inputs through stan- the chimney is the exhaust fan on The Ortofon PPA600 is rated at dard 1/4 -inch phone jacks. Two pa- the rear apron, which draws outside 225 watts per channel with both ralleled jacks are supplied for each air through the chimney to cool the channels driven into 8 ohms from channel to simplify paralleling the output transistors. The top cover is 20 to 20,000 Hz with no more than

52 SITIREO REVIEW MARCH 1990 RX-1130 RECEIVER

125 watts per channel into 8 ohms from 20-20,000 Hz at no more than 0.015% THD Low impedance drive capability provides 360 watts per channel into 2 ohms dynamic power Additional amplifier section for two rear channels with rear channel level control Five digital Surround Sound modes (Dolby,* Natural, Hall, Simulated Stereo, Live) Computer Servo Lock tuning MM/MC Phono Selector Banana plug compatible speaker connection terminals 24 -segment signal quality meter Continuously variable loudness control Learning -capable multi -function remote control Eight audio inputs, three video inputs Four audio outputs, three video outputs S -VHS compatible Separate front and rear pre -main coupling terminals Eight -mode REC OUT selector Continuously variable delay time control CD Direct switch Motor -driven volume control with LED indicator Sleep timer Center defeat bass/mid-range/treble tone controls 16 -station random access preset tuning with multi - status memory Absolute Linear Amplification (ALA) circuitry Preset indicators with preset number and station frequency Front panel headphone jack Tone bypass switch High -gain AM loop antenna Manual or auto IF Mode selector (wide or narrow) Auto search tuning Manual up/down tuning

If any of these features compromised its sound, this is the first thing wed remove:YAMAHA"

1989. Yamaha Electronics Corp.. USA. For the dealer nearest you. call l-800-662-6800 Dolby. Surround is a registered trademark of Dniby Laboratorit, TEST REPORTS

0.1 percent total harmonic distor- The totalharmonic distortion manding professional applications. tion. The 4 -ohm rated power is 350 (THD) plus noise into 8 ohms was Not only did it withstand accidental watts per channel, and the 2 -ohm fairlyconstant between 20 and output short-circuits with no ill ef- output (with one channel driven) is 2,000 Hz, with typical readings of fects, but it ran cooler (even during rated at 600 watts. In the mono 0.1 percent at the rated 225 watts the grueling preconditioning period) bridged mode, the rated 8 -ohm out- output, 0.16 percent at half power, than almost any tuner, CD player, or put is 650 watts, increasing to 950 and 0.25 percent at 22.5 watts. The other component that we have watts into 4 ohms. Other ratings distortion increased slightly at high- tested. It is hard to imagine how it include a 20,000 -ohm input imped- er frequencies, to a 20,000 -Hz maxi- could become overheated under any ance, a frequency response of 10 to mum of 0.37 percent at 225 watts, operating conditions short of a lack 60,000 Hz +0, -3 dB, and a damp- 0.17 percent at 112.5 watts, and 0.15 of air for cooling (the installation ing factor of greater than 250. Price: percent at 22.5 watts. At 1,000 Hz, instructions caution against imped- $2,000. Ortofon, Dept. SR, 122 Du- the8 -ohmdistortiondecreased ing its fan -drive air flow). pont St., Plainview, NY 11803. from 0.05 percent at 1 watt to 0.02 Unlike some high -power audio- percent at 200 watts and reached phile amplifiers, the PPA600 can be Lab Tests 0.06 percent at 225 watts. Into 4 lifted by one man without risk, After its1 -hour preconditioning ohms, the readings ranged from although it does feel heavier than it at 75 watts per channel into 8 ohms, 0.085 percent at1 watt to a mini- is, possibly because of its compact the top of the Ortofon PPA600 was mum of 0.037 percent at 300 watts dimensions. It is electrically stable only slightly warm over the heat and 0.058 percent at the rated 350 and is one of the very few fan - sinks and cool to the touch else- watts. The 2 -ohm distortion ranged equipped amplifiers we have used where. The fan, which was running from 0.13 percent at 1 watt to 0.034 that is quiet enough to install in a most of that time, was virtually percent at 500 watts and 0.25 per- music room. inaudibleunlessthe amp was cent at 600 watts. Our examination of the ampli- turned so that the rear apron faced The input sensitivity for a 1 -watt fier's interior revealed that the in- the listener, and even then it was output was 95 millivolts, and the A - put -level controls, which feel like inaudible beyond a couple of feet. weighted noise level was -78 dB step switches with rather light and The clipping power at 1,000 Hz referred to1 watt. The slew factor vague detents, are actually contin- into 8 ohms (both channels driven) exceeded our measurement limit of uously variablepotentiometers measured 243 watts per channel, 25. The frequency response was (miniature volume controls). The increasing to 378 watts per channel down 0.1 dB at 20 Hz and 0.45 dB at detent is external to the control, into 4 ohms. We drove one channel 20,000 Hz. and, in fact, the level can be set to into 2 ohms, measuring a clipping values between the detent steps, al- power of 625 watts. Dynamic power Comments though this requires some care. Un- measurements produced outputs of Our tests of the Ortofon PPA600 der the circumstances,itwould 288, 406, and 755 watts into respec- showed that it has the muscle and seem that the detents could have tive loads of 8, 4, and 2 ohms. ruggedness to serve even in de - been omitted entirely without im- pairing the usefulness of the amplifier. We also noted that the heavy FEATURES binding -post speaker connectors on 4111111111MIIIIIIIMMINIM our sample were spaced almost *4 O Toroidal power transformer 0 Front -panel level adjustments inches apart, but not exactly, so it O Separate power supply for each each channel was not possible to insert dual bana- channel; can be bridged for O LED indicators for power on, high -power mono operation bridged mode, overload, and na plugs. As the discrepancy was O Cooling -fan speed proportional presence of signals only about 1132 of an inch, we assume to temperature O Able to drive -2 -ohm loads safely that this was a sample defect. Although professional audio equipment is usually not particu- LABORATORY MEASUREMENTS larly suited to home use, even with- Sensitivity (for a 1 -watt output): Dynamic headroom: 1.06 dB into 8 out considering its high price, the 95 my ohms Ortofon PPA600 appears to be an A -weighted noise (referred to a Slew factor: greater than 25 exception to that rule. It gives every 1 -watt output): -78 dB Frequency response: 20 to 20,000 appearance of being an indestructi- Output at clipping (1,000 Hz): 243 Hz +0, -0.45 dB ble battleship of an amplifier that watts into,8 ohms, 378 watts Harmonic distortion (THD + noise into 4 ohms, 625 watts into 2 at 1,000 Hz into 8 ohms): manages to do everything expected ohms 0.026% at 22.5 watts, 0.02% at of a fine home amplifier. In fact, it Clipping headroom (relative to 112.5 watts, 0.09% at 225 watts had no operating or listening vices rated output): 0.33 dB into 8 Maximum distortion (20 to 20,000 that we could discover. And al- ohms Hz into 8 ohms): 0.37 percent at though itis capable of operating Dynamic power output: 288 watts 225 watts (20,000 Hz) into 8 ohms, 406 watts into 4 safely in closed spaces, it looks good ohms, 755 watts into 2 ohms enough to be placed in full view. 4i Circle 143 on reader service card

54 STEREO REVIEW MARCH 1990 -Leonard Feather, Celebrated Jazz Critic fo the L.A. Times, Washington Post News SEryice and Author of many books including "The Jazz Years-- Earwitness to an Era"

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CIRCLE NO. 62 ON READER SERVICE CARD TEST REPORTS

closed volumes within the cabinet (the tweeter's sealed rear housing isolates it from low -frequency pressure variations). At low frequencies, both operate together as woofers. Above 200 Hz the response of the lower driver is rolled off, leaving the upper driver to radiate the midrange frequencies up to the 3,000 -Hz tweetercrossover.This arrangement provides the maximum radiating cone area at low frequencies and eliminates the midrange interference between the drivers that could otherwise occur if both were operating over the same range. The crossover network is constructed on two separate circuit boards, which are mounted in different parts of the cabinet (outside the enclosed volumes) to eliminate any stray coupling between their in- ductors as well as microphonic effects from theinternalpressure changes. Each section of the crossover is brought out to separate terminals,normallyconnectedby jumpers, making it possible to bi- wire or triwire the speakers, with separate cables from each section to the amplifier, or to biamp or triamp them, driving each section from a separate amplifier. Linn places great emphasis on the rigidity of the speaker's structure. The front baffle is machined from a2, high -densitycompositematerial, about 1N -inch thick, that's bonded LINN KABER SPEAKER SYSTEM with adhesives to the 3/4 -inch medium -densityfiberboardcabinet Julian Hirsch, Hirsch Houck Laboratories front to form an exceedingly rigid 21/2 -inch -thick panel. The cabinet it- INN Products, Ltd. of Glas- weighs about 53 pounds. Linn calls self is made of N -inch material gow, Scotland, named its the Kaber a "two -and -a -half -way" throughout, veneered on the inside newest loudspeaker, the Ka - speaker because it has two 6 -inch as well as the outside for additional ber, after the Scottish caber, bass drivers and a3/4 -inch dome strength. In addition, internal parti- a long, heavy pole tossed as a trial of tweeter. The drivers are vertically tions of 3/4 -inch material divide the strength at the traditional Highland aligned in the upper 19 1/2 -inch por- cabinet into three separate sections Games. The name was not chosen tion of the cabinet, which is normal- and, with additional cross braces, arbitrarily, as I learned on a recent ly covered by a removable black further increase its rigidity. The Ka- visit to Linn's modern facilities on cloth grille. The lower part of the ber also has a unique grille -mount- the outskirts of Glasgow. The slim speaker's front is made of the same ing system. A conventional frame is columnar Kaberismost easily black composition material used for not used; instead, the grille has elas- moved by placing the fingers of one the speaker panel. tic sewn into its periphery and is hand in the recessed portion of its Unlike some other speakers using inserted into aslit between the bottom and cradling the speaker a similar driver configuration, the molded speaker panel and the cabi- with the other arm, much as one Kaber's woofers are at the top and net, then stretched to fit around the starts to toss the caber. bottom of the speaker panel, with speaker's edge. The elastic is hidden The LinnKaber stands 361/4 thetweeter between them. The in the slit when the grille is in place, inches high, 71/2 inches wide, and 11 woofers, whose cones are made of and the system is free of edge -dif- inches deep. Despite its compact carbon -loaded polypropylene,are fraction effects from a grille frame. dimensions,eachspeakerunit identical but operate in separate The Kaber includes an integral

56 STEREO REVIEW MARCH 1990 TEST REPORTS

(but removable) base, or stand, that 1,300 Hz. The tweeter's horizontal it. The subjective lower limit to the incorporates four spiked feet for a dispersion was also very good, with speaker's response appeared to be stable coupling to the floor. The negligible difference below 10,000 about 45 to 50 Hz, but at still lower base can be installed in two differ- Hz between its response measured frequencies the output simply de- ent ways to anchor the column on -axis and 45 degrees off -axis. The creased to inaudibility without gen- against either side -to -side or front - group delay of the system, in the erating the high distortion levels to -rear forces. Since it is made of tweeter's operating range, was con- that can create a false bass effect. solid steel,it adds weight to the stant within 200 microseconds from The high frequencies were repro- speaker, lowers its center of gravity, 2,000 to 20,000 Hz. duced crisply,with no hintof and improves its stability. The system impedance averaged brightness or emphasis of any part The performance specifications of between 5 and 6 ohms from 50 to of the frequency range. The precau- the Linn Kaber include a frequency 500 Hz, reaching its minimum of 4 tions taken to maximize cabinet ri- response of 60 to 20,000 Hz ± 3 dB ohms at 20 Hz and maximum of 30 gidity were highly successful. Rap- and a sensitivity of 86 dB sound - ohms at 1,800 Hz. The sensitivity, ping any part of the cabinet with the pressure level (sPL) at 1 meter with a with 2.83 volts of pink -noise excita- knuckles resulted in a "click" more 1 -watt input. Price: $1,995 a pair. tion, was 88.5 dB SPL at 1 meter. At suggestive of a solid concrete or Distributed by Audiophile Systems, a drive level of 3.3 volts, equivalent steelblockthanasemi -hollow Ltd., Dept. SR, 8709 Castle Park to a 90 -dB SPL at 1 meter, the lower wooden cabinet. Dr., Indianapolis, IN 46256. woofer's distortion was 0.6 percent Overall, the Kaber was a natural, at 150 Hz, increasing at lower fre- easy -sounding speaker. Like some Lab Tests quencies to 3 percent at 60 Hz and other"two -and -a -half -way" sys- The Linn Kaber is designed to be 10 percent at 35 Hz. The upper tems, it delivered highly listenable installed close to the back wall woofer gave similar readings in the sound quality from arelatively (within 4 to 12 inches) and at least low bass,butitsdistortionre- compact,inconspicuouscabinet. 18 inches from a side wall. We did mained about 0.4 percent from 200 But it also had an exceptionally flat, our listening and room -response to 1,300 Hz. widely dispersed sound and a dis- measurements with the speakers In our pulse power tests,the tinct depth to its sound stage that about a foot from the back wall. The woofer cones began to rattle with a set it apart from the rest. Another room response, averaged for both watts into their plus for some people is that it was at speakers at a single microphone po- 4.5 -ohm impedance. At 1,000 and its best when placed near a wall; it sition, was exceptionally flat in the 10,000 Hz the amplifier ran out of does not intrude on living space the tweeter range, with less than ± 1 dB power before the speaker distorted way many other free-standing or variation from 3,000 to 20,000 Hz. (atapproximately 500 and 700 pedestal -mounted speakers do. There were the usual minor re- watts, respectively). Finally, although it has nothing to sponse variations in the midrange. do with its sound qualitities, we had The close-miked woofer response Comments the opportunity to confirm that the was measured separately for the two The sound of the Linn Kaber was Kaber is indeed easiest to handle drivers and then combined. The completely consistent with its meas- and move in the style of a caber, two had identical outputs up to 100 ured performance. It was virtually instead of by attempting a bear hug Hz, above which the lower woofer uncolored, free of upper -bass heavi- on a relatively slender and slippery rolled off at 6 dB per octave. The ness, yet had a surprising lower -bass box. A really nice job all around. upper woofer's output continued content when the program called for Circle 144 on reader service card (with less than a 2 -dB variation) as far as the close-miking technique was valid (a few hundred hertz). The composite response curve had a ± 3-ds variation from 70 to 20,000 Hz, almost exactly as specified. The actual low -frequency response in a normal room installation is almost always better than the composite curve indicates, as was demonstrated in this case by our listening tests. Our FFr response measurements confirmed the excellent flatness and breadth of the Kaber's frequency response, with typical readings of ± 2 dB from 400 to 20,000 Hz. With the microphone close to the tweeter, midway between the woofers, the response was ± 2 de from 60 to "Aside from the speakers being nailed to the cabinet, how does it sound?"

STEREO REVIEW MARCH199057 .11.10*..

EVENin today's digital age, stereo cassette decks present one of audio's best values. For a hundred dollars and up, you can buy a tape machine that will record and play back hi-fi sound in the most popular and least expensive tape format available. Cassette decks are uncommonly easy to use, and the best models are capable of To sound that in most respects rivals digital media such as CD and DAT. But the very diversity of the avail- ablecassettedecks-thereare hundreds of models on the market-makes choosing one difficult. BUY Before you begin the hunt, have a clear idea of your priorities. Is flat- out sonic performance the most important factor? Or are convenience features primary? Will you make your own tapes from LP's? From cp's? From FM radio? Or will you play only prerecorded tapes from the record store? If playing prerecorded tapes will be the only use for your cassette CASSETTE deck, keep in mind that most mass - market music tapes are of only moderate fidelity. Almost any deck fromareputablemakerthat's equipped with the features you want should suffice to play them. But if you plan to make your own record- ingsforseriouslistening,think DECK about what types of music you will berecording,andfromwhat sources, to determine just how high a performance level you'll need. Performance Preferences As with most hi-fi components, cassette -deck literature is specifica- Decide tion -intensive. While specs are important, often they should be taken with a few grains of salt. what the Frequency response isthefirst you want specification everyone looks at on a cassette deck. These days, are- to sponse spec of 40 Hz to 18 kHz -± 3 machine do, ds is not at all uncommon. An often underemphasized factor, however, is low -end response-from 20 Hz up and be preparedto test to about 120 Hz. Many recorders have less -than -ideal performance in this region. A moderately priced the candidates. deck that's ±2 dB or so down to 20 Hz is well above average. In the high frequencies, almost all of today's decks claim a response out to 18, 20, and even 22 kHz. But such extended response is usually 011Y DAVID SIMONY achieved only with the most expensive type of tape,metal -particle (Type IV). Look just as carefully at

58STEREO REVIEW MARCH 1990 .1110..111.0. .0W a deck's performance with Type I (ferric) and Type II (chrome or ferri- cobalt) tapes. Recording level matters, too. The frequency response of a cassette deck is specified at -20 da to give a realistic indication of its high -frequency performance when recording typical music, which contains much more energy in the midrange than in the bass or treble. Sometimes the response is also given at a 0 -dB record level, which provides information about how well Denon's DRW-75o double deck t$400) offers the deck and tape handle unusually a fine -bias adjustment, automatic space strong high -frequency signals. And and stop functions, and Dolby HX Pro. remember that high -frequency response above about 17 kHz just doesn't matter for 90 percent of us. A deck that's ± 2 dB out to 17 kHz TEAC with Type II tape may serve you 0C Cc"' just as well as a much more expen- I 0 sive model claiming a response to TL, 11E11111 a 22 kHz ± 3 dB with metal tape. Distortionis listed in so many dif- ferentfashionsthatcomparing R.919K AdoRonne Swim 6/010/ Thek decks in this respect can be trouble- some. One method tells you how strong a recorded signal will produce 3 percent total harmonic dis- Fur heads and three motors are built tortion(THD); anotherindicates into Teac's top -of -the -line R -919X ($830). The THD at a 0 -dB recording level. Other deck also offers dbx noise reduction. methods that produce lower figures are often used, but these are not always easily compared either. Be- sides, the type of tape used is at least as significant as the deck itself. In general, don't expect a cassette deck to have distortion specs anywhere near those of, say, a CD player- analog tape is simply a higher -distortion medium. You may expect to find a mid -frequency distortion of 411hirmio close to1 percent at a 0 -dB record level even on the best decks using The Marantz DL -35o7 ($380), part of the the best tapes. new Century Collection, has a twenty -track, A number of the best-and most bidirectional music -search function. expensive-decks have three separate tape heads, for record, playback, and erase functions, but most decks have only two heads, a combination record/play head and a discrete erase head. Three -head decks once had a clear edge in sound. Today, however, advances in the design of combination tape heads permit two -head decks to reach such a high level of performance that there is little difference froma purely sonic standpoint. Three -head models do maintain one indisputa- Sony's TC-K73oES ($85o) uses a ble advantage: They let you monitor closed -loop, dual -capstan transport off the tape while recording, allow- with three direct -drive motors. ing you to check the quality of your recording as you make it. Cassette -deck transports, which control the speed at which tape A 55-ds S/N is unacceptable for version of its latest development, moves across the heads-a very im- hi-fimusiclistening,however, the acclaimed Dolby SR profession- portant factor-come inseveral which is why tape noise -reduction al noise -reduction system. Dolby S configurations. The most common systems were invented.Cassette should be even more effective than is the single -capstan system, where a systems work by "companding" the Dolby C, yielding about 25 dB total drive motor turns one capstan (a signal. They compress the signal be- noise reduction and bringing a near - metal roller) and one rubber pinch - fore it is recorded on tape, reducing CD dynamic range to recordings roller. Some more expensive decks the leveldifference between the made on premium cassette decks. employ dual -capstan, or "closed - loudest and softest sounds. On play- Almost half of all home cassette loop," systems for more precise back, they expand it, restoring the decks now include Dolby HX Pro. control. Both DC and AC motors are original dynamic range. This pro- While not strictly a noise -reduction used, and a deck may have one, two, cess enables soft sounds to be re- system, HX Pro belongs in this dis- three, or even more motors. The corded on the tape at a higher level cussion. It's a dynamic biasing sys- motor(s) may drive the capstan(s) than they could be without com- tem that provides headroom exten- and tape hubs directly or via an pression. When the playback signal sion (thus the "HX") for high -fre- arrangement of belts. is expanded, the level of the tape quency signals. A deck equipped HE use of a single- or hiss in the background of soft pas- with Dolby HX Pro can record a dual -capstan trans- sagesisreduced bythesame higher levels of upper -treble signal port, the motor count amount as the signal level, mini- without significantly increased dis- and type, and the type mizing its audibility. tortion. As a result, signals rich in of drive system used The most common of the cassette high frequencies can be recorded at don't alwayspredict noise -reduction systems is Dolby B, higher levels, yielding quieter tapes. how a deck will sound. which operates only on low-level It's a good system, and coupled with The bottomlineis high -frequency signals. Dolby C is Dolby C it can yield remarkable cas- wow -and -flutter performance. These similar but works more aggressively sette sound quality. small variations in record or play- over a wider range of frequencies. back speed cause pitch fluctuations The dbx system squeezes both high- Tape Tales that can seriously mar musical qual- level signals down and low-level sig- Just what is bias? It's an ultra- ity. The best kind of wow -and -flut- nals up over the entire audio band. sonic signal (100 kHz or so) that's ter spec to look foris a DIN - What's best? That depends. Dol- sent along with the music signal to weighted measurement, listed by all by B is what's used for most prere- the record heads of any analog tape European cassette -deck manufac- corded tapes. An excellent deck machine. It reduces tape distortion, turers and many Japanese and with Dolby B engaged can provide particularly at low signal levels. American ones. Other specs, such as close to a 65 -dB S/N-good sound, Bias must be adjusted for differ- JIS-weightedandweighted-rms almost as quiet as a well -made LP. ing tape types. Each type requires a (wrms) flutter, are often quoted in Dolby C with the same quality of different combination of record pre - place of the DIN number because machine will do better-usually emphasis, or equalization (EQ), and they usually yield figures some 20 to about 10 dB better, bringing the S/N bias current. This can make for a 40 percent lower. up to around 75 dB, very quiet certain amount of confusion. Fortu- Wow -and -flutter below 0.1per- indeed. Under moderately noise - nately, many home decks now in- cent DIN weighted is inaudible to free conditions this level of quiet- clude automatic bias and EQ set- most listeners. Note the emphasis nessisnearlyindistinguishable tings. All blank cassettes come with on most-individual sensitivity to from CD's with most music. tiny notches in their shells that pitch fluctuations is quite variable. With dbx noise reduction, cas- identify the tape type. The machine The type of program material mat- sette S/N can reach as high as 90 "senses" the type and can then ters, too. If you're shopping for a dB-digital quietness. Why don't all automatically set bias and EQ. deck to record a lot of piano music, decks use dbx? First, the system is ANYcassette solo classical guitar, and other in- much more sensitive to tape drop- machines also struments that produce pure, steady outs, or momentary signal losses providebias tones, pay close attention to wow - caused by imperfections on the fine-tuning fa- and -flutter specs. tape. Second, the dbx system's ac- cilities. These Signal-to-noise ratio (s/N) figures tion is occasionally audible on cas- permitusers predict how noticeable background settes in material having a wide to compensate noise will be on your homemade dynamic range as "breathing" or for the slightly tapes. This noise is tape hiss, which "hiss pumping," artifacts left as the different bias settings that different is unavoidable in any analog tape system compresses and expands brands of a single tape type, and medium and is particularly prob- low -frequency signals. (To be fair, even tape -to -tape variations within lematic for cassettes, where a nar- the Dolby B and Dolby C systems a single brand, may require for op- row tape travels very slowly. can cause frequency -response errors timum sound. There are two kinds Look at your deck's A -weighted if the deck is not adjusted properly of bias fine-tuning systems. A man- S/N spec (the standard measurement for the tape being used, but most ual system usually provides a sim- method) with no noise reduction audiophiles agree that the Dolby ple knob. You can turn the bias up first. This will give you a good idea systems' audible artifacts are less or down at will-but only consider- of its baseline performance, which egregious.) able trial and error will yield a real will vary with tape type. With ferric A new noise -reduction system is improvement in sound. Automatic (Type I) tape, about 55 dB is typical on the horizon. Dolby Labs will systems record a series of test tones for a good machine. soon release Dolby S, a consumer onto an individual tape. The deck

.11.11M. 411111.. 60STEREO REVIEW MARCH 1990 automaticallyrewindsthetape, then plays it back and measures performance. The bias is adjusted and the process is repeated a few times, along a successive -approximation curve, until the best results are ob- tained. Some of the more costly three - head cassette decks provide auto- matictape -headazimuth -adjustment systems. These use a scheme similar to that of automatic bias fine-tuning to correct the deck's tape -to -head alignment on a tape - by -tape basis, thus improving top - end response. Features for All Le AD-R4o from Aiwa is a two -head, Cassette -deck "features"-conve- autoreverse deck with bidirectional rewind, niences, automatic operations, and Dolby B and Dolby C noise reduction, mereattention-getters-comein and Dolby HX Pro. List price: $230. such variety that we can discuss only a fraction of them here. Record -level meters convey essential information about what's happening on the tape as you record. They come in every size, shape, and color imaginable. These days, LED andfluorescentbar -typemeters have just about replaced the old- fashioned kind with a swinging pointer needle. Peak -reading meters, which represent instantaneous signal levels, are found on most good decks. Other meters show the average level of the signal over a brief period and thus change more slowly. Look for clearly legible meters that offer good resolution- there should be enough individual segments to indicate the difference between many signallevels. The Onkyo's TA -2800 ($65o) has three heads, three best meters will have a scale from motors, and dual capstans. Features include a about -40 dB up to +8 dB or so. record -calibration function, a real-time counter, and Autoreverse machines and dual - a switchable MPX filter. well decks have become extremely popular, and their convenience is inarguable. In either case, the same principles of good design and measures of excellent performance apply as to single -play, one -well decks. Doing autoreverse"right"requires the manufacturer to spend considerably more money on transport components and, ideally, on some method of maintaining proper head alignment in both directions. Uninterrupted listening is great, but don't expect a $300 autoreverse deck to outperform a $250 single - Harman Kardon's TD392 has a rated frequency direction deck. The same principle response of 20 to 20,000 Hz ±3 dB with all holds for double cassette decks. Be- three popular types of blank tape. A bias fore you commit extra funds for a fine -trim control with tone generator is included. dual -well or autoreverse deck, be sure you will really use the extra feature on a regular basis. .111.11. .111wmmilme. Many dual -well decks offerhigh- of flutter-any you hear on your They should sound essentially the speed dubbing.While this feature test tapes must originate in the deck same, not softer, more rounded, or can be a great time-saver in copying under scrutiny. Include some sam- truncated. The same goes for any tapes, high-speed replication of any ples with a wide dynamic range and other bright sound such as cymbal tape medium unavoidably compro- a wide frequency range (full orches- crashes or piano and guitar attacks. mises fidelity.If both high-speed tra, big band), some slickly pro- Try a bass or drum solo, and listen dubbing and sonic quality are im- duced pop music, and some more for pumping around loud,low- portant to you, read the spec sheet intimate, cleanly recorded music pitched transients-it will sound very carefully and make a few high- such as a string quartet, a folk like hiss rapidly appearing and van- speed test dubs to be sure the quali- ensemble, or a small jazz group. A ishing with individual notes. ty is satisfactory. quiet solo -piano recording is ideal Your piano recording will quickly Program -searchandintro -scan for checking both flutter and noise reveal any audible flutter. Record a modes help you quickly locate a performance. slow, quiet section with plenty of specific selection on your cassettes. Listening with headphones ruth- long, slowly decaying notes. On Several decks now offertape coun- lessly reveals noise and distortion, playback, listen to the tape for any tersthat can display elapsed time, so if you have a good set you are sign of pitch wavering, warbling, or and even remaining time, in min- familiarwith,take them along. shakiness.Solo -pianorecordings utes and seconds instead of showing Otherwise, ask to use a high -quality are also ideal for checking noise. simple reel turns. pair from the store. You will be Using the best noise -reduction sys- multiplex(mPx)fifteris in- making a series of test recordings; tem on the deck, compare the tape cluded in many decks. it's vital that you make fresh tapes with the source, listening hard to the This controlisoften from scratch on each successive ma- background hiss. The tape willal- misunderstood;itis chine.Don't simply playprere- waysbe a bit noisier than aCD,but only for recording di- corded tapes or record on one ma- with a good deck using Dolby C or rect from stereoFM chine and play back on several. dbx, this should only be perceptible radio.It serves to The deck under test should be in the softest passages. eliminate the 19 - connected to a good amplifier or Recordings of a full orchestra, a kHz stereo pilot tone, which can receiver. Plug your phones into the big band, or another wide -range, play havoc with a tape deck's noise - amp or receiver so you can compare largeensemble shouldtellyou reduction system. Atimerfor unat- your tapes with the source by engag- about a deck's overall fidelity. Lis- tended recording will also prove ing and disengaging the tape -moni- ten for musical balance, paying spe- handy to the radio recordist. tor switch. A good place to begin is cial attention to the bass region, and A few machines include audio with a recording ofFMinterstation transparency compared with the compressors or other circuitsto noise, which is similar to a white - source. You should be able to pick ! modify the sound of tapes made for noise test signal. For this test, set the outindividualinstruments and use in the automotive environment. deck's record levels at -20 dB and lines, just as in the original. The If a primary job for your deck will record a minute or two of the signal stereo image should remain identi- be making car tapes, such add-ons with the deck's best noise -reduction cal, or close to it, perhaps just a are worth looking into. system engaged. Rewind the tape, touch narrower-make surethe play it back, and listen while you channelsaren'treversedinthe Shop Talk switch between your recording and hook-up!-and the sense of rever- A cassette deck is one component the "live" noise. This exercise will berant space or "air" in a good live that's worth buying from an audio quickly reveal any gross frequency - recording should be preserved. specialist shop, where you can ac- response errors: If the tape sound is IFEWif any cassette decks tually listen to and play with the considerably brighter, duller, hon- will pass each and every merchandise. If you buy your deck kier, or bassier than the live source, one of these tests with- from a department store or by mail try another deck-or a different outsomeaudible com- order, you probably will have little blank tape. (In any case, be sure to promise. You must de- choice but to read the specs and take use high -quality cassettes.) cide for yourself which the plunge on faith. When taping music, remember teststocountmore Music recordings made on and that the record -level setting is criti- heavily, considering played by a machine you are consid- cal. Consult each deck's owner's your musical taste, hi-fi standards, ering are the best evaluation tool at manual for guidance, and ask a and, of course, your budget. For your disposal. Be prepared to spend knowledgeable salesperson for rec- example, a deck with good overall some considerable timelistening. ommendations. Correct levelset- performance except for a bit of bare- Take your own source music with ting is crucial to making a good ly audible flutter might work fine if you to the store-equip yourself recording-many people routinely your primary objective is to make with a few familiar recordings that under- or overrecord their cassettes. car tapes of rock music that never you feel are among your best -sound- (Keep the meters well below 0 dB feature solo piano. ing, best -recorded albums. Musical except for the very loudest musical Taken as a whole, the best of variety is important, but stay within transients, which should peak sev- today's cassette decks will make as- the genre you actually listen to for eral decibels above zero.) tonishingly good recordings at a rea- pleasure; don't run out and buy a On a pop or jazz recording, check sonable cost. Given the almost end- Mahler Eighth if you never listen to thehigh -frequencyresponseby less variety of features, configura- classical music. "All -digital"CD's comparing high -hat cymbal sounds tions, and styles, there is certain to (DDDon the label) are preferable, if against the source (cued up so that it be one that fits your needs, tastes, only because they are certifiably free plays simultaneously with the tape). and budget. 0

11111. 62 STEREO REVIEW MARCH 1990 TAPE BUYING GUIDE

BASF DXI Ferric Normal Cassettes Digital Audio Tapes Low -noise high -output Type 1 cassette with high Ultra -fine metallic pigment developed for heli- sensitivity and high mot.. +7.5 dB at 10 kHz. cal -scan recording. DXI-90. 90 min $2.25 DAT C120. 120 min $11.99 DX1-60. 60 min $1.75 DAT C90. 90 min $10.99 DAT C60. 60 min $9.99 DIC Metal Maxima IV Cassettes Digital Audio Tapes Metal -particle formulationwithhigh-perfor- Digital audio tapes in a range of lengths mance cassette mechanism. are fabricated with densely packed. ultra fine- C120. 120 min $6.49 grained magnetic metal particles to provide dis- tonion-free sound reproduction. Chrome Maxima Il Cassettes 120XR. 120 min $13 High -density chrome formulation withhigh-per- 90XR. 90 min $11 formance cassette mechanism. 60XR. 60 min $10 C90. 90 min $4.29 46XR. 46 min S9 C60. 60 min $3.29 30XR. 30 min $8 15XR. 15 min $6 Chrome Extra II Cassettes I- Pure chrome formulation with high-performance cassette mechanism. FUJI C90. 90 min $2.99 HE advent of the Digital Audio Tapes C60. 60 min $2.69 digital era has spurred tape manu- Super -Fine Afetallix ultra:fine metal -particle for- facturers to broaden their lines by mulation. Ferro Maxima I Cassettes DAT (R-120). 120min $12.95 Dual -layered and "micro -coated" with propri- adding new and improved formula- DAT (R-90). 90 min $11.95 etary megadium iron oxide. Provides maximum tions better able to handle the de- DAT (R-60). 60min $10.95 output level (mot.) of ahnost +4 dB. manding digital sound being re- C-90. 90 min $2.89 corded on them, as well as to intro- FR Metal Series Cassettes C-60. 60 min $2.59 Metal tape with 70 -Ns EQ. duce many new blank tapes for dig- FR (C-90). 90min $5.99 Ferro Super I Cassettes ital audio tape recorders. Our buy- FR (C-60). 60 min $5.49 Iron -oxide formulation. ing guide lists most of the blank C90. 90 min $2.54 tapes currently available. FR -II X PRO Series Cassettes C60. 60 min $1.94 High -bias tape featuring a temperature -resistant For more information, contact an cassette shell. authorized dealer or the manufac- FR-IIX Pro (C-90). 90 min $4.99 DENON turer. Addresses and phone num- FR-IIX Pro (C-74). 74 min $4.79 .411 Denon cassettes feature lifetime warranty bers are given on page 65. FR-IIX Pro (C-60). 60 min $4.49 and head -cleaning leader. Digital Audio Tapes FR-Ilx Series Cassettes Ultra -fine metallic particle formula with ad- Hugh -bias tape with 70-0 EQ. vanced back -coating technology and micron -or- FR -11x (C-90). 90 min $3.99 der precision mechanism. HD7 High -Bias Cassettes FR -11x (C-74). 74 min $3.79 R-120DT. 120 min $12.99 Type II formulation with extended highirequen- FR -11x (C-60). 60 min $3.49 R-90DT. 90 min $11.99 cy response and low noise. Residual flux density R-60DT. 60 min $9.99 1.850 gauss, MOL +6.5 dB at 10 kHz. DR -II Series Cassettes HD7-100. 100 min $4.25 Iligh-bias tape with 70-µ5 EQ. High -Density Series HD7-90. 90 min $4.00 DR -II (C-90). 90 min $2.99 HDM Metal Cassettes HD7-75. 75 min $3.50 DR -II (C-60). 60 min $2.49 High -stability pure -metal tape formulation uses HD7-60. 60 min $3.00 high -density dispersion technology that yields a DR -I Series Cassettes residual magnetic flux density of over 3.500 HD6 High -Bias Cassettes Normal -bias tape with I20-ps EQ. gauss and a coercivity of 1.200 oersted. Type II formulation with extended high:frequen- DR -I (C-90). 90 min $1.99 HDM-100. 100 min $5.99 cy response. Residual flux density 1.700 gauss. DR -I (C-60). 60 min $1.49 HDM-90. 90 min $5.50 AWL +5.7 dB at 10 kHz. HDM-75. 75 min $4.99 HD6-100. 100 min $3.50 HDM-60. 60 min $4.50 HD6-90. 90 min $3.25 GENERAL ELECTRIC HD6-75. 75 min $2.75 GE -HO Series HD8 High -Bias Cassettes HD6-60. 60 min $2.50 Normal -bias low -noise tape. High -density Type II formulation combines pure 5 -pack. 90 min $4.49 metal particles with cobalt -doped .ferric oxide to DX Series 2 -pack. 90 min $1.49 achieve flux density of 3.000 gauss yielding an DX4 Ferric Normal Cassettes 2 -pack. 60 min $1.29 mot.. of +4.5 dB at 10 kHz. Type 1 formulation with extended FR. Residual HD8-100. 100 min $4.99 flux density 2.000 gauss. mot. +5.0 dB at 10 GE-HFX Series HD8-90. 90 min $4.75 kllz. Normal -bias ferric -oxide tape. HD8-75. 75 min $4.25 DX4-90. 90min. $4.00 2 -pack. 90 min $1.79 HD8-60. 60 min $3.75 DX4-60. 60min. $3.00 2 -pack.60 min $1.59

STERFIO REVIEW MARCH 1990 63 TAPE BUYINGGUIDE

GE-HBX Series XLII-S90. 90 min $4.39 SX Reference Cassette Tapes High -bias cobalt tape. XLII-S60. 60 min $3.59 Single -coated ionized cobalt and ferric -oxide for- 2 -pack. 90 min $3.49 mulation; high coercivity permits use of Cr02 XL-!! Epitaxial Cassettes bias and EQ (70 as) for 4 to 5 dB increase in s/N. Chrome type; high-level bias; 70 -as EQ. SX-C90. 90 min $6.50 JVC C-100.100 min $4.39 F Series C-80. 80 min $3.99 EX II Reference Cassette Tapes XFIV.Metal tape. 70 -as EQ. C-90. 90 min $3.99 Reference cassette tapes with single -coated ferri- C-90. $3.90 C-60. 60 min $3.29 cobalt formulation; same bias and EQ (120 as) as AFII.High -bias tape (Cr02). 70-gs EQ. C-46. 46 min $3.29 EX tape; extra -low noise, high output. C-90 $2.50 EXII-C90. 90 min $6.00 C-60 $2.20 UD-!! Epitaxial Cassettes AFLNormal -bias tape. 120 -as EQ. High-level bias; 70 -as EQ. C-90 $2.20 C-90. 90 min $3.29 REALISTIC C-60 $1.80 C-60. 60 min $2.49 Cassette Tape C-46. 46 min $2.49 Prices may vary according to quantity pur- GI Normal -Bias Cassette Tape chased, with lower prices for larger quantities. Coercivity 370 Oe. XLI-S Epitaxial Cassettes MIV Type IV Metal Cassette Tape C-90. 90 min $1.55 Normal bias; 120 -as EQ. Fine-grainmetal particles;5 -screw housing; C-60. 60 min $1.30 XLI-890. 90 min $4.39 hinged storage box. XLI-S60. 60 min $3.59 MIV-90. 90 min $5.99 MIV-60. 60 min $4.99 UD-! Epitaxial Cassettes Normal bias; 120 -as EQ. MI1 Metal Type II High -Bias Tape C-90. 90 min $3.29 Metal tape for recording and playback with Type C-60. 60 min $2.49 11 bias and EQ: head -cleaning leader; hinged C-46. 46 min $2.49 storage box. M11-100.100 min $4.99 Normal -Bias Cassettes MI1-90. 90 min $4.79 UR-120. 120 min $2.79 MII-76. 76 min $4.49 UR-90. 90 min $1.79 MI1-60. 60 min $3.99 UR-46. 46 min $1.49 UR-60. 60 min $1.49 HD Hi -Definition Chrome -Equivalent For recording and playback with high -bias Type XLI Back -Coated Open -Reel Tapes 11 bias and EQ; head -cleaning leader; hinged LORAN XLI-35-180B. 3,600 ft, 101/2 -in reel $38.99 storage box; index card. Pro-DAT Cassettes XLI-35-90B. 1,800 ft, 7 -in reel $13.99 HD -I00. 100 min $3.69 Also manufactured to customlengths with 10- HD -90. 90 min $2.99 piece order. Ultra -Dynamic Open -Reel Tapes HD -76. 76 min $2.79 Pro-DAT. 120 -min $10.50 UD35-180. 3,600 ft, 101/2 -in reel $31.29 HD -60. 60 min $2.49 Pro-DAT. 60 -min $7.50 UD35-90. 1,800 ft, 7 -in reel $9.99 Pro-DAT. 30 -min $6.00 Pro-DAT. 10 -min $5.00 Pro-DAT. 5 -min $4.75 MEMOREX BY MEMTEK CDX High -Bias Cassettes ESQ Series Metal tape for high bias (Type 11), 70-gs EQ. High bias; extended high -frequency response; C-90. 90 min $4.79 polycarbonate shell. ESQ-90. 90 min $4.99 HBX II High -Bias Cassettes High-performance ferric/cobalt tape for use at High -Bias Series high -bias. 70 -as setting. High bias; extended high frequency response; C-90.90 min $3.69 polycarbonate shell; cobalt -doped magnetic for- C-60. 60 min $2.79 mulation. HB-90. 90 min $3.99 HBS I! High -Bias Cassettes HB-60. 60 min $3.49 Premium tape for high -bias, 70 -as EQ position. HB-46. 46 min $2.99 C-100.100 min $2.59 XR Type I Premium Ferric Tape C-90. 90 min $2.29 Hinged storage box with index card. C-76. 76 min $1.99 XR-120. 120 min $2.79 MAXELL C-60. 60 min $1.79 XR-90. 90 min $1.99 Digital Audio Tape XR-60. 60 min $1.49 Digital audio tape with Ceramic -Armor metal - MRX I Normal -Bias Cassettes XR-45. 45 min $1.39 particle formulation. Normal -bias tape. Full lifetime warranty. High - R-120DM. 120 min $14.99 visibility, clear shell. R-90DM. 90 min $12.99 C-90. 90 min $2.29 RECOTON R-60DM. 60 min $10.99 C-60. 60 min $1.79 Gold Series R-46DM. 46 min $8.99 Low noise; normal bias; sold in 10 packs. XR-90. 90 min $13.99/pk Metal Vertex Cassettes NAKAMICHI MV -90.90 min $20 ZX Reference Cassette Tapes SX Series Metalloy (metal -particle) formulation for record- Sold in 2 packs. MX Metal Cassettes ing on metal -compatible decks only; features ul- SA -90. 90 min $4.49/pk Metal bias/EQ. tra -high coercivity and retentivity for improved MX -100.100 min $5.99 distortion andMOL;70-0 EQ. MX -90. 90 min $5.29 ZX-C90. 90 min $10.00 SONY MX -60. 60 min $4.39 Metal Cassettes SX !! Reference Cassette Tapes Type It bias and EQ. XLII-S Epitaxial Cassettes Double -coated ionized cobalt and ferric -oxide Metal Master 90. 90 min $11.99 High-level bias; 70 -as EQ. formulation. Cr02 bias and EQ (70 as). SR 100. 100 min $4.49 XLII-S100. 100 min $4.99 SXII-C90. 90 min $8.90 SR 90. 90 min $3.99

64 STEREO REVIEW MARCH 1990 TAPEBUYING GUIDE ES Metal Cassette AD Normal -Bias (Type I) Cassette Tape VISA BY INTERWORLD Type IV position (70 -as EQ). Linearferric -oxideparticles;low -resonance ES -90. 90 min $9.99 multi -face joint shell. I20-ps EQ. ELECTRONICS INC. AD -90. 90 min UCX-II-S High -Tech Turbo $2.50 High -bias cassette tape with ultra -refined chro- UX Series Cassettes AD -60. 60 min $2.50 Type II position (70 -as EQ). mium -dioxide coating and special housing. UX-Pro. C-90 $7.99 DA Digital Audio Tape Cassettes 90 min $7.49 UX-Pro. C-60 $5.99 Super Finavinx pure -metal particle formulation 60 min $5.99 UX-ES. C-90 $5.49 digital audio cassette tape with TDC (Three Di- UX-ES. C-60 $3.99 mensional Compound) binder. UCX-II High -Tech Turbo UX-S. C-90 $3.99 DA -R120. 120 min $14 High -bias cassette tape. UX-S. C-60 $2.99 DA -R90. 90 min $12 90 min $6.99 UX. C-100 $3.79 DA -R60. 60 min $10 60 min $5.99 UX. C-90 $3.29 UX. C-60 $2.49 UFX-I High -Tech Turbo Ferric cassette tape with clear housing. HF-S Series Cassettes 90 min $5.99 Type I position (normal bias. 120 -as EQ). 60 min $4.49 HF-S 90. 90 min $2.69 HF-S 60. 60 min $1.99 Professional Tape High -bias cassette tape. 90 min $6.99 TDK 60 min $5.49 MA-XG Pro (Type IV) Cassette Tape MA-XG Pro 90. 90 min $18 FDX-I Professional Tape MA-XG Pro 60. 60 min $15 Ferric cassette tape. 90 min $5.99 MA -X Metal -Alloy (Type IV) Cassette Tape 60 min $4.49 Metal bias; 70 -as EQ; 2 -layer plastic mechanism; THAT'S AMERICA improved Finavinx formulation designed for Suono Metal (Type IV) Cassettes Extra Performance II Tape higher output level and wider dynamic range. High -density -resin. domed -shell housing for re- High -bias cassette tape. MA -X 90. 90 min $5.00 duced modulation noise and vibration: homoge- 90 min $5.49 MA -X 60. 60 min $4.25 neous tape formulation. 60 min $4.29 MA -X 46. 46 min $4.25 C-90. 90 min $11.99 C-74. 74 min $940 High Performance I Tape MA Metal -Alloy (Type IV) Cassette Tape C-46. 46 min $8.50 Ferric cassette tape with iron -oxide coating. Metal bias; 70 -as EQ: unified two -layer shell. 90 min $3.99 MA -HO.110 min $5.25 CD -IV Metal (Type IV) Cassettes 60 min $2.99 MA -90. 90 min $5.00 Nano Dynamic Tactoid formulation; 70 -as EQ MA -60. 60 min $3.50 CD -IV100. 100 min $7.35 CD -IV 90. 90 min $5.99 SA-XG High -Bias (Type I) Cassette Tape CD -IV 74. 74 min $5.79 RS -II cassette mechanism; Super Avilyn formu- DIRECTORY 0 F lation. CD-MH High -Bias Metal (Type II) Cassettes MANUFACTURERS SA-XG 90. 90 min $8.75 Super -alloy formulation; 70 -as EQ: Type II bias. SA-XG 60. 60 min $6.50 CD-MH 100. 100 min $5.79 CD-MH 90. 90 min $5.31 BASF, 10 Crosby Dr., Bedford. MA 01730; SA -X High -Bias (Type II) Cassette Tape CD-MH 74. 74 min $4.75 (617) 271-4000 Dual -layeranti -resonance mechanism: dual - Denon, 222 New Rd.,Parsippany, NJ coated Super Avilyn formulation: 70 -Acs EQ. CD -II High -Bias (Type II) Cassettes 07054; (201) 575-7810 SA -X 90. 90 min $3.50 Submicro Cobalt Gamma formulation; 70 -as EQ. Fuji, 555 Taxter Rd., Elmsford, NY 10523; SA -X 60. 60 min $3.00 CD -H 100. 100 min $5.10 (914) 789-8100 SA -X 46. 46 min $3.00 CD -II 90.90 min $4.51 General Electric, P.O. Box1976, CD -II 74. 74 min $4.13 Indianapolis, IN46206; (317) 267-5000 SA High -Bias (Type II) Cassette Tape JVC,41 Slater Dr., Elmwood Park, NJ Low -resonance two -layer cassette mechanism. CD Normal (Type I) Cassettes 07407; (201) 794-3900 SA 100. 100 min $4.00 Flush Surface Cobalt formulation; 120 -as EQ. Loran, 10-48 Clark St., Warren, PA 16365; SA 90. 90 min $3.00 CD 100. 100 min $3.95 (800) 633-0455 SA 80. 80 min $2.75 CD90. 90 min $2.83 Maxell,22-08 Rt. 208 S., Fairlawn, NJ SA 60. 60 min $2.50 CD 74. 74 min $2.91 07410; (201) 794-5900 SA 46. 46 min $2.50 Memorex by Memtek, P.O.Box 901021, Ft. Worth, TX 76101; (817)878-6700 SD High -Bias (Type II) Cassette Tape Nakamichi, 19701 S. Vermont Ave., Low -resonance cassette shell. 70-ALS EQ. 3M Torrance, CA 90502; (213)538-8150 SD 90. 90 min $2.50 Metal Cassettes Realistic by Radio Shack, 1300 One Tandy SD 60. 60 min $2.25 4040.101) min $9 Center, Ft. Worth 76102; (817) 390-8330 SD 46. 46 mm $2.25 4040. 74 min $7 Recoton, 46-23 Crane St., Long Island City, NY 11101; (718) 392-6442 AR -X Norma/ -Bias (Type I) Cassette Tape High -Bias Cassettes Sony, Sony Dr., Park Ridge, NJ 07656; Dual -coated Avilyn formulation: two -layer, low - 2020.100 min $6 (201) 930-7669 resonance cassette shell. /20 -us EQ. 2020. 74min $4 TDK, 12 Harbor Park Dr., Port AR -X 90. 90 min $3.00 Washington, NY 11050; (516) 625-0100 AR -X 60. 60 min $2.50 DAT Cassette That'sAmerica, Inc., 1983 Marcos Ave., 7707 (DT -120). 120 min $20 Suite 201, Lake Success, NY 11042; AR Normal -Bias (Type I) Cassette Tape (516) 326-1122 NP Ferric magnetic particles; low -resonance Open -Reel Studio Mastering Tape 3M, 3M Center St., St. Paul, MN multi -face joint shell. 120 -as EQ. 227 (1.0 mil). 3,600 ft $25 55144-1000; (612) 738-2770 AR -I00. 100 min $3.50 226 (13 mil). 2,500 ft $20 Visa by Interworld Electronics, 3095 N.W. AR -90. 90 min $2.75 227 (1.0 mil). 1,800 ft $15 77th Ave., Miami, FL 33122; (800) AR -60. 60 min $2.50 226(1.5 mil). 1,200 ft $10 333-0665

STEREO REVIEW MARCH 199065 BEMARY

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she1rd] c I hues: MERlist of friends through the That inspiration is apparent in the hours and the rhymes that were years reads like a "Who's Who" her Concord albums, where she is thrown away inorder to make of the Fifties and Sixties: Bogart, backed by a cluster of first-rate jazz- something that was up to Larry's Dietrich, Bennett, Sinatra, Holi- men, most notably Scott Hamilton standard." day, Kennedy. Today, the names on tenor saxophone, Warren Vache Those who know Clooney's work are newer but stillstellar. Linda on cornet, Ed Bickert on guitar, and fromherpretty-little-bandsinger Ronstadt eagerly agrees to play her John Oddo, Clooney's long-time ar- days in the Forties with her younger benefits, and Neil Diamond calls to ranger, on piano. Together, under sister Betty and Tony Pastor's Big say that one of the first songs he the direction of Concord president Band, her years of plastic stardom ever cared about was Hey, There. Carl E. Jefferson, they have built in the Fifties with the Svengali-like Now beginning her fifth decade as one of the record industry's most Mitch Miller, and her subsequent a solo recording artist-marked by distinguished libraries of American foray into the movies ("the next a recent "Greatest Hits"CDon CBS popular music, with theme albums Betty Hutton") with Bob Hope and from the Come On -a My House honoring the work of Ira Gershwin, Bing Crosby willdoubtless find Fifties-Rosemary Clooney com- Jimmy Van Heusen, Johnny Mer- changes in her distinctive soprano mands respect not only as a mu- cer, Irving Berlin, Cole Porter, Har- these days. On the plus side, her sician's musician but because she old Arlen, and others. maturity is particularly obvious in. has endured, surviving the fickle- With younger listeners, especially, her startling middle voice, which is ness of the American public, the the ones who grew up dismissing richer ("the consistency of coconut whirling changes of the popular - such music as corny and old-fash- milk," in the words of one reviewer) music landscape, and a debilitating ioned,Clooney seemstohave and far more authoritative than it series of personal tragedies. scored a triple victory-luring them used to be. "I figure if you can just hang on to the material in the first place, NDyet Clooney would be the first long enough," she told me recently, engaging them with pure brilliance to admit that years of smoking with characteristic self-effacement, of vocal form, and, even when time have robbed her singing of the "you get to be woven into the fabric seems to have rendered the lyrics purity and the long, sustained of people's lives." hopelesslystilted,deliveringthe I\phrases of Tenderly and Mixed At sixty-one, Clooney can look songs with such fresh readings that Emotions back in the Fifties, even if back on a career that has encom- you feel as if you're hearing the she now uses a short, breathy de- passed every success a small-town words for the first time. livery to great advantage. All the teenage girl of the Forties could Clooney refuses to treat lyrics as same, what comes across with great have envisioned: big band, pop, ra- laundry lists,glossing over them appeal on Clooney's Concord re- dio, television, the movies, Plati- with the same phrasing everyone cordings is the warmth, energy, and num records, command perform- before her has employed. In Cole earthiness of her personality (as in ances, and, for the past fifteen years, Porter's I Get a Kick out of You, for the improvised "Damn!" at the end "mainstream"jazz-or,rather, example, she approaches the lines, of I Wish I Were in Love Again in American popular song with a jazz "I know that if/I took even one "Show Tunes") and an infectious flair. The Kentucky -born Clooney sniff/That would bore me terrifical- joie de vivre in her lively, carefree has emerged from it all as timeless ly too," as every singer must, ac- renditions. as the music she sings, as recogniz- centing the "if" with "terr-if The sense of freedom comes, able-and as uniquely American- too." But the surprise is that she Clooney says, from the fact that as Irving Berlin, the Gershwins, or accents the word "too" as well, she's enjoying singing again. There Richard Rodgers, whose collabora- making the song seem all her own. were times, documented in her 1977 tions with Lorenz Hart and Oscar Nthe other hand, Clooney is not at: tobiography,This for Remem- Hammerstein II she celebrates in one to take liberties with either brance, and in the 1982TVmovie her most recent recording for Con- the melody or the time frame of made from it, Rosie: The Rosemary cord Jazz, "Show Tunes." American pop standards. While Clooney Story, when she did not. In Of course, there are some who 0critics applaud her for her lack of the Sixties, with her loyalties di- argue that Rosemary Clooney will vocal adornment and her concen- vided between work and family- never go down in the books as a tration on lyrical interpretation, she her husband, actor Jose Ferrer, and remarkable jazz singer. And Cloon- deflects such praise, insisting that their five children-the pleasure of ey herself is one of them. the reason for her vocal style is sim- her singing began to erode, and she "I think Ella Fitzgerald is a jazz ply that she doesn't have "that sense turned to sleeping pills as an every- singer, I think Carmen McRae is, of improvisation. That's not one of day aid, "going toward the edge all and I think Susannah McCorkle is. my strong suits." along, but not really aware of it." Me? I think I interpret things well, I But she also resents those singers When she and Ferrer divorced sing in tune, I've got good time, and who think that rewriting a song is (twice, first in 1961 and again in I get the job done. There's got to be part of their bailiwick-changing 1967 after a three-year reconcilia- somebody in the band who says the the name of Franklin Roosevelt to tion), her dependence on tranquiliz- words to the song, you know," she George Bush in The Lady Is a ers had mushroomed into a full- said with a hearty laugh. Tramp, for instance, or altering fledged addiction. "I never met a More than anything else, Clooney rhythm patterns by adding words of pill I didn't like," she recalled. insists, sheis simply a conduit, their own devising. In the "Show Clooney might have continued to reacting to the musicians around Tunes" album, she is particularly hide her addiction and disintegrat- her. "If you allow yourself to be respectful of Lorenz Hart's inten- ing emotional state had it not been inspired by them, boy, oh boy, you tions, "because the people who try for a series of events in 1968, her can be." to update those things don't realize fortieth year, that collided to push

STEREO REVIEW MARCH 199067 for a jazz label, Irving dear. These young guys have to have a crack at Clooney your song here.' He didn't understand. And oddly enough, in a dif- in the Fifties: ferent way, neither did Ira." "Ira," of course, was Ira Gersh- a small-town win, who for many years was Cloon- ey's next-door neighbor in Beverly girl's dream Hills and before that occupied, with of a career. his brother George, the big, dark Spanish -style house Clooney bought some thirty years ago. Before his death, Ira would thrill Clooney with stories about the house's musical history, such as the time George rushed home from a dinner party and ran to the piano-in the corner where Clooney has her own piano today-and told his brother, "It should be, 'A foggy day in London town.' That will make the difference in the meter." [ok the past several years, Cloon- ey has divided her free time between the Beverly Hills house and a country retreat in Augusta, her toward publicdisgrace and Crosby organized a tour to celebrate Kentucky. Nestled snug on the mental collapse. The first was the hisfiftiethanniversaryin show Ohio River near Cincinnati, the lit- abrupt resolution of her romance business, and he invited Clooney to tle burg is close to her home town of with a young musician in her band, come along. The ticket sales, and Maysville, where shespenther and the second was the assassina- the reviews, were impressive. childhood singing and electioneer- tion of her friend Robert Kennedy, "It was one of the greatest experi- ing for her grandfather's mayoral gunned down onlyyardsfrom ences of my life," she said. "The joy campaigns and where a street has where she was standing. That sum- came back to my singing, and Bing borne her name since 1952. The mer, Clooney reached the breaking was really a great friend and teach- Augusta retreat allows her to spend point when she ranted incoherently er." But tragedy struck again when time with her brother Nick, a col- at an astonished Reno night-club Crosby collapsed and died during umnist for the Cincinnati Post, and audience,stormedoffstage,and the European segment of the tour in to gather her wits between perform- then "tested God's love" by driving 1977. The blow, coming a year after ing dates: "I really feel as if I belong her white Cadillac Eldorado up the theaneurysm -relateddeathof there. I don't think you can get that wrong side of a curvy mountain Clooney's sister, Betty, was devas- far from where you were born." highway. Confinement in the psy- tating."Bing," she said quietly, And yet Clooney's name is known chiatric ward at Mount Sinai Hospi- "was magic." worldwide, particularly in Japan, tal in Los Angeles followed, then Crosby not only helped get Cloon- where her records sell briskly and years of psychotherapy. ey back into the large, important she is always in demand at the well- IHROUGHitall, Clooney never showcases, but he was also indirect- appointed jazz clubs. There, as else- stopped singing, but while she ly responsible for her returnto where, Clooney believes, she has never fell below a certain stan- recording. Crosby's drummer, Jake succeeded not just because she has dard of performance, she really Hanna, recorded an album for a good taste in music. hadn't much interest in the work, new label, Concord Jazz, headed by "I think that, more than anything an apathy she believes her au- his friend Carl Jefferson. "He asked else," she said, "I give people a diences felt. Soon, she found that me if I wanted to make an album," sense of hope that things aren't promoters were afraid to book her Clooney said. "And so I did." always going to be bad. I've been into the more prestigious rooms, Despite the critical acclaim for through so many things, and yet and the woman who had made the the Concord collection, Clooney re- there's a kind of humor underlying cover of Time magazine a decade ports that the composers she honors my work, and most of the time I 0 before was relegated to entertaining are not always entirely pleased with transmit that. When it comes down 5, transientbusinessmenin the her albums. to it, the bottom line is the enjoy- lounges of Holiday Inns. "It was "When I did the Berlin album ment of your own work. The only harder to do it the second time ["Rosemary Clooney Sings the Mu- thing you can do is do the best you around," she admitted. "I was scuf- sic of Irving Berlin"], Irving didn't can every time you come up to fling." like the fact that I would do one bat." Today, Clooney says she might chorus of a song and then wouldn't For a woman who has seen her never have shaken that malaise had come back for another three cho- share of the sidelines, Rosemary 0 it not been for her old friend, father ruses. He'd say, 'Why did it take so Clooney is clearly hitting home runs 0 figure, and White Christmas co-star, long for you to get back to the again, right over the farthest, tallest a. Bing Crosby. In the late Seventies. words?' I'd say, 'Well, I'm working back fence.

68 STEREO REVIEW MARCH 1990 LL- LL L

than between other components. The device that turns Butbeneaththeirgrilles,most speakers have a lot of similarities. electricity into Pushing the Air The heart of a speaker is a kind of electric motor, able to do work by sound-the sixth converting electricity into physical motion. But unlike conventional motors, whicharerotational,a in a series on speaker motor is linear; instead of turning, it moves back and forth in step with variations in an electrical the basics of audio. current. In most speakers, the active element is a coil of wire-called a voice coil-suspended in a strong perma- BY IAN G. MASTERS nent magnetic field. As electricity is fed to this coil from an amplifier, a magnetic field is created around the coiL This field, which changes in liOST parts of an audio sys- polarity and intensity as the signal tem are concerned with from the amplifier changes, reacts electrical signals in one with the permanent field surround- way or another, but ulti- ing the voice coil, causing the coil to mately these must be changed into move in and out in a motional repli- something we can hear. That's the ca of the audio signal produced by function of the most crucial compo- the amplifier. The greater the cur- nentinaudio,the loudspeaker, rent, the farther the coil will move usually called simply the speaker. from its "rest" position. It's crucial because speakers and The purpose of a speaker is to their acoustic surroundings deter- createair -pressuredifferences- mine the overall sound of an audio sound, in other words-that are as system. close as possible to those of the orig- With some exotic exceptions, a inal recorded material. To accom- speaker is a rather simple device plish this, the voice coil is attached technically, and it's relatively easy to a diaphragm that compresses and to manufacture. One of the reasons rarefies the air in front of it as the for the huge number of speaker voice coil moves it forward and models available is that small com- backward. In many cases, the dia- panies can get into the business with phragm is a shallow cone made of a fairly low investment. Another is fibrous material, stiff paper, plastic, that there is very little consensus as or evenmetal,butsmalldia- to what exactly would make for a phragms intended for treble repro- "perfect" speaker-or even how to duction are usually in the shape of a measure a speaker to see how it convex dome. A few speakers em- stacks up. Thus, there are larger ploy flat panels driven either by a sonic differences between speakers single coil or by several. Whichever

STEREO REVIEW MARCH 199069 THE BASICS form is chosen, the principle is the than one tweeter, say, is still only a waveforms are opposite in polarity, same; all of these fall into the cate- three-way system. or out of phase with respect to each gory of dynamic speakers. To direct the appropriate portion other, and if allowed to intermingle An alternative design approach, of the signal to each driver, an elec- they would interfere with each oth- the electrostatic speaker, also uses a trical circuit called a crossover net- er, canceling out some frequencies flat panel, but the diaphragm is not work isemployed. Usually,the either partly or completely. At the attached to the usual coil -and -mag- crossover is built into the speaker top end of the spectrum this is rare- net structure. Instead, a thin metal- enclosure and simply routes the sig- ly a problem, as the signals are rela- lic coating on the rear of the dia- tively directional when reproduced phragm is given a fixed static charge bynormal -sizediaphragms and by aDCpower supply. Parallel to thus radiate away from each other. the diaphragm, and a short distance Also, the higher frequencies have in front of and behind it, are perfo- relativelylittle energy and short rated metal plates to which the posi- wavelengths, so they are easily con- tive and negative (plus and minus) tained or absorbed. In the bass, outputs of the driving amplifier are however, things are very different: attached. Variations in the ampli- With any driver of practical size, fier's output cause corresponding low frequencies are virtually om- changes in the static charges on the nidirectional-they radiate equally plates (which are always opposite inall directions-and have very one another). The interaction of the long wavelengths (almost 30 feet at electrostatic charges on the plates 20 Hz). Thus, the front and back with that on the diaphragm causes waves produced by a woofer will the diaphragm to move. Because the cancel each other unless they can be diaphragm must be very close to the kept apart. plates, it can't move very far, so it One solution is to use a baffle: a must be large in order to move large board with an opening into enough air to provide adequate lis- which the speaker is tightly fitted. tening levels. The larger the baffle, the longer a wave must be to wrap around and To Tweet or to Woof The purpose ofa speaker is to meet its out -of -phase counterpart The demands placed on a speaker create air -pressure on the other side. A baffle thus low- vary with frequency. Although it is ers the frequency at which cancella- possible to make a speaker that will deerences-sound, in other tion sets in. The most effective type handle all frequencies with reason- words-that are as close as is an infinite baffle, which prevents able ease, it is now usually consid- the back and front waves from ever ered preferable to divide the audio possible to those of the original meeting. Mounting a speaker in a spectrum into two or more sections, recorded material. wall is one way to accomplish this, each one reproduced by its own although it's not always the most speaker, or driver. Such multiple - practical. driver devices, along with their en- nal from the amplifier to each driv- Most modern speaker systems closures and associated electronics, er; in this case it is a passive cross- deal with the back wave by mount- if any, are really speaker systems, over.Insome more ambitious ing the woofer in some sort of enclo- although they are usually just called speaker designs, however, the divi- sure (the other drivers are usually "speakers." sion of the signal takes place before mounted in it as well, but the enclo- In such systems, the highest fre- theamplificationprocess,each sure mainly affects low -frequency quencies are reproduced by a small driver being powered by its own performance). One common ap- driver called a tweeter, the lowest by amplifier. Forthistechnique, proach is a type of infinite baffle a much larger woofer. If only those known as biamplification or triam- called an acoustic -suspension enclo- two are employed, the speaker is plification depending on the num- sure, a sealed box that prevents the known as a two-way system. In ber of drivers concerned, an exter- back wave from radiating into the many cases, particularly as you as- nal component called an electronic listening room. The air pressure cend the price scale, a midrange or active crossover is used. However created inside the enclosure is used driver handles the frequencies be- thedivisionofthesignal is to spring -load a loosely suspended tween the other two; this is a three- achieved, the drivers and crossover woofer. Acoustic -suspension speak- way system. Most speakers on the must be carefully matched to create ers are capable of very fine bass per- market are two- or three-way sys- a smooth transition from one part formance, but they may require a tems, although a few divide the of the frequency range to another. lot of amplifier power. spectrum into even more separate Equally popular is a type of enclo- ranges and a handful do not divide Baffles and Boxes sure that does allow the back wave it at all. Some models use two or On its own, every speaker is a to radiate, but modifies it so that it more drivers in the same range, but dipole: It radiates as much energy to enters the listening room in phase a three-way system containing more the rear as to the front. The two with the front wave, thus reinforc-

70STEREO REVIEW MARCH 1990 THE, SASICS ing it. This is known variously as a ance is too low, the current drain on but both are important factors when ducted, vented, or ported enclosure, the amplifier will rise to a potential- it comes to matching speakers and after the opening through which the ly damaging level; if it's too high, amplifiers. By the same token, a back wave emerges; more often, it is the speaker will produce less output speaker's power -handling capabili- called a bass -reflex design. A varia- than it might otherwise. ty-the maximum number of watts tion employs a passive radiator in- Only a small portion of the elec- of input it can handle continuously stead of an open port. This is an tricity a speaker receives is actually without damage-should be an im- unpoweredspeaker cone whose turned into sound; the rest is con - portant consideration. Speaker movement is determined by the air - companies have different ways of pressure differences within the en- determining power handling, how- closure. In a bass -reflex speaker, the ever, so the numbers stated are mass of the air in the port partially often less useful than they might be. determines its resonance frequency In fact, the same can be said for and thus the frequency range in most speaker specifications. More which reinforcement will occur; the than with other audio components, physical mass of a passive radiator the only real way to choose speakers accomplishes the same thing. is by listening to them. Although less common in consumer audio than in professional Left, Right, and Center applications, nowadays at least, the Although a good speaker will per- horn speaker offers probably the form well all by itself, in almost all greatest acoustic return for a given situations it has to be able to do one amount of amplifier power. Other more important thing:It has to speaker types tend to convert rela- function well as one of apair, tively little of the energy from the because virtually all of us listen to amplifier into air motion; by plac- our music in stereo. ing a driver at the narrow end of a For most listeners one of the most flared horn, however, its coupling to desirable features is imaging: the the air is improved and a much ability of a pair of speakers to create greater acoustic output is possible. the illusion of a firm center image In practice, this means that a little A number of things contribute and to place individual instruments power can be used to produce a lot to stereo imaging, not least ittheir proper positions in the of sound. The main drawback, at "sound stage." A number of things least when it comes to low frequen- being the nature of the contribute to imaging, not least be- cies, is that horns have to be large to listening room and the ing the nature of the listening room work effectively. and the positions of both the speak- positions of both the speakers ers and the listeners. Also important Completing the Circuit and the listeners. is proper wiring between the ampli- In operation, a speaker and the fier and the speakers: The speakers output stage of the amplifier driving must be in phase, so that the dia- it form a single circuit, and the elec- verted to heat. Speakers vary widely phragms move in and out simulta- trical characteristics of the speaker in the amount of acoustic output neously when fed a center -image or dictate the overall performance of they can produce for a particular mono signal. Out -of -phase speakers the circuit. In essence, the amplifier level of amplifier power, an attri- will destroy any hope of proper is missing one resistor, which is bute called sensitivity (or some- imaging and will usually degrade replaced in the circuit by the speak- times,less accurately, efficiency). low -frequency performance as well. er itself, its crossover network, and Sensitivityisoften measured by The speaker itself can enhance the cables used to connect every- feeding the speaker a 2.83 -volt sig- imaging precision by being designed thing together. nal (which will put 1 watt through to simulate a point source, one The "value" of this composite re- an 8 -ohm resistance) from the am- where all frequencies have the same sistor is its impedance, which like plifier and measuring the acoustic acoustic origin and the sound waves resistance is measured in ohms. Im- output at a distance of 1 meter in are aimed at the listener. A few pedance is unlike pure resistance, front of it, the result being stated in designs use electronic means or de- however, because it varies with fre- decibels of sound -pressure level (dB liberate shaping of the speaker's ra- quency. A speaker may have a nom- sPL). A relatively insensitive speak- diation pattern to achieve certain inal impedance of, say, 8 ohms, but er might have an output of 85 dB SPL imaging effects, such as widening this is only an average; its actual or less; anything over 90 dB SPL is the sound stage or maintaining a impedance may be much lower or considered quite sensitive, and a stereo image over a wide listening higher at some frequencies. As with few speakers can put out more than area. any circuit, an amplifier is designed 100 dB SPL from a 2.83 -volt input. to work ideally with a particular Neither impedance nor sensitivi- NEXT: Acoustics-what happens to impedance value or a fairly narrow ty imparts any information as to the reproduced sound after it has left range of such values. If the imped- how a particular speaker will sound, the speaker.

STEREO REVIEW MARCH1990 71 CHOOSING A CUSTOM INSTALLER

A Mediacom remote -control system monitors this $15,000 New York City surround -sound installation by Audio Video Systems in West Nyack, New York.

I'll HY PI IIR MARG,111 Howto have it your way

BY REBECCA DAY

you want to have a custom able to go back to the installer for stallation for at least one year after stereo system installed but servicing. David Peterson, owner of completion? What if a problem is don't know where to start. Entertainment Designs in Minneap- your fault? Will the installer pro- You check the local tele- olis, recommends that customers vide loaner equipmentif yours phone directories for a list of audio/ obtain a Dun & Bradstreet financial needs to be serviced? If you blow an video dealers. When you call, al- report on a company before com- amplifier fuse at 4 o'clock on the most all of them say they do custom mitting thousands of dollars for an day of your birthday bash, will there installations. You know you could installation. be someone available who can fix it probably save money by going to When you meet with a custom - in time for the party? What will ser- the discount store where you got a installation specialist for the first vice rates be after the warranty peri- great deal on a VCR, but do you real- time, ask to see the company's port- od is over? ly want to cut corners when some- folio. Elliot Ingber, president of Au- There areother,lesstangible one's cutting holes in your walls? dio Video Systems in West Nyack, questions you should consider when You will find custom -installation New York, lists a few of the kinds of choosing a custom -installation spe- designers ina variety of places. details you should look for in pho- cialist. How professional are the Many specialty audio retailers are tographs: Are the speakers placed company's employees? Do they now doinghigh -qualitycustom wide enough apart? Are all wires leave you hanging on the phone? Do work, and there areinstallation hidden from view? Are top -loading they call you back promptly? Are companies that also do high -quality VCR's or CD players used where they punctual? Will they give you work but don't operate out of store- front -loading machines should be? their home phone numbers? These fronts. Then there are the less -quali- Does the equipment blend in with are all courtesies that will become fied installers who are trying to gain the design of the room? very important over the course of from the booming custom -installa- You should ask for references- the project. tion market. If you know some of three to five other clients who will IIisa good idea to draw up a the basic questions to ask, you be willing to talk with you. If you contract to protect yourself- should be able to determine which can, visit a couple of installations andtheinstaller.Contracts installer will be best for you. that the specialist has done. David s include at least a pay- Most custom -installation special- Peterson suggests that prospective mentschedule,installationand istsdon'tadvertise;theirbest customers ask the following ques- equipment warranty information, source of business is word of mouth. tions of installers' clients: How well and a list of what equipment will go A happy customer is a good refer- did they respect your home? Did into which rooms. Peterson of En- ence for both an installer and a pro- they use drop cloths and vacuum tertainment Designs recommends spective client. Talk to your friends cleaners? Are you satisfied with the that contracts also spell out speaker about work they (or people they sound quality and ergonomics of placement, types of finish used, and know)havehaddone.Other the system? Note for yourself how how the equipment ties together. sources you can go to for referrals well the system is integrated into the Specialists recommend, as a general are local interior designers and con- home, and play the system if you rule, that you don't pay more than tractors, who are likely to have can to determine its sound quality 50 percent of the total system cost in worked with custom stereo install- and ease of use. advance and that you save 10 per- ers in the area. Some custom -instal- Of course, cost will play a major cent for payment on completion of lation specialists even demonstrate role in deciding which installation the project. Some contracts also their work in open houses or home company to use. Keep in mind, provide for labor and hardware cost shows. though, that you're paying for more overruns, which generally should Because of the considerable in- than just components and speakers. not be more than 10 percent. vestment involved, you might want The going rate for labor in a custom You should not have to pay for to check out installation companies installation is about 15 to 25 per- any injuries or damages that result you're considering with the Better cent of the total job, depending on from the work being done in your Business Bureau. A company's sta- the difficulty of installation. Find home, so be sure that your installer bility is essential; if something goes out what you can expect in return- is insured. It's not unreasonable for wrong with your system a few years aside from the installationitself. a customer to ask for a photocopy of down the road, you'll want to be Does the specialist guarantee the in- a specialist'sliability and work-

STERwREviEw MARCH 1990 73 Audio/video design by Absolute Sound in Winter Park, Florida, with woodworking by Quincraft Custom Cabinetry in Orlando. Price of the remote -controlled, surround -sound, home theater system was a cool $35,000. man's -compensation policies. Also At Entertainment Design in Min- installations in new construction. be sure that the installer has the nec- neapolis, a "simple" $8,500 single - Charles O'Meara of Absolute Sound essary state and local licenses for the room system typically includes a inWinter Park,Florida,warns type of electrical or construction 27 -inch television set, front- and against"being penny wise and work he'll be doing. If you have the rear -channel amplification, sur- pound foolish." You may not need electrical work done by an outside round sound, two sets of speakers, a speakers and volume controls in the contractor, have him or her consult CD player, a tape deck, and a tuner. second and third bedrooms right with the installer/designer to insure The price could go up to $20,000 now, but in a few years you may that, for example, TV cables and with the addition of a larger TV set, want to put them in. It's a lot easier outlets are near each other and that one or two subwoofers, side and and cheaper, he noted, to have the the proper provisions are made for center channels, dubbing capability wires in place before the dry wall speaker wires and volume controls. between two high -end VCR'S, a vid- goes up and the paint goes on. The "custom" in custom installa- eodisc player, and more power. If The most difficult part of having tion generally refers to where and you have the money, there's no lim- a custom stereo system installed in how a system is installed rather than it to what you can do. your home is choosing the right what's in it. Most custom designer/ The time required for an installa- installation specialist. Custom de- installers have regular product lines tion depends on the complexity of signers/installers see that as prob- that they work with, but in many the system. If the installationis lematic, too, so problematic that cases they can special -order a prod- being done as part of new construc- more than a hundred of them from uct if a customer wants a particular tion, it will parallel the construction across the country are forming an speaker or component. Make sure time of the home. If an installation organizationcalledtheCustom that the dealer can provide servicing is a retrofit, the actual work might Electronic Design & Installation As- for any product he doesn't carry. not require much more than a few sociation, based in Chicago, to en- System prices vary by region and days, but you should allow for de- courage the growth of reliable instal- by complexity. At Audio Video Sys- sign time and the specialist's sched- lation companies and to promote tems in West Nyack, for example, ule. "Realistically, you should ex- the industry. The organization is you would pay about $2,500 for a pect a minimum two -month turn- considering some type of accredita- basic one -room installation with re- around from planning to completion policy that could help consum- ceiver, CD player, cassette deck, and tion," said Peterson of Entertain- ers find qualified installation spe- two pairs of in -wall speakers. An ment Design. cialists. On your own, if you take average multiroom system would Customspecialistsstressthat the time to check out the financial fall in the $7,500 to $15,000 range even though you might be having a stability, reliability, and workman- and include four or five pairs of relatively modest installation done ship of the design/installation spe- speakers, wired with volume con- now, you should think ahead to cialist you hire, you should be well trols,andacoupleofon/off what you might want to add in the on your way to a first-rate custom

switches. future. This is especially true for audio/video system.

74 &FERE° REVIEW MARCH 1990

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Stereo Review's critics dramaticflair,emphasizingkey Words,in which Cale solos on lineswith appropriate orchestral piano, and a vocal number,The choose the outstanding flourishes and his own thunderous, Soul of Carmen Miranda, thatfea- current releases clipped delivery. Particularly grip- tures atmospheric keyboard effects pingis On a Wedding Anniversary, provided by the album's producer, with Cale's stark, chilling recitation Brian Eno. of the line, "Death strikes their To say that "Songs for the Dying" JOHN CALE'S house," and the nervous, percussive isadventurousistounderstate chatter of trumpets that accompan- Cafe's accomplishment. He has car- "SONGS FOR ies it, against an undulating back- ried the fusion of classical forms THE DYING" drop of strings, building to an explo- and popular sensibility, which he sive choral and symphonic crescen- has dabbled in but never fully real- do. In contrast, his interpretation of ized before, to a challenging new Foilmore thantenyears, Do Not Go Gentle into That Good plateau. He has also reasserted his from "Fear" in 1974 to "Ar- Night islithe and whimsical, skip- own reach and ambition as an artist. tificial Intelligence" in 1985, ping lightly to pizzicato strings and Both he and Eno deserve kudos. John Cale made dark, driv- lilting flutes. Parke Puterhaugh en, ofttimes ferocious rock-and-roll. Cale boldly explores the inherent Now, after a four-year silence, he musicality of Thomas's verse in col- JOHN CALE:Songs for the Dying. has re-emerged with "Songs for the laboration with the forty -one-piece John Cale (vocals and instrumentals); Dying," an album whose center- Orchestra of Symphonic and Popu- Brian Eno (keyboards); Choir of Llan- piece,The Falklands Suite, isa sym- lar Music of Gosteleradio, U.S.S.R., daff Cathedral Choir School; Orchestra phonic score, performed by a Rus- recorded in Moscow, and the choir of Symphonic and Popular Music of sian Gosteleradio. Alexander G. Mikhailov orchestra, over which Cale of Llandaff Cathedral Choir School, cond.The Falklands Salle; Songs sings and recites four poems by Dy- recorded in South Wales. Following our Words; The Soul of Carmen Miran- lan Thomas. If you're wondering The Falklands Suite, as akind of da.OPAL/WARNER BRos. 26024-I. © whether this could possibly be the coda, are two briefSongs14Without 26024-4. 0 26024-2 (38 min). selfsame John Cale, indeed it is. Long-time Cale followers will recognize that "Songs for the Dying" has antecedents in Cale's earliest soloworks-fusions of classical music, rock, and the avant-garde such as "Paris 1919," "Church of Anthrax," and "Vintage Violence." Long before those albums, however, and even predating his membership in the Velvet Underground, Cale could claim to be one of the few fig- uresinrock with training as a church organist and proficiency on the viola. But never, at least never on any of his recordings, has he delved so singlemindedly into the symphonic realm as he does in "Songs for the Dying." The Falklands Suite isan intoxi- cating piece of music that provides a swirling, impressionistic setting for four works by the Welsh poet laureate:There Was a Saviour, On a Wedding Anniversary,LieStill, Sleep Becalmed,andDo Not Go Gentle into That Good Night.The suite was composed during Britain's brief war with Argentina over the Falklands; a chanced -upon reference to the islands in one of Thom- as's poems struck Cale as eerily coincidental, hence the title. Cale, himself a Welshman, in- tones Thomas's verse with a grave, Themostpowerfulexpression of unique technology.

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episodes in each of the two move- and an unerring sense of pitch and AMERICAN ments, the most striking being the rhythm. Leonard Slatkin and the St. Motto tranquillo occurring early in Louis Symphony are on their mettle VIOLIN the first. A typically skittery Schu- from start to finish, and EMI has MASTERWORKS man Scherzando paves the way for come up with a topnotch recording the cadenza and an elaborate coda. job. Warmly recommended. A big -scale orchestral utterance with David Hall HUZZAHSto EMI for a new prominent timpani solo introduces CDcoupling two of the the second movement, after which SCHUMAN:Violin Concerto. BERN - finest American works for the soloist takes over, giving way to STEIN: Serenade for Violin, String Or- violin and orchestra, Wil- a brilliant fugal episode. Toward the chestra, Harp, and Percussion (after liam Schuman's Violin Concerto end we have another lyric interlude Plato's "Symposium").Robert McDuf- and Leonard Bernstein's Serenade (Adagietto) that recalls elements of fie (violin); St. Louis Symphony Or- chestra, Leonard Slatkin cond. EMI/ for Violin, String Orchestra, Harp, the main melody for the soloist in ANGEL 0 CDC 49464 (64 min). and Percussion (After Plato's Sym- the first movement. The conclusion posium). While the Bernstein has is a brilliant outburst in the best con been recorded three times under the tutta forza Schuman manner. composer's direction, and the Schu- Bernstein's Violin Serenade was THE O'KANES man was once available in a sizzling composed for Stern in 1953-1954 on recording by Paul Zukofsky with a Koussevitzky Foundation com- REAFFIRM Michael Tilson Thomas and the mission. Leaving aside the work's TRADITIONS Boston Symphony, this new release association with the Symposium of is the first appearance of either work Plato and its disquisitions in praise in a digital recording in a digital of love, the five movements of the Fall the neotraditionalists playback medium. work remain, for me, the compos- to pop up on the country The Schuman Violin Concerto er's finest achievement on the level scene in the Eighties, the comes from the very top drawer of of pure music. There is neither fre- O'Kanes-Jamie O'Hara that eminent symphonist's output, netic hysteria nor the slightest lapse 0and Kieran Kane-were arguably and it displays the finest dynamic into sentimentality, and the scoring the most important. Like Lyle Lov- and lyrical elements of his musical for both soloists and orchestra is ett and Nanci Griffith, the O'Kanes language. First performed in 1950 exquisitely varied. The first two announced themselves as cerebral as a three -movement work by Isaac movements are essentially lyric in singer -songwriters whose roots ran Stern and the Boston Symphony content, and the brief running Pres- deep in acoustic folk music. under Charles Munch, then revised to that constitutes the central move- But where Lovett and Griffith and performedattheJuilliard ment provides both contrast and a succeeded in building followings as School, again by Stern, in 1956, it display piece for the violin soloist. quirky and poetic storytellers, the achieved final form, recast in two The musical heart of the piece is the O'Kanes succeeded both commer- movements, in the version played succeeding Adagio-more than sev- cially and artistically in presenting a by Roman Totenberg at the 1959 en minutes of impassioned song. carefully honed sound that man- Aspen Festival. The finale at first evokes Socrates in aged to be new and modern, yet The score makes virtuoso de- solemn vein (represented by cello indisputably country. While they mands on both soloist and orches- solo) but concludes with a touch of concoctedan originalelectric/ tra, starting out with the rhythmi- jazzy "party music." acoustic band sound with mando- cally volatile opening pages. In lieu Violin soloist Robert McDuffie lin,fiddle,electricguitar,bass, of the customary slow movement, does himself proud in both of these drums, and accordion, their man- Schuman has interspersedlyrical works, with a finely focused tone dolin/guitar interaction and two- part vocal harmonies suggested the Robert McDuffie (left) and Leonard Slatkin: on their mettle timeless brother duos of the past, most notably Don and Phil Everly, Ira and Charlie Louvin, and Bill and Charlie Monroe. And yet their songwriting masterfully intertwined the tenets of country and folk. In their third album, "Imagine That," the O'Kanes make no move away from their trademark sound, even with the first-time addition of an outside producer, Allen Rey- nolds. Two years in the making, with ten original tunes, the album still evokes the O'Kanes' original influences while also drawing on the BEST RECORDINGS OF THE MONTH sounds of the Blue Sky Boys, Pee fashioned the strongest of rural If there is a certain sameness, an Wee King and his Golden West American stock. Alanna Nash evenness of tenor throughout the Cowboys, and, in Nobody Wins, El- program, itis because the music vis in his Sun Records days. THE O'KANES:Imagine That.The seems to have been chosen for its Is the Party Over, which questions O'Kanes (vocals and instrumentals); likeness rather than its variety. But one couple's marital future, is a tune instrumentalaccompaniment. Why this very aspect of his program that could have been performed at Should I: Imagine That: Nobody Wins; serves to call attention to Naou- Diddy All Night Long: Will You Travel moff's remarkable gifts for pointing the Grand Ole Opry decades ago, its Down This Road with Me; Is the Party Merle Travis -like guitar breaks an- Over: The Better to Love You; Tell Me I up contrasts in subtle ways. The choring itsheritage, the updated Was Dreaming; Climbing Mountains: sequence is framed by the contem- slapback beat ushering it into the This Ain't Love. COLUMBIA ©FCT poraneous K.396and397fantasies, revisionist present. Tell Me I Was 45131, ©CK 45131 (29 min). with the big Fantasy in C Minor, K. Dreaming is pure Everly Brothers 475,and the usually appended sona- bliss, Will You Travel Down This ta in the same key as the major Road with Me arrives withfull- MOZART BY items. Along the way are the Rondo blown gospel overtones, and Diddy in A Minor and, by way of a charm- All Night Long, a vivid portrait of EMILE ing intermezzo, a little "one -finger diner romance, recalls the slithery NAOUMOFF waltz" called Das Butterbrot, which beat of Peggy Lee's Fever. was probably composed by Mo- Like the music of Bill Monroe, zart's father. theO'Kanes'themesrevolve NAOUMOFF,whose re- EMI's French production team around love in its various incarna- citalof Mozart piano music has come through with one of the tions and stages-love cherished, has just come from EMI/ finest recordings of a piano I have Angel,beganperforming yet heard, every bit as crystalline and composing as early as Mozart and well balanced as Naoumoff's himself. He was born in Sofia in superb playing itself. Anyone hear- 1962and went off to Paris when he ing this disc must find himself eager was only eight or nine-there to for more from this obviously excep- become one of Nadia Boulanger's tionalpianist, perhaps imagining youngest and last pupils, and to the repertoire with which he may start winning prizes in both piano identify himself in the future. In the and composition before he reached meantime, this recording provides his teens. He published hisfirst solid credentials for him as one of piano concerto at the age of ten, and those rare artists who define their as a pianist he seems to have set own standards and render compari- Europe on its collective ear before sons rather beside the point. he was twenty. Under these circum- Richard Freed stances, it is a heartening indication Jamie O'Hara and Kieran Kane MOZART: Fantasies in C Minor (K. of maturity and judgment that he 396), D Minor (K. 397). and C Minor love scorned, love fulfilled, and love waited till he was twenty-four to (K. 475); Piano Sonata No. 14, in C lost. In song after song, they present begin recording (he taped the Mo- Minor (K. 475); Rondo in A Minor (K. themselves as strong supporters of zart at the end of1986). 511); Waltz in C Major ("Das Butter- hearth and home: The title song is The reviews of Naoumoff's solo brot").Emile Naoumoff (piano). EMI/ about the search for "someone to recitals and concerto performances ANGEL © CDC49274 (62 min). laugh with, someone to share in my in this country as well as in Europe dreams," and the protagonist of The suggest critics gasping for superla- Emile Naoumoff no hype Better to Love You offers to become tives, and I found myself bracing to husband, father, and the builder of resista new onslaught of hype. the bed in which he and his love What is on the disc, though, is evi- would lie. dence of something that cannot be Overall, the music of the O'Kanes concocted by any sort of media represents a kind of new morality in blitz, and it quickly demolished any country music, a move away from thought of resistance. Everything is thetrashylyricalandmusical so marvelously balanced in Naou- themes that overtook the music in moff's playing-clarity balanced by the Sixties and Seventies as Nash- warmth, power balanced by delica- ville scurried to keep pace with cy, animation balanced by a certain rock-and-roll. Here, in the songs of degree of sobriety, everywhere an two young men from Ohio and New apparently innate sense of elegance York, thrive not only the influences effortlessly determining the limits and traditions of America's native in the direction of accent or under- music forms, but the values that statement.

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beleaguered thirtysomething generation and the burden of expectation. An im- Discs and tapes reviewed by can identify with during drive time. pressive purveyor of confessional folk- Chris Albertson, Phyl Garland, Admittedly, a few ideas here seem, rock, Colvin enters the solo arena with uh, recycled. Didn't Bruce Hornsby al- the help of Steve Addabbo, Suzanne Ron Givens, Roy Hemming, ready say That's Just the Way It Is in Vega's co -producer. The Vega connec- those same words? Isn'tI WishIt tion runs deeper, however, as Vega con- Alanna Nash, Parke Would Rain Down a Temptations title tributes background vocals in one song Puterbaugh, Steve Simels with one word added? Also, Collins's here, justas Colvin didinVega's songs have come to assume a binary Luka. predictability-slow or fast, introverted Such interweaving is bound to pro- or extroverted, ballad or blowout. On voke artistic comparisons, and on that JOHN CALE: Songs for the Dying (see the other hand, if you enjoy his voice score Colvin will likely suffer. The two Best of the Month, page 77) and soul-searching persona, ". . . But women share the same creative ap- Seriously" offers, as George Clinton proach-original, acoustic -based songs PHIL COLLINS: .. .But Seriously. would say, more of what you're funkin' dressed in light, electric folk-rock and Phil Collins (vocals, drums, keyboards); for. If you're not a fan, get used to it. jazz-and Colvin's album chronicles vocalandinstrumentalaccompani- You're hopelessly outnumbered. P.P. difficult relationships, growth, change, ment. Hang In Long Enough; That's hope, and disappointment, as well as a Just the Way It Is; Do You Remember?: SHAWN COLVIN:Steady On.Shawn search for communion in a disenfran- Something Happened on the Way to Colvin (vocals, acoustic guitar,key- chised world. There are times, as in Heaven; Colours; and seven others. AT- boards, drum programming); vocal and Shotgun Down the Avalanche and The LANTIC 0 SD -82050, © CS -82050, © instrumental accompaniment. Steady Story, when Colvin's melody, lyrics, 82050-2 (60 min). On; Diamond in the Rough; Shotgun and vocal style come together to shim- Down the Avalanche; Stranded; Another mering effect. But overall her songs lack Performance: Heartfelt Long One: and five others. COLUMBIA Vega's emotional drive, mystery, and Recording: Warm FC 45209, © FCT 45209, 05) CK 45209 tension. The Eighties have stumbled to a close, (45 min). That said, Colvin does know how to and Phil Collins has suddenly discov- set a mood, and she uses her breathy Performance: Arresting soprano(reminiscentof RickiLee ered what U2, Peter Gabriel, and others Recording: Excellent in the rock community have known all Jones at her most unadorned) to utmost decade long: The blue marble we call Shawn Colvin comes to her Columbia effect. What she needs now is an atti- earth is in a heap of trouble. The title of debut with both the sparkle of promise tude-or at least something other than Collins's new album, ". . . But Seri- ously," is his way of letting us know he Phil Collins: plenty of showbiz bang for the buck cares, really cares, about the homeless, racial inequality, and social unrest. The man must be given his due as an entertainer.He's become too mainstream for innovation-though he once blazed trails with Genesis, Brand X, Brian Eno, and John Martyn-but he does tweak the masses with thoughtful, adult pop that never stoops to pander. . . But Seriously" gives plenty of showbiz bang for the buck, clocking in at a full hour and running the gamut from horn -stoked rockers in the mold of Sussudio topensive, keyboard -laced ballads that puzzle over failed relationships and breakdowns in communica- tion. Collins's beating heart shines through in song after sensitive song. "How many times can I say I'm sorry?" he importunes in Something Happened on the Way to Heaven. "What makes you so high and mighty?" he thunders at South Africa's racist overlords in Col- ours. Of his shortcomings as a parent, he confesses in All of My Life, "I didn't spend the time I should." All are senti- ments any red-blooded member of the

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588 McKnight P.O. Box 553 West Fork, Arkansas 72774 Phone: 1-501-839-3320 1 -800 -USA -DIAL EXT 999 overallconfusionfromfailedro- the blazing pyrotechnics of production movie musicals. As usual, Feinstein mance-to help turn her eclecticism and performance, D'Arby shows an odd doesn't churn up the standards every- into a style of her own. When she finds inability to project a depth of feeling, body else has done to death but instead that, she will stand in no one's shadow. perhaps because he covers so much zeroes in mostly on gems that have been In the meantime, "Steady On" is a most ground so quickly. His music dazzles regrettably ignored with the passing intriguing warm-up. A.N. but does not hold. P.G. years. And in an inspired touch, he's picked only songs written specifically RANDY CRAWFORD:Rich and Poor. MICHAEL FEINSTEIN: The for M.G.M. by songwriters primarily Randy Crawford (vocals); vocal and in- M.C.M. Album.Michael Feinstein (vo- associated with Hollywood and not strumental accompaniment. Knockin' cals);orchestra,IanBernard cond. Broadway-which means that instead on Heaven's Door; Every Kind of People; M.G.M. Fanfare; That's Entertainment; of Gershwin, Porter, or Rodgers, we get Wrap -U -Up; This Is the Love; Separate It's a Most Unusual Day; Time After thelikes of Harry Warren, Johnny Lives; Rich and Poor; and five others. Time; Spring, Spring. Spring; and nine Mercer, Nacio Herb Brown, and Jimmy WARNER BROS. 26002-1, 26002-4, others. ELEKTRA 60893-1, C)60893-4, McHugh. 26002-2 (46 min). 60893-2 (52 min). Feinstein varies the pace neatly be- tweenjaunty,uptempotunesand Performance: His best yet Performance: Good, but . . crooned romantic ballads. The Mercer- Recording: Fine Recording: Close and clean DePaul Spring, Spring, Spring, from Randy Crawford's voice, with its dis- This is more like it. After a misguided 1954's Seven Brides for Seven Brothers, tinctive timbre, has been one of my recent"stretch"intosomeWeill, is the album's most ingratiating find, favorite sounds ever since her first ap- Schoenberg, and Lehar songs of the and Roger Edens's special introductory pearance on record, as a teenager in a World War Iera, Michael Feinstein verse to Singing in the Rain, written for 1975 album with Cannonball Adderley. here returns to the American show Judy Garland in1940's Little Nellie But too many of her later recordings tunes at which he excels-and again Kelly, is a refreshing rediscovery. R.H. have been undermined by mediocre proves that few singers of his generation songs unworthy of her vocal abilities. can put them across with as much infec- SARA HICKMAN:Equal Scary Peo- She fares only a little better here, being tious enthusiasm, ungimmicky musical- ple.Sara Hickman (vocals, acoustic gui- cast in a predominantly pensive mood. ity, and one-to-one vocal warmth. tar); vocal and instrumental accom- As usual, though she sings with sensitiv- This time he's chosen a terrific set of paniment. Simply; Last Night Was a ity and conviction, the songs don't tunes from the golden age of M.G.M.'s Big Rain; 500X (The Train Song): Song exactly reach out and grab you. There are some exceptions, like the opener- Randy Cranford:in a pensive mood Bob Dylan's classic Knockin' on Heav- en's Door-and I Don't Feel Much Like Crying, but not enough of them. P.G. TERENCE TRENT D'ARBY:Neither Fish nor Flesh.Terence Trent D'Arby (vocals and instrumentals); instrumental accompaniment. Declaration-Nei- ther Fish nor Flesh; I Have Faith in These Desolate Times; It Feels So Good to Love Someone Like You; To Know Someone Deeply Is to Know Someone Softly; I'll Be Alright; and seven others. COLUMBIA OC 45351, ©OCT 45351, (D) CK 45351 (51 min). Performance: Dazzling Recording: Excellent If it is the objective of Terence Trent D'Arby to defy categorization, he has certainly succeeded here. Written, produced, arranged, mixed, and largely performed by D'Arby, "Neither Fish nor Flesh," his second album, is an unbro- ken set of compositions reflecting traces of almost every musical style of the last sixty years. He even goes further back for the second track, I Have Faith in These Desolate Times, which he sings in a high, delicate voice against a lutelike accompaniment. The most impressive things about D'Arby are his ear for dif- fering musical styles, his facility on assorted instruments, his compositional talent, and his splendid, chameleon -like voice. His lyrics reflect a real intelligence at play, and his music can be by turns rakishly rockish, gutturally gos- pelish, or mystically modern. What is disconcerting about D'Arby's work is its lack of cohesion. Sometimes you want to ask, "Will the real Terence Trent D'Arby please stand up?" Despite the ragged edge of voices affronted by events of the present day. The opener,Brother, Don't You Walk Away,cuts into the human tragedy of homelessness with heartbreaking empa- thy.Deliver Me isa folk-rock delight, evoking brilliant autumn afternoons in New York's Washington Square circa 1965, after which the band audaciously recasts the folk classic500 Mileswith subtle reggae accents, an original verse about the freedom struggle in China, and some helpful harmonies from Pe- ter, Paul, and Mary. The energy level flags a bit in the second half of the set, as earnestness is troweled on in numbers likeGive the Music Back,but the group rebounds with the irrepressibly upbeatMr. Big Baboon,which sounds like the Coasters gone zydeco. All in all, "Zig Zag" is the product of a band that has ideas and the gumption to pursue them. P.P. ROBERT EARL KEEN, JR.: West Textures. Robert Earl Keen, Jr. (vocals, rhythm guitar); Jerry Douglas (dobro); Roy Huskey, Jr. (upright bass); other musicians.Sing One for Sister; The Road Goes On Forever; Maria; Sonora's Death Row; Mariano;and five others. SUGARHILL SH-1028, C) SHC-1028, SHCD- I 028 (34 min). Hooters John Lnicy. Iran nal hiI ,,sikkinen, Eric Ha:Wan. Rob Hyman Performance:Skillful storytelling Recording:Fine for My Father; Equal Scary People;and People's Parties in Equal Scary People. In the early 1980's, three names invari- five others.ELEKTRA60903-1, C)60903- On the whole. Hickman's lyrics need ably came to mind whenever talk 4, © 60903-2 (39 min). more focus and a tighter aim, but she is turned to the new generation of Texas Performance:Freewheeling adept at a wide range of musical styles, songwriters: Nanci Griffith, Lyle Lov- Recording:Varies from jug -band jazz to Forties mood ett, and Robert Earl Keen, Jr. Of the music. She also takes on the r -&-b styl- three, only Keen, whose songs some- Sara Hickman, a twenty -six -year -old ings of James Brown, whoseIt's a times showed up on records by Griffith Texan whose music has been called "a Man's, Man's, Man's Worldshe covers and Lovett, failed to parlay his regional cross between a stand-up comedy rou- here (mistitling the song asThis Is a reputation into a significant national tine and group therapy," arrives with Man's World) ina performance of following. But that's something his sec- her major -label debut as a potential deeper understanding than her own ond Sugar Hillrelease, "West Tex- alternative superstar. Far more whimsi- songs would suggest. tures," is bound to change. cal than Suzanne Vega, more light- "Equal Scary People," made on a In his first one, "The Live Album," hearted than Joni Mitchell, and not dime for an independent label and later Keen demonstrated a droll brand of nearly so out on the edge as Michelle picked up by Elektra, is probably just a country -folk and an immensely likable Shocked, Hickman nonetheless hauls a hint of what Sara Hickman is about. "intelligent rube" personality not un- typical acoustic folk act into unusual With her musical maturity surely on the like that of Andy Griffithin No Time waters. InLast Night Was a Big Rain, way, her follow-up album should be for Sergeants.In "West Textures," an she describes what seems to be a drug nothing short of dazzling. A.N. eleven -song collection that draws on trip in the back seat of a car (set to the personal experience and reflects Keen's crudely miked beat of a loose -hipped HOOTERS: Zig Zag. Hooters (vocals love for the Texas tradition and the garage band), then segues smoothly to and instrumentals); other musicians. people of his birthplace, he also shows the most stalwart of folk motifs, a train Brother. Don't You Walk Away; Deliver his serious side. song, which quickly takes an unortho- Me; 500 Miles; You Never Know Who Of all his skills, storytelling is one that dox tack: "Me in the lotus/You form a Your Friends Are; Heaven Laughs;and Keen is particularly good at, whether pretzel ... /How I long to feel the grease five others.COLUMBIAOC 45058, © he's painting a portrait of a solitary on my back . ..." OCT 45058, © CK 45058 (43 min). Mexican gardener and the mystery he Hickman, who once hosted a Dallas holds for his employerin Mariano.or cable -Tv talk show called AllAbout Performance:From the heart Recording:Excellent interpreting Kevin "Blackie" Farrell's Dinosaurs,has a bit of the scamp in her Sonora's Death Row,a cowboy ballad personality. InMeant to Beshe sings a It takes courage and conviction to gam- with an 0. Henry ending. But nowhere love song that squirms along on sam- ble with mainstream success in order to is Keen stronger than inThe Road Goes pled percussion and a pseudo -Latin play what you really feel, but Philadel- On Forever,an original tune that em- beat, celebrating the emotion while si- phia's Hooters have done exactly that in ploys the stories of a small-time hood multaneously poking fun at the genre. their two most recent albums, "One and his aimless girl friend to weave a And if she is at times too reminiscent of Way Home" and the new "Zig Zag." morality play about the ultimate cost of Joni Mitchell in both her "Clouds" and Theirs is a bright, contemporary folk- living life on the edge. "Court and Spark" periods, Hickman is rock hybrid that boasts the sizzle of fin- If such songs seem inherently "tex- not above a kind of parody of Mitchell's gers slicing across acoustic strings and tured," showcasing Keen's novelistic 86 STF:REO REVIEW MARCH1990 skill as a lyricist, producer Jim Rooney LEY PARK/WEA 25995-1, ©95995-4, 0 Dress: Rainbow Child; Doin' the Love (Nanci Griffith, John Prine) follows 25995-2 (51 min). Thing; Stronger Than Steel; Cruise To- that lead in his instrumental approach. gether; and six others.MERCURY838 Performance: Rousing 868-1, © 838 868-4, © 838 868-2 (62 Rooney, known forhismagnificent Recording: Very good layering of acoustic instruments, again min). calls on some of Nashville's best young It doesn't take long for Tony LeMans to Performance: Rambunctious turks, including the mesmerizing Jona- convince you of his talents in this debut Recording: Good than Yudkin on fiddle and mandolin, to album. One of the latest artists to be provide both the superb musical frame- more or less discovered by Prince, Le - The Dan Reed Network can funk. The work, with its thrilling fills and solos, Mans wrote or co -wrote all ten selec- Dan Reed Network can rock. The Dan and the drive and energy that Keen and tions, and he delivers them with gutsy Reed Network can do both at the same the more pedestrian songs may some- authority and musical surefootedness. time. The combination isfrequently times lack on their own. It's to Roon- He blasts off with a rousing number dazzling, as they proved in their debut ey's credit that the album is as enjoyable called Higher Than High, which is dedi- album last year and as they prove again instrumentally as vocally. cated to Sly Stone and is driven home in "Slam." Rainbow Child, for example, Those just coming to Keen's work with the same sort of irresistible charm recalls Jimi Hendrix and Prince. Gui- may find "West Textures" a bit too and unrelenting energy that marked tarist Brion James's power riffs have a much to take in one go and his voice as Sly's best work. LeMans's early work on monumental quality, yet his phrasing is prickly as a cactus. But those enamored drums is apparent in his refreshing will- sinuous. The rest of the band provides of the best tradition of Lone Star yarn - ingness to vary rhythms while still em- delicate syncopation while Reed's high, spinning will likely consider Keen a dia- phasizing a strong rhythmic thrust. He soulful voice wafts over the instrumen- mond in the rough. Either way, and draws from a broadrangeof in- tal support. Elsewhere there are more whether he's whimsical or serious, he fluences-from Billy Preston and Sly commonplace sounds: near -metal strut- comes across here as a valiant outsider to, of course, Prince-but only to make ting and hard -rock slashing. But with battling the Sawyer Brown mentality of his own musical statement. And it is the help of producer Nile Rodgers, the. contemporary country music. A.N. one well worth hearing. P.G band varies the music enough to keep it interesting. The same, unfortunately, TONY LEMANS. Tony LeMans (vo- THE O'KANES: Imagine That (see cannot be said for the lyrics. Nearly cals); vocal and instrumental accom- Best of the Month, page 80) every song describes the same basic paniment. Higher Than High; Itchin' to idea. I want you. Over the course of the Be; Forever More: Real Thing; Good for DAN REED NETWORK: Slam. Dan album this simplistic sentiment, in a You: Bundle of Joy; and four others Reed Network (vocals and instrumen- variety of utterly serious expressions, (five others on cassette and cl)). tals). Make It Easy: Slain: Tiger in a becomes tiresome. R.G. 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STEREO REVIEW MARCH199087 THE SMITHEREENS: 11. The Smithereens (vocals and instrumen- JAZZ tals); vocal and instrumental accompaniment.A Girl Like You; Blues Be- fore and After; Blue Period; Baby Be Good; Room Without a View;and five PEPPER ADAMS:The Adams Effect. musicians.Red Top; Happiness Is a others. ENIGMA/CAPITOLCl-9l 194, C) Pepper Adams (baritone saxophone); Thing Called Joe; Hitting the Road C4-91194, © C2-91194 (34 min). Frank Foster (tenor saxophone); Tom- Again; Come Sunday; Locksmith Blues; Performance:Lukewarm my Flanagan(piano);RonCarter and four others.CONCORD ©0-4390- Recording:Excellent (bass); Billy Hart (drums).Binary; Now C, CCD-4390 (52 min). in Our Lives; Valse Celtique;and three The Smithereens' new album is a real others (four others onCD). UPTOWN UP Performance:Terrific good-news/bad-news affair. The good 27.31, UPCD 27.31 (49 min). Up- Recording:Very good news (perhaps courtesy of producer Ed town Records, P.O. Box 186, Harring- This is the kind of set that has become a Stasium, who has worked wonders with ton Park, NJ 07640. staple for fans who recall, with relish, a everybody from the Ramones to the pre -electronic era of jazz-in the Fifties Searchers) is that these four guys have Performance:Inspired Recording:Excellent and Sixties-when candid perform- finally gotten as close to their sonic ide- ances were called "blowing sessions" al-the Beatles meet AC/DC-as seems In the early Forties, when Pepper Ad- and a musician could be recognized by humanly possible. If you want big me- ams heard Duke Ellington's great bari- his tone and style. It's a lot like biting tallic guitars and ethereal harmonies, tone saxophonist Harry Carney, the into a slice of hearty homebaked bread this is the album for you. sound of the instrument-an unwieldy after a diet of the cottony commercial The bad news, however, is that the one for a twelve-year old-so impressed variety. But look who is in this sextet. songwriting seems a little tired, espe- Adams that he immediately placed it on Co -leaders Clark Terry and Red Hollo- cially after last year's eminently hum- his list of things to tackle in the future. way have been making honest music mable "Green Thoughts." The Smither- By 1947, he had added the baritone sax since the postwar years. "Locksmith eens' songs have never been about any- to his arsenal of smaller reed instru- Blues" presents both men in splendid thing in particular apart from songcraft ments and made it his main instrument. form and gives each the opportunity to itself; they stand or fall on structural He was thena member of Lucky show his versatility. The solid rhythm cleverness and melodic appeal, and this Thompson's band in Detroit, where he support is led in a commanding, two- time out they're a little parched in both also held a less glamorous job in an auto fisted fashion by pianist Gerald Wiggins regards. plant. Some ten years later, Adams was and propelled decisively by Phil Up- That's not to say "Smithereens 11" heard on both coasts, working with such church,RichardReid,and Paul doesn't have its pleasures. The opening established colleagues as Kenny Burrell, Humphrey. Terry and Holloway are ter- single,A Girl Like You,will doubtless Stan Kenton, Chet Baker, Benny Good- rific together, whether playing a pretty sound terrific on a car radio, the Sixties man, and Maynard Ferguson. A suc- ballad like'Round Midnight,blowing touches in the arrangement of BluePeri- cessful collaboration with trumpeter the light fantastic in Ellington'sCotton odare thoroughly endearing, and the Donald Byrd firmly established Adams Tail,or vocalizing humorously, as they oblique tribute to Buddy Holly's widow as a top player and led to a series of do in the title tune. Let's hope that Hol- (Maria Elena) is a niceidea well exe- superb albums. In later years, he won a loway, a Concord Jazz regular, invites cuted. Mostly, though, this is real in - new following as a member of the Thad Terry aboard again soon. C.A. one -ear -and -out -the -other stuff, below Jones -Mel Lewis Orchestra. the band's previous high standard for "The Adams Effect," a new release on RICK MARGITZA:Color.Rick Mar- pop -mongering and a big disappoint- the privately owned Uptown label, was gitza (soprano and tenor saxophone); ment. Yet you have to love an album recorded in 1985, fifteen months before Joey Calderazzo (piano); other musi- bearing the sincere admonition: "Re- Adams died. It features a quintet that cians.Widow's Walk; Color Scheme; member folks, be good to your parents, reunites him with former Detroit resi- Ferriss Wheel; Our Song; Walts;and they been good to you!" In short, then, dents Tommy Flanagan (they played five others (six others onCD). BLUE not a dishonorable piece of work, but together in the Thompson band), Frank NOTE 0BI1H-92279, © B41 H-92279, not a terribly exciting one either.S.S. Foster, and Ron Carter, with drummer B21S-92279 (55 min). Billy Hart completing the group, and THE SPINNERS:Down to Business. it's a superbly spirited get-together. Ev- Performance:Mixed The Spinners (vocals); instrumental ac- erybody is in fine form in a program of Recording:Quite good companiment.I'm Happy Baby; We original tunes, all but one by Adams, Thirty years ago, when I asked Lester Got Business; Heal Me; So Hard to Let and you won't hear greater cohesiveness Young how he felt about the day's You Go;and four others (six others on in a working group than this. Carter is young, "modern" saxophonists, he told CD). VOLT/FANTASYV-3403, © VC - particularly effective inValse Celtique, me they all sounded the same to him, 3403, © VCD-3403-2 (47 min). a tune that reflects Adams's admiration adding that he liked them nevertheless. Performance:Up-to-date soul for Ellington, and the two saxophonists I wonder what his response would have Recording:Satisfactory share Foster'sHow I Spent the Night in been if he were asked that question amost compelling way. Flanagan's today, at a time when chips and wires The Spinners have always embraced the light, bouncy style has never sounded have robbed many instruments of their elements common to the best black better-he is truly one of the most character. Rick Margitza does not soup popular vocal groups: infectious melo- underrated of jazz musicians. up his saxophones with electronics, but dies,richharmonies, and assertive TheCDcontains a nine -minute bonus the bland, limp style that such tamper- rhythms all delivered with deep feeling. track,Now in Our Lives,a beautiful, ing fostered has clearly influenced his They have lost nothing over the years, brooding ballad that makes theLPver- playing. The result is that his work occa- and this new set finds them as appealing sion of this release seem incomplete. sionally resembles the formula -ridden, as ever. These songs are new, but they Don't miss it. C.A. uneventful style of such pop saxophon- have been shaped along traditional ists as Kenny G and George Howard. I lines, making them sound fresh yet RED HOLLOWAY/CLARK TERRY say occasionally, because there are also familiar. One of the best is the rousing SEXTET: Locksmith Blues.Clark Ter- times when the twenty -seven -year -old opener,I'm Happy. Baby,but the spirit ry (trumpet, flugelhorn); Red Holloway saxophonist reflects his admiration for never flags in any of the satisfying selec- (saxophones, vocal); Gerald Wiggins John Coltrane, and those are this al- tions that follow. P.G. (piano); Phil Upchurch (guitar); other bum's hopeful moments. C.A.

88 STEREO REVIEW MARCH1990 "JAZZVISIONS"

ing stage presence that's clearly appre- ciated by the youthful, mostly white, audience. I recommend "Jump" in any format. Unfortunately, I cannot say the same for the first of two volumes entitled "Echoes of Ellington," which features a decent eight -piece band but is seriously marred by Dianne Reeves's excruciat- ing vocals. If there is such a thing as a ham singer, she's it. When she's in control and dipping into Sarah Vaughan's AudioNicieo, Car Stereo, Telephones lower register, her voice can be smooth AT LOW DISCOUNT PRICES! and compelling, but most of the time she has a problem with her delivery- Youll find the mast helpful shopping infor- an annoying habit of emphasizing a lyr- mation in the 116 page Crutchfield catalog. ic by either emulating Snow White at the wishing well or hacking a word to pieces in a strained, choking style that begs for the Heimlich maneuver. The Albert Collins (left) and Joe Walsh band, with Roger Kellaway at the key- FREE board, is smooth, sometimes swinging, AZZVISIONS,the latest album se- and appropriately tinged with Elling- ries from PolyGram Verve, em- tonia. An all -instrumental set would Stereo bodies what is so far a unique have made the grade, although the vo- approach: Each recording in the cal side improves somewhat when sing- serieswillbeissuedinfive er 0. C. Smith (you may remember his Catalog formats-LP,CD,audio cassette, VHS 1968hitLittle Green Apples) joins videotape, and twelve -inch cov (vid- Reeves for the medley that ends the Refer to the Crutchfield catalog eodisc with stereo digital sound). The concert. before buying your next car stereo, project should not only help expand the Jazzvisions is a promising series. I do home stereo, or video product: audience for jazz but also encourage wish the producers had left out the more videotaping of jazz perform- introductions by nonmusic people- of helpful articles, consumer ances-and I'm all for that. Shelly Duvall and Ed Wendt look and tips, charts, and installation guides. The eight albums in the first Jazzvi- sound pretty uncomfortable here. But Color photos, complete descriptions sions release-and despite the series there is a lot of good music in this first and technical specifications on title, three feature Latin music rather release, whether it's jazz, blues, Latin hundreds of the finest brand name than jazz-were all recorded live at the pop, or a combination of all three. products. Wiltern Theatre in Los Angeles in 1987. Chris Albertson To review all eight would take more You get more value shopping at space than I have, so I'll focus on two JUMP THE BLUES AWAY. Etta Crutchfield: videodiscs that fairly represent the jazz James (vocals);AlbertCollins,Joe lbn-free product advice, ordering, and side of things. Walsh(vocals,guitar);Gip Noble customer service. "Jump the Blues Away" is a spirited (piano); Michael Raphael (harmonica); 24 hour shipping. hour of blues vocals that begins with othermusicians. Walkaway;Goin' Absolute satisfaction guaranteed. rock guitarist Joe Walsh, segues nicely Down; The Moon Is Full; If Trouble into an Albert Collins segment, and Was Money; Baby. What You Want Me Full 30 -day return privileges. really starts to jump with the appear- to Do; Sweet Little Angel; The Blues Discount prices on Sony, Pioneer, ance of Etta James. Walsh, whose hit Don't Care: Rocky Mountain Way; JVC, Jensen, Proton, Advent, Clarion, Rocky Mountain Way is included, has a Rock Me Baby.VERVE 0841 287-I, C:1 Kenwood, AR, Infinity, Bose, and scruffy but effective blues singing style, 841 287-4, 641 287-2, VHS 081 333- many more! but itis as a guitarist that he really 3, cpv 081 333-I (59 min). shows his talent. Collins is a better all- Call or send this coupon now around performer, his most memorable ECHOES OF ELLINGTON, VOL. 1. for yourFREE Catalog contribution to these proceedings being Randy Brecker (trumpet); Bill Evans, If Trouble Was Money, a slow, grinding Tom Scott, Pete Jolly (saxophones); number that features Collins's wordless Roger Kellaway (piano); Andrew Simp- 800-336-5566 vocal/guitar sound and some fine sup- kins (bass); Dianne Reeves, 0. C. Smith Be sure to mention Stereo Review when calling port from pianist Gip Noble, whose (vocals);othermusicians.ItDon't work is excellent throughout. Also note- Mean a Thing (If It Ain't Got That worthy is the harmonica playing of Mi- Swing); In a Sentimental Mood: Mood Name chael Raphael (whose name is left out of Indigo; Prelude to a Kiss; Ring Dem the printed credits) and some well - Bells; I Got It Bad (And That Ain't Address Apt. stated saxophone commentary by Jerry Good); I'm Just a Lucky So and So; Peterson. All play with body -moving Medley-Do Nothin' Till You Hear City State Zip vigor, but when Etta James boogies From Me/Don't Get Around Much Any- Optional - Are you in the market for: onto the stage, things really come alive. more.VERVE 0841 288-I, C)84I 288-4, PC products fax/copiers This lady knows the blues inside out 841 288-2, VHS 081 335-3, (-Dv 081 '1 security products and sideways. She also has an electrify- 335-I (60 min).

STEREO REVIEW MARCH1990 89 CRUTCHFIELD ICrutchfield Park, Dept. SR, Charlottesville, VA 22906 BACKBEAT

there are extensive liner -note inter- Actually, Danny Peary's liner notes THE BIG PAYBACK views with various band members, make an interesting case for the pic- and the graphics are terrific. ture as a misunderstood and ahead - by Steve Simels Sundazedisthe brainchild of of -its -time antinuke statement. But writer and rock historian Bob Irwin, whatever you think of Plan 9, you'll now and then-usual- who conceived the label to fill the have to admit that the wizards who ly it's when a date is worry- gap left when Rhino Records de- invented theCDprobably never ing about whether I'llbe cided to concentrate on slightly bet- imagined it would be put to such an able to pick up a dinner ter-known acts. Irwin has some in- improbable use. I know I didn't. check-people ask me why I got teresting projects in the works for Other notable records from Per- into the rock -criticism business.I next year-for example, he's digitiz- formance include a reissue of a mid - generally have no ready answer. Ob- ing sixty hours of unreleased mid - Seventies concert set by the late Vel- viously,it'snot for the money; Sixties live soundboard tapes of the vet Underground chanteuse Nico among big -name rock crits, only Trashmen, if you can believe it- and (I am not making this up) a folk Dave Marsh, of Book of Rock Lists and on the basis of these twoCD'S album recorded by Charles Manson fame, has ever, as they say, Gone I'd say that he's got the label off to a before his mass -murder spree put an Platinum. And it's not for respect, sensational start. If your local store end to what was on the evidence either. As you've probably noticed, doesn't stock his discs, you can never going to be a flourishing mu- there are no statues of rock critics. order them direct from Sundazed at sic career. For information on these So why did Iget into such an P.O. Box 85, 27 Church St., Cox- and upcoming Bizarro World re- underappreciated profession? Well, sackie, NY 12051; theCD'Scost leases from the obviously demented I could give you a lot of hoo-hah $13.98 each plus $2 per order for folks at Performance, write to them about loving the music, but what it postage and handling. at P.O. Box 156, New Brunswick, basically comes down to is what it Moving from the sublime to the NJ 08901. comes down to in any job in the terrifying, I should note at this junc- And, finally, bouquets to the guys arts-the perks. And in rock criti- ture a couple of releases from Per- and gals at the aforementioned Rhi- cism one of the biggest perks is get- formance, an equally obscure outfit no Records, who continue to do ting all the free records one can han- conceived and run in New Jersey. exemplary work both archival (their dle without moving to a bigger Like Sundazed, Performance has Todd Rundgren anthology) and apartment. Sixties punk acts on its roster, with new (the latest Exene Cervenka set). That being the case, of course, it two great compilations just out by In fact, Rhino has recently released occasionally behooves us to earn the Syndicate of Sound (highlight: a collection-"The Best of the Blues our keep andletreaders know the neatly misogynist Hey Little Project"-that has given me more which of the freebies that cram our Girl) and the Music Explosion pleasure than any other music this mailboxes actually delight us. Call (highlight: Little Bit o' Soul, most year. The package (get theCD,natu- this critical Calvinism, call it Jewish recently covered by Tom Petty). But rally) rescues the reputation of a guilt,callitlate for dinner, but Performance's corporate sensibility legendary mid -Sixties New York whatever you call it, for me it's pay- also extends to stuff that heretofore City band that had been scandalous- back time, at least this month. would have been released only in ly underrepresented in the catalog; Among the most entertaining od- the Twilight Zone-such asLPand it's cannily programmed (including dities I've received of late-and cer- CDversions of the complete sound- singles even devout fans may have tainly the least expected-are two track to Plan 9 from Outer Space, forgotten),nicelyannotated(by CDanthologies from the fledgling the 1958 Edward D. Wood, Jr., STEREO REVIEW Contributing Edi- Sundazedlabel,"The Fabulous science -fictionepicthat'sbeen tor Parke Puterbaugh), and beauti- Knickerbockers" and "The Five called the worst film ever made. fully remastered. 0 Americans."Astutereaders,of course,will recognize those two bands as prototypical Sixties garage - The Fabulous punk outfits. The Knickerbockers' Knickerbockers: a big hit was the eerily Beatlesesque prototypical Sixties Lies (appropriated in several recent garage band that's commercials), and the Five Ameri- immortalized in cans resonate in our collective un- a CD anthology conscious thanks to Western Union, on the new their smash mélange of Tex-Mex Sundazed label and Liverpool. But both groups had a lot more first-rate material at their disposal, and these new CD's im- mortalize them in generally exemplary fashion. Both discs are gener- ous (twenty -plus tracks), just about everything was digitally remastered from original archival multitracks,

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H A Harman International Company CIRCLE NO 94 ON READER SERVICE CARD CLASSICAL MUSIC

Discs and tapes reviewed by Robert Ackart, Richard Freed, David Hall, Stoddard Lincoln, Eric Salzman, and David Patrick Stearns

J.S. BACH: GoldbergVariations. Keith Jarrett (harpsichord). ECM © 1395 (62 min). Performance: Vital Recording: Lovely For this recording of the Goldberg Vari- ations, Keith Jarrett has wisely abandoned the grand piano he used in his earlier ECM recording of Bach's Well - Tempered Clavier, Book I. The harpsichord makes for greater sonic clarity, and Jarrett is able to come much closer to his stated goal of achieving an "ultimate objectivity" in Bach interpretation. While one looks in vain for anything distinctive in his middle-of-the- Christopher Hogwood road approach to tempos and discreet use of ornamentation. it is possible to sense his delight in the musical logic of the piece. Jarrett's performance has a lot to offer, but not so much as to rec- HOGWOOD'S BEETHOVEN NINTH ommend it over the more deeply con- THErelease of the Ninth Sym- Hogwood's vocal forces arc definitely sidered harpsichord recordings of the phony completes Christopherahead of Norrington's.His soloists work by Ton Koopman on Erato and Hogwood's Beethoven cycle on function superbly as a team, and both Scott Ross on EMI. D.P.S. L'Oiseau-Lyre. For this "histor- the bass, Gregory Reinhart, and the ically informed" realization of the work tenor, Anthony Rolfe Johnson, arc dis- BEETHOVEN: Piano Sonatas: No. 17. by his Academy of Ancient Music, Hog - tinguished by their firm delivery. The in D Minor, Op. 31, No. 2 ("The Tem- wood follows the common Classical London Symphony Chorus sounds a bit pest"); No. 21, in C Major. Op. 53 practice of doubling the woodwinds in recessed in its initial "Freude!" excla- ("Waldstein"); No. 25, in G Major, Op. the orchestral tutti, using an orchestra mations, but elsewhere balances are as 79; No. 26, in E -flat Major, Op. 8Ia of eighty-nine players, and he employs a they should be, and the sonic impact ("LesAdieux").Maurizio Pollini large chorus in the finale. The result is and enthusiasm of these hundred sing- (piano).DEUTSCHE GRAMMOPHON (I2) an overall sound that is decidedly in ers carry matters to a properlytri- 427 642-2 (72 min). accord with what we are used to from umphant conclusion. I also like the Performance: Aristocratic modern instruments, but at the same warm sound of Hogwood's recording time it retains the more just balances localethe spacious Walthamstow As- Recording: Just fine and greater clarity of texture typical of sembly Hall, better than the studio am- There is no pianist more aristocratic performances using period -style instru- bience of Norrington's. than Maurizio Pollini, if I may use that ments. While both Hogwood and Norrington term to embrace fastidiousness, un- The performance itself,like Roger offer attractive alternatives to the famil- feigned elegance, and all-round high Norrington's earlier, much -praised one iar modern -style readings of the Bee- purposefulness. To some listeners, I'm on EMI, follows Beethoven's metro-thoven Ninth, Hogwood works on a aware, it connotes something more like nome markings, though in general the bigger scale of sonority and emphasizes "cool," or even "aloof," and in parts of atmosphere of Hogwood's performance the singing line-most successfully, I the two most popular of the four sona- is less intense than Norrington's. Thus, think, in his expansive treatment of the tas here, his playing may bolster such an we get a slower than usual trio in the finale. In the end, though, I am quite impression. In the first movement of scherzo, a slow -movement tempo that happy to own both. David Hall the Waldstein and the last of The Tem- emphasizes lyrical flow rather than the pest, one may feel that Pollini is giving "mystical rapture" cultivated by, say, BEETHOVEN:Symphony No. 9, in D us little more than note-spinning-in Furtwangler, and a double -bass recita- Minor, Op. 125 ("Choral"). Arleen tive that adheres not to free -speech Auger(soprano);CatherineRobbin rhythms but to Beethoven's injunction (contralto);AnthonyRolfe Johnson EXPLANATION OE SYMBOLS: that it be "in tempo." Likewise, the alla (tenor); Gregory Reinhart (bass); Lon- marcia with tenor solo is taken not at a don Symphony Chorus; Academy of 0 = DIGITALLY RECORDED 1.P military pace but at a rather comforta- Ancient Music, Christopher Hogwood =TAPE CASSE'1"1'F'. ble amble, nor does the orchestral fuga- cond. L'OlsEAu-LYRE © 425 517-4, © (5) = COMPACT DISC (TIMINGS ARE to seem at all headlong. 425 517-2 (63 min). TO NEAREST MINUTE)

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CIRCLE NO 39 ON HEADER St.HVICE CARD

TO ORDER BY MAIL SEND MONEY ORDER, C ERTIFIED OR CASHIER'S CHECK MASTERCARD. VISA. AMERICAN EXPRESS or DISCOVER CARD (Include Interbank No. expiration date and signature.) TO JAR MUSIC WORLD, DEPT. SR0390, 59-59 QUEENS -MIDTOWN EXPRESSWAY, MASPETK QUEENS, NY 71378. Personal and business checks must clear our Authorization Center before processing ShIppng. Handling & Insurance Charge Is 5% of Total Order win a $4.95 minimum (Canadian Orders Add 15% !hipping, with a $995 minimum charge) For shipments by air, please double these charges $25 MINIMUM ORDER. DO NOT SEND CASH. SORRY, NO C.O.D.% NEW YCRK RESIDENTS RIME ADD SALES TAX. All MERCHAWISF SHIPPED BRAND NEW, FACTORY FRESH, AND '00% GUARANTEED. Copyrght 1990 JAR Music Word the former to allow the time to pass till as a "Masque for the entertainment of work together as a single dramatic state- he can get at the parts of the work that the King," it is actually a short opera in ment. This excellent recording belongs interest him, and in the latter because three acts and a prologue. First per- in the collection of every lover of early he is too impatient to deal with the formed before the court in Oxford in music. S. L. music on its own terms. But in the rest 1681 with Charles il's second mistress, of these two sonatas and all of the G MollDavis,andhernine -year -old DVOli AK: Symphony No. 8, in G Ma- Major and Les Adieux, the playing is daughter, Mary Tudor, as Venus and jor, Op. 88; Scherzo capriccioso, Op. 66; bewitching. Cupid, respectively, Venus and Adonis Notturno in B Major, Op. 40. Los The G Major, in particular, a sonata preceded Purcell's Dido and Aeneas by Angeles Philharmonic Orchestra, Andre relatively neglected in the recital room, some eight years and must be consid- Previn cond. THAR(' CD -80206 (57 exudes allthe wit and considerable ered England's first opera. And not only min). Performance: Warmhearted Recording: Soft -contoured Those who like their Dvotak more soft - contoured than hard -edged will enjoy this Andre Previn-Los Angeles Philhar- monic recording. The conductor's approach to the Eighth Symphony is affec- tionate, freely lyrical, and attentive to inner woodwind detail and delicate countermelody elements. The beguiling third movement has just the right lilting quality, in the central section especially, and the finale has ample punch and brilliance, even in Royce Hall, which tends to favor the lower end of the tonal spectrum. As in the symphony, it is the lyrical elements of the Scherzo capriccios° that show to best advantage here, though the innately scintillating quality of the climaxes seems a bit muffled by the acous- ticambience. The lovelyNotturno, adapted from an early string quartet, is made to order for the Royce Hall acoustic, and the Los Angeles string players clearly relish every note. D.11. GOUNOD: Messe chorale. SAINT- SAENS: Messe, Op. 4. Soloists; Ma- rie -Claire Alain (organ); Ensemble Vo- cale de Lausanne, Michel Corboz cond. Maurizio Polhill: bewitching Beethoven ERATO © ECD 75540 (68 min). Performance: Lovely charm Beethoven wrote into it, without is it Blow's operatic masterpiece, but it Recording: Just right giving up anything of the aforemen- rivals the Purcell in quality, if not in tioned "aristocratic" approach. It's as if popularity. These Masses by two nineteenth-cen- Pollini were mindful that Beethoven, The most amazing aspect of the work tury French composers known for their even inhis "unbuttoned" moments, is the tremendous variety of characteri- basicallysecular temperamentsare, was a true Olympian. In any event, for zations crammed into less than an hour you'll find, quite sincere-and worth- the two later sonatas and a good deal in of performance time. The chorus alter- while listening when approached as ear- the two earlier ones,this recording nately portrays shepherds and shepher- lyefforts by major musical minds. strikes me as indispensable, as I imag- desses,courtiers,huntsmen, cupids, Whether by tradition or choice, both ine it will anyone who gets a chance to and graces, and Blow skillfully identi- Saint -Satins and Gounod limited them- hear it. The sound is just fine. R. Pi fied each group by varying the style of selves to settings of the Mass that fell his choral writing. But the musical cen- well within the traditions of their day, BERNSTEIN: Serenadefor terpiece of the opera is the sensitive and both works are more contemplative String Orchestra, Harp, and Percussion vocal writing for the two lovers. Lynne than descriptive. The Gounod could (see Best of the Month, page 80) Dawson as Venus and Stephen Varco as hardly be more lyrical, appealing, and, Adonis sing these roles exquisitely and in its own way, quietly moving at vari- BLOW: Venus and Adonis. Nancy Ar- with exemplary diction, while Nancy ous key points. The Saint -Satins, heard genta (soprano), Cupid; Lynne Dawson Argenta's Cupid is pipingly crisp. Her here in an organ transcription, seems to (soprano),Venus;Stephen Varcoe spelling lesson for the little cupids, a attempt more frequently to break with (bass), Adonis; Rogers Covey -Crump sharp commentary on the cynicism of tradition. But aside from some dramat- (tenor), Huntsman; Emily Van Evera the Restoration court, is appropriately ic, Berliozian gestures, it doesn't reach (soprano), Shepherdess; others. Chorus; pointed. any genuinely new ground. The results LondonBaroque,CharlesMedlam Special mention must be made of are sometimes novel, sometimes clum- cond. HA R MONI A MUN DI HMC © Nigel North's continuo playing on the sy, occasionally long-winded, but well 40.1276, 90.1276 (50 min). theorbo. His realizations are rich and worth hearing. The attractive perform- inventive, and his treatment of the solo ances, with the imposing presence of Performance: Exquisite figured -bass line that follows Adonis's organist Marie -Claire Alain as well as Recording: Excellent death in Venus's arms isespecially conductor Michel Corboz at his most Although the original manuscript de- moving. Charles Medlam's overall pac- judicious, make this recording a pleas- scribes John Blow's Venus and Adonis ing succeeds beautifully in holding the ant break from the heaven -storming

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Not responsible for AM Stereo FM Stereo Receiver Full logic Turntable 0.0 11 Controlled Dolby BIC NR Auto Re- typographical errors Modern belt drIve verse Built.ln Amp willIalance & Fader Electronic DC quartz Local Dist Switch Preset Scan Clock NOTE: This is just a partial listing of our extensive motor Gimbal -mounted low 11 Security Cover inventory, please call for quotes on additional items mass toneorm Light headsheit 6 6 tot 532905SALE: $179.00 or to request a free price list. List $300.00SALE: $129.95 Lolim,awin,iwingip.aIMP ,;10,11.611114141411111=1M411111111:11119.41011104.141111,110.1161141111111 M4111/114014M401M611111119. - profundities of greater, more familiar RUSSIAN SPIRIT works. D.P.S. HANDEL: Concerti grossi, Op. 6, Nos. 1-4. Guildhall String Ensemble, Robert Salter cond. RCA © 7895 -2 -RC (45 min). Performance:Spirited Recording:Fine What with all the early -music ensem- bles of period instruments coming out of London, it is a pleasure to know that the state of string playing on modern instruments is also in good form. This recording by the Guildhall String En- semble, formed in 1981 by outstanding students of that excellent school of music and drama, is refreshing to hear. The tone is clear and bright, and the ensemble plays with a vitality that brings joy to the music. Their excellent reading of the first four concertos of Handel's Op. 6 certainly attests to the validity of this wonderful music on modern instruments. S. L. MOZART: Piano Music (see Best of Gidon Kremer. Daniel Phillips, Yo -Yo Ma, Kim Kashkashian the Month, page 81) his Lockenhaus Festivalin The phrasing in the new performance is MOZART: Requiem in D Minor (K. Austria and wherever else he more angular here and there, the si- 626). Marie McLaughlin, Maria Ewing undertakes chamber -music lences seem deeper and more emphatic, (soprano); Jerry Hadley (tenor); Corne- A.projects, Gidon Kremer and there is, above all, a sense of spiri- lius Hauptmann (bass); Bavarian Radio brings together associates who are seri- tualweightthat dictates more deliberate ChorusandSymphonyOrchestra, ous about making music together, musi- pacing overall. Leonard Bernstein cond.DEUTSCHE cians who are not content to be just a As compelling as the performance of GRAMMOPHON 427 353-2 (59 min). the Shostakovich is, the duo sonata bunch of all-stars coasting on their Superb names. He and various associates have Rejoice!by Gubaidulina, whose music Performance: recorded two of Shostakovich's late Kremer has so conspicuously cham- Recording:First-rate string quartets at Lockenhaus-Nos. 13 pioned, is the real discovery of this Since Leonard Bernstein has been fa- and 14, for ECM-and now CBS has release. Like the violin concertoOfferto- voring more and more deliberate tem- released No. 15, recorded live at the rium(Kremer's recording of which I pos in his performances over the last 92nd Street Y in New York in 1985, reviewed in January) and several of her few years, I would have expected this together with a 1988 recording of a duo other works, this one, composed nine reading of the Mozart Requiem to be of sonata for violin and cello by Sofia years ago, has titles, both for the work as "monumental" proportions andin- Gubaidulina calledRejoice!Yo -Yo Ma a whole and for each of its five move- vested with a "monumental" weight to is the cellist in both works; in the Shos- ments, with religious connotations. But match. But, of course, one can never takovich the second violinist is Daniel itis not a "devotional" work in any make assumptions when such an artist Phillips and the violist is Kim Kashka- conventional sense, and it does not con- is concerned, and in the event the per- shian, both Lockenhaus regulars. Both vey the notion of "rejoicing" in a way at formance is one whose fervency is sus- the works themselves and the perform- all conventional; Laurel Fay quotes the tained with an exceptionally natural ances are remarkable for their spiritual composer as calling it "a metaphor for momentum. Its conviction is carried power-a phrase one needn't be the the transition into an 'other'reality not by overlaid emphases but by singing least bit embarrassed about using to through the juxtaposition of normal lines, with the most unforced beauty in describe them. sound with that of harmonics." Unlike evidence from both the vocal and in- The last of Shostakovich'sfifteen far too much other music of our time, strumental participants from first note quartets has been, as Laurel E. Fay Gubaidulina's is more interesting in the to last. It is, in a word, the most persua- observes in her annotation, "widely re- actual hearing than it is to read about, sive account of this still problematic garded as the composer's private re- and this stunning performance of Re- work I have ever heard, one likely to quiem." Its unusual form comprises six joice! should do much to create an audi- change a lot of attitudes toward it from movements allmarked adagio and ence eager for more. CBS has come grudging respect to profound affection. played without pause; thefirst (and throughwithvivid,well-balanced Bernstein has chosen the edition pro- longest) movement is designated an El- sound in both works, and I didn't notice duced in 1971 by Franz Beyer, which egy, the penultimate (and slowest) one a a peep from the audience in the Shosta- makes at least as much sense as any oth- Funeral March. Kremer and his asso- kovich. Richard Freed er, and he has chosen four soloists who ciates take a somewhat starker view are simply superb. Some listeners,I here than the Taneyev Quartet, which SHOSTAKOVICH: String Quartet No. imagine, may feel Cornelius Haupt- gave the premiere in November 1974 15, in E -flat Minor, Op. 144. Gidon mann's voice is a little light for the and recorded the work at that time, or Kremer, Daniel Phillips (violin); Kim "Tuba mirum,"but such a response is theFitzwilliam Quartet, theBritish Kashkashian (viola); Yo -Yo Ma (cello). most likely based on some exaggerated foursome that disbanded not long after GUBAIDULINA: Rejoice! Gidon Kre- traditions of the past. The two sopranos fulfilling its preordained mission of re- mer (violin); Yo -Yo Ma (cello). CBS 0 are heart -meltingly lovely in the"Re- cording all the Shostakovich quartets. MK 44924 (68 min). cordare,"and Jerry Hadley has by now made the tenor part in this work pretty

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CIRCLE NO. 184 ON READER SERVICE CARC much his own-one might even say, dates from 1928. Kiddush was written Haydn more an indication of mood made himself its own. The chorus and for the seventy-fifth anniversary of the than of speed, and the more familiar K. orchestra give their very best and per- Park Avenue Synagogue in New York 485 Rondo, while "playful and happy," haps a little more for Bernstein, who (five other composers were also com- as Horowitz noted, unostentatiously ex- has dedicated the recording, made live missioned-Roy Harris, Darius Mil- udes an air of substance and depth, as if in the fabulous -looking Baroque church haud, Ernest Bloch, David Diamond, to remind us that the piece may well at Diessen in Ammersee, Bavaria, a and William Grant Still); it was dedi- have been conceived in part as a sort of year and a half ago, to the memory of cated by Weill to the memory of his memorial to Johann Christian Bach, his wife, the actress Felicia Montealegre father, a synagogue cantor. from whom the theme was borrowed. (shown on the booklet cover in Carl The stylistic range here is astonishing. Liszt's transcriptions, or paraphrases, Van Vechten's photograph of her in the From the dissonant lyricism of the con- of Schubert's Stlindchen and two of the role of Saint Joan). The sound quality is certo to the biting wit of the Little waltzes worked over to form the Soirees absolutely first-rate, without a murmur Threepenny Music (emphasized by the de Vienne produced a sequence Horo- from the audience, and there is a very scoring for winds) to the bluesy canto- witz found espcially appealing-as any- comprehensive background note on the nal romanticism of the Kiddush is a one must whose ears are on straight. By Requiem by Peter Branscombe. R.F. leap or two. Everything Weill did was, way of a brief interlude between Schu- of course, touched with the magic of his bert/Liszt and the Mozart portion of the SAINT-SAENS: Messe, Op. 4 (see particular personality, but it is still the disc is one of the tiniest of Schubert's GOUNOD) Threepenny Music that takes center original piano pieces, the Moment mu- stage,especiallyinthisdeliciously sical No. 3, in F Minor, whose childlike SCHUMAN: Violin Concerto (see Best wicked arrangement by the master him- directness parallels that of another fa- of the Month, page 80) self. The performances are okay, and vorite Horowitz encore, Schumann's the vivid recording works well for the Treiumerei. The sound is focused just VIVALDI: The Four Seasons. Nigel instrumental works, less well for the Kennedy (violin); English Chamber Or- Kiddush, where the voices are a bit too chestra,Nigel Kennedy cond. EMI/ close for comfort. E.S. ANGEL © 4DS-49557, CDC -49557 (40 min). COLLECTIONS Performance: Original VLADIMIR HOROWITZ: Horowitz Recording: Fine at Home. Mozart: Piano Sonata in B - The young British violinist Nigel Ken- flat Major (K. 281); Adagio in B Minor nedy isn't one to record something un- (K. 540); Rondo in D Major (K. 485). less he has strong views on it. And while Schubert: Moment musical in F Minor, The Four Seasons is about the last thing Op. 94 (D. 780). No. 3. Schubert/Liszt: you'd expect from a "serious" artist Steindchen; Soirees de Vienne, Valses- who sports a punk hairdo and leads his Caprices Nos. 6 and 7. Vladimir Horo- own part-time rock band, Kennedy's witz (piano). DEUTSCHE GRAMMOPHON new recording projects a distinctive 0 427 772-1, 0427 772-4, 0) 427 772-2 view of Vivaldi's oft -played music. His (54 min). performances in the brisk outer movements are pretty much business as Performance: Wizardry usual, but the slow movements are dis- Recording: Well -focused tinguishedbyanintenselylyrical, Shortly after the death of Vladimir Hor- warmly Italianate style and expressive, owitz last November, Deutsche Gram- judicious use of vibrato. In the slow mophon issued this collection of Mo- movement of the Autumn concerto, for zart, Schubert, and Schubert/Liszt un- instance,he does some bewitching der the title "Horowitz at Home." The things with harmonics, and his caden- performances were all taped over a peri- Itzhak Perlman: a celebration zas are full of all kinds of eccentric glis- od of time in the great pianist's apart- sandos. It's not a particularly full CD, ment, but the heading is equally justi- right to enhance the overall feeling of but if you want a new recording of this fied by both the choice of repertoire and intimacy, with a suggestion of being in a work on modern instruments, it may the way it is presented. Nothing grand - living room, and yet not too close; the challenge and delight you. D.P.S. scaled here, no pyrotechnical display, softest notes are not lost, the loudest but music and musicmaking character- ones do not overwhelm. Horowitz, of WEILL: Violin Concerto, Op. 12; Kid- ized by lyricism and warmth of heart- course,leftmany more impressive dush; Kleine Dreigroschenmusik. Yuval to make one feel "at home." The wiz- memorials to his unique artistry, but Waldman (violin); Grayson Hirst (ten- ardry that is inevitably involved makes none more endearing. R.F. or); Ray Pellerin (organ); Amor Artis it clear enough whose home. Who else Chamber Choir and Orchestra,Jo- could have made Mozart's early Sonata ITZHAK PERLMAN: A Tribute to hannes Somary cond. NEWPORT CLAS- in B -flat Major (K. 281) at once so crisp Jascha Heifetz. Ponce (an. Heifetz): SIC NCD 60098 (55 min). and so caressing? Estrellita. Moszkowski (arr. Sarasate, "All my life," Horowitz wrote in his ed. Heifetz): Guitarre, Op. 45, No. 2. Performance: Okay own annotation, "I have considered Drigo(arr.Heifetz):Valsebluette. Recording: Vivid music of all periods romantic. ... And Rachmaninoff (arr. Heifetz): It's Peace- Kurt Weill's Violin Concerto, said to be shouldn't the performer listen to his ful Here, Op. 21, No. 7. Ravel (arr. Hei- his next -to -last symphonic work, was heart rather than to intellectual con- fetz):Valses nobles et sentimentales written in 1924-before any of the stage cepts of how to play Classical, Roman- Nos. 6 and 7. Chopin (arr. Heifetz): works for which he is now remembered. tic, or any other style of music?" Yet Nocturne in E-jlat Major, Op. 55 No. 2. Itis cast in his early modern -music how aristocratically Classical his ap- Poulenc (arr.Heifetz): Presto. Saint - style-somewhere between, say, Hin- proach to the two shorter pieces hap- Sail's (arr. Heifetz): Carnival of the demith and Prokofiev. The wind -band pened to be: The K. 540 Adagio presses Animals. The Swan. Gershwin (an. version of the Threepenny Opera music, forwardwiththeconvincingmo- Heifetz): Three Preludes. Albeniz (an. commissionedbyOttoKlemperer mentum that reminds us such a desig- Heifetz): Suite espapiola, Op. 47. Sevilla. shortly after the work's initial success, nation was so often for Mozart and Rameau (arr. Heifetz): Rigaudon. And

100 STEREO REVIEW MARCH 1990 COMPETITIVE PRICING CALL NOW

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"DAS RHEINGOLD" Performance: Good to excellent Recording: Violin too close A recording bearing the names of both Jascha Heifetz and Itzhak Perlman is so assured of success that a review may seem gratuitous-and yet one is more or less demanded, simply by way of celebrating the disc's arrival. Perlman has spoken frequently and sincerely of his great admiration for Heifetz, and in a sense it is a tribute indeed to perform an hour's worth of Heifetz transcriptions and arrangements without attempting to imitate Heifetz himself. That match- less artist enriched his-and his fellow fiddlers'-supply of encore material by producing nearly two hundred such pieces. In some cases it was after having played someone else's version of the same music (he performed and twice recorded his teacher Leopold Auer's arrangement of Drigo's Valse bluetie before undertaking his own setting), in some cases he embellished rather than rejecting outright a previously created arrangement, butinmost cases he worked directly from the originals. The nineteen pieces Perlman has selected present a good idea of the variety of the Heifetz arrangements in terms of both source and style. Some come off Conductor Bernard Haitink more successfully than others. The Cho- pin nocturne is not, in its original form, COMPOSED in one long act, Daswithout fussiness. At the sonic climaxes one of the most popular ones, but Hei- Rheingold is shorter than thethe hammers and anvils of the Nibe- fetz made an exquisite and, of course, other three operas that make up lungs are impressively clangorous, and thoroughly violinistic little tone poem Wagner's greattetralogy Dera satisfying thunderclap accompanies of it, and Perlman goes to its heart, as he Ring des Nibelungen, but it is no less a the creation of the Rainbow Bridge, but does also in the pieces by Ponce (Estrel- masterpiece. And in EMI/Angel's new nothing is exaggerated. Ma), Albeniz, (Sevilla), Debussy (Golli- recording, the second installment of a This set's playing time of a hundred wog's Cakewalk), and Achron (Hebrew complete digital Ring cycle conducted and forty-nine minutes is three minutes Melody). Elsewhere the charm that is, by Bernard Haitink, Rheingold receives longer than the ones by Solti (London) after all, the raison d'etre for such pieces the masterly performance it deserves. and Karajan (Deutsche Grammophon), is less consistently evident. If that ele- To my ear it is more convincing than probably because of the measured pace ment is hard to define, itis perhaps Angel's Die Walkiire, which preceded it. Haitink gives to the final scene, reflect- harder to produce on demand, even on Everything here seems just right-the ing the onward flow of the Rhine River the part of a musician who projects such balances between voices and orchestra, asitwinds through these powerful joy in making music as Perlman always the placement of singers within the ster- myths set to music. The sense of imme- does. It is disappointingly absent in the eo spread, and a sound quality that sug- diacy and rightness that pervades this Drigo, one of the most notoriously gests neither stage nor studio, but the recording may make it the audio equiv- charming piecesever concoctedin rocks, crags, and caves where the action alent of the visually realistic Ring pro- three-quarter time, and in the waltzes takes place. ductions now returning to American by Ravel. In Schumann's Prophetic Bird The same sense of rightness extends opera houses. William Livingstone and the Saint-Saens Swan, as in the to the cast, who sound not like a group Rachmaninoff (a song most of us know of singers making a recording but like WAGNER: Das Rheingold. James Mor- as How Fair This Spot), Perlman seems thegiants, gods,mermaids,and ris(baritone),Wotan; MarjanaLi- to be trying to capture the elusive ele- dwarves the opera is about. James Mor- poittek (mezzo-soprano), Fricka; Heinz ment by means of overinflection. ris is wonderful as the young Wotan- Zednik (tenor), Loge; Theo Adam (bari- The recorded balance is not a big by turns wily, merciless, arrogant, and tone), Alberich; Peter Haage (tenor), help. While Heifetz wrote his accom- majestic. Theo Adam, for decades a Mime; Andreas Schmidt(baritone), paniments as skillfully and imaginative- leading Wotan, is quite effective here in Donner; Peter Seiffert (tenor), Froh; ly as he did the violin parts, Perlman is the role of Alberich, the Nibelung who Eva Johansson (soprano), Freia; Jadwi- consistently placed so close to the mi- made the ring. The Fricka and Erda gaRappe(contralto),Erda;Hans crophone that Samuel Sanders's charac- both sound attractive enough to hold a Tschammer (bass), Fasolt; Kurt Rydl teristically fluent and tasteful piano is god's attention, and I liked Heinz Zed- (bass), Fafner; Julie Kaufmann (sopra- just not as much a part of the aural pic- nik's unmannered Loge. no). Woglinde; Silvia Herman (sopra- ture as it ought to be. But one must be The Bavarian Radio Symphony may no).Wellgunde;SusanQuittmeyer deep in terminal curmudgeonhood to not be the equal of the orchestra of the (mezzo-soprano), Flosshilde. Bavarian go on picking nits when there is so Metropolitan Opera, but it plays very Radio Symphony Orchestra, Bernard much to enjoy and when the musical well for Haitink, who can emphasize the Haitinkcond.EMI/ANGEL CDCB impulse that motivated this tribute is so prettiness of the score's lyrical passages 49853 two CD'S (149 min). warmly apparent. R.F.

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Harvey Electronics Authorized Sales and Service Classic Stereo South Bend: Classic Stereo Plattsburgh: Alpha Stereo Rochester: JB The Speaker Specialists Terre Haute: Stereo Crafters Sound Syracuse: Clark Music Vestal: Han ADCOM * NAKAMICHI* KS Junction City: Audio Junction Kansas Electronics Westbury: Harvey Electronics White ARAGON PARADIGM City: Brands Mart Overland Park: Audio Plains: Harvey Electronics ARCAM ROGERS B & K SHURE ULTRA CAL SONOGRAPHE CELESTION SOTA RETAIL MART CONRAD JOHNSON SOUNDS TREAM HAFLER STAX AN EXCLUSIVE MEDIUM FOR ALL RETAILERS KLIPSCH THETA DIGITAL MAGNE PAN VAN DEN HUL OF AUDIO AND VIDEO EQUIPMENT MIRAGE VELODYNE MIT CABLES VTL The STEREO REVIEW Retail Mart is an ideal forum to reach interested audio/video enthusiasts MONSTER CABLES WELL -TEMPERED who are active buyers themselves, and who advise others on stereo and video purchases. 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_Jr-741---7-9w am 4.4 Woo.. ortAd M w 000N Mon NM M 110141 10,4 Sem 09 m4,n roon 4 ::<;:. - .77,,ri'l'I ,*-e: *ow Ft.. 5/ SOSO 50 robelot UPS manotHod 1modo, ,,.. No moome4 NoorNoN 91.15 49 4419, +.4 , 18214 Dalton Ave, Dept. S, Gardena, CA 90248 . Hours: M -F 9 to 6, Sat. 9 to 1 Pacific Time BMW WITH THE WORLD'S BEST BANDS! An Clnlimi-ed supply of Backgrounds from standard ADS., NAKAMICHI, CARVER, BANG stereo retorts! Record with your voice or perform live OLUFSEN, REVOX, B&W, KEF, HARMON. with the backgrounds. Used in Professional Performance LOW PRICES!! NAKAMICHI, CARVER, BOS- yet connects easily to a home componznt stereo. This KARDON, N.A.D., LUXMAN, HAFLER, TAND- TON ACOUSTICS, LUXMAN, HAFLER, ADS, unique product is manufactured and soli Exclusively by BERG, ADCOM, DENON, KLIPSCH, YAMAHA, B&K, KEF, ONKYO, PROTON, BOSE, SNELL, LT Sound - Not sold through dealers. Call or write for a D.B X., INFINITY, J.B.L. AND OTHER QUALI- I Free Brochure and Demo Record. DCM, M&K, PS AUDIO & OTHERS!! SOUND LT Sound,Dept.SR-3,7980 LT Parkway TY COMPONENTS. BEST PRICES -LIVE PRO- ADVICE:J414) 727-0071. Lithonia, GA 30058 (4C4) 482-4724 FESSIONAL CONSULTATION WEEKDAYS - Manufactured end Sold Exclusively by LT Sound 24 HOUR PHONE DEMO UNE:14041482-2485 AUTOMATED PRICING AND INFORMATION 3AVAILABLE 24 HOURS. ALL PRODUCTS LOUDSPEAKER COMPONENTS -KITS. Eton, Dynaudio. Fo- COVERED BY MANUFACTURER'S U.S.A. CALL cal. Eclipse. Catalog $1. Meniscus. 2442 28th St. S.W. Wyo- ming. MI 49509. (616) 534-9121. WARRANTY. AMERISOUND SALES INC., HIGH -END LOUDSPEAKER systems. speaker kits and the EAST: (904) 262-4000 WEST: (818) 243-1168. LASTUS widest selection of raw drivers from the worlds fines, WE SELL SECOND HAND high quality audio -video with mon- WE WILL manufacturers. For beginners and audiophiles. Free catalog ey back guarantee, Send your name and address for FREE ASS SPEAKERS. 3170 23rd St.. San Francisco. CA 94110 monthly inventory. Ross Stereo. 2423 Morena Blvd. San Diego. BEAT ANY PRICE 3(415) 641-4573 CA 92110. (619) 275-3632. FOR SALE THE BEST RECORD RACK IN AMERICA. Stackable, porta- PRINTED IN THIS MAGAZINE ON ble, oak units hold LP's. CD's and tapes. Free Mailorder Bro- AUDIO & CAR STEREO BUY AND SELL used audio equipment thru telephone classi- chure. (please mention Stereo Review). Per Madsen Design: fied. No charge to buyer. Call (609) 927-2152 anytime. (415) 928-4509. P.O. Box 330101. San Francisco. CA 94133. The SOUND Approach Allitems includemanufactures U.S.A. warranty,factory completeand new! 6067 Jericho Tpke, Commack, NY 11725 Compare ads!Would you setie for less? SONY VCR INFINITY FAST DELIVERY CAMCORDERS PIONEER SL0757 72 PRICES BELOW (516/ AUDIO/ 475 KKAAppPPA1 999779 FULL WARRANTY 499-7680 SO/555 & VIDEOS BY SLHF 370D 129 PANASONIC WHOLESALE RELIABLE VIDEO KAPPA7 479 SLHF360 3 4 SONY KAPPA6 CALL 8 SAVE 1-800-525-9922 U.S.A.SALES CAMCORDER ...WC KAPPA5 279 VSX9SOOS CALL VSX7X5500S JBL HARMON CCDF45 RCA RS6001 349 JvC AUDIO 799 RICOH VS CALL CALL TOLL FREE! 1(800) 826-0520. RS5001 249 RX1010 STOCK JBL L20T3 189ea KARDON CCDV9 759 NIKON 00%5400 CALL ONKYO * NAD * HARMAN KARDON * XLZ1010 STOCK JBL L4073 269ea .(990 699CCDF50 CA/L SHARP RS4001 199 VSX4500S CALL PROTON * AUDIO CONTROL * CITATION TDV1010STOCK JBL L80T3 349ea HK880 509 CCDVII IS MITSUBISHI RS3001 CALL PDM710 CALL XPA1010STOCK JBL L100t3 419ea 111920 269 CCDTR5 10'.9 TOSHIBA RS2001 CALL PDM610 CALL * JBL * LEXICON * HAFLER * M&K * STAX AXZ1010STOCK JBL PROviii289txH07500 299 SONY AUDIO MAONAN SM 150 269 PD7300 CALL * CELESTION * KINERGETICS * NITTY FX1010 STOCK JBLLX44 189ea H07600 399 STPAV910 339 ASARSM120 189 PDT503 CALL RX901 569 JBL 4800229ea I-10800 359 STFA\0010 459 OLYMPUS DESIGN ACOUSTIC CTW91OR CALL GRITTY * PROAC * DAHLOUIST * BELLES RX801 369 ACOUSTIC "D302 329 STRAWeion 669 CALL CTW71OR CALL VIDEO PPSS53 RX701 309 RESEARCH HK6900 819 CDPC700 289 CALL CTS705 CALL * dbx * FRIED * ORACLE * THORENS * CWD RX501 259 TSW 610A 289ea CITATION23 449CDPC900 319 TAPES PS 55 CALL SP700D CALL * THORENS * MONSTER CABLE * DCM XLM701 339 TSW 710A 389ea BOSE CD"C800 349 SONY PSIO CALL CLD3070CALL XLM401 229 TSW 210A 229ea AM5 CALL CDPC970 319 MAXELL PROTON CALL CLD2070CALL * GRADO * NILES * SOUND SELLER, 1706 TOK XLZ611 289 ADVENT AM3 CALL TCWR810 339 YAMAHA CALL CLD1070 CALL XLG512 319 MAESTRO 209ea SE5 CALL CERWIN VEGA FUJI LD870 CALL MAIN ST., MARINETTE, WI 54143. FAX TEAC CALL TDV711 369 LEGACY II149ea 10.2 STOCK0tH 99ea BASF PROLINE CALL

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Proton, 411 S. EUCLID. #242, PARK RIDGE, IL. 60068 (708) catalog -rush $2.00. Research, 11322 Idaho 206SX, Los An- Phillips and much more, 1414) 725-4431. 696-3266. geles 90025. TOLL FREE HOTLINE: (800) 351-0222 (Califor- BROTHERS DISCOUNT STEREO - Your Electronics Audio - WE WILL BUY YOUR UNWANTED COMPACT DISCS. COM- nia: (213) 477-8226} Video Hotline. Major Brands & Accessories At LOW DIS- PETITIVE PRICES! FAST SERVICE. WRITE CDCS, 551 VAL- WATCH REPLICAS! LOWEST PRICES GUARANTEED! NA- COUNT PRICES. (201) 591-9008 & (201) 462-9008 or FAX US LEY ROAD, SUITE 124, UPPER MONTCLAIR, NJ 07043 TIONWIDE! Warranty! Exact Weight & Color! 18KT Goldplated! AT (201) 690-5407. CALL (404) 963-3USA. THE BINAURAL SOURCE -Exclusive one -stop source of trJe binaural recordings for startling headphone listening (most CLASSICAL MUSIC LOVERS' EXCHANGE -. Nationwide link also speaker -compatible). [See Nov. & Dec. AUDIO] Classical between unattached music lovers. Write CMLE, Box 31, Pel- jazz/drama/sound environments: in all three formats, from U.S. ham, NY 10803. & Germany. Free catalog: The Binaural Source. Box 1727SR CONFISCATED CARS, trucks, boats, 4 wheelers, mo- Ross, CA 94957. torhomes, by FBI, IRS, DEA. Available in your area now. Call (805) 682-7555 Ext. C-1005. DENON BUSINESS OPPORTUNITIES COMPA AUTHORIZED DEALER MAILORDER OPPORTUNITY! Start profitable home business without experience or capital. Information Free. Mail Order Associates, Inc., Dept. 599. Montvale. NJ 07645. SUPER SHELF EASY WORK! EXCELLENT PAY! Assemble Products At The mark of a true Denon. Home. Call for Info. 504-641-8003 Ext. 9542. This sticker tells you who is an authorized RETAIL MART Denon dealer and who isn't. Some people who offer Denon products are THE ULTIMATE IN CD STORAGE. 72 disc capacity. Unique WE HAVE THE FINEST SHOWROOM in our area with the best not authorized dealers. That can lead to problems. tilted shelves hold CD's upright with labels facing out. Can be selection of audio video components available. We represent Adcom, Infinity, Thorens, NAD, Polk, Yamaha. Canton, First,onlyauthorized dealers offer you the wall mounted to make CD selection extremely easy, keep sma:I children out of reach, and free turntable and counter top space. Luxman, Klipsch, SONY ES, and more. CONTINENTAL protection of a Denon warranty with your Solid wood construction, hand finish. GUARANTEED TO BE SOUND. 98-77 Queens Blvd., Forest Hills, NY 11375. (718) purchase: at other dealers, you may have no THE BEST CD HOLDER AVAILABLE ANYWHERE. Oak light 459.7507 or dark $34.95, unfinished $32.45 Pine antique or heirloom warranty at all. AUDIO VIDEO STORAGE Authorized Denon dealers stock only $21.95, unfinished $19.45 check or money order to CD SUPER. SHELF PO BOX 821 Kent, WA 98035 add $5.UPS. components designed for the U.S., and have the ARCHITECTURALLY DESIGNED CLASSICAL CA81- training to help you select the one right for you. INSTRUCTION NETS. Solid oak or cherry. FREE brochure. ZEAL HARD- WOOD DESIGN CO., Dept. SR3, 4 Benjamin Road, Lexington, Authorized dealers know Denon technology MA 02173. (617) 861-1705. inside and out and stock factory parts for your FREE CATALOG. Institute of Audio/Video En- CAR STEREO Denon to preserve true Denon sound. gineering. 1831 Hyperion (SR), Hollywood, So before you buy your Denon, look for this CA 90027. RECORDING SCHOOL. (800) Denon Authorized Dealer Sticker. 551-8877, (213) 666-2380. Approved for In- -"The Quick Connection" I It assures you of the authentic Denon tech- ternational Students. Member of NATTS. _Norm B.J. AUDIO nology and support you expect. And nothing less. kis sl sl- TIVERTON AUDIO $29.95 "HOW-TO" video tape shows all 3230 Vatmer Ave ['IP!! Cincinnati, OH 45238 To find your nearest AUTHORIZED (knoll Dealer call aspects of design and installation for built-in speaker systems. (513)6623351 We'll help you save up to 50%. Dealer inquiries welcomed. 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Manufacturer's rebates may not apply Ask for lull details at the time of purchase - Bose 44-45, 78-79 CD PLAYERS =;1112131021= CAR STEREOS CAR STEREOS - Boston Acoustics 20-21 YAMAHA PIONEER NAKAMICHI NAKAMICHI HIFONICS CDC500 429 VXS9500S 689 COlA 90260 New 269 THOR Please CDC610 469 RD360 New Call VSX7500S419569 GEMINI call 157 Cambridge Sound Works 26-27 CDX420 239 V5X5500S 459279 CR3A 669 RD460 New 489 ODIN for CDX520 279 669CD760 1049 VSX3300 VULCAN our - CBS Columbia House-CD Club 16a,b CDX720 349 VSX3300S CR4 839 CDC1C1 769 329 EUROPA low - Christian Brothers Cover 3 CDX820 469 SX2700 JVC 10560 769 Call PLUTO low 56 Component Guard 41 CDX920 589 SX1700 Call Trow3Dw281 139PA304 389 CALLISTO prices 188 CDX1120 989 NAD 179 PA301 Cousric 47 TDW501 229PA204 CYCLOPS DENON 7000 Call 113 Coustic 49 TOW801 269PA150 HERCULES DC0520 189 7225 98 COBStie 51 TDW901 349SP200 22:09994199 DC0620 249 7240 :299 SOUNDSTREAM 70X321 169 SP10 149 OCD820 329 7100 629 MC140 349 DCD920 TDR421 209 SP40 109 389 7600 1249 179 DCM444 369 TDV621 349 SP50 7400 899 010011 279 27 Denon 18,34 DCM777 649 TDV1010 489 199 399 32 Design Acoustics 87 DCD1420 489 LOUDSPEAKERS NAD S5PP910910 149ea 269 71 DCD1560 629 6325 318299 Discount Music Club 34 ADVENT 339 DCD3520 1249 ESCP55200/EC200H 19975e9a MAESTRO 469 6100634 419 ALPINE TC306 Call SONY LEGACY 349 6300 7595903 459 MO 269 CDP270 159 PRODIGY 249 AIWA 7235 429 SS10 299PR I Electronic Wholesalers 101 CDP470 189 PRODIGY° 249 ADWX999 399 6205 99 SS510 249 CDP670 229 915e9a AADwOWL504 139 6368 Call CDP770 289 299 6392 ADS CDP970 399 MBAINBYI/SUB 139 149 ADF800 299 6266 2C2979all 646 22csi 149 - Ford Audio 36 CDP500 223699 Outdoor ADS27 99 3312 199 CDP400 ADWX707 199 159 200r 229 CDP900 349 PARTNERSAR 259 PIONEER 3P2H012 42969 75,76 PIONEER ROCK PARTNERS 179 259 399 - Hailer CLO1G70 449 015605269CTS705 339 7385 469 3001 279 40 Harman Kardon 10-11,29 BOSE CL03070 72738900 159 CTW510 224199 469P010 389 PDM710 ,91g 101 121 Auto 189 CTW6°13R 189 PDM610 329 CTW710R 309 7380 289359 pPH0815 Roomate 11 259 519 PDM510 269 CTW91OR 449 7269 259 Illinois Audio 97 901 1149 PS5 219 - PDM410 239 7168 199 P020 589 PD7100 399 AM5 629 AMPS & TUNERS 299 SB7 299 PDT503 219 YAMAHA 499 B&W MX600 429 SB10 489 P04100 169 336791792612 219 39 MATRTIX 311 1849 mx800 299 J&R Music World 94-95 69 3°°15 PHILIPS MATRIX 211 1229 mxi000 209 320iS 419 CD50XX 249 MATRIX 111 942679299 CD60XX 349 DM550 93N 333555220351 MOSS 479 3528 2 Klipsch 39 CDV487 749 DM560 439 Ax900 299 RSA62KINFINITY 149 CDV488 949 DM570 549 6265 129 84 519 AX700 399 Rc493K 169 - KNI Loudspeaker 6394 NAD DM580 179 729 AX630 369 3522 159 RSA42K 69 5325 249 V201 219 CX600 399 CS2KRsA52K 5340 V202 359 7288289 329 299CX800 5597909 109 5100 419 154L.exus 6-7 CX1000 949 7903 499 RSA692K 5170 589 TX530 GL260 389CaII RSA693K 189 5300 759 CANTON 269 3554149 349 TX1000 KARAT20 579 449 SONY CS1K 299 JVC 699 E01100 469 KARAT30 CDXA30 29 McIntosh 4 xL71010 E0630 379 BOSTON 499 KARAT40 1029 0C:0767008770 399 XLZ611 109Mobile Fidelity 91 329 KARAT60 1289 E0330 149 199 703 35 XLZ411 229 cm() 1349 DSR100PRO 479 XR7050 229 709-705 55 XLV311 189 1949 AVC70 39 XLV211 169 229 AVX100 559319 PCT9LU9S S xxRR66313800 7777517 149 XLM901 "2447999 97 Paradigm 35 PLUS C 479 DSP100 199 751 179 XLM701 409Call NAD 89 - Philip Morris-Marlboro Cover 2,1 XLM301 249 CELESTION 1700 679 CXED8XR79 249 797 159 - Philip Morris-Parliament 91 XLM401 279 SL12SI New 1179 2600A 679 XE90 149 783 229 31 Pioneer-Home 30-31 SL600 1499 2200PE MAGNAVOX 529 X97180 329 761 189 31 061.1.6126 1 Pioneer-Car Cover 4 COB486749269169 3225SPE 209 XR7280 389 767 99 New Call 3240PE 90 Polk Audi() 14-15 CDB492 329 PIONEER 0700 159 139 DL8 11 399 3400 CDB490 679 60/uiUR New 329 0793 259 93 Proton 43 CDB610 199 DL6 II 329 ADCOM KE5454 229 94 Pyle 92 299 DL4 li 249 CDB630 GTP400 299 KEH8686 259199 KICKER 269 Model 3 CDE1586 219 Gimp 489 KE3D100R Kicker2 199 MEMOMIZ= DESIGN ACOUSTICS GFP555 449 KE4060 249 Super2 249 GFA535 269 KEH9696TR 289 33 PS3 - Radio Shack YAMAHA 449 GFA545 429 KEH8050 339 SAS -BAZOOKA RX330 249 GFA855 - RCA-BMG Direct 24a,b 629 KEH60400R 299 T62 159 PPS5510 RX530 329239 369 GCD575 489 KEH7676TR Call169 399 PS6 T82 229 RX730 189 GFP565 559 KE3434 T102 PS8 GFA565 159 RX830 489 269 659ea C093 New 369 PS55 103Sherwood 82 RX930 699 169 GMA2000 249 DENON RADAR DETECTORS 104 991130 949 INFINITY PMA920 499 DEXM300/CDXM70 779 Shure 34 SNOOPER D4 NAKAMICHI RS2001 179 PMA720 389 KENWOOD Call 184Sixth Avenue Electronics 99 TA1A 299 RS4001 399 PMA520 299 KRC2003 189 SNOOPER D6 Call 59 Sonance 9 TA2A 499 RS5001 549 PMA1520 749 KRC555 129 106Sony 12 TA3A 749 KAPPA5 599 P082400 549 KRC777 New 429 COBRA3120 99 TA4A 1099 KAPPA6 749 P0A6600 549 KRC3003 169 DENON KAPPA? 1049 P0A800 249 KRC676 New 389 SPECTRUM II 175 DRA325 279 PRA1500 389 KRC353 239 119TDK 8 DRA425 359 CASSETTE DECKS T0800 389 KRC610 SPECTRUM 3SE 249 BEL 876 129 DRA625 439 YAMAHA TU550 Call KRC510 DRA825 649 AVC2000 749 KRC410 189 KX1200 579 DRA1025 749 AVC700 KRC310 KXR700 489 469 BELBE LVEnERS:3 229 - Wisconsin Discount Stereo 102 SONY KX800 469 TURNTABLES KDC82 New Call UNIDEN RD9XL 159 KRC5003 STRAV1010 519 3893 UNIDEN RD9 119 DEIVON KRC878 New 479 STRD2010 749 KX630289KX500 DP59L 479 KRC959 649 STRAV910 369 KXR430 279 0P47F FAX - Yamaha 53 349 KDC92R New Call STRAvno 319 KX300 249 DP7F 159 KAC820 259 5TRAV310 229 KX230 219 Sharp Call DUAL KAC521 STRAV210 159 KXW900 Panasonic 549 C5431 139 KAC721 For KXVV602 419 Canon JVC CS450 199 KAC821 Prices Toshiba Latest RX301 349 CS455 259179KXVV202 KXW302229 KAC941 Murata Prices 9X401 279 CS505 342499 RLAUPUNKT RX501 299 DENON CS5000 DENVER 219 POET CD PLAYERS MARCH RX701 348 DRM400 189 CS7000 549 PORTLAND 259 PANASONIC 95801 429 DRM500 209 TECHNICS LEXINGTON 419 SONY D1 199 9X901 649 ORM600 289 SL1200 II 369 LOS ANGELES 369 219 RX1010 SONY D960 949 DRM700 329 THORENS SAN FRANCISCO 319 SONY D2 169 PHILIPS DRM800 399 TD280 219 DALLAS 289 SONY D25 279 FR7809 429 DRM34HR 439 TD316 279 NEWPORT 199 D15 279 FR880X 499 DRW750 329 TD318 369 BOSTON 239 TOSHIBA9437 249 FR98OX 799 DRR680 329TD320 469 PHOENIX 249 TOSHIBA 9458 299 CO R D NI K F R S

Appropriately enough, "As- by Christie Barter toria" was recordei last May & Ron Givens at the Astoria SoLnd Studio in Queens and produced by Bennett's son, Danny, who is NARADA has justcele- also his manager. Since the brated its tenth anni- "Astoria" sessions, the senior versary as a record company Bennett has continued to ful- and is today one of the best- filla heavy tour scl-edule, known sources of New Age which takes him to Europe instrumental music. Operat- thisspring.But befcre he ing out of Milwaukee, Narada heads across the Atlantic, he developed three separate la- will perform two nights at belsfordifferenttypes of Carnegie Hall, in tte berough New Age music: Narada Lo- of Manhattan, hisfirst ap- tus concentrates on acoustic pearancesthereinseveral performances, Narada Equi- years. 0 nox on fusion, and Narada Mystiqueonall -electronic AETER many years as a music. London/Deccerecord- ing artist,Alicia de Larrocha has gone over to RCA Victor Red Seal. The first recording under the terms of he- new exclusive, long-term contract is an album of Mozart piano sonatas (Nos. 8, 9, and 10), due for release in the fall. It launches an ambiti3us series of Mozart recordings ty the Spanish pianist that w Ilin- clude all of the solo key 3oard sonatas as well as a complete piano -concerto cy:lewith ColinDavis conducting the English Chamber Orchestra and the Chamber Orchestra

of Europe.

OTHER major new contract signings, renewals, New Agepiano and defections to new labels Brewer: Cameron: new on Narada Equinox include theBoston Pops Or- chestraanditsconductor, Among the new releases on Boston,theband's home Never Be Another You and John Williams,who recently Narada Equinox are"Mil town, with the opening, on Body and Soul, Bennett re- signed an exclusive, multi - Amores" by violinistDoug the club's premises, of an in- flects on his youth and aspira- recordcontract with Sony Cameronand "Dorian's Leg- stallationcalledtheAero- tions while growing up in As- Classical (formerly CBS Mas- acy" by pianistSpencer smithsonian. Its contents in- toria, in the New York City terworks) after a number of Brewer.Cameron, who has a clude stage clothes worn by borough of Queens, where he years with Philips Classics; robust fusion style, gets some the band members, a collec- lived until joining the Army pianistMaurizio Pollini,who help on his Narada debut tion of their guitars and mi- during World War II. Provid- has renewed with Deutsche from such guest performers as crophones, Platinum records, ing accompaniment for the Grammophon, the company guitaristLee Ritenourand drum heads, boots, and (as album is the veteran singer's with which he's been almost drummerVinceColaiuta. they say) much, much more. regular back-up group,the exclusively associated since Brewer's new album, his third Meanwhile, at press time, Ralph Sharon Trio. 1971;pianistMariaJoao for Narada and sixth overall, the Hub's favoriterockers displaysawiderangeof had climbed into Billboard's Aerosmith at the Aerosmithsonian catchy stylings. Brewer is not Top 10 withtheirlatest limited to New Age piano, by album,"Pump" (Geffen), z the way-he also has a con- which was well on its way siderable reputation as a re- toward earning double -Plati- storer of antique keyboard in- num status. 0 z struments. 0 ; ony Bennettreliveshis BEFORE heading overseas youth in his new CBS al- foritsfirstEuropean bum, "Astoria: Portrait of the tour in more than a dozen Artist."Ina collection of )- years,Aerosmithwas hon- fourteen songs, including et ored at the Hard Rock Cafe in such classics as There Will

110 STEREO REVIEW MARCH 1990 R E C 0 R I) M A R S

Pires, who has gone over to boardist Mitch Forman, DG after many years on Era- bassist Will Lee of the Late to; and conductor Pierre Bou- Night with David Letterman lez, who has also joined the band, and drummer Peter DG roster-rejoined, actual- Erskine, who was a member

ly, since one of his earliest of Weather Report. recordings is a Bayreuth Fes- tival Parsifal released by the GRACENOTES. Former J.

label in 1971. Geils Band lead singer PeterWolf traveledfrom amen Galway was fifty in Boston to Nashville to record J December, and while the hislatestsolo albumfor occasion was duly celebrated MCA, "Up to No Good." ... with gifts and a birthday gala U2's guitarist, The Edge, has in London, the popular Irish written the score for a Lon- flutistreturnedthefavors don theatrical adaptation of with a gift to his many fans Anthony Burgess's anti -Uto- worldwide. It was in the form piannovel A Clockwork

of a follow-up to his best-sell- Orange. . . . Avant-garde jazz ing RCA crossover album of pianist Cecil Taylor has a new 5 1978,theOriental -flavored release, "In Florescence," on "Song of the Seashore." The A&M. . . . The Indigo Girls' new album, also on RCA, is new video of the Young - titled "The Enchanted For- bloods' Summer of Love clas- est-Melodies of Japan," and Galway: melodies of Japan sic Get Together was made in its release date in this country cooperation with the Geor- is February 27. Recorded in tation to conduct the concert ONG-TIME fans of jazz vi - gia -basedHabitatforHu- Tokyo, it's the first album in was extended to Mehta be- L bist Gary Burton will re- manity, a nonprofit organiza- which Galway is accompa- cause of the bonhomie gener- member thatguitaristPat tion dedicated to the con - nied by a synthesizer. In a ated between him and the or- Metheny was a member of chestra during their 1989 re- Burton's quintet in the mid - cording sessions for an album Seventies. Since then, Methe- of overtures by Franz von ny has become one of the Suppe, generally considered best-selling artists in jazz fu- to be the father of the Vien- sion, and Burton has contin- nese operetta. That album ued to make criticallyac- was released toward the end claimed music leading a vari- of last year on the CBS Mas- ety of groups. But Burton and terworkslabel.The New Metheny hadn't performed Year's Day concert, televised together for more than ten to millions of viewers world- years before joining onstage wide, was itself recorded and at the Montreal Jazz Festival isbeing released the third in 1988. That happy occasion week in February-by Sony has inspired "Reunion," a Gary Burton. Pat Metheny De Larrocha: now for Mozart Classical. It's among the very Burton release on GRP that first domestic releases on the features Metheny. Also play- struction and rehabilitation

companion release, of three new Sony label. ing inthe album are key- of affordable housing in the chamber works by Beetho- U.S. and around the world ven, Galway is joined by a Mekta: Vienna New Year's (former PresidentJimmy thoroughlyacousticpiano Carter is among its most ac- trio comprising pianist Philip tive supporters). . . . Carlos Moll, violinist Joseph Soren- Santana's newalbum is sen, and violist Paul Neu- "Spirits Dancingin the bauer. Flesh," recorded in Sausalito, Galway himself will come California. It's the guitarist's to America this spring for a thirteenth album and his first coast -to -coast tour beginning since I 988's "Viva! Santana." April 16 at the Academy of . . . The U.S. Army's boom -

Music in Philadelphia. box bombardment of Manuel Antonio Noriega while he ON January I,1990, the was holed up as a guest of the New York Philhar- Vatican embassy in Panama monic's music director, Zu- City featured such pop hits as bin Mehta, was in Vienna Linda Ronstadt's You're No conducting the Vienna Phil- Good, the Bobby Fuller clas- harmonic initstraditional sic I Fought the Law and the New Year's Day concert at Law Won, and Nowhere to the city's venerable Musik- Run, which put Martha and verein concert hall. Accord- the Vandellas into the Top 10

ing to CBS Records, the invi- in 1965.

STEREO REVIEW MARCH1990 1 1 1 THE HIGH END

by Ralph Hodges after. The most arresting conse- it remains a mystery why consum- quence of this position is that a sep- ers as particular as audiophiles are arate channel of power amplifica- not actively agitating for a further tion is required for every speaker approachtotheultimate amp/ driver that is to be fed by the cross- crossover configuration.I'vein- over's action. That could mean, for quired around a bit, and here are a stereo system involving three-way some of the reasons offered for the speakers, three stereo power ampli- lack of interest. fiers, for woofers, midranges, and "Multiple decisions are needed tweeters. Sensible? In the view of on the power requirements for each most professional sound -system in- driver, and many users are too lazy stallers for wide -range applications, or intimidated to confront the is- it is, and for a number of reasons. sue." This is certainly true, and First,if the woofer amp clips, there appears to be a trend among which it will be prone to do with professionals to use equal power for much musical material, the mid- woofer and tweeter, pointing to the range and tweeter amps won't care, high crest factors of crash cymbals. and their critical output will remain But I suspect they also point to sim- clean. Second, the amplifiers will no plification of inventory and the rela- longer "see" the potentially difficult tive cheapness of amplifier power. load of two or three speaker drivers O "The costs are high because all plus a complicated crossover net- high -end amplifiers are costly, and work, and they may thank you audi- lesser amps are not acceptable for bly for it. So may your speaker sys- any portion of the spectrum." True tems, because the passive cross- if you're convinced it'strue, but CROSSING OVER overs normally built into them tend high -end audio in any form is cost- to change personality with both the ly, which hasn't slowed enthusiasts signal fed into them and the inevita- much. ORE than a decade ago, ble interactions with driver voice - "Great expertise and perhaps in- an esteemed colleague coil activity. strumentation are required to set described his experience Third, potentially of great appeal things up properly." Not necessarily withelectroniccross- to the uncompromising high -end true. Crossover points chosen by overs: "Every year the Japanese listener, is combining, for example, the speaker system's manufacturer come to me to ask whether this is the touted treble delicacy of a tube can be an adequate guide to per- the year of the electronic crossover. amplifier with the bass gutsiness of formance at least the equal of what I say no, and they go away-until a transistor design. Would these two the built-in crossover provides; but next year." types of amplifier, employed for the it must be admitted that phase ma- This year there are close to fifty same speaker system, be compatible nipulations deliberately performed manufacturers of electronic cross- in"imaging" and other much - by some built-in networks will be overs, and only one of them I can debated nuances of reproduction? I lost. find is Japanese. Most are, in fact, think I'll duck that question for the O "Audiophiles arereluctantto U.S. manufacturers. Does this tell present, except to note that the com- complicate the signal path with an- us anything? As far as I can deter- bination was commonplace in the other electronic box." Not a valid mine, no. This is still not the year of past, when amplifiers were small excuse. It's hard to see how any- the electronic crossover-except in and transistors new. Many audio- thing could de -complicate the signal car audio and in home -audio sub - philes, debating whether to discard path as much as elimination of that woofers, where the designer may their existing amps and move on to infernal passive crossover. have concealedthe concept by the latest thing, decided to embrace O "Multiamping isperceived as building the additional amplifica- both. somehow impure: a fragmenting of tion and crossover capability into Today's widespread indifference the audio experience." Well, that's the subwoofer cabinet. I suspect the to the benefits of multiamping prob- an inarguable reservation, and those Japanese have ceased marketing ably stems largely from a lack of who sincerely hold that belief will electronic crossovers because no promotion. Of the several promi- just have to live with it. one in this country was interested. nent high -end manufacturers that It's an irony that a revival of And yet they are powerful tools for make electronic crossovers,I am attention to electronic crossing over large-scale sound reproduction. hard pressed to recall any that has is coming about through car audio, "Electronic crossover" is a vague ever demonstrated with one. In re- a poor relation of the home variety. expression that may describe a pas- sponse, loudspeaker makers have It's also an irony that this is happen- sive or active (powered) device, but almost universally abandoned the ing just when the Japanese finally by definition it refers to a circuit separate input posts for individual gave up on their annual question that comes before the power ampli- drivers that immediately suggested and took most of their products

fier in the signal path rather than multiamping to the purchaser. Still, home. I predict they'll be back.

112STEREO REVIEW MARCH 1990 Diver Jim Reid discovered a whole new kind of sunken treasure.

He also prefers Christian Brothers Brandy.

r - A

)wner, Second Chance. Golf ball recycling. Last year's sales: $1,400,000.

bristtanbrothers

THE CHRISTIAN BROT HERS BRANDY 40'. ALC BV VOI PROOf = 1990 CB VINE YARDS MENLO PARK CA When you know better. r

SOUND FOR THE NEXT FRONTIER

t takes an impressive car to do justice to in- So Pioneer loaded it up with programmable single

credible car audio. So Pioneer commissioned auto and multi play CD, full -logic cassette, precision AM/

stylist Uwe Gemballa to custom design the 1990 FM tuning and even a video monitor. All controlled

Pioneer/Gemballa Mirage. Its racing -inspired modi- by one wireless remote and driven by eight high

fications can take high speed punishment, and its power amplifiers that deliver 2100 watts to a total of

600 horses can dish it out. ',here's only one way 24 speakers.',bile the 1990 Pioneer/Gemballa is

to get more performance out of a car like the Gem- certainly exhilarating, it is no cheap thrill. The car

balla Mirage. By putting more performance into it. runs $350,000- and sounds like a million. CD PIONEER

?W. PI1417 Elettmoths UNA AA CIRCLE NO31 ON READER SERVICE CARD