THIS ISSUE SWEET NEWCOMER AYRE V-3 AMP BASS Onactij BUDGET BIC V-12 SUBWOOFER the NEW KING? PASS ALE PH 0 AMP

WAVE OF THE FUTURE EXCLUSIVE INTERVIEW MARC AUBORT IMASTEROF CLASSICAL RECORDING

THE EQUIPMENT AUTHORITY SEPTEMBER 1994 TESTED IN THIS ISSUE SWEET NEWCOMER AYRE V-3 AMP BASS ONActij BUDGET BIC V-12 SUBWOOFER THE NEW KING? PASS ALE PH 0 AMP

US $3.50 UK $1 95 CAN $3.95 We also design disc playert

"It yielded tight, well -controlled sound whose overall balance and imaging was beyond reproach."

ADCOM

all Class A analog circuitry dual 16 -bit D/A converters 176.4 kH

model GCD-600 disc 1 disc 2 disc 3 disc track time

this track disc 4 disc 5 repeat this disc "Th all discs

Adcom's compact disc players have always turned the heads of industry critics. Recen comments when reviewing the GCD-600 in High Performance Review. Stop byyour the best heads in the businessare saying about Adcom's components. edourcarousel oturnheads. "...the Adcom GCD-600 "The piano concerto was came about as close as impressively reproduced and we have heard from CD the clarity and total accuracy players and separate prompted us to listen to it over player /converter and over again." combinations costing several times as much."

opel/close play

atop pause piing rate dalDIGITAL /IMO

remaining 2 3 4 5 6 1.04 -4H11111 emm

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7 8 9 10 +10 program randomdisc skippolarity t"-N r-, r- tly, Martin Forrest wrote the above local Adcom dealer and listen to what

11 Elkins Road, East Brunswick, NJ 08816 U.S.A. (908) 390-1130 details you can hear )istributed in Canada by PRO ACOUSTICS INC. Montreal, Quebec (514) 344-1226 EnterNo. 1 on Reader Service Card SEPTEMBER 1994 VOL. 78, NO. 9 Marc Aubort, page 26 r AU11 THE EQUIPMENT AUTHORITY eat -tires THE AUDIO INTERVIEW: MARC AUBORTD. W.Fostle 26 DIGITAL RADIOJohn Gatski 34 C'(/////)//itill I AYRE ACOUSTICS V-3 POWER AMPBasccin H. King ...... 38 ENERGY VERITAS v1.8 SPEAKER SYSTEM D. B. Keele, Jr. 42

NCT NOISEBUSTER NB -DX EARPHONESEdward M. Long ... 52 11-1-C AMERICA V-12 SUBWOOFER AND

SWA-100 AMPLIFIER 1).1\ isI ( lark 54

ACOUSTIC FANELSDavid L. Clark PASS LABORATORIES ALEPH 0 AMPAnthony H. Cordesman departments FAST FORE -WORD Eugene Pitts III 4 I SIGNALS & NOISE 6 Vvat's New, WHAT'S NEW 10 page 10 BOOKSHELF 13 SPECTRUM Ivan Berger 14 AUDIO ETC Edward Tatnall Canby 16 CURRENTS John Eargle 20 AUDIOCLINIC Joseph Giovanelli 22 recordings CLASSICAL 76 1/11844- 41L:b Digital Radio, page 34 ROCK/POP 80 JAZZ & BLUES 84

The Cover Photographer: Michael Groen Studio The Cover Equipment: NCT Noisebuster NB -DX earphones, Pass Aleph 0 amp, Ayre Acoustics V-3 power amp, 13IC V-12 subwoofer and SWA-100 amp.

Audio Publishing, Editorial, and Achfertising Offices, 1633 Broadway, New York, N.Y. 10019 The /tom Subscription Inquiries, (303) 447-9330 BU,, THE STYLOS

NTIL NOW, high resolution sound reproduction meant sacrificing space. Until now, placing a speaker near a wall meant sacrificing the quality of sound. Who else but Martiri-Lcgan could take electrostatic technology to a realm where music has never been before?

4.roms. ON THE WALL AGAINST THE WALL

The standard wall -mounting kit in- sing the optional base, the Stylos The Stylos can be built onto a cludes brackets and a full-size can stand against the wall, yet wall requiring vertical space of poster of the Stylos that clearly remain moveable. This is ideal for approximately 5 feet and a width marks the placement of the wall anchors apartment living and allows easy reposi- of 14 inches. The designer scrim, (stud location is not necessary). A plumb tioning as new demands arise. The which is included in the optional in- alignment tool is integrated into the Stylos is also the perfect addition to a stallation package, can be painted to poster to ensure accurate installation. home theatre system. match your decor.

MARTlin P.O. BOX 707. 2001 DELAWARE ..9.. LAWRENCE, KANSAS 66044 1.,,, TELEPHONE 913-749-0133/FAX 913-749-5320 0 1993, Martin -Logan, Ltd. All rights reserved. FASTFORE -WORD AUDIO 1970's 36,100. The number of buyers, that all-important category, was only 8,905 V.P./EDITOR-IN-CHIEF according to the EIA/CEG. The hi-fi Eugene Pitts III industry's cynics, i.e. the press corps., were ART DIRECTOR quoted in "Audio Week," a trade newsletter, Cathy Cacchione as repeating barbed names for the Show ASSOCIATE ART DIRECTOR including "CES Lite" and "CES Jr." Linda Zerella Ironically, the folks in the Speciality TECHNICAL EDITOR Audio group, the ones in the Hilton in Ivan Berger Summer and in the Sahara in Winter, had MANAGING EDITOR Kay Blumenthal enough traffic, they felt, to want to talk to ASSOCIATE MANAGING EDITOR the EIA/CEG people about holding a Show Teresa Monge in the Hilton for them in June of '95. ASSOCIATE MANAGING EDITOR he 1994 Summer Consumer Thiel's Kathy Gornick, one of those most Douglas Hyde DIRECTORY EDITOR Electronics Show (SCES) is supposed committed to the concepts associated with Ken Richardson to be the last Summer Show or, high -end equipment, told me after the ASSISTANT EDITOR/MUSIC alternatively, the last Show in Chicago. Show that this group could field a Summer Michael Bieber At least, that's what almost everybody Show by getting 50 -plus exhibitors. Having ASSISTANT EDITOR Gerald F. McCarthy Tthought late last Spring, as they got lived in both Chicago and Philadelphia, let ready for the '94 SCES in Chicago. me say that I'd rather listen to Chicago ASSOCIATE EDITOR Edward Tatnall Canby Indeed, the Electronic Industries blues than to W.C. Fields' jokes about Association's Consumer Electronics Group preferring to be in a grave than in the City SENIOR EDITORS (EIA/CEG), which puts on the twice - of Brotherly Love. D. B. Keele, Jr., David Lander annual shows, had announced on March And if that potential Show weren't CONTRIBUTING EDITORS/ARTIST 30, 1994, that they had arranged with the enough, Ken Furst of the Home Theater Michael Aldred, David L. Clark, Pennsylvania Convention Center in Industry Assn. has announced a show at Anthony H. Cordesman, Ted Costa, John Diliberto, Frank Driggs, John Eargle, Philadelphia for 1995 show dates of the Meadowlands Hilton, Secaucus, N.J., Susan Elliott, Edward J. Foster, Thursday, May 11th, through Saturday, March 10 through 12, 1995, and there is Joseph Giovanelli, Bascom H. King, May 13th. Earlier on, both New York City another video game -oriented show set for Edward M. Long, Robert D. Long, and Atlanta had been mentioned as exactly the same dates as the EIA/CEG's Frank Lovece, Paul Moor, Jon W. Poses, Jon R. Sank, John Sunier, Michael Tearson, possible sites, and several alternative Interactive '95. The Electronic Jon & Sally Tiven, Michael Wright Spring dates were suggested. Entertainment Expo will be put on in the More importantly, the EIA/CEG had Los Angeles Convention Center by AUDIO, September 1994, Volume 78, Number 9. AU- renamed the May Show "CES Interactive Infotainment World and Knowledge DIO (ISSN 0004-752X, Dewey Decimal Number 621.381 or 778.5) is published monthly by Hachette '95" to demonstrate its interest in doing Industry Publications. Filipacchi Magazines, Inc., a wholly owned subsidiary shows for such computer and video game For myself, I rather liked the "moderate of Hachette Filipacchi USA, Inc., at 1633 Broadway, New York, N.Y. 10019. Printed in U.S.A. at Dyers- stalwarts as Nintendo, Disney Software, traffic" and "manageable number of burg, Tenn. Distributed by Warner Publisher Services WordPerfect, Time Warner Interactive, exhibits" in the Hilton. I was able to get Inc. Second class postage paid at New York, N.Y. 10019 and additional mailing offices. Subscriptions in Konami, and Compton's New Media, who around to a greater proportion of the the United States, $24.00 for one year, $42.00 for two have signed for Philadelphia. "So much for rooms. One item that pleases me no end years, $58.00 for three years; other countries except Canada, add $8.00per year; inCanada, $32.00 for hi-fi .." seemed to be the message. And was the renewed distribution in North one year (includes 7% GST; Canadian GST registra- perhaps the Show people were right, what tion number 126018209). America of Opus 3 records by May Audio. I AUDIO® is a registered trademark of Hachette Fili- with the big exhibitors withdrawing from use several of Opus 3's well -recorded discs pacchi Magazines, Inc. ©1994, Hachette Filipacchi the main floor of McCormick Place and Magazines, Inc. All rights reserved. The Editor as- to evaluate speakers for potential review, sumes no responsibility for manuscripts, photos, or even from having "hospitality suites" in and find they stand up well to the artwork. The Publisher, at his sole discretion, reserves various hotels in downtown Chicago. The necessarily repeated listenings. the right to reject any ad copy he deems inappropriate. Subscription Service: Postmaster, please send change most recognizable electronics industry of address to AUDIO, P.O. Box 52548, Boulder, Colo. names on the main floor were Recoton and 80321-2548. Allow eight weeks for change of address. Include both old and new address and a recent ad- RCA/Thomson. dress label. If you have a subscription problem, please The attendance at this last Chicago Show write to the above address or call (303) 447- 9330. Back Issues: For information, write to P.O. Box was very low, only 36,964, the lowest since 7085, Brick, N.J. 08723. AUDIO/SEPTEMBER 1994 4 CANC)C\(,:n

the aragon 47k mono preamplifier a new chapter in the history of analog recording

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Fully discrete Class A Oxygen free copper plated glass epoxy circuit board Adustable gain and impedance loading External power supply

aragon 47k price $599 (ips power supply additional) Phil Collins photo record courtesy of NI Benson MONDIAL DESIGNS LIMITED 2 Elm St. Prdsley, NY 10502 914-693-8008 Fax 914-693-7199 Enter No 21 on Reader Service Card AUDIO

Clear Days on the Cable Scene tide on the subject, in which he pointed V.P./GROUP PUBLISHER Dear Editor: out that some cables, when used with cer- Thomas Ph. Witschi (212) 767-6269 In this column in January, Roy Allison'stain amplifiers and speakers, can cause V.P./ASSOCIATE PUBLISHER letter defending the view that all speaker changes in system response that are "at the Tony Catalano cables sound alike resurrects the classic live threshold of audibility." (212) 767-6061 versus recorded demonstrations given by I also reported the outburst of delighted GENERAL MANAGER AR and Dyna 25 years ago. Listeners eitherlaughter which greeted Edgar Villchur's de- Greg Roperti BUSINESS MANAGER could not hear any difference, or (when scription, in his talk at the annual Boston Christine Z. Maillet they heard differences) could not decide Audio Engineering Society meeting, of the PRODUCTION DIRECTOR which was which. equipment used in AR's live -versus -record- Silvia Coppola PRODUCTION MANAGER To Mr. Allison, this implies the repro- ed concerts; after pointing out he couldn't Kerry Tonning duction was substantially uncompromised. afford to use anything that might compro- PROMOTION COORDINATOR Actually, there is another, far more -likelymise the system's performance, he listed Elizabeth R O'Keefe RESEARCH MANAGER conclusion: The sound of the room masked 18 -gauge zip cord as the speaker cable. Dru Ann Love the differences between live sound and its Some members of the audience were pre- OFFICE MANAGER reproduction. sent at one or more of these concerts (I, Aline J. Pulley OPERATIONS MANAGER This can be demonstrated by using aamong them), and we knew the perfor- Sylvia Correa high -quality equalizer to flatten the sys- mance was not audibly compromised. It is AD COORDINATOR tem's response, first in a neutral -to -dead a fact most of the switches between live and Linda Neuweiler room, then in a very live room. Even if the recorded music were not detectable. ADVERTISING steady-state response in the live room is What does this prove? It demonstrates REGIONAL V.P./AD DIRECTOR, EAST COAST Charles L P. Watson (212) 767-6038 flat, the room's colorations are still plainlythat the combination of the anechoic REGIONAL ACCOUNT MANAGER audible. (This is fact, not theory. I have recording and all of the equipment used Christine B. Forhez (212) 767-6025 done this.) (including the AR -3 loudspeaker and the REGIONAL V.P./AD DIRECTOR, MIDWEST R. Scott Constantine (212) 767-6346 A live -versus -recorded demo is not the speaker cables), with very precise level REGIONAL V.P./AD DIRECTOR, WEST COAST most exacting test of reproduction. Al-matching, was able to inject into the be- Bob Meth (213)954-4831 though it is philosophically valid (we want nign acoustic environment of Carnegie WESTERN MANAGER Paula Mayeri (213)954-4830 to see if the reproduction matches the orig- Recital Hall (and other halls used in the se- NATIONAL RECORD LABEL SALES inal), there's no way of ever making the testries) an acoustic power spectrum audibly MAG Inc. Mitch Herskowitz(212)490-1715 practically valid, because the room indistinguishable from that of the live in- Steve Gross (212)490-1895 acoustics swamp most differences-includ- struments of the Fine Arts Quartet. That is ing differences in speaker cable. the most exacting test for that kind of envi- Implicit in Mr. Allison's naive accep- ronment, and AR -3 speakers were indeed tance of the near perfection of late -'60s up to it. A pair of these classic loudspeakers CHAIRMAN Daniel Filipacchi sound reproduction is the conclusion that is on permanent exhibition at the Smith- PRESIDENT, CEO, AND COO there has been no real advance in speaker sonian Institution. David I. Pecker EXEC. V.P. AND EDITORIAL DIRECTOR quality since the AR -3. (If live versus Mr. Sommerwerck is wrong when he Jean-Louis Ginibre recorded is the most exacting test, then anystates I must believe there have been no SR. V.P./GLOBAL ADVERTISING speaker which passes must be so near ab- real improvements in speakers since the Paul DuCharme solute perfection that it can't be meaning- SR. V.P./DIR., CORPORATE SALES AR -3. There have been significant im- Nicholas Matarazzo fully improved.) This is patently absurd! provements in the performance of speakers SR. V.P./CFO & NEW BUSINESS Does Mr. Allison believe there's no worth- in the home environment. In the concert DEVELOPMENT Paul DeBenedictis while difference between AR -3s and my V.P., GENERAL COUNSEL halls the speakers were close to the musi- Catherine Flickinger Apogee Divas? cians, well away from walls. The only large V.P., MFG. & DISTRIBUTION William Sommerwerck surface nearby was the stage floor, and its Anthony Romano V.P., CIRCULATION David W Leckey Bellevue, Wash. effect would have been the same on the live V.P., RESEARCH & MKTG. SERVICES instruments as on the speakers. We know Susan Smollens Roy Allison replies: I didn't literally say all now that the enforced proximity of loud- V.P., COMMUNICATIONS & SPECIAL speaker cables sound alike, but something PROJECTS Keith Estabrook speakers to domestic listening -room sur- V.P., MAGAZINE DEVELOPMENT close: I applauded Fred Davis' scholarly ar- faces causes large changes in middle -bass Marcia Sachar

AUDIO/SEPTEMBER 1994 6 WHERE DOES THE TWEETER OF A HIGH FIDELITY LOUDSPEAKER BELONG?

Q -SERIES

This question may confuse those who believe that the measure of a loudspeaker is the number of its

drivers. It will also elude those who have never bothered to question convertional driver placement,

which always separates the woofer from the tweeter.

In fact, the most acoustically correct location for the tweeter is precisely at the center of the woofer.

Th.s strategic placement creates a single sound source, allowing high and low frequencies to reach your

ears at the proper time, regardless of where the speakus are placed or where you are sitting. (Nowonder

KEF's patented Uni-Q® is the technology of choice for advanced Home Theater applications.)

Perhaps the greatest benefit of the KEF Q Series speakers is that they sound as good in your home

as they do in the showroom.

KEF Electronics of America. Inc., 89 Om Brown Way. Holliston, MA 017d6 Tel 508429-3600 Fax 538 429-3699 Distributed in Canada by: Pro-Acous7ics Canada Ltd. Tel 5-4 344-1226 Fax 514 344-4760 Enter No. 13 on Reader Service Card output. AR -3s would not perform as wellare not valid because "room acoustics Kudos to Whyte & Fisher in a living room as they did on stage. We swamp most differences." Following his ar- Dear Editor: also know how to deal with this; for exam- gument to its extreme: Since home listen- Learning of Bert Whyte's death was a ple, my own company, RDL, makes a vari- ing rooms have a much stronger acoustic real heartbreaker for me. Bert goes back to ety of models each designed to perform in signature than does a good concert hall, we my "salad days" at Mercury when Bob a different room location. should be insensitive to much larger sound Fine, George Piros, and myself were pro- Another way in which speakers are bet- differences at home-perhaps even differ- ducing the original "Living Presence" stuff ter than they were in the '60s is in im-ences among speakers. But we can detect in Chicago, Minneapolis, Rochester, and proved dispersion of tweeter output, which very subtle differences in either live or re- Detroit. This was in Bert's Magnecord days, is more important in a small room than in produced sound, in spite of the strong in- and I remember when he brought his stag- a hall. fluence of the room. The trick is to make gered -head Magnecorder to Orchestra Hall Finally, I cannot agree with Mr. Som- speakers work with the room acoustics, not in Chicago for the December 4-6, 1952 ses- merwerck that live -versus -recorded tests against them. sions. He did an experimental stereo taping of the Rafael Kubelic performance of Smetana's "Ma Vlast" simultaneously with our mono pick-up, which was our first DISCOVER shot with the Schoeps lognette-style micro- THE phone (single, of course!). Bert was also with us on one of the early Paul Paray/De- troit Symphony sessions when I insisted we WITH THE WORLD'S MOST MUSICAL use the old Orchestra Hall (it had then TUBE COMPONENTS been turned into an African -American church and had a magnificent choir). I also had the fun of doing some behind -the- scenes work on Bert's Everest project (I did the notes for some of the releases). Bert was slated to be managing editor for the still gestating Stereo Review, but force ma- jeur kept him from carrying through. He was directly responsible for my association there, which began with Vol. I No. 1 and still continues. I associated with a lot of colorful charac- ters at Mercury-John Hammond, Mitch Miller, Norman Granz, and Nat Shapiro. Believe me, Bert was right up there with the best of them, even if not officially part of the Mercury crew. Everything that was said in your June issue was right on target! Avery Fisher was also one of my early friends and colleagues when "hi-fi" really got going. I owned a custom-built Philhar- monic in 1942 and it stayed with me in various bits and pieces for a very long time. By the same token, I still own the speaker enclosures and Pickering electrostatic speakers that I bought from Bert in 1957. Only when the Origin I Wharfedale cones gave out two years ago, as a result of the Maine climate, did I get replacement drivers. So Bert is here still as a material presence, so -to -speak. Needless to say, with Bert and Ruth, none of us went away hungry or thirsty! Thanks for the memories!! David Hall Castine, Maine ,00404P'' AUDIO/SEPTEMBER 1994 8 Enter No 30 on Reader Service Card MADE IN U. S. A. YAKOV ARONOV AUDIO LAB, INC.TEL 213.653.3045 FAx 213.937.6905 Why won't conventional hi-fi speakers work for Home Theater?

You need three front speakers - left, right and center- toachieve realistic home theater. A stereo pair would place the dialog in the center (where it belongs) from only one listening position. You can't use conventional hi-fi speakers for the center channel, even shielded models, because their dispersion patterns prohibit raising them too high or laying them on their sides. UNI-O DRIVER TECHNOLOGY KEF's proprietary Uni-nriver, which places its tweeter at the center of the woofer, LETS EVERYONE BE IN THE "SWEET SPOT allowed KEF's engineers to create the ideal center channel speakers, the Models 100 and 90. Their uniform dispersion patterns let them be placed beautifully above or below the screen, creating the impression that the sound is coming directly from the screen. Moreover, the Models 100 and 90 are both Reference Series, which not only ensures their quality and consistency; it permits their use as satellites and their seamless integration with other KEF Reference and Q -Series loudspeakers. The Uni-Q driver. One of a series of KEF scientific achievements dedicated to one goal: the most realistic performance in your home.

KEF Electronics of America. In 89 Doug Brown Way. Floafstooc MA 01706 Enter No. 14 on Reader Service Card The Science of Loudspeakers AT'S NEi

La Scala CD Racks The sculptured, stepped designs of the aluminum La Scala -88 series CD racks give them reasonably high capacity in minimum space. The 143 -disc LF-S-11 and 53 -disc LT -S-4 Proton Amp and Preamp record and listen selectors, and a shown are only two of the four low -noise, high -gain phono models available. Prices: LF-S- The Proton AP -2000 preamp section. The amp is a dual -mono 11, $159.98; LT -S-4, $59.98. and AA -2120 amp can be linked design, delivering 120 watts per For literature, circle No. 103 by a cable that turns the channel with 2.5 dB of dynamic amplifier on and off. The preamp headroom and 0.01% THD. It features bass and treble controls featured dual peak -level power with bypass, a switchable bass meters. Prices: AP -2000 Monster Cable Speaker Cables equalizer for compact speakers, a preamp, $300; AA -2120 amp, Designed for easy switchable (75/150 Hz) $700. concealment, Monster SuperFlat subwoofer output, separate For literature, circle No. 100 and SuperFlat Mini speaker cables are flat and pliable for easy routing, and have repaintable white jackets. Surge Control, Ltd. C62.41 Category 2 SuperFlat is AWG #12, while SURGE comma: Surge Protector specifications, and is UL -listed LIMITS0 SuperFlat Mini is 16 gauge. Designed to protect electronic and CSA-certified for 15 The cables may be tacked down equipment against voltage amperes at 120 V. It is available with supplied adhesive dots or surges, the Surge Control in a hospital -grade, isolated - mounted with optional SPW-120 is built into an ground version as well as the SuperFlat Corner Trim cover electrical wall outlet for greater standard version shown. Prices: I plates and Monster Clamps -Flat. convenience and has automatic Standard version, $53; hospital Prices: SuperFlat, $1.50/ft.; reset. The multi -stage design is version, $63. SuperFlat Mini, $0.75/ft.; Corner said to exceed ANSI/IEEE For literature, circle No. 101 Trim, four for $4.95; Mini Corner Trim, four for $2.95; Monster Clamps Flat, 40 for Cello Preamplifier $9.95. The Encore Line Preamplifier For literature, circle No. 104 uses Cello's proprietary, 59 -step precision volume control and other premium components. It provides one balanced and four 11.100...... 00.....""... unbalanced line inputs and two tape monitors; moving -magnet and moving -coil phono inputs can be switched off at the front reverse stereo position. Finish is ra sections are optional. The one panel, to eliminate loading effects silver anodized. Prices: Preamp, balanced and two unbalanced from connected equipment not $8,000; phono sections, $2,000 outputs can be used powered up or in use. The each. simultaneously. Tape outputs "Mode" control includes a For literature, circle No. 102

AUDIO/SEPTEMBER 1994 10 DYNAMIC ENERGY

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At Apogee, we have committed ourselves to providing the highest possible level of musical enjoyment, at every price point. From our flagship Grand to our affordable new Slant series, you can be assured that you're getting the transparency of the finest ribbon designs in the world.

SERIES Patented full -range ribbon technology with dedicated sub - woofers. The culmination o years of research and development. Critically referred to as the finest speakers in the world. SLANT SERIES Our newly released SLANT series are an improved versio of the very highly acclaimed CENTAURUSribbon hybrids. This new sleek design complements any decor and are well suited for home theater systems.

"RIBBON WALL SERIES In wall, on wall and cente channel speaker system. Now you can have the transparency o ribbon speakers with in wall placement, custom installed in your home. At a surprisingly affordable price.

All our lines carry the same message, ribbon transparency POGEE FICOUSTICS, INC Proud to be designed and manufactured in USA by rom $1,195 to $85,500. 35 York Avenue, Randolph MA 02368 audiosmiths who care. Tel. 617-963-0124 Fax 617-963-8567 Enter No. 2 on Reader Service Card FAF ,ONME. BUYER $ RESOUg CAq S FFRFC AMP Horne Th VINO COMPIP."- for just E. .s..7:, seep.3

comprehensive bibliography has been added that includes the Malme paper. In the interest of economy, the book has been photocopied from the original, so the ty-

ntEL"Polh pographical errors of the first edition are Cwwt SPearerott, .7,toner ELECTROSTATIC retained. To remedy this, an Errata section .t4VPar4tiir S* has been added at the end. In my original CiartOrraid 1St LOUDSPEAKER OttlPower,Hnnwfs PCs- DESIGN AND review, I found an error on page 13; while Free 10:e,t CONSTRUCTION discussing Fig. 1.13, which shows the lens of the Beveridge speaker, the text of this second edition still describes the channels KONAID WAONFX of the lens as being designed in such a way "that their effective sound paths were equal." In the earlier review, I mentioned R that the word "equal" should be "un- equal," and this correction is picked up in the Errata section. Electrostatic Loudspeaker Design The author, Ronald Wagner, intends the Stereo and Construction book to be a reference about electrostatic Ronald Wagner loudspeakers and a guide for building OLD COLONY SOUND LAB, them. The book has historical information 243 pp., softcover, $19.95. and general information on radiation of Catalog sound, loudspeaker parameters, and mea- The easiest way to get quality I reviewed an earlier edition of this booksurements,butmost of it deals with elec- audio and video components in the January 1991 issue of Audio. At that trostatic loudspeaker theory, construction, - all at low, discount prices time, it was published by TAB Books; it is and testing. There is also detailed informa- now available from Old Colony Soundtion on the famous Quad and Acoustat Hundreds of the latest stereos for your Lab, a division of Audio Amateur Publica- electrostatic loudspeakers, a three -page home and car tions, which publishes many books on au- Appendix that contains a list of all the I. Sony, Kenwood, Pioneer, Carver, dio as well as the magazines Audio Ama- parts needed to build the full -range elec- Polk, Advent, Infinity, NHT and more teur, Glass Audio, and trostatic loudspeak- Speaker Builder. This erdescribedin Handy comparison charts help you book is still the only make the right buying decision ANYONE WHO WANTS Chapters 5 through one dedicated to the 13, and a two -page Over 100 full -color pages! Get yours TO KNOW ABOUT design and construc- Index. The histori- on its way today tion of electrostatic ELECTROSTATIC SPEAKERS cal information in- loudspeakers. Anyone cluded in Chapter 1 SHOULD HAVE THIS BOOK. who desires to know is very interesting more about electro- and useful because Now.,' static loudspeakers, it covers specific in- or how they are constructed, should have a ventions, providing the inventors' names, 1-800-955-9009 copy. I'm glad that Audio Amateur Press dates, and patent numbers for anyone in- or mail this coupon has decided to republish it. terested in investigating them further.

This new, second edition follows the For still more details about this highly Name first edition very closely. It has a total ofrecommended book, refer to my original 243 pages compared to 248 pages in thereview. (Old Colony Sound Lab, Audio Address Apt. # first edition, and the page numbers areAmateur Publications, 305 Union St., Pe- City identical except near the end. A paper by terborough, N.H. 03458; add $3 shipping

C. I. Malme, "A Wide -Range Electrostatic and handling; phone, 603/924-6526.) State Speaker," has been eliminated, but a very Edward M. Long CRUTCHFIELD AUDIO/SEPTEMBER 1994 I C utditield Park. Dept. Al Charlottesville. \ A 229u0 13 Enter No. 10 on Reader Service Card the DSD digital signals would fit in SPECTRUM place of the other channel of the IVAN BERGER analog track. However, Digital Theater Sys- tems, a rival of Dolby's in the SURROUND movie -theater world, has proposed an alternate system, using a six - ABOUNDING channel soundtrack that would replace the digital soundtracks on current LaserDiscs.

Brief Notes The U.S. audio market, long in AC -3on a chip, the doldrums, has had its best first from Zoran Corp. quarter since 1989, according to the Electronic Industries Association. Yamaha's Sales of audio components rose KX-W582 dual -well 4.1% over the first quarter of 1993; cassette deck, an sales this March were 14.5% over the analog tape previous March figures. Aftermarket machine with autosound grew even faster, though, built-in digital with sales up 30.8% for the quarter surround. and 47.4% for March, the highest monthly growth on record; most of this rise was due to increased sales of in -dash CD players. Lux, of Japan, has now been purchased by Samsung, a Korean company. The Samsung group, with annual sales of $54 billion, is ranked by All production DSD decoders will Fortune as the 18th largest industrial also be equipped to decode today's company in the world. More to the irst, surround signals cameDolby Pro Logic surround tracks.point, Samsung has built up sub- from stand-alone decoders,The "5.1 -channel" DSD system, stantial research and development then from surround circuitrywhich produces discrete digital sig- capabilities, which should benefit in amplifiers, receivers, andnals for three front and two sur-Lux. The distribution of Luxman the occasional TV set. Soon, it round channels plus a subwooferaudio components will continue 1may be everywhere. Earlieruses Dolby Laboratories' AC -3 per- unchanged. this year, Pioneer showed a proto- ceptual -coding system. The AC -3 Worldwide sales of pirated music type LaserDisc player with built-in system has also been selected for the recordings declined in 1993, accord- surround, while Yamaha has an- soundtracks of the U.S. HDTV Stan- ing to the International Federation nounced production of a surround - dard and for at least some new digi- of the Phonographic Industry, more equipped cassette deck. tal cable TV systems, and an AC -3 than offsetting the previous year's Yamaha's KX-W582 uses DSP decoder chip is already availablerise. But record piracy is still big technology to generate surround from Zoran Corp. business: Even after the drop, boot- signals from stereo program materi- Pioneer is proposing that DSD leg sales amounted to $1.9 billion- al. This doesn't just work in play- LaserDisc be accepted as a Standard nearly 6% of the total world market back; recordings made with the DSPby the Laser Disc Association in the for recordings. circuit are said to yield "three-di-U.S., as it already has been by Hitachi increased optical -disc mensional" effects when played on Japan's Laser Disc Association of the recording density a hundredfold by personal portables or car stereos. Pacific. As now proposed, DSD replacing conventional laser lenses The prototype LD player shown LaserDiscs would include today's with fiber optics. The experimental by Pioneer incorporated Dolby Sur- CD -compatible digital soundtracks optical system can reduce the laser round Digital (DSD) circuitry forplus one channel of analog sound; spot to about a 10th that of today's playback of future DSD LaserDiscs. thanks to AC -3's bit compression, laser pickups. AUDIO/SEPTEMBER 1994 14 Preamplrfer/ TWIN CT-i7V lby Pro Logic Audio/Video

Carver separates. The essence of total control.

Enticed by the sweetness of separates for your mode), yet without the extraneous gimmicks home theater system? that undermine aural integrity. But a nightmare image of a bazillion boxes and When matched with a Carver amplifier unruly wires has given you the heebie jeebies? (models from basic stereo to multi -channel), R -e -1 -a -x. the CT -27v lets you direct power to any array of Now you can obtain a powerful home theater speaker combinations -a task for which a mere command center, combining the musical bril- receiver is woefully undermanned. So you'll liance of separates with the ease of a receiver, all achieve wider frequency response and have the in one versatile package: Carver's CT -27v Dolby dynamic headroom necessary for those explo- Pro LogicTM A/V Preamplifier/Tuner. sive moments in great movie soundtracks. The CT -27v pairs flawless sound with excep- In sum: the CT -27v is the heart (and soul) of tional Dolby processing, including a generous the most uncompromising home theater system. selection of DSP effects (wait you experience For more of the story, contact Carver today fora an old movie like Casablanca on our "Matrix" feature length brochure. CARVER Powerful Musical Accurate

CARVER CORPCRATION, P.O. 110X 1237 LINNWOOD, WA 98046 (206) 775-1202 C 1994 Carver Corporation Distributed in Canada by Evolution Audio, Oakvilte, °Wan.° 1416) 847-8888 Dolby Pro Logic.' is a registered trademark of Dolby Labs Licensing Corp. Enter No. 8 on Reader Service Card AUDIOETC (sound only) complete with a pair of BIG subs and enough wattage to EDWARD TATNALL CANBY shake a battleship (or the entire house, which it did). Was I impressed? Yes, but as I now recall it BASS FOR was not so much by the subwoofers as by the whole immense and ex- A BATTLESHIP pensive system, which was superb- even the acoustics were excellent.

Yes, we talk about bass and subwoofers, as though a thing separate. Not true-except in audio! Physical- ly separate, in our equipment and notably in the subwoof, which now is often self -powered to keep it out of the way of the lesser powerre- quired to run the rest of the system. So bass is now a separate thing. Accordingly, we contrive to createa separate bass sound-what else? Quite inevitable. Brand-new sound, music, or whatever, that provides optimum bass for audio listening. So you see, steam locomotives are no longer the ultimate in sound power for us though surely the mostest in actual close-up acoustic shove. Rockets, nuclear explosions, and such, are louder but further away. "Natural" sounds just aren't enough for us today. We have to synthesize an even bigger impact. ne of the names of the au- events, more than a half century lat- Hence all that incredible noise dio game is bass, right? We er, impel me forward into questions that boom booms out of sealed au- hear about big bass rightconcerning bottom sound today. tomobiles! We have made ourselves and left all the time and, all What is bass in terms of our present an art to fit. too obviously, we experi-communication? What does it do Frankly, I find it awful, especially 0ence it too, if mostly radiat- for the many arts of reproducedat 4:00 on a Sunday morning outing hugely from cars. music? (I inside my apart- "Bass" indeed is an interestingclude percus- BASS TODAY IS A ment window concept in itself. It is relatively new, sioninstru- in New York, scarcely existing as a separate entity ments, an area SEPARATE THING, or when stuck until recent years, though universally whereexact AND WE CONTRIVE TO driving on the present in music through the ages. pitch is mini- CREATEA SEPARATE ex -West Side I left off my intermittent personal mal, as well as Highway with history of audio a few months back othermusicBASS SOUND-WHAT ELSE? a blasting car with bass on my mind, slightly exag- where precise inthe next gerated. My first experience with pitch is crucial to musical sense.) lane, only feet away. But then, I'm in real bottom sound out of a loud- I ran into my first subwoofers- my late stages and people my age get speaker was with the help of a 6 -footearly models-seven or eight years crotchety about too many decibels. flat baffle for the speaker unit re- ago while visiting a computer mogul So have your fun, folks, and take in moved from my 1930s Midwest ra- who, having programmed some- my thought: If specific low -frequen- dio. (Not 7 feet, as I had said.) Big thing that went to Mars, took hiscy loudness is your thing, you will enough, though, for all the bass that millions into hi-fi, bought an oldfind it best in audio created for you. speaker could produce, and more 'Frisco house, converted the entireNatural bass, bass as a part of some- than I had ever heard before. Recent basement into a home sound theater thing else, is no longer enough. AUDIO/SEPTEMBER 1994 16 Soundgarden-Superunknown. Counting Crows -August And Everything Atter. Tom Petty & The Bonnie Raid -Longing In Their Title cut; Spoonman; Let Me Drown; Mr. Jones; Round Here; Time And Time Again; Heartbreakers -Greatest Hits. Hearts. Love Sneakin' Up On You; more. (A&M) 475.186 Sullivan Street; Rain King; more. (DGC) 467.944 Free Fallin', etc (MCA? 474.411 You; etc. (Capitol) 477.505

"8 Seconds"-Orig 10,000 Maniacs -MTV Reba McEntire-Grt. Gin Blossoms -New Nine Inch Nails -The Sheryl Crow -Tuesday Various Artists -All Sndtrk. (MCA/ Nashville) Unplugged (Elektra) Hits, Vol. Two (MCA) Miserable Experience Downward Spiral (TVT/ Night Music Club Men Are Brothers: A 475.483 469.775 467.316(A&M) 463.737Interscope)13 476.739(MM) 476.531 Tribute To Curtis Mayfield (Wamer Bros.) Confederate Bryan Adams -So Far George Streit -Easy Billy Joele-River Of Beck -Mellow Gold Bab James -Restless 474.155 Railroad -Notorious So Good (A&M) Come, Easy Go Dreams (Columbia) (DGC) 13 476.721 (Warner Bros.) 476.309 (Atlantic) 475.194 467.738(MCA) 467.308 483.695 The Beavis & Butt - Green Day-Dookie Richard Marx -Paid head Experience - (Reprise) 476.549Vacation (Capitol) Featuring Nirvana, Elton John -Duets 474.973Aerosmith, etc. (MCA) 472445Tori Amos -Under The (Geffen) 472.852 "Schindler's List"- Pink (Atlantic)473.207Various Artists -Stone Orig. Sndtrk. (MCA) Coffin Raye-Extremes Free: A Tribute To Jimi Columbia House. 472.795 (Epic) 473.025Hendrix (Reprise) Cassandra Wilson - Melissa Etheridge - 471.581 Blue Light 'Til Dawn Yes I Am (Island) (Blue Note) 471.656 466.763 Stanley Jordan - Mark Chesnutt-Almost The Face of Rock. Bolero (Arista)475.085 Goodbye (MCA)463.273 Heart -Desire Walks Van Halen-Live: Right Guns N' Roses -The Various Artists - On (Capitol) 471.292 Here, Right Now NtlYtRM COUNTRY ARO ROES Spaghetti Incident? Common Thread: Songs (Warner Bros.) Pet Shop Boys -Very 454.470/394478 (Geffen) 0 472.837Of The Eagles (EMI) 468.819 (Giant) 469.999 Alice In Chains -Jar Of "Even Cowgirls Get George Benson -Love Flies (Columbia)471.979Nirvana -In Utero Remembers (Warner Ace Of Base -The Sign The Blues"-Orig. Bros.) 439.265(Arista) 468.108 Michael Bolton -The (DGC) 467.159 Sndtrk. (Sire/Wamer One Thing (Columbia) Bros.) 468494Pan/era-Vulgar James -Laid The Cranberries - (Mercury) 467.761 470.005 Everybody Else Is Doing Disp.ay Of Power Genesis-Live/The (ATC:0) 13 435.305 Hancock/Shorter/ It, So Why Can't We? Way We Walk, Vol. 1: Clay Walker Various Artists - Carter/Willlems/Roney (Island) 465.559Pearl Jam -Vs. The Shorts (Atlantic) Tina Turner -Simply (Giant) 467.449 Rhythm, Country & -A Tribute To Miles Faith Hill -Take Me As (Epic/Associated) 487.373 The Best (Capitol) The Breeders -Last Blues (MCA) 474.536Davis (Owest) 476.382 I Am (Warner Bros.) 465.427 Suzy Bogguss- 433.342Splash (Elektra) 465.351 473.728 Meat Loaf -Bat Out Of Neal McCoy -No Doubt "Philadelphia"-Orig. Something Up My Frank Sinatra -Duets Garth Brooks -In Hell II: Back Into Hell About It (Atlantic) Blackhawk Sndtrk. Featuring B. Sleeve (Liberty) 465.997 (Capitol) 471415Pieces (Liberty) 463.745 474.619 (Arista) 473.397Soringsteen, N. Young, (MCA) 458.232 Bruce Springateen- Yanni--"Live At The Elvis Costello -Brutal The Benoit/Freeman P. Gabriel, etc. (Epic Born In The U.S.A. Youth (Warner Bros.) Various Artists- Nirvana-Nevermind Soundtrax) 472.928 Acropolis" Greenpeace: Alternative Project (GRP) 474.429 (DGC) 442.046 (Columbia) 326429 (Private Music)475.178 476.168 NRG. Featuring R.E.M., Meat Puppets -Too U2, Soundgarden, High To Die (London) UB40, more. 474.221 (Hollywooci/Greenpeace) 478.750"In The Name Of The Father"-Orig. Sndtrk. Sammy Hagar- (Island) 474.213 NY 8 CDs FOR 10 Unboxed (Geffen) 478.107Cheap Trick -Woke Up With A Monster (WarnerPLUS A CHANCE TO GET ONE MORE CD -FREE! Proclaimers-Hit The Bros.) 474.148 See details on other side. Highway (Chrysalis) 477513 Morrissey -"Vauxhall & I" (Sire/Reprise) 476.341 Benedictine Monks Of R&B/DANCE/RAP Santo Domingo - Fourplay-Between Chant (Angel) 477.067The Brand New Various Artists -MTV US3-Hand On The Babyface-For The Angell Winbush The Sheets (Warner Heavies -Brother Sister Party To Go, Vol. 4 Torch (Blue Note) Cool In You (Epic) (Elektra) 477.786Bros.) 464.578 (Delicious Vinyl) 478.305 Featuring Red Hot Chili 471.342 464.222 Shal-If I Ever Fall In Ottmar Liebert & Luna Peppers, TLC, En Negra-The Hours The Best Of The Village Vogue, etc. (Tommy Shaquille O'Neal- Robin S -Show Me Love (Gasoline Alley/ People (Casablanca) Shaq Diesel (Jive) MCA) 453.324Between Night & Day Boy) 478428 Love (Big BeaVAtlantic) (Epic) 464.149 478.131 470.427 463.992 Various Artists -MTV Various Artists -Club Zapp & Roger -All The MTV Party To Go, Vol. 1 Denzig-Thrall- PM Dawn -The Bliss Party To Go, Vol. 3 Tony Toni Tone -Sons Deamonsweatlive Album? (Gee Street/ Featuring Jodeci, Boyz II Greatest Hits (Tommy Boy) 453.175 (Reprise) 470.344 Of Soul (Mercury) (American) 13462.333 Island) 456.772 Men, etc. (Tommy Boy) 463479Jon Secede (SBK) 478.610 The Black Crowes- Gang Starr -Hard To Color Me Badd-Time 438.184Shake Your Money- Eam (Chrysalis) 0 And Chance Cypress Hill -Black maker (American) Celine Dion -The Xscape-Hummin (Giant/Reprise) 471.532 En Vogue -Funky Colour Of My Love (550 476.176 Comin At Cha' (So So Sunday (Ruffhouse/ 462.184 Columbia) al 463.596 Divas (eastwest) Music/Epic) 467.662 Def/Columbia)469.981 Dr. Drs -The Chronic 435.750 K7Swing Bette Swing Barbra Streisand- (Death Row/Interscope) Queen Latlfah-Black Back To Broadway Phish-Hoist (Tommy Boy) 474.866 Tevin Campbell -I'm 461.970 Michael Jackson - (Elektra) 477.919 Ready (Owest) 468.744 Reign (Motown) 471.466 Dangerous (Epic) (Columbia) 461.988 Jade -Jade To The Max David Lee Roth -Your 433.920 Little Texas -Big Time (Giant/Reprise) 453.068Aaron Hall -The Truth Luther Vandross- (Warner Bros.) 460.204 Filthy Little Mouth (Silas/MCA) 468.025 Never Let Me Go (Epic/ (Reprise) 476.333Hammer -The Funky LV Records) 457.176 Paul McCartney -All Gerald Albright - Headhunter (Giant/ CeCe Peniston- The Best (Capitol) Smooth (Atlantic) Reprise) 474.262 Thought 'Ye Knew Boyz II Men-Cooley- 459.776 475.152 (A&M) 467860 highharmony.(Motown) Deep Forest Jodeci-Diary Of A 424.754 Aerosmith-Get A Grip Mad Band (Uptown/ Prince -The Hits 1 UNI (550 Music/Epic) 459.479 (Geffen) 458.075 MCA) 473.116 (Paisley Park)466.623 Madonna -The N'TOVal Ai50110: Gloria Estefan-Mi Stone Temple Pilots - A Tribe Called Quest - Snoop Doggy Dogg- Immaculate Collection Annear Tierra (Epic) 458.497 453.043 Salt -N -Pepe -Very (Sire/Wamer Bros.) Core (Atlantic) Midnight Marauders Doggystyle (Death Necessary (Next Anthrax -Sound Of (Jive) 472.660Row/Interscope)13 414.557 "Above The Rim"- White Noise (Elektra) Pearl Jam -Ten (Epic/ Plateau'London) Orig. Sndtrk. Featuring Associated) 428433 465.955 467.837 458.489 Domino (RaVDefJarn/ Janet Jackson - StAN, Al B. Sure ,etc. Tony Bennett-Steppin'Chaos/Columbia) al Toni Braxton Haddaway Rhythm Nation 1814 (Death Row/Interscope) JohnCougar- Out (Columbia) 467431 472.225(LaFace) 464.362 (Arista) 471.409 (A&M) 388.918 478475 AmericanFool 0 (Rive) 423.666 0 Contains explicit lyrics which may be objectionable to some members. © 1994, The Columbia House Company 1 1111 1 1 tIt Columbia House. TIXnC14:WV

The Face of Rock. RAGE PANTENA AGAINST THE MACHINE STONE TEMPLE NINE INCH Any 8 CDs for 10 PLOTS A more NAILS PLUS A CHANCE TO GET ONE MORE CD FREE! Crash Test Dummies -God "The Crow"-Orig. Sndtrk. Pantera-Far Beyond Driven. Shuffled His Feet. Mmm Mmm Featuring Pantera, The Cure, etc. I'm Broken; 5 Minutes Alone; See details. Mmm Mmm; others. (Arista) (Atlantic/Interscope) 478.230 etc. (eastwest) 0 468926 470.476

Dave Koz-Lucky Man Best Of Joe Cocker Alice In Chains -Dirt Guns N' Roses -Use Mariah Carey AC/DC-Back In Black Eddie Money-Grt. (Capitol) 461.848(Capitol) 455.790 (Columbia) 445.833Your Illusion II (Geffen) (Columbia) 407.510(Atlantic) 305.045Hits: Sound Of Money 442-038 Aaron Neville -The George Strait -Pure Soul Asylum -Grave U2 Achtung Baby BarneyBamey's (Columbia) 403.428 Grand Tour (A&M) Country (MCA) 448.753Dancers Union Spin Doctors -Pocket (Island) 431.213 Favorites, Vol.1 (SBK) Pat Benatar-Best 457.200 Vince Gill -I Still (Columbia) 445.510Full Of Kryptonite Brooks & Dunn -Brand 465.914 Shots (Chrysalis) (Epic./Assoc.) 428482 Dwight Yoakam-This Believe In You (MCA) George Thorogood New Man (Arista) Toby Keith -(Mercury/ 401.646 Time (Reprise) 456.913 448.571 And The Destroyers - Red Hot Chill Peppers 429.969 Nashville) 458.315 Chicago®-Grt. Hits The Baddest Of The -Blood Sugar Sex R.E.M.-Automatic For Stevie Ray Vaughan & Sammy Kershaw - 1982-89 (Reprise) The People (Warner Bad (Hits) (EMI) 444.505 Magik (Warner Bros.) 401.166 428.367 Double Trouble -The Haunted Heart (Mercury/ Bros.) 448522Guns N' Roses -Use EIS Sky Is Crying (Epic) Nashville) 456.541 Aerosmlth-Pump Your Illusion I (Geffen) Ozzy Osbourne-No "The Bodyguard"- 429.258 Bon Jovi-Keep The (Geffen) 388.009 Orig. Sndtrk. (Arista) CI 442.087More Tears (Epic/ '71:1111111MSE. Associated) 428.128 Faith (Jambco/Mercury) REO Speedwagon- 448.159 White Zombie -La 451.310The Hits (Epic) 367.672 Kenny 0 -Breathless Sexorcisto (Geffen) "Grease"-Orig. Sndtrk. 442479(Polydor) 424.721 Neil Young -Harvest Patsy Cline-Grt. Hits - . (Arista) 448.142 Moon (Reprise) 450.304(MCA) 365.924 itliffi Blind Melon Mary Chapin CarpenterBonnie Raitt-Luck Of aria arey--Music The Draw (Capitol) Foreigner -The Very Guns N' Roses - (Capitol) 447.995 -Come On, Come On Box (Columbia) 465.435 (Columbia) 440.560 423.186 Best... And Beyond Appetite For Destruction Alan Jackson -A Lot (Atlantic) 447.524 (Geffen) El 359.984 "Sleepless In Seattle" About Livin' (And A Little Confederate Railroad Peter Gabriel -Shaking -Orig. Sndtrk. (Epic (Atlantic) 439.158The Tree (Geffen) Megadeth-Countdown U2 -The Joshua Tree 'Bout Love) (Arista) R. Kelly-12.p1ay To Extinction (Capitol) (Island) 354.449 Soundtrax) 458.430 447.458 ZZ Top-Grt. Hits 415.968 (Jive) 469.676 444.489 Duran Duran Eric Clapton- (Warner Bros.) 438.010Sarah McLachlan - (Capitol) 455.550 Fumbling Towards Motley Cr lie-Decade Unplugged (Reprise/ Enya-Watermark Ecstasy (Arista) 473.389 Scorpions -Face The Of Decadence '81-'91 Joe Diffie-Honky Tonk Duck) 446187 (Reprise) 431.403 Heat (Mercury) 466.938 (Elektra) 429.316 Attitude (Epic)._ 454.629 Sting -Ten Summoners Tales (A&M) 454.561 CLASSIC RoCK Van Morrison- John Lennon Collec- Fleetwood Mac-Grt. America's Grt. Hits James Taylor's Grt. Brooks & Dunn -Hard Moondance (Warner tion (Capitol) 405.308 Hits (Warner Bros.) (Warner Bros.) 291.385 Workin' Man (Arista) Hits (Warner Bros.) Bros.) 349.803 375.782 291.302 454.025 Lynyrd Skynyrd- Journey's Greatest John Michael John Michael Jimi Hendrix -The Skynyrd's Innyrds/Their The Beach Boys -Made Hits (Columbia) 375.279Jethro Tull -Original Montgomery-Kickin' It Montgomery -Life's A Ultimate Experience Grt. Hits (MCA) 381.129 In The U.S.A. (Capitol) Masters (Chrysalis) Up (Atlantic) 473.157 (MCA) 458.034 346.445Steppenwolf-16 Grt. 340.315 Dance (Atlantic) 453.746 Hits (MCA) 372.425 The Police -Every Bad Company -10 The Steve Miller Breath You Take -The AC/DC-Live The Allman Brothers Marvin (ATCO) 453.217 Band -A Decade Of From 6 (Atlantic)341.313 Band-Grt. Hits 1974- Singles (A&M) 348.318 "(Motown) 367.56578 (Capitol) 290,171 "Aladdin"-Orig. Hits 1969-79 (Polydor) A Decade Of Steely Jimmy Buffett -Songs Sndtrk. (Walt Disney 430439 Dan (MCA) 34 .073Styx -Classics, Vol. 15 Eagles-Grt. Hits, You Know By Heart (A&M) 364448 (MCA) us 339.911 Records) 453.167 Rod Stewart -Sing It 1971-75 (Asylum) Beat Of The Doobies 287.003 Rage Against The Again Rod (Grt. Hits) (Warner Bros.) 291.278 Best Of The Doors (El Bob Marley & The Machine (Epic/ (Mercury) 423.822 ektra) 357416/397.612Eagles -Hotel Califor- Wailers -Legend (Tuff Associated) r 451.138 The Cars' Greatest nia (Asylum) 286.948Gong/Island) 337.857 The Very Best Of The Elton John_Gooabye Hits (Elektra) 339.903Elton John -Greatest Elton John-Grt. Hits Hits (Polydor) 471.011 Meat Loaf -Bat Out Of Billy Joe10-Grt.Hits, Righteous Brothers - Yellow Brick Road Vols.1 & 2 (Columbia) 1976-86 (MCA) 450.353 Unchained Melody The Best Of Kansas 0 Hell (Epic) 279.133 (Polydor) 471.060 (CBS Assoc.) 327742Janis Joplin's Grt. Hits 336.396/396490 (Verve) 423..772 Sade-Love Deluxe (Columbia) 231.670Boston (Epic)269.209 (Epic) 449.439 Grateful Dead -Skele- The Best Of Blondie Air Supply-Grt. Hits The Moody Blues-Grt. tons From The Closet (Chrysalis) 311.811 Simon & Garfunkel's Jim Croce -Photo- (Arista) 321.307 Phil Collins -Serious Hits (Polydor) 423.756(Warner Bros.) 378.406 Greatest Hits graphs & Memories: Michael Jackson - Htts...Live (Atlantic) Creedence Clearwater (Columbia) 219.477Grt. Hits (Saja) 246.868 448.944 Eric Clapton-Time Roy Orbison-The All - Revival -Chronicle -20 Thriller (Epic) 318.089 Barry Manilow-Grt. Pieces (Polydor) Time Hits, Vols. 1 & 2 Grt. Hits (Fantasy) Bob Dylan's Grt. Hits Santana's Gil. Hits Jackson Browne -I'm 423467 (CSP) 377.945 308.049(Columbia) 138.586(Columbia) Hits (Arista) 288.670 244459Alive (Elektra)469.783 Selections with two numbers contain 2 CDs and count as 2 -so write in both numbers. Just mail the coupon together with check or money order for $1.50 (that's 18 for your first 8 CDs plus $1.49 enrollment charge). You agree to buy just six more selections in the next three years, at COLUMBIA HOUSE, 1400 N. 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4. 8 alternate selection, or none at all, just mail the response card always -IJAlso seed His CD nova provided by the date specified. nus for whichwill be billed $6.95, 9. ...and I'm entit ed 10. plus shipping / handling. to this CD FREE, You always have 10 days to decide; if not, you may return the Selection at our expense. 0Hard Rock I:11 Rap Soft Rock Alternative Easy Listening More Benefits, More Savings. Beginning with your very first Van Halen, A Tribe Called Quest, Michael Bolton, The Coe, Frank Sinatra, The music Aerosmith Cypress Hill Mariah Carey The Breeders Ray Conniff magazine you'll save money on your favorite music. And after you I like fulfill your membership obligation, you'll enjoy our new "Buy More, most is Heavy Metal R&8/Soul Dance Pop Light Sounds Comb), Pay Less" bonus plan. You may get a single CD for half price, $5.99, or Megoderh, lather Vondross, Madonna, Neil Diamond, 0Jess even $3.99 with every CD or cassette you buy at regular club price Ozzy Osbourn Toni Braxton CeCe Pension Barbra Streisand Classical (shipping and handling additional). la Latin Mr. 10 -Day Risk -Free Trial. We'll send details of the Club's operation with your introductory package. If not satisfied, return everything within 10 Mrs. Age Miss Print First Name Initial lost Name days and there's no further obligation. Extra Bonus Offer: you may take one additional CD right now at the Address Apt super -low price of only $6.95 - and you are then entitled to take an extra CD as a bonus free! No need to send money now - we'll bill you for the $6.95, plus shipping/handling. And you'll receive your discounted City Stole Zip CD and Bonus CD with your 8 introductory selections -ID CDs in all! Do you have a telephone? (MI ]Yes ..1NoDe you have a VCR? (04) ai YesNo If the Application is missing, Do you have a croila card? (03) 7 Yes No write to: Columbia House Entertaining Note: we reserve the right to reject any application or cancel any membership. These offers not available in APO, FPO, Alaska, Hawaii, Puerto Rico; write for details of alternative offer. Canadian residents serviced from Toronto. Applicable sales sox added to all orders. 1400 North Fruitridge Avenue America... 794A/F94 X3Z-HS-H2 Terre Haute, Indiana 47811-1129. One Person at a Time.0 You can now understand the obverse:musical frequency range, we are unfortu- was adequate for its purpose. Now we have Most low -frequency musical sound, in al- nately still stuck with the need to use more smoother, flatter, more accurate and lower most every kind of music, is simply onethan one speaker unit. If someone would bass in smaller enclosures. Eureka! seamless part of a large and continuousjust devise a revolutionary single speaker All of the above dissertation, I would range of frequencies. Bass may be featured that could respond flat from 20 to 20 kHz! have you know, stems from the modest every so often, but so are many other Bass has all sorts of ramifications in the new (two -channel) speaker system I re- sounds. If we excerpt just the one sound, area of human perception. Our ears take in cently acquired, after many a year with a we are being musically destructive. Note signals, then "process" them in such won- pair of monsters so heavy I could not lift the familiar "demo" records we in audio derfully subtle ways that the specialists in either off the floor. (Our still -youthful Edi- have exploited over the years. Ugh-this area have work to do for years ahead. tor heaved them into my car single-handed "Death and Transfiguration"-an endlessly and two -armed.) I really did not like those long 19th -century heavyweight, of which old speakers, however fancy their three- we took out the first 0.01% for its bass and NATURAL BASS, BASS way double enclosures. They are extinct- played not a note of the rest. I myself am PRECONCEIVED AS A PART just as well. Both failed when their woofer unmoved by all of that particular work; but surrounds completely disintegrated, leav- I did not like to hear it mutilated. Then OF SOMETHING ELSE, IS ing an annular hole around the cone and there was the "Organ" symphony (Sym- NO LONGER ENOUGH. no perceptible bass.... The new speakers, phony No. 3) by Saint-Saens, who happily pairs, comprise an astonishingly small wrote some fine pedal music for the very semi -full -range unit, oddly unsquare, and lowest pipes on a huge 19th -centuryAs I have noted before, we are getting a separate subwoofer, a modest cube. I was French organ-and a great deal more that there-that is, lining up the purely scientif- immediately pleased-digital computer is also worthwhile hearing. Low bass wasic observations, measurements, tests with analysis has taken us a long way forward in just one of countless goodies in that com- the intuitive, subjective inner perceptionsclean sound these last years. I noticed at poser's musical storehouse. This is the nor- our minds receive. That means increasing once the much improved stereo location- mal nature of all "classical" music and practicality for audio design, no doubt in- obviously due to good flat matching of the most pop, jazz, and so on, as well. If we cluding bass response. two pairs from side to side. But what really disturb the harmonious family of many Very curious. Listening on the tele- interested me was the effect of the two sub - sounds together, many frequencies, we are phone, from the higher sounds present, woofers when I got them hooked in. They not producing high fidelity. our ears are able to synthesize a virtual blended into my classical music so nicely Thus it behooves audio engineers,bass-a bass that isn't there-for a persua- that at first I thought they weren't working. speaker designers, to think unto their bass - sive and intelligible comprehension. Other- I was astonished-I expected, foolishly, a end objectives. Forget the usual declara- wise, only females would be able to talk closed -auto boom to knock me over! Far tions-highest possible perfection etc., etc. over the phone! Do you have any trouble from it. Only after some listening did I be- True, true. But true for what? Are you de- recognizing a male voice with most of its gin to hear bits of very low bass in the ap- signing for closed -window car stereo and frequencies missing? Via the help of assort- propriate spots, as per the music itself. I the inevitable bass that, in 99% of the in- ed associative processing-you know it's a was charmed. For those who play any type stallations, is what people want? That's male voice-you are virtually unaware ofof music that does not especially feature where your subwoofer shines, sonically. Or the missing components. big bass (though it may have it), this type are you designing speakers for general mu- Happily, the same goes for a billion of woofer is really useful. It just blends in, sic including classical? By all means, then, bucks' worth of small boom boxes and awaiting its moments, so to speak. build your bass seamlessly, into the fullmuch littler transistor radios (do we still Best of all, these woofers are passive, musical range, including your subs. Theycall them that?). They all have the same sharing the main amplifier. (They can be should never be obtrusive except when lack of bass, in variable degree, from some separately powered if desired.) I have there is intentional bass to be featured. to none. We can use them with pleasure enough power, and the balance between As you may now discern, this is as much even so. Related to this is the effect I would them and their upper siblings is automati- as anything else a matter of expert call Early Boombox, the lucky fact that a cally set and absolutely correct-no tinker- crossover circuitry between speaker units highly spurious and resonant peak in theing. So-consider a subwoofer! It could be high and low. Unless perhaps you are deal- middle low bass can be accepted, interpret- for you, for almost anyone even if you ing with some improbably full -range, ed by the ears and mind, as the legitimate don't have a car with stereo. maybe electrostatic, speaker. Even these bottom of a piece of music, even if we can These surely are not the only subs of the tend to require a separate woofer becausehear (some of us) that it is not a true re- type and I am not writing an "Equipment of the physical properties of this special production of the sonic waveform. The Profile." Since the management will allow, type of unit, a difficulty which, to make a early boombox, in case you do not remem- I'll name names: NHT is the brand, which pun, has always been quite baffling. Usual ber, was a peaky bass -reflex speaker and stands for an unlikely corporate name- solution: A separate conventional woofer. enclosure that did just what I have de- Now Hear This. So you may Now Hear Me And a crossover. For full coverage of the scribed. If it got the musical sense over, it saying Good Bye until Next Time. A AUDIO/SEPTEMBER 1994 17 InThe Mid70s We Now We've Created

The people who work at Cambridge systems factory -direct, SoundWorks - including our cofounder with no expen- Henry Kloss (who also founded AR, sive middlemen, KLH and Advent) - have been involved you can save with the concept of home theater from hundreds of the beginning. In 1969 (years before dollars. We VCRs and cable TV), Henry Kloss believe the founded Advent, the company that products on these introduced the first home theater audio/ pages represent the video systems - complete with big- country's best values in high screen TVs and digital surround sound. performance home theater Our Surround Speakers We have had an ongoing relationship components. Audio critics, and thou- with the people at Dolby Laboratories, sands of satisfied customers, agree. Cambridge SoundWorks Ensemble creators of Dolby Surround Sound, sinceStereo Review said "Cambridge satellite (but with magnetic shielding). Henry Kloss introduced thefirst SoundWorks manufactures loudspeak- $149. Center Channel Plus uses an consumer products with Dolby noise ers that provide exceptional sound ultra -low, ultra -wide design that is ideal reduction over 20 years ago. And now quality at affordable prices." Audio for placement above (or, with optional at Cambridge suggested that we "may have the best support stand, below) a TV monitor. SoundWorks value in the world." $219. we believe Surround Speakers Cambridge SoundWorks makes two "dipole radiator" surround sound speakers. Dolby Laboratories recommends dipole radiator speakers for use as surround speakers. The Surround has a very high power handling capacity and is often selected for "high end" surround sound systems. Audio, Our Center Channel Speakers describing a system that included The we have set a new price -to -performance Center Channel Speakers Surround said "In many ways the standard for home theater components. surround sensation was every bit as Cambridge SoundWorks manufactures Because we sell carefully matched good as far more expensive installa- three speakers for use as center channel and tested home theater speaker tions." $399 pr. The smaller The speakers in Dolby Pro Logic home Surround II is arguably the country's theater systems. All three are mag- best value in a dipole radiator speaker. netically shielded so they can be $249 pr. placed near a TV or computer monitor. Model Ten -A is a Our EXO-1 Electronic Crossover small, affordable two- way speaker. $75. Center Channel is Our identical to a Popcorn CleatedHomeTheater. A New Way To Bw It.

Powered Subwoofers Our most popular Home Theater The original Powered Subwoofer by Speaker System. Cambridge SoundWorks consists of a heavy-duty 12" woofer housed in an acoustic suspension cabinet with a 140 - watt amplifier and a built-in electronic crossover. Stereo Review said it provides "deep powerful bass...31.5 Hz bass output was obtainable at a room - shaking level... they open the way to having a 'killer' system for an affordable price." $699. Our Slave Subwoofer

stereo speakers. The combination we show here is our best seller. It includes Home our New Ensemble subwoofer satellite Theater speaker system (with dual subwoofers), Speaker our Center Channel Plus and a pair of Systems our best surround speakers, The Surround. You could spend hundreds We have assembled a number of home more than its $1,167 price without theater speaker sys- improving performance. tems that consist of For information on other home theater speaker systems - or on any of center channel, surround and main the products we make and sell - call Our Powered Subwoofers 1-800-FOR-HIFI for your free color catalog. Thanks. uses the same woofer driver and cabinet, but does not include the CAMBRIDGE For A Free Catalog, Call amplifier or crossover. It can only be SoUNDWoRKSK LOSS used in conjunction with the Powered BYHENR 1-800-FOR-HIFI Subwoofer. $299. The new Powered We Know How Subwoofer II uses a 120 -watt amplifier To Make Loudspeakers with an 8" woofer. $399. Our EXO-1 electronic crossover can CAMBRIDGE be used with either of our powered SOUNDWORKS subwoofer systems, or with powered 154 California Street, Suite 1025, Newton, MA 02158 subwoofers made by other companies. 1.800-367-4434Fax: 617-332-9229 Canada: 1.800-525-4434 Its high pass filters keep strong, low Outside U.S. or Canada: 617.332-5936

bass signals out of the main stereo 0 1994 Cantridge Sound Works. REnsemble is a registered trademark of Cambridge Sound Works. Inc KLH is a trademark of KLH, Inc. AR and speakers, and directs them to the Advent are trademarks of International lessen Inc. powered subwoofer. $299. Ms2=1111.; CIRCLE NO. 6 ON READER SERVICE CARD ceived from the RCA tape vault in CURRENTS Indianapolis. Bernie is one of a JOHN EARGLE handful of mastering engineers in the United States who are respected for both astute musical and techni- NEW LIFE FOR cal judgment. It was Classic Records' choice of Grundman that convinced LIVING STEREO RCA to entrust their masters to the company. Bernie had just finished We are now into the 13th "found mon- year of the CD, and it is ey," in that LP probably safe to state sales will hardly that the vast majority ofimpacttheir music lovers who intend sales of CDs. to replace their LPs with For the dedicat- CDs have already done so. What is edcompany left is a dedicated group of peoplethat undertakes who definitely do not intend to for- the project, it is sake the LP but who will supple- often the fulfill- ment their music collection withment not of new CD performances noteconomic op- likely to be issued on LP.portunity but What drives them is a love for of a personal the mystique of the LP, its goal. sound and its technology. Recently,ICutting lathe at Bernie Grundman Mastering. Price is no barrier in thismet with the unique market; certain mint - principals of Classic Records, comparing the master tape with an condition stereo LPs from theMichael Hobson and Ying Tan, at early RCA pressing and had resolved early '60s command prices in the studiosof Bernie Grundman a slight pitch difference between the the hundreds of dol- Mastering in Holly- two in favor of the tape. During the iving Presence lars, and newly pro- wood. Classic Records remainder of the day he would cut recordings from duced premium LPs announced atthethree sets of lacquer master discs, RCA are coming normally sell at prices WinterConsumerand these would be hand -carried back to vinyl, in the $30 to $45 Electronics Show in that evening to Greg Lee Processing, through Classic range. Las Vegas that theyin Gardena, Cal., for immediate Records. Because the major would release 15 RCA electroplating and subsequent pro- labels have virtually Living Stereo LPs be- cessing into metal matrices and ceased LP production, tween April 1994 and stampers. the only way that early LPs can be June 1995, with an additional 16 There are a number of technical perpetuated is through licensing during the year to follow. There is differences between Classic Records' programs one aspect of their agreement with approach to LP production and the in which aRCA that is RCA proce- company unusual; RCA duresof 30 gets permis- is allowing CLASSIC RECORDS' years ago. The sion from a their earliest - "FACSIMILES" OF LIVING most signifi- major label generation STEREO WILL BE MORE cant, of course, to issue the master tapes is the use of the product. Of to be used for THAN THAT -THEY WILL BE earliest master course, theproduction of BETTER. tape source arrange-all items in available; RCA, ernie Grundman ments vary, but they all carry re-the extended on the other (left) with Ying Tan strictions on what items will be reis- project, and here is where our tech- hand, always cuttheir master discs (center) and Michaelsued,thedurationsofthe nical story begins. from a first -generation copy of that Hobson of Classic agreement, and the specific graphic When I arrived at the studio, original tape. RCA had decided, and Records. and technical standards that will be Bernie Grundman was reviewingrightly so, that to use the original imposed. For the major label, it is one of the master tapes recently re - master tape for routine production AUDIO/SEPTEMBER 1994 20 work would very likely accelerate its deteri- specialty au- oration. Furthermore, band -to -band level dio dealers. cAmBRIDGFsouNowoRics H e w* or equalization adjustments that mightRegarding , " ° have been felt desirable in the finished disc production product could better be controlled over a quantities, Includes long period of time by cutting from a Classic states Guide To processed copy of the master tape. Even thatthree Surround where the source tapes are three -track,sets of mas- Sound. half -inch originals, Grundman is equipped ter lacquers, to make the necessary 3 -to -2 mixdown and their successive progeny through the during lacquer transfer, and in this case the master, matrix, and stamper, should take left, center, right mix is carefully matched care of normal demands. If a given release to the reference RCA vinyl discs. makes considerably greater demands on Another step forward is the use of 180 - gram pressings, which have become fairly standard for today's premium vinyl prod- CLASSIC RECORDS IS uct. Record Technology, of Camarillo, Cal., USING THE EARLIEST will do all the pressing for Classic Records. By all rights, Classic Records' "facsimiles" MASTER TAPE SOURCES FREE of Living Stereo will be more than facsimi- AVAILABLE. les-they will be enhancements. Audio Catalog Hobson and Tan are also concerned Our 64 -page catalog is loaded with components about the quality of album and label art. In quantity, there will always be sufficient and music systems from Cambridge SoundWorks, Pioneer, Philips, Denon, Sony and others. time to get the original tape from RCA to a few cases there is some original art that Because you buy factory -direct, with no expen- can be used, but for the most part mint - cover the demands of added production. sive middle -men, you can save hundreds of condition albums are carefully scanned Programming has been a prime consid- dollars. For example, a Dolby Surround system and digitally brought up to modern stan- eration to Hobson and Tan, who are both with Ensemble II speakers, rear speakers, Philips dards. The examples I have of Classic's collectors of early LPs. Future projects, Dolby Surround receiver CD player and system they state, will involve jazz remote is less Call today and find out reissues. Their first three whyiludio magazine said we "may have the best items in the Living Stereo value in the world." series are: Strauss Also Call toll -free for factory -direct savings. Save hundreds on components and systems Sprach Zarathrustra, Reiner, from Cambridge Sormftbrks, Pioneer, Chicago Symphony Orches- Phi ips, Denon, Sony and more. tra (LSC1806); Offenbach Audio experts will answer your questions Gaite Parisienne, Fiedler, before and after you buy. SAM-midnight, Boston Pops (LSC1817), 365 days a year-even holidays. 30 Day lbtal Satisfaction Guarantee on all and Debussy Iberia, Reiner, Cambridge SoundWorks products. Chicago Symphony Orches- The critically acclaimed tra (LSC2222). Future releases include: Ensemble II Lalo Symphonie Espagnole, speaker Szeryng, Hendl, Chicago system Pressing a 180 -gramLP at Record Technology Symphony Orchestra by discs and albums are of the highest quality. (LSC2456); Kabalevsky The Comedians, Henry Both label and front -cover art are direct Kondrashin, RCA Victor Symphony Or- Klass. facsimiles of the originals. Back -cover chestra (LSC2398); Mussorgsky Pictures at $439 notes have been reset, using the originalan Exhibition, Reiner, Chicago Symphony type font, adding only a description of theOrchestra (LSC2201), and Berlioz Sym- 1-800-FOR-HIFI studio -session tape -to -lacquer transferphonie Fantastique, Munch, Boston Sym- We Know How 76 Make Loudspeakers. process. phony Orchestra (LSC1900). Hobson's background is in high -end au- One last note: Hobson and Tan give Jack CAMBRIDGE dio retailing and Tan's is in LP retailing. Pfeiffer of RCA highest credits not only for SOUNDWORKS Between them, they have an excellent making the deal with RCA workable but in knowledge of their market, which will be providing a wealth of technical and session 154 California St. Suite 104 SEP , Newton, MA 02158 1-800-367-4434 Fax: 617-332-9229 served primarily through mail order and information on the releases. A Canada: 1-800-525-4434 Outside U.S. or Canada: 617-332-5936 1992 Cambridge SoundIkcia. AUDIO/SEPTEMBER 1994 21 Enter No. 7 on Reader Service Card back a day later. So, even though I really do AUDIOCLINIC not see what track your service shop was JOSEPH GIOVANELLI taking by adjusting heads or the door mechanism, your problem is still difficult. My answers are just guesses. Although I am reasonably sure that the Problems With Autoreverse better performance will be obtained than ifproblem lies within the deck, perhaps we Tape Decks adjustments are not checked and made as can prove it to a greater extent. Plug a pair QWhen using tape decks with autore- necessary. of headphones into the deck and play verse, I often find that one side of the tapes. I believe that the problem will again cassette (usually side 1) sounds better than A Bi-Wiring Alternative be heard-in the left channel. If it isn't the other. Tapes made on such decks usually QI want to be able to bi-wire my speak- heard, it is likely that the receiver is the cul- sound best when played back on the decks ers. Can I connect one cable to my am- prit. (This is not a certainty because there that recorded them rather than on a deck plifier's "A" output terminals and the second could be some additional circuitry between where the tape must be turned over manual- cable to its "B" terminals? Will I damage my the takeoff point for the phones and the ly. Why?-Richard Wang, Irvine, Cal. amplifier? Will the sound actually be bet- output jacks.) ATo begin with, the effects of misalign- ter than I now get with one set of cables Let's assume that the problem does re- ment of a tape or tape heads is exag- handling the whole spectrum?-Wilden A. side in the deck. I can only give you a par- gerated when a tape recorded on one deck Valencia, Holbrook, Mass. tial list of possibilities because they are so is played back on another-except in the AIn general, I see no reason why you numerous: The left -channel coil windings rare case where both decks are misaligned can't use the "A" and the "B" termi- in the head could be intermittent. The ca- identically. nals for bi-wiring. Notice that I said "in ble that connects the head to the rest of the When going from side 1 of a cassette to general." Most amplifiers' "A" and "B" ter- electronics could be intermittent. (After all, side 2, the tape's direction through the minals are wired in parallel. So your sug- the head moves in and out, and this could shell will be reversed, on any deck. In angested hookup is equivalent to connecting cause the thin wiring to separate. You autoreverse deck, however, the tape will both wires to a single set of output termi- won't see that because it happens under also pass over the heads in a different di- nals. But some amplifiers (cheaper ones, the insulation. rection, which can make it ride over them a for the most part) have their "A" and their There could be dirty switch contacts. If bit differently. Unless the tape path is clean "B" terminals wired in series. Although Iyour deck has a head used for both play and mechanically perfect, the tape may see no way of damaging your equipment, and recording, there is some complicated skew a bit when the deck reverses, which the sound will be terrible if you try bi- switching that must take place. Dirty also affects the angle of the tape across the wiring with this arrangement. switch contacts can cause your problem, as heads. This will change the azimuth, caus- Whether or not bi-wiring offers sonic could a poorly soldered circuit board con- ing a loss of highs in one direction as com- improvement is a subtle matter at best. Ex- nection, defective components (especially pared to the other. periment for yourself. capacitors), etc. The tape may also be skewed by the cassette shell, so that it rides over the heads atNoisy Cassette Deck VHS Hi-Fi Tapes a different angle for each direction of play. QEvery now and then playing cassettes, QIn addition to using a standard cas- Using an autoreverse deck to play a tape I get both static and a reduction in sig- sette deck for his recordings, a friend that was flipped over between sides during nal level from the left speaker only. Some- of mine also uses a VHS Hi-Fi videocassette recording (or flipping a tape in playback times this condition lasts just a few seconds; recorder. He says that VCR gives him better that was recorded in autoreverse) can exag- sometimes it lasts a few minutes. Rarely, it results than his cassette recorder. Is there gerate this problem. does not appear at all. I have had the deck ser- honestly any advantage in sound quality A few reversing decks have separate viced. The shop aligned the heads and made when using videocassettes as opposed to au- heads for each tape direction. If the az- some adjustments to the door mechanism. I dio cassettes?-Scott D. Brutout, Lititz, imuth of one head is incorrect, this will have tried new cables between the deck and Penn. again lead to a loss of highs when the tape my receiver. I have tried different inputs of AAs far as I am concerned, VHS Hi-Fi is moving in one direction as compared to my receiver. Now what?-Valentine tapes do sound better than cassettes. its performance when it moves in the op- Kwatsch, Ozone Park, N. Y. Wow and flutter is virtually nonexistent, posite direction. Decks whose heads flip A. must say first that I feel really sorry over to play the second side may also ex- for a service shop, even a good one, If you have a problem or question about audio, hibit azimuth differences. when it has to handle problem equipment write to Mr. Joseph Giovanelli at AUDIO Maga- zine, 1633 Broadway, New York, N.Y. 10019. All If the autoreversing deck's pinch -roller like yours. Just the fact that the condition is letters are answered. In the event that your let- alignment and head azimuth have been set not constant makes it hard to locate. You ter is chosen by Mr. Giovanelli to appear in Au- up properly, some of the effects I have de- dioclinic, please indicate if your name and/or might, for example, disturb the p.c. board address should be withheld. Please enclose a scribed will be averaged out. Somewhatand the problem goes away-only to come stamped, self-addressed envelope. AUDIO/SEPTEMBER 1994 22 The infinitely recordable, totally portable, virtually unshockable, all digital Sony MiniDisc.

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Enter No. 25 on Reader Service Card and frequency response is flat between 20 purchase includes this audio dub replace- What you have said does indicate that your Hz and 20 kHz. Signal-to-noise can be 80 ment feature.) existing loudspeakers are quite good in dB or better. Add to this the fact that one You must get used to the fact that the producing bass. can have six hours of music on a singlepause function on a VHS machine does What is relevant here (unless you use a tape-without turning it over-and we not produce the conveniently quick starts separate amp to feed the subwoofer) is how have a system that is difficult to beat! and stops of cassette decks. This is a defi- much output the subwoofer will produce Because of VHS tapes' greater width,nite drawback if tight cueing is needed. when fed with the same amount of power they stretch and jam less. I have never lost Listen to VHS Hi-Fi tapes and judge for as the satellites. We would hope that the a VHS tape because of a jam, but I certain- yourself. outputs from the subwoofer and the satel- ly have lost cassettes for that reason. This lites would be equal at the crossover fre- isn't to say that there is no place for cas- Matching Subwoofers to Satellite quency. Assuming that the subwoofer is settes. They are far more practical for carLoudspeakers doing its job, as the frequency falls below or portable use. Many commercially made QI have been interested in buying a sub - the crossover point, the output from the titles are available on this format, but not woofer, but I have some concerns subwoofer will increase somewhat, but the on VHS Hi-Fi. If you consider how many about the differences in sound pressure leveloutput from the satellites will gradually people have vast tape libraries, it is un- between these subwoofers and my existing decrease. thinkable that we should scrap these loudspeakers. The specs for my loudspeakers If you use a separate power amplifier to recorders. indicate that they can reach a level of 112 dB drive the subwoofer, it is not nearly as im- I often record music on my VCR's Hi-Fi maximum at 20 Hz. The subwoofer can pro- portant for the subs and satellites to match track, leaving the linear track (convention- duce 119 dB at 20 Hz. Will that 7 -dB differ- in output at crossover. Any differences can al audio track) available for such purposes ence mean that I can really shake the house be made up by adjusting electronic as recording album notes or other com- with lots of bass?-Mark Pommeh, Oster- crossover output levels. ments related to the program on the Hi-Fi ville, Mass. As to whether the subwoofer will "shake track. (However, not all VCRs let you re- AThe fact that a subwoofer can pro-the house," try playing some low bass place the audio on the standard audio duce more output at 20 Hz at maxi- through it at the store, using an amplifier track. If you wish to use my approach, you mum power than is true of your existingof the same power as you'll use at home, must be certain that the machine you loudspeakers does not tell us too much. and see how much bass you get. A r 1 WHY FREE CDS? (Well, haveyou evertried to play a set of steak knives?)

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Cell 1 -800 -PIONEER, ext. 201, for a dealer near you. Check CD hones and send coupon, origmal receipt and UPC bar code from productliox to: Pioneer Free CD Offer-TR, P.O. Box 1540, Long Beach, CA 90801-9905. Allow 6-8 weeks for delivery. Offer good on Pioneer DFS single -play car CD player or multi -play car CD changer purchased inthe USA between 8/15/94 and 11/15/94. Must be postmarked by 11/30/94. Limit one gift package per qualifying purchase. Void where prohibited by law. Only original, unaltered sales receipts accepted. Pioneer reserves the right tosubstitute awards of comparable value based on supply or availability. All titles are the property of their respective artists and Capitol Records. Titles shown also available in stores. 01994 PioneerElectronics (USA) Inc., Long Beach, CA. L PHOTOGRAPHS: JEANNE STRONGIN the audio interveiw aubortmarc CLASSICAL MASTER

ust after World War II, a young pi-Nickrenz, are covered with golden Gram- ano student and jazz fan at themy nomination plaques, but the visitor Zurich Conservatory built his firstwill find no 48 -track recorders, mixing electronic project, an amplifierconsoles the size of a soccer field, or tow- that, like many other first projectsering studio monitors. Antipathy to new before and since, did not work.technology should not be inferred; Marc With the unit purchased the first Dol- under his arm, by A noise reduction the music stu- system availablein dent called on America and was Dol- FredWettler, by's first United States thenZurich's distributor. He is now top recording and always has been a engineer, who quickly technological minimal- diagnosed and fixed ist; his methods were the amplifier. A shared not formed by fashion interest in jazz and or driven by technolo- complementary skills gy. They stem instead in technology and clas- from a profound re- sical music formed the spect for music and basis for a relationship musicians. that soon caused Marc D. W. Fostle Through the years, Aubort to leave the conservatory and be-his work has appeared on a panoply of la- gin a career, first as a recording engineerbels, with Nonesuch, Vanguard, and Vox and then as a producer. Forty-five yearsamong them. Aubort recordings have an later he is the veteran of uncounted thou-extraordinary durability; their musicality sands of classical recording sessions intranscends time in a way that reviewers both the United States and Europe. rarely fail to note, even on 30 -year -old The walls of his compact Manhattanreissues. Not withstanding the fact that he studio, where he now works with Joannarecorded with Stokowski, there is no 01994 by blare Aubort kostl.

AUDIO/SEPTEMBER 1994 27 need to rummage the cut-out and bargain bins in order to find ex- overrule you and that's that, but at least you should be able to amples of Marc Aubort's work. He still practices his art and craftmention it. on more than two dozen new releases each year, including recentSo the recording is documentary, is that it? recordings by the Tokyo String Quartet and Pinchas Zuckerman, In essence, yes. Sometimes you find out an artist has been playing both for BMG. D.W.F. a certain passage incorrectly, that he plays notes different from what is printed. That too is something to point out. This comes up There seem to be many approaches to producing recordings. How sometimes, especially with established artists who have been play- do you view the role of the classical producer? ing the same piece for decades. Suddenly you point out that this is A basic thing to keep in mind is not to interfere with the artist's in- not actually written that way and they come and look and say, tentions, not to project what you like or dislike onto what the "Oh, my God, I've been playing that all my life like that!" It is artist is doing. Sometimes this is difficult. If you grew up with a sometimes very hard for them to play it as written because it seems performance, you learned it a certain way, and suddenly you are new. It is something that they didn't think about. They always confronted with a totally different approach. It is very hard to displayed it one way and it became ingrained. tance yourself and say this is what the artist wants. It is none of my Is that why you work with scores? business to influence a performance in one way or another or toOh, yes. You cannot produce a classical record without having a change it. score, and someone has to read the score. A good producer will be Are you saying then that you don't di- able to analyze a chord, an orchestral rect artists? chord, and hear any instrument that No, you don't direct them. You collect is not playing exactly what it should what they do, to the best of your be playing. Joanna is a wizard at that. knowledge, so that you have everything So you're saying a producer must have on tape that you will need for editing. ood a conductor's ear but not conduct. There are producers that direct. I know That is a fair statement. The basic of one who even goes to the piano, producerscan tenet of a good record producer is plays for the artist, and says this is the that he or she does not interject per- way it should be. That is a total, ab- analyzea sonal opinion into performance. solute no -no. That is not the produc- Those are the artist's and conductor's er's function. The task is to get the best chord and prerogatives. out of the artist and to keep tensions The same is true for playing God and frustrations to a minimum. hearany with dials. You do not make things Most artists are nervous in front of louder or make things softer because microphones. We have to alleviate any instrument you want to hear them that way. technical worries that they may have That is also the artist's responsibility. and let them concentrate on making notplaying You can point out that on recordings music. The beauty of a recording ses- dynamic markings tend to sound less sion, or sometimes the drawback, is the correctly. pronounced than he or she thinks he ability to correct technical flaws in or- or she is playing. In other words, the der to get the most out of the perfor- need to exaggerate dynamic mark- mance. The artist should not be intimi- ings is something you can point out, dated or worried about making mistakes. We canalways redo it because on tape very often the pianissimo that the artist intended and restate the idea, the musical idea. That is what a good record-does not sound like pianissimo; it sounds more like a mezzo forte. ing is about. The object is to get the best out of the artist at thatThis has much to do with the monitor level. You usually monitor particular moment in his or her life. The recording is a snapshot in fairly loud and the ear tends to flatten out. It is not linear in pro- time. Two months later or two years the artist is going to say gression and dynamic range. If you listen too loud, the difference "That's me? I can't believe this," but at the time he or she was do- between fortissimo and pianissimo becomes squashed. This is ing that recording, that was the statement they were trying to something to point out during a session: Dynamic markings have make. It is none of the producer's business to either try to change a to be exaggerated for the recording. With digital recording now, it performance or to influence an artist in any other way. is marvelous because we don't have to be squeezed between hiss The producer has to bow to what the artist is trying to say. and distortion; we can let the whole thing sit there and get the full There is one little exception though. In a live performance, very dynamic range of the performance without having to touch a knob often a tempo might be appropriate, but on a recording, when from the beginning to the end of the session. In the analog days we there is no visual contact with a stage or with the artist playing, sometimes had no choice but to change dynamics so the perfor- that very same tempo might sound slow. This is something to mance would fit on the tape between noise and distortion. point out, not as a suggestion that it should be faster, but that for Can you give me an example of a work where that was a problem? the recording specifically, without an audience being present, it The Tchaikovsky Sixth Symphony, the "Pathetique," has a spot in may be an idea to think about a slightly faster tempo. They can it where the clarinet trails off in a quintuple or sextuple pianissimo AUDIO/SEPTEMBER 1994 28 with barely a breath. That is followed by a massive F chord, a real crash. On any analog recording it was totally impossible to hear the clarinet trailing off into the blue mist before the huge crash came. That's one of the things that could not be handled at all in analog. Do you have any views on analog and digital? It seems that you are very satisfied with 16 -bit digital media. Yes, and I don't share this subjective craze that, for instance, strings sound harsh and brittle in digital and sound absolutely marvelous in analog. For me digital has advantages such as no wow or flutter. A piano that is really in tune stays in tune on a digital tape, while in analog there is always a slight wobbliness. That's one thing. Harmonic distortion is virtually nil with digital, at least in the region that is most annoying, in the fortissimo passages. The problems in digital are at the very low levels, quantization artifacts, dither noise, and things like that. But all in all, for me digital is better than analog. There are all sorts of purists who won't get close to a digital recording. They carry their LP records around like raw eggs and buy re -cuts from the original tapes. This is fine; its amazing how good analog can sound on the record. But to me digital is a big advantage. We don't have to spend hours aligning, calibrating, and changing bias for every batch of tape that comes along. You plug it in, forget about it, and it works. Are the operating conveniences the big benefits? Yes. And unless my ears are going-I don't think so-I do not hear the alleged harshness and the alleged digital sound that some people complain about. Digital does show up sins in recording technique much sooner than analog because there is nothing to mask them, nothing to hide behind. Whether it's lights buzzing or faulty microphone placement and/or microphone choice, you will hear that. However, that's not the fault of the digital medium. Digital is simply an unforgiving medium; you cannot hide. Do you believe that if the craft of recording is properly prac- ticed, digital will help, not hurt? That's right. If you consider 16 -bit recording versus 20 -bit recording, you can say, well, it's silly to bring everything down to 16 bits again. On the other hand, you can shift the extra bits and have a subjectively lower noise floor. That may be an advantage, but I really think there is too much emphasis today on minute technical trivia. Many people start to forget that what we are doing is freezing a performance, no matter what the medium is. The musical performance is what's important. Some people don't even listen to music; they listen for things that have nothing to do with the performance itself. The absence of hiss and noise today is certainly a big advantage, yet I can listen to a performance on short wave radio interspersed with Morse signals, hash, and noise and still enjoy the music. The main thing is what is going onto the tape, not what the tape is. Basically we are overemphasiz- ing the marvelous technique and forgetting that we are still dealing with musicians and performances. Do you see the technology as now at a level where it doesn't really need to get any better? Technology always needs to get better, but not necessarily for the instruments. I may ask for a timpani roll, with medium or hard reasons that are professed. If you can put, say, 90 minutes on a CD, mallets, mezzo forte. If I have a microphone back there, I use the that would be a big advantage for some compositions. But from a fader to bring in the timpani, so I just hear the difference com- sound quality point of view, a CD is perfectly valid. There is noth- pared to the timpani coming through the main microphones. The ing that bothers me when I listen to a recording on Compact Disc result will be increased clarity, not a higher level. That, more or that is inherent in the medium. less, will be my timpani setting. And so on with different instru- Are you saying CDs are satisfactory? ments. If there is a harp, I request a couple of harp runs so I can eval- For what I am listening to as the musical experience, yes. The rest uate it. I usually put the harp forward in the orchestra so I do not starts to get into gimmickry and wizardry and gee -whiz. There was need an extra microphone on it. To make sure, I will listen while an interesting experiment that Wettler and I did in Zurich manythe orchestra tunes. While they're tuning, I hear that the harp is years ago. We played for audiences full -dynamic -range tapes and also playing, and I will listen to hear whether I get enough harp. If tapes compressed 3 dB, 6 dB, and 9 dB. Almost invariably, listeners not, then I know I will have to do something about it. If I know preferred the compressed versions. People did not want full dy- the hall and it is a fairly standard score, I can set the faders and the namic range. That was an eye-opener, but I don't know if it's still master to approximately where they will be before anyone plays. valid today, now that we can actually have nearly full dynamic Much can be done even while the orchestra is tuning or in the range. Then comes a very practical question: How, in a home situ- first few minutes of the session. Fine adjustments will be made in ation, are you going to use full dynam the first take, but they must be fine is range? Do you want to break your enough so that you can use that take lease by playing music so loud that the to splice in whatever is coming later. windows bend? And, if not, you're not The first take will be 95% of whatev- going to hear the softer spots either. er I want for balance. Sometimes I The only alternative is to listen will move musicians to get a more through headphones, and many people ou cannot natural balance and avoid using any do not like them. I happen to like lis- additional microphones. tening with headphones, because that's hide sins And you're ready a few minutes after the way I set my balances, but I have to you walk in the door? translate in my mind so I will know indigital It is usually two minutes, something what the recording will sound like to like that. This puts a little pressure most people on speakers. recording on because with two -track, it cannot It's your style to do all your balance be fixed later. That's the advantage of work on headphones. Do you take because there the way we work, with only Joanna speakers to a session? and me in the booth. We make all I take them to the sessions but only as isnothingto the decisions. There's no committee noisemakers, and I certainly do not list that has to decide on everything. what loudspeakers I use on my records. mask them. Getting the balance, even with a In an orchestral situation, for instance, choir and soloists and all that, you have only a few seconds to set a should not take more than two to balance; you cannot fool around with three minutes. Then it's working noisy environments and control room time, and I forget about the mixer. acoustics. There are so many variables. In a different room evenFrom what I heard you saying about playing God with dials, you familiar speakers will sound different. With the headphones, I would be opposed to multimike, multitrack mixdowns? have the same parameters each time, and I eliminate as manyNo, not necessarily. I use multimiking sometimes if I have to, but variables as possible. Any small adjustment on the mixer isonly as a crutch. Once I have the balance set, I don't touch the mix immediately audible on headphones, but on speakers you have to at all. It stays the same throughout the whole session unless the make wild swings of the same fader in and out, in and out, untilconductor specifically requests that he needs more, let's say, bas- you can really find the position where you want it. On the head- soon at some specific spot because the cellos, which are doubling phones that takes only a few seconds. You can go up and down the bassoon, are covering the bassoon. Then I might put a micro- twice and that's it. phone in the vicinity, which I will briefly bring in to get more bas- What kind of procedure do you go through? soon just for that particular passage. That is on request, or I may I start by going into the hall and seeing whether it is a live hall, apoint out that, in the context of this passage, I don't hear the color dead hall, or anything in between, whether it has flutter echoes or of the bassoon compared to the cellos enough. Then I ask the con- not-things like that. I have looked at the score and have seenductor for less cello or permission to do something about it. The where the pitfalls might be; I have made notes about what I am go- conductor is really the deciding factor in this. We are just helping ing to ask for from the conductor to set the balance. The first thinghim. A score that is well written and well orchestrated-and there to look for is the loudest spot in the piece, then ask for it to be are many of those around-usually does not require any changes played. Once I have the peak level, then I ask for some specific in balance. AUDIO/SEPTEMBER 1994 30 PRIME CUTS Marc Aubort lists a few of his favorite recordings among the many he has acoustics, and the hall on this recording made, then comments on their salient characteristics and the challenges of was far too dead. Instead of adding rever- making them. The list begins with symphonic works, proceeds through beration electronically, a lumber company was called. They provided a truckload of chamber music, and concludes with soloists. plywood sheets that were placed on the Prokofiev: Alexander Nevsky, Leonard more than two microphones for stereo seatbacks. This new "floor" greatly im- Slatkin and the St. Louis Symphony, Vox would be superfluous given the wonderful proved the reverberation characteristics of CT 2182. (Also on vinyl as Reference ALSY acoustic of Powell Hall in St. Louis. the space. 10003 and as a Mobile Fidelity CD.) This is an example of wide dynamic range, subtle Richard Strauss: Don Juan, Till Eulen- Beethoven: Violin Concerto, Pinchas Zuk- orchestral color, and a masterful orchestra- spiegel, Salome, et alia., Schippers and the erman and Zubin Mehta with the Los An- tion by Prokofiev that virtually balances it- Cincinnati Symphony, Turnabout CT geles Philharmonic, RCA (Red Seal) self. Although nine microphones were 2138. If there were "X -ratings" in classical 09026-61219-2. Solo instruments are often used, seven of them add only a little to the music, Salome's "Dance of the Seven Veils," recorded with a single microphone that main pair. There was no mike on the alto as conducted by Maestro Schippers, would spreads them across the entire orchestra. solo; instead, an elevated podium was used surely qualify. Two ambience micro- This can create the illusion of a violin 10 with a mirror so that the soloist had eye phones-cardiods facing away from the feet wide that is sonically out of propor- contact with the conductor. stage-were used to enhance the some- tion with the orchestra. In this recording, what dry acoustics of the Cincinnati Or- the solo violinist was moved back and Ravel: Daphnis & Chloe, Skrowaczewski chestra Hall. forth along the axis of the main micro- and the Minnesota Orchestra, VoxBox phone pair until the proper perspective CDX-5032. Maestro Skrowaczewski fol- Beethoven: The Complete String Quartets, was achieved. The same approach is valid lowed the composer's instructions to the Tokyo String Quartet, RCA (Red Seal) for any combination of soloist and orches- letter, achieving a wonderful tapestry of 09026-61284-2. Recorded in the Richard- tra, especially voice or piano. impressionistic colors. A record reviewer son Auditorium, Princeton, New Jersey. criticized this recording as "a great wash of This space does not have the "shoe -box" Liszt: Piano Music, Andre Watts, piano sound," probably forgetting that this is shape that is traditionally preferred. The Angel -EMI CDC 47380/81, and Scarlatti: what Ravel must have had in mind. I took hall is short and high; it has a dome and Fourteen Sonatas, Anthony di Bonaventu- this as a compliment. The Rhapsodie Es- much marble, with a curved stage and ra, piano, Titanic Ti 194. These two Stein- pagnole [from CDX-5031] in this com- back wall. Microphone placement is the way Brands were recorded with the tops re- plete set of Ravel's orchestral music is an- key to successful recording in this space, movesi. With the top in place, the direct other fine example of Ravel's sound colors. and the microphones must be near the sound and the reflections compete with quartet. each other. When the top is removed, there Christopher Rouse: Infernal Machine, will be a clearly defined "sweet spot" where Slatkin and the St. Louis Symphony, None- Ravel/Debussy: String Quartets, Cleveland the piano sound suddenly opens wide. It such 79778. A five-minute tour de force for String Quartet, Telarc CD 80111. This was takes some effort for the pianist to get used any orchestra, but in the hands of Maestro recorded at a church in the small town of to this, but the recorded results are well Slatkin it becomes a real show -piece. There Lyons, New York. When we arrived, we worth it. is much percussion, extreme dynamic found an acoustic ideal for Gregorian range, and a virtuoso performance of a chant but not for string quartets. A call to Andre Watts' performance of the Liszt Pa- contemporary American composer. The a disaster relief organization brought a ganini Etudes and the Hungarian Rhapsody piece has a quote from a late Beethoven truckload of blankets within an hour. XIII were recorded at New York's Academy Quartet. Can you name it? At the climax These were spread around the church, and of Arts and Letters. Had Scarlatti written the infernal machine self-destructs with a the result was a tamed acoustic suitable for for today's pianos, he would probably have big bang. Ravel and Debussy. written in the dynamic markings used by Anthony di Bonaventura in this recording Rimsky-Korsakov: Scheherazade, Semkow Haydn: Violin Concerti, Pinchas Zukerman at Manhattan's Rutgers Church. The and the St. Louis Symphony, Turnabout with the National Arts Symphony, RCA artists, the repertoire, and the sonics of CT 2136. An example of an all-time popu- (Red Seal) 09026-60797-2. Halls are cho- these two discs are very different, but the lar favorite so well -orchestrated that any sen for many reasons besides their basic recording technique is the same. Once the balance is set-the choir, a solo er. If it's wrong in the miking and in the Could you expand a little on why you can't within the orchestra or whatever-I sel- setup, then all the flexibility in the world "fix it in the mix" as some people say? dom touch the mix. That's it. You mix at won't help. If you don't hit it at the record- The tendency in multitrack recordings is to the start of the session, and what you get ising session, then you didn't do your job put a mike wherever you think you need it. what you had. Too bad if you don't hit it right. When I was still a novice in this busi- This adds mono information to the stereo right; it can't be corrected. That's what theness, Fred Wettler gave me a very good picture, so you end up with slices of mono, multichannel people think is so marvelous piece of advice: "You have to mentally hear superimposed on what might otherwise be about their technique. They can go fix ityour balance before it comes through the good stereo; but everything is in slices, and later, but if you didn't have a concept to be-mikes. If it isn't right, go out and do some- if you listen on headphones, you hear the gin with, there is not much you can fix lat-thing about it." slices, you hear the mono information. You're saying that panning a source into a position in the soundart in an orchestral union session: Finish on time but have every- field doesn't work very well? thing in the can. Finishing on time means to the second, by stop- Essentially, yes. Sometimes you may have to do that. But, again,watch, synchronized to WWV. There are people walking around when you pan something, you don't pan it in stereo; you pan it in the orchestra with stopwatches, and they are watching very closely. mono. You just shift the source from left to right someplace, and This can be really frustrating. you end up with that superimposed mono information whereverSo will you override a conductor if he keeps playing on and you you panned it. I prefer to position instruments so that the balancedon't need the material? is right for the main microphones. For a piano concerto or a violin Well, as tactfully as we can, yes. We worked with a very famous concerto I most often do not use separate microphones on the solo conductor who wanted to go back 50 bars every time we stopped him. instrument. I position the soloist, whether a singer, flute, violin orHe said he wasn't sure he could hit the right tempo again. Others piano, so that in the context of an orchestral setting there is a blend. can pick up three or four bars before, and the whole thing is totally The actual microphone positioning has much to do with the seamless. If a listener can tell, then we didn't do our job. Sometimes acoustics of the hall and, obviously, with the scoring of the piece. we have to shift splices because, for one reason or another, it doesn't The score again? work. Moving the splice can minimize the tempo discrepancy. Yes, and that brings us to how we actually conduct the recording The objective in this approach, if I understand it, is to get a strong session. The main thing is the performance, the large line. Casalstake and then, with the minimum of editing, fix those things that called it "the rainbow" from begin the producer and the musicians agree ning to end, the concept of the piece. need fixing? You start by taking long takes, usually Exactly. The goal is to end up with a complete takes of the movement. performance that embodies the artist's Once, twice, three times, if you have musical approach and is free from time, but usually you don't. On these fyoudon't technical imperfection. Every time takes we mark things on the score you hear imperfections on recordings that need to be worked on like into- havea concept it is very distracting. It's frozen there, nation, ensemble, rushing, slowing and after a few hearings you know it down, possibly a wrong note, things tobegin with, will happen before it does. There was like that. a recording I had when I was a teenag- At this point have you set aside the thereis not er, a record of Stokowski on a 78, one mechanics of the recording process of the Hungarian rhapsodies, and and are you listening critically to the muchyou can there was a French horn clam on it. To performance? this day, when I hear that piece, I That's right. The musicians usually fix later if it's know this is the horn coming up that come back to the booth and listen. was wrong on my 78. It is burned into We discuss musical ideas. Maybe we poormiking my brain, that wrong horn note. should do this differently here or So you have made it through the maybe we should push ahead a little or setup. sessions ... more there or we should have a little Now comes the hard part. We have to more restraint in this spot. Then take the whole stew and put together a comes a good discussion, a last- condensed version of what was played. minute general rehearsal of whatthey really want in that For a CD there are probably three to four hours of tapes. When we movement. come out of the session, we have an exact log and number for each Then we start all over again from the beginning. If there isn't take. We can always find, even 10 years or 20 years later, where time, we concentrate on the spots that the musicians have picked things are located. The score is already heavily marked because we up while they were listening and things that were marked while made preliminary decisions during the session as to what everyone they were playing the earlier takes. After two takes you usually start does or does not like. The marked score is the guideline to listen- working on the rough spots. ing later and making the final decision. It does not necessarily Recording is really co -production with the musicians. There is mean that you are going to use that take, but usually you do. constant dialog going back and forth through the intercom as we Sometimes there may be a later take that's even better, one that work to build the performance to something that will stand the wasn't marked. All the material will be listened to again in the test of time. peace and quiet of the studio before the editing starts. Will you interrupt a performance? So the first thing you do when you start to assemble an edited mas- Oh, yes. That is hard to do with a full orchestra. It's like holding a ter is to sit down and to listen to everything? Mack truck coming downhill. But it has to be done because ofYes. We also make additional markings in the score and question time restraints by unions. Every second counts, and if you waste what we wrote at the session. "Why did I do that? It's perfectly fine... time by covering things that you don't need, you don't haveI didn't hear this. This is wrong." You go through the score mark- enough time to cover what you really do need. That is the wholeings again without the pressure of the session. 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You'll get our exclusive Club Catalog about every three weeks (that's 19 shopping opportunities a year) with hundreds of choices in a variety of music categories-plus a featured selection in your preferred music category. We're flexible! If you want the Featured Selection, don't do a Send me for the price of 111117:17.1"mre thing-you'll receive it automatically. If you want other hits from the Catalog-or none at all-simply return the Notification Card, Please accept my Rush me these 4 CDs 7"I am always free to choose from any category, but (1) Members who enclosed with each catalog, by the specified date. It's that easy. membership in the BMG now (indicate by number): I am most interested in the music category choose CLASSICAL No pressure! You always have at least 10 days to mail bad( the as their listening inter- I Music Service and send me 4 checked here (checkQuoonly): Notification Card. est will be serviced by FREE CDs as indicated. 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Box 91300, Indianapolis, IN 46291-0300. in continental USA and First Name Initial Last Name (PLEASE PRINT) g Ms. -J: Two -CD set (counts as two selections). under special arrange mem in Alaska and I Dog and horn are trademarks of General Electric Company. USA. The BMG Harrah Offer not Address Apt. logo is a trademark of BMG Music. Other trademarks used in the mailable in Puerto Rico.I advertisement are the property of various trademark owners. ) APO or FPO. BMG Music Service. 6550 E 30th St.. City State Zip Phone X., Indianapolis. IN 46219-1194 ©1994 BMG Direct /WW1/.. .2 DJDFC SERVICE= Signature Start Saving! Mail This Postage -Paid Card Today. MS63 to show that this take goes from here to here and from there tothat a repeat was written out twice instead of with the usual dou- there with that take. The idea is to put together a sequence of takes ble bar repeat sign. In editing, instead of landing on the first seg- that, hopefully, is better than any one of the single takes. ment, I landed on the second while shuttling the tape back and We're creating an illusion, essentially helping the composer, forth. I should have counted the bars and looked at it more care- bringing his intentions to their absolute maximum best. The inter- fully when I was finished, but it made perfect sense and Sir Adrian preter, the musician, is a part in that chain. The whole recording approved the performance. It was just that there were 16 repeated process does not really help the musician much, but it creates anbars missing. illusion for the listener, making him think that the piece was per- You've been working with artists for decades. What changes have formed that way. The editing makes this possible. There has been a you noticed over the years? trend lately to go back to live performances, and I don't think it is There is always evolution, and artistic interpretation is continually such a good idea because it puts tremendous pressure on the artist changing. That's why artists are sometimes not keen to reissue to avoid making technical errors instead of concentrating on his things that have been out of print. It does not represent the way performance. that they are now. Unless ifs a historical performance or some- Does the availability of tape editing tend to make artists more ad- thing like that. That's something different. venturous? Does it tend to make them more relaxed? That would be a problem for them, wouldn't it? It can work both ways. It can also induce fatigue at a session. At- Sure. Look at a picture of yourself 10 years ago. Same thing. A tention and concentration start to diminish when a segment is recording is a moment frozen in time. It's like a photograph. It's done over and over. There should be a certain pressure during thewhat was there at that particular point, a statement for that partic- recording session. ular day or days or month or whatever. Of course, there is always So a little anxiety is a good thing? that great performance in the sky that never happened, but you It is absolutely a good thing. A little pressure doesn't hurt. That's cannot create what did not happen by editing. All you can do is do why sometimes the union sessions are a blessing in disguise be- your best by putting together what happened at those sessions. cause you have to get the material down in a certain period of The performances themselves are very subjective. You just have time. If it's open-ended, the session can start lacking tension, startthe score and what you're hearing. What's subjective in editing, for lacking inspiration. An artist cannot be inspired 20 times in a row. instance, are the pauses between movements or pieces. These are Sometimes the first take is best and you go back to it during edit- things that did not happen at the session. You stopped the tape at ing. When all is said and done, after you have mapped out some-the end of the movement, and you don't have the timing to the thing on the score, you start questioning what you are doing. Very next movement. While editing, you put the pauses in by feel. But often I do go back, listen again to first takes and start eliminat-what happens is that in the evening, you put in shorter pauses ing splices that I had already made, and I put in longer stretches than you do in the morning. of first takes to preserve the excitement and the freshness of theDo you think that this would be reflected in the performance tem- performance. pos also? You are splicing spontaneity back in... I'm sure it is, to a certain degree, but not with something that has Yes. I will overrule myself on precision and take as a priority thebeen rehearsed a lot; but I find invariably that when I put in paus- excitement of the performance, even at the cost of an occasionales, they are shorter in the evening. When I come in next morning, ensemble problem. I say, why is it so short? Editing sounds like a deliberative and solitary process... Are we talking 3 seconds versus 5 seconds? Sometimes artists are present at the editing session, but we have Doing it by your watch is one thing, but if you do it by counting or found this to be actually counter -productive. From experience we by feel the way it should be done, then the pause varies. Three sec- have found that we are better off doing editing on our own. Then onds is awfully short; a pause lasts between 4 and 6 seconds. we have the artist come in, listen to the whole thing, comment, So the silence is important ... and ask questions. "Do you have something different here? I Silence is part of the music. A fermata is music, a part of the ex- would like a little more of this or that here. Did we have that at the pression that you are trying to achieve. For years when I listened session or not?" Then, of course, we go through all the outtakes, the next morning to pauses I put in the previous evening, I won- and if we have it, we will put it in. In any case, the artist and the dered why I put in such short pauses. It took me a long time to fig- composer, if living, have to give final approval of their work before ure it out. Everything seemed the same, but what is different? The anyone else is allowed to hear it. heartbeat is different, and so the whole sense of timing is different. Editors of classical music have the least latitude of all editors,In the evening my heartbeat is around 115, and in the morning it's whether it's pop, rock, film, video, or anything else, because youaround 80. It's a biological clock, and it's ticking inside. The bio- can't lob out four bars just because they didn't turn out too well.logical clock guides the reaction to the pause length and some- You can't cut it intentionally, but sometimes by error something is times conflicts with or changes the subjective sense of timing. So added or left out. That happened to me in a recording ofwe have to correct these things and average them out before we ask Beethoven's Seventh I did in London with Sir Adrian Boult. The the artist for approval of the edited master. record was out for more than a year when somebody wrote that And when you have that approval. .. ? there were 16 bars missing. I looked at the score and listened to theThen it goes to production and is made available for the public to spot, and sure enough, 16 bars were left out. It just so happened enjoy. A AUDIO/SEPTEMBER 1994 33 OOOOO OOOOOOOOOOO * ,t

hile consumers are becom_ng accus- tomed to CD -quality, digital sound, that clean, dynamic audio has spoiled many radio listeners who cannot get the same sound from a 70 - year -oldanalog medium. The trans- mitted audio scenario,

however, is changing. The broadcast industry is being deluged with technical innovations that will fundamentally improve

broadcast sound quality to match that of CD, offer more program choices, and make available other features not associated with analog. Some of these new technologies are available now or will be within a few years.

TERRESTRIAL BROADCAST I For traditional radio listeners, a process is

now underway to enable digital radio broadcasting over the air. In 1993, an industry group comprised of

consumer audio companies and broadcasters was formed to begin searching for an over -the -air digital trans-

mission system for AM and FM, known as digital audio radio (DAR). The laboratory testing process began early in 1994 at

NAS/Vs Lewis Research Center in Cleveland and is expected to conclude this fall; field tests of the systems will follow. The indus-

try group eventually will use the information t3 recommend a Initially, digital au- transmission system. Depending on which system is chosen, thedio radio receivers

Federal Communications Commission may select the digitaland tuners are likely transmission standard or, at least, impose certain technical rules. to cost more than the Actual digital radio broadcasting before the end of the decade current analog :om- (and century) is likely. ponents; manufactur- Of the systems being considered, broadcasters favor the oneers say it is too early that disrupts their operations the least; the preferred proposal isto make an estimate. an in -band, on -channel system, or IBOC. If the technology worksBut as with other new as promised, the IBOC system enables transparent piggy -backingtechnologies, demand of the digital signal on the AM and FM analcg signals, whichwill bring the price means that broadcasters do not have to inves-_ in a lot of new down.

equipment or acquire new spectrum. This way, they also can simulcast analog and digital for several years until digital receivers CABLE

penetrate the consumer market. Such a system would give AM SERVICES stations FM -quality sound. For those who are unwilling to wait for over -the -air digital ra-

New -band systems, such as the European -developed EUREKA dio, digital sound over cable is already available. Currently, two 147, would require new spectrum and new, more expensive digital audio services, Music Choice (formerly known as Digital

transmission equipment for broadcasters. That system, how- Cable Radio) and Digital Music Express (DMX) are offered as an ever, has been embraced in Canada option by many cable companies

II I 1.;SIRA IIONS/HARR1 11:)1. K a and throughout much of Europe. across the country. According to the

AUDIO/SEPTEMBER 1994 34 OOOOOOO OOOOOOOOO OOOOO 40.1101( 14111114 44i . * ******** * *************** *****

companies, Music Choice will be available to more than 12 mil- technology has progressed to the point that you can dial in satel-

lion households by the end of the year while DMX already is avail- lite programming channels from a receiving dish mounted on a able to 14.5 million subscribers. window sill inside your house.

Both systems use a digital decoder, similar to a cable box, which Music Choice is the first audio service to become part of the routes the digital -to -analog -converted signal to a home receiver or new DirecTv package, a Hughes Aircraft/Thomson venture that

preamplifier. Each service offers more than 30 channels (plans are utilizes an indoor 18 -inch dish antenna to receive satellite -fed, in the works for more) of uninterrupted programming-no DJs, digital video, and audio signals. DirecTv is a DBS video/audio car-

no commercials. These channels include most of the popular mu- rier targeted at those who do not have access to cable, and those sic formats and others that are not heard on typical radio stations. who do but are dissatisfied with the "wire" approach. The DirecTv

Music Choice and DMX also offer a feature you don't yet get on satellite receiving dish and receiver box will be sold by electronics your CD player or the local radio station: Display of artist, song ti- retailers, including Circuit City, Silo, and Sears, as well as electric

tle, CD title, and songwriter information. This information can be co-ops. The retail price is $600, but it is expected to drop with viewed on a remote control with a display. demand.

If set up correctly, DMX and Music Choice have first-rate DirecTv became available in late June, with an initial five -city sound quality, since the cable companies have to install state-of- roll -out. The service will be available nationally by the fall. Music

the-art digital audio distribution equipment. You can compare the Choice also is slated to start this fall following the launch of a sec- analog audio of a premium cable channel to the audio simulcasts ond DirecTv satellite. Annually, Music Choice hopes to pick up a

on the digital service; the difference is obvious. (Contact DMX at million subscribers through DirecTv. 310-444-1744 in California, Music Like its cable operation, Music Choice

Choice at 215-784-5840 in Pennsylvania, will offer multiple channels of digital au-

or your local cable company to find out j I dio, but it will not need a separate con- A 1\1

which service is or will become available verter box. The programming will be in your area.) provided through the DirecTv receiver

DIRECT BROADCAST SATELLITE AUDIO As good as these digital audio cable services are, they are not John Gatski is News/Studio Sessions Editor for Radio

available everywhere. A remedy for this inaccessibility is Direct World, an industry publication covering radio broadcast- Broadcast Satellite (DBS). Now I am not talking about the huge, ing in the U.S., Europe, and Latin America.

conspicuous dishes you see mounted in many back yards. Today, OOOOOO

box. Music Choice's fee will be part of the overall DirecTv fee for RDS (although most make European models with RDS facilities).

the programming package that contains the service. Initially, how- The companies say that they are waiting for more U.S. broadcast-

ever, Music Choice will not have the artist/song title display capa- ers to add RDS.

bility that is available to cable subscribers. Still, some manufacturers have already been delivering RDS 4

Digital Music Express has its own DBS service; the 120 -channel products to consumers for several months including Denon,

capacity package includes an indoor -located, small receiver dish Onkyo, Grundig, and Philips. Delco offers RDS as an option for

and custom Bose speakers. This service is oriented to business GM cars. The initial RDS receivers sold for about $50 more than non-RDS versions, but costs are

starting to come down, according to manufacturers.

In use, the current crop of RDS radios work well, and it is nice to

be able to see a station's call letters and format on the display. In my

view, RDS is analog radio's bridge to digital-it has enough enhance-

ments to keep the customer happy, and is cheap enough for broadcast-

ers to implement without significantly driving up operating costs.

Those interested in RDS should consult local stations as to whether

they are broadcasting the subcarrier. Contact your local or mail-or-

der audio dealer to see if they have the radios. WHETHER customers who do not have access to cable. By the way, RDS does not work on

Other audio -only satellite services will no AM as the standard is written (the data OVER THE AIR-

doubt come on line in the near future. rate is too low), but some RDS radios

will soon use the ID Logic technolo- WAVES, THROUGH

RADIO DATA SYSTEM gy that allows AM/FM station selec-

An offshoot of the digital audio rev- tion by format via an internal com- CABLE, OR FROM

olution is the ability to send video and puter inside the receiver or tuner. (A

other types of ancillary information. few non-RDS radios with ID Logic SATELLITE, DIGITAL

The Radio Data System (RDS), devel- are already available from Alpine and

oped in Europe in the mid -1980s, was Panasonic.) These radios are pro- RADIO IS COMING

standardized in the U.S. in early 1993. In a grammed with AM/FM station format

nutshell, a radio station can broadcast an RDS information, based on an internal database YOUR WAY

subcarrier on its main signal to an RDS receiver of station formats. Radios with RDS will take

that can display station call letters and scrolling ID Logic a bit further, allowing the AM and FM

text/messages; find stations by program format; provide auto- databases to be updated automatically, by an RDS signal

matic emergency or traffic alerting, and automatically and seam-from an FM station assigned that responsibility for its market,

lessly retune a receiver to the strongest signal of a program or net- rather than by hand. According to ID Logic, several companies

work that uses multiple transmitters. (including Panasonic, Sony, Alpine, and Pioneer) should be mak-

The RDS signal also is capable of sending other types of data, ing such radios by early 1995.

including retail information and paging services. Although digital radio, in the traditional sense, has not yet tak-

So far, only about 170 U.S. radio stations are broadcasting RDS en hold, the initial wave of products and services is here, giving

data, but numerous station owners have said they want to add the consumer a partial menu from which to choose. Judging from

the capability in late 1994 or 1995. The slow acceptance by broad- the quality of these upstart products and services-and the cer-

casters, however, has impacted the receiver/tuner side of the busi- tainty that others are sure to follow soon- listeners should not be

ness. Most receiver manufacturers have not yet fully embraced disappointed. A

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Send to Chesky Records, P.O. Box 1110, Long Island City, NY 11101 Void 6 --ionths atter publication date anced or unbalanced input. Instead of mir- EQUIPMENT ror -imaged p.c. board for the two channels, identical boards are used. As a result, the arrangement of input jacks and the orien- tation of this toggle switch in one channel AYRE ACOUSTICS V-3 is the opposite of that in the other. The POWER AMP speaker connectors are high -quality Car- das, all -metal, five -way binding posts. Looking within, we quickly see that this is not the "usual bear," as evidenced by the presence of five toroids. The largest, of course, is the main power transformer. Smaller, but still substantial in size, are the two filter chokes for the output -stage supplies. Finally, there are two smaller chokes for the supply that feeds the input circuitry. I can imagine some of you saying "Wait a minute, toroidal cores have no air gaps and would easily saturate with large amounts of d.c. flowing in their windings." Fear not-these cores are cut and have air - gap spacers installed. As mentioned above, the amplifier circuitry is on two identical p.c. boards, one for each channel. These p.c. boards are mounted to large heat sinks that form the sides of the amplifier. Overall parts and build quality are of a high order.

Circuit Description Signal circuitry of the V-3 is simple yet elegant. It starts out with a complementary differential input stage utilizing (think hard, now) MOS-FETs! Active current sources, also utilizing MOS-FETs, separately bias the N- and P -channel parts of the input amplifier at a stage current of some 30 to 40 mA per device. The differential out- first encountered the Ayre V-3 at the puts of each input pair are direct -coupled January 1994 Consumer Electronics Show, and was impressed with its tech- SPECS nology and sound. This is an unusual amplifier that differs from most other Power Output: 100 watts per designs in four major ways: All its am- channel into 8 ohms, 200 watts plifying devices, including those used in per channel into 4 ohms. the front end, are MOS-FETs; the circuit Gain: 32 dB. uses a fully balanced bridge topology; there Input Impedance: 10 kilohms. is no overall negative feedback, and, finally, Dimensions: 18 in. W x 14 in. D x the power supply utilizes choke -input fil- switch is the only front -panel control. On 5% in. H (45.7 cm x 35.6 cm x ters. Other power amplifiers may havethe rear panel are the input and output 14.0 cm). some of the above features but none that I connectors, an IEC line cord connector, an Weight: 54 lbs. (24.5 kg). know of has all four. a.c. line fuse, and a master "On/Off" Price: $3,450. The unit is attractively packaged and switch. Provisions are made for both un- Company Address: 2300 B Central sports an aluminum front panel, 1/2 -inch balanced and balanced input via high - Ave., Boulder, Colo. 80301. thick, in your choice of black or silver fin- quality RCA and XLR jacks; small toggle For literature, circle No. 90 ish. A centrally located standby/operateswitches, one for each channel, select bal- AUDIO/SEPTEMBER 1994 38 to the second stage in a folded-cascodeFETs frequently used in audio 111N LABS LEVRLfar) us FREQ(Hal +2 arrangement. A regular cascode using FETs power amplifiers. OPENEIR6Z1T would consist of a common -source FET Each of the two output termi- 0 driving a common -gate FET, so that the in- nals has a filter network connected -4 put FET's drain fed the cascode FET's back to the cascode MOS-FET dri- source. The overall output is taken from ver gates, providing feedback to w> -8 _... the drain of the cascode FET. Ordinarily, minimize the output d.c. offset. 8 HMS both devices are of the same polarity and This feedback is said to be restrict- -1 -12 the drain current is virtually identical in ed to the frequency range from d.c. 4OHMS both, as they are connected in series. In the to about 0.16 Hz. -16 .., ......

The nature of the N -channel . . - output devices allows an interest- 10 100 lk 10k 200k ing technique for measuring out- FREQUENCY - Hz put -stage idling current. These de- Fig. 1-Frequency viceshavecurrent -sensing response. attributes, via a fourth terminal, and a small portion of the current flowing through the MOS-FET is channelled to an external resistor --J THE CONSTRUCTION OF through this terminal on the out- THE V-3 IS UNUSUAL, put device. The known relation- AND ITS CIRCUITRY IS ship between the voltage drop across this resistor and the much SIMPLE, YET ELEGANT. larger current flowing through the main portion of the source geometry allows device current to be folded cascode, two opposite -polarity de- measured accurately without the Fig. 2-Square-wave vices are used, returning the d.c. level ofpower loss and increased output response. the second transistor's output towardimpedance that result from the ground. This allows for greater voltage normal technique of passing all the swing. Additionally, a common resistor (or source current through a sampling 10 current source) supplies idling current to resistor. both devices at the point where the first As mentioned in the introduc- stage drives the second stage. In the folded tion, there is no overall feedback 1

1 cascode, therefore, the currents in the de- loop from the output back to the 0 vices are not common but add up to the first stage. Balanced input sources 0.1 In total amount supplied by the load resistor. drive the input differential amplifi- 5 There could be some argument as toer in push-pull (i.e. the two input whether a folded cascode constitutes oneterminals in opposite polarity 0.1 10 100 500 POWER - WATTS or two stages. It is easier to see the ordinary from each other). Signals from the cascode as one stage because the current ofunbalanced input jacks drive the Fig.3-SMPTE IM and the input devices is common to the cascod- non -inverting input terminal of 1 -kHzTHD +N vs. power. ed upper devices. I am discussing it as two the input differential amplifier, stages because I think it is a little simpler to which acts as a polarity inverter. and driver stage and ±46 V as signal understand that way. The power transformer has two sec- grounds for the integrating capacitors in The drains of like signal -phase pairs ofondary windings, each of which feeds a the d.c. feedback networks and as bias volt- the four devices in the second stage are tied full -wave bridge rectifier made up of dis- ages for the current sources. together through MOS-FET bias -spreading crete, ultra -high-speed, soft -recovery recti- Choke -input filters, as opposed to the al- regulators and are also direct -coupled into fier diodes. After the choke -input filters for most universally used capacitor -input fil- the gates of the appropriate -polarity out- each rail -voltage polarity, the output -stage ters, use a series choke or filter reactor as put devices. These output devices are of the supply delivers about ±25 V. The choke -in- the input element of the filter network, fol- latest generation and feature ultra -low on - put filters for the front-end supply are followed by a shunt capacitor to ground. In resistance, high -current capability, andlowed by a zener-follower arrangement. other words, the rectifier output is con- very high transconductance. Each device is The zener follower uses two N- and two P - nected to a choke and the smoothing ca- said to be roughly equivalent in these as- channel MOS-FETs as pass elements to pacitor comes after the choke. Choke -input pects to 10 of the Hitachi lateral MOS- generate ±45 V to the folded cascode input filters were traditionally used years ago in AUDIO/SEPTEMBER 1994 39 MS ISIS#6.11(11) LA MM zz, MIZOS) In contrast, a capacitor -input fil- Distortion characteristics for both chan- 20 ter only draws current for a frac- FT ITT! nels of the V-3 were very similar and subse- 10 tion of each half cycle near thequent discussion is arbitrarily for the right

..240 WATTS peak of the a.c. waveform. As a re- channel. Figure 3 shows 1 -kHz THD + N sult, the peak current is much and SMPTE-IM distortion for 4 -ohm and higher and its discontinuous na- 8 -ohm loading, using the unbalanced in-

60 WATTS ture causes a.c. line -harmonic dis- puts. With balanced input feed, hum and tortion and generates r.f. interfer- noise at low powers were a bit lower than 20 WATTS ence. This may cause undesirable shown. Figure 4 shows THD + N as a func- 0.1 JlI 2 WATTS sonic degradation in the audio sys- tion of frequency and power for 4 -ohm

0.02 tem that includes the amplifier. loading. Distortion characteristics are very 20 100 10k 20k similar to those of many tube amplifiers in FREQUENCY - Hz Measurements magnitude and curve shape. A spectrum of Fig. 4-THD + N vs. Voltage gain and IHF input sen- frequency. sitivities were 32.7 and 32.6 dB for left and right channels, with corre- FOLDED-CASCODE sponding input sensitivities (for 1 CIRCUITRY INCREASES watt output into 8 ohms) of 65.7 and 66.6 mV, respectively. The re- THE AYRE V -3'S sults quoted are for the unbalanced VOLTAGE SWING. inputs and were virtually identical, as they should be, for balanced inputs. This unusually high gain will the THD residue for a 1 -kHz signal run- be useful in systems using passive ning at 10 W into 8 ohms is plotted in Fig. preamp/controllers, and will give 5. Of interest is how rapidly the harmonics low-level recordings from low -out- fall off-mostly a result of having no over- 4k Sk 16k 20k FREQUENCY - Hz put sources a better chance of all loop feedback. coming out at good listening levels. Output hum and noise for both chan- Fig. 5-Spectrum of distortion If you're playing a high -output nels and unbalanced and balanced inputs residue for 1 -kHz signal. source with an active preamp, are presented in Table I. In the wideband however, the Ayre's high gain may measurements, the output noise is domi- BMX LABS force you to set the preamp's vol- nated by power supply ripple components. 30 - _ - - - ume control in the low part of its Further, noise is lower for balanced inputs. 1 RIGHT rotation, where the tracking be- Damping factor, referenced to 8 ohms, is tween channels usually isn't as plotted for both channels in Fig. 6. The ,5 20 LEFT good. damping factor of the V-3 is between those Frequency response for open - of typical tube and solid-state amplifiers. F. circuit, 8 -ohm, and 4 -ohm loading Interchannel crosstalk was measured for 21, to is shown in Fig. 1 for the rightboth unbalanced and balanced inputs. channel; frequency response char- Crosstalk was generally better than 110 dB acteristics were exceptionally well down from 20 Hz to 2 kHz except at 120 0 10 100 lk 10k 20k matched between channels. As can and 240 Hz, the dominant hum compo- FREQUENCY - Hz be seen, the V-3 is not what you nents in this design. Above 2 or 3 kHz, would call an r.f. amplifier, having crosstalk reached some -98 to -106 dB at Fig. 6-Damping factor. a -3 dB point of about 25 kHz. 20 kHz, depending upon direction and in- Rise- and fall -times measure about put mode. The driven channel level for this large Class -AB, and Class -B tube power ±14 which corresponds perfectly with test was 10 V rms into 8 ohms, and the un- amplifiers because they provided better the classic simple relationship between driven channel was terminated in 1 kilohm voltage regulation than capacitor -input fil- bandwidth and rise -time, that the frequen- for the unbalanced mode and two 1-kilo- ters did. Such an arrangement, with thecy in MHz of the -3 dB point will equal hm resistors, one per input phase, in the proper value of inductance in relation to 0.35 times the rise -time in microseconds. balanced mode. the current drawn, has the unique propertySquare -wave response of the V-3 is shown In measuring dynamic headroom, that the current through the rectifier and in Fig. 2. In the 40 -Hz trace, some low -fre- though I still use the IHF tone -burst signal, the primary and secondary windings of the quency tilt can be seen, an effect of the I am revising my reporting method to add power transformer is continuous through- aforementioned d.c.-stabilizing feedbackmore information than a single number. out the a.c. power -line waveform period. networks. Continued on page 49 AUDIO/SEPTEMBER 1994 40 THE RAVE OF AUDIO INSIDERS, NOW AT "INSIDER" PRICING.

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Pictured, the AP -2, $1199/pairAP -4, $2199/pair AP -1, one of five Name DIGITAL PHASE Street Address systems with patented Acousta-Reed City/State/ZIP technology. Telephone ( ) EIVISA MC ['AMEX Exp. Card No. Signature Mail to: DIGITAL PHASE Insiders 2841 Hickory Valley Rd. Chattanooga, TN 37421 Enter No. 11 on Reader Service Card coverage has been addressed by minimiz- EQUIPMENTPROFILE ing vertical lobing through the use of acoustically in -phase crossovers and low ENERGY VERITAS crossover frequencies. Energy states that "Correct phase relationship of all transduc- v1.8 SPEAKER ers throughout the audio band results in a coherent and stable sound image." SYSTEM The cabinet of the v1.8 is very well braced and uses 1 -inch -thick high -density fiberboard throughout. nergy is now a divi- The interlocked bracing of sion of Audio Prod- the v1.8 divides the enclo- ucts International, sure into three separate but oneof Canada's interconnected chambers largest audio compa- housing, respectively, the nies,whichalso mid/high driver assembly, owns Mirage. Energy's the two woofers, and the Veritas v1.8, at $3,350, is rear port tubes plus the the lower cost, slightly crossover and input con- smaller sibling of their nections. Each chamber is flagship system, the $6,000 critically damped with Veritas v2.8. The v1.8 in- generous amounts of fiber- herits many of the v2.8's glass, 4 inches thick, to re- sophisticated design fea- duce internal standing tures. Like the v2.8, the waves. v1.8 is a floor -standing, Cabinet re -radiation, three-way ported system. which causes unwanted It utilizes a pair of vertical- midbass colorations, is rely stacked, parallel -con- duced by isolating the sys- nected 61/2 -inch woofers, tem's woofers from the operated with what Ener- cabinet through the use of gycallsa"Coherent mechanical isolation rings. Source" mid/high module A heavy solid hardwood that uses metal -dome dri- base, 11/2 inches thick, pro- vers. The v1.8 is vented at vides additional stability. the bottom rear by four Spikes are provided for use flared -port tubes. on carpeted floors. The The v1.8 (and the v2.8) v1.8's cabinet is finished follow quite closely the on all six sides (yes, even loudspeaker perfor- the bottom!). Diffraction mance guidelines of is reduced by beveling the Canada's National Re- outside edges of the front search Council, primarily es- 1panel and by minimizing tablished by Dr. Floyd Toole, for- abrupt angular disconti- mer head of the Acoustics Department in nuities with flush -mounted drivers, etc. the NRC's Division of Physics. (Dr. Toole THE VERITAS v1.8 USES The v1.8's three-way crossover is com- currently heads the research and develop- puter -optimized and includes correction ment efforts of Harman International, CUSTOM DRIVERS, that flattens the system's input impedance. which includes JBL and Infinity, among SOPHISTICATED The crossover is quite elaborate and con- others). These guidelines state that for a CROSSOVER DESIGN, tains 29 parts: nine resistors, 10 inductors, system to be preferred by experienced lis- and 10 capacitors (not counting paralleled AND A REFINED CABINET. teners, it must have wide bandwidth, flat units), all of high quality. Six of the 10 in- and smooth axial frequency and power re- ductors are iron core, including all induc- sponse, and uniform, wide dispersion. features as custom drivers, sophisticated tors in the woofer section. The Veritas v1.8 reaches for these perfor- crossover design, and a refined cabinet The woofer is driven through a third - mance goals by incorporating such design structure and shape. Improved verticalorder low-pass filter with a series LCR AUDIO/SEPTEMBER 1994 42 impedance -compensation network in par-equipment reviewers because it 1 00 TEF allel with the woofer. The midrange is a allows independent access to each second -order bandpass filter and contains portion of the crossover for mea- 90 two series -connected parallel -resonant rejec- surements. Spade -lug jumpers SO tion circuits that provide response shaping. are provided to facilitate each

The tweeter is driven by a second -order, connection configuration. 70 high-pass filter and contains a series -con- Energy manufactures all the nected tuned LCR boost network and a drivers used in their systems. As- 60 20 100 1k 10k20k parallel -resonant rejection circuit tuned to suming equal displacements, the FREQUENCY - Hz about 24 kHz. A series LCR impedance - dual 61/2 -inch woofers of the v1.8 Fig.1-One-meter, on -axis compensation network is in parallel with have the equivalent air -moving anechoic response. the tweeter. The tweeter and parallel -con- capability of a single 9 -inch nected woofers are connected in positive woofer (if there were such a size). polarity, while the midrange is reversed. The woofers of the v1.8 have in- Each section of the three-way crossover jection -molded polypropylene is brought out separately to the back panelcones which have butyl rubber with three gold-plated five -way double -ba- surrounds. L;-180 +0.5 nana jacks, which allows the use of single, The midrange and tweeter of bi-, or tri-wiring. This feature is super forthe v1.8 are mounted in a sepa- L2.1 -3E0

rate tear -drop shaped module lo- -540 4 cated above the dual woofers. -720 1.0 SPECS Both tweeter and midrange uti- 20 100 1k 10k 20k lize hyperbolic -shaped alu- FREQUENCY- Hz Type: Three-way, floor -standing, minum -alloy domes with cotton Fig. 2-Or-axis phase vented system. suspensions and cloth -roll sur- response and group Drivers: Two 6V2 -in. cone woofers, rounds. The 3 -inch midrange has delay. 3 -in.aluminum -alloy dome a large edge -wound voice coil, midrange, and 1 -in. aluminum - three inches in diameter, wound alloy dome tweeter. on a high -temperature Kapton 90 TEF On -Axis Frequency Response: 35 bobbin. The midrange operates Hz to 25 kHz, ±2 dB; 32 Hz to 33 in a sealed rear air chamber that 80 kHz, ±3 dB. provides a maximally flat response down to about 380 Hz. co Sensitivity: 87 dB at 1 meter, 2.83 V 70 rms applied. The 1 -inch dome tweeter has a w shaped pole piece for higher Crossover Frequencies: 400 Hz and 60 2.5 kHz. magnetic flux density. Impedance: 6 ohms nominal, 4 The front surface of the 5 00 ohms minimum. mid/high module has been care- 6 8 10 Recommended Amplifier Power: fully contoured to minimize dif- TIME - mS 80 to 250 watts/channel. fraction and is covered with an Maximum Power Handling: 300 acoustically transparent, non -re- Fig.3-Energy/time watts instantaneous peak at less movable protective screen. The response. than 10% clipping. grille of the v1.8 is an injection - Dimensions: 46 in. H x 113/8 in. W x molded plastic piece wrapped 12% in. D (116.8 cm x 28.9 cm x with black grille cloth; it attaches 31.4 cm); footprint: 131/4 in. W x to the front panel by means of 141/2 in. D (33.7 cm x 35.9 cm). eight projections that mate with Weight: 80 lbs. (36.4 kg) each. corresponding holes in the front ' 0,10 dB Price: $3,350 per pair; available in panel. mahogany wood veneer or high FRONT 450 OFF gloss black lacquer. Measurements 90 SIDEAXIS- _A. 135 DEGREES Company Address: 3641 McNicoll Figure 1 shows the 10th -oc- 180 REAR Ave., Scarborough, Ontario MIX tave -smoothed on -axis anechoic 200 2k 20k FREQUENCY - Hz 1G5, Canada. frequency response of the Veritas For literature, circle No. 91 v1.8, together with an un- Fig. 4-Hor zontal off -axis smoothed curve that shows the frequency responses. AUDIO/SEPTEMBER 1994 43 effects of the grille. Measurements desirable because it minimizes lobing error were taken 2 meters from the and vertical off -axis response anomalies. front of the cabinet, at a point With the woofer reversed, the on -axis halfway between the midrangelevel was reduced only about 10 dB in a and tweeter. A voltage of 5.66 Vhalf -octave range centered at 560 Hz, the -90 BELOW 45 OFF rms was applied, and the mea- woofer -midrange crossover frequency. This 0 FRONT Axis_ 45 DEGREES surement was referenced back to indicates that the woofer and midrange are 90 ABOVE 200 2k 20k 1 meter. A combination of elevat- not completely in phase at their crossover FREQUENCY - Hz ed free -field and ground -plane when normally connected. This is not a Fig. 5-Vertical off -axis measurements was used to derive significant problem because the midrange frequency responses. the curve. and woofers are quite close together The overall curve fits a moder- acoustically at the lower crossover. ately tight 5.5 -dB window (+1.5, A check of response in the range from 20 -4 dB re: 1 kHz) over the wide to 30 kHz, above human hearing, revealed range from 36 Hz to 20 kHz. The a high -Q peak of 6 dB at 23.3 kHz and a 100 TEF curve is fairly flat from 50 Hz to 1 sharp, 8 -dB dip at 25.8 kHz, both caused OHMS kHz but exhibits a somewhat by a tweeter -dome resonance. At still high- O rougher, depressed response ater frequencies, the response rolled off 10 higher frequencies. Major anom- rapidly. alies include a dip, two-thirds oc- The phase and group -delay responses of a U OHMS tave wide, at the upper crossover the Veritas v1.8, referenced to the tweeter's 10 100 1k 10k 30k point (2.5 kHz) and a high -fre- arrival time, are shown in Fig. 2. The phase FREQUENCY -Hz quency peak at 17 kHz. Excluding curve is well behaved and advances only Fig. 6-Impedance. the crossover dip, the curve fits a 90° above 1 kHz. The group delay curve in - tighter 4 dB window from 40 Hz to 20 kHz. The grille causes moderate changes in response above 2 VIBRATION -RESISTANT, kHz, of about +1, -2 dB. The +j10 main effect is a series of sharp THE CABINET IS FINISHED 4 dips in the response above 4 kHz. ON ALL SIX SIDES, EVEN +j5 Averaged from 250 Hz to 4 THE BOTTOM! 'g) kHz, the sensitivity of the system measured 84.9 dB, about 2 dB below the v1.8's 87 -dB rating. Below 15 kHz the right and left systems dicates an approximate offset of about 0.4 -15 were matched very closely, staying mS between the midrange and tweeter. The within ±0.4 dB. Above 15 kHz, group delay deviation at 130 Hz is due to j100 5 10 15 20 however, one system's tweeter fell minimum -phase variations in the magni- RESISTANCE - OHMS about 1.5 dB below the oppositetude response at the same frequency and Fig. 7-Complex system's. would disappear if the response were flat impedance. The crossover frequencies and through this range. phase characteristics were investi- Figure 3 shows the v1.8's one -meter on - gated by reversing the polarity ofaxis 2.83 V rms energy/time response. The each driver in turn. This was test parameters accentuate the system's re- made much easier by having thesponse from 1 to 10 kHz, which includes 90 input connections to each portion the upper crossover region. The main ar-

80 of the crossover so accessible. rival, at 3 mS, is very compact, but is fol- With the tweeter connection lowed by a response about 25 dB down 70 _a reversed, a sharp 20 -dB dip in the from the main energy peak and is delayed co response was evident at 2.23 kHz, by about 1 mS. 60 the upper crossover. This indi- The horizontal "3-D" off -axis responses 50 cates that, in the normal connec- of the v1.8 are shown in Fig. 4. The bold 20 100 1k 10k 20k tion, the tweeter and midrange FREQUENCY-Hz curve at the rear of the graph is the on -axis are essentially in phase through response. In the primary ±15° listening Fig. 8-Three-meter room the crossover region. This inter - window, the off -axis horizontal responses response. driver phase relationship is quite are quite uniform and exhibit only slight AUDIO/SEPTEMBER 1994 44 Buy this.

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Enter No. 12 on Reader Service Card 100 - high -frequency roll -off. Interest- 0.053 ohm to keep cable -drop response MAXIMUM POWER: 100 WATTS 3rd, 11.5% ingly, the on -axis dip in the re- peaks and dips greater within 0.1 dB. For a 10 - 2nd, ; 3.5% sponse at the upper crossover typical run of about 10 feet, 14 -gauge or 0 10//16 51h, 2.0% 0 418, 0.1% point at 2.5 kHz essentially disap- larger low -inductance cable should be 12 dB pears beyond about 25° off axis. used. *' T This implies that the dip is dif- Figure 7 shows the very energetic com- POWER - WATTS fraction -related and probably as-plex impedance of the v1.8, plotted over 0.1 sociated with the width of the the range from 5 Hz to 30 kHz. Between 20 50 100 150 200 250 FREQUENCY -Hz cabinet. Hz and 20 kHz, the impedance phase (not Fig. 9 -Harmonic distortion The vertical off -axis "3-D" shown) reached a maximum angle of +34° for EI (41.2 Hz). curves of the v1.8 are seen in Fig. (inductive) at 1.51 kHz, and a minimum of 5. The bold curve half way back is -38° (capacitive) at 26 Hz. With these on -axis response. In the primary moderate angles, but fairly low impedance ±15° vertical listening window, values, the v1.8 will not be a problem for

00 the responses are quite uniform most amplifiers, if used one per side. MAXIMUM POWER: 100 WATTS and exhibit only minor anomalies A high-level, sine -wave sweep revealed a 10 2nd,2.3 % 0 at the upper crossover, 2.5 kHz. quite rigid cabinet, with the only detectable 3rd, 1.1% 61.0 1 These anomalies are restricted to wall activity a vibration of the top, sides, 12 dB 100 T downward angles, where there is a and rear of the upper third of the cabinet 10 [II slight, octave -wide level reduction in the 280- to 300 -Hz range. The 61/2 -inch POWER - WATTS 1.0 of about 2 to 3 dB (not clearly 0.1 shown in the graph). Some nar- 50 250 350 450 550 THE ENERGY v1.8'S FREQUENCY -Hz rowing of response is noted for extreme off -axis angles in the low- GOOD INTERDRIVER Fig. 10 -Harmonic distortion er crossover region. forA2 (110Hz). PHASE RELATIONSHIPS Figure 6 shows impedance versus frequency, plotted over the ex- MINIMIZE LOBING tended range of 5 Hz to 30 kHz. I AND OFF -AXIS ANOMALIES.

10 chose to extend our plotted data to 30 kHz to show a high -frequen- 8 cy impedance peak of 18.2 ohms woofers have a generous peak -to -peak lin- 6 at 26.2 kHz. This frequency coin- ear travel capability of about 0.5 inch with 2 cides approximately with the reso- 4 a maximum capability of about 0.6 inch. nant frequency of a previously Peak -to -peak excursions beyond 0.5 inch 2 mentioned parallel -resonant re- resulted in high values of third -harmonic 0 jection circuit in series with thedistortion. The woofer overloaded quite 0.1 1 10 100 POWER -WATTS tweeter. This rejection circuit was gracefully. No dynamic offset was evident. presumably added to tame an A sharp excursion minimum occurred at Fig. 11-1M forA4(440 Hz) overactive dome resonance in the 38 Hz, the vented -box resonance frequen- and E1 (41.2 Hz). tweeter. Even with the circuit in cy. At this frequency, excursion was about place, the axial response still ex- one-third lower than when I closed the hibited a high -frequency peak atports. A healthy reduction in excursion at the somewhat lower frequency ofbox resonance indicates a well -tuned vent- 130 23.3 kHz. ed box. 120 Between 20 Hz and 20 kHz, a Figure 8 shows the 3 -meter room curves

110 minimum impedance of 3.5 ohms of the v1.8, with both raw and sixth -octave occurs at 35 Hz, and a maximum smoothed. The system was in the right- 100 of 14.7 ohms occurs at 2.3 kHz.hand stereo position, aimed toward the 90 The max/min variation is 4.2 to 1 main listening position, and the test micro- 80 (14.7 divided by 3.5). This moder- phone was at ear height (36 inches), at the

70 ately high variation, coupled with listener's position on the sofa. The system 20 100 1k 10k20k fairly low minimum impedance, was driven with a swept sine -wave signal of FREQUENCY - Hz means that the v1.8 will be some- 2.83 V rms (corresponding to 1.33 watts Fig. 12 -Maximum peak what sensitive to cable resistance. into the rated 6 -ohm impedance). The di- input power and sound Cable series resistance should be rect sound and the first 13 mS of room re- output. limited to a maximum of about verberation are included. AUDIO/SEPTEMBER 1994 46 CONRAD1OHNSON PF2 AND MF2300 Solid -State Components Without Sold -State Sound

Too o -ten, solid-state audio,:_w_lpomm sound harsh, edgy, grainy, ar_d Imen- sionless. T1 -is is so commor_rtrong !,o1:4 state designs tf_at audiophika- readily identify this ur.musical son:c signatt_re as "transistor sound". At con:a_-_-jAhnsort, we have long relieved tha: these audit -le distortions a7e not inherent in iolid-es-tate devices. lnAead, they are a conszquence of circuit den and impletrentation. Through inrovative circuit _iesign and the use of hoig....-..st quality pa7s, we hav1 developed a range of conrad-iolnson. solid-state pm..ducts that pro...e. :he pc,irt: They do not sound like They. just sound lie music.

For more dt.tiied infOnnatiun .)n th.:7 t I range of conrad-ji)hmson solid-state -roducts photu. lax: conrad-johroon design, 2733 Merrilce Dti-,e Fairfax, VA 22331 rho,,,: 703-69k341:581 fax! 703-500 5360

i=.-ler No. 9 on Reader rvice Card Overall, the averaged curve is quite ex- the tuning frequency of the vented box. Af- and made by Audio Products Internation- tended and fits a reasonably tight 10 -dB ter a slight dip, it continues to rise andal, Energy's parent company) that screw window. There are no major room -effect reaches a plateau of about 1.1 kW between into the bottom of the cabinet. Listening dips in the 250- to 500 -Hz range. Exclud- 120 and 310 Hz, then rises smoothly to the was done both with and without these ing the dips at 210 Hz and 2.2 kHz, the av- 8 -kW range above 1.6 kHz. In the level re- spikes. eraged curve fits a tight, 7 -dB window. gion between 160 and 315 Hz, the main My review samples were supplied in a Above 2.5 kHz, the averaged curve fits alimitation in power handling was that the superb mahogany finish that everyone in much tighter window of about 3.5 dB. my family liked. The beveled hardwood Figure 9 shows the E1 (41.2 -Hz) bass base of the cabinet added greatly to the harmonic distortion data of the v1.8 for in- overall look and improved the stability of put levels from 0.1 to 100 watts (24.5 V the system. Construction and appearance rms into the rated 6 -ohm load). The sec- are first-rate. The system's grille frame is ond harmonic reaches only 6.5%, while the quite attractive and easy to remove and re- third attains a somewhat higher 11.5%. place. The system looks quite good even Higher harmonics are 2% or less. With 100 with the grille removed, because of the sec- watts input, the system reaches a healthy ondary grille and good looks of the 104 dB SPL at this frequency. teardrop -shaped mid/high assembly. Figure 10 shows the A2 (110 -Hz) har- The excellent owner's manual runs for monic distortion data. The predominant 12 information -packed, 81/2 x 11 pages. distortion is a low 2.8% second harmonic Sections include design philosophy, general with an even lower 1.4% third. Higher har- information on room acoustics and speak- monics were negligible. With 100 watts in- er placement, selection of speaker wire and put, the system reaches a healthy 107 dB electronics, different methods of connect- SPL at 110 Hz. ing the v1.8s, listening to the systems, cabi- The A4 (440 -Hz) distortion data (not net care, and technical specifications, etc. shown) rose only to the low value of 1.2% My equipment line-up consisted of the second and 0.7% third, with higher har- BASS WAS SMOOTH, Krell KRC preamp and KSA-250 power monics below the noise floor of my mea- amp, driving the v1.8s through Straight suring gear. VOCALS WERE DETAILED Wire Maestro cabling. Listening was done Figure 11 displays the IM versus power AND EFFORTLESS, mainly with normal, single -wire connec- created by equal power tones of 440 Hz AND PIANO RETAINED ITS tions. My reference loudspeakers were the (A4) and 41.2 Hz (E1) over the range from B & W 801 Series 3s, while my Onkyo and 0.1 to 100 watts. The IM rises only to the POWER AND DYNAMICS. Rotel CD players provided source material. moderate level of 5.7% at 100 watts. Al- Energy recommends placing the v1.8s as though the system is a three-way, the IM far as practical from the rear wall, with a distortion is not as low as in some otheroutput waveform turned triangular at distance of 2 to 41/2 feet acceptable. Side - competing three-way systems, whose IM higher levels; this implies that inductors wall spacing should be in the range of 21/2 rises only to the 1% range. This is due toare saturating in the woofer section of the to 5 feet or greater. My customary locations the v1.8's fairly high woofer -to -midrange crossover. are close to these values but farther away crossover frequency in the 400- to 500 -Hz With room gain, the maximum peak from the rear wall because of the greater range, which means that the woofer is stilloutput SPL of the system starts at a strong length of my listening room. The systems reproducing a significant amount of the 92 dB at 20 Hz, passes through 110 dB atwere canted in towards my listening posi- higher frequency, 440 -Hz test tone. With 35 Hz, reaches a strong 117 to 118 dB be- tion at the couch. the crossover this high, the two IM test tween 100 and 350 Hz, and rises into the Initial listening was done with an excel- tones are not completely split between the low 120s above 700 Hz. Being able to reach lent demo CD of the Holly Cole Trio (fe- woofer and midrange. 110 dB SPL at 35 Hz places the v1.8 in the male vocal, piano, and acoustic bass; I've The short-term peak -power input and top 10% of speakers I have tested, in the heard them in person, super!) titled Musi- output capabilities of the v1.8, measured ability to generate usable amounts of low- cal Truth (Alert Music Inc. DPRO-240). using a 6.5 -cycle third -octave tone burst, frequency output. The recording was supplied (and pro- are shown in Fig. 12. The peak input power duced) by Energy. The v1.8s did an excep- was calculated by assuming that the mea- Use and Listening Tests tional job in recreating the ambience and sured peak voltage was applied across the Even though the Veritas v1.8 weighs 80 acoustics of the trio playing in a small rated 6 -ohm impedance. lbs., it is fairly easy to move around the lis- room. Bass was smooth and extended, vo- The peak input power rises swiftly from tening room by using a rocking and walk- cals were detailed and effortless, and the 12 watts at 20 Hz to about 350 watts at 41 ing motion. The systems come supplied dynamics and power of the piano were re- Hz, which coincides approximately with with spiked cone feet (called "Quartets"produced quite well. Some emphasis of AUDIO/SEPTEMBER 1994 48 Classical Collectors' Editions from the BBC Music Service E CD Collections WITH NOTHING MORE TO BUY... EVER. SEE DETAILS ON OTHER SIDE eis,LOtt'a°"° ee° CD: Haydn Operatic arias featuring Jessye Norman, CC: French Favorites Berlioz, Debussy, Ravel. Arleen Auger, Frederica von Stade. Lousanne Chamber Orch. (Artal Dorati). Magazine: Jessye BBC Concert Orch. (Barry Norman, Murray Perahia; featured composer: Wordsworth, conductor; Grieg. C0693 Mu.urice Hasson, violin). Magazine: Simon you step Rattle, John ITIUSiC Adams, Dizzy Gillespie; featured composer: Saint- Saens. 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pftspPsisicialmgaz91in.e: DOGYOUR COMPLETE MONTHLY GUIDE TO CLASSICAL MUSIC Brahms Alfred Brendel, Choral Mail To: BBC Classical Music Service, Box 61099, Tampa, Florida 33661-1099 srrlr Special, New Stage & Screen column; fea- Write numbers of the 2 CD collections you have selected, here: composer: Beethoven (Pt. II). FREE CD # FREE CD # mo.rder . Please send me the 2 FREE CD classical collections I have indicted above. Bill me for just shipping & handling. Thereafter, I will receive the BBC Music Magazine and a free CD every month. As a member, I will always be guaranteed the low monthly price of $3.98 plus shipping and Guaranteed handling. I may also receive, up to four times a year, special issues at the same low price plus Price Protection. shipping and handling. I have no obligation to buy anything ever and I may cancel at any time. As a member, you will always be 0 Check here if you prefer your recordings on cassette. guaranteed the low price of $3.98 plus shipping and handling

Name (please print) every month for both the magazine and free CD, for as long as Address Apt.. you remain an active member in the program. City State Zip For this special offer, call toll -free Phone (area code) Have you bought anything by mail in the last0 6 months 0 1 Year 0 Never BPY Do you have a credit card? Yes LI No 1-800-972-3500 We reserve the right to ask for additional information, reject any application, or cancel any membership. Dept. BPY Please allow 4-6 weeks for delivery of first issue. Limited to new members; one per family. Local tax, if any, will be added. or mail the postage -free reply card. In Canada: $5.98 Canadian, plus shipping and handling and GST. high -frequency tape or electronics noiseAYRE, continued from page 40 Table I-Output noise levels. IHF S/N ratios for un- was evident on the quieter passages. From here on, I will report balanced inputs were 88.4 and 88.0 dB, respectively, for The systems played clean and loud onthe amount of equivalent the left and right channels; for the balanced inputs, the big -band jazz sounds of The Bob Flo-sine -wave power both at the IHF S/N ratios for left and right were 89.7 and 88.4 dB, rence Limited Edition's Funupsmanshipbeginning of the tone -burst respectively. (MAMA Musical Archives Foundationand at the end, to show how MMF 1006). The systems did particularlymuch the power supply sags Output Noise, IN well in reproducing the "bite" and in -your -during the 20-mS burst. The BANDWIDTH LEFT RIGHT face sound of the brass section. signal drive level will be ad- Unbalanced In On material that did not include any ap-justed to make the amplifier Wideband 250 330 preciable low bass below 32 Hz, the v1.8'sjust begin visibly clipping at 22 Hz to 22 kHz 240 320 output was the equal of the B & W refer- the start of the burst. The dy- 400 Hz to 22 kHz 110 110 ences'. Rock 'n' roll kick drum and elec- namic -headroom number A -weighted 108 112 tric -bass lines were handled very well.will continue to be computed Pipe -organ bass pedals were reproduced from the equivalent sine - Balanced In with much authority. On material withwave power available at the Wideband 192 240 very low bass, such as some of the synthe-beginning of the burst. For 8 - 22 Hz to 22 kHz 175 225 sizer notes of Don Dorsey's Bachbustersohm loads, the Ayre's starting 400 Hz to 22 kHz 101 113 (Telarc CD -80123, particularly the note atand ending powers were 138 A -weighted 93 108 time 0:27 on track 8), the Energy speakers and 127 watts, respectively, could be overloaded at high levels. for a dynamic headroom of 1.4 dB. With 4 - Audio, Forssell tube line driver, and a First The sensitivity of the v1.8 was essentially ohm loads, the results were 276 watts, 220 Sound Reference II. Power amplifiers I the same as that of my reference system.watts, and 1.4 dB. Steady-state clipping used for comparison were a Crown Macro Overall tonal balance was also quite simi-power for 8 ohms was 130 watts; for 4 Reference and Quicksilver M -135s. Loud- lar. When I was not directly facing the sys- ohms it was 218 watts. Clipping headroom speakers used were B & W 801 Matrix Se- tems it was hard to tell on much material figures were 1.13 and 0.37 dB, respectively. ries 3 augmented by a new experimental when I switched between the v1.8s and the A.c. line draw for the V-3 in full subwoofer using two JBL 1400Nd drivers. B & W systems. warmed -up operation was 1.7 amperes. In My immediate impressions of the Ayre On the pink -noise, stand-up/sit-down V-3 were very favorable. It has a light, de- test, the v1.8s exhibited very little tonal tailed, airy, and spatial presentation. After change when I stood up. On this test they THE V-3 GAVE ME A measuring the amplifier in the lab, I re- were the equal of my reference systems. GREAT SENSE OF SPACE, turned it to my setup for more serious son- The Energy's spectral balance on pink DETAIL, AND MUSICAL ic evaluation. Again, I got a great sense of noise was fairly accurate and extended, but space, detail, and musical revelation. In not quite as smooth as the B & W system's. REVELATION, AMONG these regards, the V-3 is among the best With third -octave band -limited pink THE BEST I'VE HEARD. I've heard. Any concern regarding the mea- noise, the systems did extremely well at 40 surements on the amplifier quickly disap- Hz and above. Their clean output at 31.5 peared as the music issued forth convinc- Hz was quite usable. The Veritas could notthe standby mode, with the output stage ingly from my speakers. It's frequently the generate any significant output in the 20 - not powered, a.c. line draw was a still sub- case that great resolution and detail may be and 25 -Hz bands; only third harmonics stantial 0.5 ampere. accompanied by some degree of irritation were generated when the sound level was in the form of hardness and/or edginess. turned up. Use and Listening Tests But I am happy to report that, in the case On classical material such as Tafel- Phono equipment used in my system of the Ayre V-3, any such irritation is very musik's Music for Trumpet and Orchestraduring the review period included an Ora- low. Music just blooms forth, with very lit- (Sony Vivarte SK 53 365), the v1.8s per- cle turntable fitted with a Well Tempered tle in the way of its presence. Bass impact formed very well. Soundstage, imaging,Arm and Spectral Audio MCR-1 Select and delineation are also very good. On an and reproduction of hall acoustics were moving -coil pickup used with a Vendetta overall basis, I think the V-3 is a wonderful first-rate. Research SCP-2C phono preamp. Krell sounding amplifier. In using the V-3, no Played loud on dynamic pop material, MD -I0 and PS Audio Lambda CD trans- operational flaws were found, and there with a strong rhythm section like that on ports fed Sonic Frontiers SFD-2, Stax DAC- were no annoying pops or clicks when "Evolution" from The Usual SuspectsTalent BD, and other (experimental) D/A powering on or off. (Sheffield Lab 10032-2-F), the v1.8s pro- converters. Other signal sources included a I think the Ayre V-3 is a worthy contender vide impressive sound coupled with stun- Nakamichi ST -7 FM tuner and 250 cassette and a welcome new addition to the constel- ning good looks and solid engineering. recorder and a Technics open -reel recorder. lation of musical power amplifiers. Go give Check 'em out! D. B. Keele, Jr. Preamplifiers used included a Quicksilver this one an audition. Bascom H. King AUDIO/SEPTEMBER 1994 49 Khances are, a perfect evening consists of unplugging the

phone, centering yourself in front of your audio system and

getting lost in your favorite recordings. And we bet when

you're not listening to music, you're working so you can buy

HCA-2200"Stereophile calls our HCA-2200", "... a benchmark product against which other amplifiers more music. Admit it, you're obsessed. can be measured." And why not? John Curl incorporated everything the most musically obsessed person could ever want. But take heart, you're not alone. There are lots of people WE'RE NOT S THEY ALL COME WI

like you. We know because here at Parasound, music happens

to be our passion.

This approach to music has attracted its share of fanatics. P/LD-1100 and T/DQ-1600The P/LD-1100 is a remote controlled line drive preamp designed by John Curl. The T/DQ-1600 is a remote controlled broadcast reference People like our principal audio designer, John Curl. (Talk tuner. Did we mention they can be controlled with the same handset? about passion-he was so possessed with making music come

alive that he practically invented high -end audio in the '70s.)

It's also attracted high -end audio reviewers- who not HCA-1000 and HCA-600The HCA-1000 is our latest THX-certified amplifier. The HCA-600 incorporates advanced direct coupled circuitry like our only praise our products, but often purchase them for their more powerful amps. Both are bridgeable for high- powered monoblock performance. own listening pleasure. This dedication to music also goes a long way toward

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D/AC-1500 and C/DP-1000The D/AC-1500 is our and line -drive preamp. Each design is guided by a philosophy premier digital to analog converter. The C/DP-1000 is our high resolution CD player. With the simple addition of our Advanced Digital Adaptor Module (an ST optical link), which dictates that you get the best possible products it's transformed into a high performance CD transport.

UREWHY, BUT THAN OFF SWITCH.

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HCA-606Our HCA-606 is the slightly smaller kid brother PARASOUND of the HCA-1206. Both make wonderful multi -zone stereo affordable audio for the critical listener amps for custom installations. And both can be bridged to four or five channels. Parasound Products, Inc. 950 Battery Street, San Francisco, CA 94111 415-397-7100 Fax 415-397-0144

THX is a registered trademark of Lucasidm, Ltd. nently to the electronics box by a cord EQUIPMENT about 3 feet long. The box has a stereo mini -jack input that accepts the 18 -inch cable that comes with the NB -DX ear- INCT NOISEBUSTER phones. This cable has a volume control that allows you to adjust the level of the NB -DX EARPHONES sound with your thumb; the volume control thumbwheel has been cleverly recessed between two raised ridges to protect it against inadvertent misadjustment. When you are using a portable tape player, you can set the thumbwheel to maximum and adjust the level of the tape player to the loudest level that you will ever need; then you can use the thumbwheel to change the level afterwards, which is more onvenient than using the volume ntrol on the tape player. he NB -DX earphones can be used ithout the noise -cancelling feature. The noise cancelling is turned on and off by a recessed switch on the side of the electronics SPECS

Transducer Design: Dynamic. Coupling to the Ear: Supra -aural (on the ear). Equalization: Not specified (see text). oise Cancellation Technologies' Sensitivity: 102 dB. SPL per mW, ±3 Model NB -DX is more than just a mixed with the program material from dB. pair of earphones; it is intended to the source, and fed to the earphones. Since Maximum Output: 100 mW per produce good -quality sound andthe electronic noise signal is the same as channel at 1 kHz. reduce outside noise at the samethe outside noise at the earcup but of op- Impedance: 44 ohms. time. There are other earphonesposite polarity, it cancels (or at least re- Price: $149. that reduce outside noise, but they accom- duces) the noise heard by the listener. Con- Company Address: 800 Summer plish this by using versation can still be Street, Stamford, Conn. 06901. closed earcups with a heard, albeit at a tight seal around the THE NOISEBUSTERS slightly reduced level. MEASURED DATA ears. The NB -DX ear- According to Noise Absolute Polarity: Positive, but NOT ONLY PLAY MUSIC phones are of the Cancellation Tech- shifted 90° when noise cancelling open type, and when BUT PARTIALLY CANCEL nologies, "low -fre- was on. they are not in the AMBIENT NOISE. quency program ma- Cord: 3 feet between earphones noise -cancelling terial is adjusted to and control box; 18 -inch cord with mode, they allow out- compensate for the Vs -inch stereo mini phone plugs side conversation and cancellation." for connection between control noise to be heard easily. To reduce outside The electronic circuitry is built into a box and source. noise, they use an electro-acoustical noise - small plastic box and is powered by a 9-V Adjustments: Headband slides in cancelling system. Besides the usual ear- battery. The box has smoothly rounded yoke, with detents; earcups have phone transducer in each earcup, there is edges and a cleverly designed belt clip that swivels. also a microphone that picks up outsideallows the earphones to be snapped onto Weight: Earphones: 128 grams; noise. The microphone output is sent tothe top of the box so you can carry them control box: 131 grams. the input of an electronic circuit that filters around easily when you aren't wearing For literature, circle No. 92 and inverts the signal. This is amplified, them. The earphones are wired perma- AUDIO/SEPTEMBER 1994 52 box. Even if the battery runs down, you can The upper trace is use the earphones. The battery compart- for the input pulse. EARPHONE EVALUATION ment is on the same side of the box as the The middle trace PARAMETER RATING COMMENTS belt clip, which makes changing the battery shows the outputOverall Sound fiery goad "Good sound," "Smooth," and difficult. I found that, after I managed to without the noise - "A little bright" put the battery into the box by sliding itcancelling circuit. Bass Good "Adequate" and "Not boomy" under the clip, I couldn't put the cover The polarity of the Midrange Very gocd "Good presence," and "Articu- late on voice" output is inverted back on; the compartment didn't seem Treble Good "Not extended like reference," deep enough for a standard 9 -volt battery. and is changed to a and "Subdued" Audio has since been told by NCT that sine wave, whichOverall Isolation Good "Rumble reduced" and "Out- there is room, but only if the battery is in- indicates that the side sounds are easily heard" Good "Low rumble sounds reduced" serted a certain way. Newer units have a di- phase is 90° from Bass "Conversations can be heard" the input. I mea- Midrange Poor agram showing this. I used the NB -DX ear- Treble Fair "Some reduction of treble phones with some CD and tape players, sured the phase sounds" and the level they provided was more than versus frequencyComfort Good "Good fit" and "Easy to adjust" adequate. The input impedance of the NB - and found an al-Value Good "I like the noise cancelling" DX isn't specified but is high enough that it most uniform ;, GENERAL COMMENTS: A litte bright but good articulation. Very didn't affect the response of the signal from curve at aroundgood for listening in noisy situa-ions such as when transportation my test system or a portable CD player that -90°. The lowerbackground noise is high. Adequate bass. Clean sound and overall I used. trace shows the re-good value. The NB -DX earphones are a very light- sponse of the NB weight, open design and are relatively com- DX earphones with the noise cancellation suddenly, a change occurs in the back fortable even for extended listening. Whileturned on. The polarity is positive but ground noise; this is because when you they can be used for jogging or running, I the phase is still 90° from the input. The move your head, the two microphones in think they are a little loose -fitting for this listening panel found it difficult to deter- the earcups have a new position in the type of activity. The headband is made ofmine the correct absolute polarity of vari- sound field and the noise -cancelling system spring steel, with a flexible rubber covering ous program material and these traces takes a second to re -adjust itself to that that rests on top of the head. The plastic may correlate with their difficulty in hear- background noise; the noise cancellation is ing this. most effective from about 70 to 200 Hz. It is place after you adjust them. The earcups The listening panel found the bass very effective in reducing outside noise that are attached to the bails by ball swivels and sounds produced by the NB -DX to be very can reduce your listening enjoyment, with- good, despite their out impairing your E.M.LONG ASSOCIATES al- ability to hear conver- NOISE BUSTER NEI.Ox EARPHONES ,. opendesign, 20 ANZ COSINE PULSE sations or warning INPUT though not as con- BASS WAS VERY GOOD, vincing as the sound signals. I once made a \ from the Stax SR - AND MIDRANGE WAS spectrum analysis of the background noise OUTPUT WITH N.C. OFF Lambda Pro refer- OPEN, ARTICULATE, leaking into a record- ence earphones. The AND CLEAR. OUTPUT WITH N.C. ON equalization appears ing studio in a large to be designed to city, and it was almost provide a good ap- identical to the spec- proximation to the diffuse -field response trum shown in the NB -DX earphone liter- of the human ear. Comments about the ature; even if you are listening outside on midrange were: "Very open and clear," "ar- what you might consider to be a quiet Fig. 1-Cosine pulse test; note the ticulate on voice," and "good presence." evening in a large city, the NB -DX will re- phase relationships (see text). The comments about the sound in the tre- duce the background noise. I tried the they have foam covers; this combination ble range were "not as extended as refer- NB -DX in different noisy situations and allows a comfortable fit. The foam covers ence," and 'good, but not exceptional?' Lis- they do a good job of reducing transporta- are removable for cleaning. teners agreed that the treble was generally tion rumble and noise. They would be ide- The response of the NB -DX earphones not as good as on other, more expensive al for anyone who rides public transporta- extends smoothly from 2.5 kHz down to earphones but it is adequate and does not tion such as trains, buses, subways, or even about 50 Hz; from 2.5 to 4 kHz there is a have an unpleasant quality that would airplanes. I found them fun to use, espe- gradual rise. The response is uniform to cause long-term listening fatigue. cially in a situations where background about 12 kHz where it rolls off gently to 20 When the noise -cancelling switch is noise was a problem. I think that they are a kHz. Figure 1 shows the output of the NB -DX turned on, there is a slight delay while the very good value, especially if you listen earphones for a 20 -kHz cosine input pulse. system stabilizes. If you move your head while you travel. Edward M. Long AUDIO/SEPTEMBER 1994 53 EQUIPMENT on standard 3A -inch centers located on the PROFILE bottom of the cabinet. The SWA-100 subwoofer amplifier, which can be stacked with other hi-fi com- BIC AMERICA ponents, has only a power switch and volume control on its front panel. The rear V-12 SUBWOOFER panel accepts line or speaker -level inputs from the host system and provides high- AND SWA-100 pass line or speaker -level outputs back to AMPLIFIER it. The subwoofer signal is derived by sum- ming the inputs, sharply low-pass filtering at 85 Hz, and feeding this to the internal amplifier. A rear -panel switch sets the amplifier to handle either 4 -ohm or 8 -ohm subwoofers. Two V -12s may be driven if this switch is set to 4 ohms. Speaker connectors are inexpensive spring -loaded types for the main speakers and heavy five - way posts for the subwoofer. The owner's manual has instructions and illustrations for adding the SWA-100 to all common types of component systems. (An error was found in the diagram for wiring to a line- level surround processor; it would produce a left/right front channel reversal.)

Measurements The V-12 speaker and the SWA-100 amplifier were measured as separate components and together as a subwoofer system. Figure 1 plots the impedance magnitude versus frequency for the V-12. The minimum of 8 ohms between the two peaks occurs at 32 Hz, indicating the box tuning frequency of this vented system. The V-12 presents a reasonable load to any amplifier rated for loads of 8 ohms or less. The 1 -meter, 1 -watt anechoic frequency response plot of the V-12 alone, Fig. 2, shows the response falling below 50 Hz and very strong well above the subwoofer he purpose of the BIC America quately rigid, 21/2 -cubic foot cabinet, to al- range. It is necessary to attenuate the upper SWA- 100/V-12 amp/subwooferlow flush mounting for built-inuse. Noth- range and perhaps to boost the low end combination is to add an octave ofing exotic here; just withanexternal bass extension to a pair of small well -proven propor- crossover. (Also, the satellite speakers. It also serves totions for good bass. low end will be radi- Tadd the "whump" factor needed in THE COMBINED RESPONSE The caster -equipped cally improved when video soundtrack reproduction. It isa cabinet is finished in OF THE AMP AND THE the speaker is placed good complement to BIC's line of small,a black wood -grain SUBWOOFER EXTENDS in a room. Although inexpensive two-way speaker systems.vinyl veneer on all STRONGLY BELOW 30 Hz. room gain-or transfer When purchased together, the SWA-100 sides. It can serve as function, as I prefer and V-12 list at a package price of $728. an end table, with the to call it-varies from The system's "street price" should be evendriver facing any room to room, a sig- more affordable. convenient direction. I found fit and finish nificant -boost below 50 Hz is common.) The V -12's 12 -inch woofer and twin 3- to be typical of inexpensive speakers. Con- The SWA-100's internal crossover filter inch ports are forward -firing in the ade- nection is made to five -way binding postssupplies such upper -range attentuation. AUDIO/SEPTEMBER 1994 54 Figure 3 shows the amplitude response of "Subwoofer" curve (the signal fed to the could cause a problem in transition from the V-12 when powered by the SWA-100. subwoofer) peaks at 35 Hz; note the high- satellite to subwoofer. (The SWA-100's gain was adjusted to pro- pass filter at 20 Hz. This keeps out unus- The situation is worse for speaker -level vide 2.83 V output at 50 Hz.) This is more able frequencies below the subwoofer'soperation, which is necessary when the like it. Low midrange is filtered out and the range that might cause distortion. The oth- Continued on page 60 bass in a typical room will extend strongly er five curves in Fig. 5 are for the to below 30 Hz. This response is a goodhigh-pass signal that feeds the complement to that of a typical, small two- satellites. From these measure- way system. ments, it can be deduced that a Maximum out- simple series so put of the combi- capacitor is used to provide nation versus fre- LIMITERS IN THE AMP cT, 60 quency is shown the high-pass 1 RESTRICT OUTPUT A BIT Iat- function in the in Fig. 4. LI 40 tempted to obtain BUT THEY ALSO KEEP line -level and a practical maxi- THE SUBWOOFER'S SOUND in the speaker - mum output at level interfaces. 20 each frequency by VERY CLEAN. The problem pushing the sys- with this is that 0 IC 100 1k 10k tem to 10% total the high-pass FREQUENCY - Hz harmonic distortion. To my surprise, an crossover frequency depends on internal limiter fought my efforts to go past the impedance of either the power Fig. 1-Impedance of v-12 3% distortion; the curve shows the SPL at amp or the satellite speaker. subwoofer. the limiter threshold (and beyond, for fre- Line input responses are shown quencies where it could be pushed fur- for a "high -impedance" amplifier 100 ther). The result is a very clean woofer with load (100 kilohms) and for a "low - moderate maximum output. impedance" amplifier (20 kilo- 90 Figure 5 shows six amplitude response hms). The -3 dB points are 40 and curves for the SWA-100 amplifier. The 80 Hz, respectively. This variation 80

SPECS 70

SUBWOOFER both from 20 Hz to 70 Hz. 60 Enclosure Type: Vented box. Dynamic Headroom: 8 ohms, 10 100 1k 10k FREQUENCY - Hz Driver: 12 -in. 2 dB; 4 ohms, 1.9 dB. Recommended Crossover Frequenc Response: 20 Hz to Fig. 2-Anechoic frequency Frequency: 85 Hz to 120 Hz. 50 Hz; -0, +3 dB. responseof V-12. Frequency Range: 28 Hz to 85 Crossover Frequency: 85 Hz. Hz; -6 dB at 22 Hz when Crossover Slopes: High-pass, 6 used with SWA100 amplifier. dB/octave;low-pass, 24 100

Sensitivity: 90 dB SPL at 1 dB/octave. meter for 2.83 V. Input Sersitivity: 160 mV for 90 Nominal Impedance: 8 ohms. rated power. Recommended Amplifier Amplifier Class: A/B. 80 Power: 20 to 100 watts. Dimensions: 41/2 in. H X 17 in Dimensions: 21 in. H x 161/2 W X 123/4 in. D (10.5 cm x 1. in. W x 181/2 in. D (53.3 cm x 43.2 cm x 32.4 cm). 70 41.9 cm x 47.0 cm). Weight: 14 lbs. (6.3 kg). Price: $39S.00 each. Weight: 40 lbs. (18.2 kg). 60 Price: $329.00 each. 10 100 lk Compan). Address:883E. FREQUENCY - Hz AMPLIFIER Hampshire Road, Stow, Ohio Fig. 3-.nechoic frequency Power Output: 8 ohms, 70 44224. response of AWS-100 amp watts; 4 ohms, 100 watts; For literature, circle No. 93 and V-12 subwoofer.

AUDIO/SEPTEMBER 1994 55 feet wide, and 4 inches thick and cost $629 per pair. Each panel contains four tubes, half covered with reflective material and half with a ASC NA -4 sound -absorptivecoating.Inthe original version, these tubes could SHADOW CASTER be turned by the user to vary the proportion of reflection and absorp- ACOUSTIC PANELS tion on each side; my review sample's tubes were locked in place, with absorption only on one side of the panel, but ASC says it is now returning to their earlier adjustable configuration. Each Shadow Caster must be precisely placed at a point along the side wall where it will intercept the wall reflections from both left and right speakers. My listening room is131/2feet wide, 19 feet deep, and 8 feet high. To test the Shadow Caster, I used a pair of Celestion 700 satellites on stands, placed across the long side of the room with a Velodyne ULD-15 subwoofer in between. The satellites were positioned 48 inches from the wall behind them and 30 inches from the side walls. I listened on the center -line about 10 feet from the speakers. With a 4 -foot square absorptive panel on each side wall, this arrangement sounded quite good. The first step was to listen with bare, reflective side walls; that is, I took down the absorptive panels I had previously been using. It was awful. Instruments were givena confusing quality analogous to visual glare. Soundstage width was good, but imaging was ambiguous from side to side, and a sense of depth was missing. Sciences Corp. been tuned with a variety of ASC Next, with the help of ASC's dia- (ASC) is best known to au- devices and the other had not. The gram, I installed the Shadow Casters diophiles for the attractive shallow, glaring confusion of soundat the reflection interception points. Tube Trap line of cylinders in the untreated room was trans-This point, for each panel, was 60 forimproving listening - formed by the ASC tubes and panels inches from the speaker along the Acousticroom acoustics. Art Noxon, into effortless reproduction of depth side wall and 24 inches out from the ASC's president, once gave me an and spaciousness. wall and parallel to it. Per instruc- unforgettable demonstration of how The NA -4 Shadow Caster isa tions, the acoustically reflective side effectiveASC's roomtreatmentfree-standing panel designed to ad- products can be. Identical adjacentdress the problem of poor imaging Company Address: P.O. Box hotel demo rooms at a Consumercaused by unwanted sound reflec- 1189, Eugene, Ore. 97440. Electronics Show were set up withtions from the room's side walls. For literature, circle, No. 94 identical sound systems. One had The panels are about 5 feet high, 21/2 AUDIO/SEPTEMBER 1994 56 faced the wall and the absorptive side faced into the room. The sound was greatly improved but still not as good as it could be. The glare was gone. Left, center, and right image locations were sharply defined, and depth and spaciousness returned. Unfortu- nately, a distinct hollowness was audibleon male speaking voice. This effect was not heard on symphonic music but was slightly

USED AS DIRECTED, THE SHADOW CASTERS REMOVED THE GLARE FROM MY ROOM'S SOUND. audible on most solo voices. Also, there was an overly focused "in the head" quality LIN AEUM to any instrument exactly centered in the MODEL NINE soundstage. To understand what was happening, I used my Techron TEF-20 analyzer to assess 12j8 N.W. GLISAN.SUITE 404.PORTLAND, OREGON. 97209. 503.222.5138. the early reflection patterns in the room. With no treatment of the room's side walls, each speaker generated a reflection from Enter No. 16 on Reader Service Card the near wall at 2.3 mS and one from the opposite wall at 8.3 mS. The Shadow Cast- 1 ers removed the 8.3-mS reflection, but the MOVING? Please give us 8 near one remained, slightly delayed and weeks advancenotice.Attach label with your old address, and lengthened in time. When I added absorp- write in new address below. tion to kill the near reflection as well, the AUDIO SUBSCRIBER SERVICE audible hollowness and in -the -head prob- RENEWING? Check box lems disappeared. below and attach label with cor- rections marked, if any. The bottom lineisthat the Shadow Casters probably would have worked better SUBSCRIBING? Check in my room if they had been absorptive on box and fill in coupon. For gift sub- both sides. Used as instructed, the reflec- scriptions attach a separate sheet. tive side facing the wall created a path for the near -wall reflection to spoil the sound. Send Audio for 1 year at $24.00 Partial success was achieved by experi- Place New subscription Renewal menting with positioning. I reversed the label Payment enclosed Billme Shadow Casters (absorption to the wall) here Canadian orders add $8 per year. and angled them slightly so that the near Foreign orders add $8 per year. speaker's reflection was absorbed and the far reflection was directed behind the listener. For my room, which has no absorp- NAME tive or scattering objects along the sides, this was the optimum configuration. As ADDRESS with any acoustic device, I advise the user cIT to arrange an at-home trial period for the 1(303) 447-9330 Shadow Casters involving much listening STATE and experimentation. David Clark AUDIO P.O. Box 52548 AUDIO/SEPTEMBER 1994 BOULDER, CO 80322 ZIP 57 from 1 to 400 watts, showing that distortion is less than 0.1% at 400 watts. Common -mode rejection is 60 dB, output noise is 10 nanowatts PASS from 20 Hz to 20 kHz (-100 dB at 75 watts). Power consumptionis LABORATORIES 250 watts at idle and operating temperature is a comparatively high 50° ALEPH 0 AMP to 90° C, so the Aleph 0 requires good ventilation and at least 6 inches clearance on the top and sides. The amp takes at least an hour to reach operating temperature and for output d.c. offset to drop to its rated 50 mV. The Aleph 0's design has been evolving for more than 15 years. In fact, Pass designed a somewhat similar amplifier as a construction project for Audio back in 1977. In the Aleph 0, Pass strove for simplicity, a minimum component count, and the purest possible signal path. Be- yond that, he strove for maximum intrinsiclinearityinthe performance of the gain stages before feedback isapplied, using maximum bias on the devices to achieve this. The key feature of the Aleph 0, however, is its use of what Pass calls Asymmetric Class A, which is single -ended, rather than the usual push-pull topology. Pass feels that push-pull amplifiers produce crossover distortion that does not increase smoothly with power, and Nelson Pass, widely recognized LED plus a switch to choose bethat even Class -A push-pull amps as one of the world's top tween balanced and unbalanced in- present problems of crossover dis- transistor amplifier design- puts. Power into 8 ohms is a com- tortion and nonlinearity, asymmet- ers, was one of the founders paratively modest 75 watts, but into ric low -order and low-level nonlin- of Threshold. The mono- 4 ohms the Aleph 0 yields 150 watts, earity, and odd -order harmonics. phonic Aleph 0 power ampli- anditdelivers 250 watts into 2 He also feels that proper single -end- fier is the first product of Pass's own ohms. This amp can therefore deal ed, asymmetricamplification (rou- firm, Pass Electronics, with a stereo withspeakers tinely used in amplifier and preamp to follow. with very low the best pre - The $3,500 Aleph 0 is a simple impedance or THE KEY FEATURE OF amp circuitry) black block of machined, anodized with demand- THE ALEPH 0 IS ITS avoids many of aluminum,weighingabout 70 ing crossovers. these problems. ASYMMETRIC CLASS -A pounds and measuring 12 inches Frequency (The Aleph 0 square by 101/2 inches high. Its con- responseis3 CIRCUITRY RATHER THAN amplifier does, trols are basic-a power switch and dB downat THE USUAL PUSH-PULL. however, haveE Company Address: 21555 100 kHz. Dis- a pull element Limestone Way, Foresthill, tortion is rated in the output ] Cal. 95631. simply as 1% THD, but each ampli- stage, to avoid clipping at negative **'' For literature, circle No. 95 fier is shipped with an individual currents greater than the bias point ;T: test curve of its distortion at 1 ohm when operating on a negative signal.) "cf, AUDIO/SEPTEMBER 1994 58 The design is capable of 50 -ampere cur- much detail there really is. This sweetness although its handling of upper midrange rents on both negative and positive peaks is not euphonic coloration: The Aleph 0 is transients and harmonics is unique. The and can operate into impedances of lesssweet without losing detail, energy, or dy- Aleph 0 does a good job of delivering both than 1 ohm with any phase of reactance. namic pace. the deepest bass and top octaves. There is However, Pass admits that Asymmetric The Aleph 0 easily took on the challenge nothing "polite" about this amplifier. Class A is the least efficient of all types of of the new Frederick Fennell/Dallas Wind The Aleph 0 does not have the power to Class -A operation, typically idling at four Symphony recording of Power & Pipes equal the slam and dynamics of the largest times the maximum continuous output (Reference Recordings RR-58CD), proba- high -end power amplifiers. (This showed power. bly the best test of deep bass and orchestral up with the Thiel CS -5 and on the bass All of the gain devices in the Aleph 0 are dynamics currently available on either CDunits of the Apogee Studio Grands.) How- carefully matched hex-FET power MOS-or analog. This is the kind of music that ever, this will affect only a small number of FETs. They are rated for operation up to provides an instant test of what an amp can users. When the Aleph 0 is judged by real - 150° C but are normally operated at 20% world peak music listening levels, it takes of their rating, and are kept under 80° C at you down to the limits of the deep bass all times. Pass notes that MOS-FETs share a with real force and with a great deal of de- characteristic with triode tubes in that tail and control. The Aleph 0 is just slightly their gain tends to increase with current, a warm in the deep bass, not handling tran- traitthatasymmetricClass -Acircuits sients quite as crisply as my Classe M-1000 need-but MOS-FETs, unlike tubes, oper- orKrellM-300referenceamplifiers. ate at voltages and currents suitable for de- Whether the Aleph 0 is more or less realis- livery to a loudspeaker. tic in this regard, however, is a matter of The Aleph 0 does not seek to maximize judgment. The audiophile who shapes his bandwidth. Instead, it uses the wide band- system around the search for the ultimate width of the MOS-FETs, and their capaci- bass -drum sound may not find the Aleph 0 tance, to give the amplifier a simple, single - to be the ultimate answer-but there may pole roll -off characteristic. The slew rate is be just a little more to the last seven cen- about 60 V/I.IS under load, which Pass turies of music. The Aleph 0 had a richness states is about 100 times faster than musi- with organ and bass viol that was very se- cal signals. The Aleph 0 does, however, ductive, and its transitions from deep to have response down to d.c. While the d.c. TO ME, THE ALEPH 0 mid bass are exceptionally realistic. output of the amplifier itself is only about SOUNDS VERY MUCH Ivlid-bass to midrange performance is excellent. There is no warmth or suck -out 0.05 V after warm-up, there can be prob- LIKE A TRIODE AMPLIFIER lems if d.c. is fed to the amplifier by defec- here, just musically convincing detail and tive equipment. WITH GUTS. information. What was most impressive, My first few hours of listening to the however, was the amount of detail the Aleph 0, with its superb sense of openness, Aleph Os obtained in this region. I particu- air, and transparency, made me think back and cannot do. The Aleph 0 easily drove larly like the Aleph 0's ability to resolve the to the days when I was building triode my B & W Matrix 801 Series 3s to the lim-midrange information in low-level pas- power amplifiers out of war -surplus tubes. its of their rather considerable dynamicssages, to reproduce the details-good and The Aleph 0 did not, however, simply send and ability to reproduce massive and deepbad-of voice, and do so in a way that pro- me on a nostalgia trip and remind me of bass. In fact, the Aleph 0 provided this kind vides excellent transient and dynamic per- my past love of triode designs. Its soundof performance into any speaker loadI formance without making the midrange was very much like the sound of a triode could throw at it, and provided far better seem a bit analytic. I have yet to hear any amplifier with guts! dynamics, bass response, and control of the amplifier that provides more midrange in- The Aleph 0 sounds strikingly different loudspeaker than any triode amplifierI formation in a more musical manner. from the amplifiers that Nelson Pass de- know of. The upper midrange and treble is the re- signed at Threshold. While maintaining Compared to many competing ampli- gion where the Aleph 0 differs most clearly those amps' dynamics, bass power and up- fiers, the Aleph 0 appears to roll off slightly from other amplifiers, and therefore the reper octave energy, the Aleph 0 has more in the upper octaves until you listen care- gion I would listen to most closely in audi- subtlety, significantly more harmonic de- fully to the details of the music. It then be- tioning it. The Aleph 0 can provide a spe- tail, low-level detail, and a sweeter and comes apparent that the upper octaves are cialmagicwithcleanrecordings,a more musical sense of air. Instead of the all there, and that the "roll off" is actually reference -quality front end, and top-quali- slight apparent rise in the upper midrange an exceptional lack of the hardness or edgety speakers. of Pass's earlier designs, the Aleph 0 has an that clings to some of the best electronics. I suppose a few users of older tube amps upper midrange and treblethat seem The sound of the Aleph 0 is similar in this may find the Aleph 0 has too much detail, slightly soft until you realize just how respect to the best amplifiers I have heard, and some listeners to more conventional AUDIO/SEPTEMBER 1994 59 transistor amplifiers may miss the addi- continued from page 55 120 tional upper midrange energy that manySWA-100 is used with most inte- 10% THO amplifiers provide. This is an aspect of the grated receivers. An 8 -ohm resis- Aleph 0's performance you have to judgetive load produces a -3 dB point 100 3% THD for yourself, and more is involved than dif-of 60 Hz while a 4 -ohm resistor ferences inapparent energy or timbre. Theproduces a 120 -Hz high-pass. Of 8o Aleph 0 brings a special character to the air, course, very few loudspeakers act harmonics, and transients of the upperas nicely as resistors. The last midrange and treble. curve is the high-pass response 60 20 40 Its dynamics are very fast without ap-into a sealed -box speaker of pre- 80 125 FREQUENCY - Hz pearing etched or unnatural. It has consis-cisely the type that would benefit tently excellent transparency. The Aleph 0from a subwoofer. This shows that Fig. 4-Maximum Pi at 1 meter. has real musical life, and if you listen close- the satellite is driven by a signal ly, you will find that this life is made more which deviates ±4 dB from an ide- realistic by an exceptional ability to resolve al crossover. I consider this unac- low-level musical detail. ceptable for high -quality audio. +20 I SUBWOOFER ! I II The Aleph Os have a touch more sound- If you are unsure about the - LINE, HIGH IMP. stage depth than width, but since CDs tendSWA-100's high-pass characteris- - --- LINE, LOW IMP. ! ! +10 - 8 -OHM RES. LOAD 4-9-1411-

to have flattened depth, this graces virtuallytics in a system, the satellites can - --- 4 -OHM RES. LOAD I II SPEAKER LOAD every recording around. Their ability to re- be left full -range. That is, retain f 1-1..!!Tt 0 solve depth is excellent, and they place in- their original connections to your struments nicely without artificially high- system and simply add the input - 10 lighting location. The Aleph also does a connections to the SWA-100. very good job of reproducing low-level - 20 concert hall sounds; it recreates the life in aUse and Listening Tests 10 100 1k 10k hall, if the recording has such information. The BIC amplifier and sub- FREQUENCY - Hz The Aleph 0 showed no sensitivity to woofer were easy to add to my test Fig. 5-Low-pass and high- load, performing well with the Thiel CS -5s,system. The SWA-100 was inserted pass response of AWS-100. ribbon panels of the Apogee Studioat line level between my preamp Grands, the Quad ESL -63s, and Spendor and power amp. The V-12 was BC-ls as well as the B & Ws. There is virtu- plugged into the SWA-100 and that was contribute equally, so I reversed the polari- ally no mechanical noise, and no hum or that. My power amp is of medium inputty of the speaker connection to the sub - hiss is apparent with your ear near the impedance, so I knew the high-pass output woofer. The sound became fuller, so I left it speaker. While warm-up time is long, and would be okay. that way. After more listening, I reduced some attention must be paid to heat as well Test instruments are not necessary for the subwoofer volume slightly and marked as to ensuring that no d.c. comes in fromoptimizing a subwoofer addition, if one the position with a small piece of tape. I the preamp, this amplifier is very easy to has patience and listens carefully. I used the was done with setup. live with. Oscar Peterson Trio's "You Look Good to A variety of music was auditioned over The Aleph 0 is unusual in that it is soMe" from the We Get Celestion 700 satel- much the product of one designer's views Requests CD (Verve lites with the BIC and taste. I am not in a position to judge810047-2), which THE BIC COMBO amp/sub combina- the validity of Nelson Pass's technical argu- features a natural tion. All of the Ce- ments for Asymmetric Class A, althoughrecording of plucked SEAMLESSLY EXTENDED MY lestion's fine qualities they are interesting. What I can say is that and bowed acoustic SATELLITES' FINE SOUND were preserved, but the Aleph 0 is an outstanding performer,string bass. I started DOWN TO 30 HZ. with the bass seam- and it seems to live up to all of its design-with the subwoofer lessly extended to 30 er's objectives. volume control on Hz. Perfect. The Aleph 0 brings you much of the spe- the SWA-100's front Videophiles and cial magic of the best triode amplifierspanel all the way down. I advanced it slow-bass enthusiasts will want more, however. without the penalties in terms of power, ly until I heard a slight increase in fullnessThe BIC SWA-100 and V-12 will not de- dynamics, deep bass, and reliability. It is also and I stopped. I listened to pianist Oscarliver the sound of a space shuttle launch in intensely musical. Some amps are more ex- Peterson and to a male speaking voice toyour living room. The combination really citing or analytic than musical; the Aleph 0's determine if any unnatural boominess hadjust adds a good 12 -inch woofer. For many upper octaves, sweetness, and transparencybeen added. budget systems in small to medium -size involve you deeply in the performance. I suspected a problem in the crossoverrooms, this pair is exactly what is needed. Anthony H. Cordesmanrange, where both satellites and subwoofer David L. Clark AUDIO/SEPTEMBER 1994 60 Attention to detail makes the difference between the ordinary- and the extraordinary. Whether it's the brush strokes of a paint- ing or the subtle curve of a new car, it's the fine details that set apart any effort from the crowd. This holds true for art, automo- biles-and audio. Any enthusiast will tell you building a fine home stereo system is a labor of love, a love of music. To hear music at its finest requires excellent source material, amplification, playback devices and loudspeakers. It also takes attention to all the components that go beyond the obvious. And that is what the "Great Details" special advertising section is all about...how to squeeze the absolute best from your system simply by using the wealth of accessories available for \1V10 1J1 A demanding music lovers. GREATSPECIAL ADVERTISING SECTION

THE WORLD OF ACCESSORIES "We've all heard of audiophiles who the way of competition save "zip cord," spend between $5,000-$10,000 for the same wire used for lamps and outboard digital -to -analog converters. household appliances! Considered one They are very serious about the finest of the founding fathers of the modern musical reproduction. Yet of all the com- A/V cable industry, Lee used his techni- ponents available for a superb audio cal background as a laser -fusion design system few offer the sonic payoff-dol- engineer at Lawrence Livermore Labora- lar for dollar-of top-quality intercon- tory and his passion as a musician to nects and cables," said Bill Low, presi- develop high performance cables. To- dent of AudioQuest. day, Monster Cable, named for the size "Every step in the audio chain should and power of the cable, has over color the music as little as possible," 1,000 products available including a Low added. "In fact, the best compo- wide range of speaker cables, intercon- nents cause the least change in the au- nects, and video cables. Monster re- dio signal. Our philosophy is to design cently introduced the first THX-certified high performance, value -oriented ca- home theater cables. bles so you'll hear all the dynamics mu- "All cables act as complex filters with sic has to offer." capacitive, inductive and resistive Ray Kimber of Kimber Kable has facets," noted Steven Hill, president of been designing cables and intercon- Van den Hul LSC interconnectors. Straight Wire. "We've been manu- nects for 15 years. "We started out facturing premium cables for 12 trying to show friends how to THE LINK TO EXCELLENCE years. Various conductors, insula- achieve better sound from their tions, designs and manufacturing stereos and were among the first to ad- Mr. Kimber noted that "sometimes even processes are employed. What's most dress measurable and audible differ-the smallest measured differences in a important are the qualitative difference ences in audio cables. My design goal particular cable result in widely varied you can hear -and see." was simply to achieve sonic neutrality sonic results." Cut into any high -quality cable and with as many system combinations as "It's the emotional value that con-you'll notice more than "wire wrapped possible." Kimber explored the interac- cerns me most, using manufacturing in plastic." There are myriad decisions tions of the physical properties of audio techniques to bring the emotions of live and options. First there is the material cables including mutual inductance, dis- music into the listening room," said A.J. of the conductor itself. To be as neutral tributed capacitance, uniform power re- van den Hul. An early cable pioneer, in as possible, the metal should be ex- sponse as well as radio frequency (RF) 1980 Mr. van den Hul used an Ad- tremely pure. Highly processed silver is and electromagnetic (EM) interference. vance -test Spectrum Analyzer to mea- best but it costs the most while copper sure the differences between cable and Straight Wire Dueti explain why they sound different. The Straight Wire Musicable and speaker cables. best cables showed a regular set of har- Harmony interconnector. monics from 500 Hz upward while others did not. Van den Hul attributed this distortion to Cross Crystal Distortion, molecular level effects at the boundaries between crystals in the conductor material. To eliminate this noticeable harshness, he developed new manufacturing techniques to yield longer crystal structures and special jackets to prevent cable aging. Van den Hul cables and interconnects are sold in 50 countries. When Noel Lee, president of Mon- ster Cable, offered improved speaker cable in 1979 there was very littlein r

GOLDEN NOTE NOMINEE 1991

CABLES & ACCBSORIES Miscellaneous Ac:essories

Steven Mc-l'ormack THE ACADEMY VON THE ADVANCEMENT The Mod Squad AND AUDIO

From Classic to Country, Reggae to Rock... Y Connectors to avoid signal degradation. ...Mod Squad Accessories put you right in Mod Squad Accessories are designed by ear the middle of the music. That's why they've and built by hand by people dedicated to the won so many awards. And why they're used highest standards of musicality. Your ears - and by such top-quality manufacturers as BMIP/ your system - deserve nothing less. Billy Bags, Cary Audio Design, Sound Lab, LIFETIME GUARANTEE: The award winning Unity Audio, Vandersteen Audio, Mod Squad Accessories are Wavestream Kinetics, Westlake backed by a Lifetime Guarantee. Audio, Wilson Audio Specialties Be sure to ask your dealer for more information. And start - and more. hearing it like they played it. Choose TIPTOES° Point Cou- pling Feet to prevent sonic grunge; SOFT SHOES° Damping Feet to fiP1McCORMACK control vibration noise; WONDER 414 AUDIO CORPORATION LINKTM Digital Cable to eliminate A Sound Investment for Sound Improvement background smear; and SQUAD 542 North Highway 101 CONNECTION Adaptors and Leucadia, California 92024 USA 619-436-7666 TIPTOES and SOFT SHOES are registered trademarks, and Enter No. 18 on Reader Service Card WONDER LINK is a trademark of NIcCormiick Audio Corporarion. SPECIAL ADVERTISING SECTION is a very affordable option. Yet there is G Y1, _A,r-r also won raves from enthusiasts. a variety of copper available ranging The First is A.J. van den Hul's original .011111111111111% from Oxygen -Free High Conductivity pure carbon interconnect that uses (OFHC) copper to Long Grain Copper 50,000 individually braided insulated (LGC). Each has its specific characteris- conductors of patented Linear Standard tics and tradeoffs between price and Carbon (LSC). Reviewers have de- performance. A common reference scribed the results with phrases such as shoppers encounter is "4N" or "4 "a knockout," "a breakthrough" and "it nines" as a statement of metal purity redefines the art." The First is recom- (99.99%). In 1993, the first all -carbon same benefits tc. a wider number of en- mended as a link between the source and metal/carbon audio conductors thusiasts." The Triple -balanced Emerald and the pre -amp while The Second con- were introduced-offering consumers uses Functionally Pure Copper (FPC-6), nects the pre -amp and amplifier. The more options. Teflon insulation, Air Hyperlitz construc- Second uses LSC conductors wrapped Once the conductor material has in a heavy silver -clad OFC braid with been chosen, extensive research de- low resistance for exceptional resolu- cides how the metal is braided and the Monster XP 2S HT and XP 3F HT tion. The Revelation loudspeaker cable magnetic effects those twists and turns Home Theatre is a hybrid metal/carbon design for su- create. Next is the cable insulation that speaker cables. perior signal conductivity. Van den Hul can be either PVC, polypropylene, also has a variety of cables and inter- polyurethane or Teflon. Each material connects using different materials to suit has its own distinct properties and af- almost any audio requirement. fects the wire within differently. Add the Straight Wire has over 40 different connections and the design of the plugs cables to choose from. Which one themselves and it's easy to see the in- should you use? According to president dustry has come a long way from zip Steven Hill, "We can direct you to a cord. dealer who can help or if there's no Building cables that meet the rigorous Straight Wire dealer in their area, we standards of audio enthusiasts is a chal- can create custom wires and connec- lenge of the highest order. Fortunately tions, no matter how complex the sys- music lovers have a variety of cables tem." All Straight Wire cables have life- and interconnects available ranging time warranties and "Try Before You from the very affordable to those thattion and welded FPC plugs for almost Buy" no -obligation home audition. One cost the price of a car! one-third the price. The fine sounding of their newer interconnects is the Virtu- "Value, bang -for -the -buck, is critical," double -balanced Topaz features LGC oso with an 85 percent pure copper said AudioQuest's Bill Low. "The best Copper, polypropylene insulation, solid center covered with 15 percent pure sil- interconnects we make are the Triple - conductors and Teflon plugs. Audio- ver. Each strand is covered with a spe- balanced Diamond series that Quest has a wide range of speaker ca- cial .0005 -inch insulation. The Flexcon- use Functionally Perfect ble as well from the Type 4 which uses nect series cables are considered by Silver (FPS) as a con- LGC copper and a spiraled solid hyper- many a "best buy." The Flex 4 uses four litz construction, the Functionally Perfect Copper (FPC) Midnight and the highly Monster XP3F HT regarded Dragon uses FPS Silver. home theater Monster Cab e's most popular high- speaker cables. performance cables include the Interlink Reference 2 interconnect and Powerline 2 Plus speaker cable. Reference 2 con- The First from van den Hul. sists of two Bandwidth Balanced conductors-plus a separate shield-each with three precision -wound multiple gauge wire networks. Proprietary Mi- crofiber insulation is used for sonic transparency. Turbine Design 24k gold contact RCA plugs allow for accurate passage of the audio signal. The popular Powerline 2 Plus speaker cable uses a Time Correct design, Magnetic Flux polypropylene -covered 16 -gauge ductor, Teflon insula- Tube and patented Bass Control Con-OFHC copper conductors twisted inside tion, Air-Hyperlitz construction and ductor.It delive-s superior soundstage, a firm jacket. welded plugs. They deliver outstanding imaging, depth and ambience. Quality cables and interconnects are sound," Low said. "We dedicate a simi- Kimber Kable's Model #88 Black also available from Esoteric Audio, XLO lar pursuit of perfection to our other in- Pearl is considered one of the finest ref- Electric and Apex Audio. Esoteric Au- terconnects including Lapis, Emerald, erence speaker cables on the marketdio's Audiophile series features hyper- Quartz and Jade. Using different mate- (and it's also the most expensive). Their balanced Artus interconnects with multi- rials, we're able to bring many of the bargain -priced P131 interconnects have ple -stranded center conductor and Making Good Stereo Sound Better ...but we are not the only ones who think this...

/tes use of the AudioControl C-101 SeriesIII left no doubt t'Oott th ' ould e a first rate addition to any good audio system. Used wisely it can only improve the final sound. 99 r Julia irsch, Stereo Review, July 1994

66 I'm impressed by how little distortion and noise the C-101 roduces... it is outstanding in thes 99 Edward Foster, Au ust 1994

AuclioControl, making good stereo sound better® 22410 70th Avenue West Mountlake Terrace, WA 98043 Phone 206-775-8461 Fax 206-778-3166 Enter No. 3 on Reader Service Card High Frequency Wetwork For Smooth Time Corer,Response MicroFiber Dielectric 30°. Air for Improved Clarity Midrange Netwo.k For Natural Presence Large Bass Conductor For Extended Low Frequency Response Bandwidth Balarced Wire Networks Optimizes Frequency Response Multirwistr' Titre Correct Winding Improved SoundStagE and Imaging IsolecT' Vibraticu Decoupling Insulation For cancellation of cable microphones

Non -Slip Rubber Grip For Easy Handling Special ' Gunmetal' Finish Turbine Design' 12 Turbine Contacts 24k Gold Contact RCA's Extra Heavy Contact Mass, Precision Fit Split Tip Center Pin See the Difference. Hear the Difference. M Series' Cable Technology by Monster Cable.

The Mmoo® Mk 31 With so many cables on the market, it's easy to get confused. Advanced Cable Designs for Monster's famous patented M Series® cable technologies deliver the most the Serious Audiophileadvanced sonic cable performance available. See for yourself. Separate Bandwidth Balanced® multi -gauged conductors for high, low, and mid -frequencies. MicroFiber® dielectrics and Time Correct® windings for greater clarity and dynamic range. Isotec® insulating jackets that isolate the conductors from outside vibration. Combine our patented cable designs with the highest technology connector money can buy --Monster's Turbine Design® and you have a cable that's truly Monsterous. Hear for yourself. Deeper, tighter bass, increased dynamic range, precise imaging and greater"depth" transports you closer to the original performance. Audition the Mi000® Mk 3 and the other M Series® cables at your Monster Cable® M Series dealer and let your ears be the judge. MSERIES' Enter No. 22 on Reader Service Card Advanced Cable Designs for Audio and Video

0 Monster Cable® Products, Inc 274 Wattis Way, So. San Francisco, CA 94080 Telephone (ps) 871-6000 Fax (4,5) 87,-6555 SPECIAL ADVERTISING SECTION

terconnect features The Audio Quest interconnect line-up. 99.9997% pure silver, extra shielding for better RF rejection and a Teflon dielectric. Apex's Signature 111111 series is part of a complete line including the Alle- gro 1CTL (Imped- required for choosing superior compo- ance Controlled nents picking the right cables requires iimmmilimmimmimmimLLX Transmission Line) dedication and commitment. Yet the speakercables sonic payoff is well worth it. Fortunately and Allegretto LLTL help is nearby. "Select a dealer who (Line Level Trans- has given you good advice in the mission Line) inter- past," Ray Kimber of Kimber Kable not- connects. XLO ed. "Above all else, trust your own air -cellular dielectrics. Their SeriesII Electric's Standard Series features high - ears. These two highly advanced instru- loudspeaker cables use OFHC copper quality interconnects and sneaker ca- menTs will tell you a lot-good and insulated with Teflon to prevent surface bles. The Type 0.6 speaker cable uses bad!" oxidation and eliminate cable noise OFHC copper with a Teflon dielectric generated by strand -to -strand interac- and delivers remarkable imaging and tions. Apex Audio, another highly re- neutrality.Alsoofnote arethe PRIVATE garded cable designer, plans to intro-XLO/PRO Type 150 interconnect and LISTENING duce a Signature interconnect early the ER -14 that offer high performance next year to complement their reference and affordability. The same singleminded attention to Signature grade speaker wire. The in - Similar to the critical decision making detail that produces the finest interconnects and cable is also apparent in the best headphones. "Several things set top-quality headphones apart from the competition," said Sennheiser's John "The only difference between TV and movies. In fact, Monster was first Bevier, Manager, Consumer Products. and Home Theater is audio," Bill Low to receive certification to use their ca- "Quality of materials is critical as is the said. "Enthusiasts should treat the au- bles and interconnects with THX ap- level of precision manufacture. Many dio and video signals in their Dolby proved Home Theater components. people think all magnets are the same, Pro Logic or THX systems with the The M Series features cables de- that they're simply dug out of the same respect as their music -only com- signed for the front three speakers in ground. High -quality headphones exclu- ponents," added AudioQuest's presi- a multichannel system (MP3F HT), the sively use magnets made from specially - dent. Low noted that accurately repro- MP2S HT for the surround speakers, refined ores that have a greater capaci- ducing the spoken word has always an MSW subwoofer cable and an M756 HT Interconnect that has a spe- ty to hold a charge. For superb sonic been a key criterion of quality Hi-Fi. performance precise manufacturing Therefore, cables from a VCR and a cial six -channel side -by -side configu- with quality materials is an absolute center channel speaker deserve your ration. Monster recently introduced high -quality, low -profile SuperFlat ca- undivided attention. "If Dan Rather Kirrber Kables for the finest sound. sounds much better when you use bles specifically designed to run top-quality cables and interconnects along baseboards or under rugs for imagine how The Fugitive will sound!" complex Home Theater setups. The design challenge for superior Straight Wire offers the Silver Link video cables isjust as rigorous as II with a Over plated copper conduc- their audio counterparts. Audio - tor with a foam polyethylene insula- Quest's Video Pro uses FPS silver as a tion and a double shield for improved conductor, Teflon insulation and weld- RF rejection. Straight Wire cables are ed RCA plugs. supplied with the highly -regarded JBL The Monster Video Series 3 inter- Synthesis Home Theater systems. The connect features improved dielectrics VideoLink 75 from van den Hul is a for maximum signal strength and re- 75 ohm coaxial cable witha duced "ghosting." A specially de- matched crystal OFC 12 -strand cen- signed metal -to -metal shield reduces ter conductor wrapped with a metal electromagnetic and RF interference. foil shield and Teflon insulation. Monster Cable's M Series Home The- Bottom line? Video and Home The- atre Speaker Cables provides top- ater connections deserve your undi- quality connections for lovers of music vided attention. SPECIAL ADVERTISING SECTION

Sennheiser is one of many quality rous magnets to control the motion of G Ft E AT companies with that real -world experi- the diaphragm. The diaphragm features ence. They designed the first open air a new Duofol two -layer technology for 1 -7-----t ,,, headphones in 1967, were first to use reduced distortion. Triple -wound alu- wireless infrared technology in an au- minum voice coils act as an interface dio application 17 years ago, and cur- between the magnets and diaphragm. __ rently have a full line ranging up to the They feature an acoustically transparent dad' $12,900 Orpheus. While the Orpheus open-air (or hear through) design and ------amir...:---- is considered the Headphone Holy velvet -covered ear cushions ensure Grail (only 300 were made), Mr. Bevier hours of listening comfort. Frequency re- must. And as self-contained sound sys- points to the 9.2 -ounce HD 580 Preci- sponse is 16-30,000 Hz with a sensitiv- tems, headphones must reproduce mu- sion ($349) as the reference dynamic ity of 97 dB. The result is clear, natural sic as clear and distortion -free as possi- set preferred by many audiophiles. The tonality with superb bass response. ble.Ittakes alot of engineering circumaural (ear covering) HD 580 Pre- "For those who want private listening expertise to do the job well." cision uses powerful Neodymium-fer-on the go, the affordable HD 320 Ex- pression Line is an excellent combination of sonic quality and light weight," said Mr. Bevier. "The HD 320 weighs just 4.2 ounces yet it's packed with technology including Neodymium -fer- rous magnet system and a computer -de- A SOUND OFFER... signed Radial Bead diaphragm." The diaphragm is made of low resonance, TRY BEFORE YOU BUY polycarbonate material for wide band acoustic clarity. Triple -wound copper voice coils are connected to the inert diaphragm to create a Fast Attack piston system that reproduces the demanding dynamic range of CDs, MD and DCC.

hOLD HAT =_;ISC!

Compact discs have takenover the music industry. In fact, CDs outsold cassette tapes for the first time in 1993. According to the Electronic In- dustries Association, CD players are in over 40 percent of U.S. homes. Everyone loves the hiss -free sound and wide dynamic range. The only remaining question is where to store all the discs! You could buy a new 100 -CD changer yet there is a more economi- cal way to store your discs. Case Logic's PF200 holds 200 CDs in file drawers for easy access plus it readily fits on component shelves. Cal Oak offers affordable wooden shelving for 64 or 80 discs. Bell'Oggetti has the CD -001 CD Rack for 76 discs or the CD -333 three-piece system that holds 120 discs. CD Stor- age Plus+ by Sorice offers the A300 NO -OBLIGATION HOME AUDITION PROGRAM 300 -disc holder. Gemini, Geneva, ASK YOUR DEALER FOR DETAILS Recoton and Discwasher also offer a variety of CD holders for the home and taking your music on the go. While there is no shortage of SITING141 WIRE choices, the surprise is how afford- THE SHORTEST PATH BETWEEN YOU AND THE MUSIC able CD holders can be (many are 1909 Harrison St., Suite 208, Hollywood, FL 33020 under $100). Now it's easy to tame the jewel box jungle. Phone: (305) 925-2470, Fax: (305) 925-7253 1-800-683-4434 Enter No. 29 on Reader Service Card the ultimate surround sound

Life is stressful. You could spend a few thousand dollars rushing to a weekend getaway at a rejuvenating retreat. You could mortgage your home for one of those "quiet as a recording studio" motor cars you've seen on television. Or you can keep the family fortune and relax n the sanctity of your own home with a pair of Sennheiser headphones. Discover the ultimate in surround sound...at a budget you can easily afford.

HD 55 HD 35

HD 440 II HD 435

SEIVIVII4E11111Eit

6 VISTA DRIVE, P.O. BOX 987, OLD LeE, CT 06371 FAX: 203.434.1759 NA DA: 221 LABROSSE AVE, POINTE-CLAIRE, Q H9R 1A3 TEL: 514.426.3013 FAX: 514.426.2979 SPECIAL ADVERTISING SECTION

Sennheiser HD 320 CT _A_rr Expression headphones.

nounced a new Soundfield Entertain- ment headset. By using special binaural technology, DSP, a built-in gyroscope and an open air design, the headphones create three dimensions of sound instead of two -channel stereo. Rather than an open air or a circum- Sennheiser aural shape Etymotic Research de- HD 580 Precision signed the ER -4 Series of in -ear head- headphones. phones. They feature transducers specifically developed for flat frequency The supraural (on -ear) head- response with isolation from external ly connected to the controller by a phones have comfortable cot- noise. The ER -4S provides 20-25 dB of plug adaptor. In June, Noisebuster ton -covered ear cushions. external noise exclusion that lets you was selected by the Electronic Indus- Other top headphone manu- hear the full range of today's digital mu- tries Association (EIA) for a prestigious facturers include Koss, beyerdy- sic and prevents listener fatigue. Innovations '94 award. namic, Etymotic Research and On occasion people want to turn Sony. Broadcast and recording pro- down the volume in today's raucous fessionals have used Koss head- world-particularly low frequencies that MAGIC BOXES phones for over 30 years. Their Studio tire them out. And users of personal Tiptoes from McCormack Audio are Proseriesishighlighted by the stereos would like to hear their music in- perfect examples of a "Great Detail." A PRO/4XTC with a frequency response stead of non -emergency noise as they decade ago few people understood su- of 23-22,000 Hz.It uses Neodymium bike or jog along. Noisebuster ($149) perior components had to be properly iron boron magnets, a high -velocity dy- from Noise Cancellation Technologies seated on a floor or shelf. Today this is namic element and has comfortable solves the problem. The Noisebuster is common knowledge and over one mil- cloth ear cushions. beyerdynamic head- a personal active noise reduction head- lion Tiptoe mechanical grounding phone designed tospikes were purchased the past 10 NCTs Noisebuster electronically reduce years. McCormack Audio recently intro- noise -reduction low frequency noise. duced another "Great Detail," the Mi- headphones. NCT uses high-speed cro Series. Definitely larger than Tip- analysis of selectedtoes, they have the same drive for undesirable noises in musicality inherent in any audio prod- a chosen environment. uct designed by Steven McCormack. Based on that analy- McCormack's Micro Series are a trio sis, an equal but op- of compact components-Line Drive, posite sound wave, Phono Drive and Headphone Drive- called "anti noise," is that deliver true high -end sound in con- generated which re- venient -size chassis (9 1/2 wide, 3 high duces the offending by 9 deep, in inches). According to Mc- noise or vibration. Cormack's Joyce Fleming "The Micro Noisebuster effectively Line Drive ($595) is a wonderful 'little phones have won raves from the enthu- reduces offending noise by 50 to 95system' control center with superb siast press, particularly the DT 770 and percent with a range of 20-1,200 Hz sound and great flexibility." She noted DT 911. One of the newer editions is while enhancing the audibility of there are three inputs, one tape loop the DT 511, a circumaural, open de- speech, music and warning signals and two outputs. "Enthusiasts can select sign with Neodymium magnets and such as car horns. They're worn by air either passive operation with no gain or large moving coil diaphragms.It fea- travelers, office workers, users of multi- active operation with low, medium or tures velvet, replaceable cushions and media computers, and anyone else try- high gain. And it's very easy to make has a FR of 10-22,000 Hz. ing to save their hearing for more im- these internal adjustments." Ms. Flem- As inventor of Walkman and Disc-portant tasks-such as listening to a ing noted there are dual volume con- Man-and a Hi-Fi leader-it only new Compact Disc. The Noisebuster isa trols for perfect balance, a mute switch stands to reason Sony would have an lightweight headset that gets connected and actively -buffered tape circuit. extensive line of headphones for almost to a small controller clipped to your belt The Micro Phono Drive ($495) is a any application. Recently they an - or clothes. Personal stereos can be easi- high -quality external phono stage for Which scares you more, a horror film with the souid turned off, o- a horror show on the radio? The answer is easy because it is the movie's sound tract which carries tie pathos and emotiol. You can enjoy sound wit out pictures, but who wants pictures without souid? It's What You Don't See That Counts. It just so happeis that cables are the part

It doesn't cost of your system which can help or hurt the more to Jo it right! performance the most... and for the least money. AudioQuest offers a full range of Whether you have two channel stereo or multi- cables, but the channel stereo, you have to have cables. You biggest improvement you'll hear can't completely fix a bad system with good cables, is going from big but you can senously degrade a good system with fat stra-ded cable to the least epensive cables badly designed cables. from AudioQuest. For the You won't see tl-e cables and you won't see the complete story, please call or write for ourCatle Design sound - but you will experience the difference! booklet - or better yet, visit an AudioQuest dea er and listen for yourself. audioquest

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The McCormack Micro Series. use with a line -level -only preamplifier. It has one input, one output, no controls. Simple internal adjustments let you choose between medium or high gain and to select the proper input loading. "Fewer preamps are equipped with headphone jacks so there is a growing need for headphone amplifiers," Ms. Fleming said. "The Micro Headphone Drive ($595) combines great flexibility and performance." There are two in- "Downsizing components has several rior has unique acoustic characteristics puts and one output so it can serve as positive characteristics including shorter and deficiencies," said Tom Walker, a mini preamplifier plus there are two signal paths and lower prices. In addi-president of AudioControl. "Windows, top-quality headphone jacks. "The tion, they can fit in cramped quarters." walls hard floors, curtains and furniture OPAMP input stage and MOSFET out- Fine-tuning a sound system for a spe- all influence what you hear. This is es- put stage deliver a low noise, low dis- cific space-whether at home or in the pecially true for Home Theater systems. tortion signal that can easily drive any car-is a difficult challenge. Fortunately If you spend a top dollar on top compo- dynamic headphone. The sonic perfor- with the proper equipment, it's a chal- nents,it's critical they're properly ad- mance is certified high -end," Ms. Flem- lenge that can be overcome with dra- justed so they sound as good in your ing said. matic results. "Every room and car inte- home as they did in the showroom."

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slope provides maximum speaker pro- C4- Ft EAT tection with a minimum of intrusion into BUYER'S GUIDE the low bass. No more bass loss due to For more information, please write or shallow filter slopes," he noted. call the manufacturers listed below. One of company's most popular components was the C-101 home equalizer AudioControl "with the ability to make any audio sys- 22410 70th Avenue West tem sound better," Walker said. The Mountain Terrace WA new C-101 Series III equalizer/analyz- 98043-2165 er ($459) features improved electronics 206-775-8461 AudioControl has designed afford- and cosmetics. By using the built-in digi- able home equalizers since 1977. tal pink noise generator, real-time audio AudioQuest "Our Model 520 was the first easy -to- spectrum analyzer with the supplied PO Box 3060 use home equal- AudioControl San Clemente CA 92674 izer.It had five 714-498-2770 equalizer bands C -10I Series III equalizer/analyzer. as well as EQ Kimber Kable curves and center 2752 South 1900 West frequencies de- Ogden Utah 84401 signed for two- 801-621-5530 way speaker sys- . . tems,"Walker McCormack Audio Corp. said. "We were 542North Highway 101 the first company Leucadia CA 92024 to religiously use 619-436-7666 a good 18 dB/ octave Tchebychev alignment subsonic calibrated microphone and 20 -foot Monster Cable filter in all of our designs. The sharpcord, consumers can accurately mea- 274 Wattis Way sure the acoustical response of a listen- South San Francisco CA 94080 v0 CINDER BLOCKS ing room. Octave -spaced sound con- 415-871-6000 PLEASE trols allow for proper adjustment and paired left and right sliders prevent un- Noise Cancellation Technologies Once, piling components on top balanced adjustments. "The C-101 Se- 800 Summer Street of each other was the extent of ries III can be used with basic single re- Stamford CT 06901 A/V furniture. What a difference a ceiver system to a multi -amp, multi -zone 203-961-0500 few years make! Today there is an ex- Home Theater." The C-101 SeriesII citing world of audio/video furniture has a 10 -band real time audio spec- Sennheiser available to match any decor-and trum analyzer, high-speed, low -noise 6 Vista Drive budget. Early American, Arts and circuitry with a FR of 10-100,000 Hz PO Box 987 Crafts, Mission, Traditional, and Con- with distortion less than .005%. Audio- Old Lyme CT 06371 temporary are just a few of the home Control has won 35 awards over the 203-434-9190 entertainment furniture styles at stores years. "Part of the reason is we're con- around the country. stantly combining useful functions into Straight Wire Leading the way into America's one unit like the C-101," Walker said. 1909 Harrison Street #208 homes is Ethan Allen, CWD (Custom The Richter Scale is a combination 1/2 Hollywood FL 33020 Woodwork And Design), Thomasville, octave bass equalizer, warble tone test 305-925-2470 Lane, Techline, Bell'Oggetti and others. analyzer and a two-way 24 dB/octave 800-683-4434 The key trend is attractive furniture Linkwitz-Riley electronic crossover. "It's that holds an entire Home Theater sys- anything a good subwoofer would van den Hul Cables tem (except the rear surround speak- need," Walker added. And the compa- Vanguard Distributing ers). Furniture manufacturers are now ny continues to break new ground. In PO Box 231003 working closely with TV makers to en- 1985, they introduced trunk -mounted Encinitas CA 92023 sure there are no problems fitting to- equalization for car stereo and started 619-436-3051 day's 35 -inch direct view sets or even a new category. 55 -inch rear projection models. Space The EQX combined a 12 -band equal- is available to hold a variety of au- izer with an audiophile grade 18 Cover Credit:Photograph by Pito Collas dio/video components, front left and Shown:McCormackMicros, Sennheiser dB/octave electronic crossover. "With HD 580 headphones, the AudioControl right speakers and even the center advanced technologies like constant -Q channel for Dolby Pro Logic. It's simply C-101 Series III, AudioQuest, Monster 1/3 -octave equalization, real time au- Cable, van den Hul cables. a matter of matching your taste and dio analysis and digital fundamental your budget. The options are there. This special advertising section was spe- restoration, AudioControl continues to cially prepared for the publisher of Audio And please leave the cinder blocks lead in the field of signal processing," magazine. None of the magazine's editori- outside! Walker said. al personnel were involved. Hall of Fame...

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Enter No. 15 on Reader Service Card CLASSICAL R E C O R DINGS

cellent space and perhaps 15 feet from the performers. Dorian[AmericanTrombone Concertos: used its usual venue, the fabulous Concertos by Paul Creston, George Walker, Gunther Troy Savings Bank Music Hall in up- Schuller, and Ellen Taaffe state New York; Arabesque has Zwilich been recording farther down- hristian Lindberg, trombone; Malmo state, in the concert hall on Symphony Orchestra, James DePreist the State University campus BIS CD -628, CD; DDD; 67:41 at Purchase. Admittedly, the Troy hall-or could it be Dori- Lindberg is the world's first full- an's engineering?-yields a me classical trombone soloist, and slightly richer bottom end is is his 13th CD for BIS, covering and a longer reverberation arty music to some of the many time, but both ring true orks now being created for his in- acoustically. The hall is trument. He has also done a solo palpably there, butit usic LaserDisc featuring works uti- doesn't blur the music. zing his acting talents. Sonically, both outclass The contemporary interest in the even the most expert of con- rombone really began with Paul ventional studio recordings. reston's Fantasy for Trombone and The Saint-Saens F Major Trio rchestra, heard here. The neo-clas- predates by several years sical concerto by black French Piano Trios the 1870 watershed before Ouistian composer George Walker Lindberg by Saint -Satins (No. 1), which French instrumen- eschews jazz, but Gunther Debussy, and Faure Orde. tal music was without so- ararPrcut Schuller's "A Little Trom- Golub Kaplan Carr Trio cial standing. In fact, the bone Music" uses wind and ARABESQUE Z6643, CD; 70:36 trio was not performed percussion sonorities influ- publicly until later. It is a A^ Piano Trios enced by the big bands. by Ravel, Chaminade, and work full of strong musical ideas chuller's score demands the most Saint -Satins (No. 1) and striking effects. His pupil Faure xtreme high notes that the work's Rembrandt Trio also treated the form with a vigor edicatee could play. Ellen Taaffe DORIAN DOR-90187, CD; 74:10 that may surprise you if you know wilich wrote two trombone concer- him only from his more delicate ns for the Chicago Symphony; the First, hearty thanks to both song settings. The greatest power of ne for tenor trombone is performed companies for recording the long- all is wielded by Faure's pupil Ravel, ere. ignored Saint-Saens No. 1 (so how in the trio that is the latest of the five A varied sampler of complete se- about No. 2, guys?) and, more im-on these two sets and a seminal ections from some of Lindberg's portant, for delivering what I con-work of modern music. The De- any recordings for this label has sider to be just about ideal chamber - bussy is a charming youthful work. Iso been released on this label. music perspective: The sense of That leaves the trio of Cecile John Sunie being on stage in an acoustically ex- Chaminade, whose age places her at AUDIO/SEPTEMBER 1994 76 preamplifierBe assured: from TheAudio LS5 Research Mark II isstereo no mere line -level ofswitch useful -selectable volume controlgain allowing settingE a widerwith different range s:gnificantinformation advancenostalgic fromin the any nodtechnology input to the source, past of vacuum Rather,it analog -tube represents amplificationand transmission a as applied of meaningful to the retrieval musical Fromandinput timbral sources.the manufacturer magic All ofthis dual plus with -triode the 25 harmonicyears encevacuum ofin experi-bringing tubes.richness recorded musicIf ever tc there life. has been a preamp_ifier possible musicincludes system a sophisticated.The -and _ethnology never forget.will making hear immediately this all inor your digital. The difference is one you :hat will markedly -even astoundingly - favoriteLS5anyimprove deservingMark musicthe II isperformance it.aud:o as Y.Du'll bough system, near illiminat-of yourthe fully regulated powerCapaztor supply circuits;patented using fully Decoupledcross balanced, -coupled. Electrolytic all -vacuum -tube amplification stages: and beTheyou.ed fromexperienced, wayIntimate. within, music Prolound. Flayedanduas meantremembered. specially Lasting. to for

5740 Green Circle Drive / Minnetonka, Minnesota 55343-4424 !Phone: 612-939-0600 FAX: E12-939-3604 HIGHaudio DEFINITION'? research En er No. 4 on Wader Service Card the center of the present group. In a Paris ingly played Schubert violin sonatas that which uniquely nurtured so many creative Arabesque has captured in the same hall with Lament women during those years, she had no need two of the same artists, Golub and Kaplan The Brodsky Quartet with Elvis Costello, of diffidence; she developed a strong voice of (Z6636), that company seems to be compiling vocal; Wilhelmenia Fernandez, soprano; her own, as this delicious and involving trio as impressive and consistent a catalog in Pur- Susan Monks, cello and Mary Scully, proves. It is to our discredit that mention of chase as Dorian is doing in Troy. Bravos all double bass her name among musical cognoscenti to- around! Robert Long SILVA CLASSICS SILKD 6001, CD; 71:09 day is most likely to evoke only a smirk. So perhaps heartiest thanks of all are due for this Immortel Gregorien True, the tea-party incunabulum. Various choirs of monks in France, Spain, niceties of the concert The playing is superb throughout both and Belgium room can have a stul- discs: Mature, committed, passionate, percep- STUDIO SM 12 20.02, CD; 1:56:38 tifying effect on some tive-and, of course, fluent. In head-on com- music -making and parison of the Saint -Sans, Arabesque's trio Everyone involved in the marketing of clas- some music -makers. captures the mystery of the Andante a hair sical music recordings is still trying to figure The Brodsky will have none of that. It cov- more effectively, but the Rembrandt comes it out, but somehow a compilation reissue ers everything from a wide-eyed folk idiom up with a slightly more joyful Scherzo. Dori- CD of Gregorian Chants titled simply Chant to gnarled modernism with equal panache an manages a mellower sound, but that is not soared to Number One on Billboard's Classi- and with no regard whatever for what to say itis fundamentally superior to cal chart in only a week after accomplishing might work in traditional venues. Voice or Arabesque's. And on the basis of the engag- much the same feat in Spain. Now the Grego- double -bass are added as needed. The major contribution is Stravinsky's "Five Pieces for String Quartet," a semi -conventional anchor in an eclectic collection. Acoustics Trittico wind bands one might are as frankly sound -studio as the presen- Dallas Wind Symphony, Frederick Fennell hear in Seville on just tation. Challenging new -wave classicism. REFERENCE RECORDINGS RR-52CD such a day. Dello Joio's Robert Long DDD; 62:25 Variants on a Medieval Tune employs the famil- rian (and by extension all early liturgical Vincent Persichetti: Divertimenti for iar "In Dulci Jubilo." A monody and polyphony) floodgates are Winds funeral march of Grieg takes us to the final Winds of the London Symphony Orchestra, opened, and there is a deluge of chant CDs spectacular Symphony No. 3 by Vittorio vying for display space in the shops. David Amos Giannini-an encore from the Mercury Of the albums that I've heard, this double HARMONIA MUNDI HMU 907092 - days. Its fourth movement makes a brilliant disc set proved the most varied and moving. CD; DDD; 76:27 demo track. Maurice Robreau of Studio SM has special- Vincent Persichetti (he died in 1987) was ized in recording this music for over 40 years Frederick Fennell, who observed his a composer who enlarged the wind band now, and this set functions as a sampler to 80th birthday in July, has been called the rrepertory. He had a their large catalog of Gregorian Chant. The Godfather of Wind Bands and Guru of ready market for the ''=.Vincent notes speak of "the black record times" (be- Wind Literature. He founded the Eastman Perslchettl 14near -staples of the fore tape recording); many tracks are mono, Wind Ensemble and caught audiophiles' ,,,.,1,.,.05 genre that he created but the acoustics are so natural and com- ears with his still -spectacular LPs for Mer- in the explosion of pelling and the voices so lovely that one hard- cury Living Presence. wind ensembles and ly notices until the stereo tracks bring in an Fennell has devoted his life to elevating concert bands in the high schools and col- additional depth. the stirring music of the wind band toa leges of the U.S. following the Second An exceptional feeling of actually being in- wider audience, while continuing to con- World War. side the secret cloisters with the monks is duct everything from full symphonies and Half of those works are in this collection, produced by including such touches as the opera to the popular repertory. He has cho- four in first recordings. In them, Persichetti monastery's bells, footsteps of the monks in sen five composers for this album, starting hews to the accessible and utilitarian. Exu- procession, and the chirping of birds outside. with Vaclav Nelhybel's "Trittico," whose berance is a word that comes to mind hear- The recordings made in the cathedrals depart fresh and compelling harmonics and ing most of these well -crafted works, and a from the ascetic purity of the monks to include rhythms prove why the Czech composer note of whimsy is also often present. His in- women's voices, pipe organ, and, on one piece, has become a favorite. triguing melodies are diatonic and lyrical. a brass ensemble that sounds straight out of Albeniz's "Feast Day in Seville"-an or- "Pageant" is a stirring track and perhaps the Berlioz Requiem! An'absolutely riveting se- chestral original-has an added impact best known is the opening Divertimento for lection is "In Paradisum," in which a women's and realism due to the evocation of the Band, Op. 42. JohnSunier choir sings in perfect sync and harmony with the cathedral bells outside. John Sunier AUDIO/SEPTEMBER 1994 78 ORIGINRL MRS TER RECORDINGTM

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NEW RELEASE NEW RELEASE MUDDY WATERS ORIGINRl MRS TER RECORDINti FOLK SINGER 1.My Home Is In The Delta - 3:58 GETZ/GILBERT (MrXinNy mo,onfidd) 2. Long Distance - 3:30 (McKinley Morganfield) SIDE ONE Ira lilt inn Intonin Carlo: I, MFSL 1-201 0 CHESS MCA STEREO 3. My Captain - 5:10 (Willie Dixon) 4. Good Morning School Girl - 3,12 (Sonny Roy Williamson) 5. You Gonna Need My Help - 3,09 (McKinley Morgan field)

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The Tradition Continues at Mobile Fidelity Sound Lab. mobile twenty 105 Morris Street Sebastopol, CA 95472 800.423-5759 sound lab e-mail: [email protected] Enter No 19 on Reader Service Card RECORDINGSROCK -POP

Parklife Blur SBK RECORDS/ERG 7243-8- 29194-2-1, 52:47 Sound: B+, Performance: B+

ess than a year ago, the Lmembers of Blur were your basic garden-variety English misanthropes, naively mocking and reviling the working stiffs, the conformists, and the bureaucrats in their Tory republic. It's all documented on the '93 release, Modern Life Is Rubbish, Tracy Jacks, who which gave listeners an earful of whiney copes with his U.K. angst that, thankfully, was offset by a midlife crisis by Sahara Blue soundtrack of guitar pop with all the Hector Zazou bulldozing down right references. his house ("Tracy TRISTAR WK 57779, 61:37 Parklife, in comparison, is a pop psy- Sound: A-, Performance: A Jacks"). chology template that doubles as a latter Blur's approach day "Fanfare for the Common Man." It arthur Rimbaud is an avatar of to music clearly involves mercilessly refer- identifies with and celebrates the mum- encing the past, yet the net result is al- despair and spiritual yearning danity of ordinary folk-the ones who ways a respectfully updated treatment. for many contemporary have dreaded jobs so they can dispose of While Modern Life's nuts and bolts was artists. And eccentric French their income on Blur records-in a way vintage Bowie and Kinks, Parklife is that begs the question of whether this composer Hector Zazou has somewhat more ambitious in its attempt might not be simply a tongue-in-cheek at being a sonic smorgasbord. There's gathered many of them to- exercise in pity. Blur, after all, are current- gether in an ambient homage that ex- Burt Bachrach -like '60s pop ("To The ly press darlings in England who, without End") and an instrumental Bavarian plores the atmospheres between the words being global superstars, have a whole lot drinking song sandwiched between mod- of the poet. These distinctive voices intone more in common with the pop life than ern rock that evokes influences like Scary the simple life. Rimbaud's poetry in French, English, and Monsters -era Bowie or Split Enz ("Girls 1,11.441 ort Arabic. His multi -national Whatever the case, singer/wordsmith & Boys") or vintage Jam ("Tracy Jacks"). poem.. SAI III% 111.1isi. Damon Albarn is an astute observer of direried n1,1.,. I;v01cast includes Iranian born Throughout, it's Albarn's U.K. sneer and 111Iklir Wan tolnytol by tin human nature, offering superficially hu- guitarist Graham Coxon-whose guitar sAblARA Orohnonra Sussan Deihim, Algerian Rai morous yet, in reality, sad portraits of hu- shoringJohn Cale. (;(innsinger Khaled, and Velvet work compliments Albarn much as Kim - 1)oonrilien. Khnintl. 1nuol man vulnerability set to modern rock bedew Rew complimented Robyn Hitch- 1)1... I, 1/m111,114re 1)alvaiti Underground founder, John tunes which shimmer with panache and pill I II Ii,, Sinuvwa cock in The Soft Boys-that give Blur a Cale. energy. There's a park bench loony and much needed edge. Zazou hasn't created a dry poetry and his litany against the society that beat him Ultimately, time spent at the "life's a music tribute. This music swells with at- down ("Parklife"); a working stiff whose bitch then you die" school of maturity mosphere from the title track, a blues slide life peaks each week when he gets and wisdom has steered Blur away from bombed on his day off ("Bank Holiday"); piece with Barbara Gogan's ethereal vocals becoming repugnant. But with the music a guy named Phil who wants to move to a to the Middle Eastern dervish of "Youth." being their saving grace for lyrical or be- place called Magic America if he could havioral insufficiencies, it wouldn't have That one is centered around contributions figure out how ("Magic America"), and mattered anyway. Mike Bieber

Photograph: Maria Dawlat AUDIO/SEPTEMBER 1994 80 Ci FiI rI I'JIFI5TER RECORDING"'

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ORIGINAL MASTER REEO,.: MASTER RE330ING ERIC CLAPTON JUST ONE NIGHT TRAFFIC The low spark f high heeled boys

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lEW Ftrl ' _.::ASE UDCD Recorded live in 1979, this 2 -CD set Mobile Fidelity's seco J =is title. The captures Clapton in concert at The Budokai CD bookie!' of this U tra isc IV release in Japan performing LAY DOWN SALLY, features a recreation of the parallelogram WON"JERFUL TONIGHT, COCAINE, AFTER MIDNIGHT, die -cut design of the original LP .acket. to FURTHER ON DOWN THE ROA. plus nine 'sore. scale.

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Our proprietary mastering techniquesr i ce 431 1 step further with the cutting -edge technology of the GAIN SystemTm. We wor from Iiginal master tapes-with strict attention to detail-because we love the music as much as you do. Hear the difference0 with Ultradisc HT". The original limited edition, 24-kgratgold audiophile CD...... ,

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. .-rtittii: ittrifiWittufl.woris 4 soundlab MFSE INC !Memel rt. et,rellIVF MI ti.11:"It Mosaic use ilia.,:hIlintigutt.ctnts/ from Dead Can Dance in an ecstatic trance 7=49 developed a slightly wider range than her for- over Moroccan rhythms. Producer/bassist Bill The Moon Seven Times mer ethereal whisper, which helps The Moon Laswell sets a recitation by actor Gerard De- ROADRUNNER RECORDS RR 9018, 73:24 Seven Times steer through a more driving pardieu against a throbbing techno dance sound. The edges are harder and the details groove and the careening vocals of Anneli Many bands have followed the siren call of are richer with acoustic guitars strumming Drecker from Bel Canto exhorting the title, Cocteau Twins, with jangly guitars, shimmer- against a country-ish electric or pointillistic "I'll StrangleYou." ing textures, insistent delayed guitar cycles over military -like Sahara Blueshould be a textbook album rhythms, and an ethereal rhythm fragments. for anyone attempting a tribute album in the lead singer. Among them Like the Cocteaus, The Moon Seven Times future. It's a successful fusion of old ideas and was the Champaign/Ur- works in an area of texture and atmosphere, new ideas that, once beyond the allure of the bana,Illinois -based with lyrics being a tertiary concern at best. initial concept, Zazou'sSahara Bluegets more Area, and now a group John Diliberto interesting and reveals more layers with each formed out of their ash- listening, both musically and poetically. es, The Moon Seven Times. Although singer Necktie Second John Diliberto Lynn Canfield is no Elizabeth Fraser, she's Pete Droge AMERICAN RECORDINGS 9 45620, 52:08

Droge's music has more in common with "classic rock"-Bryan Adams, Rolling Stones, etc.-than the Pearl Jammin' company heMe drop keeps, but perhaps that's the point. This is the rri cool young guy who sounds like the old guys. Although derivative, Droge is a clever and talented writer. Given that he's on the same label as The Black Crowes, perhaps he'll be marketed first to the youth of America as one of theirs, and later to the AOR hordes. This guy has a spark, and probably an excellent future if he can find a bit of space to call his own.Jon & Sally Tiven

Here: Adrian Belew (Caroline CAROL 1748-2, 45:03). There are songwriters and there are musicians, and then there's Belew. Artist, sonic horticulturist, a man he bythms and melodies of who charted new territory for the electric Latin Arica providethe guitar, he's on another level entirely. And musical and spiritualtouch- even though pop songs aren't his forte and Here is-with a few exceptions-an stones for Jon Anderson's new album of pop songs, Belew creates in- solo adventure. credible and vivid pictures. Check out "Here" and the beautiful "Fly" firstM.B. Joined by musical luminfriesofthe Cohen Live: Leonard Cohen (Columbia CK Caribbean and Central 66327, 71:58). A very classy set from the soft-spoken but suave Canadian poet's and South America - including Milton 1988 and 1993 concert tours. The rap that his songs are "depressing" is a false one. Nascimento (Brazil), He is a true romantic and his concerts are Ruben Rada (Uruguay) an impeccable experience. M.T. Boca Livre, and Conchita Alonso (Mexico) - Welcome to Struggleville: Vigilantes Anderson creates of Love(Capricorn 2-42025, 48:38). music that is true to Strong, often pointed, bracing rock 'n' roll itsacoustic cultural from this Athens, Ga. band, whose singer/songwriter Bill Mallonnee sounds eerily like Bruce Cockburn with a kick -ass band. M.T. Tom Miiller's "Tweak of the Year"* isnow onCD. *(the absolute sound, vol. 17, #92)

The Sheffieldfla0 Test & Burn -in CD [rat)) )ELE( TRIC THE AUDIOPHILE REFERENCI SERIES

This project Demagnetizes your system. featuresA uLE MATRIX PROCESSING Sheffield's Burns -in cables, components and speakers new 20 bit+ digi:al encoding process, which The actual voices of Sheffield's Douc SAX and allows for up to 15 db of low level signal XL)'s ROGER SKOFF give you the tools and -hat is 3E IOW the 16 bit noise floor to be instruction you need to really set-up exuded on CD. This process only works and dial -in your system and listening room on arfalo] source material and presents a acoustics, including specific verifiable checks sliming breakthrough in CD sound quality. for realistic soundstaging, accurate imagin], and correct presentation of depth.

SHE:FIELD LAB RECORDINGS All tis, PLUS five outstanding Sheffield Lab :3 CE) 969-4744 Fax: (805) 969-5640 music tracks, and elaborate printed notes, for only $29.95 at your )10 or Sheffield dea er. There's neve' been anything like it! NLO ELECTRIC COMPANY, INC. Gel yours NOW! It's an absolute ESSENTIAL ;91X) 466-0382 Fax: (909) 466-3662 for le best sound you can have at home! Town," as well as the recent pop hit, JAZZ-BLUES "Save the Best for Last." And he wraps up the album with "Mercury R E C O R DI N G S Retro," which is filled with cleverly shifting free improvisation. The Leading Man, Mabern's follow- up to his powerful trio recording Straight Street, augments his trio HAROLDMABERNI sound and puts drummer Jack De- Johnette and bassists Ron Carter and Chris McBride with saxophonist Bill Easley, trumpeter Bill Mobley, and guitarist Kevin Eubanks. :blues Hendrix MCA MCAD-11060, 72:31

Hendrix' visionary and incendi- celebration of the group's ary guitar playing had its roots in clearest and, to date, most the deep blues; that's the premise significant inspiration: behind the latest Hendrixiana. MULGREW MILLERThat towering figure of :blues showcases the blues side of Memphis' musical heritage, this rock 'n' roll icon, with 11 tunes Phineas Newborn, Jr. culled from various places. Most are Harold Mabern repre- previously unreleased, with one cut sents the most direct line arriving as an "import" and "Hear to Newborn, having been My Train A Comin'" from the Rain- introduced to the seminal bow Bridge album rounding out the package. pianist by another notable Memphis player, Charles Although copious liner notes sug- Thomas. Mabern harks gest that Hendrix's blues prowess back to a Memphis musi- was the result of the cal scene that is now legendary; in fact, he earned same myste- what is perhaps his great- rious bit of est popular notoriety performing Southern The Leading Man with fellow Memphian, saxophonist folklore as- Harold Mabern George Coleman. sociated DM/COLUMBIA CK with Robert For Mabern, the lessons of Mem- 66148, 61:37 Johnson, it's probably closer to the Sound: A-, Performance: A - phis go beyond Newborn's double- octave techniques and orchestral truth to say that Hendrix simply had With Our Own Eyes voicings. "Back in Memphis," something that isn't easy to explain, Mulgrew Miller something which surfaces, of RCA/NOVUS 63171, 60:29 Mabern says, "we were all forced to course, when he's playing a guitar. Sound: A-, Performance: B+ play rhythm and blues. We didn't realize what a joy that was until later This thing is there as he coaxes a soulful acoustic reading of "Hear When pianists Harold Mabern on. I think of myself today as a blues My Train" from a buzzing 12 -string, and Mulgrew Miller joinedpianist who understands jazz." within the grooves of "Voodoo Chile forces with James Williams On Mabern's new DIW/Columbia Blues," or the wailing pseudo -slide last year (all three hail from release, The Leading Man, this spirit (a tone achieved simply through Memphis, Tennessee)to is well -evidenced. Mabern puts his establishtheirfour -keyboardimprint on the music of John overdriving an amplifier) on the tra- Contemporary Piano Ensemble-Coltrane and Charlie Parker, but ditional "Bleeding Heart," a tip of the hatto with help from Geoff Keezer and also he offers renditions of an ob- ElmoreJames. Donald Brown-the project was ascure ballad, "It's a Lonesome Michael Wright AUDIO/SEPTEMBER 1994 84 PARADIGle,:010g01111g commitment to research has . extraordinaryresulted in an =,

FOI ITIND information visit your nearest AUTHORING 3ARADIGMIi DEALEF,Or write: AUDIOSTREAM,Canad 3: MPO PARADIGM, Box 2.10, 101 Niagara Hanlan iFalls, Rd., NY Wood3rilw, 1430? ON L4L 3P3 Enter No 24 on Realer SerWce :ard In this context, Mabern pays trib Mulgrew Miller, a fellow Memphian, con- drummer Tony Reedus. Having toured and ute to some less obvious inspirations. "B & B" tinues the lineage of Newborn and Mabern. worked together consistently, the trio is tight is a dedication to trumpeters Clifford Brown Like Mabern, Miller has earned wide recogni- and responsive to one another's ideas. and Booker Little, and within Mabern's tauttion manning the piano chair in several Miller's approach is a more complicated, group arrangement, Mobley beautifully inter- groups, including Woody Shaw's and Tony more flowing be -bop than Mabern's, owing prets their dual legacy. And Eubanks handles William's bands. But since leaving William's in no small measure, to be sure, to his tenure the six -string chores with aplomb for group last year, Miller has asserted himself as with Williams. Like Mabern, Miller casts his Mabern's version of Wes Montgomery's "Full a forceful leader as well; his new release, With stylistic net broadly, relying on his own key- House." But it's Mabern's relentless and hon- Our Own Eyes, should do much to advance board approach as a unifying element. On est keyboard and his well-defined group that cause. With Our Own Eyes, this serves him well. A sound (drawn largely from Phineas New- Where Mabern expands his group for his fascinating take on "Body & Soul" reharmo- born's harmonic ideas) that make these dis-new recording, Miller pares back for a 10 - nizes the whole affair, before introducing the parate compositions into powerful music. song trio with bassist Richie Goods and melody only near the end. Michel LeGrand's "Summer Me, Winter Me" is given a beautiful reading, and the trio cuts loose on the James Williams' romp, "Another Type Thang." Still, one listen to Miller's "When I Get There"-one of seven original compositions-should leave no doubt as to his grounding (like Mabern's) in rhythm and we proudly offer: specializing in: blues. Along with Mabern and James design acoustics Williams (who produced Mabern's record), a/v receivers Memphis musical soil remains fertile, no infinity amplifiers matter where its roots are transplanted. pioneer Larry Blumenfeld parasound M & K Id players fosgate carver cd players Heartaches and Pain hitachi CAREY BELL panasonic speakers DELMARK DD -666, 37:45 monster cable processors Once upon a time, Chicago blues cerwin vega Grp player Carey Bell seemed destined projection tv r greatness. A friend and student of nakamichi .irp legends Little Walter Jacobs and Big kenwood lcd projectors Walter Horton, Bell blew harp for the RCA advent aiwa king of Chicago blues, Muddy Waters. camcorders No better pedigree exists. NHT HK JBL JVC Recorded in govideo tvvcr 1977 by Ralph Bass as part of an car audio premiere unreleased blues se- sharp accessories ries, this set captures Bell before his free shipping career sputtered. Bass has long been noted for his minimal- honest pricing ist production technique; turn on the tape .friendly service. and get out of the way. Here, his approach paid off. Backed by friends, including his son Lurrie on guitar, Bell blows pure, concise Chicago blues harp. You can hear his in- Mas e Car Jences, but he was already his own an. Bell's enthusiasm as a band leader call toll free from the US or Canada infuses familiar material with surprising vi- mon-fri 6:30a -6:30p sat 7:00a -5:00p sun 7:00a -4:00p brancy. Heartaches and Pain is a solid set of Chicago blues before the form became a crunching pad for lengthy improvisations 800-488-8877 d guitar pyrotechnics. 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Box 224 AVIA AIWA PORTABLES Marinette, WI 54143 authorized Dealer Since 1977 1-800-826-0520 (715) 735-9002 901 South 4th St. 430 State St., Madison, WI 53703 La Crosse, WI 546111 1 608-255-2887 PLEASE NOTE: It is impossible for us to FOR SALE TIPS FOR MAIL ORDER verify all of the claims of advertisers, includ- HI Fl EXCHANGE. Large selection of quality USED highend PURCHASERS ing product availability and existence of components at nuge discounts. We buy, sell & trade. Call for warranties. To confirm that an advertiser is inventory list.(718) 423-0400 or visit our showrooms at authorized to sell a product, we suggest you 251-11 Northern Blvd, Little Neck, NY 11363. It is impossible for us to verify all contact the manufacturer directly. Please re- AUDIO BY VAN ALSTINE HAS MORE NEW MODELS! of the claims of advertisers, view our Tips for Mail Order Purchasers in Outrageous new Omega III active feedback preamplifiers, including product availability and this section. Fet-Valve hybrid amplifiers, Omega II ultra wideband active existence of warranties. Therefore, teedback amplifiers should be in your system for ultimate information is pro- faithfulness to the spirit of the music. AVA ruggedly efficient the following AUTHORIZED big amplifiers feature striated heatsinks and no satisfaction vided for your protection. guarantee retums or field failures so far! We engineer hybrid, AUDIOPHILE & SCHOLAR tube, and solid-state preamplifiers for varied system require- 1. Confirm price and merchan- UNIVERSITY AUDIO SHOP, MADISON, WI ments. Big preamps support complex systems with switch - dise information with the seller, SPECIAL: Spica SC30-$299. AUDIO RESEARCH, Van- able tone controls, gold switch contacts, gold jacks handling including brand, model, color or fin- dersteen, KEF, NHT, Snell, Totem, Epos, JMLabs, Paradigm, 9 sources and 5 loads. Budget priced exquisite straight-line ish, accessories and rebates includ- SYMDEX, Spica, NEAR, B&K, AMC, Creek, Aragon, YBA, preamps. Complete line -only preamps, headphone amps, Boulder. Michael Yee Audio, California Audio Labs, Micro - phase inverters and more start under $300. Complete kits ed in the price. mega, Audio Alchemy, Rega, Stax. Magnum Dynalab, Fos - available for savings and fun. No cheap parts, no "made by 2. Understand the seller's return gate, Soundstream, Runco. JVC, Grado, Tara & TaraLabs. machine" layouts. Hand crafted in the USA. ATTENTION and refund -policy,including the VINTAGE DYNACO AND HAFLER OWNERS. Economi- (608) 284-0001. cally recycle your equipment for better than new perfor- allowable return period, who pays SELL FOR CASH OR TRADE AUDIO & VIDEO EQUIP- mance. Eliminate old problems with durable, rugged, musi- the postage for returned merchan- MENT. AUTHORIZED: DENON, H K, MARANTZ, ACU- cally convincing AVA original circuit designs. Complete PAS, dise, and whether there is any RUS, ARCAM, NAKAMICHI, ROTEL, SUMO, CELESTION, PAT -4, PAT -5, and ST -70 rebuild kits from $195 include new "restocking" charge. DAHLQUIST, ENERGY, ROGERS, SIGNET, AUDIO AL- circuit cards and precision controls. AVA 300V/uS active 3. Understand the product's war- CHEMY. AUDIOQUEST GRADO, ET AL. STEREO CLAS- feedback amplifier circuits installed in Dyna and Hafler chas- SICS. 75 CHURCH ST. NEW BRUNSWICK. NJ 08901 sis set new standards for transparency, definition, dynamic ranty. Is there a manufacturer's (9081220-1144 FAX 1908 220-1284 range, and liquidity. Write, call, or FAX for free illustrated warranty, and if so, is it from a U.S. catalog. Audio by Van Alstine, 2202 River Hills Drive, or foreign manufacturer? Note that ** * ** * ACCESSORIES TO COMPONENTS ** **** Burnsville, MN 55337. (612) 890-35'7, FAX: (612) many manufacturers assert that, 894-3675. even if the product comes with a Audio Outlet... CABLE T.V. CONVERTERS. Jerrold ' , Zenith, Pioneer, U.S. manufacturers warranty where audiophiles Oak, Scientific Atlanta, And Many More! 12 Years Expe- card, if you purchase from an rience Gives Us The ADVANTAGE. Visa'MC, Amex, COD. call audiophiles ADVANTAGE ELECTRONICS INC.; 1-800-952-3916; 1125 unauthorized dealer, you are not for great selection, RIVERWOOD DR., BURNSVILLE, MN 55337. Void where covered by the manufacturer's great services and prohibited. warranty. If in doubt, contact the CABLE DOCTOR- STOP THE BULLET & ID SIGNAL in manufacturer directly. In addition great prices! cable lines! Order your set now. Send $20.00 money order: to, or instead of, the manufacturer's R&R Enterprises, Dept. AU, Box 3532. Easton, PA 18043. warranty, the seller may offer its own warranty. In either case, what South' ,liinte zothout the !ICC High -end audio components. The best se- Krell, is covered by warranty, how long is 914-666-0550 lection. Featuring Forsell Digital, the warranty period, where will the 24 -HR. FAX 914-666-0544 Mark Levinson, Spectral, Theta, Aerial Monday -Friday product be serviced, what do you Inc. 10am-7pm ET Acoustics, Dunlavy, Wilson Audio, and have to do, and will the product be much, much more. The best prices. repaired or replaced? You may ** P.O. Box 673 Bedford Hills, NY 10507-0673 ** Friendly service and advice. AUDIO AMER- want to receive a copy of the written warranty before placing your order. WESCOTT AUDIO has the finest selection of high end ICA (Virginia). 1-703-745-2223. components. Anywhere. Call Scott in State College, PA 4. Keep a copy of all transac- (800)669-7574. LOW PRICES! SAVE$$$!! tions, including cancelled checks. AUDIO UNLIMITED in Colorado offers Accuphase, Acous- NAKAMICHI, POLK, CARVER. PSB, DENON, NAD, B&K, receipts and correspondance. For tic Energy, Acrotec, AirTight, Audio Meca by Pierre Lurne, KEF, PARASOUND, M&K, ONKYO, PS AUDIO. VE- phone orders, make a note of the Audio Note, Audioquest Analog. Basis. Benz -Micro, Bitwise. LODYNE, SNELL, NHT, ACURUS, FOSGATE! Plus more! crderincludingmerchandise Chario. Chord Audio Static. CODA. Dpa Deltech, Dynavec- Call us! SOUND SHOP 206-692-8201 crdered, price, order date, expected tor, Ensemble. Graham, Harbeth, Ikeda, Impulse, JM Labs, Kuzma, Meret. Magnum Dynalab, Micromega, Mission - CABLE T.V. CONVERTERS, DESCRAMBLERS. Scien- delivery date and salesperson's tific Atlanta, Zenith, Jerrold, Pioneer, Oak. Replace- Cyrus, Musical Design, Muse, Music Meter, NSM, Onix, name. ments for most models. Quality, Price & Service. Amex Roksan, Roomtunes. Solid Steel, SOTA, Spendor. Tice, 5. Disc,Visa MC. Dealer inquiries invited. EAGLE Electron- If the merchandise is not Trimax, Unity Audio, Vimak, Wheaton Triplaner, YBA & ics Inc., 1-800-259-1187, #1, 1301 Railhead Blvd., shipped within the promised time more...PHONE/FAX John Barnes at (303)691-3407. 2341 Naples, FL 33963. or if no time was promised, 30 days West Yale Ave., Englewood, CO, 80110. VISA and MC of receipt of the order, you general- accepted. ABARGAIN: STAX SIGN LAMBDA $1,150; SIGN/SRM1-II $799, PRO LAMBDA(#1) $459, SIGN/LAMBDA SRD 7 ly have the right to cancel the order FOR SALE $599; ED -1 $550; ALL UNUSED (212) 966-1355. and get a refund. 6. Merchandise substitution with- FREE SHIPPING! PLUS - out your express prior consent is SAVE 40% ON HIGH -END home speak- EXPERIENCED, FRIENDLY ADVICE? MIRAGE, PS, CWD, riot allowed. ers, subwoofers, amplifiers. FREE CAT- CARY, KINERGETICS, KEF, PHILIPS, AUDIOQUEST, 7. If you have a problem with FRIED, MONSTER, KIMBER KABLE, SPICA, STRAIGHT - ALOG, 3021 Sangamon Avenue, Spring- WIRE. QUAD, MORE! READ BROTHERS, 593 KING, your order or the merchandise, field, IL 62702.1-800-283-4644. CHARLESTON, SC 29403. (803) 723-7276. write a letter to the seller with all the pertinent information and keep a AUDIO INTERFACING ACCESSORIES (over 300) for copy. broadcasting, recording. sound reinforcement and live enter 8. If you are unable to obtain sat- tainment. Free catalog. SESCOM, INC. 1-800-634-3457. XXX-TREME DISCOUNTS!! ONKYO-DENON-CARVER-AC U RU S-NAKAM I CHI- isfaction from the seller, contact STOP LISTENING IN DARKNESS!!! NOW'S YOUR the consumer protection agency in CHANCE TO HAVE TRUE "HIGH -END" DIGITAL COMPO- NAD-PARASOUND-GRADO-APATURE-SUMIKO- the seller's state or your local Post NENTS AT PRICES ANYONE CAN AFFORD DURING OUR KEF-SNELL-POLK-M &K-NHT-SRICA- Office. SPECTACULAR AUDIO ALCHEMY SALE! UNBELIEVABLE SAVINGS ON CD TRANSPORTS, DiA PROCESSORS, VELODYNE-PSEI-CHICAGO STANDS. U.S. products. NO "JITTER -BUGS", CABLES, ACCESSORIES. DON'T BE GREY! Many closeout deals! STEREO TECH 414-836-2942. If, after following the above guide- FOOLED BY THE LOW PRICE! AUDIO ALCHEMY CD lines, you experience a problem TRANSPORTS AND PROCESSORS COMPARE TO ANY- with a mail order advertiser that THING COSTING UP TO FIVE TIMES MORE! PLUS SPE- you are unable to resolve, please CIAL CLOSEOUT ON "DOS" TOP -LOAD TRANSPORT: STOP! LOOK!! SAVE$$$!! let us know. Write to the Associate LIST $900.00. CLOSEOUT ONLY $299.95! WE ALSO CAR- CARVER. DENON. POLK, NAKAMICHI, B&K, NAD. Publisher of AUDIO Magazine, Tony RY OTHER EQUIPMENT FOR AUDIOPHILES WITH ONKYO, NHT, KEF, SNELL, PS AUDIO, PARASOUND. MORE SENSE THAN MONEY. CALL NOW FOR COM- M&K, VELODYNE, SPICA, PSB, ACURUS, FOSGATE. Catalano. Be sure to include copies PLETE "SPECIALS" LISTING HCM AUDIO plus much more! Sound Shop 206-692-6201. of all correspondence. (800) 222-3465. (916) 345-1341. FAX (916) 345-7269. AUDIO/SEPTEMBER 1994 91 FOR SALE FOR SALE FOR SALE AUDIO SOLUTIONS is Atlanta's Hi -End HYPE! HYPE! HYPE! B&O B&W CARVER DENON FOSGATE source for Audio Research, Theta, McCor- You get enough elsewhere! We've delivered something H/K KEF LEXICON NAD NAKAMICHI mack, Wire World, Cary Audio, Vanders- different for 14 years -natural, musical results! MUSI- CAL CONCEPTS, "most recommended and re- ONKYO POLK VELODYNE 24 HOUR teen, CODA, Straightwire, Acurus, Snell, spected" Adcom, B&K and Hafler modifiers. MC -3T AUTOMATED PRICING MANUFACTURERS Sumiko, SOTA, NHT, Kimber Kahle, Mag- (Teflon"") phono line preamplifier board, PA -1 driver boards for HAFLER amps -budget bliss! NEW LOW- WARRANTIES COURTEOUS ASSISTANCE num Dynalab, Audible Illusions, Rotel, ER PRICES on most products! DIGITAL AMERICAN THEATER SYSTEMS (904) VPI, Paradigm, Dunlavy, Sony ES, Sony PLAYBACK -ENIGMA 7 and EPOCH 7 CD players. 321-0100. Video. 5576 Chamblee Dunwoody Rd. CDT -4 Transport on "Elite" chassis with Stable Platter Transport! New, affordable ENTRE CD player and High End Demo Sale. Maplenoll Signature TT w Grado XTZ (404)804-8977. CDT -5 transport, both at $495. We modify Philips - & cover $5250. Sale $3150. MSB Technology Passive Con- based or Pioneer CD:Laserdisc players and Audio RACK AND CHASSIS BOXES for construction of electronic trol Center $1495. Sale $975. Morel CR7 $498. Sale $249. Alchemy DDEDITB ($149!). MUSICAL CONCEPTS, projects. Low cost; quick delivery. Call for free catalog. Assorted Racks and Accessories up to 60% off. P.A.U.L. 1832 Borman Court, Suite One, St. Louis, MO 63146. SESCOM, INC. 1-800-634-3457. purveyors of fine American and British components (314) 275-4925. (908)432-0954. WHY WAIT? WE SHIP MOST ORDERS WITHIN 24-HRS! Bose Boston Denon BEST $1,500 LOUDSPEAKERS AUTHORIZED AUDIONIDEO/CAR Hafler M&K Marantz Nakamichi Pi- THX HOME THEATER 1-800-348.7799 FAST DELIVERY FULL MANUFACTURERS U.S.A. WARRANTY a oneer ELITE Polk PPI Rockford Sony ES Alon - B&W - VMPS - Bang & Olufsen- BRAND NEW, FACTORY COMPLETE Adcom - KEF - Harman Kardon - Mirage- ADS CAR JAMO AUDIO PYLE CAR Soundstream Velodyne Yamaha and ADCOMI AUDIO J8L AUDIO POLK AUDIO ADCOM CAR JEIL CAR POLK CAR More! VIDEO F X: 1-800-474-0002. Crown - Celestion - Eminent Technology- ADVENT AUDIO JVC AUDIO PARASOUND A5010 ADVENT CAR JVC CAR 'RCA LCD.V. McCormick - VTL - Denon - Triad - Polk- AIWA AUDIO JVC VIDEO ROCKFORD CAR ALTEC AUDIO KEF AUDIO SHARP ALTEC CAR KENWOOD AUDIO AUDIO Velodyne - Fosgate - Signet - Audible Illu- AR AUDIO KENWOOD CAR BOW VIDEO (I) BIG DISCOUNTS!! ATL TECH AUDIO KICKER CAR SOW CAR sions - Snell - NI -IT - Carver - B&K - Quad - BAZOOKA CAR K ill AUDIO SONY ES AUDIO B EL CAR KLIPSCH AUDIO SONY ES CAR U) BOSE AUDIO LEXICON AUDIO SHERWOOD AUDIO SAVE$$$! Alchemy + 25 More Brands. Honest Ad- S ew AUDIO MB QUARTZ AUDIO. SHERWOOD CAR NAKAMICHI, CARVER, POLK, DENON, NAD, B&K, CEO AUDIO MAGNAVOX VIDEO TAPES 045 vice! TECH ELECTRONICS (904) 376-8080. CARVER AUDIO 'EMMEN! VIDEO TAPES BETA KEF, ONKYO, M&K, SNELL, PS AUDIO, AUDIO AL- CELEBTION AUDIO K AUDIO TAPES my. CLAFUON CAR NAD AUDIO TECH'S. AUDIO CHEMY, PSB, NHT, ACURUS, FOSGATE, PARA- Not affiliated with Amerisound or STI. DENON AUDIO NAKAMICHI AUDIO TECHNC5 PRO LINE SOUND, VELODYNE plus many more! SOUND SHOP DUAL AUDIO ONKYO AUDIO THORENS AUDIO 0 REMOVE VOCALS from music- Tanco Voice Decod- 0. E. VIDEO PARADIGM AUDIO TOSHIBA VIDEO 206-692-8201. HAFLER CAR PHLUPE AUDIO TOSHIBA CAR er -$79.95. Fully guaranteed. Call (813)847-9319 for pre- NITACM VIDEO P IONEUT AUDIO TROPEZ PHONES H. K. AUDIO VELODYNE AUDIO recorded demo/ordering information. WNW AUDIO PIONEER ELITE AUDIO YAMAHA AUDIO INFINITY CAR PIONEER PREMIER CAR YAMAHA CAR Malls Cud. Vic Willem. Shippm0 dwpep Nkflmnal, mural RAIFF Palmy. II AUDIO CABLES & MORE day Hal peed IPM delecIA =harms onty &wpm &mum Rol NRAMMI DON'T PAY EXORBITANT PRICES FOR TOP QUALITY. zasa N UnvelssN Di. Soo .35 Coal Somer. H. ncia WE HAVE YEARS OF EXPERIENCE IN WIRE MANUFAC- DJ & Nightclub FACTORY AUTHORIZED DISTREIUTOR AUTHORIZED TURING AND HAVE SIMULATED THE HIGH PRICED Sound & Lighting CATALOG BRANDS. HIGH PRICED EQUIVALENTS AS LOW AS .74/ NAD 1240 PREAMP $175, COUNTERPOINT SA3000 $795 FREE 68 -Page Catalog FT. WE DEMYSTIFY WIRE TECHNOLOGY, SEND FOR (2 YR OLD), CJ PV10A W/PHONO $750. TOO MANY EXPLANATION LITERATURE WHICH ALSO INCLUDES with a huge selection of BRANDS TO LIST. CALL STEVE (518) 563-2977 AFTER 6 ALL OUR AUDIO PRODUCTS PRICE LIST OR CALL OUR name brand professional PM EASTERN. LITERATURE REQUEST # (800) 321-2108, 24 HRS/DAY. FAX (609) 428-1832. L A T INTERNATIONAL, DEPT A, gear for DJ's, Clubs & BUY NOW & SAVE MONEY! 317 PROVINCETOWN RD., CHERRY HILL, NJ 08034. Musicians all at discounto (AI) = AS IS, (D)= Demo, (EX). Excellent, (F) = Fair, prices! (G)=Good, (M)= Mint, (N)= New. AMPLIFIERS: Aragon APOGEE SPEAKERS W/ACTIVE CROSSOVER & Call Today 2004-II(EX) $899, Audio Research CLASSIC-120(EX) STANDS $4200. AUDIO ALCHEMY TOP LOADING TRANS- 800-9454300 $3495, M100(EX) $2735; Chord SPM1200(D) $2795; Coda PORT, XDP, DTI $999. CAL TERCET MK IV $895. CAL 10(D) $1769; Conrad -Johnson MF80(D) $999, MF200(N) DELTA SIGMA $895. EAD DSP 7000 A/D CONVERTER Mail Order Center 11711 Monarch St. $1499; Counterpoint NATURAL(D) $4995. SA12 $599-799, W/MKII UPDATE $925. LINN DMS W/STANDS, PANELS, Garden Grove. CA 92641 SA20(EX) $1095; Dynaco ST400I1(D) $599; Jadis CROSSOVERS $4000. LINN KARIK/NUMERIK $4500. Retail Super Store 13110 Magnolia St DEFY -7(D) $3799; Kinergetics KBA75(N) $1499; McIntosh PSE STUDIO IV AMP $695. CALL TERRY: (402)391-8842. ,,e CA 92644 17141 530-6760 MC 250 $199-329, MC2100(AI) $499, MC2105(AI) $399; PRO SOUND OUR 18th Motif MS100(EX) $1599. CASSETTE DECKS: DRS810(N) REMOVE F& STAGE LIGHTINGT. YEAR! $349; Nakamichi 550(AI) $249. CD PLAYERS: AMC Valve SINGERSw VOCALS Music CD6(D) $449; Carver SDA450(M) $299; Kinergetics Unlimited BackgroundsTM FOR TWENTY YEARS WE HAVE BEEN THE SOURCE KCD40(D) $1895. EQUALIZERS: Audio Control TEN- From Standard Tapes, Records, & CDs with PLUS-II(N) $249; McIntosh M0104(EX) $179. LINE CONDI- the Thompson Vocal Eliminator"' Call Now t FOR ALL OF YOUR BLANK AUDIO/VIDEO TAPES AND for Free Catalog & Demo Tape. ACCESSORIES, EVEN REEL-TO-REEL TAPES FOR STU- TIONERS: Counterpoint PAC5(D) $249, PAC15(D) $349. Phone (404)482-4189-Ext 5! DIOS, AT DISCOUNTED PRICES. CATALOG AVAILABLE. PREAMPLIFIERS: Amber FF17 $125-199; Counterpoint LT Sound ,Dept AU- I S 7988 LT Parkway SOUND INVESTMENT CORPORATION, 3586 PIERCE SA2000(D) $1395, SA5000(M) $3249; Jadis JPL(D) $3295; Lithonia,GA 300M i, 6, DRIVE, CHAMBLEE, GA 30341. (800) 659 -TAPE (8273), IN McIntosh C20 $799-1399, C28 $199-399, C32(AI) $599, 24 Hour Deo/Intom Request C37(EX) $1699, CR7(M) $299; Rotel RC980BX(D) $399. Line (404)482-2485 - Eat 51 4$06111 GA (404) 458-1679. FAX: (404) 458-0276. The Thom son Vocal Eliminator" Better Than Karaoke! PROCESSORS: Carver H9AV(EX) $279; Fosgate DSM3608(EX) $379. SPEAKERS: KEF C85(D) $599; McIn- STEVE'S CONSIGNMENT tosh ML1C(G) $550, ML4M(G) $1500. WS200(EX) $249, XR240 $999-1199, TDL STUDIO -3(D) $1299. SUB - SHOPHi Fi Farm and Steve's Audio advice now offers consignment opportunities for the used Audio market. Top WOOFERS: Kinergetics SW800(D) $2899. SYSTEMS: De - non 060(D) $699. TEST EQUIPMENT: McIntosh MI3 Dollar Offered. Call for Information. New Equipment also. $599-750; TUNER PREAMPS: McIntosh MX117(EX) H4,4,zz Male Call 1-800-752-4018. Performance Audio Cables $1099. TUNERS: Marantz 208(G) $599; McIntosh KEF, MIRAGE, B&W, HARMAN/KARDON, MR65(AI) $299, MR65B $399-599, MR66 $750-1500, MR67 $249-1699, MR71 $249-$1399, MR78 $699-1399, TURNT- CALIBRE INTERCONNECTS NAKAMICHI, CARVER, DENON, VE- ABLES: Thorens TD125(EX) $299, VPI HW19-JR-PLUS(D) Transparent, Neutral, Balanced LODYNE, CELESTION, ADCOM, ONKYO, $1499. Free Catalogue. 8AM-5PM EST Mon. -Fri. Affordable$165 -- 1 Meter YAMAHA, KLIPSCH, FOSGATE, CROWN & AUDIO CLASSICS, LTD. OTHERS, BEST PRICES & GOOD ADVICE. POB 176AAA, Walton, NY 13856 CALIBRE SPEAKER CABLES A new standard for its class U.S. ASSOCIATES: 1-800-380-5111. 607-865-7200 $7.50/foot DBX & ADC HARD -TO -FIND PARTS & SERVICE. CALL/ Hardbound AUDIO, annual bound volume editions, just

WRITE RES, 5462 BUCHANAN PLACE, FREMONT, CA like the ones in the Editor -in -Chief's office. Various years MUSIC METRE III 94538. (510) 490-1622, FAX (510) 656-8878. available in limited quantities, $40.00 each. Also available: Hardbound October Annual Equipment Directories. Years The Giant Killer $125 --1Meter THE FIRST JITTER -FREE TRANSPORT IS AVAILABLE 1992, 1991, 1990, & 1987515.95 each, and hardbound May NOW! AT $649, THE REFERENCE ONE TRANSPORT Car Stereo Directories for years 1991, 1990, 1989 and 1985, Information and reviews available REPRESENTS A BREAKTHROUGH IN TECHNOLOGY $8.00 each. All prices include postage and handling. All 249 N. Brand #701, Glendale, CA 91203 AND PRICE. ISOLATED STABLE CLOCK MODULE AND orders postpaid. Check or money order only (no credit card OTL TRANSPORT DRIVER BOARD ALSO AVAILABLE. 818/242-4535 Fax 818/242-4415 orders) payable to AUDIO MAGAZINE. Send orders to AU- TURN YOUR CDS INTO MUSIC. G & D TRANSFORMS, DIO, 1633 Broadway, New York, N.Y. 10019. Attn: Michael (602) 954-0155. Bieber, Or call 212/767-6301 for further information. AUDIO/SEPTEMBER 1994 92 FOR SALE LOUDSPEAKERS LOUDSPEAKER COMPONENT - KITS. Audio Concepts. BERYL CORDLESS MICROPHONE SYSTEM, TWO MI- GEMINI Dynaudio, Eclipse, Eton, LPG, Vifa, more! Crossover parts, CROPHONES INCLUDED $349, PIONEER KARAOKE design books & repairs. Catalog $2.00. MENISCUS, 2575 LASER PLAYER $495, SING -A -LONG DISC $30. 28th St., S.W., Dept. A, Wyoming, MI 49509. (616) 800-266-5706 M -F PACIFIC TIME, DEALERS WELCOME. DYIVAUDIO and MADISOUND in- 534-9121. SAVE ON NEW/USED HI -END AUDIO/VIDEO COMPO- troduce a new standard for Loud- STATE OF THE ART CROSSOVER NETWORKS. NENTS FROM DEALER! FAST DELIVERY. FREE ADVICE It is called UPGRADE ANY SPEAKER SYSTEM . FREE DESIGN LINE. BRI-TECH AN 800-467-7707. speaker Systems. GUIDE. ALLPASS TECHNOLOGIES, INC., P.O. BOX 453, LEN FELDMAN'S ESTATE wishes to sell select pieces of hi- GEMINI, you can assemble it your- AMITYVILLE, NY 11701. (516) 598-1320. ll and test gear: Ariston RD40 turntable w. cartridge, $150; self and enjoy a superb speaker at Auratone 5C speakers. $50; Ballentine 310B a.c. voltmeter, $100; Blonder -Tongue FSM-2 field strength meter, $400; BPI significant savings. 3000A auto -null analyzer, $500, and 6000A IM analyzer, $400; BSR Accutrac 4000 turntable, $150, and EQ14 equalizer, $75; dbx 228 processor, $150; Hameg HM 204-A 'scope. $500; Heath 2760 power supply, $150; IG57A sweep generator, $150; SG28A color baridot generator, $100, and SM4110 frequency counter, $200; IEC F34 function generator, $300; JVC HM200E binaural mike/headphone, $75; Nakamichi 700ZXL cassette deck, $600; Pioneer LD1100 LaserDisc player, $800; Recoton V623 MTS TV decoder, $100, and W200 headphones, $100; Sansui SE9 equalizer, WATERPROOF SPEAKERS. The industry's finest $300; Sony Mavica MCVA10 camera, $600, CVPG500 color video printer, $1000; ECM121 stereo lapel mike, $50; and sounding waterproof speakers bring true high fidelity ECM909 "one point" stereo mike, $80; Sound Tech 1100A sound to your outdoor patio, pool, or spa. Call now for signal conditioner, $300; 1200A test panel, $1000, and your FREE color brochure. BOYNE AUDIO, INC. 17008 distortion analyzer, $3000; TDK test cassettes. $50; 1-800-625-6551. TEAC 3340 4-tr. O -R tape deck, $600; A6100; A6100 1/2-tr. O -R tape deck, $1000, and Model 2 mike/line mixer, $200; REPAIR FOAM ROT Technics SLP1200 pro CD player, $800; Tektronix 7-314 - 5L4N/5A18N/5103N 'scope, $2500, and UREI 565 filter set, 11' FCR YOURSELF! $400. These are "suggested" prices.If interested, write SAT will save you hundreds of dollars! All Estate of Len Feldman, c/o Audio Magazine, 1633 Broadway. Woofer: Dynaudio Esotec 15W75, 3 sizes including AR, Advent, BOSE, JBL. New York, N.Y. 10019. inch voice coil on a cast frame 5 inch Surrounds. adhesive & instructions: $27.95/pr. BOSE 901's 567.95/pr. (incl. woofer - exceptional power capabil- S/H. No COD's) Do it yourself with SAT! LOUDSPEAKERS 800-747-3692 MC/VISA ity and bass clarity. STEPP At1010 TECHNOLOGIES 704-697-9001 24 Hr CUSTOM ACTIVE ELECTRONIC CROSSOVERS, 6 to 36 PO Box 10138, Flat Rock, NC 28731 Ind make & model w/order dB -Oct. Also Snell, Magnepan versions. DB SYSTEMS, POB 460, RINDGE, NH 03461. (603) 899-5121. Tweeter: Dynaudio Esotec D-260 Soft dome with transmission line FACTORY DIRECTSERVICE on OHM Brand chambering - smooth clean output speakers up to 22 years old with many even at transients of 1 kilowatt. upgrades available. OHM Acoustics Corp., SPEAKER 241 Taaffe Place, Brooklyn, N.Y. 11205 CATALOG Crossover: 6dB - Phase and imped- (718) 783-1111. Parts Express is a full -line dis- ance compensated, Polypropylene ca- tributor of electronic parts and pacitors in series circuitsgive new accessories geared toward the consumer electronics industry meaning to transparency in sound re- and the technical hobbyist. We stock an extensive line of production. TRUESUBWOOFER speaker drivers and accesso- With phenomenal ries for home and car.Send AUDIO PRECISION GEMINI true deep bass for your FREE 188 page cata- extend ng below 115 log today. 100 20Hz with low 95 distoffim at a very 90 Parts Express affordable price. 340 E. First Street 55 Dayton, Ohio 45402-1257 75 The new HRSW12V 1-800-338-0531 70 will extend the bass 65 of your stereo or IK Wk Mk ZO 100 video system for HOW TO DESIGN A GREAT SPEAKER! that "air shaking all Find the best drivers you can, add a 4th order x -over. 1 Cabinet: MDF up to inch thick! around you" effect. assemble in a non -resonant enclosure. Speakers $995-$24,995 DAC's $695-$2295. MACH 1 Acoustics, fax/ Oak veneers, with grill and clear or HSU Research HRSWI2V phone (603) 654-9826. black satin finish. Here's what the experts said of our 100W, 25Hz SAVE UP TO 75%1 Highend speakers, stands, cables, etc. prototype shnat the Winter CES (production Kits Assembled. FREE Literature. Hubbell Sound Systems, Kit: All parts for home assembly in un are 150W,20Hz):ow Box 30136-A, Des Moines. IA 50310. (515) 277-1446. "...all of the non-boomy, stomach -massaging bass energy one evening - If you don't love them, was coming from a single 12 -inch powered subwoofer..." we'll buy them back. Peter Mitchell, Stereophile Vol. 17 No. 4, April 1994 ROTTEN FOAM EDGES? "...deliaered enough punch to shake the sturciest sheff..' SIMPLY SPEAKERSdoes professional foam replace. Price: Special kit price:$860 per Brent Butterworth, Video Magazine, April 1994 ments any size/brand. 7 Year Warranty. We sell DIY "One of the most effective subwoofer demonstrations- Foam Surround Kits for less! Speaker reconing. MC/ pair, kits complete with cabinets. The Gary Reber. Widesereen Review Vol. 3 No. 1, March 1994 VISA/DISCOVER: 1-800-767-4041 GEMINI speakers would be an ex- Send for complete information on the HRSW12V ceptional value at three times this and our famous HRSW10s. A & S SPEAKERS imports the world's finest speake Write or call: components, crossovers, & kits: Dynaudio, Scan Speak, price. HSU RESEARCH VIFA, Ceratec, Focal, Morel, MB Electronics, Peerless, Poly HSU20013 Rainbow Way, Cerritos, CA 90701 dax, SEAS, LPG, Eton, Versa-Tronics, VMPS systems & 1-800-554-0150 (Voice) kits.Free literature. 3170 23rd Street, San Francisco, CA Note: Minimum impedance 352. seIAUI1-310-924-7550 (Voice/Fax) 94110. (415) 641-4573; Fax (415) 648-5306. Sold factory direct with a 30 day trial - money back LOUDSPEAKER CABINETS Large selection of excellent Madisound Speaker Components guarantee. 5 year manufacturers defect warranty. quality loudspeaker cabinets for custom builders and deal- (8608 University Green) ers. Grenier Cabinets, 189 Jennings Road, Horseheads, NY P.O. Box 44283 14845. (607)594-3838. Madison. WI 53711 U.S.A. HARTSFIELD PAIR 1954 MODEL C30208 $3000, C30085 VMPS factory assembled speakers. Low Prices, shipped Tel: 608-831-3433 Fax: 608-831-3771 $5995. Visa/MC. $10 Catalog & sample speaker plans. 164 direct to you. Free Price sheet. Arthur Morgan, 886 East Tamalpais Avenue, Mill Valley, CA 94941. (415) 388-5711. Charing Cross CR., Lake Mary, FL 32746. AUDIO/SEPTEMBER 1994 93 LOUDSPEAKERS LOUDSPEAKERS WANTED TO BUY TOP PAYING FOR MCINTOSH, MARANTZ TUBE AMP McIntosh Solid state, Western, JBL, Altec, Tannoy, EV, BETTER Jensen, Speakers & Horn, EMT Turntable, Ortofon Arm, "Seductive." Temma--(516) 942-1212, (516) 496-2973. LOUDSPEAKER AAAALWAYS PAYING TOP $s FOR CLEAN, COLLECT- ABLE McINTOSH TUBE AND SOLID STATE, MARANTZ TUBE, WESTERN ELECTRIC, JBL-PARAGON, HART- TECHNOLOGY SFIELDS, ETC. & ALNICO PARTS. EV PATRICIANS, GEORGIANS & MISC. PARTS. M. LEVINSON, KRELL, ARC, SPECTRAL ETC. CALL ME LAST ONLY WHEN YOU'RE READY TO SELL! JOHN: 1-800-628-0266. Every WANTED: WESTERN ELECTRIC, JBL, MARANTZ OLD EQUIPMENT. SUNLIGHT ENGINEERING COMPANY: ca.` component 310-320-7020, 22130 SOUTH VERMONT AVENUE, #A, rD matched for TORRANCE, CA 90502. the ultimate TOP DOLLAR PAID FOR YOUR USED AUDIO EQUIP- MENT HI Fl EXCHANGE (718) 423-0400. si stereophonic -0 reproduction. CASH for USED AUDIO & VIDEO EQUIP. Ca 1 BUYING and SELLING by PHONE. CALL for ° HIGHEST QUOTE. (215) 886-1650 Since Yx 1984. The Stereo Trading Outlet, 320 Old co -in 0 York Road, Jenkintown, PA 19046. x LO TUBE HIFI, COMMERCIAL AMPS, HORN SPEAKERS, Tr CO0 McIntosh, Altec, RCA. Western Electric, Jensen, Marantz, Heath, Dynaco, Craftsman, Eico, Etc. Sonny 405-737-3312. = 5 NSMLoudspeakers® KLIPSCHORNS FACTORY BUILT 1948-1955. ESPE- Box 326, Garden City, New York 11530-0326 CIALLY BLONDE "PRIMAVERA". ALSO OLD HERESY 3E°O,3) Phone: 516-486-8285, Fax: 516-538-0933 AND CORNWALL SINGLES, BLONDE OR MAHOGANY (708)629-7638. a. a 26 Since 1977 David Yo always buying: tube Marantz, McIn- >r, LOUDSPEAKER SALE! Acoustat 1.14800; Acoustat tosh, ARC, Fisher, Dynaco, Quad, Leak, Western Electric ellCO equipments, others. Vintage speakers, raw Units by Western .0 Spectra 1100-$900; B&W 640-$900; Dahlquist ee D012-$700; DCM Time Window 3-$600; Klipsch For- Electric, Tannoy, Jensen, JBL, Altec, EV(Patricians), RCA- te -$1000; Linn Isobaric -$1700; Genesis Genre 1-$800; LC1A. Audio tubes(KT66/77/88, 7591, 6550, etc.) by Tele- Genesis 111-$2200; Infinity Ref. 1-$125/Ref. 6- $600; Infin- funken, Genalex, Mullard, RCA, Tungsol, etc. P.O. Box ity Kappa 8.1-$1000; JBL LX55-$600; MB Quart 990 28082, Northridge, CA 91328-0802. Tel: (818) 701-5633 MCS-$1300; Martin Logan CLS1-$1300; Mirage 10am-10pm PST M5-$1200; McIntosh XR16 $1000; Merlin Sig 11141400; MARANTZ & VINTAGE ERA EQUIPMENT, HIGH -END. Near 50M-$1000; Polk Mon. 10-5450; Polk SDA-$1500; The VMPS1bwer II Special Edition, ver- No one pays MORE! (Esecially other brands.) N.Y.S.I. (718) sion of an Audio Magazine "Best Buy"system, isPolk LS50 $400; Pinacle PN5-$100; Proac Tablette 377-7282, 2-6pm, WEEKDAYS. now available with exclusive handbuilt, phase -plugged 11-$600; Unity Audio Sig 3-$1095. Call: (217) 544-5252. COLLECTOR WILL TRAVEL, to pick-up, working or not, woven carbon fiber 12" woofers, the finest dynamic drivers extant. MONO/Stereo: tube MARANTZ, McIntosh, TANNOY Spkrs, B&W, B&O, SEQUERRA Tuner, KRELL, Levinson, etc. (718)387-7316 or (718)383-3205. NEW YORK. These high-tech cones are also now standardin our flagshipFF-1FocusedFieldArray($6800- AUDIO CLASSICS BUYS -SELLS -TRADES -REPAIRS $7200pr), four of which made up the VMPS1994 High End Audio Components. CALL for a quote. See our ad WCES Surround Sound display. After auditioning at the beginning of the classifieds. AUDIO CLASSICS, LTD., every multichannel/Home Theater display at the POB 176WB, Walton, NY 13856. 607-865-7200. 8AM-5PM Show, the editor of Widescreen Review judgedthe EST Mon. -Fri. VMPS room best, and by a wide margin. Callor HIGH PAY AUDIO (BUYS -SELLS) McINTOSH, TANNOY, write for copies of the full editorial,or for brochures MARANTZ, ALTEC. ETC. CALL TEL: (718) 446-1247 and test reports on all VMPS systems includingour (UNTIL IOPM). FAX: (212) 226-4533, B.P.: (917) 271-6488. four Subwoofers ($289-$649ea), the OS0626and Dipole Surround A/V monitors ($289-$349ea), ALTEC A7 -X SPEAKERS, OR PARTS: 828C CABINET, 416-8B WOOFER, 802-8G HIGH FREQUENCY DRIVER, OSO Series bookshelf systems, and HALLADAY ACOUSTICS answers the prayers of audi- more. Kit ver- 5118 HORN, AND 1201-8A CROSSOVER. (404) 992-0653. sions of most systems are available, andprices in- ophiles, studio engineers, musicians, and all music lovers clude free shipping in 48 states. with the STUDIO 7 portable loudspeaker. Foot tall "Bul- letproof" sand -loaded cabinet protects the strictly High -End CABLE TV parts inside, including Vifa Aluminum Dome Tweeter, computer optimized crossover, 6.5 inch long throw acoustic CABLE T.V. CONVERTERS! JERROLD, OAK, ZENITH, suspension woofer, silver wire and gold inputs. $450 a pair SCIENTIFIC ATLANTA, PIONEER...EXCELLENT VMPS AUDIO PRODUCTS Two week home audition. Also available in beautiful oak PRICES! PERSONABLE SERVICE! 30 DAY MONEY din. (tone Audio cabinet. Call or write for the whole story. HALLADAY BACK GUARANTEE! INNOVATIVE ELECTRONICS INC. 3429 Morningside Dr. ACOUSTICS, 47 Court Street, Saratoga Springs, NY 12866. 800-493-5474 VISA MC C.O.D. ASK FOR JOHN OR BILL! El Sobrante, CA 94803 (518) 581-8095. (510) 222-4276Fax: (510) 232-3837 HELP WANTED RECORDS EASY WORK! EXCELLENT PAY! ASSEMBLE PROD- Hear VMPS at: The Listening Studio. Boston: Sounds Incred- UCTS AT HOME. CALL TOLL FREE. 1-800-467-5566. LV/CD/RECORD COLLECTOR'S SUPPLIES. Jewel boxes, ible. Brookfield CT; Dynamic Sound, Washington DC: Hifi Farm, EXT 11325 Roanoke VA; Home Theater Systems, Little Falls NJ: Mark record jackets, sleeves, storage boxes, 78 sleeves, dividers, Curry, Las Vegas, NV: AMUG, Phoenix AZ; Rama Audio. Sun much more! Free brochure: CABCO PRODUCTS, ROOM Valley CA; American Audio. Greenville SC: Chattanooga Valley 663, POB 8212, COLUMBUS, OH 43201. (614) 267-8468. AUDIO/VIDEO STORAGE Audio, Rossville GA; Tech Electronics, Gainesville FL: Arthur Morgan, Lake Mary FL; DNA Audio, Orange City FL; Sounds PRESERVE + MAINTAIN + RESTORE - THE BEST DISC, TAPE & COMPONENT STORAGE SYS- Deluxe, Clarendon Hills IL; Audio Exchange. Mishawaka IN: LP-78RPM-4CH Pickering Stanton Shure Nitty Gritty Audio Connection. Terre Haute IN: Ruth industries. St. Louis TEM IN AMERICA. Stackable, portable oak units hold all Vacuum Record Cleaners from $99.95 Special Brushes recording formats & Audio/Video components. FREE Mail- MO: Shadow Creek Ltd,Minneapolis MN: Audio byGil Morrison, Detroit MI; Lookout Electronics. Longview WA: & Fluids 3 -Speed Turntables Signal Processors Dis- order Brochure (please mention Audio). Per Madsen Design: Affordable Audio. Fresno. CA, Exclusively Entertainment. counts Free Catalog! KAB Electro-Acoustics, P.O. Box (415) 928-4509. P.O. Box 330101, San Francisco, CA Oceanside, CA; Hal Broda, Escondido CA: Christopher Hansen 2922, Plainfield, NJ 07062-0922. (908)754-1479. 94133. Ltd.. Beverly Hills CA; Audio Haven, Brea CA; Sounds Unique, San Jose CA; Private Line Home Entertainment, Stockton HALF MILE VINYL. Quality pre -owned LP's. F/Information, CA; Golden Ear, Chico CA: (tone Audio.El Sobrante CA; Catalog. SASE: Box 98, East Wareham, MA 02538. (508) CUSTOM DESIGNS James Romeyn, Petaluma CA; The Sound Room. Vancouver 295-2508. BC Canada AUDIO POWER AMPLIFIERS. 100-500 WRMS/CH. Com- CLEAN VINYL, graded and priced to sell. Write for list; pletely assembled and tested from only $188.00 to $223.00 please state music category. DAVE'S RECORDS, Box each. Satisfaction Guaranteed. Call Electronics Hospital 41750, Mesa, AZ 85274. (407)952-3838. AUDIO/SEPTEMBER 1994 94 PUBLICATIONS SERVICES ACCUPHASE AUTHORIZED SERVICE AND PARTS for all Accuphase products. Contact: ACCUTECH, 206 E. Star of India Lane, 7 Carson. CA 90746. TEL. (310) 324-7406, FAX (310) 324-7422. Hours: 9am-4pm Pacific Time. forSound SPECIALIST, TUBE EQUIPMENT CUSTOMIZATION Repair Services. Vintage military tubes & parts available. -j BoutAGI Custom and Vintage tube equipment for sale.Selected HOUERAISLI-IT ( ,, SOUND BODY Telefuricen 12AX7's available. BWS Consulting, 5609 N. r MHYENATUDIO 23rd Street, Arlington, VA 22205. (703)536-3910. 31 Audio Equipment Built, Repaired, Modified and Restored (f) 12 issues - $18, 220 N. Main St., by Richard Modaf fen. independent consultant to Audio Clas- Kewanee, IL 61443 309/856-5515 sics, Ltd., inventor, and former Senior Engineer at McIntosh. 11 AUDIO CLASSICS, LTD. 8AM-5PM EST MON.-Fri., POB 176RTM, Walton, NY 13856. 607-865-7200. P1 PARTS AND ACCESSORIES CD CABINETS 0 'BUILD YOUR OWN LOUDSPEAKERS Speaker Builderthe world's best speaker periodical shows you how. Send today for your first free copy \,120 BOX 494, PETERBOROUCH NH 03458} Makeasolid MOVIESOUND NEWSLETTER. The state of film audio connection. tracks in theaters and at home. $8 year (4 -issues} Send $2 for two sample issues. P.O. Box 7304, Suite 269A, No. Hollywood, CA 91603. BLANK TAPES KIM3ER (CABLE STORADISC-- See why CD Review picked our Library 1 -800 -TAPE WORLD or 1 -800-245-6000 Series as their "top choice". Fine -furniture quality in a variety Well beat anrice! 4.95SHIPPING FREE CAT. 19KIMBER KAI3LF of finishes and sizes. Call or write DAVIDSON-WHITEHALL, SONY MAXELL TDK FUJI 555 Whitehall Street, Atlanta, GA 30303. 1-800-848-9811. 1.79T-120HS 1.89Lfw-esc74 11.49 DAT . 7.49XUI-90 T-120ERG 249 DAT- I 9.99XLII-S90 2.29 SVHST120 749 SA -90 KIMBER KABLE NEW PRODUCTS T -120V 2.39XLII-S100 2.69 8MM-120 3.49 SAX -90 JVC Precision crafted wire, connectors and caps. T-120VHG 3.29DAT-120 799HI8: 127 L -7504G 3.99T120HGA2 x '205X 1.79 11.99HI -8- ' "120 6.99 To receive The Parts Connection 1994 Catalog TAPE WORLD 220 snow. sr. Ma, PA 16003 MX 4 24334295 and a $10 discount coupon good on your first OVER 4 DIFFERENT SAME DAY SHIPPING. M -F 8-5 order over $100, send $5 along with your mailing address or call with credit card information. PARTS AND ACCESSORIES THE PARTS ifCONNECTION' 250 PAGE DESIGN MANUAL AND CATALOG: A 011180.1 OP **APO PPIONTIOPIS CHECKOUT OUR KITS: MOSFET Power and 3008 Triode Amplifiers; Passive, Buffered and Class -A Line - 2790 Brighton Rd, Oakville, Ontario, Canada L6H 5T4 Toll Free Order line 1-800-769-0747 (US. & Canada) stages; Phonodrives and Active Crossovers. Largest FINALLY -VALUE REDEFINED. YOU DON'T HAVE TO Selection of Parts and Supplies including: Kimber Kap, Telephone (905) 829-5858 Facsimile (905) 829-5388 SELL THE FARM FOR REAL CLASS A DESIGN PERFOR- MIT MultiCap, Solen, WIMA, Wonder Caps, RAM Labs MIT MultiCap Wonder Cap Kimber Kap Solo Solen MANCE. N.E.W. DESIGNER NELSON PASS (THRESH- and Golden Dragon Tubes, Kimber Kable, Vampire, Siemens Hovland MusiCap Wima Holco Rel-Cap OLD, FORTE, E.S.S.) PROVED IT FIRST WITH THE LEG- Cardas, WBT, Neutrik, Caddock, Magnequest '" Output Draloric Vishay Caddock Mills Matsushita TKD ENDARY CLASSIC PASS A 40 AMPLIFIER. NOW, A NEW Transformers, etc. Send $10 (U.S./Canada) or $15 (In- Noble Cardas Kimber Kable Discovery- Audioquest SONIC THRESHOLD ACHIEVED - THE MORE MUSI- ternational). Or call (303) 470-6585, fax (303) 791-5783. MIT ClearAudio Alps Bourns Shallco Attenuators CALLY AMAZING N.E.W. A 20 HIGH BIAS CLASS A AMPLI- Visa/MC Accepted. WELBORNE LABS, P.O. Box Elma Electroswitch Nichicon Gold Aero RAM FIER. ONLY $698! HIGHLY RECOMMENDED REVIEWS Mallory Ruby Tubes Edison Price Linear Technology 260198. Littleton. CO 80126-0198. AVAILABLE. ALSO, THE ULTIMATE HOME THEATER AM- Motorola - Analog Devices/PMI International Rectifier MagneQuest Sonic Frontiers Pearl Tube Sockets PLIFIER. 30 DAY HOME DEMO. N.E.W., BX 1148, WBT Neutrik Curcio Audio Engineering Kits RANCHO SANTA FE, CALIFORNIA 92067. (619) 756-9561. TUBE COMPONENTS w

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AUDIO/SEPTEMBER1994 96 Accuracy in Performance - Elegance in Appearance Bryston's BP -20 Preamplifier

BP -20: redesigned inside and out

Bryston's new BP -20 line level preamplifier offers a significant step forward in capturing the subtleties, nuances and emotions of recorded music.Redesigned inside and out to reflect the improvements in the entire Bryston line, the BP -20 is a perfect match to the new ee= NRB series of amplifiers. All aspects of the signal flow are much improved, with lower noise and distortion figures, and higher overload levels.You will find no internal wiring in Bryston preamplifiers. Components plug directly into glass -epoxy circuit boards, eliminating variations in signal travel and wire interaction. Intermodulation distortion has been reduced to typically .0025% from 20 to 20kHz. The noise floorhas been significantly improved, reducing background hash to far below audibility. Input -to -input crosstalk is essentially nonexistent to eliminate signal bleed -through from one source to another. Channel -to -channel interaction has been improved significantly, reducing any possibility of component crosstalk.Signalswitching and audio connections utilize heavy gold plating to provide long- term trouble -free connections. Two pair of XLR balanced inputs and one pairof balanced XLRoutput connectorsare standard as well as fivepairof unbalanced inputs, 2 pairs of paralleled unbalanced outputs and one processor loop. This provides total flexibility for integrating other balanced or unbalanced audio equipment into your system. The power transformer is mounted externally to eliminate power -supply noise and interference. The BP -20 is housed in a steel cabinet for shielding toreduce electromagnetic interference effects. Buffered inputs provide for lower distortion and improved linearity from source components. Bryston external power transformer A ground plane has been incorporated in this new design to further reduce crosstalk and noise throughout the internal:ircuitry. Our feeling is that Bryston's BP -20 is one of those fortunate circumstances when the long hours and extended listening pay off. The sense of transcending the recording medium and experiencing the original performance is captured with exceptional realism.Nothing but a listening test will convey the feeling of musical perfection available in the Bryston BP-20. We invite you to audition one today.

For more information contact: "bCY'Ill_lj 57 Westmore Dr., Rexdale, Ontario, Canada M9V 3Y6 Tel: (416) 746-1800 Fax: (416) 746-0308 Enter No. 5 on Reader Service Card Satellite and Subwoofer Speakers: The "Overnight Success" of the '90s.

Overnight, it seems, virtually the dominant choice for the everyone has discovered multichannel home theater. the advantages of the satel- M&K speakers have been lite-subwoofer speaker con- found in Hollywood screen- cept-especially for use in ing rooms (the earliest home the home theater. theaters) since the 1970s. 1994 marks M&K Sound's Long acknowledged as twentieth year at the fore- the deep -bass specialists, front of this technology. we've also been pioneers in After two decades of devel- direct -to -disc and digital oping and refining this con- audiophile recording with cept, we are flattered to see our RealTime Records satellite and subwoofer label-the first U.S label to MX -100 speaker systems become release compact discs. Powered Subwoofer TWENTIETH

1 9 7 4 1 9 9 4

ANNIVERSAR Y

S -1C Satellite We celebrate our twentieth ate a high-performance, flexi- Speaker anniversary by introducing ble system that can be opti- the new M&K S -1C. mized for both two -channel This first Push -Pull Dual - music and multichannel film Driver Satellite speaker and music reproduction. exceeds the superb musicali- With six Satellite and thir- ty of its legendary predeces- teen Powered Subwoofer sors, thanks to M&K's unique speaker models, M&K gives Transmission -Line tweeter you the widest selection in and several other significant the industry. improvements. Choose M&K and discover Combine the S -1C with an what twenty years of cutting - M&K MX -series Deep Bass edge expertise can bring to Powered Subwoofer to cre- your listening experience.

oft

MILLER 8. KREISEL 10391 Jefferson Boulevard SOUND CORPORATION Culver City, California 90232 310 204-2854, FAX: 202-8782

Enter No 17 on Reader Service Card 100

may'

44!

BEST PLACE FOR YOME SPEAKERS EXCLUSIVE INTERVIEW 1.7-ILSIAL311. LECL.-.11DS` RIOB WEINSTOCK 1 I THE EQUIPMENT AUTHORITY

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O O iii 0 270331 4 LIGHTANGDOE7STRakTWICE Mobile Fidelity Soid Lab does it again-- jibThe GA yst.em .

With a magnitude step forward in the potential of digital sound reproduction, Mobile Fidelity Sound Lab introduces The GAIN SystemTM. A revolutionary new system in audio engineering, The GAIN SystemTM brings to the CD format what both critics and advocates have found lacking since its inception: warmth. Working from the original master tapes, Ultradisc IITM is now mastered through a network which includes a "no missing codes" analog to digital converter for audio - the only one of its kind in the world - delivering a full 16 -bits, as well as redesigned repro amp electronics and a new, completely neutral interface module. * The Results? Startling realism in the digital reproduction of recorded sound. Your favorite artists have been vindicated from the sterile digital box to a more spacious soundstage with improved detailing, more stable imaging and better frequency response. Mobile Fidelity is committed to continually advancing our mastering technology to bring you as close to your favorite artists as technologically possible. Welcome to the next level in audio engineering: Ultradisc IITM - the original, limited edition 24 -karat gold compact disc - mastered with The GAIN System".

*If you would like a more technical explanation of The GAIN System 'N', call us toll -free at (800) 423-5759 or write to Mobile Fidelity Sound Lab, P.O. Box 1657, Sebastopol, CA, 95473-1657. fidelity E-mail: [email protected] mobile sound lab a division al 111F51.,INC. MASTER RECURD Lif L The SA I IN S-,y/atmf. Fri

ORISIx RI MRS/FR IfCORO, 0 Tpdd Runcigren MUDDY S,Preth.ng AnytIvrtg' WATERS fbik sinsar

THE MODERN JAZZ QUARTET

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OR,GINI, NEWSIER RECORDING AER5rER RE OROING MINGUS AT CARNEGIE HALL John Lennon 'Joke Ono

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I \II, )1 \IN111`1\l'1\1..IN \ I I In. \ \I I \

BRING THE THE -1,\PIt's()N, FAMILY PRIM I I

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0 R 1G Na yrif -J R 9 / JOHN COLTRANE GIANT STEPS GETZ/GILBERTP STAN GETZ JOAO GILBERTO Availa3le at: featerws ARINIRIO COMM Jobil, ARE A\ VIFIRDS

Enter No. 12 on Reader Service ca J AUGUST 1994 VOL. 78, NO. 8 Bob Weinstock, page 30

THE EQUIPMENT AUTHORITY features THE AUDIO INTERVIEW: BOB WEINSTOCKlames Rozzi 30 THE BEST PLACE FOR YOUR SPEAKERS? YOUR COMPUTER KNOWS!Roy Allison 36 equipment profiles ACOUSTIC RESEARCH LIMITED MODEL 2 PREAMPBascom H. King 42 EPOS ES11 SPEAKERD. B. Keele, Jr 48 AUDIOCONTROL C-101 SERIES III EQUALIZER/ANALYZEREdward J. Foster 54 if/i/f/Ch'S SONANCE 2120 AMPLIFIEREdward J. Foster 60 ALPHA -CORE GOERTZ MI 1 & MI 2 SPEAKER CABLESFred E. Davis 64 TERK LEAPFROG REMOTE -CONTROL departments EXTENDERAnthony H. Cordesman 65 FAST FORE -WORDEugene Pitts III. 4 What's New, page 10 SIGNALS & NOISE 6 WHAT'S NEW 10 Spectrum, AUDIO ETCEdward Tatnall Canby... 14 page 20 CURRENTSJohn Eargle 17 SPECTRUMIvan Berger 20 AUDIOCLINICJoseph Giovanelli 24 recordings CLASSICAL 66 ROCK/POP 71) JAZZ & BLUES 74

The Cover Photographer: John Wilkes Studio The Cover Equipment: Acoustic Research Limited Model 2 preamp

Audio Publishing, Editorial, and Advertising Offices, 1633 Broadway, New York, N.Y. 10019 jellThe Audit Subscription Inquiries, (303) 447-9330 Bureau ONCE YOU'VE GOT A PAIR 0= OUR SPEAKERS, THIS WILL BE THE ONLY TIME YOU'LL HAVE A BAD LISTENING EXPERIENCE IN YOUR CAR.

1094 Pioneer Electronics (USA) Inc, Long Read), CA

When you pull up to a fast food drive-thru, the speaker ooutside your car shouldn'tremind you of the ones in it. But if it does, it's time you retrofit your ride with some Pioneers. Our speakers arecrafted from a unique blend of materials designed to give you lower distortion. Higher sensitivity. Andplenty of pavement sbaking bass. So give us a call at 1 -800 -Pioneer, ext. 301. We'll make sure you never have to listen tobad sound in yourcar again. Except,perhaps, when you're hungry.

a PIONEER Tne Art of Entertainment Enter No. 15 on Reader Service Card FASTFORE -WORD AUDIO There are three sorts of equipment you most want reviewed and you are pretty V.P./EDITOR-IN-CHIEF definite about their relative importance- Eugene Pitts III speakers are by far the most important, ART DIRECTOR with amps second, and preamps trailing. Cathy Cacchione Second on the list of editorial favorites ASSOCIATE ART DIRECTOR was the "Audioclinic" column, which Linda Zerella placed higher up than I had anticipated. TECHNICAL EDITOR Even though the "Auricles" column does Ivan Berger cover equipment, its rank was essentially MANAGING EDITOR equaled by our letters column, "Signals & Kay Blumenthal ASSOCIATE MANAGING EDITOR Noise"; Edward Tatnall Canby's opinion Teresa Monge column, "Audio ETC," and our pop/rock ASSOCIATE MANAGING EDITOR Aost magazines do research on record column. Douglas Hyde their readers' opinions about On the survey, the popular types of DIRECTORY EDITOR Ken Richardson magazine contents on a fairly feature articles were ones on new ASSISTANT EDITOR/MUSIC regular basis. We are no technologies, basic electronic and sound Michael Bieber exception. We do this to keep theory, hints and tips for better sound, ASSISTANT EDITOR Gerald E McCarthy track of what you really want us listening room design, and the history of to do between the covers and not just high fidelity. Some in the focus groups ASSOCIATE EDITOR depend on editorial intuition or letters and expressed an almost nostalgic desire to see Edward Tatnall Canby phone calls. Several sorts of research can be us return to publishing big construction SENIOR EDITORS done; we've just done two studies-one articles. While quality you -build -it articles D. B. Keele, Jr., David Lander using focus groups on subscribers versus have been tough to get, we are working on CONTRIBUTING EDITORS/ARTIST former subscribers and the other a mail an amplifier construction piece that should Michael Aldred, David L Clark, survey. Since we learned and relearned run shortly. Let me know how you like it. Anthony H. Cordesman, Ted Costa, some things that were -important to me, I Herewith is the first entry in Dr. Pitts' John Diliberto, Frank Driggs, John Eargle, thought they might be interesting to you. Susan Elliott, Edward J. Foster, Fractured Dictionary: Alternative Physics, Joseph Giovanelli, Bascom H. King, Our two focus groups each had 10 that branch of non -science wherein magic Edward M. Long, Robert D. Long, people in a room with a moderator who is performed with much arm waving in Frank Lovece, Paul Moor, Jon W. Poses, asked questions and kept a discussion front of lots of mirrors in the midst of Jon R. Sank, John Sunier, Michael Tearson, Jon&Sally Tiven, Michael Wright going. The survey was an nth -name type many clouds of blown smoke for the performed by an outside specialist and it satisfaction of the electronically AUDIO, August 1994, Volume 78, Number 8. AUDIO got what I'm told is a "fine" response rate. disadvantaged from whom pieces of green (ISSN 0004-752X, Dewey Decimal Number 621.381 or 778.5) is published monthly by Hachette Filipacchi The biggest "fact" to come out of the paper are extracted; said to take place in Magazines, Inc., a wholly owned subsidiary of Ha- studies was that you readers want lots of other universes; no feat of alternative chette Filipacchi USA, Inc., at 1633 Broadway, New York, N.Y. 10019. Printed in U.S.A. at Dyersburg, equipment coverage, even more if we can physics has yet been verified by blind Tenn. Distributed by Warner Publisher Services Inc. find ways to put more "Equipment testing in this universe; greatness of the Second class postage paid at New York, N.Y. 10019 and additional mailing offices. Subscriptions in the Profiles" into the magazine. (We're feats in direct ratio to the number of UnitedStates, $24.00 for one year, $42.Q0 for two working on that, not incidentally.) This extracted pieces of green paper; termed years, $58.00 for three years; other countries except Canada, add $8.00 per year; in Canada, $32.00 for section of the magazine was ranked "alternative" because its principles, when one year (includes 7% GST; Canadian GST registra- Number 1. While it was not a surprise to known and not "proprietary," do not tion number 126018209). AUDIO' is a registered trademark of Hachette Fili- me that all other columns and sections match those of other practioners of pacchi Magazines, Inc. ©1994, Hachette Filipacchi were in second place, it both surprised and alternative physics or those of standard Magazines, Inc. All rights reserved. The Editor as- sumes no responsibility for manuscripts, photos, or pleased me how strongly our "Profiles" science in this universe. artwork. The Publisher, at his sole discretion, reserves dominated the rankings. It might be said the right to reject any ad copy he deems inappropriate. Subscription Service: Postmaster, please send change that nothing else did better than third of address to AUDIO, P.O. Box 52548, Boulder, Colo. place. The reason I am happy with this is 80321-2548. Allow eight weeks for change of address. Include both old and new address and a recent ad- that I have long been convinced that our dress label. If you have a subscription problem, please "Profiles" are the heart of this magazine write to the above address or call (303) 447- 9330. Back Issues: For information, write to P.O. Box and are the basic reason you buy Audio. 7085, Brick, N.J. 08723. AUDIO/AUGUST 1994 4 the tt- Mich: at 4: - glass. teristi. or 26::. cism, c the GE If I h likenin' I'd cor Genen terrific "Nothing less than a steal. and sr.. -Robert Harley, Stereophile dynami has muc There's something in this review of our sion, tig 1110...... GDA-600 digital -to -analog converter that the 1.011110 AIM competition doesn't want you to see. Maybe

JIM it's the fact that the GDA-600 makes digital SS formats sound richer and more musical. Or that

it has advanced 20 bit conversion architecture

Fig. Adcom GDA-600, fee and a Class "A" analog output stage. But (top); de -emphasis err channel dashed, 0.5dBi what they really don't want you to see is that II 02.010solat =AMA 41111.11. the GDA-600 costs much less than you might -MO

4.0 expect. For the full review see Stereophile, IAN

ISA Volume 17, No. 3, (March '94). Or, if your

ISO copy has been stolen, give us a call.

Fig.2 Adcom GDA-600, dashed, 10dB/vertica Adam 111.* ADCOM details you can hear

ISO

IMO IfY Fig.3 Adcom GDA-60 IkHz tone at -9 spuriae (K -octave dashed).

Fig.4 Adcom GDA-600, do linearity (right than' 2dB/vertical div.).

112 11 Elkins Road, East Brunswick, NJ 08816 U.S.A. (908) 390 -1130 Fax: (908) 390-9152 Distributed in Canada by PRO ACOUSTICS INC., Montreal, Quebec (514) 344-1226 EC=AUDIO More Reflections on Mr. Hi-Fi Anyone who writes well soon realizes V.P./GROUP PUBLISHER Dear Editor: how difficult it is. To maintain a high level Thomas Ph. Witschi I read of Leonard Feldman's death with (212) 767-6269 of integrity, honesty, and technical preci- V.P./ASSOCIATE PUBLISHER great sadness. I met him on two different sion the way he did is truly amazing. I have Tony Catalano occasions in Washington and heard him read many technical articles in my life and (212) 767-6061 speak with great passion on audio and have learned to interpret what is said and, GENERAL MANAGER video topics. His passion mirrored my own. even more important, what is not said. Greg Roperti I first met him at Audio Associates in BUSINESS MANAGER When I read Leonard Feldman's writing, I Christine Z. Maillet 1986, at a seminar he gave on digital audio. didn't strain to find out what I wanted to PRODUCTION DIRECTOR After lecturing and answering questions, know. His writing was obviously not in- Silvia Coppola he reached into his jacket pocket with a PRODUCTION MANAGER tended to be flashy or controversial, but to Kerry Tonning twinkle in his eye and produced what convey information. Most writers don't re- PROMOTIONS COORDINATOR looked like a miniature video cassette. It alize the constraints of editorial space limi- Elizabeth R O'Keefe was a DAT and pretty much took everyone RESEARCH MANAGER tations and therefore will never completely Dru Ann Love by surprise since DAT was not on the front realize how much information he was able OFFICE MANAGER burner of the audio world at that time. Len to pack into so few words. Aline 1. Pulley was genuinely excited about the prospect OPERATIONS MANAGER I thank him for the wealth of informa- Sylvia Correa of a new digital tape technology. tion that I took from his writings. AD COORDINATOR When it was time for the door prize, lo Ed Long Linda Neuweiler and behold, my name was called out, and I Oakland, Cal. ADVERTISING went up to receive my prize and shook REGIONAL V.P./AD DIRECTOR, EAST COAST Len's hand. It was a very enjoyable evening. Charles L. P. Watson (212) 767-6038 Editor's Note: Mr. Long is a Contributing REGIONAL ACCOUNT MANAGER The second, and last time, I saw Len Editor to Audio. Christine B. Forhez (212) 767-6025 Feldman was at an audio show in a hotel in REGIONAL V.P./AD DIRECTOR, MIDWEST the Tysons Corner area of Virginia. The R. Scott Constantine (212) 767-6346 Dear Editor, REGIONAL V.P./AD DIRECTOR, WEST COAST show was wonderful, but what really took I just heard, from Ken Pohlmann, the Bob Meth (213)954-4831 the cake was the debate and discussion be- sad news of Len Feldman's recent death. It WESTERN MANAGER tween various speaker manufacturers, me- Paula Mayeri (213)954-4830 is a true loss to your fine publication and NATIONAL RECORD LABEL SALES diated by Len. the fraternity of audio journalists. MAG Inc.Mitch Herskowitz(212)490-1715 He was a great speaker who could really I first met Len while I was at Clarion and Steve Gross (212)490-1895 hold an audience's attention. He loved au- came to appreciate his expertise and per- IHEFM dio and it showed. I will miss him and hisspective. But most significantly, he gained chetts , lectures. Len, may you live forever in "Au- my respect for the wonderful way in which dio Heaven." We will never forget you. CHAIRMAN Daniel Filipacchi he conducted himself. PRESIDENT, CEO, AND COO Claude A. Whiting The last time I saw him was the summer David J. Pecker Centreville, Va. of 1989, when he represented Audio at the EXEC. V.P. AND EDITORIAL DIRECTOR Jean-Louis Ginibre Lexus LS400 long -lead press conference SR. V.P./GLOBAL ADVERTISING Dear Editor: held for audio publications. I felt a great Paul DuCharme I have always admired Leonard Feldman. deal of pride for the job we had done with SR. V.P./DIR., CORPORATE SALES My admiration only increased when he tes- Nicholas Matarazzo the Nakamichi and Pioneer audio systems SR. V.P./CFO & NEW BUSINESS tified to Congress about the shortcomings when Len paid his very high complements. DEVELOPMENT Paul DeBenedictis of the CBS "notch" encoding technique for Best wishes for your magazine. It is an V.P./DIR. OF STRATEGIC PLANNING, records. That took guts, especially since he ADV. & CIRC. Patrice Listfield interesting and valuable reference on all as- V.P., GENERAL COUNSEL was writing for Audio when it was owned pects of "enthusiast -level" audio. Also, we Catherine Flickinger by CBS. were very pleased with Ivan Berger's V.P., MFG. & DISTRIBUTION I also admired the way he kept up on ad- Anthony Romano "Roadsigns" column (February 1994) on V.P., CIRCULATION David W. Leckey vances in technology and learned the nu- the new Lexus GS 300. V.P., RESEARCH & MKTG. SERVICES ances in such great depth. He was able to Fred M. Deutsch Susan Smollens explain them in a way that was always very V.P., COMMUNICATIONS & SPECIAL Audio & Electronics Planning Mgr./Toyota PROJECTS Keith Estabrook easy to understand. Torrance, Cal. V.P., MAGAZINE DEVELOPMENT Marcia Sachar AUDIO/AUGUST 1994 V.P., HACHETTE FILIPACCHI 6 MULTIMEDIA Mario Cooper The purpose of audio and video equipment is to reproduce a work of art. At AudioQuest we strongly believe that it is not our place to reinterpret any audio or video masterpiece. We believe in the highest possible fidelity to the original creation! Whether you are reproducing a Chopin sonata, Jimi Hendrix's guitar, or T2's audio and visual effects, they all deserve to be reproduced faithfully. As the audio world moved from mono to stereo and now multi -channel stereo, the term Hi -Fidelity seems to have been forgotten. If ycu want to be trendy, you could now call it UltraFidelity - but whatever you call it, AudioQuest audio, audioquest. video and digital cables will give you I \ PERIENCE THE DIFFERENCE more of it!

P.O. Box 3060San Clemente, CA 92674 Tel: 714 498 2770 Fax: 714 498 5112 Ageless and Priceless "Reality dio Master. I probably sought his opinion Lessens" on the purity of my Marantz Model 9 am- Dear Editor: plifiers; whether I should get a second EACH MAN MUST SEARCH I just read Edward Tatnall Canby's "Audio Capps condenser microphone to make FOR HIS HOLY GRAIL; ETC" (December 1993) and want to share stereo recordings on the Concertone tape a couple of thoughts. In 1957 when I was a recorder; did he think the new AR speakers FOR SOME OF US, student newly bitten by the audio bug, I beat the Bozaks; the Scott tuner, etc. I am HI-FI PROVIDES opened a hi-fi store that I operated part- embarrassed to remember the beseeching A VULGAR SUBSTITUTE. time while in graduate school. It was the tone of all this but it was true. only hi-fi shop within a hundred mile ra- Mr. Canby graciously answered my letter dius of our town in the Missouri Ozarks. with no less than two pages of handwritten times. It was saved in an old trunk in the At one point I wrote a letter to Mr. Canby comments addressing my many questions.basement until destroyed by water from a who I imagined as an ancient, wizened Au- I was honored and re -read the letter many leaking faucet some 10 years ago. The letter is gone but I remember Mr. Canby's clos- Discover Boxless Theater! ing comment exactly: "Each man must search for his Holy Grail; for some of us, High Fidelity provides a vulgar substitute." You see, Mr. Canby was giving "Reality VA\D ST Lessens" back in 1957 too! It is marvelous A,D that he continues to produce articles that In its pursuit of perfection, inform, entertain, and instruct. And how is high -end audio has established it that I have progressed from a callow youth to the edge of old farthood and Ed- lofty standards that only the best ward Tatnall Canby has apparently not speakers can reach. Now your aged? "Superior on both family entertainment system CharlessW. Fowlkes film and music, can meet these same standards. VANDERSTEEN's Bozeman, Mont. lull -range speakers Experience open natural voices, dispel the myth that astonisting definition, powerful Coverlines or Coverlies? video requires Dear Editor: unique main bass and vivid imaging with speakers." legendary VANDERSTEEN On the cover of the December, 1993 issue, it says in quotes, "I'd sell my Mercedes boxless speakers. to buy Quicksilver's M135 tube amp." Bas- com H. King did not say that. A fellow reviewer said (as a suggestion to Mr. King) and I am taking the quote from page 64, "'Sell the Mercedes and the wife's 1110 Model 3 "Lltimate High resolution, phase correct loudspeaker mink coat...; go out and buy yourself a pair realism," Wfr of M135s, forget about amplifiers, and For almost 20 years, VANDERSTEEN AUDIO simply enjoy the music." Mr. Pitts, the quote you printed on the has built affordable loudspeakers true to both VCC-1 science and music. If you are looking for Phase correct center speak cover is not true. Besides, your editorial philosophy has been that all amps sound speakers that accurately reproduce the the same, or else so much alike that no one entire frequency range and dimensions can pass a double blind listening test. of the original sound, we can direct Not only have you been printing false you to your nearest carefully selected "Amazing information, but now you are printing un- definition, VANDERSTEEN dealer. rocks the truths on the cover. What next? (You have foundation:" my permission to print this letter if you Please write or call for a brochure have the courage.) and name of your nearest dealer. Tony Mauldin Lewisville, Tex. VANDERSTEEN AUDIO - 2W 116 West Fourth St, Hanford, CA 93230 Three driver,00 watt amplified The Editor -in -Chief replies: Ever hear the (209) 582-0324 subwoofer phrase-close enough for government work? LJII V ILI \1010\/-,LPl Models available from 5495. AUDIO/AUGUST 1994 8 Enter No. 19 on Reader Service Card COLLECTION

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BELCOGGETrl

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AVS 777 AVS-767 AVS-707 Accommodates 32" TV Accommodates 3i Accommodates 30" TV

DIALERS* TWEETER, MA, CT, RI . STATE STREET DISCOUNT; PORTSMOUTH, NH . HARVEY EKTRCNICS, NY NJ .J & R MUSIC WORLD, NY . 6TH AVEELECTRONICS, NY, NJ . SOUND CITY, KNNELON, NJ . STEREO EXCHANGE NY . BRYN MAWR STEREO. RA, DE, MD, NJ . HI Fl HOUSE, PA, DE. PRO VIDEO, MD. DC . HI TECH ELECTRONICS, ANNAPOLS, MD . NEW IMAGE, CLEVELAND, OH . STEREOVISIONS, COLUMBUS, OH . ALAMO ELECTRONICS, CINCINNATI, OH . HI Fl BUYS, GA . MUNDY'S A/V, GAINESVI.LE, GA . SOUND ADVICE, FL . CCLLMBIA A/V, HIGHLAND PARK, IL. AET TV, MOFTON GROVE, IL . O'REILLY'S LIBERTYVILLEIL . MILLS A/V, CHICAGO, IL . MUSICRAFT, PALATINE, IL . DOUGLAS TV, CHICAGO, IL . GOOD VIBES, CHAMPAC.SN, IL . HI Fl FO FUM, ST. LOUIS, MO .KIER'S GR.AMAPHONE, LAWRENCE, KA . SOUND CENTER, MINNETONKAMN . MAURY'S IV, E. GRAND FORKS, MN . HOME ENTERTAINMENT, DALLAS, HOUSTON, TX . CONSUMER ELECTRONICS, ARLINGTON, TX . DON'S HI -FIDELITY, LUBBOCK AMARILLO, TX . WRIGHT'S SOUND GALLERY, SHREVEPCRT, LA . ALTERMAN AUDIO, NEW ORLEANS, UN . AUDIO DIMENSIONS. OKLAHOMA CITY, OK . McLELLANID'S TV, HATTIESBURG, MS . GOOD GUYS, CA . HOLLYTRON, LOS ANGELES, CA . ANDERSON'S TV, REDWOOD CITY, CA . SOUND COMPANY, SAN DIEGO, CA . CENTURY STEREO, SAN JOSE CA .KEN CRANES, SO CA . URNER'S, BAKERSFIELD, CA. EBER, NOCA . BONN N SANTURCE, PR . GRUPO K2, VALLEJO, MEXICO Enter No. 2 on Reader Service Card WHAT'SNEW

stage. The Audio Advancements built-in EarMax runs on a 12-V speakers rechargeable battery or from a include all car battery via an adaptor. The three front entire amp fits in a 3.35 -inch channels plus Audio Advancement cube, weighs 13 ounces, and two 10 -inch Headphone Amp comes in gray, blue/green, or subwoofers; This miniature headphone purple. Price, including power two rear amp not only uses tubes but has supply: $489. satellite a transformerless, Class -A output For literature, circle No. 100 speakers are supplied as well. The cabinet can hold up to a 35 -inch TV plus four other A/V components; BIC Home Theater the side compartments can Cabinet and Speakers hold video or audio discs or Spaces are provided in the tapes. Dimensions are 57% in. BIC AV -2 cabinet for all the H x 52%in. W x 19% in. D. to be used with systems having Chase Surround Decoder components of a hone theater Price: $999. anywhere from two to five except the speakers-and For literature, circle No. 103 Completely passive, the Chase channels of amplification, and it most of those are built in. The HTS-1 decoder has no built-in can derive surround ambience amplifiers but redistributes the from most surround formats. power from your system's amps. Price: $99.95 Its switching and inputs allow it For literature, circle No. 101 to 20 kHz. Tiny microphones Koss Noise -Cancelling in the headset sense ambient Headphones low -frequency noise and Active noise -cancellation transmit it to a pocket -sized technologies in the Koss Quiet controller; the controller feeds Zone headphones reduces the equivalent noise signals, in masking effect of noise below opposite phase, to the 1,400 Hz. The earphones, earphones, where the two B &0 Compact whose diaphragms are coated noises cancel. A two -pin in one action. All active buttons Music System with titanium nitride for more adapter is included for airline are illuminated in each operating upper -frequency detail, have a use. Price: $299.99. So highly automated that its mode. The system's handle rated frequency For literature, circle No. 102 doors open when a hand doubles as an active FM antenna. response of approaches them, Bang & The speakers are self -amplified, 15 Hz Olufsen's Beosound 2000 is only with electronic crossovers and four inches thick and can be Adaptive Bass Linearization; wall -mounted. Other automatic grilles are available in four colors. functions include synchronous Prices: $1,595, including remote recording from CDs, automatic control and table stand; wall record level, 30 AM and FM bracket, $25. station presets, and a "Start/Go" For literature, circle No. 104 button to rewind and play a tape

AUDIO/AUGUST 1994 10 "I got the take home size

[No compromise in a GMC Truck. Industrial strength or A vibration -eating balance shaft in Sierra's standard handy take-home size, you get full strength. As it has engine quiets your fears. been through nearly a century: GMC Truck, delivering [Independent front suspension smothers roa3 shock the strengths of trucks. before it can reach you. While a commanding viiew of the What have we done for you lately? The 1994 GMC road makes Sierra decidedly uncar-like. Sierra. It's got something you probably don't expect [Whenyol look into your next truck. look into luxuri- from a truck-refined road manners. ous. take -home -sized industrial strength. To learn more [Skeptical? Understood. But put Sierra through its paces. about GM: Sierra, call 1-800-GMC TRUCK.

GMCSITRUCK. .THE STRENGTH OF EXPERIENCE

111 &gins Reserm_ Buckle up Ammo,111,..4 01904 GM Corp.. GM. GMC. GMC Truck Sierra and the GMC Truck logo are registered trademarks of General Mors Corporation. Enter No 8 on Reader Service Card AT'S FIN

Avalon Speaker

Avalon's Monitortwo-way DCM Subwoofer system has a front baffle 3 inches The DCM Sub -710 is a thick, to minimize vibration. compact subwoofer with 50 watts The 1 -inch tweeter has a of amplification built in. The titanium dome, while the 7 -inch, drivers are two 6;4 -inch woofers, long -throw woofer's cone is a and frequency range is rated as 32 Nomex/Kevlar composite. Rated to 80 Hz. Price: $399. anechoic response is 60 Hz to 24 For literature, circle No. 107 kHz, ±1.5 dB; in rooms, its -3 dB point is below 48 Hz. The speaker is 18 inches tall (42 inches, with optional stand), 81/2 inches wide and 101/2 inches deep, and weighs 31 lbs. (53 lbs. with stand). Prices: Speakers, $2,695 per pair; stands, $340 per pair. For literature, circle No. 105

Hoffman Classic Audio Loudspeaker

This loudspeaker looks like a RCA Video Acoustics violin because it is one, In -Wall Surround Speaker transformed by Hoffman Classic The Video Acoustics Audio into the Violin Speaker. VA -2200, from RCA, is one The 1 -inch, fabric -dome tweeter Hubbell Speaker of the few in -wall speakers and 41/2 -inch, polymer -cone The aspect of the HS542 that with the image diffraction woofer give it a rated frequency Hubbell Sound Systems talks recommended for surround response of 60 Hz to 20 kHz, ±2 most about is its crossover. Its channels. Each system's dB. Sensitivity is 88 dB, and tweeter and mid -bass crossover 5V1 -inch woofer fires directly impedance is 6 ohms. Price: components are physically into the room, while its $1,800. separated to prevent crosstalk 3'A -inch midrange and 1 -inch Forliterature, circle No. 109 or other interactions, and only tweeter fire intc, an such parts as poly capacitors, angled reflector. non -inductive resistors, air -cored Power handling is inductors, and Straight Wire 120 watts. The cabling are used. The crossover molded enclosure and the drivers' roll -offs combine can be mounted to to produce a third -order wall studs to Butterworth characteristic with a reduce wall crossover point of 3 kHz. vibrations. Price: Price: $799 per pair. $549/pair. For literature, circle No. 106 For literature, circle No. 108

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30 Ward Road, Lancaster, New York 1408 Phone: (716) 681-3040 Fax: (716) 681-2763 enter No.6 on i'eade, Service Cara Coifman and other Yale University AUDIOETC specialists. (See September 1993.) EDWARD TATNALL CANBY This enterprise is not yet definitive, and so I will be a clam myself until more news comes in. I have also heard of assorted BOULEVARD OF restorations on LP (always with other material, necessarily), but the BROKEN BRAHMS outstanding U.S. source for most of the "sightings" and hearings reported to us was released in 1977, non - What ever happened tothat very reason its history, in thisdigital, by the International Piano the search for that elu- age of advanced digital restorations, Archive (IPA) in New York. This sive 1889 Edison cylin- is far from over. restoration-the sound still mostly der of Johannes Brahms It has been a fascinating explo- unintelligible-is likely to be found playing his own musicration for me during these numer- in many archives, libraries, and ra- and (perhaps) speakingous months. The more information dio stations and is surely our major his own name? Since the February that comes in, the more astonishing source in this country. issue, my last mention of it, a prodi- All of these, alas, stem not from gious amount of information has the original cylinder but from a set indeed come my way concerning of archival acetate -disc copies made this minute bit of ancient audio. from the cylinder in 1935 in Berlin, Progress has gone on apace- including a long -missing limited pressing. There were evidently numerous trial attempts at that time, with considerable well -meant doctoring of the sound afterwards-hence, almost certainly, some of the distortions now heard by listeners. There is astonishing confusion over the details of that 1935 operation. (There may or by which I mean, unfortunately, at a are the ramifications, the contradic- may not have been the broadcast snail's pace. We have been the victim tions, the unanswered questions, the often mentioned.) But it is known of a common disease today called"clamshell" silences (often under-that the copies were produced by Anti -Communication, much likestandable)-all playingthe antimatter: Those noxious segments of which min- THIS SONIC EPISODE cylinder on an of the Information Superhighway gle inextricably old acoustic that inspire near -total bottlenecks in with thelil' IS OF CONSIDERABLE machine and rapid data transmission! A vast spate snails. Seafood IMPORTANCE, THE MORE then recording of letters, for instance, mailed to me galore! SO BECAUSE IT IS the resulting after the February issue, reached me Remarkably, sound via mi- more than eight weeks later. Say no at this point ALMOST UNINTELLIGIBLE. crophone! more. You get me. My snails have the recording, Shades of a re- been unusually slow this year. Prob- after more than a hundred years, is cent similar operation by an English ably the weather. actively "under development" via CD label. And yet this little one -minutethe latest state-of-the-art digital Then there are the London discs, sonic episode, the oldest piano analysis, and this is not the first such apparently from the same source, recording extant today and the only treatment. Another was published in discovered not far back in an Eng- one by the famous composer, is ofVienna, in 1983, in the form of a 45 - lish archive, wholly unidentified. considerable historic importance, rpm EP disc. The 1994 treatment, as (The English, I might observe, are the more so because in its existingyou may guess, is using the new ap- well known for not cataloging their forms it is almost unintelligible. Forproach of Yale math Prof. Ronald collections.) These were left in the AUDIO/AUGUST 1994 14 (al rhthi control}

You don't have time to brace yourself, much less think. Meanwhile, it's thought of everything.

It happens so fast. How can an airbag trigger so suddenly? Let's just say it'sn the moment our little black boxes have been waitir_g for all :heir lives. Ue 1coelectronics

if'. peke EIntrenrct (erpon. will of the man who put out the pressing In all I have read so far, there is no clari- enough, at least to my ears. Yes, I have from the 1935 copies-he was president offication as to how the famous cylinder got heard the 1983 version-or, rather, a copy the company, Lindstrom, and probably was to Berlin, though there may be information on tape, which I trust to be authentic. In on hand for the actual Berlin procedure. in a book (German) written by one of the the alternative "original" on this 45-that He later moved to England; speculationFellinger family. This is curious-anything is, the unchanged sound of the 1935 disc- says these might be trial runs for the Berlincould have happened, once the Fellingers the name seems to be something like copying, carried away by him at the time. relinquished what we "Robert Brahms," Were they? Nobody knows. might call control. It but in the restora- All of today's available versions of the would have been easy tionitisquite recording come from one or another ofenough for someone in grandly "Johannes these London discoveries, if I am right, and possession of the cylin- Brrrahms," with a that includes specifically the 1983 Vienna der, between Vienna greatly rolled "r." 45 release. However, few of the other exist- and Berlin, to make a Even worse, the ing versions indicate a source, and herereasonably good copy cylinder's structure come the clams. The IPA LP made in New and secrete the precious dl is weakened and York says it is derived from "a tape." Tape original for himself; cracked. And the A \ .1174/111i of what? This is an old clam; there are whoindeedwould AligreZ4fts Austrian engineers much newer ones too. (IPA is now relocat- know the difference? in 1983, who made ed as IPAM at the University of Maryland.) Enough to say that I was arrangements with But what of the cylinder itself, the Edi- wrong in my account Berlin to have the son original? It has never been lost. It is (in February) of that cylinder on loan alive, though not well, in Berlin today, so-called pantograph for several days, had where it has remained since it arrived there copying. The panto- to wrap tight rubin 1935-assuming it is indeed the samegraph was not at all ber banding around cylinder! More on that later. what I thought but, BRAHMS' CYLINDER IS each end before Something went wrong at the actualrather, a tight, tiny ALIVE, BUT NOT WELL, they dared put it on recording session in 1889 at the home ofmetal connector that a machine. This the Fellingers, Viennese friends of Brahms. tied an Edison player to IN BERLIN, WHERE IT covered up a seg- The composer, several accounts agree, was another's recording HAS BEEN SINCE 1935. ment of the music, very nervous about the whole thing and head to make a single as well as the open- apparently started playing before the ma- real-time copy that ing spoken words. chine was ready-it was "misaligned,"closely matched the Theytriedsix whatever that might mean. He would not original. One of my correspondents has ac- times, using variablestyli and point pres- make a second recording with the machine tually seen one of these in operation andsures, all to no avail (it says in a 1984 arti- correctly set up (this poses some nice me- heard the result, indistinguishable from thecle by the engineers, translated into Eng- chanical mysteries), and so the Edison op- original, he says. I'll take his word for it. lish). So in the end they decided to use the erator, one Theo Wangemann, left the As for the present state of the cylinder in 1935 disc copy. Better sound. Without a cylinder with the family. (Interim mystery: Berlin (the archive was in the East zone and doubt, however, those six attempts still ex- If Brahms started playing too soon, why is thus out of touch with the West until the ist on 15 -inch tape in Vienna, though never there an announcement on the cylinder recent reunification), it is in sad disrepair. used. That's a challenge! They may be the that was apparently made by the very man At some time an operator evidently activat- last copies ever to be made of this cylinder. who did the setting up, Theo Wange- ed a cylinder scraper, probably by accident. Unless some ingenious soul fills it with re- mann?) The Fellingers kept the cylinder for This was attached to an Edison player to inforcing plastic or such to strengthen the many years and often played it (i.e., it mayremove a layer of grooves to make a new structure enough to play, or at least turn at have been faulty, but it did play). recording, much as we erase a tape. The speed. A tracing of the grooves by laser? There is a large blur in the cylinder's his- scraping was stopped in time, but the That is bound to come up sooner or later tory at this point, almost 40 years, until it grooves are very shallow, which makes for as well. It might make a crucial difference. was somehow taken to the Berlin archive inimmense difficulty in the copying. As I get There is much, much more to tell, no- 1935. The disc copies were made at that it, this occurred after the 1935 copies were tably about events in this country (all of time as an archival precaution and as a gal-made-hence the repeated choice of those the above is strictly European). Note that I lant attempt at state-of-the-art (!) 1935discs for later restorations, right up to thehave omitted most names and sources of restoration. A man named Fritz Bose, present. In addition (perhaps at the same information in this month's account. Give probably not related to our Amar Bose, wastime) a piece was broken off at the begin- you the (relatively) big picture first. All the expert in charge. It was he who decided ning, making it impossible to play all of the those names will come forth eventually, to use an old acoustic player rather than aspoken introduction, though the name clams and snails allowing. The best is yet to modern pickup. Brahms-Johannes Brahms-is clear come! A AUDIO/AUGUST 1994 16 stunningone brand, growthn the sincefiercely it wascompetitive founded speaker in market PARADIGM, has experienced 1982.is simply The reasonbetter forproduct this rise performance to prominence - correct.PARADIGMresearch. And they do so because of better speakers sound more musically Landmarkrenowned research,National conductedResearch Council,by the world has clearlyalsothat identifiedare identified common the measurablewhat to all good good characteristicssound sounding is, and designspeakers.the foundation is based.This 1-ighlyon which accla_med research is PARADIGM speaker B -Series Subwoofers are the perfect solution channel speaker and you have a superb SPECIFICATIONS for adding bass to a variety of PARADIGM sounding compact home theater speaker system! DESIGN speakers. They are elegant, efficient, powerful For higher output capability add a second SB- Single driver, dual voice -coil, bandpass and provide deep, tight bass with excellent systems with critically tuned resistive ports. Series Subwoofer. Operate them with a CROSSOVER definition and solid impact! dedicated amplifier for astonishing results! Then 4th order electro/acoustic at 100Hz. Frequency- and phase -corrected. add two PARADIGM speakers for the rear and a Smaller PARADIGM speakers (Micros, Atoms, PARADIGM center channel speaker and you have 58-120: BASS/MIDRANGE DRIVER Titans, Minis, etc.) integrate seamlessly with a a sensational home theater speaker system... 310mm (17), 7 voice -coil, aluminum former single SB-80 or SB-100. Use the SB-120 with better than many costing several times as much! LOW FREQUENCY EXTENSION' larger PARADIGM speakers or for greater bass 26Hz (DIN)' FREQUENCY RESPONSE output. SB-Series Subwoofers create a variety of For more than a decade PARADIGM has earned a ±2dB from 33Hz-100Hz outstanding "3 -piece" systems - all able to solid reputation for superb musical performance SENSITIVITY- ROOM/ANECHOIC 95dB/92dB provide stunning performance! and unparalleled value! Built on this tradition, SUITABLE AMPLIFIER POWER RANGE the SB-Series sets an entirely new value 15 -250 watts Thinking about home theater? It's simple. Take MAXIMUM INPUT POWERt standard... until now this quality of bass 150 wattst a PARADIGM "3 -piece" system, add two PARADIGM performance was simply not available in this NOMINAL/MINIMUM IMPEDANCE speakers for the rear and a PARADIGM center price class! eqhms/6ohms INTERNAL VOLUME 103 litres/3.62cuf HEIGHT, WIDTH, DEPTH 43cm x 49cm x 72cm/163/4 in x 19In x 28 in SB-SERIES DESIGN FEATURES WEIGHT 26kg/57Ibs each )0 Single driver, high velocity, low noise, bandpass systems with critically tuned resistive ports. 513-100: BASS/MIDRANGE DRIVER 255mm (10"), 11/2" voice -coil, kapton former. LOW FREQUENCY EXTENSION' Bass reflex port. -> PARADIGM built bass drive unit. 36Hz(DIN)' Multiple 3' ports with Inner Dual, multi -layer 11/z voice -colts (2' FREQUENCY RESPONSE and outer radius allows for on S8-120) with kapton formers ±2dB from 40Hz-100Hz high air velocity with very ensure musical accuracy and long SENSITIVITY- ROOM/ANECHOIC 94dB/91dB low turbulence. term reliability. SUITABLE AMPLIFIER POWER RANGE Ports 'fire' down to Massive magnet 15-203 watts further reduce structures with MAXIMUM INPUT POWERt unwanted symmetrical field 103 wattst midrange output. geometry optimize cone NOMINAL/MINIMUM IMPEDANCE movement for maximum 8ohms/6ohms output and lowest INTERNAL VOLUME distortion. 60 litres/2.1cuf Ultra -rigid highly - HEIGHT. WIDTH, DEPTH damped cone/surround 43cm x 44cm x 49cm/163/4in x 171n x 191n assemblies maintain WEIGHT uniform piston motion 19kg/42Ibs each )/0Enclosure. even at high 5B-80: Multiple -cavity playing levels. BASS/MIDRANGE DRIVER design. 210mm (8'), 11/2" kapton former. Inert high -density LOW FREQUENCY EXTENSION' 40Hz (DIN)* hardboard limits 00 Crossover. unwanted panel FREQUENCY RESPONSE Oversized power Inductors roll off ±2dB from 50Fiz-100Hz resonances. unwanted midrange output. SENSITIVITY- ROOM/ANECHOIC 93dB/90dB SUITABLE AMPLIFIER POWER RANGE )0Highly flexible: 15-150 watts MAXIMUM INPUT POWERt A single SB-Serles Subwoofer can be configured to operate in stereo or In mono 80 wattst (when using two subwoofers). NOMINAL/MINIMUM IMPEDANCE 8ohms/6ohms 0-Convenient hook-up: INTERNAL VOLUME Main speakers can be connected to either the receiver/amplifier or to the SB-Series 35 Itires/1.23cuf Subwoofer, HEIGHT, WIDTH, DEPTH 43cm x 27cm x 49cm/161/4 in x 101n in x 19 in )0All four sides and the top are finished allowing SB-Series Subwoofers to fit WEIGHT easily and elegantly anywhere in your room. 15kg/33Ibs each AVAILABLE FINISHES:

Paradigm Electronics Inc. 101 Nankin Rd., Woodbridge, ON L4L 3P5 Canada 905 850 2889 Mock Ash Block Gloss Rosewood Gloss Enter No. 14 on Reader Service Card (oil models) (513-100 & SB-120) (SB-100 & 58-120)

DIN 45 500. Listening rooms reinforce bass. This reasonably indicates the audible (approximately -3dB) tow frequency Paradigm Electronics Inc. reserves the right to change specifications For distribution information AudioStream, Div Baron Corp. performance that can be achieved in most rooms. and features without notice as design improvements are incorporated. outside the U.S. and M.P.O. Box 2410 Paradigm is a registered trademark of Paradigm Electronics Inc. Canada, contact: Niagara Falls, NY Maximum Input Power indicated is with typical program Copyright 0 Paradigm Electronics Inc.+Bavan Corporation. Phone: 1 905 850 2889 14302 U.S.A. source, providing the amplifier is clipping no more than All rights reserved. 580894.1 Printed in USA Fax: 1 905 850 2960 905 632 0180 10% of the time. iike the Compact Disc, the LaserDisc was designed pri- CURRENTS marily to deliver a continuous JOHN EARGLE stream of serial data. In the case of CD, that data is digital, and the data rate was originally PYRAMIDING based on the requirements of two channels of 16 -bit audio at a sam- PLATFORMS pling rate of 44.1 kHz. With LaserDisc, the data is often a mix- ture of analog and digital, and the primary function is as a video storage medium. In their original intended applications, both media were normally asked to play contin- uously from beginning to end, but they have the added capability of directly accessing specific bands, tracks, or "chapters." The CD and the LaserDisc have been adapted to alternative uses. The Compact Disc, for example, does duty as a read-only memory (ROM), as a storage medium for high -resolution photographs, and as the storage medium for a number of user -interactive systems. Both media have reasonable access times to any "address" on the disc, on the order of a handful of seconds. As long as the alternative use does not demand too rapid a movement from one point on the disc to another, the disc functions well as a read-only mem- and has input jacks for handheldLaserActive ory. (The real secret controllers. The control pack func-game module to programming for tions as a computer and generatesin Pioneer's thesealternative on -screen menus, --ranslating userCLD-A 100 uses is to reduce the input from the con -roller unit. TwoLaserDiscplay- frustration of wait- control packs were included wither(rigid) and ing during look -up the system I receivec, one for educa-in use (above). period by having tional discs and for NEC Turbochip some relevant activ- and TurboGrafX -16 software, the ity take place on the other for Se3a Genesis cartridges screen while the disc is being 1 recently tried out Pioneer's and discs. (Only one control pack is scanned for new data.) Model CLD-A100, a combinationincluded in the system price of The ability to work interactively is LaserDisc and CD player (with sepa- about $1,000. The player costs $735 not built into conventional CD and rate drawers for each) that accepts alone; additional control packs cost LaserDisc players. Instead, it is pro- plug-in modules for LaserActive ap- $485 each for games and $350 for vided by additional processing capa- plications. As supplied, the standard karaoke.) I evaluated a variety of bility, which may be either external unit willplay only ordinary LaserDiscs, both standard and inter- or internal. In some cases, the me- LaserDiscs and CDs; for interactive active, but did not evaluate any CDs chanical performance of the trans- purposes it is necessary to plug in a or interactive movies. ports may be upgraded for the greater "control pack," a small box that Because it's also a CD player, the load that will be placed on them. slides into the front of the chassis CLD-A100 can read digital as well as AUDIO/AUGUST 1994 17 A stereo system doesn't have to be complex.

A stereo system can besimple and approachable.

Uncomplicated andtrue.

(The same can be said forrelationships.)

Festivalfrom the legendary Harman Kardon.

You'll know it when you hear it.

For a retailer near you, call 1-800-422-8027 Festival Intelligent Music System, under $2,000 by Harman Kardon H A Harman International Company

harman / kardon -ega control pack and controller (left), pack and controller for educational discs and NEC games (right), plus remote control and software. analog LaserDiscs sound- Harman Kardon's Festival 500 Intelligent Music System tracks. Most recent music - oriented LaserDiscs, such as operas and concerts, now Musicis in our soul. include digital sound, and the combination natural way of trying to avoid an enemy of crisp, stable color images and digital missile than trying to coordinate your Harman Kardon is one of the stereo is a joy to behold. thumbs and the controls! many worldwide companies which Those of you familiar with CD -based A further comment on the quality of the forms Harman International. interactive programs may have, at least graphics is implied by the warning that ap- sometimes, been frustrated by sluggish pears on all interactive LaserDiscs. Sum- Our distinctive companies performance and clumsy graphics. There is marized, it states that a very few individu- includeHarman Kardon, JBL, Infinity, AKG, a limit to how quickly data can be taken als may be subject to seizures upon viewing from the CD to feed a hungry processor. interactive video and that care should be LexiconandSoundcraft.They share a With the LaserDisc as a source, the data taken. The pronounced flicker in the dis- single, compelling passion. Music. rate is far more rapid, and programs can play is apparently the cause. It is the soul of each. For the most part, interactive LaserDiscs are handsomely packaged, with generous And each of our companies information on how to work each pro- LASERDISC'S CRISP, is equally passionate about making gram. You are told which button on the STABLE COLOR IMAGES control unit does what, and a detailed hier- that music more available and AND DIGITAL STEREO archy of menus is given. more accurate. That's why we've Overall, it is easy to walk away over- createdhighquality,intuitive ARE A JOY TO BEHOLD. whelmed by the simple-mindedness of much of the programming. On the other sound systems - easy to set up - hand, much progress is being made, espe- even easier to use. be updated more quickly. As a result, the cially in educational areas. Many concepts system is often well ahead of the user; it is in physics and mathematics may be eluci- Festival is one such product. waiting for you to make an entry. dated if a student can sit in front of a com- SoundEffects by JBL and Epsilon Programming for interactive video is puter with the appropriate interactive byInfinityare other products still in its early stages, and, it would seem, videodisc, which is being done every day so are some of its conceptual aspects. For on college campuses. which reflect the same perspective, example, a disc given over largely to a tour Is this a good time to buy an interactive although each does a different job. and study of the Egyptian pyramids lets LaserDisc system? It depends on your, and Infinity,AKG, you browse through a wide range of direct your family's, needs and tastes. The basic Harman Kardon, JBL, and peripheral topics related to pyramids unit can function as a LaserDisc player and LexiconandSoundcraftshare the pas- and the Pharaohs. Then, in the midst of all provide movie and music entertainment of sion and share the fundamental this informative stuff, you come across a the highest technical order. While discs are video game. relatively expensive, they can be rented for objective of all Harman cornpa- Still other programs are basically video next to nothing. The choice of a platform nies: to reproduce music flawlessly, games and, as such, are the most interac- for the interactive portion is more complex tive of all; your own commands at the con- and should be made only after you have to make the products easy to use troller determine what happens directly on surveyed the available software. All of these and lovely to look at. screen. Some of these games tax the system may be obsolete sometime in the relatively Music and the soul. A great to the limit. Graphics may be jerky and of near future, but I would hazard a guess limited resolution, presumably becausethat any investment you might make in a way to make a living. they are being generated on a real-time ba- LaserDisc library would still benefit from Intrigued? Then please call us sis. The control unit itself may get in the backward compatibility of any new play- at 1-800-422-8027. way; obviously, a joystick would be a more back hardware. A AUDIO/AUGUST1993 19 harman international layer is 10,000 to 100,000 times SPECTRUM more intense than that hitting any IVAN BERGER adjacent layer:' The reflective backings used on today's CDs and LaserDiscs cannot SONGS ON A be used on a multi -layer disc, as they would block the passage of light to SANDWICH other layers. Instead, the system re- lies on a balance between transparency of the layers and reflectivity of the surfaces and requires higher powered lasers than today's CD players do. The number of surfaces in a disc stack is limited by laser power, layer transparency, and cost. Prerecorded discs could have more layers than recordable ones, since recordable discs must be able to ab- sorb some of the laser light during recording. However, players built to handle multi -layer discs would still be able to play today's single -layer audio, video, and data discs. This experimental IBM system is also compatible with systems that raise data capacity by using shorter wavelength (blue) lasers or lenses with high numerical apertures for more precise focus. Such systems are being worked on by 3M, Sony, IBM, and many others. It's unlikely that 10 -layer audio CDs will ever appear, for the same reason 10 -CD albums aren't around now-too little material whose length would justify this. But CDs with two to four layers would make IBM researcher he guy wearing the gloves, signed to be sandwiched togethersense, and adapting today's player Kurt Rubin holding Kurt Rubin of IBM's Al- into a disc with up to 10 recording designs to handle them might not be two -layer optical maden Research Center, layers and a corresponding increase difficult. (Retrofitting existing play- discs that can be seems to be holding fivein information -storage capacity. ers might not be cost-effective, sandwiched togeth- discs. But you could say he's Such a sandwich disc would be quite though.) Today's players already er as shown below. Tholding 10-or one; it all de- fat (about a half -inch thick, in IBM's have movable lenses to maintain fo- pends on how you look at it. initial mockup) because it would in- cus even on warped discs. The Ala- Each of the discs in Mr. Rubin's clude not only the five two -layermaden researchers have found that hand is a two -layer optical record- data carriers but spacers between it took only "relatively minor modi- ing, and these recordings are de- carrier discs and a rigid plastic sub- fications" to adapt an existing CD- strate like that on today's CDs. In ROM drive to play audio and video practice, says IBM, discs with four tracks on two -layer, read-only discs. or more layers will be made of thin- ner materials. CD Wins-At Last? The experimental disc system re- lies on optical disc equipment's ex- If trends continue, 1994 will be tremely shallow depth of focus. To- the first year that CD became the day's optical drives focus so finely, world's most popular recorded IBM says, that "light focused on any sound carrier. In 1993, according to AUDIO/AUGUST 1994 20 WHERE DOES THE TWEETER OF A HIGH FIDELITY LOUDSPEAKER BELONG?

Q -SERIES

This question may confuse those who believe that the measure of a loudspeaker is the number of its

drivers. It will also elude those who have never bothered to question conventional driver placement,

which always separates the woofer from the tweeter.

In fact, the most acoustically correct location for the tweeter is precisely at the center of the woofer.

This strategic placement creates a single sound source, allowing high and low frequencies to reach your

ears at the groper time, regardless of where the speakers are placed or where you are sitting.(No wonder

KEF's patented Uni-Cr is the technology of choice for advanced Home Theater applications.)

Perhaps the greatest benefit of the KEF Q Series speakers is that they sound as good in your home

as they do in the showroom.

KEF Electronics of America, Inc.. 89 Doug Brown Way. dolliston, MA 01746 Tel 5013 429-3600 Fax 508 429-3699 Distributed in Canada by: Pro -acoustics Canada Ltd.Tel 514 344-1226 Fax 514 344-4760 Enter No. 9 on Reader Service Card Speaker: From Space Hearing About Hearing

alItriiitih design c..0 (1.1,11 A workshop on "What We Know About Hearing" will be presented from Thursday, to .11.1is Rolls-Royces (ielocto August 18 to Saturday, August 20, at the 1 ci die Jaguar XKE?), as these Indiana University School of Music, in to' ce new British speakers show. Bloomington, Ind. The workshop is pre- All three use B & W drivers; two are from 13 & W sented by Synergetic Audio Concepts (Syn- itself. Aud-Con), a group which has long been The four dynamic &hers of the Nautilus have engaged in additional education for sound professionals. independent, cep:nen:jelly tapered "lossy wave - The workshop staff will consist of Dr. guide" (transmissic n-li le) enclosures. The 12 -inch Joint Allen of Bell Laboratories, Dr. Larry woofer's enclosu?e is celled like the shell ()I' the sea Flumes of the Indiana University Speech creature from whch the speaker gets its name. and Hearing Department, and Dr. Mead Nautilus Billed as "It W s hest tradspeaker ever," the Nau- Killion of Etymotic, Inc. The conference tilus has rated ben/width of 10 Hz tu 25 kHz, .+ 0, will cover the ways listener physiology affects -6 dli, with res?unse flat within =0.5 dB from the sound reaching the eardrum, and how sound technology can exploit these factors. 25 Hz to 20 kHz. The p -ice is $35,000 per pair. For more information, contact Syn- The trumpet -Ike B be W Emphasis is a two-way Aud-Con at 12370 W. Co. Rd., 100 N, Nor- system with a 61/2 -inch woofer. Its fourth -order man, Ind. 47264. Telephone number is vented woofer enclosu re uses quarter -wave has, 812-995-8212, fax is 812-995-2110. loading and a flared is:Ilex port. 'I Iw tweeter is

mounted on a stall lot optimum dispersion. Fre- AR Heads West quency response is 45 Hz to 25 kHz, ±3 dB, and The centers of the U.S. speaker industry the price is $9,003 per pair. have long been California (where the The Blue Room House Pod uses similar 13 & W movie industry is) and the Boston/Cam- drivers. This is rro iurpise, as its designer, Simon bridge area (where Acoustic Research was 1)arwood (ihaharT, first taught himself speaker founded, in the 1950s). The presence of design by making rystems out of cast-off compo- AR, which once dominated the speaker industry, built up a rich stock of speaker - nents from B & Ws Steyhing, Sussex, plant. (The building expertise, and a proliferation of plant's rubbish heat's are so well gleaned by local speaker companies. Such companies as Ad- schoolboys, report: New Scientist magazine, that vent, Allison, Boston Acoustics, Cambridge they need to be emptied only twice a year.) Like the SoundWorks, KLH, RDL, Snell, and others Emphasis, the house Pod has a fourth -order vent- can trace their ancestry back to AR. Today, even such British companies as Celestion ed cabinet. Response is rated as 45 Hz to 20 kHz, and KEF are headquartered in the area. ±2 dB, and the systems cost $1,900 per pair. ' So it came as something of a shock to While the swoopy, 'uturistic shapes of these learn that, after 40 years or so in Massa- three speakers mole a design statement, they also chusetts, AR was moving to Benicia, Cal. add rigidity and roduc.- internal standing waves. There, it will be part of the new Specialty The time may came wFen the term "speaker box" Audio Group of International Jensen, AR's owner for the past four years. refers only to the packatx a system like one of these The AR Powered Partners' line of small, came in. I louse Pull self -powered speakers will now be handled by Advent, another Jensen -owned compa- the International Federation of the Phono- Cassettes continue to be the dominant ny founded in the Boston area, which also graph Industry (IFPI), cassette sales medium in developing countries, but once dominated the loudspeaker field. dropped for the first time. The drop was a Compact Discs are the largest sellers in Even AR's new location has some histor- mere 2%, but combined with a 19.4% rise nine of the 10 countries that buy the most ical resonance: A plaque in the nearby in CD sales from 1992 to 1993, it was recorded music. And in the 10th such town of Napa honors a speaker pioneer enough to bring CD sales to more than country, Mexico, cassette sales for 1993 who long preceded that company: Peter 96% of cassette sales figures. dropped 19% while CD sales rose by 39.3%. Jensen. AUDIO/AUGUST 1993 22 PreMplther/ tuner GT-27v lby Pro Logtc 6,uclio/Video

Carver separates. The essence of total control.

Enticed by the sweetness of separates for your mode), yet without the extraneous gimmicks home theater system? that undermine aural integrity. But a nightmare image of a bazillion boxes and When matched with a Carver amplifier unruly wires has given you the heebie jeebies? (models from basic stereo to multi -channel), R -e -l -a -x. the CT -27v lets you direct power to any array of Now you can obtain a powerful home theater speaker combinations -a task for which a mere command center, combining the musical bril- receiver is woefully undermanned. So you'll liance of separates with the ease of a receiver, all achieve wider frequency response and have the in one versatile package: Carver's CF -27v Dolby dynamic headroom necessary for those explo- Pro Logic" A/V Preamplifier/Tuner. sive moments in great movie soundtracks. The CT -27v pairs flawless sound with excep- In sum: the CT -27v is the heart (and soul) of tional Dolby processing, including a generous the most uncompromising home theater system. selection of DSP effects (wait 'til you experience For more of the story, contact Carver today for a an old movie like Casablanca on our "Matrix" feature length brochure.

CARVERPowerful Musical Accurate

CARVER CORPORATION, P.O. BOX 1237 LYNNWOOD, WA 98946 (206) 7751202 0 1994 Carver Corporation Distributed in Canada by Evolution Audio, Oakville, Ontario (416) 847-8888 Dolby Pro Logic.'is a registered trademark of Dolby Lobs Limning Corp. Enter No. 5 on Reader Service Card AUDIOCLINIC impact it has on matching amplifiers to loudspeakers.-Tom MacGregor, Barre, Vt. JOSEPH GIOVANELLI AThe power output of a solid-state amplifier would not increase when the impedance of its load decreased, if we truly matched impedances between the amplifier But It Looked Okay I quickly pulled out the maintenanceand its load. But the solid-state amplifier's on the Meter manual and reviewed the wiring. The VUoutput impedance is far lower than the QI was doing a charity recording of a meter circuits in my deck are resistively cou- load impedance (the amplifier's damping "live" rock -club date, featuringpled directly to the output jacks, with no in- factor is the ratio between these two musicians who seldom are in a position to tervening buffer amplifier! The mixer drove impedances), so the lower the load play together. The recording was a unique, the meters directly, making for the perfect il- impedance becomes, thecloserit never -to -be -repeated event. I decided to use lusion of a "perfect recording." approaches an impedance match with the my Tascam 38 half -inch eight -channel open - Needless to say, I have burned into myamp's output. reel recorder. I meticulously aligned it for 3M mind a valuable and painfully learned les- We can never obtain a true impedance 996 tape. son, which I share with any of you who may match, and we don't even want to. If we At the session I bridged into the vocal mike own similarly configured equipment.-T. managed to match these impedances, the circuits, premixed stereo vocals to two tracks, Burkhard, New York, N.Y. output stage would be destroyed as it tried and premixed stereo drums to two other Al've owned at least two other makes of to supply a huge amount of current to the tracks. The remaining four channels were recorder wired like that Tascam-load. This is much like attempting to used for two lead guitars, bass guitar, and, Magnecord and Ampex. The only reason Imatch the impedance of a home appliance on the last channel, harmonica and acoustic never made the same mistake was that theto that of the power line-simply a practi- guitar solos. This was intended to give me a connectors for the output were different cal impossibility. chance to optimize the balance when the ses- from those used at the inputs. Tube equipment behaves differently, be- sion was done. If it makes you feel any better, Mr. cause the load is not connected directly to At the sound check, all levels were adjust- Burkhard, any of us who have been in the the output devices as it is in solid-state ed for the proper mix and recording level wassound recording field for more than 40equipment. Most tube amps have output checked, using the VU meters on the Tascam. years can tell his own horror stories. Here transformers whose primary winding is The rest of the night proceeded without a is one of my modern highlights of record- connected to the tube plates. The sec- hitch. Three sets and seven reels of tape later, ing horror: I own a portable audio/video ondary winding is tapped in various places, I came away with a certain euphoria fromrecorder that has the interesting ability to and the speaker is connected between one having captured this rare event for history. handle six (count 'em, six) stereo track end of the secondary and one of the inter- A day later, I set up the deck for playback pairs on a single tape. This is true only ifmediate taps. The tap chosen depends and mounted reel 3. Reel 3 was the first halfthe machine is switched to the "audio" upon the impedance of the load. The high- of the second set-the best of the evening. mode. est load impedance (typically 16 ohms) is I found that nothing was on the tape! A Like you, I was making a recording thatusually connected to both ends of the sec- quick review of the other six reels confirmed could not be made again. Sound was fine ondary winding, with 8- and 4 -ohm taps at my worst nightmare. Nothing on any ofin my headphones. But when I got home,intermediate points. them either. the playback was erratic. Worse, I lost my This maintains a constant load on the I immediately descended into analysisnew recording as well as the other record- output tubes regardless of the load imped- mode, fighting off anger as I did so. The deck ings on that tape. Leaving the machine in ance being driven. Because the match to must have broken down, I told myself This the "video" mode not only results in athe tubes does not change, the amount of excuse quickly evaporated as I confirmed recording made with no sync but also in power delivered to the load will be more or with scratch tape and an FM tuner that thethe destruction of data on all of the stereoless constant, regardless of the load. If the deck was fine and recorded perfectly. channels. secondary of the output transformer was I went over each detail of mixer and mike Welcome to the club! not tapped, all loads would be connected preamplifier connections, yielding nothing across the full winding. We would then ob- obvious. I went into hypothesis mode: Per- Load vs. Tube serve a significant decrease in output for haps the reels of tape were wound such that and Solid -State Power lower load impedances. the backing was against the heads. Nothing QMany solid-state amplifiers' power doing! output ratings almost double as the If you have a problem or question about audio, write to Mr. Joseph Giovanelli at AUDIO Maga- It finally dawned on me. Perhaps, in a impedance of the load decreases by half. Yet zine, 1633 Broadway, New York, N.Y. 10019. All surge of overconfidence, I had plugged the tube amplifiers, even the best ones, seem to letters are answered. In the event that your let- mixer into the deck's outputs. That couldn'tbe rated at a more or less constant power ter is chosen by Mr. Giovanelli to appear in Au- be! How could I have gotten such perfect lev- dioclinic, please indicate if your name and/or regardless of the impedance connected to address should be withheld. Please enclose a els even when the deck was in "reproduce"? them. Please explain this difference and any stamped, self-addressed envelope. AUDIO/AUGUST 1994 24 PUT US ON THE STAND IIND WE'LL TELL THE WHOLE TRUTH. Ask any other company what they're doing about loudspeaker distortion and they'll take the fifth. But we object. That's why Velodyne's engineered the new DF-661, a remarkable loudspeaker that reduces distortion by a factor of ten.

Designed from So what's reproduced is the ground up, Velodyne's DF-661 drivers eliminate many of the sources purely music, with all the of unwanted distortion. integrity and beauty the artists intended you to hear. Check out the evidence. Audition a pair today. Call 800-VELODYNE for the location of a convenient Velodyne dealer. Velodyne 1070 Commercial St., Suite 101 San Jose, CA 95112 (408) 436-7270 Enter No. 20 on Reader Service Card Building and Equipping a Small Recording Studio QWhat equipment would you recommend for use in a small recording studio intended mainly for recording vocals? The dimensions of the area I have to work with are about 5 feet x 5 feet. I need to eliminate any undesired sounds. What kinds of materials would be required to build this type of room?-George Marrow, Jr., Washington, D.C. Ali is difficult for a performer to work in a room as small as the one you are planning. I have to hope that the singers Weatherproof Music. won't be sharing space with the recording equipment and the engineer. If nothing Factory -Direct Prices. else, the equipment is bound to add some undesired noise that will be picked up by The smooth, natural sound of speakers by Henry Kloss (founder of AR, KLH & Advent) can now be enjoyed outdoors: on the patio, by the pool, even on boats. The Outdoor is a the microphones. compact, water-resistant speaker with accurate, wide -range sound. It comes in two Although I understand that this room versions: one free standing (shown above, $279 pr.); one for in -wall mounting ($329 pr.). Both versions are very well made, with stainless steel hardware and gold-plated connecting will be used for vocals, what about the mu- terminals. Use them in white, or paint them any color. Because we sell factory -direct, with sic behind the singers? How is that to be no expensive middlemen, these speakers cost far less than they would in stores. Call for a generated? If it is supplied by synthesizers, free catalog and find out why Audio says we may have "the best value in the world." MIDI sequencers, or multitrack tape over- For a free catalog, or to order, call dubs, fine. 1-800-FOR-HIFI (1-800-367-4434) CAMBRIDGE Suite 104AUG , 154 California Street At the least, you must use very heavy Newton, MA 02158 Fax 617-332-9229 SOUNDWORKS carpeting on the floor and really good he country's largestfactog-direct stereo company. acoustic tile on the ceiling and probably the walls. Don't forget to line the door with Enter No. 4 on Reader Service Card the tile. External sound often enters a room because the walls are set to vibrating. If this is your problem, you will have to make these walls as massive as you can. The stiffer they IT'S A are, the less they will vibrate. I have obtained excellent results by lin- DOG'S LIFE ing all walls and the ceiling with thick, dense fiberglass, held in place with chicken A few months ago,Tucker sat in a cage wire. (No, it is not pretty to look at, and at the local humane society, his future some people feel very closed in when far from bright.Today, he has a very working in this environment. But if this bright future ahead of him as he learns can be overcome, it works well.) The to become a Certified Hearing Dog boominess often associated with small at Dogs For The Deaf, the only national spaces is very much reduced. You may find Hearing Dog training and placement a need to add more highs because of the service. lack of reflection from room surfaces. You For over 16 years, Dogs For The Deaf has been rescuing unwanted will also want to add reverb, because the dogs from shelters and training them to become the ears for deaf and sound is very dead. hearing impaired people across the country. In order to determine the equipment Please help us rescue dogs like Tucker and train you will need, you must list what work you them to become plan to do. Obviously you will need some Hearing Dogs for kind of a mixer. It doesn't need to be an the deaf. For more Dogs for the Deaf elaborate one, with "track solo" and 10175 Wheeler Road information, please Central Point. OR 97502 "monitor sends" and the like. You may well call or write: 1 -800 -990 -DOGS want the opportunity to place some special - effects processors between each mixer

Advertising space has been provided as a public service by thispublication. AUDIO/AUGUST 1994 26 Movie Theatre Performance with Flexibility The Bryston 8B THX® Amplifier

8B THX

Bryston is pleased to announce our new 8B THX four channel audio power amplifier. With today's interest in quality home theatre the 8B THX amplifier provides state-of-the-art performance with the unquestioned quality, value and Reliability for which Bryston has gained aninternational reputation. All Lucasfilm Home THX certification parameters are easily met for its' intended use within a multi -channel audio/video installation. The 8B THX is an extremely versatile and flexible amplifier designed for all Your THX theatre installations. The amplifier can be instantly connected to provide 2 channel, (400 watt output), 3 channel, (two @ 120W plus 1 @ 400W), or 4 channels at 120 watts output. This provides extreme ease in integrating the power requirements for any THX Home Theatre system.The THX stipulation for separate center channel, left and right main speakers, decorrolated dipole surround channels and one or two subwoofers, is provided in a Simple elegant package. Among the 8B's notable features is the use of four independent power supplies, one for each channel, to prevent any signal interaction among the individual channels. This provides a sonic soundstage with images locked in position with aalmost holographic effect. Other features include both balanced XLR, 1/4" and unbalanced RCA input connectors to allow for flexibility in a wide variety of installations. All tonne:tors throughout the amplifier are gold plated to provide freedom from corrosion, assuring perfect signal integrity for many years to come.Tri-colored LEDs glow green for power -on, yellow for short-term transient clipping and red to indicate continuous overload or any departure from linearity, including shortened -output or strong out -of -band information like RF or DC. Obviously, the goal of all this technology is to transport youto the scene of the movie. Experiencing all the drama, excitement and emotions as if you were right there in the show. We feel we have accomplished this with all the New Bryston THX amplifiers. Experience the movie as intended and audition the Bryston 8B THX today.

For more information contact: 57 Westmore Dr., Rexdaie, Ontario, Canada M9V 3Y6 E3Eauou o Tel: (416) 746-1800 Fax: (416) 746-0308 Enter No. 3 on Reader Service Card Where Else Can You Finda $10,000 Speaker For Less than $2,500?

Since 1983, Legacy Loudspeakers have provided thousands of music lovers factory direct savings on the world's finest speaker systems. By purchasing direct from the factory in Springfield, Illinois, you can take advantage of the latest advances in speaker technology long before it hits the dealer's showroom. You can select from more than a dozen models available in premium Rosewood, Walnut, Ribbon Mahogany, Oak or Black Lacquer. Choose the world famous FOCUS (left) or the new Signature III Tower requiring only, a single square foot of floor space. Our Home Theater Collection (below) debuts our kevlar Cinema Center Channel, an awesome 200 watt powered subwoofer with dual 12" drivers and the finest full range Dipolar ambience speakers. Our unique in -home audition policy assures complete satisfaction. Our quality is backed by a ten year warranty. We provide free delivery on most purchases. For a FREE color catalog, call 1 -800 -Audio -Hi or write us at Reel to Real Designs 3021 Sangamon Ave. Springfield, IL 62702 1-800-283-4644 217-544-5252 FAX: 217-744-7269

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"Magnificent. The epitome of the full - . A very good choice." range loudspeaker." AUDIO Magazine BOUND FOR SOUND 10/92 . . FOCUS really caught me by surprise with a very transparent and effortless "There are many loudspeakers in this sound. This is a speaker that truly reveals price bracket, but none of them offer this the essence of a recording." level of hardware and craftsmanship. Audio Observatory #5, 1993 . . . Very highly recommended." The High'End Quarterly "Laser -discs were delivered with stunning clarity, precision and realism .. . handclaps sound like real applause, not "Convergence's low frequency capability like lead shot on a tin roof . . . exceeds that of any speaker or subwoofer Convergence is a very, very good that I have tested." speaker. - The Sensible Sound Issue #47 Enter No. 17 on Reader Service Card position and the mixer bus for that stereo Negative Feedback, However, Class -B circuits have inherent- channel. Chances are that you only needPro and Con ly high distortion-especially at low power two outputs. QNegativefeedback is considered to output levels, where they're operating in a The recorder can be a very good cassette improve amplifier performance. Why, more nonlinear portion of their input/out- machine, although I would choose an then, do some high -end audio equipmentput curve. Adding negative feedback to open -reel, VHS Hi-Fi, or DAT recorder. makers avoid using it?-Ray Segura, New such a stage dramatically reduces the dis- Chances are that you will want to copy Orleans, La. tortion. Class -B or even Class -AB circuits your masters onto cassettes, so the cassette Negative feedback definitely lowers would be virtually unusable for high-fideli- recorder still has a place in your studio. Adistortion, but too much of it reduces ty applications without negative feedback. If you only plan to use a sequencer, you sound quality. Years ago, a leading maker A high -end manufacturer, less con- won't need a multitrack recorder. If, how- of audio gear introduced a high -qualitycerned with cost, can lower distortion in ever, you need to sweeten the music withline of preamps that used a tremendousother ways. He can, for example, use an instruments not available in your soundamount of negative feedback, not only output stage with inherently lower distor- modules, then you will need a multitrackaround the circuit as a whole but also tion (such as one using triodes instead of tape recorder of some kind-digital oraround individual stages. To me, the pentodes) and can also bias it for Class -A op- open -reel. preamps sounded mushy, as if the signal eration, despite much lower electrical effi- The choice of microphones is a very sub- had to be pushed through them. When I ciency than Class B. Even at low power lev- jective one. Many sound technicians use removed some of the feedback from one ofels, the input/output curve is always linear. dynamic mikes. They're great when a these units its sound improved remarkably. Measures like these allow a manufactur- singer really shouts it out and runs the risk However, preamps and power amps have er to eliminate feedback or drastically re- of overloading a condenser mike or over- different properties. Many power ampli- duce it. (For example, some amplifiers loading the input the mike is feeding. I fiers, for example, employ Class -B output have no overall loop feedback but do use personally use some ribbon mikes made stages because Class -B circuits have good local feedback on early stages.) Yet I can't just for vocals, because I like a natural -electrical efficiency and run cooler than help wondering if the sonic performance of sounding voice, free from peaks. But manyother biasing arrangements would allow. amplifiers that used no negative feedback at find such peaks exciting and enhancing to This means lower costs for power supplies all couldn't be improved by using at least a the performance. and cooling facilities. bit of it. A The battery withathousand lives.

Imagine a battery that comes r back to life over and over- up to 1000 times. Imagine a battery that saves you money because you can recharge it We'll make a dollar disappear instead of throwing it away. on the price of GE/SANYO Imagine a battery that can be rechargeable batteries. Consumer: Coupon valid only on purchase of GE/SANYO charged in as little as an -cchargrahle batteries. Coupon may not be reproduced or coin - ',tiled with any other offer Offer limited to U.S.A. and Puerto hour. Imagine a battery that {co. Limit one coupon per purchase. Retailer GE/SANYO will reimburse situ for the face value plus 8, provided you have accepted dm coupon in accordance with the GE/SANYO can be recycled. Coupon Redemption Poky. For a ci&ay thdror coupon redempiion. mail claims to GF6AVO, CMS Drpt..43168. 1Fawcett Drive, Del Rio. Co 78840. Expires February 28.1995. Imagine all this and SANYO Energy, (1'.5.5.) Corp. 800-435-4448 you've just conjured up 213120 749 the GE/SANYO RechargAcell- rechargeable battery. We'll 11 In 0 5 43168 92076 1 even give you a Expires February 28, 995 dollar toward your next purchase. Imagine that.

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Enter No. 7 on Reader Service Card withstanding the sands oftime

TAN1ES AGM

thout the Pres-1960s dealt with such diverse art forms as ige label, the jazzinternational music, folklore, and the ecord industryblues, Weinstock's jazz vision as put to 'Meyer Wou attaieved proper docu-wax is his true claim to fame. Often corn-

mentation of an art form based on thepared to Blue Note Records, acompany otherwise fleeting sounds of improvisa-unquestionably responsible for further tion. Many hundreds of recording ses-developing jazz with its encouragement sions, done by a virtual Who's Who ofof original compositions, Prestige differs American jazz, took place in the decadesby assuming the role of a veritable time following founder/producer Bob Wein-capsule, capturing the standard reper- stock's first record date in January oftoire of jazz's finest as perfected night af-

1949. While Prestige's subsidiaries of theter night in the clubs of New York. J R.

AUDIO/AUGUST 1994 30

When people think of Pres- My first choice, naturally, would have been Charlie tige Records, names likeParker and Dizzy Gillespie, but they were under con- Miles Davis Sonny Rollins, tract to various companies. In fact, Bird would Eric Dolphy, The Modern record for both Savoy and Dial, and they were always Jazz Quartet, and Johnhaving contract disputes. I just went one jump for- Coltrane immediately come ward into music more modern than that. to mind, and yet you grew You were still in your teens at the time. With your first up during the big -band era. session comprising seasoned musicians like Lennie Do you recall your musical Tristano and Lee Konitz, how did they take to your tastes making the transi- presence in the studio? tion from swing music to I got a very rude awakening about the recording in- modern jazz? dustry when I did my first session. Tristano was the I had a record store before leader of this "cult," the Tristano school. It was sup- I started recording, and I posed to be Lee Konitz's session, but the cult decided carried every jazz artist you that Lennie should be leader because he had a bigger could think of. One day, name. Anyway, there they were, and they played it Alfred Lion, who ran Blue right down, a song called "Subconscious -Lee". I said, Note Records, came in and "That's good. Boy, that's good." Tristano said, "No. said, "I have something We didn't get it right." So, over and over, the same new: Thelonious Monk." I shit, and it all sounded good, man! Konitz blew his said, "What the hell's that?" ass off. Well, we finished and I put the first two sides Alfred said, "It's he -bop." I out. I went to put the second two out, and I called listened Tristano on the phone. and the He said, "Don't put those By the timemore I listened, I realized it had a sides out. They're not JAZZ the musicianscharm to it. It was interesting. I SHOULD quite good enough." I had unpacked,was strictly into swing at the time. BE TREEAND LOOSE said,"They're good; Rudy Van GelderBe-boppers were calling people they're good!" He said, like us "moldy figs." The next was ready. AND 57-10ULD SWING- "If you put them out, I'll thing I knew, I became obsessed put a curse on you and T-NAT'S T7-IE with be -bop. I was attracted like a that will be the end of magnet down to the Royal Roost AT OSPNERE your record company." I and Birdland. This was something said the hell with it. When people think that was unbelievable. The only I WANTED. What's he going to tell of Prestige Records, other time I was so moved by mu- me about curses? I've got sic was when I saw the Bunk The Modern Jazz a Jewish mother. I put Johnson band that came from New Orleans. them out, and the critics gave them five stars. Quartet comes How did you decide which musicians to record at It's no secret that the jazz record industry had a num- to mind. your first sessions? ber of tough, almost gangster types at that period. How did they react to your emergence on the scene? This is funny. One day, I was walking up Broadway, away from the Roost, when a big Cadillac pulled up. The door swung open and Teddy Reig [of Savoy Records] yelled, "Get in!" I was a good athlete and afraid of no one, so I got in the car. Teddy was a huge, gruff man who must have weighed 400 pounds. He said to me, "You-you're upsetting the jazz world! You're paying too much money to these guys, and you need to start squeezing extra sides out of them." I had often wondered why Savoy would issue two different sessions on opposite sides of one record, and there was my answer. You mentioned Alfred Lion of Blue Note Records. Many people see Prestige as being Blue Note's only serious competition of the day. How do you compare the two companies? AUDIO/AUGUST 1994 32 I loved those Blue Note records. Even before I was in the business, Alfred Lion was my hero. The man was a giant. He had integrity. He made a fine product and recorded everybody from Sidney Bechet right up to ,Ornette Coleman. But aside from us using the same ngineer in Rudy Van Gelder, we handled things differently. Blue Note's sessions were always prefaced by - ehearsals with written arrangementsI found charts -and rehearsals were the kiss of death. I believe jazz should be free and loose, and should swing. That's the atmosphere I always wanted to create, not the stress and strain of trying to work out some chart. Why are charts necessary when the musicians are so creative? Did the musicians appreciate the lack of structure in he studio? They liked it; they had a good time. They'd kid around and laugh it up. We had fun, but if it got great. Despite the clinkers, they all knew, just like I rough, it I could see the guys were down, it the) were knew-because I signed him to a contract-that he'dStun (etz. He p late or something, I'd be a force someday. And sureplayed the shit out enough, he was. ay, "Okay, let's play some of Stan Getz. funky blues," and I'd let When do you feel Rollins came them go for 20 minutes. SONNY ROLLINS into his own as a player? It must have made life in Everyone wanted to see Sonny the studio a bit easier when HAD 5070 E CLINKERS,' Rollins succeed, and the session you eventually hooked up when he really hit was the one Sonny is a BUT E VE R YONE "KNEW with Rudy Van Gelder. that produced Saxophone Colos- wonderfil person, I was having terrible prob- 7-1r.T) BE A'FORCE sus. That day, the man showed a one of the most giant was emerging. I had lems with my studios. I was unpretentious, very annoyed with them. SON1 EDAY. known Sonny's playing for years laid -bock people Sometimes they would run prior to this date, but I sat there sound tests for an hour. 4 and couldn't believe what I wasyou could ever meet. From the very first session, hear - when Rudy used his parents' living room, to the very ing. It was incredible! Son- end, I never said a word about recording to Rudy. By ny is a wonderful person, the time the musicians had unpacked, he was ready. one of the most unpreten- He did not have to take tests. That was the beauty of tious, laid-back people you recording with Dr. Rudy Van Gelder. He was a genius could ever meet. at sound recording. Prestige had a great deal of When did you record your first bona fide bop session? commercial success with Looking at the discography, I see it was in May of my Stan Getz. first year, 1949: Kenny Dorham, J.J. Johnson, Sonny When I recorded Stan Rollins, John Lewis, Leonard Gaskin, and Max Roach Getz, I did not do it with were on the session. commercialism in mind, Kenny Dorham was a very underrated player. Even but I had a tiger by the tail, when he was with Bird, he still didn't get enough as they say. I was confused, recognition. J.J. was so far ahead, it was ridiculous. actually. He kept recording The way the man played...and he's one of the finestall these simple tunes, people you could ever meet, a wonderful person and playing the melody, like a a good family man. Sonny Rollins was too much! At formula. I didn't under- that time, Sonny Rollins was a joke to all of the musi- stand it, but you don't ar- cians. They loved him because he was a be-bopper gue with success. Sympho- and he knew everybody-played with everybody in ny Sid was the one who the neighborhood group up in Harlem. But he hit so started Getz selling. He many clinkers that they would crack up when he had a jazz radio show that played. They would tease him, but his ideas were so aired in 30 states east of the Mississippi. HeAmmons did "Canadian Sunset"; Groove Holmes made Stan Getz. He played "Misty:' These were big hits for us. Miles even played the shit out of had a hit with Blue Haze. In the end, nobody ever Stan Getz. knew if you were going to have a hit, but that was the Help us rememberprize. That's what paid the bills and paid for other some of your other projects. more commercially What were the circumstances that led to your record- successful artists? ing Miles Davis? Our first real hit came Miles had vanished after he did those Capitol sides in theformofwith the [Birth of the Coolj nonet; nobody knew "Moody's Mood for where he was. Somebody had said that he might be at Love." It was originally home in East St. Louis, so while I was in Chicagoon an instrumental ofbusiness, I tracked him down. His father was a den- saxophonistJames tist, so I knew that his number would be in the Moody improvising phone book. I had met Miles at a Dial session where over the changes ofhe recorded with Bird, but he didn't remember me. "I'm in the Mood for Anyway, he said if I'd send him money to get to New Love", but Eddie Jef- York, he'd be happy to record. I said that I was inter- ferson put words to it. ested in doing a series of recordings, and that I want- When King Pleasure ed to sign him to a contract. He said all right, just get recorded it for us, that him to New York and we'd talk about it then. tune took right off. So, our basic idea was just to make records with Miles DavisMost of our best-sellers were vocalists: H -Bomb different people, to record with the best people disappearedFurgeson, King Pleasure, the Cahineers, Mose Alli- around. That's what we did until the end, when he after his Capitolson, Etta Jones. Instrumental sellers were the "soul had the quintet with John Coltrane, Red Garland, jazz." Miles Davis also sold very well. sides, but I Paul Chambers, and Philly Joe Jones. But everything Tenor saxophonist Gene Ammons must have had an up to that point developed from where we would sit tracked him impact on the soul jazz market. down and talk about it. Miles would mention who down andGene Amnions was the father of soul and funk. Hewas in town, who he would like to record with. I'd recorded him.started that music in 1950. I say who I'd like to hear him liked R&B. I heard a lot of record with. We'd kick ideas bands play, and I knew there OUR BASIC IDEA WAS around. had to be room for an update, Was Miles ever difficult to a modernization of rhythm TO 7v1AKE "RECORDS deal with? and blues with a jazz flavor. No, not really. We'd get into The black people needed WIT7-1 DIFFERENT these staring sessions. He'd something to relate to besides PEOPLE, TO RECORD ask for more money, and I all the singers and vocal wouldn't answer. Then I'd groups. Everything we did WIT7-1 77-1E BEST look at him and he'd look at had a good rhythm section me; we'd just stand there. We and swung. Nothing was ever PEOPLE AROUND. went through this a lot. I'd phony, just to make sales. give him the money, but I'd Even when we got heavy into always say, "Okay, that means the funk, with organ groups and guitar and all ofwe have to do another album." He'd say, "I don't that, they were like the blowing sessions we did be-want to do another album." I'd say, "And I want bet- fore, but with a different groove. They cooked. ter people than the last!" So, that's how those sessions Blue Note started producing soul jazz and funk with Milt Jackson and Monk came about. Those were as well. some of our best sessions, because before he'd get the Somewhere along the line, Alfred Lion got the tastemoney-this was part of the game-I'd make him for the big seller. Maybe it was The Sidewinder by Lee think real hard about who he was going to get. Every- Morgan or a Jimmy Smith Record. I felt the main body wanted to play with Miles. One of the greatest reason he would have rehearsals at that point in time compliments I ever received came from Miles. He was to be sure the guys would know funky blues never listened to a playback. He'd just ask me, "Do I tunes like those to record. See, I was willing to gam- want another take?" If I said, "No, it's good," he'd say, ble on standards done in a commercial vein, as Lion "Okay, let's do the next tune." He respected my judg- was willing to go with arranged funk tunes. Gene ment, as most of the musicians did. AUDIO/AUGUST 1994 34 Were you introduced to John Coltrane's playing prior Another thing that bugged me-really hugged me- to his sideman role with Miles? was if Prestige or Blue Note discovered a musician No. In November of 1955, Miles brought his quintet and recorded him, bigger companies lik2. Atlantic into the studio, and that's when Ifirst heard and CBS were waiting in the wings and would grab Coltrane. Bird had just died a few mouths earlier, but him away by offering more money than we ever when I heard Coltrane, even though he played tenor, could. I became totally disillusioned. I couldn't help but think, "Here's the new Bird." His Fantasy has done a very nice job of keeping my style and ideas were raw, but it was cbvious that heproduct on the market. It makes me feel good to was heading in an exciting, new direction. I ap- know that anybody who wants a Prestige record with proached him at that session half a merit will find it avail- to sign a contract. When he able through Fantasy. signed, I figured the usual How do you feel about cur- three or four LPs a year, then SU RE, I THINK NICE rent trends in digital record- take it from there, but two SOUND IS GOOD, BUT ing and remastering? feelings about him surfaced Well, I think nice sound is the more I heard him pl.ii GOOD PE RTORMANCE good, but good pe7formance First, 1 realized just how im- is better. What did it matter portant he was and how quick- IS BETTER. that all of these old records ly things were coming together had a horrible sound? Do for him, and second, I was tak- you have to hear some fu- n by his demeanor. He was such a great person. sion with tremendous sound, with all kinds of crap ow did Coltrane end up on so many sessions? going on, and eight mikes on the drums? Just give me e company was doing well, so for a certain period Max Roach, when you can hardly hear the drums, f time while I was supervising sessions, I had every but you hear the cymbal going shhhhh. That other iday booked at Van Gelder's studio, often without crap is all meaningless. Man, I don't care whether it's ything in particular in mind. I had stopped goingon sandpaper or toilet paper! The important ques- to clubs because I wasn't hearing what I wanted to tion is, is the music really there at all? If it's there, dig hear. So, for my own gratification, I'd set up session it, listen to it, and be thankful it's been preserved. A personnel for the enjoyment of hearing certain musi- Our first real cians stretch out together. Most recordings were just loosely organized jam sessions. That s why most ofcame in the form of the tunes are standards-and blues, which sold the Moody's Mood for records. Our profits from big sellers like Miles and Love,originally an Gene Ammons subsidized the recording of not -so - instrumentalD',/ well -known people. That's how Coltrane was able to saxophonist, record so much, with everyone from Paul James Mood,,, Quinichette to Idrees Sulieman to Ray Draper to his many sessions as a leader. But really, he was a beautiful person. That was the underlying thing-he was a beautiful person. What led to the sale of Prestige to Fantasy in 1971? It was obvious by that point that good records didn't mean anything. Good jazz just stopped selling. Peo- ple lost interest in Monk and Miles and musicians like that. All that was selling was the soul jazz. We were selling more records than at any time in the history of the company, but it had become more of a merchandising business than anything. One of the main reasons I sold Prestige was in disgust at three- quarters of the records I was making at that time. I was pissed, man! We also had a problem with distribution. A lot of the independents were being consoli- dated into the bigger labels, which had their own distribution. Our distributors were going bankrupt left and right, and these people were the backbone of the industry for us. AVAVAVAVAVAVAVAVAVAVAVAVAVAVAVAVAVAVATAVAVA

ILLUSTRATION: ELLEN WEINSTEIN

VAVATAVAVAVAVAVAVAVAVATAVAVATAVAVAVAVAVATAVA VAVAVAVAVAVAVAVAVAVAVAVAVAVATAVAVAVAVAVAVAV ROY ALLISON

nyone who is familiar with my any external forces. However, the sound work knows that I've spent a lot of `10UK power the cone motion produces is very time on the problem of the ways much dependent on the cone's acoustic speakers interact with room load-the radiation resistance, specifically. boundaries (walls, ceiling, floor) COMPUTFP Throughout the lower half of the audible -11and how this affects sound. This frequency range, nearly five octaves, a loud- work has led my current company, RDL speaker's ability to radiate sound power is Acoustics, to develop a simple, inexpensive KNOWS sensitive to its nearby environment. There- ($5!) program, Bestplace, for Windows or fore, its power response is affected by its lo- Macintosh computers; it can tell you a great deal about how your cation in a room. The changes in response with location can be speakers will interact with your listening room. large, both additions to and subtractions from the loudspeaker's Bestplace can tell you just where to place your speakers in your free -space power output. The variations with location are not in- room to achieve the optimal interaction with room boundaries. tuitively obvious; they are calculable, but the math is quite te- You only need to enter three simple measurements; the rest is dious to perform without the aid of a computer. That is why we pretty much a matter of clicking on an on -screen "button" or pressing your computer's "Enter" key. Let's look briefly at why and how the interaction between Roy Allison, founder of Allison Acoustics, joined with Edgar speakers and room boundaries occurs. The movement of the Villchur and others to form RDL Acoustics, in Bellingham, Mass., cone in a direct -radiator loudspeaker is determined almost completely by its own internal construction and its enclosure, not by in 1992. FAVAyAvAvAvAyAvAvAyAvAvAvAvAvAvAvAvAvAvAvAvA AUDIO/AUGUST 1994 37 AVAVAVAVAVAVAVAVAVAVAVAVAvAyAVAVAVAVAyAVAyA

+10 IKON Suspended centrally, equidistant from opposite pairs of boundaries in 0 a room, a loudspeaker system's power response is, for practical purposes, aterhouse developed 10 the same as it would be in an ane- an expression for the choic chamber. If it is moved down ratio of power radiat- -20 so that the woofer is very close to the ed by a small sound 0.02 0.05 0.1 02 05 10 20 center of the floor, low -frequency source, located near three mutually BOUNDARY DISTANCE - WAVELENGTHS power output increases 3 dB because perpendicular room surfaces, relative the reflected pressure, in phase with to the power that would be radiated FIG. 1- AUGMENTATION OF THREE ROOM the direct output from the cone, by that same source in free space- BOUNDARIES WHEN THE SPEAKERIS doubles the radiation resistance. that is, with no boundaries nearby. EQUIDISTANT FROM ALL THREE NEARBY IN- Moving the speaker again, so that the ("Small" in this context means small TERSECTING BOUNDARIES. woofer is brought very close to the in comparison with the wavelength of intersection of the floor and one the frequency radiated. The usual di- wall, doubles the radiation resistance rect -radiator woofer becomes progres- +10 again, with another 3 -dB increase in sively "smaller" as the frequency de- power output. If we next move the creases below about 500 Hz.) woofer very close to a three -bound- This ratio may be either a positive ary intersection-i.e., the floor and or negative number and is the sum of two walls-we would once again in- -10 crease the output by 3 dB. Not bad: 0.02 0.05 0.1 02 05 1.0 20 An eightfold increase in efficiency out the design consequences. Ballagh [6] BOUNDARY DISTANCE - WAVELENGTHS just by changing the location of the and Adams [7] have also made significant FIG. 2-AUGMENTATION OF TWO EQUIDIS- speaker! contributions. TANT INTERSECTING BOUNDARIES, WITH But wait. You knew there had to Figure 1 shows what happens when the THIRD BOUNDARY REMOVED. be a catch, and there is. "Very close" woofer is at the same distance from all in this case means at a very small three boundaries. At 0.1 wavelength, the fraction of a wavelength. This is easy power response has fallen nearly 2 dB to manage at low frequencies butfrom its maximum of 9 dB; at 0.2 wave- +10 rapidly gets more difficult as the fre- length, it reaches 0 dB, the free -space val- quency rises and the wavelength be- ue, and at 0.28 wavelength, it has plum- 0 comes shorter. The formula for meted to 11.3 dB below its anechoic value! wavelength (in inches) is 13,560 di- The power response then rises and ripples vided by the frequency; a 10th of a a dB or so above and below 0 -dB augmen- -10 0.02 0.05 0.1 02 05 10 20 30 -Hz wavelength is 45 inches, but a tation. For perspective: If the woofer is 24 BOUNDARY DISTANCE - WAVELENGTHS 10th of a 300 -Hz wavelength is onlyinches from each boundary, this distance 41/2 inches. It wouldn't be easy to de- is 0.1 wavelength of 56.5 Hz, 0.2 wave- FIG. 3- AUGMENTATION OF A SINGLE NEAR- sign an enclosure that would put the length of 113 Hz, and 0.28 wavelength of BY ROOM BOUNDARY: OTHER BOUNDARIES center of a 10 -inch woofer just 41/2 the notch frequency, 160 Hz. The notch is ARE FAR AWAY. inches from each of three intersect- created because the strong reflections ing room boundaries. combine at the woofer cone's surface in It is interesting to see the changing phase opposition to the direct output, re- have developed Bestplace, a computer pro- effects of boundary reflections on speakerducing the radiation resistance at that fre- gram to calculate and plot a room's aug- output as the reproduced frequency rises. quency far below its free -space value. mentation to a speaker's anechoic powerWaterhouse [1, 2] and Waterhouse and Above 0.5 wavelength (282 Hz in our ex- response. The only data you must enter in Cook [3] investigated the matter quantita- ample), the perturbations are minor. the program are the distances from the tively, developing the formula described in Figure 1 shows the worst -case condi- center of the woofer cone to the three the sidebar "The Waterhouse Equation." I tion-fortunately. Suppose we have a large nearest room boundaries. These numbers confirmed their findings experimentally distance from one boundary, effectively determine how the speaker's output will [4, 5] as they apply to loudspeakers in lis-putting the woofer equidistant to only two be changed by its environment. tening room environments, and pointed intersecting boundaries. The resulting VAVAVAVAVAVAVAVAVAVAVAVAVAVAVAVAVAVAVAVAVAV, VAVAVAVAVAVAVAVAVAVAVAVAVAVAVAVAVAVAVAVAVAV We can make that influence a good +15. one, or at least a fairly neutral one, by taking advantage of the fact that the notch from a single boundary is mild. eight parts. The first part is the original This can be done by making the free -space power, which is augmented woofer's distances to the three nearest (or diminished) by the sum of seven boundaries as different as is practical, reflected impedances: Three from the so that-rather than suffering the sin- individual boundary surfaces, another gle crevasse in power output when all three from the two -boundary intersec- 15 the distances are nearly the same- 20 50 100 200 500 lk tions, and a seventh one from the there are several much smaller dips FREQUENCY - Hz three -boundary intersection. The max- and a smoother curve overall. FIG. 4- AUGMENTATION. IN THIRD -OCTAVES, imum possible output occurs when In most loudspeaker systems ofFOR A WOOFER 24 INCHES AWAY FROM the source is at zero distance from the medium to large size, the woofer is lo- EACH OF THREE MUTUALLY INTERSECTING corner, in which case Waterhouse's cated not far from the center of the BOUNDARIES: PLOT HAS BEEN REDRAWN formula has a value of 1 for each term. front panel, which limits the maxi- The total is then 8, for a gain of 9 dB. mum value attainable for the distance FROMBESTPLACEOUTPUT. Of course, zero distance is not possible ratio. If the woofer is on the top panel in the real world, and the gain drops (or, in a floor -standing system, close to rapidly as the distance between the the bottom of the front or side panel), source and the corner increases. the minimum distance between the +15 center of the woofer and one room,+10 surface can be as little as 6 or 7 inches. augmentation curve then looks like that in (Three of the four mid -size speakers +5V Fig. 2, where the maximum gain is 6 dB I've recently designed are like this; the -J but the notch depth is reduced to 3 dB. other is a bookshelf model.) Even with 5 Carrying the process one step further, by this advantage, however, performance -J having only one nearby boundary, pro- should be optimized by evaluating the CC 10 duces the curve in Fig. 3, which shows 3 - impact of the other room boundaries. t5 dB maximum gain and only a 1 -dB notch. The Bestplace program (based on 20 50 100 200 500 ik There is a linear increase of 3 dB each time the Waterhouse formula) was devel- FREQUENCY - Hz we bring the woofer close to another oped to aid in this process, by allowing FIG 5- AUGMENTATION, IN THIRD OCTAVES, boundary but a decidedly nonlinear in- you to see in advance the effect of pos- FOR A WOOFER SPACED 10, 36, AND 60 sible changes in speaker location. The crease in the notch depth. INCHES FROM NEAREST ROOM BOUNDARIES; program plots, in addition to the PLOT HAS BEEN REDRAWN FROM BESTPLACE MOONING Till 1111011111TATIONcon room augmentation curve for the dis- OUTPUT. The problem of uneven augmentation tances entered, a power output curve would obviously be minimized if we couldfor my company's speakers in that lo-

neutralize one room boundary. There are acation. However, it is made more gen- - Augmentation Curve 0 - Speaker Curve few ways this can be done. One way is to erally useful by a "Not an RDL speak- 5 mount the speakers in the wall, flush with er" option in the curve menu; only the its surface. Another way, feasible with true augmentation curve is plotted with 5 bookshelf -size speakers, is to place them in this selection. Figure 4 is a Bestplace bookshelves surrounded by books. A third augmentation curve corresponding to .45.-411 way, possible only in very large rooms, is to the curve in Fig. 1, obtained when 24 -5 place them far from a third boundary. This inches is entered for each of the three 10 would have to be at least 12 feet from oneboundary distances. In Fig. 5, the dis- -15 20.0 31.25 50.0 BO 0 1250 200 0 312 5 500.0 000 0 29.0 40.0 82.5 100 0 150.0 2500 4000 5250 10000 wall in order to limit the boundary's effect tances are 10, 36, and 60 inches, yield- Front Frequency, Hz 51da 45 to below 50 Hz. ing a much smoother curve. Flow, no Rot Ell(in bookcase with books) For one reason or another, none of these If you know the anechoic power options is available to most of us. We must output of your speaker (not the on -axis FIG. 6- BESTPLACEPRINTOUT, MACINTOSH deal with three room surfaces close enough anechoic frequency response), you VERSION, FOR RDL ACOUSTICS BOOKSHELF to our speakers to influence their behavior. can add it to the augmentation curve SPEAKER SURROUNDED BY BOOKS. FAVAVAVAVAVAVAVAVAVATAVAVAVATAVAVAVAVAVAVAVA AUDIO/AUGUST 1994 39 AVAVAVAVAVAVAVATAVAVAVAVATAVAVAVAVAVAVAVA

front panel becomes a half -space baffle. Bestplace is available on diskette in both The region of the transition frequency de- IBM and Macintosh versions; in the case of P ROG RAM pends on the size of the baffle, but if you IBM, on either 31/2- or 51/2 -inch diskette. gradually phase in the change in level from The cost is a nominal $5, postage included. NOT ES 300 to 600 Hz, you probably won't beYou may place an order by writing to RDL grossly off. As a corollary, if you are mak- Acoustics (26 Pearl St., No. 15, Bellingham, (1) In the PC versicn of Bectvtice, callow ing calculations based on flush -mounting Mass. 02019) or, if you want to use a credit numbers for the freqiency divi.4on (vett.- your speaker, you can use a near -field card, by phone (800-227-0390). Be sure to cal) lines are not centered u --au the lines woofer measurement directly and not have specify which version you want. Both ver- but begin just to the right of :hem. The to make the conversion. Flush mountingsions of the program can be downloaded program just couldn': seem understand (or bookshelf mounting with surrounding free of charge from the RDL Bulletin Board what was really wanted. books) is essentially a half -space environ- (800-227-0391). If you'd like technical pa- (2) All models of physical prccesses rely ment to start with, which is what a near - pers on room boundary effects, including on assumptions which ma). -ust be fully field measurement simulates. the Waterhouse formulas and verification valid; the model is no: the pr-3ceis. One as- measurements, they are available free of

sumption made here -As that to rroom walls LIS1110111 PROM charge from the same source. A are rigid and perfectly reflec:ing. Unless When Bestplace is loaded in Windows, you live in a brick enclosure- d: s assump- the welcome screen offers two choices. One tion doesn't completely hold tile at very button generates a help menu; the other, low frequencies. The-efore, -he rise you'i labelled "OK," clears the screen except for a often see in a speakes augnented power three -choice menu bar at the top. These choices are "File," "Run Program," and response at the low aid of i s range is no 1. Waterhouse, R. V., "Interference "Help." "Help" brings down the same reason for alarm unlees it is more than sev- Patterns in Reverberant Sound Fields," eral dB; more than likely, this ii will help menu as can be accessed from the welcome Journal of the Acoustical Society of screen. compensate for the boss that leaks through America, Vol. 27, No. 2 (March 1955). the walls. "Run Program" drops a single -item (3) The IBM versicn, as dimibed, runs menu labelled "Create graph." Pressing that 2. Waterhouse, R. V., "Output of a under Windows. On the same disk, for PC button brings up a screen headed "Input Sound Source in a Reverberation users who don't haw or can't tolerate Win- Graph Parameters?' The first selection, "Se- Chamber and Other Reflecting Envi- dows, is an alternative:version tin runs un- lect a speaker type," scrolls a list of RDL ronments," JASA, Vol. 30, No. 1 (Janu- der Lotus 1-2-3. Its 91e rune s 3ound Acoustics models and then the choice of ary 1958). ary.WK1. "Not an RDL speaker," the general -use se- 3. Waterhouse, R. V. and R. K. (4) As stated, the smoother augmenta- lection. Following the window for speaker Cook, "Interference Patterns in Rever- tion occurs when the distance: to room choice is one with boxes for entering dis- berant Sound Fields, II," JASA, Vol. 37, boundaries are dist nctly different. To tances from the center of the woofer to the No. 3 (March 1965). achieve this, make the bngest ciethwe ;call it three closest room boundaries. Once these 4. Allison, R. F., "The Influence of A) as large a multiple of the shortest (C) as is are entered, you are offered a choice of Room Boundaries on Loudspeaker practice!. Then a gooc starting number for "Cancel" or "Graph" buttons to press. If Power Output," Journal of the Audio the intermediate distance (B) i -he square you choose "Graph," a graph of boundary Engineering Society, Vol. 22, No. 5 root of the product of A multiYieri by C. augmentation versus frequency will be dis- (June 1974). ;5) The Editor of Audio hac 1172 program played, based on the distances you have en- 5. Allison, R. F., "The Sound Field lock up on his PC because it cis not have tered. If you selected an RDL model to in- in Home Listening Rooms, II," JAES, enough memory; this was cr-el with an vestigate, its power output in that location Vol. 24, No. 1 (January/February expansion. will also be shown. (Figure 6 shows such a 1976). graph, from the Macintosh version of the 6. Ballagh, K. 0., "Optimum Loud- Bestplace gives you to obtain your speaker's program.) speaker Placement Near Reflecting power output in that location. Note that a When the graph has been plotted, you Planes," JAES, Vol. 31, No. 12 (Decem- near -field woofer measurement is not thecan plot a new one for a different combina- ber 1983). same as a full -space (or anechoic) totaltion of distances by clicking on the "Run power measurement, on which the Water- Program" menu again. The menu bar re- 7. Adams, G., "Time Dependence of house formula is based. To convert a near- mains on screen with the graph. You may Loudspeaker Power Output in Small field measurement to a rough equivalent ofalso press "Help." Or, if you press "File," a Rooms," JAES, Vol. 37, No. 4 (April full -space power, you must subtract 3 dB drop -down menu offers three choices: 1989). below the frequency at which the cabinet's "Copy to Clipboard," "Print?' or "Exit." VAVAVAVATAVAVAVAVAVAVAVAVAVAVAVAVAVAVAVAV AUDIO/AUGUST 1994 40 It can happen. Simply qualify for the Army's Delayed Entry Program, and training in one of over 250 different skills will be waiting for you when you graduate from high school. Imagine having a future that comes Best of all, that training is with a guarantee. guaranteed in writing up to a year in advance. So, whether your dream is to do police work or drive tanks, direct aircraft or work in a lab, the Army can help to make it a part of your future. And that's not just a promise-it's a guarantee. For additional information,, please see your Army Recruiter or call 1 -800 -USA -ARMY. ARMY. BE ALL YOU CAN BE. anced inputs are converted to balanced by EQUIPMENTPROFILE an input op -amp. Each unbalanced input circuit's gain can be adjusted in three steps by moving jumpers on the main board, ACOUSTIC RESEARCH yielding overall gain of 0, +6, or +14 dB. This feature helps to equalize the output LIMITED MODEL 2 levels of various unbalanced sources. With the balanced inputs, the overall gain is PREAMP fixed at about 0 dB. The four front -panel rotary controls are arranged in two pairs, one pair at the left of the front panel and the other at the right. The functions of these knobs, from left to right, are signal selection, output polarity and muting, balance, and volume. A small red LED at the top center of the panel tells when power is on. On the rear panel are the signal input and output connectors, a ground post, an IEC a.c. power -cord socket, and the a.c. power switch. Within the Model 2, a large p.c. board takes up the whole internal area. All components-except the four -gang output -level attenuator, the a.c. power switch, and the RCA unbalanced input/output connectors-are mounted on the p.c. board. Pow- er -supply components occupy about one-

third of the board area, with the remainderSe devoted to signal circuitry. High -quality SPECS

Gain: Balanced main input to line output, 0 dB; single -ended main he Limited Model 2 preamplifier is designs were optimized to play music, AR input to line output (variable), 20 one of several components designedadmits that they do have some slight per- dB max. by some of the audio industry's top sonality but feels that it isn't imposed on Input Impedance: Balanced, 24 designers for Acoustic Research, athe music. kilohms; single -ended, 50 kilohms. company best known for its pio- In the numerous areas still open to au- Output Impedance: Balanced, 100 Tneering development of acoustic - dio designers, AR focused the development ohms; main single -ended, 50 suspension speakers. An interesting dis- of the Limited series on two major points: course on the AR ohms; tape, 1 kilohm. Signal equalization Maximum Input and Output: Limited engineering (which is handled in a Balanced, 20 V rms; single -ended, philosophy in the ex- TO OPTIMIZE SIGNAL very nice Limited se- 10 V rms. cellent and informa- TRANSMISSION, ries equalizer, the THD and IM Distortion at Rated tive owner's manual Model 6) and signal THE LIMITED MODEL 2 Output: 0.002%. states: "It has long transmission. In or- S/N: 110 dB, A -weighted, re: 1 V. been recognized that IS BALANCED der to optimize signal Slew Rate: 20 V/1.1S. hi-fi systems, even the transmission, FROM INPUT TO OUTPUT. the Dimensions: 19 in. W x 4 in. H x 13 very best, are some- Limited series' engi- what lacking when in. D (48.3 cm x 10.2 cm x 33 cm). neers decided that Weight: 15 lbs. (6.8 kg). compared to live music." Despite improve- balanced operation was to be used wherev- Price: $2,200. ments in source material, loudspeakers, er possible. Accordingly, the Model 2 is ba- Company Address: 535 Getty Court. and electronics, "Live music still reigns, sically a balanced design, from input to Bldg. A, Benicia, Cal. 94510. and audio systems are still second." (I'll output. Two balanced and three unbal- For literature, circle No. 90 drink to that!) Although the Limited series anced inputs are provided, but the unbal- AUDIO/AUGUST 1994 42 parts are in abundant evidence here, and my opinion, a topological flaw exists BMX LABS LEVEL ldBr FMB OW CD +I the build quality of this preamp is first- in the Model 2's unbalanced output:

I li[ [i Fl rate. The two input phases of a channel INSTRUMENTLOAD are not combined, as they would be 0 1711D I Circuit Description in an amplifier with differential in- 600 OHMSOHMS puts and outputs; instead, each 111111 I was unable to obtain a schematic dia- CCLLB gram of the Model 2 from AR, so the fol- phase is passed straight on to the 10 100 1k 10k 200k lowing is not as complete as I would nor- corresponding output phase. This FREQUENCY - Hz mally report. means that both phases of a bal- Fig. 1-Frequencyresponse. Unbalanced inputs are converted to balanced input are not represented in MI LAOS LI1J6(llr) ne FARthas) anced by two PMI OP275 dual op -amps each output phase. This matters be- per input pair. With all input signals in cause some signal sources (such as high-level balanced form, they are then fed the Sonic Frontiers SFD-2 hybrid -10 to the input selector. This is a four -section, D/A converter, which I have heard fully enclosed, and environment -proofbut not reviewed) deliver better switch with silver-plated brass contacts. sound from their balanced outputs -20 The selected input is routed to the polari- than from their unbalanced output. ty/muting switch and also to the tape -out Power -supply circuitry starts out -30 buffer. (Another OP275, along with a pair with a generously sized toroidal of discrete TO -5 transformer 10 100 1k 10k 200k transistors as out- feedingfull - FREQUENCY - Hz put devices, is used THE OUTPUT SECTION wave -rectified for each channel's secondary out- Fig. 2-Frequency tape output). Sig- IS FAST, AS SHOWN BY put into a pair response with various nal out of the po- THE SQUARE -WAVE TEST of 8,200-0, 44- volume -control settings. larity/muting AT 100 kHz. V filter capaci- switch is passed on tors. A pair of to the balance and high -current in- volume controls. tegrated -circuit The volume -control attenuator in the regulators are used in an unusual Model 2 is something to drool over. It con- configuration that employs an sists of a four -deck, 59 -position switch. external low -noise reference voltage. Each deck is a p.c. board, with Dale minia- Four power -supply isolation buffers ture metal -film attenuator resistors mount- follow the main voltage regulators. ed on it. Each attenuator divider point is One pair supplies the single -ended picked up by a wiper contact that is, in input stages; the other pair supplies Fig. 3-Square-wave responses the four active output -stage circuits. turn, connected to a circular track that for 100 kHz with output polarity takes the attenuated signal out to the wiper Final delivered supply to the circuit- at zero (top) and at 1800 terminal of the deck. An elegant detent ry is +15 and -15 V. (middle), aid for 20 Hz (bottom). mechanism completes the picture. These attenuators look very much like my memo- Measurements MX LABS THD.1.1(S) va masured LEVEL (11) ry of units used in the Cello Audio Palette, Gain and sensitivity data for the a totally beautiful piece of gear if there ever Model 2 is enumerated in Tables I was one. I would surely like to have a cou- and II, respectively. C.I ple of these attenuators to put in some of Frequency response with unbal- my own preamp designs! anced input and output is shown in 0.01 Output amplifier circuitry consists of Fig. 1 for instrument, IHF, and 600 - four unity -gain buffers that present high ohm loads. Data shown is for S2 impedance to the output of the volume - (single -ended input 2) configured 0.001 1 kHz, I NSTR LOAD control sections and present low imped- for +14 dB gain. Output level was ance and current -driving ability to the set at maximum. Response in the 0.0001 main signal outputs. A number of TO -5 unbalanced mode was essentially 0I 10 OUTPUT -V metal -can discrete transistors, along with a the same for the three input -ampli- complementary pair of TO -220 output fier gain settings. Further, response Fig.4-THD + N vs. level and transistors mounted on heat -sinks, are in the balanced -in and balanced -out load. All carves are for 20 kHz used in each of the four output sections. In mode was essentially like that except where noted. AUDIOAUGUST 1994 43 MMLes N) shown in Fig. 1, except that the out- A spectrum of harmonic -distortion k.4 0.001 4p1 1 put drop with IHF and 600 -ohm residue for a 1 -kHz signal at 5 V out with 0 0.0001 loads was twice as great because the unbalanced input/output, IHF load, and balanced outputs' impedance is +14 dB gain is shown in Fig. 5. .00001 A. 11 twice as high. I noticed in my pushing and poking 4k 8k 12k 16k 20k FREQUENCY - Hz High -frequency response doesabout that the tape output buffers would vary with the setting of the volume oscillate on the positive peaks when driven Fig. 5 -Spectrum analysis of control, as shown in Fig. 2 for un- to clipping. This also occurred with the in- harmonic -distortion residue; balanced input/output. Worst -caseput amplifiers when they were driven into see text. roll -off looks to be about -2.5 dB at clipping. Since the op -amps are the same 200 kHz. %IFLerMTPLY,. LEUEL1d8r FAEPthlz, - 70 Square -wave response for unbalanced input and output in the left EVEN WITH HIGH -GAIN - 80 channel is shown in Fig. 3. As can AMPS AND HORN - 90 be seen, this output amplifier is fast. The top and middle traces are for SPEAKERS, HUM AND - 100 100 kHz, and the bottom trace is for HISS WILL LIKELY BE 20 Hz. The top trace is with output -110 INAUDIBLE. polarity set to "0°," and the middle -120 CENTER/ trace was made at "180°". The faster, larger traces are for volume at maxi- for both functions, this would seem to be - 130 20 100 1k 10k 20k mum; the smaller, slower traces are an attribute of the op -amps and/or the FREQUENCY -Hz with volume attenuated6dB. Re- particular way they are used in the AR Fig. 6 -Crosstalk, left -to -right sults shown are for my instrument Limited Model 2. direction, for various settings load; IHF loading didn't change Crosstalk between channels was mea- of balance control. much except to reduce the over-sured in both balanced and unbalanced shoot slightly. Slew- modes. In all measurements, the crosstalk ing can be seen inwas essentially a rising 6-dB/octave func- TABLE I -Gain, in dB, with various inputs (SI, S2, and B1). the photo. At thetion, indicating capacitive coupling be- higher output level, LEFT RIGHT tween the channels. Figure 6 shows the INSTR. IHF INSTR. IHF 10 V peak to peak, crosstalk in the poorer (left -to -right) direc- LOAD WAD LOAD LOAD three edges are slew- tion, using the unbalanced output and un- Unbalanced In, ing at about 26 V/µS, balanced input S1 configured for unity Unbalanced Out and the positive - gain, and with volume at maximum. The 51, at 1X, to Main Out -0.9 -0.13 -0.9 -0.13 going edge for the numbers on the curves indicate the balance S2, at 2X, to Main Out 5.9 5.86 5.89 5.84 "0°" polarity setting control's setting as the number of clicks to S2, at 5X, to Main Out 13.88 13.84 13.86 13.82 is slewing at a faster the right of center. As can be seen, all of the Si, at lx, to Tape Out 5.94 5.11 5.93 5.11 S2, at 2X, to Tape Out 11.93 11.11 11.91 11.09 rate of 50 V/µS.At control's positions to the right of center S2, at 5X, to Tape Out 19.99 19.08 19.88 19.05 the reduced level, degrade the crosstalk except for the one at Balanced In 2.5 V peak to peak, the extreme right ("5"), which infinitely at- B1 to Balanced Main Out -0.14 -0.22 -0.14 -0.22 rise- and fall -times tenuates output from the left channel. Re- B 1 to Unbalanced are close to 100 nS sults in the right -to -left direction were Main Out -5.02 -5.09 -5.02 -5.06 for the "0°" setting some 5 to 8 dB better than those in Fig. 6. B 1 to Tape Out -0.14 -0.97 -3.14 -0.97 and more like 120 Results in the balanced mode were similar nS for "180°". to those shown for unbalanced signals. Total harmonic distortion versus Output noise for unbalanced and bal- output level for a number of fre- anced modes, and the three unbalanced in- quencies and load conditions is put -amplifier gains (IX, 2X, and 5X), are shown in Fig. 4. These conditions listed in Table III. As can be seen, the Mod- are: 1 kHz with instrument load and el 2 has very low output noise and will like- 20 kHz with instrument or IHF loadly have inaudible hum and hiss, even with (the two curves are identical), with high -gain power amplifiers and horn the IHF load paralleled with 600speaker systems. The IHF signal-to-noise ohms, and finally, with a 100 -ohm ratios are listed in Table IV. load. I'd say the Model 2 would A few final measurements: The a.c. pow- drive about anything! er -line draw was about 220 mA. Output AUDIOAUGUST 1994 44 THE RAVE OF AUDIO INSIDERS, NOW AT "INSIDER" PRICING.

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Enter No. 6 on Reader Service Card Mail to: DIGITAL PHASE Insiders 2841 Hickory Valley Rd. Chattanooga, TN 37421 impedance at the unbalanced outputs was puts configured for balanced. Wow! about 43 ohms and was double that at the This combination sounded exceed-TABLE II -Sensitivity, in mV, with various inputs balanced XLR outputs. Input impedanceingly good. Definition and detail (S1, S2, and B1), for IHF load. for the balanced inputs was about 35 kilo- were of a high order, soundstaging LEFT RIGHT hms with volume at maximum and 38was excellent, and there was anUnbalanced In, kilohms with the volume set for about -20 overall sense of musical believabili-Unbalanced Out dB. Input impedance for unbalanced in- ty. Although bass quality and defini- Sl, at IX, to Main Out 507.4 507.4 puts was about 50 kilohms and was con- tion were very good, bass extensionS2, at 2X, to Main Out 254.6 254.8 stant with volume -control setting. and impact were not quite as good S2, at 5X, to Main Out 101.6 101.9 as when using the Forssell line unitSI, at 1X, to Tape Out 277.6 277.8 S2, at 2X, to Tape Out Use and Listening Tests driving the Crown in unbalanced 139.2 139.5 S2, at 5X, to Tape Out 55.6 55.8 Equipment in my system during the re- input mode. All in all, the Model 2 Balanced In view period included an Oracle turntable is an excellent sonic performer. Op-B1 to Balanced Main Out 512.6 512.6 fitted with a Well Tempered Arm and Spec- eration was flawless, and there were B1 to Unbalanced Main Out895.1 895.1 tral Audio MCR-1 Select moving -coil pick- no unexpected noises. BI to Tape Out 558.8 559.3 up used with a Vendetta Research SCP-2C pre-preamp. Krell MD -10 and PS Audio TABLE III -Output noise levels, in µV, with various inputs (S1, S2, S3, and B1), Lambda CD transports fed Sonic Frontiers' volume -control positions (counterclockwise, worst case, and clockwise), and bandwidths. SFD-2, Sentec's DiAna, and other (experimental) D/A converters. Other signal LEFT RIGHT sources included a Nakamichi ST -7 tuner, a CCW WC CW CCW WC CW Nakamichi 250 cassette deck, and a Tech- Unbalanced In, nics 1500 open -reel recorder. Preamplifiers Balanced Out used included a Forssell line driver, a First Si, at 1X Sound Reference II, and a unit from Wideband 25.3 56.1 21.2 21.2 57.5 19.3 Quicksilver Audio -as well as no pream- 22 Hz to 22 kHz 4.0 12.4 3.9 3.5 12.6 5.0 plifier at all. Power amplifiers on hand 400 Hz to 22 kHz 3.3 11.6 3.4 3.3 12.0 3.5 were a Crown Macro Reference and a A -Weighted 2.5 9.2 2.7 2.6 9.5 2.8 pair of Quicksilver M135s. Loudspeakers 52, at 2X Wideband used were B & W 801 Matrix Series 3s 25.3 55.5 26.1 21.0 56.9 25.4 22 Hz to 22 kHz 4.0 12.7 5.5 3.5 12.7 5.5 augmented with a Klipsch SW15 powered 400 Hz to 22 kHz 3.3 11.7 4.1 3.3 12.0 4.1 subwoofer. A -Weighted 2.6 9.2 3.2 2.6 9.5 3.3 As is frequently the case when I receive a S3, at 5X new piece of gear, I loaned the Model 2 to a Wideband 25.3 55.2 54.1 21.1 56.7 54.1 friend to try out for a while and get some 22 Hz to 22 kHz 4.0 13.0 7.4 3.5 13.0 8.1 hours on the unit. He reported favorably 400 Hz to 22 kHz 3.3 12.0 7.0 3.2 12.4 7.1 A -Weighted on the Limited Model 2's build quality and 2.6 9.4 5.5 2.6 9.8 5.5 Balanced In, sound. Balanced Out When I started formally evaluating the B1 sonics of the Model 2, I had been using the Wideband 22.3 63.5 26.4 22.6 59.6 26.7 excellent Sonic Frontiers SFD-2 D/A con- 22 Hz to 22 kHz 4.6 17.5 5.7 4.7 18.2 5.8 verter feeding balanced outputs into a 400 Hz to 22 kHz 4.4 16.7 5.4 4.5 17.2 5.6 Forssell tube line -stage preamp modified to A -Weighted 3.4 13.2 4.2 3.6 13.5 4.3 have balanced inputs. This combination, driving either my Quicksilver M135s or the I do have a few nits, however.TABLE IV-IHF S/N, in dB, with various inputs (SI, Crown Macro Reference, had been deliver- First is the aforementioned lack ofS2, S3, and BI), for worst -case position of volume - ing extremely good sound with CDs. Best differential -amplifier action in the control. sound from the SFD-2 definitely comesoutput amplifier. Second, in this LEFT RIGHT from the balanced outputs, so when I start- sample, the otherwise incredible Unbalanced In, ed evaluating the Model 2, I used the bal- volume attenuator had more ro- Balanced Out anced inputs for the SFD-2. Because I had tary -shaft backlash in the middle of SI, at 1X 105.0 105.0 determined during measurements that the its rotation than at the ends. S2, at 2X 94.6 94.2 Model 2 does not combine both input In conclusion, the AR Limited S3, at 5X 96.9 96.7 phases of a balanced input into the unbal- Model 2 line preamp is a clear win- Balanced In, Balanced Out anced outputs, I coupled the balanced out- ner. Do go out and audition this B1 101.2 101.0 puts into the Macro Reference, with its in- one. Bascom H. King AUDIO/AUGUST 1994 46 ThenewStandard

ELECTRICMMO

XLO ELECTRIC COMPANY

9480 Utica Street, Suite 612 Rancho Cucamonga, CA 91730 Phone (909) 466-0382 Fax (909) 466-3662 unusual cabinet assembly, an extremely EQUIPMENT simple crossover network (two parts!), and a bass driver that has a phase plug instead of a dust cap. The frame of the ES11 woofer is, as I've EPOS just noted, an integral part of the front panel and is injection -molded in one piece. ES11 SPEAKER According to Epos, "This insures that the coupling between the bass driver and the baffle is precisely and consistently defined, unlike conventional systems where the coupling is influenced by the varying tight- ness of fixing screws." The molding is very stiff and inert, minimizing vibrations of the front panel. Presumably, replacing the woofer requires changing the whole front panel. The tweeter is separately mounted to the front panel. The rear panel, which contains the input terminals, crossover, and reflex port, is also an injection -molded part. The front and rear panels are held in place by four long hex -head bolts, located near the cabinet's corners, which pass SPECS

Type: Two-way, vented -box, compact system. Drivers: 61/2 -in. cone woofer and 1 -in. dome tweeter. Frequency Response: 60 Hz to 20 kHz (tolerance not stated). Sensitivity: 87 dB at 1 meter, 2.83 V rms applied. Crossover: 6-dB/octave high-pass on tweeter only (frequency not Fpos Acoustics, a small loudspeakerjoined shortly by the ES25, a full -range stated). company owned by the larger British floor -standing model. Impedance: 8 ohms nominal. firm Mordaunt-Short (which in turn The ES11, which was added to the Epos Recommended Amplifier Power: 25 is a member of the much larger TGI line in 1990, is a small two-way vented sys- to 75 watts per channel. group of companies that includes tem utilizing a 61/2 -inch woofer and a 1- Dimensions: 143A in. H x 8% in. W x Tannoy, Goodmans, and KEF), was inch dome tweeter. Both drivers are cus- 978 in. D (37.5 cm x 22 cm x 25 founded by designer torn designed and cm). Robin Marshall in THE SIMPLICITY OF THE manufactured by Weight: 17.6 lbs. (8 kg) each. 1983. Epos (a Latin Epos, whose goals Price: $895 per pair; available in ES 1 1'S CROSSOVER nounfromthe were to create an af- black ash, walnut, or mahogany; Greek, meaning an IS SAID TO ENHANCE fordable, well-bal- foam grilles for earlier models, $50 epic poem) currently DETAIL RESOLUTION anced design with per pair; speaker stands, $200 per has two speakers in high -end aspirations. AND WOOFER CONTROL. pair. its line, the compact Among the ES11's Company Address: c/o Music Hall, ES11 and the larger, novel design features, 108 Station Rd., Great Neck, New 8 -inch two-way ES14, which has been the the most novel is the bass driver's frame, York, 11023. very successful, principal system of Eposwhich is an integral part of the loudspeak- For literature, circle No. 91 since 1986. These two systems are to be er's front panel. Other features include an AUDIO/AUGUST 1994 48 through the front panel and engage thread- the inclusion of two short banana - 100 TEF ed inserts in the rear panel. Wood bracing plug adaptor links, one for posi- is used internally for added strength. Whentive and the other for negative. 90 assembled, and all four bolts tightened, the Each link has a single banana plug 80 cabinet's 1 -inch -thick medium -densityon each end, one plain and the fiberboard walls are sandwiched between other containing a piggyback ba- 70 the front and rear panels, forming a verynana socket. In either configura- 60 strong and vi- tion,bare wire 20 100 1k 10k 20k bration -free connection capa- FREQUENCY - Hz structure. bility is not sup- THE EPOS ES1 115 ONE Fig. 1-One-meter,on -axis The woofer's ported;banana frequency response. cone is thermo- OF THE FEW SPEAKERS plugsmustbe formed from a WHOSE GRILLE DOESN'T used!However, polymer mater- Epos does provide COMPROMISE ITS SOUND. 0 1.0 ial and shaped an extra set of dou- TEF to optimize on - ble -banana plugs -180 0.5 GROUP DELAY and off -axis re- that can be at- -360 0.0 sponse. The surround is a synthetic high - tached to bare wires and then used loss rubber that minimizes mechanical to connect to the loudspeakers. -540 -0.5 travelling waves on the cone's surface. The -720' -1.0 ES11's woofer has a phase plug protruding Measurements 20 100 1k 10k 20k from the center of the cone rather than the The on -axis anechoic frequency FREQUENCY-Hz more usual dust cap. The phase plug is sta- response of the ES11 is shown in Fig. 2-Oil-axis phase tionary and is attached to the woofer's pole Fig. 1. Measurements were taken response and group piece. The voice -coil and attached coneat 2 meters, halfway between the delay. move fore and aft around the plug. Thewoofer and tweeter. With 5.66 V bullet -shaped phase plug is said to provide rms applied, the result was refer- 90 better polar response than is possible with enced back to 1 meter. A combina- TEF a dust cap. The roll -off of the woofer's up-tion of elevated free -field and per frequency has been carefully tailored so ground -plane measurements was 80 that the use of a low-pass crossover filter is used to derive the curve. co not required. The overall curve in Fig. 1is 70 The ES11 tweeter dome is fabricated quite smooth, fitting a fairly tight from an aluminum alloy and is suspended 4.7 -dB window (+1, -3.7 dB refer- by a polyamide material. The dome is enced to 1 kHz) from 100 Hz to 20 60 acoustically loaded by a separate rear air kHz. The bass response is down 3 chamber, while the voice -coil utilizes a dB (from the 100 -Hz level) at 56 500 magnetic fluid said to improve reliability Hz and down 6 dB at 47 Hz. Be- 4 6 8 10 and reduce dynamic compression. low 50 Hz, the response rolls off at TIME -mS The crossover of the ES11 is a "minimal- 24 dB/octave, as is typical of vent- Fig. 3-Energy/time ist" design. It contains only two compo- ed boxes. There is a mild but response. nents, a high -quality series capacitor and a broad peak centered at 800 Hz and parallel resistor, which form the high-pass a slight, downward shelf at high filter driving the tweeter. The simplicity offrequencies. Except for slight ir- the crossover is said to enhance the loud- regularities, the curve is quite speaker's ability to resolve fine detail, andsmooth. The speaker's foam grille the absence of a low-pass filter on the does not affect the response much woofer allows better control of its motion at all. This system is one of few by the power amplifier. that will not be sonically compro- The ES1 l's input connections, which mised if listened to with the grille can be bi-wired, do not use the conven- on. Averaged over the range from tional double set of dual five -way binding 250 Hz to 4 kHz, the sensitivity of posts with jumpers. The back panel con- the EP11 was 85.5 dB, 1.5 dB be- tains only two sets of flush -mounted dou- low the 87 -dB rating. The right ble -banana input holes. Single (i.e., not bi- and left speakers were matched wire) connections are accommodated by within a close ±0.5 dB. AUDIO/AUGUST 1994 49 The phase and group -delay re- pedance of 7.2 ohms occurs at 250 Hz and sponses of the ES11, referenced to a high maximum of about 29 ohms occurs the tweeter's arrival time, are at 85 Hz. The curve's maximum -to -mini- y10 d8 -1r shown in Fig. 2. The phase curve is mum variation is about 4 to 1 (28.6 divid- 5 01 0 FRONT well behaved and rotates an addi- ed by 7.2). Even though this variation is 45 OFF r *A- 90 SIDEAXIS - tional 240° between 1 and 20 kHz. fairly large, the high minimum impedance 135 DEGREES 180 REAR The group -delay curve shows a of the ES11 ensures that the speaker will 200 2k 20k fairly low offset of about 0.15 mS not be very sensitive to cable resistance. FREQUENCY - Hz between the midrange and treble. Cable series resistance should be limited to Fig. 4-Horizontal off -axis The deviations between 100 and a maximum of about 0.11 ohm to keep ca- frequency responses. 200 Hz are due to minimum -phase ble -drop effects from causing response variations in the amplitude response and would disappear if the response were flat through this STRONG MAXIMUM OUTPUT range. ABOVE 60 Hz ALLOWS The ES11's energy/time re- THE ES1 1 s TO BE USED sponse is shown in Fig. 3. The test parameters accentuate the speak- BY THEMSELVES OR er's response between 1 and 10 WITH A SUBWOOFER. -90 BELOW kHz, which includes the crossover -45 OFF 0 FRONT AXIS - 45 DEGREES region. The main arrival, at 3 mS, 90 ABOVE is very compact but is followed by peaks and dips greater than 0.1 dB. For a 200 2k 2 0 k FREQUENCY - Hz minor delayed responses, about 23 typical run of about 10 feet, you can use dB down from the main peak and low -inductance cable of 16 or 18 gauge. Fig. 5-Vertical off -axis extending 1.5 mS after the main The complex impedance, plotted from 5 frequency responses. arrival. Hz to 30 kHz in Fig. 7, is well behaved and Figure 4 reveals the horizontal exhibits no extraneous resonances. The im- off -axis frequency responses; the pedance phase (not shown) reached a max- bold curve at the rear of the graph imum angle of +45° (inductive) at 64 Hz 1 0 0 TEF is the on -axis response. The off- and a minimum angle of -40° (capacitive) axis horizontal response is veryat 112 Hz. Even though these angles are 0 uniform. In the primary (±15°) fairly large, the ES11 will not be a problem

C.> 10 listening window, the response is for any amplifier (even for two in parallel), 4 0 extremely uniform, staying within because the minimum impedance is quite 2 ,,1105 ±1 dB of the on -axis curve all the high. way to 20 kHz. When subjected to a high-level sine - 1 20 1 0 0 1k 10k20k The vertical off -axis frequency wave sweep, the cabinet of the ES11 was FREQUENCY - Hz responses are displayed in Fig. 5; mostly vibration -free. There were some Fig. 6-Impedance. the bold curve in the center of the minor wall resonances of the top and side graph (front to rear) is on axis.panels in the 370 to 390 Hz range, and The aberrations in the range from slight activity of the rear panel from 460 to 5 to 7 kHz indicate that the480 Hz. The linear travel of the woofer was crossover frequency is at a high 6 about 0.4 inch, peak to peak, with reason- kHz. Because the woofer andable distortion; maximum travel was tweeter are separated by 5% inches somewhat longer. The woofer overloaded (center to center), a significant 2.3 quite gracefully. No dynamic offset was wavelengths at crossover, the verti- noted. cal off -axis response in the Minimum excursion occurred at 55 Hz, w crossover range is quite rough and the frequency of the ES11's vented -box res- narrow. The curves in Fig. 5 verify onance. Cone displacement was reduced by the narrowness of the vertical re- about 50% after the port was closed. Vent sponse at crossover and show thatnoise at and near the box resonance was 10 20 30 the response is significantly irregu- fairly low. RESISTANCE - OHMS lar at angles of only ±5°. Figure 8 shows the three -meter room re- In Fig. 6, the ES11's impedance sponse, with both raw and sixth -octave Fig. 7-Complex impedance. magnitude, a high minimum im- smoothed data. The ES11 speaker was in AUDIO/AUGUST 1994 50 the right-hand stereo position, aimed to- the noise floor of my measuring 90 TEF ward the main listening position, and the gear. test microphone was at ear height (36 inch- Figure 12 displays the IM distor- 80

es), at the listener's spot on the sofa. The tion versus power, created by tones T.5 system was driven with a swept sine -waveof 440 Hz (A4) and 41.2 Hz (E1) of 70 signal of 2.83 V rms (corresponding to 1 equal level. The IM distortion rises 60 watt into the rated 8 -ohm impedance). The to the fairly high level of nearly direct sound and 13 mS of the room's re- 19% at full power. The woofer 50 verberation are included. If you exclude handles both tones of this IM test, 20 100 1k 10k20k FREQUENCY - Hz room -effect dips at 325 and 425 Hz, the av- which contributes to this speaker's eraged curve fits a tight, 7.5 -dB window. high level of intermodulation. Fig. 8 -Three -meter room Above 2.1 kHz, it fits an even tighter win- The ES1 I's short-term peak - response. dow of about 4 dB. power input and output capabili- Figure 9 shows the E1 (41.2 -Hz) bass ties are shown in Fig. 13. The peak harmonic distortion with input power input power was calculated by as- MAXIMUM POWER: 50 WATTS suming that the measured peak ranging from 0.05 to 50 watts (note that 20 loo z 3w1, 51% V rms generates 50 watts into the rated 8 - voltage was applied across the rat- 0 51h, 21.9% 2nd, 10.5% ohm load). The second harmonic reaches a ed 8 -ohm impedance. 10 - 419, 5.1% ert aos 1 moderate level of 10.6%, while the third at- The peak input power rises 12 dB tains a very high 51%. Higher harmonicsfrom 10 watts at 20 Hz and, after include an 8.1% fourth, a high 22% fifth,minor undulations at 80 and 120 4Pa- and a 3% sixth. With a 50 -watt input, the Hz, reaches a local maximum of , 2,it 0.05 ES11 reaches a marginally usable 1 -meter about 1,500 watts at 250 Hz. After 50 100 150 200 250 SPL of 90 dB at 41.2 Hz. falling to 830 watts at 400 Hz FREQUENCY -Hz Because the E1 distortion was very high, (where the woofer exhibited a Fig. 9 -Harmonicdistortion for a result of being significantly below the harsh buzzing sound), the peak in- E, (41.2 Hz). ESII's passband, the harmonic distortionput power rises smoothly to a of a higher frequency, B1 (61.5 Hz), was healthy 6,000 peak watts at fre- measured and is shown in Fig. 10. As be - quencies above 1.6 kHz. As can be seen in Fig. 13, the

ES11's maximum peak output SPL 100 with room gain rises very rapidly MAXIMUM POWER: 50 WATTS THE SOUND WAS SMOOTH ° 10 - 3rd. 7.0% from an unusable 71 dB at 20 Hz 2nd, 0.4 %

AND WELL BALANCED, to reach a very usable 107 to 110 11, 4th, 0.6% S 1.0 - 0.5% WITH A TOUCH dBbetween 65 and 160 Hz. After 50 - reaching a peak of 116.5 dB at 250 50. OF FORWARDNESS. POWEF- Hz and falling slightly to 115 dB at WATTS 0.5 - 400 Hz, the output rises into the 100 150 200 250 300 350 healthy range of 120 to 123 dB FREQUENCY -Hz fore, the third harmonic predominates but above 600 Hz. A pair of ES11s, op- Fig. 10-Farmonic distortion only reaches a moderate 7% at full power.erating in unison in a typical lis- for B1 (61.7Hz). Other harmonics are all low, 0.6% or less. tening room, can attain even high- The second harmonic, which reaches only er levels in the bass range. The 0.4%, is hidden behind the 61.5 -Hz funda- strong maximum output above 60 mental's bleed -through ridge at the left ofHz suggests that these speakers can 100 - MAXIMUM POWER: 50 WATTS the graph. With 50 watts in, the Epos be used either by themselves or as reached a fairly usable 1 -meter SPL of 98 satellite systems with a subwoofer. 3rd, 2.4% 2nd, 1.9 % dB at 61.5 Hz. 4th, 0.7% 5th, 0.3% In Fig. 11, the bass harmonic distortion Use and Listening Tests T12 dB for A2 (110 Hz), the predominant distor- After working with some large 5.0 POWER - tion is a low 1.9% second harmonic andsystems recently, it was nice to WATTS 0.5 - 2.4% third. Higher harmonics are quitehandle a pair of speakers that I 0.05 could hold under each arm at the 150 250 350 450 550 650 low, 0.7% or less. FREQUENCY -Hz The A4 (440 -Hz) distortion (not shown) same time. The ES11s were sup- rose only to the low level of 3% secondplied to me with sturdy metal Fig. 11 -Harmonic distortion for harmonic. Higher harmonics were belowstands, which are optional and A2 (I10 He). AUDIO/AUGUST 1994 51 20 ES1 is closer to the rear wall than I quite attenuated, the ES1 ls still had usually do, about a foot in front of 15 enough bass to be satisfying. At very high the bookshelves which line the rear levels on this disc, the ES1 Is did start 10 of my listening room. I did most of sounding somewhat congested; some audi- my listening, however, with theble modulation of the mids could be heard speakers in my customary posi- when high-level bass was present. tions, well away from the rear I also did some listening using Velo- 0 walls. 0.1 1 10 100 dyne's F1500R subwoofer as an adjunct to POWER - WATTS My review systems were sup- the ESNs. (The F1500R replaced my plied in a very attractive walnut F1500; the "R" version includes a remote. Fig.1 2-IM distortion for A4 finish. Although Epos specifies Having remote control of level and of bass (440 Hz) and E, (41.2 Hz). that the finish is a veneer, it looked like solid wood; with the front panel removed, I could see what THESE SMALL, 130 PEAK ACOUSTIC OUTPUT appeared to be unfinished walnut HIGH-PERFORMANCE 120 inside the cabinet. Construction SPEAKERS ARE SMOOTH, 110 and appearance were excellent. GOOD-LOOKING, PEAK NPUT POWER When first received, one system 100 had a slight air leak at a point on AND ACCURATE. 90 VirTHOUT the front panel's periphery. Tight- ROOM 80 GAN ening the four long bolts that hold TEF the front panel to the cabineton/off is a super addition!) The ES I ls 70 sealed the leak. 20 100 1k 10k20k worked extremely well as satellites. With My listening equipment consist- FREQUENCY - Hz low bass added, the overall sound compet- ed of the Krell KRC preamp and ed quite well with the 801s. Fig. 13-Maximum peak input KSA-250 amp driving the ES1 ls On the pink -noise stand-up/sit-down power and sound output. through Straight Wire Maestro ca- test, the ES1 Is exhibited significant tonal bling. My reference speakers were changes in the upper midrange when I B & W 801 Matrix Series 3s, while stood up. Their spectral balance on pink have to be assembled. I chose to use myOnkyo and Rotel CD players provided noise was quite good but sounded slightly own metal stands, which are only about 1 source material. Listening was done in the more forward than the 801s did and had inch taller and have spikes on the bottom. regular (not bi-wired) configuration. significantly less bass. Smoothness, al- The operating manual is brief but thor- First listening revealed the ESI Is to have though not quite up to the B & Ws' stan- ough and consists of four 41/4 x 51/4 -inch a well-balanced, smooth sound, with adards, was nevertheless quite good. On pages. Topics include power requirements, touch of forwardness, and significantly lessthird -octave band -limited pink noise, the stands, positioning, connections, breaking bass than the reference B & Ws. Sensitivity ESNs did, not have any usable output in in, and warranty. Epos points out that the was essentially the same as that of the refer- the 20-, 25-, and 31.5 -Hz bands. Although ES11 was designed to be placed fairly close ences, and the two systems produced athe output was just barely usable at 40 Hz, to the rear wall, within 20 to 30 cm (about similar overall balance and tone (excluding it was quite usable at 50 Hz. At 63 Hz and 8 to 12 inches), for proper bass weight and the low bass). above, the ESNs could generate sufficient definition. For some listening, I set the Female vocals, such as Clair Marlo on levels of clean bass. Let It Go (Sheffield Lab CD -29) and Trisha On relatively sedate classical music, such Yearwood on The Song Remembers Whenas Boccherini's Cello Concertos performed (MCA MCAD-10911), were very natural. on period instruments (Sony Classical SK There was no harshness, glare, or undue 53121), the ESNs were quite open sound- high -frequency emphasis. In fact, the over- ing, albeit a shade forward in the presence all high -frequency reproduction of therange. Stereo focus and lateral imaging ES11 was quite similar to the 801's in level, were exemplary. Coloration was quite low, smoothness, and extension. maybe due in part to the rigidness of the On more dynamic material such as Bob enclosure. Mintzer's jazz on One Music (dmp CD- In summary, the ES1 Is demonstrated 488), the ESNs did quite well in handling quite good performance for their size and high-level percussion transients and com- price. They should be seriously considered plex passages. The low -end kick and bass by anyone who desires small, high-perfor- punch of the 801s was completely missing, mance loudspeakers that are also accurate, however. Even though the low bass was smooth, and good looking.D. B. Keele, Jr. AUDIO/AUGUST 1994 52 Air guitar a little flat?

REMEMBER WHEN YOU WORE BLUE JEANS, dedicated people and our unique single -station - had long hair, and played the air guitar? build philosophy ensure a standard of construc- \IIHi-Fi was fun and music was your pas- tion and reliability simply not possible on a sion. Then you became successful and had money production line.Our modular approach to sys- to bum. You bought an amplifier that added warmth, tem and product design allows you to improve or a preamp with ambience, expand your system over and speakers that gave you time in affordable steps. depth.Isn't it about time1-800-LINN HI-FIAnd, with your Linn re- you got back to the music? tailer on hand to provide PEOPLE NEED MUSIC. music for life' assistance long after your Music is important. Ex- initial purchase, you can ploring the world of music in the comfort of your expect your hi-fi to last a lifetime.People who own home is therapeutic.It will help you relax, love music have built our business, so we look stimulate your imagination, change your mood, after them. MUSIC FOR YOUR LIFE. To learn and provide entertainment and pleasure for your more about Linn Hi-Fi and the many ways in whole family. A SOUND INVESTMENT. At our in- which Linn can make music a more important novative factory in Scotland, we produce the part of your life, phone Audiophile Systems, most advanced and best sounding hi-fi. Skilled and Ltd., our U.S. distributor, at 1-800-546-6443. The "2dB/4dB" button controls the analyz- EQUIPMENTPROFILE er display range, 2 dB per LED for a 16 -dB total range or 4 dB per LED for a 32 -dB range. "Slow/Fast" adjusts the analyzer re- AUDIOCONTROL sponse time; "Slow" gives a time -averaged reading that's useful when equalizing loud- C-101 SERIES III speaker response with the pink -noise signal, while "Fast" lets you watch the music's EQUALIZER/ANALYZER antics. From top to bottom, on the right of the display, are the four pushbuttons for the

Fqualizers and analyzers are Audio - on a 20 -foot cable that terminates in a nanailacnall 000000 finnn Control's stock in trade. The venera- phone plug and fits into a jack at the front ble C-101, now in its third (Series III) panel's lower left corner. Above the jack is 1 incarnation, combines both in a rela- a "Display Level" control that adjusts the tively small, tasteful package. More analyzer gain to utilize the display range to important, it offers exceptionally its fullest. good performance for the genre, especially At the top left corner is a "Power" vis-a-vis noise and distortion, a graphic switch, but since the C-101 consumes only equalizer's twin Achilles' heels. Consider 10 watts, it can be left on and plugged into its competitive price, five-year warranty, a switched outlet of an amplifier or receiv- and inclusion of an excellent infrasonic fil- er. An unswitched outlet (200 -watt maxi- equalizer. "Equalize" engages or bypasses ter, and you'll find mum rating) on the the 10 -band equalizer, "EQ Recording" that the C-101 Series C -101's back panel re- routes equalized signals to the tape output III is a big winner in THE SLIDER SETUP places the switched jacks so the C-101 can be used to equalize a the cost/performance outlet you've used for recording, "Tape Monitor" replicates the derby. HELPS YOU EQUALIZE the equalizer and istape monitor function of the amplifier The C-101 Series BOTH CHANNELS ALIKE then switched on andwhen the C-101 is installed in a tape moni- III integrates a 10 - OR EACH DIFFERENTLY. off by your amplifier tor loop, and "Subsonic Filter" engages or band graphic equaliz- or receiver. bypasses the internal 18-dB/octave Cheby- er and a defeatable Four pushbuttons shev high-pass filter. infrasonic(a.k.a. to the left of the dis- Twenty sliders occupy the right half of "subsonic") filter with a 10 -band real-time play operate the analyzer; a bank on thethe panel. These are arranged in adjacent analyzer and pink -noise generator. The right controls the equalizer. The top left left/right pairs to facilitate controlling both system includes a "lab grade" microphone button ("Display") quenches the dancingchannels equally (a good idea to avoid the matched to the analyzer. (AudioControl lights when you tire of their antics. "Pink image smearing that can occur when left advises that the microphone be used onlyNoise" activates an internal pink -noise and right response and phase are modified with the C-101 and that no other micro- generator and automatically substitutes the differently). AudioControl's arrangement phone be substituted for it.) The mike is test signal for the normal feed to your amp. provides the best of both worlds. If you AUDIO/AUGUST 1994 54 fuse, and the unswitched conve- nue. Central e.g. - ,..41MCV ROSOOnO. - smolMer, vs Freckle. nience outlet mentioned above. 0IMP11111111111111111111111111111 Recommended hookups are 1111111111111111111111M11111111D 111111 °FLAT given in AudioControl's "Operat- 3 JBSONIC FILTER 1111 choose to equalize differently to correct ing & Enjoyment Manual," which 6 iunniuuiIIII different response anomalies in the two is the finest audiophile operating 1...1111111....111111.1.1111111M.11111111111 manual I've seen. Its lighthearted speakers, you can do so; if you want to M11111111111111111111110111111111111111111M control both in like manner, it's also easystyle is easy to read, and it's 10 100 lk 10k 100k 200k to ensure that you do. The 10 equalizer and packed with useful,accuratein- FREQUENCY - Hz analyzer sections are spaced on octave cen- formation on how to use an ana- Fig.1-Frequency response. ters from 32 Hz to 16 kHz, which, consid- lyzer and equalizer for best re- ering the effective range of both sectionssults. It doesn't claim that the and of the characteristics of human hear- C-101 makes a silk purse from a c_,0, ...a,,...Reseeree - Caen Control st May g - 1281_ .15 ing, is eminently sensible. sow's ear system (no equalizer/ m +10 The back panelissimple: Mainanalyzer does that); it does en- 7 input/output pairs for connection in a tape courage you to experiment with monitor loop (or, if you prefer, between loudspeaker placement (and sug- 1p -5 preamp and power amp), and tape gests guidelines)beforeresorting input/output pairs to connect with the tape to equalization, and it warns Ir v v 11' V -15 recorder you wish to pre -equalize (and/oragainst excessive boost. It's even 20 100 lk 10k 20k to replace the tape monitor loop lost to the honest enough to warn that you FREQUENCY - Hz equalizer when it occupies that position in probablywon'tlike the sound of Fig. 2-Responseof each the main signal path). Between these setsyour system after equalizing it for slider at maximum cut of gold-plated RCA jacks is a small control "flat" response. Refreshing! and boost. that adjusts the pink -noise level. At the extreme right are the power cord, the lineCircuitry The C-101 Series III contains Soc. Central C 101 - Frequency Response - 1 ant COVOIlier et Each eery two main circuit boards. One ex-

tends across the rear of the front SPECS .511111111MI11!!!IMi1111 panel and supports the main con- 11111ffilloweamrailliin trols, and the other carries all ac- Rated THD: 0.005%. 5111111111116. tive circuitry and the power sup- Frequency Response: 10 Hz to 101111111111011`u% iIIII11u plyexceptforthemain 100 kHz, ±0.75 dB. .51111111111111111 MI1111111 S/N: 118 dB, re: full output. transformer. The boards inter- 20 100 lk 10k 20k FREQUENCY - Hz Maximum Input: 8 V rms. connect with four ribbon cables, Fig. 3-Response vs. Maximum Output: 8 V rms. soldered directly to the boards marked settings; see text. Input Impedance: 100 kilohms. and affixed with adhesive. The Output Impedance: 100 ohms. boards are single -sided and use Control Bandwidth ("Q"): 2.5. lots of jumpers but impressed me Control Center Points: 32, 60, as being of good quality. With the excep- matched those of the left so closely that no purpose would be served by presenting 120, 250, and 500 Hz and 1, 2, 4, 8, tion of some flux residue, construction ap- both. Channel gains were close to unity and 16 kHz. peared to be good. The equalizer is designed around five (-0.20 dB) and extraordinarily well bal- Control Range: ±15 dB. 4560 wideband dual op -amps for each anced (within ±0.02 dB). SubsonicFilter:20Hzwith channel. Each 4560 handles two non -adja- The frequency response of the system is 18-dB/octave Chebyshev alignment. cent control bands. The circuitry is in the shown in Fig. 1 with the equalizer bypassed Power Requirements: 120 V a.c., 60 Hz, front right corner, as far as possible from (±0.05 dB from 22 Hz to 105 kHz), with 10 watts. the power transformer (which is mountedthe equalizer engaged and the sliders at Dimensions: 17 in. W x 31/2 in. H x 11 their detents (+0.00 dB, -0.35 dB from 10 in. D (43.2 cm x 8.9 cm x 27.9 cm). near the rear of the left side wall). Solid- state switches control signal routing to Hz to 100 kHz), and with both the equaliz- Weight: 9 lbs. (4.1 kg). minimize the length of the audio path. er and the infrasonic filter engaged. (The Price: $459. filter is operational even with the equalizer Company Address: 22410 70th Ave. bypassed.) Chebyshev alignment (specified West, MountlakeTerrace, Wash. Measurements Although I measured both channels, I've by AudioControl) implies some degree of 98043. passband ripple, but I saw no evidence of it For literature, circle No. 92 based the curves and data exclusively on the left. Right -channel characteristics in the data. As far as I can tell, the filter is AUDIO/AUGUST 1994 55 Mall° [antral C-101 - Inout/Outeut Pao.* iiao .90 the adjacent ones not been boost- noise. Ultimately, these contaminants com- - AMPLITUDE Alp ed as well. But there were none ofbine in the output stage so that when you ti +45 the anomalies I've seen with some /1\\...,_,....._...... design a 10 -band equalizer, things can get !, "graphic" equalizers whose equal- pretty hairy. With distortion in the 0.005% o !al izer sections interact in such a way range and an A -weighted noise of -93.2 dB f ii-45 that the resultant frequency re- referenced to 0.5 V (-99.2 dBV), the C-101 sponse doesn't correlate with is outstanding in these regards. Referencing -90 15 20 100 1k 10k 20k equalizer positions when morethe A -weighted noise to maximum output FREQUENCY - Hz than one band is used. level (9.65 V) yields a theoretical S/N of Figure 3 is a composite of 10 re- 118.9 dB! Clearly, the C-101 can be used in Fig. 4-Phase and amplitude sponse curves taken with the 1 - a variety of applications over a wide range at maximum boost and cut. kHz slider set as close as possible of input levels without audible ill effects. to each marked setting: ±3, ±6, ±9, Input and output impedances (100 kilohms audle C-101 - TMONIZI Output On at I - Cornea. Plat ±12, and ±15 dB. The actual and 110 ohms, respectively) and a gener- ....; boosts and cuts don't correspondous input overload (9.9 V) further testify 0111111M11111111111111111MMI1111111111/111= precisely with the markings, and at to universality of application. z least half the range comes between A noise -spectrum analysis (not shown) MIIIIMOSIMME11111MMIIPrdlni C the "12" and "15" marks. Howev- 00111111M11191111111111111111ME111111M revealed hum -related components at 60 er, I don't recall ever measuring an Hz, 180 Hz, and 300 Hz of -90.1 dB, -91.8 analog equalizer in which the dB, and -105.5 dB (re: 0.5 V), respectively. 0.001 0.05 0.1 10 20 markings really did correspond to Since these occurred at odd harmonics of OUTPUT -V the actual response modification, the power line, I suspect they were caused Fig. 5-THD + N vs. output so I can't downgrade the C-101 by magnetic coupling from the trans- voltage. against its competition in this re- former. But the hum was negligible in lev- gard. By limiting the change that el, and no other line structure was appar- occurs with the sliders slightly offent in the analysis. Channel separation was Butterworth -aligned, which is the "0 -dB center, you needn't be precisely on the de - 72 dB at 1 kHz and better than 51.5 dB ripple" Chebyshev case. The -3 dB pointtents to achieve "flat" response. Since the from 20 Hz to 10 kHz. occurs at 22 Hz with a slope of 18 dB/oc- AudioControl detents are none too defi- Finally, I verified the "flatness" of the tave. Response is 5 dB down at 20 Hz and nite, this is arguably a benefit. C-101 pink -noise generator by using the (not shown) -23.6 dB at 10 Hz. Figure 4 is a composite of the responsesweeping third -octave spectrum analyzer Figure 2 is a composite of the responseand input/output phase shift that occur built into my Audio Precision System One curves taken with each slider individuallywith the 1 -kHz slider at maximum boost and a real-time third -octave analyzer (op- set for maximum boost and maximum cut, and maximum cut. Note the symmetry in erating in an Apple computer) that I devel- i.e., 20 curves in all. Band centers agree both the response and oped for loudspeaker quite closely to the indicated markings, phase curves. evaluation.Both and, although the maximum boost and cut The C -101's THD + THE OWNER'S MANUAL IS measurements indi- varies with the particular control that is ex- N versus output level THE BEST I'VE SEEN, cated that the pink ercised, each provides a range of at least(at 1 kHz, with all noise the C-101 gen- ±12.5 dB and some provide as much as sliders at the detents) LIGHTHEARTED YET erates is more than ±14.7 dB. Each control's boost and cut is is shown in Fig. 5. The COMPLETELY CANDID. sufficiently "flat" for unusually symmetric, which testifies todownward slope indi- its intended purpose good design. cates that noise pre- on a third -octave ba- I also plotted equalizer response with dominates at output levels from 50 mV to sis, given the 2 -dB per LED resolution of various combinations of slider settings: somewhat above 1 V and that the C-101 the C-101 analyzer. However, the Apple - Each alternating between maximum and can produce 7 V output with negligible based measurement was arguably the more minimum, alternating in pairs (two up/two distortion (0.05%). Clipping (1% THD)accurate, since I could use an averaging down, etc.), alternating in triplets (three occurs at 9.65 V. The THD + N at 2 V out- time sufficient to integrate the level fluctu- up/three down), and so forth. Although put (not shown) did not exceed 0.0062% at ations that naturally occur in pink noise at the curves aren't shown, suffice it to say any frequency from 20 Hz to 20 kHz, and low frequencies. that the C-101 performed pretty much as some of this, too, was noise. you'd expect from the "graphic" position I'm impressed by how little distortion Use and Listening Tests of the sliders. Of course, each equalizer sec- and noise the C-101 produces. Each equal- Since AudioControl advises against us- tion affects those adjacent to it so that, ifizer section requires its own operational ing the C -101's mike other than with the three are raised, more boost is given to the amplifier and associated components, and analyzer, I evaluated it (and the analyzer) center band than would be obtained had each inevitably generates some THD andin my listening room by comparing the AUDIO/AUGUST 1994 56 Your ears have an amazing memory, which is why you seek a loudspeaker that's as unforgettable as live music. Had nature intended sounds to travel only ?mulct acoustics would be a simple science. Unlike conventional speakers, Mirage's M.si Seriei Bipolar loudspeakers set the music free over a full 360 degrees. It's only 'natural. Because whit defiles the sound of music is as much the physical space surrou*ding them as the instruments '''themiglves. In reproducing ncusic, a loudspeaker mist place you, the audience, in that space. rMirage's Bipolar speakers do just that. But before you audition the Msi Series at your Mirage dealer, take in alive concert or two. Then you can experience for yourself just how bly lifelike tie Msi's really are.

THE ORIGINAL BIPOLAR LOUDSPEAKERTM 3641 McNicol Avenue, Scarborough, Ontario, Canada MI XI G5 416-321-1800 FAX 416-321-1500

Enter No 22 on Reader Service Card

4.111"'-40010 response curves of my loudspeaker as mea- and strident. This is not to say that using only adjust octave -to -octave balance; it sured by the C-101 microphone/analyzer the C-101 to analyze/equalize a system is cannot correct response irregularities that with a measurement made with my Apple- fruitless. Once you've "flattened" the sys-occur over narrower bands. You will get based setup and calibrated lab micro- tem and corrected gross bumps and dips in optimum results if you start with a good phone. The two agreed within the limits of response, you can modify the tonal balance pair of loudspeakers that have been placed experimental error, which is to say, within as you wish. (AudioControl offers advice in in the room so as to minimize standing the limits imposed by the C -101's resolu- this regard.) You're likely to want to lower waves. The C-101 can help you find those tion of 2 dB per LED. the high -frequency sliders progressively to ideal locations. Next, as AudioControl While I was at it, I equalized my listen- impart a gradual high -frequency slope to points out in its manual, you will find areas ing system for "flat" response. As Audio- the overall response, and you may also in which measured response seems to vary Control warned (and which I already knew want to add a bit of bass boost. widely when you move the microphone from past experience), with most program One word of warning and one of advice. slightly. These are not good listening posi- material, the resulting sound was too harsh As an octave -based analyzer, the C-101 can tions vis-a-vis loudspeaker placement. Change one or the other until you get stable measurements over a reasonable area. I expect that the dissatisfaction that many DISCOVER express with analyzer/equalizers stems THE from not appreciating the importance of

THE C-101 IS WITH THE WORLDS MOST MUSICAL TUBE COMPONENTS CLEAN AND QUIET IN THE LISTENING ROOM AND PERFORMS SUPERBLY ON THE TEST BENCH.

listening/microphone placement and not realizing that you are unlikely to want truly flat response. A component like the AudioControl C-101 Series III is not limited to loudspeaker equalization, and many may not even use it for this purpose. Once it's in your system, you'll not be able to resist the temptation to do a little creative tinkering with the sound balance of your record collection. After you've gathered some experience using the equalizer, you can do quite a bit to spruce up the sound of inferior LPs and CDs. And if you duplicate tapes for your car, you'll find the C-101 extremely helpful in tailoring recordings so they sound almost as good on the road as the originals do at home. If you are interested in a graphic equalizer/analyzer, the AudioControl C-101 Series III should be high on your list of candidates. It performs outstandingly well on the test bench and is clean and quiet in the listening room. Of course, you can't call any equalizer "transparent," since it's meant to alter tonal balance, but if you could, the AudioControl C-101 would get my vote. It does only what you ask of it. Edward J. Foster AUDIO/AUGUST 1994 Enter No. 21 on Reader Service Card MADE IN U. S. A. 58 YAKOV ARONOV AUDIO LAB, INC. TEL 2 1 3.653.3045 FAX 213.937.6905 Sanusiysterns Give Your Music aSound Foundation®

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Natural Foundations are constructed of MDF and finished with three coats of hand sanded black lacquer. MDF is quieter and stronger than other wood products, and is the cabinet material used in the best loudspeakers. All models feature brass speaker isolation studs, adjustable floor spikes, neoprene isolation pads, and a concealed speaker wire path. Two models are available with solid oak or walnut pillars.

Designer Foundations

Designer Foundations are a contemporary alternative to the utilitarian look of most steel loudspeaker supports. Performance is on par with the finest European and domestic designs, yet the price is affordable. Designer Foundations feature fellable steel pillars, adjustable floor spikes, HDF top plates, neoprene isolation pads, and brass speaker isolation studs.

'Enter No. 23 on Reader Service Card 1973 W. Cty. Rd. C2Roseville MN 55113 (800) 359-5520(612) 636-0367 FAX design and circuit design are quite different arts. I must confess to having approached the Sonamp 2120 power amplifier with somewhat of a SONANCE 2120 "show me" attitude, but "show me" it did. The 2120 is really quite a nice AMPLIFIER piece. Clearly, the Sonamp 2120 was designed with an eye toward the custom -installation market, the one So- nance is most familiar with. "Auto On" circuitry brings the system to life within 1.5 seconds after detect- ing the presence of an input, and powers the amp down about four minutes after the signal has disappeared. You can defeat "Auto On" with a recessed back -panelslide switch, in which case the 2120's front -panel "Power" switch functions as you'd expect it to. If you use "Auto On,"the"Power"switch should be left depressed. This can be a little confusing at first, because the red "A.C. On" LED illuminates whenever power is applied, independent of the position of the "Power" switch. If the amp is plugged into a live output, the red lamp is lit; if it isn't, the line fuse has blown. A green "Active" LED lights when the amplifier is really on, i.e., when it senses the presence of a signal in the "Auto On" mode or when the "Power" switch is depressed in ost of us associate So- the-what shallIcall it?-"Non- nancewithloudspeak- Auto-On" mode. (The "Active" light ers-in particular, with will also come on when the 2120 is in -wall speakers. Ar- first plugged in or after power is in- guably, Sonance was one terrupted and restored. In the "Auto of the first to elevate in- On" mode, it'll turn off after a few wall speakers from the P.A. dungeon minutes if no signal is present.) to the high-fidelity stratum, and "Auto On" simplifies operation in they've done quite wellattheir multiroom or home theater applica- trade. Because tions but is, on speakers must the one hand, be driven by WHAT YOU CAN EXPECT neither unique poweramps, FROM THE 2120 IS to the Sonance it'snot really 2120 amp nor, AN HONEST WORKHORSE surprising that on theother Sonance has WITH REMARKABLY hand, the only Company Address: 961 Calle branchedout CONSERVATIVE RATINGS. multiroom Negocio, San Clemente, Cal. ofitsniche nicety that the 92673. into the elec- Sonance offers. For literature, circle No. 93 tronics arena. Butentering a newOn theback panel are stereo input area is easier said than done; driver and output jacks so that multiple AUDIO/AUGUST 1994 60 2120s can be daisy -chained ("looped") to- The power supply is on a separate board, Solve the gether without resorting to "Y" connectors. with a good-sized heat -sink used to cool If you use many power amps in your sys- the main bridge rectifier. A small indepen- Mystery of tem and are concerned about the power - dent bridge apparently is used to power the line surge that may occur when all turn "Auto On" system. A rather large toroidal t Black on at once, Sonance has available two power transformer (rated at 600 volt am- line -protection sequential power switch- peres) mounts at the left rear of the chassis, X. ers (the AC1 and AC2) that will eliminate near the line cord and fuse. The generously the problem. rated transformer should provide adequate Recessedscrewdriver -adjustable level current reserves, and the toroidal construc- controls on the 2120's front panel permit tion helps contain magnetic hum fields. you to adjust sound pressure level in each But the filter bank used after the rectifier- area independently and ensure that youa pair of 10,000-uF, 65-V conventional needn't operate your preamp's volume electrolytics-is rather modest for a power control at such a low setting that channelamplifier whose output israted at 120 balance is impaired and/or that the control watts per channel. is difficult to adjust. I Construction ap- DAVE like the idea of recess- pears to be reason- ELECTRONICS ing the gain controls BECAUSE OF ITS HIGHER ably neat. Although PRIVATE INVESTIGATORS When the suspect stepped on the and "Auto On" slider; THAN TYPICAL GAIN, partsquality seems gas. I recalled my days racing at adequate, it's by no Indy. The Delco Electronics black they're one-timese- THE 2120'S NOISE tups that can poten- means exotic. Input box was the engine controller in that car. In the car I was driving FIGURES ARE ALL THE aresol- tially be misadjusted connectors now, the black boxes were the by accident. MORE IMPRESSIVE. der -wiped, not gold- electronic intelligence behind the Sonance claims to plated, and the five - anti -lock brakes and one other safety feature I hoped I would way outputposts have designed the Son - never need. amp 2120 with "numerous protection cir- (one set, not two) are more functional than "Look out," Ellen screamed as the suspect slammed cuits"-includingsurge,overload,and impressive. They are, however, mounted on his brakes right in front of us. auto- on 3/4 -inch centers so they will accommo- WHAT OTHER SAFETY FEATURE DID DELCO thermal -protectionsystems-that ELECTRONICS BLACK BOXES CONTROL? matically reset after a fault has been cor- date GR-type dual banana plugs. Secpage 15 for answer. rected. Should any of the protection cir- Those who require exotic parts and eso- WIN a state-of-the-art hand-held Delco Electronics Cellular Phone! 2 lucky winners! cuitstrigger,thegreen"Active" LED teric circuitry to get their jollies will not SUBSCRIPTIONS! 25 lucky runner-up winners flashes and output may be interrupted byfind either in the Sonamp 2120. I doubt will receive a free one-year subscription or renewal to Audio Magazine. an internal relay. This is all well and good, they'll find them in any $575 power amp 1,1128tBD BONUS! but not every 2120 "protection device" re- ($590 for the rack -mounted version) that ea Watch the inaugural Brickyard sets automatically; three internal power is rated at 120 watts/channel. The Sonamp 400 live from the Indianapolis Motor Speedway on ABC, Sat. Aug. 6th, 1994. fuses and one back -panel line fuse must be 2120 makes no pretense to having "dual - Send a 3"x5" postcard to the address below, manually replaced if blown. mono" construction, and, although I was naming the leader of the race at the midway point (lap BO of 160) and get a chance to win tickets to the 1995 Brickyard 400!

The 2120 uses a discrete output stagenot provided with a schematic, I doubt CONTEST RULES FOR NOM SWEEPSTM03. (parallel pairs of Toshiba 2SC4029s andthere's anything particularly novel in 1. Ta enter. send a 3'e5' card, type or print your name, address, tip and area codes, and telepnone number, or use coupon below. No purchase necessary. 2. Entries must be the circuit design either. What you can called 'm or postmarked no later than September I. 1994 and sent to Audio Magazine's 2SA1553s in each channel) mounted to Sob, the Mystery Sweepstakes. Audio Magazine. 1633 Broadway. New York. NY 10019. expect from the Sonamp 2120 is an honest Audio Magazine will not be responsible for lost, misdirectel or late entries. The winners two reasonably generous heat -sinks, one will be selected in a random drawing from entries received (answering the question is optional). The drawings will be conducted by an outside agency. under the direction of per channel. The heat -sinks are apparentlyworkhorse with remarkably conservative Hachette Filipacchi Magazines. The judge's decision is linA. 3. The winners will be notifed by mail or on the phone by September 15, 1994. 4. The prizes will be 2 Delco more than adequate, since the 2120 ran ratings. Electronics Cellular phones, value S568- no substitution prizes allowed. $35 activation fee is responsibility of prize winners. 25 runner-up winners will receive a one-year cool both on the test bench and in the lis- For example, the 2120 is rated at 120 subscription or renewal al the value of 512 The Brickyard Prize will be a trip for two to the Brickyard 400, 3 days and 2 nights. airfare and hotel - Value $1822 -no substitution tening room. Thermal sensors, mounted to watts/channelinto 8ohms and160 prizes allowed 5. Both contests are open to all residents d the U.S., 21 years or older, except employees and their families of Hachette Filipacchi Magazines. Inc., Delco each sink between the complementary - watts/channel into 4 ohms, at 0.05% and Electronics. General Motors Corporation, its' affiliates and their advertising and public relations agencies 6. Contests are subject to all federal. stale and local regulations. symmetry pairs, track and compensate for 0.10% THD respectively, from 20 Hz to 20 Void -where prohibited by law. Taxes are the responsibility of the winner 7. For the narne(s) of the winners, send a separate self-addressed /10 envelope to Audio Magazine output -stagetemperature. The output - kHz. At rated output on my test bench, I 'Solve the Mystery or Hachette Filipacchi Magazines 'Brickyard 400' Sweepstakes, 1633 Broadway, New York, NY 10019.S. Winners will be required to sign an affidavit stage drivers are mounted on individualmeasured a maximum THD of 0.035% on of elkploility and a release. Failure to return these within 2 weeks will result in the selection of an alternate winner. Chances chErring demild al the rurrtetwets zoomed. heat -sinks. Most of the audio circuitry is the poorer of the two channels (0.028% on on one main board that uses fairly widethe better one) when using 8 -ohm loads rDelco Electronics traces to carry power and audio output and 0.056% (on each channel) with 4 -ohm Send a 3'e.5' card to *SoNe the Mystery or Hachette Filipacchi Magazines -Brickyard 4130- Sweepstakes. 1633 Broadway, New York, NY 10019. current. A small board near the input and loads. That's only half to two-thirds as Answer (Optional) looping jacks carries a pair of op -amps and much distortion as Sonance claims. More- flame associated input circuitry. over, the distortion did not rise in the bass Address

AUDIO/AUGUST 1994 Fity State Zip 61 "e1e0hone 1 region (as might be expected, given the equipment. Frequency response (on the enced to rated power (20.8 dBW) of 114.1 smallishfiltercaps).Inpractice,the poorer of the two channels) was withindB-more than 14 dB better than Sonance worst case occurred at 20 kHz, and, from +0.00, -0.15 dB from below 10 Hz to 20 specifies! The noise figures are all the more 20 Hz to 3 kHz, THD was no more than kHz and down 0.5 dB at 55 kHz. The -3 dB impressive when viewed in conjunction 0.010% with 8 -ohm loads and 0.018% with point occurred at 170 kHz. Input/output 4 -ohm terminations. Maximum outputphase linearity was within +4.5°, -7.9° power at clipping (both channels driven) from 20 Hz to 20 kHz. Channel separation FOR ITS STATED USE IN was 160 watts per channel into 8 ohms and was 80 dB or better from 20 Hz to 3 kHz reached a whopping 250 watts per channel and 70 dB or better out to 16 kHz. (Many CUSTOM INSTALLATIONS, into 4 ohms. dual -mono amps don't do better, and THE SONAMP 2120 With both level controls fully advanced, some do worse!) WILL BE HARD TO BEAT. channel balance was extraordinarily pre- The A -weighted noise was -93.3 dBW, cise-within 0.01 dB, the limit of my test which implies a signal-to-noise rat o refer-

with the 2120's higher -than -typical gain. With 8 -ohm loads, it delivered rated out- Nlevv West put with a 1-V input (88 mV for 1 watt) e I ectroi s rather than the more usual1.5V. Of course, you can reduce gain by readjusting the input level controls, so the 2120's extra we proudly offer: specializing in: amplification can only be considered an design acoustics a/v receivers advantage. infinity Damping factor was 215 at 50 Hz and pioneer amplifiers 190 at 1 kHz. Because the 2120 uses output protection coils, output impedance rises parasound M & K Id players (damping factor drops) at higher frequen- fosgate carver cd players cies. I measured an output impedance of hitachi about 100 milliohms at 5 kHz and 175 mil- panasonic speakers liohms at 10 kHz. monster cable processors Apparently someone at Sonance knows cerwin vega his way around circuit design, because the projection tv 2120 obviously did quite well on the test nakamichi bench. Italso did well in the listening kenwood lcd projectors room. I wouldn't go so far as to say it's the RCA advent aiwa camcorders most pristine power amp I've ever heard, NHT HK JBL JVC but I was surprised at how good it really tv vcr did sound. It's quiet, bass is tight, and govideo there seems to be adequate current avail- premiere car audio able. High treble is not its strong point; it's sharp accessories a trifle brittle and somewhat alters the harmonic balance between fundamental and free shipping overtones in the violin's upper register. honest pricing However, the difference between the Son - amp 2120 and the best power amps on the friendly service - market is relatively slight and certainly far narrower than is the corresponding price P.azidi= difference. For its stated use as a power amp for

Mauer cord ESS custom installations, I think you'll find the Sonamp 2120 hard to beat. The same ap- call toll free from the US or Canada plies for home theater applications. In fact, mon-fri 6:30a -6:30p sat 7:00a -5:00p sun 7:00a -4:00p I'd have littlehesitation employing the 2120 in almost any audio system, especially when budget is an issue. At this price, there's no cause for complaint-only ad- 800-488-8877 miration. Edward J. Foster a division of Clarity Electronics LTD 4120 Meridian Bellingham, WA. 98226 AUDIO/AUGUST 1994 Enter No. 13 on Reader Service Card 62 ULTIMATE AUDIO. ULTIMATE VIDEO.

ATE

CHARTER SEE Mr FUTUR SUBSCRIPTION OFFER! CENTER FIELD Tests of 15 Center Want to enjoy the visual and sonic impact Speakers of a state-of-the-art theater in your home? Menus as Higls Concept= Want to know all your options for home theater-whether you're on a limited budget SMART SET Apple's or the sky's the limit? Mac TV Want to read product tests that are written in a language you can understand?

Welcome to SOUND & IMAGE Magazine!

Filled with late -breaking news and incisive reporting, each issue asks the questions you want to ask - and answers Introductory Charter Subscription Offer them clearly and expertly so you can make audio/video Now for the first time, Sound & Image is available for entertainment an integral part of your home. You'll find... convenient home delivery. To enter your subscription, New Technologies: Discover what's just around the corner simply fill out the accompanying order card today. in home entertainment systems, from interactive music YOUR SATISFACTION IS GUARANTEED. You may can- and cutting -edge speakers to movies on CD and satellite cel your subscription for any reason and receive a full TV systems. refund on all unmailed issues. Comparison Tests: Experts pick the hottest product categories and line up over a dozen candidates in a head -to -head only competition in a real -world living -room setting. 1Year Equipment Reviews: Big -screen TVs...Home theater (4 issues) speaker packages.. Voice programmable VCRs... Surround - $14.97 sound processors...CD-ROM drives... A/V receivers. You'll know the options before you buy. only Hot Software: The movies, music, videos and multimedia that are really worth your time - and your money. 2 Years Plus...Custom home installations...interviews with industry (8issues) $23.97 leaders...and lots more! If the attached card is missing, write to Sound & Image, P.O. Box 59717, Boulder CO 80322-9717. Offer good in the US only Please allow 30 to 90 days for delivery of first issue. loss of about 0.5 dB for a 4 -ohm load through 10 feet. The name "MI" comes from "Matched Impedance," a term more ALPHA -CORE commonly associated with r.f. trans- missionlines.Likeothercables GOERTZ MI 1 & MI 2 around 15 years ago (from Polk, Mogami,Discwasher, andAu- SPEAKER CABLES dioSource), Goertz MI cables have a low characteristic impedance. Such cables are typically more dispersive, GoertzMIspeakercables Goertz MI 1 cable is AWG #13, though not audibly so. Since the from Alpha -Corehavea measures 0.4 inch wide and 0.05 lengths of speaker cables are very substantially different geom- inch thick, and has a resistance ofsmall fractions of an audio signal's etry from the cables I exam- about 4 milliohms per foot (both wavelength, reflections will not be a inedin"SpeakerCables: conductors). Goertz MI 2cable, problem. Testing for Audibility" for AWG #10, is twice as wide, with a The measured response with a the July 1993 issue. The Goertz MI resistance around 2 milliohms perloudspeaker load is generally flat; cables consist of two, flat, insulated foot. For 0.2 dBV of loss with 25 feet between 2 and 20 kHz the loss in- conductors bound together by an of cable, the minimum speaker im- creases to 0.2 dBV for MI 1 and to outer insulating jacket. Alpha -Core pedance is about 4.3 ohms with 0.1 dBV for MI 2, a result of the test claims the benefits of its design in- MI 1and 2.2 ohms with MI 2. speaker's impedance minimum of clude impedance matching and the Conductors in about 45 ohms. elimination of distortion, high -fre- both cables are DISTINCTIVE AND Thisindicates quency roll -off, crosstalk, skin effect, 0.01 inch thick, essentially no WELL MADE, and emitted EMF effects. The cables thuseliminat- high -frequency are available with copper or silver ing the over- THESE CABLES roll -off with the conductors, and each version comes rated skin ef- SHOULD DO FINE Goertz cables. in two widths. Heavy, gold-plated fectat audio In comparison, WITH MOST SPEAKERS. connectors are available in banana frequencies. the loss for stan- plug, spade, and pin styles. Other The flat, thin dard #12 AWG accessories include mounting tape conductors in close proximity serve at 20 kHz is only about 0.8 dBV. Be- and clips. In 25 -foot lengths, copper to lower inductance while raising ca- low 10 kHz, the Goertz MI cables Goertz cables cost $4.95 per foot forpacitance. Goertz MI 1 has about perform virtually the same as stan- MI 1 and $7.90 per foot for the480 pF per foot and MI 2 aboutdard #12 AWG. What frequency is heavier MI 2, while the silver ca- 1,000 pF per foot. The inductance necessary to get a substantial differ- bles, MI AG 1 and MI AG 2, for the pair of conductors is quiteence with 25 feet of cable and a 4 - respectively cost $49.80 low, measuring less than 0.1 [LH forohm load? It took 185 kHz to get 3 and $88.70 per foot. 25 feet of cable. These cables have dBV of difference between MI 1 and #12 AWG. One option when ordering the Alpha -Core cables isto have them cut to length and ready for termination. You may want to consider that optionif you don't have power tools or arms like Pop - eye's. The thin layer of insula- sufficient capacitance to maintain a tion bonded to each conductor is in- flat impedance, much as ribbon ca- crediblytenaciousandrequires bles do (see my 1993 article). From substantial effort to remove. Once 20 Hz to 20 kHz, the impedance of the Goertz cables increases about Company Address: 915 Pembroke 21%. In comparison, the imped- St., Bridgeport, Conn. 06608. ance of standard AWG #12 cable For literature, circle No. 94 increases 583%, which causes a 10/AUGUST 1994 64 the insulation is removed, attaching the terminals is quite simple. The bodies of these heavy, high -quality terminals are not insulated, so care must be taken to prevent shorts. TERK LEAPFROG I found both cables to be quite stiff, especially MI 2, and routing them can be REMOTE -CON' OL challenging. They can be folded and bent, although sharp twists and bends tended to EXTEND ,R buckle and occasionally split the outer Terk Technologies' Leapfrog acts as a broadcasts them in their infrared jacket. The inner insulation remained in- radio bridge between your audio farm. The IR-5 can pick up signals tact, and no shorts were found after this components and their remote from an IR-4 up to 150 feet away, and abuse. The thin profile lends the cable to controls. It lets you operate easilyreceivesthesesignalsthrough installation under a carpet (but be careful your preamp, tape deck, normal home and apartment walls. The to avoid tacks!). and CD equipment by IR-5's infrared output covers a wide arc The silver -conductor versions, MI AG 1 their remote and works at fairly long distances, which and MI AG 2, were not tested. Except for makes it easy to position and still have slightly lower resistance, there should be its beam reach all of the components it controls. Because the systemoperatesat418 BLIND LISTENING TESTS MHz, its signal cannot WITH 25 FEET OF GOERTZ interfere with au- dioequipment CABLES VERSUS #12 AWG or FM. LAMP CORD PRODUCED What if you NO AUDIBLE DIFFERENCES. wanttokeep your components in a cabinet or behind a door? No little difference in their performance de- problem. The IR-5 base unit has a spite the substantial increase in cost. small jack that can be connected to a series Informal, blind listening tests compared of up to four small infrared Model IR-X re- 25 feet of MI 1, MI 2, and #12 AWG cable; controls peaters ($14.95 each). An IR-X can then be no audible difference could be found. when you placed in front of the infrared sensor on Younger ears were also employed to see if arenotin each component. something in the top octave was being sight of these The Leapfrog is ideal for people who missed. The measured differencesstill components- keep their components and speakers in dif- eluded human detection. even from another ferent rooms. It makes it remarkably easy Why weren't the cable differences moreroom. The Leapfrog should also be ideal to set the exact balance for a given record- audible? Our hearing becomes much less for outdoor use, where sunlight can swamp ing without moving your head, and to ad- sensitive above 4 kHz, falling at about 10 an ordinary remote's infrared beams. Thejust volume levels to suit a given perfor- dB per octave. Also, there isn't a lot of mu- Leapfrog system costs $69.95 for the IR-5 mance. The Leapfrog permits easy A/B sical energy above 10 kHz, and this is easily base station and one IR-4 transmitter. Ex- testing, because components do not have masked. The result is a lack of significant tra transmitters cost $19.95 each. to be visible and switching is so quick. And audible difference in the top octave, while The IR-4 is a tiny, battery -powered, in- by attaching the Leapfrog to a universal re- below 10 kHz the cables are effectively thefrared receiver and radio transmitter that mote control programmed for your equip- same. mounts on any infrared remote control. It ment, you can use one Leapfrog transmit- These are distinctive, well -made cables is small, light, and unobtrusive and is fairly ter to operate your entire system. (Such and terminals.Their measured perfor- rugged. If the remote is dropped, the IR-4 remotes are available for less than half the mance is excellent, and they should workdetaches without breaking (it's attached Leapfrog's price.) Finally-a high -end ac- well with nearly any speaker as a load. Ifwith self-adhesive hook -and -loop fasten- cessary that is affordable and really works! long cable runs are necessary with a low ers) and can easily be refitted. Anthony H. Cordesman load impedance, it is possible that Alpha - The IR-5 base station is a small, incon- Company Address: 65 East Bethpage Core's Goertz cables could make an audible spicuous a.c.-powered device that receives Rd., Plainview, N.Y. 11803; (800) difference. However, shorter runs and typi- radio signals from IR-4 transmitters, trans- 942-8375. cal loads are unlikely to show much im- lates them into infrared signals that match For literature, circle No. 95 provement over #12 AWG. Fred E. Davis those from theoriginalremotes, and AUDIO/AUGUST 1994 65 a school playroom. But with such CLASSICAL amazing expertise. What astonishes me is that it all RECORDIN GS seems to be written down in millions of notes on paper. The sounds, five different pieces, are all "by" William Kraft. That is, they aren't just improvising. (Only once in a while.) The second reason- and cause for review in this space-is that this is, k as you may guess, what we used to call a Test Record. A whopper, par excellence, for those who want to show off their gear, system, fi or whatever. Now more than ever, as the ads say. Remember "Death and Transfigura- tion"? Forget it. This is what you need. Wow, what sounds! Just in time for the modest subwoofers I installed (NHT) with the thought of keeping myself somewhat up to date. (They are surprisingly unobtrusive in most classical music.) Don't try the CD on a so-called boom box; the little speakers Cwill probably pop right out of their frames. And check with family and neigh- bors before you start on your big gear. Edward Tatnall Canby Percussion by William Kraft playingtheir PERCUSSION Barry Silverman, Thomas Raney, BY WILLIAM ARMS strenuous thing: percussion soloists; Pacific You never heard Dario Castello: Percussion Ensemble; Percussion suchwhangs Sonate Concertante Quartet from Tanglewood, Frank and bangs and Europa Galante Epstein, conductor; members Los rolls and whirs OPUS 111 OPS 30-62, CD; 65:00 Angeles Philharmonic, Kraft and all manner of other sounds- CRYSTAL CD 124, CD; 60:12 including a few discrete pitches out Here are those Italians again, op- of such as a marimba. (Curious erating from France (the label is There are two excellentwhen that instrument has virtuallyOpus 111) but in all respects out of reasons for a CD such no percussiveness at all and lots and the sunny south and the city of Par- as this to exist. Neither, lots of pitch!) Having spent their ma-at last re- as I see it, has much tovigorous lifetimes learning the in- discovering their do with music-which credible art of percussion, these guys own native mu- doesn't really matter. simply rejoice in their skills. sic of the past in First, here is a bunch of percus- BOOM-what a whack! Brrrring- authenticcur- g, sion fiends having enormous fun, what a roll. Like kids gone berserk in rent -day terms. AUDIO/AUGUST 1994 66 This composer is an Italian "unknown," not It is more than worthy of the famed Anon! brief passionate bursts, rushing scales-very yet made the big time on Broadway-he The sound grew on me steadily as the hour - strange! For our ears, no apparent reason. But might as well, as far as we are concerned, be plus sequence of short pieces, "chamber someaudience, some group of players, must that well-known artist, Anon. For such rea- works" a later age would say, unreeled on a have been very startled and impressed in early sons he caught my eye-then my ear. Good twin pair of violins and a changing accompa- performances. man, good listening! niment texture of modest variety. A very gen- The very early baroque had not yet discov- You might call this proto-baroque. It is the tly dramatic composer, this, in whose works ered LENGTH-except as attached to words, early 17th century, here, the time of Mon- one hears nevertheless strong hints of the in- sacred, in song or opera. No extended "move- teverdi, Gesualdo, the young Schutz (who tense dramatic innovations of that musically ments" here, allegro, adagio, and so on. In- spent his learning years in Italy)-these being explosive time. stead, each piece is made up of a series of famous names. But Dario Castello? The notes Not in words. All of it is in the playing, mi- short sections one after the other in dramatic tell us bravely that "his life is cloaked in mys- nus any hint of "story" to explain what goes contrasts, no more than a few moments tery" and little is known of him. Which is to on. Pure musical drama: Sudden, startling apart. This at first is confusing. Play through, say, nothing at all. Except the music. changes from fast to slow, dramatic pauses, and then it becomes evident that within

Stravinsky: Ebony Concerto; even commissioned Bela Bartok's ting the solo clarinetist to shine. Sabin (arr. D. Nygren): "Contrasts," which they recorded The main surprise comes with Hillandale Waltzes; Morton with Bartok at the piano. Good - Gould's Derivations for Clarinet Gould: Derivations for Clarinet and Band, written for, and in col- and Band; Bernstein: Prelude, man's only serious pop rival, Fugue, and Riffs; Artie Shaw: Woody Herman, who aptly laboration with, Goodman: Sol- Concerto for Clarinet called his band The Thundering id, exper-ly crafted music, con- John Bruce Yeh, clarinet; Herd, struck back by commis- vincingly interpolating all sorts of DePaul University Wind and sioning the greatest living com- authentic jazz elements, to strik- Jazz Ensemble, Donald DeRoche poser, Igor Stravinsky, to write ing effect. and Robet Lark, conductors the Ebony Concerto. The record- Herman also commissioned REFERENCE RECORDINGS ing they made together found the Bernstein work, but disband- RR 55CD, CD; 52:17 Herman and his men technically ed his last Herc before perform- on top of the score, but audibly, ing it; Goodman unveiled the Serious audiophiles know Ref- not really at home with all those piece with Bernstein conducting. erence Recordings as modest in jagged, asymmetrical, rapidly The movements' subtitles tell the scope but at the top of the heap shifting rhythms. story: Prelude for the Brass, when it come to sonics, and this How times have changed in Fugue for the Saxes, and Riffs for CD, focused on the brilliant clar- half a century. Everyone involved Everyone-insoantly recogniz- inetist John Bruce Yeh, reinforces here seems to have no more able as Bernstein, especially that reputation. The Chicago problem with even the most diffi- evocative of his energy -packed Symphony signed Yeh at the age cult stretches of these works than theater music. of 19; today he also teaches at they might have with a Sousa Artie Shaw also had higher DePaul University. The music on march. If from time to time one musical aspirations: At one this CD runs quite a might wish for an even point, after his recording of "Be- gamut, from the excel- sharper microtome preci- gin the Beguin" had made him lent (Leonard Bernstein, sion of attack or synco- world-famous and rich, he sought Igor Stravinsky, Morton pation, in general the ac- lessons from composer David Di- Gould) through the ba- companying ensembles amond. This flimsy non -concerto nal (Victor Babin) to the match the soloist's securi- of his (contrived for the eminently almost rubbishy (Artie Shaw), but ty and brilliance. forgettable film Second Chorus) performance quality redeems Inevitably, Stravinsky in spots bears no witness to that-but everything. sounds a bit square and alien to here again, as in all these works, During the big -band era, Ben- the jazz idiom, but Herman got the excellence of John Bruce Yeh, ny Goodman not only held the his money's worth in an enduring his colleagues, and Reference's uncontested title as King of score. The agreeable but incon- engineering make this disc some- Swing, he also recorded a num- sequential Babin waltz variations thing out of the ordinary. Richard ber of the most important cham- (for which Dennis Nygren or- Freed's exceptionally good ber works involving clarinet; with chestrated the piano part) serve notes round off the package. the violinist Joseph Szigeti, he their purpose largely by permit- Paul Moor

AUDIO/AUGUST 1994 67 these, shall I say, spurts of music is much va- 1990 and was put with the rest of its musical runs, graceful melodies, trills, just as well as riety, out of tightly limited means. body, so to speak, a lot of unsuitable orches- the regular hornists! Some earlier players of The two violins are absolutely equal. There tration and even sheer post -Mozart composi- this revived older horn were not entirely able is no favoritism. They share their ideas like tion (the well-known Sussmeyer) was re- to smooth out the horn sound as between twins with their associates in the accompani- vised-all of which results in an easy natural natural tones and those altered by the hand- ment. But there is a certain dreamy quality in Mozart-you may forget sequence of the mu- in -bell technique. Not this player. The tech- their playing, an occasional fading away-I sicological events. nique has advanced. Listen and you will hear. tend to think is due to simply a lack of experi- Though some of this horn music is new to The horn tone is now even smoother, more ence with microphones. That's just a guess. almost all of us, there are very familiar sounds like the human voice, than any produced by Do they swing and sway in place as they play, here, much beloved as played by horns with the modern instrument. Indeed, there is a in the old traditional fiddler's style? That the usual standard modern valves. If you controlled variety of tone, soft and gentle, would do it. For the mikes, you have to stand know what they can do you will be astonished that I find especially impressive. Do we need still. Edward Tatnall Canby at how easily this horn player, operating like a any more evidence? No-just more music, bugler, can play all the scales, arpeggios, rapid please. Edward Tatnall Canby Mozart: Rondo and Horn Concertos Ab Koster, natural horn; Tafelmusik, Bruno Weil HENRY COWELL SONY CLASSICAL SK 53369, CD; 63:30

Cowell: Persian Set; Hymn and Fuguing without keyboard Some fetchingly familiar horn music here Tune for String Orchestra; American andhammers as as well as some unknown, but there is more: Melting Pot; Air for Solo Violin and intermediary. Cow- Old buglers, Boy Scouts, Marines, whatever, String Orchestra; Old American Country ell, born in Califor- please take note. Here, in real sound, is what Set; Adagio (from Ensemble for String nia of Irish her- can be done, and was done, in the 18th centu- Orchestra) itage, had a life full ry, on a simple horn-I mean a "French Manhattan Chamber Orchestra, of event but not horn," entirely without valves. Just the lips Richard Auldon Clark without tragedy; and breath, with hand held inside the bell of KOCH INTERNATIONAL CLASSICS Dana Paul Perna's(appallingly edited) the instrument all to control the instrument's 3-7220-2H1, CD; 64:07 notes inthe Koch set provide a slanted ac- pitch and tone. Very much like a bugle. count of the four-year San Quentinpeni- Buglers today mostly play two well-known Cowell: Piano Music: The Tides of tentiary termhe served in the 1930s. Later, Manaunaun; Exultation; Harp of Life; Lilt as if to make restitution, Washington tunes, the get-up one, reveille ("revalie") and of the Reel; Advertisement; Antinomy; proudly sent him around the world as a the tune for the dead, taps, always a scary or- Aeolian Harp and Sinister Resonance; convincing, highly deal for the player. Plenty of other tunes are Anger Dance; The Banshee; Fabric; effectivemusical possible, whether for Marines or Scouts; but What's This?; Amiable Conversation; ambassador. every last one, minus valves, is made up of Fairy Answer; Jig; Snows of Fujiyama; Forrecordings 30 only four, maybe five notes in the natural har- Voice of Lir; Dynamic Motion; The years old, Cowell's monic series. In my near -Scout years (I was Trumpet of AngusOg;Tiger own piano perfor- edged into something Henry Cowell, piano mances (originally called the Woodcraft SMITHSONIAN FOLKWAYS 9307-40801-2, produced by Peter League, non-military, CD; 60:36 Bartok, Moses Asch, Marian Distler, and lots of Indian lore) I once his wife Sidney Cowell) sound amazingly HenryCowell's career followed a time- good, thanks to superior electronic rejuve- got a bugle into my fasci- honored pattern: In his early years, duringnation. Cowell's informal recorded dis- nated hands and tried it the '20s, he shocked the pants off the inter- course (13:18) about the individual pieces out. To my immense chagrin, I couldn't pro- national musical world as a wild-eyed radi- enhances this reissue's documentary value. duce any note at all. Just a breathy hiss. No cal by the standards of that time, only to Koch's orchestral set shows another facet taps for me. I was the more impressed by the wind up, well before his death in 1965,of Cowell: His enthusiastic ventures into good bugler who could play those three orsounding downright conservative. He wentmusical ethnology. Rarely, if ever, does he four notes. On the natural horn recorded down in musical history as the originatoractually quote authentic folk material, here, I think I would produce the same un- of "tone -clusters" (played on the keyboardbut in every instance-whether African- pleasant hiss. Or maybe an unseemly blat.with the fist or forearm), although Sorrel American, Celtic, French, German, Iranian, And so would you. Hayes points out in the Smithsonian reis- Latin, Slavic, or whatever-he had im- This is an all -"period" group, orchestra as sue of Folkways' 1963 recordings that the mersed himself so thoroughly into that par- Czech composer Frantisek Koczwara used ticular melos well as solo horn. The five compositions in- that his original composi- them (in The Battle of Prague) as early as tions sound ethnically authentic, in clude music that has re -surfaced, out of en- 1788. He also elicited sound from pianoconvincing performances, excellently hanced current musicology-one whole page strings by every conceivable direct means, recorded. Paul Moor of lost Mozart music turned up as recently as

AUDIO/AUGUST 1994 68 lei, Urmirw imp ONKYOINTRODUCES THEWORLD'SFIRST THXRECEIVER Theater tothe NextLevel NewTX-SV919THXTakes Home

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THX is a registered trademark of Lucasfilm, Ltd. Dolby Pro Logic is a trademark of Dolby Laboratories Licensing Corporation. Enter No. 24 on Reader Service Card OCK-POP E C O R DINGS my Scott

pitched, piercing voice is the result of celebrities such as directors of a hormone disorder that has af- Jonathan Demme and David Lynch, fected him since birth. After getting rock 'n' rollers Bruce Springsteen his big break in 1948 as the featuredand Lou Reed, and movie stars Alec vocalist in Lionel Hampton's band, Baldwin and Kim Basinger. Clearly, he went on to score triumphs it's Jimmy's time once again. through the '50s as a solo artist for Like its predecessor, the aptly the Roost, Savoy, and King labels. named Dream is awash in a roman- But frustration over broken promis- tic late -night ambience that can es and bad business dealings caused sweep the listener away. Nearly every Scott to turn his back on the music track on this Mitchell Froom pro- industry for 20 years, during which duction is done at the kind of excru- time he worked as a shipping and re- tiatingly slow tempos that Scott likes ceiving clerk at a Sheraton hotel into emote over, and nobody does it his home town of Cleveland. Afterbetter. Using his heart -wrenching hearing him sing at the funeral of his tones, dramatic use of space, and ex- old friend Doc Pomus, Sire Records aggerated vibrato to great effect, he founder Seymour Stein helped insti- puts his eerie stamp on a collection gate Scott's comeback in 1992 with of mournful, hard -luck tunes about Dream the highly acclaimed All of Me, pro- lost love, including late 1930s' chest- Jimmy Scott duced by Tommy LiPuma. Since nuts like "I'm Through With Love" SIRE/WARNER BROS 9 45629-2, then, he has had an avalanche of and "It's the Talk of the Town." But he 43:32 press and has garnered the attention saves his most impassioned reading Sound: A, Performance: A With engineer Tchad Blake's me -I LATIN PLysoys chanical filters, drum machines and imaitry to imagine Bette Davis doing SLASH/WARNER BROS. guitars sound like they were salvaged 9 45543-2, 37:34 an imitation of Ruth Brown from a futuristic junk heap. paying homage to Billie Holiday. Singing Perez's lyrics, Hidalgo is Or how about Bobby Short after David Hidalgo and Louie Perez by turns beat poet, haiku artist, and a hit of helium? That's about the are best known as the songwriting that guy mumbling over the steam best description I can offer forlinchpins of Los Lobos, vent over there on the cor- while Mitchell Froom is the the eerily stylized, achingly sorrow- ner. In the roots music of current producer savant, Los Lobos, his guitar ful voice of the 68 -year -old balladeer with albums by Richard artistry is sometimes lost, Jimmy Scott. On the surface, this Thompson, Jimmy Scott, but amid these landscapes might seem to have the kitsch appeal and Elvis Costello recently he creates twists and turns of Yma Sumac. But Scott's dramatic notched on his belt. None that would make Bill delivery and intuitive genius at be- of that will prepare you for the Frisell do a double take. hind -the -beat phrasing make himprimal roots music they've put to- Latin Playboys traverse a some- gether as Latin Playboys. This is one of the most expressive and times nightmarish landscape, with music born from the moment. the footprints of Tom Waits in the unique interpreters of American song Sounds are literally found in the rubble. But it's also full of joy and since the late, great Miles Davis. kitchen and out in the streets. Struc- irony, a celebration of life and lineage. An androgynous, diminutive tures are assembled from fragile im- Allen Ginsburg would love this party presence, Scott's uncannily high- provisations. music for a gone world. John Diliberto

AUDIO/AUGUST 1994 70 for Lucky Thompson's earthy blues number, "You Never Miss the Water." ```';I gift Peyton Crossley's sensitive brushwork helps set a dreamy tone throughout while bassist Ron Carter and pianist Junior rip mo Mance follow along in an elegant, under- 'Dana stated fashion. Modern Jazz Quartet vibist IMAGO 72787-21034-2, Milt Jackson swings his way through the al- CD; 53:34 bum's lone upbeat number, "I Cried for Sound: B+, Performance: A You," and saxophonist Claston Patience enry Rollins is the MTV gener- Higgins offers some smokey tenor work on atian'sveryown "Mr. the bittersweet Ellington/Hodges ballad, "It Warmth"-an author/musi- Shouldn't Happen to a Dream." cian/monologist with a bone Jimmy Scott is an acquired taste, much to pick with everyone, himself like cognac and caviar. And equally classy. included.If an old vaudevil- Bill Milkowski lian fart like Don Rickles (the original "Mr. Warmth") is master of Last Day on Earth the put-down and of obsolete John Cale and Bob Neuwirth borscht -belt ethnic jibing, Rollins en- tertains by unearthing everything MCA MCAD-11037, 68:45 you'd like to ignore. He's the psychotherapist from On the surface, Last Day on Earth appears hell. Just an hour with any And while they jcm, Henry to be an odd collaboration, but somehow this Rollins book or CD may Rollins-a.k.a. rancor incorporat- disparate pair pull things off. On what must have you combing the bins ed-screams (almost rever sings) be his first recording since the VelvetUnder- for Cashman and West from a shit list on whio nothing is ground reunion disc, Welshman John Cale records. sacred. To man -hating feminists: contributes his signature vocals and viola But while the Rollins Band (with gui- "Sometime somewhere some man hurt along with keyboard textures, while guitarist tarist Chris Haskett, bassist Melvin you/I'm one of them soI get stuck with and singer/songwriter Bob Neuwirth, an old Gibbs, and drummer Sim Con) exists to the blame." To fans who overstep the crony of Bob Dylan, has a rapier wit and a create music, specifically a Hendrix - line between respect and idolatry: knack for improvising meets -mesh -pit juggernaut, Henry's po- "You're desperate and in need/And songs. Last Day was etry of rage adds more than most could then you meet me and your whole originally a theater piece bargain for, and it's what makes this world changes/Everything I say is by the two, adapted here band so powerful. That's not to say, everything you've ever wanted to as a record. Part spoken though, that Haskett's awesome riff on hear.../I'm a liar!" And if it's with cold, (with all the necessary "Fool," those amazing chords on "Civi- unsentimental detachment that Rollins Foley effects), part in- lized," or the Gibbs/Cain rhythm sec- distances himself from everyone, his trumental, and part song, it is not a linearly tion doesn't make for equally potent lis- hellhound fury locks perfectly with his plotted piece. But the songs are surprisingly tening. This volatile band jams its band, and that's what makes them a sprightly, often haunting, and fun. This behind off. real deal. Mike Bieber makes Last Day a challenging piece of listen- At ing that defies easy answers, but it is a most enjoyable conundrum, too. I suspect that a cameo appearance, but the richness of tex- themes played out in repetitious, occasionally The Hitchhiker's Guide to the Galaxy is a key tures and strong mysterioso of McKennitt's off -center cycles. influence. Michael Tearson music more than compensates for this ab- The sound is one of improvisation; two sence. This is a gorgeous album that contin- musicians stuck in a room, tape constantly The Mask & Mirror ues to unfold in unexpected ways with repeat- rolling while they pluck and pliak on percus- Loreena McKennitt ed listenings. Michael Tearson sion, pianos, and synthe- WARNER BROS. 9 45420-2, 52:49 sizers until they finally ThroughtheHill hit on a pattern that Loreena McKennitt's music on her previ- Andy Partridge & Harold Budd holds more than mo- ous album, The Visit, was primarily Celtic GYROSCOPE/CAROLINE 6608, 54:31 mentary interest. It's with her harp playing those moments that the key ingredient. Here, In this meeting between effervescent wit make it to disc. Many of she filters her Celtic base and sardonic somberness, somberness wins. the songs have the feel of etudes and studies through the Spanish Harold Budd is one of the original purveyors in static sound fields. Budd is renowned for moors, with Spanish and of ambient music, while Andy Partridge is the his spartan yet textured themes, but Through Arabic influences keenly guitar -playing singer/writer with XTC. Here, the Hill makes albums like his Plateaux of felt. Hers is a timeless Partridge leaves his hook -laden melodies and Mirror sound baroque by comparison. sounding music, resonant of ages past, yet in- dense production behind, instead bringing an These artists have clearly found a commu- ventive and new. Oddly, the harp makes only austere minimalism to this music, withnion, and if the music doesn't give that up, AUDIO/AUGUST 1994 71 II

his catchy songwriting rather than elaborate arrangements. Bassist Paul Socolow and Last of The Independents drummer Todd Turkisher are the heart of this new outfit. They kick with authority on the N'awlins shuffle -funk number "Lilies of the Pretenders Valley" and burn down the house on "Strange Ritual," a dramatic number full of quintes- SIRE/WARNER BROS. Chrissie reunites with original drummer sentially Byrne-ish observations about "peo- 9 45572-2, 49:17 Martin Chambers, reforms the band as ple in a remote village wearing digital watch- a quartet, and hires a Honeyman-Scott es" or "a skyscraper made out of abandoned car parts" or "an ambulance driver who hose first two Pretenders sound -alike (Adam Seymour) who, on wakes up in a Dairy Queen." records are the result of an one song, even cops vital elements of Byrne also flaunts some eager guitar chops incredible rock 'n' roll quar- Jimmy's solo from "Tattooed Love on a few numbers, including his brutal Sonny tet that can never be cap- Boys" with rote precision. But on this Sharrock-ish skronk solo on "Nothing At tured again. How many of us tune, "Money Talk," the spirit of vintage All." He sings with geeky passion on the need to hear the late James Pretenders' guitar energy is re- sparse closer, "Buck Naked," and even main- Honeyman-Scott's incredible united with Chrissie's signature tains a hint of twisted, tongue-in-cheek glee in the midst of the cloying McCartney-esque guitar solo on "Kid" or angst. This hasn't happened in ditty "My Love is You." Chrissie Hynde's stark confes- quite some time and in fact, it This is far and away the best album that sionality on "Message of Love" happens throughout the entire David Byrne has been associated with since on a weekly basis? I do, but as record, yielding the revelation Talking Heads'Speaking -in Tongues. long as Chrissie-one of the that her"new" band deserves to Bill Milkowski most important women in rock roll be accepted as genuine heirs to that history-keeps making records under long -gone original one. And to hear FAST TRACKS the identity of "Pretenders," it's really Chrissie balladeering "When I hear my tough not to at least think about that baby cry" on the beautiful "977"-a great band. John Lennon inspired plea against do- Kickin and Screamin: Allgood (A&M 31454 0229 2, 39:44). This Georgia OnLast of The Independents,this mestic violence-reminds you of her quintet represents two distinct audiences: temptation is even more prevalent; greatness. Mike Bieber Fans of southern rock who acknowledge them as contemporary torch carriers, and the three poems do. Budd read his poetry on into a squally ending. Despite occasionalthe "jam band" worshipping tie-dyed frat his previous album,By the Dawn's Early Light weak spots (first single "Payday" could easily boys who consider icons like Blues Travel- er frontman John Popper their gurus. On (Opal/Warner Bros.) but this time the surreal be a jingle for the candy bar),Cotton Is King and erotic imagery comes from Andy Par- contains all the right ingredients to bethat often overlooked question of musicality, however, Allgood succeeds in tapping tridge. It's as if he and Budd have shared the amongst 1994's strongest debuts. same life, and that link is revealed in this inte- the vibe of Southern folklore with a sound Tom Fergusonthat moves Highway 61 right through the rior music. John Diliberto live room at Muscle Shoals. This live EP is a good introduction. David Byrne M.B. Cotton Is King LUAKA BOP/SIRE/WARNER BROS. Cotton Mather 9 45558-2, 51:13 After the Rain: Jack Tempchin and The ELM RECORDS ELM 9212-2, 47:46 Seclusions(Night River Records, 38:20). Darkly intimate, intelligent, lyrically enig-Jack Tempchin penned some of the better, Perhaps it's the lyrical wit and Biblical sar- matic, quirky, and powerful, David Byrne's more country -flavored Eagles songs casm of singer/guitarist Robert Harrison (a self -titled solo album works on you in two (among them "Peaceful Easy Feeling"). former advanced theology student) that make ways. Haunting confes- And now, with the Eagles reunion tour in Cotton Mather's mutated, smart -ass pop sionals like "A Long full tow, he's released his debut record- (with guitar hooks galore) so appealing. Time Ago" and "Self - with an excellent band-which shows off From the wild opener, "Lost My Motto," to Made Man" subtly in- his fine tunemanship; sort of in the Eagles the end, they combine the Beatles' melodic ciavidemyd vein but grittier and better. (Night River sinuate themselves on Records, 103 North Highway 101, No. sensibilities with the ur- your subconscious like 1013, Encinitas, Cal. 92024). gency of XTC and vin- some David Lynch-ian M.B.

tage Squeeze. And they're dream sequence, while tension -filled, big- from Austin, Texas, of beat numbers like "Back In The Box" andSweetheart's Dance: Pam Tillis (Arista 18758-2, 32:57). A strong set, possibly all places. MI British in- "Angels" (a kind of '90s sequel to "Life Dur- Tillis' best yet, with sure -handed produc- fluences aside, "Cross ing Wartime") or the irresistable soca-fla- the Rubicon" tion of 10 excellent songs. Pam had a settles vored "You & Eye" help shake your spine hand in writing only three of them, but neatly into a Booker T. and the MGs guitar loose and guide your feet to the dance floor. all-especially the Tex-Mex flavored "Mi groove, "The End of the Line" borrows styles After flirting with a Latin big -band sound Vida Loca"-are aces. Terrific cover of from rock 'n' roll's first decade, and the mon- onRei Momo,Byrne has stripped thingsJackie De Shannon's "When You Walk in strous metal riff of "Miss Information" builds down to a basic rock formula, emphasizing the Room." M.T. AUDIO/AUGUST 1994 72 No WORDS, No BORDERS SAMPLER '94 Windham Hill Records The greatly anticipated new release in Windham Hill's yearly sampler series, Sampler '94 features the strongest musical program to date; balancing a lineup of emerging newcomers with some of the label's best selling, most beloved favorites.

Nk INDUANI 1111 I RECORDS

PIANO SAMPLER II Windham Hill Records The follow-up to one of Windham Hill's most popular and timeless compilations, Piano Sampler II is an expressive collection of original solo pieces featuring 14 of the genre's leading contemporary pianists. Included PIANO SAM!' L E R I I in this new volume are brand new compositions by Danny Wright, Liz Story, C)ystein Sevig, and a diverse cast of modern instrumental masters.

NIGHTNOISE Shadow of Time IGHTOISE Steeped in traditional Irish roots, this Celtic quartet counts Enya and Clannad among its growing legend of loyal followers. Shadow of Time passionately traces a diverse musical landscape with 12 new beautifully performed songs. Featuring Triona Ni Dhomhnaill, Micheal 0 Domhnaill, Brian Dunning and Johnny Cunningham.

JIM BRICKMAN No Words One person, one piano. Award -winning composer Jim Brickman makes his Windham Hill debut with an album of memorable, romantic melodies. They may have "No Words," but his lyrical pieces evoke intimate feelings and romantic images.

C 1994 'Windham Hi2 Records

To order Direct, call J & R WINDHAM HILL Music World 1-800-345-8502 through Miles Davis, Monk, Han- JAZZ -BLUES cock, Ellington, Coltrane, Sonny Rollins, and others. The lone Hersch RECORDINGS original, "Evanessence," is strategi- cally placed in the middle of the 12- releases; three benefit pack. albums, one as a side- Gliding easily over and through man, and two-Thethe different time signatures in each Fred Hersch Trio Plays of these pieces, Hersch is capable of and Live at Maybeck- stopping, starting, and pausing by as leader. turns, without missing a beat. He re- Such output wouldmains delicate in his approach, but have us believe Hersch is unafraid to challenge himself or is a man on a mission, his bandmates. and he is. As an in- Bassist Drew Gress is always creasingly important where he should be in supporting Hersch, but it's the pianist's excellent rapport with drummer Tom Rainey that is most noticeable. The two seem to viscerally know where the other is, particularly during the al- voice in AIDS aware- bum's many moments of quiet. And ness (he was diag- Hersch's ability to make his piano nosed HIV positive a few years ago) and gay Folklore issues, he's an icono- Vincent Herring clast relative to the MUSICMASTERS 65109, 57:34 c. heterosexual machis- mo of the jazz com- Vincent Herring may have been munity. And being so shot straight out of Adderly's cannon (he currently commands the alto out has, no doubt, fu- chair in Nat Adderly's band), but he eled his creativity. But has exploded on the scene as a forceful he's also an artist with leader with a lots of brilliant music voiceallhis to share, enough to own. Folklore, Fred Hersch at Maybeck warrant abundant releases. recorded live at CONCORD CCD-4596, 67:34 Live at Maybeck, Concord's 31st in the Village Van- guard,brims Sound: A, Performance: A their ongoing solo piano series, is with the same impressive from a number of stand- buoyant spirit that Cannonball radiat- The Fred Hersch Trio Plays points. Hersch displays articulate ed and has a similar knack for memo- The Fred Hersch Trio prowess throughout, whether inter- rable two -horn lines. Trumpeter Scott CHESKY JD 116, CD; 63:21 preting one of several popular stan- Wendholt proves to be a more -than - Sound: A, Performance: A - dards here (notably Thelonius competent foil, and, with pianist Monk's "In Walked Bud") or deliver- Cyrus Chestnut as the anchor, Her- pianist Fred Hersch released his ring's quintet never strays too far ing his own introspective take on from its deep -blues grounding. Dancing in the Dark album Herbie Hancock with "Sarabande?' Herring virtually sails out of Wend- (Chesky) in 1993, and it went Meanwhile, The Fred Hersch Trio holt's "Window of Opportunity" on on to earn a grammy nomina- Plays is a superbly recorded disc that the wings of his soprano saxophone tion. In that year he also re- houses a series of quite divergent but for an impressive improvisational leased Red Square Blue (An- always pleasing trio works. flight. Throughout, the young saxo- gel/EMI), dubbed "jazz impressions All but one of the dozen pieces is phonist displays enough confi- of Russian composers." dence to look past his own horn an interpretation of a work by a and base his ideas on a group This year, to date, Hersch's name great jazz composer. Hersch, dili- sound. As Chestnut's two-fisted bril- and talents (which also include pro- gent, intelligent, and with consistent liance on "Fountainhead" suggests, ducer, composer, sideman, and ben- sensitivity and modernism, enter- he's in good hands. Larry Blumenfeld efit organizer) are associated with six tains while moving deftly and subtly AUDIO/AUGUST 1994 74 breathe in an almost Debussy -like manner is matched by Rainey's tender embrace of the cymbals. AT THE DEER HEAD INN Perhaps the only shortcoming here Keith Jarrett, Gary Peacock, may be in the programming and sequenc- 16 years), and, with bassist Gary Pea- Paul Motian ing of selections, one too many ballads. cock, the trio cuts a serious swath through some classic tunes. ECM 1531 78118-215, 66:33 But it's really difficult to find any heavy Housed between the opener, Miles fault with Hersch and this fine recording. Sound: B+, Performance: A Davis' "Solar," and the closer, a great Jon W. Poses reading of the Rodgers & Hart ballad kay, so the guy groans, "It's Easy to Remember," are five tracks Turn On Your Love Light and he requires absolute that demonstrate the trio's exceptional "appropriate concert -type familiarity and appreciation of the jazz Bobby Bland behavior" at his gigs: No and standards literature. "Basin Street MCA MCAD2-10957, 2:16:35 smoking,0 no coughing, and for God's Blues" is basic, down, and dirty, while sake make sure you hit the Jarrett mainstay "Bre Bye Black Bird" is a standout vehicle for the Bobby "Blue" Bland has long had two bathroom before he starts play- . : ... strikes against him in winning over new blues ing. But eccentricities aside, Keith Jarrett, particularly in a fans; he doesn't play guitar, and his urbane trio setting, seems to be getting music is poles apart from the more popular better, swinging harder, and Delta and Chicago blues styles. Yet, as an ex- sort of coming back to the fold, traordinary singer with stature among his as it were. Perhaps it's safe to say that his peers, and with record sales to back him up, pretentious KOln Concert days are long - Bland is a giant. since over. This second compilation of his '60s Duke At least that's what this less -formal live recording seems to indicate. For cer- sides has more hits than the first (like the tain, Jarrett entered this sentimental great gospel -flavored "You're Worth It All" project in a different frame of mind. Lo- and others). His "Farther Up The Road" in- cated in the Allentown/Bethlehem, Pa. pired Eric Clapton, area, The Deer Head Inn is the long- while the horn charts standing restaurant and music establish- from "Turn On Your ment where Allentown native Jarrett Love Light" (yes, Bland landed his earliest professional work, gigging at times as a drummer and even did it first) were long a playing guitar on one occasion for Stan group to play its improvisational heart staple for dozens of Getz. And this live date is perhaps a re- ont with. Quite simply, there's not a lounge acts. Credit Joe Scott for timeless dedication, or even a catharsis. He re- weak link in this seven -song, hour-plus- arrangements that threw the thundering mo- unites with drummer Paul Motian (after lang program. Jon W. Poses mentum of a small orchestra behind this extraordinary singer. improvisations that often lends a chamber As served up here, they're covered for the If only today's bands would study these mood even when he's crashing the keys or most part by a messy but delicious layer of sides with the same devotion brought to ana- pounding out Charlie Parker's "Billie's sonic cheese. But, as the album's opener, lyzing the latest guitar solo. They'd learn that Bounce." The duo----..-., . "Vog," bears out, this raucous outing is more musicians can punch out polished arrange- mostly perform self - satisfying-and more substantial-than any ments with drill -team precision without sac- penned tunes, such as manner of store-bought junk food. With rificing a performance's passion and spon- Holland'sraucous Fuze's guitar alternating between angular pre- taneity. All you need is a vocalist in the same "Jumpin' In," with cision and wobbly fuzz, Medeski skips from league as Bobby Bland. Roy Greenberg Leviev moving from clavinet through power organ to Fender - Cecil Taylor-ish sweeps to a splash of rag- Rhodes; the effect is equal parts of Edgar Up and Down time. But they also show a lyrical side, dip- Winter and '80s Miles 11.10.1.16 Milcho Leviev er Dave Holland ping into the underrated songbook of John Davis. Though vocals by MA RECORDINGS M002A, 66:16 Abercrombie. John Diliberto Michelle Johnson and Gloria Tropp nudge the These two veteran players are at turns chal- Lunar Crush project toward art -rock kl lenging and comfortable. Dave Holland is the David Fiuczynski John Medeski pretense, the two prin- most gifted bassist of his generation, while GRAMAVISION R2 79498, 57:02 cipals bear more earthy inspirations (try Milcho Leviev is a Bulgarian -born journey- "Slow Blues for Fuzy's Mama" as proof). As a man pianist who's been in this country since Downtown N.Y.C. guitar hero Dave "Fuze" result, the not inconsiderable pyrotechnics the early 1970s, playing with Don Ellis. Leviev Fiuczynski and keyboardist John Medeski achieve a distinct brand of postmodern funk. brings a classical sense of phrasing to his jazz possess a more than ample supply of chops. Larry Blumenfeld AUDIO/AUGUST 1994 75 Misterios Wallace Roney WARNER BROS. 9 45641-2, 59:10

Trumpeter Wallace Roney will never fully sidestep the shadow of Miles Davis, yet his own bristling tone and sense of harmonic in- vention nonetheless assure that his own horn shines. On his debut for Warner Bros., Roney enjoys some Miles -like trappings-most obviously in the form of quirkily lush orchestral arrangements by a man named Gil (Gold- stein, not Evans) and in the presence of producer Teo Macero. Surely, Roney shares more than just a lonely, piercing upper register with Davis: He employs notable restraint to create well -placedsilences. Urged along here by a fine group featuring pianist Geri Allen and saxophonist Antoine Roney (Wallace's broth- L IN A EUM er), Roney crafts a consistent structure over a MODEL NINE wide range of compositions by people like Jaco Pastorius, Egberto Gismonti, Milton Nascimento, and others. He single-handedly 1238 N.W. GLISAN.SUITE 404. PORTLAND, OREGON. 97209.503.222.5138. revives John Lennon and Paul McCartney's "Michelle" from tired inconsequence, and Enter No. 10 on Reader Service Card rescues Dolly Parton's "I Will Always Love You" from Whitney Houston bombast. MCM ELECTRONICS Larry Blumenfeld The Source For Custom Speaker Components Catch Up With The Blues Johnny Copeland VERVE 314 521 239-2, 54:57

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heard them on the WE DONT WASTE CUSTOMERS' MOWEY, NAD Velodynes?" Atth gE1111E1? b0 THEE row: qx,, /6,,,,, il...4. 3(t( Velodyne's DF661 .1144,4.16 Glom Prop Fa "We are known for the be Distenlitor-F ree speaker Dor. Quiz 12". Swim that lets everything else tell the companies we keep" Sfuebeged SUNICO TAtillof truth. I,, our 80111111r0IIM11011'. baser Toms 1iakorrur Adcom, NAD, Rotel, Onkyo, B&W, Yamaha Ortofon, Audioquest, Monster Cable, McIntosh 6'tWA'S...1W 01 AY M&K, AKG, Stax, Polk Audio, Atlantic Bang & Olafson toonwenr Technologies, Audio Alchemy, Adcom ha% F.111.14 TOLL- FREE Beyerdynamics, Sony, PSB, Sennheiser, Marants atekwAnwt er Atelt a...71 Wye_ Alpine, Boston Acoustics. Krell If1156 443i Northern NY's oldest & most renowned dealer. PS Audio Sonic Frontiers SCAEWrici 57 Smithfield Blvd., Plattsburgh, NY 12901 Ayre &MO 518-561-2822 Res. u, sour

le Ate4Sr Fax: 518-561-2961 NICHOLSON'S115 19th Avenue South .0\ Braiftrerte stranal Monday -Friday 10am-8pm. Saturday 10am-6pm Nashville, TN 37203 Mastercard, Visa, Discover, Amex STEREO(615)327-4312

TEXAS NEW YORK VIRGINIA THE BEST IN HOME GROWN AUDIO. audiotechnica /\ U R /VT --=_ A. UE I O ../ I ID E Cs DALLAS' FINEST AUDIO VIDEO STORE ADS Pioneer YOUR SEARCH IS OVER!0 AMX Powerwedge Hi-Ei Farm MOM Audio Alchemy Proscan - s Audioquest Rockustics 011111 B &X Runco FEATURING: I BIC Signet Dahlquist Sony We specialize in hard to find Dimon Standesign Fore Sumo Quad, Alon, OCM, Magnum, phono cartridges and orig- amo Tice Woodside, Roksan, Spendor, inal replacement styli only!! _APC Threshold MB Owart Toshiba B&K, Kimber, VMPS, Cardas, (800) 221-0906 McCormack Vidikron Creek, Epos, Micro -Mega, Fosgate WHY VPI and many more. CALL TOLL -FREE FOR Niles XL° FREE PRICE QUOTES NSA Also featuring high end used AND VISAIMC ORDERS Bryst3n N.Y. STATE (SIR) S89.1112 MIEEKETEMEll NAD Fiic.gear- e Onkyo equipment, fully guaranteed! SEND SELF ADDRESSED - Snell STAMPED ENVELOPE FOR Kenwooc I H X Rane OUR FREE CATALOG. LLT:i Laitic311 Stewart 2039 Electric Rd., Roanoke, VA 24018 RA $ < Certified Dealer Triad LYLE CARTRIDGES Paliasouric Velodyne Call for information 115 South Corona Avenue Ha -man K3rdon Valley Stream, N.Y. 11582 Soundstream 1-703-772-4434 Consultation Sales Installation Phones Open Mon Sat 9 am -8 pm Available throughout the United States. Nationwide ToIrFree: orrobn SHURE siaNron PHONE 214/516-1849 1-800-752-4018 Allmajor credit cards accepted 2301 N Central Suite 182 Plano, TX 75075 PENNSYLVANIA TEXAS WEST VIRGINIA PHILADELPHIA AUDIOPHILES But have you "But have you heard them on the Acoustic Energy Harbeth Rega Planar heard them on the Air Tight Hlghwire Roksan Audible Illusions Jadis Rotel Velodynes?" Velodynes?" Audio Alchemy Kimber Kable Sci-Fi Audiolab Kinergetics Signet Velodyne's DF661 Velodyne's DF661 Avalon Klyne SOTA The Distortiort-knc The ni,lortiew-t. re( speaker Koetsu B8KComponents Soundcrattsmen that lets etcrything else tell the that lets everything else tell the Cary Melos Spendor truth.InOursound,OOMUM, truth. In our soundroom 11011'. CEC TL -1 Meridian Stax Adcom Classe Micromega Straight Wire Sony Video Counterpoint M8K Sound Target Bang & Olafson Creek Monitor Audio Totem Elan Sony Audio ES/DST DPA-Deltec Muse Transparent Dynavector NAD Unity Audio Mcintosh Yamaha Oracle Nakamichi Eminent Tech. VAC Nakamichi Epos Parasound VPI Sony ES Genesis PS Audio Well Tempered Yamaha Adcom Green Mountain PSB Wheaton Mitsubishi HOME EIN1FITAINFAE.NT, INC. DAVID LEWIS AUDIO va,mus,, .rne AtSound Service Company 5310 5irlyyal Bissonnet 8414 Preston Rd. at NW Hwy. 4750 FM 1960 West 59 South University Avenue (713) 526-4117 (2141373-0600 of Veteran's Memorial 8010 Bustleton Ave. Philadelphia. PA 19152 Sound Morgantown, WV 26505 1113) 893-7171 (215) 725-4080 Bank Cards Accepted 6522 Wessheimer of tossThe Galleria- Third Level Investments (304) 296-HIFI (4434) 17131 781104 3 12141934-8585 WISCONSIN FOR SALE PLEASE NOTE:It is impossible for us to verify all of the claims of advertisers, includ- AUDIO CLASSICS, LTD. ing product availability and existence of Buys -Sells -Trades -Repairs -Modifies. warranties. To confirm that an advertiser is (Al) = AS IS, (D)= Demo, (EX) = Excellent, (F) = Fair, authorized to sell a product, we suggest you (G)= Good, (M)= Mint, (N)= New. Amplifiers Accuphase contact the manufacturer directly. Please re- P11(M) $1699, P102(M) $1899, P260(M) $995; Aragon For the Musical Difference view our Tips for Mail Order Purchasers in 2004-II(EX) $995; Audio Research Corp Classic 30(EX) Authorized Dealer For: this section. $1499, M100(EX) $2799, ST70C3(EX) $899; B&K ST120(0) $399, STI 400(M) $459, ST202 + (N) $799; Carv- NAD CARVER er AV64(EX) $569, TFM25(D) $549, TFM35(D) $635, GRADO LEXICON TFM45(D) $625; TFM55(D) $749; Chord SPM1200(D) PROAC ATLANTIC TECHNOLOGY AUTHORIZED $1999; Coda 10(D) $1995; Conrad -Johnson EV2000 (EX) APATURE NAKAMICHI $3899, MF200(N) $1749, MF2300(N) $2099, MF80(N) VELODYNE AUDIOCONTROL * * * * * * ACCESSORIES TO COMPONENTS * * * * * * $1199, MV100(EX) $1950, PREMIER -8(D) $12765; Coun- CWD CELESTION terpoint NATURAL(D) $5995, SA100(EX) $849, SA12(EX) STAX PSB Audio Outlet... $699, SA20(EX) $999, SA220(EX) $2199 SOLID -2(D) SANUS NILES AUDIO $1799; Crown Macro-Ref(D) $1499, PL4(EX) $399; Denon M & K NITTY GRITTY where audiophiles POA5000(N) $999; Dynaco ST40011(0) $599; Electrocom- KEF SOUNDSTREAM call audiophiles paniet AW250(D) $1499; GAS SON-OF-AMPZILLA(EX) ONKYO HARMAN KARDON $399; Haller 9300S(D) $999; Jadis DEFY -7(D) $3799; Kiner- SONY ES MONSTER CABLE for great selection, getics KBA202-G(EX) $1249; KBA75(D) $1795; Krell ADCOM ALTEC LANSING great services and KSA150(EX) $3333, KSA250(EX) $4295, KSA80(EX) THORENS ROCKFORD/FOSGATE $1899; Levinson ML9(M) $1499, ML11(M) $1199, Manley TARGET POLK AUDIO great prices! EURO-35(D) $1399; McIntosh MC240(EX) $1495, MC2505(EX) $499, MC3500(G) $5000; Motif MS100(EX) 2808 Cahill Road , P.O. Box 224 $1825, OCM500(D) $1916; Precision Fidelity M7A(AI) $299; Marinette, WI 54143 Sam( Advice without the Price SAE MKIII-CM(G) $349, P50(G) $249. Cassette Decks: 1-800-826-0520 (715) 735-9002 914-666-0550 Carver TD1400(D) $249, TD1440(D) $249; Denon 24 -HR. FAX 914-666-0544 DRM710(N) $359, DRS810(N) $449, ORW840(N) $369; Monday -Friday Nakamichi 550(A0 $299. CD Players: Accuphase DP70(M) InC. I Oam-7pm ET $2099; AMC Valve Music CD6(D) $549; Carver SDA370(D) $479, SDA450(M) $299, SDA49OT(D) $439; Kinergetics WISCONSIN ** P.O. Box 673 Bedford Hills, NY 10507-0673 ** KCD40(D) $1995; Krell CD1(M) $1599, CDDSP- CUSTOM(EX) $2195, MD10(EX) $4895, MD20C(EX) $3333, MD2AC(EX) $2099; McIntosh MCD7007(EX) AUDIOPHILE & SCHOLAR $1399; Proceed PDT(M) $699, PDT2(M) $899. CD Pro- UNIVERSITY AUDIO SHOP, MADISON, WI cessors: Krell SBP32X(EX) $1499, SBP64X(EX) $3395; SPECIAL: Spica SC30-$299. AUDIO RESEARCH, Van- STEALTH(EX) $1299, STUDIO(EX) $1095; Proceed dersteen, KEF, NHT, Snell, Totem, Epos, JMLabs, Paradigm, PDP2(M) $499. Crossovers: Accuphase F15L(M) $1659; SYMDEX, Spica, NEAR, B&K, AMC, Creek Aragon, YBA, Levinson LNC2(M) $1250. Equalizers: Audio Control, Call. Because you'll play It for keeps. Boulder, Michael Yee Audio, California Audio Labs, Micro - Headphones: Grado, Call; Stax LAMBDA-CLASS-MX(D) Authorized Dealer For: mega, Audio Alchemy, Rega, Stax, Magnum Dynalab, Fos - $699, LAMBDA-SIG(D) $1425, SR-SIGMA(EX) $299, gate, Soundstream, Runco, JVC, Grado, Tara & TaraLabs. SR84-PRO(D) $219. Integrated Amps: Carver CM1090(D) ADS PSB (608) 284-0001 $544; McIntosh MA6200(EX) $1099. Une Condftloners: JVC TARGET WESCOTT AUDIO has the finest selection of high end Counterpoint PAC15(D) $379, PAC5(D) $265. Pre- LEXICON CLARION preamps: Accuphase C17(M) $749; McIntosh MCP1(EX) ACURUS ROCKFORD/FOSGATE components. Anywhere. Call Scott in State College, PA (800)669-7574. $275. SANUS SENNHEISER $795, C202(M) $1199; B&K PRO5(D) $355, PROIOMC(EX) HUGHES STEREOSTONE SELL FOR CASH OR TRADE AUDIO & VIDEO EQUIP- $399; Carver ClIN(D) $399, C15V(D) $699, C19(D) $999, HAFLER CELESTION MENT. AUTHORIZED: DENON, H/K, MARANTZ, ACU- C20V(D9 $849; Conrad -Johnson PF1L(N) $999; Counter- SONY SONY ES RUS, ARCAM, ROTEL, SUMO, CELESTION, DAHLOUIST, point SA1000(EX) $599, SA3000(D) $1799, SA5000(M) MONSTER BANG & OLUFSEN ENERGY, ROGERS, SIGNET, AUDIO ALCHEMY, AUDIO - $3295; Jadis JPL(D) $3395; Levinson No25(M) $1199, NAD ATLANTIC TECHNOLOGY QUEST, GRADO, ET.AL. STEREO CLASSICS, 75 No26(Mi $2899; Krell KSP7B(EX) $1599; Marantz 7 (EX) M & K HARMAN KARDON CHURCH ST., NEW BRUNSWICK, NJ 08901. (908) $1999; !McIntosh C11(G) $1695, C22(EX) $1999, C27(EX) POLK LUXMAN 220-1144, FAX: (908) 220-1284 $699, C28(G) $499, C30(EX) $1099, C32(G) $999, C37(EX) NAKAMICHI ENERGY AUDIO UNLIMITED In Colorado offers Accuphase, Acous- $1599, CR7(EX) $399; Rotel RC980BX(D) $449. Pro- PROAC P.S. AUDIO tic Energy, Acrotec, AirTight, Audio Meca by Pierre Lume, cessors: Carver DPL33(D) $289, H9AV(EX) $299; Fosgate AKG NILES AUDIO Audio Note, Audioquest Analog, Basis, Benz -Micro, Bitwise, DSM3608(EX) $449; SAE 5000A(EX) $299; Shure AVIA AIWA PORTABLES Chario, Chord Audio Static, CODA, Dpa De tech, Dynavec- HTS5000(EX) $249. Receivers: Carver HR742(D) $459, 430 State St., Madison, WI 53703 tor, Ensemble, Graham, Harbeth, Ikeda, Impulse, JM Labs, HR875(D) $849, HR895(D) $1150; Kyocera R461(D) $399; Kuzma, Meret, Magnum Dynalab, Micronega, Mission - McIntosh MAC4100(EX) $1195; Philips FR920(D) $219, 608-255-2887 Cyrus, Musical Design, Muse, Music Meter, NSM, Onix, FR930(0) $325, FR940(D) $399; Record Cleaners: VPI Roksan, Roomtunes, Solid Steel, SOTA, Spendor, Tice, HW16.5(D) $375. Remote Controls McIntosh CR7(M) Trimax, Unity Audio, Vimak, Wheaton Triplaner, YBA & $299, CR8(EX) $149. Speakers: Apogee CENTAUR(EX) more...PHONE/FAX John Barnes at (303)691-3407. 2341 $1250, STAGE-SW(EX) $1995; Audiostatic ESI 00(D) WISCONSIN West Yale Ave., Englewood, CO, 80110. VISA and MC $2346; BIC REALTA(D) $899, V830A(D) $499; Dahlquist accepted. DC116(N) $700, DQ18(D) $659; JBL 4410(N) $499; LI- BRA(G) $149; JM Lab MICRON(D) $595, SYMBOL-I(D) $369; KEF 104/2(D) $1499, 105/3(D) $2999, C85(D) $639, FOR SALE 010(D) $259, 050(D) $599; McIntosh ML1C(EX) 550, ML2C(6) $999, ML4M(G) $1500, WS200(EX) $299, SAVE 40% ON HIGH -END home speak- XD715(M) $799, XR1052(EX) $999, XR230(M) $849, XR240(M) $1199, XR250(EX) $1699; Sound Lab PRIS- ers, subwoofers, amplifiers. FREE CAT- TINE(Dl $3199; TDL STUDIO -3(D) $1569. Sub -Woofers ALOG, 3021 Sangamon Avenue, Spring- Kinergetics SW800(D) $3299. Systems: Denon 060(D) $885. Tape Decks: Ampex AG500(EX) $299; Crown 824(AI) ACI's Sapphire III field, IL 62702.1-800-283-4644. $399. Test Equipment: CALL. Tonearms: Kuzma Awarded "Component REF-A(D)S1275;SME-V(M)$1399. Tuner Preamps Carver of Exceptional Merit" LOW PRICES! SAVE$$$!! CT17(D) $499, CT29V(D) $899, CT6(D) $499; Hafler 945(D) $499, 945S(D) $499; McIntosh MX110(G) $599, by Martin G. De Wulf, NAKAMICHI, POLK, CARVER, PARADIGM, DENON, NAD, B&K, KEF, PARASOUND, M&K, ONKYO, PS AUDIO, VE- MX117(EX) $899. Tuners B&K TS108(N) $398; Carver Publisher Pound for LODYNE, SNELLI plus more! Call us! SOUND SHOP TX11BED) $739; MAgnum Dynalab ETUDE(D) $1459, FT- Sound, No. 2a/94 206-692-8201. R(D) $299, FT101ABI9(D) $749, FT101A$19(D) $779; Marantz 10B(EX) $2495, 20B(EX) $699; McIntosh MR65(G) Special sale pricing and $599, MR66(G) $799, MR67 5499-1199, MR71 $249-899, rebates on all ACI speakers! XXX-TREME SAVINGS!!! MR74(EX) $549, MR75(EX) $999, MR77(EX) $699, MR78 ONKYO-DENON-CARVER-ACURUS- $899-1399, MR80(G) $1399. Tandberg TPT3001A(EX) NAKAMICHI-NAD- PARASOUND-GRADO- $995. lUrntables VPI HW19-JR-PWS(D) $1499, PLC(D) Call (608) 784-4579 or APATURE-SUMIKO-KEF-SNELL-POLK- $279, TNT-JR-(D) $2299. FREE Catalogue. 8AM-5PM M&K-NHT-SPICA-VELODYNE-PSB- EST Mon. -Fri., Fax (608) 784-6367 CHICAGO STANDS. U.S. products. NO GREY! Many closeout deals! STEREO TECH. 414-836-2942 AUDIO CLASSICS, LTD. POB 176AAA, Walton, NY 13856 ACI RACK AND CHASSIS BOXES for construction of electronic Authorized Dealer Since 1977 projects. Low cost; quick delivery. Call for free catalog. 607-865-7200 901 South 4th St. SESCOM, INC 1-800-634-3457. La Crosse, WI 54601 AUDIO/AUGUST 1994 83 FOR SALE FOR SALE FOR SALE AUDIO BY VAN ALSTINE HAS MORE NEW MODELS! CABLE DOCTOR- STOP THE BULLET & ID SIGNAL in AUDIO INTERFACING ACCESSORIES (over 300) for Outrageous new Omega III active feedback preamplifiers, cable lines! Order your set now. Send $20.00 money order: broadcasting, recording, sound reinforcement and live enter- Fet-Valve hybrid amplifiers, Omega II ultra wideband active R&R Enterprises, Dept. AU, Box 3532, Easton, PA 18043. tainment. Free catalog. SESCOM, INC. 1-800-634-3457. feedback amplifiers should be in your system for ultimate faithfulness to the spirit of the music. AVA ruggedly efficient NO BLACK MAGIC! We manufacture & sell direct: non - reactive cables, passive pre -amps, real world accessories, at FREE SHIPPING! PLUS big amplifiers feature striated heatsinks and no satisfaction - guarantee returns or field failures so far! We engineer hybrid, non -audiophile prices. VIRTUAL MODE (203) 929-0876. EXPERIENCED, FRIENDLY ADVICE! MIRAGE, PS, CWD, tube, and solid-state preamplifiers for varied system require- CARY, KINERGETICS, KEF, PHILIPS, AUDIOQUEST, CABLE T.V. CONVERTERS, DESCRAMBLERS. Scien- FRIED, MONSTER, KIMBER KABLE, SPICA, STRAIGHT - ments. Big preamps support complex systems with switch - tific Atlanta, Zenith, Jerrold, Pioneer, Oak. Replace- able tone controls, gold switch contacts, gold jacks handling WIRE, QUAD, MORE! READ BROTHERS, 593 KING, ments for most models. Quality, Price & Service. Amex/ CHARLESTON, SC 29403. (803) 723-7276. 9 sources and 5 loads. Budget priced exquisite straight-line Disc/Visa/MC. Dealer inquiries Invited. EAGLE Electron- preamps. Complete line -only preamps, headphone amps, ics Inc., 1-800-259-1187, #1, 1301 Railhead Blvd., Na- BEST $1,500 LOUDSPEAKERS phase inverters and more start under $300. Complete kits ples, FL 33963. available for savings and fun. No cheap parts, no "made by THX HOME THEATER machine" layouts. Hand crafted in the USA. ATTENTION ABARGAIN: STAX SIGN/LAMBDA $1,150; SIGN/SRM1-II Alon - B&W - VMPS - Bang & Olutsen - VINTAGE DYNACO AND HAFLER OWNERS. Economi- $799, PRO/LAMBDA(#1) $459, SIGN/LAMBDA SRD/7 cally recycle your eequipment for better than new perfor- $599; ED -1 $550; ALL UNUSED (212) 966-1355. Adcom - KEF - Harman Kardon - Mirage - mance. Eliminate old problems with durable, rugged, musi- Hardbound AUDIO, annual bound volume editions, just Crown - Celestion - Eminent Technology- cally convincing AVA original circuit designs. Complete PAS, like the ones in the Editor -in -Chiefs office. Various years PAT -4, PAT -5, and ST -70 rebuild kits from $195 include new McCormick - VTL - Parasound - Denon- available in limited quantities, $40.00 each. Also available: circuit cards and precision controls. AVA 300V/uS active Hardbound October Annual Equipment Directories. Years Triad - Polk - Velodyne - Fosgate - Signet- feedback amplifier circuits installed in Dyna and Hafler chas- 1992, 1991, 1990, & 1987 $15.95 each, and hardbound May sis set new standards for transparency, definition, dynamic Audible Illusions - Snell - NHT - Carver - Car Stereo Directories for years 1991, 1990, 1989 and 1985, range, and liquidity. Write, call, or FAX for free illustrated $8.00 each. All prices include postage and handling. All B&K - Quad - Alchemy + 25 More Brands. catalog. Audio by Van Alstine, 2202 River Hills Drive, orders postpaid. Check or money order only (no credit card Honest Advice! TECH ELECTRONICS (904) Burnsville, MN 55337. (612) 890-3517, FAX: (612) orders) payable to AUDIO MAGAZINE. Send orders to AU- 894-3675. 376-8080. Not affiliated with Amerisound DIO, 1633 Broadway, New York, N.Y. 10019. Attn: Michael HI Fl EXCHANGE. Large selection of quality USED highend Bieber, Or call 212/767-6301 for further information. or. STI. components at huge discounts. We buy, sell & trade. Call for inventory list. (718) 423-0400 or visit our showrooms at 251-11 Northern Blvd, Little Neck, NY 11363. STOP! LOOK!! SAVE$$$!! DJ & Nightclub CARVER, DENON, POLK, NAKAMICHI, B&K, NAD, ONKYO, KEF, SNELL, PS AUDIO, PARASOUND, M&K, Sound & Lighting CATALOG VELODYNE, SPICA, plus much morel Sound Shop FREE 68 -Page Catalog 206-692-8201 with a huge selection of -am High -end audio components. The best se- name brand professional gear for DJ's, Clubs & lection. Featuring Forsell Digital,Krell, MUSICAL DESIGN Musicians all at discount Mark Levinson, Spectral, Theta, Aerial prices! Acoustics, Dunlavy, Wilson Audio, and Call Today much, much more. The best prices. 800-945-9300 41116 Friendly service and advice. AUDIO AMER- Mail Order Center 11711 Monarch St. "The Musical Design D-140 Garden Grove, CA92641 ICA (Virginia). 1-703-745-2223. Retail Super deserves classic status!" Store13110 Magnolia St m irW "It doesn't sound like an Garden Grove, CA 92644 (714)-530.6760 amplifier, it just sounds B&W, CELESTION, DEFINITIVE TECHNOLO- PRO SOUND OUR 18th like music!" "A true GY, KEF, MIRAGE, VELODYNE, ADCOM, YEAR! classic." Isn't it time STAGE LIGHTING''. you auditionedthe B&O, CARVER, DENON, HARMAN/ 0-140? KARDON, NAKAMICHI, ONKYO, YAMAHA, HOME AUDIO-CAR STEREO-VIDEO MUSICAL DESIGN AND OTHERS. S.T.I. 1-800-380-5111. Bose Boston Denon Hafler JVC 1832 Borman Ct., Suite 1. St. Louis. M063146 (3141275-7162 THE FIRST JITTER -FREE TRANSPORT IS AVAILABLE Nakamichi Pioneer Polk PPI Rockford NOW! AT $649, THE REFERENCE ONE TRANSPORT Sony Soundstream Technics Yamaha REPRESENTS A BREAKTHROUGH IN TECHNOLOGY AND PRICE. ISOLATED STABLE CLOCK MODULE AND and More! VIDEO F, X: 1-800-474-0002. OTL TRANSPORT DRIVER BOARD ALSO AVAILABLE. TURN YOUR CDS INTO MUSIC. G & D TRANSFORMS, (602) 954-0155. SINGERS! RI Keg LVI" XXX-TREME DISCOUNTS!! Unlimited BackqroundsTMBackgrounds"" ONKYO-DENON-CARVER-ACURUS - From Standard Tapes, & CDs with NAKAMICHI-NAD-PARASOUND-GRADO- HYPE! HYPE! HYPE! the Thornr Vocal Eliminator'" Call Plow You get enough elsewhere! We've delivered something for Free Catalog & Demo Tape. Phone (404)482-4189-Ext5i APATURE-SUMIKO-KEF-SNELL-POLK- different for 14 years-natural, musical results! MUSI- M&K-NHT-SPICA-VELODYNE-PSB- LT Sound ,Dept AU -15, CAL CONCEPTS, "most recommended and re- 7988 LTParkway CHICAGO STANDS. U.S. products. NO GREY! Many spected" Adcom, B&KandHafier modifiers. MC -3T Lithonia, GA 30058 closeout deals! STEREO TECH. 414-836-2942. 24 Hour Demo/Info Request 4411r (Teflon®) phono/line preamplifier board, PA -1driver Line (404)482-2485 ea 51 boards for HAFLER amps-budget bliss! NEW LOW- The Thom son Vocal Eliminator" Better Than Karaokel ER PRICES on most products! DIGITAL PLAYBACK-ENIGMA 7 and EPOCH 7 CD players, BIG DISCOUNTS!! CDT -4 Transport on "Elite" chassis with Stable Platter AUTHORIZED AUDIONIDEO/CAR Transport! New, affordable ENTRE CD player and 1-800-348-7799 FAST DELIVERY SAVE$$$! CDT -5 transport, both at $495. We modify Philips - FULL MANUFACTURERS U.S.A. WARRANTY NAKAMICHI, CARVER, POLK, DENON, NAD, B&K, based or Pioneer CD/Laserdisc players and Audio BRAND NEW, FACTORY COMPLETE KEF, ONKYO, M&K, SNELL, PS AUDIO, AUDIO AL- Alchemy DDE/DITB ($1491). MUSICAL CONCEPTS, ADS CAR ARO AUDIO PYLE CAR CHEMY, PARADIGM, PARASOUND, VELODYNE plus 1832 Borman Court, Suite One, St. Louis, MO 63146. ADCOM AUDIO JEIL AUDIO POLK AUDIO ADCOM CAR JBL CFA POLK CAR many more! SOUND SHOP 206-692-8201. (314) 275-4925. ADVENT AUDIO JVC AUDIO P RASOUND AUDIO ADVENT CAR JVC CAR CA L.C.O. TV. AIWA AUDIO JVC VIDEO OCKFORD CAR ALTEC AUDIO KEF AUDIO HARP CABLE -CABLE -CABLE SALE! SAVE UP TO 50% ON SE CABLE T.V. CONVERTERS. Jerrold., Zenith, Pioneer, ALTEC CAR KENWOOD AUDIO AUDIO A. FL AUDIO KENWOOD CAR VIDEO LECT MODELS. TARA LABS QUANTUM III + $99.95 10' Oak, Scientific Atlanta, And Many Morel 12 Years Expe- ATL TECH AUDIO KICKER CAR OW CAR PAIR, QUANTUM I $59.95, PRISM 33 INTERCONNECT BAZOOKA CAR KEN AUDIO OW ES AUDIO rience Gives Us The ADVANTAGE. Visa MC, Amex, COD. BEL CAR KLIPSCH AUDIO OW ES CAR $30.00, STRAIGHTWIRE "MAESTRO -II" INTERCON- BOSE AUDIO LEXICON AUDIO HERS4030 AUDIO ADVANTAGE ELECTRONICS INC.; 1-800-952-3916; 1 125 saw AUDIO MB QUARTZ AUDIO - HERW0013 CAR NECT NEW WITH SCRATCHED PWGS $149.95, "LSI- RIVERWOOD DR., BURNSVILLE, MN 55337. Void where 13 A 0 AUDIO MAGNAVOX VIDEO APES VHS CARVER AUDIO MITSUBISW VIDEO APES BETA ENCORE" INTERCONNECT $49.95, STRAIGHTWIRE prohibited. CELEBTION AUDIO IN K AUDIO "OCTAVE" GENUINE "LITZ" SPEAKER CABLE ONLY CUIREON CAR MAO AUDIO TECHMCS AUDIO DENON AUDIO NAKAMICHI AUDIO TECHMCS FRO LINE $99.9510' PAIR. OVER 500 PAIRS AVAILABLE. CALL NOW DUAL AUDIO MI(Y) AUDIO NORENS AUDIO KEF, MIRAGE, B&W, HARMAN/KARDON, W. E. VIDEO PARADIGM AUDIO TOSHIBA VIDEO FOR COMPLETE "SPECIALS" LISTING WE HAFLER CAR PEELLIPS AUDIO TOSHIBA CAR NAKAMICHI, CARVER, DENON, VE- HITACHI VIDEO PIONEER AUDIO TRCITEZ PHEINES ALSO CARRY EQUIPMENT FOR AUDIOPHILES WITH H. K. AUDIO PIONEER CAR VELOOYPE AUDIO INFINITY ALCIO PIONEER ELITEAUDIO YAMAHA AUDIO MORE SENSE THAN MONEY: AUDIO ALCHEMY, AUDIO - LODYNE, CELESTION, ADCOM, ONKYO, INFINITY CAR QUEST, B & K, BRIGHT STAR, COUNTERPOINT, PIONEER PREMIER CAR YAMAHA CAR YAMAHA, KLIPSCH, FOSGATE, CROWN & AMMeGald. Wm, welcome SOGINGT chum Nklbonal, nivel [Hun PolKy. 14 KLIPSCH, LEXICON, NAD, POWER WEDGE, SOTA, SUM-

receipts and correspondance. For phone orders, make a note of the CALIBRE SPEAKER CABLES STATE OF THE ART CROSSOVER NETWORKS. UP- orderincludingmerchandise GRADE ANY SPEAKER SYSTEM . FREE DESIGN GUIDE. A new standard for its class ALLPASS TECHNOLOGIES, INC., P.O. BOX 453, ordered, price, order date, expected $7.5 0/foot AMITYVILLE, NY 11701. (516) 598-1320.

delivery date and salesperson's name. MUSIC METRE III SAVE UP TO 75%1 Highend speakers, stands, cables, etc. 5. Kits/Assembled. FREE Literature. Hubbell Sound Systems, If the merchandise is not The C iant Killer $125 --1Meter Box 30136-A, Des Moines, IA 50310. (515) 277-1446. shipped within the promised time or if no time was promised, 30 days Information and reviews anfailable of receipt of the order, you general- 249 N. 3rand #701, Glendale, CA 91203 ROTTEN FOAM EDGES? ly have the right to cancel the order 818/242-4535 Fax 818/24.2-4415 SIMPLY SPEAKERSdoes professional foam replace- and get a refund. ments any size/brand. 7 Year Warranty. We sell DIY Foam Surround Kits for less! Speaker reconing. MC/ 6. Merchandise substitution with- VISA/DISCOVER: 1-800-767-4041 out your express prior consent is AUDIO CABLES & MORE not allowed. DON'T PAY EXORBITANT PRICES FOR TOP QUALITY. WE HAVE YEARS OF EXPERIENCE IN WIRE MANUFAC- 7. If you have a problem with TURING AND HAVE SIMULATED THE HIGH PRICED DARE TO BE DIGITAL!! your order or the merchandise, BRANDS. HIGH PRICED EQUIVALENTS AS LOW AS .74/ write a letter to the seller with all the Finally a DAC designed to do digital right! DAC's FT. WE DEMYSTIFY WIRE TECHNOLOGY, SEND FOR $695-$2295, Speakers $995-$24995, Room Acoustics EXPLANATION LITERATURE WHICH ALSO INCLUDES pertinent information and keep a Handbook $14.95. MACH 1Acoustics, fax/phone (603) ALL OUR AUDIO PRODUCTS PRICE LIST OR CALL OUR copy. 654-9826. LITERATURE REQUEST # (800) 321-2108, 24 HRS/DAY. 8. If you are unable to obtain sat- FAX (609) 428-1832. L A T INTERNATIONAL, DEPT A, isfaction from the seller, contact 317 PROVINCETOWN RD., CHERRY HILL, NJ 08034. the consumer protection agency in FOR TWENTY YEARS WE HAVE BEEhl THE SOURCE the seller's state or your local Post FOR ALL OF YOUR BLANK AUDIONIDEO TAPES AND Office. ACCESSORIES, EVEN REEL-TO-REEL TAPES FOR STU- DIOS, AT DISCOUNTED PRICES. CATALOG AVAILABLE. If, after following the above guide- SOUND INVESTMENT CORPORATION, 3586 PIERCE lines, you experience a problem DRIVE, CHAMBLEE, GA 30341. (800) 659 -TAPE (8273), IN with a mail order advertiser that GA (404) 458-1679. FAX: (404) 458-0276. you are unable to resolve, please let us know. Write to the Associate STEVE'S CONSIGNMENT WATERPROOF SPEAKERS. The Industry's finest Publisher of AUDIO Magazine, Tony SHOP 1-i Fi Farm and Steve's Audio advice now offers sounding waterproof speakers bring true high fidelity Catalano. Be sure to include copies consignment opportunities for the used Audio market. Top sound to your outdoor patio, pool, or spa. Call now for of all correspondence. Dollar Offered. Call for Information. New Equipment also. your FREE color brochure. BOYNE AUDIO, INC. Call 1-800-752-4018. 1-800-625-6551. AUDIO/AUGUST 1994 85 LOUDSPEAKERS SOLEN SPEAKER COMPONENTS BETTER 1. LOUDSPEAKER MAVIS WNAUDIO' Acoustics TECHNOLOGY

.2. r_C= 7.= Or- scanspeaK seas CERATECmu. ))) morel' peerless A

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LOUDSPEAKER SALE! Acoustat 33004700; Acoustat 2.2-5650; Acoustat 1.14600; Apogee Centaur -$850; B&W 640-5900; Boston Acoustics T1030-$450; Canton The VMPS lbwer II Special Edition, the deluxever- Fonum 60-$275; Canton Karat 920-$500; Celestion sion of an Audio Magazine "Best Buy" system, is 100-5600; DCM Time Window 3-5700; Energy Ref. Con. TRUESUBWOOFER now available with exclusive handbuilt, phase -plugged 22-5600; Genesis 3-52500; JBL LX55-$550; Klipsch With phenomenal woven carbon fiber 12' woofers, the finest dynamic SW104500; Linn Isobaric -$2150; Infinity Ref. 6-5550; truedeep bass drivers extant. Infinity Kappa 8.1-5950; Infinity Re1.14125; Infinity Vid- extending below eo 14160; Magy MG3A-5850; MB Quart 990 MCS-$1300; 20Hz with low These high-tech cones are also now standard inour Martin Logan CLS141200; McIntosh XR16-$1000; Mer- distortion at a very flagshipFF-1FocusedFieldArray($6800- lin Sig. 3-51350; Nestorovic AS -$2800; Polk S50-5400; affordable price. $7200pr), four of which made up the VMPS 1994 Polk Monitor 10-5450; Pinacle PN5-$125; Proac Tablette WCES Surround Sound display. After auditioning 2-5600; Thiel 2.2-51600; Unity Audio Sig. -21100; The HRSW1Os will extend bass of every multichannel/Home Theater display at the Velodyne F1000-$450; Velodyne ULD 154700. Call: (217) Show, the editor ofWidescreen Review 544-5252. your stereo or judged the video system for VMPS room best, and by a wide margin. Callor that "air shaking all write for copies of the full editorial, or for brochures around you" effect. HSU Research HRSW10 and test reports on all VMPS systems includingour REPAIR FOAM ROT four Subwoofero ($289-$649ea), the 080626 and Here's what the experts are saying: Dipole Surround A/V monitors ($289-$349ea), FOR YOURSELF! 'Once you have heard what they can add to your system, you SAT will save you hundreds Ot dollars! All won't want to pan with them. Ecstatically recommended!' OSO Series bookshelf systems, and more. Kitver- sizes including AR, Advent, BOSE, JBL. Gerald D. Burt, Sensible Sound, Issue No. 49, Fall 1993 sions of most systems are available, and prices in- Surrounds,adhesive &instructions: -If you have a listening room of reasonable size, nothing can improve your clude free shipping in 48 states. $27.95/pr. BOSE 901's $67.95/pr. (incl. stereo system as dramatically lot $750 as the Hsu Research HRSWilr S/H, No MD's) Do it yourself with SAT! Pete Aust. The Audio Critic, Issue No. 19, Spring 1993 "I guaraniee you this much; once you hear good, clean bass, 800-747-3692 MC/VISA you'll be hooked for life. Highly recommended' STEPP AUDIO TECHNOLOGIES 704-697-9001 24 Hr. Dick Olsher, Stereophile, Vol. 16 No. 3, March 1993 PO Box 1088, Flat Rock, NC 28731 Incl. make & model w/order "Truly awesome room shaking bass.....0..3 dB 14.3 to 40Hz Don Keele, Audio 11/92 VMPS AUDIO PRODUCTS 'Most effective subwoofer we have tested ... Best Buy' div. !tone Audio Julian Hirsch, Stereo Review 9/92 'Bass extension was truly remarkable' 3429 Morningside Dr. Robert Deutsch, Stereophile Vol. 15 No. 4, April 1992 El Sobrante, CA 94803 "Delivered clean low bass at high levels ... work just splendidly" David Moran, Speaker Budder 3'92 (510) 222-4276Fax: (510) 232-3837 'Some of the most impressive subwoofer systems hoe heard" Peter Mitchell, Stereophile Vol. 14 No. 3, March 1991 Send for comp ete information and critics' review reprints. Hear VMPS at: The Listening Studio, Boston; Sounds Incred- ible. Brookfield CT; Dynamic Sound, Washington DC; Hifi Farm, Write or call: Roanoke VA; Home Theater Systems, Little Falls NJ; Mark Curry, Las Vegas, NV; AMUG, Phoenix AZ; Rama Audio, Sun HSU RESEARCH Valley CA; American Audio, Greenville SC; Chattanooga Valley HSU20013 Rainbow Way, Cerritos, CA 90701 Audio, Rossville GA; Tech Electronics, Gainesville FL; Arthur 1-1300-554-0150 (Voice) Research1-310-924-7550 (Voice/Fax) Morgan, Lake Mary FL; DNA Audio, Orange City FL; Sounds Deluxe, Clarendon Hills IL; Audio Exchange, Mishawaka IN; Sold factory direct with a 30 day trial - money back Audio Connection, Terre Haute IN; Ruth Industries, St. Louis guarantee. 5 year manufacturer's defect warranty. MO; Shadow Creek Ltd,Minneapolis MN; Audio byGil Morrison, Detroit MI; Lookout Electronics, Longview WA: Affordable Audio, Fresno, CA; Exclusively Entertainment, Oceanside, CA; Hal Broda, Escondido CA; Christopher Hansen Ltd., Beverly Hills CA; Audio Haven, Brea CA; Sounds Unique, A & S SPEAKERS Imports the world's finest speaker San Jose CA; Private Line Home Entertainment, Stockton components, crossovers, & kits: Dynaudio, Scan Speak, CA; Golden Ear, Chico CA; Itone Audio, El Sobrante CA; Upgrades and Drivers plus Systems from VIFA, Ceratec, Focal, Morel, MB Electronics, Peerless, Poly- James Romeyn, Petaluma CA; The Sound Room, Vancouver $200 to $7000 per pair. Ohm Acoustics dax, SEAS, LPG, Eton, Versa-Tronics, VMPS systems & BC Canada kits.Free literature. 3170 23rd Street, San Francisco, CA Corp. 241 Taaffe Pl., Brooklyn, N.Y. 11205 94110. (415) 641-4573; Fax (415) 648-5306.

AUDIO/AUGUST 1994 86 LOUDSPEAKERS WANTED TO BUY PARTS AND ACCESSORIES TOP DOLLAR PAID FOR YOUR USED AUDIO EQUIP- MENT. HI Fl EXCHANGE (718) 423-0400. CASH for USED AUDIO & VIDEO EQUIP. TUBE TRAP BUYING and SELLING by PHONE. CALL for Factory Direct Special HIGHEST QUOTE. (215) 886-1650 Since 1984. The Stereo Trading Outlet, 320 Old HEIGHT York Road, Jenkintown, PA 19046. 4 1/2 ft TUBE HIFI, COMMERCIAL AMPS, HORN SPEAKERS, TREBLE McIntosh, Altec, RCA, Western Electric, Jensen, Marantz, DIFFUSOR Heath, Dynaco. Craftsman, Eico, Etc. Sonny 405-737-3312. MARANTZ 510M AMPLIFIER Need unit in excellent "file audio cnain is EXTRA BASS condition, both functionally and conditionally. Steve only as str as its SECTION (404)612-4932. weakestfine AUDIO CLASSICS BUYS -SELLS -TRADES -REPAIRS -Arthur NRon PEDESTAL High End Audio Components. CALL for a quote. See our ad g tn. sac Designer BASE at the beginning of the classifieds. AUDIO CLASSICS, LTD., POB 176WB, Walton, NY 13856. 607-865-7200. 8AM-5PM EST Mon. -Fri. SRD is dedicated to designing & budding high perfor- TOWER TRAP-B-New designer series-Pre-release mance, high quality speakers at affordable prices. We have COLLECTOR WILL TRAVEL, to pick-up, working or not, special Trap corners behind speakers for the best upgrade a complete line of AudioNideo speaker systems. We sell MONO/Stereo: tube MARANTZ, McIntosh, TANNOY Spkrs, you've ever heard! 100% Satisfaction Guarantee. 1-800- factory direct only! Speakers starting at $275/pr. 30 day trial B&W, B&O, SEOUERRA Tuner, KRELL, Levinson, etc. ASC-TLIBE; Fax: 503-343-9245, PST. period & 5yr warranty. We offer Pioneer products. Call for (718)387-7316 or (718)383-3205. NEW YORK. brochure & pricing. SRD SPEAKERS, Houston, TX. 1-800-353-9899. Visa/MC/AMEX. SERVICES Premium Grade Parts LOUDSPEAKER CABINETS Large selection of excellent Don't Pay More! quality loudspeaker cabinets for custom builders and deal- Absolutely the best selection of audiophile grade parts ers. Grenier Cabinets, 189 Jennings Road. Horseheads, ACCUPHASE at fair prices! Extensive deep in Mock inventory N.Y. 14845 (607)594-3838. AUTHORIZED SERVICE AND PARTS for all Accuphase featuring these vendors andmanymore. Free catalog! products. Contact: ACCUTECH, 206 E. Star of India Lane, MIT MULTICAP, WONDER CAP, SOLEN, SCR, REL-CAP, DYNAUDIO SPEAKER KITS Carson, CA 90746. TEL. (310) 324-7406, FAX (310) NICHICON MUSE, BLACK GATE, CADDOCK, VISHAY, MILLS, 324-7422. Hours: 9am-4pm Pacific Time. Discover the SUPERIOR SOUND QUALITY of 1994 110LCO, FtesisrA, TDIC, ALPS, NOBLE, EAR, DEPLEC PANELS, DYNAUDIO SPEAKER KITS. Catalog $2.00 (Refunded} 5000 OPERAS AND RECITALS from 1908 onwards. 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AUDIO CLASSICS, LTD. 8AM-5PM EST MON:Fri., Michael Percy, Box 526, Inverness, CA 94937 663, POB 8212, COLUMBUS, OH 43201. (614) 267-8468. POB 176RTM, Walton, NY 13856. 607-865-7200. PRESERVE + MAINTAIN + RESTORE SPECIALIST, TUBE EQUIPMENT CUSTOMIZATION LP-78RPM-4CH Pickering Stanton Shure Nitty Gritty Repair Services. Vintage military tubes & parts available. Vacuum Record Cleaners from $99.95 Special Brushes Custom and Vintage tube equipment for sale. Selected & Fluids 3 -Speed Turntables Signal Processors Dis- Telefunken 12AX7Ss avallable.BWS Consulting, 5609 N. counts Free Catalog! KAB Electro-Acoustics, P.O. Box 23rd Street. Arlington, VA 22205. (703)536-3910. Achieve 2922, Plainfield, N.J. 07062-0922 (908)754-1479. PARTS AND ACCESSORIES LP's LP's LP LIST NO.2 LP's LP's a proper . List available from Prairie Music! Thousands of new, sealed records of all categories. Most are $8 or less. Call Ted. Free list. (913) 827-9378 24 voice/fax. balance. HALF MILE VINYL. 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Since 1977 David Yo always buying: tube Marantz, McIn- ...audible results with the finest A CIPANAM INCIAC PROPTIMA INC tosh, ARC, Fisher, Dynaco, Quad, Leak, Western Electric 2790 Brighton Rd, Oakville, Ontario, Canada L6H 5T4 equipments, others. Vintage speakers, raw units by Western in ccnnecting components! Toll Free Order Line 1-800-769-0747 (U.S. & Canada) Electric, Tannoy, Jensen, JBL, Altec, EV(Patricians), RCA- Telephone (905) 829-5858Facsimile (905) 829-5388 LC1A. Audio tubes(KT66/77/88, 7591, 6550, etc.) by Tele- SOUND CONNECTIONS INTERNATIONAL INC. funken, Genalex, Mullard, RCA, Tungsol, etc. P.O. Box 203 Flagship Dr.-Lutz FL USA 33549 MIT MultiCap Wonder Cap Kimber Kap Solo Solen 28082, Northridge, CA. 91328-0802. Tel: (818) 701-5633 Siemens Hovland MusiCap Wima Holco Rd -Cap Fax: 813-948-2907 10am-10prn PST PH: 813-948-2707 Draloric Vishay Caddock Mills Matsushita TKD Noble Cardas Kimber Kable Discovery Audioquest WANTED: WESTERN ELECTRIC, JBL, MARANTZ OLD MIT ClearAudio Alps Bourns Shallco Attenuators EQUIPMENT. SUNLIGHT ENGINEERING COMPANY: Elma Electroswitch Nichicon Gold Aero RAM 310-320-7020, 22130 SOUTH VERMONT AVENUE, #A, Mallory Ruby Tubes Edison Price Linear Technology TORRANCE, CA 90502. LIMITED QUANTITIES OF OLD SURPLUS ELECTRON Motorola Analog Devices/PMI International Rectifier KLIPSCHORNS FACTORY BUILT 1948-1955. ESPE- TUBES, TUBE SOCKETS, PAPER/OIL CAPS., -BLACK IVIagneQuest Sonic Frontiers Pearl Tube Sockets WBT Neutrik Curcio Audio Engineering Kits CIALLY BLONDE "PRIMAVERA". ALSO OLD HERESY BEAUTIES, VIT-Q, WESTCAP, ETC. KURLUFF ENTER- AND CORNWALL SINGLES, BLONDE OR MAHOGANY PRISES, P.O. BOX 2204, IRWINDALE, CA 91706. (708)629-7638. 818/444-7079, FAX: 818/444-6863.

AUDIO/AUGUST 1994 87 PARTS AND ACCESSORIES AUDIO VIDEO STORAGE AD THE BEST DISC, TAPE & COMPONENT STORAGE SYS- 250 PAGE DESIGN MANUAL AND CATALOG: TEM IN AMERICA. Stackable, portable oak units hold all CHECKOUT OUR KITS: MOSFET Power and 300B recording formats & AudioNideo components. FREE Mail- Triode Amplifiers; Passive, Buffered and Class -A Line - order Brochure (please mention Audio). Per Madsen Design: stages; Phonodrives and Active Crossovers. Largest (415) 928-4509. P.O. Box 330101, San Francisco, CA Selection of Parts and Supplies including: Kimber Kap, 94133. MIT MultiCap, Solen, WIMA, Wonder Caps, RAM Labs Firm (Reader Service No.) Page and Golden Dragon Tubes, Kimber Kable, Vampire, Cardas, WBT, Neutrik, Caddock, Magnequese" Output CUSTOM DESIGNS Adcom (1) 5 Transformers, etc. Send $10 (U.S./Canada) or $15 (In- AUDIO POWER AMPLIFIERS. 100-500 WRMS/CH. Com- ternational). Or call (303) 470-6585, fax (303) 791-5783. pletely assembled and tested from only $188.00 to $223.00 Visa/MC Accepted. WELBORNE LABS, P.O. Box each. Satisfaction Guaranteed. Call Electronics Hospital Audiophile Systems *32 a&b, 53 260198, Littleton, CO 80126-0198. (407)952-3838. AudioQuest 7 PUBLICATIONS TUBE COMPONENTS Bell'Ogetti (2) 9 MOVIESOUND NEWSLETTER. The state of film audio tracks in theaters and at home. $8/year (4 -issues). Send $2 for two sample issues. P.O. Box 7304, Suite269A, No. Brystonvermont (3) 27 Hollywood, CA 91603. Cambridge SoundWorks (4) 26 BLANK TAPES Carver (5) 23

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AUDIO/AUGUST 1994 88 Now THAT You SEEHow THEY WORK, HEAR How THEYFEEL.

If you're using a digital balanced circuitry. You get music source, such as a CD, four K -series Burr -Brown nature dictates that you PCM63P DACs-the transform the bits of infor- highest grade available. mation into analog waves. There are also three Our Digital to Analog enormous power supplies, Converters make the tr an ST input, XLR sition so smooth, so elegant, alanced outputs and premium Vishay resistors. any music sounds vastly superior. The high end sweetens. The low end strength- You'd have to pay three times as much to find features ens. The soundstage deepens. And yourliving room like these on other brands. comes far closer to capturing not onlythe sound, but the That's been the Parasound hallmark for over a very soul of live music. decade. And that's why our components continue to In fact, it's been said that our D/A Converters astound the high -end audio community. can even turn vinyl die-hards intodigital converts. So if your music is locked up in a digital source, Surprising? Not when you consider that our new unlock it with one of our D/A Converters. You're D/AC-1500 comes with dual mono, dual differential bound to create waves. Just as nature intended.

PARASOUND affordable audio for the critical listener

Parasound Products, Inc. 950 Battery Street, San Francisco, CA 94111 415-397-7100 Fax 415-397-0144 THE STYLOS

LiNUE NOW, hit f rasolution soundrepru- duction meant sacrificingspace. Until now, placing a speaker near a wad meant sacrlicii2g the quality of Board. Who else bulMartin-Logan could tax electrostatic technology to a rearm where musTc Aas never been before?

ON THE WALL AGAINST THE WALL

The standard wall -mounting kit in- Using the optional base, the Stylos The Stylos can be built into a cludes brackets and a full-size can stand against the wall, yet poster of the Stylos that clearly wall requiring vertical space of remain moveable. This is ideal for approximately 5 feet and a width marks the placement of the wall anchors apartment living and allows easy reposi- (stud location is not necessary). A plumb of 14 inches. The designer scrim, tioning as new demands arise. The which is included in the optional in- alignment tool is integrated into the Stylos is also the perfect addition toa poster to ensure accurate installation. stallation package, can be painted to home theatre sys:em. match your decor.