Engineering Music Sound Reproduction an Acoustic

JULY, 1957

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ENGINEERING MUSIC SOUND REPRODUCTION

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Readers have shown great interest it Use this transistor stage instead of a transformer to raise electronic crossovers. The author tells the signal from your low -output moving -coil pickup so it their good and bad points. See page 17. will work properly with conventional preamps. See page 20.

AN ACOUSTIC ILLUSION TELEPHONICALLY ACHIEVED THE APERIODIC LOUDSPEAKER ENCLOSURE THE R -C CROSSOVER COMPROMISE TRANSISTOR PREAMP FOR LOW -OUTPUT PICKUPS

www.americanradiohistory.com the only fifteen -inch extended range speaker made with a 4" voice coil

the JBL SIGNATURE 0130 The four -inch voice coil in the JBL Signature D130 stiffens the speaker cone to form a rigid acoustic piston. Combined with suspension which permits long linear excursion, the D130 produces crisp, accurate bass. The four -inch dural center dome

is attached directly to the voice coil to form a large, effective high frequency radiator. The shallow curvilinear cone permits an excellent distribution of highs. The large voice coil is made of edge -wound aluminum ribbon so that, with small mass, an unusually large amount of conductor is subjected to the lines of force in the gap of the precision- machined Alnico V magnet. A pot structure of pure iron provides a low- reluctance return path for the magneto- motive force. Such extremely efficient use is made of the permanent magnet material that stray magnetic fields are virtually non -existent. Tight electrical coupling and meticulous, close -tolerance workmanship combine to produce the most efficient extended range loudspeaker made anywhere. It is unsurpassed in its handling of transients. Bulletin number SB1002 describing the JBL Signature Model D130 will be sent to you free upon request.

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A Revolutionary Transcription TONE ARM

Fully adjustable

for length .. , fits any installation m 12 to 16 "f

Fully at adjustable for stylus

.-. pressure .. . "-s fine and coarse precision settings! c. Fully adjustable for tracking angle ... instantly set with R exclusive Garrard protractor.

Universal shell takes any cartridge.

Only $24 neo

This tone arm, beautifully styled in glistening white and chrome, brilliantly conceived and built with true Garrard precision, Is an in- genious combination of functional versatility and shrewd engineering. Though moderate in price, it has been designed and built for long life and superior performance in the finest high fidelity systems. It will operate with complete efficiency in the smallest possible installation (12 inch) . yet, it instantly becomes a full length 16" arm where space permits. And . . it is infinitely variable for any length desired between the two extremes. At any future time, when re- installed under new conditions, this great tone arm will continue to perform perfectly without modifica- tion. There will be no need to replace it or alter it. (over) www.americanradiohistory.com All the best features of static balance, spring - loading and viscous damping have been combined in this remarkable new arm, to give the maximum vertical freedom. One of its key features is the use of the smallest possible number of pivots, to reduce traversing friction to the absolute minimum, an important factor in record groove protection. This advantage is achieved through spring -loaded cone type ball bearing pivots, similar to those used in shock- proof chronometers! The vertical pivot is a specially designed bearing, combining the features of a ball bearing journal suspended on a single ball thrust. Mounting height is infinitely adjustable - so that the new Garrard arm may be used with any transcription turntable, without shims or other special devices.

TEMPLATE FOR SELECTING HEIGHT AND LENGTH OF ARM

T -- \ CUTOUT TEMPLATE

ALIGNMENT PROTRACTOR FOR ANGLE OF PICKUP HEAD

COMPLETE INSTRUCTION MANUAL A Complete Packaged Unit, Ready jor Installation! All the necessary mounting hardware is supplied with the arm. In addition, simplified templates show precisely how to install the arm under any and all conditions. A unique, patented protractor ingeniously enables the user to set the recommended angle of the cartridge at any given radius, to guarantee minimum tracking error and lowest distortion. Since there are various qualified opinions regarding optimum tracking errors at different radii, this adjustment of the new Garrard tone arm will be found invaluable by en- thusiasts who would like to experiment and benefit from the most advanced theories.

Styling of the TPA /10 is unusually distinctive a handsome combination of glistening chrome and lustrous white enamel, finished with the greatest care. In appearance and function, it is a perfect mate to the incomparable Garrard 301 turntable ... but it will grace any turntable ... any fine high fidelity installation!

A quality endorsed product of the BIC Group: Garrard Leak Wharfedale R -J River Edge Genalex S. G. Brown Multicore. Dept. GG927 Garrard Sales Corp. Port Washington, N. Y. www.americanradiohistory.com NOW THE 410/411N/946

SRURE UNIDYNES JULY. 1957 VOL. 11, No. 7 Successor to RADIO, Est. 1917. PROVIDE

AU D Io NuI.LLIIINt. MUSIC SOUND REPRODUCTION

C. G. McProud, Editor and Publisher Henry A. Schober, Business Manager The perfect Barrie K. Richardson, Associate Editor microphone choice Joan Dioguardi, Assistant Editor for use with low - .Janet M. Durgin, Production Manager gain P. A. systems Edgar E. Newman, Circulation Director and tape recorders . . . in addition to their famed usage in finest quality Sanford L. Cahn, Advertising Director public address MEMBER Special Representative - systems. H. Thorpe Covington, 26 East Pearson Street, Chicago 11, DEL 7 -0506 Mid IVest Representative - Sanford R. Cowan, 300 W. 43rd St., The Unidynes New York 36, N. Y. West Coast Representatives - are the world's James C. Calloway and J. W. Harbison, most widely used 6535 Wilshire Boulevard, Los Angeles 48, Calif. fine microphones.

CONTENTS Audioclinic- Joseph Giovanelli Coming Events 4 ßES"S Letters _ 6 AHE These unidirectional Editor's Review 10 dynamic microphones are now more than ever The Aperiodie Loudspeaker Enclosure -E. de Boer 13 your best choice in those The RC Crossover Compromise -Norman H. Crotch ursi 17 installations where feedback is a problem, Transistor Preamp for Low- Output Pickups -auhrn NA 20 and for all fine- quality An Acoustic Illusion Telephonically Achieved -Harvey H. ,/cher 22 public address, theatre - stage sound systems, Equipment Review 25 magnetic recording and Record Revue-Edward Tat nall Canby 30 remote broadcasting - indoors or outdoors - Audio ETC -Edward Tairai! Canby 36 where critical standards Jazz and All That -Charles A. Robertson 40 call for a rugged microphone of fine quality. New Products 46 About Musie- Harold Lawrence 48 Another example of the continuous creativity of New Literature 55 the Shure Research Advertising Index 56 and Development Laboratories.

55S Unidyne List Price $79.50 AUDIO (title registered U. S. Pat. Off. l Is published monthly by Radio Magazines. Inc.. Ilenry A. Schober, President, C. G. llei'roud, Secretary. Executive and Editorial Omees, 204 Front St.. Mineola, N. Y. Subscription rates-U. S.. 5565 Broadcast Unidyne Possessions. Cenelle and Mexico. 84.00 for one year, 87.00 for to years. all other countries. 85.00 per year. Single List Price $120.00 copies 50e. Printed in U. S. A. at Lancaster. P.. All rights reserved. Entire contents copyright 1957 by [ladle Magazines, Inc. Entered as Second Clan Matter February 9, 1950 at the Post Office, Lancaster, Pa. under the Act of March 8, 1879 RADIO MAGAZINES, INC., P. O. Box 629, MINEOLA, N. Y. AUDIO JULY, 1957 SHURE BROTHERS, INC. Microphones Electronic Components 216 HAREM AVENUE EVANSTON, ILLINOIS "In Electronics Since 1925" www.americanradiohistory.com pioneer AUDIOCLIN IC?? prsnts: JOSEPH GIOVANELLI° DIRECTIONAL Transient Response to the input of a device. Every piece of OMNI- equipment is subject to distortion to some Q. i Irur, (whin( 11101 In the manufac- LOUDSPEAKER SYSTEM turers' specifications for various pieces of degree. One form is known as frequency distor- NUMBER ONE round equipment such things as frequency response and distortion are Usted with tion. When we talk about flat frequency re- specific numerical values. Transient response, we mean that a piece of equipment the only one in the world reproducing audio fre- sponse is not. If it is mentioned at all, the is capable of all only statement (nude is it is good. quencies with equal ease. If, however, there Super- Tweeter that VW! 4- Why is it not stated as specifically as the is attenuation in the lows, we are aware of ß;t other characteristics, and just what is it? a lack of bass, depending upon the amount Clearly, is a departure Tweeter .Martin Siegal, Brooklyn, N. Y. of attenuation. this holds A. The rate at which sounds reach their from the original signal. This true for both boosts and attenuations. Some- peak intensity from n start varies with times, we purposely introduce frequency individual sounds. When a low organ pedal in the form of bass and treble pipe is sounded, it is often possible to hear distortion controls. The purist sets them in the flat Squawker the pipe build to its full intensity. This is position and leaves them there, although because it has a comparatively long setting is likely to cause poor sound build -up time, or rise time, sometimes as that reproduction when poor program sources much Os half a second. On the other hand, or room acoustics are encountered. We a percussion instrument builds up more have found that sonic amplifiers are not quickly, so quickly in fact that it seems to are set the posi- the ear to have been instantaneous. Ac- fiat when the controls in tion so marked, but must be adjusted some- tually, it has taken a finite amount of time, response. measured in a few microseconds. Further, what to produce this consists a fre- there is a sharp peak at the outset of the A sound of fundamental generation of such a sound which may ex- quency and harmonics which give the tone ceed many times in level the remainder of a color and provide a means for distinguish- the sound. Few people seem to have taken ing one instrument from another. These into account that the build -up time of harmonics should be passed with the funda- sounds, plus rapid peaks in some sounds, mental frequency. However, the components of a home music system may add harmonics The Los om spe:der --i- which we call transients, do as much to uniMINOOPI themselves. They color of four 15, woofers (P%. form the quality of a particular musical generated within the music or speech, altering the over -all I SA) co ering 20.500 its Woofer instrument or other sound as do the relative the squawker just above (I :N. strength and weakness of harmonics and quality. The highs may sound brittle. In general, harmonics fall into musical rela- ao) 500.4.000 cps : the twe- fundamental. It is obvious, therefore, that tionship to the tone being played by the eterr 4.000.6.2540 cps : and all components of a system must, in addi- the RIBBON SOPER.TWE. tion to their low distortion, possess the instrument, so that a considerable amount may be F.TER covers 6,250.25,1») ability to respond to even the most rapid of this type of distortion present rp, transients produced by musical instru- without being noticed. Actually, the har- ments. In other words, they must possess monics generated within the system are good transient response. A loudspeaker, not nearly so closely related to the fundamental as one might at first expect. The t the world of high because of its mass, will take a definite one Rvolutionalizingfidelity reproduction, this system is time during which its motion will build up third harmonic is octave plus one fifth interval higher than its fundamental. If distinguished by the fact that not only once it has been energized. Microphones pickups have this same the fundamental tone were F below middle is the sound not directional but the and phonograph problem. Although electrons seem to travel C, the third harmonic would be the C above range itself is extended as far as 25,000 almost instantaneously, the amplifier and/ middle C. This might not be too bad if an cycles per second. or preamplifier may also be subject to poor F major chord were played, since that transient response. This is the result of chord might well contain the C represented labora- Let us All those visiting the l'ioneer inductive and capacitive reactances. These by the third harmonic. assume, in- tory will readily recognize that the can combine with resistive components to stead, that a D -flat chord were played. The sound released by this unique system form time constants which will tend to F is a part of that chord but the C is not, but it would be present artificially and is by far the hest in the world today. slow down the amplifier 's ability to respond to rapid pulses of sound. If even one of would clash with the D -flat in the chord. the components in the system lacks good Another fact which deserves particular at- transient response, the result will be sound tention is this: when an instrument such that lacks presence, even when all the as a piano or an organ is tuned properly, made other components are as perfect as the the fifth intervals aro purposely flat pioneer's state of the art permits. with respect to the lower note of the in- GLOBE terval. Thus, in our F -major chord, the C Distortion generated by the equipment would be ENCLOSUPE slightly sharp with respect to the C played Q. (found you give me some informa- by the musician, leading again to beating its aural effects tion concerning distortion, and clashing. To measure this kind of dis- the means for detecting it? Martin B. and tortion, we use an oscillator whose output Brooklyn, N. Y. Kramer, is as pure a fundamental tone as it is Works Omni- directionally is the name we use to A. Distortion possible to obtain. It is fed into the sys- Speaker used : PIM -6 a of evils which can be un- cover multitude tem under test. By means of a device to listen to, without regard to pleasant known as a wave analyzer, the fundamental program material currently some of the is filtered out, with the assumption that all Distortion takes the form of FUKUIN ELECTRIC available. excess output is generated within the unit the waveforms presented departures from and output is compared with that of the 5 Otowacho 6-chome, Bunkyo -ku, Tokyo 3420 Newkirk Ave., Brooklyn 3, N. Y. fundamental and this ratio is expressed as

JULY, 1957 2 AUDIO

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FEATURES: Interlocking push -button controls. Precision -made heads for extended -range reproduction. Separate record and playback amplifiers permit simultaneous monitoring from tape. Used where demands are the greatest 15" and 71" tape speeds with switch selection. Automatic tape lifter. Gerry Van Caster, studio engineer at Station W BAY, Green Bay Wisconsin, operating a panel of five Magne- Instantaneous start and stop less than 1 /10 sec. cord M -90 tape recorders, which are in operation 8 hours High speed cueing control. daily. Two other Magnecords give the station equally dependable performance -one being used for pre- taping to Record interlock. save time, and the other for the station's mobile unit. Full remote control. - ¡+"^1 To

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AUDIO JULY, 1957 3

www.americanradiohistory.com per cent harmonic distortion. We can put than those we introduced by means of re- is introduced, such as the output of a up with perhaps two or three per cent har- cordings, tuners, etc. It follows, then, that large orchestra, many frequencies are avail- monic distortion without being unduly dis- we want our amplifiers and other devices able to beat to form many additional tones turbed, although one per cent is generally to be as linear as possible. Let us assume which can really muddy the waters. considered a good upper limit. that we have two frequencies introduced No standards have as yet been devised

Where harmonic distortion exists, inter - into the amplifier, one at 50 eps and the for accurately measuring this type of dis- modulation distortion is generally present other at 6000 cps. The two tones will com- tortion. One method commonly used is that also, and one per cent of IM distortion is bine to form their sum and difference, 6050 developed by the Society of Motion Picture enough to be noticed, with the maximum cps and 5950 cps respectively. These new and Television Engineers, and is therefore permissible limit being about two per cent. frequencies also are now free to combine known as the SMPTE method. It makes This type of distortion tends to make the in various combinations, as are the har- use of two tones, one of low frequency, the equipment sound fuzzy, muddy, and blurred monies of the fundamental tones and of other of moderately high frequency, both and is very fatiguing to the listener. In the beats of the fundamental tones. Of introduced at the input of the system under any nonlinear device, beating or heterodyn- course, some of these frequencies are weak test, with the lower frequency tone being ing takes place between various frequencies in amplitude and are not discernible by- adjusted to have four times the amplitude introduced into it. We want this beating ear. This type of distortion is probably the of the upper one, since this is likely to he in the super- heterodyne receivers but we do most objectionable we have, since the prod- the ease when actually reproducing sounds. not want it in amplifiers, since it causes ucts of it are not related musically to The low frequency is removed by filtering additional frequencies to be produced other much of anything. When a complex wave and the modulation of the high- frequency tone by the low frequency is compared to the output of the high frequency tone and is expressed as a percentage. The actual mathematics are not very complicated, but .ecause of space limitations, cannot be presented here. In another method, two tones are introduced whose frequency dif- ters between 30 cps and 400 cps. The sum terms are generally ignored, as they fall outside the audible range, while the difference terms are noted and, again, expressed as a percentage with the difference tones being compared to the sum of the amplitudes of the two test tones. Some of the problems involved in distortion and its analysis are too detailed to go into here. We have devoted much space to this subject because, while we have all beard that mud]] distortion is bad, we are not always aware of the nature of it and, more important, why it is so objectionable. It is for this reason that we have taken this opportunity to explore distortion and its relation to music.

COMING EVENTS "it's not Hi -Fi if it doesn't have Tung -Sol Tubes"

,ugust _ WESCON (W..,tern Elec- trunic show and Convention) sponsored by the 7111 Region of I.R.E. and the West ,'oast Electronic Manufacturers Associa- tion. Cow Palace and Fairmount Hotel, San Frangisco. Calif. Aug. 23 -Sept. 7- National Radio & Tele- vision Exhibition. Earls Court, London, FStglanul. What we're driving at is sim- the rcpt. L" 15- Portland Hi Fidelity Music ple fact that Tung -Sol Audio show. sponsored by Portland High Fi- delity Music Dealers Association. New Tubes are preferred by makers Ileaihm :ui Hotel, Portland, Oregon. of the finest Hi -Fi equipment. silo. I,i 21- Chicago High Fidelity Show, lr.seute.I by the institute of high Fi- TUNG -SOL ELECTRIC INC. dLlit: Manufacturers. Morrison hotel. Newark 4, N. J. t lde:q.t.. Ill. omit. 9-12-New York High Fidelity Show, presented by the institute of High Fi- delity Manufacturers. N. Y. Trade Show Itldg.. New York City.

t t. -t. -Thiel Ntexican High Fidelity Fair. Mexico City. Mexico. Uet.:II. Nov. I, 3- Fourth Cuban High Fi- delity Show, Habana, Cuba. AUDIO TUBES Nov. 8 -i0- Puerto Rico Hi -Fi Show, Nor- mandie Hotel, San Juan, P. R. For information about exhibiting, write Puerto Rico Hi -Fi, P. O. Box 25, San Juan, P. R.

4 AUDIO DULY. 1957

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AUDIO JULY. 1957 5

www.americanradiohistory.com LETTERS Another Last Word COMING SIR: I would like to see the Briggs lo- watter controversy appropriately buried with the following few last words: If Brother Briggs were qualifiedly right rather than just "satisfied," we would all pay top prices for the seats in "peanut To Your City ... heaven" at the concert and opera. We can take a passable audio system that cuts off at 6000 cps or less and, as raise the volume, the music becomes more and more brilliant. At fairly high level, plus a pronounced peak between 3000 and 4000 cps, we can also produce "presence" that will satisfy the uninitiated as HIGH FIDELITY SHOWS fidelity-. The explanation lies within the human ear. It is an established fact that ,just two tones, at fairly high level, will produce some 240 sum and difference products in the inner ear. We "hear" all of these resulting products. As the sound level is decreased, the number of products above the threshold of nerve response is de- SEE and HEAR the latest in HIGH FIDELITY from creased. Our music becomes dull. Consider then that the tonal quality of is composed of many indi- leading high fidelity manufacturers .. . any instrument vidual tones of various amplitude and phase relationships. Through habit, and probably nothing more, we seek a preferred distance from a performance and utilize such information as is available to us at that distance to es- Don't miss these public showings 'Amplifiers - Pre -Amplifiers - tablish our criterion of fidelity. One forceful proof of this explanation is of Hi -Fi Equipment . . . from FM-AM Tuners - Turntables the reaction of the musician to high fidelity the most economical units for the and Record Changers Phono systems. The one instrument that he has - never heard reproduced to his satisfaction budget- minded to spectacular Cartridges - Microphones - is the instrument that he plays. My conclu- home music theatres com- Music Control Centers sion is that, as close as he is to his violin, ... - he hears elements of information to which pare and enjoy them all. Speakers. even the microphone does not respond. `Speaker Enclosures and Equip- While he complains of the volume, he still contends that the violin sounds more nearly ment Cabinets - Finished and correct the louder you make it. 'Complete Hi -Fi Systems and Assembled or Do- It- Yourself Add to all this the preponderance of ab- Components. normal ears and ignorance becomes bliss Kits. for all concerned. H. W. WHITBY, SR.. 25 South Main Building. Dayton 2. Ohio.

THREE FULL DAYS OF CONTINUOUS DEMONSTRATIONS On "Test Reports" FROM 1 P.M. TO 10 P.M. FOR EACH SHOW SIR: Your editorial "Test Reports" in the April issue is, without question, the finest editorial to appear in your publication for the last two (if not ten) years. Our con- gratulations to you for giving public notice Rigo Shows 1957 to the audio fraternity of this blight on the publishing business. Many of us have fumed and stormed Sept. 6, 7, 8 Cincinnati Sheraton -Gibson Hotel when reading the reports that you mention, but have not had the opportunity to express our feelings to as wide an audience Oct. 18, 19, 20 Miami McAllister Hotel as you. This you have done for us in mag- nificent fashion. Nov. 1, 2, 3 Portland Multnomah Hotel We also have come to the same conclusion as you -that if the authors of the report in question don't know what they Nov. 8, 9, 10 Seattle New Washington Hotel are talking about in a field in which we are familiar, then their reports of articles out- Nov. 22, 23, 24 St. Louis Statler Hotel side our intimate knowledge must be seriously questioned if not altogether dis- carded. Thank you for this service towards a more informed public. ADMISSION 50t ROBERT L. LEBON HARRY W. SHADLE GEORGE R. RAPP, JR. JOHN P. THOMAS KARL C. THOMAS RIGO Enterprises Inc. 500 N. Dearborn, Chicago 10, III. State College, Pennsylvania

6 AUDIO JULY, 1957

www.americanradiohistory.com lizre 6aQáxq HEATHKIT:.. BECAUSE IT'S SUCH GREAT FUN ... AND BECAUSE WE GET SO MUCH MORE FOR OUR MONEY!" Every day more and more people (just like you) are finding out why it's smart to "do -it- yourself" and save by building HEATHKIT high fidelity components. These people have discovered that they get high - quality electronic equipment at approximately one -half the usual cost by dealing directly with the manufacturer, and by doing their own assembly work. It's real fun -and it's real easy too! You don't need a fancy work shop, special tools or special knowledge to put a Heathkit together. You just assemble the individual parts according to complete step -by -step instructions and large picture-diagrams. Anyone can do it !

Heathkit Model SS -1 Speaker System Kit This high fidelity' speaker system is designed to operate by itself, or with the range extending unit listed below. It covers the frequency range of 50 to 12,000 CPS within 5 db. Two high -quality Jensen speakers are employed. Impedance is 16 ohms, and power rating is 25 watts. Can be built in just one evening. 53995`J $4.00 dwn. Shpg. Wt. 30 lbs. 13.36 mo. Heathkit Model SS-1B Speaker System Kit This high fidelity speaker system kit extends the range of the model SS -I described above. It employs a 15' woofer and a super- tweeter to provide additional bass and treble response. Combined frequency response of both speaker systems is t 5 db from 35 to 16,000 CPS. Impedance is 16 ohms. and power is 35 watts. Attractive styling matches SS -I. Shpg. Wt. $9995 80 lbs. HEATHKIT "LEGATO" SPEAKER SYSTEM KIT Months of painstaking engineering by Heath and has culminated in the de- $10.00 dwn. Alice- Lansing engineers $8.40 mo. sign of the Legato, featuring "CP" (critical phasing) and "LW' (level balance). The result is a new kind of high fidelity sound, to satisfy even the most critical audio requirements. Two high -quality 15' theater -type speakers and a high- frequency driver with sectoral horn combine to cover 25 to 20,000 cycles without peaks or valleys. "CP" and "LB" assure you of the smooth. flat audio response so essential to faithful reproduction. Choice of two beautiful cabinet styles below. "Legato" Traditional Model HH -1 -T Styled in classic lines to blend with period furniture of all types. Doors attractively paneled. African mahogany for dark finishes unless you specify imported white birch for light finishes. Shpg. Wt. 246 lbs. $345°0 $34.50 dwn. "Legato" Contemporary Model HH -1 -C $28.98 mo. This fine cabinet features straightforward design to blend with your modern furnishings. Slim, tapered struts run vertically across the grille cloth to produce a strikingly attractive sha- dowline. Wood parts are precut and predrilled for simple assembly. Supplied in African mahogany for dark finishes unless you specify imported white birch for light finishes. $32.50 dwn. mo. Shpg. W I. $325°0 $27.30 231 lbs.

HEATH COMPANY A Subsidiary of Daystrom, Inc. BENTON HARBOR 25, MICHIGAN

AUDIO JULY, 1957 7

www.americanradiohistory.com die% pwat HEATHKIT'

It's Easy (and fun) to Plan Your Own Hi -Fi Installation By Choosing the Heathkit Components That Best Suit Your Particular Needs.

As the world's largest manufacturer of electronic equipment in kit form, Heath Company can provide you with a maximum variety of units from which to choose. You can select just the amplifier you need from five different models, ranging in power from 7 watts to 25 watts, some with preamplifiers, and some requiring a separate preamplifier. You can pick your speaker system from four outstanding high fidelity units ranging in price from only $39.95 to $345.00. You can even select a fine Heathkit FM or AM Tuner! Should there be a question in your mind about the requirements of an audio system, or about planning your particular hi -fi installation, don't hesitate to contact us. We will be pleased to assist you.

MATCHING CABINETS . . . The Heath AM Tuner, FM Tuner and Preamplifier are housed in matching satin -gold finished cabinets to blend with any room deco- rating scheme. Can be stacked one over the other to create a central MODEL FM -3A MODEL IC -1 MODEL WA -P2 control unit for the complete high fidelity system.

PRE -ALIGNED TUNERS ... A unique feature of the Heathkit AM and FM Tuners is the fact that both units are pre - aligned. A signal generator is not necessary! IF and ratio transformers are prctuned at the factory, and some front -end components are preassembled and pretuned. Another "extra" to assure you of easy kit assembly.

HEATH COMPANY A Subsidiary of Daystrom, Inc. BENTON HARBOR 25, MICHIGAN EASY TIME PAYMENTS ... We invite you to take advantage of the Heath Time Payment Plan on any order amounting to 590.00 or more. Just 10'; down and the balance in twelve monthly payments. WRITE FOR COMPLETE DETAILS.

8 AUDIO JULY, 1957

www.americanradiohistory.com HIGH FIDELITY SYSTEM

HEATHKIT HIGH FIDELITY FM TUNER KIT Features AkiC © HEATHKIT DUAL -CHASSIS HI -FI AMPLIFIER KIT This O :Ind stabilized, temperature -compensated oscillator. 20 -watt Williamson -type amplifier employs the Sensitivity is 10 microvolts for 20 db of quieting. Modern famous Acrosound model TO -300 output transformer, and circuit covers standard FM band from 88 to 108 mc. Em- uses 5881 tubes. Frequency response is - 1 db from 6 cps ploys ratio detector for efficient hi -fi performance. Power to 150 kc at 1 watt. Harmonic distortion less than 1% at supply is built in. Illuminated slide rule dial for easy 21 watts, and IM distortion less than 1.3% at 20 watts. tuning. Housed in compact satin -gold enamel cabinet. Output impedance is 4, 8 or 16 ohms. Hum and noise are Features prealigned transformers and front end tuning 88 db below 20 watts. MODEL W -3M unit. Shpg. Wt. 7 lbs. MODEL W -3: Consists of W -3M 75 $4.98 dwn. MODEL FM -3A Incl. Excise Tax (with cab.) $2595 plus WA -P2 Preamplifier $49J $4.18 'no. Shpg. Wt. 52.60 dwn., 51.78 mo. 37 lbs. $6.95 dwn. Shpg. WI. 29 lbs. Express only . 69. 50 $5.84 too. Express only O HEATHKIT SINGLE- CHASSIS HI -FI AMPLIFIER KIT This O HEATHKIT BROADBAND AM TUNER KIT This fine AM 20 -watt Williamson -type amplifier combines high per- Tuner was designed especially for use in high fidelity formance with economy. Employs Chicago- Standard out- applications, and features broad bandwidth, high sensi- put transformer and 5881 tubes. Frequency response ± 1 tivity and good selectivity. Employs special detector circuit db from 10 cps to 100 kc at 1 watt. Harmonic distortion using crystal diodes for minimum signal distortion, even less than 1.5% and IM distortion less than 2.7% at full RF and coils are at high levels. Covers 550 to 1600 kc. IF output. Output 4, 8 or 16 ohms. Hum and noise -95 db prealigned. Power supply is built in. Housed in attractive below 20 watts. MODEL W -4AM satin -gold enamel cabinet. Shpg. Wt. 8 lbs. C9 S MODEL W -4A: Consists of W -4AM $3975 53.98 dwn. MODEL BC -1 Incl. Excise Tax (with cab.) $25 plus WA -P2 Preamplifier $3.34 mo. 52.60 dwn., $1.18 mo. Shpg. Wt. 35 lbs. ctt9.l0 $5.95 dwn. Shpg. Wt. 28 lbs. Express only .77 J $5.00 mo. Express only HEATHKIT FIDELITY AMPLIFIER KIT HEATHKIT HIGH FIDELITY PREAMPLIFIER KIT This pre- 20 -WATT HIGH O using push © amplifier meets or exceeds specifications for even Features full 20 watt output -pull 6L6 the most rigorous high fidelity applications. It provides tubes. Built -in preamplifier provides four separate inputs. Separate bass and treble controls. Output transformer a total of 5 inputs, each with individual level controls. tapped at 4. 8. 16 and 500 ohms. Designed for home use. Hum and noise are extremely low. with special balance ± control for absolute minimum hum level. Tone controls but also fine for public address work. Response is 1 db from 20 to 20.000 cps. distortion less than 1 r3 provide 18 db boost and 12 db cut at 50 cps. and 15 db Harmonic boost and 20 db cut at 15.000 cps. Four- position turn- at 3 db below rated output. Shpg. Wt. 23 lbs. $355° over and four- position rolloff controls for "LP", "RIAA ". MODEL A -98 "AES ", and "early 78" equalization. Derives power from $3.55 dwn., 52.98 mo. main amplifier, requiring only 6.3 VAC at IA and 300 Q HEATHKIT ELECTRONIC CROSS -OVER KIT This device VDC at IOMA. Beautiful satin -gold enamel finish. Shpg. separates high and low frequencies electronically, so Wt. 7 lbs. they may be fed through two separate amplifiers driving separate speakers. Eliminates the need for conventional MODEL WA -P2 (with cab.) $197.5 cross -over. Selectable cross -over frequencies are 100, 200, $1.98 dwn., $1.66 mo. 400. 700, 1200, 2000 and 3500 cps. Separate level controls for high and low frequency channels. Attenuation 12 db HEATHKIT ADVANCED -DESIGN HI -FI AMPLIFIER KIT per octave. Shpg. Wt. 6 lbs. $i9.15)9 dwn., O 95 mo. This fine 25 -watt high fidelity amplifier employs KT66 MODEL XO -1 $1 $. output tubes by Genalex and a Peerless output transform- HEATHKIT 7 -WATT ECONOMY AMPLIFIER KIT Qualifies er for top performance. Frequency response ± I db from O for high fidelity even though more limited in power 5 to 160.000 cps at 1 watt. Harmonic distortion less than than other Heathkit models. Frequency response is ± 11/2 1% at 25 watts, an IM distortion less than 1% at 20 watts. db from 20 to 20,000 cps. Push -pull output and separate Hum and noise are 99 db below 25 watts. Output im- bass and treble tone controls. Good high fidelity at mini- pedance is 4, 8 or 16 ohms. Extremely stable circuit with mum cost. Uses special tapped -screen output transformer. "extra" features. MODEL A -7E: Same as A -7D except one MODEL A -7D MODEL W -5M MODEL W -5: Consists of W -5M more tube added for extra preamplifi- E1.80 dwn. dwn. $ 795 plus WA -P2 Preamplifier 55.98 cation. Two inputs, RIAA compensation 1/ $1.51 mo. $5975 $5.02 mo. and extra gain. Shpg. Wt. 38 lbs. Q'Ax50 $7.95 dwn. Shpg. WI. 31 lbs. Shpg. WI. 10 lbs. dwn. Incl. Excise Tax Express only 77 d $2.00 P 56.68 mo. Express only Incl. Excise Tax P 9.95 $1.68 mo. Shpg. Wt. 10 lbs.

HOW TO ORDER lust identity kit by model number and send order to address below. Write for further details if you wish to budget your purchase on the HEATH TIME PAYMENT PLAN. rHEATH COMPANY A Subsidiary of Daystrom. BENTON HARBOR 25, MICHIGAN Please send Free HEATHKIT catalog.

Name

Fddreso

C,tv 8 Zone State

AUDIO JULY, 1957 9

www.americanradiohistory.com EDITOR'S REVIEW

THE COMING SHOW SEASON high Fidelity Fair-is scheduled for October 25-27 ill Mexico City ; the fourth Cuban show is scheduled OSF: OF THE FASCINATING THINGS of hi-fi is the show for October 31, November 1, and November 3 (No- season -and those in the industry who partiei- vember 2 is a local holiday) in Habana, Cuba ; and the pate deserve a considerable amount of praise first Puerto Rico High Fidelity Show is scheduled for their efforts toward acquainting more and more for November 8-10 at the Normandie Hotel in San people with the advantages of properly- reproduced .Juan, P. R. music. Looking backward. we must recognize the fact Since we know that many exhibitors will want to that the many annual hi -fi shows have been the instru- attend one or more of these shows, we have, with the ment by which countless thousands have heard of com- help of Paramount Travel Service, set up the first ponent hi -fi for the first time -and component hi -fi well recognized as the only high fidelity equip- is true MEXI CARIB HI Fl TOUR ment on the market -and while manufacturers have a commercial interest in selling equipment through chich originates ill New fork, Chicago, and Los An- the shows, they are also bringing the means for real geles, takes in the three shows, and allows for a three - enjoyment of music into the homes of everyone. day rest at Montego Bay in Jamaica. The cost of exhibiting at a hi -fi show is not incon- It may seem strange to some that anyone would siderable, as will be recognized by anyone who takes want to attend three hi -fi shows on three consecutive the time and trouble of adding up the expenses. The weekends, but those of us who are dedicated to this cost of exhibit space is only the beginning -to this industry find it exciting and exhilarating. This ob- must be added the traveling and living expenses of server made the same trip last year following the Mex- those in attendance, their time, and the cost of ship- ican show, but primarily as a vacation -although ping equipment and exhibit material around the coun- there were many opportunities to talk hi -fi wherever try. we went. Now that we have found -and helped create By and large, however, this is a more economical -an opportunity of making the sanie trip again, we means of presenting the component hi -fi story to the ourselves plan to go. public than any other because of the fact that only In the belief that many readers would find such those that have a potential interest will go to the a trip interesting, entertaining, and possibly profit - shows. Newspaper and consumer- magazine advertising able-as well as providing a marvelous vacation tour may be seen by a greater number of people at a lower -the Mexi Carib Hi Fi Tour is open to anyone who cost per person, but not all of them have any real in- wishes to go. It is a complete prearranged trip, with terest to start with. Furthermore, people have already air travel, hotel accommodations, and a minimum learned that large and showy advertisements extolling anunuit of planned sightseeing all included. Those the ultra -super -hi -fi so- and -so unit do not always pre- who go will have an opportunity of seeing an after- sent the true facts about the quality of reproduction. noon of bullfighting in Mexico, an evening at the fab- and everyone knows by now that not everything la- ulous Tropicana night club in Habana, three days of beled "Hi -Fi" is actually that. If not actual mis- swimming in the superb water at Montego Bay, and representation, such glowing description had better a chance to explore an historically interesting area be taken with a grain of salt -and it usually is. There with which relatively few residents of the U. S. are is only one way to make sure -listen to it. True, cur- familiar- Puerto Rico. rent models of big name console "hi -fi" equipment Travel from the New York terminus is by way of are much better than phonograph combinations were Air France, Cubana, and Pan American; from Chi- in 1947, but most of them are far short of the high cago via American, Cubana, and Pan American; and quality available from component high fidelity equip- from Los Angeles via Mexicans, Cubana, Pan Ameri- ment. can, and a choice of return routes. Full information And so, looking to the shows to introduce real high may be obtained from Frank Hostage, Paramount fidelity -component high fidelity -to the music lover, Travel Service, 145 East 52nd Street, New York 22. we look forward to a full show season for the coming N. Y. fall. Aside from the many shows in the United States - The trip starts on October 23 and returns on No- Chicago, New York, Cincinnati, Miami, Portland, Se- vember 11, although any desired variations in itiner- attle, and St. Louis have already been announced - ary before or after these dates may be arranged to there is a series of three shows "south of the border" suit anyone's desires. Here's hoping we'll see you that take place on three consecutive weekends. The there. Having made the trip mice, we are quite cer- third Mexican Feria do Alta Fidelidad -that means tain that it will be an enjoyable one.

10 AUDIO JULY, 1957

www.americanradiohistory.com /uxva/vom . the pickup with

UNEQUALLED FLEXIBILITY

SINGLE OR DOUBLE PLAY

STYLI EASILY REPLACED

NEW ANTI -HUM DESIGN

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ONLY THE FLUX VALVE OFFERS ALL THESE SIGNIFICANT FEATURES: EXAMINE THESE EXCLUSIVE FEATURES: High compliance with low vibrating mass ... unex- celled transient response ... flat frequency response half mil single play well beyond both ends of audible frequency ... un- half mil -1 mil double play equalled definition and clarity, each instrument or half mil -2' 2 mil double play voice is individually distinguishable ... complete 1 mil -2'2 mil double play absence of resonances in the audio frequency...low plus: I mil single play overall distortion ... anti -hum design ... stylus 2/2 mil single play changing is easy; no tools ... hermetically sealed cartridge body. Enjoy a new listening pleasure and experience ... ask your dealer to demonstrate the Fluxvalve . -words cannot describe the difference ...but you will hear it!

PICKERING CO., INC. O C E A N S I D E, N . Y. Professional Audio Components %r />/ge wk caw hz G/ Demonstrated and sold by Leading Radio Parts Distributors everywhere. For the one nearest you and for detailed literature: write Dept. 1-77. EXPORT: AD. AURIEMA, INC., 89 BROAD ST., NEW YORK / CANADA: CHARLES W. POINTON LTD.. I ALCINA AVE.. TORONTO

AUDIO JULY, 1957 11

www.americanradiohistory.com How UHF radio

got seven - league

boots

Giant over- the -horizon antenna designed by Bell Telephone Lab- oratories for "White Alice," Air Force Alaskan defense communications network.

THE huge antenna systems which This pioneer work at Bell Telephone project ultra -high frequency radio Laboratories has greatly increased the communications beyond the horizon usefulness of UHF communications. began when a Bell Telephone Labora- For example, over- the -horizon trans- tories engineer became intrigued with mission now provides critically impor- a strange phenomenon. Although these tant communications between remote radio waves were supposed to he use- military outposts in the Arctic and in ful only over line -of -sight distances, the far north. the waves displayed a mysterious tend- For the Bell System it can provide ency to take off in a giant stride to important new links for telephone con- beyond the horizon. antennas versations and television. This phenomenon had been studied Kenneth Bullington. both here and abroad. but no practical B.S.E.E.. University of New Mexico: \I... the engineer became use was seen until Massachusetts Insti- interested and thoroughly sifted the ex- tute of Technology: perimental data. He came up with the recipient of the 1956 stimulating conclusion that over -the- Morris Liehmann Me- horizon transmission is far stronger morial Prize and the 1956 Stuart Ballantine Experimental antenna used in early over - and much more dependable than was Medal for his contri- the- horizon UIIF radio transmission re- generally supposed. Further he pre- butions in the field of over -the -horizon ultra- search. Research extended transmission dicted that it could be utilized to sup- high frequency radio transmission. from 30 miles line -of -sight to 200 miles. ply dependable broadband communications. He and his associates at Bell Laboratories confirmed the prediction BELL TELEPHONE LABORATORIES experimentally, then drew up requirements for the first over- the -horizon UHF transmission system. WORLD CENTER OF COMMUNICATIONS RESEARCH AND DEVELOPMENT

www.americanradiohistory.com The Aperiodic Loudspeaker Enclosure

E. de BOER

The author analyzes the requirements of a resonance -free woofer enclosure and then pro- ceeds to design a practical cabinet that fulfills these requirements to a maximum degree.

THE REALIZATION of adequate repro - ellur-,-1 duction of low frequencies is a well - 10) PI r- -4r1 known trouble of high fidelity. This PI I .j10 difficulty is mainly due to the low radia- c(l'jkr)- tion efficiency of cone -type loudspeakers P(0= SOUND PRESSURE AT at these frequencies. More specifically, DISTANCE r when the dimensions of the radiating pi = REFERENCE AMPLITUDE member are small compared to the wave- `, v(r) = PARTICLE VELOCITY AT DISTANCE r emitted sound, a poor F length of the = SD"PD match exists to the air load. This not j la 2. , FREOIENCY only causes trouble in obtaining a flat i I, frequency response but a severe limit is = VELOCITY OF SOUND imposed upon the maximum power as I A. C. IN VOICE COIL well. F FORCE EXERTED BY VOICE COIL The only way to meet both design oh- SD EFFECTIVE AREA OF jectives is to increase the radiating area. DIAPHRAGM Since this is not feasible beyond a cer- po SOUND PRESSURE AT DIAPHRAGM tain limit, the loudspeaker enclosure is designed to improve the match between diaphragm and air load. It can be stated quite generally that an improved match in wall. over a large frequency range can only Fig. 1. Hypothetical loudspeaker an infinite he attained by a system occupying a has led to the Acoustical Suspension tem can he converted into a pulsating large volume. In a small -sized cabinet, System? These systems have in common sphere radiating into the left half -space where resonance is used to reinforce the that they demand a rather critical choice without introducing too large an error,3 bass end, the improvement is present of parameters of the loudspeaker as well as shown in Fig. 1. From the given for- over only a very narrow frequency as of the enclosure. mulas for the sound field it can be seen range. The author has developed a small -sized that the amplitude of the sound pressure One can conclude from this that for a enclosure which can be used with a nor- is inversely proportional to the distance. given maximum volume one has to con- mal type of loudspeaker and is not Hence our hypothetical loudspeaker (fed centrate either upon obtaining flat fre- critical. The design objective has been by a constant current 1) has the property quency response with limited power to approximate the behaviour of the that the pressure response at a given capability or upon an improved power loudspeaker in an infinite baffle with the point in the radiation space is indepen- match resulting in a jagged frequency requirement that the fundamental res- dent of frequency. response curve. Many solutions are actu- onance be critically damped. This has This simplified theory shows why an ally situated midway between these ex- been realized by adding two adjustable actual loudspeaker may have a reason- tremes. The only one of these extremes parameters to a system resembling a ably flat pressure response even when which can be called satisfactory is the bass -reflex system. 3 F. V. Hunt. "Electron', ,..Fies.'' Fig. first one. The author believes that there (page 1381 and related text on page may he interest in an enclosure which Electrical Analogue of a Loudspeaker has been designed to obtain a smooth frequency response, the power require- Let us discuss first the performance ments being completely put. aside. of a loudspeaker on an infinite baffle. we first assume It has recently been shown' that under For reasons of simplicity the diaphragm has no mass and is certain circumstances a small enclosure that freely suspended. When a constant cur- is theoretically capable of a flat fre- voice coil, a FREQUENCY quency response toward some 20 cps. rent I passes through the force F' is exerted on the diaphragm. Provided with a large -diameter loud - This be balane vl only by acous- speaker such a system can produce force can sound pressure on sufficient power for normal listening tic forces, so the pu is constant with fre- conditions. A similar type of reasoning the diaphragm quency. O. R. L. Clinic, Wilheintina Hospital, For low frequencies, the radiating sys- Amsterdam. Netherlands. a E. .1. .Jordan. " Loudspeaker enclosure 2 E. Al. Villchur, "Revolutionary loud- design" Irirele., World, Jan. and Feb., speaker and enclosure" Arano, Oct., 1954, Fig. 2. Electrical analogue of the system 1956. and July, 1955. of Fig. 1.

AUDIO JULY, 1957 13

www.americanradiohistory.com \Ve refer to this impedance as the radiation impedance of a circular orifice. In the case of our hypothetical loudspeaker this impedance is connected directly h :t voltage source representing the cou- FREQUENCY 'ECUEh'.' -tant force F. The voltage across the configuration of Fig. 2 now represent

also the sound pressure on the dia - alli 111 I di ragua. For the spherically symmetrical radia- 111 tor of Fig. 1 it represents the sound e pressure at a given point in the radiation space as well. So from our electrical (A) (BI analogue it is easily verified that tlu pressure response of the loudspeaker Fig. 5. Velocity -controlled loudspeaker. Fig. 3. Loudspeaker with moss (M) reac will be flat. The power is radiated repre- is completely controlled by the amplifier tion included. sented by the in R. The in- dissipation and the driving system is represented in ductance L represents a mass of the dimensions a re smaller than the certain the electrical analogue Fig. 5, by a pure air vibrating in the neighborhood of the wavelength. current source. From this it is apparent diaphragm without For a discussion of the power capabil- dissipation (radia- that the low- frequency response drops tion mass). ity we are interested in the amplitude A 6 db per octave. This is a well known We have of the diaphragm excussions. The dia- now acquired the skill to property of high -efficiency speakers study performance loud- phragm velocity VD= jCuA is related to the of actual driven by an amplifier with low internal speakers from the electrical analogue. the force F by the concept of mechanical impedance. The actual situation will be The mass, stiffness, and so on the impedance z-u defined as of somewhere between those pictured in diaphragm are added to the analogue F Figs. 4 and 5. Since amplifiers are fre- and the pressure response will still be zu = - quently designed so as to deliver a nearly t'Ii given by the voltage across the radiation constant output voltage, the driving impedance of Fig. 1. The addition of From the formulas given in Fig. 1 it system is preferably depicted as in Fig. these extra. though unavoidable, ele- follows that 6. consisting of a current source vo ments cause the frequency l'r response to shunted by a resistor Q. The velocity vo zy =SDPc where k =w /c (1) deviate from the ideal kra j one. is the velocity attained by the diaphragm First we assume that the diaphragm For low frequencies zm is nearly pro- when the total ohmic resistance would has a non -vanishing mass but still in- portional to frequency; he zero. The current consumption by Q hence the ampli- finite compliance. Since the force F has tude A is nearly inversely proportional is a measure of the actual voltage drop to be divided between mass and air load to the square of frequency in over the internal resistance of the ampli- order to the mass reactance appears in series in maintain a constant sound This fier and the voice -coil resistance, v. Hence pressure. the electrical circuit. See (A) in Fig. 3. is the reason the numerical value of Q is inversely pro- sound power at low fre- By way of the equivalent configuration quencies is severely limited. portional to this total resistance. From of (B), the pressure response is easily In order to visualize more clearly Fig. 6 it is apparent that the damping the calculated. Here F represents the me- operating conditions of is largest when Q is large, that is, when actual loud- chanical force and F' the part of it that speakers we will refer to an electrical the total resistance in the voice -coil is effective in radiation. One can see that analogue of the mechanical system. circuit is low. Any the introduction of mass reduces the ef- mechanical force will be represented by ficiency and causes the higher frequencies an electric voltage, and a velocity by Loudspeaker in Enclosure a to be reduced in strength. current. A mechanical impedance is then Now we add the feature of a finite The electrical analogue serves as an transformed into an electrical imped- compliance. This 4 a important tool toward understanding ance, appears in Fig. as which may be numerically equal capacitor (proportional the action of more complicated systems. to it. to the compliance), again in series with the radiation When a loudspeaker is placed in an As can be verified easily, impedance' impedance. The resulting configuration enclosure the diaphragm has to exert can be represented by the electrical im- gives rise to a series resonance which additional forces. Hence the elements pedance of a resistance and an induct- actually lies in a frequency region where due to the enclosure appear in series ance connected in parallel as in Fig. 2. the damping by R is very small. This with the diaphragm impedance of Fig. 4. means that this fundamental resonance will not be materially damped by acoustic radiation. ó The damping arises mainly frota mechanical friction and from the elec- s tromagnetic coupling to the driving FREQUENCY amplifier. The friction can simply be ,RECUEr.CY represented as a series resistor. The electromagnetic damping can also be studied from the electrical analogue but 00 the derivation is somewhat more involved. Suppose for a moment that the voice -coil resistance is zero and that the o amplifier is a pure voltage source. The motion of the diaphragm will then be such that the induction voltage developed Fig. 4. Loudspeaker with effect of finite in the voice coil just balances the im- Fig. 6. Loudspeaker with electromagnetic compliance (C) included pressed voltage. The diaphragm velocity damping.

14 AUDIO JULY, 1957

www.americanradiohistory.com locities appearing in the circuit. For the acoustical response, however, we may state that the sound pressure at large distance is approximately represented by the difference of the voltages across L and L'. The performance of the hass -reflex system will be analyzed only briefly. Fig. 7. Loudspeaker in completely closed At the free -air resonance frequency of box (E represents stiffness of enclosed the loudspeaker nearly the whole force volume of air). F appears across the parallel section. same Because of the finite compressibility When this section resonates at the of air a completely closed box acts as a frequency, full radiation is retained stiffness, at least for low frequeneies. while at the same time a large mechani- The analogous capacitor E appears in cal impedance is presented to the dia- series with the diaphragm stiffness C, phragm. This advantageous situation is thus increasing the resonance frequency only present over a small frequency Fig. 9. Origin of main resonances. (Fig. î.) When the enclosure is provided range, however. so that smooth frequency response is with a port. the situation becomes much At lower frequencies the parallel sec- obtained from the radiation of the dia- more complicated. Under the assumption tion becomes inductive and the series phragm. The unavoidable resonances can that the port radiates without interac- section capacitive, so that a series res- only be attacked by the application of tion with the diaphragm. its impedance onance develops. At frequencies higher damping. is again represented by an inductance L' than the parallel resonance, the parallel It has been shown' that under certain and a resistance R' in parallel. In order section becomes capacitive and the series conditions a very small value of the find the places of this im- to proper section inductive so that a second series resistance R' can serve this purpose ef- pedance the enclosure's stiffness we and resonance of the whole circuit appears. fectively. Such a value can be realized note that the air flux issuing from the At these two resonances the diaphragm by introducing a port provided with a side of the diaphragm can choose rear velocity becomes maximal. The resulting thick though porous resistive cloth. The between two ways. Part of the flux maxima of the induction voltage de- resulting enclosure is claimed to have a leaves the enclosure via the port. the veloped in the voice coil cause the well flat response towards some 20 cps. rest is effective in building up sound known double hump of the voice -coil Due to the fact that one resistance is pressure inside the box. This two -way impedance which is specific to the bass - used to damp two resonances and one choice can be represented by a parallel reflex system. The opposite polarities of anti -resonance, the system is quite criti- connection of the capacitor E and the front and rear waves cause the lower cal, however. In addition, the residual port's radiation impedance as is illus- resonance to be reduced in amplitude. A radiation of the damped orifice tends to trated in Fig. S. The parallel configura- typical theoretical response is shown in impair the lower frequency. For these tion can he defended as well by noting Fig. S. reasons the present author has tried to that the pressure inside the box must be find a solution which does not suffer same on places. Thus the port is the all Damped Enclosures from these disadvantages. driven by the same sound pressure as Let us focus attention to one of the the enclosure's stiffness. In the electri- The hass -reflex system provides us series resonances of a typical hass -reflex cal analogue both impedances must then with an easily realizable configuration of enclosure (provided with a port that is be connected across the same voltage, mechanical impedances due to the en- too small). At the frequency of the hence they must be connected in parallel. closure. Over a restricted frequency upper resonance the mass -like imped- The circuit of Fig. S gives the gener- range an improved match between dia- ance of the diaphragm resonates with ally accepted electrical analogue of what phragm and air load is obtained by way the stiffness -like impedance of the en- is easily recognized as a bass -reflex sys- of the port radiation. This occurs, how- closure. The latter is given almost ex- tem. In two respects, however, the cir- ever, at the expense of the response at clusively by the stiffness of the enclosed cuit is deficient. First, the interaction be- other frequencies. volume of air. This series resonance is tween diaphragm and port is neglected. In our design we will stick to this type indicated schematically by the thick line Proper introduction of this effect makes of configuration, though the require- in (A) of Fiq. 9. This resonance can be the circuit much more complicated. In ments are completely different. The im- the second place the radiation of the pedance of the enclosure will be used rear side of the diaphragm is 140 deg. solely to control the diaphragm's motion. out of phase with that of the front side. The port will not be used as an alterna- In our qualitative discussion we assume tive radiator of sound. This is obtained that both effects do not have a large by making the port area exceptionally effect on the various pressures aml ve- low. \Ve will try to modify the system FREQUENCY

am sR v c M 11 E PORT L__ FREQUENC,

10. Loudspeaker in "aperiodic" en- Fig. S. Loudspeaker in box provided with additional orifice. closure.

AUDIO JULY, 1957 15

www.americanradiohistory.com sonance of the parallel section is met. Keep 3 . e This resonance tends to cause a dip in the frequency response. It is, however. damped by the two resistances P, and 1'1. With a proper choice of parameters. correct adjustment of P, and P2 auto - matically reduces this anti -resonance to the wanted degree. These parameters have been deter-

mined experimentally by way of the D electrical analogue. It appeared that the choice of the parameters L' and E is not critical so that a rather low value of E can be chosen. This results in a very low A enclosure volume which is, of course, a Fig. 11. The aperiodic enclosure. very attractive feature of this system. There remains the question whether MM+ damped by a series resistor in

Construction of the Enclosure The external appearance of the enclosure is much like that of a bass -reflex system. The dimensions are chosen quite differently, however. The volume is less than one half the normal value. and the port area is much smaller than the dia- 213/1" phragm. By way of a resistive cloth the interior volume has been divided into two parts (Fig. 11). The smaller cavity contains the loudspeaker and opens into G c 1s.. the port. the larger one consists of the e of CLEARANCE remaining part the volume. This dividing member serves to reduce the

E E upper resonance. thus eliminating the `D\IM1 LOUDSPEAKER OPEN NG most objectionable cause of boom. The port, here having the form of a narrow slit, is covered by a thin layer of 14-- 14" similar material, in order to damp out -¡ ...k r the lower resonance. 7- 9 F >LIT The damping of the resonances can he H G adjusted by changing the thicknesses of the layers. This adjustment being one of the major stages in the construction. the construction must be such that the interior of the enclosure is easily accessible. When properly adjusted, the system is capable of a smooth frequency CLEARANCE G response extending to one half octave c below the speaker's free -air resonance. The lowest frequencies are somewhat at- tenuated beeause of the cancelling action of the residual sound radiated by the Fig. 12. Constructional data for aperiodic enclosure. (Continued on page 51)

16 AUDIO JULY, 1957

www.americanradiohistory.com The RC Crossover Compromise

NORMAN H. CROWHURST

A thorough discussion of the advantages and disadvantages of the high- impedance crossover network, with numerical and graphical presentation of phase shift and the flatness of over -all response.

so as not to AI. CROSSOVER DESIGN seem, III --011ie higher impedance value, An measure to be :a compromise. At shunt the preceding one appreciably. lint sight. the requirement Of de- ideal separation, producing zero inter- livering only frequencies below crossover action, would be achieved by placing a to one unit and freguIII ir- above cross- buffer stage between each resistance -ca- over to the other unit. would seem to pacitance combination. dictate as sharp as possible a rollotT So, for the purpose of analysis, we beyond crossover. shall consider these two extremes to see This runs us into the difficulty that which gives the best possibility of pro- sharp runoffs normally produce: prob- ducing a good compromise as regards the lems with transient response. Use of a various features of response required. a consistent pat- a I Any network using simpler network, giving ane gradual RC cross- Fig. 1. General arrangement of tern of time constants, whether maxi- rollotT, results in frequencies beyond the filter networks. The number of com- over mum or minimum interaction is used (or crossover being delivered to both units. ponents and the values used are the will have a phase it would seem. basically. that the eon - subject discussed in this article. something in between), staut- resistance type, of a suitable slope shift characteristic that is approximately where the choice, gives the best over -all perform- separate power amplifiers feed the sepa- symmetrical about a point value *. ance. because it provides for eoustaut rate loudspeaker units. This means that phase shift is half its ultimate conform ex- total energy distribution between the two the crossover does not have to handle The non- interacting cases units.' This means that., after making power, but operates at a relatively low actly with this relationship. adjustments for differences in efficiency, level. Constant Phase Difference the over -all response should he flat. It This introduces a further reason for also provides a constant phase difference avoiding the use of inductances: the fact 16.., setting all the time constants the between the energy delivered to the two that any inductance working at low level 511111e. without interaction, results in the units. so that, by appropriate acoustic is susceptible to hum pickup and needs half-max innmu -slope point coinciding adjustment of phase relationship. close careful shielding. with the half -ultimate -phase -shift point. integration takes place between the It is possible, as has been shown in \\-ith identical components the deviation acoustic output from both units. earlier articles, 1.2 to simulate the con - is fractional. On this basis it would at Any true constant resistance network, stant- resistance characteristics with re- first seem logical to make the crossover both iuduet- however, involves the use of sistance capacitance networks and feed- 4 Norman H. Crowhurst, "Unique re- ances and capacitances. The use of in- back. However, this arrangement results lationships," Audio, Oct. 1955, p. 62. ductanees leads to practical problems in in a comparatively involved circuit, so the choice of suitable inductance com- :many are turning to the use of a resist- ponents. ance /capacitance network for the cross- Some prefer to use air cores because over, ahead of the power amplifiers. they can introduce no distortion. But without the use of feedback to obtain the they are also considerably less efficient constant resistance characteristics. The and contribute an appreciable resistance purpose of this article is to investigate component to the network, for which the properties of these circuits. reason they are not suited to the steeper slope type of constant- resistance cross- Possible Choices of Values over, because the resistance they con- NMI of the crossover can consist tribute invalidates the eum,taut resist- I:atIt I't- any number of resistance and capaci- ance parameter of the network. tance elements as shown in Fig. 1. The As a whole. iron -cored components values of rosi -toue and capacitance can yield a better efficiency as inductances chosen in a111e,4 an infinite variety and, if well designed. can produce ex- he combinations. Ii uvt''er, the interac- tremely little distortion -less than other ut concept` enables us to select certain components in the chain usually do. tion in the possibility of performance However, the fact that it is possible for limits iron -cored components to introduce dis- variation. interaction occurs when all tortion makes many of the purists steer Maximum Fig. 2. Responses achieved when se capacitances have clear. the resistances and quences of identical values are employed same value. A minimum can he Fig. 1, using 2, 3, or 4 A modern trend is to advance the the in the circuit of re- in filter. The position of the crossover from the out- achieved by making each successive pairs of elements each capacitance combination of dotted curves in the top part show the amplifier to a position sistance- put of the power response of the total energy supplied to preceding power amplification so that 2 Norman H. Crowlntrst, "Feedback fil- the combined circuits. At the bottom is ters for two -channel amplifiers," AUDIO, shown the phase difference between the 150-.17 14th Road, 11Y(ite.:done 57, N.F. Oct. 1954, p. :t_. two outputs for the 3- and 4 -stage net- Norman H. ('rowburst, "Basic design 3 Norman H. Crowhurst, "The interac- 2 -stage network maintains a of constant resistance crossovers." A VDID tion concept in feedback design," AUDIO, works; the ENGINEERING.. Oct. 1953, p. 21. Oct. -Nov. 1956. constant difference of 180 deg.

AUDIO e JULY, 1957 17

www.americanradiohistory.com whichever choice values is at this point on the rolloff characteristic. of adopted, ...17. A set of characteristics for two -, the arrangement now approximates the ors' C,....--.®1:811,=E1_4: 'ii three -, and four -stage networks, using performance of the single -stage network the identical component construction and in varying degree. In the single -stage also using the non -interaction arrange- network, the half -phase -shift and half - G ment, are shown in Figs. 2 and 3. Here power points coincide at the frequency we can see the reason why this selection where the reactance is equal to the re- =MILAN of crossover is not suitable. sistance. This simple arrangement gives Although the condition of constant a constant phase difference, between the phase difference is met with this ar- energy delivered t,, the two circuits, of rangement there is a dip in the total 90 deg. and n ell-i:, t -total -power con- 10111125 power curve at the crossover point. ; W11=MIIMO Using identical components in cascade, this dip is 6.5 db for the two -stage Identical Component Cascade configuration. 13 db for three- stages, Using identical components in cas- and almost 20 db for four stages. cade, the two -stage network gives a mini- Using the non- interacting ease -which mum phase difference, at the new cross- is considerably harder to construct be- over point, of 105 deg., rising to a maxi- cause it requires buffer stagrs to reach mum of 180 deg. The three -stage case LL áo ,..O.. .. f wide variety the ideal and an extremely gives a minimum of 110.7 deg., rising to of resistance and capacitance values Fig. 5. Moving the responses of Fig. 3 even to approach the ideal -the loss at over to approach constant total power crossover is not quite so serious. For produces these results. Here the deviation the two -stage ease, the total energy from total constant power is measurable, shown at the top. shows a 3 -db dip, the three -stage gives a 6 -db dip and the four -stage a 9 -db dip. S.5 times crossover, but with an attenua- Approaching Constant Total Power tion of 23.78 db. At this point there is not nitwit difference in the attenuation The next thing to consider is whether given by each network. pushing the two responses together so From this it is seen that the use of that the total power is the saute at cross- identical components in cascade, after over point will produce a reasonable making the necessary adjustments to approximation to constant total power crossover frequency to achieve approxi- throughout the frequency spectrum in mately constant total power, closely ap- this region. To do this we need to find proaches the response of the single -stage the half -power point and shift both arrangement (shown dotted) until the curves to make crossover occur here. attenuation gets quite large. Examining the characteristics so pro- The phase difference is always slightly duced, shown at Figs. 4 and 5, shows larger than the 90 deg. constant value that, however many stages are used and associated with a single -stage arrange- Fig. 4. Moving the responses of Fig. 2 ment, but does not become excessively over to approach constant total power larger until there is a considerable produces these results. The dotted curves amount of attenuation in one of the indicate the responses of single reactance outputs. networks for comparison. Reduced Interaction a maximum of 270 deg. The four -stage case gives a minimum of 112 deg. rising Use of networks with less interaction to a maximum of 360 deg. than identical components give will re- As regards constancy of power de- sult in a response that does not hold livered to the combined arrangement, quite so closely to level nor is the phase these circuits are extremely good, all of deviation kept so close to the 90 deg. them giving an approximation of better figure. This is shown by the other set of than 0.1 db at all points. cases given in the appendix, where non - What may appear to be a disadvan- interaction networks are considered. In tage in using more stages-that of pro- practice a network somewhere between ducing a great deviation in phase-may the extremes might also be used. but the he considered to be compensated in the figures given show the extreme possibili-

NOMUK1irD greater ultimate slope of cutoff beyond ties. the crossover frequency. However the Using non -interacting networks the Fig. 3. Responses achieved when inter half -slope point (towards this ultimate two stage case shows a minimum phase oction is entirely eliminated between maximum slope) is not reached until 2.7 difference of 131 deg. with a maximum successive "stages." The only practical times crossover frequency in the two - of 180 deg. and the rolloff beyond the way to achieve this limiting case would stage case, 5.1 times the crossover in the crossover is more rapid. However the be to employ buffer stages between each three -stage case, and 8.5 times crossover deviation front constant total power is pair of elements. However this limit in- frequency in the four -stage case. a little larger too, as shown in Fig. 5. dicates the form that can be approached This means that, for example in the reaching a maximum of 0.1 db. by using elements of successively higher four -stage case, a slope of 21 db per The three -stage ease results in a mini- impedance, to reduce interaction. In the maximum 24 db mum phase difference of 162.1 deg. and limiting case, shown here, the phase dif- octave, of the rated of more front total con - ference is constant -180 deg. for 2 per octave, is not reached until a ratio slightly deviation stages, 270 deg. for 3 stages, 360 deg. of 72:1 beyond crossover frequency. A start power. The four -stage case achieves for 4 stages. slope of 12 db per octave is reached at a minimum phase difference of 188 deg.

18 AUDIO JULY, 1957

www.americanradiohistory.com Number Design of Factor Stages 2 2.68 3 5.1 4 8.5 For example, if a three -stage filter is contemplated, the factor is 5.1. The design frequency for the low- frequency filter is multiplied by 5.1: if the desired crossover frequency is 81)0 cps, the design frequency is 4050 eps. The design frequency for the high -frequency filter is SOO divided by 5.1, or 157 cps. Now we use the reactance chart : assume the resistors will all be 0.1 meg- ohm: for the low -frequency filter, the capacitors will be 390 uuf. and for the high- frequency filter they will be .01 ,.f. An alternative design might use the same value of capacitor throughout say .001 uf, and change the resistor; then the resistors for the low frequency- filter will be 39,000 ohms, and for the high frequency filter will be 1.0 meg. These alternative designs are shown at Fig. 7. A PPEN DI Two -stage networks, using identical components in cascade: 1 x' +jJ.- (1) pass )ch.r, . o.! - 1 /eiCR for low and

high pass n -.1" , tively. 3x -tan'- (2) db. 10 log,. [1 +7x' +x'] (3) 1111.%71...e.0: 1,7,1167.110.r0 n.eaw aarr.r.-. .w,....na.:..:.ys mar am, Vw.:6. AAEf. .+: .9./ AVA : .rJ...:f ....A.M.", AA-AR Mr 4..01122 Loss at half ultimate phase shift, 90 °, 11sbLtKE4:]\\0.WL!.:ey01::tS..:4:r1t.SGi4'I`:L:4'..,OVANS:e4!C51\\v\ x =1: //ir.ieal .7:Qri'.iW:A!.! .Id.i:4:4.a¡d°Ó\f.:OIL:,.fw1 O\ü\\\\\ MsRmRm.NRm..eeROSSaeSeRmNNNNHwNws.. db = 10 logo 9 =9.542 db. (3a) - - - - O N If f . Q . Half -power point (3 -db loss) given by 1 7x' +x'= x =..371 (4) Phase at half -power point: Fig. 6. Reactance chart for aiding calculations: use chart from June 1956 issue, p. 27, 1.124

4 = ton ' =.iß.5` 86 (2a) with even more deviation iront constant The only way to achieve a sharper (Continued on page 53) total power. slope at the crossover frequency itself, and in the region immediately beyond it, .01 Practical Compromise is to employ an arrangement that pro-

a cha mete ristic H. F All of these arrangements achieve duces constant -resistance by using resistance -capacitance networks fairly close to the constant total power ó . condition, however, and probably the with appropriate feedback controlled to achieve the correct over-all response. 0.1 Meg. 0.1 Meg. 0.1 Meg. more serious audible effect will be the F. article 1. phase deviation -the fact that the phase This was discussed in detail in the OVTP.' on Feedback Channel Separ: tors.2 between the energy from t IIi t 790yu! units in the vicinity of crossover is rapidly changing. Design Procedure

This consideration favors the networks For the benefit of those who )want to aol 00! with the lower number of stages and utilize these results to produce a simple probably the single -stage arrangement compromise in RC crossover design, the OUTPt is really ideal, provided it does not de- procedure can be outlined in the form liver too much energy at frequencies well of simple factors: any reactance chart )9,000 p00 39,0ó) beyond crossover to the wrong unit. such as the one at Fig. 6 will give the 39 F. If this happens use of two or more relationship between capacitance. fre- ,UTPUT stages may be warranted to achieve a quency, and reactance. First the desired greater slope beyond the crossover fre- crossover frequency is multiplied by the quency, but this increased slope cannot design factor for the number of stages be achieved at crossover frequency, with used to give the design frequency for the a resistance -capacitance type of circuit, low- frequency filter, and divided by the Fig. 7. Two arrangements using three - without introducing a dip in the total same factor to give the design frequency stage filters, showing values calculated power response. for the high -frequency filter. in text.

AUDIO JULY, 1957 19

www.americanradiohistory.com Transistor Preamp for Low -Output Pickups

ANTON SCHMITT

A low noise, transistorized preamp for flat amplification of pickup signal affords greater fidelity in sound reproduction, and can be built with assurance of successful operation

RE(ENT YEARS the quest for better und reproduction has led to the de- I velopment of a number of improved types of phonograph pickups. One such high -quality eleetromeehanical trans- ducer now enjoying a widening use is the proving -coil pickup, in which the coil is arranged either to rotate in the magnetic field like a d'Arsonval ureter, or simply to move within the field. Its advantages include (1) low effective mass and a high compliance, (2) a resonant frequency above audibility, (3) low impedance to minimize hum pickup difficulties and (4) a highly linear response-all of which are important factors in the production of clear, "quality" voice and music signals. One drawback to the moving -coil pickup is the low output signal it gen- erates, usually of the order of 0.5 to 5 millivolts. This is appreciably lower than the 15- to 20- millivolt output of the usual magnetic or variable reluctance Fig. 1. Simple transistor preamp provides gain necessary to permit connecting low - pickups. The higher voltage levels ordi- output pickups to normal preamplifier which incorporates suitable equalization narily are required at the high gain in- curves. puts of most preamplifiers. For this reason, most moving -coil pickups are de- cuise level in even the best modern pre- to merit attention, would have to satisty signed to work into a Hatching step -up amplifier. the following requirements: transformer, which crakes possible the Why not, then, substitute for the in- 1. The gain must equal or exceed that signal voltage output of 15 to 20 milli- put transformer a cascode -stage pre- of readily available commercial input transformers. volts needed to override hum and noise amplifier? Offhand, would not the 6BQ7 so used appear to offer possibilities? _. No noise level above that of "negli- in the preamplifier input stage. gible" Could be tolerated. While presently available input trans- After a number of experiments, the Ilan: level must also be negligible - formers are markedly improved over writer found that the caseode amplifier if not eliminated. reproduction quality, by sub- earlier versions, the writer's observation was not very satisfactory for this partic- 4. tiomul ular application. The limitations of the jective listening tests, must be su- has been that even the best of these units perior to that obtainable by the use fails to satisfy the stern requirements of cascode circuit for use in phono pre- of :in input transformer. out L. the "no compromise" school of audio - amplifiers have been pointed by Frequency response must be linear Marshall.' from IO to 40,000 cps. fans. To deficiencies in the input trans- li. Iligb -cud response must be clean and former may he traced such disappoint- smooth. neither "peaked" nor ing phenomena as hum pick -up, peaked Transistor instead of Transformer "airy "; low-end response must be high end response, "spread" or inade- An approach recently made by the "tight" and clean. 7. Circuitry must be simple. Components quate bass (comparable to that resulting writer entailed the development of a ueedeol-especially the designated from improperly damped speakers) and simple and basic low- noise, high -gain transistors-must lie readily obtain. an unnatural coloration of program ma- transistorized preamplifier, designed to able and low or moderate in cost. terial. replace the input transformer usually The transistor preamp described here An obvious approach to the problem used with low- output moving -coil pick- sueeesstully meets these criteria. A num- would he through the elimination of the ups. It can be built in a few hours. and ber of units are now in use. and have input transformer. While producing costs even less than a top -quality input been commended by seasoned and highly greater fidelity, such a solution unfortu- transformer. The results of both instru- critical listeners. nately entails the employment of maxi- ment and ear tests of this unit have been mum or near -maximum settings of the most gratifying. Construction gain control of the preamplifier-a prac- Prior to the development of the device This preamp requires only a few parts tice likely to produce an undesirable it was decided that the finished product, and the circuit, Fig. 2. is simple. Since direct coupling is uSP(i between cartridge 'Harrcy Radio Corp.. Inc., 103 W. 43rd '.Joseph \lnrsh:rll. "The grounded ear, the limiting factor for Street, New York 36, N. Y. I nil ioeraft. Irec. 1955. and transistor.

20 AUDIO JULY, 1957

www.americanradiohistory.com bass response is the input resistance of the regular preamplifier. With the 47,- 000 -ohm load generally- used for the more common magnetic cartridges as the input resistance, low- frequency response will he down less than 2 dl) at 10 cps. High-frequency response will be down Its than °_ dl) at. 75,000 cps. Resistor R, and capacitor C in con- junction with the battery in the emitter branch, automatically provide proper operating potential between the collector and the emitter. The degenerative action of unbypassed resistor R: in the emitter circuit reduces distortion, smooths overall frequency response and increases input resistance. An input resistance of about 5000 ohms is suitable for such cartridges as the Electrosonic and the Fairchild. An increase in the value of the resistor Rr raises the input resistance, but lowers the gain. The collector load resistor R,, affects both the gain and the amount of thermal noise. The collector current is constant at 200 microamperes for values of R., front zero through 8200 ohms. Beyond Fig. 3. Close -up of internal construction. Battery clips specified in parts list eliminate 10,000 ohms, the base current increases need for soldering batteries in place. from a low of 10 microamperes, and the collector potential becomes too low. In to the shield will minimize any induction thi red dot facing the batteries which this condition, there is a loss of gain and hum problem. supply potential to the collector-the an increase in distortion. With a load of All of the low -noise transistors cur- lead soldered on the terminal lug nearest 6500 ohms, gain is 20 db and noise is rently available have functioned satis- the two batteries in series is the collector barely audible. Increasing the load to factorily in this circuit, although occa- lead. 8200 ohms increases the gain hut also sional individual units have been The preamp was built ill a 3" 2_' "x increases thermal noise. excessively noisy. It is recommended 51/4" gray ha tanlertone all l t i l i l l t t la box. Three mercury batteries are used: one that a transistor be checked for noise The resistor strip is a Miller 4511.:1 two - is in the emitter, and two are used in before clipping the leads and soldering foot. single conductor shielded micro- series to supply the collector potential. in place. In soldering, pre -tinning the phone cable serves as the output lead, In Fig. 1, they are shown soldered in leads and lugs and brief applications of entering the box through a grommet. place, since at the time of construction heat should permit making satisfactory Component values are given in the ac- the battery holders currently available connections without risking damage to companying parts list. Fiy ores 3 and 4 were not on the market. With a meas- the transistor. Reversed battery polarities show two additional view: of the com- ured drain of 200 microamperes (with can be ruinous to transistors and caution pleted preamp. pickup plugged in), battery life in con- should be practised- although in the ex- tinuous service is estimated at over one periments accompanying the develop- year. Battery life could be extended if ment of the present circuit, polarities an off -on switch were installed, or the were reversed on a number of occasions pickup removed from the arm when not without apparent damage to the transis- in use. Several units have been in con- tor, probably because of the low po- tinuous operation for a year without tentials present. battery replacement. Among the transistors the writer Despite battery operation, difficulty found satisfactory in this application with induced hum may be experienced were the Raytheon 2N133, and the RCA unless proximity to power transformers 2N77, 2N109, and 2N105. In the preamp and turntable motors is avoided. Return - shown, the Raytheon 2\133 was used. the input The transistor is soldered in place with 'ng all grounds to a point at Fig. 4. External view of completed preamp. l'.11t'l'S LIST (', 100 uf, 6 volts, electrolytic C., 4 id, G- volts, electrolytic 1(, 5600 ohms, 1 watt Fig. 2. Schematic /(: 330 ohms. 1/2 watt° of the transistor 1t., 3900 to 6800 ohms, 1 watt (see text) preamp. l Transistor- Raytheon 2\133, RCA 2N77, 2N105, or 2 \109

1 Acme Battery Holder, #153

1 Aluminum box, 21/8 x 3 x 51/4 1 Miller #450 Resistor Mounting Strip :3 Mallory RM -12R mercury batteries

AUDIO JULY, 1957 21

www.americanradiohistory.com From the Archives of Bell Telephone Laboratories An Acoustic Illusion Telephonically Achieved

HARVEY FLETCHER

A description of one of the first studies of binaural illusion and its effect upon those who first participated in the tests. The second in this series of reprints of Bell Laboratories' papers on sound, hearing, and acoustics.

DURING the Winter and Spring of last year (1932) a strange figure in- habited the American Academy of Music in Philadelphia. Looking him full in the face, one met unblinking eyes, and a slight smile, fixed and unfading; and this evidence of inhumanity was confirmed by looking at him in profile, for just in front of his ears, microphones were set into his cheek hones, as seen in Fig. 1. Thus Oscar, the tailor's dummy, though less than human in appearance, was given one capacity that was more than human : that of instantly communi- cating to others exactly what he heard, exactly as he heard it. To listen through

(Reprinted by permission from Bell Labo- ratories Record, Vol. 11, No. 10, June, 1933) Acoustical Research Director, Bell Tele- phone Laboratories (1933).

Oscar on stage with one at his "coaches."

the receivers connected to Oscar's micro- spective with both eyes and in flat pano- phones was to put oneself in Oscar's rama with only one. place. This capacity of Oscar's gave him It is to be expected that any two an important position in the tests of sound -apprehending devices could double musical reproduction conducted by the for the ears. Two microphones, placed Laboratories in cooperation with Dr. the same distance apart as human ears. Leopold Stokowski and the Philadelphia could be independently connected to two Symphony Orchestra. receivers. A person putting the receivers When one hears a sound, one can to his two ears would be acoustically usually locate approximately its point transported to the location of the micro- of origin -its distance and direction. The phones, no matter at what distance from mechanism by which this location is them he might actually be, hearing all accomplished is not altogether under- sounds as he would if his ears were in stood, but the interaction of the two ears the positions of the microphones. Oscar seems to have much to do with it, for duplicates the conditions of normal hear- stopping up one ear destroys the ability ing as nearly as possible, not only by almost completely. In listening to an supporting the microphones the proper orchestra under the two conditions, the distance apart but by modifying the Fig. 1. Into Oscar's head two micro- difference in effect is quite similar to sound field near them as a human head phones are set, one on each side. that between a view seen in full per- modifies it near the ear.

22 AUDIO IULY, 1957

www.americanradiohistory.com fully in all respects, microphones, amplifiers and receivers of the highest quality were used in the two channels, transmitting extremely wide ranges of frequency and volume. Since the response of a receiver depends upon the person's ear upon which it is placed, perfect reproduction requires a different equalization for each person. In these experiments, however, only a single Fig. 2. Systems of transmission can be equalizer was used, which was an average divided roughly into four classes: mo- for a group of listeners. By its use the naural (A), diotic (B), mixed (C), and frequency characteristics of the system binaural (D). were corrected so that all observers agreed that the reproduction was excep- In the extent to which they approach tionally faithful. the conditions of normal hearing, sys- Striking evidence of the naturalness tems can he for transmitting sound which can be secured with such a bin- roughly divided into four classes, as dia- aural system was obtained at several grammed in Fig. 2. In "monaural" sys- formal demonstrations in Philadelphia. tems, such as the commercial telephone, When the guests had put to their ears a single transmitter is connected to a single receiver. "Diotie" systems, in the receivers connected to Oscar. who which the transmitter is connected to was in another room, someone would say Fig. 4. The amplifiers and equalizers for two receivers, one for each ear, are confidentially in Oscar's ear, "Please the binaural system were adapted for familiar to those who have used double move over." A surprisingly large num- use at the Century of Progress Exposition head- receivers on telephone lines and ber of the guests would start to obey the by L. B. Cooke. the like. "Mixed" reception is found in command before realizing that it came the similar use of double receivers to from the receivers. Afterwards someone ever, that observers sitting at the rear monitor a loud- speaking public address would whisper in first one and then the of the hall where they can see the orches- system, in which two microphones are other of Oscar's ears, and would tear tra prefer to have the microphones near used to pick up the program and their paper, jingle keys, or thump a tam- them. even at the expense of tonal bril- outputs are mixed. Of "binaural" sys- bourine to illustrate the fidelity of the liance, for otherwise they find themselves tems, in which the outputs of two micro- system to sounds of high frequency. discomforted by being acoustically in one place and visually in another. This phones are separately conducted to the Finally Oscar would be brought out and effort has even been noticed by observers two receivers, only a few experimental set in the midst of the audience so that in Philadel- in another room where a screen placed examples such as that used they could compare direct with trans- have built. the source of sound at a certain apparent phia been mitted sounds. From the familiar monaural condi- visual distance. Experiment showed that the advan- tion, the change to the diotic produces In comparisons of binaural with loud- of instead two mainly the effect of an increase in the tage using Oscar, of speaker reproduction, even the incon- loudness and fullness of the sound, and microphones less dramatically mounted, venience of wearing head receivers does of a shift of its apparent source to the was confined to cases in which the sounds not prevent most observers from pre- center of head. Changing to the mixed originated quite near the microphones. ferring the binaural system. In an at- condition adds a roughness to the sound For tests of the reproduction of music, tempt to rate the worth of the binaural but leaves its loudness and apparent therefore, two microphones were hung system, observers were asked to note source as they were when reception was from a bar. It was found that, when the their preference between monaural re- diotic. With the final change to the localization effect of the system is dis- production of the full frequency range binaural condition, the apparent sources regarded, the best place for the micro- and binaural reproduction of various of sound move to approximately their phones is relatively near the orchestra. limited frequency ranges. Even when all proper locations in space, and the ap- where the tones are brilliant because frequencies over about 2800 cps were parent reverberation is greatly reduced. absorption has not diminished the high- suppressed in the binaural system, more To provide, for the experiments in frequency components as it has by the than a third of the observers preferred Philadelphia, a binaural system which time the sounds reach remote parts of it. would reproduce speech and music faith- the hall. The localization is such, how- To give a wider public the unique experience of being put in the other luau's place by a trick of the ear, a binaural system ( Fig. 3) was installed at the Century of Progress Exposition in Chicago. IIere Oscar II appeared in a glass booth somewhat similar to that shown in the headpiece. and observers who hold to their ears one of the sets of receivers on a nearby balcony, will feel as if transported to his position, there to be addressed by Oscar's companion. The system will furnish to those who use it dranmtic proof that there is no longer ally limitation, except expense, to the Fig. 3. Arrangement by which several pairs of receivers were multiply connected to acoustic fidelity which electrical trans- Oscar for binaural observation by several persons at once. mission systems can achieve.

AUDIO JULY, 1957 23

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Exterior and interior elements, even the cleats, fit snugly within close tolerance "rab- beted" groves. Gluing and screwing of each piece results in reliab- ly air -tight. permanent Heavy 'a" hr -t grade, fully cured lum joints. No nails used. ber for top, bottom. sides and back ... No pencil markings KwiKit acoustic design and tilted baffle room. not flimsy 1c" wood commonly used in necessary. Mitering and lline direct speaker radiation and compen- "kits.- Bigger. sturdier - as marls as plenty of glue blocks sated rear horn loading in a way that blends 30% heavier than others in the same and bracing for truly bass, middle and treble ranges perfectly ... price class. Eliminates spurious reso- rigid construction. for uniform response throughout the listening nances so detrimental to achieving areas of a room. richer, cleaner bass reproduction.

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GENUINE KORINA VENEER Underside view shows how for a luxurious fìnislt in any advanced design, self-con- desired color. tained folded horn extends to the Irons of the cabinet. DECORATIVE FRONT MOLDINGS projecting low frequencies d i ne l t.. u, n11,1,rnent and out into the room ... not nhan e any decor. back into a corner, All pieces are pre-cut and pre -drilled... J plashed walls. engineered to go together I against the quickly. All TEXTURED GRILLE FABRIC .III slot in base is resis- you need is a screwdriver! Baffle board t.''ly controlled vent is pre -cut ... blank plugs and adapters .. exquisite, and acoustically con H Ilich equalizes woofer dia- supplied for easy installation of addition- rect to prevent high frequency phragm excursions in com al components as your system expand-. attenuation. pression chamber. KwiKits Your KwiKit includes all required hauls ire. For any wide -range, coaxial, diffaxial or are therefore independent ref room furnishings, plastic wood. glue, sandpaper. Tunics it I.I.s shape or placement and can be used against a lat ion. easy.Iu.fol low instructions and ...spr multi- speaker system ... if it's a kit that flat wall, in a corner ... even up in the air! vial attention is iris en to packaging of KwiKits you want, its KwiKit you need! to insure safe, intact detihery to your dour.

LISTEN afiUPzs KEN -12 151/20x211hWx291/SH $44.75 User Net ss 4E130 KEN-15 181/2D x 29 W x351/4H 59.50 User Net Adopter for mtg.12" spkrs.in KEN.15$1.S0 User Net UNIVERSITY LOUDSPEAKERS, INC., ao SOUTH KENSICO AVENUE. WHITE PLAINS, N. Y.

24 AUDIO JULY, 1957

www.americanradiohistory.com KwiKits... the perfect complement for P.S.E., EQUIPMENT REVIEW University's Progressive Speaker Expansion. Tech -Master 60 -watt Amplifier Kit kUlt Bogen Stereophonic Tape Adapter -Amplifier rte'. Garrard Model T "Mark Il" Record Player

WE e.N wEIJ. RENT Il \titt1R the 4hiv when no truuhle at all. We would like to see we would Hot have recommended the it little more space between some of the use of a 60 -watt amplifier for the sockets and the associated terminal strips 11o11ic system because there were none avail- so that resistor lends might be slightly able then. But we have lung campaigned longer, but with a little cure the construc- for more than ID watts -which we consider tion can be followed with the nbsolutt' utiniuunu for a monaural sys- The tube complement enms sts of a 12A X7 tem-with the upper limit gradually mov- as preamplifier, a I2A1. 7 as tone control MODEL KEN -12 ing from 20 to 30 to 40 and so on. We also amplifier, a 6A\8 as phase splitter and being 200 and a of 65511's in the output takes any 12" wide -range or woofer cone remember told about -watt ampli- driver, pair fiers, and our comment was, "That's all stage, with a SL'4GR as rectifier. The selec- speaker and any tweeter or mid -range speakers right, plenty of people will buy them for tor switeu , with ten positions, provides the A-Hole rut out for 11F -206. B -Blank plug sup- their home systems." on -off switch, phone positios with RIAA, plied when tweeter i-nl used. C- Adapter sup- In general, while the actual power re- ata, NAB, LP and 78 equalization, and high plied rut out for 1 \'l' .;. D -Blank plug supplied. quirTments have not risen, we have become oui level inputs from PIEZO pie l: up and from E- Adapter supplied rut for á119. F- .Adapter more conscious of the peak demands on our supplied rut out for new H-600 horn. G -Take- 'I -VNER. Ty, and TAPE. Tn addit issu, the tllnil 312. l'XC-123. Difusicon, -12. l' \C.122. Diffaxial-. systems, and consequently we have found is equipped with a TAPI: FEED !ark which is 6200. 6201 wide -rangy spe. J... i- C.12W woofer. that those loud notes come through with connected ahead of the tone controls (but hutch less cringing on our part when we after the volume control(. handle them. 60 have sufficient power to The amplifier is 14r/ß in. wide, 10 t4 in. not represent a increase watts does great deep, and 5% in. high, and may be fitted over 30 3 db it helps to elim- -only -but if into an accessory metal cabinet if desired inate the distortion on the loud notes, even for table -top rise, but if to be installed in 3 db is worth while. a there is sufficient shaft length so The Tech -Master Model 101K amplifier cabinet be with a % in. wood panel. kit comprises both the power amplifier and it may used The unit is furnished wich a two -tone a satisfactory preamplifier with all the necessary switching, tone, and volume con- black and gold panel with all designations, this panel would normally be mounted trols at a price that is most attractive - and you actually save approximately $50 by on the front of any wood p :utel with which building it yourself. It is also available in it is used. factory completed form as Model 19. Suf- Among the attractive features of this fice to say that the amplifier lives tip to its amplifier are: very low hunt output, good specifications. Intermodulation distortion tone -control action, hum -balancing potenti- MODEL KEN -15 measured only 0.85 per cent at 60 watts, ometer, variable pickup load calibrated di- using 60 and 7000 cps, and the output was rectly in ohms, two a.c. outlets -one takes any 15" wide -range or woofer cone 65 watts at 2 per cent IM. Response was switched and one "hot,"-and 4 -, 8 -, and speaker and any tweeter or mid -range speakers within +2 db from 10 to 50,000 eps, and 16 -olmi speaker outputs. was up Listening quality is all that could be Hole rut out for 11E20ú. B -Blank plug sup- square wave response satisfactory A- and rather more than would be ex- plied when tweeter isn't used. C- Adapter sup- to 7000 cps, with only a slight rounding at desired plied rut out for 1'X7`5. D -Blank plug supplied. 10,000. pected from a complete unit at this price. E- Adapter supplied rut out for C -8W or Diffusi. The amplifier is easy to build, with in- On the whole, we were pleasantly surprised rune-8. F-Adapter supplied rut out for -1-109. G- structions which should make it possible at the performance of this unit and we con- Adaptn supplied cut out for new 11.600 horn. H- to complete the unit with sister it an excellent value. Takes 315. 6303 Difusirone -15 Diffaxials, and for the beginner C -15W. C -63W, woofers.

n,rrr..-raLZr sarc.

RIM ua á

va W.

-r

MODEL KEN -15 ASS roa' takes any 12" wide range or woofer cone speaker LOAD when 12" adapter hoard (optional) is used o - SCUP.. A and B -Blank plugs supplied. C -Takes 312, rC UXC.123. Difusirone.12, UXC.122 Diffaxials, 6200, 6201 wide -range speakers and C-12W woofer.

Remember... if you like to build your own and save money too, the KwiKit is made to order for you.

SEE YOUR DEALER TODAY!

Fig. 1. Schematic of Tech -Master Model 19K Amplifier Kit.

AUDIO JULY, 1957 25

www.americanradiohistory.com EQUIPMENT REVIEW (Cont'd) preamplifiers are 12AD7'a, with feedback sor, the original Model T. equalization. Channel 1 continues with vol- Actually, however, the new Model T is a ume and tone controls, a 6U8 as voltage great improvement over the earlier ones, BOGEN ST -10 STEREOPHONIC amplifier and phase splitter -driver, with and it is much more like the well known TAPE ADAPTER -AMPLIFIER two 6AQ5 's in the output stage, with pro- Garrard changer line in mechanical con- vision for 4 -, 8 -, and 16 -ohm speaker loads. struction -with only the changing mecha- I nH.. the problems of eouvertiug a hi -fi In Channel 2, the preamplifier is followed nism omitted. The new model provides four sv,t, o to stereo is that it requires an addi- by a volume control and a 6C4 cathode fol- speeds -the usual all three" plus 16% tional amplifier (and speaker, of course) lower. The volume controls are ganged, and rpm. While we will never agree that the ill addition to the stereo playback head the tone control is actually a treble control 16 -:a speed will be at all useful in high itself and the tape preamplifier. If a eon - on Channel 1. Adjustment of balance be- fidelity reproduction of music, there are ventional tape recorder is converted to tween the two channels can be made by some users who have need for it because of stereo, it is possible that the preantp may means of the volume control of the auxil- talking books and similar uses. Be that as have been added at the some time, but iary amplifier used with Channel 2. it may. most people iItnnand the fourth with such an adaptation as provided by the The ST -I0 is quite eouq.:aet- measuring speed, even though they haven't the slight- Dactron stereo adapter kit, for example, no only 5 "1 in. wide by 12 i-n. deep and lit- est idea of what they are going to use it internal changes need be node in the re- in. high with its protective cage and the for after they get it. corder -the stereo head is simply attached legs shown. For installing in an existherr The motor oa the Model T is mounted outside the regular tape playing nnechanism. cabinet, the over -all height is about 5 in. on live rubber a ilrration absorbers, with In any ease, two head outputs are available Two short "patch- cords" are used to con- the entire base plate isolated from the from any stereo recorder, and the ST -10 nect the preamplifiers to their following cir- mounting board by "snap mount" spring permits both to be fed to similar preamps, cuits, thus marking it possible to reverse assemblies which permit instant mounting with the output of one channel being fed the channels readily to make the connec- and levelling from the top of the unit after to the remainder of one's system, while the tions without any internal connections :n it is installed. All four speeds operate from ST -10 also furnishes a small power ampli- the amplifier itself. This is a distinct con- a single turret on the shaft of the dynam- tier for the second channel. venience to most users of tape recorders, es- ically i;tlanced motor, and no belts are This amplifier would serve especially well pecially those to whom a soldering iron used. When the unit is slntt off, the idler for any of the playback-only tape decke and long -nose pliers represent an insur- disengages from contact with motor shaft that are available, or for any which did not mountable hazard. so as to avoid the possible formation of flat provide any electronic circuitry. Further- Performance will be fond quite satis- spots which might result in thumps and more, because of the flexibility of the ST- factory on most stereo tapes -those that wow. 10, it would be a simple matter to convert are. in themselves, good. Gain is adequate, In operation the Model T Mark II is any ordinary tape recorder to stereo by sin'. and equalization conforms to the NARTB exceptionally satisfactory. The motor is ph changing the head and adding this standard tape playback curve within 2 db started by utoving the tone arm, and at the adapter- amplifier. Thus, with the change from 20 to 20,000 cps, although it is doubt- end of the record it is shut off automati- of the head, and the consequent connection ful if any tape recorder will put out an cally. There was no detectable wow or flut- of the top track section to the tape recorder appreciable signal at 20,000 cps at a speed ter in listening, using piano records for the amplifier in just the same way as the half - of 7'4 ips. The 10 -watt output is perfectly former and violin for the latter. Speed was head had track been, and the direct con- adequate for the average installation on noted as being about 3 per cent fast, but nection of the bottom -track head to the stereo. but we would recommend that for this was with pickup stylus force of only ST -10 and amplifier on additional speaker, monaural tapes the conventional system am- 4 grams -with greater stylus force it could the system would be complete. plifier should have rather more titan 10 be brought to normal speed. The speed re- In other words, whatever your problem watts for completely satisfactory use. How- mained constant down to 90 volts input, with respect to a conversion of an existing ever, as a means of changing from mon- and dropped off gradually to 65 volts, recorder to stereo, or with respect to pro- aural to binaural playback, this Bogen am- where it was 5 per cent slow. Below 65 viding amplification for a tape deck which plifier offers a simple and reliable -as well volts the speed dropped off sharply, with had none at all, this adapter-amplifier as fairly economical- answer. insufficient torque to turn the record against should answer it. the stylus drag. However, since most asso- This amplifier, shown in Fig. 2, consists GARRARD MODEL T "MARK II" ciated equipment would be inoperative at of two channels -both with the saute type RECORD PLAYER 05 volts, this was not considered of any of tape preamplifier, equalized for direct importance. connection to the leads from the playback like the Model T Ford. the Model T The new Model T is compact, requiring one head -and with channel terminating t:arrard changer has undergone some great only 14äa{ by 121 in. for mounting (prac- in a 10 -watt push -pull amplifier, while the changes, although -unlike the earlier beaver tically- the minimum possible for a 12 -inch is other terminates in a cathode follower nor- of this famous name -the Garrard still record and clearances of 3 and 2 -1 /16 in., mally intended to feed an existing hi -fi called a Model T, but with a "Mark II" respectively. above and below the motor tent at some unused high -level input. The added to distinguish it from its predeces- board.

Left: Fig. 2. The Bogen Model ST -lo Amplifier.

Below: Fig. 3. Garrard Model T "Mark II" 4 -speed record player.

26 AUDIO JULY, 1957

www.americanradiohistory.com AS IT WAS COMPOSED...

So should it be performed. As it is performed, so should it be recorded. As it is recorded -so shall you hear it. A limited number of AMI precision high fidelity sound systems are available. Each has been painstakingly assembled- component by component - under the direct supervision of electro-acoustics engineers. Each sound system is comprised of maximum performance components, each precisely intermatched and balanced to conform with the most rigid audio test standards yet set for a pre- engineered precision instrument. Each instrument is adjustable exactly to the individual acoustical and spatial requirements of the listening from eight hundred to room in which it is installed. Write now for complete information, twelve hundred dollar; literature, and the name of your dealer.

EXCLUSIVE THREE- CHANNEL FRONT -LOADED EXPONENTIAL HORN SYSTEM: three -way frequency dividing network with cross -over al 5.50 cps and 4,000 cps; horn's efficiently double M Ì Incorporated audio output of amplifier, 120 degrees wide angle dispersion. Acoustic engineered wall and corner enclosures or completely integrated systems. High output 22 watt professional amplifier 20 to 20,000 cps t 1.5 db. IAI distortion 11.5'.: at concert levels. Pre- amplification; GE variable reluctance cartridge 1500 Union Avenue S.E. Grand Rapids 2, Michigan with 1 mil diamond and 3 mil sapphire styili. Precision calibrated bass and treble controls for definite steps of cut and boost or infinite adjustment. Record equalization controls for LP LON, NAB, RIAA, engineers. designers and mmnufncturers early Columbia. Professional 3 -step loudness control, automatic bass boost for Fletcher-Munson Effect of professional and commercial sound correction. Separate continuously variable volume control. 12 db /octave high frequency four position roll-off systems since 1909. control (scratch filter). AM -FM tuner with AFC and tuning meter. t -speed precision intermix changer of advanced design. Blond or dark Honduras mahogany hand rubbed to satin finish by fine furniture craftsmen.

AUDIO JULY, 1957 27

www.americanradiohistory.com Bogen LIMIIIIIII!Illillll

B A 5 E U L J A L I Z EL ELECTOR 5

1,7010 ran[

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DB130 35 WATT AMPLIFIER

Olance at the ' speca, c -uuns and controls" e)( at the control panel in the photo. It's obvious that our engineering department (largest in the high- fidelity industry) hasn't spared itself on the DB130. Many experts consider this the finest "full- control" amplifier ever built. Spin those knobs and flick those switches at your nearest Bogen Sound Salon. You'll get the hi -fi thrill of your life.

"^---_

\,.:_ 7 .0" .. ,, ,;,,. C¡ --" , .^,r t -. - °' . r ^ , J - .`.. . ' www.americanradiohistory.com what the 'sound men' say... because it sounds better ... "The growth of Hollywood Electronics is directly related to the growth of the industry, and reflects the company we keep. We have deliberately aligned ourselves with the solid, progressive factories in our industry-with those who contribute more than just a product to sell. "All the Bogen products offer the customer honest value, from the modestly-priced "starter" model HF10A amplifier for the neophyte to the unique and superb model R775 tuner to please the seasoned connoisseur. "In addition to Bogen's achievements in product design and styling, we consider that Les Bogen's book 'Under- T RE B L E P O W E R standing High Fidelity' represents a major contribution to the growth of the industry. This interesting and informative book has aided hundreds of our customers to intelligently select their Hi Fidelity equipment." Harry Shaffer, Hollywood Electronics, Hollywood, Calif. Harry is one of the real pioneers in high fidelity component sales, having spent the last 13 years in providing top -grade sales and service to West Coast audiophiles.

POWER: 35 WATTS. PEAK: 100 WATTS FRE- QUENCY RESPONSE: 15 -30000 CPS WITHIN 0.5 DB DISTORTION: 0.3 !. AT 35 WATTS INPUTS: LOW MAGNETIC. HIGH MAGNETIC. HI -FI CRYSTAL. TUNER. TAPE. AUXILIARY

2 OUTPUTS: SPEAKER 1 S . TAPE CON- TROLS: POWER (ON -OFF CONTINUOUSLY VARIABLE BASS AND TREBLE. SEPARATE CONTINUOUSLY VARIABLE LOUDNESS CON TOUR SELECTOR. INPUT SELECTOR (PHONO. RADIO. TAPE. AUX.. 7-POSITION RECORD EQUALIZER. INFINITE DAMPING CONTROL. LO FILTER 1FLAT. 50C. 100C'. HI FILTER (FLAT. BKC. 4KC(. SPEAKER SELECTOR SWITCH (A. AB. B.. TAPE MONITOR (ON. OFF1. AUX ADJUSTER. HUM ADJUSTER

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Read "Understanding High Fidelity," informative 56 -page book by L. H. Bogen. Send 25¢ to David Bogen Co., Inc., Box 500, Paramus, N. J.

www.americanradiohistory.com EDWARD TATNALL CANBY

JUST YESTERDAY Figaro. and here is the usual elegent horse- ituvv virtuous she Is and how taucht money play between logea duns and uppity servants she'll be sending home, to build them a new Orff: Die Kluge. (Story of the King and :Intl their masters of the upper crust. But even house. An impressive and gruesome way of the Wise Woman). Philharmonia Opera more, helve is the Mozart style of music to a expressing a family's utter lack of understanding make you Co., of its offspring -enough to Sawallisch. Angel 3551 8, 1. (3). shiver. Iir nimost a T, and don't start saying it's And as the sisters travel, each new episode, This is really rattling good entertainment Mozart but not quite as goad. To be sure. each new represents one of the Deadly -though whether it is music. speech. opera \Llzart cuts deeper and wider. his tunes stick city or something Sins- Sloth, Pride, Anger and so on. Each is in- between is hard to say. A better and are more lasting. But it was Mo- hilarious- serious folk tale. Grimm -style. is a complete unit, a movement. a scene in the it zart who did the born.. ving. not ( rosa. set to an odd 'inla whole. Each has its own shape and plot. the combination of lively German I Iiltarnsa's music actually is lowbrow speech pure, indigenous story sung by the practical Anna in Lotte and n species of music that Italian opera on its own house ground is all rhythm and Lenya's small, wonderfully human and pa- and hardly any harmony except burrowing from practically nobody. Mozart's I) minor-n typical Orff procedure. as thetic voice Best of all. the orchestra in each those opera. then. as this will show you. - who have is out number has a different full, intense life of its heard his two "Carmine works will w:udly just about 08 know. per cent borrowed from own. very active but. as in the whole work, The lighthearted way in which speech Italy, over above becomes and the Italian language curiously static, playing the slime high -tension music and music slides off into speech Mozart used. (Put aside "The Magic Flute' here is enough to make your mouth fall open; musical figures straight through each episode and his other more Germanic operas. in a emo- it's so natural, you don't so much as notice for curiously effective building -up of it Germans. i tional force. And all of this is set musically half the title. It was the per Cent German Orff, the distinguished i additive of in that bitter-sweet. semi -blues style that made German modern. lyric eloquence. of softness and humanity. of seems lung ago to have solved the musical Weill famous in his American-made works of su'uctare and architecture I !his last. in its a later time and in the "Threepenny- Opera" problem of the age. what to do instead - of old our area, a lot more than Isr rent) that fashi011e11 harmony and keys. Ile just uses I) revival. made yloz:u't even better. The curious thing about this piece is that minor. c or just I) itself and A 21111 harmonic). There just But the itermu couldn't lea more lively. active. it is wholly classic in the highest sense, al- tat ices and variety built around well acted, beautifully snug performative than that eternal D is remarkable. t a work of Greek drama. It is block -like. And oh. at easy this one. As you listen, you'll begin to sense to understand! Nothing a bit tough about stylized, rigidly economical. without a trace (his. the true Italian in it, the strong fore-taste of of extraneous clatter; the entire musical ac- except perhaps the double -talk German. Rossini. iler. not all of which, suspect, the sh:u'per...m more brittle qual- tion is carried on by (al Lotte Lenya's sing- I is 100 per cent ity as compared to yloz:u't..tlsu, the pure litre translated into ing, i Ili the Family, those lugubrious male revealing English. of Italian ocal showmanship. glorying ill The production is flawless. marvellous. su- voices and ICI the active backdrop of the itself, that was tempered in Mozart. but which orchestra. Each episode sticks to its own perb. Nothing more can be said: s1 ri gin ly. blew itself lively. imaginative. straight up into ". \ida" and "Il pattern of expression as rigidly as any move- marvellously musical. every 'rrnvatore' in Italy. within the next century. hit of it is a delight to follow. and notably ment by hash himself. building tension by As always. cuutplete texts and story. plenty monotony. The Family acts as n sort of Greek the leading parts. the Icing Iyliicel Coldest of interesting background and the Wise illustrated material chorus, and. indeed. it reminds me strongly \Vommn-Itie Kluge herself for the eye. These Angel productions are each (Elizabeth Schwart zknpf). who of much in Stravinsky's Greek- Inspired works wraps King a masterpiece of engrossing entertainment. to sane period, and all around her little finger; the three of this the Twenties and Thirties. keep you busy as a bee for hours at a time. Popular? Well. music is Weill roguish vagabonds-what n crew: -thud the the all right Wish 1 could keep up tv'th all of theta. and no doubt about the shap- sorrow till I tonkeyman, whom the Wise Woman it. But formal ing of this piece is so taut. so worked :lone protects. There are outlandishly. un- carefully The Seven out, is of believably alive drinking scenes, roar of Kurt Weill: Deadly Sins (1933). that there little question "cone promise" with the demands of a style. laughter. uproarious plottiug; there is hypo-ob. Lotte Lenya et al., Orch. W. Brückner- popular persuasion on the lady's part, when My respect for Weill has gone up immensely she sub- Rüggeberg. Columbia KL 5175. recommend dues her grandly furious King -husband who and I this to classical doubters. as well as those who hike the composer any- has lost his tenter in a way to make your Well. Ent "converted." Iedore this. 1 hadn't been overly by how. hair curl. . . . Just get out the booklet with excited I:art \' eill's fatuous complete text in German and English stage pieces, but '.')'Ire seven Deadly Sins" A fine recording in general, the orchestra (you'll and tubby. Lotte Lenya very close and have to follow it word for word) and enjoy suddenly hits the spot. It'. :in unusually per- fat alive, the Family of male voices oddly set off a really strange and titillating experience in suasive. beautifully coast' ii '' I ir.ree. a kind dramatic stage stuff. of classic that sums up in eoneeun'tted form in a strange sort of filtered space. To my ear the best of there's some distortion here, but not of any Some of the finest reeenling L ever hole to \\'eill's assets. without congrrmulse. hear. and on ghostly- nni.eless surfaces. The work, from 1033 and Germany, was n great importance. sort of ballet with singing. set in a hypothetical America Cimarosa: II Matrimonio Segreto (The that, however. is much more Leon Kirchner: Piano Concerto. Kirchner; like the between -wars Germany was that N. Y. Philharmonic, Mitropoulos. Secret Marriage). Piccolo Scala produc- \ \'Pill's home country. It is surprisingly tion. Soloists, La Scala Orch. Milan, San - '.modern" for a piece already so old -the Wm. Schuman: Credendum (Article of zogno. Angel 3549 C/L (3) story is ;Milli( twin sisters tenth natured Anna Faith). Phila. Orch., Ormandy. who. as in a number of fashionable psycho- Columbia ML 5185. Here's another flawlessly perfect Angel pro- logical plots of our own day. are actually tvvo duction. via the famous La Scala Opera. This aspects of the saute person. This imposing list of two large couuui'. one inaugurated a new. small La Scala theatre. The practical Anna (Lut to Lenya l does the slotted American works is typical of a re in Milan. .singing. telling the story of herself and the nutrkable number now being issued, thanks to This is for Mozart fiends and also for those other Anna. the ,homing. impulsive. beautiful foundation money. who relish hearing Rossini and Verdi already one. as they travel the hot spots from Los I'm the first to hail a contemporary sic. in the making. The music, by one of the b g . \n :eles to Boston to Baltimore Ithe piece is but I just can't get a happy feeling about the opera men of Mozart's day -the late seventeen sting is German!) making cash and fortune cnni iuuing existence of large -scale symphonic hundreds-will astonish those who know Mo- as they ¡shot' can. Anna I is always trying to writing of this sort. that depends wholly on zart's "The Marriage of Figaro' or ")ton keep .'tuna II on the straight and narrow a special type of patronage wh:clt removes it Giovanni." for here is just about every musical route to virtue. aimost fully from the active life of our pres- trick that Mozart knew. Even the plut is At honor, in Louisiana i :), the Family is ent world: "Mozart ish" -here is another Suzanna and a here represented by a gr:ni barbershop quartet It's not the patronage (the composers not than sings implacable music. self-sat kited, only get performances but. aside from the in- "780 Greenwich St., New Fork. N. 1'. greedy. suing. about how well Anna is doing, evitable teaching they usually do. practically

30 AUDIO JULY, 1957

www.americanradiohistory.com maces or DMIEL.N1D .aa IT TO .eL,.ve ,T, .. ó R

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AUDIO JULY, 1957 31

www.americanradiohistory.com live and work by prize -winning. fellowships. I see no reason why any amateur, if be en- awards. scholarships and the like. Patronage joys a bit of Locatelli. or Joe Doaks or whom - is an old stand -by for art, sine the beginning have -you, shouldn't collect as much of the of time. \\'hat bothers me is the fact that this same as he wants. pa t rouage simply allows cons posers to com- Locatelli was one of the fatuous Italian pose for themselves. for no audiene that can violin player- composers of the 18th century hope to come near them in understanding. for and his music, on the conservative side for an expensive. unecunnm i cal and unrealistically his time, is very close to that of the older large medium that automatically precludes Corelli. No experiments, no bursts of strange any sort of general hearing. from the word chords and no sudden dramatic changes, as go. in Vivaldi; this man just writes good music, This sort of foundation money just asks craftamanlike. It is enjoyable on that basis, composers to write themselves straight out of on the excellence and consistency of its style. this world into n composers' ivory tower, and The Milan Virtuosi play in a fairly bouncy hang the public, or even an appreciative audi- manner, with plenty of energy and less ence of musicians: smoothness than the German orchestras that What am I saying ...? Well, these remarks have recorded this kind of Ic. Dean Eck - refer not only to this particular disc but to ertsen hails from Ptah. one of those touring mint' dozens of others which. I suspect, are American maestros who now so often con- not being listened to Frankly I can't see any duct European ensembles in American -com- of our readers going out to buy this music missioned recordings. :\ good enough com- and I don't see why they should. Its not bination here and. come to think of it. prob- written for them. I doubt if its written for ably better for the music than the tempera- their grandchildren, either, though that one mental Italians themselves night do with a never knows. conductor of their own. -ply which I do not mean it is necessarily The usual comprehensive booklet of back- poor music or less than goal music. Just ground analysis is included and I found the professional music. '.ly reactions are as fol- detailed study of Locatelli good reading and lows. if you're curious. The Kirchner Piano interesting. If you're going to sample this Concerto is an enormously complex, thick. dis- kind of music you night as well do a job sonant. ultra- serious work which. frankly, of it. RADICALLY NEW MID -RANGE made not one trace of plain musical sense to rue 1.111111 beginning to end. on a first hearing. is. HIGH F/ LOUDSPEAKER That there are no easy melodic lines. keys, Vivaldi: Eighteen Concerti for Flute. Gas - bnr111.11k.. no quickly graspable rhythmic tone Tassinari, fl.; I Musici Virtuosi di Racun's rr'.c direct radiator rune speaker mot ices. 1111 "themes."-and a very large fills a long felt need for a reproducer de- :amount of activity. It has a twelve- tonish Milano. Vox DL 353 (3) sound to me, but in signed expressly for the range between not any graspable manner, Ramie reasonings apply. more or loss. to 250 -6000 cycles. as do 111:111 other works for me this vast collection, but here things arc car- Which means. simply, 1 do Unlike conventional cone speakers which that not yet ried to an extreme. Vivaldi, to be sum. is a nmdersea 1141 this man's one are subject to breakup and "birdies" and langmige-not resourceful and important composer. But the word. .% tot. as I say. reasonably hep on Fit flute is the flute, and I found that about two horn type public address speakers charac- modern id' S. I 111 is probably making a lot terized by their fatiguing beaming effects, of But of these exhausted my own flute-tolerance -' ns. then again. for all I k '. he powers for any given listening hour; The may 11m no the new Rat-on mid -range speaker provides 1. discernible sense whatsoever. to flute parts are quite remarkable, hull of vari- a clean, uniform wide angle response, with- Ti t roue ho: himself. Possible. in these days of ety. replete with both melody and h out peaks, dips or other annoying irregu- 'tizzy '::hues. though not probable. fancy only makes judge piece I would ornamentation -but this larities. To this honestly. then, the music the more like a flute 'tractive ses- have to hear It through a half dozen titres It incorporates a linen cone impregnated sion. after the first two or three concerti. mi ttinnun and preferably more. at decent in- Tough on the ears. with bakelite. The cone is supported on a tervals. \lititi you. that in itself is not a criti- highly pliable plastic foam having large re- This one. then. is for those with special cism of the loWee. tl gli it is a bit tough on flute interests and /or those with tolerance who have a other siliency to permit the stiff bakelite cone to reviewers million pieces to and patience when it conies to a lot of one act as a free edge piston. The stiffness of hear also. But. so n cchow. I feel that even the sort of sound. tr for those who collect Viral- the cone prevents breakup into zones musicians of the N. Y. Philharmonic are (liana. the anon complete the better. which would tend to exhibit "cry' or floundering in considerable incomprehensibil - ity as they play it. Indeed. the e poser "birdies". himself plays muddily -even he. But then Bach: Partitas and Sonatas for Unaccom- The Racon model 6 -M mid -range Beethoven's music had the same effect on -its panied Violin. Nathan Milstein. speaker is only 6" in diameter and incor- first hearers. Capitol PCR 8370 (3). porates an oversize Alnico V magnet in a Anti so, maybe, this is a very important cast aluminum frame and body of unique work. Just maybe. It won two major prizes These six works. one to a side, have been The openings in the frame to per- and a fullsra le recording with top talent all recorded by everybody and his brother who design. is a fiddler. I'd suggest that this set nukes mit excapernent of the rear wave are util- around. That might mean something. but again. it might toot. Not to my ear -yet. Si t it them more accessible as music than any so ized in a manner to act as an acoustic stif- goes with modern music these days. . far. and for good reasons. fening means at the low end of the speak- As for the other item, William Schuman, Worth a bit of going -into. The age of Bach. er's response. They provide a smooth low his square- spare, energetic .\naerican style is the end of the Baroque period in the early end rollo!]' vii tually independent of en- simplicity itself its contrast -nn trouble at all 18th century, was famous for its fascination closure or baffle. A unique characteristic is in getting the gist of his tribute to I'NESCO. with the transferring of one artistic mtsllunt that this speaker can be installed in any Its full of strong rhythms. percussion, ordi- into another. for sleight -of -hand, for trick nary chords hurled dissonantly at each other perspective effects. for "false" fronts, frames, existing cabinet and will cover the mid- tan old Schuman trick) and has an expres- backgrounds and the like in art, for arti- range as determined by the associated net- sive slues 'enaent and an elegant scherzo- ficial "ruins." hake grottos, carved shrubbery work and remain relatively unaffected by like section between its dress -parade opening in landscaping. Always one medium into sn- the cabinet. and closing. I don't think you'd mind this one ot her. SPECIFICATIONS a bit. In music the same thing applied. If the of interiors had simulated POWER: 25 watts program material with proper walls hlaropue network and in association with woofer IN THE PAST windows and landscales on then), musicians RESPONSE: 250 -6000 c.o.s. plus or minus 3 db tended to transcribe ureitest rsl music for key- IMPEDANCE: B ohms 115 ohms on request) Locatelli: Twelve Concerti Grossi, Op. 1. board. violin music for chorus and so on. CROSSOVER: 300 -600 cps. I Musici Virtuosi di Milano, Dean Eckert - Hence the 'many different versions of works DIMENSIONS: 618" dia. x 314" d. sen. Vox DL 333 (3) of Bach's day-and hence these super -works PANEL OPENING: 478" dia. for a single violin by itself. WEIGHT: 4 lbs. AUDIOPHILE NET: $35.00 1 \'hy such nunnt mental ed'ti,ins of composers For. you see, this was a real track -to whose notes aren't nsutJly on concert pro- write a whole "symphonic" pleee for one vi- WRITE FOR FREE LITERATURE grams? .A lot of si e. all of a kind here- olin. sketching out and suggesting music that and none Of it Is Rich or :Mozart in quality is. of course, only skeletonize(' in the actual ¡HIGH FIDELITY LOUDSPEAKERSI --but. on the other 1111 1111. every bit is worth- notes as played. But don't think that this while. solid. interesting. .Ind, I say. there's isn't big music. These same pieces could be no reason why if you like a bit of this you written out, front the skeleton. for a st:tgeful RACON 'honldn't like more and Inure. given time and of performers and, indeed. Bach did actually Iii -ate. Why not twelve concerti. or as many use some of the music in radically different ELECTRIC more as you please? and much larger forms, as movements in can- COMPANY, INC. Nobody was expected to play all of these tatas for example. 1261 Broodwoy, New York I, N. Y. Works conseeu t ively wit bout a break. as pub - The rest of this can be said quickly lished.and nobody in his senses will play them enough. The six sonatas and pa rtitas (not :III here 0111. after another for six sides. If much difference between the two types for you aren't too lazy to get tip and change a the average listener) are suggested, sketched, Export: joseph Plasencia record yourself. every so often. you'll sample by the violin and can be filled out by the ear. 401 Broadway, New York, N. Y. these at leisure. for a long-time extension of It rakes two for this job. fl The performer Canada: Dominion Sound Equipments Ltd. per- 4040 St. Catherine St., West- Montreal 6, Que. pleasure. and t21 the listener. Alas, too many

32 AUDIO JULY, 1957

www.americanradiohistory.com fur tiler. .iwply to 1101 -110:11 the big piece PILOT t liai i, skeletonized for thoir instrument. 1'14 \' just pliiv the notes. as though Ieally for ví01111 alone. Itesi11l : \41 sense. All you hear i, a lot of fiddle ,'raping. and only But other performers do hear the whole x11,1 when they play. cou ton eau hear. ilsteiu is une of 111.4 tinlsi, 1111151 arenr :l h. most intelligent tiddlers coin_. This rerord- ing is 1101 only nmcural :old mh:u ill blush pitch and 1.11 01111,tini, so you can get the drift of the unlsieal .r1150, but Ile lia, rl eotsnuuunt uuderstrl uditg luf the big musih behind the notes. 1 mill 11,:11' il -the big. full-male pieces that are sketched 011 1-- its1 ea1 of :1 Iol ii PILOT fiddle tris,', So mort need he said.

Concertos for Two Pianos (Bach in C, offers you peak performance Mozart in E Flat, K. 365). Clara Haskil, Geza Anda; Philharmonia Orch., Gal- liera Angel 35380 in high fidelity at low cost lin! is this a tralp for fur I Ion. :Ire two pinnies, ¡11,X1icably 1105,1 1,, gelher m1 luire remord 11 Ile label 4104,111 .a> w11ir11 pings -first- :1141 which .,moud" :I Ud in I14011 'corks the two picolos cur cirinnllt

14111:1 1 it :Illy 411511 -:old 1 cira ou remord - hn'it. la vishly praised one and pluliomis damned the other floral Haskil 111:n'e ,aped the "lirsl I:nly of \Ioz:n't." the best of 'em AMPLIFIERS till. :ltd 1 .titi down .\tides'. solo Beethoven piano .ouatas as dí11,1 hits less than under" Pilot- engineered Williamson-type circuits employing stantlingty 11111s:cal. specially wound output transformers to insure abso- .Cell. b :u'rumpb. stillt . s \E1,1011 Itn"plc lute stability and lowest distortion. Power specifica- says. 1 thing I can 11.1 I 's110'h is w11011 here Lut l'ut nul saying. al least iti print. 1 tlrinh, tions are conservatively rated, and amplifiers are I spot the lovely lone of 1111,1,11 in the Mozart designed for continuous operation at full output. and I tlrinh. Ihe n1111r, soues ti;t louder aunt tin, p,rcussiwe pinup i. A Ida. I null. :111u1í1 '1,1111' very tint te:unwirk ntel I 1äl1 only. wishfully. ,'redit it to the great t 'loco. who doss hove the \loz:u1 knee iii". 'l'11e twi pianos really ea ro- the burden of 110 tulsie and they do it benutifnlly here -1114. hest 'e1%10l ü the Mozart I eau rvuiu1,r, ont ul rani'. ,.ill Ihe two pian" 10:nus play Ibis as il matter of course.) The Bach Concerto. originally for two h :n'psielords, is ecru umre n pinto Huet, 'cull ra.iounl ba,kiug by the string 0rmh,,I rn. u11te11 Ti,,, Ihirk n !PIPIT fur I'cn pirunls IMO Sil íh1 nvnue 1111151 inrcilnbly be high lighted In. -pounding 4111 1'' Ihenn, here :Ind there .1 they'll gel through. These pianists do il. but Willi 1.1stI' :1i11í. In Iho AA -920 AA-903B 1114.11. pi: Ibos :Ilote. til,'' don't bang :1 hit. Rated output with less than 1% distortion: Rated output with less than 1% distortion: It's plain impossible to dis) iuguish whirl, 20 watts (40 watts peak); frequency re- 14 watts (28 watts peak); frequency re- pi:n4, i. 'v hiell in this I;nell-they are runt- sponse: 20 to 20,000 cycles, ±1db. Has built - sponse at rated output: 20 to 20,000 cycles, pletely intermeshed. 'l'Ire 0'41l11 wort:. ngniu. in preamp and audio control with hum -free ±Idb. Has built -in preamp and audio control is excellent nod the enmeshing such t huit 111 DC on tube heaters; tape head and phono with hum -free DC on tube heaters; tape head pwfn1Minice is ,ut ìrely nnitied and w,ty 11111' 4 inputs with separate equalization; 3- position and phono inputs with separate equalization: sisal. 1111 any Pa ir 01 piruns this í111.11 is chit - rumble and scratch filters; bass and treble 2- position rumble ant scratch filters; bass lery :11111 111íe1: s0uu11ing, bol these two d il controls; loudness- contour and volume con- and treble controls: loudness- contour and vol- 'cell les it rile be done. :111 Iliiugs ron- trols; plus tape recorder output. Housed in ume controls; plus tape recorder output. si1órenl, cud the vigor of rhythm. harmonic handsome enclosure finished in brushed brass Housed in handsome enclosure finished in prigrossion. :11111 .strong themes gets over and and burgundy. brushed brass and burgandy. will un dun hl please you 110 end. Dimensions: 4 3 "h x 131,1"w x 9 "d. Dimensions: 474"h x 1::1.5 "w x 9 "d. A Modest. well played ,..vilest al hnrkitg for hot 11 works. ont part irnlnrls- forceful but 599.50 Complete $79.95 Complete pl1tic adequate for the misi'. stud a superb piano sound. .,y.1_ Mozart: Symphonies =38, #39. Pro 1tiliflljj'i ¡j%, Musica Symphony of Vienna, Horenstein. Vox PL 9970. I1i1i11II1I11111J11//Jll III11111j(

should h:n1 got In this soumr- -í1's n .lÿl111.11.11ÿ111i .uprrh r,lyd. Ilureuaein is a i z, Ihuthoy 1ut1111gi,i q :1111. rimant icall }'- iurlined with n good Ilair for the dramatic. Ile gl'OS Mir/Atli III.' 111,1 kind luf Ituul:lul IV Irenrtuem uo1 .,nlin4u1.11 tir 0werblown, bat sitilply ri uu1 AA -410A AA -908 sival approngll Ihat allow. Ihe unl.ir Ii Basic amplifier -rated output with less than Basic amplifier -rated output with less than 1% 40 watts (80 watts peak); .1111110 1,ig. 5H'í11115, 41118111011. 1% distortion: 20 watts (40 watts peak); distortion: Ile ploys \Ioznrt uu the slow Side, impres- frequency response: 20 to 20,000 cycles, frequency response: 20 to 20.000 cycles. sively. malting the slow introductions ris om- ±0.5db; 6L6GB output tubes. Chassis and ±0.1db; 6CA7 output tubes; provision for inous as Item huc,n. The quirk tinall, are cover cage finished in brushed brass. selecting optimum damping factor. Chassis lis-elc but sen.$)bic pared. s0 that the Itlns Dimensions: 4" x 12%" x 6" high. and cover cage finished in brushed brass. gel Ill rinlglt. Thrr1 art manly pass:ig,s 111:11. $59.50 Complete Dimensions: 121,," x 8,¡" x 612" high. II ld,r Iiis n'1ntmlul. nmiud us of S,h116,rt $125.00 Complete 0t- \ \ ",h,r. 'l'he.1 Illiugs :II',' in Ihe mnsie, :11111 ui donhl aL.nil it. t 111111\ eu inch. I,.IM 01' the older big Ito Make your own performance tests of these amplifiers at your Pilot dealer. m :odic -style r,ie 111'í ors h:n -e treated \lez ;irl as a miniaturist. lien the host tend to nul ke For complete specifications, write to Dept. ,'\ -- his sytq,h.uies sound light and fragile. They surely dtduI in \limn", ,VII d:Ir. Ibn non, iuglon :nil th:nl all this is Boren Prices slight y higher west of Rockies. stein's till mus with this ,reh1snn. RADIO CORP., 37 -06 36th St., Long Island City 1, N. Y. AUDIO JULY, 1957 Pilot Over 38 years leadership in electronics.

www.americanradiohistory.com 'l'he music is given every clmtee to speak for like structures. dramatic changes. An exciting itself. Each idea. each phrase. each line is piece. carried through. given its full place and shape within the dynamic whole . . . why spread Mozart: Quartet =17 in B Flat, K. 458 out more words to get over an idea that is strictly musical. I'll merely say that these ( "The Hunt "). Schubert: Quartet in C. are among the best and most interesting Quartetto Italiano. Angel 35351 playings of the two symphonies I've heard. Angel ha, one of the world's best quartets which their power please sl Id be means to in this group: this record shows correspondingly high for any listener. that "best" can mean simply ..most communicative" for many a listener. This is as communicative, Mozart: Clarinet Concerto, K. 622; Clari- l istena hie quartet record as you can hope to find. K. net Quintet, 581. Benny Goodman, The Mozart, one of his most accessible and Boston Symphony, Munch; Boston Sym- mature works, is as expressively played here phony String Quartet. as it was by the Budapest Quartet in an early RCA Victor LM 2073. RCA 7í1-a strong statement. The Schubert is a piece he tossed off at fifteen, not a great The first lime Iteuny Roodman played Moz- work but one that will remind you of the art in public -a long while back -people al- early Schubert symphonies in some of its most died. Nowadays everybody does it (that material. In both of these the recording is is. crosses the line between jazz and "classi- tops for quartet-big. close. round, in a mod- cal") and so this recording is up for judg- erate li veness that doesn't get in the way of ment on its merits. clarity yet adds tersuasiveuess and body to Goodman. then, is still a serious. rather the sound. You can't go wrong here. stiff and so newhaI fortnal classical clarinet- See also a dozen -odd other Angels by the ist. This. I think. Is not at all a criticism of -:ume group. if you enjoy this one. him -indeed, just the opposite. The great schism in our day is that between the mmt- Brahms: Sonatas =1 in G, Op. 78, s2 sicdans who play only other people's written- in A, Op. 100 for Piano and Violin. or com- down notes and those who improvise vl., pf. pose their own. Benny has always been an Leonid Kogan, Andrei Mitnik, improviser. Just as a "classical" player finds Angel 35332 when asked to himself very uncomfortable Pallrt of Angel's Russian harvest from the a few- chords or a cadenza-"un- improvise visiting Russian sicians who came to Lon- . a trained accustomed as I am -so. don. these sotlatas have pecul- positively at ease Itrahms that improviser is just as ill old- fashioned sound that the requirements of iarly sweet. almost when faced with rigid we've come to realize is characteristic of notes, from which by custom he's the written Russian music -hulking today-- Romantic -yes. not allowed to depart for an instant. But Romantic in a special smooth, velvety keep in mind that in the old Just let's way is quite interesting more and Mozart's own days too. improvisa- that -and days, in more unlike any present Western techniques tion was still very much a part of "classi- of playing. as you get to know it. Rather music. liven in these hallowed works of cal" on the whole- and even just a wee venture to guess. Orna- objective. classic repertory. Td warmth though not in sincerity. flourishes, cadenzas and the bit lacking in mentation. extra Gorgeous recording. though the piano is were ad lib to a great deal of like. added somewhat less prominent than the violin. music in those times. old -fashioned. though pleasantly THIS IS THE present -day tradition says we must That, ton. is But wt. keep to the straight and narrow. and that FABULOUS is that. Besides. Benny's style of improvision is, quite correctly not that of yesterday but Mahler: Symphony =6 ( "Tragic "). Rot- ALL -NEW of today. Ile can no more "talk" in impro- terdam Philharmonic, Eduard Flipse (Hol- vised Mozart language than you and I can land Festival, 1955). Epic SC 6021 (2). converse in goal Shakespearean. So, you'll find these two renderings very Now here. my friends, is the big-orchestra good ones. but not entirely poetic. not really hi -fl piece to end 'em all and it is wonder- free nn 1;ondman's part. A bit stiff. The fully played. remarkably well recorded too, orchestra and quartet do very well. considering that the orchestra and conductor The recording is ultra -hi -fi and rather in- are not world- famous and the job itself was teresting with regard to the clarinet. Good - dote at an actual performance. titan's instrument is picket up close -to and \fell, every so often a performance- record- with n salter- realistic and almost hoarse ing does work out beautifully. Maybe it was sound that I find oddly attractive though it good planning. maybe a freak. but this one 'SUPER 90' is not the sound Mozart would have expected is a success. I think I caught one cough in for his listeners. who were at n greater dis- the whole -if there were others I missed tance whether for quartet or concerto. Still them for the music. And the mammoth or- the world's -I like it. Gives guts to the clarinet which chestra, the huge bass drum, the kettle- sometimes in Mozart playing can be just ton. drums. the flutes and piccolos and the vast loo ethereol. brassiness. even the cowbells (a special fea- most ture:i are captured with n gorgeous effect. I've already used this as a demonstration Mozart: Missa Brevis in D, K.194; record for good Ili -fi in a very large orchestra advanced "Credo" Mass in C, K.257. Soloists, Mo- with lots of big. rolling lass. best of it all is that Mahler. always zarteums Kammerchor, Camerata Aca- The phono arm a difficult moan to play in these monster sym- demics des Salzburgur Mozarteums, phonies. is performed with as fine a sensi- Paumgartner Epic LC 3323 tivity as 1 remember hearing -famous conductor or nn. The music glows. it marches. ONLY $33 Two characteristic early Mozart Masse, it is personal. romantic, stern. lovingly lyric. suing with spirit and bounce in the typical flaming. t1` it should tar. Four whole sides of Austrian manner of today. the choral sound it 111111 you won't want t11 miss a hit. write for rich and wobbly and not ton precise. the solo voices similarly cast. This chorus has a habit Debussy: Preludes, Book 1. Guiomar to of pounding its weak terminal syllables Novaes, piano. Vox PL 10.180 free details the detriment of rhythm. but its singing is musical and very earnest and attentive. So. Nuv:us has been recording for Vox for a too. with the quartet of solos. Dr. Pannigart- long time: these Preludes add consistently ner's orchestral neeonpanlment is as always. to my earlier feeling about her -a Pianist excellent -he is best in that department. whose outward technique and virtuosity are K.194. is routine- for fine but who somehow is cold and. In a FOR LISTENING AT ITS BEST The earlier Mass. Mozart. which is to say well composed. light deeper emotional and projection sense. un- and joyful (quite regardless of the text rind musical. These preludes are in a way them- Electro-Sonic thoroughly musical. The later one, only two selves a bit chilly. in spite of their famous Ess years afterward (1776) gets Its title from the "sensuous" quality. In this version they leave great intensity of the Credo inovetnett and tone unmoved, even bored. The lady just does Laboratories, lyre. its Credo theme: this is a far bigger and nothing with them. emotionally or in the more important work. much more dramatic subtlety of phrasing and color that can make DeptA 35-54 36StLonglslandCityaN.Y. and with a strong feeling for the text itself the music startling. as well as a tremendous urge towards big Gorgeous Vox piano recording. as usual. Famous for the ESL cartridge :,rcbitecture- motives that persist. sonata- That aspect could scarcely be better handled.

34 AUDIO JULY, 1957

www.americanradiohistory.com TRADITIONS Music of Bali. Gamelan Orch. from Pho- ton, Indonesia. GUARANTEED Westminster XWN 2209 (2). Four whole sides of gnmelan music a lot, as Pepsi used to say. In the last p PERFORMANCE or so we've had single records of the mntsir of Bali and of another exotic traditional music, the Raga of India: now in both ni.-u there are whole albums. including this one. SPECIFICATIONS First (but not foremost), the fi in this set is superb and the untsie is wonderfully suited to hi -ti sound, with its variety of bell like and percussion sounds. Almost any ryuatr ter -inch on any of these sides will give you fine "demonstration niateria l.' Secondly, it is obviously more faithful to the original music -dance material to present longer examples such as this. After all. it Western music we don't ship out "samples." little hits of a Beethoven Symphony. ex cerpted. for the sake of the general sound. This recording has the advantage of relative completeness and it is bolstered in eifert by a booklet full of pictures and an explaut :uinn in great detail by Colin \lel'hee, who ought to know. he being the top American expert in the field. And so I only put forth one yuestiou- who is to buy this sort of album? Not the hi -ti man, who isn't likely to want more than a side of this sound to play around with. Not the general listener who thinks he ram just sit back and absorb it. For it will all sound pretty much the saute and -let's fare An Altec Lansing Exclusive! It -the music, though exotic and sensuous in general eifert. is not going to make real sense to us any more than a wholly unknown speech would. on casual listening. 802C DRIVER and 811B HORN And so I suggest that those who are ready to sit down and study the booklet thoroughly. power: 30 watts who will listen to each piece for itself along guaranteed with the explanation, are the people who will range: 800 -22,000 cycles and two whole LP's of Balinese worth the impedance: 16 ohms cash. Also. of course, all field workers. dati ers, professionals in music or anthropology distribution: Hor., 90° who have special reasons for interest. Vert., 40° (\h yes-it makes swell exotic background dimensions: 814" H; music at it very low and discreet volume 18%" W; 16" 0 level. That way, you can take it on all four sides- -maybe. price: 802 -$57.00 811 -$27.00 Classic Scots Ballads. Ewan MacColl, Peggy Seeger. Tradition TLP 1015. For folksy people, this is an interest iu_ N NETWORK "marriage" between Scots and .\Inel -icnll 11111 -800D sic. The songs are sung by the Scotsman with impedance: 16 ohms an assist from Peggy Seeger. who is a sister of the well known Pete Seeger (daughter of hf attenuation: 4-1 db steps ('harles Seeger) and the Seeger accompani- crossover: 800 cycles ments are on :tmerican -style banjo and gui- dimensions: 8l/2" H; 5%" W; tar. D Tradition records has the know -how to in elude here a book with the complete texts. price: $42.00 (written out as well as possible considering the Scots language) for those who. inevitably. will want to try the songs for themselves. This is not exactly a "primitive." hack -rout 803A SPEAKER try documentation of untouched folic stun : but on the other hand it is far from a radio TV desecration. I enjoyed the music and power 30 watts found both singers musical as well as you. impedance: 16 ohms mu mica t i ve. guaranteed The fi is only so -so. stems lacking in the range: 30-1600 cycles higher range. No problem. unless you are one for hi -ti ,1111111 and nothing else. mag. weight: 2.4 lbs. v.c. diam.: 3,, Smoky Mountain Ballads. Harry and cone res.: 45 cycles Jeanie West. Esoteric ES -545. dimensions: Diam., 1534 "; I don't know now the folk purists will Depth, 7" like this one but I'll guarantee it isn't TV price: $60.00 mood music! Real, old -fashioned hill-billy sort of stuff, but perhaps a bit nearer to gem mine hill- country entertainment than a let of the billy. Strong rhythms. lots of jangle and twang from guitars and mandolins. and A SOUND REPUTATION SECOND TO NONE the lady's voice is one of those 12- year -old gawps. without a trace of wobble or cutI tore. that just delights toy soul- though maybe you'll think she's crude! As to hi -fi, it's true corn, by which I mean 1515 S. Manchester Ave., Anaheim, Calif. the fi is superb and makes the music jump. 161 Sixth Avenue, New York 13, New York A[TEE The label says "stereo fidelity." which Is a pardonable way of indicating that the stuff was taken down on Ampex stereo equipment. though the present Lt' version is. notch. something less than stereo. You Co buy it on real stereo tape too. I'd guess.

AUDIO JULY, 1957 35

www.americanradiohistory.com AUDAX TONE ARM NOW IN KIT FORM

Anyone can assemble it in about 10 non - utes -and save 50%! "Selector- Index" permits instant adjustment for any stylus pressure. Newly-designed cartridge housing permits all -i - portant stylus -to- groove alignment at a glance. Accommo- dates ANY make cartridge. m KT -12 $14.55 NET factory- érc. assembled UD' KT -16 $17.55 NET $24.00 NET factory -assembled Edward Ztnall Canby $30.00 NET side, with fancy gold -brass tapered metal "Duplicates famous Au lax 1. STEREO VICTROLA legs on transparent feet. Nowadays even a transcription arm, long rec- I've just got a new Victrola and I Victrola must be modern.) ognized as tops ..." hasten to report on it as a matter of (Popular Electronics) \ \'ell, there you have it. I can't help general interest. It's funny to see that remembering, a couple of years ago, the ancient and honorable name on the newest LISTENING QUALITY stereo tape sent me by a wealthy gadgeteer of the new, a stereo home tape phonograph who had just installed an Ampex stereo IS EVERYTHING! system (the RCA Victor Victrola Stereo - professional model in his home -along with tape Player, to be exact) but it's signifi- impartial Lab reports on the new Asides two amplifier- speaker systems that probably Hi -Q7 magnetic cartridge: cant too, as well von may imagine -for cost $1000 each. Mikes, too; condensers of this machine makes it official: home -style A leading recording studio: course. Maybe $6000 total. The gent had stereo sound is here, with all the old - "Because readings showed to go out and shut off the refrigerator in fashioned trimmings, including the furni- an amazing total lack the (distant) kitchen, so there would ture. be no of distortion, check - noise in his vast living room while he re- tests were repeated By which I mean, simply, that the name corded a stereo message for me. ("Now 3 times" Victrola traditionally stands a real for I'ut standing in front of the right -hand Consumer sheet: home machine, neither engineer's equip- mike . . . : nd now I'm walking over to "Good frequency ment nor a gadgeteer 's concoction. This Tile left.... ") That was Home Stereo in and transient re- sort of machine, as they used to day, is for its early stages! And, indeed, the idea sponse. Practically nilla,l-, or the Little \\'om :in: it's that no high frequency that one slmuhd have a super -hi-fi mammoth ilreanm Come True, it's the Ultimate in distortion. Low speaker system, a pair of therm, persisted Gracious Living, it's togetherness . . . intermodulation right up until very recently. Many a gadget whoa; what I mean is it's a home machine. distortion." stereo installation is as big as a house. 100 per cent. That's something. Listening quality is everything - and Two houses. Only the best -for stereo. a Uh -uh, know what you're Audaz Hi -Q7 has it to degree not I thinking. Now I pointed out. in a still small voice equalled by any other pickup. But - and that is exactly why I'mn writing about back around l032. that stereo or "loud- HEAR it yourself . . . there is no other this Victrola. Yes, a model it is "table '', speaker biitnw-nl" as it was often called, way! Net ÿ47.70, with I Chromatic Dia- on (or two of them) though they stand legs. 1, .,s mond and a as actually require.. fancy equipment than Sapphire ... Other models Yes, it has a fine hi -fi speaker about the low as $20.70 Net. standard reproduction for a given effective- size my spread -out hand, and the en- of ness. The ear gets more of what it wants, No closure is of indeterminate smallness. more realistic spatial distribution of the fifteen -inch horn -loaded woofer here. Yes, sound, and it reacts with a big "yes"- there is an amplifier (dual) of indetermi- it seems to hear better sound quality. nate wattage and of, perhaps, average dis- The same principle operates in a well- tortion for this home type of machine. I known manner upon ordinary single-channel wouldn't want to line it up against a 05- equipment ; good acoustics, good speaker watt power job, on a test. placement, and your small machine sounds STYLUS- BALANCE There's even a tone control, on the back, fine -but even the fanciest hi -fi system in "This really works (Audio Magazine) though as a concussion to modernity it is ..." a poor listening place Will seems to develop stop deformation of record grooves! Only labelled TREBLE and has a NORMAL all sorts of distressing distortion. Audaz Stylus- Balance can give you the all - position halfway around. There are push- Because stereo speakers (a) spread out important certainty of correct stylus pres- buttons, of the simplest, and the compli- sure- ALWAYS. Precision the sound over a wide area, as the ear de- -calibrated like cations are absolutely minimum. As mini- a pharmacist's balance. Works with any mands :and, (b, offer definite side- to-side mum as can get, and perhaps a bit arm and cartridge. Gold Finish. Net ÿ4.80 you spatial clues and a heightened sense of more. Just set it up and push the button- natural liveness due to separate LISTENING QUALITY CUTTERS the two RCA does the rest. Almost. You still have channels of sound. the stereo effect makes Flat to 14,000 cps. Distortion 0.6% at 100(1 to thread the tape and rewind it. cps. Fully modulates groove with input of stereo speakers and amplifiers sound rela- Perhaps that gives you an idea of how about 16 db with 220 lines. Z's up to 500 tively "better" than they are. As a tiny ohms. Two models: very is. There "home -style" this player portable radio in the right location can H -5 Net $111.00 n 't even any provision for attaching out - sometimes sound like a big system and fool MI- 4 -iide speakers, though you can push two Net $75.00 yon before your very ears. so a stereo sys- buttons marked SINGLE and STEREO Any item, when shipped from N. Y. add 40r tem with inexpensive audio equipment can to play the two present hypes of tapes. sound remarkably like a big outfit as you units AUDAK COMPANY '!'here are only two -not three-and listen to .term nnlsie upon it. the cabinetry of the two is identical. Where 500 - 5th Ave., New Yak 36, N. Y. Am: Mr. A. the tape player is in one unit there is a I enclose 25e for handling A postage. Please A Lot for a Little send FREE $1.00, 22 -page "ELECTRON IC tape storage space in the other. Both have PR ONO FACTS" by pioneer Maximilian Well. Victrola -style lift -lids, like 50 years ago, And so you can imagine what I'm about Send FREE latest catalog & name of nearest dealer. with the familiar side support that breaks to say regarding the Stereo Victrola, and home stereo. speaking xe,,erally. Na.. and folds down; both have speakers built about into the front section. (I should add that As outlined above, the Stereo Vic would Address the furniture is modern, vaguely like one of seem to be -just the kind of outfit any self - City Zone . State those new office buildings turned on its respecting audio bug [could avoid like ye

36 AUDIO DULY, 1957

www.americanradiohistory.com plague. A home nnacliine, pure and simple; two pieces of furniture with a tiny amplifier (duals and two puny speakers - same old home squawk box only double. Well yes, in some respects. But let me The Most Advanced !wilt out that the stereo Victrola, double and for tape, costs retail with everything included and ready to play in the neigh- Master -Control Amplifier borhood of $3501. Less for the suitcase model. That's with speakers. cabinet, wires -no extras vliut o.ner to Luc. A lot.' Well, people usc.l to pay more Available Today! than that for some of the old Orthophonies and their successors, which didn't have the relatively expensive tape mechanism, let alone everything doubled. And this looks like :I good tape transport. this one, equipped with the highly desirable stacked (in -line) stereo head and a constant -turning capstan, like the Ampex, that allows for instant starts, plus interlocking controls for safety. Quite a bit of value, as I think you'll realize when you begin to figure. A good "plain" tape planer costs not so vel, much less, with one cabinet and one channel. (Note that this Vie is n player, not a recorder. No danger of erasing by accident!) Still-is this a machine of any listening interest to the audiophile? Maybe not if you're a real hi -fi stickler. That's strictly up to you and your pocket book. My business is to describe what this machine will do in listening terms, granted its strictly AUDIO CONTROLS AND AMPLIFIER, COMPLETE IN EVERY RESPECT -ON ONE COMPACT CHASSIS! home -orientated design. It'll do a surprisingly good ,jolt on good tapes. Do not ever forget that the basic task of any stereo reproducer is to bring you two channels of stereo sound correctly and phased, through two speaker systlu-. THE FISHER This is the essential -anal it is even more important than the quality specifications of the two systems themselves. (That's Master Control -Amplifier why I'm all against staggered -head stereo which, it seems to me, almost guarantees faulty, inaccurate, out-of -step stereo sound Model CA -40 in any budget- priced machine. The RCA Victrola. again, uses stacked heads.) Any system that can deliver two stereo tracks DI SIGNED to satisfy the most critical requirements of the to your ears in the proper relationship has music connoisseur, as well as the professional engineer, already achieved a whale of a lot as far as the listening musical ear is concerned. THE FISHER Model CA -40 is, without a doubt, the most versa- Take two 3 -inch speakers and feed then a tile unit of its type available today. On one compact chassis it good stereo signal -even without baffles, held loose in the hanol -and they 'I1 give offers the most advanced preamplifier with controls, as well as you some the stereo effect and of the stereo a powerful, 25 -watt amplifier with less than I % distortion at full advantage of extra realism and immediacy. With stereo delivery rightly accom- output! The Model CA -40 has provisions for six inputs and plished. the ear (stationed in the proper offers complete equalization and preamplification facilities for listening spot) will do wonders with re- both records and tape. An exclusive FISHER First- ToNESCOPE, iuroduced sound. Two years or so ago I marvelled at the sound of the then new provides a graphic indication of Bass and Treble Tone Control stereo Ampex 612, with two small suitcase - In every respect flexibility, laboratory- quality per- sized speaker systems. (Each costs almost settings. - as much as the entire RCA outfit.) I con- formance, handsome two -tone styling - the MASTER CONTROL - tinued to be amazed, until one day I AMPLIFIER reflects the creative engineering that has made casually switched any regular big- speaker phono over to one of the Ampex units for THE FISHER world -renowned for two decades. Truly, the an All comparison. I was even more CA -40 will long serve as the ultimate standard of comparison a ntazed, for by itself and in direct com- " parison to bigger, bulkier hi -fi equipment for amplifiers with control facilities. SIZE: 12'/a " x 101/4 x 5" h. the Ampex speaker unit showed up realis- tically as less than perfect. I could hardly 13 950 believe that the gorgeous stereo sound I'd slightly Maher In the Par West been having had come from this relative

I l pipsqueak. WRITE FOR CON' PI I I - 51'I t II Il \ ups Now, the same principle applies to the FISHER RADIO CORP. 21 -29 44th DRIVE L. I. CITY 1. N. Y. pair of picayune RCA Victrola stereo sys-

AUDIO JULY, 1957 37

www.americanradiohistory.com terns, but moved another step down the cost ladder. I will not try to pretend that the sound on these units is perfect, nor superhi -fi. It could not be at the home price. Even in stereo listening, my somewhat practiced ear could detect an absence of low bass, an occasional boom -bass resonance, and a certain amount of uncleanliness in the upper highs. Yes, my- trained faculties kept reminding use, this is a home phonograph like many- another today; it boasts better bass and a lot more highs than in the old days-it is certainly enormously improved -but it still has, shall we say, its limitations. Taken for granted. But that, you see, is when I force myself to be analytical, to ignore the musical effect in favor of the sound itself. Nov this is not most people's habit and it isn't urine when I'm listening to music -which is most of the time. Normally I just listen, and the over -all effect of the music itself is what hits me, for better or worse. Actual distortion in the sound is merely one factor and often by no means the most important, what with recording, performance. playback acoustics and so on. Anil so I have already found that even

with my rather experienced and luxury - loving ears I am enjoying stereo on the RCA Victrola with very few reservations of musical importance. Yes, I dislike the "boom bass," an effect that many people will never notice though I'm too well trained to overlook it. Yes, though I notice no conscious absence of musical bass. I did remark once that the lowest note in an organ piece simply didn't come through at all. Just vanished. But that was merely one note; low kettle drums and bass drums are so realistic via stereo that the missing bottom is unimportant. Yes, I notice, oc- The "King of Instruments " -an AeolianSkinner organ installation. casionally, a somewhat edgy string tone in the highs and I am aware of the rela- The sound of the organ is one of the most difficult to reproduce, because of its wide tively greater cleanness of my larger and tonal and dynamic range. and because of the large amount of fundamental energy more costly hi -fi system -when I happen that appears at extreme bass frequencies. to think of it. And I notice that maximum volume isn't very great by hi -fi standards At a recent public demonstration, staged by the Audio League at St. Mark's Church, -though it's far louder than most of the Mt. Kisco, N. Y., the recorded sound of an Aeolian- Skinner organ (from stereo tape) was old home phonos ever permitted. instantaneously alternated with that of the "live" instrument. The reproducing But in spite of these occasional reserva- equipment selected included four AA -1 speaker systems. Here is some of the press tions, I can only insist that on the most comment on the event: absolute listening grounds, in comparison with any equipment you can name, I am 1%fe,Sa1urdgRecliw (David Hebb) ready- to go along with this new machine "Competent listeners, with trained professional ears, were fooled into on the basis of plain music listening satisfaction is surely more than can be thinking that the live portions were recorded, and vice versa.... -which said for its equivalent in ordinary home The extreme low notes were felt, rather than heard, without any phonographs of the same type. 'loudspeaker' sounfl ..." The big difference, then, is in the two - speaker and stereo effects. I'm inclined, AUDIO (Julian D. Hirsch) as a matter of fact, to think that the first "Even where differences were detectable at changeover, it was usually is as important as the second. For what- not possible to determine which sound was live and which was ever tape you play, stereo or monaural, recorded, without assistance from the signal lights.... facsimile the hone listener here is actually recording.and reproduction of the pipe organ in its original "forced" to use two separate speaker environment has been accomplished." systems widely spread apart -which adds inuuensely to musical realism (and hence o tad lac raft to apparent sound quality) even without the stereo aspect itself. Single- channel "It was such a negligible difference (between live and recorded sound) monaural tape sounds pretty good, too, via that, even when it was discerned, it was impossible to tell whether this Victrola. the organ or the sound system was playing!" But just unhook the second speaker and see what you have. A home phonograph The price of an AR -1 two-way speaker system, including cabinet, -no more. I tried it. Better not to. is $185.00 in mahogany or birch. Descriptive literature is available on request. If you can persuade the general public to buy any sort of two -speaker, two -cab- stereo or no, you've con- ACOUSTIC RESEARCH, INC. 24 Thorndike St., Cambridge 41, Mass. inet set -up,

38 AUDIO JULY, 1957

www.americanradiohistory.com tributed a lot to good musical reproduc- sential level sets. There's still another, tion. without. Everything, of course, via stand- I take all this very seriously. The ex- ard phono plugs. The usual bass and treble periences I've had with this stereo Vic- tone controls and equalization. Need I trola surely apply to any low- priced home - say more. This amplifier has Standard style stereo equipment now on the market Equipment. or likely soon to appear. (Granted, of A few criticisms which I am sure GE course, that the two tracks are played in will take in its stride. Most important is correctly exact synchronization, prefer- hum. My first one liad objectionable hum ably via stacked heads.) Where Victrola -but that was a freak, early -model. Its goes, so goes the nation. Lt always has. later replacement, alas, also hums, but Now ... if we could just get the cost very- slightly, just enough to annoy me of stereo tapes down a bit from present with that B- natural that keeps getting fantastic levels. It just does seem as if mixed up with other keys, musically. This is no doubt a result of mass production RCA ought soon to be launching some low - priced stereo tape to complement the low- and very possibly the current product is WHENHEN the AR -1 speaker system first made priced Victrola. As of this writing, long utterly hornless. Easy enough to try. Mine, before publication date, there is no visible by the way, has not got any worse -as appearance on the hi f. market, our move in that direction, but maybe the happens in some low- priced amplifiers. published specifications were sometimes Always remember that in any equip- price dropping will come soon. (And, just greeted with skepticism; for a speaker to per- between us, notice that some of the more ment designed for large -scale mass pro- form as claimed, particularly ir such a small recent RCA stereo tapes do not have the duction, as no doubt this model is, the price printed on them, whereas the earlier problems of tolerance in manufacture are enclosure, was contrary to audio tradition. RCA issues did. Maybe, very critical-far more so than in those just maybe, this Now, two years later, the AR -I is widely ac- could indicate.... \i'e shalt see.? small-scale operations where each unit is made and tested virtually individually. cepted as a bass reference standard in both 2. Convertible Amplifier Hum tolerance is a typical factor in the musical and scientific circles. There is general adaptation of a unit like this to large - understanding of the fact that, due to the pat- It has been a year or so since I first got volume manufacturing though it is no hold of a GE Convertible Amplifier, >o problem (No.' ED.) at all in any given ented acoustic suspension design, the small size watts. The first one (it's model Al -32i) individually constructed amplifier. Takes of the AR -1 is accompanied by an advance in was defective, according to my standard awhile to get the big operation rolling bass performance rather than by a compromise luck in such matters. Early -model trouble. within tolerances. Probably has happened in quality. I returned it and the second one, out- long since -but check on yours, just to be wardly identical, has behaved very nicely, sure. generally speaking. In fact the most im- I'm not fond of the use of two identical portant and vital thing I can say about it knobs for volume and loudness. Both must is simply that I have had it in constant be turned up and I find myself constantly use now for at least a year and nothing using the wrong one-or forgetting that has gone wrong. Best recommendation I the other is turned low. It saves having a can give. separate levelset, I know, and this is GE 's I'm not particularly concerned with the reason, no doubt. Good economy. But the convertible feature, which involves detach- knobs could be different, or placed far able sub -assemblies so that the amplifier apart. They're next to each other. 2 can be installed in a pleasant variety of And, in the interests of symmetry, GE The AR -2 is the first application of the acoustic ways, in one or in several parts. Good has placed the on -off switch to the right idea for servicemen and gadgeteers. The and an identical switch to the left for suspension principle to a low -cost speaker sys- amplifier as it is packed is one -piece and the rumble filter (useable only with a GE tem. Prices are $89 in unfinished fir cabinet, mine has stayed so. Six round knobs in a cartridge or equivalent). I keep turning $96 in mahogany or birch, and $102 in walnut. row and two switches, plus a battery of on the rumble filter when I mean to turn inputs and outputs on a panel we underneath, on the amplifier. Guess I'ni just too left - We would like to suggest, as soberly as in reachable by tipping the amplifier up on handed, but it seems to me that if the vite comparison between the AR -I and any its rear. (Mine stays that way for days rumble filter switch just looked and felt existing bass reproducer, that you compare the at a time even though the directions warn different.... Oh well. you to operate it horizontally. Nothing has That's all. No further basic complaints AR -2 with conventional speaker systems which gone amiss.) -and I repeat that this GE 20- watter are several times higher in price. No allowances Obviously, somebody here has tried hard works, and keeps on working. It doesn't at all, of course, should be made for the AR -2's to answer all the servicemen's and others' burn out when you leave on it for a couple small size, which is here an advantage rather demands that could be met in one ampli- of hours by mistake, as did one much more fier, and the results are pretty serviceable, expensive amplifier I had around last than a handicap from the point of view of if not overly handsome from the decora- year. It doesn't overheat (though I reproducing quality. tor's viewpoint. This is a practical, all - wouldn't leave any LPs on its metal cov- steel amplifier and the edges of the box er), doesn 't seen to mind being dropped, are rough enough here and there to snag doesn't burn your fingers with exposed your fingers if you fuss around with it as red -hot tubes ... just a good, solid work- I do. Most people will leave it lay, and horse. all will be OI{. Finally, note that this is the 20 -watt Suffice to say that this amplifier has all amplifier I have been intentionally using most the modern useful features that have with the AR -1 loudspeaker, which is sup- turned up in the last few years to make posed to require a minimum of 30 watts. for versatility in the home. You can take (See last month.) For all average musical off from the preamp alone, through the listening in homes at non -hi -fi volumes (i.e., tone and volume controls, or (for tape re- no burst windows) GE's 20 watts will suf- corders) at a fixed level and without tone fice with the AR -1, though every so often controls, so that these and the volume can it overloads a bit on a particularly tough be varied for the room without affecting blast of transients. (A piece by Bartok Literature is available on request. the recording. There are LO -MAG and for percussion and two pianos got it down HI-MAG inputs, input for radio and an- today, for instance.) With more efficient ACOUSTIC RESEARCH, INC. other extra input, both with the all -es- (Continued on page 49) 24 Thorndike St.. Cambridge 41, Mass.

AUDIO JULY, 1957 39

www.americanradiohistory.com frelue-icy range. I recently took them down to Camden, N..1., to test them in the RCA aueehoic chamber against their laboratory standard microphone. The charts show superior performance below 50 and above 10,000 cps, and RCA was interested enough to keep one for their files. From nr experience with it, I am convinced the ribbon microphone is inherently a better design than the condenser, and its optimum performance, both from the standpoint of distortion and frequency response, is superior to the condenser microphone at its optimum. On jazz dates, I use one for the rhythm section and another for the rest of the baud, recording the original tape with a and modified Ampex 350. This permits the got drummer to operate without constraint. I a like musicians to play their instruments. My main trouble is with some of the mod- CHARLES A. ROBERTSON ern pianists who sort of skitter over the keys. The controls are not touched after a Zoot Sims Goes to Jazzville with the help of the G.I. Bill due to servire balance is struck, but I like to acecnt soloists by having them move in one step Dawn DLP1115 in the Air Force. By then, as he stated the rase, "It was evident that I did not have on the mike. OF"riiii ]L\Ny elco 1.a'M.s taring a anew the psychology or talent necessary to be- "The tricks of the trade are in knowing recording company in the jazz field, come a concert pianist. Also, the way of what to do with a soggy bass and how to good engineering is the one most life which such a career entails hail lost set up for various halls. Most of my work likely to be solved last. unless someone its appeal. Teaching did not interest me is done in Carl Fischer Hall, Steinway Con- involved in the proceedings has more than much. I hail been absorbed in electronics cert Hall, or Carnegie Recital Hall. None a passing acquaintance with the value of as a hobby for several years and it seemed of then is acoustically perfect, and the good sound. So the first products of the to offer me a better living. peculiarities of shape and characteristics small firm, with the exception of those "I was fortunate enough to be able to of reverberation can upset the novice. I started by audio specialists, usually range serve a two -year apprenticeship with Peter have seen the faces of musicians fall on from bail to adequate. Rarely are they Bartok. There is no way I can express my arriving for a date and learned they pre- acclaimed for outstanding balance and gratitude for what he taught me. He is viously had unfortunate experiences in other some virtues in the early stages of still the engineer i admire most. He has that particular ball, even to the point of their existence. One such rarity is Dawn doue some fine things on his own label and calling everything off and walking out. I- Records. It soled this problem in its first up at M.I.T. for Unicorn. We still trade try to be reassuring, but often it takes year, even to the satisfaction of those jazz information and are reply to help each the finished product to convince them. lovers who regard such qualities as second- other out when neeessar-." "The Quiniehette (late went well because ary to tine music. When be set up in business on his own, the leader is musically aware and the men A happy meeting between Chuck Darwin, he soon found his four -room apartment was all good instrumentalists who knew what producer for the new label, and Dave Han- becoming hopelessly overcrowded. Activities they were going to do and did it. A jazz cock, independent recording engineer. were shifted to a four -story house where date is approached with the same care I brought about this turn of events early in the neighbors are less likely to be dis- give to one of a classical nature. Both its history. At that time, Hancock was turbed. Iiis equipment is distributed about Peter Bartok and I believe it is easier to mainly occupied in cutting masters for a a large front room on the second floor. make a good recording of a symphony number of clients and extensive recording Much of it he constructed himself, or has orchestra than of a string quartet. This of folk -music artists. Ken Goldstein, a adapted to fit the requirements of the may seem contrary to the popular feeling producer of one of these dates, recom- practicing engineer. The ceiling is treated about sound an LP's where more chamber mended him to Darwin. The ensuing as- with a covering of cardboard egg con- work has been done successfully than sym- sociation resulted in a series of jazz discs tainers. A twelve -inch Wharfedale speaker phonies. But it is a frame of mind that with outstanding sound. The Sims' is the is used with a JansZen electrostatic for allows me to handle a big band without sixth to be released. monitoring. much trouble." Most commendation is being attracted "1 have a great deal of respect for G. Other companies Hancock has clone re- by The Kid From Denver. DLP1109, fea- A. Briggs," he said, "not only as a tech- cording or mastering for are Caedmon, turing Paul Quiniehette and nine musicians nician, but as a philosopher. His thinking Folkways, Period, Prestige, Tradition, and drawn mostly from the Count Basie band. about sound is similar to mine and I have Vanguard. Also both jazz and some of the recommended With a brass section of Thad Jones, corresponded with him. It is not that of classical items for the highly Remand Jones, and .loe Newman, trumpets. the button -pusher, who has the feeling that Music Minus One. "One of the things that and henry Coker. trombone, all the power the newest and shiniest is always best. I pleases me in the association with Dawn operation is up to of a big band is raptured despite hall limi- use a modified lathe with a turntable made is that the entire sound tations. In solos the Qninicbette tenor in- by Fred Van Eps and a Grampian cutter me," be stated. "I do the recording, edit- sinuates its way over the background, head. If I can find the time, I would like ing, and mastering. It offsets one of the rather than seeming suddenly to leap from to develop my own cutter head. The itanes disadvantages of the independent in that the loudspeaker as so many solo instru- seem to be quite proud of a new one enlled be often has to work with other people's ments do when improperly spotted. The the Ortofon and we can't let them get tape. But in the larger companies, the same rhythm section is held in balance, never ahead of us." engineer rarely follows the whole process obscured in ensembles. nor permitted to Easily the most distinctive and news- through. I think it gives the engineer con- override the soloists. The drums are kept worthy pieces of his equipment are two siderable satisfaction to be responsible for be in correct perspective, and the whole ses- RCA 44A (MI- 3026A) ribbon microphones. everything, even though he may not sion swings with some capable arranging These have been considered obsolete for given a credit line on the label." is Elek- and writing by leader Ernie Wilkins and ...me time. A letter sent to the RCA service Another company using Hancock the jazz field. Ac- Manny Ali unu. drparhuett last September brought the tra as it expands into Jac Holzman: "Dave It was enough to prompt a re-luest to reply that no replacement parts were avail- cording to its head, us of the ribbon visit the thirty- year -old engineer in his able as they had not been manufactured has shown the virtues upper Rest Side of Manhattan for twenty years. microphone. We used them on our two home on the Jazz he might expound on some of Hancock justifies their use with the state- latest recordings of the New York in the hope We in- the methods behind his work, and on the ment: "I had long thought the ribbon Quartet and the Jazz Messengers. in general. He has definite microphone had not been developed to its tend to use Trim on our stereophonic elates recording scene while our opinions -unfortunately, not all are print- full extent and was in some respects more to operate one tape machine in family magazine. He has the desirable than others. Tests made 'luring Leonard Ripley handles the other." able this apprecia- benefit of three years piano study at Juil- recording sessions confirmed its pleasant As a pianist, Hancock is most the caliber of Art liard to aid him in transferring a perform- acoustical properties and I set about im- tive of someone of real love is for classical ance to tape. This was completed in 1950, proving the bass response. A different Tatum in jazz. His ribbon, magnet, and transformer were in- chamber works and he would like the Tie r,rently 73f The Parkway, 3famaroneek, N, Y. stalled to reinforce the two extremities of chance to record more of it.

DULY, 1957 40 AUDIO

www.americanradiohistory.com taped the former Benny Goodman pianist Mel Powell with a chamber group in classical works of his own composition. "I admire Mel both as a person and as a musician," he said. "His career in jazz was well established when he abandoned it to study with Hindemith at Yale. Though he must have stet with diseouragements, lie Eroom 11.11 Nr nu MARCHING stuck at composing. I think these pieces ALONG WITH... w1' will show the was not that effort wasted." klels 11115113 Oil ms Canadian -born Chuck Darwin is in charge DUNES OF of Dawn, an offshoot of Secco, a company VOL.! !:: r:i+ devoted mostly to Latin -American music. MIIELAND ,i In outlining his aims. he said: "I intend to keep moving in a forward direction and to continue to record distinctive sounds, whether modern or otherwise. Before coin- ing to New York five years ago, I had my own company in Montreal and in niy experience Hancock is an engineer par excellence. The amount of planning for each session varies with the type of album. The hardest part is getting the right musicians in the studio at the right time. And then a great deal depends upon how they feel. The latest Mat Mathews was designed for the mood music audience, but the men AFLP 1851 liked the tunes so much they ended up doing some unusual things with them." AFLP 1825 The first album to be recorded by II:in- cock for Dawn is The Modern Art of Jazz releases from (Vol. 2), DLP 1104, featuring Mat Mathews, Art Farmer, Gigi Gryce, Julius Watkins, and Kenny Clarke. It was singled out by the New York Timex as "one of the best jazz LP's of AUDIO the year." Oscar Petti- FIDELITY ford turns from bass to cello for an en- TOTAL FREQUENCY RANGE RECORDINGS gaging duo with the accordion in one of the unique instrumental combinations suoni noma mr 1131 on found this dise. JOHNNY PULED MARCHING ALONG WITH the phenomenal Next is I'll Take Romance, DLP1105, in DUKES OF DIXIELAND Volume 3 Real Rebel which Donna Brooks sings with the Alex AND HIS music! Dixieland Marches done in the Dukes Smith trio. A Message from Garcia, DLP - unique styling HARMONICA converts the ordirary to the 1106, is arranged by Dick Garcia, long unusual! You have to hear it to believe it! associated with Tony Scott and winner of GANG a DOWNBEAT poll award as new guitar MALLET MAGIC Harry Breuer, his quintet and star. Ile is joined by a quartet. and a trio exciting toe -tapping tunes including pianist arranged for marimba. Bill Evans. Jazzville xylophone, glockenspiel and vibes make this a (Vol. 2), offers the trombonists Frank Hi -Fi musical extravaganza! Rehak and Melba Liston in a blowing ses- a study sion, along with a group led by Alex io high Smith. JOHNNY PULED and his HARMONICA GANG Then conies the Quinichette disc. fidelity 4e4+ What can this zany group do on the Harmonica? The current addition to the series stems sand Listen to a breathtaking from the ambition of Zoot Sims to have display of mastery and his own group, after fifteen years tonal effects never before recorded! Superb of play- Entertainment ing for others. With Jerry Lloyd on trum- in Brilliant High Fidel'ty! pet and pianist John Williams, he formed a quintet in 1956 to tour the club circuit. AFLP 1830 JAMAICA CALYPSO Plenty of Bongos ... Plenty It was widely complimented, but the sea- of Rhythms . . . Plenty of Clever Lyrics by Lord sonal nature of the business, and its eco- Montego and his Calypsonians. A Jamaican Treat! nomic trials, left it stranded. On this reunion, Kansas City's Gus Johnson, THE DAY MANOLETE WAS KILLED Barnaby formerly with the Basie band, is drummer Conrad, noted author, narrates the dramatic and and Bill Anthony shares duties on bass thrilling story of the life and death of the world's with Nabil Totali. most famous Bullfighter - Manolete. Recorded in A lively The Purple Cow is an original Hi -Fi at the arena! by Williams. Lloyd provides a soulful How Lord Now Blues and the up -tempo The Big Montego Only 85.95 for each 12.inch LP Stampede. Al Cohen's Jerry's Jaunt goes at a fast clip in the Basie manner. Sims and his AFLP 1831 is heard on alto in Stampede, and in the standards Too Close for Comfort and Calypsonians You're My Girl. He shows his most lyric side on tenor in the mellow musings of the ballad Iii Wind. Everyone has a chance to exhibit technical virtuosity iii the com- THE DAY plexities of Monk's Bye Ya. roce r:ennm sin 1132 Prepared to show the varied aspects of of the unit at its best, the program is AFLP I5.ì2 MANOLETE scattered with riches. Whether they are distributed too widely will depend on the WAS tastes of the listener, but he should not have to wait too long for something of interest. One of the most vital tenormen AUDIO FIDELITY KILLED since his Woody Herman days, Sims has never stopped developing. During n, a recent eIFIY, CORN trip to Europe, lie acquired his alto and is busy exploring its possibilities. Notionally By This is the Distributed AUDIO FIDELITY AFLP 1131 ------third album in as many months to display DAUNTLESS INTERNATIONAL 750 Tenth Ave., N. Y. 19

AUDIO JULY, 1957 41

www.americanradiohistory.com his prowess. They should serve as a lever Strauss potpourri. Recorded in Manchester's to set him up on his own. Free Trade Hall, the representative sampling Because two of the tracks were made of eight selections includes Tales of the Vi- Doris Duke enna Woods. Blue Danube, Annen Polka, Rad- during an expedition to the etzky March, and so on. A full -blown per- country estate, the liner does not bear the formance. caught with the accent on the en- Hancock name as engineer. In these, Totali tire resources of the orchestra, rather than substitutes for Anthony on bass, and com- the more frothy accoutrements so often given parison will show that he was not placed the spotlight in this music. If Mary Ellen right. The six remaining numbers were Moylan on the cover does not sell it, the fine, made at Carl Fischer Hall, with all the spacious sound Rill. niceties of balance maintained. Musikkorps Der Schutzpolizei, Berlin: Die New York Jazz Quartet Elektra EKL115 Schonsten Marsche and Marshlieder Telefunken LGX66064 This specialty label begins its Jazz catalogue with a newly formed quartet of com- The Musikkorps of the Berlin Schutz. -l'o- There was an old woman patible musicians, who hope their first joint lizei adds a distinctive voice to the growing effort will lead to the commercial success list of nationalities represented by topflight Who lived in a shoe needed to keep them together. All have sub- bands on LP. It is a brisk marching unit and its ranks are enlivened by a precise male Had so stantial reputations on their own. and are many children looking for a collective outlet for their tal- chorus in folk and student songs set to the invigorating tempos suited to the German She knew not what to do ents. As they think along the same lines, a f feeling of unity is immediately evident. More pastime of biking. Light opera is represented, and the swinging strains Invoking the atten- . time to think as a group should help them The children were naughty grow in proportion. tions of Lore. Mat Mathews brought his accordion over Of the organizations on discs, it most And so filled her with dread from Holland in 1952 and has succeeded in closely resembles Vienna's Deutchmeister making it a part of the jazz scene. Bettie Band and direct comparison can be made in That the little old woman Mann's flute fits well with this instrumenta- Wien bleibt Wein. It is a larger group, more tion. Ile plays sensitive clarinet on his orig- distantly and spaciously recorded, with sing- Wished she were dead inal Adam's Theme, and also contributes ing glockenspiel and healthy brass and wood- Early Morning Blues. Joe Puma, guitar, and wind choirs. This importation will be wel- Whitey Mitchell, bass, add rhythmic, stimu- comed by fanciers as the first worthy march A simple solution lating lines. The close multi -milting. charac- record from Germany since the war. Which brought happiness teristic of Elektra, I. well suited to the quartet. Though both the guitar and accordion Echoes of the Storm Audiophile AP20 Was the prompt installation are amplified, engineer Leonard Ripley keeps Adventures in Cacophony them under control. Audiophile AP37 of Norelco ... F.R.S. Audiophile has kindly sent these two pre- Ivory Joe Hunter: I Get That Lonesome viously released records along for my exami- M -G -M E3488 my equip- wonderful =" Feeling nation and as a challenge to audio These speakers ,.Otr ment with the following communication from The art of record collecting once entailed (Twin -coned and true) d ' Mr. Nunn : "I am remastering many of my _ a working knowledge of secondhand stores, older tapes, those which have exceptional Produced marvelous music junkshops, Salvation Army depots, and cut - merit, and reprocessing the records, though rate remainder outlets. Since World War II the practice will hardly pay cash dividends. Throughout the shoe and the rise of the LP, this sport has been The result is much improved sound from reduced to a monthly check of the stars and every point of view, but only provided the black diamonds in the Schwann catalogue. playback equipment is good. For years I have The effect ... tranquilizing Just as the fun of the lover of first editions used the Cook feedback cutter and amplifier is reduced by first printings running into system and while this has been the best sys- The children ... asleep thousands, the problems of the former hunter tem, based on performance, until recent now mainly those of se- Now of old shellac are months, I have just completed work on modi- the little old woman lection and budget. Two areas where ephemera fications to the Westrex dynamic feedback Good order can keep still blossom are those of rhythm and blues cutter combined with the McIntosh 80 -watt and the paperback. Try to find a copy of a amplifier and the results have been too con- first novel which appeared a year or so ago vincing to be denied. I might say there is For the full throated music only as a paperback. much good tape that has been ruined by poor As the hardy souls willing to separate the mastering (poor cutter performance) -it is Resounds through the shoe wheat from the chaff in the short -play field rather a shame. Big names and boasting are are few. any effort to lighten the task is wel- not necessarily productive of good results. All The children are spellbound come. Atlantic has presented Joe Turner. one needs is critically good equipment to Jimmy Rushing has done his best work for hear it." As you will be too Vanguard, and now M -G -M allows Ivory Joe Although the storm was caught in Mil- Hunter to sing in his modernized version of waukee in June, 1952, it is still a test for the country blues style. Five of the dozen nerves and pickup with the changing pitch So go to your dealer songs are originals, all essayed with a quiet of the wind- driven torrent against the crash Do it today dignity which sets him apart from the blues of thunder as it approaches and recedes. On shouter. Both as a pianist and vocalist, he is the reverse is the high whine of a rotary saw. And find out how "Hi -Fi" in the great tradition and should he asked the steely blow of hammer on nail, water re- sometime to devote an album to the older sounding in a galvanized pail, and the most Your victrola can play numbers. The small band has a neat trumpet realistic drums and cymbals on record. The and has escaped the peculiar sound distor- air rushing from between the high -hat cym- tions frequently given this kind of music. bals is practically audible. Of course, there no problem balance, but company %o is of this gore cZ-c./Dd Speakers are avail- A Night In Old New Orleans does almost as well when taking down an all- able in 5 ", 8" or 12" sizes in standard . Capitol 1792 out band. Cacophony is another crazy quilt of sounds impedances. Priced from $6.75 to A pleasant enough concoction of Bourbon finds and, though children love it, cats and dogs $59.98. Blueprints Street dixieland Sharkey Bonano's trum- should be removed from the vicinity. A barn- are available for pet leading his group through seven tunes the do- it- yourself enclosure builder. yard visit includes a squealing pig, chickens, and backing blues singer Lizzie Miles in live cows, a dog, and a vocal family of felines. Norelco Enclosures are available in of her specialties. all recorded in New Or- side has the historic railroad leans. Unfortunately, she has yet to reach The mechanical three sizes, priced from $33.75 to crossing, tugs on the Milwaukee River, watch discs with a band as suited to her style as and the Saukville water $119.95. Red Camp's piano. The indomitable Sharkey ticks, a typewriter, the pump. In case you missed these records be- drives through Eyes of Texas, In Mood, should be in any collection. and Blue Turning Grey. If you like to watch fore, at least one televised prizefights, keep it on the turntable T10071 ADD TO... and improve any sound system for Look Sharp, Be Sharp during the com- Caribbean Calypsos Capitol mercials. The latest invasion of calypso reached Lon- withXre/cos *FULL RESPONSE SPEAKERS don before Broadway and three performers Write today to Dept. A7 for brochure Viennese Night at the "Proms" popular in Britain are on this well -made EMI and prices of these unique speosers Mercury MG50124 importation. Lord Beginner does six tunes, untouched by the influence of Tin Pan Alley. and NORTH AMERICAN PHILIPS CO., INC. The expedition to England last year by Tony Johnson sings four numbers The Mercury's engineers and sound truck results Torpedo is represented by two. If you prefer High Fidelity Products Division in at least one "Pops" release as Sir John to read about this sort of thing, have a Lon- 230 Duffy Ave. Hicksville, L. I., N. Y. Barbirolli directs the Halle Orchestra in a don bookseller ship you The Lonely London-

42 AUDIO JULY, 1957

www.americanradiohistory.com era (Wingate, 12/6), by the young Trinidad- ' Ian Samuel Selvon, who has written two novels about the Island and now tells of the a,lventu ris of his countrymen in the big city. ...AND STILL CHAMPION! Scottish Pipes! Capitol T10081

The bagpipers of the 1 i Guards, the Sud Batt. Scuts ( the Altec Lansing of Glasgow Pipe liana and Pipe Major Donald Shaw Ita rasa y are featured on twelve tracks M -20 recorded by EMI in Scotland, and a heritage Microphone System K of Sent t ish blood is not required tu thrill to the two parts of "'l'he Gathering of the 111-° E Beats Them All! Clans." Ramsay. a piper since the age of eight, Is heard in 7'hc highland Pliny. Sword Smoothest Frequency Response- because the M -20 Dance. and Shean Tru ibh a. I'erha ps the must system representative disc Of the mosü of Srot land. utilizes the smallest diaphragm of any microphone on in a workmanlike recording to lit any loud- the market -a glass diaphragm plated with pure gold. This speaker. smoothness allows you to operate the system at a higher average acoustic output without feedback. Kurt Weill: Johnny Johnson M-G-M E3447 Smallest Size- because the M -20 microphone system Much the sanie forces responsible for the utilizes the latest developments in miniaturization and rewarding production of The Threepenny tap- printed circuitry. The complete microphone and base era are brought to bear on Johnny ,Johnson, assembly is less than 3 -1 /4 inches long and 5/8 inches in Weill's I936 anti -war effort for the Group diameter, the smallest top -quality microphone on Theatre and first work to reach the American the market. stage after he Made his home here. It came Lightest Weight- because the condenser microphone nt n transition period in his life its he began operates without cumbersome magnets. The M -20 microphone the exploration of the music of our folk leg- end. expressed by Bob Shaver in the cowboy system is so light that it can be clipped to clothing --no need ballad O. The Rio Grande. and of the Broad - for "lavalier" cords. Total weight of the microphone and base way idiom in To Lore Fou and To Leave You. is only 2 -1 /4 ounces. as sung by Burgess Meredith. It marks the end of his concern with the superficial as- Greatest Versatility- because the M -20 system is designed pects of Jazz. though he was always alive to to be used as a stand microphone, hand microphone or its creative force In his treatment of strings personal microphone- and use of rhythm. without additional accessories. It takes As the French nurse, Lotte Lenya sings only a second to slide the microphone from the 166A stand .Iton :imi, and Meredith acquits himself well attachment. in the title role. Conductor Samuel Matlnwsky and producer Edward Cole repeat the union Rugged Durability- because the microphone case is that natte their first Weill opus :t success. It constructed of stainless steel. It can stand a shock of 450 G's, is his most a11-Inel us ive cant t r i luit tion. and is the standard shock rating of the military type vacuum tube not to be missed. used in the microphone base. Norene Tate: Tenderly Highest Signal Level Output- because the design Elektra EKL113 combines the condenser principle, high polarization, and a A school teacher who embarked on a sing- close tolerance, premium vacuum tube. The result is the best ing career after guesting with Nolde Sissle, signal -to -noise ratio of any microphone. There is less Norene Tate is a cafe entertainer of some amplifier noise pickup since gain controls can be operated parts. Her voice is made for low lights and at a lower late hours. and she delivers a dozen songs point. meant for this atmosphere. Those who have Best Buy -at only $213.00, complete with power suoply. heard and liked her Tenderly will want to make a place for it in their collection as this superior recording gives it lots of presence. Pianist Isaac Royal contributes The Nail. The veteran Sunny Greer is the drummer and 210 microphone Al Hall plays bass. Type: condenser Frequency Range: 20 to 15,000 cycles Check these specifications Pickup: Martyn Green: A Treasury omnidirectional of Ribaldry against your Hum: not susceptible to magnetic fields Riverside RLP7001 microphone Capacitance: 6 mmf. Dimensions: The select ions are taken from the anthology Length ií "; Diameter 9A C; requirements: Weight 1/4 oz. of the same title as edited by Louis 1'nter- Finish: meyer, who stainless steel provides a liner note in Justine:. . Don of this droll side of literature. The story of Martyn Green's three decades with th' D'Oyle Carte Opera and subsequent publi. 525A power supply appearances is well known. His renown as an after-dinner speaker and entertainer is almost The 525A Power Supply supplies necessary voltages as great, though the audiences have been to 165A Base and 210 Microphone. Malted. This is remedied by his informal read- Power Requirements: 117 Volts 60 Cycles 15 Watts ings of Ovid. Silent Hollis. lien Franklin. 1 System output level from Wilde. Merrick, Apuleius, Bnssus, and Boc- power supply: caccio. The section of limericks is by no mean Unbalanced: complete. welch may indicate there are loo High impedance 130,000 ohms to come. or higher) 30 db re 1 v 10 dynes cm- (open circuit voltage -not power measurement) George Lewis: Jazz at Vespers 600 ohms 49 dbm 10 dynes cm., Riverside RLP12 150 ohms 53 dbm 10 dynes'cm- -230 30 ohms 59 dbm 10 dynes cm, A regular Sunday evening vesper service at Balanced: Holy Trinity Episcopal Church Using 4655 Plug -in Transformer in the college for town of oxford. Ohio, is the setting for eight 30. 150 or 600 ohms 48 dbm 10 dynes cm spirituals by George LOW'S and his band. Load impedance: 30. 150, 600 balanced (using Arranged by The Reverend 4665 trans.): 30, 150, 600, Alvin Kershaw in 10,000 ohms unbalanced. February. 1951. before he became a T\' personality. for a congregation Dimensions: Height 22/e'; Width 85ró'; Depth 7112' of students and Write Dot. 7 -A1. faculty of Miami University, the program was recorded by the Ohio Folklore Archive. The band is at its tuost expressive and fully ai home in the surroundings. Some of the material is not otherwise to b, found on discs. Though there is no lesseuitc ALTE[ 1515 S. Manchester Ave., Anaheim, Calif. of the jazz spirit. such well known pieces nr LANSING CORPORATION 161 their repertoire as Just a Little While to .'to Sixth Avenud, New York 13, N.Y.

AUDIO JULY, 1957 43

www.americanradiohistory.com Here and Down by the Riverside, receive n South Rampart Street Parade. There is no more graceful, searching treatment. The Lewis danger of jazz losing its spontaneity when clarinet stays in chamalenu more than usual, ll111e are semi pros like this around. And the and Jim Robinson's trombone probes into the sound is just as uninhibited. source materials of the blues. Kid Howard plays trumpet and sings. Six of the numbers Kenny Burrell, Vol. 2 Blue Note 1543 were onee issued by Empirical, and lovers of the traditional who missel) that 1U- rocher can The second collection featuring Kenny Bur- not ltITord to pass it up now. .lust a Closer rell is it most composite portrait of the con- ,Calk with Thee and When the Saints Go siderable talent possessed by the young guitar- Marching In are added in this renmsteri ng ist. Ile presents l:ershw'in's But Sot for :Ife which is gifted with better surfaces. Slight as a melodically persuasive solo. Get Happy deNcienres in the recording are more than takes on is Latin hue as he is Joined by the offset by the good balance anti the depth of group heard on his first LP, with the percus- the auditorium. sion duo of conga drummer Candido and Kenny Clarke. Saved from a jans session Josh White: Ballads and Blues caught at the Cafe Bohemia, Kenny Dorham's Mexico City starts with a strong three- minute Elektra EKL114 guitar solo. Folk singer slosh 1Vhite interprets n dozen Kansas City jazz slays are recalled with a characteristic songs in the style which won slow -riffed Mofen Swing. On this and Cheeta, hint acclaim fur his two previous albums on which rings the changes on I Got Rhythm, he this label. His maturing voie,' is heard with is joined by Tommy Flanagan, piano; Oscar his guitar in .1l itln iph f s pre in I . (i loo rn y Sun - l'ettiford, bass; Shadows Nilson, drums. The Ix dng, Told .VII l'npftt in . Ix u, etc. The Basle tenorman Frank Foster is added for the close microphones give voasi'lerable depth to blues -tinged Note See How You Are and the AI Itll's bass vlal and Sou uy Greer's bass feast -laced Phinupi. Modern phrasing rejuven- ', dram, two sounds which Can receive varied ates the old pop tune Ilote About Fou. As far treatment. Engineer Leumtrd Ripley- has his as I am concerned, Burrell here emerges as a own may of handling them. You may like It. leading contender in the current guitar sweep- STENTORIAN then you may not, but it is one way of deal- stakes and association with Benny Goodman LOUDSPEAKERS ing with studio limitations. should increase his stature. Music To Listen To Don Ewell By: Jazz Messengers: A Midnight Session Good Time Jazz L12021 Elektra EKL120 Recreate "live performance' realism - right in your own living room - with the incom- The mood music title for this album is not The latest edition of the Jazz Messengers parable presence and performance of the W/B as tricky as it seems, since it might easily be is heard in a midnight session ut Carl Fischer Stentorians! called: Mood Music For The Traditionalist. Concert Hall with drummer Art Blakey In Manufactured in England by world- famous l'or this is the wholly relaxed, informal sort complete charge as he marshals his forces to Whiteley Electrical Radio Company - origin- of playing that can be listened to by the hour. spur his colleagues on front the drums. Ile is ators of the first commercial permanent magnet Pianist Don Ewell is fully at home in the the only holdover from the original coopera- Minor and the loudspeakers in 192- STENTORIAN repro- Idiom. With the New Orleans drummer tively formed group rhythmic imprint - Hall and the veteran clarinetist Darnell of his personality is indelibly stamped on its ducers provide a quality of performance and Howard, the trio recalls the one Ewell formed face. Although saxophonist Jackie Mclean is superiority of sound which has won the un- in 1046 with Albert Nicholas and Baby Dodds. the most important new addition and is rap- precedented acclaim of virtually every major The dozen numbers include Monday Date. Lore idly building a reputation for his sinewy solos. audio critic and user, both here and abroad! Me or Leave Me, 31p Honey's Loving Arms, The clipped, forceful trumpet fits in well, but Hear the incomparable W/B Stentorians at and Gee, Baby ain't / Good to You. each seems overly concerned not to sound like your earliest opportunity ... judge them along- The bittersweet Howard clarinet, now part anyone else on his instrument. Sam Mockery side units of similar size and price ... convince of the Earl ,lines' Sextet, flows smoothly, and is pianist and Spauky DeBrest plays bass. tourie!/ that here, truly, is the finest sound and he contributes Bush Street Scramble. Ewell The lines are mainly homing points for the value available anywhere. solos with I Can't Believe that l'ou'r, in Lore soloists. Three are by Ray Draper, a sixteen- with Me. Squeeze 1e. You Took .tdrantage of year -old tuba player, with Lee Sears con- :Ile, and a blues improvisation- Ilis I r igi nais tributing one number and Mal Waldron two 15" Stentorian Full Ronge SPECIAL for the trio are south Side Strut and Parlor more. But it is Blakey who propels the horns, Concentric Duplex Loudspeaker AUDIOPHILE them with shifting and NET Social. The recording has the benefit of the underlining dynamics Response, 20 - 20,000 cps.; bass an old dance hall in Oakland, introducing them by bringing a press roll up resonance, 35 cps.; power rating, airy acoustics of 25 watts; 16 lb. Alcomax Series California. and Roy DuNann found the ladies' off the floor. When they were pianists with the to hold his recording equipment. group, Horace Silver, and to a lesser extent Magnet System; built -in crossover $159.50 room ample network at 1,500 cps. Kenny Drew, helped in this task as well as List $266.00 Eddie Burleton's Rompers: Unexpurgated writing for it from within. Someone of their 12" Stentorian Full Range stature is needed before the Jazz Messengers Concentric Duplex Loudspeaker Jazz Audiophile AP43 :achieve real unity again. Blakey's drums have Response, 20 - 20,000 cps.; bass never sounded better as Dave Hancock's engi- resonance, 35 cps.; power rating, A clarinetist who has played around Mil- neering takes them from a whisper to an 15 watts; 111/2 Ib. $119.00 Alcomax Series waukee for about fifteen years, Eddie Burleton ea rt hq na king crescendo. Magnet System; built -in crossover is one of the musicians Ewing Nunn used to network at 3,000 cps. have out at his home for sessions when he List Roach Plus $198.50 was experimenting with the recording tech- Max Four Stentorian 15" Woofer niques which led to the fine Audiophile sound. EmArcy MG36098 Model HF 1514 the jazz scene what It is in those parts, Response, 25 4,000 cps.; bass With by Max - he finds it expedient to hold a more prosaic This is the first record 'node the resonance, 35 cps.; power rating, $89.50 Roach Quintet since the tragic deaths in an 25 watts; 10 daytime job, as do the five other members of lb. Alcomax Magnet automobile accident last summer of Clifford System. List ...... $149.50 the band. His muscle! activities are reserved Richie Powell, though the leader. Stentorian for weekends and an occasional evening date, Brown and Extended Range tenorman Rollins and Kenny Dorham, Loudspeaker, Model HF 1214 mostly with pickup Not until last Sonny groups. trumpet, have added their valuable presence Response, 25 - 14,000 cps.; boss year did a series of club dates enable him to $49.50 to numerous "s in the interim. It shows resonance, 39 cps.; power rating, keep the saute amen together long enough to Il 15 watts; 51/2 lb. Alcomax Magnet a technical proficiency that is breathtaking, work up a unity of expression which lie felt System. List . $82.50 and a free exchange of ideas that comes from .. warrant.] a recording. These dozen full- Stentorian thetic, dlr. -Y, Super Tweeter Model T -12 blooded tracks of dixieland, with a slight complete integration. Jzz- and Response, 3,000 20,000 cps.; workouts. - touch of Chicago -style, resulted on the return ll'oodyn' You are typical bop Just power rating, 15 watts; 9 lb. $58.50 One is taken a seemingly to the studio. of Those Things at Alcomax Magnet System. impossible clip, and by contrast Body and List ... .. $97.50 Another veteran, hill Ehlert, plays a fiery cornet, and Roland Woods fills out the fervent Soul slows down for sustained cadenzas by Stentorian Cone T Model 1 -816 Rollins. In a twin -track recording, Dr. Free- Response, 1,500 17,000 $29.50 frontline on trombone. As soloists, they - cps.; Zee allows Roach to solo on tympani as well power rating, 15 watts; 31/2 lb. a workmanlike level of competence, achieve effectively as in his 16,000 gauss Alcomax Magnet In Cabinet marked by experience rather than creative as drums, though not as date with Thelonlous Monk. EmArcy does not System. List 549.50 $49.50 impetus. As a group they function with a . . sound as its List in cabinet. 582.50 paced by pianist Art always take as much care with rollicking goodwill, not one of those Laude and bassist Art Kay, with drummer parent Mercury, but this is For complete literature on these and many Eddie McMullen putting down a steady, pro- t imps. other famous lower priced Stentorian loud- nounced beat that sets the feet to tapping. speakers, audio accessories and specially de- They show discrimination In picking out The New York Jazz Quartet Goes Native signed enclosures, see your dealer or write: the best things to say on such favorites as Elektra EKL118 Royal Garden Rues, Riverboat Shuffle, China Barker Sales Company Satanic Blues. In their unpretentious With aid of two exuberant bongo drummers, 996 -8 Edgewater Avenue, Ridgefield, N. 1., U.S.A. Roy and way, they have some fun in Take Me Out to the New York Jazz Quartet bows to the cur- Exclusive Sales Agents for the U.S.A. and South America show polka -minded rent calypso craze and tries its hand with Charter Member: Inst. of High Fidelity Mfrs., Inc. the Ball Game, and their how Blue Danube can be played. Latin rhythms. They range far for atmospheric Rodio hometown 'T /M Whiteley Electrical Company Included are Tin Roof Bares, Tiger Rag and touches in the melodies, and bits of Yma

1957 44 AUDIO JULY,

www.americanradiohistory.com Sumac or Villa -Lobos are apt to turn up beside their impressions of the most primitive forms. The originals are all arranged in the spirit of good fun. In the improvised sallies, the phrases flow with an ease Ihat comes when accomplished jazzmen are relaxed and eta joy i rag theutsel yes. Each has a turn at free blowing, starting with Mat Mathews. accordion, in an Afro- Cuban Mat at Bat. Whitey Mitchel abandons his stringed bass for a It -flat Yogurt bottle to help out Joe Puma. guitar, in a throbbing Joe Blair. Ben de Mann, flute, extends himself throughout to provide an authentic flavor and has The Mann dot on his own. Ile uses a piccolo to advantage on the Brazilian March of the Sugar -Cured /tams. Whether due to the challenge presented in fusing jazz to Latin rhythms, or the greater length of time spent together, they emerge with more of a group feeling than in their first album. Such numbers as Trade Winds, Coo Coo Calypso, and Sundial!' should outlive the present West Indian trend. This is the first Dave Hancock recording for this label EICO is a pioneer (1945) in kit test equipment and he holds - the drummers. Manuel Ramos leads the industry in distributor sales to trained and and Teiji Ito, in good balance. It was made critical users. in Carl Fischer Hall and may be had on stereophonic tape. EICO has achieved this acceptance because EICO engineering policy is to stress electrical and mechanical quality, soundness Music For Brass Columbia CL941 and functional completeness. FICO prices are The Jazz and Classirul Music Society was E--- low because they are justly started in 11155 to give concerts of rarely related to costs and geared for volume heard contemporary- music of both persuasions sales. HF52 and the present program was planned for the The same engineering and price policy underlies all 1951', concert. This was cancelled because the EICO high fidelity equipment. You can examine and New York I'hillmrmonic- Symphony scheduled compare EICO at any of the 1200 neighborhood the key work. Gunther Sy in dis- Schuller's phony tributors for Maass and Percussion. As first horn with and hi -fi specialists throughout the U.S. the Metropolitan Opera Orchestra, he is well Judge EICO's claims for yourself before you buy. fitted to exploit the modern brass section. Write for FREE Catalog A -7. I/iudtri Mitropoulos conducts the Society's Brass Ensemble. stade up of classical nitisi- clans fur the symphony. In the three jazz HF61 Master Control PREAMPLIFIER sketches by J. J. Johnson, John Lewis, ;uol KIT $24.95 WIRED $37.95 Jimmy Ito iffre are such jazz stalwarts as with Power Bernie Glow. HF12 Supply: KIT $29.95 WIRED $44.95 Arthur Stutter. and Joe Wilder, D..es not mill distortion or detract f wideband t rung sets; l'rble Green and or Johnson, trom- I:alnico( response of finest power amplifiers at any bones; Miles Davis solos on trumpet and control settings. High -quality feedback circuitry fluegelhorn. Drummer Ocio Johnson and bas- throughout Sc most complete control & switching sist Milt Hinton are added. and Jim Burling- facilities. Feedback scratch & rumble filters, eolith- ton replaces Schuller, who conducts. rations, tone controls. Centralab Senior "Compentrol" loudness Johnson's Poem for Brass is distinguished control, concentric level control. 4 hilevel, 2 to -Ictel switched inputs. by a Davis trumpet solo, Extremely flat wideband one phrase of which freq rests: ±11.3 db 12- has more 50,000 cps. Extremely sensitive. outright jazz than is to be found iii Negligible hum, noise. harmonic or 1M distortion. the rest ,ut the scores. In Three Little Feel - 4.7/5" x 12.5/11" x 4 -7/5 ". s lbs. inys, the more delicate lines of Lewis lie fallow without the expertise and mobility of HF60 60-WATT Ultra-Linear POWER AMPLIFIER the Modern Jazz Quartet. But he is reward- with ACRO TO -330 Output Transformer ing when probing the resources of the ensemble KIT $72.95 WIRED $99.95 and providing a skillful setting for the solo- I(I'M silt amyl dire, tcoupled to 6SN7GTR K- coupled ists, especially Johnson's somber forty-bar phase inverter thriving two U/1.-connected p -p EL34 statement. In Pharaoh, Nui Rie drops the jazz output tubes. C.Z34 extra -rugged rectifier. Rated output: 60 w (130 w rhy-tlint men and el nstruets a brass -bound pk). IM Distortion: less than 1% at fill w: 0.5r1- at 50 w. Itarmonlr Distortion: less than strait jacket for all concerned. The rule of 0.5 from 2(1- 20,000 cps within 1 alb of rated thumb which says power. to listen to classical music Sine Freq. Resp: at 1 w ±0.1 db 15.35,000 cps at any for the writing and jazz for the inventiveness !wet from I now to rated power. Square Wave Resp: of the soloists holds true. Schuller builds a excellent 2025,000 cps: 3 user rise -time: Sens: 032 y strong facade of sound with enough movement HF52 50 -WATT Ultra- Linear INTEGRATED for tilt w. 7" x 14" x 8 ". 30 lbs. Matching Cover E-2, 5fí. to be used by Jose Limon in his choreography AMPLIFIER complete with Preamplifier, 8.1. of "The Traitor." is to be It hoped that the Equalizer & Control Section HF50 50WATT Ultra- Linear POWER AMPLIFIER Society's plans will lead hint to compose for jazz soloists. KIT $69.95 WIRED $109.95 -TIT $57.95 WIRED $87.95 Power amplifier se, t ion essentially Identical to Extremely high quality output transformer with ex- HF50, in, hiding output transformer, CZ34 rec- tensitely interleaved windings, 4, 8, and Iti -ohm tifier, etc. Includes all- feedback equalisations speaker taps, grain- oriented steel, fully potted in Joe Bushkin: A Fellow Needs A Girl (5 pos.) & tone controls. Centralab loudness seamless steel case. All other specs wok Went to Capitol T832 control k separate level control that does not II t-en but on 50 w level. Matching coser E -2. g -t.50. affect response at any setting. Cathode follower Mat Mathews: The Gentle Art Of Love output to tape. Correct input loading for new HFZQ 20 -WATT Ultra- Linear Williamson-type INTEGRATED ceramics. Zero Dawn DLP1111 cross -talk Biamniffirarion tnpw AMPLIFIER complete with Preamplifier, Equalizer 8 & output facilities. 81/2' x 15" x In ". Match- Control Section ing Cover EA, S4.50. KIT $49.95 WIRED $79.95 Tailor..I tar the mood music trade, these Sets a new standard of performance at the price, kit two albums show- that the talents HF12 12 or wired. Rated Power Output: 20 w (34 w peak). of jazzmen -WATT Williamson -type INTEGRATED IM need not always be Distortion: 1.3%. Max harmonic Distortion: be- wantei in an aura of lush- AMPLIFIER KIT $34.95 WIRED low 1%. ness. Their values in $57.95 20- 20.000 cps. within 1 db of 20 w. Power musical taste and choice Complete with Preamplifier. Equalizer & Con. Resp (20 ): of repertoires ±0.5 db 20-20,000 cps: Freq Resp still break through. Backed by trot Section. Ego:aired dire, t tape head & mag- (Vs w): -170.5 db 13- 35,000 cps. 5 feedback rqualira- netic strings led by Glenn Osser, pianist Joe Bush- phono inputs. Power Output: 12 w cont., tions. Low- distortion feedback tone controls. 4 hi -level kin gives a lilt to a dozen numbers front These 25 w pk. IM Dist.: 1.3áQ 12 w. Freq. Resp.: & 2 to -level inputs. Conservatively rated. fully potted Foolish Things to Willow Weep for Me. 1 w: ±0.5 db 12- 75,000 cps; 12 w: ±-0.5 db output transformer: grain -oriented steel interleaved Accordionist Mat Mathews employs the 25- 20,000 cps. 2 -EL84, 3- ECC83 /12AX7. windings. 81/2" x 15" x 10". 24 lbs. Matching Cover l -EZ1II. E -1, $4.50. varied setting of an Octet. Septet, and Sextet in twelve arrangements. The unlisted person- HFS1 TWO -WAY SPEAKER SYSTEM $39.95 A -7 nel includes : Art Farmer, trumpet ; Dave EICO" Brooklyn 11, N. Y. complete with FACTORY -BUILT Amran, french horn; Chase Itean, flute and CABINET Please send FREE catalog 8 name of neighborhood Jensen heavy-ditty 8" woofer & bass I matching distributor or hi -fi specialist. clarinet; Teddy 'ho rh-s, vibes ; Joe Jensen compression -driver Puma. exponential horn guitar; Oscar l'ett ifurd. bass. Violist tweeter. Smooth clean bass & crisp, extended NAME Harry Lookofsky sets a tranquil tempo for natural highs. Overall response: ±6 clb ADDRESS some innovations of interest to the progres- 70. 12,000 cps. Power -hndling rapacity: 25 w. sive fan in If You Were the Only Girl. Indian Impedance: R ohms. Bookshelf sise: 23" x CITY ZONE STATE Sum In er, and the title tune by Pet dfnrd. 11" x 9 ". 25 lbs. Wiring Time: 15 min. Prices Po higher on West Coast

AUDIO JULY, 1957 45

www.americanradiohistory.com NEW PRODUCTS Small Precision Audio Oscillator. :\ record with ease and hold it firmly with- newly -developed circuit virtually elimi- out danger of finger prints or scratches, nates switching and tuning transients in and with no danger of slipping. The pliers - the new Model 401A audio oscillator re- like design of the Miragrip permits one - cently introduced by Waveforms, Inc., 333 hand use with no likelihood of record Sixth Ave., New York 14, N. Y. Frequency breakage. The metal handles and body are chrome- plated and the rubber gripping sleeves are available in a variety of color finishes. Weight is only 7 ounces. Manu- factured by Clarovox Products of Coven- try, England, the Miragrip is distributed in the United States by Ercona Corp., 551 Fifth Ave., New York 17, N. Y. G -3 Eico Speaker System. Exceptional performance at low cost is featured in the new Eico bookshelf -size two-way speaker .system. Featuring a heavy -duty Jensen

range of the instrument Is 10 cps to 100 kc. It delivers 0.5 watt into 600 ohms with output constant to within 0.5 db over the duced by Sonotone, offers many of the fea- entire frequency range. Distortion is under tures found in the company's higher- priced 0.25 per cent at any power or frequency Linear Standard series. The CA -12 pro- setting for loads of 600 ohms or more. vides high flux density (woofer, 12,000 Weight of the 901A is only 12 lbs. G -1 gauss; tweeter, 8500 gauss), low resonant frequency, frequency range of 40 to 14,000 Music- Intercom System. Suited for use cps, and an exclusive elliptical cone in home or office, the MusiCall consists of tweeter for wide dispersion. The unit con- an AM -FM radio and intercom facilities 8 -in. woofer and a matching compression - tains a built -in L -C dividing network. combined in a single dual -purpose distri- type tweeter with exponential horn and Manufactured by Sonotone Corporation, bution system. The master station, In addi- level control, the HFS -1 system has a fre- Elmsford, N. Y. G -6 tion to containing the tuner and amplifier, affords individual control over all remote quency range of 70 to 12,000 cps and a Multiple Speaker Switch. This unit is so speakers. Each speaker is equipped with power handling capacity of 25 watts. All designed that any combination of six a volume control and a talk- listen switch visible surfaces of the acoustically -engi- speakers may be switched into a circuit, which may be used to initiate calls to the neered enclosure are smooth -sanded clear - with a constant impedance maintained at grain birch. Any accepted furniture fin- the amplifier output transformer. It is ishing technique may be applied. Ideal ideally suited for public address installa- for stereo installations, each HFS -1 system measures 23 x 11 x 9 ins. Manufac- tured by Eico, 84 Withers St., Brooklyn v í/ dáire 11, N. Y. G -4

Sprague Transistor Circuit Simulator. A KAI new instrument which eliminates bread- 1 3 board layout by simulating complete tran- -- sistorized amplifier stages has been intro- HI.tI MULTIPLE SPEAKER SWITCH duced by the Sprague Products Company, 241 Marshall St., North Adams, Mass. Lit) (^ S # o sut n slut P MODEL iMS-6 sr PT" .P..

i i MY VIDAIRE ELEC MPG CORP. LYNBROOK, N.Y.Ri'' / tions where several speakers are to be master station. The standard MusiCall used in an assembly hall or auditorium. system includes three 5 -in. speakers for The six individual switches are contained interior wall installation and a 4 -in. on a polished brasa plate which may be speaker- microphone for front -door use. A mounted on a panel, thus centralizing con- phono jack permits use of recorded music trol of all speakers. Vidaire Electronics when desired. Tastefully finished in an- Manufacturing Corp., Lynbrook, N. Y. tique copper, the MusiCall is delivered with all necessary materials for installa- G -7 tion. MusiCall Corporation, Los Angeles, Viscous- Damped Tone Arm. Many ad- Calif. G -2 Named the Model LF -1 "Transimulator," vances in tone -arm design are incorporated the unit can simulate any a.c. or direct - in the new AR-600 12 -in. viscous- damped Record Handler. Developed to reduce coupled amplifier stage short of high unit engineered by Argonne Electronics the possibility of surface damage to rec- power audio output. Everything required Mfg. Corp., 27 Thompson St., New York ords while being handled, the Clarovox for It -C amplifier circuits is built into the 13, N. Y., and manufactured under license Miragrip permits the user to pick up any instrument, including 2- and 20 -uf. direct Fac- coupling capacitors and posts for external of Columbia Broadcasting System. coupling on both input and output. Bias resistance is continuously variable to 550,- 000 ohms and load resistance is continuously variable to 277,500 ohms. Built -in battery voltage supply for separate bias and load provides 1.5, 3, 4.5 and 6 volts 4' d.c. A switch is provided for reversing polarity. Almost any external connection desired, including meters, transformer coupling, external supply voltage, degen- tory- installed and sealed silicone damping eration, bypass, coupling, signal input and fluid assures accuracy of damping action output, can easily be made at binding posts and prevents possibility of leakage. Auto- provided on the panels of the Transimula- matic stylus pressure compensation Is tor. G -5 achieved by using individually designed cartridge adapters. Three-point base sup- Sonotone Low-Cost Coaxial Speaker. port is equipped with height and leveling Although exceptionally low in price, the adjustments. Tone -arm resonances do not new Model CA -12 speaker, recently intro- fall within the audio range. G-S

46 AUDIO JULY, 1957

www.americanradiohistory.com JULY -AUGUST 1957

Hi -Fi Manufacturers' specs in print at times run the gamut from the sublime to the ridiculous. It reaches a point of what's real and what's fantasy. Even organizations which test hi -fi components in an attempt to see if the specs "tell the story ", may also tend to confuse the issue. There's really only one true way to test specs, even these products detailed below, and that's to let HARVEY'S staff of audio specialists analyze and demonstrate each component together with the rest of a hi -fi system through their fabulous listening rooms. HARVEY'S is the one place that translates written specs into genuine sound for your own ear -valuation.

With the SHERWOOD S -3000 high -fidelity FM Tuner you have one of those rare top quality tuners designed with just as much attention to audio quality as to RF circuit refine- ments. At 100% modulation, the specified intermodulation distortion is less than 1.5% and the harmonic distortion at 400 cps less than 1% - meaning very superior sound indeed. Specified FM sensitivity is also tops among commercially available Liners - 0.95 uy for 20 db quieting, made possible by the special 6558 cascode input stage and balanced antenna input transformer. Unbeatable at only $99.50.

The question of where the answer lies in the choice of a turntable or changer is dependent upon the individual high fidelity system and the regard one has for it. However, when it comes to turntables, the perfectionist today has an excellent unit in the Garrard Model 301, a quality endorsed product of the British Industries Corp. group. It is an uncompromisingly designed precision instrument worthy of the finest associated components. Speed, accuracy, freedom from wow and flutter, and absence of low frequency rumble will meet the most exacting standards. All three speeds are adjustable; construction can only be described as superb -truly a required component for the best systems, and at an exceptionally low price of $89.00.

In the very latest component combination from Pilot, the HF -30, you have a new compact, medium- powered all -in -one FM -AM tuner, preamp- equalizer and 12 -watt Williamson -type amplifier, with exclusive "Beacon" tuning to insure distortion -free reception. The other superb features of this unit include a speaker selector switch for simultaneous operation of two speaker systems; loudness contour switch for compensation of Fletcher -Munson effect; output jack for tape recording independent of controls; equalization RIAA Quilt -in LP, NAB, AES calibrated points on separate bass and treble tone controls; afc disabling switch for receiving weak stations adjacent to strong stations, and 10 kc AM preadjusted

whistle filter. Power output is 12 watt continuous, harmonic distortion less than 1 %, and frequency response from 20- 20,000 cycles. With the intermodulation distortion less than L5 %, and hum level 70 db below 12 watts, this marvelous combination from Pilot is only $169.50. n

In the superlative REGENCY enclosure with I5TRXB 3 -way speaker by ELECTRO- VOICE, E-V engineers have combined the advantages of folded -horn performance with room placement versatility. Because of an integrally built-in corner, you can use it against the wall of the room away from the corner for essentially flat response -or place it in the corner to use the very walls of the room for augmented bass reproduction. To reach the pinnacle of musical enjoyment, the E -V Model 15TRXB triaxial should be utilized. The enclosure and the speaker unit make a natural combination. As a three -way speaker system, it offers exceptionally wide range and clean reproduction with 20 -watt power rating and a response from 30 to 15,000 cps. The enclosure is available in either mahogany or Korina blonde, and you will find the styling easily complements any decor. The Regency mahogany enclosure is $130.00, and the 15TRXB speaker is $79.00.

Hear the music ... not the speaker ... with the JansZen electrostatic. It is interesting to note that women are more sensitive than men to overtones in the higher ranges. If your present music system includes a dynamic tweeter, the resultant distortion of these overtones may well be the cause of your wife's complaints about the "shrillness" or "loudness" of your music system. The fact that the JansZen lets you hear the music and not the speaker, eliminating exaggerated and distorted highs, solves the problem for the sensitive listener, and it only costs you $184.00.

Of course, in case you've already decided that here's what you want for your system, HARVEY'S mail -order service will rush it out to you the same day as they receive your order. Just enclose an extra allowance for shipping charges (excess will be promptly refunded).

HARVEY RADIO CO., INC. 1123 Avenue of the Americas (6th Ave. at 43rd St.), New York 36, N.Y. JUdson 2 -1500

AUDIO JULY, 1957 47

www.americanradiohistory.com Listen knot. ingly for more musical HAROLD LAWRENCE enjoyment Composers in Business IN THE t.n-E:s (minim.. and course- the power of his In this hook one of the best -known and most of great paint- of musical at a boy highly regarded American composers shows ers and writers, the pietnre of stern genius. As of 15, he came to the was you how to increase your enjoyment of music father ml-ising his son to give up his attention of Louis _XIV, who approx- through creative lisbning. Now you can foolish ambition for a more practical ca- imately his own age. The latter greatly a Luils''s violin playing listen to more music - hear reer in business or the professions is admired and matie it with greater understand- familiar one. Parents have always been him a member of the "Twenty -Four Vi- convinced that (1) an artistic career is olins." But Lully did not remain for long ing and enjoyment - -when a by you know and can identify invariably unprofitable, and (_) art and mere orchestral musician. Impressed the elements. forms, and business simply don't mix. They are wrong his technical prowess, Louis created a qualities with which the on both counts. Statistics may of course special ensemble of players especially for composer has worked. llear be in their favor. but the pattern is not Lully. A born courtier, Lully became a the great masterpieces of inflexible. The history of music. for ex- close friend of the king and was awarded music as the composers ample. is replete with cases of eminently many high -paying positions, including wanted you to hear the -nt! successful composers. Exceptions to the that of royal secretary, a post formerly second count, although more infrequent, granted only to the nobility. Small won-

nevertheless do exist ; the most outstaol- der that Lulls' quickly began to make en- New Revised Edition Just Out ing of these are Italians and Americans. emies among the royal entourage. The name of Giovanni Pierluigi Pales - But with the hacking of Louis XIV, trilla (1525 -1594) evokes the serenity of Lully overcame all opposition and set him- What to Listen for ,angelic choirs echoing through the spa- self up as an absolute monarch in the cious vaulting of a Gothic cathedral. Ilis French musical world. At the peak of his in Music masses and motets indicate a devout eo t- career, no opera could be performed in poser thoroughly immersed in the life of France without his express permission; he By AARON COPLAND the Church. The purity of conception, controlled the professional lives of his oe- cloudlike movement of contrapuntal tors and dancers; and a rigid limitation 307 pages, 51/2 x 8, $3.95 strands. and luminous vocal "orchestra- on the number of musicians employed by tion" eertaiuly represent the true per- other theatres was imposed by royal de- THE author first discusses the creative sonality of the man. Yet there is another, cree, so as not to detract from the im- process and the elements of musical anat- more worldly, aspect to the picture. pressiveness of Isis own works. As a re- omy- -rhythm, melody, simple harmonic struc- Palestrina came front a family of land - sult, virtually all competitive music was ture. He then gives a full and clear explana- owners, from whom he inherited n prac- suppressed or thrust into the background. tion of the principal musical forms -simple ticality. independence of spirit and mone- Only after Lully's passing from the scene dance forms, the fugue, the variation, the tary- ambition. Until his wife died in lose), did the name of Mare -Antoine Charpentier sonata, the symphony, the symphonic poem, he had little opportunity to go into lmsi- (1634 -170.1) finally cone into its own. the opera. ness. Indeed, sorrow over leis loss prompted With the latter's exception, however, Lully Chapters on contemporary music and film him to take steps toward becoming a w:u nuquestimiabl- the most imaginative music have been added to the new edition. priest. Ile had ,just received the tonsure composer in France during this period. Also new is a list of recorded music to illus- when something happened which suddenly \%'ere it not for Louis XIV's innate ninsi- trate each topic covered. and unalterably sidetracked his decision. (:tl taste, the effects upon French music lie met a wealthy widow who had a tidy might have been disastrous. Praise for What to Lisca for in Music dowry and a thriving fur and leather Another Italian composer with a flair (First Edition) business with a trade monopoly at the for business enterprise was Muzio Cle- papal court. Within a matter of days racnti (1752- 1832). At the age of 14 he "The best book I know to explain things meeting, they were unar- was taken to England by a wealthy squire to the layman. " -Oscar Levant after their first tied. Palestrina lost no time in taking named Peter Beekford, who saw in the "Sound, practical, and sanely modern." over the business. Ile went into partner- youngster the makings of an extraordin- New -The Yorker ship with an employee of the firm who was ary pianist and composer. Clementi lived "By far the best thing of its kind yet to to act as general manager and, in a pe- on Beckford's estate for seven ,years, appear."- -Modern Music riod of five years, doubled the capital. practising the keyboard and soaking up a "One of the most helpful, sensible and Real estate also commanded his attention. prodigious amount of musical knowledge. engaging discourses on the subject ever With his wife's money and the company's His patron finally launched him in 1773 published." -i ictor Record Review profits, he bought plots and constructed before the London public with immediate houses, and acquired vineyards and fields success, and he went on to become a renowned conductor, composer and pianist. SEE IT 10 DAYS FREE outside the city's walls. r Next to Florentine -horn Jean-Baptiste His 64 piano sonatas and the famous RADIO MAGAZINES, INC. Lully (1632-1687) Palestrina was a small series of 100 études, Grades ad Parnas- P.O. BOX 629, MINEOLA, N. Y. fry businessman. At his death. Lully left suean, laid the foundation for modern key- Send me Copland's What to Listen for in four sumptuously appointed houses lo- board technique and composition. Music for 10 days' examination on approval. cated in the most desirable quarters of Clementi had a long and eventful busi- In 10 days I will send 53 95, plus few cents for delivery costs, or return book postpaid. the French capital, a number of lucra- ness career. It all started when he invested (We pay delivery cost if you remit with cou- tive securities, and a fortune in jewelry. in the firm of his publisher, Longman & pon; same return privilege.) His total estate amounted to more than Broderip, "manufacturers of musical in- (PRINT) struments and music sellers to their maj- Name ...... two million livres. a sizable amount of Address .. In amassing his vast wealth. Lully esties." Clementi lost City .. Zone .... State brought into play -unusual talents in court money when the company went bankrupt. Company politics, a remarkable business acumen, He decided there and then that he could Position do a better job of it himself, so he re- name For prim and terms outside U. S. 16 W. Ninth Street, New York 11, organized the business under the of Lavite McGraw -Hill Intl., N.Y.C. Aud. 6 Longman, Clementi & Co. (it later became

48 AUDIO JULY, 1957

www.americanradiohistory.com Clementi & Co.) and built it up into one of England's leading piano-making con- cerns. To expand his market, Clementi traveled throughout Europe setting up agencies in Russia and Germany. He even exported his instruments to America where they achieved great popularity. (Arthur Loesser points out that some are still in existence in the United States: there is hear the music one in the whaling museum iu New Bed- ford, Mass.: one in Barnard College, New York; and one in the New England Con- servatory of ANA(.) In 1807. fire wiped nut his £- 10,000 busi- not the speaker... ness. Undaunted, he returned to the business world three years later and once again proved his rare commercial talents. John Alden Carpenter (1876- 1951) could not he described as a self -made businessman as were the above composers. A position in his father's mill, railway, an.l shipping supplies Iirin awaited him upon his graduation from Ira/ward. Yet a company cannot prosper indefinitely without competent leadership, and young .Tuba Alien provided that leadership as vice president of George B. l'arpellter & l'o. His business responsibilities .lid not inter- fere with his musical career. : \s he ex- plained it: "The majority of serious composers are forced to seek a living outside of composition. They teaeli. they write, they lecture -each according to his individual skill and opportunity -and 4.0111- JansZen Pose when they can. The composer in business is fundamentally in much the sane case." The case of l'harles Ives (187-1-1954 i, However, is unusual even in the annals of It is interesting to note that women are more Conaposer-businessmcn. Xut only did he sensitive than men to overtones in the higher make his fortune as partner in an insur- ranges. If your present music system includes ance agency. but lie contribute.) an ima- pressive number of advance.) ideas to his a dynamic tweeter, the resultant distortion field, all of which were :elupted by every of these overtones may well be the cause of major insurance company in the land. your wife's complaints about the "shrillness" These included the initiation of training or "loudness" of your music system. schools for insurance agents, the develop - nu.nt of estate planning, and the modern- The fact ization of public relations. that the JansZen lets you hear the The careers t 1,nlly and Palestrina music and not the speaker, eliminating merely demonstrate that some composers exaggerated and distorted highs, selves the can be shrewd in business and finance; problem for the sensitive listener. The key those of Clementi and Ives prove that they to JansZen's achievement is four electrostatic cans be innovators as well. radiators, each of which is a virtual.y massless, stretched diaphragm driven over its entire surface by an electrostatic field. The result is AUDIO ETC completely uncolored sound for the first time in speaker development. speaker system -that is, with all others -the volume will be plenty for all but the superest Iii -fi noise, and so I don't mind recommending the GE Convertible, with the above modest reservations, for all sorts of practical home music listening.

3. AR -2 In August 1955 I wrote, in connection with the then new AR -1 speaker: ^og "A final word, or rather a question: is the AR -1 principle -limp cone and air - spring- applicable to less expensive systems' We'll have to wait for a hypo- Write for literature and the name of your nearest dealer thetical AR-2 to find out. But i can do some speculation, of an elemental sort. PRODUCT OF NESHAMINY ELECTRONIC CORP., NESHAMINY, PA. A speaker system using this principle must have an unusually well built cab- Export Division: 25 Warren Street, N.Y.C. 7. Coble: Simonfrice, N Y. inet. sealed tight. This costs money in ..

AUDIO JULY, 1957 49

www.americanradiohistory.com any size. If you're going to build a quality cabinet you might as well put quality inside it too-so there you are. I per- sonally doubt if the AR principle will be introduced in really low- priced systems, unless a revolutionary cabinet -say of plastic -is invented to go with it." I'd forgot all about this, but one day some months ago I received a small package from Acoustic Research in Cambridge -the AR factory. It was strangely soft and squashy; on opening it, I found a large pile of bread crumbs. In the middle of them was a clipping -the above words, blue -pencilled. The next day I received the AR -2. Credit the bread crumbs to Ed Villchur, AR -1 's designer and AR -2's also. Now I'm a small- speaker man, irrev- ocably. I fell for the RJ, as the first of the breed, and I go for any speaker system that offers an unusually good size -to- quality ratio. The RJ set off a trend that has since spread to large numbers of smallish speaker boxes, but of them all WHAT'S IN AN ENCLOSURE? only a few seem to me to go beyond the good quality obtainable via well- managed In the case of the Tannoy G.R.F. Speaker Designed as a complete system using the bass reflex with a bit of incidental horn over 3o years' experience as pioneers of high exclusive Tannoy expanding source principle, loading. Most of them are very good -as quality reproduction! That's shy this the G.R.F. once again shows that experience are the small speakers inside them -and unique horn type cabinet used with the and unremitting care, backed by the some are boom boxes, pure and simple. latest production methods, have produced "Fifteen" Dual Concentric gives results The RJ went beyond all this and the AR-1 which have caused a sensation on loth a loudspeaker setting a standard sides of the Atlantic. by which others are judged. went further still, for a sound quality that is virtually uncompromised by the small DIMENSIONS: Maximum front to rear 29 Maximum width 38" Overall height 44" size. Now I have nothing against larger sys- LTD TANNOY (AMERICA) tems except my personal inclinations and 18 Pearl Street, New Park ./, N. V., C. S..-1. needs. I freely admit that many of the TANNOY (CANADA) LTD TAMMOY' Larger systems give extraordinary per- ,, 117d/hn . ", t l'xr, "l-., ()warp,. Canada. formance and great satisfaction; but I don't have room for them, in either of my two dwelling places, and I don't want to make room. I haven't a single corner in either living room and the side walls are full of record shelves and book shelves HANDBOOK AT LAST! and what -not. For nie, it's a small speaker of or nothing. And so you can understand The book you have waited No why I bless such as AR -1. Plenty of others °/to for so long - have the same problems. AR -2 is simply a new and less expen- EDGAR M. VILLCHUR'S sive solution of the cost- versus -performance formula for this special type of design. It 's about what I might have HANDBOOK OF guessed, not cheap but a good deal less expensive than the original model. About 45 per cent. It is very nearly the same SOUND REPRODUCTION size -only- about an inch shorter in the long dimension and no smaller in the eee a eaaal SI For over two years, this material ran in con- others. But it weighs less (the cabinetry secutive issues of AUDIO and was followed is not as heavy and the speaker magnet avidly by every reader. Now available in no doubt is also lighter) and it sacrifices revisions, material will be recog- book form, with corrections and minor this an even octave of the very lowest bass. On nized as the basis of a thorough course in sound reproduction. Covers the the is more efficient subject from the elements of sound to individual chapters on each of the other hand, it - 4 5 (lb, important components of a sound reproducing system. Ready for immediate louder, easier to drive -by or delivery, $6.50 postpaid (Foreign, $7.00 postpaid). which makes its usefulness wider. I find the AR -2 remarkably like the Customary discounts to dealers and distributors I; -1 in over -all sound coloration. Its cone t scceter is not the same, but there isn't much difference in sound. (It costs less, RADIO MAGAZINES, INC., Book Division but doesn't prove much.) On direct P. O. Box 629, Mineola, N. Y. that comparison, given a signal with plenty of Please send me copies of Villchur's HANDBOOK OF SOUND bass component in the very bottom, you

REPRODUCTION. I enclose check money order for can tell the difference between the two in $6.50 each. bass response. Most of the time, in ordinary listening, I am not aware of it at all. Name Remember that AR -1 descends so very low that true bass around 16 cycles gets Address through. Chop off an octave and you still City Zone State have a bottom of 32 cycles, which is good for any system-if it is radiated without

50 AUDIO JULY, 1957

www.americanradiohistory.com spurious harmonics-and includes 99 per Wharfedale combo was much the loudest cent of all musical sound. of the three systems, far louder than AR -1 I find AR-2, as with AR -1, remarkably and quite a bit louder than AR -2! AR -1 is FOR LESS HUM PICKUP clean and unobtrusive in its sound, easy already famous as the least efficient I AND DISTORTION ... on the ears for long -period listening, easy speaker system now on the market (effi- also to ignore in favor I of the music itself. ciency lost in favor of quality) -but seems Either speaker has a way of simply fad- to sell, which only goes to show how ing into the surroundings (the size helps) things have changed. AR -2, as mentioned, leaving the music unattached and disem- HYCOR bodied in the room. Excellent illusion! runs about 4 or 5 db louder on the same In my comparison playing I found I input, but still rates fairly low in the usually couldn't remember which was efficiency scale. which, AR -1 or AR -2, after a few minutes. I noted with interest that on my GE I They really do sound alike. Family re- Convertible 20 -watt amplifier the point at VARIABLE semblance. But as a check I also which overloading set in was about the hooked I up an earlier rival, one of the first small same on the volume control for both AR -1 ( FILTER RJ boxes with a Wharfedale eight -inch and AR -2. But the sound volume that I speaker inside. The sound was quite dif- came out was different, and louder for ferent, immediately. I recognized that pe- AR -2. Whether this makes electrical sense culiarly golden, bright sound of the I do not know. Wharfedale treble and I heard the slight I haven't yet compared the AR- 1 -Jans- j hollowness due to inadequate internal Zen combination with AR -2. I removed I padding in this very early RJ production the JansZen tweeter and re -set the AR -1 model. (Never got around to adding more to normal volume on its own tweeter for myself.) The RJ bass was good -but, by the comparison. The important AB test I my ear, not nearly as full nor as low as was obviously between AR -1 and AR -2 on that of the more expensive AR -2. It did their own. Think I'll wait awhile before better when placed horizontally on the going any further -I hear rumors of an I floor, instead of standing up. AR -3 (still in the future quite a ways) The three compared interestingly in ef- and so I'Il await it, for later. ficiency. You'll remember that RJ was Meanwhile I'm genuinely enthusiastic criticized at first as being too bard to about AR -2 and recommend it highly to drive, and much time was spent working those who want lots of bass and lots of 1 out a production compromise that allowed quality in a really small space -but who I more sound to get through. Well, the RJ- can't afford AR -l.

LOUDSPEAKER ENCLOSURE

(from page 16) I slit. This defect is easily overcome by posts E and the front panel B. Strips applying some bass boost in the ampli- placed on the panels at irregular inter- I fier. vals and in random directions serve for I Full constructional data of a free- bracing purposes. Needless to say that standing model of the enclosure is given all joints are glued and screwed in such I in Fig. 12. With a few modifications the a way that no heads of screws are visi- I enclosure can easily be converted into a ble from the outside. After addition of I corner model. The construction is in- the vertical posts E the enclosure is I tended for use of a 12 -inch bass -range erected by mounting the front and back- loudspeaker. Bebore ordering wood be side panels provisionally, that is, by I i sure that the critical dimensions indi- means of screws one size too small. Top cated by the thick arrows in the figure I are sufficient to accomodate the speaker. I Eliminates the need for special We suppose that all panels are pre - precautions against hum pickup I sawed to the correct dimensions and that in circuits having signal levels as low as -40 dbm. Negligible I the vertical posts E are dressed to a 1 intermodulation distortion at levels to dbm. All capac- quarter of a cylinder in a cabinet shop. I up +20 I These vertical posts itors and inductors hermetically are used to allow sealed for lifetime service. Aging I the front panel to be shifted a few inches I effects are negligible. Requires backward. As shown in Fig. 13, the I only 3l" rack space. I space thus created between the posts Write for Bulletin S -1 for complete I information on the HYCOR I accommodate a wooden frame Ç that Variable Filter. Bulletin E de- bears the decorative grille used to hide I scribes HYCOR Program Equal- I the loudspeaker from view. I izer, developed for utmost versa- In this way tility in the compensation of an excellent external appearance can be I sound recording and broadcast I attained even by channels. the unskilled home 1 worker. The limited space does not permit us to describe the construction in all AMI details. We will confine ourselves to a few general remarks. See Fig. 14. Before assembling the parts, the side %110 panels A are provided with 1" x 1" INTERNATIONAL RESISTANCE CO. strips along the edges, and with strips C HYCOR DIVISION and D along the front -side edges. The Fig. 14. Exploded view of aperiodic en- 12i70 Bradley Ave., Sylmar, California latter strips are used to bear the vertical closure.

AUDIO JULY, 1957 51

www.americanradiohistory.com and bottom edges are checked to be exactly level and the corresponding panels are brought into place. All joints are again glued and screwed. After drying overnight the front and backside panels (which have been fastened by screws only) are removed to permit completing the front panel. Two wooden elampsF are used to house the perforated metal plate which hears the main resistive member. The terminal wires of the loudspeaker are led out of the cage through holes in these clamps so that they cannot touch hard surfaces when vibrating. Are you Boom Conscious ?.. . The clamps are provided with rubber strips along their protruding edges in Most people know by this time that many, expensive advertising and high -pressure sales order to prevent vibrations of the metal if not most, loudspeaker enclosures . re- promotion. gardless of size or price boom. Boom is And so it goes, even though, actually, no plate. A two -inch layer of plastic foam that dull, heavy, toneless thud often heard at one ever heard boom from a live orchestra. low frequencies. Boom is also called "one -note And since a live orchestra is not a boom -box, is tightly sewn to the plate before the bass" or "juke box bass." It is an inherent why should anyone want a boom -box in his latter is secured to the clamps. A similar characteristic of so- called "resonant" enclo- home? Fortunately, no one has to buy a boom - sures. Boom is nothing but distortion, and any box. plate of perforated metal is fitted over speaker system that booms is not high fidelity. To those who want live -music facsimile in- Notwithstanding this, and believe it or not, stead of boom, competent sound engineers un- the front side of the slit. For the first there are still people who will spend hundreds, equivocally recommend THE BRADFORD test run this is not equipped with damp- and even thousands, of dollars for prime ampli- PERFECT BAFFLE. IT DOES NOT BOOM fier, tunen etc., and then go out and buy a EVER. The result is clean, true bass. ing material. boom -box. ivhy? This is accomplished by a new, patented device The enclosure is now assembled and A noted psychiatrist undertook to find the based upon a scientific principle. It is not a answer. He found that (I) some people mistake bass -reflex or folded horn. tested by feeding it with pure tones. The mere loudness (so- called "augmented" bass) Moreover, it satisfies every other criteria of for true bass; (2) others are unable to tell the the discriminating audiophile: Compactness; voice -coil impedance can be determined difference between true bass and boom; (3) 12" x 12" x 9" for 8s and 10s; 17" x 17" x 14^ from the voltage across it when the loud- some think boom is bass; (4) others than for 12s and 15s. Finest Construction and Finish; boom is bass because it comes from large Ile ", genuine mahogany, korina blond, walnut speaker is fed by a nearly constant and /or expensive enclosures; (5) others bave and ebony vencen; and unfinished birch. Econ- fixation for expiring myths, such as, "the omy; from $34.50 to $6930. current. The test run reveals the usual bigger the box the better the sound "; (6) If you are boom conscious, want live -music two resonances of which the upper one some innately resist progress and never seem facsimile instead of those dull, heavy, toaefest able to adjust themselves to better things u thuds, hie to your dealer or write for litera- appears to he heavily damped. Now the they come along; (7) others are impressed by ture. thickness of the absorbing material on BRADFORD & COMPANY, 27 East 38th Street, New York 16, N. Y. the perforated plate is increased until the resonance has about disappeared. The lower resonance as well as the minimum in the impedance curve are still clearly visible (and audible). For arriving at the proper thickness of the material to be placed over the slit. it is TAPE RECORDERS TAPE necessary to install the wooden frame AND RECORDERS hearing the decorative grille. This can TAPE RECORDING AND be screwed on the front panel just by removing the back side panel and screw- .R TAPE RECORDING ing from the inside. The layer has to he ' about 1/4 in. thick. When the adjustment has been completed, the upper resonance By has completely disappeared. the lower yy)) -- one being still noticeable on measuring, C'IC/!.'r Harold D. Weiler but sufficiently damped by the audio Author of amplifier. All -,rltw -. especially those of "High Fidelity Simplified" the loudspeaker. :n'e 'IIse snore tightly WEILER ar.a

The first complete book for the home recordist. Tells why, how, 5 .I and what in easily understood language -not too technical, yet technically accurate. Covers sound, room acoustics, microphones, microphone techniques, editing and splicing, sound

effects and how to make them, maintenance, and adding sound 0.56 mH to slides and home movies. miDDLE Iii 4.5 ,,H l in RADIO MAGAZINES, INC., Book Division P. O. Box 629, Mineola, N. Y. s.5mH Please send me copies of Weiler's TAPE RECORDERS AND TAPE RE- Board cover, $3.95. CORDING. I enclose check money order . paper cover, $2.95. Name IIII Address

City Zone State Fig. 15. Three -way cresscver network.

52 AUDIO JULY, 1957

www.americanradiohistory.com secured and the enclosure is lined by 1 ill. felt. The front and back panels are at now mounted by large screws. A sturdy plug, fitted in such a way that no leak- LEONARD RADIO.... age of air can occur, serves as electrical For the most connection. Before concluding, a few additional Versatile remarks. Since this system has been pro- Home & Industrial vided with a decorative grille, it is not Tape Recording very suitable for all -range rise. It is preferably used as the bass section of a Applications multi -channel system. In this connection it is not superfluous to mention that the efficiency of the bass section has been reduced by the applied dumpings so that introduction of attenuator pads in the other channels is necessary. Figure 15 depicts a three -way system with crossover frequencies of 400 and 3000 cps. The attenuators shown are capable of some 10 db of drooping thereby providing a nearly constant impedance. In the author's system the midrange speaker and the tweeter (direct radiators) are housed in small cabinets of which the rear sides are replaced by one - inch layers of plastic foam. This permits the loudspeaker to be oriented in such a TANDBERG way as to improve the diffusion of sound without causing trouble by back- featuring THE SCANDINAVIA STYLED ward radiation. 8 hours play on The enclosure's dimensions given ap- a 7" reel ply to use of a 12 in. woofer. For larger Tandbeig sizes all dimensions can be increased in Tandberg alone gives you the pleasure the same proportion as the cone diame- of correct speed selection for varied programs. ter. The interior volume is not. at all Recording live music at 71/2 A tape recorder of IPS the Tandberg registers the full critical so that a somewhat smaller in- distinctive design sound spectrum audible to the human crease may he ,11 ieicnt. ear. Designed and built in accordance Foolproof operation permits changing with the most advanced European from fast forward to fast rewind in- Techniques 3 -speed Engineering ... stantaneously without tearing or even (17/e, 335, 71/2 ips) half track tape RC CROSSOVER stretching 1/2 mil tapes. recorder and playback unit- custom- crafted with a care that makes each ( from page 191 Available in 2 or 3 speed models with one a perfectly produced image of or without provision for foot control. the other. Response referred to half -power point as crossover: Model 2 .... 2 speed .... $249.50 Model 2F . 2 spd, ft. control $299.50 db = 10 logo +.98yí +.02111] Model 3 A tape recorder of [2 (5) .... 3 speed .... $299.50 Model 3F . 3 spd, ft. control $349.50 incomparable performance Two-stage non-interacting network: Complete specifications on request. Frequency response from 30 to 18,000 A= 1- x' +jex (6) On demonstration at our studio. cps at 71/2 ips; from 30 to 10,000 cps 2x at 334 ips; from 50 to 6,500 cps at Pe =tan-' (7) ips. Flutter and wow below 0.1% at 1- x° TANDBERG HI -FI 71 ips and low enough at IN ips to CORNER SPEAKER be inaudible on piano recordings. db =w log,. [1 +2x' +x'1 (8) Signal- to-noise ratio 60 db at high Loss at half The TANDBERG Corner Speaker is ultimate phase shift, 90 °, only 29.4 in. recording levels. x =1: high, 20.9 in. wide and 9.6 in. deep. The Wide Frequency db = 10 log,. 1 = 6.021 db (8a) Range from 60 to 16,000 cycles is A tape recorder of Ilalf -power point given by provided by its combination of 8" superior value speaker and a tweeter cone, both 1 +2xt +x1 =2; x =.643 (9) driven from the same coil. The cone is It comes complete with fine luggage so designed with a metal diffusion grill Phase at half -power case, balanced playback amplifier, point: that the high frequencies are dis- high fidelity Goodmans speaker, qual- 1.286 tributed over a wide angle. An excel- ity crystal microphone, heavy -duty 0= tag, (7a) lent choice for industrial, school and .586 -6,.5° input-output cord and 1,200 ft. reel home applications where space is at a of tape for only $299.50. Response referred to half -power point as premium and tastes in musical and crossover: sound reproduction runs high. Ask your dealer for a demonstration or write for lull information to: db = 10 log,. [1 +.828yí +.17111'1 (10) Model 16SBK $66.50 Three -stage networks, using identical Complete specifications on request. On demonstration at our studio. components in cascade: Mail orders filled. 25% deposit, balance C.O.D. _t =1 -5xí +,Í6x -jx' (11) 6x -z' 10 E. 52nd St., New York 22, N. Y. =tan' EONARD RADIO,orac. 1 5x° (12) Circle 53A Circle 53B AUDIO JULY, 1957 53

www.americanradiohistory.com db =10 log [ 1 + 26x' + 13x1 + e] (13) Half ultimate phase shift given by (0 = CLASSIFIED 135 °) Rates: 100 per word per Insertion for noncommercial DYNACO 6x -z' advertisements: 25o pm word ta commercial idrer- tan 0 =1 = 1 x =1.077 (12a) tlNmenh. Rotes are net. and no dlscoants will be alleemid. Copy mast be aeeampanlod by remittance In OUTPUT fill, and must reach the New York otlim by the first et date of Iwo. TRANSFORMERS Loss at half ultimate phase shift: the month preceding the tlb = 10 logo 50 =16.99 db. (13a) A great new line of super -fidelity THE AUDIO EXCHANGE has the largest output transformers designed by Half -power point given by David Haller to provide the finest selection of new and fully guaranteed used Catalog of used equipment on quality at moderate cost. These 1 +26x' +13x' +.r' =2; x =.196 (14) equipment. units use advanced pulse tech- request. Audio Exchange, Dept. AE, 159 -19 niques for wide bnndpass, lowest Phase at half -power point: Hillside Ave., Jamaica 32, N. Y. AXtel distortion, and outstanding trap 7 -7577 ; 367 Mamaroneck Ave., White Plains, be sient response. All units can N. Y. WH 8 -3380 operated continuously at double 1.169 =tan-' 55.35° (12b) the nominal power rating. .8075 = HIGH FIDELITY SPEAKERS REPAIRED A -410* IO watts for Amprite Speaker Service net 6V6, 6AQ5. EL -84 SI 4.95 Response referred to half -power point as 70 Vesey St., New York 7, N. Y. BA 7-2580 A -420* 25 watts for KT -66, 807, 5881 $1 9.95 net crossover: LOOKING FOR CLEAN RESPONSE TO A -430* 50 watts for 20 CYCLES? Listen to the radically new 529.95 net db = 10 log. [ / + .982y' + .018y' + .000054y° ] 6550, EL -34, KT -88 Racon "Ill-C" 15" foam suspension speaker. A -440** 100 watts for net (15) Broadway. New 6550, 6CA7 /EL -34 $39.95 Racon Electric Co., Inc., 1261 A -450* 100 watts for York 1. N. Y. pp pay EL -34, 6550, Three-stage networks, non -interacting: KT -88 $39.95 nit 6 Element BROAD-BAND FM ANTENNAS. tapped primaries A= 1- 3x' +j3x -jx' (16) All seamless aluminum. $10.95. ppd. Wholesale tertiary winding for either screens or cathodes Supply Co., Lunenburg 10, Mass. 3x -z' These transformers are available 0= tan-'1 Long playing records 20 to 50% discounts; parts (17) nationally through leading -3x' brand new factory fresh ; unplayed : all distributors and audio Jobbers. If Dis- supply we labels. Send 20f for catalog to Record your dealer cannot you, db = 10 log,o [ 1 + 3x' + 3x' + ze ] (18) 4, Texas. will be pleased to turn your order count Club, 1108 \\'inbern, Houston over to our closest stocking dis- shift given by tributor or to supply you directly. Half ultimate phase ('a= DISCOVER our "SIX UNIQUE SERV- 135 °) ICES" and Rock Bottom Prices on Hi -Fi ; Write for complete data on Stereo. Write The Silver Trumpet, 406A Wal- Otte two 7'ransform rrx 3x -z' 1 x (17a) nut, Alexandria, Indiana. tan 0= 1_8x,= =1 DYNA Want Klipschorn. Reasonable. Mr. Lee. 95 COMPANY N. Y. PO 7 -4422. 617 N. 41st St., Phila. 4, Pa. Loss at half ultimate phase shift: Reid. Port Washington. db =10 log. 8 =9.03 db. (18a) DISGUSTED of "Hl" HI -Ft Prices? Un- usual savings on all your high fidelity require- Half -power point given by ments. Write Now. Key Electronics Co.. 120 Circle 54A Liberty St.. New York 6, N. Y. 1 +3x' +3x' +x' =2 x =.51 (19) WILL BUY : Thesaurus and E.R.P.I. Trans- Phase at half -power point: criptions by Xavier Cugat's Orchestra. Also Concert, Latin American. Spanish. and Dance =tan' 625= 81.05° (17b) Band Music prior 1946, Transcriptions only. SELL or TRADE: Dance, Concert, Novelty, Response referred to half -power point as Transcriptions. Sam Kiamie, 930 Grant Ave., New York. crossover: Pelham Manor, sand - ALLIED'S db =10 log. [I + .78y' + .2025y, + .0175ye] FOR SALE : TANNOY 15_2 cubic ft. (20) loaded infinite baffle. beautifully finished wal- OWN nut, $195..1. Albert, 135-3 :3 2:3rá St.. Queens, SENSATIONAL Knight -kit Four -stage networks, using identical com- N. Y. LA 5 -8065. HI -FI FM TUNER KIT ponents in cascade: Y -751 With Deluxe Custom Cabinet A =1- 15x' +x' +j10x -j7x' (21) AFC &Flywheel Tuning Control EMPLOYMENT $3775 Printed Circuit-Easy 10x -7x' to Build =tan'' (2 True Hi -Fi Response for Less 1- 15x' + x' ") The beet -looking, best-performing tuner kit ELECTRONIC your money can buy. Covers 88 to 108 mc; db= 10log,0[1 +70x' +87x' +19x'+ x'] features AFC; pre-adjusted RF coils, prealigned (23) ENGINEERS IF'e; cascode broadband RF amplifier; drift- compensated oscillator; lighted pointer. Sensi- 180 °, tivity better than 10 microvolts for 20 db of Loss at half ultimate phase shift, LIVE IN THE MIDWEST quieting across entire band. Ideal for use with z' =10/7, Knight -Kit 20 -Watt amplifier or any amplifier Enjoy the advantages of a smaller with phono -tuner switch. Complete -eosv h. db = 10 log,,, 338.4 = 23.78 db. (23a) build. Shpg. wt., 12 lbs. t midwest city. Give your family a break. Motto) Y -751. Net F.O.B. Chicago, only á37.7S Half -power point given by Get away from the traffic and rush. Out- FREE SUPPLEMENT 1 +70x' +87x' +19xe +x' =2; x =.1182 standing school system. Send for ill Lists all the low -cost (34) Challenging opportunities in design Knight -Kits, plus top values in Phase at half -power point: and development work in Audio, TV or Hi -Fi, Recording, P.A., Amateur High Frequency, AM Broadcast Trans- and Electronic equipment. = (22a) 0= tan' 1.482 56° mitters, and Communications. FREE -WRITE TODAY! Response referred to half -power point as Advancement. Complete benefits. Send ALLIED RADIO crossover: details and photo to Personnel Director. ALLIED RADIO, Dept. 017 -C7 db = 10 logo [ 1 + .98y' + .017y' + .000052y + (25) GATES RADIO COMPANY 100 N. Western Ave., Chicago 80, III. .0000000386y'] Illinois O Send Tuner Kit No. Y -751 $ Quincy, enclosed Four -stage networks, non -interacting: Several years' experi- O Send FREE Supplement No. 165 Audio Engineer: l = 1- 6x' +x' +j4x -j4z' (26) ence with lending American recording company in Europe, (Mono -Stereo). Four lan- Name 4x(1 -e) import problems, 4.= tan (27) guages. experiences in export- '1- 6z< +x' artist liaison, currency exchanges, office man- LAddreaa J agement. purchasing, etc. Desires change of +6x' +4x° +xe] (28) position in Europe. Box 701. AUDIO. Circle 548 db =10 log. [1 +4x' AUDIO JULY, 1957 54

www.americanradiohistory.com PROFESSIONAL Loss at half ultimate phase shift, 180`, z =1. ASTOUNDING PERFORMANCE IIIItECTIIItI" db .10 log,. 16 = 12.04 db. (818a) FROM Half -power point given by 20 to 20,000 CYCLES 1 +4xr +6x4 +4x° +x° -2, x =.4,15 (2aÌ ee«tlrrueualy Sarcc /944 - WITH Phase at half -power points: =tan' - U./r94° (27a) GOODMAN S HOLLYWOOD ELECTRONICS 101 DISTRIBUTORS Response referred to half -power point as OF HI-FI COMPONENTS crossover: db = 10 log,,, [1 +.756y' +.143y1 +.027y °+ AXIOM 80 .00128y 1] (30) free suspension 7450 Melrose re -Lo. Angeles 46,Colii WEbs,er 3-8208 Circle 55B LOUDSPEAKERS NEW LITERATURE and ARU CANADA British Industries Corporation, High Fidelity Equipment Port friction Washington, N. Y., illustrates and de- loaded Complete Lines Complete Service scribes its entire line of audio products in a handsome new pocket -size booklet ENCLOSURES Hi -Fi Records - Components prepared for and Accessories distribution to jobbers and dealers. Entitled "Your B.I.C. Line," the publication is complete In every respect, gLECTRO-UO10E including full specifications and prices of all items. It will be of distinct value to SOUND SYSTEMS all companies engaged in retail selling 141 DUNGAS ST. WEST. TORONTO, CANADA. of high fidelity equipment. G -9

Circle 55C 7Einnesota Mining & Manufacturing Co., St. Paul 6, AI inn., prrfin'Ins a great s,re- ice to tape recordists, manufacturers of recorders, as well as to contemporary -Fi manufacturers of magnetic tape, with the the finest in Hi publication of Sound Talk Bulletin No. 34, a treatise titled "Various Aspects of featuring g y07Cta, 'Tape Noise'," by R. A. Von Behren, research and development manager of 35I's HIGH FIDELITY COMPONENTS Magnetic Products Division. Although it covers a subject which is fairly technical in nature this paper is couched in prac- SOUND tical terms, which makes it entirely un- l C O R P . R n r i O, derstandable to the informed amateur as well as to the advanced scientist. This 820 M. Olympic ehe. L.A. 15, Calif 8l 7 0271 is an excellent monograph which should be in the hands of everyone with a serious interest in tape recording. Circle 55D G -10 General Electric Company, Schenec- tady, N.Y., describes its micro -miniature Tantalytic capacitors for low -voltage d.c. HIGH -FIDELITY HOUSE applications where large capacitance Most complete stock of Audio values are required in small space, in a new technical bulletin which has just components in the West been released. Included in the publication are ratings and dimensions. Requests Phone: RYon 1 -8171 for copy should specify Bulletin GEA- 536 S. Fair Oaks. Pasadena 1, Calif. 6065C. G -11 Chcic 55E Argos Prodncta Company, 310 Main St., Genoa, Ill., announces a new catalog containing its complete line of speaker cabin - etry. Heading the listings is the "Cali- fornian" speaker enclosure which was engineered acoustically by Jensen and antenna systems styled by Argus. Other listings include two series of compact corner baffles which 818A gal, ersadnans Yag: ter ow. sensitivity to Mtn are described as excellent for extension 72 and 300 Ms Input. Designed ter trines FY. speakers in hi -fi systems. G -12 APPARATUS DEVELOPMENT CO. Dept. C Wethersfield 9, C ticut Crest Transformer Corp., 1834 W. North Ave., Chicago, Ill., has available a 4 -page Circle 55F catalog listing of transistor transformers which are carried as stock items. Produced ROCKBAR CORPORATION Dept. A07 in two core sizes, the Crest transformers 650 Halstead Avenue, Mamaroneck, N.Y. fall into categories which will find almost In Canada: A. C. Simmonds and Sons, Ltd. IF YOU ARE MOVING universal application in laboratories, on production lines, and with amateurs and Toronto, Ontario Please notify our Circulation Department experimenters. Copy will be mailed free on at least 5 weeks in advance. The Post request. G -13 Office does not forward magazines sent Please send me complete details on to wrong destinations unless you pay ad- General Transistor Corporation, 01 -27 Goodmans Axiom 80 speakers and 138th ditional postage, and we can NOT dupli- Place, Jamaica 35, N. Y., is distrib- ARU Enclosure Kits. uting a new cate copies sent to you once. To save wall chart which shows applications, maximum ratings, and typical yourself, us, and the Post Office a head- characteristics at 25 deg. C. of 56 types of Name ache, won't you please cooperate? When germanium junction alloyed transistors. notifying us, please give your old address The chart also contains a handy inter- Address and your new address. changeability table, outlines of five differ- Circulation ent transistor Cases, diagrams of various Department circuits and standard City Zone State RADIO MAGAZINES, IRE symbols and INC. definitions. Users of transistors may ob- P. O. Box 629, Mineola, N. Y. tain a copy of the comprehensive chart free by writing in care of the Promotion Department. G -14 Circle 55A AUDIO JULY, 1957 55

www.americanradiohistory.com SAVE 1/a - PAY PART -BY -PART - HAVE FUN Assembling the SCHOBER ELECTRONIC ORGAN in KIT form ADVERTISING INDEX

NO SPECIAL SKILLS Acoustic Research. Inc. 38, 39 NEEDED Allied Radio Corporation 54 Altec Lansing Corporation 35, 43 AMI Incorporated 27 Man- Apparatus Development Company 55 Now you can afford a real, fu I concert organ, just Audak Company 36 9 like those made by the foremost organ manufac- 41 turers. Because over I/5 the cost is saved when you Audio Fidelity Inc. 31, assemble it yourself. And it's REALLY EASY: only Audiogersh Corporation Cov. IV 24 separate units, all with printed circuits, and 12 detailed- to- thesmallest -step instructions. In addi- 14,44, tion, you purchase each of the 24 kits when you are Barker Sales Company 44 ready for it and can afford it. - Belden Manufacturing Company - 9 You'll get a real kick out of putting the Schober Bell Telephone Laboratories I - Electronic Organ' together - and then sitting down GIBSON GIRL® TAPE SPLICERS and the 28. 29 pulling stops for Strings. Trumpets, Clar- Bogen, David Company, Inc. I. Pro SP.4 3.50 inets, Diapasons, Flutes, Semi f etc. Electronic Percussion Bradford G Company 52 2. Junior TS.4JR 4.50 optional; chimes available. British Industries Corporation .. facing p. I 1. Standard TS -457D 1.50 Compact CONSOLE 4. De lune TS -4DLX 11.50 5. Industrial (5 sixes to I ") (net) 55.00 many features One of the exclusive of this excep- Classified 54 ROBINS PHONO AND TAPE ACCESSORIES tional organ is the handsome console, in a wide 4. Splicing tape ST -500 f .39 variety of finishes. It is equally at home in a tradi- 7. Jockey Cloth for Tapes JCT -2 1.00 tional or modern setting, and takes little more space B. Tape Threader TT -I 98 than a spinet piano. Dyna Company 54 9, AUD- OFILE AF -50 (net) 23.99 10. Changer Covers CC -I. 2 2.00 ll. Turntable Covers CC -3 2.50 45 12. DisClosures E10. 12 (pkg) 1.20 Complete descriptive booklet and price list are EICO 13. Jockey Cloth for Records JC -I 1.00 available on request. And, if you wish to hear the Electro -Sonic Laboratories, Inc. 34 14. KleeNeeDLE. NB -I 1.50 glorious pipe organ tone of the Schober Electronic Electro -Voice Sound Systems 55 15. Phono Cushion, 10 ", 12" PC 10, 12 1.50 a long-playing recording is Organ, 10" demonstration Atomic Jewel 5E-90 5.00 for when you Ercona Corporation 56 I. available $2. This is refundable order. Dealers Everywhere Write today and see what a fine instrument you can At get at such a great saving. ROBINS INDUSTRIES CORP. The SCHOBER ORGAN CORP. Fisher Radio Corporation 37 Fukuin Electric (Pioneer) 2 2248-K Broadway, New York 24, N. Y. 'Designed by Richard H. Dort Industries, Ltd. 55 CIRCLE 56C CIRCLE 56A Goodmans - Harvey Radio Company, Inc. 47 Heath Co. 7, 8, 9 startling silence House 55 High Fidelity NOW Hollywood Electronics 55 a 60 WATT high fidelity for the perfectionist Hycor Division of International Resistance Company 5 ) Amplifier-Preamplifier Kit eemeeellee complete - on one chassis lansZen Speakers (Neshaminy TURNTABLE Electronic Corp.I 49

Kierulff Sound Corporation 55

Lansing, James B., Sound, Inc. .... Cov. II Leonard Radio, Inc. 53

The hush of an empty church, even though Magnecord Division, Midwestern the synchronous motor is running - this is Instruments. Inc. 3 the Connoisseur, crafted in traditional English quality. Precision machining assures Model 19K . for only $79.95 pure sound reproduction. Non -magnetic, 12" North American Philips Co., Inc. 42 ground spindle; Now for the first time, an integrated lathe- turned table; precision in kit form phosphor bronze turntable bearing; ±2% high -power amplifier package Pickering G Company 11 for the audio perfectionist- complete variation provided for all 3 speeds; hyster- versatile in one com- Pilot Radio Corporation 33 with preamplifier esis motor. 5110.00 pact, high -styled unit-at a budget price! Professional Directory 55 Nothing like it available -regardless of TURNTABLE: Rumble- better than 50 price. Undistorted power output is guar- db down; Wow-less than 0.15% of anteed to be 60 watts at any frequency rated speed; Dimensions: 13 %x15% ". Raton Electric Co., Inc. 32 from 20 to 20,000 cps. Intermodulation is 1% at 60 watts and Rigo Enterprises 6 distortion below PICKUP: Frequency Response - 20- below 0.25% at all ordinary listening Robins Industries Corporation 56 com- 20,000 cps ±2 db at 33%v rpm; Effec- levels. The preamplifier provides tive Mass mg; Impedance -400 pensation for all recording characteristics. -4 is simple and foolproof -no ohms at 1000 cps. Assembly Schober Organ Corporation 56 flimsy, hard -to- solder printed wiring boards! Dimensions: 141/4" wide x I034" "Dynabalanced" tone arm with Mark II Shure Brothers, Inc. 1 deep x 51/4" high, super - lightweight pickup Sonotone Corporation Cov. III tit. w /diamond stylus \' ylosD Model 19K Kit .. Net Price $79.95 ` w /sapphire stylus Tannoy (America) Limited 50 Cabinet 7,50 $34.50 Tandberg 53 At your local hi -fi dealer Write today for literature. Tech -Master Corporation 56 or write: ERCONA CORPORATION Tung -Sol Electric Inc. 4 (Electronic Division) tm A Division of CORPORATION Dent. , New York 17, N. Y. TECH -MASTER 551 Fifth Ave., Bii University Loudspeakers. Inc. 24. 25 KITS In Canada: Astral Electric Co. Ltd. Front St., Brooklyn 1, N. Y. 44 Danforth Road, Toronto 13 CIRCLE 56D CIRCLE 56B AUDIO JULY, 1957 56

www.americanradiohistory.com All new ultra- compact amplifier SONOTON E HFA -150

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No amplifier on the market today can compare with puts have individual pre -set level controls! 15 the all -new Sonotone HFA -150. Full -watt power SEPARATE CONTOUR CONTROL! For the first time -superb sound -plus more new, useful "firsts" than you get new, exclusiV push -pull rumble and noise any other amplifier at any price. filters. Bass, treble and volume controls with a sep- ONLY 3" HIGH -12" WIDE! For the first time, a arate continuous contour control, infinitely variable complete power and control amplifier this compact from fiat to 26 db of contour compensation. ...without an iota of performance being sacrificed to The Sonotone HFA -150 is, unquestionably, the compactness. The ultra -smart cabinet cover is avail- greatest value in fine high fidelity components in able in a choice of colors - another Sonotone first! many years. Make seeing and hearing it a "must "! SIX INPUTS! Now, for the first time, you can buy a quality amplifier in this price range that gives you $7950 Optional cover single switch choice of 6 inputs. Three of these in- ONLY NET $3.50 Net

Write for detailed information without obligation to:

Electronic Applications Division SON OTO N E CORPORATION ELMSFORD, N. Y.

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From start to stop pushbuttons do all the work in this new Miracord XA- 100... the closest approach to full automation in record playing perfection. Performs so Both MIRACORD and MIRAPHON perform all operations at 4 speeds. beautifully you will welcome the MIRACORD into Your Hi -Fi Life! Complete With Plugs and Leads Attached. At All Hi -Fi Dealers Write for Complete Brochure Ready for Operation. $67.50 less cartridge AUDIOGERSH CORPORATION lilit 514 BROADWAY, NEW YORK 12, N. Y. WORTH 6 -0900 In Canada: Atlas Radio Corp., Ltd., Toronto