S311V3 is03 iS030IA

3N111 LB6l VS1105'15 CSES vim

oianv o3ain 1531 11210d321 )iinw

1W aNn aaino Lspivno s

Hamvacisano, SalVS SINVOS 9 [OH MaN &ft. 9NR1301SNO3 -0111011/111S, 11110S SlUtION11.1MOH MOH alnoHs 11 4a.aNnos -qum LW LS313 31110631NOH Are ivaloia aNnowns Id EIOSS3D0 any 00( ONI10e11:1111S S0301A - Arr. iPlt ,igaRik$10,1N- V0,404 &SHIA MOO, .LV s.aaN 300Z-CiAlf r kiOSS33014c1 i .1

IN) L ,714:0 IMO+ - r

-N 19025 PA -ESHERD! DR JEFFREY 3337 C;) HASTINGS P D MR N In YL c0 HIF JEF98 13337 2HST4 OCT90 16 7JEF451 #25333 CO 19025 #131Cninmx>m5-DIPCT NotEvolutionary

The C-90 Pioneer's Revolutionary C -90/M-90Preamp readies you for the video revo- Elite High -Fidelity Components. lution, with six video inputs, a built-in AucLophiles, take note: The preamp and ampli-video enhancer, and two -buss switching fier you've been waiting for are finally here. (separate"Record" and"View" selectors). The IntrodLcing the Pioneer Elite Hi-Fi C -9C C -90's unique system remote -control unit Preamp and M-90 Power Amplifier. Together, features volume adjustment, input source they combine the finest in both audio and selection, and control of audio and video video to retrieve every detail and nuance foundinput devices such as Pioneer's"SK compat- in in. cher:shed records, tapes, compact discs.ible VCRs, CDs, LaserVision players and LaserVision' discs and other software. Imaginecassette decks. a so-andstage spread throughout your entire The M-90 is a superb high -power stereo liste:-.ing room! Stunning, transparent, three- amplifier, utilizing dual -mono construction. dimensional music, the likes of which you've It is conservatively rated at 200 W/CH into never heard, aoart from a live performance. 8 ohms' and delivers 800 W/CH of dynamic We pak fantastic attention to detail to gainpower at 2 ohms? The wide dynamic range of this level of musical truth. One example: the digital sources can now be reproduced effort- C-9:: volume control is a motorized, high pre- lessly, with any loudspeakers. The M -90's high cisicn rotary potentiometer. This permitted current capacity of 47 amps can handle the us to create tie world's first high -end preamp challenge of the most complex speaker loads. with a no -compromise handheldaSRTM To further enhance S/N ratio and channel remote -control unit. separation, relay -operated electronic switches The C -9C features three separate power and a long shaft volume control keep the length transformers-two to power left and right of signal paths down to a minimum. Why in- audio channels for vanishingly low crosstalk, clude a high quality volume control on a power and a third transformer to drive the preamp's amp? Simple. To pursue the straight -wire - unique video capabilities, relays, display and with -gain philosophy when using a CD player microprocessor. All switching functions are connected directly. Pure sound, redefined. accomplished by electronic relays. Thus the The exquisite finish of the M-90 and C-90 signal paths are as short as possible, improving reflects their quality. Elegant rosewood side signal-to-noise ratio and channel separation. panels and front panels with a deep hand- Anti -vibration measures taken to further the brushed lacquer finish emphasize the care of C -90's sonic excellence include a solid alumi- craftsmanship we've lavished on these two num volume control knob, polycarbonate components. The Pioneer C-90 Preamp and chassis feet, and rubber -cradled PC boards. M-90 Power Amp. Evolutionary? Hardly. Soft oopper-plztecl screws insure a snug fit Revolutionary? Most definitely. of drssis, transformers, transistors, and help For your nearest Pioneer Elite Hi-Fi to dampen vibration. dealer, phone 1-800-421-1404. ©1986 Pionee- Electronics (USA) Inc., Long Beach, CA !Based 3n FTC rules reprding measurement of amplifier power ratings. =Measured *-3). EIA method. (y) PIONEER" CAI C H THE SPIRIT OF A TRUE PIONEER. Theone and only now offers you

the one -of-a -kind 10 disc changer

0 0 00 00 /6.1, lak SIAllf f LE 1111411

01131114IL veructxra man co wAren

and the only carousel 5 disc changer.

Sony's two new Disdockey CD changers selection. Then there's give you twice as much to choose from. the affordable CDP-05E There are no two ways about it. Only Its unique carousel Sony offers the incredible sound of compact design gives you over disc with the convenience of either a five or five hours of music, with ten disc changer. 32 -track programming, Consider the CDP-C10. It lets you sit back four repeat modes and and listen for over ten hours. And since it's the the fastest access time of only changer with a magazine compatible with any changer anywhere. the Sony Car Disdockey; Both changers feature remote control and you can get even greater renowned Sony technology like the Unilinear mileage from your CD Converter/digital filter and aspheric lens laser music library. optics for superior CD player performance. Speaking of high So remember, only Sony offers a choice of performance, the CDP- changers that play for five or ten hours. But C10 offers advanced pro- you'll hear how good they sound in seconds. gramming, shuffle play and direct disc and track Disc.Jockey: S ONY THE LEADER IN DIGITAL AUDIO'"

, 1987 Sony Corporation of America. Sony, Disclockey and The Leader In Digital Audio are trademarks of Sony. VOL. 57NO.6 JUNE: 1987

HIGHF IDEL I "I V

Test Reports 24ADS L-990 loudspeaker 27Siefert Research Magnum III loudspeaker 28Bose AM -5 three-piece speaker system 30Paradigm !Ise loudspeaker 35DCM I rame TF-250 loudspeaker 363D Acoustics Cube loudspeaker COVER DESIGN: 37NEC AVD-700E surround -sound processor ROBERT V. DELEVANTE, JR.. AND MICHAEL O. DELEVANTE

COVER PHOTOS: NICHOLAS BASAION (EQUIP- Audio & Video MENT); UPI/BETTMANN NEWS - PHOTOS (BEATLES); COURTESY OF 42"I Con Make You an Awesome Deal" TRUSTEES OF PIERPONT MOR- b) Kenneth L. Kantor GAN LIBRARY ("PIRATES- POSTER)

A speaker -shopper's guide to deceptive sales tactics ON THE COVER: 49Surround -Sound Attractions FROM TOP ADS L-990 LOUD- SPEAKER; BOSE AM -5 THREE-PIECE b) Robert B. Schulein SPEAKER SYSTEM; NEC AVD-700F Distinguishing good surround -sound from the so-so and SURROUND -SOUND PROCESSOR the downright bad

Music CLASSICAL 56 Very Model Records of the Major Gilbert & Sullivan by Paul Kresh The early electric D'Oyly Cartes are reissued. POPULAR/BACKMEAT 70 Ono, Two, Three, Feud by Richard C. Walls, Jim Bessman, Jeff Nesin, Mark Moses, Ken Richardson. and David Browne The Beatles on Compact Disc and videocassette

Departments 4Front LinesCopy -coding misconceptions S Letters 13Currents Yamaha makes more than a bit of a Mem Now (ISSN 00IS-145S) n pub- difference; First VHS Hi-Fi camcorder lohed monthly at 825 Seventh AveNew Sod. N '110019, by ABC Gossamer Mag 19Scan LinesRescuing Beta and the videodisc angles, Inc, a &moon of ABC Pubhshmg. Inc. and a subsidiary of Arnericon Brood - 54 Medley A call -to -arms for human drummers; casting Comecon*, Inc © 1987 by ABC RCA Red Seal revival Consumer Magazines, Inc The des,gn ond contents ere lolly Pro'ected by cOPYnghr 59 The CD Spread Symphonies by Mozart, Shostakovich, and must not be reproctocdany manse, Second-class postage paid at New York. and Sibelius; Guitar recital from Prevost New York, and at odd,' onal modmg offices 61Classical ReviewsBrendel plays Haydn; Solti Authoozed os second -clots mad by the Post Office Deportment. 0-tawo. and for pay conducts Verdi; Tchaikovsky from Karajan and Maazel meet of postage ,n cosh Yearly svbscr,phon ,n the U.S A. ond Possens,ons $13 95, else. 80Advertising index and Reader -Action Page where $20.95.Single cope, 12 50 (Cono. do 53 501 Subscribers. Send subscnat,ons. ,nosnries, and oddness changes to HIGH 1,0;;,?, P O. Box 10750. Des Moines. Iowa 50340 Change of address Give old and new oddtesses. mcludmq ZIP codes Enclose Iddress label Iron, Hs. t,.e and allow Iwo

forchonge ..-ome elfectwe POSTMASTER: Send change of Warble to HIGH ROOM, P.O. Box 10751, Des Moines. IA 50340. FRONT LINE Ft

Publisher/Editorial Director William Tynan

Editor COPY -CODING MISCONCEPTIONS Mu had Riggs Art Director "I. had O. )

ARI WRITE 1 HIS CULL MN, OUR TECHNICAL EDITOR, DAVID Managing Editor anada, is in Washington, D.C., attending a joint hearing k.ohlt (.11.,11 Associate Editor before subcommittees of the House and Senate Judiciary Wilted Lima, ho Committees. The subject is legislation that would require Copy Editor inclusion of CBS's copy -guard circuitry in any digital audio Stephen Calvert Assistant Copy Editor tape deck sold in this country, to prevent dubbing of appro- Lehr litlhg priately encoded commercial recordings. We've been dis- Assistant Managing Editor B Y cussing this legislation for the last couple of issues (April Jonathan I(...al Assistant Managing Editor/Special Projects "Currents" and April and May "Front Lines"), and the 'Nighredo G.Fri-regal M I C H A EL copy -coding system itself is explained in our April 1986 Assistant to the Publisher "Currents" column. ITarleen D Edwards RIGGS Reader response indicates that there is some confusion TECHNICAL DEPARTMENT Technical Editor about the nature of the proposed copy -code system. The Das id Ranaili most serious misconception is that the system is digital in Assistant Technical Editor nature and therefore applicable only to CD and DAT. In Chi wapher Consulting Technical Editors fact, it is entirely analog. Any audio signal can be encoded, Edward jFoster, Robert long and any tape deck (including ordinary analog cassette Contributing Editors decks) can be fitted with copy -guard circuits that will tarn sleet. 1.11 (I.. lot pre- Assistant vent it from recording encoded material. In other words, if lodulf \n hot. the legislation that would require copy -code circuitry in MUSIC DEPARTMENT DAT machines is passed, you can expect record companies Classical Music Editor to start encoding LPs, CDs, prerecorded cassettes-the I heodore latairs . Jt. Popular Music Editor whole works. And I think that we will see them back in Con- Ru gress next year, asking not only that the restriction on DAT Contributing Editors Robert E. BellS1,11. I eslic Berman. Pamela Bloom, decks be continued, but also that it be extended to analog R. D. Darrell, Francis Das is, ResThomas I.. Dixon, Thor Eckert, r., Steve Futterman, Edward Greenfield, recorders (perhaps even VCRs), requiring that they, too, be Thomas Hathaway. Paul Hume. Joyce Millman. fitted with copy -code circuits. DAT is serving as their Tro- Paul Moor, ohn Morthland, Jeff Nesin, Robert R. Reilly. Thomas W. Russell 111, Terry Teachout, jan horse. Noah Andrc, Trudeau, Michael Ullman. The other big misconception I find is that copy -coding Richard C. Walls, James Wierzbicki Assistant won't matter to people who don't tape. Unfortunately, it Min nuke, -Dumont will. There are indications that on some music the encod- ART DEPARTMENT ing-a sharp notch at about 4 kHz-is clearly and unpleas- Design Consultant antly audible. (CBS has so far refused to release certain key Robet Delt,inte. Jr. Assistant Art Director information on the design of the encoding filter, hampering Susan /.r pin our ability to draw firm conclusions.) We are working now Technical Art to determine just how severe this problem is, but any such Ros 111(1,1,111 mutilation of recorded music is a blow against all that we've PRODUCTION DEPARTMENT stood for in the 36 years ofHIGHFIDELrrY's existence. Director of Production Ang'1"1"c" Again, we urge that you write your Senators and Con- Advertising Production Manager gressmen without delay to oppose passage of copy -coding Janet Cur mak Typesetting Systems Manager legislation. (The relevant bills are, in the House, HR -1384, \hawk Enka. HR -1155, and HR -3 and, in the Senate, S-506, S-490, and CIRCULATION DEPARTMENT S-635.) The future of high -quality music reproduction Vice -President, Newsstand Sales/Consumer Magazines Dooloin, hangs in the balance. Director, Circulation/Subscriptions lohn Rand National Sales Manager/Newsstand Inn Robins Circulation Subscription Staff Ora Dia( kmon-Delirov if. Charlotte Hart, MAN 'MUTT is published monthly by ABC Consumer Magazines, Inc., a division of ABC Publishing, Inc., anda Andrei jamesi. Smith subsidiary of American Broadcasting Companies, Inc. © 1987 ABC Consumer Magazines, Inc. Member, Audit Customer Service Bureau of Circulations. Indexed in Reader's Guide to Periodical Literature. Current and back copies of HIGH Dr1,111. Randolph FIDELITY ore available on microfilm from University Microfilms, Ann Arbor, Mich. 48106. Microfiche copies (1973 forward; ore available from Bell & Howell Micro Photo Div., Old Mansfield Rd., Wooster, Ohio 44691. ADC CONSUMER MAGAZINES, INC. James A. Casella. President ADVERTISING OffICES Richard j. Marino, Vice -President, Advertising Now Yorks ABC Consumer Magazines, Inc., 825 Seventh Ave., 8th fl., New York, N.Y. 10019. Tel. (212) 265- Lucian A. Parziale. Vice -President, Operations 8360. Peter T. Johnsmeyer, Group Advertising Director; Andrew Eisenberg, Associate Advertising Director; Christopher M. Savinc. Vice -President, Fi James R. McCallum, Record Advertising Manager; Maria Manaseri, Classified Advertising Manager; Angelo Ernest G. ScarEone. Vice -President, Graphics/Production Puled, Director of Production; Janet Cermak, Advertising Production Manager. Miolvirraatt HIGH FIDELITY, 580 WatersEdge, Lombard, III. 60148. Tel. (312) 691-1165/7. Starr lane, Midwest ONE OF THEABC PU3USHINGi^ COMPANIES Advertising Director. Robert (.. Burton, President Los Almelo's ABC Consumer Magazines, Inc., 1888 Century Park East, Suite 920, Los Angeles, Calif. 90067. 1330 Avenue of the Americas, New fork. N.Y. 10019 Tel. (213) 557-7587. Howard Berman, Western Advertising Director. Editorial corrospoadeara should be addressed to The Editor, HIGH FIDELITY, 825 Seventh Ave., New York, N.Y. 10019. Editorial contributions will be welcomed, and payment for articles accepted will be arranged prior to publication. Submissions must be accompanied by return postage and will be handled with reasonable core; however. the publisher assumes no responsibility for return of unsolicited photographs or manuscripts. 3I)A _MOM 111111.1 Magazine it .m.,11.1,011=

E R S

PRO DAT standing in line to buy them, I think how ri- settes, many of which are of such poor quali- I WANT A DAT DECK, BUT NOT TO RECORD MY diculous are the record industry's com- ty that better sound can be obtained by copy- CDs. Who needs Compact Discs? When pre- plaints of losing revenue to home taping. ing a used LP on a $150 tape deck. recorded DAT cassettes become available, The attitude of the record companies (and And I am tired of hearing lip service paid they will definitely be cheaper than CDs. their friends in Washington) is infuriating. I to the idea of "ensuring that the people who Tape duplication technology is mature, yet resent being put in the position of having to make the music get their share" from rec- still improving. Add to that the advantages defend my right to tape. When I record at ord -company executives mainly interested of smaller size, slightly better fidelity, and home, it's almost always to combine previ- in lining their own pockets. One can only the ability to play them in the car, and I can't ously purchased music from various sources hope that equipment manufacturers and find much reason not to go totally DAT in for more convenient listening. Consequent- other supporters of consumer rights will be my library. I'll tape all my LPs and toss them. ly, I find the recent development of technol- able to counter the powerful political pull of Why would someone buy a $20 CD and re- ogy to prevent copying of prerecorded ma- the RIAA (Recording Industry Association cord it on a $4 tape when he could have terial onto tape very disturbing. If the record of America) and prevent a few greedy execu- bought the thing already on tape for $12? companies can get this copy -coding technol- tives from destroying one of America's most As for copy protection, the record com- ogy accepted for DAT, they will next at- popular hobbies. panies must be kidding. No scheme will stop tempt to get it applied to analog audio tape Derma MINK me from copying if I go analog between ma- and probably videotape as well. Orlando, Fla. chines. The loss in fidelity will be minuscule; If the record industry is so concerned certainly the tapes will be good enough for with lost revenues, there are better ways it "I'M A TOUR? SAYS mans PAN my car or my digital Walkman. The record could spend the hundreds of thousands of I'M WRITING THIS LETTER TO WARN YOUR companies should give up this copy -coding dollars it is pouring into Congress to deprive readers not to fall into the trap that I have (if idea and sell prerecorded DAT cassettes. I consumers of their right to tape. The money they haven't already). Like many others, I don't want to pay an extra $8 for a piece of could go toward the construction of domes- have waited four years for the Beatles to be music just because Compact Disc is a more tic CD factories, to catch up with a market issued on Compact Disc. Finally, the first exotic medium. that is growing so fast that there are waiting four titles are released. I plop down my $60 DIN Moodily lists for many discs. (Amazingly, the industry and take them home, thinking I'm going to Berwyn, Pa. seems to be making the same mistake with get great sound. But when I load each one DAT that it committed in the early days of into the player, I find something's missing: Unfortunately, the situation is worse than you sup- CD: dragging its heels instead of gearing up stereo! What a ripoff! Nowhere on the pack- The CBS copy -protection system is analog, not for production.) Or how about spending aging does it say that these CDs are mono; digital. It can be applied to LPs, prerecorded tapes, some money to improve prerecorded cas- (CONTINUED ON PAGE II) radio and television broadcasts, the soundtracks of videotapes-anything. And the chips can be in- stalled in analog tape decks just as easily as in digi- tal ones. In other words, recording through the ana- log inputs of a DAT deck won't get you around the copy -guard. (The DAT standard has always in- 1.BUILT-IN DIGITAL SYNTHESIZED AM/FM STEREO TUNER cluded digital copy protection, to prevent direct, bit - 2.10 STATION PRESETS (5 FM. 5 AM) level dubbing of CDs and other prerecorded digital 3. DOLPWB NR sources, so that's not what's at issue.) Most trou- 4. 3 BAND GRAPHIC EQUALIZER bling, however, is the fact that the CBS system can 5. AUTO -REVERSE degrade the sound quality of the recordings to which 6. UP/DOWN AUTO -SCAN it is applied. That should alarm even nontapers. 7. ANTI -ROLLING MECHANISM Also, your knock on CD seems a little hard. 8 SOFT TOUCH CONTROLS Compact Discs can be played in the car, and their 9 STEREO/MONO SELECTOR fidelity is every bit as good as you'll get from DAT. 10 DETACHABLE BELT CLIP Moreover, it's not clear that prerecorded DATs (if HT STEREO HEADPHONES we get them al all) will necessarily be cheaper than CDs -particularly in the absence of high-speed du- plicators. which may not be available forsome time. CD prices will drop this year, and even blank DAT cassettes will be expensive: in the S10 range.-Ed.

I AM A PERFORMING MUSICIAN AND AN AS YET unpublished songwriter. In addition, I have been a music collector for more than 15 years and have accumulated more than 1,100 LPs, at least 100 prerecorded cas- settes, and a small but rapidly growing num- ber of Compact Discs. I have owned cassette decks since the early Seventies and have spent many hours engaged in the very enjoy- It's got everything. Including digital synthesized tuning with able hobby of home recording. 10 presets. Auto -reverse. Dolby*B noise reduction. An anti -roll mecnanism When I go to a store and see the prices of (so the tape won't shake, rattle or roll). And sound you won't hear records and Compact Discs and the people from some home systems. In Touch with Tomorrow The Toshiba KT -4066. We didn't leave much room for improvement. M Dolby Laos TOSHIBA JUNE I 9 8 7 Toshiba America. 87 Totowa Road, Wayne, NJ 07470 tileO 19147 Biked Busch Cturpuratinn e Blaupunkt nameand dot symbol are registered trademarks of illattpunkt-Werke (;m1sH-Rosch Gump. After the mountains of Europe, the canyons of North America pose noproblem for a Blaupunkt. For a Blaupunkt car stereo, Most car stereo systems do a the radio reception difficulties reasonably good job with two- created by big city buildings are perhaps three-of these factors. no big deal. But due to the persistence of Because ever since the first our engineers-and the dozens of pat- ents we've earned in this area alone-Blaupunkt's CODEM III and ORC II dynamic tun-

B 0 I .30 ing systems do exceptionally BASS TREBLE BAL 1 2 3 4 6 6 PEW < SEEK > 1 1" 1' I II II NI well in all five areas. Which helps explain why Blaupunkt was introduced in 1932,Blaupunkt has earned a reputa- our tuners have had to overcome tion for engineering the world's much bigger obstacles. finest tuners. The Alps. We even take the trouble to The Pyrenees. design our own antennas. The Apennines. Something not one of our These European mountain competitors bothers with. ranges make even the towering So if you're an urban motorist headquarters of modern mega - frustrated by all those buildings corporations appear puny by wreaking havoc with the signals of contrast. all your favorite stations, pay a visit Yet thanks to the ingenuity to your independent Blaupunkt of our 326 car audio engineers in car stereo specialist. (For the one Hildesheim, West Germany, nearest you, please call us at 1-800- Blaupunkt car stereos are superbly237-7999.) equipped to handle even the most What you hear will be music extreme FM reception problems. to your ears. You see, a car stereo's ability Without all the static you've to capture an FM radio signal is been accustomed to. determined by five factors: FM sensitivity. Selectivity. Multi -path BLAUPUNKT distortion. Signal attenuation. Designed for people with ears. And RF intermodulation. And something between them. Matthew Polk's Awesome Sounding SDA-SRS & SDA-SRS 2

SDA SRS S1495 ea.

SDA SRS 2 Digital Disc Ready $995 ea.

Matthew Polk's SDA SRS and SRS 2 have both won the prestigious AudioVideo Grand Prix Speaker of the Year Award. "The Genius of Matthew Polk Has Created Two Awesome Sounding Grand Prix Award Winning SDA SRSs" "Spectacular... it is quite an experience" StereoRet ieu' Magazine

ow the genius of Matthew Polk brings allows you to hear every detail of the original driver vertical line -source topology for greater you the awesome sonic performance ofmusical performance; while their exceptionally clarity, increased coherency, lower distortion, the SDA-SRS in a smaller, more mod- smooth, natural, low distortion reproduction higher power handling, increased dynamic erately priced, but no less extraordinary encourages you to totally indulge and immerse range and more accurate imaging. 2.) a mono- loudspeaker, the SDA-SRS 2. yourself in your favorite recordings for hours coque cabinet with elaborate bracing and MDF on end. baffle for lower cabinet read-out and lower Matthew Polk& own dream Julian Hirsch of Stereo Review summed it up coloration. 3.) progressive variation of the high speakers can now be yours! well in his rave review of the SDA-SRS: "The frequency high-pass circuitry for point -source Matthew Polk'sultimate dream loudspeaker, composite frequency response was exceptional the SDA-SRS, won the prestigious Audio Video ...The SDA system works...The effect can be Grand Prix Speaker of the Year award last year. quite spectacular...We heard the sound to our "Literally a new Stereo Review said "Spectacular... it is quite an sides, a full 90° away from the speakers...As good as the SDA feature is, we were even more dimension in the sound" experience" and also stated that the SRS was Stereo Review Magazine probably the most impressive new speaker at impressed by the overall quality of the Polk the 1985 Consumer Electronics Show. Thou- SDA-SRS....The sound is superbly balanced and sands of man hours and hundreds of thousands totally effortless...Exceptional low bass. We operation and wide vertical dispersion. 4.) the of dollars were spent to produce this ultimate have never measured a low bass distortion leveluse of small active drivers in a full complement loudspeaker for discerning listeners who seek as low as that of the SDA-SRS...lt is quite an sub -bass drive configuration coupled to a large the absolute state-of-the-art in musical and experience! Furthermore, it is not necessary to 15" sub -bass radiator for extraordinarily tight, quick and three-dimensional mid and upper sonic reproduction. play the music loud to enjoy the tactile qualities bass detail combined with low and sub -bass Matthew Polk has, during the last year, of deep bass...Exceptional performance no continued to push his creative genius to the matter how you look at it." capabilities which are exceptional. The speakers limit in order to develop a smaller, more The awe-inspiring sonic performance of the are beautifully finished in oiled oak and walnut. moderately priced Signature Edition SDA incor- SDA-SRS 2 is remarkably similar to that of the Other superb sounding Polk porating virtually all of the innovations and SRS. Words alone can not express the experi- design features of the SRS without significantly ence of listening to these ultimate loudspeaker speakersfrom $85. ea. compromising its awesome sonic performance.systems. You simply must hear them for yourself! No matter what your budget is, there is a The extraordinary new SRS 2 is the spectacularly superb sounding Polk speaker perfect for you. successful result. Music lovers who are priv- "Literally a new dimension in Polk's incredible sounding/affordably priced ileged to own a pair of either model will share sound" Stereo ReviewMonitor Series loudspeakers start as low as $85 Matthew Polk's pride every time they sit down Both the SDA-SRS and theSDA-SRS 2 are highea. The breathtaking sonic benefits of Polk's and enjoy the unparalleled experience of lis- efficiency systems of awesome dynamic range revolutionary True Stereo SDA technology are tening to their favorite music through these and bass capabilities. They both incorporate available in all Polk's SDA loudspeakers which extraordinary loudspeakers, or when they Polk's patented SDA True Stereo technology begin as low as $395. each. demonstrate them to their admiring friends. which reproduces music with a precise, life- like three dimensional soundstage which is "Our advice is not to buy "Exceptional performance no unequalled and gives you, as Julian Hirsch of speakers until you've heard matter how you look at it" Stereo Review said, "literally a new dimension the Polks" Musician Magazine Stereo Reviewin sound". Each beautifully styled and finished The experts agree: Polk speakers sound SRS 2 cabinet contains 4 Polk 6%2" trilaminate Listening to any Polk True Stereo SDA* is a better! Hear them for yourself Use the polymer drivers, a planar 15" sub -bass radiator, remarkable experience. Listening to either of reader service card for more information the Signature Edition SDAs is an awesome 2 Polk 1" silver -coil polyamide dome tweeters and visit your nearest Polk dealer today. revelation. Their extraordinarily lifelike three- and a complex, sophisticated isophase cross- Your ears will thank you. dimensional imaging surrounds the listener in over system. It is rated to handle 750 watts. The 360° panorama of sonic splendor. The awe SRS utilizes 8-6!/2" drivers, a 15" sub -bass radia- inspiring bass performance and dynamic range tor, 4 Polk tweeters and an even more complex will astound you. Their high definition clarity crossover. It is rated to handle 1000 watts. Both the SDA-SRS and SRS 2 incorporate: I he Speaker Specialists U.S. Potent No. 4,4e9. 32 and 4,497.0114. Other polnt pending. 1.) time compensated, phase -coherent multiple 5601 Metro Drive, Baltimore, Md. 21215 Where to buy Polk Speakers? For your nearest dealer, see page75. THINK OF IT AS THE WORLD'S SMALLEST DIGITAL PLAYER.

Now yo J can take th 3 dynamics of digital perornance anywhere. With TDK HX-E It raptures he puity and nuances cf dig tal sourd lice No other high bias aucio cassette. Specifically designed to record digitally -sourced materials, H< -S offer four times the magnetic storage capa- bility of other high -bias cassetes able today Plus unmathed high frequency VIOL (Maximum 0 Jtput Level) for optimum performance. With all this going foi it, -IX S does more thar step-up you- pocket -sized player. It aso acts like Lie' injection foil your car audio system. And it can turn a bcomboix irto a portEble music hall. TDK HX-S. One small step for dig tel. One giant leap for musc-kind :TDK THE ART OF PERFORMANCE. TDK is the -wor d s leadinc manufacturer ci audio & Video cassettes and floppy 1986 TDK Electronics Corp. L E T T E R

(CONTINUED FROM PAGE 5) tant Furtwangler reissues have infinitely Libbey's March article on his perceptions of not until you open them (at which point you more appeal than Sills bonbons," from "A the current state of Compact Discs. While can't return them) do you find out. All of Little Less Noise, Please" [March]. our correspondent, Mr. Hayman, is also ask- these titles are available in stereo: I know be- My interest in Furtwangler is not so insa- ing for more reissues on CD, he is far more cause I have all the imported British LPs. tiable when conductors like Walter, Tosca- objective and positive in his approach than At the very minimum, Capitol should nini, Bohm, and Solti are available on CD re- Mr. Libbey. The tone of the HIGH Finetrry have mentioned "mono" on the packaging. issues. As for Sills, her early recordings of essay was condescending to the point of be- But there is no excuse for these CDs to be Manon, Lucia, and the Donizetti queens, as ing insulting. It is disturbing to see Libbey mono in the first place. Why has Capitol well as a few early recital discs, belong in any use such a respected publication as yours to dumped these dinosaurs on an unsuspecting serious collection. Furthermore, Ashkenazy, vent his very subjective and rather ignorant public? The best thing about the Beatles is a musician to the core, has recorded some views. their stereo separation, and now Capitol has fine symphonic works (including Strauss's) Both Philips and Deutsche Grammo- robbed us of it. in more straightforward, unmannered inter- phon have carefully chosen to present on J. E. Thainas pretations than many other "noted" con- CD a broad array of performances of both Reisterstown, Md. ductors. Get off your high horse, Ted! warhorses and unusual repertoire. Mr. Lib - David Illegtower bey should not so lightly cast aside labels We can't agree that the best thing about the Beatles Monroe, N.Y. whose CD catalogs together have not only is their stereo separation, but we do agree that the all the Beethoven symphonies and piano CD packaging should have included a reference to ll'e agree that the Sills recordings you mention be- concertos (the latter by an American orches- the mono sound. For full treatment of the mono vs. long in any serious collection. Unfortunately, they tra-hardly an inexpensive way to record stereo debate. see our comprehensive coverage of the are not the ones Angel has released on CD. Say what these days), but also rarities like Haydn's Beatles on CD and video in this month's BACK - you like about Ashkenazy; we continue to believe Seven Last Words or Rossini's riaggio a Reims (a BEAT section.-Ed. that he is one of the most overrated musicians cur- Stereo Review Record of the Month), not to rently before the public.-Ed. mention Luigi Nono's Fragmente-Stille, an NOISELESS MONACO Diotima or Liszt's Via Crucis (also a Stereo Re- I RECEIVED 9.1.1 FL A JOLT FROM MY VERY FIRST IT WAS MOST INTERESTING TO RECEIVE A view Record of the Month). And as to playing subscription issue of HIGH FIDELITY. As a letter from one of the many music lovers times, for every short CD Mr. Libbey can "serious" collector, I take exception to who enjoy the recordings that Philips Clas- find, we would gladly point out extra long Theodore I ibbessi.ttement chat "impor- sics issues and on the same day read Ted ones. 10.

MUSICAL Am ERICA INTERNATIONAL DIRECTORY OF THE PERFORMING ARTS THE WORLD'S MOST IMPORTANT BOOK FOR PEOPLE INVOLVED IN THE ART AL AND BUSINESS OF MUSIC AND DANCE

More than 650 large -size pages in PRICE OH length ION Fully indexed categorically and alpha- ORDERNOW betically Lists every orchestra in the U.S. and 1110AOS SUPPLYLIMITED 9y111111 Canada, including number of concerts THE MUSICAL AMERICA given, Musical Director and Manager; INTERNATIONAL DIRECTORY 1987 Edition seating capacity, phone, address, and more 1 Yes, please send c r,Check enclosed. cover 1987 Directories for e &large: Profile of Mstislav Rostropovich, (including postage and ha d mg 0 Mastercard 0 VISA "Musician of the Year" U.S. orders. Outside U.S. add $10 for CARD NO. EXP DATE_ surface mail, $20 for air mail). SIGNATURE Complete listings of Choral Groups, I'd prefer copies of the deluxe Dance, Opera, and Performing Arts hard-bound limited edition for 94p HECK OR MONEY ORDER (IN Series each. (Outside U.S. add $10 for sur- . OLLARS ONLY, DRAWN ON A tace mail, $20 for air mail. Shipped BANK WITH A U.S. ADDRESS) PAYA Opera companies' productions for tree in a rugged, custom -designed, BLE TO MUSICAL AMERICA DIRECTO the next two years t orrugated protective box.) RY. SEND FORM TO MUSICAL AMERICA DIRECTORY, CIRCULATION 850 facilities listed by state and city I enclose F- DEPARTMENT, 8TH FLR., 825 SEVENTH Music publishers, schools, agencies, ALL ORDERS MUST BE PREPAID AVE., NEW YORK, N.Y. 10019 contests, foundations, and awards NAME Addresses, phone numbers of more ADDRESS PLEASE ALLOW 4 TO 6 WEEKS FOR CITY/STATE/ZIP DELIVERY FROM RECEIPT OF YOUR than 500 newspaper and magazine (IF FOREIGN) PROVINCE/COUNTRY ORDER ----J music critics "Y# HF687 LETTERS

Libbey objects to recordings by young at each other in what looks like a visiting that record companies have, to a large ex- artists of frequently recorded basic reper- room in a prison. In smaller letters, it says tent, bungled the CD format, makes one toire, lamenting the apparent insufficiency that this is Symphony No. 3 by Henryk Gor- wonder what qualifies these decision makers of historical material (DG has six Furtwang- ecki. On the back, they say thatPoliceis a film, to be in charge of the marketing of CDs. I lers, Philips has 12 Mengelbergs). We would but they don't mention whether this is an ac- guess they are there to make money, but do like to point out that today's Semyon Bych- tual soundtrack! A few more lines state that we really need 15 versions ofThe Four Sea- kov or Giuseppe Sinopoli, both of whom suf- the symphony has Chants 1, 2, and 3. That's sons?However, I do believe things are chang- fered sniveling abnegation from Mr. Libbey, all. As to who Gorecki is or to whom this rec- ing. As an example, EMI/Angel has digitally might turn out to be Furtwangler and Men- ord is aimed .. . well, I leave that to others. remastered nearly all of Ralph Vaughan Wil- gelberg to Mr. Libbey's successors. One of On another note, I am disappointed that liams's nine symphonies. They have pack- the best ways to help young artists acquire Mr. Libbey uses a Sills/Furtwangler compar- aged them so that all but the Seventh appear their place in recording history is to make re- ison to make a point. Those of us who ad- on five CDs, each of whose playing time av- cordings of their repertoire that can be com- mire both artists (I happen to own the Fun - erages over an hour. Sir Adrian Boult's fine pared with great performances of the past. wanglerTristan)might consider his remark interpretations of these hitherto unavailable And it has been necessary to record basic that Sills reissues are bonbons to be snob- pieces in the CD format are a welcome addi- repertoire during CD's infancy precisely in bish-and a cheap shot to boot. Regardless tion to the catalog. order to establish the new medium with a of his opinion of Sills, her reissues (except Finally, I think that some of the smaller broad,payingpublic (not generally as inter- Upin CentralPark andMusic of Victor Herbert) independent companies, such as BIS, Chan - ested inVia Crucisas in1812).Incidentally, are all of complete operas or opera excerpts. dos, and Nimbus, are to be congratulated for no record company catering exclusively to KIM N. Wise the excellent job they are doing in maximiz- the tastes of critics has ever stayed in busi- Goleta, Calif. ing the potential of the CD format with per- ness for long. DG has stayed in business for formances not readily available in any other nearly 90 years. Actually, nearly all of the Sills reissues are colkc- format. From his opinion of the debut recording tions of arias, which is why we describe them as bon- Akre Oldies of young Mr. Bychkov (the recording has yet bons.-Ed. Lansdowne, Pa. to be manufactured, so we are uncertain as to the basis of his judgment), we deduce that CONGRATULATIONS TO TED LIBBEY FOR HIS We agree. By the way, there are now 24 versions of it's perhaps better that we simply advise trenchant analysis of the current CD scene. The Four Seasonsavailable on CD, with more your omniscient classical music editor of our It's regrettable, though, that Libbey's dead- on the way.-Ed. recordings in future, but not bother to pro- line prevented him from actually listening to vide copies for him to actually audition. the new Philips Shostakovich Fifth Sympho- TED LIBBEY'S CD PIECE IN THE MARCH ISSUE Postscript: It is interesting that a maga- ny release (led by the "no -name" Semyon told it as it was in a way that everyone could zine that generally devotes so little space to Bychkov) before dismissing it so quickly. understand, without flinching, without apol- classical recordings can afford to expend so [WNED-FM, the station for which Mr. Goldsmith ogy, without intimidation. It was a first-class much on a generalized diatribe against works, broadcast the American radio premiere of the piece of journalism. For an essay that was lit- them. new recording on March !S.-Ed. ]I can't speak erate as well as lucid, thanks. Alison Amos for Philips, of course, but I would suggest !elms Deltoser Vice President that the company, rather than feeling "so lit- Severna Park, Md. Deutsche Grammophon tle confidence in its new boy," is, in fact, su- Nome Zoossisd premely confident that Bychkov and his de- 8mm INCONSISTENCY Vice President but recording will win instant admirers II IS IRONIC. 040I 10 MENTION INCONSISTENT) Philips among critics and record buyers alikein spite that at the same time the electronics industry Polygram Classics ofthe competition from other Fifths in the is encouraging us to upgrade our TV sets to Division of Polygram Records, Inc. catalog. If out-of-the-way repertoire is what stereo it expects us to pay a premium to New York, N.Y you're looking for, there's plenty of it to be downgrade our VCRs to mono ["Why found on CD these days: Check out the en- 8mm?," February]. I find it incomprehensi- MR. THEODORE LIBBEY'S ARTICLE "A LITTLE terprising Records International label for ble that a magazine calling itself HIGH FIDEL- Less Noise, Please" makes important points little-known symphonic gems by Lachner, ITY is pushing the mono 8mm format. You regarding the needs of the consumer in the Spohr, Goldmark, Respighi, and others, not should push for a stereo 8mm format (or CD era. However, may I say that in my opin- to mention the indefatigable Neeme Jarvi change your name toHIGH VIDEO ion the "majors" haveneverbeen interested and his Berwald, Tubin, and Glazunov cy- FIDELITY/LOW AUDIO FIDELITY). in the collector's needs. We are hooked, and cles cited in your article; but Bychkov's Don Schmick they know it. They are interested only in Shostakovich Fifth simply deserves the wid- Atlanta. gaining new converts via "crossover" discs est possible circulation. of media people: Te Kanawa, Pavarotti, et al. Those of us here in western New York All of the consumer VCR format standards, includ- For decades, they have shortchanged us who have been able to follow his career ing the one for 8mm, require a mono audio track on the amount of music that could fit on a closely for some time (Bychkov is in his sec- and offer stereo as an option. The system used for re- black disc, and it certainly didn't take the CD ond season as music director of the Buffalo cording stereo audio on 8mm videotapes was de- era for them to purposely confuse, mislead, Philharmonic) predict that you'll agree. scribed in the "Why 8mm?" article. And we are not or ignore the record collector. Peter Goldsmith pushing the 8mm format-just reporting on it. One infuriating example (among how Program Director, WNED-FM -Ed. many?) is on an Erato (French RCA) disc. Buffalo, N.Y. The front cover says POLICE in large black - Letters should be addressed to The Edator, Hum Fuserrn, 825 7th and -white print. A full -color picture of TED LIBBEY'S INTERESTING ARTICLE IN THE Are., New Fork, .Y. I: 10019. All letters are subject to editing for French actors Depardieu and Marceau stare March issue, in which he discusses the ways brally and clarity.

12 HIGH FIDELIT Y C U R R

EDITED BY CHRISTOPHER J. ESSE Yamaha's Hi bit CD Players

SO FAR, THE SMALL DIFFERENCES IN MEASURED put is correspondingly reduced by 12 dB. advantage of the Hi -bit digital filter, al- audio performance among most of the Com- This shifting means that these Hi -bit DACs though at this writing it is not clear whether pact Disc players that we've tested have been are, in effect, accepting the entire 18 -bit out- the extra two bits from the Hi -bit filter out- essentially undetectable in normal listening. put of the digital filter. When the most sig- put are truncated or rounded off into the But this has not stopped Yamaha's engi- nificant bits are needed, the DAC input is least significant bits of the DAC. neers from throwing in their two bits on a shifted back to the normal 16 bits and the 12 - Each new Hi -bit CD player offers remote technique that they claim makes an audible dB attenuation removed. Yamaha claims control and a large complement of program- improvement. that low signal levels are reproduced more ming functions and is compatible with the Yamaha was an early proponent of over - linearly and with reduced noise. The system remotes of Yamaha RS Series com- sampling digital filters. Because they sample claimed signal-to-noise ratio is 115 dB; dy- ponents. For more information, contact Ya- the digital waveform at two or four times the namic range is given as 100 dB. maha Electronics Corp., 6660 Orange- standard rate (44.1 kHz), the ultrasonic "im- The CDX-5000 ($2,500) is Yamaha's thorpe Ave., Buena Park, Calif. 90620. ages" of the audio spectrum that are a by- flagship CD player and is built from hand -se- product of the sampling process are cen- lected, pretested parts. Aside from the new tered higher above the audio band (at 88.2 Hi -bit technology, it has all the goodies, in- HI-FI STEREO CAMCORDER or 176.4 kHz, respectively). A gentle, rather cluding internal optical coupling, gold-plat- ZENITH'S VM-7100 FUI I 1 ZE VHS CAMCORDER than a sharply sloped, low-pass filter can ed digital and analog signal output jacks, differs from all other camcorders of that for- then be used in the analog output stage to and 46 pounds of heft. At a savings of about mat in one important respect: It records a remove the ultrasonics, thus minimizing the 15 pounds and $1,400, the CDX-1100U VHS Hi-Fi stereo soundtrack, a welcome al- potential for distortion and phase shift of the ($1,100) is functionally identical to the ternative to the often disappointing sound upper audio frequencies. Yamaha says that CDX-5000, giving away only the double - quality of standard linear -track VHS and oversampling also increases the resolution floating suspension system and perhaps the VHS -C camcorders. of the D/A converter (DAC), but it does so mystique of a smaller serial number. The Zenith is a bit heavier (5.3 pounds, only for high amplitude signals; and Yamaha Two other models, the CDX-900U without battery) and bulkier than typical engineers believe that the distortion per- ($650) and CDX-700U ($450), have new 16 - VHS -C or 8mm models, but it is designed to formance of such a system at low signal lev- bit D/A converters (the latter uses a single rest on the shooter's shoulder for steadier els is limited by I6 -bit operation. Their solu- DAC) that Yamaha says are designed to take operation. Camera features include a 6:1 tion is the Hi -bit digital power -zoom lens with a filter, which uses four - macro (close-up) set- times oversampling but ting, automatic white - is also designed for 18 - balance and iris open- bit output. ing (both of which can In the CDX-5000 also be set manually), a and CDX-1100U, the fade control, and a 18 -bit output of the Hi - monochrome electron- bit digital filter is fed to ic viewfinder that con- the inputs of twin 16 -bit veys status, operation, DACs. The two most andwarninginfor- significant bits of the mation through more digital data stream are than 20 indicators. AI/2- used only for transient, inch CCD is used to very high-level signals, pick up the images in so normally the input to light levels as low as 8 the DACs can be shifted lux. up by two bits, allowing The recorder sec- the bottom two "least tion is best compared significant" bits from with that of a home the 18 -bit digital filter's deck, as which it un- output to take their doubtedly will be used place. The analog out- THE TOP (CDX-5000) AND BOTTOM (CDX-7000) OF YAMAHA'S HI -BIT LINE OF CD 'LAYERS sometimes, especially

JUNE 1 9 8 7 13 CURRENTS

dards have yet to be fixed for tortion" by performing RIAA equalization either of these CD derivatives. with a combination passive/active process. Operating features include A CD -direct input allows a player's signal to 19 -selection programming, in- bypass the preamp's filtering and switching dex search, and repeat modes. sections. And an unusual loudness -compen- An LCD panel shows pro- sation circuit is said to eliminate the phase gramming and disc play status, shift of lower midrange frequencies that ac- including a bar graph that rep- companies standard techniques. resents time into a track. Last but not least is the Citation Twenty - As a Revox 200 Series com- Three Active Tracking AM/FM tuner ponent, the B-226 can be op- ($650), for which the biggest claims of per- erated directly via the optional formance improvements are made. The pro- B-205 ($145) remote control prietary Active Tracking High Selectivity ZENITH'S VM7100 IS THE FIRST VHS HI-FI CAMCORDER. module or from a different circuit in the Twenty -Three is said to pro- room through an optional B- vide ultrahigh selectivity with little loss of to play prerecorded VHS Hi-Fi movies. It in- 206 ($145) infrared transceiver. Contact stereo separation or high -frequency re- cludes HQcircuitry (white -clip level exten- Studer Revox America, Revox Div., 1425 sponse and little increase in distortion. sion and detail enhancement), automatic or Elm Hill Pike, Nashville, Tenn. 37210. Translation: better reception of both weak manual control of the and closely spaced sig- Hi-Fi audio recording nals. The digital fre- level, an audio dub quency -synthesis front function for supplant- end has 16 station pre- ingalinear mono sets, a flywheel tuning soundtrack (to add nar- REVOX knob, and an "analog" ration to an existing fine-tuning control. A home video, for ex- wireless remote control ample), and a built-in completes the package. stereo microphone and All of the new Cita- external microphone tion components have jack. An LCD panel anodized brushed -alu- shows the tape counter, 11* its CAMS RE VOX'S UNMOTAKAILE LOOSE. minum faceplates with Hi-Fi audio levels, and blue and black coloring tape -transport mode indicators. Audio -vid- and molded rubber trim. For more infor- eo inputs and outputs are provided to facili- NEW ORATIONS mation, contact Harman Kardon, 240 Cross- tate connection to a monitor or for dubbing NEW POWER AMP AND TUNER DESIGNS ARE "IEEE ways Park W., Woodbury, N.Y. 11797. with a second VCR. highlights of Harman Kardon's latest line of Supplied accessories include a recharge- Citation components. Two Dual Voltage able battery and its charger, an AC adapter, power amps, the Twenty -Two ($850) and SANSUI'S TOP RECEIVERS an RF output converter (for connecting the the Twenty -Four ($600), have a back -panel ()IAA 1'11M.I RhI 01' 51'01 IN SANSIA'S NEW camcorder to a standard television), a shoul- switch for selecting a high or low output - line of receivers is the 120 -watt (20.8-dBW, der strap, an assortment of connector ca- voltage range: The high range is said to into 8 ohms) S -X1200, which has connec- bles, and a pair of mini -headphones for on - more effectively drive loudspeakers with a tions for a full complement of audio compo- location monitoring. The VM-7100 retails nominal 8 -ohm impedance, while the low nents as well as inputs and outputs for two for about $1,795. For more information, range is for lower impedances or bridged - VCRs. The amplifier section is said to pro- contact Zenith Electronics Corp., 1000 Mil- mono operation into 8 -ohm loads. The vide dynamic power of 350 watts (25.4 dBW) waukee Ave., Glenview, III. 60025. amps are rated identically for 4 -ohm and 8 - per channel into a 4 -ohm load. A 24 -element ohm operation, with the Twenty -Two deliv- I I'D display shows the amplifier's power ering 200 watts (23 dBW) per REVOX ENCORE channel and its smaller sibling IFIE IS -2.2i, IS REA OX'S SECOND COMPACT DISC 100 watts (20 dBW) per chan- THE SUBDUED LOOK OF HARMAN KARDON'S CITATION COMPONENTS player, replacing the B-225. It uses the latest nel. Bridged -mono operation "European" (i.e., Philips) 16 -bit, four -times in both models yields twice oversampling system along with adaptive er- their stereo ratings. As in oth- ror correction, which continually chooses er Harman Kardondesigns. the most appropriate method of correction the Citation amplifiers have a until interpolation is necessary (which, on an high instantaneous current ca- undamaged disc, is unlikely). The die-cast pability and low negative feed- drive mechanism is mounted on a damped back and use discrete compo- suspension that is said to lessen vibration -in- nents. duced errors. A matching preamplifier, In addition to fixed and variable analog the Twenty -One ($550), also outputs, the B-226 has two digital outputs features discrete components that Revox says are for future applications and a low negative -feedback such as CD -I (interactive CD) and CD-ROM design. The phono section is (computer data), although interface stan- said to reduce "dynamic dis-

14 HIGH FIDELITY SPEAKERS BUILT UPON THE BELIEF THATMUSIC IS MEANT TO BE PLAYED, NOT PLAYED WITH.

When we built the first Adventk in 1968, filled polypropylene dome midrange, 750 watts we believed music should sound exactly the way of power handling capability and a sound diffraction the artist had intended. Nothing added. Nothing baffle. (Designed to enhance stereo imaging taken away. and broaden the musical soundstage.) Just music. Wherever you put an Advent, Since then, trends in speaker you know it will look great. Our famous design have come and gone. But the solid hardwood tops and bases go per- Advent philosophy has remained the fectly with any decor and there's an same. You'll know why when you listen Advent for virtually any size room. to our current line of loudspeakers. If you want to hear music with They've been designed with the latest a little something extra, listen to any technology, yet preserve the clean, loudspeaker. If you want to hear the accurate sound Advent is known for. truth, listen to an Advent. All our speakers feature high efficiency long throw woofers, ferrofluid- filled tweeters and are compact disc ready. The Advent Maestro takes this D V E \T performance even further with a mica - Sound as it was meant to be heard

Advent. is a registered trademark ol International Jensen Inc c 1817 International Jensen Inc CURRENTS

ranges. Bidirectional dubbing is possible be- provement in sensitiv- tween the two sets of tape connections as ity and a minimum well as between the two VCR connections. A power requirement of variable loudness contour compensates for just 10 watts (10 dBW) perceived frequency imbalances at low lis- per channel, according tening levels, and two circuits are intended to the company. A pair especially to enhance video sound: An ad- of these speakers, avail- justable "sound attacker" adds punch to able in a number of fin- transients, and a subharmonic synthesizer ishes, retails for $1,495. generates an extended bass response. A The Sound Cylinder switchable processor loop allows access to a is-you guessed it-cy- connected equalizer or a similar device. lindrical in shape and, The digital frequency -synthesis AM/FM with the standard wal-

tuner section has a total of 16 station pre- nut -grainfinish, is JAMO'S LS -800 15-1000 AND 15-1400 LOUDSPEAKERS sets, automatic and manual scanning, and a Ohm's least expensive Walsh product, at preset -scan function. A high -blend circuit is $550 per pair. Seven custom finishes are DANISH SPEAKERS said to reduce noise on weak stereo FM sig- available by mail order for an additional $76 JAMO'S LASER SOUND SERIES INCLUDES THREE nals. Retail price for the S -X1200 is $1,200. per pair. And if none of those matches your three-way bass -reflex loudspeakers, each A similar model, the S -X900, provides 80 curtains, you can send any suitably flexible with a 1 -inch dome tweeter and a 5 -inch mid- watts (19 dBW) per channel into 8 ohms but material to Ohm and the company will (for range driver. The largest (231/2 inches high) does not include the special sound circuits $48) prepare it for wrapping around your is the LS -1400 ($520 per pair), which has a or the separate processor loop. It retails for Sound Cylinders. For more information. dual -magnet 8 -inch woofer and is said to $750. Contact Sansui Electronics, 1250 Val- write Ohm Acoustics Corp., 241 Taaffe handle continuous power of as much as 140 ley Brook Ave., Lyndhurst, NJ. 07071. Place, Brooklyn, N.Y. 11205. watts (21.5 dBW). The slightly smaller LS - 1000 ($440) has a dual -magnet woofer mea- suring 61/2 inches across, while the LS -800 RHOADES ($360) has a standard 61/2 -inch bass driver. CHANNEL-PLEXER All three models have square honeycomb - HIS IS AN UNUSUAL SOURCE pattern grilles covering each driver that are selector that removes some of the claimed to counteract diffraction distortion; limitations of a conventional a black or white finish is available. For more switch box. It has three RF inputs, information, contact Jamo, 425 Huehl Rd., one each for the Channel 3 and Bldg. 3A. Northbrook, III. 60062. Channel 4 RF signal from, for in- stance, a cable box and a satellite receiver, and one broadband in- ADJUSTABLE SPEAKER STANDS put for a conventional antenna or THE SOUND DECOR SPEAKER STANDS HAVE A straight cable feed. It converts the cradlelike design that can angle a speaker as pair of Channel 3 and Channel 4 much as 25 degrees back from its upright po- signals to a pair of unused UHF sition. In addition, the width of the stands is channels (selectable by the user) continuously adjustable from 12 to 22 inch- and pumps the mixture through a es. Made of solid oak, and each capable of single RF output, which can be supporting 200 pounds, they are available distributed ("daisy chained") to with an oiled finish for $69 per pair or in all the televisions and VCRs in the black, white, red, or gray lacquer for $89. house. The idea is that instead of Contact Montage Marketing, 419 Main St., being limited to receiving Suite 14, Huntington Beach, Calif. 92648. one chosen source from a

master switchbox, each TV

or VCR tuner has individual SOUND DECOR

access to either source as a ADJUSTABLE OHM TAKESt THE EDGE OFF WITH ITS SOUND CYLINDERS, AVAILABLE IN UHF station. And the broad- SPEAKER STANDS A VARIETY OF COVERINGS. band input allows regular VHF and UHF stations to be passed NEW AND IMPROVED OHMS through the system as well. The Chan- THE Sot \ \ R AND THE 3X0 BO I SE nel-Plexer costs $230. Input expansion Ohm's exclusive Walsh driver, an inverted - modules, which contain one set of ster- cone configuration designed to create an ef- eo -audio and video inputs, are avail- fective stereo image over a large listening able for $100 each. They also convert a area. All but the highest frequencies are re- signal to an unused UHF channel for produced by the Walsh driver, with the re- distribution through the Channel- mainder handled by a supertweeter that sits Plexer's main RF output. For more de- above it. The 3X0 (X0 stands for "extra tails, contact Rhoades National Corp., output") is essentially a more efficient ver- P.O. Box 1316, Dept. ZN6, Columbia, sion of the Ohm Walsh 3, with a 6 -dB im- Tenn. 38402, or call 615-381-900 I .

16 HIGH FIDELITY ULTIMATE POWER.

LIXMAN row.

141/.....Pn mmove,r NLI EMMEN RICO, =JCT. Mal1111. < > sci Q Ezi=g 11"".". 117.

',cm I:00mM 14!

LUICMANI

With a worldwide reputation for sonic excel:ence, the new Luxman Receivers also deliver more power than even before.

For over 6C years, Luxman audio components have been internationally recognized for their superb sonic quality. However, the reoent introduction of .ompact discs with wide dynamics and higt--accuracy lcudspeners with low impedance ratings has created a need for receivers wit-i "real- output power. With the tremendous dynamic power of the new Luxman rece vers, our reputation for ULTIMATE FIDELITY- is likely to change to -ULTIMATE POWER -

A Division of Alpine Electronics of America. Inc. (213)326-3000 "Vesfi la giubba E la Caccia infaini La genfe page E rider vuole rpa. E se Arleeehin. T'invola Colomf Ridi, Pagliaee a. E ognun applau lira! Tramufa in lani arm 11) Ed it pianfo:

In una srnorffa II singhiorto e 1 elc ler_ Ridi Pagliaceio Sul No amore fitharo, Ridi del duol Che ravvelen !

RPAG ugger( Lea leave.,

MAXELL.THE TAPE THAT LASTS AS LONG AS THE LEGEND. It was a grand opera of simple truth. A flight into fantasy that mirrored grim reality. High art that imitated everyday life, most tragically. At Maxell we help you preserve this masterpiece, with tapes that are manufactured up to 60% above industry standards. Tapes that will con- tinue to produce that same magnificent clarity and qual- ity even after 500 plays. So as long as man seeks an outlet for his loves, passions and jealousies, he will be able to find it in the music of Leoncavallo's legendary Pagliacci. 19/In Maven I canonI Arne" 601111. d fin e na I n 1,1 ule S C A N L I N E S

VAIN ATTEMPTS?

NARDLY HAD THE INK DRIED ON MY REPORT ON JVC'S current precarious position in the American market. development of Super VHS ["Scan Lines," April] Although no new products were announced in when Sony announced in Tokyo its latest attempt to March, it is difficult to fathom the utility of such bet- save, uh, improve the Beta format. And on the very ter -than -broadcast technology unless it were to be same day (March 17) came news from The Nether- used in a camcorder, which could then tape live im- lands of Philips's latest-one is tempted to say ages with quality equivalent or superior to that of "only"-effort to inject life into the videodisc system professional video recorders. But then Sony's over- it invented. whelming-and very profitable-domination of the Sony's ED (Extended Definition) Beta system professional VCR/camcorder market would be does what Super Beta should have done when it was threatened not only by Super VHS but also by its own

introduced in 1984: make a clean break with the older ED Beta system. The best markets for ED Beta will be B Y Beta recording formats in order to greatly increase industry, education, and other semipro applications, video quality. The result is said to be a luminance res- and this is the direction in which Sony's Beta market- D A V ID olution of 500 lines, edging out both the 260 -line ers should have headed long ago, if only to keep

theoretical maximum of Super Beta and the 400 lines some marvelous technology alive. R A N A D A claimed by Super VHS. (A television broadcast's res- Another video marvel, the laser videodisc system, olution is limited-by law-to only 330 lines.) Al- is also receiving a curious boost, this time in the man- though ED Beta machines will be able to play older ner of an exercise in Orwellian "thinkspeak.- Philips, Beta -format tapes, ED recordings will not be play- inventor of the system that Pioneer has steadfastly able on any currently available standard -Beta or Su- promoted here and in Japan under the name Laser - per -Beta deck. Vision, is renaming the entire format CD -V (for This "downward incompatibility" is a direct re- Compact -Disc -Video, notwithstanding the distinctly sult of what Sony calls the Ultra Hi -Band recording noncompact nature of 8- and 12 -inch videodiscs). system, in which the frequency bandwidth for the lu- Philips also introduced a new format: a "5 -inch" (ac- minance signal has been raised from the 4.4 -to -5.6 - tually a standard -size 12 -centimeter) Compact Disc MHz range of Super Beta to between 6.8 and 8.6 holding 20 minutes of CD -compatible audio near the MHz. To record such high frequencies, an ED Beta center of the disc, with the rest of the disc filled with deck uses newly developed sputtered-Sendust video about five minutes of Laserdisc-format video- (with heads and takes special metal -particle tapes. A new accompanying audio tracks). Yamaha, Sony and Mat- tape stabilization system is supposed to reduce time - sushita (Technics and Panasonic) have also an- base instability (which results in jitter and a loss of ap- nounced plans to support the new format with com- parent detail). And separate luminance- and chromi- bination CD/CD-V players. nance-signal inputs and outputs eliminate crosstalk Prime material for the 5 -inch CD -V will be the between those signals and permit multigeneration promotional music videos seen on MTV and the like. copying without severe picture quality degradation Record companies have for years been looking for a (this is a feature of Super VHS, too). salable medium for them. I was told by a Philips rep- Much of the rest of the system, at least on the basis resentative that the CD -V promotional push will also of the preliminary information released by Sony, re- be accompanied by a general reassessment and im- mains the same. Dimensions of the Beta cassette are provement of videodisc master -tape quality, espe- unchanged, as are the Beta II and Beta III tape cially in the picture and sound obtained in film -to - speeds. Color is still recorded "under" the lumi- disc transfers of movies. For example, all future CD - nance frequencies and with a carrier frequency of V pressings will have a digitally encoded soundtrack 688 kHz. The prototype demonstrated in Tokyo also in addition to the standard analog one. CD -V record- included Beta Hi-Fi stereo audio recording, but Sony ings will be pressed with gold -tinted plastic and will says that the use of metal -particle tape improves the be packaged in CD -like jewel boxes, in order to help sound quality of the Beta longitudinal audio track, create for videodiscs the "collector mentality" that giving it a wider -than -normal frequency response of exists for audio CDs. 50 Hz to II kHz. Philips freely admits hoping the thus revitalized Although ED Beta is certainly a convincing dem- videodisc system will ride the coattails of the audio onstration of technological prowess-not to say CD's popularity. Whether the whole rigmarole will specsmanship and corporate vanity-Sony is by its really be clear to the average consumer, who is al- announcement both sending mixed signals to the ready being bombarded with tales of CD, CD-ROM, consumer and painting itself into a corner. Until the CD -I, and DAT, is not obvious to me. And whether announcement of Super VHS, the Sony -backed 8mm after all these years Philips can persuade those couch system was the home VCR format holding the great- potatoes satisfied by the generally poor picture quali- est potential for high -quality video (see "Why ty of home VCRs to invest in the new -old videodisc is 8mm?," February). ED Beta can do nothing at this also open to question. Goodness knows, we at HIGH late date to recoup market share for Beta and, if it is FIDELITY (and the LaserVision stalwarts at Pioneer) indeed superior in picture quality to all previous have been trying to do just that for years. I wish them

home VCR formats, it may further undermine 8mm's luck-the technology' deserves it.

JUNE 1987 11 ECOG Why the Carver M -500t MagneticField Power Amplifier has helped beginan industry trend and how it has stayed ahead of its inspiredimitators. And yet its Federal Trade Commission Con- RMS of long term power for demands lasting tinuous Average Power Rating is 250 watts per up to several seconds. The M -500t provides channel into 8 ohms. more power, more current and more voltage The gulf between the two power ratings rep- than any comparably priced amplifier ever resents Bob Carver's insistence that amplifier offered. design should fit the problem at hand. That problem is reproducing music with stunning THE MAGNETIC FIELD AMPLIFIER impact, not simply satisfying a sine -wave test VS. CONVENTION. Twice in the last decade, Bob Carver has which doesn't even include speakers or sound Audiophiles, critics and ultimately other taught the high fidelity industry how to make sources. Hence the seeming gulf between the manufacturers have each accepted the wis- amplifiers that give you better performance two ratings. dom of Bob Carver's fresh approach to deliver- and value. Both times his bold lead has Bob reasoned that since music is composed ing power in musical terms. Yet only Carver has attracted followers. Still, as evidenced by the of three basic types of power waveforms, so elegantly translated theory into practice. current release of the M -500t, Carver sets those types of waveforms are what an ampli- Rather than increase cost, size and heat standards yet unequaled in the audio fier should be designed to satisfy. output with huge storage circuits, Magnetic community. MAXIMUM POWER OUTPUT OF TEE MEM Field Amplification delivers instantaneous high With its astonishingly high voltage/high out- INTO A 4 OHM LOAD peak and longterm power from a small but put current and exclusive operation features, it PE. POWERr0;4TRANSIERTS ; GREATER THAN 900 WATTS powerful Magnetic Field Coil. The result is an is a prime example of why Carver remains the POOL -4 TOO amplifier capable of designer to emulate: simultaneoushigh cur- rent and high voltage that can do sonic justice - Continuous FTC sine -wave output conserva- to the dynamics of Compact Discs and audio-

tively rated at 250 watts per channel. R FOR TOOT TONES 350 WATTS ROM phile records in a compact, cool -running Produces 600 to 1000 watts per channel design. An amplifier costing considerably less of dynamic power for music (depending on than the ultra -esoteric models which figured

impedance). TOO significantly into the genesis of its circuitry. For Bridging mode delivers 700 watts continu- 042 1 2 4 a reprint of the full story of its development as TIME Isaccoom ous sine -wave output at 8 ohms. well as a catalog of Carver high fidelity audio The Canvr M -500t delivers massive components please call or write to us. High current Magnetic Field power supply power at three important output levels. provides peak currents up to ± 100 amps for Figure 1 precise control of voice -coil motion. First there are instantaneous peak transi- Designed to handle unintended 1 ohm ents - the sudden smash of cymbals, drums, speaker loads without shutting down. or the individual leading edge attack of each Equipped with infinite resolution VU meters. musical note. While these waveforms last less than 1/100 of a second, they form the keen edge of musical reality which must be present if you are to realize high fidelity. Though momentary, they also demand a tremendous amount of amplifier power. Directly following instantaneous transients are combinant musical crests of demand that ...... come from multiple instruments and their har- Conventional Amplifier. -Vag/Wile Had ZIMPlifier. monics. These long term power demands may This SZ(100pair ,,I,N)lericampli- fiers figure significantly into the heri- Solid line: audio output signal last up to several seconds but usually come tage of M-500 r version circuitry. Broken line power supply voltage. and go in less than a second. And yet they can Shaded are¢ wasted power tax anything but an exceptionally powerful Figure 1 above shows a $7,000 pair of ultra- l'ertical porn rto.cpcakerc amplifier. esoteric mono amplifiers. No expense was The third type of power demand is repre- spared on their admittedly magnificent but still POWER EXPRESSED BY THE sented by the average power contained in the conventional design and construction. DEMANDS OF MUSIC. music, and is approximately one third to one Figure 2 shows the massive toroid output The Carver M -500t Power Amplifier respondshalf of the FTC continuous power rating. transformers contained in these presitgious to musical transients with better than 600 At extremely high output current levels, the audiophile designs. At 10% regulation, their watts per channel of instantaneous peak Carver M -500t not only delivers over 700 watts output current is ± 50 amperes. power through 8 ohm speakers. Well over 900 of instantaneous peak power for instantan- All conventional amplifiers are condemned watts per channel into 4 ohm speakers. eous transients, but can deliver over 600 watts to using this type of design. Figure 2 also shows the patented Magnetic The M -500t is quiet Inside and out Its But we are sure that your final judgment will Field Coil employed in the Carver M -500t. Its circuitry has the best signal-to-noise ratio be based on musicality. It is here that the output current is ± 100 amps at 10% of any production amplifier. Better than M -500t again distinguishes itself. regulation!!!! -120dB. And. in spite of its massive out- Bob Carver has carefully designed the Figure 2 put capabilitg the M -500t does not require M -500t to have a completely neutral signal a noisy fan to dissipate heat Thanks to path that is utterly transparent in sonic char- the cool running Magnetic Field Amplifier acter. The result is more than just musical circuitry. accuracy. It means a total lack of listener No other amplifier in the M-500ts price fatigue caused by subtle colorations some- or power ranges is capable of handling times exhibited by conventional amplifier problematic speaker loads as low as 1 designs, regardless of their power rating. ohm. Whether required by certain brands It means a veil is lifted between you and your of speakers, or inadvertently derived by musical source as the most detailed nuances pairing too many low impedance speak- are revealed with realism, believability and Over 40 pounds of toroid coils put delivered with stunning impact. out half the current of a single six pound ers at one set of output terminals, all con- four ounce Magnetic Field Coil ventional amplifiers simply shut down or VISIT YOUR CARVER DEALER FOR A blow their fuses when faced with this DISTINGUISHING FEATURES OF condition. SURPRISING AUDITION. THE CARVER M -500t. We invite you to audition the Carver M -500t In stereo use, both channels of the Power is mandatory for dynamc impact and soon Against any and all competition. Includ- M -500t can actually borrow from each ing those who are only now embracing the musical realism. And yet power requires con- other during unequal output demands. trol and finesse. While the Carver M -500t isn't principles which Bob Carver has refined over In addition. Carver amplifiers have pio- the last several years. the only amplifier to deliver adequate output, it neered phase inversion circuitry which is one of the few that tempers force with pro- We doubt that you will be surprised when takes advantage of the in -phase (mono) the M -500t lives up to the claims made in this tection circuits beneficial to both the amplifier characteristics of bass to essentially dou- and your loudspeaker system. advertisement. What will surprise you is just ble available power supply current at low howaffordablethis much power, musicality These include DC offset~ short circuit frequencies. and accuracy can be. power interrupt as well as two special Finally, the Carver M -500t can be used computer -controlled speaker monitor cir SPECIFICATIONS:Power,251 watts per channel into in a bridged mode as a 700 watt RMS per 8 ohms 20Hz to 20101z, both channels driven with no more cuits which protect against excessive highchannel mono amplifier without any than C.15% THD.Instantaneous Peak Power,1000 frequency tweeter input and an overall switching or modification. watts into 2 ohms, 950 watts into 4 ohms, 600 watts into thermal overload. 8 ohms.Longterm RMS Power for Music,500 into 2 ohms, 450 into 4 ohms, 300 into 8 ohms, 1000 watts The Carver M -500t continuously dis- MUSIC IS THE FINAL PROOF. bridged mono into 4 ohms, 900 watts bridged mono into 8 plays power output through dual lighted Were you to buy a power amplify' solely on ohms. Bridged Mono RMS Continuous Power,700 Noise -120dBIHF Weighted. features and performance specifications, watts continuous into 8 ohms. infinite resolution VU -ballistic meters. Frequency Response,±0-3dB 1Hz- 100kHz Sierc Meters which can react to musical tran- painstaking comparison would inevitably lead Factor. 200.Weight,25 lb. Finish, light brushed anthracite, sients as brief as 1 millisecond. you to the Carver M -500t. baked enamel, black anodized.

\RVER POWERFUL MUSICAL ACCURATE

P0.Box 1237 Lynnwood, WA 98036 Distributed in Canada by Evolution Technology PLUS MEANS SO MUCH MORE dB PLUS EFFICIENCY Up to 120 dB in a typical sound room (dB Plus 1212 full power) dB PLUS POWER Up to 400 watts RMS (see specification sheets dB Plus 1212). dB PLUS DYNAMICS Astounding speed and dynamic range, virtually no ringing. dB PLUS BASS Deep, tight, powerful, clean, bass response 23 Hz (dB Plus 1212). dB PLUS TWEETERS Unique, fast, smooth, musically very accurate, dB Plus PolyfoamTM Tweeter dB PLUS OPENNESS Wide dispersion for easy listening to a large sound stage. dB PLUS ACCURACY Smooth, clean, low distortion, low resonance, high definition. dB PLUS QUALITY Designs so pure that we curve and compare each one !iq the original. dB PLUS WARRANTY We're so confident, it's ten years. See Narranty cards. dB PLUS CHALLENGE We challenge any speaker brand, any price range, to a sound comparison.

dB dB PLUS 135 Torbay Road, Markham, Ontario. Canada L3R 1G7 1-416-475-0050 PLUS ST REPO

Speakers-of all shapes

andsixes-andsurround

scund are the focus of

this month's issue. Pic-

tured here are ADD's

new L-990 tii-wer loud- speaker, thekthree-

pine Rote AllAtS, and

MSC's super-sophisti-

cried AYR -700E digi-

tal surround processor.

Rlso tested this month a -e the Paradigm

9se, DCM Timeframe ff-250, Siefert Re- search Magnum III,

sod 3D Acoustics Cube

loudspeakers.

REPORT PREPARATION SUPERVISED BY MICHAEL RIGGS, DAVID RANADA, CHRISTOPHER J. ESSE, ROBERT LONG, AND EDWARD J. FOSTER. LABORA- TORY DATA UNLESS OTHERWISE INDICATED IS SUPPLIED BY DIVERSIFIED SCIENCE LABORATORIES. som _____Emism_. summizim rimummomommi mummummommusor immiqmpousimmummu Emm Inummor 1 11,tialci 1 I1 wommism MINI MENNEN, 'II1'1 1 Ink ..1I I1111111111M1111111111=1 111111111=111M11116dialm1616dioillIMIIIIIIIIMINI MIN IIIIIIIIIIIF11111111IIIIIIMIMIIfflIlMIIIIIIIINIIIMIII MEM MEM= 1 i 1II d 12-41i T .1..) 1 ri .1 diMIIMMIIIIIII MIMI IIIMM'',1 II l ' PI 1 1 '1 1k 1, riIMIN1111111111111111111111111 1111111M ______.11111111111111111111111J1111110 11111111MMEM11111111111111111111E11111M INI Mil

DIMENSIONS 10' BY 34Y, INCHES (FRONT), 11', INCHES DEEP. PRICE: high levels of deep bass. The enclosure is $899 PER PAIR. WARRANTY: "LIMITED," FIVE YEARS PARTS AND LA- sealed, creating an acoustic -suspension BOR. MANUFACTURER: ANALOG & DIGITAL SYSTEMS, INC.,1 PROG- woofer loading. RESS WAY, WILMINGTON, MASS. 01887. We tested the oak -veneer model (there's also a matte -black option), which is finished ITS ALWAN S ENCOURAGING 10 1.00K IN 771E on all sides. The black, perforated -metal owner's manual that accompanies a new grille is self-supporting and thus has no loudspeaker and find that it tells you pre- frame to threaten diffraction or reflection, cisely how the model is to be positioned in either of which can compromise imaging. the listening room. It implies that the speak- Connections are made on the bottom of er has been engineered from the ground up each tower via heavy-duty color -coded for that placement, avoiding the compro- multiway binding posts (banana plugs will mises of the usual all -things -to -all -rooms ap- fit, but some may be too long for the limited proach. Right off the bat, the ADS L-990 floor clearance) with an opening at the back manual says to place the speakers two to four of the enclosure for the wiring; standing the feet out from the back wall or to be prepared speakers out in the room doesn't result in for the possibility of overheavy bass, de- the inelegance of unfinished enclosure pending on room acoustics, if the speakers backs spewing cables. are set too near a wall. For its tests, Diversified Science Labora- The L -990's tower design itself helps tories set the speaker three feet out from the avoid compromise, as ADS points out. Un- wall behind it. As shown in our graph, the like so-called bookshelf models that often measured frequency response is exception- end up on a table, mounted on speaker ally flat. Depending on which curve you con- stands, or set directly on the floor, an inher- sult, there is some dip in the range around ently floor -standing design can be set up 250 or 300 Hz. This is presumably attribut- only one way, which determines precisely able to floor reflection, but it isn't nearly as how high off the floor all drivers will be. severe as we often encounter. Even includ- Then, the designer can not only calculate ing this dip, on -axis response stays within floor -reflection characteristics, but he can ±31/2 dB from the gradual bass rolloff (at be sure that his tweeters won't end up very around 60 Hz) to the highest treble. Over much higher or lower than the ears of seated most of the midrange and treble it's within listeners. about ±11/2 dB, relative to average response Accordingly, all three of the L -990's driv- over the so-called music band. ers are clustered toward the top of the front Off -axis response emphasizes the bass panel. The tweeter and midrange units form rise a bit more, shows a narrower, lower -fre- a sort of flush subpanel whose vertical axis is quency dip, and rolls off at the very top in- offset about 1 inch to the left of the baffle's stead of peaking a bit. Otherwise it's very center. The tweeter is a %-inch woven soft similar to the on -axis response, suggesting dome with "proprietary damping," as ADS consistent sound distribution in the listen- calls it, apparently referring to the surround ing room. The lab also measured the speak- composition and not to the magnetic fluid in er set against the wall. As expected, it pro- ROOM RESPONSE CHARACTiRIST,C5 the gap around the single -layer, wet -wound duced a heavier bass, peaking at around 60 08 voice coil. The midrange driver is a 11/2 -inch Hz (and thus emphasizing more the dip .5 - dome of similar construction. Its crossover above 200 Hz) and rolling off more steeply 0 -5 - to the tweeter is at 3 kHz, to the woofer at toward the very bottom. -10 700 Hz, both transitions occurring with 12 - Sensitivity is well within the average mid L.990, dB -per -octave slopes. range, though it is a bit lower than we might HZ 20 100 200 500 1K 2K 5K 10K 20K The 10 -inch woofer, which is centered boundary-doputird rare expect in a fairly large system. The mea- se-szh ramie on the baffle's vertical axis, has a Stifflite (a sured distortion proved above normal for a Of -axis (3r) newetse proprietary air -filled cellulose compound) system of this size, although not unaccepta- SENSITIVITY (at 1 miler; 2.3-r0N pink noise: 865 dB SPL cone with a Butyl rubber surround. The two - bly so. The figures average almost 1 percent AVERAGE IMPEDANCE (250 H: re 6 kit/ 12 7 ohms layer Linear Drive voice coil moves in what at the lowest test level of 85 dB sound pres- ADS calls an extended -pole magnet struc- sure level (SPL) and rise to well above I per- ture; that is, the company's driver design cent at the maximum (100 dB SPL). In the seeks to keep the forces on the cone linear very deep bass, however, distortion is un- throughout the long "throw" necessary for usually low.

24 HIGH FIDELITY He's good. But can he remember 785 of you favorite songs?

This Magnavox compact disc player can. Favorite Track Selection. With FTS, the In fact, the top -rated CDB650 is the onty CD memory remains forewer, even during power you can program to play 785 selections As outages, even if it's unplugged. And it comes you build your library, just program in your with full -function rerr ote control. favorite selections from each disc in any With 4 times over -sampling and digital order you want. The CDB650 will never filtering, all you hear is the absolutely forget them. Because it's the only CD with flawless reproduction of sound. What else would you expect from the people who invented CD tec-Inology? The CEB65(.. Unforgettable.

Flawless sound. The ultimate memory Nobody puts it together like MAGNAVOX. . vno N A.P.:onsumen Electronics Corp. A Nor h American Philips Company Most speaker designers haven'tchanged their position in 30years.

Presenting the dbx At dbx, we took a revolu- Not only can you hear it, Soundfield series: tionary approach and developed Ht.1 you can see it. Reality Imaging and the a new speaker design that SlAr.; Mt I, end of the stereo achieves stereo balance and Ask your dbx dealer to "sweet spot." frequency response so consis- demonstrate with a sound ana- tent from any listening position, lyzer (such as the dbx 14110) For 30 years, speaker EVER IF YOU'RE WERE SO close to the real thing, we how consistently the flat and designers have believed that smooth response-and Reality the only way to achieve bal- needed a new name to describe Imaging-are maintained by anced stereo is to sit directly the experience: Reality Imaging. dbx Soundlield speakers at between and in front of both Reality Imaging brings you every point in the room. Then right up to the stage. It's not OR RIR! speakers. II you move out of ask kin to do the same with this "sweet spot,"the stereo only the sound, but the actual any other speaker at any price. image collapses and the fre- spatial reality-the feeling of OR HERE You're in for a shock. quency response is anything being there. And it's an image And we seriously suspect but flat. that doesn't collapse if you move around. you'll be changing your position on stereo speakers for good

dbx Soundfield IA 53000per,'

dblSoundhold 10 51099I's,' Somndfield 100 dbx Sovidliold 7000 5899 pair $6991 pale

dbx Beyond stereo

'Suggested retail prices

For the location of the Oh speaker dealer nearest you. call us directly at 1617) 9643213 1.;E A division of 8SR North Americalidc 1986 dbi. 71 Chapel Street. Newton. MA 02195 Impedance averages well above the nom- trouble with it than the average impedance aggeration. Imaging is very good. The over- inal 8 ohms, but the actual values vary con- figure implies, but we certainly wouldn't ex- all balance is somewhat forward and slightly siderably with frequency. The bass -reso- pect any misbehavior with a competently de- bright, as has tended to be true of ADS nance rise reaches 14 ohms (at about 40 Hz); signed amplifier when it is used alone. speakers we've auditioned over the years. the following dip falls to 4.7 ohms at 100 Hz; Listening quality, following ADS's place- The effect is rather lean and silvery, so to a maximum in the midrange reaches 23 ment recommendations, turned out to be speak, with excellent transparency. We con- ohms at 900 Hz; above 2 kHz, the curve lies very much what you'd expect from these sider the L-990 very attractive in both ap- between 10 and 6.5 ohms. If the L-990 is specifics. The sound isvery smooth pearance and sound and can say nothing driven in parallel with another speaker, a throughout the range. In particular, the bass more than: Listen for yourself-it's worth very fussy amplifier may have a bit more is extended and solid, without any hint of ex- your consideration. POR T mmmomommummommom mommummomm moiummEmmmumminimmr immummommom mmommummumw/nrriTlirr, nor!. immummommm MMINIMMINIMMWOIAI;-AMIA4-;11MIMMMIMMMOMMOM mmmorrammummuffsimminummAmmummilmMMINIMMEMMINMJAAA14.11611.WiliWilliWAIMMEMMINIMINI mmumo= Piiii111111110 Flu rtsiamumumm imummiriammummoNummumouipkiii pills III0,1111111 itry.1immsommmo imemmimmoms mum irommummrnmo

DIMENSIONS 13 BY 22 INCHES (FRONT), 14 INCHES DEEP. PRICE 5800 bottom. Three-way binding posts are re- PER PAIR. WARRANTY "LIMITED," FIVE YEARS PARTS AND LABOR. cessed into the back panel and canted so that MANUFACTURER SIEFERT RESEARCH, 31212 BAILARD RD., MALIBU, bared wires can easily be inserted from one

CALIF. 90265. side, banana plugs from the other. The grille is fabric stretched over a cut-out pressboard T,,.., IS THE FIRST SIEFERT SPEAKER WE'VE form, with a slight bevel along the outer tested. The stated design aims of the edge as the only obvious measure to mini- company's line are low group delay and mize diffraction. excellent imaging combined with low inter - The drivers are all mounted flush in the modulation distortion and extended bass front panel. Their axial alignment and, in performance. In the Magnum III, some ofparticular. the design of the crossover are the means employed to achieve these aims meant to provide good imaging. Not only are fairly conventional, but others certainly are the crossover slopes steep, to minimize are not. the ranges in which two drivers operate si- The unit's three drivers are aligned multaneously and thus tend to blur localiza- along a vertical axis, offset somewhat to the tion, but care has been taken to compensate left of the baffle's center. At the top is a 1 - for phase anomalies introduced by the cross- inch Hybri-Dome tweeter constructed of a over networks, as well. The latter measure "soft metal" (aluminum) diaphragm mated no doubt contributes to the unusually flat to a polyamide plastic surround, a construc- impedance curve, which falls between 8.1 tion intended to supply an optimum combi- ohms (near the bottom of the tweeter range) nation of dome stiffness and suspension and 3.4 ohms (near 100 Hz) throughout the compliance. Below it is a 4 -inch polypropyl- audio band in Diversified Science Laborato- ene -cone midrange unit rated for six -octave ries' measurements. The low values are con- operation but driven over only about 31/2 oc- sistent with Siefert's 4 -ohm rating, as is the taves of that range (250 Hz to 3 kHz) via a 5.3 -ohm average value shown in our data third -order (18 dB per octave) crossover column. It should present an easier -than -av- network. Last is an 8 -inch polypropylene - erage load for most amplifiers to drive; even cone woofer, similar to that used in the mid- paralleled pairs won't faze some amps. Sen- range, surrounded by a high -compliance ni- sitivity is fairly high for a system of this size. trile suspension. In addition to the enclo- Harmonic distortion measures much like sure volume (minus the space occupied by a that of other excellent speakers. meaning ROOM REVONSE CHARACTERISTICS subenclosure for the tweeter and midrange that it is very respectable but not extremely De drivers), the woofer is loaded by a ducted low. It averages roughly V5 percent at the +5 port venting through a slot running across lowest test volume, a sound pressure level 0 -5 the bottom edge of the front baffle. It is (SPL) of 85 dB, and 1 percent or more at the-10 tuned to 33 Hz, following the Thiele -Small highest, 100 dB SPL. In the 300 -Hz pulse HZ 20 50100 200 500 1K 2K 5K 10K 20K Be alignment (which here theoretically ex- tests, the speaker ran out of steam (specifi- bauralmy-dopondont rogIon tends the bass to a -3 -dB limit of 36 Hz). cally, out of midrange suspension "throw"), wads moans@ The wood -veneer enclosure is available for an input equivalent to 26.5 dBW (450 olf-oxis 1303 response in three finishes: walnut, natural oak, and watts) peak into 8 ohms. Since that drive lev- SENSITIVITY (at I meter; 2.8-voit pink noise) 87 5 dB SP!. black -lacquered oak. Front and back sur- el represents a calculated output of 114 dB AVERAGE IMPEDANCE (250 Hz to 6 kHz) 5 3 ohms faces are plain black lacquer (with no visible SPL (threshold -of -pain territory) and in- wood grain) and there are felt feet on the volves far more power than most amps can

JUNE I 9 8 7 27 deliver, this datum has little practical signifi- reinforcement. roughness in this region. There was also an cance. In fact, Siefert's rating of 25 watts (14 Ignoring the usual floor -reflection dip occasional hint of congestion in the deep dBW) as minimum recommended amplifier near 300 Hz, the response graph is unusual- bass. power strikes us as much more to the point. ly flat. On -axis response lies within about But these considerations were largely Use of some sort of speaker stand seems +1%, -3 dB from 80 Hz to 15 kHz, and the swamped by the overall excellence of the called for, if only to raise the drivers closer to spread off -axis isn't much greater. For the Magnum III 's sound, the unusual bass ex- ear level. The lab kept the speakers 16 inch- most part, the sound was judged very tension for a model of its size (and price), es off the floor; for the listening tests, we had smooth and uncolored. In the context of the and its superior imaging. It is, as Siefert them a little lower than that. For both, they high -end speakers with which Siefert would claims, one of those models that's easy to were out from the wall behind (though data have us compare its products, some pro- forget about, so that you end up simply "lis- obtained with the test speaker near the wall gram material did seem slightly forward (the tening through it" to the music. The price didn't depart radically from the response prominence of the lower treble in the overall has gone up somewhat since the speaker was shown in our graph). We tried the speakers response may account for this), and an occa- first announced, but to our ears, it still rep- on the floor as well, but we judged the deep sional bit of flute or other high -frequency resents an excellent value. By all means, au- bass a little too heavy with that much floor source took on a slight stridency, suggesting dition it.

F S T R E P O R T 11111111=111111111111111111111111=1.11111111111111111111111111=1111111111115M1111 11111111111111111111111111111111,11M1111111919191.111111111111111111111111111111 110111101111.11MMENIIE r.vnry 1.11 911011111111111111111111MMIIIIIIIM MOIMEMMINIMMOMMEMAllWAI"hillilMINIMMEMMEMOMMINI MINI11111111111111111111MMIldiAmiligaiii111116=11111111111111M1111111111111 MIIK-111111111111INFT/111111111111111111111111111111111111r1111111r1111111111111 MIMI Ill AlfLk411.111111111 II I IIlrl rillII li1r1111"1,11' r1 LIJE1.9 I EN

1111.111MMEMMIMMINIA

1111111111111M1M111111111111111111EMME=MEN1111111111

DIMENSIONS. SATELLITES3' BY 7' INCHES (FRONT), 4' INCHES both purposes, and the manual gives direc- DEEP, BASS MODULE, 20' BY 12'y INCHES (TOP`7'INCHES NIG{ I ions for choosing wire if longer runs are PRICE. $700, OPTIONAL TRIPOD SATELLITE STANDS, S50 PER PAM. needed.) Placement and orientation of the WARRANTY (SPEAKER SYSTEM): "FULL," FIVE YEARS PARTS AND LA- module aren't supremely critical, according BOR. MANUFACTURER BOSE CORP.. THE MOUNTAIN, FRAMINGHAM. o Bose, though if the ports are very close to MASS. 01701. any surface, the bass won't sound as it should, and placement near walls or in cor- LEAVE IT TO BOSE TO DO THINGS A BIT ners will emphasize bass output, as with any differently from everyone else. Though speaker. the basic concept of the AM -5 Acousti- Each satellite is comprised of two nearly mass System isn't particularly novel-two identical miniature enclosures, each hous- small satellites plus a woofer module/cross- ing a 21/2 -inch mid/high driver. Electrical over-just about everything else in the sys- connections are made to spring clips at the tem is. The configuration of the bass repro- back of the lower enclosure, which is intend- ducers is, in fact, the subject of a Bose ed as the main radiator. The upper one can patent. be used in either of two ways. To reinforce Completely enclosed within the bass and broaden the angular coverage of the module are two 6 -inch woofers, one for each main driver, you can swivel the two drivers channel. The front waves of both radiate so that their axes diverge only slightly. But into one vented cavity within the module, you also can aim the upper driver well away the back waves into a second. The cavities from the primary listening area, turning the are different in size and effective vent ensemble into a traditional Bose Direct/Re- length, so their resonant frequencies are dif- flecting design. ferent. Front and back diaphragm surfaces Several basic placement configurations obviously are 180 degrees out -of -phase, so are suggested in the manual. If the speakers the two waves would cancel each other if it are well out from the wall behind, you can di- were not for the fact that the values of cavity rect the upper satellite drivers back at that and vent loading produce vent outputs that wall (a scheme to which we gave a slight edge ROOM RESPONSE CHARACTERISTICS are in phase in the range between the two in our listening tests). If the speakers are DB resonant frequencies. Equally important for close to the rear wall, you can aim the upper 5 =MI == the AM -5, the resulting signal summation elements outward to reflect from the side 0 IPIPMM114.1111ra delivers a band of frequencies, making the walls. A switch labeled DIRECT/REFLECTING -10 11111110111FairM=MMIEll MILIMMEMIN woofer unit, in effect, an acoustic bandpass tailors the top end of the upper driver's re- HZ 20 50 100 200 500 1K 2K 5K 10K 20K filter. sponse, either leaving it flat for reflecting boundary -dependent nosiss The vents both open at one end of the operation or rolling it off slightly for direct on-musresponse module, which sits on rubber feet and con- radiation, which might otherwise suffer off -oafs 130 I response tains spring clips for connecting cables from from an excessively hot high end. SENSITIVITY lot 1 meter; 2.8 -voltpinknoise) 90 dB SPI the driving amplifier and to the two satel- The satellites can be set on any conven- AVERAGE IMPEDANCE 1250 H, to 6101,1 75 ohms lites. (Bose supplies color -coded cable for ient surface, though careless placement will

26 DEL T surely cause close -in reflections that can compromise performance. To avoid this, you can use the optional adjustable tripod stands, which elevate the satellites by as much as a foot. In our listening tests, we con- firmed that these stands do make it easier to get good results. Bose claims some technical advantages for the overall design (greater efficiency than conventional ported systems and, espe- cially, the suppression of any high -order dis- tortion products by the woofer module's acoustic -filter design), but the overriding consideration is the creation of a "big" sound without corresponding enclosure THE AM -5'S SINGLE BASS MODULE PERMITS FLEXIBILITY OF PLACEMENT bulk. Perhaps this is most important for ster- eo television (the satellites are magnetically is a noticeable prominence near 3 kHz in that is a hallmark of Bose speakers, you'll shielded for such use), where the tiny satel- both curves, but it isn't severe. doubtless choose a reflecting setup. lites are easy to position and their swivels With the weak fundamentals in the cross- Either way, however, a sense of "big- make a range of acoustic possibilities avail- over region, we weren't surprised to find ness" was among the factors that appealed able at the twist of a hand. that distortion in this region measures pro- to us in our listening. By contrast, most mini Any listening system in a room where de- portionately higher than it does in most ofor satellite models we've tested seem to cor or practical considerations inhibit con- the rest of the frequency range. At the lowest compress peaks somewhat, betraying how ventional speaker locations will also profit test level -85 dB SPL (sound pressure lev- hard they must work in their little boxes to from the AM -5's compactness and position- el)-harmonic distortion at 200 Hz was 31/2 achieve high levels. Perhaps this highly sub- ing flexibility. The woofer module, for ex- percent. For the remainder of the range, dis- jective assessment is attributable to the AM - ample, is cloaked in a self-effacing black fin- tortion averages only about 1/2 percent at 5's remarkably low distortion at high fre- ish: In an audio -video system, it might be that level and is much lower than that in the quencies. Another contributing factor could stashed at the bottom of the TV rack. Bose upper treble. Distortion rises with test level, be the unusually high sensitivity for such a suggests hiding it under a chair and even in- of course, but it still doesn't average much small system. But for whatever reason, this dicates that it might be located behind the more than 1 percent at the highest measured characteristic was frequently apparent. listeners. level of 100 dB SPL (again, ignoring the Other traits appeared less consistently. We found that such exotic placements crossover region, where it reaches almost 11 The bass is quite extended for a speaker of can be acceptably undetectable-we local-percent). In most of the audible range, this size, but, depending on source material, ized no sound at the bass module. Depend- therefore, distortion figures are very good. it usually isn't as clean and distinct as the tre- ing on the program material, we could local- In the 300 -Hz pulse test, which in this ble, which often is exceptional. Predictably, ize some sounds in the bass module when we case exercises the bottom end of a satellite, the weakest range is that around the cross- moved it out into the room, in front of the the system accepted an input of 22 volts (the over frequency (which is near middle C, a re- satellites. However, this probably is theequivalent of 17.8 dBW, or 61 watts, into 8 gion where there is a lot of energy in most worst possible position psychologically be- ohms) but at that point showed marked signs music). Still, some instruments reproduce cause of its visual obviousness-and more- of incipient overload. The crossover net- extremely well, with timbres (of the wood- over, it's one that defeats the AM -5's whole work includes a self -resetting overload -pro- winds, in particular) very forward and thrill- purpose. tection circuit, and the lab could have been ingly alive. This same quality (which we Because of the multitude of possible set- detecting a by-product of this protection would attribute to the response prominence ups, Diversified Science Laboratories had to rather than actual speaker misbehavior. near 3 kHz) can have a less stimulating effect use a relatively arbitrary positioning for its Either way, even though a limit was encoun- on voices-especially high ones-which measurements. It placed the bass module on tered, calculated output at that point was a sometimes sound a trifle "pushed." the floor, 4 inches out from the wall, with the fairly hefty 107.8 dB SPL, a maximum level It's a remarkable system. If you want to vents firing to the left. With the satellites on high enough for most normal listening. avoid the big, bulky boxes that usually go stands, 28 inches off the floor, the upper The AM -5 is rated at 4 ohms. Its imped- with good sound, the AM -5 will do so more tweeters were turned 45 degrees outward, to ance never actually drops quite that low: compactly than many other three-piece de- reflect off the near side wall. The right -chan- Through most of the range, it varies be- signs. And thanks to the swiveling -satellite nel satellite was located above the woofer tween about 9 ohms (slightly higher at 20 design, it also provides the Bose Direct/Re- module and its main tweeter was aimed kHz, with theDIRECTsetting) to 4.8 ohms flecting concept's spacious sound quality in straight out toward the "on -axis" micro- near 175 Hz. Below 70 Hz, it rises sharply to an exceptionally flexible form. phone. This follows fairly closely one ofdual peaks: 11.9 ohms near 60 Hz and 20 Bose's suggested configurations for reflect- ohms near 28 Hz. Even so, the impedance ed sound, and the satellite switch was ac- variation is not at all extreme, making this a REPORT POLICY EQUiPMFAIT REPORT, 6 -,ti' ,^4 :FF,RAIORY MEASURE REFLECTING. relatively easy load for most amps to drive. cordingly set at MENT1. AND CONTROLLED LISTENING TESTS UNLESS OTHER, DSL's data and our graph show a decided Many would even accept an AM -5 in parallel WISE NOTED. TEST DATA ARE PROVIDED BY DIVERSIFIED SCI. dip in the crossover region, where the high - with another (preferably 8 -ohm) speaker ENCE LABORATORIES. THE CHOICE OF EQUIPMENT TO BE and low -frequency bands don't quite over- pair. TESTED RESTS WITH THE EDITORS OF HIGH FIDELITY SAMPLES For our listening tests, we could explore NORMALLY ARE SUPPLIED ON LOAN FROM THE MANUFACTUR lap enough. Other setups could have re- ER MANUFACTURERS ARE NOT PERMITTED TO READ REPORTS IN arranged the contour of the dip somewhat, only a few of the possible system configura- ADVANCE OF PUBLICATION. AND NO REPORT OR PORTION but near -field measurements of the module tions, particularly since different source ma- THEREOF MAY BE REPRODUCED FOR ANY PURPOSE OR IN ANY ports and the satellite drivers confirm that terial tended to favor one or another of the FORM WITHOUT WRITTEN PERMISSION OF THE PUBLISHER All possibilities. As the manual suggests, imag- REPORTS SHOULD BE CONSTRUED AS APPLYING 70 THE SPECIE - nothing is likely to make it disappear alto- IC SAMPLES TESTED HIGH FIDELITY AND DIVERSIFIED SCIENCE gether. From the midrange (about 500 Hz) ing is tightest and most unequivocal in the LABORATORIES ASSUME NO RESPONSIBILITY FOR PRODUCT up, on -axis response remains ±31/2 dB or so, direct -aimed mode (which is suggested for PERFORMANCE OR QUALITY and off -axis response is very similar. There TV use). But if you want the spaciousness

1 U N E 198 7 31 immompuommumormummmimmomomN ommimmumminumumummummumm

nminimmiworm rqmP7r. 11"1"11 rirommumbm

1 1 1 immummmom lir 1 1 1 1 1 kl ;-11111111111=1111111111111111111111111 1111111111111111M11111111M11.11--; 1.1411:i1644111111MEMMENI

il If [ . 1 '1 . 1 'L 11 1 ri rl1 1 rl 1111111111111111111111111M1 E 111111111111111111111111111MEM1111111111111111111MM11111111

DIMENSIONS: 28 BY 11',7 INCHES (FRONT), 1Y., INCHES DEEP. PRICE, whereas bringing the tweeters up to ear level SPEAKERS, 5599 PER PAIR, M-20 STANDS, 599 PER PAIR. WARRANTY requires a stand about 15 inches high. "LIMITED:. FIVE YEARS PARTS AND LABOR. MANUFACTURER. PARA- Diversified Science Laboratories ob- DIGM ELECTRONICS, INC., 4141 WESTON RD., SUITE 5, WESTON. ONT. tained its test results with the speaker on an M9L 258, CANADA; U.S. DISTRIBUTOR: AUDIOSTREAM CORP., BOX 8 -inch stand located 35 inches from the wall 1099, BUFFALO, N.Y. 14210. behind. The on -axis frequency response is a very respectable ±2 dB from about 100 Hz SA RELATIVELY YOUNG LOUDSPEAKER up to about 20 kHz. Off -axis, the response is Company,Paradigm has not had time to not quite so flat, with a distinct dropoff in re- stablish a reputation, at least in the sponse above 10 kHz and with slight dips in U.S. But if our reaction to the Model 9se the crossover region and around 300 Hz (a loudspeaker is any indication, a good repu- floor -reflection aberration that does not tation should not be long in coming. For show up in the close-miked woofer or port once, we wholeheartedly agree with the con- responses). The latter dip tends to make the ventional puffery on the data sheet: The Par- slight rise centered at 160 Hz more promi- adigm 9se is most definitely "a no -compro- nent, both on the graph and to the ear. At mise two-way design capable of outperform- DSL, response rolled off at a comparatively ing systems costing several times as much." gentle 6 dB per octave below 125 Hz. Actually, in electroacoustical design, the The average measured impedance over Model 9se is a rather conventional vented the audio band is 8.1 ohms. But because the system. The tweeter is a Ferrofluid-damped, impedance curve dips to 3.8 ohms at 30 Hz 1 -inch, polyamide-dome unit with a high - and 200 Hz, the 9se's rated impedance of 4 temperature voice coil wound on an alumi- ohms is justified. The impedance curve also num former. The tweeter diaphragm is said has peaks of 7.2 ohms at 70 Hz and 18 ohms by the data sheet to be "replaceable," al- at 1.4 kHz. The measured sensitivity is, as though we cannot fathom any reason that claimed, relatively high at 92.3 dB sound you'd need this feature in normal use. Per- pressure level (SPL) with a 2.8 -volt pink - haps the most unusual aspect of the speaker noise input. The speaker, providing the dy- is its use of two woofers driven in parallel to namic range the data sheet promises, accept- increase speaker sensitivity and power -han- ed a full -output (67 -volt) signal from the test dling ability and to reduce low -frequency amplifier during DSL's 300 -Hz pulse test. distortion at high sound levels. Each is 7% With this signal-equivalent to a 561 -watt inches in diameter and has a polypropylene (27.5-dBW) input-the speaker delivered a ROOM RESPONSE CHARACTERIST1G diaphragm with a high -compliance synthetic deafening calculated peak SPL of 119.9 dB. ABS Butyl suspension. The crossover is a DB Distortion at more sensible levels re- +5 ----- Butterworth network using air -core induc- mained quite low. For frequencies above 60 IlliZalliiiiiii%--NW-- tors and Mylar capacitors. Crossover fre- Hz, it averaged well below 0.6 percent at an -5 quency is 2 kHz. 85 dB SPL test level and well below 0.8 per- -10 ----s. The two ports for the woofers are located cent at 90 dB SPL. At the highest test level HZ 20 50 100200 500---1K 2K 5K 10K- 20K on the back panel, which on our samples was (100 dB SPL), distortion above 60 Hz was at boonary-aponannt region painted black to match the black -ash vinyl on-iudi notions* worst 3.5 percent at 250 Hz. Even at 50 Hz, off-tuus (30') response veneer of the rest of the enclosure. A natural distortion was only 5.9 percent, and above

SENSITIVITY (in 1 oiler; 2.8.voit pink noise) 92.3 dB SPL walnut vinyl finish is available as well. Also 500 Hz, it was still less than 0.7 percent.

AVERAGE IMPEDANCE 1250 Hz to 6 kHs1 9 8 ohms on the back panel are the two binding -post All this backs up our listening -session connectors accepting bare wire, lugs, and evaluation of the 9se as a speaker that plays dual or single banana plugs. plenty loud and yet manages to avoid any Although it is tall enough to provide ac- sense of strain or diminution of clarity in ceptable results when sitting directly on the loud, complex music. The only time we floor, the 9se's instruction sheet recom- heard the effects of the measured low -bass mends placing the speakers so that they are rolloff was when the music had substantial totally freestanding-away from walls and amounts of signal in the lowest octave (say, the floor. It also says that "speaker stands 20 to 40 Hz), but these frequencies are diffi- that bring the tweeter to approximate ear cult even for larger and costlier systems, in level are essential." However, Paradigm's addition to being somewhat rare in music. screw -together M-20 metal stands elevate When the speakers were placed in our lis- the speaker only 8 inches above the floor, (CONTINUED ON PAGE 35)

30 HIGH F I D E L I T Y Your loudspeakers may well have some of the most advanced drive units and crossovers in the whole world. Even so, something isstill standing between all the natural sound they produce and your ears. The loudspeaker cabinet walls. When the drive units vibrate, they will make the cabinets vibrate as well Stopping the complete sound spectrum that comes from the drive units from ever reaching you. This effect is known as colour- ation. And it's the reason you're always conscious that you are listening to music produced by two loudspeakers rather than a truly live concert performance. INSIDE EVERY BOX IS THE NATURAL SOUND STRUGGLING TO GET OUT

Colouration is a great barrier The bass has depth and body is required to virtually eliminate Matrix 1, 2 and 3. to pure sound reproduction. Loud-and no resonant boom. unwanted sound radiation from Each has a different size, speaker manufacturers all over The mid- and high -frequencies the cabinet is a honeycomb -like maximum acoustical output and the world have been searching for have a new sparkle and definition. structure of unique design insideit. bass ea -tension. All have the same a way to break through it. And, for the first time ever, They also discovered that enhanced stereo imagery improved Now B&W have finally done the natural decay of reverberation this so improved the performance transient response, low distortion it. With an invention that's the is heard exactly as its heard in of the cabinet that they also had and total freedom from colouration. most exciting and important break- a kw performance. to improve the quaky of all the The Matrix series takes its through in loudspeaker technology The familiar, but greatly drive units. place in the B&W range, succeed- that even they have made in the unloved hangover effect is dead. Consequently, as well as the ing loudspeakers that in their time last 20 years. Long bye the Matrix. drivers with homopolymer cones have made history. Its the Matrix This revolution was achieved manufactured under licence from You just cannot miss series of new digital with an idea so very simple that CBS Inc., Matrix also features a them at your Beew monitors. The first B&W practically invented the newly designed ferrofluidtweeter. stockist. ever loudspeakers to Matrix by accident. The new Matrix series itself They are truly totally eliminate the They discovered that all thatfeatures three digital monitors. the only loudspeakers colouration from the loudspeaker cabinet. :171;1;2 nseoetnizei;; LISTEN & YOU'LL SEE . %WWII

B&W Loudspeakers (UK Saks) LimitedMarlborough Road LancingWest Sussex tv v o R Telephone (0903) 750750 WHY MANY OF SAY'S EXPENSIVE LOUDSPEAKERS

TRAP ' 0 E MOST CRITICAL NOTES. The music that goes into many of today's domed drivers. Virtues like highly priced loudspeakers isn't always the same these compelled Stereo music that comes out. Many of the finer notes and Review to also comment on nuances are often trapped or lost. Why? Because Altec Lansing's "...high sensi- advanced recording techniques and digital pro- tivity and ability to absorb cessing demand a dynamic range of over90 dB large power inputs...a Carbon Fibers in Woofer Cone and an extended frequency response. Demands speaker that can develop high sound pressure that are often beyond the limits of ordinary levels in any environment." Even the hand crafted loudspeakers. walnut veneered cabinets utilize the latest com- The truth is, most people can't hear what's puter aided design techniques, thick walls and missing from their music-like a broad frequency extra bracing to eliminate resonance. range-or what's been added-like coloring or So come hear Altec Lansing loudspeakers. distortion. But there are a few who can. And discover just how much of your music has For that select group, listeners with well trained been trapped by less than extraordinary loud- ears, Altec Lansing has engineered a new line of speakers. Call I-800-ALTEC 88 for information loudspeakers to recreate every subtlety and the Altec dealer nearest you. (In PA 717-2% of recorded music with a clear open HIFI.) In Canada call 416-496-0587 or write 265 sound and without coloring or Hood Road, Markham, Ontario L3R 4N3. distortion. Even the accuracy of CD recordings can be more fully appreci- ated on these Altec Lansing loud- speakers, prompting Stereo Review Akvimiderraanium Mid -range to remark "...the bass distortion was among the lowest we have measured. The speakers have...very good bass, and a warm, extended and unstrained character." a The secret to Altec Lansing's consummate per- formance? Remarkably sophisticated technology. Like woofers of a woven carbon fiber material (instead of paper or polypropylene) that is extremely rigid yet sufficiently light for maximum transient response and extraordinary low fre- quency definition. The result is a pure, clean, deep ALTEC LANSING bass that beautifully complements the performance LOUDSPEAKERS FOR of our mid and high frequency polyimide/titanium THE WELL -TRAINED EAR Even if college isn't for you, chance to travel. To meet new people. To the G.I. Bill Plus the Army College get yourself into the best physical shape Fund can be. you've ever been in. And, you'll get the You can earn $17,000 for your Army's high-tech training that can help you Vo-Tech schooling with the Army's in your Vo-Tech major and your career. special Two -Year Enlistment. Or If you'd like to learn more about $25,200 if you serve four years. how the G.I. Bill Plus the Army College Of course, how much you earn for Fund can help pay for your educa- your schooling depends on how long tion at an accredited Vo-Tech school, you serve and which specialty you qual- visit your local Army Recruiter. Or ify and enlist for. call, toll free, 1 -800 -USA -ARMY. But you'll get a lot more out of your enlistment than money. You'll have a ARMY. BE ALLYOU CAN BE.

IF YOU WANT ECHNICAL IT ISN'T ONL COLLEGE. (CONTINUED FROM PAGE 30) moved them a foot closer to the wall. The company, the conventionality of the design, tening room as DSL had them in its lab, we 9se then passed all of our standard frequen- the fine frequency balance, the very reason- detected a hint of upper -bass heaviness on cy -balance music tests with flying colors (in- able price, and the fact that the Paradigm 9se male vocals (probably due to the combined cluding massed orchestral strings and fe- can be driven to levels of more than 100 dB effects of the slight 160 -Hz peak and the male vocals). The overall frequency balance SPL with a 20 -watt ( I 3-dBW) amplifier, 300 -Hz floor -reflection dip). But this disap- in that position proved excellent, as did the there is no contradiction in saying that the peared when we raised the speakers up to precision and depth of the stereo image. 9se is both a "sleeper" and a speaker that the recommended ear -level height and Considering the relative youth of the will make you sit up and take notice.

T ES T P 0 R TS 11111111111111.1.1111011111111111111111111111111111 111111MliorTnIMr 74111111111111111111111111 .! TI1T71771111 1 'fold 71I IMMEMENNII r -I I Iri 1111 di I1111/1 I I 1111111111111111111111111

10011,11 111111111111111111111111111111MNIM11111111

hill 1 'I I 11111111161111111111IIIIMMIN1111=11111 ilm11111111111111111111111111111111m=01111111111111111=

DIMENSIONS: 12'., BY 33% INCHES (FRONT), SV, INCHES DEEP PLUS off -axis, though slightly more irregular. The

CLEARANCE FOR CONNECTIONS AND STAND. PRICE. $249 PER PAIR. advantage of using a very small -diameter

WARRANTY: "LIMITED," FIVE YEARS PARTS AND LABOR. MANUFAC- tweeter is evident in the excellent high -fre-

TURER: DCM CORP., 670 AIRPORT BLVD., ANN ARBOR, MICH. 41104. quency extension of the off -axis response, which holds up to approximately 16 kHz. THE TF-250 IS THE SMALLEST AND LEAST The bump centered at about 600 Hz proba- expensive model in a line of five new bly is the result of interference from a reflec- DCM speakers called the Timeframe tion off the floor (an effect we commonly see Series. Until their appearance, the company in speakers whose drivers are mounted well had been known almost exclusively for its above the ground); it is not evident in the Time Window loudspeakers, which were lab's near -field measurement of the woofer among the first designed to take phase as response. well as frequency response into account. Sensitivity is moderate. Impedance is on And as the name suggests, the Timeframes the high side for a modern speaker, with a 7 - follow in that tradition. ohm minimum at 17 kHz and a 24 -ohm peak What distinguishes them is their shape: at 2.2 kHz. Over most of the audio range, it is tall, slender panels, rather than columns between 7 and 15 ohms. This should be an (like the Time Windows) or boxes (like most easy load for any decent amplifier, and we other speakers). The TF-250 is a remarkably expect that most would accept a second pair light two-way system with a 61/2 -inch woofer of loudspeakers in parallel without any diffi- near the top of the front baffle and a S/4 -inch culty. plastic dome tweeter just below. Crossover In our 300 -Hz pulse power -handling appears to be at about 3 kHz. The woofer is test, the TF-250 accepted the full output of loaded by a transmission line that terminates the lab's amplifier, equivalent to 28.1 dBW in a port near the bottom of the panel. A (648 watts) into 8 ohms, for a calculated nonremovable brown cloth grille wraps all peak sound pressure level of 116.6 dB, around the enclosure, which has dark oak which certainly indicates more than ade- endpieces. At the back are color -coded quate dynamic range. Distortion, however, spring clips for the amplifier connections measures somewhat higher than average and a short (about 4 inches) piece of wood (perhaps because of the relatively small driv- that can either be rotated under the speak- ers). At 85 dB SPL, total harmonic distortion er's base or turned to jut out behind for (THD) averages a little more than V, percent added stability. from 100 Hz to our 10 -kHz measurement Diversified Science Laboratories tried limit, rising to about 1 percent at 90 dB, 1% the TF-250 against the wall behind it and percent at 95 dB, and 3 percent at 100 dB. ROOM RESPONSE CHARACTERIMES several feet out into the room. As expected, On the other hand, these figures are inflated ue bass output goes 20 Hz or so deeper with the by a peak in the second harmonic between 5 wall placement, but since the overall re- 200 and 250 Hz (ranging from about 1% 0 sponse was smoother when the speaker was percent ai the lowest test level to around I 1 -5 -10 moved forward. DSL left it there for the re- percent at the highest), and we were never mainder of the measurements. The curves in aware of any distortion from the speakers HZ 20 50100 200 500 1K 2K SK 10K20K bewirplopurbet wpm our data column are for the away -from -the - during our listening tests. milers* wall placement. Under these conditions, the In fact, we were mostly quite pleased with - - - - Olds (30) restore what we heard from the TF-250. The overall room -corrected, third -octave response is soisrnvir (at 1 maim; 2.11-vapiik aN..) 88 5 dB SR. within +3, -4 dB from approximately 80 sound is big and smooth, without even a hint AVERAGE IMPEDANCE 4250 Ns 166 Mb) I5.2 awns Hz to 20 kHz on -axis and is nearly as good of the brightness or harshness so common in

JUNE 1 9 8 7 35 speakers these days. If anything, it goes a bit from a speaker of this size and is not a great tests, their performance held up nicely when too far in the direction of mellowness, taking loss with most music, which seldom contains we moved them to other positions in the some of the sparkle and aliveness out of in- much (or any) information that far down. room. struments that have lots of high overtones The stereo image is broad, yet well focused, In sum, the TF-250 is an attractive loud- (such as cymbals and woodwinds), an effect and exhibits good depth when the speakers speaker that delivers good sound together probably attributable to the small responseare away from the wall. And though we did with distinctive styling at a very reasonable dip in the brightness range. The very deep-most of our listening with the speakers price. If you're looking for value, it's a fine est bass is missing, but this is to be expected placed much the way they were for the lab place to start.

T ES T R EP OR T MR MEM =ME MIMN MEM

NM 1111Mmill M 01 MMEN EMEMOLAINI. rfO .rmq FP9. moo

mil i mow A I MI I k I 11,A I1 14l 19 H 1 NM 1 AIM= um IIIMENLA:411166&Alim6iWiA416461111MMEMMINEMEM mmommummummormrINITILammommilmmmommommilimmummimmommommum mommimmommumwiTilloliwolimmommom mimminimmummommummommommummmommommommumummummummummi

DIMENSIONS 10 BY 9'., INCHES (FRONT), 9' , INCHES DEEP. PRICE: drops to 7.2 ohms (neat 200 Hi), rises to 34 $260 PER PAIR, OPTIONAL ST -3 STANDS, $65 PER PAIR. WARRANTY: ohms near the crossover (actually, around "LIMITED," FIVE YEARS PARTS AND LABOR. MANUFACTURER. 3D 1.5 kHz), drops to 6.8 ohms in the upper tre- ACOUSTICS (A DIVISION OF DAHLOUIST, INC.), 601 OLD WILLETS PATH, ble (around 7 kHz), and begins rising gradu- HAUPPAUGE, N.Y. 117611. ally again at the very top end (to 8.8 ohms at 20 kHz). The only quirk is the bass reso- THL CUBE IS THE SMALLEST LOUDSPEAKER nance frequency: just above 110 Hz accord- made by 3D-and, for that matter, by its ing to the peak in the impedance curve. That relatively high -end parent company, is an unusually high frequency by compari- Dahlquist-and the least expensive. In con- son to most speakers, though a high bass res- cept, the Cube is also the simplest, with just a onance point must be expected with such a woofer, a tweeter, and a crossover housed in small enclosure size. a modest, nearly cubical space. But it is quite That the speaker doesn't sound as bass - different from the "quick and dirty" designs shy as that resonance would suggest is even that infest the bottom ends of many other more of a surprise. Obviously, the Cube is loudspeaker lines. no match in the deep -bass department for Cubes are sold in mirror -image pairs competently designed larger systems, but with tweeters near the upper outside corners it's always surprising when a relatively small, of the front baffles and the woofers nearer inexpensive model can deliver so plausible the lower inside corners. (Left and right an overall balance. The lab measured re- speakers are clearly marked on the back.) sponse with the speaker on a 30 -inch stand The tweeter diaphragms are S/4 -inch poly - (similar in height to 3D's optional ST -3 ROOM RESPONSE CHARACTERISTICS carbonate domes with Ferrofluid damping; stand) and 4 inches from the wall behind it. DB the woofers have 5 -inch laminated cones.The curves confirm that bass resonance is .5 ----- The crossover frequency is 2.5 kHz. The above 100 Hz but show that bass rolloff isn't sealed (acoustic suspension) enclosures are as steep as it is in some other models. Except -50 MBIW:MMIL 10 finished in satin black, with solid walnut for a trough centered near 300 Hz and pre------111-11101 strips flanking the grille. The latter is fabric sumably attributable to floor reflection, HZ 20 50 100 200 50(-) 1K 2K 5K 10K 20K stretched over a thin pressboard form, held bOunelorrelependent region on -axis response remains within ±3 dB aseaxis response in place with Velcro tabs. throughout the midrange and treble. Off - off -axis(30) f0141011S. Heavy-duty three-way binding posts for axis response is a good match over this SENSM V ITY (at 1 meter; 2.8-roh pink noise) 88 dB SPE the electrical connections are inset into the range-even in the highest treble, where AVERAGE IMPEDANCE (250 Ht to 6 k r I 185 ohms back panel in the usual fashion. The holes divergence between the two curves normally through the binding posts meant to accept can be seen as the tweeter becomes increas- bared wires were all aligned differently in ingly directive. Our listening tests confirm our test samples, making hookup a more that tonal balance does remain relatively onerous task than necessary unless you use consistent throughout the room. spade lugs or banana plugs. But this is a very They also confirm some weakness of the minor point for people who aren't equip- crossover range relative to neighboring fre- ment reviewers and therefore do not oftenquencies (particularly the octave between have to confront the inconvenience. 500 Hz and 1 kHz in the upper midrange and Diversified Science Laboratories' mea- around 4 kHz in the treble), which lends surements show a fairly typical impedance some coloration to the sound. But we don't curve for a simple two-way sealed system. want to overemphasize the matter-particu- Impedance is rated-justly so-at 8 ohms, larly in light of the Cube's modest price and but it rises to 27 ohms at bass resonance, the ease with which we adjusted to it during

36 H IGH F IDE LIT Y extended listening. very compact system. However, the lab dis- this very compact enclosure-only about Distortion measured about what you'd covered that the tweeter can't take steady twice the volume of many real minispeakers. expect for such a small system. At the lowest tones at this level-at least, not up in the It's also remarkable how low the price is-or test sound pressure level (85 dB SPL), the range above 5 kHz. But unless you like very rather, how high the price of some compet- figures average about 1/5 percent over most loud synthesizer rock (in which case, this ing ultracompact speakers can go. We were of the range, except for the deep bass, where isn't a speaker you're likely to cherish any- even surprised how sensitive the Cubes they are higher. At the highest test level (100 way), the tweeter failure the lab experienced proved to be, despite the miniaturization. So dB SPL), the average over a similar range is 2 is of almost no practical importance. if you're looking for a compact speaker at a percent or more, which is about par for a It's remarkable what 3D has done with moderate price, don't pass this one by.

T F R F P OR T S MMJMMIIIPM MUNIIMMEN ilriNMENE MEMMIIMMEM MEMENOM I. N I I I MEMEME U1111111111111111111=111111 IEl r 1 II Id 11IIIINIIIIIIM11111111M111111rn MIIIIIIIIIIMIIIIIIIIIIMILLINQbAL JR.16:464Q11111110==11111111111111ill Nommir:ummuminuTum Nolrumummmismul 11111111111MINWIll'alialllailnOrillliTilll!iiiTjirtI4CIAIMISMI IIMMIN111111111110111111111'1IIIIIIIIIIIIILIFIrnrilijIMIIIIMIIII =1111111111111.1111111111111111111M111111111111111111111111111111111111111111111111111111111111111111111110111 11111111111=11011111M1111111111111M111111111M1111111MEIN111111111=1111111111111

DIMENSIONS 17 BY 37, INCHES (FRONT), 131/4 INCHES DEEP PLUS source with the video from another. The Except where noted, all data are lot the Dolby Surround mode CLEARANCE FOR CONNECTIONS. AC CONVENIENCE OUTLETS. ONE possibile applications of this are many, but 01/TPIJI AT CUPPING le 1 kHz) 8.0 volts SWITCHED (100 WATTS MAX.), TWO UNSWITCHED (100 WATTS MAX. simulcast recording springs immediately to min drama center dawn 4.4 volts EACH). PRICE: $729. WARRANTY "LIMITED," TWO YEARS PARTS AND mind. surround. Manna 6.2 volts LABOR. MANJFACTURER. NEC CORP., JAPAN, U.S. DISTRIBUTOR. NEC You can connect video -processing MAXIMUM INPUT LEVEL 2.8 volts HOME ELECTRONICS (U.S.A.), INC., 1255 MICHAEL DR, WOOD DALE, equipment to a set of adapter input and out- SIN RATIO Ire 0.5 vett; A -weighted) ILL. 60191. put jacks (which are activated by a rear -panel resin donna 102 d8- slide switch), and you can insert external au- center Moira 98 dB' YOU CAN SPEND WEEKS EXPLORING NEC'S dio -processing equipment into the system around charnels ?..75dEr AVD-700E surround -sound decoder. by removing a pair of back -panel jumpers DISTORTION (ND; 20 Hz to 20 kHz; 2 -volt kw) It's that versatile and that imposing. that also allow direct access to the internal main channels 5 0.042% We haven't seen a comparable consumer au- delay circuits. There are two video -monitor surround channels 5 0.42% dio -video control center with as many in- outputs, left and right front -channel audio FRIGUITIcY RESPONSE outputs (our I), two sets of left and right min canals + 0, - 1/4 dB, 13 H2 to 24.1 kHz puts, outputs, and connection possibilities +0, -3 dB, <10 Hz to 78.1 kHz as the AVD-700E. In fact, we think it would back -channel audio outputs (our 2), and two war domed + 0, - 1/4 dB, 16 Hz to 24.1 kHz be a rare application that would come close mono center -channel output jacks. All con- +0, -3dB. <10 Hz to 74.4 kHz to taxing the full capability of this device! nections are through pin jacks. surround dont& +0,- 1/4113, <20Nzto 4 kHz There are five stereo audio -video inputs The NEC AVD-700E provides four au- +0,-308, <20Hz to 87 kHz 82 1/2 dB" (VIDEO I through VIDEO 4 plus one for a tele- dio -processing modes, in addition to bypass, CHANNEL SEPARATION (1 k112; Ito* &nods) vision tuner), four line -level audio -only in- which takes the processor out of the circuit. INPUT IMPEDANCE 34k ohms puts (CD player, tuner, and two auxiliary All four-Dolby Surround, Hall, Matrix, and OUTPUT IMPEDANCE sources), and connections for an audio tape Creation-make use of the AVD-700E's mm channels 1.000 ohms dual 16 -bit digital delay lines. The delays of cater cannel 150 ohms deck. Of the audio -video array, two inputs surround channels 1.000 ohms (VIDEO i and VIDEO 2) have corresponding the left and right channels are independent- 'All mode, audio and video outputs so you can record ly adjustable in1 -millisecond increments 'Dolby Of Hall mode /5 dB 100 dB in Matti, mode 96 dB in Creation mode on two VCRs simultaneously or dub be- from 1to 92 milliseconds, except in the ' Bypass node tween them in either direction. Further- Dolby Surround mode, where the delay time more, NEC's switching arrangement is such is restricted (per Dolby Surround specifica- that you can combine the audio from one tions) to between 15 and 30 milliseconds.

JUNE I9 8 7 37 front channels is delayed and applied to the occurred without warning. This is less of a back. However, in Hall you have the full 92 - problem than it appears, since the minimum millisecond delay range at your disposal, input level for overload is 2.8 volts, which and you can simulate the reverberation time should be adequate for normal sources and of a concert hall by advancing the ECHO CON - program material. not_ Also, the bandwidth of the back chan- The 42 -function infrared remote control nel is not limited in Hall as it is in the Dolby supplied with the NEC AVD-700E provides Surround mode. The Matrix mode position even more functions than are available with is recommended primarily for sports pro- the front -panel controls. For instance, the grams. handset can store favorite settings in one of We think you'll find, as we did, the im- three memory presets for system reconfigu- posingly named Creation mode the most ration at the touch of a button. The remote versatile of them all. As the manual says, also permits direct selection of any mode "This is the best position for music source and any input, simultaneous or independent and other high -presence reproduction." adjustment of the left- and right -channel de- Creation brings to bear the full power of the lay times, and volume adjustment of all AVD-700E system. It gives you complete channels simultaneously (as on the front control of the left/right mix, separately in panel). Furthermore, the balance among the the front and back channels, via separate channels can be adjusted either indepen- mix -level controls for the two main outputs. dently or in pairs (front, back, left, right). The maximum setting of each control pro- You cannot, however, control the mixing in duces complete (1:1) blending of the two of echo or the input levels from the remote. channels; at minimum setting, you have nor- Traditionally, noise has been the bane of mal separation. The twist is that you can in- components containing delay circuitry, but vert the phase of the mixed -in channel, again thanks to the digital approach adopted by independently for the two outputs, by press- NEC, the dynamic range of the AVD-700E is ing either or both of the Out I -Inv and Out very wide. A -weighted noise is at least 96 dB 2 -Inv switches. The out -of -phase position below our 0.5 -volt reference at all outputs creates a wider -than -real stereo effect at the under all conditions except in the Dolby Sur- expense of precise imaging; the in -phase po- round and Hall modes, and then only in the sition shrinks the image toward the center. back channels. Even in this "worst case" But since the degree of opposite -channel condition, the signal-to-noise ratio of 75 dB THE AVD700E'S REMOTE CAN PRESET THREE blend is adjustable, you can create a wide is more than adequate because of the nor- SETTINGS FROM THE LISTENING POSITION. range of effects. The Creation mode's back - mally lower volume of the back channels. channel outputs (our2) are processed by the Front- and center -channel frequency re- two delay circuits, and simulated reverbera- sponse is unusually flat and extended for an tion can be dialed in, as in the Hall mode. audio signal processor, not only in the by- From the front panel, you can change pass mode, but in the Dolby Surround and modes (round-robin fashion, by successive Hall modes as well. Back -channel response taps of SURROUND SELECTOR), activate the in the Dolby Surround mode follows the delay, and adjust the delay time of both Dolby specifications quite closely. Input im- The independent adjustability of the two channels simultaneously. If a function is un- pedance is perfectly adequate for connec- delay lines offers some intriguing capabili- available in the mode chosen, the switch tion with any source, and the output imped- ties, especially in the Dolby Surround mode. controlling it has no effect and the appropri- ances and maximum output levels are equal- The Dolby Surround standard provides for ate LED indicators will not light. ly well suited to drive any amplifier. Unlike only one "rear" (surround) channel; it is The left and right delay times are indicat- many other signal processors that, at most, mono, though it is usually wise to use a pair ed by numerical readouts in the display. The provide unity gain, the AVD-700E provides of speakers to reproduce it. If you're willing front -panel input selector also works in as much as 16 dB gain to the front and back to go the whole Dolby Surround route and round-robin fashion, and again, the choice is outputs and 10 dB from one input to the invest in a five- or, better yet, seven -speaker shown by legends in the display. The tape - center -channel output. theater -style sound system, you can use monitor switch is for an audio deck only, and Distortion to the front outputs (in the three in the front (left and right connected to ss (Sound Selector) permits independent Dolby Surround mode) barely exceeds 0.04 otrr i and center connected to a mono out- choice of video and audio sources. The percent throughout the audio band and is put), a pair of speakers roughly flanking the front -panel volume rocker -switch affects all entirely second harmonic. Distortion to the viewing position and derived from, say, the channels (including the mono output) si- back (surround) outputs is an order of mag- left channel of otrr 2, and a pair in the rear of multaneously. The relative settings of the nitude higher and contains some third har- the listening area driven by the right channel left and right channels for the two main out- monic as well as second, but this is at a high of otrr 2. By separately adjusting the delay puts are shown by parallel seven -segment 2 -volt level and, under normal conditions, time in the "left" and "right" channels, you indicators. FULL MUTE does what its name cannot be heard in program material. have independent control over the arrival implies, while RESET turns all volume set- On the nit-picking side, we think a prod- time of the sound from the side and rear tings to -40 dB. uct as versatile as the AVD-700E deserves a speakers. The unit, however, does not con- The final pair of front -panel controls ad- better manual than the one that accompa- tain any "steering logic" circuitry used in justs the input levels to prevent overloading nies it. This is one case where the multitude theaters and some other home Dolby -Sur- of the input analog -to -digital converters. of pictures could have been helped by thou- round decoders. LEDs above these controls are meant to sug- sands (well, maybe hundreds) of words. Hall is the recommended mode when gest the danger level, although Diversified You're pretty much left to your own devices viewing music videos or non-Dolby-Sur- Science Laboratories did not find that the to discover the effects you can get from mu- round-encoded movies. In some ways, the LEDs accurately indicated the clipping sic and video soundtracks, particularly when Hall processing is similar to that used by point: At some settings, they lit well below using the Creation mode. But that, after all, Dolby Surround, in that a mono blend of the overload point; at other settings, clipping is part of the fun!

3S HIGH FIDELITY There's only one other way to enjoy so many thrills for so little money.

Fast rides. Lots of excitement. A day at the amusement park is a great way to get your adrenalin going. For the money, there's nothing quite like it. Unless, of course, you're clever enough to buy Jensen® Classic car speakers or a JS car receiver Classic speakers give you big sound for a little price. All the Jensen Classic speakers are compact disc ready, a feature you'd normally expect to find only on higher priced speakers. Although they're short on price, they're not short on power. Dynamic cone tweeters, long throw woofers and 2W' dynamic cone midranges (on our 6" x 9" model) give you up to 150 watts peak power. What's more, they're made JINSLIS in the U.S.A. and there's a MEM U. ins mm model to fit any installation. JS receivers give you features you can really use. Any car receiver gives you plenty of features. The Jensen JS receivers have features you'll use plenty. Like Auto Reverse. Dolby"B:' Seek. Scan. And 40 watts system power. Two JS receivers even have compact disc player inputs. So, adding a CD player to your system is as easy as plugging it in. If you're ready for thrilling car sound, but not prepared to spend a lot of money, there's only one thing to do. Put a Jensen in your car. Turn it up. Then hang on for the ride of your life.

CollsPACT DISC \ mi-E-9 JENSEN ( (("14)» 1 . We make music a moving experience. ....__, ' c 1987, Internaeona Jensen Inc Jensen' is the registered trademark of Intim flat to r BEADY If you have ever heard music live, you can appreci- ate what's behind the Bose 901Series V Direct/ Reflecting speaker system. Live music is the complex interaction of direct and reflected sound. Most speakers, however, are not designed with this in mind-which is why they sound more like speakers and less like music. This was the conclusion reached years ago by a Massa- chusetts Institute of Technology research team led by Dr. Amar G. Bose. Through extensive research, his team discov- ered the secret of live music: that it is the precise balance of direct and reflected sound heard during live performances that makes live music sound live. Finally, they designed a product that could put this discovery to work in the living room: the Bose 901 Direct/Reflecting' system. The Bose 901 Series V speaker: a system of audio innovations. The introduction of the revolutionary Bose 901 system in 1968 redefined the phrase "high fidelity." For the first time, a speaker was capable of reproducing music with much of the impact, clarity and spaciousness of a live performance. The 901 system's concert hall sound and compact size made it an instant success with both audio critics and audio enthusiasts. Today's 901 Series V system incorporates some 350 improve -

The 901 system's nine full -range HVC drivers are precisely arranged to re-create live music's natural balance of direct and reflected sound. Each driver is matched and tested by the Bose Syncom II computer.

The Bose -built HVC driver is made out of some of the strongest advanced composite materials available. The heart of the driver is the Helical Voice Coil, which handles instantaneous peaks The Bose 901 system's Direct/Reflecting speaker design turns your listening of up to 4.000 watts, Multiple HVC drivers give room into part of your stereo system. You'll hear full stereo throughout the the 901 system unlimited power handling in listening environment-no matter where you sit or stand. home applications. (.,/ FA y- ow,

In the co nen hall (above left). listeners hear a complex m xture of direct and reflected sounds, arriving from different directions and at different t mes. Bose Direct/Reflecting speakers (center) are designed to reproduce music in much the same manner allowing listeners -to hear greater realism and impact. Conventions speakers (above right) on the other hand. reproduce primarily direct sound causing listeners to miss many of the critical acoustic cues that make live music sound live

ments over the original. The speaker's innovat ve aucio technology turns your listening room into an essentia part of your stereo system. The 901 system worKs by reflecting most of its sound. instead of aiming all the sound toward you 0 like a conventional speaker. So, anything you listen to over a 901 system picks up a strong sense of concert hall realism, because the system is capable of reproducing the concert hall's natural balance of direct and reflected sound. The right speaker for the best in audios digital. The 901 system's ultra -high efficiency and unlimited power handling in home applications make it an ideal speaker to use with almost any stereo system. It will help you cet the most out of the best sources of sound available as well. For exam- ple, you'll hear digital compact discs sound as close to live as possible, because the Bose 901 system has been specifically engineered to take full advantage of their supe-ior sound. Digital Dynamic Range circuitry and Direct/Reflecting speaker design allow the 901 system to accurately reproduce live mi_sic's impact. clarity and spaciousness. The right speaker for your entire system. Whether you're listening to digital audio or hi-fi video. the Bose 901 Series V system will let you get the most out of your entire equipment and software investment-because it will let you hear all of the realism that a truly good audio/video system is capable of producing. Audition the Bose 901 Direct/ Reflecing speaker system at your authorized Bose dealer. and judge for yourself. Then take the next step-and invite a legend home. There is an entire line of Bose speakers that ncorporates much of the advanced technology developed for the 901 sys- tem. For more information and an all -product brochure., write Bose Corporation, Dept HE 10 Speen Street. Framingham. MA 01701. The Acoustic Mgr x'" enclosure When you write for information, be sure b request a copy of helps the 901 sys erniconlrol Dr. Am ar Bose's Sound Recording and Reproduction. This sound by precealycor trolling paper describes the research effort behind the original Bose air. Made up of '4 separate acoustic regions. it Isolates the 901 system.

drivers and regulasintarnal air Copy, gen 99730.. Coma., N.own. ,OSODN, CvD.IVOC Dv WHO', v11 a,ct flow, resulting in rcreased bass D*6141.14 one unalicomons DI/0013 ID ~CP *DWI P0.00 0910' r,"*^n,r w'Ip. .n .hogrna,.. celk 00.2,010" .0090 Mon. raciamorBoo Canoommo, and live distortion. CD,DDDRDOBvncom90'

The Bose 901 active equallir izes law- distprtion electronics to :onto' tie system's total frequency response, al owng a compact syvem to produce full-frequanc,d sound. Dig tal Dynamic Range' circuitry makes the entire system ideal for u 3E with tie best sources available. Better sound through research. "I CAN MAKE YOU AN AWESOME DEAL" THIS IS A STORY OF DECEPTION AND GREED, punk hangout on the verge of selling out of tragedy and wasted dollars. It is a story and going new wave. I remember it like it of painted -on tweeters, two -ounce woofer was yesterday: The Talking Dead were on magnets, and devious hi-fi store demos. the jukebox as this guy slides up next to Yes, thisis the story of SPEAKER me at the bar and shakes off enough snow SLEAZE! into my drink to make a margarita. He was A LIFE GONE WRONG a strange one for that neighborhood, let me tell you. A tie and everything, a pen in THERE WAS A BITTER COLD STORM THAT his shirt pocket. Weird. night in Boston, ten years ago. I had just I guess it wasn't his first stop of the settled in at the local dive, a nondescriptevening; he seemed pretty well on the Real -Life Devious Speaker Selling Practices

42 HIGH FIDELITY BY KINNETH L. KANTOR

road to cowboy heaven as he laid his gold I was getting scared, I admit. Who The "don't give 'em any choice" rou- card on the bar and ordered up. I caught wouldn't be scared? You think you know tine. This approach is based on the idea the name Joe Tinear. Well, I figure Joethe real stuff from the junk, right? You that a hungry stomach will be satisfied ain't much for rock trivia, so I turn away to think you can sit down in a hi-fi store for with junk food, if no feast is in sight. For- check out the local action when he bellows ten minutes and choose which high -quali- get Speaker B. Forget comparisons alto- out at the top of his lungs, "I KNOW ty speaker sounds best? I hope you can. gether. Play some flashy music, loud, HOW TO SELL SPEAKERS!"-and jor and 1.1,, hncldies won't makt it eas% . maybe with the bass cranked up, through drops his head onto the bar, sobbing. Speaker A. You confidently announce, "Hey, Mac," I said, "wanna talk about it?" TRICKS OF A SORRY TRADE "Sounds pretty awesome. Check it out!" What I heard for the next five hours, I'll LET ME TELL YOU SOME OF THE TRICKS I The customer replies, "Yeah, wicked awe- never forget till the day I die. learned from Joe. Some of them seem so some!" "I can make you an awesome deal, simple that they could never work ... but but like, it has to be before my manager A FEW ROTTEN APPLES they do. Like loaded dice, they tip the gets back. OK?" "All riiiight! Thanks, Dos.. IK 01%, M BI-II'SI HE MoNI1, odds just enough. Let's suppose you're a dude!" Presented here in West Coast dia- maybe it's the pressure, maybe it's just salesperson trying to sell one particular lect, this approach has been successful having to listen to audiophile records all pair of loudspeakers-we'll call them with many customers when applied with day, but it seems like some people do Model A. In your showroom, you also speed and subtlety. some pretty nasty things to sell speakers. have another pair, Model B, which are The "don't give 'em much of a Joe told me every trick in his book and better speakers at a similar price. How can then some. Ways to pervert our free will. you appear to give your customers a fair Kenneth L. Kantor is a well-known designer of Ways to distort the truth, bend the facts. demonstration while secretly steering nonsleazy loudspeakers (AR MGC- I, Proton Worst of all, ways to sell us the wrong pair them toward Speaker A? Here's what you AL -300, NHT Model 1). He is an eye- and ear - of speakers. might do: witness to the practices exposed in this article.

JUNE1987 43 and your customer has a functioning audi- "LET ME PLAY YOU A tory system (not all do, especially the ones who've OD'd on disco), extra effort is called for. When the basic approaches REALLY EXCELLENT above are not enough to overcome the in- adequacies of the brand you're trying to RECORDING TO HELP sell, here are some additional methods that are actually being put to use success- fully. Remember, all these approaches YOU BEST EVALUATE can be used alone or in combination- whatever it takes to get the job done. THESE SPEAKERS." The "grille cloth" scam. Carefully remove the grille frame from Speaker B and replace it upside down, or swap left and right grilles in such a way as to block the tweeter sound. While this is not possi- choice" routine. Here the customer has and wonderful top end coming from A to ble with every model, when it is, the ap- the illusion of free will. Announce an "ob- that speaker's inherent high quality. Never proach is guaranteed to work. If the jective" comparison (under your control, admit that the source material has any speaker manufacturer has thoughtfully of course) and play some catchy music bearing on the demo. An inexperienced provided individual driver -level controls, through Speaker A long enough for the listener will be either very confused or ruining the highs of Speaker B can be sim- customer to get used to the sound, a few very impressed-or both. plicity itself. minutes if possible. Now quickly switch to The "location is everything" rou- The "precooked" scam. Early in the B for a maximum of 20 seconds, prefera- tine. If Speaker A needs more bass, put it morning or late at night, connect a 300 - bly while talking over the music. This can in a corner. If it needs better stereo imag- watt (24%-dBW) amplifier to the Model B be very effective if done smoothly, since ing, angle it in toward the customer. Put speakers and play a CD of Cyndi Lauper the second pair will tend to sound Speaker B too high up or too far down. Sings Aida at a gradually increasing vol- "wrong" after a reference has been estab- Better yet, carefully arrange A for the best ume until the drivers (especially the lished in the listener's ear. sound, while placing B's left -channel tweeters) are properly "broken in" for lat- The "loud is beautiful, if it sells" speaker in the corner on the floor and the er demos. routine. If you can make Speaker A play right -channel speaker at the center of The "subwoofer" scam. This one is louder than Speaker B without the cus- your demo shelf. If the customer com- obvious. Connect a good subwoofer to A tomer catching you, you're home free. plains, just say, "Hey, you want 'em to or a bad one to B, whichever is more They can compare all they want. Unless work anywhere in your room, don't you?" convenient. They never notice. Speaker A is a real loser, or B is far superi- The "hidden wire" routine. Connect The "gee, I didn't know these were or, you have the sale. Sometimes things Speaker A with a short run of high -quality connected" scam. This effective method work out easily, as when Speaker A is a 4 - speaker cable. Connect Speaker B with is a variant of the subwoofer ruse. Place ohm unit and very efficient and B is 8 about 75 feet of cheap 22 -gauge stuff. some small speakers in the back or at the ohms with low efficiency. Lower imped- Easy. Just be sure to hide the extra wire. sides of the listening room and connect ance or higher efficiency will automatical- The "now tell me that the imaging them to a surround -sound processor. If ly play louder, all other things being doesn't stink" routine. Simply connect you don't have a surround processor, sim- equal. If conditions are not naturally fa- the left and right units of Model A in - ply wire them into the system however vorable, simply adjust the appropriate phase and those of B out -of -phase. Your you can. The important thing is to have volume control settings. customer would have to be stone-deaf not them go on while A is playing and go off The "I always wondered what good to hear the superior bass response and for B. Care must be taken not to overdo it all those knobs were" routine. In addition imaging of Speaker A. with experienced listeners. to volume controls, others-such as loud- ness -compensation buttons, balance con- THE BIG GUNS THE PAYOFF trols, noise filters, mono switches(!), and OF COURSE, THE GREA I LK "I FIE DIFFERENCE You MAY BE WONDERING WHY SPEAKER - even equalizers-can really help screw up in quality between the speakers, the more sales types might not want you to buy a formidable competitor. ammunition you must use to turn the ta- whatever you want. After all, money is The "special demo disc" routine. bles. If Models A and B are very similar, money, right? A good salesperson does Open up with "Let me play you a really you can readily influence all but the most want you to be happy, even if that means excellent recording to help you best eval- expert listeners. If B really is much better less short-term profit for the store. But uate these speakers." Next, pick the kind of recorded sound you need to make the right sale. If you've done your homework, "THESE ARE GREAT you're all set. For example, play some harsh -sounding discs and the speaker with the treble rolloff will be the winner. I'VE GOT 'EM AT HOME." Or use some thumpy old disco tracks to help out the speaker with no low end. The "apples and oranges" routine. An even more advanced form of demo manipulation can sometimes be applied. Under the guise of providing the best showcase for each model-or even under no guise at all-you can actually use a dif- ferent recording for each pair of speakers. Always credit all that amazing imaging

44 HIGH FIDELITY `We didn't design our speaker with only one bass response, because we didn't design your listening room" CeC:70ntKEF SENIOR Di i21PMENT ENGINEER

ONE STEP IN THE MAKING OF A KEF All loudspeaker designers make device: the KEF User -adjustable Bass assumptions about amplifier power, Equaliser or "KUBE." For the first time, room location, and desired bass exten- you can tailor bass rolloff frequency sion. Unfortunately, these assumptionsand contour to match your listening can never hold true in all cases. And conditions perfectly. whenever the assumptions are wrong, 'With our KUBE-equipped so is the sound. speakers, you can do more than 'That's why we supply our simply hope for the best. You can be Reference Series speakers with this assured of it'

KEF Electronics Ltd. Maidstone, Kent ME 1560P The Speaker KEF Electronics of Artenca Inc., 1410-K Sullseielcl Grzle. ChantIK VA 22Q1 '03/6318970 REFERENCE MODEL 102 Smyth Sound Equipment Ltd S5 Ore du Parc Ihdustnel. Lorrgueuil Quebec Csnaca 5:4/6795490 Engineers "Yeah, speaker specs are a sleazy can of "I CAN MAKE YOU AN worms. Even the big names get into the act. The trouble is that there are no stan- dards. You can find ways to make specs AWESOME DEAL, BUT say just about anything you want. I recent- ly saw a small two-way speaker from a LIKE, IT HAS TO BE pretty high-class manufacturer that was spec'd down to 20 Hz." "That's impres- sive," I said, "and I don't think it's impos- BEFORE MY MANAGER sible.The was not convinced. "This one a had a 4 -inch woofer. Seriously, who GETS BACK." knows how anyone measures these things? Every company is different. The numbers and curves you see, it's like com- paring Pavarotti and Pink Floyd." I began to see his point. there min be other, hidden factors. Pick that their printed -on frequency response one or more of the following true-to-life always seems too good to be true. I figure EPILOGUE deals: they oughta have a law like the one for the "HEY, FRIEND, MAYBE I SHOULDN'T TELL The store may have so many pairs ofcontents of a box of cereal: "This speakeryou this, but the next time you shop for Speaker A in the back room that the rest - contains one real 8 -inch woofer, one realspeakers, do yourself a favor: Use your room door is blocked. 2 -inch cone tweeter, and a third -order, ears and eyes. The tricks I told you about The salesperson's boss might be eli- linear -phase crossover. BHT added toreally are used-all too often. Look out gible to win a new Corvette from speakerpreserve the highs." Or something likefor them." Joe stood up, glassy -eyed. company A if the store sells 250 pairs athat. Uust what is BHT anyway?) "You wanna be safe, stay away from guys month for four months. Joe told me that some of the "bargain" like me. OK? Go find yourself a store that Speaker A might be made by thespeakers have these flimsy fiber backs on will let you take the time to really examine same company that makes a very popular them that don't even make an acousticthe products you're considering buying, and profitable amplifier. This company seal! "How can you possibly avoid rear - and take all the time you need to really lis- will provide the store with only one ampli- wave bass cancellation like that, Joe?" I ten. Track down a place that will let you fier for each pair of Speaker A that the needed a reassuring answer, but Joe hadcontrol the demo arrangements. Ask the store sells. none. "A 'passive woofer' might just be an salesperson to briefly explain the individ- The salesperson might get a free pair excuse for a more impressive appearance, ual advantages and disadvantages of each of Speaker A for every five pairs he sells and a bass -reflex port can be disguised as of the models you're listening to. This will (this is called a "spiff"). The next time a a midrange or tweeter unit," he said. help you decide, and it may give you some salesperson says to you, "These are "Good speakers are expensive to make,clues about the salesperson's biases. I great-I've got 'em at home," remember and it's easy to wreck the sound trying to hate it when they ask me that." That was that he might really be saying, "The man- cheat in critical areas, like drivers, cross- the last thing he said to me before he ufacturer gave me one of these so I would overs, cabinets, grilles, and connectors." turned and walked out of the place. I nev- try to sell more." It seemed to me that, in some ways, we er saw Joe Tinear again. I never even Selling Speaker A might give the customers have only ourselves to blame. found out where he worked. store more net profit (more "points") After all, we keep proving to manufactur- The word on the street is that most than Speaker B, even if the list price is the ers that 12 -inch woofers sell better thancompanies really do try to sell a better same. 10 -inch woofers, and three-way systems product than their competition. They try Any one of a dozen other ways that sell better than two-way systems, even ifvery hard to offer the best performance all audio companies use to encourage the true quality suffers. I can understandand value possible. I believe that. I also dealers to sell their products. With literal- some beleaguered company giving peo- believe that most salespeople are honest ly hundreds of speaker brands available,ple what they seem to want: big woofers and knowledgeable and want to help. But can you blame them? on the outside with tiny (and cheap) mag- it only takes one rotten apple like Joe Tin - nets hidden away-especially since soear to spoil your party. I mean, what if DEVIOUS DESIGNS many audio customers seem to trust any-your friends found out that your pert little DID YOU KNOW THAT A FAIR NUMBER OF thing that has "20 Hz to 20 kHz" printed tweeters were just decals? Or that your speakers don't even have real tweeters in on it. mammoth 15 -inch woofer was short on

them? According to Joe, they're just The last point hit home with Joe. magnetic flux? painted on behind the unremovable grille in hopes of fooling some dumb sucker. And other times, you see these monsters "HEY, YOU WANT 'EM TO that seem to have more drivers than a pi- ano has keys, usually with cheap -looking, WORK ANYWHERE IN THE shiny tweeters and plenty of chrome -col- ored plastic trim. It seems like sleazy salespeople are not the only ones around ROOM, DON'T YOU?" trying to rip off customers. There are some pretty desperate manufacturers out there selling what I would have to call fake speakers. I'm not talking about the estab- lished brands here. I mean those boxes that seem to be too inexpensive and light- weight to be real, the ones that never tell you very much about themselves, except

46 HIGH FIDELITY MITSUBISHI DRIVES THE icsMitsubishi st-ouldn't dies take that a back mobi sea- e electron- t home agratel full -natured into the phorhone e t--ats base. both The rnc-esult bile is FUTURL tect-nologyadvancedCoelectronics lection porioonents-We'veot an your exclusive createdfingertips. thatFrom ou-group Du's Diamond ca-s-ereos cf :Are with some Cf he furctvidessecand urly t-onsporccleDns an syste--- abun:ancein c :omp.oc- Custcrr cltatures LSIJnitDic-nondSaitry-.. circuitry de andwring pro- is tie comptte commitmentDiamondkcio-vprocluctssystemsindustrys fo-the test -otuners, mobile superior to purist, Gorr It desigireflect no pactMitsthishis suprse cur Disc that o compcny mat road.mcncsux-rscrPredicts. odayCollection protection Exte-ience Mob for d9urvehcle lElect-oricsAbatisJrNe downthe fLtire the wit NlitsLtish's Dia- ofdevelopedwas DiemondTeThe at trans:xverthe fo-efrontar other - 55 allows Atechnolcgo' dramaticcellulGr it to De cal-ect-nology dowrsizing in- coup: MITSUIRSHIMOBILE ELECTRONICS -

s:+0. 51C. - < OS"111110lane zliar-"D f "7 4,4ke

A visual representation of 16-bit/88.2 kHz overeampling, the current industry standard. Yamaha's redefined HI -BIT standard 18-bit/176.4 kHz oversampling. 'Yamaha has just redefined thecompact disc. The new Yamaha CDX-1100U brings a whole Of course, there are other design features new definition to the term definition. that put the CDX-1100U at the forefront of CD It does so by simply integrating the most in- performance. Including a floating suspension novative and advanced CD technologies ever. No system that eliminates vibration -induced signal doubt exactly what you expect from the leader in modulation, and photo -optical couplings fora digital audio sound reproduction. noise -free digital signal transmission. But if you think that's all we did to improve And there's more than leading -edge technol- our new CD player, listen carefully. Because the ogy to the CDX-1100U. There's also leading -edge CDX-1100U also employs HI -BIT technologyno convenience. By way of our 44 -key wireless other manufacturer has even thought of. remote that has interactive control compatibilities, Like quadrupling the sampling rate to 176.4 our 4 -way repeat play, and our 24 -track random kHz, then combining it with our exclusive 18 -bit programming that lets you play the music in the order you want it played. If you'd like more details on Yamaha's latest advances in digital technology, write for a free technical white paper. But for the simplest and best explanation of our technological superiority, slip one of your compact discs into a CDX-1100U digital filter and 18 -bit dual digital -to -analog con- and push "Play." verters.This unique combination produces wave- Then you'll know you've finally heard it all. form resolution accuracy four times greater than any other CD player on the market today. 11- -1=1M. What does all this accuracy mean? For start-

IMPI ers, a more precise interpretation of the music 1L 1M that was always on your discs to begin with. A MWM "11, truer, more realistic soundstage, articulated with- YAMAHA 1887-1987 out sacrificing musical warmth or smoothness. Yamaha Electronic,. (..4,rix )ran( m. US:\. IX). Box 6660. Buena Park, CA 90622 BY ROBERT B. SCHULEIN SURROUND -SOUND

ATTRAPIONS

GETTING THE BEST HOOD HAS TO OFFER

STIMULATED BY TECHNICAL MPROVEMENTS IN VIDEOTAPE and videodisc hardware and a growing number of exciting motion picture soundtracks, surround -sound is rapidly gaining in popularity. As with any new home entertain- ment concept, however, there will be some degree of con- sumer confusion until formats and component configura- tions become well established and better understood. And with confusion is likely to come disappointment: The viewer/listener may be expecting something that neither surround -sound hardware nor software can deliver. As I

Robert B. Schulein is Chief- Development Engineer of Shure Brothers, Inc. Still don't see it? That's the whole idea behind Koss' revolutionary infrared stereophone system The Koss Kordless Sterecphone. Now, you can enjoy all the bene- fits of stereophone listening with no strings attached. And while the cord may be missing, the great Sound of Koss isn't. The Kordless system is so advanced it provides a full 20-20KHz fre- quency response at less than 1% distort on. Plus enough signal to fill a large room. Yet it's as easy to use as conventional stereo - phones. Just plug the Kordless transmitter into virtue ly any receiver cr amplifier anc turn it CAN YOU FIND THE STEREOPHONE CORD IN THIS PICTURE? on. Roam around the room listen- ing to a record Dance to a CD. Enjoy stereo or mono TV broad- casts and videos in bed. Or whatever else moves you. Sound impressive? You bet it does.. And the best way to appreciate this major advance in 4:echnclogy is to visit your nearest Koss Kord- less Stereophone dealer One listen, and you'll never sit still for ordinary headphones again. Koss Stereophones. 4129 N. Port Washington Rd., Milwaukee, WI 53212. Koss Limited. 4112 S. Service Rd., Burlington, Ontario L7L4X5. Koss -Europe: CH -6855, Stabio-Switzerland. nKOSS' stereophones hope the following will show, confusion and, within the last three years, in the con- variation of the Dolby B noise reduction can be lessened by learning some basic sumer home audio -video market. In its process. All licensed home components surround -sound terminology (mainly most basic form, the process involves two carrying the Dolby Surround logo meet concerned with the word "Dolby"). Dis- channels of sound reproduced from in or exceed Dolby Labs' minimum perfor- appointment can be reduced by knowing front of the listener and one channel from mance requirements for each of these the effects that surround -sound tech- behind. More complete systems consist of processes. You can choose between basic niques can provide, as well as which pro- three channels in front, one behind, and decoders meeting the minimum stan- gram material to seek and which to avoid. an additional (mono) subwoofer. Known dards and more -sophisticated decoders in the motion picture industry as Dolby capable of more accurately duplicating Stereo, this process has been used in the the performance of the professional .;>SURROUND PHILOSOPHIES production of more than 1,000 movies, Dolby Stereo decoders used in theaters BEA- 0E0 DE,I. \ 0 1\fU 1111 DE 1\ 11.S OF and because of its inherent compatibility and production studios. surround -sound programming, it is im- with present-day two -channel videotapes, Software derived from motion pic- portant to distinguish between the two videodiscs, and broadcast -TV formats, tures produced using the Dolby Stereo main surround -sound philosophies: en- Dolby Stereo program material is now process has, unfortunately for consum- hancement and decoding. If you are inter- available at home. ers, not been consistently labeled as such. ested simply in increasing the impact and Proper identification, which has only re- excitement of the audio portion of a video cently been appearing on videocassette (or music -only) program, a number of `SURROUND TERMINOLOGY and videodisc packages, consists of a rect- techniques and products are available. In DOLB\ STEREO, DWAIN SI ItROL ND, AND angular box containing the Dolby double - general, they involve extra amplifiers and Dolby noise reduction are related tech- D logo followed by the words "Dolby Sur- speakers, delay networks, equalizers, or nologies, but aside from their names,round." Another form of notation that phase -shifting circuits. Regardless of the their interrelationship is not obvious. has appeared on some videodiscs is "This details, these processes-properly re- "Dolby system" is most commonly used videodisc contains a matrixed surround - ferred to as "surround synthesis"-do to describe various noise reduction tech- sound audio track." Many programs actu- not depend on the special encoding ofniques developed by Dolby Laboratories ally containing surround material are not program material. "Stereo synthesis" (including the professional Dolby A and marked as such and are simply identified from a mono source is a familiar example SR systems and the consumer Dolby B as being in stereo. of such techniques. It typically involves and C configurations). "Dolby Stereo" is Some VHS tapes containing stereo lin- splitting up the audible frequency band specifically a cinema process that grew ear (longitudinal) soundtracks (as op- and sending selected portions of it to the out of the use of Dolby A noise reduction posed to VHS Hi-Fi soundtracks) are left and right reproduction channels. But to lower the distortion and noise of a mov- marked only with the double -D logo. This because the results of any of these synthe- ie soundtrack and to extend its frequency refers to the use of Dolby B noise reduc- sis techniques are under the listener's response. In addition to these improve- tion on the linear soundtracks and should control only, none of them is capable of ments, Dolby Stereo involves an encod- not be confused with the Dolby Surround consistently and accurately re-creating ing technique that is capable of increasing process. The fact that the stereo sound- the sonic experience intended by the pro- the number of effective audio channels on track may contain Dolby Surround mate- gram producer, although they may often a movie soundtrack from two to four. rial is a separate issue altogether. Howev- provide very effective enhancement. Other forms of signal processing are er, if the original movie was produced in In contrast, the decoding of specially added to Dolby Stereo productions to Dolby Stereo and the software copy is in encoded surround -sound programs is a compensate for the deficiencies of motion stereo, then the original encoded sur- process by which the original sonic expe- picture optical recording and of movie round information usually has survived rience can be re-created. Although it does theater acoustics. the transfer. have its competitors, there is only one en- Since many of these Dolby Stereo pro- coded surround -sound format readily cesses are unique to motion pictures, , - available today: Dolby Surround. This Dolby Labs defined another term, "Dolby PERFORMANCE CAPABILITIES format has its roots in the four -channel Surround," to describe those portions of ONE OF THE MOST EXCITING ASPECTS OF matrix technology developed by Peter Dolby Stereo that apply to home play- the Dolby Stereo and Dolby Surround Scheiber in the early 1970s, but it has back. Specifically, these include the four - process is the surround channel, which evolved considerably during the past ten channel matrixing process, equalization contains sound meant to come from the years, first in the motion picture industry and delay for the surround channel, and a sides and behind the listener. It is not

JUNE 1987 51 commonly known, however, that theaters racy. The most sophisticated are capable ers seated at an extreme left or right, dia- equipped with a full Dolby Stereo system of creating very discrete images over a logue should originate from the center are capable of producing additional local- wide listening area, whereas basic units loudspeaker. ization, ambience, and motional sonic ef- limit the size of the ideal listening area If this is not the case, and dialogue is fects. These capabilities depend greatly and produce more diffuse images. heard coming from different locations, a on the use of three loudspeaker channels number of factors may be responsible. A behind the screen as well as speakers in very common source of error is a mis- the surround locations. With the right de- GOOD SOFTWARE match in the amplitude or phase charac- coding and loudspeaker setup, the Dolby FROM 1 \I BRIEF TECHNICAL DESCRIPTION, teristics between the two soundtrack Stereo process can produce: itis logical to conclude that excellent sur- channels somewhere in the duplication 1. Discrete image localization from the round -sound software not only must have chain. Without proper calibration, the three front loudspeaker positions (left, wide dynamic range and low distortionprofessional equipment used in the center, right) and one rear location (sur-but must maintain the precise amplitudevideodisc or videocassette duplication round). Used for principal dialogue, off - and phase relationships of the originalprocesses can create these problems. A screen voices, music, and sound effects. two -channel production. Indeed, errorsmore subtle but nonetheless disturbing 2. An interior -scene or "all around" in relative amplitude and phase are the problem has been found in some software image produced simultaneously by all most common problems limiting the per- in which Dolby A noise reduction has loudspeakers. Environmental sounds formance of Dolby Surround software. been used on the master tapes. Since (wind, rain, surf) intended to create an at- But a fundamental difficulty in judging Dolby A decoding must be performed just mosphere or mood or to establish a loca- surround -sound software is establishing abefore such a master is copied onto a con- tion (building, car, or airplane interior, point of reference: The engineer respon-sumer format (videocassette or video- for example) are sometimes encoded in sible for mixing the final soundtrack is sel- disc), dynamic localization errors occur if this way. dom available for comments. In addition,one of the two channels is not decoded. 3. Sounds in motion across the front the excellence of many soundtracks is di-On programs with this fault, low-level dia- soundstage or from front to back speak- minished in the process of duplication bylogue tends to shift toward the undecod- ers. This is commonly used for rapidlyequipment errors and miscalibration. ed channel and then jump to the center passing objects, like cars, trains, air- And, depending on the accuracy of thewhen it gets louder. Movies that suffer planes, and, of course, spaceships of the consumer decoding equipment beingfrom these problems-and many that de- Rebellion being chased by those of the used, many software problems are diffi-cidedly do not-are listed in "The Good, Empire. cult to perceive. the Bad, and the Ugly," p. 53. 4. Simultaneous left and right or front Movie -based software does have one From both subjective and theoretical and back sounds. Stereo music and sound thing going for it, however. If the sound-standpoints, the matrix audio technology effects, simultaneous dialogues, and track mixer has done his job well, the di-that is an integral part of the Dolby Stereo background sounds are often encoded inrection and location of any sound effect process has a lot to offer the consumer. this format. should usually be obvious from the pic- Based upon laboratory studies and a large Without getting into the technical de- ture. Poor performance anywhere alongnumber of demonstrations to profession- tails of how these effects are encoded and the line usually ends up being heard as a al and consumer groups, I believe that decoded from a two -channel soundtrack, localization error, with the sound not this process, properly decoded, has con- suffice it to say that the decoding process matching the picture. Center -channel di- siderable potential for growth beyond uses the amplitude and phase differences alogue provides the most common ex- motion pictures. Made -for -television dra- between the two soundtrack channels. ample. With a properly configured Dolby matic productions, sports events, on -lo- For example, sounds that are supposed toSurround system, using a decoder capa- cation news reporting, and music videos appear directly in front of the listener are ble of matching the motion picture expe- are several genres that could gain im- recorded with identical amplitude and rience (in this case meaning a surround mensely from the creative use of sur- phase on both channels, whereas sounds system with a front -center -channel speak- round -sound. All of this is possible today from behind are recorded with equal am- er), dialogue should be tightly focused at because of the widespread availability of plitude but opposite phase. The function the middle of the stereo image. Extreme-two high-performance audio channels on of a Dolby Surround decoder is to cor- ly low level speech should not be repro-videocassette, videodisc, and cable and rectly interpret such signals and assignduced by the surround channel even if broadcast television, and of cost-effective sounds to the proper loudspeakers. De-you put your ear near the surround loud- matrix -processing techniques. It's only a pending on the sophistication of their de-speaker. In addition, very little dialogue question of time before consumers will coder circuitry, various surround -soundshould be reproduced by the front -left regularly benefit from this logical and ex-

units differ primarily in localization accu- and front -right channels. Even for listen- citing extension of two -speaker stereo. THE GOOD, THE BAD,lTIR UGLY

EACH DEMO -QUALITYILM LISTED AT Back tofhe Fufure right is available on both videotape and Brewster's Millions videodisc, and some have even been D.A.R.Y.L. broadcast in stereo or transmitted in The Empire Strikes Back stereo over cable. Those films marked Fletch with an asterisk are available on video- disc with both digital and analog sound- Gremlins* tracks. The most impressive audio -video Indiana Jones and the Temple of Doom* demonstrations are those stemming Ladyhawke* from such videodiscs. In all cases, the vi- The Last Starfighter* deodisc version (the one on which the Miami Vice* listing here is based) is to be preferred to The Never -Ending Story the equivalent tape, if only for its lower Out of Africa * video noise and greater resolution. It is possible that different masterPrizzi's Honor* tapes have been used for disc and tape Raiders of the Lost Ark* versions. It is also possible that best-sell- Return of the Jedi* ing titles might, as a result, be remas- Rocky IV tered, which could either improve or de- Rustlers' Rhapsody* grade the sound or the picture. For a Sturman complete list of movies that have been Stick produced in Dolby Stereo, write to Dolb% Laboratories, 100 Potrero Ave., San Streets of Fire Francisco, Calif. 94103. Witness

Not all Dolby Stereo productions are as well done as those listed above. Inatten- tion to detail in the software -mastering process has led to problems with the following movies: Twilight Zono-The Mori*: Severe phase error between channels makes it diffi- cult to localize individual sounds. Ghostbustors and Body Booblot They suffer from a right channel recorded with- out Dolby A decoding during the duplication process. Dialogue localization varies, depending on signal level, from right channel to center channel. Slivered* and Poo Vfoo's Big Advonturet A mild phase error between channels causes the dialogue to be less firmly focused than it should be. For Your Eyes Onlys Excessive phase errors at high frequencies result in dialogue leakage into the surround channel during sibilant program peaks. Escape from Now York and Tim Molloy Pitt Their channels were reversed during the transfer process.

U N E 9 8 7 53 M D L E Y

WANTED: SNARE DRUMS RED SEAL REVIVAL

WI THE GO-GO'S WERE ABOUT THERE HAVE BEEN ENCOURAGING )make their final album, Talk signs of life at Red Seal since Show, producer Martin Rushent Michael Emmerson took over as suggested that drummer Gina president of RCA's classical divi- Schock give way to a drum ma- sion eight months ago. A number chine. Schock promptly told him of projects are under way, and the where to go: back to the board to eagerly awaited reissue on Com- get a tough sound out of her kit. In pact Disc of treasures from the Red EDITED my book, that makes Gina a musi- Seal vault is taking place at an ac- EDITED cal Joan of Arc: Her rebel yell celerated tempo. In some ways, BY against the occupying army of Linn however, the most significant de- B Y machines was a rally cry for fellow velopment of recent months was K E N drummers. Three years later, the signing in March of the Danish T ED there's evidence that her revolu- recorder virtuoso Michala Petri to RICHARDSONtionary idea is taking hold. Peter an exclusive long-term contract. L I B B E Y Gabriel: "When I hear so many Petri thereby became the first es- bands basing their music on drum machines, I longto hear tablished recording artist since the new regime took charge some human imperfections." Jimmy Bralower, program- to leave a major label for Red Seal. Emmerson emphasized mer for Gabriel and Cyndi Lauper: "When the music is that Petri's recordings with RCA would reflect the full fighting the technology, then it's time tosay to yourself, scope of her activity as a recitalist and orchestral soloist-in 'Maybe we should use a real drummer.' " Music critic Ste- particular, that her large repertoire of contemporary works, phen Holden: "The relentless mechanization ofpop is a many of which were written for her, would be tapped in up- disquieting example of how, once a quickerway of dis- coming recordings, along with the Baroque and Classical charging a task is devised, it is put to use, regardless of how items for which she is best known. well it really works." But it's a long way yet to thecorona- To start things off, Red Seal will record Vivaldi's The tion of the drummer. Gabriel still employsa host of ma- Four Seasons with Petri and the Guildhall Strings thissum- chines on So-and even when he uses real drummers, the mer in London. Emmerson intends to have the recording production often makes them sound as metallicas their me- on the shelves by September. Other Red Seal plans call for chanical counterparts. Meanwhile, drummerless bands the violinist Joseph Swenson, also recently signed,to debut continue to flourish: The Dream Academy, for example, with the Beethoven Concerto in D, with Andre Previn and prefers to have someone playing oboe andcor anglais. the Royal Philharmonic. The symphonies and pianocon- To be sure, there's an important economic issue here, certos of Rachmaninoff are on the way from Paavo Berg- what with untold numbers of drummers reducedto drum- lund and the Stockholm Philharmonic, and Martinfessym- ming their fingers while machines get all the work in the phonies and piano concertos will be newly recorded in East studio. But the main reason I'm writing these lines is be- Berlin with Rudolf FirkuinY as the soloist, Claus Peter Flor cause, quite frankly, I'm sick and tired of the sound of explo- conducting. A number of important Heifetz reissuesare sive drum machines keeping time. I long for the swift, hol- slated for CD release, and there will be a steady stream of low crack of a snare drum. Listen to Jerry Marottaon the Toscanini as well. .. once the masters are found. "There is second Peter Gabriel and Ian Paice on Machine Head, and a problem with the Toscanini masters," Emmerson admits. you'll hear how a lively drummer on a snappysnare com- "We are going back to try to find the best originalswe can." mands a band. Even the heavy-handed John Bonham,on a Finally, William Kapell's accounts of the Chopin Sonatas in percussive tour de force like Physical Graffiti, sounds better B flat minor and B minor (recorded live by the Australian than anything governed by an on/off button. Listen also to Broadcasting Company shortly before the pianist's death) peak Ringo Starr on Abbey Road and peak Charlie Wattson will soon be out on CD. Exile on Main Street, two musicians who defined the art of Meanwhile, Deutsche Grammophon has renewed its rock drumming for generation upon generation. Somecur- contract with violinist Anne -Sophie Mutter. On tap are cou- rent American bands are listening, thankfully. Producers plings of the Tchaikovsky and Sibelius concertos with Kara- like Jimmy Jam and Terry Lewis should, too. Throw away jan and the Berlin Philharmonic, the Berg and Bartok with those machines, turn off those effects. Let's hear sticks and Ozawa and the Boston Symphony, a Paganini concerto disc, skins. Let's hear somebody play. Ken Richardson and a LutosYawski/Stravinsky pairing. Ted Libbey

S4 HIGH FIDELITY In speakers as in cars,the make 's everything. Amazing but true: Deople mn spend hours choosmga car receiver-and then pay no attention to -he speakers. Otviously, they're never heard what a difference really good car speakers can make. They haven t expenencec the muscular punch of deep bass or the breatl- taking intimacy of clear treble. In short, they ve never heard AR car loudspeakers. At some ccmpanies, spears are an afterthought. At AR, they're a way of life. This attituce is amp y cemoistrated in the supencr power handling of our Iuid-cooled tweeters. It's evident in AR's preference fcr full crossover networks. It's e:pressed in ever, mica -filled polypropylene driver, eery solic steel frame, every wire -mesh grille. AR even created a car amplifier :o mace :hese speake-s sound their best. AR car spmkers range from most afford- able to most It.ur ous. They're easy to install. But once they're it , you'd no sooner change them than change your car. Acoust c Research. We speak from experience.

W'TELE DVS E ACC USTIC RES _ARCH SN,e BY PAUL KRESH V.F,-11111911i GILBERT & SULLIVAN The celebrated early electric D'Oyly Carte performances are reissued by Arabesque PART OF THE FOLKLORE OF SERIOUS RECORD COLLECTING IS THAT OLD is always better. I met a collector once who was still spinning 78s on an ancient record player, not only because hebelieved that no com- pany had made a conscientious recording of anythingsince 1925, but because he was also firmly convinced that the energy he ex- pended changing the discs every four minutes helped him to con- centrate on the music. Otherwise, he insisted, it would be too easy. When it comes to Savoyards-which I acoustic to electric shellacs to LPs and ster- think is how Gilbert and Sullivan addicts still eo, D'Oyly Carte kept right on recording describe themselves [The Savoy was the and rerecording the works of Gilbert and London theater into which the D'Oyly Carte Sullivan, sometimes even with complete dia- company moved in 1881 and in which the logue. Ultimately, under Roysten Nash, premieres of The Mikado and The Gondoliers even the unfairly neglected final G&S ef- took place-Ed.]-they are always talking forts-Utopia Limited (a political satire more about how much better, say. Sir Henry Lyt- timely today than when it was first per- ton was as the Duke of Plaza Toro in The Gon- formed in 1893) and The Grand Duke-made doliers or as the Rt. Hon. Sir Joseph Porter, it onto disc, released in the U.S. on the Lon- K.C.B., in N.M. S. Pinafore than anybody who don label. These two crowning achieve- followed him. (After all, they tell you, it was ments, which the pundits still dismiss as neg- Lytton who played Robin Oakapple in the ligible, are in reality utterly delightful works. original production of Ruddigore, toured in With each technical advance, from one Princess Ida back in 1884, and took over all recorded version to the next, Sullivan's scin- the comic leads originated by George Gros - tillating orchestrations came to resound smith himself!) They are always asking if you more brilliantly. I remember one day when have heard Nellie Briercliffe's Lady Angela the chorus of peers in lolanthe sprang to life or Bertha Lewis as the silver -haired Lady and marched across my living room from Jane at her cello in Patience or whether any one loudspeaker to another with a hauteur to Mikado today can hope to terrorize the gen- make the lower middle classes cringe for tlemen of Japan as could Darrell Fancourt. miles around; another time when the casta- Yet the old records they still talk about have only grown scratchier with age-and harder Paul Kresh reviews recordings of classical music to replace. And all the while (until its un- and the spoken word for The New York Times timely disbandment a few years ago), from and other publications.

JUNE 1987 57 nets in the "Dance a Cachucha" clicked and Sir Malcolm Sargent, Isidore Godfrey, or clacked through the halls of the Palace of Harris Norris-sounds to these pampered Barataria in The Gondoliers with such ear - ears cramped, dry, and constricted, and the bracing vigor as to frighten my terrier under choruses never exactly reverberate. Oddly, a table; and yet another when the ghosts of though, the closer one gets to the period Sir Rupert Murgatroyd's ancestors stepped when Gilbert himself was imposing his per- out of their frames in Ruddigore and sent a sonal directorial imprint on the company, stereophonic scare through the whole apart- the more distinct the enunciation of the prin- ment building. Moreover, in its later record- cipals seems to sound. Even though he ings, the D'Oyly Carte company maintained wrote, in Ruddigore, "This particularly rapid, the style, precision, elegance, and timing it unintelligible patter isn't generally heard had developed over the course of a century. THE PAIR WHOSE MISCHIEVOUS MUSICALS MADE THE D'OTITCAIIII and if it is it doesn't matter," Gilbert really IfJohn Reed as the comic lead in the later al- FAMOUS: SIR WILLIAM S. QUINT AND St ARTHUR SAILUVAII wanted every word to be comprehensible. bums could never hope to match the élan vi- Seldom with the present recordings is it nec- tal of a Martyn Green, a Peter Pratt, a George cable are Bertha Lewis, Dorothy Gill, andfo- essary (as it often is with the more recent Baker or-let's face it-a Sir Henry Lytton, sephine Curtis, the women who portray stereo recordings, for all their sonic realism) he certainly was able to stand up to them as a those forbidding, indomitable ladies of un- to consult a libretto. Nevertheless, complete master of the tongue -twisting lines in the certain age who were frequently the butt of texts are supplied with each recording, and patter songs, and he managed somehow to Gilbert's sometimes rather sadistic skill at the new cassette packaging from Arabesque, grow into his roles with the years. If it was caricature. far less cumbersome than the earlier card- fine singing I wanted, there were always the As for the clowns in the company-Syd- board contrivances with the unmanageable excellent EMI recordings under Sir Malcolm ney Granville, Darrell Fancourt, George flaps, provides a neat pocket for the text and Baker, Leo Sheffield, and Martyn Green (as notes-drawn from Reginald Allen's divert- Kodo in The Mikado, a role he was to record ing and informative volume The First -Night over and over again, seemingly forever)- Gilbert and Sullivan-as well as room for dis- For authenticity and sheer well, they are all superb. Even poor Derek cographic documentation. In a number of Oldham no longer sounds to me quite so the albums, a side is devoted to selections Gilbertian edge, the vintage strangulated in his tenor roles as I remem- from another G&S score in some alternative ber him from my earlier, more fanatical and version. With Ruddigore, besides the im- D'Oyly Carte recordings have exacting days of devotion to this repertory. proved digital sound, you get a generous The singers in this series (perhaps be- potpourri of highlights reaching all the way been dear to tradition -bound cause they were closer to 19th -century Ital- back to acoustical times, when Isidore God- ian opera and shared more readily the Eng- frey was probably still in knee pants. And collectors. lishman's amused contempt for its emotion- Pinafore not only comes with Trial by Jury as al excesses) also seemed to comprehend bet- the curtain raiser-as it frequently does on ter than the performers who succeeded stage-but leads off with the voice of Sir Ar- them the element of parodistic humor in thur Sullivan himself, expressing to Thomas Sargent (still available on the Angel label Sullivan's scores-in "A Nice Dilemma" Edison his astonishment over the invention over here); but for authenticity and sheer from Trial by Jury, for example, where the of the phonograph and "the wonderful pow- Gilbertian edge, I stuck-and still stick- composer is twitting the florid complexities er that so much hideous and bad music may with the D'Oyly Carte. of the quartet in Verdi's Rigoletto. On the be on record forever." He need not have Recently, the vintage electrical record- other hand, the orchestra-whether under feared for the future of his own music. ings that the company made between 1927 and 1932 "under the supervision of Rupert D'Oyly Carte himself"-the very ones so GILBERT AND SULLIVAN: Walkert; Sargent. Arabesque 8095-2 (2, long dear to tradition -bound collectors- The D'Oyly Carte Recordings A). CI (2) were reissued on both vinyl and cassette by (1927-32). The Pirates of Penzance; Arabesque. [H.M.S. Pinafore, The Mikado, Rupert D'Oyly Carte, original producer; The Sorcerer (abridged)i. and The Pirates of Penzance are also available Ward Botsford, reissue producer. Dawson, Oldham, Griffin, Baker*; Sar- on CD, with the rest of the series to follow at gent. Randst, Fancourtt, Bethelt; God- a later date.-Ed.] I have been listening, The Gondoliers. freyt Arabesque 8068-212, Al.312). CM (2) transfixed, to one after another. To pretend Lytton, Sheffield, Oldham, Baker, Lewis, Princess Ida; Pirates of Penzance I didn't enjoy the experience would be to Bennet, Lawson, Davies; Norris. Arabesque (abridged). sacrifice simple honesty in order to maintain 8058-2 (2, A).a(2) Oldham, Lytton, Dickson, Fancourt, Lewis, a proper critical stance. Granted, with the Plooferef Trial by foryt. Granville, Baker, Briercliffe; Sargent. Ara- exception of the digitally remastered Ruddi- Lytton, Granville, Baker, Oldham, Lewis; besque 8129-2 (2, A). n (2) gore, the sound is as scratchy and click -ridden Sargent*, Norrist. Arabesque 8052-2 (2, Ruddigore; Various Works (highlights as I feared it would be. Still, 1 must confess A). 0 (2). CI (2) from The D'Oyly Carte acoustical re- that Sir Henry-especially as the misan- lohuttlie. codings). thropic King Gamma in Princess Ida-lives up Lewis, Oldham, Fancourt, Granville, Baker; Foncourt, Green, Oldham, Baker, Rands, to his legend; Nellie Briercliffe vindicates Sargent. Arabesque 8066-2 (2, A). CI (2) Granville, Briercliffe; Sargent. Arabesque the claims of her doddering fans as the dear- The Mikado. 6548-2 (2, A). CI (2) est lolanthe ever to rise from a well; Wini- Green, Fancourt, Oldham, Rands, Bennett, The Yeoman of the Guard; fred Lawson-with that little catch in her Granville; Godfrey. Arabesque 8051-2 The Mikado(excerpts)t. sweet little voice-oozes English charm in (2, A). 0 (2). CI (2) Oldham, Baker, Sheffield, Lawson, the role of Elsie Maynard, the "strolling lMleose; The floodeliers (excerpts)t. Griffin*, Briercliffe; Sargent*. Fancourtt, singer" in The Yeoman of the Guard; and Elsie Oldham, Baker, Lawson*, Rands*, Brier - Oldhamt, Griffint; Norrist. Arabesque Griffin proves a masterly mistress of colora- cliffs*, Fancourt*, Bootht, Gronvillet, 8067-2 (2, A). C1(2) tura as the Major General's coy daughter Mabel in The Pirates of Penzance. Also impec-

Sa HIGH FIDELITY WNW TH MINI -REVIEWS OF THE LATEST COMPACT DISCS

BY ROBERT E. BENSON, PAUL MOOR, ROBERT R. REILLY, TERRY TEACHOUT, AND JAMES WERZBICKI

ESHOSTAKOVICH "BABI YAR": I SIBELIUS SYMPHONY NO. 1: al.? Yet the typical guitarist's bread-and-but- CONCERTGEBOUW, HAITINK 1_ _ PHILHARMONIA, ASHKENAZY ter repertoire is so overloaded with Spanish - SHOSTAKOVICH'S 13111 SYMPHONY'(19621, ONE SIBELIUS NOTED IS. HIS DIARY IN SEPTEMBER flavored works that one is sometimes lulled of a handful of artistically successful musical 1915, "God opens his door for a moment into forgetting that composers of other eth- works with an overtly political aspect, com- and His orchestra plays the Fifth Sympho- nic backgrounds also wrote effectively for bines early poetry of Yevgeny Yevtushenko ny." The composer was already knocking at the instrument. I first encountered Alain with a starkness borrowed from the musical that door with his audacious Symphony No. Prevost's fine new CD recording of works language of Mussorgsky to create an ex- 1 in 1899. Whatever traces of Tchaikovsky by the French composers Henri Sauget (b. traordinarily moving testament to the power he may have assimilated, they are subsumed 1901) and Georges Migot (1891-1976) after of the creative spirit under oppression. Ber- by the confident, heroic, heaven -storming getting massive doses of the Spanish stuff in nard Haitink's new account with the Con- idiom that he forged in this work. Vladimir the concert hall, and doubtless that's why it certgebouw Orchestra is in certain ways the Ashkenazy and the Philharmonia Orchestra seemed such a balm for the ears. But this in- best recorded performance of the symphony give an exhilarating performance with triguing music held up long after its novelty yet. Although Marius Rintzler's handling of sound from London that is absolutely viscer- wore off. the bass solo is somewhat phlegmatic at al. This may not be the most organic Sibelius Migot's 1924Pour hommage a Claude De- times (this is a "role" for a Kipnis or Chalia- ever recorded, except in the sense that the bussyis an intensely introspectivetombeau pin), the men of the Concertgebouw's sound will shake you to your bones, but the whose deliberate tempos belie its extraordi- chorus provide a plausible simulation of the clarity and detail of the orchestral texture nary technical challenges. His 1960Sonaris depth and fervor of a Russian choir, and Hai- are stunning, making this a revelation for Si- equally probing, but it is occasionally leav- tink's interpretation is direct and unaffected. belians and a plum for audiophiles. The disc ened with dance rhythms and is often illumi- Andrew Cornall's digital sound is very good. has as a bonus a fine performance of theKa- nated with Messianesque harmonies. The Playing time: 64:30. (London 417 261-2.) reliaSuite. I venture to say that this, the last Sauget selections consist of the 1958Soli- T T installment in Ashkenazy's Sibelius cycle, is loque(an homage to Falla), the 1970Preludes, also the best. Playing time: 56:20. (London two sets of incidental music(Musique pour fDELIUS VIOLIN WORKS: 414 534-2.) R.R.R. Claude!)from 1973, and a 1985Cadencewrit- NOLMES; ROYAL, HANDLEY ten for Prevost. In general, this is haunting, ALTHOUGH I IIE. WORKS OF FREDERICK DELIUS RAVEL WORKS: detached music that stands in sharp contrast aim at native English ears, Delians of any na- LALONDON, ABBADO to the effervescent ballet scores for which tionality won't want to pass this rare collec- THIS NEWLY RECORDED RAVEL COLLECTION IS Sauget is best known. As with the Migot tion by. Recorded under the auspices of the only intermittently successful. Best of all is pieces, Prevost responds seriously and beau- Delius Trust, it offers Delius's Violin Con- the evocative treatment ofMa mire l'oye,a tifully to its very considerable interpretive certo (1916), the Suite for Violin and Or- gentle score for which Abbado seems to needs. Along with substantial musical vir- chestra (1888), and theLegendefor Violin have a special affinity. The hauntingPavane tues, the disc features some of the most and Orchestra (1895). pour une infante defunteis also sensitively noise -free guitar sound lately recorded. I confess ignorance up to now of the Eng- done. ButBolerois taken at too fast a clip (it's Playing time: 54:05. (Cybelia CY 811. Dis- lish violinist Ralph Holmes, who died soon over in 14:20). and the performance of the tributed by Qualiton Imports.) J. IV after making this 1984 recording. But in his Rapsodie espagnolebarely suggests the sensu- own country, he enjoyed acclaim not only in ous beauty of the score. DG's sound, which MOZART SYMPHONIES: the traditional repertory but also as a cham- is very close-up and unatmospheric, offers OCLEVELAND, SZELL pion of such resident composers as Hamil- surprisingly subdued brass, but the sound GEORGE SZELL AND "I "HE MEMBERS OF THE ton Harty, Arthur Bliss, Andrzej Panufnik. tends to blast during loud passages. For Cleveland Orchestra played Mozart with a and William Sterndale Bennett. some reason, the important castanet part distinctive blend of precision and restraint Using a 1736 Strad borrowed from Lon- in theFeriais barely audible. Playing time: that listeners raised on Bruno Walter typi- don's Royal Academy of Music, Holmes 64:50. (Deutsch( Grammophon 415 972-2.) cally found tight and overcontrolled. Youn- plays without flash but with true proficiency R. E. B. ger listeners who have grown up with more and tenderness. Vernon Handley and the modern approaches to Mozart (particularly Royal Philharmonic Orchestra collaborate SAUGET, MIGOT GUITAR WORKS: that of Christopher Hogwood and the Acad- with him handsomely. We shouldn't expect AMAIN PREVOST emy of Ancient Music) will doubtless find another good recording of the Delius con- THERE IS NO DE. NY INF.1 IIE %ALI F 01I IIE these performances of the G minor andJupi- certo any time soon, and will probably never enormous amount of music for classical gui- ier symphonies far more sympathetic-if al- again see one of all three works together. tar produced by Iberian and Latin American most as anachronistic. The digitally remas- Playing time: 53:25. (Unicorn-Kanchana composers; indeed, where would the instru- tered analog sound is clean and luminous. DKP 9040. Distributed by Harmonia Mundi, ment be today without the likes of Francisco Playing time: 53:11. (CBS Masterworks U.S.A.) P.M. Tarrega, Joaquin Turina, Fernando Sor, et MYK 37220.) T T

7 JUNE 1 9 8 MP , , New and Alive. '/ MODERN PHOTOGRAPHY VIDEO MAGAZINE

Now, the best and Now, during our introductory Is Modern Photography really most exciting fea- six months, order your sub- live? You bet-on Beta or VHS. tures of Modern scription and get 20'R off our Order now! Photography come regular yearly price. Four alive in full -life quarterly issues for just sound and motion. $79.95, including shipping Each issue holds sixty min-and handling. utes of useful information and And if you're not com- entertainment on the tech- pletely satisfied, return niques, personalities and the first issue within 30 equipment that'll make you adays of receipt for a full better photographer. Each issuerefund. brings Modern Photography's staff of experts into your home taking you through what's newest and .40 m1Viodern finest in serious photography. Besides all that, there are lab reports, Photography professional recommen- dations, interesting col- lectibles, tips on film, lenses and accessories and a look at the latest in video technology and techniques. A subscription to Modern Photography Video Magazine is r Order with VISA or MASTERCARD or call1-800-247-5470or send this coupon to: the newest, brightest way to Modern Photography Video, Box 11368, Des Moines IA 50340-1368 stay in touch with your passion. 1,nd me 4 issues at your low introductory price of $79.95.I save more than 20% off the single copyprig

A perfect complement Name to your regular Address monthly City State Zip magazine. Phone I 0 Bill Me 111 VISA MASTER

Card Number Expiration Date

Signature Beta CI VHS LAllow 6 to 8 weeks for delivery G67H6

©1987 ABC Video Enterprises. NOT VERY MANY DETRICH FISCHER-DIESKAU. WITH THE LATE GERALD MOORE AT THE PIANO. PRIOR TO A 1956 SALZBURG FESTIVAL RECITAL Gottfried Kraus's ac- new commer- companying notes mer- cial recordings qualify it quotation: "Fischer- for inclusion in a time Dieskau's accomplish- capsule. I rather think ments as a Lieder sing- that this set does. er are a result of his DietrichFischer- LIEDER EVENINGS particular 'talents': his Dieskau did not, of voice, whose essentially course, originate the imbalanced timbre be- Lieder recital. Earlier tween dark lows and greatpractitioners, WORTH REMEMBERING... bright highs he is able saved from auditory to tailor to the special oblivion by their 78 rpm recordings (some ofspite of theextraordinarily high artistic stan- demands of Lieder singing with the inimita- them in LP reissues), included Elena Ger- dards, one aspect of the festival troubled my bly skillful alternation of registers; his musi- hardt, Heinrich Schlusnus, Lotte Lehmann, liberal American social conscience, in the cality and his versatile musical intellect, Aksel SchiOtz, Kathleen Ferrier, and Peter same way such kindred phenomena as Bay- which go far beyond the narrow field of vo- Pears. After World War II, though, Fischer- reuth or opening nights at the Met do. En- calism; his cultural heritage and his familiar- Dieskau-even in Germany, the homeland gaging the greatest talents in the entire ity with the tradition of German musical cul- of the Lied-gave theLiederabend(evening of world makes it necessary to sell tickets at as- ture, which enable him to recognize and songs) a new lease on life. He was born in tronomical (or, as some Germans would say. solve stylistic problems; and certainly also a Berlin in 1925 and, as a teenage German whorehouse) prices, within the reach only of particular gift for pointed expression and conscript, was taken prisoner by British a social class substantially less rich in intel- even occasionally exaggerated dramatic ef- forces in Italy. where his song recitals as a lect, cultivation, and the spontaneous, sym- fects that help to unveil the imaginary scene P.O.W. impelled his captivated captors to pathetic ability to appreciate music than in for the listener." postpone his release and repatriation just as material, worldly goods. Remembering my Native German speakers will hardly need long as they feasibly could. Wilhelm Furl - own impoverished Juilliard days, I wished to refer to the printed poems, thanks to the wangler, an early discoverer and admirer, that some miracle could have replaced those singer's exemplary diction, and others with a conducted at Fischer-Dieskau's Salzburg society page jet -setters and phonies in Salz- knowledge of German will derive enormous Festival debut (in Mahler'sSongs of a Wayfar- burg with the genuinely deserving, under- benefit from paying close attention to the er)in 1951, when the baritone was only twen- standing auditors musicians prefer. A Salz- texts, for Fischer-Dieskau's remarkably ex- ty-six. Beginning in 1955, a Fischer-Dieskau burg Festival performance-at the pinnacle pressive transmission of poetry evokes that Liederabendat Salzburg's hallowed Mozar- of the entire musical world-usually brings of even such a dramatic magician as John teum became an almost annual high point of out the very best in a musician, who (pre- Gielgud when he recites poems from memo- the summer festival programs, and for the sumably for the cosmopolitan army of critics ry. Even if you have no German at all, I urge first ten years, he sang them only with Cana- on hand) will take extra risks and press to the you (in spite of a typeface to put your eyes da's unique pianist Gerald Moore as his part- absolute limit, much more so than in the rel- out) to follow the translations line by line, ner. [As this review went to press, HIGH Fi- ative sterility of a recording studio. These for it will make a vitally important difference DELrry learned of Gerald Moore's death in CDs convincingly document that important in your aesthetic reward. Unfortunately, the London. He was eighty-seven.-Ed.] These difference, that little bit extra that comes quality of the translations here varies widely five CD releases, made from the Austrian across in the best live performances, for here from disc to disc. In some instances, Orfeo Radio's tapes of live performances between both singer and pianist truly give their all. seems to have chosen the lazy solution of re- 1957 and 1965. preserve five of those events Because of that quality, these discs (available producing whatever happened to appear in in all their vibrant immediacy. individually) offer the next best thing to Mo- the vocal score, which means that it shows Between 1951 and 1981, I attended the zarteum tickets on the evenings these pow- primary fidelity to prosody rather than to the

Salzburg Festival a number of times, and in erful performances took place. poet's meaning.

J U N E 1 9 8 7 1 tainly encounter some songs here for the DIETRICH FISCHER-DIESKAU: first time ever-an important bonus. Salzburg Festival Live Recordings. Seventeen of the 20 Wolf songs here ,,scher-Dieskau; Moore. Jorg Polzin, overlap the 18 that Deutsche Grammophon production editor. Orleo C 140 101*, recorded at Fischer-Dieskau's 1973 recital in 201T, 301*, 401, 501** (5, A). 0 140 855 Innsbruck with the remarkable Sviatoslav 15) Richter as his pianist (DG 2530 584), and

Vol. I (1957)*: SCHUBERT: Dem Un- Schwann lists a two -CD, three -LP set (2 -DG endlichen; Der Kreuzzug; Wehmut; Toten- 415 192-2 and 3 -DG 2530 584, respectively) grObers Heimweh; An Schwager Kronos; with an audibly older Fischer-Dieskau sing- Meeresstille; Prometheus; Uber Wilde- ingallof Wolf's settings for male voice of mann; Der Wonderer an den Mond; Morike poems, with Daniel Barenboim a su- Nachtyiolen; Der Zwerg; Rostlose Liebe; perb partner at the piano. Moore, for all his Geheimes; Fruhlingssehnsucht; Im Friihling; musicality, for all his phenomenal ensemble Abschied. sense and ability, simply could not compete Vol.II (1958)1: BRAHMS: Vier ernste pianistically with Richter, or even with Bar- Gesiinge (Deno es gehet dem Menschen enboim, in such taxing songs asDer Feuer- wie dem Vieh; Ich wandte mich urn und sahe redsror, for that matter, in the mischievous, AIRED BR OM HAYDN PLAYING THAT IS A PARADIGM OF WELL.

an alle; 0 Tod, wie bitter bist du; Wenn ich nose -thumbing Viennese waltz conclusion NIGH IDEAL PIANISM AND INTERPRETATION mit Menschen- und mit Engelszungen re- of theAbschied.The Innsbruck LP seems to dete); Wie rafft' ich mich auf in der Nocht; have lapsed out of print. If you love Wolf, performance of Haydn's keyboard music. As Es treiumte mir; Der Strom; Herbstgeflihl; you ought to try to track it down. in his four earlier Haydn recitals, Brendel's Auf dem Kirchhofe; Wehe, so wilst du mich The degree of perfection shown here- playing here is a paradigm of well-nigh ideal wieder; Abenddeimmerung; Salamander; no retakes, remember-makes the mind pianism and interpretation, captured in Geheimnis; Wir wandelten; Der Gang zum boggle, particularly in view of Fischer-Dies- gleaming, ultrarealistic recorded sonics. It is Liebchen; Steindchen; Meerfahrt; Mon- kau's admirable recital custom of singing a sheer delight to hear such attractions en- denschein; Auf dem See; Wie bist du, even the long strophic songs from memory. hancing those of the music itself. meine Konigin?; Botschaft. One heaves a sigh of relief over a very few The program features the last (and argu- Vol. III (1959)°: SCHUMANN: Twelve reassuringly human lapses (in Beethoven's ably the greatest) of Haydn's solo piano Songs, Op. 35, to poems by Justinus Kerner Sehnsucht,for instance, at"Die scheidende Son- works, along with two charming lighter - (Lust der Sturmnacht; und ne ... Die sinnende Schiine,"he interchanges weight examples. The great Sonata in E flat, Freud.; Wanderlied; Erstes Griin; Sehn- Goethe's adjectives, resulting in nonsense), Hob. XVI:52, long has been a recording and sucht nach der Waldgegend; Auf das but they will probably go entirely unnoticed concert favorite, but rarely if ever have its Trinkglas eines verstorbenen Freundes; except by those of us who pick such nits pro- bold impetuosity and imaginative daring Wonderung; Stille Liebe; Frage; Stille fessionally. been articulated so eloquently. Only the Treinen; Wer machte dich so krank?; Alte Orfeo's packaging doesn't flaunt the odder but more authentically pungent forte- Laute); liederkreis, Op. 39, to poems by Jo- fact, but the Austrian Radio, astonishingly, piano timbres-like those in Malcolm Bil- seph von Eichendorff (In der Fremde; Inter- recorded all these recitals monaurally. I son's admirable Nonesuch recording-are mezzo; Waldesgesprach; Die Stille; Mond- doubt that this will bother you; it certainly missing. The great Andante and (double) nacht; SchOne Fremde; Auf einer Burg; In doesn't me, particularly as the tapes have Variations in F minor are perhaps even more der Fremde; Wehmut; Zwielicht; Im Walde; been digitally remixed and mastered into successful here, at least in contrast with the FrUhlingsnacht). such brilliant CD form. too numerous versions in which the music's Vol. IV (1961(: WOLF: Twenty Songs At the Munich Festival one year, with seeming simplicity has trapped performers, to poems by Eduard Morike (1888): Der only two days intervening, I heard Fischer- professionals as well as amateurs. Among Genesene an die Hoffnung; In der Friihe; Dieskau and Jorg Demus in a Schumann re- the few really goodearlier readings, my per- Fussreise; Neue Liebe; Der Feuerreiter; An cital and Hermann Prey and Alfred Brenda sonal choice, the idiosyncratic one by Alicia den Schla f;Urn Mitternacht;agerlied; in Schubert's cycleDie schone Miillerin-arare de Larrocha for London, is now supplanted Storchenbotschaft; Im FriThling; Auf einer occasion for comparing those two fine sing- by Brendel's more radiantly expansive ver- Wanderung; An die Geliebte; Peregrina I; ers, the one so refined, studied, and Apollo- sion, especially notable for its fluidity and its Peregrina II; Lebe wohl; Begegnung; Der nian, the other so natural, spontaneous, Dio- freedom from the usual ponderousness in Jager; Bei einer Trauung; Zur Warnung; nysian. I concluded from that occasion (and the funeral march rhythms. Abschied. many others) that, generally speaking, live, I One of three sonatas dedicated to the Vol. V (1965)**: BEETHOVEN: In prefer Prey, and recorded, Fischer-Dies- Princess Maria Hermenegild Esterhizy in questa tomba oscura; An die Hoffnung; kau-by the slightest of margins. And here, 1784, the Sonata in G, Hob. XVI:40, is a Sechs Gellert-Lieder (Bitten; Die Liebe des superbly recorded, you have Fischer-Dies- highly ingenious exercise in double -varia- Neichsten; Vom Tode; Die Ehre Gottes; kau in his prime ... and at his very best. tion techniques and the sophisticated devel- Gottes Macht und Vorsehung; Busslied); Paul Moor opment of contrasting semplice material. The Der Wachtelschlag; An die ferne Geliebte; first movement is markedAllegretto einno- Adelaide; Wonne der Wehmut; Mailied; HAYDN: cent', a characterization perfectly realized by Sehnsucht; Neue Liebe, neues Leben; Me- Sonatas for Plano (3); Andante and Brendel. Even the more orthodox (but with phistos Flohlied. Variations, In F minor, Hob. XV1I:6. Haydn, never entirely so) Sonata in D, Hob. 1=1 Brendel. Philips 416 365-4 (D(. 00 XVI:37, dating from 1780, is delectably sur- Sonatas: in E flat, Hob. XVI:52; in G, Hob. prising in its seemingly limitless verve and Fischer-Dieskau's own writings have XVI:40; in D, Hob. XVI:37. humor. Its high-speed finale, like that of the long since established him as probably the Comparisons: Sonata in E flat, Bilson (Nonesuch G major Sonata, suggests what superb film most intellectually searching major singer of 78018); Variations in F minor, De Larrocha (London scores Haydn could have written for the his time, and that musicological diligence 7008). Keystone Kops and Charlie Chaplin. manifests itself in his programming here. ALFRED BRENDEL IS JUST ABOUT THE ONLY The presentation includes stimulating Unless you are an expert on one or more of pianist who can shake my faith in the forte- notes, "Haydn As a Master of Surprise," by these five composers, you will almost cer- piano as the most rewarding medium for the Monaca Mollering. R. D. Darrell

62 HIGH FIDELITY HEAR TODAY.

HEAR TOMORROW.

CClarion® Madetolastinthefirstplace. Clarion Corp. of America, 5500 Rosecrans Avenue, Lawndaie, CA 90260 (213) 973-1100 MARTINU: MESSIAEN: MOZART: Polni mitt (Field Mass). Turangahla Symphony'. Concertos for Violin and Orchestra: No. 2, JANACEK: LUTOSLAWSKI: in CI, K. 211; No. 4, in D, K. 218. Amarus. Les Espaces du sommeil, for Baritone Vienna Philharmonic, Levine. Steven NemeEkoki, VodiEka, Zitek; Czech Philhar- and Orchestrat; Symphony No. 31. 0Perlman,Paul, prod. Deutsche Grammophon 415 975-2 monic Chorus and Orchestra, Mackerras. Su- Shirley -Quirk), a Orchestra*, Los (D). 0 0 praphon 33C37 7735 (Di. Angeles Philharmonict, Salonen. David Mal- MOZART'S FIVE INDISPUTABLY AUTHENTIC LEo§ JAmlitEK HAD A PENCHANT FOR BIZARRE ley, prod. CBS Masterworks M2K 42271 (2, D). 0 violin concertos were written in rapid suc- subjects, as his operas show. His relatively (2). CI (2) cession between April and December 1775. early cantata Amarus (1897) already points in OLIVIER MESSIAEN'S MASSIVETURANGALFL4 During those few months, the nineteen- the direction he would take later on. It is Symphony (1946-8) is a work that almost year -old composer, then concertmaster to based on a poem about an illegitimate child, drowns in its own contradictions. A sprawl- the Archbishop of Salzburg, underwent re- sequestered in a monastery, whose adoles- ing, ten -movement, 75 -minute canvas, Tur- markable growth in his approach to the con- cent heart is fatally stirred by the loss he feels angalila functions within a grandiose Wagne- certo: The form developed from a quasi -Ba- upon seeing, for the first time, two lovers rian time span and embraces a Tristanesque roque to an almost Classical one, and the embrace. As with the other strange subjects attitude toward the transfiguring power of thematic substance blossomed from the Janacek set to music, this one succeeds beau- love. Its ecstatic climaxes revel in rather un- conventional into the intensely personal. tifully, albeit not on the grand scale of his lat- French excesses, and at times its cloying dia- This recording by the twenty -two -year - er masterpieces. tonic themes turn embarrassingly sentimen- old West German violinist Frank Peter Zim- The composition is well beyond the tal. mermann combines the Concerto No. 1, in B Against this voluptuous background, flat, K. 207, with the famous Concerto No. 4, however, Messiaen projects a distinctly non- in D, K. 218 (playing time: 45:39). Accompa- Romantic sonic and aesthetic message. Stat- nied by the small and lively Wurttemberg ic, repetitive, polyrhythmic sections con- Chamber Orchestra under Jorg Faerber, structed of densely layered, unrelated Zimmermann offers polished readings that materials betray Messiaen's non -Western avoid burdening this music with excessive leanings, as does his penchant for nondevel-interpretive mannerisms. Articulations are opmental juxtaposition. And the score's fe- crisp and precise, and textures remain a rocity and angularity remind one that during model of clarity. the very years of Turangatila's composition, Yet Zimmermann's approach is uncom- Messaien-in a more modernist guise-was fortably inconsistent. Into this reserved, un- busy extending the rigors of serialism to ar- derstated context, he injects a wide vibrato eas other than pitch. (disturbingly throbbing in the Adagio of No. SIR CHARLES MACKERRAS DEMONSTRATES ONCE AGAIN THAT HE IS A Given its inherent fragmentation, it is no 1), needlessly audible shifts, and (in No. 4) SUPERB INTERPRETER OF CZECH MUSIC, ESPECIALLY JANACEK'S. easy matter to create a coherent view of Tur- the Romantic, overblown cadenzas by Jo- angalila. Remarkably, Esa-Pekka Salonen seph Joachim. The result is jarring rather Dvoiakian idiom of JaniZek's youthful Idyllsucceeds in achieving precisely that. Sa- than refreshing. (1878), but it does not quite carry the stamp lonen is able to negotiate the symphony's At least Itzhak Perlman, whose cycle of of his later, inimitably bold and beautiful complex tempo relationships convincingly, the concertos for Deutsche Grammophon style. It comes close enough, however, to be and he communicates Turangatila's rhapsod- reaches completion with this latest release, indispensable to any admirer of JaniZek'sic edge without ever losing headway. The is consistent in his stance. He remains a Ro- music. Indeed, the cantata's wonderful epi- Philharmonia Orchestra offers a virtuoso mantic, although never a tasteless one. Per- logue is almost the stuff of the Sinfonietta. performance, and the recorded sound is forming the Concerto No. 2, in D, K. 211, While Bohuslav Martinfes Field Mass is a both painfully brilliant and of astonishing and the Concerto No. 4 (playing time: hybrid that I admire, I have never been dynamic range. 42:38), Perlman and conductor James Le- moved by it. Written in 1939 in tribute to the After the onslaught of Turangalila, the far Czechs who volunteered for the French greater subtleties of Witold LutosYawski de- army, it is really an outdoor cantata, scored mand special attention. Both Les Espaces du for the interesting combination of baritone, sommeil(1975) andthe Symphony No. 3 FORMAT KEY chorus, wind and percussion instruments, (1983) inhabit the same coloristic world as 0 LP bells, and harmonium. Only occasionally earlier works by Krzysztof Penderecki and l3Cassette does Martinfi's highly individual language Gyorgy Ligeti, with their intertwining, swirl- 3 Compact Disc seem to emerge from the proceedings; ing sonic densities. LutosYawski's effects are strangely enough, several passages sound as more delicate, however, and his rhythmic al Videocassette though Kurt Weill had gotten religion and animation and sense of line create a clearer Q)Videodisc written a Mass. Listen to "0, Pune mrtj r (0, melodic and metric profile. Although the Open reel my Lord) for those Weill -like syncopations. symphony seems to lack a clear goal and too In spite of its originality, the work does not often lingers over textural details, much RECORDING INFORMATION achieve as moving a statement as one would grim power and impassioned lyricism is con- (A) analog original expect, given the subject matter. tained within its pages. John Shirley -Quirk is (D) digital original Sir Charles Mackerras demonstrates the emotionally gripping baritone soloist in once again in the present recording what he Large symbol beneath title indicates reviewed format. Les Espaces. Playing time: 124:38. Small symbols following catalog number of reviewed for- has proven many times: that he is a superla- K. Robert Schwarz mat indicate other available formats lit any) tive interpreter of Czech music, especially Catalog numbers of all formats of a particular record- ing usually are identical except for differing prefixes or Janalek's. Thanks to him, the superb sup- MOZART: suffixes. Catalog numbers of formats other than the re- port of the Czech Philharmonic Orchestra Concertos for Violin and Orchestral No. 1, viewed format ore printed only if their basic numbers dif- fer substantially from that of the reviewed format. and Chorus, and the excellent work of Su- In 11 flat, K. 2071 No. 4, in D, K. 218. Arabic numeral in parentheses indicates number of praphon's recording team, this release is a Zimmermann, Wiiraemberg Chamber Orches- items in multi -item set. Unless otherwise indicated, all clear winner. Playing time: 54:29. jP tra, Faerber. Gerd Berg, prod. Angel EMI multi -LP sets are in manual sequence. Robert R. Reilly CDC 47431 (DI.

64 HIGHF IDELIT Y vine turn occasional stylistic anachronisms mic energy and percussive exuberance, but very little harmonic movement-and it to their advantage in personal, insightful without sacrificing the harmonic enrichment serves to demonstrate both the long road readings. The Vienna Philharmonic's state- of recent years. It is a sheer joy to hear, that Reich has traveled and the satisfying ment of the opening ritornello of No. 4 has sounding as if Reich-fresh from the exer- links his more recent music retains with its more character than an entire movement in tions of The Desert Music-had approached past. For despite the fact that Sextet can no Faerber's account, which only proves that his familiar percussion ensemble with a mix- longer be described as minimal-its har- supposed historical accuracy is no substitute ture of relief and renewed enthusiasm, monic language, tonal range, and melodic for interpretive personality. In this context, which seems to have been contagious. Sextet expansion are too complex for that-it re- Perlman's lush portamentos, occasionally is Reich's finest chamber work since Octet mains faithful to the minimal idea of clarity brusque articulations, and elaborate caden- (1979), and its performance by members of of contrapuntal process that is broached so zas seem entirely appropriate. It may not be Steve Reich and Musicians and of Nexus is a successfully in Six Marimbas. Ultimately, Mozart for purists, but at least it is Mozart labor of love. Reich's greatest achievements may lie in with a unified point of view. Sextet is paired with Six Marimbas, are - small chamber works such as these, which K Robert Schwarz scoring of Six Pianos (1973). Six Marimbas is a allow his innate tendencies to blossom in an genuinely minimal work-shunning melod- unforced manner. And it is always a pleasure MOZART: ic or coloristic development and possessing to watch those very personal inclinations de - Onartos for Piano and Strings: No. 1, in oninr, K. 471; No. 2, in E non, K. 493. Solti, Members of the Melos Quartet. Michael Minolta Haas, prod. London 4 1 7 190-4 (D). 00 gdsge ax de CR-8000AF (8mm) THESE ULTRABRILLIANTLY PLAYED AND recorded versions of the Mozart Piano Quar- WHOLESALERS tets remind us that Sir Georg Solti began his 1160 HAMBURG TRK . WAYNE. N.J. 07470 career as a pianist and prove that he has lost FOR MORE INFO CALL (201) 838-5808 none of his keyboard technique. There is an CALL TOLL -FREE 800-247-4654 old tradition of famous conductors doubling WE WIL MATCH OR BEAT ANY LEGITIMATE PRICE as piano soloists; in these particular works, HOURS: Monday-Friday 10 am -8 pm; Saturday 10 am -5 the long -preferred and near -definitive ac- MTS HI-FI STEREO 8MM CAMCORDERS counts were those by George Szell and the 4 & 2 HEAD VHS CANON VME2 IN STOCK JVC HRD 570 LOW PR;CE Budapest Quartet for Columbia. These MINOLTA CR8000S LOW PRICE TOSHIBA DX7 CALL more dazzling readings by Solti and mem- PENTAX PVC800A CALL TOSHIBA M5900 IN STOCK OLYMPUS VX801 IN STOCK bers of the Melos Quartet will no doubt be CANON VRHF720 LOW PRICE CHINON C8-80 CALL prized by the conductor's fans, but Mozart SANSUI AV99CANON VRHF710 IN STOCK KYOCERRA K01100U IN STOCK VHS -C CAMCORDERS MINOLTA MV6OS IN STOCK connoisseurs will be far less satisfied. SANYO VISION 8 S850 JVC HRD470U St 59 Because I have just had my first, bewitch- GE 9710 $995 SONY CCDV8AFU $950 CALL SANYO VHR1900 5,99 HITACHI VMC 50A SONY CCDV3 $969 ing encounter with period -instrument re- FISHER FVH980 IN STOCK JVC GRC7U $1089 SONY CCDV110 $1259 cordings of these works (featuring James JVC GRC9U ORDER NOW FISHER FVH990 CALL Weaver's c. 1795 Dulcken fortepiano), I find MINOLTA CR30CCA $899 ZENITH VM 6150 NEW the present, modern treatment about as far EVS700U $689 ZENITH VM 6200 5888 AUDIO from what the composer must have had in RECEIVERS EVA300 $399 mind as is possible where the same scores VHS CAMCORDERS JVC RX9V $'50 CASSETTE DECKS R. D. Darrell SONY STRAV880 $450 are concerned. GE 9610 S1199 SONY TCWR950 $399 SONY STRAV780 $299 HITACHI VM5000A S1150 SONY TCWR750 5255 $210 MOO: MINOLTA CR1200S IN STOCK SONY ST7TV PIONEER VSX5000BK CALL NANO Six Marindons. OLYMPUS V0404 NEW PANASONIC AG160 $1395 SPECIAL QUASAR Reich and Musicians, Nexus, Manhattan 0Steve ZENITH VM7100 $1289 Model VM21AC Full size Marimba Quartet. Steve Reich, prod. None- VHS Camcorder 6-' Zoom with such 7 9 1 38-2 (A). 00 PIONEER LASER VISION Electronic Shutter S1069 COMPOSER STEVE REICH IS BACK-AND WITH A CLO-909 & N STOCK

vengeance. Not that he ever disappeared; it SONY BETA HI-FI was simply that some members of his audi- SLHF450 S399 1321 SONY CCD-V/10 ence were alienated (I was not) by the gran- SLHF750 $699 SANSUI, PIONEER SPEAKERS diose pretensions of The Desert Musk, seem- SLHF1000 $1150 HITACHI. JVC, AR POWERED PART S199 ingly far removed from his austere minimal- SLHFT7 $439 SONY. SYLVANIA ADVENT BABY $129 & TOSHIBA. ist heritage. With Sextet (1985), Reich has re- ADVENT LEGAGY $299 SONY BETA MOVIE ADVENT MAESTRO $399 turned to his roots, yet his music has been BMC-1000K ORDER NOW vastly enriched by the lessons that The Desert PHONES CD PLAYERS CANNON VC5OA Music taught. BELL FF1700 $129 JVC XLU440 S215 CAMERA $995 Sextet, scored for four percussionists and SONY ITA600 $179 JVC XLM 700 $379 two keyboardists, focuses on the primal SONY SPP100 $139 PIONEER PDM70 NEW ACCESSORIES SONY SPP300 LOW PRICE SONY CDPC10 $500 forces that have long been the hallmark of SONY CDP510 S259 SANSUI AV99 CALL Reich's musical language: repetitive rhyth- SONY CDP 203 $299 CALL SANSUI VCG39 OHARGEN MAGNAVOX CDB650 $319 mic patterns, steady pulse, and interlocking SONY Camcorder Battery S35 S50 contrapuntal processes. Although the long - HITACHI Camcorder Battery 3 HEAD VHS spun melodies and timbral variety of The Des- JVC Camcorder Battery $50 HITACHI VT1370A (PNP)LOW PRICE JVC CGP50 CHARGEN S99 /SONY ert Music are absent, the piece has inherited HITACHI VT1570A (1310) CALL that work's pungent, dissonant harmonic We Accept AmEx, Visa. MasterCardandDiscover. C.O.D. welcome. HITACHI VT1450A (PNP) IN STOCK language, its arch -shaped structure, and its Mintivis4. We ship within 24 hours, All prices quoted included 4 HEAD VHS pulsing chordal cycles. Sextet still refers to manufacturer'sstandard Reich's earlier music in its unflagging rhyth- accessories & U.S. Warran- TOSHIBA M4220/30 IN STOCK ty.Allunits are factory TOSHIBA M4330 CALL sealed. Shipping & hand- ling extra.of responsible FISHER FVH920 $399 fortypographicalerrors. FISHER FVH950 S459 J U N E 19 8 7 41 velop, yet remain identifiably Reichian. Play- ous, menacing treatment; the third ("The cording the role on two different occasions ing time: 42:43. K. Robert Schwan Delight of Power") plods excessively; and (first with Toscanini, whose performance is the finale ("The Delight of Love"), while as still the best conducted, then later with TCNA1KOVSKY: exotic as any of the pages of Scheherazade, Georg Solti). And yet, the whole of most of Symphony No. 1, In G minor, Op. 13 ("Winter here seems decidedly unsensuous. these sets is considerably less than the sum Dreams"); Waits and Polonaise from Eugene The orchestral playing is excellent, how- of their often illustrious parts. Onegin, Op. 24; Marche slave, Op. 31. ever, and Telarc's reproduction offers a new Thus, this new Solti-led performance- Berlin Philharmonic, Korojon. Deutsche Gram- sonic approach for the label. Recorded in with Luciano Pavarotti, Margaret Price, Re- (.1--nhon 419 176 2 A Calvary Episcopal Church in Pittsburgh, nato Bruson, and Kathleen Battle, all in rep- Symphony No. 2, in C minor, Op. 17 ("Little these performances have a very resonant resentative form-is particularly welcome. Russian"); 1812 Festival Overture, Op. 49. acoustic, with more "air" around the orches- This third try at the opera for London is not Berlin Philharmonic, Karajan. Deutsche Gram- tra than is usually heard on Telarc discs. Be- exactly definitive, but it has the flavor of a Lir,nohon 417 177-2 (A). cause of this, there is some loss of clarity and full-fledged operatic venture, a flavor that is Symphony No. 3, la 15, Op. 24 ("Palish"); solidity in the low percussion, but the overall rapidly being chased out of the studios and Capriccio Italian, Op. 45. effect is very pleasing. I look forward to fu- even the opera houses by directors and con- Berlin Philharmonic, Karajan. Deutsche Gram- ture Pittsburgh/Maazel/Telarc recordings. ductors (and in the case of recordings, pro- jir mophon 417 178-2 (A). Playing time: 67:31. Robert E. Benson ducers) who believe that all that matters is HERBERT VON BARMAN'S WAY WITH THE FIRST note -to -note accuracy. three Tchaikovsky symphonies will appeal to VI11111 Solti is not known for being the warmest those who do not like their Tchaikovsky in- UNbelle I.onstschows. of maestros, and surely his early account of tense; under his baton, the Berlin Philhar- 0M.Price, Battle, Ludwig, Pavarotti, Bruson, the opera (London OSA-1328) was a perfect monic gives magnificently played, but rather Lloyd, King, Weber; London Opera Chorus, specimen of his sort of over -emphatic stress- placid, interpretations. Symphony No. I National Philharmonic Orchestra, Solti. Christo- ing that lent a brutal edge to so many of his ( Winter Dreams)unfolds in a leisurely fashion, pher Raeburn, prod. London 410 210-2 (2, D). 0(3). recorded performances. He has relaxed to and in the delightful Symphony No. 2 (the D(3) such an extent that some moments lack the so-called Little Russian), Karajan succeeds in EVEN THOUGH VERDI'S UN BAILLO IN MASCHER4 grand sweep we expect to hear. But there is a capturing the folksy playfulness of the score. has been frequently recorded-ten commer- mellow, sensitive ear at work here, stressing But the account of Symphony No. 3 (Polish) cial releases come to mind-few can bethe orchestral marvels of Verdi's score, never catches fire, in spite of the extraordi- heartily recommended. It is not for lack of while at all times allowing the singers to narily fine playing of the Berliners; even the stellar names. Beniamino Gigli's extraordi- make their individual musical points and final polacca fails to excite. It is unfortunate nary performance (Seraphim 6026) is well sing thrillingly. that Karajan was not in a more vigorous worth having, both as an example of the ten- Of course, the major reason for this set is mood in 1979, when all three were recorded. or in his top form and for Fedora Barbieri's the second go -around for Pavarotti as Ric- The couplings are fairly generous (Sym- impressive Ulrica. Among the others who cardo. His earlier London set (released in phony No. 1, etc.: 66:10; Symphony No. 2, have sung the role to great acclaim, and re- 1971) had very little to recommend it, apart etc.: 50:38; Symphony No. 3, etc.: 63:33), corded it at least once commercially, are from his impetuous, rather small-scale con- but I find this rendition of the 1812 Festival Giuseppe di Stefano (with Maria Callas and tributions. London was far more careful, Overture disappointing. The Don Cossack Tito Gobbi), Carlo Bergonzi (first with Bir- even thoughtful, in its casting this time Chorus sings the opening chorale impres- git Nilsson, Cornell MacNeil, and Giulietta around. Also, Pavarotti has hundreds more sively, but the cannon in the final pages are Simionato, later with Leontyne Price and performances of the role under his belt, and blurred and ineffective. All of the fillers date Robert Merrill), Luciano Pavarotti, Placido though the voice no longer has the exuber- from 1967, and like the three symphonies, Domingo, and Jose Carreras. Alcohol and, ant sheen and heady abandon of the earlier they did not seem to have particularly out- finally, death, kept Jussi Bjoerling from re- effort, it has gained weight and a very specif- standing sonics when originally issued. The CD transfer has helped slightly. All three discs would have made fine entries in a bud- get -price series; at full price, they're harder to recommend. Robert E. Benson

TCHAIKOV SKY: Symphony No. 2, In C minor, Op. I 7 ("Little Russian"). RIMSKY-KORSAKOV: Symphony No. 2, Op. 9 ("Antar"). P,ttsburgh Symphony Orchestra, Maazel. Rob- ertWoods, prod. Telarc CD 80131 (D). FutsIS LORIN MAAZEL'S FIRST RECORDING AS music director of the Pittsburgh Symphony, and one scarcely need add that he has come a long way in the four decades since he was a violinist in the same orchestra. He presides over solid, capable performances of both of these Russian Romantic symphonies, with Tchaikovsky's Little Russian the more suc- cessful of the two, moving at a brisk pace that seems just right. The /War Symphony, how- ever, requires more imagination than Maa- zel possesses if it is to succeed. The second movement ("The Delight of Vengeance") SIR GEORG SOLTI STRESSES THE ORCHESTRAL MARVELS OF VERDI'S "UN BALLO IN MASCHERA," WHILE AT ALL TIMES ALLOWING THE SINGERS TO would have benefitted from a more mvsteri- MAKE THEIR INDIVIDUAL MUSICAL POINTS AND SING THRILLINGLY

118 HIGH FIDEL IT is communicative thrust. period, cannot do full justice to the specific have imagined a real competitor to surface. Margaret Price had not as yet performed riches of this score, no matter how dramati- Tiny, tortured, and driven, she emerged, the role of Amelia on stage, though one cally effective the singing. Playing time: with Latte Lenya's blessing, as the quintes- would hardly know it, so committed and 130:29. Thor Eckert, Jr. sential Weillian female: a whirl of destruc- thoroughly worked into the throat is her per- tive vulnerability momentarily sanctified by formance. Her ripe, effulgent lyric soprano VIVALDI: the classical technique that encased it. Like has rarely sounded more appealing and se- Concertos for Bassoon, Strings, that of George Balanchine's Gelsey Kirk- ductive on records. If Verdi is now in the and Continuo (6). land, Stratas's energy fed on the tension be- cards for a singer who made her career as an Thunemann, I Music:. Philips 416 355-4 (D).00 tween the sacred and the profane-a cutting outstanding Mozartean (everywhere except Concertos: in F, RV. 485; in B flat, RV. 503; in E edge that Hal Willner's rock musicians in his at the Metropolitan Opera, which has be- flat, RV. 483; in A minor, RV. 497; in C, RV. 473; in Weill-redux sampler, Lost in the Stars [see come interested in her only very recently), G, RV. 492. June 1986 review], had to discover from a the future looks promising indeed. As A ONE-TIME AMATEUR BASSOONIST WHOSE different perspective. Stratas's first Weill The impact Solti had on these sessions is supreme moments were as third bassoon in a collection was shocking and erotic, disturb- nowhere more evident than in the Renato of Boston settlement school pro/am orchestra ing yet somehow liberating. And it pointed Renato Bruson. His earlier performance for performance of the Prelude to Act I of Lohen- to wells of inner Weillian wisdom that per- Claudio Abbado (on Deutsche Grammo- grin (in which the lowly third is entrusted haps even Lenya herself hadn't fully fath- phon) showed up all the unappealing facets with the score's bass line for a dozen or so omed. of the voice-the throttled, dry top and the bars), my enthusiasm for the instrument bi- Sequels, however, are often disturbing in inability to expand into a phrase and infuse it ases my reporting on any program that fea- other ways. Stratas Sings Weill, 15 show tunes with the grandeur the music demands. With tures a bassoon soloist. But Klaus Thune- with instrumental accompaniment, contains Solti, the performance has a candor, a di- mann is an extraordinary one, apparently glorious singing-Stratas has perhaps never rectness, that makes it deeply satisfying. His the leading European practitioner nowa- sounded so beautiful. But what's generally voice sounds even more congested than usu- days. And although he has been featured in a missing is the almost paralyzing emotion- al, but the sense that Bruson is being allowed number of earlier recordings, including sev- the Anna Karenina calm cum hysteria- to give his own performance of the part, tai- eral with the Academy of St. Martin -in -the - heard in the first edition's "Wit lange noch?" lored to his strengths and weaknesses, is ev- Fields, this is the first major solo program ofThere, Stratas lived dangerously; here, she erywhere tangible. his that has come to my attention. makes choices, brilliant ones maybe, but Kathleen Battle's soft -grained soprano It's a fine one: From his first notes, choices that tend to clothe the very thing prevents her from really commanding atten- Thunemann demonstrates a mastery of his we've come to long for in her. "Surabaya - tion throughout Oscar's ensembles, but her ungainly but versatile instrument, as well as Johnny" is chock-full of color changes, verse innate soubrette charms hold her in good a notably big and eloquent tone. He com- to verse, but they don't add up to one stead throughout the performance. Only bines with effortless skill its dual roles to be, fleshed -out character capable of surviving in Christa Ludwig's Ulrica is out of the run- as Michael Talbot's perceptive notes put it, the imagination. Superficially charming ning. Even in her prime, hers would have both a songful tenor instrument and a bass songs like "One Life to Live" and "Foolish been the wrong voice and temperament for instrument that doubles the continuo part, Heart" are merely petticoat patter for Stra- such an unstintingly Verdian mezzo role; with occasional elaborations that demand tas-an affront to her savage soul-while the nowadays, she simply can't find a way to the agility of a heavyweight gymnast. humor of an Ira Gershwin line like "This is make the character project. Effectively, if a bit heavy-handedly, ac- my thesis: Why go to pieces?" completely The recorded sound is natural and un- companied by I Musici and exceptionally passes her by. fussy, and the voices-especially those of well recorded, this set of six of the best of Vi- Stratas, however, is full of other strata, Price and Pavarotti-have been well caught. valdi's 39 bassoon concertos is surely one of and she remains the mistress of the small The National Philharmonic Orchestra re- the very finest in the discography to date. gesture and the big swell. In "Tattends un na- spOnds well to Solti's guidance and prod- And if you cling to the notion that Vivaldi vire" ("I'm Waiting for a Ship"), she paints ding, though at times a certain lack of theat- did not write countless individual concertos the rise and crest of ocean waves with the ex- rical tenseness belies its non -opera -orches- but only innumerable versions of the same quisite pianissimo glissando that is the se- tra status. It is a pity that so few opera one, the variety of materials and treatments cret of her legato, while in "Lonely House" orchestras are brought into the studio any- here should speedily teach you better! (a masterful composition), she hugs the more. The loss of minute details of ensem- R. D. Darrell word alone to her breast as if it were her last ble, awareness, and the vibrancy that only crumb of bread. "Le Train du ciel" ("The come from a group that feels this stuff from WELL: Train from Heaven"), however, is one of the years of playing it is considerable. Solis (13). few songs here that seems to hurl itself for- Compact Disc buyers need search no fur- Straws; Y Chamber Symphony, Schwarz. Rob- ward, beginning to end, from inside the ther for a Ballo. Surely DG's with Abbado, ert Hurwitz, prod. Nonesuch 79131-2 (A). Imo singer. A mixture of Gershwin gospel, Mah- the only other account currently available, is ANDERSON: Knickerbocker Holiday: It Nev- ler morbidity, and Schubert terror, it is one of that conductor's worst efforts in the er Wos You. BRECHT: The Rise and Fall of the City transformed by the Stratas fever into a time- studio. If Philips gets around to reissuing its of Mahagonny: Havonno-Lied; Denn wie man sich less hymn of salvation from hell. Colin Davis read -through with Carreras and betel; Happy End: Surabaya -Johnny; Dos Lied von Perhaps Stratas's real competition is her Montserrat Caballe, it may appeal to diehard der horten Nuss; Der kleine Leutnont des lieben own ghost-past, present, or future. On the fans of those singers, though only Carreras Gottes; The Threepenny Opera: Dos Lied von der back of the album cover is the saltiest, most is worth a hearing, and Davis's way with Ver- Unzacinglichkeill menschlichen Strebens. DEVAL: intimate and intelligent interview she has di is, when all is said and done, distinctly un- Marie Galante: J'ottends un navire; Le Roi d'Aqui- ever given; her performance inside almost interesting. taine; Le Train du ciel. GERSHWIN: lady in the pales by comparison. This artist is an ele- The Callas/Di Stefano/Gobbi reading Dark: One Life to live. HUGHES: Street Scene: mental force, and to listen to her has never for Angel EMI will surely be out before too lonely House. KAISER: Silverlake: Id bin eine arme been safe. But on this disc, one feels her long, and while it is an interesting perfor- Verwandte (Fennimore's Song). NASH: One Touch standing above the abyss of intuition, so mance, I would recommend it only as an al- of Venus: I'm a Stranger Here Myself; Foolish wide-eyed and haunted, holding on to intel- ternative, rather than as the sole Ballo in a Heart. lect by one small thread. How I long for her collection, since Antonino Votto's conduct- RIGHT AFTER TERESA STRATAS RELEASED HER tolet go-and jump. Playing time: ing, wedded to the thin mono sound of the first Kurt Weill album, one hardly could 53:58. Pamela Bloom

J U N I 19877 CORDS/COMPACT DISCS/PRE-RECORDED CASSETTES/STEREO RECEIVERS/TAPE DEC SYSTEMS/BLANK AUDIO TAPES/AUDIO ACCESSORIES/VIDEO RECORDERS COLOR ERAS/BLANK VIDEO TAPES/VIDEO ACCESSORIES/PERSONAL

TEAC CASSETTE DECKS z FiTa

Teac V -538X Teac V -850X Teac W -310C Dolby dbx Stereo Cassette Deck Three Head Cassette Deck Dolby Double Cassette Deck Dolby B C and dbx Soft touch control Boos Dolby 8 C and dbx 2 -motors Full logic Dolby B and C noise reduction High speed nine tuning LED meters Block finish control Programmable music search True dubbing Bios fine tuning LED peak meters PHONO CARTRIDGES tape Monitoring Continuoys playback Direct transport Sale $//995 LIST Viet $9995 I1Sc4 ,S:ce., $34995 V;.) Price $199

1=1 " k-

Teac R-425 Teac R -888X Teac W -460C Auto Reverse Cassette Deck 3 -Head Auto Reverse Cassette Dolby Double Cassette Deck Dolby 8 & C Bi-directional .ecord play 3 -motors Full logic control Dolby B C and three motor logiccontrolledtransport Shure V-15 Type V -MR Rotating head design Mic inputs LED cif'' Programmable music search Bias level Dolby B &C Programmable music search Micro Ridge Phono Cartridge peak level meters Soft touch operation adjustment Block finish High speed dubbing ,.ellent trackaarlity Dynamic stabilizer Sale $7/995 usr Sole $44995 LIST Sale $/2995 LIST Side -guard stylus protection Duo -point Price $199 alignment gauge / Price $449 Price a. $A99 Sole Price$/4905 UST5275 VHS MOVIE SPECIALS BLUE NOTE JAll VHS HI-FI VIDEO RECORDERS

ME 'HALM ADC PSX-20 1.1111\11E11E1'S induced magnet cartridge . . $29" Audio Technica AT-132EP P mount cartridge 55995 Audio Technica AT152MLP Linear contact Pmount $9995 Toshiba M-2700 Audio Technica AT-201EP VHS He HI-FI Video Recorder universal mount cartridge . . Outstanding audio wdeo ouoldy at one low Audio Technica AT-231LP r,r ice HO video system Hi-Fisound $3905 Stanley Turrentine Universal mount cartridge . Altered States (1980) '18.95 Wonderland wireless remote Cable ready Calamity Jane (1954) '18 95 Featuring the songs of Stevie Wonder So le $3195095 LIST Pickering 625DJ Pro disco cartridge $2995 East 01 Eden (1980) '18 95 Price $799 Sale $6 99 LP or Shure M104E Mad Max Beyond Thunderdome Price Conenn Only Universal P mount cartridge . . $2995 (1985) '18 95 Freddy Hubbard...Life Flight Shure M111HE Magnum Force (1973) '18 95 '13.99 CD/$6.99 LP or Cass. Hyperelloptical Cartridge . . . $4995 Never Say Never Again (1983)98.95 OTB...Live at Mount Fuji Shure V15 -IV MR . The Outlaw Josey Wales (1976)98.95 . 93.99 CD/$6.99 LP or Cass. Micro ridge stylus cartridge . . $7995 Pale Rider (1985) '18 95 Kenny Burrell...Generation Stanton 500AL

. Superman II (1980) . . .'13.99 CD/$6.99 LP or Cass. Disco cartridge with extra stylus $1995 98 95 JVC HR -D3708 Them! (1954) '18.95 Tony Williams...Generation VHS HQ HI-FI Video Recorder Stanton 680EL . . .93.99 CD/$6.99 LP or Cass. Experience dynamic hi-fi stereo sound r49 Pro disco cartridge w/extra stylus $4995 James Blood Ulmer..AmericaDo You system MIS SAP cable ready Direct access Stanton 8815.115 remote Black finish Your $11!95 Remember the Love Standard mount cartridge . . S6995 ChoiceI V Each . 93.99 CD/$6.99 LP or Cass. Sole $A9995 LIST Price 'T $799

TECHNICS AUDIO SPECIALS

. Iiiiiii1=7:51111111

JVC TDW6OJBK JVC RX-8VB Technics SA -290 Technics SL-DD33 Stereo Double Cassette Deck Remote Control Stereo Receiver Digital AM/FM Stereo Receiver Fully Automatic Turntable Computer controlled tun logic controls Auto 100 watts RMS per channel 32 presets 50 watts RMS per channel LED power Direct drive motor system Automatically reverse Dolby B and C Hi -speed dubbing 7 -band stereo equalizer Spectrum anolyzer -refers 16 -station preset memory tape senses disc and selects proper size P -Mount Music scan Black finish Black finish ,onitor Block finish cartridge connector Block Sole $19995 LIST Sole $4.3995 Sale $15995 LIST Price rarw $399 $5LIST99 Price $249 iie $/0905 5 619

1111.114EI-" MEM JVC XL-M700B JVC XL-V33OBK Technics RS-T1O Technics SL-PJ2O Multi -Disc CD Changer Remote Control CD PLayer Stereo Double Cassette Deck Midi Size Compact Disc Player 6 disc magazine and singledisctroy 23 -functioninfraredremotecontrol Dolby B Synchro start dubbing Cue & Random access programming Digital filter Program up to 15 selections from 7 discs Program up to15 tracksin any order review Auto tape select LED peak meters Pine focus loser pickup player Front drawer Wireless remote Black finish 3 -beam laser pick-up Block Mall Headphone jock Block finish loading Black finish Sole $44995 LIST Sole $19995 LIST Sole Sole $/3995 LIST Price 9 Price 5320 Price$12495 ,ISLT200 Price $249

IN NEW YORK, ALASKA & CANADA CALL: mDLEIREE8002218180(212) 693-0396 4qil!k I 23 Park Row, Dept. HF0687, New York, NY 10038 UALIZERS/HEADPHONES AMPLIFIERS/COMPACT DISC PLAYERS/TUNERS/RACK SYSTE SIONS DEO PROCESSORS/CAMCORDERS/VIDEO CAMERAS/BLANK AUDIO TAPES (TORS/COMPUTER SOFTWARE/FLOPPY DISKS/ COMPUTER FU CHINES ELEPHONE BUSINESS SYSTEMS HOME SECURITY PE

DIGITAL COMPACT DISC PLAYERS

Lbail

, MI Mir ADC CD -100X Teac PD -100 Shure SV-40 Programmable CD Player Programmable CD 'layer Programmable CD Player Triple beam laserpickup 16 -track 16 track programming Double overso-np- l7 -functionwireless remote wrth volume HEADPHONES programmable Metal chaqrs Ind transport ling Drgool filter Track repeat Son tech control 15 track programming 3 -beam Block finish controls Black loser pickup 5 -year warranty Black So LIST Sole ;°i lce. $12995 i114 Prl ye$13995$349 $22995 M.,

- 1

ADC CD16;21 Teac PD -420 Audio Technica CD -20 Remote Control CD Player Remote Control CD Player Remote Programmable CD Player Beyer DT -880 pickup OverscmplIng di ea Random access memory 3 -beam laser 3 -beam laser pickup It track program- 3 -beamoser Pro Monitoring Headphones ming Wireless remote Advanced error filter 16 I ock random programming Irdex pickup Wireless remote Double resolution Ultrawide 5-25kHz frecuency response correction Black finish search E lock finish digital filtering Block finish Rare ea lh magnet cor struction ight weight design Great chOral sound Salerl $78995 L 'Zee S/6995 ;Ti9 P=e / $IST469 rift $24995LsII,T). 113iciee $70995 LIST AUDIO ACCESSORIES -TOME SECURITY MAGNAVOX CD PLAYERS

AKG K -240M 57995 Terk FM 9500 MI .e Alleeta Studio nicnitoring headphones Indoor FM Electronic Antenna 111tIMMEIO AKG K.240DF $9995 Modem nigh tech Extraliar frequency response . style ; 4-43's of gain '5 AKG K.135 LED displc y One year wchanty Block Magnavox CDB460 Dynamic stereo headphones . .$4995 finish Soilage "Keepsafer Plus' Programmable CD Player Electronic Home Security System Program up 20 tracks any order 16 -oil Beyer Dynamic DT -550 $ Lightweight open air headphones79" Easy to nstoll operate and lee with r tate dual D A converters Oversamples at 176.4 IlaricleeP $7995 LIST or the art :onsole Wireless remote contr.1 3 kHZ Black finish Beyer Dynamic DT -990 transmitters receivers Easily o exponc Sole $7995 LIST Extra wide :requency response.$13995 gale Price I $250 Koss JCK-100 Pr ce$29995 M. New wireleif headphones . . $8995 *** ACCESSORIES *** Koss Pro4AAA $ Closed )or headphones . . . 3855 Schlage 71.100 $295 Sennheiser HD-414SL . SEA95 Transmitter with sensors Open aldi jitot ready headphones wt." Schlage 71-101 $799 Sennhelser HD -430 Backup oower supply . . wide response open air . . . .$84" DM1650 Schlage 71-111 se99, Magnavox CDB65O Sony MC R-CD6 Pro Series Mixer/Peamplitier Emergency dialer Audiophile Compact Disc Player New lightweight digital ready . .$8995 Iwophony line & rric line irpuls long throw Schlage 71-112 Flawless sound Program up to785 slider controls Cross !Oder 6 -toad equakze, selections in perrnonent memory 4 hrne, Sony MCR-V6 Glass break detector 7" oversarnpling Digital hlter Wireless remote

. . I ED peak meters Closed oar digital ready 19" Sole Schlage 71-122 4.495 Price $24995 V1;9 Houselignter lamp module ,1°,lcee $39995II;0

AUDIO EQUALIZERS

Sony STR-AV31 Sony CDP-31 Teac EQ-A20 ADC SS -525X Digital AM/FM Receiver Compact Disc Player Computerized Graphic Equalizer 35 worts 77MS per channel .10 -key arect Digital filter Shuttle play Random music Graphic Equalizer/Analyzer access frequemy synthesis turer 10 onsets sensor LCD display 10 barr. per channel EbectnJm analyzer 12 bands per channel Aut JrnatiC room display Twp tape monitor, 2 -way dubbing speaker equalization Wireless remote E0 record Analyzer EQ display Mic 'octane CALL CALL r,'ee.$9995 L$7.19 ,S,°,lce. $39975 L$V.,

Sony TC-W31 Sony CDP-21 Teac EQA30 ADC Sound Shaper SS -VW Stereo Double Cassette Deck Compact Disc Pkwer Electronic Preset Equalizer Dopy II and C Iwo mot( rdrive Imo, bruhneor converter Shuffle play Random Spectrum Analyzet/Equallzer recorranc, playback Autorna is music sensor music sensor LCD multi -display LED spechum analyzer wrh peak hold 10 10bands per channel 1 tlb control range band EQ 2 -way tape dubbrog Subsonic Illuminated slide controls 4 citterent prase' filter Record E0 Black finish playback E9 's Block finish So e 7999$ LIST L SIT CALL CALL Rice5/ $299 izce.$9995

HOW TO ORDER BY MAIL: SEND MONEY ORDER, CERTIFIED OR CASHIER'S CHECK, MASTERCARD, VISA or DISCOVER CARD (Include card number. Interbank No, expiration date and signature.) TO- AR MUSIC WORLD, 23 PARE ROW, NEW YORK, NY 10038, DEPT. NE0687. DO NOT SEND CASH. Personal and business checks must clear our Authorization Center beton) processing $25 Minimum Order. Shipping, Handling & Insurance Charge is 5% c Total Order with a $3.95 minimum. (Canadian Orders Add 15% Shipping, with a $995 minimum charge.) For shipments 3y air, please double these charges. SORRY, NO C.O.D.'s. lowy NEW YORK RESIDENTS PLEASE ADD SALES TAX. ALL MERCHANDISE SHIPPED BRAND NEW, FACTORY FRESH, AND 100% GUARAPTEED. WE ARE NOT RESPONSIBLE FOR ANY TYPOGRAPHICAL OR TRANSPOSITIONAL ERRORS.

NO1111H D1313,3AIHAY NNV1,111313 3H1 S010HdSM3N NNVV31139/14(1'DNI 3AIHNIV NNYW1139 3H1.3101 %Nov 3SIAPIDOID ne,Two, Three, Four! And the way they sound is way beyond compare? Our critics rate the Beatles on CD and video. JOHNLENNON, PAUL MCCARTNEY, GEORGE HARRISON, RINGO STARR: no introduction necessary. Suffice to say that, at long last, the Bea- tles have entered the digital age. Accordingly, we are devoting this section to reviews of their first four Compact Discs. We also take a fresh look at their first two films, now on Hi-Fi videocassette. Stay tuned for complete coverage of additional Beatle CDs and videos in the coming months-a splendid time, indeed.

Beatles' I4 -song British Parlophone debut LP, which was released in March 1963 and COMPACT DISCS which showed up in the U.S. four months lat- "PLEASE PLEASE ME" er on Vee-Jay asIntroducing the Beatles,minus "Love Me Do" and "P.S. I Love You." One THE FIRS] THING YOU NOTICE IS THE BASS. cut from the original release, "I Saw Her On cut after cut, there is a distinct sound Standing There," turned up on the group's where before there had often been little first American Capitol album,Meet the Bea- more than a subliminal presence. Rock his- tles!( January 1964), and 11 more cuts ended tories may have to be amended, as the prop- up on Capitol'sThe Early Beatles(March er study of Paul McCartney, bassist, can only 1965). The two remaining songs from the now begin. original release, "Misery" and "There's a The second thing you notice is that it Place," effectively disappeared from the really is possible to hear these chestnuts American market with the Vee-Jay LP. If this anew. The Compact Disc ofPlease Please Me typically labyrinthine sampling of the Bea- (Parlophone CDP 46435) is a replica of the tles' discography hasn't confused you alto -

J U N E 1987 71 leatlesBeatlesBeatlesBeatlesBrictJN-leatlesBeatlesBeatlesBeatlesi 19"11" gether, consider also this: Though originally a happy -sounding song, and if the Mobius to be upfront center and become annoyed to recorded for mono, the Please Please Me mate- strip of joy and pain that emerges from the discover them cast off to one side. Further rial was released in both the U.K. and the klutzy lyrics of "Ask Me Why" is a testament examination finds a slight echo of the vocal U.S. in both mono and stereo-and a rather to youth's determination to suffer gtiandly, in the opposite channel, which becomes primitive stereo at that, usually with the vo- one is struck more by John's cheerful salute more pronounced and more irritating as lis- cals coming out of the right speaker and a to heroes Gene Pitney and Roy Orbison as tening proceeds. glob of instrumental backing coming out of he rushes toward his own identity. It's a Three-way comparisons are revealing. the left speaker. Furthermore, the American progress that, thanks to this and future CDs, Paul's voice on "All My Loving" sounds LPs have a thicker sound, with more reverb, we can follow for the first time, once again. cloudier on the stereoMeet the Beatles!than as if someone thought the tunes should be Richard C. Walls on the mono CD, and the instruments have a tarted up a bit for the loutish Yanks (though flatter tone; the same song is mushier as well the decision was made Stateside by Capitol). as noisier on the Parlophone stereo LP. Comparing the stereo "WITH THE BEATLES" Please Please MeLP John's singing of "Little Child" may sound with the stereoEarly Beatles, however, one LISTENING 10 HMI IIIL BLAILLS ONCOMPACT' just as great on the LPs as it does on CD, but hesitates to cry desecration. Sometimes, as Disc (Parlophone CDP 46436), its British only with the latter can you get alongside the on "Please Please Me" and "Twist and Parlophone stereo LP counterpart (original- individual reeds of his harmonica. There's Shout," where forcefulness is appreciated, ly released in November 1963), and the also a weird situation on the LPs where the the trashy American sound is better; on oth- American Capitol stereo LPs that include its harp jumps to the vocal channel during the er cuts, like the close -harmony "Chains" or 14 tracks(Meet the Beatles!,from January break, then back to the instrumental channel "Boys," where clarity of accompaniment 1964, andThe Beatles' Second Album,from when the singing resumes. Paul's acoustic gives a song added oomph, the cleaner Brit renditionof wins hands down. "Till There Was You" pro- The CD of Please Please Mehas producer vides one of the best George Martin's original mono mix as well three-way tests of the as the rational song order that was lost with lot. The guitar on the the American dispersion of these early Parlophone LP lacks tracks. It's a set that begins with the one -two - the CD's vibrancy. And three -four pow! of "I Saw Her Standing whereas the CD also There," moves through several rock and showcases the beauty of pop covers and originals, and ends with two Paul's phrasing,Meet the songs that perfectly sum up the two impulses Beatles!strands his voice whose attempted synthesis would soon be- in one channel, where it come a major ingredient in the Beatles' orig- seems alone in an emp- inal contributions: the introspective, incipi- ty room. ently psychedelic "There's a Place" and the Over on the stereo party -hardy rave-up "Twist and Shout." LP ofThe Beatles* Second Then there's the sound, which reveals Album,the blazing gui- such you -are -there delights as the tingling of tar intro to "Roll Over the little metal thingees on the tambourine worn Beethoven" just does on "Love Me Do," the slap of Ringo's brush- "(t111121) OM'S 1964 FILM not have the CD's work on "A Taste of Honey," the rounder ROM 'Mt W1 SIGIAElfl zing-nor the hand- guitar sound on "Anna (Go to Him)" and claps its bite, nor the "Do You Want to Know a Secret," and, April 1964), two things come quickly to bass drum its expansion. The Parlophone throughout, the blending of the lead vocals mind: the clear advantages of the CD in its LP version is likewise wimpier. The remain- with those backing harmonies, which tend to cleanliness and in its mono sound, the sound ingSecond Albumtracks sound washed out, hang in a kind of limbo on both the British that was originally intended for this second not only next to the CD but also next toMeet and the American stereo versions. Another Beatles collection. the Beatles!On "Devil in Her Heart," for in- new pleasure is the familiar voices made Start with the CD's lead track, "It Won't stance, the cymbals have lost specific beats richer: John the rough but also romanticBe Long." After absorbing the punch of and instead make a continuous hiss that ap- (though in retrospect, one can't help but John's bare introductory vocal phrase, one is pears to float from channel to channel. hear the intended irony in some of the melo- struck by the perfection of George Martin's Group vocals on "You Really Got a Hold on dramatic poses he strikes); Paul the smooth compressed twin -track recording: Every ele- Me" and "Money" are separate and distinct crooner (exquisite on "P.S. I Love You"); ment seems to fit in its own designated space on CD, but they run together on LP, where George, revealing an adeptness at singing in the mono mix with absolute clarity. On "Money" is further marred by a loss of rich- melody ("Do You Want to Know a Secret") the other hand, a quick switch to the Parlo- ness in John's lead vocal. It seems there's al- that pretty much lay dormant untilAbbey phone stereo LP shows obtrusive surface ways something on vinyl that sounds hidden Road;and Ringo, whose voice, heard from noise and a marked depreciation in cymbal behind a sheet. E our postmodern perch, now sounds like a brightness and sharpness. Because Ringo's True, there are spots on the Compact great conceptual coup, its emotional effect cymbal ride was so enormously important to Disc where voices and instruments could be L.7k, (a pleasant poignancy) generated by the the Big Beat, this is a big loss. more strictly defined. And it should be not- space between what it attempts and what it Then there's the issue of stereo itself. On ed that even on the CD, there are instances achieves. both the British and American LPs, "stereo" where the dynamic fullness of the sound No doubt there will always be some poi- takes the form of vocals on the right channel suddenly contracts or expands a degree or gnancy involved for my generation in listen- and instruments on the left. OnMeet the Bea- two.(Bothchanges inexplicably occur in a ing to the Beatles. Still, the overall mood tles!,this simplistic split sounds quite silly, single song, "You Really Got a Hold on z here is youthful optimism: Even "Misery" is especially with the vocals: You expect them Me": At the start of the first verse, the instru- 72 HIGH FIDELITY WISCONSIN DISCOUNT STEREO ELECTRONICS MOST TRUSTED NAME - SELLING THE FINEST EQUIPMENT 1stIN SERVICE,1stIN QUALITY,1stINPRICE ,...1 ._ .._. , 7, , . ,..5-- 1 12 sailizt :MIFISP",effiff. lup.-5 n°I ' .. 0 0T IMMIIIMMELa = -4 1--.JVC 1 EPI JVC x EGILA 75 $269AIDjX220CAL 1.5R34 $189DDVR9 $349o o -1 wt.)* LOW DEALERCOST * DOLBY B + C * AUTO -REVERSE CARSTEREO * 3-hEAD CASSETTE DEC, zr- 6* '\,/0 TONEARMS * BEST DUBBING DECK * DIGITAL, DOLBY B * QUICK AUTO REVERSE rn ..d.*li-TORQUEDC MOTOR * FASTEST DUBBING DECK * MUSIC SEARCH I CDINPUT * B.E.S.T. PF7),P7Nr: .S.V.7^.. ...* c,ze a' k,:rf DISCOUNTHOTLINE 9 up 0t c") in - cn : ----.--_ .3 56.9 5 1 TOSHIBA CT) T V -4"-NY- IrT1- ICIT: ' XRP9 ,,,v4,.,,,.,, _. eil - OR CALL 608-271-6889 -----.I .D. JVC - I XLM700 wai'-- Cj "I CALL, $169 ar, 00 miACKING DISC PlPLAY * BEST DISCOUNTS ON MOSTNATIONAL BRANDS * PORTABLEDISC PLAYER

0 _-MOTE CONTROL * PRODUCTS FACTORY FRESHWITH FULL WARRANTY. * 1 -KEY WIRELESS REMOTE c X* HOURS OF MUSIC * MOST ORDERS SHIPPED WITH48 HOURS -;-TRACK PROGRAMMING -IZ ZI- 2 M eill.11 .0.....,_.- 0 t -7----:----- I_1..--_ 1 r. u .r, S -r ' - ..=. -: Z . MEP0 m Vilk - ..:1- ..... rg;CONCORD $290NEC .9'HP 7965 CALL!scaR37°D$149Br'S$379 SrLCIAL c,u,*DOLBY B/Odbx CAR STEREO * 4 -HEAD HIFI * DIGITAL CAR STEREO *.Q CIRCUITRY cL.,ri PL,RCHASE a)a) c)* 18 FM + 6 AM PRESETS * BUILT-IN MTS * DOLBY, AUTO -REVERSE * 35 FUNCTION REMOTE ca cit?* MUSIC SEARCH + CLOCK * ON -SCREEN PROGRAM * LOADED WITH FEATURES * REMOTE PROGRAMMING .....c." 1- 4:. LA.1 BELOW dip BELOW 0 A c-,*DEALER* ifII f_kiill *DEALER* Z e (.7) 1 _ - akiiy6ALIthcon We -: COST n zt..-...- o 8viviczy TEAL GE 99610 111 a et----;..1X-200OR -\.,, ta..., Z BOSE . = '' s''T$869 1201 $139 FIVRCD170 $269CALL! 0 r - * 10" AUTO -REVERSE REEL * (2) 4.5" FULL RANGEJr. * FULL HQ CIRCUITRY * CCDCAMCORDER 2 a* 6 -HEADS with dbx * 1201 EQUALIZED AMP * 4 -EVENT / 14 DAY * 7 LUX rn 0__.* + 12% PITCH CONTROL * BELOW DEALER COST * WIRELESS REMOTE * 8:1 ZOOM * We Service What We Sell * =;V/SAOr COD WARRANTY 2417 W. Badger Rd. 1-800-448-3378 Madison, WI 53713 SERVICE HOURS SALES HOURS MON-FRI. 10-9 MON-THURS8-8 FRIDAY9-8 SATURDAY 10-5 SATURDAY 9-5 SOME ITEMS LIMITED-CALL NOW AND SAVE $ FOCUS 1-800 atlesBeatles13 Electronics 223-3411 lesBeatlesBeatlesi A NAME TRUSTED FOR OVER TWO DECADES' For tell(' & tn N Y S drat M8)871-7600 Send S2 for new 1967 catalogue. -Y AMAHA- K-1020 Top of Line CALL mental backing thins out behind the vocals, Boy," to which wistful accompaniment the K-540 H% Pro B&C llEMI CALL. only to regain full width and volume a few beloved doofus goes paradin'), July'sSome- ti K-340 Two Motor BBC 24910 COMPACT DISC PLAYERS K-720 AR CALL moments later beside "Woa, woa, woa.") In thing New,and December's "MAGNAVOX- K-420 AR 249.20 Beatles '65("I'll CD13650 Highest Rated CALL K-142 199.90 sum, however, the mono CD ofWith the Bea- Be Back"). Since all that stands between the C08560 Full. Rml 229.00 -TEAC" CDB460 20 Track 169.00 8425 AR Recflay 99.95 tlesproves far superior to its stereo LP coun- consumer and some functional discographic F01041 Dig titter 139.00 V538X Dolby PLC Mb, 109.95 F01051 Wds Rmt 169.00 W660R AR B8C 299.95 terparts. Jim Bessmnn information is a modest budget for research "PIONEER" W460C 3 MotorD D 249.95 PDM60 Multi Play CALL -AKAI- and writing, I'm immediately confused PDM70 Rmt Nog CALL GXA5GX lidsB8C DB% 169.90 about the priorities, not to mention sincer- P05030 199.30 HXA351 0 D Oolby 139.50 "A HARD DAY'S NIGHT" HXA451 D D BEC f09 229.50 ity, of the anniversary -reunification -reissue CDP110 199.50 -JVC- CDP310 239.60 TDW 60 0 0 B8C 101 CALL TWENTY-FIVE YEARS AGO, THE BEATLES project. CDP510 CALL TDW30 D D PLC 199.50 CDP-C10 Multi Play CALL TDV66 Dolby 88C 30950 precipitated an unprecedented, and thus far But wait, it gets worse: For reasons that "SHURE- TDX301 Auto Reverse 169.75 SV-40 WrIs Rmt 289.95 TDX501 Top AR 199.85 unrivaled, explosion of pop energy and cre- aren't entirely clear or sensible, this CD -in -TEAC- -NAD- ativity. Joyously irresistible bursts of opti- PD-400 Wris Rmt 199.95 6130 209.00 fact, all of the first four CDs -can now be -DENON- 6155 CALL mism were unexpectedly leavened with heard in crisp, flawless DCD-700 Rmt 349.50 -HARMON-KARDON- mono.The fact that DCD-500 269.90 TD -292 289.95 raunch (the Beatles were seasoned rock 'n' the LPs, particularlyA Hard Day's Nightand DCD-1700 Top Rated CALL TD -392 CALL DCD-1500 Flue Star CALL CD -491 479.95 roll veterans by the time they first recorded), Beatles for Sale,have been available in quite DCD-1300 Great Oual 399.00 "SONY -YAMAHA- TCWR950 lop of 1,, 499.10 wit, pop passion even unto pop paranoia, reasonable -sounding stereo since Day One CD -2000 Top Rated 599.10 TCW 730 CALL CD -1000 Great Deal 459.20 TCW 530 CALL and exceptional skill. Dissonance and self - makes the historical imprimatur of the CD CD -450 To Beam 289.30 PORTABLE CD PLAYERS mockery undercut much of the schmaltz, the CD -300 Dually 249.40 project thoroughly suspect. Careful com- CD -500 SONY 299.50 010 Sal. est Fie,.. saccharine, and the other somewhat -less - -NAKAMICHtt 279 00 parison of the CD ofA Hard Day's Nightwith D55 * FM 259 00 00457A11 CALL 0.3 New 199.10 than -revolutionary conventional ingredi- both British and American stereo LPs dem- OMS4A 799.70 - - - -JVC" OMS3A ents. And could theysing.' 579'80 XLR10 15 Track 169.20 And could they onstrates that though noise reduction, clar- OPAS2A 439.90 "JVC- **TECHNICS- write!Etc., etc., etc. ity, bass response, and vocal and instrumen- XLV-220 SLXP-5 229.40 SLXP-7 CALL XLV-330 19295'' This superabundance of gifts also pre- tal presence are clearly superior, as they XLV-440 PANASONIC" 239.95 PLEASE CALL cipitated an unprecedented and unrivaled XLM-700 6 plus 1 play CALL would be on almost any CD, songs as differ- "TECHNICS- marketplace feeding -frenzy. Because record ent as "And I Love Her," Paul's sweet, most- SLP 100 189.80 I 11889.a- SLP 310 239.90 AUTO AUDIO companies, like nature, abhor a vacuum, ly acoustic samba, and "Can't Buy Me SLP 510 339.00 -PANASONIC- Capitol filled the breach with a bizarre and COE-401 AM Dig 179.30 Love," a blast of bass -heavy Mersey Beat, COE-302 12 Presets 159.40 seemingly indiscriminate barrage of prod- still lack the vivid dimensionality they have COE-650 Oh top CALL -PIONEER" uct -reshuffled, remixed, and repackaged in even the scratchiest stereo pressing. What MMEEMG11 KE-H9020 25W Rini CALL PIONEER" KE-6161 Super in, 111 195.50 specially for the American Beatlemaniac. VSX-5000 TOO Wit AV was the point, then? After more than 20 CALL KE-81111 Super Tar 111 249.60 VSX-4000 60 Wit AV CALL KEI4-9191 25 Wan 299.70 The original recordings were so wonderfully years, why go to this trouble and still not get VSX-2000 50 Wit AV 199.95 KEH-5151 25 Waft 199.30 SX-1500 50 Watts 159.95 - DENON- durable -indestructible, actually -that it right? SX-1100 25 Watts 129.50 OCR 5500 AR Dig 279.80 those who even noticed the substantial dif- None of this, it must be said, has much -YAMAHA- OCR 7600 Top 339.90 R9 125 Watts THE BEST 679.10 -NAKAMICHI- R7 70 Watts ferences between the American and the Brit- impact on the ultimate efficacy of the music. CALL TD -1200 CALL R5 55 Watts CALL T0_800 73900 ish releases responded by creating a small R3 35 Watts My daughters, both born long after the Bea- 199.40 113-700 659.00 -NAD- TD -300 299.00 but significant demand for U.K. imports. tles era, stop whatever they're doing and 7125 25 Watts P C 269.50 "ALPINE 7175 75 Watts P C CALL 7163 19900 Though EMI subsidiaries Capitol and Parlo- dance whenever I playA Hard Day's Night. 7250 50 Watts Digital CALL 7172 33900 phone pretended discomfort, it was literally "JVC- 7272 405.00 But that would have been true even if the re- RX9VBK 120 W AV CALL 7273 379.00 RX5VBK 60 Watts AV a no -lose situation. cordings had been reissued on Edison cylin- 309.90 7374 CALL RX3VBK 45 Watts 199.00 7267 409.00 So sweet a deal, in fact, that it is only now ders. Obviously, any effort that brings mean- RX500BK 100 W11 AV 299.00 7300 CALL RX1 35 Watts Rmt 159.10 "KENWOOD" (several neo-repackages, neo-reshuffles, ingful, historically accurate order to such an R0111 25 Watts 119.10 2000 -SONY" 199.00 and 636 369.00 Japaneseimports later), with the long- essential body of work is certainly com- STRAV 880 110W Rmt 333 CALL CALL STRAY 580 60 Watts 309.20 awaited release of Beatles material on Com- 424 199.00 mendable. But serious scholarship, for STRAP 480 50 Wes CALL 525 289.00 STRAV 380 30 Watts 219.40 4000 pact Disc in sacred and remunerative obser- which there are very few models in the non- -AKAI- IN STOCK 999 CALL AAV-401 80 W Dig AV249.50 vance of the 25th, that Capitol is attempting classical major -label world, is an absolute re- VIDEO AAV-205 60 Watt Surr 239.60 to untangle the artless marketing mess it AAV-201 40 Wan Dig 199.70 "NEC" quirement for such a project. The Polygram "DENOPP* DX2000 Top Rated In 889491 started all those years ago by proclaiming Hank Williams chronological reissue series DRA 35 40 Watts 23995 051000 Digital 5119.118 DRA 550 55 Watts CALL P1915 VHS Rmt Hg 2112.211 the canonical rectitude of the Parlophone is pretty much the only exception that DRA 75 75 Watts CALL "TEA" DRA 95 85 Watts Hatt 529.95 DI" 09491 NM LPs (while not quite renouncing the Ameri- proves the rule. AndA Hard Day's Night,for ONKYO- "MAGNAVOX** TX 85 BO Watts Dig 37926 VR-2585 T Rated 799.95 can vinyl versions . . . but that's another now, is no exception. Jeff Nesin CA roc c)fiDERS story). . IMil:Mei "TOSHIBA** SKISO VHS C - SharpestLens Cleaving hard to the new dictum, the CD CASSETTE DECKS 61 Zoom Auto Focus CCD Imager "BEATLES FOR SALE" -NAKAMICH1- Very Light. Cmpl Pkg 1099.00 ofA Hard Day's Night(Parlophone CDP DRAGON Ultimate 1499.95 -MAGNAVOX" 46437) pays curious attention to archival re- RX 505 Um-Direc A R CALL VR-8293 VHS CCD Imager Auto "OH -HO -HOLD ME," LAUGHS JOHN IN THE CR7A-3 HO Rod B8C 1189.00 Focus 8 I Zoom. Battery. Charger, production of the original British package, middle of "Eight Days a Week," and his CR5A-3 Head BBC CALL Carrying Case Included 1399.00 130100 OAK Duality 289.00 right down to the vapid, uninformative liner laugh seems to encompass both the absurdi- 90125 CALL CCDV110 Pro 8mm w 7Color. 65300 57305 CharacterGenerator.Auto -Focus notes. This is a bit vexing because the 13 ty of the romantic bliss the song describes "PIONEER- 81 Zoom. and Time Lapse CT1370 Top of cane Firm CALL Recording ProfessionalElting songs here, originally released on British LP and his delight in being caught up in it any- CT1270 D D AR BBC 219.95 Capabilites Crnpl Pkg CALL in July 1964, are found on four different CT1170 D D Hi speed 159.95 CCDM9U Compact 8mm Carncor- way. That chuckle, knowing and jubilant, CT2070 AR BBC DB% 169.95 der w water resistant shellGreat American LPs from the same year: April's **AIWA** For outdoor sports 959.00 can stand as the emblem ofBeatles for Sale AD70 Multi Play CALL =MIME:121=M The Beatles' Second Album("You Can't Do (Parlophone CDP 46438). On this collec- ADFT70 3 HO BBC CALL "RECOTON" ADWX220 0 D Hispeed389.50 C.13.10 Cass Aaptr 19.95 That"), June'sA Hard Day's Night(the former tion, the Beatles bid a long goodbye to their ADS15 Dolby BrIC 99.50 F.R.E.D. II MIS Dec 139.96 United Artists half -instrumental soundtrack; ADF250 Dual Vott 99.50 Tekkelne Cony 59.95 storehouse of freewheeling early rock covers FOCUS ELECTRONICS, 4523 1311 Ave., Bktyr!, NY 11219. the CD mercifully doesnotinclude "Ringo's and the release they provided, while their AA moss in thrs ad are tor mad order only VISA.IAC.AJAE X vacs woceifted COO orOrs OK Some pots cans an arralusne 1 year nattonal riarrinly horn FOCUS Theme," the movie -music version of "This original songs show a new maturity and dews awry standard manufacturers warranty For inforrnotspn or customs soma pease ma ( 7181871 7600 Shoppng. Ins. Hand lotto Not responerble for typos 74 HIGH FIDELITY tlesBeatlesBeatles eatles BeatlesB

skepticism that point toward the watershed of the medley of Leiber (not "Lieber," as the polk of Rubber Soul. As increasingly comfortable CD package has it) and Stoller's "Kansas creatures of the recording studio, the Bea- City" and Little Richard's "Hey, Hey, Hey, The Speaker Specialists ® tles were collaborating more with producer Hey." (The latter song is now credited.) George Martin on ways to stretch and adapt There are a couple of subpar moments, Where to buy Polk Speakers their sonic vocabulary. Perhaps the most which, in the case of this recording, simply means moments that don't quite touch AUINOR110 DEALER LIST brash example of this aspect of their career is CANADA MS Columbus 3 Prliantige OBOBBit

Hattisburg' MCLellind TV AMP

to be heard off the record, on the ground- heaven. John's vocal is the sole interesting AL Auburr son Jelleregg CI": The Sleren P. 0 Birmingham Gadsden Joplin riall Pappopielai breaking feedback of "I Feel Fine," the sin- thing supporting the version of "Mr. Moon- Huntsville Springfield: The SIMKO Bun Mobile tupelo gle that was released in England one week light." And the amount of echo masking Montgornry Girakileau'7 -- One Tuscaloosa - . SILouis

An tinenitnoghom e Fairbanks MT Bozeman . Great Fells before the December 1964 appearance of George's voice is the sole interesting thing Mesa 'Missoula ew"

hHR Bacon Beatles for Sale. But the album holds richer about the version of "Everybody's Trying to TemWI. NC Asheviliei.. AR LIMO hock Boone 'Chapel Hill',ref

and subtler joys in its breathtaking dynam- Be My Baby." As for what's not on this CD, CA Arent, ' Bakersfield Greensboro Andlielti011e

Berkeley K Slew. ics: Just one listen to the way the slowly you could wonder what is to become of Bea- Campbell Canoga Part Cc Moorehead City MOM, Aud . I oncord Dame: Pier Bern PlorMINy building charge of drums and guitar in tles '65's "I Feel Fine" and "She's a Woman" Ste, Raleigh &MA Slefek) Los Angeles . Mill Valley. . Rocky Mount 'T alui ki0.0 "What You're Doing" explodes into the and Beatles 17's "Yes It Is" and "Bad Boy," Mountain View Wilmington Winston. Napa Orange ' Salem

Penngrove NO Bismarck song's cry of "Look!" tells you that. which do not appear on regular -release Brit- Redondo Sacramento NE Lincoln T. Norfolk t San Diego

Listening to the songs in the distortion - ish LPs. But to reassure yourself of the possi- Sanf remise° NH Concord Exeter Sal Gabriel Santa' Laconia ' less clarity afforded by their mono mixes, bility of a perfect world despite such things, Barbara Santa Maria ' Salem - Santa Monica NJ East Bronserick Frank little details that had sunk from your memo- cue up "Every Little Thing." John sings the Stockton . Thou lin Lakes Maple sand Oas, Ukiah Shade Montclair Vettera Victomille Raritan Ridgewood ry reassert their primacy. Paul's double - lyrics of everyday contentment without a Walnut Creek Shrewsbury Torok River West

tracked vocals on "I'll Follow the Sun" shim- trace of a boast; what you hear in his clear, CO Boulder Caldwell Colorado :pings Denser NM Albuquerque Ala mer against the plucked guitar notes. ardent voice is an almost prayerful gratitude: & Suburbs Pueblo mogordo Carlsbad

Entrances and exits of instruments gain dra- "When I'm with her, I'm happy/Just to know CT Avon Danbury NV Las Vegas Reno ' -airfield , Green , ma: "I Don't Want to Spoil the Party" gets a that she loves me." Behind him-or, more welt ' Groton NY Albany '. Batavia Hartford 11.1.HIMMI: Auc Bunalo . Coming

' Newt. Mon 'HOW House Maw Elmira Fredonia sudden lift from the introduction of Ringo's precisely, with him-instruments enter and London ' - Norwalk- AurtiMronics Glens falls ' OE Wilmington io Huntington Ithaca tambourine during the bridge, and the al- add their assent to his. Loose flecks of elec- C -if Jamestown Man FL Eleytorm Bear h Ft. gem, Nasser New York ready explosive "What You're Doing" is tric guitar, a piano's descending bass notes, Owe, FtPierce -y City It WAyell Beach Rochester Scarsdale

kicked up a notch by the intrusion of some the rumble of timpani-each one speaks its wnrllle & Suburbs ' Key Syracuse WOld ..Lakeland Vestal FKMi Merrinin Island OH Akron Cieveland bSub-

"yes" so surely yet unostentatiously that you bluesy piano chords. Also surprising, yet urbs Cincinnati rke PlaP es Orlando Columbus Dayton

Findlay ' e taken for granted, is how many perfor- can imagine no other configuration for them Iliimuts Pensacola Lima NM I. St Petersburg Toledo ' mances are propelled by acoustic guitars, except the one you are hearing. "Every little Slew Tallahassee OK Lawton Oklahoma City 4 Stri Tampa . Tulsa with George's trusty Gretsch electric used thing," John and Paul repeat in twined har- W Palm Beach OR Beaverton Bend GA Anent i & Suburbs A., Eugene for spare embellishment. Then again, that's mony as the song fades, as if all along the push Macon Fe:, Grants Pass Medford avannaR Valdosta. S Portland song itself were the utopia they were de- PA Allentown Aimona entirely appropriate on an album where U11.4 City - ' Blew, HI Honolulu Bryn Mawr Camp Hill

Mark Moses Lennon -McCartney nod frequently to the scribing. 10 Boise Coeur 0 Alen.: Br( Ice

. K.ngsion . Pocatello Mesta. pathos of c&w: "I Don't Want to Spoil the Bandon. hum Falls iii Lancaster Warr. Montgorneryvoie Party," the Everly-ish melodrama of "Baby's !Amara Bloomingdale Natrona Heights Phila AN OVERVIEW Apra Buffalo Grove delphm A Suburbs ''

', -Carbondale Pittsburgh ' Duaked.n

in Black," John's harrowing "I'm a Loser." Champaign Decatur Heading WHEN THE FOUR COMPACT DISCS COVERED IN 0 Kalb HoHman Selinsgrove "No Reply," with its countryish theme of be- Estates Highland Park Williamsport ' -Joliet Lansing PUERTO RICO Rio Piedras these pages first arrived at the offices of Mt Pimp. RI N Providence trayal, strikes light and deep, its acoustic gui- Naperviii Normal SC Anderson tars chomping down at the singers' heels, HIGH FIDELITY, there was certainly no short- Ncrthbrook Orland Part Charleston Greenville . Peoria Greenwood age of reviewers eager to pass judgment on Rockford Shaumberg Rock Hill Spartansburg John's voice shifting from a rational purr to Sp ingtield - Ster- them. As editor of the magazine's BACKBEAT bra "r SD Rapid City Sioux an enraged yelp. rdP van '".rn,ZuV;.': falls

IN Bloom ngton Evan TN Chattanooga T. Besides the added grain the CD brings to section, I decided to distribute the titles mill, . Ft Wayne . Cookeville Jae.. ', Indianapolis .. Lai merle Johnson City"--ads the vocal harmonies and guitars when com- among four critics, not simply to include as . Morton Muncie

. South Bend Knoxville McMinn.

. pared with its Parlophone stereo LP coun- many writers as possible but to elicit as many Terre Hain, . villa , Memphis IA Des Moines ' ' Dodge City Nashville . terpart, it also rectifies the slight overmixing opinions as possible. As a Beatle fan since the , Fairfield - Mason TX Abilene Arlington City T. Sim. City ' Austrn Collage age of seven, however, I wanted to have my Station ' ' Corpus Christi: lape of the lead vocal that is present on the eight KS Juncli in City Over Ii Paso FtWorth:

land Park Wichita Galveston corresponding cuts on Capitol's Beatles '65 say, too, I confess. And realizing that the ' Topeka Houston Laredoiii . KY (lowing Green Lubbock , (released in December 1964) and the six cor- four -for -four scheme might not provide an Lexington Midland Nacog Louisville doches Odessa T , responding tracks on the American label's overall statement on the CDs as a set, I re- Owensboro Paducah San Antonio ,'-d LA Lafayette Sherman Temple. solved to assign myself a piece on (brace 'Lake Charles Lela rkana Beatles 17 (June 1965). (To be fair, most mid - A . Opelousas WO. West Monroe UT Logan store only Sixties pop productions favored a song's yourself) What It All Means. ME Bangor Camden Sall Lake City ',.. VT Burlington '

grabbiest aspects-usually lead singing and The dominant issue brought up by the MD Anna mlis Baltimore VA Bristol ... . . Char ..,. Frederick lotleskille ..' fails Church

' guitar hooks-just to get it across on AM ra- release of the Beatles' first four Parlophone Rockville Leesburg MA Boston Richmond... Roanoke dio.) The gratifying result is that the CD re- albums on CD is the question of mono vs. FItchhurp N Dartmouth Virginia Beach Crear i WA Bellingham . Chelan.' stereo. EMI chairman Bhaskar Menon, Bea- IMILite A tor Birming Oak Harbor . tains the integrity of the ensemble perfor- 'B Dearborn ' Richland Seattle & Sub

Hi f as Lansing - orbs . Spokane mances, reminding you of what you may tle producer George Martin, and other prin- Ferrningt n Hills Grand

. Iron Mountain WV Bartoursville Beale., Charleston

have forgotten: that the Beatles were a cipals have given varying explanations as to Huntington , Piedmont Listing .. Royal Oak world -class rock 'n' roll band. John's vocal on why these CDs have mono sound, but the - WI Applelon Eau Claire: c. ' . Green Bay .1 SrI Traverse City -r Chuck Berry's "Rock and Roll Music" is basic facts appear to be as follows: Please Srri. 4 ' Lacrosse ... Madison. MN Duluth . ' Mankato Please Me and With the Beatles were recorded Minneapolis A Suburbs Milwaukee Wausau shoved along by some abrupt guitar licks . Minnetonka

Rochester SIPaul WY Cheyenne Se- and intermittent piano throbs. And those of on two -track equipment, primarily with vo- ridan us who forgot that Paul once rocked out can cals on the right channel and instrumental delight in the vocal yowl and slashing guitars backing on the left. Martin then compressed

JUNE1987 71 MAIL TO: 825 7th Ave.. 7th floor. New York, N.Y.10019 Phone 1 -800 -ABC -NAGS. In New York call: (212) 887- 8458 GENERAL: all copy subject to publisher approval Users of PO Box MUST supply permanent address and telephone number before ad can run. CLOSING DATE: 1st of second month preceding cover date 15 Word minimum No charge for Zip Code. CLASSIFIED RATES: regular type. per word 1x-$2 75. 3x-$2 65, 6x-$2 55, 12x-$2 45 Words in caps -15x extra each. IMPERIAL type, per word: 1x-63.75; 3x- $3.65; 6x-3.55; 12x-$3.45. Words In cape -15e extra each. Minimum 15 words. Box numbers $3.00 additional per insertion to cover cost of handling and postage. Display, per inch 1x-$350; 3x-$340: 6x-$330. 12x- CABLE TV CONVERTERS Scientific Atlanta, Jerrold, Oak, BANG & OLUFSEN FULL LINE, ADS, B&W Zenith. Hamlin. Many Others "New" VIDEO HOPPER "The $315 PAYMENT WITH ORDER: Send check. M 0 . AND BOSE SPEAKERS AND OTHER Copy Killer" Visa. M/C & Amex Accepted. Toll Free 1-800-826- MASTERCARD or VISA No and expiration date to. QUALITY PRODUCTS AT REASONABLE Maria Manasen, Classified Dept., HIGH FIDELITY, 7623 B&B Inc.. 10517 Upton Circle, Bloomington. MN 55431 PRICE. SOUNDCREST, INC., (201) 756-4858 825 7th Ave .7th Floor. New York. NY 10019 FOR SALE BUSINESS OPPORTUNITIES CALL THE # 1 DEALER IN THE U.S.A.!!! YOUR OWN RADIO STATION licensed/unlicensed, AM. DIRECT SIGHT AND SOUND, America's Perreaux, Revox, PS Audio, Hailer, FM, Cable & Equipment Services Free information best kept audio and video secret, continues Counterpoint, JSE, BNK, Boston Acoustics, Broadcasting, Box 130-D. Paradise. CA 95967-0130 to please.... Five years and over 40,000 Fosgate, Teac, Well -Tempered Lab, Oracle, customers later, we still offer the best in INTERESTED PROFIT PRODUCING ADVERTISERS,' Get Thorens, VPI, Dual, Proton, Adcom, Denon, FREE INFORMATION on rates and how to create your own audio, video, and auto sound including Luxman, Onkyo, Kyocera, SAE, Sony, classified ad. similar to those on these pages. TOLL FREE esoterics at incredible prices! We sell and Infinity, ADS, Klipsch, Dahlquist, DCM, OHM 1-800.222-6247, or 212-887-8458 service only U.S. warranty merchandise! Acoustics, Harman/Kardon, DBX Our staff is not only knowledgeable, but COMPACT DISCS Soundfield, AudioPro, Celestion, Rauna, helpful and courteous in choosing the right Bose, Nitty Gritty, Audioquest, Stax, Grado. component for you. Become one of the Koetsu, Talisman, AKG Straightwire, COMPACT DISC CENTER ELITE! Call 404-351-6772. Direct Sight and P 0 Box 616 Clelhon Park NY 12065 Monster Cable and More! AUTOMOTIVE: (5181664 2550 Sound, 3095 Bolling Way, Dept. H, Atlanta, Sony, Proton, Concord, Rockford/Fosgate Order Line 800 232 3687 Ga. 30305. MC/VISA/AMEX. COD with Many Discs 512 99 Zapco, Ungo Box, More! CD EXPERTS! Quantity 10 and over only St 1 99 deposit. FRIENDLY, EXPERT CONSULTATION. FAST 52.00 Cant U.S shipping FREE SHIPPING! MC/VISA/AMEX. FREE CATALOGUE Swp r ?or EXCEPTIONAL AUDIO REPRODUCTION REFERENCE AUDIO SYSTEMS: 18214 SYSTEMS ... REASONABLY PRICED!! Dalton Avenue, Gardena, CA 90248. (213) COMPACT DISCS -at low warehouse prices. E.A.R.S, P.O. BOX 658-H, WEST COVINA, 398-4205, (213) 391-2679. Hours: M -F. 9-6 Now in our fourth year. Over 6,000 titles CA 91790. 818/961-6158, EVENINGS, PDT Sat. 9-1. 'MEMBER-BETTER available. Free catalog plus regular updates WEEKENDS. STAMP BRINGS MONTHLY BUSINESS BUREAU* and monthly specials starting at 510.99. OZ SPECIALS. MC/VISA. Warehouse 5246H Memorial Drive, Stone CALL TOLL FREE 1-800-826-0520 FOR Mountain, GA. 30083 (404) 292-5451 EXPERIENCE. INTEGRITY AND THE LOWEST PRICE ACOUSTAT, DAHLQUIST, NAD, HAFLER, anywhere Authorized dealers for Yamaha, Denon, M&K, CASH FOR USED CD's. NOW paying $6.00 and up. Send Canton, Tandberg, McIntosh. Sumo, Infinity and many more DENON, dbx, 3D, PROTON, TANDBERG, immediately or write for details. Moles CDX, 2497 E Main Audio/Video Exchange, 57 Park Place, NY 10007 Call BELLES, ORACLE, M&K, GRADO, NITTY St , Columbus, Ohio 43209. (614) 231-1701. 212-964-4570 GRITTY, AUDIOQUEST, NEC, DUNTEC, MONSTER, SUMIKO PERREAUX, CWD, [VI151 I_ASIL CALL US LAST SNELL, B&W, DEM, THORENS, VSP, STAX, PERMCal AUDIO Shop around, Get your best price, SOTA, GRACE, ASTATIC, DYNAVECTOR. AMERICAN DIGITAL OFFERS AN EXTENSIVE Then call THE SOUND APPROACH. THE SOUND SELLER, 1706 MAIN STREET, LINE OF HOME VIDEOS AND COMPACT DISCS AT DISCOUNT PRICES. Guaranteed LOWEST PRICES on all MARINETTE, WI 54143, (715) 735-9002. VORIlf FOR FREE C11.0 P.0 BOA 315 HOME and CAR STEREO. Factory fresh, ROCKEFELLER CENTER RAEISFACT/001Gu AAAAA EEO a- N.Y.. N.Y.. 10185 Fully warranteed. For FAST FREE FACTORY ORIGINAL DIAMOND NEEDLES DELIVERY and GUARANTEED LOWEST & PHONO CARTRIDGES. MOST POPULAR PRICES, call THE SOUND APPROACH, 6067 USED CD's WANTED, WE PAY $6-$12 Prompt payment LINES AT DISCOUNT PRICES. FOR FREE Media Exchange, Box 14778 Chicago, IL 60614-0778 Jericho Tpke., Commack, New York, 11725 CATALOG SEND SELF ADDRESSED (312) 477-7337 (516) 499-7680. Visa/MC/Amex. STAMPED ENVELOPE. LYLE CARTRIDGES, DEPT. H, BOX 158, VALLEY STREAM, NY ELECTRONICS THEY DON'T DISCOUNT IT? WE DO! GET 11582. CALL TOLL FREE (800) 221-0906, CABLE CONVERTERS-COMPATABLE with all systems. LOW PRICES on ALL types of audio N.Y. (516) 599-1112. VISA/MC. Guaranteed Lowest Prices. Immediate delivery, call non. equipment-including high -end and even (516)795-0643. esoteric products not normally discounted! EQUIPMENT FOR SALE Now we can save you money on the CARVER, NAKAMICHI, BANG & OLUFSEN, equipment you REALLY WANT. Extensive A.D.S., CROWN, REVOX, HAFLER, ADCOM, CABLE TV selection-no need to settle for second MISSION, MERIDIAN, N.A.D., HARMAN/ Converters / Descremblers choice. Thousands of satisfied customers KARDON, KYOCERA, YAMAHA, LUXMAN, GUARANTEED LOWEST PRICES IN U.S. nationwide. Call us for price quotes or DENON, KLIPSCH, B & W, POLK, KEF, D.C.M., E -V, J.B.L., INFINITY, D.B.X., AKG, Jerrold. Hamlin, Zenith-Many Others' Lowest Dealer friendly, expert advice. Catalog 51. 616-451- Prices' Orders shipped within 24 hours, Complete illus. 3868. VISA/MC/AMEX. The AUDIO BEST PRICES PROFESSIONAL CONSUL- laded catalog. $2.00 MasterCard -VISA- COD accepted ADVISOR, INC., 225 Oakes Southwest, TATION, AMERISOUND SALES, INC. EAST: PACIFIC CABLE CO., INC. (8001 345.8927 73251/2 Reseda Blvd .#808 Reseda, CA 91335 Grand Rapids, MI 49503. (904) 262-4000; WEST (818) 243-1168.

76 HIGH F I D E S I T PREE RECORD, CASSETTE AND COMPACT DISC CATALOG: Features a tremendous selection of remaindeed LP and cassette values in all musical categories. Compact disc, cassette and LP new releases at discount prices. Many imports and smaller labels offered. Prompt delivery. Rose Records, Dept. H, 214 South CLASSIFIED Nabash Avenue. Chicago. IL 60604 CASSET-ES (1:1 Real-time), RECORDS (DMM) AND COMPACT DISCS Classical only. Free catalog. Gasparo EXPERIENCED FRIENDLY ADVICE! Co., P.O. Box 120069. Nashville, TN 37212. (615) 254- ACOUSTAT, SAE, HAFLER, SONY, CWD, MISCELLANEOUS 3460 THORENS, FRIED. GRADO, MONSTER IS IT TRUE JEEPS FOR $44 THROUGH THE CABLE, PS. PROTON, CD PLAYERS, more. GOVERNMENT? Call for facts' 1-312-742-1142 Ext. 4671 Immediate, FREE Shipping! READ FROM EDISON TO ELVIS (AND BEYOND) LP's, 78's, 45's. BROTHEFS STEREO, etc. Visit or mail in wants. The Olde Tyme Music Scene, 915 OPERA, CLASSICAL, & LIVE SHOWS. REEL TO REEL 593-C King Street, Charleston, South cassette, 8 -track. & VHS only video. Send $2 50 for Main Street, Boonton, NJ 07005 201/335 -5040 -Tuesday Carolina 29403. (803) 723-7276. catalogue. Deducted from first order. K. Lohan Tapes, PO. thru Sunday. Box 50, Mastic Beach. N.Y. 11951 CAUTION YAMAHA BUYERS!! Some dealers are offering Yamaha products for ASIAN SINGLES desire sincere friendship. Sunshine PROTEC- YOUR LPS sale that are not designed for use or sale in International Correspondence -Dept. NL, Box 260. North Hollywood, CA 91603. Poly sleeves for Jackets 13e the U.S.A. These units may not carry the UL Poly sleeves for records 88 approval for safety nor are they designed Polylined paper 178 TAPES IL RECORDS Cardboard Jackets 508 for usage on 110 volt U.S. current. YAMAHA Postage $2.50 ELECTRONICS CORPORATION, USA 3.95 SHIP.IN 3 ANY SIZE ORDER. UPS1-800-245-6000 House of Records PO. Box 323, Hillburn, New York 10931 HG

CANNOT 3E HELD RESPONSIBLE FOR 1.1 coo SC. DNS. I HAS se 00010.12911 240 THESE UNITS MEETING U.S. 111.110 4.0 SORT De .0000 2 Se YAW Hes. SOW OEN leo PERFORMANCE SPECIFICATIONS NOR SAX le SS. C110.00 AD.. ER SA IR ARE WE RESPONSIBLE FOR WARRANTY SAW TAPE FREE RECORD/CD OFFER! FREE 90 SERVICING. For the name and location of Dele WORLD CATALOG! Hovhaness, others. Israel, Royal 199 your nearest authorized Yamaha dealer, VISA MC AI ESL EAT ANY 02.12 of SHE TOTAL ORO. Philharmonics. Specialize Brass! L DOR. L SHIM. A NAMES 0.0 CHARGES EV IS call 1-800-854-3264. Or write Yamaha NO EXTRA 3 92 vs... 20 Sit ORDER C 00 A00 I 03 Woodwinds! Crystal Records, Sedro- CHARGE LL 101ES HA. v S 1ES 2Se wORED DO VW. se WESER 4.2. Electronics Corporation, USA, P.O. Box 0 MAK.MICNI. TRIAD. AND DENON. CALL Woolev, WA 98284. 6660, Buena Park, CA 90622. SHOW ALBUMS -Rare, out -of -print 1ps 64 -page list $1.00. EXPERIENCE INTEGRITY AND THE LOWEST PRICE Broadway -Hollywood Recordings Georgetown, CT 06829 anywhere Authorized dealers for Yamaha, Denon, SYMPHONY OF THE BIRDS -UNIQUE musical creation - McIntosh, Canton, Tandberg, M&K, Sumo, Infinity and many professionally produced -on record or cassette -$6.95 LIVE OPERA TAPES, CASSETTES. Incredible selection. more. Audio -Video Exchange, 57 Park Place. NY 10007 postpaid -satisfaction guaranteed, Quality Productions, Free Catalogue, _ive Opera. Box 3141. Steinway Station, Ca] 212-964-4570 Box 417, Orangeburg, NY 10962 (914) 359-5328 L I C NY 11103

A SINGER'S DREAM! SOUNDTRACKS, SHOW. NOSTALGIA & JAZZ -FREE Catalog & Offering List -A-1 Record Finders, PO. Box ,..... IN PRINT & OUT OF PRINT RECORDS ALL CATEGORIES & 75071-H, L A CAL 90075 NOSTALGIA VIDEO TAPES Spectacular Catalog!! $2 00 USA $3.00 Foreign. Serendipity Records, 4775 Durham .e.- SOUNDTRACKS -FROM THE RAREST to the common -- Road, Guilford, CT 06437 USA. we've got them. Recorded History, P.O.Box 583, Fair i awn, NJ 07410. 'ii). Je4 Alk4 I JAZZ VIDEO, RECORDS & BOOKS -Ellington, Condon, OPERA -HISTORICAL PERFORMANCES ON Gillespie. etc. Free Lists, Jazzland, Box 366, Dayton. OH VIDEO AND DISC. Most comprehensive 45401. selection. Send $1.00 for catalog. LYRIC, P.O. BOX 235, ROSLYN HEIGHTS, NY REMOVES VOCALS FROM RECORDS! SEARCHING FOR OUT -OF -PRINTS? Try for Discontinued NowYoucan sing with the world's best bands! 1 157 7. Tt eThompson Vocal Eliminatorcan remove Records, 444 South Victory, Burbank, California 91502 most or virtually all of a lead vocal from a standard '.213)849-4791. s.reo record and leave most of the background ur touched! Record with your voice or perform live with the backgrounds. Used in Professional Perfor- RARE CLASSICAL AND JAZZ 150,000 LP's. The Record mance yet connects easily to a home component Collector, 1158 N 1-ilohlaodt es AngeIps CA 90038 (213) OLDTIME RADIO PROGRAMS Classic broadcasts on stsreo system. Not an equalizer! We can prove It 467-2875. high quality tapes. Mystery! Adventure! Comedy, Music! works over the phone. Write or call for a Free Free catalogue. Carl Froelich, 2-H Heritage Farm, New Brochure and Demo Record. Freedom. Pennsylvania 17349. LT Sound. Dept. HF-3, P.O. Box 338, OPEN REEL TAPE-AMPEX 641/671, USED Stone Mountain, GA 30086 (404) 493-1258 ONCE. UNSPLICED, UNBOXED. 7' 1800' or 24 HOUR PHONE DEMO UNE: 1404)4934879 2400' REELS; 30 for $35.00. SAMPLE: $2.00 WANTED TO BUY INVENTIONS TEN 3600' 101/2" REELS: $42.50. SAMPLE: $3.75. NEW, PREMIUM HIGH -BIAS Inventors! AIM wants -Ideas, Inventions, New Products. CASSETTES; SAMPLE: $1.00. AUDIO MARANTZ AND MCINTOSH TUBE equipment. Early speakers by Jensen, Altec, JBL, EV , Tannoy, etc. Charles Improvements on existing products. We present ideas to TAPES, BOX 9584-J, ALEXANDRIA. VA manufacturers. Confidentiality Guaranteed. Call Toll Free 1- Dripps (1.118) 444-7079 E100-225-5800 for information kit. 22304. (703) 370-5555 VISA/MC

JUNE 1987 77 High Fidelity Classified

AUDIO/VIDEO SPECIALTY SHOPS eatlesBeatlesBe atlesBeatlesBeatle

AuDIOPHILES/VIDEOPRILESI We have the widest selection of audio/video equipment available. Adcom, Infinity, Harmon Kardon, Kyocera, JVC Video, Canton, the tracks together to, in his words, "get a the song, not the studio. Martin's mono Klipsch, Luxman, Sony ES, Yamaha, NEC. Call for information. CONTINENTAL SOUND, 98-77 Queens Blvd., hard impact sound for mono." A Hard Day's mixes help us focus on the Beatles' burgeon- Rego Park, NY 11374. (718) 459-7507. Immediate delivery. Night and Beatles for Sale were apparently re- ing creativity in writing sensational melodies MC/VISA/AMEX/DISCOVER corded on four -track equipment but similar- and harmonies, like those of "Please Please ly compressed to create a powerful mono. Me," "If I Fell," and the bridges of "Baby's SOCIAL CLUBS Comments Martin, "The first Beatle records in Black" and "I Don't Want to Spoil the Par- CLASSICAL MUSIC LOVERS' EXCHANGE. Nationwide Link were mono records; they were never intend- ty." (And remember: The 55 tracks repre- Between Unattached Music Lovers. CMLE, Box 31, Pelham, ed to be stereo." Nonetheless, mono and NY 10803 sented here were originally released in the stereo versions appeared simultaneously on space of 20 months.) Listening to the British MOVIE & TV SCRIPTS the British Parlophone label and the Ameri- Parlophone stereo LPs, however, I more can Capitol label. To this day, Martin has no often than not jotted down in my notes the NOW AVAILABLE! OVER 5000 scripts to idea who "made" those stereo LPs: "Cer- very same word that Jim Bessman calls upon your favorite movies 8 TV shows. Platoon, tainly, I didn't mix them in stereo," he told to describe their mixes: "silly." The stereo Mr. Ed to Moonlighting. Send $1.00 The New York Times, "nor did the Beatles." split is especially bothersome on the Beatles (refundable) for huge catalog... receive But when EMI contacted Martin in De- for Sale LP, where the vocals and instruments FREE offer!!! SCRIPT CITY, 1765 N. cember 1986 for his input on transferring of songs like "No Reply" and "Mr. Moon- Highland # 760HF, Hollywood, CA 90028 the four LPs to CD, he discovered the com- light" seem to emanate from different NEW PRODUCTS pany was planning to use the stereo mixes. rooms, leaving a gaping hole in the middle. Martin disliked the stereo CD test press- Furthermore, the right channel-the vocal ings-his language ranges from "I didn't channel-is frequently louder than the left 'I think they were very good" to "I thought and effectively drowns out the instruments. "IT'SThe Electronic ALIVE TrOphy FiSh they were awful"-and advised that the first Prepare yourself for even more trouble if -Astounding Reaction! two titles be mono and the second two, if you slap on your American LPs. Capitol did they had to be stereo, be "re -equalized" for indeed alter production values: Some of its CD to approximate modern stereo. Appar- LPs even say the recordings were produced ently, there was no time for such re -equaliza- in England by Martin "and in the U.S.A. with X a tion, so EMI released all four titles with the assistance of Dave Dexter, Jr.," so let's VI mono sound. blame Dave. In some cases, the results are It seems to me that any new stereo mixes downright excruciating. "What You're Do- Realistic looking small -mouth bass, expertly mounted on trophy plaque for office or home wall. Turn on con- would have to be radically different from the ing" is unbelievably steely and harsh on Bea- cealed switch. When fish hears a voice or handclap, the old ones, for Martin has told Billboard that tles internal microphone will activate it to squirm and flap with jacked -up opening drums that as if freshly caught. Automatic timer stops fish wiggling the old unintended stereo has been "the sound like the advent of Godzilla, and "You in seven seconds. No wires; self-contained. Quality design. years of use. Full warranty bane of my life for the past two decades." Can't Do That" is an out-and-out mess on F7Money Back Guarantee-immediate Delivery And since Martin has also said he is "delight- The Beatles' Second Album. $ Plus ,3 75 (312) Shp 8 Hand, ed" with the mono CDs, the following ques- It's a safe bet that some listeners are out- VISA 679-1566 JIKOptional Duracell tion comes to mind: With mono and stereo raged over the mono CDs because they re- Batteries-Add,3 S.A.M. Electronics Dept. 5112 Weber Skokie, it 60077 Parlophone LPs, mono and stereo Capitol member growing up with the Beatles in LPs, and now mono worldwide CDs already stereo and resent having something differ- ONE YMAKING out there, do we really need yet another way ent forced upon them. Well, I'd suggest that HIGH FIDELITY to hear the Beatles? I say no, as do Richard these listeners go back and check their old Attn: M. Manaseri, 7th Floor C. Walls, Jim Bessman, and Mark Moses in Capitol LPs; when I did so, I was surprised to 825 7th Avenue their separate reviews. But Jeff Nesin, no discover that all of my titles up to Rubber Soul N.Y., N.Y. 10019 shabby critic he, says yes, as does Beatle ex- are in fact mono. Take yourself back: It's E 212-887-8458 pert Allan Kozinn, who believes the old true that record stores of the Sixties did have N1-800-ABC-MAGS stereo mixes of A Hard Day's Night and Beatles separate displays for mono and stereo ver- for Sale are "bright, spacious, and really quite sions of the same LP, but I'll wager that most E lovely." We critics never all agree-and kids bought their Beatle LPs, as I did, in drug RName that's good. The more opinions, the better. stores or the tiny record sections of sprawl- A After all, it was Allan himself who compiled a ing department stores, where if any stereo ver- Add. January 1983 HIGH FIDELITv article entitled sions were to be found at all, they were likely "HF's Music Critics Take On the Compact mixed in with the mono versions. ("Was he City St Disc," wherein a pack of reviewers launched down in the boondocks?" you ask. No: I the magazine's coverage of the digital medi- Zip Tel grew up in Skokie, a large suburb of Chica- um by debating the merits of such titles as go.) Besides, what did we kids know of mono Payment. Check 52nd Street and Bridge Over Troubled Water. vs. stereo? We grabbed the first LP we saw. 0 Don't get me wrong: The reason I'd balk All of which means that if you do indeed M.O. Visa at stereo CDs of the first four Beatle record- have mono Capitols and you factor out the U ings is not because I want to keep the Beatle company's tinkerings with sound, then what Mastercharge market from becoming any more cluttered you grew up with is what's now on CD. than it already is, but because I think the Except that the CDs still sound better. Card # mono CDs sound wonderful on their own Crystalline details are numerous: the hand- exp and considerably better than their stereo LP claps on "I Saw Her Standing There," counterparts. The Beatles did not experi- George's vocal rasp on "Chains," the de- run ad copy for the ment with stereo effects and heavily exotic scending guitar lick on "It Won't Be Long," instrumentation until later in their career; the guitar break on "You Can't Do That," issue' what's most important on these four CDs is the tambourine on "I'm a Loser" (stop me!).

7S HIGH FIDELITY ltlesEleatlesEleatlesBeatles Be ozvisleatlesBeatlesBeatlesBeatlesBei galik7..1 - ^

Meanwhile, as Richard C. Walls points out, enjoyed reacquainting myself with a few now,Magical Mystery Touris still available the fullness of Paul's bass is a revelation- "obscure" masterpieces: "There's a Place," (Media Home Entertainment), but bothYel- throughout. And the almost total absence of "Don't Bother Me," "I'll Be Back," "Every low SubmarineandLet It Beare not-a situa- tape hiss is nothing less than astounding. Little Thing." And the original track order- tion that may very well change in the climate Each of the four CDs does have its own sonic ings enable us to fully appreciate how the of Beatlemania '87. Ken Richardson character-AHard Day's Night,for example, Beatles' LPs were crafted, particularly in the is the richest, with the most consistently ac- arresting three -track openings forWith the curate balance, whileWith the Beatlesis quite Beatles("It Won't Be Long," "All I've Got to erratic, with several thin tracks-yet a check Do," "All My Loving") andA Hard Day's VIDEOCASSETTES of the corresponding LPs shows that these Night(title track, "I Should Have Known "A HARD DAY'S NIGHT" variations are products of the original re- Better," "If I Fell"). In the transition from cordings. Not so the mysterious dropout on stylus to laser, the music remains timeless. "HELP!" "You Really Got a Hold on Me," however, Hungry for more? By the time you read an anomaly that Jim ALTHOUGH IT HAS TAKEN 20 YEARS FOR THE Bessman also noticed first two Beatle films to appear on videocas- and that we verified sette, you'll have to wait just a little longer withdifferentCD after popping the tapes into your VCR. In a copies auditioned on heavy-handed attempt by MPI Home Video different CD players. SP at milking even more nostalgia from the oc- During the first two vo- casion,A Hard Day's Night(MP 1064, Beta cal lines-and those and VHS; originally available in 1983) is pre- two lines only-the in- ceded by a montage of film clips and c. 1964 struments lose signifi- publicity stills, all to the accompaniment of cant strength, as if the (what else) "I'll Cry Instead." Meanwhile, person in charge of re - the just -releasedHelp!(MP 1342, Beta and mastering for CD fell VHS) is bracketed by the charming original asleep on a switch and movie 'railer forA Hard Day's Nightand a was quickly roused by thankfully brief ad for MPI's documentary an alert assistant. EMI The Fabulous Sixties.And just in case any should check the origi- thick-skulled people out there missed the nal master ofWith the point, the tapes' packaging screams out Beatles.Also on the neg- pseudo -hallucinogenic lines like "Let the ative side, the wisdom fun -filled memories of a lost era flood your of reprinting only the NOow" mind and soul." original liner notes in Yet the folks at MPI have a point.A Hard the CD packages is questionable, as Jeff Ne- this,Help!, Rubber Soul,andRevolvershould Day's NightandHelp!are prized baby -boom- sin contends-especially when it is done be available on Compact Disc, too. On the er mementos, and their unveiling on home carelessly, as is the case withBeatles for Sale, first of this month, coinciding with the 20th video, after many years of legal wrangling to wit: "For those who like to know who anniversary of its original release,Sgt. Pep- and bidding involving the Beatles' estate [sings] precisely what, there are details per's Lonely Hearts Club Bandis slated to hit the and film producer Walter Shenson, is some- alongside each title." On the LP, yes; on the stands. EMI's remaining schedule calls for thing of an event for Beatle freaks. And to its CD, no. As for the issue of playing time, what The BeatlesandYellow Submarineto be issued credit, MPI has done a commendable techni- can I say? Sure, it's dumb that more than half in August, followed byAbbey RoadandLet It cal job: The prints of both films are sharp of each CD is empty. Sure, EMI should have Bein October. Videophiles can expectThe and vivid, and the audio has been digitally doubled up the titles or added singles and Making of "A Hard Day's Night"from MPI remastered and transferred to videocassette the "missing" Capitol LP tracks. But honest- Home Video andIt Was Twenty Years Ago To- in Beta or VHS Hi-Fi. Yet just as sunlight ly, asking for such things in the pop market day (a Sgt. Pepperdocumentary made for tele- brings out the worst in a white -painted seems like asking for Presidents to apolo- vision and planned for home video). As of room, so the video medium reveals particu- gize. One could make a stronger case for doubling up the Rolling Stones' 30 (count 'em) CDs, compared with the mere 12 regu- DIMENSIONAL PURITY VANDERSTEEN AUDIO lar -release Beatle titles. Vandersteen Audio was founded in 1977 For those who wish to know just exactly with tha commitment to offer always the which Capitol tracks are missing from these finest in music reproduction for the dollar. CDs, here's the list: "I Want to Hold Your Toward this goal there will always be a Hand" (the German "Komm, Gib Mir Deine high degree 6' pride, love, and personal Hand" is no loss, though), "This Boy," satisfaction inwolved in each piece before it "Thank You Girl," "Long Tall Sally," "I leaves our faclities. Your Vandersteen dealer Call Your Name," "I'll Get You," "She shares in this zommitmecit, and has been Loves You," "Slow Down," "Matchbox," carefully selected for his ability to deal with "She's a Woman," "I Feel Fine," "Bad the complex task of assembling a musically Boy," and "Yes It Is." Great stuff, that. But satisfying system. Although sometimes EMI promises to cover this material and hard to find, he is well worth seeking out. more (includingMagical Mystery Tour)in at Write or call fora brochure and the least two compilations later on. Whatishere name cf your nearest dealer. on these four CDs is marvelous. I especially \ANDERSTEEN AUDIO It, WEST FOURTH STREET JUNE 1987 79 ANFORD. CALIFORNIA 93230 USA (.:09) 582-0324 lar flaws in the two films. fame-fares better on home video. The film includes "I Should Have Known Bet- With its Technicolor production values, movie may not live up to its time -inflated ter," "All My Loving," "If I Fell," "And I Help! seems a natural candidate for home legend (esteemed film critic Andrew Sarris Love Her," and the title track, the songs in video. Indeed, the film looks magnificent, called it "the Citizen Kane of jukebox musi- Help! come from the Beatles' more hard- especially in its brilliant greens and reds. Yet cals"), yet it has retained all its charm. The edged, pre -Rubber Soul era: "You're Gonna Help! has aged much less gracefully than the viewer is immediately struck by the quartet's Lose That Girl" (presented in an unusually middle-aged, ever cherubic Paul. Its flaws youth (compare this Ringo with the grizzled smoky "studio" ambience that looks better simply become more apparent on the small show -biz veteran hawking Sun Country wine than many of today's music videos), "You've screen: the inane nonplot, the interchange- coolers on TV), the group's charmingly am- Got to Hide Your Love Away," "Ticket to able use of the Fab Four, the lame attempts ateurish acting, and the quirky, deadpan Ride," "I Need You," "The Night Before," at spoofing James Bond movies. And as with British humor that predates the similar sen- and "Another Girl." any big -budget film, Help! appears physically sibility of Scottish filmmaker Bill Forsyth's Still, there is more to these films than diminished on TV: In particular, John's Local Hero and Gregory's Girl. Even the film's mere rock 'n' roll. For those who want to forehead looks suspiciously cropped during more elaborate "production numbers"-for preserve their memories, paying a grand to- "You've Got to Hide Your Love Away." One example, the boys breaking loose from their tal of $110 may seem a worthwhile invest- can enjoy Help! as a period piece, a brassy, backstage hell and running down a fire es- ment; others not so financially blessed may lively remembrance of mid -Sixties Mod cape to the accompaniment of "Can't Buy be content to let the $30 price difference be- London. But we expected more of the movie Me Love"-haven't lost their power on the tween the tapes dictate their preference, as A in 1965, and now it has let us down again. small screen. Hard Day's Night lists for $39.95, Help! for How ironic, then, that the low -rent and Ultimately, though, one fact makes it $69.95. That's not so bad, though, for when harried A Hard Day's Night-shot quickly in harder to choose between A Hard Day's Night it comes to the Beatles' first two films on order to get the most mileage from what the and Help! on video: Despite its deficiencies, home video, less is indeed more. industry perceived as the group's fleeting the latter has better tunes. While the earlier David Browne READER -ACTIONPAGE Many advertisers will send you additional product literature free ofcharge. Write them care of Dept. 6/87, unless otherwise noted, at the addresses below. Ifno address appears, literature is available only through deal- ers. Bold -face numbers by company names arc page numbers for ads in this issue. Acoustic Research ( 5 5) JAR Music World (68,69) Mitsubishi (47) Toshiba (5) 330 Turnpike Sr 23 Pork Row 879 Supreme Drive 82 Totowa Road Canton, MA 02021 New York, NY 10038 Bensenville, IL 60106 Wayne, N1 07470 617/821-2300 Customer Service Dept. 312/860-4200 201/628-8000 ATTN: Dept. HF 6,87 ATTN: Dept. HF 6/87 ATTN: DEPT HF 6/87 ATTN: Dept. HF 6/87

Advent (15) KIT licutrenics (45) Vandersteen (79) Pioneer liectrenics (Cover 11,1 4138 North United Parkway 14120-K Sullyfield Circle )116 W FoJrttl Street 5000 Airport Plaza Dr. Schiller Pork, IL 60176 Chantilly, VA 22021 Hanford, CA 93230 Long Beach, CA 90815 800/323-1566 703/631-8810 209/582-0324 213/420-5700 ATTN: Dept. HF 6/87 ATTN: Dept. HF 6/87 ATTN: Dept. HF 6/87 ATTN: Dept. HF 6/87 Wisconsin Dimmest (73) Altos Lansing (32,33) Koss Corporatios (SO) 2417 W. Badger Road Altec Lansing Consumer Products P.1k Audi. (11,11,75) 4129 N. Port Washington Ave. Madison, WI 53713 5601 Metro Drive Milford, PA 18337 Milwaukee, WI 53212 800/356-9514 717/296-4434 414 964-5000 Bact, MD 21215 301/358-3600 ATTN: Dept. HF 6/87 ATTN: Dept. HF 6/87 ATTN: Dept. HF 6/87 ATTN: Dept. HF 6/87 Tonsehe (4$) illeopenkt (4,7) barmen (17) 660 Orongethorpe Avenue 2800 S 25th 19145 Gramercy Place Softy (2) Buena Park, CA 90620 Broadview, IL 60153 Torrance, CA 90501 Sony Drive 7 14 5 2 2-9 10 5 312/865-5200 213/326-8000 Park Ridge, NJ 07656 ATTN: Dept. HF 6/87 ATTN: Dept. HF 6/87 ATTN: Dept. HF 6/87 ATTN: Dept. HF 6/87

Meerut Meanie (Cover III) Megnovez (25) TDK (10) 600 N. Sherman Drive 1-40 & Straw Plains Pike 12 Harbor Pork Drive Indianapolis, IN 46206 Knoxville, TN 37914-1810 Port Washington, NY 10050 317/267-5000 615/521-4316 516/625-0100 ATTN: Dept. HF 6:'87 ATTN: Dept. HF 6/87 ATTN: Dept. HF 6/87

Advertising Offices NOW Verb ABC Consumer Magazines, Inc . 825 7th Ave.. 8r6 Floor. New York, NY 10019. Tel: (2121 265-8360. Peter T. Johnsmeyer, Group Advertising Director; Andrew Eisenberg. Associate Advertising Director; James R. McCollum, Record Advertis- ing Manoger; Mona Monaseria, Classified Advertising Manager; Angelo Puleo, Director of Production; Janet Cermak, Advertising Production Manager. Allidweett KOH Fiotur.,580 Waters Edge, Lombard. III. 60148 (312) 691-1165. Starr lane. Midwesr Advertising Manager. Let Moslem ABC Consumer Magazines. Inc., 1888 Century Park East, Suite 920, Century City. Calif 90067. Tel: (2131 557-7587. Howard Berman, Western Advertising Director. Telma Japan Aavertising Communications,Inc.. New Ginza Building, 7-3-13 Ginza Chuo-ku, Tokyo 104, Japan. Tel.: 1031 571-8748. Stringers Kobayashi, President.

SO HIGHFIDELITY 0 I

or:

ei

it CONTROLS EVERYTHING.

PRESS MATCHING FUNCTION KEYS

INPUT AGAIN

FUNCTION LEARWED/ SENDING

LEARNING RELEALE

ERROR BATTERY LOW

AUDIO VIDEO AUK 41 DOWN VOL UP OM

AMP/TV MUTING EQUIP POwFR

PHONO TUNER TAPE -1

2 3 4

ee VCR VDP TAPE -2

b PHOND TUNER PLAWREIECT DOWN PRESET UP 141111 DOWN CH UP b. TAPE/VCR REC II PAUSE Ow+PLAY -71111

REC 11 4F4 STOP N capabilities allow it to replace

;UNIFIER every infrared remote on the market. Regardless of maker. Today's modern home enter- Regardless of brand. tainment systems consist of an The heart of"The Unifier" audio receiver, CD player, cas- CD/CATV N44 144 10.- PLAY is an on board microcomputer sette tape deck, turntable, MTS that reads and copies all the television with cable TV access, A functions of other remotes, and VCR or Laserdisc player, all eliminating inter -brand incom- 11 PAUSE S -OP of which operate with their patibility forever. Over 100 own remote controls. Unfor- functions can be stored into tunately, this creates a serious .4 DOWN CH MC DE audio, video, and auxiliary problem. What do you do with modes, and it's as easy to pro- all the different remotes? gram as pressing the matching Introducing"The Unifier', ONKYO RC-AV1M function buttons. Onkyo's RC-AV1 Universal Pro- UNIVERSAL PROGRAMMABLE REMOTE The real marriage of audio grammable Remote that puts and video equipment has an end to all of this clutter and arrived with"The Unifier", confusion forever! the Onkyo RC-AV1 Universal The RC-AV1's comprehensive Remote. See your Onkyo and complete learning dealer or write for full details.

ArtistryATSound CONIEVO 200 W !hams Drive, Ramsey, N.J. 07446 201-825-7950 11 X,