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1985 NOVEMBER CANADA $3.50 THESE TEST WE USA $2.50 SPEAKERS NEW MORE AND 2 MATRIX B&W 107, KEF 2, SDA-SRS POLK Matthew Polk's Awesome Sounding SDA-SRS& SDA-SRS 2

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SDA SRS $1395 ea.

SDA SRS 2 Digital Disc Ready $995 ea.

technological triumph: Matthew Polk, the loudspeaker genius, with hisAudio Video Grand Prix winning SDA-SRS and latest the extraordinary SDA-SRS 2, honored with the 1986CES Design & Engineering Award. "The Genius of Matthew Polk Has Created Two Awesome Sounding Signature Edition SDAs" "Spectacular... it is quite an experience" Stereo Review 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 exceptionallyclarity, 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 Pollak 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's ultimate dream loudspeaker, composite frequency response was exceptional the SDA-SRS, won the prestigious Audio Video ...The SDA system works...The effect can be "the best SDAs yet... Grand Prix Speaker of the Year award last year. quite spectacular...We heard the sound to our Stereo Review said "Spectacular...it is quite an sides, a full 90° away from the speakers...As impressive and worthy of experience" and also stated that the SRS was good as the SDA feature is, we were even more Matt Polk's signature" probably the most impressive new speaker at impressed by the overall quality of the Polk High Fidelity Magazine the 1985 Consumer Electronics Show. Thou- SDA-SRS....The sound is superbly balanced and sands of man hours and hundreds of thousandstotally 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...It 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, sonic reproduction. play the music loud to enjoy the tactile qualitiesquick and three-dimensional mid and upper Matthew Polk has, during the last year, of deep bass...Exceptional performance no bass detail combined with low and sub -bass 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 porating virtually all of the innovations and SRS. Words alone can not express the experi- Other superb sounding Polk 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 the SDA-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 Listening to any Polk lime Stereo SDA* is a SRS 2 cabinet contains 4 Polk 61/2" trilaminate better! Hear them for yourself Use the remarkat le experience. Listening to either of polymer drivers, a planar 15" sub -bass radiator,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 8-6W 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: The Speaker Specialists *U.S. Patent No. 4,489,432 and 4,497, 964. Other patents paneling. 1.) time compensated, phase -coherent multiple 5601 Metro Drive, Baltimore, Md. 21215 Where to buy Polk Speakers? For your nearest dealer, see page 14. Matthew Polk's Magnificent Sounding New SDA 2A

SDA 2A Digital Disc Ready $499.00 ea

Matthew Polk stands proudly alongside the latest version of his Audio Video Grand Prix Award Winning SDA 2A "The Magnificent Sounding New True Stereo SDA 2A Again Demonstrates the Genius of Matthew Polk" This revolutionary speaker is the most extraordinary value in high end audio!

atthew Polk's magnificent sound- by Polk's SDA technology. One famous reviewer ing new 3rd generation SDA-2A "The result is always better remarked that after hearing the SDAs his wife incorporates many new advances than would be achieved by said that she heard such a dramatic improve- pioneered in his top -of -the -line Signature conventional speakers..." ment in the sound that she insisted that he Edition SRSs. It achieves stunningly life- Stereo Review Magazinereplace their current speakers. like musical reproduction which would be remarkable at any price but is simply Conventional "Mindboggling, extraordinary at $499. each. Speakers Reproducing Stereo When conventional speak- Astounding, ers reproduce stereo, both Polk's Revolutionary hue speakers are heard by both Stereo SDA Breakthrough ears which reduces stereo Flabbergasting" separation, obscures detail Higb Fidelity Magazine The magnificent sounding new SDA-2A and interferes with proper imaging. incorporates Polk's revolutionary True Stereo AllPolk's SDAs, including the new 2As, SDA technology. This patented, critically ac- produce a huge lifelike three dimensional sonic claimed, Audio Video Grand Prix Award win- Only Revolutionary image which will amaze you. You will hear for ning breakthrough is the most important Polk SDAs Reproduce the first time instruments, ambience and subtle True Stereo musical nuances which are present on your fundamental advance in loudspeaker tech- Only Polk SDAs reproduce nology since stereo itself In fact, the design True Stereo by allowing each recordings but masked by the interaural cross- speaker and signal (L or R) to principles embodied in the SDAs make them be heard by only the correct talk distortion produced by conventional speak- the world's first and only True Stereo speakers. ear (like headphones) which ers. Stereo Review said, "Spectacular...literally results in dramatically im- Why do Polk SDAs always sound better than proved stereo separation, a new dimension in the sound...the result is detail and three-dimensional conventional speakers? As illustrated in diagram imaging. always better than would be achieved by con- 1: when conventional loudspeakers are used to ventional speakers". High Fidelity said, "Mind Dimensional Stereo Stereo Dimensional Boggling...Astounding...Flabbergasting...we reproduce stereo both speakers are heard by Array Array Array Array both ears which causes a form of acoustic have yet to hear any stereo program that doesn't distortion called interaural crosstalk which cuts 1.; ,Undersrable benefit". With SDAs every instrument, vocalist V.5 Cross down stereo separation, obscures detail and talk and sound becomes distinct, tangible and alive; interferes with the proper reproduction and \ allowing you to experience the spine tingling perception of imaging, and spaciousness. As excitement, majesty and pleasure of live music illustrated in diagram 2: Polk SDAs are designed in your own home. so that each speaker is only heard by the one How Polk SDAs Achieve True Stereo correct ear (i.e. left channel/left ear, right Each Polk SDA incorporates a special extra set of drivers Other Superb Sounding Polks which radiates a difference signal which cancels the unde- channel/right ear), like headphones. The result sirable signal going from the wrong speaker to the wrong From $85. to $1395. each is dramatically improved stereo separation, ear, (interaural crosstalk distortion) resulting in True Stereo No matter what your budget is there is a reproduction. detail and three-dimensional imaging. In order superb sounding Polk speaker perfect for you. to accomplish this (see diagram 3) each SDA Polk's incredible sounding/affordably priced incorporates a separate set of drivers which Monitor Series loudspeakers utilize the same radiates a special dimensional (difference) sig- basic components as the SDAs and begin as nal which cancels the undesirable interaural low as $85. each. The breathtaking sonic crosstalk distortion coming from the wrong smoother high -end and even better soundstage benefits of Matthew Polk's revolutionary True speaker to the wrong ear. High Fidelity called and image. The new SDA-2A is the finest Stereo SDA technology are available in 5 SDA the results "Mind Boggling". sounding and most technologically advanced models priced from $395. to $1395 ea. speaker ever produced at its extraordinarily The Most Extraordinary Value modest price. It sounds dramatically better than"You owe it to yourself to in High End Audio Today speakers from other manufacturers that cost 4 audition them" High Fidelity The new SDA-2As, like all the current SDAs, times as much and more and is, at $499 ea., The experts agree: Polk speakers sound incorporate the latest 3rd generation SDA truly the speaker of your dreams at a price you better. Use the reade6 service card or write technology developed for Matthew Polk's Sig- can afford. to us for more information. Better yet, visit nature Edition SRS and SRS -2 including 1: full your nearest Polk dealer today. Your ears complement sub -bass drive for deeper, fuller, "Breathtaking... a new world will thank you. tighter and more dynamic bass response; 2: of hi fi listening." Stereo Buyers Guide phase coherent time -compensated driver The spectacular sonic benefits of SDA alignment for better focus, lower -coloration technology are dramatic and easily heard by polk smoother, clearer, more coherent midrange virtually anyone. Reviewers, critical listeners and improved front -to -back depth and; 3: and novices alike are overwhelmed by the The Speaker Specialists bandwidth -optimized dimensional signal for magnitude of the sonic improvement achieved 5601 Metro Drive, Baltimore, Md. 21215 Where to buy Polk Speakers? For your nearest dealer, see pagelit. Not Evolutionary

and video noise filter to get maxi- mum sharpness and quality out of Pioneer's Revolutionary VCRs, LaserVision prayers, video monitors or projection TVE. And Audio/VideoReceiver Pioneer's unique split-screen video format lets you enhance picture Necessity. The mother of invention. And now fromquality during recording or playback whilecom- Pioneer comes a revolutionary invention made paring the processed picture side -by -side wIth the necessary by the rapidly merging technologies of original. digital audio and high quality video. The features just listed make the VSX-5000an Meet the Pioneer VSX-5000. incredible value. Yet you get even more. TheVSX- A new product that should be first on your list5000 is a complete 100 -watts per channerreceiver when you decide to get into a home A/V system, with Pioneer's exclusive Non -Switching Type II be it simple or complex. Vari-Bias" circuitry to eliminate transistor switch- A new product that takes all your audio and ing and reduce intermodulation distortion. A video components and consolidates them with Quartz-PLL AM/FM tuner includes innovations complete central control. like a visual alphanumeric readout that identifies your favorite station formats-"Jazz',' I.aserDisc "Rock;' or by station call letters. And 'D /I D) Players CD Players Cassette Decks a presettable 3 -position Acoustic Memory remembers how you like your bass and treble set for particu- VSX-5000 lar music styles, or different audio Monitor Receivers sources. 0 The VSX-5000 includes Pioneer's "SR'TM system. It stands for System Remote and assures complete com- _=VSX-5000System Remote patibility of each Pioneer SR prod- Control Unit uct assembled into your system. E In the VSX-5000, you get a 59 -function SR remote control A new product that gives you thesame true unit that gives you unheard-of Dolby Surround' Sound you find in first-class control and flexible operation right movie theatres. As well as a choice of othersur- from your armchair. round sounds like "Stadium" for viewing spectator By now you can see just how sports or concerts, or "Studio" for watching Jazz orindispensable the VSX-5000 is to a Rock performances. There's even Simulated Stereo complete audio/video center.There's that adds ambience to mono soundsources, and practically nothing it won't do to a Dynamic Expander that adds impact and excite- improve audio and video. And ment to compressed music sources. when the future brings newcompo- A new product that optimizes high quality nents to the market, the VSX-5000 signals like CD and LaserVision while sharply will be ready to handle them too. upgrading the fidelity of lesser -quality signals like The revolutionary Pioneer mono VCR sound, analog records or standard VSX-5000. The heart and soul of broadcast TV. your audio and video system.. A new product with a built-in video enhancerBoth today. And tomorrow © 1986 Pioneer Electronics (USA) Inc., Long Beach, CA 'Dolby is a registered trademark of Dolby Labs, Inc. "Measuredpursuant to the Federal Trade Commission's Trade Regulation Rule on Power Output Claims for Amplifiers. evolutiona

3 PNEIR P,CEER CATcH THE SPIRIT (y) PIONEER® OF A TRUE PIONEER. 1111111 =am MINIS -ank IMMIlf nit anal - 344HIGH FIDELITY Volume 36 Number 11 November 1986

37 PolkSDA SRS/2 loudspeaker 38 B&WMatrix 2 loudspeaker 40 REF107 loudspeaker 44Deli7 loudspeaker 48 Acoustic ResearchConnoisseur 40 loudspeaker 4 AUDIO & VIDEO 49Lights, Camcorder, Action! by Frank Lovece Home movies '87: a buying guide to VHS, 8mm, VHS -C, and Beta camera/recorders 55 What's New in Speaker Testing by Kenneth L. Kantor Aiming for perfect predici iuus of sound in the home. Plus, "2001: A Speaker Odyssey."

Classical 65 Endangered Species by David Rubin American orchestras a e 3 arw Drys tlne erdin studio is there an hoe e 82 Nouse of Horrors by Noah Andre Trudeai Aliens and a fly not enoug enryanon' s space vampires on L Special Classical/Popular Double Review 83Glass Cutters h' K. Robert Schwarz and Mark Moses Philip Glass's Songs from Liquid Days from both sides now Popular/Backbeat 84 Outside South Africa, Glaring In by Francis Davis Pianist Abdullah Ibrahim and singer Sathima Bea Benjamin on jazz and apartheid 95 Teddy Wilson,1912-1986 by Steve Futterman An appreciation of the groundbreaking pianist DEPARTMENTS 8Front Lines 9Letters 14CurrentsRCA's "digital" VCR; Sansui, Denon receivers; "Copyguard Killer" 30CrosstalkBass desires; CD rumble; "Bookshelf" speakers, horizontal or vertical? 33Bits & PiecesRDAT vs. CD: Record companies draw the line. 63MedleyAre you a fan or a critic?; Mr. Libbey goes to Salzburg. HIGH NORM (ISN 0010-1455) Is ouolished monthly at 825 Seventh Ave., New Yoh, N.Y. 10019, by ABC Consumer 68The CD SpreadMozart's Symphony No. 40, music for two pianos, and Coronation Mass Magazines, Inc, a division of ABC Polishing, Ina., and o subsidiary of American 3toodcasting Companies, Inc. C) 1986 71Classical ReviewsA detailed look at Rossini's Tancredt on the occasion of a new recording by ABC Consumer Magazines. Inc. The dew and contents we fully protected by copyright and must not be reproduced in any 80Critics' Choice manner. Second-class postage paid or Nane Yoh, New York. and of additional mailing offices_ Authorized as second-class 90Popular and Jas: ReviewsRussian rock, smuggled out; Russian jazz, okayed for export mail by the Post Office Department, Ottawa. and for payment of postage In cash. Yearly subscript on inthe U.S.A. and 96Manufacturers' Comments Possessions $13.95; elsewhere $20.95. Single copies $2.50 (Canada $3.50). Subscribers: Send subscriptions, inquiries, and address changes to 1-11G1-1F1DELOY, P.O Box 10759. Des Moines, Iowa 50340. Change of address: Give old and new addresses including ZIP codes. Enclose address label from last Issue and allow foe weeks for change become eti,setwo. POSTMASTER: Send change at address to 141011FORITY, P.O." -10759.0."""eL IA 3030.. Tr -,E -REAListiG. Lin 9111155-11B .... IP WAVE SOOXIIII/PIEIONG T,ITM - U,

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GetaGreat Picture and Spectacular Stereo with Radio Shack's New VCRs HO System Plus Built-in Stereo TV Tuners In Stock Today at Our Store Near You These new Rea list icj'' VHS decks have the HO system fcr Both of these versatile decks include first-class owner's sharper video, plus an MTS/SAP tuner for stereo TV and manuals, an important item that many other brands sk mp second -language brcad:asts. Just connect either model to on So come in today. See and I -ear fot yourself theRealistic your stereo system as you wou d an audio deck. dire"ence in our best -ever VCRs! Built-in Comb Fitters and VHS Hi-fi System Model 41 comtines the HO system and ccmb filters fcr absolutely sensat.c nal video tape clarity and color accuracy. Rath. ithaeit DIVISION OF TANGY CORFORATIOL1 Aid VHS Hi-Fi gives you and o performance that rivet A compact Jisc! Th s VCF will also work as a long -play hgt-- spec aud:o recorder It's tie heart of a superb audio/v deD Send for FREE 1987 Radio Shack Catalog system. Only $599.95cr aslo.. as $213 per month*. nail to Rac io Shack, Department 87.A-944, VHS Stereo With Dolby- Noise Reduction ZOO Ore Te ndy Center, Fort Worth, -X 7610? Model 31 has features that simplify operation. Auto- fLnction bads a :ape, plays it-ewincis, and shuts off. An rANE input selector mates it easy to tape TV/FM simulcasts. You ID DRES asc get a 110-chan lel cable -ready tuner and a 14 -Jay/ CITY STATE ZIP 5 -event timer. Only $499.95 or as low as $23 per month*. 'Citt,ine revolving credit Muni CitibanVActual payment may Amy depenoing upon balarce. Prices apt at paticapaltil Relic Shack stores ard cealer- tTM Laboratmes Lcensing C.rp A speaker designed to one standard: Live music.

f you have ever heard music live, you can appreciate what's behind the Bose° 901° Series 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 Massachusetts Institute of Technology research team led by Dr. Amar G. Bose. Through extensive research, his team discovered 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 improvements over the original. The speaker's innovative audio technology turns your listening room into an essential part of your stereo system. The 901 system works by reflecting most of its sound, instead of aiming all

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 SyncomII computer.

The Eose-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 In the coicert hall (above left), listeners hear a complex mixture of direct and reflected sounds, arriving from different directions and at different times. Bose Direct/Reflecting speakers (enter) are designed to reproduce music in much the same manner, allowing listeners tc hear greater realism and impact. Conventional speakers (above right), on the other hand, reproduce primarily direct sound, causing listeners to miss many of the critical accustic cues that make live music sound live.

the sound toward you like a conventional speaker. So, anything you listen tc over a 901 system picks up a strong sense of concert hall real- ism, because the system is capable of reproducing the concert hall's natural balance of direct and reflected sound. Best of all, the 901 sys- tem's u tra-high efficiency and unlimited power handling in home applica- tions make it compatible with almost any stereo system. The right speaker for the best in audio: digital. Obviously, a speaker system this exceptional deserves the best possiole source of sound available. That's why for a limited time. Bose has a digital bonus when you invest in 901 speakers. Wt -en you buy a Bose 901 system at a participating dealer between October 1, 1986 and January 15, 1987, Bose will give you your choice o' eight free compact FREE! discs from a CBS' records special Eight Compact Discs collection! And you'll hear your from a CBS Records spe- CD's as close to live as possible, because the Bose 901 system has cial collection when you buy been specifically engineered to a Bose 901 system! take full advantage of their supe- Details at left. rior sound. Digital Dynamic Range circuitry and Direct/ Reflecting® speaker design allow the 901 system to accurately repro- duce live music'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 nvestment-because it will let you hear all of the realism that a truly goad audio/video system is capable of producing. Audition the Bose 901 Direct/Reflecting' speaker system at your authorized Bose dealer, and judge for yourself. Then take the next step-and invite a legend -lame.

There is an entire line of Bose speakers that incorporates much of the advanced technology developed for the 901 system. For more informa- tion and an all product brochure, write Bose Corporation, Dept. HF, 10 The Acoustic Matrix TM enclosure Speen Street, Framingham, MA 01701. he ps the 901 system control When you write for information, be sure to request a copy of Dr. Amar sound by precisely controlling Bose's Sound Recording and Reproduction. This paper describes the a r. Made up of 14 separate research effort behind the original Bose 901 system. acoustic regions, it isc ates the drivers and regulates internal air flow, resulting in increased bass and lower distortion. "F_.: Copyright 198E Base Corporatmn. All rIghts reserved Covered by patent nghts issued and/or pending. Features and spercificatons subtect to change wanoutnottce OrrectlRellechng, Syncom. 901 and Digital Dynamic flange are registered trademarks of Bose Corder awn Acoustic Mains tca trademark of Bose Corporator, CBS IS a registered trademark of CBS Inc

The Bose 901 active equalizer uses low - distortion electronics to contra the system's total frequency response, allowing a compact system to produce full-frequercy sound. Digital Dynamic Range circuitry makes the entire system ideal for use witt the best sources available. Better sound through research. polk CURRENTS The Speaker Specialists ®

Where to buy Polk Speakers?

MITHOPM3 KALB UST CANADA Call Evolution Technology. Toronto King Roseville: Au!h o King SI. Peel: tel nearest dealer 1-800-263-6395 Audio King Al. Auburn: Audio Warehouse MS Columbus: Audio Advanlage Gulfport: Birmingham (Homewood): Audition Empress Jackson: Walters Audio Pas- Campbells Audio Video. Sound cagoula: Empress Tupelo: Audio Advantage Distributors Mobile: Sound Advice 110 Cape Girardeau: Stereo One Coffer Montgomery: The Record Shop his: D 8 M Sound Lebanon: Sight AK Anchorage: Shimeles Forbear.: HMIS & Sound St. Louis: Sound Central Music MT Boxemen: Thirsty Ear Great Falls: AZ Flagstaff: Sound Pro Mesa: Rocky Mountain Hi Fi Hi Ft Sales Timor Audio Emporium NC Asheville: Mr Toad's Stereo Video AR Little Rock: Leisure Electronics Searcy: Chapel Hill: Stereo Sound Charlotte: Sound Room Stereo Video. Tarts Gastonia: Tarts CA Arcata: Arcata Audio Bakersfield: Greensboro Stereo Sound Klenepolle: Sound Moon Berkeley: Sounding Board Tarts Moorehead City: Anderson Audio Campbell: Sound Goods Canoga Park: New Bonn: Anderson Audio Piseville: ShelleyS Chico: Sounds By Dave Owls: Stereo Video Raleigh: Audio Buys, Stereo World Electronics Fairfield: C & M Stereo Sound Wilmington: Atlantic Audio Unlimited Fresno: Banana's Hi -Pi Los Winston-Salem: Stereo Sound hasIse: Beverly Stereo MIII Volker World ND Bismarok: Pacific Sound Minot: ol and Mounter" View: Sound Goods Midwest Audio Napa: Futurvision Orange: Absolute Audio N E Lincoln: Stereo West Norfolk: Mid City Penngrom: Caldorma Stereo Sacremseto: Slereo Omaha: Stereo West World Electronics San Diego: Sound Com- NH Concord: Audio of New England Lac- pany Sao Francine: Stereo Store World al onia: Audio of New England Sew Wagon: Sound San Gabriel: Audio Concept Santa North Star Electronics Salem: Cuomo's Barbaro: Creative Stereo Santa Maria: N J East Bronswick: Atlantic Stereo Frank- Creative Stereo Santa Monica: Shelleyt lin Lakes: Franklin Lakes Stereo Maple Stereo Stockton: Gluskins Camera Audio Shade: Bryn Mawr Stereo Mooklair Per- Video Thousand Oaks: Creative Stereo due Radio Renton: AC Audio Ridgewood: Venters: Creative Stereo Visalia: Metro Sounding Board Shrewsbury: Monmouth Stereo Walnut Creek: High Fidelity Shoppe Stereo Toms River Rands Camera West CO Arvada: Soundtrack Amore: Soundtrack Calderon: Perdue Radio Boulder Soundtrack, Wavelength Stereo NM Albequergeo: Real Time Audio Al- "Digital" VCR from RCA Colorado Springs: Sunshine Audio Den- mogordo: DAB Electron. Carlabet ver Soundtrack Utileton: Soundtrack Beasont Pueblo: Sunshine Audio Thornton: N V Las Vegas: Upper Ear Remo: The Audio NOW, ALMOST TWO YEARS AFTER THE FIRST Soundtrack Authority while the sound continues to run. Tape CT Mon: Hi Fr Stereo House Parnell: NY Albany: Clark Music Betavie: Unicorn Audio Design Greemich: AI Franklin's Audio Buffalo: Speaker Shop Coming: digital television sets were introduced, special effects (slow motion, still frame, Groton: Roberts Hartford: Al Franklin's Chemung Electronics Elmira: Chenung New Haven: Audio Den Nmisston: Electronics Fredonia: Studio One Glens similar circuitry can be found in RCA's search) are said to be rendered virtually Stereo House New Leaden: Roberts Foils: Audio Genesis Huntington: Audio Norwalk: Audtolronics Breakthroughs Ithaca: Chemung VMT-400 VHS videocassette recorder. noise -free by the digital circuitry. Two DE Wilmington: Bryn Mawr Stereo Electronics Jamestown: Studio One DC Myer Emco Manhasset: Audio Breakthroughs The new model, said to be the first of its FL Altemoete Springs: Audio Spectrum N ewburgh: Reneges Electronics New York digital video effects can be applied to Brow Raton: Capi Video Dalton" Beane: City: Audio Breakthroughs. Electronic Work- Stereotypes Ft. Lauderdale: Capl Video shop Rochester. JB Sound Scarsdale: kind to reach the consumer market, in- both tape and off -air pictures: One is a R. Myers: Stereo Garage Ft. Pierre.: Sound Listening Room Syracuse: Clark Music Shack Ft. Welton Beach: Audio Interne. Vestal: Hart Electronics Wappingers corporates nine dynamic random-access "mosaic" effect (sometimes seen in tonal Jacksonville: Audio Tech Rand:ins Electronics Lakeland: Sound Factory Merit OH Cleveland: Audio Craft Cincinnati: memories to provide both tape and tuner sports shows), and the other is a "mot- Southern Audio Miami: Audio By Caruso, Stereo Lab Colymber. Stereo Lab Fair- Capt. Video. Sympathetic Ear Naples: Stereo lawn: Audio Craft Findlay: Audio Crab special effects. tled" look like that used in music videos. Garage On Pork: Audio Tech Or- Lima: Classic Stereo Mrylield Height': lando Audio Spectrum Pensacola: Fidler Audio Craft Toledo: Audio Craft Westlake: The picture -in -picture function al- Hi Fi Tallahassee: Stereo Store Tampa: Audio Craft Other features include a 119 -channel Audio Vision W. Palm Beech: Electronic OK LAMP: Hi Fi Shop Oklahoma City: Connection Audio Dimensions lulu: Audio Advise lows a tape and any TV station to be tuner, a four-event/one-year timer with GA Atlanta: Stereo Village Augusta: Stereo OR Beaverton: Stereo Superstores Eugene: City Duluth: Stereo Village Macon: Geor- BradfordS High Fidelity Portland: Stereo viewed simultaneously, with either one on -screen programming, HQpicture cir- gia Music Morrow: Stereo Village Sever Superstores nalt Audio Warehouse Smyrna: Stereo PA Allenteem: Bryn Mawr Stereo Altoona: superimposed in a small box in any cor- cuitry (three of the four available circuits Village locker Stereo nage Sound Concepts Blakely: Hart Electronics HA Honolulu: Stereo Station Bryn Mawr Bryn Mawr Stereo Camp HIA: ner of the screen. This feature can also be are used), and a full -function wireless re- ID Boise: Stereo Shoppe Moscow. Audio - Bryn Mawr Stereo Erie: Studio One Frazer Vision Poulin.: Stokes Brothers Sand- Bryn Mawr SWIM Indiana: Sound Concepts point Electracrgt tele Falls: Audio Jenkintown: Bryn Mawr Stereo John - used in conjunction with a video camera mote control. The VMT-400 will work Warehouse down: Gary's Entertainment Kingston: Hart IL Aemre: Stereo Systems Bloomingdale: Elecl roma Lancaster. G'n'T Stereo to, for example, monitor a sleeping child with existing RCA Digital Command re- Alan's Creative Stereo Buffalo Goya: Montgomeryville: Bryn Mawr Stereo Columbia Audio Video Carbondale: South- Natrona Heights: Stereo Land Phila- or screen visitors at the front door. In ad- mote controls as well. It is expected to ern Stereo Champaign: Good Vibes Sound delphia: Bryn Mawr Stereo Pittsburgh: Inc EleKalb: Audio Plus Modem Es- Audio Junction Quakertown: Bryn Mawr dition, a freeze frame can be made from cost $700. For more information, contact tates: Simply Stereo Highland Park: Co- Stereo Reading: G n T Slereo Soling- lumbia Audio Video Joliet: Stereo Systems raed..,Silerseoderop Williamsport: Lansing: Audio Clinic Mt. Prospect: Sim- any off -air broadcast (including one RCA Consumer Electronics, 600 N. ply Stereo Naperville: Stereo Systems, PUERTO RICO Rio Piedras: Precision Audio Ibrhbrook: Alan's Creative Stereo Peale: RI K. Providence: Eastern Audio within the picture -in -picture display) Sherman Dr., Indianapolis, Ind. 46201. Team Electronics Riverdale: Simply Stereo SC Charleston: Auk, Warehouse Colum- Rockford: Columba Audio Video Slimm- bia: Stereo Shop Greenville: Mitchel' s ing:a: Alan's Creative Stereo. Hi Fi Hutch Stereo Greemmod: Stereo Shop Rack Springfield: Sundown One Sterling: Mid, Hill: Tarts Spertanshurg: Stereo Shop west Hi Fi Venom Hills: Alan's Creative SD Rapid City: Team Electronics Sioux Stereo Villa Part: Hi Fi Hutch %flattop': Foils: Audio King AR CAR PRODUCTS The black driver housings are scratch -resis- Alan's Creative Slereo TN Chettanoogs: College Hr Ft IN Bloomington: HOOsler Electronics Cookeville: Network Entedammenl ACOUSTIC RESEARCH'S NEW LINE OF CAR Bluffton: Eley TV & Stereo Ft. Wayne: Johnson City: Mr. Toad's Stereo Video tant and have wire -mesh grilles. System im- Classic Stereo Lafayette: Good Vibes Sound Kingsport Mr Toad's Stereo Video Inc Marion: Classic Stereo Muncie: Knoxville: Lindsey Ward McMinnville: products, the GCS series, consists of nine pedance is given as 4 ohms, and sensitivity is

Classic Slereo South Bend: Classic Network Entertainment Memphis: Opus II Stereo Terre Haute: Hoosier Electronics Nashville: Hi Fr Buys models, including a three-way modular rated at 93 dB SPL (sound pressure level) at IA Des Moines: Audio Labs Fairfield: TX Arlington: Sound Idea Austin: Audio Gorden Ear Audio Video Mason City: Sound Video Beaumont Brock Audio College speaker system (the GCS -100), a pair of1 meter with a 2.83 -volt input. A pair of World Sion City: Audio Emporium Striae: Auto Video Corpus Christi: Tape KS Junction City: Audio Junction Over- Town El Paso: Soundqued R. Worth: drop -in replacement speakers (the 4 -by -6 - land Park: Audio Electronics Wichita: Sound Idea Galveston: Island Audio GCS -100 systems costs $260. Details on the Audio Visions Topeka: Nelson's Houston: Sheflield Audio Hurst: Sound Idea KY Bowling Germ Audio Center Longview: Audio Techniques Lubbock: inch GCS -1200 and the 3'/2 -inch dual -cone entire line of car products can be obtained Lexington: Stereo Shopper Ovation Audio Ultra Electronics Odessa: Harold's Elec- LA Gretna: Stereo Village Latreette: Sound tronics Sherman: Worldwide Stereo GCS -1400), and a power amplifier (the from Acoustic Research, 330 Turnpike St., Electronics Metairie: Stereo Village New Ample: Audio Tech Texaffurna: Sound Orleans: Stereo Village Opelousas: Sound Tome Waco: Audio Tech GCS -80/40) rated at 80 watts (19 dBW) per Canton, Mass. 02021. Eiectronros Shreveport: Audio Fidelity UT Lope store only: Stokes Brothers San West Monroe: Audio West Lake City: Broadway Music channel when operated in the bridged two - ME Bangor Sound Source Conde.: YT Burlington: Audio Den Harbor Audio Video Westbrook: Hawkers TV - VA Bristol: Mr Toad's Slereo Video Char- The Sound Cellar lottesville: Sound Machine Fall, Church: channel mode and 40 watts (16 dBW) per MD Annapolis: Spaceways Sound Bal. Myer Erna; Leesburg: Evergreen Audio PIONEER CD/VIDEODISC More: Soundscape Frederick: Richmond: Gary's Stereo Roanoke: Au- channel in the four -channel mode. Evergreen Audio Re Mile: Myer Ernco dolronics Virginia Beach: Digital Sound MA Bohm: Waltham Camera 8 Stereo WA Believer. Northwest Audio Video Bell- The GCS -100 comprises a 6 -by -9 -inch PLAYER Fitchburg: Fitchburg Music N. Dartmouth: ingham: OC Stereo Learned: Northwest Creative Sound Systems Worcester Audio Video Llak Ha en SC Stereo Center woofer, a 4 -inch midrange driver, and a 1 - FOR ITS SECOND COMBINATION CD/VIDEODISC O'Coins Richland: Tin Ear Stereo Seater Detinthve MI Han Arbor. Absolute Sound Bk. Audio. Northwest Audio Video Spokane: inch tweeter. A separate crossover module player, the CLD-909, Pioneer has considera- mIngham: Armes Hi Ft Dearborn: Almas vEleclideeracrall illa151 ltdcwila: Northwest Audio F East Lansing: Stereo Shoppe Farmington Hills: Almas Hr Fi Grand WV Bedroom/lie: Pied Piper &odder serves two systems and divides the audio bly reduced the bulk of the player mecha- Rapids: Classic Stereo Ltd Ion Mountain: Pied Piper linellogton: Pled Piper Mew Sound North Pramual: Classic Slereo pritown: Sound Post Piedmont Sound spectrum at 220 Hz and 1.3 kHz. As with all nism. As in the earlier CLD-900, the CLD- Ltd Unstop: Stereo Shoppe POMP: Gallery Sound Room Royal Oak: Absolute Sound WI Appleton: Sound Wond Eaa Claire: the other speakers in the GCS line, the GCS - 909 uses separate motors for playing CDs Saginaw: Audio Shopper Court St Listening EME Audio Systems Green Bay: Sound Room Traverse City: Slereo Shoppe World Lacrosse: Sound World Medium: 100's driver diaphragms are made from and videodiscs, but the same laser assembly MN Brooklyn Center Audio King Bums- Happy Medium Marinette: Sound Seller vele: Audio King Duluth: Met's IV & Audio Milwaukee: Audio Emporium Weeper (dim: Audio King Mankato: Audio King Sound World polypropylene, which is said to be affected scans both. A newly developed pulse -count Mieneapolls: Audio King Minnetonka: WY Cheyenne: Team Fier:Vona Riverleo: Audio King Rochester Audio Sound Room less by heat and moisture than are conven- video FM -detector circuit contributes to the tional materials and therefore ideal for con- unit's rated 400 lines of horizontal resolu- sistent performance in mobile applications. tion and 45 -dB video signal-to-noise ratio. A Still don't see it? That's the whole idea behind Koss' revolutionary infrared stereophone system.The Koss Kordless' Stereophone. 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% distortion. 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 virtually any receiver or amplifier and 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 technology is to visit your nearest Koss Kord- lessm 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. CIKOSS stereophones CURRENTS white paper from Pioneer says that the play- nection to as -yet -unannounced accessories. a new format introduced by Pioneer's Laser - er has "the highest performance level of any Price is $900. For more information, contact disc Corporation of America. Each 12 -inch video device in use by the general public," a Pioneer Electronics (U.S.A.), Inc., P.O. Box disc contains three or four video clips (with claim we are prepared to believe. In addition 1720, Long Beach, Calif. 90801. digital audio soundtracks) followed by the to Compact Discs, the unit will play video- audio portion of the corresponding Com- discs with digital or CX-encoded sound- pact Disc in its entirety. During the later por- tracks. A multifunction wireless remote con- MUSIC ALBUMS ON IASERINSC tion, a still picture of the album cover is dis- trol operates most of the player features, VIDEODISC PLAYERS THAT CAN DECODE played on -screen. Pioneer Artists has including numerous scanning and cueingdigital soundtracks, such as the Pioneer agreements with a number of major record modes and a ten -track CD program memory. CLD-909, are the major beneficiaries of the companies to supply material for the discs, A CD subcode output is provided for con- "Compact Laserdisc AudioNideo Album," which are priced near regular Compact Discs at $17. Contact Laserdisc Corporation of America, 200 W. Grand Ave., Montvale, N.J. 07645. THE SOUND OF THE FL

ABOUT A YEAR AGO, GENERAL ELECTRIC introduced a hand-held remote con- trol that could be programmed to take on the functions of as many as four existing infrared remote units of virtually any make. A second model, called Control Central 3, is a slightly trimmed -down version that can di- gest the contents of as many as three different controllers. Programming is done one key at a time, with the GE COME TO WHERE THE MUSIC IS. remote placed head to head with the MEET THE SYMPHONY I. $550/PR. other unit to "read" its infrared pulses. A lock switch disables the pro- The state-of-the-art speaker system gramming mode to prevent acciden- with sound clarity unmatched at any price. tal overwriting of the memorized con- By Tennessee Sound Company tents. Control keys are labeled for the P.O. Box 1252 Bristol, TN 37621 (615) 878-4121 most common audio and video func- tions. The unit operates on batteries Please call or write for further information nd sells for $100. Details are avail- or direct sales. Dealer inquiries invited. 'ble from General Electric Co., Ports- outh, Va. 23705. MasterCard and Visa accepted. , ,,...., ,..4.,..4...... ,....*,...6...... ,,,,.....44- (CONTINUED ON PAGE 20) crhe International Preview Society invites you to accept a No Obligation Classical Music Membership and your choice of any.., DIGITAL RECORDINGS for el only kP Plus A Special Offer For

plus shipping Compact Disc and handling Buyers

RCA RED SEAL, DEUTSCHE GRAMMOPHON,LONDON, PHILIPS...AND MORE!

Vivaldi DVORAK LUCIANO lizhak Perlman James Galway HOROWITZ IN LONDON MOZART The Four New World PAVAROTTI PIOP111.5.10011111MKIIMIN Violin Concertos Henry tiancini Seasons MAMMA NMI The EnglishC-0.01 Symphony Nos. 3 & 5 Chicago HENRY4ZiZigi Pinnock Symphony Orchestra Solti In The Pink

Vivaldi, The Four Rimsky-Korsakov, Dvorak, Symphony Pavarotti: Mamma Gershwin, Rhapsody Mozart, Violin Galway & Mancini: Horowitz In London Seasons Simon Scheherazade No. 9 (From The Henry Mancini In Blue; An American Concertos Nos. 3 8 5 In The Pink The Pink Schumann, Kinder - Standage, violin. Andre Previn con- New World) arrangements of 16 In Paris; Concerto in F Itzhak Perlman, violin. Panther Breakfast At scenen; Chopin, Trevor Pinnock leads ducts the Vienna Chicago Symphony Neapolitan songs. Andre Previn, pianist Vienna Philharmonic/ Tiffany's, Pennywhistle Polonaise-Fantaisie 8 The English Concert. Philharmonic Or- Orchestra/Solti. "The Also includes Vieni 8 conductor; Pitts- Levine. "Radiantly Jig, Two For The Ballade No. 1; "Breathtaking." chestra in a lush, playing is superlatively sul mar, Musica pro- burgh Symphony sumptuous." Road, Meggie's Scriabin, Etude in D - -Stereo Review evocative interpreta- good:'-Gramophone ibita & Vivere. Orchestra. -High Fidelity Theme, more. Sharp Miner; more. Archiv 115356 tion. Philips 115415 London 115168 London 115310 Philips 115437 DG 115106 RCA 151758 RCA 162507

TOMINOVSK V MOZART 7.4i4.101.4 V 1,1; The Canadian SUNDAY S{MPHONY No.40 S BRA HMS MOZART in the PARK SYMPHONYNO.41 GEORGIRSOLTI 'ISMESTE VINE Brass COUNTER -I Conducts Orchestral High, Bright, with GEORGE OK., MM., Highlights From Requiem Light And Clear 474 WAGNER'SNG Original RI I ...den Mate Cant The Vienna SCHREIER Alm Philharmonic

Tchaikovsky, Sym- High, Bright, Light 8 Sunday In The Park Mozart, Symphonies Wagner, Orchestral Bach, Organ Works Brahms, Hungarian Mozart, Requiem hony No. 6 (Patie- Clear The Canadian With George (Sand - Nos. 40 in G Minor & Highlights From The Daniel Chorzempa Dances Vienna M. Price, Schmidt, igue) Chicago Brass plays Baroque helm) The Grammy 41 in C (Jupiter) Ring Vienna plays Toccata 8 Philharmonic Or- Araiza, Adam. Leipzig Symphony Orch.r music: Air On The G winning original James Levine leads Philharmonic Orch./ Fugue in D Minor; chestra led by Claudio Radio Choir; Dresden Levine. "A sound that String, Masterpiece cast album starring the Chicago Sym- Solti. Ride Of The Prelude & Fugue in Abbado. "Richly played State Orchestra dazzles and sings." Theatre Theme, many Mandy Patinkin and phony Orchestra in Valkyries, Magic Fire E -Flat; Prelude, Largo and vividly recorded." conducted by -Milwaukee Journal others. Bernadette Peters. strong performances. Music, more .4 Fugue in C. -Fanfare Peter Schreier RCA 153939 RCA 144529 RCA 154014 RCA 104810 London 115426 Philips 115193 DG 115408 Philips 115039

This remarkable $1 offer is being made to introduce you to an NO OBLIGATION TO BUY EVER outstanding classical music membership-with never any obligation to buy. rMMMMMMMMMMail To: The International Preview Society You'll find hundreds of outstanding albums in each issue of the Socie- P.O. Box 91406 / Indianapolis, IN 46291 ty's magazine, which will be sent to you every 4 weeks. You will also receive 6 special sale issues, giving you 19 opportunities a year to LiYES!Please accept my membership in The International shop for fine music at home. But there is no obligation to accept any Preview Society and send me, for 10 days' free examination, offering at any time. the 3 albums I have indicated below. I may return them after You choose only the music you want! 10 days and owe nothing, or keep them and pay only $1 plus If you'd like to accept the Main Selection, you need not do a thing. It shipping & handling. will be sent automatically. If you'd prefer an alternate selection or none Please send all selections on: El Records 1 Cassettes at all, just mail back the Notification Card by the specified date. You'll always have at least 10 days to decide. Write selection numbers here: Substantial savings with our half-price bonus plan. For every regular purchase you do make, you may choose a bonus Mr. album for orly half of the members' club price! A shipping/handling D Mrs. charge is added to each shipment. t: Miss F,rst Name Initial Last Name (PLEASE PRINT) 3 Records or cassettes for just $1! Begin your membership now by choosing any 3 digital albums shown Address Apt. here for just $1 plus shipping and handling. Send no money now. We want you to judge for yourself before you decide to buy. If not delighted, return your 3 albums at the end of 10 days without obligation. City State Zip

Telephone( ATTENTION COMPACT DISC BUYERS! Area Code -LB-ssi _I 0 Now there's a Club just for you! The Compact Disc Club features the latest CD albums from classical to popular/rock- El YES, please enroll me, instead, as a member in the Com- with never an obligation to buy. And a Half -Price Bonus pact Disc Club and send my introductory selection for only $1 Plan gives you even greater savings on Compact Discs. plus shipping & handling. Full membership details will follow Take a Compact Disc of your choice now for only $11 with same 10 -day no -obligation return privilege. I reserve the Simply fill out the coupon. We'll send your Compact Disc and bill you later right to return my CD if not satisfied, and owe nothing, with no for only $1 plus shipping/handling. All other club details are similar to those further obligation. above, plus the same 10 -day return privilege if not fully satisfied. Write Selection Number Here: ! D VLS53 0 Limited to new members, continental USA only; one membership per family. We reserve the right L IPS 511 to request additional information or reject any application. Local taxes, if any, will be added. A centaur's horn cries hauntingly. A siren's song whispers texture and power of every musical composition. Carbon untold promises. For listeners with discerning ears, those Fiber Woofers for soft passages that come across as dramat- rare and magical sounds can be a reality. A reality evoked by ically as loud passages. A Polyimide Mid Range and Tweeter for a speaker possessing a higher fidelity. Altec Lansing! rich, uncolored sound. And to coordinate these components How did Altec Lansing bring this world to life? By creat- for remarkably true-to-life sound, we delivered the "art of ing the ideal materials to more perfectly recreate the timbre, balance:' Even our hand-crafted cabinets have been specially designed for optimum musicality. The result? Speakers so pure, dealer, call 1-800-ALTEC 88. (In PA, 717- so uncompromising, they capture the very soul of sound. 296-HIF1). In Canada call 416-496-0587 If you have an uncompromising ear, measure it against our or write 265 Hood Road, Markham, new line of loudspeakers. And hear what others only imagine. Ontario, Canada L3R 4N3. Altec Lansing is sold only by leading high fidelity retailers. © 1986 Altec Lansing Consumer For informatior and the name of your nearest Altec Lansing Products, Milford, PA 18337 CURRENTS

NOTE FROM JAPAN SANSUI RECEIVERS FOR SOME TIME NOW, JVC HAS BEEN SANSUI'S TWO MIDPRICE RECEIVERS, THE S -X700 ($310) AND S -X500 ($250), ARE SAID TO marketing a videodisc system in Japan called provide the dynamic power needed for proper playback of Compact Discs. The VHD, or Video High Density. Although in- S -X700 is rated at a nominal 40 watts (16 dBW) per channel (0.04 percent total compatible with Pioneer's Laserdisc format harmonic distortion from 20 Hz to 20 kHz) but can provide as much as 70 watts (VHD does not use a laser: Its stylus rides (18.5 dBW) dynamic power into 8 ohms. The S -X500 is similarly rated at 25 along the disc's surface and transduces watts, or 14 dBW (with 0.05 percent THD), and 50 watts (17 dBW) per channel. changes in capacitance), VHD has been em- There are connections on both units for phono and CD player, with one of two braced by a number of other Japanese manu- tape inputs available for video sound hookup. The quartz-PLL (phase -locked facturers. loop) tuners each have 16 presets for programming any combination of FM or The latest application for the home AM stations. Both units are finished in black. Contact Sansui Electronics Corp., crowd is three-dimensional VHD video- 1250 Valley Brook Ave., Lyndhurst, N.J. 07071. discs. The programs are recorded with two cameras (one for the left eye, one for the right), putting alternate fields from each (the cameras having recorded changes every sixtieth of a second) onto the disc master. But the silly cardboard -and -cellophane glasses normally associated with 3-D have been replaced by a new high-tech version: These contain liquid -crystal shutters that open and close alternately in one sixtieth of a second to synchronize (via a wire attached to the videodisc player) with the two images SANSUI'S S -X700 (TOP) AND recorded by the cameras, thus creating the S-XS0111 RECEIVERS EACH illusion of depth. So far, though, this tech- NAVE A VARIABLE nique has been plagued by a constant visible LOUDNESS-COMPENSA flickering. CONTROL The last word on VHD was that neither it nor 3-D VHD will come to these shores. But CURRENTS if 3-D does, it will certainly mean new life for a recently redeparted friend: Mr. Godzilla, it's your agent on line two! ENON' S MOST AFFORDABLE ($300) AM/FM RECEIVER IN ITS NEW LINEUP, THE DRA-3EV, shares some advanced technology with the company's series of sepa- rate components. For instance, the unit, rated at 40 watts (16 dBW) per channel, AKAI SURROUND -SOUND uses Denon's Non -Switching Class A circuitry, said to combine the efficiency of PROCESSOR Class 3 amplifiers with the low distortion characteristics of Class A designs. The THE AS -P302 SURROUND -SOUND PROCESSOR .preamp section has continuously variable loudness compensation and a speci- from Akai offers both Dolby Surround (for fied RIAA equalization accuracy of better than ±0.5 dB. Input switching, includ- movie soundtracks) and matrix -type pro- ng the receiver's two sets of video -soundtrack inputs, is performed electronical- cessing (for extracting ambience infor- y to shorten paths on the circuit board and reduce chances of noise pickup. The mation from music recordings). It also con- equency-synthesis tuner section has 16 AM or FM presets and a choice of man - tains a 25 -watt (14-dBW) rear -channel al or scanned tuning. power amplifier and comes with a wireless Other Denon introductions include the DRA-55V (55 watts, or 17.4 dBW, per handset that controls power, volume, mut- hanne:), the remote -controlled DRA-75VR (65 watts, or 18.1 dBW, per chap- ing, front/back and left/right balance, sur- el), and the remote -controlled DRA-95VR (85 watts, 19.3 dBW, per channel), round -sound mode, and AM/FM-preset se- hich has a simulated -stereo circuit for video applications. The DRA-95VR also lection (when used with the Akai AT -A102 ncorpc.rates Denon's Pure Current power supply for improved performance tuner). In addition, the remote has three 'nto cifficult-to-drive low -impedance speakers. Prices for the 55V, 75VR, and memory buttons, each holding settings for 95VR, respectively, are $400, $500, and $600. For additional information on all mode, balance, effect level, and volume. f the receivers in the company's lineup, contact Denon America, Inc., 27 Law Connections and switching are provided for r., Fairfeld, NJ. 07006. a videodisc player, two VCRs, an auxiliary audio -video source (the jacks for which are on the front panel), and an audio tape deck. Front -panel controls include balance, mode, volume, muting, and tone. Price is $300. DENON'S Of A -35V AM/FM RECEIVER Write Akai America, Ltd., 800 W. Artesia INCLUDES TIE COMPANY'S NON- Blvd., Box 6010, Compton, Calif. 90224. SWITCHISIGCLASS A CIRCUITRY.

(CONTINUED ON PAGE 2 4 )

Our new UX tapes deliver higher highs, lower lows and wider dynamic range. If you're going to listen to music at all, you may as well get it all. No matter how high or low, how loud or soft. Captured so faithfully that trying one of these new tapes at least once is something you owe yourself And your music. Each of these four new UX tapes rep- resents the kind of advancement of music reproduction you've come to expect from Sony. UX-ES, for instance, offers the best frequency response of any Type II tape we've ever formulated. Yet UX-PRO actually goes one better with a ceramic tape guide that yields the most incredibly quiet tape housing Sony has ever produced. reallySony extendsUX tapes. Now him- when as musician oNy self, so will your tape. THE ONE AND ONLY

1986 Sony Corporation of America. Sony and The One and Only are trademarks of Sony. A Denonamp its only competition.

Denon PMA-900V Integrated Amplifier

.3«G e.d, NJ 07006 17 Den,son Street, Markham, Ont. 1B5 Canada DRA-95VR: Remote Control; Video Capability; 85 W/ch., DRA-75VR: Remote Control; Video Capability; 65 W/ch., both ch. driven, 8 Ohms, 2C Hz -20 kHz, 0.03% THD. both ch. driven, 8 Ohms, 20 Hz -20 kHz, 0.03% THD.

DRA-55V: Non -Switching Class A Circuitry; Video Capab DRA-35V Non -Switching Class A Circuitry; Video Capability; 55 W/ch., both ch. driver, E Ohms, 20Hz-20 kHz, 0.015% rs- D. 40 W/ch., both ch. driven, 8 Ohms. 20 Hz -20 kHz, 0.05% THD.

Admittedly, it's tough to compete with Deinon's integrated amplifiers. In Japan, they've been praised for "a wide balance aid richness in sound" and called "nothing short of phenomenal" But now Denon amps a--e getting a run for their money... from the new Denon receivers. Combining a separates -quality amplifier and tuner on the same chassis is not a rew idea. But who else actually does it? I.Dak inside the new DRA-95VR Receiver and yaill find precisely the sane circuits that

make Denon amps so highly acclaimed. You'll discover the same Pure Current F--wer Supply for an amazing 60 dB r-aduction in dynamic IM d stortion. You'll see the same discrete output transistors (not cheap IC "power packs") for superior sonic r?,solution. The same video inputs and out - parts. And the same MC cartridge head amp. Beyond even this, Der on's top two Receivers are supplied with an integrated remote control that also operates a Denon Cassette Deck and any of three Denon CD Players. So before you make your next high ) fidelity purchase, get yourself to a Denon doolec He'll show you the only receivers with h- guts to stand up to the world's finest in-egr kited amps.

DENONDESIGN IN':GRITY

DenonDRA-95VR AM/FM Receiver CURRENTS

TAKING ON BIG BROTHER MORE AND MORE MOVIES ON VIDEOTAPE ARE UNUSUAL SPEAKER DESIGN channel, and impedance is at a claimed getting the Macrovision copy -guard treat- TENNESSEE SOUND HAS TAKEN A DECIDEDLY minimum of 8.5 ohms at any frequency. ment, which prevents their unlawful duplica- different approach to controlling speak- The "bookshelf " Symphony I speak- tion. The issue of private copying of copy- er distortion caused by deformation in ers are formed of solid hardwood and righted video materials is unsettled at best the center region of the woofer cone. can be obtained in a choice of lacquered (it has already been through the courts and The company's first product, the Sym-finishes for $550 per pair. Floor stands may be taken up by Congress) and is compli- phony I loudspeaker system, uses a and wall -mounting brackets are optional. cated by complaints that the Macrovision damper pad placed in front of the woofer For more details on this speaker system, technique makes the tapes unplayable on that is said to absorb this distortion contact Tennessee Sound Co., P.O. Box certain television sets. before it can be heard. The cleaner 1252, Bristol, Tenn. 37621. A device from DT Electronics Interna- sound that emanates from the outer edge tional is said to remove all interference that of the woofer is not obstructed by the might arise from such copy -guarding. The damper pad. "Copyguard Killer" includes a set of video Each speaker contains a 6'/2 -inch inputs and outputs, an RF output for con- woofer and a tweeter (type and size are nection to a standard TV, a vertical stabilizer not specified), both rear -loaded, with the circuit, and two picture controls: an image tweeter occupying a separate pod on top enhancer for sharpening the overall picture of the main cabinet. A pair of curved re- and a noise eliminator to reduce "snow" flector panels is mounted at either side of caused by the sharpening. The manufactur- each driver in a winglike fashion to re - er specifically warns that this device is not in- radiate the sound into the listening area. tended to facilitate duplication of copyright- The speakers are designed to be placed ed materials but only "to improve home near a wall in the room. According to the viewing." This disclaimer has not dampened company, sound in the critical high -fre- the ire of concerned software makers. Price quency range is dispersed over a wide an- is set at $230. Additional information can be gle to increase the effective listening obtained by writing DT Electronics Interna- ii area. Power requirements are given as 35 tional Corp., 100 E. 12th St., New York, N.Y. to 250 watts (15.4 to 23.9 dBW) per 10003.

Giveus afoot... and we'll giveyou a concert!

We've packed more musical perfection into one square foot than you may believe possible. The three-way Design Acoustics PS8a speaker system handles up to 200 watts of power, yet is sensitive to the most delicate sounds you can hear. Part of the secret is our Point Source design, with the smallest possible baffle to eliminate destructive sound diffraction by 40%. Plus a down -firing woofer that delivers enhanced bass response. And our Optimized Decade Crossovers" which insure clean, clear sound in the critical mid -range while improving stereo iming. Be prepared for a delightful surprise when you hear the Design Acoustics PS'8a for the first time. And another surprise when you hear the low cost. Write today for your nearest Design Acoustics dealer. Great stereo is just two square feet away. PS8a Three-way Point Source Speaker System DESIGN'" ACOUSTICS ti An Audio-Technica Company 1225 Commerce Drive, Stow, Ohio 44224 Panasonic puts more power in the dash than most cars have under the hood. The 90 -Watt AM/FM Cassette Car Stereo. It goes 'Torn 0 to 90 watts in less than 1.0 second. help eliminate interference. It g ves you a choice of Dolby' B & C plus dbx: So you A built-in jack- allows you to play your portable not orly reduce tape noise, but eliminate it. CD Player through your Car Audio System. And, of course, And i13 Full Logic Control with easy glide in and out auto reverse is standard on most every Panasonic loading v., II help keep your tapes from being jammed or car stereo. destroied. It's -he new Panasonic CQ-E650 AM/FM There's even a multi -function display that on Cassette Car Stereo with 90 watts of power. some models actually changes from a soft orange to Anc ji.st one of a new line of Panasonic car stereos green when you go from radio to cassette. that come lc aded with state-of-the-art sophistication. So the next time you take to the road, take along a Example: electronic 7LIning that automatically Panasonic car stereo. You'll experience a power that searches lor and locks in the strongest signals. will move you like A Hipertunar that uses three separate systems to never before. Panasonic® just slightly ahead of our time. *Availabe models CQ-E452 and CQ-E352 only. tDolby is a :raderrark of Dolby Laboratories. dbx isa -ecistered trademark of dbx, Inc THE ARMY CALLS IT CARTOGRAPHY. HE CALLS IT THE START OF A CAREER. For SP4 Mario Canedo, Army skill training in cartography is helping set his career path for life. At first, Mario didn't know what kind of career to take up. His father always asked him what he was going to do with his life, but Mario never really had any plans for his future. Then Army training helped him to focus on his abilities and interests. Now he's an Army cartographer. He creates maps for the infantry and artillery which show the contours and characteristics of the terrain such as the hills, valleys, lakes and rivers. Mario has now built up enough confidence and experience to make cartography a career if he chooses. Even his father is surprised at how much Mario has grown. Army experience is helping Mario feel better about his future. And it can help you or someone you know to do the same. The Army provides the opportunity to explore any of dozens of technical fields. To find out more, visit your local Army ARMY. Recruiter, or call toll -free 1 -800 -USA -ARMY. BE ALL YOU CAN BE. The concert continues to get better with Ford JBL Audio Systems. Announcing another Ford first: new Compact Disc player to digitallydeliver The long awaited Compact Disc frequency response spanning the entire audio for the Lincoln Town Car. spectrum without distractions of noise or hiss. The Compact Disc not only lets you experience the Start with the very best high fidelity music systems we total capacity of a Ford JBL Audio System, it offer: Ford JBL Audio Systems. establishes all new standards for clarity, realism and dynamic range in automotive sound. 12 JBL speakers including 2-6" x 9" woofers, 2-31/2" midrange speakers and 2-7/8" tweeters located ir the Performance features of the Compact Discplayer rear deck: 2-51/4" woofers mounted in the doors; include frequency response at 5 to 20,000 Hz with and 2 tweeters and 2 midrange speakers in the less than .05% THD, dynamic range greater than instrument panel. Selective frequency fading so all 90 dB, signal-to-noise ratio greater than 90 dB and woofers remain in operation at controlled levels channel separation greater than 85 dB. when faded front/rear. Convenience features of the CompactDisc player 140 watts of total system power -4 amplifiers, 35 include direct loading, automatic reload, automatic watts per channel into 4 ohms at 1000 Hz with and manual music search, dual repeat modes, .07% THD. 105 dB SPL maximum acoustic output. instant return/replay with digital LED display and Excursion control computer with continuously fully illuminated control symbols. variable loudness compensation and automatic Hear for yourself just how much better an audio overload protection. system can really be, exclusively at your Lincoln- Then add the pure, unparalleled performance a' the Mercury dealer today.

AUDIO SYSTEMS C R OS S T A L K

BIG BASS fic, and so forth. You could try to attenuate the cable is 30 to 40 picofarads (pF) per foot, which is MY SPEAKERS ARE PLACED ABOUT SIX FEET rumble with an equalizer or tone controls, or you quite reasonable. (Special audiophile cables are apart against a common wall. I have noticed might find that a slight repositioning of the bass not necessarily better in this regard, by the way.) that when I stand close to (and between) the unit will solve, or at least reduce, the problem. So you're talking about approximately 1,400 pi- speakers, the low bass is good. When I back However, the level of the noise suggests that cofarads total. Unless there's something unusual away into the center of the room, the bass re- you may have your subwoofer turned up too high. about the input and output impedances of your sponse increases (becomes very good). There's a quick and dirty test for this that you can equipment, that should be fine as regards frequen- When I back further away and stand against use if the crossover between satellites and sub - cy response. the opposite wall, the bass is incredible (I woofer is down around 100 Hz or below. While Noise pickup is harder to figure. Your chances can feel it). Why is this so, and how can I get playing a disc containing low -bass passages, of getting radio -frequency interference (RFI) are the bass response in the center of the room switch the subwoofer in and out of the system. If greater with long cable runs than with short ones, to be as spectacular as what I hear when I you hear a dramatic change in tonal balance, you but it's difficult to be any less vague than that on stand against the opposite wall? probably should adjust the subwoofer level to min- the subject without much more detailed knowledge Gary C. Powell imize it. The proper function of a subwoofer is to of your setup. If you do develop RFI problems, you East Orange,N.J. extend response down to the lowest frequencies- may be able to eliminate them simply by reorient- not to bump up the entire bass range. ing the cable slightly or putting some loops in it. What you're hearing is the room's influence on the

sound. Localized peaks and dips occur at all fre- CARTRIDGE QUERY SPEAKERS ON THEIR SIDES quencies, but they are apparent only at the bottom WHAT SPECIFICATIONS SHOULD I LOOK FOR TO TIMOTHY HOLL'S ARTICLE ON IMPROVING of the range, where wavelengths are large (many know whether an induced -magnet or mov- room acoustics ( June) overlooks a consider- feet) relative to the size of a typical room. (At high ing -coil phono cartridge will need a trans- ation I believe to be important for "book- frequencies, the variations are so closely spaced former or other type of step-up device to shelf " loudspeakers, which often are placed that the sound field is perceived as being continu- achieve adequate output? Also, is there any horizontally rather than vertically. (All of ous.) One of the most obvious effects is that prox- evidence that the small brushes used on your pictures of speakers show them with imity to room boundaries-floor, walls, ceiling- some phono cartridges can damage records their drivers arrayed vertically.) What effect emphasizes bass. This is why speakers usually or increase surface noise? does horizontal mounting have on sound sound "warmer" when placed on the floor or Fronds 0. Money dispersion, stereo imaging, and so forth? against a wall than they do on a stand in the mid- Yauco, P.R. Carl F. Mansfield dle of the room. The same thing happens when you San Luis Obispo, Calif. move close to a wall; if you were to stand in a cor- As far as we know, the effectsof such brushes are ner, you probably would be even more impressed. entirely beneficial, and we can't think of any rea- In most cases, there is interference between driver Low -frequency boost from your equalizer son why they wouldn't be. Induced -magnet car- outputs in the crossover region, causing some ir- would enhance the bass in the middle of the room, tridges have outputs comparable to those of regularity in the speaker's radiation pattern. This but you still might not be able to get the sound moving -magnet pickups and normally do not re- disturbance normally is most pronounced along the you're looking for. And you run the risk of over- quire any additional step-up device ahead of the common axis of the two drivers. Consequently, it loading your amplifier in the effort. A better ap- phono preamp. "High -output" moving -coil car- usually is best for the drivers to be oriented verti- proach would be to combine equalization with tridges also can do without extra gain. Only low - cally, since this will result in the least disturbance some adjustment of your listening position toward output moving -coil pickups-which we would of the stereo image as your head moves from side the front or back wall or of the speakers toward the define as those producing less than 0.5 millivolt to side. However, you may hear the tonal balance floor or side walls. You might also consider wheth- per centimeter per second (mV/cm/sec)-require change as your head moves vertically, as in stand- er you really want such bass -heavy reproduction. a transformer or pre-preamp. ing or sitting. What sounds spectacular on first listen can some-

times wear thin over time. LONG LINES DIGITAL FILTERS WHAT IS THE MAXIMUM USABLE LENGTH OF I AM THINKING OF GETTING A PIONEER PD -M6 CD RUMBLE cables carrying line -level audio signals be- Compact Disc changer, which can hold as I HAVE A PROBLEM WITH SEVERAL RECENT tween components? For example, if my TV many as six CDs at a time. But it doesn't have Compact Discs that is driving me up the wall. receiver and VCR are 25 to 30 feet away digital filters. The company's PD -9010X During playback, through my M&K sub- from my audio system, can I run a standard does use digital filtering, but it can accom- woofer and satellites, I can hear a low- audio cable from one to the other without modate discs only one at a time. How impor- pitched rumbling sound that is quite appreciable loss of frequency response ortant is it to have digital filtering in a CD noticeable even when the music is at moder- increased noise? The cable itself would have player? ate levels. Is this simply background noise to be about 40 feet long (down through the Jerome H. Askanas picked up in the recording process and ac- floor and back up again at the other end). I'hilaticlphia. 1'a. centuated by the subwoofer, and if so, what Robert J. Richard canIdo about it? Fairfax, Calif. It's not important at all. The key question is per- Richard B. McLaughlin formance, not how it is achieved. Good analog fil- Salinas, Calif. The effect on frequency response will depend on ters can work every bit as well as the digital variety the input impedance of the device accepting the and will not sound any different. In general, digital You are probably hearing "room rumble": very - signal, the output impedance of the component filtering has been an oversold feature. Its two prin- low -frequency noise picked up by the microphones sending it, and the capacitance of the cable. Input cipal advantages-phase linearity and potentially at the recording session. (CDs can have much flat- impedances should be high (preferably 20,000 flatter response-are not audible in practice com- ter deep -bass response than LPs, which of ten are ohms or greater), output impedances low (prefera- pared with good analog filters. rolled off at the very bottom to minimize cutting bly no more than 1,000 ohms or so). Cable capaci- problems.) It can be created by all sorts of things, tance also should be low, but that may be difficult Sr regret that the volume of reader mail a too great for vg to an,u, including air-conditioning equipment, outside traf- to determine. Most ordinary audio interconnect all questions individually.

30 HI',H 1 ID ThenewBoston T1000. A higher level of sonic architecture. Announcing the Boston Acoustics T1000 tower speaker This unique architecture also frees the dual woofers to system. It elevates stereo music reproduction to a new, concentrate on bass reproduction alone. In fact, the rarified level of realism. Yet its slender tower architec- Boston T1000 tower system lets you enjoy the entire ture requires very little Hoar space. tonal range of music, including the very lowest octave. We engineered the T1000 in a distinctive new way. Our With a wide dynamic range that does full justice to new midrange driver is large, letting it reproduce far digital sources. And with stereo imaging that's pin- more of the important mid -frequency information thar point precise. a smaller driver can. In addition, we placed it - and ow For a descriptive T1000 brochure, just send us your name CFT-5 dome tweeter - in the highest porticn of the and address. Boston Acoustics, Inc.,Department HT, tower. As a result, all We directionally important mid 247 Lynnfield Street, Peabody, MA 01960. (617) 532-2111 and high frequencies emanate together at ear level. Just as with live music. tuff their stockings with the perfect gift &save

-SCREEN TVs GUIDE TO LARGE SPEOALI BASIC iiI6HFIDELITY

.1" m MOM 'WARM BETTER? This year, give gift subscriptions toHigh Fidelity. You'll not only make their holidays happy, you'll spread cheer all year. Because they'll remember your thoughtfulness every time they receive another fresh and exciting issue. Think of all the special people on your gift list (and, don't forget yourself!) who would like to get more from their sound system.High Fidelitywill bring them the latest information on compact discs and CD players, speaker systems, audio - video receivers, digital audio components, cas- sette decks. Classical, popular, and jazz CD, LP and tape reviews. And more. It's so easy to give a gift ofHigh Fidelity.A 1 -year gift subscription (12 issues) is only $7.98. You 4 save a full 7 3 % off the $30 cover price, and you won't be billed until after January 1st. At this happy Holiday rate, you can afford to make a lot of people happy - and wrap up your holiday shop- ping fast! An attractive gift card comes with each gift subscription. Happy holidays to you. To Order Call ibll-Free 1 -800 -247 -GIFT In Iowa 1-800-532-1272

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DIGITAL HEGEMONY

ANNE BY ONE, AND FOR NO PARTICULARLY GOOD maximum -length CD) takes about 17 seconds. Even Vreason, leading executives of the world's largest if an additional ten seconds needed to be added for record companies seem to be arraying themselves packing the tape into an RDAT housing-and it against the introduction of the rotary -head digital au- would probably take less time in practice-this still dio tape (RDAT) system-indeed, against any form would be faster than Polygram's CD pressing cycle, of home digital -audio recording. As reported in the which, when I measured it several years ago, lasted July 26 issue ofBillboard,for example, Jan Timmer, about 30 seconds (other CD plants have similar president of corporate management at Polygram In- timings). A bank of RDAT dubbers could easily out - ternational, "condemned the Japanese hardware in- produce an equal number of CD presses with equiva- B Y dustry's 'arrogance and irresponsibility,' accusing it lent and probably superior yields. of 'cultural vandalism.' " You'd think he was afraid of Once an RDAT copy is loaded into its shell, it is D A V ID the Yellow Peril, but he is just concerned with the finished! There are no subsequent aluminum -depo- possibility that RDAT will be successful. sition, lacquer -coating, or disc -by -disc defect -inspec- R A N A D A Timmer and others claim that RDAT, with its tion procedures, as in the CD system. Gone are ex- high -quality dubbing capability, will be detrimental tensive clean -room facilities, expensive laser -based to musicians. I believe that ultimately the opposite disc cutters, and tricky chemical -development and will be true. RDAT will, for the first time, allow any plating steps in the mastering process. Costs for en- artist to enter the digital -audio era without having to ergy, raw materials, industrial plant, packaging, ship- use an unreasonably expensive professional digital ping, and labor will be lower. High-speed RDAT du- recording system. Creativity and musical variety will plication may eventually approach the blessed be spurred. not inhibited, by the availability of anoth- condition of automated analog cassette duplication, er music recording and distribution medium. Be- in which, to paraphrase a representative of the CBS sides, the suffering -artist argument will-or Technology Center, plastic is poured in at one end should-become moot if the recording industry ob- and finished tapes emerge from the other. tains its long-awaited recording tax. Perhaps the RDAT's consumer benefits will undoubtedly be large record companies feel threatened by the covered in numbing thoroughness once the system is greater independence RDAT may give small labels. unleashed, so I need not detail them all here. Suffice (If Congress does impose a tape surcharge, I'd like to it to say that on most counts other than long-term du- see it giveallcollected moneys to the National En- rability and speed of access, RDAT will be fully the dowment for the Arts. Even I would be willing to pay CD's equivalent-and in a few areas, its superior. For in thatcase.) example, a prerecorded RDAT theoretically has the For all his rhetoric about shielding artists from same audio performance as a CD, since it uses the the depredations of RDAT, Timmer may be trying to same sampling rate and quantization resolution. An protect something else.Prerecorded RDAT cassettes may RDAT cassette's capacity for nonaudio subcode data be much easier to produce than Compact Discs,and Poly- and its subcode data rate are greater than those of a gram has made the largest and most costly invest- CD, so any advanced CD feature not requiring nearly ment in CD pressing facilities in the world. If RDAT instantaneous access (such as a display of lyrics) will catches on in a big way, that investment will be threat- also be feasible with RDAT. A prerecorded RDAT ened long before it is amortized. will be able to play for a maximum of 120 minutes, 45 Software manufacturing has always been the more than a CD offers. An RDAT deck will be far Achilles' heel of the CD system. From the start, CD more immune to external vibrations than a CD player pressing has involved massive applications of expen- is: Witness the stability of 8mm camcorder tapes, sive high technology, with not -always -favorable re- which are recorded on mechanisms similar to those sults. This is likely to continue in the foreseeable fu- used for RDAT. Digital audio may finally catch on in ture. Unofficial reports of low production yields (less the car. than 80 percent) and tales of misleadingly optimistic Polygram has reason to be upset. Abandoning the official yield figures still abound. It even took Poly- construction of CD pressing plants in favor of lower - gram about two years after the introduction of the cost RDAT duplication could perpetuate the indus- system to confidently produce CDs with playing try -stifling CD shortage and preserve today's equally times of more than about an hour (the Japanese were detrimental CD prices. On the other hand, RDAT's doing this almost from the outset). With RDAT, such initially higher cost and unfamiliar technology will do problems may not arise. more to slow the growth of the system than all the If a high-speed RDAT duplication process were rantings of music -industry executives. For their part, perfected-and that's a very crucialif-aprerecord- the Japanese and many small record companies sen- ed RDAT would cost much less to manufacture (and, sibly see RDAT as simply another medium for music. one hopes, to purchase) than a CD. For example, the When all is said and done, the music industry's Sony contact -printing RDAT-dubbing system de- avowed purpose is to sell "product." It should hardly scribed in September's "Currents" makes copies at matter whether the goods come out on LPs, 45s, cas- about 270 times the normal RDAT playing speed: settes, CDs, videodiscs, or RDATs, as long as some-

Dubbing a 75 -minute RDAT cassette (equivalent to a body is willing to pay for them.

NOVEMEER 1986 33 UNPRECEDENTED INTRODUCTORY OFFER. BUY A NEW SHURE SV40 CD PLAYER. GET A SHURE V15 TYPE IV -MR CARTRIDGE WORTH $180 -FREE.

Nobody else could feature -packed player even offers the requiring air vents and cooling fins, make this offer convenience of a 17 -function remote the SV40 utilizes highly efficient, because nobody with volume control that lets you pro- cool -running components designed to but Shure gram up to 15 tracks in any order you extend the operating life of its solid brings you a choose. All at a surprisingly afford- state laser, digital processing circuit- premier -quality able price. ry, and mechanical systems. That's CD player and the legendary Shure why you can expect more than 7,000 V15 Type IV -MR Cartridge. It's the best OUTSTANDING hours of listening pleasure, free from of two audio worlds. SOUND. worry about the high cost of laser The V15 Type IV -MR provides not Crisp, clear sonic quality comes replacement. only superb sound reproduction, but through via full 16 -bit digital pro- also excellent protection against wear cessing. The SV40 also offers sophisti- 5 -YEAR LASER and damage to your invaluable record cated Dual Break Point" filter sets WARRANTY.* collection. It will enable you to con- that remove extraneous high frequen- It's the first and only one in the in- tinue enjoying albums that could be cy energy without affecting the music. dustry. And another great reason to impossible to replace at any price. Our LONGLIFE' 3 -beam laser track- add the SV40's superior transparency INTRODUCING THE ing system automatically compensates and realism to your home entertain- for disc imperfections, to make cer- NEW CD PLAYER WITH ment system now. Purchase before tain nothing interrupts the flow of in- January 31, 1987 and get the Shure THE FAMILIAR OLD NAME. credible sound. V15 Type IV -MR Cartridge FREE. Two qualities made the Shure For the name of your nearest dealer, name famous and our new SV40 CD LONG -LIFE call 1-800-257-4873. (In Illinois Player has both. Flawless sound quali- DEPENDABILITY. 1-800-624-8522) ty. And long-term dependability. This Unlike some competitive units Offer ends January 31, 1987.

Shure Brothers Inc., 222 Hartrey Avenue, Evanston, IL 60202-3696 "See your dealer for details. SHURE® MAKING THINGS THE WAY THEY SHOULD SOUND FOR OVER 60 YEARS:"" TEST EPORTS

Report preparation

' supervised by Michael Riggs, David Ranada, Christopher J. Esse, Robert Long, and Edward J. Foster. Laboratory data (unless otherwise indicated) is supplied by Diversified Science Laboratories.

Polk's Stereo Dimensional Array loudspeakers have been stirring audiophile interest for a few years now. This month we review the latest model in the line's Signature Reference Series, the SDA SRS/ 2. Report follows. i

Acoustic Research Connoisseur 40 Loudspeaker KEF 107 Loudspeaker

RAW Mcdriz 2 Loudspeaker Dali 7 Loudspeaker 1986 T3K Electronics Corp.

TDK BRINGS OUT TIE RECORDING ARTIST IN YOU. Backspr al you volleys isgreat. Backspin on your musrc Thatsw-ry TDK developed a series of hgroias audio .-3assettes that give you a power -re of pure kfesirne pelormance TDK SA (1,. iv -3-s an unn- atted high end with extra sensitivitv for al of "our most sophistica-ed rnusioal favo-ities For muEic tlat's all over he court, we've clavelopee inoroved Mfg SA -X, .evh ch is row the wor S lowest-noisel3pe. It reaches h gh and o de[ver crime, clear sound without diEtcr ion. And for eror--'ree follow-lrough in recording from compar cisc 3, we o' et TDK I -X -S. It c3ptures aq -e dynamic pjrt,' of the original sound ike no other. TDK hic.:h-tia3 audio cassettes. They sure inprove tl-eray you play-your mLsic

TD( also manufactures a quality line of ideo cassettes and floppy disk products :',AtTDK.THEART OF PERFORMANCE. O R MEMMINOMMEMMENIMM=MUM EMMEMMEMMEMEMMEM X1111 MMEMINIMMINIMMI 11611111111111111 MMEMEMINIMMEML MI MIIMMEMEMMUM 111111111=1111111=MIlb I MEMMUMMINIMMEMM MEMMOIMMEMMEMIL ScilighlilIMMINIIIIIIIMIIIM MEMINIMINOMMEMMIL.Iii IIMMINIMMEMEMEM EMMIIMMINIMMEMMOREMpAMMININIMMINIMMMINIMMIM MP MOM

DIMENSIONS: 2W/, BY 501/2 INCHES (FRONT), 121/2 INCHES DEEP PLUS as well) is a restriction of the dimensional CLEARANCE FOR CONNECTIONS. PRICE: $1,990 PER PAIR. WARRANTY: signal to frequencies below 1 kHz. Polk says "LIMITED," FIVE YEARS PARTS AND LABOR. MANUFACTURER: POLK that it chose this limit because the band be- AUDIO, INC., 5601 METRO DR., BALTIMORE, MD. 21215. tween 200 Hz and 1 kHz contains 95 percent of the information we use for localization. At ALITTLE MORE THAN A YEAR AGO, POLK higher frequencies, the wavelengths are too introduced a refinement of its SDAshort relative to the distance between the (Stereo Dimensional Array) technol- ears to provide useful cues; reverting to or- ogy in the form of the SRS (Signature Refer- dinary stereo there helps forestall any ten- ence Series) loudspeaker (see "Currents," dency to "phasiness" or diffuseness in the August 1985). Although a definite step for- image and makes the listening position less ward, the SRS was, and is, a very big loud- critical. speaker, making a visual statement as large What sets the SRS speakers entirely as its sonic one. The company has now ac- apart from the rest of the SDA line is their commodated those audiophiles desiring the use of driver arrays to control vertical dis- advantages of the original SRS in a less cost- persion. To minimize tonal coloration and ly and, perhaps more significantly, less im- image distortion, it is desirable that early re- posing package. flections be minimized, yielding a very pure This is not to say that the SRS/2 is small, first -arrival signal from the speakers. But however. It, too, is a floor -standing model this is difficult to achieve with conventional and carries a complement of two 1 -inch speakers, which typically are mounted with dome tweeters, four 61/2 -inch low -frequency their drivers relatively close to the floor drivers, and a 15 -inch passive radiator. The (within a few feet). Polk's solution is to stack basic principles underlying the speaker's de- matching drivers to create three vertical line sign are the same ones behind the original sources: a main low -frequency array, a di- SDAs. We discussed those extensively in our mensional low -frequency array, and a tweet- reviews of the SDA-1 ( January 1983) and er array. Acoustically, they behave like single the SDA-2 ( June 1984), so we won't belabor drivers that are tall and thin, giving wide dis- them here. persion horizontally while narrowing it Briefly, all the SDA speakers are de- somewhat vertically. This reduces the signed to overcome a phenomenon known amount of radiation toward the floor and as interaural crosstalk. Ideally, each ear ceiling without adversely affecting the hori- ROOM RESPONSE CHARACTERISTICS would hear only the output from the speaker zontal listening window. (To prevent exces- DB nearest to it: left speaker to left ear, right sive beaminess in the high treble, the signal +5 0 speaker to right ear. In conventional stereo is gradually shifted from two tweeters to one Ns -5 reproduction, however, there is consider- as the frequency increases.) -10 able "leakage." For example, the right ear As we've noted in our previous reports HZ 20 50 100 200 500 1K 2K 5K 10K 20K hears the signal from the right speaker, fol- on SDA speakers, they are not easy to test. lowed a fraction of a millisecond later by the Since they are designed to work together in boundary -dependent region on -axis response signal from the left. That tiny delay enables pairs and will not function properly if dis- off -axis (30') response

the proper signal to dominate, but there is connected from each other, it is impossible SENSITIVITY (at 1 meter; 2.8 -volt pink noise) 91.5 dB SPL

still some constriction of the stereo image. to measure one strictly apart from the other. AVERAGE IMPEDANCE (250 Hz to 6 kHz) 7.4 ohms The problem can be overcome by using Our response curves, for example, were an extra set of signals to cancel the crosstalk made with the two speakers placed side by at the listener's ears. In the SDAs, these can- side against the wall behind them and driven cellation signals are delivered by an extra set by a mono signal. Other configurations and age impedance shown in our data column), of drivers placed toward the outside edge of test signals give different results. In other the SRS/2's impedance peaks somewhere the front baffle, approximately the width of a words, though the published response below 20 Hz, dips to 3.6 ohms at 25 Hz, rises human head from the main drivers on thecurves correlate pretty well with what we to a second resonant peak of 9 ohms at 50 opposite side of the panel. The two speakers hear from these speakers, they are nowhere Hz, then drops to a low of 3.3 ohms before are linked together by a cable so that their near the whole story. sloping gradually up to a maximum of 11.3 crossover networks can derive the necessary Another distinguishing feature of SDA ohms at 20 kHz. The impedance curve with a "dimensional" signals, as Polk calls them. speakers is their impedance, which varies single -channel signal is similar except for a At the heart of the SRS models are two not only with frequency but also according broad trough in the range covered by the di- improvements to this basic scheme. The first to the characteristics of the drive signal. mensional arrays, reaching a minimum of 2 (now incorporated in the rest of the SDA line With a mono signal (used to obtain the aver - ohms at 350 Hz, with a wideband average of

NOVEMBER 1 9 8 6 37 just 4 to 5 ohms. This is caused by the di- monic) is notably low through the midrange speaker of this size, very good. mensional array of the opposite speakerand treble-well below 0.5 percent at mod- As with the other SDAs, the SRS/2's hole working essentially in parallel with the main erate drive levels and seldom breaching that card is its imaging, which is quite different array of the "driven" speaker. Most of the mark even at high levels. From 100 Hz down, from that of any other speaker we know. It time, the impedance will be somewhere be- total harmonic distortion is1 percent or gives a remarkable sense of bigness and so- tween these two extremes. more at 85 dB SPL (moderately loud) and is lidity, and with the right material, it is capa- Because the impedance is so low in a several percent higher at 95 and 100 dB SPL, ble of quite spectacular feats. Instruments range where much musical energy is concen- which are our highest test levels. Nonethe- may, for example, be localized well outside trated, this load probably will be trouble for less, these are very good results, and we did the area between the speakers, and the sense some amplifiers, and we certainly would not not detect any signs of distortion in our lis- of depth often is enhanced. On some recommend operating another pair of tening. souped -up pop material, the effects can be speakers in parallel with a set of SRS/2s. We used the speakers in essentially the almost surreal. Best results will be obtained with an amplifi- same position that DSL employed for its Polk's goal in developing the SRS series er designed to deliver high currents into tests (and that Polk recommends): against was to achieve these qualities while retaining low -impedance (2 ohms or less), reactive the wall behind them but away from any side as great a sense of overall naturalness as pos- loads. walls. The first thing that struck us about the sible. (The original SDA-1 could at times Diversified Science Laboratories mea- sound was its smoothness relative to that ofsound a little gimmicky, and each succeed- sured sensitivity and distortion from a single the earlier SDA speakers we had tested. We ing generation of SDA speakers has marked speaker (moving the other as far away as did not detect any sign of roughness or a significant improvement in this regard.) possible without disconnecting it) reproduc- harshness. Indeed, the reproduction tends The result is the best SDA speaker we've re- ing mono test signals. Both are impressive. to be on the warm side of neutral: a little fat viewed to date. Even if they're too rich (or Sensitivity is on the high side of average, and in the middle and upper bass. Low -frequen- big) for your blood, we recommend that you distortion (dominated by the second har- cy extension is, as you would expect from a take the time to give them a listen.

T EST R E P O R T S

DIMENSIONS: 101/2 BY 23'i, INCHES (FRONT), 12)!, INCHES DEEP; 36 standard plywood box with internal struts INCHES HIGH ON ACCESSORY STANDS. PRICE: 51,398 PER PAIR; ACCES- and bats of glass wool. B&W itself experi- SORY STANDS, 5229 PER PAIR. WARRANTY: "LIMITED," FIVE YEARS mented with acoustically dead plastic forms PARTS AND LABOR. MANUFACTURER: BOW LOUDSPEAKERS, LTD., in the tweeter -midrange "head" of the Mod- ENGLAND; U.S. DISTRIBUTOR: ANGLO AMERICAN AUDIO, P.O. BOX el 801 monitor (test report, October 1980). 653, BUFFALO, N.Y. 14240. The Matrix construction, invented by Laurence Dickie, B&W's chief electronics THATB&W IS A CLASS ACT AMONG SPEAKER engineer, is built out of thin, interlocking manufacturers should come as no panels (made of a composite wood material surprise to any regular reader. In not unlike Masonite) assembled into a hon- radical technology and extravagant atten- eycomblike structure. This in turn is slid into tion to detail, B&W has been demonstrating grooves cut into the inside of the cabinet, for some years that it need not make apology thus stiffening it with essentially continuous to anyone. Both technology and detail are cross bracing. The openings in the honey- the keynotes of its newest line, the Matrixcomb are then filled with bars of acoustic Series, built around a unique quasi -honey- foam to absorb acoustic energy. The result is comb enclosure -construction scheme de- claimed to be a total structure that will store signed to make a yet closer approach to a and reradiate less acoustic energy than any goal that B&W has shared with other top competing construction. And it is this stored manufacturers for decades: an ideal loud- energy that is believed to color the overall speaker cabinet, one so "dead" that acoustic sound of loudspeakers. energy is radiated from the drivers alone. There are three models in the series so The search for such a construction is far. The Matrix 1 is a small two-way system something of a British tradition. When the intended for bookshelf use or mounting on a fabled G. A. Briggs was designing systems floor stand; the Matrix 3 is a floor -standing for Wharfedale (still called Wharfedale model in which one woofer handles only Wireless Works during his tenure, following deep bass while a second handles the mid - World War II), he filled enclosure cavities bass (making it a sort of two -and -a -half -way with sand to that end. The results were enor- system). We chose the middle model- mously heavy, but panel vibration was signif- somewhat larger than the Matrix 1 but still a icantly damped by contrast with the then - conventional two-way system intended for 3$ HIGH FIDELITY One ofthe most advanced cassette decks in recorded history With its advanced technology and fea- tape formulations, but each individual tape, the tures, Yamaha's new K-1020 cassette deck makesK-1020 has an Optimum Record Bias Tuning most others seem like ancient history. system. Just press the TEST button and adjust To begin with, the K-1020 has a specially the bias control until the ORBiT timing indicator designed closed -loop dual -capstan transport shows you the bias is precisely set. Then to pre- system. There's one capstan on either side of thevent saturation, use the variable 0 -VU recording record and playback heads. This insures that thelevel indicators to set the level for each tape tape is always in optimum contact for exceptionalformulation/noise reduction combination. frequency response and low wow and flutter. Of course, a deck as advanced as the K-1020 And separate reel and capstan motors insure gives you a choice of Dolby* B and C as well as that the tape drive stays isolated from the reel dbx** noise reduction. Plus full-time Dolby HX operation for increased reliability and reduced Pro* to increase headroom by as much as 8db modulation distortion. at 20 kHz. Along with a full complement of con- Each of the three heads in the K-1020 is venience features including a four -digit real-time specifically designed to maximize its perform- counter with auto memory. ance. The pure Sendust record head has a 2 - And the K-1020 is just one in a complete micron gap for precise signal recording. The line of new Yamaha cassette decks. Because his- pure Sendust playback head has a 0.7 -micron tory has a way of repeating itself. gap for accurate reproduction as high as 23 kHz. K-1020 shown with Yamaha YHD-1 Orthodynamic Headphones *Dolby and Dolby HX Pm are trademarks of Dolby Laboratories And the double -gap erase head has an ion -plated **dbx is a trademark of dbx, Inc. 0.3 -micron glass coating to insure that it erases Yamaha Electronics Corporation, USA,P.O. Box 6660, Buena Park, CA 90622 even difficult metal tape formulations completely. To set the correct bias for not only different 0 YAMAHA

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DB tbm.2 ducks the question of exact recommended Measured total harmonic distortion is 5 placement, contenting itself with repeating not particularly low overall. At the minimum 0 the standard truisms about bass propagation test level of 85 dB SPL (sound pressure lev- - 10 and proximity to room boundaries. Diversi- el), it averages almost 1/2 percent from 100 sad fied Science Laboratories chose to place the Hz up. The figures increase with level, as HZ 20 50100 200 500 1K 2K 5K 10K 20K speakers 36 inches from the back wall; most usual, reaching an average of about 2 per- boundary -dependent region of our listening tests were conducted with on -axis response cent in this range for the highest test level off -axis (301 response them even farther out in the room. These (100 dB SPL). These figures certainly aren't

SENSITIVITY (at 1 meter; 2.8 -volt pink noise) 87.5 dB SPl placements tend to help stereo imaging by out of line, but they do prove the obvious:

AVERAGE IMPEDANCE (250 Hz to 6 kHz) 5.6 ohms avoiding early reflections but also minimize Distortion figures alone tell you little about bass support from those reflections. speaker coloration. Here, the figures are Measured this way, the on -axis frequen- higher than average, though the audible col- cy -response curve is extremely flat (±1.5 oration is much lower than average-as you use on a stand. dB, we'd say) from the top of the hiss rise to might expect from the Matrix construction. The Matrix 2 itself is available in four the top of the audio band, excepting only the The Matrix 2's impedance curve is really wood -veneer finishes: walnut, black ash, nat- moderate midrange dip (2.5 dB maximum, remarkable: It is one of the most uniform of ural oak, and rosewood. (A high -gloss lac- relative to average response in the -so-called any speaker we have ever tested. There are quer can be specially ordered, in a choice of music band) centered on approximately 300 several minima of just over 5 ohms, the low- colors.) The stretch grille is mounted on a Hz that presumably is a result of floor -reflec- est (at around 150 Hz) measuring 5.2 ohms. low -diffraction fiberboard panel with metal tion cancellation of the direct radiation. This The absolute maximum within the audio trim around the edge. Behind it, near the dip is a little narrower and a little deeper in band (at 20 kHz) measures only 1.8 ohms center of the front panel, is an approximate- the off -axis measurement, which also dis- higher! And the flat impedance curve im- ly 8 -inch bass/midrange driver with a homo- plays a slight (1- to 2 -dB) dip in the upper plies relatively constant phase relationships polymer polypropylene cone diaphragm. midrange (centered a little above 1 kHz). between current and voltage in the power it Immediately above it is a 1 -inch tweeter with The latter could be evidence of minor beam- draws from the amp. (The manual may be a polyamide dome diaphragm and a ferro- ing at the top of the woofer's range; DSL's unique among those for models we've tested fluid-filled voice -coil gap. The two speakers near -field measurements suggest a cross- in that it specifies relative phase angle: 5 de- as a pair are matched for frequency re- over frequency near 2.5 kHz. Nothing sug- grees maximum.) All of this means that the sponse, as are all Matrix speakers. There are gesting tweeter beaming appears until the Matrix 2 should be an exceptionally easy no controls. Connections are made to ba- very top of the audio band. At the bottom, load for any amplifier to drive, even if speak- nana jacks mounted in a shallow recess at the the curves roll off below 100 Hz, precisely as er pairs are hooked up in parallel, thanks to bottom of the back panel. B&W supplies B&W's specs and response curves predict. its unusual crossover design. That crossover gold-plated banana -plug adapters that easily It is tempting to view such a curve as a also includes self -resetting overload protec- and positively grip bared wire leads. near ideal match to that of a separate sub - tion, by the way. The stands we received, unassembled, woofer, crossed over at 100 Hz, and we have Imaging, too, is distinctly above average may not be identical to those that will be no doubt that some owners will want to use and may be taken as yet more evidence of the available by the time you read this. The ones the Matrix 2s that way-or to move them design's effectiveness, since stored acoustic we got have black marble bases mounted on closer to the back wall in search of some bass energy can disturb phase relationships as black -painted plywood. Four square black reinforcement. But the sound is so excel- well as sonic color. In fact, in every way in metal legs, filled with some sort of acoustic lently balanced that, even with the speakers which we can assess the Matrix construction damping, are screwed to each base and sup- well out in the listening room, we almost principle, it seems to have contributed sig- port a metal top plate on which the speaker never felt an impulse to add a more substan- nificantly and positively to the Matrix 2's de- sits. Accessory spike feet can be screwed into tial very -low -frequency underpinning in our cidedly neutral sound quality. We eagerly the plywood underlay to supply a better listening tests, even in the big -orchestra look forward to more speakers using the Ma- floor "grip," if you choose. pieces. Admittedly, however, more could be trix techniques and heartily commend the The unusually detailed (and utterly liter - made of such music if extra -clean deeper one we've already tested.

T ES T R E P 0 R T S

DIMENSIONS: SPEAKER, 46 BY 13 INCHES (FRONT), 17% INCHES DEEP DENUDED OF ITS GRILLE ASSEMBLY, THE "head" similar to the one first introduced in PLUS CLEARANCE FOR CONNECTIONS; KUBE EQUALIZER, 2'BY 6V2 KEF 107 resembles a hybrid of two the 105 (test reports, November 1985 and INCHES (FRONT), 81,, INCHES DEEP PLUS CLEARANCE FOR CONNEC- previous KEF flagship models. It has July 1979). That it sounds better than we re- TIONS. PRICE. 33,900 PER MATCHED PAIR WITH KUBE. MANUFACTUR- the columnar shape (and Coupled Cavity member those already extraordinary speak- ER: KEF ELECTRONICS LTD., ENGLAND; U.S. DISTRIBUTOR: KEF ELEC- bass -driver arrangement) of the 104/2 sit- ers is due at least in part to the use of an out- TRONICS OF AMERICA, INC., 14120-K SULLYFIELD CIR., CHANTILLY,VA. ting beneath a phase -aligned, antidiffrac- board active equalizer called the Kube. 22021. tion-shaped, swiveling tweeter/midrange (CONTINUED ON PAGE 43) 40 HIGH FIDELITY NOW TECHNICS LETS YOU CREATE AN AUDIO EMPIRE AND CONTROL IT FROM FAR, FAR AWAY Start with the new 100W remote control receiver that puts you in complete control.

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Just as important, the Kyocera network is the first ;eiKYOCERa remote system with audiophile credentials. You have your choice of critically acclaimed MOS FET Receivers, Built right from the ground up. Kyocera International, Inc . 100 Randolph Road, CN 7600, Somerset. NJ 08873-1284 (201) 560-0060 Kyocera Canada. Inc .7470 Bath Rood. Mississauga. Ont .14T 1L2,.Canada (416) 671.4300 '100 Wattsteh., continuous RMS. both ch. diven. 8 Ohms. 20 Hz -20 kHz, 0.02% THD (CONTINUED FROM PAGE 4 0 ) about 2 dB; the maximum cut, 4 dB. Itsname originally standing for KEF Uni- EXTENSION sets the speakers' low -fre- versal Bass Equaliser, the Kube is an espe- quency cutoff at 50, 35, 25, or 18 Hz (the cially unusual device for a British speaker corresponding Kube front -panel indications maker. One often gets the impression from are respectively, and rather confusingly, la- some British manufacturers and audio crit- beled 1, 2, 3, and 4). The 25- and 18 -Hz set- ics that active response tailoring via out- tings are used for music containing signifi- board equalizers or even tone controls is a cant low -frequency information. The other colonial aberration inappropriate for the settings are best for "when the source mate- truly civilised (with an s) loudspeaker. That rial does not require extension or is of inferi- may be an apt description for some systems or quality." KEF also suggests they be used but not for the 107: The Kube is an integral for high-level background music (an oxymo- part of the speaker design. As KEF puts it in ron, eh?), to avoid amplifier overload. DSL's the well -written and very complete owner's measurements of the EXTENSION showed manual, the Kube "contains important that, relative to the 50 -Hz setting, the re- equalisation and unit pair matching ele- maining three raised the response at 20 Hz ments. Model 107 will only operate correctly by about 4.5, 8, and 10.5 dB, respectively. therefore with Kube in circuit." The Kube is The large boosts at the 25- and 18 -Hz set- hooked into a tape -monitor loop or between tings probably form the basis of the warn- preamplifier and power amplifier via its at- ings about possible amplifier overload. tached cables terminated with gold-plated QFACTORnormally is set at 0.5, the posi- pin plugs. Since the cables are only about tion at which the speakers have their most two feet long and are wired into the Kube, accurate low -frequency transient response make sure your system can accommodate (they are "critically damped"). Higher (up to the device in close proximity to your central 0.7) or lower (down to 0.3) values may be ap- amplifier, or be prepared to buy some exten- plied if the recording itself has deficient bass sion cords. response or (in an unusual recommenda- The Kube performs some uncommon tion) "if the recording acoustic is too dry or functions. Most mundane is the fixed equal- too reverberant." Higher, underdamped ization providing midrange and high -fre- settings increase low -frequency "overhang" quency response shaping and sensitivity or "boom," while lower, overdamped values matching between the two loudspeakers in a sound "drier" or "tighter." Lab measure- system. The matches, says KEF, are to better ments indicate that besides affecting speaker than 0.5 dB. Less run-of-the-mill is the fact transient behavior, the Q-EAcTort also varied that the applied equalization is unique to the the speaker response (by about ±1.5 dB at specific pair of speakers the Kube comes 20 Hz when it is varied from 0.3 to 0.7). with; Kubes are not interchangeable be- Compared with the Kube and the novel tween 107 systems. The fixed equalization features it offers, the speakers with which it ROOM RESPONSE CHARACTERISTICS for the pair tested by Diversified Science operates are slightly more conventional, if DB Laboratories consists primarily of a broad- only because their technology has been in- +5 111.11111111101MINI 0 limompewMIRMPREEMIIII band response dip of about 3 dB (relative to troduced in previous KEF models. There are ,rib791.411g111111NINIIMIIIM 1 kHz) centered at approximately 2.25 kHz -5 two bass drivers in the lower cabinet, each a -10 and a dip in response at about 35 Hz. The cone woofer about 10 inches in diameter op- HZ20 50 100 200 500-----1K 2K 5K 10K 20K latter varies in depth according to the setting erating into its own sealed subenclosure. of the much more novel Kube controls. Bass energy radiates from a tuned port at the boundary -dependent region Those controls "allow you to optimise on-exis response top of the main enclosure, which is said to re- off -axis (30') response low -frequency performance to suit both lis- duce floor reflections that often lead to over - SENSITIVITY (at 1 meter; 2.8 -volt pink noise) 91 dB SPL tening environment and programme materi- prominent bass. (For a more complete de- AVERAGE IMPEDANCE (250 Hz to 6 kHz) 4.1 ohms al." The three knobs are labeled CONTOUR scription of this Coupled Cavity design, see (for controlling low- to mid -frequency bal- our test report on the KEF 104/2). The ance),EXTENSION(to change the speaker's "head" in which the 4 -inch cone midrange low -frequency cutoff ), and 9.-EACTost (which and 1 -inch dome tweeter are mounted is adjusts speaker damping). For best results, damped to reduce mid -frequency coloration KEF recommends the controls be set in that and rotates to permit precise focusing of the order so as not "to end up with a confused stereo image. and incorrect result." Connectionsaretwogold-plated CONTOUR is supposed to optimize the multiway binding posts located toward the 107 for your listening room and preferred bottom of the rear panel. The removable sound balance. It raises or lowers the fre-head cover is made of black stretch cloth quencies below about 160 Hz by approxi-over a surprisingly massive wood frame. mately 3 dB and is set, as are the other two When installed, it makes the speaker com- controls, by ear while listening to a record pletely rectangular in shape. While the im- with extended bass material. DSL confirmed pression is still one of considerable bulk this behavior, with the added datum that the (and heft, if you need to lift the 99 -pound en- range of variation increases at lower fre- closures), the appearance is always elegant. quencies. At 160 Hz, for example, the maxi- Available finishes are walnut, rosewood, and mum contour setting produced a boost ofblack ash. Screw -on plastic feet are provided about 0.5 dB, and the minimum setting a cut for use on wooden or tiled floors. of 2.5 dB (relative to the marked zero set- The visual prominence of the KEF 107 is ting). At 20 Hz, the maximum boost was reinforced by its recommended placement:

NOVEMBER 1 9 8 6 43 out in the room at least 1 meter (3 feet) from tion levels: The drivers are being pushed playing test signals. But it does allow very side walls and at least 50 centimeters (about hard. The low -end boost seems to continue fine adjustment of speaker response to the 20 inches) from the wall behind them. DSL's into the infrasonic region, so we'd recom- qualities of the listening room and your tests and our listening were conducted with mend use of an infrasonic filter or dialing the taste. Perhaps we just never found the best them 32 inches from the rear wall. For the EXTENSION to a higher cutoff. Kube settings for our room and music. lab tests, CONTOUR was dialed to 0, EXTEN- During the 300 -Hz high-level pulse test, A considerable virtue of the 107 is its SION to 4 (the 18 -Hz setting), and Q -FACTOR DSL found that there was an audible change measured sensitivity of 91 dB SPL. This is at to 0.5. As you can see from the graph, re- in sound quality, accompanied (and perhaps least 3 dB higher than the sensitivity of many sponse flatness was unusually good, at least caused by) clipping visible in a display of the other comparable high -end systems, mean- on -axis above 1 kHz, where it varied by no microphone waveform. The speaker did ac- ing that the amplifier power (measured in more than ±1.5 dB all the way up to 20 kHz. cept, however, 48 volts peak, which is equiv- watts) necessary to drive the 107 is half that The 5 -dB peak at 500 Hz seems to be "real," alent to 24.6 dBW (288 watts) into 8 ohms necessary with speakers having sensitivities not an artifact of speaker placement or room and 27.6 dBW (576 watts) into 4 ohms, to below 88 dB SPL. Any amplifier driving the geometry: It is present in both on- and off - deliver a calculated peak sound pressure lev- 107 will be additionally pleased by the sys- axis responses, and the wavelength involved el of 115.6 dB at 1 meter. tem's very uniform impedance curve. Its (approximately 2 feet) does not correspond It's interesting to note that nothing we maximum is 5 ohms at 20 Hz, and its mini- closely to anything in the test setup nor to heard out of the speaker at any reasonably mum is 3.1 ohms at about 75 Hz. Above 150 any specific dimension of the speaker or loud listening level indicated that it would Hz, the impedance varies only between 4.6 spacing of the drivers. The peak was not au- perform the way it did in the distortion mea- and 3.9 ohms all the way up to 20 kHz. dible as such, however. Off -axis response surements. In contrast to some preceding This speaker's best quality, in which it above 1 kHz was also commendably flat, al- KEF flagship models, the 107 does not have seems to surpass our recollections of previ- though there is a slight high -end rolloff, a tendency to sound bottom -heavy or boomy ous KEF models, is its stereo imaging. Not probably caused by tweeter beaming. Re- on some types of program material. In fact, only is the left-right instrumental position- sponse below about 300 Hz-and with those at times this speaker sounded just a bit too ing startlingly rock solid (when listening Kube settings-was overall about 5 dB be- clean and "civilised." We missed a little of from the ideal center position), but per- low the treble response, with small dips at the richness and oomph provided by cellos ceived depth, when the recording permits, is 100 and 250 Hz. Bass rolloff at this EXTEN- and double basses in orchestral material and considerable. This is where KEF's com- SION setting started at about 50 Hz. the viscerality of a kick drum in popular mu- puter -controlled driver and crossover At least for lower test levels, harmonic sic. We believe this effect to be the result of matching have really paid off, inasmuch as distortion was just a little above average (be- the overall depression-averaging 3 dB as image quality and stability are crucially de- low 1 percent from 100 Hz on up at 85 dB seen on the graph-in the bass and lower pendent on the similarity of left- and right - sound pressure level). But KEF's admoni- midrange between about 80 and 300 Hz. channel signals. The precision of the 107's tions about amplifier overload apparently The Kube varies only overall response be- imaging allows all sorts of recording faults to apply to speaker distortion as well. At 90 dB low 1 kHz and is evidently unable to correct be discerned. It also permits the full enjoy- SPL, there was a distortion peak of about 3 for this. Also, ment of a well -made stereo recording and percent at 630 Hz, which remained a promi- the speakers did reach into the deep bass provides, at times, a realistic image we never nent distortion band as the level was in- with organ pedal tones and very -low -fre- would have expected from what we thought creased. At the same level, distortion at 63 quency sine waves, all of which were audibly were mediocre discs. Hz was still an acceptable 21/2 percent. At a undistorted. Distortion measurements have never very loud 100 dB SPL, the speaker was clear- Don't misinterpret us here. There is correlated well with speaker sound quality. ly in trouble, with 63 -Hz distortion of 591/2 nothing "wrong" with the overall balance of That has never been more apparent than percent (!) and distortion between 200 Hz the sound, which, on some material, struck with the KEF 107, whose test results are so and 1 kHz running from 41/2 to 81/2 percent. us as unusually lifelike and well judged. It's out of line with the excellent distortion mea- The Kube settings DSL used provide just that our tastes would have preferred a surements we obtained with the similar KEF very extended bass response (especially con- bit more body to certain recordings. Your 104/2 that we are totally mystified as to their sidering the speaker's distance from the wall tastes, and your listening room, may not cause. We certainly urge an audition of the during the testing) but also apply consider- agree. Some of the Kube's effects, like 107. The extraordinary quality of its sound, able amounts of bass boost to the signal. changing the speaker damping, are quite especially its clarity and nearly palpable im- This may account for the rather high distor- subtle and were audible as such only when aging, demands no less.

TES T R E P O R TS

DIMENSIONS: 11 BY 37 INCHES (FRONT), 12V, INCHES DEEP. PRICE: MANUFACTURED IN DENMARK BY here we address a three-way model dubbed $599 PER PAIR PLUS $45 SHIPPING. WARRANTY: "LIMITED," FIVE Audionord, the Dali line of speakers the Dali 7, a so-called column loudspeaker YEARS PARTS AND LABOR. MANUFACTURER: AUDIONORD, DEN- has been represented only once designed to stand directly on the floor. MARK; U.S. DISTRIBUTOR: DANISH AMERICAN LTD., INC., P.O. BOX before in these pages-by the Dali 3 (June Again, it offers good value for money, as the 55386, VALENCIA, CALIF. 91355. 1985). It was a compact two-way system; (CONTINUED ON PAGE 47)

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City State Zip A High Fidelity Make check payable to MUSICAL AMERICA DIRECTORY Publication but otherwise almost identical, displaying ROOM RESPONSE CHARACTERISTICS nothing that could be construed as serious DB +5 mommm evidence of beaming. miformiimarz Even away from the wall, the Dali 7's bass 0 -5 igradismomm struck us as being slightly heavy with some -10 normsommum program material in the listening tests. We HZ 20 1K also found the entire upper range consis- 50100 200 500 2K 5K 10K 20K tently a hair on the bright side. Neither prop- boundary -dependent region on -axis response erty could be regarded as cause for com- oIT-axis (30') response

plaint, and some tastes will consider the SENSITIVITY (at 1 meter; 2.8 -volt pink noise) 88 dB SPL

subtle emphasis of these regions a sonic AVERAGE IMPEDANCE (250 Hz to 6 kHz) 11.4 ohms plus. Overall, we found the sound generally well balanced and often excellently delineat- ed, with crisp instrumental textures and col- ors. This last quality enhanced-and was more than a little enhanced by-the excel- lent stereo imaging, attributable in part to THE DALI 7'S DRIVERS ARE DELIBERATELY OFFSET FROM THE CENTER the symmetrical driver placement and, per- OF THE FRONT PANEL. haps, to the company's professed care with phase relationships.

(CONTINUED FRONTP \GE II ) The impedance curve is fairly typical of a British say. three-way vented system. But the vent reso- Each enclosure in a matched, mirror -im- nant frequency evidently is infrasonic, be- age pair has its drivers closer to the inner cause the curve slopes steeply away from its than to the outer edge. Near the top is a %- initial 25 -ohm value at 20 Hz (the beginning inch double -magnet dome tweeter. Next of testing), drops to a 12 -ohm minimum, comes a 3 -inch dome midrange driver. Be- rises to 27 ohms at woofer resonance (about low it, and centered on the vertical axis of60 Hz), drops to a 6.8 -ohm minimum in the the baffle, is a 10 -inch cone woofer whose midbass, rises to 20 ohms at about 1 kHz, bass -reflex loading is vented near the bot- drops again to 6.8 ohms, and wanders grad- tom of the back panel. Nominal crossover ually upward to 10.4 ohms at 20 kHz. Aver- frequencies are 900 Hz and 3 kHz. age impedance values (11.4 ohms over the The baffle, as well as the four adjacent music band, 12.6 ohms for the full audio surfaces, is finished in walnut veneer. Theband) are relatively high even for an "8 removable stretch -fabric grille is angled on ohm" system like the Dali 7 and should en- the inside bottom corner, dramatizing that sure that you have no problems even if you one enclosure is meant for the left channel run parallel speaker pairs. and the other for the right (the grilles are in- Total harmonic distortion over most of terchangeable, however, so you can switch the frequency range averages about 1/4 per- the indicator notch to the outside corner ifcent at the lowest test level, 85 dB SPL you want). There are no controls. Connec- (sound pressure level), increasing to more tions are made to multiway binding posts set than 1 percent at the maximum level, 100 dB in a shallow recess on the back panel and an- SPL. These figures aren't as low as the gled to make hookup exceptionally easy. speakers' relative freedom from coloration The speakers can be used near the back might lead one to expect, but they aren't ex- wall (not right against it, if the vents are to cessive either. Sensitivity is about average have adequate "breathing space") or out in for a speaker of this type, and the Dali 7 ac- the room. Since the back is not finished in cepted the full peak output of our test ampli- wood veneer (it's painted black, though the fier (equivalent to 512 watts into 8 ohms) to bottom of the speaker is veneered), Dali deliver a calculated peak sound pressure lev- doesn't seem to expect that the speakers will el of 115.1 dB SPL at 1 meter. be placed out in the room. But we preferred In sum, the Dali 7 is an attractive option both the tonal balance and the stereo imag- at an attractive price. At $644 per pair (in- ing with the speakers completely freestand- cluding shipping), it would be hard to do ing. Diversified Science Laboratories, how- much better, easy to do much worse. ever, measured the Dali 7 as its design c ONTINT'ED ONP A (;I, 481 implies: with the wall six inches behind it. Its frequency response measures excep- REPORT POLICY tionally flat, lying within about +3.9, -2.1 MENTS AHD I e,11,, .1' CI 111, dB from the 50 -Hz band to that centered on WISE NOTED, TEST DATA ARE PROVIDED BY DIVERI,IHEDSCI- 12.5 kHz on -axis, relative to average re- ENCE LABORATORIES. THE CHOICE Of EQUIPMENT TO /1 sponse within the "music band." Depending TESTED RESTS WITH !HP EDITORS OF HIGH FIUEfll on how you view the data, this can represent NORMALLY ARE SUPPLIED ON LOAN FROM THE MANUFACTURE ER.MANUFACTURERS ARE NOT PERMITTED TO READREPOkl,, IN a very broad, shallow midrange response sag ADVANCE OfPUBLICATION,AND NO REPORT OR PORTION (some of which might well be attributable to ?HEREOF MAY BF REPRODUCED FOR ANY PURPOSE OR IN ANT floor reflection) or a moderate bass promi- FORM WITHOUT WRITTEN PERMISSION OF THE PUBLISHER AD nence coupled with a very gradually rising REPORTS SHOULD BE CONSTRUED AS APPtYiNG TO THE SPECIE IC SAMPIES TESL ED HIGH HOEIITY AND DIVERSIFIED SOTNE f response characteristic through all but the LABORATORIES ASSUME NO RESPONSIBILITY FOR PRODUCT very highest treble. Off -axis response is even PERFORMANCE OR GUAIITY flatter ( +3.2, -1.1 dB on the same basis) NOVEMBER 1986 47 T ES T R E P OR TS

Acoustic Research Connoisseur 40 Loudspeaker

DIMENSIONS: 12Y, BY 27% INCHES (FRONT), 13 INCHES DEEP PLUS (The larger a diaphragm is, the lower the fre- CLEARANCE FOR GRILLE; 31 INCHES HIGH ON SUPPUED STAND. PRICE: quency at which it will begin to beam-that $1,000 PER PAIR, INCLUDING STANDS. WARRANTY: "FULL," FIVE is, propagate directionally.) YEARS PARTS AND LABOR. MANUFACTURER: TELEDYNE ACOUSTIC RE- At times in audio history, this sort of SEARCH, 330 TURNPIKE ST., CANTON, MASS. 02021. thinking has seemed to characterize the dif- ference between European and American SEVERAL QUALITIES DISTINGUISH THE speaker designers. Broad dispersion-par- Connoisseur Series from other Acoustic ticularly in the highs, and even to the extent Research loudspeakers: All of themof so-called omnidirectionality (though have polypropylene diaphragms, and all are often in the horizontal plane only)-has sel- finished in real wood veneers-two features dom obsessed Europeans to the degree it that aren't necessarily included in the regu- has many American engineers. On%The con- lar AR line. But most important, surely, is trary, "controlled" dispersion, as opposed the extra care that has been taken in the de- to sonic scattering, has been a stated objec- sign of the crossover and dispersion pattern tive of some British designers whose prod- to improve imaging. ucts have impressed us mightily. This is the Insofar as the listening tests for the Con- tradition to which the Connoisseur Series noisseur Series are conducted in England seeks to belong. and with European listening priorities in The finely finished cabinet (in oiled wal- mind (final tuning of AR's standard product nut) gives every indication-with one excep- line takes place in the United States), we tion-of the careful detailing that AR says is might be tempted to conclude that Ameri- a hallmark of the series. That exception, can tastes will be better served by other AR which is hardly a major one, is the placement models. If so, our taste must be European, of the multiway binding posts at the back of because we were very taken by the sound of the speaker: They are recessed in a well too the Connoisseur 40, a tallish three-way sys- small to make hookup really easy with any- tem in an enclosure only slightly larger than thing but banana plugs. ROOM RESPONSE CHARACTERISTICS traditional bookshelf size. The speakers are Foot prongs are provided to help the LB intended for vertical placement on the sup- matching speaker stands "grip" the floor. +5 plied floorstands, which cant them slightly, Theoretically, the prongs aid in converting -5 firing the treble upward toward the listener. more of the driver energy into radiated The drivers are arrayed along the vertical sound and less into cabinet motion, but they axis of the baffle panel. The woofer, at the 50100 200 500 1K 2K 5K 10K 20K may play havoc with carpets or finished bottom, is a 10 -inch cone in a sealed (acous- floors unless the speakers are left perma- boundary -dependent region on -axis response tic suspension) enclosure. Its diaphragm nently in one place. off axis (301 response and that of the 61/2 -inch midrange cone are The instruction folder accompanying the SENSITIVITY (at 1 meter; 2.8 -volt pink noise) 89 dB SPL made of filled polypropylene. The 1 -inch Connoisseur 40 suggests placement near a

AVERAGE IMPECANCE (250 Hz to 6 kHz) 7 ohms tweeter, at the top, is a liquid -cooled dome. wall, which is how Diversified Science Lab- The nominal crossovers are at 350 Hz and 5 oratories tested them. Response was mea- kHz. sured with the test speaker on its stand and 3 Regular readers of these reports will inches from the wall behind it. The curves note that the midrange driver is a little larger are quite flat but for a marked dip in the mid- than average for a three-way system. The range-presumably attributable to a floor reason is not only that the woofer crossover reflection-flanked by slight prominences. frequency is lower than average, requiring Within the 30 -degree angle between our on - the midrange to handle longer wavelengths, and off -axis measurements, there is very lit- but that some reduction in dispersion angle tle difference between the two curves, mean- toward the top of the mid frequencies was ing that dispersion is essentially even within deemed desirable for purposes of imaging- that angle, right up to the top of the treble. a consideration that, according to AR, is par- In the listening room, we preferred the ticularly dear to European audiophiles. In speakers away from the walls, which appar- other words, reflections from the listening ently reduced the prominence of the range room's side walls are deliberately inhibited between 60 and 200 Hz from the level shown in the range below 5 kHz, which is critical for in the graph. With the speakers in that posi- good imaging, so that directly propagated tion, the bass was full and true and the bal- sonic information can maintain its primacy. (CONTINUED ON PAGE 96) SURPRISE: MAKING HOME MOVIES IS EASY! WE EXAMINE THE FEATURES OF MORE THAN 45 CAMCORDERS.

LIGHTS, CAMCORDER, ACTION!

BY FRANK LOVECE AMCORDERS-COMBINATION VIDEO camera/recorders-have supplanted the bulkier two-piece camera/portable- VCR setups, offering a lightweight, integrated package almost as easy to operate as a "point and shoot" 35mm film camera. Consequently, and despite their being among the costliest items any video buff could want short of a satellite dish system, cam- corders have rekindled the home -movie craze. Unit sales may top one mil- lion by the end of this year. Prices still have not strayed far downward, but home videographers now have a much greater choice for their money than when Sony intro- duced its seminal Betamovie camcorder three years ago. Since then, three other video formats have jumped in: full-size VHS, the compatible subfor- mat VHS -C (which uses a smaller cassette), and 8mm. (Beta camcorders continue to be produced by Sony, which backs them up with a full line of Beta -format home recorders.) Models within each format usually are very similar to each other, as most are made by just one or two manufacturers. (CONTINUED ON PAGE 5 0

Frank Lovett es a free-lance wrner sproatizing in video.

V NOV EMBE It 1 6 6 49 a companion tuner/timer for recording from broadcast or cable TV, camcorders in- clude only the connections for recording from an external source. To play back tapes, most include an RF adapter (for connection to a TV set's antenna terminal) as well as direct audio -video outputs for hookup to a moni- tor. Some videographers may find that a camcorder's playback capabilities are suffi- cient to eliminate the need for a regular home VCR.

TAKING AIM

KYOCERA KO -208 8mm CAMCORDER THE CAMERA PORTION OF A CAMCORDER IS JVC GR-C7 VHS -C CAMCORDER where the action is. Most models use (CONTINUED FROM PAGE 49) various sensors to automatically adjust The image -pickup device in a camcorder, This resemblance does not extend across focus, iris opening (aperture), and white bal- as in any type of video camera, is either a vac- formats, however: A VHS -C camcorder, for ance (color temperature). A power zoom uum tube such as a Saticon or a Newvicon- instance, may have features that are very dif- lens usually is standard, as is a setting for sometimes with "high band" technology de- ferent from those of a full-size VHS model. macro (close-up) focusing. Many cam-signed to improve the picture-or a solid- All four formats are represented in thecorders enable you to do one -button fades state microchip. If the latter, it is usually charts accompanying this article. and include simple character generators that called a charge -coupled device (CCD) or a can superimpose the time and date on- metal -oxide semiconductor (MOS) image screen. In addition, most models have ports sensor. The principal advantage of a solid- for hooking up more sophisticated charac- state pickup is its immunity to "burn -in," or LESS IS MORE ter -generating devices that might be used streaking from bright picture highlights ALLCAMCORDERS SHARE CERTAIN for titling your creations. (such as reflections of the sun). Tube pick- advantages over two-piece systems, the There are two kinds of viewfinders. The ups are more sensitive to such exposure and most obvious being size and weight. more common (and more expensive) elec- must be aimed with discretion. On the other The smallest 8mm camcorder is almost tronic viewfinder is actually a tiny video mon- hand, they usually produce more accurate palm -size, and other models range in weight itor that displays exactly what you're shoot- color balance and work better in low light from less than three pounds to a maximum ing, including the light conditions. A "quick (though the newest chips are about as good of just more than six. (For uniformity, review" feature will back up the tape a few in the latter respect). So each kind of pickup weights mentioned here and in the charts do seconds and then play it, making it even easi- has distinct benefits. not include battery or videocassette; battery er to judge the need for a retake (and there- weights can vary by type and the length of fore reducing the amount of editing). Many charge they hold.) Another welcome advan- camcorders include a backlight -compensa- tage is ease of use: There are no cables to tion control, which permits manual adjust- FOR THE RECORDIST connect between the camera and the record- ment of the otherwise automatic iris so that SUPER BETA AND H(1 -THE BETA AND VHS er, and you don't have to carry a separate silhouetted subjects don't get blacked out. versions, respectively, of recent picture - (and heavy) VCR over your shoulder. A cam- A few models have optical viewfinders enhancing technology-are now widely corder can be called into action quicklythat look through a separate lens mounted used in camcorders. Completely missing, enough to catch Baby's first steps. near the camera lens. These viewfinders in- however, are their audio counterparts: Beta On the down side, you get fewer play- troduce parallax error (caused by the cam- Hi-Fi and VHS Hi-Fi. In fact, only one cur- back effects than in a conventional portable era and your eye seeing the subject from rent camcorder offers stereo sound record- VCR: Slow motion and frame -by -frame ad- slightly different angles), which makes very ing: Kodak's top modular 8mm unit, the vance usually are missing, for example. And precise aiming difficult. But even more trou- MVS-5000, can record a PCM digital stereo while portable VCRs normally are sold with blesome is the fact that an optical viewfind- (CONTINUED ON PAGE 54) er, unlike its electronic counterpart, doesn't SONY BMC-660K BETA CAMCORDER show errors in focusing (if the autofocus MITSUMS111641OUR VIK CA/MOM should somehow get fooled) and contrast. Indicators can warn of low lighting, but see- ing exactly what you're shooting (albeit in black -and -white) makes electronic viewfind- ers easier to use. Most camcorder autofocusing systems bounce an infrared beam off an object to provide range data that a microprocessor uses to adjust the lens. Most VHS -C cam- corders, however, use a through -the -lens (TTL) focusing system (as in some autofo- cus film cameras), also with a lens -adjusting microprocessor. Sony's ultralightweight 8mm Handycam uses a manually selected three -position fixed -focus lens, but tight shots can be difficult to set up because the unit's optical viewfinder can't verify proper focusing. SO HIGH FIDELIT Y *44, ... 46 41. qr 4.* 0 .4.V. 1.I4 re 44, IO 4: ik V. 4 044Z.

GENERAL ELECTRIC51/2 lbs. f/1.2; 6:1 (9-54mm) Yes '/2 -inch high - Yes Freeze frame; Auto fade-in/out; Yes 7lux$1,500 9-9606 power zoom w/macro band Newvicon forward/reverse quick review; time/ scan date generator; audio dub; light shoe

GENERAL ELECTRIC51/2 lbs. f/1.2; 6:1 (9-54mm) Yes '/2 -inch high - Yes Same as aboveSame as above Yes 7lux$1,600 9-9608 power zoom w/macro band Newvicon

GENERAL ELECTRIC51/2 lbs. f/1.2; 8:1 (8.5-64mm) Yes CCD Yes Same as aboveSame as above Yes 7lux$1,800 9-9610 power zoom w/macro rSTAR 61/2 lbs. f/1.4; 6:1 (11.5-70mm) Yes CCD No Freeze frame; Light shoe GVM-70AF power zoom w/macro forward/reverse scan

HITACHI 51/2 lbs. f/1.2; 6:1 (8-51mm) Yes '/2 -inch high - Yes Freeze frame; Auto/manual iris (no Yes 7lux$1,600 VM-2100A power zoom w/macro band Saticon forward/reverse separate backlight scan control); quick review; light shoe

HITACHI 51/2 lbs. f/1.2; 6:1(11.5-69mm) Yes MOS Yes Same as above Same as above, plus Yes 7lux$1,800 VM-5000A power zoom w/mocro time/date generator

672 lbs. f/1.2; 6:1 (9-54mm) Yes 1/2. -inch No Freeze frame; STCAM- and Yes 10 lux$1,600 66-1T3 power zoom w/macro Newvicon forward/reverse NTSC-compatible; scan quick review; time/ date generator; audio dub; light shoe

INSTANT REPLAY 51/2 lbs. f/1.2; 6:1 (9-54mm) Yes '/2 -inch Yes Same as above Same as above Not 7lux$1,900 92-11-3 power zoom w/macro Newvicon avail.

INSTANT REPLAY 51/2 lbs. f/1.2; 8:1 (8.5-68mm) Yes CCD Yes Some as above Same as abolikeilk20 lux$2,00041 93-1T3 er zoom w/macgimift, MAGNAVOX 51/2 lbs.f/1.2; 6:1 (9-54mm) Yes 'A -inch Yes Freeze frame; Quick review; time/ With 7 luxNot VR 829: power zoom w/macro Newvicon forward/reverse date generator; optional avail. scan audio dub; light shoe V-80071 RF adapter ($190)

MAGNAVOX 51/2 lbs. f/1.2; 8:1 (8.5-68mm) Yes CCD Yes Same as above Same as above Yes 7 luxNot VR-8293 power zoom w/macro avail.

' MINOLTA, 5'/2 lbs. f/1.2; 6:1 (11.5--69mm) Yes iv,05 Yes Freeze frame; Auto/manual iris (no Yes power zoom w/macro forward/reverse separate backlight scan control); quick

MITSUBISHI 51/4 lbs. f/1.2; 6:1 (8.5-51mm) Yes 1/2 -inch high - No Freeze frame; Auto iris (no override Yes 7lux$1,550 HS -F1 OUR power zoom w/macro band Saticon forward/reverse or separate back - scan light control); video gain; audio dub; light shoe

NEC 51/1 ; 6:1 (8. Freeze f ;Yes V -20U for zoom w/ forward/ ir scan control); video gain; quick review; light shoe

OLYMPUS 51/2 lbs. f/1.2; 8:1 (8.5-68mm) Yes CCD Yes Freeze frame; Auto fade-in/out; Yes 7luxNot VX-403 power zoom w/macro forward/reverse quick review; audio avail. scan dub; light shoe

PANASONIC 51/2 ; 6:1 (9-54mm) Yes inch We frame; WWith 7 lux$1,500 PV -210 power zoom w/macro ewvicon and/reverse qu optional scan date generator; PV-A22M audio dub RF adapter ($190) PANASONIC Same as PV -210, but with RF adapter and wired record/pause remote control. $1,700 PV -220 VHS

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PANASONIC 51/2 lbs. f/1.2; 8:1 (8.5-68mm) Yes CCD Yes Same as PV -220 Same as PV -220 Yes 7lux$2,000 PV -300 power zoom w/macro

PENTAX 51/2 lbs. f/1.2; 6:1 power Yes inch Yes Freeze frame; Auto/manual iris (no Not 7lux$1,700 PV C33A zoom w/macro Saticon forward/reverse separate backlight avail. scan control); quick review PENTAX 51/2 lbs.f /1.2; 6:1 power Yes MOS Yes Same as above Same as above Not 7luxNot PV C.55A zoom w/macro avail. avail. PHILCO 51/2 lbs. f/1.2; 6:1 (8-48mm) Yes 1/2 -inch Yes Freeze frame; Quick review; time/ With 7 luxNot VCR -801 power zoom w/macro Newvicon forward/reverse date generator; optional avail. scan audio dub; light shoe V-80071 RF adopter 0190)

QUASAR 51/2 lbs. f/1.2; 6:1 (9-54mm) Yes 1/2 -inch Yes Freeze frame; Auto fade-in/out; Yes 7lux$1,770 VM 11 power zoom w/macro Newvicon forward/reverse quick review; time/ scan date generator; light shoe

QUASAR 51/2 lbs. f/1.2; 8:1 (8.5-68mm) Yes CCD Yes Some as aboveSame as above Yes 7lux$1,970 VM 20 power zoom w/macro

RCA 51/2 lbs. f/1.2; 6:1 (8.5-51 mm) Yes 1/2:inch Yes Freeze frame; Auto/manual iris (no Yes 7lux$1,300 CMR-200 power zoom w /macro Saticon forward/reverse separate backlight scan control); quick review; time/date generator

RCA 51/2 lbs. f/1.2;6:1 (11.5-69mm) Yes MOS Yes Same as above Some as above Yes 7lux$1,500 CMR-300 power zoom w/mocro

SEARS 5 lbs.f1.2; 6:1 (8.5 51 mm)Yes 1', -inch Yes Freeze frame; Auto/manual iris (no Yes 7lux$1,290 53721 power zoom w macro Newvicon forward/reverse separate backlight scan control); quick review

SHARP 524 lbs.f /1.4; 6:1 (9-54mm) Yes 1/2 -inch Yes es 10 lux Not VC -C I OUAH power zoom w/macro Newvicon f f avail. scan control); quick review; date generator; light shoe

SHARP 51/4 lbs.f / 1.4; 6:1 (11-66mm) Yes CCD Yes Same as above Linear -track stereo; Yes Not Not VC-C2OUAH power zoom w/macro stereo mike; quick avail. avail. (available review; date late '86) generator; audio

SYLVANIA 51/2 lbs.f /1.2; 6:1 (9-54mm) Yes '/2 -inch Yes Freeze frame; Quick review; time/ With 7 lux Not VCC 151 power zoom w/macro Newvicon forward/reverse date generator; optional avail. scan audio dub; V-80071 light shoe Rf adapter ($190) TEKNIKA Yes Me frame; Aulli11111111111111MIF 7lux $1,7, C-6010 power zoom w/macro Newvicon forward/reverse quick review; time/ scan date generator; audio dub; light shoe

Audio Note: Unless otherwise noted, all VHS, VHS -C, and Beta camcorders record a monaural linear soundtrack, and all 8mm camcorders record monaurally us- ing AFM (see text).

Charts by Frank Lovece

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AIWA 51/2 lbs. f/1.4; 6:1 (12-72mm) Yes CCD SP/SP, LP; freeze Light shoe Yes 19 lux $1,800 CV -80 power zoom frame; forward/ reverse scan

2 lbs f/1.2; 6:1 (8.5-51mm) Yes 1/2 -inch high- SP/SP, LP; freeze Auto/manual iris (no Yes 19 lux$1,600 power zoom w/macro band Saticon frame; forward, separate backlight reverse scan control); auto fade- in/out

GOLDSTAR 5 lbs. f/1.4; 6:1 (11.5-70mm) Yes CCD SP/SP, LP; freeze Light shoe Yes 19lux $1,700 GS-8AF power zoom w/macro frame; forward/ reverse scan

1.6; manual, 3 - No CCD y) IMIllrlder, No 20 lux$1,400 position fixed focus but transm: RF w/macro signals ( picture only) wirelessly to user - supplied monitor/ TV; price includes modified Sony EV- C.8U VCR KODAK' 21/4 lbs. f/1.2; 6:1 (9-54mm) No 1/2 -inch Auto fade-in/out; 10 lux$700 MVS-440 power zoom w/macro Newvicon positive/negative camera imaging KODAK 23/4 lbs. f/1.2; 6:1 (9-54mm) Yes '/2 -inch Same as above 101ux $1,000 MVS-460 power zoom w/macro Newvicon camera KODAK 2 lbs. SP, LP/SP, LP; With $800 MVS-3000 freeze frame; optional docking VCR frame advance; MVS-52 slow motion; for- RF ward/reverse scan converter ($60) KODAK 2 lbs. Same as above PCM digital stereo Same as $1,000 MVS-5000 audio with video above docking VCR (requires optional stereo mike[s]); audio dub

KYOCERA 51/2 lbs_ f /1.4; 6:1 (12-72 mm) Yes CCD SP/SP, LP; freeze Quick review; edit- Yes 19 lux$1,750 KD-200 power zoom _ mod amp;

NEC 5 lbs. f/1.2; 6:1 (9-54mm) Yes CCD Speeds not avail.; Auto/manual iris (no Yes 7 luxNot EM-A8U power zoom w/macro freeze frame; for- separate backlight avail. ward/reverse scan control); quick review; edit -mode signal amp; light shoe IMPUS 3'/4 CCD SP/SP; freeze Auto fade-Wout; VX-801 power zoom w/mac frame; frame light shoe advance; forward/ reverse scan SANYO 51/2 lbs. f/1.4; 6:1 (12-72mm) Yes CCD SP/SP, LP; Quick review; edit Yes 19 lux$1,470 VM-8 power zoom freeze frame; for- mode signal amp; ward/reverse scan light shoe SONY No CCD Vrd only) Opt er;, CCD-M8LP no mi Handycam earphone jacks SONY Same a; CCD-M8U but with heavy -plastic, water-resistant shell for outdoor (but not underwater) shooting CCD-M91) Handycarr Sports

SONY 5V2 lbs. f /1.4; 6:1 (12-72mm) Yes CCD SP/SP, LP; Quick review; edit- Yes CCD-V8AFU power zoom freeze frame; mode signal forward/reverse amp; light shoe scan VHS -C

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JVC 3 lbs. f/1.6; 6:1 (9-54mm) TTL/CCD Yes Freeze frame; Auto audio/video Yes GR-C7 power zoom w/mocro CCD forward/ fade-in/out; quick reverse scan review; carrying case standard

; : power of es reeze rame; Not avail. Yes 15 lux Not SK -60 zoom w/macro avail. forward/ avail. reverse scan ZENITH 3 lbs. 1111i) CCD Yes Fr Auto audio/video Yes 15 luxNot VM-6200 power zoom wfmacro forveg.1 fade-in/out; quick avail. reverse scan review

BETA

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SONY 51/2 lbs.f/1.4; 6:1 (12-72mm) Yes CCD Yes Beta II (record Optical viewfinder; No 25 lux$1,500 BMC-660K power zoom only) time/date gen- erator; light shoe

'Not including battery or videocassette. 'Unless otherwise noted, all have automatic iris with backlight compensation control; manual fade-in/out possible. 'All have manual override. All have play, record, rewind, fast -forward, and pause controls. All VHS models record and play back in Standard Play (SP) only; all VHS -C models record and play back in SP and Extended Play(EP). SP provides two hours with T-120 VHS tape or P6-120 8mm tape; 20 minutes with TC-20 VHS -C tape. Long Play (LP) is double time.EP is triple time. Beta II provides three hours and 20 minutes with L-830 tape. 'Unless otherwise noted, all have automatic color/white-balance with manual override; tape counter with zero -reset memory; standby mode; viewfinder indicators; microphone; and mike and earphone jacks. The 8mm models have a "flying" erase head for cleaner edits than with conventional stationary erase heads. Unless otherwise noted, all models have electronic viewfinders. 'With supplied RF adapter. 'In video, "minimum illumination" is a nonstandardized specification, supplied here only as a general indication of low -light shooting capability. Data given by manufacturer and not independently confirmed by HIGH FIDELITY test reports. °Kodak's MVS-440 and MVS-460 modular video cameras can each dock with the company's MVS-3000 and MVS-5000 modular VCRs, fora total of four camcorder combinations.

(CONTINUED FROM PAGE 50) to be introduced soon will record a linear Because of the geometry of the Betacam sys- soundtrack when used with a stereo micro- stereo soundtrack, but not VHS Hi-Fi. tem, the Sony Beta model shown in our phone setup. (See our August test report on Finally, there's the matter of video heads, charts uses only one double -gap video head. Kodak's MVS-5380, comprising the MVS- the tiny electromagnetic components that With the proliferation of camcorders to- 5000 recorder and the MVS-380 tuner/ "write" on and "read" back the videotape. day and with industry figures showing an al- timer.) This model can also be used as an au- Virtually all VHS camcorders have four most completely eroded market for two- dio -only machine, recording as many as six video heads. However, because a smaller piece systems, these all -in -one moviemakers two- or four-hour tracks (depending on re- head drum is used, the multispeed playback represent not the future but the present. Al- cording speed). Standard 8mm camcorders effects usually associated with four -head though the retail prices shown in our charts record a mono AFM soundtrack (multi- home units are not possible. VHS -C models are quite high, most stores sell at a discount plexed into the video tracks in the same way and most 8mm units have just two video (albeit not to the same extent as on home as Beta Hi-Fi or VHS Hi-Fi) that offers better heads. The latter also have a "flying" (rather VCRs). If the traditional pattern continues, performance than the linear mono tracks on than stationary) erase head-a trickle -down however, even lower prices are on the way.

Beta and VHS models. One Sharp VHS unit from professional VCRs-for cleaner edits. At last. 54 HIGH FIDELITY BY KENNETH 1. KANTOR speaker-room interaction of this type. It shows what happens in a typical listening room when a 300 -Hz sine wave is sudden- ly applied to a speaker. Instead of appear- ing instantly and continuing evenly, the sound varies in level as room reflections WHAT'S build up, adding to and subtracting from the direct sound in a haphazard fashion. After about 250 milliseconds (1/4 second, which is a very long time in psychoacous- tic terms), the level stabilizes. NEW IN Because of room -related effects like this one, short musical sounds can seem to have a tonal balance different from that of longer ones. These phenomena may, for example, explain why a certain speak- er might sound just right on cellos but SPEAKER bottom -heavy and boomy on bass drums. TEST METHODS THE FEW EXAMPLES MENTIONED ABOVE demonstrate that simply measuring a TESTING speaker in a listening room-the in- A COMBINATION OF COMPUTER tuitively obvious way of testing it-will provide few clues as to what the speaker, TECHNOLOGY AND PSYCHOACOUSTIC as opposed to the room, is doing to the RESEARCH WILL LEAD TO TESTS THAT sound. Designers get around this prob- lem by one of two means: eliminating the TRULY EVALUATE SPEAKER QUALITY. room reflections or compensating for them in the measurement technique. MEASURING THE PERFORMANCE OF A to the various drivers of the speaker sys- One important method of testing loudspeaker has never been easy. tem. Each of these drivers then radiates its speakers makes use of a special reflection - Engineers drag speakers into assigned vibrations. These recombine in free room called an anechoic (no echo) special echo -free rooms, shove them into the air and travel to the listener's ears. Be- chamber. Such a space enables a speaker echo chambers, wheel them into "nor- cause the drivers are usually spaced apart designer to examine the behavior of the mal" living rooms, and hoist them up flag- and emit different signals, every point in speaker without such hard -to -control poles (to get them far away from any re- the space surrounding the speaker re- variables as room reflections. Anechoic flectingsurfaces).Calibratedtest ceives a different combination of driver testing is very useful for designing drivers microphones are placed within 1/4 inch of outputs. The speaker's measured and au- and crossovers and is almost always the the woofer, positioned exactly 1 meter dible response can therefore be differentfirst step in testing a speaker system. Fre- away, or whirled around the room like a from place to place in the room. quency response, radiation pattern, dis- bola swung by a gaucho (so as to reduce A large portion of the energy radiated tortion, and efficiency can all be mea- the effects of room resonances on the by the loudspeaker is reflected (from the sured in this environment. Any type of measurement). Mikes also get mounted walls, ceiling, floor, or furniture) at least test signal can be used in anechoic testing, inside speaker cabinets, built into modelsonce before reaching the listener. When but sine waves are used most often. of human heads, or even inserted into thethe reflections arrive at the ear, their lev- Because the listening room does have ear canals of (presumably) willing listen- els and timings will, for several acoustican important effect on speaker sound, ers. Speakers are fed clicklike impulses, and psychoacoustic reasons, significantly most speaker designers also include a va- pure sine waves, bursts of sine waves, affect the perceived frequency response,riety of "real room" tests in their reper- square waves, white noise, pink noise, and not to mention other aspects of speakertoire. However, a room -response graph even rock 'n' roll. performance, such as imaging precision. can be so complex that it correlates poor- Why this variety? Audiophiles and Figure 1 shows the frequency re- ly to the perceived performance of the speaker designers have learned over dec- sponse of a woofer as measured from vari- speaker and is therefore "unreadable" (as ades that a few simple measurements can- ous points in a listening room. The top in the lower traces of Fig. 1). This makes it not predict speaker sound quality, espe- curve was made very close to the cone necessary to find ways to remove some cially in the home. Why is this so? And is (within 1 inch), the bottom curve at about room -related effects. this situation permanent? To understand 1 meter. As the microphone moves away, A common way of doing this is to use a why the answer to the second question isthe sound level decreases (shown by the random -noise signal (such as pink noise), no, you must carefully examine some an- overall lowering of the curves); just as im- together with a spectrum analyzer. Noise swers to the first. portant, room reflections begin to alter signals are less likely to stimulate room the woofer's apparent response, as can be resonances than discrete -frequency sine seen by the lower curves. (CONTINUED ON PAGE 58) SPEAKERS IN ROOMS Reflections also develop and change BETWEEN THE TIME A SIGNAL REACHES A on their own, with a time scale deter- Kenneth L. Kantor is president of Product Design speaker's terminals and the instant mined by the acoustics of the room. The and Evaluation Services in San Francisco. Previ- you hear the corresponding sound, result is a blurring of the exact details of ously, he worked for Acoustic Research, where he several things happen. First, the sound is the original speaker signal. Figure 2 docu- was director of research and principal designer of divided by the crossover network and fed ments a significant, but usually ignored, the MGC-1 loudspeaker.

NOVEMBER 1986 55

2001 A SPEAKER ODYSSEY - tions between the two speakers. This test can be made using actual listeners or by mathematically comparing signals received at microphones placed in the ear canals of artificial heads. If the reproduction were perfect, the sound sources would appear focused at every point across the sound stage. The inherent "localization blur" of human hearing is on the order of 1 or 2 de- grees, so a reading of 3 degrees in this test is indicative of a speaker capable of very precise imaging.

Coloration of an audio signal results from several factors. Harmonic and inter - modulation distortion, excessive (not all!) phase errors, delayed resonances, and ear- ly reflections can cause sonic degradation without showing up in a conventional fre- quency -response measurement. For this reason, it is important to devise a test tech- nique that integrates these factors. To ar- rive at a single coloration curve, echo - weighting results could be combined with phase, distortion, and impulse -response data. It eventually will be possible to esti- mate what amounts of coloration are toler- able or even desirable. HE FOLLOWING FANTASY REVIEW OF THE (FRONT), 11.5 t,ICIIES PEEP.PRICE. DIMENSIONS, 10 BY 215 INCHES Percept IM -1 loudspeaker includes re- Re-creation of source location can be "LIMITED," FIVE STANDS. WARRANTY: $330 PER 'AIR, INCLUDING sults from five unconventional tests- determined by a simple and useful tech- MANUFACTURER: PERCEPT LOUD- unconventional because they have not yet YEARS PARTS AND LABOR. nique first used back in 1934. A human CALIF. 913765 4321.2. been invented. Two are based on extrapo- voice is recorded at nine positions around a SPEAKER' , POST -QUAKE ISLAND, lations from present-day methods. The oth- room. This recording is then played through er three are the predicted result of a combi- the speakers being tested, and a listening nation of psychoacoustic research with panel indicates from where each of the computerized instrumentation. Before we voices is heard. This can then be directly get to the review itself, here are descrip- compared with the original locations. Care tions of these five tests. must be taken to choose a "neutral" room and a microphone technique representa- Critical -band rood' response begins tive of those used in commercial recording, with a conventional in -room frequency -re- but the tests can be very enlightening if sponse measurement (perhaps made by done properly. pink -noise or impulse testing). The data are then smoothed out by computer to a sim- An acceptable listening area can be pler curve that approximates the tonal bal- determined by combining localization and ance that the human ear will perceive. Criti- frequency -response tests made at various cal -band filtering has the advantage of listening positions. For example, the results producing curves that are as easy to of the source -location test described above "read" as anechoic measurements without might work perfectly at a central listening excluding the effects of the listening room position but not at all when a listener is on tonal balance. It is likely that subtle ton- seated closer to one speaker than the oth- al differences between speakers will show er. One speaker designer might want to up in this kind of measurement, which is sel- sacrifice coloration performance to achieve dom the case with the more traditional fre- a wider listening area. Another designer quency -response tests. might want to restrict the listening area to get better localization accuracy. Buyers Stereo image precision is depicted by need to know about these decisions in or- a graph showing the angular width of a der to choose the best speakers for their sound source reproduced at various loca- needs.

ILLUSTRATIONS BY MICHAEL KLEIN S6 HIGHFIDE IM -1lOUDSPfAX

° damage the speakersby verify- PRODUCT FROM not wish to that THE IM -1IS THE FIRST ing this, it seems arealistic figure given small Califor- pulse -han- Percept Loudspeakers, a we measured a50 -millisecond relatively calculated nia company.Despite its dling ability of 1,350watts for a some these modest price, theIM -1 incorporates peak output of 117.8dB SPL. While features intended toim- state-of-the-art for 2001, 104 interesting design figures are not and its imag- of the IM -1should prove bothits tonal balance the dynamic range The compact two-way de- ing characteristics. for all but the most suspension prove sufficient system uses an8 -inch acoustic manding applications. innovative elastic res- tweeter is designedto woofer loaded by an The flexi-planar together radiation angle over ,Reaver,cy onance -tunedenclosure, which provide a constant -frequency cutoff ofabout 35 range. This issaid to provide a low most of its operating recently, as can above 1 kHz areradiated and to we've tested Hz. Frequencies reduce reflection-induced coloration er speakers constant -directivity wide the IM -1 is notdesigned by a flexi-planar improve imagingwhile maintaining a be seen. Clearly, is optimized forplace- for close -in, large -grouplistening. tweeter. The system panel liked thesound of foot of a wall andsits about Our listening ment within 1 smooth responseand 30 inches off thefloor on its stands. the IM -1.It has the Laboratories mea- that we have come Diversified Science 4( detailed presentation of the IM -1 asbe- I from goodloudspeakers-and sured the room response to expect ambi- commendable ±2 dBfrom 33 reasonable price. The ing within a this at a very fully sur- after critical -bandfiltering. ,4' 4yi (5/ good, although not Hz to 18 kHz, ent field is panelists depression is visiblein the cross- rounding the listener.Some of our A broad this to be of preferred a moreambient mu- but we consider would have over region, 2 mat- Sensitivity is on thelow I * but that's really a minor importance. V sical presentation, realistic am- but power handlingand Besides, the most side, at 86.5 dB, ter of taste. through the be a bit betterthan av- bience can beobtained only distortion proved to processing and ex- speaker of this size. digital ambience erage for a use of psy- than 0.5 percent at with a pair of the new Distortion runs less tra speakers or speakers just com- 60 Hz on up,increasing to 100 dB SPL from choacoustic-processing program Hz. The elasticenclosure ing on themarket. On some 3.0 percent at 30 vocals, the slightmid- cabinet vibrations to aug- material, particularly allows controlled low frequen- -4,.) audible, but overall ment the wooferresponse at rangedepression was excellent smooth and uncolored. this does provide 6 the sound was very cies. Altnough I in the such a small driver, youpay With the exceptionof the distortion response from bass re- average dy- distortion in the extreme 49, very deepestbass and a fairly a price in of 2 about reaches a minimum namic range, thereis little to criticize gion. Impedance these are well with well -controlledphase, the IM -1. At$330 per pair, ohms at 80 Hz, no problem so thespeaker should present worth a listen. amplifiers. Themanufac- to contemporary r iiA2T continuous powerrating of SOoRC. E LOGAT,Or, turer lists the did the IM -1 at 55 watts,and although we ABOUT THE OM by ten Measurements provided Forget it-we finally gaveup on it about listening area. size vs. lat- DSL verify thisclaim. The image years ago. showing eral position curveis excellent, central image of 3lat- both a well -focused spread of only 6de- eral degrees and a the entire soundstage. Color- 10 grees across low: less ation vs. frequencyis also very with the exceptionof a than 10 percent, point. small region justabove the crossover tweeter's This probably iscaused by the failure to maintainconstant directionality -location chart below 2 kHz. The source correspondence to therecord- shows good image width and 2ps ing, including properlistening area is depth. The acceptable COON', restricted than thatof oth- VS. LATERALPOSCrtor.. somewhat more t1,1,..GE SIZE apply windowing to yield the results 100 shown in Fig. 5. Windowing makes it easi- er to see important aspects of the speak- 95 er's performance, such as the rising high - frequency response and the tweeter 90 resonance at 16 kHz.

85 NEW DIRECTIONS GRAPHS LIKE THESE ARE USEFUL ONLYIF 80 they help tell what you will hear when the speaker plays music. More 75 and more attention is now being focused on ways to relate speaker measurements 70 to sound quality. To do this, engineers are turning for help to the field of psycho - 65 acoustics. Because it concerns how the ear and brain process sound together, psy- 60 choacoustic research can suggest ways to 20 00 1k 10k 23k process or evaluate measurement data to FREQUENCY IN Hz better correlate with the listening expe- FIGURE 1. AS A MICROPHONE IS MOVED AWAY FROM A WOOFER, THE MEASURED WOOFER RESPONSE ROUGHENS CONSIDERABLY rience. The main problem to be solved is DUE TO THE INFLUENCE OF ROOM REFLECTIONS. that simple microphones do not "hear" like the ear-brain system; the solution will (CONTINUED FROM PAGE 55) This gives all the functions of a regularinvolve the creation of computer -aided waves and thus will not produce such jag- FFT analyzer, without requiring the use measuring systems programmed to simu- ged response curves. And narrow re-of clicks as test signals. A state-of-the-art late parts of the human hearing system. sponse peaks and dips can be inaudible,analyzer like the Hewlett-Packard pro- One important technique that sprang depending on their width, amplitude, fre-vides a variety of digitally synthesized test directly out of psychoacoustic research is quency, and spacing across the audiblesignals. The engineer can select whichcalled critical -band filtering. This is a spectrum. So by careful adjustment of the signal will best pinpoint the information method of reprocessing frequency -re- bandwidth of the analyzer, a rough curvedesired. In fact, actual music signals can sponse data to smooth out, in a manner can be smoothed enough to find response be used to test the speaker response while similar to that used by the human ear, a slopes and peaks more truly characteristic still separating the effects of room reflec- typical curve's multitude of peaks and of the speaker's sound. tions, because the system uses a before vs. dips. In this way, it is possible to deter- A more recent addition to the battery after comparison technique. mine just which frequency -response aber- of in -room tests is the FFT impulse re- A somewhat more convenient test sig- rations are likely to be audible and which sponse. FFT stands for Fast Fouriernal than music is a short burst of noise. are not. Measurements made on a %-oc- Transform, which is a mathematical The top trace of Fig. 3 is such a test signal, tave basis are a crude approximation of method useful for calculating frequency and the bottom trace is a speaker's re- critical -band filtering, because the width response from a speaker's reaction to very sponse to it, complete with lingering of a critical band (essentially the band- short clicks (impulses, typically of a few room reflections after the pulse ends. Fig- width to which each sound -detecting hair dozen microseconds in duration). FFTs ure 4 shows the speaker's room response cell of the inner ear responds) is about 1/3 allow separate analyses of the direct and calculated from these two signals by the octave. the reflected sound and give valuable analyzer. Pretty messy. To make things A second psychoacoustically based information about transient response that more understandable, the analyzer can( C ONTINUED ON RAGE 60) cannot be determined using noise or sine - wave signals. Combining an FFT with a 0.1 process called "windowing" enables the engineer to reduce the influence on the response curve of reflections considered

unimportant (usually the later ones). In 0.05 effect, windowing quickly and automati- cally cuts the test microphone output im- mediately after the speaker's difect sounds (and maybe a few early reflec- tions) are captured. A further extension of the FFT con- cept, called "transfer function analysis," is made possible through the use of a so- phisticated computer called a signal ana- -0.05 lyzer-in our case, a Hewlett-Packard 3562A Dynamic Signal Analyzer used to make the graphs for this article. A signal

analyzer is really two FFT analyzers in one -0.1 box, and then some. One FFT analyzer -100 --50 0 50 100 150 200 250 350 300 400 calculates the properties of the test signal, TIME IN MILLISECONDS while the second works on the speaker FIGURE 2. THE LEVEL OF A 300 -HZ SINE WAVE TAKES TIME TO STABILIZE IN A LISTENING ROOM BECAUSE REFLECTIONS ALTERNATELY output. The computer can display one or ADD TO AND SUBTRACT FROM THE DIRECT SOUND. both or the difference between them.

Si HIGH FIDELITY The Energy 22 Pro Monitor has been hailed by critics as one of the major loudspeaker design breakthroughs of the last decade. In fact, the Energy 22 may well rank as a standard against which other speakers should be judged. Audition either the Energy 22 Pro Monitors or the Reference Connoisseurs and we think you'll agree that they are not only the most exciting speakers you've ever heard, but "a stunning achievement" indeed!

"A STUNNING ACHIEVEMENT" Miami, Florida, Audio By Caruso, Don Caruso - Owner. -The REFERENCE CONNOISSEURS are among the most neutral, uncolored, speakers we have found!!! Top Retail Experts They provide very relaxing listening." Personal Views About El Paso, Texas, Sound Room, Mark Pearson - Owner. "Energy 22 pro monitor is the most three dimensional speaker ever." The Energy 22 Phoenix, Mesa, Arizona, HI Fl Sales, Dave Ross - G. Mgr. "ENERGY 22. One of the most accurate, best imaging speakers we have ever heard," New York, New York, The Listening Room, Ron Mintz- Owner. "As one of the Los Angeles, California, Christopher Hanson Ltd., Christopher Hanson- First dealers in the U.S. to realize the quality of the E-22, we continue to be amazed by Owner. "The Energy 22 is very musically involving - 'Absolutely Brilliant." the imaging and spaciousness of this speaker of such compact size & price." San Diego, California, Stereo Sound Co., Bob Kokley - Owner. "Over the Hicksville, Long Island, New York, Designatron, John Thomas- Manager. years we have heard many promises of new breakthroughs in speakers with "Never before have we experienced a speaker system which exhibits the level of realism disappointing results. The ENERGY 22 is one of the only products which performed that the Energy 22 provides. The excitement generated by Energy speakers is only beyond those promises. A job well done!" exceeded by the pleasure of owning them. The Energy 22 sets a reference standard by Berkley, California, The Sounding Board, Jeff Smith, Jim Serena which all other speakers must be judged" Co -Owners. Washington, D.C., Audio Associates, Mike Zazanis - Owner. "The ENERGY "The Energy 22 is an outstanding speaker. What's incredible is the value, compact size 22 is a very musical speaker at a very inexpensive price that easily could cost a lot more and its performace level" money." THE DEALER'S #1 CHOICE Chicago, Illinois, Pro Musica, Ken Christianson, John Schwarz- Co -owners. "The Energy 22 Reference Connoisseur & Pro Monitors simply outperform the competition. Musically satisfying to the most demanding listeners." EITEZE722 Energy Loudspeakers, 135 Torbay Road, Markham, Ontario Copyrights API 1985, Energy Loudspeakers L3R 1G7 - (416) 475-0050 TLX 06-986689 +1 (CONTINUED FROM PAGE 5 9 ) testing technique is an advanced form of windowing sometimes calledecho weighting. Rather than simply eliminat- ing room reflections from a frequency -re- sponse measurement, it is possible to in- clude them to the degree that they actually effect the perceived sound. As with critical -band filtering, echo weight- 12 16 20 24 28 32 36 40 ing requires the latest in computational TIME IN MILLISECONDS signal -analysis hardware and so is just be- ginning to catch on with loudspeaker de- 4 12 16 20 24 28 32 36 40 +1 signers. There is also some debate as to how exactly one should add the reflec- tions to the direct -sound data so as to best indicate the reflections' influence on sound quality. Another area in which psychoacoustics lends a hand is the evaluation and control of stereo imaging. Though a well-known effect, imaging is still somewhat of a mys- FIGURE 3. A SPECIALLY GENERATED BURST OF PSEUDORANDOM NOISE CAN BE USED TO TEST A SPEAKER (TOP). A MICROPHONE WILL terious process to designers, and until re- PICK UP THE NOISE PLUS ROOM REFLECTIONS (BOTTOM). cently there were few good perceptual theories about what makes a speaker bet- 100 ter or worse in this respect. Today, some engineers are using special microphones 95 built into the ears of a plastic model of a human head, combined with signal analy- 90 sis and psychoacoustics theory, to create speaker designs that specifically address 85 stereo imaging. Not all recent developments rely com-

80 pletely on new psychoacoustic theories. For example, Dr. Floyd E. Toole, working at Canada's National Research Council, 75 recently published the results of a major research project linking loudspeaker 70 measurements to listener preferences. Dr. Toole's work suggests methods for 65 obtaining and evaluating detailed, but straightforward, frequency -response 6 curves that appear to relate very well to 20 100 1k 10k 20k listener reactions. FREQUENCY IN Hz We are, I believe, poised at a turning FIGURE 4. A COMPUTING SIGNAL ANALYZER CAN EXTRACT FROM A NOISE SIGNAL THE FREQUENCY RESPONSE OF A LOUDSPEAKER. point in the history of loudspeaker devel- REFLECTIONS CAUSE MUCH OF THE CURVES ROUGHNESS. opment. Engineers are ready to take the

100 next big step toward unraveling the com- plexities of speaker sound: how a speaker interacts with the room and the human 95 hearing system. For an illustration of how some of the new ideas might be devel- 90 oped, take a look atHIGH FIDELITY'Sar- chives for the year 2001 and examine the test report of an imaginary loudspeaker (see "2001: A Speaker Odyssey," which accompanies this article). The review in- cludes five unfamiliar speaker measure- ments, and although none of these tests is in use today, they are not far-fetched fan- tasies-some may be in use by the end of this decade. Rather, they represent sever- al directions loudspeaker testing and de- velopment may take in the coming years and show what a combination of new mea- surement technology and a better under- 20 100 1k 10k 20k standing of human hearing might hold for FREQUENCY IN Hz speaker testing and evaluation. Ultimate- FIGURE 5. WINDOWING REMOVES THE EFFECTS OF ROOM REFLECTIONS FROM THE RESPONSE CURVE AND LEAVES THE AUDIBLY IM- ly, we will reach a state wherein better - PORTANT DETAILS OF THE MEASUREMENT VISIBLE. looking test results will (finally) always

mean better sound quality.

60 HIGH FIDEL1T Y There's SOMETIMES HAS THE FEW MAN WHO HAS self-control.youtrying needAll toall those those find theremotescomponent3it canone prcbiemreally testright one in your in with wcyyour systemAnywhen having A TVeven Simply superviseTHINGS with place it almost a SonyeTtinitron®headb TOO head MANY. EVERYTHING SD get your TV, your CD, ifdoesOne theControl That's infrared Central®whywork GE® of remote four Evenremote.created -hat theyour your entirecodes init learnsmatchingremote, minutes,the c prei:, thebuttons,any infrared perating putting and cealer,CentralunderV'J, andFor the control.call The remote.name of your CATV TheGE GE your nearest converterControl your Sopetitors.to turn Or they'reControlSee, we'renot off a Centrclturn few not af-aidGE's themccm - on. will changes, palm ofchangeAnd if your Contpc.your he right w ith systems\tsam in Central it, the WeCter® bring at 800-626-2(X)0 Answer ofPioneer. Pioneer Fisher.forwardaudiopower a system, fastSony and a Fisher®Pioneer® can newreprogrammingFor those addition. with fcr any good things to life. Electronics Corp Trinitromek FisherCorp ..and VCR, regeterect trademarks Sor,Ccrpo,ation r Amerca, respect yeti), functionsControl ponents, Central-Control we prese-- the wt- fever fewer com- C-entral 3. ffIEG.STERED TRADEMARK O< GENERAL ELECTRIC COWAN /. C&C Computers and Communications

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-."."11111.1.11.11111111--- Building a breakthrough color TV Take a look at our 26" square picture. fastest running back in his tracks. takes brains: the computer brains of IC You'll see richer color, more contrast, It shouldn't surprise anyone that the chips. Unlike the analog workings of more resolution, and more picture than company behind this surprising new TV is conventional TVs, these new chips from ever before* With a VCR connected, NEC. We're at the forefront of computers, NEC store, process, and control the NEC's digital Picture -in -Picture lets you monitors, and broadcast video. And that picture in digital form. So TV performance watch two shows at the same time on takes real brains. can be raised to a higher level. The level of the same screen. And our three-way NEC Digital Television. digital freeze lets you stop even the NEC "Prezt's Honor" avadable exclusively from Vestron Video We bring high technology home. 'Model DT 2680A with 26" screen, measured diagonally 500111'1es horizontal resolution, via video inputs TV reception simulated NEC Horne Electronics (U.5 A ), Inc, 1255 Michael Dnve, Wood Dale, IL 53191 FANS VS. CRITICS LETTER FROM EUROPE

COME TIME AGO, A VETERAN MUSIC CO YOU THINK COMPACT DISCS ARE ajournalist and I sat listening to aexpensive? Well, think again. the Beatles' Christmas messages. Making the rounds of record shops To my amazement, my companion in both Salzburg and Paris, I found said she had never heard them CDs selling for the equivalent of before. When I voiced that amaze- $21, or about $5.00 to $6.00 more ment, she replied in utter serious- than they sell for in the United ness, "But Ken, I'm not a fan, I'm a States. Are the CDs we buy in the

EDITED critic." States being dumped in an effort to E D I I ED Funny, but I've always believed build the market, or are the ones in

BY that critics are fans. Certainly, they Europe-where CDs are made- B Y were fans before they were pub- being priced artificially high? Since

KEN lished. The idea that critics are the demand is so great in the U.S., T E D unique, solemn people only serves the latter explanation is more like-

RICHARDSONto widen the unnecessary gap be- ly. And common sense indicates I I B B E tween them and their readers. To that U.S. prices may soon be rising. me, "critic" simply means "a fan who writes about music." What is going onto the discs is another matter. EMI, And it's obvious that no single critic's word is law. After all, stung perhaps by criticism of its short measure on several critics disagree amongst themselves, and some recordings releases, is recoupling a significant percentage of them, are multifaceted enough to elicit different opinions from now that it has its own manufacturing plant in Swindon. different points of view. EMI's Peter Alward told me in Salzburg that the plant has Note, for example, "Glass Cutters," the double review been on line for two months and that the label's chronically of Philip Glass's Songs from Liquid Days. this issue. The re- tight CD supply will at last be easing. He noted with amuse- cording is neither entirely classical nor entirely popular, ment that his forthcoming recording of Wagner's Ring with but something of each, so it seemed appropriate to review Bernard Haitink, announced on this page in the May issue, the song cycle from each perspective. Naturally, such dia- will have as its Sieglinde the same soprano who is engaged logue can sometimes turn into argument. Notice the oppos- to sing the role of Brfinnhilde on the new Deutsche Gram- ing appraisals of the Roches' performances. K. Robert mophon recording of the Ring : Hildegard Behrens. (Al- Schwarz: "Only Perry .. . and the Roches are entirely suc- ward has engaged Eva Marton as his Briinnhilde.) cessful, partly because they sing Byrne's lyrics. ... The Deutsche Grammophon was also very much in evidence Roches contribute the ethereal and witty vocal harmonies at the Salzburg Festival, touting its new recordings of Bee- of 'Liquid Days (Part One).' " Mark Moses: "The Roches' thoven's Missa Solemnis (with Herbert von Karajan conduct- choirgirl chirping misses all of the humor of Byrne's lyrics." ing the Berlin Philharmonic and the Wiener Sangverein, Is Schwarz "right" and Moses "wrong" (or vice versa)? Of joined by soloists Lella Cuberli, Trudeliese Schmidt, Vin- course not two minds, two opinions. son Cole, and Jose van Dam), the live performances of All of the foregoing is admittedly very elementary, but it which were the big event of this summer's festival, and Mo- bears repeating, especially if we are to erase the "fans vs. zart's Don Giovanni (Karajan/Berlin, with Samuel Ramey in critics" mentality. We need more critics who remember the title role and a cast including Anna Tomowa-Sintow, their origin as fans-and more fans who aren't afraid to Agnes Baltsa, and Kathleen Battle), which will be the high- hold up their own opinions in the shadow of critical pro- light of next summer's festival. Karajan will perform the op- nouncements. era without Mozart's vaudeville ending; the recording, how- This is where you come in. From here on, this portion of ever, will have the finale Mozart wrote and presumably "Medley" is an open column. Are you angry or enthusiastic wanted. By all odds, though, the performance next summer about something in rock, jazz, country, or what -have -you? will not have the Donna Elvira who made the recording and If so, send a 425 -word article to Ken Richardson, Popular whom Karajan presumably wanted: Baltsa. She and the Music Editor, HIGH FIDELITY, 825 Seventh Ave., 8th floor, maestro had a run-in prior to this summer's performances New York, N.Y. 10019. (Remember to make a copy for of Carmen, and she disappeared from that show. A lamenta- yourself; original manuscripts will not be returned.) We'll ble loss, for Baltsa is the Carmen of our day ... but not a pay $100 for each article we publish. Let's hear from you! surprising loss in view of Karajan's history with singers. Ken Richardson Ted Libbey

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AT A BACKYARD BARBECUE A DOZEN OR SO memory for record buyers. years ago, Peter Pastreich and James In one of those creative bursts that can Cain, the executive director and sometimes reshape an industry, Pastreich manager, respectively, of the St. Louis Sym- outlined to Cain a single solution to both phony Orchestra, were glumly searching for problems: the electronic media guarantee, solutions to two seemingly distinct prob- or EMG. The orchestra players would be of- lems. First, their board was offering only a fered a fatter paycheck than management small salary increase to the players, and they had intended-an additional $40 a week-in feared this would precipitate a long strike. exchange for which they would provide a Second, despite some memorable record- specific number of hours in the recording ings under Vladimir Golschmann and Andre studio. With session fees thus underwritten Previn, record companies showed little in- by orchestra management, a record compa- terest in hiring the orchestra. Cost factors ny could save $30,000 to $40,000 (more B Y DAVID R U B I N were persuading the labels, both foreign and than half the cost of a typical record) by domestic, to engage orchestras in Europe working with St. Louis. The St. Louis man- David Rubin is chairman of the journalism depart- for recordings. Pastreich and Cain feared agement would eventually recover some of ment at New York University ands noted writer on that their orchestra would disappear entirely this EMG in record royalties, and their or- the business of the performing arts. from the recording studio and become just a chestra-an American orchestra-would

NOVEMBER 1 9 8 6 65 once again be recording. bels, Decca/London has been the most ac- boim or with Seiji Ozawa." This emphasis With the board -approved EMG in his tive in the U.S., recording regularly with on conductors does not work to the advan- quiver, Pastreich avoided a strike and signed Chicago, Cleveland, and, for a while, De- tage of American orchestras. The only bank- a contract with Vox that resulted in such troit. Only Minneapolis -based Pro Arte, able conductor on the American scene who long-lived budget sets as Gershwin's orches- Cleveland -based Telarc, and New York - is associated with a particular orchestra is tral works and the complete symphonies ofbased Nonesuch are, on the evidence, com- Georg Solti in Chicago. The other hot com- Rachmaninoff and Schumann. Orchestras in mitted to American groups for the majority binations are all abroad: Karajan and Berlin, Cincinnati and Minnesota also adopted the of their releases. Charles Dutoit and the Montreal Symphony EMG for a while, and it is currently being put Confirmation of these findings, drawn Orchestra, Neville Marriner and the Acade- to good use by orchestras in Houston and from a different data base, comes from Al- my of St. Martin -in -the -Fields, Bernstein Atlanta, among other cities. bert K. Webster, managing director of the and the Vienna Philharmonic. Clever as the EMG is, however, it has not New York Philharmonic. A 1977 private sur- "We are in a period where conducting enabled American orchestras to remain vey of 15 major American orchestra manag- talent is at a low ebb," says Robert Woods, astride the classical record industry as they ers revealed that their orchestras spent 553 president of Telarc. "American orchestras were in the days of Leonard Bernstein, hours in the recording studio. By 1982, suffer from the Mehta/Muti/Mata problem. George Szell, Eugene Ormandy, Charles Webster says, that figure had dropped to The public can't sort these guys out." Munch, Arthur Fiedler, and Fritz Reiner. 284 hours. A third obstacle is that European -based While the EMG has permitted some second - How have European orchestras managed labels are making the majority of the new re- tier orchestras to gain at least a temporary to drive their American cousins from the re- leases, so logistics dictate selection of a Eu- visibility in the marketplace, and has given cording scene? Any explanation must startropean orchestra. In the 1984-86 period un- life to such smaller record labels as Vox and with the cost of labor. The current contract der study, for example, Decca/London, DG, Pro Arte, it has not been able to halt the negotiated between the record companies Angel EMI, Philips, and Erato released 265 eclipse of the American orchestra in the stu- and the American Federation of Musicians new orchestral records; by contrast, CBS, dio. Indeed, American orchestra managers stipulates that a player be paid $208.17 for a RCA, Telarc, Nonesuch, and Pro Arte, all might as well be selling overpriced Ameri- three-hour recording session and $277.59 based in the U.S., produced just 131. can steel or automobiles as their own or- for a four-hour session. These fees are stan- The European and Japanese markets are chestras, so competitive has the world mar- dard across the country, regardless of the also much more important than they used to ketplace become. quality of the orchestra. They are at least be, accounting, in the case of CBS, for more To determine just how total this eclipse twice the price of hiring European players. than 60 percent of sales. Their wishes can- is, HIGH FIDELITY closely examined its 1984 The fees have been increasing five percent a not be ignored, and Reed detects consumer through 1986 annual listings of forthcoming year in each of the last three years, and they resistance to American orchestras. She releases, identifying which orchestras were moved up faster than that in the inflationarymaintains that CBS ended its longtime ex- employed in the making of all new orchestral late 1970s and early 1980s. clusive agreement with the New York Phil- records and all new records requiring an or- While some in the music business claimharmonic in1980 because the label chestra and soloist. Of 702 such releases an- that American orchestras offset this consid- "couldn't give away the orchestra and Zubin nounced by 58 labels, American orchestras erable differential by working faster and Mehta in Europe." By contrast, American were used in just 161, or 23 percent. producing usable material more quickly, buyers, rather than support their own, are While the Vienna Philharmonic in this others challenge this. One doubter is Chris- still impressed by imports (which is why so period was releasing a dozen new records a tine Reed, vice president for artists and rep- many records prominently display an import year, and the Royal Philharmonic, Philhar- ertoire at CBS Masterworks. "I have seen sticker). Call it the Volvo syndrome, al- monia, and Concertgebouw were all averag- one American orchestra," she says, "con-though American orchestras are certainly ing eight apiece, the best American show- sciously make mistakes to force us into over- better performers than American automo- ings were five or so a year from the Chicago time and another that blatantly screwed biles. Symphony and four from the Cleveland Or- around at the beginning of a session and With all these obstacles, the wonder is chestra. The New York Philharmonic, Phila- didn't get down to work. You really can't that American orchestras record at all. Patri- delphia Orchestra, and Boston Symphonygeneralize about it," she says. "Some or- otism is one factor. "I'm an American label. combined released about the same number of chestras just work better than others." I'm based here," says Pro Arte's vice presi- new records as did the London Philharmon- The union contract also requires that or- dent, Steve Vining. "And the playing rivals ic alone. The recording heartbeat in Los An- chestra members not called to play be paid that of the Europeans on their good days." geles, Pittsburgh, Baltimore, and Minnesota for two hours of studio work. This sort ofTelarc's Woods agrees: "We are devoted to was barely detectable, while orchestras of no featherbedding makes recording Mozart, the [local] Cleveland Orchestra, and we greater stature in Rotterdam, London (the Haydn, Schubert, and other composers who made a corporate decision to support it." London Symphony Orchestra), Dresden, did not write for the 100 -plus players of a Some conductors, such as Solti and Ric- Leipzig, and Berlin (the Radio Symphony modern orchestra particularly expensive in cardo Muti, have sufficient clout to con- Orchestra, not the famed Berlin Philhar- the U.S. (For confirmation, check the June vince, respectively, Decca/London and An- monic) were each pumping out three or four 1986 SCHWANN record and tape guide list- gel EMI to record them with their American new records annually. ings for available recordings of Mozart's orchestras in certain repertory. Opera and vocal recital records were not Symphony No. 41, for example. The only But the cost of recording must be at the included in this survey. Otherwise, the fig- two current [made in the last decade] Ameri- heart of such deals. Through creative financ- ures would have been even more alarming, can products are from the Chicago Sympho- ing, some orchestra managers can compete because European orchestras are almost al- ny and the Los Angeles Chamber Orchestra. with Europe despite the high musicians' ways used in such projects. By contrast, more than a dozen relatively fees. The EMG is one way. (The Houston Angel EMI, Philips, and CBS have been new recordings are listed from European Symphony, for example, is underwriting 30 doing most of their recording in Europe. groups.) hours of recording each year.) Another solu- RCA has gradually dropped out of the busi- High session fees are not the whole story, tion is to fiddle with royalty payments. Ken- ness altogether. Though it abandoned its however. Reed points out that record com- neth Haas, general manager of the Cleve- work in Chicago last year, Deutsche Gram- panies today are selling conductors, not or- land Orchestra, explains: "We do not mophon has maintained a modest Americanchestras. "It's the Berlin Philharmonic with directly subsidize the cost of the recording presence in New York and with Orpheus, the Herbert von Karajan that sells," she says, "and sessions. But we do take a reduced royalty so chamber ensemble. Of the international la- not necessarily the Berlin with Daniel Baren- that the recording company can recover all

66 HIGH FIDELITY or part of the session costs over a specific pe- riod of time. If the record is a big seller, the company can recover all these costs-a small seller, they cannot." In St. Louis, orchestra manager Joan Briccetti maintains a small EMG fund and also negotiates royalty deals. "The record companies pay as much up front as I can get them to," she says, "and then we work out a royalty agreement to recover the rest of their costs. We negotiate the price [for a record] upon which they calculate the royalty, whether it applies from the first record sold, whether the company can also recover the costs of taping, and other issues. Each nego- tiation is different." It is now clear to the top orchestra man- agers in the U.S. that this is how the game must be played. The days of the record com- panies paying all session costs plus a royalty are over. So why isn't everyone playing? "We're basically in the business of losing money wisely," says the New York Philhar- monic's Webster. "How wise is it to lose money on recordings? I don't know the an- swer to that." Now that making records is, at best, a break-even financial proposition, no orches- tra is going to do it for the money. Even with royalties still coming in from recordings 8

made 15 and 20 years ago, Webster reports LEONARD SLATKIN, MUSIC DIRECTOR OF THE ST. LOUIS SYMPHONY ORCHESTRA (RIGHT), WORKS WITH PRODUCER DAVID JAY SAKS. ST. LOUIS income of only $400,000 to $500,000 in a to- RECORDINGS ARE SUPPORTED BY A SMALL EMG FUND AND ROYALTY DEALS NEGOTIATED BY ORCHESTRA MANAGEMENT. tal budget of $19 million, and that figure will decrease as the catalog continues to age (al- "The best orchestras have to record because chestras are resentful that we're not throw- though Compact Disc reissues should help it won't take very long for the image of The ing money at them. But it was an oversight at for a while). The Chicago Symphony's exec- Big Five to become just a memory for the CBS that we were involved with the New utive director, Henry Fogel, puts royalty in- consumer." By extension, how long will York Philharmonic for so long and ridicu- come at a mere $125,000 in a budget of $20 American orchestras be asked to tour Eu- lous that we weren't recording with the Ber- million; Cleveland's Haas says it is $183,000 rope and play at major festivals if foreign au- lin Philharmonic or the Concertgebouw." in a budget of $21 million. diences cannot buy their performances or Neither sentiment nor history will change In today's environment, there clearly hear them on the radio? this view. must be other reasons to record, and each In contract negotiations in November, That leaves the orchestra managers. orchestra manager has his or her favorites. the American Federation of Musicians is un- They will have to decide if they really want to Gideon Toeplitz in Houston: "I learned likely to lower its session fee in any meaning- record, how much, and how willing they are over the years that orchestras need chal- ful way without guarantees of more work to meet European terms. Deals can be made, lenges. It is a challenge to go into the studio from the record companies, and such guar- but they will require significant underwrit- and produce a good record. It brings up the antees will not be made. The union fears that ing with an American orchestra or else a very level of the playing, and this level will be- if it negotiates a lower fee, European orches- hot conductor who is closely identified with come the new standard for the orchestra. So tras will respond by cutting their fees, so that an American orchestra and who can sell the we do it for artistic reasons." Toeplitz adds American players will end up making less product. that recordings also can encourage contrib- money for the same amount of work. Short-term handicappers trying to dope utors to the orchestra. "Recording is a point The union has made other types of con- out any American recovery might keep their of pride for our supporters and an easy way cessions in the last few years, however. It is eye on the following developments. How to measure how well we're doing." now somewhat cheaper to make live record- successful will Angel EMI be with its project- Fogel in Chicago: "Music directors make ings and to record new music. A special ed Beethoven symphony set starring Muti records to document what they've done with chamber -orchestra provision lowers the and the Philadelphia? With Andre Previn as an orchestra. If you don't record, they won't four-hour session rate for 24 or fewer play- the bait, can Ernest Fleischmann, executive come. You'll lose the best conductors." He ers from the standard $277.59 per player to director of the Los Angeles Philharmonic also believes that regular recording, and the $216, which helps Orpheus. Any additional and a man widely respected for his financial session fees that come with it, act as a re- relief to come from the union in the current acumen, lure the record companies back to cruitment tool for new players. "I just got a negotiations is likely to be of this nature. the West Coast? Can Telarc make money brass player away from Philadelphia, and The record companies are not about to with Christoph von Dohnanyi in Cleveland? one factor was our level of recording and alter their bottom -line approach, particular- Will Pro Arte's philosophy of recording pop how that would supplement his salary." ly since they are holding the most important and standard pieces with lesser -known or- Briccetti in St. Louis: "New recordings negotiating card: More orchestras would chestras and conductors in Houston, Dallas, help to reverse the decline in interest in clas- like to record than they, or the marketplace, Rochester, Atlanta, and Utah work? sical music. It's an audience -building issue. can possibly accommodate. "We're running "The American orchestras have missed Plus, if you don't record, you lose some ofa business," says CBS's Reed-a revolution- the CD boom, or at least a major part of it," the finest performances in the world." ary statement in the often dreamy world ofsays Reed. This is no time for the faint of

Vining of Pro Arte is rather more blunt. classical music. "I know that some of the or-heart.

NOVEMBER 1986 67 TH MINI -REVIEWS OF THE LATEST COMPACT DISCS

BY ROBERT E. BENSON, THOMAS L. DIXON, IRVING KOLODIN, ROBERT R. REILLY, K. ROBERT SCHWARZ, AND JAMES WIERZBICKI

ir)MOZART, BEETHOVEN of the tinnitus that foretold the loss of his tic neoclassicism will be a revelation. Those ASYMPHONIES hearing. Simon's performance is more lei- who know these masterful miniatures will be AS FLUTIST AND RECORDER PLAYER, FRANS surely than Szell's (about two minutes long- entranced by Chailly's deft touch and the Briiggen is famous for the radical phrasings er overall), and a little more tension would very beautiful playing of the London Sinfo- and intonational shadings he applied to Ba- be welcome. But it is beautifully played. nietta. Recorded in 1980 (why the six -year roque music long before such devices were From The Bartered Bride we have the familiar wait?), the sound is simply superb. Playing fashionable among champions of "authen- overture, polka, furiant, and "Dance of the time: 52:38. (London 417 114-2.) R. R. R. tic" performance practice. As conductor of Comedians" plus two excerpts that are less the mainstream Classical repertory, he's not frequently encountered: "Dance of the Vil- MOZART, SCHUBERT: nearly so eccentric. In fact, his newly record- lagers" and a brief fanfare. Chandos's repro- OLUPU, PERAHIA ed interpretations of Mozart's Symphony duction is typical of the company's usual THE PERFECTION EVEN OF MOZART'S GALINT No. 40 and Beethoven's Symphony No. 1 are high quality. Playing time: 55:08. (Chandos music provokes longings that can belie its remarkable mostly for how straightforward CHAN 8412.) R. E. B. sparkle and lightness. Although Alfred Ein- they sound when compared with perfor- stein tells us of the Sonata in D for Two Pi- mances by several of the English early -music ra STRAVINSKY WORKS: anos, K. 448, that "no cloud obscures its gai- orchestras. Uncluttered and unaffected, LONDON SINFONIETTA ety," the delightitinduces creates, these are nonetheless powerful readings- ALTHOUGH STRAVINSKY NEVER REACHED ironically, the sense of loss that the imper- recorded as they were immaculately deliv- Poulenc's level of preternatural whimsy, his fect feel when faced with the perfect. This ered by Brilggen's own Holland -based Or- Divertimento, Suites Nos. 1 and 2, and Octet music, if you will, is untouched by original chestra of the 18th Century before live but contain delectable terrestial delights. Col- sin. It is the music Karl Barth suggested the quiet audiences in Amsterdam and Utrecht lected on a new London CD, they receive angels play en familk. in May 1985. Playing time: 56:32. (Philips performances from conductor Riccardo Schubert clearly did not escape original 416 329-2.) J. W. Chailly and the London Sinfonietta that nev- sin, as the sometimes overwhelming melan- er strain the material, but unfold its full fan- choly in his music tells us. (Certainly his last SMETAKA (ORCH. SZELL): cy with a charming and natural ease. The Di- two piano sonatas, D. 959 and D. 960, are A LONDON SYMPHONY, SIMON vertimento is a suite extracted from Le Bailer de among the most sublime, heart-rending mu- GEORGE SZELL FELT THAT THE EMOTIONAL la fie, Stravinsky's ballet based on pianosical utterances ever composed.) Only content of Smetana's Quartet No. 1, in E mi- pieces and songs by Tchaikovsky. As one slightly lower on the slopes of music's nor, subtitled From My Life, could better be might imagine from its source material, this Mount Parnassus is his Fantasia, Op. 103, realized by a full symphony orchestra. In is Stravinsky at his most mellifluous. Thefeatured here, another product of his last 1940 he orchestrated the work and later re- music of the two Suites is alternately tender year (1828), and one of the greatest works corded it with his Cleveland Orchestra-a and spiky, quickly changing gears with an ever written for piano four hands. This performance available on an early Epic LP, easy exuberance. Suite No. 2 has one of the deeply ruminative music keeps ingeniously which long has been a treasure in my collec- most delightfully infectious, quirky calliope folding back on itself through the repeated tion. Now Szell's orchestration has been tunes I have ever heard; indeed, the spirit of statement of the opening F minor motif, cre- newly recorded with Geoffrey Simon con- both Suites recalls E. E. Cummings's line: ating a moving sense of fatality and resigna- ducting the London Symphony Orchestra; it "damn everything but the circus." The Oc- tion. is coupled with orchestral excerpts from tet, from 1922, inhabits the same world and Compositions of this caliber are beyond Smetana's opera The Bartered Bride. From My supposedly was composed after Stravinsky definitive performance. Yet Murray Perahia Life is highly autobiographical, written two heard the piece in a dream. Two short bo- and Radu Lupu succeed by bringing singing years after the composer lost his hearing and nuses on this CD are Three Pieces for solo clar- lines and, most remarkably, exquisite tonal during the same period in which he wrote his inet (1919), the last of which is vaguely remi- shadings to both works. The Mozart is par- masterpiece, Ma Vlast. Smetana called the niscent of the solo in Copland's Concerto for ticularly successful and conveys a nearly su- quartet "a remembrance of my life and the Clarinet, and the very short Fanfare for a New perhuman perfection. If I slightly prefer it to catastrophe of deafness," the latter well de- Theatre, the only selection not from Stravin- the Schubert, it is from wondering whether picted in the final movement. sky's neoclassic period, written for the open- these two artists may not lack the final pro- There is some superb music here. Many ing of Lincoln Center's New York State The- fundity that pianists like Wilhelm Kempff listeners doubtless will enjoy the second ater in 1964. and Ivan Moravec would bring to the Fanta- movement polka; the exquisite, tender love For anyone whose acquaintance with sia. That speculation need not deter anyone scene of the third movement; and the bois- Stravinsky skips from the musical meltdown from enjoying this superb CD, which has ex- terous finale that is interrupted by the pro- of Le Sacre du printemps to the dodecaphony of cellent sound to match. Playing time: 42:04. longed high E, Smetana's chilling evocation Agon, this delightful potpourri of his roman- (CBS MK 39511.) R. R. R. e$ HIGH FIDELITY gpigAMSTERDAM LOEKI STARDUST: capture these masses' wide dynamic and priced Seraphim disc (and losing much of its VIRTUOSO RECORDER MUSIC emotional range. The choral tone is varied dynamic range in the process). THE SOURCE OF THE "STARDUST PART OF THE and well -blended, the other three soloists- In recent months, the recording has been ensemble name is not given in the linerJut ta Bokor, Attila Ffilop, and Kolos Ko- digitally remastered and issued on both notes, but at least we know they borrowedvats-are excellent, and the large, conven- black disc and cassette. Presumably this CD "Loeki" from a character: a lion that lately tional instrumental and vocal resources are is from the same new master. It sounds won- figured big in a Dutch television commer- powerful without seeming anachronistic. derful, with plenty of bass, and the remaster- cial. Just as the players' collective name sug- Moreover, Schubert's Mass in G is otherwise ing seems to have clarified the sound a bit. It gests a vital interest in nonconformity, sounavailable on CD. Playing time: 48:33. also seems to have taken some of the bite out does their performance style. To be sure, (Hungaroton HCD 12513-2. Distributed by of the brass and readjusted balances as well. the four young artists who make up the Am- Qualiton Imports.) K. R. S. Surely the forte horn statements at the end sterdam Loeki Stardust Quartet know exact- of the finale are more pronounced on the ly what they're doing when it comes to the ROUSSEL ORCHESTRAL WORKS: original LP, which remains, for those fortu- scholarly details of the 16th-, 17th-, and OFRENCH NATIONAL, PRETRE nate enough to own it, a sonic marvel. One 18th -century pieces (by Vivaldi, Frescobal- THE MAJOR AND CONSIDERABLE ATTRACTION might question issuing on a full -priced CD a di, Palestrina, Locke, Gibbons, and Byrd) of this new release is that it contains the com- performance that currently is available on a that make up their Virtuoso Recorder Music de- plete Bacchus et Ariane ballet of Albert Rous- black disc with a list price of $6.98, no matter but CD. Their delivery, though, is spicedsel, not just the more frequently encoun- how fine or historic the content might be. with more insouciance than the early -music tered Second Suite. Roussel, like Delius, has But surely all admirers of Stokowski will wish camp has ever known: The embellishments for far too long been considered a kind ofto have this highly individual, resplendent seem utterly fresh even on third or fourth lis- "cultivated taste." But even a listener com- performance. Playing time: 62:39. (Angel tening; the super -fast, super -crisp articula- ing to this score for the first time should find EMI CDC 47419.) R. E. B. tions, like the sonics, are always dazzling. it an absorbing experience, for the music is Playing time: 52:53. (Oiseau-Lyre 414 277- at least on a par with Ravel's more famous STRAVINSKY WORKS FOR 2.) J. W. Daphnis et Chki. OVIOLIN AND PIANO There is, however, a darker note for THE BEST-KNOWN FRUITS OF THE WORKING 1-i MOZART WORKS those already familiar with the work. This relationship between Igor Stravinsky and vi- ' FOR TWO PIANOS performance of the ballet by Georges Pretre olinist Samuel Dushkin are the 1932 Duo con- ORIGINALLY WRITTEN FOR THE YOUNG LADIES and L'Orchestre National de France, it must certante and the 1933 Suite italienne, both of of the Lodron family of Salzburg, the Con- be said, in no way eclipses the account re-which are offered by violinist Cho-Liang Lin certo in F for Three Pianos, K. 242, subse- corded by Jean Martinon for Erato. Nor is and pianist Andre -Michel Schub on this new quently was reduced by Mozart to a version Martinon's two -decades -old version of theCD. There's no attempt here to duplicate for two pianos, which is offered on this new Second Suite, on a stunning RCA LP, the spikiness of Stravinsky's and Dushkin's release taken from Alfred Brendel's travers- matched in any way. Charles Munch also re- performance style. These smoother, more al of the complete Mozart piano concertos. corded the suite, once in the 1950s on a glossy readings are in their own right abun- This beautiful, flowing piece is well per- mono LP and later on an all -but -impossible - dantly stylish and effective, though one formed by Brendel and his able English part- to -find French Lumen disc. All these ver- hopes Lin and Schub will not wait long ner, Imogene Cooper, as is the even better, sions deserve fresh life on CD; if that ever before addressing the familiar duo version but brief, Concerto in E flat for Two Pianos, happens, they would rank above the account of the Pastorale and the rarely heard arrange- K. 365. Both are admirably accompanied by under consideration. However, lacking bet- ments of selections from The Firebird, Mavra, Neville Marriner and the Academy of St. ter, one must recommend for the moment and Le Rossignol that also figured on the Stra- Martin -in -the -Fields. Playing time: 46:34. Pretre's version, which is paired with Le festin vinsky-Dushkin recital programs. An addi- (Philips 416 364-2.) L K. de l'araignie and Fragments symphoniques. The tional selection on the CD is the 1932 Diverti- sound is fine, but it misses the overall mento based on music from the ballet Le MOZART, SCHUBERT MASSES: warmth that would so enhance both master- Baiser de la fie. Playing time: 53:13. (CBS OSLOVAK PHILHARMONIC pieces. All in all, with the best will possible, a Masterworks MK 42101.) J. W. MOZART'S CORO:V.1710A MASS IN C, K. 317 (1779). highly qualified recommendation. Playing and Schubert's Mass in G, D. 167 (1815), time: 53:51. (Angel EMI CDC 47376.) HOUSTON SYMPHONY: make an ideal pairing, for both are speci- T. L. D. LAAMERKANA mens of church music written when their [A recording of the complete Bacchus et SERGIU COMISSIONA AND THE HOUSTON composers were still youthful prodigies. But Ariane, performed by L'Orchestre de Paris Symphony have a new Pro Arte release enti- though the Coronation Mass is an unques- under the baton of Charles Dutoit, is due for tled Celebrate America that starts off with a tioned masterpiece, the Mass in G is distin- release this season on an Erato CD.-Ed.] rousing account of our national anthem. guished only intermittently by typically Other Americana follows: Gould's American Schubertian lyricism and harmonic color. rowSHOSTAKOVICH Salute, Bagley's National Emblem March, a Otherwise, it can seem pompous and mock - SYMPHONY NO. 11 suite from Richard Rodgers's Victory at Sea, a sincere, hampered by rather cavalier and LEOPOLD STOKOWSKI AND THE HOUSTON George M. Cohan medley, Ives's Variations perfunctory text setting. Symphony gave the American premiere of on America, and-perhaps in honor of the or- Only soprano Magda Kalmar makes this Shostakovich's Symphony No. 11 (1905) in chestra's origin-Deep in the Heart of Texas recording impossible to recommend with- April 1958 and recorded it for Capitol short- and Yellow Rose of Texas. There is room for a out reservation. Her vocal tone is pinched ly thereafter. The notes accompanying this CD such as this, and Comissiona shows real and thin, and she demonstrates an almost new Angel CD reissue of that album quote imagination in his treatment of National Em- unbearable tendency to sharpen pitches, R. D. Darrell as hailing "this historic pre- blem and The Stars and Stripes Forever. (Addi- which distorts not only her solos but the en- miere recording of the Shostakovich Elev- tional selections: America the Beautiful, God sembles as well. enth," which is not true; EMI had already re- Bless America, and Meredith Willson's Seventy- Yet it would be wrong to dismiss this oth- corded it with the French National Radio six Trombones.) Engineers and recording site erwise fine release. The Slovak Philharmon- Orchestra conducted by Andre Cluytens, are not indicated, and perhaps for good rea- ic Chorus and Orchestra, under Janos Fe- with the composer in attendance. Stokow- son: The reproduction is shallow, character- rencsik's skilled direction, offer lusty and ski's account originally was issued on two less, and lacking in impact. Playing time: full-throated performances that never fail to LPs, later appearing on a single budget - 52:16. (Pro Arte CDD 263.) R. E. B.

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RSSSINIE 0Horne, aped, Pala: c Zoccoric, Marco di Nisso, Sdhincr; Tect-c. la Fenice Orcl-estro and Chorus qi'Velike t. Covid Motley, prod. CBS M3sterwooks 13%435.075 D,3). 'MOSE WHO ALREADY D...121W %ANC:RFD/ WILL BE nrerested t3 bar-) tFat he performanze in this album vesur-es the opera's recently re- covered tragic :caduding scene. The ac :ion o the libretto, Aker Tasso's poem Ge:wsdkamm, liberataa (1575 and Vol- ta -re's play Faitelde (I763).takes ?lace in an 1 lth-centn7 Syracuse besiegec by Sara- cens. The 12adet of she Senate has com- manded his daughter, Annenaide, to marry 0-bazzanc, a noble what has agreed to lead the army agairst :he Lutacsers. Armenaide, however, bees :he Crasader Tancredi, whom Orbwzanotban_shed as a child. ran- lovrs her, 1.krmen.ide sends. him an trkliquely wailed letter urging him to liber- ate the c_ty_ Orbazzant3 intercepts it, and MAR Y% .1 NNE HER FACILITY FOF both he and her 'ather misinterpret it as a ORNLAEMIATION W 3.1 SUITS HEF betrayal of the ci.7 to the leader o-Ethe Sara - TO DE RO.E OF TANCF DI. tits (who a so wants to marry Armenaide, although he makes no appearance in the op- of the chorus, created, in short, a tradition to era). Armenaide's father is compelled to which later composers ... could only look sentence her to death. Format Key back in awe." And the same was true, he said, Armenaide, meanwhile, comes upon of all Rossini's Neapolitan operas. This Tancredi within the city, unrecognized as an OLP hardly sounds like the work of a composer adult except by her. She urges him to flee for CD Cassette who felt nostalgia for the classical traditions his safety, but because she is unable to bring 3 Compact Disc of Tancredi. herself to tell him that she is marrying Or- At moments like these, Prof. Gossett, bazzano only in obedience to her father, he CSO Videocassette who knows more than almost anyone else believes she is betraying him, too. Although Videodisc about Rossini, writes as an advocate making he has Armenaide's death sentence lifted by Open reel a case for restoring his operas to the reper- duelling Orbazzano for her honor, he ig- tory. Anyone not similarly immersed in the nores her pleas for understanding; embit- RECORDING INFORMATION project may find it hard to be carried along tered, he goes into battle against the Sara- (A) analog original with his enthusiastic response to each one. cens on behalf of Syracuse and is slain. (D) digital original On the other hand, listeners who cannot As Julian Budden observes, most opera se- hear in Tancredi the "strong dramatic action" Large symbol nenewn title indicates reviewed format. ria of the period in Italy, with the exception Small symbols following catalog number of reviewed or - I do not believe Rossini set out to provide, of those drawn from classical literature, con- mot indicate other available formatsif any). may find instead, as I do, that its separate Catalog numbers of all formats of a particular record- cluded with the happy resolution of such ing usually are identical except for differing prefixes or numbers, particularly those for Tancredi misunderstandings between characters. For suffixes. Catalog numbers of formats other than the re- and for Armenaide in the second act, are im- Tancredi, then, Rossini originally wrote a viewed format ore printed only if their basic numbers dif- fer substantially from that of the reviewed format. pressive enough if they are simply taken for happy ending: Tancredi's victory was fol- Arabic numeral in parentheses indicates number of what they are: opportunities for beautiful lowed by Armenaide's revelation to him of items inmulti -item set. Unless otherwise indicated, all singing. Rossini's orchestral introductions multi-IP sets are in manual sequence. her dilemmas and subsequently by their and interludes are engaging as well. marriage. Until recently, this conclusion was Given the sort of opportunities offered, the only one that was known. However, for a about hope, despair, anguish, courage, de- Marilyn Home's sensitivity, rhythm, intona- revival a few months after the premiere, Ros- votion, and the like does little more than tion, and accuracy in ornamented passages sini substituted an ending truer to Voltaire's provide vehicles for the deployment of im- suit her for the role of Tancredi. Without de- play, one in which Tancredi had matters ex- pressive voices in varied displays of stylized, tracting from those qualities, one may note plained to him only as he lay dying after his melodramatic expression. There is no char- that the warm luster of her middle and upper victory over the Saracens. This departure acterization, no narrative development, and notes contrasts with the hollow timbre of her from tradition displeased the audience, so little cumulative or cohesive musical struc- low ones. Some may find the wobble in her Rossini discarded it. By the time he came to ture between numbers (even when they fol- upper register at high volumes, and in her write Otello, three years later, he was suffi- low one another without pause). Even in the lower register at all levels, disturbing in the ciently famous to do as he liked: to end a reflections of Armenaide in prison and of slow numbers (though not in all: Her singing tragedy with the deaths of the principals (al- Tancredi as he goes into battle, Rossini's of "Ah! the scordar non so" in Act II is beauti- though even then he was asked, for a revival musical invention does not rise above the ful) and not always attractive in duet with in Rome, to compose a final duet in which pretexts the situations offer for composing Lelia Cuberli, the Armenaide. Yet it is hard Otello and Desdemona patched things up). the formal airs and duets the public expect- to imagine anyone today articulating thefio- Those who do not know Tancredi, but ed to hear. The object in Tancredi, it seems rature more brilliantly than she does, and who do know Rossini's later operas, both to me, was for the listener's attention to re- those are an important feature of Tancredi. comic and tragic, as well as the Italian comic main undiverted from the brilliance of the Fiorature-the embellishment of a line of operas of Mozart and the dramatic operas of singing. melody by rapid figuration, particularly to 19th -century Germany, Austria, France, and I say "it seems to me" because my friend work a variation on a passage's repetition- Italy-operas in which the musical numbers Philip Gossett (the Robert W. Reneker Dis- had as their purpose the intensification of arise, at least ostensibly, out of the develop- tinguished Service Professor of Music at the the emotional sense of the music. The agility ments of the plot-may wish to be alerted to University of Chicago, member of the Edito- of the singer was admired, but at its best it some of the conventions of opera seria in or- rial Board of the Edizione critica delle opere di was admired for its use in expanding upon der to be prepared for what may seem to be Gioachino Rossini, and the writer of the notes and dramatizing what had just been sung. the comparative dramatic stasis of Tancredi. for this album-to give him all the titles he Because operas in the 18th and 19th cen- In Le Nozze di Figaro, for example, Mozart owns up to whenever he writes taking um- turies were written on commission from spe- uses the formal a -b -a structure of an aria like brage at something I have said) finds the cific theaters and for specific casts, compos- "Dove sono" to heighten the effect of the dra- work more affecting than I do. More than ers wrote embellishments that fell within matic situation. The quietness of the aria's that, he senses in the later operas, such as La those particular singers' capabilities. Often beginning, the outburst in the middle, and Donna del lago, Guillaume Tell, and Semiramide, this was done at the rehearsals. When a suc- the subsequent repetition of the calm open- which I find musically and dramatically more cessful opera was transferred to another the- ing music serve to reflect the aristocratic involving, "a nostalgia for the classical art of ater, it was altered for the smaller or larger countess's initial outward composure in the Tancredi. .. . [It] represents youth, senti- forces available. If the composer had a hand face of her husband's infidelity; her momen- ment, vitality; whatever his other achieve- in the new production, he himself rewrote tary conquest over pride, which enables her ments, Rossini could never again recapture the arias and ensembles to suit the various to address her anguish; and her gaining of quite so perfectly these elusive qualities." singers (the melodic lines as well as the em- the inner composure that enables her to act. But it must be remarked that Prof. Gos- bellishments); he might rewrite the orches- The countess, then, immediately engages sett also said of La Donna del lago, when he tra's parts, too, which even in Verdi's time our interest because of the way Mozart con- came to write the jacket notes for a record- were likely to have been scored initially only trives to use musical form for dramatic pur- ing of it, that in this, "perhaps Rossini's most at the rehearsals for the premiere. poses. In Violetta's "Sempre libera" in La Tra- tuneful opera," the composer "embraced all If the composer was not involved, the viata, Verdi employs the traditional cabaletta musical techniques known to him, pushed singers altered the notes to suit themselves; to the same end. into dramatic and structural territory largely the more willful did so even at the premiere. In Tancredi, on the other hand, the series uncharted in Italian opera, explored the And what the singers did for themselves was of solo and concerted numbers on texts riches of the orchestra, redefined the nature (CONTINUED ON PAGE 7 6 ) 71 HIGH FIDELIT Y HOW WE STACK UP AGAINST THE COMPETITION

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Carver Corporation P.O. Box 1237 Lynnwood, WA 98046 Distributed in Canada by Evolution Technology (CONTINUED FROM PAGE 72) dio recording. On my equipment, the voices ing of the Serieuse and the Singuliere under sometimes done only to indulge their vocal and strings have a slight, unnatural, elec- Hans Schmidt-Isserstedt, and a lone Capri- limitations and poor taste, as well as to satis- tronic gloss, removable by reducing the tre- cieuse on a small Swedish label. Then, in fy that portion of the audience that would ble.Texts areprovided. Thomas Hathaway 1977, came an EMI album of four discs gath- applaud any display, however grotesque, by ering practically everything Berwald wrote a favorite artist. The recent discovery thatin ALWYN: for orchestra: the four symphonies, the five 18th- and 19th -century practice singers in- Rhapsody for Piano Quartet*; String Trio; symphonic poems, two overtures, and the serted embellishments of their own, not String Quartet No. 3. concertos for piano and for violin. The per- found in the printed parts, has brought with D. Willison*; Quartet of London. Martin formances, by the Royal Philharmonic Or- it the interpolation of anything and every- Compton, prod. Chandos ABRD 1153 (D). chestra under the Danish conductor Ulf thing by singers with no understanding that THE BRITISH COMPOSER WILLIAM ALWYN DIED Bkniin, were fairly good but did not reach fioriture were meant to be governed by dra- on September 11, 1985, just two months the exceptional quality of the old Markevitch matic purpose. before his eightieth birthday. He accom- record. There obviously was room for some- Rossini came to abhor the liberties sing- plished much in his long career. Along with thing better, and this-as far as the sympho- ers took with his music (his complaints about producing more than 60 film scores and a nies (Berwald's masterpieces) are con- this practice can be found in his letters). Ear- raft of works for orchestra and chamber en- cerned-has arrived in the form of the ly in his career, he broke with tradition and semble, he was an influential radio commen- present set of two Compact Discs, recorded began to write out embellishments in his tator, a respected teacher at the Royal Acad- in Gothenburg in May 1985, and its superla- manuscripts without regard for specific emy of Music, a poet and translator oftive technical quality. singers, embellishments he could reason- French poetry, an essayist, a painter. Written within a short period of hardly ably ask any competent artist to follow with What is presented here complements the four years, between 1841 and 1845, which little deviation. The fwriture in the new, re- recordings of song cycles, piano pieces, and makes them roughly contemporary with the vised score of Tancredi are less extensive than other chamber works that Chandos has late- symphonies of Schumann and Mendels- those Home sings, but in his notes for this ly issued. The chronological range is broad, sohn, Berwald's four essays stand quite album, Prof. Gossett slithers away from re- but one need not listen too carefully to hear apart from any other music of the period. vealing which he would have preferred. He in the lyrical and often tonal Third Quartet In sheer concision and formal balance, merely observes, "Whether modern singers of 1984 the same communicative urgency, they are the works of a true classicist. They adopt Rossini's ornamentation or provide or feel the same warmth, as that which comes all last between 25 and 30 minutes, and their their own, they must use it for expressive through so convincingly in the unashamedly unique mixture of healthy vigor, fiery pas- ends. When properly applied, it adds an im- romantic Rhapsody of 1938. Indeed, even sion, exquisite humor, and gossamer, quick- portant and absolutely authentic dimension during those years when he went the serial silver lightness brings Haydn to mind-a to Rossini's score." For a recording for one's route, Alwyn never lost sight of his humanis- Haydn, however, who would have known library, Rossini's own notes would seem tic goals; for all its manipulations of the ger- both Mendelssohn and Berlioz. There is to have been the best choice. However, minal twelve -note row, the 1962 String Trio nothing in them that recalls the sombre, Home's interpolations are less excessive similarly remains at every moment the work brooding moods usually associated with the than is usual with her, and I do not find that of an artist for whom heartfelt expression North; on the contrary, one finds a lean vital- they encumber the music. was the ultimate concern. ity, a straightforwardness, and a smiling ex- As Armenaide, Lella Cuberli sings with In terms of the performance by the Quar- troversion that seem to foreshadow another beauty of voice and cohesive musical phras- tet of London, sonically, and in every other great symphonist of the North: Carl Nielsen. ing in her first scene in Act I, but she sings way, this is an extraordinarily beautiful Just compare the opening of Berwald's Sym- less impressively later. (She is the Arme- product. James Wierzbicki phony No. 4 to that of the Dane's Symphony naide in a Fonit-Cetra studio recording, too, No. 3 (Sinfonia Espansiva). Berwald's music with Fiorenza Cossotto and the Cappella BERWALD: was far too bold and original to gain appreci- Coloniensis.) The voice of tenor Ernesto Pa- Symphonies: No. 1, in G minor ("Serieuse"); ation during his lifetime, and in fact only the lacio (Argirio, Armenaide's father) is attrac- No. 2, in D ("Capricieuse"); No. 3, in C Serieuse was played (once) before his death. tive, except when he strains after the highest ("Singuliire"); No. 4, in E flat. No doubt had he received more encourage- notes. His delivery does not have the light- Gothenburg Symphony Orchestra, iiirvi. Deut- ment, he might have written several more ness and ease Luigi Alva's singing had in La sche Grammophon 415 502-2 (D, 2).0(2). I=1 symphonies after 1845. Cenerentola and 11 Barbiere di Siviglia, which (2). By common consent, Berwald's Third demonstrated that this was not only possible NEEME JARVI SURELY MUST BE ONE OF THE Symphony (Singuliere) is the most remark- but probably what Rossini expected. The busiest conductors of the day, both in the able of the lot, the most strikingly original: other principals are adequate. The orches- concert hall and in the recording studio. The very opening is music of unsurpassed tra, with the exception of the English horn in With the Scottish National Orchestra, he has magic, and the middle movement encom- Armenaide's scene in prison, plays animat- completed an integral recording of the Pro- passes a scherzo within two slow sections in a edly and well under the direction of Ralfkofiev symphonies and has started a Shosta- way that Rachmaninoff, 90 years later, was to Weikert. kovich symphony cycle. With the Gothen- revive in his own Symphony No. 3. It is also The singers are accompanied here by a burg Symphony, he is busy recording all of the most frequently performed and record- small ensemble of players, as they might Sibelius's orchestral music, as well as Niel- ed. The noble Serieuse, sometimes looking have been in Rossini's time, although it is sen's and Stenhammar's. He has also started forward to Bruckner, is perhaps a deeper ut- not an ensemble playing early instruments, to put on disc the ten symphonies by his Es- terance (its magnificent slow movement was as is the case on the Fonit-Cetra set. I cannot tonian countryman Eduard Tubin. As if that played at 'Berwald's funeral), and the Sym- hear any disadvantage. Because the record- weren't enough, here is a complete set of the phony No. 4 is the lightest and most Haydn- ing was assembled from live performances four symphonies of Franz Berwald. ish of the bunch-a true comedy, like Bee- (and from a few rehearsals or make-up ses- These wonderful scores have been re- thoven's Eighth. sions, judging by those passages in which corded several times, and one remembers a The Capricieuse, lastly, has come down to suddenly there is no sound of an audience), pioneering Deutsche Grammophon LP by us in a sketchy form, the full score having the soloists do not sing at a consistent dis- Igor Markevitch and the Berlin Philharmon- been mysteriously removed from the com- tance from the microphones. Otherwise, the ic Orchestra containing the Singuliere and the poser's shelf a few days after his death, and it recorded sound is agreeable, if not as cleanSymphony in E flat, a similar coupling on has always been considered the weakest of or spacious as it might have been from a stu- Decca/London under Sixten Ehrling, a pair- the four. Admittedly, it suffers from some 76 HIGH FIDELIT Y repetitiveness, but a performance as fine as and second quartets to come from Arthur dices, then definitely his inclinations. If the one under review raises it to a level al- Bliss's prolific pen: They were preceded by asked to define my ideal rendering of Dvo- most equal to that of its companions. at least two other essays in the medium (one fak's autumnal Opus 90, one of the summits In general, these are exceedingly beauti- from c. 1915 and the other from 1923-24), of the chamber repertory, I'd have described ful performances, by and large the best ever which were withdrawn even though their ini- something very like what the Francesco Trio recorded of these marvelous works. Listen tial reception might have been regarded by a (violinist David Able, cellist Bonnie Hamp- to the somber vigor of the outer movements less self-critical artist as encouraging. When ton, and pianist Nathan Schwartz) offers of the Shieuse or to the bubbling sparkle oflistening to the "mature" quartets recorded here: a performance most often whispered, the last two movements of the E flat! One here, one can't help but wonder about the nocturnal. As the piano meditates on its re- small idiosyncrasy should be mentioned: At content of those works from Bliss's almost peated chords at the start of the second the end of the SinguliereJaryi chooses to play forgotten enfant terrible period. These are se- movement, the cello can barely find the the penultimate hymnic bars twice rather rious, meticulously crafted statements from strength to begin. That kind of hushed hesi- than once as indicated by the composer, and a composer well on his way to being named tancy is where this threesome most excels, in this is followed by a broadening of tempo in Master of the Queen's Music (the appoint- a performance that reminds us how much of the very last bars. J aryl thinks Berwald's ment came in 1953), yet they seem rather the string writing is marked con sordino. original ending to be too sudden and stolid as well as solid, lacking both the lyric The version by the Suk Trio (led by the abrupt, but in my opinion, this is precisely freedom and rhythmic drive characteristic composer's great-grandson, Josef Suk, with what the composer wanted. The effect on of, for example, the 1920 Conversations for cellist Josef Chuchro and pianist Jan Pan- most of the older recordings mentioned is flute, oboe, and string trio or the 1927 Quin- enka) reminds us how often the strings are quite shattering, more so than J aryl's at- tet for oboe and strings. In any case, the per-required to play full out. This is a perfor- tempted monumentalization. But don't let formances by England's Delme Quartet aremance of enormous energy, the Czech trio this very slight quirk deter you from getting as impassioned as the music allows them to reveling in the contrasts between each dum- an album that by any standard is one of the be, and the sonics meet Hyperion's usual ka's fast and slow sections. I hadn't anticipat- most successful of the year and the definite veryhigh standards. James Wierzbicki ed the benefits of such urgency, but they are recommendation as far as Berwald's sym- startling. If the Francesco is more contem- phonies are concerned. Harry Halbreich DVORAK: plative, the Suk has a special affinity for the Piano Trio, Op. 90, "Dumky." work's frequent ride -the -wind vivaces. Its B LISS: Francesco Trio. Wilson Audio W 8416 (D). (2 members play throughout with a frank and String Quartets: No. 1, in B flat; (:) Sinaloa Ct., Novato, Calif. 94947.) gorgeous freedom, a generous rubato made N o. 2, in F minor. DVORAKI possible by their truly splendid technique: Delme String Quartet. Edward Perry, prod. Piano Trio, Op. 90, "Damky." Suk's runs upward are just that much easier, Hyperion A 66178 (A). 3 Suk Trio. Denon CD C37-7057 (D). his rhythms sharper, than those of his THESE PIECES DATE FROM 1941 AND 1950, THESE TWO RELEASES TOGETHER HAVE Francesco counterpart, and the pianist com- respectively. They are not, in fact, the first conspired to break, if not a critic's preju- mands a wider range of effects than does his STRATAS BALANCRINE SINGS A Balanchine Album features four of George WEILL Balanchine's most enduring ballets: Tchaikovsky's Stratus Sings Weill is Teresa Stratas' longawaited Serenade, Hindemith's The Four Temperaments, follow-up toThe Unknown Kurt Weill Only the sec Stravinsky's Agon, and Emeralds (with music from ond solo recording in her career, it features fifteen Faure'sPelleasand Shylock), performed by the New of Weill's greatest American, French and German York City Ballet Orchestra, Robert Irving, conductor. theatre songs inthe composer's original orches- 'Just as there is a Balanchine style in choreography trations, with Gerard Schwarz conducting the Y and in dancing, there is a Balanchine-or Balanchine) Chamber Symphony.

Irving-stylein the performance of music. Irving Nonesuch 1791311 brings to the music years of watching the ballets being created, reshaped, rehearsed and performed... and so the scoire for him is not only a cluster of black notes on white paper, but the images of dancers dancing as weN:' (from the liner notes) Nonesuch 1791351

photo credits: Henn Cartier-Bresson Iletth Beth Bergman © 1986 Irightl

ON NONESUCH RECORDS, CASSETTES AND COMPACT DISCS

01986 Elolcoof.,yloodlAonesodf Records. o Doovon of Warner Common9ofion, Inc .0' opposite number. The Suk account, in Den- exhibiting less bravura pianistically, capture Proffitt as "a choral Mount Everest," Har- on's firm and focused sound, is enormously more of the essential Gershwinian lilt and in- ris's setting of texts from Whitman's Leaves of compelling. Hats off to the Francesco, and souciance of these eternally haunting melo- Grass demands a near orchestral range of ex- an even deeper bow to the Suk. dies. pression from its a cappella vocal forces. It is Thomas W. Russell III Pennario does well with the more extro- performed effortlessly by the Roberts Wes- verted remainder of the program, perhaps leyan College Chorale conducted by Robert GERSHWIN: particularly so with the rambunctious Jasbo Shewan. Two other Harris choral pieces, Works for Piano (29). Brown Blues and the early, raggy Rialto Rip - plus the Hanson and Sowerby offerings Pennario. Patti Laursen, prod. Angel EMI 4DS pies, written in collaboration with Will Don- (most with organ accompaniment by Barba- II37359 (D). 00 CDC 47359. aldson. Throughout, the digital technology ra Harbach), round out this most welcome "Song -book": Swanee; The Man ILove; I'll copes realistically with the severe demands disc. Noah Andri Trudeau Build a Stairway to Paradise; Do It Again; Fascinat- of the soloist's somewhat hard -toned pian- ing Rhythm; Lady, Be Good; Nobody but You; ism. R. D. Darrell JANEQUIN: Sweet and Low-down; 'S Wonderful; Clap Yo' Ch (9). Hands; Somebody Loves Me; Do, Do, Do; My One HARRIS: SERMIST: and Only; I Got Rhythm; That Certain Feeling. Choral Works. Chansons (8). Strike up the Band; Who Cares?; Liza. Porgy HANSON: Clement Janequin Ensemble. Harmonia Mundi and Bess: Jasbo Brown Blues. Three Preludes: in B Choral Works. HMC 901072 (A). flat; in C sharp minor; in E flat minor. Promenade SOWERBY: JANEQUIN: Voulez ouir les cris de Paris; Ung ("Shall We Dance": "Walking the Dog" se- A Liturgy of Hope*. marl se voulant coucher; Du beau Tepin; Or vien ca, quence). Two Waltzes in C. Merry Andrew. Prim- Harbach*; Roberts Wesleyan College Cho- vien, m'amye; La guerre; La Meusniere de Vernon; rose Ballet. Three -Quarter Blues. Rialto Ripples. rale, Shewan. John M. Proffitt, prod. (A). (Mu- L'Amour, la mort, et la vie; Martin menoit son por- THE ONLY TROUBLE WITH GEORGE GERSHWIN'S sic Dept., Roberts Wesleyan College, 2301 West - ceau; Au joly jeu du pousse avant. SERMISY: Lan- elaborate song transcriptions as published side Dr., Rochester, N.Y. 14624.) guir me fais sans t'avoir offensee; Je n'ay point plus in his Song -book is that they are tantalizingly Harris: Symphony for Voices; When Johnny d'affection; La, la, Maistre Pierre; Secourez moy, brief: Too often, just as they grip one, they Comes Marching Home; Three Songs of Democra- ma dame, par amours; Dont vient cela, be'lle, je stop. The composer's private performances cy on Poems of Walt Whitman: To Thee, Old vous supply; Jouyssance vous donneray; Au joly must have gone on at far greater length. Cause; Year That Trembled; Freedom, Toleration. boy; Tu disoys que j'en mourroys. Leonard Pennario's don't, but his steely -fin- Hanson: A Prayer of the Middle Ages; "How ONE OF THE GREATEST JOYS YOU CAN HAVE gered virtuosity enables him to cope with the Excellent Thy Name"*; "I Will Lift Up Mine writing about music comes when you discov- pieces' technical demands better than most Eyes"*; "Praise Ye the Lord*." er, with no preparation whatever, something who have tackled them on or off records. AT LAST, ROY HARRIS'S SYMPHONY FOR !VICES absolutely first-rate by global standards and Nevertheless, I feel that the 1973 Nonesuch has been given a modern recording. Aptly can share that joyous discovery with readers versions by William Bolcom, while certainly described by producer/annotator John everywhere. I can do that now, thanks to this

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e 1986 Discwasher A Division of International Jensen Inc. wonderful selection of four-part chansons by likes of Walter Gieseking and Lili Kraus. Clement Janequin and Claudin de Sermisy, Uchida is convincing, too, in the more naive- both of whom flourished over 400 years ago, ly endearing Sonata No. 1 of 1775, as well as performed here by a superb French male in the great last one of 1789. quartet-France's answer, in a way, to The If you have been as slow as I was in catch- King's Singers. They make this marvellous, ing up with Uchida's Mozart sonata series sometimes robustly bawdy music come as vi- (this is the fourth release to appear in this brantly alive as if they were singing new country), I can assure you that it will be well works with the ink still wet on the page. worth your while to make up for your tardi- Hail to all four and to Claude Deboves, ness as soon as you can. R. D. Darrell who from time to time lends a hand on the lute. Generally speaking, the eight Sermisy MOZART: selections tend toward the contemplative, Sonatas for Piano: No. 8, in A minor, K. 3 10; the nine Janequin pieces toward the jolly, N o. 14, in C minor, K. 457. the lusty, the downright pornographic. The (=I Brendel. Philips 412 525-4 (D).O3 ensemble savors them all with impartial en- HAYDN: thusiasm and artistry. A leaflet provides Sonatas for Piano: No. 30, in B minor, texts, but in archaic French only, which will Nob. XV1:32; No. 39, in E minor, Nob. XVI:34; probably drive you to a French-English dic- N o. 42, in D, Nob. XV1:42; Fantasia in C, tionary-a big one-to find out what gets N ob. XVII:4; Adagio in F, Nob. XVi1i9. these four bucks so invigorated. Anything MITSUKO UCHIDA: POWERFUL MOZARTEAN IMPRESSIONS (=I Brendel. Philips 412 228-4 (D).03 that this extraordinary group performs de- ALFREDBRENDEL'S NEWLY RECORDED serves particular attention. Hurrah! interpreters make so immediately powerful versions of Mozart's two great minor -key pi- Paul Moor an impression. Uchida's greatest talent may ano sonatas, K. 310 and K. 457, are likely to well be her remarkable independence of fin- strike the unprepared listener as graceless, MOZART* ger control and powers of precise articula- needlessly emphatic, and marred by awk- Fantasia in C minor, K. 475; Sonatas for tion and differentiation of line. But she has ward rhetorical gestures. Beneath this unat- Plano: No. 1, in C, K. 279; No. 12, In C genuine gifts of graciousness and eloquence tractive surface is a musical conception of K. 457; No. 17, in D, K. 576. in addition to sheerly technical expertise. great intelligence and strength: Brendel Uchida. Philips 412 617-4 (D).OG The sometimes somber drama of the famous here is worlds away from the old-fashioned, I'M ASHAMED TO CONFESS THAT THIS IS THE C minor Fantasia/Sonata combination superficially "pretty" Mozart of such old - first recording I've heard of the Japanese pi- emerges more movingly here than in most school pianists as Walter Gieseking. But a anist and Mozart specialist Mitsuko Uchida. I recorded versions I've heard lately; hers casual comparison with, say, Dinu Lipatti's shan'tmiss anyfrom now on, for few Mozart surely ranks alongside the great ones by the very beautiful recording of K. 310 (Odyssey

M TSB A 1, AM Elt It A I I The Hit of the Season... International Directory of the Performin g Arts 41,;:ifli'°Olt USE THIS FORM TO RESERVE YOUR COPY OF THE DIGITAL 1987 EDITION ... Please reserve The 1987 Directory -as checked below- and rush my copy upon publication. CHRISTMAS ; ( ) Send Deluxe Hardcover Edition $100 (0,Ard/ifi( ( ) Send Softcover Edition for $60 Christmas like you've ( ) Check Enclosed. Charge my () Visa () Mastercard nt.ver heard it before. All your favorite holi- NAME day songs arranged, de- signed and produced ADDRESS especially for compact disc. This definitive CARD NUMBER EXP. DATE hour long* collection is performed brilliantly by SIGNATURE Orchestra Manhattan and features a magnifi- DON'T BE cent chorus. Add $20for air freight or $10 for DISAPPOINTED! surface for each order shipping outside DIGITAL CHRISTMAS...for serious audiofiles and the U.S. lovers of great music. R.S.V.P. TODAY! IT'S THE ONE GIFT THEY WON'T ALREADY HAVE. Last year's editionwas a SELLOUT! A.*41 DIGITAL CHRISTMAS featuring Orchestra A yiManhattan. Conducted by Byron Olson. Musical America Directory, c/o ABC Consumer Magazines, Inc. Circulation Department, 8th Floor, New York, NY 10019HF1186 On Manhattan compact disc. El*Actual running time 66:23 minutes. 31 26 0320) reminds us that Mozart, even at his most demonic, is not middle -period Bee- thoven. Brendel's forceful approach to the Critics' Choice minor -key Mozart is undeniably stimulating, but it goes too far. The most noteworthy releases The latest installment in Brendel's reviewed recently Haydn series for Philips, on the other hand, is straightforward and satisfactory. Al- B ACH: though Brendel has played the B minor So- Sonatas and Partitas for Solo Violin, nata with greater wit and incisiveness in con- B .W.V. 1001-6. cert, these performances are better than Mintz. 0 Deutsche Grammophon 413 810- anything else currently available on record 2, May. and a worthy continuation to what looks to B ERIO: be the best Haydn sonata series (on a mod- Sinfonia; Eindriicke. ALFRED BRENDEL: SOMETHING FOR FANS OF BRENDEL OR HAYDN ern piano, anyway) that has appeared so far. The New Swingle Singers, Orchestre na- tional de France, Boulez. 0 RCA Erato ECD 88151, June.

COPLAND: Billy the Kid; Rodeo. St. Louis Symphony Orchestra, Slatkin. Angel EMI 4DS 37357, July.

HANDEL: Solomon. Watkinson, Argenta, Hendricks, Rodgers, Jones, Rolfe Johnson, Varcoe; Monteverdi Choir, English Baroque Soloists, Gardiner. O Philips 412 612-4, June.

HAYDN: Symphonies Nos. 94 and 96. Academy of Ancient Music, Hogwood. Oiseau-Lyre 414 330-4, June.

MAHLER: of catalog conivlete directly Symphony No. 5. The most comes old favorites Philharmonia Orchestra, Sinopoli. 0 Deut- No weremonthly!and your releases month.featuring: sche Grammophon 415 476-2, June. new CD every releases tyour home fateseveltnonttl--Plusind thenewest of of new help you RAVEL: symbols to cross-referingcomposes/ Hundreds with -spot" designed and by Songs (complete). "quick titlelwork andClassical Uniquelyby song Jazz, Pop 011 wow ,Vtk super-iast. Bacquier, Berganza, Van Dam, Lott, Mes- releases listed hi releases, all classical1,500 titles recent ple, Norman, Baldwin; Orchestre du capi- artist. Over -0i the mostandnformative! reviewsFidelity.Timely CD tech- tole de Toulouse, Ensemble de chombre de elect Nigh in the 50 *tors of trends! by the e the latesttop ofthe l'Orchestre de Paris, Plasson. 0 Angel EMI you on DSCX 3965, July.

Exciting,u?nates--on ution.liseeps 0mAyours at a nolog,ical revo can be issues for SCHUMANN: INTRODUCTORNCD catalog12 full SPECIAL completeYou get ot 547.40. Now themost cover price Symphonies Nos. 1 and 4. regular Catalog to greatintroducory.price.oft the Disc it Vienna Philharmonic Orchestra, Bernstein. $35-25% Compact oth. Make justBring theSchwalmfascinating library. O Deutsche Grammophon 415 274-2, July. month afterCD referencethis special your homepart of your and nio_y today, SCHUMANN: atreasured Order savings! Symphony No. 3; Concerto for Piano r - - and Orchestra, in A minor, Op. 54*. tWU-Slou Frantz*; Vienna Philharmonic Orchestra, I svos coolso: I YES!I want all the hottest CD news at 25% off. Bernstein. 0 Deutsche Grammophon 415 Send me 12 issues (I full 358-2, July. year) of the Schwann Compact TIPPETT: Disc Catalog for only $35. Sonatas for Piano, Nos. 1-4. Rates good only in U.S. and Crossley. 0 CRD 1130.31, June. are subject to change. Canada: $45 (U.S.)- via 3rd Name Class Mail or Printed Matter. RECITALS AND MISCELLANY Pan American & Foreign Address Rates: $85 (U.S.) via air THE RECORD OF SINGING, VOL. 3. mail-$50 (U.S.) via surface mail printed matter. City Various vocalists, orchestras, and accom- panists. ()Seraphim IM 6143, May. Allow 6-8 weeks for delivery State of first issue. lip El Payment enclosed Complete and return to: Schwann Compact Disc Catalog Subscription Dept., P.O. Box 41094, Nashville, TN 37204 S H A The Mozart album, in short, is for Brendel music, will have a particular appeal to two fans, the Haydn for Haydn fans. groups: those with a special interest in an- Terry Teachout cient music (in this case, 11th to 13th centu- ry) and those who have fallen under the spell BRAND.VI STILL: of Carl Off 's boisterous, glorious work of Symphony No. 3 ("Sunday Symphony")*; the same name, which owes its existence as STTEREOEI DE0 Instrumental and Choral Works. well as its title to the collection of manu- EQUIPMENT PLUS AUDIO & VIDEO TAPE yore Umiker**t, Tollefson**t, Garrisont, Magillt; scripts excerpted here. They first came to "r....f,\-DEALER PRICES t North Arkansas Symphony Orchestra, light in 1803 in Benediktbeuren, that ba- Woods*. Schola Cantorum of the University of Ar- roque jewel of a monastery not far from kansas, Grohtt. North Arkansas Symphony Or- Munich. * NO -RISK, NO DEPOSIT chestra NASO 1001 (A). (P.O. Box 1724, Fayette- Pious, roistering, contemplative, ribald, Telephone ordering. ville, Ark. 72702.)n(William Grant Still Music thesecarminaoriginated mostly from the Go- NOTHING TO PAY TILL YOU Society, 26892 Preciados Dr., Mission Viejo, Calif. liards: lapsed monks who roved Europe, RECEIVE MERCHANDISE 92691.) "drinking, gaming, lazing, indulging in or- *SAME DAY SHIPPING ON Instrumental works: Romance for Saxophone gies and prostitution," according to Dr. Cle- Orders called in before 1 pm and Piano**; Folk Suite No. 4 for Flute, Clarinet, mencic, who describes some of the amatory * 90 -DAY LEMON -PROOF Cello, and Pianot. Choral workstt: Three Rhythmic ditties as "definitely immoral." EXCHANGE POLICY Spirituals (Lord, I Looked Down the Road; Hard Tri- These solo singers and instrumentalists als; Holy Spirit, Don't You Leave Me); I Feel Like My perform thecarminawith superb lustiness, * OPEN 12 HOURS A DAY Time Ain't Long. and it annoys me that I can't tell you their DAILY, 9 TO 9, SAT., 10 TO 5 names and the fascinating instruments they CALL play with such virtuosity. In those respects and others, the accompanying booklet '488-9600 leaves much to be desired-in order to com- pare the English translation with the original IHNITrIRNATIONAL (usually Latin) text, you have to flip about 17 1114 pages back and forth, and four texts go com- d, DISTRIBUTORS pletely untranslated-but I commend the music and performances to you as some- MORAVIA CENTER INDUSTRIAL PARK thing very special indeed. This disc contin- ues Harmonia Mundi's exceptional series, BALTIMORE, MD. which should win many new friends for p 21206 "old" music. Paul Moor

DIMENSIONAL PURITY VANDERSTEEN AUDIO Vandersteen Audio was founded in 1977 with he commitment to offer always the fines in music reproduction for the dollar, Toward this goal there will always be a 20 high degree of pride, love, and personal satisfaction involved in each piece before it leaves our facilities. Your Vandersteen dealer DEAN OF AFRO-AMERICAN COMPOSERS, WILLIAM GRANT STILL shares in this commitMetit, and has been HERE'S A HOME-GROWN PRODUCT STRAIGHT carefully selected for his ability to deal with from Arkansas that features loving accounts the complex task of assembling a musically of music by William Grant Still. One side is satisfying system. Although sometimes hard to find, he is well worth seeking out. devoted to Symphony No. 3(Sunday Sympho- ny),one of Still's facile, colorful, naive, yet Write or call for a brochure and the name of your nearest dealer. attractive evocations of his warmly humanis- tic and pacifistic world view. The students, 0 VANDERSTEEN AUDIO 116 WEST FOURTH STREET trg faculty, amateurs, and professionals that r- HANFORD, CALIFORNIA 93230 USA make up the North Arkansas Symphony ob- (209) 582-0324 viously rehearsed a lot for this performance. which is polished enough to pass muster. Side 2 contains a mix of Still's chamber and choral works, providing a nicely balanced Nationwide Electronic Distributors, Inc. tribute to the "Dean of Afro-American Com- $100.00 REWARD "The service that spans the nation" - over 130 brands. posers." Noah Andre Trudeau If we cant beat your best deal, CHRISTMAS HOLIDAY SUPER BLOCK BUSTERS

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BY NOAH ANDRE TRUDEAU

BERNSTEIN, E.: The Black Cauldron. ,.., Utah SymphonyOrchestra, Bernstein. George Korngold, prod. Varese Sarabande STV 81253 (D). 00 VCD 47241. PURE MAGIC. VETERAN FILM SCORER ELMER Bernstein is back with a full symphonic soundtrack showing that this "old timer" has still got the right stuff. Propelled by a vi- tally American rhythmic sense, Bernstein enters the fantasy realm with nary a blink and deftly unfolds a score at times heroic, at times mock-heroic. Never a dull moment, even when the music is marking time. A spe- cial treat.

NOLDRIDGE: Transylvania 6-5000. Zagreb SymphonyOrchestra, Holdridge. rase Sarabande STV 81267 (A). IT IS DEVILISHLY HARD-SOME WOULD SAY fiendishly impossible-to write music that is funny. Lee Holdridge gives it his best shot in this symphonic concoction replete with quotes from horror classics and the inevita- bly twisted setting of the Glenn Miller stan- dard. Suffice it to say, Holdridge's best shot 0is not enough. A trick.

MANCINI: Lifeforce. London Symphony Orchestra, Mancini. Varese L.) Sarabande STV 81249 (D). SOMEWHERE ALONG THE WAY, HENRY MANCINI got tagged as a film composer fit only for ro-

"A NIGHTMARE ON ELM STREET, PART 2": SLASHDANCING TO THE BEAT OF CHRIST3PHER YOUNG'S SCORE mantic comedies. This typecasting neatly ig- nored such fine dramatic scores as Experiment in Terror, The Molly Maguires, and now Life- GOLDSMITH: YOJEG: force. Headed by one of the most engaging The Final Conflict. A hIlshtmare on Elm Street, Part 2. main titles in recent memory, Mancini's National Philharmonic Orchestra, Newman. Studo ensemble,Witt. VareseSarabande STV score expertly delves into the sound re- Varese Sarabande STV 81272 (A). 0G VCD 81275 (A). 1=3 O VCD 47255 (Compact Disc sources of the London Symphony Orchestra 47242. also contains Part 1). to create a serious soundtrack that amply re- I CAN THINK OF NO SERIES OF SEQUELS IN THE CHRISTOPHER YOUNG IS ONE OF A NEW BATCH pays repeated listening. A treat, a decided annals of Hollywood that has enjoyed such a of film composers working his way up treat. succession of utterly superb scores as has the through the slice 'n' dice school of cinema. Omen trilogy. Jerry Goldsmith wrote all three He does not overreach himself here and A CLOSING NOTE: LEST I UNDERSTATE THE and won an Oscar (justifiably) for the first. manages a predictable but satisfying mod- technical achievement here, all these Varese All share some common thematic material ern horror score. Using an ensemble con- Sarabande pressings were quiet and first- and occupy much the same harmonic and sisting mainly of strings (with an emphasis rate, with recorded sound uniformly excel- coloristic world. Yet each is distinctive and on eerie slides instead of Herrmannesque lent. How this "little" label can consistently each a decided achievement. This is power- shrieks), Young adds the requisite number serve up quality sonic cuisine while the ma- fully evocative music, expertly written andof dissonant climaxes, ominous thuds, and jors deliver Rice Krispies is perhaps the wonderfully performed. You better believeweird sounds. No surprises here, and per- neatest trick of all. A deal with the audio dev- that this is a treat. haps that's the nicest one. A treat. il, perhaps?

S2 HIGH F I D E t IT Y Two critics examine the composer's song cycle GLASS CUTTERSon Compact Disc.

GLASS: Ironically, the music on this recording is mand of craft agreeable to a classical audi- Songs fom Liquid Days. unquestionably inspired and effectivelyence. While there's no reason to expect Fowler, Pendarvis, Perry, the Roches, Ron- linked to the meaning of the text. A rich Glass to come up with a commercial album, stadt; Philip Glass Ensemble, Kronos String overlay of strings, brass, winds, and key- Songs from Liquid Days is stiffer and more awk- Quartet, Riesman. Kurt Munkacsi, prod. CBS MK boards is put to the service of Glass's famil- ward than it needed to be. 39564 IA). OCI iar shifting arpeggios and repeated bass pro- David Byrne, Laurie Anderson, Paul Si- gressions; despite their familiarity, however, mon, and Suzanne Vega have contributed CL A S S I C A L Glass's expressive range continues to ex- some of their most ghostly, elliptical lyrics, SONGS FROM LIQUID DAYS MARKS PHILIP GLASS'S pand. The minor -key chorale that opens which seem especially suited to the repeti- first foray into songwriting. That in itself is "Changing Opinion," the leaping bass line tive dreamscapes of Glass's arrangements. surprising, for Glass's music, full of allusions of "Lightning," the portentous piano But his melodies, which are more rounded, to popular culture and easily packaged in chords of "Open the Kingdom (Liquid Days, even tuneful, than those of his earlier work small time frames, would seem tailor-made Part Two)," the introspective string quartet (like North Star), often overshout the words, for songs. Here he has assembled an emi- in "Freezing" and "Forgetting"-all indi- forcing Bernard Fowler to boast on Simon's nent group of lyricists-David Byrne, Paul cate an emotional diversity within the cyclic "Changing Opinion." The song is about the Simon, Laurie Anderson, and Suzanne unity. quiet fears of a man listening to a hum in his Vega-and an equally remarkable assort- Fowler, Pendarvis, and Ronstadt seem to house, but the gratuitously grand peaks of ment of performers: Linda Ronstadt, the struggle against the unnatural phrasing of the trilling synthesizers and voice get none Roches, the Kronos String Quartet, Douglas Glass's vocal lines. Only Perry (Gandhi of of that across. On most of the numbers, the Perry, Bernard Fowler, and Janice Pendar- Satyagraha) and the Roches are entirely suc- singers don't pull against the settings; rath- vis. The result should have been as different cessful, partly because they sing Byrne's lyr- er, they're swept up by Glass's thickly lay- and startling as the talents of these artists. ics. Perry sustains the phrases and communi- ered pulses and huge keyboard washes. Fur- Much of the blame must go to Glass for cates the drama of "Open the Kingdom"; thermore, a dusty aesthetic of what his insensitive setting of the texts. Lyrics are the Roches contribute the ethereal and wittyconstitutes "classy" singing permeates most fragmented arbitrarily, violating the accen- vocal harmonies of "Liquid Days (Part of the performances. The Roches' choirgirl tuation of the words and working against One)." In these non -narrative settings, chirping misses all of the humor of Byrne's both dramatic content and musical phras- Glass and his performers achieve that symbi- lyrics for "Liquid Days (Part One)," and the ing. And since all the textsareset in virtually otic relationship between text and musicoperatic Douglas Perry bellows lines in the same manner, the vocal lines do not dis- that elsewhere in the cycle proves so elusive. Byrne's "Open the Kingdom (Liquid Days, tinguish between the widely varied subject K. Robert Schwarz Part Two)" that should have been tossed off matter. In Einstein on the Beach and Satyagraha, as asides. Only Linda Ronstadt brings a tem- the linguistic distance and the non -narrative P 0 P U L A R pered grace to her performances, Vega's content negated most of these problems, BEFITTING A SERIOUS MODERN COMPOSER "Freezing" and Anderson's "Forgetting." but here the narrative settings are no less whose dramatic simplicity makes him most All of the lyricists here are singers in the than embarrassing. Only in Byrne's stream - attractive to the pop audience, Philip Glass pop world, and one wonders how their more of -consciousness poetry does Glass's vocal has chosen for his album of songs pop col- impressionistic vocals might have worked in line perfectly complement the lyrics. laborators who have a conventional corn- Glass's settings. Perhaps the fractures and meanderings of these less perfect voices would have cut deeper. By splitting up the roles of lyricist and singer, Glass has re- moved the exploitation of persona that lies at the center of a pop auteur's performance and replaced it with the less interesting problem of the credible interpretation of a text. Underlying the approach is the shaky premise that,say,Byrne's lyrics are (of all things) poetry, when in fact it's only in his wild-eyed performances that the fragment- ed phrases take on meaning. On CD, Glass's settings seem less prede- termined and flat, primarily because of the shocking prominence of the synthesized bass compared with its sound on LP. The vo- cals are also more intimate in tone, especial- ly Ronstadt's tender high notes. At such mo- ments, Songs from Liquid Days has an earthbound grandeur that makes you hear its songs as hymns for the godless. Maybe on his next collaboration-and this is a laud- able idea worth getting right-Glass will give us something more substantial to be- RONSTADT (SECOND FROM RIGHT) AND THE ROCHES: NO STRANGERS TO THE DISCIPLINES OF CLASSICAL VOCAL TKINNOUE lieve in than mere perfection. Mark Moses

NOVEMBER 198 6 83 r

Abdullah Ibrahim and Sathima Bea Benjamin: pianist and singer, husband and wife, exiles from apartheid

EVERY INDIVIDUAL IN SOUTH AFRICA Sathima Bea Benjamin, on June 12, the is traumatized by apartheid-the morning that South African President P. W. oppressors perhaps more so than the Botha declared a nationwide state of emer- victims," said Abdullah Ibrahim, the gency in anticipation of the tenth anniversa- South African pianist and composer ry of the Soweto uprising. Kneeling in front formerly known as Dollar Brand. "At least we of a video monitor in his living room in New have hope for the just society to come: a York's Chelsea Hotel, Ibrahim tried without South Africa that belongs to all of its peoples success to tune in C -SPAN for its live cover- regardless of origin. The oppressors' only age of Botha's address to the South African hope is to forestall the inevitable. The only Parliament. "The police have rounded up all wisdom they can teach their children is to al- the opposition leaders," he told me in a ways carry a gun." melting -pot patois that is British in its ca- I visited Ibrahim and his wife, singerdences but African in its lilt. "What is the

OUTSIDE SOUTH AFRICA, GLARING IN

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IN NEW YORK. ALASKA 1-11",..:f=:;%`) & CANADA CALL: 4 Frwni 4 lllEdIVWORLD] TOLL-FRREE800121.8180(212) 693-0396 ,4" e,e4' N.g(' .04(5C3 DEPT. 23 Park Row, Dept. 11F1186 New York, NY 10038 HF1186 logic of that-to remove from circulation the that I got the nickname 'Dollar' Brand; my only people who can say to the masses, 'Hold name was really Adolf. My grandmother was back'? The confrontation is near. It is just a a founding member of the first African matter of time." Methodist Episcopalian church in South Af- Born in Cape Town in 1934, Ibrahim has rica, and my mother was the church pianist, spent most of his adult life in voluntary exile so I was also exposed to the black American in Europe and the United States. He is a cul- tradition through the so-called Negro spiri- tural eclectic-no different from most global tuals I sang in the choir. I was familiar with wanderers in that respect, though his being Islamic customs long before embracing Al- born member of a colonialized people un- lah, because the Christian and Moslem com- doubtedly gave him a running start. (More- munities were very close in Cape Town, as a over, his mixed racial heritage, which classi- result of so much intermarriage. The Mos- fies him as "colored" rather than black by lems would know when we were celebrating South African law, put him in an assimila- Christmas or Easter, and we would know tionist position remarkably similar to that of when they were fasting for Ramadan. Many the New Orleans Creoles and mulattoes, families observed all the religious holidays who played a seminal role in the gestation of across the board." jazz.) But like most political exiles, Ibrahim is also a displaced cultural nationalist whose SATHIMA BEA BENJAMIN ALSO WAS BORN IN longings for home filter his perceptions of Cape Town, in 1936. She remembers it as a new surroundings. The South African sound BENJAMIN: "SOUTH AFRICA WILL ALWAYS EXERT A PULL." "beauteous place, with mountains, sea, per- he once eloquently described as being a syn- fect climate, exotic birds, and gorgeous sun- thesis of "the carnival music heard every Ibrahim's approach to improvisation is more rises and sunsets. There seemed to be music year in Cape Town, the traditional 'colored' straightforward than that of most of his in the air, always." music, the Malayan strains, and the rural la-American and European contemporaries. Benjamin and her husband requested to ment" remains the thread that keeps his mu- "Improvisation is not standing up therebe interviewed separately. "I am Sathima sic from seeming crazy quilt despite its playing 20 choruses," he once told jazz critic and he is Abdullah, and although we love patchwork of cross-cultural borrowings, Don Palmer. "It is using what's at hand." each other very much, we have separate ca- which include West African ceremonial and With Ekaya, he finally has sidemen percep- reers," she explained. popular rhythms, Moslem incantation, Brit- tive enough to shun chordal rhetoric and "I don't perform as often as I would like, ish military -brass -band concord, gospelcrest on his rhythms. Perhaps the truestbecause I cannot. I have three roles, the sanctimony and minstrel sanguinity, French proof of his genius as a bandleader is hismost important of which is running the impressionist and modal reverie, Monkian ability to coax trim, inspired improvisations house and looking after our children [son dissonance, and Ellingtonian Cotton Club from trombonist Dick Griffin and baritoneTsawke, fifteen, and daughter Tsidi, ten]. panache. A mesmerizing pianist whose saxophonist Charles Davis, two usually pro- Second, there is my music, and third, the rhythms come splashing across the keyboard lix journeymen. Tenor saxophonist Ricky record company [both she and Ibrahim now in thunderous ostinato waves, Ibrahim is Ford and Panamanian altoist and flutist Car- record for Ekapa, the small label she runs truly "beyond category," to borrow a pet los Ward, who complete Ekaya's front line, out of their living room]. I guess I actually phrase from Duke Ellington, one of his earli- are to Ibrahim as Paul Gonsalves and Johnny have four jobs, because Abdullah and I act as est admirers and the producer of his first Hodges were to Ellington: It is impossible to our own agents. American LP. imagine a composer finding two more sim- "I was raised to be a dutiful sort of per- Over the last 20 years, Ibrahim's solo pi- patico interpreters. Ibrahim likens his rap- son. My parents were separated by the time I ano recitals have evolved into lengthy con- port with Ward, in particular, to the empathy was five, and I was raised by my [paternal] tinuous medleys of his own attractive themes he once enjoyed with the late Kippy Moe- grandmother, who was very strict, very and those of favored composers like Elling- ketsi, "the Charlie Parker of South Africa," proper, very British in her ways, though she ton, Thelonious Monk, Billy Strayhorn, and in Ibrahim's estimation, and the father fig- was quite African -looking. I was a lonely Eubie Blake. (This aspect of Ibrahim's work ure in the Jazz Epistles, the Cape Town com- child, and along with daydreaming, which I is most faithfully documented on Autobiogra- bo that begat Ibrahim and trumpeter Hugh indulged in constantly, music was my solace. phy, a two -LP set recorded live in Switzer- Masekela in the late '50s. I listened to American singers on the radio: land.) But although sturdy and intricate in "Kippy was the first to insist that we rec- Ella Fitzgerald, Nat `King' Cole, Joni James, themselves, Ibrahim's solos are the blue- ognize the wealth of musical influences Doris Day. When I joined the choir in high prints for larger designs: As with Ellington, available to us as South Africans and not school, I noticed that the director never as- one can hear the colors of an orchestra look exclusively to America for inspiration. signed me solo parts, even though I had a bleeding together or separating in the voic- He was a pillar of strength against those who very strong voice. 'You sweep,' he ex- ing of each chord. would have us believe that we were inherent- plained. 'You slide up and down the note in- Ekaya, the fluid septet that Ibrahim ly inferior." stead of staying directly on it.' That meant formed in 1983 and that graces his two most Ibrahim describes the seaport of Cape nothing to me at the time, but in retrospect it recent albums (1984's Ekaya ( Home) and the Town as "a cosmopolitan mixture of Xhosa, shows that I was unconsciously trying to new Water from an Ancient 1Vell), represents a Zulu, British, Dutch, Khoisan, and Malayanphrase like the black American singers I compromise between the huge ensemble he traditions. As musicians there, we heard ev- heard on the radio. desires and the compact unit that economics erything and we played everything. There "After completing college, I taught dictates. "The ideal situation would be to was even a Cape Town Symphony Orchestra school. But on the weekends, I sang in the have on stage as many people as possible," and an opera company. My early piano nightclubs in the white areas, where black he says. "Not just more instrumentalists, but teachers were well versed in the European and so-called colored musicians were al- singers, painters, sculptors, poets, nutrition- classical tradition. lowed to perform but were not allowed to ists, physicians, and martial artists, to show "American merchant vessels would dock mix with the audiences. We had to sit in the that music can provide a conductive atmos-in our harbors, and we would run to meet kitchen during intermissions, just as black phere for all other daily activities, the way it these ships, because the Afro-American sail- musicians were having to do in the American does in more traditional societies." ors on board would have American jazz rec- South. There wasn't such a strong ban on Despite his harmonic sophistication,ords to sell to us. It was from these sailors U.S. literature then, so I was able to read a

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All returns must be phoned on for moor authorization end must be received within 20 days from recept of original shipmentAll products must be returned in original factory packaging clean and unscratc-ted and blank warranty card Do not tape. or deface manufacturers original canons Shipping and handling charges not refundable Pictures are for iliustrationonly and do not represent the product evacity as shown Rainchecks available upon request Please call and reserve your purchases if you plan to pick up al store Quantitiesare limited and subject to availability lot about black Americans, and I felt a bond CAUTION! with them, with their yearning to be free." Lighter in complexion than her husband, WDSpurchased over she too was classified as colored. "Some- Selected times people ask me, 'Oh, Sathima, why do you call yourself black?' Black is not a color, 45000 it's an experience. And in South Africa, Discographies there are only two possible experiences. I ABDULLAH IBRAHIM units direct from Sansui of was never privileged to know what the white Duke Ellington Presents Japan- tooffer prices one was. That makes me black." the Dollar Brand Trio. She and Ibrahim first left South Africa to Reprise RS 6111; 1963. (Out of print.) be ow our regular cost live in Zurich in 1962, and it was there that Ode to Duke Ellington. We Want Your Business! they encountered Ellington, "the first Amer- Inner City IC 6049; 1979. (Recorded in ican either of us had ever met-and thank 1973.) God it was him. To this day, I still marvel at African Marketplace. CALL 800 356-9514 how truly grand he was." In addition to pro- Elektra 6E 252; 1980. (Out of print.) SEE OUR AD OPPOSITE PAGE ducing Duke Ellington Presents the Dollar Brand Autobiography. FOR OTHER SPECIALS Trio, the maestro also supervised Benjamin's Plainisphare P1 1267-6/7 (2); 1983. (Re- never -released debut. "Duke and Billy corded in 1978. Available only as import,) $299 Strayhorn took turns at the piano. I remem- Zimbabwe. ber Duke standing in the control room at Enja 4056; 1983. 0 3112-12. (Distributed Sansui D905 3 Heads, 2 Motors, one point and saying to Strayhorn, 'Can I by Muse.) Auto -Bias, Dolby B + C, Bias Fine hear some birdies?'-meaning could he play Live at Sweet Basil, Vol. 1. Tuning, Music Search, Quick something sweeter than the wild things he Blackhawk Ekapa Series BKH 50204-1; 1984. (525 Brannan St., Penthouse, Son Auto -Reverse was playing behind me. And Strayhorn an- swered, 'I am playing birdies: condors.' " Francisco, Calif. 94107.) 41111111111MEIWIllik- Benjamin is contemplating an album of Ekaya (Home). $269 Strayhorn compositions as a companion Blackhawk Ekapa Series BKH 50205-1; Wireless piece to her 1979 Ellington homage. About 1984. Sansui SE88 14 Band EQ, Front ten years ago, relatively late in her career, Water from an Ancient Well. Docki ig Remote, Programs up 5 she began to write her own material as well. Blockhawk Ekapa Series BKH 50207-1; settings into memory "At first, I was hesitant even to show my 1986.E songs to instrumentalists, because I know SATHIMA BEA BENJAMIN I'm not a schooled composer like Abdullah. Sathima Sings Ellington. $199 But the musicians I work with encourage Blackhowk Ekapa Series BKH 50201-1; Auto -Reverse me." She still "sweeps": There is a catch in 1979. her voice that would be easy to mistake for a Sansui PL95RB Dedications. coquettish affectation, if not for the sob it Turntable, Front -Loading, Random Blackhawk Ekapa Series BKH 50202-1; holds in check. Access Programming up to 16 tracks, 1982. Intro skip. Plays both sides! Memories and Dreams. DESPITE LIVING IN THE CHELSEA HOTEL FOR Blackhawk Ekapa Series BKH 50203-1; almost a decade, Benjamin took the oath of 1983. U.S. citizenship only last year. "For most of nn."'" Wireless Windsong. those at the swearing -in ceremony, it was a Blockhawk BKH 50206-1; 1986. Sansui SXV1000 80 watts/ch, joyous occasion. And it was for me, too, but I Surround Sound with QS Surround went through a period of soul-searching that and Theater, Multi Dimension for I can hardly begin to describe, because Simu ated Stereo, 3 VCR Hookup South Africa will always exert a pull." period of 200 years. ... At one time or an- "I am still a citizen of South Africa," pro- other, it had been home to musicians like $159 claims Ibrahim, who nonetheless will apply Abdullah Ibrahim, writers like Richard - er, Cinema for U.S. citizenship later this year. "I always Reve, political leaders like Cissie Gool... Surround will be. Sathima and I are now in strategic re- In 1966, the district was proclaimed white. Sansui AVC10 treat, but we expect to return. 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Auto Reverse, High Speed notorious of all the government removals in "Allah says, 'Fight injustice wherever the urban areas was the destruction of Dis- you find it, or you will become one of the in - trict Six, home of 30,000 people classified as just,' " Ibrahim responds. "I am homesick 17 $129 'colored' in the heart of Cape Town," writes for South Africa, but not for the home that is Francis Wilson in the preface to the recently there. Allah says, 'I do not burden a soul with Sansui D-65CRB published The Cordoned Heart, a collection of more than it can bear. Those who leave their Quick Auto -Reverse, Amps, Dolby photographs from South Africa. "District homes for my sake, I will provide for them a

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THE LEADERS OF FOUR SOVIET PACKS (FROM LEFT): STRANGE GAMES'

VITIA SOLOGUB, AQUARIUM'S BORIS

GREBENSCHIKOV, KINO'S VICTOR

TS01, ALISA'S KOSTYA KINCHEV

From Russia with Guitars

oblique allusions, especially from Alisa. POP (The bands sing in Russian, by the way, but JAZZ translations are provided.) However noble VARIOUS ARTISTS: the intentions of these groups, their work is IGOR BRIL: Red Wave: 4 Underground Bands limpid and utterly forgettable; like rock's Before the Sun Sets. from the U.S.S.R. harshest critics, ironically, they fix on the East Wind MC 20646. (3325 17th St. N.W., Joanna Stingray, prod. Big Time 6008-1 (2). simple surface novelty of the music without Washington, D.C. 20010.) (Distributed by RCA.) really getting to its heart and soul, and all are ALEXEI KUZNETSOVI OSTENSIBLY OFFERED AS PROOF THAT ALL crippled by lack of a decent drummer. They Blue Coral. around the world, rock 'n' roll will never die, are said to represent four distinct strains of East Wind MC 20648. etc., this double album proves instead that "underground" or "nonofficial" Soviet mu- JAZZ, WHETHER SANCTIONED OR NOT, HAS it's still waiting to be born in most places. I sic, but you coulda fooled me. Let's try to existed in Russia since the time of the Roma- am no cold warrior, nor am I an Old Lefty look at each band individually: novs. If we are to believe published reports, paranoid enough to suggest that this is part Aquarium is led by Boris Grebenschi- Rasputin was poisoned to the accompani- of a CIA plot to discredit Soviet youth. But kov, the first Soviet rocker to write and re- ment of American popular music, Shostako- boy, is this music bad. cord his own songs in his native tongue. The vich played ragtime piano in silent -movie The four Leningrad bands onRed Wave music is fairly hard folk-rock, with guitar theaters, and the cakewalk was the rage in St. were secretly recorded, and their tapes snaking through the rhythm section before Petersburg as early as 1910. Since then, So- smuggled out of Russia, by twenty -five -year - settling on top of it via feedback and sound viet musicians have eagerly followed all sub- old Los Angeleno Joanna Stingray. Not sur- effects. There also are little baroque touches.sequent developments in American music; prisingly, the chief influence seems to be the from keyboardist Sergey Kuryokhin. unfortunately, whatever we know of Soviet spacey, quasipsychedelic extended jams of Kino claims reggae influences, but I jazz has generally been the result of hearing the late Sixties and early Seventies, when swear the band sounds pretty much the same expatriate musicians play with American rock was indeed exploding into an inescap- as Aquarium, with more emphasis on groups. So it is with great pleasure that I able international force and also being con- slurred, druggy ballads. Otherwise, Kino greet these LPs by pianist Igor Bril and gui- fused with Art. This is urban music full of ur- uses identical song structures and arranging tarist Alexei Kuznetsov, both of whom re- ban imagery but with few specific references techniques, albeit with more percussion. cord in Russia for the state label, Melodiya. to Soviet life per se, though there are (CONTINUED ON PAGE91) (CONTINUED ON PAGE9 2)

10 H I G H FIDELITY (CONTINUED FROM PAGE90 tour, his road band broke into the opening Osborne transformed what could've been Geez, now I swear Alisa sounds so bars of "When Doves Cry." The audience sentimental tripe into honest passion. Still, much like the two previous bands that I for- cracked up. Then, standing mock -amazed, despite going platinum, those LPs weren't get I've put the second album on. So why is Osborne muttered, "Oh, yeah, Prince. We enough to put him over. If it's still about this music described as "Soviet boogie"? Ac- all know Prince, right?" We certainly do. songs, Emotional must. And it is! The sum- tually, the members of Alisa do include a He's the megastar whose shoes Osborne mer smash "You Should Be Mine (The Woo slightly tough drummer and a sort of punky would like to fill. But Osborne lacks at least Woo Song)" has become Osborne's biggest lead singer. They also have a little more feel two of His Royal Badness's important attri- hit. Produced by Richard Perry, who directs for primal rock, though "Bad Boy," their at- butes: slick moves and a made-up video alongside Michael Masser, Duke, and "Oz" tempted anthem, is awfully quaint. look. I want him to become a superstar himself, this tune about female pursuit and Strange Games is ska-influenced and, nonetheless. Anyone who can provide nine conquest is a terse essay in contemporary to my ears, the most interesting of the batch. tracks of musical enjoyment on one LP (Jef- songcraft, a lilting groove that turns stompy Drummer Alexander Kondraskin plays with frey Osborne) and then follow up with two in the chorus. some finesse, if little power. There's catchy more vinyl victories (Stay with Me Tonight and Emotional 's electro-smooth tracks snap, sax rifling on "Chorovod Song," and "No Don't Stop) certainly deserves to be one. crackle, and say "pop," too, but they're not Telephone" has a loose feel that none of the A pint-sized Albany, New York, native honey -dripped crossover attempts. In fact, other bands can master. Singer/bassist Vitia with a creamy firm tenor, Osborne began as the vocal performances are unashamedly Sologub's lyrics, which apparently are a drummer with the '70s band L.T.D. After soulful: Osborne reaches into his gut for the French poetry translated into Russian, often the other members discovered he could muscle to blast his voice skyward. And listen create tangible ambience early on, even if sing, he poured his heart out on such classics to "We Belong to Love": You'll visualize a they do tend to deteriorate halfway through. as "Love Ballad," which still brings tears to black gospel choir swaying reverently as you I wish all these bands well, of course, but the eyes of many grown women, and "(Every sing along. ultimately there's one reason, and one rea- Time I Turn Around) Back in Love Again," Surprisingly, the speed -freak number son only, why their work has been released a tough bit of footstompin' music. Osborne also fits Osborne. Overseen by the singer in this country, and it has little to do with went solo in 1982, hooking up with key-himself (not Perry, as one might expect), music. Ah, Hollywood; ah, show biz. Thy boardist George Duke, the poor man's "Love's Not Ready" bops and jives like a name is still gimmickry and exploitation. Quincy Jones. Duke's production was per- dude pretending to lose his cool, and it's go- John Morthland fect: It did everything to spotlight the voice ing on my next party tape. Right next to it and not the producer's own ego. will be "Soweto," an antiapartheid chunker JEFFREY OSBORNE: Feeling the pressure of one who walks to in the first person. Over circular bass and Emotional. win new fans while cementing old ones with vigorous, chop -chop drums, children's 0 Various prods. A&M SP 5103.0G Crazy Glue, Osborne added a funk -rock voices beg, "Freedom, freedom, all we want IN THE MIDDLE OF JEFFREY OSBORNE'S SHOW sparkle to his next two Duke -produced al- is freedom." The message is straightfor- at Radio City Music Hall during his previous bums. The ballads remained gorgeous, as ward: Show support for "your brothers in

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Mastercard - send for free price list - Name Mimi, audio Address 12 E. Delaware PI., Chicago 60611 Phone Now Hours: TOLL FREE VISA City 1-312-664-00 2 0 10:00-5:00 1-800-621-8042 State Zip Price Lists & Quotes Mon. thru Sat. Orders & Quotes or use your address label FUtril)0101ftW.411.11111,1111111.1.11.10. IMANIkai.11,11BIEDIED 4 1 411 aMMIMIWMIWIMII:MMINAT.11 MBPAIMAMiM MID 411)411111111ND 111WEIVIMP:Mial South Africa." Osborne may be an ambi- tricks. Not even her shimmering tone or (CONTINUED FROM PAGE 9 0 ) tious performer, but he's no sucky Negro high drama can make turgid entries like Before the Sun Sets is pleasant enough, but scared of alienating members of the star - "World of Fools" and "Desire" palatable, the liner notes go a bit too far in touting Bril making (white) masses. He isn't going to be and the result is simply wasted energy and as a composer. Although his scoring covers a a yo -boy with pop clout. Havelock Nelson emotion. lot of territory, the solos are what make this However, the album's good moments do album work. The title track, for example, RANDY CRAWFORD: allow Crawford's formidable assets to highlights Alexei Nabaton's thoughtful and Abstract Emotions. emerge. The catchy beat and slippery tex- modern tenor sax against a carefully layered Lucas, prod. Warner Bros. 25423-1. ture of "Betcha" are ideal for both the low- but fairly dull impressionistic background, v."OReggie CI est and highest points of her voice. In "Can't while "Our Samba" tends to be a routine WHEN CANNONBALL ADDERLEY TABBED RANDY Stand the Pain," she works hard to make the Latin -jazz takeoff until Bril's solid piano and Crawford for a pivotal role in his 1974 musi- mood as bitter as possible; while she's cer- Alexander Oseichuk's sprightly alto give it cal, Big Man, her fleeting soprano made a siz- tainly no blues singer, her delivery does con- life. The drummer has a good grasp of con- able impact alongside the husky baritone oftain enough of an ache. "Actual Emotional temporary percussion and a great pair of principal vocalist Joe Williams. But before Love" and "Higher Than Anyone Can hands, but no one else in the rhythm section she could be categorized as a jazz singer, Count" feature confident performances, can match him. Still, this group produces Crawford hit the pop charts with the Crusad- with Crawford's soprano never fading or some convincing music. At times, you prob- ers, doing a blistering vocal on the 1979 hit losing its edge. Sadly, you can't say the same ably will forget that this is Soviet jazz and "Street Life." That song not only gave her for the musicians. There are big names listed drift off into reveries of Southern California. name recognition for the first time but also on the jacket, including bassist Anthony Kuznetsov, on the other hand, will not created exaggerated expectations that sheJackson and Lucas himself handling the bar- allow you to drift off at all. He plays guitar would become the next big female star in rage of synthesized equipment, but they the way Oscar Peterson plays piano -relent- black pop. don't provide Crawford with much of any- lessly -while his devilish brain adds new di- Instead, a series of erratic and poorly thing except standard electronic bottom and mensions to such overworked pop standards promoted albums has kept Crawford mired ho -hum accompaniment. as "Basin Street Blues" and "Summertime." in near obscurity, a situation that her newest Abstract Emotions isn't a terrible album, He chords all over the neck at rapid tempos, recording, Abstract Emotions, won't eradicate, but it's not a very good one either. Crawford accompanies his own solos with unexpected even though it's a decent effort overall. Reg- has too much genuine ability to keep making bass lines, and propels his not too talented gie Lucas, once one of the industry's hottest LPs that do little except barely keep her in rhythm section with an inexorable sense of producers when he worked with Mtume, has the public eye. In a year when jazz -based pop time. Unfortunately, he cannot always com- wisely chosen to accentuate Crawford's ver- has proven appealing and successful for the bine all his assets properly within a single satility; unfortunately, he couldn't find likes of Anita Baker and Sade, it's strange tune, so you are apt to be treated to virtuoso enough songs with clever or striking lyrics, that a singer who started out making that chording on one cut, dazzling melody on an- and thus Crawford has to try to make each kind of music hasn't decided to return to it. other, brilliant accompaniment on the next, song a captivating classic through vocal Ron Wynn and so on. But the overall message is clear: Kuznetsov not only compares favorably with the best guitarists in American jazz, he is ut-

terly unique. Joe Blum ot, 1 I!/0PT SHEILA JORDAN: The Crossing. -Herb Wong, prod. Blackhawk BKH 50501-1. Ovd no (525 Brannan St., Penthouse, San Francis- NEW YORK WHOLESALE co, Calif. 94107.) A DARING AND INVENTIVE SINGER, ONE OF THE

YAMAHA DRAMS 231003 OEN. PRAI030 SMOOD C10 PAO 00 JVC HROIM M40.00 SONE SOY MO LW= greatest individualists in jazz, Sheila Jordan R. 3020.00JVC OMAHA MO 00 PA3020411C PV13154 0300.00SONY WATOMM RI 442, MOO 3400.03 RY MC PM 214000 0101.0153 AR S- 325191 MOO RI 41111400 3125 2275 mmON SHARP VC110413 has been on the scene since 1962, when she MOM CA...CORD.. CALL RS 22111.00 112370 110000 SHARP 13, nma 5279 00VCR RAMO MOO 00 TECHNIOS SHARP 171 AC -DC =SOO 610003 CALL recorded a startling "You Are My Sunshine" O RA $00.00 WOO CALL DENON PIM 510.00 2220.00 SOM STRAV700 CALL PIM Tr, =RIOYAIROW.. 00A 75-7 =PLO 01020 with George Russell. In her best work, she PIM 237 814600 ATIO PMA SOO 1===.1.111111. /276.00 AS20 E154.00 1216A 703 exploits the harmonic advances of Charlie S3110 00 MOD 0110 M SONY DISC JOCKEY 91110.00 DEMON OCR NM 821126 ALPINE 7222 MAO 00 PENWOOD MI 1420.00 PIONEER MN 222..00 NAPAMC0 Parker without sacrificing the pathos she 1111=123:3:MIIIMMI PIC ItWU 005 0291200 T06067000300.004100.03 D EMON SONV 05.01115111437 DEIN. 2210.00 O CO10161 MOM D.14 310000 13224014 TECHNICS found in her other early model, Billie Holi- DC01100 MOM 017 22141.00 DP SOL SPOS00 SUMO MO g246 m YAAIANA MS 1230 00 DP 402 UNDO SL 112 SIM 03 CO23 21111.00 COP S3 121141.00 DP 30F M10110.30.00 THOREM day. Jordan has a small, flexible voice, with 00403 3240.00 COP 203 2340.03 OP Mr 31 10314 12m 00 c01703 3400.00COP MN $311 NAILAYICHIPADS0 mm.00 CO1000 1030.00PIONEER PONS CARVER 10240 WEIS 23011 00 OPPION OCA 3.250 81MM ENW000 AOC 7400 MUM girlish highs and dramatic chest tones. Her MANE 3010 MOMH YMN. DAME 2311 4171.00 11100630) CALL fast, lyrical vibrato often appears suddenly NOM. 7-702 0101.00 P.EPICURE 3.0 WM 00 0 1111160101010A 5000.00 P. MY OY 256 2300 00 ON in the middle of phrases, and in a single take

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SORT 114.604 VIESS2141.00 AER SPECTRUM 4,.00 FOX KXXX Remo.. OM FR R. OS dan gets inside it and makes it dance. *WOK 12311.3014610013 S1300 COBRA ROWE $106161 COWEN NV 11110210 1.00.00CA20 SI1154 41.00 AMA CAM SIM 00 The Crossing is one of her most enchanting DEMON sois so EU 747 snre 11.1 soeoo records, notable for the brilliance and vari- TU GOO M00.00 TSIO $100.011 TRAMIUMMIMO IMCROWAVE SPECIAL YAMAHA 10..10 CASIO C2100 3X. . SHARP REGULAR no MAO ety of the accompaniment -Jordan has often C2101 0201.00 rjEzow wee LANA° OE SPACEJAMER MAID 011100 SI 011.1313 YAMAHA DX, 11.10.00 MEW said she just wants to be a member of the AMMAN:IMO...6 POLE -IOW KXT 100 band -and for the autobiographical flavor DE14014 POPO SOO M00.00 1100 x00 KXT 1/01 ISTOO PROMOTE MAMMA 100 .00 KS, DM P32 00 MOO M 3619 .000 SOOTIER AC000 1046 301E00 WOW= RKTMO MOM of the performances. "Sheila's Blues" is di- 1750.00 KXT 102 MOM MSS 3 SChl XESOM $1711.00 CALIONAM MESAS rectly autobiographical: Accompanied by pi- anist Kenny Barron, bassist Harvie Swartz, HOURS: 9AM-7PM EST. FOR FASTEST (CONTINUED ON PAGE 9 5) (212) 684-6363Monday -Saturday SERVICE CALL or Write Direct 2 PARK AVENUE, DEPT. 15, New York, N.Y. 10016 cos subjecr 10 change winout nol.ce We ,esrve ine ,,gnt To 1,0 CioaM,I,e5 0117, ma, be aNI,ne HIGH FIDELITY CLASSIFIED

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Quantity 10 and over only $11.99 TERMPAPER ASSISTANCE. 15,278 papers zi$2.00 Cont. U.S. shipping available! 306 -page catalog -rush $2.00. FREE CATALOGUE New York Slate Tall Flee 800.537 1303 SHOW ALBUMS -Rare, out -of -print Ips. 64 -page list $1.00. Research, 11322 Idaho # 206HE, Los Broadway -Hollywood Recordings. Georgetown, CT. 06829. Angeles 90025. TOLL FREE HOTLINE: 800- 351-0222 (California: 213-477-8226) COMPACT DISCS -Most $12.99-$14.99. 4,000 RECORDS BY GASPARO. Chamber music, solo, Plus Titles in Stock. Free Catalogue Plus baroque -We have something for you! Write for free Monthly Updates. OZ Records, 5246H catalog. P.O.Box 120069. Nashville. TN 37212. EMBARRASSED -CONCERNED? Pharmacist selected, Memorial Drive, Stone Mountain, GA 30083, ethical name -brand birth/disease control products. (404) 292-5452. Pregnancy, ovulation kits, creams, contraceptives. AMPEX PROFESSIONAL SERIES AUDIO TAPE SALE. High Discounted. Free Catalogue. Pro-Tek Pharmaceuticals, Quality Open Reel 1800' or 2400' on 7" Reels. Used Once. Dept. F. P.O. Box 50188, Tice, FL 33905-0188. Case of 40, $45.00. 101/z 3600' and Cassettes. MC/Visa. COMPACT DISCS/LASER VIDEO DISCS. Valtech Electronics, Box 6-H, Richboro, PA 18954. (215) Nice Prices - free lists. MC/VISA. SIGHT & 322-4866. NEED EXTRA MONEY TO UPGRADE YOUR AUDIO SOUND, INC. 18 Bennett Street, Dept. HF, EQUIPMENT. Send SASE to Unicorn Enterprises, 100A Boston, MA 02135. (617) 787-4465. FREE RECORD, CASSETTE AND COMPACT DISC Southwest Moor. Newark. Ohio 43055 CATALOG: Features a tremendous selection of remaindered LP and cassette values in all musical ANNOTATED INDEX of CLASSICAL CD REVIEWS: A guide categories. Compact disc, cassette and LP new releases at Electronics to recommended performances. "High Fidelity" and ten discount prices. Many imports and smaller labels offered. other magazines referenced. Revised quarterly. $3.75/ issue. KEN'S KOMPENDIUM, 2400 Hawthorne Dr., Atlanta. Prompt delivery. Rose Records, Dept. H, 214 South CABLE T.V. CONVERTERS & EQUIPMENT. Wabash Avenue, Chicago, IL 60604. GA 30345. Plans and Parts. Build or Buy. Send S.A.S.E. - C&D Electronics, P.O. Box 1402, Dept. USED DISCS WANTED! WE PAY $6-$10. FREE CATALOG, PROTECT YOUR RECORDS-Polysleeves for jackets 13c H.F., Hope, Arkansas 71801. MEMBERSHIP. Audio Club, 1105 Webster Drive, # 36, Polylined paper 17p, Cardboard Jackets 50v. Postage Sandy, UT 84070. (801) 571-9767. $2.50. CASH FOR UNWANTED STEREO LP's, PRE- RECORDED REEL TAPES. We sell like -new LP's, pre- Business Opportunities recorded reel tapes, cassettes. Catalog $3.00. HOUSE OF COMPACT DISCS AT FANTASTIC SAVINGS!! Large RECORDS, Box 323, Hillburn, NY 10931. selection, fast service. Send today for free catalog: $10-$360 WEEKLY! BECOME CIRCULAR MAILER. DISCOVER, NJ 07006. No Quotas! 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SAMPLE: $1.00. AUDIO TAPES, BOX 9584-J, OPERA -HISTORICAL PERFORMANCES ON VIDEO AND HIGH FIDELITY CLASSIFIED ALEXANDRIA, VA 22304. (703) 370-5555 DISC. Most comprehensive selection. Send $1.00 for ORDER FORM VISA/MC catalog. LYRIC. P.O. BOX 622, MERRICK, NY 11566. Please print or type message below or on sep- arate paper Name SOS SHIPPING ANY SIZE ORDER 1-800-24S-6000 REDUCE audio cassette taping costs 70%. Use recording 4. TON 1. 120 L750 NG IIAXEL company professional bulk pack instead of expensive Company MP 4 99 9.711 SON USESSO /40 MUSD 49 TEXCNOPRO - SON US.PRO99 104 SLIM.° consumer packaging. All popular major brand equivalents NAZE, 4 69 9 11 SONY 9990 SIN XL II 90 1 /9 Address WASELL GOLD / 29 SASE CANINO 9911 SL II 60 169 Only the best. Satisfaction or money back. Call toll free for l'UNSONY /9 599 SAW NETAL120909 DOS. 90 1 69 City State Zip uP 120 discount price list. We only sell cassettes. GREENCORP VISA. MC DR 90 99 INC., 1-800-972-0707. UR 60 NOEXTRA Phone 111,6 9013 toN CHARGE FIN NO ISO Signature

HP F 8:30.590 STOP NOISY RECORD WEAR!!! SHIPPING 3 95 SHIPPING 14,/ SIZE ORDER C 0 D 00 1 9S 412.2834821 Payment must accompany order. LL TPf S HAVE U S WARRANTIES OW 24 Preserve Sound Quality. UNIQUE TAM WORLD 3490.40 ST RLITLER. PA mom O COMPLETE LINE OF TOE ANC SWELL IN STOCK O Send to: Candice Leyden PROCESS. $3.00. Consumer Information HIGH FIDELITY Services, Box 70231, Mobile, Alabama 825 Seventh Avenue New York, N.Y. 10019 LIVE OPERA TAPES, CASSETTES. Incredible selection 36607-8231. (212) 887-8459 or Free Catalogue, Live Opera, Box 3141. Steinway Station 800-ABC-MAGS L.I.C., NY 11103. Video Payment enclosed $

SOUNDTRACKS, SHOW, NOSTALGIA & JAZZ -FREE 1,000,000 VIDEOTAPES/SOUNDTRACKS. Video catalog MASTER Card # Catalog & Offering List -A-1 Record Finders, P.O. Box $1.00. Soundtrack catalog $1.00. RTSHF11, Box 1829, VISA Card # 75071-H, L.A. CAL. 90075. Novato, CA 94948. J (CONTINUED FROM PACE 9 2) and drummer Ben Riley, she sings the story of her birth (when her mother was just six- teen), her upbringing in a Pennsylvania min- Teddy Wilson, 1912-198 ing town and Detroit, and her early experi- ences with the music that she says saved her. IF PIANIST TEDDY WILSON HAD NEVER nel Hampton. Wilson's blend It's a good-humored performance. The title played with Benny Goodman or Billie flowing swing, graceful musical desig track, written by Jordan and backed exqui- Holiday, he'd still be remembered as one and faultless technique quickly elevat sitely by Swartz alone, is more intense, de- of the Swing Era's most formidable musi- him to the same league occupied by Ea spite its gospelly melody. The masterpiece cians, but his association with the classic Hines and Art Tatum, the premier pia here may be the inward -looking "It Never bandleader and the innovative singer ists of the day. Entered My Mind," but I wouldn't want to granted him musical immortality. Wil- During his stint with Goodman, Wi be without her scatting on "Little Willie son, who died on July 31 at the age of sev- son gathered other star soloists from th Leaps" or her portentous intoning of the enty-three, refined an understated, fluid top big bands-Lester Young, Buck first chorus of "The Inchworm." style that brought a new sophistication to Clayton, Roy Eldridge, and Chu Ber At ease with the repertoire of both Danny jazz piano. Throughout the Thirties and among them-to make a series of excel Kaye and Charlie Parker, Jordan has a radi- early Forties, he fronted sparkling small lent small -group recordings. It's here ant sincerity that makes us believe her when groups in the studio, established himself that Holiday, then a virtual unknown, en she sings, "It's the music that sets me free." as a brilliant sideman and accompanist, ters the picture. Wilson's sessions oft Coming from another singer, the line would and even led a highly touted big band- dispensed with strict arrangements sound like a cliche. lit hap(I llman personal triumphs that are inevitably striking the perfect balance betwee overshadowed by his simpatico work structure and improvisation, which a with Goodman's trio and quartet and on lowed Holiday freedom to experimen Holiday's early recordings. Wilson also These recordings are generally consid- Format Key made extramusical history with Good- ered to be her greatest. In 1939, Wilson man as the first black to break into the formed his own short-lived big band that LP/EP world of the white big bands. highlighted his talents as an arranger. Cassette Classically trained when he was a From the Forties until shortly before 11 Compact Disc child-an influence that left its mark in his death, when illness forced him to stop IM Videocassette his formally precise solos-Wilson performing, Wilson was a model of con- changed directions as a teenager, and by sistency, delivering pithy solos and ever Videodisc twenty-one he had already toured with exact accompaniment. He wasn't a heat- '9"12 -inch single Louis Armstrong and made attention - ed player; you listened to him for his sen- Open reel getting recordings with Benny Carter. sitive touch and constant tunefulness. Large symbol beneath title indicates reviewed format. Two years later, in 1935, he was hired by His measured pianistics helped usher in Small symbols following catalog number of reviewed for- Goodman, an audacious move by the a reflective intelligence to jazz; the leap mat indicate o --ter available formats pf any). Catalog numbers of all formats of a particular record- bandleader, considering his commercial from his groundbreaking work in the ing usually are identical except for differing prefixes or breakthrough had taken place only a few Thirties to Bill Evans doesn't seem th suffixes. Catalog numbers of formats other than the re- months earlier. Wilson was featured in a far. With the death of Teddy Wilson, th viewed format are printed only if their basic numbers dif- fer substantiallN, from that of the reviewed format. popular trio alongside Goodman and music has lost one of its greatest soloists Arabic numeral in parentheses indicates number of drummer Gene Krupa, later expanded to and probably its finest team player. items in multi -item set. a quartet with the addition of vibist Lio- Steve Futterman

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RCA CMR 200 CMR 300 HITACHI PIONEER VM 2100 A VIDEO TAPE SONY CLD 909 VM 5000 DYNAMICRON SONY LASER MAXELL ES -HG (HIGH GRADE) QUASAR SONY c REGULAR ESX-HIFI (HI-FI) COLOR VM CCO V8 AF A RCA SAMSUNG F HGX (HIGH GRADE! C PRO -X YI VM 20 HANDY CAM . L TV's 0 GOLD HI-FI _ A 8MM ALL LENGTHS ZENITH GOLD STAR BMC 660 L ainWi PANASONIC R RX PRO L PV 300 .. SANYO 8 MM VIDEO TAPE L SCOTCH HITACHI SANYO F SONY P VM 8 TC-20 GOLD CAMERA Call MINOLTA 0 EVS 7308 MM CANON PANASONIC PRO Call CR 1200 APS R KODAK R TIM JVC QUASAR OLYMPUS MVS-3460 HS (HIGH STANDARD) ACCESSORIES P EHG (EXTRA HIGH SONY VX 403 .....E ZENITH AMBICO, RECOTON, STARTING AT R GRADE) c VX 801 VM 6200 AZDEN, VIDICRAFT. 8mm Digital MARANTZ EHG-HF (HI-FI) A Audio Vein Recorder JVC CANON MONSTER Call for C HD PRO CABLE. 24 Hr PCM NEC $249.00 GRC-7 VME-1 E 8 MM VIDEO TAPE L SHOWTIME, RABBIT Price Digital /Wm Rec. WE STOCI, CAMCORDER ACCESSORIES VISA' 1-800-247-4663 High FidelityTell ad us your to calling get from 41111111611U a FREE GIFT* COD) 31800 Plymouth Road, LivoniE, Michigan 48150MIS SAN 313.261.8004 °WITH PURCHASE W) PIONEER asselknoea ma II Ar. Qua-Sar JVC SANYO ELECTRONICS

(CONTINUED FROM PAGE 4 8 ) er's full output-in this case, equivalent to ance excellent (if slightly bright and "for- peak power of 26.8 dBW, or about 475 watts, ward"), with eminently smooth, uncolored into an 8 -ohm load. Calculated sound pres- sound throughout. Moreover, the imaging sure level (SPL) with that drive was 115.8 REASONS WHY YOU was exceptional: not particularly broad in its dB. On steady tones, distortion measure- SHOULD BUY FROM US "stage," but unequivocal in any program ments were satisfactory, averaging about 1/2 v All merchandise factory fresh US percent across most of the band for a drive goods. ALL brand names with mfrs. material we threw at it. Both to give the im- warranty, no gray market merchandise. ageLebensraumand to keep the bass in excel- level of 85 dB SPL and increasing to about 1 38 years in the electronics business. lent balance, we'd suggest you experiment percent for 100 dB SPL. Sensitivity was v- 4 million sales transactions a year, over about what you might expect for an acoustic - 5100,000,000 sales volume. with the speakers away from the wall instead Public traded, buy with confidence. of accepting what evidently is intended as suspension system of this size; AR's sugges- e- Guaranteed lowest prices. advice foranyAcoustic Research floor mod- tion that the speaker be powered by an am- Orders processed within one hour el, rather than for the Connoisseur 40 specif- plifier capable of putting out something ically. between 15 and 150 watts (11.75 and 21.75 VCR'S COMPACT DISC iRD142U TECIINICS St Impedance is unusually flat, never ex- dBW) per side seems eminently sane, able ready Programrnabic 516995 thoughgoodamps are hard to find today at is/ 11120180U nt. TECHNICS SLPTLX ceeding 10.8 ohms (at bass resonance, near 4 Pd direct access '310--Wireless remote 'L I 7 '' RCA VMT285 JVC XLV200 50 Hz) nor falling below 3.7 ohms (at the the bottom of that range. Wireless remote '27995 Programmable 51799' SHARP VC6846 next minimum above bass resonance, near The Connoisseur 40 is exceptional Wireless remote '259" 11111FTZ-CarliThilli SHARP VC6435U 5339 E5CZNuIC, 5 SA9I9 100 Hz). The curve essentially confirms enough, in our judgment, to deserve a good MIS Stereo 952 TOSHIBA M2120 TSEOC,,H,N,IC,S SA929 Acoustic Research's rating of 6 ohms nomi- amplifier. Over and over during testing, we C able ready '249" 144" TOSHIBA M2330 TECHNICS SA939 nal and 4 ohms minimum. Actual average were struck by the freshness of the sound Multi Prog s2209555 wart remote TOSHIBA M5320 PIONE R 5X1000 across the entire audio band is 6.5 ohms; from our favorite recordings and the con- 4 lid waeress remore'3.67"25 watts '124" SHERWOOD S/730 within the so-called music band, it averages vincing nature of the stereo image. And the CAMCORDERS 35 watts '1499' PANASONIC PV220 ,,0SHERWOOD 52750 sound (if not the image itself) can achieve Wireless remote ' "5/ watts 7 ohms. The speaker should present no JVC GRC 7U JVC 803 massive dimensions when driven by an ap- Aritoifocus 9078"45 watt remote '209" problem to any competent amp. RCA CMR200 599995JVC RXS propriate amp with really clean program ma- Auto fcKus.. 55 watt remote 534995 The speaker had no trouble with the

VIDEO TAPES RADAR DET. high-level test pulse, even at the test amplifi- terial. We are very impressed. UNIVERSAL WO BELBEL 864 VHS `i" ' 1 99 57495 110 p,.1 larmlyiDashiVisot model BEL 860 MAXECLBASFSONY54 09, DasntVhor monei '129" 7120 or L750 ' '5 BEL 1134 MAXELLBASFSONY 79 MicroNO(0,01 51099' Higrade VHS or Beta '5 - BEL 837 CAR STEREO Remote model '189" AUDIOVOX AVX686 57995 MANUFACTURERS' COMMENTS 40 watts CASIOhermal CWII JVC KSRI2 ,120, -T Auto reverse PANASONIC RKH500 SuperPIONEER KEIIIItunerPANASONIC512695 Computer 808200 interface " 107 High Fidelity routinely submits copies of test reports we have been able to identify the problem as JVC KSRX4I0 519995 Daisy Wheel 51999' program -related and not a limitation of the DIN Mount PANASONIC RXT36 (after publication) to the manufacturers for review SHERWOOD CRD2I0Si 7995 Accuspeit 329sm High power and comment. And from time to time, we get a re- HTS-5000 itself. Our measurements have JVC KSRX250 KEYBOARDS indicated that in the many duplication steps High power 51799' CASIO PT82 sponse. For the past couple of years, we have been JVC K580710 528995 Melody guide '499' Panel radio CASIO SKI running manufacturers' comments as letters to the between a motion -picture audio master tape JVC KSRX605 531995 Digital sampling 59995 Renter box ' CASIO MT210 editor. In this issue, we are reviving our traditional and a consumer videodisc or videocassette, PIONEER KEH9I91 530995 4 bass & chP51211ord 516995 Top of line YAMAHA format for presenting these replies. imbalances between the left and right chan- 16 voices & rythrns '179" CASSETTE DECKSYAMAHA PSSS nels often arise from amplitude and phase JVC KOV220 s8995 21 preset instruments '21995 2 motors errors. Often these imbalances are a func- JVC KDX3BK WALKMANS Auto reverse II9° tion of signal amplitude, occurring only at TECHNICS RSB49R PANASONIC RXI924 529" Quick reverse 314995 AM/FM cassette low or high levels. Because dialogue usually JVC KDVRS PANASONIC RXSA 70 54.995 Quick reverse sI7995 Auto reverse PIONEER CTII 70W TOSHIBA KT4016 SHURE NTS-5000 SURROUND -SOUND is mixed or panned to be in the center of the Dual ht -speed '18995 AMIFM cassette '299' JVC KDV6 SONY WMF41 S3895 DECODER (SEPTEMBER 1986) screen, it is originally recorded with the 3 heads 525995 AMIFM cassette SONY WMF77 WE WOULD LIKE TO COMMENT ON TWO same amplitude and phase on both program Dolby' ED 58995 TECHNICS 51801X SONY WMF100 questions raised in your review of the HTS- channels. Small mismatches that arise later Manual belt 5599' AMIFM cassette '124" TECHNICS SLDIJ22 57995 5000. The first concerns the decoder's out- in the duplication process appear in varying Semi.direct CORDLESS PHNS TECHNICS SLOD33 PANASONIC KXT3815 57995 put impedance. Although it is high com- degrees as difference information and are Ouartz fully '9115" Digital serunty PIONEER PLL30 COBRA CP302 consequently properly decoded as part of Linear track '9895 Digital coding 17995 pared withthat of other consumer JVC PLF3BK 550795 Fully auto ANSW. DEVICES electronics products, we do not feel this is a the surround channel. SHERWOOD ST870C PANASONIC 80114150 Includes cartridge '699'Double cassette 57995 practical limitation. With typical connecting If you are in doubt about the quality of a PANASONIC KXTI421 COMPACT DISC Tone remote '899' cables having a capacitance of about 33 pico- specific program, you can use an oscillo- TOSHIBA XRJ9 PHONEMATE 5000 5139"Mini Mate '69" farads per foot (like those supplied with the scope to display the left and right audio TOSHIBeA XRP9 PHONCMATE 7000 Wireless DOrtable '22995 Double beerierle55 S7995 product), the high -frequency response of channels as a Lissajous pattern. The dia- any particular output channel will be less logue portions of the program should be in than 0.5 dB down at 20 kHz for cable lengths phase at all signal levels, appearing on the ORDERS ONLY of as much as 12 feet. For a more typical 6 - screen as a narrow diagonal line. Examples 1-800-327-4445 foot run, the response will be down less than of videodiscs that are particularly free of MONDAY THRU SATURDAY 9AM-6PM EDT 0.2 dB at 20 kHz. such problems includeBack to the Future, INFORMATION: 1-301-799-8222 Credit cards The second item is the sibilant spitting Gremlins, Ladyhawke,andReturn of the fedi. Money ordersChecks VISA you sometimes heard from the surround Mawr. S. Ikkelela 7540 Washington Blvd. channel during your listening tests. We also Chief Development Engineer Shipping and handling e,traS25 mnreturns acceptedwithin10 Shure Brothers, Inc. days with copy invoice original packing and Plank warranty saris have heard such effects, but on all occasions subject to restocking fee and shipping Not responsible for nth shipping delays Prices good until 3rd of month Sansui's AU-G77XII amplifier is rated superior for CD reproduction. Sansui X-cels in digital performance. Our new AU-G77XII am- plifier reproduces digital signals more accurately because our X -balanced circuitry delivers more headroom-without clipping. With ordinary amplifiers you need massive amounts of power to react to the pulse -like transients produced by digital discs. But with Sansui's X -balanced circuitry, our AU-G77XII handles digital peaks and low impedance loads with no problem.

It features virtually distortion -free power* (0.008 THD) and dynamic power is 160 watts -per -channel into 8 ohms; 220 watts -per -channel into 4 ohms; and 260 watts -per -channel into 2 ohms. The AU-G77XII also features input for phono MM/MC (select- able), CD, tuner, tape 1 and tape 2, line 1 and line 2. Plus a special adapter input/output loop for EQ or processor for added dubbing capabilities. When it comes to optimum performance with digital music sources, Sansui's AU-G77XII is an amplifier that's past digital ready. Hear it today and you'll know we're not distorting the truth. '110 walls -per -channel minimum RMS. both channels driven into 8 ohms from 20-20.000 Hz Hive xi' out distortion in digitalreproduction.

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