soo SOOLp,

T U R OVE From your magnificent Carlton, you get exquisitely have one of the finest speaker systems you can own. accurate sounds. Nothing extraneous. Nothing exag­ Hear the Carlton before you buy • • • you'll want to gerated. Rich middle tones. Precise highs. Bass ..• with build your entire music system around its superb capa­ body •• • no boominess. Living sound ... music as music bilities. You'll like the magnificent matching Sheraton should really sound . • . does sound in a·concert hall. Equipment Console which is generousl y custom­ Exacting research by Electro-Voice audio engineers designed to hold your amplifier, tuner, turntable or have produced the Carlton's unique Phase Loading.* record changer, tape deck PLUS record and tape library. Add the Carlton's contemporary enclosure design, : Hear Electro-Voice "Living Sound" demonstrated at meticulously crafted f rom fine hand-rubbed hardwoods your nearest High Fidelity dealer ... or write for literature by Electro-Voice's master furniture makers, and you on all. Electro.-Voice HIgh-Fidelity Equipment.

CARLTON, IVA-Mahogany, Net $265.00; Limed Oak mounting board. Mahogany, Net $173.00; Limed Oak or or Walnut, Net $270.00. Walnut, Net $181.00. CARLTON IV (Deluxe speaker components)-Ma­ *The CARLTON 15" 4-way system utilizes new Electro­ . hogany, Net $359.00; Limed .Oak or Walnut, Net $364.00. Voice Phase Loading. The "K" type driver is actually at the rear of the cabinet, close to the floor and facing the SHERATON EQUIPMENT CONSOLE-matches wall. This positioning adds almost a full octave to your Carlton enclosure. Dimensions: 33 )1, " high, 37 )1," wide, bass range. Crossover at 300 cps to coaxial mid-range 19 )1," deep. Compartment A: lO X" high x 18" wide x driver; the VH F driver takes over at 3500 cps to 21,000 17 X " deep. Record player mounting board adjustable. cps in the Carlton IV; 18,000 CJ)S in the Carlton IVA. Clearances 3 )1," and 6" above board. Compartment B: Individual "brilliance" and "presence" level controls in lOX " high x 18" wide x 17 X" deep. 1 )1," clearance above both models. Size : 33 )1," high, 26 X" wide, 19 )1," deep. SP-215 STER,EO PREAMPLIFIER ,

NOW. • • stereophonic · HIGH FID.ELITY

by SM-244 STEREO PREAMP AND A]>1PLIFIER

STE:~E'-'PH"""" A""~ I' !I-"'l JI,?-" I}.,J.,j,/? "" Pd".! o

tvf1!1; SP-215 and SM-244 Stereo Components

With the announcement of the SP-215 and the SM-244, Pilot be fed into any two basic power amplifiers, such as the Pilot brings to stereophonic sound a caliber of engineering skill that AA-908 or Pilot AA-410A. Both power amplifiers are operative, has become a byword in high fidelity. Designed especially for and the available power output is the sum of both. Pilot SP-215 stereophonic high fidelity, these new bi-channel components pro­ Stereo Control-Preamp System complete in enclosure $189.50. vide the finely matched quality performance essentlal for good stereo. The SM-244 is a complete stereo control-preamp and amplifier The SP-215 is a complete stereo preamp and audio control sys­ system, a11 housed in o~e enclosure. The two built- power ampli­ tem. It is in effect, two matched control-preamps housed in one ners are rated at 14 watts each (28 watts peak each) at less than enclosure. Versatile beyond anything know~ today, the SP-215 1% distortion. Inputs are provided for FM-AM stereo, stereo may be used with any stereo signal source: FM-AM stereo broad­ tape and stereo discs, microphones, auxiliary, and a separate out­ casts, stereo tapes and stereo discs. A separate output is provided put for making stereo tape recordings. There are bass and treble for making stereo tape recordings from any of these program controls, volume and loudness controls, plus a balance control sources as well as with microphones. Two panel-mounted VU as on the SP-215. Whether used as a stereo or non-stereo system, meters permit each channel to be precisely monitored' for the re­ the SM-244 provides an available peak power of 56 watts. Pilot cQrding. And there are independent controls for adjusting the SM-244 Stereo Control-Preamp-Amplifier System, complete in reference and peak recording levels on each channel. The SP-215 enclosure $189.50 - prices slightly higher in west. may also be used for conventional, non-stereo high fidelity. Hear these new Pilot stereo components at your hi-fi dealer· Features of the SP-215 include 'bass and treble controls,volume today! For complete specifications, write to: and loudness controls, as well as a balance control for equaliz­ Pilot Radio Corp. 37-06 36th St., L. I. City 1, N. Y. ing the level between the two channels. The SP-215 outputs may !Manufacturers in electronics for over 39 years. 3 Garrard model. change. Garrard Ideal. do g. Mnninlfld new featu .... are added. nm..,roven featu .... a ... cgnrfully ....ained. Gad.e", for the sake of ladgetry, ON ..emly lIitsllSl. , The all-lmportant fact to ...member i. that !bldy=fiu Y.J5Ul. of experience in designing, testinl, and byildinl flne record playe,., guide UI In offering you the pNMnt Garrard model..

Mldel 301 PtOftSSIONAL i~ Model Rcas 4-"EED SUpEl TIlNSCtlPTION TURNTAILE I AUTD-MANUAL CHANIE. lIeII ....If YlrII!!I.1 I 'I'" ~ . Continuous + or - varllble 11th unit with Its own I • control on all speeds. $87.SO performance t.st report. Sl9.00 •I ------.------~------Mldel TPA/10 TWlSCIII"ION TONE ARM i Mldel RCSI 4-SPEED DELUXE _ -Professionll performance. I AUTD-MANUAL CHANCEII . lewel·llke construction I Exclusive pusher platform Tbere'stlGarrllTtl/or , and exceptional I protects your records. $54.50 versatility. $24.50 I ~ ..,... , high fiMlil, sySlmI ------+------~ Mldel T Mlrk JI i~" ... Mldel RC121 4-SPEED MIXEt ~.. 4-SPEED MANUAL PLAYEII I . W~ . IUTO·MANUAL CHANCEII ."; . ~ A luperlor unit for ~I~ I " .. ~~ Fine performance with econom, ~ bud,.t .,stems. I ~ Ind compactness. $42.50 ~~ . a> • For InJormatitm Write: Dept. GE-128, GARRARD SALES CORPORATION, PORT WASHINGTON, N. Y. ; "Until actual sound IS produced, music does not exist." Ralph Vaughan Williams

'1~ HiFi& MUSIC REVIEW FEATURE ARTICLES May, 1958

Vol. 1 No.4 If HIGHS Are Here, Can LOWS Be Far 23 W a rren De Motte Behind? There may be a full-range electrostatic speaker in your Publisher future, if that 01 ' debbil bass Oliver Read can be conquered

Editor Apropos Setting 25 Jack Goodman Oliver P. Ferr ell Singular unity in the choice by Westminster to record Handel' s Israel in Egypt Managing Editor in Salt Lake City David Hall Moses und Aron 28 Kla us George Roy Art Editor A unique new recording Saul D. Weiner enables us to I appraise and explore the Associate Editors Hans H. Fantel ~ Livid Li::~s of Schoenberg Warren DeMotte 30 II Equalization" ex plained Assistant Editor in non-technical language Rodney H. Williams Happy Birthday To A Legend 33 Stanley Green West Coast Editor On May 11, Irving Edward A. Altshuler Berlin celebrates hi s 70th birthday. HFMR sends its w armest greetings Contributing Editors Martin Bookspan 37 Robin S. Lanier Ralph J . Gleason Controls! Knobs! Dials! Switches! Stan/ey .Green Who needs 'em? We all do! Those Hat geegaws on your amplifier are there Hentoff to be used-correctly David Randolph Klaus George Roy Bert Whyte Seen At The Show 42 Nan Miller A bit of whimsey, so you' ll Ad verti~ ing Di rector recognize some of the spectators at your local hi-fi show Jonn A. Ronan, Jr. REVIEWS Advert ising Ma nager Herb Olsow

ZIFF·DAVIS PUBLISH ING Co., One Park Your Entertainment Mood 10 Ralph J. Gleason, Stanley Ave., New York 16, N. Y. Will iam Ziff, Green, Nat Hentoff President; H . J. Morganroth, Vice Presi­ dent; W. Bradford Briggs, Vice President; Michael H . Froelich, Vice President; Mi­ chael Michaelson, Vice President and C ir· Your HiFi Concert 54 Martin Bookspan, David cu lation Director; V. C. Stabile, Treasurer; 'Randolph, Klaus George Roy Albert Gruen, Art Director. BRANCH O FFICES: Midwestern Office, 64 The Stereo Reel 68 Bert Why te E. Lake St., Chicago I, III., Larry Sporn, Midwest Advertising Manager; Western Office, Room 412, 215 West 7th St., Los COLUMNS AND MISCELLANEOUS Angeles 17 , C alif., John E. Payne, manager.

SUBSCRIPTION S ERVICE All communications concerning subscriptions should be addressed to Circulation Dept ., Sounding Board 6 Dealer Listing 64 E Lake St. Chicago 1. III. Include your old address as well as new - enclosing if possible an address 'label Irom a recent Advertisers Index 81 ISs ue . Allow 4 weeks lor change of address Letters 20 CONTRIBUTORS HiFi-ndings 47 Infonnation Service 81 Contrlbuto" are adVIsed to retaIn a (Opy of Sherwood S 1000 II thelf manuscript and illustrations. Contrt­ Amplifier bubons should be mar/ed to the New York Just Looking 82 Editorial office dnd must be accompdnied by returo postage. ContribUllons are handled with reasonable care, but this magdzine Cover Photograph by Dan Rubin assumes no responSibilIty for theIr safety. Any Clcceptdble mdnuscnpt IS subJect to whatever ddClptdtlons dnd revisions are neCeSSdry to meet reaulrements of this pub· IIcatlon. Payment covers ClII duthof'~ rights, HiFi & MUSIC REVIEW is pub li shed month ly by Ziff- Da vis Pu b li shi ng C ompany, Willia m B. btles and Interest 10 Clnd to the mdterla' Ziff Chairman of the Board ( 1946-1953 ), a t 64 E. Lake St., Chicago I, III , Entered as second dccepted and wrll be made a't au' current cla;s matter Fe b rua ry 25 , 1958 a t the Post O ffice, C hi ca g o, IIli no.is, S UBS CR IPTI O ~ RATES: rdtes upon a«eptance. A ll photos and draw­ O ne year U. S, and possessions, a nd C a nad a $4 .00; Pa n-Ameri can Un Io n coun t ri es $4.50, In9S will be consideled dS part of rndteodl a ll other foreign co untries $5,00. purchased. Copyright © 1958 by ZIFF-DAVIS PUBLISHING Company All rights reserved M AY 1958 5 THE PAUSE THAT PROTECTS, YOUR RECO_RO-S Sounding Board

David Hall, Managing Editor '.

STEREO DISCS will be reviewed assemblies of the "bookshelf" type in HiFi & MUSIC REVIEW begin­ -for example, the RJ, Acoustic Re­ ning with the next issue. At that search, and KLH. If you plan to time the initial releases from Audio use your existing tone arm or rec­ Fidelity and Counterpoint labels ord changer with a stereo disc will come under consideration. cartridge, it will have to b e modi­ Regardless of doubts expressed fied to accommodate a thil·d lead­ in last month's Sounding BoaTd, this in order to carry the signal for exclusive feature of Counterpoint is so confident of the the second channel. compatibility of its stereo discs for WE ARE INCLINED TO FAVOR GLASER-STEERS GS·77 stereo and monaural cartridges that A SEPARATE STEREO PLAY­ high fidelity changer it has announced discontinuance of BACK SETUP for those not pre­ monaural LPs for all its future re­ pared to invest a considerable sum Now, the original brilliant performance of leases. in converting theil' present high your records can be preserved for hundreds of additional plays. This requires an auto­ The HiFi & MUSIC REVIEW fidelity setup to stereo. Our attitude matic record changer that handles records commentary on stereo discs will in­ in this respect stems from the prob­ with a gentleness not yet achieved by any other changer on the market. The changer clude a report on the compatibility lems we ourselves have encountered that accomplishes this . .. the new GLASER­ factor, as tested under home condi­ with loudspeaker placement for STEERS GS-77. tions with a variety of playback home stereo listening. This is quite TURNTABLE PAUSE is one dramatic reason equipment. a different matter from placing a why the GS-77 handles records more gently If this column seems to be dwel­ single sizeable monaural speaker at than any other automatic record playing mechanism. During the record-change cycle, ling on the stereo disc situation at . one end or in the corner of a living the GS-77 turntable comes to a complete halt, the expense of matters possibly room. and doesn't resume motion until the stylus has come to rest in the run-in groove of the more interesting to the record buy­ In stereo playback we have two next record. This completely eliminates the er, we feel no qualms. Any develop­ loudspeakers to deal with-to be grinding action which occurs where records ment that can lead to a wholesale spaced within 6 to 10 feet of each are dropped onto a moving turntable or disc. change in home listening equip­ other-preferably along a wall or The GS-77 TONE ARM affords further pro­ ill a bookcase. At the same time, tection. Improved mass distribution a nd low ment, as well as to the possible ob­ pivot friction have so minimized arm reso­ solescence of the large investment this stereo speaker arrangement nance and tracking error that these flagrant that many of us have made in con­ must be such that a maximum num­ causes of groove and stylus wear are now vir­ tually eliminated. In addition, the arm has ventional LPs, seems to us to de­ ber of people can sit in the "opti­ been so designed that stylus pressure between mand the fullest possible month-by­ mum listening area" without dis­ the first and top records in a stack does not month reports, until such time as a rupting the entiTe living 1'Oom 01' vary more than 0.9 gram. clear course becomes established in listening 1'00111, layout. SPEED MINDER goes still further - for by sim­ terms of what is finally to be made Our guess is that the problems ply setting the appropriate stylus into play position, the GS-77 automatically plays at available in the stores and at what set forth here are going to compel the correct record speed, and in the micro­ prices. some widespread changes in groove position, intermixes 33'h and 45 rpm records regardless of their sequence in the THE STERO DISC PLAYBACK speaker manufacturing fashions. stack. EQUIPMENT situation remains ill­ For most homes mobility and un­ The GS-77 is the perfect high fidelity defined at this writing isofar as it obtrusiveness of the loudspeakeTs record changer. It combines traditional turn­ concerns availability on a mass pro­ will be a major consideration when table quality with modern automatic conveni­ duction basis of ready-built stereo it comes to a prOjected addition of ences - and it does this with incredible mechanical simplicity. No wonder disc playback "packages." By the stereo listening facilities. To us this ... audiophiles are switching to the new time you read this, it should not be means high efficiency drivers GLASER-STEERS GS-77 too difficult for one who has the mounted in compact enclosUIes, $59.50 less cartridge and base price of a stereo cartridge ($19.95 which in hll'D will either fit in book­ (base illustrated, $9.60) and up), plus a second amplifier cases, or be disguised as end-tables HFM-S set-up to convert his existing -or even hassocks! GLASER-STEERS CORP. monaural facilities to stereo. We The sooner a large-scale manu­ 20 Main Street, Belleville 9, N. J. recommend matching speaker and facturer comes out with a good Please send me complete information on 'he amplifier for the second channel quality stereo playback package 05-77. wherever possible. NAME ______which at a reasonable price fulfills It may be cheaper for some to the requirements noted above, so ADDRESS ______acquire a separate stereo playback much the sooner will stereo become CITY ______ZONE __STATE ___ rig with matching 10- or 15-watt a major factor in our home listening amplifiers and high quality speaker (Continued on page 8) 6 HIFI & MUSIC REVIEW The great pyramid at Gizeh stands as much a monument to the skill of its builders as it does to Pharaoh Khufu. Built circa 2900 B. C., covering upwards of 13 acres and measuring 755 feet to a side, the base comes within .65 inch of forming a perfect square. Bridging the time-distance gap between original performance and its re-creation in your home requires loudspeakers of the greatest precision. It takes a driver made with the meticulous precision that goes into the great J BL Model 375 to preserve the pristine perfection of an immortal artist's performance. It takes audaciou thinking and advanced craftsmanship to produce speaker systems of the magnitude of the Ranger-Paragon and the Hartsfield. Both are described in the new JBL Signature Catalog_ Write for your free copy and the name and address of the Authorized JBL Signature Audio Specialist in your community. ,'" I "JBL" means Q~I3~ 1Yllmt:fm1 ~.lm!l!·!lJ INC. I 3249 Casitas Avenue, Los Angeles 39, California (Continued from page 6) ~~J\\ experience. My colleague, Edward Tatnall Canby has summed it up very neatly by observing that "Disc NEWiALTEC stereo will have to be mass stereo­ j.J. or no stereo." PSEUDO-STEREO devices involv­ speakerJ __ systems ing the use of artificial reverbera­ r " tion, time delay, or phase-shift net­ ,./ ... professional design works will be corning more and for exceptional quality more into' the limelight as a means of "enhancing" monaural discs or home high fidelity broadcast reception. X-Ophonic, Stereo by Holt, Ecco-Fonic, Stereo­ Realistic sound reproduction, famous with ALTEC LANSING "Voice of Rama are some of the trade names the Theatre" speaker systems chosen exclusively for Cinerama and for the WIder which these devices are be­ vast majority of all theatres with stereophonic sound, is obtained through the perfect combination of three basic sound elements: ing marketed. All involve the use of 1. Efficient wide-range ALTEC speakers, a woofer and tweeter, to provide a second speaker-as in true stereo. smooth response over the entire frequency range to 22,000 cycles. An evaluation of these will appear No number of speakers with less range can cover smoothly this broad in an early issue. spectrum. And only efficient spe'akers, such as ALTEC, handle dynamic peaks without distortion or compression. DON'T WRITE OFF TAPE as a 2. Just one crossover because ALTEC systems require only two speakers. listening medium for horne stereo. This avoids phase distortion inherent in any system with multiple crossovers. Major manufacturers plan an­ 3. Bass reflex enclosure to give natural, uncolored bass and perfect tonal nouncement of a tape player that realism throughout the full audible range. Tonal holes caused by phase can­ will accommodate a magazine load­ cellation in trick cabinets designed primarily to give a false bass do not ing cartridge designed to play occur in ALTEC's bass reflex enclosures. standard J~-inch tape in either direc­ And the elegant styling of ALTEC's hand finished walnut, blond, or mahogany enclosures has been acclaimed by three national design festivals. tion at 3%-inches-per-second (half Insist on ALTEC professional quality speaker systems for your home. the present speed). This tape will contain four tracb, as against the two tracks accommodated on pres­ ent-day pre-recorded stereo tape. Quality is claimed to be fully com­ parable to that obtained with to­ day's best 7~-inch speed horne ma­ chines. Thus, each of these new ,. magazine cartridges can carry as much music as a normal 12-inch LP, which should make it possible to sell pre-recorded tape at prices comparable to disc. One big string attached here, though, is the fact 830A LAGUNA SYSTEM 831 A CAPISTRANO SYSTEM that this forthcoming stereo tape This is without qualification the Incorporating one IS," 803A bass finest residential speaker system speaker, an 800E dividing net­ magazine cannot be adapted to in the world. The Laguna has a work and an 802 driver with the existing equipment. guaranteed frequency response 811 B horn, the Capistrano has a In our opinion, the proponents from 30 to 22,000 cycles without guaranteed range from 35 to any peaks, false bass, treble rise 22,000 cycles. The graceful, deli­ of pre-recorded stereo tape still or other misleading frequency cate styling of the enclosure is as have to lick the problem of achiev­ accentuations. Internally this outstanding visually as the per­ ing production rates comparable to corner system consists of a formance is outstanding audibly. matched pair of massive '15" The Capistrano is equally appeal­ disc manufacture and with compa­ 803A bass speakers, an 802 high ing to the decorator and the rable consistency of quality. frequency'driver mounted on the audiophile. To sum up-the big "if" standing 51lB horn and five hundred cycle Available in walnut, blond, or 500D dividing network. mahogan'y hardwood cabinets in the way of stereo for every home Available in walnut, blond, or (Shipped completely assembled). is what plans the large package mahogany hardwood cabinets Price: $426.00 (Shipped completely assembled). Other complete ALTEC speaker manufacturers (RCA, Columbia, Price: $639.00 systems available from $126.00 Magnavox, etc.) have for mass mar­ keting stereo disc players of good quality at reasonable prices. The STAY AHEAD WITH Write for free catalogue answers will be forthcoming by ALTEC LANSING CORPORATION, Dept.5MR early summer. Upon these answers 1515 S. Manchester Avenue, Anaheim, Calif. will rest the future of stereo as 161 Sixth Avenue, New York 13, N.Y. either a magnilicent new listening ..i'I TUNERS • PREAMPLIFIERS • AMPLIFIERS • SPEAKERS • SPEAKER SYSTEMS • ENCLOSURES medium for the home or a fiasco like color TV. -END 8 HIFI & MUSIC REVIEW Here are the Features That Make the H. H. Scott 310-B the BES' F

H. H. Scott 3 10 ~ B T u-ner shown in /wnclsom,e rn,ahogany accessory casc. H. H. SCOTT TUNER SETS NEW DX RECORD! ONLY the 310-B was rated outstanding in ONLY the 310-B will stay tuned, without all respects by a leading consumer testing . drift or "pull" when set to a weak signal The Apparatus Development organization. adjacent to a very strong one. This feature Company, Manufacturers of the is essential for good performance in crowded ONLY the 310-B limits fully on random FM/Q FM Antenna reports the signal areas. noise. This means true high fidelity FM Scott consistently receives sig­ performance on even the weakest signals. ONLY the 310-B will reject an unwanted nals from a distance of 510 signal or interference that is only 2 ~ db miles. This is the best record ONLY the 310-B has 85db cross-modula­ weaker than the desired signal. Strong for any FM tuner in their files. tion rejection. This means you can listen interference can come from a TV receiver to weak stations even though strong signals or another station on the same channel. are nearby. The 310-B will reject this interference. Additional Specillcations: ONLY the 310-B will maintain audio out­ H. H. Scott Engineering Department Sensitivity 1.5 microvolts on 300 ohm put voltage constant within ±1.5db, even input for 20db of quieting. Three IF stages; STATEMENT OF GUARANTEE Three Stages of Limiting; Broadcast-type though signal strength may vary from 1.5 All the statements regarding the perform­ signal strength meter; Interstation Noise microvolts to 1 million microvolts. This ance of the 310-B tuner are backed up by Suppressor; Multiplex output. Price laboratory measurements available for in­ $189.95. Prices slightly higher west of Rockies. means you never have to re-adjust volume spection at the H. H. Scott engineering Case extra. level. department. The 310-B will outperform any tuner. It will work in the most difficult locations, where other tuners fail. ONLY the 310-B can perfectly separate a ]l.~. .J t>. ••~ 't?~L'1-"""" weak station from one in an adjacent chan­ Certified: D. von Recklinghausen nel that is up to 15db stronger. Chief Research Engineer ------H. H. Scott Inc. 111 Powdermill Road, Maynard, Mass. Export : Telesco International Corp .• 36 West 40th Street. New York City RUSH me my free copy of your completely new catalog MR-5

NAME ...... ~ ...... ADDRESS ...... , CITY ...... STATE ... _ ...... Your Mood

Reviewed by: THE BEST

RALPH J. GLEASON For Tops in Pop Singing-You' ll delight in Sinatra's latest Capitol album Come Fly With Me (this page), plus Mary Martin's RCA Victor collection of STANLEY GREEN Richard Rodgers songs complete with the composer himself at the piano (p. 15). NAT HENTOFF For Hi-Fi with Humor-"Elsa Popping's Pixieland Band" provides just the touch with their clever Delirium in Hi-Fi LP, a highlight of Columbia's new Frankie Flies Adventures in Sound Series (p. 18).

COME FLY WITH ME featuring FRANK Jazz Virtuosity with the Big Sound comes with Emarcy's new Pete Rugulo SINATRA with Billy May Orchestra. disc-Out on a Limb (p. 74). Also tops for fine sound and superb big b ':. nd Come Fly With Me; Around The World ; Isle Of Capri; Moonlight In Vermont; On jazz is Roulette's debut offering, Life Is a Many Splendored Gig, waf- Herb The Road To Mandalay; April In Paris; Braz il Pomeroy's remarkable band from Boston (p. 74). & 5 others. Capitol W 920. I WISH YOU LOVE featuring KEELY For the Pleasures of Intimate Listening-Be sure to lend an ear to Erroll SMITH with Nelson Riddle Orchestra. Garner's uniquely personal Soliloquy, for Columbia (p. 75), and to the delect­ I Wish You Love; When Your Lover Has ably entertaining March Time, with the Eastman Symphonic W ind Ensemble, Gone; You Go To My Head; I Und e rstand; on Mercury (p. 14). Fools Rush In; As You De sire Me & 5 others. Capitol T 914. But Darli ng Be Mine; Thou Swell; Honey­ not ndll1ing the trio, are devoted partly Frank Sinatra is the King of popular suck le Rose; Just A Gigolo; How High Th e to a plug for the restaurant by its owner. singers (by singers he's a singer, as well Moon. Mercury MG 20326. Perhaps the head waiter co uld do the as by fans) these days. There is no one next one. to whom he must give way on any count. THE INTOXICATING PEARL BAILEY with Don Redman Orchestra. His selection of tunes to perform is a con­ I've Taken A Fancy To You; Here You Come Pearl Bail ey is not a jazz singer, but tinuing indication of his good taste; the With Love; Th e Saga O f My Life; Empty her timing, phrasing and the texture of manner in which he performs them is the House Blu es & 8 oth ers. Mercu ry MG 20277. her voice certainly place her on the pe­ envy of singers the world over and the riphery of that clifficult-to-defin e category. delight of his countless fans. The Vaughan program, recorded at a In this album, she bas been burdened by r The basic qualities in Sinatra's voice Chicago night club, is one of Sarah's consistently second-rate materi al, but she which make him so superior are sincerity freest jazz sets in many months. She is so skilled and subtly intelligent an en­ and the ability to phrase a song and sing seems to be enjoying more improvisatory tertainer that she somehow manages to its lyrics as though he himself had writ­ fun than is usually the ca~e at her Mer­ make the program at least palatable. It's ten them. In previous LPs he has usual­ cury studio dates, and the fact that there a pity no record company has thought of ly been accompanied by the Nelson Riddle are only nine tunes in the album gives letting Miss Bailey sing an album of orchestra, but this time Billy May is used standards backed by a superior jazz com­ for a change of pace. It is a good choice, bo in loose anangements by, let's say, for the clean-sounding, li ghtly swinging Quincy Jones. N.H. band is excellently suited to Sinatra's voice and the arrangements are bright and provocative, particularly the unex­ Playboy and CBS Pick pected ending on Road to Mandalay. PLAYBOY J AZZ ALL STARS. Keely Smith is the wife of trumpet Featuring Louis Arm strong, Dave Brubeck, man Louis Prima and has been singing Ell a Fitzgerald, Dizzy Gillespie, Benny Good­ man, Stan Kenton. Gerry Mulligan, Frank with his band in Las Vegas for some Sinatra, and others. time. Here she makes her LP debut in a Do You Know What It Means To Miss New selection of delightful songs, each of Orleans? ; Pilgrim's Progress; I Concentrate which she infuses with an emotional On You; Joogie Boogie, & 17 others. Play­ warmth that is refreshing in a vocalist to­ boy PB 1957 2 12". day. Aided by a deft accompaniment from Nelson Riddle, she manages to In connection with its 1957 Jazz Poll, achieve the desire of every singer-she Pla.yboy magazine has released a pacKage tells a story with each song. of two LPs containing performances by its Both of these LPs benefit from Cap­ poll winners that have been made avail­ itol's painstaking recording technique. her more space to build her spiraling, able by seVEn different record companies. horn-like variations. There is also more In a further remarkable display of intra­ R.J.G. elemental warmth in her singing here industry cooperation, t11is album-on a You Are There-with Sarah than in much of her recent work and special Playboy label-is being distributed conSiderably less preoccupation with py­ nationally by Columbia. Bound in Witll rotechnical virtuosity. Her beat is strong­ the records is a long, illustrated set of SARAH VAUGHAN AND HER TRIO­ Jimmy Jones (piano), Richard Davis ly resilient and her accompaniment is notes by Leonard F eather containing bio­ (bass), Roy Haynes (drums). superb. Note especially the piano back­ graphical data and discographies on all September In The Rain ; Willow W eep For grounds of Jimmy Jones who has since the victors. Me; Just One Of Those Things; Be Anything left Sarah. The liner notes, in addition to ( Continued on pa.ge 12) 10 HIFI & MUSIC REVIEW NOT A CLUB, NOT A GIMMICK, NO STRINGS ... Before You Buy Another Record - Send For Your FREE Westminster Preview

Here's the most exciting new record buying idea in years­ the Westminster Preview Plan. It's our way of introducing Your Preview records contain e.xcerpts from: you to the matchless quality of Westminster recordings­ and at substantial savings to you. CLASSICAL STRAUSS - Till Eulensplegel, Don Juan, Rosenkavalier Suite. Philharmonic Superb musical excerpts from outstanding Westminster re­ Symphony Orchestra of London conducted by Artur Rodzinski. (XWN 18680) leases ar-e specially pressed on 7" Long Play 33% records. RIMSKY·KORSAKOFF - Scheherazade. Vienna State Opera Orchestra con­ You get these directly from Westminster FREE. You pay ducted by Hermann Scherchen. (XWN 18660) only a nominal handling and postage charge. (You have no GERSHWIN - Rhapsody In Blue, An American In Paris. The Utah Symphony further obligations!) conducted by Maurice Abravanel. (XWN 18687) With each Preview you receive four coupons, each entitling BALLET AT THE OPERA - Vienna State Opera Orchestra conducted by you to $1.00 off the nationally advertised price of any $4.98 Armando AI ibert!. (XWN 18681) or $3.98 Westminster record as listed on the Preview. (Should POPULAR you take both Previews, you could save as much as $8.00.) SEEMS LIKE OLD TIMES - Sy Shaffer and his Orchestra. (WP 6083) Once you've listened to your Preview and decided on the HOW DID HE LOOK? - Joan Merrill, vocal/st, with vocal and Instrumental records you want to own take the coupons to your dealer. group. (WP 6086) He'll be happy to give you the discount on your selections. INDIAN LOVE CALL- Friml Presents Friml. Rudolf Friml plays and conducts So send for your Westminster Previews today. Preview your the Friml Orchestra. (WP 6069) records before you buy and save money when you buy. The THE TOO, TOO MARVELOUS BEA - Bea Abbott, vocalist, with Hal Otis and special Preview record is yours to keep whether you buy any his Orchestra. (WP 6078) records or not. Fill out this coupon today. ------·------i This offer is good WESTMINSTER RECORDS, 275 SEVENTH AVENUE, N. Y. C. DEPT. M-17 for a limited time. Please send me the following Preview ( s) o Classical 0 Popular 0 Both I enclose 25 cents (50 cents for both) to cover cost of handling and postage. '''lANe' NAME: ______, ADDRESS. ______I , CITY ______--"'ZONE ___STATE. ______I . I ,I This offer is good only within the Continental limits of the United States. .. ,~"--.--~ ------~------~------il MAY 1958 (Continued fmm page 10 ) Good examples of the contrasts in style­ stream to pass. They have Red Mitchell, between modern jazz musicians and their an extraordinary bass soloist, to help out, Handsome as the package is, the ad­ forerunners are not too easy to come by, their concept of the tunes is imaginative vanced jazz buyer can do better by his $9 really. Tins Verve LP offers a good op­ and the performances sure and slick. The than with this collection. There is one portunity to observe how much Dizzy tunes themselves are classics and Previn is exceptionally poor number-Charlie Van­ Gillespie has added to the scope of jazz at his best when interpreting a lyric tura's Fine Idea; but the rest range from trumpet playing since the days of his ballad. competent to invigorating. Each of these mentor, Roy Eldridge. They are both .. artists, however, is more valuably repre­ present here in extended solos with Harry sented elsewhere. It is a diversified enough Edison, a mainstream jazz solo trumpeter STAN FREEMAN t::~ll"" D("'_ anthology for the beginner in jazz, but it's of surprising warmth as a stylistic relief TEe A no epochal contribution to the repertoire between Roy and Dizzy. This album is, as a whole. The material dates from 1940- despite its annotator's fervent defence of 57 (mostly from the 50's). Some of the a lost cause, the proof positive of Gil­ performances have been previously re­ lespie's in1portance and Eldridge's obso­ leased and others are available only here. lescence. None of the participating companies R.J.G. parted with any priceless treasure from their files. Musicals for Jazz Moderns N.H. PAY JOEY featuring ANDRE PREVIN & THE SOUND OF JAZZ. HIS PALS. Featuring Count Basie, Bi llie Ho lid ay, Re d I C ould Write A Book; That Terri fic Rain­ Al len, Jimmy G iuffre Trio, Jimmy Ru sh in g , bow ; Bewitched; Take H im; Zip; It's A Great I Ma l Waldron, and others. Big Town; What Is A Man?; I'm Ta lkin ' With 1 Wild Man Blu es; Rosetta; Fine And Mel low; My Pal; Do It The Hard Way. Contemporary I Left My Baby; The Train And The River; C 3543. Nervous; Dickie's Dream. Columbia CL 1098. THE MUSIC MAN-Highlights featur­ The current Broadway hit The Music The Sound of Jazz was CBS's historic ing STAN FREEMAN & HIS MUSIC Man, is treated to a pair of entirely dif­ television production on the late, la­ MEN. Seventy-six Trombones; lida Rose; It's You; ferent jazz versions. Stan Freeman, a mented Seven Lively Al'/;S program. Most Iowa Stubborn; The Wells Fargo Wagon; technically facile pianist with a marked of the artists ga th e~e d together a few days Gary, Indiana; The Sadder-but-Wiser G irl resemblance to Previn, sprints through before the show and recorded some of the Fo r Me ; Marian The Librarian ; Till There the attractive score of the musical with selections they later performed on the Was You. Columbia CL 1120. considerable elan. However, since the show. They are presented on this LP and tunes themselves are nowhere nearly as even tllOugh not quite as impressive as THE MUSIC MAN featuring JIMMY GIUFFRE & HIS MUSIC MEN. much a part of the popular vocabulary Iowa Stubborn; Goodnight, My Someone; as are those of My Fair Lady and Pal Seventy-six Trombones; Marian The Libra­ Joey, the LP must rest on the perform­ rian; My White Knight; The Well" Fargo ance alone. On that point it is slick but Wagons; It's You; Shipoopi ; Li da Rose; not impressive to those unfamiliar with Gary, Indiana; Till There Was You_ Atlantic 1276_ the original material. "'''hen, last summer, drummer Shelly The Jimmy Giuffre LP consists of a Manne and pianist Andre Previn com­ group of Giuffre arrangements for a me­ , bined to produce a jazz version of the dium sized jazz orchestra, of the music tunes from My Fair Lady, they created from the same show. Giuffre is a skilled quite an impression. The LP they made clarinetist and brings his distinctive style was one of the all-time best sellers in to these performances. As an arranger, he the jazz field and this has stirred other is better known for his rousing big band companies to tread the same path and compositions than for his folksy, semi­ to spur Manne and Previn to essay a country style jazz arranging and it is tile repeat performance. latter idiom which he utilizes here. Those Their new venture is a series of mod­ who are Giuffre fans and those for whom ern jazz performances from Pal Joey. It a jazz version of a musical has an inher­ should be almost as successful as My ent attraction, will be delighted. Those the TV performances, they are well worth Fair Lady. The performances by Previn of us who look for more of a legitimate hearing. In particular, the lashing excite­ and Manne, whatever they may lack in jazz feeling in efforts of this sort will be ment of the Count Basie big band (not disappointed. his regular one, but a group assembled for R.J.G. the program), the haunting vocals of Jim­ my Rushing (the best thing on the LP Soundtracks it la Grand Opera and one of the best things recorded re­ centl:y) are memorable, and Billie Holiday JOHNNY GREEN: Rainfree Counfy-Sound Track. sings better here than at almost any time MGM Symphony Orchestra and Chorus, in recent years. The Giuffre Trio seems J ohnny Green condo RCA Victor LOC 6000 pallid by comparison to the rest of the 2 12". - music, and the Red Allen All-Stars do not rise to any particular_heights. Waldron's MARIO NASCIMBENE: A Farewell To piano solo is intricate, sustained tension, Arms-Sound Track . Symphony Orchestra, Franco Ferrara condo but not a particularly impressive perform- Capitol W 918. ancc. R.J.G. Wlnle recordings of scores from non­ musical films retain a certain amount of TOUR DE FORCE featuring the trum­ authenticity by being made directly from pets of ROY ELDRIDGE, DIZZY GIL­ LESPIE, and HARRY EDISON. the soundtrack, this also accounts in Steeplechase ; To ur De Force; I'm Th rough large measure for the formlessness found With Love; The Nea rn ess O f You; Moon­ in many such packages. It has always light In Vermont; Summertime. Verve MGV basic jazz roots, are top notch professional seemed to me that such scores should be 8212. jobs and close enough to the main jazz (Continued on page 14) 12 HIFI & MUSIC REVIEW YOU NEVER HEARD IT SO HI-FI

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Richard Strauss' noble tone poem, Two Romeo and Juliets: Tchaikovsky's At last! The complete Chopin Scherzi Alpine Symphony, performed by the Fantasy-Overture; Prokofieff's Ballet recorded by world-famed Chopin­ Saxon State Orchestra, Dresden, with Music. Berlin Philharmonic, Lorin authority Ruth Slenczynska · at the Karl BBhm conducting. DL 9970· Maazel, Conductor. DL 9967· piano. Scherzos 1 through 4. DL 9961

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Wonderful Wayne King plays dreamy Here's Howard Lanin again! It's Dance . Such sweet harmony! Superb barber­ , fox trots and waltzes like 'Fascina­ Time in Hi-Fi, terrific follow-up to shop ballads by the Mills Brothers. tion,' 'Tammy,' 'Around The World,' Dance 'Till Dawn IDL 8612l! Continu­ 'The Barbershop Quartet,' 'All By My­ and manx, many more. DL 8663 ous medley-25 top tunes! DL 8698 self,' 'When I Lost You,' etc. DL 8664

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Terrific Toni Arden giving her all to Carmen remembers all the great tunes Sammy Davis, Jr. turns his consider­ the songs she sings in her night club that Duchin made so famous: 'Love able talents to creating rosy, roman­ act. 'Autumn In New York,' 'Be My Walked In,' 'Easy To Love,' 'April In tic moods with 12 love songs. Mundell 0 Love,'. 'That's All,' etc. DL 8651 Paris,' 'Estrellita.' etc. DL 8661 Lowe on guitar. DL 8676 •

-Recorded by Deutsche Grammophon in Europe. " Available in EP 45 RPM. RECORDS A NEW WORLD OF HI-FI SOUND MAy 1958 13 (Continued from page 12) Ray Charles Choir do a series of numbers the score for a 1950 film short called drastically refashioned for recording pur­ associated with various of the big swing Grandma Moses (once available on a poses, so that the purely aural values of bands of the 30s and 40s. These include 10" Columbia LP), and the following the music, if any, might more effectively specialties of Charlie Barnet (who ap­ year served as the basis for the song be exhibited in arrangements-that possess pears in person to play his familiar chorus Suits Me Fine in tlle Nanette Fabray a modicum of musical form and cohesive­ on Redskin Rhumba), Count Basie, Duke musical, Make a Wish. ness. Ellington, Woody Herman and Artie A partial step in the right direction has Shaw. The music is exceptionally pleas­ The platter of Vienna pastry called been taken in the soundtrack recording of ant, gets a rather happy, light swing and Vienna on Parade offers morsels heard in Johnny Green's score for the film version should bring back some vivid memories the touring concert attraction of tllat of Ross Lockridge's Raintree Co'unty. Mr. of nights at Glen Island Casino and the name. Selections comprise pleasantly di­ Green points out that he has re-combined Essex House for young old-timers. verse items including marches, waltzes, r some sections with other material actually operetta excerpts, folk songs and moody "recomposed on track" in an attempt to The Shearing package surrounds the H ofbriiu melodies. Sehr gemutlich. achieve "the optimum in 'listening liquid sounds of the blind pianiSt's Quin­ S.G. music.'" tet with a series of excellent vocal patterns Exactly what Mr. Green has accom­ by the Jud Conlon Choir. The selections Starring Tenor Saxes plished by this is a little hard to deter­ are not associated with any particular mine without a knowledge of the original previous rer.dition but are merely a good A NIGHT AT THE VILLAGE VANGUARD featuring SONNY ROLLINS on the score, but as it now stands, its excessive group of ballads well suited as mood music with a slight jazz flavor. The only Tenor Sax. length (an hour and twenty· five minutes! ) Old Devil Moon; Softly As In A Morning forces it to stretch out its themes and one which gets out of tlle mood music Sunrise; Striver's Row; Sonny moon For Two; to expose thereby its weaknesses as a category is Cubano Chant, in which the A Night In Tunisia; I Can't Get Started. unified work. There are eight themes in bongo and conga drumming, apparently Blue Note 1581. all, with The Song f1'Om Raintme County by the usual Shearing Latin rhythm sec­ BLUE TRAIN featuring JOHN COL­ (a variation on The Red Rive1' Valley) tion, adds a touch of excitement. R.J.G. TRANE on the Tenor Sax. and tlle love music (called Nevel' Till Blue Train; Moment's Notice; Locomotion; N ow in its pop tune version) repeated I'm Old Fashioned; Lazy Bird. Blue Note almost to exhaustion. Marches for Fun 1577.

MARCH TIME. Jazz tenor saxophone players have been Bugle And Drums; The Mad Maior; The In­ dominated during the last decade by the terlochen Bowl; Guadalcanal March & 8 playing concept of Lester Young; a soft others. Ea stman Symphonic Wind Ensemble, but sure tone and a lazy, after-beat phras­ Frederick Fennell condo Mercury MG 50170. ing, as opposed to the harder, fuller tone MITCH'S MARCHES. and more direct statement of the idol of Bridge At Th e River Kwai; Yellow Rose Of the previous generation, Coleman Haw­ Texas; Who Will Kiss Your Ruby Lips; Fol­ kins. low Me; Th e Bonnie Bl ue Gal & 7 others. In the past year, the work of two young Mitch Mill~r Orchestra. Columbia CL 1102. tenor men, Sonny Rollins and John Colt­ VIENNA ON PARADE. rane, has suddenly emerged as a new pre­ Hoch und Deutschmeister March; Harry Lin e vailing influence. Rollins has combined Th eme; Wien, du Stadt meiner Traume & some of the strength of Hawkins with the II others. Deutschmeister Band with Chorus, fleet changes and intricate double-time r Karl Jancik (zith er) , Hedy Fassler (soprano), concept of Charlie Parker, while Coltrane Karl Terkal (tenor), Grinzing Schrammel has gone back to Dexter Gordon, a com­ Ens emble, Capt. Julius Hermann condo plex saxophonist of the late Forties, for Angel 35499. his main inspiration. Fanciers of band music have much to Both are heard here in fine examples The Mario Nascimbene score for Ernest of their individual styles. Rollins, who Hemingway's A Farewell to Arms is more please them in th~ above assortment. Foremost is the stirring collection of pays more attention to melody, includes of a compilation than a composition, with marches heard in the Mercury collection, three ballads in his album on which he themes culled from Smilin' ThrOtlgh, the the eighth in a highly regarded series methodically creates improvisations which love duet from Madame Butterfly, the of releases by the Eastman Symphonic bear a more inlmediate relation to the French lament J' attendrai, and the verse melodic line than to tlle chord structure. to Victor Herbert's Italian St1'eet Song. Wind Ensemble, under the direction of Frederick Fennell. Thrillingly recorded His album is also one of the first clearly S.G. and performed with impeccable style, the audible recordings of the work of Elvin program features six compositions by the Jones, an incredibly complex drmnmer Combo-plus-Voices late bandmaster Edwin Franko Goldman whose work produces 'something akin to SINGING INSTRUMENTALS featuring on one side, plus six by different com­ an electric shock. The Rollins LP is a NEAL HEFTI and His Orc:hestra with posers on the other, including Roland trio album with bass, drums and tenor. the Ray Charles Choir. Seitz's March "Grandioso" (based on Coltrane's LP relieves him of tlle brunt Opus # I ; Jersey Bounce; Redskin Rhumba; Liszt's Second Hungarian Rhapsody), of the solo work by the addition of a Mood Indigo; Woodchopper's Ball; Skyliner; The Mad Maior by Kenneth J. Alford, trumpet player (the young spiritual de­ One O'Clock Jump; I Can't Get Started & and Richard Rodgers' Guadalcanal March scendant of Clifford Brown and Dizzy 4 others. Epic LN 3440. from the television documentary Victory Gillespie, Lee Morgan) and a trombone at Sea. Informative notes by the con­ player (the morose Curtis Fuller). The NIGHT MIST featuring the GEORGE ductor. Coltrane style is considerably more in­ SHEARING 9UINTET with Voic:es. Polka Dots And Moonbeams; Darn That tricate than tllat of Rollins, with greater Dream; In Other Words; Long Ago And Taken from previously issued releases, dependence on harmonic structure and Far Away; Imagination; Night Mist & 5 Mitch Miller's collection varies the beat less concentration on melodic themes. others. Capitol T 943. occasionally from strict march tempo Perhaps because of this, his one ballad and contains enjoyable, light-hearted mu­ is highly impressive as a lyric study. The The use of a vocal group singing a sic much as The Yellow Rose of Texas, rhythm team of Paul Chambers, bass, and wordless lyric to jazz tunes has proven Wooden Shoes and Happy Hearts and Philly Joe Jones, drums, which has pro­ very po;:.ular; proof positive is Epic's re­ The Bowery Grenadiers. Hugh Mar­ vided the foundation for the impressive Telease, in a more attractive packaging, tin's and Alec Wilder's Whistle Stop, series of Miles Davis recordings, is work­ of ~his Hefti album, first issued over a here credited to the New England Suite, ing here for Coltrane. year ago. In it, Hefti's orchestra and the was first written as the main theme of One has the distinct impression, with 14 HIFI & MUSIC REVIEW both Coltrane and Rollins, that these ·are men who are searching diligently for a new concept of tenor saxophone playing; that they have not yet achieved -maturity of style (may not, indeed, know where this will lay ), and that they quite likely will record albums in the future which will contain the definitive style of each. In the meantime, we are fortunate to be able to observe them as they develop. R.J.G. South of the Border VIVA! featuring PERCY FAITH & HIS In terms ORCHESTRA. of balancing La Cucaracha; Cuanto Ie gusto; Al l en e l Rancho Grande & 10 others. Columbia CL 1075. sensitivity with stability, LATIN AMERICANA featuring Luis Al­ berto del Parana and His Trio Los Paraguayos. End e q ui t e vi; Tus la g rimas; La Ll egada & 9 others. Epic LN 3426. dependability and simplicity Percy Faith and his Orchestra, accom­ panied by exemplary sound, has traveled • to Mexico for a baker's dozen of the most of popular songs of that country. Guada­ operation .. . th ere IS laiara, Cuanto le Gusto, La Paloma, Es­ trellita-they're all here, as well as three by the fabulous prolific composer, Agustin NOTHING MORE DESIRABLE Lara: Noche de Ronda ("Be Mine To­ night"), Solamente una Vez ("You Be­ long to My Heart") and Granada. The ar­ rangements are colorful and imaginative, a with such pieces as La Cucaracha and than NEW.COMB Chiapanacas especially benefiting from unusual instrumentations. The recorded sound is endowed with the brilliant and full-blooded quality that is part and· parcel of Percy Faith LPs.

Going further south, the quartet known as Luis Alberto del Parana and· his Trio los Paraguayos performs authentic music of Paraguay, hardly so well known in the United States as the Mexican songs, but almost equally appealing. It is a well varied collection, featuring vocals by the .group on all but two selections. These­ Al Pa/tir and La Llegada-highlight the deep, masculine tones of the native In­ dian harp, ably played by Santo Gon­ zales. 5.G. compact 200 AM-~M tuner If listening to good music is one of the principal interests in your home, the Newcomb The Martin Touch-plus Compact 200 is designed specifically for you. The 200 combines brilliant performance MARY MARTIN SINGS - RICHARD with proven-in-use dependability, freedom from gimmicks, and neat harmonious styling. RODGERS PLAYS with Orchestra. John Virtually free from distortion and hum, the Newcomb 200 has an optimum, measured Lesko condo FM sensitivity of 2 microvolts for 30 db of quieting. Utmost stability is assured by snap-in G etting To Know You; To Keep My Love A li ve ; Some Enchanted Evening & 9 others. automatic frequency control and temperature controlled oscillators. The Compact 200 RCA Victor LPM 1539. has a multiplex jack, up to 10 volts from a cathode follower output permitting remote Although she is a grandmother, Mary placement up to 200 feet from amplifier, and unsurpassed conventional tuning eye. All of Martin still possesses a very special and this beautifully balanced engineering is dressed in a gold-toned cabinet measuring just appealing brand of youthful innocence 12Y2"x 4Ys"x 9". Listen carefully and inspect the Newcomb Compact 200 closely before and warmth which made so memorable you decide on the tuner you plan to live with. Enlightened comparators choose Newcomb such theatrical portrayals as Venus in 8 times out of 10. The 200 is not available to every dealer. Write for the name of the One Touch of Venus, Nucklehead Nellie in South Pacific and Peter Pan. On this Selected Newcomb Specialist nearest you. record she is heard in a dozen of Richard NEW COM B AUDIO PRODUCTS CO., 6824 Lexington Avenue, Hollywood 38, California Rodgers' happiest creations, investing them all with her bright, verdant charm Hollywood's leading producer of home sound equipment since 1937 to produce a tasteful, well-planned re­ Department HF·5 cital, with Mr. Rodgers himself featured at the piano on some of them. ( Continued on page 17) MAY 1958 15 THE FISHER

OUTSTANDING FEATURES.Two·circuit fiSHER LEADS 'HE WAY in stereo with the "400," a universal, self­ RUMBLE FILTER for extremely sharp cut-off. (A 'must' for stereo cartridges.) powered STEREOPHONIC Master Audio Control and Preamplifier. The "400" is • 9 controls, all on the front panel. an instrument of such versatility, you can me it in sixteen different ways: All connections arc on tbe rear apron . • 16 jacks for any combination of stereo and monaural inputs.• 4 output STEREO: Tapes; Discs; AM-FM; FM-FM; FM-Multiplex; Microphones jacks_ • Push-button input selector, MONAURAL: with jeweled indicator lamps_ • Equal­ Tapes; Discs; AM; FM; TV Sound; Short-Wave; Microphone ization Selector for all records and RECORDING: Stereopbonic and Monaural, with built-in monitoring facilities tapes. • 3-position Loudness Contour Control. • Independent Bass and Treble CROSSOVER: Electronic crossover for dual-channel amplifier-speaker systems tone controls.• 4 Input Level adjust. ments_ • I·knob Channel Volume-Bal­ ance Control. • 4 auxiliary AC recep. In spite of its remarkable versatility, the "400" features extreme simplicity of tacles.• Anti-hum {lower transformer. operation. The "400" will be at your FISHER dealer soon. Plan $16950 to visit him, to see this fabulous new instrument. Chassis, Blonde, Mahogany or Walnut Cabinet, $17.95 Slightly Higher WRITE TODAY FOR COMPLETE SPECIFICATIONS in the Far West

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16 HIFI & MUSIC REVIEW ( Continued from page 15) The tunes cover an output of twenty­ five years and range from the overly fa­ miliar to the all but forgotten, and are f!N}AUDIO FIDELITY further reminders-if any were needed­ of the uniquely expressive gifts of the composer, in successive collaboration with the. late Lorenz Hart 'and with Oscar Hammerstein II. Of particular interest is records presents the first recording of one oF" the rarest of all Rodgers and Hart songs, Sleepy Head, originally intended for the 1926 musical The Girl Friend, then dropped before the show's New York opening, and the world's first later that year inserted into the second Garrick Gaities. As presented in that revue, it was a macabre little lullaby sung by Sterling Holloway to his dog (the canine references are all in the verse, compatible here wisely omitted) and it turned out to be such a dud that it was promptly yanked from the show shortly after the premiere. The delectable Moon of My Delight stereophonic was written two years later and was first sung in Chee-Chee, a singularly unsuc­ cessful effort dealing with the attempts of the son of the Grand Eunuch of old China to avoid inheriting his father's high po­ long-play records sition. The show's melodies, however, have long been regarded among the choicest Rodgers and Hart, and the at­ tractive piece heard in the current album certainly whets the appetite for more. Among the other items offered on the disc the disarming Getting to Know You, the bouncy It Might as W ell Be Spring, the unaccountably neglected You're Nearer, and the wry saga of romantic dis­ STEREODISC*!*Reg. App. illusionment called It Never Entered My Mind are especially well done. FIRST major development in phonograph records! S.G. since the transition from cylinder to disc. Porter's Arabian Night FIRST in a series of special Stereodisc versions of hits' COLE PORTER: Aladdin-Highlights from the TV production. from the AUDIO FIDELITY catalog. ,..."",.,,=::--___-., C o me To The Su permarket; Trust Yo ur Des­ tiny To Your Sta r; I Adore You & 5 others. JOHNNY PULEO Cyril Ri tc ha rd, De nn is Ki ng, A nna Maria AND HIS A lberghetti, Sa l Min e o with o rigina l TV HARMONICA C ast , Chorus and Orc hestra, Robert Emmett GANG Do lan cond o Columbia CL 1117. Following last year's lead of Rodgers and Hammerstein with their original tele­ vision production of Cinderella, Cole Porter has composed his first score for the medium to accompany another tale for children. At first thought, the combi­ nation of the adventures of the simple Arabian Nights boy and his magic lamp and Mr. Porter's urbane style would hardly seem to be an ideal partnership; indeed, on the aural merits alone, it has been the composer who has rubbed the lamp to make Aladdin do his bidding. But even if not strictly in the spirit Sealed in protective Polyethylene ca8e~ of the original ancient script, there is certainly much that is clever and engag­ ing in the characteristic, albeit slightly oriental flavored, Cole Porter music. The ,. score gets going in Grand Opening fash­ ion with Come to the Supermarket, heralding all the many alliterative won­ ders to be found there, from "a fancy AFSD 1835 fan" to "a glow worm guaranteed to glow WRITE fOR ' fREE CATALOG' or a cloak inclined to ·cling." There are other deft commentaries on life in Porter's ...... 0 F.IDIEL • ..-Y" (Continued on page 18) 770 ELEVENTH AVENUE. NEW YORK 19. N. Y. MAY 1958 17 (Continued from page 17) Peking in the authentic sounding march SAVE MOST ~~(}(t&wtlt Make Way, in Wouldn't It Be Fun? (ex­ cised from the actual video presentation) and in No Wonder Taxes Are High. On COutpiaU ALLIED HI:.FI SYSTEM! the romantic side, both Aladdin and I Adore Y o'u, are graceful affirnlations of I You can 'actually save up to $100 when you love everlasting. buy a complete ALLIED System, because each system is priced to save you money over the Next to Mr. Porter, it is undoubtedly total cost of the same individual components Cyril Ritchard's show, and this accom­ if purchase,d separately. Two typical ALLIED plished p'erformer comes across hand­ money-saving systems are described below - somely whether gaily taking inventory at the supermarket, or growling his way SEE HOW YOU SAVE! through Opportunity Knocks But Once, or slyly enumerating the reasons for the excessive royal tributes. Unfortullately, the rest of the cast fails to measme up, with Sal Mineo's wooden interpretation of the tender I Adom You being particularly 'SV'SJ:EM aONSIS;r:S- OF: jarring. KN IGHT KN ·510 " Mini'f i" 10·.watt Amplifier, guaranteed for on e full year .. $42.95 S.G. GARRARD RC·121·11 4·Speed Record Ch anger on wood chan ger ba se .. $46.16 World Tour with Columbia GE 4G·052 Magnetic Cartrid ge with Diamond Stylus for LP, Sa pp hire fo r 78's $1 8.94 EL" RODEP featuring Los Chilenos with KNIGHT KN·800 12 ' 3·way Speake r (sepa rate bass, mid·range and treb le Arturo Gatica and Hilda Sour. $14.00 elements) ...... $49.50 DOWN Nunca.:Mas·; EI Av, Av. Av; Estrellita Del Sur KNIGHT KN·1270 Spea ke r Enclosure ... $26.50 & 9 others. Columbia WL 104. TOTAL...... $184.05 DELIRIUM IN HI·FI featuring "Elsa ALLIED SYSTEM PRICE $139.95 Popping and her Pixieland Band." YOU SAVE $4410 Java des Bombes atomiques ; La Pal oma; Enjoy outstanding hi·fi reproduction with t his Adios M uchachos & 9 others. Columbia WL first-,ratephono system featuring famous Knight 106. quality components. An unrivalled value by any standard of comparison. Ready to play; GRAND BAL MUS·ETTE featuring Joss speaker is mounted; with easy-to-follow instruc­ Baselli and His Ensemble. tions, color-coded connecting cables. Includes Paris Se Regarde; Bambino; Armen's Theme free plastic Changer cover. Changer base and & 9 others. Columbia WL 109. enclosure available in mahogany, hlonde or walnut finish-specify choice. Shpg. wt., 75 Ibs. A MOMENT OF LOVE featuring the 79PA986. Complete, Net F.O.B. Chicago $ 139.95 Trio Los Panch os. Cancionero : La Barca: Regressa mi c ancion & 9 others. Columbia WL I 12. ALLIED-Bogen HI-FI PHONO SYSHM SYSTEM CONSISTS OF: , Columbia has recently unveiled a new BOGEN DB 130 35·watt Am plifier line of super high fidelity recordings un­ complete in beautiful metal case ... ,. $127.45 der the general title of Adventures In f GARRARD RC ·88·4 Record Ch anger Sound. Judging from the above fom rec­ 'with Wood Ba se ...... $58.56 orO's, the distinguishing feature of the GE 4.G· 052 Magnetic Cartridge with $26• 950 . - Bia.1! Stylu s for LP; Sapphire for 78's $1 8.94 series would seem to be that while sonic UNI'lERS ITY UXC·123 12' Dillaxial values. are of paramount importance, they $26.95 .sp~ak er in University EN·1 2 encl osure $ 137.20 have been used to heighten musical values 'DOWN ;-O TAL...... $341.85 rather than merely to call attention to ALLI E D SYSTEM PRICE $269.50 highs, lows, and dynamics. The engineers YOU SA VE $7235 have journeyed far to record exotic and Enjoy perfectly balanced reproduction of rec­ authentic music throughout the world, ords with this distinguished phono system­ and the sounds produced would be no­ yet pay $72 less than the actual total cost of table even without the added attraction the individual components. Ready to play­ speaker is mounted; with color-coded cables, of the commendable altitude of the fi­ full instructions for error-proof connection. delity. Free Changer cover included. Changer base This is true even of such a release as ·and enclosure a·v.ailable in mahogan)l, blonde or Delirium In Hi-Fi, perhaps the most in­ .walnut .finish-specify choice .. Shpg. wt., 90 ·lbs. teresting in the series to the hi-fi fan. 79PA987. Complete,.Net F;O.B·. Chicago $269.50 Performed by an orchestra led by Andre Popp under the nom de fid elite of Elsa J Order Today From Popping ( H ellzapoppin'?), it featmes many startling effects created by sound SEND FOR ALL.IE'IIIIIID... 'S~ ...... A L LIE D R A D I 0 engineer Pierre Fatosme, including a 404-PAGE 1958 America's Hi-Fi Center trombone that sounds like a comet, voices CATALOG recorded "inside out," a piano with tlle Describes dozens of other sound of a barrel organ, and various elec­ money-saving ALLIED ALLIED RADIO, Dept. 115-E8 100 N. Western Ave., Chicago 80, III. Hi-Fi Systems-your Buy­ tronic noises. The results thus obtained ing Guide to the world's Ship the following ALLIED Hi-Fi System: are droll and imaginative with nothing largest selection of Hi-Fi o 79PA986. 0 79PA987. $ ...... enclosed overdone to the point of slapstick, and equipment-as well as o Send FREE 1958 ALLIED 404-Page Catalog. while a knowledge of tape cutting and Everything' in Electronics. editing might be of help, the concert Write for it! may be enjoyed by anyone with ears. ,"'~ ,: , Others in the cmrent output are the well varied program of Chil ean rodeo :::::::::::r ; . -::.- Owt (jWn,: -"liiilliri. w,;r;;:_ 37tJ.. ," - : City Zone _ _ State ____ songs, the French cabaret flavored Grand 1 ~ ...... (Continued on page 74) 18 HIFI & MUSIC REVIEW I One of nature's most inspiring coneens, right in your living room! 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It would be impossible, and ·quite T alk With Your Hi-Fi Dealer," "Straight foolhardy, to attempt publishing a Steer on Stereo," "Don't Murder Those Records." I only hope that you will con­ T sizable percentage of l et t e r S re­ tinue to print such a fine magazine. ceived at the o ffices of HiFi & MIKE MARQUARDT f MUSIC REVIEW. However, with Oakland, Calif. unblushing pride we are abstracting more remarkable features comments from a sampling of the Just recently I purchased the first issue mail regarding Vol. I , No. I. Next of HiFi & MUSIC REVIEW. I have never • Plays at all four standard speeds, month we hope to have both feet before written to any magazine praising adjustable to any speed. firmly on the ground, and a little them for their publication, but feel that • Built-in, illuminated stroboscope per­ more factual information in this usu­ in this case I must do so. I read the mag­ mits exact speed adjustment for 16.66, ally well read column. - Editor azine from cover to cover the very nrst 33.33, 45 or 78.26 RPM records. night and since tllen have gone tllTough it three more times. • Wow and flutter less than 0.25% RMS. I would like to report that I am very I particularly enjoyed "The Man With well pleased with my firs t issue of HiFi & The Golden Tone Arm." Please keep up • Rumble down better than 40db below the good work and let's have more stories NAB Standard Level of 7 cm./ sec. at MUSIC REVIEW. Especially liked the Carl Kohler article and hope to see more like "A Talk With Your Hi-Fi Dealer." It 500 CPS. from him in the future. The record and helps a lot when someone doesn't know • Four-pole, shaded-pole motor with tape reviews are also excellent. too much about hi-n. WILLIAM C. BRYANT, JR. patented Metzner speed-selecting J. T. HENDERSON, JR . Chicago, Ill. integrator. Winston-Salem, N. C. • Massive 12" precision machined, This letter is simp;y by way of congrat­ I thought the firs t issue of HiFi & MU­ center-driven turntable with built-in SIC REVIEW was great! The two articles 45 RPM record hub. ulating you and your staff as well as the publisher and individual writers respon­ I enjoyed most were «Straight Steer on • Silent slide-type power switch incor­ sible for your new magazine. Stereo," and «The Man With The Golden porates capacitor "click" filter. HERBERT BORN DEVRIES Tone Arm." So I say, keep up the excel­ lent work and keep my issue coming. Enterprise, Ala. • Mounts in simple rectangular cutout. RICHARD KROFCHOK, A/2C United States Air Force most remarkable price Quite apart from the gratifying review of my book contained in the first issue of I awaited the coming of the first issue HiFi & MUSIC REVIEW, I found so ONLY of HiFi & MUSIC REVIEW with clouded r much which delighted me that I wanted anticipation. I had heard nothing, pro or to extend my warm congratulations and con, about your new magazine and had good wishes to you and your associates. only your splendid introductory literature Every fine publication is a heartening to guide me. Then it arrived. After and helpful contribution to all other pub­ thumbing through the first few pages, I lications. I am certain that you are all settled down to a rapid reading pace. working in the right direction; that you When I finished I was positively ecstatic. yourselves are well aware of the «bugs" I especially liked the article on the re­ to be ironed out and of the fact that no cording of "Jamaica" with Lena Horne. youthful project has ever attained its full Lou ANN FRANCIS objectives immediately. You've made a Fort Worth, Tex. splendid start and that's a great deal. Good luck. ABRAM CHAsms The first issue of your magazine was WQXR, Station of read from cover to cover, and ~ e n re­ The New York Times read. You are to be greatly congratulated Why buy a changer for fulfilling so completely the desires of everyone interested in good music of all when there's a Congratulations on your first issue of forms and in its faithful reproduction. STARLIGHT costing less? HiFi & MUSIC REVIEW. It is seldom LOREN V. HART that a nrst issue is so all-encompassing in 1st Lt., USAF its neld as yours is. The size of your nrst Greenville, Miss. want more data? issue was surprising and its content will NAME ______be admired by music lover and hi-n bug alike. I have just seen my first copy of your ADDRESS ______CHARLES A. HUGHES, JR. wonderful new magazine and must say that I am proud to be a charter subscriber. CITY ______STATE ______Elmira, New York Let me congratulate everyone of you DEPT. HM-S from top to bottom as it takes a swell or­ I would like to take this time to con­ ganization, working as a team, to do such METZNER ENGINEERING gratulate you on your new publication, a job. Happy Birthday! And by all meal'ls • CORPORATION HiFi & MUSIC REVIEW. I think you keep up the good work. 1041 N. SYCAMORE AVENUE cover the subjects that all hi-n lovers of R. N . EUBANK H.OLLYWOOD 38, CALIFORNIA the nation will enjoy reading. I particu­ E lectronic Service Co. larly enjoyed the articles on «Elgart," «A Richmond 27, Va. 20 HIFI & M USI C R EVIEW THE QUALITY R ·ECORDING TAPE IN THE NEW PERMANENT PLASTIC CONTAINER

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MAY 1958 21 the experts say ... in '#La'4 High Fidelity the best buys KITS and WIRED are 'W'1i BETTER ENGINEERING Since 1945 EICO has pioneered the- 'concept of test instruments in easy-to-build kit form - has become world-famous t for laboratory-precision instruments at low cos t. Now EICO is applying its vast 'experience to the creative engineering of high fidelity. Result: high praise from such authorities as Canby of AUDIO, Marshall of AUDIOCRAFT, Holt of HIGH FIDELITY. Fantel of POPULAR ELECTRONICS, Stocklin of RADIO TV NEWS, etc. - 'as well as from the critical professional engineers in the field.t 'SAVE 500/0 Mass purchasing, and a price policy deliberately aimed to encourage mass sales, make this possible. EASY INSTRUCTIONS You need no previous technical or assembly experience to build any EICO kit - the instructions are simple, step-by-step, "beginner-tested." DOUBLE 5·WAY GUARANTEE Both EICO, and your neighborhood distributor. guarantee the parts, instructions, performance ... as well as lifetime service and calibration at nominal cost . .. for any EICO kit or wired unit. BEFORE YOU BUY, COMPARE At any of 1200 neighborhood EICO distributors coast to coast, you may examine and listen to any EICO component. Compare critically with equipment several times the EICO cost - then )'OU judge. You'll see why. the experts recommend EICO, kit or wired, as best buy. t Thousands of unsolicited testimonials on file.

H"90 FM Tuner HF61 Preamplifier HFGO, HF50 Power Amplifiers with- "eye-Ironic" tuning ilFS2 Speaker System: Uniform loading & natural bass 30-200 cps achieved via slot-loaded split HF50 50-Watt Ultra·Linear Power Amplifier with ex­ HF12 12-Watt Integrated Amplifier, absolutely free of conical bass horn of 12-ft path. Middles & lower tremely high quality Chicago Standard .output Trans· "gimmicks", provides complete "front end" facili­ highs from front side of 81/2" cone, edge·damped former. Identical in every other respect to HF60 and ties & true fidelity performance of such excellence r & stiffened for smooth uncolored response. Suspen­ same specifications up to 50 watts. Kit $57.95. Wired that we can recommend it for any medium-power high sionless, distortionless spike-shaped super-tweeter' $87.95. Matching Cover E-2 $4.50. fidelity application . Two HFl2's are excellent for radiates omni-directionally. Flat 45·20,000 cps, useful stereo, each connecting directly to a tape head with to 30 cps. 16 ohms. HWD: 36" , 15 1f4", 111/2". no other electronic equipment required. Kit $34.95. " ... rates as excellent ... ~nusually musical . .. HF30 30-Watt Power Amplifier employs 4-EL84 Wired $57.95. really non-directional " - Canby, AUDI.o. "Very high power sensitivity output tubes in push-pull impressive" - Marshall (AUDI.oCRAFT). Walnut or parallel, permits Williamson circuit with large feed­ Mahogany, $139.95. Blonde, $144.95. back & high stability. 2-EZ81 full-wave rectifiers for highly reliable power supply. Unmatched vaiue in HFSI Two-Way Speaker System, complete with fac­ HFT90 FM Tuner equals or surpasses wired tuners medium-power professional amplifiers. Kit $39.95. tory-built cabinet. Jensen 8" woofer, matching Jensen up to 3X its cost. New, pre-wired, pre-aligned, tem· Wired $62.95. Matching Cover E-4 $3 .95. compression-driver exponential horn tweeter. Smooth perature-compensated "front end" - drift-free. clean bass; crisp extended highs. 70-12,000 cps ± 6 db. Capacity 25 w. Impedance 8 ohms. HWD: Sensitivity, 1.5 uv for 20 db quieting, is 6X that of HF-32 30-Watt Integrated Amplifier Kit $57.95. other kit tuners . DM -70 traveling tuning eye.. 11" x 23" x 9". Wiring time 15 min . Price $39.95. Response 20-20,000 cps±1 db. Cathode follower & Wired $89.95. multiplex outputs. Kit $39 .95*. Wired $65.95 *. Cover ~------$3.95. . - -. . " Less cover, excise hx Incl. HF52 50-Watt Integrated Amplifier with complete MAIL COUPON FOR CATALOG " front end" facilities and Chicago Standard .output HF61A Preamplifier, providing the most complete' Transformer. Ultra-Linear power amplifier essentially EICO® 33-00 Northern Blvd., L.LC. 1, N.Y. control & switching facilities, and the finest design, identical to HF50. Th e least expensive means to the Show me how to SAVE 5.0% on profes. offered in a kit preamplifier, " ••• rivals the most highest audio quality resulting from distortion-free expensive preamps • . • is an example of high high power, virtually absolute stability, flawless sional Test Instruments and High Fidelity. engineering skill which achieves fine performance transient response and "front end" versatility. Send me free catalog and name of neigh­ with simple means and low cost." - Joseph Marshall, Kit $69.95. Wired $109.95. Matching Cover E-l $4.50. borhood distributor. AUDI.oCRAFT. HF61A Kit $24.95, Wired $37.95, H.F61 (with Power Supply) Kit $29.95. Wired $44.95. HF20 20-Watt Integrated Amplifier, complete with Name ...... HF60 GO-Watt Ultra Linear Power Amplifier,with Acro finest preamp-contror facilities, excellent output 1.0-330 .output Transformer, provides wide band· transformer that handles 34 watts peak powe r, plus Address ...... width, virtually absolute stability and flaWless tran­ a full Ultra-linear Williamson powe r amplifie r circuit. sient response. " . .. is one of the best-performing Highly praised by purchasers, it is established as City ...... Zone ..... Stote ...... , amplifiers extant; it is obviously an excellent buy." the outstanding value in amplifiers of this clas~ . -AUDI.oCRAFT Kit Report. Kit $72.95. Wired $99.95. Kit $49.95. Wired $79.95. Matching Cover E-l $4.50. HR-5 Matching Cover E-2 $4.50. ~------P rices 5% higher In tbe \Vest

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22 HIFI & MUSIC REVIEW I-F

are here

can s be -Far behind?

Just a couple of hundred cycles more to go, downward, and behold!-an all. range electrostatic speaker

By WARREN DEMOTTE

A PRACTICAL full-range elech'ostatic speaker is the , Golden Fleece of hi-fi, Whether it ultimately will be produced commercially or whether we shall have to remain content with the Silver Fleece of an elech'o­ static speaker for treble only, or for h'eble and mid­ range, still is an unanswered question, In the United States, no full-range electrostatic speaker of a reasonable size has yet been made except for laboratory use, and even in these samples, bass note reproduction is admittedly deficient in depth and strength, In England, a full-range speaker, measuring 32 x 24 inches, was demonstrated about two years ago and has been put into limited commercial production, Unfortunately, it has not yet reached these shores for comparison with dynamic speakers or with American Jean Shepherd, radio personality, listens critically models of electrostatics, to the Pickering Isophase electrostatic speaker. At this moment, there are two highly-rated makes of electrostatic speakers on the American market: the Pickering Isophase, which comes in two models, and the !ansZen, a product of the Neshaminy Electronic The principle of the electrostatic speaker is such an Corp. All tlu'ee speakers do very well with the higher attractive one for the theoretically perfect reproduc­ frequencies, which pose relatively few problems for tion of sound that it offers the same kind of challenge designers of electrostatics, while the !ansZen and the to the sound engineer that an unclimbed peak does to larger of the Pickerings even go down into the mid­ the experienced mountain climber. If you have lis­ range with fair success. It is this difficulty of repro­ tened to the better elech'ostatics, you may have been ducing the frequencies below 1,000 cycles-or granting struck by the absence of strain in the sound. What you the 400 or so cycles that these two speakers can man­ have heard is not the bright artificiality of high tones age-this difficulty of reproducing tones below the that, alas, often passes for high fidelity, but the un­ middle A on the piano, that has frustrated audio engi­ forced recreation of the original sound. Which does neers these past ten years or more. not mean that a poorly designed electrostatic tweeter MAY 1958 23 a small speaker has an easier time with the higher frequency range. When the dynamic speaker is required to reproduce only low or medium range tones, its cone acts some­ what like a solid piston, pushing the air with consistent certitude. At low and medium frequencies, the entire cone, from its edge to its center, can move simulta­ neously, with no part lagging behind the other. Hence, the sound waves set up are relatively clean and un­ distorted. t The JansZen electrostatic speaker At high frequencies, a fairly large cone will move atop a dynamic woofer. more rapidly and farther in its center section than it will along its edge. It is then that the signal loses some of its clean quality and acquires the distortion known cannot scream with the brassiest of the cones or horns. as "breakup." To overcome this, very small speakers, It is always advisable to refresh one's memory of those descriptively named "tweeters," are employed what music-in-the-Hesh really sounds like by attend­ for more efficient reproduction of the high tones. These ing a live concert before listening critically to speakers small-diaphragmed units are designed to vibrate at and speaker systems, especially when one is about to the necessary high frequencies without variation in make a purchase of this vital component. At best, it their shape and how well they accomplish this largely is difficult to retain a sharp memory of a distinct sound; determines the quality of the sound they project. It the ear has a tendency to accept wide deviations from takes excellent design and careful workmanship to original sound without protest. In fact, it may even construct a tweeter that will reproduce high notes prefer a hoked-up and highly colored sound to the without stridency or a metallic quality. original. However, we are here concerned with a true This is the area that the proponents of the electro­ reproduction of the original sound, uncolored and un­ static speaker enter with easiest confidence. The elec­ emphasized, and this the electrostatic speaker is pecu­ trostatic principle has its basis in the action of the two liarly constituted to produce. plates of a capacitor when they are excited by a high All speakers have the function of converting elec­ frequency signal. Electrostatic tweeters, inexpensive h'ical energy into mechanical or sound energy. This but distorted in tonal response, are made in this simple problem of converting one kind of energy into another form and marketed for the gullible. without appreciable loss or change is a delicate one The quality electrostatic speaker is based on the and that is why h'ansducers-the speaker and the action of two electrically charge::l plates upon a thin phono pickup-are the weakest links in the audio chain. diaphragm or membrane, also charged, suspended be­ The dynamic speaker, with which we are most fa­ tween them. As the signal passes through these: p lates, miliar, is built around a powerful magnet which acti­ which may take the form of wire grids, it causes the vates a voice coil that pushes and pulls a large Hat or diaphragm to vibrate. By using a modern plastic m ­ , curved surface, the cone or diaphragm. This, in turn, terial coated with microscopically thin metal, the mem­ agitates the air and thus produces sound. This is a brane can comprise a large radiating area and yet be complicated or simple process, depending on the point extremely thin and light. vVhen the signal activates the of view, and its qualitative success is limited by many diaphragm, it actuates the whole surface uniformly, factors, electrical and m echanical. D espite these limi­ (Continued on page 36) tations, the dynamic speaker has numerous operational advantages and is capable of achieving a high degree of realism. When it is recognized that the speaker must he capable of reproducing the sounds of hundreds of mu­ The entire surface of sical insh'uments, individually and in combination, the the electrostatic speaker vibrates sounds of talking and singing voices, the thousands of uniformly, pushing natural and artificial sounds and noises that may be the air like a piston. brought before an adventurous microphone, this piece of apparatus takes on something of a magical quality. It must reproduce these sounds with fidelity to their original pitch, their original timbre, their original in­ tensity, their original balance. Even the poor little speaker in a portable radio set is asked to do this durinq; \ \ \ \ , a symphonic broadcast or a broadcast of a football game, and though it cannot make the grade fidelity­ wise, there is something awesome about its effort. A t high frequencies, In hi-fi applications, a tiny speaker is not compelled the center section of a large cone speaker ~~))j}))j' to assume the burden of reproducing the low fre­ moves faster and quency bass tones. There is the recognition of the fit­ I I, I ! I farther than the edge, ~ I I I ness of things and it is a basic concept that, all other causing distortion ~, I factors being equal, a large speaker cone handles low known as "breakup." tones with greater ease than a small one. Conversely, 24 HIFI & MUSIC REVIEW Hal Rumel Where mountains and the great American desert meet-Salt Lake City by night.

... APROPOS SETTING

By JACK GOODMAN

East meets West when Israel ill Egypt zs recorded beside the Great Salt Lake

TAH, scenic commonwealth of the great American that come into our offices from all over the U West, was labelled little more than a century ago country. This is exactly how we came upon as the center of "the Great American Desert." As a the Utah Symphony. We heard their tapes, matter of fact, there were those not native to this area and the unanimous reaction from our staff of mountain and desert who not so long ago thought was, 'Here is a very fine orchestra- let's go of us as a cultural desert as well. But times have after it.'" changed. Recently, Dr. Kurt List, Austrian-born and as The reaction by Dr. List and his colleagues instituted world-travelled as they come, found himself, in his a large-scale recording program calling for a series of capacity as Artist and Repertoire Director for West­ sessions to encompass Handel's mighty oratorio, Israel minster Records, en route to Salt Lake City-aiming to in Egypt (how appropriate when we remember the bag not a deer or an antelope but an orchestra and history of the Mormons and how they reached their chorus. Specifically, it was the Utah Symphony Orches­ promised land by the Great .Salt Lake!), Saint-Saens' tra with the University of Utah Chorus. "Organ" Symphony, plus Gershwin's Rhapsody in Blue, Maurice Abravanel, conductor of the Symphony, is Concerto in F, and American in Paris. Reid Nibley, a now marking his eleventh year in the city of the Latter topnotch Salt Lake City concert pianist and teacher at Day Saints, having done a bit of world travelling him­ the University was selected as soloist. As this is written, self from his birth place in Salonika, thence through the Handel and Gershwin recordings have been re­ ! Zurich, Berlin and Paris, Sidney, Australia, and New leased by Westminster as XWL 2224 (2-12") - Israel in York's Metropolitan Opera House. Egypt and XWN 18684, 18685, 18686, 18687 offering Dr. List however tells about his end of the search: the Gershwin repertoire in varied couplings. "We at Westminster spend an enormous Westminster's recording sessions were scheduled amount of time listening to audition tapes with timetable precision; for the Utah Symphony and of orchestras, solo artists, and ensembles Maurice Abravanel are one of the busiest symphonic MAY 1958 25 organizations in the country. Half-a-hundred subscrip­ tion and special concerts at the Salt Lake City Taber­ nacle, plus special performances at nearby schools and universities constitute only the core of the year's work. The fact that Utah, like Norway, is divided by moun­ tains makes its orchestra a well travelled one, bringing Beethoven to the copper miners of Bingham Canyon, to oil field workers and park rangers at Vernal and at Cedar City, to the Ute Indians, as well as to college professors, school teachers and ranch wives at Logan. Ogden and Provo are other regular symphony "whistle stops"; and where the symphony can't get to some of the smaller communities, you'll find music enthusiasts crowding into Salt Lake City's Hotel Utah on sym­ phony nights from as far as 250 miles away. The University of Utah Chorus had to be scheduled so that there would be little interference with their classes and study. "We could not help making comparisons with similar recording experiences in Paris, London, Vienna, and in some larger Ameri­ can cities. Salt Lake was a tightly knit com­ munity where everybody knows everybody else. We got such expansive Western hospi­ tality·that after two weeks of recording I was worn out from socializing-not from recording work. Most impressive was the interest on the part of everybody in the city in the daily progress of our project, whether from the elevator boy at our hotel or in terms of front page stories in the Salt Lake newspapers . . . "We had eight halls to choose from for re­ cording sessions-an unusual situation-and all of them ideal. We chose the Assembly

The six spires of the Mormon Temple present an imposing-sight in Salt Lake City's skyline.

Conductor Maurice Abravanel-now in his eleventh year as head of the Utah Symphony, •

26 HIFI & MUSIC REVIEW Waltz of the Flowers from Tchaikovsky's "The Nutcracker"-as danced by the University Theater Ballet.

Hall, a place in regular use for social and religious services, but put at our exclusive disposal for the duration of our stay . . . "The choice of Handel's Israel in Egypt to be done with the University of Utah Chorus found us having to work with these musi­ cally gifted students at a singularly inop­ portune time for them-during examination week. This meant being on hand for record- ing sessions, sometimes till mi-""---: ing the tots on hand for the sessions, most of -_ them sleeping through it in their perambu­ lators just outside the auditorium." Such was the on-the-spot situation at Salt Lake City during W estminster's recording sojourn for what we hope will be part of a sustained program. There is a historic tradition for the vitality of musical and cultural life in and around Utah's capital city. The original Mormon emigrant companies of 1847-50 sang their hymns at campfire; but the time came when they were to build by hand one of the nation's great pipe organs, enlarging it year by year. It is the noble instru­ ment of the Mormon Tabernacle where the Utah Symphony presents its subscription concerts and where organist Alexander Schreiner (featured in the West­ minster recording of the Saint-Saens "Organ" Sym­ phony) is heard on nationwide broadcasts in conjunc­ Kurt List, Westminster's A & R Chief, adjusts tion with the celebrated Tabernacle Choir. placement of the French horns. The early days witnessed the development of a thriv­ ing theater in Salt Lake City and actress Maude Adams (Continued on page 76) 27 MAY 1958 ses und -l: o >- ~ z" -< E Aron ." "o :;: -o

The text for ·Moses tmd Aron was sketched by Arnold Schoenberg in 1926, when he was 52, and the music of the first two acts written in 1931-32. The composer died in 1951, leaving the opera unfinished. The :first stage performance was not given until June 6, 1957, when Hans Rosbaud du·ected it at the Zurich Stadttheater, as the featured work of the 31st Festival of the Inter­ national Society for Contemporary Music. And wllY such an astounding delay? There was doubt for many years whether the torso should or even could be per­ Visual counterpart to Schoenberg's formed. According to some reports, the choruses at opera- ( above) Elbert Weinberg's Ritual Figure; (below) Emil Nolde's Zurich needed 350 rehearsals, the orchestra 30. You Head of a Prophet. may compute the cost, by American standards, and divide it by European. But it is typical of our peculiar era as far as the presentation of new music is concerned that the present recording was made long before the By KLA US GEORGE ROY fiifs·i stage production! It is composed from a series of tapes made at the tiIne of a broadcast over the Nord­ deutscher Rundfunk (the North German Radio, Ham­ burg) in 1954. More of the sonic results later. ARNOLD SCHOEN BE RG : Moses und Aron- Opera in 3 Acts, text For it must first be established that a masterpiece has by the composer. been brought to life. Whether one '1ikes" it or not is Hans Herbert Fi edler (ba ritone , spea king rol e )-Moses; Helmut hardly the question; I personally do not "enjoy" it in Krebs (te nor)-Aron; Ilon a Steingruber·Wildgans (soprano)­ Young Girl; and others, with Cho ru s and Orchestra of the Nord­ the usual operatic sense, but realize that such was d eutscher Rundfunk-Hans Rosba ud condo not intended in the first place. Schoenberg had a mag­ Columbia K3 L-241 3 12". nificent concept, and he executed it with the technical skill to match the blinding vision. What was the con­ The ~unes when large-scale operas cept? Several, perhaps. It is history and prophecy; a were written in a month, completed the crucial moment in Jewish history, a shattering view of night before the premiere and given their the future which has now become that people's past. first hearing under the composer's own It is art as philosophy, and philosophy as art; it is a more or less competent direction are be­ study of individual and mass psychology, as well as a coming more and more distant. Our hec­ religious document. It is, like evelYthing Schoenberg tic era has paradoxically lengthened both did, intensely critical as well as creative, approaching the time of composition and the time of at moments the boundary of bitter satire and condem­ preparation; occasionally, a work must wait for years nation; at the same time, one senses a positivism, a fa­ before an intrepid company can be found that will naticism in the carrying-out of an enormously difficult mount it- even if the composer is a figure of renown. problem which is characteristic of Schoenberg's whole 28 HIFI & MUSIC REVIEW attitude toward life and art; like his Moses, he always paraphrasing Beethoven's explosion to a hapless vio­ said "my love is for my idea; I live just for it!" linist, "what do I care about your miserable voice when The people of Israel are enslaved in Egypt, and wor­ the spirit seizes me?" Yet the characterization of the ship idols. Moses is given the mission to lead them out people through the choral groups is extremely success­ and "unite them with God." Slow of speech, he makes ful, and the occasional solo passages from various par­ his brother Aron "his mouth," as he was commanded ticipants have the ring of life to them. Even so, Schoen­ by The Voice from The Burning Bush. The people are berg's totally un-vocal lines seem at times to force him to be convinced that liberty and the true faith are in­ to pass up an opportunity to express the humor of the divisible; Aron achieves this only with miracles, with text in the music, as in the chief priest's prescription for the imagery of power. The exodus begins. When the winning the favor of certain gods. Aron's smooth imper­ " forty days before the Mountain of the Law draw to a turbability is strikingly conveyed; one is surprised how close, the starving tribes turn against their elders; to similar many of his phrases a:-e to those of the later appease them, Aron allows them to return to idol Stravinsky (The Rake's Progress and the Canticurn worship. Moses, descending at last, banishes the Gold­ Sacrum, for instance- both recorded on Columbia). en Calf; in frightful disillusion at Aron's betrayal and Most affecting is the helpless grandeur of Moses, com­ the weakness of the people, he smashes the tablets of manded to bear witness, yet so keenly aware of his the law and confesses failure. In the third act, a brief inadequacy. scene which remained without music and is not here The work starts slowly, statically. As the exodus gets performed, Aron is his brother's prisoner. Moses ex­ under way, the action takes on the drive which a stage plains why his ideal must not be defiled by imagery, work requires; and dramatically and musically more by false explanation, by "popularization." Aron, given powerful and colorful pictures tl;1an the three orgies his symbolic freedom, falls dead. Moses prophesies the future of his people; in a speech of overpowering pa­ thos, he warns the Israelites of what is to befall them when they mingle with other races and use their god­ given talents for material ends and material pleasures. Only in the wasteland, he tells them, they shall be in­ vincible and achieve the goal: "United with God."

Schoenberg as Dramatic Poet

It is an admirable libretto, and it is poetry. The set­ ting is accomplished with genius. Moses is the idealist, the philosopher. He only speaks (in Sprechgesang, declamation at indicated pitch levels) -except for one sung line: "Purify thy thinking; free it from worthless things; let it be righteous." Aron is a realist, a politi­ cian; he sings-an unfailingly mellifluous tenor. The composer has not made him a villain; Aron too loves his people, but he believes (knows, perhaps) that they understand only what is shown them, not what is told Arnold Schoenberg-a photo taken dur­ them. "In Moses' hand a rigid rod: this, the law; in my ing his later years that conveys the inner own hand the most supple of serpents: discretion." An intensity of the man and the musician. invisible ~od, to them, cannot be real; he must be clothed in an image-and that Moses will not permit. around the Golden Calif, the descent of Moses, and the Between the man of thought and the man of action confrontation of the brothers are hard to imagine. In­ there is the clash of giants: total inflexibility against deed, if one harbored doubts about the work as an constant compromise, absolute obedience against prac­ opera at the outset, they are dispelled before the exact­ tical expediency. Between them stands the people, the ly 100 minutes of music (one hour and forty minutes) third protagonist of the story. They can be swayed, are one third over. and their convictions are built on sand and the fulness of their bellies. We fear for their future. No other opera, to my knowledge, uses the choral en­ Music for the Many-or Few? sembles with such consistency, power, and variety, with the possible exception of Boris Godunov. The very opening is incredibly handled;· how can one repre­ And the music? Will Moses und Aron succeed in sent the Burning Bush? Schoenberg's solution is mar­ "breaking the · sound barrier" for a larger public, as velous; the Voice speaks and sings at the same time, Wozzeck (recorded on Columbia) did for the music of through two separate choral ensembles in different Berg? Will the aesthetic barrier which the 12-tone rhythms. The effect is surrealistic, a fantastic portrayal sound has long placed in the way of acceptable aural of religious hallucination-or revelation. Enormous de­ sensation dissolve before the dramatic and ideational mands on the singers are made, and some of them can­ power of this work? It is hard to tell. But we do know not be carried out at all, however many rehearsals there that the first stage performances affected and moved may be called. The composer might have exclaimed, (Continued on page 32) MAY 1958 29 Livid Lingo

Load up with the simple explanations in this glossary and you won't have to turn and run when the next seasoned hi-fi addict throws some livid lingo in your direction

EQUALIZATION (Jam-Packed Sound and Alphabet Soup)

HE most astounding tlling in high fidelity is that Tthe huge sound of a whole orchestra gets packed into grooves so narrow that hundreds of tllem, side to side, take up only 1 inch if we discount the "land" separating each groove from tlle next. After all, re­ corded sound has physical dimensions: it takes up 1 space. Consequently, cramming a whole orchestra into the narrow groove gets to be somewhat like the rush-hour jam in the New York subway. In fact, the problems are similar. The fat guys in the subway take up more than their share of available room and frail passengers get lost in the shuffie. In the record groove, the heavy bass notes swing beyond the boundaries of the groove and the delicate treble often gets mauled. Enforcement of some law and order is evidently needed. The recording engineer rides herd over the sonic chaos in a rather drastic way. The fat, space­ hogging bass is slimmed down- "attenuated" as the engineers call it. It becomes literally smaller, taking up less space in the groove, so that even the thunder­ ous thumps of the bass drum can fit in without wreck­ ing the walls. It is as if the recording engineer looked at heavyweights, such as tympani and tuba, through the wTOng end of a telescope, making them appear puny and altogether manageable. Opposite tactics are applied to the b·eble. To help the weak overtones of the upper octaves hold their own in the tonal turmoil, the engineer "boosts" them far beyond their normal strength. In effect, he looks at them through a sort of aural magnifying glass. Adding up the net result of these neat tricks, we find the heavy bass bruisers cut down to size and the meek treble made mighty. That's why the whole process is

WH I TE CHRISTMAS

ALEXANDER'S R AGTIME BAND

LADY OF THE E V ENING

SAY I T WITH MUSIC

GREE N WICH VILLAGE FROLICS

ANNIE G ET YOUR GUN

GOD B LESS AMERICA

E· ASTER PARADE

R EMEMBER

HO L IDAY

MUS I C BOX REVUES

ALL ALO N E

By STANLEY GREEN

LONG with all the surface trappings of fame and, A usually, fortune, the man who becomes a legend in his own lifetime has one particularly disturbing prob­ lem that goes with tlus very rare distinction. Although the public is sure that it knows the individual well, the inevitable accumulation of distortions and half-truths that surrounds any such person's life is always there to blur the real reason for the man's greatness, so that it's difficult to come up with a precise answer to the question, "All right, so what makes this guy so special?" Irving Berlin, whose 70th birthday will be celebrated May 11th, is no exception to this rule. Sure enough,

MAY 1953 33 'part of our lives for so many years. Gould..this. pillar of American popu­ lar music ever have been a strug­ gling young song writer? Did peo­ ple really look upon the dance gyra- tions his music inspired as being I something daring and wild? The Early Successes Although it is true that Irving Berlin's Alexander's Ragtime Band sparked the craze for ragtime in 1911, ragtime itself had roots in far more primitive surroundings. As a rhythm, it could be traced to the syncopated hand clapping and foot stomping of Negro slaves as they accompanied their own spirituals and work songs. It was happy, spontaneous, essentially pianistic music that gained its effect by put­ ting the accents on normally un­ accented beats. Scott Joplin's well known Maple Leaf Rag was written in 1899, and ragtime had something of a passing vogue about that time. But the more sentimental hearts­ and-flowery melodies of composers Paul Dresser, Charles K. Harris and Harry Von Tilzer soon turned the '.. tide (and the century) back to the bathetic outpourings about home, hearth, mother love and country. Few numbers that did not conform to the safe and sane were allowed to pass through the portals of Tin Pan Alley, which even then had be- gun to be so industrialized that the assembly-line system of staff writers had been established. The young Irving Berlin-he could play piano It was under the influence of only by ear and only in the key of F-sharp. such musical merchandising that

the mere mention of his name brings to mind such immediate impressions as his most successful songs (White Christmas, God Bless America, Alexander's Ragtime Band, Easter Parade, and the rest); his Hora­ tio Alger beginni~gs on the lower East Side of New York; the fact that he is a sort of musical poet laureate of the United States; his fabulous earnings, equally fabulous amounts of which are turned over to worthy causes; his first tragic marriage and his even more famous second marriage to a leading society belle; his shows and movies (The Music Box Revues, Holiday Inn, Annie Get Your Gun, and others); his enormous capacity for hard work; his lack of formal musical training together with the fact that he can play piano only by ear and only in the key of F-sharp. There still seems to be a kind of take-it-for-gral1ted attitude regarding Berlin's actual accomplishments, especially since he and his works have been so much a

Irving Berlin's all-time hit tune t -the first edition cover. 34 HIFI & MUSIC REVIEW I for the lyric from one of his un­ successful popular numbers, Alex­ ander and His Clarinet, Berlin wrote the song that had a singular impact on the world of popular music of that day. It may well have been due to his rare gift for sensing popular taste that Berlin realized authentic rag­ time (in which form he had written quite a few melodies and to which he would return for at least ten more years) would not be commer­ cial at that time. At any rate, Alex­ ander's Ragtime Band was written in a basic march tempo with just a touch of ragtime. Some of its in­ gredients-including trumpet calls and a phrase from Stephen Foster's Old Folks at Home-oHel·ed ele­ ments of the familiar, but the piece as a whole was different and excit­ ing, and before long the whole country was responding to the in­ fectious invitation to "Come on an' The palmy days of the Music Box Revues-Irving Berlin with hear! Come on an' hear!" As the the ladies of the 1931 chorus (Miriam Hopkins at top right). beat of the song required no complicated footwork, it quickly brought about the dance mania and young Irving Berlin, or to use his lyricist) including such hits of the helped introduce such shocking, real name, Israel Baline, grew up. day as Sadie Salome-Go Home and zoologically inspired balh-oom steps He was the eighth and youngest My Wife's Gone to the Country as the Turkey Trot and the Grizzly .. child, and had been born in the ("Hooray! Hooray!"), Berlin was Bear. And if people thought they small Russian town of Temun. At hardly a musical neophyte by the were hearing authentic ragtime, an early age, he emigrated with his time he wrote Alexander's Ragtime well, what could possibly be. wrong parents to the United States, and it Band. In fact, he had just been with that? As far as Berlin's for­ wasn't long before the youth had to elected a member of the exclusive tunes were concerned, it gave new make his own living selling news­ theatrical club, the Friars, and was meaning to the old saw about "rags papers and plugging potential song anxious to write something special to riches." hits from the balcony of Tony Pas­ for the annual Friars' Frolics. Tak­ The next important musical phase tor's Music Hall. A steadier job ing his music from an untitled piano in the care(:)r of Irving Berlin was came when he was hired as a sing­ piece he had written and the idea (Continued on page 41) ing waiter at the Pelham Cafe in Chinatown, run by a swarthy Rus­ sian, Mike Salter, and it was while working there that he collaborated on his first song, Marie From Sunny Italy. It was hardly a momentous beginning, but a later attempt, Do­ rando, so impressed Ted Snyder, a publisher and composer, that not only did he buy the song, but he hired Berlin as a staff lyricist with a drawing account of $25 per week plus royalties. As Alexander Wooll­ cott once wrote, "He had turned a corner and found himself in Tin Pan Alley." .. With over sixty songs to his credit (either as lyricist or as composer-

Berlin at peak of fame and fortune -sought by Broadway and Hollywood, most recently for Sayonara title song. MAY 1958 lem by being divided into four eliminates this model from con­ IF HIGHS ARE LOWS? units or blocks arranged in a hori­ sideration as a suitable full-range ( Continued from page 24) zont~l alTay th ~t literally sprays the speaker and a Neshaminy spokes­ thus avoiding breakup. sound around a room. Pickering · man stated that even to extend the With proper design, the sound of curves its Isophase speakers so that range only an additional 20 cycles an electrostatic tweeter is pure and they achieve the same effect with­ for a 50 cycle bottom would quad­ sweet. This very purity may cause out division. ruple the size of the speaker and in­ disappointment in the hi-fi enthu­ Some weeks ago, I heard Nesha­ crease its problems and price con­ siast who equates high fidelity with miny's latest model of its all-range siderably. hyped-up high frequencies. electrostatic speaker. This is a lab­ Bearing in mind that available High tones in the flesh may be oratory model and the result of dynamic woofers are capable of go­ exciting, but if, in addition, they several years of expensive research ing down into the 30-cycle-and­ are shrill or sharp, they are unpleas­ lower range, it is obvious that the ant to the ear. High tones that come electrostatic spe!lker has quite a out of a speaker shrill or sharp are way to go to achieve bass frequency no less unpleasant. If it may be as­ equality. Whether it ever will, in a sumed that they went into the am­ commercially practical application, plifier sweet and pure, that is the can only be answered at this mo­ way they should come out of the ment by someone familiar with the speaker. The speaker that colors English Quad electrostatic speaker, sound by sharpening highs is not which is being sold in the Tight honest and one of the boasts that Little Island as a full-range speaker, the electrostatic tweeter is able to price 52 pounds. A phone call to honor is that it is capable of deliver­ Quad's distributor in this country ing sound without adding a voice of brought the response that no speci­ its own. And though ~he highest Cross section of an electrostatic fications on this speaker are avail­ musical frequency that a tweeter is speaker able. called upon to deliver is in the A & C-Stationary electrodes So we are left with the funny neighborhood of 14,000 cycles, a B-Diaphragm feeling that either the British ear is good electrostatic can ascend to 20,- cutting oH somewhere around 70 000 with creamy smoothness. and experin1entation. In size, it pre­ cycles or that Mr. Peter Walker, One of the characteristics of high sents a frontal area little larger than who designed the Quad speaker, frequencies, is that they travel in the average enclosure for a twelve has found a way to beat the prob­ straight lines, pretty much like light inch speaker, while its depth is only abilities. I hope the latter is the beams. This inspires ingenuity in a few inches. However, it goes down case. Like many another hi-fi enthu­ the quest for methods of dispersing to only 70 cycles, not even two oc­ siast, I'd be happy to know that high frequency sounds through a taves below Middle C on the piano. there's a full-range elech·ostatic wide arc. JansZen meets this prob- Such an inadequate bass response speaker in my future. -END

LIVID LINGO instance, LP stands for the equali­ to select a wide variety of equaliza­ zation of the first LP records that . tion curves that will allow the per­ (Continued from page 31) Columbia brought out around 1948, fectionist hi-fi fan to match the AES stands for a curve later pro­ characteristics of practically any fine case of cooperation for the com­ posed by the Audio Engineering record ever made. mon good in an indush·y usually Society and followed for a while by But those who prefer their hi-fi prone to cutthroat competition. In Capitol and Mercury, NAB was a simple will find the single-knob 1953, the RIAA got together on a curve proposed by the National As­ equalization fully satisfactory in standard equalization curve to be sociation of Broadcasters, which en­ nearly all cases. Especially for re­ followed by all its members in their joyed a short vogue. At one time cent records, it is only necessary to recording operations. This curve is things got so confused that some set the knob on RIAA to obtain flat the equalization employed on all record companies would employ response. If it still doesn't sound modern LP's and with this playback one type of equalization for bass right to you, you can nudge the sep­ setting you should get good results and another for treble. This made arate treble and bass tone controls from any recent disc. it necessary to have separate treble for fin al adjustment. For discs with Before 1953, without a equaliza­ equalization and bass equalization strident highs, it may be a good tion curve for the record industry, controls on hi-fi equipment. The idea to take the treble down-re­ it was pretty much a case of every bass equalization control was usu­ gardless of correct equalization. man for himself. The mysterious ally called "turnover" and the treble Conversely, thin, anemic sound syllables around your equalization control was called "rolloH." often benefits from a bit of bass control are reminders of that law­ Elaborate pre-amplifiers there­ boost beyond the flat setting. For less ~ge. They all stand for curves fore have separate knobs, one after all, the ultimate arbiters of once adopted by certain record marked "rolloH," the other "turn­ "correct" balance are your own ears. makers and later abandoned. For over." Between them, it is possible -END 36 HIFI & MUSIC REVIEW WE ALL DO! L .

By ROBIN S. LANIER

F YOUR HAND flutters and your eyes refuse to focus to load your brain.with tables of decibels or acoustic I the first time you look at the line-up of knobs on watts or Fletcher-Munson curves, because you ·already your control unit, hei'e is a bit of mental medicine that possess a fantastically sensitive measuring and judging usually brings quick relief. Ju'st say to yourself: "The system; the sufficient and ultimate guide to the proper knobs are here to satisfy my ear." settings of the controls-your own hearing. This is literally true. Knobs have spread across mod· The basic prescription for using the knobs is simple: ern control panels like a measles · epidemic in the when the music sounds the way you want it, take your desire to make it easier for you, the listener, to get hands off the controls and sit doWn and enjoy it. Feel what you want out of your hi-fi system. That is the crux better? .0£ the matter; you are the listener and you do not have Of comse, YOti. want to know what role each of the MAY 1958 37 commonly-used controls plays in achieving the sound quality you want, so let's have a short rundown of their functions. Let's play a record. First, we must set the "function selector" to route the phonograph signal into the am­ plifier via the preamplifier. The selector knob is usually on the extreme left. Now comes the first complication. On some selectors, the phono setting is broken down into a series of positions, usually with desig­ nations like "RIAA-AES..:...EUR" etc. Such a selector does two jobs. One is choosing the program source (tape, radio, phono) and the other is choosing the record compensa­ tion. A setting to RIAA chooses not only the phonograph, which presumably uses a mag­ netic or other low-level cartridge, but also a particular record compensation. On other units, the function selector and the compensation are on different knobs. And on still others, the record compensation is split into two knobs, one for bass com­ pensation and one for treble compensation. Basically, the reason why compensation is necessary is that every record made has the bass deliberately reduced and the treble boosted, for technical reasons. (An article on record compensation will appear in next month's Hi Fi & Music Review, Ed.) The record makers depend on your playing equipment to correct these distortions. You must have adjustable correction becaUS e! the amount of distortion on older records varied from manufachlTer to manufacturer. In 1953, the record industry agreed on a stand­ ard degree of bass cut and treble boost known as the RIAA curve. With any recent records, you set the compensator to RIAA and forget about it. What would you hear if the amplifier did not correct the bass and treble? The music would be thin and bodiless, because of bass weakness, and would also be unpleasantly sharp and hard, because of too-strong treble. vVith correct compensation, the bass has mi.tural fullness and vyeight, and the treble has full clarity and definition but is not un­ naturally piercing. Notice that tllese are qualities .that can be judged with your own .ear. Nothing about decibels or frequency response. You judge by the finished product, the sound you hear. Some information about the relationship of the compensator to the otller controls on the panel will increase the efficiency of op­ eration and serve to avoid certain possible errors. There are three controls, .in addition to the compensator,. which affect the bal-

HIFI & MUSIC REVIEW Knight marks its treble and bass tone . controls clearly, with "flat" positions straight up and the graduations from minimum to maxi­ .. mum cut and boost distinCtly indicated.

,~ Bogen places the treble and bass control knobs concentrically within the scratch and rumble filter knobs, here called Hi and Lo Filter .

..

McIntosh calls the loudness control an aural compensator and has it read clockwise.

KniglJ.t finds the original name of the loudness con­ trol adequate and has it read counter-clockwise• ...

39 jf presence control to e11ip/J.dsize mid-treguencies Electro-Voice varies the distance of voice or 1s a refinement that still is infrequently met. mid-range instruments from "near" to "far" with Sherwood cuts it in with a single button. the turn of a knob.

Controls behind the scenes sometimes include a Electro-Vaice offers two positions each . witch for choosing between ceramic (or of scratch and rumble filtering, with individual crystal) and magnetic phono cartridges. switches marked High Cut and Bass Cut.

ear to hear the bass. To compensate for this, the loud­ ness control automatically boosts the bass as the volume is turned down. This seems like something that could be built into the volume circuit without bothering the user about it. Alas, there are complicating elements. The neces­ sity for an adjustable loudness control arises from the fact that our experiences with live music have taught us to interpret distance and loudness in terms of bass balance. In simplest terms, we have learned to expect a certain bass balance from music in actual perform­ ance under certain conditions of loudness. When we hear the music from a recording, we refer our "expec­ tation" of the bass to the volume we think the music panel switch for choosing probably had when it was originally played. Thus, no lUl~nlanll?<: or a turntable and a single degree of loudness compensation sounds right changer, both with magnetic c:artridges. for all music. Actually, the correction provided by a loudness con­ (Continued on page 44 ) 40 HIFI & MUSIC REVIEW IRVING BERLIN next passage? Well, the writers who Thirties, by contributing the scores ( Continued from page 35) do not give them something they for two of the most successful of are expecting are those who are these, Face the Music and As Thou­ ironically, brought about by a trag­ successful." sands Cheer. Satire has been part edy. A year after Alexander, he In the theatre, Berlin's ability to of our popular musical theatre from married Dorothy Goetz, but within take accepted forms and to present as far back as the 1880's with the five months after their wedding, she them in new ways has likewise been raucous entertainments of Harrigan had succumbed to typhoid con­ one of his most noteworthy contri­ and Hart, but the team of Berlin tracted during their honeymoon in butions. In 1921, with Sam Harris, and Hart (Moss Hart, that is, who Cuba. The grief-stricken 24-year­ he built the Music Box Theatre on supplied the "books" for the shows) old composer abruptly stopped West 45th Street for the sole pur­ followed the more adult, political writing until inner compulsion pose of presenting a series of an­ lead of Strike Up the Band and Of forced him to create a song out of nual revues for which he would Thee I Sing (to Gershwin's famous his own grief. The piece was When contribute the scores. The revue it­ music) with more pungent wit. I Lost You, one of the most expres­ self was nothing new at the time; While Berlin's songs for these sive and touching of all American there had been The Passing Shows shows had a slant occasioned by the love balllil.ds. Even more than giv­ and The Ziegfeld Follies which re­ conditions of the time, he never ing Berlin an emotional release, the lied on sumptuous decor and tab­ lost sight of the fact that he was song demonstrated that romantic leux of "glorified" girls; and on the creating songs for supposedly light­ sentiments were not beyond the other hand there was the modest hearted musicals. In Face the Mu­ talents of the young "ragtime" com­ off-Broadway Greenwich Village sic, even though it took place dur­ poser, who previously had stuck to Follies, which leaned heavily on ing the Depression, the tunes were comedy or dialect numbers to cover intelligent humor and original mu­ either cheerfully optimistic about up his own lack of grammatical sical ideas. the economic situation (Let's Have assurance. Berlin and Harris hit a middle Another Cup of Coffee) or bravely Later, in the mid-Twenties, an­ ground for their Music Box Revues indifferent (I Say It's Spinach and other romance inspired four singu­ by presenting handsome, tasteful the Hell with It). For the most part, larly endearing waltzes-All Alone, productions, with pretty girls to be As Thousands Cheer was full of What'll I Do?, Always, and Remem­ sure, but with plenty of novel stag­ gay, lightly topical numbers such ber; and their publication dates co­ ing and bright, off-beat comedy. as Not for All the Rice in China, incided with newspaper headlines Singular too was the idea of having Heat Wave and Easter Parade, but .. concerning Berlin's courtship of EI­ a theater constructed for the ex­ there was one song in it that did lin Mackay, the daughter of socially press purpose of being a showpiece inject a serious, somewhat unchar­ prominent Clarence Mackay. (After for the musical offerings of just one acteristic note. This was the thren­ their marriage-achieved without man. For the four annual Music Box ody, Supper Time, in which a Ne­ the elder Mackay's approval-the Revues Berlin created such ever­ gro woman mourns for her husband song writing team of Jimmy Mc­ lastingly lovely and original melo­ who has been lynched. According Hugh and Al Dubin immortalized dies as Say It with Music and Lady to Ethel Waters, who sang it in the the occasion with a trite little ditty of the Evening, together with fast­ show, "If one song can tell the called When a Kid Who Came from stepping numbers like Everybody whole tragic history of a race, Sup­ the East Side Found a Sweet Soci­ Step, Pack Up Your Sins and They per Time was that song." ety Rose.) Call It Dancing. Irving Berlin has been called Many feel that these four love Naturally, we are all familiar "The Last of the Troubadours," in songs are the finest things that Ber­ with Irving Berlin's Iole as this reference to his link with the trou­ lin has ever achieved. Disarming country's unofficial musiCal poet badours of old who may not have simplicity and perfect mating of laureate. He has put all our na­ been learned musicians but did words and music to express honest tional holidays into song (except have the ability to communicate. and warm emotions won them in­ one, Hallowe'en, a point empha­ It is Berlin's great genius for com­ stant success when they were first sized by Harold Arlen and Ralph municating his musical ideas to introduced. Ready grasp of their Blane in their song of that name) such an unequalled extent, that has expressive essence is assured by the and many worthy causes have prof­ won him the admiration of the way in which they start with an ited by having the royalties of a world, and has kept secure his high easily recognizable, almost artlessly Berlin tune turned over to them. position among his fellow compos­ conversational phrase ("What'll I And, of course, there's God Bless ers for almost fifty years. do? . .." "All alone, I'm so all America, originally written in 1918, Indeed, it was his rare gifts as a alone . . . ;" I'll be loving you, al­ which has become a second na­ popularizer as well as a pioneer ways . . .") and then go on to un­ tional anthem since it publication that prompted the "serious" 'Ameri­ expected musical and lyrical paths. some 21 years after it was com­ can composer, John Alden Carpen­ Berlin himself has modestly said, posed. ter, to prophesy in the mid-Twen­ "There's no such thing as a new But one phase of Berlin's career ties, "I am strongly inclined to be­ melody. Our work is to connect the that is frequently overlooked has lieve that the musical historian of ... old phrases in a new way, so that been his pioneering efforts in creat­ the year will find the birthday of they will sound like a new tune. Did ing the sharp, sophisticated, non­ American music and that of Irving you know that the public, when it flag waving political musical shows Berlin to have been the same." hears a new song, anticipates the that were to flourish during the -END MAY 1958 41 •

SEEN AT THE SHOW By NAN MILLER

IF YOU live near New York City, Chicago or Los what makes the hi-fi show valuable to the exhibitor Angeles, you probably have attended a hi-fi show and to the visitor alike. The one has an opportunity to in its full glory. Down the corridors of an exposition display his wares before a sizable, intelligent and artic­ building or hotel you amble, along with milling thou­ ulate audience; the other has the opportunity to inspect sands of fellow audiophiles, stopping off in room after the latest in hi-fi equipment and to find out from the little room to view and to listen to the latest products manufacturer or his representative what makes it perk. proudly exhibited by the manufacturers of high fidelity And if you spend a little time with one of the exhibi­ equipment. As a true seeker after the ultimate in re­ tors ~ you probably will discover that in addition to produced sound, you make certain allowances for the working hard at presenting his product effectively, he handicaps under which these items are displayed and manages to get a few laughs out of some of the peri­ demonsh·ated. patetic visitors to the show. Stay with him a while and The exhibition rooms are not soundproof, the hi-fi you will see them too; they show up at every show. enthusiasts are enthusiastically noisy and everything is There's the fellow who furtively eyes the situation played at top volume. Despite the cacophony and the for about twenty minutes and then sidles up to the hurry to take in as much of the show as possible in a attendant to ask sotto voce, "Tell me truthfully, is that limited time, the serious visitor will find much to Rasputin enclosure any good?" This is MR. GUSTY stimulate his interest, while the attendants at the vari­ GOSSIP, who knows very well that Rasputin is the ous exhibits will be helpful and considerate in satisfy­ chief competitor of his potential victim. He is only ing his curiosity. trying to rake up a little juicy gossip that will sound Questions-complicated ones asked by the profes­ good around the show-especially in the Rasputin sional and naive ones asked by the innocent neophyte Speakers room. -usually are answered courteously, patiently and with Squeezing in front of you so he can get at the equip­ as much knowledge as the attendant possesses. This is ment.is knob-twiddling MR. FEELER, that pertina­ 42 HIFI & MUSIC REVIEW ? I OWN YOUR LOUSY DEFECTIVE SET is the name of the man who attempted to build his own hi-fi rig without following instructions. He is sure to but­ tonhole the attendant in fn;mt of a slew of prospective customers and blame the manufacturer for his difficul­ -~- ties. It does not take long to discover that the trouble . YOURS fOR lies in him and not the set. 1EE Tl)"(IJ[G! When suede-shoed young QUIZ KID arrives, he will '/ wear a pained expression and have a sloe-eyed, black­ wool-stockinged girl in tow. After a moment or two of suffering through an aural demonstration during which his expression indicates that he is certain something is very wrong indeed, he will ask, "What is the thermo­ static output from your tweeter during Stravinsky's P etrouchka?"

Helpful MR. YOU SHOULD HAVE DONE IT THIS WAY is modestly willing to let everyone know that he is way ahead of the manufacturer in design Mr. PAPER COLLECTOR concept and technical knowledge. He obligingly vol­ unteers, in conspiratorial stage-whispers 10 db above speaker volume, that "You should have used the 13VD6 Grabmeister tube': and "Your panel should be pink and cious audio enthusiast who believes the decisive test green with offset copper knobs." of all equipment is determined by how smoothly the volume, treble and bass control knobs turn. You'll see Stick around until closing and you'll see MR. DON'T him leaning over the velvet rope ecstatically applying WANT TO GO HOME. He has been sitting for the pressure to knobs at the end of their rotation, raptur­ ously flicking switches and jubilantly pounding turn­ table boards. The speaker cone offers special delecta­ .. tion; it pushes in so easily. Batten down the hatches! Here comes that pilfering Here is a short list of hi-fi shows scheduled peregrinator MR. PAPER COLLECTOR, who first for this Summer and Fall, a period which stopped off at a department store to get an oversized may very well prove the mOST exciting in shopping bag. He not only collects free literature in hi-fi history, what with the stereo disc all triplicate, he harvests small signs, demonstration rec­ set to pop. One of these shows may be in ords and loose cartridges. Caught in the act, he will your vicinity. Make it a point to attend. blandly state, "I thought you were giving these away!"

Houston: Shamrock Hilton, June 6-8 Memphis: Hotel Peabody, Sept. 5-7 Chicogo: Palmer House, Sept. 12-14 Louisville: Hotel Seelbach, Sept. 19-21 New York City: Trade Show Bldg., ~ept _ 30-0ct. 4 Seattle: Hotel New Washington, Oct. 24-26 Kansas City, Kansas: University of Kansas, Nov. 1-2 St. Louis: Hotel Statler, Nov. 7-9

past two hours in the room's only comfortable chair, leisurely filling the air with nice blue smoke from his effluvious cigar while listening to a stereo demonstra­ tion of railroad and steamshovel sounds. Finally, they have lulled him to sleep, and now the attendant is waking him. Is he indignant! And so it goes. It takes all kinds and they all show up at the hi-fi show, even as you and 1. They add a little color to the occasion-and what is a hi-fi show ... but an occasion to see and to learn and to enjoy. Mr. FEELER -END

MAY 1958 43 CONTROLS! KNOBS! want. The "flat" position is not necessarily the right one for every recording. If it were, the tone control knobs (Continued from page 40) could be removed from your preamplifier. However, a word of advice. It is useful from time to time to hear live music in order to refresh your memory trol is a refinement, one that many amplifiers do with­ of what real, distortion-free sound is like. We all rapid­ out. We plan an article in the near future devoted ly tend to forget this; the undisciplined ear adjusts to • solely to loudness compensation so that this subject artificial tonal coloration without qualms. This does not may be discussed in full detail, together with a con­ mean that the reproduced music in your living room sideration of the operating procedures for all the stand­ necessarily must sound exactly as it did in a particular ! ard types of loudness control. For the present, we can hall. Your room is now the auditorium and you must sum up with the statement that the ear likes different use your controls to make it sound its best there. degrees of loudness compensation with different re­ cOl·dings. So we need a knob that we can turn. Again we ask: "Why don't we just use the bass con­ trol to get the bass balance we like at low volumes?" Additional preamplifier controls First, because the loudness control, by doing the job automatically once it is set, avoids extra knob twisting There are other controls sometin1es included in mod­ when volume is changed. Second, because if the bass ern preamplifiers. Three of the most common are: control is used for loudness compensation, it is "used Rumble Filter: This is brought into play when your up" and made unavailable for other purposes. turntable or record changer causes a rumble to be In operating terms, on those amplifiers with a sepa­ heard through your speaker. Switching the rumble fil­ rate loudness knob, we set the tone controls at "flat" ter in cuts the bass sharply at a frequency that negates and then turn the loudness knob until the bass level the rumble, something that the gradual cut managed sounds right for the music. When volume is changed, by the bass tone control cannot accomplish effectively. the loudness circuit will automatically take care of Scratch Filter: This is for use with old or worn rec­ raising or lowering the bass as needed. ords that have an objectionable hiss. The scratch filter At this point, another question becomes insistent: cuts off sharply in the treble, doing away with the hiss, "What are the tone controls for?" There are two addi­ yet permitting most of the b·eble sounds to come tional major areas of tone balance variation and it is through. in these areas primarily that the tone controls are de­ Tape Monitor Switch: If your tape machine has sep­ signed to operate. arate playback and record heads, this switch allows The making of a record involves a series of choices you to listen to a signal played from the tape at the by the recording engineers regarding acoustical sur­ time it is being recorded. Separate playback and record roundings, balance of instruments in the studio or hall, heads are found in machines with three heads. microphone placement, etc. To a major extent, these Let us conclude by outlining a standard operating choices will determine how a record will sound, procedure for using a modern control panel. In most whether full and lively, very bright, shimmering, or cases, when you playa record, the sound will be pretty heavy and massive, or dull, or whatever. The tonal close to what you want in1mediately and probably only character of the record, vital in determining whether a little adjustment of the tone control knobs will be all the record thrills you or leaves you cold, depends on that is needed. But suppose the worst. Nothing is in its those variables that are decided upon when the record right place; the sound is wrong and the tone conb·ols is made. do not quite remedy it. This is the time to start from To a considerable degree, though not entirely, you the beginning. can adjust and shape the tonal quality of a recording 1. Set the tone controls in "flat" position. with the tone controls. Stronger highs brighten it; 2. Set the record compensator at the position recom­ stronger bass makes it heavier; the two together pro­ mended for the particular record or at the position that duce a "super-realistic" effect. Or, if you want the ut­ gives approximately the right balance to your ear. This most in relaxed similarity to a "live" sound, you set applies only to records; if the source is radio or tape, your tone controls to eliminate all exaggerations in the this step is elimir.ated. chain from the actual performance to your own speak­ 3. Raise or lower the volume to where you want it er. Innumerable combinations of tone balance and and adjust the tone controls for best balance. tonal character are possible. Thus the flexibility of the 4. Listen. tone controls allows you to bring the recording several If your preamplifier has a loudness conb·ol, at step steps closer, or perhaps all the way, to your own sonic 3, set it for best sound at the chosen volume level and preferences. then trim with the tone controls. Another factor that produces variation in the quality All of the foregOing is quite simple and actually takes of the sound, a variation also subject to tone control much less time to do tl1an it does to tell how to do it. adjustment, is the room you listen in. Every room has If you try a few recordings and listen to what happens its own tonal character-dull, bright, ponderous. This, when the compensator is set wrong (often not very of course, blends with the character of the recording much), when tone conb·ols are manipulated and espe­ itself, and it is the net result, the finished product that cially when the loudness control is brought in, you is the sound reaching your ear, that the tone controls will know what to ell.'pect. Once you have become properly work on. familiar with the effects of the controls, you rarely will Do not hesitate to use the controls to get what you go wrong if you let your ear be your guide. -END 44. RIFI & MUSIC REVIEW for Ultimate Fidelity Stereo Music Via for Ultimate Fidelity * FM Broadcasting SHERWOOlt Stereophonic music is definitely here!

There is nothing new about stereo on pre-recorded tapes. They've been available for several years. In fact, practically all commercial record com­ panies have been making stereophonic masters, as well as monaural, in all re­ cording sessions for the past year. At the Los Angeles High Fidelity Show all the excitement was created by the *outstanding hon­ ors bestowed, un­ public unveiling of the Westrex stereo solicited, by most recognized testing disc-all the excitement, that is, except organizations. for one other stereo music source­ stereo via FM broadcasting! This, too, was unveiled in demonstrations at Los Angeles. We at Sherwood foresee FM as an extremely important stereo source. Stereo tapes are costly and stereo records with their associated pick-up ·outstandlng honors cartridge present technical limitations bestowed, unsolicited, by to fidelity. most recognized testing organizations. How is FM stereo achieved? Through a new system of FM broadcasting Why will your records sound better called MULTIPLEXING. Multiplexing is with the new Sherwood 36-watt am­ a system whereby a second channel plifier, though you seldom play them of information {or sub-channel} is su­ at levels exceeding 1% watts? Be­ perimposed on the main channel {or cause amplifier peaks in many mu­ primary channel}. With your present sical passages demand 100 watt peak FM receiver you cannot hear the sub­ No matter what your source of music capability - and the new Sherwood -FM, your own discs, or tape- you channel-only the primary one. But by S-1000 II delivers this instantaneous will enjoy it at its best coming from adding an adapter to your receiver, peak power while operating at 11f2 Sherwood'scomplete home music center you can hear the sub-channel. It be­ watts! " comes apparent then that in FM stereo •.. most honored of them all! Sherwood S-1000 n front panel controls tuners for example . . . music broadcasting the main channel will carry the "right-hand'~ side and include 6-db presence-rise button; the sub-channel the "left-hand" side record, microphone and tape-play­ First to achieve under one microvolt of stereo sound. From this point on the back equalization; exclusive "center­ sensitivity for 20 db FM quieting in· problem is no different than with tapes set" loudness control, loudness creases station range to over 100 miles. or records. compensation switch, scratch and Other important ·features include the rumble filters, phono level control, What is the progress of multiplexing new "Feather-Ray" tuning eye, auto­ tape-monitor switch 6 inputs, output to date? matic frequency control , flywheel tun­ tube balance control and test switch ing output level control and cathode­ Actually, multiplexing can be done on rear. follower output. with two or even three channels. It is presently being used in such commer­ For complete specifications, cial applications as background music Model S-2000 FM -AM Tun er S139.50 net write Dept. MRS Model S- 3000 FM (only) Tuner S99.50 net and stereocasting. Eventually, most FM stations will be multiplexing some form For comolete specifications. write Dept. MRS of programming. At present only a few stations are using the multiplex system for the purpose of offering stereo music Sherwood Electronic laboratories, Inc_ programs for home reception. More will 4300 N. California Avenue, Chicago 18, Illinois undoubtedly follow. ELECTRONIC LABORATORIES. INC. 4300 N_ California Avenue Chicago 18, Illinois Now, at Sherwood, we are readying both multiplex adapters for existing sets and FM receivers containing multi­ The "complete high fidelity home music center:' The "complete high fidelity home music center. " plex channel converters. We urge you to watch this space for our announce­ ment of these new products. Meon­ while, call or write your favorite FM station to learn the future of FM multi­ plexed stereo in your area.

Edward S. Miller In New York hear "Accent on Sound" with In New York hear" Accent on Sound" with Skip Skip Weshner, WBAI-FM, week nights, 9 P_M. Weshner, WBAI-FM, week nights, 9 P.M. In General Manager Los Angeles, KRHM-FM. 10 P. M. In los Angeles, KRHM-FM, 10 P.M.

MAY 1958 45 ROBERTS Brand New!

TAPE RECORDERS • The only recorders with a ROBERTS HYSTERESIS SYNCHRONOUS is now available in a motor in their price class! & Audiophiles, professionals or non-professionals, STEREO are all delighted with the performance, ,quality and modest price of the all new ROBERTS. The Playback Model clean, functional design, complete portability (28 lbs.) and versatility are unsurpassed. Each Here indeed is news! Combine all the many features of the monaural model with more ROBERTS is a complete unit ... integral ampli­ amplifiers, stereo heads and you have a fiers, extended range speaker, and high-sensi­ performing wonder that is equally out­ tivity microphone. standing on single or double-track-tapes. There is a ROBERTS dealer near you. Why Priced at $349.50, there just isn't any­ not see him today for an ear-opening demon­ thing on the market to compare with the stration. He can give you complete technical ROBERTS. No need to put off stereo sound information, too. any longer - just order your ROBERTS today. Hurry, though, supplies are limited. iiw-ulfw ROBERTS • The only ?'ec01'de?' with a hysteresis synch?'onous !ftotor in its price class. .. o Completely portable (15%" x 14%" x 9%", 28Ibs.) • A complete unit with integral' amplifiers and extended ' range speaker. • VU mete?' fo?' positive reco?'ding levels. • Professional, cast aluminum construction. • Wow and flutter 0.18 % RMS • Response 40 to 15,000 CPS • Timing accuracy to 0.2% • Dual record/play heads • 7" reels • 3% or 7% inch tape speeds • Safety interlock controls • Complete with case and high-sensitivity microphone • Wrap around tape threading

ROBERTS ELECTRONICS INC~ , 1028 N. LA BREA AVENUE, LOS ANGELES, CALIFORNIA

46 BIFI & MUSIC REVIEW stereo stereo equipDlent tape deck kit cabinet kit M~~~[~~~D $14395 HEATHKIT MODEL SE-1 (Price to be announced soon)

Enjoy the wonder of Stereophonic sou nd in Beautifully designed, this stereo equipment cabinet has your own home! Precision engineered for fine per­ ample room proviaed for an AM-FM tuner-tape deck formance, this tape deck provides monaural-record/play­ - preamplifier - amplifiers - record changer - rec­ back and stereo playback. Tape mechanism is supplied complete. You build only the ord storage and speakers. Constructed ' of X' solid­ preamplifier. Features include two printed circuit boards-low noise EF-86 tubes in core Philippine mahogany or select 'birch pLywood, input stages-mic and hi-level inputs-push-pull bias-erase oscillato'r for lowest noise beautifully grained. Top has shaped edge and sliding level -two cathode follower outputs, one for each stereo channel-output switch for top panel. Sliding doors for front access. Mounting instantaneous monitoring from tape while recording. VU meter and pause control for panels are supplied cut to fit Heathkit units with extra editing. Tape speeds 3X and 7Y, IPS. Frequency re sponse :1: 2 db 40-12 ,000 CPS at 7Y, blank panels for mounting your own equipment, Easy­ IPS. Wow and flutter less than .3%. Signal-to-noise 55 db at less than 1% total harmoni c to-asse mble, all parts are precut and predrilled. In­ distortion. NARTB playback equalization. Make you r own hi gh quality recordings for cludes all hardware, glue, legs, etc: and detailed in-, many pleasant listening hours. struction manual. Speaker wings and center unit can be purchased separately if desired. Overall dimensions with wings 82" W. x 37" H. x 20' D. Send for free details.

DELUXE AM-FM STEREO PRE­ 55 WAT·T HI-FI 12 WATT llI-FI TUNER KIT AMPLIFIER KIT AMPLIFIER KIT AMPLIFIER KIT

HEATHKIT HEATHKIT MODEL SP-1 HEATHKIT HEATHKIT MODEL PT-1 (Price to be announced soon) MODEL W-7M MODEL UA-1 Here is a deluxe combination This unique two-channel con­ First fime ever offered-a 55- Ideal for stereo applications, this AM -FM tuner with all the ad­ trol center provides all controls watt basic hi-fi amplifier for $1 12-watt power package repre­ vanced design features required neces'sary in stereo applications. per watt. Features EL-34 push­ sents an outstanding dollar by the critical li stener. Ideal for Building block design lets you pull output tubes. Frequency re­ va lue. Uses 6BQ5/EL84 push­ stereo applications since AM buy basic single channel now sponse 20 CPS to 20 KC with pull ou tput tubes. Less than 2% and FM circuits are separate and and add second snap-in channel less than 2% harmonic distor­ total harmonic distortion individually tuned. The 16-tube later for stereo without rewiring . tion atfull outputthroughoutthis throughout the entire audio tuner uses three circuit boards 12 inputs each with level con­ range. Input level control and range (20 to 20,000 CPS) at full for easy assembly. Prewired and trol-NARTB tape equalization "on-off" switch provided on 12-watt output. Designed for use prealigned FM front end. AFC -6. dual concentric controls in­ front panel. Unity or maxi mum with .preamplifier models WA­ with on/off switch-flywheel cluding loudness controls­ damping factors for all 4, 8 or 16 P2. or SP-1 . Taps for 4.8 and 16 tuning and tuning meter. built-in power supply. ohm speakers. ohm speakers.

ForcoJllplete inforJllation on above kits-Send for FREE FLYER.

HEATH COMPANY· a SUbSldlarYG~ystrom. Inc.· Benton Harbor 40, Mich.

MAY 1958 49 easy-to-build

high quality

Look ... how simply you can assemble your very own high fidelity system! Fun-filled hours of shared pleasure, and an everlasting sense of personal accomplishment are justa few of the re wards. Heathkits cost you only HALF as much as ordinary equipment and the quality is unexcelled. Let us show you how easy it really is! ..•

Step-by-Step AsseDJ.bly Instructions . Read the step . .. perform the operation ... and check.it off- it 's just that simple ! These plainly-worded. easy-to-follow steps cover every assembly operation.

Easy-to-follow HEATHKIT Pictorial DiagraDJ.s . _ . Detai led pictorial bookshelf 12-watt diagrams in your Heathkit construction manual atnplifier kit show where each and MODEL EA-2 every wi re and part is to be placed. . $2595 ; NEW ...... ~ ......

Learn-by-doing' There are many reasons w hy this attractive amplifier is a tre­ Experience mendous dollar va lue. You get many extras not expected at this For All Ages _ . price level. Ri ch, f ull range. high fideli ty sound reproduction Kit construction is not with low distortion and noise .. . plus "modern" styling. mak­ only fun-but it is ing it suitable for use in the open. on a bookcase. or end table. educational too! You Look at the features offered by the model EA -2: fu ll range fre­ learn about radio. quency response (20- 20.000 CPS ± 1 db) with less than 1% electroni c parts and distortion over this range at full 12 watt output-its own built-in circuits as you build preamplifier w it h provision for three separate inputs. mag your own equipment. phono. crystal phono, and tuner-RIAA equalization-separate bass and treble tone controls- special hum control - and it' s easy-to-build. Complete instructions and pictori al diagrams Top Quality show where every part goes. Cabinet shell has smooth leather texture in black with inlaid gold design. Front panel features NaDJ.e-Brand brushed gold tri m and buff knobs with gold inserts. For a rea l CODJ.ponents sou nd thrill the EA-2 will more than meet you r expectations. Used in All Kits __ . Shpg. WI. 15 Ibs. El ectronic co mponents used in Heathkits co me from well-known manu· facturers with established TIME PAYMENTS AVAILABLE reputations. Your ON .ALL HEATHKITS assurance of .l ong life WRITE FOR FULL DETAILS I and trouble-free se rvice. 50 HIFI & MUSIC REVIEW I chairside enclosure kit

This beautiful equipment enclosure will NEW make yo ur hi-f i system as attractive as any fa ctory-bu ilt professionally-finished unit. Smartly designed for maxi ­ mum f lex ibi lity and compactness consistent with attractive appear­ ance, this enclosure is intended to house the AM and FM tuners (BC-1A and FM-3A) and the WA-P2 preamplifier, along with the majority of record changers, wh ich will fit in the space provided. Adequate space is also provided for any of the Heathkit amplifiers desig ned to operate with the WA-P2. During construction the tilt-out shelf and lift-top li d ca n be install ed on either right or left side as de· CONTEMPORARY si red. Cabi net is constructed of sturdy, veneer-s urfaced furniture· grade plywood ;/," and ;v." t hick. All parts are precut and predrill ed for easy assembly. Contemporary available in birch or mahogany. Be sure to specify tradit ional in mahogany only . Beautiful hardware supplied to match model you prefer each style. Dimensions are 18" W x 24" H x 35;/," D. Shpg_ Wt. 46 Ibs. CE-1T Mah ogany TRADITIONAL

HEA THKIT H EATHKIT high fidelity FM tu ner kit broadband AM tuner kit

For noise and static free sound reception, this FM tuner is you r least This tuner differs from an ordinary AM radio in that it has been de· expensive sou rce of high fideli ty material. Efficient circuit design signed especially for hi gh fidelity. A special detector is incorporated features stablized osci llator circu it to eli minate drift after warm·up and the IF circuits are "broadbanded " for low signal distortion. Sen ­ and broadband IF circu its assu re fu ll fidelity with high sensitivity. All sitivity and se lectivity are excellent and Quiet performance is assured tunable components are prealigned so it is read y for operation as soon by a hi gh signal-to-noise ratio. All tunable components are prealigned as construction is completed. The edge-illuminated slide rule dial is before shipment. Incorporates automatic vo lume control, two outputs. clearly numbered for easy tuning. Cove rs complete FM band from and two antenna inputs. An edge-li ghted glass slide rule dial allows 88 to 108 mc. Shpg. Wt. 8 Ibs. easy tuning. Your "best buy" in an AM tuner. Shpg. Wt. 9 Ibs. MODEL FM-3A $25.95 (with cabinet) MODEL BC-IA $25.95 (with cabinet)

HEATHKIT Itlaster control preaItlpiifier kit

Des igned as t he "master cont rol" for use with any of the Heathkit Wi lliamso n-type amplifiers, the WA-P2 provides the necessary compen­ sation, tone, and volu me co ntrols to properly amplify and condition a signal before se ndi ng it to the am pl ifier. Extended f requency response of ± 1;/, db from 15 to 35,000 CPS will do full justice to the finest program material. Featu res eq ualization for LP, RIAA, AES, and early 78 records. Fi ve switch- se lected inputs with separate level controls. Separate bass and t rebl e controls, and vo lu me control on front panel. Very attractive ly styled , and an exceptio nal dollar value. Shpg. Wt. 7 Ibs. pioneer in "do-if-yourself" MODEL WA-P2 $19.75 (with cabin~t) electronics D~bSidiary of Daysfrom, Inc.

I HEATH COM P ANY • .BENTON HARBOR 40, MICHIGAN

I MAY 1958 51 MODEL W-6M MODEL W-SM high fideiity a:rnplifier kits

To provide yo u with an amplifier of top-flight performance, For an amplifier of increased power to keep pace with the yet at the lowest possible cost, Heath has combined the growing capacities of your high fidelity system, Heath latest design techniques with the highest quality. materials provides you with the Heathkit W-6M. Recognizing that as to bring you the W-5M. As a critical listener you will thrill loud speaker systems improve and versatility in recordings to the near-di stortion less reproduction from one of the approach a dynamic rang e close to the concert hall itself, most outstanding high fidelity amplifiers available today. Heath brings to you an amplifier capable of supplying The high peak-power handling capabilities of the W-5M plenty of reserve power without distortion. If you are look­ guarantee you faithful reproduction with any high fidelity ing for a high powered amplifier of outstanding quality, system. The W-5M is a must if you desire quality plus yet at a price well within your reach, the W-6M is for youl economy! Note: Heathkit WA-P2 preamplifier recom­ Note: Heathkit model WA-P2 preamplifier recommended. mended. Shpg. Wt. 31 lbs. Shpg. Wt. 52 lbs.

HEATHKIT DUAL-CHASSIS HEATHKIT SINGLE -CHASSIS MODEL W3-AM MODEL W4-AM

•

high fidelity a:rnplifier kits

One of the greatest developments in modern hi-fi reproduction was In his search for the "perfect" amplifier, Williamson brought to the advent of the Williamson amplifier circuit. Now Heath offers the world a now-famous circuit which, after eight years, still ac­ you a 20-watt amplifier incorporating all of the advantages of counts for by far the largest percentage of power amplifiers in use Williamson circuit si mplicity with a quality of performance con­ today. Heath brings to you in the W4-AM a 20 -watt amplifier in­ sidered by many to surpass the original Williamson. Affording you corporating all the improvements resulting from this unequalled flexibility in custom installations, the W3-AM power supply and background. Thousands of satisfied users of the Heath· amplifier stages are on separate chassis allowing them to be kit Williamson-type amplifiers are amazed by its outstanding per­ mounted side by side or one above the other as you desire. Here formance. For many pleasure-filled hours of listening enjoyment is a low cost amplifier of ideal ve rsatility. Shpg. Wt. 29 Ibs. this Heathkit is hard to beat. Shpg. Wt. 28 Ibs.

HEATHKIT HEATHKIT

high fidelity electronic anlplifier kit crossover kit

MODEL A-9C MODEL XO-1

For maximum performance and versatility at the lowest One of the most exciting improvements you can make in possible cost the Heathkit model A-9C 20-watt audio your hi-fi system is the addition of this Heathkit Crossover ampi'ifier offers you a tremendous hi-fi· value. Whether for model XO-1. This unique kit separates high and low fre­ your home installation or public address requirements quencies and feeds them through two amplifiers into this power-packed kit answers every need and contains separate speakers. Because of its location ahead of the many features unusual in instruments of this price range. main amplifiers, 1M distortion and matching problems are Th ~ preamplifier, main amplifier and power supply are all virtually el iminated. Crossover frequencies for each chan­ on one chassis providing a very compact and economical nel are -100, 200, 400, 700, 1200, 2000 and 3500 CPS. Amaz­ package. A very inexpensive way to start you on the road ing versatility at a moderate cost. Note: Not for use with to true hi-fi enjoyment. Shpg_ Wt. 23 Ibs: Heathkit Legato Sp'eaker System. Shpg. Wt. 6 Ibs.

52 HIFI & MUSIC REVIEW "LEGATO'·'

high fidelity speaker systeDl kit

Wrap yourself in a blanket of high fidelity music in its true form. Thrill to sparkling treble tones, rich, resonant bass chords or the spine-tingling clash of percussion instruments in this masterpiece of sound reproduc­ tion. In the creation of the Legato no stone has been left unturned to bring you near-perfection in performance and sheer beauty of style. The secret ·.. " ... " ...... " , of the Legato's phenomenal success is its unique balance of sound. The · .... . carefu l phasing of high and low frequency drivers takes you on a melodic MODEL HH-1-C toboggan ride from the heights of 20,000 CPS into the low 20's without the (imported white birch) MODEL HH-1-CM slightest bump or fade along the way. The elegant simpli city of style will (African maho,gany) complement your furnishings in any part of the home. No electronic know­ how, no wood working experience requi red for construction. Just follow clearly illustrated step-by-step instru ctions. We are proud to present the Legato-we know you will be proud to own it! Shpg. Wt. 195 Ibs. ·• ••• " " • " ••• " •• e . ••••••.

HEATHKIT HEATHKIT

BASIC RANGE RANGE EXTENDING

high fidelity speaker system. kits

MODEL 95 55-1 $39 A truly outstanding performer for 'its Designed to supply ve ry high and size, the Heathkit model SS-1 provides very low frequencies to fill out the you with an excell ent basic high fidelity speaker system. Th e res ponse of 'the bas ic (SS-1) use of an 8" mid-range woofer and a high frequency speaker speaker, this speaker system ex- 95 with flared horn enclosed in an especially designed cabi net tends the range of you r listening ~~~~L $99 allows you to enjoy a quality instrument at a ve ry low cost. pleasure to practicall y the enti re Can be used with the Heathkit "range extend ing" (SS-1B) range of the audio s<>a le. Gi ving the appearance of a single speaker system. Easi ly assembled cabi net is made of veneer­ piece of furniture the two speakers together provide a su­ surfaced furniture-grade Xu plywood. Impedance 16 ohms. perbly integrated four speaker system. Impedance 16 ohms. Shpg. Wt. 25 Ibs. Shpg. Wt. 80 Ibs.

I HEATH COM'PANY • BENTON HARBOR 40 MICHIGAN

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Reviews by For Operatic Blood and Thunder-London's stunningly recorded and mag­ MARTIN BOOKSPAN nificently sung La Gioconda featuring new and brilliant international star, Anita Cerquetti (this page). DAVID RANDOLPH KLAUS GEORGE ROY For Hi-Fi Showpieces-an embarrassment of riches: Prokofiev's Lieutenant Ki;e on Victor with Fritz Reiner (p. 64) and Love for Three Oranges Suite by Grand Grand Opera Dorati for Mercury (p. 66); Ravel's Bolero by Scherchen for Westminster's

PONCHIELLI: La Gioconda (complefe op- LAB series (p. 56). era). . Anita C erquetti (soprano) . Giuletta Simio­ nato (mezzo-soprano ). Mario del Monaco For Superlative Violinistics-Angel and Westminster offer Tchaikovsky and (tenor), Ettore Ba stianini (baritone r. Cesare Sie pi (bass-baritone). and others with Mag­ Paganini concertos, plus Italian classics and encores (p. 60). gio Musicale Fi orentino Chorus and Orches­ tra, Gianandrea G avazzeni condo london A4331 3 12". Esoteric Hits of the Month-Ironic cantata by French modern, Jean FranOtello and Fal­ Splendid sound and good direction The role of the icy Princess Turandot, staff), is based upon Angelo, one of Vic­ from Gavazzeni complete a most success­ who orders the beheading of any suitor tor Hugo's romantic dramas. ful release. who cannot successfully solve three rid­ The action takes place in 17th century M.B. dles, is one of the most fearsomely diffi­ Venice during the time of the State In­ cult in all opera. Much of the part is quisition. There are five big roles: La PUCCINI: Turandof (complefe opera). written in the stratospheric register of tIle Gioconda, a sympathetic and self-sacrific­ Maria Callas (soprano), Elisabeth Schwarz­ soprano range, and few are the singers ing street singer; Enzo Grimaldo, a sea kopf (soprano), Eugenio Fernandi (tenor) , who can cope with it successfully. It captain whom she loves, but who is him­ and others with Chorus and Orchestra of cannot be said that Mme. Callas is one La Scala, Milan, Tu llio Serafin condo Angel self in love with Laura, the wife of Alvise, 3571 C/l3 12". of them; for the feeling of strain is un­ one of the heads of the Inquisition; and comfortably evident. Yet on a dramatic the spy and conspirator, Barnaba, who There are recent indications tIl at level she does make the tormented char­ plots to win La Gioconda for himself. If Turandot is slowly beginning to make its acter of the princess, making her a be­ these people sound like characters out of way in the active operatic repertoire. It lievable and even sympathetic person­ another kind of opera (a sudsy kind), receives here its fourth complete record­ thus fulfilling the intent of Puccini and it's because it is exactly that kind of story. ing on long playing discs (and another is his librettists. Probably the best way to performance rumored on the way from RCA Victor, Femandi, the Pinkerton of this sea­ of this score is one which gives it the with Leonie Rysanek and Jussi Bjoer­ son's highly successful new Metropolitan works with all the emotional stops fully ling), and it has also been done in live production of Madam Butterf!y, is a real pulled out. This performance does so in performance this season by the New York find as Prince Calaf. His part, too, places abundance. The five prinCipals attack City Opera Company. his tenor voice on a tight-rope high in their parts with awesome ferocity. For At the time he was working on the the clouds, but he comes through very Cerquetti this recording marks her pro­ score Puccini must have sensed that he well indeed- much more successfully than motion to the big leagues, and she fully had not much longer to live, for he con­ the more renowned but raucous Mario justifies the confidence which has been stantly pressured his librettists, Giuseppe del Monaco in the London recording. placed in her. The voice is as big as any Adami and Renato Simoni, to complete Elisabeth Schwarzkopf is most appealing soprano's now before the public, and she the book. It was largely because of their as the loyal slavegirl, Liu; and Nicola handles it with skill and control. Bastia­ slowness that -tIle opera remained un­ Zaccaria (who_sings the same role in tIle nini makes a superb Barnaba; del Mona­ finished at the time of the composer's London set ) is an excellent Timur. co's performance is probably his finest yet death (the last duet and finale of tIle The supporting roles are all handled on discs (for once his bellowing seems opera were completed by Franco Alfano well, and Serafin brings a particularly sen­ part and parcel of the role he is portray­ after sketches left by Puccini). The sitive hand to the proceedings. ing) ; and both Simionato and Siepi do music is certainly the richest, most subtle In sum, then, tIns Turandot is probably full justice to their roles as Laura and score Puccini ever wrote. It is endowed about as well done as we're likely to hear Alvise. The contralto, Franca Sacchi, is with almost hypnotiC power and con­ in the foreseeable future-unless some­ also convincing as La Cieca, the blind tinues to reveal new wonders with each where there's a soprano (completely un­ mother of La Gioconda. successive hearing. known today) who will be able to take 54 HIFI & MUSIC REVIEW QUALI

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Send for complete information or visit your nearest . m~ntoshLABORATORY. INC . Franchised McIntosh Dealer. 4 Chambers-St., Blngl;omton,-N. Y. Expo,LDjvjljon: 2S .Wo,r"n. SI.,NewYo,k 7, N. Y. HFR 4-58 In Canada manvfactvred vnder license by McCurdy Radio Indvst,ies, lid. " Cable: SIMONTIUCE N. Y. 22 Front Sfreet W., Toronto, Canada ·MAY 1958 55 Puccini's high hurdles in her stride, and suite extracted by tlle composer from his at the same time win us over to the score for the CBS-TV documentary series humanity of the Princess as successfully of the same title. There are some fair1y as Callas does. intriguing titles to the various sections M.B. (e.g. Alert and Take-Off, Safe Return, Lonely Pilot's Letter Home, Convoy and For Hi-Finatics Wolf Pack Attack) but it all sounds like anyone of a couple of dozen other docu­ ARNOLD: Tam O'Shanfer Overture; Beckus mentary fihn scores. Why Ormandy and If you are interested in fhe Dandipraff Overfure; Symphony No.2. the Philadelphia Orchestra should have Royal Philharmonic Orchestra, Malcolm recorded it is a mystery-they surely can­ Arnold & J ohn Holli ngsworth condo Epic LC not have performp.d the music in concert?! CONTEMPORARY 3422. Good recorded sound. M.B. Though previously represented in the MUSIC long-playing catalogue with a collection of English Dances and his music for the Tchaikovsky's Big 3 •• • or would like ballet Homage to the Queen, Malcolm TCHAIKOVSKY: Symphony No.4 in F Mi· Arnold may properly be said to come into !J0r, Op. 36. his own as an important contemporary Amsterdam Concertgebouw Orchestra, An­ to learn about it- composer with the release of this disc. tal Dorati condo Epic LC 3421. The image which these three pieces Enjoy finest Contemporary music at its create is of a colorist composer. There TCHAIKOVSKY: Symphony No.5 in E Mi· high-fidelity best . .. brilliantly played by are influences, especially in the Sym­ nor, Op. 64. one of the nation's outstanding symphony phony, of men like Nielsen and Britten­ Philharmonia Orchestra, Constantin Silvestri condo Angel 35566. orchestras . .. flawlessly recorded by the woodwind writing is particularly Columbia Masterworks . . . and interpreted reminiscent of the great Dane. But on TCHAIKOVSKY: Symphony No.6 in B Mi· as the composer intended. the whole this strikes one as an important nor, Op. 74 ("Pafhetique"). This is a rare opportunity to possess exclu­ work from the pen of an interesting con­ N. Y. Philharmonic Orchestra, Dimitri Mitro­ sive FIRST EDITION RECORDS-first record­ temporary composer. The two shorter poulos condo Columbia ML 5235. ings of newly commissioned works by lead­ pieces reveal another characteristic of ing composers, played superbly by the Arnold's style-hiS love for violent dy­ If these three performances offer any renowned namic contrasts. TIllS is especially a hall­ criterion, then present-day conductors are LOUISVILLE ORCHESTRA mark of Tam O'Shanter, a wild, fanciful returning to the hysterical method of Robert Whitney, Conductor treatment of the Burns poem. dealing with the Tchaikovsky symphonies. These "collector's item" recordings are avail­ Epic's engineers again give us recorded Basically this method may be defined as able for a limited time, from the Society sound which is big, boomy and-to these studied rather than spontaneous, with ex­ only. They are a priceless collection of new, ears-over-reverberant. aggerated dynamic contrasts and way­ exciting music ... the finest expressions of M.B. ward rhythms; often, too, the architectur­ living composers the world over. al outlines are blurred by an irresistible urge to twist a phrase or section slightly "Splendid sound". out of shape. Cleveland Plain Dealer l\RNO~ Let's get down to cases with the " ••• a service to music unequalled". "PathetiquB" first. One might anticipate Christian Science Monitor ~?YALPH'Uf that Mitropoulos' way with this sym­ phony would b e capricious, mannered " ••• the reproduction is a model of and uneven-and so it is, but ratller less clarity". St. Louis Globe-Democrat so than feared in advance. In some of n •• • recording and performances, the fast sections Mitropoulos adopts an excellent". Pittsburgh Post-Gazette absolutely furious pace (in the March, for example) and some of the slower sec­ ..... quality higher than critics tions are taken too slowly. But the per­ dared hope". Time Magazine formance does generate an excitement In addition to their musical brilliance and so contagious that often the listener is technical perfection, First Edition Records carried along with the reading in spite of give you the satisfaction of establishing his better judgment. Aside from several yourself as a patron of today's finest music. sloppy string attacks, especially in the The Louisville Philharmonic Society is a last movement, the orchestral playing is non-profit organization . . . income from RAVEL: Bolero; LlSZT: Mephisfo Walfz. excellent. record sales is used in the commissioning of Vienna State Opera Orchestra, Hermann still further works. Scherchen condo Westminster LAB 7(}59. Dorati's perfornlance of the Fourth Symphony is a surprise in that it repre­ • • TRY THEM-N.O OBLIGATION! •• Here is one of the best Westminster sents an approach almost completely at Lab records I've heard in a long while. odds from the one adopted in his record­ LOUISVILLE PHILHARMONIC SOCIETY The unpredictable Scherchen is here very ing of the Fifth Symphony for Mercury. Dept. T1'-I. 830 S. Fourtb St., Louisville 3, Ky. much in the groove, turning in perform­ Where the latter is characterized by an Please enter my subscription for First Edition Records ances that are at once intellectually and almost austere severity, here all caution (12". LP. two sides) and ship me the curre nt release. emotionally tremendously exciting. The at the subscription price of 54.98. postage prepaid. is thrown to the breezes and the sym­ tempo in the Bolero, slightly slower than I understand tha t, if 1 am dissatisfi ed in any way. I phony is given the "works"- especially by may cancel this subscription within 30 days, and keep the one generally encountered both on way of hectic tempi. Again, it may be the record. without cost. Otherwise you may continue discs and in the concert hall, justifies to send me future releases (one every two months, at tremendously exciting in the concert hall, Ravel's own preference for a slowish tem­ but how, one wonders, will this approach $4.98 each) until I cancel my subscription. po. The orchestra. is at the top of its form I also understand that this subscription entitles hold up in repeated hearings in the me to buy previous issues, if I wish them. at 56.95 and the engineering is immaculate. Bravo! home? One has grave doubts. .. each instead of 57.95. M.B.

N.m~e ______DELLO JOIO: Air Power-Symphonic Suife. Which brings us to Angel's recording Philadelphia Orchestra, Eugene Ormandy of the Fifth Symphony. Silvestri is a 45- Addre.s..______condo Columbia ML 5214. year old Roumanian conductor who created a sensation at his English debut City~ ______.::;St.'e"______This is a multi-movement symphonic last year. From this performance it is 56 HIFI & MUSIC REVIEW 'Hear the Bozaks at a franchised Bozak dealer/ write for literature/ The R. T. Bozak Sales Co. / Darien, Conn: MAY 1958 ' 57 obvious that he is meticulous in his ex­ next to the conductor. As a result, the COURTESY OF OLIVER READ COLLECTION amination 'of a score-but in this instance strings and the woodwinds emerge with at least we get not so much a studied a clarity tllat I have seldom heard on performance as a dissection. In his care records. Moreover, with the exception of I ~as with the details of the score, Silvestri too the fact that the first oboe seems to be often gets lost in the trees and loses sight favored over the other woodwinds, there almost of the forest. There are some wonderful is a marvelous balance among the instru­ moments here, though, which make it ments. When the entire woodwind choir mandatory for earh prospective purchaser is playing, the ear has no trouble in through to hear the disc and decide for himself hearing every single part. In fact, the whether or not it's for him. instruments are present to such a degree with hi-fi In general the release of these three that what I thought was a wrong note discs does not materially alter the situa­ in the first oboe, during the opening tion with respect to recommendable ver­ movement, sent me hurrying to the score. I sions of the three works in question: the I then discovered that the oboe was quite Decca recordings of these three sym­ correct; I had Simply never heard that phonies by the Leningrad Philharmonic note before! Orchestra (available either in a deluxe Notice, though, that I have had to three-record album or as three single qualify the opening sentence of this re­ discs) remain the preferred versions in view with the word "most." Unfortunate­ this reviewer's opinion_ ly, as amazing as the presence is, the I have saved for last a brief discussion horns seem to be placed in the back­ of the actual sound characteristics of the ground. As a result, the trio of the scherzo th.ree new discs. Epic has given the movement, in which the three horns are Dorati-Concertgebouw Fourth Symphony so prominently featured, lacks some of its recording an unnatural, overly-reverber­ effect. ant sound. This probably is due to micro­ Our colleague Martin Bookspan rightly ... until phone placement which was toq far back calls attention in his jacket notes to that from the orchestra. Too often the rever­ amazing moment in the first movement .I heard a beration blots out orchestral detail, and when the hom enters in the tonic key the woodwinds in general sound far too against a dominant chord in the tremolo distant. Angel has done far better by Sil­ strings. This was the passage that some of NORELCO vestri in the matter of sound; this is big Beethoven's contemporaries thought was and impressive, overdone a bit, perhaps, a mistake, one of them even going so far speaker! but better too many than too few sonic as to rewrite the notes! Unfortunately, vitamins in this score. The Mitropoulos because tlle horn is so far in the back­ .ground, the full force of Beethoven's in­ tentional dissonance is lost. Musically, this is one of the most satis­ fying readings that I have ever heard of the "Eroica" -again; with one reservation that will be touched upon later. The first three movements struck me as having exactly the right feeling. Dorati brings out the latent drive and power of the opening movement and, in contrast with Leinsdorf and Boult, he takes the FuneraZ March at a slow pace. Nevertheless, at no point does it lapse into the sentimental or at a friend's house, I heard a l maudlin. The Scherzo, similarly, seems to ' H'Ur1,LJC.v'U loudspeaker. Suddenly, I was atJ me to be ideally paced, and Dorati makes Man, this sounded like music! Sweet j the few bars of displaced rhythm more smooth lows, clean middles-and not II exciting than I have ever heard them. U:;'''lI'u:s(:upe on the premises! I asked my confusing me and bought my I My single reservation has to do with H\Jn.DJ~v'U speaker. I have been a the finale, which emerges with an almost :ueugl[lLelU and electronically unencumbered 1 "jaunty" quality. I tried to dismiss from ever since. (You can be, too-and yoJ "Pathetique" gets the best-balanced my mind my knowledge of Dorati's long some valuable information you can sound of all, rich in the tutti sections, de­ experience as a ballet conductor, for fear Iuulue.",..... u from North American Philips tailed without becoming microscopic in that that fact might influence my judg­ Inc., High Fidelity Products Division, the more intimate episodes. Duffy Ave., Hicksville, L. I., N. Y.) ment. Yet, try as I might, I could not M.B. avoid the conclusion that the finale-at 1 least, the faster portions of it-had been ® Classic Heroism and Comedy transformed into ballet music. Let's give it tlle benefit of tlle doubt, and say that BEETHOVEN: Symphony No. 3 in E-Rat. this is one of the most "youthful" sound­ ORELCO Op.55 ("Eroica"). Minneapolis Symphony Orchestra, Antal Do­ ing treatments of the movement. loudspeakers rati condo Mercury MG 50141. All my doubts were dispelled, however, at the ending of tlus final movement. Mercury might have subtitled tlus rec­ Here, thanks to both the conductor's con­ ord "You are There," in view of the ception and the presence of the timpani, startling degree to which most of the the excitement is nothing short of hair­ instruments are present. raising. The recordings engineers have chosen This is a really unique version of the to eschew the extreme open acoustics and "Eroica." Again, I must say that in the ~~~~ the consequently excessive echo that re­ finale, as well, there was an attention to duces the clarity in so many modem bigh details, producing results that I had never a complete 1ine of 5" to 12" high-fidelity fidelity recordings. Instead, they have heard before. In each case, the score speakers and acoustically engineered enclosures taken the listener right to the orchestra. proved that what we were getting was a I I have the feeling that I am standing greater than usual adherence to Beetho- 58 HIFI & MUSIC REVIEW I Over $100,000 and two long years of development guarantees the superior performance of the new MR-55 Mcintosh AM-FM tuner. An outstanding feature is a capture ratio of near unity giving more interference-free stations, reduced distortion on all receivable signals, and improved multi-path conditions. Among other unique features are - ultra sonic muting - zero time constant limiters -lowest total noise and distortion - and lowest hum level- and many, many more •

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II M AY 1958 59 ven's own markings! For the student, perhaps more intentional, is the undue or for anyone who wants to follow the prominence given to the cymbals at the score, this record is a "must." It's the next climax of the "bacchanale" in the Tann­ best thing to sitting among the players. hauser Overture. At one point, the con­ D. R. tinuous roll of the cymbal completely ob­ scures the rest of the orchestra. Was this BEETHOVEN: Overtures-Leonore No.3; an attempt to produce spectacular "hi-fi" Egmont; BRAHMS: Overtures-Academic Fes­ tival; Tragic. sound as an end in itself? N. Y. Philharmonic Orchestra, Bruno Walter The "Tristan" is completely satisfying condo Columbia ML 5232. in every way. to be listened to D. R. One of the most gratifying things about this record is the fact that nowhere does Kogan-Refined Russian it attempt to be "spectacular." The en­ gineers have not distorted the balance in TCHAIKOVSKY: Violin Concerto in D Ma­ order to feature one instrument above the ;or, Op. 35; LOCATELLI: Violin Sonata in others. The orchestra emerges with an Minor; VIVALDI: Violin Concerto in G Mi­ admirable naturalness and riclmess of nor, Op. 12, No.1. tone. Leonid Kogan with Andrei Mitnik (piano). The performances suffer from no man­ the Paris Conservatory Orchestra, Andre nerisms and no excesses of tempo. They Vandernoot condo Angel 35444. are obviously directed by a man who has PAGANINI: Violin Concerto No. 1 in D lived with the music for a long time. As Maior, Op. 6; Cantabile in D. a result, they are mature, expansive read­ Leonid Kogan with the Paris C onservatory ings. Yet they capture fully the excite­ Orchestra, Charles Bruck condo Angel 35502. the new imported ment inherent in the scores. VIRTUOSO'S CHOICE-encore pieces by Brahms, Debussy, Kreisler, Milhaud, Paganini, NORELCO@ OVERTURES Ponce, Prokofiev, Ravel, Sarasate. BEJi'l'J\O\ ' I ': ~: Leonid Kogan with Andrei Mitnik (piano). 'CONTINENTAL! Westminster XWN 18629. world's most A friend of mine remarked last Febru­ advanced ary, after Kogan played in Cleveland, "If aU-in-one ,n; there's anything that can be done on a portable fiddle, Kogan can do it." And he was right. These three recent discs which dis­ TAPE RECORDER play the 34-year-old Russian violinist's art are assuredly "documents" of an ex­ traordinary player. I recall writing in The Christian Science Monitor of October 2, 1956, in reviewing Kogan's first Angel record, that it might not be long before "preceded by a phalanx of LPs, he makes his triumphal entry into the United States. These are the more welcome invasions and conquests of our time." Kogan has • If this review seems to be devoted been widely heard and feted here this merely to stating what the recording is season; and the comments made about the not, then let me stress the fact that it is coolness and detachment of his public intended as high praise. Orchestra, con­ recitals are undoubtedly justified, but the ductor and engineers have combined recordings show him in a warmer light. forces to give us completely satisfying In U. S. concert halls, Kogan may always versions of these four familiar master­ have felt that he was an unofficial am­ pieces of the overture repertoire. bassador, who had to succeed. On discs, D. R. he relaxes a bit, and plays with irresistible fire and conviction. WAGNER: Tristan und Iso/cJe-Prelude and A sillier piece than the famous Paga­ Liebestod; Prelude to Die Meistersinger; Over­ nini concerto may not exist but Kogan ture to Tannhauser. plays this "Concerto for Violin, Cymbals Philharmonia Orchestra, Herbert von Kara· ian condo Angel 35482. and Orchestra" with impermissible wiz­ ardry. Not that his ear is perfect-there These are grand, unhurried perform­ are moments of dubious intonation; but ances of three of Wagner's staple orches­ his technique and rhythmic control never tral items. A comparison of the Tann­ fails him. The orchestra is competent hauser Overture with that recorded for enough, and the sound is fine. Capitol by Erich Leinsdorf and the Con­ His Tchaikovsky concerto, of course, cert Arts Symphony Orchestra (as part must compete with some great releases. of the disc reviewed last month) points Kogan plays it with deceptive ease, care­ up Karajan's more leisurely tempo. His ful not to overstate the emotional issues orchestra is also recorded at a somewhat so that climactic points may stand out. greater distance. This is the only work His orchestra, rather rough under the 30- that both discs contain in common; there­ year-old Belgian Vandernoot, turns out to fore, no other direct musical comparisons be much too large for the Vivaldi Con­ can be made. certo as arranged by Barchet, and Kogan While the present disc is indeed well to my mind romanticizes it unpleasantly. recorded, two examples of faulty balance A peculiar arrangement also is Ysaye's must be reported. One occurs near the edition of the Locatelli sonata, where the NORTH AMERICAN PHILIPS CO., INC. beginning of the Meistersinger Prelude, resulting mixture of styles is not ideal. , High Fidelity Products Division where the inner voices (surprisingly) Mitnik (or MytTIlk) reveals himself as a • . 230. DUFfY_AVE.,.HICKS¥ILLE, L.I.,N.Y. .cover up the melody. 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• • Separately Tuned FM and AM Section. • Armstrong Circuit with More than a year of research, planning and engineering went into the making of bu ilt-in ferrite loop antenna, less than 1% harmonic distortion, sensitivity of 5 the Lafayette Stereo Tuner. Its unique flexibility permits the reception of binaural microvolts, 8 kc bandwidth and frequency response 20-5000 cps ± 3 db. broadcasting (simulfaneous transmission on both FM and AM), the independent The 5 controls of the KT-500 are fM Volume, AM Volume, FM Tuning, AM Tuning operation of-both the FM and AM sections at the same time, and the ordinary and 5-position Function Selector Switch. Tastefully styled with gold· brass escu. reception of either FM or AM. The AM and FM sections are separately tuned, tcheon having dark maroon background plus matchIng maroon knobs with gold each with a separate 3'90n9 tuning condenser, separate flywheel tuning and inserts. The lafayette Stereo Tuner was designed with the builder in mind. Two separate volume control for proper balancing when used for binaural programs. separate printed circuit boards make construction and wiring simple, even for Simplified accurate knife-edge tuning is provided by magic eye which operates such a complex unit. Complete kit includes all parts and metal cover, a step· by­ independently on fM and AM. Automatic frequency control " locks in" FM signal step instruction manual, schematic and pictorial diagrams. Size is 13 3.4" W x permanently. Aside from its unique flexibility, this is, above all else, a quality 10%" 0 x 4';''' H. Shp9. wI ., 18 Ibs . . high· fidelity tuner incorporating feafures found exclusively in the highest priced tuners. The new lafayette Model KT ·500 Stereo FM·AM Tuner is a companion piece to the Models KT·300 Audio Control Center Kit and KT-400 70·watt Basic Amplifier fM specifications include grounded-grid triode low noise front end with triode Kit and the "Triumvirate" of these 3 units form the heart of a top quality stereo mixer, double·tuned dual limiters with foster-Seeley discriminator, less than 1 % hi·fi system. harmonic distortion, frequency response 20·20,000 cps ± 1f2 db, full 200 kc bandwidth ond sensitivity of 2 microvolts for 30 db quieting with full limiting at one microvolt. AM specifications include 3 .stages of AVe, 10 kc whistle filter, . KT-SOO ...... Net 74.S0 LAFAYETTE MASTER AUDIO CONTROL CENTER with BINAURAL CHANNEL AND DUAL VOLUME CONTROL. • Self-Pow.red • DC On All Filaments • 24 PositIons of Equalization • Tape Head Input. High Impedance • Dual Cathode Follower Output Stages This is !lot only th~ finest hi· fi preamp characterized by unmatched features, but it has been functionally designed to keep pace with the conversion of your present hi·1i system to binaural (Stereophonic) sound. Incorporates an extra channel and dual volume control for binaural reproduction. Features include DC on all tube filaments, negative feedback in every stage, dual cathode follower output stages and latest printed circuit construction. less than 0.09% IM distortion and less than 0 .07 harmonic distortion at 1 V. Hum 'and noise lever better thon 80 db below 3V. Uniformly flat frequency response over entire audible spectrum. 7 inputs for every type of phono, tuner or tape. Tasteful styling, brilliantly executed. Size 12 l /" x 91f. x 3 /,, " . Shpg. wt., 10 111 Ibs . ' KT .. 300-lafayefte Moster Audio Control Kit Complete with cage and detailed assembly in­ s.ructions...... Not 39.50 LT-30-Same as above completely wired and tested with cage and instruction manual. ~ ~ ....; . ;;:;; . ::...~ . ::::::::: . = ..:;;: ..:;;: .___ :':::':': ''::: ' ::.::.'~ ...:::::::::::: '::" .:::::::::::.::. .. :.::::..::...!9.:.5~ DELUXE 70 WATT BASIC AMPLIFIER • Con.ervatlvely Rated At 70 Watt. 0 'nyerse Feedback • Variable DampIng • Metered Balance And Bias Adjust Controls _ Available In Kit and Wired form Here's ultra-stability in a 70 watt basic power amplifier employing highest quality components conservatively rated to insure performance and long life. features matched pair KT 88's and wire range linear Chicago output tronsformer, variable damping control, meter for bias and balance and gold finish chassis. frequency response 10-100,000 cps ± ldb. Hum and noise 90 db below full output. 1M distortion less than 1112% at 70 watts, less than 0.3% below 30 watts. Harmonic distortion less than 2% at 70 watts from 20 to 20,000 cps ± 1 db. Output impedance 4, 8 and 16 ohms. Hondsome decorative cage perforateq for proper ventilaUon. Size 14 111 x 10 x 7 3/,/' including cage and knobs. Shpg. wt., 40 Ibs. KT .. 400-lafoyetle 70 watt Deluxe Basic Amplifier Kit complete with cage and detailed assembly instructions ...... Net 69.50 LA .. 70-Some as above completely wired and tested with coge ond instruction manual. Not ...... 94.50 TRANSCRIPTION TONE ARMS 12" VISCOUS 16" VISCOUS DAMPED LICENSED UNDER CBS DAMPED TRANSCRIPTION U. S. PATENT TRANSCRIPTIOh NO. 2676806 TONE ARM , TONE ARM 17.95

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COPY TODAY. ------MAY 1958 61 The same team has produced a "fid ­ the four symphonies will also have been dler's deli ght" in Westminster's Virtuoso's released in W eshninster's less expensive Choice- as captivating a collection of en­ 18000 series. The Paray disc brings him core pieces as one could wish to come to the three-quarter mark vis-a-vis the NOR El CO° across in three dozen solo recitals. Partic­ Schumann symphonies on records: only presents ularly charming are the Prokofiev, Mil­ the Spring Symphony remains undone by haud and Kreisler pieces, though every the team of Paray and Mercury and pre­ the world's selection scores high, and the Paganini sumably they will get to it in the near Caprices are breathtakingly carried off. future. The "Rhenish" is probably the ("1;;.)'1.' finest*1 The tape, made in Russia, has been skil­ most difficult of the Schumann sym­ pickup fully transferred here; one can tell, I think, phonies to record well ; more than the that the recordings were made in dif­ others, it is afRicted with orchestration cartridge ferent rooms and at different time, but which can sound muddy and thick. Then, that does no harm to a release that calls too, the symphony requires a conductor for yet further encores. who is completely en rapport with Schu­ K. G. R. mann's style. Of the two new recordings it is the L.v.B's Lyrical Concertos Paray record which scores many points over its rival in both respects. For one BEETH OVE N: Violin Concerto in D Major, thing, the Mercury sound qua sound is Op. 61. rounded, more sensuous than the West­ Arthur Grumiaux wi th th e Amsterdam Con­ certgebouw Orchestra, Ed uard va n Beinu m minster, at the same time sacrifiCing noth­ cond . Ep ic LC 3420. ing by way of clarity of detail. But more importantly, Paray is the much more BE·ETHOVEN: Piano Concerfo No.4 in G perceptive conductor of the two. Boult is Ma jor, Op. 48. particularly disappOinting in the two Emil Gilels with the Philharmonia Orchestra, outer movements, rushing them to the Leopold Lud wig condo Angel 3551 1. point of breathlessness; compare the Gil els is much the more renowned art­ much more idiomatic treabnent of Paray, ist, but Grumiaux turns in the better a matter not merely of more sensible Beethoven performance! Seconded by fin e tempi, but of an overall and compelling orchestral support from van Beinum and feeling of identification Witll the score. the great Amsterdam orchestra, Grumiaux Incidentally, did Mercury use a wrong offers an aristocratic, gentle performance "take" at tlle start of the third movement, which is pervaded throughout with an or did they want Paray to be heard singing along in a baritone obbligato to * The world's finest pickup ca rtridge is care· aura of class and distinction. The playing fully guarded at the great Ph ilips audio is absolutely secure from a technical the rest of the orchestra? research center in Eindhoven, the Nether· standpoint, with bulls-eye intonation and M. B. lands. It is the laboratory prototype of the a very pure violin tone. Epic's engineers new NORELCO "Magneto·Dynamic" pickup GRI EG: Piano Concerfo in A Minor, Op. 16; cartridges-a special pilot model hand·bu ilt to have placed their microphones rather too SCHUMANN : Piano Concerfo in A Minor, zero tolerances by Europe's most renowned close to the soloist, but the balance is not Op.54. electro·acoustic research team. Th is refer· really bad, it's just not a natural concert Claudio A rr au with the Philharmonia Orches­ ence standard must, of necessity, be a shade hall balance. tra, Alceo Galliera condo Angel 3556 1. superior to the production models, which Gilel's approach to the G Major Con­ Both performances are overly-fussy, are constantly quality·controlled against it. certo is romantic, with plenty of rubato. It is an indispensable laboratory tool that Witll Arrau much too intent on "interpret­ obviously cannot be sold. But the world's Here, too, the solo instrument is overly­ ing" every phrase. 'Nbat we get as a second finest pickup cartridge- meaning prominent for proper balance, but again result are readings that drain the music any and every NORELCO production model­ the fault is not serious enough to dis­ of much of its forward thrust and archi­ can be and is sold .by ' leading hi·fi outlets qualify the disc from competition. In tectural design. Arrau is evidently striv­ everywhere, for t he astonishing price of truth, the performance is a very impres­ $29.95, with diamond stylus. ing here for an intimate, chamber music .•'" sive one within the framework Gilels style, but what actually emerges is small­ adopts; others, notably Backhaus, Curzon scaled and frankly uninteresting. Add to and Schnabel may give more traditionally this a microphone placement which authoritative performances in their re­ sounds rather distant and a largely phleg­ cordings, but of its kind Gilels' is a con­ matic orches tral support and the whole vincing one. He uses Beethoven's caden­ affair is a big disappointment. If your zas throughout, the one for the first prime concern is not the ultimate in hi-fi movement being a miniature symphonic sound but rather the ultimate in stylish poem based on the themes of the move­ and perceptive musical perfoDllance, then ment. ask for Columbia ML-4525, where you A fin al word of approbation for Lud­ will find the same coupling-the Grieg wig, the conductor whom I found singu­ and Schumann Concertos- played abso­ THE MAGNETO·DYNAMIC PRINCIPLE-Armature larly dull in Gilels' earlier Angel record­ M, made of high . c~rc i v i ty ferrite, is mag· lutely magnificently by the lamented Dinu netized perpendicularly to its axis (s-n) and ing of the "Emperor." Here he provides Lipati. is rotated about the axis by the transverse first-cl ass accompaniment notable for fine M. B. vibrations of stylus bar L, wh ich is driven by teamwork with the soloist. the l ·mil diamond stylus N. This rotation M. B. induces a varying flux in the core J, which P r e-Wagner Mu sic D rama resu lts in the development of a correspond· BEETHOVEN: ing AC voltage in the coil S. Advantages of Romantics in Full Flower Fidelio (complefe opera) . the system include very high compliance Le oni e Rysa nek (soprano ), Ern st Hafliger (more than 5 x 10'· · em/dyne), very low SCHUMA NN: Symphony No. 3 in E·f/af, (tenor ), Dietrich Fischer-Dieskau (barit one), dynamic mass (2.8 milligrams), high output Op. 97 ( " Rh enish"). Irmgaard Seefried (so prano) , Fr iedrich Lenz (35 millivolts at 10 em/sec), low stylus force Philharmonic Promenade Orchestra, Sir (tenor) with Bava rian State Opera Chorus (5 grams), and vanishingly low distortion. Ad rian Bou lt condo W estminst er LAB 7062. and Orchestra. Ferenc Fricsay condo Decca Frequency response is f lat within 2 db from Detroit Symph ony Orchestra, Pau l Paray DXH 147 2 12". 10 to 20,000 cps. condo M ercu ry MG 50 133. A great recording, totally without com­ NORTH AMERICAN PHILIPS CO., INC. The Boult disc is part of a complete petition at present, and an unforgettable -. High Fidelity Products Division, Dept.MRC.2 cycle of all four Schumann Symphonies; experience. As Irving Kolodin writes in 230 O·uffY-Ave nue, HiCbville, L. I., N. Yo by the time these words appear in print his discer.ning introduction to this sump- 62 HIFI & MUSI C R EVIEW tuously produced album, "Fidelio is a work of shining artistic integrity, of emo­ tional truth and musical mastery. It is as lacking in cheap appeals to audience ap­ proval as it is in superfluous notes . . . It has the tremendous courage of its own conviction that man has a nobler destiny than fear, a higher aspiration than in­ justice ..." This music has the power to move a hardbitten soul, and its has finally re­ ceived the unique production it deserves. The cast is near-flawless; one may be a bit disapPointed only in some surprisingly wobbly notes by a stellar singer too young for that sort of thing, Leonie Rysanek. On the whole, she imbues the part of Leonore with the emotional power it must have. Frick's Rocco is marvelously human, Fischer-Dieskau is villainy incarnate as Don Pizarro, and Hafliger's singing over­ comes even the incongruity of a starving man's sterling vocalism. Seefried's Mar­ celline could hardly be improved upon; Lenz and Engen are splendid too. Not since the days of Lehmann, Voelker, Mayr and Schumann has such a cast been assembled for Fidelia. Fricsay's orchestra (not a great one) and chorus perform admirably for him, and the sound has the needed hall re­ verberation, not the dry studio quality one feared. A few very disturbing pre­ echos there are, however, which make some of the moments in the dungeon more ghostly than they are anyway. In addition to a complete libretto (a bit hard to follow in its new-fangled hori­ zontal juxtaposition) we have the entire dialogue recorded by a separate cast, and extremely well, too; it is an ideal match "With the versatile 208, for the singers, and makes the opera the simply add another amplifier and artistic unit it must be. The Third Leo­ speaker to your present Hi-Fi system nore Overture is omitted, which makes for thrilling Stereophonic sound from any source. it possible to put the work on four Sides; there are, after all, a dozen available versions. The story of the opera has not lost one whit of its pertinence in our day; it remains a powerfully affecting creation, witness to man's indomitable spirit. When one hears Fidelio, one gains for a while new hope for mankind. New excltmg control flexibility from a lvhisper to .concert K.G.R. hall volume, retaining the magnificent qllCllity and 3 dimen­ sional depih 0/ living sountl. GLUCK: Orfeo ed Euridice (complefe opera -ed. Berlioz). This new stereo preamplifier offers a'mazing flexibility ••• Rise Stevens (mezzo-soprano), Lisa della perfect control of all the integrated units of the entire system. Casa (soprano). Roberta Peters (soprano) It's versatile in' application ••• :you can use any pair of high with Rome Opera House Chorus and Or­ quality basic power amplihers, your favorite type of speaker chestra. Pierre Monteux condo RCA Vietor system, the stereo source of your choice ••• FM-AM tuner, LM 6136 3 12". tape, phono pickup . and, when available, TV. The serious music lover who has enjoyed monaural high fidelity to the fullest will Gluck's masterpiece now exists in four rejoice in the new depth of 'stereophonic sound as unified and complete versions and several releases of controlled by the Grommes 208. Handsomely styled, beautifully excerpts. The old Urania set, no longer finished. For tabletop or cabinet installation. acceptable sonically, had some fine sing­ Audiophile Net Price ••.•••••••••••••••••••••••••••••••• $124.50 ing by Klose, Berger and Streich; Epic's See your· dealer pr write for complete specifications. production gives the lead to the tenor Leopold Simoneau (with Danco and Your Grommes .dealer will be 11appy to demonstrate. this new "Best Buy.in Hi-Fi". Also - see and hear the complete Grommes Alarie), in the original French version; High Fidelity line - amplifiers, preamplifiers and tuners - each the stylistic results are excellent. Decca one the Best Buy in its price class. . has Orfeo sung in German by baritone Dietrich Fischer-Dieskau with an out­ standing cast, yet reportedly not well ...... •.... ~ ...... • - ' paced. The lamented Kathleen Ferrier Grommes -Division of Precision Electronics Inc. recorded only excepts at Glyndeboume. Dept. MR'5, 9101 King St., ~ranklin Park, Illinois Why has nobody thought of Alfred Deller Name______for the part? He would do it fabulously well; Gluck, after all, did write it for a Street______male alto. The new recording, I fear, contributes City· ______...... ______--J..zone ___State ______MAY 1958 63

to many of them a certain sameness, but also a fluency and lyrical fertility that 11as few equals today. Micheau is a mar­ velous singer-a coloratura with a voice SPL 742 PAUL WITTGENSTEIN PLAYS PIANO of real depth as well as clarity, and ab­ MUSIC FOR THE LEFT HAND solute control over the considerable de­ For the first time on discs. world·famous one· mands that Milhaud makes in matters of armed pianist plays the dramatic Concerto for the Left Hand that Ravel wrote for him . Also pitch and rhythm. The recording is good, included are virtuoso arrangements of Bach's but one wishes that the fine-grained Chaconne (Brahms), Schubert's Meerestille (Liszt). and two · works by Reger written origi· orchestral textures led by the composer nally for the left hand. were always as clear and closeup as the singer's voice. RL 1928 CARLOS MONTOYA RECITAL Internationally known flamenco guitar stylist of· K. G. R. fers contrasting Gypsy moods and rhythms­ soleares, bulerias, seguiriyas. granadinas, etc. Pictures of Pagan Russia: SPL 1204 SONNY ROLLINS & HIS ENSEMBLE THAD JONES & HIS ENSEMBLE ••• New giant of jazz-Sonny Rollins, with a STRAVINSKY: The Rife of Spring. tenor sax technique that continues the art of Sui sse Romande Orchestra, Ernest Ansermet Coleman Hawkins, Lester Young, Charlie Parker. condo London LL 1730. Also (on the other side) the inimitable Thad Jones. still no definitive Italian version, though time become something of a "classic." It at on the positive side it offers us the com­ was originally written in 1933 as a /Urn plete ballet music. Miss Stevens' voice is score. Stravinsky's symphonic poem, al­ not what it once was, and her conception though it received it's first concert pres­ last ... of the role goes only occasionally deep entation in 1919, has not achieved the enough. Dell a Casa does distinguished same popularity. singing, and Peters is acceptable; blame, The performances of both works are clean if any, must be laid at the firmly planted excel1 ent. The Chicago Symphony Orch- feet of Maestro Monteux. He allows his orchestra to play sloppily and coarsely, record and his chorus shouts more than sings. The whole effort seems unrehearsed and undirected, poorly balanced in intensity • grooves. and quite lacking in the noble grandeur and warm humanity that made Walter's live performances (with Thorborg) so no statk I moving about 17 years ago. The recorded sQund, moreover, is no more than pass­ able. One hates to be uncharitable about so imposing a production as this, but dis­ appointment is keen. K.G.R. 3 Tales-Russian Versions

PROKOFIEV: Romeo and Juliet (ballet ex­ cerpts). Boston Symphony Orchestra, Charles Munch condo RCA Victor LM 2110. estra emerges as a first-class ensemble. The recording of the Stravinsky is more For some reason, this work seems to brilliant than the version by the Concert­ bring out the best in recording com­ gebouw Orchestra of Amsterdam, on the panies, in matters of packaging. Both the . 1 .1 • ' __ _ 1 1 __ ,, _ _ Epic label, with greater orchestral pres-

that i\lIarkevitch, Monteux, and Horen­ The Third Symphony of 1904 offers a stein provide; still, a notable reading, ad­ remarkable symphonic treatment of hymn mirably played by the great Swiss orch­ tunes and other material that coursed HI FI EXPERTS* estra, and stunningly recorded. through the impressionable composer's As attractive as is the cover picture of mind. Quite un-ripe stylistically, the sym­ ARE SAYING the sacrificed "Chosen One," may one phony alternates between stunningly orig­ not justifiably wonder whether the maid­ inal moments and some awfully over­ ens of prehistoric Russia were in the habit blown and derivative ones. "European THIS ABOUT THE of painting their big toenails? techniques of composition" (especially And the music-you may recall the German ones) had been neither fully hilarious poem written by an anonymous digested or discarded. Not my favorite versifier at the first Boston performances Ives, by any means. in 1924: Three Places in New England, on the other hand, I find a masterpiece that has HARTLEY "Who wrote this fiendish 'Rite of Spring'? no parallel. Visionary music, this, writ­ What right had he to write the thing, ten between 1903 and 1911 with har­ against our helpless ears to fling monies and rhytlU1ls and textures that are its crash, clash, cling, clang, bing, way ahead of what Schoenberg (Ives's bang, bing? exact contemporary) and Stravinsky were SPEAKER discovering at the time. The scene of the "And then to call it 'Rite of Spring: two marching bands colliding in the vil­ "To move as a piston over a the season when on joyous wing lage square, for instance, is quite unique. the birds melodious carols sing (I recall a performance by the Boston wide range of frequencies, a and harmony's in everything! loudspeaker cone must be University Orchestra in Jordan Hall, Nic­ 'He who could write the 'Rite of Spring,' olas Slonimsky conducting, in which he both stiff and light. Hartley if I be right, by right should swing!" calmly beat different meters with each Products Co. have recently arm!) Now that the old American Re­ developed a new cone mate­ Against that, place Robert Sabin's cording Society issue under Walter Hendl astute evaluation of 1951 in which he is no longer available (it always was a rial for their new No. 220 speaks of the savage rhythmic power, dis­ subscription release), this recording speaker that is as rigid as sonnance, and mystic aura of the work, stands alone. Dr. Hanson, as usual, con­ thin china. It simply won't as well as of its classic, organic, and ducts with splendid perceptiveness, and the sonics are outstanding-as they had If emotionally live essence: "Stravinsky has buckle. one edge of the captured the hypnotic compulsion of a better be. speaker is pressej down, primitive ritual of sacrifice, but he has K. G. R. the opposite edge goes down also mirrored the beauty of the night, the POWELL: Diverfimento for 5 Winds; Diverti­ with it. It's not easy to tilt. vernal freshness of the night, and other menlo for Violin and Harp; Trio. wonders of human experience and imagi­ Fairfield Wind En semble, Herbert Sorkin, In other words, true piston nation. Le Sacre has lost its sensational Margaret Ross, H e lura Trio. Composers Re­ motion has been achieved. impact, but it has grown more impressive cordings CRI 121. now that it no longer startles and chal­ lenges our capacity to understand it." PORTER: String Quartet No. 8; CARTER: The material, which makes K. G. R. 8 Etudes and a Fantasy for Woodwind Quartet. Stanley Quartet of the University of Michi· a rather strange-Io'oking PROKOFIEV: Scythian Suite, Op. 20; The gan ; N. Y. W ood wind Quartet. Composers cone, is a polymer resin. Love for Three Oranges-Suite. Recordings CRI 118. Lo ndon Symphony Orchestra, Antal Dorati Once the basic substance co ndo Mercury MG 50157. More distinguished releases from Com­ was found, pains were taken posers' Recordings, Inc. Mel Powell, born Vital readings of the kind of music in New York in 1923, was a name new to to eliminate any inherent Dorati excels in-dramatic, flashy, color­ me. This young man, a former pupil of resonance. The amalgam ful. His Scythian Suite is sb'ong com­ Hinc1 emith at Yale, and jazz pianist of petition for Markevitch's and Scherchen's. distinction, appears to have the ldnd of now employed sounds deader I do not see how the other versions of tile than wood, no matter how talent from which great music may come. delightful Love fOl' Three Oranges Suite He has the courage, in these days of wild­ it is struck. This assures the can match this one in sumptuous so und, est serial and electronic experimentation, listener that the Hartley clarity and bite. The London Symphony to compose music of genuine lyricism, of Orchestra is a superlative ensemble, sec­ speaker adds no spurious expressiveness and appeal. This kind of ond only to the Philharmonia; tlley play spontaneous music-making is rare among coloration of its own to the with abandon for the maestro from Min­ the younger men, many of whom tend music it reproduces." neapolis. The recording requires a big to be afraid of being labeled old­ machine, and a baronial hall so tllat one fashioned. There is notlling conservative *HiFi & Music Review, can turn it up; tile average living room about Powell's music, except for the con­ April 1958, Pg. 31. contains it inadequately. servation of the idea that good music K. G. R. should remain close to the pri.mary ele­ American Panorama- ment of song. HARTLEY Modern His Trio, fl awlessly played here by tile neatly named Helura Trio, is an excep­ IVES: Symphony No.3; Three Places in New tionally fin e work; only the slow move- PRODUCTS CO. l: __ I ~_.J quiet; and the labels on my copy were approach of ' '''i1helm Kempff, who plays Hispanism, Old and New reversed. On the basis of this one record­ the opening theme with an almost Hayd­ ing, the present reviewer shares the en­ nesque clarity, and tllat of Casadesus, GRANADOS: Spanish Dances (complete). thusiasm of the annotator, the talented who gives that same theme a more dra­ Ed uardo del Pueyo ( piano ). Epic LC 3423. fellow-composer YellUdi Wyner, for the matic and powerful reading. Both Petri music of Mel Powell. and Backhaus adopt a slower tempo than PROFILE: SPAIN-Harrando: La Galan­ te; Soler: Sonatas-D Major, F-sharp Minor, does Casadesus. F-sharp; Falla: Canci6n, Polo, Asturiana, Jota The PO'rtm' and the Carter­ Columbia's engineers have struck a nice Irom Suite Espagno/e; Nin: Suite Espagno/e; Each has a lot to say, balance between clarity of piano tone, Albeniz: Evocacion; Cadiz; Triana. One sweet, the other tarter; and needed wamlth of room sound. Ma ry Lo uise Boehm (violin). Kees Coope r W e're carried quite away! Kempff's recording, for Decca, gives the (piano ). Dot DLP 3040. impression of having been made in a Quincy Porter, born in 1897, is one of DUETS WITH THE SPANISH GUITAR­ large concert hall. At tlle other extreme is Ibert: Entr'acte; Villa-Lobos: Bachianas Bra­ the most accomplished composers of tlle sound of Petri's Westminster disc. si/eiras No.5; Desportes: Pastorale ;oyeuse; chamber music this country can boast. Here, the piano is in a room, and the Ronde; Ovalle: Azulao; Tre Potos de Santo; His Eighth Quartet is serious, eloquent, listener is seated next to it. As a result, Chopin: " Raindrop" Prelude; Gossec: Tam­ and searching. His highly dissonant con­ none of Petri's sensitive shading is lost. bourin; Faure: Sicilienne; Ravel: Piece en trapuntal textures are expressive and often The present disc falls acoustically forme de Habanera, and other selections. beautiful to these ears, and there are somewhat between the two. Lauri ndo Almeida with Sa lli Te rri (contralto) many moments of originality and rhyth­ and Martin Rude rman (flute ). Capitol PAO mic interest. The Stanley Quartet, which BEETHOVEN: Piano Sonatas-E Major, Op. 8406. commissioned the work, plays it superbly. 109; A-flat, Op. 110; C Minor, Op. 111. Georg Solchany. Angel 45014. Three splendid records with music of Elliott Carter (b. 1908), an individual­ Iberian culture reach us together, each a istic and significant composer, here writes Although I had not heard of this pi­ delight of high order. music of inventive economy. This Wood­ anist until the appearance of this diSC, It is not often, fortunately, that a critic wind Quartet explores the possibilities of the fact in no way lessens my admiration must review a record for which he wrote the combination with a keen ear and a for his performances. These are fully tlle annotation; the "conflict of interest" sure hand. Occasionally a bit dry, due to matured, first-class readings. Direct com­ may become dangerous. In the case of its initial didactic purpose, and exceed­ parisons of the same portions played by the Granados D ances, there is no problem, ingly biting, these pieces stimulate and the veteran Beethoven specialist Willlelm for I was enthusiastic about both music provoke the attentive mind. Excellently Kempff reveal the fact that the younger and performance when I fir st heard the perfol11led and recorded, the work should man can hold his head high even in such test pressings, months ago. Paradoxically, supply woodwind players with yet an­ company. Moreover, he has the advantage "total objectivity" is therefore possible! other effective piece of repertory. of more recent, and better recording This is enchanting music, like Chopin's a K. G. R. techniques. national music along the lines of high art. These last three of Beethoven's piano Much less ornamented than the better­ Beethoven-Piano Master sonatas require musicianship of a very known Goyescas, the "Danzas" are per­ high order indeed. Mr. Solchany has the haps more perfect in their way. Del BEETHOVEN: Piano Sonatas-C-sharp Mi­ necessary insight, and the technique with Pueyo is a master pianist, a mature and nor, Op. 27, No.2 ("Moonlight"); E-flat, which to carry out his ideas. He is equally Op. 81a ("Lebewohl"); F-shi!rp , Op. 78; sensitive artist who finds in this music all at home in the bravura passages and in the delicacy and finesse- as well as the F Minor, Op. 57 ("Appassionata"). those slower, introspective portions, such Robert Casadesus. Columbia ML 5233. pithy substance-that the other players as the slow movement of the Op. 109, who have recorded it seem largely to miss. , Here, indeed, is a record for fanciers of with its curious foreshadowings of Cho­ From every 'standpoint, this is extraordi­ Beethoven's piano sonatas, including as pin. narily fin e playing, and the sound of the it does, two of tlle most popular works. He has been well-supported by the en­ disc does it justice. It is worthy of note that the sound of gineers, since the piano tone emerges the piano tends toward the round, bell­ with a beautiful, natural sound. Here is Profile: Spain introduces to us two ster­ like quality reminiscent of so many Euro­ an artist to be watched. ling young artists, Mary Louise Boehm, pean piano recordings. This is eminently BEETHOVEN: BagateIles, Op. 126; Fantasia pianist, and Kees Kooper, violinist ( Mr. suited to the slow, introspective opening in G Minor, Op. 77; Rondo in C, Op. 51, etc. and Mrs. Kooper). They play with brilli­ movement of the Moonlight Sonata. The Arthur Balsam. Washington WR 401. ance and scholarly distinction, and the melody seems to be invested with a beau­ music is of high caliber throughout. The Here is a collection of the smaller tiEul "reedy" quality, thanks not only to temptation to discuss each piece and each the recording technique, but to the sen­ piano compositions by the man who is performance must be resisted. In any sitivity of Casadesus' playing. known for such tremendous works as the case, this disc is sure to afford keen "Appassionata" and "Hammerklavier" pleasure. sonatas. You may find it gratifying to hear him in relaxed moods and shorter forms. Laurindo Almeida's latest album, son­ Every so often, though, especially in the ically top-notch, is a prize-winner in my six so-called "Bagatelles," there are collection. His guitar playing captures the flash es of the powerful Beethoven that we keen poignancy and rhythmic elan of have come to know. Brazilian music with superb assurance The performances are entirely admira­ and taste. He is joined by an excellent ble. They are straightforward and unman­ flutist, Martin Ruderman, whose subtle nered, and fully idiomatic. Moreover, tlle delineation of several dances as arranged recording is such as to bring out the vari­ or composed by a variety of men is most ous registcrs of the piano with utmost enjoyable; only the Chopin transcription clarity. The acoustics are those of a mod­ falls flat as an impossible attempt at trans­ erate-sized room. No attempt is made to scription. If this were not enough, Mr. simulate the feeling of a concert hall. As Almeida splendidly accompanies a mezzo­ a result, the listener has a feeling of a soprano (why listed as contralto?) w110se direct relationship to the piano with no velvet voice and astonishing flexibility has distance to obscure the tone. hardly an equal at present: a girl with the From the standpoint of material for a singular name of Salli Terri. She sings Cacadesus plays the finale of the "Ap­ debate on the subject of the aesthetics of Villa-Lobos's Bachianas Brasileiras No. 5 passionat(t" with more drive than Back­ piano recording, these discs provide a with a sinuousness and ecstasy which haus, Kempff, or Petri. In fact, there is a fascinating study. make tlus the finest modern version. I rather startling difference between the D. R. K. G. R. I MAY 1958 67 j- HE 8' E·i E0 REEl THE STEREO REEL { THE STEREO REEL Reviewed By BERT WHYTE

SESSIONS: The Black Maskers-Suite. cordings of stage material, be it disc Eastman·Rochester Symphony Orchestra, or stereo tape, the listener is at somewhat Howard Hanson cond, Mercury MS5-16 of a disadvantage if he has not seen or is $8.95. not fanliliar with the action. I am among Speaking of modern music, here is a tIlose who have not seen the play and positively hair-raising score by one of this so find the listening by itself a bit dis­ country's most gifted older composers, concerting. As a matter of fact, tIle man­ Roger Sessions, now in his 60's. This was ner in which the music is presented on his very first major work. this stereo tape may well be questioned I'm going to go out on a limb with by some critics. Columbia has done an this tape- it is so good that it beggars excellent job of imparting directionality description. Certainly, it can take its to the music, custom-made direction in place alongside of the Dorati version fact. They have the orchestra disposed of Kodaly's Hary Janos and one or two left and right and almost without excep­ others as the best stereo recording yet tion throughout the play, all voices ema­ Stereo Starter Set released, The music is starkly modern nate from the center ghost channel, and it and is full of the dissonance and atonality is no problem at all to follow the lyrics. Today's Top Stereo Value! most people associate with modernism. However, is this taking advantage of the Classics! Jazz! Pops! Yet there is nothing coldly abstract about flexibility of motion offered by tIle stereo the score. Indeed, the music is definitely medium? This handsome boxed set of four programmatic and to enjoy it to the full, Surely, in the play itself the singers are 5" stereo tape recordings (inline) I urge you to read the program notes be­ not statically placed at stage center! How fore listening to the tape. The music was much more vital and dramatic this tape is an excellent basic library for inspired by Andreyev's terrifying drama, presentation would be if tIle voices fol­ .. the beginner, a valued addition to The Black Maskers, lowed the natural course of the action. any stereo collection! These are To attempt to give you even a hint of Confusing, you say? Not if done properly the marvels of sound to be heard in this and I have heard it done, wi tIl telling Concertapes 'Sound in the Round' fabulously complex score is a formidable effect. Be tIlis as it may, an absorbing recordiI1gs - superbly l' e cord e d, task. The stereo balance here is about as drama is offered here, even though its flawlessly performed by first-rank perfect from the standpoint of spread, background will be a bit hard to grasp directionality, and aural positioning as for those unfamiliar with New York. artists! Only CON C E R TAPE S I have ever heard. The type of mike The Bernstein score is yet another offers so much for so little. pickup and the proper utilization of hall triumph for tIlis gifted musician; for it reverberation has resulted in one of the fuses very effectively elements of Latin Vol. 1 S ILK, SAT I NAN D most stunning examples of depth illusion music with jazz and modern symphonic STRINGS , The Sorkin yet to be heard in stereo recording. idiom. It's a clever and heady amalgam, Strings The bewilderingly varied instrumentation with each point of reference given oc­ Jalousie, Sleepy Lagoon, evokes every shade of musical expression. casional emphasis. The bongo drum, tIl e Holiday for St'ri:ngs, others In the Dirge episode, a ghostIy organ "cool" beat and atonality may be strange Vol. 2 BIG BEAT WITH MIKE, joins in. Percussion is evident in enor­ bedfellows, but Bernstein has effected a Mike Simpson and his Big mous variety, from high tinkly stuff to musical co-existence that is most com­ Band bass drum sound of such impact you can pelling and exciting. Take the "A" Train, Lover, feel the air move! The dynamic range on The sound on the tape is very bright Cherokee, others the tape is the maximum obtainable with and clean, well-rounded in the acoustic Vol. 3 LIGHTING THE TORCH, present techniques, and can be adequate­ spaciousness characteristic of good stereo. Jay Norman Quintet, Vo­ ly experienced only tIlrough the fin est of The projection is very forward, and de­ calist Nancy Wright amplifiers and speakers. tail both of singing and orchestra is ex­ Moonlight in Vermont, I could go on and on about this tape, cellent. A most unusual effect can be Thou Swell, others about the wonderful conducting of Dr. noted at the beginning of the Maria num­ Hanson, and the equally wonderful play­ Vol. 4 SYMPHONY OF DANCE, ber. Here the soloist is brought very far Musical Arts Symphony, ing of the orchestra, but it is enough to forward in the ghost center channel, and L eonard Sorkin conducting say-Run, don't walk to yom nearest deal­ tIle voice is very close and intimate. Rimsky Korsakov, Sibelius, er, get a copy of tIlis tape and prepare Then spaced out behind the soloist in Bizet, Gliere, Glinka for a musical experience you won't soon varying depth are other singers, The forget. whole provides a three-dinlensional effect ALL FOUR TAPES, JUST $19.95. BERNSTEIN: The West Side SIory (com. that is truly novel. Although tIle story A Genuine $32.00 Value! plete original casl recording). has tragic overtones, tIle score is liberally Larry Kert, Chita Rivera, Carol Lawre nce sprinkled with catchy dance numbers, Sec Your Deal er NolO ! lVrUc D ept. 1-85 f or OataZoo~ Includ'i'1tg My Fair Lady SeZectiO'1ls. GI GI, Other NelO and others with Orchestra and Chorus, Max with plenty of drive and spirit. If you Steren and /\11 (n1 ,Q1lraZ T af)6 R ecord·i n08. Goberman condo Columbia TOB 13 2 reels have previously enjoyed disc recordings of $23.95. Broadway shows, you will really appre­ -. CONCERTAPES, INC. Here is the music of the cmrent Broad­ ciate the enhancement afforded tIlrough 'Sound in the Round' ~ P .O. Box 88, WILME'ITE, ILLINOIS way hit, W est Side Story. Like all re- stereo medium. 68 HIFI & MUSIC REVIEW STRAVINSKY: The Rife of Spring. Southwest German Radio Orchestra, Jascha Horenst e in con d o Phonotape S 903 $14.95. Pa ri s C onserva tory Orc hestra, Pi e rre Mon­ teux condo RCA Victor ECS 67 $14.95. One might well expect that this Stra­ vinsky masterpiece would be singled out by the recording companies as a natural for stereo. As one of the most tremen­ dous orchestral tours-de-force extant, it has an abundance of all the elements that make for spectacular multi-channel sound. Naturally, duplication of such work as this is a foregone conclusion and these two tapes are probably only the beginning. We might as well get right down to cases- Horenstein is a better than average conductor with nne recordings to his credit, but he is no match for the re­ doubtable Papa Monteux. E specially not in this work which was given its world premiere in 1913 under the Montew> baton. Having survived the riot which accompanied its introduction, he has con­ ducted the piece many times since. All these accumulated years of experience are brought to focus in the Victor record­ ing, the fourth he has done over a 25- year period. Monteux has not succumbed to the temptation of softening the music's lines, A mood made perfe ct by the or of "civilizing" the score as some other matchless performance of the I ~ i ; ; i c I conductors have. His reading still bristles Witll excitement. It's electric with ten­ STEREOPHONIC sion, taut with controlled savagery, eerie TAPE PLAYER in its primitive mysticism. One can say little more save that Stravinsky himself approves of the Monteux reading, and Stravinsky is notmiously intolerant of most performances of his music. The Horenstein perfOn1l anCe suffers from lin­ gering over details of line and phrase, is too slow-paced, and in general fails to generate real excitement. In m atters of sound ilie Victor takes iliis plum too. Excellent spread and directivity, superb balance, fin e deptll illusion, good liveness from tlle properly proportioned presence and reverberation, f a b u lou s orchestral give and take characterizes iliis tape. The dynamic range is very wide, tape hiss commendably low, and ilie boys with big speakers will have a fi eld day wiili a bass drilln sound of awesome realism. The Phonotape suffers from pronounced hiss, and harsh quality in massed string sound. The recording sound is railier "one-sided" as to direction, being disposed heavily to the left and some right channel correction may be needed to achieve nOn1l al balance.

DVORAK: Symphony No. 5 in E Minor, Op. 95 ( " From fh e N ew World" ). Bamberg Symphony Orchestra, He inrich Hollreiser cond o Phonotape S 902 $14.95. This is the first stereo recording of this most popular of Dvorak's symphonies. It is a peculiarity of stereo that many works from the Romantic period do not lend themselves to the more spectacular aspects of stereo recording and reproduc­ tion. Here such is not the case, for this is as good a stereo vehicle as one could wish. The interplay between the exten­ NUCLEAR PRODUCTS CO. sively used brass, and woodwind, and 10173 E. RUSH ST. • EL MONTE, 13, CALIF. percussion with the string body is highly 69 MAY 1958 effective from the directional standpoint. This tape is recorded fairly close-up, in spacious acoustical surroundings. The sense of depth is excellent and this is es­ pecially high-lighted by sonic perspective of the trumpets and French horns. The balance is good and the bass solid and sonorous. The performance under Holl­ reiser is quite vigorous and spirited, as well as reasonably respectful toward the -' composer's wishes. With so many elements in its favor, it is a shame that I must downgrade this tape; for the two faults of this tape are big and glaring, and in the stereo medium unforgivable. The first strings sound im­ possibly shrill and edgy, and tape hiss is most obtrusive. Maybe I got a defective copy, but fiddle as I might with my tone controls, I could not get the strings to lose their edge without killing all the life and brightness, necessary for "presence." As you probably know, one of the most attractive features of stereo is its ability to give strings that lovely sheen experi­ enced in the concert hall. If a stereo tape can't achieve that, all is lost no matter what other attractions may exist. Shrill strings in stereo are comparatively rare and heretofore have not marred any Phonotapes.

PROKOFIEV: Peter and the Wolf. Philadelphia Orchestra, Eugene Ormandy LATEST STEREO TAPE RELEASES BY condo Columbia JMB 4 $13.95. London Philharmonic Orchestra with Garry M oore (narrator), Artur Rodzinski condo REPLICA Sonotape SWB 8029 $1 1.95. AT $7.95 GLOCKENSPIELS, TRAPS, AND This delightful Prokofiev work has been PLENTY OF PIPES· Vol. 1 #TSOI ~\ 1 inches" Leon Berry 01 the Wurlitzer Pipe ahnost duplicated to death on LP discs, Organ. Skater's Woltz. Perfidio, so it is not overly surprising to find it Doll -Dance. etc. so soon in duplicate · versions in stereo tape format. This popular work is a nat­ ural for stereo recording, with its inter­ MAXIMUM SAVINGS ON All play between the orchestra as a whole BEAST IN THE BASEMENT·#T509 STEREOPHONIC TAPES Le on Berry 01 th e Wurlitzer Pipe NO MINIMUM PURCHASE and the instrumental "cast of characters" Organ. Th e Sh e ik of Araby, Son REQUIREMENT -the flute as the bird, the oboe as the Antonio Rose, Merry Widow • IMMEDIATE SHIPMENT FROM duck, the clarinet as the cat, a bassoon Woltz, Cattle Call, etc. MOST COMPLETE STOCK as Grandfather, 3 French horns as the ANYWHERE-STACKED OR wolf, bass drum and tympani as the hunt­ (Just for Kicks) Eddie O sborn 01 STAGGERED ers, and the strings portraying our hero, the Wurlitz.er Pipe Organ. A • POSTAGE· PAID TO YOUR Simple Melody. Boby Face. Blue DOOR Peter. Both of these recordings are quite Skies, EI Cumbonche ro, e tc. CATALOG OF STEREO TAPES well done. The Sonotape version starts DISTRIBUTED MONTHLY off with the achlal sounds of the animals GORillA IN THE GARDEN · liT 521 By ron Melcher at the Rep· involved. But where this technique was lica Wurlitzer Pipe Organ. The STEREO TAPES fairly successful in the recent recording Yellow Ro se of Texas, Sweet on the same label of the Saint-Saens lorraine. love Me or Leave Me. Carnival of the Animals, it affords no ad­ etc. FREEt , 4 vantage whatever on this tape. THE LATIN TOUCH ·#T520. Golen ••. featuring highlights from the superb It is immediately apparent to the ear Williams. Neche De Rondo, Bra­ stereo recordings of Concertape, Living­ that this Sonotape has a good clean sound. zil, Cherry Pink and Apple Blos ­ som White. Anno. etc. ston, Omegatape and Replica, attainable T he recording employs a medium-close r ____ L __ L __ L__ -----______only through S. M. , S. mike pick-up set in a fairly spacious acoustic frame. The result is nice, nat­ TO : STEREOPHONIC MUSIC SOCIETY, INC. HF.5 ural-sounding instnunental texhrre, well 303 Grand Avenue, Palisades Pork, N, ), ALL FOR Please enroll me for a full year period as a member of the defined and easy to position aurally. Di­ Stereophonic Music Society, I understand that I am under no $9.00 FULL YEAR rectionality was fairly pronounced, al­ obligation to purchase any specified minimum of tapes under the though the "ghost" center channel was Society's Group Purchase Plan, I am to receive the S.M.S, 1 st MEMBERSHIP not very apparent. The wide frequency Anniversary Bonus of 4 stereo topes free by return moil as well as response and dynamic range was but­ monthly listings of all stereophonic topes currently an the market. tressed by sharp clean transients. Orches­ My 0 Check 0 Money Order for $9.00 is enclosed herewith (payable to the Stereophonic Music Society, Inc.). BEl CANTO • CAPITOL tral balance was excellent with a solid NAME ...... , , ...••••.••.••.•• COlUMBIA • CONCERT HAll bass giving substance to contrabassi and ADDRESS ...... •...... HAllMARK HIF I TAPE tympani. In spite of all these virtues, CITY ...... ZONE . . ... , STATE ...... LIVINGSTON MERCURY OMEGA RCA VICTOR sense of depth was somewhat restricted. MAKE OF RECORDER •...... TAPE OF THE MONTH The tape exhibited some occasional odd o Stereophonic 0 Stocked 0 Staggered 0 MOnoural and aitDthUt ~ "crackly" type of distortion as well as L __ll !I!,o!e~!!,~ ~~~~!!! .!.n~!:~~~ ~~~~~ ,!.h!, ':o'::::!.y~ ~ that pesky "sput-phut" of d.c. nodule 70 HIFI & MUSIC REVIEW noise. This fo rm of distortion is getting to be a real problem. It can be im­ printed on the master tape, through a faulty equalization circuit or power sup­ ply or even from worn tubes; and when the tape duplicates are made by the hi gh s-geed 60 inches-per-second method, the noise problem is further compounded. One of the main problems with this nodule noise is that it generally can't be detected unless the speaker is a good high quality ,. unit. Unfortunately, the monitor speak­ ers used on many recording sessions leave much to be desired. Of necessity the speakers usually must be portable and this is a decidedly limiting factor. Fortunately, nodule noise and tape hiss are not related, as is evident on this Sono­ tape, where there is very little tape hiss. Garry Moore does a competent job of narration and is reasonably expressive. Rodzinski's concept of this score is rather studied and he is very deliberate in his choice of tempi. The Columbia tape is graced with the urbane-voiced Cyril Ritchard, whose easy, FIRST COMPL expressive delivery falls lightly on the ear and injures no sensibilities with phony cuteness. Without changing my OPHONIC RECOR playback level, it was obvious that this Columbia tape was recorded at a higher volume than the Sonotape. The d.c. AND PLAYBACK SYSTEM nodule noise was more prominent on this tape and tape hiss was noticeable as well. IN ONE LOW-COST UNIT This is however, a small price to pay for the overall excell ence of the tape. H ere we have a much bigger string sound-the superb Philadelphia string tone. All other instruments are equally "li ve" sounding in the huge acousti c perspective employed here. The recording perspective in detail is quite variable, indicating that a multi­ mike setup was used on' each of the three channels of the master tape. This is used somewhat as a means of "depth control" as strings, woodwind and brass are aurally pin-pointed sometimes close-up and other­ times shifted to the rear of the orchestra. Done with taste and discretion, as here, it is quite effective. Directi onality was excellent as was tlle realism of the "ghost" center channel. Good transient response and wide fre­ quency and dynamic range all contrib­ uted to a much bigger, more impressive sound than on Sonotape. Ormandy de­ livers a spritely well-paced, very bright performance and eli cits some virtuoso solo work from his illustrious first desk For the first time, you can actually record, as well as hear, the breath­ men. All things considered, the Colum­ taking realism of stereophonic sound ... with one, low-cost unit. The bia version is the more satisfactory and more likely to wear well under repeated new STERECORDER records and reproQuces stereophonically the listening. exact depth and direction of the original performance. DVORAK: Violin Concedo in A Minor, Op.53. Discover a new world of "living sound" that goes beyond high fidelity Nathan Milstein with the Pittsburg h Sym­ and "half-way" stereo units with only monaural recording. Hear the phony Orchestra, William Steinberg condo economical, new STERECORDER today! Write for free information. Capitol ZF 26 $14.95.

There haven't been many violin con­ STERECORDER Model # 555 - complete stereophonic recorder and certos released on stereo tape as yet, so a play back unit (monaural operation also) .,. includes 2 "built-in" new one is always welcome. And espe­ matched pre-amp and amplification channels, hysteresis synchronous cially a concerto as well conceived and melodious as this one by Dvoi-ik, and motor, 2 matched professional dynamic microphones, 2 V U. meters, as well played and recorded. Milstein has and many other professional features. Mounted in rich portable leather­ enjoyed a very successful tenure under vinyl case. the Capitol label; and now that his ar­ From lh e famous name in motion p ictures: tistry can be even more fully appreciated in the rounded spaciousness of stereo, he Audio Electronics Division, 780 Gower St., Hollywood, Calif. MAY 1958 71 NEW ULTRON UNIT PROVIDES man and Ellington, with one or the other ENTERTAINMENT dominant in turn. Oddly, there is little MOOD evidence of the leader's experience with the Stan Kenton orchestra. There are THE MODEL U·2 (Continued from page 18) several good soloists including an exciting REVERBERATION UNIT trumpeter, Joe Gordon. But the basic MAKES YOUR MUSIC SYS· Bal M tlsette, and the romantic expressions TEM REPRODUCE NATURAL thing which this band produces is inte­ of love performed by what is billed as a QUALITIES OF LIVE SOUND grated group swing of a very high order. Mexican ma.ria.chi trio. The li ner notes "PRESENCE" AT LOW COST are variable; one important omission APPLICATION OF REVERBERATION PRINCIPLES being the lack of information offered re­ Count Basie, easily the all-time cham­ GIVES EFFECT OF STEREO WITHOUT REQUlR· garding the actual recording techniques pion leader of tlle basic swing band style, ING MULTIPLE PROGRAM SOURCE employed for each session. is presented here in an entire LP of ar­ rangements by Neal Hefti. These tend Ultron Company's Model U-2 Reverberation S.G. Unit will link any supplementary amplifier­ toward Similarity after a while and all that saves it is tl1e incredible cohesive­ speaker combination to your basic monaural I s U system so as to provide realistic sound re­ C OJ.U M1:U A ness of tllis band, which enables its sec­ production from a single source of program DELIRIUM lp tions to blow as one, and the great driving material. Music through a U-2 equipped V swing produced by the entire group. The system acquires a depth and sparkle known IN HI-FI L recording is souped up with too much on ly to those accustomed to more expensive N echo but despite this is a better Basie LP stereo installations. Hook-up is a simple than any he has made with his band of matter covered in full by installation in­ structions accompanying each unit. Dimen­ the past few years except for the classic sions are approximately 2 x 3 x 5% inches. Basie In London LP on Verve. The per­ sonnel is not listed and tllere are no ORDER NOW vocals by Joe Williams. Frank ""ess plays OR SEND FOR FURTHER DETAILS alto on this LP instead of tenor and his Purchase price will be refunded if unit is not as claimed and is returned undamaged within place on tenor is taken b y Eddie D avis. ten days of purchase. Despite the recording faults, the unique excitement of tlle band is captured. ULTRON COMPANY Dept. T2, 7943 Haskell Ave. , Van Nuys, Calif_ Diametrically opposed to the Basie con­ Send free descriptive folder Send ___ U-2 Units @ $18.75 cept of a strong central swingin g current, C.O.D. Postpaid (check enclosed) against which fi gures are played by var­ ious sections with almost no attempt to Name' ______Basie, Kenton & Others move horns in linear writing, is the Gil Address ______LIFE IS A MANY SPLENDORED GIG Evans orchestra. Evans, whose forte h as featuring the HERB POMEROY OR· been the construction of swiftly shifting City & State CHESTRA. textures of sound for the Claude Thorn­ Blue Grass; Wolafunt's Lament; J ack Sprat; hill and Miles Davis bands, has here a Aluminum Baby ; It's Sandm an; Our Delight first LP of his own. The group is a studio & 5 others. Roul ette R 5200 I. band and thus does not have tIl e patina of BASIE! featuring the COUNT BASIE long personal association whjch a Basie ORCHESTRA. or an E llington has and which marks such Th e Kid From Red Bank; Duet; After Supper; bands with a distinct personal sound. '- Fli ght Of Th e Foo Bird s; Double-O; Teddy There is a subdued, almost lethargic Th e Toa d & 5 others. Roul ette R 52003. quali ty to Evans' arrangements and the GIL EVANS & TEN. use of the soprano saxophone may merely Rem em ber; Ell a Speed; Bi g Stuff; Nobody's underline for some why it has long been Hea rt ; Just One Of Th ose Thi ngs; If You neglected in jazz. However, there are Could See Me Now ; Jambangle. Prestige some glowing moments, especially the 7120. solo passages by altoist Lee Konitz and RENDEZVOUS WITH KENTON. trombonist Jimmy Cleveland. The stamp With The Wind And The Rain In Your Hair; of an Evans band, the sound of the Memories Of You; These Things You Left French horn, is present to an almost in­ Me ; Two Sh ades Of Autumn; They Didn 't tolerable degree. There is little in tbis .. .for those who are! Believe Me & 7 others. Capitol T 932. album to make one stop and exclaim; OUT ON A LIMB featuring PETE yet it is a delightful experience in un­ A turntable worthy of its name ••. the last RUGOLO and His AII·Stars. usual jazz sounds. - word for those who. demand the finest and will accept nothing less. Many hours and Don't Play Th e Mel ody; In A Moda l Tone; many skilled hands go into the creation of Early Duke ; Nancy; Sun day, Monday Or Stan Kenton's newest orchestra lacks each Connoisseur turntable to insure its Always; Ba ll ade For Drums; Repetitious Riff the fire of some of its predecessors in the remarkably silent and precision .operation. & 3 others. Emarey 35115. Traditionally fine English quality, non-mag­ solo department, but there is still the netic 12"· lathe-turned table, hysteresis The relentless searching for musical ex­ heavy scene-shifting tonal patterning, motor. Rumble; better than 50 db down (7 perience which is one of the characteristics the screaming brass and the bright Bashes em/sec. and 500 cps). Wow; less than 0.15% of color. Like Evans, Kenton eschews of rated speed. Size 13'h x 15*". $110.00 of the jazz player has resulted in recent years in a number of large bands being outright swinging in favor of dex trous handling of the timbres of the orchestra, Companion UDynabalanced" tone arm with formed in various cities primarily as re­ Mark II super-lightweight pickup. Frequen­ hem·sal bands so that musicians may have but does it with a heavier hand. His vir­ cy response 20-20,000 cps ±2 db at 33'1.. rpm. an opportunity to experi ence the disci­ tuoso altoist, Lennie Neihaus, and his tenor solOist, Bill Perkins, are featured 1lU2Ir======:;:;;;;~c:o m:p;l ete: with diamond pline (and pleasures) of playing in a big stylus $49.50 band. in a number, Two Shades of Autumn, 1 with sapphire Boston has produced an exceptional re­ which contrasts their playing in an inter­ stylus $34.50 hearsal band in the Herb Pomeroy orches­ testing fashion. At selected Hi-Fi dealer. or order direct tra, which is so good that it has had ERCONA CORPORATION several extended engagemen ts, both in One of Kenton's most famous alumni, (Electronic Division) 551 Fifth Ave., Dept. - 53 , N ew York 17, N. Y. Boston and in New York. This is the first Pete Rugulo, has for some time been at­ In Canada: Astrar Electric Co. Ltd. recording of the band, a sixteen piece tempting to create a place for himself ~~ Danforth Road, Toronto 19 group. Its style is a blend of Basie, Her- as a big band leader with various record- 74 HIFI & MUSIC REVIEW ing companies. His present affiliation, Mercury, has ' been the most successful. BUILDING Here he has specialized in what might be called hi-fi jazz; music which has a jazz A HI-F.I sound and wbich leans heavily on devices and structures which emphasize the con­ trasts in timbre and tone of the various SYSTEM? instruments, spotted with interesting rhythmic passages. This LP runs the en­ PARTIAL LIST tire Rugulonian gamut, from a moody, OF BRANDS Stereo Disc Send Us poly tonal number, In A Model Tone, IN STOCK which is as far from jazz as one can get, Allec Lansing to the free-swinging Repetitious Riff. versus Your Electrovoice Jensen Throughout the LP, the orchestra in­ University cludes some of the best known Holly­ List Of Acoustic Research Stereo Tape Janszen wood jazzmen, including Shelly Manne, Wharfedale Maynard Ferguson, Bud Shank and Bar­ Viking Components Concertone ney Kessel. Bell - Lee R.J.G. Weathers The excitement over the introduction For A Harman-Korda" Eico • Pilot of the stereo disc has generated a Sherwood -G.E. Soliloquy on 88 little heat but not very much light. Package Acrosound Recently, however, C. J. LeBel, a Fisher SOLILOQUY featuring ERROLL GAR· widely-known audio expert and a Bogen - VM NER at the Piano. Quotation Dynakit vice-president of Audio Devices, Inc., You'd Be So Nice To C ome To ; No M ore H. H. Scott helped to clarify the situation with WE WON'T BE. Pent ron Time ; I Surrender Dear; If I H ad Yo u; Don 't some calm and rather specific state­ UNDERSOLD! Ampro Take Your Love From Me; Soliloquy. Colum- Revere bia CL 1060. . ments. Since Audio Devices makes Wollensack Garrard both master recording discs and All mercha ndise is Soliloquy is a Garner piano recital bra nd new, factory Miracord magnetic recording tape, LeBel is in f resh & guaranteed. Webster without bass and drums. No jazz pianist, an excellent position to comment. Collaro Thorens after all, needs rhythmic support less than Here are a few excerpts from his ar­ Rek-O-Kut the wholly swinging Mr. Garner. There is ticle: Norelco no denying the enormous joyfulness AIREX Fairchild "The cost of a stereo disc has been Pickering Garner communicates in medium and up forecast as being no higher than a Full Line of tempos. In ballads, like Don't Take Your monaural disc; this is only partly RADIO Cabinets Love from Me, however, the tempos he true. For one thing, better quality CORPORATION chooses are quite accurately described in control of processing will be needed 64M Cortlandt St•• N. Y. 7. CO 7·2137 the notes as "Lang·uid." A native, movie­ to overcome ticks and pops in the , music kind of heavy sentimentality in stereo disc. sections of his slower performances make "The pickup must consist of ex­ them oppressive to this listener. Even in the • tremely light equipment requiring the infectiously buoyant, energetically better engineering than is presently inventive faster numbers, I get the feeling , professional • needed for the same quality repro­ that Garner sometimes is less concerned duction. Better engineering mhst also with creating a totally integrated, organic • keep down the hum that arises from whole than he is in playing with the the required sacrifice of output volt­ • music and with his audience. • age. Another problem is to overcome • both lateral and vertical rumble. "Some people claim that the stereo disc can be played by an ordinary non·stereo pickup. This is wishful thinking, for the average monaural pickup will cut the stereo groove to bits in a short time. "The problems of stereo disc re­ production are rather formidable. There is a strong probability that high quality reproduction equip­ ment for stereo disc will cost at least as much as for stereo tape and possi­ For those who bly more. It seems to us that there desire a 2 speed turntable- with many of the advanced engineering will be peaceful coexistence, as there features found in the PROFESSIONAL. is now in the monaural field. The Model 45: 331f3 and 45. Model 78: 331f3 and 78. Both have the mass stereo market will probably be famous Components Belt Drive for in disc, whereas the high fidelity field rumble free performance at better than 65 db. below average recording level. will probably prefer tape." Both utilize a 4 pole constant Garner delights in the unexpected turn speed molor for wow·free speed of phrase and meter, and he certainly is If you are interested in keeping up accuracy. a pleasure to follow; but I do not feel he with the latest developments in both Audiophile net only $49.50. tape and disc recording, write for a Hear it at your dealer now or always goes as deeply as he might into write for more details to: Dept. E his own emotions. He has created a thor­ free subscription to the Audio Rec­ oughly original style, but he might now ord, the publication from which these do well to use that style more as a means excerpts are taken. Send your re­ COMPONENTS quest to Audio Devices, Inc., Dept. CORPORATION to additional self-discovery rather than as a sure-fire, entertaining end-in-itself. AR, 444 Madison Avenue, New York -D-E-N-V-Il-l-E--~'--N-EW-J-E-RS'-E-Y- There is much larger-than-life wannth, 22, N. Y. TIle turntable with the PERFORMANCE GUARANTEE earthiness and huge pulsating power in this Garner album. N.H. * one oj a series MAY 1958 75 HI-FI MARKET PLACE APROPOS SETTING UNHAPPY ( Continued from page 27) WITH "HI" was one of its most memorable products. HI-FI After World War I there came a sadden­ PRICES? ing decline of interest in the arts, bringing Write us your hi·fi "eeds with it the demolition of the handsome - you'll be glad yOIl did. old Salt Lake Theater and the scattering KEY ELECTRONICS CO. to the great coastal metropolitan centers 120 Liberty St. of such home-born talents as Bernard N.Y. 6, N.Y. EVergreen 4·6071 SINGLE $6 95 T~~~~M $7 95 DeVoto, John Held, Jr., and others. POINT At the close of World War II there was YEAR UNCONDITIO NA L WRITTE N GUARANTEE a reversal of this trend with the growth Give mfrs name & No. on cartridge. of the University of Utah and its own the­ Add SOc for P.P. & H. ater and ballet, plus chorus, and of course Long Player Catalog & the establishment of the Utah Symphony. FR E E Lowest Discount Prices FROMI:!!:,~" BRITAIN I ~--=,.____ _ Meanwhile, the Salt Lake Tabernacle O u r Hi-fi equipment comes from Britain's CHAMBERS RECORD CORP. Choir has continued like a veritable rock finest manufacturers, and w e e x port it to of ages as a foundation for music in the all parts of the world. Send for our Special 97 ______Chambers St., Dept. DN2, N. Y. 7, N. Y. .r.; Export Catalog ue-you'll be amazed how ~ community. Thus the arts in Salt Lake little Br it ish Hi-Fi costs. City are becoming University, as well as, church-centered. The Utah Symphony is (1&4••• 8 Do you have a~ largely responsible for the burgeoning ELECTRICAL CO. LTD. University interest in the arts. 352 ·3U Lower Add lscomb e Rd .• Cro ydo n. Surre , En gland $100 RECORD Supported for the most part by private COLLECTION? donors and by box office ticket sales, the If you own just 2S Utah Symphony is closely linked to the RATE: 35¢ per word. M i nimum 10 words. July Issue LP's, your collec­ State University. Composer LeRoy Rob­ closes May 2nd. Send ord er and rem ittanc e to : HI FI tion is worth over ertson, head of the University Music fac­ MUSIC REVIEW . I P ark Ave •• New York 16. N. Y. SIOO! ulty, is assisted in his departmental work Protect your precious records in this collector-designed TAPE & TAPE RECORDERS black wrous:rht iron cabinet. Puts enUre collcct.ion In by several first-chair members of the or­ order the moment you receive it! H o lds 200. LP's In 10 ccmparLments, to sor t albums into CVCI'Y musical chestra, which means that combined or­ category. Sturdy. 25" x 22" x 1 0". 50,000 delighted STEREOPHONICS Tapes, Recorders, Acce sories, OW I1 CI'S ol'dcrC(l from this ad! Please remit $9.95. or chestra and academic salaries make it Catalog, Lowest Prices. Efsco Sales, 270 Concord, chg-. Diners' Acct. Shipped Exp, collect. If not mnde In West Hempstead, N. Y . OUT factory. would be 814.951 Air Mail Money-Back possible for these musicians to give fu ll fn~ar~~tC:ou~f:::~ l f~~W~~ n~wsir;;t,!c~~~oialt- $ 9.95 time to their art. The Utah Symphony PRE· RECORDED Stereophonic Tape. Al l La bels. Priced Right I Mail orders filled pl'ompUy. Request © LESLIE CREA nONS· Dept 11 • Lafayette Hill. Pa. also has at its disposal for concert and Catalog H. Foto· View, 322 W. 42 Street, New Rush m y Reco rd Cabinet! I enclose $9.95 CIt. or 1.1 .0. recording purposes the University choral York 36, N. Y. Nonie . ••. . • . .•• . .•••••••• • . •.• ..•• . ••••.•• • groups, and conductor Maurice Abravanel RECORDERS, HI·FI, Tapes. Wholesale Prices. I'ree Catalogue. Cal'ston, 215-W E. 88 St.. N.Y .C. AddTess • ••••••• • • •• •••• • •••••••••••••• ••• • •• leads the Orchestra in perfonnances with 28. L the University Theater Ballet, which is D1FJo'ERENT I PUI·ty and Fun Tapes. Sampler, directed by William Christensen in col­ 99¢. Stone, Lunenburg 4, Mass. laboration with his brother Lew. Current VAL UES in Stereopbonic Ta.pes. Catalog Free. Jim Albright, 3832 Ha nover, Dallas 25, Texas. productions have included a full-length 1. STEREOPHONIC TAPES Nutcracker to Tchaikovsky's famous score, and most recently CoppeUa to the DeHbes HIGH F IDELITY We carry a full line of all music. The Christensen brothers have TAPE recorders, hi-Ii components, tapes. Unusual come up with a delightfu l "original" as values. Jo' ree Catalog. Dressner, 69-02HF 174 Stereo Tapes at best possible well to Stravinsky's Woodwind Octet Street, F tushing 65 , New York. DISCOVER OUI' "Six Unique Sel·vices" on Hi-Fi; called Something in the Wind. There is Stereo. Complete line. Write The Silver Trumpet, prIces, as well as other tape a happy collaboration too Witll University 406111 Walnut, Alexandria, Indiana. of Utah Theater Director Lowell Lees, DISGUS'£ED with "HI" HI-FI Prices? Unusual recorder accessories. Discounts On Your High F idelity Requirements. For a which may range from campus staclium Write T( ey Electronics, 120 Liberty St., New York summer productions of The King and I to 6, N. Y. EVergreen 4-6071. complete and informative cat­ such full scale operatic presentations as HI-FI Haven, New Jersey's Newest and !lnest Richard Strauss' Salome and Saint-Saens' sound center. Write for information On unique alog write or phone. mail order plan that offers professional advice and Samson and Delilah. low prices. 28 Easton Avenue, New Brunswick, "1 came here because 1 liked the view, New Jersey. 1 PRICES ? Yes! Factory-seated Hi -Fi components? MAL'S RECORDING SERVICE the people, and the opportunities, and Yes! Send for free catalog. Audion, 64·62R still like all three," says Maurice Abrava­ P.O. BOX 37, ROCKAWAY PARK 94, N. Y. Booth St., Rego Park 74, New York. nel, who has been spark-plugging sym­ HI-FI DOCtOI·-Wilt solve your h i-fi problems on­ Dept. HFM GRanite 4-4607 the-spot. Professional visits, New York area, mod­ phony, opera, and ballet productions in est fees, day Or evening. Wi lliam Bolm . PLaza these parts since 1947. "When I came to 7-8569 , 9 A.M. to ~ P.M. Utah the old orchestra hac! never given HI FI & MUSIC REVIEW Beetlloven's "Eroica," . ifozart's "Jupiter," REPAIRS & SERVICES or the Brahms Second Symphony. Those CLASSIFIED are standards now, and we have what I ALL Makes High Fidelity Speakers Repaired. If you have high fidelity equipment or believe to be one of the largest repertoires Amprite, 70 Vesey St., N. Y. 7, N. Y. BA 7-2580. accessories to buy or sell, look to the in the nation. It's not everywhere in the classified columns of H iFi & MUSIC country where one can hear Mahler's Lied MISCELLANEOUS REVIEW for maximum action. von der Erde or Stravinsky's L'Histoire dfJ RENEW YOUI' needles, easy, economical. Swiss Your message, placed here, wi ll be read Soldat . . . When I told friends I was micl·ogl·oove phonograph needte sapphire retip", by more than 100,000 active high fidel. going to Salt Lake to conduct, tlley said, instructions. 3 for $1.00. 39 Edi Avenue, Plain­ ity enthusiasts. . view, N. Y. 'My heavens , Maurice, that's west of Den­ BEco~'m a songwriter, or professional Pianist. For m01'e injonnation, write: ver, even.' I told tllem, 'Never mind. Complete Home Study Courses ; Song\vriting, Mod­ ern P iano, and Personal Success. Rapid, Unbe­ Martin Lincoln Music was made in Weimar, which wasn't lievable. Booldet free. Weidner, 423 E. Se"cnth HiFi & MUSIC REVIEW a very well-known city either.' My idea Street, Boston 27. Mass. has been to finc! a place where you can FREE Monthly Hi Vi Magazine Write for Quotation 1 Park Ave., New York 16, N. Y. on any components. Sound Reproduction Inc., 34 build, and tIllS is it." - END New St., Newark, N. J . Mitchell 2-6816. 76 H IFI & MUSI C REVIEW • I BUY IT HERE

Your guide to high fidelity dealers in y our city who carry many of the fine products advertised in HI FI & MUSIC REVIEW.

THESE ADVERTISERS' CODE NUMBERS PERMIT YOU TO LOCAn DEALERS CARRYING THEIR BRAND. 1. ACOUSTIC RESEARCH 14. GLASER-STEERS 40. REK-O-KUT 2. ALlEC LANSING 15. INTERNATIONAL ELECTRONICS 29. H. H. SCOTT 42. AMERICAN ELECTRONICS 17. INTERSEARCH 30. SHERWOOD ELECTRONIC LABS 4. ARGOS PRODUCTS 19. KliPSCH & ASSOCIATES 31. SHURE BROTHERS 5. AUDIO DEVICES 20. JAMES B. LANSING SOUND 32. SCHWANN CATALOGUE 18. AUDIOGERSH 21. LIVINGSTON AUDIO PRODUCTS 33. SUPERSCOPE 6. BELL SOUND 39. NORTH AMERICAN PHILIPS 44. TANDBERG 7. DAVID BOGEN 16. OMEGA TAPES 43. THORENS 8. BOZAK SALES CO. 23. PENTRON 34. UNIVERSITY LOUDSPEAKERS 9. BRITISH INDUSTRIES 24. PHONOTAPES 10. EICO 25. PICKERING 35. UTAH RADIO PRODUCTS 11. ELECTRO-VOICE 26. PILOT RADIO 36. VIKING OF MINNEAPOLIS 41. EMC RECORDINGS CORP. 27. PRECISION ELECTRONICS 37. WALCO PRODUCTS 13. FISHER RADIO 28. REGENCY 38. WELL COR ALABAMA Los Angeles Portable R ecording E nterprises .... 5, 9. BIRMINGHAM 11. 13. 14. 16. 17. lB. 20. 21 . 23. 25. 27. 31. 33. Ack R adio Supply Co ..... 2.5. 6.7.9. 10. H. lB. 21. 36. 37. 40. 42. 43 25.27. 2B. 29. 31. 34. 35. 37. 39.40 Midway E lectronic Supply .... 7. 9. 10. 11. 13. 16. J a mes W . Cla ry Co . ... ,2. 5.6.7. B. 9.10. H. 13. 14. lB. 20. 21. 23. 25. 26. 27. 29. 31 . 34. 35. 36. 37. 40. 17, IB, 19, 21, 23, 25, 27. 29. 31, 35, 36. 37, 39. 40. 42. 43 42.43 Radio P roducts Sales. l lic .. . .. 2.4.5.7.9. 10. 11 . 13. F orbes Dlst. Co ..... 4, 5.7.9.10, H. 21. 23, 25, 27. 14. 17. lB. 20. 21. 23. 25. 27. 2B. 29. 31. 34. 35. 29. 31, 32, 34, 35. 37, 40 36. 37. 40. 42. 43 Shelley Radio Co ..... 4 . 5. 9. 10. 20. 21. 23. 25. 27. ARKANSAS 29. 31 . 34. 35. 36. 37. 40 FORT SMITH U niversal Radio Supply Co .. . , . 2.4.7.9.10.11. 13. Wise Radio Supply .. .. 4. 5. 6. 7. B. 9,10.H.13, lB. lB. 2~ 21 . 23. 25. 26. 2~ 2~ 31. 3~ 35. 3~ 3~ LITTLE ROC2 25, 26. 27. 31, 34. 35. 36, 37, 3B . 40 3B . 40. 43 J:' LA JOLLA M oses M elody Shop .... 1, 6. 7, ll,.13, 16, lB. 19. 21. Audio Workshop .. . .. 1. 2. 5. B, 9. 10. 13. 14. 16.17. 23. 25. 26. 27. 29. 32. 34. 36. 37.39.40 lB. 19. 20. 25. 26. 27. 29. 30. 31, 36. 39, 40. 41 . 43 MENLO PARK ARIZONA HI Fidelity. U nltd ..... 1. 2. 4. 6. 7. B. 9. 17.21. 25. PHOENIX 26.27.29. 31. 34. 36. 37. 40. 43 Audio Specialists .... 1.7.9.10. H. 13. 14. 16. l B. MONTEREY 20. 21.23.25.27. 2B. 29. 30. 31, 32. 34. 36. 37. Wholesale E lectronles ... . 4. 5. 6. 7. 9. 10. 13. 14. 15. 40.42 20. 21. 23. 25. 26. 27. 29. 31. 34. 35. 36. 37.40 HI-FI H ouse ...... 1. 5. 6. 7. 9. 11 . 16. 20. 26. 31. 37 HI Fidelity Sound Systems .... 5. 7. B. 9.10. H . 13. OAKLAND 14, 20. 21, 23. 25. 26. 27. 31. 34. 36. 37. 40. 42 Elmar E lect..... 4.5.6.7. 9.10.13.20.21.23.25. Southwest Wholesale Radio .... 4. 5. 9. 10. H. 13. 27. 29. 31 . 34. 36. 37. 40 20.21. 23. 24. 25. 27, 2B. 31. 34. 35. 36. 37. 40 Olin S. Grove . .. . 1. 2. 4. 5 . 6. 7. B. 9. 13. 14. 17. lB. TUCSON 20. 21. 25. 26. 27. 29. 30. 34. 36. 37. 39. 40. 43 Sta ndard Radio Parts ... . 4.5.7.9.10.11.21.24.25. ONTARIO 27. 2B, 31. 34. 35. 37. 3B. 40 Rudl P ock . . .. 2. 5. 7. 9.13.14.16.20.21. 25. 26.27. 36. 37. 40. 42. 43 CALIFORNIA: PASADENA BAKERSFIELD Audio Associates,., . 5. 7. 9. 10. H. 13. 16. lB. 20. Balk:.rslfi7e.l~t.~~.02~n.d2t.I~~m. 25.' ·16. 7i.f.·N.·11.· U'. 21.24.25.27.29.30.31.34.36.37. 40.42.43 36. 37. 40. 42. 43 DOW2~~~~ ~~.p~~~ fs~ ' 29; 1i. 43{3~·. ~Oi.ll8.1430.1:i BERKELEY E mpire E lectronic Dlst .. . .. 4. 5. 7. 9. 10. 13. lB. 21. Berkeley Custom E lec .... . 2.5.6.7.9.13. lB. 19. 23.25. 27. 31 . 34. 35. 37,40 20. 21 . 23.25.26.27.30.34,36.37.39.40.43.44 HI F idelity H ouse . . 1. 2. 5. 7. B. 9. 11.13.14.16. lB. T homas W . T enney .... 1. 2. 5. 6. 7. 9, 13.15.17. l B. 20.21, 25.26.27. 29.30.34. 36. 37. 40. 42.43 20. 21. 25. 27. 32. 34. 36. 37. 39. 40. 43 REDONDA BEACH BURBANK Bay E lectronics . ... 2. 4 . 5. 6. 7. 9. 10.13. lB. 20. 21 . Va lley E lectronic Supply Co ..... 4. 7. 9. 10. 11. 13. 23.27. 30. 34. 36. 37. 3B . 40 16. lB. 20. 21. 23. 25. 26. 27. 2B. 3036~~7~:O.3:3 R\r!~~~USIC .. . . 7. 9. H . 13. 14. 16. 17. 20.21.25. CULVER CITY 27. 29. 31 , 32.34.36. 37. 3B. 39. 40. 42 Ba r-Shel TV Supply . ... 1, 2. 5. 7. 9.13. l B. 20. 21. SACRAMENTO 25.27.31.34.36.37.40.43 HI Fi Sound Shoppe .. 1. 4. 6. 7. B. 9. 15. 17. lB. 21 . COLORADO EL MONTE 26. 27. 2B. 29. 30. 34, 36. 37. 39. 40. 43 COLORADO SPRINGS Kimball & Sta rk . . . . 4. 7, 9. 10. H. 21. 23. 26. 27. 31 . Sacramento E l e ~t S~j.P~7 ,' i9~ ' ti. 7 :"lg: ~~: 213 Deits B ros ... ' .6. 7. 9. 10. 11. 13. 16. 19. 21, 23. 25. FRESNO 34. 35. 36. 37 SAN BERNARDINO 3 VER 26. 27. 36. 37. 3B. 40. 43 Audio Sales Compa ny 4 5 6 7 B 9 13 17 20 H olly wood H I Fi Shop .... 2. 4 . 5. 7. B. 9. 10. H. 13. D~~ eg ro Music Shop .... 1. 7. 9, 10. 11. 13. 16. lB. 20. 21.23.25.27. 2B: 31:34. 36,'37. 38. 40. 44 5 6 20 21 23 27 29 31 32 34 36 37 21.23.25.26. 27.29. 32. 34.3&.37. 40. 43 HOLLYWOOD 29: 14.1 .1 . • • • • • • • • 40. 43 5 7 9 10 H 13 2 Pacific HI FI House . . .. 7.10.11.13.16. lB. 20. 21. SAN DIEGO De nv er E l ecl~~nj8.S~f.P1) ; ·i5·. i*:29 . :11 : 37: 40'. 42 23.26.27.29.31. 34.36,37.40.43 B reier Sound Center ... . 1.2.7. B. 9. 10. 11. 15. 16. The E lectric Accessories Co ..... 2. 5. 7. 9. 10.13. 20. HOIlYW200~d2r,-a2~ ~2~~~Y~YiB'''3t:3~ , ~·5~~6~~7 ..tO.t:3 lB. 20. 21 . 23. 25. 26. 27, 29. 31. 34. 36. 312.423 21.24. 25. 27. 2B . 31 . 34. 35. 36. 37. 3B. 40. 42 6 INGLEWOOD High F idelity House .. 1. 2 . 5. 7. B. 9.H. 13.14.16. 1B. Inter S tat~r~~~02f. ~~~~k :f7~ 'i9 ; 31: k 37,'/9, 1400 6 0 Inn~";,'l!~ ~0~I~f~ri'~'t5~~f.p~~; 34: 9:i6~~/~9 ..tO"t3 Radio Wa r~! ·6::. 26 ' f5~; : ~?'I~~'I~~}6:'I~~'2t:'2i~ R~'lI? fo~0~I~c~ .S~l~2~~i"' : ·il:ti. :i1:ls. 13 r:. /17. Ito Newark E lectric . .. . 1. 2. 4. 5. 7. 9. 10. II. 13. 16. lB. 23. 24. 25. 26. 27. 31. 35. 36. 37. 40. 43 L . B. W alker R adio Co .. Inc .. . . .4. 5. 6. 7. 9. 10. II. 20. 21. 23. 25, 26. 27, 29. 30. 31, 34. 35. 36. 37. W estern Radio Supply Co .. : .. 4.9. 10. 13. 20. 21. 13. lB. 20. 21. 23. 24. 27. 31 . 35. 37. 40 39.40.43 25.27. 29. 30.31.34. 36.37. 40 C has. E. W ells Music Co .. ... 6. 9. II. 13. 15. lB. 20. LONG BEACH Wrights H ouse 01 HI F !. . .. 2.4.7. B. 9. 10. II. 13. 21. 25.26.27.29.30.32.36. 37. 40 Custom ~o".uft · i4j5:2~: ~9":i":4.1:i..l;7 . 11o.I:3 14. 15. 16. lB. 20, 21. 25. 26. 2k2~7.3:0.3Ji. 3:3 P'iE~L~ alker Radio Co .... . 2.5.6. 7. 9. 10. II. 13. Scott Radio Supply .... 4. 7. 9 . 10. II. 13. 17. lB. 20. SAN FRANCISCO . . lB. 21. 23. 24. 25. 27. 34. 35. 37. 40 21,23. 26, 27, 29. 30, 31. 33, 34, 35, 36, 37, 40, Columbia M usic Co . .... 4 , 5, 6, 7, 9,13,17.20. 21 . CUT LOS ANGELES 42. 32 H al ~~~ ~~s~~;,,2~ ~~d 29: .31~·2~!·. !~'7 ~; : :j: ti: 1~~ CONNECTI Area E lectronics. Inc..... 1. 2. 7. 10. II. 13. 16. lB. 20. 21. 25. 26. 27. 2B. 29. 30. 32. 34, 36. 37. 43 H1l:;~~:Vleco rd Shop . ... 7. B. 9. 10. II. 13. 14. lB . 20.21.23. 25.27.31. 34,36.37. 40.43 E ber E I ct i Supply 1 2 4 5 6 7 9 13 16 20. 21.23. 24.25.26.27.29. 30. 32.34,36. 37. 40 Crenshaw HI Fl Center .... 2,5,7.8,9.10.13. 16, 17.1 8~ 2~~ ~~. 23. 25. "26'," 27, :i8,'29. 3'0,31:34: 35: H atry or Hartrord . . .. 4,5.6,7, 9,10.11.13.18, lB. 20. 21. 25, 26. 27. 31. 34, 36. 37, 40. 42. 43 36.37. 3B, 39. 40. 42, 43 21.25. 27.31.34.35.36.37, 39.40 Federated Purchasers. Inc . ... . 2, 4.7,9,10. II, 13. H I F I Sb 458913 17 18 20 21 232425 NEW HAVEN 18.20.21.23.26.27.29.31.34.35.36.37, 3B. 40 °f6,'i:i. 2B: 29. '31:32:34: 36: 37: 39'. 40. 43 Hatry 01 N ew Haven. Inc.. . .. 4 . 5. 6. 7. 10. II. 13. Kopl Soun d. Slu.PP3IY. '2'5'. '2'6. •2 2' 74.' 259•• 63'47.'396'. 13,. 17,. 21.25.27.34.35.37.39. 40. Fli::t~~~~I~I~uft~7?~9'''3i~3:::5'':6''17''11i/:3 37 40 Il3 ~3 Henry's Radlo .... 2. 4 . 5, 9, 10. 13. 16, lB. 20. 21 . 2o 2 2 9 13 17 IB 20 21 R~~?I~?~~~~~rf3 . 24;~6~2~:~9 . 730~·3~·J~:H:k 23. 25. 26, 27. 29. 31, 34.35,36.37.40. 42 Listenlng2P3.os2t5·. ·2·6,.12· 25, .6 7.'30.34,36.37,40. 43 37. 3B. 39. 40, 42. 43 KlerullT Sound Corp... 2. 4. 5. 7. 9. 10. II. 13. 16. *.' • 29 S Ith I 2 5 6 7 9 10 13 16 lB. 20. 21. 23, 25. 26. 27. 29. 30. 31. 34. 35. M a rket R adio Supply Co ...... 4. 6. 7. 9. 10. 16, IB' David D ean IBm 20 2~c ' 23 25' 27 2934 36 37 40 36, 37. 40.43 21.23.25.26.27, 29. 31 . 34. 36. 37. 4 o • • • • • • • • • • NOTE: This is a limited list and does not include all dealers who handle these advertisers' products. MAY 1958 77 HiFi BUY IT HERE THESE ADVERTISERS' C O DE N UMBERS PERMIT YOU TO LOCATE DEALERS CARRYING THEIR BRAND. S EE PAGE 93 FOR C ODE.

J. G. Bowm a n & Co .. . . . 5. 6. 7. 9.10.11.13. 20.21. DUBUQUE 23.25.27. 30.31.35.37.40 Boc Distributing Co .. .. .4. 5. 6. 7. 9. 10, 11 . 13. 21. NEW LONDON D e Haan HI-F l. . . . 5. 6. 7. 11 . 13. 16. 18. 19. 20. 21. 23. 25. 27.31.34. 36. 37. 40 Aikins E lectronic Supply Inc. . . .. 4 . 6. 7.10.11.13. 24. 25. 27. 29. 30. 31. 32. 36. 37. 40. 43 SIOUX CITY 21. 25.26. 27.31.34.37. 40. 43 Electronic E xped itors .... 2, 4, 5, 6 , 7. 9, 10. 11, 13. B u rgha rdi Radio Supply . . . . 4. 5. 6. 7. 9.10. 11. 21 . WATERBURY 15. 18.20. 21.23. 25.27.29.30. 31.32.34.36. 23,25. 27. 31. 34. 35. 36. 37. 40 Bond R a dio Supply .... 1.2.4.5.6.7.8.9. 10. 11. 37. 38. 40. 42. 43 WATERLOO t 13.21. 23. 27. 31 . 34. 37. 40 Lukko Sales Corp ..... 4.5.6. 7. 9. 10. 13. 20. 21 . 25. F a rnsworth R adio & T elevision .. .. 4,5.6.7, 9, 10, WEST HARTFORD 27.31.34.35.37.38. 40 11. 13. 16.20.21.23.25.27.29, 31, 36.37.40 Audio W o rksho p. Inc ... .. 7.8.10.11.13. 18.20.21. MusicrMt . Inc .. . .. 2. 4.5. 7.9.10. 11.13.16. 17.18. KANSAS 25. 26,27.29. 30, 32, 34.36.37,38.40,42. 43,44 20. 21. 23. 24. 25. 26, 27. 29. 30. 31. 36. 37. 38. 40. 42. 43 LAWRENCE DELA lV.4.RE Arthur Nagle. Inc ..... 1. 4 . 5. 7. 10. II . 13. IS. 20. F r ed E . Sutto n & C o ... .. 2.4. 5. 6. 7. 10.11. 13. 21. WILMINGTON 25.27.34.35.37.40. 42 21.25. 26.27.29.30.31.34. 36.37.39.40. 42.43 WICHITA • Almo Radio Co .. . 4,5,~~ 10. 11.21. 2~2~31. 34. 35. 37, 40, 43 2 2 Nj~~r~1 ~ ~c:l'.tr4~;ii.I,!~: ~·0~ · ii.931 .03!~ 'N'll: A;: )"xcel Distributo rs . . . . 427~'3i: ~4 .1~5 .1 h .2tS. t'1SVI LLE MAlNE o 25, 27,29,31, 34, 35,37 Ohio Vall ey Sound . 4.5. 6.7. 10. 11 . 13. 21. 23. AUGUSTA 1 25. 27.29. 31. 34. 35. 36. 37. 39. 40 T he Cor n'er Music & Book Shop .... 1, 2, 6, 7, 9,10. H llr ~ d{~I.t~0~ s~1~I~j~si.j: 25, 2i6~·li. sii: 12: U: H: W esco RadIO P arts 4.6.7.9. 10.11. 13. 21.23. 21.25. 26. 27.29. 32.34.36. 37.40 40, 44 25.27.31. 34. 35. 36. 37. 39. 40 PORTLAND Thurow FT. WAYNE Dis ta?%~rh~~~·.icj , ~'1~3l: ls.1~iS8 . llo B rown E lectro niCS Inc ... .. 1. 4. 5. 6. 7. 10. 11. 13. Bar tlett Radio Co ..... 1. 4'!l;ii.IJ,;S4Sl..21i.21o Waleler Radio & Applia nce C o . .... 4.5,6. 7, 9. 10. 18. 20.21.23. 24. 25.26. 27. 2S . 31. 34. 35. 36. Can field F lexiphone Agency ...... 4. 5. 6, 7. 9, 11 , 13 11,13.15.16.17.20.21.23.24. 25.26.27.29.31. 37. 40. 42 21.23.24. 25. 2~ 34. 36. 37. 38. 40.41 . 43 ORLANDO 34.35.37.40 P emblcto n Labs .. . .4. 5. 6. 7.10.11 . 21 . 25. 27. 29. M aine E lectronic Supply Co . .... 4 , 6 . 7 . 9,10,11. 21, 31.34. 35. 37.40 25. 26. 27. 31. 34, 37. 40 Hammo nd Electronics Inc..... 4 , 5 , 7, 9,10. 11,13. 18,21, 25, 27, 31, 34, 35, 37, 40 W a r ren R a d io Co ..... 5. 6. 9.10. 11. 2ls.2Ji. 3Is .3to ~IARYLAND PE SACOLA GARY BALTIMORE G rice Radio Elect ronic Supplies .... 2,4,5,6, " 9, Cosm opolitan· R adio Co ..... 4. 6. 7. 9. 10. 11. 13. 20. C ustom M usic System . .. . 4 . 5. S, 9. 10. 13, 18. 20. 10.11.13. 14.15.18. 20.21. 23. 25. 27. 29. 31. 34. 21 . 25. 27. 29. 30. 34. 36. 37. 38. 40. 43. 44 INDIANAPOLIS 21 . 23. 25. 26. 27. 31 . 34. 35. 36.37 H ig h Fidelity House . ... 6. 7. 8. 9.10. 11 . 13. 14.16. ST. PETERSBURG 36. 37. 40. 42.43 G ra h am E lectronic Supply. I nc ... .. 1,2, 4 , 5, 6,7, 21.24.25.27.29.30. 31. 33. 34. 35. 36. 37. 39. Wclch R a dio Supply . . .. 4,6. 9. 10. 13. 14. 21 . 23. S. 9. 10. 11 . 13. 17. 18. 20.21 . 23.25. 26.27. 2S. 29. 40. 41. 42. 43 SARASOTA 25.27.31.34. 37. 40 31 .34.35. 36.37. 4.0.42 R adio E lectric Serv ice Co ..... 4 . 5 . 6 . 7.9. 10. II. 13. Radio Dist . C o .... .4. 5. 6. 7. 9. 10.11. 13. 18.20.21. 16. 17. IS. 21. 24. 25. 27. 28. 29. 31. 34. 3 7. 39. !=t adio Accessories Compa ny . . . . 4, 5, 7, 9, 10, II, 14. 25.26.27.30.31. 34.35.36.37. 38.40 40.43 TAMPA 21.23.26.27.31.34.37 PERU Slrk ls M us ic .... 4.9. 10. 11 . 13. 14. 15. 17. IS. 20. 21 . 27. 29. 30.31.36. 37.38. 39. 40. 41 R adio Accessories Co. 4 5 6 7 9 10 11 2 23 Clingamcn Round E quipment Co" .. . 4 , 6. 7, 10. II, HAGERSTOWN .... • • • •• • • 1.. RICHMOND IS. 21 . 23. 25. 27. 31. 34. 35. 36. 37. 3S Zi mmerma n Wholesalers . .. .4, 6. 7, 9,10,11.13 .21, T hUrow D istributors. Inc. , ... 4, 5, ~: '7~~: lI5,'I~: 27. 29. 31 , 34. 37. 38. 40.42 16 18 20 21 25 27 29 31 3 37r:: Fox E lectroni cs Co .. Inc ... . .4. 6,7, 9, 10. II, 13, SILVER SPRINGS WEST PALM B'EAeH ' • , • • 4, • 40. 43 SOUTH Bi'N63• 25. 27. 31. 34. 35. 36. 37. 38. 39.40 Davls~ Car m ack Associates . .. , 1, 2 , 4, 7 , 8, 9,13,14. 15. 17. 20.21 . 23, 24.25. 27. 29.30. 34. 36. 37. 3S. G ~~?~rf:1'~~ t~i~u~~ ~si5~~7" i9~ '3~: ~4 ,73i: !~: R a d.io D istributing Co .. .. .4, 5. 6, 7, 10. 11 . 14. 21, 1942.43: 25. 27. 29. 30.31. 34. 35. 36.37. 40.42 39. 40 GEORGIA Al S miths HI F I S tudio . . .. 5. 7. 9.11.13. 16.20.21. MASSACHUSETTS ATLANTA TERRE HAUi~ ' 27, 30. 32, 34. 35. 36, 37, 38, 39 . 40 D~~r2~ E lectronics Inc ..... 4, 6, 7, 9,10, II, 13, 21, Baker Fidelity Corp..... 2. 6. 7.9. 10. 13. 14. 15. IS. C. T . E vinger C o.. .4. 5.6.7. 10. 11 . 21. 23. 27.31. 2S. 25. 21•• 27. 31. 34. 35. 36. 37. 40 20.21.25.26.27. 29.31.32.34.36.37.40.43.44 34. 36.37.38. 39.40 D e Mambro R adio Supply Co ..... 1. 2, 4 . 5 . 6 . 7 . 8 . H ig h F ideli t y S .S.S .. ... 5.6.7.8. 9. 10. 11 . 13. 14. IOlVA 9.10.11. 13.17. IS. 20. 21 . 23. 25. 26. 27. 29. 31. 17.18. 21. 24.25.26.27.29.30.34.36. 37.39. 34.35.36. 37. 3S. 39. 40. 43 Soutbeastern Radio P arts Co . . ... 2. 4.5. 6. 7.~ · 1~~ B~~l;,InNs~~~~C o .• Inc .. .. .4.5. 6.7. 9.10.11.21. 23, Thlel ksJ ~ ~i~g2r~~~~~~ ·. ':i6 : h ~i;: jO~3i : ~t U: it: S lli 13. b~ ' 2~ 2t· 3~. 34. 35. 37. 38. 40. 43. 44 CEDAR RAPIDS 25.27. 31. 37.38 37. 3S. 39. 40. 42. 43. 44 CO::~:US w: 1~: ~1. 2%': i~~3i.:i:: ~5 .637:1.; . 12o Gifford-B rown. 100.. . .. 4.5. 6. 7. 9,10.11 . 13. 16. ii ;.~o 1l~:c'k" g~rp4: 5i.6,!:5\~I:i.2JJ5i~\~~ · I ~: R dl COUNCIL BLUFFS 21.25.27.31. 35. 37.40 14. 16. IS. 20. 21 . 23. 24. 25. 26. 27. 29. 31. 3 2. 34. a 0 Sales & Servic e 27~ 259·.~· t3¥. \~. \~.23°s'.219.2lo World R adio L aboratories . ... 4.5. 6.7. 9. 10. 11 . 13. R a d io Wire TV Inc . .... 1. 2. 5 . ~~·7~~: n: t~: 1440:J~~ ILLINOIS 15. 16. 21. 23. 24. 25. 27. 29. 30. 31. 35. 36. 37. 20. 21.23.24. 25. 26.27.29.31.32.34.35.36.37. AURORA DAVENPORT 39. 40.42 39.40. 43 1 Hi-FI R ecord Shop . ... 4 . 9. 11. 13. 14. 19. 20. 21. 24. T C R Dls trlbuto r .... 2.4.5. 6. 7. 10. ll 17. 20. 21. Sager Electrical Supply C o ... 'il,' Ili. 117. 2,fo J is. 14. CHAMPAIGN 25.26. 27.30.32.34.36. 37.39.40 DES MOINES 25. 27. 2S. 31. 34. 3,. 36. 37.40 BROOKLINE 6 Radio D octors. 25:426:'2~', 12~' , Ill', Il4, 18 , 2: .21 ,216 Gj[[ord-B rown. Inc .. . . .4. 5, 6, 9, 10. 11, 13. 16, 21. L owe Associates. , . ,I, 2, 4, 7, 9, 1~9,.go ,2~4 , 2f6 , 23 8 36 7 9 2 CHICAGO Iowa R a dio Corp ..... 1. t l\2~:t~: If}I~'2~:'2~~ CAMBRIDGE Al~2~ ~~djg.1~~Pi3;il: ~5.5i7~·19.s36: If: U: H: 26. 27. 29. 31. 34. 36. 37. 38. 40 Hi F i},n~li; if. lil. · t5.5i7~·1'; .S3 6: lf: U: U: i~: ~~: Arpio . . . . 2, 4, 5, 7, 9, 10. 11. 13. N'l{ 2~~·2~~·2~~:~:~: ~:: ;::tgJ~~J:g2~~ifi.t; .~::613rk :~~·:i~ F~~I ~g~~~ . . 1. 2. 4. 7. 9. 10. 1:~'1:~ ' 2:\~~' :5~ 27. 30.31.35. 37.40 25.27.31.34.36.37.38.40 27.29.34.36.37. 40.41 NOTE: This is a limited list and does not include all dealers who handle these advertisers' products. 78 HIFI & MUSIC REVIEW LAWRENCE Van Sickle Radio Co ..... 4, 5, 6, 7, 9, 10, 11, 13, 15, YOUng & Young Inc... '2;"ld,12iS4,22s,217,211i,:Z;0 SPRI~JFl~L~,21,25,27,29,31,34,36,37,40,42 PITTSFIELD Harry Reed Radio & Supply (')0 ..... 4, 5, 6, 7, 8, 9, Plttstleld Radio .... 4, 526~'2~', ~'1~14"16"~7,2ls,2:8 10,11,13,20,21,23,25,27,29,35,36,37,44 Sammy Vincent .... 1, 2, 6,7,8,9,10,13,2° 21,25, MONTANA 4 MISSOULA SPRINGFIELD 26,27,32,3 ,37,40 Northwest Dlstr..... 4, 5, 6, 7, 9, 10, 11, 21, 24, 25, Soundco Electronic Supply .... 1,4,6,7,8,9,10,11, 27,29, SI. 34, 36, 37, 40 13,14,18,21,27,29,31,34,35,36,37,40,42,43 NEBRASKA WELLESLEY LINCOLN Music Box, Inc·i6; '17,2:.i;" la,8al: 1~: 1:: 1':;,217,210 Lauck Radio Supply .... 4, 5, 6, 9, 10, 11, 16, 20, 21, WORCESTER OMAHA 25,27,31,34,35,37 De Mambro Radio iii; 7 \1.;,11d House 01 HI-FI. ... 1, 4, 5, 7, 8, 10, 11, 13, 15, 16, ~~~~l; ~'7~'t;, al: U: 18, 21, 23, 24, 25, 27, 30, 32, 34, 36, 37, 38, 40, MICHIGAN 42,44 ANN ARBOR J. ~6.W,t~I~'1~n~3~~4: 25~2;: :4, ~'5~16"h,I:S:tti A. A. Radio & TV ••.. 2, 7'i5:!7!14::i.":7,239,21ti NEW JERSEY Wedemayer Electrical Supply .... 2,4,5,6,7,10,110 ATLANTIC CITY BATTLE CREEK 13,21,23,27,31,34,37,4 Radio Electric Service Co ..... 4, 6, 7,9 10, 11, 13, CAMDEN 21,27,29,31,34,35 ,37,38,40 Electronic S~~~~I?~I~2S'-2J: g;,631: ls::i,:l7!10 BENTON HARBOR ' Almo Radio Co ..... 5, 1;, ~1~~4~15"~7,21b,2:2,213 Benton Electrlca.! s~g~II7 ~~;; '3i,53t,' 15::7:;il,21d General Ra(~l ~'i~~I, ~g: ·ii,'~9,631.' 14, 125, 1/7.110 CHEBOYGAN Radio Electric Service Co..... 1,4,6,7,8,9,10,11, Straits Distributing Co ..... 4, 5, 6, 7, 9, 10, 11, 13, 13,17,18,20,21,25,26,27,29,30,31,34,35,36, 21, 23, 25, 27, 29, 31, 34, 37 EATONTOWN 37,38,49,40,42 DETROIT High Fidelity Sound Center .... 1, 7,8, 9, 10, 13, 144 Industria.! c~f.'~j1,n~~~t~~':"3i: 3~: i!;"~i.::7Sil,22o MONTCLAIJ8, 20, 21, 25, 26, 27, 34, 36, 37, 40, 4 K. L. A. Laboratories. Inc .. .. . 4, Sf 6, 7, 8, 10, 11, 13,14,16,18,19,20,21,23,24,25,26,27,29,30. 31, 32, 34, 35, 36, 37, 39, 40, 41, 42, 43 perd~3, ljr~~05~~6; 2-,,·,5:.i9~'3~', ~6 .. g7"19":o:t3,114 Radio Electronic SU~plY Co ..... 4,5,7,9,10,11,13, MOUNTAINSIDE FLINT 21,23, 4,25,27,31,34,35,36,37,40 Federated Purchaser, Inc ..... 4, 5, 6, 7, 9, lOS 110 NEWARl~, 18, 21, 25, 27, 28,29,30,31.34,37,3 I 4 Radio Tube Merch. Co ..... 4,5,6,7,10, 11521,238 GRAND RAPIDS 25,27,31,34,3 ,37,3 Federated Purchaser .... 4'2ifs, ~7~'2~', ~~', \17, Its,2111 Radio Parts, Inc..... 4, 5, ~5? 2:: ~~: 11: ~~, ~'lI, 21:.i Hudson Radl~,,\g~o~; 'id9~3~: ~4: '3~', ~'l;:13 Electronic Sound EqUipment .... 4, 6, 7, 9710, 11, JACKSON 13, 20, 21, 23, 27, 31, 34, 36, 3 , 38,40 Lal~:W~ Th~d~~; Jc:,2:.i7~'2\', ~'0~'31?'3~!'l!.' U: ~~: 39,40,43 PLAINFIELD FUll~U~~11~2~~~g~Y2~,029; '31~,t4,636~'lt, \Og, ~o, ~33 Lafayette Radlo Corp .. 1,5,6,7,9,10, 11,13,14, KALAMAZOO PRINC~1!t6~ 11, 13, 15, 17, 19, 31, 35, 36, 37, 39, 40 The Sound Room .... 1, 4, 5, 7, 8, 9, 10, 11, 13, 14, 16, 29, 36, 40, 41 Princeton Music Center .... 1, 5;/, 8, 9, 10, 11, 13, LANSING RED JkJ~' 15, 16, 17, 19, 30, 3 ,34,37,38,40,43 Oflenhauser Co ..... 5, 6, 7, 9, 10, 11, 13, 21, 23, 25, 27,29, 31, 34, 35, 37, 39, 40, 42 Monmouth Radio Supply .... 4, 7, 9,10,11,10,11, LAURIUM 25, 27, 28, 31, 34, 35, 36, 37, 38, 39, 40 N. West Radio 01 Michigan .... 5,6,7,10,11,15,21, 23, 25, 27, 29, 31, 34, 37 NEW HAMPSHIRE SAGINAW CONCORD Audio Communications Co ..... 4,6,9,11,13,15,17, Evans Radio .... 1, 1, 6:i5~'1~: ~7"1i"~6"~7,lg9,21ti 21,25,26 27,29,30,31,36,37,40 5 KEENE Radio Center .... 1, 2, 4, '~1?'2~: ;s,lh,l:s :1':367 De Mambro R"11~ ~f~~~ r~: 29; ·ti ,531: 17!2o! 13 MINNESOTA MANCHESTER De Mambro Rarl~ ~f~~~ ri:' 29; 'ii,6 31: 17:4°0:13 NEW MEXICO ALBUQUERQUE HI FI Equipment Co ..... 2,7,9,10,11,13,15,16, 18, 20, 21, 24, 25, 26, 27, 29, 30, 34, 36, 37, 40, 42,44 LAS CRUCES The MusiC Box .... 2, 6, 7, 10, 11, 13, 16, 20, 21, 25, 26, 27, 34, 36, 37, 40 LOS ALAMOS Valley Englneer~'It! rr; 24', '1s.22~: g9?3:: 1~: \1,;,11d NEW YORK ALBANY Fon. 0{:,n'~,R2~~1~3~1~~., 1t29; 131~' 3~, 637~' io, 123 AMSTERDAM Adirondack Radio Supply .... 1,4,5,7,9,10,11,13, 20, 21, 23, 25, 27, 29, 31, 34, 35, 36, 37, 40, 43 BINGHAMTON Stack E\l'f~r~f.I~s,lfhdi,631.' 15,126, 117, 119, I1d BROOKLYN Be~i~~3~1:3~~03~~4~4~~r~~~~0{~ 34~'3t ~7 ,63:"1.;.1:0 Stan-Burn Radio & Electronics Co ..... 1. 4. 5, 6, 7, 9,10,13,18,21,23,25,27,31,34,35,36,37,39,40 BUFFALO F. M: f3~~~~ f8~~g,~'i~~r,Ojg; '26', Jd9~'3~', ~i:3;: 34,36,37,39,40,43 WINSTON-SALEM Frontier Electronics, Inc .. .. .4, 5, 7, 9, 10, 11. 13, Dalton.. Haga. Radio Supply Co .. .. .4, 5, 6, 7, 9, 10, JACKSON 17, 18, 21, 23, 24, 2~, 26, 27, 29, 34, 36, 37, 39, 11, 13, 16, 20, 21, 23, 25, 27, 29, 31, 34. 35, 36, Swan Distributing Co., Inc .. .. . 4,5,7,9,10,13,21, 40,42,44 37, 38, 40, 42 25, 26, 27, 31, 34, 37, 40, 43 Genesee Radio & P~~s§~~':i4; 2~', ~7~'3i', \~, 117:1d NORTH DAKOTA GLENS FALLS F~I::::t~1 Distributing Co ..... 4, 6, 7,9,10,11,15,18, Ray Supply, Inc..... 4, 5, 6, 7, 9, 10, 11, 21, 23 25, 20,21,25,27,31,34,35,36,37,40 27, 30, 31, 34, 37, 40 Wolter Electronic Co ..... 5, 6, 7, 9, 11. 18, 20. 21, HEMPSTEAD, L.I. 23,25,27,30,34,35,36,37,40 BUTLER Newmark & Lewis .... 1, 2, 5, 6, 7, 8, 9, 10, 13, 16, OHIO - Henry Radio .... 6, 7, 9,10,11,13,21,23,25,26,27, ITH1A8C" A21, 23, 24, 25, 27, 29, 30, 34, 38, 39, 40, 42, 44 AKRON 29, 31, 37, 40 CAPE GIRARDEAU Alcor, Inc ..... 1, 4, 5, ~6?2~: 19!to:li,2::.i,214,2tc: Eleci'4:n~~,~r:.:I~~r~~ 2~~':i9: ak 1i,631,' 1c;, 1/7:10 Suedekum El~~t~~~1~3~uf5soi; 29;431: :s?3;: ~'l;:14 JAMAICA Olson Radio Warehouse, Inc ..... 1, 2, 4, 5, 6, 7, 9, . KANSAS CITY A'i'1:0 l~x":l'rn' ~~c·2i.l'2~' ~9 63~' Ih9'3~0,U' ~:, 10,11,13,16,18,20,21'1;" 11: ~~: ~U~, 3id,3tl David Beatty .. 2S? i:J~: It: 1~', \~, \88, 2td, 213,2t4 ' , , , , , , '39, 40, 42, 43, 44 Sun Radio Co ..... 4, 5, 6, 7, 9, 11, 13, 20, 21, 27,28, Burstein-Applebee Co ..... 4, 5, 6, 7, 9, 10, 11, 13, Harrison Radio Corp..... 2, 4, ~7,72:: l~: ~~', 2l7,21o Warren Radio Co ..... 4, 5, 6, 7~1,;j~', fi: ::: tl.'2~~ 16,18,20,21,23,25,27,28,29,317,318,3t',,3;4 Lafayette Radio .... 1,4.5,6,7,9,10,11,13,14, 31,34,37,38,40 MCGee~~'f5?~6''-27~2~: ~'I~'3~~'lJ: 1~: 1~: ~'l;,214 18,20,21,23, 24, 25, 26, 27, 2~6,3g,.,3l9,3to,3:3 As:~!~it.dlo Supply .... 4, 5, 6, 7,9. 10. 11. 13, Radlolab .... 4, 5, 6, 7, 9,11,16,18,20,21,25,27, Peerless Radio Dlstr., Inc. 1,2,4,5,6.7,9,10,13, 16,20,21,25,26,27,30,31,34,35,36,37,40,42 ST. LOUIS 29,31,34,37,38,40 JAMEA!l:tJwJ3, 25, 26, 27, 29, 31, 34, 35, 38, 39, 40 C'A~!~~ng's Electronic Center .... 5,6,7,9,10,11, Aeolian CO. ~L~~,S~~~12;; 3~', ~4~'3t', \3t,1 368, I1d,224 JO~f.'~'l.a:~I~t ~~~c~~~n~~~~~,I~o: 3i~'t4}3i: 13: Burr01lghs Radio co~~'. ~04,21:6~~, ~~: n: ll: &131. " Wa.!t A b R dl C 2 4 5 7 9 10 11 13 40 43 21, 25, 26, 27, 31, 34, 37, 38, 39, 40 er sea 0 20~'2i: 23',25,27: 3i, 34, 37, 40 MINEOLA • George F. Ebel Co ..... 4,5,6,7,9,11,13,17,18.20, Tom Brown Radio cO"2SJ,. 71:: A~: U: ~~', 2lt.210 Arrow Electronl~: ~~'2i;; 2ti, ~9~3i: :7:3il!l9:10 CINCINNATI 21, 23, 27, 30, 36, 37, 38, 40 Ebinger Electronics, Inc..... 4, 6, 7, 9, 10, 11, 13, 14, NEW YORK custo, mI8c,ral!ote,r2s'I,In2~',' 24,.1 '54, '2;', ~9,73~,' ~f,' l~: 17,18,23,25,27,31,34,37,38,40,44 Alrex Radio Corp..... 1,2, 5, 6, 7, 9, 10, 11, 13, 18, l7 2 n: The High Fidelity Showroom .... 1, 5, 6, 7, 9,10,11, 19,21,23,25,26,27,29,30,31,;4, 3:, tt'tI9'1~0 Herrllnger Distributing Co ..... 4, ~~'6~~, ~~'1~~'11~ 13, 17, 18, 20, 21, 26, 27, 29, 3~6~17,3~b,3:2,3t4 Arrow Electrfr.I'i"ti,I~t25J9;3t: 34:'35: 38, 39, 40 13, 16, 20, 21, 23, 25, 27, 31, 34, 37, 40 In~1r:'~i~ ~~PfA: g~. 29; A 533~' i4. 130S, 1/7, Ito, 114 Bryc:l~r:02t.Pfl:af~,e 27; A~1~3r: :i.,.gil::9,110 Hughes-Peters, Inc.... 2~', 531~'3~', \'k 11.;, 21s, 2/9,21" NOTE: This is a limited list and does not include all dealers who handle these advertisers' products. MAY 1958 79 THESE ADVERTISERS' CODE NUMBERS PERMIT YOU TO LOCATE DEALERS CARRYING THEIR BRANDS. SEE PAGE 93 FOR CODE. Steinberg's I nc .. . .. 1. 5 . 6. 7. 8. 9, 10. 11. 13. 14. 18 . H erbnck & Radem nn . . .. 4. 5. 6. 7, to . t 1. 13, 21. 23. HOUSTON 20.21,23.25,27, 2B . 29. 30, 31, 32, 35. 36. 37, 3B. 25,26,27. 31 . 34.35.37,40 Audio Center. Inc .. .. . 1, 4. 6 . 7. 8. 9, 10, 11.13. 14. 39, 40, 42, 43 Lectronles .. . 6. 8.9.10.13, 14, l B. 20. 21 . 23. 25. 16, 18, 19, 20, 21 . 25. 2~ 27, 2~ 34, 3~ 3~ 3B. U nited Radio ... . 4, 5. 6. 9 . 10. 11 . 13. 20. 21 , 23.25. 26.27. 29.30.34.35.36,37,38.40 40, 42, 43 27, 2B. 29. 31. 34, 37, 40 Penn E lectronles Par ts Co .. ... 5. 6. 9. 10. 11 . 13.1 8. Bus3.cker E lectronics Equip. Co .. Inc. ... . 2. 5. 6 . 9 , CLEVELAND 21 , 23.25.26. 27, 29. 31. 35. 37, 39. 40 10. II , 14, 16. l B. 21. 25. 26. 27, 31. 34. 36 . 37. Audio Crart Co .. . . . 1. 2 . 5. 6. 7. 8. 9. 10, II. 13. 14. R a dio E lectric Service Co . . . . . 4. 5. 6. 7 . 8. 10. II, 40,41 . 42 l B. 20, 21 . 23. 25. 26. 27, 29. 30, 31. 32. 36. 37. ~~ . 13.16.20.21,23.25,26, 27,30.31.34.35. 37. Gul! Coast E lectronles . . .. 1. 4, 5. 6. 8. 9, 10. II. 13. 40. 41.42. 43 40. 42. 43 14, 17, l B. 21 , 23, 24. 25, 26. 27. 29. 34. 35. 36. 37. B roadway E lectric Supply Co . .... 5. 6.7.9, 11 . 13. Radio E lectric Service Co ... .. 1, 2.4.5,6. 7. 8, 9, 38. 39. 40, 43 21 . 23.25,26.27.31 , 35,37.40 10.11. 13, 17. 18. 20. 21 . 23,24,25.26. 27.29.30. Lenert Company .. .. 5. 6, 9, 10. 11. 21. 23. 25. 27. Olson Radio '-:';Tarehouse . .4. 5. 6. 7, 8, 9,10,11, 13,16, 31. 34. 35, 36. 37. 40 31.34.35,37. 39,40 ~ . lB. 20. 2 1. 23, 25. 27. 2B. 29. 31.34.36.37. 38, 40 AI. Steinberg & Co . . .. .4, 5, 6, 7, 9, 10. 13. 16. 21. Sterling Radio P roduct.s Co .. . .. 5. 6. 7, 9 , 10. 11, Pioneer Radlo Supply Co .. . . . 4 . 5. 6.7. B. 9, 10, 11. 23.25,26,27.29. 31. 34. 35. 36. 37 13. lB. 19. 20. 21 , 25. 26, 27. 29, 31. 34. 36. 37. 13. 14. 15. 16. IB , 20. 21. 23. 25. 26. 27. 2B. 29. 30. E ugeneG. Wile . . 6,10. 11,21, 27, 29.31, 34,36.37. 40 3B. 40, 43 3 1. 34.35. 37, 38.40 PITTSBURGH The Wrye. L td .. .. . 2. 5. 6. 9. II. 13. 14, l B. 19, 20, Progr""s Radio Supply Co .. . .. 1. 2. 5. 6. 7. 9 . 10. 11 . Cameradlo Co .. .. . 2.5.6,7.9. 10. 11.20.21. 23. 21, 25. 26, 27. 29. 30. 32, 34. 36. 37, 3B . 39. 40, 13, 18.20, 2 1. 23.25.26.27.29.30.31 , 34.35. 36. 25,27. 29. 31 . 34. 36, 37,38. 40 41. 42, 43 37, 3B. 39, 40 0 2 McALLEN Radio & Electronic Part Corp .. . . . 4, 5 . 6. 7, 9. 10. Concerto Room . .. . 6. ~'7~'2~: ~~'. ~~ •. 13~ . 23 6. 1.;.2;0 11. 21. 23. 25. 26. 27. 3 1. 34. 35. 37. 38, 39. 40 M . V. Mansfield Co ... .. 5. 7, 9, 10,11 . 13. 21 . 23. 25. RI~l~~~02~~P:l'l : g~25;t.;,5ir gO:3 ~? ' N.'U: 1~: t COLUMBUS 27,31,34.35.36. 37, 38. 40 37.40,43 Electronic Supply C orp .. . . . 5, 6. 7. 9. 11. 13. 15. 16. Olson Radio Warehouse .. .. 6, 7, 9. 10. 11. 13. 16. PORT ARTHUR 21 . 23.25.26.27, 28. 3 1.34. 35, 36, 37. 40 20,21. 23. 25.27 ,34.36.37. 3B . 40 Diehl RadiO & T V Supply ... .4. 6. 7. 9. 10, II. 13. Hughes- Peters. Inc .. .. . 4 . 5. 7, 9 , 10. 11.20.21. 23. R a dio Parts Co .... . 2, 5, 7. 9, 10. 11 . 13, 16.21. 23. 14. 15. 20.21.25.27,29.31.34. 35,36.37.39.40 25.27.31, 35.37.38, 39. 40 25.27, 29.30. 31.34.35.36.37. 39.40 SAN ANGELO Tbompson Radio Supplies . ... 4 , 5, 6. 7. 9, II , 16. 21 . V a riet y E lectronics, Inc . .... 6, 7, 9, 10, 21, 23. 25. Gunther W h olesale .. . . 6, 7, 9, 10, 11 . 21.25.27.29. 23. 25. 27. 31. 34. 35, 36. 37. 40 27, 34. 37. 38 3 1. 34. 35. 37 Whitehead Radio Co .... . 4, 6, 7. 9. 10. 11 . 21. 23. Wolks Kumera Exchall,rc .... 1. 2. 4, 5. 7. 11. 13. 14, SAN ANTONIO 25. 27,31.35,37,38 l B. 19. 20. 21 . 23, 25. 27, 28. 29. 30, 34. 36. 37. B ill Case-R ecords & Sound .. . . 1, 7.9. 13. 17. lB. DAYTON 40.44 19. 20 .25. 26,27.29, 32.34,36. 3B. 40 Custom E lectronics. Jnc . . . . .4. 5. 6. 7. 10. 13, 14. 19. ROSLYN Southwest Radio & SO und E quipment Co . ... . 2. 6. 7. 20. 21. 23. 25. 26, 28, 29, 30, 31, 32, 34. 37. 38. G rove Enterprlses . . .. 1. 4 , B. 10. 11 . 13. 16. l B. 20. 9, 11 . 13, 14 , 15. 16. 20. 21. 25. 27. 29. 31. 40, 42, 43 21 . 23. 25.27. 29, 32. 33. 34, 35, 36. 37.38,39, 40 34. 36.37. 3B.40. 43 Srepco, Inc ..... 4 , 5 . 6. 7, 9. 10. n . 13. 20. 21. 23. SCRANTON TYLER 27, 2B , 31. 34. 35. 36. 37. 40. 43 I"red P . Pursell .. . 4 . 5. 7,9,10.11 . 21 , 23.25.27. LavcndarRadlo Supply Co ... . . 4. 5. 6. 7, 9.10.11 • Stotts-Friedman Co .. .. . 4. 5. 6 . 7. 9.10. n . 13. 16. 29.34,35,37.40 21.23,25,27,31,34.35.37.40.43 21. 23. 25. 27. 31 . 35. 37. 39. 40 STATE COLLEGE WACO LIMA Alvo Electronics Dlst .. Jnc .... . 4 , 5.6.7, 9 , 10. II. Best E lectronlcs . .. .4, 5. 6. 10, 11 . 14.15. 20.21. Warren Radio Co .... . 5, 6.7.9, 10. n . 21. 23. 27. 13. l B. 21, 23. 26. 27. 29, 31. 34, 35. 37, 40 27.31, 34 , 35.36,37.39.40 LORAIN 31.34.35.37, 38 WILKES-BARRE WI CHITA FALLS G eneral R a dio & E lectronics CO .. . . .4, 6.7, 9. 10. 11. Mooney R ad io Supply Co .. . .. 5. 6. 7. 10. 11.15. 20. Pioneer Electronic Supply Co .... . 5 . 6. 7,9. 10. 13. 13. 16. 2l. 25. 27. 29. 31. 34. 35. 37. 3B. 40 21.23.27,31.34.37.40 16.21.23.25.27,31. 34,35,36,37, 38 G eo. B. J ones .... 1. 6. 7. 9. 11. 13. 21. 25. 27. 29. MANSFIELD 30, 34, 37, 40. 44 UTAH Wholesaling. Inc ..... 5. 6, 7. 9,10. 11 . 21 . 23. 25. 27. SALT LAKE CITY SPRINGFIELD 34. 35.37. 3B. 39 RHODE ISLAND O'Laughlln's Radio Supply ... . 1,4,5. 6, 9.10. II, PROVIDENCE 13, 18. 21. 23, 27. 29, 31, 3~ 35, 36, 3~ 40 Standard Radio 01 Springfield . . . . 5. 6. 7. 9 . 11. 16. Audlonlcs Corp. 01 America . .. . . 1. 7. 9.10, 11.13. 20.21, 23.27. 28.31 . 34.35. 37. 38.40 l B. 21. 25. 26. 27. 29. 34. 36. 37. 38. 40. 42. 43 VmGINIA STEUBENVILLE Wm. Dandreta & Co .. .. . 2. 4 . 5.7. 9. 10. 11.13.20. ALEXAN DRIA Haus re ld Radio Supply .... 4.5. 6,9. 10.11. 13.21. 21 . 23, 25.27.29.31.34. 35. 36.37.40. 42 Certified R adio Supply .... 4. 5, 7. 9.10,11 . 21. 23. 25. 27. 31. 34. 35, 37 TOLEDO D ,V. W.U.D , ~ D eMambro R a dio Supply . . .. 4 .5. 7.9, 10. II , 13 , 17.2 1. 23.25, 27.31. 34.35.36.37. 3B . 40 BRISTOL The Jamieson Co .... . 5. 6.7.9.11. 13.19.20.21, W. H . E d wards Co .. .. . 2. 5. 7. 9, 10. 11 . 13. 21. 23. B ristol R ad io Supply Co ... .. 5.7.9.11 . 13.17,20. 25,26.27.30.31,32,35,36.37, 40 26.27,30. 31, 34 , 36.37.39.40 2 1, 23, 25,27 .29.30,31 .35. 36,37. 3B . 40. 44 Warren Radio Co .. .. . 4 . 5. 6. 9. 10. 11 . 13. 15. 16. DANVILLE 20. 21. 23. 25. 27. 31 . 34. 35, 36, 37, 3B, 40, 42 SOUTII CAROl_INA Womack Radio Su pply Co .. Ioc ..... 4 , 5. 6. 7. 9, 10. WARREN CHARLESTON 11 , 21.23. 25, 27.34. 37,40 Custom Electronics Co .. .. . 1. 6, 9, 11, 13. 19. 20, RadiO Labora tories .. . . 2. 4. 7. 9.1 0. 20. 21. 25. 27. NEWPORT NEWS 21 . 23,27,30.37, 3B , 40. 43 29,31. 34, 37,40 G eneral SUpply CO .. . . . 4,5. 6, 7, 9. 10. 11 . 13,21. ZANESVILLE COLUMBIA 25. 26, 27, 29. 34. 35, 37, 38. 40 16 0 NORFOLK T hO~ IJ~02nl .R2a3~1~ 5~'f,~I~~S.. :ii.~4~31: 17,1:8.119. 40 D ixie I}f~~'?I~~f.pW~~ · , I3~~ ' 35. · 3::;7.638~ ' 39.;,1400. 24 3 Electronic Eng l~ ~~r~~~ fl~ ' 24 : 'ls.7 'i7~'2~' , 1306,. \1,.110 OKLAIIO~IA FLORENCF OKLAHOMA CITY Dixie R adio Supply Co ... .. 4.5.6.7.9.10. n , 21 . RICHMOND W a lker C . Cottrell . J r .. . .. 1. 2. 5, 7. 9. 11. 13. 14 , Radio SUpply I nc... .. 2. 4. 5. 6. 7. 9.10, n, 20. 21, GREENVILLE 23. 27,31 . 34,35,37,43 18.20.21.23.25.27.29.36.37. 40 T U LSA 23,25,27.28.29.31 . 34.36,37,40. 42,43 Dixie Radio Supply Co ... .. 4, 5, 6. 7. 9. 10. II. 21. M eridian E lectronic Equipment Co .. .. . 2.4.5, 7, 9. 10. II. 20. 21. 25. 27. 29, 31 , 3~ 35. 36. 37, 40 Radio. Inc... . . 2, 4, 5, 6, 7. 9. 10. 11 . 13,20.21.25. SPARTANBURG 23.26.27,31.34. 35. 37,40. 43 ROANOKE 27. 31. 36. 37. 40, 43 Four Star Distributor. I nc .. .. . 4. 7. 9, 10, 11. 18. 20, Leona rd E lectronics of R oanoke, I n c ... . 4. 8 . 9 ,10. 11. 13, 14, 15, 20. 21. 25, 26. 27. 34. 35. 36. 37. S & S Radio SU~~~y:.i5: i~: ~"{3i: ~~'. ~k,ll7,2:o ,213 21. 23. 25, 26, 27, 34. 36, 37, 40 3B, 40, 44 OREGON SOUTII DAKOTA WASHINGTON EUGENE w~~~~;rr~~dI O SUpply Co . . . . . 4, 5. 6. 7, 9. 10. II. SEATTLE Carlson Hatton & ~~: 27: ':9. 531~'~', 1305, Il6, 2:.;, 210 20, 21. 23, 25, 27, 31. 34. 35. 36. 37. 40 Olympic Eng ln '1 ~I,n~ I~~5,i7?2~ : ~~ ', ~~. ~37,144d,I:3 MEDFORD TENNESSEE PacifiC Electronjc Sales . ... 2. 4. 7. 10. 11.13.14.20. Veri G. Walker Co .... . 4.5.6.7.9. 10. 11,20. 21 . CHATTANOOGA 21,25. 27. 29.34,35, 36,37,40,42.44 Seattle R adio Supply . . . . 2. 4. 5. 6. 7. 9. 10. 11, 13. PORTLAND 23. 27, 29. 3}. 34, 37. 40 cal~ ." ~'ll,a~ll. ~~~ri,i. ii;~'2~: ~o\t ~~: U: U: ~~ : l~: 16, 20, 21, 25, 27, 29. 31, 34. 35. 36, 37, 3B , 40. Appliance Wbolesalers . .. . 4.6.7, 9. II . 21. 23. 25. 40 41 42, 43. 44 27,29, 31. 34, 35, 37, 40 KNOXVILLE ' SPOKANE 20th Century Sales Inc . . . . . 5. 6. 7. 9,10. 11 . 13, 14. 31 16, 20, 21. 23, 25. 26. 27. 29. 30, 31 . 32. 33. 36. ~::t::lh~~::I~~~~::·c.: : 4 : i~ . :~{: ~t N:&·X~·~\~ M~ ¥,I~~7 2~~~\I .a~g~5 ·, 'it.'2~: ~9, 9 ~ h:litS~.l}~ 37. 40. 44 25. 27. 29, 31. 34, 35, 37, 40 MEMPHIS TACOMA Portla nd Radlo Supply Co .. . . . 4 , 5. 6. 7, 9. 10. 21 , Glenn All en Company .... 5, 6. 9. 10, 21. 23, 27. 31. C & G Radio Supply Co ... .. 2,4,5.6.9, 10. 11 . 14. 25.27. 29.31 . 34.35,38.40 34.37.38 20. 21.23.25, 27.29, 31 . 34. 36.37. 3B. 40. 42,44 Unlted Radio Supply. I nc.. . . . 5. 6. 7. 9. 10. 11. 13. Bluff City Distributing Co .... . 4 . 5.6.7.9. 10. II , WALLA WALLA SALEM 21.23.25. 27,29,31.34,35,37, 40 13, 19. 21, 23, 25, 27. 29. 31. 34, 3~9,3:0 , 3Ii , 3:3 Kar R a dio & Electric Co .. .. . 5. 6.7.9. 11 . 14. 21 , 25. 27, 29, 31. 34. 37. 40 CeCil F a rnes Co .... . 5. 6. 7. 10. 13. 16. 18. 19. 21. Lavender Radio Supply Inc 4 5 6 7 10 11 YAKIMA 23.25,27,29, 30.31.34.36.37,40,44 lB. 21. 25. 'i7. 3i; 34: 35. '37; 38. 40. 43 Lay & Nord .... 6.7.9,10. 11 . 21. 23. 25. 27. 29. L ou J ohnson Co., Inc .. .. . 4.5. 6.9, 10. 11 . 21. 25. NASHVILLE 31. 34, 35. 37, 40 PE~'NSYLV ANIA 27.29.31, 34.37.40 D 1~.~f.I~\~ I ~~~It~~ .Ci'7; 29',43:: li. B:i 4~'l~: H: U; WEST VIRGINIA ALLENTOWN 40. 44 C'6~~~c~i;T~I O & E lec. Co .. . . . 4. 6. 7. 9, 10. II, 16. Federated Purchaser. Inc ... . . 4.5.7,9. 10.11. 13. Electra Dlstr. Co ... . .4. 5, 6, 7, 9, 10. 11 . 13 . I B, HUNTINGTON 21. 23. 25, 26, 27. 31 .35. 36.37.40 18,21,23. 25.27.29,31. 34.35, 37,40 20.21.25. 26.27. 29.31,34.35.36.37, 40,42. 44 A. A. Peters .... 4,6. 7.9,10.11.16.21, 23. 25. 26. ot~nl\.~18~t Rice . . . . 6, 10. 11 , 21, 27. 31. 34, 37 Singer E lectronles. Inc .... . 5. 6. 7.9. 13. 14.16. 17. ALTOONA 27.35, 37,38, 40, 42 Tbe Music Box .... 2.5,6.7. B, 10. 11. 13. 15. 17. lB. 20, 21 . 25. 26.27.30,31,32.34,36,37.38.40 Hollenback's Radio Supply .. .. 4.5.6. 7.9.10.11. 20. 21,25.26,27,29,31, 32. 34, 36, 37. 40 WISCONSIN BETHLEHEM 20,21 . 23. 25.27.31,34.35.37.40 TEXAS A\r..~I!i~dIO Distributors .. .. 2. 4. 5. 7, 9. 10. 11. Audlo Laboratories .. . . 1. 2. 4. 7. B. 9 , 11 , 14. 20. 21, A~~!I;argIS

Code INFORMATION' No. Advertiser Page 59 ABC Paramount ...... 65 69 Airex Radio Corporation ...... 75 SERVICE 3 Allied Radio Corp...... 18 2 Altec Lansing Corporation...... 8 70 American Electronics Inc...... 19 Here's how you can get additional informa­ 5 Audio Devices Inc...... 75 tion, promptly and at no charge, concerning 83 Audio Fidelity ...... 17 the products advertised in this issue of HI 8 Bozak Sales Co., ·R. T...... 57 FI & MUSIC REVIEW. This free informa­ 9 British Industries Corp...... 4 tion wiJ] add to your understanding of high fidelity and the equipment, records and tape 71 Chambers Record Corp...... 76 necessary for its fullest enjoyment. 84 Classic Electrical Co. Ltd ...... 76 Components Corp ...... 75 73 Concertapes ...... •...... 68 Print or type your name and address on 85 Decca Records Inc...... 13 1 the coupon below. 75 Dexter Chern. Corp ...... 64

10 EICO ...... 22 Check in the alphabetical advertising index, 11 Electro·Voice Inc...... 2nd Cover 58 EMC Recording Corporation ...... 69 2 left, for the names of the advertisers in 62 Ercona Corporation ...... 74 whose products you are interested. Experimenters Handbook ...... 73

40 Ferrodynamics Corp...... 21 In front of each advertiser's name is.a 76 Ferrograph ...... 74 13 Fisher Radio Corp...... 16 3 code number. Circle the appropriate mim. her on the coupon belo,w. You may circle 9 Garrard Sales Corporation ...... 4 as many numbers as you wish. 14 Glaser Steers ...... 6 86 Grado Labs ...... 70, 71

87 Hartley Products Co...... 66 Add up the number of requests you have 41 Heath Co ...... 49, 50, 51 , 52 , 53 4 made and write the total in the total box. 63 Key Electronics Co...... 76 5 Cut out the coupon and mail it to: 45 Lafayette Radio ...... 61 20 Lansing Sound Inc., James B...... 7 88 Leslie Creations ...... 76 47 Louisville Philharmonic Society . . .. 56 HI FI & ,MUSIC REVII=W 89 Mal 's Recording Service ...... 76 P.O. Box 1778 49 Mcintosh Laboratories, Inc ...... 55, 59 CHURCH STREET STATION 64 Metzner Engineering ...... 20 50 Minnesota Mining & Mfg. Co ... 4th Cover New York 8, New York

77 Neshaminy Elec. Corp...... 65 51 Newcomb Audio Products Co...... 15 65 North American Philips Co. Inc. HI FI & MUSIC REVIEW (NORELCo) ...... 58, 60, 62 Box 1778 TOTAL NUMBER D 52 Nuclear Products Co...... 69 CHURCH STREET STATION OF REQUESTS New York 8, New York 16 Omegatape ...... 69 Please send me additional information concerning the products of the advertisers whose code·numb ers I have circled. 90 Period Music Co...... 65 2 3 4 5 6 7 8 9 10 11 12 24 Phonotapes, Inc ...... 73 Photo Directory ...... 72 13 14 15 16 17 18 19 20 21 22 23 24 26 Pilot Radio Corp...... 3 25 26 27 28 29 30 31 32 33 34 35 36 27 Precision Electronics ...... 63 37 38 39 40 41 42 43 44 45 46 47 48 91 Roberts Engineering Co ...... 46 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 29 Scott, Inc., H. H...... 9 73 74 75 76 77 78 79 80 81 82 83 84 30 Sherwood Electronics Labs ...... 45 56 Stereophonic Music Society ...... 70 85 86 87 88 89 90 91 92 33 Superscope Inc...... 71 NAME ______

92 UItron Co...... 74 ADDRESS ______34 University Loudspeakers ...... 3rd Cover CITV______ZONE __STATEI:: ______68 Westminster Records ...... 11 MAY 1958 ' 81 just Ie>e>king

METZNER 60A "STAR­ tapes, at 7J~ ips. and 3;1( ips. The unit stereo discs, FM-AM broadcasts, micro­ LIGHT" TURNTABLE (Model 555) weighs 48 pounds and sells phones and auxiliary, plus an output for for $549.00. Two matched James B. Lan­ making stereo recordings. A balance con­ 'Round and 'round from 16 to 84 rpm, sing Signature 12" speakers (D 123) are trol for adjusting the relative level of the with an illuminated stroboscope for exact available in separate matching enclosures two channels, bass and treble controls, speed settings, the new Starlight 60A turn­ that combine to fo rm one portable case, and .loudness and volume controls permit table by Metzner Engineering Corp. is a price $189.00 (Model PSC 212). The a high degree of flexibility in stereo or flexible unit for hi-fi use. Wow and flutter enclosures without speakers (Model PSC monaural operation. at less than .18% and rumble better than 100) sell for $70.00, while the complete system of Sterecorder, speakers and en­ Hi-FI-PAK closures may be had for $699.00 (Model CSS 555). When shell space is at a premium, the storage of records can be a problem. A practical solution is the Hi-Fi-Pak, a KNIGHT MODEL KN-315 hassock, designed by the Great Western An FM-AM tuner and a IS-watt ampli­ fier-preamplifier are combined on one chassis in the Knight KN-315 "Uni-Fi" newly released by Allied Radio Corp. This compact hi-fi sound center has many of the features incorporated in more elab­ orate systems. The tUIl,er has AFC on FM and the amplifier has rumble and scratch filte17s, separate bass and treble controls, 52 db down are formidable statistics, 3-position record compensation and a 3- while a heavy machined aluminum turn­ position speaker switch. Tuner sensitivity table, a sturdy four-pole, shaded-pole mo­ TOT and a center drive system are estimable mechanical virtues. The center hub for 45 rpm records is automatically :·etracting. The' 'mounting plate is finished in black and the price is $64.50. PILOT SP-215 PREAMPLIFIER FUrniture Mfg. Co., which can hold 100 For the professional or the advanced records. Upholstered in comfortably audiophile, Pilot Radio Corp. offers a is high and amplifier distortion low. The padded colored plastic, this doubly use­ stereo preamplifier control unit (Model price is $119.50 and a metal case is avail­ ful item has a disappearing front that SP-215) housed in a brushed brass and able for another $4.50. permits easy access to the records and burgundy enclosure and priced at $189.50. retails in the neighborhood of $30.00. This two-channel preamp has inputs for BOGEN B-21-LC all stereo sources: tapes, discs, FM-AM PRECISE "MOZART" broadcasts, microphones and what have RECORD PLAYER you. A separate output for recording AMPLIFIER • stereo tapes includes two VU meters and At $25.95, the new Bogen B-21-LC controls for setting recording levels. Flex­ manual record player is a boon to the Precise Development Corp.'s AMW am­ ibility of operation, when used with two low-budget hi-fi system. Designed to ro­ plifier, The Moza·rt, offers a lot of quality quality power amplifiers, is effected by tate at the four standard speeds, the unit wattage for the buck. $89.95 for a printed bass and treble controls, volume and is built around a four-pole motor and circuit 40-watt job, with no skimping of loudness controls, and a balance control each speed is variable within a 5% range. controls or features, sounds almost too for adjusting the relative level of the two The player requires a mounting space of good. But there you are: separate bass channels. 13" x 10" x 2J~" above and 2~" below the and treble equalization (24 positions), motor board and is supplied with a uni­ volume and loudness control, rumble fil­ STERECORDER versal plug-in head which accommodates ter, tape monitoring switch, DC on the all popular cartridges. preamp filaments, muting switch, front Stereo and monaural flexibility mr.rk panel speaker switching. Plus a front the Sterecorder, a new tape machine of­ PILOT MODEL SM-244 panel meter that indicates tape output in fered by Superscope, Inc. Complete ex­ volts or power output in watts. Distortion cept for speakers, this compact portable For stereo, Pilot Radio Corp. has paired and hum figures are impressive, the more ,. unit boasts a hysteresis synchronous drive two 14-watt power amplifiers and their so since Precise also manufactures elec­ motor, plus dual preamplifiers and ampli­ preamplifiers in one compact unit, retail­ tronic measuring and testing equipment. fiers, 2 microphones, monitoring speak­ ing for $189.50. This new Model SM-244 And if you are handy with a soldering er, and the controls for recording, erasing is housed in a brushed brass and burgun­ iron, the amplifier is available in kit form and playing back stereo and monaural dy enclosure, with inputs for stereo tape, at $69.95. PRINTED IN U.S.A. \ 82 HIFI & MUSIC REVIEW I FRANCAIX: Le Diable Boiteux; Prelude for Guitar; Priere du Soir; Chanson; Cantate de Mephisto. Doda Conrad (bass ), Hughes Cuenod Some facts on the (tenor), Hermann Leeb (guitar), Instrumen­ tal Ensemble, J ean Fran ~aix condo West­ measure of the minster XWN 18543.

MILHAUD: Nuptial Cantata; 4 Songs of Ron­ sard; The Four Elements; Arias from the opera Bolivar; Fountains and Springs-6 Poems. Janine Micheau (soprano) with the Pa ris Conservatory Orchestra, Darius Milha ud condo Angel 35441. The music by Jean Franc;aix (born 1912) is my choice for the esoteric hit­ One very important mea sure of a loud· This is a true measure of smooth response, of-the-month-stuff of flawless workman­ spea ker's capability as a true high fidelity which in turn is a meas ure of the similarity ship, total absence of pretension, zestful component lies in its ability to reproduce between what goes into a recording micro­ satire and keenest wit. «The Lame Devil," music with the sa me em phasis at all volume phone compared wi th what comes out of a kind of chamber opera, recalls Stravin­ levels. As th e volume control is turned from your speaker at home. Hence, it is a meas­ sky's "History of the Soldier," perhaps­ maximum to minimum , each in strument of ure of whe ther a high fid elity speaker is full of the most delicious musico-poetic ideas, razor-sharp and needle-pointed. an orchestra should remain in the same in fa ct what it is supposed to be . Tenor Hugues Cuenod, who also per­ perspective . . . the effect being of wa lking A respon se curve is tak en on every forms the two solo songs admirably, gives farther and farther away from a live or· Jan sZen speaker before it leaves the factory . a marvelous portrayal of the devilish chest ra as it is playi ng. Only in that way can it be assured that each sprite unleashed from a bottle. Basso When a response curve is taken on a speaker is right. Only in that way can it be Dada Conrad, who never knew exactly JansZen speaker from the lowest li steni ng assured that all speakers are exactly the what to do witll his peculiar voice, is level up to a full 50 watts of powe r, the same. That's why most kno wledgeable ideal for the part of tlle imaginative cav­ resultant curves are absolutely identical. listeners consider Jan sZen as The Speaker. alier, Don Zambullo. In the Cantate de · OE SIGNED BY ARTHUR A. JANSZEN Mephisto, he also acts trenchantly the role of the aged devil, but one would like Write for literature and the name of your nearest deafer occasionally to hear Franc;aix's elegant vocal lines really sung. Leeb (a notable Product of NESHAMINY ELECTRONIC CORP., Neshaminy, Po. lutanist) does splendid work on tlle gui­ tar, and the recording is perfectly focused. Expart Division: 25 Warren Street, N.Y.C. 7, Cable Simon trice, N.Y. Only the French-English texts, indis­ pensable, are in diabolically microscopic type.

It will take some years before the ma­ jority of Darius Milhaud's enormous out­ BRILLIANT RECORDINGS put finds itself on discs, but a good start Distinguished Repertory and Soloists has been made by a half-dozen different '2 11 LP-$4.98 companies. (We need particularly the SPL 743 SOUND ADVENTURE-Paul Price & string quartets and the larger operas!) Percussion Ensemble Here is a brace of songs new to LP, music Bin g! Bang! Boom! · . . percuss ion rai se d to a hi gh art by mod ern of fragrance and enchantment. There is composers like Lou Harrison , Michael Col gra ss, to many of tllem a certain sameness, but Malloy Miller, etc. · .. 7 players, 40 instruments-music that is also a fluency and lyrical fertility that neo-cla ss ic, of chamber proportions, ethnically 11as few equals today. Micheau is a mar­ oriented. De luxe hi-fi sound. velous singer-a coloratura with a voice SPL 742 PAUL WITTGENSTEIN PLAYS PIANO of real depth as well as clarity, and ab­ MUSIC FOR THE LEFT HAND solute control over the considerable de­ For the first time on discs, world·famous one­ mands that Milhaud makes in matters of armed pianist plays the dramatic Concerto for the Left Hand that Ravel wrote for him. Also pitch and rhythm. The recording is good, included are virtuoso arrangements of Ba ch's but one wishes that the fine-grained Chaconne (Brahms), Schubert' s Meerestille (Liszt), and two ' works by Reger written ori gi­ orchestral textures led by the composer nally for the left hand. were always as clear and closeup as the RL 1928 CARLOS MONTOYA RECITAL singer's voice. Internationa lly known flamenco guitar stylist of· K. G. R. fers co ntrasting Gypsy moods and rhythms­ soleares, bulerias, seguiriyas, granadinas, etc. SPL 1204 SONNY ROLLINS & HIS ENSEMBLE Pictures of Pagan Russia THAD JONES & HIS ENSEMBLE • •. New giant of jazz-Sonny Rollins, with a STRAVINSKY: The Rite of Spring. tenor sax technique that continues the art of Suisse Romande Orchestra, Ernest Ansermet Col eman Hawkins, Le ster Youn g, Charlie Park er. cond o London LL 1730. Also (on the other side) the inimitable Thad Jones. Ansermet's early recording of "The Rite of Spring," one of the first to appear SHOWCASE ALBUM-1211-$1.98 on LP, has now b een withdrawn; this SHO 307 TCHAIKOVSKY'S appears to be a new performance. It is Piano Concerto (Gilels) and -' Violin Concerto (Oistrakh) slower than the majority (there are about • • . A bargain as regards quantity! A "must" 10 versions available now!) by about a as regards quality. Regardl ess of price this minute. One can hear everytlling clearly record belongs in every music lover's library. in Ansermet's crystalline and controlled For complete catalog write to approach. Although he builds up cli­ PERIOD MUSIC CO. maxes with great care, there is not quite 304 East 74th St.. New York 21. N. Y. the last. ounce of cumulative -excitement MAY 1958 65 that Markevitch, Monteux, and Horen­ The Third Symphony of 1904 offers a stein provide; still, a notable reading, ad­ remarkable symphonic treatment of hymn mirably played by the great Swiss orch­ tunes and other material that coursed HI FI EXPERTS* estra, and stunningly recorded. through the impressionable composer's As attractive as is the cover picture of mind. Quite un-ripe stylistically, the sym­ the sacrificed "Chosen One," may one phony alternates between stunningly orig­ ARE SAYING not justifiably wonder whether the -maid­ inal -moments and some awfully over­ ens of prehistoric Russia were in the habit blown and derivative ones. "European THIS ABOUT THE of painting their big toenails? techniques of composition" (especially And the music-you may recall the German ones) had been neither fully hilarious poem written by an anonymous digested or discarded. Not my favorite versifier at the first Boston performances Ives, by any means. in 1924: Three Places in New England, on the other hand, I find a masterpiece that has HARTLEY "Who wrote this fiendish 'Rite of Spring'? no parallel. Visionary Dlusic, this, writ­ What right had he to write the thing, ten behveen 1903 and 1911 with har­ against our helpless ears to fling monies and rhythms and textures that are 'I its crash, clash, cling, clang, bing, way ahead of what Schoenberg (Ives's bang, bing? exact contemporary) and Stravinsky were SPEAKER discovering at the time. The scene of the "And then to call it 'Rite of Spring,' two marching bands colliding in the vil­ "To move as a piston over a the season when on joyous wing lage square, for instance, is quite unique. the birds melodious carols sing wide range of frequencies, a (I recall a performance by the Boston and harmony's in everything! University Orchestra in Jordan Hall, Nic­ loudspeaker cone must be 'He who could write the 'Rite of Spring,' olas Slonimsky conducting, in which he both stiff and light. Hartley if I be right, by right should swing!" calmly beat different meters with each Products Co. have recently arm!) Now that the old American Re­ developed a new cone mate­ Against that, place Robert Sabin's cording Society issue under Walter Hendl astute evaluation of 1951 in which he is no longer available (it always was a rial for their new No. 220 speaks of the savage rhythmic power, dis­ subscription release), this recording speaker that is as rigid as sonnance, and mystic aura of the work, stands alone. Dr. Hanson, as usual, con­ thin china. It simply won't as well as of its classic, organic, and ducts with splendid perceptiveness, and emotionally live essence: "Stravinsky has the sonics are outstanding- as they had buckle. If one edge of the captured the hypnotic compulsion of a better be. speaker is presse:l down, primitive ritual of sacrifice, but he has K. G. R. the opposite edge goes down also mirrored the beauty of the night, the POWELL: Divertimento lor 5 Winds; Diverti­ with it. It's not easy to tilt. vernal freshness of the night, and other mento lor Violin and Harp; Trio. wonders of human experience and imagi­ Fairfield Wind Ensemble. Herbert So rkin. In other words, true piston nation. Le Sacre has lost its sensational Margaret Ross, H e lura Tr io. Composers Re­ motion has been achieved. impact, but it has grown more impressive cordings CRI 121. now that it no longer startles and chal­ lenges our capacity to understand it." PORTER: String Quartet No.8; CARTER: The material, which makes K. G. R. 8 Etudes and a Fantasy lor Woodwind Quartet. Stanley Quartet of the Un ive rsity of Michi­ a rather strange-Io'oking PROKOFIEV: Scythian Suite. Op. 20; The gan; N. Y. W oodwind Quartet. Composers cone, is a polymer resin. Love lor Three Oranges-Suite. Recofdings CRI 118. London Symphony Orchestra. Antal Dorati Once the basic substance condo Mercury MG 50157. More distinguished releases from Com­ posers' Recordings, Inc. Mel Powell, born was found, pains were taken Vital readings of the kind of music to eliminate any inherent in New York in 1923, was a name new to Dorati excels in-dramatic, flashy, color­ me. This young man, a former pupil of resonance. The amalgam ful. His Scythian Suite is strong com­ Hindemith at Yale, and jazz pianist of petition for Markevitch's and Scherchen's. distinction, appears to have the kind of now employed sounds deader I do not see how the other versions of the than wood, no matter how talent from which great music may come. delightful Love for Thme Oranges Suite He has the courage, in these days of wild­ it is struck. This assures the can match this one in sumptuous so und, est serial and electronic experimentation, listener that the Hartley clarity and bite. The London Symphony to compose music of genuine lyricism, of Orchestra is a superlative ensemble, sec­ speaker adds no spurious expressiveness and appeal. This kind of ond only to the Philharmonia; they play spontaneous music-making is rare among coloration of its own to the with abandon for the maestro from Min­ the younger men, many of whom tend music it reproduces." neapolis. The recording requires a big to be afraid of being labeled old­ machine, and a baronial hall so that one fashioned , There is nothing conservative *HiFi & Music Review, can turn it up; the average living room about Powell's music, except for the con­ April 1958, Pg. 31. contains it inadequately. servation of the idea that good music K. G. R. should remain close to the primary ele­ American Panorama- ment of song. HARTLEY Modern His Trio, flawlessly played here by the neatly named Helura Trio, is an excep­ PRODUCTS CO. IVES: Symphony No.3; Three Places in New tionally fine work; only the slow move­ England. ment, inventive as it is, seems a bit to fall 521 E. 162nd St., New York 51, N. Y. Eastman-Rocheste r Sym phony Orchestra, out of the frame. The Violin and Harp Howard Hanson condo Mercury MG 50149. Export Dept: Divertimento is a beautiful piece, sensi­ The musical world of Charles Ives tive and ingratiating (do we detect some REESE INTERNATIONAL CORP. (1874-1954), writes the annotator, "re­ 204 E. 38th St., New York, N. Y. influence of Piston here? ); and the Wind volved around the home, church, village Divertimento shows a masterly control of In Canada: green, bandstand and surrounding New the medium (trumpet in place of horn), 1. 1. MAC QUARRIE England countryside. European tech­ brilliance and wit. The fast movements 46 St. George St., Toronto 5, Ontario niques of composition seemed inadequate are more interesting, perhaps, than the in the face of such stimuli. A new musical slower ones. The sound of the disc is 1 vocabulary had to be invented." superior, though the surfaces are not 66 HIFI & MUSIC REVIEW I University offers the largest selection of loudspeakers to gratify PROOF every need and budget UN\VERSITY SPEAKERS WOQFERS TWEETERS

STAY SOLDl MID-RANGE NETWORKS

To insure valid statistics, this tabulation covers the largest selling brands, based on a four-year survey (April 1953 to March 1957) of classified and "Swap or Sell" ads for used high fidelity loudspeakers. All ads authenticated as placed by private individuals in Audio, High Fidelity and Music At Home DIFFAXIALS SYSTEMS

PERCENTAGE OF TOTAL INSERTIONS IN "SWAP OR SELL" COLUMNS

SPEAKER "A" SPEAKER "B" SPEAKER "C" UNIVERSITY 46Y2% 231A% 161A% 13%

Fewest number of ads offer University equipment ENCLOSURES KWIKITS ••• outstanding testimonial of user satisfaction. We have always believed that the tremendous volume of University speakers Only University, the world's largest sold in the past to hi-fi enthusiasts attested to the genuine listening satisfaction manufacturer of custom loudspeakers, designed into all our products. offers you this unrivalled selection. We think that all legitimate hi-fi loudspeakers sound pleasing, but the Only University has the engineering acid test of listening satisfaction is a speaker's "staying power". Does it grow and production fa cilities that assure you with your hi-fi tastes, continue to please year after year . . . or is it obsolete of quality and performance before its time ... ready for swap, sale or discard? unmatched at each price level. Yes, in the "Swap or Sell" columns of the leading audiophile magazines, MAIL COUPON FOR FREE LITERATURE you soon know which of the prominent brands of loudspeakers readers out­ grow ... and, by the absence oj such ads, which of these leading loudspeakers ------_._----- remain in the home! Desk 0·3; University Loudspeakers, Inc., The record speaks for itself. This accurate survey, taken over a span of 80 So. Kensico Ave ., White Plains, N. Y. four years, shows that speaker "B" has almost 50% more "for sale" listings I would like your free literature. I am than University ... while speaker "A" is offered more than three times as checking the subject(s) of interest to me. often! Here is indisputable unsolicited testimony . from average hi-fi users o Complete Speaker Systems themselves that University stays sold, continues to serve year after year as a o Speaker Enclosure Kits source of rich musical pleasure. o Speaker Components

Name ...... _

LISTEN Address ...... _ Clty ...... Zorie ...... State ......

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This ·is the ori.ginal no-break, no-stretch tape that plays twice as Icing .•• and you can't buy bet~eri ;"SCOTCH" Brand waited until it had perfected an extended play tape of urim,'atched quality. Now, here it is-"SCOTCH" 200 Tensilized Double­ Length Tape-first to give you a Polyester backing with an ultimate tensile strength of 6.8 Ibs! And it's the only tape of its kind that offers silicone lubrication, genuine built-in protection for your recorder head. Why settle for imitations when the original and best costs no more? Today, see your dealer for a reel of "SCOTCH" 200 Tensilized Double-Length Tape, newest of the "Tapes you can trust".

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The term II Scotch" Is a registered trademark of 3M Company, St. Paul 6, Minn. Export: 99 Park Avenue, New York. Canada: London, Ontario. © 3M .Co., 1958.